THE TRUE DEATH OF PATROCLUS - WHY HOLLYWOOD ADAPTATIONS MATTER
- Sienna Eve Benton
- Mar 1
- 17 min read
Films Troy (2004) and Helen of Troy (2003) vs The Iliad
Source: Homer. The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924.
We understand that mythology means these stories exist in the realm of legend. Whether the Trojan War is historical fact or poetic tradition is not the issue. The issue is fidelity to the original source material. Responsible storytelling is not about proving myth true or false, but about honoring the original author’s narrative as closely as possible while incorporating credible historical and cultural research.
Accuracy in adaptation reflects respect for the source. It demonstrates that the filmmakers have taken the time to understand the world, values, and intentions embedded in the text. While creative interpretation is inevitable, significant alterations should not distort the core themes or mislead audiences into confusing a Hollywood version with the original work.
In an era shaped by misinformation and shortened attention spans, film carries enormous influence. For many viewers, a movie becomes their primary exposure to classical literature or historical events. That influence comes with responsibility. When adapting novels, epics, or history, filmmakers should aim for thoughtful accuracy so that audiences are guided back toward real sources and scholarship rather than absorbing a simplified or altered version as truth.
One of the central turning points in the war is the death of Patroclus. This moment is often simplified in modern retellings, sometimes implying that Patroclus acted recklessly or went behind Achilles’ back. However, a close reading of the dialogue between Patroclus and Achilles reveals a different truth.
DID PATROCLUS ASK FOR ACHILLES'S CONSENT:
In Troy (2004), Patroclus is portrayed as acting impulsively and without Achilles’ permission. The film depicts him secretly taking Achilles’ armor and leading the Myrmidons into battle on his own initiative. Achilles is shown discovering this only after Patroclus has already gone to the battlefield, which frames Patroclus’ actions as reckless and unauthorized. This interpretation creates a sense that Patroclus disobeyed Achilles and contributed to his own fate through defiance rather than through a shared strategic decision.
However in The Iliad Patroclus and Achilles understanding of joining the battle with his armor is specifically written in Homer's Iliad Book XVI. Lines 1-45:
"[Line 1] Thus then they were warring around the well-benched ship, but Patroclus drew nigh to Achilles, shepherd of the host, shedding hot tears, even as a fountain of dark water that down over the face of a beetling cliff poureth its dusky stream; [Line 5] and swift-footed goodly Achilles had pity when he saw him, and spake and addressed him with winged words: “Why, Patroclus, art thou bathed in tears, like a girl, a mere babe, that runneth by her mother's side and biddeth her take her up, and clutcheth at her gown, and hindereth her in her going, [Line 10] and tearfully looketh up at her, till the mother take her up? Even like her, Patroclus, dost thou let fall round tears. Hast thou haply somewhat to declare to the Myrmidons or to mine own self, or is it some tidings out of Phthia that thyself alone hast heard? Still lives Menoetius, men tell us, Actor's son, [Line 15] and still lives Peleus. son of Aeacus, amid the Myrmidons, for which twain would we grieve right sore, were they dead. Or art thou sorrowing for the Argives, how they are being slain beside the hollow ships by reason of their own presumptuous act? Speak out; hide it not in thy mind;that we both may know.” [Line 20] Then with a heavy groan, didst thou make answer, O knight Patroclus:“O Achilles, son of Peleus, far the mightiest of the Achaeans, be not wroth; so great a sorrow hath overmastered the Achaeans. For verily all they that aforetime were bravest, lie among the ships smitten by darts or wounded with spear-thrusts. [Line 25] Smitten is the son of Tydeus, mighty Diomedes, wounded with spear-thrust is Odysseus, famed for his spear, and Agamemnon, and smitten, too, is Eurypylus with an arrow in the thigh. About these the leeches, skilled in many simples, are busied, seeking to heal their wounds; but with thee may no man deal, Achilles. [Line 30] Never upon me let such wrath lay hold, as that thou dost cherish, O thou whose valour is but a bane! Wherein shall any other even yet to be born have profit of thee, if thou ward not off shameful ruin from the Argives? Pitiless one, thy father, meseems, was not the knight Peleus, nor was Thetis thy mother, but the grey sea bare thee, [Line 35] and the beetling cliffs, for that thy heart is unbending. But if in thy mind thou art shunning some oracle, and thy queenly mother hath declared to thee aught from Zeus, yet me at least send thou forth speedily, and with me let the rest of the host of the Myrmidons follow, if so be I may prove a light of deliverance to the Danaans. [Line 40] And grant me to buckle upon my shoulders that armour of thine, in hope that the Trojans may take me for thee, and so desist from war, and the warlike sons of the Achaeans may take breath, wearied as they are; for scant is the breathing-space in battle. And lightly might we that are unwearied [Line 45] drive men that are wearied with the battle back to the city from the ships and the huts.”
