Before, however, entering into particulars respecting the question of this unity of the Homeric poems, (at least of the Iliad,) I must express my sympathy with the sentiments expressed in the following remarks:— “We cannot but think the universal admiration of its unity by the better, the poetic age of Greece, almost conclusive testimony to its original composition. It was not till the age of the grammarians that its primitive integrity was called in question; nor is it injustice to assert, that the minute and analytical spirit of a grammarian is not the best qualification for the profound feeling, the comprehensive conception of an harmonious whole. The most exquisite anatomist may be no judge of the symmetry of the human frame: and we would take the opinion of Chantrey or Westmacott on the proportions and general beauty of a form, rather than that of Mr. Brodie or Sir Astley Cooper. “There is some truth, though some malicious exaggeration, in the lines of Pope.— “‘The critic eye—that microscope of wit Sees hairs and pores, examines bit by bit, How parts relate to parts, or they to whole, The body’s harmony, the beaming soul, Are things which Kuster, Burmann, Wasse, shall see, When man’s whole frame is obvious to a flea.’”[19] Long was the time which elapsed before any one dreamt of questioning the unity of the authorship of the Homeric poems. The grave and cautious Thucydides quoted without hesitation the Hymn to Apollo,[20] the authenticity of which has been already disclaimed by modern critics. Longinus, in an oft quoted passage, merely expressed an opinion touching the comparative inferiority of the Odyssey to the Iliad,[21] and, among a mass of ancient authors, whose very names[22] it would be tedious to detail, no suspicion of the personal non-existence of Homer ever arose. So far, the voice of antiquity seems to be in favour of our early ideas on the subject; let us now see what are the discoveries to which more modern investigations lay claim. At the end of the seventeenth century, doubts had begun to awaken on the subject, and we find Bentley remarking that “Homer wrote a sequel of songs and rhapsodies, to be sung by himself, for small comings and good cheer, at festivals and other days of merriment. These loose songs were not collected together, in the form of an epic poem, till about Peisistratus’ time, about five hundred years after.”[23] Two French writers—Hedelin and Perrault—avowed a similar scepticism on the subject; but it is in the “Scienza Nuova” of Battista Vico, that we first meet with the germ of the theory, subsequently defended by Wolf with so much learning and acuteness. Indeed, it is with the Wolfian theory that we have chiefly to deal, and with the following bold hypothesis, which we will detail in the words of Grote:—[24]