FOOTNOTES 2 страница

1. The goddess of youth is made an attendant at the banquets of the gods, to show that they enjoyed a perpetual youth, and endless felicity.
2. [A town of that name in Bœotia, where Pallas was particularly worshipped.—Tr.]
3. [Βοωπις, constant description of Juno, but not susceptible of literal translation.]
4. Homer does not make the gods use all persons indiscriminately as their agents, but each according to his powers. When Minerva would persuade the Greeks, she seeks Ulysses; when she would break the truce, for Pandarus; and when she would conquer, for Diomede. The goddess went not to the Trojans, because they hated Paris, and looks among the allies, where she finds Pandarus, who was of a nation noted for perfidiousness, and who, from his avarice, was capable of engaging in this treachery for the hope of a reward from Paris.
5. A city of Asia Minor.
6. This description, so full of circumstantial detail, is remarkably beautiful. 1. The history of the bow, giving in a few words the picture of a hunter, lying in ambush and slaying his victim. 2. Then the process of making the bow. 3. The anxious preparation for discharging the arrow with certainty, which was destined to break off the truce and precipitate the battle. 4. The hurried prayer and vow to Apollo, after which the string is drawn, the cord twangs, the arrow "leaps forth." The whole is described with such graphic truth, that we see, and hear, and wait in breathless suspense to know the result.—Felton.
7. This is one of those humble comparisons with which Homer sometimes diversifies his subject, but a very exact one of its kind, and corresponding in all its parts. The care of the goddess, the unsuspecting security of Menelaus, the ease with which she diverts the danger, and the danger itself, are all included in these few words. To which may be added, that if the providence of heavenly powers to their creatures is expressed by the love of a mother to her child, if men in regard to them are but as sleeping infants, and the dangers that seem so great to us, as easily warded off as the simile implies, the conception appears sublime, however insignificant the image may at first seem in regard to a hero.
8. From this we learn that the Lydians and Carians were famous for their skill in dying purple, and that their women excelled in works of ivory; and also that there were certain ornaments that only kings and princes were privileged to wear.
9. This speech of Agamemnon over his wounded brother, is full of noble power and touching eloquence. The Trojans have violated a truce sanctioned by a solemn sacrifice to the gods. The reflection that such perjury cannot pass with impunity, but that Jove will, sooner or later, punish it, occurs first to the mind of the warrior. In the excitement of the moment, he predicts that the day will surely come when sacred Troy shall fall. From this impetuous feeling his mind suddenly returns to the condition of his brother, and imagines with much pathos, the consequences that will follow from his death, and ends with the wish, that the earth may open before him when that time shall come.—Felton.
10. The poet here changes the narration, and apostrophises the reader. Critics commend this figure, as the reader then becomes a spectator, and his mind is kept fixed on the action.
11. In the following review of the army, we see the skill of an accomplished general as well as the characters of the leaders whom Agamemnon addresses. He begins with an address to the army in general, and then turns to individuals. To the brave he urges their secure hopes of conquest, since the gods must punish perjury; to the timid, their inevitable destruction if the enemy should burn their ships. After this he flies from rank to rank, skilfully addressing each ally, and presents a lively picture of a great mind in the highest emotion.
12. The ancients usually in their feasts divided to the guests in equal portions, except they took particular occasion to show distinction. It was then considered the highest mark of honor to be allotted the best portion of meat and wine, and to be allowed an exemption from the laws of the feast in drinking wine unmingled and without measure. This custom was much more ancient than the time of the Trojan war, and we find it practised in the banquet given by Joseph to his brethren.
13. [Diverse interpretations are given of this passage. I have adopted that which to me appeared most plausible. It seems to be a caution against the mischiefs that might ensue, should the horses be put under the management of a driver with whom they were unacquainted.—The scholium by Villoisson much countenances this solution.—Tr.]
14. [Here Nestor only mentions the name of Ereuthalion, knowing the present to be an improper time for story-telling; in the seventh book he relates his fight and victory at length. This passage may serve to confute those who charge Nestor with indiscriminate loquacity.—Tr.]
15. The first Theban war, previously alluded to, took place twenty-seven years before the war of Troy. Sthenelus here speaks of the second, which happened ten years after the first. For an account of these wars see Grecian and Roman Mythology.
16. This is a most animated description. The onset, the clashing of spears, the shield pressed to shield, the tumult of the battle, the shouts and groans of the slayer and the dying—all are described in words, the very sound of which conveys the terrible meaning. Then come the exploits performed by individual heroes. The student must bear in mind, that the battles of the heroic age depended in a great measure upon the prowess of single chieftains. Hence the appropriateness of the following enumeration.—Felton.
17. So called from the river Simoïs, near which he was born. It was an eastern custom to name children from the most remarkable accident of their birth. The Scriptures furnish many examples. In the Old Testament princes were also compared to trees, and Simöisius is here resembled to a poplar.
18. Homer occasionally puts his readers in mind of Achilles, and finds occasion to celebrate his valor with the highest praise. Apollo here tells the Trojans they have nothing to fear, since Achilles fights not.
19. [Ακροκομοι. They wore only a lock of hair on the crown of the head.]

