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J. Kelder, “The Origins of the Trojan Cycle,” in Troy: City, Homer, Turkey

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J. Kelder, “The Origins of the Trojan Cycle,” in Troy: City, Homer, Turkey CITY HOMER TURKEY CHIEF EDITORS Jorrit Kelder, Günay Uslu, Ömer Faruk Şerifoğlu EDITORIAL TEAM René van Beek, Floris van den Eijnde, Gert Jan van Wijngaarden WITH CONTRIBUTIONS BY Willem J. Aerts, Rüstem Aslan, Mithat Atabay, Beşir Ayvazoğlu, Mathieu de Bakker, Pim den Boer, Diederik Burgersdijk, Christiaan Caspers, Hein van Eekert, Floris van den Eijnde, Laurien de Gelder, Rudolph Glitz, Irene J.F. de Jong, Jorrit Kelder, Alwin Kloekhorst, Jacqueline Klooster, Marco Poelwijk, Winfred van de Put, Wendy Rigter, David Rijser, Ömer Faruk Şerifoğlu, Ali Sönmez, Şükrü Tül, Günay Uslu, Herbert Verreth, Willemijn Waal, Gert Jan van Wijngaarden COORDINATION Paulien Retèl CONTENTS FOREWORD Ministry of Culture and Tourism of the Republic of Turkey – O. Murat Süslü Embassy of the Republic of Turkey to the Netherlands – Uğur Doğan Allard Pierson Museum and Sezer Tansuğ Sanat Vaki – Wim Hupperetz, Ömer Taşdelen 1 THE STORY OF TROY . Homer: poet, poetry and the promise of eternal renown – Irene J.F. de Jong . he origins of the Trojan cycle – Jorrit Kelder Iron in the Bronze Age – Jorrit Kelder An Anatolian Iliad? – Willemijn Waal . A broader perspective: an overview of the East – Willemijn Waal 2 THE ARCHAEOLOGY OF TROY . he archaeology of Troy in Prehistory – Gert Jan van Wijngaarden . Troy VI and VIIa in the Late Bronze Age – Wendy Rigter and Gert Jan van Wijngaarden he archaeology of everyday life: the pottery of Troy VI and VII – Wendy Rigter . From Achilles to Alexander – Floris van den Eijnde 3 TROY AND ITS NEIGHBOURS . he Hittites – Willemijn Waal Alakšandu of Wiluša – Willemijn Waal . he language of Troy – Alwin Kloekhorst . he Mycenaean Greeks – Jorrit Kelder Mycenaean Greek – Marco Poelwijk 4 HOMER AND TROY . Troy and the war: archaeology, documentary sources and epic – Jorrit Kelder A war over Troy in the Tawagalawa letter? – Willemijn Waal . he world of Homer – Floris van den Eijnde Creation and transmission of the Homeric epic – Mathieu de Bakker and Floris van den Eijnde . Homer and the eternalising of transient Troy – Mathieu de Bakker 5 TROY IN THE GRAECO-ROMAN WORLD . ‘he very ruins have been destroyed’. Troy in Graeco-Roman literatur – Christiaan Caspers . Troy in Greek art – more than illustrations to Homer – Winfred van de Put . he Troy Game: the Trojan heritage in the Julio-Claudian house – Diederik Burgersdijk . Troy in Byzantium – Willem J. Aerts 6 THE RENAISSANCE OF TROY . he second round: the battle for Troy in the Renaissance – David Rijser Mehmed II and Troy – Günay Uslu . Homer and Troy: from European to disputable lieux de mémoire – Pim den Boer . Shakespeare’s Troilus and Cressida – Rudolph Glitz . Troy in the opera – Hein van Eekert 7 SCHLIEMANN AND THE REDISCOVERY OF TROY . Heinrich Schliemann, scientist and romantic? – Gert Jan van Wijngaarden Schliemann’s excavations – Gert Jan van Wijngaarden . Schliemann and the Ottoman Turks – Günay Uslu Schliemann’s excavation permit – Günay Uslu . he discovery and smuggling of ‘Priam’s Treasure’ – Rüstem Aslan and Ali Sönmez Dating ‘Priam’s Treasure’ – Rüstem Aslan and Ali Sönmez 8 HOMER AND TROY IN MODERN TURKEY . Homer and Troy in th century Ottoman Turkish literature – Günay Uslu . Neo-Hellenism in Turkey – Beşir Ayvazoğlu . Atatürk in Troy – Rüstem Aslan and Mithat Atabay . he Blue Anatolians – Ömer Faruk Şerifoğlu . Homer and Smyrna (Izmir) – Şükrü Tül 9 ETERNAL TROY . he excavations in Troy from past to present: the discoveries, discussions and results – Rüstem Aslan Is it Troia, Truva or Troy? – Rüstem Aslan . Troy as displayed in museums – Laurien de Gelder . Troy as comic strip – Herbert Verreth . he Iliad in the th century – Jacqueline Klooster BIBLIOGRAPHY TEXT CREDITS ILLUSTRATION CREDITS PRODUCTION CREDITS TROY CITY, HOMER AND TURKEY THE ORIGINS OF THE TROJAN CYCLE JORRIT KELDER Homer’s Iliad is without doubt one of the most inluential is not mentioned in the Iliad and there is only a brief reference literary works in the history of Western civilisation. Homer de- to it in the Odyssey (Book VIII). We know of the wooden horse scribes only a brief episode, a number of days in the th (and and many other episodes from the -year siege of the city from last) year of the siege of Troy. His tale its into a much broader a wide range of later compositions, such as the famous Aeneïd cycle of stories about Troy and the Trojan war, which includes of the Roman poet Vergil (see .), or the Posthomerica of the another work that is attributed to Homer: the Odyssey – the th century poet Quintus of Smyrna. It is likely that many of story of the arduous return voyage of one of the Greek heroes, these later authors