So, there is this thing happening where maybe the Trojan horse has been found? I am sceptical to say the least but listen to the evidence: according to a report by newsit.gr, Turkish archaeologists excavating on the site of the historical city of Troy on the hills of Hisarlik, have unearthed a large wooden structure. Historians and archaeologists presume that the pieces are remains of the legendary Trojan Horse.
The Trojan horse was called 'Doúreios Híppos' (Δούρειος Ἵππος) by Hómēros, who references the affair in his 'Odysseia'. The Iliad makes no mention of it--although that is the epic that actually takes place on the battlefield--because the horse supposedly came after the end of the Iliad. The Odysseia makes little mention of the horse, however. The only lines that refer to it at all are:
And:
Later accounts offer a bit more details about the creation of the horse and its subsequent employment to sack the city. The Roman poet Virgil, in the second book of the Aeneid, recounts the entire story in great detail, basing it--most likely--off of Hómēros' account and filling in the blanks himself, along with writers who picked up the tale between Hómēros and his time. The most notable difference between Hómēros and Virgil is that in Virgil's tale, a man named Sinon was left behind along with the horse to sell the lie. He had volunteered for the position and was subsequently captured.
So how much is true of the tale? Is there any evidence to support the myth? The Odysseia dates back to the eighth or ninth century, BC., several hundred years after the war is supposed to have taken place. As such, we can assume some embelishment to the story was necessary to flesh out the story--or even make it a story at all. Archaeologists are sure, however, that the Troy existed.
Around 1870, Heinrich Schliemann headed an archaeological dig in Turkey. His site was located south of the southwest end of the Hellespont and northwest of Mount Ida. In 1865, an English archaeologist named Frank Calvert had excavated trial trenches in a field he had bought from a local farmer. The results were promising, and Schliemann took over Calvert's dig--which had since been named 'Hisarlik'--and took sole credit for the future finds at the site, even though Calvert had done the work of locating the site in the first place.
At Hisarlik, Schliemann found evidence of nine cities built on top of each other, as well as evidence of a high wall which must have fortified the town. Schliemann figured that the city of Troy--or Ilion/Ilios (Ἴλιον/Ἴλιος) as it would have been called at the time of the ancient Hellenes--must have been one of the lower, older, cities and thus he blasted his way down to the second city, where he found signs that seemed to corroborate his story--jewellery included, that Schliemann took to be those of Helen--which turned out to be a thousand years older than the time described in the epic. Due to his methodology, much of the later cities was destroyed.
Archaeologists today believe that the sixth and seventh oldest cities found in layers at Hisarlik are the best candidates for the Troy of The Iliad. Until now, however, there was no sign to be found of a huge wooden horse, leading modern scholars to think the horse was part of Hómēros' artistic license as a writer.
Archaeological evidence suggests that city number six would have fit the setting of Troy described by the writer... but evidence points to its destruction not by the hands of man, but the hands of nature: Troy six was destroyed by a massive earthquake. Troy seven, however, was not as grand as Troy six, but its streets were littered with arrowheads, indicating that this city was, indeed, sacked by human hands.
