The World's Desire - Andrew Lang - E-Book

The World's Desire E-Book

Andrew Lang



The World's Desire is a classic fantasy novel first published in 1890 and written by H. Rider Haggard and Andrew Lang. The World's Desire is the story of the hero Odysseus, mainly referred to as "the Wanderer" for the bulk of the novel. Odysseus returns home to Ithaca after his second, unsung journey. He is hoping to find a "home at peace, wife dear and true and his son worthy of him". Unfortunately, he does not find any of the three, instead his home is ravaged by a plague and his wife Penelope has been slain. As he grieves, he is visited by an old flame, Helen of Troy, for whom the novel is named. Helen leads him to equip himself with the Bow of Eurytus and embark on his last journey. This is an exhausting journey in which he encounters a Pharaoh who is wed to a murderess beauty, a holy and helpful priest, and his own fate. This book is annotated with a rare extensive biographical sketch of the author, Andrew Lang, written by Sir Edmund Gosse, CB, a contemporary poet and writer.

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The World's Desire

H. Rider Haggard / Andrew Lang


Andrew Lang (1844-1912)


The World's Desire

Book I

I - The Silent Isle

Ii - The Vision Of The World's Desire

Iii - The Slaying Of The Sidonians

Iv - The Blood-Red Sea

V - Meriamun The Queen

Vi - The Story Of Meriamun

Vii - The Queen's Vision

Viii - The Ka, The Bai, And The Khou

Book Ii

I - The Prophets Of The Apura

Ii - The Night Of Dread

Iii - The Baths Of Bronze

Iv - The Queen's Chamber

V - The Chapel Perilous

Vi - The Wardens Of The Gate

Vii - The Shadow In The Sunlight

Viii - The Loosing Of The Spirit Of Rei

Ix - The Waking Of The Sleeper

X - The Oath Of The Wanderer

Xi - The Waking Of The Wanderer

Book Iii

I - The Vengeance Of Kurri

Ii - The Coming Of Pharaoh

Iii - The Bed Of Torment

Iv - Pharaoh's Dream

V - The Voice Of The Dead

Vi - The Burning Of The Shrine

Vii - The Last Fight Of Odysseus, Laertes' Son

Viii - "Till Odysseus Comes!"

The World's Desire, A. Lang

Jazzybee Verlag Jürgen Beck

86450 Altenmünster, Loschberg 9


ISBN: 9783849606718

[email protected]

ANDREW LANG (1844-1912)

Biographical Sketch from "Portraits And Sketches" by Edmund Gosse

INVITED to note down some of my recollections of Andrew Lang, I find myself suspended between the sudden blow of his death and the slow development of memory, now extending in unbroken friendship over thirty-five years. The magnitude and multitude of Lang's performances, public and private, during that considerable length of time almost paralyse expression; it is difficult to know where to begin or where to stop. Just as his written works are so extremely numerous as to make a pathway through them a formidable task in bibliography, no one book standing out predominant, so his character, intellectual and moral, was full -of so many apparent inconsistencies, so many pitfalls for rash assertion, so many queer caprices of impulse, that in a whole volume of analysis, which would be tedious, one could scarcely do justice to them all. I will venture to put down, almost at haphazard, what I remember that seems to me to have been overlooked, or inexactly stated, by those who wrote, often very sympathetically, at the moment of his death, always premising that I speak rather of a Lang of from 1877 to 1890, when I saw him very frequently, than of a Lang whom younger people met chiefly in Scotland.

When he died, all the newspapers were loud in proclaiming his "versatility." But I am not sure that he was not the very opposite of versatile. I take "versatile" to mean changeable, fickle, constantly ready to alter direction with the weather-cock. The great instance of versatility in literature is Ruskin, who adopted diametrically different views of the same subject at different times of his life, and defended them with equal ardour. To be versatile seems to be unsteady, variable. But Lang was through his long career singularly unaltered; he never changed his point of view; what he liked and admired as a youth he liked and admired as an elderly man. It is true that his interests and knowledge were vividly drawn along a surprisingly large number of channels, but while there was abundance there does not seem to me to have been versatility. If a huge body of water boils up from a crater, it may pour down a dozen paths, but these will always be the same; unless there is an earthquake, new cascades will not form nor old rivulets run dry. In some authors earthquakes do take place as in Tolstoy, for instance, and in S. T. Coleridge but nothing of this kind was ever manifest in Lang, who was extraordinarily multiform, yet in his varieties strictly consistent from Oxford to the grave. As this is not generally perceived, I will take the liberty of expanding my view of his intellectual development.

To a superficial observer in late life the genius of Andrew Lang had the characteristics which we are in the habit of identifying with precocity. Yet he had not been, as a writer, precocious in his youth. One slender volume of verses represents all that he published in book-form before his thirty-fifth year. No doubt we shall learn in good time what he was doing before he flashed upon the world of journalism in all his panoply of graces, in 1876, at the close of his Merton fellowship. He was then, at all events, the finest finished product of his age, with the bright armour of Oxford burnished on his body to such a brilliance that humdrum eyes could hardly bear the radiance of it. Of the terms behind, of the fifteen years then dividing him from St. Andrews, we know as yet but little; they were years of insatiable acquirement, incessant reading, and talking, and observing gay preparation for a life to be devoted, as no other life in our time has been, to the stimulation of other people's observation and talk and reading. There was no cloistered virtue about the bright and petulant Merton don. He was already flouting and jesting, laughing with Ariosto in the sunshine, performing with a snap of his fingers tasks which might break the back of a pedant, and concealing under an affectation of carelessness a literary ambition which knew no definite bounds.

