The history of Carlyle's American reputation has now been traced from the earliest recognition, when he was hailed by a few New Englanders as a prophet, through a period of great popularity and influence and a later period during which the prevailing note was one of condemnation, though relieved by indulgent defense, to the death of the great man, when attempts were made to evaluate his work. It was too early to do this, however, for his Reminiscences, and the several volumes of his letters were yet to appear; and Froude's Life in its two parts offered new opportunities to appraise Carlyle. It must suffice here to say that in these days, critical as they were for the memory of the sage, he found defenders as well as detractors; and that, in general, American regard for him never again reached as low an ebb as it had in the 'sixties. In more recent years, the reading of his works in schools and colleges, while not always conducive to the best appreciation, has at least kept Carlyle in the minds of Americans; and it seems to be admitted that to-day, a hundred years after the publication of his first book, he is more generally read here than in the country where that book was printed.111 It could scarcely be disputed, and there is rarely any disposition to dispute, that he has left a profound and lasting impression on the American mind. Christian Life," Methodist Quarterly Review, Vol. XXXVIII, p. 553 (4th ser. Vol. VIII); ibid, Vol. XXXI, (4th ser. Vol. I) p. 119, March-April, 1849; Monthly Religious Magazine, Vol. XXXI, p. 127, February, 1864. In the last article Carlyle is called "the biggest wen on the nineteenth century." 111 Literary Review of the New York Evening Post, Oct. 28, 1923, p. 10; also editorial in New York Times, Oct. 29, 1923. AN EARLY REFERENCE TO ANTON GRAFF'S PORTRAIT OF LESSING By EDWIN H. ZEYDEL The following reference to Anton Graff, the distinguished Swiss portrait painter of the eighteenth century, and to his well-known painting of Lessing has, so far as I have been able to determine, never been noticed by writers on Lessing. It is found in the memoirs of the French grammarian and writer Dieudonné Thiébault,', who in 1765 became a member of the Prussian Académie Royale des Sciences et Belles-Lettres and lived in Berlin from 1765 to 1785. The passage in question reads: "M. Sulzer avait épousé une femme de Magdebourg, qui était morte jeune, et dont on m'a dit beaucoup de bien: elle a laissé deux filles, dont l'aînée a épousé M. Graff, peintre estimé de Dresde1; la seconde s'est inariée à Chevalier fils, vernisseur à Berlin; celle-ci n'a pas été heureuse: elle méritait néanmoins de l'être. Elle est morte depuis plusieurs années; l'aînée vit encore. "Je citerai une anecdote qui prouve combien M. Graff était bon peintre. J'allai un jour causer avec M. Sulzer, dont l'appartement était contigu au mien: je le trouvai regardant, avec M. Béguelin,” un portrait qui venait d'être achevé. Ce tableau me frappa: mes yeux s'y reportaient, malgré moi. Voilà, me dit M. Béguelin, un 1 Dieudonné Thiébault, Souvenirs de Vingt Ans de Séjour à Berlin. Avec Avant-Propos et Notes par M. Fs. Barrière. 2 vols., Paris, 1891. (Vols. 23 and 24 of Barrière's Bibliothèque des Mémoires relatifs à l'Histoire de France pendant le 18° Siècle). The work first appeared in 1805, having been written after Thiébault's return to France. 2 Op. cit., vol. II, pp. 274-275. 3 The allusion is to Johann Georg Sulzer (1720-1779), the Swiss esthetician and author of the Allgemeine Theorie der schönen Künste (1771-1774), who spent most of his life in Berlin as a teacher and a member of the Berlin Academy. 4 Anton Graff was born November 18, 1736, in Winterthur, Switzerland. He died on June 22, 1813, in Dresden as Saxon court painter. Nineteen portraits are credited to him. Cf. Vogel, Anton Graff. Bildnisse von Zeitgenossen des Meisters, Leipzig, 1898; Waser, Anton Graff von Winterthur, Bildnisse des Meisters, Winterthur, 1903. 5 Nicolas de Béguelin (1714-1789), a Swiss physicist and man of letters, was, like Sulzer, a prominent member of the Berlin Academy. morceau de peinture qui parait vous occuper beaucoup: dites-nous ce que vous en pensez.-Je parie, lui dis-je, que ce n'est pas un portrait de fantaisie, et que, de plus, il est très-ressemblant.—Et sur quoi en jugez-vous ainsi ?-Sur ce qu'il me semble y découvrir la vérité de la nature plutôt que les compartiments ou les caprices de l'art.-En ce cas, dites-nous l'idée que ce portrait vous donne de l'original.-L'original doit être un homme de beaucoup d'esprit vif et ardent; son caractère participe à ces mêmes qualités et a de plus une fermeté remarquable et une gaieté très-naturelle. Il est bon enfant, ami des plaisirs, et loyal; quoique d'une part il y ait du danger à heurter ses opinions ou ses préjugés.-Vous connaissez donc l'original de ce portrait ?—Non; je ne l'ai jamais vu.-Eh bien, vous venez de le dépeindre comme si vous aviez passé votre vie avec lui: c'est le portrait de M. Lessing, que M. Graff vient de faire.