Chapter XLVI: Conclusion

Before I quit my subject, I should perhaps answer a question which the reader has probably long since asked himself. I mean, how it is conceivable that considerations so obvious as those urged in the foregoing Chapters should have been overlooked by so many capable students for so many hundreds of years, if there were any truth in them. For they lie all of them upon the surface; they are a mere washing in the Jordan and being clean; they require nothing but that a person should read the _Odyssey_ as he would any other book, noting the physical characters described in the Scherian and Ithacan scenes, and looking for them on some West coast of the Mediterranean to the West of Greece.

The answer is that the considerations which I have urged have been overlooked because, for very obvious reasons, it never occurred to any one to look for them. "Do you suppose, then," more than one eminent scholar has said to me directly or indirectly, "that no one has ever read the _Odyssey_ except yourself?" I suppose nothing of the kind, and know that it was only possible for the truth when once lost (as it soon would be on the establishment of the Phœnicians at Drepanum) to be rediscovered, when people had become convinced that the _Odyssey_ was not written by the writer of the _Iliad_. This idea has not yet been generally accepted for more than a hundred years,[1] if so long, but until it was seized and held firmly, no one was likely to suspect that the _Odyssey_ could have come from Sicily, much less that it could have been written by a woman, for there is not one line in the _Iliad_ which even hints at the existence of Sicily, or makes the reader suspect the author to have been a woman, while there are any number of passages which seem absolutely prohibitive of any other opinion than that the writer was a man, and a very strong one.

Stolberg in the last century, and Colonel Mure in this, had the key in the lock when they visited Trapani, each of them with the full conviction that the Cyclops incident, and the hunting the goats, should be placed on Mt. Eryx and the island of Favognana--but they did not turn it. Professor Freeman, Schliemann, and Sir H. Layard, all of them visited Trapani and its immediate neighbourhood either as students or excavators, and failed to see that there was as splendid a prize to be unburied there without pick and shovel, outlay, or trouble of any kind, as those of Nineveh, Mycene, and Hissarlik--and why? Because they were still hampered by the long association of the _Iliad_ and _Odyssey_ as the work of the same person. Knowing that the _Iliad_ could hardly have been written elsewhere than in the Northern half of the West coast of Asia Minor, it would never occur to them to look for the _Odyssey_ in a spot so remote as Trapani. They probably held it to be the work of some prehistoric Herodotus, who would go on from scene to scene without staying longer than he could help in any one place, instead of feeling sure, as I believe they should have done, that it was the work of one who was little likely to have travelled more than a very few miles from her own home. Moreover, Admiralty charts are things of comparatively recent date, and I do not think any one would have been likely to have run the _Odyssey_ to ground without their help.

But however this may be, I do not doubt that the habit of ascribing the _Odyssey_ to Homer has been the main reason of the failure to see the obvious in connection with it. Surely it is time our eminent Iliadic and Odyssean scholars left off misleading themselves and other people by including the _Odyssey_ in their "Introductions" to the work of "Homer." It was permissible to do this till within recent years; anything else, indeed, would have been pedantic, but what would have been pedantic a hundred years ago, is slovenly and unscholarly now.

Turning from her commentators to the authoress herself, I am tempted to wonder whether she would be more pleased or angry could she know that she had been so long mistaken for a man--and that man Homer. It would afford her an excellent opportunity for laughing at the dullness of man. Angry, however, as she would no doubt be, she could hardly at the same time help being flattered, and would perhaps console herself by reflecting that poets as great as she was are bound to pay the penalty of greatness in being misunderstood.

Horace tells us that mediocrity in a poet is forbidden alike by gods, men, and publishers, but, whether forbidden or no, there are a good many mediocre poets who are doing fairly well. So far as I can see, indeed, gods, men, and more particularly publishers, will tolerate nothing in a poet except mediocrity, and if a true poet by some rare accident slips in among the others, it is because gods and publisher's readers did not find him out until it was too late to stop him. Horace must have known perfectly well that he was talking nonsense.

