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102-432: Ethos ( ἦθος , ἔθος ; plurals: ethe , ἤθη ; ethea , ἤθεα ) is a Greek word originally meaning "accustomed place" (as in ἤθεα ἵππων "the habitats of horses/", Iliad 6.511, 15.268), "custom, habit", equivalent to Latin mores . Ethos forms the root of ethikos ( ἠθικός ), meaning " morality , showing moral character". As an adjective in the neuter plural form ta ethika. In modern usage, ethos denotes

204-785: A General Audience in June 2014, Pope Francis said, "When the Holy Spirit helps us sense the presence of the Lord and all of his love for us, it warms our heart and drives us almost naturally to prayer and celebration." "Piety", said Pope Francis , points up "our friendship with God." It is a gift that enables people to serve their neighbor "with gentleness and with a smile." Expressions of piety vary according to country and local tradition. "Feast days", with their preparations for various religious celebrations and activities, have forged traditions peculiar to communities. Many pious exercises are part of

306-477: A bad omen but is ignored. Hera seduces Zeus and lulls him to sleep, allowing Poseidon to help the Greeks. The Trojans are driven back onto the plain. Ajax wounds Hector, who is then carried back to Troy. Zeus awakes and is enraged by Poseidon's intervention. However, he reassures Hera that Troy is still fated to fall once Hector kills Patroclus. Poseidon is recalled from the battlefield, and Zeus sends Apollo to aid

408-582: A brilliant radiance by Athena, Achilles stands next to the Achaean wall and roars in rage. The Trojans are terrified by his appearance, and the Achaeans manage to bear Patroclus's body away. Polydamas again urges Hector to withdraw into the city; again, Hector refuses, and the Trojans camp on the plain at nightfall. Achilles mourns Patroclus, brokenhearted. Meanwhile, at Thetis's request, Hephaestus fashions

510-544: A certain objective from the beginning of the play. However, Murray clarifies that strict constancy is not always the rule in Greek tragedy characters. To support this, he points out the example of Antigone who, even though she strongly defies Creon at the beginning of the play, begins to doubt her cause and plead for mercy as she is led to her execution. Several other aspects of the character element in ancient Greek tragedy are worth noting. One of these, which C. Garton discusses,

612-590: A coalition of Mycenaean Greek states, the poem depicts significant events in the siege's final weeks. In particular, it depicts a fierce quarrel between King Agamemnon and a celebrated warrior, Achilles . It is a central part of the Epic Cycle . The Iliad is often regarded as the first substantial piece of European literature . The Iliad and the Odyssey were likely written down in Homeric Greek ,

714-415: A component of argument. Speakers must establish ethos from the start. This can involve "moral competence" only; Aristotle, however, broadens the concept to include expertise and knowledge. For the most part, this perspective of ethos is the one discussed the most by schools and universities. Ethos is limited, in his view, by what the speaker says. Others, however, contend that a speaker's ethos extends to and

816-484: A conclusion determines the validity of evidence. Some scholars believe that the gods may have intervened in the mortal world because of quarrels they may have had with each other. Homer interprets the world at this time by using the passion and emotion of the gods to be determining factors of what happens on the human level. An example of one of these relationships in the Iliad occurs between Athena, Hera, and Aphrodite. In

918-427: A duel and exchange unequal gifts, while Glaucus tells Diomedes the story of Bellerophon . Hector enters the city, urges prayers and sacrifices, incites Paris to battle, and bids his wife Andromache and son Astyanax farewell on the city walls. He then rejoins the battle. Hector duels with Ajax , but nightfall interrupts the fight, and both sides retire. The Trojans quarrel about returning Helen. Paris offers to return

1020-452: A literary mixture of Ionic Greek and other dialects, probably around the late 8th or early 7th century BC. Homer's authorship was infrequently questioned in antiquity , but contemporary scholarship predominantly assumes that the Iliad and the Odyssey were composed independently and that the stories formed as part of a long oral tradition . The poem was performed by professional reciters of Homer known as rhapsodes . Critical themes in

1122-413: A major role in the poem, aiding their favoured warriors on the battlefield and intervening in personal disputes. Their characterisation in the poem humanised them for Ancient Greek audiences, giving a concrete sense of their cultural and religious tradition. In terms of formal style, the poem's repetitions and use of similes and epithets are often explored by scholars. The story begins with an invocation to

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1224-468: A new set of armor for Achilles, including a magnificently wrought shield . In the morning, Thetis brings Achilles his new set of armor, only to find him weeping over Patroclus's body. Achilles arms for battle and rallies the Achaean warriors. Agamemnon gives Achilles all the promised gifts, including Briseis , but Achilles is indifferent to them. The Achaeans take their meal; Achilles refuses to eat. His horse, Xanthos , prophesies Achilles's death; Achilles

