Page:EB1911 - Volume 13.djvu/647

Rh describes (Il. xv. 679) is a mere exhibition of skill, such as we may see in a modern circus. And though he mentions the trumpet (Il. xviii. 219), there is nothing to show that it was used, as in historical times, to give the signal for the charge.

The chief industries of Homeric times are those of the carpenter ( ), the worker in leather ( ), the smith or worker in metal ( )—whose implements are the hammer and pincers—and the potter ( ); also spinning and weaving, which were carried on by the women. The fine arts are represented by sculpture in relief, carving in wood and ivory, embroidery. Statuary is later; it appears to have come into existence in the 7th century, about the time when casting in metal was invented by Rhoecus of Samos. In general, as was well shown by A. S. Murray, Homeric art does not rise above the stage of decoration, applied to objects in common use; while in point of style it is characterized by a richness and variety of ornament which is in the strongest contrast to the simplicity of the best periods. It is the work, in short, not of artists but of skilled workmen; the ideal artist is “Daedalus,” a name which implies mechanical skill and intricate workmanship, not beauty of design.

One art of the highest importance remains. The question whether writing was known in the time of Homer was raised in antiquity, and has been debated with especial eagerness ever since the appearance of Wolf’s Prolegomena. In this case we have to consider not merely the indications of the poems, but also the external evidence which we possess regarding the use of writing in Greece. This latter kind of evidence is much more considerable now than it was in Wolf’s time. (See elsewhere in these volumes.)

The oldest known stage of the Greek alphabet appears to be represented by inscriptions of the islands of Thera, Melos and Crete, which are referred to the 40th Olympiad (620 ). The oldest specimen of a distinctively Ionian alphabet is the famous inscription of the mercenaries of Psammetichus, in Upper Egypt, as to which the only doubt is whether the Psammetichus in question is the first or the second, and consequently whether the inscription is to be dated Ol. 40 or Ol. 47. Considering that the divergence of two alphabets (like the difference of two dialects) requires both time and familiar use, we may gather from these facts that writing was well known in Greece early in the 7th century

The rise of prose composition in the 6th century has been thought to mark the time when memory was practically superseded by writing as a means of preserving literature—the earlier use of letters being confined to short documents, such as lists of names, treaties, laws, &c. This conclusion, however, is by no means necessary. It may be that down to comparatively late times poetry was not commonly read, but was recited from memory. But the question is—From what time are we to suppose that the preservation of long poems was generally secured by the existence of written copies? Now, without counting the Homeric poems—which doubtless had exceptional advantages in their fame and popularity—we find a body of literature dating from the 8th century to which the theory of oral transmission is surely inapplicable. In the Trojan cycle alone we know of the two epics of Arctinus, the Little Iliad of Lesches, the Cypria, the Nostoi. The Theban cycle is represented by the Thebaid (which Callinus, who was of the 7th century, ascribed to Homer) and the Epigoni. Other ancient epics—ancient enough to have passed under the name of Homer—are the Taking of Oechalia, and the Phocaïs. Again, there are the numerous works attributed to Hesiod and other

poets of the didactic, mythological and quasi-historical schools—Eumelus of Corinth, Cinaethon of Sparta, Agias of Troezen, and many more. The preservation of this vast mass can only be attributed to writing, which must therefore have been in use for two centuries or more before there was any considerable prose literature. Nor is this in itself improbable.

The further question, whether the Iliad and Odyssey were originally written, is much more difficult. External evidence does not reach back so far, and the internal evidence is curiously indecisive. The only passage which can be interpreted as a reference to writing occurs in the story of Bellerophon, told by Glaucus in the sixth book of the Iliad. Proetus, king of Corinth, sent Bellerophon to his father-in-law the king of Lycia, and gave him “baneful tokens” (, i.e. tokens which were messages of death), “scratching on a folded tablet many spirit-destroying things, and bade him show this to his father-in-law, that he might perish.” The king of Lycia asked duly (on the tenth day from the guest’s coming) for a token ( ), and then knew what Proetus wished to be done. In this account there is nothing to show exactly how the message of Proetus was expressed. The use of writing for the purpose of the token between “guest-friends” (tessera hospitalis) is certainly very ancient. Mommsen (Röm. Forsch. i. 338 ff.) aptly compares the use in treaties, which are the oldest species of public documents. But we may suppose that tokens of some kind—like the marks which the Greek chiefs make on the lots (Il. vii. 175 ff.)—were in use before writing was known. In any system of signs there were doubtless means of recommending a friend, or giving warning of the presence of an enemy. There is no difficulty, therefore, in understanding the message of Proetus without alphabetical writing. But, on the other hand, there is no reason for so understanding it.

If the language of Homer is so ambiguous where the use of writing would naturally be mentioned, we cannot expect to find more decisive references elsewhere. Arguments have been founded upon the descriptions of the blind singers in the Odyssey, with their songs inspired directly by the Muse; upon the appeals of the poet to the Muses, especially in such a place as the opening of the Catalogue; upon the Catalogue itself, which is a kind of historical document put into verse to help the memory; upon the shipowner in the Odyssey, who has “a good memory for his cargo,” &c. It may be answered, however, that much of this is traditional, handed down from the time when all poetry was unwritten. Moreover it is one thing to recognize that a literature is essentially oral in its form, characteristic of an age which was one of hearing rather than of reading, and quite another to hold that the same literature was preserved entirely by oral transmission.

The result of these various considerations seems to be that the age which we may call the Homeric—the age which is brought before us in vivid outlines in the Iliad and Odyssey—lies beyond the earliest point to which history enables us to penetrate. And so far as we can draw any conclusion as to the author (or authors) of the two poems, it is that the whole debate between the cities of Aeolis and Ionia was wide of the mark. The author of the Iliad, at least, was evidently a European Greek who lived before the colonization of Asia Minor; and the claims of the Asiatic cities mean no more than that in the days of their prosperity these were the chief seats of the fame of Homer.

This is perhaps the place to consider whether the poems are to be regarded as possessing in any degree the character of historical record. The question is one which in the absence of satisfactory criteria will generally be decided by taste and predilection. A few suggestions, however, may be made.

1. The events of the Iliad take place in a real locality, the general features of which are kept steadily in view. There is no doubt about Sigeum and Rhoeteum, or the river Scamander, or the islands Imbros, Lemnos and Tenedos. It is at least remarkable that a legend of the national interest of the “tale of Troy” should be so definitely localized, and that in a district which was never famous as a seat of Greek population. It may be urged, too, that the story of the Iliad is singularly free from the exaggerated and marvellous character which belongs as a rule to the legends of primitive peoples. The apple of discord, the arrows of Philoctetes, the invulnerability of Achilles, and similar fancies, are the additions of later poets. This