Studies on Homer and the Homeric Age, Vol. 3 of 3

Harmony in relative prominence of the Chiefs.

Now this view of the Doloneia fills up, I think, what must otherwise be admitted to be a gap in the poem. It being thus filled up, let us observe the accuracy with which shares in the action of the poem are assigned to the respective chiefs. Nestor has his own place apart as universal counsellor. Ulysses also, who, as the great twin conception to Achilles, must never be allowed to appear in a light of inferiority to any one, is so managed as not to eclipse the might of Ajax or the bravery of Diomed; and yet he has all his attributes kept entire for the great part he had to play in the Odyssey, and is never beaten, never baffled, never excelled. Then Ajax, Diomed, Agamemnon, Menelaus, even elderly Idomeneus, have each the stage made clear for them at different times, and with scope proportioned to their several claims upon us. The very intervals between their several appearances are made as wide as possible: for Diomed is in the Fifth and Eleventh Books, Ajax in the Seventh, Agamemnon in the Eleventh, Idomeneus in the Thirteenth⁷³², Menelaus in the Seventeenth. Ajax excels in sheer might, Diomed in pure gallantry of soul, and what is called dash; Agamemnon’s dignity as a warrior is most skilfully maintained, yet without his being brought into rivalry with those two still greater heroes, by Hector’s being counselled to avoid him. Menelaus, secondary in mere force, though with a spirit no less brave than gentle, is carried well through by the care taken that he shall only meet with appropriate adversaries, and the same pains are employed on behalf of Idomeneus. For Patroclus, as the friend and second self of Achilles, Homer’s fertile invention has secured a kind of distinction, which does not displace that of others, and which, notwithstanding, is eclipsed by none of them. He turns the Trojan host; he slays the great Sarpedon; he is himself slain only by foul play. I cannot vindicate the clumsy intervention of Apollo, and the meanness of the part played by Hector in this cardinal passage of his career; still I find it curious and instructive to observe in all this a new instance of the intense care, with which the Poet watches over the character especially of his Achilles. He exalts him, by exalting first those secondary eminences, far above which he keeps him towering. Therefore he would have Patroclus slain indeed, but not defeated, by Hector; and to this capital object he appears to have made, perhaps unavoidably, considerable sacrifices.

Upon the whole, then, it would seem that Homer had to maintain a complex regard to a variety of objects. First of all there was the relation to observe between Achilles and all the other personages of his poem on both sides of the quarrel. Then in distributing his minor Alps, the other prime or distinguished Greek warriors, about this great Alp, he had to keep in mind and provide for their relations to one another, as well as to him. Lastly, he had to carry Hector and the Trojans so high, that to overcome their chief should be his crowning exploit, and yet so low, that they should not stand inconveniently between the Greeks and the view of such national heroes as Ulysses, Diomed, Ajax, and Agamemnon. Like Jupiter on Ida⁷³³, from none of these objects has he ever removed his bright and watchful eye; for all of them he has made a provision alike deliberate and skilful.

It only remains to consider the outline of the plot in reference to the Providential Government of the world, and the administration of retributive justice; a subject which has been ably handled by Mr. Granville Penn⁷³⁴.