It's not hard to imagine Hómēros spun the histories of these two overlapping cities together, but why the wooden horse as a dramatic ending to his epic? Earthquakes are in the domain of the Earth Shaker Poseidon, who in Hellenic mythology is also the Tamer of Horses. In the Homeric Hymn to Poseidon, the author describes Poseidon in the following way:
Recent excavations, however, have brought to light dozens of fir planks and beams up to 15 meters long, assembled in a strange form. The wooden assembly was inside the walls of the ancient city of Troy. Fir planks were used for building seafaring ships, archaeologists say. The two archaeologists leading the excavation, Boston University professors Christine Morris and Chris Wilson, say that they have a 'high level of confidence' that the structure is indeed linked to the legendary horse. They say that all the tests performed up to now have only confirmed their theory. Professor Morris:
The Trojan horse was called 'Doúreios Híppos' (Δούρειος Ἵππος) by Hómēros, who references the affair in his 'Odysseia'. The Iliad makes no mention of it--although that is the epic that actually takes place on the battlefield--because the horse supposedly came after the end of the Iliad. The Odysseia makes little mention of the horse, however. The only lines that refer to it at all are:
"Yellow-haired Menelaus continued: ‘Wife, indeed
you have told it all as it was. I have known before now the thoughts and
judgements of many heroes, as I wandered the wide earth, but I have never seen
so great hearted a man as enduring Odysseus. That episode too, of the Wooden
Horse, how the great man planned it, carried it through, that carved horse
holding the Argive leaders, bringing the Trojans death and ruin! Then, summoned
it may be by some god who thought to hand victory to the Trojans, you arrived,
with godlike Deiphobus on your heels. You circled our hollow hiding-place,
striking the surface, calling out the names of the Danaan captains, in the very
voices of each of the Argives’ wives. Diomedes, Tydeus’ son, and I, and
Odysseus were there among them, hearing you call, and Diomedes and I were ready
to answer within, and leap out, but Odysseus restrained us, despite our
eagerness. The rest of the Achaeans kept silent too, though Anticlus wanted to
call out, and reply, till Odysseus clapped his strong hands over his mouth,
saving all the Achaeans, and he grasped him so till Pallas Athene led you
away.’" [Bk IV:260-289]
And:
"[R]esourceful Odysseus spoke to the bard,
saying: ‘Demodocus, I praise you above all mortal men, one taught by the Muse,
Zeus’ daughter, or perhaps by Apollo, for you sang the Achaeans’ fate with truth
and feeling, all of their actions and their suffering, all the efforts they
exerted, as if you had been there, or heard it from one who was. Now, come,
change your theme, and sing of the making of the Wooden Horse, that Epeius
fashioned with Athene’s help, that noble Odysseus contrived to have dragged
inside the citadel, filled by cunning with warriors who then sacked Troy. Tell
the tale as it happened, and I will say to all mankind that the god has given
you freely of the power of divine song.’
At his words the bard, inspired by the god,
began, and raising his voice picked up the tale at the point where the Argives
had burned their camp, boarded their oared ships, and sailed some way off,
leaving glorious Odysseus and the rest sitting inside the Horse, at the Trojan’s
meeting place. The Trojans themselves had dragged it into the citadel. There it
stood, while the people sat round it, discussing it endlessly to no conclusion.
Three suggestions found favour: to cut through the hollow timber with pitiless
bronze, or drag it to the edge of the rock and over the cliff, or let it stand
there, as a grand offering to the gods, in propitiation, which is what happened
in the end. For it was their destiny to be destroyed when the city accepted that
huge horse of wood, where the best of the Argives lay hidden, bringing death and
ruin to Troy.
Then he sang how the Achaeans left their hollow
hiding place, and poured from the horse, to sack the city. He sang how the other
warriors dispersing through the streets, laid waste high Troy, but Odysseus, the
image of Ares, together with godlike Menelaus, sought Deiphobus’ house. There,
said the tale, Odysseus fought the most terrible of fights, but conquered in the
end, with the help of great-hearted Athene." [Bk VIII:469-520]
Later accounts offer a bit more details about the creation of the horse and its subsequent employment to sack the city. The Roman poet Virgil, in the second book of the Aeneid, recounts the entire story in great detail, basing it--most likely--off of Hómēros' account and filling in the blanks himself, along with writers who picked up the tale between Hómēros and his time. The most notable difference between Hómēros and Virgil is that in Virgil's tale, a man named Sinon was left behind along with the horse to sell the lie. He had volunteered for the position and was subsequently captured.