1326-646: A person with a tender and filial confidence in God, the gift of piety makes them joyfully embrace all that pertains to His service. John Calvin said, "I call ‘piety’ that reverence joined with love of God which the knowledge of his benefits induces. For until [people] recognize that they owe everything to God, that they are nourished by his fatherly care, that he is the Author of their every good, that they should seek nothing beyond him—they will never yield him willing service." Bishop Pierre Whalon says that "Piety, therefore,

1428-504: A result of this thinking, each god or goddess in polytheistic Greek religion is attributed to an aspect of the human world. For example, Poseidon is the god of the sea, Aphrodite is the goddess of beauty, Ares is the god of war, and so on and so forth for many other gods. This is how Greek culture was defined as many Athenians felt the presence of their gods through divine intervention in significant events in their lives. Oftentimes, they found these events to be mysterious and inexplicable. In

1530-492: A speaker is a high- or a low-ethos speaker. Violations of ethos include: Completely dismissing an argument based on any of the above violations of ethos is an informal fallacy ( Appeal to motive ). The argument may indeed be suspect; but is not, in itself, invalid. Although Plato never uses the term "ethos" in his extant corpus; scholar Collin Bjork, a communicator, podcaster, and digital rhetorician, argues that Plato dramatizes

1632-468: A speaker's or writer's durable position of authority in the world; invented ethos relies more on the immediate circumstances of the rhetorical situation. Ethos, or character, also appears in the visual art of famous or mythological ancient Greek events in murals, on pottery, and sculpture referred to generally as pictorial narrative. Aristotle even praised the ancient Greek painter Polygnotos because his paintings included characterization. The way in which

1734-439: A unified identity that is similar to human nature is usually fulfilled. Thirdly, characters in tragedies include incongruities and idiosyncrasies. Another aspect stated by Garet is that tragedy plays are composed of language, character, and action, and the interactions of these three components; these are fused together throughout the play. He explains that action normally determines the major means of characterization. For example,

1836-499: A way as to multiply the positions from which women may speak" (83). Rhetorical scholar and Kate Ronald's claim that "ethos is the appeal residing in the tension between the speaker's private and public self", (39) also presents a more postmodern view of ethos that links credibility and identity. Similarly, Nedra Reynolds and Susan Jarratt echo this view of ethos as a fluid and dynamic set of identifications, arguing that "these split selves are guises, but they are not distortions or lies in

1938-472: Is faithful to the call of the gods on his life. He is willing to sacrifice his own interests to those greater interests, especially to the founding of the great city of Rome. He binds his will and his heart to that task. This is what it means to be pius . Pietas in traditional Latin usage expressed a complex, highly valued Roman virtue; a man with pietas respected his responsibilities to gods, country, parents, and kin. In its strictest sense it

2040-519: Is a virtue which may include religious devotion or spirituality . A common element in most conceptions of piety is a duty of respect. In a religious context, piety may be expressed through pious activities or devotions, which may vary among countries and cultures. The word piety comes from the Latin word pietas , the noun form of the adjective pius (which means "devout" or "dutiful"). English literature scholar Alan Jacobs has written about

2142-520: Is beaten back by Hephaestus's firestorm. The gods fight amongst themselves. The great gates of the city are opened to receive the fleeing Trojans, and Apollo leads Achilles away from the city by pretending to be a Trojan. When Apollo reveals himself to Achilles, the Trojans have retreated into the city, all except for Hector. Despite the counsel of Polydamas and the pleas of his parents, Priam and Hecuba , Hector resolves to face Achilles. When Achilles approaches, however, Hector's will fails him. He flees and

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2244-496: Is central to Confucian ethics ; reverence for parents is considered in Chinese ethics the prime virtue and the basis of all right human relations. In Catholicism , Eastern Orthodoxy , Lutheranism , and Anglicanism , piety is one of the seven gifts of the Holy Spirit . "It engenders in the soul a filial respect for God, a generous love toward him, and an affectionate obedience that wants to do what he commands because it loves

2346-412: Is chased by Achilles around the city. Finally, Athena tricks him into stopping, and he turns to face his opponent. After a brief duel, Achilles stabs Hector through the neck. Before dying, Hector reminds Achilles that he, too, is fated to die. Achilles strips Hector of his own armor, gloating over his death. Achilles then dishonors Hector's body by lashing it to the back of his chariot and dragging it around

2448-403: Is due him, Aquinas identified as the virtue of religion, also related to justice. ) Professor Richard McBrien said piety "is a gift of the Holy Spirit by which we are motivated and enabled to be faithful and respectful to those—ultimately, God—who have had a positive, formative influence on our lives and to whom we owe a debt of gratitude," and requires one to acknowledge, to the extent possible,

2550-465: Is indifferent. Achilles goes into battle, with Automedon driving his chariot. Zeus lifts the ban on the gods' interference, and the gods freely help both sides. Achilles, burning with rage and grief, slays many. Achilles cuts off half the Trojans' number in the river and slaughters them, clogging the river with bodies. The river god, Scamander , confronts Achilles and commands him to stop killing Trojans, but Achilles refuses. They fight until Scamander

