"The epic poems of Homer" Iliad "and" Odyssey. Epic poetry

Time and place of creation "Iliad" and "Odyssey"

All this indicates the generic character of the Homerovsky society, which is on the verge of decomposition and transition to the slave-owner. In the poems "Iliad" and "Odyssey" there is already evidenced by the property and social inequality, division into the "best" and "thin"; There is already slavery, which, however, maintains a patriarchal character: slaves - mainly shepherds and home servants, among which there are preferred: Such. EuroSlee, Nanny Odyssey; That shepherd Evmey, who acts quite independently, rather as a friend Odyssey than as a slave.

Trading in the company "Ilda" and "Odyssey" already exists, although it still takes the author's thoughts.

Consequently, the creator of the poems (personified in the personality of the legendary Homer) is a representative of Greek Society of VIII-VII centuries. BC er, located on the verge of the transition from the birthbroken life to the state.

The material culture described in Iliad and Odyssey convinces us in the same: the author is well familiar with the use of iron, although, striving for archaeis (especially in Iliad), indicates the bronze weapons of warriors.

The poems "Iliad" and "Odyssey" are written mainly at the Ionian dialect, with an admixture of the aoline forms. This means that the place of creating them was ion - the islands of the Aegean Sea or Small Asia. The lack of mentiones about the cities of Malaya Asia asia testifying to the archaeisatory aspirations of Homer, who hesitates an ancient Troy.

Composition "Iliad" and "Odyssey"

Homer sympathizes in the poem "Iliad" to the warriors of both warring parties, but the aggressiveness and the robberies of the Greeks are convicted. In the II Book of "Iliad", the poet invests in the mouth of the warrior TsRSIT speech, the brave greed of the warlords. Although the description of the appearance of Trysita indicates the desire of Homer to express his condemnation of his speeches, but these speeches are very convincing and essentially not refuted in the poem, it means that we can assume that they are consonant with the thoughts of the poet. This is all the more likely that the reproaches abandoned by Trysit Agamemnon are almost similar to the grave charges that Achille places him (Article 121), and the fact that Homer sympathizes the words of Achilla, no doubt causes.

Condemnation in the "Iliad" of the war, as we saw, sounds not only in the mouth of Trysit. Valorous Achill himself, going to return to the army to take revenge on the cartridge, says:

"Oh, you will die a female from the gods and from mortals, and with her
Anger hated, which and wise in fury introduces! "
(Il., KN. XVIII, Art. 107-108).

Obviously, if the glorification of the war and revenge was the goal of Homer, the action of "Iliad" would end with the killing of hector, as it was in one of the "kicking" poems. But the celebration of the victory of Achilla is not important for Homer, and his moral resolution of his anger.

Life in the presentation of the poems "Iliad" and "Odyssey" is so attractive that Achille, met by Odyssem in the kingdom of the dead, says that he would prefer the hard life of the reign of the reign over the souls of the dead in the underworld.

At the same time, when you need to act in the name of the glory of the Motherland or for the sake of close people, Heroes of Homer despise death. Conscious of his wrongness is that he dug out from participating in battles, Achilles says:

"Celebrated, I sit before the courts, the earth is useless burden"
(Il., KN. XVIII, Art. 104).

Humor's humanism, compassion for the human grief, admired by the internal advantages of man, courage, loyalty to the patriotic debt and mutual attachment of people reaches the brightest expression in the scene of the gestor farewell with Androma (Il., KN. VI, Art. 390-496).

Art features of "Iliad" and "Odyssey"

Images of Homer's heroes to some extent static, i.e., their characters are lit somewhat one-sided and remain unchanged from the beginning and to the end of the action of the poems "Iliad" and "Odyssey", although each character has its own face other than others: Vidness is emphasized in Odysse the mind, in Agamemnon - arrogance and power, in Paris - a lot, in Elena - beauty, in Penelope - the wisdom and consistency of his wife, in the Hector - the courage of the defender of his city and the mood of doom, as he should die, and his father and his father, and His son, and Troy herself.

One-sidedness in the image of heroes is due to the fact that most of them appear before us only in one environment - in battle, where all the features of their characters cannot appear. A certain exception is Ahill, as it is shown in relations with a friend, and in the battle with the enemy, and in a quarrel with Agamemnon, and in a conversation with the old man, and in other situations.

As for the development of character, it is still not available to "Iliad" and "Odyssey" and in general literature of the report of ancient Greece. Attempts to such an image we find only at the end of V c. BC e. In the tragedies of Euripid.

As for the image of the psychology of the heroes of "Iliad" and "Odyssey", their internal impulses, then we learn about them from their behavior and from their words; In addition, for the image of the movements of the soul, Homer uses a very peculiar reception: the intervention of the gods. For example, in the first Iliad book, when Achilles, being unable to delete an insult, takes out a sword to attack Agamemnon, someone from behind suddenly grabs him for the hair. Looking around, he sees Athena, the patroness of the tracks, which does not allow murder.

Details, details of the descriptions characteristic of "Iliad" and "Odyssey" are especially manifested in such a frequently used poetic technique, as a comparison: Homeric comparisons are sometimes so deployed that they turn into independent stories torn off from the main story. The material for comparison in poems is most often natural phenomena: animal and vegetable world, wind, rain, snow, etc.:

"He rushed like a lion Citizer, an alkaway long
Meat and blood, which, soul courageous aspire,
Wants to the death of sheep, in their infrequent ribbed break;
And, although in front of the feet of rustic shepherds,
With vigorous dogs and spears a herd of their deigners,
He, who did not know before, does not think to escape from the fence;
Hiding into the yard, kidnaps the sheep, or under blow
Falls the first, speck perfect from a mighty.
So rushed soul sarpedone like God "
(Il., KN. XII, Art. 299-307).

Sometimes epic comparisons of the poems "Iliad" and "Odyssey" are called upon to create an effect retardations, i.e., slowing down the stroke of the narrative by artistic retreat and distract the attention of listeners from the main topic.

"Iliad" and "Odyssey" relate to folklore and hyperbolas: in the XII book "Ilda" Hector, attacking the gate, throws such a stone in them, which two strongest husbands hardly lifted by levers. The voice of Achilla, running to rescue the body of the Patrole, sounds like a copper pipe, and so on.

The so-called epic reasons also testify about the song-folk origin: the so-called epic reasons also testify: individual poems are repeated completely or with small deviations, and such verses in Iliad and Odysheus have 9253; Thus, they make up the third part of the entire epic. Reints are widely used in oral folk art because they facilitate the singer improvisation. At the same time, reactions are moments of rest and weakening attention for students. Reversals facilitate the perception of hearing. For example, verse from Odyssey:

"I got up from the gloomy of mlauding with the fingers of purple EOS"
(Per. V. A. Zhukovsky).

swovo the attention of the rhape audience on the events of the next day, meaning that morning came.

Frequently repeated in the "Iliad" picture of the fall of the warrior on the battlefield is often poured into the formula with the difficulty rolling wood cargoes:

"He fell, how does oak fall or a silver poplar falls"
(Per. N. Galotich).

Sometimes the verbal formula is designed to cause an idea of \u200b\u200bthunder, which occurs when falling in metal armor of the body.

"He fell on the ground with the noise, and plunge on the dead armor"
(Per. N. Galotich).

When the gods in the poems of Homer argue among themselves, it happens that one speaks to another:

"What the words you flew out of the fence of the teeth!"
(Per. N. Galotich).

The narrative is carried out in an epically impassive tone: there are no signs of personal interest of Homer; Due to this, the impression of the objectivity of the presentation of events is created.

The abundance in "Iliade" and "Odyssey" household details creates the impression of the realism of the described paintings, but this is the so-called spontaneous, primitive realism.

The above quotes from the poems "Iliad" and "Odyssey" can give an idea of \u200b\u200bthe sound of a hexameter - a poetic size that gives a somewhat raised solemn style with an epic narration.

Translations for "Iliad" and "Odyssey" into Russian

In Russia, interest in Homer began to appear simultaneously with the assimilation of Byzantine culture and especially in the XVIII century, in the era of Russian classicism.

The first translations of "Iliad" and "Odyssey" to the Russian language appeared in the times of Catherine II: these were either prosaic translations, or poetic, but not hekzameric. In 1811, the first six books "Iliad" were published translated by E. Kostya by Alexandrian verse, which was considered a mandatory form of epic in the poetics of French classicism that prevailed at the time in Russian literature.

The full translation of "Iliad" into Russian, the size of the original was made by N. I. Glyndichich (1829), Odyssey - V. A. Zhukovsky (1849).

Gallet was able to transfer the heroic character of the narration of Homer, and some of his humor, but his translation is replete with Slavoms, so by the end of the XIX century. He began to seem too archaic. Therefore, the experiments of the Iliad translation were resumed; In 1896, a new translation of this poem was released, made by N. I. Minsk based on a more modern Russian language, and in 1949- Translation V. V. Veresaev, an even more simplified language.

comparison is a traditional admission of a folk song, serves as a Homer to introduce a material that is not located in the usual progress of the narrative: paintings of nature as a background - even early, therefore, in comparisons. + Comparisons from the life of the human rustle + draws a picture of social. Well-being in heroic times, in comparisons, unrighteous judges are manifested, a poor widow is a vessel, extracting scarest food for children.

comparisons reveal the pictures: the stopping battle of the two militarys at the fence of the Greek camp is pictured as a clash of neighbors arguing due to the metale on the community field. The roar of copies and swords is compared with the seclosheet's bedtop. The fight for the possession of the dead corpse is liken to the dispute of two lions because of the dead Lani. Sparkling weapons is compared with the glitter of a remote fire; The movement of warriors installed in places - with a stop on the rest of the flocks of migratory birds; The number of troops is compared with the moughters; The actions of the leaders arranging the detachments - with the troubles of shepherds separating their animals from others; Finally, Tsar Agamemenon is likened by the type of gods - Zeus and Poseidon, and when he acts ahead of the troops, - a mighty bull, going ahead. In all these comparisons, discovering the subtle observation of the poet, the surrounding reality has come to life.

Large, developed comparisons in "Iliad" about 182, in "Odyssey" - about 48.

Comparisons of Homer often contain detailed pictures of nature, and the pictures of nature are involved here for explaining, interpreting human life. Considering these comparisons, the unity of style and outlook is supposed. From the point of view of the worldview, Homeric comparisons proceed from the immediate state of the natural life; From the point of view of style, they are sobrases explaining human life, and the principle of its interpretation. From here it becomes clear why beautiful in nature has long been in such a, at first glance, a strange form - in the form of comparisons.

but)Meteorological comparisons . Very frequent in Homer comparing hostilities with phenomena meteorologicaland, above all, with winds, clouds, storms, thunderstorms and in general idleness. Examples

a) Meteorological comparisons: Military actions are compared with meteorological phenomena (winds, clouds, storms, thunderstorms, in general idle)

Also ... like winds of Borea and Marshmallow, which is distant from Frakia;

Immediately they flush, and black waves in the mountains

Up rise up ....

Also, the spirit burst into the chest of mednolate ahetans.

Examples of brief comparisons may be the following places: the hero is compared with storm and shower; movement of horses - with winds; dust - with clouds or stormy wind; Speech Odyssey - with a snowy storm; Weapons - with lightning and others.

b)Comparison with fire. The second large department of Homerovsky comparison refers to the field of fire, and homer especially loves fire in move,somewhere on the mountainor in the forest.Examples

How on top of the mountain fighter-fire cohaps

The forest is infinitely great and glow shacks far away,

So in the troops from wonderfully sparkling copper

Bloaching light reached the ether to the sky.

in)Comparisons with water elements . Let me read several comparisons from the third area, favorite from Homer. This is sphere water Elementand especially the sea. Strong, energetic, very dynamic images. Examples

Got up, the people swayed as huge sea waves

Ponta Ikar ...

d)Numerous and diverse in Homer comparison with light phenomena . So, Athena and Domed appear like stars. Achille appears in the form of all the autumn star, and Achille's spear also shines like an evening star. There are comparisons from the field of different phenomena on ground surface . This is a luxurious comparison of the hector with a mountain collar, with a drop of huge stone from the rock due to the erosion.

e) comparisons with the earth's surface: Hector \u003d Mountain collas.

(e) Comparisons with plants: (battle \u003d harvest or sowing damn).

In Lit-Re, noted: Homer almost does not know the colors. But many comparisons with trees: Hector falls into dust, as an oak under the lightning strike.

The result: There is no animation of nature, the pictures of nature are simply from a number of cases of natural life (forest fire, storms).

Odyssey lives more subjective spirit \u003d\u003e few comparisons, they are weakerly designed (the comparison is too objectivable, too real.

Homer sought to create a large-scale epic work, a cat. It is impossible without comparison, as it were, he did not describe the scenes.

Finally, very numerous, rich and luxurious comparisons from animal Mira . Here they appear horses, dogs, donkeys, trees, wolves, eagles, but above all - lions, etc. Zoomorphic comparisons occupy an outstanding place in Homer; It is in these comparisons that the very spontaneous-demonic character that is the residue of an old demonology manifested most of all. These comparisons paint the most common attack of the predatory and strong beast on the meek and weak, toughness and devouring the latter. This picture is completely ordinary and is constant in Homer, which becomes almost a scheme, a schematic of several times even in lexical and phraseological terms. If in the region of inanimate nature, catastrophic phenomena play a major role, then in the area of \u200b\u200bzoomorphic comparisons, the main role belongs to a predatory attack and an allchy devouring.

In il. The Diomed, who comes into battle with the Trojans, is compared with Lvom, which breaks into a peaceful flock of sheep and wounded slightly shepherd, becomes even more angry, makes itching the shepherd itself and covers the entire ground with the corpses of the sheep confused.

