in the original: when they follow too close, one may vary the expression; but it is a question, whether a professed translator be authorized to omit any: if they be tedious, the author is to answer for it. It only remains to speak of the versification. Homer (as has been said) is perpetually applying the sound to the sense, and varying it on every new subject. This is indeed one of the most exquisite beauties of poetry, and attainable by very few: I only know of Homer eminent for it in the Greek, and Virgil in the Latin. I am sensible it is what may sometimes happen by chance, when a writer is warm, and fully possessed of his image: however, it may reasonably be believed they designed this, in whose verse it so manifestly appears in a superior degree to all others. Few readers have the ear to be judges of it: but those who have, will see I have endeavoured at this beauty. Upon the whole, I must confess myself utterly incapable of doing justice to Homer. I attempt him in no other hope but that which one may entertain without much vanity, of giving a more tolerable copy of him than any entire translation in verse has yet done. We have only those of Chapman, Hobbes, and Ogilby. Chapman has taken the advantage of an immeasurable length of verse, notwithstanding which, there is scarce any paraphrase more loose and rambling than his. He has frequent interpolations of four or six lines; and I remember one in the thirteenth book of the Odyssey, ver. 312, where he has spun twenty verses out of two. He is often mistaken in so bold a manner, that one might think he deviated on purpose, if he did not in other places of his notes insist so much upon verbal trifles. He appears to have had a strong affectation of extracting new meanings out of his author; insomuch as to promise, in his rhyming preface, a poem of the mysteries he had revealed in Homer; and perhaps he endeavoured to strain the obvious sense to this end. His expression is involved in fustian; a fault for which he