LITMIR.BIZ

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few large finger-rings of iron occur in graves; the metal being rare and strange. It was an Age of linear writing, on clay tablets, or in ink with pen or reed. The dead, perhaps occasionally embalmed, were buried in shaft tombs hewn deep in the rock; or in "beehive"-shaped sepulchres with chambers, often sunk in the side of a hill. With the dead were laid their arms of bronze, golden ornaments, crystal and ivory, and silver, and cups and vases of peculiar fashion, fabric, and decoration.

      Concerning the language or languages of the people of this First Age, nothing is known with certainty, as their writing has not been deciphered. We know that they were and had long been in touch with Egypt, and the highly civilised Egyptian society. Egyptian objects are found in the ruins of Cretan palaces; Cretan pottery is abundant in the soil of Egypt; and their envoys, in Egyptian wall-pictures, bear ingots and golden cups of their fashioning, as presents or as tribute to Egyptian kings. Their palaces, about 1450–1400 B.C. (?) were sacked and consumed by fire, but their culture, and even their writing, continued to exist with dwindling vitality. Of the religion we speak later.

Then comes the Second Age, the period represented in the Homeric poems. Greek is their language, whether the people of the Cretan culture on the mainland of Greece had previously spoken Greek, or a cognate language, or not. Iron had ceased to be a rare metal used only for rings; it was now employed for tools and implements, occasionally for arrow-heads, and was an article of commerce; but bronze was the metal for swords, spears, and body armour; and stone was no longer used for arrow points; leather no longer, as previously, sufficed for shield coverings, bronze plating was needed. The dead were not now buried merely, they were cremated, as often in ancient central and northern Europe, and as in these regions the bones were placed in urns of gold, bronze, or pottery, wrapped in linen, and bestowed in a stone-built chamber, beneath a mound or cairn of earth, on which was set a memorial pillar.[2]

      Treasures do not appear to have been buried with the dead, as a rule. A new costume, a northern costume, had come in, not sewn and shaped, as in the previous age, but fastened with pins and fibulae, "safety pins," such as were in use in northern regions, in the basin of the Danube, Bosnia, and North Italy. This is the costume and these are the pins and brooches described by Homer.

      The Third Age, subsequent to the Homeric, is a dark period; illustrated by the vases and other objects found at ancient "Tiryns of the mighty walls"; and by the contents of the cemetery outside of the Dipylon gate at Athens; in Cretan sites and elsewhere. The nature of the civilisation (called "the Dipylon") will be described later. It is the fully developed age of iron for weapons and implements; riding of horses is superseding the war-chariots, common to both preceding periods; art is represented by both decadent Minoan work, and rude vase-paintings of human existence. The dead, with humbler treasures, are more frequently buried than burned; cairns are not raised over them; the costume of women appears to have been, occasionally at least, a survival from or revival of that of the First Age, the separate skirt and bodice.

      The Fourth Age is the archaic or "proto-historic" period of Greece. It is represented by objects found in the soil of Sparta of the ninth to seventh centuries; by objects of the eighth to seventh century used by Ionian settlers in Asia, as at Ephesus; and by "proto-Athenian" "post-Dipylon" vases and other archaic remains in art; while, later, come the Black Figure vases of the early sixth century, to which succeed the more accomplished painters of the Red Figure vases (late sixth and early fifth centuries). In this period male costume was often more of the first or Aegean, than of the second or Homeric Age.

Now, according to the majority of critics of Homer, the life, with all its details, which he describes, is not that of a single age, our second, but is a mosaic of all Four Ages. "The first rhapsodies were born in the bronze age, in the day of the ponderous Mykenaean shield—the last in the iron age, when men armed themselves with breastplate and light round buckler. The whole view of life and death, of divine and human polity had changed."[3]

      If this be true, the Homeric world as depicted in the poems existed only in fancy; it is a medley of four periods extending over some six centuries or more, and the Homeric picture must be a mere chaos as regards costume, manners, rites, armour, tactics, laws, geographical knowledge, domestic life, and everything. Is it such a chaos? The critics say that it is, and seek for proof in the poems. They find anachronisms and inconsistencies as to armour (but not costume), as to rites, as to marriage laws, as to houses, as to tactics, as to land tenure; but the inconsistencies and anachronisms at most are petty, and, we are to argue, at most represent such minute variations from the norm as occur in all societies, savage or civilised.

      For the Homeric period, except in the case of the fibulae marking the change of costume in the Second Age, we have little evidence except in the Homeric poems themselves. No Homeric cairns with their characteristic contents have been discovered by modern scientific experts, a point to be discussed later. But for our Fourth Age we have literary evidence, that of the remains and epitomes of the Cyclic poems, composed in Ionia, about the eighth to seventh centuries, by the poets of the Ionian settlers in Asia, who were dominated by Attic, not Achaean traditions. These poems, we are to show (see "The Cyclic Poems") differ immensely, in descriptions of rites and of religion, and in the characters of heroes, in their pseudo-historic legends, and in geographical knowledge, from the pictures given by Homer. The Ionian armour, too, and round or oval blazoned bucklers worn on the left arm, as displayed in archaic and early Black Figure vases, are widely different from Homeric armour, and from the huge Homeric shield, unblazoned, suspended by a belt or baldric.

      The Fourth Age, in fact, is represented by its own epic poetry, and by its own art; and its representations of armour, religion, rites, personages, and traditions, are never intruded into our Homeric epics. The two ages stand apart. The Homeric world is not that of the Fourth Age. There is no mosaic, except in the epic poetry of the Fourth Age, which imitated the Homeric poetry, but is full of conspicuous anachronisms in essential points.

      Though the details of life in the Second and Fourth periods—the Homeric or Achaean and the Ionian, stand conspicuously apart, modern criticism, we have said, represents them as inextricably mingled in our Homer, and naturally thus confused, for what is most ancient in our Homer is said to have been worked over and recomposed by the poets of Ionia; in Ionia, we are told, Homer had a second birth, and our Homer is half-Ionian.

The critical case is well stated thus: "There is, on the whole, a striking resemblance between the life of Homer's heroes in its material aspects and the [Aegean] remains" [of our First Age] "which have been discovered at Tiryns, Mykene, and elsewhere. The two cultures are not identical, but, beyond doubt, the Homeric resembles in the main the Mykenaean rather than that of the "Dipylon" (so far as we know it), or the archaic Greek. The ancient tradition is on the whole truly kept in the Epos. Yet in many points we can see traces of apparent anachronisms," whether the departure from the "Mykenaean" be "due to a later development of that culture itself, or to an unintentional introduction of elements from the very different conditions of later Greece."[4] In the Epics carried to Asia, says our author, "much of the old was faithfully preserved, though adapted to new hearers, much being new added." "We meet with so many inconsistencies so closely interwoven that the tangle may well seem beyond our powers to unravel."[5]

When novelties were intentionally added the purpose was to please listeners later by many centuries than those for whom the original poets sang; to please the active commercial citizens of Ionia, who had not the polity, nor the armour, nor the war-chariots, nor the weapons, nor the costume, nor the beliefs, nor the burial rites, nor the marriage customs, nor the houses, nor the tactics, nor the domestic life, and had more than the geographical knowledge of the people who listened to the original minstrel. Each of the novelties supposed to have been introduced to gratify new hearers, each novelty in armour, weapons, tactics, would only produce in the Iliad an unintelligible and chaotic blend, such as, the critics tell us, actually was produced—a tangle which we cannot unravel. The fighting scenes, in particular, thanks to the retention of old armour and tactics, and

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