Homer Iliad 24.468

brief analysis of the importance of ‘returning’ in this scene, as indicated by Athena’s words to Diomedes, nóstou dḕmnēsat

analysis of Solon’s familiarity with the Homeric epics and their correspondence in language and theme with Solon fr. 4 West

reference to the connection between the captured horses of Diomedes and Odysseus and the ‘the rays of the sun’

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.

Here it is Alkimos who is called ozos Arēos ‘attendant of Ares’. See the anchor comment at I.12.188.

While Priam mourns for his own son Hector, Achilles alternates in mourning for his own father Priam and for Patroklos as his own other self. By mourning for both his father and for Patroklos, Achilles shows the way—showing how to mourn for ancestors. Do as I do. Relevant is what the “speaking name” (nomen loquens) of Patroklos means: ‘he who has the glory [kleos] of the ancestors [pateres]’. See the comments on I.01.345, I.06.209, I.09.185–191. Such a meaning signals the basic fact that one’s father is one’s most immediate ancestor. The kleos ‘glory’ of Achilles is thus linked, for all time to come, with a poetic glory that originates from the ancestors.

verses matching these quoted in the Derveni Papyrus and considered by the commentator as Orphic (Obbink 1997:41n4)

analysis of the emotional claim Priam makes on Achilles as effective in turning each of them toward his own pain

analysis of the emotional claim Priam makes on Achilles as effective in turning each of them toward his own pain

comment on Priam’s exceptional behavior in kissing the hands of Achilles

analysis of the emotional claim Priam makes on Achilles as effective in turning each of them toward his own pain

analysis of Achilles’ extension of the notion of philotēs and seeing their encounter through Priam’s eyes

analysis of Achilles’ extension of the notion of philotēs and seeing their encounter through Priam’s eyes

analysis of the delicacy of the situation and the exchange between Achilles and Priam nearly not succeeding

Achilles' words to Priam as the poem ends (24.518-51) are a mixture of reproach, pity, and encouragement: Priam is a "wretch" and foolish, with an "iron heart," to have dared approach the Achaean camp alone. Achilles directs him gently, however, to sit, mourn, and ultimately endure (line 549, anskheo forming a ring-composition with line 518, anskheo). These words are introduced as winged words. The triumph of this conclusion is tonal: enemies can exchange winged words without a killing (Martin 1993:34).

Memory plays the pivotal role in the final scene of the poem, as Achilles recalls Peleus on seeing Priam, and joins the old man in weeping (24.518-51). The jars of Zeus and Niobe's grief arise in his recollection as transparent myths, nor do we feel (as with Diomedes) that these are stories meant to sway Priam. Memory bonds them, rather—except in one disturbing moment. Priam, hurrying Achilles to bring the corpse of Hektor, mentions the many gifts brought as ransom. If any piece of evidence is needed to confirm that Achilles had heard Agamemnon's offer in Book 9, it is here. For the words of Priam spark a dangerous shift in Achilles' mood precisely because Agamemnon had made the same mistake, as if mere goods could persuade Achilles. Achilles responds in language ironically echoing Agamemnon's original refusal to honor another old man's request (compare 24.560 and 1.32, mēketi m'erethize / mē m'erethize). Unlike Agamemnon, he relents. But this final touch of characterization by discourse style tells an audience that Achilles has full mastery of the genre of recollections, whether of injury or grief (Martin 1993:144-45).

For the broader analysis of Achilles' strategy of rebuking by recollection, see the comment on Iliad 9.646-647.

References

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