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If then Homer found the Greek language considerably advanced, without the assistance of writing, its improvements (to which, no doubt, he contributed largely) being entirely addressed to the ear, in a climate, where conception is quick, and the organs of speech capable of nice articulation, it was of course [281] formed to music and poetry, then closely united.
When the sense was catched from the sound, and not deliberately collected from paper, simplicity and clearness were more necessary. Involved periods and an embarrased style were not introduced, till writing became more an art, and labour supplied the place of genius. The frequent repetition of entire passages (for which Homer is censured) was not only more natural, but less observable, therefore less offensive; action, tone, and pronunciation, were more essentially concerned in every composition of genius, and all poetry was dramatic; and so far might be ranked among the mimetic arts a. But I do not [282] see, why written poetry is to be ascribed to that class: or why Homer's account of the Curetes and Ætolians should be imitation, while the war between the Grecians and Persians, by Herodotus, is to be called narration.
The language which we bring into the world with us is not confined to the organs of speech; but it is made up of voice, countenance, and gesture. And had not our powers of articulation, that distinguishing mark of our social constitution, suggested a more convenient mode of conveying our ideas, the simple tones of Na[283]ture, with the varieties of modulation, which are now assigned to the province of music, might have been applied to the purposes of common life, as we are told they are in some degree among the Chinese. Speaking and singing would differ little, as the original Greek words, which signify both, seem to imply; the human countenance would have not only retained but improved its natural powers of expression, which it is now the great business of education to suppress, and the dumb language of gesticulation would have made a very significant part of conversation.
Such is the language of Nature, without which there could be no language of Compact, the first supplying that communication of ideas which was absolutely necessary to establish the latter; though afterwards falling into disuse, in proportion to the progress and improvement of what was gradually substituted in its stead. But, though banished in great measure from common use, it still retains its powers in the [284] province of Poetry, where the most finished efforts of artificial language are but cold and languid circumlocution, compared with that passionate expression of Nature, which, incapable of misrepresentation, appeals directly to our feelings, and finds the shortest road to the heart. It was to be found in every production of Genius, and in all poetry; that is to say, all composition was dramatic.
It was therefore an advantage to the Father of Poetry, that he lived before the language of Compact and Art had so much prevailed over that of Nature and Truth.
The same early stage of artificial language may perhaps help us to another b reason for a circumstance not less extraordinary in itfelf, than fortunate to letters; viz. that Homer, though the oldest, is the cleared and most intelligible of all ancient writers. The Greek Vocabulary, though copious in his time, was not yet equivo[285]cal; ambiguity of expression was little known before the birth of Science; when Philosophy, adopting the language of common life, applied known terms to new meanings, and introduced that confusion and obscurity, which still continues to supply matter for polemical writings, and to be the chief support of metaphysical subtlety and refinement.
Could Homer take a view of the various fortunes and changes which his language has undergone in the service of Literature, he would be surprised to see so many volumes of controversy about the signification of words, which conveyed to him the most distinct images of things; and to find, that terms, which, in his time, were universally acknowledged as the signs of certain external objects of sense, mould have acquired an additional meaning, which the philosophy and learning of so many ages have not yet been able to settle.
If his language had not yet acquired the refinements of a learned age, it was for that rea[286]son not only more intelligible and clear, but also less open to pedantry and affectation. For as technical and scientific terms were unknown, before the separation of arts: and till science became the retired pursuit of a few, as there was no school but that of Life, and no philosophy but that of Common Sense; so we find in Homer nothing out of the reach of an ordinary capacity, and plain understanding: and those who look farther, seem to neglect his obvious beauties.
It may perhaps be thought, that this early state of artificial language, to which we attribute so much of the Poet's clearness and unaffected simplicity, must have cramped him in the variety of his numbers: but the Greek tongue never had more distinct sounds c in proportion to its clear ideas, than at this period; which was therefore precisely the time in this [287] respect fittest for Poetical expression. It is true, that in its more enriched and polished state, it was the repository of much knowledge, to which Homer was a stranger; but its acquisition of new words was by no means in proportion to that of new meanings, as we have already observed; and the business of literature in all its branches was carried on chiefly upon the original stock.
[Die Anmerkungen stehen als Fußnoten auf den in eckigen Klammern bezeichneten Seiten]
[281] a We are by some informed, that according to Aristotle and the Greek critics, all Poetry is imitation. But if we consider this matter more attentively, we shall find, that a great deal of just ancient criticism is founded in the distindion between what was mimetic, and what was not so in Poetry. Not to trouble the Reader with much quotation (which I wish to avoid, at least for the present) I will refer him to Plato. This Writer, in the third book of his Republic, is very explicit in distinguishing, what is pure narration; and what is
[282] mimetic, or dramatic. The first is, where the Poet speaks in his own person. The second, when an actor is introduced. He accordingly gives instances out of the Iliad and Odyssey, which poems consist of both. Eustathius, when he begins his Commentary upon the Catalogue, recites this distinction very fully, in order to introduce his observation upon the manner, in which Homer keeps up his spirit in that enumeration of the forces. For it was difficult to be here maintained, as the subject was not of the mimetic or dramatic kind. Aristotle, in his Poetics (C. 24.) compliments Homer particularly, as the only Poet, who knew, how little he should appear himself, and how much he should leave for imitation. Dionysius Halicarnassensis, or whoever was the author of the Treatise upon Homer's Poetry, takes notice of the Poet's transition from the narrative to the mimetic,
from the δiηγηματiϰon to the μiμητiϰon.
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[284] b See above, where his simplicity and clearness of style is supposed in some degree owing to writing's not having been in use.
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[286] c After his poems were introduced at Athens, we find that they were sung and recited, and that Rhapsodists were employed for this purpose.
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Druckvorlage
Robert Wood: An Essay on the Original Genius and Writings of Homer.
With a Comparative View of the Ancient and Present State of the Troade.
London: H. Hughs for T. Payne and P. Elmsly 1775, S. 281-287.
Editionsrichtlinien.
PURL: https://hdl.handle.net/2027/gri.ark:/13960/t3b007x4n
URL: https://books.google.fr/books?id=8F5aAAAAcAAJ
Erstdruck: Privatdruck 1767.
Übersetzungen
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Edition
Lyriktheorie » R. Brandmeyer