BOOKS XVII-XXIV.

The time has arrived for this exposition of the Odyssey to be brought to a close with some degree of rapidity. It has already expanded itself beyond its original purpose; it, too, like Ulysses, has asserted itself as limit-transcending. We shall try to indicate the general character of these remaining eight Books, to find their place in the total organism of the poem, and then give a brief outline of each Book separately.

It has already often been stated that the Odyssey is a Return, an outer, but specially an inner Return from the Trojan War and from the alienation and disruption produced by the same. This Return, narrated in the twenty-four Books of the poem, divides itself into two equal halves, each containing twelve Books. The first half moves about two centers, Telemachus and Ulysses; the former is to be trained out of his ignorance, the latter is to be disciplined out of his negative attitude toward institutional life, and thus be prepared to rescue institutional life. The first twelve Books are, therefore, the getting rid of the destructive results caused by the Trojan War and all war, in the human soul.

Still Ulysses, with Telemachus, is to do a deed of destruction, he is to destroy the Suitors, who are themselves destructive of institutional order in Ithaca. In a general way they are like the Trojans, they are assailing the domestic and political life of the Greek world; they too must be put down at home by the hero, as Troy was put down abroad by him. But at Troy he became negative through the long training of a ten years' war, the spirit of which he must get rid of before he can slay the Suitors, for he is too much like them to be their rightful destroyer. This, then, is the discipline of the first twelve Books: through the experience of life to get internally free of that destructive Trojan spirit, to overcome the negative within, and then proceed to overcome it without.

Now this overcoming of the negative without (embodied in the Suitors) is just the work of the last twelve Books of the Odyssey, which we have called the Ithakeiad, as the scene is laid wholly in Ithaca. Internally both Ulysses and Telemachus are ready; they have now externally to make their world conform to their Idea. The trend of the poem is henceforth toward the deed which destroys the outer negation, as hitherto the trend was toward the deed which overcame the inner negation. To be sure, the destruction of the Suitors has hovered before the poem from the beginning; but in the second half it is explicit, is the immediate end of the action.

This second half divides itself into two distinct portions. It being the direct movement toward the deed shows in the first portion the preparation of the instruments, which takes place at the hut of the swineherd. Ulysses is alone, he must find out upon whose aid he can rely; his helpers must show not only strength of limb, but strength of conviction. Two persons appear—his son and his swineherd; they believe themselves to be the bearers of a Divine Order as against the Suitors; they are the army of three to whom the cowherd is to be hereafter added on manifesting his loyalty. This part of the poem has been unfolded in the preceding four Books.

The second portion of this second half of the poem, consisting of eight Books, we are next to consider. Ulysses has hitherto only heard of the excesses of the Suitors; he is now to see them directly and to experience their violence in his own person. He is in disguise and gets full possession of the fact before he proceeds to the deed. The insolent, destructive conduct of the Suitors is set forth in all fullness, as well as the subtle attempt of the wife to thwart them; then the blow falls which sweeps them and their deeds out of existence. Restoration follows after this terrible act of vengence; Ulysses, having done his great destructive work, is to show himself constructive, not simply the destroyer, but the healer and restorer.

How can we best see the sweep of these eight Books and their organic connection with the total Odyssey? No mere formal division will answer, nor any external separation into parts. The inner movement of the thought is to be found and shown as the organizing principle. On the whole the joints of the structure are not so manifest as in the Telemachiad and the Ulyssiad; still they exist. Already it has been often said that the essential character of the Suitors is that of destroyers; Ulysses is the destroyer of these destroyers; but in destroying destruction he is also the restorer. Now just these three stages of the movement of the inner thought are the three organic divisions of the last eight Books; that is, the thought organizes the poem. Let us look more closely.

I. The first five Books (XVII-XXI) are devoted to revealing the Suitors as destroyers to Ulysses in person, though he be disguised. Three strands are interwoven into the texture, which we may separate for the purpose of an examination.

1. The Suitors are destroying what may in general be called the institutional world in its three leading forms: (1) Property, (2) Family, (3) State. To these may be added their disregard and even open defiance of the Gods, who are the upholders, or rather the personified embodiment of all institutional life. Hence the statement may be made that the Suitors are, as far as their deeds go, the destroyers of the Divine Order of the World; they are spiritually negative.

2. The second strand is that of Ulysses (to whom Telemachus and the swineherd can be added) who is to behold with his own eyes, to experience in his own person, the character and acts of the Suitors; then he is also to plan and prepare for their destruction. As he has overcome his own negative condition inwardly, in the spirit, he must be able to overcome the same condition outwardly, in the world.

3. The third strand is that of Penelope, the wife, who is seeking to thwart the attempt of the Suitors to make her marry one of themselves; thus she is heroically preserving the Family. She, with the loyal part of her household, co-operates with Ulysses, though not aware who he is. Between the second and third strands are many interweavings, both being opposed to the Suitors. Penelope, to delay her marriage, proposes the Bending of the Bow, which gives the weapon and the opportunity to Ulysses. (Book XXI.)

II. The second stage of the grand movement is given in one Book (XXII). This is the single bloody Book of the poem, it makes up all deficiencies in the way of sanguinary grewsomeness. The destroying Suitors are themselves destroyed by Ulysses, who therein is destroyer. Hence the blood-letting character of the Book and of the deed; 116 men skin, 12 women hung, and one man mutilated unto death.

