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connected with his going; he must return from the place to which he went, having done what he went for and nothing else, at least nothing that does not help in the development of the plot. Thus we can always tell where any character is and what he is doing, even when he is not on the stage, and this knowledge often helps to give added meaning to what is going on upon the stage. The whole story is thus bound together into a real unity that no succession of isolated scenes could possess. This unity is easy enough to analyse and to dissect, but to create it even in skeleton form, as it is shown below, required an enormous amount of ingenuity and skill, while to clothe the skeleton in the skin and flesh of natural lively dialogue, so as to make a living thing out of it and not merely a mechanical toy, was the work of an artistic genius of the first order.

Before we begin the analysis of the play, we must become acquainted with the houses represented on the stage and the persons who occupy them. On the left is the front of the house of Chremes, his son Phaedria and his wife Nausistrata; in the center is the house of Demipho, who is Chremes's brother. To the household of Demipho at present belong Antipho, Demipho's son, Geta, the majordomo, Phanium, Antipho's newly wedded wife, and her nurse Sophrona. Separated by an alley on the right of the stage is the house of Dorio, the slavedealer, the owner of Pamphila, Phaedria's mistress. This setting was continually before the eyes of the spectators. There was no curtain and the action was continuous, although the stage is sometimes empty. Now follows the analysis.

Enter from town (R) Davus, a slave, to pay a debt he owes Geta, Demipho's slave. As he reaches the door, Geta himself appears, having set out to dun Davus and then to go to the harbor to inquire about the return of his master Demipho from abroad. Geta tells Davus that Demipho and his brother Chremes had gone abroad on business (it turns out later that Chremes's trip at least was directly connected with the play), leaving their sons Antipho and Phaedria in his charge. Phaedria had fallen in love with a music girl, Pamphila, owned by Dorio, the slavedealer, but he has no money to buy her freedom. Antipho meanwhile falls in love with a poor orphan girl and marries her, as the result of a scheme hatched by Phormio, who, impersonating a friend of the girl's father, claims in court that Antipho is her nearest relative and must therefore, in accordance with Athenian law, marry the orphan in default of supplying her with a dowry with which she might get some one else, as husband. This had been done that Antipho might have an excuse to offer to his father, to whose impending return he is now anxiously looking

forward.

Davus, having heard the story and having paid his debt, leaves (dramatically, he was introduced merely to listen to Geta's story, but even his coming is connected with the subject of the play, in that Geta had called in the loan for the purpose of buying Antipho a wedding gift). Geta then goes off (L) on his errand to the harbor.

Enter Antipho and Phaedria, the two cousins (this seems to be the only unmotivated entrance in the play. There is nothing to indicate where they came from or why they are there). They are comparing their lots. Antipho has a wife, but, in view of his father's expected arrival, wishes he had not; Phaedria, through lack of funds, does not possess the object of his affections but wishes that he had.

Enter Geta, from the harbor (L), with the news that Demipho has actually arrived. Great consternation ensues and there is a rapid rehearsal of arguments to be used in justification of Antipho's marriage. But Antipho's courage fails him as he sees his father approaching from the harbor (L), and he flees in the opposite direction.

Demipho, who has heard of Antipho's escapade, appears. He rages at Geta and Phaedria and sends the latter to find Antipho. Phaedria moves to the right (toward the town) as if to obey, but, as he passes his mistress's house (R), he darts in.

Geta, after a vain attempt to calm the old man, is sent (R) to summon Phormio, the pretended protector of Antipho's young wife, to a conference.

Demipho steps into his house for a moment to salute the household gods. He returns immediately and goes (R) to get some friends to be present at his interview with Phormios.

Enter Phormio and Geta (R) ready for the interview. Soon after, enter Demipho and three advisers (R) (that the interview takes place out-of-doors may seem strange at first, but we notice that it is part of Phormio's scheme that the old men should come upon Geta and himself apparently unobserved so that they may hear Geta's indignant defense of Demipho against the charge that he is a hard man. An excited dispute being begun in the street naturally is continued there). During the interview Phormio repeats that Demipho and Antipho are the girl's relatives and brazenly asserts that Demipho had ignored the family formerly on account of its poverty, but refuses to give any proof, claiming that the matter had been fully threshed out in court. He leaves Demipho raging but helpless, after whispering to Geta that he will be at home (R) ready for emergencies. The three friends give sage but confusing advice, and leave. Demipho is not beaten yet, but decides to await the return of his brother Chremes. He goes to the harbor (L) to make inquiries about him, while Geta sets out to town (R) to find Antipho, to tell him all about it. But just then Antipho returns, ashamed at having run away (here we see an advantage in having the stagesetting represent the homes of the chief characters. It provides a natural motive for many entrances. Where is a man more likely to go, when there is no other place to go to, than home? So Antipho now is returning home).

