Homer Iliad 23.826

ed. Robert Southey

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Iliad. Homer. ed. Robert Southey. London. 1847.

Sponsored by Tufts University.

Current edition Experimental

English (William Cowper, 1791, ed. Southey) (OCR draft) (English) (English (William Cowper, 1791, ed. Southey))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ἰλιάς Perseus (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.) — 23.826 focus
Translations (8)
Iliad Perseus (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.) — 23.826 focus
Iliad Perseus (Homer. The Iliad of Homer, rendered into English prose for the use of those who cannot read the original. Butler, Samuel, 1835-1902, translator. London: Longmans, Green, and Co, 1898.) — 23.793 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 23.826 focus
Achilles next offered the massive iron quoit which mighty Eëtion had once upon a time been used to hurl, until swift-footed radiant Achilles had slain him and carried it off in his ships along with other spoils. [830] He stood up and said among the Argives, “Stand forward, you who would essay this contest [ āthlos]. He who wins it will have a store of iron that will last him five years as they go rolling round, and if his fair fields lie far from a town his shepherd or ploughman [835] will not have to make a journey to buy iron, for he will have a stock of it on his own premises.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 23.826 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 23.826 focus
Then hurl'd the hero, thundering on the ground,
A mass of iron (an enormous round),
Whose weight and size the circling Greeks admire,
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Rude from the furnace, and but shap'd by fire.
This mighty quoit Eëtion wont to rear,
And from his whirling arm dismiss'd in air:
The giant by Achilles slain, he stow'd
Among his spoils this memorable load.
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For this he bids those nervous artists vie,
That teach the disc to sound along the sky:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 23.826 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 23.826 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 23 focus

New Alexandria Commentaries

Douglas Frame

comment on the purpose of Nestor’s speech on tactics for rounding the turning post, when it does not feature in the description of the race itself (evoking Nestor’s own race against the twins)

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analysis of the differences between Nestor at his chariot race against the twins and Antilochus at the race in Iliad 23, here, slow and old horses

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example of Nestor as symbol of “intelligence”

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analysis of the role of mētis and noos in Antilochus’ race

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analysis of mētis and noos of characteristic of Odysseus and Nestor, respectively, but also used of the other, and the connections of noos with nostos and Nestor

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example of Nestor as the symbol of “intelligence,” here exemplified by his connection with mêtis

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analysis of the opposition of mētis and biē

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comparison of the charioteer(s) in Nestor’s speech with himself and Antilochus (and others)

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analysis of Antilochus’ mētis and comparison of this verse with I.23.515

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comparison of the charioteer(s) in Nestor’s speech with himself and Antilochus (and others)

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comparison of Antilochus with the skilled charioteer in Nestor’s speech

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comparison of the charioteer(s) in Nestor’s speech with himself and Antilochus (and others)

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analysis of the phrase oude se lēsei/he lēthei in Nestor’s speech to Antilochus (and the entire chariot race sequence)

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analysis of the chariot race and turning point in terms of the twin myth, with the turning point/grave as the point of death and from whence the immortal twin initiates the return to life

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comparison of Nestor’s advice to Antilochus regarding the balance between inciting and restraining his horses and that of the Epeian twins

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comparison of Nestor’s advice to Antilochus regarding the balance between inciting and restraining his horses and that of the Epeian twins, and the irony in Nestor’s advice (his own crash)

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comment on the immediacy of the race after Nestor’s speech of advice to Antilochus (analysis of the motivation of the speech)

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comment on the immediacy of the race after Nestor’s speech of advice to Antilochus (analysis of the motivation of the speech)

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comment on the immediacy of the race after Nestor’s speech of advice to Antilochus (analysis of the motivation of the speech)

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analysis of the motivation of Nestor’s speech of advice to Antilochus – evoking Nestor’s own earlier race (the turning post, on which Nestor spends so much time, is ignored in the description of the race)

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comparison of the language of turning for home after routing the Epeians in Nestor’s story in I.11 and the language of rounding the turning post in the chariot race for Patroclus

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comparison of the language of turning for home after routing the Epeians in Nestor’s story in I.11 and the language of rounding the turning post in the chariot race for Patroclus

