be without ceasing to be noble. Therefore the idiomatic language of Shakspeare—such language as, 'prate of his whereabout'; 'jump the life to come'; 'the damnation of his taking-off'; 'his quietus make with a bare bodkin'—should be carefully observed by the translator of Homer, although in every case he will have to decide for himself whether the use, by him, of Shakspeare's liberty, will or will not clash with his indispensable duty of nobleness. He will find one English book and one only, where, as in the Iliad itself, perfect plainness of speech is allied with perfect nobleness; and that book is the Bible. No one could see this more clearly than Pope saw it: 'This pure and noble simplicity', he says, 'is nowhere in such perfection as in the Scripture and Homer': yet even with Pope a woman is a 'fair', a father is a 'sire' and an old man a 'reverend sage', and so on through all the phrases of that pseudo-Augustan, and most unbiblical, vocabulary. The Bible, however, is undoubtedly the grand mine of diction for the translator of Homer; and, if he knows how to discriminate truly between what will suit him and what will not, the Bible may afford him also invaluable lessons of style.
I said that Homer, besides being plain in style and diction, was plain in the quality of his thought. It is possible that a thought may be expressed with idiomatic plainness,