2652-405: Is lost in his grief and spends his days mourning Patroclus and dragging Hector's body behind his chariot. Dismayed by Achilles's continued abuse of Hector's body, Zeus decides that it must be returned to Priam. Led by Hermes , Priam takes a wagon filled with gifts out of Troy, across the plains, and into the Achaean camp unnoticed. He clasps Achilles by the knees and begs for his son's body. Achilles

2754-437: Is moved to tears and finally relents in his anger. The two lament their losses in the war. Achilles agrees to give Hector's body back and to give the Trojans twelve days to properly mourn and bury him. Achilles apologizes to Patroclus, fearing he has dishonored him by returning Hector's body. After a meal, Priam carries Hector's body back into Troy. Hector is buried, and the city mourns. Ancient Greek religion had no founder and

2856-517: Is one of two major ancient Greek epic poems attributed to Homer . It is one of the oldest extant works of literature still widely read by modern audiences. As with the Odyssey , the poem is divided into 24 books and was written in dactylic hexameter . It contains 15,693 lines in its most widely accepted version. Set towards the end of the Trojan War , a ten-year siege of the city of Troy by

2958-401: Is shaped by the overall moral character and history of the speaker—that is, what people think of his or her character before the speech has even begun (cf Isocrates ). According to Aristotle , there are three categories of ethos: In a sense, ethos does not belong to the speaker but to the audience and it's appealing to the audience's emotions. Thus, it is the audience that determines whether

3060-421: Is the fact that either because of contradictory action or incomplete description, the character cannot be viewed as an individual, or the reader is left confused about the character. One method of reconciling this would be to consider these characters to be flat, or type-cast, instead of round. This would mean that most of the information about the character centers around one main quality or viewpoint. Comparable to

3162-516: Is the pursuit of an ever-greater sense of being in the presence of God." The Gift of Piety is synonymous with of filial trust in God. Through piety, a person shows reverence for God as a loving Father, and respect for others as children of God. Pope John Paul II defined piety as "the gift of reverence for what comes from God," and related it to his earlier lectures on the Theology of the Body. In

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3264-663: Is troubling for black women. Pittman writes, "Unfortunately, in the history of race relations in America, black Americans' ethos ranks low among other racial and ethnic groups in the United States. More often than not, their moral characters have been associated with a criminalized and sexualized ethos in visual and print culture" (43). The ways in which characters were constructed is important when considering ethos, or character, in Greek tragedy . Augustus Taber Murray explains that

3366-494: The Iliad as a major piece of evidence for his theory of the Bicameral Mind , which posits that until about the time described in the Iliad , humans had a far different mentality from present-day humans. He says that humans during that time were lacking what is today called consciousness. He suggests that humans heard and obeyed commands from what they identified as gods until the change in human mentality that incorporated

3468-431: The Iliad , Paris challenges any of the Achaeans to a single combat and Menelaus steps forward. Menelaus is dominating the battle and is on the verge of killing Paris. "Now he'd have hauled him off and won undying glory but Aphrodite, Zeus's daughter, was quick to the mark, snapped the rawhide strap." Aphrodite intervenes out of her own self-interest to save Paris from the wrath of Menelaus because Paris had helped her to win

3570-586: The Muse . The events begin in medias res towards the end of the Trojan War, fought between the Trojans and the besieging Achaeans . The Achaean forces consist of armies from many different Greek kingdoms, led by their respective kings or princes. Agamemnon , king of Mycenae , acts as commander for these united armies. Chryses , a priest of Apollo , offers the Achaeans wealth for the return of his daughter Chryseis , held captive by Agamemnon. Although most of

3672-550: The interdependence between ethos and cultural context by arguing that "To have ethos is to manifest the virtues most valued by the culture to and for which one speaks" (60). While scholars do not all agree on the dominant sphere in which ethos may be crafted, some agree that ethos is formed through the negotiation between private experience and the public, rhetorical act of self-expression. Karen Burke LeFevre's argument in Invention as Social Act situates this negotiation between

3774-563: The self (47). In the era of mass-mediated communication, Oddo contends, one's ethos is often created by journalists and dispersed over multiple news texts. With this in mind, Oddo coins the term intertextual ethos, the notion that a public figure's "ethos is constituted within and across a range of mass media voices" (48). In "Black Women Writers and the Trouble with Ethos", scholar Coretta Pittman notes that race has been generally absent from theories of ethos construction and that this concept

3876-604: The Achaean kings are in favor of the offer, Agamemnon refuses. Chryses prays for Apollo's help, and Apollo sends a plague to afflict the Achaean army. After nine days of plague, Achilles , the leader of the Myrmidon forces and aristos achaion ("best of the Greeks"), calls an assembly to deal with the problem. Under pressure, Agamemnon agrees to return Chryseis to her father but decides to take Achilles's slave, Briseis , as compensation. Because war prizes were correlated with honor, Agamemnon's decision dishonors Achilles in front of

