# Homer: The Odyssey/Chapter 3

CHAPTER III.
ULYSSES WITH CALYPSO AND THE PHÆACIANS.
The fifth book of the poem opens with a second council of the gods. It has been remarked with some truth that the gods of the Odyssey are, on the whole, more dignified than those of the Iliad. They are divided in this poem, as well as in the other, in their loves and hates towards mortals, but their dissensions are neither so passionate nor so grotesque. Minerva complains bitterly to the Ruler of Olympus of the injustice with which her favourite Ulysses is treated, by being kept so long an exile from his home. She, too, repeats the indignant protest which the poet had before put into the mouth of Mentor, which has found vent in all times and ages, from Job and the Psalmist downwards, when in the bitterness of a wounded spirit men rebel against what seems the inequality of the justice of heaven; that "there is one event to the righteous and the wicked;" nay, that the wicked have even the best of it. "Let never king henceforth do justly and love mercy; but let him rule with iron hand and work all iniquity; for lo! what is Ulysses' reward?" Jupiter is moved by the appeal. ​He at once despatches Mercury to the island of Calypso, to announce to her that Ulysses must be released from her toils; such is his sovereign will, and it must be obeyed. The description of the island-grotto in which Calypso dwells is one of the most beautiful in Homer, and it is a passage upon which our English translators have delighted to employ their very best powers. Perhaps Leigh Hunt's version is the most simply beautiful, and as faithful as any. Mercury has sped on his errand;—
Calypso recognises the messenger, for the immortals, says the poet, know each other always. Mercury tells his errand—a bitter one for the nymph to hear, for she has set her heart upon her mortal lover. Very hard and envious, she says, is the Olympian tyrant, to grudge her this harmless fancy. [She must have thought in her heart, though the poet does not put ​it into words for her, that Jupiter should surely have some sympathy for weaknesses of which he set so remarkable an example.] But she will obey, as needs she must. Ulysses shall go; only he must build himself a boat, for there is none in her island. She goes herself to announce to him his coming deliverance. She finds him sitting pensively, as is his wont, on the sea-beach, looking and longing in the direction of Ithaca.
His heart is in his native island; but, sooth to say, he makes the best of his present captivity. He endures, if he does not heartily reciprocate, the love of his fair jailer, The correspondence in many points of these Homeric lays with the legends of mediæval Christendom, especially with those of Arthur and his Round Table, has been already noticed. It has been said also that, on the whole, the moral tone of Homer is far purer. But there is one bright creation of mediæval fiction which finds no counterpart in the song of the Greek bard. It was only Christianity—one might almost say it was only mediæval Christianity—which could conceive the pure ideal of the stainless knight who has kept his maiden innocence,—who only can sit in the "siege perilous" and win the holy Grail, "because his heart is pure." Among all the heroes of Iliad or Odyssey there is no Sir Galahad.
Calypso obeys the behest of Jove reluctantly, but ​without murmuring. Goddess-like or woman-like, however, she cannot fail to be mortified at the want of any reluctance on her lover's part to leave her. There is something touching in her expostulation:—
Ulysses' reply is honest and manful:—
It cannot but be observed, however, that while Penelope's whole thoughts and interests are concentrated upon her absent husband, the longing of Ulysses is rather after his fatherland than his wife. She is only one of the many component parts of the home-scene which is ever before the wanderer's eyes; and not always the most important part, for his aged father and mother and his young son seem to be at least equal ​objects of anxiety. It may be urged that in this parting scene with Calypso he is purposely reticent in the matter of his affection for Penelope, not caring to draw down upon himself the proverbial wrath of "a woman scorned;" and that for a similar reason he suppresses his feelings, and quite ignores the existence of his wife, at the court of Alcinous, when that king offers him his daughter in marriage. But there is, to say the least, some lack of enthusiasm on the husband's part throughout. Of the single-hearted devotion of woman to man we have striking instances both in Penelope and in the Andromache of the Iliad; but the devotion of man to woman had yet long to wait for its development in the age of chivalry.
He builds himself a boat on the island, by Calypso's instructions, and when all is ready, she stores it plentifully with food and wine, and gives him directions for his voyage. He launches and sets sail; but the angry god of the sea (irate especially against Ulysses for having blinded his son, the giant Polyphemus, as we shall learn hereafter) stirs winds and waves against him, wrecks his bark, and leaves him clinging for life to a broken spar. One of the sea-nymphs, Ino, takes pity on him, and gives him a charmed scarf—so long as he wears it his life is safe. For two nights and days he is tossed helplessly on the ocean; on the third, with sore wounds and bruises, he makes good his landing on the rock-bound coast of a strange island. Utterly exhausted, he scrapes together a bed of leaves, and creeping into it, sinks into a profound sleep.
