LIV.
“Death ends all tales,” but this he endeth not;
They grew not grey within the valley fair
Of hollow Lacedaemon, but were brought
To Rhadamanthus of the golden hair,
Beyond the wide world’s end; ah never there
Comes storm nor snow; all grief is left behind,
And men immortal, in enchanted air,
Breathe the cool current of the Western wind.
LV.
But Helen was a Saint in Heathendom,
A kinder Aphrodite; without fear
Maidens and lovers to her shrine would come
In fair Therapnae, by the waters clear
Of swift Eurotas; gently did she hear
All prayers of love, and not unheeded came
The broken supplication, and the tear
Of man or maiden overweigh’d with shame.
O’er Helen’s shrine the grass is growing green,
In desolate Therapnae; none the less
Her sweet face now unworshipp’d and unseen
Abides the symbol of all loveliness,
Of Beauty ever stainless in the stress
Of warring lusts and fears;—and still divine,
Still ready with immortal peace to bless
Them that with pure hearts worship at her shrine.
NOTE
[In this story in rhyme of the fortunes of Helen, the theory that she was an unwilling victim of the Gods has been preferred. Many of the descriptions of manners are versified from the Iliad and the Odyssey. The description of the events after the death of Hector, and the account of the sack of Troy, is chiefly borrowed from Quintus Smyrnaeus.]
The character and history of Helen of Troy have been conceived of in very different ways by poets and mythologists. In attempting to trace the chief current of ancient traditions about Helen, we cannot really get further back than the Homeric poems, the Iliad and Odyssey. Philological conjecture may assure us that Helen, like most of the characters of old romance, is “merely the Dawn,” or Light, or some other bright being carried away by Paris, who represents Night, or Winter, or the Cloud, or some other power of darkness. Without discussing these ideas, it may be said that the Greek poets (at all events before allegorical explanations of mythology came in, about five hundred years before Christ) regarded Helen simply as a woman of wonderful beauty. Homer was not thinking of the Dawn, or the Cloud when he described Helen among the Elders on the Ilian walls, or repeated her lament over the dead body of Hector. The Homeric poems are our oldest literary documents about Helen, but it is probable enough that the poet has modified and purified more ancient traditions which still survive in various fragments of Greek legend. In Homer Helen is always the daughter of Zeus. Isocrates tells us (“Helena,” 211 b) that “while many of the demigods were children of Zeus, he thought the paternity of none of his daughters worth claiming, save that of Helen only.” In Homer, then, Helen is the daughter of Zeus, but Homer says nothing of the famous legend which makes Zeus assume the form of a swan to woo the mother of Helen. Unhomeric as this myth is, we may regard it as extremely ancient. Very similar tales of pursuit and metamorphosis, for amatory or other purposes, among the old legends of Wales, and in the “Arabian Nights,” as well as in the myths of Australians and Red Indians. Again, the belief that different families of mankind descend from animals, as from the Swan, or from gods in the shape of animals, is found in every quarter of the world, and among the rudest races. Many Australian natives of to-day claim descent, like the royal house of Sparta, from the Swan. The Greek myths hesitated as to whether Nemesis or Leda was the bride of the Swan. Homer only mentions Leda among “the wives and daughters of mighty men,” whose ghosts Odysseus beheld in Hades: “And I saw Leda, the famous bedfellow of Tyndareus, who bare to Tyndareus two sons, hardy of heart, Castor, tamer of steeds, and the boxer Polydeuces.” These heroes Helen, in the Iliad (iii. 238), describes as her mother’s sons. Thus, if Homer has any distinct view on the subject, he holds that Leda is the mother of Helen by Zeus, of the Dioscuri by Tyndareus.
