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]

Finally comes the demand: who art thou and why didst thou weep? What is thy relation to Troy? Such is the culminating question; Ulysses has been unfolding himself more and more throughout the present Book before the king and people. The games showed his heroic strength; the dances brought out his recognizing and harmonious spirit; the lays of Demodocus have developed his connection with Troy. He clearly belongs to the past and to the present, possibly he is a bridge spanning them, which bridge he may be induced to build in wondrous rainbow colors before the eyes of the Phaeacians.

Appendix. It seems never to have been noticed what an important relation the present Book sustains toward the Wolfian theory concerning the Homeric poems. The picture of Demodocus here given doubtless suggested to Wolf the first outline of his view, and has influenced other commentators who lean toward similar opinions. It is well known that Wolf in his famous Prolegomena maintains that the Iliad and Odyssey were originally a string of ballads more or less disconnected, and that Homer was only one of the many balladists, probably the best; furthermore he holds that these ballads were brought together, edited and put into their present shape by certain literary men called diaskeuastoe—revisers, redactors, professors of poetry and philology at the court of Peisistratus, about 500 B.C.

That is, Wolf regards Homer as a Demodocus, a singer and also a maker of disjointed ballads and war-songs, the latter pertaining mostly to the heroes of the Trojan War. These were sung at the festivals of the people, at the houses of the nobility, and at the courts of kings, quite as we see the bard singing here in Phaeacia. This fact we may accept; but the question comes up: Is Homer such a balladist and nothing more?

Now it is clear that Homer is not a Demodocus, since the latter is not an epical builder, but a simple singer of separate lays for the occasion. Mark well that Homer in this book does not unfold the themes, "Strife between Ulysses and Achilles," and "The Wooden Horse," but simply alludes to them as well-known; he barely gives the title and a little of the argument, then drops the matter, leaving us to suppose that the Bard sang a somewhat lengthy lay, of which the effect upon the hearers and specially upon Ulysses is duly noted.

Homer, therefore, in this Book as well as in the First Book where Phemius is introduced, makes the Bard or Balladist merely one of his figures, and the song one of his incidents, while he, the veritable Homer, portrays the total environment, showing the court, the games, the household, the complete Phaeacian world. Here we come upon the main distinction: Homer's eye is upon the totality of which the ballad-singer is but a small fragment; Demodocus appears in but one Phaeacian Book, and is by no means all of that, though for once the leading figure.

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