I am not able to admit that broad distinction, which is frequently drawn between the provision made for satisfying this great poetical and moral purpose in the Iliad and in the Odyssey respectively. In each I find it not only remarkable, but even elaborate. In each poem, Homer exhibits, above all things else, one chosen human character with the amplest development. But diversity is the key-note of the development in the Odyssey, grandeur or magnitude in the Iliad. The hurricane-like forces, that abound in the character of Achilles, entail a greater amount of aberration from the path of wisdom. But there is not wanting a proportionate retributive provision. Ulysses, after a long course of severe discipline patiently endured, has awarded to him a peaceful old age, and a calm death, in his Ithaca barren but beloved, with his people prospering around him. Achilles, on the other hand, is so loaded with gorgeous gifts that, wonderful as is their harmony in all points but one, that one is the centre. He has not the same unfailing and central solidity of moral equipoise. In himself gallant, just, generous, refined, still indignity can drive him into an extremity of pride and fierceness, which call for stern correction. Hence it comes about that, while the adversity of Ulysses is the way to peace, the transcendent glory of Achilles is attended by a series of devouring agonies; the rival excitements of fierce pain and fiercer pleasure accompany him along a path, which soon and suddenly descends into the night of dismal death. Alike in the one case and in the other, the balance of the moral order is preserved; and that Erinūs, who, in so many particular passages of the poems, makes miniature appearances in order to vindicate the eternal laws, such as the heroic age apprehended them, likewise presides in full development over the general action of each of these extraordinary poems.

Retributive justice in the two poems.

Retributive justice, inseparably interwoven with human destiny (for thus much the Erinūs signified) tracks and dogs Achilles at every stage. Take him, for instance, as the Ninth Book shows him, at the very summit of his pride. It is in no light or joyous mood, that he repels the Envoys. Who among readers does not seem to see his spirit writhe, when he describes the hot and bursting resentment in his breast, the stinging recollection of the outrages he has undergone⁷³⁵. Even by the irrepressible curiosity, which compels him to mount upon his ship for view, and to send out Patroclus to learn the course of the battle, Homer has shown us how false was any semblance of peace, that he could even now enjoy in his giddy elevation.

The rampart is pierced, the ships are reached, the firebrand is hurled, and the first Greek ship burns. Achilles must not depart from his word: but his restlessness now conceives an expedient, the sending forth of Patroclus to the fight. At the same time, he takes every precaution that sagacity can suggest: he clothes his friend in his own armour, exhorts the Myrmidons to support him, above all enjoins him to confine himself to defensive warfare, and not to follow the Trojans, when repulsed, to the city. What then happens to him? That which often befalls ourselves: that when we have turned our back upon wisdom, wisdom turns her back upon us. Achilles insisted upon the disaster of his countrymen. When it came, it constrained him to send out his friend: and the calamity he had himself invoked was death to the man that he loved better than his own soul.

And why did Patroclus die? It was not that Achilles imprudently exposed him to risks beyond his strength. He was abundantly able to encounter Hector. Hector had no care, so long as the battle was by the ships, to encounter this chief. And Achilles had enjoined him to fight by the ships only, lest, if he attempted the city, a deity should take part against him⁷³⁶. Patroclus disobeyed, and perished accordingly. As Achilles had refused to follow the laws of wisdom for himself, so, when he carefully obeyed them, they were not to avail him for the saving of his friend. Heaven fought against Patroclus; Jupiter, after deliberation, tempted him from the ships, by causing Hector to fly towards the city; and the counsel of Achilles was now baffled as he had baffled the counsels of others, the dart was launched that was to pierce his soul to the quick.

Double conquest over Achilles.

Thus his proud will was doomed to suffer. The suffering is followed by the reconciliation, and by the climax of his glory and revenge in the death of Hector. How in these Books we see him moving in might almost preternatural, with the whole world as it were, and all its forces, in subjection to his arm! But he has only passed from one excess of feeling into another: from a vindictive excess of feeling against the Greeks, to another vindictive excess of feeling against Hector. The mutilation and dishonour of the body of his slain antagonist now become a second idol, stirring the great deep of his passions, and bewildering his mind. Thus, in paying off his old debt to the eternal laws, he has already contracted a new one. Again, then, his proud will must be taught to bow. Hence, as Mr. Penn has well shown, the necessity of the Twenty-fourth Book with its beautiful machinery⁷³⁷. Achilles must surrender the darling object of his desire, the wreaking of his vengeance on an inanimate corpse. On this occasion, as before, he is subdued: and both times it is through the medium of his tender affections. But in both cases his evil gratification is cut short: and the authority of the providential order is reestablished. The Greeks pursue their righteous war: the respect which nature enjoins is duly paid to the remains of Hector, and the poem closes with the verse which assures us that this obligation was duly and peacefully discharged.

