The Semitic origin of the word ‘ass’ rightly indicates the introduction of the species into Europe from Semitic Western Asia. As to the date of its arrival, all that can be told is that it was subsequent to the beginning of the bronze epoch. The pile-dwellers of Switzerland and North Italy were unacquainted with an animal fundamentally Oriental in its habitudes. Its reluctance, for instance, to cross the smallest streamlet attests the physical tradition of a desert home; and the white ass of Bagdad represents to this day, the fullest capabilities of the race.[[138]] Yet neither the ass nor the camel was included in the primitive Aryan fauna. For they could not have been known, still less domesticated, without being named, and the only widespread appellations borne by them are derived from Semitic sources. Evidently the loan of the words accompanied the transmission of the species. It is very difficult, in the face of this circumstance—as Dr. Schrader has pertinently observed[[139]]—to locate the Aryan cradle-land anywhere to the east of the Bosphorus.
[138]. Houghton, Trans. Society of Biblical Archæology, vol. v. p. 49.
[139]. Thier- und Pflanzen-Geographie, p. 17.
Dr. Virchow was struck, on his visit to the Troad, in 1879, with the similarity of the actual condition of the country to that described in the Iliad.[[140]] The inhabitants seem, in fact, during the long interval, to have halted in a transition-stage between pastoral and agricultural life, by far the larger proportion of the land supplying pasturage for ubiquitous multitudes of sheep, oxen, goats, horses, and asses. The sheep, however, belong to a variety assuredly of post-Homeric introduction, since the massive tails hampering their movements could not well have escaped characterisation in some emphatic Homeric epithet.
[140]. Beiträge zur Landeskunde der Troas; Berlin. Abhandlungen, 1879, p. 59.
Both short and long-horned cattle, all of a dark-brown colour, may now be seen grazing over the plain round Hissarlik, the latter probably resembling more closely than the former those with which Homer was acquainted. The oxen alike of the Iliad and Odyssey are ‘wine-coloured,’ ‘straight-horned,’ ‘broad-browed,’ and ‘sinuous-footed’; it was above all through the shuffle of their gait, indicated by the last adjective, and due to the peculiar structure of the hip-joint in the whole species, that the poet distinctively visualised them. ‘Lowing kine,’ and ‘bellowing bulls’ are occasionally heard of, chiefly—it is curious to remark—in later, or suspected portions of the Iliad. Sheep and goats, on the other hand, are often described as ‘bleating,’ and the cries of birds are called up at opportune moments; but Homer’s horses neither whinny nor neigh; his pigs refrain from grunting; his jackals do not howl; the tremendous roar of the lion nowhere resounds through his forests. Homeric wild beasts are, indeed, save in the vaguely-indicated case of one indeterminate specimen,[[141]] wholly dumb.
[141]. Iliad, x. 184.
Singularly enough, a peculiar sensitiveness to sound is displayed in the description of the Shield of Achilles. Yet plastic art is essentially silent. Even the perpetuated cry of the Laocoön detracts somewhat from the inherent serenity of marble. The metal-wrought creations of Hephæstus, however, not only live and move, but make themselves audible to a degree uncommon elsewhere in the poems. Thus, in one scene, or compartment, a lowing herd issues to the pasturing-grounds, where two lions seize from their midst, and devour, a loudly-bellowing bull, while nine barking, though frightened dogs are, by the herdsmen, vainly urged to a rescue. In the vintage-episode of the same series, delight in melodious beauty is almost as apparent as in the so-called ‘Homeric’ hymn to Hermes. The ‘Linus-song,’ ‘sweet even as desire,’ sung to the youthful grape-gatherers, sounds through the ages scarcely less sweet than
The liquid voice
Of pipes, that filled the clear air thrillingly,