Footnotes for Book V:

1. In each battle there is one prominent person who may be called the hero of the day. This arrangement preserves unity, and helps to fix the attention of the reader. The gods sometimes favor one hero, and sometimes another. In this book we have the exploits of Diomede. Assisted by Minerva, he is eminent both for prudence and valor.
2. Sirius. This comparison, among many others, shows how constantly the poet's attention was directed to the phenomena of nature.—Felton.
3. Ηιοεντι.
4. The chariots were probably very low. We frequently find in the Iliad that a person standing in a chariot is killed (and sometimes by a stroke on the head) by a foot soldier with a sword. This may farther appear from the ease with which they mount or alight, to facilitate which, the chariots were made open behind. That the wheels were small, may be supposed from their custom of taking them off and putting them on. Hebe puts on the wheels of Juno's chariot, when he called for it in battle. It may be in allusion to the same custom, that it is said in Ex., ch. xiv.: "The Lord took off their chariot wheels, so that they drove them heavily." That it was very small and light, is evident from a passage in the tenth Il., where Diomede debates whether he shall draw the chariot of Rhesus out of the way, or carry it on his shoulders to a place of safety.
5. [Meges, son of Phyleus.]
6. This whole passage is considered by critics as very beautiful. It describes the hero carried by an enthusiastic valor into the midst of his enemies, and mingling in the ranks indiscriminately. The simile thoroughly illustrates this fury, proceeding as it did from an extraordinary infusion of courage from Heaven.
7. [Apollo.]
8. The deities are often invoked because of the agency ascribed to them and not from any particular religious usage. And just as often the heroes are protected by the gods who are worshipped by their own tribes and families—Muller.
9. This fiction of Homer, says Dacier, is founded upon an important truth of religion, not unknown to the Pagans: viz. that God only can open the eyes of men, and enable them to see what they cannot otherwise discover. The Old Testament furnishes examples. God opens the eyes of Hagar, that she may see the fountain. "The Lord opened the eyes of Baalam, and he saw the angel," etc. This power of sight was given to Diomede only for the present occasion. In the 6th Book, on meeting Glaucus, he is ignorant whether he is a god, a hero, or a man.
10. [Or collar-bone.]
11. The belief of those times, in regard to the peace and happiness of the soul after death, made the protection of the body a matter of great importance. For a full account of these rites, see the articles Charon and Pluto, Gr. & Rom. Mythology.
12. The physician of the gods. Homer says nothing of his origin. He seems to be considered as distinct from Apollo, though perhaps originally identical with him.
13. From the fact that so few mystical myths are introduced in the Iliad, Müller infers that the mystical element of religion could not have predominated among the Grecian people for whom Homer sang. Otherwise, his poems in which that element is but little regarded, would not have afforded universal pleasure and satisfaction. He therefore takes but a passing notice of Demeter. Müller also remarks, that in this we cannot but admire the artistic skill of Homer, and the feeling for what is right and fitting that was innate with the Greeks.
14. [Vide Samson to Harapha in the Agonistes. There the word is used in the same sense.—Tr.]
15. [This is a construction of λευκ ελεφαντι given by some of the best commentators, and that seems the most probable.—Tr.]
16. This slow and orderly retreat of the Greeks, with their front constantly turned to the enemy, is a fine encomium on their courage and discipline. This manner of retreating was customary among the Lacedæmonians, as were many other martial customs described by Homer. The practice arose from the apprehension of being killed by a wound in the back, which was not only punished with infamy, but a person bearing the mark was denied the rites of burial.
17. [This, according to Porphyrius as quoted by Clarke, is the true meaning of αιολομιτρης.—Tr.]
18. The chariots of the gods were formed of various metals, and drawn through the air, or upon the surface of the sea, by horses of celestial breed. These chariots were used by the deities only on occasion of a long journey, or when they wished to appear with state and magnificence. Ordinarily they were transported from place to place by the aid of their golden sandals, with the exception of the "silver-footed Thetis," to whom they seem to have been superfluous. When at home, the gods were barefoot, according to the custom of the age, as we see from various representations of antique art.
19. [These which I have called crescents, were a kind of hook of a semicircular form, to which the reins were occasionally fastened.—Tr.]
20. The Greeks borrowed the vest and shield of Minerva from the Lybians, only with this difference: the Lybian shield was fringed with thongs of leather, and the Grecian with serpents.—Herodotus.
21. This expression (the gates of Heaven) is in the eastern manner, and common in the Scriptures.
22. [Αρεα τονδε.]
23. Every thing that enters the dark empire of Hades disappears, and is seen no more; hence the figurative expression, to put on Pluto's helmet; that is to become invisible.

