Iliad part 2 Books 14 - 24
Book 14 Temporary reversal of Trojan success as Zeus is distracted from intervening in battle and put to sleep by Hera (armed with Aphrodite’s sex belt p. 135-136) after sex (pp. 138-140) Note the catalog on p. 139. Where have you seen catalogs before, and what is different about this one? Flowers spring up p. 140 – cf. scene in meadow at abduction of Persephone in Homeric Hymn to Demeter
Book 15 Zeus awakens, discovers deception, threatens Hera with violence, story of previous punishment of Hera (p.141) Reveals new plan (p.142): Trojans will be given ascendancy until Patroclus enters battle (killing even Sarpedon, Zeus’ son), is killed by Hector, Achilles re-enters battle and kills Hector. Resistance of Poseidon, question of tripartite division of power (p.146) (remember position of Hades in HH to Demeter), but ultimately backs down
Book 16 Patroclus’ appeal to Achilles (pp.154-155): let him wear Achilles’ armor, help drive Trojans back from Greek ships Idea of Patroclus as substitute for Achilles: Greek term therapon [“assistant, helper”] and connection to Hittite term tarpanalli for substitute for king in ritual. Relationship between Patroclus and Achilles (cf. Book 11 p.119): who is older? Aristeia (period of ascendancy) of Patroclus and death of Sarpedon (p. 164) and Zeus’ dilemma. Possibility of interference with fate. Apollo pushes Patroclus back from Troy (pp.169-170) Death of Patroclus, prophecy of death of Hector (p.174)
Achilles binds wounds of Patroclus, red-figure kylix (cup), c. 500 BCE
Patroclus and Apollo (pp. 169-170) Three times Patroclus reached the parapet, and three times Apollo’s fingers flicked against the human’s shield And pushed him off. But when he came back a fourth time, like a spirit from beyond, Apollo’s voice split the daylight in two: “Get back, Patroclus, back where you belong. Troy is fated to fall, but not to you, Nor even to Achilles, a better man by far.” Three times he charges into the Trojan ranks, With the raw power of Ares, yelling coldly, And on each charged he killed nine men. But when you made your fourth, demonic charge, Then—did you feel it, Patroclus?—out of the mist, Your death coming to meet you. It was Apollo, whom you did not see in the thick of battle.
Book 18 Announcement of death of Patroclus to Achilles. Mourning of Thetis for Patroclus (pp. 176-177): but actually whom does the lament seem to be about? Example of genre of epic song including other types of song (female lament in group) within it Forging of new armor for Achilles, description of new shield made by Hephaestus, pp. 183-187 Example of ecphrasis (poetic description of work of art), shield as representation of cosmos (world) How is the shield like and not like the Iliad? sun, moon, stars, city at peace, city at war as twin models, resolution of dispute in city at peace (is it resolved?) as contrast to the war and dispute between Agamemnon and Achilles in the Iliad. Detail of dance on dance floor like that built for Ariadne by Daedalus on Crete – indirect reference to Theseus tradition without mentioning Theseus. Technique of representation: like never ending video loops (cf. idea in Keats’ Ode on a Grecian urn) Keep this in mind as you read the final duel between Hector and Achilles in Book 22, esp. the scenes of hunting and of dancing and courting between young men and women.
Thetis laments Patroclus (and Achilles), Iliad 18 (pp. 176-177) “Hear me, sisters, hear the pain in my heart. I gave birth to a son, and that is my sorrow, My perfect son, the best of heroes. He grew like a sapling, and I nursed him, As I would a plant on the hill in my garden, And I sent him to Ilion on a sailing ship To fight the Trojans. And now I will never Welcome him home again to Peleus’ house. As long as he lives and sees the sunlight He will be in pain, and I cannot help him.”
Phillip Rundell, Shield of Achilles, 1821, presented to King George IV
Representation of the Shield of Achilles
John Keats (1795-1821): “Ode on a Grecian Urn” Thou still unravish'd bride of quietness, For ever panting, and for ever young; Thou foster-child of silence and slow time, All breathing human passion far above, Sylvan historian, who canst thus express That leaves a heart high-sorrowful and cloy'd, A flowery tale more sweetly than our rhyme: A burning forehead, and a parching tongue. What leaf-fring'd legend haunts about thy shape Who are these coming to the sacrifice? Of deities or mortals, or of both, In Tempe or the dales of Arcady? To what green altar, O mysterious priest, What men or gods are these? What maidens loth? Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What mad pursuit? What struggle to escape? What little town by river or sea shore, What pipes and timbrels? What wild ecstasy? Or mountain-built with peaceful citadel, Heard melodies are sweet, but those unheard Is emptied of this folk, this pious morn? And, little town, thy streets for evermore Are sweeter; therefore, ye soft pipes, play on; Will silent be; and not a soul to tell Not to the sensual ear, but, more endear'd, Why thou art desolate, can e'er return. Pipe to the spirit ditties of no tone: O Attic shape! Fair attitude! with brede Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Of marble men and maidens overwrought, Bold Lover, never, never canst thou kiss, With forest branches and the trodden weed; Though winning near the goal yet, do not grieve; Thou, silent form, dost tease us out of thought She cannot fade, though thou hast not thy bliss, As doth eternity: Cold Pastoral! For ever wilt thou love, and she be fair! When old age shall this generation waste, Ah, happy, happy boughs! that cannot shed Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, Your leaves, nor ever bid the Spring adieu; "Beauty is truth, truth beauty,—that is all And, happy melodist, unwearied, Ye know on earth, and all ye need to know." For ever piping songs for ever new; More happy love! more happy, happy love! For ever warm and still to be enjoy'd,
Books 20 and 21 Aristeia of Achilles. Uncontrolled rage and killing. Execution of twelve boys, scene of death of Lycaon, son of Priam (pp. 200-203): godlike? Bestial? Cf. Aristotle (4th c. BCE Greek philosopher) in the Politics: “Man is by nature a social animal; an individual who is unsocial naturally and not accidentally is either beneath our notice or more than human. Society is something that precedes the individual. Anyone who either cannot lead the common life or is so self-sufficient as not to need to, and therefore does not partake of society, is either a beast or a god. ”
Book 22 Duel of Achilles and Hector Words between Achilles and Hector (pp. 213, 216), animal imagery (p.209 falcon and dove, also used in erotic poetry of lover and beloved), courting imagery (p.209), prophecy of Achilles’ death at hands of Paris and Apollo [beyond Iliad] Dragging of the corpse of Hector behind Achilles’ chariot
Attic Black-figure hydria, ca Attic Black-figure hydria, ca. 520 BC (Boston hydria): Achilles drags Hector around the Tumulus of Patroclus as Priam and Hecuba look on.
Attic red-figure Hydria (c470 BCE): the aged Priam approaches Achilles Attic red-figure Hydria (c470 BCE): the aged Priam approaches Achilles. Hector’s body lies under the table.
Book 24 and the end of the Iliad Priam comes to Achilles to ransom (get back with offer of gifts and compensation) body of Hector Pp. 231-232 shared grief over what each has lost enables Achilles to feel pity for Priam and agree to ransom. P.234 Myth of Niobe told to Priam by Achilles: why? How does this episode connect with the end of the Iliad and the final lines? (“That was the funeral of Hector, breaker of horses.”, p. 240)