Greek Women Part 3

When Hector comes to his palace, he finds not his beautiful wife, white-armed Andromache, within; upon inquiry he learns that, through anxiety because of the battle, like one frenzied, she had gone in haste to the wall, and the nurse bearing the child was with her. Hector hastens to the Scaean gates, and as he approaches them there came his dear-won wife, running to meet him, and with her the handmaid bearing in her bosom the tender boy, Hector's loved son Astyanax. Hector smiles and gazes at the boy; while Andromache stands by his side weeping and clasps his hand in hers, and urges him to take thought for himself and to have pity on her, forlorn, and on their infant boy. Hector tells her that he takes thought of all this, that his greatest grief is the thought of her anguish in the day when some mail-clad Achaean shall lead her away and rob her of the light of freedom, but it is his part to fight in the forefront of the Trojans. He lays his son in his dear wife's bosom, and, as she smiles tearfully upon the lad, her husband has pity to see her, and gently caresses her with his hand and seeks to console her. He bids her return to her own tasks, the loom and distaff, while he provides for war. So part these heroic souls. Hector sets out for the battlefield; and his dear wife departs to her home, oft looking back and letting fall big tears. When she reaches her house, she gathers her handmaidens about her, and stirs lamentations in them all. "So bewailed they Hector, while yet he lived, within his house; for they deemed that he would no more come home to them from battle nor escape the fury of the hands of the Achaeans."

The closing scenes of the dramatic recital time and again present these three women--Hecuba, Helen, and Andromache. Achilles continues to sulk away from battle, in spite of Agamemnon's attempt at reconciliation. The Trojans are winning victory after victory. Achilles's comrade Patroclus finally gets permission to don the great warrior's armor, and he enters the conflict. Hector, supposing him to be Achilles, engages with him in combat and finally slays him. Achilles is overwhelmed with grief at the death of Patroclus. His lady mother, Thetis, rises from the depths of the sea to console him, and provides him a suit of armor fas.h.i.+oned by Hephaestus. Agamemnon and Achilles are reconciled before the a.s.sembly of the Achaeans, and fair-faced Briseis is restored to her lover. She utters shrill laments over the body of Patroclus, who had been ever kind to her. Achilles enters the combat, clad in the armor of Hephaestus. Hector alone dares to face him, and he is slain, and his lifeless body is dragged behind Achilles's chariot as he drives exultantly toward the s.h.i.+ps. Piteous wailings are heard from the walls, wailings of the aged Priam, and of the sorrowful Hecuba, whose cry is the full bitterness of maternal grief.

Within the city, in the inner chamber of her palace, a young wife is engaged in weaving a double purple web and directing the work of her handmaidens. Her thoughts are all of her warrior husband, and she has had a servant set a great tripod upon the fire that Hector might have warm was.h.i.+ng when he comes home out of the battle--fond heart all unaware how, far from all was.h.i.+ngs, bright-eyed Athena has slain him by the hand of Achilles! But suddenly she hears shrieks and groans from the battlements, and her limbs tremble and the shuttle falls from her hands to earth. She dreads terribly lest Hector has met his fate at the hand of Achilles. Accompanied by her handmaidens, she rushes to the battlements, and beholds his lifeless body dragged by swift horses toward the hollow s.h.i.+ps. Then dark night comes on her eyes and shrouds her, and she falls backward and gasps forth her spirit; and when at last her soul returns into her breast, she bewails her own sad lot and that of her child, deprived of such a husband and father.

The succeeding days are spent in gloom and sorrow, each side bewailing the loss of a favorite warrior. King Priam finally recovers the body of Hector from Achilles, and brings it back to Hector's palace, where the women gather about the corpse--and among them white-armed Andromache leads the lamentation, while in her hands she holds the head of Hector, slayer of men. Hecuba, too, grieves for Hector, of all her children the dearest to her heart; and, lastly, Helen joins in the sore lament, sorrowing for the loss of the dearest of her brethren in Troy, who had never spoken despiteful word to her, but had always been kind and considerate. Here the long story reaches its natural conclusion. The Iliad opens with a scene of wrath occasioned by man's pa.s.sion for woman, and closes with a scene of mourning--women grieving for the loss of a slain husband and son and friend--knightly Hector.

