Homer Iliad 23.859

ed. David B. Monro, ed. Thomas W. Allen

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Iliad. Homer. ed. David B. Monro, ed. Thomas W. Allen. Oxford. 1908-1920.

Sponsored by Perseus Project, Tufts University.

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Current edition Perseus

Ἰλιάς (Greek) (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.)

Translations (9)
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.) — 23.859 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.) — 23.884 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 23.859 focus
Then stood up King Teucer, [860] and Meriones the stalwart attendant [ therapōn] of Idomeneus rose also, They cast lots in a bronze helmet and the lot of Teucer fell first. He let fly with his arrow right then and there, but he did not promise hecatombs of firstling lambs to King Apollo, [865] and missed his bird, for Apollo foiled his aim; but he hit the string with which the bird was tied, near its foot; the arrow cut the string clean through so that it hung down towards the ground, while the bird flew up into the sky, and the Achaeans shouted approval. [870] Meriones, who had his arrow ready while Teucer was aiming, snatched the bow out of his hand, and at once promised that he would sacrifice a hecatomb of firstling lambs to Apollo lord of the bow; then espying the pigeon high up under the clouds, [875] he hit her in the middle of the wing as she was circling upwards; the arrow went clean through the wing and fixed itself in the ground at Meriones’ feet, but the bird perched on the ship’s mast hanging her head and with all her feathers drooping; [880] the life went out of her, and she fell heavily from the mast. Meriones, therefore, took all ten double-edged axes, while Teucer bore off the single-edged ones to his ships.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 23.859 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 23.859 focus
He said: experienc'd Merion took the word;
And skilful Teucer: in the helm they threw
Their lots inscrib'd, and forth the latter flew.
Swift from the string the sounding arrow flies;
1020
But flies unblest! No grateful sacrifice,
No firstling lambs, unheedful! didst thou vow
To Phoebus, patron of the shaft and bow.
For this, thy well-aim'd arrow, turn'd aside,
Err'd from the dove, yet cut the cord that tied:
1025
Adown the main-mast fell the parted string,
And the free bird to heaven displays her wing:
Seas, shores, and skies with loud applause resound,
And Merion eager meditates the wound:
He takes the bow, directs the shaft above,
1030
And, following with his eye the soaring dove,
Implores the god to speed it through the skies,
With vows of firstling lambs, and grateful sacrifice.
The dove, in airy circles as she wheels,
Amid the clouds the piercing arrow feels;
1035
Quite through and through the point its passage found,
And at his feet fell bloody to the ground.
The wounded bird, ere yet she breathed her last,
With flagging wings alighted on the mast,
A moment hung, and spread her pinions there,
1040
Then sudden dropp'd, and left her life in air.
From the pleas'd crowd new peals of thunder rise,
And to the ships brave Merion bears the prize.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 23.859 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 23.859 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 23.859 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 23 focus

New Alexandria Commentaries

David Elmer

Here and some fifty lines later (23.193) are the only two occurrences in the Iliad of the ἔνθ᾽ αὖτ᾽ ἄλλ᾽ ἐνόησε (“then he/she thought of other things”) formula, which occurs with much greater frequency in the Odyssey. In that poem, the formula functions as a marker of a more or less significant discontinuity: a change of scene or a turn of the plot in a substantially new direction (see Odyssey 2.382). In this instance, there is no such discontinuity, at least in terms of the scene or the forward movement of the action. Instead of a sudden departure in a new direction, we find a ‘zooming in’ on the goal of the action, from the Myrmidons as they march in Patroklos’ funeral procession to Achilles standing at the pyre. The discontinuity consists rather in the transition to a ritual act of special significance: Achilles’ dedication of the lock of hair that Peleus had vowed would be offered to the river Sperkheios on Achilles’ return to Phthia. The subsequent occurrence of the formula likewise marks the shift to an especially significant ritual act, namely, the lighting of Patroklos’ funeral pyre. The formulaic marker of discontinuity thus serves to highlight the most critical ritual moments in the otherwise continuous narrative of Patroklos’ funeral. Comparison with the usage of the formula in the Odyssey suggests further layers of possible meaning. At Odyssey 23.242, a variant of the formula occurs in a context in which, again, there is no immediately apparent discontinuity. And, again, this occurrence is followed by another a short while later (23.344). These two instances enclose what is arguably the most significant moment in the Odyssey: the reunion of Odysseus and Penelope, which Aristophanes of Byzantium and Aristarchus identified as the poem’s τέλος (see Odyssey 23.242). One might similarly view the ritual act enclosed by the Iliad’s two occurrences of the formula as the τέλος of that poem, for, by shearing the lock of hair he had saved for Sperkheios, Achilles ritually formalizes his destiny to die at Troy. In the Odyssey, furthermore, the ἄλλ᾽ ἐνόησε formula, which is used most often with Athena as subject, serves as an index of narrative control: it highlights the fact that Athena prompts and guides the action (see Odyssey 2.382). In Iliad 23, Achilles emerges as a comparable director of the action. Not only does he dictate the ritual procedures of Patroklos’ funeral; during the subsequent games he directs contests that restage, in various ways, many of the poem’s principal themes. Finally, it is tempting to draw some connection between the fact that, in the Odyssey, the formula is restricted to female subjects (Athena, Helen, Nausikaa, Penelope) and the fact that, in the Iliad, it refers exclusively to Achilles’ involvement in funerary ritual. As a mourner, Achilles participates in a sphere of action that is typically dominated by women (see Alexiou 2002 and Dué 2006: ch. 1). The application to Achilles of a formula that is otherwise associated with female actors may serve to highlight his assumption of a very different social role than he has hitherto occupied.

Bibliographical References

Alexiou, M. 2002. The Ritual Lament in Greek Tradition. Rev. ed. Lanham, MD.

Dué, C. 2006. The Captive Woman’s Lament in Greek Tragedy. Austin.

