olon, hosanei psegmata e araiomata,
ta empoiounta megethos te pros allela schesei sunteteichismena+. +to
holon+ here = "omnino." To explain the process of corruption, +ta+ would
easily drop out after the final +-ta+ in +araiomata+; +sunoikonomoumena+
is simply a corruption of +sunoikodomoumena+, which is itself a gloss on
+sunteteichismena+, having afterwards crept into the text; +megethos+
became corrupted into +megethe+ through the error of some copyist, who
wished to make it agree with +empoiounta+. The whole maybe translated:
"Such [interpolations], like so many patches or rents, mar altogether
the effect of those details which, by being built up in an uninterrupted
series [+te pros allela sch. suntet.+], produce sublimity in a work."

XII. 4. 2. +en auto+; the sense seems clearly to require +en hauto+.

XIV. 3. 16. +me ... huperemeron.+ Most of the editors insert +ou+ before
+phthenxaito+, thus ruining the sense of this fine passage. Longinus has
just said that a writer should always work with an eye to posterity. If
(he adds) he thinks of nothing but the taste and judgment of his
contemporaries, he will have no chance of "leaving something so written
that the world will not willingly let it die." A book, then, which is
+tou idiou biou kai chronou huperemeros+, is a book which is in advance
of its own times. Such were the poems of Lucretius, of Milton, of
Wordsworth.[3]

[Footnote 3: Compare the "Gefluegelte Worte" in the Vorspiel to
Goethe's _Faust_:
Was glaenzt, ist fuer den Augenblick geboren,
Das Aechte bleibt der Nachwelt unverloren. ]

XV. 5. 23. +pokoeideis kai amalaktous+, lit. "like raw, undressed wool."

XVII. 1. 25. I construct the infinit. with +hupopton+, though the
ordinary interpretation joins +to dia schematon panourgein+: "proprium
est _verborum lenociniis_ suspicionem movere" (Weiske).

2. 8. +paralephtheisa+. This word has given much trouble; but is it not
simply a continuation of the metaphor implied in +epikouria+?
+paralambanein tina+, in the sense of calling in an ally, is a common
enough use. This would be clearer if we could read +paralephtheisi+. I
have omitted +tou panourgein+ in translating, as it seems to me to have
evidently crept in from above (p. 33, l. 25). +he tou panourgein
techne+, "the art of playing the villain," is surely, in Longinus's own
words, +deinon kai ekphulon+, "a startling novelty" of language.

12. +to photi auto+. The words may re