by Homer
A blending of popular legends, and a free use of the songs of other bards, are features perfectly consistent with poetical originality. In fact, the most original writer is still drawing upon outward impressions — nay, even his own thoughts are a kind of secondary agents which support and feed the impulses of imagination. But unless there be some grand pervading principle — some invisible, yet most distinctly stamped archetypus of the great whole, a poem like the Iliad can never come to the birth. Traditions the most picturesque, episodes the most pathetic, local associations teeming with the thoughts of gods and great men, may crowd in one mighty vision, or reveal themselves in more substantial forms to the mind of the poet; but, except the power to create a grand whole, to which these shall be but as details and embellishments, be present, we shall have nought but a scrap-book, a parterre filled with flowers and weeds strangling each other in their wild redundancy; we shall have a cento of rags and tatters, which will require little acuteness to detect.
Sensible as I am of the difficulty of disproving a negative, and aware as I must be of the weighty grounds there are for opposing my belief, it still seems to me that the Homeric question is one that is reserved for a higher criticism than it has often obtained. We are not by nature intended to know all things; still less, to compass the powers by which the greatest blessings of life have been placed at our disposal. Were faith no virtue, then we might indeed wonder why God willed our ignorance on any matter. But we are too well taught the contrary lesson; and it seems as though our faith should be especially tried, touching the men and the events which have wrought most influence upon the condition of humanity. And there is a kind of sacredness attached to the memory of the great and the good, which seems to bid us repulse the scepticism which would allegorize their existence into a pleasing apologue, and measure the giants of intellect by an homaeopathic dynameter.
Long and habitual reading of Homer appears to familiarize our thoughts even to his incongruities; or rather, if we read in a right spirit and with a heartfelt appreciation, we are too much dazzled, too deeply wrapped in admiration of the whole, to dwell upon the minute spots which mere analysis can discover. In reading an heroic poem, we must transform ourselves into heroes of the time being, we in imagination must fight over the same battles, woo the same loves, burn with the same sense of injury, as an Achilles or a Hector. And if we can but attain this degree of enthusiasm (and less enthusiasm will scarcely suffice for the reading of Homer), we shall feel that the poems of Homer are not only the work of one writer, but of the greatest writer that ever touched the hearts of men by the power of song.
And it was this supposed unity of authorship which gave these poems their powerful influence over the minds of the men of old. Heeren, who is evidently little disposed in favour of modern theories, finely observes: —
"It was Homer who formed the character of the Greek nation. No poet has ever, as a poet, exercised a similar influence over his countrymen. Prophets, lawgivers, and sages have formed the character of other nations; it was reserved to a poet to form that of the Greeks. This is a feature in their character which was not wholly erased even in the period of their degeneracy. When lawgivers and sages appeared in Greece, the work of the poet had already been accomplished; and they paid homage to his superior genius. He held up before his nation the mirror in which they were to behold the world of gods and heroes, no less than of feeble mortals, and to behold them reflected with purity and truth. His poems are founded on the first feeling of human nature; on the love of children, wife, and country; on that passion which outweighs all others, the love of glory. His songs were poured forth from a breast which sympathized with all the feelings of man; and therefore they enter, and will continue to enter, every breast which cherishes the same sympathies. If it is granted to his immortal spirit, from another heaven than any of which he dreamed on earth, to look down on his race, to see the nations from the fields of Asia, to the forests of Hercynia, performing pilgrimages to the fountain which his magic wand caused to flow; if it is permitted to him to view the vast assemblage of grand, of elevated, of glorious productions, which had been called into being by means of his songs; wherever his immortal spirit may reside, this alone would suffice to complete his happiness."
Can we contemplate that ancient monument, on which the "Apotheosis of Homer" is depictured, and not feel how much of pleasing association, how much that appeals most forcibly and most distinctly to our minds, is lost by the admittance of any theory but our old tradition? The more we read, and the more we think — think as becomes the readers of Homer, — the more rooted becomes the conviction that the Father of Poetry gave us this rich inheritance, whole and entire. Whatever were the means of its preservation, let us rather be thankful for the treasury of taste and eloquence thus laid open to our use, than seek to make it a mere centre around which to drive a series of theories, whose wildness is only equalled by their inconsistency with each other.