This seems a more natural way of managing the stage business than the traditional one, according to which there is a break in the action here, in the course of which Demipho is supposed to leave the house.

While Geta is telling him about the events that have happened in his absence, Dorio, the slavedealer, appears from his house, followed by Phaedria, whom we have seen go into Dorio's hbuse earlier in the play (Dorio is probably taking the music girl Pamphila, Phaedria's mistress, to some banquet where she is to play). We learn that the girl has been sold to a soldier and is to be handed over to him the next day, when he had promised to pay thirty minae for her. After much entreaty, the slavedealer is finally prevailed upon by Phaedria, Antipho, and Geta to promise that, if Phaedria pays the thirty minae first, he shall have the girl. He then goes his way (R) with the music girl.

The problem now was where to get the money for Phaedria. Some friends of Phaedria had promised to let him have it in three days, but he had need of it immediately. They decide to ask Phormio for help. Antipho goes into the house to cheer up his young wife, while Phaedria and Geta go (R) to look for Phormio.

Enter from the harbor (L) Demipho, with Chremes, who has just arrived from Lemnos, where he regularly went to collect the income from the estate which his rich Athenian wife had there. We learn that at Lemnos he had another wife and a daughter, that Demipho had known these facts, and had promised to marry his son Antipho to her daughter so that no other suitor should have occasion to inquire into her antecedents. On this voyage Chremes had intended to bring back his daughter, but found that she and her mother had gone to look for him at Athens. As he now finds Antipho married to another girl, he is afraid that his Athenian wife may find out about his second marriage. Demipho promises to do his best to annul Antipho's marriage so that he may be free to marry Chremes's daughter when she is found.

Enter Geta (R) with a scheme, suggested by Phormio, for getting the thirty minae from Demipho. Just as he is about to address Demipho and Chremes, Antipho comes out of the house, impatient to see whether Geta has returned. He is an unobserved spectator of the proceedings. Geta tells the old men that he had so impressed Phormio with the influential position of Demipho that he had finally consented to marry the girl himself, provided a dowry of thirty minae went with her. He must have the money immediately. Chremes agrees and the old men go into Chremes's house to get the money. Meanwhile Antipho thinks that his wife has been bartered away for the sake of Phaedria's thirty minae. But Geta reassures him that Phormio's scheme is to have the marriage postponed for about three days. Then Phaedria's friends would give him

Her presence seems to be indicated by the word horunc (518), referring to her and Phaedria. It would probably not have been used unless both persons referred to were present. Besides, if the girl is not removed from the house at this time, we must assume another break before 829, in the course of which Phormio came and got her. It is more natural to suppose that the leno has her with him all the time, and that, when Phormio gets the money, he goes straight way ad lenonem (848) and takes away the girl immediately upon the payment of the price.

the thirty minae they had promised. Phormio would then repudiate his contract altogether and return the thirty minae to Chremes. Antipho is satisfied and goes to town to tell Phaedria (who is probably at Phormio's house), that the money is as good as found.

Chremes and Demipho return from the house with the money. Geta takes Demipho with the money to the forum, where Phormio was to meet them2. Chremes remains, and plans to search for his Lemnian wife and daughter. Sophrona, the nurse of Antipho's wife, appears, to make another attempt to find the girl's father, whom she knew under the name of Stilpo (her coming out is dramatically necessary for the recognitio and is prepared for by the going in of Antipho some time before. While inside, he had told them of Demipho's threat to annul the marriage). It turns out that Stilpo is Chremes, who had assumed that name at Lemnos to hide his intrigues. Antipho, accordingly, had actually married the girl that had been intended for him. Chremes goes in with Sophrona to see his daughter. But, meanwhile, Demipho and Geta had paid Phormio the thirty minae, in return for which he was to relieve Demipho of Antipho's supposedly undesirable wife. They now return (home). Demipho goes into Chremes's house to ask Nausistrata, Chremes's wife, to break the news tactfully to Antipho's wife that she is to be married to Phormio. Geta is sent in to prepare the girl for Nausistrata's visit. Demipho and Nausistrata soon come out together to go to Demipho's house. As they are about to enter, Chremes rushes out. Owing to the presence of Nausistrata, he has great difficulty in making Demipho understand that the girl is not to be sent away after all and that Nausistrata need not go in to see her. Demipho prevails upon Nausistrata to return to her house. Chremes then tells Demipho the good news about the discovery of his daughter. They go in together to see her.

