Chapter III (5)

First, however, for the explanation. Mr Newman has published a reply to the remarks which I made on his translation of the _Iliad_. He seems to think that the respect which at the outset of those remarks I professed for him must have been professed ironically; he says that I use ‘forms of attack against him which he does not know how to characterize’; that I ‘speak scornfully’ of him, treat him with ‘gratuitous insult, gratuitous rancour’; that I ‘propagate slanders’ against him, that I wish to ‘damage him with my readers’, to ‘stimulate my readers to despise’ him. He is entirely mistaken. I respect Mr Newman sincerely; I respect him as one of the few learned men we have, one of the few who love learning for its own sake; this respect for him I had before I read his translation of the _Iliad_, I retained it while I was commenting on that translation, I have not lost it after reading his reply. Any vivacities of expression which may have given him pain I sincerely regret, and can only assure him that I used them without a thought of insult or rancour. When I took the liberty of creating the verb _to Newmanize_, my intentions were no more rancorous than if I had said to _Miltonize_; when I exclaimed, in my astonishment at his vocabulary, ‘With whom can Mr Newman have lived’? I meant merely to convey, in a familiar form of speech, the sense of bewilderment one has at finding a person to whom words one thought all the world knew seem strange, and words one thought entirely strange, intelligible. Yet this simple expression of my bewilderment Mr Newman construes into an accusation that he is ‘often guilty of keeping low company’, and says that I shall ‘never want a stone to throw at him’. And what is stranger still, one of his friends gravely tells me that Mr Newman ‘lived with the fellows of Balliol’. As if that made Mr Newman’s glossary less inexplicable to me! As if he could have got his glossary from the fellows of Balliol! As if I could believe that the members of that distinguished society, of whose discourse, not so many years afterwards, I myself was an unworthy hearer, were in Mr Newman’s time so far removed from the Attic purity of speech which we all of us admired, that when one of them called a calf a _bulkin_, the rest ‘easily understood’ him; or, when he wanted to say that a newspaper-article was ‘proudly fine’, it mattered little whether he said it was that or _bragly_! No; his having lived with the fellows of Balliol does not explain Mr Newman’s glossary to me. I will no longer ask ‘with whom he can have lived’, since that gives him offence; but I must still declare that where he got his test of rarity or intelligibility for words is a mystery to me.

That, however, does not prevent me from entertaining a very sincere respect for Mr Newman, and since he doubts it, I am glad to reiterate my expression of it. But the truth of the matter is this: I unfeignedly admire Mr Newman’s ability and learning; but I think in his translation of Homer he has employed that ability and learning quite amiss. I think he has chosen quite the wrong field for turning his ability and learning to account. I think that in England, partly from the want of an Academy, partly from a national habit of intellect to which that want of an Academy is itself due, there exists too little of what I may call a public force of correct literary opinion, possessing within certain limits a clear sense of what is right and wrong, sound and unsound, and sharply recalling men of ability and learning from any flagrant misdirection of these their advantages. I think, even, that in our country a powerful misdirection of this kind is often more likely to subjugate and pervert opinion than to be checked and corrected by it[56]. Hence a chaos of false tendencies, wasted efforts, impotent conclusions, works which ought never to have been undertaken. Anyone who can introduce a little order into this chaos by establishing in any quarter a single sound rule of criticism, a single rule which clearly marks what is right as right, and what is wrong as wrong, does a good deed; and his deed is so much the better the greater force he counteracts of learning and ability applied to thicken the chaos. Of course no one can be sure that he has fixed any such rules; he can only do his best to fix them; but somewhere or other, in the literary opinion of Europe, if not in the literary opinion of one nation, in fifty years, if not in five, there is a final judgment on these matters, and the critic’s work will at last stand or fall by its true merits.

Meanwhile, the charge of having in one instance misapplied his powers, of having once followed a false tendency, is no such grievous charge to bring against a man; it does not exclude a great respect for himself personally, or for his powers in the happiest manifestations of them. False tendency is, I have said, an evil to which the artist or the man of letters in England is peculiarly prone; but everywhere in our time he is liable to it,—the greatest as well as the humblest. ‘The first beginnings of my _Wilhelm Meister_’, says Goethe, ‘arose out of an obscure sense of the great truth that man will often attempt something of which nature has denied him the proper powers, will undertake and practise something in which he cannot become skilled. An inward feeling warns him to desist’ (yes, but there are, unhappily, cases of absolute judicial blindness!), ‘nevertheless he cannot get clear in himself about it, and is driven along a false road to a false goal, without knowing how it is with him. To this we may refer everything which goes by the name of false tendency, dilettanteism, and so on. A great many men waste in this way the fairest portion of their lives, and fall at last into wonderful delusion’. Yet after all, Goethe adds, it sometimes happens that even on this false road a man finds, not indeed that which he sought, but something which is good and useful for him; ‘like Saul, the son of Kish, who went forth to look for his father’s asses, and found a kingdom’. And thus false tendency as well as true, vain effort as well as fruitful, go together to produce that great movement of life, to present that immense and magic spectacle of human affairs, which from boyhood to old age fascinates the gaze of every man of imagination, and which would be his terror, if it were not at the same time his delight.

