d. This appears, from the connexion with Tyrtæus, to be a tradition of a matter older still than the one mentioned by Dieuchidas. But the two are in thorough accordance. For Dieuchidas does not say that Solon introduced the recitations of Homer, nor does he refer simply to the Panathenaica. He pretty clearly implies, that Solon did not begin the recitations, but that he reformed—(by bringing them into regular succession, which implies a fixed order of the songs)—what had been introduced already; while Lycurgus seems to supply the notice of the original introduction as having occurred before the time even of Tyrtæus.
4. The argument from the sculptures on the chest of Cypselus, representing subjects taken out of the Iliad, refers to a period nearly corresponding with that of Tyrtæus, as Cypselus was probably born about B. C. 700: and tends to show that the Iliad was famous in Corinth at that date.[63]
5. The next of the specific traditions is that relating to Pisistratus. To his agency it has been the fashion of late years to assign an exaggerated, or even an exclusive, importance. But whereas the testimonies respecting Lycurgus, Clisthenes, and Solon, (as well as the Athenian legislators before him,) are derived from authors probably, or certainly, of the fourth and fifth centuries B. C., we have none at all respecting Pisistratus earlier than the Augustan age.[64] Cicero says he first disposed the Homeric books in their present order; Pausanias,[65] that he collected them, διεσπασμένα τε καὶ ἀλλαχοῦ μνημονευόμενα; Josephus,[66] who, as we have seen, merely refers to the report that the Iliad was not committed to writing until after Homer’s time, is wrongly quoted[67] as a witness to the labours of Pisistratus. An ancient Scholion, recently discovered,[68] names four poets who worked under that prince. And it may be admitted, that the traditions respecting Pisistratus have this distinctive mark—that they seem to indicate the first accomplishment of a critical and literary task upon Homer’s text under the direct care and responsibility of the sovereign of the country.
Thus, the testimony concerning Pisistratus is of an order decidedly inferior to that which supports the earlier traditions, and cannot with propriety be put into the scale against them where they are in conflict with it; but there is no reason to reject the report that he fixed the particular order of the poems, which the law of Solon may have left open in some degree to the judgment of the reciters, although they were required by it to recite in order.
6. The dialogue, doubtfully ascribed to Plato under the name of Hipparchus, states that that sovereign—
τὰ Ὁμήρου πρῶτος ἐκόμισεν ἐς τὴν γῆν ταυτηνὶ, καὶ ἠνάγκασε τοὺς ῥαψῳδοὺς Παναθηναίοις ἐξ ὑπολήψεως ἐφεξῆς αὐτὰ διιέναι, ὥσπερ νῦν ἔτι οἵδε ποιοῦσι[69].
As regards the matter of original introduction, this passage contradicts all the foregoing ones. From the uncertainty who is its author, it must yield to them as of less authority. But this is not all. It is on the very face of it incredible: for it asserts, not that his poetry was first arranged or adjusted, but first brought into the country by Hipparchus. This is in itself absurd: and it is also directly in the teeth of the statement, which can hardly be a pure fiction, that Solon by law required the poems of Homer to be recited at the Panathenæa. As regards the succession in reciting, it is quite possible that he may have put the last hand to the work of his father.
However, the passage may deserve notice as a sign of the general belief that the care of the poems of Homer, and provision for their orderly publication in the only mode then possible, was a fit and usual part of the care of States and their rulers.
The whole mass of the passages which have been cited may be thought to bear primarily on the controversies which I have waived. But they have a most important, even if secondary, bearing upon the question, whether the received text is generally sound in its structure. The dangers which menaced that text of course were referable to two sources: the one, want of due care; and the other, falsification for a purpose: and it is necessary to bring into one view the whole positive evidence with respect to the preservation and publication of the Homeric poems, in order to estimate the amount both of these dangers and of the safeguards against them. I resume the prosecution of this task.