And after all it is well that things are as they are; for the mediocre poet, though he may hang about for many years, does in the end die, or at any rate become such a mere literary Struldbrug as to give plain people no trouble, whereas the true poet will possess himself of us, and live on in us whether we will or no, and unless the numbers of such people were severely kept in check they would clog the wheels of the world. Half a dozen first-class poets in prose or verse are as many as the world can carry in any comfort; twenty Shakspeares, twenty Homers, twenty Nausicaas would make literature impossible, yet we may be sure that every country in every century could yield two or three first-class writers, if genius were to be known at once and fostered by those who alone know how to foster it. Genius is an offence; like all other offences it must needs come, but woe to that man or woman through whom it comes, for he or she must pass through the Scylla and Charybdis of being either torn in pieces on the one hand, or so misunderstood on the other as to make the slipping through with life in virtue of such misrepresentation more mortifying than death itself.

Do what we may we cannot help it. Dead mind like dead body must, after a decent interval, be buried out of our sight if living mind is to have fair play, and it might perhaps not be a bad thing if our great educational establishments had more of the crematorium and less of the catacomb about them than they have at present. Our notions of intellectual sanitation are deplorably imperfect, and unless the living become more jealous of letting dead mind remain unconsumed in their system, a fit of intellectual gout must ere long supervene, which, if not fatal, will still be excruciatingly painful. Since, therefore, there are such insuperable difficulties in the way of eliminating geniuses when we have once absorbed them, and since also, do what we may, we can no more detect the one genius who may be born among a multitude of good average children, than Herod could detect the King of the Jews among the babes of Bethlehem, we have no course but to do much as Herod did, and lay violent hands upon all young people till we have reduced every single one of them to such mediocrity as may be trusted to take itself off sooner or later. To this end we have established schools and schoolmen; nor is it easy to see how we could more effectually foster that self-sufficiency which does so much towards helping us through the world, and yet repress any exuberance of originality or independence of thought which may be prejudicial to its possessor during his own life, and burdensome to posterity when he is dead and gone.

Obviously wise, however, and necessary as our present system is, we nevertheless grumble at it. We would have any number of first-class geniuses in art literature and music, and yet have plenty of elbow room for ourselves. Our children too; they cannot show too many signs of genius, but at the same time we blame them if they do not get on in the world and make money as genius next to never does. Like the authoress of the _Odyssey_ we are always wanting to have things both ways; we would have others be forgotten, and yet not be forgotten ourselves; when we have shuffled off this mortal coil, we would fain shuffle on another that shall be at once less coil and less mortal, in the good thoughts of coming generations, but if this desire is so universal as to be called natural, it is one which the best and sanest of us will fight against rather than encourage; such people will do their work as well and cheerfully as they can, and make room for others with as little fuss as possible when they have had their day.

If, however, any man resents the common course of nature and sets himself to looking upon himself and cursing his fate that he was not born to be of the number of them that enter into life eternal even in this world, let him console himself by reflecting that until he is long dead, there is no certain knowing whether he is in life or no, and also that though he prove to be an immortal after all, he cannot escape the treatment which he is the more sure to meet with according as he is the more immortal--let alone the untold misery which his works will inflict upon young people.

If ever a great classic could have been deterred from writing by a knowledge of how posterity would treat her, the writer of the _Odyssey_ should have been so, for never has poem more easy to understand failed more completely of being understood. If she was as lovely as I should like to think her, was ever sleeping beauty hidden behind a more impenetrable hedge of scholasticism? How could it be otherwise? The _Odyssey_, like the _Iliad_, has been a school book for nearly 3,000 years, and what more cruel revenge could dullness take on genius? What has the erudition of the last 2,500 years done for the _Iliad_ and the _Odyssey_ but to emend the letter in small things and to obscure the spirit in great ones?

There was indeed, as I said in my opening Chapter, a band of scholars a century or two before the birth of Christ who refused to see the _Iliad_ and _Odyssey_ as the work of the same person, but erudition snubbed them and snuffed them out so effectually that for some 2,000 years they were held to have been finally refuted. Can there be any more scathing satire on the value of scholastic criticism? It seems as though Minerva had shed the same darkness over both the poems that she shed over Ulysses, that they might go in and out among eminent Homeric scholars from generation to generation, and none should see them.

The world does indeed know little of its greatest men and women, and bitterly has it been reproached for its want of penetration, but there are always two sides, and it should be remembered that its greatest men and women commonly know very little of the world in its more conventional aspects. They are continually flying in the face of all that we expect of greatness, and they never tell us what they are; they do not even think that they are great; if they do we may be sure that they are mistaken; how then can we be expected to appreciate people correctly till we have had plenty of time to think them over?

