“Such and so glorious to celestial eyne
Haply may gleam the Olympian halls divine!”
The palaces of Sparta, as seen in Homer’s vision, contrast remarkably with the estimate formed of them by the Greek historian of a later age. Thucydides speaks of the city as having no public buildings of any magnificence, such as would impress a stranger with an idea of its real power, but wearing rather the appearance of a collection of villages. It is difficult to conceive that the actual Sparta of a much earlier age could have contained anything at all corresponding to this Homeric ideal of splendour; and the question arises, whether we have here an indistinct record of an earlier and extinct civilisation, or whether the poet drew an imaginary description from his own recollections of the gorgeous barbaric splendour of some city in the further East, which he had visited in his travels. If this be nothing more than a poet’s exaggerated and idealised view of an actual state of higher civilisation, which once really existed in the old Greek kingdoms, and disappeared under the Dorian Heraclids, it is a singular record of a backward step in a nation’s history; and the Homeric poems become especially valuable as preserving the memorials of a state of society which would otherwise have passed altogether into oblivion. There is less difficulty in believing the possible existence of an ante-historical civilisation which afterwards became extinct, if we remember the splendours of Solomon’s court, as to which the widespread traditions of the East only corroborate the records of Scripture, and all which passed away almost entirely with its founder. It is remarkable that in the ancient Welsh poem, ‘Y Gododin,’ by Aneurin Owen, of which the supposed date is A.D. 570, there are very similar properties and scenery: knights in “armour of gold” and “purple plumes,” mounted on “thick-maned chargers,” with “golden spurs,” who must—if ever they rode the Cambrian mountains—have been a very different race from the wild Welsh who held Edward Longshanks at bay. Are we to look upon this as merely the common language of all poets? and, if so, how comes it to be common to all? Were the Welsh who fought in the half-mythical battle of Cattraeth as far superior, in the scale of civilisation, to their successors who fell at Conway, as the Spartans under Menelaus (if Homer’s picture of them is to be trusted) were to the Spartans under Leonidas? or was there some remote original, Oriental or other, whence this ornate military imagery passed into the poetry of such very different nations?
So, too, when Helen—now restored to her place in Menelaus’s household—comes forth to greet the strangers, her whole surroundings are rather those of an Eastern sultana than of any princess of Spartan race.
“Forth from her fragrant chamber Helen passed
Like gold-bowed Dian: and Adraste came
The bearer of her throne’s majestic frame;
Her carpet’s fine-wrought fleece Alcippe bore,
Phylo her basket bright with silver ore,
Gift of the wife of Polybus, who swayed
When Thebes, the Egyptian Thebes, scant wealth displayed.
His wife Alcandra, from her treasured store,
A golden spindle to fair Helen bore,
And a bright silver basket, on whose round
A rim of burnished gold was closely bound.”—(Sotheby.)
These elaborate preparations for her “work”—which is some delicate fabric of wool tinged with the costly purple dye—have little in common with the household loom of Penelope. Here, as in the Iliad, refinement and elegance of taste are the distinctive characteristics of Helen; and they help to explain, though they in no way excuse, the fascination exercised over her by Paris, the accomplished musician and brilliant converser, rich in all the graces which Venus, for her own evil purposes, had bestowed on her favourite. Helen is still, as in the Iliad, emphatically “the lady;” the lady of rank and fashion, as things were in that day, with all the fashionable faults, and all the fashionable good qualities: selfish, and luxurious, gracious and fascinating. Her transgressions, and the seemingly lenient view which the poet takes of them, have been discussed sufficiently in the Iliad. They are all now condoned. She has recovered from her miserable infatuation; and if we are inclined to despise Menelaus for his easy temper as a husband, we must remember the mediæval legends of Arthur and Guinevere, to whom Helen bears, in many points of character, a strong resemblance. The readiness which Arthur shows to have accepted at any time the repentance of his queen is almost repulsive to modern feeling, but was evidently not so to the taste of the age in which those legends were popular; nor is it at all clear that such forgiveness is less consonant with the purest code of morality than the stern implacability towards such offences which the laws of modern society would enjoin. Menelaus has forgiven Helen, even as Arthur—though not Mr Tennyson’s Arthur—would have forgiven Guinevere. But she has not forgiven herself, and this is a strong redeeming point in her character; “shameless” is still the uncompromising epithet which she applies to herself, as in the Iliad, even in the presence of her husband and his guests.
They, too, have been wanderers since the fall of Troy, like the lost Ulysses. The king tells his own story before he interrogates his guest:—
“Hardly I came at last, in the eighth year,
Home with my ships from my long wanderings.
Far as to Cyprus in my woe severe,
Phœnice, Egypt, did the waves me bear.
Sidon and Ethiopia I have seen,
Even to Erembus roamed, and Libya, where
The lambs are full-horned from their birth, I ween,
And in the rolling year the fruitful flocks thrice yean.”
He has grown rich in his travels, and would be happy, but for the thought of his brother Agamemnon’s miserable end. Another grief, too, lies very close to his heart—the uncertainty which still shrouds the fate of his good comrade Ulysses.
“His was the fate to suffer grievous woe,
And mine to mourn without forgetfulness,
While onward and still on the seasons flow,
And he yet absent, and I comfortless.
Whether he live or die we cannot guess.
Him haply old Laertes doth lament,
And sage Penelope, in sore distress,
And to Telemachus the hours are spent
In sadness, whom he left new-born when first he went.”
The son is touched at the reminiscence, and drops a quiet tear, while for a moment he covers his eyes with his robe. It is at this juncture that Helen enters the hall. Her quick thought seizes the truth at once; as she had detected the father through his disguise of rags when he came as a spy into Troy, so now she recognises the son at once by his strong personal resemblance. Then Menelaus, too, sees the likeness, and connects it with the youth’s late emotion. Young Pisistratus at once tells him who his friend is, and on what errand they are travelling together. Warm is the greeting which the King of Sparta bestows on the son of his old friend. There shall be no more lamentation for this night; all painful subjects shall be at least postponed until the morrow. But still, as the feast goes on, the talk is of Ulysses. Helen has learnt, too, in her wanderings, some of the secrets of Egyptian pharmacy. She has mixed in the wine a potent Eastern drug, which raises the soul above all care and sorrow—