There is also a very just admonition of Dr. Thirlwall (p. 516) as to the difficulty of measuring what degree of discrepancy or inaccuracy might or might not have escaped the poet’s attention, in an age so imperfectly known to us. Whatever there may be of truth in the different conjectures of critics respecting the authorship and structure of these unrivalled poems, we are not to imagine that it is the perfection of their epical symmetry which has given them their indissoluble hold upon the human mind, as well modern as ancient. There is some tendency in critics, from Aristotle downwards,[316] to invert the order of attributes in respect to the Homeric poems, so as to dwell most on recondite excellences which escape the unaided reader, and which are even to a great degree disputable. But it is given to few minds (as Goethe has remarked[317]) to appreciate fully the mechanism of a long poem; and many feel the beauty of the separate parts, who have no sentiment for the aggregate perfection of the whole. [316] There are just remarks on this point in Heyne’s Excursus, ii. sect. 2 and 4, ad Il. xxiv. vol. viii. pp. 771-800. [317] “Wenig Deutsche, und vielleicht nur wenige Menschen aller _neuern_ Nationen, haben Gefühl für ein æsthetisches Ganzes: sie loben und tadeln nur stellenweise, sie entzücken sich nur stellenweise.” (Goethe, Wilhelm Meister: I transcribe this from Welcker’s Æschyl. Trilogie, p. 306.) What ground there is for restricting this proposition to _modern_ as contrasted with _ancient_ nations, I am unable to conceive.