Footnotes for Book VI:

1. The Simoïs and Xanthus were two rivers of the Troad, which form a junction before they reached the Hellespont. The Simoïs rose in Mt. Ida, and the Xanthus had its origin near Troy.—Felton.
2. Ajax commences his exploits immediately on the departure of the gods from the battle. It is observed of this hero, that he is never assisted by the deities.
3. Axylus was distinguished for his hospitality. This trait was characteristic of the Oriental nations, and is often alluded to by ancient writers. The rite of hospitality often united families belonging to different and hostile nations, and was even transmitted from father to son. This description is a fine tribute to the generosity of Axylus.—Felton
4. [Euryalus.]
5. Agamemnon's taking the life of the Trojan whom Menelaus had pardoned, was according to the custom of the times. The historical books of the Old Testament abound in instances of the like cruelty to conquered enemies.
6. This important maxim of war is very naturally introduced, upon Menelaus being ready to spare an enemy for the sake of a ransom. According to Dacier, it was for such lessons as these that Alexander so much esteemed Homer and studied his poem.
7. The custom of making donations to the gods is found among the ancients, from the earliest times of which we have any record down to the introduction of Christianity; and even after that period it was observed by the Christians during the middle ages. Its origin seems to have been the same as that of sacrifices: viz. the belief that the gods were susceptible of influence in their conduct towards men. These gifts were sometimes very costly, but often nothing more than locks of hair cut from the head of the votary.
8. Diomede had knowingly wounded and insulted the deities; he therefore met Glaucus with a superstitious fear that he might be some deity in human shape. This feeling brought to his mind the story of Lycurgus.
9. It is said that Lycurgus caused most of the vines of his country to be rooted up, so that his subjects were obliged to mix their wine with water, as it became less plentiful. Hence the fable that Thetis received Bacchus into her bosom.
10. This style of language was according to the manners of the times. Thus Goliath to David, "Approach, and I will give thy flesh to the fowls of the air and the beasts of the field." The Orientals still speak in the same manner.
11. Though this comparison may be justly admired for its beauty in the obvious application to the mortality and succession of human life, it seems designed by the poet, in this place, as a proper emblem of the transitory state of families which, by their misfortune or folly, have fallen and decayed, and again appear, in a happier season, to revive and flourish in the fame and virtues of their posterity. In this sense it is a direct answer to the question of Diomede, as well as a proper preface to what Glaticus relates of his own family, which, having become extinct in Corinth, recovers new life in Lycia.
12. The same as Corinth.
13. Some suppose that alphabetical writing was unknown in the Homeric age, and consequently that these signs must have been hieroglyphical marks. The question is a difficult one, and the most distinguished scholars are divided in opinion. We can hardly imagine that a poem of the length and general excellence of the Iliad, could be composed without the aid of writing; and yet, we are told, there are well-authenticated examples of such works being preserved and handed down by traditional memory. However this may be, we know that the Oriental nations were in possession of the art of alphabetical writing it a very early period, and before the Trojan war. It cannot, then, seem very improbable, that the authors of the Iliad should also have been acquainted with it.—Felton.
14. The Solymi were an ancient nation inhabiting the mountainous parts of Asia Minor, between Lycia and Pisidia. Pliny mentions them as having become extinct in his time.
