Introducing her translation of The Iliad, Emily Wilson gets right to the heart of the matter. “The beautiful word minunthadios, ‘short-lived,’ is used of both Achilles and Hector, and applies to all of us. We die too soon, and there is no adequate recompense for the terrible, inevitable loss of life. Yet through poetry, the words, actions, and feelings of some long-ago brief lives may be remembered even three thousand years later.” (p. xi) The story of The Iliad is one of wrath, of folly, of stubbornness, and also of valor, of love, of devotion, and further still of the fickleness of the gods’ favor and the inevitability of fate. Through all of that, it is a story of fighting and killing, and the bitter loss that each death means. Wilson’s translation of Homer’s epic shows all of these facets brilliantly to a modern reader, without losing sight of the distance to Iron Age Greece.
Her introduction provides context for a modern reader experiencing the poem. For example, The Iliad is just part of a much larger set of legends and stories concerning the Trojan War. Ancient audiences would have known them, and understood The Iliad as telling one part of a greater tale in particular detail.
We know about many of [the other stories] from quotations and summaries of lost texts, such as the Cypria, the Little Iliad, and the Aethiopis, all non-Homeric epics about Trojan legends. Numerous ancient poets, dramatists, and visual artists recycled and reinvented this rich body of myth. And yet almost none of these stories appears directly in The Iliad. The poem avoids all of the obvious highlights of the traditional story, including the Wooden Horse. It does not start at the beginning—with the Judgment of Paris, the wedding of Peleus and Thetis, the abduction of Helen, or the muster of ships at Aulis—or end with the fall of the city. Instead, the action takes place over a few days in the last year of the war—neither the beginning nor the end. A brief and ostensibly trivial episode—a squabble between two Greek commanders—becomes the subject of a monumental twenty-four-book epic. (p. xviii)
The ten years of the Trojan War, for anyone who would like a refresher, began when Paris abused Greek traditions of hospitality, and carried off Helen, the wife of Menelaus, King of Sparta who had been Paris’ host. The stories differ on whether or not Helen was willing. Menelaus gathered allies who sailed to Troy, also known as Ilium, to regain Helen. Paris and the Trojans likewise gathered allies to fend off the attacks of fellow Greeks. Wilson adds, “The Iliad eschews the obvious way for Greeks to tell the Trojan War story: as a conflict between “us” and “them.” The Trojans are not dishonest foreigners, despite the fact that the Paris abducted his host’s wife.” (p. xviii) Throughout The Iliad the Greek gods bestow their favors to one side or the other. Some gods, notably Zeus, change sides more than once, as if all of the fighting were merely an interesting spectacle. Eventually Troy will fall, but as Wilson notes above, that happens after the end of The Iliad.