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Natalie HaynesA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Watching the blind poet weep, Calliope notes that he must learn that war leaves no victors since the winners “only rarely survive the peace” (267).
When she was young, Cassandra had wanted the gift of prophecy. Sometimes she slept in Apollo’s temple overnight with her twin brother, Helenus. Appearing one night, Apollo wanted to have sex with her. She refused unless he gifted her prophetic ability, but when he did, she refused to have sex with him. In retribution, he cursed her prophecies never to be believed, which effectively “cursed her to a lifetime of solitude” since no one would ever believe her visions (270).
Claimed by Agamemnon, Cassandra is the last Trojan woman to leave Troy. She knows that she will die upon returning to Mycenae with him.
Gaia laments that “greedy” men are such a burden that a large war is needed to diminish the population and asks forgiveness but says, “I cannot hold you any longer” (278).
In her next letter to Odysseus, Penelope is angry. The bards sing of him being held captive by a nymph, Calypso. Penelope thinks this is implausible. She accuses him of forgetting that he is her husband and describes the many suitors who have invaded their home and are consuming their stores. Nevertheless, she admits that “their hard, youthful flesh” is tempting, as is humiliating Odysseus the way he has humiliated her, but they “are all so stupid” (284). She has fooled them for three years, claiming that she must weave a shroud for Laertes, Odysseus’s father. What she wove during the day, she unraveled at night, and the suitors would not have caught on were it not for a treacherous handmaiden, who betrayed her.
Penelope tells Odysseus she wants clever husband home, but she will not wait anymore.
Clytemnestra’s chapter covers her experiences during and after the war. Throughout the war, Clytemnestra nurses her grudge against Agamemnon for sacrificing Iphigenia and in such a cruel way, by tricking her into believing she was to marry a great warrior. At first, she hopes he will die ignominiously at Troy, but as the years wear on, and he continues to live, she plans how she will kill him and avenge her daughter. She invites his cousin and enemy, Aegisthus, to Mycenae with plans to seduce him, which his desperation to be liked makes simple. When Aegisthus and her son Orestes come into conflict, she sends Orestes away for his safety. Her daughter Electra despises Aegisthus and sides with her father, despite his murder of her sister.
Knowing that Agamemnon has offended the gods, Clytemnestra believes they will take her side and sends out scouts to stay abreast of events at Troy. The news finally arrives that the war is over and Agamemnon on his way home, and she is delighted to learn that he has taken a priestess of Apollo, Cassandra, as his concubine, since this is sure to infuriate the god and turn him to her side.
When Agamemnon returns, he appears small, grey, “paunchy,” and pathetic in his “ludicrous regalia” (297). He had brought suffering not only to Troy but to his own men, whose bodies have been broken by war. Clytemnestra lays down tapestries for him to walk across into the palace, but he demurs, believing it impious. She asks if he would do it if commanded to by the gods, and he replies affirmatively, walking over the tapestries at last.
After everyone else has entered the palace, Clytemnestra is left alone with Cassandra, who sees the Furies dancing on the roof of the palace. When Clytemnestra questions her, Cassandra is surprised that the Mycenaean queen believes her vision of the Furies, her knowledge of what happened to Iphigenia, and her vision that Clytemnestra too will die soon. She suggests that Cassandra could escape, but the former priestess replies that, since she is finally believed, Apollo must have left her. The women enter the palace to conduct a sacrifice together.
Clytemnestra leaves Cassandra kneeling in the temple, reminding her again that she has time to flee, then proceeds to Agamemnon, who is bathing. Clytemnestra holds out a robe for him to step into, but she has sewn it into a trap: It has no arm holes. She stabs him to death then returns to Cassandra and kills her too. The Furies descend from the roof, pleased that matters have been settled, but they hear someone pounding on storeroom doors. Electra had been locked up during the murder, and now, she will seek vengeance against her mother.
Penelope’s last letter is addressed as a prayer of thanks to Athene. She complains that Odysseus returned in disguise and chose to reveal himself first to their son, Telemachus, which he did because he was jealous of Telemachus’s bond with his servant, Eumaeus. Penelope expresses pity for the suitors, who were left behind by their older brothers and fathers, who went to Troy with Odysseus, and suspects Odysseus was more concerned with vengeance than reuniting with his wife. She wonders, too, if Odysseus “jettisoned” his companions on their return home, “rather than losing them” (318).
Referring to the contest of the bows that precedes Odysseus’s slaughter of the suitors, Penelope says she “never imagined it would be so violent or so cruel” and doubts that Odysseus ever considered how to apologize to the suitors’ families (322). She cannot be sure if the man sleeping upstairs is her husband, but he “fits the space that Odysseus left” (323).
The Moirai are the Fates: Clotho, Lachesis, and Atropos, who spin, measure, and cut mortal lives. Sometimes Lachesis, tasked with measuring the length of each life, makes mistakes, but she feels “no sorrow for these souls” because doing so would paralyze her (325).
