shameful, but live in the practice of all that is beautiful and good." NOTES C1. Notice the epic tone now adopted, or rather swum into, or rather which floats the writer up of its own motion. C1.2 ff. On the whole this description of the battle is, for Xenophon, obscure. C1.5-6. Xenophon, Artist. This military criticism and technical discussion juxtaposed to the epic prelude and the epic sequel is a clever device enough. We are pleased. C1.8-9. Final injunctions somewhat obscure, I think. C1.24 ff. The epic and Homeric vein. C1.33. The Egyptians have the advantage. This is noticeable in reference to Cyrus' criticisms of their arms before battle. That is not a slip, but a dramatic touch on the part of the author, I think. And Cyrus is speaking of cavalry there, and anticipates the result. C1.34 fin. A singular feature this in ancient battles. Is it simply and solely Oriental, or general, and Hellenic also? Has it any analogue nowadays anywhere? Probably with Egyptian troops in the Soudan it has (hgd. 1884). C2.6-7. The archic man through an act of bad discipline makes good discipline more acceptable. C2.13. The civilised method of dealing with a conquered city. Instead of pillage and rapine, an indemnity, which will bring in to the conquerors wealth, and yet not destroy the arts of the population, which are the fountain-heads of beauty. || Modern. So the archic man asserts his superiority once more. C2.24. Is this also Xenophon's view? If so, it throws light on his theory of rank and caste. C3.2. Curious Cyrus should be so little suspicious of Abradatas' death, is it not? Because the victory was not bloodless. Notice, too, how little is said of the bloodshed; that is Hellenic as well as Xenophontine, I fancy. C3.7. Something epic in all this. Cf. Archilles sacrificing at the tomb of Patroklos. C3.8 ff. The pathos of the situation and the _Eironeia_ at its maximum. "Euripidean" touches throughout. C3.16. [This is bracketed in most editions, no doubt rightly, as an interpolation. It was not translated in Mr. Dakyns' manuscript, but his marginal note is characteristic, and evidently he would have translated the section in a footnote. It may be rendered thus: "It is said that a monument was raised above the eunuchs and is in existence to this day. On the upper slab the names of the husband and the wife are written in Syrian letters, and below are three other slabs, inscribed 'To the chamberlains.'"] C3.16. Interesting, especially if of later insertion, and perhaps given the historical basis of the story in some monument on the Pactolus, known to Xenophon. I wish a new Schliemann would find it. hgd. C4. Semi-historical? The version is to be found, I think, in C4.2, which is the _pièce justicative_. The episode itself is full of humour, as good as a play: Xenophon has seen these duplicities often. Brer Fox outwitted by Brer Rabbit.