Dcn. Harrison Garlick and Adam Minihan discuss Book 18 of the Iliad: The Shield of Achilles.

Arguably the MOST philosophically dense book in the entire Iliad.

• Summary of the Narrative
• What lesson does the "heart" of Achilles teach?
• How do we interpret the shield of Achilles?

Check out our 115 QUESTION GUIDE to the Iliad.

How should we interpret the shield of Achilles?

The shield of Achilles presents a commentary on the cosmos. It is a testament to the Greek belief that the world is ordered and in balance. From the heavens to human civilization to the boundaries of the known world, a certain order and intelligibility permeates reality. Reality is not chaotic. Man inhabits an ordered whole.

Homer presents the scenes on the shield starting with the center and moving outward in concentric circles toward the edge with certain circles having multiple parts. The scenes on the shield may be described as follows:

1. The earth, sky, sea, sun, and moon (18.565)

2. The constellations (18.567)

3. City at Peace: The wedding feast (18.573)

4. City at Peace: The court of justice (18.580)

5. City at War: A city under siege (18.593)

6. City at War: Raid by the besieged (18.598)

7. Ploughing the field (18.629)

8. Harvesting the field (18.639)

9. The vineyard festival (18.654)

10. The cattle under attack (18.670)

11. The flock in the meadow at peace (18.686)

12. The circle of dancing and courtship (18.690)

13. Ocean’s River (18.708)

On the shield itself, one may expect that Zeus would inhabit the center of shield rather than the heavenly bodies. The absence of Zeus at the center raises the question of the role of the gods within the cosmos. Notably, there is no ring dedicated to the Olympian gods, as one may think vital to a testament on the order of the cosmos. Moreover, the only Olympian gods that are mentioned are in the City at War. One may question whether there is a Homeric lesson embedded here on whether the gods are agents of order or chaos within the cosmic whole.

The City at Peace is characterized by love and justice. The marriage is a witness to love and binding, while the court scene is a witness to justice and resolution. Note that the City at Peace is not without conflict; rather, the City at Peace is able to resolve the conflict through justice. The City at War is an obvious contrast. The city under siege inevitably recalls the current plight of Troy. It is, as noted above, the only section that includes the gods.

The ploughing and harvesting scenes are naturally coupled. The plowmen enjoy wine as they work, and the harvesting depiction includes the presence of the king and terminates in a harvest feast (18.650). The pastoral imagery is coupled with characteristics of civilization. The vineyard scene is one of wine, music, innocence, and joviality. Though unnamed, it is all characteristic of Dionysus, the jovial wine-god. The cattle scene, however, is one marked by duty, danger, death,...

Dcn. Harrison Garlick and Adam Minihan discuss Book 17 of the Iliad: Menelaus' Finest Hour.

• Summary of Book 17
• What is the "dark heart" of Hector?
• Can human agency affect fate?
• What about the horses of Achilles?

Check out our 115 Question & Answer Guide on the Iliad.

But grief bore down on Hector, packing his dark heart.

Homer (17.92)

75. What happens in books seventeen?

The body of Patroclus still lays on the plains outside of Troy. Menelaus, the Spartan king, slays Euphorbus, the Trojan who had speared Patroclus (17.51). Apollo spurs Hector to fight for the body of Patroclus (17.84), and Hector is able to remove Patroclus’ gear—but Ajax returns and stops him from decapitating the corpse (17.146). Glaucus, friend of the dead Sarpedon, chastises Hector for retreating from Ajax and implies that if Hector was more like Ajax, they could have saved the body of their comrade, Sarpedon (17.172). Hector retorts he is no coward, but the will of Zeus forces cowardice upon him (17.201). Hector then puts on the armor of Achilles, stripped from Patroclus, and Zeus, taking pity on Hector, grants him power and makes the armor fit well—but also states Hector will never return home again (17.230).

Hector leads the Trojans in battle for the body of Patroclus (17.263), and the Achaeans, led by giant Ajax and Menelaus, mount a defense (17.290). The Achaeans take the advantage, and Apollo spurs Aeneas to rally the Trojans (17.379), but Ajax and the Achaeans remains stalwart in their defense (17.420). Zeus shifts his favor to the Achaeans and sends Athena to rouse their fighting spirits (17.623). Apollo chastises Hector, and as Hector charges to the frontlines, Zeus releases a bolt of lightning to show he now favors the Achaeans (17.670). Giant Ajax laments: “Dear god, enough! Any idiot boy could see how Father Zeus himself supports these Trojans” (17.707). Zeus pities Ajax and thus removes his storm clouds from the battlefield and “the whole war swung into view” (17.729). Menelaus, at the suggestion of Ajax, sends Antilochus, son of Nestor and “a favorite of Achilles,” to go tell Achilles what has happened (17.776).[1] The Achaeans grab the body of Patroclus and bear him back to their ships, as the two great Aeantes hold off the Trojans (17.823, 843); until Hector and Aeneas come leading the Trojans “like a crowd of crows… screaming murder,” and the Achaeans break and flee for the ships (17.846).

76. What should we make of the “dark heart” of Hector?

In book seventeen, we are introduced to the “dark heart” of Hector (17.92). The “dark heart” is presented within the juxtaposition of Apollo spurring Hector to fight (17.84), and Hector surveying the reality of the battlefield (17.93).[2] It is a moment of “grief” for the Trojan Prince (17.92). Hector does charge the front line “loosing a savage cry, and flaring on like fire, like the god of fire” (17.96). Such a reaction to the spurring of a god seems normative in the Iliad, but what seems abnormal is the moment of grief in between. Moreover, the pattern occurs again later in which Apollo again spurs Hector, Hector bears a “black cloud of grief,” and then charges the frontlines (17.660, 670).

The “dark heart” of Hector gives further credence to his role as the tragic, tortured hero

Dcn. Harrison Garlick and Adam Minihan discuss Book 16 of the Iliad: Patroclus Fights and Dies.

• Summary of Book 16
• What is the difference between Zeus and Fate?
• What is the relation of Fate to the free will of men?
• Did Patroclus deserve his fate?

Check our GUIDE ON THE ILIAD.

70. What happens in books sixteen?

Patroclus returns to Achilles and begs Achilles to send him out to fight in Achilles’ armor (16.43). Homer writes: “So [Patroclus] pleaded, lost in his own great innocence, condemned to beg for his own death and brutal doom” (16.53). Achilles comes to understand his rage cannot last forever, but he recalls his promise not to fight until the “cries and carnage reached” his own ships (16.72). Thus, Achilles agrees and sends Patroclus with his armor and the Myrmidons to fight (16.74). However, Achilles tells Patroclus to only fight the Trojans off the Argive ships and not to pursue them back to Troy, because that may diminish his glory, the fame of Achilles (16.105).

Homer notably invokes the Muses to help him sing about the burning of the Achaean ships (16.135). Ajax is unable to stop Hector and his men from setting the ship ablaze, and Achilles sees the flames and sends out Patroclus with the Myrmidons (16.151). The Trojan columns “buckle” upon seeing Patroclus who they believe is Achilles (16.328), as Patroclus bears all of Achilles’ war gear save his spear (16.168); thus, Patroclus and the Argives set upon the Trojans like “ravenous wolves” upon lambs (16.415). Sarpedon, son of Zeus, is slain by Patroclus (16.570), and Glaucus, strengthened by Apollo, rallies his fellow Trojans to secure Sarpedon’s body (16.631). Similarly, Patroclus rallies Ajax and the Argives to the body of Sarpedon, the first to storm the Argive wall (16.653), to “mutilate him, shame him, [and] tear his gear from his back” (16.653). Thus, the body of Sarpedon, son of Zeus, becomes lost under the “mass of weapons, blood, and dust” (16.743).

Zeus makes Hector a coward, and the Trojan prince calls for a retreat (16.763). The Achaeans win the body of Sarpedon, but Zeus sends Apollo to rescue the body before it can be mutilated (16.777). Patroclus, not heeding the command of Achilles, pushes his assault onward toward Troy (16.803). Apollo repels Patroclus’ assaults on Troy and warns the warrior that it is “not the will of fate” that Troy falls to him (16.826). Though Apollo strengthens Hector (16.840), Patroclus still presses forward but Apollo sneaks behind him and slams Patroclus to the ground with a slap across the back (16.920). Disoriented, Patroclus is then stabbed in the back by Euphorbus, a Trojan (16.938), who then retreats. Hector then runs forward and spears Patroclus in the gut—the “brazen point went jutting straight out through Patroclus’ back” (16.967). Hector taunts the dying Patroclus (16.967), and Patroclus dies prophesying that Hector will die soon (16.998).[1] The last word of Patroclus is “Achilles” (16.1000).

71. What do we observe about Zeus and the nameless fate in book sixteen?

We see Zeus lament his “cruel fate” in his son, Sarpedon, having to die to bring about the death of Patroclus (16.514). Knox holds this shows the “will of Zeus is thwarted by fate.”[2] He writes that the “will of Zeus” and this “nameless destiny”...