10.6094/helden.heroes.heros./2016/QMR/04

Martin Dorka Moreno 17

Achilles, Patroklos and Herakles

Conceptions of kλέος on the So-Called Sosias Cup1

Greek Heroes and Literary Concepts While Scodel’s systematisation is relativel­y of Honour, Glory and Fame straightforward and works with clear-cut catego- ries, James M. Redfield’s assessment of the se- mantic field of honour/glory/fame suggests that In ancient Greek poetry, several terms differ- especially kλέος and κûδος are flickering, even entiate the semantic field of honour, glory, and more differentiated classifications of qualities. fame: tιμή, time: ‘worship, esteem, honour’; Redfield’s concise remarks deserve to be cited κûδος, kudos: ‘glory, renown, charismatic splen- in full: dor’; and kλέος, kléos: ‘glory, fame, that which is heard’, or, according to Gregory Nagy, ‘the poem […] kleos is something the heroes prize or song that conveys glory, fame, that which is and strive for. There is […] a curious reci- heard’ [my emphasis].2 What their translations procity between the bard and his heroes. only slightly suggest is that the terms mediate The bard sings of events which have a between different, oscillating aspects of the con- kleos; without the heroes he would have cepts of honour, glory and fame.3 nothing to sing about. At the same time, Ruth Scodel, in her book Epic Facework: the bard confers on his heroes a kleos, without which they would have no exist­ Self-presentation and Social Interaction in Ho- ence in the later world of the bardic au- mer (2008), argues that the Homeric society is dience. […] Kleos means, among other fundamentally concerned with the idea of tιμή things, “news”, as when Telemachus asks and that the Homeric heroes interrelate to and Eumaeus, “What’s the news from town?” interact with each other by the means of an eco- (xvi.461). One can hear the kleos of a nomic system of honour of which τιμή, κûδος, particular event (XI.21, xxiii.137). Kleos is kλέος and “face”, in the sense of social appear- “what men say,” and a thing has a kleos if ance, are essential constituents (cf. Scodel it is talked about. Thus, an expedition or 1-32). To systematise, Scodel defines κûδος and a war has a kleos (XI.227, XIII.364) […], kλέος as subcategories of tιμή: kλέος, as a ze- and an object may have kleos. Poseidon ro-sum system, is not dividable, and nobody can complains that the kleos of the Greek wall in the plain of Troy will extend “as far share the hero’s kλέος except those who are in a as the dawn is scattered” (VII.451). The very close relationship to him, such as father and kleos of Nestor’s shield “reaches heaven” son. κûδος, in turn, “is an all-or-nothing-property (VIII.192). […] a warrior acquires kleos – opponents cannot have it simultaneously, for when he wins on the battlefield especially whoever has it wins”; a whole group, however, famous armor (XVII.131). […] Like human can share it (Scodel 26). In addition, Scodel ar- things, human places also have a kleos. gues that αἰδώς, (‘reverence, awe, respect for […] A man has a kleos which is his reputa- the feeling or opinion of others or for one’s own tion […]. Thus a man may have the kleos conscience, and so shame and self-respect’), is of a warrior (XVII.143), a bowman (V.172), strongly associated with tιμή because it intern­ a spearman and counsellor (xvi.241-42). alises the latter. To extend on Scodel’s idea, […] Kleos can be earned on the battlefield (V.3, XVIII.121), especially by some great these concepts are similar to a habitus, they are act […]. internalised patterns “that generate […] typical As a quality or possession kleos stands in thoughts, perceptions, and actions […]”, and, relation and contrast to two other terms: thus, in the case of the Homeric heroes, repre- kudos and timē. […] Kudos is a kind of sent a distinct form of their heroism (Bourdieu luster or mana which belongs to the suc- 143).4 Worship, esteem, and honour are inextric­ cessful. Kudos is specifically personal; a ably connected to reverence and shame.5 man may be kudos to others – a success-

