Such prescribed formulæ, and such a mechanism of verse, must have tethered the imagination in a perpetual circle; it was art which violated the free course of nature. In this condition we often find even the poetry of the Scandinavians. The famous death-song of Regner Lodbrog seems little more than an iteration of the same ideas. An Anglo-Saxon poem has the appearance of a collection of short hints rather than poetical conceptions, curt and ejaculative: a paucity of objects yields but a paucity of emotions, too vague for detail, too abrupt for deep passion, too poor in fancy to scatter the imagery of poesy. The Anglo-Saxon betrays its confined and monotonous genius: we are in the first age of art, when pictures are but monochromes of a single colour. Hence, in the whole map of Anglo-Saxon poetry, it is difficult to discriminate one writer from another.[9] Their prose has taken a more natural character than their verse. The writings of Alfred are a model of the Anglo-Saxon style in its purest state; they have never been collected, but it is said they would form three octavo volumes; they consist chiefly of translations. The recent versions in literal prose by two erudite Saxonists of two of the most remarkable Anglo-Saxon poems, will enable an English reader to form a tolerable notion of the genius of this literature. CONYBEARE'S poetical versions remained unrivalled. But if a literal version of a primitive poetry soon ceases to be poetry, so likewise, if the rude outlines are to be retouched, and a brilliant colouring is to be borrowed, we are receiving Anglo-Saxon poetry in the cadences of Milton and "the orient hues" of Gray. FOOTNOTES: [1] Bp. Nicholson's Eng. Lib. [2] It is pleasing to record a noble instance of the enthusiasm of learned research. "The leisure hours of sixteen years" furnished a comprehensive history of which "two-thirds had not yet appeared."--_Mr. Turner's Preface._ [3] A sufferer, moreover, fully assures us that some remain, which "must baffle all conjecture;" and another critic has judicially decreed that, in every translation from the Anglo-Saxon that has fallen under his notice, "there are blunders enough to satisfy the most unfriendly critic." "The Song of the Traveller," in "The Exeter Book," was translated by CONYBEARE; a more accurate transcript was given by Mr. KEMBLE in his edition of Beowulf; and now Mr. GUEST has furnished a third, varying from both. We cannot be certain that a fourth may not correct the three. [4] "Without exception!" is the energetic cry of the translator of Beowulf.