Twined in Bronze: Achilles Among the Shades

by Donald S. Yarab

Prelude: The Calling Across the Void

Hear me, O boundless halls of shadow, where no lyre sounds save memory’s echo,
where the voices of the upper world drift down like falling leaves,
carrying my name—swift-footed, godlike, breaker of men—
yet here, in this silence deeper than death’s first breath,
I am but shade calling to shade across the voiceless deep.

Not as I was in life do I summon you, O dwellers in darkness,
swift of foot upon Trojan soil, terrible in bronze and wrath,
but as one among the countless dead who wander here,
seeking not the glory that the living world still sings,
but what no song can restore, no fame redeem.

By Acheron’s dark waters, by Cocytus’ wailing stream,
if any shade remembers love, if any echo bears my grief,
come forth from asphodel’s pale meadows,
enter not Lethe’s merciful waters—
let me embrace again what I have lost, not the glory I have won.

The Encounter with Odysseus

Through the mists of the unremembering came Odysseus,
his words still honey-bright, his tongue still silver-edged:

“Achilles, no shade walks more blessed than you among the dead!
In life, you were honored as a god among mortals;
here, you are lord of the departed.
Above, the poets crown you with undying flame—
your name will never perish from the lips of men.”

But I answered him, bitter with the dust of ages:
“Do not gild my shadow, son of Laertes.
Better to be a hireling alive, a drudge to some poor man
who scratches bread from stubborn earth,
than king among these silent multitudes.
For what is glory here, where no heart beats to hear it?
Your songs reach my name but cannot touch my soul;
they raise me to eternity yet leave me hollow as wind through bone.”

The Shade of Patroclus

Then—O mercy of the pitiless dark—I thought I heard you, Patroclus,
soft as breath through withered leaves,
faint as the last note of a dying lyre string:

“They did not forget me, Achilles…
my name is bound to yours in bronze and grief.
They sang my fall beneath the walls of Troy,
they sang your wrath that shook the earth and sky.
They knew… they knew I was beloved.”

“O Patroclus,” I cried across the gulf of silence,
“O companion of my heart, O dearer than breath—
yes, they sang you, but they knew only shadows.
They praised my spear but not your steadying hand,
they heard my wrath but not our laughter in the tents,
they saw my grief but not the mornings when you woke
and the world was whole because you breathed within it.
Glory is one thing, beloved, but your nearness was another,
greater than all the songs that mortals weave.”

Then darker came your voice, like distant thunder:
“Yet had you not brooded, had you not nursed your wounded pride,
I might have lived to see another dawn.
I wore your armor, Achilles, and with it, your doom—
my blood became the price of your great wrath,
my grave the shadow of your choice.
They sing your glory, but it is built upon ashes from my pyre.”

I reached through the darkness, but my hands closed only on emptiness,
and you dissolved like mist before the merciless sun.

The Voice of Echo

Then from the depths where memory dwells eternal,
Echo came, bearing fragments of what was,
and in her broken voice I heard my mother’s prophecy,
scattered like pearls upon the wine-dark deep:

“Two fates… two fates bear you toward death’s end…
toward death’s end, my son…
If here you remain… remain fighting the sons of Troy…
brief is your life… brief… but your glory undying…
undying through all the generations of men…
If homeward you sail… you sail to Phthia’s shore…
long life awaits… awaits… but your name dies with you…
dies with you like smoke upon the wind…”

“Two roads… two roads I set before you…
before you, child of my bitter grief…
Choose… choose… but know that I will lose you…
lose you in either path you take…”

Her voice faded like waves withdrawing from a distant shore,
leaving me more orphaned than before,
knowing now the weight of what I chose,
the golden chain that binds my doom.

The Torment of the Fates

Then came the daughters of Necessity,
Clotho, Lachesis, and Atropos stern,
their voices cold as iron, pitiless as winter stars:

“No thread is rewoven, son of Thetis;
what is cut by our shears remains cut.
You chose the song of men, and it is sung forever;
you chose the path of wrath, and it is walked to its end.
Dream not of other dawns, for the spindle turns not backward.
The pattern is complete, the weaving done—
you are bound within your own bright doom,
remembered by all the world, and yet undone.”

Their laughter rang like bronze on bronze,
a sound to crack the pillars of the world,
and in that cruel music I heard the truth:
I am the hero of my own destruction,
the author of my endless, empty fame.

Epilogue: The Wisdom of Shadows

So here I abide, Achilles famed beyond forgetting,
yet hollow as the caves where no wind stirs.
From Lethe’s bank to Styx’s binding waters,
the shades whisper my name with reverence,
but reverence is cold comfort to the dead.

O Patroclus, my brother, my breath made flesh—
they remember our names twined in bronze and sorrow,
but none recall the quiet mornings when you woke
and smiled, and the world was made new.
The poets crown me with eternal fire,
but eternity burns cold without you near.

Learn this, you who still draw breath beneath the sun:
choose not wrath over love, nor fame over the hand beside you.
One dawn with the beloved, one moment’s grace
when heart speaks truly unto heart,
is worth more than all the ages of song.
Better to be forgotten with love’s warmth upon you
than to blaze forever in the cold halls of memory,
alone.

