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Kleos
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Kleos (Ancient Greek: κλέος) is the Greek word often translated to "renown" or "glory". It is related to the English word "loud" and carries the implied meaning of "what others hear about you". A Greek hero earns kleos through accomplishing great deeds.
According to Gregory Nagy, besides the meaning of "glory", kleos can also be used as the medium (in this case, the ancient Greek poetry or song) which conveys glory.[1]
Kleos is invariably transferred from father to son; the son is responsible for carrying on and building upon the "glory" of the father. This is a reason for Penelope putting off her suitors for so long, and one justification for Medea's murder of her own children was to cut short Jason's kleos.
Kleos is a common theme in Homer's epics, the Iliad and the Odyssey, the main example in the latter being that of Odysseus and his son Telemachus, who is concerned that his father may have died a pathetic and pitiable death at sea rather than a reputable and gracious one in battle. The Iliad is about gaining ultimate kleos on the battlefields of Troy while the Odyssey is the ten-year quest of Odysseus' nostos (or return journey). Telemachus fears that he has been deprived of kleos. This links to hereditary kleos, as heroes obtain immortality through eternal fame of their actions and lineage.
Etymology
[edit]According to Nagy, kleos is a noun, derived from the verb kluein, which means 'hear'.[2]
From other sources, the Greek term kleos is derived from the Proto-Indo-European (PIE) term *ḱléwos, which expressed a similar concept in PIE society. As the PIE people had no concept of the continuation of the individual after life, one could only hope to achieve *ḱléwos *n̥dhgwhitóm, or "the fame that does not decay."[3] As Bruce Lincoln notes, "In a universe where impersonal matter endured forever but the personal self was extinguished at death, the most which could survive of that self was a rumor, a reputation. For this, the person craving immortality—a condition proper only to the gods and antithetical to human existence—was totally reliant on poets and poetry."[4][5]
Cognates include Sanskrit, श्रवस् (śravas); Avestan, 𐬯𐬭𐬀𐬬𐬀𐬵; Armenian, լու (low); Old Church Slavonic slava, and Old Irish, clú. Compare to the Greek: κλύω (klúō - I hear).[6]
Plato
[edit]The Greek philosopher Plato, in his dialog Symposium devoted to discussing love, digresses into the subject of fame and glory. This comes in the section that concerns the dialog between Socrates and Diotima. She is explaining that men search for some kind of immortality, for instance by means of physical and intellectual procreation. She then asserts that the love for fame and glory is very strong, and in fact to obtain them, men are ready to engage in great efforts, and also run risks and sacrifices, even of their lives (self-sacrifice), and will sacrifice still more for this than for their children. She then references Alcestis (who died to save Admetus), Achilles (to avenge Patroclus), and Codrus, as examples of heroes in search of fame and immortal renown.[7]
Plato believed "There's a victory, and defeat; the first and best of victories, the lowest and worst of defeats which each man gains or sustains at the hands not of another, but of himself."[citation needed] Plato emphasized that victory is self-motivated, while glory is to benefit future victory.
Plato's specific commentary about life's glories that "The first and best victory is to conquer self. To be conquered by self is, of all things, the most shameful and vile." has been later referenced by magazines and newspapers such as the American news publication Forbes (in June 1928).[8]
See also
[edit]References
[edit]- ^ The Ancient Greek Hero in 24 Hours Cambridge, MA: Belknap Press. p. 26. Gregory Nagy. ISBN 978-0674241688
- ^ Gregory Nagy. The Ancient Greek Hero in 24 Hours Cambridge, Massachusetts: Belknap Press. pp 51.
- ^ Schmitt, Rüdiger. Dichtung und Dichtersprache in indogermanischer Zeit. Weisbaden: Otto Harrassowitz. pp 61-102.
- ^ Lincoln, Bruce. Death, War, And Sacrifice: Studies in Ideology and Practice. Chicago UP. 1991. pp 15.
- ^ "Kleos: Death and Glory". Classical Wisdom Weekly. Classical Wisdom. September 22, 2015.
