an event. But reasons for and a parallel to his silence are not hard to find. If, as many authorities hold, the great Cnossian palace had fallen, and the Cretan civilisation had sunk into decadence before the Achaeans arrived in the island,[5] they might meet with but slight resistance; great feats of heroism might not claim record. Again, the Norman Conquest gave rise to no Anglo-Norman epic. The invaders already possessed their epic tradition, that of Charlemagne, borrowed from "the Franks of France," while they presently, in the twelfth century, took up and expanded the epic traditions of the Welsh and Bretons, in the Arthurian cycles of romances. In the same way, for all that we know, the Achaean epics may have a basis in the traditions of the earlier and more civilised populations usually styled "Pelasgians." The manners, however, of the Iliad and Odyssey are Achaean, as the manners of the French romances of Arthur are not Celtic, but feudal and chivalrous.[6] Homer, in any case, conceives of his own race as at home in Greece and Crete, and he has nothing to say about Greek settlements on the Asiatic coast. To him the inhabitants of Miletus are not the Ionian colonists. "Carians uncouth of speech" dwelt by the banks of the Meander, and the Asiatic allies of Priam are people "scattered, of diverse tongues."[7] For purposes of convenience all parties to the war understand each other's speech.[8]
In Odyssey, xix. 172–177, Homer gives an account of populous Crete, with ninety cities, and a mingling of various tongues, "therein are Achaeans, and True Cretans high of heart, and Cydonians, and Dorians in their three divisions, and noble Pelasgians." Did they vary in language, or in dialect and accent merely? We cannot know, we cannot be sure that "True Cretans" were the pre-existing Aegeans. The Cydonians dwelt beside the Jardanus; Jardanus is also a river-name in Elis. Mr. Leaf thinks of the Semitic yârad, "to flow" (Jordan), but we have other such river-names, Yarrow, and the Australian Yarra Yarra; the word may be onomatopoeic, expressing the murmur of the water.
Homer, in any case, does not despise the Asiatic allies of Troy as "barbarous," does not think them alien wholly, as the poets of the Chansons de Geste regard the Saracens—worshippers of Mahound and Apollon. The Asians have the same gods and rites as his own people; Glaucus and Sarpedon are as good knights and live in precisely the same sort of polity as Aias or Achilles. Homer does not think of the strife as between Hellenes and Barbarians, that is a far later idea never interpolated into the Epics. All men are children of the Olympians.
It would appear that Homer sang before the northern invasion, usually called "Dorian," caused the Achaean and Ionian migrations from the Greek mainland, and the Greek settlements on the Asiatic coast (950–900 B.C.?). He never alludes to these events, but it may be said that he deliberately conceals them.
The account which Homer gives of the Achaean heroes and their realms is to be found in the Catalogue of the Ships in Book ii., a passage of three hundred lines. It is, perhaps, not very probable that this long list was usually recited at popular gatherings, and there is much dispute as to its date and purpose. We relegate to an appendix some remarks on the debated questions. Whether the Catalogue, or most of it, was part of the original Iliad or not, most of it was certainly composed at a time when the condition of prehistoric Greece was well known, when a lively tradition of its divisions still existed; moreover, it is the work of a poet, and Milton deemed it worthy of imitation in Paradise Lost.
The Catalogue was omitted from many manuscripts of the Iliad, probably because it was thought tedious reading. But to us there is poetry in the very names of "rocky Aulis," and "Mycalessus of the wide lawns," and "dove-haunted Thisbe," and "Lacedaemon lying low among the rifted hills." The author wrote "with his eye on the object," and the doves of Thisbe have survived many empires and religions, still floating round their old domains and uttering their changeless note.[9] "Pleasant Titaresius" still mingles his clear waters with the chalk-stained Peneius, and Celadon brawls as when Nestor heard its music.
