Now, this is one of the main points on which W. Müller and
B. Thiersch rest their theory,—explaining the chronological
confusion by supposing that the journey of Telemachus to Pylus and
Sparta, constituted the subject of an epic originally separate
(comprising the first four books and a portion of the fifteenth),
and incorporated at second-hand with the remaining poem. And they
conceive this view to be farther confirmed by the double assembly
of the gods, (at the beginning of the first book as well as of the
fifth,) which they treat as an awkward repetition, such as could not
have formed part of the primary scheme of any epic poet. But here
they only escape a small difficulty by running into another and a
greater. For it is impossible to comprehend how the first four books
and part of the fifteenth can ever have constituted a distinct epic;
since the adventures of Telemachus have no satisfactory termination,
except at the point of confluence with those of his father, when the
unexpected meeting and recognition takes place under the roof of
Eumæus,—nor can any epic poem ever have described that meeting and
recognition without giving some account how Odysseus came thither.
Moreover, the first two books of the Odyssey distinctly lay the
ground, and carry expectation forward, to the final catastrophe
of the poem,—treating Telemachus as a subordinate person, and his
expedition as merely provisional towards an ulterior result. Nor can
I agree with W. Müller, that the real Odyssey might well be supposed
to begin with the fifth book. On the contrary, the exhibition of
the suitors and the Ithakesian agora, presented to us in the second
book, is absolutely essential to the full comprehension of the books
subsequent to the thirteenth. The suitors are far too important
personages in the poem to allow of their being first introduced in
so informal a manner as we read in the sixteenth book: indeed, the
passing allusions of Athênê (xiii. 310, 375) and Eumæus (xiv. 41,
81) to the suitors, presuppose cognizance of them on the part of the
hearer.
Public-domain text, read in full here on John Shaqi.
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