14. Mythology and reality in the "Odyssey" Gomera._composition "Odyssey".

Odyssey - the era of the formation of antique socio-societies of the formation, expresses the ideology of the ancient Ionian military-landowner. Aristocracy reborn to trade and slave. Plutocracy. Therefore, in one Less cultural life, more military feudal ideology, time drop in royal power in Greek community and the beginning of the development of trade and navigation

Odyssey is already another hero, not the warrior of the Illiad, the interest in foreign land, to everyday life of the small people (they went for minerals, they should have worn, they were not worn, they are interested in Os-in cyclops, elements of life, very indicative).

Many mythological motives. The fate of Odyssey constantly participates gods. Mythology "O." Starts with the Council of the Gods. Athena convinces Zeus that it is necessary to free O.Ya. Zeus speaks of the anger of Poseidon. Hermes on the orders of Athens flies to free Od.Yu. Athena during the whole poem patronizes OD.Yu. She accompanies him everywhere, turning into a swallow. A. is in the form of an elder to Telemakhu, encouraging it to equip an expedition for the search for his father and sends backway wind. Athena in the image of Diamanta's daughter is Navika and asks it to go to the seashore. The goddess inspires (Divine suggestion) in the courage. Athena extends the night for O. and Penelope. Hermes saves O. from Char Kirki. In addition, various mythological creatures are present in Odysse: cyclops, sirens, skill, charibda, etc.

Composition: more complicated than oriad. In Iliad plot in linear sequence. In Odyssey, the narrative begins in the middle of the action, and the reader lets the previous events only later from Odyssey's stories. The central role of the main character is increasing sharp than in Iliad, where Ahill was indifferent to military actions. Almost all episodes of odyssey wanderings have fabulous parallels. The very narration of the first person is characteristic of this genre. There is a "song" theory, on the basis of which Odyssey was created from stitching several songs. The theory of Kirchhoff is much more common - Odyssey - the processing of "small epic" (televochia, wanderings, the return of Odyssey, etc.). But this breaks the story about the return of her husband into parts, the integrity of which is witnessed by other stories in folklore. There is an analytical theory - the basis of the plot of Odysseas lay down one or more "the ranks", but it is very difficult to restore the progress of these pods. The theory of unitary - Odyssey is opposed to this theory, as a holistic work of one author who used many different sources.

15. Comparative analysis of the image of Odyssey in the poems of Homer and in the Dramaturgies of Sofokla ("Ayant", _ "Philoktt").

At Homer: Odyssey is predominantly suffered. ("Multi-trust") is very chiter and calculating (chooses from the cave under the brush branches, sails past a siren). Patriot, hotly loves his homeland and his wife Penelope. (Nights spent from Calypso, and in the afternoon I cried on the shore about my homeland). An calculating owner (arriving at the ITACK, begins to recalculate the gifts of Feakov). At the same time, extremely cruel: harsh and ruthlessly straightens with the grooms in his house (the sideline of lawfully praits about mercy, but he kills him), brutally spreads with incorrect servants.

As a result: the deepest patriot, brave warrior, sufferer, diplomat, merchant, entrepreneur, a quiet adventurer, a female

"Philoktt": "Lukovo" wise, solid and stubborn in achieving the goal, but not shy in the choice of funds. The sofist features are granted Odysse. IN "Ajax" Odyssey is derived as a representative of reasonable behavior.

"Ajax". The theme of this tragedy is awarded after the death of the Achilla of his armor, not Ajax, and Odyssey. In the seizure of madness cut the cattle at night, thinking that it was atrides and Odyssey - this madness was sent by Athena. When I understood my shame, killed myself. In the dispute with Agamemnon about the commitment of the funeral rite of Odyssey offered his assistance to Tevkru, Brother Unfortunate. 2 conflicts: between the power of God and the dependence of him and the conflict between the low and noble gods. The conflict is permitted in the dispute with the odyssemia, in which noble feelings triumph.

Philoktt: "Philoktt" deploys an antithesis between the sly "wisdom" and honest directness. The first start representative is the classic "sly" of the Greek mythology Odyssey; The second is embodied in the neopolmem, the young son of Achilla. The rivers, on the advice of Odyssey, landed him sleeping in Lemnos, where he lived in full solitude, extracting himself to be saturated with a bow. The tragedy is built on a collision of three characters: solid and persistent in achieving the goal, but not hesitating in the choice of funds to the Odyssey opposes, on the one hand, the son of Achilla, open and straight like his father, but inexperienced and drought by the thirst for glory, and on the other, - It is equally straightforward phylotyt that feeds the irreconcilable hatred of the once deceived His Greek rati. Hercules onion owner can not be taken by force; Odyssey expects to capture phylotte fraudulently, using an atocature for this purpose that has recently arrived under the Troy and personally, Philoktteu of the Unknown. The young man who is contracted by any deception, first gives himself to the desecrated persuasion of Odyssey, skillfully playing his desire for glory, acquires the trust of phyloctta, and that during the seizure of the disease gives the onion to neoplace. The sofist features are granted Odysse. The anti-phissic orientation also has the main antithe tragedy, which emphasizes the superiority of "natural" good qualities over the "wisdom".

In Ajax, Odyssey was derived as a representative of reasonable behavior - a change in position with time, strengthening the conservatism of the position.

16. The motives of social utopia in the "Odyssey" of Homer.

The area of \u200b\u200bfabulous and wonderful. In 5, the gods are sent by Hermes to Calypso (O-B, who reminds Greek ideas about death.) Calypso reluctantly releases him, Odyssey goes on the sea on the raft. Save, thanks to the wonderful intervention of the Goddess of Levkofa, from the storm raised by Poseidon, Odyssey floats to the shore about. Scelia, where the happy people live - Feaaki, navigaters with fabulous ships, fast, "like light wings il thoughts," not needed in the steering wheel and understanding the thoughts of their ships.

The picture of the happy life of Feaaks is very curious. There is reason to think that on the original meaning of the Myth Feaaki - Warmers of death, carriers in the kingdom of the dead, but this mythological meaning in the "Odyssey" is already forgotten, and deathpads are replaced by the fabulous "wealthy" people of navigators, leading peaceful and magnificent lifestyles in which , Along with the features of life of the commercial cities of Ionia VIII - VII centuries, you can also see the memories of the era of the power of Crete.

(By loss):

In the image of Feakov, the ancient rudiments of the human circle are primarily the matriarchy. The actual ruler of Feaakov is not the king of alkina, but his wife Areta,

Which is also his native niece and whom the people honor "as God." With a request for the shelter Odyssey is not addressed to Alkino, but to the archet, and this warns the Odyssey itself for nothing and even Athena. Being smart and affectionate, she resolves disputes even and husbands. She passes all gifts collected for Odyssey. She considers Odyssey personally to his guest. It cannot be objected to it, and in comparison with her alkina is executive. During a farewell to Feiaki Odyssey gives the cup with wine not alkino, but again the arrow and wishes her to be happy with his people, children and king alkino.

Formally, the country's ruler is King Alkina, and he also worship "as God", however, and in the formal relationship, Alkino's power is extremely limited, since it consists of a large Council of elders, who even manage themselves. These elders are all the time called "leaders" and "advisers" and even "kings-sopponostess". Alquina directly says that his island is controlled by the 12th kings, and he himself is the 13th.

Feaaki are in direct and direct communication with the gods, and the gods are to them in their own form. When Feaaki bring them hecatoes, the gods sit down with them.

Moving their ships with the help of cheerful, Feaaki still gives direction to them exclusively with their thoughts; They mentally ordered their ships to move in one direction or another, and those move. In addition, on very greater product, spoil and permanent luxury indicates alkina himself:

We love with all my heart peers, dance dances, kifaru,

Baths are hot, shift clothes and soft bed.

There is something like filing from the population in favor of the king. When Alkina is going to generously award Odyssey, he intends to do this by collecting gifts from the people. This also includes hint of archer at the beerness of Feakov, when she advises Odyssey on the ship's ship to tie a chest with gifts that he did not fail immediately. Thiefs can not be in the generic community, where all its own.

The epic poems of Homer "Iliad" and "Odyssey" are the first monuments of the ancient Greek literature known to us. They were created in the first third of 1 millennia to our era. Of course, they could not belong to Peru only one author (Homer) and appear suddenly, as the result of individual creativity. If these ingenious works are compiled by one poet, which is considered to be called Homer, this work was based on the centuries-old work of the Greek people. It was not by chance that in the poems of Homer, a wide variety of periods of historical development of the ancient Greeks were reflected.
In principle, the Gomerov Epos describes the community-generic organization of society. But that period is depicted in poems, very far from the real community-generic collectivism of the ancients. In the Homer Epos, there are already signs of a very developed private property, private initiative in the framework of generic organizations and slavery. True, slaves fulfill only the work of shepherds and home servants. But, if slavery is still a patriarchal character in "Odysse", then the degree of exploitation of slaves increases significantly.
Based on the foregoing, we note that the Homer's poems are written not just an epic style, which reflects the community-generic formation, but its later species - free or mixed epic style. Unlike earlier, strict epic style, free style reflects the period of the origin of private property, performances on the scene of a separate personality, the truth, not quite still toured from the generic community, but the independent hero already conscious. This hero often acts on its initiative and sometimes even enters into a fight with the gods, as a Diomed, who wounded Aphrodite and the very god of war of Ares. Diomed, as a hero of the late, free epic style, is ready to fight even with Apollo, and Odyssey in the second Homer's poem ("Odyssey", a song 5) is not inferior to the god of the sea Poseidon.
Sometimes the independence of the Homer Hero instills fear in the gods. In this regard, when the gods are consulted among themselves, discussing the further fate of Tsar Itaka Odyssey, Zeus admits that people in vain accuse the gods in their misfortunes. If they had not come against the fate, they would escape many troubles. Concerned about the excessive independence of Odyssey, the gods decide to return it to Itha, otherwise he will return there regardless of the will of the gods, thanks to its own perseverance and purposefulness.
Such behavior of the hero, of course, is not allowed in a strict epic style, which reflected the life of ancient Greek society, soldered into a monolithic team. This team subordinated to himself decisively with all personal life, and a separate human life was considered only in connection with the activities of the whole team. A separate human life itself did not imagine any value - the value had only the whole team as a whole; He, as it were, was a single organism, and human lives were included in the rights of cells. The same structure of relations exists in some phenomena of wildlife, for example, in an anthill. In the 20th century, a vivid example of a similar organization of society is the Stalinist Totalitarian State.
There is a whole cycle of myths associated with Trojan events. The poems "Iliad" and "Odyssey" are only small parts of this extensive Trojan mythology. In Iliad, only a few episodes are described, occupying 51 days from a decade of the siege of the Greeks of the Troy of the Troy. This is the rules of the genre - a heroic poem. "Odyssey", as they say researchers of the Homerovsky epic, at first, apparently did not enter the Trojan cycle and was just an analogy of the adventurous-fabulous mythology of argonauts. Recessing myths about Odyssey, Homer introduced into a purely adventure story the idea of \u200b\u200breturning a hero to their homeland from under the walls of the defeated orion. Thus, the main thought of "Odyssey" is the Hero's love to his homeland, to his wife, to a family hearth, which is defiled by the obsessive grooms who seek Penelope's hands.
It is not by chance that these motifs of heroism and love to their homeland prevail in poems. The fact is that the Homerovsky epic was in time when severe once Greece was ruined by the tribes of Dorians invaded from the North of the North of the Balkan Peninsula. By creating your poems that the ancient songs, myths and historical legends, Homer wanted to remind the aheitsa (there was no uniform names of the Greek people) about their glorious heroic past, to awaken in them the love of his homeland and will to resist the invaders. Therefore, the generation of ancient heroes, in contrast to its enslaved by the Dorians, contemporaries, Homer is submitted by all sorts of virtues, a worthy model for imitation.
Here, it is possible to recall the "Word about Igor's regiment" of the Unknown Old Russian author, which was preceded by his work on the eve of the Mongol-Tatar invasion on his work on the eve of the Mongol-Tatar invasion.

