1. Three Greek shades will pass before us, Agamemnon the Leader, Achilles the Hero, and Ajax the man of strength. We shall find them placed in a certain contrast with Ulysses, who is shown greater than any of the three. All have been overwhelmed by fate through their own folly or weakness, while Ulysses still lives, the master of fate, and beholds them in Hades. Such is his triumph, which the shades themselves declare.
First comes the soul of Agamemnon, the great King, who has the bond of authority in common with King Alcinous. He tells the story of his own murder in considerable detail, which story has been given twice already in the poem. A most impressive event to the Greek mind of Homer's age; the greatest of the rulers is wretchedly cut off from his Return by his wife Clytæmnestra and her paramour Ægisthus. This Return is what points the contrast between him and Ulysses; moreover the contrast is also drawn between the wives of the two men, one the faithless and the other the faithful woman. Still the wrong of Agamemnon is suggested by himself: "I heard the piteous voice of Cassandra, whom Clytæmnestra slew, crying for me; I, though dying, grasped for my sword," to no purpose, however. Surely the wife had her wrongs as well as the husband, out of which double guilt Æschylus will construct his mighty tragedy.
Next after the Leader, in due order comes the Hero of the Greeks before Troy, Achilles. He recognizes this descent to Hades as the greatest deed of Ulysses: "What greater deed, rash man, wilt thou plan next?" It is verily the most wonderful part of his Return, overtopping anything that Achilles did. Still Ulysses pays him the meed of heroship: "We Argives honored thee as a God, while living, and now thou art powerful among the dead; therefore do not sorrow at thy death, O Achilles." But he answers that he would rather be the humblest day laborer to a poor man than to be King of the Shades. It is not his world, he longs for the realm of heroic action, here he has no vocation. No Troy to be taken, no Hector to be vanquished down in Hades; the heroic man must sigh for the Upper World with its activity. Some consolation he gets from the account which Ulysses gives of his son, who was in the Wooden Horse and distinguished himself at Troy for bravery. Thus the father lives in his son and "strides off delighted through the meadow of asphodel." This plant is usually regarded as the Asphodelus ramosus, a kind of lily with an edible tuberous root, still planted, it is said, on graves, to furnish to the dead some food which grows in the earth. This ancient custom has been supposed to be the source of the legend of its being transplanted to Hades.
The third heroic shade is that of Ajax, son of Telamon, with whom Ulysses had a rivalry, the story of which runs as follows: After the death of Achilles, Thetis his mother offered his arms, the work of Vulcan, to the worthiest of the remaining Greek heroes. The contest lay between Ajax and Ulysses. Agamemnon would not decide, but referred the question to the Trojan prisoners present, asking them which of the two contestants had done them the most injury. They said Ulysses. Whereupon Ajax went crazy and slew himself. Now he appears in Hades, still unreconciled; it is really the most wretched lot of all. Ulysses here speaks the reconciling word, growing tender and imploring; but the hero "answered not, darting away with the other shades into Erebos." Wherein we may well see how much greater in spirit Ulysses was than his big muscular rival. He has reached in this respect the true outcome of life's discipline: to have no revenges, and to speak the word of reconciliation.
In fact the superiority of Ulysses over all these heroes is clearly manifested. He brings no captive woman home to his domestic hearth, and hence he has a right to count upon Penelope's fidelity, though certainly he shows himself no saint in his wanderings. Moreover Agamemnon lacked foresight in his Return, which Ulysses will exhibit in a supreme degree when he first touches his native soil. The second hero, Achilles, could not conquer Troy, then he could not conquer Hades; yet both are conquered by Ulysses who is thus the greater. Finally unreconciled Ajax—all are limited, incomplete, in contrast with the complete, limit-removing Hero, who has just removed even the limit of Death in the only way possible. Verily to him they have become shadows, that whole heroic world before Troy is now put by him into Hades.
Thus we see that, while the characters belong to the Trojan time, there is a movement out of that period, it is transcended. The background here is the Iliad, yet the incidents are taken from the Trojan war after the action of the Iliad is brought to a close. The fates of the three great heroes of that poem are not given in the poem; here they are given with a tragic emphasis. Thus the Odyssey carries forward the Iliad, supplements it, and forms its real conclusion, both being in fact one poem. In the full blaze of the glory of Achilles the Iliad ends; but he cannot take Troy; and still less, after his death, can Ajax; the divine armor must go to Ulysses who has brain, then can the city be taken. Even the son of Achilles will fight under Ulysses and enter the Trojan Horse, the work of Pallas, of Intelligence. Thus we catch here as in other places, glimpses of the unity of both the Iliad and the Odyssey, the great work reflecting the one national consciousness of Hellas in its complete cycle.
2. We should not fail to cast a separate glance at the three typical women of the Trojan epoch—Helen, Clytemnestra, Penelope—in contrast with the three heroes already described. They are all mentioned and compared in the speech of Agamemnon, but do not form an organic part of the Book by themselves, as do the Pre-Trojan women. They are wives, and wifehood not motherhood, as in the previous case, is the phase of the domestic relation which is the theme of song and struggle in their lives. Possible its present importance is the reason why wifehood was dismissed with so brief mention in the portion concerning the famous mothers.
Note, then, the gradation of the three: Clytemnestra is the fallen unrestored; Helen is the fallen restored; Penelope is the unfallen, who keeps a home for her absent husband during twenty years. The tragic, the mediated, the pure; or, to take a later analogy, the infernal, the purgatorial, the paradisaical; such are the three typical female characters of Homer, ranging from guilt, through repentance, to innocence. In this framework lies quite all possible characterization. Naturally Agamemnon shows a bitter vein of misogyny, with only his wife in view; but he takes it all back when he thinks of Penelope.
Two of these women, Helen and Penelope, are still alive and do not belong to the realm of Hades; the ghost of the third, Clytemnestra, does not appear. Still all three are mentioned here in the text, and stand in relation to the three Greco-Trojan heroes, none of whom were restored through the Return. Ulysses, however, is the real solution of them all; he spans all their inadequacies, masters their fates, and reaches home. The three Greek heroes above mentioned fell by the way in the course of the grand problem, and are seen in Hades, complaining, unhappy, showing their full limitation. To a degree they are suffering the penalty of their own shortcomings: which fact prepares us for the third and last phase of the Underworld.
III.