timothypines

[timothypines]

This read was very interesting and refreshing in its method of story telling. I really enjoyed how John chose to have the protagonist be a person perfectly placed so that he was in the middle of the political conflicts such that they saw most of its sides. The story blended a futuristic time with a feeling of something in old in a way only someone from New Orleans could do. As someone who has found themselves missing New Orleans gravely during covid, this book was a nice way to feel connect to it. I am glad that John was able to find a publisher for this novel, as the last time we had talked about Sinking Dixie he had nearly given up in his search for one.

[timothypines]

Check out my profile on Wattpad, I'm TimothyPines https://www.wattpad.com/TimothyPines?utm_source=web&utm_medium=tumblr&utm_content=share_profile 

Here you can find some of my writings that I do not plan on publishing at the moment. 

[timothypines]

“All we have to decide is what to do with the time that is given to us.” —Gandalf ‘The Fellowship of the Ring’

[timothypines]

Is Classical Music Dead? (Essay)

How does society determine when a particular genre of music is dead? From this question, multiple others are born. For example, do we consider that the inspiration from music continued throughout popular genres as the survival of what it was originally? Or is it dead because it has changed into something different from its original form? When it comes to classical music, it isn’t really as question about whether or not it is dead, but if it’s dying. Classical music is still being performed, listened to, and celebrated in communities today, so calling it dead seems premature, even foolish. That’s not to say that the average person believing classical music is dying is without merit; classical music isn’t usually on the radar for say a random person asked off the street. However, when looked at from the perspective of the musical community, classical music is positively flourishing and doesn’t seem to be going anywhere anytime soon.

           In a New York Times Article, a violinist showed concern that the classical music industry was dying. Some readers responded in letters reacting to the concerns she expressed. The violinist started by saying, “A schoolboy recently asked me if Richard Wagner was a pitcher for the Yankees. At that moment I feared that classical music in America was doomed” (Dreyer). Like this violinist expressed, most people in the music community, and outside the community, acknowledge that classical music isn’t a subject that most people going through life know a whole lot about. While many know some parts of classical pieces and perhaps some names of famous composers, their knowledge is surface level and, for the most part, they don’t seek to learn more. This reflects in some worrying trends in the industry. Classical radio stations were shutting down, concerts were being reduced and canceled, less and less were classical musicians being discussed (Dreyer). Classical music simply isn’t popular. But from this trend came a great wave of musicians, teachers, and lovers of classical music who were determined to spread the love and knowledge of a music they deemed immensely important, and rightfully so.

           Most all of the music we have and enjoy today has elements that came from classical music, from the most basic to the more complex. The major-minor scale system that is commonly used in the majority of today’s music was first put into use in the baroque period. It was in this period that the scale system was also standardized (Willoughby). In fact, the baroque period standardized a great many musical tools, styles, and elements. From this period developed keyboard music, which lead to the invention of the modern piano, an instrument that can be argued to be the most important instrument when it comes to creating music, harmony, a base element in most music performed today, and the establishment of the orchestra (Willoughby). It would take a long time to list all of the musical elements gained and standardized in the baroque period, but it is certain that music would not look nearly the same if not for the major development that occurred.

           The baroque period, while very important, wasn’t the only period that significantly influenced music. The romantic period brought what was missing from music in the baroque period back into the musical community, emotion. A big emphasis on music today is how it makes the listener feel. While the baroque period brought technicality, all emotion was sacrificed for ridged structure and extremely complex technique. Beethoven put emotion into his music, effectively shifting people’s approach to composing. Willoughby writes, “These attributes of Beethoven mirror the attributes of the Romantic period as a whole; it was a time when artistic expression became highly individual and personal, and also highly emotional” (Willoughby, 253). With this wave of emotion came another change; music started being made for music’s sake. Composers started writing what they wanted to hear instead of what was popular or what the church needed for service. A large part of what music is now has come from classical music, and most people within the music community, of many genres, understand and respect this.

