Dante's Ugolino. But in Rustem the tears of anguish and sorrow seem to
vanish like morning dew, in the excitement of fresh adventure, and human
feeling, as depicted by Firdusi, lacks not only the refined gradations,
but also the intensity, which we see in the Florentine poet. Atkinson's
versification is rather that of Queen Anne's time than what we of the
Victorian age profess to admire in Browning and Tennyson. But it is one
of the chief praises of Tennyson that he has treated Sir Thomas Malory
very much in the same way as Mr. Atkinson has treated Abul Kasim Mansur,
by bringing the essential features of an extinct society within the
range of modern vision, and into touch with modern sympathies. All that
is of value in Firdusi, to the reader of to-day, will be found in this
version of Atkinson, while the philologist or the antiquarian can
satisfy their curiosity either in the original, or in the French
versions whose fidelity is above suspicion. For it is bare justice to
say that James Atkinson's Firdusi is one of those translations, even
though it be at the same time an abridgment, which have taken their
place in the rank of British classics. It is the highest praise that can
be given to a work of this character to say that it may be placed on the
bookshelf side by side with Jeremy Collier's "Marcus Aurelius," Leland's
"Demosthenes," and the "Montaigne" of Charles Cotton. It embalms the
genuine spirit and life of an Oriental poem in the simple yet tasteful
form of English narrative. The blending of verse and prose is a happy
expedient. If we may use the metaphor of Horace, we should say, that Mr.
Atkinson alternately trudges along on foot, and rises on the wings of
verse into the upper air. The reader follows with pleasure both his
march and his flight, and reaches the end of the volume with the
distinct impression that he has been reading a Persian poem, and all the
while forgotten that it was written in the English language.

E.W.