# History of the Literature of Ancient Greece (Müller) 2ed

From the Preface: "The following History of Greek Literature has been composed by Professor K. O. Müller of Gottingen, at the suggestion of the Society for the Diffusion of Useful Knowledge, and for its exclusive use. The work has been written in German, and has been translated under the superintendence of the Society, but the German text has never been published, so that the present translation appears as an original work."
This is the corrected second edition of 1847. The first English edition was published in 1840 as two volumes. The German edition was not published until the following year, 1841, as Geschichte der griechischen Litteratur.
Layout 2
LIBRARY OF USEFUL KNOWLEDGE.
HISTORY
OF THE
LITERATURE OF ANCIENT GREECE,
TO THE
PERIOD OF ISOCRATES.
TRANSLATED FROM THE GERMAN MS. OF
K. O. MÜLLER, PROFESSOR IN THE UNIVERSITY OF GOTTINGEN,
By GEORGE CORNWALL LEWIS, Esq.
NEW EDITION, CORRECTED.
PUBLISHED UNDER THE SUPERINTENDENCE OF THE SOCIETY FOR THE DIFFUSION OF USEFUL KNOWLEDGE.
LONDON:—ROBERT BALDWIN, 47, PATERNOSTER ROW.
1847.
LONDON: GEORGE WOODFALL AND SON, ANGEL COURT, SKINNER STREET.
THE TRANSLATOR'S PREFACE.
The following History of Greek Literature has been composed by Professor K. O. Müller of Gottingen, at the suggestion of the Society for the Diffusion of Useful Knowledge, and for its exclusive use. The work has been written in German, and has been translated under the superintendence of the Society, but the German text has never been published, so that the present translation appears as an original work.
Before the publication of the present work, no history of Greek Literature had been published in the English language. The Society thought that, since the Greek Literature is the source from which the literature of the civilized world almost exclusively derives its origin; and since it still contains the finest productions of the human mind in poetry, history, oratory, and philosophy; a history of Greek Literature would be properly introduced into the series of works published under their superintendence. The present work is intended to be within the compass of the general reader; but at the same time to be useful to scholars, and particularly to persons commencing or pursuing the study of the Greek authors. Agreeably with this view, the ​chief original authorities for the statements in the text are mentioned in the notes: but few references have been given to the works of modern critics, either foreign or native.
The translation has been executed in correspondence with the author, who has read and approved of the larger part of it.
CONTENTS.
PAGE :
| Introduction—Subject and Purposes of the Work | Introduction—Subject and Purposes of the Work | Introduction—Subject and Purposes of the Work | 1 |
| FIRST PERIOD OF GREEK LITERATURE. ||||
| CHAPTER I. ||||
| THE RACES AND LANGUAGE OF THE GREEKS. ||||
| § | 1. | General account of the languages of the Indo-Teutonic family | 3 |
| § | 2. | Origin and formation of the Indo-Teutonic languages—multiplicity of their grammatical forms | 4 |
| § | 3. | Characteristics of the Greek language, as compared with the other languages of the Indo-Teutonic family | 6 |
| § | 4. | Variety of forms, inflexions, and dialects in the Greek language | 7 |
| § | 5. | The tribes of Greece, and their several dialects—characteristics of each dialect | 8 |
| CHAPTER II. ||||
| THE RELIGION OF THE GREEKS. ||||
| § | 1. | The earliest form of the Greek religion not portrayed in the Homeric poems | 11 |
| § | 2. | The Olympic deities, as described by Homer | 12 |
| § | 3. | Earlier form of worship in Greece directed to the outward objects of Nature | ib. |
| § | 4. | Character and attributes of the several Greek deities, as personifications of the powers and objects of Nature | 13 |
