is mean'. For this reason the ballad-style and the ballad-measure are eminently inappropriate to render Homer. Homer's manner and movement are always both noble and powerful: the ballad-manner and movement are often either jaunty and smart, so not noble; or jog-trot and hum-*drum, so not powerful.
The Nibelungen Lay affords a good illustration of the qualities of the ballad-manner. Based on grand traditions, which had found expression in a grand lyric poetry, the German epic poem of the Nibelungen Lay, though it is interesting, and though it has good passages, is itself anything rather than a grand poem. It is a poem of which the composer is, to speak the truth, a very ordinary mortal, and often, therefore, like other ordinary mortals, very prosy. It is in a measure which eminently adapts itself to this commonplace personality of its composer, which has much the movement of the well-known measures of Tate and Brady, and can jog on, for hundreds of lines at a time, with a level ease which reminds one of Sheridan's saying that easy writing may be often such hard reading. But, instead of occupying myself with the Nibelungen Lay, I prefer to look at the ballad-style as directly applied to Homer, in Chapman's version and Mr Newman's, and in the Homeric Ballads of Dr. Maginn.
First I take Chapman. I have already
