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 of its parts. Thus when we quote and extract we do the Greeks more damage than we do the English. There is a bareness and abruptness in their literature which grates upon a taste accustomed to the intricacy and finish of printed books. We have to stretch our minds to grasp a whole devoid of the prettiness of detail or the emphasis of eloquence. Accustomed to look directly and largely rather than minutely and aslant, it was safe for them to step into the thick of emotions which blind and bewilder an age like our own. In the vast catastrophe of the European war our emotions had to be broken up for us, and put at an angle from us, before we could allow ourselves to feel them in poetry or fiction. The only poets who spoke to the purpose spoke in the sidelong, satiric manner of Wilfrid Owen and Siegfried Sassoon. It was not possible for them to be direct without being clumsy; or to speak simply of emotion without being sentimental. But the Greeks could say, as if for the first time, “Yet being dead they have not died”. They could say, “If to die nobly is the chief part of excellence, to us out of all men Fortune gave this lot; for hastening to set a crown of freedom on Greece we lie possessed of praise that grows not old”. They could march straight up, with their eyes open; and thus fearlessly approached, emotions stand still and suffer themselves to be looked at.

But again (the question comes back and back), Are we reading Greek as it was written when we say this? When we read these few words cut on a tombstone, a