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Updated: May 7, 2025
In Salmasius, Milton had at least been measuring his Latin against the Latin of the first classicist of the age. In Alexander Morus he wreaked august periods of Roman eloquence upon a vagabond preacher, of chance fortunes and tarnished reputation, a graeculus esuriens, who appeared against Milton by the turn of accidents, and not as the representative of the opposite principle.
And, when we come to the sub-divisions of literature, we note that he was pre-eminently a classicist. This he was partly by temperament, partly by training, partly by his matured and deliberate judgment. It can scarcely be doubted that he had an innate love of perfect form, an innate "sentiment against hideousness and rawness," and so he was a classicist by temperament.
Against these enemies, we philologists must always count upon the assistance of artists and men of artistic minds; for they alone can judge how the sword of barbarism sweeps over the head of every one who loses sight of the unutterable simplicity and noble dignity of the Hellene; and how no progress in commerce or technical industries, however brilliant, no school regulations, no political education of the masses, however widespread and complete, can protect us from the curse of ridiculous and barbaric offences against good taste, or from annihilation by the Gorgon head of the classicist.
In spite of appearances, Wagner is a classicist compared with Berlioz; he carried on and perfected the work of the German classicists; he made no innovations; he is the pinnacle and the close of one evolution of art. Berlioz began a new art; and one finds in it all the daring and gracious ardour of youth.
But how much less rich and complex is Weber's music, in spite of its nervous brilliance and dreaming poetry. Above all, Weber is much more mundane and more of a classicist; he lacks Berlioz's revolutionary passion and plebeian force; he is less expressive and less grand. How did Berlioz come to have this genius for orchestration almost from the very first?
Mendelssohn received an admirable education, was an excellent classicist and linguist, and during a short residence at Dusseldorf showed such talent for painting as to excite much wonder. Before he was twenty he was the friend of Goethe and Herder, who delighted in a genius so rich and symmetrical.
For Millet is neither a revolutionary nor a sentimentalist, nor even a romanticist; he is essentially a classicist of the classicists, a conservative of the conservatives, the one modern exemplar of the grand style.
Hebrew he mastered sufficiently to "follow and weigh the reasons offered by others" for a retranslation of the Old Testament; and into Celtic literature he made at any rate one memorable incursion. A man so equipped was essentially a man of letters: a great deal more than a classicist, but a classicist first and foremost.
The great classicist considered his boys to be wasting their faculties in representing such inferior performances, but humoured the prevailing taste so much as to choose two Scriptural subjects, Jephthah and John the Baptist, alternately with the Medea and Alcestis. He "was successful beyond his hopes," he says, in these efforts.
In it Paine has shown himself more a romanticist than a classicist, and the work is said to be full of modernity. Paine wrote the music for Whittier's "Hymn," used to open the Centennial Exposition at Philadelphia, and was fitly chosen to write the Columbus March and Hymn for the opening ceremonies of the World's Fair, at Chicago, October 21, 1892.
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