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comparison of the language of turning for home after routing the Epeians in Nestor’s story in I.11 and the language of rounding the turning post in the chariot race for Patroclus (Nestor’s account of the battle as cast in terms of a chariot race)

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analysis of the motivation of Nestor’s speech of advice to Antilochus – evoking Nestor’s own earlier race (the turning post, on which Nestor spends so much time, is ignored in the description of the race)

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comparison of the language of turning for home after routing the Epeians in Nestor’s story in I.11 and the language of rounding the turning post in the chariot race for Patroclus

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analysis of the motivation of Nestor’s speech of advice to Antilochus – evoking Nestor’s own earlier race (the turning post, on which Nestor spends so much time, is ignored in the description of the race)

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analysis of the attitude towards, and the reality of, the ability of female horses in chariot races

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analysis of the differences between Diomedes’ (with Athena’s help) and the Epeian twins’ chariot races

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analysis of Diomedes’ chariot racing, with Athena’s help (returning the whip and putting strength into his horses), in terms of the Indo-European twin myth, where the whip belongs to the immortal twin

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comparison of Eumelos’ and Nestor’s chariot racing (lack of restraint in letting fly of the reins and the yoke breaking for Nestor and Eumelos, respectively, and crashing the chariot)

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analysis of the symbolism of the whip and the yoke in Diomedes’ race

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analysis of the differences between Nestor at his chariot race against the twins and Antilochus at the race in Iliad 23, here, slow and old horses

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analysis of the symbolism of the whip and the yoke in Diomedes’ race

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analysis of the interconnections of Menelaus’ chariot race in this passage and the success of his (and Agamemnon’s) nostos

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analysis of the differences between Nestor at his chariot race against the twins and Antilochus at the race in Iliad 23, here, slow and old horses

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comparison of Antilochus with the skilled charioteer in Nestor’s speech and Antilochus’ taking to heart what Nestor says (oude me lēsei/he lēthei)

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analysis of the role of noos in Antilochus’ race (contra Menelaus’ words regarding Antilochus’ noos)

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analysis of the role of noos in Antilochus’ race (contra Menelaus’ words regarding Antilochus’ noos)

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comparison of Antilochus’ and Menelaus’ race with Nestor’s against the Epeian twins, in terms of incitement and (not) crashing

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comparison of Antilochus’ and Menelaus’ race with Nestor’s against the Epeian twins, in terms of incitement and (not) crashing

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comparison of Antilochus’ heedless incitement to Nestor’s state of mind when he crashed, and Patroclus’ when the gods call him to death (I.16.693)

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comparison of Antilochus’ and Menelaus’ race with Nestor’s against the Epeian twins, in terms of incitement and (not) crashing

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analysis of Menelaus’ characterization as a follower in his relationship with Agamemnon, here in particular the use of the verb methiēmi of him in these verses and in I.10.121

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analysis of Antilochus’ and Menelaus’ dispute over the second prize in the chariot race

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analysis of Eumelos’ virtual race (as surmised by Idomeneus) and comparison with Nestor’s race in his youth

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Eumelos’ virtual race as a description of Nestor’s youthful race, in the context of analyzing Nestor and Diomedes as charioteers in I.08 and Nestor’s dropping the reins

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analysis of Eumelos’ virtual race (as surmised by Idomeneus) and comparison with Nestor’s race in his youth

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analysis of Eumelos’ virtual race (as surmised by Idomeneus) and comparison with Nestor’s race in his youth

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analysis of the symbolism of the whip and the yoke in Diomedes’ race

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analysis of the symbolism of the whip and the yoke in Diomedes’ race

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analysis of Antilochus’ mētis and comparison of this verse with I.23.322

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analysis of the attitude towards, and the reality of, the ability of female horses in chariot races

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analysis of Antilochus’ and Menelaus’ dispute over the second prize in the chariot race

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analysis of Antilochus’ and Menelaus’ dispute over the second prize in the chariot race

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analysis of Antilochus’ and Menelaus’ dispute over the second prize in the chariot race

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analysis of the role of mētis and noos in Antilochus’ race, and specifically the significance of the verse 590 on noos and mētis

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analysis of the role of mētis and noos in Antilochus’ race, and specifically Antilochus’ uncharacteristically unbalanced mind during the race, according to Menelaus

