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When perceiving speech spoken by a single talker versus multiple talkers, listeners show perceptual benefits such as increased accuracy and/or decreased response time. There are several theoretical explanations for this talker adaptation phenomenon; one way to distinguish among these is to test whether adapting to stimulus structure is speech-specific or general to auditory perception. Music, like speech, is a sound class replete with acoustic variation. Here, participants completed a musical task that mirrored talker adaptation paradigms. On each trial, participants heard a tone and reported whether it was the lower (D4, 294 Hz) or higher pitched tone (F#4, 370 Hz). Tones were presented in a single- or mixed-instrument block. We predicted that perceptual benefits from structure in the acoustic signal are not specific to speech but are a general auditory response. Accordingly, we hypothesized participants would respond faster in the single-instrument block, consistent with speech studies that used a similar paradigm. Pitch judgments were faster (and more accurate) in the single instrument block, parallel to results from talker adaptation studies. In agreement with general theoretical approaches to auditory perception, perceptual benefits from signal structure are not limited to speech.

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The original suggestion of this paper was merely the observation of an interesting coincidence. The origin of the romance adverb in the instrumental ablative of mens with an adjective is familiar to every school boy. Laeta mente, Catull. 64. 237, is lietamente; constanti mente, ibid. 210, 239, is constamment. Sagaci mente, Lucretius 1. 1022, is, or rather might be, Italian sagacemente, French sagacement; obstinata mente, Catull. 8. 11, is obstin6ment, ostinatamente; liquida mente, 63. 46, is, or rather might be, liqui(dement, Italian liquidamente; mente maligna, 68. 37, is malignement; perversa mente, Commodian 1. 26. 24, is perversement; fera mente, ibid. 1. 28. 4, is fitrement; profana mente, Apuleius Met. 11. 5. 27, is, or might be, profanement, Italian profanamente; devota mente, Claudian 21. 232, is d6votement; pura mente, ibid. 28. 608, is purement; integra mente, Lactantius 6. 1. 2, is enti?rement. Tacitus Annals 4. 22. 3 has turbata mentte. With memori mente, Lucret. 3. 859, Hor. Sat. 2. 6. 31, Manil. 2. 862, cf. memoriter. Apuleius MIet. 1. 6. 24 has dubia mente, 11. 6. 15 penita mente. Quintus Curtius 8. 3. 7 opposes with invidious antithesis fida mente and the adverb muliebriter. I should not have thought it necessary to cite even these random instances if, after my attention had been called to the matter by the comparative frequency of the idiom in Catullus,' I had not discovered, to my surprise, that neither romance scholars nor students of vulgar Latin have collected the examples in Latin literature of a construction so important for later developments.

Aristotle's Politics is a textbook in the Harvard Law school. The King Edward professor of English at Cambridge University invites his students to devote a term to what our colleges style "the intensive" study of the Poetics. Formal logic can still be learned sufficiently well from the Aristotelian Organon. The Rhetoric would be generally acknowledged to be one of the best extant textbooks of the subject. Mill, Sidgwick, Leslie Stephen, and other modern moralists still quote the Ethics, not merely as a historical document, but for substantive ideas, and valid distinctions. In these domains the experience of the Greeks and his own observation provided sufficient material for Aristotle's schematizing, organizing, and analytic mind, and his results, though modifiable by our wider experience, can never be wholly superseded. In the physical sciences, with the partial exception of descriptive biology (the natural history of animals, etc.), the logical mill ground in vacuo. Aristotle's physical treatises could never, like the Ethics and Poetics, be profitably studied for their content, by large classes of students. The De Caelo, as leading up to the cosmogony of Dante and the Middle Ages, has a certain historic interest. If the De Anima retains all its significance, it is because psychology is not, and never will be, a progressive science, as the chapter on the subject in Professor Thomson's Outline of Science is enough to show. But modern knowledge has so far superseded the Physics, the Generation and Decay, and the Meteorology that their interest, even for the history of science, is but slight, unless we stretch the term to cover metaphysics. Only a student of metaphysics can be edified by the spectacle of so keen and high-soaring an intelligence beating in the void its wings in vain. Ignorant of facts and principles familiar to every modern schoolboy student of "fourteen weeks in science," Aristotle imperturbably deduces from a priori assumptions and the synonyms and idioms of the Greek language a general philosophy of what would now be

The similes of Homer have been exhaustively studied from every point of view except that to be adopted here, the use of them, namely, to illustrate the logical quality of Greek thought even in the earliest literature accessible to us. That too may be thought to be implied in Pope's observation that "secure of the main likeness, Homer makes no scruple to play with the circumstances," and it is forced upon the attention in Matthew Arnold's imitation as Gildersleeve would say that the tricks of Attic style become more apparent in Lucian's pastiche. No one writing upon this subject could fail to note in general terms the essential quality of the Homeric simile.' But in the interpretation of detail misapprehension is still so frequent as to justify the repetition and development of what everybody is supposed to know. I shall aim at brevity and not encumber the argument with many quotations from the voluminous modern literature on the subject, most of which, however, I have turned over if not read. The substance of what I have to say has been given to my classes for thirty years, and much of it is well developed in Professor Arthur Leslie Keith's Chicago dissertation Simile and Metaphor in Greek Poetry from Homer to Aeschylus.2 An apology for repeating it may be found in the fact that it is still customary to speak of the Homeric simile as a rudeness or naivete of primitive art and as exemplifying the concreteness of the early Greek mind, its incapacity for abstractions. The precise contrary is the truth. The Homeric simile is a highly elaborated conventional form employed with consummate conscious art. And so far from being the indication of a defective power of abstraction it distinguishes Homeric poetry in