after wave, into the most luscious song.  Doubt not that many a soul then, was the simpler, and purer, and better, for reading the sweet singer of Syracuse.  He has his immoralities; but they are the immoralities of his age: his naturalness, his sunny calm and cheerfulness, are all his own.

And now, to leave the poets, and speak of those grammarians to whose corrections we owe, I suppose, the texts of the Greek poets as they now stand.  They seem to have set to work at their task methodically enough, under the direction of their most literary monarch, Ptolemy Philadelphus.  Alexander the Ætolian collected and revised the tragedies, Lycophron the comedies, Zenodotus the poems of Homer, and the other poets of the Epic cycle, now lost to us.  Whether Homer prospered under all his expungings, alterations, and transpositions—whether, in fact, he did not treat Homer very much as Bentley wanted to treat Milton, is a suspicion which one has a right to entertain, though it is long past the possibility of proof.  Let that be as it may, the critical business grew and prospered.  Aristophanes of Byzantium wrote glossaries and grammars, collected editions of Plato and Aristotle, æsthetic disquisitions on Homer—one wishes they were preserved, for the sake of the jest, that one might have seen an Alexandrian cockney’s views of Achilles and Ulysses!  Moreover, in a hapless moment, at least for us moderns, he invented Greek accents; thereby, I fear, so complicating and confusing our notions of Greek rhythm, that we shall never, to the end of time, be able to guess what any Greek verse, saving the old Homeric Hexameter, sounded like.  After a while, too, the pedants, according to their wont, began quarrelling about their accents and their recessions.  Moreover, there was a rival school at Pergamus where the fame of Crates all but equalled the Egyptian fame of Aristarchus.  Insolent!  What right had an Asiatic to know anything?  So Aristarchus flew furiously on Crates, being a man of plain common sense, who felt a correct reading a far more important thing than any of Crates’s illustrations, æsthetic, historical, or mythological; a preference not yet quite extinct, in one, at least, of our Universities.  “Sir,” said a clever Cambridge Tutor to a philosophically inclined freshman, “remember, that our business is to translate Plato correctly, not to discover his meaning.”  And, paradoxical as it may seem, he was right.  Let us first have accuracy, the merest mechanical accuracy, in every branch of knowledge.  Let us know what the thing is which we are looking at.  Let us know the exact words an author uses.  Let us get at the exact value of each word by that severe induction of which Buttmann and the great Germans have set such noble examples; and then, and not till then, we may begin to talk about philosophy, and æsthetics, and the rest.  Very Probably Aristarchus was right in his dislike of Crates’s preference of what he called criticism, to grammar.  Very probably he connected it with the other object of his especial hatred, that fashion of interpreting Homer allegorically, which was springing up in his time, and which afterwards under the Neoplatonists rose to a frantic height, and helped to destroy in them, not only their power of sound judgment, and of asking each thing patiently what it was, but also any real reverence for, or understanding of, the very authors over whom they declaimed and sentimentalised.