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analysis of Antilochus’ and Menelaus’ dispute over the second prize in the chariot race

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analysis of the role of mētis and noos in Antilochus’ race, argument that Antilochus’ victory is a victory of noos, and the name of Noēmōn in these verses corroborating this interpretation

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analysis of Nestor’s role in the chariot race and the relevance of Nestor’s youthful crash to Patroclus, with reference to Nestor’s story to him in I.11

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traces of solar myth in Nestor’s traditions, here the funeral games of Amarunkeus

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analysis of Nestor’s chariot race against the Aktorione in terms of the Indo-European twin myth, interpreting the twin’s and Nestor’s functions accordingly

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analysis of the two levels of significance in Achilles’ awarding Nestor the last price in the chariot race

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analysis of the secrecy/irony in Nestor’s role in the Iliad as exemplified (here) by his saying oude se lēthō in his speech to Achilles at receiving the last prize in the chariot race

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analysis of Nestor’s story as (designated as) ainos, a coded message

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comment on traditions of Oedipus according to which he remained in Thebes until his death, in context of discussing the expanded reference to him and Epikaste in O.11

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comparison of the language of turning for home after routing the Epeians in Nestor’s story in I.11 and the language of rounding the turning post in the chariot race for Patroclus, with a phrase also shared by the second half to the footrace in this verse

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comparison of the footrace with the nostoi of Achaeans (specifically, Odysseus and Ajax)

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comparison of the footrace with the nostoi of Achaeans (specifically, Odysseus and Ajax)

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comparison of the footrace with the nostoi of Achaeans (specifically, Odysseus and Ajax)

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the need to consider the footrace and the chariot race together to see the connection between the games in I.23 and the nostoi, here specifically Antilochus’ case, where it is his footrace that counts for his nostos, not his chariot race, which has primarily to do with Nestor’s former race

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Gregory Nagy

The funeral that Achilles arranges here for Patroklos in the Iliad is in some ways a preview of the funeral that the Achaeans will arrange for Achilles himself beyond the time-frame of the Iliad. A high point of the funeral in Iliad 23 is a spectacular chariot race arranged by Achilles to honor his dead comrade Patroklos. But an earlier high point is a comparably spectacular cremation of his friend’s body. But this cremation of Patroklos, as a ritual, is far from perfect: it is in fact polluted, and the pollution will make Achilles look bad, at least for the moment. The polluted thoughts of the hero, as evidenced by his dragging the corpse of Hector behind his speeding chariot, will drive him to extremes that will challenge the cosmic order. But the Master Narrator of the Iliad will remedy the pollution, and the remedy will take the form of actually narrating the grim story. In the process of this narration, a great lesson will be learned about life, death, and a hoped-for recovery of life.

draft js image errorAchilles dragging the body of Hector. Copperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman. Image via Wikimedia Commons.

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|326 σῆμα δέ τοι ἐρέω μάλ’ ἀριφραδές, οὐδέ σε λήσει. |327 ἕστηκε ξύλον αὖον ὅσον τ’ ὄργυι’ ὑπὲρ αἴης |328 ἢ δρυὸς ἢ πεύκης· τὸ μὲν οὐ καταπύθεται ὄμβρῳ, |329 λᾶε δὲ τοῦ ἑκάτερθεν ἐρηρέδαται δύο λευκὼ |330 ἐν ξυνοχῇσιν ὁδοῦ, λεῖος δ’ ἱππόδρομος ἀμφὶς |331 ἤ τευ σῆμα βροτοῖο πάλαι κατατεθνηῶτος, |332 ἢ τό γε νύσσα τέτυκτο ἐπὶ προτέρων ἀνθρώπων, |333 καὶ νῦν τέρματ’ ἔθηκε ποδάρκης δῖος Ἀχιλλεύς. |334 τῷ σὺ μάλ’ ἐγχρίμψας ἐλάαν σχεδὸν ἅρμα καὶ ἵππους, |335 αὐτὸς δὲ κλινθῆναι ἐϋπλέκτῳ ἐνὶ δίφρῳ |336 ἦκ’ ἐπ’ ἀριστερὰ τοῖιν· ἀτὰρ τὸν δεξιὸν ἵππον |337 κένσαι ὁμοκλήσας, εἶξαί τέ οἱ ἡνία χερσίν. |338 ἐν νύσσῃ δέ τοι ἵππος ἀριστερὸς ἐγχριμφθήτω. |339 ὡς ἄν τοι πλήμνη γε δοάσσεται ἄκρον ἱκέσθαι |340 κύκλου ποιητοῖο· λίθου δ’ ἀλέασθαι ἐπαυρεῖν, |341 μή πως ἵππους τε τρώσῃς κατά θ’ ἅρματα ἄξῃς· |342 χάρμα δὲ τοῖς ἄλλοισιν, ἐλεγχείη δὲ σοὶ αὐτῷ |343 ἔσσεται· ἀλλὰ φίλος φρονέων πεφυλαγμένος εἶναι.

