ὡς μὴ πατροφόνος μετ’ Ἀχαιοῖσιν καλεοίμην.
The reciprocal obligations of father and son are beautifully shown by Andromache in her lament over Hector, when she speaks of her child[144]:
οὔτε σὺ τούτῳ
ἔσσεαι, Ἕκτορ, ὄνειαρ, ἐπεὶ θάνες, οὔτε σοὶ οὗτος.
The relation of sovereign and subject free.
As to the relation between the subject and the sovereign authority, it seems everywhere to be taken for granted. In the Twenty-fourth Odyssey, the object of those who march against Ulysses is not to put down authority, but to avenge the deaths of their sons and brothers. But there appears nowhere in Homer the idea that in this relation could be involved a difference of interest, or even of opinion, between class and class, between governors and governed. The king or chief was uplifted to set a high example, to lead the common counsels to common ends, to conduct the public and common intercourse with heaven, to decide the strifes of individuals, to defend the borders of the territory from invasion. That the community at home, or any regularly subsisting class of it, could require repression or restraint from the government, was an idea happily unknown to the Homeric times.
Those classes, indeed, were few and simple. There was, first of all, the king; and round him his family and his κήρυκες, the serjeants or heralds, who were his immediate, and apparently his only immediate, agents. They conveyed his orders; they assisted him in the Assembly, in sacrifice, and in banquets. They appear to be the only executive officers that are found in Homer. With these was the Bard, apparently also an indispensable member of royal households. Both were recognised among the established professions.
Next to the kings and other sovereigns, we must place the chief proprietors of the country. In the Odyssey, we find the members of the aristocracy having their own estates and functions, and sustaining the part of γέροντες, or leaders in the Assembly. The judicial office, as we have seen from the Shield and otherwise, was in their hands, probably by delegation. But it would appear, that the distinction between them and the sovereign family was rather a broad one; since, in almost every case, we seem to find the prince contracting a marriage beyond his own borders. Laertes brings Anticlea[145] from the neighbourhood of Parnassus; Theseus marries Ariadne from Crete; Agamemnon and Menelaus, belonging to Mycenæ, are united to the daughters of the king of Sparta; of the two daughters of Icarius, Ulysses in Ithaca married Penelope, and Eumelus in Pheræ married Iphthime (Od. iv. 797); one of the two, at least, and perhaps both, must have married from a considerable distance; Menelaus sends his beautiful daughter Hermione to be the wife of Neoptolemus in Thessaly: and the only instance, even apparently in the opposite sense, seems to be that of his son Megapenthes, who married a Spartan damsel, the daughter of Alector. But then Megapenthes was not legitimate; he was born of a slave-mother, and therefore he was not a prince[146]. All these facts seem to show us that the royal houses formed a network among themselves, spread over Greece, and keeping pretty distinct from the aristocracy: a circumstance which may, in some degree, help to explain the wonderful patience and constancy of Penelope.
Other classes of the community.
Next to the nobles, and in the third place, we may class what we should now call trades and professions: observing, however, that, in Homer’s time, both the useful arts and the fine arts had a social dignity, as compared with that of wealth and station, which the former have long ago lost, and which the later have not retained in as full manner as perhaps might be desired, not for their own advantage merely, but to secure due honour for labour, and the humanizing effect of this kind of labour in particular for society at large. I draw the proof of their estimation in the heroic age, first, from the manner in which they are combined under the common designation of δημιοεργοὶ, and arranged in a mixed order, the preference being only given by a more emphatic description to the bard[147]: