century vase represents it. But our Odyssey makes him use the branch as a veil to conceal his nakedness! And so do the vases of the fourth century. A version of the slaying of Hector followed by Sophocles in his Niptra* made Achilles drag his enemy alive at his chariot wheels. That is the cruder, crueller version. Our poems cannot suppress the savage insult, but they have got rid of the torture. How and when did this humanising tendency come? We cannot say; but it was deliberately preferred and canonised when the poems were prepared for the sacred Athenian recitation.
This moral growth is one of the marks of the last working over of the poems. It gives us the magnificent studies of Helen and Andromache, not dumb objects of barter and plunder, as they once were, but women ready to take their places in the conception of Æschylus. It gives us the gentle and splendid chivalry of the Lycians, Sarpêdon and Glaucus. It gives us the exquisite character of the swineherd Eumæus; his eager generosity towards the stranger who can tell of Odysseus, all the time that he keeps professing his incredulity; his quaint honesty in feeding himself, his guest, and even Telêmachus, on the young inferior pork, keeping the best, as far as the suitors allow, for his master (ξ, 3, 80 ; π, 49); and his emotional breach of principle, accompanied with much apology and justification, when the story has entirely won him: "Bringforth the best of the hogs!" (ξ, 414). Above all, it seems to have given us the sympathetic development of Hector, The oldest poem hated Hector, and rejoiced in mangling him, though doubtless it feared him as well, and let him have a better right to his name 'Man-slayer' than he has now, when not only Achilles, but Diomedês, Aias,