           It is important to be noted that while people respect the roots that classical music has provided, that doesn’t mean that people are very supportive of how it exists, or rather, how they believe it exists. There is a notion that classical music is elitist, for the rich and privileged only. One could point to the expensive ticketing for opera and ballets and orchestra performances to prove this point, but there are many things that are just as or even more expensive than these tickets that people don’t find elitist—for example, sporting events (Cross-eyed Pianist). Some people will point at the etiquette and dress for attendance at a concert hall. The fact remains, however, that opera houses and concert halls have no official dress code or strict rules everyone must follow. Music blogger and commenter goes on to say, “It troubles me, this negative perception of classical music and its fans, and it strikes me that currently there is an image crisis surrounding classical music. It wasn’t always like this. When I was growing up in the 1970s, there was more classical music in our everyday lives” (Cross-eyed Pianist). Most people have the notion that classical music is only accessible to and is only made for those better off than themselves, even though it has been available to and made for everyone’s ears for centuries now.

With that in mind, the love for classical music itself has not died out yet. There is a vast and passionate community of musicians, teachers, and listeners who adore classical music and saw it failing in the wider community. These people have worked hard and are continuing to work hard to spread a passion for classical music. An excellent example of some people doing this is the YouTube duo who run the channel Two Set Violin. On this channel they make comedy sketches, play games, and react to videos. All of this content is tied together by one thing, classical music. Brett and Eddy, the two friends who run Two Set, are professionally trained violinists who decided to make a YouTube channel to try and spread love for classical music. It was also important to them to make classical music and the education of classical music more accessible. They teach about music in an engaging, funny way all while encouraging their audience to create and perform music. Their saying is simply ‘practice’. They encourage their musician audience members by reminding them that no one who is really good at playing an instrument got there without hard work and tell them to keep practicing. Two Set has even brought on large musicians like Hillary Han and Benny Chen to talk about their experiences and the importance of practicing. This helps to break the stereotype of not only what a classical musician looks like, but how they act and how much work goes into their music. In one video, while reacting to an American Idol performance with two violinists, one of the judges says, “It’s so nice to see such young, good looking guys that play the violin because usually they’re like old and bald and, you know, a bit greasy” (Two Set Violin). They respond by pointing out that they themselves are young and that this is a negative stereotype. In another video they react to a man that says he is the fastest violin player in the world. Brett says, “the world needs to know that classical music is more than just playing fast” (Two Set Violin).  In these two videos, Brett and Eddy are challenging the media’s, and greater public’s, view of classical music, the view that classical music is old, for old people, and the people who participate are elitists who only care about perfection and technicality. And they have done so much more than videos like these reaction to other musicians. They have had videos where they have their followers compose a piece and send it to them to play. They have asked people to send in clips of them performing for them to react to. In so many ways these two violinists have gotten so many people involved in classical music. Over the years they have grown a great following of people who love participating in classical music, whether that be through performance or listening; as of today, they have almost 3 million subscribers (Two Set Violin). Brett and Eddy aren’t the only people who have gotten the public more involved in classical music. As social media has grown, classical musicians have become increasingly accessible to the public. The violinist Hillary Han often posts on Instagram videos of her practicing and other music related things, but she also speaks on social issues and gives insight into her life. This shows all 300,000 followers she is human (violincase).

           It is difficult to say whether or not a musical genre is dead, and even harder to say if it’s dying. The act of music dying would take centuries, and even then, there are arguments to be made that because other music that exists was influenced by the ‘dead’ music, it still lives. Classical music was the popular music for centuries, its memory will not so easily fade, especially to the point where it is considered a dead genre. Even if it is not a popular genre today, classical music is being kept alive by the musicians who perform it and the people who love to listen to it. Music is art that decorates and marks time, and so, as long as people paint time with classical music, it is not dead.

