Pirous and Acamas, of the Thracians. None of these heroes again make their appearance, and we can but agree with Colonel Mure, that "it seems strange that any number of independent poets should have so harmoniously dispensed with the services of all six in the sequel." The discrepancy, by which Pylaemenes, who is represented as dead in the fifth book, weeps at his son's funeral in the thirteenth, can only be regarded as the result of an interpolation. Grote, although not very distinct in stating his own opinions on the subject, has done much to clearly show the incongruity of the Wolfian theory, and of Lachmann's modifications with the character of Peisistratus. But he has also shown, and we think with equal success, that the two questions relative to the primitive unity of these poems, or, supposing that impossible, the unison of these parts by Peisistratus, and not before his time, are essentially distinct. In short, "a man may believe the Iliad to have been put together out of pre-existing songs, without recognising the age of Peisistratus as the period of its first compilation." The friends or literary _employes_ of Peisistratus must have found an Iliad that was already ancient, and the silence of the Alexandrine critics respecting the Peisistratic "recension," goes far to prove, that, among the numerous manuscripts they examined, this was either wanting, or thought unworthy of attention. "Moreover," he continues, "the whole tenor of the poems themselves confirms what is here remarked. There is nothing, either in the Iliad or Odyssey, which savours of modernism, applying that term to the age of Peisistratus--nothing which brings to our view the alterations brought about by two centuries, in the Greek language, the coined money, the habits of writing and reading, the despotisms and republican governments, the close military array, the improved construction of ships, the Amphiktyonic convocations, the mutual frequentation of religious festivals, the Oriental an