No More Learning

Indeed, if we take Homer, Virgil and Milton as the
outstanding events in the whole progress of epic poetry, and group the
less important poems appropriately round these three names, we shall not
be far from the _ideal truth_ of epic development. We might say, then,
that Homer begins the whole business of epic, imperishably fixes its
type and, in a way that can never be questioned, declares its artistic
purpose; Virgil perfects the type; and Milton perfects the purpose.
Three such poets are not, heaven knows, summed up in a phrase; I mean
merely to indicate how they are related one to another in the general
scheme of epic poetry. For discriminating their merits, deciding their
comparative eminence, I have no inclination; and fortunately it does not
come within the requirements of this essay. Indeed, I think the reader
will easily excuse me, if I touch very slightly on the poetic manner, in
the common and narrow sense, of the poets whom I shall have to mention;
since these qualities have been so often and sometimes so admirably
dealt with. It is at the broader aspects of artistic purpose that I wish
to look.

"From Homer," said Goethe, "I learn every day more clearly, that in our
life here above ground we have, properly speaking, to enact Hell. " It is
rather a startling sentence at first. That poetry which, for us, in
Thoreau's excellent words, "lies in the east of literature," scarcely
suggests, in the usual opinion of it, Hell. We are tempted to think of
Homer as the most fortunate of poets. It seems as if he had but to open
his mouth and speak, to create divine poetry; and it does not lessen our
sense of his good fortune when, on looking a little closer, we see that
this is really the result of an unerring and unfailing art, an
extraordinarily skilful technique. He had it entirely at his command;
and he exercised it in a language in which, though it may be singularly
artificial and conventional, we can still feel the wonder of its
sensuous beauty and the splendour of its expressive power. It is a
language that seems alive with eagerness to respond to imagination. Open
Homer anywhere, and the casual grandeur of his untranslatable language
appears; such lines as:

amphi de naees
smerdaleon konabaesan ausanton hup' Achaion. [6]

That, you might say, is Homer at his ease; when he exerts himself you
get a miracle like:

su den strophalingi koniaes
keiso megas megalosti, lelasmenos hipposunaon.
[7]

It seems the art of one who walked through the world of things endowed
with the senses of a god, and able, with that perfection of effort that
looks as if it were effortless, to fashion his experience into
incorruptible song; whether it be the dance of flies round a byre at
milking-time, or a forest-fire on the mountains at night. The shape and
clamour of waves breaking on the beach in a storm is as irresistibly
recorded by Homer as the gleaming flowers which earth put forth to be
the bed of Zeus and Hera in Gargaros, when a golden cloud was their
coverlet, and Sleep sat on a pine tree near by in the likeness of a
murmuring night-jar. It is an art so balanced, that when it tells us,
with no special emphasis, how the Trojans came on with a din like the
clangour of a flock of cranes, but the Achaians came on in silence, the
temper of the two hosts is discriminated for the whole poem; or, in the
supreme instance, when it tells us how the old men looked at Helen and
said, "No wonder the young men fight for her! " then Helen's beauty must
be accepted by the faith of all the world. The particulars of such
poetry could be enumerated for pages; and this is the poetry which is
filled, more than any other literature, in the _Iliad_ with the nobility
of men and women, in the _Odyssey_ with the light of natural magic. And
think of those gods of Homer's; he is the one poet who has been able to
make the dark terrors of religion beautiful, harmless and quietly
entertaining. It is easy to read this poetry and simply _enjoy_ it; it
is easy to say, the man whose spirit held this poetry must have been
divinely happy. But this is the poetry whence Goethe learnt that the
function of man is "to enact Hell. "

Goethe is profoundly right; though possibly he puts it in a way to which
Homer himself might have demurred. For the phrase inevitably has its
point in the word "Hell"; Homer, we may suppose, would have preferred
the point to come in the word "enact. " In any case, the details of
Christian eschatology must not engage us much in interpreting Goethe's
epigram. There is truth in it, not simply because the two poems take
place in a theatre of calamity; not simply, for instance, because of the
beloved Hektor's terrible agony of death, and the woes of Andromache and
Priam. Such things are the partial, incidental expressions of the whole
artistic purpose. Still less is it because of a strain of latent
savagery in, at any rate, the _Iliad_; as when the sage and reverend
Nestor urges that not one of the Greeks should go home until he has lain
with the wife of a slaughtered Trojan, or as in the tremendous words of
the oath: "Whoever first offend against this oath, may their brains be
poured out on the ground like this wine, their own and their children's,
and may their wives be made subject to strangers. " All that is one of
the accidental qualities of Homer. But the force of the word "enact" in
Goethe's epigram will certainly come home to us when we think of those
famous speeches in which courage is unforgettably declared--such
speeches as that of Sarpedon to Glaukos, or of Glaukos to Diomedes, or
of Hektor at his parting with Andromache.