     Work Cited

Dreyer, Les. “Sunday Dialogue: Is Classical Music Dying?” The New York Times, 2012. https://www.nytimes.com/2012/11/25/opinion/sunday/sunday-dialogue-is-classical-music-dying.html

Willoughby, David. The World of Music. McGraw-Hill Higher Education. Kindle Edition.

The Cross-Eyed Pianist. “Who Made Classical Music ‘elitist’?” The Cross-Eyed Pianist, 2019. https://crosseyedpianist.com/2019/07/24/who-made-classical-music-elitist/

Two Set Violin. “The World's FASTEST (and most INACCURATE) VIOLINIST!” YouTube, 2018. https://www.youtube.com/watch?v=BvsvaCU6i1M&ab_channel=TwoSetViolin

Two Set Violin. “Classical Violinists React to Mainstream Violin Competitions” YouTube, 2019. https://www.youtube.com/watch?v=_uVN5Fb_Z44&ab_channel=TwoSetViolin

Han, Hillary. “@violincase” Instagram.

[timothypines]

The Fire of Achilles (Essay)

“He was like a flame himself. He glittered, drew eyes.” (pg. 43, Miller) Throughout the novel The Song of Achilles by Madeline Miller and the epic poem The Iliad, Achilles is often compared to fire. In The Iliad he is referred to as “brilliant Achilles”—meaning to sparkle with light or luster; however, this comparison is not always positive, as the destructive side of fire is not forgotten when describing his unstoppable rage. The double-sided nature of fire perfectly encapsulates Achilles. The brightness and openness he emulates, much like the welcoming of a controlled fire, attracts the soldiers to him, while uncontrolled his rage can destroy armies like a forest fire pushed by rushing wind. But while most people can only see the war in him, the rage in him, he would never have gotten as far as he had without his gentle warmth.

The Song of Achilles shows much more of the softer side of Achilles’ flame, however, I do not think this makes Madeline Miller’s interpretation any more or less correct in the characterization of Achilles; rather, it deepens what is shown to us in The Iliad. In the early moments of the book (The Song of Achilles), it is shown that just as Achilles speaks his mind freely and absolutely, he expects the same from all others; this leads to him being overly trusting in many ways. “He said what he meant; he was puzzled if you did not. Some people might have mistaken this for simplicity. But is it not a sort of genius to cut always to the heart?” (pg. 44, Miller). This is seen in The Iliad also, in his rage against Agamemnon when the king refused to return the priest’s daughter after the priest offered ransom. Most would never speak such things against a king, but he did not fear a thing, no, he was completely honest with Agamemnon, reminding the king that it was he who was needed, he who was asked to fight, “It wasn’t the Trojan spearmen who brought me here to fight. The Trojans never did me damage… we all followed you, to please you, to fight for you, to win your honor back from the Trojans.” (pg. 82, Book 1: The Rage of Achilles, Homer). Yes, the dishonoring of him is what causes this great rage, but his honesty is part of that too. But even though this rage appears to come from unbreakable pride, I feel that it came not from a place of pride, but rather rage at Agamemnon for not being at all reasonable. While he keeps his honor close to him, he is not prideful of his abilities. “‘I will be the best warrior of my generation.’ It sounded like something a child would claim, in make-believe. But he said it as simply as if he were giving his name.” (pg. 38, Miller). In this sense, I agree with Miller’s interpretation of Achilles’ feeling in this moment and how even though his honor is important to him, he is not particularly prideful. This rage, I feel, comes more from a great feeling of unfairness, which Achilles seems to value more than anyone else in the army. Agamemnon made the mistake of not returning the priest’s daughter, out of his unyielding pride, and now he is unwilling to admit to his mistake and is instead punishing Achilles, who was the only one trying to end the great plague. I am in no way saying that Achilles’ actions to call the gods to punish the entire army so relentlessly were justified, however, his feelings of rage toward Agamemnon cannot be blamed on just himself, and therefore, neither can the punishment that falls upon the army.