3978-615: The Gods, allows it. This motif recurs when he considers sparing Hector, whom he loves and respects. This time, it is Athena who challenges him: Father of the shining bolt, dark misted, what is this you said? Do you wish to bring back a man who is mortal, one long since doomed by his destiny, from ill-sounding death and release him? Do it, then; but not all the rest of us gods shall approve you. Again, Zeus appears capable of altering fate, but does not, deciding instead to abide by set outcomes; similarly, fate spares Aeneas after Apollo convinces

4080-503: The Jewish historian Arie Krampf, ideas of economic modernization which were imported into Palestine in the 1930s brought about "the abandonment of the agrarian ethos and the reception of...the ethos of rapid development". In rhetoric , ethos (credibility of the speaker) is one of the three artistic proofs ( pistis , πίστις) or modes of persuasion (other principles being logos and pathos ) discussed by Aristotle in ' Rhetoric ' as

4182-520: The Three Fates set the destiny of Man. Kleos ( κλέος , "glory, fame") is the concept of glory earned in heroic battle. Yet Achilles must choose only one of the two rewards, either nostos or kleos . In Book 9 (9.410–16), he poignantly tells Agamemnon's envoys—Odysseus, Phoenix, and Ajax—begging his reinstatement to battle about having to choose between two fates ( διχθαδίας κήρας , 9.411). The passage reads: Piety Piety

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4284-419: The Trojans can assail the Achaean wall. They camp in the field to attack at first light, and their watchfires light the plain like stars. Meanwhile, the Achaeans are desperate. Agamemnon admits his error and sends an embassy composed of Odysseus, Ajax, Phoenix , and two heralds to offer Briseis and extensive gifts to Achilles, if only he will return to the fighting. Achilles and his companion Patroclus receive

4386-443: The Trojans until their ships are at risk of burning. Only then will Agamemnon realize how much the Achaeans need Achilles and restore his honor. Thetis does so, and Zeus agrees. Zeus then sends a dream to Agamemnon, urging him to attack Troy. Agamemnon heeds the dream but first decides to test the Achaean army's morale by telling them to go home. But nine years into the war, the soldiers' morale has worn thin. The plan backfires, and only

4488-467: The Trojans. Achilles says that after all has been made right, he and Patroclus will take Troy together. Patroclus leads the Myrmidons into battle and arrives as the Trojans set fire to the first ships. The Trojans are routed by the sudden onslaught, and Patroclus begins his assault by killing Zeus's son Sarpedon , a leading ally of the Trojans. Patroclus, ignoring Achilles's command, pursues and reaches

4590-452: The Trojans. The Trojans once again breach the wall, and the battle reaches the ships. Patroclus cannot stand to watch any longer and goes to Achilles, weeping. He briefly admonishes him for his stubbornness and then asks him to allow him to fight in his place, wearing Achilles's armor so that he will be mistaken for him. Achilles relents and lends Patroclus his armor but sends him off with a stern admonition to come back to him and not to pursue

4692-428: The assembled Achaean forces. Achilles furiously declares that he and his men will no longer fight for Agamemnon. Odysseus returns Chryseis to her father, causing Apollo to end the plague. In the meantime, Agamemnon's messengers take Briseis away. Achilles becomes very upset and prays to his mother, Thetis , a minor goddess and sea nymph. Achilles asks his mother to ask Zeus to allow the Achaeans to be beaten back by

4794-432: The beauty pageant. The partisanship of Aphrodite towards Paris induces constant intervention by all of the gods, especially to give motivational speeches to their respective protégés, while often appearing in the shape of a human being they are familiar with. This connection of emotions to actions is just one example out of many that occur throughout the poem. Fate ( κήρ , kēr , 'fated death') propels most of

4896-428: The body. When Achilles hears of Patroclus's death, he screams so loudly in his grief that his mother, Thetis, hears him from the bottom of the ocean. Thetis grieves too, knowing that Achilles is fated to die young if he kills Hector. Though he knows it will seal his own fate, Achilles vows to kill Hector in order to avenge Patroclus. Achilles is urged to help retrieve Patroclus's body but has no armor to wear. Bathed in

4998-437: The character cannot exist without plot, and so the character is secondary to the plot. Murray maintains that Aristotle did not mean that complicated plot should hold the highest place in a tragedy play. This is because the plot was, more often than not, simple and therefore not a major point of tragic interest. Murray conjectures that people today do not accept Aristotle's statement about character and plot because to modern people,

5100-454: The character's choice, the pictorial narrative often shows an earlier scene than when the action was committed. Stansbury-O'Donnell gives an example of this in the form of a picture by the ancient Greek artist Exekia which shows the Greek hero Ajax planting his sword in the ground in preparation to commit suicide, instead of the actual suicide scene (Stansbury-O'Donnell, p. 177). Additionally, Castriota explains that ancient Greek art expresses

5202-406: The city. The Trojans grieve. The ghost of Patroclus comes to Achilles in a dream, urging him to carry out the burial rites so that his spirit can move on to the underworld. Patroclus asks Achilles to arrange for their bones to be entombed together in a single urn; Achilles agrees, and Patroclus's body is cremated. The Achaeans hold a day of funeral games, and Achilles gives out the prizes. Achilles

