'By an angel of his birth, Who from his father's field Rode up in flames after his message told'; these are the celestial words which describe the celestial prowess of the Hebrew monomachist, the irresistible Sampson; and are hardly less applicable to the 'champion paramount' of Greece confederate. [Footnote 9: 'To his own knowledge'--see, for proof of this, the gloomy serenity of his answer to his dying victim, when, predicting his approaching end:-- 'Enough; I know my fate: to die--to see no more My much-lov'd parents, and my native shore,' &c. &c.] This, therefore, this unique conception, with what power they might, later Greek poets adopted; and the other Homeric characters they transplanted somewhat monotonously, but at times, we are willing to admit, and have already admitted, improving and solemnizing the original epic portraits when brought upon the stage. But all this extent of obligation amongst later poets of Greece to Homer serves less to argue his opulence than their penury. And if, quitting the one great blazing jewel, the Urim and Thummim of the _Iliad_, you descend to individual passages of poetic effect; and if amongst these a fancy should seize you of asking for a specimen of the _Sublime_ in particular, what is it that you are offered by the critics? Nothing that we remember beyond one single passage, in which the god Neptune is described in a steeple chase, and 'making play' at a terrific pace. And certainly enough is exhibited of the old boy's hoofs, and their spanking qualities, to warrant our backing him against a railroad for a rump and dozen; but, after all, there is nothing to grow frisky about, as Longinus does, who gets up the steam of a blue-stocking enthusiasm, and boils us a regular gallop of ranting, in which, like the conceited snipe[10] upon the Liverpool railroad, he thinks himself to run a match with Sampson; and, whilst affecting to admire Homer, is manifestly squinting at the reader to see how far he admires his own flourish of admiration; and, in the very agony of his frosty raptures, is quite at leisure to look out for a little private traffic of rapture on his own account. But it won't do; this old critical posture-master (whom, if Aurelian hanged, surely he knew what he was about) may as well put up his rapture pipes, and (as Lear says) 'not squiny' at us; for let us ask Master Longinus, in what earthly respect do these great strides of Neptune exceed Jack with his seven-league boots? Let him answer that, if he can. We hold that Jack has the advantage. Or, again look at the Koran: does any man but a foolish Oriental think that passage sublime where Mahomet describes the divine pen? It is, says he, made of mother-of-pearl; so much for the 'raw material,' as the economists say. But now for the size: it can hardly be called a 'portable' pen at all events, for we are told that it is so tall of its age, that an Arabian 'thoroughbred horse