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in that case, let us indulge his fastidious taste by calling it an autoschediastic combat, to which, surely, there can be no such objection. And as the manner of the combat is autoschediastic or extemporaneous, and to meet a hurried occasion, so is the reader to understand that the object of our disputation is not the learned, but the unlearned student; and our purpose, not so much to discontent the one with his painful acquisitions, as to console the other under what, upon the old principle of omne ignotum pro magnifico, he is too apt to imagine his irreparable disadvantages. We set before us, as our especial auditor, the reasonable man of plain sense but strong feeling, who wishes to know how much he has lost, and what injury the gods did him, when, though making him, perhaps, poetical, they cut short his allowance of Latin, and, as to Greek, gave him not a jot more than a cow has in her side pocket.

      Let us begin at the beginning—and that, as everybody knows, is Homer. He is, indeed, so much at the beginning that, for that very reason (if even there were no other), he is, and will be ever more, supremely interesting. Is the unlearned reader aware of his age? Upon that point there are more hypotheses than one or even two. Some there are among the chronologers who make him eleven hundred years anterior to Christ. But those who allow him least, place him more than nine—that is, about two centuries before the establishment of the Grecian Olympiads, and (which is pretty nearly the same thing as regards time) before Romulus and Remus. Such an antiquity as this, even on its own account, is a reasonable object of interest. A poet to whom the great-grandfather of old Ancus Martius (his grandfather, did we say—that is, avus?—nay, his abavus, his atavus, his tritavus) looked back as to one in a line with his remote ancestor—a poet who, if he travelled about as extensively as some have supposed him to do, or even as his own countryman Herodotus most certainly did five or six hundred years afterwards, might have conversed with the very workmen who laid the foundations of the first temple at Jerusalem—might have bent the knee before Solomon in all his glory:—Such a poet, were he no better than the worst of our own old metrical romancers, would—merely for his antiquity, merely for the sublime fact of having been coeval with the eldest of those whom the eldest of histories presents to our knowledge; coeval with the earliest kings of Judah, older than the greatest of the Judean prophets, older than the separation of the two Jewish crowns and the revolt of Israel, and, even with regard to Moses and to Joshua, not in any larger sense junior than as we ourselves are junior to Chaucer—purely and exclusively with regard to these pretensions, backed and supported by an antique form of an antique language—the most comprehensive and the most melodious in the world, would—could—should—ought to merit a filial attention; and, perhaps with those who had waggon-loads of time to spare, might plead the benefit, beyond most of those in whose favour it was enacted, of that Horatian rule—

      'vos exemplaria Græca,

      Nocturnâ versate manu, versate diurna.'

      In fact, when we recollect that, in round numbers, we ourselves may be considered as two thousand years in advance of Christ, and that (by assuming less even than a mean between the different dates assigned to Homer) he stands a thousand years before Christ, we find between Homer and ourselves a gulf of three thousand years, or about one clear half of the total extent which we grant to the present duration of our planet. This in itself is so sublime a circumstance in the relations of Homer to our era, and the sense of power is so delightfully titillated to that man's feeling, who, by means of Greek, and a very moderate skill in this fine language, is able to grasp the awful span, the vast arch of which one foot rest upon 1838, and the other almost upon the war of Troy—the mighty rainbow which, like the archangel in the Revelation, plants its western limb amongst the carnage and the magnificence of Waterloo, and the other amidst the vanishing gleams and the dusty clouds of Agamemnon's rearguard—that we may pardon a little exultation to the man who can actually mutter to himself, as he rides home of a summer evening, the very words and vocal music of the old blind man at whose command

       '–the Iliad and the Odyssey

      Rose to the murmurs of the voiceful sea.'

      But pleasures in this world fortunately are without end. And every man, after all, has many pleasures peculiar to himself—pleasures which no man shares with him, even as he is shut out from many of other men. To renounce one in particular, is no subject for sorrow, so long as many remain in that very class equal or superior. Elwood the Quaker had a luxury which none of us will ever have, in hearing the very voice and utterance of a poet quite as blind as Homer, and by many a thousand times more sublime. And yet Elwood was not perhaps much happier for that. For now, to proceed, reader—abstract from his sublime antiquity, and his being the very earliest of authors, allowance made for one or two Hebrew writers (who, being inspired, are scarcely to be viewed as human competitors), how much is there in Homer, intrinsically in Homer, stripped of his fine draperies of time and circumstance, in the naked Homer, disapparelled of the pride, pomp, and circumstance of glorious antiquity, to remunerate a man for his labour in acquiring Greek? Men think very differently about what will remunerate any given labour. A fool (professional fool) in Shakspeare ascertains, by a natural process of logic, that a 'remuneration' means a testern, which is just sixpence; and two remunerations, therefore, a testoon, or one shilling. But many men will consider the same service ill paid by a thousand pounds. So, of the reimbursement for learning a language. Lord Camden is said to have learned Spanish, merely to enjoy Don Quixote more racily. Cato, the elder Cato, after abusing Greek throughout his life, sat down in extreme old age to study it: and wherefore? Mr. Coleridge mentions an author, in whom, upon opening his pages with other expectations, he stumbled upon the following fragrant passage—'But from this frivolous digression upon philosophy and the fine arts, let us return to a subject too little understood or appreciated in these sceptical days—the subject of dung.' Now, that was precisely the course of thought with this old censorious Cato: So long as Greek offered, or seemed to offer, nothing but philosophy or poetry, he was clamorous against Greek; but he began to thaw and melt a little upon the charms of Greek—he 'owned the soft impeachment,' when he heard of some Grecian treatises upon beans and turnips; and, finally, he sank under its voluptuous seductions, when he heard of others upon DUNG. There are, therefore, as different notions about a 'remuneration' in this case, as the poor fool had met with it in his case. We, however, unappalled by the bad names of 'Goth,' 'Vandal,' and so forth, shall honestly lay before the reader our notions.

      When Dryden wrote his famous, indeed matchless, epigram upon the three great masters (or reputed masters) of the Epopee, he found himself at no loss to characterize the last of the triad—no matter what qualities he imputed to the first and the second, he knew himself safe in imputing them all to the third. The mighty modern had everything that his predecessors were ever thought to have, as well as something beside.5 So he expressed the surpassing grandeur of Milton, by saying that in him nature had embodied, by concentration as in one focus, whatever excellencies she had scattered separately amongst her earlier favourites. But, in strict regard to the facts, this is far from being a faithful statement of the relations between Milton and his elder brothers of the Epos: in sublimity, if that is what Dryden meant by 'loftiness of thought,' it is not so fair to class Milton with the greatest of poets, as to class him apart, retired from all others, sequestered, 'sole-sitting by the shores of old romance.' In other poets, in Dante for example, there may be rays, gleams, sudden coruscations, casual scintillations, of the sublime; but for any continuous and sustained blaze of the sublime, it is in vain to look for it, except in Milton, making allowances (as before) for the inspired sublimities of Isaiah, Ezekiel, and of the great Evangelist's Revelations. As to Homer, no critic who writes from personal and direct knowledge on the one hand, or who understands the value of words on the other, ever contended in any critical sense for sublimity, as a quality to which he had the slightest pretensions. What! not Longinus? If he did, it would have been of little consequence; for he had no field of comparison, as we, knowing no literature but one—whereas we have a range of seven or eight. But he did not: Τὸ ὑψηλον,6 or the elevated, in the Longinian sense, expressed all, no matter of what origin, of what tendency, which gives a character of life and animation to composition—whatever raises it above the dead level of flat prosaic style. Emphasis, or what

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