Synopsis of the Greek Drama Including Biographical Notices ...: With a Dramatic ChronologyW. Tower, 1838 - 62 Seiten |
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Seite 10
... learned art and criticism . The Grecian Mythology , which constitutes the materials of ancient Tragedy , is as foreign to the minds and imaginations of most of the spectators , as its form and mode of representation . But to endeavor to ...
... learned art and criticism . The Grecian Mythology , which constitutes the materials of ancient Tragedy , is as foreign to the minds and imaginations of most of the spectators , as its form and mode of representation . But to endeavor to ...
Seite 12
... learned and onamental style . The comparison with ancient Tragedy is the more apposite here , as we know that both Eschylus and Sophocles produce a Niobe , and that Sophocles was also the author of a Laocoon . In Laocoon , the ...
... learned and onamental style . The comparison with ancient Tragedy is the more apposite here , as we know that both Eschylus and Sophocles produce a Niobe , and that Sophocles was also the author of a Laocoon . In Laocoon , the ...
Seite 22
... learned . The account of Suidas states them to have been 123. But Suidas also gives us the computation of Aristophanes the Grammarian , who states them to have been 130 , seventeen of which he deems spurious . Boeckius rejects both ...
... learned . The account of Suidas states them to have been 123. But Suidas also gives us the computation of Aristophanes the Grammarian , who states them to have been 130 , seventeen of which he deems spurious . Boeckius rejects both ...
Seite 39
... learned it , and combined it with the Doric ; and further , that it was akin to the Ionic mood , which observation illustrates the passage of Athenæus . The reader will bear in mind , that we are all along con- sidering the Chorus of ...
... learned it , and combined it with the Doric ; and further , that it was akin to the Ionic mood , which observation illustrates the passage of Athenæus . The reader will bear in mind , that we are all along con- sidering the Chorus of ...
Seite 51
... learned Godofred Hermann ; whom , for some reason or other , Mr. Porson appears to have consi- ⚫dered rather as a personal enemy than as a literary antagonist . Almost every line of Mr. Porson's Supplement contains an allusion to some ...
... learned Godofred Hermann ; whom , for some reason or other , Mr. Porson appears to have consi- ⚫dered rather as a personal enemy than as a literary antagonist . Almost every line of Mr. Porson's Supplement contains an allusion to some ...
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Häufige Begriffe und Wortgruppen
actors admit Alexis anapests Anaxandrides ancient appears Archon Aristophanes assigned Athenæus Athenians atque Bacchus battle of Salamis cæsura called Callias catalectic character choragus Chorus Comic Poet composed Cratinus critics cultivated dactyl dancing dialects dimeter Dionysia dipodia Doric dramatic English Epic poetry Eschylus etiam Euripides Europe exhibited Tragedy expression fable fame festival fifth foot fourth France French genius Greece Greek and Latin Hecuba heroic honor instances introduced invention Italy language learned Lencan literature manner Menander metaphor metre Middle Comedy modern moral neque observe Old Comedy Olymp opinion original passage person Phrynichus pieces plays Plutus poet poetical poetry Porson Pratinas Preface proper name quæ quod remarks representation respect Roman Satyric Saxon says Sophocles spectators spirit stage style Suidas syllables tetrameter tetrameter iambic Theatre Thespis third tion tongue Tragedians Tragic Poets Tragic senarius tribrach trochaic verse victory words writers
Beliebte Passagen
Seite 30 - Now strike the golden lyre again: A louder yet, and yet a louder strain ! Break his bands of sleep asunder And rouse him like a rattling peal of thunder. Hark, hark ! the horrid sound Has raised up his head : As awaked from the dead, And amazed he stares around. Revenge, revenge...
Seite 35 - Fame is the spur that the clear spirit doth raise (That last infirmity of noble mind) To scorn delights and live laborious days; But the fair guerdon when we hope to find, And think to burst out into sudden blaze, Comes the blind Fury with th' abhorred shears, And slits the thin-spun life. 'But not the praise...
Seite 30 - And unburied remain Inglorious on the plain: Give the vengeance due To the valiant crew! Behold how they toss their torches on high, How they point to the Persian abodes And glittering temples of their hostile gods.
Seite 21 - Now came still evening on, and twilight gray Had in her sober livery all things clad ; Silence accompanied ; for beast and bird, They to their grassy couch, these to their nests Were slunk, all but the wakeful nightingale, She all night long her amorous descant sung...
Seite 35 - But lives and spreads aloft by those pure eyes And perfect witness of all-judging Jove; As he pronounces lastly on each deed, Of so much fame in heaven expect thy meed.
Seite 23 - Persians' grave, I could not deem myself a slave. A king sate on the rocky brow Which looks o'er sea-born Salamis; And ships by thousands lay below, And men in nations; — all were his! He counted them at break of day, And when the sun set, where were they?
Seite 21 - Ave Maria ! blessed be the hour ! The time, the clime, the spot, where I so oft Have felt that moment in its fullest power Sink o'er the earth so beautiful and soft, While swung the deep bell in the distant tower. Or the faint dying day-hymn stole aloft, And not a breath crept through the rosy air, And yet the forest leaves seem'd stirr'd with prayer.
Seite 35 - Alas! what boots it with incessant care To tend the homely slighted shepherd's trade, And strictly meditate the thankless Muse? Were it not better done as others use, To sport with Amaryllis in the shade, Or with the tangles of Neaera's hair?
Seite 21 - tis the hour of prayer ! Ave Maria ! 'tis the hour of love ! Ave Maria ! may our spirits dare Look up to thine and to thy Son's above...
Seite 20 - She gave a heel, and then a lurch to port, And, going down head foremost — sunk, in short.