haps even to read a verse or two beyond that which is quoted: and with this attention, it is hoped the reader will not be often disappointed. References are used by authors for different purposes; such as, similarity of sentiment, or expression-prophecy and its fulfilment-parallel of virtues or of vices-connexion or continuation of history-similar or opposite facts-éxhibition of examples, precepts, and admonitions; to which may be added, illustration by contrast; and some are introduced merely because the same word is found in the verse, either in the original language, or one of the versions." It is therefore a Concordance to the entire Polyglott published by Bagster, and embraces the Hebrew, Samaritan, Syriac, Greek, Latin, Italian, Spanish, French, and German versions.

The Porteusian Society has adopted the plan of a late excellent prelate, to point out the Scriptural distinctions to unlearned readers: "Those chapters which are of a more spiritual and practical nature are distinguished throughout, by the figure (1) being printed at the head of each chapter-the leading historical chapters are distinguished by the figure (2), and are important to be read in their course, in order to connect the historical chain of Divine Revelation-our Lord's discourses, doctrines, parables, and other chapters of a more peculiar interest, are distinguished by a star." Whether this arrangement be actually required, we humbly doubt: the contents prefixed to each chapter sufficiently indicate its subject, and the plan in being affords room for many arbitrary distinctions. We do not think, then, that it offers any important addition to the Bible, even in the hands of the poor, for whose use it is professedly adapted. Mr. Townshend's Chronological Bible is of another description; the several chapters are arranged in historical order (on the basis of Lightfoot's Chronicle) in such a manner, that the law, psalms, prophesies, epistles, &c. may be read as one connected narrative, in the very words of the authorised translation. This, of course, is only adapted for domestic use, as it will not serve

'This observation, says the Editor, applies peculiarly to those references, taken from the Latin Vulgate edition of the Scriptures: it will sometimes happen, that as the reference therein was only to some parallel word or phrase, or mode of expression, the fitness and the propriety of the reference itself, when applied to an English Version, ís thereby lost.

2 Thus, few of the historical chapters in the Pentateuch or prophecies, and none of the historical psalms, are distinguished by the proper mark.

to accompany the lessons with, during divine service. The notes are few, but judicious. It is to be hoped that editions in various sizes will appear.

At this opportunity, it may not be improper to suggest the compilation of a Harmony of Sacred and Profane Literature, each verse in the Scripture referring to passages in the Classics, on the same plan as Bagster's Concordance. Blackwell, in his Introduction, has given a few parallels, and Dr. Gray has effected something towards it, or rather has shown what remains to be done. The Harmony, we may add, should be not only historical, but doctrinal; and, if executed with judgment, will show the real state of Natural Theology among the Pagans. The lexicons of Parkhurst and Schleusner will supply many similarities of expression, and a careful examination of the Classics will lead to many more. No passage, it may be observed, written after our Saviour's birth, should be admitted, except the testimonies of adversaries, so that the labor will be comprised within a small extent.

CLASSICAL CRITICISM.

Professor Porson's Derivation of 'Ey refuted.

"'Eyw, Ionice ywv, i. e. Xéywv, 'The speaker.'" Porson's Tracts and Miscellaneous Criticisms, p. 302. The learned Mr. Kidd apparently confirms this conjecture by the following quo

tations:

"In the infancy of speech there might have been no occasion for the first person, or any such word: the verb was always used in the third person, as we call it; for the nominative case was always expressed, although the speaker was talking of himself." Capt. G. Brown, (Hermes Unmasked) 32, 3. "This is the case in the language of New Holland. One of the natives, when he was in England, was asked, Do you eat fish? The answer in his own language was, Banneelong eats fish." Dr. Vincent, p. 19.

But I confidently pronounce Professor Porson's opinion to be erroneous. It may be true that "in the infancy of speech," before a language has assumed any polish, the first person is

not to be found, and the third person is always used in the place of it. But it is equally true that the first person exists in every known language, which has attained any degree of perfection, more particularly in the Oriental tongues; and as it so exists in so many languages, independently of any connexion with the Greek word Aéywv, The speaker,' whose root does not appear in them, it is not and cannot be true that yw, Ionice ¿ywv, is i. q. Xéywv, The speaker.' λέγων,

6

"The preceding examples prove," says Professor Hamilton, "that the termination of the first person, both singular and plural, in Sanscrit and Persic, is characterised by the letter m, as it is in most tenses in Latin,-thus amabam, amabamus; that the second person singular is distinguished, in Sanscrit and Latin, by s, which is omitted in Persic; that the third person has t, in the two first languages, which is changed to d in Persic; that tha, tis, and id, distinguish the second person plural in the three languages; and anti, ant, and and, form the terminations of the third person plural. Their analogies and their differences equally suggest some curious observations. It is obvious that in all the three tongues, the letter m distinguishes me, the person, who speaks. A language so refined as the Sanscrit, must have undergone many changes in advancing from rudeness to a state of such metaphysical perfection; and many words have probably been altered, which remain unchanged in the vernacular dialects. Thus in Bengalese, ami, I, represents the Sanscrit aham; and this word, subjoined to the root of the verb, accordingly gives the first person singular, jio-ami, I live? In Latin it is formed by elision from the same words, viv-(eg-)o, 'vivo.' In Persic, this person is formed by adding am. Hence purs-am, 'I ask,' the termination being obviously a contraction of ami." Notice of Wilkins's Sanscrit Grammar, in the Edin. Rev. No. 26. Jan. 1809. p. 379.

E. H. BARKER.

Thetford, 1824.

