Chapter 1. The Quarrel of Agamemnon and Achilles.

Adopting for himself a method which has since become a rule of art, more or less acknowledged in the literature of fiction, the poet dashes off at once into the full action of his story. He does not ask his readers or hearers to accompany the great armament over sea from the shores of Greece, or give them the history of the long and weary siege. He plunges at one leap into the tenth year of the war. He assumes from the outset, on the part of those to whom he speaks, a general knowledge of the main plot of his poem, and of the characters represented. Just as the modern author of a novel or a poem on the civil wars of England would assume some general acquaintance with the history of Charles I, the character of Cromwell, and the breach between King and Commons.

Nine whole years are supposed to have already passed in desultory warfare, but for the details of these campaigns the modern reader has to go to other sources, with which also the original hearers are supposed to have been acquainted. The Trojans and their allies are cooped up within the walls of their city, while the Greek hero Achilles has spread the terror of his name far and wide. The poet’s exordium is of the very briefest. His invocation to the Goddess of Song is in just three words: “Sing, heavenly muse, the wrath of Peleus’ son.”