With these views, I find in the plot of the Iliad enough of beauty, order, and structure, not merely to sustain the supposition of its own unity, but to bear an independent testimony, should it be still needed, to the existence of a personal and individual Homer as its author.

SECT. II.
The sense of Beauty in Homer; human, animal, and inanimate

The idea of Beauty, especially as it is connected with its most signal known manifestation in the human form, and again the φθορὰ, or corruption of that idea, have each their separate course and history in the religion and manners, as well as in the arts, of Greece. By the idea of Beauty, I mean here the conception of it in the human mind as a pure and wonderful essence, nearly akin to the Divine; derived from heaven, and both continually and spontaneously tending to revert to its source. By the corruption of that idea, I mean the conception of it either mainly or wholly with reference to animal enjoyment; sometimes within, and sometimes beyond, the laws of Nature.

In the works of Homer, we find the first of these conceptions exceedingly prominent and powerful. It approaches almost to a worship: and yet is scarcely at all tainted with the second, scarcely presents the smallest deflection from the very loftiest type. In Homer, that is to say, in the Homeric descriptions of human characters and life, we never find Beauty and Vice pleasurably associated: he seems to have felt in the sanctuary of his mind as much at least as this, if not more; that a derogation from purity involved of itself a descent from the highest to a lower form of beauty: and therefore he never associates his highest descriptions of beauty with vice: differing in this not only from so many heathen, but even from many Christian authors.

The Dardanid traditions.

But yet it is most remarkable that, even in Homer’s time, the level of popular tradition on the subject of beauty had begun to descend, and though he had escaped the taint, yet it had touched his age. Let us, for example, take that most striking series of traditions in the Dardanian royal family, which are recorded in the poems of Homer. That family appears to have had personal beauty for an almost entailed inheritance. Not only Hector, Deiphobus, Æneas, as well as Paris, possessed it, but Priam, even in his old age and affliction, was divinely beautiful as he entered the apartment of Achilles; and, as they sat at meat, and he admired Achilles, Achilles returned his admiration⁷³⁸.

The line of traditions in this family, to which I now refer, affords the best illustration of the idea of beauty as ever striving, by an inner law, to rise to a heavenly life. There are four of these traditions: and as we pass from the older to the more recent, at each step that we make, we lose some grain of the first ethereal purity. The earliest of them all is the translation, since coarsely and without ground called the rape, of Ganymede: consistently indeed so called, according to the idea of the fable which has prevailed in later ages, but most absurdly, if it be applied to the tradition in the shape in which it stands with Homer. With him the tale of Ganymede is the most simple and perfect assertion of the principle that beauty, heavenly in its origin, is heavenly also in its destiny; and that the heaven-born and heaven-bound should contract no taint upon its intermediate passage. There were three sons, says Homer, born to Tros; Ilus was one, Assaracus another: and the third was Ganymede, a match for gods. Ganymede, the most beauteous of men, whom, for his beauty, and seemingly before he had come to maturity for succession, the gods snatched up and made the cupbearer of Jupiter, that he might dwell for ever among the Immortals⁷³⁹:

 
ὃς δὴ κάλλιστος γένετο θνητῶν ἀνθρώπων·
τὸν καὶ ἀνηρείψαντο θεοὶ Διὶ οἰνοχοεύειν
κάλλεος εἵνεκα οἷο, ἵν’ ἀθανάτοισι μετείη.
 

The idea of sanctity, indeed, is not to be discovered here; its traces can only be found among the inspired records; the resemblance to the deity does not reach beyond the flesh and mind; yet the sum of the tale is full of interest. The other sons grew up, and became kings; he, that he might not linger, might not suffer, might not contract taint or undergo decay on earth, was taken up to that sphere, which is the proper home of all things beautiful and good.