In those days, and when he appeared for the first time in London, the poet was paramount in him. Jowett is said to have predicted that he would be greatly famous in this line, but I know not what evidence Jowett had before him. Unless I am much mistaken, it was not until Lang left Balliol that his peculiar bent became obvious. Up to that time he had been a promiscuous browser upon books, much occupied, moreover, in the struggle with ancient Greek, and immersed in Aristotle and Homer. But in the early days of his settlement at Merton he began to concentrate his powers, and I think there were certain influences which were instant and far-reaching. Among them one was pre-eminent. When Andrew Lang came up from St. Andrews he had found Matthew Arnold occupying the ancient chair of poetry at Oxford. He was a listener at some at least of the famous lectures which, in 1865, were collected as "Essays in Criticism"; while one of his latest experiences as a Balliol undergraduate was hearing Matthew Arnold lecture on the study of Celtic literature. His conscience was profoundly stirred by "Culture and Anarchy" (1869); his sense of prose-form largely determined by "Friendship's Garland" (1871). I have no hesitation in saying that the teaching and example of Matthew Arnold prevailed over all other Oxford influences upon the intellectual nature of Lang, while, although I think that his personal acquaintance with Arnold was very slight, yet in his social manner there was, in early days, not a little imitation of Arnold's aloofness and superfine delicacy of address. It was unconscious, of course, and nothing would have enraged Lang more than to have been accused of "imitating Uncle Matt."

The structure which his own individuality now began to build on the basis supplied by the learning of Oxford, and in particular by the study of the Greeks, and "dressed" by courses of Matthew Arnold, was from the first eclectic. Lang eschewed as completely what was not sympathetic to him as he assimilated what was attractive to him. Those who speak of his "versatility" should recollect what large tracts of the literature of the world, and even of England, existed outside the dimmest apprehension of Andrew Lang. It is, however, more useful to consider what he did apprehend; and there were two English books, published in his Oxford days, which permanently impressed him: one of these was "The Earthly Paradise," the other D. G. Rossetti's " Poems." In after years he tried to divest himself of the traces of these volumes, but he had fed upon their honey-dew and it had permeated his veins.

Not less important an element in the garnishing of a mind already prepared for it by academic and aesthetic studies was the absorption of the romantic part of French literature. Andrew Lang in this, as in everything else, was selective. He dipped into the wonderful lucky-bag of France wherever he saw the glitter of romance. Hence his approach, in the early seventies, was threefold: towards the mediaeval lais and chansons, towards the sixteenth-century Pleiade, and towards the school of which Victor Hugo was the leader in the nineteenth century. For a long time Ronsard was Lang's poet of intensest predilection; and I think that his definite ambition was to be the Ronsard of modern England, introducing a new poetical dexterity founded on a revival of pure humanism. He had in those days what he lost, or at least dispersed, in the weariness and growing melancholia of later years a splendid belief in poetry as a part of the renown of England, as a heritage to be received in reverence from our fathers, and to be passed on, if possible, in a brighter flame. This honest and beautiful ambition to shine as one of the permanent benefactors to national verse, in the attitude so nobly sustained four hundred years ago by Du Bellay and Ronsard, was unquestionably felt by Andrew Lang through his bright intellectual April, and supported him from Oxford times until 1882, when he published " Helen of Troy." The cool reception of that epic by the principal judges of poetry caused him acute disappointment, and from that time forth he became less eager and less serious as a poet, more and more petulantly expending his wonderful technical gift on fugitive subjects. And here again, when one comes to think of it, the whole history repeated itself, since in " Helen of Troy " Lang simply suffered as Ronsard had done in the "Franciade." But the fact that 1882 was his year of crisis, and the tomb of his brightest ambition, must be recognised by every one who closely followed his fortunes at that time. Lang's habit of picking out of literature and of life the plums of romance, and these alone, comes to be, to the dazzled observer of his extraordinarily vivid intellectual career, the principal guiding line. This determination to dwell, to the exclusion of all other sides of any question, on its romantic side is alone enough to rebut the charge of versatility. Lang was in a sense encyclopaedic; but the vast dictionary of his knowledge had blank pages, or pages pasted down, on which he would not, or could not, read what experience had printed. Absurd as it sounds, there was always something maidenly about his mind, and he glossed over ugly matters, sordid and dull conditions, so that they made no impression whatever upon him. He had a trick, which often exasperated his acquaintances, of declaring that he had " never heard " of things that everybody else was very well aware of. He had " never heard the name " of people he disliked, of books that he thought tiresome, of events that bored him; but, more than this, he used the formula for things and persons whom he did not wish to discuss. I remember meeting in the street a famous professor, who advanced with uplifted hands, and greeted me with " What do you think Lang says now? That he has never heard of Pascal! " This merely signified that Lang, not interested (at all events for the moment) in Pascal nor in the professor, thus closed at once all possibility of discussion.

