iJBRARV THE . . aWVERSITyOf. ILLINOIS '■>^^^ PmOGBABB y6 $ H ■-r>-a;;-a ^■f-^rs-- '^^ m der Kdnlslicben Healsclmle t?*- ,** ■■<■■ zu H e r s f e 1 d* Oslern 1868. »; : Ink a It: 1), The English Translations of Homer. An Essay b y Dr. #■ '"^^ — ^- - " ^ 2) Schulnachrichten. Vom Inspector. •^' >*^'*' ilJ^v. ■ • . , I'^v-": ' ' K■ I m ■ Ov ■ ::^:^::^ ^• -i:v;Kr- .:*-*^ :i ..r'^.s-^::' .V::: ' ' JLhe questioa how a translator has to treat Homer in order to please the scholar and also to render the poet accessible to a larger public has never been discussed in England with so warm an interest as in the last decenniums. Not only distinguished scholars and men of high position, but others of inferior ability have entered the lists of the controversy, and, in the coarse of a few years, there have appeared no less than five translations. After a few introductory remarks we shall endeavour to give a short summary of what has been done in translations up to the present time, and if possible, to arrive at some conclusions as to the form most suited to the English language. The development of language and literature during the last three centuries has met with far fewer obstacles in England than in Germany, where the course of sound, national progess has too often been impeded by inward political and religious strug- gles -with their unhappy- consequences and by a miserable dependence on foreign powers. And although there followed after the Augustan Era of English literature a time during which French mannerism got the upper hand, yet this transitory revolu- tion was not attended by so disastrous consequences as in Germany, and the healthy mind of the nation (hat had produced a William Shakespeare, emancipated itself m due time from such repulsive pedantry and sickly degeneracy. English writers ceased comparatively early to use the latin language only, and together with the great num- ber of eminent poets created that language, which without any lasting mterruptidD, gradually developed itself to a high degree of perfection, whereas in Germany the 1 *>■ w- ••% J-r^'jit^^;/-;^ i-:^r ■"!•.■■ :»-ifr. Sr' 'i-'f national literature and the forcible language of Luther b^gan to degenerate Soon after the reformation. Thus wjb find already under the reign of Henry Vlfl.' and Elizabeth rather elegant versions of classical authors; as, for instance, those ef Cicero and Xenophon by Grimoald and that of Virgil by the unfortunate Earl of Surrey, who introduced the blank verse into English literature, and who, following in the footsteps of the Italians gave to poetic language an extraordinary smoothness and elegance. It iajust this exterior polish and easiness of style, which has always distinguished the EngUsh translator of Grecian and Latin works from the German. It would seem that this arises from a different manner of treating the studies of Antiquity in gene- ral, aud is, in a great measure, to be attributed to the respective national character of the JBritons jand Germans. For as these two nations differ from each otlier in so many points that, in the moral and intellectual world, tliCy almost form two opposite poles, they likewise present a marked contrast in the way in which each of them tries to make the mental productions of foreign nations and distant periods of civilization their own. Whenever an English scholar has undertaken the task of interpreting to his countrymen some literary woii^ of Hellas or Rome, his principal aim always was to please by easy movement and grace while the German translator, on the other hand, endeavours to penetrate the mind of the author in every detail and to follow with scrupulous accuracy the text of the original. This may especially be said of the Iliad aud Odyssey* Now, it cannot be denied that the former manner of proceeding contributes not a little towards popularizing classical literature, to which wc may add that in no other civilized country there exists so great ait affinity with the ancients in political. - institutions and social life as in England. . ' ' fn^ the study of the constitutional history of Greece and Rome the Briton find^' at every step analogies widi that of his own- nation, and a long list of illustrious names from Sir Walter Raleigh down to Lord Macaulay and' Grote proves, how practically and vitally English historians have alvays bjeten inilfienoe'd by Thacydides, Livy ' and Tacitus. And how infimitely more important, even from a purely practical point of view, mns^ for instance, Demosthenes have been for a Pitt, Burke, Brou^am or Fox, than for the Genftan t(cholar. ••.