After the horror of Book 22—Hector dragged through the dust, Andromache fainting on the walls—Book 23 gives us something completely different: GAMES. Athletic competitions. Prizes. Arguments about who won the chariot race. It seems bizarre: how can we go from corpse-mutilation to sporting events?
But Book 23 isn't comic relief or filler. It's NECESSARY. The funeral games serve multiple purposes: they honour Patroclus (giving him the heroic send-off he deserves), they reveal character (especially Achilles), they show us Greek aristocratic culture at its finest, and they provide a crucial transition between the violence of Books 20-22 and the reconciliation of Book 24.
So the Trojans mourned throughout the city. Meanwhile the Greeks, when they reached the Hellespont and their ships, dispersed, each to his own vessel. But Achilles did not dismiss the Myrmidons. He spoke to his battle-loving companions.
— The Greeks return, Rieu, lines 1-4
Why This Book Matters
Book 23 shows us what Greek heroic culture VALUES: athletic excellence, competitive honour, proper burial rites, generosity, and social hierarchy. But it also shows us Achilles CHANGING—he's still grief-stricken, still obsessed with Patroclus, but he's regaining some humanity through his role as games-master and host.
What Makes Book 23 Important
Cultural window: This is our most detailed picture of Greek aristocratic games—Homer assumes his audience knows these contests intimately
Character development: Achilles transitions from monstrous avenger to generous host and fair judge
Social structure: The games reveal the Greek hierarchy—who competes, who gets prizes, who defers to whom
Continued grief: Despite the celebrations, Achilles cannot forget Patroclus—his ghost appears, demanding burial
Hector's corpse: Whilst the Greeks feast and compete, Achilles STILL drags Hector's body daily around Patroclus' tomb
Divine protection: Apollo preserves Hector's corpse from decay despite the abuse—foreshadowing Book 24
Narrative pacing: After intense violence, Homer slows the pace, letting us (and the characters) breathe before the final book
The Contrast with Book 22
The tonal shift from Book 22 to Book 23 is STARK—and deliberate:
Book 22: Death & Grief
Hector hunted like an animal
Corpse mutilation and desecration
Parents' anguished cries
Andromache fainting from horror
Total violation of burial customs
Achilles as inhuman monster
Book 23: Sport & Celebration
Athletic competitions and contests
Valuable prizes distributed fairly
Jokes, banter, friendly rivalry
Proper funeral rites performed
Elaborate tomb constructed
Achilles as generous host and judge
💡 Why the Shift?
Homer needs to show us BOTH sides of Greek warrior culture: the brutal violence AND the civilised rituals. The games prove these warriors aren't just killing machines—they're aristocrats with refined tastes, athletic skills, and social codes. But the contrast also emphasises the HYPOCRISY: they honour Patroclus properly whilst denying Hector any dignity.
Book 23 follows a clear progression: funeral preparations → Patroclus' ghost appears → the pyre and cremation → the games themselves (with the chariot race getting the most attention) → Achilles' ongoing abuse of Hector's corpse. The book is LONG—over 900 lines—because Homer describes each contest in detail.
PART 1
Return & Lament
Lines 1-58
The Greeks return from battle. Achilles leads the Myrmidons in ritual lamentation around Patroclus' body. They feast but Achilles refuses food.
PART 2
Patroclus' Ghost
Lines 59-107
Achilles falls asleep exhausted. Patroclus' ghost appears, begging to be buried so his soul can enter Hades. Achilles tries to embrace him but cannot.
PART 3
Gathering Wood
Lines 108-126
The Greeks gather timber for the funeral pyre—a massive construction project requiring wood from the mountains.
PART 4
Building the Pyre
Lines 127-191
They build an enormous pyre. Achilles sacrifices sheep, cattle, dogs, and twelve Trojan prisoners. He cuts his own hair and places it on Patroclus' body.
PART 5
The Cremation
Lines 192-225
The pyre won't light. Achilles prays to the winds. They come and fan the flames all night. By dawn, the fire has consumed everything.
PART 6
Collecting Bones
Lines 226-257
They extinguish the pyre with wine. They carefully collect Patroclus' bones, wrap them in fat, and place them in a golden urn. They build a tomb mound.