- ^ "Clio: Etymology of Clio". Etymonline.
- ^ Plato (1951) [c. 380 BCE]. The Symposium. Translated by Hamilton, Walter. Penguin Classics. p. 90.
- ^ "Thoughts On Life & Business". Forbes. June 15, 1928. Retrieved June 1, 2024.
Further reading
[edit]- Barbantani, Silvia. "Models of Virtue, Models of Poetry: The Quest for "Everlasting Fame" in Hellenistic Military Epitaphs." In Celebrity, Fame, and Infamy in the Hellenistic World, edited by FABER RIEMER A., 37-69. Toronto; Buffalo; London: University of Toronto Press, 2020. Accessed May 19, 2020. JSTOR 10.3138/j.ctv102bjkd.8.
- Finkelberg, Margalit. "More on "Kleos Aphtiton"." The Classical Quarterly 57, no. 2 (2007): 341-50. JSTOR 27564082.
- Floyd, Edwin D. "Kleos Aphthiton: An Indo-European Perspective on Early Greek Poetry." Glotta 58, no. 3/4 (1980): 133–57. JSTOR 40266513.
- Meltzer, Gary S. ""Where Is the Glory of Troy?" "Kleos" in Euripides' "Helen"." Classical Antiquity 13, no. 2 (1994): 234-55. doi:10.2307/25011015.
- Segal, Charles. "KLEOS AND ITS IRONIES IN THE ODYSSEY." L'Antiquité Classique 52 (1983): 22–47. JSTOR 41653211.
- Segal, Charles. "Kleos and Its Ironies." In Singers, Heroes, and Gods in the "Odyssey", 85–110. ITHACA; LONDON: Cornell University Press, 1994. JSTOR 10.7591/j.ctv3s8rff.9.
Kleos
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Kleos (κλέος), in ancient Greek culture, refers to glory, fame, or renown, particularly the imperishable form known as kleos aphthiton, which heroes attained through extraordinary deeds such as martial prowess or intellectual achievements, ensuring their legacy endures beyond death via oral poetry and song.[1][2] This concept, central to the heroic ethos, represented a form of immortality, as the hero's exploits were commemorated in epic narratives that preserved their name for future generations.[1]
In the Homeric epics, kleos serves as both the medium and the message of heroic glory, intertwining with themes of honor, propriety, and the tension between fame and homecoming (nostos).[1][3] For instance, in the Iliad, Achilles famously chooses kleos aphthiton over a long but obscure life, declaring that his safe return home would be destroyed in exchange for eternal renown through song (Iliad IX 413).[1] Similarly, in the Odyssey, Odysseus earns kleos through cunning deeds like those at Troy and his trials among the Phaiakians, where displays of intellect, strength, and piety secure gifts and divine favor, reinforcing his heroic status upon returning to Ithaca.[3] Beyond warfare, kleos could extend to intellectual or ethical feats, as later reflected in Plato's Symposium, where it encompasses procreation through ideas rather than solely physical valor.[2]
The pursuit of kleos underscored the ancient Greek worldview of mortality and legacy, where heroes traded mortal life for undying fame disseminated through bardic tradition, influencing ethics, social norms, and even hero cult worship in Archaic Greece (c. 800–500 BCE).[1] This ideal not only motivated epic characters but also shaped the cultural value placed on public recognition and communal memory, with improper conduct—such as the suitors' hubris in the Odyssey—leading to the loss of potential glory.[3]
Etymology and Linguistic Roots
Origins in Ancient Greek
The term κλέος (kléos) in Ancient Greek derives from the Proto-Indo-European root *ḱlew-, signifying "to hear," which developed into the nominal form *ḱléwos denoting "fame" or "glory."[4] This evolution reflects the conceptual link between auditory perception and renown, as fame spreads through hearing of heroic deeds.[5] The earliest known attestations of the word occur in Mycenaean Greek, recorded in Linear B script on tablets from Knossos dating to approximately 1400 BCE, where it appears as ke-re-wo (likely *klēwos), suggesting its association with heroic or laudatory contexts in pre-classical society. In terms of morphology, κλέος is a neuter noun of the third declension, with forms including the genitive singular κλέους (kleous) and dative singular κλεῖ (klei), consistent with standard Attic Greek paradigms. Comparatively, κλέος shares cognates across Indo-European languages, such as Sanskrit śrávas ("fame" or "report"), derived from the same root and emphasizing auditory renown, and Old Norse hljóð ("sound"), which preserves the core sense of "hearing" in a Germanic branch.[6] These parallels underscore the widespread inheritance of the *ḱlew- root in denoting fame through spoken or heard narratives.[7]Related Terms and Evolution