•....• .' . • Thus, whUe the great master pieces of Anliqtiity always met with a coiiscien- - - "eidus' and admirable treatment in the laud of thinkers and philosophers, in that of • •• V • . *■ *^ ^-^Jl^sm^^ .'- ."• -.*^'^# ^ If--.' X-.- >■»> ■ political freedom they brought forth a race of statesmen and lawgivers, so that the gulf between the modern and aneient wprld appears nowhere smaller than in England Iniike manner. the method of instruction in schools and universities, although so defi* cient in many points, contributes.greatly to this resplt, the classics ever having formed the greater part of the plan of study in the schools, and the students of all the lear- ned professions, without exception, continuing to cultivate them at the University. It - is chiefly owing to this latter circumstance that so many men of academic education of widely different callings and professions maintain through their whole life a close intercourse with the ancients* and that even members of the highest aristocracy and men of important social position, still find time for historical and philosophical studies. As examples we need only cite the names of the British Demosthenes, Lord Brougham, Lord Del'by,. Colonel Mure, Gladstone, and the London banker Grote. This wide diffusion of classical knowledge and a language already well deve- loped early led to the translation of classical authors, among whom Ovid, Virgil and Cicero ranked first and were followed, in the Elizabethan period, by Homer* II. Omitting a few, less important names, as Ogilby and others, we proceed to the first translator worthy of our notice, George Chapman, whose Homer w4U always remain deserving of consideration. Chapman, a contemporary audi according to some, a friend of Shakespeare had not the good fortune to obtain for his work the atteu' tion it merited. The reason why it soon sank into comparative oblivion and never obtained its deserved popularity seems principally to be the quaint, somewhat obsolete mode of expression, and secondly the choice, of the . fourteen • syllabled measiire, .which. wa$ not calcijlatied to pWa^ the ear accustomed to tlie French rhymes of th6 Dryden period. Leaving the form out of the question we must admit that the spirit . which breathes .through Chapman's poem is mord Homeric than in any other pro- duction of the kind that appeared during the next two eenturies. Chap'm&n was a (hor%)ttgh Oxf6rd scholar, living in friendly intercourse with . important literary, authorities,. as. for- instance Ben Jonson in l>ondon, and was^ a man of serious, deep feelmg, who pursued his studies with an almost .enthusiastic energy, qualities which were ^euuueutly. favourable, to his. undertaking. He possessed in a high ■ degree the gift of pen^rating the characters, of his heroes and of entering fully into the spirit and pecttliaritiea of the age. Thus, both his deities and his heroes attract ; ''^ «v^^K ■■Tfjsj^ ^?r; >'.«?• ^-r'- i- ■»•; ■. .; T- _.v -j; ^^ ^V,.-'^~ ■y{^<- >A, ns as truly Homeric figures, full of live and nature. Now, if in spite of his endea- vouring to preserve the original cliaracter of tlie poem, he has not quite succeeded in giving us the genuine Homer, this faiiuce must be attributed, in the first place, to his ballad • lilce metre, which falls upon the ear with too little of the easy and majestic flow of the ancient hexameter; and, secondly,* with all his objectiveness we discover too often the poet of the romantic age, i. e- his imagination frequently carries him away into the style of the time and causes him to overstep the natural boundaries. This is, however, a feature, which we find in ahnost all translators of that great epoch, when men had just emerged from the middle ages with all the imaginativeness and peculiarities of the time and began to try their powers upon the abundant mass of new material. Nevertheless« Chapman's book, in spite of rhyme, ballad - metre aud quaintness, stands higher with us than any of the productions of the time of French taste,- and his Iliad has kept its ground at all times and attracted English scholars, who knew how to appreciate it. Hallam says that it is „often exceedingly Homeric" and one of the later editors : „by his own iunative Homeric genius Chapman has thoroughly identified himself with Homer, and we pardon him even his digressions; for they are such as we feel Homer himself would have written." Further on we shall have to compare a passage from Chapman with a later version; for the present we give a few lines as an example of the occasional quaint and overflowing style of the translator. Iliad VI, 444 Hector says to Andromache: O'J^s [/.