| § | 5. | Subsequent modification of these ideas, as displayed in the Homeric description of the same deities | 15 |
| CHAPTER III. ||||
| EARLIEST POPULAR SONGS. ||||
| § | 1. | First efforts of Greek poetry. Plaintive songs of husbandmen | 16 |
| § | 2. | Description of several of these songs, viz. the Linus | 17 |
| § | 3. | The Ialemus, the Scephrus, the Lityerses, the Bormus, the Maneros, and the laments for Hylas and Adonis | 18 |
| § | 4. | The Pæan, its origin and character | 19 ​ |
| § | 5. | The Threnos, or lament for the dead, and the Hymenæos, or bridal song | 20 |
| § | 6. | Origin and character of the chorus | 22 |
| § | 7. | Ancient poets who composed sacred hymns, divided into three classes, viz. those connected, i. With the worship of Apollo; ii. With the worship of Demeter and Dionysus; and iii. With the Phrygian worship of the mother of the Gods, of the Corybantes, &c. | 24 |
| § | 8. | Explanation of the Thracian origin of several of the early Greek poets | 25 |
| § | 9. | Influence of the early Thracian or Pierian poets on the epic poetry of Homer | 28 |
| CHAPTER IV. ||||
| ORIGIN OF THE EPIC POETRY. ||||
| § | 1. | Social position of the minstrels or poets in the heroic age | 29 |
| § | 2. | Epic poems sung at the feasts of princes and nobles, and at public festivals | 30 |
| § | 3. | Manner of reciting epic poems, explanation of rhapsodists and rhapsodising | 32 |
| § | 4. | Metrical form, and poetical character of the epic poetry | 35 |
| § | 5. | Perpetuation of the early epic poems by memory and not by writing | 37 |
| § | 6. | Subjects and extent of the ante-Homeric epic poetry | 39 |
| CHAPTER V. ||||
| HOMER. ||||
| § | 1. | Opinions on the birth-place and country of Homer | 41 |
| § | 2. | Homer probably a Smyrnæan: early history of Smyrna | 42 |
| § | 3. | Union of Æolian and Ionian characteristics in Homer | 44 |
| § | 4. | Novelty of Homer's choice of subjects for his two poems | 47 |
| § | 5. | Subject of the Iliad: the anger of Achilles | 48 |
| § | 6. | Enlargement of the subject by introducing the events of the entire war | 50 |
| § | 7. | And by dwelling on the exploits of the Grecian heroes | 52 |
| § | 8. | Change of tone in the Iliad in its progress | 53 |
| § | 9. | The Catalogue of Ships | 54 |
| § | 10. | The later books, and the conclusion of the Iliad | 56 |
| § | 11. | Subject of the Odyssey: the return of Ulysses | 57 |
| § | 12. | Interpolations in the Odyssey | 60 |
| § | 13. | The Odyssey posterior to the Iliad; but both poems composed by the same person | ib. |
| § | 14. | Preservation of the Homeric poems by rhapsodists, and manner of their recitation | 62 |
| CHAPTER VI. ||||
| THE CYCLIC POETS. ||||
| § | 1. | General character of the Cyclic poems | 64 |
| § | 2. | The Destruction of Troy and Æthiopis of Arctinus of Miletus | 65 ​ |
| § | 3. | The little Iliad of Lesches | 66 |
| § | 4. | The Cypria of Stasinus | 68 |
| § | 5. | The Nostoi of Agias of Troezen | 69 |
| § | 6. | The Telegonia of Eugammon of Cyrene | 70 |
| § | 7. | Poems on the War against Thebes | ib. |
| CHAPTER VII. ||||
| THE HOMERIC HYMNS. ||||
| § | 1. | General character of the Homeric Hymns, or Proœmia | 72 |
| § | 2. | Occasions on which they were sung: Poets by whom, and times at which, they were composed | 73 |
| § | 3. | Hymn to the Delian Apollo | 74 |
| § | 4. | Hymn to the Pythian Apollo | 75 |
| § | 5. | Hymn to Hermes | ib. |
| § | 6. | Hymn to Aphrodite | 76 |
| § | 7. | Hymn to Demeter | ib. |
| CHAPTER VIII. ||||
| HESIOD. ||||
| § | 1. | Circumstances of Hesiod's Life, and general character of his Poetry | 77 |
| § | 2. | The Works and Days, the Poem on Divination, and the Lessons of Chiron | 82 |
| § | 3. | The Theogony | 87 |
