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141), Ulysses enumerates the ways that Achilles and Patroclus mock and thereby satirize the Greeks: "The large Achilles, on his pressed bed lolling, / From his deep chest laughs out a loud applause" (162-63) at the image Patroclus has created of Agamemnon; then Achilles urges: "Now play me Nestor" (165)--the tent serving as theater, self-enclosed entertainment.
In the latter case, this close friendship is comparable to that between Pylades and Orestes, and Achilles and Patroclus.
Ultimately, Martin does not show that loving relations between soldiers were new; in fact, by citing the models of Achilles and Patroclus, as well as Roland and Olivier, he indicates that these tropes existed well before the revolutionary armies adopted fraternity as a key value.
He claims that the relationship between Achilles and Patroclus is "carefully de-sexualized" (137, on Wise's Helen of Troy) or "heterosexualized" (178, on Troy).
In this book, the Roman poet tells a story clearly inspired by Achilles and Patroclus, the episode of Nisus and his beloved Euryalus.
A key shared subject is the familiar story of the friendship between Achilles and Patroclus, told in Homer's Iliad and finely detailed on one exceptional vase, the Sosias Cup in Berlin.
Alexander and lifelong pal Hephaistion (Jared Leto) make a lot of goo-goo eyes at each other and talk a lot about the love of warriors Achilles and Patroclus.
He introduces it by saying, "I was witness to events of a less peaceful character," betraying a hint of a loss of innocence, at which point the allegory of the Trojan War calibrates his prose again, since he redeems the bellicose event by imagining that two of the red ants are Achilles and Patroclus.
But Wells reminds us that sexual badinage need not be coarse but can actually be profoundly touching as well as funny, and his chapters on homosexuality in the plays prove conclusively with critical references to Bassanio (The Merchant of Venice) Achilles and Patroclus (Troilus and Cressida) not to mention Richard II that subtlety and emotional bonding lies within specific gender orientations.
In a short space of time Odysseus, Phoenix, and Nestor apply maximum pressure to Achilles and Patroclus.
In "To Maecenas" Wheatley implies that she is such a figure when she refers to her own mourning for the Homeric heroes in line 17, where "The grateful tribute of my [Wheatley's] tears is paid" to both Achilles and Patroclus (10).
Encarnado, a duet for two men (House and Graham McKelvie the night I saw it), takes inspiration specifically from The Iliad, according to the program, presumably from the story of Achilles and Patroclus.