Part 9

He comes like the breath of morning awakening the world, to rouse our hero from the embrace of death; and the whole scene is beautifully attuned to an image of returning life. Therefore the interference of Hermes between Odysseus and Calypso is full of significance. We accordingly meet the same episode in the Circe tale. That this last is a later widening of the first story appears from many things; chiefly in this, that there is more moral in the history; for the truest myth is content to follow the actual workings of nature, without attempting to adorn a story with extraneous incident, or to convert its simplicity into the complexities of allegory. That turning the companions into swine was a punishment for luxury--that points the moral; the original Circe, we may be sure, only touched her lovers with her sleepy magic rod. It was the same wand with the "slepy yerde"[17] of Hermes, and she used it not wantonly but only because all whom she embraces must fall into the unwakeful slumber. If Circe's name does not reveal her nature so nakedly as Calypso's does, this is but consistent with the fact of her later creation. Nevertheless, we easily recognise by it death in one of its many types--a ravenous animal or bird, a hawk or wolf.[18]

When Odysseus is freed from the fatal embrace of Calypso, he is not at once restored to the common earth, but from his descent into hell goes heavenwards, or at least to the happy islands of the blessed. The land of the Phæaceans, Scheria, can scarcely be anything else than this Paradise, to which, according to one myth, Rhadamanthus fled from his brother Minos when he reigned in Crete. The Phæaceans, too, have had dealings with "yellow-haired Rhadamanthus," whom they carried back in their swift barques to Euboea. The name of their island is merely land, shore;[19] perhaps at first only the farther coast of the sea of death.

"Far away do we live at the end of the watery plain, Nor before now have we ever had dealings with other mortals; But now there comes some luckless wanderer hither. Him it is right that we help; for all men, fellows and strangers, Come from Zeus; in his sight the smallest gift is pleasing."[20]

They live close to the gods, and in familiar converse with them. It is a place where decay and death cannot enter. In the gardens of Alcinoüs flowers and fruit do not grow old and disappear; winter does not succeed to summer; all is one continuous round of blossoming and bearing fruit; in one part of the garden the trees are all abloom; in another they are heavy with clusters. There it _is_, as in that wizard's tower of Middle-Age legend it only _seemed_ to be--

"That from one window men beheld the spring, And from another saw the summer glow, And from a third the fruited vines arow."[21]

In name the Phæaceans appear as beings of the twilight--=phaiax=, strengthened from =phaios=, dusky, dim. Their most wondrous possessions are their ships, which know the thoughts of men, and sail swifter than a bird or than thought. "No pilots have they, no rudders, no oarsmen, which other ships have, for they themselves know the thoughts and minds of men. The rich fields they know, and the cities among all men, and swiftly pass over the crests of the sea, shrouded in mist and gloom."[22] Yet the Phæaceans themselves live remote from human habitation, unused to strangers. It would seem, therefore, that the ships travel alone on their dark voyages. For what purpose? It is not difficult to guess. Their part is to carry the souls of dead men over to the land of Paradise.[23] We can imagine them sailing in every human sea; calling at every port, familiar with every city, though in their shroud of darkness they are unseen by men. They know all the rich lands, for every land has its tribute to pay to the ships of death. They are the exact counterparts of the "grim ferryman which poets write of;" only that the last plies his business in the ancient underground Hades, while the Phæacean mariners are really believed to be inhabitants of the upper earth; albeit they can pass from this life to the other.

