It is not for me to interpose between two such combatants; and indeed my way lies, not up the highroad where they are contending, but along a bypath. With the absolute truth of their general propositions respecting accent and quantity, I have nothing to do; it is most interesting and instructive to me to hear such propositions discussed, when it is Mr Munro or Mr Spedding who discusses them; but I have strictly limited myself in these Lectures to the humble function of giving practical advice to the translator of Homer. He, I still think, must not follow so confidently, as makers of English hexameters have hitherto followed, Mr Munro’s maxim, quantity may be utterly discarded. He must not, like Mr Longfellow, make seventeen a dactyl in spite of all the length of its last syllable, even though he can plead that in counting we lay the accent on the first syllable of this word. He may be far from attaining Mr Spedding’s nicety of ear; may be unable to feel that ‘while quantity is a dactyl, quiddity is a tribrach’, and that ‘rapidly is a word to which we find no parallel in Latin’; but I think he must bring himself to distinguish, with Mr Spedding, between ‘th’ o’er-wearied eyelid’, and ‘the wearied eyelid’, as being, the one a correct ending for a hexameter, the other an ending with a false quantity in it; instead of finding, with Mr Munro, that this distinction ‘conveys to his mind no intelligible idea’. He must temper his belief in Mr Munro’s dictum, quantity must be utterly discarded, by mixing with it a belief in this other dictum of the same author, two or more consonants take longer time in enunciating than one[[63]].
Criticism is so apt in general to be vague and impalpable, that when it gives us a solid and definite possession, such as is Mr Spedding’s parallel of the Virgilian and the English hexameter with their difference of accentuation distinctly marked, we cannot be too grateful to it. It is in the way in which Mr Spedding proceeds to press his conclusions from the parallel which he has drawn out, that his criticism seems to me to come a little short. Here even he, I think, shows (if he will allow me to say so) a little of that want of pliancy and suppleness so common among critics, but so dangerous to their criticism; he is a little too absolute in imposing his metrical laws; he too much forgets the excellent maxim of Menander, so applicable to literary criticism:—
Καλὸν οἱ νόμοι σφόδρ’ εἰσίν· ὁ δ’ ὁρῶν τοὺς νόμους
λίαν ἀκριβῶς, συκοφάντης φαίνεται·
‘Laws are admirable things; but he who keeps his eye too closely fixed upon them, runs the risk of becoming’, let us say, a purist. Mr Spedding is probably mistaken in supposing that Virgil pronounced his hexameters as Mr Spedding pronounces them. He is almost certainly mistaken in supposing that Homer pronounced his hexameters as Mr Spedding pronounces Virgil’s. But this, as I have said, is not a question for us to treat; all we are here concerned with is the imitation, by the English hexameter, of the ancient hexameter in its effect upon us moderns. Suppose we concede to Mr Spedding that his parallel proves our accentuation of the English and of the Virgilian hexameter to be different: what are we to conclude from that; how will a criticism, not a formal, but a substantial criticism, deal with such a fact as that? Will it infer, as Mr Spedding infers, that the English hexameter, therefore, must not pretend to reproduce better than other rhythms the movement of Homer’s hexameter for us, that there can be no correspondence at all between the movement of these two hexameters, that if we want to have such a correspondence, we must abandon the current English hexameter altogether, and adopt in its place a new hexameter of Mr Spedding’s Anglo-Latin type, substitute for lines like the
Clearly the rest I behold of the dark-eyed sons of Achaia ...
of Dr Hawtrey, lines like the
Procession, complex melodies, pause, quantity, accent,
After Virgilian precedent and practice, in order ...
of Mr Spedding? To infer this, is to go, as I have complained of Mr Newman for sometimes going, a great deal too fast. I think prudent criticism must certainly recognise, in the current English hexameter, a fact which cannot so lightly be set aside; it must acknowledge that by this hexameter the English ear, the genius of the English language, have, in their own way, adopted, have translated for themselves the Homeric hexameter; and that a rhythm which has thus grown up, which is thus, in a manner, the production of nature, has in its general type something necessary and inevitable, something which admits change only within narrow limits, which precludes change that is sweeping and essential. I think, therefore, the prudent critic will regard Mr Spedding’s proposed revolution as simply impracticable. He will feel that in English poetry the hexameter, if used at all, must be, in the main, the English hexameter now current. He will perceive that its having come into existence as the representative of the Homeric hexameter, proves it to have, for the English ear, a certain correspondence with the Homeric hexameter, although this correspondence may be, from the difference of the Greek and English languages, necessarily incomplete. This incompleteness he will endeavour[[64]], as he may find or fancy himself able, gradually somewhat to lessen through minor changes, suggested by the ancient hexameter, but respecting the general constitution of the modern: the notion of making it disappear altogether by the critic’s inventing in his closet a new constitution of his own for the English hexameter, he will judge to be a chimerical dream.