£ ^j[i.d; avwysv, s— st ^.i.&O'^ e[X[7.£vai e.•. .•■?"> ':.■'■■ - • ■;-- » r and Priam'* • • ^ . ' "E aud laid Milton in the dust, must be understood as relating more to polish of diction than to ,» .'illC,.';-.,.*../-^-.,' ^ .. ■'> gr-i^,^^ genius or depth. And how many of Dryden's faults sprang from the oortnptiiic spread of French influences! His unquestionable claims to the admiration of Pos- terity rest on his having established new laws and norms for metrics and style. And in this he found, even during his lifetime, an enthusiastic admirer and blind imita- tor in Alexander Pope, who followed as nearly as possible in his footsteps and sur- passed him in most points. ■ In his five nnd twentieth year Pope began his celebrated translation of Homer, which, up to the last few years, has always been looked upon as the best and most exemplary, and which was welcomed by his contemporaries with the most unbounded admiration. However, although there are still many admirers of this elegant com< position, the opinion generally prevails that, with respect to the true ingenium hbmer- icum, no writer could have attempted the work with fewer qualifications than the author of the „Rape of the Lock*', the ,,Essay on Man*' and the other various fash- ionable productions. Views and temperament and studies did not qualify Pope to ap- pt^ach near enough to the spirit of Antiquity and to allow th^ same to pervade his translations. His Iliad and Odyssey, like Addison's „Gato'' and other contemporary dramatic works lose too much by modernisation. j,'Tis a pretty poem, Mr. Pop?", 'said. Richard Bentiey, „but you must not call it Homer." Howewer, „pretty** is a little too severe, for the mind of Pope was not so altogether destitute of the noble and sublime, but that these qualities do not shine forth occasionally in his Homer. He ehiefly excels in graceful diction, rapid and easy movement, but he frequently falls into the error of brilliant sentences and even of antithesis, to which, it may be said in excuse, tlie nature of the heroic verse easily leads. Therefore Pope could not fail to give his work a false impress. Besides he was wanting in depth of feeling, seriousness and that special intellectual qualification, which enables the translator fully to enter into the ingenium Homericum and particularly not to overlook the drastic description of even the smallest details. Still we must not lose sight of the fact that the English language presents great difficulties and is by no means well adapted to easy translation, a circumstance which too often induces the translator to employ vague cipcumlocotions. Not content with this unavoidable prolixity. Pope augmented the same by extension of the figures and the frequent introduction of rhetoric ornaments* For instance the celebrated passage Od. IV, 456 S^f:^--:^^'^^^'^^^^ '■ ■" •'• -:-^'- ■:■.'- ■V;. ;f ': ' ■ .^. ^•^ •"'..' '. ■ . aurap 2wsit« Spaiwtfv xal TcapSa^i; TiSe {Jtiy*? "^5 *' " ». vivveTO S' uYp6v ySo)p xal SevSpeoV uears. It is evident how much of the effect he destroys by such circumlocutions as „the damsels that attend the throne'^ which may remind the reader of the powdered maids of Queen Anne, but scarcely of the a^x^pi-oXoi of Penelope :, the same is the case with a thousand similar expressions^ The frequent occurrence of. high-ftown sentences have even given rise to the suspicion that Pope tried thus to cover his deficient knowledge of the Greek language, and his adversaries indeed accused him with it, asserting that he, like his model Dryden, had recourse to latin translations and emphasizing his having enjoyed very little systematic school - training and attained his degree of learning chiefly by self> instruction. However that may be, the censure which both the poetical and the phi- losophical productions deservedly incurred, falls less upon the author himself, than on the general character and peculiar taste of the age in which he lived. It is to be attributed chiefly to this circumstance that Pope chose the heroic verse, the rhymes and rhythm of which are so unsuited for translation of ancient poetry, and that he so frequently introduces such rhetorical ornaments as antithesis aud others. Even Addison with all his classic lore would not, under the influence of the same circumstance, have given us a better Homer than Pope's work. To sum up, however, the praise xtur poet is entitled to, it is but just to admit that he has enriched the English language not only by his minor productions, but also by his Iliad and Odyssey. His. manuscripts which we still possess show how scrupu- lous he was in his expressions, and how often he used the file; and thus, between 1712 and 1725, he completed a work which charmed by its extraordinary grace and elegance all who were but slightly or not at all acquainted with the original, and which ■•s--. ... ^ . .