Note 318 — Chapter XXI · GRECIAN EPIC.—HOMERIC POEMS. (continued 2)

The κινούμενα ὀνόματα of Homer were extolled by Aristotle; see Schol. ad Iliad. i. 481; compare Dionys. Halicarn. De Compos. Verbor. c. 20. ὥστε μηδὲν ἡμῖν διαφέρειν γινόμενα τὰ πράγματα ἢ λεγόμενα ὁρᾶν. Respecting the undisguised bursts of feeling by the heroes, the Scholiast ad Iliad, i. 349 tells us,—ἕτοιμον τὸ ἡπωϊκον πρὸς δάκρυα,—compare Euripid. Helen. 959, and the severe censures of Plato, Republ. ii. p. 388.

The Homeric poems were the best understood, and the most widely popular of all Grecian composition, even among the least instructed persons, such (for example) as the semibarbarians who had acquired the Greek language in addition to their own mother tongue. (Dio Chrysost. Or. xviii. vol. i. p. 478; Or. liii. vol. ii. p. 277, Reisk.) Respecting the simplicity and perspicuity of the narrative style, implied in this extensive popularity, Porphyry made a singular remark: he said, that the sentences of Homer really presented much difficulty and obscurity, but that ordinary readers fancied they understood him, “because of the general clearness which appeared to run through the poems.” (See the Prolegomena of Villoison’s edition of the Iliad, p. xli.) This remark affords the key to a good deal of the Homeric criticism. There doubtless were real obscurities in the poems, arising from altered associations, customs, religion, language, etc., as well as from corrupt text; but while the critics did good service in elucidating these difficulties, they also introduced artificially many others, altogether of their own creating. Refusing to be satisfied with the plain and obvious meaning, they sought in Homer hidden purposes, elaborate innuendo, recondite motives even with regard to petty details, deep-laid rhetorical artifices (see a specimen in Dionys. Hal. Ars Rhetor. c. 15, p. 316, Reiske; nor is even Aristotle exempt from similar tendencies, Schol. ad Iliad. iii. 441, x. 198), or a substratum of philosophy allegorized. No wonder that passages, quite perspicuous to the vulgar reader, seemed difficult to them.

There could not be so sure a way of missing the real Homer as by searching for him in these devious recesses. He is essentially the poet of the broad highway and the market-place, touching the common sympathies and satisfying the mental appetencies of his countrymen with unrivalled effect; but exempt from ulterior views, either selfish or didactic, and immersed in the same medium of practical life and experience, religiously construed, as his auditors. No nation has ever yet had so perfect and touching an exposition of its early social mind as the Iliad and Odyssey exhibit.

In the verbal criticism of Homer, the Alexandrine literati seem to have made a very great advance, as compared with the glossographers who preceded them. (See Lehrs, De Studiis Aristarchi, Dissert. ii. p. 42.)