Agnes M. Clerke

“ Of this unequal and unhappy marriage, the far-famed Achilles was the ill-starred offspring.
So intense is the Homeric realisation of the hero’s superhuman powers, that they scarcely excite surprise. And his belongings are on the scale of his qualities. None but himself could wield his spear; his armour was forged in Olympus; his shield was a panorama of human life; his horses would obey only his guidance, or that of his delegates. Not for common handling, indeed, were the ‘wind-swift’ coursers born of Zephyr and the Harpy on the verge of the dim Ocean-stream. ”

“ The hero, returning after a generation of absence, in a disguise impenetrable to son, servants, nay to the wife of his bosom, is recognised by one solitary living creature, a dog. And to this faithful animal, unforgetting in his forlorn decrepitude, whose affectionate gestures form his only welcome to the home now occupied by unscrupulous foes, ready to take his life at the first hint of his identity, he is obliged to refuse a stroke of his hand, or so much as a glance of his eye, to soothe the fatal spasm of his joy. ”

“ He accordingly made his Hades to bloom for all time with the tall white flowers of the king’s spear, and so perpetuated a connexion he was not concerned to explain.
Homer cannot be said to have attained to any real conception of the immortality of the soul. The shade which flitted to subterranean spaces when the breath left the body, resembled an animal principle of life rather than a true spiritual essence. Disinherited, exiled from its proper abode, without function, sense, or memory, it survived, a vaporous image, a mere castaway residuum of what once had been a man. ”

“ The depreciatory tone of the query, ‘What’s in a name?’ should not lead us to undervalue that indispensable requisite to sustained and specialised existence. A name is, indeed, a power in itself. It serves, at the least, as a peg to hang a personality upon, and not the most ‘powerful rhyme’ can sustain a reputation apart from its humble aid. But the bard of Odysseus has long ceased to possess one. His only appellation must remain for all time that of his hero in the Cyclops’ cave. The jealous Muses have blotted him out from memory. ”

“ The Iliad and Odyssey are still auroral. They have the charm of an ‘unpremeditated lay,’ springing from 2the very source of our own life; they appeal alike to rude sensibilities and to cultivated tastes; their splendour and pathos, their powerful vitality, the strength and swiftness of their numbers, require to be accentuated by no critical notes of admiration; they strike of themselves the least tutored native perception. These vigorous growths out of the deep soil of humanity have not yet been transported from the open air of indiscriminate enjoyment into the greenhouse of æstheticism ”

“ They take root before consciousness is awake, or memory active; they live through the decades of a man’s life; are transported with him from shore to shore; survive the enthusiasm of friendship and the illusions of ambition; they can no more be eradicated from the tenor of his thoughts than the type of his features can be changed from Tartar to Caucasian, or the colour of his eyes from black to blue. ”

“ Him the old man Priam first beheld, as he sped across the plain, blazing as the star that cometh forth at harvest-time, and 50plain seen his rays shine forth amid the host of stars in the darkness of night, the star whose name men call Orion’s Dog. Brightest of all is he, yet for an evil sign is he set, and bringeth much fever upon hapless men. Even so on Achilles’ breast the bronze gleamed as he ran. ”

“ The ‘chafed boar’ in the Iliad either carries everything before him, as Ajax scattered the Trojans fighting round the body of Patroclus; or he dies, tracked to his lair, if die he must, fearlessly facing his foes, incarnating rage with bristles erected, blazing eyes, and gnashing tusks. ”

“ Elsewhere, from beginning to end, we meet the same spontaneous fervour of expression, the same magnificent energy kept in hand like a spirited steed; an unfailing sense of the splendour of heroic achievement, and a glowing joy in human existence, tempered by the heart-thrilling remembrance of its pathetic mystery of sorrow. This prevalent uniformity in manner and spirit is certainly unfavourable to the hypothesis of divided authorship. ”

“ The Shakespearian use of ‘golden’ to convey delightfulness of almost any kind, as in the expressions ‘golden cadence of poesy,’ ‘a golden mind,’ ‘golden joys,’ ‘golden sleep,’ and so on, is paralleled only by the Homeric ‘golden Aphrodite.’ Lead does not exemplify, with the Greek poet, heaviness and sloth, nor silver the gentle ripple of sweet sounds. But death, as ‘a sleep of bronze,’ comes before us in all its unrelenting sternness; Stentor has a ‘voice of bronze;’ a ‘memory of bronze’ was needed for exceptional feats of recitation ”