15. It was the custom in ancient times, upon the performance of any signal service by kings or great men, for the public to grant them a tract of land as a reward. When Sarpedon, in the 12th Book, exhorts Glaucus to behave valiantly, he reminds him of these possessions granted by his countrymen.
16. The laws of hospitality were considered so sacred, that a friendship contracted under their observance was preferred to the ties of consanguinity and alliance, and regarded as obligatory even to the third and fourth generation. Diomede and Glaucus here became friends, on the ground of their grandfathers having been mutual guests. The presents made on these occasions were preserved by families, as it was considered obligatory to transmit them as memorials to their children.
17. [Ξεινοι πατρωιοι.]
18. The Scæan gate opened to the field of battle, and was the one through which the Trojans made their excursions. Close to this stood the beech tree sacred to Jupiter, and often mentioned in connection with it.
19. There is a mournfulness in the interview between the hero and his mother which is deeply interesting. Her urging him to take wine and his refusal were natural and simple incidents, which heighten the effect of the scene.—Felton.
20. The custom that prohibits persons polluted with blood from performing any offices of divine worship before purification, is so ancient and universal, that it may be considered a precept of natural religion, tending to inspire a horror of bloodshed. In Euripides, Iphigenia argues the impossibility of human sacrifices being acceptable to the gods, since they do not permit any one defiled with blood, or even polluted with the touch of a dead body, to come near their altars.
21. Paris surprised the King of Phœnecia by night, and carried off many of his treasures and captives, among whom probably were these Sidonian women. Tyre and Sidon were famous for works in gold, embroidery, etc., and for whatever pertained to magnificence and luxury.
22. This gesture is the only one described by Homer as being used by the ancients in their invocations of the gods.
23. [δια θεαων.]
24. The employment in which Hector finds Paris engaged, is extremely characteristic.—Felton.
25. This address of Helen is in fine keeping with her character.—Felton.
26. [The bulk of his heroes is a circumstance of which Homer frequently reminds us by the use of the word μεγας—and which ought, therefore, by no means to be suppressed.—Tr.]
27. Love of his country is a prominent characteristic of Hector, and is here beautifully displayed in his discharging the duties that the public welfare required, before seeking his wife and child. Then finding that she had gone to the tower, he retraces his steps to "the Scæan gate, whence he must seek the field." Here his wife, on her return home, accidentally meets him.
28. [The name signifies, the Chief of the city. —Tr.]
29. It was the custom to plant about tombs only such trees as elms, alders, etc., that bear no fruit, as being most appropriate to the dead.
30. In this recapitulation, Homer acquaints us with some of the great achievements of Achilles, which preceded the opening of the poem—a happy manner of exalting his hero, and exciting our expectation as to what he is yet to accomplish. His greatest enemies never upbraid him, but confess his glory. When Apollo encourages the Trojans to fight, it is by telling them Achilles fights no more. When Juno animates the Greeks, she reminds them how their enemies fear Achilles; and when Andromache trembles for Hector, it is with the remembrance of his resistless force.
31. Drawing water was considered the most servile employment.
32. [The Scholiast in Villoisson calls it φυσικον τινα και μετριον γελωτα a natural and moderate laughter.—Tr.]
33. According to the ancient belief, the fatal period of life is appointed to all men at the time of their birth, which no precaution can avoid and no danger hasten.
34. This scene, for true and unaffected pathos, delicate touches of nature, and a profound knowledge of the human heart, has rarely been equalled, and never surpassed, among all the efforts of genius during the three thousand years that have gone by since it was conceived and composed.—Felton.

Footnotes for Book VII:

