The Historians' History of the World 03

It was textual criticism, the deadly work of the critical scalpel in the verbal form of the poems that first destroyed the good standing of the Homeric legend. It is the revivifying work of the pickaxe and shovel in the actual ground as wielded by the excavator and archæologist that have brought back the repute of Homer. A few years ago and a Gladstone arguing for the reality of a Homer and of an Homeric epic was dismissed by the professor as an old-fashioned ignoramus. To-day almost the same terms are applied to those who cling to the fashion of yesterday and claim that the Trojan War and Homer himself are myths. In the new swing of the pendulum, however, the cautious will still avoid extremes.

What has already been said about the status of Greek myth applies in the main to the Homeric poems. They are legends doubtless with some measure of historical foundation, but they cannot be accepted by the critical student of to-day as historical narratives in the narrow sense. But the Homeric poems have an interest of quite another kind which gives them a place apart among the legends of antiquity. This interest centres about the personality of the author of the Iliad and the Odyssey. From the earliest historic periods of Grecian life the authorship of the Iliad and Odyssey was unquestionably ascribed to a poet named Homer. If doubts ever arose in the mind of any sceptical or critical person as to the reality of Homer, such doubts were quite submerged by the popular verdict. It was not generally claimed that Homer himself had written the works ascribed to him,—it was long held, indeed, that he must have lived at a period prior to the introduction of writing into Greece,—but that the person whom tradition loved to speak of as the blind bard had invented and recited his narratives in toto, and that these, memorised by others, had been brought down through succeeding generations until they were finally given permanence in writing, were accepted as the most unequivocal of historical facts.

HOMER

But in the latter half of the 18th century, these supposed historical facts began to be called in question, Wolfk leading the van and holding all scholarship in terror of his name for nearly a century. Critical students of Homer were struck with numerous anomalies in his writings that seemed to them inconsistent with the idea that the Iliad and Odyssey had been composed at one time and by one person. To cite but a single illustration, it was noted that the various parts of these poems were not all written in the same dialect, and it seemed highly improbable that any one person should have employed different dialects in a single composition. Such a suggestion as this naturally led to bitter controversies—controversies which have by no means altogether subsided after the lapse of a century.a Later scholarship denies the “stratification of language” in the poems.b But the controversy did not confine itself to the mere question whether such a person as Homer had lived and written, it came presently to involve also the subject of the Homeric poems, in particular, of the Iliad.

Certain details aside, the Trojan War had been looked upon as an historical event, quite as fully credited by the modern historian as it had been by Alexander when he stopped to offer sacrifices at the site of Troy. But now the iconoclastic movement being under way there was a school of students who openly maintained that the whole recital, by whomsoever written, was nothing but a fable which the historian must utterly discard. It was even questioned whether such a place as Troy had ever existed. Such a scepticism as this seemed, naturally enough, a clear sacrilege to a large body of scholars, but for several generations no successful efforts were made to meet it with any weapons more tangible than words. Then came a champion of the historical verity of the Homeric narrative who set to work to prove his case in the most practical way. Curiously enough the man who thus championed the cause of the closet scholars and poets and visionaries was himself a practical man of affairs, no less experienced and no less successful in dealing with the affairs of an everyday business than had been the man from whom the iconoclastic movement had gained its chief support. This man was also a German, Heinrich Schliemann.l