the sternness of the Spartan mother with her anxieties for the life of Hector, had she uttered a few natural ejaculations of vindictive wrath against his destroyer, the charm which makes her the most angelic and interesting of her sex would at once have been dissolved."

HECUBA, on the other hand, is a character which exhibits along with feminine tenderness no small mixture of that ferocity which belongs to a bereaved mother, a woman of Oriental blood, and a discrowned queen. This taint of fierceness eminently adapted her for the genius of Euripides, who has made her the heroine of one of his most bloody tragedies. In this play he represents the unfortunate wife of Priam, after the fall of Troy, as in the Thracian Chersonesus with the Greek army, where she is made the witness both of the sacrifice of her daughter Polyxena to the shade of Achilles (XIX. 1), and of the death of her son Polydore to satisfy the avarice of Polymestor (xx. 407). Towards the faithless barbarian king she comports herself with such murderous ferocity that tradition would have her changed into a raging dog, in which shape she leapt into the sea at a place called Cynos Sema-KUVÒS opa-or the dog's barrow, known in the after history of the Greek wars (Str. XIII. 595; Thucyd. VIII. 104; Hygin. Fab. cx1). Legend evidently intended to work up the catastrophe of the Trojan tragedy to a climax by making the mother of the prime offender ('Aλe§ávôpov ȧpxys, III. 100) end her existence in a paroxysm of rage, revenge, and madness. For guilt, as Eschylus says, is never childless; and the seed which is sown in wantonness is sure to blossom in blood, to ripen into ruin, and to bear a harvest of despair. For THE WAGES OF SIN IS DEATH.

VER. 804.—Ὡς οἴγ' ἀμφίεπον τάφον Εκτορος ἱπποδάμοιο.

"I cannot take my leave of this noble poem without expressing how much I am struck with this plain conclusion of it. It is like the exit of a great man out of company whom he has entertained magnificently, neither pompous nor familiar; not contemptuous, yet without much ceremony. I recollect nothing among the works of

mere man that exemplifies so strongly the true style of great antiquity."-CowPER.

The fact is that Homer tells his story, and then says that he is done with it. Compare the last words of the narrative of the evangelist Luke in Acts xx. 38. If other men would follow the simplicity, naturalness, and directness of such a peroration, there would be fewer blunders committed in oratory. Homer is great here and elsewhere, principally because he is not ambitious of wishing to appear great.

LIST OF THE EDITIONS OF HOMER, AND TRANSLATIONS USED

BY THE AUTHOR; ALSO OF THE PRINCIPAL WORKS OF
FREQUENT REFERENCE, WITH THE ABBREVIATIONS.

I.-EDITIONS OF HOMER.

1. Homeri Opera, Florent. Fol. 1488. Græce. Chalcondyles. Editio princeps.

2. Homeri Ilias. Aldi. 1504.

3.

4.

5.

Ilás. Argent. Cephal., 1525.

Ilias. Paris., 1554. Turneb.

Opera. Cant. 1711. Barnesii.

Opera. Ex recens. Clarkii-curâ Ernesti. Lips., 1759.
Ilias. Villoison. Venet., 1788.

Ilias. Wolf. Lips., 1804. (W.)

Opera. Heyne. Lips., 1802. (H.)

Carmina Homerica. R. P. Knight. London, 1820.

6.

7.

8.

9.

10.

11.

Carmina. Bekker. Bonn, 1858.

15. Iliadis Carm. XVI. H. Köchly. Lips., 1861.

Bäumlein. Lips., 1854.

Döderlein. Lips., 1863.

18. Homeri Ilias. Paley.

London, 1866.

19. Odyssey. By Ameis. Lips., 1861.

1. The Latin translations in most of the editions of the middle period

2. The Iliads of Homer. By George Chapman. London, 1843. (Ch.)

III.

By Thomas Hobbes. 1686.
Pope. London, 1806. (P.)
Cowper. 1854. Bohn.1 (C.)
Sotheby. (Soth.)

Brandreth. London, 1846. (Br.)
Newman. London, 1856. (N.)
Wright. London, 1859 65. (Wr.)
Earl of Derby.
London, 1864.
(Drb.)

In English hexameters by Dart,
London, 1865. (Drt.)

Worsley, Books 1.-XII. Edinb., 1866.
(Wors.)

French. By Dacier. 4th Edit.
Amsterdam, 1731.

French. By Montbel. Paris, 1853.
German. By Voss. Stuttgart, 1856.
(V.)
German.

By Donner. 1855. (D.)
Italian. By Monti. Milano. 1829.

HOMERIC COMMENTARIES AND GLOSSARIES.

1. The scholia and notes in the editions of Barnes, Ernesti, Villoison, Heyne, Montbel, Bothe, Faesi, Spitzner, Paley, Hayman, Ameis.

2. Eustathii Comment. in Homerum. Lips., 1827. (Eust.) 3. Scholia in Homeri Iliad. Bekker. Berol., 1825. (Schol. Ven.)

4. Didymi Chalcenteri Opuscula. Schmidt. Lips., 1854. 5. Aristonici Tepì oŋpeíwv Iiádos. Friedländer, 1853. Gött. 6. Köppen: Anmerkungen zum Homer. Hannov., 1792. 7. Apollonii Lexicon Homericum. Villoison. Paris, 1773. (Apoll.)

8. Dammii Lexicon Homericum. Duncan. London, 1827. 9. Buttmann's Lexilogus. Fishlake. London, 1840. (But.) 10. Wolf, F. A., Vorlesungen über die vier ersten Gesänge der Ilias. Bern., 1831.

In my Dissertations, pp. 437-439, I quoted from the old quarto edition. This will explain certain discrepancies.