example of the contrast between Odysseus’ nóēma and Achilles’ strength in Odysseus’ address to Achilles before the final battle of the Iliad

contrast between age and wisdom of Odysseus and the strength of Achilles compared with those of Patroclus and Achilles

in a list of passages where theōi enaligkios is used

The time has come for Achilles to re-enter the war against the Trojans. For this to happen, Agamemnon must first settle with Achilles. But the over-king feels the need to say more than simply to formulate his proposed terms of settlement. His aim is to excuse himself from responsibility for dishonoring Achilles, and the story that he tells in order to achieve this aim is a retelling of a cosmic atē ‘aberration’ that resulted in the Labors of Hēraklēs. Such a retelling, however, is destined to backfire: it will result in further damage to Agamemnon’s own royal status and in further advancement for the heroic prestige of Achilles, for whom Hēraklēs now becomes a perfect model.

Herakles at the tree of the Hesperides, holding three of the golden apples in his left hand. Behind him is the apple tree with the guardian serpent clinging around it. Bronze, 104.5cm (Roman, 1st century C.E.). Image via The British Museum.

This speech is relevant to the need felt by Achilles to get his equitable share.

The addressing of Achilles here as phertatos ‘best’ of the Achaeans is most distinctive. See the comment on I.16.021.

This speech is relevant to the need felt by Achilles to get his equitable share.

The application of this noun to Zeus as the ultimate ‘divider’ of the portions of war is relevant to the need felt by Achilles to get his equitable share.

The seven Aeolian women that Achilles had captured when he conquered the island of Lesbos—all of whom had originally been allotted to Agamemnon—are now re-allotted to Achilles, along with Briseis as an additional eighth woman. On the seven captive women from Lesbos, see the anchor comment at I.09.128–131 / 270–272. Once again, we see the dominantly Ionic traditions of Homeric poetry showing signs of influence from a dominantly Aeolic tradition as attested in the songs of Sappho and Alcaeus. Of special interest, with regard to such a tradition, is the emphasis here at I.19.245–246 on the expertise of the seven captive women of Lesbos in working on elaborate fabrics. The sub-text of such work, here and elsewhere, is the craft of pattern-weaving. See the comment on I.09.130.

In this brief speech by Achilles, he seems to be holding Zeus responsible for causing the atai ‘aberrations’ that have led to this point in the epic. See the comment on I.19.086–088. The context here at I.19.268–275 shows that Achilles has in mind not only the atai ‘aberrations’ of Agamemnon but also his own. On the atē ‘aberration’ of Achilles himself, see the comment on I.09.502–512. See also the comment on I.09.115–120: there too we see atai ‘aberrations’ in the plural.

The property that Agamemnon promised to give as compensation to Achilles is now being delivered for possession. This property to be possessed by Achilles includes not only material objects but also women who are awarded as objectified war-prizes. Achilles the Aeolian will now be awarded possession of the seven captive women whom he had originally captured from Aeolian Lesbos. More than that, he will now get to repossess the captive woman Briseis, whom he had originally captured from Lyrnessos and who had originally been awarded to him by the Achaeans—before Agamemnon had forcibly taken Briseis away from him at the beginning of the Iliad, thus causing the monumental dishonor that had given shape to the entire narrative arc of the epic, up to this point.

Achilles concedes here that the Achaeans must feast on meat before they can fight again. But Achilles refuses to join them, I.19.304–308. He craves instead to enter the bloody stoma ‘mouth’ of war itself, I.19.312–313.

The wording of Briseis in addressing the corpse of Patroklos is not just a speech expressing her sorrows: morphologically, it is a song of lament. In what follows, I make ten points about this lament:

Point 1. On the morphology of lament, see already the comment on the wording of Andromache at I.06.407–439. It is worth repeating here a caution as expressed in that comment: the laments of characters quoted by epic do not represent the actual meter of lamentation as sung in real laments. The genre of epic regularly uses its own meter, which is the dactylic hexameter, in representing other genres that it quotes, including unmetrical genres (see again Martin 1989:12–42; also pp. 87–88, specifically on lament). But the morphology of laments quoted by epic still follows the rules of lament.

Point 2. In the case of the lament performed by Briseis here at I.19.282–302, the song is a performance by a group of captive women, led in this case by Briseis herself. Such a performance involves not only singing but also dancing, to be visualized as a stylized form of swaying accompanied by gestures such as beating the chest. See the comment on I.18.051–060, where we see Thetis and her Nereid sisters performing a song of lament for Achilles as if he were dead already. To be noted is the reference there at I.18.050–051 to the gesture of beating the chest. Such a group performance by Thetis and the other Nereids is choral, in the sense that the Greek word khoros can be defined as ‘a group of singers/dancers’: see the comment at I.18.590–606. And the same description applies to the group performance by Briseis and the captive women here at I.19.282–302: once again, the performance is choral.