Before we bid farewell to the martial tableaux presented to us in the Iliad, and direct our attention to the domestic scenes of the Odyssey, let us take a final glance at the heroines who have appeared in the first Homeric epos.

Worthy of note is the atmosphere of beauty and delicacy and charm with which the poet has enveloped Helen of Troy. She has committed a grievous fault, but there is in the recital nothing which offends the moral sense. This is because the poet has portrayed her with none of the seductions of vice, but with all the allurements of penitence. She has sinned, but it has been because of the mysterious and irresistible bond which united her to the G.o.ddess of love; her moral nature has not been perverted, and she is filled with shame and remorse because of the reproach that has been cast upon her name. By a long and bitter expiation, she has atoned for her fault; and memories of the days long past abide with her in all their sweetness and purity. One can but contrast the difference of att.i.tude with which she addresses Priam and Hector on the one hand, and Aphrodite and Paris on the other. For the former she has the utmost consideration and respect, and in their presence she feels most keenly how compromised is her position; for the latter, the causes of her fall, she has nothing but the scorn and contempt of a cultivated and high-spirited queen. In portraying the regret of Helen for her first husband, and her contempt toward her second; in representing Menelaus and the Greeks as fighting to avenge "the longings and the groans of Helen"; and in subtly suggesting how inevitable are the chains with which Aphrodite has bound her, the poet wins for her our sympathy and admiration. Homer nowhere tells us of the reconciliation of Menelaus and Helen, after the fall of Troy; but in the Odyssey he presents a beautiful picture of Helen in Sparta, a queen once more, beloved of husband and attendants, and presiding over her palace with courtly grace and dignity; and in the prophecy of Proteus, the Old Man of the Sea, the destiny of the fair queen is suggested in that of her faithful spouse: "But thou, Menelaus, son of Zeus, art not ordained to die and meet thy fate in Argos, the pasture land of horses; for the deathless G.o.ds will convey thee to the Elysian plains and to the world's end, where is Rhadamanthus of the fair hair, where life is easiest for men. No snow is there, nor yet great storm, nor any rain, but always ocean sendeth forth the breeze of the shrill blast to blow cool on men; yea, for thou hast Helen to wife, and thereby they deem thee son to Zeus."

Thus, because wedded to Zeus-begotten Helen, Menelaus himself is deathless and immortal, and Homer meant, no doubt, to picture the royal couple pa.s.sing together in the Isles of the Blest the aeons of eternity.

Homer provided the literary types for all succeeding Greek poets, and it is but natural that so bewitching a conception as Helen should be frequently portrayed and adopted. But with the change in form of government from monarchy to oligarchy, and from oligarchy to democracy, the old epic conception of heroes and heroines frequently suffers disparagement. In later periods, men began to meditate on moral questions, and poets who sought to weigh the problems of human life and destiny saw in Helen's career the old, old story of sin and sufering, and they could not with Homeric chivalry gloze over that fatal step which caused the wreck of empires and brought infinite woes to men.

Stesichorus was the first poet to charge Helen with all the guilt and suffering of h.e.l.las and of Troy; but for this offence against the daughter of Zeus, says tradition, he was smitten with blindness, and did not recover his sight until he had written the recantation beginning: "Not true is that tale; nor didst thou journey in benched s.h.i.+ps, nor come to town of Troy,"--in which he adopted the theory that the real Helen remained in Egypt, while a phantom accompanied Paris to Troy.

aeschylus searches into the dire consequences of Helen's sin, and on her shoulders lays all the sufferings of Agamemnon and his descendants.

"Rightly is she called Helen," says he; "a h.e.l.l of s.h.i.+ps, h.e.l.l of men, h.e.l.l of cities." He regards her as the very incarnation of evil, the curse of two great nations. Yet even stern aeschylus yields due reverence to her all-conquering beauty:

"Ah! silent, see she stands; Each glowing tint, each radiant grace, That charm th' enraptur'd eye, we trace; And still the blooming form commands, Still honor'd, still ador'd, Though careless of her former loves, Far o'er the rolling sea the wanton roves."

