4. In each division, again, there is a supreme woman at the center of domestic life--Penelope in the one, Arete in the other, each being wife and mother, each supremely faithful to her institution, the Family. This predominance and glorification of the married woman and the home constitute a common characteristic of both divisions, and show the same fundamental conception of her worth, as well as of her position in the social order. It may be doubted if Modern Literature has improved upon this Homeric representation. 5. Then the contrasts between the Telemachiad and the Ulyssiad link them together. Disturbed Ithaca, peaceful Phaeacia; the theoretic education of the son, the practical discipline of the father; Telemachus, the son of his father, Nausicaa, the daughter of her mother, the Ithacan boy and the Phaeacian girl--such are a few of these contrasts. Finally father and son, strongly contrasted, yet having their unity in this family of which they are members, suggest the unity of the poem of which they are characters. These bonds of connection are so strong that they overbalance all discrepancies of single passages, interpolations, and inconsistencies of detail. Still, if the mind of the critic refuses the general sweep, and insists upon prying asunder the joints, and upon looking through its microscope at the little things, it will find only separation, discord, and many small Homers instead of a single great Homer. The particular always divides, but the general unites; so the Homeric poems will have two sets of reader, the dividers and the unifiers.