“Hector—surely you thought when you stripped Patroclus’ armor
that you, you would be safe! Never a fear of me,
far from the fighting as I was—you fool!
Left behind there, down by the beaked ships
his great avenger waited, a greater man by far—
that man was I . . . ” (22.390-95)
He taunts Hector with the fate of his body. “The dogs and birds will maul you, shame your corpse / while Achaeans bury my dear friend in glory!” (22.397-98). And in answer to Hector’s plea and offer of ransom for his corpse, he reveals the extreme of inhuman hatred and fury he has reached:
“Beg no more, you fawning dog—begging me by my parents!
Would to god my rage, my fury would drive me now
to hack your flesh away and eat you raw—” (22.407-9)
This is how the gods hate. His words recall those of Zeus to Hera in Book 4:
“Only if you could breach
their gates and their long walls and devour Priam
and Priam’s sons and the Trojan armies raw—
then you just might cure your rage at last. ” (4.39-42)
And as Achilles goes on we recognize the tone, the words, the phrases:
“No man alive could keep the dog-packs off you,
not if they haul in ten, twenty times that ransom
and pile it here before me and promise fortunes more—
no, not even if Dardan Priam should offer to weigh out
your bulk in gold! Not even then . . . ” (22.411-15)
We have heard this before, when he refused the gifts of Agamemnon:
“Not if he gave me ten times as much, twenty times over, all
he possesses now, and all that could pour in from the world’s end—. . .
no, not if his gifts outnumbered all the grains of sand
and dust in the earth—no, not even then . . . ” (9.464-71)
It is the same rage now as then, implacable, unappeasable, like the rage of Hera and Athena—only its object has changed.
Achilles lashes Hector’s body to his chariot and, in full view of the Trojans on the walls, drags it to his tent, where he organizes a magnificent funeral for Patroclus. After the burning of the pyre, the hero’s memory is celebrated with funeral games—contests, simulated combat, in honor of a fallen warrior. Such was the origin, the Greeks believed, of all the great games—the Olympian, the Pythian, the Isthmian, the Nemean Games, and in Homer himself we hear of funeral games for Amarynceus of Elis and for Oedipus of Thebes. The honor paid to the dead man is marked by the richness of the prizes and the efforts of the contestants. Here the prizes are offered by Achilles, so he himself does not compete. There are to be many contests: a chariot race (which earns the longest and most elaborate description), a boxing match, wrestling, a foot race; after that a fight in full armor, weight throwing and an archery contest. As the events are described we see all the great Achaean heroes, familiar to us from battle-scenes, locked now not in combat but in the fierce effort of peaceful contest. Homer takes our minds away from the grim work of war and the horror of Achilles’ degradation of Hector’s corpse to show us a series of brilliant characterizations of his heroes in new situations. But the most striking feature of this account of the games is the behavior of Achilles. This seems to be a different man. It is the great Achilles of the later aristocratic tradition, the man of princely courtesy and innate nobility visible in every aspect of his bearing and conduct, the Achilles who was raised by the centaur Chiron. It is a vision of what Achilles might have been in peace, if peace had been a possibility in the heroic world, or, for that matter, in Homer’s world. “The man,” says Aristotle in the Politics, “who is incapable of working in common, or who in his self-sufficiency has no need of others, is no part of the community, like a beast, or a god.” As far as his fellow Achaeans are concerned, Achilles has broken out of the self-imposed prison of godlike unrelenting fury, reintegrated himself in society, returned to something like human feeling; he is part of the community again.
All through the games he acts with a tact, diplomacy and generosity that seem to signal the end of his desperate isolation, his godlike self-absorption; we almost forget that Hector’s corpse is still lying in the dust, tied to his chariot. But if we had forgotten we are soon reminded. Once the games are over, Achilles, weeping whenever he remembers Patroclus—“his gallant heart—/ What rough campaigns they’d fought to an end together” (24.8-9)—drags Hector’s corpse three times around Patroclus’ tomb. But Apollo wards off corruption from the body, and on Olympus the gods are filled with compassion for Hector: all the gods, that is, except Hera, Athena and Poseidon—a formidable combination. Apollo (the champion of Troy as the other three are its enemies) speaks up for action to rescue Hector’s body. For him, Achilles is the lower extreme of Aristotle’s alternatives—a beast:
“—like some lion
going his own barbaric way, giving in to his power,
his brute force and wild pride . . . ” (24.48-50)
Hera, on the other hand, sees him as closer to the other alternative—a god: “Achilles sprang from a goddess—one I reared myself” (24.71). So Zeus makes a decision designed to satisfy both sides: Thetis is to tell Achilles to surrender Hector’s body to Priam, but Priam is to come as suppliant to Achilles’ tents, bringing a sign of honor, a rich ransom.
When Thetis conveys to Achilles the will of Zeus, his attitude is exactly the same as his reaction to Agamemnon’s renewed offer of gifts after the death of Patroclus—cold indifference. He agrees to accept the ransom, but his speech shows no relenting; his heart is still of iron. What is needed to break the walls down, to restore him to full humanity, is the arrival in his tent not of the herald, whom he evidently expected to bring the ransom, but of Priam himself, alone, a suppliant in the night. And that unforeseen confrontation is what Zeus now moves to bring about.
The god Hermes guides Priam safely through the Achaean sentries and through the gate that bars the entrance to Achilles’ courtyard; Priam takes Achilles by surprise as he sits at table, his meal just finished. His appearance, unannounced, is a mystery, a thing unprecedented, and Achilles is astonished. Homer expresses that astonishment by means of a simile, one of the most disconcerting of the whole poem:
as when the grip of madness seizes one
who murders a man in his own fatherland and flees
abroad to foreign shores, to a wealthy, noble host,