[98] Shakespeare would certainly never have chosen this name had he been forced to retain the Roman spelling. Like Perdita, "lost lady," or "Cordelia," "heart-lady," Portia is "fortune-lady." The two great relative groups of words, Fortune, fero, and fors--Portio, porto, and pars (with the lateral branch, op-portune, im-portune, opportunity, etc.), are of deep and intrinsic significance; their various senses of bringing, abstracting, and sustaining, being all centralized by the wheel (which bears and moves at once), or still better, the ball (spera) of Fortune,--"Volve sua spera, e beata si gode:" the motive power of this wheel distinguishing its goddess from the fixed majesty of Necessitas with her iron nails; or [Greek: ananke], with her pillar of fire and iridescent orbits, fixed at the centre. Portus and porta, and gate in its connexion with gain, form another interesting branch group; and Mors, the concentration of delaying, is always to be remembered with Fors, the concentration of bringing and bearing, passing on into Fortis and Fortitude. [99] Out of whose mouths, indeed, no peace was ever promulgated, but only equipoise of panic, highly tremulous on the edge in changes in the wind. With the usual tendency of long-repeated thought to take the surface for the deep, we have conceived their goddesses as if they only gave loveliness to gesture; whereas their true function is to give graciousness to deed, the other loveliness arising naturally out of that. In which function Charis becomes Charitas[100] and has a name and praise even greater than that of Faith or truth, for these may be maintained sullenly and proudly; but Charis[101] is in her countenance always gladdening (Aglaia), and in her service instant and humble; and the true wife of Vulcan, or Labour. And it is not until her sincerity of function is lost, and her mere beauty contemplated, instead of her patience, that she is born again of the foam flake, and becomes Aphrodite; then only capable of joining herself to War and to the enmities of men, instead of to Labour and their services. Therefore the fable of Mars and Venus is, chosen by Homer, picturing himself as Demodocus, to sing at the games in the Court of Alcinous. Phaeacia is the Homeric island of Atlantis; an image of noble and wise government, concealed, how slightly! merely by the change of a short vowel for a long one in the name of its queen; yet misunderstood by all later writers, even by Horace in his "pinguis, Phaeaxque," etc. That fable expresses the perpetual error of men, thinking that grace and dignity can only be reached by the soldier, and never by the artizan; so that commerce and the useful arts have had the honour and beauty taken away, and only the Fraud[102] and Pain left to them, with the lucre.