member. That is, "servant is not coinstated. It is simply held or continued; and, so far as any order is given for such continuation, it is given by "who," which, therefore, may be called a continuative. The order given by the reinstative is tc recall. That of the coinstative is to repeat. That of the continuative is to retain. It reminds one of the word twice printed, once at the foot of a page, and again at the top of the page succeeding, -or of the musical sign which directs the player to hold a given note for an increased length of time. But at its best it does more than either; it not only warns you that an idea used already in given surroundings is to stand its ground while new surroundings gather about it; it also tells you that in these new surroundings the idea is to have a particular rank. For the second stage of a mental journey it serves you doubly, being, in a way, both an alarm and an itinerary. Remarks were made on this paper by Professors Hubbard and Sproull, and in reply by Professor Owen. 1 9. Some Lucretian Emendations, by Professor W. A. Merrill, of the University of California. V. 989 nec nimio tum plus quam nunc mortalia saecla dulcia linquebant lamentis lumina vitae. Read clamantis. Cf. I. 808; II. 577; I. 188 ff.; I. 56; VI. 214, 185, 757; I. 469 namque aliud terris, aliud regionibus ipsis eventum dici poterit quodcunque erit actum. Read (1) colentibus. Cf. V. 1441, 1369. (2) cluentibus. Cf. I. 449, 480; IV. 52. Pl. Men. 575. VI. 29 quidve mali foret in rebus mortalibu' passim. Read quidque. Cf. III. 34; V. 71, 184, 185, 776; I. 57; II. 1031, 64; Seneca, Epist. 95, 11; Lucr. IV. 48; Virg. A. V. 283; Sall. Iug. 30; Virg. V. 703 qui faciunt solem certa desurgere parte. Read de surgere. Cf. IV. 1133; VI. 819; VI. 1101, 467, 1133, 477; IV. 344; VI. 99, 522. Hor. S. 2, 2, 77. III. 962 aequo animoque agendum magnis concede necessest. Read (1) aequo animoque age: iam dormis: concede: necessest. Cf. 956, 959. (2) aequo animoque age: numne gemis? concede: necessest. Cf. 934; V. 1348; III. 297, 952, 973. IV. 418 nubila despicere et caelum ut videare videre corpora mirande sub terras abdita caelo. Read nubila despicere et caeli ut videare videre Cf. I. 1090; En. Ann. 50; IV. 462. 1 Printed in full in the American Journal of Philology, Vol. XXI. 183 ff. III. 453 claudicat ingenium delirat lingua mens. Read (1) meat mens. Meare occurs over 15 times in Lucretius. (2) migrat mens. Cf. V. 831; Plaut. Trin. 639; III. 463, 593. Curtius, III. 5, 9. I. 555 conceptum summum aetatis pervadere finis. Read floris. Cf. III. 770; V. 847; I. 564; IV. 1105; I. 557-8. Seneca III. 387 qui nimia levitate cadunt plerumque gravatim. Read gradatim. Caes. B. C. III. 92, 2. Remarks were made on this paper by Professor Sihler. 10. Is there still a Latin Potential? by Professor William Gardner Hale, of the University of Chicago. This paper appears in full in the TRANSACTIONS. Remarks were made on the paper by Professor W. A. Merrill. 11. On a Certain Matter in the Earlier Literary History of Aristophanes, by Professor E. G. Sihler, of New York University. The Alexandrine librarians, who drew up literary tables and κavóves, had no less need of Aristotle's Aidaσkaλíaι than we have. That work clearly limited itself to the official records of actual public production. Hence the scholion, Clouds, 549, is naive: οὐ φέρονται αἱ διδασκαλίαι τῶν δευτέρων Νεφελών. Whether this collection differed from the Nikaι Alovvoiakal in the list preserved by Diogenes Laertius (V. 1, 26) of Aristotle's writings or not, either is quoted as being not longer than a single kúλvôpos; there was, then, no room for discursive treatment or for controversy. Passing over the work of the Peripatetic students of literary history such as Theophrastos, Lynkeus, Dikaiarchos, Chamaileon, and of the Atthis-compiler, Philochoros (ñeρì τŵv 'A¤ývnoiv åywvwv), the Alexandrines were favored by the fact that they had the Peripatetic collections entire, and the Mss. of the Comedy-writers entire. It may be doubted whether the vastly greater bulk of their productions in this field (Lykophron wrote nine books тeρi кwμwdías, Eratosthenes, twelve) contained an equally greater amount of data of literary biography compared with Aristotle's concise registrations. And thus we must content ourselves with Aristophanes's own text in considering the curious iteration and variation of young Aristophanes in his references to his first three playsBanqueters, Babylonians, Acharnians; the first one produced dià Þi\wvidov, the other two διὰ Καλλιστράτου. In the Parabasis of the Knights, 513 ff., he deals with the problem why he had not all along asked for a chorus by himself; many had worried him (Baoavišeiv) into answering this. (It was not the writing of plays, but the production, rehearsing, training of chorus, and all the recitation, singing, dancing, gesturing, and declaiming involved in кwμwdodidaKaλía which made him pause.) There was no such thing as permanent popularity, his townspeople were like birds of passage (¿TETEίovs, 518). The careers of Magnes, Kratinos, Krates had, on the whole, had a deterrent influence