Line 40 demonstrates that Patroclus did explicitly ask for Achilles permission to wear his armor and enter the battle. As the fighting rages near the Greek ships, Patroclus approaches Achilles in tears. Achilles asks why he is crying and whether something has happened at home or if he is grieving for the Greek soldiers being killed. Patroclus explains that the best Greek warriors are wounded and the army is in crisis while Achilles remains withdrawn in anger. He rebukes Achilles for letting pride endanger everyone and begs him to help. If Achilles refuses to fight, Patroclus asks for permission to wear his armor and lead the Myrmidons into battle so the Trojans will think Achilles has returned and retreat, giving the exhausted Greeks a chance to recover.
Did Achilles consent to Patroclus request?
In Homer's Iliad Book XVI. Lines 46-73 Achilles quotes:
"So spake he in prayer, fool that he was, for in sooth it was to be his own evil death and fate for which he prayed. Then, his heart deeply stirred, spake to him swift-footed Achilles: “Ah me, Zeus-born Patroclus, what a thing hast thou said! [50] Neither reck I of any oracle, that I wot of, nor has my queenly mother declared to me aught from Zeus; but herein dread grief cometh upon heart and soul, whenso a man is minded to rob one that is his equal, and take from him his prize, for that he surpasseth him in power. [55] Dread grief is this to me, seeing I have suffered woes at heart. The girl that the sons of the Achaeans chose out for me as a prize, and that I won with my spear, when I had laid waste a well-walled city, her hath lord Agamemnon taken back from my arms, this son of Atreus, as though I were some alien that had no rights. [60] Howbeit these things will we let be, as past and done. In no wise, meseems, was I to be filled with ceaseless wrath at heart; yet verily I deemed that I should not make an end of mine anger, until the hour when unto mine own ships should come the war-cry and the battle. But come, do thou put upon thy shoulders my glorious armour, [65] and lead forth the war-loving Myrmidons to the fight, if in good sooth the dark cloud of the Trojans lieth encompassed the ships mightily, and those others abide with naught to support them but the shore of the sea, having but scant space of land still left them, even the Argives; while the whole city of the Trojans hath come forth against them [70] fearlessly, for they see not the front of my helm shining hard at hand; full soon in their flight would they fill the water-courses with their dead, were but lord Agamemnon of kindly mind toward me, whereas now they are warring around the camp. ”
Lines 65-65 tell us that Achilles did give Patroclus his full consent to wear his armor and go into battle. Achilles responds to Patroclus, saying that he feels deep grief and anger, not because of any prophecy, but because Agamemnon has wrongfully taken the prize (a noblewoman named Briseis) Achilles won in battle. Despite his wrath, Achilles decides it is time to act. He instructs Patroclus to put on his armor and lead the Myrmidons into battle to relieve the Argives, as the Trojans are pressing dangerously close to the Greek ships.
WAS BRISEIS WITH ACHILLES DURING THIS TIME?
In Homer's Iliad Book XVI. Lines 74-111 Achilles quotes:
“For not in the hands of Diomedes, son of Tydeus, [75] doth the spear rage, to ward off ruin from the Danaans, neither as yet have I heard the voice of the son of Atreus, shouting from his hated head; nay, it is the voice of man-slaying Hector that breaketh about me, as he calleth to the Trojans, and they with their din possess all the plain, and vanquish the Achaeans in battle. [80] Yet even so, Patroclus, in warding destruction from the ships fall thou upon them mightily, lest verily they burn the ships with blazing fire and rob the Greeks of their desired return. Howbeit do thou hearken, that I may put in thy mind the sum of my counsel, to the end that thou mayest win me great recompense and glory [85] at the hands of all the Danaans, and that they send back that beauteous girl, and therewithal give glorious gifts. When thou hast driven them from the ships, come back, and if the loud-thundering lord of Hera grant thee to win glory, be not thou fain apart from me to war [90] against the war-loving Trojans: thou wilt lessen mine honour. Nor yet do thou, as thou exultest in war and conflict, and slayest the Trojans, lead on unto Ilios, lest one of the gods that are for ever shall come down from Olympus and enter the fray; right dearly doth Apollo, that worketh afar, love them. [95] Nay, return thou back, when once thou hast set a light of deliverance amid the ships, and suffer the rest to battle over the plain. For I would, O father Zeus, and Athene, and Apollo, that no man of the Trojans might escape death, of all that there are, neither any of the Argives, but that we twain might escape destruction, [100] that alone we might loose the sacred diadem of Troy.” On this wise spake they one to the other, but Aias no longer abode, for he was sore beset with darts; the will of Zeus was overmastering him, and the lordly Trojans with their missiles; and terribly did the bright helm about his temples [105] ring continually, as it was smitten, for smitten it ever was upon the well-wrought cheek-pieces, and his left shoulder grew weary as he ever firmly held his flashing shield; nor might they beat it back about him, for all they pressed him hard with darts. And evermore was he distressed by laboured breathing, [110] and down from his limbs on every side abundant sweat kept streaming, nor had he any wise respite to get his breath withal, but every way evil was heaped upon evil.
