The Iliad does not mention his father's name, which may suggest that he should be viewed as a commoner rather than an aristocratic hero. However, a quotation from another lost epic in the Trojan cycle, the Aethiopis, names his parents as Agrius of Calydon and Dia, a daughter of King Porthaon.
Mythology
In some accounts, Thersites, together with his five brothers including Melanippus, overthrew Oeneus from the throne of Calydon and gave the kingdom to Agrius, their father and Oeneus' brother. Later on, they were deposed by Diomedes who reinstated his grandfather Oeneus as king and slew all of Thersites' brothers. Homer described him in detail in the Iliad, Book II, even though he plays only a minor role in the story. He is said to be bow-legged and lame, to have shoulders that cave inward, and a head which is covered in tufts of hair and comes to a point. Vulgar, obscene, and somewhat dull-witted, Thersites disrupts the rallying of the Greek army: He is not mentioned elsewhere in the Iliad, but it seems that in the lost Aethiopis Achilles eventually killed him "for having torn out the eyes of the Amazon Penthesilea that the hero had just killed in combat." In his Introduction to The Anger of Achilles, Robert Graves speculates that Homer might have made Thersites a ridiculous figure as a way of dissociating himself from him, because his remarks seem entirely justified. This was a way of letting these remarks, along with Odysseus' brutal act of suppression, remain in the record.
In later literature
Thersites is also mentioned in Plato's Gorgias as an example of a soul that can be cured in the after-life because of his lack of might; and in The Republic he chooses to be reborn as a nonhuman ape. According to E. R. Dodds, "There he is not so much the typical petty criminal as the typical buffoon; and so Lucian describes him." Along with many of the major figures of the Trojan War, Thersites was a character in Shakespeare'sTroilus and Cressida in which he is described as "a deformed and scurrilous Grecian" and portrayed as a comic servant, in the tradition of the Shakespearian fool, but unusually given to abusive remarks to all he encounters. He begins as Ajax's slave, telling Ajax, "I would thou didst itch from head to foot and I had the scratching of thee; I would make thee the loathsomest scab in Greece." Thersites soon leaves Ajax and puts himself into the service of Achilles, who appreciates his bitter, caustic humor. Shakespeare mentions Thersites again in his later play Cymbeline, when Guiderius says, "Thersites' body is as good as Ajax' / When neither are alive." Laurence Sterne writes of Thersites in the last volume of his Tristram Shandychapter 14, declaring him to be the exemplar of abusive satire, as black as the ink it is written with. In Part Two of Goethe's Faust, Act One, during the Masquerade, Thersites appears briefly and criticizes the goings-on. He says, "When some lofty thing is done / I gird at once my harness on. / Up with what's low, what's high eschew, / Call crooked straight, and straight askew," The Herald, who acts as Master of Revels or Lord of Misrule, strikes Thersites with his mace, at which point he metamorphoses into an egg, from which a bat and an adder are hatched.
The role of Thersites as a social critic has been advanced by several philosophers and literary critics, including Georg Wilhelm Friedrich Hegel, Friedrich Nietzsche, Edward Said, Thomas Woods and Kenneth Burke. In the passage below from Language As Symbolic Action, Burke cites Hegel's coinage of the term "Thersitism," and he proceeds to describe a version of it as a process by which an author both privileges protest in a literary work but also disguises or disowns it, so as not to distract from the literary form of the work, which must push on toward other effects than the protest per se: An example of this stratagem is the role of Thersites in the Iliad. For any Greeks who were likely to resent the stupidity of the Trojan War, the text itself provided a spokesman who voiced their resistance. And he was none other than the abominable Thersites, for whom no "right-minded" member of the Greek audience was likely to feel sympathy. As early as Hegel, however, his standard role was beginning to be questioned. Consider, for instance, these remarks in the introduction to Hegel's Lectures on the Philosophy of History: Thersites also appears in the writings of Karl Marx' and those of later Marxist literature in Soviet times much in the spirit of Hegel's construal. Heiner Müller casts Thersites in the role of Shepherd who also shears his sheep reflecting the contradictions broached by Hegel.