PART 7
Chariot Race
Lines 258-652
The longest section. Five heroes compete: Eumelus, Diomedes, Menelaus, Antilochus, Meriones. Apollo interferes. Athene helps Diomedes win. Argument about second place.
PART 8
Boxing
Lines 653-699
Brutal boxing match between Epeius (who wins quickly) and Euryalus (who gets knocked out cold).
PART 9
Wrestling
Lines 700-739
Ajax and Odysseus wrestle to a draw. Both are declared winners and share the prize.
PART 10
Foot Race
Lines 740-797
Ajax, Odysseus, and Antilochus race. Athene helps Odysseus win (and makes Ajax slip in dung).
PART 11
Combat in Armour
Lines 798-825
Ajax and Diomedes fight in full armour. Before anyone gets hurt, the Greeks stop the contest and both receive prizes.
PART 12
Discus, Archery, Javelin
Lines 826-897
Brief descriptions of the final three contests. The javelin contest doesn't even happen—Agamemnon enters and Achilles declares him winner immediately.
The Importance of the Chariot Race
The chariot race gets nearly 400 lines—almost half the games section. Why? Because it's the PRESTIGE event, the one that shows aristocratic skill, wealth, and status. It also generates the most drama: divine interference, near-crashes, arguments about judging. Homer uses it to explore character and social dynamics in detail.
The Ghost of Patroclus
Before the games, something supernatural happens. Achilles falls asleep, exhausted from grief:
Then the spirit of unhappy Patroclus came to him, exactly like the man in height and lovely eyes and voice, and wearing the same clothes. It stood above his head and spoke to him: 'You are asleep and have forgotten me, Achilles. You were not careless of me when I was alive, but now that I am dead you neglect me. Bury me as quickly as possible so that I may pass the gates of Hades. The spirits keep me at a distance, the phantoms of men who have finished their labours. They will not yet let me join them across the river, and I wander aimlessly by Hades' wide-gated house. And give me your hand, I beg you, for I shall never again come back from Hades once you have given me my due portion of fire.'
— Patroclus' ghost, Rieu, lines 65-76
⚠️ The Unburied Dead
Greek religion held that the UNBURIED couldn't enter the afterlife properly. Patroclus' soul is trapped, wandering, rejected by the other dead. This makes Achilles' treatment of Hector even crueller—he's condemning Hector's soul to the same fate. The ghost scene emphasises how important proper burial was.
So speaking, the spirit departed like a vapour with a thin cry, going under the earth. Godlike Achilles leapt up in amazement and clapped his hands together, and spoke in sorrow: 'Look at this! So there IS something, a spirit and phantom, even in the house of Hades, though the life is completely gone from it. All night long the spirit of poor Patroclus stood over me, weeping and wailing, and gave me detailed instructions—it was wonderfully like the man himself.'
— Achilles' reaction, Rieu, lines 100-107
💡 "Wonderfully Like the Man Himself"
The ghost looks and sounds exactly like Patroclus—but Achilles CAN'T TOUCH HIM. He tries to embrace the phantom but it disappears "like a vapour with a thin cry." This is heartbreaking: even in death, Achilles is separated from his beloved companion. The ghost scene drives home the finality of death.
The Funeral Pyre
Following Patroclus' ghost's instructions, Achilles organises an ENORMOUS funeral. This isn't a simple cremation—it's a monumental display of grief and honour.
They built a pyre a hundred feet long this way and that, and on top of the pyre they laid the body, hearts full of sorrow. In front of it they flayed and prepared many fat sheep and shambling crook-horned cattle. Great-hearted Achilles took fat from all of them and covered the corpse with it from head to foot, and piled the flayed bodies round it. He placed two-handled jars of honey and oil against the bier, leaning them on it. Then in passionate haste he laid four high-necked horses on the pyre, groaning aloud.
— Building the pyre, Rieu, lines 164-171
100 feet square: A massive structure, requiring enormous amounts of timber
Fat covering: Helps the body burn—practical but also ritual
Animal sacrifices: Sheep and cattle killed and burnt with the body
Honey and oil: Luxury goods, showing Patroclus' value
Four horses: Patroclus' own horses, killed for him to use in the afterlife
But then Achilles does something SHOCKING:
Nine dogs had fed at the table of the prince. Of these he cut the throats of two and laid them on the pyre. Then he did an evil deed: he put twelve brave sons of the great-hearted Trojans to the sword, planning in his heart their destruction, and he set the iron force of fire to feed on all.