-C'est, dis-je, un compliment pour M. Graff, car je ne connais pas M. Lessing.” An etching by Bause of this portrait, entitled Lessing im 42. Lebonsjahre (i.e., 1770), is found in Könnecke, Deutscher Literaturatlas, Marburg, 1909, p. 70. Cf. a reference to this etching in Braun, Lessing im Urtheile seiner Zeitgenossen, I, p. 414. The practise of reading character from portraits and silhouettes was, of course, very popular at the time. Cf. Lavater's Physiognomik (1775-1778). Lessing had been made only a non-resident member of the Berlin Academy in 1760, but his election even to this rank met with the distinct disapproval of Frederick the Great. See Adolf Harnack, Geschichte der Königlich Preussischen Akademie der Wissenschaften zu Berlin, 3 vols. in 4, Berlin, 1900, vol. I, pp. 350-351. NON-RECURRENCE IN VOCABULARY AS A TEST OF AUTHORSHIP By R. B. STEELE In a paper read before the American Philological Association in 1922, Professor Fairclough presented an analysis of the poems in the Vergilian Appendix showing that in each of them there is a substantial non-Vergilian element. In addition to this it was pointed out that some of the words not used by Vergil occur freely in Ovid, and on the basis of these facts judgment was rendered against Vergil as the author of the poems. Inasmuch as the results obtained have met with commendation in different quarters,1 it has seemed not inappropriate to examine the principles involved in their application to works whose authorship is known. The Culex shows a non-Vergilian element of 21.25 words in a hundred lines. This fact is clear. What is its bearing on the question of authorship? Before answering the question specifically it will not be out of place to state a few principles affecting the style of Roman authors. Among the Romans there were certain pervasive, well marked tendencies shown by writers in dealing with the works of others, as well as with their own. Both writers of prose and poets sought a show of originality where originality of subject-matter was out of the question, and "variational quotation" is the mark of the compiling historian. This is well illustrated by the form into which Justinus put the words of Caesar and of Livy, and still later by the putting of the words of Justinus by Orosius. Although Ennius is the Father of Latin poetry, the works of Vergil were the great mine which later epic poets assiduously worked, and from Lucan to Silius Italicus the poets retouched his scenes, 1 R. G. Kent, T.A.P.A. LIV, 82: "Professor Fairclough examines the various poems with the vocabulary as a criterion, and does it in such a way that it would be difficult to take exception either to his method or his conclusions.'' Robert S. Radford, T.A.P.A. LIV, 160: "Professor Fairclough has ended by showing in the most convincing manner that the language of the Appendix is Ovidian and not Vergilian." In note 2 he speaks of the "superlative excellence" of the article. re-aligned his figures, and transformed his words. It was imitation with variations, and with even more skill than is shown by the modern student who translates with his pony before him, giving synonyms and equivalents in almost unending variations. The method is the same even when an author is dealing with his own words. In many a passage Cicero has ut supra dixi or a similar expression, but he does not always repeat verbatim, evidently seeking logical equivalence rather than verbal identity. A few illustrations will suffice. We find in De Officis, II, 10, 36: nullus labor, nulla industria, nulla cura, ut dixi, and this is for nihil virtutis, nihil animi, nihil nervorum; De Natura Deorum I, 17, 44: hanc nos habere sive anticipationem, ut ante dixi, sive praenotionem deorum. . . ut Epicurus ipse лoóλnyv appellavit, quam antea nemo eo verbo nominarat, for which the preceding section has anticipationem deorum, quam appellat лóλnyv Epicurus, id est anteceptam animo rei quandam informationem; Tusc. Disp. V, 28, 80: extra fores. . . limenque carceris for extra ostium limenque carceris. And from De Amicitia, in 5 optime for praeclare, and in 77 communibus for vulgares. He also varies without formal recognition. He gives us in two passages the story of Dionysius and his tonsorial experiences; De Off. II, 7, 25: cultros metuens tonsorios candente carbone sibi adurebat capillum; and Tusc. Disp. V, 20, 58: tondere suas filias docuit. Ita sordido ancillarique artificio regiae virgines, ut tonstriculae, tondebant barbam et capillum patris, the two passages containing eight words not used elsewhere in his philosophical works. In poetical works any indications of similar preceding tones would be out of order. Vergil was bold enough to repeat 95 passages, though he at times skilfully varies. For similar indications of this, in its most marked form, we may well take the Odes of Horace. Maecenas is the greatest figure. He enters in the first lines: O et praesidium et dulce decus meum, but in II, 17, 4 he is Grande decus columenque rerum. In the well-known passage I, 9, 9 ff. Horace pictures Castor and Pollux flashing forth on the troubled waters, and in I, 12, 27 he gives the same picture in entirely different words. The power of Fortune in I, 34, 12 is the same as in I, 35, 1, but verbally how |