“ King Rhesus, Eionëus’ son, commands them, who hath steeds,
More white than snow, huge, and well shaped; their fiery pace exceeds
The winds in swiftness; these I saw, his chariot is with gold
And pallid silver richly framed, and wondrous to behold;
His great and golden armour is not fit a man should wear,
But for immortal shoulders framed. [100]
100. Iliad, x. 435-41 (Chapman’s trans.) .
Now Odysseus and Diomed both loved plunder; each in his own way was of a reckless and dare-devil disposition; and one at any rate was a passionate admirer of equine beauty. ”

“ Canine society is, indeed, placed by the author of the Odyssey on a higher level than it occupies, perhaps, in any other work of the imagination. When Telemachus, starting into sudden manhood under the tutelage of Athene, goes forth to lay his wrongs before the first Assembly convened in Ithaca since his father’s ‘hollow ships’ sailed for Troy, we are told that he carried in his hand a brazen spear, and that the goddess poured out upon him a divine radiance of beauty such that the people marvelled as they gazed on him. ”

“ But just the needed compensatory touches are supplied by his noble bearing in the Patroclean celebration, and far more, by his chivalrous compassion for the hapless old king of Troy. They could not have been omitted by a poet of supreme genius—could not, since the imagination has its logical necessities, among which may be reckoned that of equilibration. There is accordingly no possibility of founding a truly great poem, wholly, or mainly, on the crude brutalities of actual warfare. Humanity revolts from them in the long run; and humanity prescribes its laws to art. ”

“ THE DOG IN HOMER. Two sets of strongly contrasted, nay, one might beforehand have thought mutually exclusive qualities, go to make up the canine character. In all ages, and amongst all nations, the dog has become a byword for its uncleanly habits, disgusting voracity, its quarrelsome and aggressive selfishness. The cynic, or ‘dog-like’ philosopher, is a type of what is unamiable in human nature. ”

“ He is always collected and at leisure; he has even esprit, which implies a low mental temperature; he can stand by with a smile, and look on, while his characters unfold themselves; his passion never blazes; it is smouldering and sustained, like that of his protagonist.
Numerous small discrepancies, besides, seem to betray a personal diversity of origin. So Iris, the frequent, indeed the all but invariable messenger of the gods in the Iliad, drops into oblivion in the Odyssey, and is replaced by Hermes; Charis is the wife of Hephæstus in the Iliad, Aphrodite in the Odyssey ”

“ Moreover, the legendary materials of the Epics were not dug straight out of the mine of popular fancy and tradition. They had doubtless been elaborated and manipulated, before Homer took them in hand, by generations of singers and reciters. The ‘tale of Troy divine’ was already a full-leaved tree when he plucked from it and planted the branches destined to flourish through the ages. His verses display or betray acquaintance with many ‘other stories’ of public notoriety besides those completely unfolded in them. ”

“ Even in the island of Calypso, where delights are imaginable at will, the poplars and cypresses house only such harsh-voiced birds as owls, hawks, and cormorants—perhaps in order to leave the uncontested palm for sweet singing to the nymph herself. The power of song does not, indeed, appear to be, in Homer’s view, ‘an excellent thing in woman.’ It is not included among the gifts of Athene, or even among the graces of Aphrodite. ”

“ To the bigoted believers in an indivisible Homer the fact is, no doubt, of most perplexing import, and we leave them to account for it as best they may; but to impartial inquirers it affords at once a clue and an illumination. For the Epic of Troy is not more sharply characterised by canine antipathy than the Song of Ulysses by canine sympathy; while, to enhance the contrast, dislike to the dog is most remarkably associated with a vivid and untiring enthusiasm for the horse; and deep feeling for the dog with comparative indifference to the equine race. ”

“ The verses glow with a kind of rapture of enjoyment that describe his strength, beauty, and swiftness, his eager spirit and fine nervous organisation, his docility to trusted guidance, his intelligent participation in human contentions and pursuits. No animal has elsewhere achieved true epic personality; [135] no animal has been raised to so high a dignity in art. The whole Iliad might be called an ‘Aristeia’ or eulogistic celebration of the species. ”

