Heroes: Saviours, Traitors and Supermen. Lucy Hughes-Hallett

his eyes flash fire. With a voice as plangent as a trumpet’s he calls out to his immortal horses, which no other man can master, and one of them replies. Yes, says the beast, this time the team will bring their master safely back to the Greek camp, but the day of his death already hovers near and when it comes, even were they to have the speed and power of the west wind, they would not be able to save him. ‘You are doomed to die violently, Achilles.’ Achilles’ reply is impatient: ‘Don’t waste your breath, I know, well I know.’ With a terrifying yell he sends his chariot hurtling into the front line.

      Of all the warriors who fight at Troy Achilles is the only one who is bound to die there. He is not courting risk: he is confronting certainty, and he himself must take responsibility for his own end. His mother, the goddess Thetis, has told him of the two destinies between which he must choose. He can stay peaceably in his father’s house, and if he does so his life will be long and fruitful. He can marry and have children. He can use his wealth and amass more. He can exploit his strength and exercise his intellect. He can inherit and rule his father’s kingdom, enjoying the satisfactions of power and, in due time, the respect accorded to an elder. Or he can fight. If he chooses the latter he will be killed before the war’s end, but first he will win such glory that his name will live in song for ever more.

      He chooses death, buying immortality at the cost of his life. And so he becomes the paradigmatic hero, one whose traits and actions are echoed, with infinite variations, in the life stories of subsequent heroes both legendary and actual. His beauty, his swiftness and ferocity, his unrivalled talent for killing his fellow men, his uncompromising commitment both to honesty and to honour, and, above all, the pathos of his freely accepted death, all combine to invest him with an ineffable glamour.

      His choice is not easy. There is an alternative. There is another Homeric epic and another hero, Odysseus, who chooses life, and who is so determined to hang on to all that Achilles has renounced that he will lie, cheat, and steal for it. Odysseus is an intriguer, a shape-shifter, a warrior like Achilles but one noted primarily not for his actions but for his words. Achilles’ foil, he repeatedly calls into question the values Achilles represents both tacitly, by his very existence as one who has taken the opposite path, and explicitly on the several occasions when the two confront each other. In the stories of the heroes who come after them the characteristics of Odysseus and Achilles combine and alternate, but for Achilles himself there can be no half-measures, no partial sacrifice. His choice is absolute and tragic. The brilliance with which his prowess and his physical splendour invest him is simultaneously shadowed and intensified by his inconsolable grief at the prospect of his own end, by his pity for his father and mother in the anguish his death must bring them, and by his mourning for all that he might have been. Throughout the Iliad Homer imagines him questioning the bargain he has made (and which he can at any moment revoke – three days’ sailing would take him home), asking at each setback ‘Was it for this?’ that he decided to forgo so much. He neither despises life nor belittles death. The former he knows to be worth more than all the wealth in the world. The prospect of the latter is dreadful to him. He describes the underworld habitations of the dead as ‘dank mouldering horrors/That fill the deathless gods themselves with loathing’, and he dwells obsessively on the ignominies to which dead flesh is subject.

      If Achilles ever lived (something unlikely ever to be proven) he inhabited a culture separated from us by over three millennia, by tremendous changes in belief, in accepted morality, in technology, in human knowledge. Yet his story, as told by Homer, addresses questions as troubling now as they were when Agamemnon’s host laid siege to Troy. ‘Like the generations of leaves, the lives of mortal men’, so a Trojan warrior tells a Greek, as they prepare to fight to the death. The Greek has asked to know his antagonist’s identity. The Trojan’s point is that the question is otiose. If each individual is as expendable and replaceable as this year’s leaves, it scarcely matters who anyone might be. Before the fact of mortality any achievement seems futile, any quarrel petty. Death would make nihilists of us all, were it not for the passion with which humans struggle against its reductive, equalizing influence. Achilles will give anything, including life itself, to assert his own uniqueness, to endow his particular life with significance, and to escape oblivion.

      A non-Homeric legend tells how Achilles’ divine mother sought to make her baby invulnerable by dipping him in the waters of the Styx, the river over which the souls of the dead were ferried to the Underworld. The attempt was unsuccessful. The heel by which Thetis held Achilles remained dry, and it was in that heel that he eventually received his fatal wound. Thetis could not keep her son alive, but he was to find his own way to life eternal, a way closely analogous to the one she tried. Just as she had sought to save him from dying by immersing him in the waters of death’s river, so he cheated death by embracing it, voluntarily dying in his quest for everlasting life.

      The Iliad begins with a quarrel over a girl. By the consent of the full Greek army, two female prisoners have been awarded, one to Agamemnon, king and commander-in-chief, and one to the supreme warrior Achilles, as part of the prize due to each for their exploits in the war. The girl given to Agamemnon is the daughter of a priest of Apollo. The angry god retaliates by sending down a plague. An assembly is called. Reluctantly, Agamemnon agrees to return the girl to her father, but demands compensation. If he cannot keep his own prize he will take someone else’s. Achilles, who is not only the paragon of warriors but also the scrupulous guardian of the warriors’ code of honour, protests that to do so would be disgraceful. Agamemnon is defiant. He is the overlord and will have his way regardless of another’s opinion: ‘Let that man I go visit choke with rage.’ Achilles, beside himself, declares that he will sail for home if Agamemnon perpetrates such an outrage against the code of conduct they all observe. Agamemnon rounds on him and declares his intention of taking Achilles’ own prize, the girl Briseis. For a moment Achilles is ready to kill him, but he is restrained by the voice of wisdom, Pallas Athena. Instead, he swears a great oath that he will not fight again in the quarrels of the house of Atreus. Leaving the assembly he withdraws to his tent at the end of the Greek lines, and there he stays. The rage of Achilles, the passion that is at once so disastrous and so magnificent, and which has earned his immortality, is not the savage blood-thirst that drives him on the battlefield, but the principled fury that keeps him off it.

      This argument is far more than a squabble over possession of a slave. It is a dispute over the nature of superiority. Agamemnon tells Achilles he will take his girl ‘so you can learn just how much greater I am than you’. But is a man’s worth dependent on his rank, or on his talent? Is it a function of his social and political relationships, or can an individual possess a value independent of his place in the community? Is Agamemnon, as old Nestor says, the more to be honoured ‘because he rules more men’? Or might Achilles, whose claim to supremacy lies entirely in himself, in his own particular, unsurpassed brilliance, be the greater man? These questions are fundamental. Their answers must affect the conduct both of individuals and of states, determining the relationship between political institutions and the people of whom they are constituted.

      Achilles is an exceptional being. The son of a goddess and repeatedly described by Homer as being himself ‘godlike’, he is innately superior to his fellows. His beauty, his size, and his speed are all prodigious. He is a divinely created aristocrat, a living demonstration that men are not born equal. Pindar, the fifth-century poet who was classical Athens’ most eloquent upholder of the class system, celebrated his prowess, his ‘hands like Ares’, his feet like lightning’. In the Iliad he is physically magnificent. When he loses his armour he cannot borrow more from any of his fellow Greeks, for none of them, with the possible exception of Ajax, is as tall as he. The perfection of his body is sublime, the loveliness of his features flawless. His beauty, potently erotic, marks him, like Helen, as a superhuman being. He is ‘brilliant’, literally: in armour he shines like the sun. He is faster than any of his peers and therefore more deadly in battle. When he chases Hector three times round the walls of Troy, hunting him