In ancient Greek thought, kleos is distinct from timē, which denotes tangible honor or respect often manifested through material rewards, social status, or cultic practices, such as sacrifices and festivals paid to gods or heroes.[8] While timē reflects immediate, observable esteem within a community, kleos centers on renown achieved through heroic deeds and propagated aurally, ensuring a hero's legacy endures beyond death.[9] This auditory dimension sets kleos apart from concepts like kleos aphthiton (undying glory), which specifically emphasizes eternal, imperishable fame immortalized in epic song, rather than transient report.[10] The term kleos, etymologically linked to the verb klyō ("to hear"), underscores its roots in oral dissemination, where bards or aoidoi preserved and amplified heroic narratives through performance.[11] In the Homeric epics, kleos primarily signifies "good fame" or "glorious deeds" (klea andrōn), conveyed via poetry that extends a hero's reputation across generations and geographies.[1] This oral tradition transformed personal exploits into communal memory, with the poet acting as a mediator who "hears" and recounts, thereby bestowing immortality on the subject.[12] From the Homeric period to Classical Greek, kleos retained its core connotations of fame and glory but broadened in prose and lyric contexts to include more abstract senses of "report" or "rumor," sometimes neutral or negative, such as ill repute (dyskleos).[11] In authors like Pindar and Sophocles, it continues to evoke renown, while in historians like Thucydides and philosophers like Plato, it often refers to hearsay or public opinion, reflecting evolving societal values beyond epic heroics.[11] This diachronic development mirrors the transition from oral epic culture to written prose, where kleos encompasses both enduring honor and transient information in everyday discourse.[11]Core Concepts and Cultural Significance
Definition and Primary Meanings
Kleos (κλέος), in ancient Greek thought, primarily denotes "glory" or "fame," referring specifically to the renown earned through heroic actions that endures beyond the individual's life.[1] This concept is etymologically linked to the verb κλύειν (klyein), meaning "to hear," underscoring kleos as "that which is heard" across generations.[13] In its core interpretation, kleos represents the lasting reputation of deeds performed in battle or adventure, serving as a measure of a hero's worth in oral traditions.[14] Kleos encompasses dual aspects: transient, mortal praise achieved in immediate social contexts and kleos aphthiton (ἄφθιτον κλέος), or imperishable glory, preserved eternally through epic poetry and song.[15] The latter form ensures that heroic exploits are commemorated indefinitely, transforming personal achievements into communal legacy.[1] This imperishability contrasts with physical mortality, positioning kleos as the Greek hero's pathway to symbolic immortality.[14] Central to kleos are cultural prerequisites such as aretē (ἀρετή), or excellence, which manifests in prowess, courage, and moral virtue, driving heroes to pursue eternal memory rather than mere survival.[1] In this framework, kleos functions as a philosophical and social currency within aristocratic warrior societies, incentivizing bold actions in combat to secure honor and status among peers.[16] Such renown not only elevated individuals but reinforced the hierarchical values of heroism and communal remembrance.[17]Kleos as Immortality and Honor
In ancient Greek culture, kleos served as a primary means of achieving symbolic immortality, allowing heroes to transcend physical death through the enduring medium of oral poetry and song. Unlike biological immortality reserved for gods, kleos—often rendered as undying fame or glory—ensured that a hero's deeds were recited by bards across generations, preserving their essence in communal memory. This poetic immortality contrasted sharply with mortal demise, as the hero's name and actions lived on in epic narratives performed at festivals and gatherings, effectively granting an eternal presence in the cultural imagination.