essays, and the essays and histories and “art criticisms” of our neighbours to draw from, no student need lack examples of what is wrong. He who writes, reflecting on his own innumerable sins, can but beat his breast, cry Mea Culpa, and resist the temptation to beat the breasts of his coevals. There are not many authors, there have never been many, who did not need to turn over the treatise of the Sublime by day and night.[1]
As a literary critic of Homer our author is most interesting even in his errors. He compares the poet of the Odyssey to the sunset: the Iliad is noonday work, the Odyssey is touched with the glow of evening—the softness and the shadows. “Old age naturally leans,” like childhood, “towards the fabulous.” The tide has flowed back, and left dim bulks of things on the long shadowy sands. Yet he makes an exception, oddly enough, in favour of the story of the Cyclops, which really is the most fabulous and crude of the fairy tales in the first and greatest of romances. The Slaying of the Wooers,
- ↑ The examples of bombast used to be drawn as late as Spurden’s translation (1836), from Lee, from Troilus and Cressida, and The Taming of the Shrew. Cowley and Crashaw furnished instances of conceits; Waller, Young, and Hayley of frigidity; and Darwin of affectation.a phrase adopted—“vapid vegetable loves”—by the Laureate in “The Talking Oak.”“What beaux and beauties crowd the gaudy groves,
And woo and win their vegetable loves”—