He awakes to find himself in a kind of faeryland. ​The island on which he has been cast is Scheria, inhabited by the Phæacians, whose king and people are very far indeed from being of the ordinary type of mortal men. Whether the poet, in his description of these Phæacian islanders, was exercising his imagination only, or indulging his talent for satire, is a controverted question with Homeric critics. Those who would assign this poem of the Odyssey to a different author from the writer or writers of the Iliad, and to a much later date than that commonly given to Homer, have thought that in the good-humoured boastfulness of the Phæacian character, their love of pleasure and novelty, and their attachment to the sea, some Ionian poet was showing up, under fictitious names, the weaknesses of his own countrymen. Others take the Phæacians to be only another name for the Phœnicians, the sailors of all seas, who had probably in their character somewhat of the egotism and exaggeration which have been commonly reputed faults of men who have travelled far and seen much. Whatever may be the true interpretation of the story, or whether there be any interpretation at all, this curious episode in the adventures of Ulysses is unquestionably rather comic than serious. The names are all significant, somewhat after the fashion of those assumed by the Red men, The king (Alcinous) is "Strong-mind," son of "The Swift Seaman," and he has a brother called "Crusher of Men." The nautical names of his courtiers—"Prow-man" and "Stern-man," and the rest—are as palpably conventional as our own Tom Bowline ​and Captain Crosstree. The hero's introduction to his new hosts presents, nevertheless, one of the most beautiful scenes in the poem. The patriarchal simplicity of the tale cannot fail to remind the reader, as Homer so often does, of the narratives of the earlier Scriptures.
The princess Nausicaa, daughter of the king of the Phæacians, has had a dream. The dream—which comes as naturally to princesses, no doubt, as to other young people—is of marriage; and in this case it could be no possible reproach to the dreamer, since the goddess of wisdom is represented as having herself suggested it. Nor is the dream of any bridegroom in particular, but simply of what seems to us the very prosaic fact that a wedding outfit, which must soon come to be thought of, required household stores of good linen; and that the family stock in the palace, from long disuse, stood much in need of washing. Nausicaa awakes in the morning, and begs of her father to lend her a chariot and a yoke of mules, that she and her maidens may go down to the shore, where the river joins the sea, to perform this domestic duty. The pastoral simplicity of the whole scene is charming. It has all the freshness, of those earlier ages when the business of life was so leisurely and jovially conducted, that much of it wore the features of a holiday. The princess and her maidens plunge the linen in the stream, and stamp it clean with their pretty bare feet (a process which will remind an English reader of Arlette and Robert of Normandy, and which may be seen in operation still at many a burn-side in Scotland), and then go ​themselves to bathe. An outdoor banquet forms part of the day's enjoyment; for the good queen, Nausicaa's mother, has stored the wain with delicate viands and a goat-skin of sweet wine. When this is over, the girls begin to play at ball. Ulysses, be it remembered, is all this while lying fast asleep under his heap of leaves, and, as it happens, close by the spot where this merry party are disporting themselves. By chance Nausicaa, too eager in her game, throws the ball out into the sea; whereupon the whole chorus of handmaidens raise a cry of dismay, which at once awakens the sleeper. He is puzzled, when he comes to himself, to make out where he is; and still more confounded, when he peers out from his hiding-place, to find himself in the close neighbourhood of this bevy of joyous damsels, especially when he bethinks himself of the very primitive style of his present costume; for the scarf which the sea-nymph gave him as a talisman he had cast into the sea upon his landing, as she had especially charged him. But Ulysses is far too old a traveller to allow an over-punctilious modesty to stand in his way when he is in danger of starving. He has no idea of missing this opportunity of supplying his wants merely because he has lost his wardrobe. He extemporises some very slight covering out of an olive-bough, and, in this strange attire, makes