It seems silly to try to talk about Achilles and leave out what he loves most. Now, in The Iliad, before we get to the aftermath of the death of Patroclus, it could be fair to assume that what Achilles loves most is his honor; damage to his honor is what caused him to call for the army’s suffering and destruction, the very army he had been fighting with for nine years. However, it is very clear that after the death of Patroclus that it is he whom he loves most. Once Patroclus has died, Achilles does not care to act honorably, he does not care if Agamemnon apologizes, he simply wants the person who took his love from him to suffer. Even his own life does not seem precious to him anymore. For the brief moments that Patroclus is shown in the epic, his character is made very clear. He appears to be kind, gentle, to carry himself with a strong grace. No one has ill-will towards him; he is a good man universally in the eyes of the kings and soldiers. This is what makes his death so impactful. This version of Patroclus that we see in The Iliad I feel is lacking when reading The Song of Achilles. In the epic, Patroclus can fight, he is quite good at it and it does not feel a surprise, “And then and there the Achaeans might have taken Troy, her towering gates toppling under Patroclus’ power heading the vanguard, storming on with his spear.” (pg. 435, Book 16: Patroclus Fights and Dies, Homer). The Patroclus we find in The Song of Achilles is awkward, unwilling to fight, even just before this moment at Troy, “The wheels gave a little lurch, and I staggered, my spears rattling. ‘Balance them,’ he told me. ‘It will be easier.’ Everyone waited as I awkwardly transferred one spear to my left hand, swiping my helmet askew as I did so.” (pg. 327, Miller) When reading The Iliad, I felt none of this from Patroclus. While it may have been surprising that he ended up at the wall of Troy, it certainly wasn’t surprising that he had fought and fought well.  I will say that both works made it heart-wrenching to see Patroclus slaughtering people, however, the epic held more integrity than the novel had. This can especially be seen when Patroclus and Hector meet on the battlefield. This is the interaction we get from The Iliad, “‘Hector! Now is your time to glory to the skies… now the victory is yours. A gift of the son of Cronus, Zeus—Apollo too—they brought me down with all their deathless ease, they are the ones who tore the armor off my back… You came third, and all you could do was finish off my life…” (pg. 440, Book 16: Patroclus Fights and Dies, Homer). And this is what we get from The Song of Achilles, “He is coming to kill me. Hector… He must live because his life, I think as I scrape backwards over the grass, is the final dam before Achilles’ own blood will flow. Desperately, I turn to the men around me and scrabble at their knees. Please, I croak. Please.” (pg. 334-335, Miller). Although Achilles’ stubbornness killed both versions of Patroclus, at least in The Iliad Patroclus died strong in himself, while the Patroclus from The Song of Achilles died a shell, lacking any self, just filled with thoughts of the fire that is Achilles.

One thing that no version of the story could ever take away is how much Achilles loves Patroclus (even if they decide to make them simply cousins for some reason). It is devastating to read Achilles discover that his lover is dead; this is not lacking in either version of the war. Something I especially enjoyed from The Song of Achilles is how much more deeply Miller built the relationship. While reading I could really tell that Patroclus was Achilles’ heart; he was the only one who was immune to Achilles’ rage and the only one who had a chance of getting through to him. “I had found a way through the endless corridors of his pride and fury. I would save the men; I would save him from himself.” (pg. 325, Miller). The building of their relationship before this moment where Patroclus begs for Achilles to fight made for a deeper understanding as to why, after so long, after so much suffering of the Achaeans, Achilles was willing to do something to help, no matter what that was. In The Iliad we are given a mention of how close they are and that is supposed to reason Achilles’ willingness to bend slightly. This deeper understanding of their relationship also makes Achilles’ reaction to Patroclus’ death all the more painful to watch happen and his actions during the beginning of his morning also make more sense to the reader.