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Douglas Frame

analysis of Achilles’ address to the river Spercheius. The juxtaposition of Peleus’ intention with the theme of Achilles’ return underscores the latent connection of loss of “mind” with Achilles’ loss of “return”

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in the context of discussing ērato and Arētē

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analysis of Achilles’ acknowledgement of fate, which suggests that Achilles’ resolve to die is also a result of his own lack of “mind”

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analysis of allusions/references to traditions outside of the Homeric epics, here by Iliad to other epic traditions regarding the death of Achilles and his killing Memnon (Kakridis’ argument)

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in the context of discussing ērato and Arētē

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reference in the context of analyzing names in -tōr, here regarding Stentōr

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comment on Eumelos’ “eagerness” as not being the same fault as in Nestor’s case, in the context of comparing Eumelos’ race with Nestor’s race with the twins

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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 role of noos in Antilochus’ victory in the chariot 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, knowledge and skill in horsemanship

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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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comparison of Nestor and Antilochus, and the latter’s representation as similar to old, experienced Nestor in Nestor’s speech

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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

While the Trojans are mourning Hector in Troy, I.23.001, Achilles and his fellow Achaeans have all returned to the ships beached at the Hellespont, I.23.001–002, and the hero now calls on the Myrmidons, whose leader he is, to perform special funerary rituals in mourning for Patroklos. The Myrmidon warriors are to mourn Patroklos while driving their chariots around his dead body three times, I.23.007–009, I.23.013–014, after which they are to unharness the chariots and join in a funeral feast arranged by Achilles. The ritual act of mourning while driving, as performed by the Myrmidons, is described overall as a góos ‘lament’, I.23.010, for which Achilles himself is the principal performer, as signaled by the verb arkhein ‘lead off [in performing]’, I.23.012. The words of his lead-off lament are quoted at I.23.019–023. In this lament, Achilles addresses the dead Patroklos and repeats to him at I.23.20–23 the two deeds that he had promised at I.18.334–337 to perform before the funeral could take place. First, Achilles had promised to bring back, together with the dead body of Hector, the armor that Hector had stripped from the dead body of Patroklos, and now he reiterates that promise, adding two ghastly details about the dead body of Hector: he has dragged the corpse behind his chariot and intends to feed it to the dogs, I.23.021. And, second, Achilles had also promised to slaughter twelve captive Trojan youths on the funeral pyre of Patroklos and then to cremate their bodies together with the body of Patroklos himself, I.23.022–23. After repeating these promises to Patroklos within the wording of his quoted lament, I.23.020–023, Achilles now prepares for the funeral feast—but not before displaying the dead body of Hector, lying face down in the dust, I.23.024–026, next to the stand where the dead body of Patroklos is lying in state. Then, after the Myrmidons unharness their chariots, I.23.026–027, they sit down next to the ship of Achilles in order to partake of the feast, I.23.028, and the slaughter of the sacrificial animals to be eaten at the funeral feast gets underway, I.23.029–034. Nothing is said here about cooking the meat. Instead, the last thing said about this funeral feast of the Myrmidons is that the blood flowing from the mass slaughter of sacrificial animals is streaming all around the corpse of Patroklos, I.23.034. It seems as if the Myrmidons were feasting on raw meat, just as their leader Achilles had expressed the ghastly desire to cut up the mortally wounded Hector and to eat him raw, I.22.346–347. See the comment on I.22.346–348. Meanwhile, the leaders of the Achaeans come to the ship of Achilles and persuade him, with some difficulty, to leave behind the funeral feast of the Myrmidons and to come along with them to the headquarters of Agamemnon, I.23.035–038, where the order is given to prepare for Achilles some hot water for him to wash off all the blood that still covers him, I.23.039–041. Evidently, Agamemnon is preparing for an all-Achaean feast to be attended by Achilles, who is now expected to wash up before the feast begins. And it is only at this moment that we see for the first time that Achilles is still covered in gore. The blood of all the Trojans he has slaughtered on the battlefield is still on him and with him. Already before, Achilles must have been covered in gore when he had hosted the feast for that sub-set of Achaeans who were his own people, the Myrmidons. Back then, neither Achilles nor any of his Myrmidons had washed off the human blood of the killing fields before the shedding of the animal blood at the sacrifice that preceded their funeral feast. But now, for the all-Achaean feast, Achilles is expected to wash up. Not surprisingly, Achilles refuses, declaring at I.23.043–044 that he will remain covered with gore and will refrain from washing off the blood until he performs three sacred tasks. He now names these tasks at I.23.045–046: first, he will cremate Patroklos, I.23.045, and, second, he will make a tumulus that will be a sēma ‘tomb’ for Patroklos, I.23.045, and, third, he will at an earlier point cut off a long lock of his own hair as a sacrifice to be burned on the funeral pyre of his friend, I.23.046. That said, however, Achilles goes on to urge Agamemnon to continue with the plan for an all-Achaean feast, I.23.048—provided that the Achaeans follow up on their nighttime feasting by going out next morning in order to gather firewood for constructing the funeral pyre that will be used for the cremation of Patroklos, I.23.049–053. The Achaeans proceed to indulge in their feasting and then return to their shelters for a night’s sleep, I.23.054–058, while Achilles goes off without having had anything to eat, mourning Patroklos, and he finds a solitary spot on the beach, where he lies down, exhausted, and falls into a deep sleep, I.23.059–064. What will happen next, at I.23.071-076, is the apparition of the spirit of Patroklos. Before commenting on the apparition scene, however, I must pause to note that the narrative has already indicated five salient points of dysfunctionality in the preparations of Achilles for the funeral of Patroklos:

Point 1. The intent of Achilles to slaughter twelve captive Trojan youths as a human sacrifice is understood to be ritually incorrect. See the comment on I.23.163–183. And the fact that he will go through with it and will actually perform the deed will in retrospect be understood to be morally incorrect as well. See the comment on I.23.163–183. In myth, human sacrifice is a pollution, both ritually and morally. And such pollution is typical of what can perhaps best be described as a traditional pattern of dysfunctionality in myth—as opposed to functionality in ritual, where animal sacrifice is understood to be a salvific replacement of human sacrifice. As we see from the myth of Pelops as narrated in Pindar’s Olympian 1, for example, the slaughtering of Pelops is a dysfunctional sacrifice in the heroic world of myth, but it becomes an aetiology for the functional sacrifice of rams in the post-heroic world of ritual as practiced in Olympia during the archaic and Classical periods and beyond (detailed analysis in PH 116–135). In this connection, I offer a working definition of aetiology (background in PH 118, 125–130; 141–142; 386; 395–397; also Nagy 2011a§68): an aetiology focuses on a foundational catastrophe in the mythologized past that explains and thus motivates continuing success in the ritualized present and future.

