Homer and Hesiod: The Foundations of Ancient Greek Literature. Homer
when the wanderers had no safe soil to lay their friends in. Tiryns actually used stone tools to make its bronze weapons, whereas the earliest epos knows of iron tools; and in general we may accept E. Meyer's account that the bloom of the epos lies in a 'middle age' between the Mycenæan and the classical periods.
Thus the general evidence of the subject-matter conspires with that of the language, to show that the oldest strata have been worked over from an Æolic into an Ionic shape; that the later parts were originally composed in Ionia in what then passed as 'Epic' -- that is, in the same dialect as then appeared in the rest of the poems, with an unconsciously stronger tincture of Ionism; further, that the translation was gradual, and that the general development took centuries; and lastly, perhaps, that an all-important epoch in this development was formed by the great Race Migrations which are roughly dated about 1000 B.C. It seems to have been the Migrations that took the legendary war across the sea, when historical Æolians found themselves fighting in the Troad against Hissarlik, and liked to identify their own enemies with those of their ancestors; the Migrations, which drew down the Northern heroes to the Peloponnese, when a stream of Greeks from the Inachus valley met in Asia a stream from Thessaly. The latter contributed their heroic saga; the former brought the memory of the gigantic castles and material splendour of Tiryns and Mycenæ.
These Migrations present a phenomenon common enough in history, yet one which in romantic horror baffles a modern imagination: the vague noise of fighting in the North; the silly human amusement at the troubles of one's old enemies over the border; the rude awakening; the flight of man, woman, and child; the hasty the flinging of life and fortune on unknown waters. The boats of that day were at the mercy of any weather. The ordinary villagers can have had little seamanship. They were lost on the waves in thousands. They descended on strange coasts and died by famine or massacre. At the best, a friendly city would take in the wives and children, while the men set off grimly to seek, through unknown and monster-peopled scas, some spot of clear land to rest their feet upon. Aristarchus put Homer at the 'Ionic Migration.' This must be so far true that the Migrations -- both æolic and Ionic -- stirred depths of inward experience which found outlet by turning a set of ballads into the great epos, by creating ' Homer.' It was from this adventurous exile that Ionia rose; and the bloom of Ionia must have been the bloom of the epos.
CRITERIA OF AGE
As to determining the comparative dates of various parts of the poems, we have already noticed several possible clues. Bronze weapons are earlier than iron, openair altars earlier than temples, leathern armour earlier than metal armour, individual foot-fighting (witness 'swift-footed Achilles') earlier than chariot-fighting, and this again than riding and the employment of columns of infantry. The use of 'Argos' for the plain of Thessaly is earlier than its vague use for Greece, and this than its secondary specialisation in the Peloponnese. But all such clues must be followed with extreme caution. Not only is it always possible for a late poet to use an archaic formula -- even Sophocles can use χαλκòς for a sword -but also the very earliest and most essential episodes have often been worked over and re-embellished down to the latest times. The slaying of Patroclus, for instance, contains some of the latest work in Homer; it was a favourite subject from the very outset, and new bards kept improving' upon it.
We find Hellas' and ' Achaia' following similar lines of development with Argos. They denote first Achilles's own district in Phthia, the home of those tribes which called their settlement in the Peloponnese 'Achaia,' and that in Italy 'Great Hellas.' But through most of the Iliad 'Achaioi' means the Greeks in general, while ' Hellas' is still the special district. In the Odyssey we find ' Hellas' in the later universal sense, and in B we meet the idea ' Panhellênes.' This is part of the expansion of the poet's geographical range: at first all the actors had really been ' Achaioi' or ' Argeioi'; afterwards the old names ' Achaioi' and ' Argeioi' continued to be used to denote all the actors, though the actual area of the poems had widened far beyond the old limits and was widening still. The last parts of the Odyssey are quite familiar with Sicily and Kyrêne, and have some inklings of the interior of Russia, and perhaps of the Vikings of the far North. 16
Another gradual growth is in the marriage-customs. Originally, as Aristotle noticed, the Greeks simply bought their wives; a good-looking daughter was valuable as being άλειßοια, 'kine-winning,' because of the price, the εδνα, her suitors gave for her. In classical times the custom was the reverse; instead of receiving money for his daughter, the father had to give a dowry with her: and the late parts of the poems use εδνα in the sense of 'dowry.' There are several stages between, and one of the crimes of the suitors in the Odyssey is their refusal to pay εδνα.
Another criterion of age lies in the treatment of the supernatural. It is not only that the poems contain, as Rohde17 has shown, traces of the earliest religion, ancestorworship and propitiation of the dead, mixed with a later 'Ionic' spirit, daring and sceptical, which knows nothing of mysteries, and uses the gods for rhetorical ornament, or even for comic relief. There is also a marked development or degeneration in the use of supernatural machinery. In the earliest stages a divine presence is only introduced where there is a real mystery, where a supernatural explanation is necessary to the primitive mind. If Odysseus, entering the Phæacians' town at dusk, passes on and on safe and unnoticed, it seems as if Athena has thrown a cloud over him; if Achilles, on the very point of drawing his sword against his king, feels something within warn and check him, it seems to be a divine hand and voice. Later on the gods come in as mere ornaments; they thwart one another; they become ordinary characters in the poems. The more divine interference we get, the later is the work, until at last we reach the positively-marring masquerades of Athena in the Odyssey, and the offensive scenes of the gods fighting in E and γ. Not that any original state of the poems can have done without the gods altogether. The gods were not created in Asia; they are 'Olympian,' and have their characters and their formal epithets from the old home of the Achaioi.
The treatment of individual gods, too, has its significance-though a local, not a chronological one. Zeus and Hera meet with little respect. Iris is rather unpleasant, as in Euripides. Ares is frankly detested for a bloodthirsty Thracian coward. Aphrodite, who fights because of some echo in her of the Phoenician Ashtaroth, a really formidable warrior, is ridiculed and rebuked for her fighting. Only two gods are respectfully handled -Apollo, who, though an ally of Troy, is a figure genuinely divine; and Poseidon, who moves in a kind of rolling splendour. The reason is not far to seek: they are the real gods of the Ionian. The rest are, of course, gods; but they are 'other peoples' gods,' and our view of them depends a good deal on our view of their worshippers. Athena comes a good third to the two Ionians; in the Odyssey and K she outstrips them. Athens could manage so much, but not more: she could not make the Ionian poetry accept her stern goddess in her real grandeur; Athena remained in the epos a fighting woman, treacherous and bitter, though a good partisan. She will never be forgiven for the last betrayal of Hector.
Great caution must be used in estimating the significance of repetitions and quotations. For instance, the disguised Odysseus begins prophesying his return in τ, 303, with the natural appeal : --
"Zeus hear me first, of gods most high and great, And brave Odysseus' hearth, where I am come."
But when he says the same in ξ, 158, not only is the prophecy imprudent when he does not mean to be recognised, but he is also not at his own hearth at all, and a slight surplusage in the first line betrays the imitator: "Zeus, hear me first of gods and thy kind board." The passage is at home in τ, and not at home in ξ.
Similarly, what we hear in κ, 136, is natural : --
"In the isle there dwelt Kirkê fair-tress'd, dread goddess full of song."
Kirkê was essentially 'dread,' and her 'song' was magic incantation; but in μ, 448, it runs : --
" Calypso in the isle Dwelleth fair-tress'd, dread goddess full of song."
Calypso was not specially 'dread' nor 'full of song,'