Rome in
imperial days (cf. _panem et circenses_) the theory of meat and drink
largesses being the best would hold.

C2.4, fin. The last remark is so silly (?) I am almost disposed to
follow Lincke and admit interpolation. Yet on the whole I think it is
the voice of the old man explaining in his Vicar-of-Wakefield style,
to his admiring auditors, wife, children, and grandsons, I fancy, and
slaves, the _raison d'etre_ of Persian dinner-largesse customs.

C2.6. Qy.: What was Xenophon's manner of composing? The style here
is loose, like that of a man talking. Perhaps he lectured and the
amanuensis took down what he said.

C2.8. Ineptitudes. One does somewhat sniff an editor here, I think, but
I am not sure. There's a similar touch of ineptitude (senility, perhaps)
in the _Memorabilia_, _ad fin_. On the other hand I can imagine Xenophon
purring over this side of Orientalism quite naturally.

C2.12. This slipshod style, how accounted for? The most puzzling thing
of all is the sort of mental confusion between Cyrus and the king in
general.

C2.15-16. Thoroughly Xenophontine and Ruskinian and eternal.

C2.24. Here is the germ of benefit societies and clubs and insurances
and hospitals. Xenophon probably learns it all from Ctesias, and others
of the sort. Cyrus provides doctors and instruments and medicines and
diet, in fact, all the requisites of a hospital, in his palace. Nor does
he forget to be grateful to the doctors who cured the sick. [Ctesias,
the Greek physician to the Persian king. See _Anabasis_, I. viii. Works,
Vol. I. p. 108.]

C2.26 ff. Xenophon's Machiavellianism. Does it work?

C2.17-28. It seems to me that all this is too elaborate for an
interpolator: it smacks of Xenophon in his arm-chair, theorising and
half-dreaming over his political philosophy.

C3.2. Prototype, a procession to Eleusis or elsewhere: the Panathenaic,
possibly. Xenophon's sumptuous taste and love of bright colours.

C3.3, fin., C3.4. What a curious prototypic sound! Truly this is the
very _modus_ of the evangelist's type of sentence. His narrative must
run in this mould.

C3.4, fin. This is the old Cyrus. It comes in touchingly here, this
refrain of the old song, now an echo of the old life.

C3.14. Xenophon delights somewhat in this sort of scene. It is a
turning-point, a veritable moral peripety, though the decisive step was
taken long ago. What is Xenophon's intention with regard to it? Has he
any _parti pris_, for or agai