'The poet', says Mr Ruskin, 'has to speak of the earth in sadness; but he will not let that sadness affect or change his thought of it. No; though Castor and Pollux be dead, yet the earth is our mother still,—fruitful, life-giving'. This is a just specimen of that sort of application of modern sentiment to the ancients, against which a student, who wishes to feel the ancients truly, cannot too resolutely defend himself. It reminds one, as, alas! so much of Mr Ruskin's writing reminds one, of those words of the most delicate of living critics: "Comme tout genre de composition a son écueil particulier, celui du genre romanesque, c'est le faux'. The reader may feel moved as he reads it; but it is not the less an example of 'le faux' in criticism; it is false. It is not true, as to that particular passage, that Homer called the earth φυσίζοος because, 'though he had to speak of the earth in sadness, he would not let that sadness change or affect his thought of it', but consoled himself by considering that 'the earth is our mother still,—fruitful, life-giving'. It is not true, as a matter of general criticism, that this kind of sentimentality, eminently modern, inspires Homer at all. 'From Homer and Polygnotus I every day learn more clearly', says Goethe, 'that in our life here above ground we have, properly speaking, to enact Hell'[1]:—if the student must absolutely
- ↑ Briefwechsel zwischen Schiller und Goethe, vi. 230.
