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traction. They were better, because more speedy in drawing the plough83; but, then, oxen were also available for food, and we have no indication that the former were of greater value. Without therefore resting too strictly on the number twelve, we may say that the prize of wrestling was several times more valuable than that of boxing. Again, the second prize of the foot-race was a large and fat ox, equal, probably, to the first prize of the boxing-match84. Epeus, who wins the boxing-match against the prince Euryalus, third leader of the Argives, was evidently a person of traditional fame, from the victory he obtains over an adversary of high rank. But Homer has taken care to balance this by introducing a confession from the mouth of Epeus himself, that he was good for nothing in battle85;

      ἦ οὐχ ἅλις, ὅττι μάχης ἐπιδεύομαι;

      an expression which, I think, the Poet has used, in all likelihood, for the very purpose of shielding the superiority of his princes, by showing that this gift of Epeus was a single, and as it were brutal, accomplishment.

      Accomplishments of the Kings.

      As with the games, so with the more refined accomplishments. There are but four cases in which we hear of the use of music and song from Homer, except the instances of the professional bards. One of these is the boy, who upon the Shield of Achilles plays and sings, in conducting the youths and maidens as they pass from the vineyard with the grapes. It is the bard, who plays to the dancers; but his dignity, and the composure always assigned to him, probably would not allow of his appearing in motion with such a body, and on this account the παὶς may be substituted; of whose rank we know nothing. In the other cases, the three persons mentioned are all princes: Paris is the first, who had the lighter and external parts of the character of a gentleman, and who was of the highest rank, yet to whom it may be observed only the instrument is assigned, and not the song. The second is the sublime Achilles, whose powerful nature, ranging like that of his Poet through every chord of the human mind and heart, prompts him to beguile an uneasy solitude by the Muse; and who is found in the Ninth Iliad86 by the Envoys, soothing his moody spirit with the lyre, and singing, to strains of his own, the achievements of bygone heroes. Again, thirdly, this lyre itself, like the iron globe of the Twenty-third Book, had been among the spoils of King Eetion.

      But the royal and heroic character must with Homer, at least when exhibited at its climax, be all comprehensive. As it soars to every thing above, so, without stooping, must it be master of every thing beneath it. Accordingly, the Poet has given it the last touch in the accomplishments of Ulysses. As he proves himself a wood-cutter and ship-builder in the island of Calypso, so he is no stranger to the plough and the scythe; and he fairly challenges87 Eurymachus the Suitor to try which of them would soonest clear the meadow of its grass, which drive the straightest furrow down a four-acre field.

      So much for the corporeal accomplishments of the Greek kings and princes; of their intellectual powers we shall have to treat in considering the character of the governments of the heroic age.

      The Kings as Gentlemen.

      But these accomplishments, mental and bodily, are not vulgarly heaped upon his characters by Homer, as if they were detailed in a boarding-school catalogue. The Homeric king should have that which incorporates and harmonizes them all: he should be emphatically a gentleman, and that in a sense not far from the one familiar to the Christian civilization of Europe. Nestor, Diomed, Menelaus, are in a marked manner gentlemen. Agamemnon is less so; but here Homer shows his usual discrimination, for in Agamemnon there is a sordid vein, which most of all mars this peculiar tone of character. It is, however, in the two superlative heroes of the poems, that we see the strongest development of those habits of feeling and action, which belong to the gentleman. It will be admitted that one of these traits is the love of that which is straightforward, truthful, and above-board. According to the vulgar conception of the character of Ulysses, he has no credit for this quality. But whatever the Ulysses of Virgil or of Euripides may be, the Ulysses of Homer, though full of circumspection, reserve, and even stratagem in dealing with enemies and strangers, has nothing about him of what is selfish, tricky, or faithless. And, accordingly, it is into his mouth that Homer has put the few and simple words, which rebuke the character of the informer and the tale-bearer, with a severity greater perhaps even than, under the circumstances, was necessary. When he is recognised by Euryclea, he strictly enjoins upon her the silence, on which all their lives at the moment depended. Hurt by the supposition that she could (in our homely phrase) be likely to blab, she replies that she will hold herself in, hard as stone or as iron. She adds, that she will point out to him which of the women in the palace are faithful, and which are guilty. No, he replies; I will observe them for myself; that is not your business88:

      μαῖα, τίη δὲ σὺ τὰς μυθήσεαι; οὐδέ τί σε χρή·

      εὖ νυ καὶ αὐτὸς ἐγὼ φράσομαι καὶ εἴσομ’ ἑκάστην·

      ἀλλ’ ἔχε σιγῇ μῦθον, ἐπίτρεψον δὲ θεοῖσιν.

      Achilles as a Gentleman.

      As Homer has thus sharply exhibited Ulysses in the character of a gentleman with respect to truth89, so he has made the same exhibition for Achilles with respect to courtesy: protesting, as it were, in this manner by anticipation against the degenerate conceptions of those characters, which were to reproduce and render current through the world Achilles as a brute, and Ulysses as a thorough knave. But let us see the residue of the proof.

      In the first Iliad, when the wrath is in the first flush of its heat, the heralds Talthybius and Eurybates are sent to his encampment, with the appalling commission to bring away Briseis. On entering, they remain awe-struck and silent. Though, in much later times, we know that

      The messenger of evil tidings

      Hath but a losing office,

      he at once relieves them from their embarrassment, and bids them personally welcome;

      χαίρετε, κήρυκες, Διὸς ἄγγελοι, ἠδὲ καὶ ἀνδρῶν·

      ἆσσον ἴτ’90·

      And he desires Patroclus to bring forth the object of their quest. More extraordinary self-command and considerateness than this, never has been ascribed by any author to any character.

      Again, when in the Ninth Book he is surprised in his seclusion by the envoys Phœnix, Ulysses, and Ajax, though he is prepared to reject every offer, he hails them all personally, without waiting to be addressed and with the utmost kindness91, as of all the Greeks the dearest to him even in his wrath; he of course proceeds to order an entertainment for them. But the most refined of all his attentions is that shown to Agamemnon in the Twenty-third Book. Inferior to Ajax, Diomed, and Ulysses, Agamemnon could not enter into the principal games, to be beaten by any abler competitor, without disparagement to his office: while there would also have been a serious disparagement of another kind in his contending with a secondary person. Accordingly, Achilles at the close makes a nominal match for the use of the sling – of which we never hear elsewhere in the poems – and, interposing after the candidates are announced, but before the actual contest, he presents the chief prize to Agamemnon, with this compliment; that there need be no trial, as every one is aware already how much he excels all others in the exercise.

      Yet these great chiefs, so strong and brave and wise, so proud and stern, so equipped in arts, manners, and accomplishments, can upon occasion weep like a woman or a child. Ulysses, in the island of Calypso daily pours forth his ‘waterfloods’ as he strains his vision over the sea; and he covers

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