Historiography is composed of the principles, theories, or methodology of scholarly historical research and presentation. Here, James Zills looks at how historiography evolved in Ancient Greece, and includes consideration of Homer, Herodotus, and Thucydides.

Homer as shown in 1493 in the Nuremberg Chronicles.

Homer as shown in 1493 in the Nuremberg Chronicles.

Greek historiography arguably began with the epic poems of Homer; though many scholars debate his actual existence. Homer’s poems focused mainly on the heroes and gods of what would later become “Greek Mythology” during the Trojan War and the fall of Troy. The Homeric Epics narrowed the events in Greek history to individuals and lacked a timeline of events for historians to follow. The issue of validity of the poems created the need for subsequent historians to fill in the gaps and broaden the scope of Greek history. The evolution of Greek historiography began out of a necessity to fill in crucial gaps in historical events, timelines; the Homeric Poems and stories from bards filled with mythological gods, and undeniable inaccuracies required elimination. The gradual elimination of deities and a quest for accurate and reliable sources from historians such as Herodotus, Thucydides, and Polybius shaped the writing and reporting of history in Greece. 

The historiography of Ancient Greece arguably traces its roots back to the bards who would recite epic tales most notably the ones accredited to Homer. The issue with these epic poems is that they were passed down orally and fails to give details such as dates, and has such a narrow scope; it leaves historians questioning its authenticity from a historical perspective. The Iliadand Odyssey composed four to five hundred years after the fall of Troy giving those more of an imaginative or artistic narrative[1]. The narrowness was not the only issue later historians would have with Homer’s works; the mythical gods and implausible characters made the poems an unreliable source. When modern historians began to develop Greek historical writing, the value in myth or anything mythical began to fade.[2]

 

God(s) Were Never On Your Side

The gods that dominated and controlled the fate of the heroes in early Greek oral history came into question by Herodotus. He began to write history in prose and is known as the “father of history.”[3] While many may argue that the work of Herodotus fails to fall in line with the conception of historiography; he plays a pivotal role in the way history is recorded thus aiding in the evolution of Greek historiography. Herodotus’ view on history was much broader that his predecessors.  His expansion on history included the interactions of Greece with foreign countries and remote ages that were reliant on the information of witnesses instead of stories passed down for generations.[4] While his writings were reliant on some form of eyewitness accounts, he was not immune from the use of mythical events as a reference point in history.[5] Unfortunately, for Herodotus, this takes away the validity of his works, but does not diminish his role in the evolution of historiography in Greece. 

While the writings of Herodotus, not wholly clouded with mythical gods and events, he did use them on occasion. An outlandish version of Hercules written by Herodotus, places the Greek God in Egypt where he slaughtered thousands of Egyptians before his thwarted sacrifice[6]. This particular story is implausible due to the nature of the subject’s views of sacrifices and the absurdity of how one could kill so many. The prose approach that Herodotus took to writing or recording history is his contribution to the evolution of historiography in Greece. Perhaps his bilateral approach to fact and fiction was an attempt to appease those who still widely believed in mythology. As to whether Herodotus actually believed this is debatable; he believed much of the myth in Greek history to be “silly fables”.[7]

Herodotus focused on the cause and effect that events had on society correlating them with timelines from Egyptian history records. His works served to broaden the viewpoint given by the bards, inasmuch as he wrote about remote antiquity and all aspects of culture.[8] Herodotus’ greatest critic was Thucydides, who unlike his “competitor” focuses on politics and military matters. Thucydides eventually argued that myth only served as entertainment and lacked any factual value to history. Thucydides weakened the position myth held in historical accuracy by being critical of it and omitting it from his works. His believe was that while his work may be less appealing to the masses; the minority of the population who wanted truth are appreciative. 

Thucydides along with Herodotus differed in their approaches in documenting and presenting, but shared contrasting viewpoints on all things mythical. Thucydides only conceded that the belief in such entities was the guiding factor in historical event, but the idea of actual existence is “laughable”.[9] His controversial, yet influential works began to change public opinion on the actuality of mythological gods. The way in which Thucydides described the past in his works served to change the perception of historical events. Thucydides’ strict refusal to write on anything that he felt was unreliable in an attempt to present the most accurate historical accounts possible though underappreciated at the time became the norm for future historians. During the era of the Polis, the way in which history documentation began a slow and painful change with the help of historians like Herodotus and Thucydides. 

