Page:On the Sublime 1890.djvu/56

 And for the same reason, I imagine, whereas in the Iliad, which was written when his genius was in its prime, the whole structure of the poem is founded on action and struggle, in the Odyssey he generally prefers the narrative style, which is proper to old age. Hence Homer in his Odyssey may be compared to the setting sun: he is still as great as ever, but he has lost his fervent heat. The strain is now pitched to a lower key than in the "Tale of Troy divine": we begin to miss that high and equable sublimity which never flags or sinks, that continuous current of moving incidents, those rapid transitions, that force of eloquence, that opulence of imagery which is ever true to Nature. Like the sea when it retires upon itself and leaves its shores waste and bare, henceforth the tide of sublimity begins to ebb, and draws us away into the dim region of myth and legend. In saying this I am not forgetting the fine storm-pieces in the Odyssey, the story of the Cyclops, and other striking passages. It is Homer grown old I am discussing, but still it is Homer. Yet in every one of these passages the mythical predominates over the real.

My purpose in making this digression was, as I