The thought is somewhat related to that of the following remarkable lines by Emerson:

 
Perchance not he, but nature ailed;
The world, and not the infant, failed.
It was not ripe yet to sustain
A genius of so fine a strain,
Who gazed upon the sun and moon
As if he came unto his own:
And pregnant with his grander thought,
Brought the old order into doubt.
His beauty once their beauty tried;
They could not feed him, and he died,
And wandered backward, as in scorn,
To wait an Æon to be born.
 

Far as the tradition of Ganymede, according to Homer, is below that of Enoch, it is set by a yet wider distance above the later version of the same tale. Thus, in Euripides, we find him the Διὸς λέκτρων τρύφημα φίλον (Iph. Aul. 1037): and what is more sad is to find, that this utterly debased and depressed idea prevailed over the original and pure one, even to its extinction, and was adopted and propagated by the highest and the lowest poets of the Italian romance⁷⁴⁰.

Next in order to the tradition of Ganymede comes that of Tithonus, who, on account of his beauty, was carried up, not by the gods at large, to be as one of them, but by Aurora to become her husband, in which capacity he remained in the upper regions⁷⁴¹. This is a step downwards; but the next is a stride. In the third tradition, so far as is known from the authentic works of Homer, Æneas is the son of Venus and Anchises, but without their standing in the relation of husband and wife. The particulars of the narrative are supplied in the early Hymn, which perhaps was the more readily ascribed to Homer, because it was believed to embody a primitive form of the tradition. Jupiter inspired Venus with a passion for Anchises, and, after having arrayed herself in fine vestments and golden ornaments, she presented herself to him as he was playing the lyre in solitude on Ida; when the connection was formed that gave birth to Æneas⁷⁴².

The next fall is the greatest of all: according to the later tradition, Venus, to obtain a favourable judgment from Paris (of the next generation to Anchises), promised him a wife of splendid beauty and divine extraction, whom he was to obtain by treachery and robbery, as well as adultery; and filled him with what Homer pronounces an evil passion⁷⁴³.

The Poet, indeed, tells us nothing of this promise, which appears to imply powers far greater than any that the Homeric Aphrodite possessed. But he mentions the contest, informs us that Venus was the winner, makes Paris boast of her partiality, and introduces her as mentioning her own favours to Helen⁷⁴⁴.

Such was the downward course of all in the nature of man that belonged to the moral sphere, apart from the cherishing power of Divine Revelation; for the chronological order of these legends is also that of their descent, step by step, from innocence to vice.

Homer, as we have already seen, represents a very early and chaste condition of human thought. We have now to observe how strong and genuine, as well as pure, was his appetite for beauty.

Since here, as elsewhere, it is not the Poet’s usage to declare himself by express statements and elaborate descriptions, we must resort in the usual manner to secondary evidence; which, however, converging from many different and opposite quarters upon a single point, is perhaps more conclusive than mere statement, because it shows that we are not dealing with a simple opinion, but with a sentiment, a passion, and a habit, which penetrated through the Poet’s whole nature.

I shall notice Homer’s sense of beauty with reference, first and chiefly, to the human countenance and form; next, with respect to animals; and thirdly, with respect to inanimate objects and to combinations of them.

As regards the first and chief branch of this inquiry, we must notice to what persons, and in what degrees, Homer assigns beauty, from whom he withholds it; and how far he considers it to give a title to special notice, in cases where no other claim to such a distinction can be made good.

We may then observe that Homer does not commonly assign personal beauty to any human person, who is morally odious. In any questionable instance where he does so assign it, he seems to follow an historical tradition, or to be constrained by his subject. He has covered Thersites with every sort of deformity; and in the description of the persons and of the twelve dissolute women among the fifty domestic servants of Ulysses, there is barely a word that implies beauty⁷⁴⁵.