|326 I [= Nestor] will tell you [= Antilokhos] a sign [sēma], a very clear one, which will not get lost in your thinking. |327 Standing over there is a stump of deadwood, a good reach above ground level. |328 It had been either an oak or a pine. And it hasn’t rotted away from the rains. |329 There are two white rocks propped against either side of it. |330 There it is, standing at a point where two roadways meet, and it has a smooth track on both sides of it for driving a chariot. |331 It is either the tomb [sēma] of some mortal who died a long time ago |332 or was a turning point [nussa] in the times of earlier men. |333 Now swift-footed radiant Achilles has set it up as a turning point [terma plural]. |334 Get as close to it as you can when you drive your chariot horses toward it, |335 and keep leaning toward one side as you stand on the platform of your well-built chariot, |336 leaning to the left as you drive your horses. Your right-side horse |337 you must goad, calling out to it, and give that horse some slack as you hold its reins, |338 while you make your left-side horse get as close as possible [to the turning point], |339 so that the hub will seem to be almost grazing the post |340 - the hub of your well-made chariot wheel. But be careful not to touch the stone [of the turning point], |341 or else you will get your horses hurt badly and break your chariot in pieces. |342 That would make other people happy, but for you it would be a shame, |343 yes it would. So, near and dear [philos] as you are to me, you must be sound in your thinking and be careful.

(Epitomized from H24H 7§§3–6.) I concentrate here on the use of the word sēma in two verses, I.23.326 and I.23.331, concerning the sēma or ‘sign’ given by the hero Nestor to his son, the hero Antilokhos, about the sēma or ‘tomb’ of an unnamed hero. I divide my analysis into four parts:

Part 1. The two verses come from a passage where Nestor gives instructions to Antilokhos about the driving skills required for a charioteer to make a left turn around a landmark. As we will now learn from the context, this landmark is meant to be used as a turning point in the course of a chariot race that is being planned as the culminating athletic event of the Funeral Games for Patroklos in Iliad 23. In the words of Nestor, this landmark is either a sēma, ‘tomb’, of an unnamed hero of the distant past, I.23.331, or it was once upon a time a ‘turning point’, a nussa, I.23.332, used for chariot races that must have taken place in such a distant past. As I will argue, the master narrative of the Iliad shows that this sēma or ‘tomb’ is to be understood as the tomb of Patroklos himself, which he will share with Achilles once Achilles too is dead. To understand this is to understand the sēma or ‘sign’ given by the hero Nestor.

Part 2. The sēma that is the ‘tomb’ of the unnamed hero at I.23.331 is also a ‘sign’ of that hero’s cult, as signaled by the sēma or ‘sign’ that is conveyed by the speaker at I.23.326. That is what I once argued in an essay entitled “Sēma and Noēsis: The Hero’s Tomb and the ‘Reading’ of Symbols in Homer and Hesiod” (GM 202-222). As I pointed out in that essay, we know from evidence external to Homeric poetry that the tomb of a cult hero could be used as the actual turning point of a chariot race: in the historical period, starting with the adoption of chariot racing in the athletic program of the Olympics (this adoption has been dated at around 680 BCE), the turning-point of chariot-races could be conceptualized as the tomb of a hero, whose restless spirit was capable of “spooking” the horses at the most dangerous moment of the chariot-race, the left turn around the turning point. (GMP 215-216, with reference to Pausanias 6.20.15-19).