[9] The pursuit of kleos was deeply intertwined with dynamics of honor, fueling a competitive ethos among aristocratic warriors where greater exploits yielded proportionally amplified renown. Heroes vied for timē (honor) through bold actions in battle or counsel, with the magnitude of fame often reflected in the extent of poetic lines or verses dedicated to their achievements in epic tradition. This hierarchical system motivated individuals to prioritize legendary status over long life, as kleos not only elevated one's social standing during life but also secured posthumous veneration, reinforcing the values of excellence (aretē) and competitive heroism central to elite Greek society.[9] Socially, kleos was predominantly a male and aristocratic pursuit, with women's access to it typically indirect and mediated through their relationships to male kin. While men earned kleos directly via martial prowess, women derived fame from the survival and successes of husbands, sons, or fathers, often tied to roles in nurturing lineage or lamenting losses that amplified male glory. This gendered asymmetry underscored broader cultural norms, where female contributions to kleos were generative—through childbirth or weaving tapestries that encoded family stories—yet subordinate to the destructive feats of men, limiting women's independent paths to renown.[18] Kleos was embedded in ritual contexts such as funerary practices and symposia, where communal recounting of heroic tales reinforced collective memory and honor. In funeral orations, speakers invoked kleos to eulogize the deceased, promising eternal fame as consolation for their sacrifice, as seen in Pericles' address emphasizing undying renown for fallen warriors. Similarly, during symposia—elite drinking gatherings—participants sang skolia (short songs) that celebrated kleos, transforming private revelry into a space for perpetuating aristocratic ideals of glory and solidarity. These rituals thus bridged the living and the dead, ensuring kleos as a living force in social and commemorative life.[19]Kleos in Homeric Epics
Role in the Iliad
In Homer's Iliad, kleos functions as a central motivator for heroic action, driving characters to embrace mortality in exchange for enduring fame. This is epitomized in Achilles' dilemma during the embassy scene in Book 9, where he recounts his mother Thetis' prophecy: he must choose between a long, obscure life returning home to Phthia or a brief existence at Troy yielding kleos aphthiton (imperishable glory).[1] Achilles opts for the latter, declaring, "then my safe homecoming [nostos] will be destroyed for me, but I will have a glory [kleos] that is imperishable [aphthiton]" (Iliad 9.413), a decision that underscores kleos as the epic's core value, prioritizing poetic immortality over biological continuity.[20] This choice propels the narrative, as Achilles' withdrawal from battle earlier in the poem tests the limits of honor, only for his return to reaffirm kleos through vengeance for Patroclus.[1] Hector's arc similarly revolves around kleos, intertwining personal honor with civic duty as Troy's chief defender. In Book 22, facing Achilles in single combat, Hector rejects flight despite Athena's deception, motivated by the shame of a kleos-less death and the imperative to safeguard his family's and city's reputation. He resolves, "May I not die without a struggle and without kleos, but having done some great deed" (Iliad 22.304–305), culminating in his noble yet fatal stand that amplifies his fame even as it seals Troy's doom.[20] This pursuit reflects kleos's dual role: sustaining heroic resolve amid inevitable loss while extending glory to kin and polis through memorable deeds.[21] The Iliad self-consciously positions itself as the medium for kleos, with characters invoking future songs to perpetuate their legacies. During the Book 9 embassy, Odysseus' speech to Achilles highlights this meta-poetic dimension, urging reconciliation by appealing to the epic's prospective audience and the glory it will confer, while Achilles himself sings of past kléa andrōn (glorious deeds of heroes) on his lyre (Iliad 9.185–191), blurring the line between hero and bard.[22] Such references frame the poem as an immortalizing artifact, where kleos endures through oral tradition. Within the epic's battle sequences, kleos emerges through aristeia—episodes of a hero's supreme martial prowess—often marked by divine inspiration, feats of arms, and ritual aftermaths that broadcast fame. For instance, Achilles' aristeia in Books 20–22, including Hector's slaying, generates kleos via captured spoils distributed as tangible proofs of valor and the laments of survivors that echo deeds across generations.[23] These mechanics not only structure combat but also ritualize kleos, transforming transient violence into lasting renown.[20]Role in the Odyssey
