Abstract
This chapter’s exploration of Homer’s Iliad and Alice Walker’s The Color Purple, with a special emphasis on Achilles and Celie, brings together what has been developed thus far about pride and humility. This examination begins with Achilles’ humility, and in the case of this Greek demi-god that humility is dedication and complete commitment to glory. Achilles does all that he does for glory. As Achilles has been successful in his life in gaining glory, he has developed a sense of worth and confidence therein. In spite of this success, Homer’s Iliad begins with Achilles’ crisis over his glory. This is a very intense crisis for Achilles, as his sense of self-worth, his ideas about his power and limitations, his interactions with others, and his confidence in the face of fear are all brought into question by this crisis. Additionally, the crisis is so intense that it not only nearly leads to the death of key Greek leaders, but it jeopardizes the entire group and its mission. As a result, the bulk of Homer’s twenty-four book epic poem is a playing out of the implications of the crisis of Achilles’ humility and pride. Achilles’ exclusive focus on gaining the glory he seeks turns to self-pity and then to intense anger at Patroclus’ death. Achilles then uses that death and anger to kill Hector, finally securing the glory he seeks. But at the very moment when it seems that Achilles has achieved his desired glory, the hero experiences neither joy nor satisfaction in that accomplishment. Achilles is instead violent, abusive, and despondent. It is at this moment that the gods intervene, but this intervention is carried out by the bravely humble Priam. When Priam risks his life to seek his son’s body from Achilles, the Trojan king demonstrates a loving devotion and commitment to Hector. Such a commitment gives Priam confidence to approach Achilles. When Priam approaches Achilles as a supplicant, Priam’s action not only seeks to win his son’s body back, but that action acts as a powerful invitation to Achilles. In response to this invitation, Achilles sees someone else in a new way. This new vision gives Achilles an experience with wonder, and his positive response to that invitation allows him to access compassion. By the end of the poem, Achilles does not renounce glory to become a peace-maker, but he is involved in peace-making. Though Achilles, his crisis, and his rage drive much of the poem, it is the heroic humility of Priam that provides a powerful contrast to the pain, abuse, and misery that accompany humility and pride based on the quest for glory.
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Notes
- 1.
Homer, The Iliad, trans. Fagles, Robert (New York, NY: Penguin Classics, 1998), 77.
- 2.
Ibid., 81.
- 3.
Ibid.
- 4.
Ibid., 82.
- 5.
Ibid., 83.
- 6.
Ibid.
- 7.
Ibid.
- 8.
Ibid., 84.
- 9.
Ibid., 85.
- 10.
Ibid.
- 11.
Ibid., 87.
- 12.
Ruth Scodel, Epic Facework: Self-Presentation and Social Interaction in Homer (Swansea Wales : Oakville, CT: Classical Press of Wales, 2008), 1–22.
- 13.
Ibid., 7.
- 14.
Homer, The Iliad, 257.
- 15.
Ibid., 265.
- 16.
Ibid., 102.
- 17.
Ibid., 105.
- 18.
Ibid., 106.
- 19.
Ibid.
- 20.
Ibid.
- 21.
Ibid.
- 22.
Ibid., 108.
- 23.
Ibid.
- 24.
Ibid.
- 25.
Ibid.
- 26.
Ibid., 91.
- 27.
Ibid., 413.
- 28.
Ibid., 414.
- 29.
Ibid., 415.
- 30.
Ibid.
- 31.
Ibid., 468.
- 32.
Ibid., 553.
- 33.
Ibid.
- 34.
Ibid., 553–4.
- 35.
Ibid., 554–5.
- 36.
Ibid., 555.
- 37.
Ibid., 594.
- 38.
Ibid., 604.
- 39.
Ibid.
- 40.
Ibid., 605.
- 41.
Ibid., 604.
- 42.
Ibid., 605.
- 43.
Ibid.
- 44.
Ibid., 78.
- 45.
Ibid., 81.
- 46.
Alice Walker, The Color Purple (Orlando, FL: Mariner Books, 2003), 8.
- 47.
Ibid.
- 48.
Ibid.
- 49.
Ibid.
- 50.
Ibid.
- 51.
Ibid., 11.
- 52.
Niccolo Machiavelli, The Prince, trans. W. K. Marriott (New York: Everyman’s Library, 1992), 83.
- 53.
Ibid.
- 54.
Ibid., 117–8.
- 55.
Walker, The Color Purple, 1.
- 56.
Ibid., 23.
- 57.
Ibid., 36.
- 58.
Ibid.
- 59.
Ibid., 23.
- 60.
Ibid., 30.
- 61.
Ibid., 18.
- 62.
Ibid., 22.
- 63.
Ibid., 36–7.
- 64.
Ibid., 37.
- 65.
Ibid., 39.
- 66.
Ibid., 40.
- 67.
Ibid.
- 68.
Ibid.
- 69.
Ibid., 41.
- 70.
Ibid., 42.
- 71.
Ibid.
- 72.
Ibid.
- 73.
Ibid., 76.
- 74.
Ibid., 114.
- 75.
Ibid., 193.
- 76.
Ibid.
- 77.
Ibid., 194.
- 78.
Ibid., 197.
- 79.
Ibid.
- 80.
Ibid.
- 81.
Ibid.
- 82.
Ibid., 198.
- 83.
Ibid.
- 84.
Ibid.
- 85.
Ibid., 122.
- 86.
Ibid.
- 87.
Ibid., 147.
- 88.
Ibid., 264.
- 89.
Ibid., 274.
- 90.
Ibid., 281.
- 91.
Ibid., 288.
- 92.
Ibid.
Bibliography
Homer. 1998. The Iliad. Trans. Robert Fagles. New York: Penguin Classics.
Machiavelli, Niccolo. 1992. The prince. Trans. W.K. Marriott. New York: Everyman’s Library.
Scodel, Ruth. 2008. Epic facework: Self-presentation and social interaction in Homer. Swansea Wales/Oakville: Classical Press of Wales.
Walker, Alice. 2003. The color purple. Orlando: Mariner Books.
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Tucker, S.R. (2016). Conclusion: Achilles and Celie. In: Pride and Humility. Palgrave Macmillan, New York. https://doi.org/10.1057/978-1-137-59920-9_7
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