Meantime the uproar has called forth Penelope, who desires to see the strange beggar. The wish is conveyed to Ulysses, who artfully requests that the interview be deferred till night-fall; the wife might see through his disguise. The time for this recognition has not yet come. She wishes to hear of her husband, thinks of him in some such pitiable plight as this beggar is in; she shows sympathy. A charitable disposition is indeed a characteristic of the whole household, nurses and all; misfortune has brought its blessing. Herein the contrast with the Suitors is emphatic, they are a stony-hearted set, trained by their deeds to violence and inhumanity. Eumaeus praises the minstrel talent of Ulysses; the poet endows his hero with the gift of song in this poem; compare the praise given by Alcinous to the singer of Fableland. So Achilles in the Iliad was found by the embassy singing the glory of heroes. Nor must we pass by that deeply-grounded belief in the good-luck which comes from a sneeze. Telemachus sneezes at the right moment, and Penelope interprets the omen, with a smile, however, which hints a touch of humorous incredulity. Finally we may reflect upon that true Homeric view of the world indicated in the words of Telemachus: "All these matters will be cared for by myself and the Immortals." These are the two sides working together throughout the poem. _Book Eighteenth._ Ulysses, as beggar, has now gotten a foothold in his own house. He has made the transition in disguise from the hut to the palace; he has tried his preliminary test upon the Suitors, the test of charity, and found out their general character. He is not recognized, on account of external disguise in part; yet this disguise has its internal correspondence. The present Book is one of warnings; on all sides the Suitors are admonished of the day of wrath which is coming. In Homeric fashion they are told to change, to repent, to cease their wrong-doing. We observe three parts: first is the conflict with the beggar Irus, foreshadowing the conflict and outcome with the Suitors; second is the appearance of Penelope, the female Ulysses in craft and in disguise, here hoodwinking the Suitors; third is the male Ulysses, in craft and in disguise, observing, testing, planning fate for the guilty. I. Ulysses has assumed the part of a beggar, but he finds a real beggar on the ground ready to dispute his right. Irus, this mendicant, has a character on a par with the Suitors, violent, inhuman, insolent; he is, moreover, one with the Suitors in taking other people's property for nothing. There is no doubt that the poet casts an image of the Suitors in the portrait of Irus, who acts toward Ulysses the beggar, as they do toward Ulysses the ruler. It is manifest by word and deed that his humble life has not given him the training to charity.