helden. heroes. héros. Martin Dorka Moreno

18 ful hero ornaments his city (XXII.435) […] good and great, | who was raised in fertile – but a man does not win kudos for ano- Thrace the mother of sheep. | Kissēs in ther. Kleos, by contrast, is won by the war- his own house raised him when he was rior both for himself and his father (VI.446, little. | Kissēs was his mother’s father, VIII.285). Kudos belongs only to the living; father to Theano, the one with the fair kleos also to the dead. Kudos is frequently cheeks. | When he [= Iphidamas] reached a gift from a god; kleos is won by the man the stage of adolescence, which brings himself or granted by the folk. Kudos be- luminous glory, | he [= Kissēs] wanted to longs only to men, kleos also to women. keep him at home and to give him his own Kudos is always positive; success brings daughter in marriage, | but as soon as kudos, failure merely penthos, “sorrow” he [= Iphidamas] had married, he left the (IV.416-17). […] The successful man feels bride chamber and went off seeking the that he matters more to others, and this kleos of the Achaeans | along with twelve feeling is his kudos, […]. Kleos, however, curved ships that followed him.6 is in the keeping of others; a man’s kleos consists of what others say about him. And in Iliad 10, 410-416, Achilles himself ex- Since they may speak of his failures as plains his attitude towards his kλέος: well as of his success, failure also has a kleos – negative kleos, duskleia (II.115 = My mother Thetis, goddess with silver IX.22). steps, tells me that I carry the burden of Timē is bestowed to a man by others, but two different fated ways [kēres] leading to a man’s timē is a valuation of him, while the final moment [telos] of death. If I stay his kleos is a description. Timē means here and fight at the walls of the city of the “honor” and also “status,” especially the Trojans, then my safe homecoming [nos- status of the king (VI.193, IX.616, XX181) tos] will be destroyed for me, but I will have […]. Obviously men’s timē fluctuated, and a glory [kleos] that is imperishable [aphthi- a man who had kudos would also have a ton]. Whereas if I go back home, returning greater timē (XVI.84). But kudos is an ab- to the dear land of my forefathers, then it solute quality, like health or strength, while is my glory [kleos], genuine [esthlon] as it timē is always relative: it is a measure of is, that will be destroyed for me, but my life men’s standing in relation to one another force [aiōn] will then last me a long time, (I.278, XXIV.57). and the final moment [telos] of death will 7 […] Kleos is thus a specific type of so­­cial not be swift in catching up with me. identity. […] His [a man’s] story is in a certain sense himself – or one version of Adhering to these words and arguing along himself – and, since his story can sur­vive Nagy’s lines, one might say that Homeric he- his personal existence and survive his roes not only value and strive for, but are fanat- enactment of a social role, his story is from ically invested in the concept of kλέος, of kλέος one point of view the most real version of ἄφθιτον, to be precise, and are fully aware of the himself. […] Thus the kleos of the hero is fact – at least in the case of self-reflecting Achil- to some extent a compensation to him for les – that they must die to get it: “Achilles the his own destruction. (Redfield 32-34) hero gets included in the Iliad by dying a warrior’s death. The consolation prize for his death is the This paper will focus on the kλέος of Homeric kleos of the Iliad” (Nagy, Greek Hero 29),8 which heroes as roughly defined in the last paragraph makes him imperishable, which gives him kλέος of my quotation of Redfield’s discussion and de- ἄφθιτον, and has thus an “immortalizing power” velop an idea on how this kλέος could be con- (Nagy, Greek Hero 31). This obsession is not ceived of visually, and how it could be visually only the driving force for Achilles, a ‘macro-hero’ opposed to and related to other (non-Homeric) of the Iliad, but it can also be found in the narra- conceptions of it. As has become apparent, tive of ‘micro-heroes’ such as Iphidamas, whom kλέος is in itself a complex concept and needs we hear about only in Iliad 11. 218-228. The he- to be narrowed down further for the purpose of roes’ kλέος ἄφθιτον is, thus, dependent on the my inquiry. It is therefore necessary to ask which poet who relates their story to the world. That form of kλέος the Homeric heroes are primarily is why, following Nagy, I have given the transla- concerned with. tion ‘the poem or song that conveys glory, fame, In Iliad 11, 218-228 we learn of the fate of one that which is heard’ for kλέος; extending on Red- Iphidamas: field’s suggested reciprocity between bard and Tell me now you Muses dwelling on Olym- hero one might add, again with Nagy, that kλέος pus, | who was the first to come up and refers “to both the medium and the message of face Agamemnon, | either among the Tro- the glory of heroes […]”, which makes kλέος “the jans or among their famous allies? | It was primary medium for communicating the concept Iphidamas son of Antenor, a man both of the hero” (Nagy, Greek Hero 25-27).

