Having already intimated that, in my judgment, no theory of the structure of the poem is admissible which does not admit an original and preconcerted Achillêis,—a stream which begins at the first book and ends with the death of Hector, in the twenty-second, although the higher parts of it now remain only in the condition of two detached lakes, the first book and the eighth,—I reason upon the same basis with respect to the authorship. Assuming continuity of structure as a presumptive proof, the whole of this Achillêis must be treated as composed by one author. Wolf, indeed, affirmed, that he never read the poem continuously through without being painfully impressed with the inferiority[304] and altered style of the last six books,—and Lachmann carries this feeling farther back, so as to commence with the seventeenth book. If I could enter fully into this sentiment, I should then be compelled, not to deny the existence of a preconceived scheme, but to imagine that the books from the eighteenth to the twenty-second, though forming part of that scheme, or Achillêis, had yet been executed by another and an inferior poet. But it is to be remarked, first, that inferiority of poetical merit, to a certain extent, is quite reconcilable with unity of authorship; and, secondly, that the very circumstances upon which Wolf’s unfavorable judgment is built, seem to arise out of increased difficulty in the poet’s task, when he came to the crowning cantos of his designed Achillêis. For that which chiefly distinguishes these books, is, the direct, incessant, and manual intervention of the gods and goddesses, formerly permitted by Zeus,—and the repetition of vast and fantastic conceptions to which such superhuman agency gives occasion; not omitting the battle of Achilles against Skamander and Simois, and the burning up of these rivers by Hêphæstus. Now, looking at this vein of ideas with the eyes of a modern reader, or even with those of a Grecian critic of the literary ages, it is certain that the effect is unpleasing: the gods, sublime elements of poetry when kept in due proportion, are here somewhat vulgarized. But though the poet here has not succeeded, and probably success was impossible, in the task which he has prescribed to himself,—yet the mere fact of his undertaking it, and the manifest distinction between his employment of divine agency in these latter cantos as compared with the preceding, seems explicable only on the supposition that they _are_ the latter cantos, and come in designed sequence, as the continuance of a previous plan. The poet wishes to surround the coming forth of Achilles with the maximum of glorious and terrific circumstance; no Trojan enemy can for a moment hold out against him:[305] the gods must descend to the plain of Troy and fight in person, while Zeus, who at the beginning of the eighth book, had forbidden them to take part, expressly encourages them to do so at the beginning of the twentieth.