As the hymns, and some other poems usually ascribed to Homer, are not included in Pope's translation, I will content myself with a brief account of the Battle of the Frogs and Mice, from the pen of a writer who has done it full justice: —
"This poem," says Coleridge, "is a short mock-heroic of ancient date. The text varies in different editions, and is obviously disturbed and corrupt to a great degree; it is commonly said to have been a juvenile essay of Homer's genius; others have attributed it to the same Pigrees mentioned above, and whose reputation for humour seems to have invited the appropriation of any piece of ancient wit, the author of which was uncertain; so little did the Greeks, before the age of the Ptolemies, know or care about that department of criticism employed in determining the genuineness of ancient writings. As to this little poem being a youthful prolusion of Homer, it seems sufficient to say that from the beginning to the end, it is a plain and palpable parody, not only of the general spirit, but of numerous passages of the Iliad itself; and, even if no such intention to parody were discernible in it, the objection would still remain, that to suppose a work of mere burlesque to be the primary effort of poetry in a simple age, seems to reverse that order in the development of national taste, which the history of every other people in Europe, and of many in Asia, has almost ascertained to be a law of the human mind; it is in a state of society much more refined and permanent than that described in the Iliad, that any popularity would attend such a ridicule of war and the gods as is contained in this poem; and the fact of there having existed three other poems of the same kind attributed, for aught we can see, with as much reason to Homer, is a strong inducement to believe that none of them were of the Homeric age. Knight infers from the usage of the word /deltoz/, 'writing tablet,' instead of /diphthera/, 'skin,' which, according to Herod 5, 58, was the material employed by the Asiatic Greeks for that purpose, that this poem was another offspring of Attic ingenuity; and generally that the familiar mention of the cock (v. 191) is a strong argument against so ancient a date for its composition."
Having thus given a brief account of the poems comprised in Pope's design, I will now proceed to make a few remarks on his translation, and on my own purpose in the present edition.
Pope was not a Grecian. His whole education had been irregular, and his earliest acquaintance with the poet was through the version of Ogilby. It is not too much to say that his whole work bears the impress of a disposition to be satisfied with the general sense, rather than to dive deeply into the minute and delicate features of language. Hence his whole work is to be looked upon rather as an elegant paraphrase than a translation. There are, to be sure, certain conventional anecdotes, which prove that Pope consulted various friends, whose classical attainments were sounder than his own, during the undertaking; but it is probable that these examinations were the result rather of the contradictory versions already existing, than of a desire to make a perfect transcript of the original. And in those days, what is called literal translation was less cultivated than at present. If something like the general sense could be
decorated with the easy gracefulness of a practised poet; if the charms of metrical cadence and a pleasing fluency could be made consistent with a fair interpretation of the poet's meaning, his words were less jealously sought for, and those who could read so good a poem as Pope's Iliad had fair reason to be satisfied.
It would be absurd, therefore, to test Pope's translation by our own advancing knowledge of the original text. We must be content to look at it as a most delightful work in itself, — a work which is as much a part of English literature as Homer himself is of Greek. We must not be torn from our kindly associations with the old Iliad, that once was our most cherished companion, or our most looked-for prize, merely because Buttmann, Loewe, and Liddell have made us so much more accurate as to /amphikipellon/ being an adjective, and not a substantive. Far be it from us to defend the faults of Pope, especially when we think of Chapman's fine, bold, rough old English; — far be it from us to hold up his translation as what a translation of Homer might be. But we can still dismiss Pope's Iliad to the hands of our readers, with the consciousness that they must have read a very great number of books before they have read its fellow.
THEODORE ALOIS BUCKLEY.
Christ Church.
THE ODYSSEY OF HOMER
BOOK I
ARGUMENT.
MINERVA'S DESCENT TO ITHACA.
The poem opens within forty eight days of the arrival of Ulysses in his dominions. He had now remained seven years in the Island of Calypso, when the gods assembled in council, proposed the method of his departure from thence and his return to his native country. For this purpose it is concluded to send Mercury to Calypso, and Pallas immediately descends to Ithaca. She holds a conference with Telemachus, in the shape of Mantes, king of Taphians; in which she advises him to take a journey in quest of his father Ulysses, to Pylos and Sparta, where Nestor and Menelaus yet reigned; then, after having visibly displayed her divinity, disappears. The suitors of Penelope make great entertainments, and riot in her palace till night. Phemius sings to them the return of the Grecians, till Penelope puts a stop to the song. Some words arise between the suitors and Telemachus, who summons the council to meet the day following.
The man for wisdom's various arts renown'd,
Long exercised in woes, O Muse! resound;
Who, when his arms had wrought the destined fall
Of sacred Troy, and razed her heaven-built wall,
Wandering from clime to clime, observant stray'd,
Their manners noted, and their states survey'd,
On stormy seas unnumber'd toils he bore,
Safe with his friends to gain his natal shore:
Vain toils! their impious folly dared to prey
On herds devoted to the god of day;
The god vindictive doom'd them never more
(Ah, men unbless'd!) to touch that natal shore.
Oh, snatch some portion of these acts from fate,
Celestial Muse! and to our world relate.
Now at their native realms the Greeks arrived;
All who the wars of ten long years survived;
And 'scaped the perils of the gulfy main.
Ulysses, sole of all the victor train,
An exile from his dear paternal coast,
Deplored his absent queen and empire lost.
Calypso in her caves constrain'd his stay,
With sweet, reluctant, amorous delay;
In vain-for now the circling years disclose
The day predestined to reward his woes.
At length his Ithaca is given by fate,
Where yet new labours his arrival wait;
At length their rage the hostile powers restrain,
All but the ruthless monarch of the main.