— Human sacrifice, Rieu, lines 173-176
⚠️ Human Sacrifice
Achilles murders TWELVE Trojan prisoners and burns them with Patroclus. Homer calls this "an evil deed"—it's not presented as normal or acceptable. This is Achilles at his most monstrous, so consumed by grief that he commits atrocities. Even Homer's audience would have been horrified by human sacrifice.
Then he groaned, and called on his dear companion by name: 'Patroclus, I salute you even in the house of Hades. See, I am now accomplishing all that I promised you before. Twelve brave sons of the great-hearted Trojans—the fire is devouring all these with you. But I will not give Hector, Priam's son, to the fire to devour. I will give him to the dogs to eat.'
— Achilles' vow, Rieu, lines 179-183
Even now, Achilles refuses to let Hector's body be buried. The contrast is stark: Patroclus gets the most elaborate funeral imaginable. Hector gets NOTHING.
The Pyre Won't Light
Despite all the preparation, something's wrong:
But the pyre of dead Patroclus would not burn. Then swift-footed godlike Achilles thought of another plan. He stood away from the pyre and prayed to the two winds, the North Wind and the West Wind, and promised them fine sacrifices. He poured many libations from a golden cup and begged them to come, so that the bodies might burn quickly in the fire and the wood catch alight.
— Achilles prays, Rieu, lines 192-198
💡 Why Divine Help?
The pyre's refusal to light might reflect divine displeasure at the human sacrifice—or simply create narrative tension. Either way, Achilles must humble himself and pray for help. The winds respond, and the flames finally consume everything. Even Achilles, in his fury, needs the gods' cooperation.
All night long the two winds blew together on the funeral pyre with a terrible blast, and all night long swift Achilles, holding a two-handled cup, drew wine from a golden bowl and poured it on the ground, drenching the earth, calling on the spirit of unhappy Patroclus. As a father laments when he burns the bones of his son, a newly-wed whose death has brought misery to his wretched parents, so Achilles lamented as he burned his companion's bones, dragging himself round the pyre, groaning endlessly.
— Achilles' vigil, Rieu, lines 217-224
The Father-Son Simile
Achilles laments "as a father" mourning his son. This is significant: Patroclus isn't Achilles' son, but the comparison emphasises the DEPTH of loss. The simile of the "newly-wed whose death has brought misery" also adds poignancy—a life cut short just as it was beginning, like Patroclus himself.
Collecting the Bones
When the fire burns out, they carefully gather Patroclus' remains:
When they had put out the pyre's last flame with wine, they gathered the white bones of gentle Patroclus, separating them carefully—they were easy to recognise, for he had lain in the middle of the pyre, whilst the others were burnt separately at the edge, men and horses jumbled together. They placed the bones in a golden urn, wrapping them in a double layer of fat, and put the urn in his hut, covering it with soft linen. Then they marked out the circuit of his tomb and laid the foundations round the pyre, and quickly heaped up a mound of earth over it.
— Burial of bones, Rieu, lines 239-248
The Golden Urn
Patroclus' bones are placed in a GOLDEN urn—extraordinary wealth and honour. The double layer of fat preserves them. The tomb mound will be permanent, visible for generations. This is exactly what Achilles is denying Hector: proper collection of bones, decent storage, a permanent monument.
With the funeral complete, Achilles can finally hold the games. But first, he addresses the assembled Greeks:
When they had heaped up the mound, they started to go back. But Achilles detained the people and made them sit in a wide gathering, and he brought out prizes from the ships: cauldrons and tripods, horses and mules and strong cattle, well-girdled women, and grey iron.
— Introducing the games, Rieu, lines 257-261
⚠️ Women as Prizes
Notice "well-girdled women" listed alongside cauldrons and cattle as prizes. Women captives are PROPERTY in this society, traded and awarded like any other valuable possession. This isn't presented critically by Homer—it's simply how Greek warrior culture worked. But it's jarring to modern readers.
The Premier Event
The chariot race is the PRESTIGE competition—only the wealthiest, most skilled aristocrats can compete. You need expensive horses, a well-made chariot, and years of training. Five heroes enter: Eumelus (best horses), Diomedes (Achilles' horses), Menelaus (good but not great), Antilochus (young and reckless), and Meriones (outsider).
