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              <p>The Iliad and the Odyssey often keep silent : first, about each other ; but also about many Trojan War episodes, which we know thanks to the surviving fragments of the Epic Cycle and the rest of the ancient Greek literature ; about the most wondrous and fantastic aspects of those stories and their characters ; last, about the lessons which lie at the heart of the Hesiodic tradition, but which seem strangely absent, at least explicitly, from the Homeric compositions. To explain Homer’s silences in those matters, many critics call upon the poet’s ignorance. Taking sides, more or less strongly, in the debates which are still going on today about the « Homeric question » and setting in time both the world painted by the Homeric epics and the creation of those works itself, they establish what Achilles’ poem did, or did not, know about Memnon, Penthesilea or Neoptolemus ; what the Odyssey knew about the Iliad and vice versa ; what the Cyclic poems are « worth » and what role they play in that scheme of things ; what Homer and his heroes understood about the concepts of justice and morality ; last, what sophistication one can, or can’t, expect to find in compositions created in such and such manner at such and such time. Yet, there is another possible explanation for all those silences. Rather than make them out to be the products of Homer’s many supposed forms of ignorance, why not consider that they may be deliberate and proceeding from essentially « literary » intentions ? That explanation, which, without denying the oral and traditional origins of the Homeric compositions, relies on their profound originality, on the level of both content and form, also allows us to better understand their relationship to each other, as well as to the Epic Cycle and to the Hesiodic poems.</p>
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              <p>L’Iliade et l’Odyssée gardent souvent le silence : l’une sur l’autre d’abord ; mais aussi sur de très nombreux épisodes de la guerre de Troie que nous connaissons par ce qui survit des poèmes du Cycle et ce que nous en apprend le reste de la littérature grecque ancienne ; sur les traits les plus merveilleux et fantastiques de ces histoires et de leurs protagonistes ; sur les leçons, enfin, qui constituent le cœur de la tradition hésiodique, mais qui semblent curieusement absentes, sous une forme explicite, des compositions homériques. Pour expliquer ces silences d’Homère, de nombreux interprètes invoquent l’ignorance du poète. Prenant parti, peu ou prou, dans les querelles qui continuent aujourd’hui encore d’entourer la « question homérique » et fixant dans le temps à la fois le monde peint par les épopées et la création même de ces œuvres, ils déterminent ce que le poème d’Achille savait ou ne savait pas de Mémnon, de Penthésilée ou de Néoptolème ; ce que l’Odyssée connaissait de l’Iliade et vice versa ; ce que « valent » et comment interviennent les poèmes du Cycle dans ce cadre ; ce qu’Homère et ses héros comprenaient de l’idée de justice et de morale ; quelle sophistication, enfin, on est en droit d’attendre, ou non, de compositions élaborées de telle ou telle manière à telle ou telle époque. Or il est une autre explication possible à tous ces silences. Loin de les tenir pour le produit des ignorances supposées d’Homère, pourquoi ne pas envisager plutôt qu’ils puissent être délibérés et procéder de raisons essentiellement « littéraires » ? Cette explication, qui, sans renier l’origine orale et traditionnelle des compositions homériques, repose sur leur originalité profonde, tant sur le fond que pour la forme, permet en outre de mieux comprendre les liens qu’elles entretiennent entre elles, mais aussi avec les épopées du Cycle comme avec les poèmes hésiodiques.</p>
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