2. Gods.

In the Homer Epos, the myth and historical reality, however, and fabulous fiction. It is not by chance that at first was doubtted even the reality of the existence in the ancient times the city of Troy himself. But here, in the 70s of the last century, German Archaeologist-enthusiast Heinrich Schliman discovered the ruins of the ancient city of orova (Troy) in the north of the Malaya Asia.
Based on the ancient Greek myths, "Iliad" and "Odyssey" densely inhabited by the Olympic gods. Olympus and land live in close unity. In the poems of Homer in mythological form, the world appears as a single generic community led by Zeus.
The ancient Greeks believed that the immortal celersists were fully endowed with the entire gamut of human feelings that they interfere with the heroes, determine the fate of those who live on Earth.
In addition to the advantages, the gods possess all human disadvantages that Homer ruthlessly rinsing. They are as well as people quarrel, they are worried, even more than once again. The gods are evil and vertigany. But they are concerned about the fate of the heroes fading under the walls. After all, according to the ideas of the ancient Greeks, generation of heroes lead their own genus from Zeus, who is referred to as Homer "Father of People and Gods", or from His Rabor. Some heroes are connected with the gods of direct relationship. As, for example, Achilles is the son of the marine goddess Fetida, the Lycian king Sarpedon, who is the son of Zeus and the Goddess of Europe and others.
Epos always deals with so significant for the fate of entire people with events that, the will of the ancient singers - the nucleons (Homer considered the blind singer, too, the gods will necessarily interfere with these events. Obviously, the cosmic character and events served as the cause of the Trojan War. The myth describes that the land burdened by a huge human population turned to Zeus with a request to reduce the human race. Zeus injured the land request and untied the war between the Greeks and the Trojans. The reason for the war was the abduction of the wife of the Spartan Tsar Menel Elena Troyansky Tsarevich Paris. The angry Meneli, along with his brother Agamemnon collects the Greek army and sail on the ships to Ilion.
In Iliad and "Odyssey" as well as in the whole Trojan cycle, the gods are directly involved in the events. The motivation of all personal actions of heroes is coming from the outside. What, for example, was the cause of Achilla anger on the leader of the Greek troops of Agamemnon? Anger, which brought to the Ahaeis, as stated in the poem: "suffering without a score" and "a lot of strong shower of heroes" sent to Aida. The prisoner, the daughter of the priest of Christ, Brispeid, which Agamemenon took away from Achilla, served as a quarrel of two heroes. He, by the will of Apollo, was forced to give her Father of Apollo. Thus, the gove of the Quarrel of Achille with Agamemnon was God Apollo, who enjoyed the evil sickness to the Ahaseyan sickness and thus forced Agamemnon to return the priests of the Apollo temple in Three Christ the daughter captured from him.
Also, the will of the gods are motivated by other actions of heroes and life situations. When, for example, during the Menneli fight grabbed Paris behind the helmet and dragged the Ahetsev camp ("Iliad", a song 3), the goddess of Aphrodite broke the helmet belt and freed Paris. But the belt could break in itself, without interference with the patroneal Paris Aphrodites.
The gods will not only interfere with human life, they direct the thoughts and actions of people in the direction they need. Due to the decision of the gods and direct exposure to Athena Paldala, sympathizing with the Aheitsam, Trojan Pardar shoots the Greek camp, treacherously violating the recently concluded truce. When Trojan Priam is to a tent to Achillu asking the body of his son Hector, he goes to meet him. Here, all actions of Priama and Achille are inspired by the gods.
However, the Homer Epos should not be understood so that the person itself does not mean anything in itself, and the gods are true heroes. Homer was unlikely to understand mythology literally and represented a man just miserable to the toy of the gods. Without a doubt, Homer first put forward heroes-people in his poems, and his gods are only a generalization of human feelings and actions. And if we read about how the deity has invested in a particular hero of any act, then it should be understood that this act is the result of a person's own decision. But the solution is so subconsciously came to him in the head, that even the hero himself considers it to be divine predestination. And at least a strict epic style implies that all the thoughts, feelings and acts of a person are inspired by the gods, Homer on this strict epic base leads infinitely a variety of types of relationships of heroes with gods. There is also a complete subordination of the man of the divine will, and the harmonious association of Divine and Human Will, and the rude attack of a person on a particular Olympic God.
In Homer's poems, there is almost no episode where the gods would not have been acting, which are the main perpetrators of the events in the life of heroes. The gods will be entrited with each other as well as Ahaeis with the Trojans, divided into two camps. Trojans are constantly patronized by Apollo, Ares, Aphrodite, Aheitsa - Athena Pallada, Zeus Hera's wife, Fetida. This happens not by chance. The fact is that in the Trojan mythology of the ancient Greeks, the complex process of mutual assimilation of the cultures of the Balkan and Maja Greeks occurred at that time. As a result of this assimilation, gods appeared in the Pantheon of the Olympic Deities, asia, asian origin. This is Apollo, Artemis, Ares, Aphrodite, constantly sympathetic to the Trojans. When Zeus permits the gods to enter into war, they all immediately become on the side of the defenders of orone. It is natural for the psychology of the ancients. After all, according to their concepts, the gods are also members of their generic communities and obey the requirements of community ethics, which, above all, obliges to protect their homeland.

Homer is very often laughing at the gods. Even the famous battle of the gods he draws not in heroic, but rather, in humorous one. And indeed, is it possible to seriously perceive a similar battle of the gods when Apollo and Poseidon so smoked sushi and the sea that already
"In horror came under the land of Aid, the Lord of the Lord,
In horror from the throne, he jumped and cried loudly to top
Lone of the Earth is not spun Poseidon, the Earth is a stroller ... "
Common reaches the degree of burlesque when the sublime is depicted as lowlands. In the burler style style, Homer almost always describes the scenes occurring on the Olympus. His gods have most part and laugh. As an example, you can cite the first song "Iliad", where the married jealousy is outlined. Zeus intends to beat his jealous spouse, and the Krivo-legged Ghefesta laughs the pouring gods, staining with the wines of the house.
Strong in Homer's poems and satirical motifs. So, the cyclops in the poem "Odyssey" are depicted as a caricature and satire on people living without any laws. Satirichny and images of some gods and heroes. And although humorous and satirical trends are just a touch in a diverse palette of shades, which Homer outlines gods and heroes, it was for it that he got at one time from criticism. Already at that time, Homer cried some contemporaries from the point of view of religion and morality. Many ancient Greeks corded how it seemed to them, the frivolity, with whom Homer put his gods and heroes almost all human weaknesses and vices. Pythagoreans and Offics performed the main murrets of the blind singer. Along with them, the works of Homer Xenofan critically assessed. He wrote: "Everything that people have dishonest and shameful, he wrote Homer and Hesiod's gods: theft, adultery and mutual deception." Plato also considered the Homer's myths about the gods with just a thin lie, and Herclite, in general, called for expelling Homer from public assemblies and even punish them!
Alas, this is probably the fate of all geniuses, from the century a century justifying the statement that "there is no prophet in his fatherland." Jews did not accept Christ, in Russia burned on the fire of the Avvakum Protopopa, but what to go far, in the 20th century, in our country, it was expelled abroad or planted behind the bars not one prophet. At least the same Solzhenitsyn.
But we will not thicken the paint, Homer, of course, were admirers. They considered his poems by the middle-day wisdom, rewritten and memorized them by heart. Homer they perceived as an ideal and sample to imitate. Under the influence of Homer, Roman heroic poetry was developed, in particular, Vergil's poetry. However, it is not yet known anyone who won the top, be in those times of book publishing like our. I am afraid that "Iliad" and "Odyssey" would not printed, and if they were printed, then, for sure, with large bills. But Homer, fortunately, had a different way out - he sang his poems. (Like Vysotsky in our time).

4. Heroes

If the gods at Homer, as already noted above, carry all the features of ordinary people and poet, sometimes, decreases in the description of the activities of the gods to sarcasm (as if justifying the famous statement, that from the great to funny - one step), then some heroes He, equally, gives the devils of the gods. That is the Achilles, born from the goddess of Fetold, invulnerable for arrows and copies, the armor whom God HEFEST makes himself. Achilles and himself like God. From one of his cry in horror, the troops of the Trojans appear. And what is the description of the Achilles spear:
"He was hard
Strong, huge one ash; His none of the Ahetans
Could not move; Only one Achilles looked without difficulty ... "
Of course, the Homer's poems created in the era of community-generated decomposition show the heroes in their new capacity. These are no longer heroes of strict epic style. In the characters of the Homeric heroes, the features of subjectivism, instability, stockiness are crucial. The psychology of some of them is quite caprip. The same Achille, no doubt, which is the main character of "Iliad", throughout the poem only knows that it hurts, because of the trifles, harms its own compatriots, and when Hector kills his best friend of Patrole, falls into existing rabies. He puts her personal interests above the patriotic debt. Although according to the laws of a strict epic style, he had to fight not because of revenge, but due to debt in front of the homeland.
Achilles, probably, one of the most difficult shapes of all the ancient literature. In the character, he was challenged all the contradictions of the transitional from the community-generic form of society to the slavement of the era. In Achille, along with the insane cruelty and thirst for revenge, there are also tender feelings for Patrole, and to her mother, goddess fetide. There is a significant scene in this regard, when Achilles cries, the end of his head on his mother's knees.
Unlike intente and cunning odyssey, Achilles straight and brave. Even knowing about his bitter fate to die young, he still takes this dangerous campaign to Ilion. Meanwhile, as already mentioned, this is the hero of the later epic, when the ideals of harsh heroism were already in the past, and in turn there was a capricious identity of the hero, very egoistic and nervous. Instead of the previous primitive collectivism on the scene, a separate person was published. It is - personality, and not just a hero, since, according to the laws of the tribal community, hero is obliged to be every man. Each man should have been brave to fight for his community, and the greatest shame was considered a cowardice on the battlefield.
But in view of the fact that the creativeness of Homer is the heroic mythology, the personality in his poems is still in a strong connection with his native and tribe, it represents a single whole with them. A different image of the person would be out of the epic and show a picture of later classic slavement.
Strictly observes the rules of community ethics Son of the Trojan Tsar Priam Hector. Unlike hysterical Achilla, he is strict, fearless and principled. The main goal is to fight for his homeland, for his people, for his wife Andromaha. Like Achille, he knows that he must die, protecting Troy, and nevertheless, openly goes into battle. Hector is a sample of an epic hero, almost devoid of any flaws.
Agamemenon, in contrast to the hector, is endowed with numerous vices. He is also a brave warrior, but at the same time a slightly accuracy, greedy and, so to speak, a morally unstable subject. Sometimes a coward and drunkard. Homer often tries to remake it, submit in the ironic perspective. Along with the Olympic gods, Homer is ironic over the heroes. And in general, "Iliad" can be interpreted as a satir at the Ahase kings, especially on Agamemnon and Achilla. Of course, the leader of Ahase residents Agamemnon is not so capricious and small as Achilles, because of the egoistic offense of which the Greeks suffered such large losses. It is largely important and honest, but still can not be considered as a classic hero of the epic. Agamemenon, in some way, to stay forever with the darling and laughing Olympic gods.
And finally, Odyssey, as they say, Homer, "in intelligence equal to God." Its image can not be understood simplified as the image of only a diplomat and practice, and even more so, a cunning and an adventurerist. The adventure of the image of Odyssey in the second Homer's poem would have a legitimate place, do not be in the hero of selfless love for his native hearth, "smoke of the land of the earth" and to Penelope standing on Ithaca. But it is impossible to miss the type and time of the creation of "Odyssey", that is, the period of decomposition of the family-tribal relations. In this regard, in the epic of Homer Will-Neils, some features of a new, emerging social device were also reflected, - slavery.
The synthesis of myth, fairy tales and genuine life led to one goal - creating the image of a new hero, which made the features necessary for the actual man of the development of new lands, the development of navigation, crafts, slavery and trade. It is not by chance that the appeal of Homer to a clearly adventurous adventure plot. In Odyssee, it was attracted primarily by the mind, enterprise, dexterity, patience and courage, everything was required for the hero of the newest times. Indeed, unlike the rest of the Ahase kings Odyssey also owns a carpentry ax, when it makes himself a raft, like a combat spear. People obey him not by order or law of the generic community, but by conviction in the superiority of his mind and life experience.
Of course, Odyssey is practiced and a hither. He gladly gets rich gifts from Feakov and on the advice of Athens Pallades, a patronage of the hero, hides these treasures in the cave. Once on Ithaca, he falls to his native land, but his head is full of inaccessible ideas at this moment, how to deal with the exclusive grooms.
But Odyssey is based on its sufferers. No wonder Homer constantly calls him "long-suffering." He is more suffered than even a sly, although the trick of Odyssey seems to be limitless. Not in vain in "Iliad", he often acts as a laserist, disguised himself making his way into the collapsed by the alkali. main reason The suffering of Odyssey is an insurmountable longing of the Motherland, which he cannot achieve the ability of circumstances. Gods are rapid against him: Poseidon, Eaola, Helios and even Zeus. Terrible monsters and cruel storms threaten the hero of death, but nothing can keep him craving for his native itha, the love of his father, his wife, son Telemakhu. Odyssey did not even hesitate in choosing when, in return, Nymph Calypso promised to give him immortality and eternal youth. Odyssey chooses full of adversity and dangers way home, to Itha. And, of course, it is badly linked to this gently loving husband and father the role of a bloodthirsty killer who mercilessly cracking with the grooms, filled with their corpses the entire palace. What you can do, Odyssey - the product of its brutal era, and the grooms would not spare it either, get the odysseas to their hands.

Summing up this, we note that the immortal creations of Homer had a huge impact on all subsequent world literature. It was strongly influenced by the Homer's poems on Roman literature. In general, the heroic epos is a historically legitarious stage in the artistic development of the world, which arose in the ancient and the Middle Ages on the decisive, turning stages in the fate of the peoples. Such ises besides the poems of Homer "Word about the regiment of Igor", Indian "Mahabharata" and "Ramayama", Icelandic sagas, legends on Nibelunga of the ancient Germans, Kyrgyz "Manas", Karelian-Finnish "Kalevala" and much more. As a stylization of such an epic poem, you can note "so spoke Zarathustra" Friedrich Nietzsche. From the works of the 20th century, as an epos, - without a doubt, Mikhail Sholokhov may be considered "Silent Don".
"Homer's creations are an excellent encyclopedia of antiquity," wrote the poet N. I. Galotich, who first translated in 1829 into Russian oriada. Gomemer's poems were enthusiastic, Belinsky, Gogol.
It did not lose the relevance of the Gomerov Epos and in our time - in the era of the crash of the patriarchal-communal Stalinist barren socialism and the origin of something new, still incomprehensible, but certainly the best. The times of thoughtless heroization, the so-called, glorious revolutionary past. The Pantheon "Kremlin Gods" was noticeably doused. A strict epic style in the description of our old victories and achievements changed the mixed style of criticism and satire. The law was the ancient: from the Great to Funny - one step. The main thing is not to break away from the homeland. After all, the way to the italy is so long.