First he set out prizes for the swift-footed charioteers: a woman skilled in fine handiwork, and a tripod with ears holding twenty-two measures, for the winner. For the second he set out a six-year-old unbroken mare, pregnant with a mule foal. For the third he set out a beautiful cauldron of four measures, still bright, quite untouched by fire. For the fourth he set out two talents of gold. And for the fifth he set out a two-handled jar, untouched by fire.
— The prizes, Rieu, lines 262-270
First prize: Skilled woman captive + valuable bronze tripod
Second prize: Pregnant mare (valuable breeding stock)
Third prize: Large bronze cauldron
Fourth prize: Two gold talents (pure wealth)
Fifth prize: Bronze jar
💡 The Prize Structure
Even FIFTH place gets a valuable prize. Achilles is displaying his wealth and generosity. The prizes decrease in value but all are significant—this isn't token participation, it's real honour. The fact that there are five prizes suggests Achilles expects exactly five competitors.
The Race Itself
The race is DRAMATIC. Homer describes it like a modern sports commentary—we hear about each driver's strategy, near-crashes, divine intervention, and the finish.
Eumelus' horses took the lead for a while, but close behind came Diomedes' horses, the stallions of Tros—they seemed always about to mount Eumelus' chariot, and their breath warmed his back and broad shoulders, for they were leaning over him as they flew along.
— Early race, Rieu, lines 375-378
Then Apollo interferes—jealous that Diomedes (an Athene-favourite) is winning:
Then Phoebus Apollo, angry with Diomedes, struck the bright whip from his hands. Tears of rage ran from his eyes, since he saw the others' horses going still faster, whilst his own were checked, running without the goad.
— Apollo interferes, Rieu, lines 382-385
But Athene immediately retaliates:
But Athene did not miss Apollo's trick against Diomedes. She rushed after the shepherd of the people and gave him back his whip, and put strength in his horses. Then in her wrath she went after Eumelus and broke his chariot yoke. His horses ran apart off the course, and the pole was dashed to the ground. Eumelus himself was rolled out of the car by the wheel, and his mouth and nostrils were torn, his forehead bruised above the eyebrows. His eyes filled with tears and his strong voice was checked.
— Athene's revenge, Rieu, lines 388-396
⚠️ Divine Cheating
This isn't a fair race—it's decided by divine favouritism. Apollo sabotages Diomedes (who was winning fairly). Athene retaliates by DESTROYING Eumelus' chariot, causing a dangerous crash. The gods treat mortal competitions as extensions of their own rivalries. Poor Eumelus, who had the best horses, ends up injured and last.
Meanwhile, young Antilochus uses cunning to overtake Menelaus at a narrow part of the track:
But the son of Nestor called to his horses: 'Go forward, both of you, stretch out as fast as you can! I am not asking you to compete with the horses of wise Diomedes—Athene has given them speed and given glory to their driver. But catch up with Menelaus' horses, quickly, do not be left behind, or Aethe, who is female, will pour shame on you.'
— Antilochus' tactics, Rieu, lines 402-408
💡 "Shame from a Female Horse"
Antilochus taunts his male horses by saying a FEMALE horse (Menelaus' lead mare Aethe) will beat them—appealing to their pride/masculinity. It's anthropomorphism but also reflects Greek gender attitudes: being beaten by a female is shameful even for horses.
The Finish & Controversy
Diomedes wins easily. But second place is DISPUTED:
Diomedes came in first by far—he lashed his horses forward and they flew through to the finish. After him came Antilochus, son of Nestor, who had passed Menelaus by a trick, not by speed. But even so, Menelaus held his swift horses close. As far as a horse is from the wheel of the chariot that drags it when it strains forward over the plain, and the wheel's rim runs close behind it—there is very little space between—so close was Menelaus to excellent Antilochus.
— The finish, Rieu, lines 510-518
Menelaus is FURIOUS that Antilochus passed him dangerously. When prizes are awarded, Menelaus protests:
Then Menelaus stood up, disturbed in spirit and terribly angry with Antilochus. A herald placed the staff in his hand and called for silence amongst the Greeks. Then the godlike man spoke: 'Antilochus, you who were sensible before, what have you done? You have shamed my skill and fouled my horses by putting yours in front, though they were far inferior.'