- .♦•.;-■• ■ . ; .•'■■■V ^.- . 8 • ■ y •. y exercised tio small inflaence on contemporary and later poets. Thus Dr. Johnson says: „Pope's Homer is certainly the noblest version tlie world has ever SQen, and its publication must therefore be considered as one of the greatest events in the an- nals of Learning'* and „ Pope cultivated our language with so much diligence and art, that he has left in his Homer a treasure of poetical elegancies to Posterity." In conclusion we give here the introductory verses of his Odyssey 1 ■»- 10, "AvSpa {jLOt SvvsTe, MoGca, ■Mro^urporrov, 8? ^jUk tcoaXx, TzXiY/,^"^' ^''^'' TpoiY)? iepov xToXtsQpov eTrsoaev . • _ ttoHcSv S' avOpwTTwv rSsv atfrez xai voov ly^w, TzoXki. S' o'y' ev xovTtp TraOev a^yea 8v xara 6uy,6v, apvu|X£V0(; Yiv ts 'j'u^^i^v xal vocxov exaipcov. aXX' oO^' (&; drapou; epudaxo, ie;ji£v6; xsp. ' ' . auTwv Y^-p (J^STepYiijtv dcTaiOaXiyiffiv oXovto. vT^TCiot, of xaxa ^ou; TuEpt'ovo? Tje'Xtow . ' ' yio^ov, auTap 6 TOtatv a'peiXero vocTttjiov '^^jxap Tfaiv ajjio^sv ye, Oea, GuY*f2p A165, ei?;^ )cai T/pitv. Pope: " . The man, for wisdom's various arts renown'd. Long exercised in woes, oh Muse I resound; Who, when his arms had wrought the destin'd fall . Of sacred Troxf and raz'd her heaven-builft wall, vl . Wand'ring from clime t(T clime, observant atray'df Their manners noted, aud their states survey' d* On stormy seas unnumber'd toils he bore, ■ Safe Willi his friends to gain his natal shore; Vain toilsl their. impious folly dar'd to prey ■ On herds devoted to the god of day ; The god vindictive doomed them never more (Ahl men unbless'd) to touch that natal shore, Oh snat^ some portion of these acts from fatCy Celestial Musel and to our World relate! — . r • • 4 • • ' » ^ '■■^cl •f- • " . ^P'r!^5?'*^'^!!S-^^^^ % *••* • • ....•••■•■. • ' More than half a century elapsed after the Appearance of Pope's Bonier be- fore a new attempt was made, and this ctrae fronj a man who also occupies an ho- nourable place among the English poets of the eighteenth century, and who in his translation made a step forward, bat was nevertheless scarcely competent to sblve satbfactorily the difficult problem. This >yas William Cowper. It is astonishing that so timid and shrinking a mind should have had the courage, in his later years, to attack Homer; yet Cowper completed his work in a few years, writing about fourty verses every day. This version has never drawn much attention, although it has some advantages over Pope's, and indicates a st6p forward in the treatment of tlomer by the poet's having chosen Milton rather, than Pope for a model, in bis metre. By so doing he avoided the superficiality and flippant style, into which the heroic verse so easily leads. Now although Cowper was decidedly on a surer road to suc- cess, still the whole stamp of his mind stood as a natural obstacle between him and his original, for he combined with his devoutness sugh a contemplative, shrinking, and sometimes despondent character , that it was impossible to him, in some parts of the epic to catch the real homeric tone. It is true that he says : „Tny chief boast is that I have adhered closely to the original", which he did to a certain degree, however, whenever he meets with expressions of glowhig passion, fiery speeches and too naive descriptions of the actions both of gods and mortals, he so modifies the fierocions, challenging tone and covers naked realities that he considerably weakens the effect of the whole. In addition to this he falls into the error of adhering too closely to the phraseology and peculiar movement of Milton's epic. ,,The similitude of Milton's manner^ says he, „to.that of Homer is such that no person familiar with both can read either withoutbeing reminded of the other; and it is in those breaks and pauses to which the numbers of the English poet are so much indebted both for their dignity and variety that he chiefly copies the Grecian." Now these „break$ and pauses", certainly occur often enoagli in Milton and his Italian models, but that they form a characteristic element in the majestic and yet rapid epic, is an erroneous opinion which has done much harm to Cowper's trans- lation. The frequent inversions and rather retarding manner of ^lilton may be ap- 2 ■'*■, .'»j4'.