invocation; nor is such a belief unknown in our
day.

Ulysses departs from Circe's palace and tells his companions concerning
the new voyage: whereat another scene of lamentation. To the Greek the
Underworld was a place of gloom and terror; he liked not the spirit
disembodied, he needed the sensuous form for his thought, he was an
artist by nature. The Homeric Greek in particular was the incarnation
of the sunny Upperworld, he shuddered at the idea of separating from it
and its fair shapes. But the thing must be done, as it lies in the path
of development as well as in the movement of this poem.

Ulysses must therefore go below, inasmuch as this world with its moral
life even, is not the finality. There is aught beyond, the limit of
death we must surmount in the present existence still; a glimpse of
futurity the mortal must have before going thither. So Homer makes the
Hero transcend life as it were, during life; and extend his wanderings
into the supersensible world.

The reader has now witnessed the three stages of this Tenth
Book--AEolus, the Laestrigonians, and Circe. The inner connection between
these three stages has also been investigated and brought to the
surface; at least such has been the persistent attempt. Especially has
Circe been unfolded in the different phases which she shows--all of
which have been traced back to a unity of character.

The intimate relation between the Ninth and Tenth Books has been set
forth along with their differences. Both belong to the Upperworld of
this Fableland; hence they stand in contrast with the Netherworld,
which is now to follow.

_BOOK ELEVENTH._

The present Book is one of the most influential pieces of writing which
man has produced. It has come down through the ages with a marvelous
power of reproduction; in many ways poets have sought to create it
over; indeed Time has imitated it in a series of fresh shapes. Virgil,
not to speak of other attempts in ancient Greek epics, has re-written
it in the Sixth Book of the AEneid; from Virgil it passed to Dante who
has made its thought the mould which shapes his entire poem--the
_Divine Comedy_.

It is one phase of the great Mythus of the Apocalypse, or the
uncovering of the Future State, which in some form belongs to all
peoples, and which springs from the very nature of human spirit. Man
must know the Beyond; especially the Hero, the spiritual Hero of his
race, must extend his adventures, not only over the