There is much that is admirable in the whole work. The scenes are wonderfully well localized. One never strays into to-day. The author has completely mastered the difficult geographical terminology, and makes it sweet and pleasant to the ear. The men are cast in heroic mould, and a tinge of chivalry added to them that beautifies and ennobles them. Deirdrè is a sweet, pure, and loving woman; her early youth in the garden of the king is in itself an idyllic gem. The battle scenes are strong and vigorous, and not too long drawn out; a sea-fight in particular is wonderfully well described. The glimpses of natural scenery given here and there are varied and picturesque. Indeed, there is everything that is good in the poem, but nothing that can be called great; and greatness
is the standard and measure of an epic.
We think the author, too, has been careless in the construction of his verse. It is unequal. Half-rhymes abound: “bird” and “stirred,” “house” and “carouse,” “restored” and “board,” “hum” and “room,” “jollity” and “company,” “heath” and “breath,” cannot be considered good rhymes, yet they are all found within the first three pages. They are to too great an extent characteristic of the whole. Then there is an abundance of weak and commonplace couplets, such as the following:
“The earth’s dark places, felt himself full sad,
He knew not why, and sent, to make him glad.”
* * * * *
“From the bright palace straightway to his house,
That they might hold therein a gay carouse.”
* * * * *
“Yet higher rose the joy and jollity