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pret a comedy of Terence, for example, first let him lecture a bit on the condition and genius of the author, of the elegance of his style. Then how much of pleasure and utility the reading of comedies should hold. Next what the term itself signifies, whence derived, how many kinds there are of comedies, and what are the laws of comedy. Further; let him explain as clearly and briefly as possible the gist of the argument. Let him explain carefully the kind of verse. First let him sketch roughly, then let him explain details more fully. Moreover, if any noteworthy elegance, if any archaism, if any novel usage, if any Graecism, if anything rather dark or rather far fetched, if the order is more difficult or confused than usual, if any etymology, if any derivation or composition worthy of note, if any orthography, if any figure, if any rhetorical devices, if any ornamentation, if anything ill done, let him diligently call attention. Then let him compare similar passages from authors, if anything contrary, if anything like, if anything imitated, if any-thing alluded to, if anything adapted from some one else, or borrowed, as there are many borrowings of the Latins from the Greeks, let him not keep that silent. Finally, let him come to the philosophy and apply the stories of the poets aptly to conduct, or demonstrate as examples, as of Pylades and Orestes for the commendation of friendship, the story of Tantalus for the detestation of avarice. On these, Eustathius, the interpreter of Homer, will aid the teacher not a little. And so it will come to pass (if only the preceptor be of dexterous genius) that even if anything should come along which might injure that age, not only will it not hurt manners, but even bring some utility; that is, their minds in part being diligently bent upon annotation, in part distracted to higher thoughts.
Erasmus then explains at length how to teach Virgil's second bucolic as an illustration of the friendship theme." He first fortifies the minds of his hearers by the thought backed with a dozen or so adages that "like will to like." Then comes an assortment of adages on contraries, followed by numerous examples of friendships that failed, with the reason of failure emphasized in each case. Next is an assortment of friendships that succeeded, with the reason of success each time indicated. After much more of the same kind, the teacher finally interprets this second eclogue of Virgil as an ill-matched friendship between Corydon the countryman and Alexis the courtier, etc., at great length. If this ecologue is properly moralized in this fashion, nothing evil should come into the minds of the boys, unless one of them has brought an already evil mind to the task.
Erasmus next considers a further stage of studying drama.
Speaking generally, it is advisable to introduce every new book read by indicating its chief characteristics, and then setting out its argument. The
as This was not in the first edition; nor was most of the remaining matter. One meets this theme interminably in the sixteenth century; no wonder Shakspere uses it. See Mills, L. J.,
One Soul In Bodies Twain.
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