Achilles Unbound: Multiformity and Tradition in the Homeric Epics

  Dué, Casey. 2018. Achilles Unbound: Multiformity and Tradition in the Homeric Epics. Hellenic Studies Series 81. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Due.Achilles_Unbound.2018.


Plates

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Plate 1. A fresco from the so-called Palace of Nestor in Pylos suggests that as early as Mycenaean times, poetry in performance has been conceived of as being in flight. Drawing by Valerie Woelfel, after a reconstruction by Piet de Jong.

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Plate 2. Red-figure skyphos attributed to Macron (Louvre G146), depicting Agamemnon leading away Briseis (side A). Neither side A nor side B (Plate 3) aligns with the scenes as narrated in our Iliad. Photo by Marie-Lan Nguyen [CC BY 3.0], via Wikimedia Commons.

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Plate 3. Red-figure skyphos attributed to Macron (Louvre G146), depicting the embassy to Achilles (side B). Achilles is veiled and grieving and does not address his comrades. Photo by Jastrow [CC BY 3.0], via Wikimedia Commons.

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Plate 4. Boar’s-tusk helmet from the National Archaeological Museum, Athens. Photo by afrank99 [CC BY-SA 2.5], via Wikimedia Commons.

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Plate 5. This miniature fresco, on the south wall of Room 5 in the West House on Thera, might depict an epic tale of homecoming after a successful military expedition. Photo by Oltau, via Wikimedia Commons (public domain).

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Plate 6. Mycenaean warriors with oxhide shields and boar’s tusk helmets attack a walled coastal city in this miniature fresco from the north wall of Room 5 in the West House on Thera. Photo by H-stt, via Wikimedia Commons (public domain).

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Plate 7a. Detail from the François Vase showing Dionysus carrying the golden amphora as a gift for Thetis at her wedding to Peleus. Photo by Sailko [CC BY 3.0], via Wikimedia Commons.

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Plate 7b-1: Photo by Bibi Saint-Pol, via Wikimedia Commons (public domain).
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Plate 7b-2: Photo by Bibi Saint-Pol, via Wikimedia Commons (public domain).
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Plate 7b-3: Drawing by Joni Godlove.

Plate 7b. White-ground lekythos, attributed to the Athena Painter (Louvre F366). Achilles crouches in ambush while Polyxena draws water from a fountain. Vase paintings depicting the ambush of Troilus regularly feature his sister Polyxena, as here.

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Plate 8. Black-figure amphora signed by Exekias (British Museum B210), depicting Achilles killing the Amazon Penthesileia. As their eyes meet, too late, Achilles falls in love with her. Photo ©The Trustees of the British Museum, used under the CC BY-NC-SA 4.0 license.