are peculiarities that may help us to decide the order of the dialogues, and chief of these is the hiatus which he attacks in minute detail and the examination of which constitutes the second and principal part of the paper.

The subject of hiatus in Plato had been touched on by Blass before (A. B. II' 458) but Janell undertakes to go to the bottom of this xaouwdia business and proceeds statistically. The Didot page is taken as the standard, in conformity with Lutoslawski's example, and the resulting tables bristle with decimals. I can only give samples of the results. The higher averages are found in

The late date of Politicus, Sophista, Critias and Timaeus is an article of faith with many Platonists; and whatever part the redoubtable Philippos of Opus may have played, the position of the Laws is not an open question. The Parmenides exhibit will not satisfy everybody; but one is inclined to respect the hiatus test; for the treatment of the hiatus gives us the registry of a fashionable fad and the disappearance of it ranks with the disappearance of the κρωβύλος and the ἔνερσις χρυσῶν τεττίγων at Athens.

The third chapter deals with κabáñeр and wσrep to which Dittenberger called attention long ago (A. J. P. III 376). κabáяeр belongs to the sphere of legal language (cf. Ar. Av. 1041), and the large use of it in the Laws might be ascribed to that. But here also the avoidance of hiatus is the potent influence. What is sauce for onep ought to be sauce for rрón and it might be worth while to examine how far Plato's later usage was influenced by Isokrates in this regard also, (A. J. P. XV 521) Unfortunately there are no statistics at hand for Plato. But it is clear that in the period prior to the line drawn above Plato is indifferent to the hiatus produced by τρόπῳ. So we find Meno, 73 C; τῷ αὐτῷ τρόπῳ ἀγαθοί εἰσιν and τῷ αὐτῷ ἂν τρόπῳ ἀγαθοὶ ἦσαν and Conv. 176 Α: τίνα τρόπον ὡς ῥᾷστα πιόμεθα; is followed by B: τίνι τρόπῳ ἂν ὡς ῥᾷστα πίνοιμεν; a curious specimen of Plato's ποικιλία.

In the fourth chapter after a discussion of the question as to the genuineness of the Ion, JANELL sides with Eduard Meyer, who says 'Ich muss bekennen dass ich nicht verstehe wie man es über sich bringen kann, die geistreiche Schrift Plato abzusprechen;' and Fraccaroli in his introduction to Pindar has made the Ion the starting point of his theory of lyric poetry (A. J. P. XV 505). The hiatus test puts the Ion in the neighborhood of the Meno, the Meno average being 38.28, the Ion average 38.06. There are 13 σnep's; and never a κaðáñeρ.

Mr. M. A. BAYFIELD has made himself responsible for a new edition of Sophokles' Elektra (Macmillan) in the preface to which after the inevitable compliment to Sir RICHARD JEBB'S 'incomparable editions' of the poet's works he adds 'Kaibel's interesting edition of the play came into my hands only after this book had gone to press.' For this laches there is no possible excuse. KAIBEL'S edition of the Elektra, which Mr. BAYFIELD deigns to find interesting appeared in 1896, and was reviewed in this Journal in 1897 (XVII 353-6). It is safe to say that all conscientious editors of the Elektra must deal seriously with KAIBEL; and while the steadfast contemplation of one's own centre may be conducive to peace of mind, the oμpaλóxo of classical philology will find little sympathy in this restless age, so that Mr. BAYFIELD must not be surprised if his edition suffers in repute as it has suffered otherwise for his having ignored KAIBEL'S.

My attention has been called to the following curiosity of criticism, which goes far to reconcile me with any slips I myself may have made in the pages devoted to Brief Mention:

<Es> muss hervorgehoben werden, dass die Literatur der vergleichenden Syntax nur in ungenügendem Masze herangezogen und ausgenützt ist. Besonders macht sich dies in den auf das Verbum bezüglichen Theilen unserer Schrift bemerkbar, in denen die grundlegende Unterscheidung von "Zeitstufen" und "Actionsarten" ungern vermisst wird.

FR. STOLZ. In the Zeitschrift für die oesterreichischen Gymnasien LI 5 (Juni 1901) S. 400.

$184. The tenses express the relations of time, embracing:

1) The stage of the action, duration in time, kind of time <Actionsart, Zeitart>.

2) The period of the action, position in time, sphere of time <Zeitstufe>.

The first tells, for example, whether the action is going on or finished.

The second tells whether the action is past, present or future. GILDERSLEEVE, Syntax of Classical Greek.

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