amongst her earlier favourites. But, in strict regard to the facts, this is far from being a faithful statement of the relations between Milton and his elder brothers of the Epos: in sublimity, if that is what Dryden meant by 'loftiness of thought,' it is not so fair to class Milton with the greatest of poets, as to class him apart, retired from all others, sequestered, 'sole-sitting by the shores of old romance.' In other poets, in Dante for example, there may be rays, gleams, sudden coruscations, casual scintillations, of the sublime; but for any continuous and sustained blaze of the sublime, it is in vain to look for it, except in Milton, making allowances (as before) for the inspired sublimities of Isaiah, Ezekiel, and of the great Evangelist's Revelations. As to Homer, no critic who writes from personal and direct knowledge on the one hand, or who understands the value of words on the other, ever contended in any critical sense for sublimity, as a quality to which he had the slightest pretensions. What! not Longinus? If he did, it would have been of little consequence; for he had no field of comparison, as we, knowing no literature but one—whereas we have a range of seven or eight. But he did not: Τὸ ὑψηλον,6 or the elevated, in the Longinian sense, expressed all, no matter of what origin, of what tendency, which gives a character of life and animation to composition—whatever raises it above the dead level of flat prosaic style. Emphasis, or what in an artist's sense gives relief to a passage, causing it to stand forward, and in advance of what surrounds it—that is the predominating idea in the 'sublime' of Longinus. And this explains what otherwise has perplexed his modern interpreters—viz. that amongst the elements of his sublime, he ranks even the pathetic, i. e. (say they) what by connecting itself with the depressing passion of grief is the very counter-agent to the elevating affection of the sublime. True, most sapient sirs, my very worthy and approved good masters: but that very consideration should have taught you to look back, and reconsider your translation of the capital word ὑψος. It was rather too late in the day, when you had waded half-seas over in your translation, to find out either that you yourselves were ignoramuses, or that your principal was an ass. 'Returning were as tedious as go o'er.' And any man might guess how you would settle such a dilemma. It is, according to you, a little oversight of your principal: 'humanum aliquid passus est.' We, on the other hand, affirm that, if an error at all on the part of Longinus, it is too monstrous for any man to have 'overlooked.' As long as he could see a pike-staff, he must have seen that. And, therefore, we revert to our view of the case—viz. that it is yourselves who have committed the blunder, in translating by the Latin word sublimis7 at all, but still more after it had received new determinations under modern usage.
Now, therefore, after this explanation, recurring to the Longinian critiques upon Homer, it will avail any idolator of Homer but little, it will affect us not much, to mention that Longinus makes frequent reference to the Iliad, as the great source of the sublime—
'A quo, ceu fonte perenni,
Vatum Pieriis ora rigantur aquis';
for, as respected Grecian poets, and as respected his sense of the word, it cannot be denied that Homer was such. He was the great well-head of inspiration to the Pagan poets of after times, who, however (as a body), moved in the narrowest circle that has ever yet confined the natural freedom of the poetic mind. But, in conceding this, let it not be forgotten how much we concede—we concede as much as Longinus demanded; that is, that Homer furnished an ideal or model of fluent narration, picturesque description, and the first outlines of what could be called characteristic delineations of persons. Accordingly, uninventive Greece—for we maintain loudly that Greece, in her poets, was uninventive and sterile beyond the example of other nations—received, as a traditional inheritance, the characters of the Paladins of the Troad.8 Achilles is always the all-accomplished and supreme amongst these Paladins, the Orlando of ancient romance; Agamemnon, for ever the Charlemagne; Ajax, for ever the sullen, imperturbable, columnar champion, the Mandricardo, the Bergen-op-Zoom of his faction, and corresponding to our modern 'Chicken' in the pugilistic ring, who was so called (as the books of the Fancy say) because he was a 'glutton'; and a 'glutton' in this sense—that he would take any amount of cramming (i. e. any possible quantum of 'milling,' or 'punishment'). Ulysses, again, is uniformly, no matter whether in the solemnities of the tragic scene, or the festivities of the