Here is the real difficulty. Cyclic poets of the eighth and seventh centuries had certainly lost touch with the Epic tradition; their poems make that an admitted fact. Yet poets of the eighth to seventh centuries were, by the theory, busily adding to and altering the ancient lays of the Iliad. How did theyabstain from the new or revived ideas, and from the new genreof romance? Are we to believe that one set of late Ionian poets—they who added to and altered the Iliad—were true to tradition, while another contemporary set of Ionian poets, the Cyclics—authors of new Epics on Homeric themes—are known to have quite lost touch with the Homeric taste, religion, and ritual? The reply will perhaps be a Cyclic poet said, "Here I am going to compose quite a new poem about the old heroes. I shall make them do and think and believe as I please, without reference to the evidence of the old poems." But, it will have to be added, the rhapsodists of 800-540 B.C., and the general editor of the latter date, thought, weare continuing an old set of lays, and we must be very careful in adhering to manners, customs, and beliefs as described by our predecessors. For instance, the old heroes had only bronze, no iron,—and then the rhapsodists forgot, and made iron a common commodity in the Iliad. Again, the rhapsodists knew that the ancient heroes had no corslets—the old lays, we learn, never spoke of corslets—but they made them wear corslets of much splendour. {Footnote: The reader must remember that the view of the late poets as careful adherents of tradition in usages and ideas only obtains sometimes; at others the critics declare that archaeological precision is notpreserved, and that the Ionic continuators introduced, for example, the military gear of their own period into a poem which represents much older weapons and equipments.} This theory does not help us. In an uncritical age poets could not discern that their genre of romance and religion was alien from that of Homer.

To return to the puzzle about the careful and precise continuators of the Iliad, as contrasted with their heedless contemporaries, the authors of the Cyclic poems. How "non-Homeric" the authors of these Cyclic poems were, before and after 660 B.C., we illustrate from examples of their left hand backslidings and right hand fallings off. They introduced (1) The Apotheosis of the Dioscuri, who in Homer ( Iliad, III. 243) are merely dead men ( Cypria). (2) Story of Iphigenia Cypria. (3) Story of Palamedes, who is killed when angling by Odysseus and Diomede (Cypria).

Homer's heroes never fish, except in stress of dire necessity, in the Odyssey, and Homer's own Diomede and Odysseus would never stoop to assassinate a companion when engaged in the contemplative man's recreation. We here see the heroes in late degraded form as on the Attic stage. (4) The Cyclics introduce Helen as daughter of Nemesis, and describe the flight of Nemesis from Zeus in various animal forms, a Mдrchen of a sort not popular with Homer; an Ionic Mдrchen, Mr. Leaf would say. There is nothing like this in the Iliad and Odyssey. (5) They call the son of Achilles, not Neoptolemus, as Homer does, but Pyrrhus. (6) They represent the Achaean army as obtaining supplies through three magically gifted maidens, who produce corn, wine, and oil at will, as in fairy tales. Another Ionic non-Achaean Mдrchen! They bring in ghosts of heroes dead and buried. Such ghosts, in Homer's opinion, were impossible if the dead had been cremated. All these non-Homeric absurdities, save the last, are from the Cypria, dated by Sir Richard Jebb about 776 B.C., long before the Odyssey was put into shape, namely, after 660 B. C. in his opinion. Yet the alleged late compiler of the Odyssey, in the seventh century, never wanders thus from the Homeric standard in taste. What a skilled archaeologist he must have been! The author of the Cypria knew the Iliad, {Footnote: Monro, Odyssey, vol. ii. p. 354.} but his knowledge could not keep him true to tradition. (7) In the AEthiopis (about 776 B.C.) men are made immortal after death, and are worshipped as heroes, an idea foreign to Iliad and Odyssey. (8) There is a savage ritual of purification from blood shed by a homicide (compare Eumenides, line 273). This is unheard of in Iliad and Odyssey, though familiar to Aeschylus. (9) Achilles, after death, is carried to the isle of Leuke. (10) The fate of Ilium, in the Cyclic Little Iliad, hangs on the Palladium, of which nothing is known in Iliador Odyssey. The Little Iliadis dated about 700 B.C. (11) The Nostoimentions Molossians, not named by Homer (which is a trifle); it also mentions the Asiatic city of Colophon, an Ionian colony, which is not a trivial self-betrayal on the part of the poet. He is dated about 750 B.C.

