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Achilles, Patroklos and Herakles

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Achilles, Patroklos and Herakles 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 relativel y 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 sur vive 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).
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