The Catalogue enumerates all the Achaeans; Boeotians, Phocians, Minyans; light-armed Locrian slingers; the Abantes of Euboea, fond of close combat; the Arcadians, whose dialect was nearest akin to Homer's own language, but who take no part in the action; the Epeians of Elis, once foes of Nestor's Pylians; the far-off Aetolians, no longer led by golden-haired Meleager; the Cretans of Cnossos, under Idomeneus, grandson of Minos; his neighbour Tlepolemos of Rhodes, of the blood of Heracles, and probably a Dorian, though the Dorian name is not uttered; and some of the Sporades. There are, too, the south Thessalian Achaeans and Hellenes, the Myrmidons under Achilles; the men of Philoctetes, who lies sore hurt by a serpent's bite in the Isle of Lemnos; the descendants in Thessaly (not a Homeric name) of the Lapithae; the Pethraebians from "wintry Dodona"; the men of Argos and Tiryns of the mighty walls, under Diomede; the men of Lacedaemon under Menelaus; the Athenians (much suspected of interpolating their own mention), Odysseus of the western and Aias of the eastern isles (Ithaca and Salamis); and the host of Agamemnon, lord of Corinth, Sicyon, and Mycenae, himself the Over Lord of all.
Taking the Catalogue as it stands, the princes of whom Agamemnon of Mycenae was Over Lord come from the Greek mainland, from southern Thessaly and Aetolia to the southernmost point of the Morea, and the islands as far south and east as Crete, Carpathos, and Rhodes.
Now, as Agamemnon is the Over Lord, and Idomeneus of Cnossos in Crete is one of his thanes, so to speak, the poet clearly regards the Greek mainland as the centre of an Achaean dominion, of which Crete is a great dependency. He shows no idea that Crete had been the centre of another power, and the focus of another civilisation, held by a people who, since the age of stone weapons and implements, had developed its culture without interruption, and had sent its arts to the mainland of Greece. To Homer, Mycenae is the centre; the prince of Cnossos is a great feudatory of Agamemnon.
The poet is much interested in Crete; not only does the Iliad dwell on the prowess of Idomeneus the prince of Cnossos, and of Meriones; but in the feigned tales of Odysseus, when he returns to Ithaca, he represents himself as a Cretan adventurer. Homer avoids the Athenian tales about Cretan tyranny, about the Minotaur, and the prowess of Theseus in aid of the freedom of Athens. These things are not touched upon, as they certainly would have been had Athenians freely interpolated the poems. Homer entirely ignores all Athenian and Ionian traditions.[10]
This is not the place to ask whether Achaeans from the mainland were the men who took and sacked the palace of Cnossos in Crete about 1400 B.C., or whether the spoilers were "Pelasgians," that is, people living on the mainland in Cretan conditions of culture, driven from the mainland by the Achaean irruption; or whether the palace was wrecked during an internal revolution before the Achaeans came to the island.[11] Homer undeniably regards Idomeneus as an Achaean and a descendant of Minos; and Minos as a son of Zeus.[12] Rhadamanthus of his blood, is "the golden-haired," like Menelaus, Meleager, and some other heroes.[13] We are not here concerned with discrepant traditions, and with the idea that Minos is an Aegean as Pharaoh is an Egyptian name of kings in general. That may be so; Minos may have been a figure in Cretan legend before the Achaeans came thither; if so, they adopted him as their own. We are only stating Homer's view of the relations between Crete and the Achaean power on the mainland.
Homer's Catalogue of the Asian allies of Troy is brief, and contains only about sixty lines. There was a Trojan Catalogue in the Cypria, a lost Ionian epic poem of the eighth century, and as the Ionian colonists in Asia knew the country of their settlement well, it is likely to have been copious. Beginning, in Homer's Trojan Catalogue, with the Dardanians under Aeneas, who may be said to represent "the Orleans branch" of the Trojan royal family, we next hear of the Trojans under Pandarus, who, in fact, broke the solemn oaths of truce, and sealed the doom of Ilium (Iliad, iv.), but who somehow as "Sir Pandarus of Troy"