So Mr Newman may see how wide-spread a danger it is, to which he has, as I think, in setting himself to translate Homer, fallen a prey. He may be well satisfied if he can escape from it by paying it the tribute of a single work only. He may judge how unlikely it is that I should ‘despise’ him for once falling a prey to it. I know far too well how exposed to it we all are; how exposed to it I myself am. At this very moment, for example, I am fresh from reading Mr Newman’s Reply to my Lectures, a reply full of that erudition in which (as I am so often and so good-naturedly reminded, but indeed I know it without being reminded) Mr Newman is immeasurably my superior. Well, the demon that pushes us all to our ruin is even now prompting me to follow Mr Newman into a discussion about the digamma, and I know not what providence holds me back. And some day, I have no doubt, I shall lecture on the language of the Berbers, and give him his entire revenge.

But Mr Newman does not confine himself to complaints on his own behalf, he complains on Homer’s behalf too. He says that my ‘statements about Greek literature are against the most notorious and elementary fact’; that I ‘do a public wrong to literature by publishing them’; and that the Professors to whom I appealed in my three Lectures, ‘would only lose credit if they sanctioned the use I make of their names’. He does these eminent men the kindness of adding, however, that ‘whether they are pleased with this parading of their names in behalf of paradoxical error, he may well doubt’, and that ‘until they endorse it themselves, he shall treat my process as a piece of forgery’. He proceeds to discuss my statements at great length, and with an erudition and ingenuity which nobody can admire more than I do. And he ends by saying that my ignorance is great.

Alas! that is very true. Much as Mr Newman was mistaken when he talked of my rancour, he is entirely right when he talks of my ignorance. And yet, perverse as it seems to say so, I sometimes find myself wishing, when dealing with these matters of poetical criticism, that my ignorance were even greater than it is. To handle these matters properly there is needed a poise so perfect that the least overweight in any direction tends to destroy the balance. Temper destroys it, a crotchet destroys it, even erudition may destroy it. To press to the sense of the thing itself with which one is dealing, not to go off on some collateral issue about the thing, is the hardest matter in the world. The ‘thing itself’ with which one is here dealing, the critical perception of poetic truth, is of all things the most volatile, elusive, and evanescent; by even pressing too impetuously after it, one runs the risk of losing it. The critic of poetry should have the finest tact, the nicest moderation, the most free, flexible, and elastic spirit imaginable; he should be indeed the ‘ondoyant et divers’, the _undulating and diverse_ being of Montaigne. The less he can deal with his object simply and freely, the more things he has to take into account in dealing with it, the more, in short, he has to encumber himself, so much the greater force of spirit he needs to retain his elasticity. But one cannot exactly have this greater force by wishing for it; so, for the force of spirit one has, the load put upon it is often heavier than it will well bear. The late Duke of Wellington said of a certain peer that ‘it was a great pity his education had been so far too much for his abilities’. In like manner, one often sees erudition out of all proportion to its owner’s critical faculty. Little as I know, therefore, I am always apprehensive, in dealing with poetry, lest even that little should prove ‘too much for my abilities’.

With this consciousness of my own lack of learning, nay, with this sort of acquiescence in it, with this belief that for the labourer in the field of poetical criticism learning has its disadvantages, I am not likely to dispute with Mr Newman about matters of erudition. All that he says on these matters in his Reply I read with great interest; in general I agree with him; but only, I am sorry to say, up to a certain point. Like all learned men, accustomed to desire definite rules, he draws his conclusions too absolutely; he wants to include too much under his rules; he does not quite perceive that in poetical criticism the shade, the fine distinction, is everything; and that, when he has once missed this, in all he says he is in truth but beating the air. For instance: because I think Homer noble, he imagines I must think him elegant; and in fact he says in plain words that I do think him so, that to me Homer seems ‘pervadingly elegant’. But he does not. Virgil is elegant, ‘pervadingly elegant’, even in passages of the highest emotion:

O, ubi campi,
Spercheosque, et virginibus bacchata Lacænis
Taygeta[57]!

Even there Virgil, though of a divine elegance, is still elegant, but Homer is not elegant; the word is quite a wrong one to apply to him, and Mr Newman is quite right in blaming anyone he finds so applying it. Again; arguing against my assertion that Homer is not quaint, he says: ‘It is quaint to call waves _wet_, milk _white_, blood _dusky_, horses _single-hoofed_, words winged, Vulcan _Lobfoot_ (Κυλλοποδίων), a spear _longshadowy_‘, and so on. I find I know not how many distinctions to draw here. I do not think it quaint to call waves _wet_, or milk _white_, or words _winged_; but I do think it quaint to call horses _single-hoofed_, or Vulcan _Lobfoot_, or a spear _longshadowy_. As to calling blood _dusky_, I do not feel quite sure; I will tell Mr Newman my opinion when I see the passage in which he calls it so. But then, again, because it is quaint to call Vulcan _Lobfoot_, I cannot admit that it was quaint to call him Κυλλοποδίων; nor that, because it is quaint to call a spear _longshadowy_, it was quaint to call it δολιχόσκιον. Here Mr Newman’s erudition misleads him: he knows the literal value of the Greek so well, that he thinks his literal rendering identical with the Greek, and that the Greek must stand or fall along with his rendering. But the real question is, not whether he has given us, so to speak, full change for the Greek, but _how_ he gives us our change: we want it in gold, and he gives it us in copper. Again: ‘It is quaint’, says Mr Newman, ‘to address a young friend as “O Pippin”! it is quaint to compare Ajax to an ass whom boys are belabouring’. Here, too, Mr Newman goes much too fast, and his category of quaintness is too comprehensive. To address a young friend as ‘O Pippin’! is, I cordially agree with him, very quaint; although I do not think it was quaint in Sarpedon to address Glaucus as ὦ πέπον: but in comparing, whether in Greek or in English, Ajax to an ass whom boys are belabouring, I do not see that there is of necessity anything quaint at all. Again; because I said that _eld_, _lief_, _in sooth_, and other words, are, as Mr Newman uses them in certain places, bad words, he imagines that I must mean to stamp these words with an absolute reprobation; and because I said that ‘my Bibliolatry is excessive’, he imagines that I brand all words as ignoble which are not in the Bible. Nothing of the kind: there are no such absolute rules to be laid down in these matters. The Bible vocabulary is to be used as an assistance, not as an authority. Of the words which, placed where Mr Newman places them, I have called bad words, everyone may be excellent in some other place. Take _eld_, for instance: when Shakspeare, reproaching man with the dependence in which his youth is passed, says:

all thy blessed youth
Becomes as aged, and doth beg the alms
Of palsied _eld_, ...

it seems to me that _eld_ comes in excellently there, in a passage of curious meditation; but when Mr Newman renders ἀγήρω τ’ ἀθανάτω τε by ‘from _Eld_ and Death exempted’, it seems to me he infuses a tinge of quaintness into the transparent simplicity of Homer’s expression, and so I call _eld_ a bad word in that place.

Once more. Mr Newman lays it down as a general rule that ‘many of Homer’s energetic descriptions are expressed in coarse physical words’. He goes on: ‘I give one illustration,—Τρῶες προὔτυψαν ἀολλέες. Cowper, misled by the _ignis fatuus_ of “stateliness” renders it absurdly:

The powers of Ilium gave the first assault
Embattled close;

but it is, strictly, “The Trojans _knocked forward_ (or, thumped, butted forward) _in close pack_”. The verb is too coarse for later polished prose, and even the adjective is very strong (_packed together_). I believe that “forward in pack the Trojans pitched”, would not be really unfaithful to the Homeric colour; and I maintain that “forward in mass the Trojans pitched”, would be an irreprovable rendering’. He actually gives us all that as if it were a piece of scientific deduction; and as if, at the end, he had arrived at an incontrovertible conclusion. But, in truth, one cannot settle these matters quite in this way. Mr Newman’s general rule may be true or false (I dislike to meddle with general rules), but every part in what follows must stand or fall by itself, and its soundness or unsoundness has nothing at all to do with the truth or falsehood of Mr Newman’s general rule. He first gives, as a strict rendering of the Greek, ‘The Trojans knocked forward (or, thumped, butted forward), in close pack’. I need not say that, as a ‘strict rendering of the Greek’, this is good; all Mr Newman’s ‘strict renderings of the Greek’ are sure to be, as such, good; but ‘in close pack’, for ἀολλέες, seems to me to be what Mr Newman’s renderings are not always,—an excellent _poetical rendering_ of the Greek; a thousand times better, certainly, than Cowper’s ‘embattled close’. Well, but Mr Newman goes on: ‘I believe that, “forward in pack the Trojans pitched”, would not be really unfaithful to the Homeric colour’. Here, I say, the Homeric colour is half washed out of Mr Newman’s happy rendering of ἀολλέες; while in ‘pitched’ for προὔτυψαν, the literal fidelity of the first rendering is gone, while certainly no Homeric colour has come in its place. Finally, Mr Newman concludes: ‘I maintain that “forward in mass the Trojans pitched”, would be an irreprovable rendering’. Here, in what Mr Newman fancies his final moment of triumph, Homeric colour and literal fidelity have alike abandoned him altogether; the last stage of his translation is much worse than the second, and immeasurably worse than the first.

All this to show that a looser, easier method than Mr Newman’s must be taken, if we are to arrive at any good result in these questions. I now go on to follow Mr Newman a little further, not at all as wishing to dispute with him, but as seeking (and this is the true fruit we may gather from criticisms upon us) to gain hints from him for the establishment of some useful truth about our subject, even when I think him wrong. I still retain, I confess, my conviction that Homer’s characteristic qualities are rapidity of movement, plainness of words and style, simplicity and directness of ideas, and, above all, nobleness, the grand manner. Whenever Mr Newman drops a word, awakens a train of thought, which leads me to see any of these characteristics more clearly, I am grateful to him; and one or two suggestions of this kind which he affords, are all that now, having expressed my sorrow that he should have misconceived my feelings towards him, and pointed out what I think the vice of his method of criticism, I have to notice in his Reply.

Such a suggestion I find in Mr Newman’s remarks on my assertion that the translator of Homer must not adopt a quaint and antiquated style in rendering him, because the impression which Homer makes upon the living scholar is not that of a poet quaint and antiquated, but that of a poet perfectly simple, perfectly intelligible. I added that we cannot, I confess, really know how Homer seemed to Sophocles, but that it is impossible to me to believe that he seemed to him quaint and antiquated. Mr Newman asserts, on the other hand, that I am absurdly wrong here; that Homer seemed ‘out and out’ quaint and antiquated to the Athenians; that ‘every sentence of him was more or less antiquated to Sophocles, who could no more help feeling at every instant the foreign and antiquated character of the poetry than an Englishman can help feeling the same in reading Burns’ poems’. And not only does Mr Newman say this, but he has managed thoroughly to convince some of his readers of it. ‘Homer’s Greek’, says one of them, ‘certainly seemed antiquated to the historical times of Greece. Mr Newman, taking a far broader historical and philological view than Mr Arnold, stoutly maintains that it did seem so.’ And another says: ‘Doubtless Homer’s dialect and diction were as hard and obscure to a later Attic Greek as Chaucer to an Englishman of our day.’

