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“I will tell Penelope,” answered Ulysses, “nothing but what is strictly true. I know all about her husband, and have been partner with him in affliction, but I am afraid of passing through this crowd of cruel suitors, for their pride and insolence reach heaven. Just now, moreover, as I was going about the house without doing any harm, a man gave me a blow that hurt me very much, but neither Telemachus nor any one else defended me. Tell Penelope, therefore, to be patient and wait till sundown. Let her give me a seat close up to the fire, for my clothes are worn very thin—you know they are, for you have seen them ever since I first asked you to help me—she can then ask me about the return of her husband.”

It was a novel without a plot and with only one character, being, indeed, simply a psychological study of a certain young Parisian who spent his life trying to realize in the nineteenth century all the passions and modes of thought that belonged to every century except his own, and to sum up, as it were, in himself the various moods through which the world-spirit had ever passed, loving for their mere artificiality those renunciations that men have unwisely called virtue, as much as those natural rebellions that wise men still call sin. The style in which it was written was that curious jewelled style, vivid and obscure at once, full of argot and of archaisms, of technical expressions and of elaborate paraphrases, that characterizes the work of some of the finest artists of the French school of Symbolistes. There were in it metaphors as monstrous as orchids and as subtle in colour. The life of the senses was described in the terms of mystical philosophy. One hardly knew at times whether one was reading the spiritual ecstasies of some mediæval saint or the morbid confessions of a modern sinner. It was a poisonous book. The heavy odour of incense seemed to cling about its pages and to trouble the brain. The mere cadence of the sentences, the subtle monotony of their music, so full as it was of complex refrains and movements elaborately repeated, produced in the mind of the lad, as he passed from chapter to chapter, a form of reverie, a malady of dreaming, that made him unconscious of the falling day and creeping shadows.

The quantity of beer, too, is very large, 10,800 barrels. Now, as those polar fisheries could only be prosecuted in the short summer of that climate, so that the whole cruise of one of these Dutch whalemen, including the short voyage to and from the Spitzbergen sea, did not much exceed three months, say, and reckoning 30 men to each of their fleet of 180 sail, we have 5,400 Low Dutch seamen in all; therefore, I say, we have precisely two barrels of beer per man, for a twelve weeks’ allowance, exclusive of his fair proportion of that 550 ankers of gin. Now, whether these gin and beer harpooneers, so fuddled as one might fancy them to have been, were the right sort of men to stand up in a boat’s head, and take good aim at flying whales; this would seem somewhat improbable. Yet they did aim at them, and hit them too. But this was very far North, be it remembered, where beer agrees well with the constitution; upon the Equator, in our southern fishery, beer would be apt to make the harpooneer sleepy at the mast-head and boozy in his boat; and grievous loss might ensue to Nantucket and New Bedford.

*I remember the first albatross I ever saw. It was during a prolonged gale, in waters hard upon the Antarctic seas. From my forenoon watch below, I ascended to the overclouded deck; and there, dashed upon the main hatches, I saw a regal, feathery thing of unspotted whiteness, and with a hooked, Roman bill sublime. At intervals, it arched forth its vast archangel wings, as if to embrace some holy ark. Wondrous flutterings and throbbings shook it. Though bodily unharmed, it uttered cries, as some king’s ghost in supernatural distress. Through its inexpressible, strange eyes, methought I peeped to secrets which took hold of God. As Abraham before the angels, I bowed myself; the white thing was so white, its wings so wide, and in those for ever exiled waters, I had lost the miserable warping memories of traditions and of towns. Long I gazed at that prodigy of plumage. I cannot tell, can only hint, the things that darted through me then. But at last I awoke; and turning, asked a sailor what bird was this. A goney, he replied. Goney! never had heard that name before; is it conceivable that this glorious thing is utterly unknown to men ashore! never! But some time after, I learned that goney was some seaman’s name for albatross. So that by no possibility could Coleridge’s wild Rhyme have had aught to do with those mystical impressions which were mine, when I saw that bird upon our deck. For neither had I then read the Rhyme, nor knew the bird to be an albatross. Yet, in saying this, I do but indirectly burnish a little brighter the noble merit of the poem and the poet.