| § | 4. | The Great Eoiæ, the Catalogues of Women, the Melampodia, the Ægimius | 95 |
| § | 5. | The Marriage of Ceyx, the Epithalamium of Peleus and Thetis, the Descent of Theseus and Pirithous into Hell, the Shield of Hercules | 98 |
| CHAPTER IX. ||||
| OTHER EPIC POETS. ||||
| § | 1. | General character of other Epic Poets | 100 |
| § | 2. | Cinæthon of Lacedæmon, Eumelus of Corinth, Asius of Samos, Chersias of Orchumenus | ib. |
| § | 3. | Epic Poems on Hercules; the Taking of Œchalia; the Heraclea of Peisander of Rhodes | 102 |
| CHAPTER X. ||||
| THE ELEGY AND THE EPIGRAM. ||||
| § | 1. | Exclusive prevalence of Epic Poetry, in connexion with the monarchical period; influence of the change in the forms of Government upon Poetry | 104 ​ |
| § | 2. | Elegeion, its meaning; origin of Elegos; plaintive songs of Asia Minor, accompanied by the flute; mode of Recitation of the Elegy | 105 |
| § | 3. | Metre of the Elegy | 106 |
| § | 4. | Political and military tendency of the Elegy as composed by Callinus; the circumstances of his time | ib. |
| § | 5. | Tyrtæus, his Life; occasion and subject of his Elegy of Eunomia | 110 |
| § | 6. | Character and mode of recitation of the Elegies of Tyrtæus | 112 |
| § | 7. | Elegies of Archilochus, their reference to Banquets; mixture of convivial jollity (Asius) | ib. |
| § | 8. | Plaintive Elegies of Archilochus | 114 |
| § | 9. | Mimnermus; his Elegies; the expression of the impaired strength of the Ionic nation | ib. |
| § | 10. | Luxury, a consolation in this state; the Nanno of Mimnermus | 116 |
| § | 11. | Solon's character; his Elegy of Salamis | 117 |
| § | 12. | Elegies before and after Solon's Legislation; the expression of his political feeling; mixture of Gnomic Passages (Phocylides) | 118 |
| § | 13. | Elegies of Theognis; their original character | 120 |
| § | 14. | Their origin in the political Revolutions of Megara | ib. |
| § | 15. | Their personal reference to the Friends of Theognis | 122 |
| § | 16. | Elegies of Xenophanes; their philosophical tendency | 124 |
| § | 17. | Elegies of Simonides on the Victories of the Persian War; tender and pathetic spirit of his Poetry; general view of the course of Elegiac Poetry | 125 |
| § | 18. | Epigrams in elegiac form; their Object and Character; Simonides, as a Composer of Epigrams | 126 |
| CHAPTER XI. ||||
| IAMBIC POETRY. ||||
| § | 1. | Striking contrast of the Iambic and other contemporaneous Poetry | 128 |
| § | 2. | Poetry in reference to the bad and the vulgar | 129 |
| § | 3. | Different treatment of it in Homer and Hesiod | 130 |
| § | 4. | Homeric Comic Poems, Margites, &c. | 131 |
| § | 5. | Scurrilous songs at meals, at the worship of Demeter; the Festival of Demeter of Paros, the cradle of the Iambic poetry of Archilochus | 132 |
| § | 6. | Date and Public Life of Archilochus | 133 |
| § | 7. | His Private Life; subject of his Iambics | 134 |
| § | 8. | Metrical form of his iambic and trochaic verses, and different application of the two asynartetes; epodes | 135 |
| § | 9. | Inventions and innovations in the musical recitation | 138 |
| § | 10. | Innovations in Language | 139 |
| § | 11. | Simonides of Amorgus; his Satirical Poem against Women | 140 |
| § | 12. | Solon's iambics and trochaics | ib. |
| § | 13. | Iambic Poems of Hipponax; invention of choliambics; Ananias | 141 |
| § | 14. | The Fable; its application among the Greeks, especially in Iambic poetry | 143 |
| § | 15. | Kinds of the Fable, named after different races and cities | 144 |
| § | 16. | Æsop, his Life, and the Character of his Fables | 145 ​ |
| § | 17. | Parody, burlesques in an epic form, by Hipponax | 146 |
| § | 18. | Batrachomyomachia | 147 |
| CHAPTER XII. ||||
| PROGRESS OF THE GREEK MUSIC. ||||
