Snider, A Commentary on the Odyssey of Homer - I

From, Homer's Odyssey: A commentary
[Please note that the Table of Contents here published, is created by Elpenor and is not to be found in the print version]

We have now reached the second song of the bard, for the way has been smoothed by the preceding description of the luxurious delights of the Phaeacians. It is often called the Loves of Venus and Mars, or the Adulterers caught on Olympus. From time immemorial much doubt of various sorts, poetical, moral, philological, has been cast upon this song. Some ancient commentators have regarded it an interpolation, not a genuine part of Homer; modern expositors have not hesitated to follow the same opinion.

And indeed there are strong grounds for suspicion. Almost every reader feels at the first perusal its jar with the general character of this idyllic Phaeacian world; it is decidedly adverse to the spirit of Arete and Nausicaa, as previously unfolded; the fact would almost seem impossible that, in an atmosphere created chiefly by these two women, there could be such a kind of artistic enjoyment. The most conservative reader is inclined here to agree with those who perform an act of excision upon the text of Homer. The whole passage grates too harshly upon nerves which have been attuned to the sweet innocent life depicted in the two preceding Books.

The objections to the song may be summed up in the following heads. (1) It is inconsistent and deeply discordant with the ethical tone of Phaeacia already given. (2) It does not further Ulysses in any way, it shows no trait in his character, unless his faint approval signifies his liking for such songs. Nor does it seem on the surface to connect him with Troy, as do the other two songs of Demodocus. (3) It gives an unworthy view of the Gods, degrading them far below Homer's general level, reducing them to ordinary burlesque figures which violate all decency, not to speak of morality. (4) Philologists have picked out certain words and expressions peculiar to this passage, which, not being employed by Homer elsewhere, tend to indicate some other author.

Still, if the passage be an interpolation, this must have taken place early in the history of the poems. Pausanias the traveler declares that he saw the dancing scene of the Phaeacians depicted upon the throne of Apollo at Amyclae, the artist of which probably flourished about 600 B. C. The old philosopher Heraclitus, who would scourge Homer from the festivals of the Gods, doubtless had this passage in mind. Plato censures its indecency specially, and, as is well known, would exclude all Homer from his ideal Republic. The ancients thus accepted the passage as Homeric, with the exception of some of the later grammarians.

Next come the many attempts, old and new, to allegorize the Olympian scene, or to explain it away. From the fact that the sun keeps watch and is mentioned twice in this part, the latest school of mythologists, the comparative so-called, have taken much comfort, and have at once found in the whole a sun-myth. Some ancient expositors, according to Athenaeus, interpreted it as a story written for the purpose of deterring the listeners from doing similar bad deeds, pointing to the punishment even of Gods herein designated; thus they sought to save the credit of Homer, treating him quite as some commentators have treated certain morally questionable stories in the Bible. Thus along down the ages to the present the loves of Venus and Mars have created trouble.

D. Snider
A Commentary on the Odyssey of Homer - Part I

Learned Freeware

D. Snider A Commentary on the Odyssey of Homer - Part I

Learned Freeware

D. Snider
A Commentary on the Odyssey of Homer - Part I