Point 2. The dragging of Hector’s corpse by Achilles is likewise understood to be ritually incorrect, and such incorrectness is in this case noted by Homeric poetry, which signals also the moral incorrectness of mistreating a corpse. See the comment on I.23.163–183. Here I invoke a general principle at work in myths about ancient Greek heroes: whenever heroes commit deeds that clearly violate moral codes, such deeds are not condoned by the heroic narrative. See H24H 1§52, where I work out an analysis of such a principle, to be summarized in this formulation: the pollution of a hero in myth is relevant to the worship of that hero in ritual. Especially relevant to this formulation, as we will see in later comments, are myths that aetiologize rituals of seasonally recurring athletic competitions: the ritual of competing in an athletic event is thought to purify the original pollution of the hero in myth (analysis in H24H 7a§14).

Point 3. The intent of Achilles to feed Hector’s corpse to dogs and birds is clearly understood to be a blatant abomination both ritually and morally. In this case, however, Achilles will never get to perform such a horrific deed.

Point 4. There is something wrong about the funeral feast of the Myrmidons as arranged by Achilles. The blood of sacrifice is not offset here by any mention of cooking the meat to be eaten.

Point 5. Achilles is ritually incorrect in not purifying himself of human blood before he undertakes the three ritually correct actions of cutting his hair, cremating the body of Patroklos, and entombing his bones.

All five of these points, as we will see retrospectively in the anchor comment at I.23.184–191, are examples of pollution.

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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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The sēma ‘tomb’ that will be made for Patroklos is visualized as a tumulus.

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The word akhos ‘grief’ here at I.23.047, indicative of lament, is embedded in the actual words of lamentation performed by Achilles at I.23.043–053. The grief that Achilles feels for Patroklos, he says, will never go away: Achilles is now a man of constant sorrow. See especially the comment on I.18.015–073; also the comment on I.09.249–250.

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At I.23.065, the psūkhē ‘spirit’ of the dead Patroklos appears to Achilles while the hero sleeps. Achilles is instructed by the ghostly spirit of Patroklos to cremate his corpse, I.23.070–071 / I.23.076, and to construct a tomb that will be shared by the two heroes after Achilles too is dead, I.23.083–084, 091–092.

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On the surface, what the psūkhē ‘spirit’ of Patroklos wants is a proper funeral for the corpse of Patroklos. But what does the psūkhē really want for itself? I ask the question this way in order to highlight a basic fact about the use of the word psūkhē in Homeric diction: as a disembodied conveyor of identity after death, the psūkhē is distinct from the body once the body is no longer alive. In view of this distinction, the answer to the question I just posed is partly evident—but also partly mystical. Here is my formulation of the answer: what the psūkhē really wants for itself is to be reunited with the body, and such a reunion must be achieved by way of a proper funeral. The part that is mystical about this formulation is the fact that the very idea of a proper funeral is a ritual construct that fits the mythological construct of the psūkhē. The ritual must be done right, and then the myth of the psūkhē will turn out to be right. So, it is imperative for Achilles to get things right in preparing a proper funeral for Patroklos. And how will Achilles make sure that the funeral of Patroklos is a proper funeral? Most important, there must be a ritually correct entombment, I.23.071, and a vital part of this entombment will be the actual cremation of the corpse, I.23.070–071 / I.23.076. Before cremation of the corpse, the psūkhē as a ‘spirit’ that used to belong to the body will be haunting the world of the living, but, after cremation, there will be no more haunting, I.23.075–076. So, what will happen to the psūkhē after cremation of the body? It is often assumed by readers of these verses at I.23.071-076 that the psūkhē as ‘spirit’, once the body is cremated, will now simply join the other psūkhai or ‘spirits’ who are already in Hādēs, and that will be the end of that. But the original Greek wording does not say that. In my opinion, what it really says gets misunderstood. What follows is a reinterpretation of I.23.071–076, divided into ten points:

Point 1. I start with evidence from Homeric poetry about the underworld known as Hādēs. I argue that Hādēs is a zone of transition for the psūkhē ‘spirit’ as it journeys from the Far West to the Far East. In this mystical zone, psūkhai can get lost along the underworld pathways leading from west to east, and then they will wander around, but they can also find the way, and, from the very start, the right way can be achieved by way of cremation. There will be much more to say about Hādēs in comments on the Odyssey. For now, however, it is enough to say at least this much more on the basis of the internal evidence of I.23.071–076: without a proper cremation and entombment, the psūkhē of Patroklos will not achieve safe passage through Hādēs. I make a special point here of saying through Hādēs and not to Hādēs. As I will argue further in comments on the Odyssey, Homeric poetry treats Hādēs as something that is transitional, not eschatological. In the Iliadic passage that is now being analyzed, I.23.071–076, even the psūkhē ‘spirit’ is something that is ultimately transitional in its own right.

Point 2. At I.23.073, it is said that the psūkhē ‘spirit’ of Patroklos is not allowed by the other psūkhai ‘spirits’ to join them ‘on-the-other-side-of [huper] the river [potamos]’ (ὑπὲρ ποταμοῖο), and that is why it is then said at I.23.074 that the psūkhē of Patroklos is left to wander all over the realm of Hādēs. The point is, the psūkhē of Patroklos is already in Hādēs, wandering around, and thus his psūkhē is not being excluded from Hādēs by the other psūkhai. Rather, as I argue here, the psūkhē of Patroklos is being excluded from joining other psūkhai who are no longer wandering around in Hādēs.

Point 3. And why are these other psūkhai no longer wandering around? It is because they have already found the way to get to the other side of the potamos ‘river’, I.23.073. And what is ‘the river’ here? In terms of Homeric poetry, this river must be the world-enclircling fresh-water stream named Ōkeanos, which as we saw in the comment on I.07.421–423 is a boundary delimiting light from darkness, wakefulness from sleep, life from death. The sun rises from the Ōkeanos at sunrise in the Far East, as we see at I.07.421–423, just as it sets into it at sunset in the Far West, as we see at I.08.485–486. And the movement of the sun both into and out from the Ōkeanos in the Far West and in the Far East respectively is envisioned as a cosmic model for an alternation between darkness and light, between sleep and awakening, between death and revival from death.