| § | 1. | Transition from the Epos, through the Elegy and Iambus, to Lyric Poetry; connexion of Lyric Poetry with Music | 148 |
| § | 2. | Founders of Greek Music; Terpander, his descent and date | 149 |
| § | 3. | Terpander's invention of the seven-stringed Cithara | 151 |
| § | 4. | Musical scales and styles | 152 |
| § | 5. | Nomes of Terpander for singing to the Cithara; their rhythmical form | 154 |
| § | 6. | Olympus, descended from an ancient Phrygian family of flute-players | 156 |
| § | 7. | His influence upon the development of the music of the flute and rhythm among the Greeks | ib. |
| § | 8. | His influence confined to music | 158 |
| § | 9. | Thaletas, his age | 159 |
| § | 10. | His connexion with ancient Cretan worships. Pæns and hyporchemes of Thaletas | 160 |
| § | 11. | Musicians of the succeeding period—Clonas, Hierax, Xenodamus, Xenocritus, Polymnestus, Sacadas | 161 |
| § | 12. | State of Greek Music at this period | 163 |
| CHAPTER XIII. ||||
| THE ÆOLIC SCHOOL OF LYRIC POETRY. ||||
| § | 1. | Difference between the Lyric Poetry of the Æolians, and the Choral Lyric Poetry of the Dorians | 164 |
| § | 2. | Life and Political Acts of Alcæus | 166 |
| § | 3. | Their connexion with his Poetry | 167 |
| § | 4. | The other subjects of his Poems | 168 |
| § | 5. | Their metrical form | 170 |
| § | 6. | Life and moral character of Sappho | 172 |
| § | 7. | Her Erotic Poetry to Phaon | 174 |
| § | 8. | Poems of Sappho to women | 176 |
| § | 9. | Hymenæals of Sappho | 178 |
| § | 10. | Followers of Sappho, Damophila, Erinna | 179 |
| § | 11. | Life of Anacreon | 180 |
| § | 12. | His Poems to the youths at the Court of Polycrates | 182 |
| § | 13. | His Love-songs to Hetæræ | 183 |
| § | 14. | Character of his versification | 185 |
| § | 15. | Comparison of the later Anacreontics | 186 |
| § | 16. | Scolia; occasions on which they were sung, and their subjects | 187 |
| § | 17. | Scolia of Hybrias and Callistratus | 189 |
| CHAPTER XIV. ||||
| CHORAL LYRIC POETRY. ||||
| § | 1. | Connexion of lyric poetry with choral songs gradual rise of regular forms from this connexion | 190 ​ |
| First stage.—§ 2. Alcman; his origin and date; mode of recitation and form of his choral songs | First stage.—§ 2. Alcman; his origin and date; mode of recitation and form of his choral songs | First stage.—§ 2. Alcman; his origin and date; mode of recitation and form of his choral songs | 193 |
| § | 3. | Their poetical character | 196 |
| § | 4. | Stesichorus; hereditary transmission of his poetical taste; his reformation of the chorus | 197 |
| § | 5. | Subjects and character of his poetry | 199 |
| § | 6. | Erotic and bucolic poetry of Stesichorus | 202 |
| § | 7. | Arion. The dithyramb raised to a regular choral song | 203 |
| Second stage.—§ 8. Life of Ibycus; his imitation of Stesichorus | Second stage.—§ 8. Life of Ibycus; his imitation of Stesichorus | Second stage.—§ 8. Life of Ibycus; his imitation of Stesichorus | 205 |
| § | 9. | Erotic tendency of his poetry | 206 |
| § | 10. | Life of Simonides | 207 |
| § | 11. | Variety and ingenuity of his poetical powers. Comparison of his Epinikia with those of Pindar | 209 |
| § | 12. | Characteristics of his style | 212 |
| § | 13. | Lyric poetry of Bacchylides, imitated from that of Simonides | 213 |
| § | 14. | Parties among the lyric poets; rivalry of Lasus, Timocreon, and Pindar with Simonides | 214 |
| CHAPTER XV. ||||
| PINDAR. ||||
| § | 1. | Pindar's descent; his early training in poetry and music | 216 |
| § | 2. | Exercise of his art; his independent position with respect to the Greek princes and republics | 218 |
| § | 3. | Kinds of poetry cultivated by him | 220 |
| § | 4. | His Epinikia; their origin and objects | 222 |
| § | 5. | Their two main elements; general remarks, and mythical narrations | 224 |
| § | 6. | Connexion of these two elements; peculiarities of the structure of Pindar's odes | 226 |
| § | 7. | Variety of tone in his odes, according to the different musical styles | 227 |
| CHAPTER XVI. ||||
| THEOLOGICAL AND PHILOSOPHICAL POETRY. ||||
| § | 1. | Moral improvement of Greek poetry after Homer especially evident in the notions as to the state of man after death | 229 |
| § | 2. | Influence of the mysteries and of the Orphic doctrines on these notions | 230 |
| § | 3. | First traces of Orphic ideas in Hesiod and other epic poets | 232 |
| § | 4. | Sacerdotal enthusiasts in the age of the Seven Sages; Epimenides, Abaris, Aristeas, and Pherecydes | 233 |
| § | 5. | An Orphic literature arises after the destruction of the Pythagorean league | 235 |
| § | 6. | Subjects of the Orphic poetry; at first cosmogonic | 235 |
| § | 7. | afterwards prophetic, in reference to Dionysus | 237 |
| CHAPTER XVII. ||||
| THE EARLY GREEK PHILOSOPHERS. ||||
| § | 1. | Opposition of philosophy and poetry among the Greeks; causes of the introduction of prose writings | 238 ​ |
| § | 2. | The Ionians give the main impulse; tendency of philosophical speculation among the Ionians | 240 |
| § | 3. | Retrospect of the theological speculations of Pherecydes | ib. |
| § | 4. | Thales; he combines practical talents with bold ideas concerning the nature of things | 241 |
| § | 5. | Anaximander, a writer and inquirer on the nature of things | 242 |
| § | 6. | Anaximenes pursues the physical inquiries of his predecessors | 243 |
| § | 7. | Heraclitus; profound character of his natural philosophy | 244 |
| § | 8. | Changes introduced by Anaxagoras; new direction of the physical speculations of the Ionians | 246 |
| § | 9. | Diogenes continues the early doctrine. Archelaus, an Anaxagorean, carries the Ionic philosophy to Athens | 248 |
| § | 10. | Doctrines of the Eleatics, founded by Xenophanes; their enthusiastic character is expressed in a poetic form | 249 |
| § | 11. | Parmenides gives a logical form to the doctrines of Xenophanes; plan of his poem | 251 |
| § | 12. | Further development of the Eleatic doctrine by Melissus and Zeno | 252 |
| § | 13. | Empedocles, akin to Anaxagoras and the Eleatics, but conceives lofty ideas of his own | 253 |
| § | 14. | Italic school; receives its impulse from an Ionian, which is modified by the Doric character of the inhabitants. Coincidence of its practical tendency with its philosophical principle | 255 |
| CHAPTER XVIII. ||||
| THE EARLY GREEK HISTORIANS. ||||
| § | 1. | High antiquity of history in Asia; causes of its comparative lateness among the Greeks | 258 |
| § | 2. | Origin of history among the Greeks. The Ionians, particularly the Milesians, took the lead | 260 |
| § | 3. | Mythological historians; Cadmus, Acusilaus | 261 |
| § | 4. | Extensive geographical knowledge of Hecatæus; his freer treatment of native traditions | ib. |
| § | 5. | Pherecydes; his genealogical arrangement of traditions and history | 263 |
| § | 6. | Charon; his chronicles of general and special history | ib. |
| § | 7. | Hellanicus; a learned inquirer into mythical and true history. Beginning of chronological researches | 264 |
| § | 8. | Xanthus, an acute observer. Dionysius of Miletus, the historian of the Persian wars | ib. |
| § | 9. | General remarks on the composition and style of the logographers | 265 |
| CHAPTER XIX. ||||
| HERODOTUS. ||||
| § | 1. | Events of the life of Herodotus | 266 |
| § | 2. | His travels | 267 |
| § | 3. | Gradual formation of his work | 268 |
| § | 4. | Its plan | 269 ​ |
| § | 5. | Its leading ideas | 271 |
| § | 6. | Defects and excellencies of his historical researches | 272 |
| § | 7. | Style of his narrative; character of his language | 273 |
SECOND PERIOD OF GREEK LITERATURE.