-: • • ' ^ » •. • 10 :^^. ■'■:■'•- prepriate to so solemn and serions subjects as that of the ^Paradise lost'' , but the •xact contrary suits the ancient epic in an English garb. We no^ subjoin as a specimen of Cbwper's version the famous passage oi the ifrotchfires, Iliad Vin, 555, and place beside it the verses of Chapman. 'Hi S' ot' ev oOpavtji affrpa fxtivry a[A(pl csXirivriV • * • - . ipatvex' apiTrps'jrea, ore t* sTrXsTO vvivs'xo; aidr,f. ex t' e9avsv 7:5?(7«i ckoiriil x«i rpcoove; dcxpot ' * ' * ' '. jcal vdcTcai.- oOpav6vhv 8' ap'.0-2fpaYn aCTrero; aiOv^p,- . ■ *. . i:xYZ% hi t' siSsTat acrpa, y^-jTiOz Si ts cpr Xeuxov epeTTTOjxevoi xai oXupa;, s(rTa6Te; Trap' oyizaa^vi, e69povov .'HtS'fitjxvov • * • Cowper: As when aroilnd the clear brijht moon the stars Shine in full splendour and the winds are huah'd. The groves, the mountain-tops, the headland-heights Stand oil apparent, not a vapour streaks . " . . • •' • " . The boundless blue, but ether opened wide All glitters, and the sheperd's heart is cheer'd: So numerous seemed the fires between the stream Of Xahthus blazing and the fleet of Greece In prospect all of Troy, a thousand fires, Each watched by fifty warriors seated near. The steeds beside their chariots stood, their corn Cheining and waited till the golden-throned Aurora should restore the light of day. Chapman. As when about the silver moon, when air is free from wind And stars shine clear, to whose sweet beams high prospects and the brows Of all steep hills and pinnacles thrust up themselves for show. And over the lowly valleys guy do glitter in their light. . ] « .A.'", -'^ ■ 1 •. > * »..• ■«tfcj ^:V: .t- f.' — ^ ■•-.. ^ .■■-■• • .-•,-■■ * ■ • % 11 ilnd all the sings in Heaven are seen, that glad Ihe shepherd's heart: So many fires disclosed their beams made by the Trojan part ' ' ' Before the face' of Ilion, that her bright turrets showed. • • • ■ A thousand courts of guards kept fires, and every guard aAovced Fifty stout men, by whom- their horse eat oats and hard white corn • •• And all did wilfully expect the silver-throned morn. After the death ^f Co wper in the year 1809, nothing worth mentioning appears until a very recent period, when a general discontent with the existing versions' gav6 ■ a now impulse to the work of homeric translation, a circumstance whicli may be partly attributed to the due regard that began to be paid to the undisputably" superior Ger- man productions. Among those who have treated the subject both practically and theoretically, we have to mention here Lord Derby, Gladstone, Colonel Mure, Newman, Wright, Matthew Arnold, Worsley and Alfred Tennysou. The question, which was. the .most suitable measure "for Homer, now became Uie chief subject for consideration. The rdpid progress of philology in" general, the impulse to which, in the course of the Id^h century, had been given b}' Germany, had given rise to a number of new points of view, from which the translators began to treat the subject more scientifically. Ballad measure, blankverse and Spenser's strophe, ■ all found advocates, but a very small minority were in favour of the original metre. However, .in spite of extended philological knowledge, and although perfectly acquainted with the wkole epic territory, most of the translators remained too far behind their original The cause of their want of success chiefly lies in the difficulties oflfered . by the English language itself. Now, in the first place, it needs no very deep insight into its nature to perceive - that there are many considerable obstacles which render the successful introduction of the hexameter almost impossible. The numerous monosyllabic words and harsh con- sonants make it extremely difficult to avoid the too frequent occurrence of spondees and even molossi, in addition to which the language abounds in mutilated, lisping and half pronounced vowels. Then the modern English is so stripped of Germanic flexions and terminations that a great number of half-accentuated syllables at the end of verbs and nouBS, which ar« so well adapted to dactylic verse, has disappeared entirely. >■^^ 12 Qaalities of the langnage, which, of course, ran counter to the fundamental conditions of a tolerable hexameter. The English tongue, pn (he whole, ]>as certainly profited on the one hand, with respect to terseness and