Athens: Its Rise and Fall, Complete

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[ Heyne, F. Clinton, etc.

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[ Pope’s translation, b. iv., line 75, etc.

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[ At least this passage is sufficient to refute the arguments of Mr. Mitford, and men more learned than that historian, who, in taking for their premises as an indisputable fact the extraordinary assumption, that Homer never once has alluded to the return of the Heraclidae, arrive at a conclusion very illogical, even if the premises were true, viz., that therefore Homer preceded the date of that great revolution.

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[ I own that this seems to me the most probable way of accounting for the singular and otherwise disproportioned importance attached by the ancient poets to that episode in the Trojan war, which relates to the feud of Achilles and Agamemnon. As the first recorded enmity between the great Achaeans and the warriors of Phthiotis, it would have a solemn and historical interest both to the conquering Dorians and the defeated Achaeans, flattering to the national vanity of either people.

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[ I adopt the analysis of the anti-Homer arguments so clearly given by Mr. Coleridge in his eloquent Introduction to the Study of the Greek Poets. Homer, p. 39.

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[ en spanei biblon, are the words of Herodotus. Leaves and the bark of trees were also used from a very remote period previous to the common use of the papyrus, and when we are told that leaves would not suffice for works of any length or duration, it must not be forgotten that in a much later age it was upon leaves (and mutton bones) that the Koran was transcribed. The rudest materials are sufficient for the preservation of what men deem it their interest to preserve!

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[ See Clinton’s F. H., vol. i., p. 145.

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[ Critics, indeed, discover some pretended gaps and interpolations; but these, if conceded, are no proof against the unity of Homer; the wonder is, that there should be so few of such interpolations, considering the barbarous age which intervened between their composition and the time in which they were first carefully edited and collected. With more force it is urged against the argument in favour of the unity of Homer, derived from the unity of the style and character, that there are passages which modern critics agree to be additions to the original poems, made centuries afterward, and yet unsuspected by the ancients; and that in these additions—such as the last books of the Iliad, with many others less important—the Homeric unity of style and character is still sustained. We may answer, however, that, in the first place, we have a right to be skeptical as to these discoveries—many of them rest on very insufficient critical grounds; in the second place, if we grant them, it is one thing whether a forged addition be introduced into a poem, and another thing whether the poem be all additions; in the third place, we may observe, that successful imitations of the style and characters of an author, however great, may be made many centuries afterward with tolerable ease, and by a very inferior genius, although, at the time he wrote or sung, it is not easy to suppose that half a dozen or more poets shared his spirit or style. It is a very common scholastic trick to imitate, nowadays, and with considerable felicity, the style of the greatest writers, ancient and modern. But the unity of Homer does not depend on the question whether imitative forgeries were introduced into a great poem, but whether a multitude of great poets combined in one school on one subject. An ingenious student of Shakspeare, or the elder dramatists, might impose upon the public credulity a new scene, or even a new play, as belonging to Shakspeare, but would that be any proof that a company of Shakspeares combined in the production of Macbeth? I own, by-the-way, that I am a little doubtful as to our acumen in ascertaining what is Homeric and what is not, seeing that Schlegel, after devoting half a life to Shakspeare (whose works are composed in a living language, the authenticity of each of which works a living nation can attest), nevertheless attributes to that poet a catalogue of plays of which Shakspeare is perfectly innocent!—but, to be sure, Steevens does the same!

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[ That Pisistratus or his son, assisted by the poets of his day, did more than collect, arrange, and amend poems already in high repute, we have not only no authority to suppose, but much evidence to contradict. Of the true services of Pisistratus to Homer, more hereafter.

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[ “The descent of Theseus with Pirithous into hell,” etc.—Paus., ix., c. 31.

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[ Especially if with the Boeotians we are to consider the most poetical passage (the introductory lines to the muses) a spurious interpolation.

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[ A herdsman.

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[ I cannot omit a tradition recorded by Pausanias. A leaden table near the fountain was shown by the Boeotians as that on which the “Works and Days” was written. The poems of Hesiod certainly do not appear so adapted to recital as perusal. Yet, by the most plausible chronology, they were only composed about one hundred years after those of Homer!