 

Too Good To Be True

Historical events became broader and depending on who the historian was, accounts came under more scrutiny. During this period, oral accounts still held weight, but the modern historians of the time evolved the way in which they documented it. The idea of documented history based on verifiable evidence began to hold, although slowly. The Hellenistic Age brought with it a more stringent attempt to preserve, capture, define, and evaluate history. Scholars set to preserve the accounts of previous historians as well as improve on their understanding.[10] The most notable historian to come from the Hellenistic Age is Polybius, who emphasized the importance of geographical knowledge and a sensible political view from historians.[11]

Polybius along with the rest of the scholars of the Hellenistic Age aided in the evolution of Greek historiography by searching for truth, motives, and the lessons behind historical events. They recorded history with much more accuracy than their predecessors. The introduction of new cultures to the citizens of Greece brought with it new methods of recording and chronicling time. The scholars of the Hellenistic Age began a trend of filling in the gaps and providing more accuracy to events that would evolve with future generations of Greek historians. The difference in viewpoints of past historians served to expand the horizons of Greek historians and those who read them. As curiosity and the search for accuracy grew with the scholars and their capacity for experimenting and adapting to cultural changes furthered the evolution of Greek historiography.[12]

From its critical beginning, Greek Historiography shows a need to evolve into historical accuracy instead of uplifting, heroic Epic Poems. While the entertainment value of Homeric Poems is timeless, Greek historians felt the necessity to expound upon them and historical fact to them. This eventually led to the debunking or omission of any information from the poems as Greek historiography transitioned to prose. The evolution of Greek Historiography began out of a necessity to fill in crucial gaps in historical events, timelines; the Homeric Poems and stories from bards filled with mythological gods, and undeniable inaccuracies required elimination. The gradual elimination of deities and a quest for accurate and reliable sources from historians such as Herodotus, Thucydides, and Polybius shaped the way history was written and reported in Greece. Those historians who were critical of their predecessors and questioned the validity of existing history helped shape the perception of history and aided in the evolution of Greek historiography.  

 

What do you think of Greek historiography? Let us know below.

Now you can read James’ article on fascism in 1930s America here.


[1] Ernst Breisach, Historiography: Ancient, Medieval, and Modern, 3rd ed Chicago; University of Chicago Press, 2007, 5.

[2] A.E. Wardman, "Myth in Greek Historiography." Historia: Zeitschrift Für Alte Geschichte 9, no. 4, 403.

[3] Arnaldo Modigliani, "Greek Historiography." History and Theory 17, no. 1, 2.

[4] Kurt Von Fritz, "Herodotus and the Growth of Greek Historiography." Transactions and Proceedings 

of the American Philological Association 67, 315.

[5] Fritz, 315.

[6] Wardman, 404.

[7] Encyclopedia Britannica

[8] Donald R. Kelly, Versions of History from Antiquity to the Enlightenment. New Haven: Yale University Press, 18.

[9] Breisach, 14.

[10] Ernst Breisach, 31.

[11] Momigliano, 8.

[12] Momigliano, 10. 

Bibliography

Breisach, Ernst. 1994. Historiography : Ancient, Medieval, and Modern. Chicago: University of Chicago Press. Accessed December 8, 2020. ProQuest Ebook Central.

Kelley, Donald R., ed. 1991. Versions of History from Antiquity to the Enlightenment. New Haven: Yale University Press. Accessed December 8, 2020. ProQuest Ebook Central.

Momigliano, Arnaldo. "Greek Historiography." History and Theory 17, no. 1 (1978): 1-28. Accessed December 9, 2020. doi:10.2307/2504899.

Wardman, A. E. "Myth in Greek Historiography." Historia: Zeitschrift Für Alte Geschichte 9, no. 4 (1960): 403-13. Accessed December 9, 2020. http://www.jstor.org/stable/4434671.

Von Fritz, Kurt. "Herodotus and the Growth of Greek Historiography." Transactions and Proceedings of the American Philological Association 67 (1936): 315-40. Accessed December 9, 2020. doi:10.2307/283244.

"Historiography - Greek Historiography." Encyclopedia Britannica. Accessed December 8, 2020. https://www.britannica.com/topic/historiography/Greek-historiography.

Posted
AuthorGeorge Levrier-Jones
CategoriesBlog Post

Homer´s Odyssey is one of the classics of ancient literature.Some of the most fascinating parts of the book are Odysseus’ tales of fantastical lands as he travels home. Here Francesca Spiegel explores the book and tells us more.

 

Travelogues and travelogue-like passages appear in ancient literature in more than a few places. Some of the travel descriptions of ancient Greece which have been transmitted to us, appear to be dedicated to geographical and cultural education of the reader, seeing as to travel very far given the ancient transportation system was a noteworthy feat. Another sub-category of travelogue is the historiographic, in which the military exploits of an army and its men are recounted not only in terms of their skills in battle, but also expanding upon their courage and endurance at making their way to the location of the battle.

Land of the Lotos-Eaters (1863) by Robert Duncanson.

Land of the Lotos-Eaters (1863) by Robert Duncanson.

Homer’s Odyssey typifies the saga of the long return, the homeward journey from a faraway place. In the Odyssey, readers are first introduced to Odysseus as an absentee father who left behind his wife and young son in order to take part in the Trojan War, in his capacity as the king of Ithaca. The last part of the book focuses on how Odysseus eventually arrives back home after his long absence and is faced with a barrage of suitors to his wife, his mansions in decay and the city under very bad administration, all of which he has good mind to reclaim for himself. If we are to believe the legend, twenty years have passed since Odysseus was last in his home town: he fought for ten years in the Trojan War, and then took ten years to get back home. When he arrives, the youth has grown, nothing is like it was, and Odysseus himself, after the war and the long road, is quite a different man as well.

Sandwiched in between these scenes from Odysseus’ home at Ithaca, are the surreal and extraordinary tales of what Odysseus saw and did on his ten year long journey, which, as readers are informed, took so long because an angry Poseidon kept sweeping his ship astray – for revenge.

 

THOUGHTS ON THE ODYSSEY

In the story, Odysseus lives to tell the tale, so that his adventures among witches, ogres and monsters, his descent into the underworld, and visit to Lestrygonians, his shipwrecks, entrapments, and ingenious explorations out in the great unknown, have since become some of the most popular legends. Nearly everyone has heard of the Cyclops, the one-eyed giant who eats human flesh and lives in a cave, and whom Odysseus squarely overpowered by feeding him wine and blinding his one eye with an incandescent wooden beam. Or the beautiful sirens, whose enthralling charm and irresistible singing Odysseus was able to bypass by putting wax in the ears of all of his party.

Interpretations of the Odyssey have traditionally pointed out the strong focus on loyalty that is implicit in the will to take on challenge upon challenge only to come back home, and attached to this loyalty towards his home town and family, is a commitment to the Greek culture, of which the forms and values appear especially in relief by contrast to the strange lands wandered by Odysseus in the meantime. At Circe’s, the witch who can turn men into swine and wants to make Odysseus the king of her little kingdom it is said:

But venomed was the bread, and mixed the bowl,

With drugs of force to darken all the soul:

Soon in the luscious feast themselves they lost,

And drank oblivion of their native coast.

 

The fear of never making it home is ever-present, and the lure of the sometimes rather enticing propositions made by the fairytale-like creatures in equal parts attractive and revolting seems to intensify at each turning of the road. Here is another passage:

We plied the banquet, and the bowl we crown’d,

Till the full circle of the year came round.

But when the seasons following in their train,

Brought back the months, the days, and hours again;

As from a lethargy at once they rise,

And urge their chief with animating cries:

Is this, Ulysses, our inglorious lot?

And is the name of Ithaca forgot?

Shall never the dear land in prospect rise,

Or the loved palace glitter in our eyes?

 

BIZARRE CREATURES

The travelogue description introduces many episodes of arriving on strange shores and meeting unknown cultures and hybrid, half-awesome, half-scary species of character beings. The places Odysseus goes to seem to appear at first from a distance, enclosed either by walls, or thick vegetation, or water, so that they are each in their own way a closed universe and a microcosm in a capsule – at times it seems like the Odyssey draws up a map of warped microcosm after warped microcosm before our eyes, and each time, a new breed of phantasmagoric characters hop on the scenery as if they belong to a surreal film set. For example, Odysseus travels to:

A floating isle! High-raised by toil divine,

Strong walls of brass the rocky coast confine.

Six blooming youths, in private grandeur bred,

And six fair daughters, graced the royal bed.

These sons their sisters wed, and all remain

Their parents’ pride, and pleasure of their reign.

All day they feast, all day the bowls flow round,

And joy and music through the isle resound;

At night each pair on splendid carpets lay,

And crown’d with love the pleasures of the day.

 

This 1873 verse translation I have been quoting from is by T.A. Buckley and in the public domain. The digital media revolution increases the use of public domain books, but these books are often in the public domain by virtue of being 100 years old or more. Looking at this nineteenth century translation, which I very much enjoy for what it is and I hope you have as well, adds a specific flavor to the story. The Odyssey was very popular in the British colonial Empire and Odysseus’ character, by no means one beloved by all ages, had a distinct appeal with his explorer’s nature and experience of the great unknown. A contemporary of this translation was Tennyson, whose famous poem The Lotos Eaters conflates the pleasures of a Victorian opium smoker with the adventures of Odysseus on Lotophagi Island:

And round about the keel with faces pale,

Dark faces pale against that rosy flame,

The mild-eyed melancholy Lotos-eaters came.

Branches they bore of that enchanted stem,

Laden with flower and fruit, whereof they gave

To each, but whoso did receive of them,

And taste, to him the gushing of the wave

Far far away did seem to mourn and rave

On alien shores; and if his fellow spake,

His voice was thin, as voices from the grave;

And deep-asleep he seem’d, yet all awake,

And music in his ears his beating heart did make.

 

The painting at the top of this article titled Land of the Lotos-Eaters (1863) by Robert Duncanson also epitomizes the conflation of nineteenth century exoticism with Hellenism which is yet another aspect of the same phenomenon. As much as it is important to notice these identifications and projections, the real interest lies in finding out what the Odyssey can mean to ‘us’ now.

 

This article was provided by Francesca Spiegel from www.via-antiqua.com.

 

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Posted
AuthorGeorge Levrier-Jones
CategoriesBlog Post