Line 85 states that Briseis was not with Achilles, confirming that the scene in the Troy (2004) is inaccurate. In this passage, Achilles actually advises Patroclus to lead the Myrmidons to defend the Greek ships, warning him not to pursue the Trojans all the way to Ilium, and instructs him to return after driving them back so that the Greeks can survive, Patroclus can gain glory, and Achilles can recover his prize, Briseis, while Ajax struggles under the Trojan assault.
WHO ACTUALLY KILLED PATROCLUS?
In Homer's Iliad Book XVI. Lines 777-817 Homer quotes:
"Now as long as the sun bestrode mid-heaven, so long the missiles of either side reached their mark, and the folk kept falling; but when he turned to the time for the unyoking of oxen, [780] then verily beyond their portion the Achaeans proved the better. Forth from out the range of darts they drew the warrior Cebriones from the battle-din of the Trojans, and stripped the armour from his shoulders; and Patroclus with fell intent leapt upon the Trojans. Thrice then leapt he upon them, the peer of swift Ares, [785] crying a terrible cry, and thrice he slew nine men. But when for the fourth time he rushed on, like a god, then for thee, Patroclus, did the end of life appear; for Phoebus met thee in the fierce conflict, an awful god. And Patroclus marked him not as he passed through the turmuoil, [790] for enfolded in thick mist did he meet him; and Apollo took his stand behind him, and smote his back and broad shoulders with the flat of his hand, and his eyes were made to whirl. And from his head Phoebus Apollo smote the helmet, that rang as it rolled [795] beneath the feet of the horses, the crested helm; and the plumes were befouled with blood and dust. Not until that hour had the gods suffered that helm with plume of horse-hair to be befouled with dust, but ever did it guard the head and comely brow of a godlike man, even of Achilles; but then Zeus vouchsafed it to Hector, [800] to wear upon his head, yet was destruction near at hand for him. And in the hands of Patroclus the far-shadowing spear was wholly broken, the spear, heavy, and huge, and strong, and tipped with bronze; and from his shoulders the tasselled shield with its baldric fell to the ground, and his corselet did Apollo loose, the prince, the son of Zeus. [805] Then blindness seized his mind, and his glorious limbs were loosed beneath him, and he stood in a daze; and from behind him from close at hand a Dardanian smote him upon the back between the shoulders with a cast of his sharp spear, even Panthous' son, Euphorbus, that excelled all men of his years in casting the spear, and in horsemanship, and in speed of foot; and lo, twenty warriors had he already cast [810] from their cars at his first coming with his chariot to learn his lesson of war. He it was that first hurled his spear at thee, knight Patroclus, yet subdued thee not; but he ran back again and mingled with the throng, when he had drawn forth the ashen spear from the flesh, and he abode not [815] Patroclus, unarmed though he was, in the fray. But Patroclus, overcome by the stroke of the god and by the spear, drew back into the throng of his comrades, avoiding fate."
Lines 790-800 state that Apollo played a key role in Patroclus's death. In this passage, Patroclus doesn’t notice Apollo. Apollo, the god of the sun and archery, comes from behind him, hidden in a thick mist, and strikes him on the back and shoulders with the flat of his hand. Apollo's hand is not a spear or weapon, but physically smacks Patroclus in the back of the head, which blinds and disorients him. Apollo also hits Patroclus’ helmet, knocking it off and dirtying it with dust and blood.
The blow from Apollo causes Patroclus to stumble. He drops his bronze-tipped spear, his shield falls from his shoulders, and his armor loosens. He becomes confused and partially defenseless, staggering in the middle of the battle.
In lines 808- 812, Patroclus is struck with a spear by Euphorbus. While Patroclus is dazed by Apollo, Euphorbus, a Trojan warrior, lands a spear in Patroclus’ back. Euphorbus had already killed 20 men with his spear before this. Patroclus is wounded but not yet dead. He retreats into the crowd of Greek soldiers to try to survive.