III. But the destroyer Ulysses destroys destruction, and so becomes positive; in the last two Books he is shown as the restorer of the institutional order which the Suitors had assailed and were undermining. He restores the Family (Book XXIII), and the State (Book XXIV). This is, then, the end of the Return, indeed the end of the grand disruption caused by the Trojan War, to which Ulysses set out from Ithaca twenty years before. The absence of the husband and ruler from home and country gave the opportunity for the license of the Suitors. But the Return has harmonized the distracted condition of the land; institutions, Family and State, are freed of their conflict; even the Gods, Zeus and Pallas (authority and wisdom) enforce the new order, bringing peace and concord.

Still, despite the bloody death of the Suitors, there runs through this portion of the Odyssey (the last eight Books) a vein of charity, of humanity, sometimes even of sentiment, which seems to link the poem with our own age. Yet the other side is present also; there is little pity for the unrighteous, and justice is capable of becoming cruel. The Suitors and their set of servants are represented as unfeeling and inhuman; Penelope and the whole loyal household on the other hand show sympathy with poverty and misfortune. Such, indeed, has been their discipline, that of adversity, which softens the heart toward the victims of hard luck.

The disguise of Ulysses is continued, and also the craft of Penelope. The moral questioning which these two characters have always roused does not diminish. The hardest practical problem of life comes to the front in their case. Both are willing to meet unjust violence with dissimulation, till they get the power to act openly. They put down a dishonest world with dishonesty, and then proceed to live honestly. It is another phase of that subtle play of the Negative, with which Ulysses had to grapple repeatedly in Fableland, and of which the Odyssey is full. Every situation seems to have its intricate ethical problem, which the reader has to solve as he solves such questions in actual life. Our opinion upon this element in the poem we have already given, and need not repeat it here.

We must note that Ulysses still keeps up his romancing in order to explain his presence in Ithaca and his beggarly appearance. He introduces a kind of story, which we have called the Novelette in distinction from the Fairy Tale. The scene is usually thrown back eastward to Crete, the Trojan War furnishes the background, the famous Cretan hero Idomeneus is usually in some way connected with the stranger who is speaking. No less than five such Novelettes are found in the last twelve Books—some long, some brief. He tells one to Pallas (XIII. 256), to Eumæus the longest one (XIV. 199), to Antinous a short interrupted one (XVII. 425), to Penelope (XIX. 172), finally one to his father Laertes (XXIV. 304), in which the scene seems to be changed to the West from the mention of Sicania.

For the reader who may wish to follow out in detail these eight Books, we append a general survey of each, in which the thought and the structure are suggested, yet by no means elaborated. We have in the preceding pages given quite fully what we deem the main points of the Odyssey; there remains only this winding-up of the work in a rapid summary.

Book Seventeenth. We now pass from the country and the hut of the swineherd to the town and the palace of the king. This is an important transition, and evidently marks a turning-point in the last twelve Books of the Odyssey. The change of location brings us to the scene of the forthcoming deed, and into the presence of the two conflicting sides. The structure of the Book moves about two centers, Telemachus and Ulysses.

I. Telemachus is first to start for the city, where he arrives, and is received with great joy by the household. The mother asks him whether he has obtained any tidings from his father. But he shuns her question, bids her make fresh vows to the Gods, and goes off to look after his guest, the prophet Theoclymenus. The Suitors throng about him, but do him no harm; a number of his friends are near at hand, and the Suitors are divided among themselves.

After his return to the palace, Telemachus tells his mother the story of his journey. First he went to Pylos and "saw Nestor there," and held intercourse with the wise old man of the Greeks, which was certainly a memorable event in the life of the youth. But Nestor could tell him nothing about the present condition or dwelling-place of Ulysses, so the son was sent onwards to Sparta, to Menelaus, where "I saw Argive Helen, for whose sake the Greeks and Trojans suffered many evils by will of the Gods." Menelaus tells Telemachus the words of Proteus concerning his father Ulysses, gently touching the story of the nymph Calypso, whereat the queen was deeply moved. His news is that his father cannot return.

At this point the prophet comes in with his prophecy. "I declare that Ulysses in his own land again, sitting or creeping about in secret; he is taking note of these evil deeds just now, and plans destruction for the Suitors." The response of Penelope shows her mind. "May thy prophetic word be fulfilled!" It is well to note the art with which this prophet has been brought to the palace of Ulysses to foreshadow the coming event.

Moreover this whole passage connects with the Third and Fourth Books, which recounted the Journey of Telemachus to Pylos and Sparta. Of course the school of dissectors have sought to show the entire narrative here to be an interpolation by a later hand. One says that the brief allusion to the trip is tiresome to the reader. As if Homer composed for readers! But what reader ever found these few lines tiresome? The whole account of the son to the mother is one of the links which bind the Odyssey into unity, hence the wrath against it in certain quarters.

II. The second part of the present Book gives the movements of Ulysses, and is more important and more fully elaborated than the preceding part. The hero is in disguise, he is to take his first glimpse of the state of affairs in his palace. He will experience in his own person the wrongs of the Suitors and their adherents; he will apply a test to bring out their character. This test is that of humanity, of charity toward a beggar; how will the Suitors behave toward him?