Point 4. This model is most relevant to what is meant when the psūkhē ‘spirit’ of Patroklos says at I.23.073 that the other psūkhai ‘spirits’ do not allow his spirit to join them ‘on-the-other-side-of [huper] the river [potamos]’ (ὑπὲρ ποταμοῖο). In this case, I argue, the circular cosmic river Ōkeanos is imagined as separating the dead from the living in the Far East, where the sun rises, not in the Far West, where the sun sets.

Point 5. Correspondingly, the pulai ‘gates’ of Hādēs mentioned at I.23.071 are situated in the Far East, where the sun rises, not only in the Far West, where the sun sets. In support of this interpretation, I note that the pulai ‘gates’ of Hādēs at I.23.071 can be seen as a by-form of the pulai ‘gates’ of Hēlios the Sun, mentioned at I.24.012. See also the anchor comment at I.08.367 on: Gates of Hādēs. (Further analysis in GMP 225–226.)

Point 6. If, then, the Gates of Hādēs are the Gates of the Sun, then I can make more sense of what the psūkhē ‘spirit’of Patroklos is saying at I.23.071, where this spirit expresses its desire to pass through the Gates of Hādēs. I argue that the psūkhē of Patroklos here is seeking passage through the gates of Hādēs that are situated in the Far East, where the sun rises, not through the gates that are situated in the Far West, where the son sets. See also the anchor comment at I.08.367 on: Gates of Hādēs.

Point 7. Similarly, the psūkhē ‘spirit’ of Patroklos seeks to cross the world-encircling cosmic river in the Far East, not in the Far West. Whereas the other side of the river in the Far West is the zone of Hādēs from the standpoint of the living, the other side of the same river in the Far East is a mystical place beyond the zone of Hādēs—from the standpoint of the dead who are still wandering around in Hādēs but who seek a renewal of life. As the psūkhē of Patroklos says at I.23.074, his spirit is still wandering around in the zone of Hādēs. And that is because his body has not yet received the ritual of cremation, which as we will now see will lead to a recovery of life after death.

Point 8. The scenario that I have put together here is based not only on the internal evidence of the wording at I.23.071–076 and elsewhere in Homeric poetry. It is based also on the comparative evidence of cognate Indic traditions centering on rituals of cremation as correlated with myths about a recovery of life after death. There is a detailed survey in the essay “Patroklos, Concepts of Afterlife, and the Indic Triple Fire,” GMP 85–121 (the essentials can be found at pp. 87, 115–121). In terms of Indic ritual and myth, cremation leads to a reunion: once the cremation takes place, the spirit without body and the body without spirit can now be reunited, and, this way, the dead can now be revived after death. Further, such a revival results in the reunion of the revived dead with the already revived pítṛ-s or ‘ancestors’. It is most relevant to note here that the Indic word pítṛ- ‘ancestor’ is cognate with the Greek word Patro- in the name Patrokléēs, which means ‘he who has the glory [kleos] of the ancestors [pateres]’: thus the role of Patroklos in instructing Achilles about the vital importance of cremation is in and of itself a deeply traditional theme.

Point 9. On the basis of both the internal and the comparative evidence that I have assembled so far, my formulation about the the ritual of cremation as visualized in myth can now be extended. In this extended formulation, I start with a scenario that reconstructs the initial phase of what happens to the psūkhē after the body is successfully cremated:

After a successful cremation, the psūkhē will cease wandering around in Hādēs and will now find its way out. The psūkhē will cross the world- encircling river in the Far East and pass through the Gates of Hādēs, which are the Gates of the Sun, just as the sun passes through these same gates when it rises at sunrise.

Point 10. I now continue with a scenario that reconstructs the next phase of what happens to the psūkhē after the body is successfully cremated. In this case, I find no internal evidence in Homeric poetry, and so I turn to the comparative evidence of Vedic poetry in Indic traditions, which show at least the broad outlines. From here on, since I now rely primarily on the Indic comparanda, I will no longer say psūkhē but simply ‘spirit’, which can serve as an adequate translation for both the Greek word and the corresponding Indic word, mánas-. This Indic word refers to the breath of life that leaves the body at death and is destined to be mystically reintegrated with the body after cremation. That said, I resume the scenario:

After finding its way out of the lower world, the spirit follows the path of the sun and joins the rising sun at sunrise, ascending into the skies and seeking to be reunited there with the body. Meanwhile, the body has already been vaporized by way of cremation, and its fumes ascend into the skies, seeking to be reunited there with the spirit.

Such a prospective reunion of spirit and body is the secret of immortalization after death, and the key to that secret is the ritual of cremation.

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reference to Citti’s recognition of the fact that Aeschines Against Timarchus 149 contains a variant οὐ γὰρ ἔτι, which is shared by some of the city-editions of Homer (politikaí) (Citti 1966.30)

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The spirit of the dead Patroklos is recounting how Peleus had entrusted Patroklos as a therapōn to Achilles. On the adverb endukéōs ‘continuously, uninterruptedly’, see the anchor comment at O.07.256. Here the adverb may be highlighting an idea of continuity, linked with the ritual process of serving as a therapōn.