He also represents her forsaken husband ever dreaming of her, enraptured of her beauty:

"Oft as short slumbers close his eyes, His sad soul sooth'd to rest, The dream-created visions rise With all her charms imprest: But vain th' ideal scene that smiles With rapt'rous love and warm delight; Vain his fond hopes; his eager arms The fleeting form beguiles, On sleep's quick pinions pa.s.sing light."

aeschylus is not the only one of the early dramatists to whom Helen furnished a worthy theme; the t.i.tles of four lost plays show that Sophocles wrote of the Argive queen. There is no means of knowing, however, how this master dealt with the romance. Judging from his treatment of the Antigone legend, it is probable that Sophocles treated Helen as a woman of rare beauty and power, more sinned against than sinning, and subjected her character to the most profound a.n.a.lysis.

While aeschylus deprived Helen of something of the delicacy and charm with which Homer had invested her, Euripides, in a number of his plays, goes even further, and brings her down to the level of common life. Upon her beautiful head were heaped the reproaches of the unfortunate maidens and matrons of Greece and Troy for the woes they had to suffer, and we must not always take the sentiments of a Hecuba or a Clytemnestra as expressing the poet's own convictions. In the _Daughters of Troy_, he represents her in violent debate with her mother-in-law, Hecuba, before Menelaus, leaving with the reader the impression that she is a guilty, wilful woman of ign.o.ble traits, and in other plays he lays on her the load of guilt for all the dire consequences of her act; yet in his treatment of Helen there is always an ethereal element, hard to define, but recognizable. She causes ruin and destruction, she is roundly abused and reproached, yet she herself does not deal in invective and is proof against all physical ill, being finally deified as the daughter of Zeus, while suffering is invariably the fate of those who abuse and censure her. And, like Stesichorus, Euripides in his old age makes a recantation. In the _Helen_, he follows the Stesich.o.r.ean version, and dramatizes the legend that, after she was promised to Paris by Aphrodite, Hera in revenge fas.h.i.+oned like to Queen Helen a breathing phantom out of cloud land wrought for Priam's princely son; while Hermes caught her away and transferred her to the halls of Proteus, King of Egypt, to keep her pure for Menelaus. Thus it was for a phantom Helen that Greek and Trojan fought at Troy; while the real Helen pa.s.sed her days amid the palm gardens of Egypt, eagerly awaiting the return of Menelaus, and bewailing her ill name, though she was clean of sin. After the war, she is happily reunited with her lord.

It is hard, however, to besmirch a conception of ideal beauty, and later writers, casting aside the imputations of the dramatists, returned to the Homeric type. The Greek rhetoricians found in Helen a fruitful subject for panegyric, and made her synonymous with the Greek ideal of beauty and feminine perfection. Isocrates praises her as the incarnation of ideal loveliness and grace; beauty is all powerful, he says, and the Helen legend shows how beauty is the most desirable of all human gifts.

Theocritus, in his exquisite _Epithalamium_, pays an unalloyed tribute to her beauty and goodness. She is "peerless among all Achaean women that walk the earth;--rose-red Helen, the glory of Lacedaemon;--no one is so gifted as she in goodly handiwork;--yea, and of a truth, none other smites the lyre, hymning Artemis and broad-breasted Athena, with such skill as Helen, within whose eyes dwell all the Loves."

Quintus Smyrnaeus, of the fourth century of our era, who wrote a _Post-Homerica_, emphasizes the demonic influence that controlled the fate of Helen, and lays her frailty to the charge of Aphrodite. He gives a beautiful picture of the queen as she is being led to the s.h.i.+ps of the Achaeans: "Now, Helen lamented not, but shame dwelt in her dark eyes and reddened her lovely cheeks ... while round her the people marvelled as they beheld the flawless grace and winsome beauty of the woman, and none dared upbraid her with secret taunt or open rebuke. Nay, as she had been a G.o.ddess, they beheld her gladly, for dear and desired was she in their sight."