It must not be forgotten that we have lived to see him, always wonderful indeed, and always passionately devoted to perfection and purity, but worn, tired, harassed by the unceasing struggle, the lifelong slinging of sentences from that inexhaustible ink-pot. In one of the most perfect of his poems, " Natural Theology," Lang speaks of Cagn, the great hunter, who once was kind and good, but who was spoiled by fighting many things. Lang was never " spoiled," but he was injured; the surface of the radiant coin was rubbed by the vast and interminable handling of journalism. He was jaded by the toil of writing many things. Hence it is not possible but that those who knew him intimately in his later youth and early middle-age should prefer to look back at those years when he was the freshest, the most exhilarating figure in living literature, when a star seemed to dance upon the crest of his already silvering hair. Baudelaire exclaimed of Theophile Gautier: " Homme heureux! homme digne d'envie! il n'a jamais aimé que le Beau!" and of Andrew Lang in those brilliant days the same might have been said. As long as he had confidence in beauty he was safe and strong; and much that, with all affection and all respect, we must admit was rasping and disappointing in his attitude to literature in his later years, seems to have been due to a decreasing sense of confidence in the intellectual sources of beauty. It is dangerous, in the end it must be fatal, to sustain the entire structure of life and thought on the illusions of romance. But that was what Lang did he built his house upon the rainbow.

The charm of Andrew Lang's person and company was founded upon a certain lightness, an essential gentleness and elegance which were relieved by a sharp touch; just as a very dainty fruit may be preserved from mawkishness by something delicately acid in the rind of it. His nature was slightly inhuman; it was unwise to count upon its sympathy beyond a point which was very easily reached in social intercourse. If any simple soul showed an inclination, in eighteenth-century phrase, to " repose on the bosom " of Lang, that support was immediately withdrawn, and the confiding one fell among thorns. Lang was like an Angora cat, whose gentleness and soft fur, and general aspect of pure amenity, invite to caresses, which are suddenly met by the outspread paw with claws awake. This uncertain and freakish humour was the embarrassment of his friends, who, however, were preserved from despair by the fact that no malice was meant, and that the weapons were instantly sheathed again in velvet. Only, the instinct to give a sudden slap, half in play, half in fretful caprice, was incorrigible. No one among Lang's intimate friends but had suffered from this feline impulse, which did not spare even the serenity of Robert Louis Stevenson. But, tiresome as it sometimes was, this irritable humour seldom cost Lang a friend who was worth preserving. Those who really knew him recognised that he was always shy and usually tired.

His own swift spirit never brooded upon an offence, and could not conceive that any one else should mind what he himself minded so little and forgot so soon. Impressions swept over him very rapidly, and injuries passed completely out of his memory. Indeed, all his emotions were too fleeting, and in this there was something fairy-like; quick and keen and blithe as he was, he did not seem altogether like an ordinary mortal, nor could the appeal to gross human experience be made to him with much chance of success. This, doubtless, is why almost all imaginative literature which is founded upon the darker parts of life, all squalid and painful tragedy, all stories that " don't end well" all religious experiences, all that is not superficial and romantic, was irksome to him. He tried sometimes to reconcile his mind to the consideration of real life; he concentrated his matchless powers on it; but he always disliked it. He could persuade himself to be partly just to Ibsen or Hardy or Dostoieffsky, but what he really enjoyed was Dumas pêre, because that fertile romance-writer rose serene above the phenomena of actual human experience. We have seen more of this type in English literature than the Continental nations have in theirs, but even we have seen no instance of its strength and weakness so eminent as Andrew Lang. He was the fairy in our midst, the wonder-working, incorporeal, and tricksy fay of letters, who paid for all his wonderful gifts and charms by being not quite a man of like passions with the rest of us. In some verses which he scribbled to R.L.S. and threw away, twenty years ago, he acknowledged this unearthly character, and, speaking of the depredations of his kin, he said:

Faith, they might steal me, w? ma will,

And, ken'd I ony fairy hill

I#d lay me down there, snod and still,

Their land to win;

For, man, I maistly had my fill

O' this world's din

His wit had something disconcerting in its impishness. Its rapidity and sparkle were dazzling, but it was not quite human; that is to say, it conceded too little to the exigencies of flesh and blood. If we can conceive a seraph being fanny, it would be in the manner of Andrew Lang. Moreover, his wit usually danced over the surface of things, and rarely penetrated them. In verbal parry, in ironic misunderstanding, in breathless agility of topsy-turvy movement, Lang was like one of Milton's " yellow-skirted fays," sporting with the helpless, moon-bewildered traveller. His wit often had a depressing, a humiliating effect, against which one's mind presently revolted. I recollect an instance which may be thought to be apposite: I was passing through a phase of enthusiasm for Emerson, whom Lang very characteristically detested, and I was so ill-advised as to show him the famous epigram called " Brahma." Lang read it with a snort of derision (it appeared to be new to him), and immediately he improvised this parody:

If the wild bowler thinks he bowls,

Or if the batsman thinks he's bowled,

They know not, poor misguided souls,

They, too, shall perish unconsoled.

I am the batsman and the bat,

I am the bowler and the ball,

The umpire, the pavilion cat,

The roller, pitch and stumps, and all

This would make a pavilion cat laugh, and I felt that Emerson was done for. But when Lang had left me, and I was once more master of my mind, I reflected that the parody was but a parody, wonderful for its neatness and quickness, and for its seizure of what was awkward in the roll of Emerson's diction, but essentially superficial. However, what would wit be if it were profound? I must leave it there, feeling that I have not explained why Lang's extraordinary drollery in conversation so often left on the memory a certain sensation of distress.

