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 (what they are pleased to call) inelegant because it is not like refined modern poetry, when it specially avoids to be such. They never deal thus with Thomson or Chatterton, any more than with Shakspeare or Spenser.

There is no sharp distinction possible between the foreign and the antiquated in language. What is obsolete with us, may still live somewhere: as, what in Greek is called Poetic or Homeric, may at the same time be living Æolic. So, whether I take a word from Spenser or from Scotland, is generally unimportant. I do not remember more than four Scotch words, which I have occasionally adopted for convenience; viz. Callant, young man; Canny, right-minded; Bonny, handsome; to Skirl, to cry shrilly. A trochaic word, which I cannot get in English, is sometimes urgently needed. It is astonishing to me that those who ought to know both what a large mass of antique and foreign-sounding words an Athenian found in Homer, and how many Doric or Sicilian forms as well as Homeric words the Greek tragedians on principle brought into their songs, should make the outcry that they do against my very limited use of that which has an antique or Scotch sound. Classical scholars ought to set their faces against the double heresy, of trying to enforce, that foreign poetry, however various, shall be all rendered into one English dialect, and that this shall, in order of words