Manslaughtering Hands
There is another detail that recurs on many stones, almost the only exception to the otherwise crude depiction of the heroes’ bodies. Time and again, the fingers of the warrior-hero’s hands are shown outstretched, explicit and bigger than-life-size. His hands seem to matter more than any other part of his body, perhaps because they were the part of him with which he imposed his power on the world around him. The hand is the agent of the burning warrior self, the essential instrument of the weapon-wielding man. That is also the role played by hands in the Homeric epics. Both Hector and Achilles have "manslaughtering hands," and it is Odysseus’s hands that are steeped in blood as he exacts his final revenge on the suitors. It is as if the hands had concentrated in them all the destructive power of the warrior-hero. And when, in the Iliad‘s culminating scene of mutual accommodation, Priam, the king of Troy, comes to Achilles in the Greek camp, it is through the hands that the drama is played out: "Great Priam entered in and, coming close, clasped Achilles’s knees in his hands and kissed his hands, the terrible man-slaughtering hands that had slaughtered his many sons."
— Why Homer Matters, pp. 138-39
