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upon Ulysses, whom beyond any of his other [heroes] he loves to adorn with every virtue. He says of him, that he

      “Discover’d various cities, and the mind

      And manners learn’d of men in lands remote.”84

      That he was

      “Of a piercing wit and deeply wise.”85

      He is continually described as “the destroyer of cities,” and as having vanquished Troy, by his counsels, his advice, and his deceptive art. Diomede says of him,

      “Let him attend me, and through fire itself

      We shall return; for none is wise as he.”86

      He himself on his skill in husbandry, for at the harvest [he says],

      “I with my well-bent sickle in my hand,

      Thou arm’d with one as keen.”87

      And also in tillage,

      “Then shouldst thou see

      How straight my furrow should be cut and true.”88

      And Homer was not singular in his opinion regarding these matters, for all educated people appeal to him in favour of the idea that such practical knowledge is one of the chief means of acquiring understanding.

      5. That eloquence is regarded as the wisdom of speech, Ulysses manifests throughout the whole poem, both in the Trial,89 the Petitions,90 and the Embassy.91 Of him it is said by Antenor,

      “But when he spake, forth from his breast did flow

      A torrent swift as winter’s feather’d snow.”92

      Who can suppose that a poet capable of effectively introducing into his scenes rhetoricians, generals, and various other characters, each displaying some peculiar excellence, was nothing more than a droll or juggler, capable only of cheating or flattering his hearer, and not of instructing him.

      Are we not all agreed that the chief merit of a poet consists in his accurate representation of the affairs of life? Can this be done by a mere driveller, unacquainted with the world?

      The excellence of a poet is not to be measured by the same standard as that of a mechanic or a blacksmith, where honour and virtue have nothing to do with our estimate. But the poet and the individual are connected, and he only can become a good poet, who is in the first instance a worthy man.

      6. To deny that our poet possesses the graces of oratory is using us hardly indeed. What is so befitting an orator, what so poetical as eloquence, and who so sweetly eloquent as Homer? But, by heaven! you’ll say, there are other styles of eloquence than those peculiar to poetry. Of course [I admit this]; in poetry itself there is the tragic and the comic style; in prose, the historic and the forensic. But is not language a generality, of which poetry and prose are forms? Yes, language is; but are not the rhetorical, the eloquent, and the florid styles also? I answer, that flowery prose is nothing but an imitation of poetry. Ornate poetry was the first to make its appearance, and was well received. Afterwards it was closely imitated by writers in the time of Cadmus, Pherecydes, and Hecatæus. The metre was the only thing dispensed with, every other poetic grace being carefully preserved. As time advanced, one after another of its beauties was discarded, till at last it came down from its glory into our common prose. In the same way we may say that comedy took its rise from tragedy, but descended from its lofty grandeur into what we now call the common parlance of daily life. And when [we find] the ancient writers making use of the expression “to sing,” to designate eloquence of style, this in itself is an evidence that poetry is the source and origin of all ornamented and rhetorical language. Poetry in ancient days was on every occasion accompanied by melody. The song or ode was but a modulated speech, from whence the words rhapsody, tragedy, comedy,93 are derived; and since originally eloquence was the term made use of for the poetical effusions which were always of the nature of a song, it soon happened [that in speaking of poetry] some said, to sing, others, to be eloquent; and as the one term was early misapplied to prose compositions, the other also was soon applied in the same way. Lastly, the very term prose, which is applied to language not clothed in metre, seems to indicate, as it were, its descent from an elevation or chariot to the ground.94

      7. Homer accurately describes many distant countries, and not only Greece and the neighbouring places, as Eratosthenes asserts. His romance, too, is in better style than that of his successors. He does not make up wondrous tales on every occasion, but to instruct us the better often, and especially in the Odyssey, adds to the circumstances which have come under his actual observation, allegories, wise harangues, and enticing narrations. Concerning which, Eratosthenes is much mistaken when he says that both Homer and his commentators are a pack of fools. But this subject demands a little more of our attention.

      8. To begin. The poets were by no means the first to avail themselves of myths. States and lawgivers had taken advantage of them long before, having observed the constitutional bias of mankind. Man is eager after knowledge, and the love of legend is but the prelude thereto. This is why children begin to listen [to fables], and are acquainted with them before any other kind of knowledge; the cause of this is that the myth introduces them to a new train of ideas, relating not to every-day occurrences, but something in addition to these.

      A charm hangs round whatever is new and hitherto unknown, inspiring us with a desire to become acquainted with it, but when the wonderful and the marvellous are likewise present, our delight is increased until at last it becomes a philtre of study. To children we are obliged to hold out such enticements, in order that in riper years, when the mind is powerful, and no longer needs such stimulants, it may be prepared to enter on the study of actual realities.

      Every illiterate and uninstructed man is yet a child, and takes delight in fable. With the partially informed it is much the same; reason is not all-powerful within him, and he still possesses the tastes of a child. But the marvellous, which is capable of exciting fear as well as pleasure, influences not childhood only, but age as well. As we relate to children pleasing tales to incite them [to any course] of action, and frightful ones to deter them, such as those of Lamia,95 Gorgo,96 Ephialtes,97 and Mormolyca.98 So numbers of our citizens are incited to deeds of virtue by the beauties of fable, when they hear the poets in a strain of enthusiasm recording noble actions, such as the labours of Hercules or Theseus, and the honours bestowed on them by the gods, or even when they see paintings, sculptures, or figures bearing their romantic evidence to such events. In the same way they are restrained from vicious courses, when they think they have received from the gods by oracles or some other invisible intimations, threats, menaces, or chastisements, or even if they only believe they have befallen others. The great mass of women and common people, cannot be induced by mere force of reason to devote themselves to piety, virtue, and honesty; superstition must therefore be employed, and even this is insufficient without the aid of the marvellous and the terrible. For what are the thunderbolts, the ægis, the trident, the torches, the dragons, the barbed thyrses, the arms of the gods, and all the paraphernalia of antique theology, but fables employed by the founders of states, as bugbears to frighten timorous minds.

      Such was mythology; and when our ancestors found it capable of subserving the purposes of social and political life, and even contributing to the knowledge of truth, they continued the education of childhood to maturer years, and maintained that poetry was sufficient to form the understanding of every age. In course of time history and

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