Such is the deep struggle of the man; such is also the divine obstacle, which has to be removed by an Olympian interference before he can return. We see that Ulysses in spite of all blandishments of the Goddess and momentary weakness of himself, was ready for its removal; in his heart he has overcome Calypso, and wishes to get back to his institutional life in Family and State. Such a man must return, the Gods must be on his side, else they are not Gods. According to the Greek conception, Calypso is a subordinate deity who must be put down by the Olympians; appetite is not a devil, but a lower good, which must be adjusted to the higher. Note, then, that the external stream, or the world-movement represented by the Gods, now unites with the internal stream, the spirit of the individual, and brings forth the great event. As stated often before, these two streams run through all Homeric poetry. Ulysses now makes his raft; the hero is also a ship-builder, being the self-sufficient man, equal to any emergency, in whom lie all possibilities. The boat, still quite primitive, is constructed before our eyes; It is the weapon for conquering Neptune, and prophesies navigation. Calypso aids him in every way, she even supplies him with tools, the axe, the adze, the augur, which imply a more advanced state of civilization than has hitherto appeared in the Dark Island. Whence did she obtain them? No special answer is given; hence we are thrown back upon a general answer. Calypso is the original wild state of nature; but her transformation has begun, she helps Ulysses in her new character. These tools are themselves formed from nature into means for subduing nature; the instrument of bronze in the hands of the wood-cutter is the master of the tree. At present Calypso is also such an instrument; she, the wild product of nature, is herself transformed into a means for helping Ulysses conquer the mighty physical element before him; an implement she has become in the hand of the Gods for restoring the heroic endurer, and hence she can emblematically hand him these material implements, for they are one with her present spirit. Indeed we may carry the analogy one step further, turning it inwardly: Calypso, though once the inciter to sensuous desire, now helps the man put it away and flee from it; ethically she is converted into an instrument against her former self. In like manner nature is turned against nature by the thinking artificer.