would require 500 years for galloping down the slit to the nib. Now this Arabic sublime is _in this instance_ quite a kin brother to the Homeric. [Footnote 10: On the memorable inaugural day of the Liverpool railroad, when Mr. Huskisson met with so sad a fate, a snipe or a plover tried a race with Sampson, one of the engines. The race continued neck and neck for about six miles, after which, the snipe finding itself likely to come off second best, found it convenient to wheel off, at a turn of the road, into the solitudes of Chat Moss.] However, it is likely that we shall here be reminded of our own challenge to the Longinian word [Greek: hypselon] as not at all corresponding, or even alluding to the modern word sublime. But in this instance, the distinction will not much avail that critic--for no matter by what particular _word_ he may convey his sense of its quality, clear it is, by his way of illustrating its peculiar merit, that, in his opinion, these huge strides of Neptune's have something supernaturally grand about them. But, waiving this solitary instance in Homer of the sublime, according to his idolatrous critics--of the pseudo sublime according to ourselves--in all other cases where Longinus, or any other Greek writer has cited Homer as the great exemplary model of [Greek: hypsos] in composition, we are to understand him according to the Grecian sense of that word. He must then be supposed to praise Homer, not so much for any ideal grandeur either of thought, image, or situation, as in a general sense for his animated style of narration, for the variety and spirited effect with which he relieves the direct formal narration in his own person by dialogue between the subjects of his narration, thus ventriloquising and throwing his own voice as often as he can into the surrounding objects--or again for the similes and allusive pictures by which he points emphasis to a situation or interest to a person.