ὅπως δίφροντις οὖσα μὴ 'κινυσσόμην,
ἀλλ' εὖ σάφ ̓ ἦν ἢ τόνδ' ἀποπτύσαι πλόκον,
εἴπερ γ ̓ ἀπ' ἐχθροῦ κρατὸς ἦν τετμημένος,
ἢ ξυγγενὴς ὢν εἶχε συμπενθεῖν ἐμοὶ,
ἄγαλμα τύμβου τοῦδε καὶ τιμὴν πατρός.

4. Translate and annotate :

(a)

τῷ δ ̓ ἐναντίῳ κύτει ἐλπὶς προσῄει χειρὸς οὐ πληρουμένῳ. (6) ἐπὶ δὲ καρδίαν ἔδραμε κροκοβαφὴς σταγὼν, ἅτε καὶ δορὶ πτωσίμος ξυνανύτει βίου δύντος αὐγαῖς.

(ε) ἰὼ βρότεια πράγματ ̓· εὐτυχοῦντα μὲν
σκιᾷ τις ἂν πρέψειεν· εἰ δὲ δυστυχοῖ,

βολαῖς ὑγρώσσων σπόγγος ὤλεσεν γραφήν.
καὶ ταῦτ ̓ ἐκείνων μᾶλλον οἰκτίρω πολύ.

(α) βιάζεται δ' ὁμοσπόροις ἐπιρροαῖσιν αἱμάτων
μέλας "Αρης, ὅποι [δὲ καὶ προβαίνων
πάχνα κουροβόρῳ παρέξει.

(ε) πέμπει τ' ἔπειτα τάσδε κηδείους χοὰς,
ἄκος τομαῖον ἐλπίσασα πημάτων.

(1) νῦν δ', ἤπερ ἦν δόμοισι βακχείας ἄλης ἰατρὸς ἐλπὶς †ἦν, παροῦσαν ἐγγράφει.

(9) φόνου δὲ κηκὶς ξὺν χρόνῳ ξυμβάλλεται, πολλὰς βαφὰς φθείρουσα τοῦ ποικίλματος.

(h) ἀοίνοις ἐμμανεῖς θυμώμασιν.

5. (α) Explain briefly the ethical significance of the conception of the Eumenides. How has the non-occurrence of the name in Aeschylus been accounted for?

6. Translate:

(α) κἂν μὴ τούτοις ἀναπειθώμεσθα, τὰ παιδάρι ̓ εὐθὺς ἀνέλκει,
τὰς θηλείας, καὶ τοὺς υἱεῖς, τῆς χειρός· ἐγὼ δ ̓ ἀκροῶμαι·
τὰ δὲ συγκύπτονθ ̓ ἅμα βληχᾶται· κἄπειθ' ὁ πατὴρ ὑπὲρ
αὐτῶν,

ὥσπερ θεόν, ἀντιβολεῖ με, τρέμων, τῆς εὐθύνης ἀπολῦσαι·
εἰ μὲν χαίρεις ἀρνὸς φωνῇ, παιδὸς φωνὴν ἐλεήσαις —
εἰ δ ̓ αὖ τοῖς χοιριδίοις χαίρω, θυγατρὸς φωνῇ με πιθέσθαι.
χ' ἡμεῖς αὐτῷ τότε τῆς ὀργῆς ὀλίγον τὸν κόλλοπ ̓ ἀνεῖμεν.
ἆρ ̓ οὐ μεγάλη τοῦτ ̓ ἔστ ̓ ἀρχή, καὶ τοῦ πλούτου καταχήνη;

(6) ΗΜ. οὗτος σύ, ποῖ θεῖς, οὐ μενεῖς; ὡς, εἰ θενεῖς
τὸν ἄνδρα τοῦτον, αὐτὸς ἀρθήσει τάχα.

ἰὼ Λάμαχ ̓, ὦ βλέπων ἀστραπάς,
βοήθησον, ὦ γοργολόφα, φανείς,
ἰὼ Λάμαχ ̓, ὦ φίλ ̓, ὦ φυλέτα,
εἴτε τις ἔστι ταξίαρχός τις ἢ
τειχομάχας ἀνήρ, βοηθησάτω

τις ἀνύσας. ἐγὼ γὰρ ἔχομαι μέσος.
ΛΑ. πόθεν βοῆς ἤκουσα πολεμιστηρίας;

ποῖ χρὴ βοηθεῖν; ποῖ κυδοιμὸν ἐμβαλεῖν;

τίς Γοργόν' ἐξήγειρεν ἐκ τοῦ σάγματος;

ΗΜ. ὦ Λάμαχ ̓ ἦρως, τῶν λόφων καὶ τῶν λόχων. And with notes:

(ε) οἱ δὲ ξύμμαχοι, ὡς ᾔσθοντό γε τὸν μὲν σύρφακα τὸν ἄλλον ἐκ κηθαρίου λαγαρυζόμενον, καὶ τραγαλίζοντα τὸ μηδέν, σὲ μὲν ἡγοῦνται Κόννου ψῆφον· τούτοισι δὲ δωροφοροῦσιν ὕρχας, οἶνον, δάπιδας, τυρόν, μέλι, σήσαμα, προσκεφάλαια, φιάλας, χλανίδας, στεφάνους, ὅρμους, ἐκπώματα, πλουθυγίειαν.