And when we have thought them over, how little have our canons of criticism to do with the verdict which we in the end arrive at. Look at the _Odyssey_. Here is a poem in which the hero and heroine have been already married many years before it opens; from the first page to the last there is no young couple in love with one another, there is in fact nothing amatory in the poem, for though the suitors are supposed to be madly in love with Penelope, they never say or do anything that carries conviction as to their being so. We accept the fact, as we do the sagacity of Ulysses, because we are told it, not because we see it. The interest of the poem ostensibly turns mainly on the revenge taken by a bald middle-aged gentleman, whose little remaining hair is red, on a number of young men who have been eating him out of house and home, while courting his supposed widow.

Moreover, this subject, so initially faulty, is treated with a carelessness in respect of consistency and plausibility, an ignorance of commonly known details, and a disregard of ordinary canons which it would not be easy to surpass, and yet, such is the irony of art that it is not too much to say that there is only one poem which can be decisively placed above it. If the _Odyssey_ enforces one artistic truth more than another, it is that living permanent work in literature (and the same holds good for art and music) can only be done by those who are either above, or below, conscious reference to any rules or canons whatsoever--and in spite of Shakespeare, Handel, and Rembrandt, I should say that on the whole it is more blessed to be below than above. For after all it is not the outward and visible signs of what we read, see, or hear, in any work, that bring us to its feet in prostration of gratitude and affection; what really stirs us is the communion with the still living mind of the man or woman to whom we owe it, and the conviction that that mind is as we would have our own to be. All else is mere clothes and grammar.

As regards the mind of the writer of the _Odyssey_ there is nothing in her work which impresses me more profoundly than the undercurrent of melancholy which I feel throughout it. I do not mean that the writer was always, or indeed generally, unhappy; she was often, at any rate let us hope so, supremely happy; nevertheless there is throughout her work a sense as though the world for all its joyousness was nevertheless out of joint--an inarticulate indefinable half pathos, half baffled fury, which even when lost sight of for a time soon re-asserts itself. If the _Odyssey_ was not written without laughter, so neither was it without tears. Now that I know the writer to have been a woman, I am ashamed of myself for not having been guided to my conclusion by the exquisitely subtle sense of weakness as well as of strength that pervades the poem, rather than by the considerations that actually guided me.

The only approach to argument which I have seen brought forward to show that the _Odyssey_ must have been written by a man, consists in maintaining that no woman could have written the scene in which Ulysses kills the suitors. I cannot see this; to me it seems rather that no man could have brought himself to disregard probability with so little compunction; moreover a woman can kill a man on paper as well as a man can, and with the exception of the delightful episode in which Ulysses spares the lives of Phemius and Medon, the scene, I confess, appears to me to be the most mechanical and least satisfactory in the whole poem. The real obstacle to a general belief that the _Odyssey_ was written by a woman is not anything that can be found in the poem, but lies, as I have already said, in the long prevalence of an opinion that it was written by the same person as the _Iliad_ was. The age and respectability of this opinion, even though we have at length discarded it, will not allow us to go beyond ascribing the _Odyssey_ to another man--we cannot jump all at once to the view that it was not by a man at all. A certain invincible scholasticism prevents us from being able to see what we should see at once if we would only read the poem slowly and without considering anything that critics have said concerning it.

This, however, is not an easy thing to do. I know very well that I should never have succeeded in doing it if I had not passed some five-and-thirty rebellious years during which I never gave the _Odyssey_ so much as a thought. The poem is so august: it is hallowed by the veneration of so many ages; it is like my frontispiece, so mysterious, so imperfect, and yet so divinely beyond all perfection; it has been so long associated with the epic poem which stands supreme--for if the _Odyssey_ be the Monte Rosa of literature, the _Iliad_ must, I suppose, for ever remain as the Mont Blanc; who can lightly vivisect a work of such ineffable prestige as though it were an overlooked _parvenu_ book picked up for a few pence at a second hand book stall? Lightly, no, but inexorably, yes, if its natural health and beauty are to be restored by doing so.

One of our most accomplished living scholars chided with me in this sense a year or two ago. He said I was ruthless. "I confess," he said, "I do not give much heed to the details on which you lay so much stress: I read the poem not to theorise about it, but to revel in its amazing beauty."