In the Odyssey, kleos evolves beyond the battlefield heroism central to the Iliad, emphasizing fame achieved through endurance, intelligence, and the trials of homecoming (nostos). Odysseus embodies this dual kleos: his established warrior renown from the Trojan War, akin to the martial glory of Achilles, is augmented by the glory of survival and return, forged in encounters like the blinding of the Cyclops Polyphemus in Book 9, where his cunning outwits brute force.[22] This nostos-kleos, as foretold by Teiresias in the underworld (Book 11.100–137), underscores Odysseus' heroic identity not in death but in restoration, distinguishing the Odyssey's focus on post-war perseverance from the Iliad's conquest-driven honor.[22] A pivotal mechanism for propagating this kleos is Odysseus' role as storyteller, particularly in his extended narratives to the Phaeacians in Books 9–12. By recounting his voyages—from the Cyclops to Circe and beyond—Odysseus not only rebuilds his epic persona from anonymity but ensures his deeds circulate orally through the Phaeacians' seafaring networks, immortalizing his fame across the Greek world.[24] This bardic performance transforms personal trials into communal renown, highlighting kleos as an adaptive, verbal construct tied to mētis (cunning intelligence) rather than sheer might.[22] Telemachus' journey in Books 1–4 further illustrates kleos's intergenerational transmission, as he embarks on a quest to reclaim and extend his father's legacy. Guided by Athena, Telemachus inquires about Odysseus' fate in Pylos and Sparta (e.g., Book 3.83), maturing from a hesitant youth (nēpios) into a figure of authoritative speech and action, thereby earning his own "noble reputation" (kleos esthlon) intertwined with paternal honor.[25] This arc educates him in heroic identity through μῦθοι (words) and ἔργα (deeds), culminating in his alliance with Odysseus against the suitors.[25] The suitors, by contrast, exemplify the perversion of kleos pursuit, seeking prestige through hubristic presumption and disruption of Odysseus' oikos, which yields only infamy and destruction. Their "violent deeds through evil scheming" (Book 2.236) invert heroic norms, as their failed bid for Penelope underscores that unearned ambition corrupts glory into disgrace, reinforcing the Odyssey's ethic of kleos won justly via trials and restraint.[25][22]Kleos in Later Greek Literature and Philosophy
In Tragedy and Lyric Poetry
In Aeschylus' Persians (472 BCE), kleos is invoked in the context of the fallen Persian warriors, including those under Xerxes' command, where the chorus and messenger lament the enduring glory achieved through their defeat at Salamis, evoking the Homeric notion of imperishable fame and paradoxically blending Greek triumphant remembrance with Persian tragic loss.[26] This portrayal adapts the Homeric notion of kleos from epic battle fame to a civic spectacle, emphasizing the enduring renown of the dead even as it underscores the hubris of Xerxes' invasion and the divine favor shown to the Greeks.[17] Sophocles' Ajax (ca. 440 BCE) explores kleos as a fragile pillar of heroic identity, with Ajax pursuing undiluted glory (kleos) independent of divine aid, only to face its collapse after Athena's deception leads to his public disgrace and slaughter of livestock mistaken for enemies.[17] His subsequent suicide serves as a desperate reclamation of honor, questioning the vulnerability of kleos to rumor (phatis) and communal judgment, yet it ultimately secures his burial and restored reputation through Odysseus' intervention, highlighting tragedy's tension between individual shame and collective memory. In fifth-century BCE lyric poetry, particularly Pindar's epinician odes, kleos is awarded to victorious athletes as a form of immortality, linking their feats to divine favor and the brevity of human life, as seen in Olympian 1 where the Muse nurtures the wide fame (kleos) of Hieron of Syracuse through song, transfiguring mortal achievement into eternal renown amid life's transience.[27] Pindar positions athletic kleos as an extension of epic heroic glory, granted by poetic commemoration and godly endorsement, yet tempered by warnings against envy and the fleeting nature of prosperity.[17] Euripides critiques kleos in Alcestis (438 BCE) as a burdensome legacy that subordinates personal bonds to public fame, with Admetus initially embracing his wife's sacrificial death for the renown it brings him, only to confront its emotional void as Heracles restores her, prioritizing philia (affection) over heroic immortality.[28] Alcestis herself gains kleos through her unparalleled devotion, embodying the ideal wife who transcends gender norms to achieve "the best" status, yet the play exposes fame's hollowness when weighed against intimate relationships and domestic harmony.[29]In Platonic Thought
