Excerpt from Auxilia Vergiliana, or First Steps in Latin Prosody I think that many make a false beginning in their Vergil, or Ovid, by not beginning it as poetry. While the first month's reading-lessons are progressing, the pupil is learning prosody from the grammar. Until this is done, an initiation into the mysteries of scanning and proving is deferred. One or two books of Vergil -often more are accordingly read with as much indifference to metre and rhythm as if they were so many books of Caesar. The only difference that this method enables a pupil to discern between prose and poetry is, that poetry allows what seems to him a much more blind and confused arrangement of words. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Reprint of the original, first published in 1890.

This collection explores the issues raised by the writing and reading of commentaries on classical Greek and Latin texts. Written primarily by practising commentators, the papers examine philosophical, narratological, and historiographical commentaries; ancient, Byzantine, and Renaissance commentary practice and theory, with special emphasis on Galen, Tzetzes, and La Cerda; the relationship between the author of the primary text, the commentary writer, and the reader; special problems posed by fragmentary and spurious texts; the role and scope of citation, selectivity, lemmatization, and revision; the practical future of commentary-writing and publication; and the way computers are changing the shape of the classical commentary. With a genesis in discussion panels mounted in the UK in 1996 and the US in 1997, the volume continues recent international dialogue on the genre and future of commentaries.