It would shock me to think that I had done anything to impair the sense of that beauty which I trust I share in even measure with himself, but surely if the _Odyssey_ has charmed us as a man's work, its charm and wonder are infinitely increased when we see it as a woman's. Still more must it charm us when we find the writer to be an old friend, and see no inconsiderable part of her work as a reflection of her own surroundings.

Have we, then, a right in sober seriousness so to find her? I have shown that in the earliest known ages of Greek literature poetesses abounded, and gained a high reputation. I have shown that by universal consent the domestic and female interest in the _Odyssey_ predominates greatly over the male. I have shown that it was all written in one place, and if so--even were there no further reasons for thinking so--presumably by one hand: I have shown that the writer was extremely jealous for the honour of woman, so much so as to be daunted by no impossibilities when trying to get rid of a story that she held to be an insult to her sex. These things being so, is it too much to ask the reader to believe that the poem was not written, as Bentley held, by a man for women, but for both men and women, by one who was herself a woman?

And now as I take leave of the reader, I would say that if when I began this work I was oppressed with a sense of the hopelessness of getting Homeric scholars to take it seriously and consider it, I am even more oppressed and dismayed when I turn over its pages and see how certain they are to displease many whom I would far rather conciliate than offend. What can it matter to me where the _Odyssey_ was written, or whether it was written by a man or a woman? From the bottom of my heart I can say truly that I do not care about the way in which these points are decided, but I do care, and very greatly, about knowing which way they are decided by sensible people who have considered what I have urged in this book. I believe I have settled both points sufficiently, but come what may I know that my case in respect of them is amply strong enough to justify me in having stated it. And so I leave it.

[1] I see that my grandfather, Dr. Butler, of Shrewsbury, accepts it in his _Antient Geography_, published in 1813, but I do not know where he got it from.

INDEX.

Nothing will be Indexed which can be found readily by referring
to the Table of Contents.

ACITREZZA, the island of
Æolian-Ionic dialect of the _Iliad_ and _Odyssey_
Æolus, his island did not move about
Agamemnon, killed in a covered cloister
Alcinous, and Arete, their family history
proposes that Ulysses should stay and marry Nausicaa
promises to give Ulysses a gold cup, but never gives it,
nor yet his talent of gold
tells the Phæacians of Neptune's threat
Alcinous, Ulysses, Menelaus and Nestor, all drawn from
the same person
Amber, Sicilian
Amphinomus, Ulysses rebukes
Anticlea, tradition that she hanged herself
in Hades, on the situation
Antinous, never really wanted to marry Penelope
his death throes and the good meat that was spoiled
Argenteria, the, near Trapani
Argus, Ulysses and
Aristarchus, made most use of the Marseilles
edition of _Iliad_ and _Odyssey_
Armour, removal of the
Art, only interesting in so far as it reveals an artist
the canons of, it is better to be below than above
Arthurian legends, the, and Tennyson
Asinelli, the islet
_Athenœum_, the author's two letters to the
Atreus, treasury of
Antolycus, an accomplished thief and perjurer
Axe, Calypso's, had a handle
Axes, the, why did not the suitors snatch them up?

BALACLAVA, said to resemble Trapani
Bayeux tapestry
Bear, the great; Ulysses told to steer by the
Bentley, saying the _Odyssey_ was written for women
not perceiving that the _Odyssey_ is of later date
than the _Iliad_
Biaggini, the late E.
Blind, how commentators came to think that Homer was
Brigands, modern, and Cyclopes
Brooch, the, of Ulysses
Bunyan
Butcher and Lang, Messrs., their translation of the _Odyssey_
Buttmann, on the Wandering Cliffs

CALYPSO kept no man-servant
her sailing directions to Ulysses
Catalogues, the Iliadic known to the writer of
the _Odyssey_
Cave, forms of the word, much more common in _Odyssey_
than _Iliad_
Caves, the two near the place where Ulysses landed in Ithaca
Cave-dwellers near Trapani
Cefalù, megalithic remains at
called Portazza
relays of fresh milk at
Charybdis and the Galofaro
Chorizontes, the
Circe, kept no man-servant
as good a prophet as Teiresias
her house and Eumæus's pig-farm
Clergyman, doctor, carpenter, bard
Clytemnestra, naturally of a good disposition
Coleridge saw no burlesque in the speeches
of the players in _Hamlet_
Collesano, Byzantine (?) remains at
Conturràno and his development since the _Odyssey_
Corfu, anciently called Drepane and then Scheria
Cyclopes, and Læstrygonians, one race
the, had two eyes
still near neighbours of the Phæacians
and modern Brigands, as per Mr. Stigand's report
in the _Times_
Cyclops means round-faced as μήλωψ, apple-faced
Parmenides called the moon Cyclops

