papers will sympathize with him when he says that the frame of mind in each case determined the style and cannot be reproduced. The leading article is a revision of his memorable essay 'Was ist Uebersetzen?' (A. J. P. XIII 517), the longest and earliest is the discourse 'On the Glory of the Athenian Empire', which has naturally undergone a number of changes. The lapse of time and the recovery from the panegyric mood have brought with them much reconsideration, and it is refreshing to find that in 1901 the author allows the Peloponnesians their right to live their own life and acknowledges that in 1879 he did not understand Pindar. The tone reminds one of a certain condescension of Prussians toward Hanoverians of which I was witness fifty years ago. That the volume is full of manifold incitement to thought and rebellion is a matter of course, for this is WILAMOWITZ'S rôle in the world of classical philology and I, for one, am grateful to him for the animation he has given to our studies; and yet to me the most attractive of all these papers is that in which there is least of the 'Rough Rider,' and the final essay, 'An den Quellen des Clitumnus,' begun in 1879, and recently finished, has a peaceful charm that tempts the reader to reread.

In an interesting article on Nietzsche, published in the Neue Jahrbücher of last year, R. M. MEYER says: <Ein Kunstwerk> ist das Wort von 'der blonden Bestie' oder das andere vom ‘lachenden Löwen.' Whatever the source of the 'blond beast' may be, the source of the 'laughing lion' is perfectly known to every classical scholar. It is the ¿ λéwv éyéλaσev of the scholiast on Thukydides 1, 126, which no one that has read Thukydides as a philologian reads him, as Nietzsche read him, is likely to forget. In another paper in the same volume the same writer has taken up a theme which is as dangerous as it is fascinating, 'Das Alter einiger Schlagworte.' As the author has made German literature of the nineteenth century his special domain, a foreigner would not like to enter the lists with him, but it may be said that there is nothing more fallacious than watching the emergence of a phrase in print. Of course, the best of the dictionaries in use leave one in the lurch. The only authority cited for 'neck and crop' by the Century Dictionary is my contemporary, George Augustus Sala, and the Oxford Dictionary bids us wait for NECK -which I shall never live to see. Some of Herr Meyer's 'Schlagworte,' whatever their age in German, are very ancient in English, and most people will be astounded to find 'rechte Hand' set down as a German neologism and to learn that 'Drohne' in a 'sociological' sense has just come into general use. The chapter on the compounds in 'hoch' has a painful interest for me inasmuch as in the first edition of my Pindar, p. x, I was betrayed into the Teutonism 'high poetic,' which was at once and justly pounced upon by the critics. True, I might have defended my

self by Shakespeare's 'high-fantastical,' but I was not thinking of Shakespeare so much as of 'hochpoetisch,' and there was no honest course except to submit and withdraw.

K. F. S.: In his youth Dr. J. Börner suffered constantly from the nightmare. But having an enquiring mind he utilized his affliction for the purposes of a dissertation which made him famous. His results, derived from a long series of careful experiments on himself and others, were afterwards fully verified by later investigators. Among other things he showed that, in a healthy person, nightmare is usually due to partial suffocation caused by burying one's head in the pillow, coverlet, etc., that the rapidity with which the Alp appears to approach his victim is always measured by the rate of suffocation, but, above all, that the appearance of the Alp himself is, to a surprising extent, determined by the sleeper's surroundings, especially by the material and texture of his coverings.

No student of the classics and certainly no student who has had the courage to 'sit it out' with Sprenger, Nicholas Remy and Pierre de l'Ancre, 'Conseiller du Roy,' at their horrid assizes of blood and fire, can have failed to be struck by the fact that the Incubi, Succubi, Striges, Vampires and all their monstrous brood must have entered this world in the first place by the Ivory Gate. If so, it is certain that some of our most cherished legends, our best and most thrilling stories, our finest poetry are, literally, the stuff that dreams are made of, although Laistner's theory that the Uralptraum was the father of all mythology is an unwarrantable extension of his prototype

Quippe etenim iam tum divum mortalia saecla
Egregias animo facies vigilante videbant
Et magis in somnis mirando corporis auctu.

Nevertheless, it may be that as the Jinni rose from the smoke of the Fisherman's bottle so Merlin's famous pedigree rose from the fumes of too much haggis. Armed with the results of Börner we might now suspect with RosCHER (Ephialtes, eine pathologischmythologische Abhandlung über die Alpträume und Alpdämonen des klassischen Altertums, Teubner) that Pan's legs were the natural result of the style of bed-quilts used by his primaeval worshippers. Compare Latinus's method of securing an interview with Faunus (Aen. VII 81 f.). We might even agree that, in discussing the event which led to the change of Jacob's name, it is worth while to consider the heavy dews of the Orient and the fact that he may again have 'taken of stones of that place, and put them for his pillows.' However that may be, the name of ROSCHER attached to any treatise connected with his lifelong specialty is sufficient guarantee of sound scholarship and of pleasure and profit in the reading.

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