Yet, as between the Greek and Roman poet, it should seem that the former _ought_ to have been more congenial to Dryden, and the latter to Pope. In many of the points where Pope was farthest from Homer he was nearest to Virgil—not least in his love of antithesis, his epigram and point, his brilliant rhetoric, the studied elegance, nay, the artifice, of his style. Even in his most didactic vein he would scarcely have been so far from Virgil as in his most epic strain he was from Homer. Virgil is not averse to a bit of sermonizing _sub rosa_; he writes with a moral; his Æneas is a sort of fighting parson born before his time. One cannot help feeling, too, in his most impassioned moments, that he is writing with his eye on his style, as Pope always is, as we can never fancy Homer doing. Is the rhetorical artifice any less plain in “O dolor atque decus magnum rediture parenti” than in “Daphne, our grief, our glory, now no more”? Is the antithesis less pointed in “Qui candore nives anteirent, cursibus auras” than in “Sees God in clouds, and hears him in the wind”? There are hardly more lines of the kind in Pope than in the _Æneid_. When, therefore, Mr. Cranch tells us that he has taken blank-verse rather than the rhymed couplet in order to avoid the appearance of antithesis, and to secure the clear simplicity and directness of his original, he shows us where to look for some of his failures. His simplicity is too often baldness, his directness not seldom prose, and to the pointedness of the Latin he does much less than ample justice. His blank-verse seems to us monotonous in its modulation and is not always correct. Lines like the following occur too often: “Thou seekest counsel, gracious sovereign, In matters which to none of us are dark Nor needing our voices. All must own They know what best concerns the public good, Yet hesitate to speak.” Indeed, we must confess that we are at a loss to know what Mr. Cranch means by saying: “I am far from pretending that my versification may not frequently fail to convey the movement of the Latin lines to the ear of those to whom they are familiar.” If he means that his versification often, or even sometimes, or at all, conveys the movement of the Latin lines to his own ear, then his ear must be as curiously constructed as the “arrected ears” he bestows on Æneas in the famous shepherd simile in the second book.[3]