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 But I see something more in this phenomenon. Mr Arnold is an original poet; and, as such, certainly uses a diction far more elevated than he here puts forward to represent Homer. He calls his Homeric diction plain and simple. Interpreting these words from the contrast of Mr Arnold's own poems, I claim his suffrage as on my side, that Homer is often in a style much lower than what the moderns esteem to be poetical. But I protest, that he carries it very much too far, and levels the noblest down to the most negligent style of Homer. The poet is not always so 'ignoble', as the unlearned might infer from my critic's specimens. He never drops so low as Shakspeare; yet if he were as sustained as Virgil or Milton, he would with it lose his vast superiority over these, his rich variety. That the whole first book of the Iliad is pitched lower than the rest, though it has vigorous descriptions, is denoted by the total absence of simile in it: for Homer's kindling is always indicated by simile The second book rises on the first, until the catalogue of ships, which (as if to atone for its flatness) is ushered in by five consecutive similes. In the third and fourth books the poet continues to rise, and almost culminates in the fifth; but then seems to restrain himself, lest nothing grander be left for Achilles. Although I do not believe in a unity of authorship between the Odyssey and the Iliad, yet in the Iliad itself