owner's critical faculty. Little as I know, therefore, I am always apprehensive, in dealing with poetry, lest even that little should prove 'too much for my abilities'.
With this consciousness of my own lack of learning, nay, with this sort of acquiescence in it, with this belief that for the labourer in the field of poetical criticism learning has its disadvantages, I am not likely to dispute with Mr Newman about matters of erudition. All that he says on these matters in his Reply I read with great interest; in general I agree with him; but only, I am sorry to say, up to a certain point. Like all learned men, accustomed to desire definite rules, he draws his conclusions too absolutely; he wants to include too much under his rules; he does not quite perceive that in poetical criticism the shade, the fine distinction, is everything; and that, when he has once missed this, in all he says he is in truth but beating the air. For instance: because I think Homer noble, he imagines I must think him elegant; and in fact he says in plain words that I do think him so, that to me Homer seems 'pervadingly elegant'. But he does not. Virgil is elegant, 'pervadingly elegant', even in passages of the highest emotion:
O, ubi campi,
Spercheosque, et virginibus bacchata Lacænis
Taygeta[1]!
*
- ↑ 'O for the fields of Thessaly and the streams of
