R.F and B.K.
June 2001
INTRODUCTION
THE ILIAD
“Iliad” is a word that means “a poem about Ilium” (i.e., Troy), and Homer’s great epic poem has been known as “The Iliad” ever since the Greek historian Herodotus so referred to it in the fifth century B.C. But the title is not an adequate description of the contents of the poem, which are best summed up in its opening line: “the rage of Peleus’ son Achilles.” The incident that provoked Achilles’ rage took place in the tenth and final year of the Achaean attack on Troy, and though Homer does work into his narrative scenes that recall earlier stages of the war (the muster of the Achaean forces in Book 2, for example, and Priam’s first sight of Agamemnon and the other Achaean chieftains in Book 3), the rage of Achilles—its cause, its course and its disastrous consequences—is the theme of the poem, the mainspring of the plot.
Chryses, a priest of Apollo, whose daughter has been carried off by the Achaeans in one of their raids, comes to the camp to ransom her. But she has been assigned, in the division of the booty, to the king who commands the Achaean army, Agamemnon, and he refuses to give her up. Her father prays for help to Apollo, who sends a plague that devastates the Achaean camp. Achilles, leader of the Myrmidons, one of the largest contingents of the Achaean army, summons the chieftains to an assembly. There they are told by the prophet Calchas that the girl must be returned to her father. Agamemnon has to give her up, but demands compensation for his loss. Achilles objects: let Agamemnon wait until more booty is taken. A violent quarrel breaks out between the two men, and Agamemnon finally announces that he will take recompense for his loss from Achilles, in the form of the girl Briseis, Achilles’ share of the booty. Achilles represses an urge to kill Agamemnon and withdraws from the assembly, threatening to leave for home, with all his troops, the next day. The priest’s daughter is restored to him, Apollo puts an end to the plague, and Briseis is taken away from Achilles’ tent by Agamemnon’s heralds.
Achilles turns to his goddess mother Thetis, asking her to prevail on Zeus, father of gods and men, to inflict loss and defeat on the Achaeans, so that they will realize how much they need him. Zeus is won over by Thetis (to whom he is indebted for help on a previous occasion), and in spite of the vehement objections of his wife Hera (who, like his daughter Athena, hates the Trojans and works for their destruction), he turns the tide of battle against the Achaeans. The Trojan leader Hector, son of Troy’s old King Priam, drives the Achaeans back on their beached ships, round which they are forced to build a wall and ditch. At the urging of his chieftains, Agamemnon sends ambassadors to Achilles, offering him rich prizes and the hand of his daughter in marriage if he will return to the fighting line. The offer is refused, but the pleas of one of the ambassadors, Phoenix, an older man who belongs to Achilles’ household, do have some effect: Achilles withdraws his threat to leave the next day; he will stay until Hector and the Trojans reach his own ships.
The battle resumes and now the Trojan onslaught breaches the wall and threatens the ships. The Achaean chieftains—Agamemnon, his brother Menelaus, Diomedes and Odysseus—are wounded one by one. Achilles’ closest friend, Patroclus, sent by Achilles to find out how things stand in the Achaean camp, brings back the news and also pleads with Achilles to relent. He does so only partly; he agrees to let Patroclus go into battle with Achilles’ troops, wearing Achilles’ armor. This is enough: the Trojans in their turn are thrown back. But Patroclus is killed by the god Apollo, Troy’s protector, and by Hector, who strips off Achilles’ armor and puts it on himself.
