_Hic jacet_, therefore, what was mortal of Newman's Homer,--a work executed upon a theory which no art of performance could redeem, while to that theory it was rather clumsily than skilfully adapted. Yet was it the work of a scholar so thorough, of a writer so able, of a translator so faithful to his original, that no error of theory could wholly vitiate his performance. The pictures of Homer, despite the crudity of his coloring and the spots and daubs with which his rendering was conscientiously sprinkled, he brought out more clearly than any had done before him. His work, therefore, being dead, still lives; its ashes glow and shine from the urn which contains them. Its ill-fortune was, that it was only antiquarian literature from its birth; its good-fortune is, that it shall never cease to be cherished as such. _Honestas mortem vincit_: the high degrees of intellectual sincerity and power conquer even literary damnation. 1. _On Translating Homer._ By MATTHEW ARNOLD. London. 2. _Last Words._ By the Same. Whoever loves Homer will like these little books. Mr. Arnold is a man of large and liberal intelligence, well up with his time; he is critically inspired, yet himself a poet; his thinking, while ample, is singularly definite; he has an admirable faculty of minding his own business, doing what he _can_ do, and speaking where he has a right to speak; his style, while precise and vigorous, has a charm of composure and naturalness; and he exhibits such a combination of two-edged critical truth and intrepidity with perfect temper as is rarely seen. In his first volume he had been Rhadamanthine upon the translation of Mr. Newman. The latter replied with asperity. In "Last Words" Mr. Arnold responds in a tone so pure, so manly and gentle, that the volume should be memorable for this alone, were there nothing else to recommend it. Let us all hasten to bless the banns between steel-edged truth and perfect amenity. Mr. Arnold characterizes Homer as rapid, as plain, direct, and natural in language, as the same in his thought, and finally as noble, having the grand manner. A translation must reproduce these features, whatever it fail to do. Passing existing translations in review, he finds Cowper slow, Pope artificial, Chapman fanciful, Newman, through the vice of his theory, ignoble. Some one having pronounced Tennyson eminently Homeric, Mr. Arnold discusses the relation of the English idyllic to the Ionian epic poet, and finds him at the opposite pole in respect of simplicity.