Civilization, Homeric; Epic poetry, Greek -- History and criticism; Homer; Homer -- Criticism and interpretation
The loves of youth and maiden, the whispered _oaristys_ "from rock and
oak," are seldom the theme of Greek poetry; in the Epics they would be
as out of place as in the _Chanson de Roland_. The loves of Troilus and
Cressida were, to Chaucer, the central interest of the Trojan leaguer;
no such place could they hold in Homer: he has an infinitely larger and
nobler topic. Yet he who listens may hear "The awakened loves around
him murmuring," in the lines that, through the din of battle, just
mention some old amour of gods with mortal maidens, of mortal men with
fairies of the woods and hills.
Considering the warlike nature of the _Iliad_, the parts played by
women, by Helen, Andromache, Hecuba, and the touches that bring forward
the wifely tenderness of Theano, are almost surprising; while the whole
poem is dominated by the maternal love of Thetis, that magical figure
of sorrow, foreboding, and affection, without which the character of
Achilles would be jejune, and bereft of occasions to display its _fond_
of tenderness and melancholy. Of course we are told that all these
women are "late," and formed no part of the original lay of the Wrath:
that is to be expected of critical sagacity.
The magnificent passages on Helen, Andromache, and Hecuba; the humorous
descriptions of Hera; Athene, her divine father's darling, and of
Aphrodite; the unnatural hatred of Althaea; the caprice of Anteia; the
pathos of the dirges of Briseis for Patroclus, of Helen for Hector; the
remorseless jealousy of the mother of Phoenix, when his father loves
a mistress among her maids, all supply "the female interest" in the
_Iliad_.
There is not so much "female interest" as in the _Volsunga Saga_, but
women occupy the same position, are regarded with the same deference;
they are free, on earth and in Olympus, they give their counsel and
even carry their point, as in the Icelandic sagas. In the _Odyssey_,
Arete and Nausicaa appear exactly in the fashion of Wealtheow,
Hrothgar's Queen, and her daughter in _Beowulf_,[1] they grace the
company and still the quarrels of men.
Public-domain text, read in full here on John Shaqi.
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