helden. heroes. héros. kλέος on the Sosias Cup

These introductory remarks were meant to pave equipped with a suit of armour and helmet, but 19 the way for my subsequent interpretation of the without combat weapons, is tending to a wound imagery of the so-called Sosias Cup. I do not suffered by Patroklos, on the left, on his left intend to force visual culture into a subordinate upper arm (fig. 1). The wound was caused by position vis-à-vis literary culture: The literary an arrow which is shown in the lower left of the concepts of honour/glory/fame, especially of the image. Patroklos has turned his head away, sup- Homeric kλέος ἄφθιτον as a form of social iden- posedly in pain and gritting his white-coloured tity discussed above, however, might be instruct­ teeth: the pain literally seems to set his teeth on ive for an analysis of how images speak about edge. He has taken off his helmet, his body ar- these concepts. mour is loosened on the left shoulder; the epau- let is folded up, so that the wound can be prop- erly dressed. He sits on a round shield on which a tripod is depicted, tightening his right leg while Achilles, Patroklos, and Herakles on stretching the left all the way to the rounded line the Sosias Cup that forms the right border of the image. This poise leads to a prominent display of Patroklos’ The so-called Sosias Cup, an Attic red-figure genitals. The depiction is fascinating for its rich drinking-cup, is a κύλιξ, kylix, a cup with a broad, detail: lines of various strength differentiate the relatively shallow body raised on a stem from a warriors’ faces and bodies. Different ornaments round, often moulded foot with two horizontal and patterns are used to emphasise their suits symmetrical handles on each side. It was found of armour and transparent (!) garments: A close­r in Vulci, Italy, in the Necropolis of Camposcala look at the latter reveals that the painter also and thus in a funerary context.9 The cup, how- subtly depicted Achilles’ genital area. The whole ever, was imported from Athens, where it was scene is elevated above floral ornaments and a made roughly around the turn of the sixth to the trapezoid beam. – Achilles is tending to his com- fifth century BC. The almost flat interior circle panion Patroklos’ wound: the scene is singular on the interior base of the cup, as well as the in the visual arts and has no literary precursor.12 outside surface between the two handles, were The outside surface of the cup on each side used as a surface for painted decoration. of the handles is decorated with a wide array of The kylix in question is attributed to the so- figures, and again almost all of them are identi- called Sosias Painter. An inscription on the stem fied by inscriptions fig.( 2 and fig. 3).13 Beneath gives away the name of the potter: ΣΟΣΙΑΣ one of the handles a round disc is depicted, ΕΠΟΙΕΣΕΝ (sosias epoíesen, ‘Sosias made which shows the head of Selene, the goddess [it]’), and since we cannot be sure that the potter of the moon. On one side, from right to left, Her- Sosias, who made the cup, was also the painter, akles is accompanied by Athena, Artemis and scholarship has – as in many cases – resorted to Hermes. An inscription right next to his head the solution to call the painter the Sosias-Paint- reads Zεû φíλε, Zeu phíle, ‘dear Zeus’. Herak- er, i.e. the painter that painted the cup made by les is greeting Zeus. An unidentifiable goddess Sosias.10 The kylix is about 10 cm high. The in- and Hestia sit facing in the opposite direction of ner, circular picture has a diameter of 17.5 cm; Herakles, as do all other figures on this side, ex- the diameter of the whole cup is 32 cm. cepting Hermes, who has turned his head back In principle, three contexts for the usage of to Herakles. This scene is closed off by two of such a drinking-cup are possible: first and fore- the Horae, goddesses of the seasons. On the most, the symposion, a social gathering of men other side, which is only partially preserved, we where wine would be consumed; second, a fu- see Dionysos with an unidentifiable goddess as nerary context, in which it would have played a well as Ares and Aphrodite, and directly facing role in the burial festivities, and, lastly, such a Hera and Zeus on the very left, Amphitrite and cup could have functioned as a votive in a sanc- Poseidon. All the gods and Herakles, except for tuary where it would have been dedicated to a Hermes, are shifting their attention to Hera and certain deity (cf. Junker, Symposiongeschirr oder Zeus, who, in turn, shift their attention in the di- Totengefäße). The first and second contexts of rection of Herakles. The topic depicted here is usage are relevant for the Sosias Cup: It was Herakles’ introduction to Olympos in the pres- found in a funerary context (in Italy), but its form ence of the gods;14 in honour of Herakles’ arrival and function invariably suggest that it was made they are pouring libations out of shallow cups, (in Athens) with the intention of serving as a drink- so-called Phialae. ing-cup and so, preferably, in a sympotic context. The Sosias Cup and its imagery have not Inside the flat interior a circular image shows been the subject of intense scholarly debate; the two Homeric heroes Achilles and Patroklos – especially differentiated approaches to link its in- their names are given by inscriptions11 – involved side and outside imagery are not precisely a dime in a conspicuous situation: Achilles, on the right, a dozen.15 Klaus Junker, however, in two recent helden. heroes. héros. Martin Dorka Moreno

