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Rh any theory of modern heroism, his conduct is simply indefensible. Critics tell us that the poet, in order to enhance the glory of his chief hero, makes even the champion of Troy fear to face him. But it is no compliment, in our modern eyes, to a victorious warrior, to have it explained that his crowning victory was won over a coward. Yet perhaps there was something of this feeling maintained even by Englishmen in days not so very long gone by, when it was the popular fashion to represent Frenchmen generally, and the great French general in particular, as always running away from the English bayonets. However, to Homer's public it was evidently not incongruous or derogatory to the heroic type of character, that sudden panic should seize even the bravest in the presence of superior force. Hector, as has been said, turns and flies for his life.

Thrice round the walls of the city, his friends looking on in horror at the terrible race, he flies, with Achilles in pursuit. In each course he tries to reach the gates, that his comrades may either open to him, or at least cover him by launching their missiles from the walls against his enemy. But still Achilles turns him back towards the plain, signing to the Greeks to hurl no spear, nor to interfere in any way with his single vengeance. The gods look down from Olympus with divided interest. Jupiter longs to save him; but Minerva sternly reminds him of the dread destiny—the Eternal Law—which even the Ruler of Olympus is bound to reverence. Once more he lifts in heaven the golden scales, and finds that Hector's fate weighs down the balance. Then, at last, his guardian Apollo leaves him. Minerva, on her part, comes to the aid of her