No More Learning

166.

278 Such was his fate. After chasing the Trojans into the town, he was
slain by an arrow from the quiver of Paris, directed under the
unerring auspices of Apollo. The greatest efforts were made by the
Trojans to possess themselves of the body, which was however rescued
and borne off to the Grecian camp by the valour of Ajax and Ulysses.
Thetis stole away the body, just as the Greeks were about to burn it
with funeral honours, and conveyed it away to a renewed life of
immortality in the isle of Leuke in the Euxine.

279 --_Astyanax,_ i. e. the _city-king_ or guardian. It is amusing that
Plato, who often finds fault with Homer without reason, should have
copied this twaddling etymology into his Cratylus.

280 This book has been closely imitated by Virgil in his fifth book, but
it is almost useless to attempt a selection of passages for
comparison.

281 --_Thrice in order led. _ This was a frequent rite at funerals. The
Romans had the same custom, which they called _decursio. _ Plutarch
states that Alexander, in after times, renewed these same honours to
the memory of Achilles himself.

282 --_And swore. _ Literally, and called Orcus, the god of oaths, to
witness. See Buttmann, Lexilog, p. 436.

283 "O, long expected by thy friends! from whence
Art thou so late return'd for our defence?
Do we behold thee, wearied as we are
With length of labours, and with, toils of war?
After so many funerals of thy own,
Art thou restored to thy declining town?
But say, what wounds are these? what new disgrace
Deforms the manly features of thy face? "

Dryden, xi. 369.

284 --_Like a thin smoke. _ Virgil, Georg. iv. 72.

"In vain I reach my feeble hands to join
In sweet embraces--ah! no longer thine!
She said, and from his eyes the fleeting fair
Retired, like subtle smoke dissolved in air. "

Dryden.

285 So Milton:--

"So eagerly the fiend
O'er bog, o'er steep, through strait, rough, dense, or rare,
With head, hands, wings, or feet pursues his way,
And swims, or sinks, or wades, or creeps, or flies. "

"Paradise Lost," ii. 948.

286 "An ancient forest, for the work design'd
(The shady covert of the savage kind).
The Trojans found: the sounding axe is placed:
Firs, pines, and pitch-trees, and the tow'ring pride
Of forest ashes, feel the fatal stroke,
And piercing wedges cleave the stubborn oak.
High trunks of trees, fell'd from the steepy crown
Of the bare mountains, roll with ruin down. "

Dryden's Virgil, vi. 261.

287 --_He vowed. _ This was a very ancient custom.

288 The height of the tomb or pile was a great proof of the dignity of
the deceased, and the honour in which he was held.

289 On the prevalence of this cruel custom amongst the northern nations,
see Mallet, p. 213.

290 --_And calls the spirit. _ Such was the custom anciently, even at the
Roman funerals.

"Hail, O ye holy manes! hail again,
Paternal ashes, now revived in vain. "

Dryden's Virgil, v. 106.

291 Virgil, by making the boaster vanquished, has drawn a better moral
from this episode than Homer. The following lines deserve
comparison:--

"The haughty Dares in the lists appears:
Walking he strides, his head erected bears:
His nervous arms the weighty gauntlet wield,
And loud applauses echo through the field.
* * * *
Such Dares was, and such he strode along,
And drew the wonder of the gazing throng
His brawny breast and ample chest he shows;
His lifted arms around his head he throws,
And deals in whistling air his empty blows.
His match is sought, but, through the trembling band,
No one dares answer to the proud demand.
Presuming of his force, with sparkling eyes,
Already he devours the promised prize.
* * * *
If none my matchless valour dares oppose,
How long shall Dares wait his dastard foes? "

Dryden's Virgil, v. 486, seq.

292 "The gauntlet-fight thus ended, from the shore
His faithful friends unhappy Dares bore:
His mouth and nostrils pour'd a purple flood,
And pounded teeth came rushing with his blood. "

Dryden's Virgil, v. 623.

293 "Troilus is only once named in the Iliad; he was mentioned also in
the Cypriad but his youth, beauty, and untimely end made him an
object of great interest with the subsequent poets. "--Grote, i, p.
399.

294 Milton has rivalled this passage describing the descent of Gabriel,
"Paradise Lost," bk. v. 266, seq.

"Down thither prone in flight
He speeds, and through the vast ethereal sky
Sails between worlds and worlds, with steady wing,
Now on the polar winds, then with quick fan
Winnows the buxom air. * * * *
* * * *
At once on th' eastern cliff of Paradise
He lights, and to his proper shape returns
A seraph wing'd. * * * *
Like Maia's son he stood,
And shook his plumes, that heavenly fragrance fill'd
The circuit wide. "

Virgil, ? n. iv. 350:--

"Hermes obeys; with golden pinions binds
His flying feet, and mounts the western winds:
And whether o'er the seas or earth he flies,
With rapid force they bear him down the skies
But first he grasps within his awful hand
The mark of sovereign power, his magic wand;
With this he draws the ghost from hollow graves;
With this he drives them from the Stygian waves:
* * * *
Thus arm'd, the god begins his airy race,
And drives the racking clouds along the liquid space. "

Dryden.

