Merwin gives Paris a sympathetic back story in order to fully harness the tragedy of Paris’ choice when her omniscient narrator describes the thoughts of the goddesses and the description of how his choice will ultimately bring him only pain. The decision to use Paris as the judge is completely unfair to him; placing the burden of angering two goddesses on one weak mortal man is a great injustice, but because they are gods, they have no real concept of human justice. The thoughts of the goddesses are meant to chip away at Paris’ power in making his decision: “The scorn above her eyes and her words of which he understood few all said to him Take wisdom / take power / you will forget anyway…the cruelty around her mouth and her words of which
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Iris’ message is framed in a manner that expects Helen to be grateful for the war going on outside the city’s walls. Iris’ claims that the war is something marvelous directly contrasts with the somber images in Helen’s weaving, which Iris interrupts to bring Helen to the Skaian gates. Iris is essentially adopting the role that best supports one of the major themes of the Iliad: personal glory. As Iris indicates, Helen should be witness to all the great deeds, heroic deaths, and the ultra-masculine battle for her body; moreover, she should be awed by the greatness this war for her beauty has inspired. However, the setting that Iris describes is key to understanding Hough’s portrayal of Helen. Iris interrupts Helen’s weaving and the description of the scene with Helen weaving interrupts the overall battle narrative with Menelaus and Paris. Helen literally stops all time and action with her mere presence, which Hough harnesses in his portrayal of her: “When she passed the children stood still at their play.” This is framed in a manner where, once again, Helen is expected to be flattered by the fact that even small children are awed by her looks. This uncomfortable assumption that Helen enjoys deadening the atmosphere wherever she goes is enhanced through the use of third person narration; not only does the reader feel detached from Helen, but Helen herself feels like she is not a part of her own story. She lacks personal agency that gives a character the power to control herself and her actions. This is further
Iris’ message is framed in a manner that expects Helen to be grateful for the war going on outside the city’s walls. Iris’ claims that the war is something marvelous directly contrasts with the somber images in Helen’s weaving, which Iris interrupts to bring Helen to the Skaian gates. Iris is essentially adopting the role that best supports one of the major themes of the Iliad: personal glory. As Iris indicates, Helen should be witness to all the great deeds, heroic deaths, and the ultra-masculine battle for her body; moreover, she should be awed by the greatness this war for her beauty has inspired. However, the setting that Iris describes is key to understanding Hough’s portrayal of Helen. Iris interrupts Helen’s weaving and the description of the scene with Helen weaving interrupts the overall battle narrative with Menelaus and Paris. Helen literally stops all time and action with her mere presence, which Hough harnesses in his portrayal of her: “When she passed the children stood still at their play.” This is framed in a manner where, once again, Helen is expected to be flattered by the fact that even small children are awed by her looks. This uncomfortable assumption that Helen enjoys deadening the atmosphere wherever she goes is enhanced through the use of third person narration; not only does the reader feel detached from Helen, but Helen herself feels like she is not a part of her own story. She lacks personal agency that gives a character the power to control herself and her actions. This is further