The eighth chapter begins with the question of why monumental epic came to be written again after a period of neglect; it suggests that the epyllion provided a way forward. After a history of republican epics after Ennius, Vergil’s Aeneid and Ovid’s Metamorphoses form the primary subjects of this chapter. Coverage focuses on what was innovative about them, language, plot, historical contexts, and style, and compares them to one another.

This extract from the Homeric Catalogue of Ships in Iliad book 2 (specifically the Achaean section) stands as a prologue to the collection of texts, reminding us that much ancient Greek geographical writing is a response to Homer, whom authors tended to exalt as the originator of geography. The passage enumerates, with obvious omissions, the allies from Greece and the Aegean who took part in the siege of Troy, arranged in regional ethnic groups, each with its own leader, and names a variety of settlements within each region (or island), the majority of which still existed in the subsequent historical periods. It illustrates the early use of regional identifiers within mainland Greece (and some of the islands), putting down a marker about the longevity of these culture regions throughout the whole ancient history of Greece.

In both Gen 6:1–4 and several texts from the Greek world, especially the Catalogue of Women, the mating of the gods with mortal women is followed by the decision of the head god to put an end to this coupling and bring vast destruction upon the generation of the heroes and all of humanity. This chapter analyzes these similarities and examines the relationship between this motif and flood stories that circulated in the eastern Mediterranean.

This chapter focuses on issues of objection and dissent. As well as examining the ways in which the theatre challenged or questioned the war - through works such as Drinkwater’s X=0 (1917) and Malleson’s banned Black ‘Ell (1917) - it considers the theatre’s representation of objectors to the war - through pieces such as Jones’ The Pacifists (1917) and Collins’ revue sketch The Consciensciousless Objector (1916). It contextualises the production of these works in relation to changes in wider attitudes towards the war, as well as considering how playwrights with pacifist leanings were constrained both by the censor and by cultural nationalism. It discusses the contribution of George Bernard Shaw to debates over the war and, as the final chapter in this part of the book, it also links to part III and the discussion of changing attitudes towards the war in the 1920s and 1930s.

The main subject of Chapter 2 is the motifs and the content of the Greeks’ myth-historical tales and songs. The Greeks’ past was very clearly structured: the main axis was the battle for Troy with the generations before and after. The more distant past led back to the origin of the world, gods, and men. On the other hand, the stories have led to the present day. Concepts of kinship, mediated by genealogies, played an essential role. This was connected with stories of migrations, colonisation, expulsions, and re-migrations. These narratives served as elements in order to structure the past, to constitute familiarity and difference, to explain relations of friendship or enmity, among the Greeks themselves and in relation to foreigners. We cannot see these stories of migration as evidence for older ‘historical’ events. But they reflect very clearly the dynamics of their time of origin, the time of the so-called Great Colonization. The identity-forming power of the Greek myth-history lay precisely in the fact that it re-located its own experiences into the past. What they had constructed themselves appeared to the Greeks as their past.

Announcing victory in the Trojan War, the Herald has been seen as a cheerful character, thoroughly enjoying life. Why, then, does he dwell on his own grave from the moment of his arrival? Why does he attempt to silence lament and, unsuccessfully, any speech about his fallen companions? The Herald never directly mentions the afterlife and insists on treating death as the end of all ties to life. Nevertheless, his approach to his own death and to the war dead serves as indispensable background for the rest of the trilogy. The Herald’s traumatized approach to warfare and death contrasts with his official function. His attempt at guiding social memory excludes the dead as impinging on society’s profit (kerdos) or glory from war. He reckons them out of the account with the language of calculation and voting. We thus see individual and societal values being formed in response to death as closure, in ways the Oresteia will later overturn and complicate. Moreover, the Herald provides the first mention of heroes as worshipped beings, of Hades, and of the “unseen” forces that affect human fate.

The Chorus of the Agamemnon depict death and the afterlife in diverse ways, both in their dramatic role as the Elders of Argos and in their more universal choral songs. This chapter examines the ethical and political values their contradictory references imply, whether any affect their actions as characters, and how each links to other themes in the trilogy. The Elders go further than the Herald by not only treating death as oblivion at some points but even actively wishing death at others. In what way does this seeming escapism, contrasted with their emphasis on a good death as glorious, affect their resistance to the coup d’état? How does their story of returning casualties color the Argive critique of the Trojan War? The choral songs introduce different types of afterlives into the trilogy: in the memory of the living, at the grave, through the psyche that survives after death, in the possibility of resurrection, and even as a realm of punishment for ethical wrongs. The rest of the Oresteia significantly develops many of the Elders’ wide-ranging speculations.

The Epic Cycle often refers to a series of epics which allegedly told the whole story of the Trojan War. We have only fragments and summaries of these poems and the manner in which they relate to our Iliad and Odyssey is an issue of much debate.

The essay discusses the Hittite literary evidence for the site of Wilusa, the location of Ahhiyawa, and wars fought in the region of Troy during the Late Bronze Age. It is suggested that Wilusa was the Hittite name for Troy; that their term Ahhiyawa was a reference to the Mycenaeans and, most likely, to mainland Greece; and that there were at least four wars in which the Hittites were either involved or knew of that were fought in the vicinity of Troy during the fifteenth to twelfth centuries b.c.e.

In Neoplatonism, kosmos is the first ideal entity that human beings can emulate in their search for god-likeness. Kosmos displays perfection, harmony and completeness, all regulative of ideal selfhood. The chapter discusses cosmic activity as a human telos. It aims to contextualise human action within this ideal and to show the limits as such an ideal. First, human bodies are not totalities like the body of the universe or kosmos, nor perfect like the bodies of stars. Second, since human encounters are between parts, not totalities, human action is essentially different from the perfect and self-sufficient activities of cosmic entities. It involves either affecting or being affected in an encounter with something external to oneself. At 3.3.5.40-6, Plotinus offers a brief but telling glimpse at the challenges of human moral life. By using the example of the Trojan War, he outlines different kinds of encounters between virtuous and vicious people. Through situating the Homeric example in the Platonic framework of affecting and being affected, the text yields an opening for a theory of practical action and morality. Action emerges as ontologically relational, cosmologically situational and morally interpersonal. This human predicament is the inescapable framework of ethics for embodied human beings.