- speare, need I say it? can compose, when
he likes, when he is at his best, in a language perfectly simple, perfectly intelligible; in a language, which, in spite of the two centuries and a half which part its author from us, stops or surprises us as little as the language of a contemporary. And Homer has not Shakspeare's variations. Homer always composes, as Shakspeare composes at his best. Homer is always simple and intelligible, as Shakspeare is often; Homer is never quaint and antiquated, as Shakspeare is sometimes'.
If Mr Arnold were to lay before none but Oxford students assertions concerning Greek literature so startlingly erroneous as are here contained, it would not concern me to refute or protest against them. The young men who read Homer and Sophocles and Thucydides, nay, the boys who read Homer and Xenophon, would know his statements to be against the most notorious and elementary fact: and the Professors, whom he quotes, would only lose credit, if they sanctioned the use he makes of their names. But when he publishes the book for the unlearned in Greek, among whom I must include a great number of editors of magazines, I find Mr Arnold to do a public wrong to literature, and a private wrong to my book. If I am silent, such editors may easily believe that I have made an enormous blunder in treating the dialect of Homer as antiquated. If
