Both these heroes are, thus, far-travelled and sorely tried men of the type of Odysseus and Æneas. Common to both are astonishment at the many and strange adventures of their own lives, and admiration of themselves, who have been protected throughout all these dangers by higher powers. But more significant is another feature which they have in common. Eudore, like Chateaubriand, is the hero who brings about the triumph of Christianity upon earth. Chateaubriand does in the reign of Napoleon what Eudore did in the reign of Galerius; and it is not his fault that he is not a martyr; the thought of martyrdom was one which often occupied him in his youth; he repeatedly said to friends that he would not have drawn back if his life had been required of him. The heroic figure always present to his imagination as a pattern is nothing less than the sacrificial victim who atones for the ungodliness and apostasy of the age, and who by his life-work and his sufferings appeases an angry God. In the first edition of _Les Martyrs_ Eudore is plainly called a lesser Christ. In writing of him the author uses the expression that the Almighty demanded "une hostie entière." In the later editions this particular expression was, on religious grounds, omitted, but in another place the same idea has been inadvertently retained, with an almost comic effect. In the account of Eudore's martyrdom we read: "The chair of fire was now ready. Seated on its glowing bars, the Christian teacher preached the Gospel more eloquently than before. Seraphims shed the dew of heaven on him, and his guardian angel sheltered him with his wings. _Il paraissait dans la flamme comme un pain délicieux préparé pour les tables célestes_." We have here the fundamental idea that distinguishes the type. The first sacrifice, the first saviour, the first "host," is not enough. Although he is a Christian, Chateaubriand does not believe that the sacrificial death of Christ has been a complete atonement, has done all that was required. To ensure the triumph of religion minor saviours, such as Chateaubriand himself and his hero Eudore, are still needed. In German Romanticism even a miserable creature like Golo in Tieck's _Genoveva_ is understood to have a resemblance to Christ; the same is the case with Eudore.[2] Though he errs in his youth and for a short time treads the path of destruction in beautiful Naples (Chateaubriand knew by experience that the best resolutions are no security against such backsliding), he reforms, stands steadfast in every trial, and dies a shining light. His love for Velléda is one of these trials.