on his resolution. So he always put it off (diéтpißev deí). Then he speaks of the gradation in the work, as in navigation that of the rower, the outlook at the prow, and the pilot. (Cf. Pollux, who names Kußeρvýτns, πρwρárns, vaúrns in this order, I. 95) The last part of this simile may, I think, be pressed (кußepvâv avròv davr): the pilot who navigates for himself, is both skipper and merchant, corresponds to the kwμwdodidáσkaλos, who has acquired experience and receives the profit of his own labor and venture from the archon. It was a question of choice of a profession. There was no question of publicity or no publicity; Kallistratos had been no screen to him; Aristophanes himself underwent the prosecution for evía. In the "Second" Clouds, our Clouds (a rearrangement of the first, but never brought upon the stage), he returns to the theme (529 ff.), but in an entirely different manner of presentation: "I was a raplévos,” he says (let us say a virgo like the one in Plautus's Aulularia who had a child when she had not yet a husband). Aristophanes's Banqueters, then, like a foundling, were entrusted to another young woman (waîs érépa), who assumed the outward functions of maternity. It may not be safe to interpret in detail the symbolism of this phrase. Clearly though the ẻкTрépei кal waiôevely on the part of the Attic public (v. 532) is not in need of interpretation. The Tapévos would seem to symbolize the shyness and caution of young Aristophanes; and the vita, too, summarizes: evλaßǹs δὲ σφόδρα γενόμενος τὴν ἀρχήν . . . τὰ μὲν πρῶτα διὰ Καλλιστράτου καὶ Φιλω νίδου καθίει δράματα (what the association of εὐφυής with εὐλαβής is meant to signify I do not understand). Cf. the scholiast on 530. The Parabasis of Wasps, like that of "Second" Clouds, equally exhibits the soreness of young Aristophanes (v. 1018), тà μèv où pavepŵs (first three). Again he puts forward another symbolism for the same matter: this time he is the daluar who (according to the popular belief) really spoke in the interior of the ventriloquist, the speaker's lips furnishing merely the mechanism; this latter was the function of Kallistratos. The scholion, one of very unequal value, concludes thus: ἀντὶ τοῦ εἰπεῖν ὅτι πρότερον ἄλλοις ἐδίδου τὰς κωμῳδίας. Professor Kaibel, the author of the article on Aristophanes in the new PaulyWissowa, explains Knights (542 ff.) thus: "Gemeint sind die mannigfachen Vorstudien (sic) die Aristophanes für notwendig hielt." This is really what the Germans would call "eine schablonenhafte Idee," due to the critic's professional and national environment. The data in the Suidas article on Eupolis run counter to such an idea. While Kaibel warns us against any pedantic "Einzelausdeutung" of the simile in the Parabasis of the Knights he himself goes further in this respect than sober caution would suggest: "vielleicht versuchte er sich als Choreut oder als Schauspieler, sicher aber (whence this certainty ?) als Mitarbeiter an Stücken älterer Dichter." A case, I think, for the practice of the ars nesciendi. 12. On the Form of Syllables in Classical Greek and Latin Poetry, by Professor Leon J. Richardson, of the University of California. In order to syllabicate a Greek or Latin verse according to its structural nature, one should consider: (A) Phonetics, e.g. in languages having an unstressed or lightly stressed accent, a single consonant between two vowels tends in fluent speech to be amalgamated to some extent with the vowel that follows, thus leav This holds even in a ing the syllable represented by the preceding vowel open. final single consonant when the next word begins with a vowel; for (1) a verse shows a closely connected series of sounds with no appreciable breaks theoretically except at the rhythmic pauses; (2) amalgamation between words is common in all speech; (3) when a short syllable precedes a rhythmic pause, the involved word generally ends with a vowel; (4) initial, medial, and final short syllables occupy indifferently the same part of a foot. This principle, therefore, implies that a syllable having the form vowel-consonant causes more resistance in pronunciation and seems to occupy more time than one consisting of the same sounds in reverse order. And a consonant having ante-vowel position in its syllable is easier to pronounce and seems to occupy less time than the same consonant having post-vowel position in its syllable. (B) Rhythm, e.g. rhythm in dancing, music, and poetry involves the recurrence of equal time-intervals (feet). They are made sensible each through an included group of movements (syllables). The beginning and end of each interval are indicated, not by special breaks, but by the fact that the movements within an interval are always arranged according to a determined sequence. A given rhythmic element is theoretically identical in form with every corresponding element in the same series. The form of syllables, as prescribed by rhythmic theory, was less exactly realized in ordinary reading than in other modes of rendering poetry. (C) Evidence of the text, e.g. (1) if a word ends with a consonant and the next word begins