that dog lie there”

TO THE CHILDREN

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The greater part of this book is made up of stories from the poems of Homer and Virgil. Homer is thought to have lived in Greece about three thousand years ago, and yet his poems never seem old-fashioned and people do not tire of reading them. Boys and girls almost always like them, because they are so full of stories. If you want to read about giants or mermaids or shipwrecks or athletic contests or enchanters or furious battles or the capture of cities or voyages to strange countries, all you have to do is to open the Iliad and the Odyssey, and you will find stories on all of these subjects. Homer can describe a foot-race or the throwing of a discus so that you hold your breath to see who will win; and he can picture a battle so vividly that you almost try to dodge the arrows and spears. He can make the tears come into your eyes by telling you of the grief of the warrior’s wife when he leaves her and their baby son to go to battle; and he can almost make you shout, “Hurrah for the brave champion!” when he tells you what wonderful deeds of prowess have been done. He can describe a shield so minutely that you could make one like it; and he can paint a scene of feasting so perfectly that you feel as if you had been in the very room.

How is it that Homer makes his stories seem so real? There are several reasons, but one of the strongest is because he tells the little things that writers often forget to put in. When he describes the welcome given to two strangers at the house of the lost Ulysses, by Telemachus, son of the wanderer, he begins, “When they were come within the lofty hall, he carried the spear to a tall pillar and set it in a well-worn rack.” That one word, “well-worn,” gives us the feeling that Homer is not making up a story, but that he has really seen the rack and noticed how it looked. The same sentence shows why it is that people do not tire of reading Homer. It ends, “where also stood many a spear of hardy Ulysses.” This reminds the reader that in spite of the hero’s long years of absence, no one has been allowed to remove his weapons from their old place. From this one phrase, then, we can realize how much his wife and son love him, and how they have mourned for him. Telemachus welcomes the strangers, but we can feel how eager he is for them to be made comfortable as soon as possible so he can talk of his father and learn whether they have chanced to meet him in their wanderings. Homer’s poems are full of such sentences as these; and, no matter how many times one reads them, some thought, unnoticed before, is ever coming to light. That is why they are always fresh and new and interesting.

There is a tradition that Homer was blind, and that he wandered about from one place to another, singing or reciting his poems; but this is only tradition, and there is little hope that we shall ever be able to find out whether it is true or not.

Homer’s great poem, the Iliad, is the account of the Trojan War. His Odyssey relates the adventures of the hero Ulysses, or Odysseus, as the Greeks called him, in many years of wandering at the close of the war before his enemies among the Gods would permit him to return to his home. There were Trojan heroes, however, as well as Greek, and Æneas was one of them. Virgil, the Latin poet, has told in the Æneid the story of his troubles and adventures. Æneas, too, was driven over the waters, for the Gods had told him it was the will of Jupiter, or Zeus, as it is in Greek, for him to seek Italy and there found a city. Part of his journey is the same as that of Ulysses. He, too, stops at the country of the one-eyed giants and has to row as fast as he can to escape the rocks that they throw at his vessel. He, too, hears the thunders of Mount Ætna and sees the flashing of the fires of the volcano. His sailors point to it in fear and whisper to one another, “That is the giant Enceladus. He rebelled against the Gods and they piled the mountain on top of him. The fires of Jupiter burn him, and he breathes out glowing flames. When he tosses from one side to the other, the whole island of Sicily is shaken with a mighty earthquake.”

Virgil was no homeless singer; he was one of the great literary men of Rome, and he read his poems aloud to the Emperor Augustus. He had a handsome villa and a troop of friends. He enjoyed everything that was beautiful and seemed as happy when a friend had written a good poem as if he had composed it himself. He was never satisfied with his verse till he had made every line as perfect as possible. When he was ill and knew that he could not recover, he made a will, and in it he ordered the Æneid to be burned, because it was not so polished as he wished. “I meant to spend three years more on it,” he said. Fortunately for all the people who enjoy a great poem, the Emperor forbade that this part of the will should be carried out. He gave the manuscript to three friends of Virgil, all of them poets, with orders to strike out every phrase that they believed Virgil would have struck out on revision, but not to add one word. This is the way that the Æneid was saved for us. If it had been destroyed, we should have lost the work of one of the best storytellers that have ever lived.

Livy, too, was a friend of the