Antipho returns envying Phaedria because his troubles are over, while he himself must now face his father. Enter Phormio, who has arranged Phaedria's affairs for him, and now comes to secure a few days's delay of his own (supposed) marriage. Enter Geta from the house to find Antipho to tell him that the old men say that he may keep his wife without further contest. Geta also tells them he had learned that the reason for their leniency is that she in reality is Chremes's daughter. Antipho and Geta go into the house.

Phormio now sees his way clear to letting Phaedria keep the thirty minae without resorting to his friends. As it is an essential part of his plan to speak to the old men within calling distance of Chremes's house, he

The forum is the meeting-place, partly because it was the regular place for large financial transactions, partly because Phaedria and Antipho probably were at Phormio's house, and must not be seen in his company.

Not quite by accident, but he was going to the women's quarters, according to orders, to tell Phanium that Nausistrata was coming. He finds the old men closeted with her and overhears their conversation.

waits for them outside, near the door, knowing that they would soon come to hunt for him to get back their thirty minae, now that he was no longer to have the wife.

Soon they appear. Phormio is willing to take the girl immediately as a special favor. Demipho declares that, out of deference to popular opinion, he has decided to let her stay. Would Phormio please return the money? But Phormio says he has already spent it in paying some debts of long standing. They threaten him with the law. Phormio defies them. The discussion becomes more and more heated until Phormio is at length compelled to call Nausistrata. She comes out. Phormio tells her of Chremes's Lemnian affair. At the psychological moment, he also tells her about Phaedria's music girl and the thirty minae. And the fond mother says that the boy may keep his mistress and moreover sit in judgment on his reprobate father. Phormio, in return for his information, is invited to dinner. They all go in except Phormio, who goes to his house to summon Phaedria and (presumably) his music girl to the feast at home.

If, now, we examine this analysis in detail, we shall find that every character, at least every more important one, after he has been once introduced, is never lost sight of. So we might follow the footsteps of Demipho or Geta, or Chremes, or Antipho, or Phaedria, and we should always find that every moment of his time is accounted for. We always know where each one is and what he is doing, so that, in reality, the scene of action is no longer the fronts of three houses, but the entire city.

TULANE UNIVERSITY OF LOUISIANA,
New Orleans.

REVIEWS

ERNEST RIEDEL.

A Concordarce to the Works of Horace. Compiled and Edited by Lane Cooper. Washington: The Carnegie Institution of Washington, Publication No. 202 (1916). Pp. x + 593. $7.00.

Of the value of special lexicons, indices verborum, etc., I said something in THE CLASSICAL WEEKLY 6.101103, 109-111, in a review of M. N. Wetmore, Index Verborum Vergilianus, and of H. Merguet, Lexicon zu Vergilius mit Angabe sämtlicher Stellen. It was noted ther that American scholars had been playing and were playing their part in the making of such special lexicons and indexes. I failed to mention that admirable work, An Illustrated Dictionary to Xenophon's Anabasis, by John Williams White and Morris H. Morgan (Boston, 1891). Reference may be made now also to Wetmore, Index Verborum Catullianus (THE CLASSICAL WEEKLY 6.124); S. G. Harrod, Latin Terms of Endearment and of Family Relationship, A Lexicographical Study based on CIL VI (a Princeton University dissertation, 1909); F. L. van Cleef, Index Antiphonteus (1895); Maria F. Kellogg, Index in Xenophontis Memorabilia (1900); Mary Corwin Lane, Index to the Fragments of the Greek Elegiac and Iambic

Poets, as Contained in the Hiller-Crusius Edition of Bergk's Anthologia Lyrica (1909). The last three works are Volumes V, XI, and XVIII of Cornell Studies in Classical Philology. American scholars have also contributed to the Thesaurus Linguae Latinae and to its forerunner, Archiv für Lateinische Lexikographie und Grammatik. In 1914, just before the outbreak of the European War, Part VII of Professor Lodge's Lexicon Plautinum appeared; this carries the work into Hercle.

