late, the early lost and admirably gifted Keats.
I say then that there are really but three metres,—the ten-syllable couplet, blank verse, and a third metre which I will not yet name, but which is neither the Spenserian stanza nor any form of ballad-verse,—between which, as vehicles for Homer's poetry, the translator has to make his choice. Everyone will at once remember a thousand passages in which both the ten-syllable couplet and blank verse prove themselves to have nobleness. Undoubtedly the movement and manner of this,
Still raise for good the supplicating voice,
But leave to Heaven the measure and the choice,
are noble. Undoubtedly, the movement and manner of this:
High on a throne of royal state, which far
Outshone the wealth of Ormus and of Ind,
are noble also. But the first is in a rhymed metre; and the unfitness of a rhymed metre for rendering Homer I have already shown. I will observe too, that the fine couplet which I have quoted comes out of a satire, a didactic poem; and that it is in didactic poetry that the ten-syllable couplet has most successfully essayed the grand style. In narrative poetry this metre has succeeded best when it essayed a sensibly lower style, the style of Chaucer, for instance; whose narrative manner, though a very good and