But this was not the characteristic of his humour at its best, as it was displayed throughout the happiest period of his work. If, as seems possible, it is as an essayist that he will ultimately take his place in English literature, this element will continue to delight fresh generations of enchanted readers. I cannot imagine that the preface to his translation of " Theocritus," "Letters to Dead Authors," "In the Wrong Paradise," " Old Friends," and " Essays in Little " will ever lose their charm; but future admirers will have to pick their way to them through a tangle of history and anthropology and mythology, where there may be left no perfume and no sweetness. I am impatient to see this vast mass of writing reduced to the limits of its author's delicate, true, but somewhat evasive and ephemeral. genius. However, as far as the circumstances of his temperament permitted, Andrew Lang has left with us the memory of one of our most surprising contemporaries, a man of letters who laboured without cessation from boyhood to the grave, who pursued his ideal with indomitable activity and perseverance, and who was never betrayed except by the loftiness of his own endeavour. Lang's only misfortune was not to be completely in contact with life, and his work will survive exactly where he was most faithful to his innermost illusions.


The period in which the story of The World's Desire is cast, was a period when, as Miss Braddon remarks of the age of the Plantagenets, "anything might happen." Recent discoveries, mainly by Dr. Schliemann and Mr. Flinders Petrie, have shown that there really was much intercourse between Heroic Greece, the Greece of the Achaeans, and the Egypt of the Ramessids. This connection, rumoured of in Greek legends, is attested by Egyptian relics found in the graves of Mycenae, and by very ancient Levantine pottery, found in contemporary sites in Egypt. Homer himself shows us Odysseus telling a feigned, but obviously not improbable, tale of an Achaean raid on Egypt. Meanwhile the sojourn of the Israelites, with their Exodus from the land of bondage, though not yet found to be recorded on the Egyptian monuments, was probably part of the great contemporary stir among the peoples. These events, which are only known through Hebrew texts, must have worn a very different aspect in the eyes of Egyptians, and of pre-historic Achaean observers, hostile in faith to the Children of Israel. The topic has since been treated in fiction by Dr. Ebers, in his Joshua. In such a twilight age, fancy has free play, but it is a curious fact that, in this romance, modern fancy has accidentally coincided with that of ancient Greece.

Most of the novel was written, and the apparently "un-Greek" marvels attributed to Helen had been put on paper, when a part of Furtwängler's recent great lexicon of Mythology appeared, with the article on Helen. The authors of The World's Desire read it with a feeling akin to amazement. Their wildest inventions about the Daughter of the Swan, it seemed, had parallels in the obscurer legends of Hellas. There actually is a tradition, preserved by Eustathius, that Paris beguiled Helen by magically putting on the aspect of Menelaus. There is a mediaeval parallel in the story of Uther and Ygerne, mother of Arthur, and the classical case of Zeus and Amphitryon is familiar. Again, the blood-dripping ruby of Helen, in the tale, is mentioned by Servius in his commentary on Virgil (it was pointed out to one of the authors by Mr. Mackail). But we did not know that the Star of the story was actually called the "Star-stone" in ancient Greek fable. The many voices of Helen are alluded to by Homer in the Odyssey: she was also named Echo, in old tradition. To add that she could assume the aspect of every man's first love was easy. Goethe introduces the same quality in the fair witch of his Walpurgis Nacht. A respectable portrait of Meriamun's secret counsellor exists, in pottery, in the British Museum, though, as it chances, it was not discovered by us until after the publication of this romance. The Laestrygonian of the Last Battle is introduced as a pre-historic Norseman. Mr. Gladstone, we think, was perhaps the first to point out that the Laestrygonians of the Odyssey, with their home on a fiord in the Land of the Midnight Sun, were probably derived from travellers' tales of the North, borne with the amber along the immemorial Sacred Way. The Magic of Meriamun is in accordance with Egyptian ideas; her resuscitation of the dead woman, Hataska, has a singular parallel in Reginald Scot's Discovery of Witchcraft (1584), where the spell "by the silence of the Night" is not without poetry. The general conception of Helen as the World's Desire, Ideal Beauty, has been dealt with by M. Paul de St. Victor, and Mr. J. A. Symonds. For the rest, some details of battle, and of wounds, which must seem very "un-Greek" to critics ignorant of Greek literature, are borrowed from Homer.

H. R. H. A. L.


     Come with us, ye whose hearts are set

     On this, the Present to forget;

     Come read the things whereof ye know

They were not, and could not be so!

     The murmur of the fallen creeds,

     Like winds among wind-shaken reeds

     Along the banks of holy Nile,

     Shall echo in your ears the while;

     The fables of the North and South

     Shall mingle in a modern mouth;

     The fancies of the West and East

     Shall flock and flit about the feast

     Like doves that cooled, with waving wing,

     The banquets of the Cyprian king.

     Old shapes of song that do not die

     Shall haunt the halls of memory,

     And though the Bow shall prelude clear

     Shrill as the song of Gunnar's spear,

     There answer sobs from lute and lyre

     That murmured of The World's Desire.

     There lives no man but he hath seen

     The World's Desire, the fairy queen.

     None but hath seen her to his cost,

     Not one but loves what he has lost.