20 thorough discussions, has argued that the in- dying a warrior’s death. Instead, one might ar- ner picture evidently and explicitly speaks about gue, an imagery that so explicitly shows them friendship and humanity in times of crisis as well vulnerable and in a near-death situation, implicit­ as about an ideal and unconditional military dedi­ ly tries to hint at their kλέος ἄφθιτον, the poem cation of the two warriors Patroklos and Achilles or song of their glory and fame which will make in times of war, while implicitly, and precise­ly by them imperishable by the means of “the immor- only swiftly touching upon the mortality,­ or ra­ talizing power” of kλέος (Nagy, Greek Hero 31; ther the vulnerability of the two heroes, vis­ually as cited above). To this end, then, the imagery antici­pating their deaths.16 The injury of Patro­ would speak explicitly about a positive outcome klos, Junker argues, suggests his and Achilles’ to a precarious situation, while implicit­ly positive- deaths­ by ostensibly evoking a genuine­ly posi­ ly anticipating the heroes’ immortality in song tive situation, which then, by the means of a vis­ which they can only achieve by dying.22 The op- ual rhetoric of irony, evokes exactly the negative position between positive momentary outcome opposite.17 The image, in conclusion, opposes and negative ending breaks down because the mili­tary excellence with a near-death experience, latter is simply not part of the concept of heroes and by extension of the latter, with death itself.18 such as Achilles and Patroklos, nor is it part This interpretation, with which I am in accord­ of others, such as freshly married Iphi­damas. ance, leads Junker to conclude that the image Death itself is not the heroes’ concern but rather conveys a differentiated idea of mankind by dying the right way; this is what Nagy significant- extrapolating an appellative message that has ly calls “the need for heroes to script their own at its core the notion or moral ethic directed at death” (Nagy, Greek Hero 32-33; cf. Shapiro, young Athenian men, who, as the historical con- Hêrôs Theos, 1983). text in late Archaic times suggests, must have Consequently, there might not be a positive been familiar with the threat of war or war-like versus negative opposition between the imagery situations: that they should not go to war with­ of the inner circular image and the decoration out being fully aware of the fatal consequences on the outside surface, as proposed by Junker, that decision may entail. Achilles and Patroklos, but – more generally speaking – a comparison Junker states, two of the most accomplished between two forms of, or oscillating concepts of and praised heroes of the Iliad, are shown as ‘glory, fame, that which is heard’, kλέος, and the un-heroic, vulnerable, in need of protection, and ways of obtaining it (Nagy, Greek Hero 27; as are, thus, meant to serve as exempla according­ cite­d above). This hypothesis is strengthened by ly.19 The imagery of the outside, which Junker the fact that the imagery of the outside surface discusses only swiftly, opposes this anticipated of the cup unambiguously speaks about a hero’s fatal and negative outcome with the positive end kλέος, since it relates Herakles’ introduction to of a strenuous life, exemplified by Herakles, who Olympos. And Herakles’ name “means he who was granted immortality by the gods.20 has the kleos of Hera” (Nagy, Greek Hero 33). Herakles, son of Zeus and Alkmene, was like the latter, his mother, a mortal. His labours, through which he gets his kλέος, singularise Two Types of (Getting) kλέος him as a hero who has to go to his limits while being under constraint to do so. Herakles’ deeds I do not intend to contradict Junker’s basic inter­ are challenges given to him by an external order, pretation, but would like to extend it by offering namely by Eurystheus, the mythological king of a different perspective on precisely what the ap- Mycenae and Tiryns. They are not self-imposed. pellative messages of the imagery of the Sosias Herakles earns his kλέος through the comple- Cup – if one wants to strongly conceptualise tion of his labours, which would never have the images of Greek vases in that way, as op- been performed if Hera, by intervention, had posed to think of them as Interpretationsange- not made Herakles an unseasonal, incidental bote, offers for interpretation, in which appella- hero by being born after rather than before his tive messages could have played a role in as far cousin Eurystheus, precisely the mythological as they provided the basis for negotiation and king under whose orders Herakles has to perform discussion – may have been more prominently his labours. So, Herakles owes his kλέος to his concerned with.21 labours, which he, however, had to perform out By the virtue of the attitudes of the Homeric of this unseasonal incident caused by Hera, and heroes, their specific form of heroism, and their his name attests to that. Hera’s name, in turn, ref- obsession with the concept of kλέος and kλέος erences her function as the goddess of seasons: ἄφθιτον as evidenced in the Iliad, Achilles and She is in charge of making everything happen on Patroklos are hardly suitable figures to commu- time, happen in a timely way (Nagy, Greek Hero nicate cautionary tales about the possibility of 42-46). Herakles’ kλέος, which is unambiguously