Greek ideas as to the character of Helen varied with the various moods of Greek literature. Homer’s own ideas about his heroine are probably best expressed in the words with which Priam greets her as she appears among the assembled elders, who are watching the Argive heroes from the wall of Troy:—“In nowise, dear child, do I blame thee; nay, the Gods are to blame, who have roused against me the woful war of the Achaeans.” Homer, like Priam, throws the guilt of Helen on the Gods, but it is not very easy to understand exactly what he means by saying “the Gods are to blame.” In the first place, Homer avoids the psychological problems in which modern poetry revels, by attributing almost all changes of the moods of men to divine inspiration. Thus when Achilles, in a famous passage of the first book of the Iliad, puts up his half-drawn sword in the sheath, and does not slay Agamemnon, Homer assigns his repentance to the direct influence of Athene. Again, he says in the Odyssey, about Clytemnestra, that “she would none of the foul deed;” that is of the love of Aegisthus, till “the doom of the Gods bound her to her ruin.” So far the same excuse is made for the murderous Clytemnestra as for the amiable Helen. Again, Homer is, in the strictest sense, and in strong contrast to the Greek tragedians and to Virgil, a chivalrous poet. It would probably be impossible to find a passage in which he speaks harshly or censoriously of the conduct of any fair and noble lady. The sordid treachery of Eriphyle, who sold her lord for gold, wins for her the epithet “hateful;” and Achilles, in a moment of strong grief, applies a term of abhorrence to Helen. But Homer is too chivalrous to judge the life of any lady, and only shows the other side of the chivalrous character—its cruelty to persons not of noble birth—in describing the “foul death” of the waiting women of Penelope. “God forbid that I should take these women’s lives by a clean death,” says Telemachus (Odyssey, xxii. 462). So “about all their necks nooses were cast that they might die by the death most pitiful. And they writhed with their feet for a little space, but for no long while.” In trying to understand Homer’s estimate of Helen, therefore, we must make allowance for his theory of divine intervention, and for his chivalrous judgment of ladies. But there are two passages in the Iliad which may be taken as indicating Homer’s opinion that Helen was literally a victim, an unwilling victim, of Aphrodite, and that she was carried away by force a captive from Lacedaemon. These passages are in the Iliad, ii. 356, 590. In the former text Nestor says, “let none be eager to return home ere he has couched with a Trojan’s wife, and avenged the longings and sorrows of Helen”—τίσσθαι δΈλένης ορμηματα τε στοναχας τε. It is thus that Mr. Gladstone, a notable champion of Helen’s, would render this passage, and the same interpretation was favoured by the ancient “Separatists” (Chorizontes), who wished to prove that the Iliad and Odyssey were by different authors; but many authorities prefer to translate “to avenge our labours and sorrows for Helen’s sake”—“to avenge all that we have endured in the attempt to win back Helen.” Thus the evidence of this passage is ambiguous. The fairer way to seek for Homer’s real view of Helen is to examine all the passages in which she occurs. The result will be something like this:—Homer sees in Helen a being of the rarest personal charm and grace of character; a woman who imputes to herself guilt much greater than the real measure of her offence. She is ever gentle except with the Goddess who betrayed her, and the unworthy lover whose lot she is compelled to share. Against them her helpless anger breaks out in flashes of eloquent scorn. Homer was apparently acquainted with the myth of Helen’s capture by Theseus, a myth illustrated in the decorations of the coffer of Cypselus. But we first see Helen, the cause of the war, when Menelaus and Paris are about to fight their duel for her sake, in the tenth year of the Leaguer (Iliad, iii. 121). Iris is sent to summon Helen to the walls. She finds Helen in her chamber, weaving at a mighty loom, and embroidering on tapestry the adventures of the siege—the battles of horse-taming Trojans and bronze-clad Achaeans. The message of Iris renews in Helen’s heart “a sweet desire for her lord and her own city, and them that begat her;” so, draped in silvery white, Helen goes with her three maidens to the walls. There, above the gate, like some king in the Old Testament, Paris sits among his counsellors, and they are all amazed at Helen’s beauty; “no marvel is it that Trojans and Achaeans suffer long and weary toils for such a woman, so wondrous like to the immortal goddesses.” Then Priam, assuring Helen that he holds her blameless, bids her name to him her kinsfolk and the other Achaean warriors. In her reply, Helen displays that grace of penitence which is certainly not often found in ancient literature:—“Would that evil death had been my choice, when I followed thy son, and left my bridal bower and my kin, and my daughter dear, and the maidens of like age with me.” Agamemnon she calls, “the husband’s brother of me shameless; alas, that such an one should be.” She names many of the warriors, but misses her brothers Castor and Polydeuces, “own brothers of mine, one mother bare us. Either they followed not from pleasant Lacedaemon, or hither they followed in swift ships, but now they have no heart to go down into the battle for dread of the shame and many reproaches that are mine.”
“So spake she, but already the life-giving earth did cover them, there in Lacedaemon, in their own dear country.”