Thus, more than a century before the Odysseyreceived its final form, after 660 B.C., from the hands of one man (according to the theory), the other Ionian poets who attempted Epic were betraying themselves as non-Homeric on every hand. {Footnote: Monro, Odyssey, vol. ii. pp. 347-383.}

Our examples are but a few derived from the brief notices of the Cyclic poets' works, as mentioned in ancient literature; these poets probably, in fact, betrayed themselves constantly. But their contemporaries, the makers of late additions to the Odyssey, and the later mosaic worker who put it together, never betrayed themselves to anything like the fatal extent of anachronism exhibited by the Cyclic poets. How, if the true ancient tone, taste, manners, and religion were lost, as the Cyclic poets show that they were, did the contemporary Ionian poets or rhapsodists know and preserve the old manner?

The best face we can put on the matter is to say that all the Cyclic poets were recklessly independent of tradition, while all men who botched at the Iliadwere very learned, and very careful to maintain harmony in their pictures of life and manners, except when they introduced changes in burial, bride-price, houses, iron, greaves, and corslets, all of them things, by the theory, modern, and when they sang in modern grammar.

Yet despite this conscientiousness of theirs, most of the many authors of our Iliadand Odysseywere, by the theory, strolling irresponsible rhapsodists, like the later jongleursof the thirteenth and fourteenth centuries in mediaeval France. How could these strollers keep their modern Ionian ideas, or their primitive, recrudescent phases of belief, out of their lays, as far as they didkeep them out, while the contemporary authors of the Cypria, The Sack of Ilios, and other Cyclic poets were full of new ideas, legends, and beliefs, or primitive notions revived, and, save when revived, quite obviously late and quite un-Homeric in any case?

The difficulty is the greater if the Cyclic poems were long poems, with one author to each Epic. Such authors were obviously men of ambition; they produced serious works de longue haleine. It is from them that we should naturally expect conservative and studious adhesion to the traditional models. From casual strollers like the rhapsodists and chanters at festivals, we look for nothing of the sort. Theymight be expected to introduce great feats done by sergeants and privates, so to speak—men of the nameless {Greek: laos}, the host, the foot men—who in Homer are occasionally said to perish of disease or to fall under the rain of arrows, but are never distinguished by name. The strollers, it might be thought, would also be the very men to introduce fairy tales, freaks of primitive Ionian myth, discreditable anecdotes of the princely heroes, and references to the Ionian colonies.

But it is not so; the serious, laborious authors of the long Cyclic poems do such un-Homeric things as these; the gay, irresponsible strolling singers of a lay here and a lay there—lays now incorporated in the Iliadand Odyssey—scrupulously avoid such faults. They never even introduce a signet ring. These are difficulties in the theory of the Iliadas a patchwork by many hands, in many ages, which nobody explains; which, indeed, nobody seems to find difficult. Yet the difficulty is insuperable. Even if we take refuge with Wilamowitz in the idea that the Cyclic and Homeric poems were at first mere protoplasm of lays of many ages, and that they were all compiled, say in the sixth century, into so many narratives, we come no nearer to explaining why the tone, taste, and ideas of two such narratives—Illiad and Odyssey—are confessedly distinct from the tone, taste, and ideas of all the others. The Cyclic poems are certainly the production of a late and changed age? {Footnote: For what manner of audience, if not for readers, the Cyclic poems were composed is a mysterious question.} The Iliadis not in any degree—save perhaps in a few interpolated passages—touched by the influences of that late age. It is not a complex of the work of four incompatible centuries, as far as this point is concerned—the point of legend, religion, ritual, and conception of heroic character.