In Plato's Republic (ca. 380 BCE), the concept of kleos—the undying fame achieved through heroic deeds and poetic commemoration—is critiqued as an inferior and illusory pursuit compared to the eternal truths of the Forms. In Book 10, Socrates condemns Homeric poetry, including its promotion of kleos as a form of immortality, as a mere imitation thrice removed from reality, arguing that it corrupts the soul by prioritizing emotional appeal over rational understanding of justice and virtue.[30] Specifically, Plato references Achilles' choice in the Iliad for a short life of glory over a long but obscure existence as misguided, favoring instead the philosopher's contemplation of unchanging Forms, which offers genuine, non-poetic eternity.[31] This devaluation extends to Book 3, where Socrates advocates censoring Homeric depictions of Achilles' grief and apparent fear of death (e.g., his preference for servitude among the living over ruling the dead), as such portrayals undermine the guardians' courage and promote a flawed view of honor tied to bodily concerns rather than philosophical excellence.[32] In the Gorgias (ca. 380 BCE), Plato further subordinates kleos to justice, portraying it as a rhetorical instrument wielded by orators to gain false glory through persuasion of the masses, akin to flattery rather than true statesmanship. Socrates argues that orators like Gorgias seek acclaim (kleos) in public assemblies and courts, but this pursuit deceives both speaker and audience, elevating opinion over knowledge and external praise over the soul's moral health.[33] Callicles' defense of natural superiority, which echoes Homeric ambitions for dominance and renown, is refuted as self-destructive, with true kleos reserved for those practicing justice, not manipulative rhetoric that yields only ephemeral, undeserved honor.[34] The Phaedrus (ca. 370 BCE) contrasts kleos with the soul's authentic immortality, achieved through philosophical recollection and divine madness rather than worldly fame. Socrates critiques the distractions of rhetorical kleos, which binds the soul to transient praises and forgetfulness, diverting it from the eternal pursuit of truth and beauty via dialectic and inspiration from the gods.[35] Here, Homeric-style glory is recast as a lower aspiration, inferior to the philosopher's ascent toward the divine, where lasting remembrance arises from alignment with the Forms, not poetic or public acclaim. Plato's dialogues ultimately transform kleos into a philosophical legacy, subverting epic traditions by granting Socrates undying fame through written inquiry rather than heroic action. This Socratic kleos prioritizes the examined life and virtue's imitation, influencing later thought by elevating rational discourse over martial or rhetorical renown.[34]Interpretations and Legacy
Scholarly Analysis
Modern scholarship on kleos has been profoundly shaped by Milman Parry's oral-formulaic theory, developed in his seminal works from 1928 to 1933, which posits that epic poetry, including Homeric compositions, relied on repeated formulaic phrases to facilitate oral performance and memorization. In this framework, terms like kleos aphthiton ("deathless glory") function as mnemonic devices, enabling bards to compose verses extemporaneously while preserving narrative consistency and cultural motifs of renown. Parry's analysis, later compiled in The Making of Homeric Verse, underscores how such formulas embedded kleos within the structural fabric of oral tradition, serving both aesthetic and practical purposes in live recitation.[36] Building on Parry, Gregory Nagy's 1979 study The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry reinterprets kleos as a mechanism of "heroic immortality," achieved not through biological eternity but via poetic commemoration in a pan-Hellenic cultural context. Nagy traces the concept's evolution from ritual practices—where heroes were venerated as semi-divine figures—to its textual fixation in epic poetry, arguing that kleos perpetuated the hero's presence across generations and regions, transcending local dialects and performances. This perspective highlights kleos as a dynamic cultural institution that mediated between mortality and enduring fame.