While he is on the way to the city with Eumæus, he has his preliminary skirmish. They meet the goatherd Melanthius, who at the sight of the beggar breaks out into abuse. There is an inhuman note in his speech, which we may regard as one result of the present disorder of the country. Doubtless the swineherd and the goatherd were rivals, and showed a professional jealousy; but Melanthius had extracted from his humble calling a disposition quite opposite to that of Eumæus, and had become disloyal to his master's House.

The approach to the palace is indicated by the song of the bard and the noise of feasting guests. Still the disguised Ulysses is recognized by one living object: his old dog Argo, who dies on the spot out of joy at seeing his master again. Full of sentiment and tenderness is the description; it has a modernity of touch which will be often noticed in this second half of the Odyssey. Much comment has been bestowed upon the incident; but its most striking characteristic is its symbolism. The old dog, neglected now, full of vermin, hardly able to crawl, yet loyal in his heart; why should he not receive the praise of Eumæus, who tells of his former skill in the chase! The dog Argo images the House of Ulysses at present; to such straits has fidelity come. A famous statement here by Eumæus cannot be passed over: "The day which makes the man a slave, Zeus takes half his worth away." True generally of men, but not of the slave who utters it, he being the fate-compeller.

Ulysses now applies his test of charity to the Suitors. He goes around to them, asking for alms, like a beggar, that he might observe them all, and "know who was better and who was worse." But in the end not one of them was to be spared. Such was the supreme test, that of charity; how will the Suitors treat the poor beggar? Will they behave toward him as Eumæus has? Not by any means; the test calls out the worst suitor of the lot, Antinous, who finally hurls a stool at the supposed intruder. The other Suitors give something, not their own; still they share in the guilt. Is this test of charity, selected by the poet here, a true test of such characters? One result of the present violation of law and order is inhumanity, cruelty, disregard of the fellow-man. Especially marked is their contrast with Eumæus, who, in response to the harshness of Antinous, says: "The famous men of earth (such as the seer, the doctor, the builder, the bard) are invited to the feast; no one would invite a beggar to an entertainment." Still the beggar is here to be invited. A ring of modern sentiment is surely heard in this passage; the subjective element of Christendom seems embodied in that swineherd a thousand years before its time.

The poet does not leave out of this Book the previous tendency of Ulysses to romancing. In the talk with Antinous he begins another tale or rather the old one, with Egypt and Cyprus in the background. It is, in substance, the story of the attack on the Ciconians, which Ulysses cannot help telling when he looks back toward his Trojan period. Here again it is truth in the form of fiction.

Meantime the uproar has called forth Penelope, who desires to see the strange beggar. The wish is conveyed to Ulysses, who artfully requests that the interview be deferred till night-fall; the wife might see through his disguise. The time for this recognition has not yet come. She wishes to hear of her husband, thinks of him in some such pitiable plight as this beggar is in; she shows sympathy. A charitable disposition is indeed a characteristic of the whole household, nurses and all; misfortune has brought its blessing. Herein the contrast with the Suitors is emphatic, they are a stony-hearted set, trained by their deeds to violence and inhumanity.

Eumæus praises the minstrel talent of Ulysses; the poet endows his hero with the gift of song in this poem; compare the praise given by Alcinous to the singer of Fableland. So Achilles in the Iliad was found by the embassy singing the glory of heroes. Nor must we pass by that deeply-grounded belief in the good-luck which comes from a sneeze. Telemachus sneezes at the right moment, and Penelope interprets the omen, with a smile, however, which hints a touch of humorous incredulity. Finally we may reflect upon that true Homeric view of the world indicated in the words of Telemachus: "All these matters will be cared for by myself and the Immortals." These are the two sides working together throughout the poem.

Book Eighteenth. Ulysses, as beggar, has now gotten a foothold in his own house. He has made the transition in disguise from the hut to the palace; he has tried his preliminary test upon the Suitors, the test of charity, and found out their general character. He is not recognized, on account of external disguise in part; yet this disguise has its internal correspondence.

The present Book is one of warnings; on all sides the Suitors are admonished of the day of wrath which is coming. In Homeric fashion they are told to change, to repent, to cease their wrong-doing. We observe three parts: first is the conflict with the beggar Irus, foreshadowing the conflict and outcome with the Suitors; second is the appearance of Penelope, the female Ulysses in craft and in disguise, here hoodwinking the Suitors; third is the male Ulysses, in craft and in disguise, observing, testing, planning fate for the guilty.

I. Ulysses has assumed the part of a beggar, but he finds a real beggar on the ground ready to dispute his right. Irus, this mendicant, has a character on a par with the Suitors, violent, inhuman, insolent; he is, moreover, one with the Suitors in taking other people's property for nothing. There is no doubt that the poet casts an image of the Suitors in the portrait of Irus, who acts toward Ulysses the beggar, as they do toward Ulysses the ruler. It is manifest by word and deed that his humble life has not given him the training to charity.

The result of the competition between the real and the disguised beggar is a fight, which is urged on by the Suitors for the sport of the thing; Antinous is specially active in this business, which is a degraded Olympic contest. Homer too shows his love of the athlete by his warm description of the body and limbs of Ulysses, who "showed his large and shapely thighs, his full broad shoulders, his chest and sinewy arms," when he stripped for the contest.