"You, eternal fires, in your invulnerable power,
be witness, you altars and impious swords I escaped, you sacrificial ribbons of
the gods that I wore as victim: with right I break the Greek’s solemn oaths,
with right I hate them, and if things are hidden bring them to light: I’m bound
by no laws of their country. Only, Troy, maintain your assurances, if I speak
truth, if I repay you handsomely: kept intact yourself, keep your promises
intact. All the hopes of the Greeks and their confidence to begin the war always
depended on Pallas’s aid. But from that moment when the impious son of Tydeus,
Diomede, and Ulysses inventor of wickedness, approached the fateful Palladium to
snatch it from its sacred temple, killing the guards on the citadel’s heights,
and dared to seize the holy statue, and touch the sacred ribbons of the goddess
with blood-soaked hands: from that moment the hopes of the Greeks receded, and
slipping backwards ebbed: their power fragmented, and the mind of the goddess
opposed them. Pallas gave sign of this, and not with dubious portents, for
scarcely was the statue set up in camp, when glittering flames shone from the
upturned eyes, a salt sweat ran over its limbs, and (wonderful to tell) she
herself darted from the ground with shield on her arm, and spear quivering.
Calchas immediately proclaimed that the flight by sea must be attempted, and
that Troy cannot be uprooted by Argive weapons, unless they renew the omens at
Argos, and take the goddess home, whom they have indeed taken by sea in their
curved ships. And now they are heading for their native Mycenae with the wind,
obtaining weapons and the friendship of the gods, re-crossing the sea to arrive
unexpectedly, So Calchas reads the omens. Warned by him, they’ve set up this
statue of a horse for the wounded goddess, instead of the Palladium, to atone
severely for their sin. And Calchas ordered them to raise the huge mass of woven
timbers, raised to the sky, so the gates would not take it, nor could it be
dragged inside the walls, or watch over the people in their ancient rites. Since
if your hands violated Minerva’s gift, then utter ruin (may the gods first turn
that prediction on themselves!) would come to Priam and the Trojans: yet if it
ascended into your citadel, dragged by your hands, Asia would come to the very
walls of Pelops, in mighty war, and a like fate would await our children."
[BkII:145-194]
So how much is true of the tale? Is there any evidence to support the myth? The Odysseia dates back to the eighth or ninth century, BC., several hundred years after the war is supposed to have taken place. As such, we can assume some embelishment to the story was necessary to flesh out the story--or even make it a story at all. Archaeologists are sure, however, that the Troy existed.
Around 1870, Heinrich Schliemann headed an archaeological dig in Turkey. His site was located south of the southwest end of the Hellespont and northwest of Mount Ida. In 1865, an English archaeologist named Frank Calvert had excavated trial trenches in a field he had bought from a local farmer. The results were promising, and Schliemann took over Calvert's dig--which had since been named 'Hisarlik'--and took sole credit for the future finds at the site, even though Calvert had done the work of locating the site in the first place.
At Hisarlik, Schliemann found evidence of nine cities built on top of each other, as well as evidence of a high wall which must have fortified the town. Schliemann figured that the city of Troy--or Ilion/Ilios (Ἴλιον/Ἴλιος) as it would have been called at the time of the ancient Hellenes--must have been one of the lower, older, cities and thus he blasted his way down to the second city, where he found signs that seemed to corroborate his story--jewellery included, that Schliemann took to be those of Helen--which turned out to be a thousand years older than the time described in the epic. Due to his methodology, much of the later cities was destroyed.
Archaeologists today believe that the sixth and seventh oldest cities found in layers at Hisarlik are the best candidates for the Troy of The Iliad. Until now, however, there was no sign to be found of a huge wooden horse, leading modern scholars to think the horse was part of Hómēros' artistic license as a writer.
Archaeological evidence suggests that city number six would have fit the setting of Troy described by the writer... but evidence points to its destruction not by the hands of man, but the hands of nature: Troy six was destroyed by a massive earthquake. Troy seven, however, was not as grand as Troy six, but its streets were littered with arrowheads, indicating that this city was, indeed, sacked by human hands.
