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 supremacy over Milton'; another critic reads all one can say about rhythm, and the result is, that he thinks Scott's rhythm, in the description of the death of Marmion, all the better for being saccadé, because the dying ejaculations of Marmion were likely to be 'jerky'. How vain to rise up early, and to take rest late, from any zeal for proving to Mr Newman that he must not, in translating Homer, say houndis and dancen; or to the first of the two critics above quoted, that one poet may be a greater poetical force than another, and yet have a more unequal style; or to the second, that the best art, having to represent the death of a hero, does not set about imitating his dying noises! Such critics, however, provide for an opponent's vivacity the charming excuse offered by Rivarol for his, when he was reproached with giving offence by it: 'Ah'! he exclaimed, 'no one considers how much pain every man of taste has had to suffer, before he ever inflicts any'.

It is for the future translator that one must work. The successful translator of Homer will have (or he cannot succeed) that true sense for his subject, and that disinterested love for it, which are, both of them, so rare in literature, and so precious; he will not be led off by any false scent; he will have an eye for the real matter, and where he thinks he may find any indication of this, no hint will be too slight for him,