Melantho indeed, the most conspicuous offender, is called in the Eighteenth Odyssey⁷⁴⁶ καλλιπάρῃος. But it seems probable, that he followed a local tradition concerning her; for, if she had been simply a creation of his own, he certainly would not have represented her as the daughter of the old and faithful Dolius⁷⁴⁷, who, with his six sons, bore arms for Ulysses.

Treatment of the beauty of Paris.

So also the beauty of Paris was an inseparable incident of the Trojan tale. Yet it is remarkable how little it is brought into relief. Where he is called beautiful, it is by way of sarcasm and reproach⁷⁴⁸,

Δύσπαρι, εἶδος ἄριστε.

The only passage, in which his beautiful appearance is described at all, is from the mouth of Venus⁷⁴⁹, to whom Homer never intrusts anything, to be either said or done, that he wishes us to regard with favour.

Compelled, however, to set off the imposing exterior of this prince, if only for the purpose of heightening the contrast with his cowardice in action, he introduces him flourishing his pair of spears at the commencement of the Third Iliad; and what is more, when he again goes forth in his newly burnished arms at the close of the Sixth, bestows upon him one of the very noblest of his similes, that of the stall-kept horse, high fed and sleek in coat, who having broken away from his manger rushes neighing over the plain⁷⁵⁰.

It was necessary, in order to make up the true portrait of Paris, that his exterior should be thus splendid, and his movements imposing; and it was also a part of the subtle plan, by which Homer made use of words and appearances to bring up the Trojan chieftains and people to some kind of level with the Greek. Yet there is something singular in the fact that Homer, who does not, I think, repeat his similes in any other remarkable case, reproduces the whole of this splendid passage in the Fifteenth Iliad for Hector⁷⁵¹. There is here, we may rely upon it, some peculiar meaning. Possibly he grudged the exclusive appropriation of so splendid a passage to so despicable a person. There is also another singularity in his mode of proceeding. The simile is given to Hector without addition, and the poem proceeds

ὣς Ἕκτωρ λαιψηρὰ πόδας καὶ γούνατ’ ἐνώμα.

But where he applies it to Paris, immediately after the conclusion of the noble passage he subjoins (Il. vi. 512.),

 
ὣς υἱὸς Πριάμοιο Πάρις κατὰ Περγάμου ἄκρης
τεύχεσι παμφαίνων, ὥστ’ ἠλέκτωρ, ἐβεβήκει.
 

What is the meaning of ἠλέκτωρ? It is commonly taken as equivalent to ἠλέκτωρ Ύπερίων, which means the Sun. I cannot but believe that Homer means by it to signify the cock, called in Greek ἀλέκτωρ. The ἠλέκτωρ Ύπερίων, is used as a simile for Achilles; and it would be much against the manner of Homer to use the same simile for a Trojan, and that Trojan Paris. Whereas by the strut of the cock he may mean to reduce and modify the effect of the noble figure of the stall-horse.

Beauty of the Greek chiefs and nation.

Achilles, who is not only the bravest but by far the most powerful man of the host, is also by far the most beautiful; and the very strongest terms are used to describe the impression which his appearance produced on Priam amidst the profoundest sorrow⁷⁵²;

 
θαύμαζ’ Ἀχιλῆα,
ὅσσος ἔην, οἷός τε· θεοῖσι γὰρ ἄντα ἐῴκει.
 

It may be doubted, whether any other Poet would have ventured to combine the highest and most delicate beauty, with a strength and size approaching the superhuman. It was requisite for Achilles, as the ideal man, not only to want no great human gift, but also to have in unmatched degrees whatever gifts he possessed. The beauty of Achilles is the true counterpart to the ugliness and deformity of Thersites.