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Achilles responds to the apparition in his dream, I.23.094–096, declaring to the spirit of Patroklos that he intends to do exactly what this spirit has instructed him to do. But the hero’s declaration here is interwoven with a question that he asks of the spirit: why do you appear to me and instruct me to do things that I already intended to do? This interwoven question at I.23.094–096 is most curious, since it is patently unjustifiable. I argue that the things intended by Achilles fail in more than one way to match the things intended by the psūkhē of Patroklos. There are two main reasons for making this argument:

First, Achilles intends to do more than the two things that Patroklos instructs him to do. As we saw at I.23.045–046, Achilles intends not only to cremate Patroklos and to entomb him but also to cut off a long lock of his own hair as a sacrifice to be burned on the funeral pyre of his friend. And he intends to do even more than that. As we saw in the lament of Achilles where he addressed the dead Patroklos, he repeats to him there at I.23.20–23 the two deeds that he had promised at I.18.334–337 to perform before the funeral could take place: first, Achilles had promised to bring back, together with the dead body of Hector, the armor that Hector had stripped from the dead body of Patroklos, and, second, he had also promised to slaughter twelve captive Trojan youths on the funeral pyre of Patroklos and then to cremate their bodies together with the body of Patroklos himself. And there is even more: as we have seen at I.22.326–330, at I.22.354, and at I.22.248 (together with I.22.354), Achilles intends to expose the body of Hector to be devoured by dogs and birds, after having degraded the corpse by dragging it behind his chariot. But the fact is, the spirit of Patroklos had not spoken to Achilles about any of these other things.

And here is the second reason for arguing that the interwoven question of Achilles at I.23.094–096 is not justifiable: the fact is, Achilles had never spoken about any intent to have himself entombed together with Patroklos when the time comes for his own funeral. The idea of such a double entombment came from the psūkhē of Patroklos.

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While Achilles is still dreaming, he asks Patroklos to embrace him, I.23.097–098. With these words, Achilles finishes his speech to the spirit of Patroklos. Now the Master Narrator can take over, and he narrates how Achilles, having finished speaking to Patroklos, then reaches out to embrace him, I.23.099. But no contact can be made, since Patroklos is merely a psūkhē ‘spirit’, I.23.100, which recedes like a wisp of smoke and disappears beneath the earth, I.23.100–101. Now Achilles is jolted out of sleep, and he reflects ruefully on what he just experienced, I.23.101–106: this psūkhē ‘spirit’—he now refers to Patroklos this way at I.23.104 and I.23.106—is just an eidōlon ‘likeness’ of Patroklos and is devoid of any phrenes ‘senses’, and yet he looked just like the real Patroklos, I.23.107. The surprise expressed by Achilles here in reacting to the realistic appearance of Patroklos recalls an earlier point in the narrative: when the psūkhē of Patroklos is first sighted at I.23.065, already in that first moment of its apparition, it is pictured as life-size, I.23.066—so, it is not a miniature version of the self. In other traditions, as reflected in vase-paintings dated mostly to the late sixth century BCE, the size of such a psūkhē ‘spirit’ is in fact miniaturized. See the comment on I.24.014–121.

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Now that the spirit of Patroklos has departed and Achilles has reacted to the evanescence of this spirit, morning comes. It is time for the Achaeans to gather the firewood that will be used to construct the funeral pyre for the cremation of Patroklos.

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Meriones is consistently marked as the therapōn of Idomeneus, just as Patroklos is the therapōn of Achilles. Though Meriones as a therapōn of Idomeneus is a ritual substitute for that king of all the Cretans, this recessive member of the pair does not die for that dominant member. We see here a radical contrast with Patroklos, who does in fact die for Achilles. Meriones stays alive, destined to become a dominant hero in his own right. And a dress-rehearsal, as it were, for this status of eventual dominance is the role of Meriones as a competing chariot driver in the chariot race of Iliad 23. It is Meriones who competes in that race, not Idomeneus.

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

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The anchor comment here at I.23.125–126, combined with the anchor comments at I.23.245–248…256–257 and at O.24.076–084, add up to an overall commentary on the three direct references that are made to the tomb of Achilles in Homeric poetry. In the first reference here, at I.23.125–126, it is already made clear that the place for constructing the funeral pyre that will cremate the corpse of Patroklos will be the same place where the tomb for Patroklos will also be constructed—and that this tomb will ultimately enclose not only the bones of Patroklos but also the bones of Achilles. This place is described as a lofty aktē ‘promontory’, I.23.125, and ērion is the word for the ‘tomb’ that will be prepared after the cremation, I.23.126. It is specified that this tomb is intended for entombing not only Patroklos but also Achilles, when the time comes for his own funeral, I.23.126. So, we now see that Achilles has heeded the instructions of Patroklos to make a tomb for the two heroes to share. And, as we will see when we reach the anchor comment at I.23.245–248…256–257, this tomb will be incomplete until Achilles is entombed together with Patroklos. Ultimately, this tomb will belong primarily to Achilles. See also anchor comment at I.23.245–248…256–257 on: tomb of Achilles, part 2; and anchor comment at O.24.076–084 on: tomb of Achilles, part 3.

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At the place where the firewood is gathered for the funeral pyre, Achilles organizes a funeral procession of the Myrmidons in honor of Patroklos. The Myrmidons are in in full battle gear as they make their appearance at the event: in the forefront are their chariot drivers and chariot riders, parading in their chariots, followed by the masses of infantry, I.23.132–134. Then they all cut their hair, placing the sheared locks on the body of Patroklos, lying in state, I.23.135–136. Achilles presides over the entire event as the chief mourner, I.23.136–137.

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ritual form of the akhos of Achilles for Patroklos given by the proceedings at the Funeral Games (comparison with Cypriot tradition of dancing the purrhikē at funerals of kings)