There can be only one outcome of such a fight under such circumstances, especially in an heroic poem. But is not Ulysses himself inhuman and uncharitable toward his poor beggar rival? Certainly he does not deal with him gently, and the modern reader is apt to think that Ulysses ought now to have his own test of charity applied to himself. Still his defense is at hand: Irus sided with the Suitors, had their character, Telemachus says they favored him; he is harsh and merciless to his seeming fellow-beggar, and so he gets his own, though Ulysses at first warns him, and wishes to be on good terms with him: "I do not speak or do thee any wrong, nor do I envy thee getting alms; this threshold is large enough for both of us; thou art a beggar as well as I. So beware my wrath." Surely a sufficient warning, which, if unheeded, draws down the fateful consequences.

But the chief justification of the poet lies in the fact that this contest with Irus is sent before the main conflict as a prototype and a warning. The Suitors looked on and saw the miserable beggar completely undone; "they threw up their hands and nearly died laughing;" a case of blind fatuity, for they were soon to be in the place of Irus, every one of them. A little later Telemachus suggests the connection: "Would that the Suitors might droop their heads overcome in our house, as now Irus sits at the hall gate with drooping head like a drunken man, and cannot stand erect or walk home, since his dear limbs have been loosened."

Another note of warning is given specially to Amphinomus, who had extended a very friendly salutation to Ulysses after the victory, and who was the most honorable man of the Suitors. Ulysses again resorts to fiction in order to convey his lesson, "Many were the wrongs I did;" hence my present condition. "Let no men ever work injustice," such as these Suitors are guilty of; the avenger "I now declare to be not far away from his friends and his country." Hence the warning: "May some God bring thee home" at once, for bloody will be the decision. But Amphinomus does not obey, though "his mind foreboded evil;" he remained in the fateful company and afterwards fell by the hand of Telemachus.

II. The real person for whose possession this whole contest is waged is now introduced—Penelope. She appears in all her beauty; Pallas interferes divinely in order to heighten the same, making her "more stately in form and fairer than the ivory just carved." She is indeed the embodiment of all that is beautiful and worthy in that Ithacan life; loyalty to husband, love of her child, devotion to family, the strongest institutional feeling she shows, with no small degree of artifice, of course. Just now she reproves her son for having permitted the recent fight: "thou hast allowed a stranger guest to be shamefully treated." Thus she shows her secret unconscious sympathy with her husband in disguise.

Then she turns her attention to the Suitors. She alludes to the parting words of her husband as he set out for Troy: "When thou seest thy son a bearded man, marry whom thou wilt and leave the house." The time has come when she has to endure this hateful marriage; how the thought weighs upon her heart! But we catch a glimpse of her deeper plan in the following: "The custom of Suitors in the olden time was not such as yours; they would bring along their own oxen and sheep and make a feast for the friends of the maiden whom they wooed, and give her splendid gifts; they consumed not other folk's property without recompense." What does all this mean?

One result takes place at once. The Suitors all hasten to bring her their presents, and thus conform to the good old time and to her opinion. Great was the hurry: "Each dispatched his herald to bring a gift." Does the poet hint through a side glance the real state of the case? Hear him: "Ulysses wad delighted when he saw her wheedling the Suitors out of their gifts and cajoling their mind with flattering speech, while her heart planned other things." Cunning indeed she has and boundless artifice; what shall we make of her? As already often said, craft is her sole woman's weapon against man's violence, and she uses it with effect for the defense of her home and her honor. Is she justified? Is such deception allowable under the circumstances? Thus the poem puts the test to the modern reader, and makes him ponder the moral problem of life.

One other point we should note in this speech of Penelope to the Suitors. She says that their method of wooing was not the accustomed way; they had no right to expect such entertainment for such a body of men. They had the right of suit, but it must be conducted in a lawful manner. Thus they are violating custom, or making it a pretext for doing injustice. But she meets violence with cunning, and rude force with craft.

III. Ulysses now takes note of another phase of the wrong done to his household by the Suitors; they debauch the female servants, of whom Melantho is an example. The seeming beggar wishes to stay all night by the fires kindled in the palace, and take care of them, instead of the maids who usually looked after them. This plan of his evidently interferes with an existing arrangement, hence the abusive words of Melantho toward him first, and then the scoffing speech of Eurynomus, her lover, who lets fly at him a footstool which hits the cupbearer. General confusion results, in the midst of which Telemachus commands order which is seconded by Amphinomus. After a cup of wine, all retire to their homes. But Ulysses has got an inkling of what is transpiring between the Suitors and some of the maid-servants. Hereafter we shall see that both share in the punishment.

Book Nineteenth. This is a strong Book of its kind. Penelope is the center, her difficulties are shown anew, moreover they are about to reach their culmination. The husband disguised here tests the wife, and finds out by his own personal observation her fidelity. Her womanly instincts are still intact, in spite of the dissolute surroundings. Ulysses discovers that he is not to meet with the fate of Agamemnon on his return home.

From the preceding Book, which was occupied with the external conflicts in the palace, we move in the present Book more and more to the heart of the business, which is the union in the hearts of husband and wife. The oneness of the Family after long separation of its two members is the ethical theme, showing that such union is eternal, as far as the eternal can be shown in Time. Two divisions we shall mark: Ulysses and his son Telemachus first, then Ulysses and his wife Penelope.

I. The two men, father and son, are seen preparing for the conflict which is drawing on—just that being the duty of men. The weapons which were hanging on the walls of the banqueting-room are removed in the absence of the Suitors and of the servants. Also a pretext is framed for their removal. Moreover "Pallas, holding before them her golden lamp, made very beautiful light." Certainly the Goddess was there, the scene shows her in every part; "Such is the wont of the Olympians," says Ulysses; divine illumination descends upon a work of this kind.