Mr Newman goes on to say, that not only was Homer antiquated relatively to Pericles, but he is antiquated to the living scholar; and, indeed, is in himself ‘absolutely antique, being the poet of a barbarian age’. He tells us of his ‘inexhaustible quaintnesses’, of his ‘very eccentric diction’; and he infers, of course, that he is perfectly right in rendering him in a quaint and antiquated style.

Now this question, whether or no Homer seemed quaint and antiquated to Sophocles, I call a delightful question to raise. It is not a barren verbal dispute; it is a question ‘drenched in matter’, to use an expression of Bacon; a question full of flesh and blood, and of which the scrutiny, though I still think we cannot settle absolutely, may yet give us a directly useful result. To scrutinize it may lead us to see more clearly what sort of a style a modern translator of Homer ought to adopt.

Homer’s verses were some of the first words which a young Athenian heard. He heard them from his mother or his nurse before he went to school; and at school, when he went there, he was constantly occupied with them. So much did he hear of them that Socrates proposes, in the interests of morality, to have selections from Homer made, and placed in the hands of mothers and nurses, in his model republic; in order that, of an author with whom they were sure to be so perpetually conversant, the young might learn only those parts which might do them good. His language was as familiar to Sophocles, we may be quite sure, as the language of the Bible is to us.

Nay, more. Homer’s language was not, of course, in the time of Sophocles, the spoken or written language of ordinary life, any more than the language of the Bible, any more than the language of poetry, is with us; but for one great species of composition, epic poetry, it was still the current language; it was the language in which everyone who made that sort of poetry composed. Everyone at Athens who dabbled in epic poetry, not only understood Homer’s language, he possessed it. He possessed it as everyone who dabbles in poetry with us, possesses what may be called the poetical vocabulary, as distinguished from the vocabulary of common speech and of modern prose: I mean, such expressions as _perchance_ for _perhaps_, _spake_ for _spoke_, _aye_ for _ever_, _don_ for _put on_, _charméd_ for _charm’d_, and thousands of others.

I might go to Burns and Chaucer, and, taking words and passages from them, ask if they afforded any parallel to a language so familiar and so possessed. But this I will not do, for Mr Newman himself supplies me with what he thinks a fair parallel, in its effect upon us, to the language of Homer in its effect upon Sophocles. He says that such words as _mon_, _londis_, _libbard_, _withouten_, _muchel_, give us a tolerable but incomplete notion of this parallel; and he finally exhibits the parallel in all its clearness, by this poetical specimen:

Dat mon, quhich hauldeth Kyngis af
Londis yn féo, niver
(I tell ’e) feereth aught; sith hee
Doth hauld hys londis yver.

Now, does Mr Newman really think that Sophocles could, as he says, ‘no more help feeling at every instant the foreign and antiquated character of Homer, than an Englishman can help feeling the same in hearing these lines’? Is he quite sure of it? He says he is; he will not allow of any doubt or hesitation in the matter. I had confessed we could not really know how Homer seemed to Sophocles; ‘Let Mr Arnold confess for himself’, cries Mr Newman, ‘and not for me, who know perfectly well’. And this is what he knows!

Mr Newman says, however, that I ‘play fallaciously on the words familiar and unfamiliar’; that ‘Homer’s words may have been familiar to the Athenians (_i.e._ often heard) even when they were either not understood by them or else, being understood, were yet felt and known to be utterly foreign. Let my renderings’, he continues, ‘be heard, as Pope or even Cowper has been heard, and no one will be “surprised”’.

But the whole question is here. The translator must not assume that to have taken place which has not taken place, although, perhaps, he may wish it to have taken place, namely, that his diction is become an established possession of the minds of men, and therefore is, in its proper place, familiar to them, will not ‘surprise’ them. If Homer’s language was familiar, that is, often heard, then to his language words like _londis_ and _libbard_, which are not familiar, offer, for the translator’s purpose, no parallel. For some purpose of the philologer they may offer a parallel to it; for the translator’s purpose they offer none. The question is not, whether a diction is antiquated for current speech, but whether it is antiquated for that particular purpose for which it is employed. A diction that is antiquated for common speech and common prose, may very well not be antiquated for poetry or certain special kinds of prose. ‘Peradventure there shall be ten found there’, is not antiquated for Biblical prose, though for conversation or for a newspaper it is antiquated. ‘The trumpet spake not to the arméd throng’, is not antiquated for poetry, although we should not write in a letter, ‘he _spake_ to me’, or say, ‘the British soldier is _arméd_ with the Enfield rifle’. But when language is antiquated for that particular purpose for which it is employed, as numbers of Chaucer’s words, for instance, are antiquated for poetry, such language is a bad representative of language which, like Homer’s, was never antiquated for that particular purpose for which it was employed. I imagine that Πηληϊάδεω for Πηλείδου, in Homer, no more sounded antiquated to Sophocles, than _arméd_ for _arm’d_, in Milton, sounds antiquated to us; but Mr Newman’s _withouten_ and _muchel_ do sound to us antiquated, even for poetry, and therefore they do not correspond in their effect upon us with Homer’s words in their effect upon Sophocles. When Chaucer, who uses such words, is to pass current amongst us, to be familiar to us, as Homer was familiar to the Athenians, he has to be modernized, as Wordsworth and others set to work to modernize him; but an Athenian no more needed to have Homer modernized, than we need to have the Bible modernized, or Wordsworth himself.