Patroclus fights fiercely against the Trojans, killing many, but during his fourth charge, Apollo strikes him, disorienting him and breaking his spear and shield. Injured and stunned, Patroclus is then wounded by Euphorbus, forcing him to retreat into the safety of the Greek ranks, showing that even a hero can be overcome when the gods intervene.
In Homer's Iliad Book XVI. Lines 818-865 Homer quotes:
[818] But Hector, when he beheld great-souled Patroclus drawing back, smitten with the sharp bronze, [820] came nigh him through the ranks, and smote him with a thrust of his spear in the nethermost belly, and drave the bronze clean through; and he fell with a thud, and sorely grieved the host of the Achaeans. And as a lion overmastereth in fight an untiring boar, when the twain fight with high hearts on the peaks of a mountain [825] for a scant spring, wherefrom both are minded to drink: hard panteth the boar, yet the lion overcometh him by his might; even so from the valiant son of Menoetius, after he had slain many, did Hector, Priam's son, take life away, smiting him from close at hand with his spear. And vaunting over him he spake winged words: [830] “Patroclus, thou thoughtest, I ween, that thou wouldest sack our city, and from the women of Troy wouldest take the day of freedom, and bear them in thy ships to thy dear native land, thou fool. Nay, in front of them the swift horses of Hector stride forth to the fight, [835] and with the spear I myself am pre-eminent among the war-loving Trojans, even I that ward from them the day of doom; but for thee, vultures shall devour thee here. Ah, poor wretch, even Achilles, for all his valour, availed thee not, who, I ween, though himself abiding behind, laid strait command upon thee, as thou wentest forth: “Come not back, I charge thee, Patroclus, master of horsemen, [840] to the hollow ships, till thou hast cloven about the breast of man-slaying Hector the tunic red with his blood.” So, I ween, spake he to thee, and persuaded thy wits in thy witlessness.” Then, thy strength all spent, didst thou answer him, knight Patroclus: “For this time, Hector, boast thou mightily; for to thee have [845] Zeus, the son of Cronos, and Apollo, vouchsafed victory, they that subdued me full easily, for of themselves they took the harness from my shoulders. But if twenty such as thou had faced me, here would all have perished, slain by my spear. Nay, it was baneful Fate and the son of Leto that slew me, [850] and of men Euphorbus, while thou art the third in my slaying. And another thing will I tell thee, and do thou lay it to heart: verily thou shalt not thyself be long in life, but even now doth death stand hard by thee, and mighty fate, that thou be slain beneath the hands of Achilles, the peerless son of Aeacus.” [855] Even as he thus spake the end of death enfolded him; and his soul fleeting from his limbs was gone to Hades, bewailing her fate, leaving manliness and youth. And to him even in his death spake glorious Hector: “Patroclus, wherefore dost thou prophesy for me sheer destruction? [860] Who knows but that Achilles, the son of fair-tressed Thetis, may first be smitten by my spear, and lose his life?” So saying, he drew forth the spear of bronze from the wound, setting his foot upon the dead, and thrust him backward from the spear. And forthwith he was gone with his spear after Automedon, the god-like squire of the swift-footed son of Aeacus, [865] for he was fain to smite him; but his swift horses bare him away, the immortal horses that the gods gave as glorious gifts to Peleus.
Lines 818-822 state the Hector was the final contributor to Patroclus's Death. The passage shows that Patroclus's death was not just done by Hector, but Apollo and Euphorbus interventions directly caused him to be exposed and weakened, which makes Hector’s killing blow possible.
In this passage, Patroclus, already weakened from Apollo’s intervention and Euphorbus’ strike, is retreating through the ranks of the Trojans. Hector, Priam’s son, approaches him and thrusts his spear into Patroclus’ lower belly, piercing him completely. Patroclus falls with a thud, and the Greek army is deeply grieved. Hector mocks him, saying Patroclus foolishly thought he could sack Troy and carry off Trojan women, but now he will be devoured by vultures. Hector also notes that Achilles’ valor did not save Patroclus, even though Achilles had commanded him to fight and not return until he had harmed Hector.
Patroclus acknowledges that his death is due to fate and divine intervention. He explicitly says Hector is the third person to strike him fatally and predicts that Hector will soon die at the hands of Achilles. After saying this, Patroclus’ soul leaves his body, and he dies, leaving his youth and manliness behind.
Hector withdraws his spear from Patroclus’ wound, steps on the body to push him away, and then goes after Automedon, Achilles’ charioteer. Hector rides off on his immortal horses given to Peleus by the gods.
