the false rhymes, such as “wrath” and “forth,” “poured” and “abroad,” “abroad” and “reward,” which might be forgiven to the stress of so long and difficult a task had we not such reason for suspecting them to be intentional; the occasional use of phrases familiar, even low, and totally at variance with Virgil’s lofty and cultivated style, such as “gobbets of the men” for _frusta_, iii. 632; “Phrygian fellows” (_Phrygii comites_); “those Teucrian fellows”; “the other lads” for _juventus_; “but as they gave and took in talk” (_hac vice sermonum_); “he spake and footed it afore” (_dixit et ante tulit gressum_); “unlearned Æneas fell aquake” (_Horruit ... inscius Æneas_)—surely a most undignified proceeding for a hero; “so east and west he called to him, and _spake such words to tell_” (_dehinc talia fatur_)—the list is long, scarce a page but would swell it; or the compound epithets which Mr. Morris—herein, no doubt, taking his cue from Chapman, but not so happily or with such good reason—has coined profusely. “In the Augustan poets,” says Prof. Conington, “compound epithets are chiefly conspicuous by their absence, and a translator of an Augustan poet ought not to suffer them to be too prominent a feature of his style.” This assertion must be qualified with regard to Virgil, who, in imitation of his model, Homer, and in obedience, perhaps, to a supposed law of epic composition, has too many compounds to permit it to pass unchallenged—such, for instance, as _armisonus_ (_Palladis armisonæ_—“Pallas of the weapon-din”), _velivolus_ (“sail-skimmed”), _legifer_ (_legiferæ Cereri_—“Ceres wise of law”), _letifer_ (“deadly”), _cælicolus_ (“heaven-abider”), _laniger_ (“woolly”), _noctivagus_ (“nightly-straying”), and the like. Yet, not content to render these by English compounds even where it is not always expedient—since the compound form in our own language will often, from its strangeness in a familiar tongue, seem strained and awkward, where in the less familiar Latin it seems only natural and elegant[6]—Mr. Morris has introduced many other compounds of his own invention for which there is no authority in Virgil at all, which in many instances are discordant with his style and not seldom downright grotesque—such combinations as “hot-heart” for _ardens_, or “cold-hand in the war” (_frigidus bello_) or even “fate-wise,” “weapon-won,” “war-lord,” “battle-lord,” “air-high,” “star-smiting,” “outland-wrought,” “heaven-abider” (_cœlicolus_), “like-aged,” “goddess-led,” etc., which meet us at every turn. And what _are_ we to say of such inventions as “murder-wolf,” “death-stealth” (“on death-stealth onward the Trojan went”—_hic furio fervidus instat_), “dreaming-tide” for _somnus_, “war-Turnus,” “weapon-great,” “helpless-fain” for _nequidquam avidus_, “hero-gathered stone” (_lapis ipsi viri_), “anger-seas,” “wounding-craft,” “bit-befoaming,” “speech-masters,” or those others, if possible still more extraordinary, already mentioned,