Literary Devices in Iliad

The Iliad contains numerous graphic descriptions of extremely grotesque deaths. Such descriptions realistically illuminate the horror and brutality of war which contrast with the poem’s glorification of battle. This contrast reveals the duality of war, both as an instrument of death and means of winning glory and fame.

The description of death as a dark veil is a common motif in The Iliad. Notice the recurrence of this metaphor and how Homer often uses metaphor or epithet to refer to characters or ideas in the poem.

Notice here another characteristic of the epic poem: aristeia, a dramatic convention which serves to describe the greatest heroic exploit of a particular warrior. The word itself means excellence or a warrior's prowess. While Book V describes the exploits of Diomed, there are several more examples of aristeia in the epic, including that of Achilles in Books XX through XXII.

A “far-darter” is another epithet for the god Apollo, who was an expert archer.

The plea for ransom comes up approximately a dozen times in the Iliad. This points to the fact that Troy was an extremely wealthy city and, therefore, would be able to pay a ransom to get back its prisoners of war. The poet-narrator seems to state that because of their great wealth, the Trojans believe that money can buy almost anything and that the civilized exchange of prisoners is an option in war. Unfortunately for the Trojans, the Achaeans do not subscribe to this idea.

This passage is another example of foreshadowing, which occurs many times in the Iliad. The technique was used to conform to the concept of epic poetry rather than to further the suspense. Most listeners had already heard the poem or knew of the legends before hearing the poetry, so suspense about what would happen in the plot was not a crucial element, but was characteristic in shaping the genre.

The Iliad is filled with epic similes, especially ones like this, which involve predators and their prey. The main difference between an epic and ordinary simile is that an epic is longer and more involved.

The vein referenced in this passage is an example of literary conceit; no vein in the human body matches this description. The vivid and gory descriptions of battle contrast with moments of kind and loving behavior, which humanizes many of the fiercest warriors in the Iliad. Hector loves and cares deeply for his family while Achilles shares a bond of brotherly love with Patroclus. This shows that both men have relationships they care for outside the glory and gore of battle. As readers, Homer allows us to sympathize with the characters by giving them depth, and we grieve when they die and suffer as the original audience would have.

Notice this plea from Nestor is an almost exact repetition of Ajax’s plea in Book VIII, supporting the idea that repetition is a powerful motif in the Iliad. This particular passage also reflects the idea that speech can be an extremely strong rallying tool. During the story, whenever morale is low, a skillful orator is almost always able to bolster the troops with a powerful speech.

Here Jove lays out the plan for all the events to come. The Iliad is unique in that there is no real element of suspense or surprise for the audience or the characters. Each character’s fate is predetermined from the start, leaving the real element of drama in the way each acts or reacts despite already knowing what the ultimate outcome will be. All characters still attempts to make decisions and choices even though there isn’t much room for free will under the prophecies that hang over their individual lives.

This phrase begins a long and highly detailed description of the shield that is forged for Achilles. This is an example of ekphrasis, a literary device in which one art form describes another. In this case, Homer’s epic poem describes the visual art depicted on the shield and the process of crafting of the shield itself.

Achilles is frequently compared to a fire because of his rage and impulsivity. Like an out-of-control flame, Achilles is capable of changing directions on a whim and leaving a wide path of destruction in his wake. Because he is unable to kill Hector due to divine interference, he takes out his anger on other Trojans, furious for being at the gods’ whims.

The detailing of one's lineage is a common motif in The Iliad. This passage outlining Aeneas’s heritage is particularly important because Aeneas will eventually be the last survivor of the royal house of Troy, and the only one who can continue on his family’s heritage.

The terms in this simile all refer to the act of weaving fabric. A “shuttle” carries thread for weaving; “woof” and “warp” both refer to the thread’s position in a fabric. Like the way a weaver carries her cloth close to her chest, Ulysses follows Ajax.

Notice that the situation here is very similar to the the one at the beginning of the Iliad when Agamemnon tactlessly takes Briseis, Achilles's war prize, away from him. Though that event led to great conflict and strife, this argument is resolved quickly, showing that Achilles values peaceful resolution more than he did at the beginning of the poem.

The poem ends very much like it began: a father crossing enemy lines to get back his child. In Book I, it was Chryses who begged Agamemnon to return his daughter. Now, it is Priam who begs Achilles to return the body of Hector. This is an example of ring structure, a literary technique in which a scene or theme at the beginning of the story returns at the end of the story. In other words, the story is structured like a circle.