Their business with Odysseus is to bring him back to the common world of Greece--to beloved Ithaca. He has passed to the cave of Hel, and emerged from it to visit the land of Paradise; now he returns, that his adventures may be sung in the homes of Greece. How could men ever tell tales of that strange country, if it really were a shore from which no traveller returned? Accordingly, this traveller is laid to sleep in the black barque of the Phæaceans, "a sweet sleep, unwakeful, nearest like to death; and as arose the one brightest star to herald the morning, the sea-troubled ship touched the shore."[24] Thus end the adventures of the wanderer; and, as far as regards the belief concerning the sea of death, this is all his adventures can tell us. His doings with the Cyclops, with the Lotus-eaters, have their relationship with the same belief; but they scarcely bring in any new elements; they only change the method of their treatment and symbolize them in a new way. Hades is more distinctly treated of in the second series; and this is enough to show us that the mortal character of the whole journey has been lost sight of more completely than in the first myths; so we noticed before, that the significance of Calypso's name is half forgotten when her part is assigned to Circe. The journey to Hades from Circe's island, Ææa, tallies exactly with the journey to Scheria from the island of Calypso; only, for the island of the blest is substituted the underground home of souls; and when Odysseus addresses there his companion, Elpenor, whom he had but a little while ago left dead on Circe's island, and asks him how he could have come under the dark west more quickly on foot than Odysseus did sailing in a black ship, we see that the meaning of the ocean journey is forgotten, and that a sort of confusion has arisen between the Hades under men's feet, to which the souls of the dead descend, and the Hades at the end of the journey lying far away. This part, then, is not significant of the Greek belief concerning an earthly Paradise. The learned Welcker, who first showed how these Phæacean ships were the carriers of souls,[25] wishes also to connect the myth with some non-Hellenic source. He supposes it to have been gathered from the Teutons. But surely we are not obliged to go so far, unless we are prepared to consider Charon non-Hellenic also; and no one can really pretend that. For the Phæacean myth is in many ways truer than the myth of Charon and Styx. Styx is but the earth-river (or sea), Oceanus, transferred to beneath the earth; and the story of the ferryman is a compromise between the two creeds--that of the _under_-world and that of the western paradise beyond sea; while the myth of the Phæaceans is a simple expression of the last. The connection which we find between Greek and German in these beliefs is derivable only from their common ancestry--not from a contact in later days. Certainly these legends have their close counterparts in Norse mythology; the two series only require to be stripped of local colouring, and some unessential details, to display very clearly their common brotherhood. How curious, for instance, is it to see that Calypso corresponds literally in name with the Northern goddess of the dead, Hel! Another myth, the story of the burning of Baldur, repeats the same images of death which we trace in the legend of Odysseus.

Baldur is quite evidently the sun-god. Less of a hero, more of a god, than Odysseus, he is nevertheless mortal--as, indeed, all the Norse gods are--and falls pierced by the hand of his own brother, Hödur. Then his corpse is placed upon his ship, Hringhorn, and sent out upon this, as on a pyre, drifting into the ocean. We can imagine how to the Norsemen upon their stormy seas, the image of the sun dying red upon the western waters recalled the story of Baldur's burning ship. The Viking imitated his god in this, and when his time came ordered his funeral fire to be lighted in like manner upon a ship and himself to be set sailing, as Baldur was. After this we are brought in the myth to the underground kingdom of Hel, and there the goddess entertains Baldur, as Calypso entertained Odysseus, making ready her best to do him honour, and seating him in the highest place in her hall. Then the gods take counsel how Baldur is to be brought back again, and one of them, Hermödr,[26] the messenger, like Hermes, is sent to beg Hel to let Baldur out of Helheim. Fate and death are more powerful in northern lands than they are in Greece. The gods cannot command that this Calypso should let her prisoner go; and alas! they do not even obtain an answer to their prayer save on conditions which they are unable to fulfil. Hel will set Baldur free, if all things, both living and dead, weep for him; but if one thing refuses to weep, then he must remain in the under-world. Thereupon the gods sent messengers over the whole earth, commanding all things, living and lifeless, to weep Baldur out of Helheim; all things freely complied with the request, both men and stones, and trees and metals; until as the messengers were returning, deeming that their mission was accomplished, they met an old witch sitting in a cave, and she refused to weep, saying, "Let Hel keep her own."[27] This old witch is Calypso or Circe in another guise. Her name is Thokk, that is, darkness (dökkr).

