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Thomas Wentworth Higginson, The new world and the new book 2 0 Browse Search
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Thomas Wentworth Higginson, The new world and the new book, XI (search)
oes not take so long to determine which among an author's works are the best; and it is probable that the Descent of Neptune in the Iliad, and the Vision of Helen in the Agamemnon of Aeschylus, and Sappho's famous ode, and the Birds of Aristophanes, and the Hylas of Theocritus, and the Sparrow of Catullus, and the De Arte Poetica of Horace were early recognized as being the same distinct masterpieces that we now find them. It is the tradition that an empress wept when Virgil recited his Tu Marcellus eris; and it still remains the one passage in the Aeneid that calls tears to the eye. After all, contemporary criticism is less trivial than we think. Philosophers, says Novalis, are the eternal Nile-gauges of a tide that has passed away, and the only question we ask of them is, How high water? But contemporary criticism is also a Nile-gauge, and it records highwater marks with a curious approach to accuracy. There was never a time, for instance, when Holmes's early poem, The Last L