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5304-471: The complexity of rhetorical ethos in the Apology of Socrates . For Aristotle, a speaker's ethos was a rhetorical strategy employed by an orator whose purpose was to "inspire trust in his audience" ( Rhetorica 1380). Ethos was therefore achieved through the orator's "good sense, good moral character, and goodwill", and central to Aristotelian virtue ethics was the notion that this "good moral character"

5406-416: The concept of persona has emerged from the literary tradition, and is associated with a theatrical mask. Roger Cherry explores the distinctions between ethos and pathos to mark the distance between a writer's autobiographical self and the author's discursive self as projected through the narrator. The two terms also help to refine distinctions between situated and invented ethos. Situated ethos relies on

5508-501: The cultic patrimony of particular Churches or religious families. Devotions help incorporate faith into daily life. Popular piety "...manifests a thirst for God which only the simple and poor can know. It makes people capable of generosity and sacrifice even to the point of heroism, when it is a question of manifesting belief. It involves an acute awareness of profound attributes of God: fatherhood, providence, loving and constant presence. It engenders interior attitudes rarely observed to

5610-427: The depiction of a character was limited by the circumstances under which Greek tragedies were presented. These include the single unchanging scene, necessary use of the chorus, small number of characters limiting interaction, large outdoor theatres , and the use of masks, which all influenced characters to be more formal and simple. Murray also declares that the inherent characteristics of Greek tragedies are important in

5712-649: The disposition, character, or fundamental values peculiar to a specific person, people, organization, culture, or movement. For example, the poet and critic T. S. Eliot wrote in 1940 that "the general ethos of the people they have to govern determines the behavior of politicians". Similarly the historian Orlando Figes wrote in 1996 that in Soviet Russia of the 1920s "the ethos of the Communist party dominated every aspect of public life". Ethos may change in response to new ideas or forces. For example, according to

5814-539: The embassy well. However, considering the slight to his honor too great, Achilles angrily refuses Agamemnon's offer and declares that he will only return to battle if the Trojans reach his ships and threaten them with fire. The embassy returns empty-handed. Later that night, Odysseus and Diomedes venture out to the Trojan lines, kill the Trojan Dolon , and wreak havoc in the camps of some Thracian allies of Troy. In

5916-466: The events of the Iliad . Once set, gods and men abide it, neither truly able nor willing to contest it. How fate is set is unknown, but it is told by the Fates and by Zeus through sending omens to seers such as Calchas . Men and their gods continually speak of heroic acceptance and cowardly avoidance of one's slated fate. Fate does not determine every action, incident, and occurrence, but it does determine

6018-470: The final book of the poem, Homer writes, "He offended Athena and Hera—both goddesses." Athena and Hera are envious of Aphrodite because of a beauty pageant on Mount Olympus in which Paris chose Aphrodite to be the most beautiful goddess over both Hera and Athena. Wolfgang Kullmann further goes on to say, "Hera's and Athena's disappointment over the victory of Aphrodite in the Judgement of Paris determines

6120-408: The first writers to name and describe the gods' appearance and character. Mary Lefkowitz discusses the relevance of divine action in the Iliad , attempting to answer the question of whether divine intervention is a discrete occurrence (for its own sake) or if such godly behaviors are mere human character metaphors. The intellectual interest of Classic-era authors, such as Thucydides and Plato ,

6222-525: The flat character option, the reader could also view the character as a symbol. Examples of this might be the Eumenides as vengeance, or Clytemnestra as symbolizing ancestral curse. Yet another means of looking at character, according to Tycho von Wilamowitz and Howald, is the idea that characterization is not important. This idea is maintained by the theory that the play is meant to affect the viewer or reader scene by scene, with attention being only focused on

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6324-589: The forms of more frequent communion and liturgical observances and customs, Bishop Ronald Williams spoke for increased reading of the Bible. In the Methodist Church, works of piety are a means of grace. They can be personal, such as reading, prayer, and meditation; or communal, such as sharing in the sacraments or Bible study. For Presbyterians, piety refers to a whole realm of practices—such as worship, prayer, singing, and service—that help shape and guide

6426-428: The gates of Troy, where Apollo himself stops him. Patroclus kills Hector's brother Cebriones , is set upon by Apollo and Euphorbos , and is finally killed by Hector. Hector takes Achilles's armor from the fallen Patroclus. The Achaeans fight to retrieve Patroclus's body from the Trojans, who attempt to carry it back to Troy at Hector's command. Antilochus is sent to tell Achilles the news and asks him to help retrieve

6528-508: The goddess's wrist. Apollo faces Diomedes and warns him against warring with gods, which Diomedes ignores. Apollo sends Ares to defeat Diomedes. Many heroes and commanders join in, including Hector, and the gods supporting each side try to influence the battle. Emboldened by Athena, Diomedes wounds Ares and puts him out of action. Hector rallies the Trojans and prevents a rout. Diomedes and the Trojan Glaucus find common ground after