The Teutonic people had many myths and stories about the carrying the dead across the sea. We have signalized the belief in such a passage as the origin of those countless mediæval legends of the earthly Paradise: doubtless it is the parent of the modern superstition that ghosts will not cross the running water. Side by side with the story of the Phæaceans we may place the superstition which Procopius records touching our own island. The Byzantine historian of Justinian seems to have had but vague ideas of the position of Britain, which, by the tide of Teutonic invasion across the Rhine, had long been cut off from intercourse with the Empire. These Easterns were careless and ignorant of the remote West. So Procopius speaks of Britannia as lying opposite to Spain; and then he mentions another island, Brittia--evidently in reality our island--which faces the northern coast of Gaul, and of this he tells the following strange story:--There is, he declares, an island called Brittia, which lies in the Northern Seas. It is separated into two divisions by a wall;[28] and on one side of this wall the air is healthy and the land fertile and pleasant, and all things most apt for human habitation. But on the other side the air is so noxious that no one can breathe in it for an hour: it is given up to serpents and poisonous animals and plants. Yet not entirely; for this is the home of the dead. Then he goes on to relate how the fishermen who inhabit the coast opposite this part of Brittia have to perform the strange duty of carrying the souls across the strait. Each does his office in rotation; when the man's night has come he is awoke by a knocking at his door, but when he opens it, sees no one. He goes down to the shore, and finds there strange vessels, which, though empty to mortal eyes, lie deep in the water as though weighed down by some freight. Stepping in, each fisherman takes his rudder, and then by an unfelt wind the vessels are wafted in one night across the channel, a distance which, with oar and sail, they could usually scarce accomplish in eight. Arrived at the opposite side--our coast--the fishermen heard names called over and voices answering in rota, and they felt the boats becoming light. Then, when all the ghosts were landed, they were carried back to Gaul. We may picture them returning to the habitable world in the first glow of morning, or with the one bright morning star which shone on Odysseus landing at Ithaca.

So much for the myth of the sea, or river, of death. A most important change was wrought in belief when the custom of burning the dead was introduced. It would seem that our Aryan ancestors were the beginners of this rite. Whence it arose we cannot say; but if the God of Fire was a prominent divinity, the thought of committing the dead into his charge seems a simple and natural one. Among the Aryan people the only deep traces of fire-worship are to be seen in the Vedic and Iranian religions,[29] while the fire-burial survived in all: but the former may well have held a prominent place in their older creed. Or--and this is far from unlikely--the custom of fire-burial may have arisen out of the sun myth, just as the belief in the soul's journey after death was suggested by watching the sun's journey to the west. The two great fire-funerals mentioned in Greek and Teutonic mythology are the funerals of sun-gods. Heracles burning on Mount OEta, on the western coast of the Ægean, may have been first thought of by Greeks who saw the sun setting in fire over that sea; and Baldur's bale on the ship _Hringhorn_ is evidently the Norse edition of the same story, his blazing ship the blaze in the sky, as the sun sinks into the water. Burning the dead never seems to have been a universal practice; rather a special honour paid to kings and heroes. But then we must remember that immortality itself was not, in ancient belief, granted to all men indiscriminately, only to the greatest.

