'This inquiry is to a large extent based on the case made by Karl Reinhardt (...) that the similarities in the treatment of Aeneas in the twentieth book of the 'Iliad' and the 'Hymn to Aphrodite' show that the authors of the two passages were the same; and this was the poet of the Íliad' as we have it, a rhapsode at the court of the Aeneadae in Asia Minor. Heitsch does not go all the way with Reinhardt, and his approach is different; where Reinhardt was a unitarian, whose judgements were supported by literary criticism Heitsch is a linguistic analyst. He considers the language of the 'Hymn', and of the 'Aeneis' in Book XX, in an attempt to establish their relative dating compared with (a) the rest of the 'Iliad' and the 'Odyssey', and (b) Hesiod. And he comes to the definite conclusion that both poems are separate from the 'Iliad' and later than Hesiod; the come from the same period, and the same poetic circle, attached to the philhellenic rulers in Asia Minor called the Aeneadae. The time he considers to be the second half of the seventh century, that is about a century later than the commonly assumed date of the 'Iliad'. He does not think the evidence suffices to ascribe both poems to the same poet. Heitsch argues all this and more with clarity, wit, and accuracy. It is, however, unsatisfactory, (...) that although this book deals exhaustively with the details of individual lines and parallel verses, Milman Parry is never mentioned, nor are the concept and implications of oral, formulaic composition taken into account.' (M.M. WILLCOCK in The classical Review (New Seeries), 1967, pp.pp.138-39). From the library of the late Professor Doktor Nikolaus Himmelmann.