DANTE, the people whom he meets in another world
_è un falso idolo_
Darknesses, the two most notable of the _Odyssey_
Defoe, sends Robinson Crusoe a man, not a woman
Didyme, and the island of the Sirens
Disc, Ulysses throws a
Dobree and Φωκέων
Doerpfeld, Dr., and the Iliadic wall
Dolius, and Ulysses, in the house of Laertes
Door, bedroom at Trapani fastened in the Odyssean manner
Drepane and Drepanum
Dulichium, the most important of the Odyssean islands

ELPENOR, and Ulysses in Hades; his strange fall
Elymi, Thucydides on the
Epic cycle, the Trojan books of the, known
to the writer of the _Odyssey_
Eryx the Sican city on the top of, not abandoned
Eteoneus, only a char-butler
Ethiopians, the, known as stretching all across Africa
Eubœa, assumed by Alcinous to be more
distant from Scheria than Ithaca
Eumæus, a male writer would have killed him
a native of Syracuse
perhaps a Greek
Eurybates, why hunched in the shoulders
Euryclea, becomes Eurynome
the price paid for her, a rejoinder to the _Iliad_
and Eurynome the same person
Eurymachus, his death throes, and the
good meat that was spoiled
Eurymedon, his overthrow
Eurynome, _see_ Euryclea
Ewes, and lambs, the present practice in Sicily

FAVOGNANA, derived from Favonius
why Ulysses was not allowed to see
Fielding, his journey to the next world; on Homer
Fifths and Octaves, consecutive, forbidden
Four main lines of the argument
Freeman, Prof., his map of the West coast of Sicily
visited Trapani

GEESE, Penelope's dream about the
Genius, an offence, &c.
to be stamped out while young
Giacalone-Patti, Prof.,
Gladstone, the Right Hon. W. E., his
canons as regards the text of _Iliad_ and
_Odyssey_, viii.; the "systematic and
comprehensive" study of Homer still
young; contrasts the _Iliad_ and
_Odyssey_; on Clytemnestra
on the time when Homer wrote
Grammerton and Shrewsbury
Greatheart, Mr.
_Grotta del Toro_, the

HADES, the writer's attitude towards women, in
Harbour, Rheithron, used five times in the _Odyssey_
of Trapani, boatmen plying for hire
Hawk, tearing its prey, while still on the wing
Helen, coming down to dinner at the house of Menelaus
mixes Nepenthe in the wine
outside the wooden house
her penitence for the wrong that Venus had done her
her present of a bridal dress to Telemachus
Heraclidæ, return of, undateable
Hermione, her marriage found more interesting than that of
Megapenthes; her marriage interpolated
Hesiod, records a time when iron was not known
Homer, his infinite subtlety
the authoress of the _Odyssey_ was angry with him
why the writer of the _Odyssey_ let him so severely alone
protest against "Introductions to Homer," which include the _Odyssey_
Horace, and _mediocribus esse poetis_
Horse the Trojan, story of the, shows that the Greeks did not know how
Troy fell
Hotel, man no use in a
House of Ulysses, the
Hypereia, near the Cyclopes
probable remains of its wall
not completely abandoned

IACENSES, the
Iakin, the coin, and the British Museum catalogue
of Sicilian coins
Ιακὀς, means Ionian
_Iliad_, catalogues of the; date of
the, refers to no event known to have been later than B.C. 1100
Ingroia, Cav. Prof. of Calatafimi
Invention, not the authoress's strong point
Ionian Settlements on East Sicilian shores
Irus, and Iris
Ismarus, and its wine
Italia, and Œnotria
Ithaca, drawn from Trapani and its neighbourhood
drawn from the island of Marettimo as well as from Trapani
"all highest up in the sea," sketch of

JEBB, Prof, the 1892 edition of his _Introduction to Homer_
his _Introduction to Homer_; his quotation from Bentley
on Bentley's not seeing that the _Odyssey_ was of later date
than the _Iliad_
on the house of Ulysses
and the date of the _Odyssey_
mentioned
Jews, their prayers, for men and for women
Jones, H. Festing, vii.; his, and the author's, joint oratorio Ulysses
mentioned

KIRCHHOF, on the first 87 lines of _Od_. i.