II. But by far the longest portion of the Book is devoted to the interview between Ulysses and Penelope. Telemachus goes off to his chamber to rest for the night; Ulysses is now received by his wife at the hearth. The various turns of this lengthy account we shall throw into four divisions.

1. By way of introduction, the faithless handmaid Melantho again shows her character in a harsh speech to Ulysses, "Get out, you beggar! Will you still keep sneaking through the house by night to spy out women?" So she reveals plainly what she is, and even mentions the test which she cannot stand. Ulysses in his reply enforces charity: "I was once rich, but I gave the poor wanderer alms." Beware of the day of reckoning: such is his repeated warning to all these people.

Penelope also gives a sharp reproof to the shameless handmaid, and intimates the fate impending: "Thou hast done a deed which thy head shall atone for." It is again to be noted that the guilty are the inhuman, while the faithful have charity. Penelope specially shows this trait in the present Book, though her threat to Melantho is not gentle. Quite as Ulysses served Irus, Penelope is ready to serve Melantho; both can become uncharitable toward the uncharitable; both can meet evil with evil, and fight the negative with negation.

2. The main purpose of this portion of the interview is to furnish Penelope with hope. She seems on the point of giving up the long contest, she has played her last stratagem against the Suitors. Now she must choose one of them, her parents urge it, her son demands it; there seems no escape, though she hates the marriage like black Death. In such a frame of mind, the disguised Ulysses is to divert her thoughts with a story, to gain her confidence in his honesty, and to give a strong promise of her husband's speedy return. The manner in which he puts these three points in succession is worthy of study.

First, he must give some account of himself, of his lineage and of his connections. Here he employs his old fiction, he feigns a tale, putting the scene into Crete, and allying himself with the famous stock of Minos, as well as with the well-known Cretan hero Idomeneus so often celebrated in the Iliad, whose brother he claimed to be. "There I saw Ulysses and entertained him." This story of his life has an analogy to what he told Eumæus (Book XIV. 199) and Antinous (Book XVII. 425). All three differ in details, being adjusted to the person and the occasion; still all are cast into the same general mould, with the scene placed in the East on the borderland toward Phenicia and with the Trojan war in the background. It is another Homeric novelette suggesting a life of adventure on sea and land, and showing sparks of that enterprising Greek spirit, of which the Odyssey is the best record. But the poet adds: "So he went on fabricating lies like truth;" which indicates that he told more than is in the text and completed his story.

In the second place, Penelope applies her test, for she is not so credulous as to believe every wandering story-teller: "Describe me the garments he had on." Truly a woman's test. It is needless to say that Ulysses responds with great precision. She, however, had no suspicion, which might arise from such a complete account. It is no wonder that Penelope proposed to entertain this beggar guest, one who has been so hospitable to her husband, of whom she declares in an outburst of despair: "I never shall behold him returning home."

At this point the disguised Ulysses makes his third and principal speech to his wife, imparting to her the hope that Ulysses will return. This completes his story, introducing the Thesprotians again (as in other tales) and the oracle of Dodona. He almost lets the secret out: "He is alive and will soon be here; not far off is he now, I swear it." Not much further could disguise be carried. Still Penelope remains skeptical: "I must think he will not come home." Her hard lot, however, has not hardened her heart, but softened it rather; she reveals her native character in the words here spoken (Bryant's Translation):—

3. Having been brought so near to a discovery, we next come to an actual discovery by the nurse Eurycleia. She is commanded by Penelope to bathe the beggar's feet, which she does with no little sympathy and lamentation. The character of the nurse is in a certain sense the echo of that of Penelope, the echo in emotion, and in fidelity, if not in intelligence. She gives way to her feelings, she recalls the image of Ulysses, whom she nursed, and addresses him as present. She beholds in the stranger the resemblance at the start. "I have never yet seen any one so like Ulysses as thou art in body, voice and feet." We now observe that Ulysses really selects Eurycleia, "a certain old woman, discreet, who has endured as much as I have: she may touch my feet" (line 346). He sought for some confidant among the servants, one who might be needed for important duties before and during the fight; Eurycleia is chosen, since Ulysses knew that she would discover the scar on his foot and thus recognize him. All of which takes place, Ulysses exacts secrecy, and she replies, giving a hint of her character as well as the reason why she was chosen: "Thou knowest my firmness, I shall hold like the solid rock or iron."

There is a long narrative pertaining to the manner in which Ulysses received the wound which caused the scar. Much fault has been found with this story for various reasons, but it gives a certain relief as well as epical fullness to the movement of the Book. It is, however, one of those passages which may have been interpolated—or may not, and just there the argument stands. It traces the character of Ulysses back to his grandfather Antolycus, the most cunning of mortals, and also gives the etymology (fanciful probably) of the name of Ulysses. (Odysseus, the Greek form of Ulysses, is here derived from a Greek word meaning to be angry.)

4. After the bath Ulysses returns to the hearth where Penelope is still sitting. She tells her dream of the eagle which destroyed her geese, and which then spoke by way of interpretation: "The geese are the Suitors and I, once the eagle, am now thy husband." Such is the deep-lying presentiment of Penelope, indicated by the dream, which crops out in spite of her declared skepticism. Note that she dreams not only the dream but also dreams its interpretation; surely she is conscious of some hope now.