Therefore, when Mr Newman’s words _bragly_, _bulkin_, and the rest, are an established possession of our minds, as Homer’s words were an established possession of an Athenian’s mind, he may use them; but not till then. Chaucer’s words, the words of Burns, great poets as these were, are yet not thus an established possession of an Englishman’s mind, and therefore they must not be used in rendering Homer into English.

Mr Newman has been misled just by doing that which his admirer praises him for doing, by taking a ‘far broader historical and philological view than mine’. Precisely because he has done this, and has applied the ‘philological view’ where it was not applicable, but where the ‘poetical view’ alone was rightly applicable, he has fallen into error.

It is the same with him in his remarks on the difficulty and obscurity of Homer. Homer, I say, is perfectly plain in speech, simple, and intelligible. And I infer from this that his translator, too, ought to be perfectly plain in speech, simple, and intelligible; ought not to say, for instance, in rendering

Οὔτε κέ σε στέλλοιμι μάχην ἐς κυδιάνειραν ...

‘Nor liefly thee would I advance to man-ennobling battle’,—and things of that kind. Mr Newman hands me a list of some twenty hard words, invokes Buttmann, Mr Malden, and M. Benfey, and asks me if I think myself wiser than all the world of Greek scholars, and if I am ready to supply the deficiencies of Liddell and Scott’s _Lexicon_! But here, again, Mr Newman errs by not perceiving that the question is not one of scholarship, but of a poetical translation of Homer. This, I say, should be perfectly simple and intelligible. He replies by telling me that ἀδινὸς, εἰλίποδες, and σιγαλόεις are hard words. Well, but what does he infer from that? That the poetical translation, in his rendering of them, is to give us a sense of the difficulties of the scholar, and so is to make his translation obscure? If he does not mean that, how, by bringing forward these hard words, does he touch the question whether an English version of Homer should be plain or not plain? If Homer’s poetry, as poetry, is in its general effect on the poetical reader perfectly simple and intelligible, the uncertainty of the scholar about the true meaning of certain words can never change this general effect. Rather will the poetry of Homer make us forget his philology, than his philology make us forget his poetry. It may even be affirmed that everyone who reads Homer perpetually for the sake of enjoying his poetry (and no one who does not so read him will ever translate him well), comes at last to form a perfectly clear sense in his own mind for every important word in Homer, such as ἀδινὸς, or ἠλίβατος, whatever the scholar’s doubts about the word may be. And this sense is present to his mind with perfect clearness and fulness, whenever the word recurs, although as a scholar he may know that he cannot be sure whether this sense is the right one or not. But poetically he feels clearly about the word, although philologically he may not. The scholar in him may hesitate, like the father in Sheridan’s play; but the reader of poetry in him is, like the governor, fixed. The same thing happens to us with our own language. How many words occur in the Bible, for instance, to which thousands of hearers do not feel sure they attach the precise real meaning; but they make out _a_ meaning for them out of what materials they have at hand; and the words, heard over and over again, come to convey this meaning with a certainty which poetically is adequate, though not philologically. How many have attached a clear and poetically adequate sense to ‘_the beam_’ and ‘_the mote_’, though not precisely the right one! How clearly, again, have readers got a sense from Milton’s words, ‘grate on their _scrannel_ pipes’, who yet might have been puzzled to write a commentary on the word _scrannel_ for the dictionary! So we get a clear sense from ἀδινὸs as an epithet for grief, after often meeting with it and finding out all we can about it, even though that all be philologically insufficient; so we get a clear sense from εἰλίποδες as an epithet for cows. And this his clear poetical sense about the words, not his philological uncertainties about them, is what the translator has to convey. Words like _bragly_ and _bulkin_ offer no parallel to these words; because the reader, from his entire want of familiarity with the words bragly and bulkin, has no clear sense of them poetically.

Perplexed by his knowledge of the philological aspect of Homer’s language, encumbered by his own learning, Mr Newman, I say, misses the poetical aspect, misses that with which alone we are here concerned. ‘Homer _is_ odd’, he persists, fixing his eyes on his own philological analysis of μώνυξ, and μέροψς, and Κυλλοποδίων, and not on these words in their synthetic character;—just as Professor Max Müller, going a little farther back, and fixing his attention on the elementary value of the word θυγάτηρ, might say Homer was ‘odd’ for using _that_ word;—‘if the whole Greek nation, by long familiarity, had become inobservant of Homer’s oddities’, of the oddities of this ‘noble barbarian’, as Mr Newman elsewhere calls him, this ‘noble barbarian’ with the ‘lively eye of the savage’, ‘that would be no fault of mine. That would not justify Mr Arnold’s blame of me for rendering the words correctly’. _Correctly_,—ah, but what _is_ correctness in this case? This correctness of his is the very rock on which Mr Newman has split. He is so correct that at last he finds peculiarity everywhere. The true knowledge of Homer becomes at last, in his eyes, a knowledge of Homer’s ‘peculiarities, pleasant and unpleasant’. Learned men know these ‘peculiarities’, and Homer is to be translated because the unlearned are impatient to know them too. ‘That’, he exclaims, ‘is just why people want to read an English Homer, _to know all his oddities, just as learned men do_’. Here I am obliged to shake my head, and to declare that, in spite of all my respect for Mr Newman, I cannot go these lengths with him. He talks of my ‘monomaniac fancy that there is nothing quaint or antique in Homer’. Terrible learning, I cannot help in my turn exclaiming, terrible learning, which discovers so much!