CHAPTER XX. :
| LITERARY PREDOMINANCE OF ATHENS. ||||
| § | 1. | Early formation of a national literature in Greece | 275 |
| § | 2. | Athens subsequently takes the lead in literature and art. Her fitness for this purpose | ib. |
| § | 3. | Concurrence of the political circumstances of Athens to the same end. Solon. The Pisistratids | 277 |
| § | 4. | Great increase in the power of Athens after the Persian war | 279 |
| § | 5. | Administration and policy of Pericles, particularly with respect to art and literature | 280 |
| § | 6. | Seeds of degeneracy in the Athenian Commonwealth at its most flourishing period | 282 |
| § | 7. | Causes and modes of the degeneracy | 283 |
| § | 8. | Literature and art were not affected by the causes of moral degeneracy | 285 |
| CHAPTER XXI. ||||
| ORIGIN OF THE GREEK DRAMA. ||||
| § | 1. | Causes of dramatic poetry in Greece | 285 |
| § | 2. | The invention of dramatic poetry peculiar to Greece | 287 |
| § | 3. | Origin of the Greek drama from the worship of Bacchus | ib. |
| § | 4. | Earliest, or Doric form of tragedy, a choral or dithyrambic song in the worship of Bacchus | 289 |
| § | 5. | Connexion of the early tragedy with a chorus of satyrs | 290 |
| § | 6. | Improvement of tragedy at Athens by Thespis | 292 |
| § | 7. | By Phrynichus | 293 |
| § | 8. | And by Chœrilus. Cultivation of the satyric drama by the latter | 294 |
| § | 9. | The satyric drama completely separated from tragedy by Pratinas | 295 |
| CHAPTER XXII. ||||
| FORM AND CHARACTER OF THE GREEK TRAGEDY. ||||
| § | 1. | Ideal character of the Greek tragedy; splendid costume of the actors | 296 |
| § | 2. | Cothurnus; masks | 297 |
| § | 3. | Structure of the theatre | 298 |
| § | 4. | Arrangement of the orchestra in connexion with the form and position of the chorus | 299 |
| § | 5. | Form of the stage, and its meaning in tragedy | 300 |
| § | 6. | Meaning of the entrances of the stage | 302 |
| § | 7. | The actors; limitation of their number | 303 ​ |
| § | 8. | Meaning of the protagonist, deuteragonist, tritagonist | 305 |
| § | 9. | The changes of the scene inconsiderable; ancient tragedy not being a picture of outward acts | 307 |
| § | 10. | Eccyclema | 309 |
| § | 11. | Composition of the drama from various parts; songs of the entire chorus | 310 |
| § | 12. | Division of a tragedy by the choral songs | 312 |
| § | 13. | Songs of single persons, of the chorus, and of the actors | ib. |
| § | 14. | Parts of the drama intermediate between song and speech | 315 |
| § | 15. | Speech of the actors; arrangement of the dialogue and its metrical form | 316 |
| CHAPTER XXIII. ||||
| ÆSCHYLUS. ||||
| § | 1. | Life of Æschylus | 317 |
| § | 2. | Number of his tragedies, and their distribution into trilogies | 319 |
| § | 3. | Outline of his tragedies; the Persians | 320 |
| § | 4. | The Phineus and the Glaucus Pontius | 321 |
| § | 5. | The Ætnæan women | 322 |
| § | 6. | The Seven against Thebes | 323 |
| § | 7. | The Eleusiniaus | 324 |
| § | 8. | The Suppliants; the Egyptians | 325 |
| § | 9. | The Prometheus bound | 327 |
| § | 10. | The Prometheus unbound | 329 |
| § | 11. | The Agamemnon | 331 |
| § | 12. | The Choephorœ | 332 |
| § | 13. | The Eumenides, and the Proteus | 333 |
| § | 14. | General characteristics of the poetry of Æschylus | 335 |
| § | 15. | His latter years and death | 336 |
| CHAPTER XXIV. ||||
| SOPHOCLES. ||||
| § | 1. | Condition in which tragic poetry came into the hands of Sophocles. His first appearance | 338 |
| § | 2. | Subsequent events of his life; his devotion to the drama | 338 |
| § | 3. | Epochs in the poetry of Sophocles | 340 |
| § | 4. | Thorough change in the form of tragedy | 341 |
| § | 5. | Outline of his plays; the Antigone | 342 |
| § | 6. | The Electra | 344 |
| § | 7. | The Trachinian Women | 346 |
| § | 8. | King Œdipus | ib. |