(α)

καὶ σὺ δή μοι, Χαιρεφών,

γυναικὶ κλητεύειν ἔοικας θαψίνῃ,
Ινοῖ κρεμαμένῃ πρὸς ποδῶν Εὐριπίδου.

Discuss the reference here.

ποδαπὰ τὰ χοιρί; ὡς Τραγασαΐα Φαίνεται.

ἰσχυρόν ἐστιν, ὦ ̓γάθ ̓, ὥστ ̓

οὐκ ἂν καταγείη ποτ', εἴπερ ἐκ ποδῶν

κατωκάρα κρέματο.

Is there a difficulty about the reading καταγείη ?

7. (α) What do you know of the collaboration of Aristophanes with other writers?

(6) How do comic differ from tragic trimeters and tetrameters?

II.-MODERN LITERATURE.

ENGLISH.

FIRST PAPER.

PROFESSOR SAVAGE-ARMSTRONG.

1. Turn the following passage into Modern English :'And on hiera dagum, Hengest and Horsa, fram Wyrtgeorne gelaþode, Bretta cyninge, gesohton Bretene on þæm stede pe is genemned Ypwines-fleot, ærest Brettum to fultume, ac hie eft on hie fuhton.

'Se cyning het hie feohtan ongean Peohtas; and hie swa dydon, and sige hæfdon swa hwær swa hie comon.

Hie pa sendon to Angle, and heton him sendan maran fultum; and heton him secgan Bret-weala nahtnesse and þæs landes cysta.'

2. (a) Parse the following words :-gelaþode, pæm, feohtan, landes.

(b) Write a note on the uses of the genitive in AngloSaxon.

3. Write historical notes on thither, thence, yea, yes, yet.

4. Account for the diminution in the number of works in French and Latin in England during the fourteenth century.

5. Write a brief account of Barbour, James I. of Scotland, and Maundeville, and of their works.

6. Trace and discuss the influence of Scott upon the literature of the first half of the nineteenth century.

7. Give some account of Hazlitt and of Keats.

SECOND PAPER.

MR. TRENCH.

1. Examine Chaucer's method of character-drawing. Write notes on-(a) moot, v., (b) ther as, (c) mester, (d) our aller cost, (e) floytinge, (f) in his daunger.

2. Consider the character of Malvolio.

3. Queen Margaret is in reality the central figure in Richard III.' Discuss this.

4. Describe briefly the sources which Shakespeare drew from for King Lear. Discuss the value of the underplot in this play.

5. Consider Bacon's attitude towards Poetry, as seen in The Advancement of Learning, II.

6. State, and illustrate by references, the chief characteristics either of the style of Burke or of that of Thackeray.

7. Compare Cowper's diction and versification, as exemplified in The Task, with those of other masters of blank

verse.

THIRD PAPER.

PROFESSOR BACON.

1. Describe the spectacle of

'Glory beyond all glory ever seen,'

which the Solitary beheld upon the mountains. Explain its significance.

2. What does Coleridge consider to be the characteristic defects of Wordsworth's poetry?

To what extent are these defects visible in the Excursion?

3. Discuss Goethe's criticism of Byron's personality and powers of thought as displayed in his poetry, and state your own view.

6

4. How does Coleridge deal with the question, What should the drama be '?

ESSAY.

5. Write an Essay on either of the following subjects :-

(a) Chaucer.

(b) The Influence of the French Revolution on English Literature.

FRENCH.

FIRST PAPER.

PROFESSOR BUTLER; PROFESSOR CADIC.

Écrivez, en français, une composition sur un des sujets

suivants:

1. Les savants et érudits du seizième siècle.

2. Les chefs-d'œuvre et les traits distinctifs du dixhuitième siècle littéraire.

3. Abus de l'argent.

SECOND PAPER.

PROFESSOR CADIC.

I.-COMPOSITION.

1. Traduisez en français :

THE CATASTROPHE.

The distinction between the novel and the drama is usually very visible in the Catastrophe. The stage effect of bringing up all the characters together in the closing chapter, to be married or stabbed, as the thing may require, is to a fine taste eminently displeasing in a novel. It introduces into the very place where we most desire verisimilitude, a clap-trap and theatrical effect. For it must be always remembered, that in prose fiction we require more of the Real than we do in the drama (which

У