Tonight I finished The Iliad again. I started this trip through Homer’s grand war epic at the end of January, so it took me a little over 5 months to get through. While I read The Lost Tales of Sir Galahad along the way, the main consumer of my time away from my day job was teaching a swathe of Greek Fathers and then Augustine’s City of God. It doesn’t strike me as unreasonable to take this long, given that I also work 40 hours a week.
Anyway, this was my fifth complete engagement with the Iliad (so besides the big chunks in Greek class in university). Round one was Robert Fagles on my own time (read my memoriam for him here). Round two was the older Oxford World’s Classics in undergrad for Classical Mythology. Round three was E. V. Rieu (the original Penguin) for undergrad Homer & Virgil class. Round four was Richmond Lattimore when I tutored Ancient Epic as a grad student. And now, round five, full circle to Fagles.
The Iliad is a more difficult poem than its friend the Odyssey. It is very much a poem of war. Random guy after random guy, from such and such a place in Greece or Asia Minor gets killed, described with deft yet quick precision, spear entering here, exited there, teeth shattered. So and so literally bites the dust.
I confess that perhaps the long sections of slaughter slowed me down a bit this time through. But they are not meaningless. There is no gratuitous violence in The Iliad. In the commentary to the film Conan the Barbarian, John Milius talks about how the violence is sudden, jarring, complete. It’s meant to be. It’s not gratuitous. It’s there to show you the hardness of the world of Conan. So The Iliad.
The Iliad is a war poem, friends. Not an anti-war poem. Not a pro-war poem. A real, visceral, powerhouse of a war poem. It is pro-warrior, though. Aeneas. Diomedes. Hector. Patroclus. Achilles. Guys like Paris who sit in the back and shoot with arrows. Losers.
Warriors, though, fight. They do. They kill one another. It is a brutal business. A horrible reality. And The Iliad does not shy away from it in those almost mind-numbing catalogues of dead guys.
This poem also shows us what warriors fight for, both noble and ignoble. It’s easy to point out the things we like. Hector fights for family, for duty, for nation. Hector breaker of horses is the protector of Troy. His death is the symbolic death of the city, the inevitable, coming reality. Homer need not tell us the Fall of Troy, for it fell with Hector. We don’t really identify with Achilles these days — a man who pouts by the beach, fights for pure vengeance and shows no mercy out of bloodlust, whose main concern is selfish, personal honour.
Yet that personal honour was a big deal back then.
And so we also need to realise that the Iliad is also alien. The Homeric world is not our own. It is an unreal place, not unlike its dialect of Greek, full of things unique to itself, things common with Archaic Greece, things held over from Mycenaean times. We, on the other hand, live over 2700 years later, in an age transformed by Christianity and the industrial revolution and late modern technocracy. But if you approach things like Achilles’ aristeia with this attitude, you will be more ready to trade in strange, old worlds.
Anyway, there are lots of great moments in the poem, including the interpolated Book 10 called the “Doloneia” where Odysseus and Diomedes go on a night raid, characters telling various “Greek myths” (as we call them), gods behaving badly, various encounters between warriors, and the loveliness and force of Homer’s poetry with its wondrous epic similes.
After the alien world of the catalogues of death, Patroclus has his aristeia. Still lots of death, but from this moment in Book 16 to the end, the pace quickens, the plot tightens, the “drama” is heightened.
There are many more moments that caught my eye and my heart this time through. I encourage you to read and find your own Homeric moments.