^{page 174 note 1} Zu Philodems Büchern von der Musik. 1885.

^{page 174 note 2} Pp. 27–37. To this admirable work any student of the subject must be indebted.

^{page 174 note 3} Greek Literary Criticism, p. XIX.

^{page 174 note 4} This should read ‘middle’, if not ‘first’ half'. Cf. also Abert's, Gesammelte Schriften (Die Stellung der Musik in der Antiken Kultur, 1926)Google Scholar; Wilkinson, L. P., Philodemus and Poetry, pp. 146–7 (Greece and Rome, 05, 1933)Google Scholar.

^{page 174 note 5} Introduction to ‘Arte Poetica di Orazio’ (1930).

^{page 174 note 6} See Stocks, J. L. in New Chapters in Greek Literature, First Series, p. 23Google Scholar.

^{page 175 note 1} See Rostagni, loc, cit.

^{page 175 note 2} Tr. H. S. Macran.

^{page 175 note 3} Abert, , op. cit. pp. 19 ff.Google Scholar; 32 ff.

^{page 175 note 4} Cf. Ps.-Arist. Probl. XIX, 10.

^{page 176 note 1} Cf. Aristotle, , Poetics, I, 2Google Scholar.

^{page 176 note 2} Die herculanischen Rollen. Zeitschrift für d.oesterr. Gymn. 1865, X. Heft. C.A. II, 148–58.

^{page 176 note 3} Cf. περ ποιημάтων II, fr. 2 (Hausrath).

^{page 176 note 4} Cf. Adam, J. on Rep. X, 595cGoogle Scholar;Atkins, J. W. H., Literary Criticism in Antiquity, Vol.I, pp. 51–2Google Scholar; S. H. Butcher, Aristotle's Theory of Poetry and Fine Art, ch. II.

^{page 177 note 1} Paus, X, 17; Poll. X, 84.

^{page 177 note 2} ‘Diese wenigen Worte enthalten im Kern den ganzen Unterschied der alten und derneuen Musik.’ Stumpf, C.: Die pseudaristotelischen Probleme über Musik, p. 63 (Abhand. d. Berl. Akad. 1896)Google Scholar.

^{page 177 note 3} Pol. VIII, 1340A. But cf. Plato, , Laws 798DGoogle Scholar.

^{page 177 note 4} Cf. Athen. XIV, p. 625; Th. Reinach, , La Musique Grecque, p. 45Google Scholar.

^{page 178 note 1} This depends, however, on the identification with the Lydian Mode with our Major, which is a matter for doubt.

^{page 178 note 2} Abert, , op. cit. p. 48Google Scholar.

^{page 178 note 3} Aristotle's Theory of Poetry and Fine Art, pp. 131–2.

^{page 178 note 4} The dependence of Philodemus' aesthetics on the Epicurean system as a whole may be illustrated, for instance, by his identification of ʎήθεια and πάντα Compare περ ποιημάτѡν V, col. 5, 29–34, and Sext. Emp. adv. Math. VIII, 9; U. 244. There is an Oxford Papyrus fragment of a work περ αἰσθήσεѡς Philodemus' aesthetics Vol. I, 19 (Scott).

^{page 178 note 5} Col. 3, 12; col. 19, 15; col. 24, 12.

^{page 179 note 1} κα τàς ρμάς … λέγѡν … γνεσθαι … ὑπό τν [μοιω]μτων, γνοεῖ δι [μοιώσ]ɛώς γενομζων ὡς ἒχ[ɛι μλος] ρɛτς τινας γγιω[ομνας]. (It will be seen that it is just the key syllables which are lost here; but in the context the restoration is probable.) Cf. also Book III, fr.27.

^{page 179 note 2} Cf. col. 29, 31, κα[θ' ὃ μν μ]ουσικο ἱλαρ[ωκναι].

^{page 179 note 3} Op. cit. p. 184.

^{page 179 note 4} Cf. Edwards, W. M. in New Chapters on Greek Poetry, Second Series, p. 91 fGoogle Scholar.

^{page 179 note 5} Cf. Abert, H., op. cit. p. 37Google Scholar.

^{page 180 note 1} Non posse suaoiter vivi secundum Epicurum, 13.

^{page 180 note 2} Cf. 1337^B.

^{page 181 note 1} Plutarch, ib. 12.