We now come to one of the most famous passages in Homer, describing the
palace and garden of Alcinous. First of all, we must deem it the outer
setting of this Phaeacian world with its spirit and institutions, the
framework of nature transformed which takes its character from within.
Civilized life assumes an external appearance corresponding to itself;
it remodels the physical world after its own pattern. The result is,
this garden is in striking contrast with the bower of Calypso, which is
almost a wild product of nature. The two localities are mirrored
surrounding each home respectively. Again we observe how Homer employs
the description of scenery: he makes it reflect the soul as its center.
In a certain sense we may connect these Phaeacian works with Pallas, who
has directed Ulysses hither; they are the works of intelligence. The
arts and the industries spring up through the transformation of nature.
Here is first noted the palace of the king with certain hints of its
materials and construction; especially have the metals been wrought and
applied to human uses. Gold, silver, steel, brass or bronze are
mentioned in connection with the palace and its marvelous contents.
Thus an ideal sense of architecture we note; still more strongly
indicated is the feeling for sculpture, the supreme Greek art. Those
gold and silver watch-dogs at the entrance, "which Vulcan made by his
skill, deathless and ageless for all time;" those golden boys "upon
their well-built pedestals holding lighted torches in their hands" are
verily indications that the plastic artist has already appeared. The
naive expression of life which the old poet gives to the sculpturesque
shapes in the palace of Alcinous, is fresh as the first look upon a new
world, which is indeed now rising.
But not only the Fine Arts, the Industries also are touched upon.
Weaving is specially emphasized along with navigation, one being the
Phaeacian woman's and the other being the Phaeacian man's most skillful
work. Other occupations are involved in these two. Thus is marked the
beginning of an industrial society.
After the palace the garden is described with its cultivated
fruit-trees--pear, pomegranate, apples--a good orchard for to-day. Of
course the vineyard could not be left out, being so important to the
Greek; three forms of its products are mentioned--the grape, the
raisin, and wine. Finally the last part is set off for kitchen
vegetables, though some translators think that it was for flowers. Nor
must we omit the two fountains, such as often spout up and run through
the Greek village of the present time.
Undoubtedly fabulous threads are spun through this description. Quite
too lavish a use is made of the precious metals in the house of
Alcinous, as in some fairy tale or romantic ballad; so much gold is
found nowhere outside of wonderland. In the garden fruit is never
wanting, some of it just ripe, some still green, some in flower. No
change of season, yet the effect of all seasons; surely a marvelous
country it appears; still we learn that in Campania are some sorts of
grapes which produce thrice a year. A mythical garden is indeed the
delight of human fancy. Eden has its counterparts everywhere. Indeed a
significant parallel might be drawn between Greek Phaeacia and the
Hebrew Paradise; in the one, man unfolds out of savagery, in the other
he is created at once by a divine act. Can we not see Orient and
Occident imaging themselves in their respective ideal products? The one
from below upwards, the other from above downwards; both movements, the
Greek and the Hebrew, belong to man, and have entered into his
civilization. The next world-poet, Dante, will unite the two streams.