as I have complained of Mr Newman for sometimes going, a great deal too fast. I think prudent criticism must certainly recognise, in the current English hexameter, a fact which cannot so lightly be set aside; it must acknowledge that by this hexameter the English ear, the genius of the English language, have, in their own way, adopted, have translated for themselves the Homeric hexameter; and that a rhythm which has thus grown up, which is thus, in a manner, the production of nature, has in its general type something necessary and inevitable, something which admits change only within narrow limits, which precludes change that is sweeping and essential. I think, therefore, the prudent critic will regard Mr Spedding's proposed revolution as simply impracticable. He will feel that in English poetry the hexameter, if used at all, must be, in the main, the English hexameter now current. He will perceive that its having come into existence as the representative of the Homeric hexameter, proves it to have, for the English ear, a certain correspondence with the Homeric hexameter, although this correspondence may be, from the difference of the Greek and English languages, necessarily incomplete. This incompleteness he will endeavour[1], as he*
- ↑ Such a minor change I have attempted by occasionally shifting, in the first foot of the hexameter, the accent from the first syllable to the second. In