     None is there but hath heard her sing

     Divinely through his wandering;

     Not one but he has followed far

     The portent of the Bleeding Star;

     Not one but he hath chanced to wake,

     Dreamed of the Star and found the Snake.

     Yet, through his dreams, a wandering fire,

     Still, still she flits, THE WORLD'S DESIRE!



Across the wide backs of the waves, beneath the mountains, and between the islands, a ship came stealing from the dark into the dusk, and from the dusk into the dawn. The ship had but one mast, one broad brown sail with a star embroidered on it in gold; her stem and stern were built high, and curved like a bird's beak; her prow was painted scarlet, and she was driven by oars as well as by the western wind.

A man stood alone on the half-deck at the bows, a man who looked always forward, through the night, and the twilight, and the clear morning. He was of no great stature, but broad-breasted and very wide-shouldered, with many signs of strength. He had blue eyes, and dark curled locks falling beneath a red cap such as sailors wear, and over a purple cloak, fastened with a brooch of gold. There were threads of silver in his curls, and his beard was flecked with white. His whole heart was following his eyes, watching first for the blaze of the island beacons out of the darkness, and, later, for the smoke rising from the far-off hills. But he watched in vain; there was neither light nor smoke on the grey peak that lay clear against a field of yellow sky.

There was no smoke, no fire, no sound of voices, nor cry of birds. The isle was deadly still.

As they neared the coast, and neither heard nor saw a sign of life, the man's face fell. The gladness went out of his eyes, his features grew older with anxiety and doubt, and with longing for tidings of his home.

No man ever loved his home more than he, for this was Odysseus, the son of Laertes—whom some call Ulysses—returned from his unsung second wandering. The whole world has heard the tale of his first voyage, how he was tossed for ten years on the sea after the taking of Troy, how he reached home at last, alone and disguised as a beggar; how he found violence in his house, how he slew his foes in his own hall, and won his wife again. But even in his own country he was not permitted to rest, for there was a curse upon him and a labour to be accomplished. He must wander again till he reached the land of men who had never tasted salt, nor ever heard of the salt sea. There he must sacrifice to the Sea-God, and then, at last, set his face homewards. Now he had endured that curse, he had fulfilled the prophecy, he had angered, by misadventure, the Goddess who was his friend, and after adventures that have never yet been told, he had arrived within a bowshot of Ithaca.

He came from strange countries, from the Gates of the Sun and from White Rock, from the Passing Place of Souls and the people of Dreams.

But he found his own isle more still and strange by far. The realm of Dreams was not so dumb, the Gates of the Sun were not so still, as the shores of the familiar island beneath the rising dawn.

This story, whereof the substance was set out long ago by Rei, the instructed Egyptian priest, tells what he found there, and the tale of the last adventures of Odysseus, Laertes' son.

The ship ran on and won the well-known haven, sheltered from wind by two headlands of sheer cliff. There she sailed straight in, till the leaves of the broad olive tree at the head of the inlet were tangled in her cordage. Then the Wanderer, without once looking back, or saying one word of farewell to his crew, caught a bough of the olive tree with his hand, and swung himself ashore. Here he kneeled, and kissed the earth, and, covering his head within his cloak, he prayed that he might find his house at peace, his wife dear and true, and his son worthy of him.

But not one word of his prayer was to be granted. The Gods give and take, but on the earth the Gods cannot restore.

When he rose from his knees he glanced back across the waters, but there was now no ship in the haven, nor any sign of a sail upon the seas.

And still the land was silent; not even the wild birds cried a welcome.

The sun was hardly up, men were scarce awake, the Wanderer said to himself; and he set a stout heart to the steep path leading up the hill, over the wolds, and across the ridge of rock that divides the two masses of the island. Up he climbed, purposing, as of old, to seek the house of his faithful servant, the swineherd, and learn from him the tidings of his home. On the brow of a hill he stopped to rest, and looked down on the house of the servant. But the strong oak palisade was broken, no smoke came from the hole in the thatched roof, and, as he approached, the dogs did not run barking, as sheep-dogs do, at the stranger. The very path to the house was overgrown, and dumb with grass; even a dog's keen ears could scarcely have heard a footstep.

The door of the swineherd's hut was open, but all was dark within. The spiders had woven a glittering web across the empty blackness, a sign that for many days no man had entered. Then the Wanderer shouted twice, and thrice, but the only answer was an echo from the hill. He went in, hoping to find food, or perhaps a spark of fire sheltered under the dry leaves. But all was vacant and cold as death.

The Wanderer came forth into the warm sunlight, set his face to the hill again, and went on his way to the city of Ithaca.

He saw the sea from the hill-top glittering as of yore, but there were no brown sails of fisher-boats on the sea. All the land that should now have waved with the white corn was green with tangled weeds. Half-way down the rugged path was a grove of alders, and the basin into which water flowed from the old fountain of the Nymphs. But no maidens were there with their pitchers; the basin was broken, and green with mould; the water slipped through the crevices and hurried to the sea. There were no offerings of wayfarers, rags and pebbles, by the well; and on the altar of the Nymphs the flame had long been cold. The very ashes were covered with grass, and a branch of ivy had hidden the stone of sacrifice.

On the Wanderer pressed with a heavy heart; now the high roof of his own hall and the wide fenced courts were within his sight, and he hurried forward to know the worst.

