PREFACE. THE greater part of the following Chapters have already appeared in Dearden's Miscellany. My design in writing them was this: that persons unacquainted with the originals, but lovers of poësy, might be put in possession of some of the principal beauties of these ancient poets of Greece. I have therefore endeavoured to avoid, as much as possible, ground on which none but scholars can tread, and have attempted to invest with general poetic interest those points of classical lore on which I have been compelled to touch. This series is not, nor was it intended to be, complete: a projected chapter on Pindar has been unavoidably delayed, and I would willingly have taken in more of the perfect dramas of Sophocles, and the touching scenes of Euripides. But this may be done hereafter. Meanwhile the publication of the present series may serve as a feeler for the probable success of any future renewal of the plan. I have to offer my thanks to Mr. Lewis, the publisher of the print which forms my frontispiece, for his kind permission to copy the same. WYMESWOLD, Nov. 23, 1840, DESCRIPTION OF THE FRONTISPIECE. THIS print of the sacrifice of Iphigeneia is copied from an ancient picture found at Pompeii. The attendants are in the act of carrying the virgin to the altar; her body is bared for the slaughter: Agamemnon, her father, stands on the left, with his face concealed in his robe: Calchas, the minister of death, holds the fatal knife ready for the sacrifice. Above in the clouds, appears the goddess Artemis, with the hind which, according to the legend, was substituted for the royal virgin. The reader will observe a remarkable omission in the picture; the feet of Iphigeneia not being represented. But the ancients frequently omitted parts of their objects which were not needful to the immediate subject: and the main effect being produced by the figure of the body of Iphige. neia, they would not be solicitous about completing it. ANALYTICAL TABLE OF CONTENTS. CHAPTER I.-OF POETRY IN GENERAL. SUBJECT PROPOSED-Objections to Poetry-Answered-Poetry de- fined-Poetry as an Art-Art Exemplified-Poetry distinct from Sculpture and Painting-Truth in Art, what-Poetry the highest of Arts-Versification proper and essential to Poetry—Rhyme— KINDS OF POETRY-1. HEROIC or EPIC-Quasi Epic-2. Dramatic -Tragedy-Comedy-Melodrame. Pastoral Poetry. 3. LYRICAL. Announcement of the particular subject of the present volume, CHAPTER II.-HOMER. THE ILIAD. Origin of Homer-Opinions concerning him-Date of his poems. The Iliad-Supposed Subject. The Odyssey. Not to be con- sidered as wholes. THE TALE OF TROY, pp. 17-20. Analysis of, and translation of passages from, the Iliad ;-excellence CHAPTER III.-HOMER. THE ODYSSEY. Points of difference from the Iliad-Opening of the action. Analysis of, and translation of passages from, the Odyssey, Book I—IX, CHAPTER IV.-THE ODYSSEY-CONTINUED. CHAPTER VI.-THE GRECIAN DRAMA-ÆSCHYLUS. The Grecian character. The Grecian Drama-its origin and arrange- CHAPTER VII.—the orestéa OF ÆSCHYLUS. Sequel of the tale of Troy. Subject of the Orestéa. Names of the 2. THE CHOËPHORI-the arrival of Orestes-the recognition-the concerting of the plot-the vengeance-analysis, with translations of the latter part of the play. 3, THE EUMENIDES, OR FURIES. Trial and acquittal of Orestes- Political bearing of this play, CHAPTER IX.-THE EDIPUS OF SOPHOCLES. Eschylus and Sophocles compared. Plays of Sophocles. Section I. EDIPUS THE KING. The tale of Œdipus. Opening of the play. The pestilence-the oracle-the denunciation-the prophetic disclosures-Disclosure the first-rays of hope-Disclosure the second-blindness, mental-Disclosure the third and last-blind- Section II. EDIPUS AT COLONOS. Opening of the play-Analysis, Comparison of Euripides with Eschylus and Sophocles. Transla- |