Reading the Iliad Again: The Voice of Reason in an Age of Manipulation

After countless readings of various translations of Homer’s Iliad, certain passages can suddenly leap from the page with startling clarity. It can feel as if I am encountering them for the first time. Such was my experience with the incident regarding Thersites in Book 2, brought into sharp focus by Emily Wilson’s brilliant new translation—whose story had barely registered in previous readings, now revealed as perhaps the most penetrating political commentary in all of ancient literature.


The Iliad translated by Emily Wilson

A quick review of the scholarship revealed that while I was hardly alone in this recognition, the political interpretation of Thersites remains surprisingly contested. Some modern scholars have recognized in Homer’s portrayal a sophisticated critique of power that transcends the heroic framework, but many others continue to read the episode as simply affirming aristocratic values.¹ Yet there is something to be said for arriving at these insights through direct encounter with the text—Wilson’s translation made visible what a handful of careful readers have long debated.

The setup is masterful in its cynicism. Zeus, hungry for blood and bound by his promise to Thetis, sends a false dream to Agamemnon. The king, ever susceptible to flattery, believes the lie that, after nine years without success, Troy will fall easily if he attacks immediately. Divine deception exploits human vanity to ensure more carnage—the gods conspire to prolong suffering for their own purposes.

But first, Agamemnon decides to test his troops’ resolve by suggesting they abandon the siege and sail home. The test backfires spectacularly—war-weary soldiers leap up and race toward their ships, desperate to escape nine years of futile bloodshed. Only Odysseus’s violent intervention stops the mass exodus.

Into this moment of barely restored order steps Thersites, described by Homer with deliberate physical grotesquerie to ensure we see him through aristocratic eyes—bandy-legged, lame, with little hair and a shrill voice. In the ancient world, such deformity was viewed as suggesting mental or moral deficiency. But as scholar Panagiotis Stamatopoulos observes, “the ugly hero is the personification of the ugly truth.” Homer introduces an insolent and fearless figure who points out truths that both the soldiers and the kings dare not see. Thersites emerges as “the voice of the people, of demos“—a vox populi expressing the position of the lower social class and opposing the aristocratic consensus. Tellingly, Homer gives him no patronymic surname, no family lineage to establish elite status; he represents not an individual but a class.

Yet Thersites’ words cut through the manufactured crisis with devastating precision. He challenges Agamemnon directly: what is your grievance? You already have gold, women, first choice of everything. After nine years of pointless war, he asks the question that should be obvious—why should common soldiers continue dying for the personal honor of the elite who have already been richly compensated?

This is the voice of human reason emerging amid divine machination and aristocratic ego. Thersites offers what the epic desperately needs: an exit ramp from tragedy. Had the Greeks listened and sailed home, Troy would have stood, Hector would have lived, Achilles would have returned to Phthia, and Odysseus would never have wandered. The commoner alone sees the madness clearly.

More provocatively, Thersites points out the fundamental dependency that the heroic code obscures: “Let him consume his winnings here at Troy, so he can see if we helped him or not.” Without the common soldiers doing the actual fighting and dying, what would Agamemnon accomplish? He would be one man with his treasure, powerless before Troy’s walls. The entire war rests on the backs of those excluded from its real rewards.

But Homer’s brilliance lies in what follows. Odysseus—wily, eloquent, a master of persuasion—does not refute Thersites’ logic. He silences it. The master of cunning speech, the man who could talk his way out of any crisis, abandons rhetoric entirely when faced with reasonable dissent. Seizing the divine scepter, he beats the man bloody while the other soldiers—the very men whose interests Thersites defends—laugh and cheer. Yet Homer’s subtlety continues: even after this violent suppression, it takes two additional speeches by the army’s finest orators, Odysseus and Nestor, to convince the troops to resume fighting. The laughter was hollow; Thersites’ logic had found its mark. In this single scene, Homer offers a devastating triple indictment: the gods manipulate, the elite brutalize, and the masses collaborate in their own subjugation.

What makes this commentary so sophisticated is its recognition that the problem is not simply bad leadership or divine caprice—it is the entire system’s complicity in silencing rational dissent. Homer shows us a world where every level of authority, from Olympus to the ranks, conspires to suppress the voice that points toward sanity and survival.

We live in an age of algorithmic manipulation designed to amplify division for profit. Our elites meet dissent with derision and suppression, while the public, misled or weary, often rallies to their side, cheering policies that erode their own dignity and livelihood. The machinery Homer diagnosed—divine deceit, aristocratic coercion, popular compliance—still grinds forward, indifferent to time.

Thersites asks the eternal question that every society must confront: “Why should we suffer and die for the vanity and greed of our leaders?” That his voice is not merely ignored but mocked—laughed into silence by those he would save—remains one of the most chilling recognitions in all of literature. Homer understood what many modern narratives refuse to admit: that exploitation and oppression do not come from above alone. It comes when the oppressed celebrate it themselves. And the greatest tragedy may not be the fall of Troy, nor the deaths of elite heroes, but the silencing of the one voice that might have stopped the tragedy before it began.


¹ See, for example, Panagiotis G. M. Stamatopoulos, “The episode of Thersites in the Iliad as an ideological and literary construction of Homer,” 28th Seminar of Homeric Philology, Ithaca Island, Greece (2014); and Siep Stuurman, “The Voice of Thersites: Reflections on the Origins of the Idea of Equality,” Journal of the History of Ideas 65.2 (2004): 171-89.