Achilles’ relationship with the war of Troy is somehow both extremely complicated and overly simple. It is complicated in terms of what he should bring into the war, what he owes Menelaus and Agamemnon, and how fate plays into it all. It is simple, however, when it comes to him having to perform the act of war itself. I feel that what Miller added to the story regarding this area really deepened and strengthened Achilles’ character; she really tried to show the struggle in Achilles when he was dealing with all of these complexities that came with the politics of the war, between both the mortals and gods. This is the war he was fated to have such a large part of; he was to kill the Trojan’s greatest hero, Hector. But fate isn’t the only thing forcing him to back and fight in the war against Troy, the Achaean kings he fights along side with also feel entitled to him and his abilities. In the end, however, Achilles does not feel attached to the war in actuality. “‘The Trojans never did me damage.’” (pg. 82, Book 1: The Rage of Achilles, Homer). He doesn’t hold any rage toward the Trojans, that is until Hector kills Patroclus, and even then, his true rage is only toward Hector, it is only the magnitude of it that takes down the mountains of Trojans he slaughters. He is in a war he was expected to be in simply because of that fact, he was expected to fight. When discussing the war with Patroclus, Patroclus asks if he is afraid to fight, Achilles answers, “‘No… This is what I was born for.’” (pg. 220, Miller). So, if he was fated to be in the war, the Achaeans can only win if he fights, and every Greek kingdom expects him to fight, then what does he owe to his fellow Greeks? To Menelaus and Agamemnon? Simply put, in reality he owes them nothing, his father doesn’t even force him to go, telling him it’s his choice (The Song of Achilles), however,  the issue and complexity doesn’t come from what he actually owes the kings, but from what they believe he owes them. Here are two interactions between Achilles and Agamemnon from both works. “Agamemnon stepped forward. He opened his hands in a gesture of welcome and stood regally expectant, waiting for the bows, obeisance, and oaths of loyalty he was owed. It was Achilles’ place to kneel and offer them. He did not kneel. He did not call out a greeting to the great king, or incline his head or offer a gift. He did nothing but stand straight, chin proudly lifted, before them all. Agamemnon’s jaw tightened.” (pg. 194, Miller). “‘This soldier wants to tower over the armies, he wants to rule over all, to lord it over all, give out orders to every man in sight. Well, there’s one, I trust, who will never yield to him! What if the everlasting gods have made a spearman of him? Have they entitled him to hurl abuse at me?’

‘Yes!’—blazing Achilles broke in quickly— ‘What a worthless, burnt-out coward I’d be called if I would submit to you and all your orders, whatever you blurt out.’” (pg. 87, Book 1: The Rage of Achilles, Homer). It doesn’t just matter what Achilles feels he owes Agamemnon because the king feels he is owed not only Achilles’ spear, but his total loyalty and an oath of such.

Despite this complexity with his motivations and responsibility to fight, when it comes to the fighting itself, it is as simple as breathing for him. As told in The Song of Achilles, “What he lived for were the charges, a cohort of men thundering towards him. There, amidst twenty stabbing swords he could finally, truly fight… With a fevered impossible grace he fought off ten, fifteen, twenty-five men. This, at last, is what I can really do.” (pg. 240, Miller). The war wasn’t truly a conflict for him, the true war was in the politics of men and gods; this notion agrees with what is shown in the epic.

While the men in power may not particularly like Achilles, the soldiers of the Achaean army do indeed, from the very beginning (at least in the interpretation that is The Song of Achilles). Here is the moment he introduces himself to the entire army, “‘I am Achilles, son of Peleus, god-born, best of the Greeks,’ he said. ‘I have come to bring you victory.’ A second startled silence, then the men roared their approval. Pride became us—heroes were never modest.” (pg. 194, Miller). Miller choosing to have the soldiers have these types of feelings towards Achilles makes sense. Up until the moment he declares he will no longer fight for the Achaeans, he is their hero, the one they look to and follow; in a society that values glory and heroes above almost all else, second only to the gods, he most-likely would have been viewed that way by the general public, those uninvolved in politics. An example of how deep this goes is shown just before the war begins, as the Phthians are sailing towards Troy’s beaches, “We stood at the prow with Phoinix and Automedon, watching the shore draw closer. Idly, Achilles tossed and caught his spear. The oarsmen had begun to set their strokes by it, the steady, repetitive slap of wood against his palm.” (pg. 212, Miller). Even subconsciously the men are following Achilles’ spear.

