Naofumi Iwatani/Powers and Abilities
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The Mighty Thor! Now the figures inside the Iliad become frozen into their actions by the finality of what has been narrated. This freezing is completed once all is said and done, at the precise moment when the whole story has been told. This moment, which is purely notional from the standpoint of Iliadic composition, gets captured by the frozen motion picture of the Shield.
Time has now stopped still, and the open-endedness of contemplating the artistic creation can begin. And yet, from the synoptic standpoint of the Iliad writ large, as it were, Achilles remains utterly inflexible in refusing compensation--for the ultimate loss of his own life. In order to pursue this point, I focus on an instance of textual variation at Iliad The second variant, as we learn from the scholia, was noted by Zenodotus.
If indeed the Shield passage, as a vehicle, can refer to the main narrative of the Iliad as the tenor, then the referent of this variant apoktamenou can be Patroklos, as suggested by Iliad 24 where Achilles accepts the apoina or compensation from Hektor's father Priam for the death of Patroklos. In the longer run, however, it was Achilles himself who caused the death of Patroklos, since he could not in good conscience accept the compensation of Agamemnon for Briseis--and since Patroklos consequently took his place in battle.
In this light, it becomes hard for the narrative to say that anyone is liable for killing Achilles. It becomes easier now to think of the hero not as apoktamenou 'a man who was killed' but as apophthimenou 'a man who died'.
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Earlier, I made the claim that, just as the logic of a simile spills over into the logic of the narrative frame, so also the logic of the story-within-a-story, the litigation scene, spills over into the logic of the story of Achilles. But there is more to it: it spills over even further, into the logic of the supposedly impartial elder adjudicators who compete with each other about who can best define the rights and wrongs of the case:. In the separate world of the Shield of Achilles, a group of arbitrators must compete with each other in rendering justice, until one winning solution can at last be found.
Such a winning solution is also needed for the Iliad as a whole, which does not formally take a position on who is aitios [guilty, responsible] in the narrative. The logic of the litigation scene reaches even further, beyond the supposedly impartial elder adjudicators who compete over the perfect definition of the rights and wrongs of the case.
It spills over into the logic of an outer circle of people who surround the elders, the people who are waiting to hear the elders' definitions and who will then define who defines most justly. As Michael Lynn-George notices, however, the defining voice is an end that is anticipated but "is always still to come. These people, I argue, are to become ultimately the people of the polis. This model of an open-ended Iliad , the limits of which are delimited, paradoxically, by the expanding outermost circle of an ever-evolving polis outside the narrative, is compatible with a historical view of Homeric poetry as an open-ended and ever-evolving process.
In previous work, I have described this view of Homer in terms of an evolutionary model. This evolutionary model is the lens through which I see the picture on the Shield of Achilles, with its concentric circles of limits expanding further and further outward. The logic of the litigation scene spills over into the logic of a surrounding circle of supposedly impartial elder adjudicators who are supposed to define the rights and wrongs of the case.
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Next, the logic of this inner circle of elders spills over into the logic of an outer circle of people who surround the elders, the people who will define who defines most justly. Next, it spills over into the logic of the outermost circle, people who are about to hear the Iliad. These people who hear Homeric poetry, as I said, are to become the people of the polis. Ultimately, these people are even ourselves.
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