ON NOT KNOWING GREEK
space, as a small room is enlarged by mirrors in odd corners. By the bold and running use of metaphor he will amplify and give us, not the thing itself, but the reverberation and reflection which, taken into his mind, the thing has made; close enough to the original to illustrate it, remote enough to heighten, enlarge, and make splendid.
For none of these dramatists had the license which belongs to the novelist, and, in some degree, to all writers of printed books, of modelling their meaning with an infinity of slight touches which can only be properly applied by reading quietly, carefully, and sometimes two or three times over. Every sentence had to explode on striking the ear, however slowly and beautifully the words might then descend, and however enigmatic might their final purport be. No splendour or richness of metaphor could have saved the Agamemnon if either images or allusions of the subtlest or most decorative had got between us and the naked cry
ὀτοτοτοῖ πόποι δᾶ. ὤ ᾽πολλον, ὤ ᾽πολλον.
Dramatic they had to be at whatever cost.
But winter fell on these villages, darkness and extreme cold descended on the hill-side. There must have been some place indoors where men could retire, both in the depths of winter and in the summer heats, where they could sit and drink, where they could lie stretched at their ease, where they could talk. It is Plato, of course, who reveals the life indoors, and de-
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