295 In reference to the whole scene that follows, the remarks of
Coleridge are well worth reading:--

"By a close study of life, and by a true and natural mode of
expressing everything, Homer was enabled to venture upon the most
peculiar and difficult situations, and to extricate himself from
them with the completest success. The whole scene between Achilles
and Priam, when the latter comes to the Greek camp for the purpose
of redeeming the body of Hector, is at once the most profoundly
skilful, and yet the simplest and most affecting passage in the
Iliad. Quinctilian has taken notice of the following speech of
Priam, the rhetorical artifice of which is so transcendent, that if
genius did not often, especially in oratory, unconsciously fulfil
the most subtle precepts of criticism, we might be induced, on this
account alone, to consider the last book of the Iliad as what is
called spurious, in other words, of later date than the rest of the
poem. Observe the exquisite taste of Priam in occupying the mind of
Achilles, from the outset, with the image of his father; in
gradually introducing the parallel of his own situation; and,
lastly, mentioning Hector's name when he perceives that the hero is
softened, and then only in such a manner as to flatter the pride of
the conqueror. The ego d'eleeinoteros per, and the apusato aecha
geronta, are not exactly like the tone of the earlier parts of the
Iliad. They are almost too fine and pathetic. The whole passage
defies translation, for there is that about the Greek which has no
name, but which is of so fine and ethereal a subtlety that it can
only be felt in the original, and is lost in an attempt to transfuse
it into another language. "--Coleridge, p. 195.

296 "Achilles' ferocious treatment of the corpse of Hector cannot but
offend as referred to the modern standard of humanity. The heroic
age, however, must be judged by its own moral laws. Retributive
vengeance on the dead, as well as the living, was a duty inculcated
by the religion of those barbarous times which not only taught that
evil inflicted on the author of evil was a solace to the injured
man; but made the welfare of the soul after death dependent on the
fate of the body from which it had separated. Hence a denial of the
rites essential to the soul's admission into the more favoured
regions of the lower world was a cruel punishment to the wanderer on
the dreary shores of the infernal river. The complaint of the ghost
of Patroclus to Achilles, of but a brief postponement of his own
obsequies, shows how efficacious their refusal to the remains of his
destroyer must have been in satiating the thirst of revenge, which,
even after death, was supposed to torment the dwellers in Hades.
Hence before yielding up the body of Hector to Priam, Achilles asks
pardon of Patroclus for even this partial cession of his just rights
of retribution. "--Mure, vol. i. 289.

297 Such was the fate of Astyanax, when Troy was taken.

"Here, from the tow'r by stern Ulysses thrown,
Andromache bewail'd her infant son. "

Merrick's Tryphiodorus, v. 675.

298 The following observations of Coleridge furnish a most gallant and
interesting view of Helen's character--

"Few things are more interesting than to observe how the same hand
that has given us the fury and inconsistency of Achilles, gives us
also the consummate elegance and tenderness of Helen. She is through
the Iliad a genuine lady, graceful in motion and speech, noble in
her associations, full of remorse for a fault for which higher
powers seem responsible, yet grateful and affectionate towards those
with whom that fault had committed her. I have always thought the
following speech in which Helen laments Hector, and hints at her own
invidious and unprotected situation in Troy, as almost the sweetest
passage in the poem. It is another striking instance of that
refinement of feeling and softness of tone which so generally
distinguish the last book of the Iliad from the rest. "--Classic
Poets, p. 198, seq.

299 "And here we part with Achilles at the moment best calculated to
exalt and purify our impression of his character. We had accompanied
him through the effervescence, undulations, and final subsidence of
his stormy passions. We now leave him in repose and under the full
influence of the more amiable affections, while our admiration of
his great qualities is chastened by the reflection that, within a
few short days the mighty being in whom they were united was himself
to be suddenly cut off in the full vigour of their exercise.

The frequent and touching allusions, interspersed throughout the
Iliad, to the speedy termination of its hero's course, and the moral
on the vanity of human life which they indicate, are among the
finest evidences of the spirit of ethic unity by which the whole
framework of the poem is united. "--Mure, vol. i. p 201.

300 Cowper says,--"I cannot take my leave of this noble poem without
expressing how much I am struck with the plain conclusion of it. It
is like the exit of a great man out of company, whom he has
entertained magnificently; neither pompous nor familiar; not
contemptuous, yet without much ceremony. " Coleridge, p. 227,
considers the termination of "Paradise Lost" somewhat similar.





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