that he is blind to all other truths, so that this purity of motive proves the ruin not only
of many others but of himself too.
The Trojans have further success, and even his great comrade in arms Patroclus
remarks that while doctors are treating the wounded Greek leaders, Achilles alone is
untreatable (16, 21–35). When Achilles relents to the point of allowing Patroclus to
fight in his place wearing his armour, there are the first signs of a recognition of his
error, as Achilles admits that a man cannot be angry forever (16, 60–61). The concern
for his honour is still overriding: Patroclus must only save the ships; he must not fight
on to Troy or he will diminish the honour of Achilles (16, 80–90). Yet, there is
magnanimity, as well as irony, in his final wish that both he and Patroclus may survive
to take Troy together (16, 97–100).
The calamitous death of Patroclus, whom he loves more than his own life (18,
81–82), becomes the calamity of Achilles. When the news reaches him, Achilles in
conversation with Thetis fully recognizes his own error and folly. The gods have done
much for him but there is no pleasure in achievement any more. He is ready for death,
regrets his special destiny as the son of a goddess and recognizes the insidious effects
of anger that can darken the wisest mind, is sweeter than honey and spreads like
smoke. But the quarrel must be put behind him, and he yields to necessity, accepting
the fate, which Thetis has revealed to him. He resolves to seek glory and the death
of Hector (18, 79–126).
In the ensuing fight, Achilles, whose purity of motive is now tainted by the desire
for revenge into which his anger has been newly channelled, is resolute for death. His
encounter with Aeneas (Book 20) has none of the chivalry that characterized the duels
of Paris and Menelaus (Book III), Glaucus and Diomedes (Book 6), or Hector and
Ajax (Book 7) in the earlier part of the poem. He captures twelve young Trojans to
sacrifice on the pyre of Patroclus (21, 27–32, and 23, 175–176). He is deaf to the pleas
of the suppliant Lycaon whom he had spared on a previous occasion (21, 34–135).
His arrogant challenge to the river god (21, 136–383) contrasts with the restrained
war against the gods waged by Diomedes with the support of Athena (Book 5). The
darkening moral tone of the poem is apparent in the many images of corpses exposed
to dogs and carrion birds. In the final combat, the chivalrous Hector proposes a
compact whereby the victor does no more than take the spoils of the loser, restoring
his body for burial (22, 254–259). These are the conditions that had been agreed on
in the earlier combat with Ajax (7, 76–86). Achilles will have none of it: ‘Men cannot
make compacts with lions’ (22, 261–272). After the fatal blow, Achilles in a murderous
mood tells Hector that the dogs and birds of prey will pull him to pieces (22, 335–336).
With his dying breath Hector again begs for mercy for his corpse (22, 338–343).
Achilles again refuses in fury; he wishes he could tear him up into pieces and eat him
himself, but certainly the dogs and birds will feast upon him (22, 345–354). His cruel
spirit is well suggested in the version of George Chapman (1611).
18 THE GREEKS