Thus the Helen legend became the allegory of Greek beauty, and so exquisite an ideal, uplifting the spirit and satisfying one's longing for higher things, strikes a responsive chord in the hearts of lovers of beauty in every clime. The romance of Helen, after lying dormant for centuries, came to life again in the legend of Faust. Marlowe treated merely the external phases of the Faust legend; Goethe allegorized the whole, and in the loves of Faust and Helen symbolized the pa.s.sion of the Renaissance for the Greek ideal of beauty; the fruit of the union of the two is Euphorion, the genius of romantic art. Nor has Helen exerted less influence on modern English poets. Landor, in numerous poems, portrays the sweetness of her character and the omnipotence of her beauty and charm; Swinburne dwells on the innocence and joyfulness of her childhood; Tennyson speaks of her as

"A daughter of the G.o.ds, divinely tall, And most divinely fair;"

and Andrew Lang has written a lengthy poem on the Helen legend, in which he ascribes her frailty to the irresistible power of Aphrodite. Thus Homer and the Homeric Age are inextricably entwined about the name of Helen. It is significant in the study of Greek women that at the very dawn of Greek civilization we should find such an ideal conception of womanhood--one that universally captivates the fancy and has exerted an influence through all succeeding ages.

Let us now pause a moment to contemplate the most lovable of all the women of Homer, Hector's spouse, white-armed Andromache. Homer does not devote much s.p.a.ce to her--only the famous parting scene and the two lamentations which she utters over her fallen husband. Yet, as the ideal type of the soldier's wife, the loving mother, she has taken a hold on the modern imagination and is the best known of all the female characters of Greek epos. We know that she must have been beautiful, though Homer uses only one epithet to describe her; we know that she must have been brave and devoted and domestic, for Homer has painted for us an ideal picture which portrays her with all these and many other lovable attributes. Andromache is neither Trojan nor Greek; she is universal; and wherever there are scenes of husband parted from wife, of uncertainty as to the issue of the combat and the destiny of the children, Andromache will be the great prototype. Andromache feels in her heart that sacred Ilium is doomed, and, in those cruel times when might was right, she knew but too well what was to be the fate of herself and the lad Astyanax. Euripides tells us how the forebodings of Andromache came true, and dwells on those sad days for the daughters of Troy when the mailed hand of the Achaeans carried them off captive after the fall of the city and determined their destiny by lot.

Andromache was apportioned to Neoptolemus, Achilles's valiant son, and in Euripides's _Daughters of Troy_ she reappears, with her child in her arms, haled forth to her new bondage. Sadly she bewails her lost Hector, who could have warded off from her the curse of thraldom. The Greek herald, Talthybius, demands from her the lad Astyanax, whom the Greeks have decided to hurl from the battlements of Troy. The child is ruthlessly torn from his mother's embrace, and she is led off to the hollow s.h.i.+ps. Neoptolemus takes her over sea to his home in Thessaly, and loves her and treats her with a kindness and consideration that are sweetly perfect. To him she bears a son in her captivity; but not of her own will does she share his couch, for her heart is true to the memory of Hector. After many years, Neoptolemus weds Hermione, daughter of Menelaus and Helen, a princess of Sparta. To them no child is born, and Hermione's heart is filled with anger and jealousy toward the thrall, whom her husband still treats tenderly. With her father, Menelaus, Hermione, during Neoptolemus's absence, plots the destruction of Andromache and her boy, but the aged Peleus protects the defenceless ones. Neoptolemus is slain at Delphi, and Thetis, who appears at the close of the _Andromache_, thus solves the problem of fate:

"And that war-captive dame, Andromache, In the Molossian land must find a home In lawful wedlock joined to Helenus, With that child who alone is left alive Of AEacus' line. And kings Molossian From him one after other long shall reign In bliss."

Readers of Virgil will recall how aeneas found Andromache in the Molossian land, and how her heart yearned for the lad Ascanius, who reminded her of the lost Astyanax. Euripides has been true, in the main, to the Homeric conception of Andromache, and endows her in her captivity with the same womanliness and domestic traits that won our hearts in the Iliad; nevertheless, there is about her the infinite sadness that is natural to one who has lost all that life holds dear. Yet Euripides falls so infinitely below the master that the picture which will abide longest in the memory is the parting scene in the Iliad.