Point 3. The occasion for a choral performance can be sad, as in the case of the laments led by Thetis and Briseis, or it can be happy: see the comment on I.18.590–606, where we see a description of a merry celebration at the time of a harvest.

Point 4. Viewed in such a larger context, the lament of Briseis can be seen as a masterpiece of verbal artistry. This song of lament starts as if it were a wedding song, not a lament, since Briseis is envisioned at I.19.282 as an eroticized bride who matches the goddess Aphrodite herself in beauty and gracefulness. On the convention of comparing the bride to a goddess, especially to Aphrodite, see the comments on I.18.492 and I.19.155. But as soon as Briseis sees the corpse of Patroklos, all cut up by the sharp bronze, I.19.283, happy thoughts about weddings now turn to sad thoughts about funerals. She instantly starts weeping bitterly and singing her song of lament.

Point 5. The vision of Patroklos all cut up by the sharp bronze leads to another vision for Briseis. In the back of her mind is another vision, stored in her memory. It is a vision of the husband she once had, Mynes. Just as she now sees the corpse of Patroklos, all cut up by the sharp bronze, I.19.283, she remembers seeing the corpse of her husband Mynes, all cut up by the sharp bronze, I.19.292. But the sad image of Mynes, who had once been the bridegroom of Briseis, brings back happy memories as she thinks of her own wedding—and of songs sung at that wedding. Such thoughts now evoke the sad image of Achilles, that bridegroom-to-be who will not live long enough ever to become a bridegroom—and who has killed the happy thoughts of Briseis about a bridegroom in her own past. It was Achilles, Briseis keenly remembers, who had killed her lover Mynes and conquered the city of Lyrnessos, I.19.295–296, but she also remembers that Patroklos would not let her lament for Mynes, saying that Achilles would become her new lover, making her a bride of his own, I.19.297–299.

Point 6. So, the theme of a wedding song returns in this lament of Briseis, but there is a sad irony to it all, since there will never be any future wedding for the doomed bridegroom. There will be no marriage for Achilles. All that Achilles has done for Briseis is to kill off her own marriage to Mynes, and meanwhile the death of the kind and gentle Patroklos has cut short that hero’s own intermediacy in trying to arrange a marriage for Briseis and Achilles.

Point 7. In her crying and singing, singing and crying, Briseis performs as a prima donna of lament. She is a distinctly choral personality, analogous to the personality of Sappho herself in the choral songs attributed to that Aeolian prima donna of a later era. (On Sappho as a choral personality, see PH 370, with reference to Calame 1977:367–377; also 126–127.)

Point 8. Meanwhile, the choral group of lamenting women who are likewise captives is singing and swaying in response to the lead song of Briseis, I.19.301–302. Here I epitomize from some relevant remarks in Nagy 2010a:23–24. The group is shown in the act of responding to the lament of Briseis by continuing it with their own lament, in antiphonal performance, at I.19.301: ‘So she [= Briseis] spoke, and the women wailed in response’ (ὣς ἔφατο κλαίουσ’, ἐπὶ δὲ στενάχοντο γυναῖκες). The verb epi–stenakhesthai, which I translate here as ‘wail in response’, is the conventional way for epic to signal an antiphonal performance in lamentation. See the anchor comment at I.24.720–776 on laments at Hector’s funeral.

Point 9. In singing her song of lament, Briseis as lead singer touches on her feelings as a captive woman who has become the war prize of Achilles—and who hopes to become his war bride. But she also touches on the projected feelings of the ensemble of captive women who respond to her lament in antiphonal song. These women too are war prizes, and they must therefore share in some ways the sorrows felt by the lead singer as she sings her lament. But the lead singer laments primarily the death of Patroklos and only secondarily her own misfortunes, while the ensemble of women who respond in antiphonal song are lamenting primarily their own misfortunes and only secondarily the death of Patroklos. Sorrow over the death of Patroklos seems to be the primary concern of Briseis—to the extent that her lament projects the sorrow of Achilles, which is a driving theme in the plot of the epic. By contrast, the sorrow expressed by the ensemble of captive women over their own misfortunes seems to be a primary concern only for them. Or is it? In what follows at Point 10, I argue that the overall lament will communalize the sorrow expressed by the epic narrative.

Point 10. In the lament of Briseis, the sorrow of the captive women is projected as the primary sorrow of Briseis herself over her own misfortunes, which had been caused by the deaths of her husband and the rest of her family at the hands of Achilles. Briseis shows that she remembers that old sorrow, since her wording indicates that she had wanted to lament her dead husband in the same way that she now laments the dead Patroklos. That death in her past is relevant to the death of Patroklos in the present. And the love of Briseis for her husband and the rest of her family is relevant to her love for Patroklos as a stand-in for Achilles. There is a diversity of emotions here. And the antiphonal exchange of laments between the captive women and their lead singer leads to a communalization of these emotions. The example of Briseis, then, supports the argument that lament is a communalizing experience. It leads here to a communalization of diverse emotions.