Achilles’ rage is now directed against Hector, the killer of his dearest friend. He is reconciled with Agamemnon, and as soon as his mother brings him a splendid suit of armor, made by the smith-god Hephaestus, he returns to the battle, and after slaughtering many Trojans, meets and kills Hector. He lashes Hector’s corpse to his chariot and drags it to his own tent; he intends to throw it to the dogs and birds of prey. For Patroclus he holds a magnificent funeral, complete with athletic contests and human sacrifice. Whenever renewed grief for the loss of his friend overcomes him, he drags Hector’s body around Patroclus’ grave. But the body has been preserved from corruption by divine intervention, and the gods now decide (not unanimously, for Hera and Athena object) to send a message to Achilles through his mother: he is to release Hector’s body for ransom paid by King Priam of Troy. Achilles agrees, but what he does not anticipate is the arrival in his tent of Priam himself, alone, in the middle of the night. Instead of sending a herald, he has brought the ransom himself and begs for the body of his son. Achilles is reminded of his own father, also an old man who will never see his son again; Achilles knows, for his mother has told him, that his death is to come soon after Hector’s. He sends Priam safely back with Hector’s body to Troy and so, runs the last line of the poem, “the Trojans buried Hector breaker of horses” (24.944 in the translation). We know already that the death of Troy’s main defender seals the fate of the city and that, as Thetis told Achilles: “hard on the heels of Hector’s death your death / must come at once” (18.112-13).
This summary is the bare bones of an epic poem that consists in the original Greek of 15,693 lines of hexameter verse, composed—probably in the late eighth or early seventh century B.C.—by a poet known to later ages as Homer, for whose life and activity no trustworthy information has come down to us. The poem, in other words, is some 2,700 years old. How, the reader may well ask, did it survive through such an expanse of time? By whom, for whom, and how and in what circumstances was it composed? Perhaps the best way to proceed to an exploration of these questions (no one can promise a complete and certain answer) is backward—from the text of this book.
It is a translation, by Robert Fagles, of the Greek text edited by David Monro and Thomas Allen, first published in 1902 by the Oxford University Press. This two-volume edition is printed in a Greek type, complete with lower- and uppercase letters, breathings and accents, which is based on the elegant handwriting of Richard Porson, an early-nineteenth-century scholar of great brilliance, who was also an incurable alcoholic as well as a great wit. This was of course not the first font of Greek type; in fact, the first printed edition of Homer, issued in Florence in 1488, was composed in type that imitated contemporary Greek handwriting, with all its complicated ligatures and abbreviations. Early printers tried to make their books look like handwritten manuscripts because in scholarly circles printed books were regarded as vulgar and inferior products—cheap paperbacks, so to speak.
Back to 1488, then, there is a continuous history of the printed text of Homer, differing a little from one editor to another but essentially fixed. Before that Homer existed only as a handwritten book. Such handwritten copies had been in circulation in Italy for a hundred years or so before the first printed edition. Petrarch had tried to learn Greek but gave up; Boccaccio succeeded and also in 1360 had a chair of Greek founded in Florence. But before Petrarch, Dante, though he put Homer in his limbo of non-Christian poets, had never read him, and could not have read him even if he had seen a text. For the best part of a thousand years, since the end of the Roman Empire, the knowledge of Greek had been lost in Western Europe. In the fourteenth century it was reintroduced into Italy from Byzantium, where a Greek-speaking Christian empire had maintained itself ever since Constantine made the city the capital of the eastern half of the Roman Empire. The knowledge of Greek and the manuscripts of the Greek classics, Homer included, came to Italy just in time; in May 1453 Byzantium fell to the Ottoman Turks, and the Greek empire of the East came to the end of its thousand-year career. During its long life it had carefully preserved, copied and recopied a select number of the Greek masterpieces of pre-Christian times, Homer prominent among them. The immediate predecessors of the printed edition of Florence were bound manuscript books written on vellum or on paper in a cursive minuscule script complete with accents and breathings. These books were the final phase of the process of copying by hand that went all the way back to the ancient world. In the ninth century the new minuscule handwriting had been adopted; since it separated words, it was easier to read than its predecessor, a hand consisting of freestanding capital letters without word division—the standard writing of the ancient world. In the second to fifth centuries A.D., the form and material of the books had changed: parchment with its longer life had replaced papyrus, and the codex form, our book form—folded quires of paper sewn at the back—had replaced the roll. In the ancient world the Iliad consisted of a number of papyrus rolls, the text written in columns on the inside surface. The rolls could not be too big (or they would break when opened for reading); a long poem like the Iliad might require as many as twenty-four—in fact it is possible the so-called books of our text represent an original division into papyrus rolls.