Froude in his essay on Homer says: "The authors of the Iliad and the Odyssey stand alone with Shakespeare far away above mankind." Paul's marginal note: "Add to them Milton, Goethe, the author of the Nibelungen-lied, Browning."
Froude, I think, has misunderstood the Nibelungen-lied entirely. There is really much savagery and much glory in both the German and the Greek epic.
How strange that men like Rabelais and Swift, Goldsmith and Dickens, who have done so much to make the world laugh, experienced in their own lives great unhappiness.
Browning is always an optimist. His manliness and vigour are unfailing:
I find earth not grey but rosy,
Heaven not grim but fair of hue.
Do I stoop? I pluck a posy.
Do I stand and stare? All's blue.
Paul considered that Macaulay lacked ideas and vision. He liked the lilt and swing of the Lays and Ballads, and enjoyed the Essays with their superb colouring. Disputing Macaulay's dictum that neither painters nor poets are helped by the advances in civilisation, science and refinement, he wrote: "This argument disproved by the examples of men like Shakespeare and Goethe, like Browning and Kipling. And did not Leonardo da Vinci become a student of anatomy in order to learn how to depict the human body properly on his canvas?"
Macaulay in his Essay on Mackintosh's "History of The Revolution" describes the condition of England in 1678, after eighteen years of Charles the Second's reign, in graphic words, beginning "Such was the nation which, awaking from its rapturous trance, found itself sold to a foreign, a despotic, a Popish court, defeated on its own seas and rivers by a State of far inferior resources, and placed under the rule of pandars and buffoons."
Paul's comment reads: "This superb passage is one of the most inspired of Macaulay's utterances. Contrast with it in the same Essay the vivid sentence beginning 'In the course of seven centuries,' in which he pronounces a magnificent panegyric on the greatness of Britain."
He thought the music of Macaulay's prose had often a metallic sound, and that it suffered from excess of epithet and addiction to antithetical phrases. In pithiness of style, sureness of touch and dispassionate judgment, he contrasted Acton as an historical writer with Macaulay, to the latter's disadvantage. He found every page of Acton packed with thought, every essay richly freighted with ideas. Moreover, Acton was sternly impartial and impersonal in his judgment of persons and in his estimate of influences. Paul wrote:
There has never been in historical writing such inexorable logic, such compact phraseology, so much pith and point, as are to be found in Acton's Essays.