He is no victim. He suffers but he does not buckle. His virtue is his elasticity, his rubber vigour. If he is pushed, he bends, but he bends back, and that half-giving strength was to me a beautiful model for a man. He was all navigation, subtlety, invention, dodging the rocks, story-telling, cheating and survival. He can be resolute, fierce and destructive when need be, and clever, funny and loving when need be. There is no need to choose between these qualities; Odysseus makes them all available.
Like Shakespeare and the Bible, we all know his stories in advance, but there was one in particular which struck me that summer sailing on the Auk. We had left the Arans late the evening before, and George had taken her all night up the dark of the Galway coast. We changed at dawn, and in that early morning, with a cup of tea in my hand at the wheel, and the sun rising over the Irish mainland, I took her on north, heading for the Inishkeas and the corner of County Mayo, before turning there and making for Scotland.
The wind was a big easterly, coming in gusts over the Mayo hills, the sun white and heatless. George, and my son Ben who had joined us, were asleep below. There were shearwaters cruising the swells beside us, black, liquid, effortless birds, like the sea turned aerial, and a fulmar now and then hung in the slot between the headsail and the main, flying with us on the current of air. The Auk surged on the wind that morning, heeling out into the Atlantic, churning her way north, horse-like in her strength. I don’t know when I have felt so happy.
Steering across the swells, holding the wheel against them as they came through, releasing it as they fell away, I propped the great Robert Fagles translation of the Odyssey against the compass binnacle, tying it open with a bungee cord in the wind, and absorbed his words. That morning I read the story of the Sirens. Just as we do, Odysseus knew he would be exposed to the songs which the strange, birdlike creatures sang to mariners and with which they lured passing ships on to the shore, wrecking them there and then leaving the men to linger until they died.fn1 The only way Odysseus could get past the Sirens was to cut up a round cake of beeswax, knead it in his hands, softening the wax in the heat of the sun, and then press plugs of it into the ears of the sailors. Once they were deafened, he had himself lashed to the mainmast, so that any desire he might have to steer towards the delicious honeyed voices could have no effect on his men. Only if he were powerless could he listen to them singing from their meadow, as Robert Fagles translated it, ‘starred with flowers’.
That meadow of death is the most desirable place any man could imagine. It is yet another island into which a man might long to sink and die. A dead calm falls on the sea. The men brail up the sail and then sit to their oars. The Sirens, just within shouting distance of the ship, taunt Odysseus as he passes. They can give him wisdom if he will come to them and listen. If he will let them, they will make him understand. They press on him the comfort and beauty of what they have to offer. They sing to him and Odysseus longs for them, his heart throbbing for them, as Fagles says, and with his eyebrows gestures to the crew to set him free. But the crew won’t respond. Deaf to all persuasion, they bind him tighter and row the ship through and past.
Odysseus, bound to the mast of his ship, its mainsail brailed up, resists the seduction of the Sirens’ song. From a stamnos, or storage jar, made in Athens in about 480 BC but exported to the Etruscan city of Vulci, on the Mediterranean shore sixty miles north of Rome, where it was excavated in the nineteenth century. It is now in the British Museum, which bought it in 1848 from its collector, one of Napoleon’s daughters-in-law.
Never is Homer more rapid. Like Odysseus’s ‘sea-swift’ ship, the whole scene sweeps past in forty lines. Rarely can something so brief have spread its ripples so wide. But the point is this: the song the Sirens sing is not any old crooning seduction tune. It is the story of the Iliad itself.
We know all the pains that the Greeks and Trojans once endured
On the spreading plain of Troy when the gods willed it so –
All that comes to pass on the fertile earth, we know it all.
The Sirens sing the song of the heroic past. That is the meadow of death. They want to draw Odysseus in with tempting stories of what he once was. And Odysseus, after his years of suffering and journeying, of frustration in the beautiful arms of Calypso, whose name means ‘the hidden one’, the goddess of oblivion, longs to return to the active world, the world of simplicity and straightforwardness he had known at Troy. The Sirens are wise to that: they know the longing in his heart. The prospect of clear-cut heroism summons him and he struggles to escape his bindings. But his men, like the poem itself, know better, and they tie him tighter to his ship. They won’t be wrecked on the illusions of nostalgia, on the longing for that heroised, antique world, because, as the Odyssey knows, to live well in the world, nostalgia must be resisted: you must stay with your ship, stay tied to the present, remain mobile, keep adjusting the rig, work with the swells, watch for a wind-shift, watch as the boom swings over, engage, in other words, with the muddle and duplicity and difficulty of life. Don’t be tempted into the lovely simplicities that the heroic past seems to offer. That is what Homer, and the Sirens and Robert Fagles all said to me that day.
I can still see the sunlight coming sheening off the backs of the swells that morning, as they made their way past and under me, combed and slicked with the sea-froth running down them, every swell the memory of storms in the Atlantic far to the west, steepening to the east and then ruining themselves ashore. The Auk sailed north with the shearwaters and the morning became unforgettable. It was when this book began.
I thank God I met Homer again that summer. He was suddenly alongside me, a companion and an ally, the most truly reliable voice I had ever known. It was like discovering poetry itself, or the dead speaking. As I read and reread the Odyssey in translation, I suddenly felt that here was the unaffected truth, here was someone speaking about fate and the human condition in ways that other people only seem to approach obliquely; and that directness, that sense of nothing between me and the source, is what gripped me. I felt like asking, ‘Why has no one told me about this before?’
The more I looked at the poems in different translations, and the more I tried to piece bits of them together in the Greek with a dictionary, the more I felt Homer was a guidebook to life. Here was a form of consciousness that understood fallibility and self-indulgence and vanity, and despite that knowledge didn’t surrender hope of nobility and integrity and doing the right thing. Before I read Pope’s Preface to the Iliad, or Matthew Arnold’s famous lectures on translating Homer, I knew that this was the human spirit on fire, rapidity itself, running, going and endlessly able to throw off little sidelights like the sparks thrown off by the wheels of an engine hammering through the night. Speed, scale, violence, threat; but every spark with humanity in it.
PARIS, 11 MAY 1863, Le Repas Magny, a small restaurant up a cobbled street on the Left Bank in the Sixième. Brilliant, literary, sceptical Paris had gathered, as usual, for its fortnightly dinner. The stars were there: the critic and historian Charles Sainte-Beuve; the multi-talented and widely admired playwright and novelist Théophile Gautier; the unconscionably fat Breton philosopher, the most brilliant cultural analyst of the nineteenth century, Ernest Renan; the idealistic and rather intense Comte de Saint-Victor, a minor poet and upholder of traditional values; and observing them all the supremely waspish Jules de Goncourt, with his brother Edmond.