After having pointed out certain discrepancies which he maintains to prove different composing hands, he adds: “Nevertheless, we must be careful not to regard the single constituent songs in this part of the poem as being distinct and separable in a degree equal to those in the first half; for they all with one accord harmonize in one particular circumstance, which, with reference to the story of the Iliad, is not less important even than the anger of Achilles, viz. that the three most distinguished heroes, Agamemnôn, Odysseus, and Diomêdês, all become disabled throughout the whole duration of the battles.” Important for the story of the _Achillêis_, I should say, not for that of the _Iliad_. This remark of Lachmann is highly illustrative for the distinction between the original and the enlarged poem. [287] I confess my astonishment that a man of so much genius and power of thought as M. Benjamin Constant, should have imagined the original Iliad to have concluded with the death of Patroclus, on the ground that Achilles then becomes reconciled with Agamemnôn. See the review of B. Constant’s work, De la Religion, etc., by O. Müller, in the Kleine Schriften of the latter, vol. ii. p. 74. [288] He appears as the mediator between the insulted Achilles and the Greeks, manifesting kindly sympathies for the latter without renouncing his fidelity to the former. The wounded Machaon, an object of interest to the whole camp, being carried off the field by Nestor,—Achilles, looking on from his distant ship, sends Patroclus to inquire whether it be really Machaon; which enables Nestor to lay before Patroclus the deplorable state of the Grecian host, as a motive to induce him and Achilles again to take arms. The compassionate feelings of Patroclus being powerfully touched, he is hastening to enforce upon Achilles the urgent necessity of giving help, when he meets Eurypylus crawling out of the field, helpless with a severe wound, and imploring his succor. He supports the wounded warrior to his tent, and ministers to his suffering; but before this operation is fully completed, the Grecian host has been totally driven back, and the Trojans are on the point of setting fire to the ships: Patroclus then hurries to Achilles to proclaim the desperate peril which hangs over them all, and succeeds in obtaining his permission to take the field at the head of the Myrmidons. The way in which Patroclus is kept present to the hearer, as a prelude to his brilliant but short-lived display, when he comes forth in arms,—the contrast between his characteristic gentleness and the ferocity of Achilles,—and the natural train of circumstances whereby he is made the vehicle of reconciliation on the part of his offended friend, and rescue to his imperiled countrymen,—all these exhibit a degree of epical skill, in the author of the