Too soon he saw that the roofs were smokeless, and all the court was deep in weeds. Where the altar of Zeus had stood in the midst of the court there was now no altar, but a great, grey mound, not of earth, but of white dust mixed with black. Over this mound the coarse grass pricked up scantily, like thin hair on a leprosy.

Then the Wanderer shuddered, for out of the grey mound peeped the charred black bones of the dead. He drew near, and, lo! the whole heap was of nothing else than the ashes of men and women. Death had been busy here: here many people had perished of a pestilence. They had all been consumed on one funeral fire, while they who laid them there must have fled, for there was no sign of living man. The doors gaped open, and none entered, and none came forth. The house was dead, like the people who had dwelt in it.

Then the Wanderer paused where once the old hound Argos had welcomed him and had died in that welcome. There, unwelcomed, he stood, leaning on his staff. Then a sudden ray of the sun fell on something that glittered in the heap, and he touched it with the end of the staff that he had in his hand. It slid jingling from the heap; it was the bone of a forearm, and that which glittered on it was a half-molten ring of gold. On the gold lambda these characters were engraved:


(Icmalios made me.)

At the sight of the armlet the Wanderer fell on the earth, grovelling among the ashes of the pyre, for he knew the gold ring which he had brought from Ephyre long ago, for a gift to his wife Penelope. This was the bracelet of the bride of his youth, and here, a mockery and a terror, were those kind arms in which he had lain. Then his strength was shaken with sobbing, and his hands clutched blindly before him, and he gathered dust and cast it upon his head till the dark locks were defiled with the ashes of his dearest, and he longed to die.

There he lay, biting his hands for sorrow, and for wrath against God and Fate. There he lay while the sun in the heavens smote him, and he knew it not; while the wind of the sunset stirred in his hair, and he stirred not. He could not even shed one tear, for this was the sorest of all the sorrows that he had known on the waves of the sea, or on land among the wars of men.

The sun fell and the ways were darkened. Slowly the eastern sky grew silver with the moon. A night-fowl's voice was heard from afar, it drew nearer; then through the shadow of the pyre the black wings fluttered into the light, and the carrion bird fixed its talons and its beak on the Wanderer's neck. Then he moved at length, tossed up an arm, and caught the bird of darkness by the neck, and broke it, and dashed it on the ground. His sick heart was mad with the little sudden pain, and he clutched for the knife in his girdle that he might slay himself, but he was unarmed. At last he rose, muttering, and stood in the moonlight, like a lion in some ruinous palace of forgotten kings. He was faint with hunger and weak with long lamenting, as he stepped within his own doors. There he paused on that high threshold of stone where once he had sat in the disguise of a beggar, that very threshold whence, on another day, he had shot the shafts of doom among the wooers of his wife and the wasters of his home. But now his wife was dead: all his voyaging was ended here, and all his wars were vain. In the white light the house of his kingship was no more than the ghost of a home, dreadful, unfamiliar, empty of warmth and love and light. The tables were fallen here and there throughout the long hall; mouldering bones, from the funeral feast, and shattered cups and dishes lay in one confusion; the ivory chairs were broken, and on the walls the moonbeams glistened now and again from points of steel and blades of bronze, though many swords were dark with rust.

But there, in its gleaming case, lay one thing friendly and familiar. There lay the Bow of Eurytus, the bow for which great Heracles had slain his own host in his halls; the dreadful bow that no mortal man but the Wanderer could bend. He was never used to carry this precious bow with him on shipboard, when he went to the wars, but treasured it at home, the memorial of a dear friend foully slain. So now, when the voices of dog, and slave, and child, and wife were mute, there yet came out of the stillness a word of welcome to the Wanderer. For this bow, which had thrilled in the grip of a god, and had scattered the shafts of the vengeance of Heracles, was wondrously made and magical. A spirit dwelt within it which knew of things to come, which boded the battle from afar, and therefore always before the slaying of men the bow sang strangely through the night. The voice of it was thin and shrill, a ringing and a singing of the string and of the bow. While the Wanderer stood and looked on his weapon, hark! the bow began to thrill! The sound was faint at first, a thin note, but as he listened the voice of it in that silence grew clear, strong, angry and triumphant. In his ears and to his heart it seemed that the wordless chant rang thus:

     Keen and low

        Doth the arrow sing

     The Song of the Bow,

        The sound of the string.

     The shafts cry shrill:

        Let us forth again,

     Let us feed our fill

        On the flesh of men.

     Greedy and fleet

        Do we fly from far,

     Like the birds that meet

        For the feast of war,

     Till the air of fight

        With our wings be stirred,

     As it whirrs from the flight

        Of the ravening bird.

     Like the flakes that drift

        On the snow-wind's breath,

     Many and swift,

        And winged for death—

     Greedy and fleet,

        Do we speed from far,

     Like the birds that meet

        On the bridge of war.

     Fleet as ghosts that wail,

        When the dart strikes true,

     Do the swift shafts hail,

        Till they drink warm dew.

     Keen and low

        Do the grey shafts sing

     The Song of the Bow,

        The sound of the string.

This was the message of Death, and this was the first sound that had broken the stillness of his home.

At the welcome of this music which spoke to his heart—this music he had heard so many a time—the Wanderer knew that there was war at hand. He knew that the wings of his arrows should be swift to fly, and their beaks of bronze were whetted to drink the blood of men. He put out his hand and took the bow, and tried the string, and it answered shrill as the song of the swallow.