Homer endows his minor characters with an interest that is no less real to us than that given to Helen and Andromache. Of these lesser characters, a few stand out insistent of our notice. At the threshold of the story, Chryseis and Briseis appear as the innocent causes of the quarrel of the chieftains. Chryseis is still a maiden, as far as can be inferred, and had not lost kindred and friends when taken captive; for her father, the priest of sacred Chryse, comes to beg her release, with boundless ransoms. Hence her day of captivity is brief, and the aged father joyously welcomes his beloved daughter. She must have been beautiful and clever, for Agamemnon prized her far above Clytemnestra.

The story of Briseis is a much sadder one, and graphically ill.u.s.trates the fate of a gentlewoman who fell into the hands of the foe. She was a captive widow, husband and kindred having been slain by Achilles. But her captor loved her devotedly, and to him she was a wife in all but in name; and Patroclus had promised her that she should in time become the wedded wife of Achilles. The young warrior weeps bitterly when she is taken from him, but at the close of the Iliad we see them happily reunited. She is remembered because of the great pa.s.sions that gathered about her.

Homer presents two pictures of heroic motherhood in sorrow,--Hecuba and Thetis; for the latter, though a G.o.ddess, is perfectly human in her devotion to her fated son, Achilles. To her he goes for comfort, and she is ever resourceful in responding to his wants. She weeps over his destiny, but, since he has chosen the better part, she n.o.bly supports him in every struggle. Hecuba is truly the companion of her husband, King Priam, a.s.sociated with him in his projects, and sharing his counsels. She has borne him nineteen children, and these she has seen slain, one after another, by the hand of the foe. Hector is her favorite son, in whose courage she recognizes the bulwark of Ilium. When she sees him exposed to certain death, her anxiety overcomes her pride and she beseeches him to come within the walls; and when at last her son has succ.u.mbed, we find in her the same mingling of grief and of pride. Her wild despair seems to be a.s.suaged by the thought that her son died gloriously. This heroic sentiment sustains her before the corpse of Hector, and even in her lamentation she voices her calm courage.

IV

WOMEN OF THE ODYSSEY

Ten years have pa.s.sed since the fall of Ilium, and the various heroes of the Greeks have met with diverse fortunes. Agamemnon, king of men, has returned to his fatherland, but merely to find treason and death at the hands of aegisthus, the new lord of Clytemnestra, his wife. Menelaus, after long wanderings, especially in Egypt, has reestablished his kingdom in Sparta, with Helen as his queen. Odysseus, King of Ithaca, had the longest and most perilous voyage homeward, and, after meeting with various misadventures, has been detained for nearly eight long years, consuming his own heart, in the island paradise of Calypso, Meanwhile, on his own island, Ithaca, things have begun to go amiss. The island chiefs, men of the younger generation, begin to woo Penelope and to hara.s.s her son, Telemachus. The wooers, after being rebuffed for years by the fair queen, are becoming insolent, quartering themselves upon her, and devouring her substance. At this time the action of the Odyssey begins.

The determined time has now arrived when, by the counsels of the G.o.ds, Odysseus is to be brought home to free his house, to avenge himself on the wooers, and to recover his kingdom, Pallas Athena is the chief agent in the restoration of Odysseus to his fatherland. She beseeches Zeus that he may be delivered, and in accordance with this prayer Hermes is sent to Calypso to bid her release Odysseus. Meanwhile, the G.o.ddess, in human form, visits Telemachus in Ithaca, and urges the young prince to withstand the suitors who are devastating his house, and to go in search of his father. Touched by the words of the G.o.ddess, youth rapidly gives way to manhood, and Telemachus determines to a.s.sert his rights and to find his father.

After the departure of the G.o.ddess, the prince enters the court where the suitors are gathered, listening to the singing of the renowned minstrel Phemius; and his song was of the pitiful return of the Achaeans.