LAERTES, why he left off calling on Penelope and coming to town
not poor
Læstrygonians, derivation of the word, and _lastricare_
and Cyclopes one race; their relays of fresh milk
Lambs, living on two pulls a day at a milked ewe
and ewes--the present practice
Lang, Mr. Andrew, on the house of Ulysses
Latin names, the use of for Greek gods and heroes defended
Layard, Sir H., visited Trapani
List of points necessary for the identification of Scheria
Lubbock, Sir John, his hundred books
Lucian, the most ungallant of all

MAGISTRATE, a hungry, Ulysses compared to
Malconsiglio, legends concerning
Malta, not Calypso's island
Man, and woman, never fully understand one another
can caricature each other, but not draw
Marettimo, the island, had a wall all round it
Marseilles, the civic edition of _Iliad_ and
_Odyssey_ used most largely by Aristarchus
_Mediocribus esse poetis_, &c.
Megalithieism, the two kinds of
Megapenthes, only married because his sister was
Melanthius and the store-room
Menelaus, Ulysses. Alcinous, and Nestor, all from the same person
the collapse of his splendour in Book xv.
he used to sell wine; his frank _bourgeoisie_
his fussiness; why made to come back on the day of Ægisthus's
funeral feast
Mentor, his name coined from Nestor's
Milk rarely to be had fresh except in the
morning in Sicily and S. Italy
Milking ewes, what Sicilian shepherds now do
Minerva, not an easy person to recognise, and had deserted Ulysses
for a long time
Ulysses upbraids her for not telling Telemachus about his return
her opinion of Penelope
her singular arrangements for Telemachus
Ulysses remonstrates with her
sending Telemachus a West wind to take him from Ithaca to Pylos
her total absence in Books ix.-xii. apologised for
Mixing-bowl, the, in an angle of the cloisters
Phemius lays his lyre down near the, and near the approach
to the trap-door
Motya
Mure, Colonel, on the Phæacian episode; visited Trapani

NARCISSUS, a cantata by H. Festing Jones, Esq., and the author
Nausicaa, her dream, and going to the wash
her meeting with Ulysses
the ill-natured gossip of her fellow townspeople
her farewell to Ulysses
the most probable authoress
Nepenthe, the order in which its virtues are recorded
Neptune, turns the Phæacian ship into stone
Nestor, Alcinous, Menelaus, and Ulysses,
all drawn from the same person

OCCASIONAL notes, to show that the writer is a woman
Octaves consecutive
_Odyssey_, the examples of feminine mistakes
refers to nothing of later date than B.C. 1100
ὀρσοθύρα, the, 17, 92; the way towards was in the corner
of the cloister, near the mixing-bowl
Œnotria, and Italia
Olympia, apparently unknown to the writer
Orsi, Dr., mentioned
and pre-Corinthian cemeteries near Syracuse
Ortygia, and Syra

PAGOTO, Signor Giuseppe
Pantellaria, rightly placed as regards Scheria
still a prison-island
Parmenides, calls the moon Cyclops
Penelope, her web; gets presents out of the suitors
scandalous [ver] of her conduct in ancient writers
versions she protests too much
did she ever try snubbing or boring
Minerva's opinion of her
and the upset bath
gloating over the luxury of woe
not a satisfactory guardian of the estate
tells her story to Ulysses before Ulysses tells his to her
Perseus, does not rescue Andromeda
Phæacian women, their skill in weaving, and general intelligence
Phæacians, the, making drink offerings to Mercury (covert satire)
Ulysses' farewell to the, 108; a thin disguise for Phocæans
used 50-oared vessels like the Phocæans
Phemius, begs for mercy
Phocæa; and Phocæans
Phocæa, an Ionian city surrounded by Æolians
Phocæans, the, used 50-oared vessels; and Phocians
Phœnician quarrymen's marks on walls of Eryx
Phœnicians, the, distrusted, but not much known about Phœnicia
Piacus
Pic-nic, a, to Polyphemus's cave
Pisistratus, accompanies Telemachus to Sparta
does not like crying during dinner; gets no present
Platt, Mr. Arthur, on the house of Ulysses
Poetesses, early Greek, abundant
Policeman, identifying prisoner
Polyphemus, and his cave, drawn from life
his system of milking; his cave still called _la grotta di
Polifemo_; the rocks he threw, Asinelli and Formiche
had two eyes; and Conturràno
Portazza, and Telepylus