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Now the making of the funeral pyre may begin. And, in preparation, Achilles will cut his own golden-blond hair, I.23.141, placing into the lifeless hands of Patroklos the long lock that he shears off, I.23.152–153. (What follows is epitomized from H24H 12§26a.) The long unshorn hair of Achilles had ostentatiously signaled his pre-adult status. Once his hair is cut short, he can become an adult. In this Homeric scene, as we see Achilles standing on the heights of the promontory that will become the setting for the tumulus that encloses his own body, he wistfully looks out over the seas of the outer Hellespont, fixing his gaze toward the far west, in the direction of his native land of Thessaly, and longing for the river Sperkheios that flows through that distant land: it was to the waters of that river, which he will never live to see again, that he had hoped to sacrifice his long hair after he came of age and was ready to cut it, I.23.142-153. But now Achilles cuts his long hair prematurely and unseasonally as he stands there on the promontory, I.23.142. Meanwhile, the Myrmidons led by Achilles will anticipate his example, likewise cutting their hair, I.23.135-136. (At H24H 14§26a, I need to clarify what I say about I.23.135–136: it is only the Myrmidons, not the Achaeans en masse, who cut their hair here.) This ritual gesture of cutting the hair in mourning for Patroklos will later be extended after Achilles himself is killed: what then happens at his own funeral is that all the Achaeans, not only the Myrmidons, will join in the same gesture: as we learn at O.24.046, all the Danaoi=Achaeans will cut their hair for Achilles. But now, at I.23.138–153, Achilles himself will show the way by cutting his own hair, thus prefiguring what all the Achaeans will do en masse at his own funeral. Do as I do. Achilles shows the way to mourn him later by now cutting his own hair in mourning for his other self Patroklos. Moreover, this same ritual gesture of cutting the hair in response to the death of Achilles becomes an aetiology for explaining why it is that Greek men of the post-heroic age customarily wear their hair short, not long—except for such notable counter-examples as the Spartans. In a work of Philostratus, On Heroes (51.13), we read the following succinct formulation of an aetiology for this generalized Greek custom: ‘no longer could they [= the Achaeans] consider it a beautiful thing to grow their hair long, in the time after Achilles’ (οὐδὲ κομᾶν ἔτι μετὰ τὸν Ἀχιλλέα καλὸν ἡγούμενοι). In the wording of this aetiology, it is as if the death of Achilles were the single reason that explains why adult men of the post-heroic age no longer wore their hair long. It is as if all the ‘sons of the Achaeans’ were now ready to shift from pre-adult to adult status—once Achilles was dead and buried. The term ‘sons of the Achaeans’—as the Achaean warriors are conventionally described in the Iliad (I.01.162 and so on)—implies a pre-adult status for all those ‘boys’ who fought in the Trojan War. But now those fighting ‘boys’ of the heroic age have reached a post-heroic maturity that inaugurates a post-heroic age.

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thematic and formal convergences of Achilles and Apollo (here, Apollo’s epithet akersekomēs as at I.20.039 and Achilles’ hairshearing in these verses)

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commentary on xanthos in the context of immortalization

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So far, the preparations for cremation, with all the preliminary rituals, have been open to all the Achaeans. But now Achilles urges Agamemnon to send them away to their dinners. So, attendance at the cremation will be restricted. Only the kind of person who was a kēdeos ‘mourning-relation’ for Patroklos may attend the event, I.23.160. Other than these men, only the agoi ‘leaders’ of the Achaeans are also allowed to attend, I.23.160. But there is something odd about the exclusion of the Achaean masses from participating in the cremation. This exclusion, as we are about to see, can be connected with five signs indicating that the ritual of cremation for Patroklos was about to be somehow compromised, even polluted.

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Now the cremation proceeds to the finish. The kēdemones or ‘mourning-relations’ who stayed behind may now complete the task of making a mighty funeral pyre, I.23.163–164, and then they place the corpse of Patroklos on top of the pyre, I.23.165. What follows next is a spectacular array of sacrificial offerings that are also placed on the pyre, to be burned together with Patroklos, I.166–178. The offerings include sacrificial animals that are ritually slaughtered before being placed on the pyre: included are sheep and cattle at I.23.166, horses at I.23.171–172, and dogs at I.23.173–174. And then, the last and most important of the sacrificial offerings are the twelve Trojan youths that Achilles had already promised to slaughter as a human sacrifice: Achilles will now personally cut their throats and leave their bodies to be cremated alongside Patroklos, I.23.175–178. Then, to finish off the ritual of cremation, Achilles addresses Patroklos, picturing him in the realm of Hādēs, I.23.179. Achilles boasts again, as he had done before, that he has done everything that he has promised to do, I.23.180—but the only one of those things that he now mentions here specifically is the sacrifice of the Trojan youths, I.23.181–182. There is something very wrong here, and the Master Narrator knows it. Already at I.23.176, where he highlights the moment when the Trojan youths are killed before being cremated, the Master Narrator says about Achilles: ‘and he had bad intentions in in his mind’ (κακὰ δὲ φρεσὶ μήδετο ἔργα). By intending things that look bad for his victims, he is making himself look bad. See also the comment on I.22.395–405, with reference to I.22.395. So, what makes Achilles look bad here? For an answer, I repeat what I already said at Point 1 in the comment on 1.23.01–064: the killing of the Trojan youths as a form of human sacrifice is in retrospect understood to be morally wrong. In myth, human sacrifice is a pollution. And such pollution is an instance of dysfunctionality in myth as opposed to functionality in ritual, where animal sacrifice is understood to be a salvific replacement of human sacrifice. And the idea that something is polluted in the thinking of Achilles when he slaughters the youths is linked to something else in his train of thought as he goes on to say one more thing about this killing: at least the bodies of the youths were devoured by the fire of cremation, I.23.183. But then he adds in the same train of thought: by contrast, the body of Hector will be devoured by dogs, I.23.183. So, Achilles expresses here once again a ghastly intention that he has expressed so many times before. But, this time, the expression becomes the final moment in the ritual of cremation for Patroklos. And to bring the whole ritual of cremation to such a conclusion is I think a sign of pollution. Here I find it relevant to epitomize what I already said at Points 2 and 3 in the comment on 1.23.01–064 about the mistreatment of Hector’s corpse by Achilles: both the dragging of the corpse and the intent to feed it to dogs and birds are signs of pollution.

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analysis of the evidence of hero cult in the Iliad and the Odyssey (here, offering of honey with oil)

