Array Anacreon - The Greatest Classics of Ancient Greece

It used to be maintained that this silence of the Alexandrians proved conclusively that the story was not in existence in their time. It has now been traced, in a less developed form, as far back as the fourth century B.C. It was always known that a certain Dieuchidas of Megara had accused Pisistratus of interpolating lines in Homer to the advantage of Athens -- a charge which, true or false, implies that the accused had some special opportunities.

It was left for Wilamowitz to show that Dieuchidas was a writer much earlier than the Alexandrians, and to explain his motive. 5It is part of that general literary revenge which Megara took upon fallen Athens in the fourth century. "Athens had not invented comedy; it was Megara. Nor tragedy either; it was Sikyon. Athens had only falsified and interpolated!" Whether Dieuchidas accepted the Pisistratus recension as a fact generally believed, or whether he suggested it as an hypothesis, is not clear. It appears, however, that he could not find any un-Attic texts to prove his point by. When he wished to suggest the true reading he had to use his own ingenuity. It was he who invented a supposed original form for the interpolated passage in B, 671; and perhaps he who imagined the existence of a Spartan edition of Homer by Lycurgus, an uncontaminated text copied out honestly by good Dorians!

The theory, then, that Pisistratus had somehow 'interpolated Homer' was current before Alexandrian times. Why does Aristarchus not mention it? We cannot clearly say. It is possible that he took the fact for granted, as the epigram does. It is certain, at any rate, that Aristarchus rejected on some ground or other most of the lines which modern scholars describe as 'Athenian interpolations'; and that ground cannot have been a merely internal one, since he held the peculiar belief that Homer himself was an Athenian. Lastly, it is a curious fact that Cicero's statement about the recension by Pisisstratus seems to be derived from a member of the Pergamene school, whose founder, Crates, stood almost alone in successfully resisting and opposing the authority of Aristarchus. It is quite possible that the latter tended to belittle a method of explanation which was in particular favour with a rival school.

Dieuchidas, then, knows of Pisistratus having done to the poems something which gave an opportunity for interpolation. But most Megarian writers, according to Plutarch ( Solon, 10), say it was Solon who made the interpolations; and a widespread tradition credits Solon with a special law about the recitation of ' Homer' at the Festival of the Panathenæa. This law, again, is attributed to Hipparchus in the pseudo-Platonic dialogue which bears his name -- a work not later than the third century. Lycurgus the orator ascribes it simply to 'our ancestors,' and that is where we must leave it. When a law was once passed at Athens, it tended to become at once the property of Solon, the great 'Nomothetês.' If Pisistratus and Hipparchus dispute this particular law, it is partly because there are rumours of dishonest dealings attached to the story, partly because the tyrants were always associated with the Panathenæa.

But what was the law? It seems clear that the recitation of Homer formed part of the festal observances, and probable that there was a competition. Again, we know that the poems were to be recited in a particular way. But was it 'by suggestion' -- at any verse given? That is almost incredible. Or was it 'one beginning where the last left off'? Or, as Diogenes Laertius airily decides, did the law perhaps say εξ υποβολης, and mean εξ υποληψεως? 6

Our evidence then amounts in the first place to this: that there was a practice in Athens, dating at latest from early in the fifth century, by which the Homeric poems were recited publicly in a prescribed order; and that the origin of the practice was ascribed to a definite public enactment. We find further, that in all non-Athenian literature down to Pindar, ' Homer' seems to be taken as the author of a much larger number of poems than we possess -- probably of all the Trojan and Theban epics -- whereas in Attic literature from the fifth century onwards he is especially the author of the Iliad and the Odyssey, the other poems being first treated as of doubtful authorship, afterwards ignored. When we add that in the usage of all the authors who speak of this Panathenaic recitation, ' Homer' means simply, and as a matter of course, the Iliad and the Odyssey, the conclusion inevitably suggests itself that it was these two poems alone which were selected for the recitation, and that it was the recitation which gave them their unique position of eminence as the 'true' Homer.

Why were they selected? One can see something, but not much. To begin with, a general comparison of the style of the rejected epics with that of our two poems suggests that the latter are far more elaborately 'worked up' than their brethren. They have more unity; they are less like mere lays; they have more dramatic tension and rhetorical ornament. One poem only can perhaps be compared with them, the first which is quoted as ' Homer's' in literature, the Thebais: * but the glory of Thebes was of all subjects the one which could least be publicly blazoned by Athenians; Athens would reject such a thing even more unhesitatingly than Sikyon rejected the ' Homer' which praised Argos. 7

We get thus one cardinal point in the history of the poems; it remains to trace their development both before and after. To take the later history first, our own traditional explanation of Homer is derived from the Alexandrian scholars of the third and second centuries B.C., Zenodotus of Ephesus (born 325 ?), Aristophanes of Byzantium (born 257 ?), and Aristarchus of Samothrace (born 215); especially from this last, the greatest authority on early poetry known to antiquity. Our information about him is mostly derived from an epitome of the works of four later scholars: Didymus On the Aristarchean Recension; Aristonîcus On the Signs in the Iliad and Odyssey -i.e. the critical signs used by Aristarchus; Herodian On the Prosody and Accentuation of the Iliad, and Nicanor On Homeric Punctuation. The two first named were of the Augustan age; the epitome was made in the third century A.D.; the MS. in which it is preserved is the famous Venetus A of the tenth century, containing the Iliad but not the Odyssey.

We can thus tell a good deal about the condition of Homer in the second century B.C., and can hope to establish with few errors a text 'according to Aristarchus,' a text which would approximately satisfy the best literary authority at the best period of Greek criticism. But we must go much further, unless we are to be very unworthy followers of Aristarchus and indifferent to the cause of science in literature. In the first place, if our comments come from Aristarchus, where does our received text come from? Demonstrably not from him, but from the received text or vulgate of his day, in correction of which he issued his two editions, and on which neither he nor any one else has ultimately been able to exercise a really commanding influence. Not that he made violent changes; on the contrary, he seldom or never 'emended' by mere conjecture, and, though he marked many lines as spurious, he did not omit them. The greatest divergences which we find between Aristarchus and the vulgate are not so great as those between the quartos and the folios of Hamlet.

Yet we can see that he had before him a good many recensions which differed both from the vulgate and from one another. He mentions in especial three classes of such MSS. -- those of individuals, showing the recension or notes of poets like Antimachus and Rhiânus, or of scholars like Zenodotus; those of cities, coming from Marseilles, Chios, Argos, Sinôpe, and in general from all places except Athens, the city of the vulgate; and, lastly, what he calls the 'vulgar' or 'popular' or 'more careless' texts, among which we may safely reckon 'that of the many verses'.