Such is the _Iliad_. To modern readers it very often seems a little dull. Horace long ago pointed out that it is inevitable that a long poem should flag; even Homer nods sometimes. Some of the episodes are distinctly wearisome, for they are invented to give a place in this national Epic to lesser heroes who could hardly be mentioned if Achilles were always in the foreground. Achilles himself is not a pleasing person; his character is wayward and violent; he is sometimes childish, always liable to be carried away by a fit of pettishness and unable to retain our real respect; further, a hero who is practically invulnerable and yet dons divine armour to attack those who are no match for him when he is without it falls below the ordinary "sportsman's" level. Nor can we feel much reverence for many of the gods; Hera is odious, Athena guilty of flat treachery, Zeus, liable to allow his good nature to overcome his judgment--Apollo alone seems consistently noble. More, we shall look in vain in the _Iliad_ for any sign of the pure battle-joy which is so characteristic of northern Epic poetry; the Greek ideal of bravery had nothing of the Berserker in it. Perhaps these are the reasons why the sympathy of nearly all readers is with the Trojans, who are numerically inferior, are aided by fewer and weaker gods and have less mighty champions to defend them. What then is left to admire in the _Iliad_? It is well to remember that the poem is not the first but the last of a long series; its very perfection of form and language makes it certain that it is the result of a long literary tradition. As such, it has one or two remarkable features. We shall not find in many other Epics that sense of wistful sorrow for man's brief and uncertain life which is the finest breath of all poetry that seeks to touch the human heart. The marks of rude or crude workmanship which disfigure much Epic have nearly all disappeared from the _Iliad_. The characterisation of many of the figures of the poem is masterly, their very natures being hit off in a few lines--and it is important to remember that it is not really the business of Epic to attempt analysis of character at all except very briefly; the story cannot be kept waiting. But the real Homeric power is displayed in the famous scenes of pure and worthy pathos such as the parting of Andromache from Hector and the laments over his body. Those who would learn how to touch great depths of sorrow and remain dignified must see how it has been treated in the _Iliad_. A few vigorous lines hit off the plan of the _Odyssey_. "Sing, Muse, of the man of much wandering who travelled right far after sacking sacred Troy, and saw the cities of many men and knew their ways. Many a sorrow he suffered on the sea, trying to win a return home for himself and his comrades; yet he could not for all his longing, for they died like fools through their own blindness."