his sudden appearance before the party. Nausicaa's maidens all scream and take to flight—very excusably; but the king's daughter, with a true nobility, stands firm. She sees only a shipwrecked man, and "to the pure all things are pure." Ulysses is a courtier as well as a traveller, and knows much of "cities and men;" and ​it is not the flattery of a suppliant, but the quick discernment of a man of the world, which makes him at once assign her true rank to the fair stranger who stands before him. He remains at a respectful distance, while, in the language of Eastern compliment, he compares her to the young palm-tree for grace and beauty, and invokes the blessing of the gods upon her marriage-hour, if she will take pity on his miserable case. Nausicaa recalls her fugitive attendants, and rebukes them for their folly, reminding them that "the stranger and the poor are the messengers of the gods." The shipwrecked hero is supplied at once with food and drink and raiment; and when he reappears, after having bathed and clothed himself, it is with a mien and stature more majestic than his wont, with the "hyacinthine locks" of immortal youth flowing round his stately shoulders—such grace does his guardian goddess bestow upon him, that he may find favour in the sight of the Phæacian princess. She looks upon him now with simple and undisguised admiration, confessing aside to her handmaidens that, when her time for marriage does come, she should wish for just such a husband as this godlike stranger. There is nothing unmaidenly in such language from the lips of Nausicaa. To remain un- married was a reproach in her day, whatever it may be in ours, and a reproach not likely to fall upon a king's daughter; so, looking upon the marriage state as inevitable, and at her age very near at hand, she thinks and speaks of it unreservedly to her companions. Our modern conventional silence on such topics arises in great degree from the fact that a perpetual maidenhood ​is the inevitable lot of far too many in our over-civilised society, and, being inevitable, is no reproach. It does not consort, therefore, with maidenly dignity to express any interest about marriage, for which an opportunity may never be offered.
But Nausicaa is at least as careful to observe the proprieties, according to her own view of them, as any modern young lady. She will promise the shipwrecked stranger a welcome' at her father's court; but he must by no means ride home in the wain with her, or even be seen entering the city in her company. So Ulysses runs by the side of her mules, and waits in a sacred grove near the city gates, until the princess and her party have re-entered the palace. When they have disappeared, he issues forth, and meets a girl carrying a pitcher. It is once more his guardian goddess in disguise. She veils him in a mist, so that he passes the streets unquestioned by the natives (who have no love for strangers), and stands at last in the presence of King Alcinous.
The king of the Phæacians, as well as his queen, boast to be descended from Neptune. His subjects therefore, are, as has been said, emphatically a sea-going people. Ulysses has already seen with admiration, as he passed,
Their galleys, moreover, are unlike any barks that ever walked the seas except in a poet's imagination. King Alcinous himself describes them:—
The wondrous art of navigation might well seem nothing less than miraculous in an age when all the forces of nature were personified as gods. So, when the great ship Argo carried out her crew of ancient heroes on what was the first voyage of discovery, the fable ran that in her prow was set a beam cut from the oak of Dodona, which had the gift of speech, and gave the voyagers oracles in their distress. Our English Spenser must have had these Phæacian ships in mind when he describes the "gondelay" which bears the enchantress Phædria:—
As the men of Phæacia excel all others in seamanship, so also do the women in the feminine accomplishments of weaving and embroidery. But they are not, as they freely confess, a nation of warriors: they love the feast and the dance and the song, and care little for what other men call glory. The palace of Alcinous ​and its environs are all in accordance with this luxurious type of character. All round the palace lie gardens and orchards, which rejoice in an enchanted climate, under whose influence their luscious products ripen in an unfailing succession:—
When the traveller enters within the palace itself, he finds himself surrounded with equal wonders.