1. Holding the spear in this manner was, in ancient warfare, understood as a signal to discontinue the fight.
2. The challenge of Hector and the consternation of the Greeks, presents much the same scene as the challenge of Goliath, 1 Samuel, ch. 17: "And he stood and cried to the armies of Israel;—Choose you a man for you, and let him come down to me. If he be able to fight with me, and to kill me, then will we be your servants.—When Saul and all Israel heard the words of the Philistine, they were dismayed and greatly afraid."
3. It was an ancient custom for warriors to dedicate trophies of this kind to the temples of their tutelary deities.
4. [The club-bearer.]
5. [It is a word used by Dryden.]
6. Homer refers every thing, even the chance of the lots, to the disposition of the gods.
7. [Agamemnon.]
8. The lot was merely a piece of wood or shell, or any thing of the kind that was at hand. Probably it had some private mark, and not the name, as it was only recognized by the owner.
9. This reply is supposed to allude to some gesture made by Ajax in approaching Hector.
10. The heralds were considered as sacred persons, the delegates of Mercury, and inviolable by the laws of nations. Ancient history furnishes examples of the severity exercised upon those who were guilty of any outrage upon them. Their office was, to assist in the sacrifices and councils, to proclaim war or peace, to command silence at ceremonies or single combats, to part the combatants and declare the conqueror.
11. This word I have taken leave to coin. The Latins have both substantive and adjective. Purpura—Purpureus. We make purple serve both uses; but it seems a poverty to which we have no need to submit, at least in poetry.—Tr.
12. A particular mark of honor and respect, as this part of the victim belonged to the king. In the simplicity of the times, the reward offered a victorious warrior of the best portion of the sacrifice at supper, a more capacious bowl, or an upper seat at table, was a recompense for the greatest actions. It is worthy of observation, that beef, mutton, or kid, was the food of the heroes of Homer and the patriarchs and warriors of the Old Testament. Fishing and fowling were then the arts of more luxurious nations.
13. [The word is here used in the Latin sense of it. Virgil, describing the entertainment given by Evander to the Trojans, says that he regaled them

Perpetui tergo bovis et lustralibus extis.

Æn. viii.

It means, the whole.—Tr.]

Footnotes for Book VIII:

1. An epithet of Aurora, supposed to designate an early hour.
2. Many have explained this as an allegorical expression for one of the great laws of nature—gravity or the attraction of the sun. There is not the slightest probability that any such meaning is intended.—Felton.
3. A part of Mt. Ida. This place was celebrated, in subsequent times, for the worship of Jupiter. Several years ago, Dr. E.D. Clarke deposited, in the vestibule of the public library in Cambridge, England, a marble bust of Juno, taken from the ruins of this temple of Jupiter, at the base of Mt. Ida.—Felton
4. [In the repetition of this expression, the translator follows the original.]
5. Sacred, because that part of the day was appropriate to sacrifice and religious worship.
6. This figure is first used in the Scriptures. Job prays to be weighed in an even balance, that God may know his integrity. Daniel says to Belshazzar, "thou art weighed in the balances, and found wanting," etc.
7. Jupiter's declaring against the Greeks by thunder and lightning, is drawn (says Dacier) from truth itself. 1 Sam. ch. vii.: "And as Samuel was offering up the burnt-offering, the Philistines drew near to battle against Israel; but the Lord thundered on that day upon the Philistines and discomfited them."
8. Nothing can be more spirited than the enthusiasm of Hector, who, in the transport of his joy, breaks out in the following apostrophe to his horses. He has, in imagination, already forced the Grecian entrenchments, set the fleet in flames, and destroyed the whole army.
9. From this speech, it may be gathered that women were accustomed to loosen the horses from the chariot, on their return from battle, and feed them; and from line 214, unless it is spurious, it seems that the provender was sometimes mixed with wine. It is most probable, however, that the line is not genuine.—Felton.

Homer describes a princess so tender in her love to her husband, that she meets him on his return from every battle, and, in the joy of seeing him again, feeds his horses with bread and wine, as an acknowledgment to them for bringing him back.—Dacier.

1. These were the arms that Diomede had received from Glaucus.
2. [None daring to keep the field, and all striving to enter the gates together, they obstructed their own passage, and were, of course, compelled into the narrow interval between the foss and rampart.

But there are different opinions about the space intended. See Villoisson.—Tr.]

1. [To Jove, the source of all oracular information.]
2. Jupiter, in answer to the prayer of Agamemnon, sends an omen to encourage the Greeks. The application of it is obvious: The eagle signified Hector, the fawn denoted the fear and flight of the Greeks, and being dropped at the altar of Jupiter, indicated that they would be saved by the protection of that god.
3. This simile is very beautiful, and exactly represents the manner of Gorgythion's death. There is so much truth in the comparison, that we pity the fall of the youth and almost feel his wound.
4. [Ενικλαν.—The word is here metaphorical, and expresses, in its primary use, the breaking of a spear against a shield.—Tr.]
5. [The following lines, to the end of this paragraph, are a translation of some which Barnes has here inserted from the second Alcibiades of Plato.]
6. The simile is the most magnificent that can be conceived. The stars come forth brightly, the whole heaven is cloudless and serene, the moon is in the sky, the heights, and promontories, and forests stand forth distinctly in the light, and the shepherd rejoices in his heart. This last simple and natural circumstance is inexpressibly beautiful, and heightens the effect of the visible scene, by associating it, in the most direct and poetical manner, with the inward emotion that such a scene must produce.—Felton.