[37] Feminist critiques have illuminated the marginalization of female kleos within predominantly male heroic narratives, where women's agency in pursuing or influencing glory is often subordinated or reframed through patriarchal lenses, with female figures like lamenting mothers or wives contributing to male kleos indirectly while their own renown remains domestic or silenced. Anthropological interpretations contextualize kleos within broader Mediterranean honor-shame cultures, emphasizing its role in maintaining social status through public recognition and moral conduct amid honor-based economies. These cross-cultural parallels underscore kleos as a regionally inflected ethic of prestige. In recent scholarship, as of 2025, kleos has been extended to digital contexts, where social media and online narratives parallel ancient oral traditions in perpetuating fame, though often in ephemeral forms. Studies in digital humanities explore how viral content achieves a modern kleos aphthiton through algorithmic dissemination.[38][39]Modern Cultural References
In modern literature, James Joyce's Ulysses (1922) reinterprets the concept of kleos through the lens of contemporary anonymity and the elusive pursuit of fame, drawing parallels to the Odyssean quest for enduring renown. The protagonist Leopold Bloom, echoing Odysseus, navigates a day of ordinary trials in Dublin, where heroic glory is subverted into subtle acts of resilience amid urban obscurity, while Stephen Dedalus grapples with artistic isolation and the fear that his epiphanies may vanish unheard, contrasting ancient kleos's oral transmission with modern silence.[40] The 2004 film Troy, directed by Wolfgang Petersen, modernizes Achilles' kleos dilemma by portraying his choice between a long, anonymous life and a brief, glorious one as a personal struggle for legacy in a secular world, stripping away divine interventions to emphasize individual ambition and mortality. Achilles' famous line to a boy—"Immortality? Take it. It's yours"—underscores this tension, where glory is achieved through battlefield feats but ultimately tied to historical remembrance rather than mythic eternity, resonating with contemporary themes of self-determination and fame's cost.[41][42] Video games such as the God of War series (2005–present) invoke kleos through Kratos' relentless quests for heroic glory, where the Spartan warrior's path of vengeance and divine confrontation mirrors ancient epic pursuits of undying fame, reimagined in interactive narratives of rage and redemption. Kratos' actions, driven by a desire for recognition amid betrayal by the gods, transform kleos into a player's agency for legendary status, blending Greek mythology with modern heroism. In philosophy, Friedrich Nietzsche's concept of eternal recurrence, introduced in works like Thus Spoke Zarathustra (1883–1885), parallels kleos as a life-affirming embrace of fame through repeated heroic striving, where one must will their existence eternally to achieve meaningful glory beyond death. Scholars note this as an existential test of valor, akin to the ancient warrior's quest for imperishable renown, transforming kleos into a psychological imperative for overcoming nihilism.[43][44] Existentialist thinkers like Albert Camus critique kleos-like pursuits as absurd in an indifferent universe, as explored in The Myth of Sisyphus (1942), where the endless chase for glory through deeds becomes a futile rebellion against meaninglessness, urging revolt without illusionary fame. Camus views such quests—whether heroic renown or modern acclaim—as emblematic of humanity's confrontation with the absurd, rejecting eternal glory for lucid awareness in the present.[45] In popular culture, sports and celebrity culture manifest as "modern kleos," where athletes and stars seek enduring legacy through achievements that echo ancient glory, as seen in the 2020 documentary The Last Dance, which chronicles Michael Jordan's pursuit of basketball immortality via championships and personal narrative control. Jordan's drive for remembered dominance, framed as a quest for historical fame, illustrates how contemporary figures commodify kleos through media and memoirs, prioritizing public renown over transient success.[46][47]References
- https://en.wiktionary.org/wiki/hlj%C3%B3%C3%B0#Old_Norse