— Menelaus' complaint, Rieu, lines 570-574
The Argument
Menelaus: You cheated by dangerous driving
Antilochus: I took a risk that succeeded—that's racing
Menelaus: You nearly crashed both of us
Antilochus: I'm young and reckless, sorry
Menelaus: Fine, you can HAVE the prize then (making Antilochus feel guilty)
Antilochus: No, I'll GIVE it back (regains honour through generosity)
The Social Dance
This argument is ritualistic. Both men know the proper behaviour: Menelaus protests to defend his honour, Antilochus apologises appropriately, Menelaus offers to yield (showing magnanimity), Antilochus insists on returning the prize (showing respect). Neither wants actual conflict—they're performing the social roles expected of aristocrats. In the end, Menelaus keeps his prize but everyone's honour is satisfied.
Achilles' Judgement
Throughout the dispute, Achilles watches. Then he makes a generous gesture towards Eumelus, who crashed:
Then swift-footed Achilles spoke, pitying Eumelus: 'Eumelus is driving the best horses but has come in last. Come, let us give him a prize, as is right—the second prize. But let Diomedes take the first.' So he spoke, and they all applauded.
— Achilles' proposal, Rieu, lines 536-539
This starts ANOTHER argument—Antilochus protests that he came second, so he should get second prize. Eventually they compromise: Eumelus gets compensation from Achilles' personal store, Antilochus keeps second prize, everyone's happy.
Achilles as Generous Host
Notice Achilles' behaviour: he's fair, generous, willing to give extra prizes to avoid hard feelings. This is COMPLETELY different from the monster who murdered Trojan prisoners and dragged Hector's corpse. The games show us another side of Achilles—the aristocratic host who values social harmony and proper honour.
The Other Seven Competitions
After the chariot race, Homer describes seven more contests—though with less detail. Each reveals something about Greek athletics and aristocratic values.
🥊Boxing
BRUTAL contest between Epeius (a huge man who boasts he'll destroy anyone) and Euryalus. Epeius wins quickly with a devastating punch that knocks Euryalus unconscious and causes him to vomit blood. His friends have to carry him away. Unlike modern boxing, ancient boxing had no rounds, no ring, no weight classes—you fought until someone gave up or was knocked out.
Prize: Winner gets a mule; loser gets a drinking cup
🤼Wrestling
Ajax (Big Ajax, son of Telamon) wrestles Odysseus. They're evenly matched—Ajax is stronger, Odysseus more cunning. They grapple for ages without decision. The watching Greeks get bored. Achilles intervenes and declares them joint winners, giving both equal prizes. This is RARE—normally there must be a clear victor.
Prize: Both receive valuable tripods
🏃Foot Race
Ajax (Little Ajax), Odysseus, and Antilochus race. Odysseus prays to Athene for help. She responds by making Little Ajax SLIP in cattle dung near the finish line (the dung is from the cattle sacrificed earlier). Ajax ends up covered in manure, spitting it out of his mouth, whilst Odysseus wins. Ajax complains that Athene helped Odysseus "like a mother." Everyone laughs.
Prize: Silver mixing-bowl (1st), ox (2nd), half-talent of gold (3rd)
⚠️ The Dung Incident
The image of Ajax slipping in cow dung and getting a mouthful of manure is COMIC—deliberately so. After all the grief and violence, Homer gives us slapstick. But it also reminds us that even heroic athletics can be undignified. And Athene's constant favouritism of Odysseus is noted by everyone.
⚔️Armed Combat
Ajax and Diomedes fight in full armour with real weapons. It's meant to be first blood, but they fight so fiercely that the watching Greeks get nervous—these are two of their best warriors, and they might actually kill each other. Achilles stops the contest before anyone gets hurt. Both receive equal prizes.
Prize: Both get valuable silver-studded swords
🏋️Discus (Weight Throw)
The "discus" is actually a lump of raw iron—whoever throws it farthest wins it and can use it for five years (make tools, weapons, etc.). Polypoetes wins easily—he's enormously strong. The throw is described briefly. This contest gets minimal attention compared to earlier events.
