Had Mr. Worsfold taken his stand in his review of ancient criticism on the treatise attributed to Longinus, he would have seen that what he so strangely attributes to Addison and later writers had long been anticipated. This remarkable work which, since its translation into French by Boileau in 1674, has had more influence on criticism both in England and on the Continent than any other work that could be named, would alone show how much we owe to the Greeks. It has analyzed and defined, for all time, the essential virtues and the essential vices of diction and style, and has traced them to their sources. It has furnished us with infallible criteria in judging rhetoric and poetry. Take its analysis of the “grand style,” which is described comprehensively as μεγαλοφροσυνης απηχημα, “the echo of a great soul”; it has, the Treatise tells us, five characteristics--richness and grandeur of conception (το περι τας νοησεις ἁδρεπηβολον); vehement and inspired passion (το σφοδρον και ενθουσιαστικον παθος), the due formation of figures, which are twofold--first those of thought, and secondly those of expression (ἡ ποια των σχηματων πλασις δισσα δε που ταυτα, τα μεν νοησεως, θατερα δε λεξεως); noble diction (ἡ γενναια, φρασις); dignified and elevated composition (ἡ εν αξιωματι και διαρσει συνθεσις). Nothing could be more masterly than its detailed analysis of each of these qualities, and of the pseudo forms which they assume, as the result of stimulated enthusiasm. How admirable, too, is its test of the sublime in the seventh chapter; its criticism of Sappho, generalizing what constitutes the charm and power of lyric, in the tenth chapter; its analysis of the eloquence of Demosthenes, again generalizing the characteristics of oratory in perfection (chap. xvii.); its demonstration of the inferiority of correct mediocrity to the faulty irregularities of inspired genius; its admirable remarks about the relation of Art to Nature. Like the _Poetics_, it has come down to us in a very mutilated form, and has evidently been interpolated by some inferior hand, which no doubt accounts for the exasperating triviality of some of the sections. Here, as elsewhere, we have references to the many losses which Greek criticism has sustained, the author referring to treatises written by him on Xenophon, on Composition, and on the Passions.