helden. heroes. héros. kλέος on the Sosias Cup evoked in the image of the so-called Sosias Cup, 21 is thus distinctively different from Achilles’ and 1 This paper has benefitted from comments by the partici­ Patroklos’ kλέος ἄφθιτον, or the kλέος ἄφθιτον pants of the Freiburg colloquium. In addition Barbara Korte, Ralf von den Hoff, Alexander Heinemann, Martin Kovacs, of the warrior heroes of the Homeric Iliad in Antonia Rüth, Andrew Stewart, and Maribel Dorka Moreno general. Herakles does not consciously decide have provided substantial help by discussing my thoughts to die, and his death is not in the same sense with me. This paper, however, remains a sketch in many the prerequisite for his kλέος, for his inclusion ways. I intend to engage in a more detailed study on the imagery of the so-called Sosias Cup, and on the concepts of in song and poetry, which in Greek song culture honour/glory/fame and how they were visually conceived of has an immortalising power, and his apothe­ in Attic vase painting, in the near future. osis and intro­duction to Olympos are ra­ther 2 The translations are taken from the Lidell-Scott-Jones unforeseeable benefits from his strenuous life. Greek-English Lexicon: 20 July 2015 . For the translation of κûδος as ‘charismatic splendor’ and kλέος as ‘the poem or song that conveys glory, theorise that it is the juxtaposition of these two fame, that which is heard’ I have resorted to Scodel and, as conceptions of kλέος which the imagery of the mentioned above, to Nagy, Greek Hero, 26 respectively. The cup relates. Extending on the general interpret­ latter’s discussion of “The ‘Meaning of Kleos’” in his chapter ation offered by Junker, I would contend that on “The Homeric Iliad and the Glory of the Unseasonal Hero” for the young Athenian man who looks at the has stimulated much of what follows. image­s, there are two perspectives offered 3 My account of the philological scholarship on these os- cillating concepts has to be brief and selective due to the on how to obtain kλέος and, thus, honour and conceptual character of this paper. For further discussions of glory: One is to obtain it through hard labour and the terms tιμή, κûδος, kλέος – which almost every inquiry in the positive will and intervention of the gods, un­ Homeric poetry touches upon, see for example Nagy, Achae- ambiguously exemplified by Herakles, a hero ans 1979, Pucci 1998, and, focussing almost exclusively and most instructively on Achilles, King 1987. who is close to the gods, as he is literally just a few steps away from Zeus and accompanied 4 For the definition of heroism as “a system of internalised patterns”, and, thus, as a habitus, see von den Hoff et al. 8. by others. However, as the example suggests, much of the capability to achieve this goal is left 5 Cultural anthropology’s, in particular Ruth Benedict’s insights into so-called guilt cultures, or, as an alternative, to chance, including the tasks that you are given. so-called shame cultures, in which social control is created Let alone that it might be a prerequisite that one by guilt and shame respectively, might be valuable in this has to be at least half of divine descent. Another respect, and, as is the case with the oscillating concepts of possibility is – to a certain degree – to take mat- tιμή, κûδος, kλέος, warrant closer attention than is possible here. See Benedict, who develops her ideas on the basis of ters into one’s own hands and decide to go to Japanese culture, as well as Dodds for a sharp distinction war and engage in conflict, knowing that (like for between guilt and shame cultures and the implementation Achilles and Patroklos who are shown isolated of the concept in Greek culture. The historian of Greek art and distant from the gods) – death will do the almost immediately has to think of an Attic black-figure am- phora attributed to the painter Exekias from around 530/525 trick and secure comparable kλέος ἄφθιτον. BC. It depicts Ajax preparing his own death: The hero adjusts One might, in advancing a strong appellative his sword on the ground to make it stand upwards; he has character of images such as those on the so- taken off his armour which is leaning, neatly arranged, on called Sosias Cup, argue that to draw level with the right image border. In an instant Ajax will literally fall into his own sword. His decision to kill himself is the result of the Herakles, Achilles and Patroklos was virtually fact that, driven mad with rage and blinded by Athena, he impossible. Such objections, however, would has ravaged a sheep herd instead of practicing revenge on go right against the grain of what myth meant his Greek companions, namely Agamemnon and Menelaos. in Greek culture. Greek myths were, to quote Witness the interplay of αἰδώς and τιμή in full effect. (Exekias’ Amphora: Boulogne-sur-Mer, Château-Musée Inv. Nr. 558. – Walter Burkert’s sensible dictum, traditional nar- Beazley ABV 145.18: Exekias; Beazley Para 60. For an ex- ratives with special significance (“traditionelle tensive bibliography and photographical documentation: 15 Erzählungen mit besonderer Bedeutsamkeit”).23 July 2015 . Cf. LIMC (1981) Nr. 104* 328 s. v. Aias I (O. Touchefeu); see ibid. Nr. 103; 105-109; and sented interpretational offers that, in specific 312-314 for a through discussion of the literary evidence.) cultural contexts such as the symposion or in 6 ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ᾽ ἔχουσαι ὅς τις fu­neral practices, could enhance the individ­ δὴ πρῶτος Ἀγαμέμνονος ἀντίον ἦλθεν ἢ αὐτῶν Τρώων ἠὲ ual’s as well as the collective’s attitudes towards κλειτῶν ἐπικούρων. Ἰφιδάμας Ἀντηνορίδης ἠΰς τε μέγας τε specific cultural settings – including different and ὃς τράφη ἐν Θρῄκῃ ἐριβώλακι μητέρι μήλων: Κισσῆς τόν γ᾽ ἔθρεψε δόμοις ἔνι τυτθὸν ἐόντα μητροπάτωρ, ὃς τίκτε Θεανὼ oscillating categories of glory, honour and fame. καλλιπάρῃον: αὐτὰρ ἐπεί ῥ᾽ ἥβης ἐρικυδέος ἵκετο μέτρον, Martin Dorka Moreno is a research associate in αὐτοῦ μιν κατέρυκε, δίδου δ᾽ ὅ γε θυγατέρα ἥν: γήμας δ᾽ ἐκ θαλάμοιο μετὰ κλέος ἵκετ᾽ Ἀχαιῶν σὺν δυοκαίδεκα νηυσὶ project B1 of the Collaborative Research Center κορωνίσιν, αἵ οἱ ἕποντο. (Nagy Greek Hero, 29). 948 at the University of Freiburg and is current- 7 μήτηρ γάρ τέ μέ φησι θεὰ Θέτις ἀργυρόπεζα διχθαδίας ly working on his dissertation Imitatio Alexandri κῆρας φερέμεν θανάτοιο τέλος δέ. εἰ μέν κ᾽ αὖθι μένων in Images of Gods and Heroes in Greco-Roman­ Τρώων πόλιν ἀμφιμάχωμαι, ὤλετο μέν μοι νόστος, ἀτὰρ Antiquity. κλέος ἄφθιτον ἔσται: εἰ δέ κεν οἴκαδ᾽ ἵκωμι φίλην ἐς πατρίδα