Prize: The iron lump itself (practical wealth)
🏹Archery
The target is a dove tied to a ship's mast. Teucer shoots first and hits the string, freeing the dove. Meriones grabs the bow, prays to Apollo, and shoots the dove in mid-flight—a spectacular shot. Meriones wins first prize; Teucer gets second for hitting the string. Archery required skill AND divine favour.
Prize: Ten double-axes (1st), ten single-axes (2nd)
🎯Javelin
This contest DOESN'T HAPPEN. Agamemnon stands up to compete. Achilles immediately declares: "Son of Atreus, we all know you surpass everyone and are far the best in strength and javelin-throwing. Take this prize and go. But let us give the spear to Meriones." Everyone agrees. Agamemnon wins without competing.
Prize: Cauldron (given to Agamemnon without contest)
💡 Why Does Achilles Do This?
Achilles flatters Agamemnon by declaring him the obvious winner without needing to prove it. This is DIPLOMATIC—a public gesture of respect towards the commander-in-chief. It's also strategic: Achilles is cementing their reconciliation from Book 19. By honouring Agamemnon this way, he reinforces their alliance and his own position. The games aren't just sport—they're social theatre.
Declining Attention
Notice how Homer's descriptions get SHORTER as the games progress:
Chariot race: ~400 lines with divine intervention, drama, arguments
Boxing: ~50 lines with vivid violence
Wrestling: ~40 lines with detailed moves
Foot race: ~60 lines with comedy (the dung incident)
Armed combat: ~30 lines, stopped early
Discus: ~15 lines, basic description
Archery: ~30 lines, focuses on the spectacular shot
Javelin: ~10 lines, doesn't actually happen
Why the Decreasing Detail?
Homer frontloads the drama. The chariot race gets maximum attention because it's the most prestigious and generates the most social complexity. By the time we reach the javelin, we (and Homer's audience) have got the point: the games honour Patroclus, display Greek culture, and show Achilles' generosity. We don't need eight equally detailed contests. The diminishing attention also reflects natural human interest—even ancient audiences had attention spans.
Achilles Transformed
Throughout Book 23, Achilles plays a specific role: the HOST and JUDGE of the games. This is a traditional aristocratic function—the wealthy patron who provides prizes, settles disputes, and maintains social order. But it's REMARKABLE given what we've just seen Achilles do in Books 20-22.
Achilles in Books 20-22
Kills Trojans by the dozen
Fights the river god itself
Murders Hector brutally
Refuses mercy or negotiation
Drags corpse behind chariot
Denies proper burial rights
Acts like an inhuman monster
Achilles in Book 23
Organises elaborate funeral
Provides expensive prizes
Settles disputes fairly
Shows generosity and tact
Honours Agamemnon diplomatically
Maintains social harmony
Acts like a civilised aristocrat
The Dual Nature of Heroes
Achilles can be BOTH the berserker warrior AND the gracious host. Greek heroes weren't one-dimensional. They could slaughter enemies in battle and then host elegant symposia. The same man who murdered twelve prisoners can judge a wrestling match with perfect fairness. This cognitive dissonance is part of heroic culture—violence and civilisation coexist.
Achilles' Key Moments as Judge
Throughout the games, Achilles demonstrates qualities that seemed absent in his rampage:
🎯 Generosity
When Eumelus crashes and comes last despite having the best horses, Achilles immediately proposes giving him second prize anyway out of pity. When Antilochus objects, Achilles ADDS an extra prize from his personal wealth rather than create conflict. He's not just distributing prizes—he's using wealth to maintain social bonds.
🎯 Fairness
When Menelaus and Antilochus argue, Achilles doesn't impose a decision—he lets them work it out. When Ajax and Odysseus wrestle to a draw, he declares them joint winners rather than forcing a victor. He understands that sometimes social harmony matters more than clear-cut results.
🎯 Diplomacy
The javelin incident is masterful. By declaring Agamemnon the winner without competition, Achilles avoids any possibility of the commander-in-chief being beaten publicly. He flatters Agamemnon's superiority, reinforces their reconciliation, and shows political savvy. This is the same Achilles who, in Book 1, nearly murdered Agamemnon.
Then swift-footed godlike Achilles addressed the Greeks: 'Son of Atreus, we all know how much you surpass everyone else, and how much you are the best in strength and in throwing the spear. So take this prize back to your hollow ships. But let us give the spear to the hero Meriones, if you in your heart agree. That is what I suggest.'
