Greek ideas as to the character of Helen varied with the various moods of Greek literature. Homer's own ideas about his heroine are probably best expressed in the words with which Priam greets her as she appears among the assembled elders, who are watching the Argive heroes from the wall of Troy: --"In nowise, dear child, do I blame thee; nay, the Gods are to blame, who have roused against me the woful war of the Achaeans." Homer, like Priam, throws the guilt of Helen on the Gods, but it is not very easy to understand exactly what he means by saying "the Gods are to blame." In the first place, Homer avoids the psychological problems in which modern poetry revels, by attributing almost all changes of the moods of men to divine inspiration. Thus when Achilles, in a famous passage of the first book of the Iliad, puts up his half-drawn sword in the sheath, and does not slay Agamemnon, Homer assigns his repentance to the direct influence of Athene. Again, he says in the Odyssey, about Clytemnestra, that "she would none of the foul deed;" that is of the love of Aegisthus, till "the doom of the Gods bound her to her ruin."So far the same excuse is made for the murderous Clytemnestra as for the amiable Helen. Again, Homer is, in the strictest sense, and in strong contrast to the Greek tragedians and to Virgil, a chivalrous poet. It would probably be impossible to find a passage in which he speaks harshly or censoriously of the conduct of any fair and noble lady. The sordid treachery of Eriphyle, who sold her lord for gold, wins for her the epithet "hateful;" and Achilles, in a moment of strong grief, applies a term of abhorrence to Helen. But Homer is too chivalrous to judge the life of any lady, and only shows the other side of the chivalrous character--its cruelty to persons not of noble birth--in describing the "foul death" of the waiting women of Penelope. "God forbid that I should take these women's lives by a clean death," says Telemachus (Odyssey, xxii. 462). So "about all their necks nooses were cast that they might die by the death most pitiful. And they writhed with their feet for a little space, but for no long while." In trying to understand Homer's estimate of Helen, therefore, we must make allowance for his theory of divine intervention, and for his chivalrous judgment of ladies. But there are two passages in the Iliad which may be taken as indicating Homer's opinion that Helen was literally a victim, an unwilling victim, of Aphrodite, and that she was carried away by force a captive from Lacedaemon. These passages are in the Iliad, ii. 356, 590. In the former text Nestor says, "let none be eager to return home ere he has couched with a Trojan's wife, and AVENGED THELONGINGS AND SORROWS OF HELEN"--[Greek text which cannot be reproduced.] It is thus that Mr. Gladstone, a notable champion of Helen's, would render this passage, and the same interpretation was favoured by the ancient "Separatists" (Chorizontes), who wished to prove that the Iliad and Odyssey were by different authors; but many authorities prefer to translate "to avenge our labours and sorrows for Helen's sake"--"to avenge all that we have endured in the attempt to win back Helen." Thus the evidence of this passage is ambiguous.
The fairer way to seek for Homer's real view of Helen is to examine all the passages in which she occurs. The result will be something like this:- Homer sees in Helen a being of the rarest personal charm and grace of character; a woman who imputes to herself guilt much greater than the real measure of her offence. She is ever gentle except with the Goddess who betrayed her, and the unworthy lover whose lot she is compelled to share. Against them her helpless anger breaks out in flashes of eloquent scorn. Homer was apparently acquainted with the myth of Helen's capture by Theseus, a myth illustrated in the decorations of the coffer of Cypselus. But we first see Helen, the cause of the war, when Menelaus and Paris are about to fight their duel for her sake, in the tenth year of the Leaguer (Iliad, iii. 121). Iris is sent to summon Helen to the walls. She finds Helen in her chamber, weaving at a mighty loom, and embroidering on tapestry the adventures of the siege--the battles of horse-taming Trojans and bronze-clad Achaeans. The message of Iris renews in Helen's heart "a sweet desire for her lord and her own city, and them that begat her;" so, draped in silvery white, Helen goes with her three maidens to the walls. There, above the gate, like some king in the Old Testament, Paris sits among his counsellors, and they are all amazed at Helen's beauty; "no marvel is it that Trojans and Achaeans suffer long and weary toils for such a woman, so wondrous like to the immortal goddesses." Then Priam, assuring Helen that he holds her blameless, bids her name to him her kinsfolk and the other Achaean warriors. In her reply, Helen displays that grace of penitence which is certainly not often found in ancient literature:- "Would that evil death had been my choice, when I followed thy son, and left my bridal bower and my kin, and my daughter dear, and the maidens of like age with me." Agamemnon she calls, "the husband's brother of me shameless; alas, that such an one should be." She names many of the warriors, but misses her brothers Castor and Polydeuces, "own brothers of mine, one mother bare us.
Either they followed not from pleasant Lacedaemon, or hither they followed in swift ships, but now they have no heart to go down into the battle for dread of the shame and many reproaches that are mine.""So spake she, but already the life-giving earth did cover them, there in Lacedaemon, in their own dear country."Menelaus and Paris fought out their duel, the Trojan was discomfited, but was rescued from death and carried to Helen's bower by Aphrodite.