Here, then, I take my leave of Mr Newman, retaining my opinion that his version of Homer is spoiled by his making Homer odd and ignoble; but having, I hope, sufficient love for literature to be able to canvass works without thinking of persons, and to hold this or that production cheap, while retaining a sincere respect, on other grounds, for its author.

In fulfilment of my promise to take this opportunity for giving the translator of Homer a little further advice, I proceed to notice one or two other criticisms which I find, in like manner, _suggestive_; which give us an opportunity, that is, of seeing more clearly, as we look into them, the true principles on which translation of Homer should rest. This is all I seek in criticisms; and, perhaps (as I have already said) it is only as one seeks a positive result of this kind, that one can get any fruit from them. Seeking a negative result from them, personal altercation and wrangling, one gets no fruit; seeking a positive result, the elucidation and establishment of one’s ideas, one may get much. Even bad criticisms may thus be made suggestive and fruitful. I declared, in a former lecture on this subject, my conviction that criticism is not the strong point of our national literature. Well, even the bad criticisms on our present topic which I meet with, serve to illustrate this conviction for me. And thus one is enabled, even in reading remarks which for Homeric criticism, for their immediate subject, have no value, which are far too personal in spirit, far too immoderate in temper, and far too heavy-handed in style, for the delicate matter they have to treat, still to gain light and confirmation for a serious idea, and to follow the Baconian injunction, _semper aliquid addiscere_, always to be adding to one’s stock of observation and knowledge. Yes, even when we have to do with writers who, to quote the words of an exquisite critic, the master of us all in criticism, M. Sainte-Beuve, remind us, when they handle such subjects as our present, of ‘Romans of the fourth or fifth century, coming to hold forth, all at random, in African style, on papers found in the desk of Augustus, Mæcenas, or Pollio’, even then we may instruct ourselves if we may regard ideas and not persons; even then we may enable ourselves to say, with the same critic describing the effect made upon him by D’Argenson’s _Memoirs_: ‘My taste is revolted, but I learn something; _Je suis choqué mais je suis instruit_’.

But let us pass to criticisms which are suggestive directly and not thus indirectly only, criticisms by examining which we may be brought nearer to what immediately interests us, the right way of translating Homer.

I said that Homer did not rise and sink with his subject, was never to be called prosaic and low. This gives surprise to many persons, who object that parts of the _Iliad_ are certainly pitched lower than others, and who remind me of a number of absolutely level passages in Homer. But I never denied that a _subject_ must rise and sink, that it must have its elevated and its level regions; all I deny is, that a poet can be said to rise and sink when all that he, as a poet, can do, is perfectly well done; when he is perfectly sound and good, that is, perfect as a poet, in the level regions of his subject as well as in its elevated regions. Indeed, what distinguishes the greatest masters of poetry from all others is, that they are perfectly sound and poetical in these level regions of their subject, in these regions which are the great difficulty of all poets but the very greatest, which they never quite know what to do with. A poet may sink in these regions by being falsely grand as well as by being low; he sinks, in short, whenever he does not treat his matter, whatever it is, in a perfectly good and poetic way. But, so long as he treats it in this way, he cannot be said to _sink_, whatever his matter may do. A passage of the simplest narrative is quoted to me from Homer:—

ὤτρυνεν δὲ ἕκαστον ἐποιχόμενος ἐπέεσσιν,
Μέσθλην τε, Γλαῦκόν τε, Μέδοντά τε, θερσιλοχόν τε ...[58]

and I am asked, whether Homer does not sink _there_; whether he ‘_can_ have intended such lines as those for poetry’? My answer is: Those lines are very good poetry indeed, poetry of the best class, _in that place_. But when Wordsworth, having to narrate a very plain matter, tries _not_ to sink in narrating it, tries, in short, to be what is falsely called poetical, he does sink, although he sinks by being pompous, not by being low.

Onward we drove beneath the Castle; caught,
While crossing Magdalen Bridge, a glimpse of Cam,
And at the Hoop alighted, famous inn.

That last line shows excellently how a poet may sink with his subject by resolving not to sink with it. A page or two farther on, the subject rises to grandeur, and then Wordsworth is nobly worthy of it:

The antechapel, where the statue stood
Of Newton with his prism and silent face,
The marble index of a mind for ever
Voyaging through strange seas of thought, alone.

