We leave her happy in Argos, a smile on her lips, a gift in her hands, as we met her in Troy, beautiful, adored despite her guilt, as sweet in her repentance as in her unvexed Argive home. Women seldom mention her, in the epic, but with horror and anger; men never address her but in gentle courtesy. What is her secret? How did she leave her home with Paris—beguiled by love, by magic, or driven by the implacable Aphrodite? Homer is silent on all of these things; these things, doubtless, were known by his audience. In his poem Helen moves as a thing of simple grace, courtesy, and kindness, save when she rebels against her doom, after seeing her lover fly from her husband’s spear. Had we only Homer, by far our earliest literary source, we should know little of the romance of Helen; should only know that a lawless love brought ruin on Troy and sorrow on the Achaeans; and this is thrown out, with no moral comment, without praise or blame. The end, we learn, was peace, and beauty was reconciled to life. There is no explanation, no dénouement; and we know how much dénouement and explanations hampered Scott and Shakespeare. From these trammels Homer is free, as a god is free from mortal limitations.
All this manner of telling a tale—a manner so ancient, so original—is akin, in practice, to recent theories of what art should be, and what art seldom is, perhaps never is, in modern hands.
Modern enough, again, is the choice of a married woman for the heroine of the earliest love tale. Apollonius Rhodius sings (and no man has ever sung so well) of a maiden’s love; Virgil, of a widow’s; Homer, of love that has defied law, blindly obedient to destiny, which dominates even Zeus. Once again, Helen is not a very young girl; ungallant chronologists have attributed to her I know not what age. We think of her as about the age of the Venus of Milo; in truth, she was “ageless and immortal.” Homer never describes her beauty; we only see it reflected in the eyes of the old men, white and weak, thin-voiced as cicalas: but hers is a loveliness “to turn an old man young.” “It is no marvel,” they say, “that for her sake Trojans and Achaeans slay each other.”
She was embroidering at a vast web, working in gold and scarlet the sorrows that for her sake befell mankind, when they called her to the walls to see Paris fight Menelaus, in the last year of the war. There she stands, in raiment of silvery white, her heart yearning for her old love and her own city. Already her thought is far from Paris. Was her heart ever with Paris? That is her secret. A very old legend, mentioned by the Bishop of Thessalonica, Eustathius, tells us that Paris magically beguiled her, disguised in the form of Menelaus, her lord, as Uther beguiled Ygerne. She sees the son of Priam play the dastard in the fight; she turns in wrath on Aphrodite, who would lure her back to his arms; but to his arms she must go, “for the daughter of Zeus was afraid.” Violence is put upon beauty; it is soiled, or seems soiled, in its way through the world. Helen urges Paris again into the war. He has a heart invincibly light and gay; shame does not weigh on him. “Not every man is valiant every day,” he says; yet once engaged in battle, he bears him bravely, and his arrows rain death among the mail-clad Achaeans.
What Homer thinks of Paris we can only guess. His beauty is the bane of Ilios; but Homer forgives so much to beauty. In the end of the “Iliad,” Helen sings the immortal dirge over Hector, the stainless knight, “with thy loving kindness and thy gentle speech.”
In the “Odyssey,” she is at home again, playing the gracious part of hostess to Odysseus’s wandering son, pouring into the bowl the magic herb of Egypt, “which brings forgetfulness of sorrow.” The wandering son of Odysseus departs with a gift for his bride, “to wear upon the day of her desire, a memorial of the hands of Helen,” the beautiful hands, that in Troy or Argos were never idle.
Of Helen, from Homer, we know no more. Grace, penitence in exile, peace at home, these are the portion of her who set East and West at war and ruined the city of Priam of the ashen spear. As in the strange legend preserved by Servius, the commentator on Virgil, who tells us that Helen wore a red “star-stone,” whence fell gouts of blood that vanished ere they touched her swan’s neck; so all the blood shed for her sake leaves Helen stainless. Of Homer’s Helen we know no more.
The later Greek fancy, playing about this form of beauty, wove a myriad of new fancies, or disinterred from legend old beliefs untouched by Homer. Helen was the daughter of the Swan—that is, as was later explained, of Zeus in the shape of a swan. Her loveliness, even in childhood, plunged her in many adventures. Theseus carried her off; her brothers rescued her. All the princes of Achaea competed for her hand, having first taken an oath to avenge whomsoever she might choose for her husband. The choice fell on the correct and honourable, but rather inconspicuous, Menelaus, and they dwelt in Sparta, beside the Eurotas, “in a hollow of the rifted hills.” Then, from across the sea, came the beautiful and fatal Paris, son of Priam, King of Troy. As a child, Paris had been exposed on the mountains, because his mother dreamed that she brought forth a firebrand. He was rescued and fostered by a shepherd; he tended the flocks; he loved the daughter of a river god, Œnone. Then came the naked Goddesses, to seek at the hand of the most beautiful of mortals the prize of beauty. Aphrodite won the golden apple from the queen of heaven, Hera, and from the Goddess of war and wisdom, Athena, bribing the judge by the promise of the fairest wife in the world. No incident is more frequently celebrated in poetry and art, to which it lends such gracious opportunities. Paris was later recognised as of the royal blood of Troy. He came to Lacedaemon on an embassy, he saw Helen, and destiny had its way.
Concerning the details in this most ancient love-story, we learn nothing from Homer, who merely makes Paris remind Helen of their bridal night in the isle of Cranaë. But from Homer we learn that Paris carried off not only the wife of Menelaus, but many of his treasures. To the poet of the “Iliad,” the psychology of the wooing would have seemed a simple matter. Like the later vase-painters, he would have shown us Paris beside Helen, Aphrodite standing near, accompanied by the figure of Peitho—Persuasion.
Homer always escapes our psychological problems by throwing the weight of our deeds and misdeeds on a God or a Goddess, or on destiny. To have fled from her lord and her one child, Hermione, was not in keeping with the character of Helen as Homer draws it. Her repentance is almost Christian in its expression, and repentance indicates a consciousness of sin and of shame, which Helen frequently professes. Thus she, at least, does not, like Homer, in his chivalrous way, throw all the blame on the Immortals and on destiny. The cheerful acquiescence of Helen in destiny makes part of the comic element in La Belle Hélène, but the mirth only arises out of the incongruity between Parisian ideas and those of ancient Greece.