Then at length, when he heard the bowstring twang to his touch, the fountains of his sorrow were unsealed; tears came like soft rains on a frozen land, and the Wanderer wept.

When he had his fill of weeping, he rose, for hunger drove him—hunger that is of all things the most shameless, being stronger far than sorrow, or love, or any other desire. The Wanderer found his way through the narrow door behind the dais, and stumbling now and again over fallen fragments of the home which he himself had built, he went to the inner, secret storehouse. Even he could scarcely find the door, for saplings of trees had grown up about it; yet he found it at last. Within the holy well the water was yet babbling and shining in the moonlight over the silver sands; and here, too, there was store of mouldering grain, for the house had been abundantly rich when the great plague fell upon the people while he was far away. So he found food to satisfy his hunger, after a sort, and next he gathered together out of his treasure-chest the beautiful golden armour of unhappy Paris, son of Priam, the false love of fair Helen. These arms had been taken at the sack of Troy, and had lain long in the treasury of Menelaus in Sparta; but on a day he had given them to Odysseus, the dearest of all his guests. The Wanderer clad himself in this golden gear, and took the sword called "Euryalus's Gift," a bronze blade with a silver hilt, and a sheath of ivory, which a stranger had given him in a far-off land. Already the love of life had come back to him, now that he had eaten and drunk, and had heard the Song of the Bow, the Slayer of Men. He lived yet, and hope lived in him though his house was desolate, and his wedded wife was dead, and there was none to give him tidings of his one child, Telemachus. Even so life beat strong in his heart, and his hands would keep his head if any sea-robbers had come to the city of Ithaca and made their home there, like hawks in the forsaken nest of an eagle of the sea. So he clad himself in his armour, and chose out two spears from a stand of lances, and cleaned them, and girt about his shoulders a quiver full of shafts, and took in hand his great bow, the Bow of Eurytus, which no other man could bend.

Then he went forth from the ruined house into the moonlight, went forth for the last time; for never again did the high roof echo to the footstep of its lord. Long has the grass grown over it, and the sea-wind wailed!


The fragrant night was clear and still, the silence scarce broken by the lapping of the waves, as the Wanderer went down from his fallen home to the city on the sea, walking warily, and watching for any light from the houses of the people. But they were all as dark as his own, many of them roofless and ruined, for, after the plague, an earthquake had smitten the city. There were gaping chasms in the road, here and there, and through rifts in the walls of the houses the moon shone strangely, making ragged shadows. At last the Wanderer reached the Temple of Athene, the Goddess of War; but the roof had fallen in, the pillars were overset, and the scent of wild thyme growing in the broken pavement rose where he walked. Yet, as he stood by the door of the fane, where he had burned so many a sacrifice, at length he spied a light blazing from the windows of a great chapel by the sea. It was the Temple of Aphrodite, the Queen of Love, and from the open door a sweet savour of incense and a golden blaze rushed forth till they were lost in the silver of the moonshine and in the salt smell of the sea. Thither the Wanderer went slowly, for his limbs were swaying with weariness, and he was half in a dream. Yet he hid himself cunningly in the shadow of a long avenue of myrtles, for he guessed that sea-robbers were keeping revel in the forsaken shrine. But he heard no sound of singing and no tread of dancing feet within the fane of the Goddess of Love; the sacred plot of the goddess and her chapels were silent. He hearkened awhile, and watched, till at last he took courage, drew near the doors, and entered the holy place. But in the tall, bronze braziers there were no faggots burning, nor were there torches lighted in the hands of the golden men and maids, the images that stand within the fane of Aphrodite. Yet, if he did not dream, nor take moonlight for fire, the temple was bathed in showers of gold by a splendour of flame. None might see its centre nor its fountain; it sprang neither from the altar nor the statue of the goddess, but was everywhere imminent, a glory not of this world, a fire untended and unlit. And the painted walls with the stories of the loves of men and gods, and the carven pillars and the beams, and the roof of green, were bright with flaming fire!

At this the Wanderer was afraid, knowing that an immortal was at hand; for the comings and goings of the gods were attended, as he had seen, by this wonderful light of unearthly fire. So he bowed his head, and hid his face as he sat by the altar in the holiest of the holy shrine, and with his right hand he grasped the horns of the altar. As he sat there, perchance he woke, and perchance he slept. However it was, it seemed to him that soon there came a murmuring and a whispering of the myrtle leaves and laurels, and a sound in the tops of the pines, and then his face was fanned by a breath more cold than the wind that wakes the dawn. At the touch of this breath the Wanderer shuddered, and the hair on his flesh stood up, so cold was the strange wind.

There was silence; and he heard a voice, and he knew that it was the voice of no mortal, but of a goddess. For the speech of goddesses was not strange in his ears; he knew the clarion cry of Athene, the Queen of Wisdom and of War; and the winning words of Circe, the Daughter of the Sun, and the sweet song of Calypso's voice as she wove with her golden shuttle at the loom. But now the words came sweeter than the moaning of doves, more soft than sleep. So came the golden voice, whether he woke or whether he dreamed.

"Odysseus, thou knowest me not, nor am I thy lady, nor hast thou ever been my servant! Where is she, the Queen of the Air, Athene, and why comest thou here as a suppliant at the knees of the daughter of Dione?"

