book xx

. describing the duel between Achilles and Aeneas (79-352). The incident is certainly very much out of keeping with the vehement action of that part of the poem, and especially with the moment when Achilles returns to the field, eager to meet Hector and avenge the death of his friend. The interpolation (if it is one) is probably due to local interests. It contains the well-known prophecy that the descendants of Aeneas are to rule over the Trojans,--pointing to the existence of an Aenead dynasty in the Troad. So, too, the legend of Anchises in the Hymn to Aphrodite is evidently local; and Aeneas becomes more prominent in the later epics, especially the _Cypria_ and the [Greek: Iliou persis] of Arctinus.

_Structure of the Odyssey._--In the _Odyssey_, as in the _Iliad_, the events related fall within a short space of time. The difficulty of adapting the long wanderings of Ulysses to a plan of this type is got over by the device--first met with in the _Odyssey_--of making the hero tell the story of his own adventures. In this way the action is made to begin almost immediately before the actual return of Ulysses. Up to the time when he reaches Ithaca it moves on three distinct scenes: we follow the fortunes of Ulysses, of Telemachus on his voyage in the Peloponnesus, and of Penelope with the suitors. The art with which these threads are woven together was recognized by Wolf himself, who admitted the difficulty of applying his theory to the "admirabilis summa et compages" of the poem. Of the comparatively few attempts which have been made to dissect the _Odyssey_, the most moderate and attractive is that of Professor A. Kirchhoff of Berlin.[13]

According to Kirchhoff, the _Odyssey_ as we have it is the result of additions made to an original nucleus. There was first of all a "Return of Odysseus," relating chiefly the adventures with the Cyclops, Calypso and the Phaeacians; then a continuation, the scene of which lay in Ithaca, embracing the bulk of books xiii.-xxiii. The poem so formed was enlarged at some time between Ol. 30 and Ol. 50 by the stories of books x.-xii. (Circe, the Sirens, Scylla, &c.), and the adventures of Telemachus. Lastly, a few passages were interpolated in the time of Peisistratus.

The proof that the scenes in Ithaca are by a later hand than the ancient "Return" is found chiefly in a contradiction discussed by Kirchhoff in his sixth dissertation (pp. 135 sqq., ed. 1869). Sometimes Ulysses is represented as aged and worn by toil, so that Penelope, for instance, cannot recognize him; sometimes he is really in the prime of heroic vigour, and his appearing as a beggarly old man is the work of Athena's wand. The first of these representations is evidently natural, considering the twenty eventful years that have passed; but the second, Kirchhoff holds, is the Ulysses of Calypso's island and the Phaeacian court. He concludes that the aged Ulysses belongs to the "continuation" (the change wrought by Athena's wand being a device to reconcile the two views), and hence that the continuation is the work of a different author.

Ingenious as this is, there is really very slender ground for Kirchhoff's thesis. The passages in the second half of the _Odyssey_ which describe the appearance of Ulysses do not give _two_ well-marked representations of him. Sometimes Athena disguises him as a decrepit beggar, sometimes she bestows on him supernatural beauty and vigour. It must be admitted that we are not told exactly how long in each case the effect of these changes lasted. But neither answers to his natural appearance, or to the appearance which he is imagined to present in the earlier books. In the palace of Alcinous, for instance, it is noticed that he is vigorous but "marred by many ills" (_Od._ viii. 137); and this agrees with the scenes of recognition in the latter part of the poem.

The arguments by which Kirchhoff seeks to prove that the stories of books x.-xii. are much later than those of