This provides for an interesting contrast in the latter half Of the book, wherein Miller constructs Patrols’ first person narrative to become stoic ND disengaged With a “war-torn” and “bloody*’ Achilles. Thus, it can be suggested that the Trojan War has caused Patrols to become disillusioned with his relationship with Achilles. He has arguably become more aware of the violence and ferocity that dominates Achilles, which Miller makes evident when Patrols claims him a “[Achilles] is a weapon, a killer”.
Inchworm’s 1 theory supports this argument, arguing that “Millers use of Patrols as the narrator explores Achilles less as a hero and more as an isolated misfit”. The idea of Achilles being n “isolated misfit” from Photojournalist of view becomes more prevalent in the novel as the war rages on. Patrols still hangs to the faint romanticizes image of “soft-skinned” Achilles, yet Patrols “cannot escape the feeling that, below the surface, something is breaking”.
Thereby, Miller could be showing the romantic and “near-normative existence as a monogamous couple?’l between the men becoming fractured by Achilles’ “blood-lust” in battle. The war has most arguably changed Achilles and consequently made Patrols shameful of his actions. Some may claim that Millers first person narration can be compared against the hired person narration Addicted uses in Half off Yellow Sun Addicted opts for the third person narrative to depict the bliss of romance deconstructing itself as war progresses.
In part one of the novel, Addicted creates an idealistic tone through Llano’s narrative voice. Llano’s dialogue is undoubtedly joyous, describing Demigod as her “revolutionary lover” and later, Addicted channels the romantic lexicon in her narrative voice “this was love: a string of coincidences that gathered significance and became miracles”. Immediately, one could interpret this as Llano becoming absolutely infatuated and enamored by Demigod ND his “revolutionary” politics in a time where the British are occupying Nigeria.
The narrative voice arguably allows Addicted to explore initial bliss in newfound relationships, making it easier for her to implement Llano’s “dark swoops” as having a parasitic effect on the love between her and Demigod. During part two and four, Addicted uses the narrative gap Mamba when Llano was pregnant” to allude to a fractured relationship, Demigod’5 voice begins to “sound so silly, so unlike him” as Llano struggles to describe the “thick blanket [of depression]” which plagues her.
Here, one could deduce that Addicted has used post-traumatic stress disorder – a common disorder tort those affected by war – to detach Llano from what once an ardent narrative voice filled with “coincidences that became miracles”. Another interpretation to consider is Millers use of foreshadowing in The Song of Achilles. It arguably portrays the ultimate affect war inflicts on relationships: death. Miller uses Thesis’ role as “Goddess of the sea” to provide foreshadowing over Achilles’ impending door Thesis delivers the news that if Achilles goes to Troy, “[he] will die a young man there It is certain.
Later, she bares the information that “Achilles will kill Hector [before dying himself)”. By doing this, Miller is arguably proving ovary to be the sole factor in destroying the “eternal companionship” Of Patrols and Achilles. Perhaps it can be said that she is reminding the reader of the irony that entraps Achilles. By “gaining eternal fame from [the Trojan War]”, Achilles must first die, thereby losing everything he has created with Patrols. The intensity oftener relationship is particularly highlighted when Patrols remarks that Achilles’ death would feel like “plummeting through a blind, black sky”.
Arguably, this links to the second twist of ironic foreshadowing in chapter twenty-two. Achilles assures Patrols that he cannot die, as he asks “what has Hector ever done to offend [him]? ” Yet, by the end of the novel it is Hector who “plummets his spear in to [Patrols”, effectively killing him and “offending” Achilles. Thus, Miller has used the consistent foreshadowing to suggest to the reader that war is an unpredictable frenzy; death is a constant presence looming over all participants – even the more lightener] timid-handed” players such as Patrols.
She is possibly questioning the very idea of relationships on the battlefield. The foreshadowing of death paired with the climax of the men’s’ downfall reminds the reader that within war, there is no real hope for relationships, Death is perhaps the most damaging impact war can inflict, yet lies as the only outcome which is truly certain Interestingly, Addicted on the other hand, opts to use the framing of the narrative as opposed to dialogue to depict the foreshadowing in Half of a Yellow Sun. Much like Miller, Addicted foreshadows death destroying relationships, seen in the end of the sorrows relationship between Llano and Jeanine.