We have then as illustrations of conjugal fidelity: the main picture, Ulysses and Penelope; the companion picture, Alcinous and Arete; and, as a foil to set off both, there looms up every now and then in the course of the poem, that unhappy pair, Agamemnon and Clytemnestra, the latter, the type of conjugal infidelity, from which the soul of Homer revolts. This foil is very skillfully used. At the very end of the poem, when everything is hastening toward a happy consummation, Ulysses having slain the suitors and being about to be reunited with his wife, we are introduced into the world of shades, where the ghost of Agamemnon once more rehearses the story of Clytemnestra's treachery. At that moment the spirits of the suitors come flying down to Hades, and the happier destiny of Ulysses is thus brought into clearer relief by contrast.
The next ethical element of which I have to speak is the filial conduct of Telemachus. In him the spirit of adventure has developed into a desire to help his father. In the early part of the poem he announces that he is now a child no longer. He begins to assert authority. And yet in his home he continues to be treated as a child. The suitors laugh at him, his own mother can not bear to think that he should go out into the wide world alone, and the news of his departure is accordingly concealed from her. Very fine are the words in which her mother's love expresses itself when she discovers his absence:
"And her knees failed her and her heart
Sank as she heard. Long time she could not speak;
Her eyes were filled with tears, and her clear voice
Was choked; yet, finding words at length, she said:
'O herald! wherefore should my son have gone?'
"... Now, my son,
My best beloved, goes to sea—a boy