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For this relationship to be clear it will be necessary to review classical literary criticism and to trace its development in post-classical times and in the middle ages as well as in the Italian renaissance. Only by such an approach will it be possible to show in what form classical theory was transmitted to the English renaissance.

We have now acquired an increased knowledge of the character of the Greek of the New Testament, and of the place it holds in the historical transition of the language from the earlier post-classical to the later developments of the language, but this knowledge, interesting and instructive as it may be, leaves the principles of correctly translating it practically intact.

The consequences of the crusades are the best proof of the enormous superiority of the Muhammedan world, a fact which is daily becoming more obvious. Here we are concerned only with the influence exerted by Muhammedan philosophy. It would be more correct to speak of post-classical than of Muhammedan philosophy.

In fact "Nature" and "Grace," as handled by the scholastics, are nothing more nor less than two hostile Divinities in the Pantheon of post-classical polytheism. What is the secret of the profound interest which "Darwinism" has excited in the minds and hearts of more persons than dare to confess their doubts and hopes? It is because it restores "Nature" to its place as a true divine manifestation.

Hence the untrained modern student feels much more at home in a collection of Hellenistic sculpture than in the presence of the severer, sublimer creations of the age of Phidias. It is by no means meant to pass a sweeping condemnation upon the productions of the post-classical period. Realistic portraiture was now practiced with great frequency and high success.

The same period has been signalized by the great post-classical development in music, as illustrated by the works of Schumann, Brahms, and, above all, by the towering fame of Richard Wagner.

The audience is moved to action by the appeal to their feelings. Not until the renaissance did writers on the theory of poetry carry over Cicero's threefold aim of the orator and make it apply to the poet. But already in post-classical times rhetoric had, as Seneca the father clearly shows, vitiated the Latin poetry of the Silver Age.

On the one hand the earlier post-classical treatises composed by Martianus Capella, Cassiodorus, and Isidore, all inhabitants of the Mediterranean basin, are fairly close to the classical tradition of Quintilian. Their weakness consists not in that they restricted rhetoric to style, but in that their whole treatment of rhetorical theory was compact, arid, and schematic.

This rhetorical terminology was derived from three sources: directly to some extent from the classical rhetorics themselves; indirectly through the influence of classical rhetoric upon the terminology of the Italian critics of poetry; and indirectly, to a considerable extent, through the mediæval modifications of classical and post-classical rhetoric. The Distinction between Rhetoric and Poetic

What we have now to do is to ascertain the nature and amount of the disclosures and new knowledge to which I have alluded. This may be briefly stated as emanating from a very large amount of recent literature on post-classical Greek, and from a careful and scientific investigation of the transition from the earlier post-classical to the later, and thence to the modern Greek of the present time.