We now have our first vision of discreet Penelope. From her upper chamber she hears the glorious strain, and she descends the high stairs from her apartments, accompanied by two of her handmaids. "Now, when the fair lady had come unto the wooers, she stood by the doorpost of the well-builded roof, holding up her glistening tire before her face; and a faithful maiden stood on either side of her." She begs Phemius to cease from this sorrowful strain, which wastes her heart within her breast, since to her, above all women, hath come a sorrow comfortless, because she holds in constant memory so dear a head,--even that man whose fame is noised abroad from h.e.l.las to mid-Argos. Telemachus gently rebukes his mother for interrupting the song of the minstrel, and bids her return to her chamber and to her own housewiferies, the loom and distaff, and bid the handmaids ply their tasks. Then in amaze she goes back to her chamber, for she lays up the wise saying of her son in her heart. She ascends to the upper chamber with the women, her handmaids, and there bewails Odysseus, her dear lord, till gray-eyed Athena casts sweet sleep upon her eyelids.

Telemachus begins to a.s.sert himself before the violent suitors. When night falls and each goes to his own house to lie down to rest, the young prince is attended to his chamber by the aged Euryclea, who had nursed him when a little one. She bears the burning torches, and prepares the chamber for her young master; and when he takes off his soft doublet, she folds and smooths it and hangs it on a pin by the jointed bedstead. Then she goes forth from the room, and there, all night long, wrapped in a fleece of wool, Telemachus meditates in his heart upon the journey that Athena has shown him.

The next day, after a stormy meeting of the a.s.sembly, Telemachus secretly sets sail for Pylus, accompanied by the G.o.ddess Athena, in the form of Mentor. Only Euryclea, the youth's faithful nurse, knows of his journey, and she has taken a great oath not to reveal it to his mother till the eleventh or twelfth day. Nestor graciously receives Telemachus at Pylus, and, as he himself has no news of Odysseus, sends him on to Sparta, to King Menelaus, in the company of his own son, Pisistratus.

The young men are graciously received by Menelaus and Helen, and Telemachus learns that Odysseus was a captive on an island of the deep in the halls of the nymph Calypso.

Meanwhile, the suitors in Ithaca learn of Telemachus's departure and lay an ambush to intercept him on his return. Discreet Penelope, too, learns by chance of his absence, and of the plots of the wooers, and her heart melts within her at the thought of danger to her child. The good nurse Euryclea tells her of Telemachus's plan, and lulls her queen's grief.

Penelope returns to her chamber and prays to Athena to save her dear son and ward off from him the malice of the suitors. As she lies there in her upper chamber, fasting, and tasting neither meat nor drink, and musing over the fate of her dear son, gray-eyed Athena makes a phantom in the likeness of Penelope's sister, Iphthime, and sends her to comfort Penelope amid her sorrow and lamenting. Rea.s.sured by the phantom concerning her son, the devoted matron begs for news of her husband, pleading to know whether he be alive or dead, but this information is denied her. Yet the heart of the disconsolate wife and mother is cheered, so sweet was the vision that came to her in the dead of night.

Homer now transports us to an a.s.sembly of the G.o.ds. Athena tells the tale of the many woes of Odysseus, and Zeus commands Hermes, the messenger G.o.d, to bid Calypso release Odysseus and start him on his voyage to the Phaeacians, who are destined to return the wanderer to his own dear country. Hermes quickly reaches the far-off isle of Ogygia, where was the grotto of the nymph of the braided tresses. The fair G.o.ddess at once knows him, and, after giving him entertainment, inquires his message. Calypso regretfully and well-nigh rebelliously receives the command of Zeus, and complains of the jealousy of the G.o.ds, who forbid G.o.ddesses openly to mate with men. Yet, as none can make void the purpose of Zeus, she will obey the command. Hermes departs, and the nymph goes on her way to the great-hearted Odysseus. She finds him sitting on the sh.o.r.e; his eyes were never dry of tears, his sweet life was ebbing away as he mourned for his return, and through his tears he looked wistfully over the unharvested deep. Calypso bids him sorrow no more, for she will send him away, and directs him how to prepare a barge on which to make the voyage. Four days are devoted to the making of the barge, and on the fifth the G.o.ddess sends him on his way, providing him with food and drink for his journey, and causing a gentle wind to blow.