But the supreme poet is he who is thoroughly sound and poetical, alike when his subject is grand, and when it is plain: with him the subject may sink, but never the poet. But a Dutch painter does not rise and sink with his subject; Defoe, in _Moll Flanders_, does not rise and sink with his subject, in so far as an artist cannot be said to sink who is sound in his treatment of his subject, however plain it is: yet Defoe, yet a Dutch painter, may in one sense be said to sink with their subject, because though sound in their treatment of it, they are not _poetical_, poetical in the true, not the false sense of the word; because, in fact, they are not in the grand style. Homer can in no sense be said to sink with his subject, because his soundness has something more than literal naturalness about it; because his soundness is the soundness of Homer, of a great epic poet; because, in fact, he is in the grand style. So he sheds over the simplest matter he touches the charm of his grand manner; he makes everything noble. Nothing has raised more questioning among my critics than these words, _noble_, _the grand style_. People complain that I do not define these words sufficiently, that I do not tell them enough about them. ‘The grand style, but what _is_ the grand style’? they cry; some with an inclination to believe in it, but puzzled; others mockingly and with incredulity. Alas! the grand style is the last matter in the world for verbal definition to deal with adequately. One may say of it as is said of faith: ‘One must feel it in order to know what it is’. But, as of faith, so too one may say of nobleness, of the grand style: ‘Woe to those who know it not’! Yet this expression, though indefinable, has a charm; one is the better for considering it; _bonum est, nos hic esse_; nay, one loves to try to explain it, though one knows that one must speak imperfectly. For those, then, who ask the question, What is the grand style? with sincerity, I will try to make some answer, inadequate as it must be. For those who ask it mockingly I have no answer, except to repeat to them, with compassionate sorrow, the Gospel words: _Moriemini in peccatis vestris_, Ye shall die in your sins.

But let me, at any rate, have the pleasure of again giving, before I begin to try and define the grand style, a specimen of what it _is_.

Standing on earth, not wrapt above the pole,
More safe I sing with mortal voice, unchanged
To hoarse or mute, though fall’n on evil days,
On evil days though fall’n, and evil tongues....

There is the grand style in perfection; and anyone who has a sense for it, will feel it a thousand times better from repeating those lines than from hearing anything I can say about it.

Let us try, however, what _can_ be said, controlling what we say by examples. I think it will be found that the grand style arises in poetry, _when a noble nature, poetically gifted, treats with simplicity or with severity a serious subject_. I think this definition will be found to cover all instances of the grand style in poetry which present themselves. I think it will be found to exclude all poetry which is not in the grand style. And I think it contains no terms which are obscure, which themselves need defining. Even those who do not understand what is meant by calling poetry noble, will understand, I imagine, what is meant by speaking of a noble nature in a man. But the noble or powerful nature—the _bedeutendes Individuum_ of Goethe—is not enough. For instance, Mr Newman has zeal for learning, zeal for thinking, zeal for liberty, and all these things are noble, they ennoble a man; but he has not the poetical gift: there must be the poetical gift, the ‘divine faculty’, also. And, besides all this, the subject must be a serious one (for it is only by a kind of licence that we can speak of the grand style in comedy); and it must be treated _with simplicity or severity_. Here is the great difficulty: the poets of the world have been many; there has been wanting neither abundance of poetical gift nor abundance of noble natures; but a poetical gift so happy, in a noble nature so circumstanced and trained, that the result is a continuous style, perfect in simplicity or perfect in severity, has been extremely rare. One poet has had the gifts of nature and faculty in unequalled fulness, without the circumstances and training which make this sustained perfection of style possible. Of other poets, some have caught this perfect strain now and then, in short pieces or single lines, but have not been able to maintain it through considerable works; others have composed all their productions in a style which, by comparison with the best, one must call secondary.

The best model of the grand style simple is Homer; perhaps the best model of the grand style severe is Milton. But Dante is remarkable for affording admirable examples of both styles; he has the grand style which arises from simplicity, and he has the grand style which arises from severity; and from him I will illustrate them both. In a former lecture I pointed out what that severity of poetical style is, which comes from saying a thing with a kind of intense compression, or in an illusive, brief, almost haughty way, as if the poet’s mind were charged with so many and such grave matters, that he would not deign to treat any one of them explicitly. Of this severity the last line of the following stanza of the _Purgatory_ is a good example. Dante has been telling Forese that Virgil had guided him through Hell, and he goes on:

Indi m’ han tratto su gli suoi conforti,
Salendo e rigirando la Montagna
_Che drizza voi che il mondo fece torti_[59].

‘Thence hath his comforting aid led me up, climbing and circling the Mountain, _which straightens you whom the world made crooked_’. These last words, ‘la Montagna _che drizza voi che il mondo fece torti_’, ‘the Mountain _which straightens you whom the world made crooked_’, for the Mountain of Purgatory, I call an excellent specimen of the grand style in severity, where the poet’s mind is too full charged to suffer him to speak more explicitly. But the very next stanza is a beautiful specimen of the grand style in simplicity, where a noble nature and a poetical gift unite to utter a thing with the most limpid plainness and clearness:

Tanto dice di farmi sua compagna
Ch’ io sarὸ là dove fia Beatrice;
Quivi convien che senza lui rimagna[60].

‘So long’, Dante continues, ‘so long he (Virgil) saith he will bear me company, until I shall be there where Beatrice is; there it behoves that without him I remain’. But the noble simplicity of that in the Italian no words of mine can render.