conciseness of expression by amalgamation with the Roman element, but, on the other hand, it has suffered much by the loss of free mo- vement, flexibility, and the property of adapting itself to the ancient idioms and especially to the ,Greek» Yet, notwithstanding these evident difficulties, thousands of English hexameters lie before us. The most ardent defender of the original metre i& Dr. Matthew Arnold, professor at the University of Oxford, who advocates the hexameter as the only measure suitable for English translation. The dictatorial tone, and the reckless manner, in which he treats his- adversaries, has not gained much po- pularity to his cause, but, as a man of extended knowledge, who has thrown much light on many homeric questions, he deserves particular attention. Our limited space, however, compels us to refer the reader, for further' particulars, to the pamphlets of Newman and Wright and the lectures of Mr. Arnold published in London. Is it necessary to. refute his unexpectedly bold thesis, „that there is no reason in the nature of the English language , why it should not adapt [itself to hexameters as the German language does; nay the English language, from its greater rapidity, is in itself better suited than the German for them'' otherwise than by placing beside Goe- the's incomparable elegies some of the best English hexameters? iii/p'ji cot 5CXI vspds Sii y&owo; 'lllio^ut^x AwpoOj/xi CTOZ'fx^ Xzi'\ixyof ei; 'AtSxv, S-svSto y.vxy,a ttoOcoy, [xvayxa ipiXoypo^Tuvac. Aii^w, Xcvsiv ei; 'A;(spovTa /,iptv. Ai'ai' -oj TO TToi^iivdv ey,oi O'i.loi; ap-a«7iV "AiSx;, "ApTTttCiV, x/.aarov S' av^o; s^'jps xovt;. 'A A AX Ti '•fOM'^Oxi'J.Xl, yx T:xVTp09£, TXV TTXVoSupTOV Ihi'j.a GoZ; x6>,-oi;, [JixTsp, £vxY/,xXt(7xi. . TJiOUffh the. Forth hide thee, yet -there, even there, my Heliodora All that ia left me I give, tears of thy love to my grave* • _.-.-<. '1^ -'■ t- ^*rvv --«^ ..r*r:; -^: ■ . • . • • • • ■ • r-jcv^>- 13 K Tears,itoU} bitterly shed I on thy tomb bedewed with my weeping, Pledge of a fond regret — pledge of affection for thee* PiteousJy, piteously stillf but in vain grieves on Meleagre, . • • ^ Thou art aitiorig the dead ; Acheron heeds not my wo€. •■.•.'■ Where is the ftow'r that I lov'd'i Death tore it away in the springtide, • . Tore it away and the dust claims the fair leaves in their bloom. Genial Earth! be it thine, at the mouners humble entreaty _ . • . * SofHy to fold on thy breast her whom ever deplore. (From a collection of English Hexameter Translations, London, 7847',) ^Then from a neighbouring thicket the m,ocking bird, wildest of singers. Swinging cdoft on a willow spray that houng o'er the ibater. ■ Shook from his little throat such floods of delicious music, .That the whole air and the woods, and the waves seemed silent to listen* Plaintive at first were the tones and sadf then, soarinfi to m,adness, Seemed they to follow or guide the revels of frenzied Bacchantes. Then single notes were heard in sorrowful low lamentation; Till, having gathered them all, he flung them abroad in derision. As when, after a storm, a gust of tcind through the tree-tops Shakes down the rattling rain in d crystal shower on the branches," (From Longfellow's Evangeline.) In spite of obvious deficiencies we greatly prefer these specimens to Dr. Ar- Dold's own productions with their prosaic tone and forced accentuation j as ,^or ins> tance* in the following passage: • • Iliad XIX. 408. Kal X(inv g' (xi vuv -^z' cccijiao^s, o^pi^jL* 'kyiWzu. ■ • aXkx TOt if^&z'i ^txap oX^'^'piov o\>^t roi T^jxeiis • . - aPrioi, a>.Xa 6265 ts \d'^xi xai Moipa x,paTai>i. ouSs yap Yijx&ripi} PpaSur^rt re vtoj^eXi'y) re Tptiie; aw' tSp-oiiv TlaxpoxXou teuj^s' eXovto. oXXa ^ci5v wpicTOg, ov Yifixo'xo? t^jcs Atotu, IjtTKV* evl 7rpojJLa;^ot(jt, xai 'Exxopt xOJo; iSwxev. vOv Se xai xev a{/.a ttvoi-^ Z£(pupoto O^oifjiev 2* I- • :*-*'- ^V-v..v.- ' -■s. -■■ 'J;^'^' 14 *• ■<■ . '. ' {x.^p(Tttjt.6v efJTt 6e'*> ::oijxiva Xadiv, U7CV0? Ij^e Y^'J'^P^?. "O^Xa ^psdvoptiaivovra. w? S' ot' av aoTpaiTTTi Troct; "Hpri; riyJtotxoto ^ vi9eToy, ore 7;£p xe j^twv CTrdXuvev apoupa;, Yie 7:0^1 •777o'ki\t.ovi piiYat .t60i xpo aOXaiv .a6v Ayai&'j, TToXXa; ex X£7j; -Trpo^Xupou; eXxeTO X_aiTa; u .•.v...«. ■•■J,- •* ft i 16 Afuf by the roots hU hair in handfuU tore; , To Jove on high deep groan'd his mighty heart. We uew Gonclade our rapid sketch, regretting that onr very limited space did not allpw us to do more than mention the very praiseworthy productions of Newman, Wright, Tennyson and others. k • -K '.;>-v' 4 ^;-j^