WRITING THE CHARACTER OUT COMPLETELY
In Helen of Troy (2003), Patroclus is completely excluded from the narrative, significantly altering the motivation behind Achilles’ return to battle. Without Patroclus’ death as the emotional catalyst, the film reframes Hector’s death as the result of Achilles’ personal ambition and desire for eternal glory.
At approximately 2:06:00 in the film, Hector’s death is not depicted as revenge for killing Patroclus, nor as the tragic consequence of mistaken identity, as in Troy (2004). Instead, this version is portrayed as retaliation connected to Paris being wounded or poisoned by Menelaus’ sword. This shift removes the deeply personal grief that drives Achilles in Homer’s text and replaces it with a more simplified motive rooted in rivalry and legend-building.
In Helen of Troy (2003), the narrative was not centered on Achilles’ internal conflict but the story of doomed romance and political consequences between Paris and Helen. Production decided that Patroclus's character should be sidelined since his presence did not contribute much to the love story, and only served as Achilles's incentive too rejoin the war. Although the film doesn't show Achilles's refraining from the war in the film either.
WHY FILM ACCURACY MATTERS
Accurate storytelling matters because it preserves the integrity of the original myth while giving audiences a deeper understanding of the characters, their motivations, and the cultural context. In the Iliad, Patroclus is a pivotal figure. He seeks Achilles’ consent, follows his guidance, warns Hector, and his death involves the direct intervention of Apollo and Euphorbus. Films like Troy (2004) and Helen of Troy (2003) omit or alter these key elements, misrepresenting the chain of events and the moral complexity of the characters. When filmmakers exclude critical figures or change the reasons behind major events, they risk simplifying the story and misleading viewers about its historical and literary significance.
Faithful adaptation is not about rigid literalism. It is about respecting the source material, honoring its themes, and using historical and cultural research to create a story that is both engaging and responsible, guiding modern audiences to appreciate the richness of the original epic.
The Iliad highlights several key details about Patroclus’s death that the films exclude:
Patroclus asks Achilles for permission to enter the battle and borrow his armor.
Achilles agrees and even advises Patroclus on how to fight.
Briseis is not present with Achilles during this time.
The films exclude the roles of Apollo and Euphorbus, who contribute to Patroclus’s death.
Patroclus warns Hector Achilles will seek vengeance.
SIMPLIFICATION OF THE ILIAD
The Iliad is a complex epic with dozens of characters, overlapping storylines, and divine interventions, which makes it extremely difficult to adapt faithfully into a film. Filmmakers often simplify it to focus on one or two main characters, streamline battles, and condense events to fit a two-hour runtime. Subplots, speeches, and side characters like Patroclus, Apollo, or Euphorbus are frequently cut because their inclusion would slow pacing, confuse audiences, or require too much exposition. Visual storytelling also limits the ability to show internal conflict, prophecy, and subtle motivations, so films prioritize spectacle and clear plotlines over full fidelity.
These simplifications, while understandable for accessibility and entertainment, come at a cost. Omitting key characters and events can alter motivations and relationships, such as Patroclus’ consent to wear Achilles’ armor and his interactions with Hector and the gods. Modern adaptations like Troy 2004 and Helen of Troy 2003 often reduce or remove these elements, which diminishes the richness and nuance of the original story. Accurate storytelling matters because it preserves character depth, moral complexity, and the cultural context of the epic, allowing audiences to understand the Iliad beyond just action and spectacle.
PATROCLUS'S PERSPECTIVE
If a film were centered on Patroclus, it would be essential to include all the characters who play a role in his story, such as Apollo, Euphorbus, and Hector, as well as his interactions with Achilles and the Myrmidons. The battle scenes could be rewritten to reflect the Iliad more accurately, showing the sequence of his death: first struck by Apollo, then by Euphorbus, and finally struck down by Hector.
Including these moments would honor the epic’s original drama and character dynamics while still providing a visually compelling and intense action sequence for modern audiences. It could also allow for more character building and background development between Achilles and Patroclus relationship, taking viewers back to the moment the two met.
FILLING THE GAPS
As I write The Oread, a novel that acknowledges other forgotten characters of the Trojan War, Oenone and Corythus, I will make sure to include Patroclus's elements to honor the original story and maintain accuracy of Homer's Iliad. I will be incorporating the context of Patroclus’s death, and his relationship with Achilles. I even am curious to discover why Apollo interfered and why he chose Patroclus?
My goal is to honor the original source material while enriching the story for modern readers, highlighting the important roles of Oenone and Corythus during the Trojan War.
