Today | News | Books | Recipes Adventure | Science Fiction | Ghost stories | Poetry | Children | History The IliadThe Project Gutenberg eBook of The Iliad This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Iliad Author: Homer Annotator: Theodore Alois Buckley Translator: Alexander Pope Release date: July 1, 2004 [eBook #6130] Most recently updated: February 7, 2026 Language: English Other information and formats: www.gutenberg.org/ebooks/6130 Credits: Anne Soulard, Juliet Sutherland, Charles Franks, and The Online Distributed Proofreading Team *** START OF THE PROJECT GUTENBERG EBOOK THE ILIAD *** The Iliad of Homer Translated by Alexander Pope, With Notes and Introduction by the Rev. Theodore Alois Buckley, M.A., F.S.A. and Flaxman's Designs. 1899 Contents INTRODUCTION. POPE'S PREFACE TO THE ILIAD OF HOMER THE ILIAD BOOK I. BOOK II. BOOK III. BOOK IV. BOOK V. BOOK VI. BOOK VII. BOOK VIII. BOOK IX. BOOK X. BOOK XI. BOOK XII. BOOK XIII. BOOK XIV. BOOK XV. BOOK XVI. BOOK XVII. BOOK XVIII. BOOK XIX. BOOK XX. BOOK XXI. BOOK XXII. BOOK XXIII. BOOK XXIV. CONCLUDING NOTE. Illustrations HOMER INVOKING THE MUSE MARS MINERVA REPRESSING THE FURY OF ACHILLES THE DEPARTURE OF BRISEIS FROM THE TENT OF ACHILLES THETIS CALLING BRIAREUS TO THE ASSISTANCE OF JUPITER THETIS ENTREATING JUPITER TO HONOUR ACHILLES VULCAN JUPITER THE APOTHEOSIS OF HOMER JUPITER SENDING THE EVIL DREAM TO AGAMEMNON NEPTUNE VENUS, DISGUISED, INVITING HELEN TO THE CHAMBER OF PARIS VENUS PRESENTING HELEN TO PARIS VENUS Map, titled "GRÆCIÆ ANTIQUÆ" THE COUNCIL OF THE GODS Map of the Plain of Troy VENUS, WOUNDED IN THE HAND, CONDUCTED BY IRIS TO MARS OTUS AND EPHIALTES HOLDING MARS CAPTIVE DIOMED CASTING HIS SPEAR AT MARS JUNO HECTOR CHIDING PARIS THE MEETING OF HECTOR AND ANDROMACHE BOWS AND BOW CASE IRIS HECTOR AND AJAX SEPARATED BY THE HERALDS GREEK AMPHORA-WINE VESSELS JUNO AND MINERVA GOING TO ASSIST THE GREEKS THE HOURS TAKING THE HORSES FROM JUNO'S CAR THE SHIELD OF ACHILLES PLUTO THE EMBASSY TO ACHILLES GREEK GALLEY PROSERPINE ACHILLES DIOMED AND ULYSSES RETURNING WITH THE SPOILS OF RHESUS THE DESCENT OF DISCORD HERCULES POLYDAMAS ADVISING HECTOR GREEK ALTAR NEPTUNE RISING FROM THE SEA GREEK EARRINGS SLEEP ESCAPING FROM THE WRATH OF JUPITER GREEK SHIELD BACCHUS AJAX DEFENDING THE GREEK SHIPS CASTOR AND POLLUX Buckles DIANA SLEEP AND DEATH CONVEYING THE BODY OF SARPEDON TO LYCIA ÆSCULAPIUS FIGHT FOR THE BODY OF PATROCLUS VULCAN FROM AN ANTIQUE GEM THETIS ORDERING THE NEREIDS TO DESCEND INTO THE SEA JUNO COMMANDING THE SUN TO SET TRIPOD THETIS AND EURYNOME RECEIVING THE INFANT VULCAN VULCAN AND CHARIS RECEIVING THETIS THETIS BRINGING THE ARMOUR TO ACHILLES HERCULES THE GODS DESCENDING TO BATTLE CENTAUR ACHILLES CONTENDING WITH THE RIVERS THE BATH ANDROMACHE FAINTING ON THE WALL THE FUNERAL PILE OF PATROCLUS CERES HECTOR'S BODY AT THE CAR OF ACHILLES THE JUDGMENT OF PARIS IRIS ADVISES PRIAM TO OBTAIN THE BODY OF HECTOR FUNERAL OF HECTOR INTRODUCTION. Scepticism is as much the result of knowledge, as knowledge is of scepticism. To be content with what we at present know, is, for the most part, to shut our ears against conviction; since, from the very gradual character of our education, we must continually forget, and emancipate ourselves from, knowledge previously acquired; we must set aside old notions and embrace fresh ones; and, as we learn, we must be daily unlearning something which it has cost us no small labour and anxiety to acquire. And this difficulty attaches itself more closely to an age in which progress has gained a strong ascendency over prejudice, and in which persons and things are, day by day, finding their real level, in lieu of their conventional value. The same principles which have swept away traditional abuses, and which are making rapid havoc among the revenues of sinecurists, and stripping the thin, tawdry veil from attractive superstitions, are working as actively in literature as in society. The credulity of one writer, or the partiality of another, finds as powerful a touchstone and as wholesome a chastisement in the healthy scepticism of a temperate class of antagonists, as the dreams of conservatism, or the impostures of pluralist sinecures in the Church. History and tradition, whether of ancient or comparatively recent times, are subjected to very different handling from that which the indulgence or credulity of former ages could allow. Mere statements are jealously watched, and the motives of the writer form as important an ingredient in the analysis of his history, as the facts he records. Probability is a powerful and troublesome test; and it is by this troublesome standard that a large portion of historical evidence is sifted. Consistency is no less pertinacious and exacting in its demands. In brief, to write a history, we must know more than mere facts. Human nature, viewed under an induction of extended experience, is the best help to the criticism of human history. Historical characters can only be estimated by the standard which human experience, whether actual or traditionary, has furnished. To form correct views of individuals we must regard them as forming parts of a great whole-we must measure them by their relation to the mass of beings by whom they are surrounded, and, in contemplating the incidents in their lives or condition which tradition has handed down to us, we must rather consider the general bearing of the whole narrative, than the respective probability of its details. It is unfortunate for us, that, of some of the greatest men, we know least, and talk most. Homer, Socrates, and Shakespere[1] have, perhaps, contributed more to the intellectual enlightenment of mankind than any other three writers who could be named, and yet the history of all three has given rise to a boundless ocean of discussion, which has left us little save the option of choosing which theory or theories we will follow. The personality of Shakespere is, perhaps, the only thing in which critics will allow us to believe without controversy; but upon everything else, even down to the authorship of plays, there is more or less of doubt and uncertainty. Of Socrates we know as little as the contradictions of Plato and Xenophon will allow us to know. He was one of the _dramatis personæ_ in two dramas as unlike in principles as in style. He appears as the enunciator of opinions as different in their tone as those of the writers who have handed them down. When we have read Plato _or_ Xenophon, we think we know something of Socrates; when we have fairly read and examined both, we f |