The Historians' History of the World 04

The Homeric poems are a legacy from the first great period of Greek history. We may approximately fix the year 800 B.C. as their latest possible date. The subject-matter of the Epos, the Heroic legend, is the deposit of historical reminiscences of that earlier time. It was wholly fit that men should see in the epic heroes the founders of their own nation and of their own civilisation; but in point of fact it was through Homer that the Greek nation first acquired consciousness of itself, of its individuality and of the common blood in its veins. Not in the time of the heroes alone, but in that of the poets of the Epos, the Greeks had no national unity and less than no national feeling, and the same holds good of their civilisation. The tales which Homer tells are laid to a great extent in Argos, Thebes, and Sparta; all the heroes come from the country which we call Hellas and distinguish from Asia as their mother-country. Nearly all the Homeric gods have their homes there likewise. But now gods and heroes, like Agamemnon’s Achæan host, are taken across to the northwestern angle of Asia. Achilles has conquered Lesbos; the descendants of Agamemnon rule in Mytilene and Cyme. Cyme, Smyrna, and Chios are the reputed birth-places of Homer. Here, where later the Æolian dialect comes into collision with the mightier Ionian, was perfected the artificial dialect of the epic,—a dialect spoken in this form at no time and in no place,—and the heroic verse that was at no time and in no place a really popular form, and was first imported into Lesbos itself by the Ionian Epos. Here, side by side with the ruling class which claimed descent from the Homeric gods and heroes, was evolved a class of professional bards, and amongst them arose the gifted poets whose names have been forgotten in the fame of the one and only Homer. Let us hope that the real Homer was worthy of this pre-eminence. By these Homerides the Epos, first sung to the lute, and then recited, was carried farther and farther among the islands and along the coast. The subject-matter awakened interest everywhere; being, as it were, national history, the form won for itself an ever widening circle of appreciation. Gradually in the mother-country there were found native bards who learned from wandering rhapsodists the art of making poetry in the Homeric style, that is to say, of using a foreign language and a foreign art-form, but to express new matter, which was nevertheless invariably linked in some fashion with the world of Homeric heroes. Accordingly, the production of epic poems, ever based upon Homeric legend, was maintained in the mother-country for centuries after it had died out in Ionia, continuing into the sixth century. It is through these circles, in the main, that Homer has been preserved.

The cardinal point was that, in the Homeric Epos, the Greeks acquired an organ of speech capable of expressing all that men could say and hear. It was a well-defined and yet highly elastic style, not by any means exclusively adapted to narrative; on the contrary they never abandoned the practice of casting instruction of all kinds into this form, which was popularised and made generally intelligible by the school from the time there were schools at all. It was also used in incantations, in monumental inscriptions, and in the fleeting jest. The most abstract philosophy, the description of the starry heavens, the dogmatic side of astrology, nay even the Psalms and the Gospel of St. John, have been clothed in Homeric garb. In like manner it is characteristic of the genius of Greece that it begins its evolution by creating such a mode of expression, and for a thousand years does not grow weary of it. The instinct for form and the adherence to a form once discovered are likewise Greek; their combination begets at first an unparalleled achievement, but for centuries long it has to drudge in the service of imitative facility and orthodox formalism.