ARN. HERM. LUDOV. HEERENII dissertatio de chori Græcorum tragici natura et indole, ratione argumenti habita.

PART II. [Concluded from No. LIX.]

[Ex Miscell. Criticis Vol. I. P. Iv.]

Sectio III. Euripides.

§. 18. Expositis iis, quæ de Eschylo et Sophocle dicenda habui, pergamus ad Euripidem, cujus unius plura adhuc ingenii monumenta exstant, quam utriusque priorum. Euripides artem a Sophocle acceptam, ut fabulam continuam in plures actus divisam spectatorum oculis subjiceret, ita excoluit, ut omnem fabulæ actionem in quinque actus dispesceret. Morem antiquum, ut singula episodia chori cantu finirentur, accuratius quidem Sophocle, neque tamen semper, observavit. Mediis actibus raro intercinit chorus, in fiue autem episodiorum interdum una ex fabulæ personis, carmine lyrico decantando, chori vicem sustinet. Una ex omnibus exstat Euripidis fabula, in qua poeta choro primas partes demandavit, Supplices scilicet, in plurimis aliis chorus cum primis fabulæ personis familiaritate tantum conjunctus, in nonnullis autem ab iis plane alienus est, ut in Phoenissis et Iphigenia in Aulide. Cum vero casus in

ipsa fabula chorum vel raro vel nunquam attingant, Euripides chorum ita instituere solet, ut non amicorum solum calamitatibus oppressorum misericordia moveatur, sed propriis quoque malis urgeatur, quo id consecutus est poeta, ut choro, non alienos solum, sed suos quoque casus deploranti, novam cantuum materiam pararet. Inde factum est, ut chorus quam sæpissime ex captivis compositus sit. Carmina itaque chori non ex fabulæ solum argumento, sed ex propria quoque chori conditione petita sunt; occurrunt quoque nonnulla, quæ cum a fabulæ argumento omnino sint aliena, ornatus caussa tantum adjecta videntur; de quibus postea videbimus. Ceterum satis mihi patere videtur, choros ab Euripide tantum ad observandum morem antiquum atque ad exornandam fabulam adjectos esse, rebus sensim sensimque sic immutatis, ut id, sine quo olim tragœdia nulla esse posset, tandem ad solum fabulæ ornatum spectaret.

§. 19. His præmissis otiosum foret, quod in Eschylo et Sophocle feci, omnium Euripidis tragoediarum delineationem adjicere. Cum enim in prioribus hoc eo tantum consilio fecerim, ut ostenderem, quibus locis, et qua occasione oblata, poeta VOL. XXX. Cl. Jl. R

NO. LX.

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tragici chori cantus fabulis suis inserere soleant, adnotare bric sufficiat, quod supra jam observavi, Euripidem non quidem omnibus, sed plurimis tamen locis, sub finem actus chori carmen adjicere solere, mediis autem actibus chorum raro intercinere. Omnia autem chori carmina in Euripide, eodem modo quo in Sophocle, ad quatuor classes commode revocari possunt. Chorus enim vel inopinatis gaudiis aut admiratione perculsus, sensus animi Hymnis effundit, vel suos amicorumque casus Threnis deplorat, vel incertum adhuc rerum eventum divinando assequi studet, vel tandem ex rebus in scena gestis philosophicas sententias elicit. Nos autem eodem ordine observato, de singulis videbimus.

§. 20. Hymni. Phæniss. v. 640-696. Med. 824-865. Hippol. 525-564. 1268-1282. Alcest. 571-608. Suppl. 365-380. Iphig. in Aul. 164-302. 751-800. Iph. in T. 1234-1283. Rhes. 342--387. Bacch. 73–169. 370—433. 860-909. Heraclid. 892-927. Helen. 1317-1384. Hercul. Fur. 348-441. 762-814. Elect. 432-486.

Carmina hæc, quæ omnia in eo tantum conveniunt, ut chorus in iis animi, vel lætitia vel admiratione commoti, sensus prodat, cum inter se tamen quam maxime differant, duabus classibus comprehendi possunt. Chorus scilicet vel rebus in scena gestis commotus, deorum et heroum laudes celebrat eorumque facta exponit, vel inopinatis gaudiis excitatus, læti animi sensus cantu effundit. Inter carmina in deorum honorem composita, primum merito locum occupant ea, quibus chorus Baccharum, in fabula eodem nomine inscripta, Bacchi laudes canit. Nulla sunt Euripidis carmina, in quibus lyricus sermo altius insurgat, quam in hac; adeo ut dithyramborum fere vim exæquare videatur. Vis vero eorum ad movendos animos tanto major esse debuit, cum omnibus instrumentis musicis, quibus in Orgiis uti solerent, iis accineretur. cf. v. 57. 58. Chorus, furore Bacchico accensus, primo beatos prædicat omnes sacris Bacchi initiatos, tum in ipsius dei mythologiam et honores ipsi a Jove habitos, excurrit. Mox tibiarum et tympanorum sonitu excitatus, Curetes et Corybantes, qui primi iis usi fuerant, celebrat. Inde rursus ad propositum rediens Bacchicas discursationes describit. Deum esse ducem, ejus aspectu totam rerum naturam exhilarari. Bacchi incessum, furorem et habitum, egregie describit, et acclamationes, quibus Thyadum chorum incitat, memorat.

Verum enimvero non omnes Euripidis hymni spiritu illo poetico fervent, sed sunt alii qui languere, atque ad pedestrem fere sermonem descendere videntur. Carmina, quibus chorus in Hercule Fur. res ab eo gestas enumerat, 348-441, et in Iphig.