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Translate into Attic Greek.

There is a protection very gracious and just, which princes owe to their servants, when, in obedience to their just commands, upon extraordinary and necessary occasions, in the execution of their trusts, they swerve from the strict rule of the law, which, without that mercy, would be penal to them. In any case, it is as legal (the law presuming it will always be done upon great reason) for the king to pardon, as for the party to accuse, and the judge to condemn. But for the supreme power to interpose, and shelter an accused servant from answering, does not only seem an obstruction of justice, and lay an imputation upon the prince, of being privy to the offence; but leaves so great a scandal upon the party himself, that he is generally concluded guilty of whatsoever he is charged; which is commonly more than the worst man ever deserved. And it is worthy the observation, that, as no innocent man who made his defence ever suffered in those times by judgment of parliament; so many guilty persons, and against whom the spirit of the time went as high, by the wise managing their defence, have been freed from their accusers, not only without censure, but without reproach.....Whereas scarce a man, who, with industry and skill, laboured to keep himself from being accused, or by power to stop or divert the course of proceeding, scaped without some signal mark of infamy or prejudice. And the reason is clear; for besides that, after the first storm, there is some compassion naturally attends men like to be in misery; and besides the latitude of judging in those places, whereby there is room for kindness and affection, and collateral considerations to interpose; the truth is, those accusations (to which this man contributes his malice, that his wit, all men what they please, and most upon hearsay, with a kind of uncharitable delight of making the charge as heavy as may be) are commonly stuffed with many odious generals, that the proofs seldom make good: and then a man is no sooner found less guilty than he is expected, but he is concluded more innocent than he is; and it is thought but a just reparation for the reproach that he deserved not, to free him from the censure he deserved.

Greek Passages and Questions.

1. Translate this passage into Greek comic verse; any metre used by Aristophanes.

Tuc. How dost like him? art not rapt? art not tickled now? dost not applaud, rascal? dost not applaud?

His. Yes: What will you ask for 'em a week, captain? Tuc. No, you mangonizing slave, I will not part from 'em; you'll sell 'em for Anghles, you: let's ha' good cheer to morrow night at supper, stalker, and then we'll talk; good capon and plover, do you hear, sirrah? and do not bring your eating player with you there; I cannot away with him he will eat a leg of mutton while I am in my porridge; the lean Poluphagus; his belly is like Barathrum; he looks like a midwife in man's apparel, the slave: nor the villainous out-of-tune fiddler Enobarbus, bring not him. What hast thou there? six and thirty? ha?

His. No, here's all I have, captain, some five and twenty pray, sir, will you present and accommodate it unto the gentleman; for mine own part, I am a mere stranger to his humour; besides, I have some business invites me hence, with master Asinius Lupus the tribune.

Tuc. Well, go thy ways, pursue thy projects, let me alone with this design; my poetaster shall make thee a play, and thou shalt be a man of good parts in it. But stay, let me see; do not bring your Æsop, your politician, unless you can ram up his mouth with cloves; the slave smells ranker than some sixteen dunghills, and is seventeen times more rotten. Marry, you may bring Frisker, my Zany; he's a good skipping swaggerer; and your fat fool there, my Mango, bring him too; but let him not beg rapiers nor scarfs, in his over-familiar playing face, nor roar out his barren bold jests with a tormenting laughter, between drunk and dry.

2. Compare the Ulysses of Homer with the Ulysses of

3. What instances can you give, from Æschylus and Sophocles, of deviation from the dramatic unities?

4. State the chief excellencies which Aristotle attributes to Homer, in his Poetics; and compare them with what Plato says upon the same subject.

5. Εστιν οὖν τραγῳδιὰ μίμησις πράξεως σπουδαίας καὶ τελείας, μέγεθος ἐχούσης· ἡδυσμένῳ λόγῳ, χωρὶς ἑκάστου τῶν εἰδῶν ἐν τοῖς μορίοις, δρώντων, καὶ οὐ δι' ἀπαγγελίας, δι ̓ ἐλέου καὶ φόβου περαίνουσα τὴν τῶν τοιούτων παθημάτων κάθαρσιν. Translate and explain this passage, and state how far Plato agrees with this definition.

6. Τρίτον δὲ ἡδιάνοια. Τοῦτο δέ ἐστι τὸ λέγειν δύνασθαι τὰ ἐνόντα καὶ τὰ ἁρμόττοντα· ὅπερ ἐπὶ τῶν λόγων τῆς πολιτικῆς καὶ ῥητορικῆς ἔργον ἐστίν. Οἱ μὲν γὰρ ἀρχαῖοι πολιτικῶς ἐποίουν λέγοντας, οἱ δὲ νῦν ῥητορικῶς. Translate and explain,

7. ἥκω, δέχου δὲ πρευμενῶς ἀλάστορα

οὐ προστρόπαιον, οὐδ ̓ ἀφόρβαντον χέρα, ἀλλ ̓ ἀμβλὺν ἤδη, προστετριμμένον τε πρὸς ἄλλοισιν οἴκοις καὶ πορεύμασιν βροτῶν. Explain and illustrate this passage.

8. νῦν ἀμβλὺς εἰμι καὶ καταρτικὼς πόνων. Explain the words αμβλὺς and καταρτύκως.

9. Explain the connexion of the preposition with the pronoun: with instances of the independent or adverbial use of the former.

10. Which is the oldest form of the noun, the nominative case, or the accusative ?

11. Explain the difference between ἕνεκα and χάριν: with the etymology of the former, and its meaning in such phrases as ὅσον καὶ ἀπὸ βοῆς ἕνεκα ὠργίζετο τοῖς ὁπλίταις.

12. Explain the difference between ἐκθνήσκειν and ἀποθνήσκειν.

10. Explain the word ἄλλως.

14. Give examples of the use of ava, a and vý, both in the negative and intensitive sense.

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