Important, too, in the lexicographical field are the articles of Professor E. H. Sturtevant, Studies in Greek Noun-Formation, in various volumes of Classical Philology. In the kindred field of semantics important work is being done in this country. We may note, e. g. W. Petersen, Greek Diminutivesin-ιον (Weimar, 1910), highly praised by Professor Sturtevant in THE CLASSICAL WEEKLY 4.197-198; E. W. Nichols, The Semantic Variability and Semantic Equivalents of -oso- and - lento- (a Yale University dissertation, 1914), also reviewed by Professor Sturtevant in THE CLASSICAL WEEKLY 9.110; W. Petersen, The Origin of the IndoEuropean Nominal Stem-Suffixes, in American Journal of Philology 37.173-193, 255-281; E. W. Nichols, The Semantics of Latin Adjective Terminations, A. J. P. 37-417-433, a discussion of Latin adjectives from the point of view of relation between stem and termination.

One more preliminary remark before we discuss the particular book under review. The publications of the Carnegie Institution of Washington have been, in the main, in the field of science. The Institution has, however, given some aid to classical studies, in part by supplying money, through the Archaeological Institute of America, for the support of a Fellow at the American School of Classical Studies in Rome, in part by publishing works within the classical field, such as Miss Van Deman's valuable book The Atrium Vestae (1909), and, now, Professor Cooper's book.

In his Preface (v) Professor Cooper explains why he undertook the task involved in the making of this Concordance to Horace.

First, it was my hope that a concordance of a Latin poet, emanating from a teacher of English, might tend to strengthen the bonds of sympathy between devotees of the ancient classics and students of modern literature; for unless such bonds are constantly renewed, the study of modern literature, at least, is prone to become onesided or unduly sentimental, or to go entirely astray.

Of Professor Cooper's interest in the Classics, and of his feeling, none too common among teachers of English literature, that the study of English and of English literature is but a poor and maimed thing, if that study is pursued in disregard of the Classics, readers of THE CLASSICAL WEEKLY have more than once had evidence: see 6.73-74, 7.40 (a review, by Professor J. R. Wheeler, of Professor Cooper's Aristotle. on the Art of Poetry), and 8.178-182, The Teaching of English and the Study of the Classics, reprinted, as a separate pamphlet, by The Classical Association of the Atlantic States.

As his second reason for undertaking this work, Professor Cooper states (v) that he

had found that no existing index of Horace was altogether adequate to the needs of modern scholarshipfor example, in an attempt to determine the influence of this author upon the thought and language of the English poets.

According to Professor Cooper, the best available index to Horace, when he began his Concordance, was that contained in Zangemeister's edition of Bentley's Horace (Berlin, 1869).

Yet its general value is impaired by the inevitable subordination of traditional readings to the less happy among Bentley's conjectures; moreover, the work containing it is out of print. But even were the index obtainable, the inferior typography would justify supplanting it with a well-printed concordance which should take account of Horatian textual criticism since the year 1869.

The Preface contains also a valuable account of the methods of work used in the preparation of this Concordance. As Professor Cooper remarks (vii),

As for the method of compilation, a full account of it would serve to transmit some part of the acquired experience, whereas usually this kind of knowledge dies with the individual who gains it. A short explanation may assist the next compiler of a similar work, and in addition will throw light on the nature and use of the volume.

Those who are interested here may obtain from Professor Cooper a copy of a circular dealing in detail with the way the work was done.

As the basis of his work Professor Cooper used the Teubner text of Horace, the editio minor, by Vollmer (Leipzig, 1910). He took account of every reading offered by Vollmer, whether important or not, both in the edition minor and in the editio maior (1912). He included also (vii-viii)

a few others included by E. C. Wickham in the wellknown edition published at Oxford (Odes, Carmen Saeculare, and Epodes, 1904; Satires, Epistles, and Ars Poetica, 1903). These variants have been compared with the readings in the edition of Keller and Holder mentioned above<Leipzig, Volume 12, 1899; Volume 2, 1869>, and the testimonia listed by Vollmer have been verified where the sources were accessible to me. the Concordance, quotations illustrative of variant readings and conjectures are generally longer than the other quotations. variations in the order of words within the line have been indicated, but not variations in the order of lines.