King Alcinous sits on his golden throne, "quaffing his wine like a god." His queen, Arete, sits beside him, weaving yarn of the royal purple. Warned by his kind friend the princess, Ulysses passes by the king's seat, and falls at the feet of the queen. In the court of Phæacia—whether the story be disguised fact or pure fiction, whether the poet was satiric or serious—the ruling influence lies with the women. The mist in which Minerva had enveloped his person melts away; and while all gaze in astonishment at his sudden appearance, he claims hospitality as a shipwrecked wanderer, and then, after the fashion of suppliants, seats himself on the hearth-stone. The hospitality of Alcinous is prompt and magnificent. He bids one of his sons rise up and cede the place of honour to the stranger. If he be mortal man, the boon he asks shall be granted: but it may be that he is one of the immortals, who, as he gravely assures his guest, often condescend to come down and share the banquets of the Phaeacians, and make themselves known to them face to face. Ulysses assures his royal host, in a passage which is in itself sufficient to mark the subdued comedy of the episode, that far from having any claim to divinity, he is very ​mortal indeed, and wholly taken up at present with one of the most inglorious of mortal cravings:—
There is every appliance to satisfy appetite, however, in the luxurious halls of Alcinous. While Ulysses is seated at table, Queen Arete, careful housewife as she is with all her royalty, marks with some curiosity that the raiment which their strange guest wears must have come from her own household stores—so well does she know the work of herself and her handmaidens. This leads to a confession on Ulysses' part of his previous interview with Nausicaa, whom he praises, as he had good right to do, as wise beyond her years. So charmed is the king with his guest's taste and discernment, that he at once declares that nothing would ​please him better than to retain him at his court in the character of a son-in-law. Ulysses (whose fate it is throughout his wanderings to make himself only too interesting to the fair sex generally) is by this time too much accustomed to such proposals to show any embarrassment. With his usual diplomacy he puts the question aside—bowing his acknowledgments only, it may be, though Homer does not tell us even so much as this. The one point to which he addresses himself is the king's promise to send him safe home, which he accepts with thankfulness. Before they retire for the night, the queen herself does not disdain to give special orders for their guest's accommodation. She bids her maidens prepare
The combination of magnificence with simplicity is of a wholly Oriental character. The appliances of the court might be those of a modern Eastern potentate ; yet the queen is a thrifty housekeeper, the princess-royal superintends the family wash, and the five sons of the royal family, when their sister comes home, themselves come forward and unyoke her mules from the wain which has brought home the linen.
The next day is devoted to feasting and games in honour of the stranger. Amongst the company sits ​the blind minstrel Demodocus, in whose person it has been thought that the poet describes himself—
Such honour has the bard in all lands. The king's son does not disdain to guide " the blind ringers ; and when the song is over, the herald leads him care-fully to his place at the banquet, where his portion is of the choicest — "the chine of the white-tusked boar." The subject of his lay is the tale which charms all hearers—Phæacian, Greek, or Roman, ancient or modern, then as now—the tale of Troy. Touched with the remembrances which the song awakens, Ulysses wraps his face in his mantle to hide his rising tears. The king marks his guest's emotion: too courteous to allude to it, he contents himself with rising at once from the banquet-table, and giving order for the sports to begin. Foot-race, wrestling, quoit throwing, and boxing, all have their turn; and in all the king's sons take their part, not unsuccessfully. It is suggested at last that the stranger, who stands silently looking on, should exhibit some feat of strength or skill. Ulysses declines—he has no heart just now for pastimes. Then one of the young Phæacians, Euryalus, who has just won the wrestling-match, gives ​vent to an ungracious taunt. Their guest, he says, is plainly no hero, nor versed in the noble science of athletics; he must be some skipper of a merchantman, "whose talk is all of cargoes." He brings down upon himself a grand rebuke from Ulysses:—
Then the hero who has thrown the mighty Ajax in the wrestling-ring, who is swifter of foot than any Greek except Achilles, and who has been awarded that matchless hero's arms as the prize of valour against all competitors,—rises in his wrath, and gives his gay entertainers a taste of his quality. Not deigning even to throw off his mantle, he seizes a huge stone quoit, and hurls it, after a single swing, far beyond the point reached by any of the late competitors. The astonished islanders crouch to the ground as it sings through the air above their heads. Once roused, Ulysses launches out into the self-assertion which has been remarked as being common to all ​the heroes of Homeric story. He challenges the whole circle of bystanders to engage with him in whatsoever contest they will—
"All feats I know that are beneath the sun."
He will not, indeed, compare himself with some of the heroes of old, such as were Hercules and Eurytus;
None of the Phæacians will accept the challenge. The king commends the spirit in which the stranger has repelled the insult of Euryalus, and with the gay good-humour which marks the Phæacian character, confesses that in feats of strength his nation can claim no real excellence, but only in speed of foot and in seamanship; or, above all, in the dance—in this no men can surpass them. His guest shall see and judge. Nine grave elders, by the king's command (and here the satire is evident, even if we have lost the application) stand forth as masters of the ceremonies, and clear the lists for dancing. A band of selected youths perform an elaborate ballet, while the minstrel Demodocus sings to his harp a sportive lay, not over-delicate, of the stolen loves of Mars and Venus, and their capture in the cunning net of Vulcan. If it must be granted that this song forms a strong exception to the purity of Homer's muse, It has also been fairly pleaded for him, that it is introduced as characteristic of an unwarlike nation and an effeminate society. But even in his lightest mood the poet has no sort of ​sympathy with a wife's unfaithfulness. He takes his gods and goddesses as he found them in the popular creed; had enough, and far worse than the mortal men and women of his own poetical creation. But his own morals are far higher than those of Olympus. Even in this questionable ballad of the Phæacian minstrel the point of the jest is in strong contrast to some of the comedies of a more modern school. It is on the detected culprits, not on the injured husband, that the ridicule of gods and men is mercilessly showered. When the ballet is concluded, two of the king's sons, at their father's bidding, perform a sort of minuet, in which ball-play is introduced. Ulysses expresses his admiration of the whole performance in words which sound like solemn irony:—
So all passes off with pleasant compliments between hosts and guest. The king and his twelve peers present Ulysses with costly gifts, and Euryalus, in pledge of regret for his late unseemly speech, offers his own silver-hilted sword with its ivory scabbard.
