But on diction I defer to speak, till I have finished the topic of metre.
I do not say that any measure is faultless. Every measure has its foible: mine has that fault which every uniform line must have; it is liable to monotony. This is evaded of course, as in the hexameter or rather as in Milton's line, first, by varying the cæsura, secondly, by varying certain feet, within narrow and well understood limits, thirdly, by irregularity in the strength of accents, fourthly, by varying the weight of the unaccented syllables also. All these things are needed, for the mere sake of breaking uniformity. I will not here assert that Homer's many marvellous freedoms, such as ἑκηβόλου Ἀπόλλωνος, were dictated by this aim, like those in the Paradise Lost; but I do say, that it is most unjust, most unintelligent, in critics, to produce single lines from me, and criticize them as rough or weak, instead of examining them and presenting them as part of a mass. How would Shakspeare stand this sort of test? nay, or Milton? The metrical laws of a long poem cannot be the same as of a sonnet: single verses are organic elements of a great whole. A crag must not be cut like a gem. Mr Arnold should remember Aristotle's maxim, that popular eloquence (and such is Homer's) should be broad, rough and highly coloured, like scene painting, not polished into delicacy like miniature.
