with the most marked rapidity from the line before, Chapman is forced, by the necessity of rhyming, intimately to connect with the line before.
But since we must go, though not here, and that besides the chance.
The moment the word chance strikes our ear, we are irresistibly carried back to advance and to the whole previous line, which, according to Homer's own feeling, we ought to have left behind us entirely, and to be moving farther and farther away from.
Rhyme certainly, by intensifying antithesis, can intensify separation, and this is precisely what Pope does; but this balanced rhetorical antithesis, though very effective, is entirely un-Homeric. And this is what I mean by saying that Pope fails to render Homer, because he does not render his plainness and directness of style and diction. Where Homer marks separation by moving away, Pope marks it by antithesis. No passage could show this better than the passage I have just quoted, on which I will pause for a moment.
Robert Wood, whose Essay on the Genius of Homer is mentioned by Goethe as one of the books which fell into his hands when his powers were first developing themselves, and strongly interested him, relates of this passage a striking story. He says that in 1762, at the end of the Seven Years' War,
