On the track of Ulysses; Together with an excursion in quest of the so-called Venus of Melos Two studies in archaeology, made during a cruise among the Greek islands — Edition Insights

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Stillman, William James, 1828-1901 Project Gutenberg 2019 Not confirmed
Odysseus, King of Ithaca (Mythological character); Homer. Odyssey; Venus de Milo; Ionian Islands (Greece) -- Description and travel; Melos (Greece : Municipality) -- Antiquities Readers of public-domain and historical texts
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The source record for On the track of Ulysses; Together with an excursion in quest of the so-called Venus of Melos Two studies in archaeology, made during a cruise among the Greek islands — Edition Insights measures this digital text at 35,879 words, 2 hr 36 min estimated reading time, and 4 detected text sections.

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Stillman's archaeological cruise among the Greek islands traces Odysseus's route through the Ionian Sea, examining Homeric geography against physical ruins. A second study investigates the disputed identity of the Venus de Milo. The narrative blends travelogue, ancient sources, and site-specific observations from Samé and other locations.
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ich history affords with what we now find in Ithaca, we have ample ground to suppose that, while our part of the world has made certain advances, this has rather retrograded. A scanty population, the greater part of the island indeed uninhabited; ruins of great cities where now there is not a shepherd’s hut; a wretched, sordid life in which not even poetry, the offspring of sorrow, can find a foothold; utter insignificance in the world of men,—this is what the island of Ulysses, which fills so large a part of the Old World’s poetry, shows us to-day.

We woke like Ulysses under the shadow of Neriton, but not like him under the olive’s shade. Our yacht was anchored in a tranquil and land-locked bay, Port Vathy (the deep), round the shores of which stretch and gleam, white in the sun, the houses of the modern capital of Ithaca, a dull, utterly uninteresting town, neither whose past nor present is worth a note.

Devastated by Turks and corsairs by turns, conquered by Christian and Infidel, the tribute of death and pillage had at one time nearly left the island a desert, and Venetian chronicles report the repeopling of it by a Slavonic colony; but there is good evidence, as we shall see presently, that there was never quite an end of the original stock. Though one does see occasionally strongly Slavonic faces, the population is now in language and manners purely Greek, with some of the worst traits of the race strongly developed. By good chance I found an old acquaintance in Mr. Caravia, a deputy for Ithaca to the Greek Assembly, then in vacation, and I had a letter to Aristides Dendrinos, the principal personage of the island; and through their united attentions we were made as much at home in Ithaca as possible. But the Ithacans are shrewd folk, sharp dealers who look at foreigners as the Hebrews did on the Egyptians, as made to be spoiled; and we were unlucky enough to have arrived in the Greek Lent, which, as they observe it, is equal to starvation to outsiders. The excellent wine of Ithaca, one of the best of Greek wines, is quite worthy its ancient reputation; but flesh was unattainable, and fish so rare, owing to the people’s habit of killing them with dynamite, that we could not get enough for a breakfast. The fowls in Greek lands, living an outcast life, never fed, but expected to grow, as the partridges do, on the bounties of nature, hardly offer a compensation for the trouble of picking their bones. They combine all the misfortunes of the wild and domesticated conditions, with none of the advantages of either, and offer a scant resource to the caterer. We made haste to see what was to be seen in Ithaca, and study our great predecessor’s footprints, but we found the learning harder than the living. The island Greek is quick-witted, and, like the Irishman, never confesses himself at fault in anything you want to know, especially in things connected with ancient history or archæology. He solves the hardest and most obscure problem by a bold dash, and is even surer than Schliemann in his breezy inductions. It is amusing and cheering to see a man so cock-sure of what archæology has puzzled over so many years. On inquiring for a guide to shorten my researches (for, though Homer is guide-book enough for Ithaca, one may be a long time in tracing out the Odyssean movements by the poem), every one was ready to show me everything. Before leaving I found an intelligent guide, as such go, in one Angelo Persego, whose name I record for the benefit of such of my readers as may be tempted (out of the Greek Lent) to visit Ithaca. But here let me drop a word of advice for all voyagers in Greek lands. Take a guide for lodgings and living, but never place any confidence in his identifications or local traditions. He may be right, but the chances are nine to one he is not. He may even have been over the ground before, but his assurance to that effect is no evidence. I found the men I selected utterly ignorant, as usual, of almost all I wanted to learn; but I found a little book by G. F. Bowen, one time Fellow of Brasenose and President of the Ionian University, which, though dated in 1850, gives a sufficient clue to the topography to enable one to dispense with a guide, except to find the best roads.