Footnotes for Book IX:

1. [In the original the word is—μελανυδρος—dark-watered; and it is rendered— deep —by the best interpreters, because deep waters have a blackish appearance. Δνοφερον υδωρ is properly water that runs with rapidity; water—μετα δονησεως φερομενον—See Villoisson.]—Tr.
2. This is the language of a brave man, boldly to affirm that courage is above crowns and sceptres. In former times they were not hereditary, but the recompense of valor.
3. [The observation seems made with a view to prevent such a reply from Agamemnon to Diomede as might give birth to new dissensions, while it reminds him indirectly of the mischiefs that had already attended his quarrel with Achilles.]—Tr.
4. This speech of Nestor is happily conceived. It belonged to him as the aged counsellor to begin the debate, by laying the subject before the assembly, especially as it was necessary to impale the blame of the present unfortunate condition of the army to Agamemnon. It would have been presumptuous in any other, and it was a matter of difficulty and delicacy even for Nestor.—Felton.
5. In the heroic age, the bridegroom, before marriage, was obliged to make two presents, one to his betrothed wife, and one to his father-in-law. This was also an ancient custom of the Hebrews. Abraham's servant gave presents to Rebekah: Gen. xxiv. 22. Shechem promised a dowry and gift to Jacob for his daughter: Gen. xxiv. 12. And in after times, Saul said he desired no dowry for Michal: 1 Sam. xviii. 25.
6. One of the religious ceremonies previous to any important enterprise. Then followed the order for silence and reverent attention; then the libation, &c.—Felton
7. Achilles having retired from action in displeasure to Agamemnon, quieted himself by singing to his lyre the achievements of demi-gods and heroes. Nothing was better suited to the martial disposition of this hero, than these heroic songs. Celebrating the actions of the valiant prepared him for his own great exploits. Such was the music of the ancients, and to such purposes was it applied. When the lyre of Paris was offered to Alexander, he replied that he had little value for it, but much desired that of Achilles, on which he sung the actions of heroes in former times.—Plutarch.
8. The manners of the Iliad are the manners of the patriarchal and early ages of the East. The chief differences arise from a different religion and a more maritime situation. Very far removed from the savage state on the one hand, and equally distant from the artificial state of an extended commerce and a manufacturing population on the other, the spirit and habitudes of the two modes of society are almost identical. The hero and the Patriarch are substantially coëval; but the first wanders in twilight, the last stands in the eye of Heaven. When three men appeared to Abraham in the plains of Mamre, he ran to meet them from the tent door, brought them in, directed Sarah to make bread, fetched from the herd himself a calf tender and good, dressed it, and set it before them. When Ajax, Ulysses, and Phœnix stand before Achilles, he rushes forth to greet them, brings them into the tent, directs Patroclus to mix the wine, cuts up the meat, dresses it, and sets it before the ambassadors. * * * *

Instances of this sort might be multiplied to any extent, but the student will find it a pleasing and useful task to discover them for himself; and these will amply suffice to demonstrate the existence of that correspondence of spirit and manners between the Homeric and the early ages of the Bible history, to which I have adverted. It is real and important; it affords a standard of the feelings with which we ought to read the Iliad, if we mean to read it as it deserves; and it explains and sets in the true point of view numberless passages, which the ignorance or frivolity of after-times has charged with obscurity, meanness or error. The Old Testament and the Iliad reflect light mutually on each other; and both in respect of poetry and morals (for the whole of Homer's poetry is a praise of virtue, and every thing in him tends to this point, except that which is merely superfluous and for ornament) it may with great truth be said, that he who has the longest studied, and the most deeply imbibed, the spirit of the Hebrew Bible, will the best understand and the most lastingly appreciate the tale of Troy divine.—H.N. Coleridge.