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[ The Aones, Hyantes, and other tribes, which I consider part of the great Pelasgic family, were expelled from Boeotia by Thracian hordes. [Footnote They afterward returned in the time of the Dorian emigration.: Some of the population must, however, have remained—the peasantry of the land; and in Hesiod we probably possess the national poetry, and arrive at the national religion, of the old Pelasgi.

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[ Welcker.

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[ The deadly signs which are traced by Praetus on the tablets of which Bellerophon was the bearer, and which are referred to in the Iliad, are generally supposed by the learned to have been pictorial, and, as it were, hieroglyphical figures; my own belief, and the easiest interpretation of the passage, is, that they were alphabetical characters—in a word, writing, not painting.

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[ Pausanias, lib. i., c. 27, speaks of a wooden statue in the Temple of Pohas, in Athens, said to have been the gift of Cecrops; and, with far more claim to belief, in the previous chapter he tells us that the most holy of all the images was a statue of Minerva, which, by the common consent of all the towns before incorporated in one city, was dedicated in the citadel, or polis. Tradition, therefore, carried the date of this statue beyond the time of Theseus. Plutarch also informs us that Theseus himself, when he ordained divine honours to be paid to Ariadne, ordered two little statues to be made of her—one of silver and one of brass.

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[ All that Homer calls the work of Vulcan, such as the dogs in the palace of Alcinous, etc., we may suppose to be the work of foreigners. A poet could scarcely attribute to the gods a work that his audience knew an artificer in their own city had made!

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[ See Odyssey, book vii.

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[ The effect of the arts, habits, and manners of a foreign country is immeasurably more important upon us if we visit that country, than if we merely receive visits from its natives. For example, the number of French emigrants who crowded our shores at the time of the French revolution very slightly influenced English customs, etc. But the effect of the French upon us when, after the peace, our own countrymen flocked to France, was immense.

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[ Herod., lib. ii., c. 178.

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[ Grecian architecture seems to have been more free from obligation to any technical secrets of Egyptian art than Grecian statuary or painting. For, in the first place, it is more than doubtful whether the Doric order was not invented in European Greece long prior to the reign of Psammetichus [Footnote The earliest known temple at Corinth is supposed by Col. Leake to bear date B. C. 800, about one hundred and thirty years before the reign of Psammetichus in Egypt.:; and, in the second place, it is evident that the first hints and rudiments both of the Doric and the Ionic order were borrowed, not from buildings of the massive and perennial materials of Egyptian architecture, but from wooden edifices; growing into perfection as stone and marble were introduced, and the greater difficulty and expense of the workmanship insensibly imposed severer thought and more elaborate rules upon the architect. But I cannot agree with Mueller and others, that because the first hints of the Doric order were taken from wooden buildings, therefore the first invention was necessarily with the Dorians, since many of the Asiatic cities were built chiefly of wood. It seems to me most probable that Asia gave the first notions of these beautiful forms, and that the Greeks carried them to perfection before the Asiatics, not only from their keen perception of the graceful, but because they earlier made a general use of stone. We learn from Herodotus that the gorgeous Sardis was built chiefly of wood, at a time when the marble of Paros was a common material of the Grecian temples.

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[ Thales was one of the seven wise men, B. C. 586, when Pherecydes of Syrus, the first prose writer, was about fourteen years old. Mr. Clinton fixes the acme of Pherecydes about B. C. 572. Cadmus of Miletus flourished B. C. 530.

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[ To this solution of the question, why literature should generally commence with attempts at philosophy, may be added another: —When written first breaks upon oral communication, the reading public must necessarily be extremely confined. In many early nations, that reading public would be composed of the caste of priests; in this case philosophy would be cramped by superstition. In Greece, there being no caste of priests, philosophy embraced those studious minds addicted to a species of inquiry which rejected the poetical form, as well as the poetical spirit. It may be observed, that the more limited the reading public, the more abstruse are generally prose compositions; as readers increase, literature goes back to the fashion of oral communication; for if the reciter addressed the multitude in the earlier age, so the writer addresses a multitude in the later; literature, therefore, commences with poetical fiction, and usually terminates with prose fiction. It was so in the ancient world—it will be so with England and France. The harvest of novels is, I fear, a sign of the approaching exhaustion of the soil.

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[ See chapter i.