The legend at the end of the Book, which tells of the two Gates of Dreams, one of ivory and one of horn, has roused much curiosity among readers about its purport, and has inspired much imitation from later poets. Through the Gate of Horn (dimly transparent) comes the true dream; through the Gate of Ivory (polished on the outside, but letting no light through) comes the false dream. Such is the more common explanation, but Eustathius derives the whole story from two puns on Greek words for horn and ivory. At any rate there are the two sorts of dreams, one getting the impress of the future event, the other being merely subjective.

But Penelope has another suggestion, which is found widely scattered in folk-lore, the Bending of the Bow. This incident, however, is developed in a later Book. It is one of her schemes to defer the hated marriage, after the new hope given by the stranger. She will not yet give up.

Book Twentieth. This book is devoted to describing more fully the situation in the house of Ulysses just before the slaying of the Suitors. The guilty and the guiltless are indicated anew, with fresh incidents; especially the fatuity of the Suitors is set forth in a variety of ways. The scene is in the palace.

The Book may be divided into three portions, which deal with (1) the royal pair, (2) the servants faithful and faithless, (3) the Suitors at their banquet.

I. Ulysses is lying on the porch, restless, unable to sleep; he sees the disloyal women of the household come forth to the embraces of the Suitors. He commands himself: "Endure it, heart; thou hast borne worse than this." Pallas has at last to come and to answer his two troublesome thoughts: "How shall I, being only one, slay the Suitors, being many?" And still, that is not the end. "How shall I escape afterward, if I succeed?" Wherein we may note already a hint of the last Book of the Odyssey. Pallas reproves him, yet gives him assurance. "If fifty bands of men should surround us," still we shall win, "for I am a God, and I guard thee always in thy labors." Whereupon Ulysses at once went to sleep.

The wife Penelope is also having her period of anxiety and of weeping for her husband; she prays to Diana and wishes for death, being awake. But when asleep, her unconscious nature asserts itself: "This very night a man like him lay by me, my heart rejoiced, I thought it no dream." Such is the contrast between her waking and her sleeping state; in the one her skepticism, in the other her instinct manifests itself.

II. We now pass to quite a full survey of the servants of the household. Female slaves have to grind the corn to make bread for the Suitors; one of these slaves is still at her task, though past daybreak, she being the weakest of all. Standing at her hand-mill she utters the ominous word: "O Zeus, ruler, fulfill this wish for me wretched: may the present feast of the Suitors be their last, they who have loosed my limbs with painful toil in grinding their barley meal!" Thus the prayer of the poor overworked slave-woman calls down the vengeance of the Gods, giving the word of friendly omen to the avenger. Certainly a most powerful motive; but again we think, how modern it sounds! Yet ancient too the thought must have been, for here it stands in Homer truly prophetic of many things.

Eurycleia is the controlling power among the handmaids, of whom there was a large number; "twenty went to the spring to fetch water, while others were busy about the house," preparing for the coming banquet. The swineherd Eumæus came with three fat porkers; his disloyal counterpart, Melanthius, also appeared with goats for the feast; both again show their character to Ulysses. The cowherd Philœtius is now introduced, in a full account; he is one of the faithful, has charity for the beggar, and shows his fidelity in a number of points. The beggar assures him: "Ulysses will return, thou shalt see him slaying those Suitors," whereupon Philœtius volunteers his aid.

Thus the forces are assembling; the two sides, loyal and disloyal, are separating more and more, preparatory to the grand struggle. Ulysses in his disguise has discovered those upon whom he can depend. But the banquet is ready, the Suitors, who have been plotting against the life of Telemachus, enter; they are divided among themselves, and can show no concerted action.

III. This banquet is noticeable, inasmuch as Telemachus asserts the mastery in his own house and defies the Suitors. He honors the beggar as his guest, and gives warning that nobody insult the poor stranger, "lest there be trouble." A number of Suitors show their ill feeling; one of them, named Ktesippus, flings a bullock's foot at Ulysses "for a hospitable present," at which the latter "smiled in sardonic fashion," but said nothing. Telemachus, however, reproves the agressor with great spirit, and asserts himself anew against all deeds of violence. One of the more reasonable Suitors, Agelaus, makes a speech, which commends Telemachus but insists upon his ordering his mother "to marry the man who is best and who will give most presents." In reply Telemachus declares that he does not hinder the choice of his mother, but that he will not force her to marry. "That may God never bring about." (Theos without article.)

Now follows a series of miraculous signs, prodigies, mad doings, which prefigure the coming destruction. Insane laughter of the Suitors, yet with eyes full of tears, and with hearts full of sorrow: what does it all forbode? Here comes the seer Theoclymenus with a terrible interpretation uttered in the true Hebrew prophetic style: "The hall I see full of ghosts hastening down to Erebus; the sun in Heaven is extinguished, and a dark cloud overspreads the land." The Suitors bemock the prophet, who leaves the company with another fateful vision: "I perceive evil coming upon you, from which not one of you Suitors shall escape." More taunts are flung at Telemachus who now says nothing; he, his father, and his mother, witness the mad banquet, which is a veritable feast of Belshazzar, and which has also its prophet. The Hebrew analogy is striking.