| § | 9. | The Ajax | 348 |
| § | 10. | The Philoctetes | 350 |
| § | 11, | 12. The Œdipus at Colonus, in connexion with the character and conduct of Sophocles in his latter years | 351 |
| § | 13. | The style of Sophocles | 355 ​ |
| CHAPTER XXV. ||||
| EURIPIDES. ||||
| § | 1. | Difference between Sophocles and Euripides. The latter essentially speculative. Tragedy, a subject ill-suited for his genius | 357 |
| § | 2. | Intrusion of tragedy into the interests of the private | 359 |
| § | 3. | And public life of the time | 360 |
| § | 4. | Alterations in the plan of tragedy introduced by Euripides. Prologue | 362 |
| § | 5. | And Deus ex machina | 363 |
| § | 6. | Comparative insignificance of the chorus. Prevalence of monodies | 364 |
| § | 7. | Style of Euripides | 366 |
| § | 8. | Outline of his plays: the Alcestis | ib. |
| § | 9. | The Medea | 367 |
| § | 10. | The Hippolytus | 368 |
| § | 11. | The Hecuba | 369 |
| § | 12. | Epochs in the mode of treating his subject: the Heracleidæ | 370 |
| § | 13. | The Suppliants | 371 |
| § | 14. | The Ion | ib. |
| § | 15. | The raging Heracles | 372 |
| § | 16. | The Andromache | 373 |
| § | 17. | The Trojan Women | ib. |
| § | 18. | The Electra | 374 |
| § | 19. | The Helena | 375 |
| § | 20. | The Iphigenia at Tauri | 376 |
| § | 21. | The Orestes | 377 |
| § | 22. | The Phœnician Women | ib. |
| § | 23. | The Bacchanalians | 378 |
| § | 24. | The Iphigenia at Aulis | 379 |
| § | 25. | Lost pieces: the Cyclops | 380 |
| CHAPTER XXVI. ||||
| THE OTHER TRAGIC POETS. ||||
| § | 1. | Inferiority of the other tragic poets | 381 |
| § | 2. | Contemporaries of Sophocles and Euripides: Neophron, Ion, Aristarchus, Achæus, Carcinus, Xenocles | 382 |
| § | 3. | Tragedians somewhat more recent: Agathon; the anonymous son of Cleomachus. Tragedy grows effeminate | 383 |
| § | 4. | Men of education employ tragedy as a vehicle of their opinions on the social relations of the age | 384 |
| § | 5. | The families of the great tragedians: the Æschyleans, Sophocleans, and the younger Euripides | 385 |
| § | 6. | Influence of other branches of literature; tragedy is treated by Chæremon in the spirit of lax and effeminate lyric poetry | 386 |
| § | 7. | Tragedy is subordinated to rhetoric in the dramas of Theodectes | 387 |
| CHAPTER XXVII. ||||
| § | 1. | The comic element in Greek poetry due to the worship of Bacchus | 391 |
| § | 2. | Also connected with the Comus at the lesser Dionysia: Phallic Songs | 393 |
| § | 3. | Beginnings of dramatic comedy at Megara, Susarion, Chionides, &c. | 395 ​ |
| § | 4. | The perfectors of the old Attic comedy | 397 |
| § | 5. | The structure of comedy. What it has in common with tragedy | 398 |
| § | 6. | Peculiar arrangement of the chorus; Parabasis | 400 |
| § | 7. | Dances, metres, and style | 402 |
| CHAPTER XXVIII. ||||
| § | 1. | Events of the life of Aristophanes; the mode of his first appearance | 405 |
| § | 2. | His dramas; the Dætaleis; the Babylonians | 406 |
| § | 3. | The Acharnians analyzed | 408 |
| § | 4. | The Knights | 412 |
| § | 5. | The Clouds | 415 |
| § | 6. | The Wasps | 419 |
| § | 7. | The Peace | 420 |
| § | 8. | The Birds | 420 |
| § | 9. | The Lysistrata, Thesmophoriazusæ | 423 |
| § | 10. | The Frogs | 425 |
| § | 11. | The Ecclesiazusæ; the second Plutus. Transition to the middle comedy | 426 |
| CHAPTER XXIX. ||||
| § | 1. | Characteristics of Cratinus | 428 |
| § | 2. | Eupolis | 430 |
| § | 3. | Peculiar tendencies of Crates; his connexion with Sicilian comedy | 431 |
| § | 4. | Sicilian comedy originates in the Doric farces of Megara | 432 |
| § | 5. | Events in the life of Epicharmus; general tendency and nature of his comedy | 433 |
| § | 6. | The middle Attic comedy: poets of this class akin to those of the Sicilian comedy in many of their pieces | 436 |