Vathy does not occur in the Odyssey under any name, nor is there any trace of antique structures about it. In the illustration the narrow entrance at the right is Vathy; the cove in the centre, with the island off it, is the port of Phorcys, where Ulysses was landed, and which, for the uses of ancient mariners, who beached their ships instead of anchoring them, was a better port than Vathy. It corresponds in the minutest detail to Homer’s account of it,—a smooth, sandy beach, complete shelter from all winds, and only varying in any particulars in its surroundings by a greater distance from the grotto where the Phæacians hide the presents Ulysses brings with him; but of this more is to be said.

The Odyssey gives no intimation of any city near the landing-place. The port of Ulysses’ own capital was much nearer Phæacia, and the ship might have landed him at his own door. The reason of this excessive caution was that during so long a time he had had no news from home, and his Phæacian friends knew that he might find his city in the hands of an enemy.

Awaking, then, from the sleep in which he had been so gently landed by the crew of the Phæacian ship, he finds himself in a strange land, as he supposed, and in complete solitude, and arms himself with his habitual cunning, distrusting everything. When Athena comes to him in the form of a shepherd, he asks where he is; and being told that he is at last in the long-sought Ithaca, he is transported with joy, but conceals his emotion and addresses the goddess with these hasty words, disguising the truth and telling his story falsely, always turning in his mind many artifices: “I, too, have heard, in the far-off, immense island of Crete, of the island of Ithaca. It is, then, in that country that I have arrived with my treasures. I have left an equal part to my children because I fly from my native land, where I killed the dear son of Idomeneus,” etc., etc., going on with a long history to account for his presence in Ithaca, a place unknown to him, which fable he only drops when Athena throws off her disguise; but he still is unconvinced that he is in Ithaca. She calls his attention to Neriton in front of him, and having convinced him, helps him hide his treasures in the grotto, when they sit down under the olive-tree over its entrance, and she tells him how matters stand at home, and contrives plans for getting rid of the pretendants, who would, no doubt, put an end to him if he fell into their hands. This seems to be his conviction, for he exclaims: “Great gods! if you had not enlightened me I should have perished in my palace, like Agamemnon. Come, let us plan a means by which I may revenge myself on them all.” This hint of the fate of Agamemnon, whose end he had learned, is the clue to his cautious deportment. They plan as follows: He will be disguised by Athena, so that not even his wife shall know him, and will then go to Eunæus, who keeps his swine by the Raven’s Cliff, near Arethusa’s fountain, and wait with him studying up the position, while she goes off to Lacedæmon to bring back Telemachus, whom she had sent there nominally to get news of his father, but really, as she informs Ulysses, to give him an opportunity, hitherto wanting, to see the world and acquire renown. Here they separate, and Ulysses takes the secret path.

The position of the grotto makes the only difficulty in tracing all his movements; for it is not, as one would expect from the text, at the head of the port, strictly speaking, but at the head of the little ravine which ends in the port, a good quarter of an hour’s walk from the shore, even making allowance for all the recession of the water-line, which has evidently been considerable. The grotto itself corresponds exactly with the description, and can be entered by mortals only in the usual way, by the small opening which looks toward the port. “It has two entrances: one, turned toward the breath of Boreas, is for human use; the other, toward that of Notos, is more divine. Never man enters by that; it is the way of the immortals.” The human entrance is a low, almost invisible opening, or at least, easily passed without notice, at a short distance. Even now, when all vegetation has disappeared from around it, and the olive-trees come only half-way up the hill, it would easily be hidden by a large stone, as Minerva hides it. The entrance, low and precipitous, widens rapidly within, and we descend by what might once have been artificially prepared steps to a vault-like cave, sixteen to twenty feet in diameter, with a curious recess at the farther end, and at the top of the vault another opening, like the top window of the Pantheon of Rome, or any of the circular temples whose form was derived from the vaulted tomb or treasury of Pelasgic architecture. At first sight I thought this opening might have been artificial, but on close examination I saw that the formation of the rock led to it naturally, and that, hardly large enough to admit a human body readily, it could only, if enlarged, be entered by a person’s being let down with a cord. This is the “immortals’ entrance.” Under this opening lies a huge heap of stones, the accumulation of centuries, for the lower portions are cemented together by the stalagmitic deposit from the rock above; and the walls of the grotto, despite the breaking off of every attackable stalactite, are also formed of carbonate of lime so deposited. The difference between the actual distance from the water’s edge to the grotto and that which is indicated by the narrative of the Odyssey is not more than a fair poetic license would permit; or the memory of the narrator, having known the localities, might well in a few years of absence leave out this short distance.