III. Homerovsky Epos.

The poems of Homer "Iliad" and "Odyssey" were created in the first third of the I millennium BC. In the area of \u200b\u200bancient Greece, which was called ivo. The compilers of these poems were probably very much, but the artistic unity of the poems suggests some unknown one of the sole author, which remained in the memory of all the antiquity and the entire subsequent culture under the name of the blind and wise singer Homer.

1. Plot.

"Iliad" and "Odyssey" transmit only certain moments of Trojan mythology. Therefore, it is necessary as far as possible to familiarize yourself with Trojan mythology as a whole, to more clearly and more clearly allocate in it "Iliad" and "Odyssey."

a) Events to "Iliad".

In the Trojan mythology "Iliad" is preceded by a huge number of myths, which set forth in the special poem of "Cyprusa" Stasina Cyprus, not reached us. From these myths, we learn that the reasons for the Trojan War are related to space events. Troy was located in the north-western corner of Malaya Asia and was inhabited by the Frigian tribe. The war of the Greeks and Trojans, which is the content of Trojan mythology, was allegedly predetermined over.

They said that the land burdened with a huge human population turned to Zeus with a request to reduce the human race, and Zeus decided to begin the war between the Greeks and the Trojans. The earthly reason for this war was the abduction of the Spartan Queen Elena Troyansky Tsarevich Paris. One of the Greek kings (in thesalia), peads, married the sea princess fetide, the daughter of the sea god is spruce. (This leads us to the depths of the centuries, when this kind of marriage for primitive consciousness seemed to be fully reality.) At the wedding of Pelle and Fetis, there were all the gods, except Erides, the goddess of contention, intimidated so to take revenge on the gods and the goddesses of the Golden Apple with the inscription "beautiful." The myth narrate that Hera (wife Zeus), Athena Pallada (daughter Zeus, the Goddess of War and Crafts) and Aphrodite (also the daughter of Zeus, the Goddess of Love and Beauty, too, were the contenders for possession of this apple. And when the dispute of these three goddesses reached Zeus, he ordered to resolve this dispute to Paris, the son of the Trojan Tsar Priama. These mythological motives are very late origin. All three goddesses had a long mythological history and were presented in antiquity by severe beings. It is clear that the above mythological motives could only take place towards the end of the communal-generic formation, when it was also strengthened to know. About even later origin of this myth says the image of Paris. It turns out that a person already considers himself so strong and wise, he gone so far from primitive helplessness and from fear of demonic creatures, which can even create the court over the gods. Further development of myth only deepens this motive relative to the fearlessness of a man before the gods and demons: Paris awards an Aphrodite apple, and that helps him kidnap the Spartan Tsaritsa Elena. The myth emphasizes that Paris was the most beautiful man in Asia, and Elena is the most beautiful woman in Europe. These myths undoubtedly reflect the long-standing clashes of European Greeks, who were looking for for themselves enrichment by war with a population of Asia Minor, who had a high material culture by that time. The myth deactrates the irreparable history of old wars and idealizes the past; Understanding this in the future we will be very useful when analyzing the creativity of Homer as a whole.

The abduction of Elena plunges into a large longing her husband Menali. But here he stands on the scene Brother Meal, Agamemenon, one of the main actors "Iliad", the king of neighboring with Sparta Argos. According to his advice, the most famous kings and heroes with their squads are convened from all of Greece. They decide to sail to the shore of Malaya Asia, not far from which there was a Troy, attack the Trojans and return the stolen Elena. Among the intended kings and the heroes, the cune of the island of Itaca, and the young Achill, the son of Pelia and the fetis, were used with a special influence. A huge Greek fleet plant an army a few kilometers from Troy.

The Greeks arrange their camp here and attack Troy and on the allies living nearby. For nine years, war is conducted without a noticeable advantage of this or the other.

b) Events "Iliad".

"Iliad" covers the events of the tenth year of war, shortly before the fall of the Troy. But the very fall of the Troy in "Iliad" is not depicted. Events in it occupy only 51 days. However, the poem gives the most saturated image of military life. According to the events of these days (and there are a lot of them, the poem is overloaded) you can make a bright idea of \u200b\u200bthe then war at all.

Note the main line of the story. She ranks songs I, XI, XVI-XXII (all songs in "Iliad" and "Odyssey" on 24). This is the story about the anger of Achille and the consequences of this anger. Achilles, one of the most prominent leaders of the Greek army under Troy, was angry with the chosen commander of Agamemnon for the fact that he selected the Brisadian captivity from him. And he selected this captive Agamemnon because at the order of Apollon, he had to make his captive Chryside to return her father, Christ, the priest of Apollo under Troy. In the first songs, Achille's move is depicted with Agamemnon, the departure of Achilla from the field of battle, his appeal with complaints with the complaints of Mother Fetidis, which receives a promise from Zeus to shout for this Greek. Zeus does not fulfill his promise until the XI song, and the main line of the story in "Iliad" is restored only in it, where it is described that the Greeks carry serious defeat from the Trojans. But in the following songs (XII-XV), there is also no development. The main line of the narration is renewed only in the songs of XVI, where the favorite friend of Achille Patrole appears to the aid of the Grekam. He performs with the permission of Achilla and dies from the hand of the Visident Trojan Hero of Hector, the son of Priama. It forces Achilla to return to battles. In the XVIII song, hepesta is telling the god of a blacksmithful business, Hephaestus prepares a new weapon, and in the XIX songs - about the reconciliation of Achille with Agamemnon. In the XX songs, we read about the resumption of fights, in which the gods themselves now also participate, and in the songs of XXII - about the death of Hector from the hand of Achilla. Such is the main line of the story in "Iliad". A huge number of scenes is deployed around it, not at all developing the action, but extremely enriching it with numerous pictures of war. So, songs II-VII draw a number of fights, and the songs of the XII-XV - just a war with varying success for the Greeks and Trojans. The song VII speaks of some Military Failures of the Greeks, as a result of which Agamemnon (XI) Sail to Achillu Ambassadors to put up with a suggestion, to which he answers a sharp refusal. The songs of the XXIII-XXIV are narrated about the funeral of the dead heroes - Patrole and Hector. Finally, the song X is already considered the later insertion in "Iliad". She depicts a nightly trolation of Greek and Trojan heroes to the Trojan Plain for Intelligence.

Thus, reading and analyzing the songs of "Iliad", it is useful to proceed from such a separation of the poem: first I, XI, XVI-XXII songs, then II-VII, XII-XV and, finally, VIII-IX, XXIII-XXIV and X .

c) events after "Iliad".

These events were described in more detail in other poems dedicated to Trojan mythology. There were whole poems, we were not reached, which was the continuation of "Iliad". These are the poems "Ethiopide", "Small Iliad", "Troy's Fall", "Returns".

In these poems, a fight of Achille was depicted with Amazon Pentceylius, the allied of the Trojans, who came to their aid after death from the Arrow of Paris, which Apollo sent. It was said that at the proposal of Odyssey, the Greeks built a huge wooden horse, inside which the Greek Military Drug is located. The rest of the Greeks sat on the ships and, pretending that they sail home, hid for the nearest island. The Greek left on the shore near the Wooden Horse explained the Trojans imaginary cause of the horse's facilities is supposedly a gift of Athena Pallada. The Trojan's wooden horse was cast in Troy, and at night the Greeks came out of it, the gates opened and burned the city. There was a lot of different kind of epic narratives and the return of Greek leaders from under the Troy. On the return of the same from under Troy Odyssey narrated the poem called him by name and preserved to us.

d) Events "Odyssey".

Events in this poem are depicted not as scattered as in "Iliade", but still it is not devoid of difficulties when familiarizing the action described in it.

Any reader would expect that Odyssey's wanders will be sequentially sequentially one by one. The return of Odyssey home takes 10 years and, full of all adventures, creates a greater pinch of events. In fact, the first three years of the swimming of Odyssey are not depicted in the first songs of the poem, but in the songs of the IX-XII. And they are given in the form of the story of Odyssey on the feast at one king, to which he accidentally abandoned the storm. Here we learn that Odyssey has gotten a good one to the robber people, then to the underground kingdom.

In the center of the IX song - the famous episode with single-eyed cannon (cyclop) polyfem. This polyfem lock Odyssey and its satellites in the cave, from where they got up with great difficulty. Odyssey, overlooking the polyfem of wine, managed to leave him the only eye.

In X songs, Odyssey falls toward the wizard Kirk, and Kirk directs him to the underground world for the prophecy about his future. Song Xi - image of this underground world. In the XII song, after a number of terrible adventures, Odyssey falls on the island of Nymph Calypso, which keeps him for seven years.

The beginning of "Odyssey" just refers to the end of the stay of Odyssey at Calypso. Here it is reported about the decision of the gods to return Odyssey to their homeland and about the search for Odyssey by his son Telemach. These searches are described in the I-IV songs of the poem. V-VIII songs depict the stay of Odyssey after sailing from the Nymph Calypso and the terrible storm at sea, among the good-natured people of Feaaki, their good king alkinoa. There Odyssey talks about their wanders (songs of the IX-XII).

Starting from the XIII songs and until the end of the poem, a consistent and clear image of events is given. First, Feaaki deliver Odyssey on his native island Ithaca, where he settled by his own Evmey pigs, since his own house is besieged by the local king, for many years, reapplying Penelope, his wife, selflessly guarding the treasures of Odyssey and through different tricks delaying their marriage with These grooms. In the songs of the XVII-XX, Odyssey under the guise of a beggar penetrates from the Huts of the Emmey to his home for intelligence, everything is done in it, and in the XXI-XXIV songs, with the help of faithful servants, he interrupts all the grooms in the palace, hangs wrong maids, meets Penelope, Having expected it for 20 years, and still doubt the uprising against him on Ithaka. Odyssey is in the house of Odyssey, the happiness interrupted by the Ten-year-old war and its ten-year adventures.

2. Socio-historical basis.

Homerovsky Epos contains explicit instructions on the community-generic organization of the Company. However, the socio-historical period, which is depicted in Gomeov's poems far from naive and primitive community-generic collectivism, it is distinguished by all signs of a very developed private property and private initiative in the framework of generic organizations.

We read, for example: "One person gets satisfaction in some matters, and the other in others" (OD, XIV, 228). Epos has information about the existence of skillful masters, about fortunellers, doctors, carpenters and singers (OD., XVII, 382-385). According to these texts, it is already possible to judge a significant division of labor.

a) class.

The Homerovsk society is divided into class, since the estate is nothing but the community of people united by a particular public, professional sign on the basis of either legal advisions or customary law.

In Homer, we find constantly genealogy heroes, originating from Zeus, and collapse to the labor of honor (for example, the appeal of Odyssey to Telemakhu in OD., XXIV, 504-526). The leader is surrounded by Homer usually with his friend, which refers to him with reverence. The power of the leader is associated with a major land tenure (for example, the story of Odyssey under the guise of a wanderer about his wealth in Crete, OD., XIV, 208 and next). Frequent wars and all kinds of entrepreneurship also led to the enrichment of the most direct part of the generic community. Homer has a description of the magnificent things and palaces. His heroes can speak perfectly. They boast wealth, iron and copper, gold and silver, love abundant feasts.

b) trade, craft and land ownership.

An old generic community, based on natural economy, of course, did not trade, and the exchange was so primitive that he did not play the leading economic role. In the poems of Homer, there is a completely different situation.

Very often do mutual rich gifts, who are sometimes approaching that the exchange is called in the economy. This trade is mentioned in Epos extremely rarely. However, it already exists. Crafts are developing with trade. Handicrafts in Homer's poems are a lot: blacksmiths, carpenters, horsemen, pots, weaver, gold and silver masts of the master, as well as singers, lycari and heralds. The craft level here is extremely high. As we will see below, the poetic presentation is literally proven by the mention of various kinds of good-quality products, artistic weapons, clothes, decorations and homemade utensils.

Gomeov's demos is already beginning to break and alienate from native places. Even more displaced Metanastas (OD, XVIII, 357-375) and Bathers Feta, feeders who often fall into full cabling to the owner.

In the epic of Homer, we meet the interlayer of the beggars, which is already completely unthinkable in the generic community, where they are all their own. About their pitiful, insignificant and humiliating position can be judged by Iru, who stood on the threshold in front of the pouring grooms and claimed themselves alone and with whom Odyssey, also in the form of such a beggar, started a fight (OD, XVIII, 1 - but).

c) slaves.

Homer also speaks of slaves, however, still performing shepherds and home servants. There are also special slaves like Swinewa Evmey, who owns his own slave and its own home, and the nurse Odyssey Eurcrileia, whom all servants are subordinated. As the foresight of the impending class slavement, you can consider the wild violence of Odyssey with incorrect slaves - especially the execution of Melania's kalpas and hanging of the servants (OD., XXII, 471-477). Homer perfectly understands the unproductiveness of slave labor (OD., XVII, 320-323; here and further homer translated by V. V. Veresaev.)

If the authorities of the owner, the slave for him does not feel any, all of him disappears the hunt to work. Only half the price leaves a wide-time Zeus man who condemned to the slave days.

In Iliad, slavery is still a patriarchal character, while the alienation of a slave from Mr. is certainly growing. The number of male slaves is significantly inferior to the number of slave women. All artisans are free.

The work of the slave and the work of free in the epic differentiates very weakly. From the words of Tsarevna Svalkai (OD, VI, 58-65) it can be seen that she erases all his family, and not only on the king of Alquinoa, but also on the five sons with his wives. In the "Odyssey" it is described in detail about the skilling of the tide of the fleet and a marital bed. Odysseus, in addition, he himself was engaged in Pahota, and his father was not worse than his slaves, he worked together with them in the garden, and in the garden. In other words, the sharp separation between the dependent and free labor in the poems is not observed.

3. Organization of power.

a) Basilevs.

