—such phrases as these, if to any translator at any time they could have seemed a natural way of saying things, would not then, in such a translator’s version, have struck us with more than the passing and not unpleasant sense of quaintness which is part of the charm we find in the diction of a past age when used by its lawful owners. But when a poet of the nineteenth century sacrilegiously invades the tomb and seizes upon this castoff and moth-eaten verbal bravery of buried ages to bedeck himself withal, it is much as if he should come to make his bow in a modern drawing-room arrayed in the conventional dress-coat, Elizabethan ruff and trunks, Wellington boots, and a Vandyke hat. The novelty might please for a moment, but the incongruity must offend in the end. In the very time which Mr. Morris so much admires they knew this to be false art. “That same framing of his stile to an old rusticke language,” says Sir Philip Sidney in his _Apologie for Poesie_, speaking of _The Shepherd’s Calendar_, “I dare not alowe, since neither Theocritus in Greeke, Virgile in Latin, nor Sannazar in Italian did affect it.” Still worse is it when our amateur of second-hand finery, the _bric-à-brac_ of language, selects such a poet as Virgil—Virgil, whose name is a synonym for supreme, for perfect elegance, whose “taste was his genius”—as a lay figure to drape with these shreds and tatters of an obsolete, fantastic verbiage, “mouldy-dull as Eld herself”—to quote and illustrate at once from Mr. Morris[5]—and smelling of the grave. This persistence in going out of the way to hunt for archaisms at once—to repeat a word which best hits our own feeling—teases the reader and distracts him. We seem to feel Mr. Morris amiably tugging our coat-sleeve at every turn to point out this or that fresh eccentricity of language. We fancy we see him chuckling and rubbing his hands gleefully here and there over the discovery of some more than usually exasperating way of violating the usages of modern speech. So vexed and harassed, it is impossible to get much taste of the _Æneid_; through this word-jugglery we catch such glimpses of it as of the painted scene a conjurer has set behind him to throw his tricks into relief Of a piece with this laborious renaissance of a forgotten tongue are the studied mispronunciations, such as Ænĕas for Ænēas and Erāto for Erăto: “So did the Father Ænĕas, with all at stretch to hear”; “To aid, Erāto, while I tell what kings, what deedful tide”;