The Odyssean topography is greatly confused to the modern traveler by the fact that the Homeric city undoubtedly stood at the northern end of the island, and far remote from the modern city as well as from the landing-place of Ulysses and the pig-pens of Eumæus. The view from the grotto gives us, at the left, a bay of which Vathy and Phorcys are tributaries. This cuts the island nearly in two, a narrow ridge of rock only connecting its two great masses. On the north is the site of the Homeric city, as I shall presently show; but on the south are the Raven’s Cliff and the fountain of Arethusa, together with an ancient ruin known by the people as the “Castle of Ulysses.” These ruins are of the earliest form of Pelasgic, commonly named Cyclopean, though there is no justification for any distinction between the “Pelasgic” and the “Cyclopean,” or any proper distinction of styles, as they run into each other, from the form shown at “Ulysses’ Castle” to the most elaborate and carefully fitted polygonal which we shall find at Samé on the opposite shore of Cephalonia. The walls of Ulysses’ Castle are of great extent, and portions still remaining near the summit are well preserved, some fragments being nearly twenty feet high. It must have been the work of a powerful tribe and a great stronghold. Seen from the sea, it shows on a sharp conical rock precipitously trending down to the shore. The Odyssey in no manner makes allusion to this, either as city or as ruin. Ulysses passes very near it going south, leaving it on the right, apparently ignoring its existence. This makes it tolerably clear that it had been so long in ruin that it was in no way to be connected with the Odyssean dynasty or colonization even, or that it was constructed after the Homeric epoch. The latter hypothesis is untenable, because we find in many parts, especially in the Argolid, ruins clearly contemporary with this, which are in the Hellenic traditions regarded as the work of a vanished and semi-divine race of giants, the Cyclopes or the “divine Pelasgi;” while, of the Homeric epoch, as distinguished from the Pelasgic, which preceded it, and the Hellenic, which followed it, we have no recognizable remains, and the cities known to have existed, such as the Ithaca of Ulysses, have left no ruin durable enough to show in our time. This indicates a state of civilization in which the great necessity of strong walls as a defense had passed, or that, by the use of cement, walls were made so light in structure that they were efficient for the day, but perished utterly in the intervening time, which again is an untenable hypothesis, because we find cement used nowhere in Greece in work known to be earlier than the third century B. C. I leave the question of the identity of the Odyssean epoch with that of the composition of the poem at present untouched. I am dealing only with the poem which philologists suppose to have been composed about 850 B. C. That the author knew Ithaca perfectly, I think we shall see, and that consequently the ruins of the Pelasgic epoch, when not continuously inhabited (as were Nericus and Samé, the former of which Laertes conquered, and the latter of which sent the largest deputation of “kings” as suitors for Penelope, the foundations of both being Pelasgic), were already so lost in the twilight of prehistory as to be without any meaning to the author of the Odyssey. The city whose ruins are now called the Castle of Ulysses was as unknown to the epoch of Homer as to ours. No one in the whole action of the Odyssey goes in or out of its gates, or turns aside from his path to speak of or visit it. “Kings” were as common as rascals in those days, but that two important cities should exist contemporaneously in the small island of Ithaca, and that the people of Ulysses should live in one, pasture their hogs on the territory of the other, and ignore its existence, is impossible. This does not prevent Schliemann from identifying the house walls, which remain to a small height, with the pig-pens of Eumæus, or a huge stump near the citadel, with the tree from which Ulysses had made his bed (_Ithaca, Peloponnesus and Troy_).