— Achilles to Agamemnon, Rieu, lines 890-894
💡 The Social Performance
Notice Achilles' language: "we all know," "if you in your heart agree," "that is what I suggest." He's not COMMANDING—he's deferring to Agamemnon whilst simultaneously flattering him. Agamemnon, recognising the gesture, immediately agrees. This is aristocratic politics: honour exchanged through public ritual.
But Achilles Still Grieves
Despite playing the gracious host, Achilles hasn't forgotten Patroclus—or stopped abusing Hector. The book reminds us of this repeatedly:
All night long swift Achilles, holding a two-handled cup, drew wine from a golden bowl and poured it on the ground, drenching the earth, calling on the spirit of unhappy Patroclus.
— Achilles' vigil, Rieu, lines 218-221
And at the very end of the book, Homer reminds us what Achilles does EVERY MORNING:
But Achilles kept on weeping as he thought of his dear companion, and sleep, which conquers all, did not take him. He tossed this way and that, longing for Patroclus' manhood and his great strength, remembering all they had achieved together and all the hardships they had suffered, going through wars with men and dangerous seas. As he remembered, he shed big tears, lying now on his side, now on his back, now face down. Then he would rise to his feet and wander distraught along the sea shore. Dawn never found him unaware when she appeared over the sea and shore. Then he would yoke his swift horses to his chariot and tie Hector behind it to drag him. When he had dragged him three times round dead Patroclus' tomb, he would rest again in his hut, leaving Hector stretched in the dust on his face.
— Achilles' ritual, Rieu, lines 19-34 (Book 24 opening, but describing Book 23 period)
⚠️ The Daily Desecration
EVERY DAWN, Achilles drags Hector's corpse three times around Patroclus' tomb. This isn't a one-time act of rage—it's a RITUAL. Whilst he's being generous and fair in the games by day, he's still obsessively mutilating Hector's body each morning. The civilised host and the grief-mad avenger exist simultaneously.
But the gods intervene:
But Apollo in pity kept all corruption from Hector's flesh, dead though he was. He covered him all round with his golden aegis, so that Achilles should not tear him as he dragged him.
— Apollo protects Hector, Rieu, Book 24, lines 18-21
Divine Disapproval
Apollo PRESERVES Hector's corpse despite the abuse—it doesn't decay, doesn't rot, stays perfect. This is divine intervention, but it's also divine JUDGEMENT. The gods are protecting Hector because what Achilles is doing is WRONG. This sets up Book 24: the gods will force Achilles to return the body.
Key Themes in Book 23
Book 23 might seem like a break from the main narrative, but it develops several crucial themes that run throughout the Iliad:
1. Honour and Social Hierarchy
The funeral games are ALL ABOUT timē (honour). Who competes, who wins, who gets what prize, how disputes are resolved—all reflect and reinforce social status.
Only aristocrats compete: Common soldiers don't participate—these games are for the elite
Prizes reflect status: First prize is always more valuable, but even fifth place gets something significant
Arguments are about honour: Menelaus vs Antilochus isn't really about the mare—it's about respect
Agamemnon gets special treatment: His superiority is acknowledged without him needing to prove it
Achilles' role as host: Providing prizes and judging fairly enhances his status and honour
Connections to Earlier Books
Book 1: The entire Iliad started because of a dispute over honour (Agamemnon taking Briseis)
Book 9: Agamemnon offered Achilles gifts to restore his honour—Achilles refused
Book 23: Achilles now DISTRIBUTES honour through gifts, showing his reintegration into Greek society
2. Grief and Commemoration
The games exist to HONOUR Patroclus. They're how Greek warrior culture processes grief—through competitive ritual that celebrates the dead warrior's importance.
'Patroclus, I salute you even in the house of Hades. See, I am now accomplishing all that I promised you before.'
— Achilles to Patroclus, Rieu, lines 179-180
💡 Funeral Games as Social Memory
The games ensure Patroclus is REMEMBERED. Every competitor, every spectator, will tell stories about "the funeral games for Patroclus." The more elaborate the games, the more memorable the person. Achilles is using his wealth and status to guarantee Patroclus' kleos (glory) endures. In a pre-literate society, social memory IS immortality.
