agic charm; but with her rod
She smote me, and she said, 'Go, get thee hence
And herd thee with thy fellows in the stye.'
So spake she, and straightway I drew my sword
Upon the witch, and threatened her with death.

Lord Carnarvon, on the whole, has given us a very pleasing version of the
first half of the Odyssey. His translation is done in a scholarly and
careful manner and deserves much praise. It is not quite Homer, of
course, but no translation can hope to be that, for no work of art can
afford to lose its style or to give up the manner that is essential to
it. Still, those who cannot read Greek will find much beauty in it, and
those who can will often gain a charming reminiscence.

The Odyssey of Homer. Books I.-XII. Translated into English Verse by
the Earl of Carnarvon. (Macmillan and Co.)

MR. SYMONDS' HISTORY OF THE RENAISSANCE

(Pall Mall Gazette, November 10, 1886.)

Mr. Symonds has at last finished his history of the Italian Renaissance.
The two volumes just published deal with the intellectual and moral
conditions in Italy during the seventy years of the sixteenth century
which followed the coronation of Charles the Fifth at Bologna, an era to
which Mr. Symonds gives the name of the Catholic Reaction, and they
contain a most interesting and valuable account of the position of Spain
in the Italian peninsula, the conduct of the Tridentine Council, the
specific organisation of the Holy Office and the Company of Jesus, and
the state of society upon which those forces were brought to bear. In
his previous volumes Mr. Symonds had regarded the past rather as a
picture to be painted than as a problem to be solved. In these two last
volumes, however, he shows a clearer appreciation of the office of
history. The art of the picturesque chronicler is completed by something
like the science of the true historian, the critical spirit begins to
manifest itself, and life is not treated as a mere spectacle, but the
laws of its evolution and progress are investigated also. We admit that
the desire to represent life at all costs under dramatic conditions still
accompanies Mr. Symonds, and that he hardly realises that what seems
romance to us was harsh reality to those who were engaged in it. Like
most dramatists, also, he is more interested in the psychological
exceptions than in the general rule. He has something of Shakespeare's
sovereign contempt of the masses. The people stir him ver