Remarks on orthography follow, and some on reading, valuable, though not so valuable, as those on the same [Sidenote: _Books II.-VII. only relevant now and then._] subject which come later. And then he passes to certain of the _progymnasmata_ of the Greek rhetoricians, fables, uses, sentences, and “ethologies,” which, though they have puzzled some, are clearly the same as the _ethopœiæ_ of Hermogenes and his fellows.[378] All these are, in fact, exercises in composition. The rest of the book is occupied with the discussion of other subjects of the school curriculum, subsidiary to rhetoric. The second book continues the subject of Composition, but with more special reference to Oratory proper—a tendency which naturally increases; and for some five or six books the technicalities of the rhetoric-school and the courts have the better of literature. There are, however, two exceptions, which require notice—the first a remarkable passage[379] on reading or lecturing on authors. Footnote 378: For these technical terms _v. ante_, bk. i. chap. iv., or the Index. Footnote 379: II. v. 5-9. “But”—he has just ruled out the explanation of the mere meaning of uncommon words as below the duties of a Professor of Rhetoric—"to point out the merits, and if it so happen, the faults, is the properest of all things for the profession and for the promise by which he holds himself out as a master of eloquence...." (He should make the students read in turn, and then), "after setting forth the case on which the oration was composed (for thus it will be more clearly understood), he should leave nothing unnoticed which may be noteworthy in the invention or the elocution, pointing out the manner of conciliating the jury in the proem, the clearness, conciseness, persuasive force of the narration, the occasional design and hidden artifice (for that alone is true art here, which can only be understood by an artist), what foresight there is in division, what subtle and thronging[380] argumentation, the strength of the inspiration, the attraction of the winning passages, the roughness[381] of the objurgation, and the humour of the jokes; how, finally, the man [Sidenote: _How to lecture on an author._] shows mastery of feeling, makes his way into the very heart, and adjusts the minds of the jury to his own contention. Then, as for style, we must point out what words are proper, ornate, sublime, where the amplification is to be praised, what excellence there is in the contrary direction,[382] what is ingeniously transferred; what the figurativeness of the words is, how smooth and squared, yet manly, the composition." And then he proceeds to recommend the occasional selection of passages which are not to be praised—the exhibition, in short, of a rhetorical helotry. Footnote 380: _Crebra_, as it were “attacking on all sides,” “redoubling blows.” Footnote 381: