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The Homeric epic is rich in sacrificial rituals performed by the protagonists of the plots it unfolds. The question of the status of poetic evocation of ritual gestures is complex. Indeed, the poet's intentions are not documentary and, even if the interpreter chooses a partially referential reading of the data, their chronological anchorage is uncertain. However, the world of the epic is not the disembodied world of the tale ("Once upon a time"). Homeric poetry - and especially the Iliad - blends representations of a past that is fantasized about, but conceivable for its audience, with representations of the world in which that audience lives. Sacrificial evocations had to make sense, at least in part, to the poem's audience throughout its transmission. Like the divine figures in action in the Iliad, whose names resonate with the gods of the cults, the ritual practices poeticized were to resonate with the gestures performed in the sanctuaries frequented by the poem's audience. This is why it is interesting to analyze the various aspects of the sacrificial offering staged by the epic, and in particular the identity, both concrete (animal thighs surrounded by fat) and symbolic (hiera, "sacred portions"), of what is put on the flame of the altar in honor of a deity who is the recipient of the operation.