⚠️ But What About Hector?
The contrast is brutal. Patroclus gets: elaborate funeral pyre, expensive sacrifices, golden urn, permanent tomb, eight athletic contests, valuable prizes distributed in his name. Hector gets: corpse dragged daily through dust, denied burial, no honours, no commemoration. The Greeks celebrate their dead whilst desecrating Troy's hero.
3. Competition and Conflict Resolution
The games provide a SAFE outlet for competition. Greek warriors are naturally aggressive and competitive—the games channel this into socially acceptable forms.
Physical competition replaces combat: They can compete without killing each other
Arguments are resolved peacefully: Menelaus and Antilochus work out their dispute through dialogue and gesture
Achilles prevents real violence: He stops the armed combat before anyone gets hurt
Generosity defuses tension: Extra prizes given to prevent hard feelings
Social bonds are reinforced: Competition strengthens community rather than fracturing it
The Aristocratic Ideal
Greek aristocrats valued BOTH martial prowess AND civilised behaviour. The games show them as cultured, athletic, generous, and honourable—not just brutal killers. This is the society's ideal self-image: warriors who can also be gentlemen, competitors who remain friends.
4. Divine Intervention
The gods interfere constantly in the games—just as they do in battle. Apollo sabotages Diomedes, Athene retaliates, prayers are answered, divine favourites win.
Divine Interference in Book 23
Apollo knocks the whip from Diomedes' hand
Athene restores the whip and wrecks Eumelus' chariot
Athene makes Ajax slip in dung so Odysseus wins
Apollo helps Meriones shoot the dove in mid-flight
Apollo preserves Hector's corpse from decay
💡 Mortal Agency vs Divine Will
If the gods decide who wins, what's the point of competing? This is the central tension of the Iliad: mortals TRY, make choices, exert effort—but ultimately the gods have final say. Yet the Greeks compete anyway because the attempt itself matters, even if the outcome is divinely influenced. It's about demonstrating excellence (aretē), not just winning.
5. The Transition to Book 24
Book 23 serves a crucial STRUCTURAL function: it transitions us from the violence of Books 20-22 to the reconciliation of Book 24.
What Book 23 Accomplishes
Gives Patroclus proper funeral rites
Shows Achilles regaining humanity
Reminds us Greeks have civilised values
Provides emotional breathing room
Reinforces Greek social bonds
But keeps reminding us of Hector's corpse
Setting Up Book 24
Achilles is softer, more approachable
He can be generous and merciful (to Greeks)
But he's still obsessed with Patroclus
Still desecrating Hector daily
Gods are disapproving (Apollo protects corpse)
Divine intervention is coming
The Narrative Arc
We couldn't go straight from Hector's death to Priam's supplication. Book 23 is necessary: it shows us Achilles CAN be generous, fair, and humane—just not towards Trojans yet. When Priam arrives in Book 24, we'll see whether Achilles can extend that generosity beyond his own people. Book 23 proves it's POSSIBLE.
Essay Ideas from Book 23
Themes to Explore
Honour and social hierarchy in the games
Grief and commemoration rituals
Competition as civilising force
Divine intervention in human affairs
Achilles' dual nature (host vs avenger)
Treatment of Patroclus vs Hector
Function of games in narrative structure
Character Analysis
Achilles as generous host and judge
Achilles' ongoing grief for Patroclus
Antilochus (young, reckless, apologetic)
Menelaus (honourable, not petty)
Agamemnon (restored to honour)
Odysseus (cunning, divinely favoured)
Key Connections
Book 1: Dispute over honour → Book 23: Honour distributed fairly
Book 16: Patroclus dies → Book 23: Patroclus honoured elaborately
Book 22: Hector denied burial → Book 23: Corpse still desecrated daily
Book 24: Priam will beg for Hector's body → Book 23: Shows Achilles CAN be generous
Key Points for Revision
Patroclus' ghost appears: Begs Achilles to bury him so his soul can enter Hades properly
Elaborate funeral: Massive pyre, animal sacrifices, TWELVE Trojan prisoners murdered, Achilles cuts his own hair
Pyre won't light: Achilles prays to the winds; they respond and burn everything overnight
Bones collected: Carefully separated, wrapped in fat, placed in golden urn, tomb mound built