the vices of the ballad-style in the weak moments of this last: everywhere the hexameter,—a noble, a truly epical instrument,—rather resists the weakness of its employer than lends itself to it. Quintus of Smyrna is a poet of merit, but certainly not a poet of a high order; with him, too, epic poetry, whether in the character of its prosody or in that of its diction, is no longer the epic poetry of earlier and better times, nor epic poetry as again restored by Nonnus: but even in Quintus of Smyrna, I say, the hexameter is still the hexameter; it is a style which the ballad-style, even in the hands of better poets, cannot rival. And in the hands of inferior poets, the ballad-style sinks to vices of which the hexameter, even in the hands of a Tryphiodorus, never can become guilty.
But a critic, whom it is impossible to read without pleasure, and the disguise of whose initials I am sure I may be allowed to penetrate,—Mr. Spedding,—says that he ‘denies altogether that the metrical movement of the English hexameter has any resemblance to that of the Greek.’ Of course, in that case, if the two metres in no respect correspond, praise accorded to the Greek hexameter as an epical instrument will not extend to the English. Mr. Spedding seeks to establish his proposition by pointing out that the system of accentuation differs in the English and in the Virgilian hexameter; that in the first, the accent and the long syllable (or what has
