Ovid, Met. 1.98-99:

non tuba directi, non aeris cornua flexi, non galeae, non ensis erant.

Vergil, Aeneid 3.490:

Sic oculos, sic ille manus, sic ora ferebat. Persius 1.36-40:

nunc non cinis ille poetae felix? non levior cippus nunc imprimit ossa?

Laudant convivae: nunc non e manibus illis,

nunc non e tumulo fortunataque favilla nascentur violae?.

2.49-50:

intendit: "I am crescit ager, iam crescit ovile,

iam dabitur, iam iam!" 54

(14) Parechesis, a figure in which precisely the same syllables are repeated in successive or closely related words.

Horace, Serm. 1.3.121:

verbera, non vereor, cum dicas esse pares res. . .55

Juvenal 10.12256:

O fortunatam natam me consule Romam!

Martial 12.39:

Odi te, quia bellus es, Sabelle.
Res est putida bellus et Sabellus.
Bellum denique malo, quam Sabellum57.
Tabescas utinam, Sabelle belless.

(15) Adnominatio. Leo, in his Analecta Plautina II59, in discussing the figures of speech in Plautus, calls general repetition, that is, repetition employed without any striving after rhetorical effect, adnominatiooo. Examples of adnominatio, in Leo's sense of the term, occur, of course, in great numbers. It is hardly worth while to cite illustrative passages.

(16) Alliteration. This figure-involving the repetition of an initial letter-properly has no place in the present paper. However, a few notable instances may be quoted.

I refer, in this caption, to that particular form of repetition which finds its raison d'être, not in the desire of the writer to produce any effect of emphasis, or any rhetorical effect, but in his effort to create by repetition a poem, stanza, or line either of peculiar appearance, or, if read aloud, of peculiar musical sound69. Some examples follow.

Hadrian's verses (Poetae Latini Minores IV, pages 111-112, Section 123, 1-8):

Ut belli sonuere tubae, violenta peremit
Hippolyte Teuthranta, Lyce Clonon, Oebalon Alce,
Oebalus ibat equo curru, Clonus, et pede Teuthras.
Plus puero Teuthras, puer Oebalus, at Clonus heros.
Figitur ora Clonus, latus Oebalus, ilia Teuthras.
Iphicli Teuthras, Dorycli Clonus, Oebalus Idae;
Argolicus Teuthras, Moesus Clonus, Oebalus Arcas70.
Ennius, Scenica 56:

Mater optuma, tu multo mulier melior mulierum...
Lucilius 110-111:

verum haec ludus ibi susque omnia deque fuerunt, susque haec deque fuere inquam omnia ludu' iocusque Persius 3.84:

de nihilo nihilum, in nihilum nil posse reverti71. Perhaps the best example of freak repetition to be found in Latin poetry is Ennius, Saturae 59-62: Nam qui lepide postulat alterum frustrari quem frustratur, frustra eum dicit frustra esse. Nam qui sese frustrari quem frustra sentit, qui frustratur is frustra est, si non ille est frustra".

(c) Careless and inartistic repetition (tautology73). Even the greatest poets have been guilty of this unfortunate type of repetition, as a few examples will show.

Lucretius 4.416-419:

despectum praebet sub terras inpete tanto, a terris quantum caeli patet altus hiatus; nubila dispicere et caelum ut videare videre cetera mirando sub terras abdita caelo.

Vergil, Aeneid 2.510, 515:

circumdat nequiquam umeris, et inutile ferrum Hic Hecuba et natae nequiquam altaria circum...

If nequiquam were repeated several times, to picture despair or tragedy, the effect would be good; but in this passage Vergil certainly seems to have used it inadvertently in line 515.

Juvenal 5.90–91:

propter quod Romae cum Boccare nemo lavatur, quod tutos etiam facit a serpentibus atris.

Line 91 is not found in the Codex Pithoeanus and is regarded by many editors (Iahn, Ruperti, Weber, Heinrich, Mayor, Anthon, Hardy. Macleane) as spurious, or at least doubtful. The repetition of quod is one of the reasons advanced for the rejection of the line.

Messrs. Haskins and Heitland, in the introduction and notes of their edition of Lucan74, criticize him frequently for careless iterations. Two examples may be cited here.