6630-491: The hands of Aiakos' great son, Achilleus. Here, Patroclus alludes to his fated death by Hector's hand and to Hector's fated death by Achilles's hand. Each accepts the outcome of his life, yet no one knows if the gods can alter fate. The first instance of this doubt occurs in Book 16. Seeing Patroclus about to kill Sarpedon, his mortal son, Zeus says: Ah me, that it is destined that the dearest of men, Sarpedon, must go down under

6732-399: The hands of Menoitios' son Patroclus. About his dilemma, Hera asks Zeus: Majesty, son of Kronos, what sort of thing have you spoken? Do you wish to bring back a man who is mortal, one long since doomed by his destiny, from ill-sounding death and release him? Do it, then; but not all the rest of us gods shall approve you. In deciding between losing a son or abiding fate, Zeus, King of

6834-488: The idea that character was the major factor influencing the outcome of the Greeks' conflicts against their enemies. Because of this, "ethos was the essential variable in the equation or analogy between myth and actuality". Iliad On the Greek side: On the Trojan side: The Iliad ( / ˈ ɪ l i ə d / ; Ancient Greek : Ἰλιάς , romanized :  Iliás , [iː.li.ás] ; lit.   ' [a poem] about Ilion (Troy) ' )

6936-402: The influence that such ethical representation may exert upon the public". Castriota also explains that according to Aristotle, "[t]he activity of these artists is to be judged worthy and useful above all because exposure of their work is beneficial to the polis ". Accordingly, this was the reason for the representation of character, or ethos, in public paintings and sculptures. In order to portray

7038-422: The intervention of Odysseus, inspired by Athena , stops a rout . Odysseus confronts and beats Thersites , a common soldier who voices discontent about fighting Agamemnon's war. The Achaeans deploy in companies upon the Trojan plain. When news of the Achaean deployment reaches King Priam , the Trojans respond in a sortie upon the plain. The armies approach each other, but before they meet, Paris offers to end

7140-566: The literary Trojan War of the Iliad , the Olympian gods, goddesses, and minor deities fight among themselves and participate in human warfare, often by interfering with humans to counter other gods. Unlike their portrayals in Greek religion, Homer's portrayal of gods suits his narrative purpose. The gods in traditional thought of 4th-century Athenians were not spoken of in terms familiar to the works of Homer. The Classical-era historian Herodotus says that Homer and Hesiod , his contemporary, were

7242-547: The main owes both its birth and its growth to teaching [...] while moral virtue comes about as a result of habit, whence also its name ethike is one that is formed by a slight variation from the word ethos (habit)" (952). Discussing women and rhetoric, scholar Karlyn Kohrs Campbell notes that entering the public sphere was considered an act of moral transgression for females of the nineteenth century: "Women who formed moral reform and abolitionist societies, and who made speeches, held conventions, and published newspapers, entered

7344-450: The makeup of the characters. One of these is the fact that tragedy characters were nearly always mythical characters. This limited the character, as well as the plot, to the already well-known myth from which the material of the play was taken. The other characteristic is the relatively short length of most Greek plays. This limited the scope of the play and characterization so that the characters were defined by one overriding motivation toward

7446-412: The meaning of ethos within rhetoric as expressing inherently communal roots. This stands in direct opposition to what she describes as the claim "that ethos can be faked or 'manipulated'" because individuals would be formed by the values of their culture and not the other way around (336). Rhetorical scholar John Oddo also suggests that ethos is negotiated across a community and not simply a manifestation of

7548-424: The morning, the fighting is fierce, and Agamemnon, Diomedes, and Odysseus are all wounded. Achilles sends Patroclus from his camp to inquire about the Achaean casualties, and while there, Patroclus is moved to pity by a speech by Nestor . Nestor asks Patroclus to beg Achilles to rejoin the fighting, or if he will not, to lead the army wearing Achilles's armor. The Trojans attack the Achaean wall on foot. Hector leads

7650-413: The most memorable things about tragedy plays are often the characters. However, Murray does concede that Aristotle is correct in that "[t]here can be no portrayal of character [...] without at least a skeleton outline of plot". One other term frequently used to describe the dramatic revelation of character in writing is " persona ". While the concept of ethos has traveled through the rhetorical tradition,

7752-412: The motivating force into the conscious self. He points out that almost every action in the Iliad is directed, caused, or influenced by a god and that earlier translations show an astonishing lack of words suggesting thought, planning, or introspection. Those that do appear, he argues, are misinterpretations made by translators imposing a modern mentality on the characters, a form of reverse logic by which

7854-719: The mysterious origin of fate is a power beyond the gods. Fate implies the primeval, tripartite division of the world that Zeus, Poseidon, and Hades effected in deposing their father, Cronus , for its dominion. Zeus took the Air and the Sky, Poseidon the Waters, and Hades the Underworld , the land of the dead—yet they share dominion of the Earth. Despite the earthly powers of the Olympic gods, only

