Your glory walks hand in hand with your doom. I am the leader of the Trojans. I am brave and respectful. I fall to Achilles. I am the goddess of wisdom and strategy. I gave Achilles and Odysseus ideas to help them defeat their enemy. True or False: The poem involves small portions of land and only a few people is a characteristic of an epic poem. I put on my cousin's armor and pretended to be him. It ultimately cost me my life. I am the goddess of love. Over the years, the story of the Trojan War has been the source of inspiration to countless film makers and writers.
One of these games carries the not very original title of Iliad. In Iliad , 2 to 6 players set out to besiege the city of Troy. Most cards have a value printed in the upper corners and the winner of the round is the player who manages to attain the highest score and thereby collect victory points.
The first player to collect 12 victory points or VPs , wins the game; in a two-player match, you have to reach 15 points. There are four different cards in the game: Army, Victory, Oracle, and Heroes. The majority consists of 75 Army cards. These are shuffled and put face-down so as to form a draw pile. At the start of the game, each player is dealt a hand of 12 cards from this pile. Victory cards and Oracle cards are shuffled separately and placed into their own piles, face-down.
An Oracle card is revealed at the start of the round explained further below , and Victory cards are turned over. Hero cards, like Oracle cards, are used only in games with three players or more, and you put as many heroes on the table as there are players, starting with the lowest-value hero. This means that e. Achilles with value 5 will only ever be used in games with five or six players.
Whenever a player passes their turn, they pick the highest-value hero available and add him to their army, increasing their score by their value. In a two-player game, a round only ends after both players have passed their turn. The Victory cards determine what the players are fighting for.
The number of cards revealed on the table is different depending on the number of players e. The Army cards represent different types of troops or war machines.
There are archers, hoplites, chariots, elephants, ballistae , catapults, harrows i. Hoplites, for example, can be stacked into phalanxes. The rule here is that every hoplite you add to a phalanx must have a value less than the last hoplite placed in it. The highest value a hoplite card can have is 4, so you could create a phalanx consisting of four hoplites with the values 4, 3, 2, and 1.
Phalanxes are the best way to increase your overall army value. Normally, a card has only the value printed on it. But if you stack hoplites in a phalanx, you add their values together and then multiply them by the number of cards in the phalanx. Add those together and you get 8, which you then multiply by three to arrive at a total score of Naturally, there are plenty of ways to sabotage your opponents. Archers, which all have a value of 1, are allowed to attack and thereby remove the hoplite with the lowest value from a phalanx.
The human soul, in this poem, is shown always in its relation to force: swept away, blinded by the force it thinks it can direct, bent under the pressure of the force to which it is subjected. Those who had dreamed that force, thanks to progress, now belonged to the past, have seen the poem as a historic document; those who can see that force, today as in the past, is at the center of all human history, find in the Iliad its most beautiful, its purest mirror. The truth is, nobody possesses it.
The human race is not divided up, in the Iliad, into conquered persons, slaves, suppliants, on the one hand, and conquerors and chiefs on the other. In this poem there is not a single man who does not at one time or another have to bow his neck to force. But it is not just Achilles who rages through the poem.
For the poem is as Simone Weil said, a poem about rage or la force in French : it is rage that is its true hero and real subject, the abstract power that working through the human hero makes a thing of him and corpse of his victim. Death and horror of death stalk the poem, and death is always violent, never peaceful. Into the general horror of the war between the Trojans and the Greeks arrives a new horror for the Greeks, the quarrel between Achilles as personification of rage and his king Agamemnon.
That quarrel leads to the withdrawal of Achilles into his tent, while his companions are killed on the battlefield in a multitude of lovingly described ways. Finally his dearest comrade Patroclus can bear it no longer, and begs for the armour of Achilles, so that the tide of battle may turn. Patroclus himself is killed in fair fight by Hector, and the rage of Achilles is roused again to stalk the battlefield hunting his victim. Hector is trapped outside the walls of his city and hunted, to be tricked by the gods and left to the mercy of his hate filled enemy: 'Ask for no mercy dead or alive, dog; I wish I had the stomach to carve your flesh up and eat it raw, for what you have done: but nothing shall keep the dogs from you whatever your people and parents may offer.
And yet the poem is also transformed by moments of tenderness between friends, between men and women, and by visions of a world at peace or the eternal forces of nature.
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