Homeric kings ("Basilees") have nothing to do with unlimited royal power. Reminder Odyssey about absolute one-chisty (Il., II, 203-206) There are the rarest relics of the former dominion. The power of the king is hereditary, but subject to the outstanding qualities of the applicant. Cases of election are rare, as follows from the speech of Telemach (OD, I, 394-396). The king is only a childbirth elder, priest and judge, but very indifferent. Its power is carried out mainly in the war. The power of the king is noticeably democratized, which indicates the strongest criticism of royal privileges. Such an episode with the order of Agamemnon is sent to the troops to their homeland and a sharp performance of Fercite (IL., II).

b) Boule.

The Council of Elders (Boule) belongs to administrative and judicial functions. It takes close relationship with bassilees, often reinforced by meal (OD., VIII, 95-99; IL., IX, 67-76), which gives these relationships a naive-primitive shade. The royal bullet is completely devoid of independence, when, for example, Achille, collects Agora without a council (Il., I, 54), it acts actively and can be hostile to and dramatically divided into parties (OD., III, 137-150). The behavior of televoha (OD, II, 11-14) indicates the emergence of the opposition to the Council.

c) Agora.

During the flourishing period of the generic community, the People's Assembly (Agora) was the main power and force in the entire community. In Homer's poems, its weakening, his passivity and inorganized character (II, 94-BU) can be noted. The main value of Agora is also in war. The National Assembly of Homer is rarely going and only in emergency cases. For example, it, like Boule, was not collected on Ithake for 20 years (OD, and, 25-34). With the People's Assembly, according to the old custom, they are considered, but it does not hear about the speakers, and it does not produce any vote. Its approval or disapproval of Agora expresses only general noise. Supreme Power In the image of Homer, as it may connect Ba-Silev, Boule and Agora. Here it is obvious to the fall in the royal power, the origin of the aristocratic republic and the features that will be characteristic of the future slave-ownership state.

In order to correctly present the socio-historical basis of Homer's poems, it is necessary to abandon abstract legal norms, and proceed from the life guys of the historical process, which is far from solid legislative norms and is based on optional and vague the usual right.

4. Progressive trends in Homer.

a) anti-war and anti-acrajratic trends.

In Homer's poems, as if the heroic of the aristocratic nobility, which he nevertheless depicts critically. Homer condemns war at all. It is this merciless and spontaneous war that personifies the Thracian God Ares. In the mouth of Zeus, a wonderful reward of Ares was invested, where the war is characterized by the faded epithets (Il., V, 888 and next). The war sharply rejects Hector (IX, 63 and next). People in the war are openly announced in Homer meaningless pawns in the hands of the gods (XVI, 688-691). Also slippages the condemnation of the very hike on Troy not only by Hector (XV, 720), but also Achille (IX, 327).

War is recognized only under the condition of its moral justification. And in this sense, all the sympathies of Homer on the side of the hector, who fights and dies for their homeland. Homer is very far from the idealization of the absolute lord characteristic of the ancient times with their "malicious mixes" and "strong-wing tyrin-fom". He is not averse to admire the wealth and luxury of the kings life, but in fact the Homeric kings are pretty a pretty democratic lifestyle. If Ahill criticizes Agamemnon (I, 148-171), Dieded - the same Agamemnon (IX, 36-39), Agamemenon - Diomeda (IV, 371 and next), Athena - Diomedia (V, 800-814) for personal flaws. , then Odyssey says (XIX, 182 and next): "The humiliation is no lord with her husband to seek reconciliation, which he himself insulted." He also belongs to the thought that the one who is leaning in battle (XI, 408-410) is noble. Thus, not being an opponent of the royal power, Homer thinks only under the condition of a large military-patriotic or moral and humanistic content. This is a combination of wealth, fame and luxury of royal life with high personal moral authority, maybe it is best depicted in Odyssey (XIX, 107-114 and next).

b) citizenship and feeling of the motherland.

Homer is an expressant of the idea of \u200b\u200bdeveloped and jealously protected citizenship. Polis puts above all. The person is unprofitable, incredible, non-agricultural causes unfortunately and contempt. Do not know the laws of civilian life cyclops in Odyssey (IX, 112 and next.) Consciously depicted in grotesque form. In the "Odyssey" stranger always wonders the question:

"Where is your city (polls) and where are your parents?" And "wild" is always interpreted as devoid of moral consciousness. They do not feel the need to help the wanderer and do not have a shame in front of the gods, that is, they are deprived of all of them, thanks to which a person creates social and political life. To this you need to add more and very sharp feeling of the homeland, which are permeated by both poems. The idea of \u200b\u200bthe return of the hero to their homeland, love for her and to his compatriots, despite the catastrophe, transformed the original fabulous adventurous plot of "Odyssey" and made it the work of humanism and high morality. Odyssey rejected the immortality, which he promised him Nymph Calypso, for the sake of returning to his poor Rocky Island (OD, VII, 255 and next). Menelai, after several years of heavy trials returned home, he cannot, without tears, thinking about his comrades - fellow countrymen, died away from their homeland. For hector, higher happiness is to fight and die for their homeland.

c) Transition from mythology to poetry.

Belief in gods and demons in the epic of Homer is completely real, but they are depicted in such a form that has little common with primitive and rude folk beliefs. Gera, Kirk and Calypso are lovely women in luxury toilets, drowning in pleasure and experiencing thin experiences. The image of a date of Zeus and Gera (Il., XIV), according to many researchers, is nothing but a parody of the old myth about the sacred marriage of the Earth and the sky. Very much parody and in the famous Battle of Gods (Il., XXI). The priests and the prophets, however, are found in Homer, but they hardly have any other meaning, except for purely plot, that is, in addition to artistic use. Regarding all the wonderful phenomena and signs, Hector says directly (Il., XII, 243): "The best of all is the best - only one thing: for the depreciation." Here we have the art mythology and religion, which has never been manifested in humanity with such force and expressiveness. The poetic image of Homer gods and demons corresponds to his heroic style. These are completely the same articual characters as the most ordinary characters and people. When Diomed (Il., V) hurt Aphrodite and Ares, then this wound is not different from injured and every mortal hero. When Aphrodite saves his pet Paris (Il., III), then its help is significantly different from the help of the most ordinary combat comrade. Homer's poems, thus, finally turn the EPOS into a purely poetic creation. That is why they are distinguished by a completely unique and unsurpassed ironically humorous image of a divine and heroic world characteristic of ascending civilization.

Homer's poems are characterized by another feature - the extreme development of epic admissions of things created by the hands of skillful masters. None of the EPOS in the world gave such loving in such sizes as "Iliad" and "Odyssey", where dozens of verses are dedicated to those or other works.

Heroes and their exploits are often sake of purely aesthetic, but not mythological purposes. In "Odyssey" (VIII, 577-580) it is said that the feats of the heroes of the Trojan War make sense only as the subject of songs for subsequent generations. In this regard, it is necessary to consider images of the Homer of Singers of Demodok and the Mayman to inspire Muses and adorning the solemn and festive life of the new heroes of the civilization period.

Finally, the aesthetic culture of the ascending humanism affected Homer as a tendency to adventurously fabulous plots, which are closer to primitive mythology in its immediate content. These plots have a frank target installation - to settle, admire and amuse the listener and aesthetically whimsical listener. The unfavorable samples of adventurous-fabulous mythology Homer gave in the "Odysse" (songs of the IX-XII). And although the adventurous-fabulous element has long been a place in the Greek epic, all the same high artistic development and its bizarre weave with the heroic epic is fully achieving ascending humanism.

Thus, anti-war, anti-acrajic, even antimifological and all kinds of secular trends and motives in Gomer's poems are completely obvious. We are constantly meeting with them and when reading the Homer itself, and when studying scientific literature about him.

d) outcome.

The ideology of Homer, leaving its roots in the community-generic formation, also reflects ascending civilization, ascending humanism, including criticizing the decomposing generic aristocracy, skeptical attitude to the gods and heroes, a completely defined anti-war tendency and in general humanism in morality, religion and aesthetics. Not alien to Homer also a critical approach to a new one, which is just a nascent slave-owned society.

The position of the Homerovsky epic, if you can say so - between two socio-historical formations. It made his ideology very deep and meaningful. Homer, on the one hand, still lives within the community-generic formation, it feels alive., Even admires her, but sees her ulcers; On the other hand, he begins to realize the disadvantages of the upcoming new formation. It put it as if higher than both formations and provided him with unprecedented success until the last days of the ancient world.

5. Artistic style.

A. Basic Epic Style Principle

To understand the basic principle of the epic style, it is necessary to remember, the reflection of which socio-historical epoch is it. As we know, this is a community-generic formation, that is, primitive and unintended collectivism. With this tremist collectivism there is no place to develop a separate personality. The whole life of a separate personality, and internal and external, filled with the lives of the team in which she is. But then, and every image of life, which creates a separate person, is necessarily characterized by one inherent property that needs to be called the primacy over individual.

But we already know that the Homer's poems are by no means not only by the generation of community-generic system. They received their final form in the period of the raised decomposition of his decomposition and almost on the most eve of the slave-owned building. Therefore, that epic artist whom we find in the poems has already known the complexity and depth of individual life, can not be absolutely disinterested and indifferent chronicle of life. He is beginning to appear personal passions, ripen political assessments, protest arises against different sides of his surrounding social life. Therefore, the style of the Homerovsky epic, as well as its socio-historical basis, and his ideology is also full of raging contradictions and very far from the children's and primitive perception of life, which was previously attributed to him by various researchers from the heights of European cultural development.

B. Strict (Early) Epic Style.

Early epic style can be called strict unlike later free, or mixed, style.

Its main features could be characterized as follows.

a) objectivity.

Ancient epic style gives an objective picture of peace and life, not entering deep into the psychology of actors and not chasing the details and details of the image. For a strict epic artist, it is only important for the development of reality that is performed outside and regardless of his personal consciousness, from his personal views and ratings. It is only important that this event actually happened, yet the rest has only secondary importance for an epic artist.

In an amazing way, all depicted in the epic is interpreted as an objective reality. There is no exactly anything fantastic, fictional or intentioned only because of the subjective whim of the poet. Even all the gods and demons, everything wonderful is depicted in Homer as if it really really existed. The imperturbable ongoing tone is characteristic of him for any fabulous plots. In strict epic style there are no fiction and fantasies.

b) real image of life.

Instead of in-depth psychology and instead of showing his own attitude to life, an epic artist focuses on the advantage on the outside of the events depicted. Hence, his constant love for visual, auditory and motor sensations, as a result of which the psychology of heroes often only have to guess, but the outer side turns out to be depicted with the greatest love.

c) traditional.

The objective nature of the epic image of life is accompanied in strict epic consciousness of constancy reigning laws in it. This is natural for the objective approach of the artist to reality. Who comes to reality objectively, he is not limited to one random phenomena, but tries to penetrate into the depths of these phenomena to learn their patterns.

However, a strict epic artist likes to observe the constancy of life phenomena not only in the present, but also in the past, so that for him, actually, even there is no particularly deep difference between the present and the past. It depicts the advantage of everything constant, sustainable, century-old, for everyone is obvious and admitted, by all recognized earlier, old, grandfather and in the present for all compulsory. Without this principal traditionality, the National Epos loses its strict folk style and ceases to be an epic in his own sense.

d) monumentality.

It goes without saying that all the above features of a strict epic style cannot but do its magnificent, slow, devoid of bustle, important, power. The wide coverage of this and past makes the epic poetry of an elevated, solemn, far from the subjective whim of the poet, who considers itself a minor and non-essential phenomenon in comparison with the magnificent and nationwide past. This deliberately exhibited insignificance of the artist before a grand wide folk life turns his works to some great monument of the past, why and all this feature of a strict epic style should be called monumentality.

e) heroism.

It is easy to show that a special style is depicted in epic and people, if they are understood as carriers of all these common properties of the epic. The person turns out to be a hero because it is externally deprived of egoistic traits, but is always internally and externally connected with a common life and common cause. He may be a winner or defeated, strong or powerless, he can love or hate - in a word, possess a variety of properties of the human person, but all this under one condition: it must be necessarily at its very essence in unity with a nationwide and improved life. The epic hero is not at all who deprived of psychology peculiar to him. But this psychology is based on his nationwide. This makes it a hero of the monumental epic.

e) balanced calm.

There are always a lot about tranquility of the epic, opposing his lyrical emotion. However, from the above characteristic of the epic flows out that the epic tranquility is not at all the absence of great passions, some indifferent attitude towards life. Epic tranquility arises in the poet if he is a strict epic artist, wisely contemplating life after the great catastrophe, after the huge national events of the widest scale, after endless deprivation and greatest suffering, as well as after the greatest success and victories. This wisdom arises from the fact that the epic artist knows about the constancy of laws of nature and society. The death of individual individuals does not care, as he knows about the eternal cycle of nature and about the eternal return of life (Il., VI, 145-149 is a change of generations, as a change of foliage on trees). Contemplating world events in their age-old development, it receives from this not only balanced calm, but also internal consolation.

g) the result.

Summing up the public characteristics of a strict epic style, we must say that its ever-sized objectivity is characterized by plastic traditional and monumental heroism, reflecting an eternal cycle and the eternal return of nationwide or conventional life.