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As we will now see, the gods are well aware of the ongoing pollution, and they counteract it by way of purification, which takes the form of preserving the body of Hector from the mistreatment intended by Achilles. Right after Achilles declares once again at I.23.183 that he will expose his enemy’s body as prey to be devoured by dogs, the Master Narrator firmly contradicts him at I.23.184: no, the dogs will not be devouring the body of Hector. And why? Because the gods will not allow it. Aphrodite herself is keeping the hellish hounds away from the corpse, I.23.185–186. And the goddess is applying to Hector’s skin a salve that is ambrosio- ‘immortalizing’, thus keeping it intact and saving the beautiful flesh from any disfigurement—no matter how many times Achilles will drag the corpse behind his speeding chariot, I.23.186–187. (On the word ambroto-/ambrosio- in the sense of ‘immortalizing’, not ‘immortal’, see the relevant comment on I.16.670.) So, the goddess of sexual beauty has kept the naked body of Hector beautiful to the point of becoming sexually attractive: Hector is now the definitive beau mort, the beautiful corpse, since his dead body has been made beautiful by way of a beautiful death, une belle mort. (See HC 4§266, with bibliography on the French terminology; see also the relevant comment on I.17.050–060.) For the first time here at I.23.184–191, we see that the body of Hector was never even disfigured—despite the horrific visions of disfigurement that the Master Narrator allowed to be imagined at I.22.395–405 and even later at 1.23.1–64. (See especially the comment on I.22.395–405.) Now, all those darkly horrific visions of ugliness recede in the beautiful light of divine intervention. Not only does Aphrodite apply her immortalizing salve to Hector’s flesh, I.23.186–187, but Apollo does even more, enveloping the hero’s entire body in a divine glow that will shield it from all decay and pollution, I.23.188–191. And by now we can see that the action of the gods in perfectly preserving the dead body of Hector is an act of perfect purification that counteracts the self-pollution of Achilles in mistreating the corpse. We have already seen that the polluted thoughts of Achilles had even compromised the ritual of cremation for Patroklos. But now we will see that the saving of Hector’s body by the gods will lead to an overall purification that will in the course of time counteract not only the specific pollution of mistreating the corpse of Hector but also the overall pollution that has compromised the ritual of cremating the corpse of Patroklos. And the gods will accomplish this overall purification by saving Hector’s body as a ritually idealized corpse that is worthy of a ritually ideal cremation—which will actually take place in Iliad 24. Even before we reach the narration of that ideal cremation in Iliad 24, eight points need to be made already now about the picturing of Hector’s body as a ritually idealized corpse here at I.23.184–191:

Point 1. The etymology of the noun sōma, conventionally translated as ‘body’, is relevant to the ritual idealization of Hector’s corpse in Iliad 23. To make this argument, I start by returning here to the basic idea that Hector’s corpse is ideal because it was saved for a ritually ideal cremation—and thus saved from the horrors of exposition to dogs and birds.

Point 2. That said, I propose that this idea of something that is saved matches the etymology of sōma, which I explain as an action-noun derived from a verb that survives as sōzein in classical Greek prose, meaning ‘save’. This relatively late form of the verb, sōzein, is already attested in Homeric poetry (as at O.05.490: σώζων), though the dominant use of the same verb in this poetry preserves an uncontracted (and thus older) shape of the root, which is sa(w)o- (as at I.24.035: σαῶσαι). The contracted (and thus newer) shape of the root, which is sō-, occurs normally in the “weak” metrical positions of the Homeric hexameter (that is, in the second long of a sequence long-long, which derives from a sequence long-short-short), but there is already an attestation of this same shape in a “strong” metrical position (that is, in the first long of a sequence long-long or in the long of a sequence long-short-short): in this case, the root is attested in the adjective sōs, meaning ‘safe or ‘saved’, at I.22.332 (σῶς ἔσσεσθ’). Similarly, the root of the noun sōma is attested in a “strong” metrical position throughout its occurrences in Homeric hexameter. In terms of my proposal, then, sōma was an action-noun derived from a contracted form of its verb-root: so, from sō-, not from sao-. As an action-noun derived from a verb meaning ‘save’, it would have originally meant ‘saving’ —and then later became concretized to mean ‘the thing saved’. Here is a semantic parallel: the action-noun sperma, derived from the verb-root sper- meaning ‘sow’, originally meant ‘sowing’—and then later become concretized to mean ‘a thing that is sown’, that is, ‘seed’. An ideal corpse, then, in terms of the etymology I propose, is a thing that is saved.

Point 3. In Homeric diction, this word sōma as applied to heroes refers to a ‘body’ that is already dead but needs to be saved from mistreatment or from dangers in general. The clearest example is at I.22.342: Hector, mortally wounded by Achilles and already on the verge of death, is making a final plea to Achilles, asking him to show mercy not to the dying Hector but to the dead Hector that he will be after he has died, and this dead Hector is called here the sōma of Hector. To say it another way, Achilles is asked to show mercy to the sōma of Hector after Hector is already dead and his body is already a corpse. That is why Hector is pleading for his sōma to be returned to Troy, where the Trojans can arrange for it to have the proper ritual of cremation, I.22.342–343. Such an arrangement is anticipated already at I.07.079–080.

Point 4. By making this plea, Hector is at the same time pleading for his body not to be exposed as prey for dogs to devour, I.22.339: ‘don’t let the dogs at the ships of the Achaeans ravage me’ (μή με ἔα παρὰ νηυσὶ κύνας καταδάψαι Ἀχαιῶν). Here the future corpse of Hector is starkly equated with the present self of Hector. He is not even saying here, ‘don't let the dogs devour my body’, but instead he says more simply, ‘don't let the dogs devour me’. This idea of the dead body as the self has already been highlighted in the comment at I.01.003–005.

Point 5. As for the outcome of Hector’s plea here, I have already analyzed in the comment on I.22.346–348 the savage response of Achilles, who declares his certaintly that, yes, he will expose Hector’s corpse as prey for dogs and birds to devour, I.22.248 (also I.22.354). But I concentrate here only on the wording of the original plea that provoked the response. In terms of this wording, the sōma is something that needs to be saved for cremation and thus saved from harm. The sōma must be saved. It needs salvation. And, ideally, the sōma is in fact saved. That is the ritualized ideal that we see reflected in the etymology, to be interpreted as ‘the thing that is saved’.

Point 6. I find it relevant to add, however, that Homeric diction can also turn the meaning of sōma upside down: in two contexts, I.03.023 and I.18.161, sōma refers to a carcass that is being devoured by a ravenous lion that holds on to it and won’t let go. For wild animals, then, the sōma is something that must be saved for devouring. For humans, by contrast, the sōma is something that must be saved from being devoured by wild animals—and thus saved for cremation.

