Weak self, with thee the mischief lies! Those throbs a tale disclose: Nor age nor trial has made wise The man of many woes.” ‘There you see some trace of the influence of Froude’s high ascetic nature speaking in the heart of a devotee of music, but a devotee of music of the most exalted kind. Hurrell Froude, in a letter home, mentions that the commander of the steamer in which they sailed sang several songs, accompanying himself on the Spanish guitar, and it must have been these songs which suggested to Newman “The Isles of the Sirens.” When the friends reach Ithaca, Newman seems to forget “the man of many woes” altogether; he is musing on the difficulty of keeping himself “unspotted from the world”: which is the last thing, I suppose, that Homer’s Ulysses ever thought about; while Byron, in the same scenes, thought only of how he could spot himself most effectually…. Newman’s nostalgia was more in sympathy with that of Moses than with that of Ulysses: the home he longed for was a home he had never yet gained. There is something very strange in the connection between these classical scenes and the thoughts they excited in the travellers, for I cannot help thinking that most of these poems must have owed their origin almost as much to Froude’s suggestion as to Newman’s pen. The lines, for instance, on England,[359] in which Newman calls her “Tyre of the West,” and accuses her of trusting in such poor defences as the fortified rock of Gibraltar, and such poor resources as her rich commerce supplied, look as if they had owed a good deal of their inspiration to Froude’s cavalier contempt for the wealth earned by trade, as well as his scorn for any ostentatious display of power not rooted in a devout theocratic Faith…. There is, to me, something very striking in the contrast between the class of thoughts which the old Greek and Roman localities suggest to a Whig poet like Byron, with a broad dash of licence in his Whiggery; to classical scholars like Clough, imbued with what is now called “the modern spirit” (as well its moral earnestness as its intellectual scepticism), and to grave spirits like Newman’s and Hurrell Froude’s, dominated not only by a religious, but by a strongly-marked ecclesiastical bias…. As regards the influence of this journey on Newman’s future career, it appears that while, in many respects, it diminished his horror of Romanism, in consequence especially of the influence of Hurrell Froude, it had a contrary effect on Hurrell Froude’s own mind, and later (again, through him, to some extent, I suppose) on Newman’s. Hurrell Froude writes from Naples[360] on February 17, 1833: “I remember you told me that I should come back a better Englishman than I went away: better satisfied not only that our Church is nearest in theory right, but also that practically, in spite of its abuses, it works better; and to own the truth, your prophecy is already nearly realised. Certainly, I