Both these styles, the simple and the severe, are truly grand; the severe seems, perhaps, the grandest, so long as we attend most to the great personality, to the noble nature, in the poet its author; the simple seems the grandest when we attend most to the exquisite faculty, to the poetical gift. But the simple is no doubt to be preferred. It is the more _magical_: in the other there is something intellectual, something which gives scope for a play of thought which may exist where the poetical gift is either wanting or present in only inferior degree: the severe is much more imitable, and this a little spoils its charm. A kind of semblance of this style keeps Young going, one may say, through all the nine parts of that most indifferent production, the _Night Thoughts_. But the grand style in simplicity is inimitable:

αἰὼν ἀσφαλὴς
οὐκ ἔγεντ’ οὔτ’ Αἰακίδᾳ παρὰ Πηλεῖ,
οὔτε παρ’ ἀντιθέῳ Κάδμῳ· λέγονται μὰν βροτῶν
ὄλβον ὑπέρτατον οἱ σχεῖν, οἵ τε καὶ χρυσαμπύκων
μελπομενᾶν ἐν ὄρει Μοισᾶν, καὶ ἐν ἑπταπύλοις
ἄϊον Θήβαις ..[61]..

There is a limpidness in that, a want of salient points to seize and transfer, which makes imitation impossible, except by a genius akin to the genius which produced it.

Greek simplicity and Greek grace are inimitable; but it is said that the _Iliad_ may still be ballad-poetry while infinitely superior to all other ballads, and that, in my specimens of English ballad-poetry, I have been unfair. Well, no doubt there are better things in English ballad-poetry than

Now Christ thee save, thou proud portér, ...

but the real strength of a chain, they say, is the strength of its weakest link; and what I was trying to show you was, that the English ballad-style is not an instrument of enough compass and force to correspond to the Greek hexameter; that, owing to an inherent weakness in it as an epic style, it easily runs into one or two faults, either it is prosaic and humdrum, or, trying to avoid that fault, and to make itself lively (_se faire vif_), it becomes pert and jaunty. To show that, the passage about King Adland’s porter serves very well. But these degradations are not proper to a true epic instrument, such as the Greek hexameter.

You may say, if you like, when you find Homer’s verse, even in describing the plainest matter, neither humdrum nor jaunty, that this is because he is so incomparably better a poet than other balladists, because he is Homer. But take the whole range of Greek epic poetry, take the later poets, the poets of the last ages of this poetry, many of them most indifferent, Coluthus, Tryphiodorus, Quintus of Smyrna, Nonnus. Never will you find in this instrument of the hexameter, even in their hands, the vices of the ballad-style in the weak moments of this last: everywhere the hexameter, a noble, a truly epical instrument, rather resists the weakness of its employer than lends itself to it. Quintus of Smyrna is a poet of merit, but certainly not a poet of a high order: with him, too, epic poetry, whether in the character of its prosody or in that of its diction, is no longer the epic poetry of earlier and better times, nor epic poetry as again restored by Nonnus: but even in Quintus of Smyrna, I say, the hexameter is still the hexameter; it is a style which the ballad-style, even in the hands of better poets, cannot rival. And in the hands of inferior poets, the ballad-style sinks to vices of which the hexameter, even in the hands of a Tryphiodorus, never can become guilty.

But a critic, whom it is impossible to read without pleasure, and the disguise of whose initials I am sure I may be allowed to penetrate, Mr Spedding says that he ‘denies altogether that the metrical movement of the English hexameter has any resemblance to that of the Greek’. Of course, in that case, if the two metres in no respect correspond, praise accorded to the Greek hexameter as an epical instrument will not extend to the English. Mr Spedding seeks to establish his proposition by pointing out that the system of accentuation differs in the English and in the Virgilian hexameter; that in the first, the accent and the long syllable (or what has to do duty as such) coincide, in the second they do not. He says that we cannot be so sure of the accent with which Greek verse should be read as of that with which Latin should; but that the lines of Homer in which the accent and the long syllable coincide, as in the English hexameter, are certainly very rare. He suggests a type of English hexameter in agreement with the Virgilian model, and formed on the supposition that ‘quantity is as distinguishable in English as in Latin or Greek by any ear that will attend to it’. Of the truth of this supposition he entertains no doubt. The new hexameter will, Mr Spedding thinks, at least have the merit of resembling, in its metrical movement, the classical hexameter, which merit the ordinary English hexameter has not. But even with this improved hexameter he is not satisfied; and he goes on, first to suggest other metres for rendering Homer, and finally to suggest that rendering Homer is impossible.

A scholar to whom all who admire Lucretius owe a large debt of gratitude, Mr Munro, has replied to Mr Spedding. Mr Munro declares that ‘the accent of the old Greeks and Romans resembled our accent only in name, in reality was essentially different’; that ‘our English reading of Homer and Virgil has in itself no meaning’; and that ‘accent has nothing to do with the Virgilian hexameter’. If this be so, of course the merit which Mr Spedding attributes to his own hexameter, of really corresponding with the Virgilian hexameter, has no existence. Again; in contradiction to Mr Spedding’s assertion that lines in which (in our reading of them) the accent and the long syllable coincide[62], as in the ordinary English hexameter, are ‘rare even in Homer’, Mr Munro declares that such lines, ‘instead of being rare, are among the very commonest types of Homeric rhythm’. Mr Spedding asserts that ‘quantity is as distinguishable in English as in Latin or Greek by any ear that will attend to it’; but Mr Munro replies, that in English ‘neither his ear nor his reason recognises any real distinction of quantity except that which is produced by accentuated and unaccentuated syllables’. He therefore arrives at the conclusion that in constructing English hexameters, ‘quantity must be utterly discarded; and longer or shorter unaccentuated syllables can have no meaning, except so far as they may be made to produce sweeter or harsher sounds in the hands of a master’.