helden. heroes. héros. Martin Dorka Moreno

22 γαῖαν, ὤλετό μοι κλέος ἐσθλόν, ἐπὶ δηρὸν δέ μοι αἰὼν the latter “loosening the limbs” of the victim, a term which ἔσσεται, οὐδέ κέ μ᾽ ὦκα τέλος θανάτοιο κιχείη.(Nagy Greek signifies nothing else than the atony of the dead body. In Il. Hero, 27). 16. 314, for example, we learn of how Menealos kills one Thoas: “First the valiant son of Menoetius smote the thigh 8 Nagy, Greek Hero, 29. One might argue, however, that of Areilycus with a cast of his sharp spear at the moment kλέος is not a “consolation prize”, as Nagy states, since it when he turned to flee, and drave the bronze clean through; does not evoke a negative sentiment, but a positive one to [310] and the spear brake the bone, and he fell on his face begin with. on the ground. And warlike Menelaus thrust and smote 9 Berlin, Antikensammlung Inv. Nr. F 2278. – Beazley ARV2 Thoas on the breast, where it was left bare beside the shield, 21, 1. 1620: Sosias-Painter; Beazley Para 323; CVA Ber- and loosed his limbs.” A digital search in the Iliad on http:// lin (2) Taf. 49-51; LIMC I (1981) Nr. 468* 115 s. v. Achilleus www.hup.harvard.edu yields seven more results for the col- (A. Kossatz-Deissmann). – Selective bibliography: Himmel- location: Il. 4. 465; 7. 5; 11. 240; 11. 260; 16. 16; 16. 310; mann, Götterversammlung; Simon 102 Taf. 117; Pinney 135; 21. 405. Patroklos’ poise, although the phrase is not direct- Lowenstam 184-185; Wehgartner; Junker, Pseudo-Homeri- ly associated with his death, might – as has been intuited ca 2-8; Junker, Mythenbilder 13-27, passim; Hedreen 45-47; inter alia by Simon – allude to him losing the control over Steinhart 6-7 fig. 3; Shapiro,Olympian Gods, 410-412. For a his limbs in a similar, anticipating manner. Second, the in- full photographical documentation of the Cup and a more ex- ner, circular image is considered a watershed in the tech- tensive bibliography: 10 July 2015 . time while depicting figures from the side painted the eyes 10 The Œuvre of the so-called Sosias Painter, as identified in profile instead of showing them, as it was practice, seen by scholarship, is relatively small: cf. Beazley ARV2 21, 2 (10 from the front. Interestingly enough, the painter did not follow July 2015 ); and Beazley ARV2 21. (10 eyes of the figures on the outside, remarkably except for the July 2015 [“recalls the Sosias Paint- the pupils only slightly displaced to the left or right. Although er”]); and Beazley ARV2. (10 July 2015 ticed, its potential to add something to the understanding of [“recalls the Sosias Painter”]). the cup’s imagery on an interpretational level has not been explored. If one takes such formal similarities (or differences, 11 For a detailed reproduction of inscriptions, see: CVA Ber- respectively) serious and does not pawn them off as mere lin (2) 7. aesthetical gimmicks, then there is potential here for seman- 12 Achilles and Patroklos in the visual arts: LIMC (1981) Nr. tics. At the risk of gilding the lily, the equality of the eyes of 466-505 115-121 s. v. Patroklos (A. Kossatz-Deissmann). Achilles and Patroklos ‘solely’ with Ares is suspicious, to On the discussions of the (absent) literary precursors, see, say the least, when one considers that Homeric heroes are, most conveniently, Junker, Pseudo-Homerica 3-4. and specifically Patroklos is, called atalantos Arēi, equal to Ares, in relation to their/his death(s): Il. 11. 599-606; cf. Nagy, 13 For a detailed reproduction of inscriptions, see: CVA Ber- Greek Hero 157-162. lin (2) 7-9. 