From the games they pass again to the banquet; and one more glimpse is given us of the gentle Nausicaa, perfectly in keeping with the maiden guilelessness of her character. Ulysses—still radiant with the more than human beauty which the goddess has bestowed upon him—moves to his place in the hall.
It is not easy to discover, with any certainty, what the Greek poet meant us to understand as to the feelings of Nausicaa towards Ulysses. It has been said that Love, in the complex modern acceptation of the term, is unknown to the Greek poets. Nor is there, in this passage, any approach to the expression of such a feeling on the part of the princess. Yet, had the scene found place in the work of a modern poet, we should have understood at once that, without any kind of reproach to the perfect maidenly delicacy of Nausicaa, it was meant to show us the dawn of a tender sentiment—nothing more—towards the stranger-guest whom the gods had endowed with such majestic graces of person, who stood so high above all rivals in feats of strength and skill, whose misfortunes surrounded him with a double interest, and, above all, in whom she felt a kind of personal property as his deliverer. ​The Greek historian Plutarch chivalrously defends the young princess from the charge of forwardness, which ungallant critics brought against her as early as his day. It was no marvel, he says, that she knew and valued a hero when she saw him, and preferred him to the carpet-knights of her own country, who were good only at the dance and the banquet. But with her it was, after all, a sentiment, and no more; but which might have ripened into love, under other circumstances, had the hero of her maiden fancy been as free to choose as she was.
So vanishes from the page one of the sweetest creations of Greek fiction—the more charming to us, as coming nearest, perhaps, of all to the modern type of feeling. The farewell to Nausicaa is briefly said; and Ulysses, sitting by King Alcinous at the banquet, pays a high compliment to the blind minstrel, and gives him a new theme for song. Since he knows so well the story of the great Siego, let him now take his lyre, and sing to them of the wondrous Horse. Demodocus obeys. He sings how the Greeks, hopeless of taking Troy by force of arms, had recourse at last to stratagem: how they constructed a huge framework in the shape of a horse, ostensibly an offering to the gods, and then set fire to their sea-camp, and sailed away—for home, to all appearance—leaving an armed company hidden in the womb of the wooden monster; how the Trojans, after much doubt, dragged it inside their walls, and how, in the night-time, the Greeks issued from their strange ambush, and spread fire and sword through the devoted city. And all along Ulysses ​is the hero of the lay. He is the leader of the venturous band who thus carried their lives in their hands into the midst of their enemies: he it is who, "like unto Mars," storms the house of Deiphobus, who had taken Helen to wife after the death of his brother Paris, and restores the Spartan princess to her rightful lord. Tears of emotion again fill the listener's eyes; and again the courteous king bids the minstrel cease, when he sees that some chord of mournful remembrance is struck in the heart of his guest. But he now implores him, as he has good right to do, to tell them who he really is. Why does the Tale of Troy so move him? The answer, replies the stranger, will be a long tale, and sad to tell; but his very name, he proudly says, is a history—"I am Ulysses, son of Laertes!"
* ↑ Possibly Corfu, if the geography is to be at all identified.
* ↑ This humorous impersonation of one of the lowest, but certainly the strongest, influences of our common nature, has been made use of by later writers. The Roman poets Virgil and Persius take up Homer's idea; and Rabelais, closely following the latter, introduces his readers to a certain powerful personage whom he found surrounded by worshippers—"one Master Gaster, the greatest Master of Arts in the world." ["Gaster" is Homer's Greek word, which Mr Worsley renders by "appetite," but which is more literally Englished by the old Scriptural word "belly."]