It appertains to the character of Ulysses, who comes next to Achilles, that he too should not be wanting in any thing that pertains to the excellence of human nature; while completeness and manifoldness is the specific character of his endowments, as unparalleled splendour is of those possessed by Achilles. Ulysses⁷⁵³, therefore, is also beautiful. Again, the office and function of Agamemnon require him to be an object capable of attracting admiration and reverence. He, accordingly, is of remarkable beauty, but of the kind of beauty that has in it most of dignity⁷⁵⁴;

 
καλὸν δ’ οὕτω ἐγὼν οὔπω ἴδον ὀφθαλμοῖσιν,
οὐδ’ οὕτω γεραρόν.
 

Homer never absolutely withholds beauty from any of his Greek heroes, yet he does not always expressly state that they possessed it. This endowment is, for instance, never given to Diomed, but it is ascribed to Ajax in the Eleventh Odyssey⁷⁵⁵;

 
ὃς ἄριστος ἔην εἶδός τε, δέμας τε,
τῶν ἄλλων Δαναῶν, μετ’ ἀμύμονα Πηλείωνα.
 

It is probably because Diomed equals Ajax in chivalry, and very far excels him in mental gifts, that Homer has thrown weight into the scale of Ajax by assigning to him expressly, while he is silent about Diomed, the gift of a beautiful person.

As with individuals, so does Homer deal with masses. It may be observed that he has a lower class of epithets for the Trojans than the Greeks, and never allows them the benefit of the same national designations. Individual beauty in men is confined on both sides to the higher ranks; but no Trojan, however beautiful, is ever honoured with the title of ξανθός. Again, while he never gives to the Trojans as a body any epithet which describes them as possessed of beauty, he has assigned several expressions of this order to the Greek race. Such are the epithets καρηκομόωντες and ἑλίκωπες, and the phrase εἶδος ἀγητοὶ, (Il. v. 787. viii. 228.)

Beauty of Nireus and others.

We have yet to examine how far Homer makes beauty a title to distinguished notice on behalf of those who have no other claim. The passage in the Catalogue, where Nireus is named⁷⁵⁶, is highly curious with reference to this part of the subject. It is as follows:

 
Νιρεὺς αὖ Σύμηθεν ἄγε τρεῖς νῆας ἐΐσας,
Νιρεὺς, Ἀγλαΐης υἱὸς Χαρόποιό τ’ ἄνακτος,
Νιρεὺς, ὃς κάλλιστος ἀνὴρ ὑπὸ Ἴλιον ἦλθεν
τῶν ἄλλων Δαναῶν, μετ’ ἀμύμονα Πηλείωνα·
ἀλλ’ ἀλαπαδνὸς ἔην, παῦρος δέ οἱ εἵπετο λαός.
 

These five lines form the largest of the merely personal descriptions contained in the Catalogue. Yet they are given to a man, of whom we are frankly told that he was a poor creature, and that he had but a small following. Even this does not show the whole strength of the case.

1. His ships were only three: no other commander, having so few, is named at all. The next smallest number is seven: these were the vessels of Philoctetes, and they seem to be named on account of his peculiar history and great merit.

2. This is the only instance, in which the contingent supplied by a single and wholly insignificant place is named by itself.

3. This is also one among very few cases of an ordinary birth, where the mother (Aglaïe) is named as well as the father (Charopos): the others are usually cases of reputed descent from deities or heroes.

4. The names given to both parents are taken from their personal beauty. They thus enhance the title of the son; and, as we cannot well suppose them connected with history, they were probably invented by the Poet for that purpose.

5. The repetition of the name of Nireus thrice, and in each case at the beginning of the verse, the most prominent and emphatic part of it according to the genius of the Greek hexameter, is plainly intentional.

6. All this care is taken in the most ingenious manner to mark a man, who did nothing to enable Homer to name him in any other part of the Iliad.

One and one only key is to be found, which will lay open the cause of these singular provisions: it is Homer’s intense love of beauty, which made it in his eyes of itself a title to celebrity. So he determined, apparently, that the paragon of form should be immortal; and he has given effect to his determination, for no reader of the Iliad can pass by the place without remembering Nireus.