based their work on earlier texts, such as the Odysseus, after Troy has fallen to the Greeks. Since their com- Ilioupersis (he Sack of Troy) by Arctinus of Miletus, that are position in (probably) the early th century bc, the Iliad and now lost, but there are also indications that new story lines and the Odyssey have been read, sung, reworked, adapted and stud- elements were added – in the mediaeval period in particular – ied by numerous scholars, poets and artists. Despite the early by both western and Byzantine authors (see .). fame of these Epics, however, much is uncertain about their author, Homer. We believe that he probably lived in the early ORIGINS th century bc and created the Iliad at that time. But whether he Iliad enjoyed a special status as early as the classical period Homer truly created the Iliad, or whether he was the talented that may perhaps best be compared with the status of the Bible heir to a long tradition of stories about the Trojan War, remains in later times. On account of this special position in Greek uncertain. His origins are also unknown. Various cities in the - and later Roman – culture, the Iliad was subjected to critical world of the ancient Greeks have laid claim to being the birth- analysis at a relatively early stage. One of these early debates, place of the great poet, including the city of Smyrna, now Izmir which already raged during the Classical period, concerned the in western Turkey, and the island of Chios, which is Greek to exact date for the war for Troy. Most ancient Greek ‘scholars’ this day. Although various later ‘biographies’ of Homer – the argued for a date in the early th century bc. Regardless of the aimed to be (to a large extent) self-suficient. Given that iron so-called vitae indicate that all of these cities played a promi- exact date, the historicity of the War was never questioned. nent role in Homer’s life, it remains unclear where, exactly, the Recent research has demonstrated that the Iliad is the prod- great poet was born and where he composed his great works. uct of a long oral – that is to say spoken – tradition. Stories objects for daily use. The irst larger objects that were used Little is known of the broader story of Troy and the origins about the Trojan War must literally have been sung long before of the tale of ‘the’ war. he famous Trojan horse, for example, Homer’s time. It now seems that, as late as the th century Odysseus’ ruse by means of which Troy was ultimately taken, bc, these various stories were uniied into a single work of Fresco of a lyre player on the wall of the throne room in the palace at Pylos, Greece. Although elements from the Iliad and the Odyssey originate from later periods, it is possible that (early versions of) both epics were already known in the Mycenaean period. Possibly an ‘ur-Iliad’ was being recited in the Mycenaean courts to the accompaniment of a lyre. The singer in this fresco is playing a magniicent instrument em- bellished with ducks heads. 16 The landscape around Pylos where Homer’s Iliad locates the palace of Nestor, the mythological old king. The ruins of a IRON IN THE BRONZE AGE Mycenaean palace have in fact been found at Pylos. The period following the ‘Bronze Age’ is generally known as the ‘Iron Age’. These terms are slightly deceptive, for recent genius, the Iliad, that focused on ‘Achilles’ baneful wrath that research has shown that iron was already worked in the late imposed ininite sorrows on the Greeks’. It is doubtful that the Bronze Age, even if only sporadically. The use of iron increased Iliad was put down in writing as early as this stage. here are following the collapse of the ‘Bronze Age World System’, with indications that this took place only in the th century, on the all kinds of specialists, including smiths, tanners and writers that were funded by the palaces, and the rise of a system orders of the Athenian tyrant Peisistratus. It is extremely likely based on the oikos (household), in which each household that the person responsible for ultimately committing the Iliad aimed to be (to a large extent) self-suficient. Given that iron to the written word had motives of his own. A number of con- ore is relatively abundant, the step was soon taken to manu- spicuous references to Athens – the house of Erechteus, king of facture an increasing number of items from iron, in particular Athens – and to Ionian cities – with which Athens had close objects for daily use. The irst larger objects that were used links as the ‘metropolis’ of the Ionian colonies – lend force to for everyday purposes, such as a large (22 cm) iron sickle the conjecture that the Iliad was in fact put down in writing in from 12th century BC Tiryns (in the Peloponnese), appear fairly soon after the collapse of the Mycenaean palaces. Athens, or in a centre linked to this city.
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