This one kind of subjection, however, is not enough, it must be made universal. Every kind of subordination of the sensuous, not merely in the matter of eating and drinking, is necessary. The next thing to be guarded against is carnal indulgence, which may "make me cowardly and unmanly." Hence Circe has "to swear the great oath, not to plot against me any harm." Thus in the two chief forms of human appetite, that of eating and drinking and that of sexual indulgence, she is subjected.
Ulysses is beginning to have some claims to being a moral hero, still he is not by any means an ascetic. He has the Greek notion of morality; we have a right to enjoy, but enjoyment must not make us bestial; rational moderation is the law. He drinks of Circe's cup, but does not let it turn him into a swine; he shares in all her pleasures, but never suffers his head to get dizzy with her blandishments. Every seductive delicacy she sets before him, mingled with the most charming flattery; "I did not like the feast." Why? This leads us to the next and higher point.
3. Lofty is the response of Ulysses: "O Circe, what right-minded man would endure to touch food and drink before seeing his companions released?" At once she goes to the sty and sets them free, restoring their shapes, "and they became younger, larger, and more beautiful than they were before." A great advantage is this to any man; it is worth the hard experience to come out with such a gain, especially as the companions must have been getting a little old, stooped and wrinkled, having gone through so many years of hardship at Troy and on the sea.
4. Thus Ulysses has transformed Circe into an instrument for restoring his fallen comrades; surely a noble act. Next she of her own accord asks Ulysses to go to the sea-shore for the rest of his men and to bring them to her palace for refreshment and entertainment. This he succeeds in doing after some opposition from the terrified Eurylochus, who has not yet gotten over his scare. Sorely did the companions need this rest and recuperation after their many sufferings on land and sea; "weak and spiritless they were, always thinking of the bitter wandering." But now in the palace of Circe "they feasted every day for a whole year," eating and drinking without being turned into swine. Even Eurylochus follows after, "for he feared my terrible threat."
Thus we catch the sweep of this grand experience of and with Circe; if she governs, she bestializes man; if she serves, she refreshes and restores. Her complete subordination is witnessed; from transforming people into swine, she is herself transformed into their helper, and she becomes an important factor in the great Return to home and country. But it is time to think of this Return again; the period of repose and enjoyment must come to an end.
III. Here, then, we behold a new phase of Circe, that of the seeress into the Beyond. Ulysses says to her at the end of the year: "Now make your promise good, send us home, for which we long." Stunning is the answer after that period of relaxation: "Ye must go another way, ye must pass into the Houses of Hades." It is indeed a terrible response. But for what purpose? "To consult the soul of the blind Theban seer Tiresias, whose mind is still unimpaired; to him alone of the dead Proserpine gave a mind to know." Clearly this means the pure intelligence without body; Ulysses must now reach forth to the incorporeal spirit, to the very Idea beyond the senses, beyond life.
The first question which arises in this connection is, How can Circe, the enchantress of the senses, be made the prophetess of the supersensible world? If we watch her development through the two preceding stages, we shall see that she not only can, but must point to what is beyond, to spirit. In the second stage she experiences a great change, no longer transforming into the lower, but herself transformed into the higher; she becomes a moral being, subordinating the sensuous to the spiritual; she has, therefore, spirit in her life and manifests it in her actions, when she is the willing means of subjecting appetite to reason.
The same transformation we may note on her artistic side, for she remains always beautiful. The first Circe is that alluring seductive beauty which destroys by catering to the senses; she is that kind of art, which debauches through its appeal to appetite and passion alone. But the second Circe is transfigured, her service is of the spirit, she releases from the bondage of indulgence, she aids the ethical Return to Family and State. It is true that she never becomes a saint or a nun, she would not be Greek if she did; moreover, according to the Greek view, she must be transcended by the typical man, who is to rise into an institutional life, which is hardly Circe's. Still the primal moral subjection is shown in her career.
The domain of morals reveals the spiritual in action, the domain of true art reveals the spiritual in representation. What shall I do with this world of the senses? was a great question to the Greek, and still is to us. In conduct subordinate it; in nature transform it into an image of the higher. The work of art is a divine flash from above into a sensuous form; this flash we separate from its material, and pass into pure spirit; then we reach Tiresias, the mind embodied, not limited in Space and Time.
Circe thus indicates her own limitation, which belongs to morals and art. She is not the Infinite, but can point to it; she hints the rise from art to philosophy. Backwards and forwards runs the suggestion in her career; the Greek can lapse to the first Circe and die in a debauch of the senses, or he can rise to the prophetic Circe, and lay the deep foundation of all future thought. The Greek world, in fact, had just this double outcome.