Homer's Odyssey / A Commentary

by Denton Jaques Snider

1. We have already noticed the three grand Returns, rising one above the other to the culmination—that of Nestor, of Menelaus, of Ulysses. Now the first two are told in the Telemachiad; but they openly lead up to the third, which is the complete Return, and which is just the theme of the Ulyssiad. Nestor makes the immediate Return, without conflict, through Greece, but he points directly to Menelaus, and foreshadows the coming of Ulysses. Menelaus, however, prophesies the third Return, and thus directly joins his account with the Ulyssiad. In this manner we see and feel the intimate bond between these two grand divisions of the total Odyssey.

2. We notice the same general movement in the Telemachiad and in the Ulyssiad; the same fundamental scheme underlies both. There is the real Present, in the one case Ithaca, Pylos, Sparta, in the other ease Phæacia; then there is in the same heroic Past the Trojan war and its deeds of valor; thirdly there is a movement in both to an ideal world, to a Fableland, outside of Hellas and beyond even Troy; finally there is a Return in both to Greece and to the Present. Setting the stages of this movement down in definite numbers, we have, first in the Telemachiad: (1) Hellas, the Present; (2) back to Troy, the Past, in the reminiscences of Nestor, Menelaus, Helen; (3) forward to the Fairy World in the account of Proteus; (4) return to Ithaca at the end of the Fourth Book. Secondly in the Ulyssiad we may here note in advance the same general movement: (1) Phæacia, the Present; (2) back to Troy in the strains of Demodocus; (3) forward to the Fairy World of Polyphemus and Circe; (4) return to Ithaca in the Thirteenth Book. Thus we reach down and grasp the fundamental norm according to which the poet wrought, and which holds in unity all the differences between these two divisions of the poem. The spiritual basis of this movement, its psychological ground, we shall endeavor to unfold more fully hereafter.

3. In correspondence with the preceding, we can distinguish in both divisions the same kinds of style: (1) the symple Idyllic Tale of the Present; (2) the Heroic Tale recounting the Past and specially the Trojan war; (3) the Fairy Tale which introduces a supernatural realm. Each of these styles is poetic, yet with its own coloring and character. Here again we should observe the author employing his fundamental norm of composition a second time, and thus re-asserting himself as the same person in both divisions of the poem—in the Telemachiad as well as in the Ulyssiad.

4. In each division, again, there is a supreme woman at the center of domestic life—Penelope in the one, Arete in the other, each being wife and mother, each supremely faithful to her institution, the Family. This predominance and glorification of the married woman and the home constitute a common characteristic of both divisions, and show the same fundamental conception of her worth, as well as of her position in the social order. It may be doubted if Modern Literature has improved upon this Homeric representation.

5. Then the contrasts between the Telemachiad and the Ulyssiad link them together. Disturbed Ithaca, peaceful Phæacia; the theoretic education of the son, the practical discipline of the father; Telemachus, the son of his father, Nausicaa, the daughter of her mother, the Ithacan boy and the Phæacian girl—such are a few of these contrasts. Finally father and son, strongly contrasted, yet having their unity in this family of which they are members, suggest the unity of the poem of which they are characters.

These bonds of connection are so strong that they overbalance all discrepancies of single passages, interpolations, and inconsistencies of detail. Still, if the mind of the critic refuses the general sweep, and insists upon prying asunder the joints, and upon looking through its microscope at the little things, it will find only separation, discord, and many small Homers instead of a single great Homer. The particular always divides, but the general unites; so the Homeric poems will have two sets of reader, the dividers and the unifiers.

The Education of Telemachus. This is another name, which we have frequently used, for the Telemachiad. The Homeric youth is also to get his training for life; he is to find and to take possession of his inheritance transmitted from the Past. The general statement of this educational fact occurs frequently in the work: Telemachus wishes to know about his father. That is his immediate inquiry, which will extend to knowing something about the fathers and what they did; then his investigation will go beyond the fathers and the Greek world, reaching over into Egypt and the East. The function of education is to put into possession of the coming man the wisdom of the Past, and specially the means for acquiring this wisdom; then he can transmit the intelligence of the race to those who are to follow him. So Telemachus has attained the age when he must know ancestral wisdom. Such is his strong instinct, he feels his limitation, he is penned up in a narrow life at Ithaca, whose barriers cramp his free spirit. This intense desire for education, for finding out something about the world in which he is placed, is the starting point for the boy. He shows his spirit by breaking through the restraint of the Suitors and his mother in order to get an education. Like many a youth to-day, he has to leave home, has to run away, in fact, that he may have his opportunity. What does he get? Or, what is the content of this education! Let us see.

1. We find that he gets a fair amount of religious training. He has been led through the misfortunes of his House to question the goodness of Providence and the superintendence of the Gods. But Minerva gives him a strong lesson, so does Nestor. He obtains a glimpse of the Divine Order, and feels the necessity of keeping in harmony with the same. The outcome of his visit must impress him with the providential side in human action.

2. He sees new countries, talks with famous men, and partakes of their wisdom. Chiefly, however, he hears of the grand Return in its manifold phases; he learns the story of those who failed, of those who reached home, like Nestor and Menelaus. Great is the lesson; this Return images the movement of the soul, the breach within and the restoration. It is remotely his own inner life outlined, and that of every man; Telemachus has just made a separation from home and country, to which he must come back and be reconciled. His own soul-form he must dimly feel in the great Return of the Heroes from Troy, and their various destinies he must recognize to be his own possibilities.

3. Telemachus the aspiring youth, is trying to recover his patrimony, which is of two kinds, physical and spiritual. The Suitors are destroying the one, and keeping it out of his hands; with them is one conflict, that of justice. But he must also inherit his father's mental riches; he has to separate from home and his mother to find this form of wealth or even to learn of its nature. So Telemachus has his Trojan expedition, not so great in itself, yet, adventurous enough for a boy. He is moving on the lines of his father when the latter went to Troy—a national affair; but his deed is a breaking loose from boyhood—the breach out of which he is to come back a man.