Priam begs Achilles for Hector's body

Hector, at the hands of Achilles.

He seizes the old man by his hair, and drags him, slipping in the blood of his son, to the altar to dispatch him. Later we hear that Priam’s body has been left on the shore, missing its head, for the animals to eat. It is not enough for Pyrrhus to have killed him, he must also dishonor him—mutilating his body and depriving his soul of its eternal peace. The hope kindled in the meeting between Achilles and Priam is snuffed, utterly, by the son.

Once inside the palace, Pyrrhus chases down the Trojan prince Polites, killing him in front of his father, the aged King Priam, who has taken shelter at the household alters. The old king, in one of the most moving moments in the Aeneid, rises, trembling with grief and age, to deliver a ringing speech that calls down the wrath of the gods upon Pyrrhus for his double blasphemy: killing a son in front of his father, and defiling a sanctuary. As a further reproach, he compares him to his father, unfavorably: “Not even Achilles behaved so to me. He knew how to respect the laws of the suppliant; he returned my son’s body to me, and sent me safely home again.” This is a reference to the famous scene in the Iliad where Priam goes to Achilles’ tent to beg for Hector’s body, and Achilles relents–a shining moment of mercy and hope in an otherwise bloody work.

Neoptolemus grew up with a head of red-gold hair, and so earned the nickname Pyrrhus (fiery, the same root as the word pyre). Of his childhood, we know little other than that he was raised on Scyros by his mother and grandfather, with help from Thetis. Like his father, he was named in a prophecy: Troy would never fall unless Pyrrhus came to fight for the Greeks. When his father was killed in the tenth year of the Trojan War, Pyrrhus sailed for Troy. If the timing seems off to you, it is—even if we give Achilles a few years to get to Troy, Pyrrhus should still only be around twelve, absolute maximum.

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Briseis, Achilles’ spear-captured bride, was a fascinating part of this production, and an excellent contrast to the unwavering, loyal Andromache so idealized in the Iliad. Homer never gives her a voice, but Briseis as written by Eaton and played by Nicole Dalton is strident and progressive, jaded, tough, and witty. She recognizes that Trojans and Greeks alike see her as inferior due to her gender, but uses her allure to her advantage and the advantage of her city. Here, her capture by the Greeks is shown to be an intentional ploy meant to place her before Achilles as a distraction. Is her apparent affection for Achilles a cunning performance meant to win his confidence and keep his attention away from the fighting? Or would Eaton have us believe a prisoner might fall so quickly for her captor? It is right that we are ever unsure. Denied control over her own fate, Briseis walks a dangerous line with her loyalties divided between her cousin Hector and her lover Achilles. Eaton’s writing conveys this nuance well.

Comparison of Book Iliad and the Film Troy | Achilles | Hector

Other departures from the source material were smaller in scale but crucial to effect. Eaton makes Hector less certain that he will fall to Achilles’ sword. If he does die, Hector says, in order for Troy to continue on, “All that needs to survive is / The smallest ember.” This hopefulness struck a sentimental note not only not present in the original, but at odds with the political symbolism seemingly at work between the lines elsewhere in the play. The Hector of the Iliad minces no words when he tells his wife Andromache there will come a day when sacred Ilium will fall, and Priam and the sons of Priam will fall by an ashen spear. That tragic force is diminished rather than deepened by the superfluous (and thoroughly modern) hope Hector bears with him into battle.

It is demonstrated by Achilles and Hector

Comparative Analysis of Heroes Hector and Achilles in …

Achilles’ sea-nymph mother, Thetis, desperate to keep her son from an early death at Troy, dressed him as a woman and hid him on the island of Scyros, in the court of King Lycomedes. But Lycomedes’ daughter, Deidameia, discovered the fraud, and she and Achilles conceived a child—Neoptolemus. Shortly thereafter, Achilles was found out, and sailed for Troy, leaving his wife and unborn child behind, for good.

Comparison and Contrast of Hector and Achilles

Sadly, that is only the beginning. After killing Priam, Pyrrhus goes in search of Andromache, Hector’s wife. When he finds her, he seizes from her arms her infant son, Astyanax, and smashes his brains out against the wall. (In fact, in some lurid versions of the story, he uses the baby’s body to club the grandfather Priam before killing him.) Andromache herself he takes captive, as his slave-wife. It is a horrifying cruelty: forcing her to share the bed of the man who murdered her son, and whose father murdered her husband. Then, before returning to Greece, Pyrrhus sacrifices the princess Polyxena on his father’s tomb.

Essay comparing hector and achilles

Hector, defender, is of course surrounded by his loved ones instead of far from home. We think it a smart decision to write Astyanax (Katheryn Milligan) as nine years old rather than as an infant. Some of the sweetest sentiment of the play is shown during discussions between the father and son about what it means to be a hero. When his father says, “You used to cry when / I prepared for battle,” Astyanax replies: “That / Was when I was young.” It is a precocious statement, crushing in its deft portrayal of a generation raised in war. Hector, horrified despite his own standing as a hero of war rather than peace, tells his son that it is better to be a rabbit in a warren with family than a lonely, scavenging hawk. The image is Eaton’s, and quietly poetic.

Achilles Vs Hector # | 2016 Car Release Date

Christopher Smith’s Achilles was brilliant. Silent except for roars of grief for most of the play, his eyes burn constantly with the famous menis or divine wrath. This is not the weeping, existential Achilles of the Iliad but an animal of passions starkly contrasting the intellectualism and human-heartedness of Hector (played with matching skill by Timothy Kopacz).

And lastly, and more importantly the contrast between Hector and Achilles, ..

Eaton—who besides writing the play directed and choreographed the fights—seems to wish to identify the battle between the hero of the Trojans and the chief of the Myrmidons with the larger conflict between civilization and barbarism. Odysseus and Ajax are depicted as fools, self-centered and uninterested with matters of honor that motivate (and consume) Priam and Hector. The cowardly Greeks cooking up their plots against the Trojans were so silly at times as to seem like slapstick players a la the Three Stooges or Marx Brothers. As characterization this comedy gave the Greeks a villainous cast. And that seems to be Eaton’s aim: Troy is the great empire when the lights go up, the retainer of art and intellect and sympathy. “Who are these villains? / Base and vile they are. How can / They be beating us?” asks Priam of his enemies. That the Greeks do beat the Trojans, we know from the start, meaning that the drama of this kind of history play comes from allegory and character rather than plot. In making Troy the sympathetic side, the playwright seems to be asking that we identify our modern empires with Trojan greatness and Trojan defeat.