But if Mr. Payne is damned with poor praise and mock modesty, my version is condemned without redemption--beyond all hope of salvation: there is not a word in favour of a work which has been received by the reviewers with a chorus of kindly commendation. "The critical battery opens with a round-shot." "Another complete translation is now appearing in a surreptitious way" (p. 179). How "surreptitious" I ask of this scribe, who ekes not the lack of reason by a superfluity of railing, when I sent out some 24,000--30,000 advertisements and published my project in the literary papers? "The amiability of the two translators (Payne and Burton) was testified by their each dedicating a volume to the other. So far as the authors are concerned nothing could be more harmonious and delightful; but the public naturally ask, What do we want with two forbidden versions?" And I again inquire, What can be done by me to satisfy this atrabilious and ill-conditioned Aristarchus? Had I not mentioned Mr. Payne, my silence would have been construed into envy, hatred and malice: if I am proud to acknowledge my friend's noble work the proceeding engenders a spiteful sneer. As regards the "want," public demand is easily proved. It is universally known (except to the Reviewer who will not know) that Mr. Payne, who printed only 500 copies, was compelled to refuse as many hundreds of would be subscribers; and, when my design was made public by the Press, these and others at once applied to me. "To issue a thousand still more objectionable copies by another and not a better hand" (notice the quip cursive!) may "seem preposterous" (p. 180), but only to a writer so "preposterous" as this.