Point 7. In Homeric poetry, the saving of the corpse for cremation translates into a salvation of the self by way of cremation. Hector’s cremation in the heroic age, as we will see it described in Iliad 24, will become a model for all cremations in the post-heroic age. And this cremation of Hector in Iliad 24 will undo the pollutions that had compromised the cremation of Patroklos in Iliad 23. These pollutions will be purified by way of narrating the cremation of Hector, which will be done right and which will therefore be free of pollution. In the future, as the cremation of Hector demonstrates, there will be no more polluting of cremation as a ritual, as there had been at the cremation of Patroklos. No longer will there by any human sacrifices. No longer will the mistreatment of corpses be condoned. The polluting of rituals like cremation in the heroic age of myth will be superseded by the purifying of these same rituals in the post-heroic age of ritual, which is the era of the Homeric present, when rituals can be done right.

Point 8. The rituals of the post-heroic age include not only the aristocratic and vastly expensive practice of cremation. They include also the wildly popular medium of epic performance as exemplified by the Homeric poetry of the Iliad. If epic performance is ritualized, which is what I argue, then the actual narration of all the events that supposedly took place in the heroic age is a ritual in and of itself. And, as a ritual, epic performance can be a form of purification in its own right. Whatever events are narrated in Homeric poetry, the performance of these events, good or bad, is purified simply by way of being narrated. It is in this context that we can view the five salient points of dysfunctionality in the preparations of Achilles for the funeral of Patroklos, as listed in the comment on 1.23.01–064. In retrospect, all five of these points show examples of pollution. And all five of these examples can ultimately be counteracted by the purifying power of narration in epic performance. Epic narration can purify pollution.

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analysis of the theme of biē as elemental, and here specifically the representation of Achilles’ biē as parallel to that of the cosmic aspect of biē (as manifested in the thunderstorm of Zeus/Hephaistos’ fire/winds as violent storm)

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Memnon’s ideal suitability for the theme of immortalization and the role of Eos/Dios thugatēr in the preservation of the hero in the afterlife

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location of the land of Aithiopes and Olympians’ habitually going there to receive sacrifice

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analysis of the evidence of hero cult in the Iliad and the Odyssey (here, wine libation)

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reference to the mixing of the ashes of Achilles and Patroklos in O.24.077 as not a duplication of references to the same mixing in the Iliad (here and 23.091-092), therefore not violating Munro’s law, in the context of analyzing a traditional suppression of anything overtly Iliadic in the Odyssey

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The tomb of Patroklos, called tumbos here at I.I.23.245, will also become the tomb of Achilles when his time comes to die. It is to be built on a small scale until Achilles is entombed there as well, I.23.245–246. But then, with the entombment of Achilles together with Patroklos, the size of the tomb will become spectacular in both height and width, I.23.246–247. So, this tomb will be incomplete until Achilles is entombed together with Patroklos—at which point it becomes truly the tomb of Achilles. So, instead of saying here that the tomb of Patroklos will also become the tomb of Achilles, it would be more accurate to say that the tomb of Patroklos will simply belong to Achilles. The spirit of Patroklos, when he appeared to Achilles and instructed him to construct a tomb for the two of them, was really pointing the way for Achilles to have a tomb of his own. There now follows at I.23.248 a pointed reference to the Achaeans of the future who will be sailing past the promontory on top of which the tomb is located and marveling at the sight of the structure, which is called a sēma ‘tomb at I.23.257. This visualization, as we will see in the anchor comment at O.24.076–084, makes it all the more clear that the tomb of Patroklos will in fact turn into the tomb of Achilles. See also anchor comment at I.23.125–126 on: tomb of Achilles, part 1; and anchor comment at O.24.076–084 on: tomb of Achilles, part 3.

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The tomb of Patroklos, called tumbos here at I.I.23.245, will also become the tomb of Achilles when his time comes to die. It is to be built on a small scale until Achilles is entombed there as well, I.23.245–246. But then, with the entombment of Achilles together with Patroklos, the size of the tomb will become spectacular in both height and width, I.23.246–247. So, this tomb will be incomplete until Achilles is entombed together with Patroklos—at which point it becomes truly the tomb of Achilles. So, instead of saying here that the tomb of Patroklos will also become the tomb of Achilles, it would be more accurate to say that the tomb of Patroklos will simply belong to Achilles. The spirit of Patroklos, when he appeared to Achilles and instructed him to construct a tomb for the two of them, was really pointing the way for Achilles to have a tomb of his own. There now follows at I.23.248 a pointed reference to the Achaeans of the future who will be sailing past the promontory on top of which the tomb is located and marveling at the sight of the structure, which is called a sēma ‘tomb at I.23.257. This visualization, as we will see in the anchor comment at O.24.076–084, makes it all the more clear that the tomb of Patroklos will in fact turn into the tomb of Achilles. See also anchor comment at I.23.125–126 on: tomb of Achilles, part 1; and anchor comment at O.24.076–084 on: tomb of Achilles, part 3.

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An agōn, as here at I.23.258, is literally a ‘coming together’ for competition; so, by extension, the word comes to mean ‘competition’. For more on the meaning and the etymology, see H24H 21§1. Here at I.23.257–258 is where the so-called Funeral Games for Patroklos will commence. And they will end at I.24.001. See the comment on that verse. The ritual practice of athletic competition as a compensation for death is amply attested in Greek traditions: see H24H 8a§§1–14. Here at I.23.258 the agōn can now begin to compensate for the death of Patroklos.

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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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Leonard Muellner

comment on the distinction between two-footed (humans) and four-footed (animals) movable property/life

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example of formal divergence between phrases which are functionally parallel but occur in spoken dialogue as against narrative

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in a list of parallels to the opening of formula (A) hōs ephat’ eukhomenos… occurring in the last 9 books of the Iliad (with participles after phanai categorizing the speech, here as threat), in the context of analyzing formula (A) and the meaning of eukhesthai

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the need of gods to intervene in Achilles’ mistreatment of Hektor’s corpse, given the principle that mēnis against Achilles has been suspended in the Iliad

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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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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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Zachary Rothstein-Dowden

A depiction of a 'dog at table' appears on a fragment of black-figure pottery, dated to the first half of the 6th c., discovered in the excavations of the Athenian agora (Athens, Agora Museum, P22330). This remains a popular mitif throughout the 6th c. (cf. BAPD 12585, 16042, 14936, 10180. 5723, 310128).

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