Among the shining examples of the panhellenic spirit of Athens in the spacious days of the Persian Wars, which Attic orators of the fourth century were fond of parading before their degenerate audiences, was an act of the Athenian Ecclesia, by which one Arthmius of Zeleia was declared an outlaw in the territory of Athens and her allies, ‘for that he had brought the gold from Media into Peloponnesus.’ This Psephisma is cited twice over in the speeches of Demosthenes. On the principle that the Devil may quote Scripture, Aeschines cast it back into Demosthenes' teeth. From Aeschines we learn further that Arthmius had visited Athens in the course of his errand, and that he had narrowly escaped execution at the hands of the irate citizens. The proceedings against Arthmius were also recorded by Dinarchus, by Plutarch and by Aelius Aristides.

A word of apology may be due for the loose arrangement of this paper; but, as an orderly progress through the 600 odd pages of the Didot Scriptores Erotici was out of the question, I have simply taken a number of passages on which I had corrections to propose, appending to each a few lines of comment, and adding, where feasible, a selection of texts amenable, in my judegment, to the same or an analogous treatment. A reading cited with no mark of orgin may be taken as the consenting manuscript tradition (trivialities excepted); an asterisk denotes a conjecture of my own.

Aristophanic Comedy falls structurally into marked divisions, episodic and epirrhematic. The first is a very simple method of composition consisting of short iambic scenes, connected by choral stasima which are more or less relevant to the action. As a general rule these episodes occupy the second half of the play between the Parabasis and Exodos, and, since they show the hero enjoying the fruits of his earlier struggles, contribute little to the development of the plot. Many of the Comic Fragments in trimeters are probably taken from episodes, but any attempt to classify them would add nothing to knowledge of a play from the structural viewpoint. The case is otherwise with the epirrhematic parts of Comedy. These are of complicated structure, marked by the use of the syzygy, i.e. the correspondence of odes and epirrhemes on the plan abab and also by the use of the tetrameter, which is confined to these sections. They may be further differentiated among themselves by the metre used. In the Parodos anapaests, iambs and trochees are found, in the Agon iambs and anapaests, in the parabatic syzygy only trochees, in the ⋯πλο⋯ν anapaestic and aeolic tetrameters. Taking the use of the tetrameter as guide it is possible to classify certain of the Comic Fragments, and subject matter and the criterion of metre often give some indication of the particular epirrhematic section from which they are taken. Prologue and Exodos stand outside the scheme of both episodic and epirrhematic composition, being structurally self-contained. The former consists of iambic trimeters, not a simple means of differentiation, but sometimes subject matter affords convincing points of analogy with the Aristophanic Prologue. The Exodos shows a great variety of metres, but here again subject matter and Aristophanic analogy are of great value in classification.

A new examination of Aristotle's Poetics has confirmed my conviction that a number of old and new puzzles can be solved by the same analytical method which in recent years (though not entirely unchallenged) has been successfully applied to a good many of his writings, giving us a better insight into the growth and successive elaboration of his thought. The importance of the Poetics seems to me to justify any attempt to discover the original train of thought and to distinguish it from later additions (each of which was made of course by the philosopher himself). Readers will be aware of the enormous number of books and papers dealing with the problems of this work and will forgive me for referring to a selection only.