Part 3. According to the wording of Nestor, however, there seem at first to be two different interpretations of the landmark that he is showing to Antilokhos: what is being visualized is either a tomb of a cult hero from the distant past or it is a turning point for chariot races that must have taken place in such a distant past. The landmark is an ambivalent sign. At least, it seems ambivalent, short range, on the basis of Nestor’s wording in this passage. Long range, however, on the basis of the overall plot of the Iliad, this wording will lead to a fusion of interpretations. And the sign that seemed at first to be ambivalent will become clear. Long range, the tomb of the unnamed hero from the distant past becomes the same landmark as the turning point of a chariot race from the distant past. That is because the unnamed hero from the distant past becomes a named hero from the immediate present of the Iliad. That hero is Patroklos, and he died just now, as it were, in Iliad 16.

Part 4. But Patroklos dies not only in the present time of the Iliad. He also did die a long time ago, from the standpoint of later generations who are listening to the story of the Iliad. So, the storytelling of the Iliad makes it possible for the athletic event of a chariot race from the distant past to become the same thing as the athletic event of a chariot race that is being held right now, in the same immediate present time of the story, in Iliad 23. And, as I argue, this race is intended to honor Patroklos as a future cult hero. See also the comment on O.11.119–137.

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reference to exegetical problem discussed in Aristotle Sophistici Elenchi chapters 18, 19

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reference to the fact Plato and Xenophon each report variant readings that are not found in the manuscript tradition (Labarbe 1949.415-416)

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analysis of kúklos as a metaphor for the sum total of Homeric poetry and the craft of the carpenter to the art of the poet. See Pindar Pythian 3.112-114, Il. IV.110, Il. XXIII.712. This traditional pattern of thinking explains the classification of the aoidós and the téktōn under the category of dēmiourgós (Od. XVII.381-385)

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blame as kharma to others and elenkheiē to the one to experience it, in the context of analyzing blame poetry

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analysis of the applications of phrase “best of the Achaeans,” here restrictions to the way others besides Diomedes, Agamemnon, Ajax, and Achilles may be best, in particular, various heroes being the best at given events at the Funeral Games (Diomedes at chariot driving in this verse)

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one of the two attestations of histor in the Iliad or the Odyssey

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Here we see an example of pherein and agein in a construction that corresponds to what we find in Cato's De agri cultura 141.1-2, where we read circum-ferō and circus-agō in a ritual context.

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See anchor comment at I.23.113 on Meriones as therapōn of Idomeneus.

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the funeral of a hero as the primary occasion for athletic contests in Homeric narrative, in the context of the analysis of the evidence of hero cult in the Iliad and the Odyssey

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analysis of the applications of phrase “best of the Achaeans,” here restrictions to the way others besides Diomedes, Agamemnon, Ajax, and Achilles may be best, in particular, various heroes being the best at given events at the Funeral Games (Epeios at boxing in this verse)

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analysis of connection between the metaphor of the master carpenter and the art of the poet and of kúklos as a metaphor for the sum total of Homeric poetry. See Il. XXIII.340, Il. V.722

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analysis of ar- (ars, arariskein) and tek(s)- (tekhnē, texō) as applied to poetry and carpentry

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analysis of the theme of biē, specifically in its elemental dimension, here the power of winds as designated by it or its synonym is (as in this verse)

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analysis of Eustathius’ notion (1.9) of the ancient rationale of distinct color schemes

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as an epithet, kratero- as a variant of hiero- in combinations with is + gen. of the hero’s name

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analysis of krataiis ‘whose is has kratos’ and Akhaioi

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analysis of Zeus’ role in awarding nikē as primary and Athena’s as secondary

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analysis of Zeus’ role in awarding nikē as primary and Athena’s as secondary

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as an epithet, kratero- as a variant of hiero- in combinations with is + gen. of the hero’s name, here note on krateron menos (cp. hieron menos)

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See anchor comment at I.12.188.

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See anchor comment at I.23.113 on Meriones as therapōn of Idomeneus.

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See anchor comment at I.23.113 on Meriones as therapōn of Idomeneus.