We see at once that with the use of fire-burial many of the old beliefs had to be given up; all those, for instance, which depended upon the preservation of the bodily remains. Of old time men had buried treasures with the corpse in the expectation that they would be of some kind of use to it; the body itself was at first imagined to descend to the under-world or to travel the western journey to the home of the sun. But now the body is visibly consumed upon the funeral pile, where, too, are placed, by a curious survival of old custom, the precious things which would formerly have been buried with it in the ground. The body and these things have been consumed, are gone; where have they gone? Have they perished utterly, and is there nothing more left than the earliest belief of an =A-idês=--a nowhere; is nothing true of all those myths of the soul passing away to a home of bliss? Instead of giving up this faith, the Aryan people have only spiritualized it, robbed it of the too literal and earthly clothing which in earlier times it wore. The thought which had once identified the life with the breath comes again into force, or, if some material representation is still wished for, we have the smoke of the funeral pyre, which rises heavenwards like an ascending soul. In this spirit we find in long after years, in the description of the funeral fire of Beowulf the Goth, it is said that the soul of the hero _wand to wolcum_, "curled to the clouds," imaging the smoke which was curling up from his pyre. There is even a curious analogy between the words for _smoke_ and _soul_ in the Aryan languages, showing how closely the two ideas were once allied. From a primitive root _dhu_, which means to shake or blow, we get both the Sanskrit root _dhuma_, smoke, and the Greek =thymos=, the immaterial part of man, his thought or soul. =Thymos= is not a mere abstraction like our word mind, but that which could live when the body was killed or wasted to death by disease.[30]

Evidently, therefore, even the inanimate things, the weapons and treasures which are burnt with the dead, survive in a land of essences for the use of the liberated soul. To the question, Where does man's essence go to when it rises from the funeral fire? the answer, if the wish alone urged the thought, would be "To the gods." But with the majority of burying people the belief in future union with the gods was not strongly insisted upon. The islands of the blest are certainly not to be confounded with Olympus; although the Phæaceans claim to live very near the gods.[31] Yet with the use of burning, and among the Aryan people, the hope gains a measure of strength. The gods of the Aryan were, before everything, gods of the air. As the soul and the smoke mounted upwards, "curled to the clouds," the belief of its having gone to join the gods--chief god, Dyâus, the air--was impressed more vividly upon his mind. And as the notion of the western journey to the home of the sun was not abandoned, a natural compromise would be to send the soul upwards to the path of the sun, and make its voyage a voyage in heaven, led by the sun or by the wind. But his path still lay westward; the home of the dead ancestors lay beyond the western boundary; there was still an Oceanus to be crossed, and a dark Cimmerian land to be passed through.

The heavenly path taken by the soul becomes, in the eye of mortals, a _bridge_ spanning the celestial arch, and carrying them over the river of death; and men would soon begin asking themselves where lay this heavenly road. Night is necessarily associated with thoughts of death--"Death, and his brother Sleep"--and of the other world. The heavens wear a more awful aspect than by day. The sun has forsaken us, and is himself buried beneath the earth; and a million dwellers in the upper regions, who were before unseen, now appear to sight--the stars, who in so many mythologies are associated with souls. Among the stars we see a bright, yet misty, bow bent overhead: can this be other than the destined bridge of souls? The ancient Indians called this road gods'-path, because besides that it was the way for souls to God, it was also the way from gods to men. They also called it the cow-path--_gôpatha_, meaning possibly cloud-path--from which it is likely we derive our name for it, "the Milky-way." The Low-German name for the Milky-way is _kau-pat_--_i.e., kuh-pfad_, cow-path. But in their hymns the Indians oftenest speak of it as the path of Yama, the way to the house of Yama, the god of the dead:--

"A narrow path, an ancient one, stretches there, a path untrodden by men, a path I know of:

"On it the wise who have known Brahma ascend to the world Svarga, when they have received their dismissal," sings a Sanskrit poet.[32]

Another (R. V. i. 38. 5) prays the Maruts, the gods of the wind, not to let him wander on the path of Yama, or, when he does so--that is, when his time shall come--to keep him that he fall not into the hands of Nirrtis, the Queen of Naraka (Tartarus). In another place we find as guardians of the bridge two dogs, the dogs of Yama, and the dead man is committed to their care:--

"Give him, O king Yama, to the two dogs, the watchers, the four-eyed guardians of the path, guardians of men: grant him safety and freedom from pain."

