C3.2. Prototype, a procession to Eleusis or elsewhere: the Panathenaic, possibly. Xenophon's sumptuous taste and love of bright colours. C3.3, fin., C3.4. What a curious prototypic sound! Truly this is the very _modus_ of the evangelist's type of sentence. His narrative must run in this mould. C3.4, fin. This is the old Cyrus. It comes in touchingly here, this refrain of the old song, now an echo of the old life. C3.14. Xenophon delights somewhat in this sort of scene. It is a turning-point, a veritable moral peripety, though the decisive step was taken long ago. What is Xenophon's intention with regard to it? Has he any _parti pris_, for or against? Does he wish us to draw conclusions? Or does it correspond to a moral meeting of the waters in his own mind? Here love of Spartan simplicity, and there of splendour and regality and monarchism? He does not give a hint that the sapping of the system begins here, when the archic man ceases to depend on his own spiritual archic qualities and begins to eke out his dignity by artificial means and external shows of reverence. C3.20. Is this worthy of the archic man? It is a method, no doubt, of {arkhe}, but has it any spiritual "last" in it? The incident of Daïpharnes somewhat diverts our attention from the justice of the system in reference to the suitors. On the whole, I think Xenophon can't get further. He is blinded and befogged by two things: (1) his (i.e. their) aristocratism, and again (2) his satisfaction in splendour and get-up, provided it is attached to moral greatness. We are in the same maze, I fancy. Jesus was not, nor is Walt Whitman. C3.23. Cyrus is made to behave rather like the autocratic father of a goody story-book. C3.25. Realistic and vivid detailing: our curiosity is satisfied. "Who has won?" we ask. "Oh, so-and-so, Smith." Well, it's something to know that Smith has won. Xenophon, the artist, 'cutely introduces the Sakian to us. One scene takes up another, just as in real life. Quite soon we know a great deal more about this young man, a mere Sakian private soldier, who wins the race so easily on his splendid horse. Cyrus and good fortune introduce him to the very man he is suited to: viz. Pheraulas. C3.37. Pheraulas' boyhood has already been sketched by himself (II. C3.7), the active sturdy little youngster, snatching at a knife, and hacking away _con amore_. We know him well: Xenophon's modernism comes out in these things. Here we have the old father, a heart of oak, like the old Acharnian in Aristophanes. One of the prettiest morsels in all Xenophon. Xenophon's own father, is he there? C3.47. The desire for "leisure" is as strong in Xenophon as in hgd. or S. T. I., I think. [S. T. Irwin, also a master at Clifton.] C4.1. Why is the Hyrcanian never named? Is it conceivable that Xenophon shrinks from using a proper name except when he has some feeling for the sound of the language? (Sic. Sakians, Cadousians, Indians, etc.)