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ryland, toward Egypt and the East, leaving Hellas and Troy behind, quite as Ulysses here does. It was the story of Menelaus in the Fourth Book, who also found Proteus and Eidothea, a new order of deities, though Olympus and Zeus lay in the distant background. Moreover, Proteus and Eidothea represent the two sides, the supersensible and the sensible, the latter of which must be transcended and the former grasped, ere return be possible. Nestor also tells his own experience in the Third Book, but he keeps inside of Hellas and under the direct control of the Greek Gods. Hence no Faery Realm rises in his narrative, he needs none for self-expression. But Menelaus and Ulysses, wandering far over the Greek border, reach a new world, and require a new art-form for their adequate utterance. Especially is this the case with Ulysses, who has had a much larger and deeper experience than Menelaus, and who thus stands in strong contrast with Nestor, the old man of faith with his devotion to the old order, who has no devious return from Troy, and continues to live in immediate unquestioning harmony with the Olympians. There is no room in Pylos for a Circe or a Polyphemus. Ulysses, therefore, having reached the court of Phaeacia, takes a calm retrospect of the past, and recounts the same to the people there; he comes to know himself, and he uses art for self-expression, not for the praise of the external deed of war; his inner life is the theme. In other words, he has become self-conscious in Phaeacia, he knows his own processes, and shows that he knows them. As already pointed out, this internal movement of his spirit is the process of the negative, he has turned denier of the old institutional order of Greece, and he has to work through into a positive world again, which he now sees before himself in Phaeacia. To be sure, the self-consciousness to which he has attained is not expressed in the language of philosophy, but in poetry, in a transcendental Fairyland. There is as yet no Greek language of philosophy; a long development will bring it forth however; Aristotle will deracinate the last image of Homer, and leave the Greek tongue supersensible. 7. The fact that Ulysses must tell his own story is deeply coupled with the following characteristic: these four Books of Fableland are essentially a confession. From beginning to end we observe it to be an account of shortcomings and their results; we find the acknowledgment of er
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