Iliad. . Germany. 2014.
Sponsored by University of Leipzig.
Funding provided by European Social Fund Saxony.
Iliad. . Germany. 2014.
Sponsored by University of Leipzig.
Funding provided by European Social Fund Saxony.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))
Provisional text from uncorrected OCR; expect errors.
The Iliad ends with the funeral of Hector, not of Achilles. And it is Hector, not Achilles, who is lamented at the end. But it is Achilles who makes it all happen, since he has transcended his rage and has shown mercy to an old father. The tears of Priam had made Achilles think of his own old father, of his own ancestors—and of Patroklos, who embodied the glories of the ancestors. Achilles was looking bad at the beginning of Iliad 23 and even at the beginning of Iliad 24, but he looks very good by the time Iliad 24 comes to a close.
Mourners lament as Hector’s corpse is laid out in preparation for the funeral that closes Iliad Rhapsody 24. Copperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman.
Image via Wikimedia Commons.
Köhnken’s argument for inclusion of Odysseus in the dual construction preceding I.09.192, citing this passage and criticism of it
On this expression, see the comment at O.01.342.
Zeus' full divine rhetoric shows itself in the muthos he makes to Thetis at 24.104-19. The subservience of the other Olympians emerges in details that contrast with the scene in Book 1: Hera serves Thetis now, instead of being a distant dissenter (contrast Hephaistos' service to her at 1.585-94). Zeus begins gently, recalling Thetis' anguish, something he himself knows. If the audience has been prepared to accept Zeus' sympathy as authentic, they have also been privileged to hear his earlier motives for summoning Thetis: he cannot let Hermes steal the corpse because the nymph is night and day beside her son (24.71-73), so he must convince her to persuade Achilles. When Zeus faces Thetis, he explains his motives much differently: "They urge the keen-sighted slayer of Argos to steal, but I grant this glory to Achilles, keeping safe your respect and affection in later time" (24.109-10). The audience is left wondering which version is more like the truth—who is being kept in the dark, Hera or Thetis? This is a paradigm for heroic rhetoric as well: through the depiction of muthos speeches among the gods, Homer illustrates the role of politic fiction in the poetics of power (Martin 1993:58-59).
For the ideal of Zeus' muthos commands, see the comment on Iliad 8.5-27.
Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.