B. Free, or mixed (late), epic style.

Homer's poems reflect the centuries of popular development and, in particular, not only a community-generic formation, but also its decomposition and development of private property and private initiative. Strict epic style artistic works No longer could remain on the steps of his old severity. He has already started to reflect individual development A person with new ones, much more free feelings and with the help of new, much more complex poetic techniques.

a) epic genres except the heroic poem

"Iliad" and "Odyssey" are mostly heroic poems. But the Homer's epic is characteristic and the primitive of other epic genres, such as fairy tales. The fairy tale is no significant of the myth in its content. But the myth believes in the literal reality of the persons and events depicted in it, while the fairy tale refers to the shuthesically depicted enough, considering it as a matter of funny and entertaining story. Especially far in this regard is "Odyssey". In the IV songs of this poem, there are, for example, a big story about the transformation of the sea god of a flow in different animals and how Meneli caught him at that moment when a person was a man, and made the future forced. In the XII song, the same poems depicts sirens - halftles, semi-substitutes, the detachable travelers with their sweet singing. Here is also a story about how Odyssey slipped with his companions between the Szillo, a monster with six heads and twelve paws, and Charibda, whirlpool, who absorbed all the travelers floating around him in the marine abyss.

In the Homer Epos, there are elements of the novel. They narrate on household phenomena that are already outside the humble and balanced life of a community-generic system (a story about the search for the telemach of his father in the II-IV songs "Odyssey" contains elements of the novel adventure, and the whole second part of the same poem starting from the XIII songs - Family novel elements).

b) lyrics.

The Gomeov Epos undoubtedly contains many lyrical places. Larism is imbued in "Iliad" (VI, 395-502) Scene of the farewell of the hetero with his wife Androma in front of the battle. Passionate love of life, especially in the conditions of hopeless position, permeates both poems. The soul of Patrole breaks up with the body, experiencing a sad feeling about the deceased adolescence (Il., XVI, 856 and next), like the soul of the hector (Il., XXII, 363). Homer often peers about the fate of a suddenly dying hero on the battlefield, drawing the suffering of his native hero, which still do not know anything about his evil fate.

c) drama.

Homer has elements and tragedies and comedies with all the dramatic conflicts peculiar to them. Tragic almost all the basic heroes of both poems. Tragicious Achilles, is doomed to death in young years, and he knows about this his doom. Tragic death of Patrole. The dramatic development of the cartridge tragedy is easily traced in the part of the "oriada", where the events are depicted from the Agamemnon embassy to Achillu to the death of Patrole.

Dramatically traged Hector, and here it is not difficult to trace the agriculture of the peripetias preceding the death of heaker and followed after it. Undoubtedly, dramatically and Odyssey, which hundreds of times watched death in the eye and always showed courage. Tragic fate and all Trojan leaders whose death is also predetermined over.

Thus, if you understand the tragedy, the catastrophic development of the action caused by the highest forces, then the poems of Homer are tragic, and if under drama to understand the conflict of capable personalities, then the tragedy of Homer is very often moving from the epic to dramatic.

d) Common, Burlesk, Humor, Satire, Irony, Centy

It is a huge and far from a solved problem characteristic and even a simple listing of all artistic shades, which is distinguished by the Gomeov Epos. Homer, for example, a lot of comic places, like fight Odyssey with a poor Irome on the threshold of the palace, where the grooms are singing (OD, XVII). This comic reaches the degree of burlesque when the sublime is depicted as lowlands. Olympic scenes are almost always given by Homer in the style of burlesque. The well-known example of this is the I or Iliad song, where the married jealousy is depicted. Zeus wants to beat his spouse, and the Krivo-legged Ghefesta is trying to laugh the gods with jokes.

Humor, that is, a deeper degree of comismism, also often in Homer. Aphrodite was humorous when she enters the battle and gets a wound from the death hero of the Diomeda, about which her gods on Olymp (Il., V) appeared.

Ironic motifs in Homer's poems are very noticeable. Homer becomes often very ironic to his gods and heroes. But Irony can be understood and more wide - as an image of something opposite to what expected or what was hopes. In this sense, almost all major heroes of both poems are from Homer the subject of irony. Agamemenon in the II songs "Iliad" orders his army to go home, and in fact, the army again has to take on the weapon and fight. Achilles wants to damage the Greeks for insults from them, and his heart friend dies. The same Achille is confident in victory over Troy, and in fact he himself dies (however, outside the "Iliad") even before the fall of the Troy. Hector is also confident in his victories over the Ahasey heroes (Il., VIII, 536-541; XI, 286-290), but dies from the hand of Achilla.

The satirical element is also very strong in both poems. Not only cyclops are depicted as caricature and satire on people living without any laws (OD., IX); Not only caricature of Fercite depicted by a freedom as a parody of a citizen, a soldier and an aristocrat (il., ii). Satirical features are very much and in Agamemnon itself, which surprises with its greed, despotism, cowardice and many other vices. Both poems are saturated with different types of maxims, testifying to the big vital experience Homer and about the ability to briefly express it. Centralization is expressed by Homer and all the gods, and all the heroes. The gods are talking about the deplorable fate of mortals, doomed to short and painful existence. It is known to say Zeus (Il., XVII, 446 and next):

Earth's essentials that breathe and go, there is truly no person in the whole universe!

The inequality of the gods and people say Apollo (Il., V, 441 and next) and the inevitability of the death of people - Athena Pallada (Il., XV, 140 and next). But Homer is characterized still uncomplyful optimism and cheerfulness. Among the centries, Homer can also find a lot of common and practical thoughts. So, Odysseus, offering to give the tribute to the dead, immediately in the form of a centance gives advice to those who remained whole, to eat before the battle (Il., XIX, 282-231). Practicism and utilitarianism in Gomeov's more than a lot. So, it turns out that two is easier to go, because they help each other, and one is heavier (Il., XX, 224-226). When the night is coming, then "well will conquer and night" (Il., VII, 282), that is, to go to sleep. In the most responsible places of their speeches, more often use the most responsibilities and Achilles, and Patrole, and Nestor, and Odyssey, and Hector, and many others.

The unity of the artistic style of Homer.

Homer's poems with all the diversity of their content are striking by the unity of their artistic style, devoid, however, epically-monolithic rigor. These places of both poems that we still find the rigor of the early epic style, already for themselves make us expect when they read more lively and more free techniques of creativity. Tragism, comic, irony in everything indicate the shifts on this epic style and talk about the occurrence of an unprecedented earlier ideological and stylistic freight.

The style of the transition era can never be monotonous. It must be felt by the rudiments of the old style, but at the same time and the embryos of the future of the stylistic diversity. Stylistic shades, no matter how much of them (and we indicated not all of them), are included in that epic style of Homer, which is a single integer.

D. Artistic reality.

The artistic style of Homer is manifested both in the subjects of the epic image (artistic reality) and in the methods of this image (artistic language). Consider both.

a) Bottles.

Homer enjoys all the mythological wealth of the former worldview, but at the same time refers to him aesthetically, admiring them with all the sharpness and curiosity of the new worldview. Almost all items and things get from Homer unchanged epithets "sacred", "Divine" or just "beautiful", "strong", "brilliant", etc. "sacred" are the city and all home apparers. "Divine" one salt, which is sprinkled by the Kushans, be sure to "beautiful" sandals in Athena Pallades. Homer extremely loves brilliant items. Usually everything sparkles, gets radiating. Exquisite clothing not only in the gee, but also by Kirk. The heroes weapons are described in detail. It is also usually glowing, blindingly glitters, there are many gold, silver and precious in those times of metals. Achilla Shield (Il., XVIII, 477-607) and armament of Agamemnon (Il., XI, 15-46) are especially brightly depicted. Describes glitter and decoration of Alkina's palaces and Menel.

However, it is not necessary to imagine things depicted in Homer, be sure to luxurious. Homer's poems ended their design in the century much more modest and poor life than the Criton-Mikan culture, which was restored. Palace Odyssey, despite its wealth, modest. Odyssey's father lives at the city is quite simple, if not just a wretched life,

b) People and their characters.

Similarly, the Homer and Heroes are drawn. Almost all of them are strong, beautiful, noble; They are also "divine", "worst" or at least lead their origin from the gods. Standard, however, this image of Homer's heroes can not be called. It is often very far from the epic stencil, is distinguished by a large variety and prevents the complexity of the later literature.

Achilles is a terrible hero of the Homerovsky epic, confident, devoted to the homeland and the people. However, they often forget that he is extremely angry and rude, that he, because of some prisoner leaves the battlefield and changes its compatriots; He is stubborn and inconspicuous, although ambassadors (ill., Ix) persuade him in every way; To battles, he returns only because she seeks to take revenge on his friend; He is merciless to hector and preach the right of a strong beast, refusing to him in the performance of his deathly plenty, and with senseless cruelty and abuse, his corpse is dragging around three for nine days. But at the same time, Achille is able to be noble and condescendingly to the defeated enemy and even nourish her humane feelings (as the XXIV song says perfectly: at the request of Priama, he stops abuse of hector's corpse and returns him to his father with honor). He sincerely loves Bricewood, Pat-Rockla and above all his mother and his father. Achille knows the predetermination of fate of his close death, and nevertheless he is not afraid; The image of it is performed by tragic grief.

Another glorious hero of "Iliad" - Agamemenon - also not as simple as it was usually represented. He is despotic and even inhuman, Zhaden and a cowardly, but he will grieve from the soul about the defeat of his troops, he himself rushes into battle and gets wound, and in the end, hesitantly dies from his wife's own wife; But he is not alien to tender feelings.

Hector is an impeccable hero and defender of his homeland, the perfect leader of his troops, free from the small weaknesses of Achille and Agamemnon. In addition, he gently loving husband, son and father. But it is not necessary to represent too simplistic and stencil. He is persistent, often accepts rapid decisions, not always a smart and smart, and sometimes it behaves naive, in childish. This is the perfect, but quite lively figure.

Odyssey is known to everyone with his mind, cunning, diplomatic, oratory and skill to get out of any difficult situation. To this, however, you need to add two properties, which is usually usually mentioned in the characteristics of Odyssey, but they deserve much more attention. First of all, Odyssey is very devoted to the interests of his homeland and cannot forget about it for 20 years. Nymph Calypso, who made him his husband, offered him a luxurious life and immortality, and yet he chose to leave her and return to his homeland. The second line, without which Odyssey is unthinkable, is his incredible and inhuman cruelty. He interrupts the grooms, filling the entire palace of corpses, and together with his son hangs wrong maids with some pathological crewing. If it is added to this constant courage, appealing both in small and large cases, fearlessness before death, its inexhaustible patience and eternal suffering, then you need to admit that this Homeric character is infinitely far from some boring monotony and full The deepest contradictions. In science, the difference has long been established between the immediate plot of Homer's poems and the poetic and life assessments of this plot, which gives Homer himself from himself.

Homer very often resorts to the comparison method, wanting to clarify less understandable with something more understandable. And it turns out that the peaceful work of the farmer, a cattle model, an artisan and ordinary, purely human life with the joys and the suffering of a small man who does not have anything in common with those with the most colossal heroic figures, who tells us the immediate plot of Homerovsky poems - life Without any war, and even without mythology. After all, if the poet compares something with anything, it is obviously an object attracted for comparison, it is more understandable for him and more convincing. It was established that in Homer's poems, not peaceful life compared with the war, but, on the contrary, military life is explained by the paintings of a peaceful life, as this is the last and is more understandable for Homer.

Especially characteristic in this regard oriad, in which almost all paintings from the military field are compared with peaceful life. Military comparisons are almost absent here (they are literally single). But such, for example, a military picture, as the performance of two AAns, is not compared with anything other, as with two bulls, the fashing land (Il., XIII, 701-708). The enemies protrude against each other, as the rebels come closer to both ends of the field (XI, 67-71). The battle of enemies is the messenger of beans and a pea on the current (XIII, 586-590). The deceased hero Compared with oily, grown by a caring owner and the exhaust wind (XVII, 53-58), and so on.

Many of their comparisons from the field of nature Homer revives the presence of a person. Shining stars observes a shepherd (VIII, 559). A man in horror looks at the broken oak lightning (XIV, 414-417). Pacquer is waiting with the hope of the North Borea (XXI, 346 and next).

Homer as it lives at the same time with the heroes of its comparisons. He cries from joy with children who have recovered from the fatal disease Father (OD., V, 394-397). He sees his father hugs a son who returned home in ten years (XVI, 17-19). He is starving with the woodcase (Il., Xi, 86-89) and a pahara (OD., XIII, 31-34). He rejoices with the Olive crop peasant (ill., XVII, 53-58). In comparison with Homer, we find sympathy of a tired sailor, knocking out of the forces (VII, 46) and frightened beard (XV, 624-62); Food for meal (XI, 139-142); Parhard for Plow (OD, XVIII, 31-34) or Reapers (IL., XI, 67-69); Mother that works by feeding children (XIII, 433-435); widow, mourning her husband who died for his homeland (OD, VIII, 523-530); Old man who is experiencing a single son (Il., XXIII, 22 and next); Exile in search of a shelter (XXIV, 480-482).

Thus, the interest of Homer is concentrated not only on its famous heroes, but also on small, imperceptible workers carrying life. This undoubted proof that the final formation of the Homer Epos is already the time of ascending Greek democracy and civilization.

E. Gods and fate.

Finally, the object of artistic reality in Homer are gods and fate. The gods are still interfering with human life, and not only intervene, but literally telling a person all his decisions and actions, all his feelings and moods. Trojan Parar (Il., IV) shoots the Greek camp, treacherously breaking the truce just imprisoned; The reader is usually indignant and condemns the Pandara. But this happened due to the decision of the gods and the direct impact of Athena Pallades on Pandara. Priam is sent to the Achilla tent (Il., XXIV), and a friendly relationship is established between them; Usually forget that all this is inspired by Priau and Achillu by the gods over. If you understand the plot of Homer literally, it will be necessary to say that a person is definitely humiliated with Homer that he turned into a soulless tool of the gods and that the heroes of the epic are alteriorly only the gods. However, hardly Homer understood mythology literally. In fact, Homer's gods are only a generalization of human feelings and sentiment, human actions and will and the generalization of the entire socio-historical life of a person. If a person or another is explained by the classroom of the deity, it actually means that this act is performed by a person as a result of his own internal decision, so deep that even a person himself is experiencing him as something given to him from the outside.