19 In this respect, Nikolaus Himmelmann’s idea of the “hero­ 14 Herakles’ death and apotheosis in the visual arts: LIMC isches Genre”, the heroic genre, is intriguingly instructive and V (1990) Nr. 2847-2938 122-131 s. v. Herakles (J. Board- warrants further discussion; Himmelmann, Herakles 87-121. man). Cf. Brinkmann. 20 See Junker, Pseudo-Homerica 8 and Junker, Mythen- 15 The present discussion is limited to the central issues bilder 22. discussed with regards to the content of the imagery by Klaus Junker, who has hitherto – to my knowledge – pro­ 21 I want to emphasise that the perspective I will develop is vided the most detailed analysis. not conceived as a total antagonism to Junker’s hypothesis, although it may appear to be precisely that. What I intend 16 Junker, Pseudo-Homerica 2–8 and Junker, Mythenbilder to make plausible is another reading of the imagery. In fact, 13–27, passim. Junker’s basic interpretation extends on some of Junker’s arguments remain convincing and pose Lowenstam; see my comments in what is to follow. a threat to my own hypothesis, for instance the notion that 17 Junker, Pseudo-Homerica 5: “Achill stellt für einen Mo- in late sixth-century Athens a discourse existed that prima ment die Gesundheit des Patroklos wieder her, doch wird er, vista was negatively concerned with the prospect of not re- wie jeder Mythenkundige weiß, dessen Tod nicht aufhalten turning home from war, which Junker sees evidenced by the können. Patroklos und Achill selbst werden bald danach im depictions of the anonymous Kriegerabschied, the farewell Kampf sterben.” of anonymous warriors, which could be combined with the Leichenbergung, the recovery of a dead warrior’s body by a Junker extends his basic argumentation by bringing forth 18 companion. See Junker, Mythenbilder 26 with fig. 4 and 5. further arguments, which, in the present context, I can only densely summarise: The tripod on Patroklos’ shield, which 22 Cf. Nagy, Greek Hero 31, who in 1§22 and 1§23 says: “In he sits upon, is an attribute of Apollo, who is – by interfer- the culture represented by the heroes of the Iliad, the distinc- ing in battle – responsible for Patroklos’ and Achilles’ death. tion [...] between the artificial and the natural is not the same See, tentatively, Junker, Pseudo-Homerica 7; Il. 19. 416f; 22. as in our modern cultures. Their culture was a song culture 358-360. In addition, Patroklos’ poise and him ‘not’ wearing [...]. In a song culture, [...], the artificial can be just as real the his full armour might be alluding to the circumstances of his words of natural speech in a real-life experience. In a song death in Il. 16. 820f: Apollo loosens his armour, so Patrok- culture, the song can be just as real as life itself. In ancient los is fully exposed and gets killed by Hektor; notably Hek- Greek song culture, the tale or story of the Iliad was felt to be tor “smote him with a thrust of his spear in the nethermost not only real but also true. [...], the Homeric Iliad was felt to con- belly, and drave the bronze clean through”. The “nethermost vey ultimate truth-values of the ancient Greek song culture.” belly” is precisely what Patroklos’ poise exposes. Ibid., cf. 23 Burkert, Paradigma Roms 1-24 and Burkert, Antiker Heinemann 45-49. And lastly, depictions of Patroklos in the Mythos 11-26. Cf. Kirk 1978; Dowden 1992; Buxton 1994; sixth and until the end of the fifth century BC almost exclu- Steinhart 16-20. sively are associated with his death; ibid. – I would like to add two observations, which are, however, preliminary at best and warrant further examination: First, in the Iliad the killing of a warrior by another is frequently described as