Ovidian romance, the same shy cock, but also sly cock, with the least thought of a white feather in his plumage; Diomed is the same unmeaning double of every other hero, just as Rinaldo is with respect to his greater cousin, Orlando; and so of Teucer, Meriones, Idomeneus, and the other less-marked characters. The Greek drama took up these traditional characters, and sometimes deepened, saddened, exalted the features—as Sophocles, for instance, does with his 'Ajax Flagellifer'—Ajax the knouter of sheep—where, by the way, the remorse and penitential grief of Ajax for his own self-degradation, and the depth of his affliction for the triumph which he had afforded to his enemies—taken in connection with the tender fears of his wife, Tecmessa, for the fate to which his gloomy despair was too manifestly driving him; her own conscious desolation, and the orphan weakness of her son, in the event which she too fearfully anticipates—the final suicide of Ajax; the brotherly affection of Teucer to the widow and the young son of the hero, together with the unlooked-for sympathy of Ulysses, who, instead of exulting in the ruin of his antagonist, mourns over it with generous tears—compose a situation, and a succession of situations, not equalled in the Greek tragedy; and, in that instance, we see an effort, rare in Grecian poetry, of conquest achieved by idealisation over a mean incident—viz. the hallucination of brain in Ajax, by which he mistakes the sheep for his Grecian enemies, ties them up for flagellation, and scourges them as periodically as if he were a critical reviewer. But really, in one extremity of this madness, where he fixes upon an old ram for Agamemnon, as the leader of the flock, the αναξ ανδρων Αγαμεμνων, there is an extravagance of the ludicrous against which, though not exhibited scenically, but simply narrated, no solemnity of pathos could avail; even in narration, the violation of tragical dignity is insufferable, and is as much worse than the hyper-tragic horrors of Titus Andronicus (a play which is usually printed, without reason, amongst those of Shakspeare) as absolute farce or contradiction of all pathos must inevitably be a worse indecorum than physical horrors which simply outrage it by excess. Let us not, therefore, hear of the judgment displayed upon the Grecian stage, when even Sophocles, the chief master of dramatic economy and scenical propriety, could thus err by an aberration so far transcending the most memorable violation of stage decorum which has ever been charged upon the English drama.
From Homer, therefore, were left, as a bequest to all future poets, the romantic adventures which grow, as so many collateral dependencies,
'From the tale of Troy divine';
and from Homer was derived also the discrimination of the leading characters, which, after all, were but coarsely and rudely discriminated; at least, for the majority. In one instance only we acknowledge an exception. We have heard a great modern poet dwelling with real and not counterfeit enthusiasm upon the character (or rather upon the general picture, as made up both of character and position), which the course of the Iliad assigns gradually to Achilles. The view which he took of this impersonation of human grandeur, combining all gifts of intellect and of body, matchless speed, strength, inevitable eye, courage, and the immortal beauty of a god, being also, by his birth-right, half-divine, and consecrated to the imagination by his fatal interweaving with the destinies of Troy, and to the heart by the early death which to his own knowledge9 impended over his magnificent career, and so abruptly shut up its vista—the view, we say, which our friend took of the presiding character throughout the Iliad, who is introduced to us in the very first line, and who is only eclipsed for seventeen books, to emerge upon us with more awful lustre;—the view which he took was—that Achilles, and Achilles only, in the Grecian poetry, was a great idea—an idealised creation; and we remember that in this respect he compared the Homeric Achilles with the Angelica of Ariosto. Her only he regarded as an idealisation in the Orlando Furioso. And certainly in the luxury and excess of her all-conquering beauty, which drew
Because the Latin word
No word has ever given so much trouble to modern critics as this very word (now under discussion) of the
There is a difficulty in assigning any term as comprehensive enough to describe the Grecian heroes and their antagonists, who fought at Troy. The seven chieftains against Thebes are described sufficiently as Theban captains; but, to say
'To his own knowledge'—see, for proof of this, the gloomy serenity of his answer to his dying victim, when, predicting his approaching end:—
