But I speak now of metre, not yet of diction. In any long and popular poem it is a mistake to wish every line to conform severely to a few types; but to claim this of a translator of Homer is a doubly unintelligent exaction, when Homer's own liberties transgress all bounds; many of them being feebly disguised by later double spellings, as εἵως, εἷος, invented for his special accommodation.
The Homeric verse has a rhythmical advantage over mine in less rigidity of cæsura. Though the Hexameter was made out of two Doric lines, yet no division of sense, no pause of the voice or thought, is exacted between them. The chasm between two English verses is deeper. Perhaps, on the side of syntax, a four + three English metre drives harder towards monotony than Homer's own verse. For other reasons, it lies under a like disadvantage, compared with Milton's metre. The secondary cæsuras possible in the four feet are of course less numerous than those in the five feet, and the three-foot verse has still less variety. To my taste, it is far more pleasing that the short line recur less regularly; just as the parœmiac of Greek anapæsts is less pleasant in the Aristophanic tetrameter, than when it comes frequent but not expected. This is a main reason why I prefer Scott's free metre to my own; yet, without rhyme, I have not found how to use his freedom.