| § | 7. | Poets of the new comedy the immediate successors of those of the middle comedy. How the new comedy becomes naturalized at Rome | 438 |
| § | 8. | Public morality at Athens at the time of the new comedy | 440 |
| § | 9. | Character of the new comedy in connexion therewith | 443 |
| CHAPTER XXX. ||||
| § | 1. | The Dithyramb becomes the chief form of Athenian lyric poetry. Lasus of Hermione | 446 |
| § | 2. | New style of the Dithyramb introduced by Melanippides, Philoxenus, Cinesias, Phrynis, Timotheus, Polyeidus | 447 |
| § | 3. | Mode of producing the new Dithyramb: its contents and character | 450 |
| § | 4. | Reflective lyric poetry | 452 |
| § | 5. | Social and political elegies. The Lyde of Antimachus essentially different from these | 452 |
| § | 6. | Epic poetry, Panyasis, Chœrilus, Antimachus | 454 |
| CHAPTER XXXI. ||||
| § | 1. | Importance of prose at this period | 456 |
| § | 2. | Oratory at Athens rendered necessary by the democratical form of government | 456 |
| § | 3. | Themistocles; Pericles: power of their oratory | 458 |
| § | 4. | Characteristics of their oratory in relation to their opinions and modes of thought | 459 |
| § | 5. | Form and style of their speeches | 460 |
| CHAPTER XXXII. ||||
| § | 1. | Profession of the Sophists; essential elements of their doctrines. The principle of Protagoras | 462 |
| § | 2. | Opinions of Gorgias. Pernicious effects of his doctrines, especially as they were carried out by his disciples | 463 |
| § | 3. | Important services of the Sophists in forming a prose style: different tendencies of the Sicilian and other Sophists in this respect | 465 |
| § | 4. | The rhetoric of Gorgias | 466 |
| § | 5. | His forms of expression | 467 |
| CHAPTER XXXIII. ||||
| § | 1. | Antiphon's career and employments | 469 |
| § | 2. | His school exercises, the Tetralogies | 471 |
| § | 3. | His speeches before the courts; character of his oratory | 472 |
| § | 4, | 5. More particular examination of his style | 474 |
| § | 6. | Andocides; his life and character | 477 |
| CHAPTER XXXIV. ||||
| § | 1. | The life of Thucydides: his training that of the age of Pericles | 479 |
| § | 2. | His new method of teaching history | 481 |
| § | 3. | The consequent distribution and arrangement of his materials, as well in his whole work as | 482 |
| § | 4. | In the Introduction | 483 |
| § | 5. | His mode of treating these materials ; his research and criticism | 485 |
| § | 6. | Accuracy and, | 486 |
| § | 7. | Intellectual character of his history | 487 |
| § | 8, | 9. The speeches considered as the soul of his history | 488 |
| § | 10, | 11. His mode of expression and the structure of his sentences | 491 |
| CHAPTER XXXV. ||||
| § | 1. | Events which followed the Peloponnesian War. The adventures of Lysias. Leading epochs of his life | 495 |
| § | 2. | The earliest sophistical rhetoric of Lysias | 497 |
| § | 3. | The style of this rhetoric preserved in his later panegyrical speeches | 499 |
| § | 4. | Change in the oratory of Lysias produced by his own impulses and by his employment as a writer of speeches for private individuals | 500 |
| § | 5. | Analysis of his speech against Agoratas | 501 |
| § | 6. | General view of his extant orations | 503 |
| CHAPTER XXXVI. ||||
| § | 1. | Early training of Isocrates; but slightly influenced by Socrates | 504 |
| § | 2. | School of Isocrates; its great repute; his attempts to influence the politics of the day without thoroughly understanding them | 505 |
| § | 3. | The form of a speech the principal matter in his judgment | 507 |
| § | 4. | New development which he gave to prose composition | 508 |
| § | 5. | His structure of periods | 509 |
| § | 6. | Smoothness and evenness of his style | 511 |
| § | 7. | He prefers the panegyrical oratory to the forensic | 512 |
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