[61] de Demosth. c. 22.
[62] So that, in [126] 15, τὸν ὀξὺν τόνον = ‘the high pitch’ = ‘the acute accent.’
[63] W. H. D. Rouse’s edition of Matthew Arnold on translating Homer Introd. p. 7.
[64] A. J. Ellis and F. Blass (in the publications mentioned later).
[65] Arnold and Conway Restored Pronunciation of Greek and Latin pp. iv. 3, 7, 20-26. Cp. also the pamphlet on the Pronunciation of Greek issued by the Classical Association in 1908 (pp. [348]-51 infra). In the Contemporary Review of March 1897 the history of Greek pronunciation in England is ably sketched by J. Gennadius.
[66] Even the pronunciation of the poet’s name has changed with the lapse of centuries; and the spelling Shakspere is preferred by some authorities not only because it has excellent manuscript authority, but because it may serve to remind us that “he and his fellows pronounced his name Shahk-spare, with the a of father in Shahk, and with the French e (our a) in spare” (Furnivall).
[67] Quintil. i. 10. 17 “siquidem Archytas atque Aristoxenus etiam subiectam grammaticen musicae putaverunt,” etc.
[68] C.V. [68] 7-11, ... τὴν περὶ τῆς συνθέσεως τῶν ὀνομάτων πραγματείαν ὀλίγοις μὲν ἐπὶ νοῦν ἐλθοῦσαν, ὅσοι τῶν ἀρχαίων ῥητορικὰς ἢ διαλεκτικὰς συνέγραψαν τέχνας, οὐδενὶ δ’ ἀκριβῶς οὐδ’ ἀποχρώντως μέχρι τοῦ παρόντος ἐξειργασμένην, ὡς ἐγὼ πείθομαι.
[69] Some reference to Quintilian’s own apparent indebtedness to the de Imitatione of Dionysius will be found in Demetrius on Style p. 25.
[70] de Sublim. xxxix. 1. In the editor’s article on the “Literary Circle of Dionysius of Halicarnassus” (Classical Review xiv. 439-42), an endeavour is made to view the literary life of Dionysius in relation to its Roman surroundings.