Book Twenty-first. The test presented in many a tale is here introduced at the turning-point of destiny. The Bending of the Bow and skill in the use thereof are incidents in the folk-lore of every people. The theme is naturally derived from a social condition, in which the bow and arrow are the chief weapons of defense and offense, employed against human foes and wild animals. Hence the strong man, the Hero, is the one able to bend the strong bow and to use it with dexterity. Such a man uses the chief implement of his time and people with the greatest success, hence he is the greatest man. So we have the test of bending the bow, which simply selects the best man for the time and circumstances.

In recent interpretations of mythology, this employment of the bow and arrows has been connected with the sun and its rays. Ulysses is declared to be really a sun-god, a form of Apollo, deity of archery; he shoots his arrows which are sunbeams and destroys the Suitors, who are the clouds obstructing his light, and wooing his spouse, the day or the sky. It is also noteworthy that on this very day of the slaughter of the Suitors, there is a festival in Ithaca to Apollo, god of light and archery. This is usually regarded as the New Moon (Neomenios) festival. Antinous refers to it (l. 259) and proposes to defer the contest on that account. But Ulysses is made to shoot on the festal day of the sungod.

There is no doubt that mythology is closely connected with Nature, out of which it develops. In the Vedic hymns we see this connection in the most explicit manner, and threads of the old Aryan Mythus can often be picked out in Homer. Still we must recollect that it was the archer man who first projected the archer god out of himself, and it is no explanation of Ulysses to say that he represents the sun-god; rather the sun-god represents him. Moreover, the ethical purpose of Ulysses in slaying the Suitors is the soul of the poem, which is to find its adequate interpretation in that purpose and in that alone. The incident of Bending the Bow is wrought into a grand scheme of indicating the ethical order of the world.

The three divisions of the Book we shall briefly note, observing how the bow rejects the unfit, and selects the right man.

I. It is Pallas (not Apollo, the archer) who started in the mind of Penelope this scheme of testing the Suitors. Why a Goddess here? It is first a chance thought of the woman, but then it becomes an important link in the movement of divine nemesis; hence the poet, according to this custom, traces the inspiration of the idea to a deity. The history of the famous bow is given with an especial delight in details. Penelope herself goes to the room where the armor of the house was kept, gets the bow, and announces the contest to the Suitors.

The man who can bend the bow and send the arrow through the twelve rings, is to bear her away as his bride. The trial is made, no Suitor is able to bend the weapon. Interesting is the prophet among the Suitors, Leiodes, who tries his hand, yet gives the warning: "This bow upon this spot will take from many a prince the breath of life." He foresees and forewarns, but still acts the transgressor; he prophesies death to the Suitors, but remains himself a Suitor, and so perishes in accord with his own prophecy.

II. Ulysses, going to one side with the cowherd and swineherd (Philœtius and Eumæus), whose loyalty has been so conspicuous, now discloses himself to them, and assigns their duties in the approaching conflict. "I know that you alone of the servants (men) have desired my return." He will give them wife and property if he conquers the Suitors, "and to me ye shall be as companions and brothers of Telemachus." Deserving to be adopted into the royal house of Ulysses they both are, being of this little army of four against more than a hundred enemies. Eumæus is to put the bow into the hands of Ulysses, after the Suitors have tried the test; Philœtius is to fasten the gates that none escape.

III. After the Suitors have failed to bend the bow and a delay is proposed, Ulysses, the beggar, comes forward and asks to make the trial. Violent opposition rises on part of the Suitors, but Penelope in two speeches insists that he shall try. Here again we must ascribe to her unconscious nature some strong affinity with the ragged man before her. She praises the form of the stranger and notes his noble birth, though she denies the possibility of herself becoming his bride. Still she shows a deep attraction for him, which she cannot suppress.

Telemachus now takes the matter in hand, orders his mother out of the way somewhat abruptly (since the fight is soon to start), and bids the bow to be carried to Ulysses in face of the outcries of the Suitors. Eurycleia, the nurse, is commanded to fasten the doors of the house; now we see why Ulysses let her recognize him by the scar. Meanwhile Philœtius fastens the gates of the court. Apparently there is no escape for the Suitors; Ulysses has the bow; he has tested its quality and possesses a quiver full of arrows.

Such is the famous deed of Bending the Bow, which is a symbolic act pointing out and selecting the Hero. Ulysses is revealed by it to the Suitors even before he calls out his name and throws off his disguise; he performs the test, he shoots through the rings without missing, he has strength and skill for the emergency. If hitherto stress has been laid upon his mind and cunning, now his athletic side is brought to the front. But it required all his intelligence to reach the point at which his will is to act.

We have now gone through what may be called the first stage of this final part of the Odyssey. The Suitors have fully shown their destructive spirit, disregarding property, family, state, the Gods. Ulysses has seen and felt in person their wrongs; their negative career has reached its last deed, he has the bow in his hands and is ready for the work of retribution. Such is the general sweep of the last five Books; but now the destructive deeds of the Suitors are to meet with a still mightier destruction.

Book Twenty-second. The final act of justice, the Day of Judgment, perchance the Crack of Doom; such conceptions have long been familiar to man and still are; in the present Book they find one of their most striking embodiments. That for which so long preparation has been made, is now realized: the vindication of the Ethical Order of the World. There is, however, little feeling for that charity and humanity before noticed; stern, inflexible, merciless justice is the mood and meaning of this piece of writing.

