“weapon-smith,” “wound-smith,” “tooth-hedge”? These, and scores of other such we have marked for notice, are surely as little like Virgil as they are like any English that is spoken to-day; and they are scarcely less potent than Mr. Morris’ archaisms in disturbing and altering the Virgilian tone. Of a like effect are the quaint and unconsequential translations now and then of Latin names—as of _Musæ_ into “Song-maids,” _Eumenides_ into “Well-willers,” _Avernus_ into “Fowlless,” and soon—whereby for a perfectly familiar and intelligible term of the Latin is substituted in the English a grotesque and puzzling word, and which again stops the current of the story until the reader can readjust his mind to the novel ideas it awakes. The most unclassical of readers has his notions formed of the Muses and the Furies, at least, if not of the Eumenides; but of these Song-maids—who might as well be milk-maids—and of these Well-willers—who rather suggest well-diggers—he must form a new notion as he reads. And one might add, at the risk of seeming to split hairs, that in thus translating the word _Eumenides_ we lose much of the effect of that euphemism with which the Greeks, like all strongly imaginative peoples, sought to keep disagreeable subjects at arm’s length—the form τι παθεῖν, as a synonym for dying, is exactly paralleled by the Irish phrase “suffered,” applied to an executed rebel—or perhaps to ward off the wrath of these ticklish neighbors, as Celtic races, again, are in the habit of calling fairies “the good people.” A more substantial objection is that Mr. Morris seems capricious in the matter, for we see no particular reason for his translating one such name and others not at all—-why he should not give us Quail-land for Ortygia, or Chalk Island for Crete, as well as Westland for Hesperia, or Fowlless for Avernus. It is a result of these affectations, or—for we are loath to press the charge of affectation against a poet whose own writing is so genuine and sincere—of these peculiarities of style, which have on the reader all the seeming and effect of affectation, that the pathos of Virgil, the one quality to which Mr. Morris should have been best fitted to do justice, he has greatly impaired. Affectation is fatal to pathos; one cannot have much feeling for the woes which are carefully set forth in verbal mosaic. Take but a single example—a passage in Virgil already referred to—which sets forth admirably that faculty the Latin poet has to so curious a degree of infusing sadness into mere words, but in which Mr. Morris is little behind him. It is the death of Æolus, which Mr. Morris renders thus: