Homer's Odyssey / A Commentary

by Denton Jaques Snider

I. The approach of Ulysses to the lodge of Eumæus is an experience which one may have in the mountains of Greece to-day. We can find the same general outline of a hut with its surrounding fence and court, in which domestic animals are penned, particularly during the night. Then there is that same welcome from the dogs, which issue forth in a pack with an unearthly howling, growling and barking at the approaching stranger, till somebody appear and pelt them with stones. Often must the wandering Homer have had such a greeting! The hospitable swineherd, Eumæus, the poet must have met with in his travels; the whole scene and character are drawn directly from real life. A similar reception we have had in a remote pastoral lodge, dogs included. But the modern pedestrian will hardly employ the ruse of Ulysses, that of sitting down on the ground and letting his staff drop out of his hand. He will use his weapon and grasp for a stone everywhere present on the Greek soil, though the fight be unequal. Still the sentence of Pliny (Nat. Hist. VIII. 61) deserves always to be cited in this connection: impetus eorum (canum) et sœvitia mitigatur ab homine considente humi; as if dogs in the height of their rage might be touched with the plea of piety.

The character of the swineherd straightway shows itself by his conduct toward this poor hungry stranger, a vagabond in appearance. To be sure, hospitality was and is a common virtue in Greece; but Eumæus saw at once in the wretched looking man his master "wandering among people of a strange tongue, needing food." Therefore come, old man, and satisfy yourself with bread and wine. Such is the strong fellow-feeling warming the hearth of that humble lodge. Misfortune has not soured the swineherd, but he has extracted from it his greatest blessing—an universal charity. This is not a momentary emotion, but has risen to a religious principle: "All strangers and the poor are of Zeus;" such is the vital word of his creed. He is a slave and has not much to share; "our giving is small but dear to us;" very dear indeed, a mite only, but it is as good as a world. Well may we call him, with the poet, in the best sense of the title: "the divine swineherd." We should note too that the poet addresses Eumæus in the second person singular, with a tone of loving familiarity very seldom employed elsewhere in his two poems. Was there some intimate personal relation figured in this character which we still seem to feel afar off there in antiquity?

At any rate the picture of the swineherd has the most modern touch to be found in Homer. It shows the feeling of humanity developed quite to its supreme fullness; it has modern sentiment, nay, it borders at times upon modern sentimentality. It recalls the recent novel, which takes its hero from the lowest class and garnishes him with regal virtues. Strange old Homer, prophetic again! He seems to have anticipated the art-forms of all the ages, and to have laid down the lines on which the literary spirit must move forever. Otherwise, indeed, it could not be; he has in him the germs of future development; the last novel is contained in the first, which is the tale of Eumæus.

In the character of the swineherd, the central point is his loyalty, adamantine as the rock of his humble home. It is loyalty in a double sense: to his divine and to his human master, to God and to man, Zeus and Ulysses. The same trait it is, in a terrestrial and a celestial manifestation. Both sides of this loyalty are just now under the sorest trial; there is every temptation to fall away from God and man and become wholly disloyal. Many have yielded but he will not; in his solitary abode he keeps piety and patriotism aflame with the breath of his spirit. Hence he furnishes the rock on which the new order can be built; without this loyalty in the humble class, no restoration would be possible, even with the presence of Ulysses.

First we may notice that he is loyal to his human master though he believes that the latter is dead and cannot return. Still he does not pass over to the side of the Suitors, who are doing that master and his house the great wrong. Secondly, the swineherd is loyal to Zeus and the Divine Order of the World. Hear him: "The Gods love not deeds of violence; they honor justice and the rightful works of men." Such is his faith; still this faith is passing through the ordeal of fire: why should the Gods, being good, keep the good Ulysses away from his Return? The simple swineherd cannot fathom the ways of Providence, still he believes in that Providence; he is divinely loyal. His allegiance does not depend upon prosperity, not even upon insight. Zeus may rule the world as he pleases, I shall still have faith: "Though he slay me, I shall believe in him."

Now we may turn for a moment to Ulysses. He is a passive learner from the swineherd, calling forth information by subtle inquiry; much, indeed, has he learned from the humble, pious man. First, he has seen a shadow of his own doubt, and how it may be dispelled. Then he has discovered loyalty in this representative of the people, who must still possess it in their hearts, though suppressed in the present, untoward time. Also he hears again of the Suitors and their guilty deeds, viewed with a loyal eye. Finally he plays the prophet to Eumæus and foretells the return of Ulysses. This is the height of his disguise, wherein he rises to the humor of Providence, who has brought to the swineherd the realization of his strongest wish without his knowing it. His prayers have come to pass, could he but see. Herein Ulysses suggests the part of Providence in disguise, bringing the fulfillment of his own prophecy.

II. It is now the turn of Ulysses to give some account of himself in answer to the swineherd's pressing questions. He tells a famous story, a fiction of his own life, yet it has in its disguise the truth of his career. The outer setting is changed, but the main facts are the same. Still there is enough difference to prevent it from being a repetition. It is the Odyssey told over again with new incidents, and variations upon an old theme. We behold here the conscious storyteller, clothing the events of life in the garb of a marvelous adventure. Ulysses had in mind his own experience in this account, and he adapts it to the time and place.

The main points of its contact with himself we may note. First, there is the pre-Trojan period, a time of roving and marauding, which is true of that age in general, and may have some touch of Ulysses in particular. Second is the Trojan war, the epoch of heroic conflict to which all had to go, so strong was the public sentiment. Third comes the post-Trojan epoch, with the wanton attack on the Ægyptians, very much like the attack upon the Ciconians in the Ninth Book. From these attacks in both cases the grand calamity results, which causes the long wandering. The Phœnician episode, however, has no counterpart in the career of Ulysses. Fourth is the storm at sea, with the clinging to the mast, and the landing upon the coast of the Thesprotians, all of which is a transcript of the experience of Ulysses in getting to Phæacia from Calypso's isle. Fifth is the arrival at Ithaca, which shows the actual fact, with changed circumstances. Thus we may say that the true Ulysses in disguise tells the true story of his life in disguise. This gift is what makes him the poet.

Indeed we are compelled to think that Homer here suggests his own poetic procedure. What he narrates is his own experience, in the form of art. His poetry is and must be his own life, though in disguise. Goethe has said something similar: All that I have written is what I have experienced, but not quite as I experienced it. In this story we may hear in an undertone the old Greek poet telling one of his secrets of composition.

Moreover, it is a tale of providential escapes; thrice has the so-called Cretan been saved specially, in Ægypt, from the Phœnicians, from the Thesprotians. Thus the story aims to encourage Eumæus, and to answer his doubt; it affirms the return of Ulysses, and tells even the manner thereof; it is a story of Providence appealing to the swineherd's faith. On this line, too, it touches the ethical content of the Odyssey, as the latter was sung to the whole Greek world.