The Book has essentially two parts: the punishment of the guilty men (Suitors and Servants) with the sparing of the innocent, and the punishment of the guilty women (servants) with the sparing of the innocent. Thus in both parts there is the penalty, yet also the discrimination, according to the deed.

I. The first part is mainly a battle, an Homeric battle, and reminds the reader of many a combat in the Iliad. Of the conflict with the Suitors here described we can discern three stages, which are marked also by the use of different weapons, the bow, the spear, and the sword.

(1) The first stage of the battle opens with the slaying of Antinous, the ringleader of the band, who is pierced by an arrow from the bow of Ulysses. The crowd threatens Ulysses, who now utters to them what may be called their last judgment, announcing who he is, and his purpose to punish their crimes: "Dogs! you thought I would not come back from Troy, and therefore you devoured my substance, debauched my maid-servants; and wooed my wife while I was still alive. You feared not the Gods, nor the vengeance of man afterwards; now destruction hangs over you all." This may be taken as a statement of the ethical content of the poem from the mouth of Ulysses himself at the critical moment. The Suitors feared not the Gods, were violators of the Divine Order, for which violation man was to punish them. Again the two sides, the divine and human, are put together. In vain Eurymachus, a spokesman for the Suitors, offers amends, guilt cannot now buy itself free when caught. Ulysses answers: "If thou shouldst offer all that thou hast and all that thy father has, and other gifts, I would not desist." So Eurymachus, perishes by the second arrow and still another Suitor, Amphinomus is pierced by the spear of Telemachus. Thus three leaders are slain in this preliminary stage.

(2) The second stage of the conflict begins by Telemachus bringing a shield, two spears, and a helmet for his father, whose arrows are not enough for the enemies. Also he brings armor for the cowherd and swineherd, as well as for himself; thus the four men get themselves fully equipped.

But in order to make a fair fight, it is necessary that the Suitors be armed, in part at least. Melanthius, the goatherd, finds his way to the chamber where the arms are deposited. Arms for twelve he brings, and then goes for more, when he is caught. But now Pallas has to appear in the form of Mentor, in order to put courage into the heart of Ulysses. The first armed set of Suitors advance and throw their javelins without effect, while the four on the side of Ulysses kill four men. Four more Suitors are slain in a fresh onset, then two more; now their store of weapons is exhausted. Thirteen mentioned here by name have fallen beside those unnamed ones whom the arrows of Ulysses slew. The most prominent Suitors are weltering in their blood, there are no more weapons, the result is a panic.

(3) This is the third stage of the battle. A large majority of the Suitors, probably 80 or more out of the 108 plus 10 attendants are still alive, though without weapons and completely paralyzed with terror. "Pallas held from the roof her man-destroying ægis, their hearts trembled with fear, they fled through the palace like a drove of cattle." The four men now use their swords upon the terrified, defenseless crowd, and cut them down. Leiodes, the soothsayer of the Suitors, begs for mercy and recounts his attempts to restrain their violent deeds; vain is his prayer, he perishes with his company of brigands, "for if thou wert their soothsayer, thou must often in my palace have prayed the Gods against my return" and for the Suitors. Thus the priestly man too is involved in the net, he knew the wrong, yet remained the chaplain of that godless company.

Two, however, are saved, the guiltless. The bard, who "sings for Gods and men" is spared, because he sang "by necessity for the Suitors, and not for sake of gain;" also Telemachus intercedes for the herald Medon, who "took care of me as a child," a beautiful gleam on this ghastly scene. From Ulysses, however, we hear the moral of the event proclaimed, which the reader may take unto himself: "From this thou mayst know and tell to another how much better well-doing is than evil-doing." So speaks the slayer over these corpses, which utterance we may at least regard as an attempt of the poet once more to enforce the ethical purpose of his work. Not a single living Suitor or attendant can be found skulking anywhere, and none have escaped.

II. Having completed his task in regard to the guilty men, Ulysses now turns his attention toward the guilty women of his household. For this purpose Eurycleia is called, and is brought to him; when she sees the deadly work, she shouts for joy. Ulysses restrains her: "It is an unholy thing to exult over the slain." Here again the ethical nature of this act is emphasized: "The decree of the Gods and their own evil deeds overwhelmed these men; they paid respect to no human being, high or low, who approached them." Yet there are modern writers who can see no ethical purpose in the Odyssey.

Eurycleia gives her report: out of fifty serving maids in the palace, "twelve have mounted the car of shamelessness." These latter are now called, are compelled to carry out the dead (among whom are their lovers), and to make clean the place of slaughter. Then they are led out and hung: such was the ancient fate of the prostitute in the household.

A still harsher and more ignoble punishment awaits the goatherd Melanthius, a cruel mutilation is inflicted upon him, horrible to the last degree, but it grades his punishment according to his offense. A fumigation with sulphur we find here, as old as Homer. Then all the rest of the handmaids are summoned along with Penelope, to witness the deed and to see the hero.

Such is this terrible Book in which destruction is fully meted out to destroyers. According to our count 129 people are here dead, all of them guilty. A doomsday spectacle for that household, and for all readers and hearers since; it shows the return of the deed negatively upon the negative doer. But Ulysses, the hero sitting amid these corpses, is simply the Destroyer, the very picture and embodiment thereof. Is there to be no positive result of such bloody work? Yes; that is the next thing to be shown forth in the two following Books; Ulysses is also the restorer, wherewith his career and this poem will terminate.