(d) Unconscious repetition. Reference was made above (footnote 2) to Professor Cook's article on unconscious repetition. So far as I am able to learn, he alone has discussed this phase of the subject. A paragraph in his paper (The Classical Review 16.264) is pertinent at this point:

Does not the principle of word-persistence go far toward explaining the conscious iterations mentioned at the beginning of my article? What, for example, are alliteration and rime but the partial persistence of a word once used? Taking a broad view of the matter, we may assert that an expression once used tends to perpetuate itself in whole or in part, and that this perpetuation is in the first instance subconscious. It is frequently impossible to tell whether in any given case an iteration was subconscious and

REVIEWS

unintentional or conscious and deliberate". But Art copies Nature, and the tricks of rhetoric certainly rest on some psychological foundation.

On page 148 he says:

My contention, then, is that verbal iterations occurring in first-class literature, when not due to self-quotation of an obviously intentional kind, should be regarded as subconscious.

Leo would probably have called this subconscious repetition adnominatio (see above, page 147).

Professor Cook's theory that "word-persistence" is the foundation-stone of iteration is interesting, but he hardly makes it convincing to me. Indeed, I cannot help feeling that this question must always remain a matter of opinion with the reading public, and that, to arrive at an absolutely final conclusion, it would be necessary to ask each separate poet whether he repeats words purely to secure emphasis and rhetorical effect, or because a word he has just used persists in his memory until he employs it a second or a third time. I agree entirely with Professor Cook that, in a large number of cases, words are repeated unconsciously because of their persistence in the memory. A large majority of such cases, however, would be classed by most readers as examples of inartistic or careless repetition. Professor Cook is more charitable. But, when a poet deliberately sets himself to the creation of an effect, of whatever kind, by repetition, it seems unnatural to argue that each succeeding iteration is first present subconsciously in his mind, and is then seized on and weighed in the artistic balance before being employed in the verse. The repetition which appears to be unconscious or subconscious usually occurs if my observation is correct-after the intervention of one or more lines; and, as suggested above, it is hardly to be distinguished from careless and inartistic iteration. Four examples follow.

Vergil, Aeneid 4.1, 5:

At regina gravi iamdudum saucia cura

The Greek Genius and Its Influence: Select Essays and Extracts. Edited by Lane Cooper. New Haven: Yale University Press (1917). Pp. xii+ 306. $3.50.

Professor Lane Cooper's interest in the Classics and his championship of them, especially of Greek, must be known to every reader of THE CLASSICAL WEEKLY. Mention may be made here of his Phi Beta Kappa address, entitled Ancient and Modern Letters, of which a partial summary was given in THE CLASSICAL WEEKLY 6.73-74. In 8.178-182 appeared his admirable paper, The Teaching of English and the Study of the Classics, which was reprinted and circulated extensively, as a separate pamphlet, by The Classical Association of the Atlantic States. In 11.4952 appeared his paper, English Translations of Greek and Latin Classics, in which he gave an account of a course he has conducted for more than a decade at Cornell University, as part of the work there of the Department of English Literature. It was this course Professor Cooper had in mind when he wrote as follows in the Preface (vii) to the book under review:

This volume appears in response to the needs of one of my classes, and is meant to supply a part of the necessary background for the study of Greek and Latin masterpieces in standard English translations, and to stimulate and rectify the comparison of ancient with modern literature.

The contents of the book are as follows:

Introduction: The Significance of the Classics, Lane Cooper (1-22); I. Shelley1, from Hellas (23-24); II. John Clarke Stobart, The Legacy of Greece (2533); III. Francis G. and Anne C. E. Allinson3, External Nature in Greek Poetry (34-46); IV. Milton, from Paradise Regained (47-48); V. John Henry Newmans, Attica and Athens (49-62); VI. Sir Richard Jebb, The Age of Pericles (63-76); VII. Arthur Elam Haigh, The Attic Audience (77-84); VIII. Maurice Croiset, The Greek Race and Its Genius (85-97); IX. August Boeckh, The Nature of Antiquity (98

Literature (132-155); XI. Marjorie L. Barstow11, Oedipus Rex: a Typical Greek Tragedy (156-162); XII. Ulrich von Wilamowitz-Moellendorff12, The Character and Extent of Greek Literature (163-167); XIII. Gilbert Murray13, The 'Tradition' of Greek