cannot well be earlier than the fourth century and may be much later), while Dares may possibly The Dares story. be as late as the twelfth. Neither book is of the very slightest interest intrinsically. Dictys (the full title of whose book is Ephemeris Belli Trojani) is not only the longer but the better written of the two. It contains no direct "set" at Homer; and may possibly preserve traits of some value from the lost cyclic writers. But it was not anything like such a favourite with the Middle Ages as Dares. Dictys had contented himself with beginning at the abduction of Helen; Dares starts his De Excidio Trojo with the Golden Fleece, and excuses the act of Paris as mere reprisals for the carrying off of Hesione by Telamon. Antenor having been sent to Greece to demand reparation and rudely treated, Paris makes a regular raid in vengeance, and so the war begins with a sort of balance of cause for it on the Trojan side. Before the actual fighting, some personal descriptions of the chief heroes and heroines are given, curiously feeble and strongly tinged with medieval peculiarities, but thought to be possibly derived from some similar things attributed to the rhetorician Philostratus at the end of the third century. And among these a great place is given to Troilus and "Briseida." Nearly half the book is filled with these preliminaries, with an account of the fruitless embassy of Ulysses and Diomed to Troy, and with enumerating the forces and allies of the two parties. But when Dares gets to work he proceeds with a rapidity which may be partly due to the desire to contradict Homer. The landing and death of Protesilaus, avenged to some extent by Achilles, the battle in which Hector slays Patroclus (to whom Dares adds Meriones), and that at the ships, are all lumped together; and the funerals of Protesilaus and Patroclus are simultaneously celebrated. Palamedes begins to plot against Agamemnon. The fighting generally goes much against the Greeks; and Agamemnon sues for a three years' truce, which is granted despite Hector's very natural suspicion of such an uncommonly long time. It is skipped in a line; and then, the fighting having gone against the Trojans, they beg for a six months' truce in their turn. This is followed by a twelve days' fight and a thirty days' truce asked by the Greeks. Then comes Andromache's dream, the fruitless attempt to prevent Hector fighting, and his death at the hands of Achilles. After more truces, Palamedes supplants Agamemnon, and conducts the war with pretty good success. Achilles sees Polyxena at the tomb of Hector, falls in love with her, demands her hand, and is promised it if he can bring about peace. In the next batch of fighting, Palamedes kills Deiphobus and Sarpedon, but is killed by Paris; and in consequence a fresh battle at the ships and the firing of them takes place, Achilles abstaining, but Ajax keeping up the battle till (natural) night. Troilus then becomes the hero of a seven days' battle followed by the usual truce, during which Agamemnon tries to coax Achilles out of the sulks, and on his refusal holds a great council of war. When next tempus pugnæ supervenit (a stock phrase of the book) Troilus is again. the hero, wounds everybody, including Agamemnon, Menelaus, and Diomed, and very reasonably opposes a six months' armistice which his father grants. At its end he again bears all before him; but, killing too many Myrmidons, he at last excites Achilles, who, though at first wounded, kills him at last by wounding his horse, which throws him. Memnon recovers the body of Troilus, but is himself killed. The death of Achilles in the temple of Apollo (by ambush, but, of course, with no mention of the unenchanted heel), and of Ajax and Paris in single fight, leads to the appearance of the Amazons, who beat the Greeks, till Penthesilea is killed by Neoptolemus. Antenor, Æneas, and others urge peace, and on failing to prevail with Priam, begin to parley with the Greeks. There is no Trojan horse, but the besiegers are treacherously introduced at a gate ubi extrinsecus portam equi sculptum caput erat. Antenor and Æneas receive their reward; but the latter is banished because he has concealed Polyxena, who is massacred when discovered by Neoptolemus. Helenus, Cassandra, and Andromache go free: and the book ends with the beautifully precise statements that the war, truces and all, lasted ten years, six months, and twelve days; that 886,000 men fell on the Greek side, and 676,000 on the Trojan; that Æneas set out in twenty-two ships ("the same with which Paris had gone to Greece," says the careful Dares), and 3400 men, while 2500 followed Antenor, and 1200 Helenus and Andromache. a Its absurdity. This bald summary is scarcely balder than the book itself, which also, as can be seen from the summary, and would be more fully seen from the book, has no literary merit of any kind. It reads more like an excessively uninspired précis of larger work than like anything else—a précis in which all the literary merit has, with unvarying infelicity, been omitted. Nothing can be more childish than the punctilious euhemerism by which all the miraculous elements of the Homeric story are blinked explained away, unless it be the painstaking endeavour simply to say something different from Homer, or or the absurd alternation of fighting and truces, in which each party invariably gives up its chance of finishing the war at the precise time at which that chance is most flourishing, and which reads like a humorous travesty of the warfare of some historic periods with all the humour left out. Nevertheless it is not really disgraceful to the Romantic period that it fastened so eagerly on this. sorriest of illegitimate epitomes.1 Very few persons Its capabilities. at that time were in case to compare the and Virgil-with the literary merit of these bald pieces 1 The British Museum alone (see Mr Ward's Catalogue of Romances, 1 a certain sentimental cult of "Venus la déesse d'amors," there was nothing of which the medieval mind was more tranquilly convinced than that "Jubiter," Appollin," and the rest were not mere fond things vainly invented, but actual devils who had got themselves worshipped in the pagan times. It was impossible for a devout Christian man, whatever pranks he might play with his own religion, to represent devils as playing the part of saints and of the Virgin, helping the best heroes, and obtaining their triumph. Nor, audacious as was the faculty of "transfer" possessed by the medieval genius, was it easy to Christianise the story in any other way. It is perhaps almost surprising that, so far as I know or remember, no version exists representing Cassandra as a holy and injured nun, making Our Lady play the part of Venus to Æneas, and even punishing the sacrilegious Diomed for wounding her. But I do not think I have heard of such a version (though Sir Walter has gone near to representing something parallel in Ivanhoe), and it would have been a somewhat violent escapade for even a mediæval fancy. So, with that customary and restless ability to which we owe so much, and which has been as a rule so much slighted, it seized on the negative capacities of the story. Dares gives a wretched painting, but a tolerable canvas and frame. Each section of his meagre narrative is capable of being worked out by sufficiently busy and imaginative operators into a complete roman d'aventures: his facts, if meagre and jejune, are numerous. The raids and |