The wonder is that Achilles is not spoilt for us. Somehow he remains grand to the end, and one is grieved, not alienated, by the atrocities his grief leads him to. The last touch of this particular spirit is where Achilles receives Priam in his tent. Each respects the other, each conquers his anguish in studied courtesy; but the name of Hector can scarcely be spoken, and the attendants keep the dead face hidden, lest at the sight of it Priam's rage should burst its control, "and Achilles slay him and sin against God" (Ω, 585). It is the true pathos of war: the thing seen on both sides; the unfathomable suffering for which no one in particular is to blame. Homer, because he is an 'early poet,' is sometimes supposed to be unsubtle, and even superficial. But is it not a marvel of sympathetic imagination which makes us feel with the flying Hector, the cruel Achilles, the adulterous Helen, without for an instant losing hold of the ideals of courage, mercifulness, and chastity?
This power of entering vividly into the feelings of both parties in a conflict is perhaps the most characSeristic gift of the Greek genius; it is the spirit in which Homer, Æschylus, Herodotus, Euripides, Thucydides, find their kinship, and which enabled Athens to create the drama.
1 Esp. θ,74; μ, 70; α, 351.
2 Crusius, Philol. liv.
3 Athenæus, 347 e.
4 The others are the Achilles-trilogy (Myrmidons,*Nereides,*Phryges*), Penelope,*Soul-weighing.*
5 Phil. Unters. vii. p. 240.
6 One is tempted to add to this early evidence what Herodotus says (vii. 6) of the banishment of Onomacritus by Hipparchus; but he was banished for trafficking in false oracles, an offence of an entirely different sort from interpolating works of literature.
7 Hdt. v. 67.
8 Counting Alcibiades II. as spurious.
9 Grote, Plato, chap. vi.
10 Kirchoff, Alphabet, Ed. iv. p. 92.
11 See Cauer's answer to Wilamowitz, Grundfragen der Homerkritik, p. 69ff.
12 θ, 73 ff., 500 ff.; α, 326.
13 Cauer, Grundfragen, p. 203.
14 Thornton Romances, Camden Soc., 1844, esp. p. 289.
15 Duncker, Greece, chap. xiii.
16 The Laestrygones, especially κ, 82-86.
17 Psyche, pp. 35 f.
18 Quellen der Odyssee, 1887.
19 Ά, 24; X, 395; and Ά, 76; γ, 467.
About Homeric Hymns
It was a custom in epic poetry for the minstrel to 'begin from a god,' generally from Zeus or the Muses.4 This gave rise to the cultivation of the 'Pro-oimion' or Prelude as a separate form of art, specimens of which survive in the so-called Homeric 'Hymns,' the word ὓμνος having in early Greek no religious connotation. The shortest of these preludes merely call on the god by his titles, refer briefly to some of his achievements, and finish by a line like, "Hail to thee, Lord; and now begin my lay," or, "Beginning from thee, I will pass to another song."5 The five longer hymns are, like Pindar's victory songs, illustrations of the degree to which a form of art can grow beyond itself before it is felt to be artistically impossible. The prelude was developed as a thing apart until it ceased to be a prelude.
The collection which we possess contains poems of diverse dates and localities, and the tradition of the text is singularly confused. The first 546 lines, for instance, are given as one hymn 'to Apollo.' But they comprise certainly two hymns: the first (1-178) by an Ionic poet, on the birth of the Ionian God in the floating island of Delos; the second by a poet of Central Greece, on the slaying of the great Earth-serpent, and the establishment of the Dorian God at Delphi. Further, these two divisions are not single poems, but fall into separate incomplete parts. Athenæus actually calls the whole 'the hymns to Apollo.' The Ionic portion of this hymn is probably the earliest work in the extant collection. It is quoted as Homer's by Thucydides (iii. 104), and Aristophanes (Birds, 575), and attributed by Didymus the grammarian to the rhapsode Kynæthus of Chios; which puts it, in point of antiquity, on a level with the rejected epics. The hymn to Hermes partly dates itself by giving seven strings to the original lyre as invented by that god. It must have been written when the old four-stringed lyre had passed, not only out of use, but out of memory. The beautiful fragment (vii.) on the capture of Dionysus by brigands looks like Attic work of the fifth or fourth century B.C. The Prelude to Pan (xix.) may be Alexandrian; that to Ares (viii.) suggests the fourth century A.D.
In spite of their bad preservation, our Hymns are delightful reading. That to Aphrodite, relating nothing but the visit of Aphrodite to Anchises shepherding his kine on Mount Ida, expresses perhaps more exquisitely than anything else in Greek literature that frank joy in physical life and beauty which is often supposed to be characteristic of Greece. The long hymn to Demeter, extant in only one MS., which was discovered last century at Moscow 'among pigs and chickens,' is perhaps the most beautiful of all. It is interesting as an early Attic or Eleusinian composition. Parts are perhaps rather fluent and weak, but most of the poem is worthy of the magnificent myth on which it is founded. Take one piece at the opening, where Persephone "was playing with Okeanos' deep-breasted daughters, and plucking flowers, roses and crocus and pretty pansies, in a soft meadow, and flags and hyacinth, and that great narcissus that Earth sent up for a snare to the rose-face maiden, doing service by God's will to Him of the Many Guests. The bloom of it was wondeiful, a marvel for gods undying and mortal men; from the root of it there grew out a hundred heads, and the incensed smell of it made all the wide sky laugh above, and all the earth laugh and the salt swell of the sea. And the girl in wonder reached out both her hands to take