But now the god, remote, a heavenly guest,
In AEthiopia graced the genial feast
(A race divided, whom with sloping rays
The rising and descending sun surveys);
There on the world's extremest verge revered
With hecatombs and prayer in pomp preferr'd,
Distant he lay: while in the bright abodes
Of high Olympus, Jove convened the gods:
The assembly thus the sire supreme address'd,
AEgysthus' fate revolving in his breast,
Whom young Orestes to the dreary coast
Of Pluto sent, a blood-polluted ghost.
"Perverse mankind! whose wills, created free,
Charge all their woes on absolute degree;
All to the dooming gods their guilt translate,
And follies are miscall'd the crimes of fate.
When to his lust AEgysthus gave the rein,
Did fate, or we, the adulterous act constrain?
Did fate, or we, when great Atrides died,
Urge the bold traitor to the regicide?
Hermes I sent, while yet his soul remain'd
Sincere from royal blood, and faith profaned;
To warn the wretch, that young Orestes, grown
To manly years, should re-assert the throne.
Yet, impotent of mind, and uncontroll'd,
He plunged into the gulf which Heaven foretold."
Here paused the god; and pensive thus replies
Minerva, graceful with her azure eyes:
"O thou! from whom the whole creation springs,
The source of power on earth derived to kings!
His death was equal to the direful deed;
So may the man of blood be doomed to bleed!
But grief and rage alternate wound my breast
For brave Ulysses, still by fate oppress'd.
Amidst an isle, around whose rocky shore
The forests murmur, and the surges roar,
The blameless hero from his wish'd-for home
A goddess guards in her enchanted dome;
(Atlas her sire, to whose far-piercing eye
The wonders of the deep expanded lie;
The eternal columns which on earth he rears
End in the starry vault, and prop the spheres).
By his fair daughter is the chief confined,
Who soothes to dear delight his anxious mind;
Successless all her soft caresses prove,
To banish from his breast his country's love;
To see the smoke from his loved palace rise,
While the dear isle in distant prospect lies,
With what contentment could he close his eyes!
And will Omnipotence neglect to save
The suffering virtue of the wise and brave?
Must he, whose altars on the Phrygian shore
With frequent rites, and pure, avow'd thy power,
Be doom'd the worst of human ills to prove,
Unbless'd, abandon'd to the wrath of Jove?"
"Daughter! what words have pass'd thy lips unweigh'd!
(Replied the Thunderer to the martial maid;)
Deem not unjustly by my doom oppress'd,
Of human race the wisest and the best.
Neptune, by prayer repentant rarely won,
Afflicts the chief, to avenge his giant son,
Whose visual orb Ulysses robb'd of light;
Great Polypheme, of more than mortal might?
Him young Thousa bore (the bright increase
Of Phorcys, dreaded in the sounds and seas);
Whom Neptune eyed with bloom of beauty bless'd,
And in his cave the yielding nymph compress'd
For this the god constrains the Greek to roam,
A hopeless exile from his native home,
From death alone exempt — but cease to mourn;
Let all combine to achieve his wish'd return;
Neptune atoned, his wrath shall now refrain,
Or thwart the synod of the gods in vain."
"Father and king adored!" Minerva cried,
"Since all who in the Olympian bower reside
Now make the wandering Greek their public care,
Let Hermes to th
e Atlantic isle repair;
Bid him, arrived in bright Calypso's court,
The sanction of the assembled powers report:
That wise Ulysses to his native land
Must speed, obedient to their high command.
Meantime Telemachus, the blooming heir
Of sea-girt Ithaca, demands my care;
'Tis mine to form his green, unpractised years
In sage debates; surrounded with his peers,
To save the state, and timely to restrain
The bold intrusion of the suitor-train;
Who crowd his palace, and with lawless power
His herds and flocks in feastful rites devour.
To distant Sparta, and the spacious waste
Of Sandy Pyle, the royal youth shall haste.
There, warm with filial love, the cause inquire
That from his realm retards his god-like sire;
Delivering early to the voice of fame
The promise of a green immortal name."
She said: the sandals of celestial mould,
Fledged with ambrosial plumes, and rich with gold,
Surround her feet: with these sublime she sails
The aerial space, and mounts the winged gales;
O'er earth and ocean wide prepared to soar,
Her dreaded arm a beamy javelin bore,
Ponderous and vast: which, when her fury burns,
Proud tyrants humbles, and whole hosts o'erturns.
From high Olympus prone her flight she bends,
And in the realms of Ithaca descends,
Her lineaments divine, the grave disguise
Of Mentes' form conceal'd from human eyes
(Mentes, the monarch of the Taphian land);
A glittering spear waved awful in her hand.
There in the portal placed, the heaven-born maid
Enormous riot and misrule survey'd.
On hides of beeves, before the palace gate
(Sad spoils of luxury), the suitors sate.
With rival art, and ardour in their mien,