Achilles isn’t the only person for whom Miller develops a good relationship with the common soldiers—this  is done for Patroclus as well. I also agree with her decision to do this; it helps solidify the emotions the people feel toward Patroclus which are only mentioned and implied in The Iliad. Miller decided to make Patroclus a healer, “I developed a reputation, a standing in the camp. I was asked for, known for my quick hands and how little pain I caused… I began to surprise Achilles, calling out to these men as we walked through the camp. I was always gratified at how they would raise a hand in return, point to a scar that had healed over well.” (pg. 261, Miller). This use of his character makes sense in my mind when regarding the character shown to us in the epic; being a gentle and kind man. It also makes his motivations when trying to convince Achilles to fight all the more authentic, “All around me are men carrying fallen comrades, limping on makeshift crutches, or crawling through the sand, dragging broken limbs behind them. I know them—their torsos full of scars my ointments have packed and sealed.” (pg. 319, Miller). So, even though I do disapprove of Miller’s decision to make Patroclus seem too awkward and weak to fight, I cannot say her making a healer of Patroclus is without any merit. 

“What has Hector ever done to me?” This phrase is echoed throughout The Song of Achilles, creating a sort of foreshadowing sprinkled throughout the novel. This sentiment rings familiar from The Iliad where he expresses that he holds no feelings of hatred nor resentment towards the Trojans. The role that Hector plays in The Song of Achilles is slightly different than seen in the epic, though this is unsurprising as the novel is from the perspective of Patroclus and therefore cannot show much of Hector. Despite the lack of Hector, however, Miller included moments that are reminiscent of what we saw of Hector in The Iliad. Here is a domestic moment shared between Hector and his family when he returns from fighting, “shining Hector reached down for his son—but the boy recoiled, cringing against his nurse’s full breast, screaming out at the sight of his own father, terrified by the flashing bronze, the horsehair crest, the great ridge of the helmet nodding, bristling terror—so it struck his eyes. And his loving father laughed, his mother laughed as well, and glorious Hector, quickly lifting the helmet from his head, set it down on the ground, fiery in the sunlight, and raising his son he kissed him,” (pg. 211, Book 6: Hector Returns to Troy, Homer). Now here is a moment between Achilles and Patroclus when Achilles is coming back from battle, “I woke to his nose on mine, pressing insistently against me as I struggled from the webbing of my dreams. He smelled sharp and strange, and for a moment I was almost revolted at this creature that clung to me and shoved its face against mine. But then he sat back on his heels and was Achilles again.” (pg. 222, Miller). These are two moments of domesticity between warriors, great heroes, and the loved ones they returned to. In these moments war is more real, and it is harder to separate the men on the field and the men that return home. 