7956-409: The one who commands." Pope Gregory I , in demonstrating the interrelationship among the gifts, said "Through the fear of the Lord , we rise to piety, from piety then to knowledge..." Aquinas spoke of piety in the context of one's parents and country, and given the obligation to accord each what is rightfully due them, related it to the cardinal virtue of justice. (By analogy, rendering to God what

8058-408: The origins and early meaning of the term: It is not, in its origin, a Christian word. The Roman poet Virgil calls his hero pius Aeneas , says that he is a pietāte virum , but we might well mislead readers were we to say "pious Aeneas" or a "pious man." For his character is unmarked by the smarmy religiosity we typically associate with the word "pious." Aeneas is devoted to his mission,

8160-474: The outcome of life—before killing him, Hector calls Patroclus a fool for cowardly avoidance of his fate, by attempting his defeat; Patroclus retorts: No, deadly destiny, with the son of Leto, has killed me, and of men it was Euphorbos; you are only my third slayer. And put away in your heart this other thing that I tell you. You yourself are not one who shall live long, but now already death and powerful destiny are standing beside you, to go down under

8262-496: The overmatched Trojan to fight Achilles. Poseidon cautiously speaks: But come, let us ourselves get him away from death, for fear the son of Kronos may be angered if now Achilleus kills this man. It is destined that he shall be the survivor, that the generation of Dardanos shall not die… Divinely aided, Aeneas escapes the wrath of Achilles and survives the Trojan War. Whether or not the gods can alter fate, they do abide by it, despite its countering their human allegiances; thus,

8364-441: The philosopher's sense. Rather they are 'deceptions' in the sophistic sense: recognition of the ways one is positioned multiply differently" (56). Rhetorical scholar Michael Halloran has argued that the classical understanding of ethos "emphasizes the conventional rather than the idiosyncratic , the public rather than the private" (60). Commenting further on the classical etymology and understanding of ethos , Halloran illuminates

8466-494: The play Julius Caesar, is a good example for a character without credibility, Brutus. Another principle he states is the importance of these three components' effect on each other; the important repercussion of this being character's impact on action. Augustus Taber Murray also examines the importance and degree of interaction between plot and character. He does this by discussing Aristotle's statements about plot and character in his Poetics: that plot can exist without character, but

8568-429: The poem include kleos (glory), pride, fate and wrath. Despite being predominantly known for its tragic and serious themes, the poem also contains instances of comedy and laughter. The poem is frequently described as a masculine or heroic epic, especially compared with the Odyssey . It contains detailed descriptions of ancient war instruments and battle tactics, and fewer female characters. The Olympian gods also play

8670-406: The private and the public, writing that ethos "appears in that socially created space, in the 'between', the point of intersection between speaker or writer and listener or reader" (45–46). According to Nedra Reynolds, "ethos, like postmodern subjectivity , shifts and changes over time, across texts, and around competing spaces" (336). However, Reynolds additionally discusses how one might clarify

8772-453: The public sphere and thereby lost their claims to purity and piety " (13). Crafting an ethos within such restrictive moral codes, therefore, meant adhering to membership of what Nancy Fraser and Michael Warner have theorized as counter publics. While Warner contends that members of counter publics are afforded little opportunity to join the dominant public and therefore exert true agency, Nancy Fraser has problematized Habermas 's conception of

8874-621: The public sphere as a dominant "social totality" by theorizing "subaltern counter publics", which function as alternative publics that represent "parallel discursive arenas where members of subordinated social groups invent and circulate counterdiscourses, which in turn permit them to formulate oppositional interpretations of their identities, interests, and needs" (67). Though feminist rhetorical theorists have begun to offer ways of conceiving of ethos that are influenced by postmodern concepts of identity, they remain cognizant of how these classical associations have shaped and still do shape women's use of

8976-446: The rhetorical tool. Johanna Schmertz draws on Aristotelian ethos to reinterpret the term alongside feminist theories of subjectivity, writing that, "Instead of following a tradition that, it seems to me, reads ethos somewhat in the manner of an Aristotelian quality proper to the speaker's identity, a quality capable of being deployed as needed to fit a rhetorical situation, I will ask how ethos may be dislodged from identity and read in such

9078-434: The same degree elsewhere: patience, the sense of the cross in daily life, detachment, openness to others, devotion. By reason of these aspects, we readily call it "popular piety," that is, religion of the people, rather than religiosity. They are the manifestation of a theological life nourished by the working of the Holy Spirit who has been poured into our hearts (cf. Romans 5:5 ). While acknowledging that Anglican piety took

9180-435: The section at hand. This point of view also holds that the different figures in a play are only characterized by the situation surrounding them, and only enough so that their actions can be understood. Garet makes three more observations about a character in Greek tragedy. The first is an abundant variety of types of characters in Greek tragedy. His second observation is that the reader or viewer's need for characters to display