QUARRY, called Dacinoi

RAFT, Ulysses'
Raven rock, the
Rheithron, the harbour, used five times in _Odyssey_
Rudder, the poetess's ideas about a
"Ruler," a two foot, betraying a writer as a woman

SALT works of S. Cusumano
Sappho, and other early Greek poetesses
Sardinian smile, a
Scheria, means Jutland; and Drepane,
ancient names of Corfu
Schliemann, visited Trapani
Seals, the intolerable smell of
or Phocæ, malicious allusion to Phocæans
Segesta, later than the _Odyssey_
Selborne, Lord, his reminiscences
Servants, like being told to eat and drink
Shelley, on the sweetness of the _Odyssey_
Shield of Achilles, the, its genuineness defended
Shipwreck, and loss of Ulysses' ship
Shirt, a clean, Alcinous' and his sons' views concerning
Shrewsbury, and Grammerton
Sicels, in the _Odyssey_
Σικανίης, not corrupted into, Σικλίης
Sirens, the, and Didyme
Sleep, the, of Ulysses
Smyth, Admiral, on the Æolian islands and on Charybdis
Snow, frequent in the _Iliad_, but hardly
ever named in the _Odyssey_
Spadaro, Prof., of Marettimo
Sugameli, Signor
Suitors, the, how many from each island
they are also the people who were sponging on Alcinous
they cannot be perfect lovers and perfect spongers at
the same time; their version of Penelope's conduct
Sun, turnings of the
Sun-god, the, leaving his sheep and cattle in charge of two nymphs
Swallow, Ulysses bowstring sings like a
Minerva flies out to the rafters like a
Syracuse, pre-Corinthian

TARRAGONA, the walls of
Taygetus range, still roadless
Tedesco, Signor, of Marettimo
Telegony, the, and the _Odyssey_
Telemachus, lectured by Minerva; and by Penelope
the two great evils that have fallen on his house
only twelve years old when Ulysses went to Hades
his alarm about his property
did not tip Eteoneus
Telepylus, a fictitious name
Temesa, copper mines of; its people did not speak Greek
Tennyson, and the Arthurian legends
Theoclymenus sees the doom that overhangs the suitors and leaves
the house, 86; his presence in the poem, strange
Thersites, and Eurybates
Tholus, the
Thucydides, and "Phocians of those from Troy"
on the Cyclopes and Læstrygonians; substantially in
accord with the writer of the _Odyssey_; biassed in
favour of the Corfu Drepane rather than the Sicilian Drepanum
Tiresias, his prophecy, and warning about the cattle of
the Sun
_Toro, grotta del_
Trapdoor, the; the way towards was in the corner of the
cloisters near the mixing bowl
Trapani, what any rival site has got to show before claiming much
consideration
Trapani and Ægadean islands from Mt. Eryx, sketch of
Troy, date of its real or supposed fall

"ULYSSES," H. Festing Jones's and S. Butler's oratorio
Ulysses, fastens his chest with a knot that Circe had taught him
his deep sleep; upbraids Minerva for not telling
Telemachus about his impending return; and Argus
rebukes Amphinomus; rebukes Eurymachus
he and Telemachus remove the armour
his brooch; having his feet washed by Euryclea
compared to a paunch cooking before a fire
his bedroom, surmise that the maids were hanged all round it
interview with Laertes in the garden
eating with Dolius
his farewell speeches to the Phæacians, and to Queen Arete
his main grievance a money one; he, Alcinous, Menelaus and
Nestor, all drawn from the same person; always thankless
why not allowed to see either Favognana or the Scherian coast
house of, and that of Alcinous
Unconscious, examples of
Ustica, as the island of Æolus

VAULTED room, the
Virgil, and Æneas in Hades; gives the Cyclopes only one eye
and Drepanum

WALL, the Iliadic, date of
Wandering cliffs, the
Wolf, his theory baseless and mischievous
Woman and man, never fully understand one another
can caricature each other, but not draw
Women, single, will not have a man in the house if they can help it
in Hades, the writer's attitude towards
treatment of the guilty, in the house of Ulysses
World, its greatest men know little of the

YORK, the Duke of, and his marriage
Young people, apt to be thoughtless

ZIMMERN, Miss Helen
Zummari, la Caletta dei