None the less, the phrase “what has Hector ever done to me?” is also meant to show Achilles’ active struggle against his fate that came with the war. He wants glory but is unwilling to make sacrifices to gain it. It is only once Hector does personally harm him by killing Patroclus that he does not care to avoid fate, in fact he does not care about glory or honor after this. In a way, it is Patroclus’ sacrifice that gives Achilles glory, which is ironic seeing as he does not fight for glory anymore, but revenge. This can be best seen in how he treats Hector’s body after he defeats him. “He rises at dawn to drag Hector’s body around the walls of the city for all of Troy to see. He does it again at midday, and again at evening. He does not see the Greeks begin to avert their eyes from him. He does not see the lips thinning in disapproval as he passes.” (pg. 346, Miller).  “The memories flooded over him, live tears flowing, and now he’d lie on his side, now flat on his back, now facedown again. At last he’d leap to his feet, wander in anguish, aimless along the surf, and dawn on dawn flaming over the sea and shore would find him pacing. Then he’d yoke his racing team to the chariot-harness, lash the corpse of Hector behind the car for dragging and haul him three times round the dead Patroclus’ tomb, and then he’d rest again in his tents and leave the body sprawled facedown in the dust. But Apollo pitied Hector—dead man though he was—and warded all corruption off from Hector’s corpse…” (pg. 589, Book 24: Achilles and Priam, Homer). In The Song of Achilles the Greeks, and gods, are not pleased. In The Iliad the gods see this as a disgrace. 

Where Achilles redeems himself greatly in The Iliad is not as significant in The Song of Achilles which left me extremely disappointed. The moment when Achilles is meant to show what a great character he is and how willing he is to forgive, even after such a significant loss, is in Book 24: Achilles and Priam. It is here when Priam and Achilles share a very vulnerable moment with each other in which they hold no contempt towards one another and the people they have taken from each other, but they cry, together, for the horrible losses they have endured in this long war. Miller makes this moment so much less vulnerable and emotional, making it feel significantly less important and character defining as it had been in the epic. Here is the moment as shared in The Iliad, “‘I put to my lips the hands of the man who killed my son.’ Those words stirred withing Achilles a deep desire to grieve for his own father. Taking the old man’s hand he gently moved him back. And overpowered by memory both men gave way to grief. Priam wept freely for man-killing Hector, throbbing, crouching before Achilles’ feet as Achilles wept himself, now for his father, now for Patroclus once again, and their sobbing rose and fell throughout the house.” (pg. 605, Book 24: Achilles and Priam, Homer). And this is the very same interaction as written in The Song of Achilles, “‘…it is worth my life, if there is a chance my son’s soul may be at rest.’ Achilles’ eyes fill; he looks away so the old man will not see.” (pg. 350, Miller). In Miller’s version there is not even a mention of the agreement that is come to in the epic that allows Priam to host a full funeral for Hector. This left Achilles feeling cold and unfeeling, which goes completely against his entire characterization in both the novel and the epic. For me, the watering down and diminishing of the conversation between Achilles and Priam was the biggest misstep in Miller’s novel and was a major disappointment especially since I felt she characterized Achilles so well for the majority of the novel.  

“His anger was incandescent, a fire under his skin.” (pg. 283, Miller) The comparing of Achilles to flame and fire strikes most true. He is never an emotionless man, never achieving a moment of utter stillness, instead he is always flickering under the surface. Even in times of calm he radiates warmth, and in times of great anger he rages in a great blaze. It is fire that is the perfect essence of Achilles. But this is what also makes him so controversial in the eyes of modern men. Some today still find themselves drawn to his wild flame and the brilliance of it, while others see the ash trails of his destruction and feel he is no good man, no hero. Achilles himself, I think, would agree with the sentiment that he isn’t a hero. In the end with Priam he felt shame for how he treated Hector’s body, his greatest love died because he couldn’t let go of his honor. In class people questioned why Achilles is remembered the hero and not Hector or Diomedes. I think Achilles achieved the fame he has because he is a good man who let his emotions drive him to do bad things, things looked down upon even in times of war. However, in the end, he redeems himself. He is a brilliant, shining character with intense emotions who manages to redeem himself—of course he has become the main hero of the story. Madeline Miller, in my opinion, did a very good job with the interpretation of his character, however, there were a few missteps with him and other things that were very important to his development. But despite these missteps, she has managed to bring Achilles’ light back into the lives of modern people, which is a wonderful thing. “As if he heard me, he smiled, and his face was like the sun.” (pg. 47, Miller)