Mr. Morris’s second volume brings the great romantic epic of Greek literature to its perfect conclusion, and although there can never be an ultimate translation of either Iliad or Odyssey, as each successive age is sure to find pleasure in rendering the two poems in its own manner and according to its own canons of taste, still it is not too much to say that Mr. Morris’s version will always be a true classic amongst our classical translations.  It is not, of course, flawless.  In our notice of the first volume we ventured to say that Mr. Morris was sometimes far more Norse than Greek, nor does the volume that now lies before us make us alter that opinion.  The particular metre, also, selected by Mr. Morris, although admirably adapted to express ’the strong-winged music of Homer,’ as far as its flow and freedom are concerned, misses something of its dignity and calm.  Here, it must be admitted, we feel a distinct loss, for there is in Homer not a little of Milton’s lofty manner, and if swiftness be an essential of the Greek hexameter, stateliness is one of its distinguishing qualities in Homer’s hands.  This defect, however, if we must call it a defect, seems almost unavoidable, as for certain metrical reasons a majestic movement in English verse is necessarily a slow movement; and, after all that can be said is said, how really admirable is this whole translation!  If we set aside its noble qualities as a poem and look on it purely from the scholar’s point of view, how straightforward it is, how honest and direct!  Its fidelity to the original is far beyond that of any other verse-translation in our literature, and yet it is not the fidelity of a pedant to his text but rather the fine loyalty of poet to poet.

When Mr. Morris’s first volume appeared many of the critics complained that his occasional use of archaic words and unusual expressions robbed his version of the true Homeric simplicity.  This, however, is not a very felicitous criticism, for while Homer is undoubtedly simple in his clearness and largeness of vision, his wonderful power of direct narration, his wholesome sanity, and the purity and precision of his method, simple in language he undoubtedly is not.  What he was to his contemporaries we have, of course, no means of judging, but we know that the Athenian of the fifth century B.C. found him in many places difficult to understand, and when the creative age was succeeded by the age of criticism and Alexandria began to take the place of Athens as the centre of culture for the Hellenistic world, Homeric dictionaries and glossaries seem to have been constantly published.  Indeed, Athenaeus tells us of a wonderful Byzantine blue-stocking, a precieuse from the Propontis, who wrote a long hexameter poem, called Mnemosyne, full of ingenious commentaries on difficulties in Homer, and in fact, it is evident that, as far as the language is concerned, such a phrase as ’Homeric simplicity’ would have rather amazed an ancient Greek.  As