Heroes in Homer (Agamemenon, Achille, Meneli) are not much shy to object to the gods, and object is quite rude; The gods themselves do not differ at all with high moral behavior: they are characterized by any vices, passions and bad acts. Some where you can assume the predetermination of fate. But often the person comes and "contrary to fate." After all, today the predetermination of fate is one, and the next day, maybe it will be different. So why is the hero not to do contrary to the decisions of fate known for him today and not to show his own will?

Thus, in questions about the gods and fate, Homer's poems occupy a transitional position between the ancient fatalism and the liberty of a later time man.

6. Poetic Epos Technology.

The epic style is manifested not only in the image of a certain kind of artistic reality, but also in the methods of this image, that is, in the special poetic technique of the epic.

a) the main character of the poetic technique of the epic.

The artistic style of the Homerovsky epic, firstly, is distinguished by large rigor, production and traditional. The archaic and modernization of the Homerovsky epic coincides here. Archaization is here because Homer is inclined to restore old myths of another critical-mix culture with all the strictness of poetic form peculiar to them. It also is also associated with the fact that the formation of Homer's poems occurred in the context of a solid epic tradition, which accounted for to artificiality and formalism. On the other hand, however, in these defined and original forms of epic poetry, Homer pours out quite new content, fills them with psychology and reflection of the ascending Greek democracy, as a result of which the ancient myths and strict poetic forms began to sound already in a new way and the archaeization of the epic began to merge with Its upgrades in one and inseparable integer. This must be borne in mind when evaluating individual technical techniques of the epic.

b) Repetition.

One of the usual epic receptions of Homer is a multiple repetition of entire verses or their parts (for example, in the "Odyssey": "I got up from the darkness of mlauding with the fingers of purple EOS"), designed to create the impression of slowness, the importance, tranquility and eternal repeatability of life. At the same time, the researchers have repeatedly found that the repetition of Homer never pursue a purely mechanical goals, but always bring something new and interesting to the epic story.

c) epithets.

The same goals are prosecuted by the special use of epithets (that is, definitions indicating the continuous quality of certain individuals and subjects). It is these epithets that are invariably attached to the relevant persons, often even regardless of their relevance in this situation. These are epithets: "Figgy" - about Achille, "helmet" - about Hector, "Wola" - about the heer, "multitude" - about Odyssey. However, Homer has many texts where the usual standard has greater psychological significance or pursues certain aesthetic purposes.

d) comparisons.

Particularly surprising in Homer with their numerous, diversity and beauty of comparison. The subject acting as a comparison is most often the fire (especially raging in the mountain forest), flow, blizzard, lightning, buoy wind, animals, and among them especially lion, art applied and elegant, facts of everyday life (labor, family) - It is drawn much more than it is required to explain. There are several comparisons in a row (2-3), and sometimes a whole accumulation of comparisons (at 5) (Il., II, 455-476) of the Greeks protruding in brilliant arms - with fire, with birds, leaves, flies and goats . Previously, comparisons were considered in the separation from the content and poems as inserted episodes or as a reception aimed to slow down the development of the action or several distracting a listener from the outlined tragic events. Now it can be considered established that comparisons are closely related to the development of action in poems. So, if you trace consistently compared to Odyssey, it is not difficult to notice that they constantly prepare the basic event of the poem - the picture of beating the grooms.

d) speech.

Finally, the frequent introduction of speeches should be noted from epic receptions. These speeches have very primitive arguments and naive construction, directly emanating from the speaker's soul. But they are always slow, solemn, naive convincing, thorough; The speaker becomes a high place, it is impossible to interrupt the speaker, and he says long and quite beautifully. Of the simple and direct speeches, you can note the speech of Achilla to Calhas (Il., I), Odyssey to Achillu (Il., IX), Andromaha to hector (Il., Vi). Even when the heroes are worried when they are ready to enter into battle, they still say usually extensively, solemnly.

e) language and metric

Homer language is also an alloy of sustainable, age-old tradition with exceptional flexibility and expressiveness. Traditionality and ancient style created for the ancient Greek also an ancientionic dialect with some admixture of the aolian forms ", at which the poems were made. Homerovsky is distinguished by the abundance of vowels, the absence of complicated phrases in the syntactic relations, the replacement of submission to the composition, which created a greater singer and smooth course of speech.

The general style, finally, was completely fitted. The poems of Homer are written by a gecmeter, which was distinguished by solemnity, slowness and caress the Herry of Greek.

In science, the great importance of the hexameter is established for the whole poetic speech Homer. Since the hekzameter was not reclined, but was uttered, speaking, spectatively, he admitted a lot in artistic speech such that in simple declamation is excluded. Hekzameter, or six-leaved dactyl, is the only size of the epic. However, in Greek there were many such phenomena, which contradicted the hexameter and did not fit in his feet. Hekzameter, however, was flexible enough, but still the language had to give him a lot. For example, every Greek syllable in the word had a certain longitude or shortness in the word, and for the sake of compliance with the right gecmeter, it was necessary to stretch one syllable in two syllables, to sacrifice the severity of morphology and syntax, to introduce more rare and less understandable words instead of usual and understandable, use standard Expressions that are not quite appropriate in the content of this text, but in the well-fitting gecmeter, etc. As a result, artificial speech was obtained, very far from being conversational, but it was quite corresponding to the age-old traditions of the epic.

7. Homeric understanding of beauty.

The end of the second and the first two to four centuries of the first millennium BC. Are in Greece with a period of epic creativity. Consequently, Greek Epos - and it is recorded for us in the poems of Homer "Iliad" and "Odyssey" - just that it is that you can call the birth of ancient aesthetics. Studying the archaic aesthetics of Homer, we primarily face the facts of undoubted identification in the epic of art and life. The fact that Homer's beauty is divine and sacred, and the main artists are gods, this is the one makes the art associated with the Being himself, extremely close to all the work of life, since the gods are the basic principles and potentials of life and being.

Homer, and for him in general a strict classic, just do not distinguish art and life, do not distinguish them mostly and in the most important thing, do not distinguish themselves, so to speak, their substances, their essence. As life there is creativity and art is creativity; And this creativity is not ideas, not forms, not pure expressive images, but the work of the life itself, the work of things, bodies, items, finally, even just. birth of children. No wonder the very word expressing the concept of art, TECHNE has the same root as TICTO - "Giving birth", so "art" - in Greek "brewing", or a real creation of a thing of the same, but new of things. Even more talks about a real understanding of art in antiquity Latin word ARS, associated with the root of AG, in cash, for example, in the Greek verb ARARISCO, which means "to fix", "rational", "build", so that ARS means "what is increasing , built. "

Art, in understanding Homer, not only does not differ from life, but it does not differ from nature. Cosmos with all his hierarchy of life from the gods to material things - this is the only one, seriously the work of art from Homer, seriously received and final in its perfection. Cosmos and quite real, and is quite ideal, the Divine. He is art, and life, and nature. This is an inevitable consequence of the general trend of the Homerovsky artistic and influx of the epic perception of the world. After all, the epic style arises as a result of the primacy of the general over the individual and external over the inner. But the most common for Homer and the most external lensitive is space. Cosmos is determined by the deities from above and demons from the bottom and ends with a person. All separate and all single depends on this space and is determined by its overall life. Therefore, space itself, being a work of art (as well as nature at the same time), is understood to be epically, and every dependence on it of the entire individual and individual is epic.

Here we find primarily allocation from the life process and nomination to the foreground purely plastic sides, and, most importantly, this plastic is not just the content of art or its shape (sculpture, as we know, is represented by Homer just least less) But she fully determines why art is indistinguishable from the craft.

It is easy to see in Homer's attitude to art and that mythologism, which is often approved as the main feature of Homerovsky style and worldview. Homeric space is full of all kinds of divine and demonic forces, and the very art is based on one of the functions of all the same gods (Apollo, Hephaest, Athena Pallada, Music). The gods are not only cosmic principles underlying the cosmic whole, that is, space as works of art, but they are both for human creativity. Apollo and Muses inspire singers; And in the work of the Homersky singer, the main role is played by the singer himself, namely the gods, that is, above all Apollo and Muse.

What is, from the point of view of Homer, not partially beautiful (beautiful woman, armament of the hero, pelvis, bowl, pussy from honey, bow and barking), and beauty in general, essence, principle, the most concept of beautiful?

By Homer, it is gods. Every God is all - universal being, but embodied especially, in particular, that is, this is such an infinity of knowledge, strength and life, which is given individually. In the poetry of Homer, the gods not only express the principle of the wonderful, but also the principle of epic style with his primacy over individual.

Odyssey after the storm threw him aslan Islands of Feakov, turned out to be all in dirt and tine. Navigika orders the maids to wash it, graze incense and dress in beautiful clothes. From muddy dirty tramp Odyssey immediately turns into a handsome man of divine irresistibility. And most importantly, as we read by Homer,

Made the daughter of Egioha Zeus, Pallada of Athena, above him and fully in appearance, from the head, descended the curls thick, the colors of the hyacinth similar views. As a silver gilding, a shiny, a skillful master, who is trained by Hephaeste and the Virgin Athena, any kind of arts and charming makes things, - the charm and Athena of all Odyssey covered. Aside, he moved away and sat down in front of the sea, all the beauty lighting ... (OD., VI, 229-237).

It is possible to imagine that the goddess of Athena elected Odyssey beauty, as if he shook him with a tender haze, wolfped him with some unprecedented radiance. Beauty thinks here as some light air essence, which can be covered with objects and humans. Similar poems are found in other places "Odyssey". Homer,

I poured the inexpressible charm on the shoulders and the guest's head, made it above it and fully ... (

Before the meeting with Penelope Athena again giving the beauty of his beloved hero:

The head of the Virgin of Athena Great Krasya gave way. Made above it and half the way, from the head thick curls launched, the colors of hyacinth like a similar view. ... shone the head of Odyssey's head and shoulders (OD, XXIII, 156-162).

But as Athena transformed Penelope on the eve of meeting her with his spouse:

Poured a lot of gifts to the queen to the queen, so that they came to the amazement Ahaeis. First of all, she made her face beautifully, anointing that amvelonia ointment, ha herself aphrodite smears his face, an adorable Harrit going to dance. Made above it and fully in appearance, still the body became white in her polished ivory bone (OD., XVIII, 190-196).

This investment, enveloping beauty is still external. But there is an epic poet witness and internal investment by beauty. This is primarily a well-known inspiration of the Homeric singers and Homer himself. Appeal to the Museum, which became in New Europe a walking reception, had a very complex content in the Homer Epoch. Muses are investing inspiration in poets as well as the gods have taught the heroes of the external beauty of the face and the mill.

Beauty thinks Homer in the form of the finest, transparent luminous matter (OD., VIII, 18-22, XXIII, 156-159), in the form of some extension, live stream, understand and evaluate which all the ancient theorists seek. This beauty is very difficult to express with the means of modern abstract scientific language. Therefore, for the characteristics of this ancient phenomenon, we will use the combination of words, completely unusual at first glance and even quite controversial. Beauty There is some kind of fluid entity (OD., XVIII, 190-196). It can be born as such as it would be physical matter: clay, sand, metal, stone. It can be taken in hand, it can be used as a cosmetic product like powder, coloring substances or aromas. Homer does not have a myth about how Zeus came down at Danae (the mother of the Hero Persea) with golden rain. But Homer imagines her beauty in the form of some kind of golden rain. We used to distinguish the thing and meaning is the point, the idea of \u200b\u200bthings. But Homer does not distinguish it in his aesthetics. He is fine with something that means something; But it is something there is also itself. Beauty means just that it is. That is why there is no separation into the essence and phenomenon. She is an absolute identity of one or another.

Homerovskiy's picture of beauty completely eliminates the antithesis of the essence and phenomena: what we externally see in this world of beauty, then there is its inner; And we see externally nothing more than her inner, intimate life. Those flowing rays and beauty flows, which clothe Athena Pallada of their heroes, is, of course, the most real material and simultaneous bringing to the ideal of being.

Without the removal of this natural materialism of Homerovskaya aesthetics, it is impossible to understand all other properties, its sublime and at the same time naive, and sometimes even humorous character, antipsychological and plastic, traditional and standard, and full body perfection.

8. Homeric question.

a) Homer in antiquity.

Naturally, first of all, asked what the Greeks themselves knew about Homer. There is information that in the first half of the VI century. BC. The Athenian Legislator Solon put to execute Homer's poems on the Panafine holiday in a certain order and that in the second half of the same century, Tirara Pectist convened a commission of four to record Homer's poems. Consequently, already in the VI century. BC. The text of Homer was quite famous. But that it was for the text and what poems here need to be borne in mind (Homer was considered the author of many works), unknown. In the ancient literature there is nine biographies of Homer. But these biographies are filled with fabulous and fantastic material, on the basis of which it is very difficult to do any specific scientific findings.

Regarding the place of birth of Homer, there was no single opinion, although the overwhelming number of sources still relates it to the ion, and the city was called the most diverse. About the lifetime of Homer also did not exist in one opinion. Different Greek writers attributed his life to centuries, ranging from XII and ending VI BC. Alexandrian scientists IV-II centuries. BC. Made a lot to correct and comment "Iliad" and "Odyssey." But who is Homer, where and when he lived and what he wrote - nothing

The overall and popular opinion of the entire antiquity about Homere was reduced to the fact that it was an old and blind singer, who, inspiring the muse, led a wound lifestyle and composed himself as two poems known to us, and many other poems. Such an image of a folk singer is found almost in all nations.