“ Deep down in Tartarus, those who had sinned against the gods—Sisyphus, Ixion, Tantalus—were condemned to tremendous, because unending, punishment; while the haunting sense of 214loss, which seems to have survived every other form of consciousness, giving no rest, nor so much as exemption from fear, pursued good and bad alike. Nowhere does the utter need of mankind for the hope brought by Christianity appear with such startling clearness as in the verses of Homer, from the contrast of the vivid pictures of life they present with the appalling background of despair upon which they are painted. ”

“ In its entirety, the Shield of Achilles was beyond doubt an ideal creation. The poet described something imaginatively apprehended as the chef-d’œuvre of a superhuman artist, but claiming no existence out of the shining realm of fancy. Only the elements of the creation were taken from reality. The idea dominating its construction, of moulding a work of art into a comprehensive world-picture, is eminently Oriental. ”

“ For his keen curiosity falls in with the design of his celestial patroness, in urging him to drink to the dregs the costly draught of the knowledge of good and evil. Yet it is to be noted that from the house of the enchantress there is no exit save through the gates of hell.
Within the spacious confines of the universe there is perhaps but one race of beings whose implanted instincts and whose visible destiny are irreconcilably at war. Man is born to suffer; but suffering has always for him the poignancy of surprise. ”

“ The Homeric divinities are absolutely anthropomorphic. They are men and women, exempt from the limitations, unscathed by the ills of humanity, and radiant with the infinite sunshine of immortal happiness. ”

“ Not only were mere mortals excluded from a share in it, neither Hecuba nor Helen owning a crocus-bordered peplos, but none such set off the formidable charms of the goddess-hostesses of Odysseus, in the fairy isles where he lingered, home-sick amid strange luxury. Saffron robes are, in fact, assigned by the poet of the Iliad, exclusively to Eos, the Dawn, while in the Odyssey, the crocus is never referred to, directly or indirectly. ”

“ No moon-goddess is recognised in the Iliad or Odyssey. Nor does the orbed ruler of ‘ambrosial night,’ regarded as a mere light-giver or time-measurer, receive all the attention that might have been expected. A full moon is, however, represented with the other ‘heavenly signs’ on the shield of Achilles, and figures somewhat superfluously in the magnificent passage where the Trojan watch-fires are compared to the stars in a cloudless sky ”

“ The fate of Agamemnon, the 4death of Achilles, the madness of Ajax, the advent of Neoptolemus, the slaying of Memnon, son of the Morning, the ambush in the Wooden Horse, the mysterious wanderings of Helen, the last journey of Odysseus, furnished themes of surpassing interest, all or most of which had been made into songs for the pastime of lordly feasters and the solace of noble dames, before the wrath of Achilles suggested a more adventurous flight. ”

“ Thus, a species of art practised, we are given to understand, exclusively by foreigners, helps to conjure up more vividly the effect of the rush of crimson blood over the white skin of the fair-haired Menelaus: ‘As when some woman of Maionia or Karia staineth ivory with purple to make a cheek-piece for horses, and it is laid up in the treasure-chamber, though many a horseman prayeth to wear it; but it is laid up to be a king’s boast, alike an adornment for his horse, and a glory for his charioteer.’ [422] And the simile was adopted by Virgil to expound a blush.
422. Iliad, iv. ”

“ Skilled in drugs as she was, a more potent herb than any known to her had been procured by the messenger of the gods. ‘Therewith,’ the hero continued in his narrative to the Phæacian king, ‘the slayer of Argos gave me the plant that he had plucked from the ground, and he showed me the nature thereof. It was black at the root, but the flower was like to milk. The gods call it moly, but it is hard for mortal men to dig; howbeit, with the gods all things are possible.’ It is thus evident that the Homeric moly is compounded of two elements—a botanical, so to speak, and a mythological. ”

“ The absence of any such savage threat as Antilochus hurled at his slow-paced steeds in the chariot-race marks his innate gentleness of soul. He urged only the nobler motives for exertion appropriate to conscious intelligence. Trust in equine sympathy is, indeed, widespread in legend and romance. Even the cruel Mezentius, wounded and doomed, made a final appeal to the pride and valour of his faithful Rhœbus ”

“ Greek enough to read the Iliad and Odyssey in the original can be learned with comparative ease; and what trouble there may be in its acquisition meets an ample reward in mental profit and enjoyment of a high order. These ancient epics have a unique freshness about them; they are still open founts of animating pleasure for all who choose to apply to them; one cannot, then, but regret that so few have intellectual energy to do so. ”