9282-441: The sources of those many blessings through words and gestures great and small. Piety belongs to the virtue of Religion , which theologians put among the moral virtues, as a part of the cardinal virtue Justice , since by it one tenders to God what is due to him. The gift of piety perfects the virtue of justice, enabling the individual to fulfill his obligations to God and neighbor, and to do so willingly and joyfully. By inspiring

9384-459: The subject and his actions are portrayed in visual art can convey the subject's ethical character and through this the work's overall theme, just as effectively as poetry or drama can. This characterization portrayed men as they ought to be, which is the same as Aristotle's idea of what ethos or character should be in tragedy. (Stansbury-O'Donnell, p. 178) Mark D. Stansbury-O'Donnell states that pictorial narratives often had ethos as its focus, and

9486-537: The terrible fighting, despite an omen that their charge will fail. The Achaeans are overwhelmed and routed, the wall's gate is broken, and Hector charges in. The Achaeans fall back to their ships. Poseidon pities the Achaeans and decides to disobey Zeus and help them. He rallies the Achaeans' spirits, and they begin to push the Trojans back. Poseidon's nephew Amphimachus is killed in the battle; Poseidon imbues Idomeneus with godly power. Many fall on both sides. The Trojan seer Polydamas urges Hector to fall back because of

9588-438: The treasure he took and give further wealth as compensation, but not Helen, and the offer is refused. Both sides agree to a day's truce to burn the dead. The Achaeans also build a wall and trench to protect their camp and ships. The next morning, Zeus prohibits the gods from interfering, and fighting begins anew. The Trojans prevail and force the Achaeans back to their wall. Hera and Athena are forbidden to help. Night falls before

9690-577: The war by fighting a duel with Menelaus , urged by Hector , his brother and hero of Troy . Here, the initial cause of the entire war is explained: Helen , wife of Menelaus, and the most beautiful woman in the world, is either through seduction or by force, taken by Paris from Menelaus's home in Sparta . Menelaus and Paris agree to duel; Helen will marry the victor. However, when Paris is beaten, Aphrodite rescues him and leads him to bed with Helen before Menelaus can kill him. The gods deliberate over whether

9792-433: The war should end here, but Hera convinces Zeus to wait for the utter destruction of Troy. Athena prompts the Trojan archer Pandarus to shoot Menelaus. Menelaus is wounded, and the truce is broken. Fighting breaks out, and many minor Trojans are killed. In the fighting, Diomedes kills many Trojans, including Pandarus, and defeats Aeneas . Aphrodite rescues him before he can be killed, but Diomedes attacks her and wounds

9894-517: The whole conduct of both goddesses in The Iliad and is the cause of their hatred for Paris, the Judge, and his town Troy." Hera and Athena then continue to support the Achaean forces throughout the poem because Paris is part of the Trojans, while Aphrodite aids Paris and the Trojans. The emotions between the goddesses often translate to actions they take in the mortal world. For example, in Book 3 of

9996-493: Was increased in virtuous degree by habit ( Rhetorica 1380). Ethos also is related to a character's habit as well (The Essential Guide to Rhetoric, 2018). The person's character is related to a person's habits (The Essential Guide to Rhetoric, 2018). Aristotle links virtue, habituation, and ethos most succinctly in Book II of Nicomachean Ethics : "Virtue, then, being of two kinds, intellectual and moral, intellectual virtue in

10098-436: Was limited to their utility as "a way of talking about human life rather than a description or a truth", because, if the gods remain religious figures, rather than human metaphors, their "existence"—without the foundation of either dogma or a bible of faiths—then allowed Greek culture the intellectual breadth and freedom to conjure gods fitting any religious function they required as a people. Psychologist Julian Jaynes uses

10200-536: Was not the creation of an inspired teacher. Rather, the religion arose out of the diverse beliefs of the Greek people. These beliefs coincide to the thoughts about the gods in polytheistic Greek religion. Adkins and Pollard agree with this by saying, "The early Greeks personalized every aspect of their world, natural and cultural, and their experiences in it. The earth, the sea, the mountains, the rivers, custom-law (themis), and one's share in society and its goods were all seen in personal as well as naturalistic terms." As

10302-699: Was the sort of love a son ought to have for his father. Aeneas 's consistent epithet in Virgil and other Latin authors is pius , a term which connotes reverence toward the gods and familial dutifulness. At the fall of Troy, Aeneas carries to safety his father, the lame Anchises , and the Lares and Penates , the statues of the household gods. In addressing whether children have an obligation to provide support for their parents, Aquinas quotes, Cicero , "...piety gives both duty and homage": "duty" referring to service, and "homage" to reverence or honor." Filial piety

10404-407: Was therefore concerned with showing the character's moral choices. (Stansbury-O'Donnell, p. 175) David Castriota, agreeing with Stansbury-O'Donnell's statement, says that the main way Aristotle considered poetry and visual arts to be on equal levels was in character representation and its effect on action. However, Castriota also maintains about Aristotle's opinion that "his interest has to do with

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