referred to, to quote, and so preserve, precious fragments which we should otherwise have lost. Footnote 188: See also the amended text in Bergk’s _Lyrici Græci_, i. 392-395. Footnote 189: ἴδετ’ ἐν χορὸν Ὀλύμπιοι. Some MSS. read δεῦτ’, which appears in Reiske. The comment requires a _verb_: but perhaps Dionysius might have regarded δεῦτε as such. Footnote 190: ἀρχαικὸν δέ τι καὶ αὔθαδες κάλλος. On the whole, this treatise, if studied carefully, must raise some astonishment that Dionysius should have been spoken of disrespectfully by any one who himself possesses competence in criticism. A good deal of the work is, no doubt, for us, a little out of fashion; the traditional technicalities seem jejune; the processes are out of date. Yet, from more points of view than one, the piece gives Dionysius no mean rank as a critic. To those who want characteristic aspects, aspects put in striking phrase, that attribution of “headstrong beauty” to Thucydides should excuse a good deal: that is no mere dead ticket of the schools. To the more methodical critic of criticism the minute processes of investigation, the careful estimate of the incidence of such a sound in such and such a position, even the mere parsing view of clauses and sentences, are things themselves worthy of minute study. And it is not only fair, but no more than necessary, to remember that this, after all, is only a treatise on a certain aspect or department of criticism, and that we have no right to demand from it more than satisfactory treatment of its special subject—the “composition,” the symphonic arrangement of words and the elements of words. To some moderns Dionysius may seem too attentive to mint and anise and cumin; but he would have no great difficulty in retorting equally contemptuous comparisons for the windy generalisations on one hand, and the sheer neglect of all minutiæ of form on the other, which characterise too much modern critical work.