By Feuereisen Arnold
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56 XXXII Introduction classical antiquity, the direct ancestor of our own, can hardly suffer a complete neglect. Scholars cannot give up the noble conception of the study of the ancient world as a whole. They must guard perpetually against the danger of dryness, both the dryness that comes from an excessive concentration on technique and the dryness that comes from the adoption of too narrowly historical a standpoint. They do not maintain that the classics offer an ideal pattern for imitation. Nor indeed can the classicists of the Renaissance or the age of Goethe justly be reproached with this; the idea of imitation of an ideal pattern hardly suffices to explain the relation of a Michelangelo or of a Goethe to the ancient artists from whom they drew inspiration.
2 2 Tryphon : Sandys i, 1 42f. 23 Herodian: Sandys i 3 1 4. The first nineteen books of his 'general prosody' dealt with accentuation in general, the twentieth with quantities and breathings and the last with enclitics, etc. See below, p. I 44. D. ) : Sandys i 323; see Chadwick, 18 6 History of Classical Scholarship and so the old system ground on, becoming more and more uninspired, as is amply proved by the writings of Georgius Choeroboscus,25 the most influential teacher of the sixth century.
645) ; Boniface (c. 67 5-754) ; see SSZ 77f. 1 4 Charlemagne was crowned at Aachen in 800, see SS2 80( 7 \ Alcuin (c. ; P. Godman's edition of his poems (forthcoming) . History of Classical Scholarship 17 manuscripts have survived, and where we only possess later copies these can usually be traced to a Carolingian archetype and a Frankish monastery. ' In discussing the Rule of St Benedict Ludwig Traube76 has given a classic demonstration of how, in its struggle with lazy adherence to the textus receptus on the one hand and would-be elegant modernisation on the other, the conscious effort to get back to the authentic text finally lost the day.