Homer and His Age | Page 5

the ILIAD is either a collection of short lays disposed in sequence in a late age, or that it contains an ancient original "kernel" round which "expansions," made throughout some centuries of changeful life, have accrued, and have been at last arranged by a literary redactor or editor.
The latter theory is now dominant. It is maintained that the Iliad is a work of at least four centuries. Some of the objections to this theory were obvious to Wolf himself--more obvious to him than to his followers. He was aware, and some of them are not, of the distinction between reading the ILIAD as all poetic literature is naturally read, and by all authors is meant to be read, for human pleasure, and studying it in the spirit of "the analytical reader." As often as he read for pleasure, he says, disregarding the purely fanciful "historical conditions" which he invented for Homer; as often as he yielded himself to that running stream of action and narration; as often as he considered the harmony of colour and of characters in the Epic, no man could be more angry with his own destructive criticism than himself. Wolf ceased to be a Wolfian whenever he placed himself at the point of view of the reader or the listener, to whom alone every poet makes his appeal.
But he deemed it his duty to place himself at another point of view, that of the scientific literary historian, the historian of a period concerning whose history he could know nothing. "How could the thing be possible?" he asked himself. "How could a long poem like the Iliad come into existence in the historical circumstances?" [Footnote, exact place in paragraph unknown: Preface to Homer, p, xxii., 1794.]. Wolf was unaware that he did not know what the historical circumstances were. We know how little we know, but we do know more than Wolf. He invented the historical circumstances of the supposed poet. They were, he said, like those of a man who should build a large ship in an inland place, with no sea to launch it upon. The Iliad was the large ship; the sea was the public. Homer could have no readers, Wolf said, in an age that, like the old hermit of Prague, "never saw pen and ink," had no knowledge of letters; or, if letters were dimly known, had never applied them to literature. In such circumstances no man could have a motive for composing a long poem. [Footnote: Prolegomena to the Iliad, p. xxvi.]
Yet if the original poet, "Homer," could make "the greater part of the songs," as Wolf admitted, what physical impossibility stood in the way of his making the whole? Meanwhile, the historical circumstances, as conceived of by Wolf, were imaginary. He did not take the circumstances of the poet as described in the Odyssey. Here a king or prince has a minstrel, honoured as were the minstrels described in the ancient Irish books of law. His duty is to entertain the prince and his family and guests by singing epic chants after supper, and there is no reason why his poetic narratives should be brief, but rather he has an opportunity that never occurred again till the literary age of Greece for producing a long poem, continued from night to night. In the later age, in the Asiatic colonies and in Greece, the rhapsodists, competing for prizes at feasts, or reciting to a civic crowd, were limited in time and gave but snatches of poetry. It is in this later civic age that a poet without readers would have little motive for building Wolfs great ship of song, and scant chance of launching it to any profitable purpose. To this point we return; but when once critics, following Wolf, had convinced themselves that a long early poem was impossible, they soon found abundant evidence that it had never existed.
They have discovered discrepancies of which, they say, no one sane poet could have been guilty. They have also discovered that the poems had not, as Wolf declared, "one 'harmony of colour" (_unus color_). Each age, they say, during which the poems were continued, lent its own colour. The poets, by their theory, now preserved the genuine tradition of things old; cremation, cairn and urn burial; the use of the chariot in war; the use of bronze for weapons; a peculiar stage of customary law; a peculiar form of semi-feudal society; a peculiar kind of house. But again, by a change in the theory, the poets introduced later novelties; later forms of defensive armour; later modes of burial; later religious and speculative beliefs; a later style of house; an advanced stage of law; modernisms in grammar and language.
The usual position of critics in this matter is stated by Helbig; and we are