with a consonant, the final syllable of the former is always long. (2) If a final syllable ends with a short vowel and the next word begins with two consonants, the final syllable of the former is regularly short. (3) Poets use certain words containing a mute and liquid with the syllable represented by the preceding vowel (itself short by nature) now as short, now as long. But since a word ending with a mute followed by a word beginning with a liquid always has its final syllable long, and since the members of compound words show this same fact and also the facts given under (1) and (2), it seems probable that the mute and liquid were properly divided between two syllables, unless the poet desired to make the former syllable short. It appears, moreover, that a syllable long by position was always closed. (D) Testimony of the ancients (caution!). (E) Evidence of allied languages. Deductions: I. A poet's criterion of a syllable is not the dictionary, nor words sounded separately, but audible fluent speech. A syllable, then, may be defined as a division of connected speech formed by a vowel or union of sounds about a vowel and uttered customarily in what seems to an average ear to be one voiceimpulse. So a syllable may embrace parts of two words. 2. As a rule, a group of words is divided into syllables in only one way, there being, however, certain classes of exceptions. 3. (a) A verse has as many syllables as it contains vowels and diphthongs. (But see synizesis, elision, and dialysis.) (b) A single consonant between two vowels is sounded closely with the following vowel. (But see diastole.) (c) Since every syllable long by position is closed, a group of consonants between two vowels is divided between the said vowels, except when the preceding vowel represents a short syllable (the whole group being then sounded with the following vowel) or when the preceding vowel is long by nature and ends a word. The case of a medial group of consonants following a long vowel is not herein considered. 4. Every short syllable contains a short vowel and is open. 5. Every long syllable ends with a long vowel or a consonant, never with a short vowel. 6. The sound-length of syllables is not always proportionate to the letters they contain. For a syllable may be subdivided into two parts, the obstruction part and the duration part,—the former the initial consonant or consonants (sometimes wanting), and the latter the remainder of the syllable, -a syllable being long or short to the ear simply according to its duration part. Short and long syllables in common speech did not always bear the ratio 1:2. But the reader's instinctive feeling for rhythm enabled him to make good any irregular syllabic lengths. Remarks were made on this paper by Professors Hale, Sihler, Sproull, W. A. Merrill, Buck, and in reply by the author. 13. On the Greek in Cicero's Epistles, by Professor R. B. Steele, of Illinois Wesleyan University. The use of Greek by Cicero in his Epistles illustrates the influence of Greek forms of expression upon the Romans, who readily admitted Greek words to a place in their own vocabulary. A part of this material was admitted because of the recognized deficiencies to which Latin writers frequently call attention. Cicero in his philosophical works, as well as in his epistles, makes use of Greek terms medical, philosophical, rhetorical, etc. which were afterwards used in their Latinized form. However, most of the Greek in the Epistles is in those addressed to Atticus, and must be considered with reference to him as a quasiGreek, and with reference to its place in the social intercourse of the day. Quotations in the Epistles show that Atticus used Greek freely in his letters to Cicero, while the other correspondents were not at all averse to its use. QUOTATIONS. Cicero's quotations do not enable one to pass judgment on his familiarity with the works of different authors. A large number of the poetical quotations are short and have a proverbial force, and may have been so commonly used as not to suggest the original source. Prose writers are represented by a dozen passages, while of the poets, Homer and Euripides are most freely used. Comedy, barring a passage from Aristophanes, is represented, if at all, by the quotations which cannot be assigned to a definite author. Greek proverbs are freely quoted, though in other places in the works of Cicero some are translated in a form as concise as is the original. As in the poetical quotations, only a word or two is sometimes given as a suggestion, in this illustrating "a word to the wise." There are several score of political, philosophical, and geographical statements expressed in Greek which cannot be traced to any Greek source, and may be considered as Cicero's independent use of the Greek words. INDIVIDUAL WORDS. The Epistles contain a few Greek adjectives and nouns seemingly formed by Cicero on the names of his friends. Apart from these (and they, too, may have entered freely into the talk of the day) Cicero seems to have used the current vocabulary. The citations in the Thesaurus of Stephanus have been taken as |