In a less marked manner, he has given a kindred emphasis to the case of Nastes, who wore golden ornaments, and therefore was presumably of strikingly handsome person. With his brother Amphimachus he commanded the Carians, and his name is mentioned thrice (but that of his brother twice only), together with the fact that he wore gold like a girl⁷⁵⁷.

There is something, as it appears to me, most tender and refined, in this mode used by Homer of fastening attention through repetition of the word, which he wishes gently but firmly to stamp upon the memory. We have another instance of it in Il. xxii. 127,

 
ἅτε παρθένος ἠΐθεός τε,
παρθένος ἠΐθεός τ’ ὀαρίζετον ἀλλήλοιϊν.
 

There is yet another passage which affords a striking proof of what may be called the worship of beauty in Homer. In the Seventeenth Iliad, Euphorbus, the son of Panthoos, falls by the hand of Menelaus. Homer gives him great credit for charioteering, the use of the spear, and other accomplishments; but he performs no other feat in the poem than that of wounding in the back the disarmed, and astounded, and heaven-deserted Patroclus. At best, we must call him a very secondary personage. Though his personal comeliness was not defaced like that of Paris by cowardice or vice, still he was of the same race that in Italy has taken its name from Zerbino. Yet Homer adorns his death with a notice, perhaps more conspicuous than any which he has attached to the death of any warriors of the Iliad, with the exceptions of Hector, Sarpedon, and Patroclus. Ten of the most beautiful lines of the poem are bestowed in lamenting him, chiefly by an unsurpassed simile, which compares the youth to a tender olive shoot, the victim, when its blossoms are overcharged with moisture, of a sudden hurricane. The Poet was moved to this tenderness by the remembrance of his beauty, of his hair, like the hair of the Graces, in its tresses bound with golden and silver clasps⁷⁵⁸.

Beauty placed among the prime gifts.

Although it is true that Homer eschews with respect to beauty, as well as in other matters, the didactic mode of conveying his impressions, yet he has placed them distinctly on record in the answer of Ulysses to Euryalus. Speaking not at all of women, but of men, he places the gift of personal beauty among the prime endowments that can be received from the providence of the gods, in a rank to which only two other gifts are admitted, namely, the power of thought (νόος or φρένες), and the power of speech (ἀγορητύς). In the idea of personal beauty, conveyed under the names εἶδος, μορφὴ, and χάρις, evidently included vigour and power, for it is to his supposed incapacity for athletic exercises⁷⁵⁹, that the discourse has reference. Nor can it be said, that this full and large appreciation by Homer of the value of bodily excellence, was simply a worldly or a pagan, as opposed to a Christian, view.

It is not true, on the one hand, that when we cease to entertain sufficiently elevated views of the destiny and prerogatives of the soul, our standard for the body rises either in proportion or at all. Nor is it true, on the other, that when we think highly of the soul, we ought in consequence to think meanly of the body, which is both its tabernacle and its helpmate. In truth, a somewhat sickly cast seems to have come over our tone of thought now for some generations back, the product, perhaps, in part of careless or emasculated teaching in the highest matters, and due also in part to the overcrowding of the several functions of our life. But Homer distinctly realized to himself what we know faintly or scarce at all, though nothing is more emphatically or conspicuously taught by our religion, namely, that the body is part and parcel of the integer denominated man.

But the quality of measure ran in rare proportion through all the conceptions of the Poet. Stature was a great element of beauty in the view of the ancients for women as well as for men: and their admiration of tallness, even in women, is hardly restrained by a limit. But Homer, who frequently touches the point, has provided a limit. Among the Læstrygonians, the women are of enormous size. Two of the crew of Ulysses, sent forward to make inquiries, are introduced to the queen. They find her ‘as big as a mountain,’ and are disgusted at her⁷⁶⁰: