Excerpt

Excerpt from The Fall of Troy, by active 4th century Smyrnaeus Quintus

We have practically no external evidence as to the date or place
of birth of Quintus of Smyrna, or for the sources whence he drew
his materials. His date is approximately settled by two passages
in the poem, viz. vi. 531 sqq., in which occurs an illustration
drawn from the man-and-beast fights of the amphitheatre, which
were suppressed by Theodosius I. (379-395 A.D.); and xiii. 335
sqq., which contains a prophecy, the special particularity of
which, it is maintained by Koechly, limits its applicability to
the middle of the fourth century A.D.

His place of birth, and the precise locality, is given by himself
in xii. 308-313, and confirmatory evidence is afforded by his
familiarity, of which he gives numerous instances, with many
natural features of the western part of Asia Minor.

With respect to his authorities, and the use he made of their
writings, there has been more difference of opinion. Since his
narrative covers the same ground as the "Aethiopis" ("Coming of
Memnon") and the "Iliupersis" ("Destruction of Troy") of Arctinus
(circ. 776 B.C.), and the "Little Iliad" of Lesches (circ. 700
B.C.), it has been assumed that the work of Quintus "is little
more than an amplification or remodelling of the works of these
two Cyclic Poets." This, however, must needs be pure conjecture,
as the only remains of these poets consist of fragments amounting
to no more than a very few lines from each, and of the "summaries
of contents" made by the grammarian Proclus (circ. 140 A.D.),
which, again, we but get at second-hand through the "Bibliotheca"
of Photius (ninth century). Now, not merely do the only
descriptions of incident that are found in the fragments differ
essentially from the corresponding incidents as described by
Quintus, but even in the summaries, meagre as they are, we find,
as German critics have shown by exhaustive investigation, serious
discrepancies enough to justify us in the conclusion that, even
if Quintus had the works of the Cyclic poets before him, which is
far from certain, his poem was no mere remodelling of theirs, but
an independent and practically original work. Not that this
conclusion disposes by any means of all difficulties. If Quintus
did not follow the Cyclic poets, from what source did he draw his
materials? The German critic unhesitatingly answers, "from
Homer." As regards language, versification, and general spirit,
the matter is beyond controversy; but when we come to consider
the incidents of the story, we find deviations from Homer even
more serious than any of those from the Cyclic poets. And the
strange thing is, that each of these deviations is a manifest
detriment to the perfection of his poem; in each of them the
writer has missed, or has rejected, a magnificent opportunity.
With regard to the slaying of Achilles by the hand of Apollo
only, and not by those of Apollo and Paris, he might have pleaded
that Homer himself here speaks with an uncertain voice (cf.
"Iliad" xv. 416-17, xxii. 355-60, and xxi. 277-78). But, in
describing the fight for the body of Achilles ("Odyssey" xxiv. 36
sqq.), Homer makes Agamemnon say:

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Explanation

Here is a detailed analysis of the provided excerpt from The Fall of Troy (Posthomerica) by Quintus of Smyrna, focusing primarily on the text itself while incorporating necessary context, themes, literary devices, and significance.

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1. Context of the Excerpt

The passage is not a direct excerpt from Quintus’ epic but rather a scholarly introduction (likely from a translator or editor, such as A.S. Way in the 1913 Loeb Classical Library edition) discussing:

• Authorship and dating: Quintus’ life (4th century CE) and possible influences.
• Sources and originality: His relationship to earlier Cyclic epics (Aethiopis, Iliupersis, Little Iliad) and Homer.
• Literary debates: Whether Quintus’ work is derivative or independent, and his deviations from Homer.

While the text itself is meta-literary (commentary on the poem rather than the poem), it reveals critical insights into how Quintus’ work was received and interpreted.

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2. Key Themes in the Excerpt

A. Historical and Biographical Uncertainty

• The passage emphasizes the lack of external evidence about Quintus’ life, forcing scholars to rely on internal clues from the text (e.g., references to gladiatorial games suppressed by Theodosius I, or geographical details of Asia Minor).

  • Example: The mention of "man-and-beast fights of the amphitheatre" (vi. 531) anchors the poem to the late 4th century CE, when such spectacles were banned.
  • Significance: This highlights how historical context is reconstructed from textual fragments, a common challenge in studying ancient literature.

• Place of birth: Quintus’ self-identification in Posthomerica XII.308–313 (not quoted here) and his detailed knowledge of Asia Minor’s topography suggest a local perspective, grounding his epic in a specific cultural landscape.

B. Literary Originality vs. Dependence

The core debate revolves around whether Quintus’ work is:

1. A "remodelling" of lost Cyclic epics (e.g., Arctinus’ Aethiopis, which covered Memnon’s arrival and Achilles’ death, or Iliupersis, on Troy’s fall).

   • Evidence against: The surviving fragments and Proclus’ summaries (via Photius) contradict Quintus’ versions of key events.
   • Example: The death of Achilles—Arctinus’ version (Apollo + Paris) vs. Quintus’ (Apollo alone).

2. An independent work inspired by Homer.

   • Linguistic/stylistic case: Quintus mimics Homer’s dactylic hexameter, formulaic phrases, and epic conventions (e.g., divine interventions, extended similes).
   • Narrative case: Yet he deviates from Homer in ways that weaken the story, per the critic. For instance:
     • Homer’s Iliad leaves Achilles’ death ambiguous (Apollo guides Paris’ arrow in Iliad XXII, but Odyssey XXIV suggests a grand melee over his body). Quintus simplifies this by having Apollo act alone, losing the dramatic tension of mortal-divine collaboration.
     • Implication: Quintus may have prioritized conciseness or theological clarity (Apollo as sole agent) over Homeric complexity.

C. The Problem of Sources

• The excerpt dismisses the idea that Quintus directly copied the Cyclic poets due to inconsistencies in plot details.
• Instead, it suggests he reimagined the Trojan War’s "sequel" (events post-Iliad, like the wooden horse, Neoptolemus’ role, etc.) by:
  • Filling gaps in Homer (e.g., Ajax’s suicide, the Amazon Penthesilea’s arrival).
  • Blending multiple traditions (e.g., combining Homeric hints with later myths).
• Literary significance: This reflects how ancient epics were often palimpsests—layered retellings of shared myths, not rigidly original works.

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3. Literary Devices in the Excerpt (Meta-Commentary)

While the passage is prose analysis, it employs rhetorical and critical devices:

1. Concessive Argumentation:

   • "Not that this conclusion disposes by any means of all difficulties..." → Acknowledges limitations in the theory that Quintus was original, then pivots to the Homeric influence debate.

2. Juxtaposition of Evidence:

   • Contrasts fragments of Cyclic poets (scant, indirect) with Quintus’ full narrative to argue for independence.
   • Uses German critics’ "exhaustive investigation" as an appeal to authority.

3. Irony:

   • "The strange thing is, that each of these deviations is a manifest detriment..." → Highlights how Quintus’ changes undermine dramatic potential, framing him as a lesser poet than Homer.

4. Intertextuality:

   • References to Iliad XV.416–17, XXII.355–60, and Odyssey XXIV.36 show how Homer’s ambiguity allows for multiple interpretations (e.g., Achilles’ death).
   • Effect: Positions Quintus as choosing one path among many, rather than inventing anew.

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4. Significance of the Excerpt

A. For Understanding Quintus’ Posthomerica

• Genre: The poem is a late antique "fan fiction" of the Trojan War, bridging Homer’s Iliad and the lost Cyclic epics.
• Purpose: Likely written for a learned audience familiar with Homer, offering a complete, if flawed, narrative of Troy’s fall.
• Style: His Homeric pastiche (e.g., "rosy-fingered Dawn" epithets) reflects the nostalgia for classical epic in the 4th century CE, even as the genre waned.

B. Broader Literary-Historical Context

1. The Cyclic Poets’ Legacy:

   • The excerpt illustrates how fragmentary texts (like Arctinus’ works) shape later literature through summaries and allusions, not direct transmission.

2. Homer’s Shadow:

   • Quintus’ deviations reveal the anxiety of influence: later poets were bound by Homer’s authority yet struggled to innovate.
   • Example: His treatment of Achilles’ death lacks the pathos of Homer’s version (where Paris, a weak mortal, kills the hero with divine aid).

3. Late Antique Epic:

   • The Posthomerica reflects the transition from pagan to Christian Rome:
     • Written when mythological themes were fading (gladiatorial games banned, Christianity rising).
     • Yet, it clings to Homeric tradition, showing how classical myths persisted as cultural touchstones.

C. Modern Reception

• The excerpt’s skeptical tone toward Quintus mirrors modern critiques:
  • Some scholars view him as a derivative hack; others see him as a creative synthesizer of lost traditions.
  • His work is now valued for preserving myths (e.g., the Amazon Penthesilea’s battle with Achilles) that might otherwise be lost.

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5. Close Reading of Key Lines

"With regard to the slaying of Achilles by the hand of Apollo only, and not by those of Apollo and Paris, he might have pleaded that Homer himself here speaks with an uncertain voice..."

• Ambiguity in Homer:
  • Iliad XXI.277–78: Apollo disguised as a man lures Paris to shoot Achilles.
  • Iliad XXII.355–60: Achilles is killed by Paris’ arrow guided by Apollo.
  • Odyssey XXIV.36–42: A battle over Achilles’ corpse implies a more glorious death.
• Quintus’ Choice:
  • By having Apollo act alone, he:
    • Simplifies the narrative (no mortal agency).
    • Elevates divine power (Apollo as sole executioner).
    • Loses the irony of Achilles, the greatest warrior, felled by Paris, the weakest.
• Critic’s Judgment:
  • The phrase "manifest detriment" suggests Quintus missed an opportunity for tragic depth.

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6. Conclusion: Why This Excerpt Matters

The passage is less about Quintus’ poetry and more about how ancient texts are reconstructed, debated, and judged. It reveals:

1. The fragility of literary history: Our knowledge of Cyclic epics depends on fragments of fragments (Proclus → Photius → modern scholars).
2. The burden of Homer: Later epics were doomed to be compared to the Iliad and Odyssey, often unfavorably.
3. Creative license vs. fidelity: Quintus’ changes—whether due to ignorance, artistic choice, or cultural shifts—show how myths evolve.

Final Thought: Quintus’ Posthomerica is a bridge between lost epics and later traditions, flawed but invaluable. The excerpt itself is a microcosm of how we piece together antiquity: through scraps of text, scholarly debates, and the shadows of greater works.