But even in the most ancient times, other singers were known, called Aeads, that is, the creators of songs ("AEE" means "singer"), as well as rapes ("Rapeseod" means "songwriter"), which were a whole estate of epic songs with With its strict traditions and special techniques.

"Iliad" and "Odyssey" were the most popular works in the Greek people and in Greek literature and moreover during the entire antiquity.

b) new and the newest time.

Until the end of the XVIII century. The general opinion was dominated that Homer is the sole author of "Iliad" and "Odyssey", the people's observer and the performer of their works. Only individual voices were distributed to the defense of the fact that the sole author himself could not create and remember in the absence of writing such huge works. At the very end of the XVIII century. German scientist F. A. Wolf, under the influence of a romantic understanding of the nationality, argued the purely popular origin of Homer's poems, and Homer himself considered one of the authors, more or less worked on creating both poems. After Wolf, for 150 years, many diverse theories on the Homerovsky question were put forward, of which none received general recognition.

First of all, many philologists continued to stand at the point of view of the author's uniform poems, understanding this is the only one in a varied sense. There was a so-called "theory of small songs", which fragments of the Homer's epic into separate, little associated songs, connected only afterwards with the hand of any writer or editor. The role of this writer or editor was also understood infinitely diverse, ranging from the mechanical gluing of individual songs and ending with a summing up of individual songs under some kind of creative concept.

There was the so-called "grain theory", recognizing the creation of only one small poem for Homer and attributing the development and ending to the poems. The number of other authors. These authors have many times numbered several dozen, based on various kinds of contradictions in the poems of Homer and considering that the contradictory parts of the poems should be sure to belong to different authors.

The theory of absolute sole, which attributed to the creation of both or at least one poem, was also renewed, which is only one author, like the creation of the same kind of poems in a new time. Collective creativity theory were also numerous. This collective was also understood very diverse. They spoke about the people in the general and indefinite sense of the word, then about individual Greek tribes and their movement.

It can be said that within 150 years since Wolf was not missed by any aspect in the understanding of the author's uniform of Homer's poems and no theory of collective creativity. These theories continue to appear until recently; And the voices of the infertility of all such theories and the need to completely abandon all the Homeric Question were already distributed.

c) our modern attitude towards the Homerovsky issue.

It is no reason to consider all this philological work to resolve the Homeric question and useless. She made it possible to learn from different sides every word of Homer's poems and accumulated a huge scientific material, without which the understanding of Homer's poems would be naive and primitive. Nevertheless, those who believe that some kind of final decision of this issue is possible and that such an overly analytical approach to the Homer text is the only possible approach.

Another question is those periods of social and artistic development, which affected Gomer's poems. As we have seen, the artistic style of Homer can not be understood steadily.

It is necessary to be able to determine what period of social development of the Greek people affected the poems of Homer to the advantage of which it is possible to find rudiments of former development and which embryos of the future. This will be the decision of the Homeric question.

The question of whether Homer's poems were created in one author or many, from which verse need to be considered the authorship of one singer, from which - the other, as well as the most opposition of individual and folk creativity - All this is either not at all for us, or has a secondary meaning. In Homer, the people and a separate individual appease in a non-painful unity. The authors may have been a lot. But if they all expressed a nationwide life, then their distinction and opposition can not play a principal role. Not at all denying analytical approaches to the work of Homer, we must nominate the nationality of Homer's poems, which is just the main answer to the Homeric question.

9. The end of the heroic epic.

a) epic cycle.

Homer's poems could not be the only monument of Greek heroic epic. There were many other poems that have their own content other myths of Trojan mythology. There were poems belonging to the mythology of Hercules, Argonauts and other heroes. The cycle, generally speaking, was called a number of poems that have consistently developing the topic of a group of mythological legends, so the relevant poems were called cyclic, or kicking. These poems of late origin, and their content is extremely detailed and complex. They appeared, undoubtedly, at the end of the epic development, that is, in the VII-VI centuries. BC. Subsequently of them were created by the Reads for school learning. In addition to "Iliad" and "Odyssey", none of these poems have reached us, but from the later sources we have a rather definite idea about them.

b) Homer's hymns.

We reached the collection of hymns called Homerovsky, although he has nothing to do with Homer. It contains hymns, starting with the VI century. BC. and ending with the anthems of Byzantine times. The very concept of anthem relates rather to lyrical or lyrol-epic poetry than to the epic, as it is a song of gods or about the gods. However, only content is lyrics here, especially the first five largest hymns. Here myths about Apollo, Hermes, Aphrodite and Demetra. With its content, good-natured humor and irony, its sophisticated sensitivity and inclination to an entertaining and fascinating story, these first five elements of the collection indicate their later origin.

c) parodies.

In connection with the decomposition of the community-generic system and the emergence of sharp and deep personal sentiment, the old heroic epic ceases to satisfy the artistic tastes and gradually begins to acquire to some extent museum interest. Together with this, there is a mocking attitude towards the old, heroic epic and attempts are made to create a parody of him.

The parody poem "War of Mice and Frogs" reached us. Scientists belong to this poem by the VI-V centuries. BC, and some even to a much later era. It tells how Mouse Crookhd, who wanted to see the froggy kingdom, swims on the back of the king of the frogs of Tolstomorda and how it sinks when a tolstomord dives into the water, fleeing from the exhalation. There is a war of mice and frogs in this regard: the fights, weapons and feats are depicted, the intervention of the gods, the thunder and zipper of Zeus and the hordes of cancers speaking on the command of the Zeus against mice and deciding finally the matter in favor of frogs.

There was another parody - a poem under the name "Margit", not reached us and with an unknown content. It was a parody of an epic hero depicted in the form of a fool of Margita, taking a lot of things, but doing everything bad.

There were also the so-called "jokes", also parody poems, from which only the names are preserved.

10. Homer in subsequent literature.

The fact that Homer reflected in his work the features of two social and historical formations, provided him with unprecedented popularity in all centuries ancient history. Homer's works were constantly performed on the holidays, they were the first subject of study in schools, and already from Aristotle (IV century BC) began in Greece scientific examination. Opponents of Homer, who condemned him from a moral point of view (as, for example, Xenofan, VI, or Plato, V-IV centuries. BC), not caused almost no damage to its universal popularity. When a century of naive faith was held, Homer began to interpret allegorically, Mora-Lish or theological. One of the largest and long-term philosophical schools of the ancient world, the so-called Neoplatonic (III-VI centuries. AD), never parted with Homer and rehabilitated him in the eyes of moralists, used for the purposes of education and for the deepest symbolic interpretation. Alexandrian scientists (Zenodot, Aristophane, Aristarkh) were thoroughly checked by the Homeric text, published it and commented. Homer's interpretations typed so much that of them could be a whole library.

There is nothing to say that artistic techniques Homerovsky epic always remained in the ancient world an ideal and a model for any epic writer, no matter how much he was different from Homer and whatever the schools and directions who left Gomer forward for several centuries. This is the entire Late Epos, starting with Apollonia Rhodes (III century BC) and ending with Nonnaya Panopolsky (V. AD). Rome at all lagged at the Greeks in the worship and use of Homer.

The influence of Homer is marked by the very beginning of Roman literature (Libya Andronic, Neviya and Annie). The guesthouse of Homer was Cicero (I B. BC), and relative to the influence of Homer to Vergil (the same century) are written dozens of large and small books and articles. Even in the vague era of Vergil, when literature has already left the simplicity, clarity and unconditional nation of Homer, Homer still remained a role model, which reached borrowing from it and epithets, and metaphor, and individual expressions, and even entire scenes.

In the Middle Ages, Homer Success did not have and forgot him. Dante (XIII century) has a completely different attitude towards Homer. Dante he has a singer, "the singers of all countries", "aspen with the greatness" and "the greatest poet." There is nothing to talk about how much interest in Gomer was revived in the Renaissance Epoch. Here, the Creators of the epic appeared here, who borrowed a decisive all: and individual expressions, and individual images, and scenes. Such, for example, "liberated by Jerusalem" Torquato Tasso (XVI century). In the future, Western literature is full of endless disputes on the comparative meaning of Homer and Virgil. Homer is translated into all languages, commented and becomes the subject of imitation in different countries. It seems best about high meaning Gomer reasoned the famous French theoretical classicism Bouoye (XVII century). In his "poetic art" he wrote (III, 295-308, Transl. E. Lipetsk): Must be, so we love Homer,

That the belt of beauty gives him Venus. In his creations, the invaluable treasure is hidden: they are for all centuries as it were, the Spring Salna. He, like a magician, all across pearls, and always happy, and eternal admires. An animation in his verses lives, and we do not offer in them annoying longs. Although there is no boring order in the plot, it develops naturally and smoothly, flows as a clean, calm river. Everything amazes in it - both the word, and a string, love sincerely Homer's work high, and he teaches you invaluable lessons.

In the XVIII V.- and the farther, the more - Homer is interpreted as a symbol of the whole Greek people, and its poems begin to be perceived as a later composition from individual epic or songs. It would be possible to bring a long number of the names of major researchers who put on this path. All these critics, moreover, the Natopath of Homer, the simplicity and naivety of his worldview, the simplicity and naivety of his worldview, the simplicity, children's character of his images, its genius and inimitability, were defined by the Nativity of Homer. This testified already on the start of romanticism in the literature. But Homer experienced not only revival, classicism and romanticism. During the heyday of positive philological science, that is, in the middle of the XIX century., He was subjected to a comprehensive study and exposed to him up to the present with a linguistic, literary, socio-political, ethnographic and archaeological point of view. During the XIX-XX centuries. There was a huge number of Homer's publications and comments to them.

Byzantium, too, almost once forgot Homer, how much can be judged by comments to Him (Eustafium, XII century) and its presentation (poems, like Tsets, XII century, or prosaic, as the historian John Malala, VI century).).

In the ancient Russian literature, the mention of Homere begins with the XII century. In the XVII century His expert is Simeon Polotsk, and in the XVIII century. The number of fans and translators of Homer is growing led by such writers as Kantemir, Lomonosov, Tredyakovsky, Sumarokov, Heraskov, Derzhavin, Radishchev, Karamzin and Wings.

In Russian xIX literature in. There was almost no writer who would not be inspired by Homer. His deep judgments about the Homere knows Belinsky, very expressively writing about the Homeric peoples, heroism, poetic complexity and children's simplicity, about the birth in his work of all literary genres, about his world significance.

You can assume the direct influence of Homer to the creativity of Gogol, on the inspired the theory of the epic, created by him for glorifying Gomer. Turgenev and Dostoevsky showed great interest in Homer. L. Tolstoy wrote about Homere, that this is "water from the key, brutaling his teeth, with glitter and the sun and even with the Sorinks, from which she is still cleaner and fresh" (letter to A. FETU).

Gomer's translations to Russian appear in the second half of the XVIII century, and in 1829 it comes out the famous translation of the ielich. Galotic created an unfavorable monument to the elevated and solemn, but at the same time and the cheerful and poetic understanding of Homer.

Undoubtedly, the new and very original interpreter of Homer was V. A. Zhukovsky in his translation "Odyssey", which was printed in 1849. The largest Russian poet saw in the epic of Homer a naive and patriarchal world, corresponding to the spirit of the Old Russian ooetized past in the ancient Russian spirit.

The famous writer V. V. Veresaev in his translations of both Homer's poems (publ. In 1949 and 1953) emphasized the vitality and the harsh simplicity of their tongue, far from high solemnity and porous.

The epic poems of Homer Odyssey and Iliad are invaluable brilliant works of literary art, which over the centuries do not lose their relevance and deep meaning. The plots of these famous two poems are taken from an extensive and multifaceted cycle legends about the Trojan War. "Iliad" and "Odyssey" displays only small episodes of a huge cycle.

"Iliad"

In Iliad, it is narrating on the events of the tenth year of the Trojan War, and at the same time the work ends with death and the burial of the hector - the main Trojan Warrior. The subsequent events of the war is not mentioned.

In general, the war is the main "thread" of the poems "Iliad" and the main element of her heroes. One of the many features of this work is that the battle is mainly depicted not in the form of bloody battles of the masses, but as a performance of individual heroes, demonstrating exceptional courage, strength, durability and skill. Among all the battles, the main duel of Heckers and Achilla can be distinguished. With less expressiveness and heroic, the martial arts of Agamemnon, Diomeda and Menels are described. In Iliad, traditions, habits, morality, moral aspects of life and life of the Greeks of the time are very brightly displayed. As an example, it is possible to bring an episode in which it is described how the winner is in a hurry to remove the armor from the dead and master his corpse to request a redemption from relatives for him. According to the representation of the ancient Greeks, the huge and endless misfortunes in the afterlife were alone after death without burial.

"Odyssey"

As for "Odyssey", it can be said with complete confidence that this is a more complex work than "Iliad." "Odyssey" has a huge number of features that are investigated from the point of view of literature to today. Basically, this epic poem is told about the return of Odyssey to Ithaca after the completion of the war with Troy.

In conclusion, we can say that the poems of Homer are a real treasury of wisdom of all the Greek people, which perfectly demonstrate its great works of "Iliad" and "Odyssey". Homer did not own a letter and was an oral response. But despite this, it was distinguished by an incredibly high poetic technique and skill. And his work was filled with absolute unity. "Iliad" and "Odyssey" have several characteristic features, in particular an epic style. A leopard circumstance, a decorated narrative tone, the unhurried development of the plot, complete objectivity in everything - from events to persons - all this specific traits These great works of Homer.