In

The Concordance itself consists of 593 pages, 10 x 634 inches, beautifully printed (the printing runs clear across the page). The order of the entries is absolutely alphabetical. Inflectional and conjugational forms, such as carmen, carmina, carmine, carminibus, etc., face, facere, facerem, faceres, faceret, faciam, faciamus, etc., are given separately, in the strictly alphabetical order. Examples of carmina, nominative, are separated from those of carmina, accusative; so are those of faciam, subjunctive, from those of faciam, indicative.

This was done, says Professor Cooper (v-vi), "to supplement the indexes with an apparatus whereby the presence or absence of any given form in Horace may be instantly detected".

For some words (a, ab, ac, ad, an, at, atque, aut, cum,, cur, de, dum, e, est, et, ex, haec, hic, hoc, hunc, ille, in, inter, iam, nam, ne, ne, nec, neque, nisi, non, o, per, post, quae, quam, que, qui, quid, quis, quo, quod, se, sed, seu, si, sic, sine, sive, sub, sunt, tam, tamen, tu, ut, -ve, vel) only references are given; the text is not presented. For all other words and word-forms the text is given, and fully enough to illustrate the use of the word. In a great percentage of the instances the metrical line sufficed to give this result. To insure accuracy, an interesting plan had been worked out by Professor Cooper. His 14 assistants, named on page ix, did not copy out themselves a single line or part of a line of the text of Horace; they cut out of copies of Vollmer's text in every case the line in which the word or the word-form stood, and pasted this line on a separate slip with indication, in the upper left hand corner of the slip, of the word or word-form with which the slip dealt, and with the exact reference in the lower righthand corner. The slips were then sent to Professor Cooper. Except in so far as Professor Cooper added words to improve the context, as a means of exhibiting better the use of the word, "this Concordance is the printer's transcript of the basic text". In this way the effect of the personal equation was reduced to a mini

mum.

The several words and forms of words are printed in black faced type; the text quoted is in Roman; the name of the poem, abbreviated (Carm., Epist., etc.) appears in italics; the references are given in Arabic numerals, with periods between the parts (e. g. 17.24, or 1.9.22); where words are omitted, as not necessary to understanding, the omission is indicated by three dots; if the quotation includes more than one verse of the text, the end of a line is clearly indicated, by a familiar device, the perpendicular bar. Each new item begins on a new line; thanks to the fine size of the page, commonly one line suffices for an item. As a result, the book is attractive in appearance, and easy to use.

Of the extraordinary value of such a work, thus done, there is no need to speak further. A comparison of the very first page with any preceding index verborum to Horace will show the vast superiority of the work of Professor Cooper. To him all classical scholars in general, all lovers of Horace in particular, are deeply indebted. Nor should the debt they owe to the Carnegie Institution for making this publication possible be forgotten.

С. К.

The Demesman in Attic Life. By John Bowen Edwards. Menasha, Wisconsin: The George Banta Publishing Company (1916). Pp. x + 63. This is a doctorate dissertation prepared under the direction of the classical faculty of The Johns Hopkins

waits for them outside, near the door, knowing that they would soon come to hunt for him to get back their thirty minae, now that he was no longer to have the wife.

Soon they appear. Phormio is willing to take the girl immediately as a special favor. Demipho declares that, out of deference to popular opinion, he has decided to let her stay. Would Phormio please return the money? But Phormio says he has already spent it in paying some debts of long standing. They threaten him with the law. Phormio defies them. The discussion becomes more and more heated until Phormio is at length compelled to call Nausistrata. She comes out. Phormio tells her of Chremes's Lemnian affair. At the psychological moment, he also tells her about Phaedria's music girl and the thirty minae. And the fond mother says that the boy may keep his mistress and moreover sit in judgment on his reprobate father. Phormio, in return for his information, is invited to dinner. They all go in except Phormio, who goes to his house to summon Phaedria and (presumably) his music girl to the feast at home.