It's not hard to imagine Hómēros spun the histories of these two overlapping cities together, but why the wooden horse as a dramatic ending to his epic? Earthquakes are in the domain of the Earth Shaker Poseidon, who in Hellenic mythology is also the Tamer of Horses. In the Homeric Hymn to Poseidon, the author describes Poseidon in the following way:
"I begin to sing about Poseidon, the great god,
mover of the earth and fruitless sea, god of the deep who is also lord of
Helicon and wide Aegae. A two-fold office the gods allotted you, O Shaker of the
Earth, to be a tamer of horses and a saviour of ships! Hail, Poseidon, Holder of
the Earth, dark-haired lord! O blessed one, be kindly in heart and help those
who voyage in ships!" [22]
Using his artistic license, modern scholars assumed Hómēros may
have used the horse that destroyed Troy as a more exciting explanation of
Poseidon's hand in the whole affair when He levelled the town with an earthquake.
Poseidon, who in the epic actively took part in the battles and was
always--unwaveringly so--at the side of the Hellenes, not the Trojans.Recent excavations, however, have brought to light dozens of fir planks and beams up to 15 meters long, assembled in a strange form. The wooden assembly was inside the walls of the ancient city of Troy. Fir planks were used for building seafaring ships, archaeologists say. The two archaeologists leading the excavation, Boston University professors Christine Morris and Chris Wilson, say that they have a 'high level of confidence' that the structure is indeed linked to the legendary horse. They say that all the tests performed up to now have only confirmed their theory. Professor Morris:
"The carbon dating tests and other analysis have all suggested that the wooden pieces and other artefacts date from the 12th or 11th centuries B.C. This matches the dates cited for the Trojan War, by many ancient historians like Eratosthenes or Proclus. The assembly of the work also matches the description made by many sources. I don’t want to sound overconfident, but I’m pretty certain that we found the real thing!"
I don't mean to be negative, but I am... hesitant to believe the reports. Who knows how many possible explanations for the structure and the wood there can be? It must certainly is an off chance that this is the fabled horse of Troy. That said, wouldn't it be awesome if it was? If we could prove that the ancient Trojans actually accepted a wooden horse into their walls that was left behind by the enemy? Personally, I would find that incredibly amusing. Well, we'll see what comes of it. If I hear anything more, I will let you know.
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Monday, November 10, 2014
archeology current affairs Hómēros Iliad Mythology 101 Odysseia Troy Virgil
7 comments:
I think that Greek Reporter just copied your piece.
I was looking for further evidence online and when searching for the supposed professors involved only found links to a few other current stories online and then this one...from 2014?
Same here. At this point, I have been unable to find this in any peer-reviewed academic journals.
One more person going this way...
Neither of those people seem to be professors at Boston University, and though there are archaeologists with those (extremely common) names, none seem to do any research remotely along these lines. I also can't imagine any academic archaeologist saying anything like "We're pretty sure this is it!" given the kind of evidence that's listed.
So do these archaeologists care to publish photos of the uncovered 15 meter fir beams they claims to have discovered? Or share the laboratory results from the carbon 14 testing?
I certainly hope the Boston University is paying attention here. History making claims from academic professionals should be backed by more than words.
So if anyone else comes here, this is a hoax.
The story's origin is from a "satire" site (World News Daily Report) in 2014. The reference to newsit.gr is from the since-deleted World News page, which commonly refers vaguely to non-English sources to dupe people into thinking they are credible. The English-language Greek Report bought the story hook line and sinker and republished the story (with no corrections or fact checking) as their own work a month later.
That's why this blog is from November 2014.
Now the Greek Report has published the same article again, in August 2021, and other news sites are taking them at their word. Strangely the links to the 2014 article reroute to the 2021 version, so it may have been an error as they were trying to update the story... or they were trying to cash in on it again.
Source: https://www.abovetopsecret.com/forum/thread1041101/pg1
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