The Rise and Fall of Athens. Эдвард Бульвер-Литтон

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СКАЧАТЬ of civilization in Greece) important changes in society and manners were wrought, might all concur in producing, from the mature age of the poet, a poem very different to that which he composed in youth. And the various undetected interpolations and alterations supposed to be foisted into the Odyssey may have originated such detailed points of difference as present the graver obstacles to this conjecture. Regarding the Iliad and Odyssey as wholes, they are so analogous in all the highest and rarest attributes of genius, that it is almost as impossible to imagine two Homers as it is two Shakspeares. Nor is there such a contrast between the Iliad and the Odyssey as there is between any one play of Shakspeare’s and another 171. Still, I should warn the general reader, that the utmost opposition that can reasonably and effectually be made to those who assign to different authors these several epics, limits itself rather to doubt than to denial.

      VI. It is needless to criticise these immortal masterpieces; not that criticism upon them is yet exhausted—not that a most useful, and even novel analysis of their merits and character may not yet be performed, nor that the most striking and brilliant proofs of the unity of each poem, separately considered, may not be established by one who shall, with fitting powers, undertake the delightful task of deducing the individuality of the poet from the individualizing character of his creations, and the peculiar attributes of his genius. With human works, as with the divine, the main proof of the unity of the author is in his fidelity to himself:—Not then as a superfluous, but as far too lengthened and episodical a labour, if worthily performed, do I forego at present a critical survey of the two poems popularly ascribed to Homer.

      The early genius of Greece devoted itself largely to subjects similar to those which employed the Homeric muse. At a later period—probably dating at the Alexandrian age—a vast collection of ancient poems was arranged into what is termed the “Epic Cycle;” these commenced at the Theogony, and concluded with the adventures of Telemachus. Though no longer extant, the Cyclic poems enjoyed considerable longevity. The greater part were composed between the years 775 BC and 566 BC They were extant in the time of Proclus, AD 450; the eldest, therefore, endured at least twelve, the most recent ten centuries;—save a few scattered lines, their titles alone remain, solitary tokens, yet floating above the dark oblivion which has swept over the epics of thirty bards! But, by the common assent, alike of the critics and the multitude, none of these approached the remote age, still less the transcendent merits, of the Homeric poems.

      VII. But, of earlier date than these disciples of Homer, is a poetry of a class fundamentally distinct from the Homeric, viz., the collection attributed to Hesiod. Of one of these only, a rustic and homely poem called “Works and Days,” was Hesiod considered the author by his immediate countrymen (the Boeotians of Helicon); but the more general belief assigned to the fertility of his genius a variety of other works, some of which, if we may judge by the titles, aimed at a loftier vein 172. And were he only the author of the “Works and Days”—a poem of very insignificant merit 173—it would be scarcely possible to account for the high estimation in which Hesiod was held by the Greeks, often compared, and sometimes preferred, to the mighty and majestic Homer. We must either, then, consider Hesiod as the author of many writings superior perhaps to what we now possess, or, as is more plausibly and popularly supposed by modern critics, the representative and type, as it were, of a great school of national poetry. And it has been acutely suggested that, viewing the pastoral and lowly occupation he declares himself to pursue 174, combined with the subjects of his muse, and the place of his birth, we may believe the name of Hesiod to have been the representative of the poetry, not of the victor lords, but of the conquered people, expressive of their pursuits, and illustrative of their religion. This will account for the marked and marvellous difference between the martial and aristocratic strain of Homer and the peaceful and rustic verse of Hesiod 175, as well as for the distinction no less visible between the stirring mythology of the one and the thoughtful theogony of the other. If this hypothesis be accepted, the Hesiodic era might very probably have commenced before the Homeric (although what is now ascribed to Hesiod is evidently of later date than the Iliad and the Odyssey). And Hesiod is to Homer what the Pelasgic genius was to the Hellenic. 176

      VIII. It will be obvious to all who study what I may call the natural history of poetry, that short hymns or songs must long have preceded the gigantic compositions of Homer. Linus and Thamyris, and, more disputably, Orpheus, are recorded to have been the precursors of Homer, though the poems ascribed to them (some of which still remain) were of much later date. Almost coeval with the Grecian gods were doubtless religious hymns in their honour. And the germe of the great lyrical poetry that we now possess was, in the rude chants of the warlike Dorians, to that Apollo who was no less the Inspirer than the Protector. The religion of the Greeks preserved and dignified the poetry it created; and the bard, “beloved by gods as men,” became invested, as well with a sacred character as a popular fame. Beneath that cheerful and familiar mythology, even the comic genius sheltered its license, and found its subjects. Not only do the earliest of the comic dramatists seem to have sought in mythic fables their characters and plots, but, far before the DRAMA itself arose in any of the Grecian states, comic recital prepared the way for comic representation. In the eighth book of the Odyssey, the splendid Alcinous and the pious Ulysses listen with delight to the story, even broadly ludicrous, how Vulcan nets and exposes Venus and her war-god lover—

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