The wording here at I.19.284 in the lament by Briseis over Patroklos is comparable to the wording about a lament by an unnamed woman at O.08.527. See Nagy 2015.06.17.

Laments performed by women can focus on personal as well as communal sorrows. See the anchor comment on I.19.282–302.

See the comment on I.19.275.

See the comment on I.19.275.

See the comment on I.19.275.

After the epic is done with quoting, as it were, the lament of Briseis for Patroklos, I.19.282–302, it proceeds to quote the lament of Achilles himself for his best friend, I.19.314–338; like Briseis, Achilles too is represented as actually singing the lament.

The name Phthiē here at I.19.323 is associated with the verb phthinesthai ‘wilt, perish’ at I.19.322. See also the comment on I.01.155 and I.19.329–330, 337.

In the textual transmission of this verse, there is a trace of a variant form for the name of Pyrrhos(/Neoptolemos), son of Achilles: it is Purēs.

The name Phthiē here at I.19.330 is associated with the verb (apo-)phthinesthai ‘wilt, perish’ at I.19.329 and at I.19.337. See also the comments on I.01.155 and I.19.322–323.

The name Phthiē here at I.19.330 is associated with the verb (apo-)phthinesthai ‘wilt, perish’ at I.19.329 and at I.19.337. See also the comments on I.01.155 and I.19.322–323.

Achilles finally puts on the armor that had been made for him by the divine artisan Hephaistos. What dominates the visualization of this armor is the Shield.

As Achilles lifts the mighty Shield, there is a selas ‘flash of light’ that streams from its bright surface, I.19.374, which is compared to the radiant light that streams from the moon; then this same selas ‘flash of light’ streaming from the surface of the Shield at I.19.374 is also compared to a selas ‘flash of light’ streaming from a fire that sends forth its light from a lighthouse, I.19.375. This saving light, with its promise of salvation for sailors lost at sea who are longing to be reunited with their loved ones at home, I.19.375, I.19.377–378, streams from a fire that is burning at a remote place described here as a solitary stathmos ‘station’ situated in the heights overlooking the dangerous seas below, I.19.376–377. By way of ring-composition, the description now returns, I.19.379, to the picturing of the selas ‘flash of light’ that is streaming from the Shield. This flash of light is aptly compared here to the moon, not to the sun, since it is nighttime, not daytime: the sailors who are lost at sea are literally in the dark, desperately looking for a light to orient them. And the source of the light as a blazing fire is most appropriate not only from a practical point of view, since a strong fire is needed for sending from the lighthouse a light strong enough to be spotted in the darkness from far away at sea, but also from a symbolic point of view, since the burning looks that emanate from the angry eyes of Achilles are compared at an earlier point to a selas ‘flash of light’ that emanates from a blazing fire, I.19.366 (πυρὸς σέλας). On the angry looks of Achilles as he streams fire from his eyes and lights up the surface of his Shield, see the comment on I.19.003–017. As for the lighthouse that sends forth the light of salvation to sailors lost at sea, it is visualized as a solitary stathmos ‘station’ situated on the heights overlooking the sea, I.19.376–377. Such a stathmos, as I indicate in the comment on I.18.587–589, can be visualized more precisely as a herdsman’s shelter that looms over the shores of the Hellespont, where the ship of Achilles is beached. This shelter is actually the tomb of Achilles, located on a high promontory that reaches into the Hellespont. See the anchor comment at I.23.125–126 on the tomb of Achilles, part 1, and the anchor comment at I.23.245–248…256–257 on the tomb of Achilles, part 2; also to be noted is the anchor comment at O.24.076–084 on the tomb of Achilles, part 3, posted in 2017.01.03. Here at I.19.373–380, the gleam from the bronze surface of the Shield is being compared to the light that streams from the blazing fire of a lighthouse marking the tomb of Achilles, and this comparison can be seen as a metaphor for the overwhelmingly radiant prestige of the Bronze Age.

Xanthos, immortal horse of Achilles, is telling the hero a prophecy: Achilles will be killed by an unnamed hero who will be helped by an unnamed god. Before the fate of Achilles is fully revealed, however, Erīnues ‘Furies’ block the divine horse from revealing any further details about the death of Achilles. Correspondingly, the Master Narrator of the Homeric Iliad is blocking—for now—the revelation of any further details.

in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

analysis of Achilles’ compensation as not a gift from Agamemnon but a distribution from the group

analysis of Achilles’ compensation as not a gift from Agamemnon but a distribution from the group