Thus stands out in its complete development the myth of the Bridge of Souls: a narrow path spanning the arch of heaven, passing over the dwelling of Nirrtis, the Queen of Tartarus (perhaps not clearly distinguishable from the river of death), and reaching at last the country of the wise Pitris, the "fathers" of the tribe, who have gone to heaven before, and who since their death have not ceased to keep watch over the descendants of their race. This road is guarded by two dogs, the dogs of Yama, both wardens of the bridge and likewise psychopomps, or leaders of the soul up the strait road.

This was essentially an Indian myth--or perhaps an Indian and Iranian--and took the place of the myth of the sea journey, as it was conceived by Greeks and Germans. The Indians and Iranians had never a sea of death, so they could not have such ferrymen as the Phæaceans, or legends such as the voyages of Odysseus and the burning of Baldur. In the place of them, and with their mortal _river_, they adopted this Bridge of Souls. The guardians are manifold in their nature; for their names show them related both to Cerberus, who guards Hades, and to Hermes, who leads the souls of the dead below; and, so far as we can gather from the Vedas, these dogs of Yama discharged both offices, sometimes keeping the bridge and sometimes conducting souls along it. "Give him," says the prayer, "O Yama, to the two dogs." No doubt their terrors were for the wicked only, and they are thus apt images of death:--

"Death comes to set thee free; Oh, meet him cheerily As thy true friend."[33]

Still, as we see from their appearance, the dreadful aspect of death predominates. In like forms, as dogs or wolves, they return time out of mind in Norse mythology and in Middle-Age legend.

It has been said that this myth of the Bridge of Souls was essentially Indian and Iranian (old Persian). It is often most difficult to ascertain what were the ancient Persian beliefs: but in this case the myth has been handed down to us from the Persians through the Arabs, a people possessing of right no part or lot in its construction. It is generally acknowledged that Mohammed took from the Persians that famous bridge so vividly described in the Korân.[34] Es-Sirât is the bridge's name. It is finer than a hair and sharper than the edge of a sword, and is, besides, guarded with thorns and briars along all its length. Nevertheless, when, at the last day, the good Muslim comes to cross it, a light will shine upon him from heaven, and he will be snatched across like lightning or like the wind; but when the wicked man or the unbeliever approaches, the light will be hidden, and, from the extreme narrowness of the bridge and likewise becoming entangled in the thorns, he will fall headlong into the abyss of fire that is beneath. This is the fragment of our old Aryan mythology which the Mohammedan has taken to himself to form an image of hell and of punishment after death. It is significant that from the Persians should have been inherited the most gloomy myth concerning the Bridge of Souls. For from the same source we (Christians) gain our fearfullest notions of the Devil.

The bridge cannot be always the Milky-way. In at least one Sanskrit hymn we learn--

"Upon it, they say, there are colours, white, and blue, and brown, and gold, and red.

"And this path Brahma knows, and he who has known Brahma shall take it; he who is pure and glorious."

Here the singer is evidently describing the rainbow. Now in the Norse cosmology the rainbow had the same name as the Indian _patha-devayano_, gods'-path. The Eddas call it As-bru, the bridge of the Æsir, or gods. Its other name, Bifröst, the trembling mile, it may even have inherited from the Milky-way, for that, when we look at it, seems to be always trembling. Asbru or Bifröst, then, is the bridge whereby the gods descend to earth. One end of it reaches to the famous Urdar fount, where sit the weird sisters three--the Nornir, or fates. "Near the fountain which is under the ash stands a very fair house, out of which come three maidens, named Urd, Verdandi, and Skuld (Past, Present, Future). These maidens assign the lifetime of men, and are called Norns."[35] To their stream the gods ride every day along Bifröst to take counsel. For in the Norse creed the gods know not the hidden things of the future, nor have power to ward them off. Fate and death, the Twilight of the Gods, lies ahead for them also, as these things lie ahead of mortals.

It is possible that a trace of the rainbow bridge is to be seen in the Greek myth of the asphodel meadows, which are a part of the infernal regions. But no other trace of the Bridge of Souls--if this be one--is to be found throughout the range of Hellenic mythology.