Matching that instant of relief and triumph is another, almost at the other end of the Iliad, when the winds become the indispensable companions of the heroes. Achilles has made the great funeral pyre on the beach for Patroclus. Timber has been cut and carried, and the pyre is now a hundred feet in each direction. Animals have been slaughtered and the fat laid on the pyre. But it will not light, and Achilles realises he has failed to do one thing: he must pray to the two winds, the west wind and the north wind. And they come, sweeping in from their distant dwelling places, driving the clouds before them. A vast, inhuman blaze erupts in the pyre, and under the winds’ fierce encouragement, one shrieking blast after another, it burns all night long, incinerating everything but the bones. Only then do the winds retire
Back towards home again, over the Thracian sea,
And it heaved with a long, groaning swell as they crossed it.
The wind never comes unsummoned, or in a solid block. All you feel at first is a finger or two, the faint chilling of the skin on the cheek, or stroking the nape of your neck. But then it builds a little, one finger becomes five, the canvas stirs, like a dog in a bed, begins to acquire a form, and the boat gains a sense of purpose, a coherence it had lacked as it slopped in the chop or swell. The wake slowly starts to bubble behind you, ‘the gleaming wake’ that runs behind Homeric ships as a sign of life and excellence, the cockpit drains gurgle with the air sucked through them, and with tiller and sheet in hand you sit up and pick your course across the sea. That is the Odyssean moment: everything liquid but directed, everything mobile but related: the sea itself, your boat in it, the air and its winds, all the possibilities. The ritual is done, the routines have been followed, and your chances are now set fair.
Of all Homeric departures, none is more poignant than when Odysseus and his men, right in the centre of the Odyssey, set off for Hades, to hear from the blind seer Tiresias the way home to Ithaca. Circe, ‘the trim-coifed goddess’, as Ezra Pound described her, has set them on their way. They have no choice. Only Tiresias can tell them the way home. They have made all their tackle secure and provided themselves with food and drink. The wind has joined the crew and is now there alongside the helmsman, guiding ‘the black ship in the bright sea’ as their companion. But neither Odysseus nor any of his men are making this voyage with any hint of delight. This is a journey down and under the world, into the dark places, into themselves as much as to the edge of the physical universe. As the wind holds fair for them, they sit on their benches and grieve. Big, heart-wrenching tears fall on the pale timbers of the deck. The wind is taking them towards a terrifying destination, the place of death which Odysseus has so far exercised all his wit and skill to avoid. The wind knows nothing of that and propels their ship onwards, its red-painted bows plunging and rising with each oncoming sea, the swells breaking and surging around the stempost, while above that foam of life the wind never falters or wavers:
The wind caught the sail, bellying it out, and the blue-shadowed waves resounded under the fore-foot of the running ship as she lay over on her course and raced out to sea.
Thus with stretched sail, we went over sea till day’s end.
Sun to his slumber, shadows over ocean.
ALL MODERN VERSIONS OF Homer are descendants of the edition made by a French nobleman, Jean-Baptiste Gaspard d’Ansse de Villoison. In 1788, in Paris, he published the most important Greek text of the Iliad ever printed. Ten years earlier he had arrived in Venice, sent there by the enlightened instincts of the French crown, to trawl through the holdings of the great St Mark’s library on the Piazzetta. Villoison was agog at what he found, and soon began writing ecstatic letters to his friends all over Europe. He had made the great discovery: a Byzantine edition of the Iliad which seemed to derive from the scholars who had worked on it in Alexandria in the second century BC, sifting the true text from the mass of alternative readings they had gathered in the great Ptolemaic library in the city. It was, Villoison wrote, the ‘germana et sincera lectio’, the real and uncorrupted reading.
Villoison thought he had discovered the essence of a work by a single poet called Homer. But he had sown the seeds of his own demise. The idea was already in the air in the eighteenth century that Homer was not one poet but many, and that the poems were the product of a whole culture, not an individual genius. Villoison’s discovery turned out to be the Copernican moment. The mass of alternative readings rejected by the Alexandrian scholars itself threw doubt on the idea of a single great original text. They had chosen to make a single Homer, but looking further back in time it seemed as if there were multiple Homers to choose from. William Cowper, the English lover and translator of Homer, read Villoison and stood aghast at the fragmentation of his hero. As he wrote to his friend the Rev. Walter Bagot in the winter of 1790:
I will send you some pretty stories from [Villoison] which will make your hair stand on end, as mine has stood on end already, they so horribly affect, in point of authenticity, the credit of the works of the immortal Homer …
Homer now was not one but many, and most of them obscure. In 1795 Villoison was challenged by the young, highly analytical German scholar Friedrich August Wolf. How could Villoison tell if the decisions made by the Alexandrian editors were the right ones? Surely what Villoison had published was evidence that the Iliad, as they all knew it, was a set of late, corrupt and unreliable texts, brought together in one poem but with their origins in bardic songs which had been radically altered by every hand they had passed through. The originals were unrecoverable. Homer, whoever that was, could never now be known.
The scene was set for the long struggle over the so-called ‘Homeric Question’ raised by Wolf which has lasted ever since. ‘Some say, “There never was such a person as Homer,”’ the English essayist Thomas de Quincey joked in 1841. ‘“No such person as Homer! On the contrary,” say others, “there were scores.”’ Nevertheless, the text of the Iliad over which the battles were fought between the lumpers and splitters, the one-Homer advocates and the scores-of-Homer advocates, the Homerophiles and Homerophobes, continued to be almost precisely the one published by Villoison in 1788.
He was not the first in the field. The first printed Greek Homer had appeared in 1488, in Florence, published by an Athenian, Demetrius Chalcondyles, who had come to Italy to teach Greek to the humanists of the Italian Renaissance. Soon other copies were being printed in Milan, Heidelberg, Leipzig, Paris and London. And behind those first printed books stands a long manuscript history. Many of the medieval manuscripts of Homer migrated late to the European libraries, because in the early Middle Ages Homer was unread in Europe. Dante had Virgil call him the ‘sovereign poet’, but Europeans had lost the ability to read Greek, and even though the great fourteenth-century humanist Petrarch owned a copy of the Iliad – he was the man who used to kiss it in reverence – he could not understand a word it said. However, he wrote, ‘was dumb to me and I am deaf to it’.
Nevertheless, Homer continued to lurk in the European mind: pervasively there but rarely seen. Medieval Odysseys are scattered through scholarly Europe, in Cambridge and London, Milan and Munich, Naples and Moscow, in Paris, Venice, Stuttgart and Vienna. There are Iliads in the Bodleian in Oxford (from the twelfth century), the Bibliothèque Nationale in Paris (a copy which probably came from Mount Athos), in the Escorial and in Florence. Through