If, now, we examine this analysis in detail, we shall find that every character, at least every more important one, after he has been once introduced, is never lost sight of. So we might follow the footsteps of Demipho or Geta, or Chremes, or Antipho, or Phaedria, and we should always find that every moment of his time is accounted for. We always know where each one is and what he is doing, so that, in reality, the scene of action is no longer the fronts of three houses, but the entire city.

TULANE UNIVERSITY OF LOUISIANA,
New Orleans.

REVIEWS

ERNEST RIEDEL.

A Concordance to the Works of Horace. Compiled and Edited by Lane Cooper. Washington: The Carnegie Institution of Washington, Publication No. 202 (1916). Pp. x + 593. $7.00.

Of the value of special lexicons, indices verborum, etc., I said something in THE CLASSICAL WEEKLY 6.101103, 109-111, in a review of M. N. Wetmore, Index Verborum Vergilianus, and of H. Merguet, Lexicon zu Vergilius mit Angabe sämtlicher Stellen. It was noted ther that American scholars had been playing and were playing their part in the making of such special lexicons and indexes. I failed to mention that admirable work, An Illustrated Dictionary to Xenophon's Anabasis, by John Williams White and Morris H. Morgan (Boston, 1891). Reference may be made now also to Wetmore, Index Verborum Catullianus (THE CLASSICAL WEEKLY 6.124); S. G. Harrod, Latin Terms of Endearment and of Family Relationship, A Lexicographical Study based on CIL VI (a Princeton University dissertation, 1909); F. L. van Cleef, Index Antiphonteus (1895); Maria F. Kellogg, Index in Xenophontis Memorabilia (1900); Mary Corwin Lane, Index to the Fragments of the Greek Elegiac and Iambic

Poets, as Contained in the Hiller-Crusius Edition of Bergk's Anthologia Lyrica (1909). The last three works are Volumes V, XI, and XVIII of Cornell Studies in Classical Philology. American scholars have also contributed to the Thesaurus Linguae Latinae and to its forerunner, Archiv für Lateinische Lexikographie und Grammatik. In 1914, just before the outbreak of the European War, Part VII of Professor Lodge's Lexicon Plautinum appeared; this carries the work into Hercle.

Important, too, in the lexicographical field are the articles of Professor E. H. Sturtevant, Studies in Greek Noun-Formation, in various volumes of Classical Philology. In the kindred field of semantics important work is being done in this country. We may note, e. g. W. Petersen, Greek Diminutives in-ιον (Weimar, 1910), highly praised by Professor Sturtevant in THE CLASSICAL WEEKLY 4.197-198; E. W. Nichols, The Semantic Variability and Semantic Equivalents of -oso- and - lento- (a Yale University dissertation, 1914), also reviewed by Professor Sturtevant in THE CLASSICAL WEEKLY 9.110; W. Petersen, The Origin of the IndoEuropean Nominal Stem-Suffixes, in American Journal of Philology 37.173-193, 255-281; E. W. Nichols, The Semantics of Latin Adjective Terminations, A. J. P. 37-417-433, a discussion of Latin adjectives from the point of view of relation between stem and termination.

One more preliminary remark before we discuss the particular book under review. The publications of the Carnegie Institution of Washington have been, in the main, in the field of science. The Institution has, however, given some aid to classical studies, in part by supplying money, through the Archaeological Institute of America, for the support of a Fellow at the American School of Classical Studies in Rome, in part by publishing works within the classical field, such as Miss Van Deman's valuable book The Atrium Vestae (1909), and, now, Professor Cooper's book.

In his Preface (v) Professor Cooper explains why he undertook the task involved in the making of this Concordance to Horace.

First, it was my hope that a concordance of a Latin poet, emanating from a teacher of English, might tend to strengthen the bonds of sympathy between devotees of the ancient classics and students of modern literature; for unless such bonds are constantly renewed, the study of modern literature, at least, is prone to become onesided or unduly sentimental, or to go entirely astray.

Of Professor Cooper's interest in the Classics, and of his feeling, none too common among teachers of English literature, that the study of English and of English literature is but a poor and maimed thing, if that study is pursued in disregard of the Classics, readers of THE CLASSICAL WEEKLY have more than once had evidence: see 6.73-74, 7.40 (a review, by Professor J. R. Wheeler, of Professor Cooper's Aristotle, on the Art of Poetry), and 8.178-182, The Teaching of English and the Study of the Classics, reprinted, as a separate pamphlet, by The Classical Association of the Atlantic States.

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