The shield which Hephaestus crafts for Achilles is covered in elaborate detail, depicting a wide variety of scenes, ranging from wars to farmland. The workmanship of the shield itself is such that the scenes and figures on it are described as if moving, or even alive (Chapter 18.483-608). The function of this work is not only to showcase the descriptive abilities of the storyteller, or act as a reminder of the skill of Hephaestus, but as an analogue to the action of the surrounding narrative, and give the poet an opportunity to reflect upon the nature of storytelling, using the medium of the shield itself.
The events depicted in the shield parallel many of the events in the story of the Iliad, reiterating important events and major themes. One example of this is the depictions of the two cities: one at peace and the other under siege (18.490-510). The simplest interpretation shows the peaceful city as representative of the cities of the invading Greeks, while the warring city is symbolic of Troy itself. However, at the same time, the cities together are also an analogy of the dual nature of Troy. The depiction of the warring city guarded by women and children, while the men stage an ambush, is a reminder that the soldiers on the battlefield are not the only ones who are affected by the outcome of the war; all the people of Troy are, to a degree, involved in the Trojan war (18.514-520).
But at the same time, life goes on within the walls of Troy. Everyday tasks such as weaving, still take place (3.125; 22.440). This rarely seen aspect of Troy is paralleled in the descriptions of the city at peace, and the pastoral landscape (18.491-96; 18.541-573). At the same time, neither area is completely free from conflict, in the peaceful city, two men argue over the blood-price of a dead man, while in the pastoral landscape, a pair of lions have attacked a herd of cattle (18.498-508; 18.579-586). These symbolize the omnipresent threat of violence toward the Trojan community.
The plethora of violent imagery reminds the audience of the violence of the outer narrative. In particular, the shield's ambush scene offers similarities to the rout of the Trojans to the river Xanthos (21.1-382). The appearance of Death, stained ?strong red with the men's blood,? reminds the audience of the divine influences at play in Achilles' great day of battle, and indeed in almost every battle (18.538).
Patroclus' day of battle also receives the symbolic treatment. The scene of the two lions killing a bull is symbolic of the death of Patroclus at the hands of Hector and Euphorbos (16.808-821). The two lions manage to take down a bull at the head of a herd of cattle, and fight with the shepherds and their dogs over the possession of the body (18.579-86). This closely mirrors the wounding of Patroclus, leading a charge to the walls of Troy, at the hands of Euphorbos, and his death by Hector, and the ensuing struggle between the Trojans and the Greeks over the body(16.808-821; 17).
More subtle forms of conflict play a no less valuable role in the meaning of the shield. The argument depicted on the shield parallels the relationship between Agamemnon and Achilles. While one man has offered to pay the blood-price for a murdered man, the other refuses to accept it (18.497-508). This is reminiscent of the dispute between Agamemnon and Achilles However, instead of a dead man, they are in conflict over the honor of Achilles. Just as Achilles refuses to allow Agamemnon, to place a price on his honor, though offering him a reward to return to the fighting, despite the fact that Agamemnon slighted his pride, the man in the shield will not accept a price on the dead man (9.375-6).
The imagery of Achilles shield deals with more than violence and warfare. The description of the shield is bookended by descriptions of globally spanning, or cosmic items, such as the heavens, or the ocean (18.483-489; 18.606). By surrounding the description of the shield in cosmic imagery, Homer provides the shield as a r
Slashdot Mirror
The shield which Hephaestus crafts for Achilles is covered in elaborate detail, depicting a wide variety of scenes, ranging from wars to farmland. The workmanship of the shield itself is such that the scenes and figures on it are described as if moving, or even alive (Chapter 18.483-608). The function of this work is not only to showcase the descriptive abilities of the storyteller, or act as a reminder of the skill of Hephaestus, but as an analogue to the action of the surrounding narrative, and give the poet an opportunity to reflect upon the nature of storytelling, using the medium of the shield itself.
The events depicted in the shield parallel many of the events in the story of the Iliad, reiterating important events and major themes. One example of this is the depictions of the two cities: one at peace and the other under siege (18.490-510). The simplest interpretation shows the peaceful city as representative of the cities of the invading Greeks, while the warring city is symbolic of Troy itself. However, at the same time, the cities together are also an analogy of the dual nature of Troy. The depiction of the warring city guarded by women and children, while the men stage an ambush, is a reminder that the soldiers on the battlefield are not the only ones who are affected by the outcome of the war; all the people of Troy are, to a degree, involved in the Trojan war (18.514-520).
But at the same time, life goes on within the walls of Troy. Everyday tasks such as weaving, still take place (3.125; 22.440). This rarely seen aspect of Troy is paralleled in the descriptions of the city at peace, and the pastoral landscape (18.491-96; 18.541-573). At the same time, neither area is completely free from conflict, in the peaceful city, two men argue over the blood-price of a dead man, while in the pastoral landscape, a pair of lions have attacked a herd of cattle (18.498-508; 18.579-586). These symbolize the omnipresent threat of violence toward the Trojan community.
The plethora of violent imagery reminds the audience of the violence of the outer narrative. In particular, the shield's ambush scene offers similarities to the rout of the Trojans to the river Xanthos (21.1-382). The appearance of Death, stained ?strong red with the men's blood,? reminds the audience of the divine influences at play in Achilles' great day of battle, and indeed in almost every battle (18.538).
Patroclus' day of battle also receives the symbolic treatment. The scene of the two lions killing a bull is symbolic of the death of Patroclus at the hands of Hector and Euphorbos (16.808-821). The two lions manage to take down a bull at the head of a herd of cattle, and fight with the shepherds and their dogs over the possession of the body (18.579-86). This closely mirrors the wounding of Patroclus, leading a charge to the walls of Troy, at the hands of Euphorbos, and his death by Hector, and the ensuing struggle between the Trojans and the Greeks over the body(16.808-821; 17).
More subtle forms of conflict play a no less valuable role in the meaning of the shield. The argument depicted on the shield parallels the relationship between Agamemnon and Achilles. While one man has offered to pay the blood-price for a murdered man, the other refuses to accept it (18.497-508). This is reminiscent of the dispute between Agamemnon and Achilles However, instead of a dead man, they are in conflict over the honor of Achilles. Just as Achilles refuses to allow Agamemnon, to place a price on his honor, though offering him a reward to return to the fighting, despite the fact that Agamemnon slighted his pride, the man in the shield will not accept a price on the dead man (9.375-6).
The imagery of Achilles shield deals with more than violence and warfare. The description of the shield is bookended by descriptions of globally spanning, or cosmic items, such as the heavens, or the ocean (18.483-489; 18.606). By surrounding the description of the shield in cosmic imagery, Homer provides the shield as a r