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 *logical aspect of Homer's language, encumbered by his own learning, Mr Newman, I say, misses the poetical aspect, misses that with which alone we are here concerned. 'Homer is odd', he persists, fixing his eyes on his own philological analysis of μώνυξ, and μέροψς, and Κυλλοποδίων, and not on these words in their synthetic character;—just as Professor Max Müller, going a little farther back, and fixing his attention on the elementary value of the word θυγάτηρ, might say Homer was 'odd' for using that word;—'if the whole Greek nation, by long familiarity, had become inobservant of Homer's oddities', of the oddities of this 'noble barbarian', as Mr Newman elsewhere calls him, this 'noble barbarian' with the 'lively eye of the savage', 'that would be no fault of mine. That would not justify Mr Arnold's blame of me for rendering the words correctly'. Correctly,—ah, but what is correctness in this case? This correctness of his is the very rock on which Mr Newman has split. He is so correct that at last he finds peculiarity everywhere. The true knowledge of Homer becomes at last, in his eyes, a knowledge of Homer's 'peculiarities, pleasant and unpleasant'. Learned men know these 'peculiarities', and Homer is to be translated because the unlearned are impatient to know them too. 'That', he exclaims, 'is just why people want to read an English Homer, to know all his