Andromache travels to Epirus as the war prize of Neoptolemus, Achilles’s brutal son. Initially, grief consumes her, but she carries on, urged to eat by Neoptolemus’s men who fear his wrath if something happens to his property. Eventually, she gives birth to their son, Molossus, and Neoptolemus is pleased. He marries Hermione, Menelaus’s daughter, but prefers Andromache.
One night, he reveals how bravely Polyxena went to her death and that he tried to make it as painless as possible. Andromache is not surprised knowing that Polyxena preferred death to enslavement. Neoptolemus asks if Andromache felt the same, and she admits that she thought she would but no longer does because of Molossus, who eventually merges in Andromache’s mind with Astyanax.
When Neoptolemus is at Delphi, Mycenaeans kill him at Apollo’s temple, claiming he has committed an impiety, but Andromache knows this is “a filmy pretext” (335). Orestes claims Hermione as his bride, and Andromache marries Helenus, a Trojan prince who had betrayed the Greeks to the Trojans and excels at “making friends rather than enemies” (337).
Calliope says that she has sung as the poet commanded, of the “forgotten” and “ignored” women affected by war. If the poet does not want the song, then she will “take it away and leave him silent” (339).
The final chapters in the book conclude the women’s stories in the post-war period, rounding out the picture of the war’s effects, which stretch far beyond events on the battlefields themselves. This section begins with Calliope watching with satisfaction as the bard weeps—for he “is learning that in any war, the victors may be destroyed as completely as the vanquished”—and concludes with her threatening to leave him “silent” if he does not accept the song she has given him (267; 339). The structure is intended to provide an alternative perspective to the masculine ancient epic. However, the arc Haynes develops matches that of Homer’s Iliad and Odyssey, which together portray both the devastation of war on all involved (the Iliad) and the struggle of a war veteran to reintegrate into his former peacetime identity (the Odyssey). Haynes draws on several surviving ancient Athenian tragedies by Aeschylus and Euripides to conclude the stories of Clytemnestra, Hecabe, Cassandra, and Andromache, including the Oresteia (Aeschylus’s tragic trilogy about Agamemnon’s death and Orestes’s revenge) and Euripides’s Hebuba and Andromache.
In her final two chapters, Penelope addresses Odysseus, scolding him for his behavior, and Athena, thanking her but also expressing her disappointment with the man who has returned claiming to be Odysseus. Having Penelope express her shock and surprise at his brutality against the suitors seems intended to absolve her of guilt in relation to their deaths. This characterization works against Homer’s, in that he portrays Penelope as canny and cunning, only appearing passive while actively engineering events. Haynes ends Penelope’s story with her disenchanted but willing to welcome the man who claims to be Odysseus, whether he is who he says he is. In Homer, Penelope’s narrative ends with her testing Odysseus, successfully compelling him to prove that he is indeed her husband. Following their reconciliation, Homer shows Odysseus still struggling to contain his urge for battle, only able to do so under the compulsion of Athena. Haynes does not incorporate these latter events.
In Greek epic tradition, the fatal return of Agamemnon provides a cautionary tale for Odysseus and a model for Telemachus. Agamemnon’s mistake was returning home ostentatiously, concubine in tow, and assuming that he would be welcomed warmly. Instead, his wife murders him. Odysseus’s gifts of cunning, endurance, and forethought prevent him from making the same mistakes. After Agamemnon’s death, his son Orestes avenges his murder by killing his mother, Clytemnestra. In Homer, Telemachus is reminded repeatedly what will be expected of him should his father come to harm.
Haynes similarly places the stories of Clytemnestra and Penelope side by side in the final section of her novel. Iphigenia’s sacrifice earlier in the book establishes Clytemnestra’s motive. Haynes emphasizes her agency and control in crafting the revenge plot. She invites Aegisthus to Mycenae, knowing him to be Agamemnon’s enemy, and seduces him easily. Both Aegisthus and Agamemnon are weak, foolish, and easily manipulated at Clytemnestra’s hands. The primary source for this section of the narrative is the first drama in Aeschylus’s Oresteia cycle, Agamemnon, in which Cassandra appears but does not speak. Haynes gives her a substantive role in the events that play out in Mycenae. Cassandra’s vision of Iphigenia’s sacrifice provokes her to feel empathy for Clytemnestra, who then also becomes capable of compassion for the woman her husband has enslaved. She offers Cassandra the opportunity to escape with her life, but with her prophetic curse lifted, Cassandra chooses death.
While Cassandra seems to be the war’s final direct victim in the pages of A Thousand Ships, more violence is promised on the horizon; Cassandra predicts (Clytemnestra expects) that Orestes and Electra will seek vengeance for their father. The cost of war continues to multiply beyond the pages of the book. This concept is borrowed from Homer, who creates boundaries around his narratives of Achilles and Odysseus but evokes events continuing beyond those boundaries, including the deaths of Achilles and Odysseus future wanderings respectively.