In the age of Anne, “dignity” and “correctness” had to be given to Homer, and Pope gave them by aid of his dazzling rhetoric, his antitheses, his _netteté_, his command of every conventional and favourite artifice. Without Chapman’s conceits, Homer’s poems would hardly have been what the Elizabethans took for poetry; without Pope’s smoothness, and Pope’s points, the Iliad and Odyssey would have seemed rude, and harsh in the age of Anne. These great translations must always live as English poems. As transcripts of Homer they are like pictures drawn from a lost point of view. _Chaque siècle depuis le xvie a eu de ce côté son belvéder différent_. Again, when Europe woke to a sense, an almost exaggerated and certainly uncritical sense, of the value of her songs of the people, of all the ballads that Herder, Scott, Lonnrot, and the rest collected, it was commonly said that Homer was a ballad-minstrel, that the translator must imitate the simplicity, and even adopt the formulae of the ballad. Hence came the renderings of Maginn, the experiments of Mr. Gladstone, and others. There was some excuse for the error of critics who asked for a Homer in ballad rhyme. The Epic poet, the poet of gods and heroes, did indeed inherit some of the formulae of the earlier _Volks-lied_. Homer, like the author of _The Song of Roland_, like the singers of the _Kalevala_, uses constantly recurring epithets, and repeats, word for word, certain emphatic passages, messages, and so on. That custom is essential in the ballad, it is an accident not the essence of the epic. The epic is a poem of complete and elaborate art, but it still bears some birthmarks, some signs of the early popular chant, out of which it sprung, as the garden-rose springs from the wild stock, When this is recognised the demand for ballad-like simplicity and “ballad-slang” ceases to exist, and then all Homeric translations in the ballad manner cease to represent our conception of Homer. After the belief in the ballad manner follows the recognition of the romantic vein in Homer, and, as a result, came Mr. Worsley’s admirable Odyssey. This masterly translation does all that can be done for the Odyssey in the romantic style. The smoothness of the verse, the wonderful closeness to the original, reproduce all of Homer, in music and in meaning, that can be rendered in English verse. There still, however, seems an aspect Homeric poems, and a demand in connection with Homer to be recognised, and to be satisfied.