That this part of the island was nearly or quite unpopulated is made more than probable by the facts that no mention is made of any city or people here; that the only features mentioned are the wildness, and forests abandoned to feeding of pigs; and that Ulysses selects this part for his concealment. The path Ulysses probably followed from the port of Phorcys to the Raven’s Cliff is by far too hard for dilettante following; it is not only impassable to beasts of burden, but, I should say, difficult for a pedestrian. There is a road carriageable for a few miles from Vathy along the ridge southward, and then a fair bridle-path to the cliff, which, had we known it, would have led us somewhere near the location of Eumæus’s sties; but the guide my friends had recommended me, on his personal assurance, did not know the road, and we went wandering across fields and over hills, abandoning our quadrupeds at the moment when they would have been our best guides; and, finally, the fellow had to go to a ploughman scratching the earth with a crooked stick behind a yoke of year-old heifers, and inquire his way. I exhausted my modern Greek in exasperated vituperation of his pretentious ignorance, and took the lead, as I generally have had to do on similar occasions.

There was a pretty little valley on our way, the only arable or fruitful land in this part of the island; all else was bare and bleak. A few tough-lived shrubs, broom and gorse, arbutus, and some others I did not know, wring a scanty subsistence from the clefts between the rocks, and in a mass of almost unmitigated limestone was cloven a ravine. The roughness of Ithaca was proverbial even in Homeric days, since Athena, while disguised as a shepherd, replies to Ulysses, “If it [Ithaca] is rocky, if it breeds not horses in its moderate space, it is not quite barren,” etc. One might well select this scene as one of tranquil beauty, with the faint glimpses of the dreamy inner sea above its valley distance, and the golden grain-fields as I saw them, interspersed with vineyards and olive-orchards.

The glen of the Raven’s Cliff becomes a wild gorge below the fountain of Arethusa, and descends abruptly to the sea. Above, a stripe of bare, pale-gray rock down the cliff shows that in winter it is the location of a cataract, though, when I visited the locality, dry as summer dust. The fountain of Arethusa is situated about half-way from the cliff to the sea, and bears the evidences of an immense antiquity. Remains of an architectural surrounding are still to be seen, which, with some foundations of walls of the Roman period, evidently of a temple to the nymph or local goddess, and “Ulysses’ Castle,” are the only traces of ruin discoverable in this lobe of the island. The recess of the fountain has once been much larger, but the slow process of depositing the calcareous incrustation which forms its walls has gone on so long that only a small deep basin remains, from which the people draw the water with a cord and bucket. Its niche is cushioned with moss and maidenhair ferns, and the soft porous rock is always moist with the filtering through of the water. A wooden trough is placed for the watering of the sheep and goats which take the place of the hogs of Eumæus, for this is the only perennial source of water in the region.

An old woman, wrinkled and bowed, looking like one of the Fates, sat near the fountain, combing the wool she had washed at it; and on the opposite side the nymph of the fountain, in the shape of a young matron of some neighboring hamlet, was washing her clothes. The wash was boiling when we came up, over a fire of brambles and weeds; but the utensil which took the place of the bronze caldron of the antique house-mother was an American petroleum-can, with a wire bale fitted in rudely, and the stamp of the New York Refining Company was still visible on the tin. We talk of the omnipresence of gold, of the omnipotence of cotton; but in my wanderings on the earth I have found places where the people did not know the value of a piece of gold, and wore nothing but the homespun and woven wool of their flocks and flax of their fields, while I have never found one that did not know petroleum; and I have learned that the petroleum-can is a more universal concomitant of civilization than English cutlery or American drillings.

The pens of Ulysses’ pig-herd were at the top of the cliff, where a plain of small extent and soil of scanty depth still maintains an olive-grove, sole representative of the forest of oaks whose acorns fattened the swine for the revels of the suitors of Penelope.

Here Ulysses finds Eumæus, and here, in his anxiety to convince him of the truth of his prediction of the return of the wanderer, he says: “If he return not as I declare, let your servants seize me and throw me over the high rock, that vagabonds may learn in future to abstain from useless falsehoods.”

Stillman begins his account not with a preface about Homer but with a dedication to Wendell Phillips Garrison, praising his rectitude amid the "Olympian dust" of ambition. The preface then clarifies that these papers originated as magazine commissions for the Century, aiming to solve archaeological problems in a popular form. Stillman admits his solution for the Venus of Melos rests on "artistic instinct" rather than strict demonstration, inviting judgment by "highest probability." This framing positions the reader as a companion in inductive reasoning, not a passive recipient of facts.

Reading the Landscape as Evidence

Stillman treats the Ionian islands as a text to be read alongside Homer. At Samé, he describes ruins of "all epochs" coexisting: Pelasgic walls, Hellenic masonry with stones "twelve to fourteen feet long," and medieval fortifications built atop ancient towers. He notes that the city's wealth is indicated by tombs lining the roads and enumerates Roman booty—two hundred golden crowns, eighty-three thousand pounds of silver—from a translated passage. The reader is asked to weigh such details against the Homeric account, but Stillman does not force a conclusion; he presents the physical evidence and lets the discrepancies speak.

The Slingers of Samé and Tactical Detail

In a lengthy excerpt from a Roman siege narrative, Stillman reproduces a description of Achaean slingers whose weapons were "threefold and made firm by several seams," allowing them to hit any part of an enemy's face at great distance. This technical precision—contrasting the Balearic sling's single strap—grounds the archaeology in practical warfare. Stillman then notes that these slings "checked the Saméans from sallying," leading to a four-month siege. The passage exemplifies how Stillman interweaves ancient texts with his own site inspections, expecting the reader to follow the thread from literary source to material remains.

Conjecture and the Limits of Certainty

Stillman repeatedly flags his own uncertainty. At Samé, he writes that "it is only by conjecture we can distinguish between the two hills," both covered with ruins. He describes walls "so broken in their circuit" that no plan of the siege could be made. Yet he does not abandon the attempt; instead, he offers a reasoned guess that the westernmost hill was captured first. This honesty about incomplete data invites the reader to share in the detective work, not to expect a definitive map. The book thus models a method: gather all available evidence, acknowledge gaps, and advance the most probable interpretation.

The Venus de Milo as an Induction

Stillman frames his second study as an "induction in which a kind of artistic instinct" plays the greatest part. He does not claim to have solved the problem of the statue's identity to the satisfaction of "severely scientific" archaeologists. Instead, he asks that his solution be judged by "highest probability." This approach mirrors the first study's method: the reader is not given a final answer but an argument built from observation and intuition. The preface's warning—that the solution may not command universal assent—prepares the reader to engage critically rather than passively accept.

Stillman's twin studies reward a reader willing to move between ancient texts, physical ruins, and reasoned conjecture. The book does not provide a tidy narrative; it offers a process. Pay attention to how Stillman weighs evidence—the size of stones, the shape of slings, the placement of hills—and note where he admits uncertainty. The pleasure lies not in the destination but in the tracking itself.

I came away from Stillman’s cruise feeling that every landmark hides another story, and the same ache lingers here—old surfaces, newer secrets. New York: Confidential! — Themes and Context carries that shadow into a city I thought I knew, and I’ve been quieter about it since.

Michael Torres
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Sofia Johnson
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Daniel Rivera
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1 month ago

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  • ...
    Tricia Ochoa - 3 weeks ago
    {'rating': 2, 'text': 'The book promises more than it delivers. The author spends too much time on speculative theories about Odysseus and the Venus, and the narrative meanders. The travelogue aspect is overshadowed by dense archaeological jargon. The writing feels dated and the lack of illustrations is a major drawback for a book about art and sculpture. Only for the most patient academic readers.'}

  • ...
    Joseph Gibson - 2 weeks ago
    {'rating': 3, 'text': "A scholarly work that offers intriguing insights into Odysseus's route and the Venus de Milo, but the writing can be dry and overly detailed for casual readers. The author clearly knows his subject, and the island descriptions are evocative, yet the pace is slow, especially in the sections on sculpture. Recommended for dedicated archaeology enthusiasts, less so for general readers."}

  • ...
    Leslie Hunt - 2 weeks ago
    {'rating': 5, 'text': "This is a fascinating archaeological travelogue that combines classical scholarship with a vivid account of a Greek island cruise. The author's meticulous research into Homer's Odysseus and the Venus de Milo is presented in an engaging, accessible style. The descriptions of the islands and the journey are so vivid you feel you are there. A must-read for anyone interested in classical antiquity or Greek history."}


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