Goodly Odysseus joyously sets his sail to the breeze, and keeps his eye on the star Orion, which the fair G.o.ddess had bidden him to keep ever on his left as he traverses the deep.

Seventeen days he sails placidly along, and on the eighteenth appear the shadowy hills of the land of the Phaeacians, whither he is bound. Then spies him his old enemy, Poseidon, and the earth shaker gathers the clouds and rouses the storms, and down speeds night from heaven. The great waves smite down upon Odysseus, and he loses the helm from his hand and the mast is broken. He is thrown from his raft; but, again clutching it, clambers upon it, avoiding grim death. Woman is again destined to be the means of salvation for the hero. Ino of the fair ankles, daughter of Cadmus, in time past a mortal maiden, but now a sea nymph, Leucothea, marks his dire straits and takes pity upon him, and gives him her veil to wind about him when he throws himself into the deep. When his raft is at last broken asunder, he wraps the veil about him; and for two days and nights it bears him up until at length he makes the rugged sh.o.r.e. Throwing the veil into the stream, to be wafted back to fair-ankled Ino, Odysseus, bruised and battered, clambers among the reeds on the bank. He finds a resting place underneath two olive trees, and Athena sheds sweet sleep upon his eyelids.

That same night, the daughter of the king of the Phaeacians, Nausicaa, beautiful like the G.o.ddesses, was sleeping in a sumptuous chamber. For it was to the island domain of King Alcinous, Scheria, land of the Phaeacians, that Odysseus had come. To the palace of the king went Athena, devising a return for the great-hearted Odysseus.

"She betook her to the rich-wrought bower, wherein was sleeping a maiden like to the G.o.ds in form and comeliness, Nausicaa, the daughter of Alcinous, high of heart. Beside her, on each hand of the pillars of the door, were two handmaids, dowered with beauty from the Graces, and the s.h.i.+ning doors were shut.

"But the G.o.ddess, fleet as the breath of the wind, swept toward the couch of the maiden, and stood above her head."

In the semblance of Nausicaa's favorite girl friend and comrade, the G.o.ddess addresses her:

"'Nausicaa, how hath thy mother so heedless a maiden to her daughter?

Lo! thou hast s.h.i.+ning raiment that lies by thee uncared for, and thy marriage day is near at hand, when thou thyself must needs go beautifully clad, and have garments to give to them who shall lead thee to the house of the bridegroom. And, behold, these are the things whence a good report goes abroad among men, wherein a father and lady mother take delight. But come, let us arise and go a-was.h.i.+ng with the breaking of the day, and I will follow thee to be thy mate in the toil, that without delay thou mayst get thee ready, since truly thou art not long to be a maiden. Lo! already they are wooing thee, the n.o.blest youths of all the Phaeacians, among that people whence thou thyself dost draw thy lineage. So come, beseech thy n.o.ble father betimes in the morning to furnish thee with mules and a wain to carry the men's raiment, and the robes, and the s.h.i.+ning coverlets. Yea, and for thyself it is seemlier far to go thus than on foot, for the places where we must wash are a great way from the town.'"

So spake the gray-eyed Athena, and departed to Olympus, seat of the G.o.ds.

"Anon came the throned Dawn, and awakened Nausicaa of the fair robes, who straightway marvelled on the dream, and went through the halls to tell her parents, her father dear and her mother. And she found them within, her mother sitting by the hearth with the women, her handmaids, spinning yarn of sea-purple stain, but her father she met as he was going forth to the renowned kings in their council, whither the n.o.ble Phaeacians called him. Standing close by her dear father, she spake, saying: 'Father, dear, couldst thou not lend me a high wagon with strong wheels, that I may take the goodly raiment to the river to wash, so much as I have lying soiled? Yea, and it is seemly that thou thyself, when thou art with the princes in council, shouldst have fresh raiment to wear. Also, there are five dear sons of thine in the halls, two married, but three are l.u.s.ty bachelors, and these are always eager for new-washen garments wherein to go to the dances; for all these things have I taken thought.'