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analysis of the applications of phrase “best of the Achaeans,” here restrictions to the way others besides Diomedes, Agamemnon, Ajax, and Achilles may be best, in particular, various heroes being the best at given events at the Funeral Games (Agamemnon at spear throwing in this verse)

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evidence for non-Koine versions still in the time of Plato

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evidence for non-Koine versions still in the time of Plato

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Leonard Muellner

analysis of the motivation of Nestor’s speech of advice to Antilochus – evoking Nestor’s own earlier race (the turning post, on which Nestor spends so much time, is ignored in the description of the race)

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in a list of examples of eukhesthai + dative (formulas which report prayers)

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analysis of the enjambed attestations of #[eukh– –] with dative

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in a list of examples of eukhesthai einai + comparative/superlative (secular contexts)

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analysis of the versatility of poetic technique to report prayers (invocation, grant of favor, request of favor)

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example of a very compressed prayer, in the context of the analysis of composition by theme in prayers, which can be amplified or minimized according to circumstances

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Apollo’s name-epithet formulas which have the same metrical shape as the divine names in the dative in the eukhomai + dative formulas, but which are not used in this system because, unlike the others, they begin with a vowel (here, words occurring before Apollo’s two dative formulas that always end with a consonant)

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Richard Martin

The dispute between Ajax and Idomeneus at the Funeral Games (23.457-98) illustrates several features of the flyting genre in sequence. Idomeneus' muthos is an attempt to gain authority by the suggestion that he alone has the ability to discern the race results before it is over (23.457-72), and also gives him an opportunity to single out Diomedes for praise (23.471-73). Ajax recognizes the move for what it is and criticizes the older hero's style: "Why are you blustering beforehand?" (labreueai, 23.474). Ajax then denigrates Idomeneus not only for the content of his speech but for his proficiency at this abased speech form itself: "You are always blustering with muthoi. You mustn't be a blustering speaker. There are better ones present" (23.479-80). Idomeneus springs on Ajax the same rhetorical trap seen elsewhere (Agamemnon at 4.399-400), implicitly conceding the honor of best flyting speaker to Ajax while suggesting that prowess in flyting is accompanied by incompetence at all else (23.483-84). Achilles interrupts the escalating flyting match with a command to focus attention on nikē rather than neikos (23.496), deflecting blame onto those who would use the genre: "Get angry at another, whoever would do such things" (23.494) (Martin 1993:75-76).

For the broader analysis of the flyting genre, see the comment on Iliad 4.336-421.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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Nestor's directions to his son Antilokhos before the chariot race aim at reminding him of the role of "cunning intelligence" in driving. The speech begins with praise: "Zeus and Poseidon have loved you and taught all types of horsemanship, so I do not have to teach you very much" (23.306-7). The disclaimer of speaking seriously is a well-known device, a sign that this is to be an extended and important performance by Nestor. This is confirmed by the next lines, taken up by the longest block of gnomic utterances in any speech in the Iliad (23.315-25). At the end, an allusion to loss of general praise ("there will be shame for you," 23.342) forms the transition between the exact instructions of Nestor and the closure, another warning by reference to famous examples (23.346-48). As one rereads Nestor's speeches, the repetitions that may have seemed gratuitous now make sense as reflexes of Nestor's consistent praise function in the poem (Martin 1993:107-8).

For the broader analysis of Nestor as the ideal speaker whose rhetoric rests on eulogy, see the comment on Iliad 1.253-284.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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It is not surprising that Achilles' style in commanding should appear more formal as the poem ends. His role as manager of his companion's funeral demands this, but Achilles' speech did not have to be dramatized; that it is formalized reinforces our earliest idea of his style, gained from seeing him follow convention in proposing the traditional causes for the plague (1.65-67) and calling for an official interpretation. The authoritative quality of Achilles' speech strikes us as a refrain in Book 23. Five times the poet introduces Achilles' speech with the line "He stood up and spoke a muthos among the Argives" (23.657, 706, 752, 801, 830). The performances thus prefaced are official proclamations of contest and prize, often no more than a line or two. Through these speeches, which seem generic enough to be spoken by anyone, a voice finally accords with Achilles' status. No one else says such things in the Iliad; only Achilles rates high enough to be able to evaluate and reward the competitive style of his peers (Martin 1993:140-41).

For the broader analysis of Achilles' distinctive speech style, see the comment on Iliad 9.646-647.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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