helden. heroes. héros. kλέος on the Sosias Cup

Works Cited Junker, Klaus. “Symposiongeschirr oder Totengefäße? Über- 23 legungen zur Funktion attischer Vasen des 6. und 5. Jahr- hunderts v. Chr.” Antike Kunst 45 (2002): 3-25. Beazley, John D. Attic Black-Figure Vase-Painters. Oxford: Clarendon Press, 1956. ---. Pseudo-Homerica. Kunst und Epos im spätarchaischen Athen. 141. Winckelmannsprogramm der Archäologischen ---. Attic Red-Figure Vase-Painters. Oxford: Clarendon Gesellschaft zu Berlin. Berlin: Verlag Walter de Gruyter, Press, 1963. 2003. ---. Paralipomena: Additions to Attic Black-Figure Vase-Paint- ---. Griechische Mythenbilder: Eine Einführung in ihre Inter- ers and to Attic Red-Figure Vase-Painters. Oxford: Claren- pretation. Stuttgart: J. B. Metzler, 2005. don Press, 1971. King, Catherine C. Achilles: Paradigms of the War Hero Benedict, Ruth. The Chrysantemum and the Sword: Patterns from Homer to the Middle Ages. Berkeley: U of California of Japanese Culture. Boston: Mifflin, 1946. P, 1987. Bourdieu, Pierre. Zur Soziologie der symbolischen Formen. Kirk, Geoffrey S. The Nature of Greek Myths. Harmonds­ Frankfurt a. M.: Suhrkamp Verlag, 1974. worth: Penguin Books, 1978. Burkert, Walter. “Mythos – Begriff, Struktur, Funktionen.” Lowenstam, Stephen. “The Uses of Vase-Depictions in Hom­ Mythe­n in mythenloser Gesellschaft: Das Paradigma eric Studies”, Transactions American Philological Associ­ Roms. Ed. Fritz Graf. Stuttgart: Teubner, 1991: 1-24. ation 122 (1992): 165-198. ---. “Antiker Mythos – Begriff und Funktion.”Antike Mythen in Nagy, Gregory. The Best of the Achaeans: Concepts of the der europäischen Tradition. Ed. Heinz Hofmann. Tübingen: Archaic Greek Poetry. Baltimore: Johns Hopkins UP, 1979. Attempto-Verlag, 1999: 11-26. ---. The Ancient Greek Hero in 24 Hours. Harvard: UP, 2013. Buxton, Richard G.A. Imaginary Greece: The Contexts of Mythology. Cambridge: UP, 1994. Pinney Ferrari, Gloria. “Achilles Lord of Scythia.” Ancient Greek Art and Iconography. Ed. Warren G. Moon. Wiscon- Brinkmann, Vinzenz. “Der Tod des Helden auf dem Scheiter- sin: UP, 1983: 127-146. haufen und seine Himmelfahrt zu den Göttern.” Herakles – Herkules. Ed. Raimund Wünsche. Munich: Staatliche An- Pucci, Pietro. The Song of the Sirens: Essays on Homer. tikensammlungen und Glyptothek, 2003: 282-286. Lanham: Rowman & Littlefield, 1998. --- “Unter Göttern.” Herakles – Herkules. Ed. Raimund Wün- Redfield, James M. Nature and Culture in the Iliad: The Tra­ sche. Munich: Staatliche Antikensammlungen und Glypto- gedy of Hector. Chicago: UP, 1975. thek, 2003: 306-311. Scodel, Ruth. Epic Facework: Self-Presentation and Social Dodds, Eric R. The Greeks and the Irrational. Berkeley: U of Interaction in Homer. Swansea: Classical Press of Wales, California P, 1951. 2008. Dowden, Ken. The Uses of Greek Mythology. London: Rout- Shapiro, H. Allan. “‘Hêroôs Theos’: The Death and Apothe- ledge, 1992. osis of Herakles.” The Classical World 77.1 (1983): 7-18. Greifenhagen, Adolf. Corpus Vasorum Antiquorum, CVA ---. “Olympian Gods at Home and Abroad.” A Companion Deutschland, Berlin, Antiquarium, Band 2. Munich: C. H. to Greek Art. Volume 2. Eds. Tyler Jo Smith and Dimitris Beck, 1962. Plantzos. London: Wiley-Blackwell, 2012: 399-413. Hedreen, Guy. “Achilles beyond the Iliad.” Heroes: Mortals Simon, Erika. Die griechischen Vasen. Munich: Hirmer, 1976. and Myth in Ancient Greece. Ed. Sabine Albersmeier. New Steinhart, Matthias. “The Razor’s Edge: Heroes in Danger in Haven: Yale UP, 2009: 39-48. Early Fifth-Century Attic Vase Red-Figure Vase-Painting.” Heinemann, Alexander. “Ungleiche Festgenossen: Spät­ An Archaeology of Representations. Ed. Dimitrios Yatro­ archaische Gelagegemeinschaften im Medium der Va- manolakis. Athens: Institute du Livre, 2009: 1-24. senmalerei.” Rollenbilder in der athenischen Demokratie: von den Hoff, Ralf, et al. “Helden – Heroisierungen – Hero- Medie­n, Gruppen, Raume im politischen und sozialen Sys- ismen: Transformationen und Konjunkturen von der Anti- tem. Eds. Christian Mann, Mathias Haake, and Ralf von ke bis zur Moderne: Konzeptionelle Ausgangspunkte des den Hoff. Wiesbaden: Reichert Verlag, 2009: 35-70. Sonderforschungsbereichs 948”, helden. heroes. héros. E- Himmelmann, Nikolaus. “Die Götterversammlung der Journal zu Kulturen des Heroischen 1.1 (2013): 7-14. DOI Sosias-­Schale”, Marburger Winckelmann-Programm 1960. 10.6094/helden.heroes.heros./2013/01/03. Marburg: Verlag des kunstgeschichtlichen Seminars, 1960: Wehgartner, Irma. “59: Schale (Typus B).“ Euphronios der 41-48. Maler. Ausstellungskatalog, Antikenmuseum Berlin, Staat­ ---. Der ausruhende Herakles. Nordrhein-Westfälische Aka- liche Museen Preußischer Kulturbesitz, Milan: Fabbri edito- demie der Wissenschaften und der Künste, Vorträge G ri, 1991: 244-249. 420. Paderborn: Ferdinand Schöningh, 2009.

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fig. 1: So-Called Sosias Cup, Interior: Achilles (on the right) tending to a wound suffered by Patroklos (on the left). (Photo: Bibi Saint-Pol. 2 August 2015 ).

helden. heroes. héros. kλέος on the Sosias Cup

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fig. 2: So-Called Sosias Cup, Exterior: Herakles’ introduction to Olympos in the presence of the gods. (After Furtwängler, Adolf. Griechische Vasenmalerei: Auswahl hervorragender Vasenbilder 3. Munich: Bruckmann,1932. Pl. 123).

fig. 3: So-Called Sosias Cup, Exterior: Herakles’ introduction to Olympos in the presence of the gods. (After Furtwängler, Adolf. Griechische Vasenmalerei: Auswahl hervorragender Vasenbilder 3. Munich: Bruckmann,1932. Pl. 123).

helden. heroes. héros.