He answered nothing, but he bowed his head in deeper sorrow.

The voice spake again:

"Behold, thy house is desolate; thy hearth is cold. The wild hare breeds on thy hearthstone, and the night-bird roosts beneath thy roof-tree. Thou hast neither child nor wife nor native land, and she hath forsaken thee—thy Lady Athene. Many a time didst thou sacrifice to her the thighs of kine and sheep, but didst thou ever give so much as a pair of dove to me? Hath she left thee, as the Dawn forsook Tithonus, because there are now threads of silver in the darkness of thy hair? Is the wise goddess fickle as a nymph of the woodland or the wells? Doth she love a man only for the bloom of his youth? Nay, I know not; but this I know, that on thee, Odysseus, old age will soon be hastening—old age that is pitiless, and ruinous, and weary, and weak—age that cometh on all men, and that is hateful to the Gods. Therefore, Odysseus, ere yet it be too late, I would bow even thee to my will, and hold thee for my thrall. For I am she who conquers all things living: Gods and beasts and men. And hast thou thought that thou only shalt escape Aphrodite? Thou that hast never loved as I would have men love; thou that hast never obeyed me for an hour, nor ever known the joy and the sorrow that are mine to give? For thou didst but ensure the caresses of Circe, the Daughter of the Sun, and thou wert aweary in the arms of Calypso, and the Sea King's daughter came never to her longing. As for her who is dead, thy dear wife Penelope, thou didst love her with a loyal heart, but never with a heart of fire. Nay, she was but thy companion, thy housewife, and the mother of thy child. She was mingled with all the memories of the land thou lovest, and so thou gavest her a little love. But she is dead; and thy child too is no more; and thy very country is as the ashes of a forsaken hearth where once was a camp of men. What have all thy wars and wanderings won for thee, all thy labours, and all the adventures thou hast achieved? For what didst thou seek among the living and the dead? Thou soughtest that which all men seek—thou soughtest The World's Desire. They find it not, nor hast thou found it, Odysseus; and thy friends are dead; thy land is dead; nothing lives but Hope. But the life that lies before thee is new, without a remnant of the old days, except for the bitterness of longing and remembrance. Out of this new life, and the unborn hours, wilt thou not give, what never before thou gavest, one hour to me, to be my servant?"

The voice, as it seemed, grew softer and came nearer, till the Wanderer heard it whisper in his very ear, and with the voice came a divine fragrance. The breath of her who spoke seemed to touch his neck; the immortal tresses of the Goddess were mingled with the dark curls of his hair.

The voice spake again:

"Nay, Odysseus, didst thou not once give me one little hour? Fear not, for thou shalt not see me at this time, but lift thy head and look on The World's Desire!"

Then the Wanderer lifted his head, and he saw, as it were in a picture or in a mirror of bronze, the vision of a girl. She was more than mortal tall, and though still in the first flower of youth, and almost a child in years, she seemed fair as a goddess, and so beautiful that Aphrodite herself may perchance have envied this loveliness. She was slim and gracious as a young shoot of a palm tree, and her eyes were fearless and innocent as a child's. On her head she bore a shining urn of bronze, as if she were bringing water from the wells, and behind her was the foliage of a plane tree. Then the Wanderer knew her, and saw her once again as he had seen her, when in his boyhood he had journeyed to the Court of her father, King Tyndareus. For, as he entered Sparta, and came down the hill Taygetus, and as his chariot wheels flashed through the ford of Eurotas, he had met her there on her way from the river. There, in his youth, his eyes had gazed on the loveliness of Helen, and his heart had been filled with the desire of the fairest of women, and like all the princes of Achaia he had sought her hand in marriage. But Helen was given to another man, to Menelaus, Atreus's son, of an evil house, that the knees of many might be loosened in death, and that there might be a song in the ears of men in after time.

As he beheld the vision of young Helen, the Wanderer too grew young again. But as he gazed with the eyes and loved with the first love of a boy, she melted like a mist, and out of the mist came another vision. He saw himself, disguised as a beggar, beaten and bruised, yet seated in a long hall bright with gold, while a woman bathed his feet, and anointed his head with oil. And the face of the woman was the face of the maiden, and even more beautiful, but sad with grief and with an ancient shame. Then he remembered how once he had stolen into Troy town from the camp of the Achæans, and how he had crept in a beggar's rags within the house of Priam to spy upon the Trojans, and how Helen, the fairest of women, had bathed him, and anointed him with oil, and suffered him to go in peace, all for the memory of the love that was between them of old. As he gazed, that picture faded and melted in the mist, and again he bowed his head, and kneeled by the golden altar of the Goddess, crying:

"Where beneath the sunlight dwells the golden Helen?" For now he had only one desire: to look on Helen again before he died.

Then the voice of the Goddess seemed to whisper in his ear:

"Did I not say truth, Odysseus? Wast not thou my servant for one hour, and did not Love save thee in the city of the Trojans on that night when even Wisdom was of no avail?"

He answered: "Yea, O Queen!"

"Behold then," said the voice, "I would again have mercy and be kind to thee, for if I aid thee not thou hast no more life left among men. Home, and kindred, and native land thou hast none; and, but for me, thou must devour thine own heart and be lonely till thou diest. Therefore I breathe into thy heart a sweet forgetfulness of every sorrow, and I breathe love into thee for her who was thy first love in the beginning of thy days.