nition of this rhythm as ideally the best, and the recommendation of it to the translator for instant practical use, there must come all that consideration of circumstances, all that pliancy in foregoing, under the pressure of certain difficulties, the absolute best, which I have said is so indispensable to the critic. The hexameter is, comparatively, still unfamiliar in England; many people have a great dislike to it. A certain degree of unfamiliarity, a certain degree of dislike, are obstacles with which it is not wise to contend. It is difficult to say at present whether the dislike to this rhythm is so strong and so wide-spread that it will prevent its ever becoming thoroughly familiar. I think not, but it is too soon to decide. I am inclined to think that the dislike of it is rather among the professional critics than among the general public; I think the reception which Mr. Longfellow’s Evangeline has met with indicates this. I think that even now, if a version of the Iliad in English hexameters were made by a poet who, like Mr. Longfellow, has that indefinable quality which renders him popular,–something attractive in his talent, which communicates itself to his verses,–it would have a great success among the general public. Yet a version of Homer in hexameters of the Evangeline type would not satisfy the judicious, nor is the definite establishment of this type to be desired; and one would regret that Mr. Longfellow should, even to popularise the hexa-
