Welcome to Characterisation in War and Warfare!
Hi there! Welcome to one of the most exciting parts of your Classical Civilisation course. In this chapter, we are going to look at characterisation. This is a fancy word for how ancient authors like Homer and Virgil "build" their characters to make them feel real to us.
Why does this matter? Because in stories about war, characters aren't just there to fight; they show us different ideas about glory, duty, suffering, and humanity. By the end of these notes, you’ll be able to spot exactly how an author makes a hero look brave or a victim look tragic.
Don't worry if this seems a bit deep at first—we’ll break it down step-by-step!
1. What is Characterisation?
Think of characterisation like a "Character Creator" in a video game. Instead of choosing hair colour or armor stats, ancient authors use three main tools to show us who a person is:
1. Actions: What do they do in the heat of battle?
2. Traits: What are their personality "stats"? Are they angry, loyal, or fearful?
3. Interactions: How do they treat their friends (comrades) and their enemies?
Real-world Analogy: Imagine you’re watching a movie. You know the "hero" is a hero not just because they wear a cape, but because they choose to save someone even when they are scared. That is characterisation through action.
Quick Review: Characterisation is the way an author brings a person to life using their words, deeds, and relationships.
2. Depicting Leaders and Soldiers
In the Iliad and the Aeneid, we meet many soldiers. The authors want us to think about what makes a "good" soldier or a "great" leader.
The Greek Hero: Achilles
In Homer’s Iliad, Achilles is the ultimate warrior. His characterisation is built on menis (intense rage) and a desire for kleos (everlasting glory).
• Did you know? For a Greek hero, it was better to die young and be famous forever than to live a long, boring life and be forgotten!
The Roman Hero: Aeneas
In Virgil’s Aeneid, Aeneas is a bit different. His main trait is pietas (duty). He doesn't just fight for himself; he fights because the gods told him to start a new city (Rome). He often puts his own feelings aside to do his job.
The Ideal Soldier: Tyrtaeus
In Tyrtaeus' Fragment 10, the "character" is an unnamed young soldier. Tyrtaeus uses emotive language to describe how beautiful it is for a young man to die in the front rank of battle. He characterises the ideal soldier as someone who "bites his lip" and stands his ground.
Key Takeaway: Leaders are often shown as larger-than-life, but they all face a choice between their own desires and their duty to their people.
3. Comrades and Enemies
How a soldier treats others tells us a lot about their character. This is called characterisation through relationships.
Comradeship: In the Iliad, the bond between soldiers is huge. When Patroclus dies, Achilles' character changes instantly from a sulking rebel to a terrifying killing machine. This shows that loyalty is a core part of being a warrior.
Respecting the Enemy: One of the most famous moments in characterisation is in Iliad Book 24. Priam (the King of Troy) goes to see Achilles (who killed his son). Instead of fighting, they cry together. This interaction shows us that even "enemies" share the same human pain. It makes Achilles look more human and less like a monster.
Common Mistake to Avoid: Don't assume the "enemies" (like the Trojans) are written as "bad guys." In the Iliad, Hector is often shown as more relatable and kinder than the Greek heroes!
4. Non-Combatants: Women and Victims
War isn't just about the people with swords. The authors use women and non-combatants to show the horror of warfare.
Women as Voices of Reason: In Iliad Book 6, Andromache begs her husband Hector not to go back to war. Her character is used to show the "domestic" side of life—the family that gets destroyed by battle. She characterises the victims of war.
Women in the Aeneid: In Virgil’s Aeneid Book 2, we see the fall of Troy through Aeneas' eyes. The screams of the women and the death of the old King Priam are used to create a feeling of pathos (pity). Virgil wants the audience to feel the tragedy of the Roman ancestors' defeat.
Quick Memory Aid: To remember why women are included in these war stories, think of the word COST:
C - Consequences (What happens after the fight?)
O - Others (Those not fighting)
S - Suffering (The emotional pain)
T - Tragedy (The loss of home and family)
5. Authors and Their Aims
Each author has a different goal, which changes how they characterise people.
Homer (The Iliad): Aims to show the "glory of men" but also the sadness of death. His characters are complex and have flaws (like Achilles' temper).
Tyrtaeus: Aims to inspire Spartan soldiers. His characters are "posters"—they are symbols of bravery rather than real, complicated people.
Horace (Odes 3.2): Famous for the line "dulce et decorum est pro patria mori" (it is sweet and fitting to die for one's country). He characterises the Roman soldier as someone who is hardened by hardship and fierce in battle. This is patriotic characterisation.
Virgil (The Aeneid): Aims to celebrate Rome. His characters often feel the weight of fate. Aeneas isn't always happy, but he is always pius (dutiful).
Summary Checklist
Before you move on, make sure you can answer these:
• How does Achilles' rage define his character?
• Why does Virgil focus on Aeneas' duty (pietas)?
• What role do women like Andromache play in showing the effects of war?
• How does Tyrtaeus use characterisation to encourage soldiers to fight?
Final Tip: When writing about characterisation in your exam, always use an example. Don't just say "Hector is brave." Say "Hector is characterised as brave because he returns to the battlefield even though he knows he might die."