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Cambridge University Press 978-0-521-84944-9 - The Cambridge Companion to Greek Lyric Edited by Felix Budelmann Index More information INDEX Abdera 43, 47, 228 reception, ancient 313, 324, 327, 328, 333 address / addressee 16, 45, 66–71, 75–9, reception, modern 344 83, 98–9, 102, 105, 107, 114–20, Alcman 25, 30, 35, 44, 48, 63–5, 118, 122, 153, 158, 175, 186, 193, 201–2, 190–4, 300, 301, 302 217, 219, 247, 254, 324, 326, dialect 124–8 328, 329, 331, 360, fr. 1 PMGF (Partheneion 1) 44, 63–5, 79, 361, 383 190–3 Aegina 42, 46, 49, 53, 257, 259 fr. 3 PMGF 63–4 Aelian 221 fr. 59a PMGF 193 Aeolic 122, 123–8, 134–6, 140, 142, 255, 275, reception, ancient 324 322, 324 reception, modern 344 Aeschylus 55, 228, 231, 260, Aldine editions 338 265, 289 Alexandria (see also scholarship, Hellenistic Aesop see fable poetry)298–316 Agathon 277, 280 Alkmanes 173 agônes, musical and poetic 43, 178, 190, 202, allegory 116, 209, 213, 230, 271, 327, 223–4, 292–3, 320 339, 341 Alcaeus 23, 24, 34–5, 37, 38, 41, 47, 83, 84, allusion see intertextuality 118, 123, 134–6, 150, 204–14, 270–1, ambiguity 61, 63, 68, 116–17, 255, 269, 324 300, 302 Ammianus Marcellinus 221 erotic poetry 69–71, 209 Amorgos 46 fr. 10 V 209 Anacreon 25, 34–5, 37, 41, 47, 50, 51, 59, 68, fr. 42V 66 82, 123, 199, 227–39, 300, 301, 302 fr. 45 V 67 fr. 347 PMG 36 fr. 71 V 270 fr. 348 PMG 83 fr. 72 V 135 fr. 353 PMG 232 fr. 119 V 271 fr. 356 PMG 117 fr. 129 V 211–13 fr. 357 PMG 35, 67 fr. 130 V 69, 211 fr. 358 PMG 67, 221, 229–31, 234–5 fr. 141 V 213 fr. 360 PMG 67, 90 fr. 249 V 275 fr. 388 PMG 68 fr. 283 V 66 fr. 395 PMG 90 fr. 344 V 271 fr. 417 PMG 67 fr. 351 V 271 reception, ancient 235–9, 311, 320, 323, 333 fr. 368 V 117 reception, modern 337, 342–6, 347, 353 fr. 384 V 204–6 Anacreontea 235, 236–9, 342–6, 347, 353 fr. 393 V 271 ‘Anacreontic’ vases 235–6 fr. 439 V 270 Antiphon 242 449 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84944-9 - The Cambridge Companion to Greek Lyric Edited by Felix Budelmann Index More information index Aphrodite 45, 63, 67, 68, 69, 70, 77, 79, 88, audience 22, 26, 34, 60–2, 64, 72, 74, 93, 91, 93, 199 94, 98, 114–20, 155, 162, 165, 166, Apollonius of Rhodes 304 171–8, 182–5, 209, 265, 297, 310, Apollo (see also Homeric Hymn to Apollo)21, 325, 373–7 26, 27, 28, 29, 40, 62, 65, 72, 79, 90, 93, Augustus 328 100, 106, 190, 261, 315, 331 aulos 12–13, 62, 144–5, 168, 169, 170, 171, Archilochus 23, 33, 35, 37, 38, 46, 59, 68–9, 190, 223, 242, 283, 315 73, 79, 81, 83, 84, 93, 106, 120, 136–9, authorship (see also poets, constructed 152–60, 207, 209, 255–6, 300, 302 biographies)9, 164, 184–5, fr. 1 W 73, 97 236–9, 275 fr. 4 W 116–17 fr. 5 W 138 Bacchylides 25, 26, 29, 32, 43, 53, 62–3, fr. 21 W 47 119–20, 127, 142, 191, 240–7, 256, fr. 42 W 151 300, 302 fr. 43 W 154 2 M 31 fr. 105 W 116 3 M 78 fr. 114 W 154 5 M 63 fr. 119 W 154 13 M 257–61 fr. 120 W 21 17 M 62–3 fr. 122 W 152 fr 4 M 52, 55 fr. 126 W 155 fr. 20CM32 fr. 128 W 80 reception, ancient 313, 324 fr. 130 W 80 reception, modern 344 fr. 168 W 139 barbitos 144–5, 204, 221, 222, 235–6 fr. 172–81 W 158–9 Beaudelaire, Charles 362–3, 384–5 fr. 188 W² 155 Bellay, Joachim du 379, 383 fr. 196 W² (‘Cologne Epode’) 156–8 Bergk, Theodor 359–60 fr. 201 W 155 Boeotia 128 fr. 215 W 149 Boileau, Nicolas 341 and Lycambes / Neoboule 66, 68, 153, 156–9 Burns, Robert 373 ‘New’ Archilochus (P. Oxy. 4708) 179 Byron, George Gordon 354, 360, 381–3 reception, ancient 308–9, 311, 324 Argos 48, 49, 52, 111, 114–20, 285 Callimachus 46, 256, 298, 299–300, 302, Arion 41–2, 44, 79, 93, 124, 189, 195, 208 307–10, 311, 315, 327–8 Aristides Quintilianus 268 epinikia 307–8 Aristarchus 302–3 Iambi 308–9 aristocrats see class Callinus 23, 38, 106, 120, 171, 181, 190 Aristophanes (comic poet) 11, 26, 31, 32, 33, fr. 1 W 185–6 48, 50–1, 125, 214, 265 canon 3, 4, 265, 270, 274, 279, 302–3, Aristophanes (scholar) 248, 299, 300–2, 315 310–13, 319, 323–4, 337, 350, 365, 368 Aristotle 4–5, 74, 111, 149, 150, 151, 204, capping 230, 274–5 207, 213–14, 249, 271, 279, 287, 348, carmina popularia see popular song 377–8 Catullus 149, 320, 322–3, 333, 344, 347 Aristoxenus 265, 279, 280, 281 Ceos 43, 46, 54, 241 Artemis 27, 83, 190, 232, 331 Chalcis 115, 198 Athena 62 charis 61–2, 64, 65, 76, 83 Athenaeus 25, 34, 176, 227, 271, 274, 313 Chassériau, Théodore 356 Athens 29, 40, 41, 42, 43, 46, 53, 106, Chios 104–5, 176 111, 122, 172–3, 175–8, 181, 189, chorêgos 43, 241–7, 292 227, 233, 235–6, 241–7, 284, 285, chorus (see also performance)11, 23, 290–3, 297 26, 28, 43, 60–5, 78, 85, 87, 88, Attica / Attic (see also Athens)122, 123, 104–5, 118, 190–5, 216, 219, 175–8, 187, 222 241–7, 254 450 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84944-9 - The Cambridge Companion to Greek Lyric Edited by Felix Budelmann Index More information index Christianity 338–9, 379–80 drinking (see also symposion)34–5, 91, 175, Cicero 227, 246–7, 336, 378 177, 227–39, 343, 345 Cinesias 277, 280, 282 drinking song see skolion class 12, 33, 34, 39–56, 78, 83–8, 162–7, 174–8, 210, 213, 243–7, 263–7, 272–3, 290–2 education 59, 85–8, 175, 216, 218, 219, 298, Cleisthenes 111 310–13 Coleridge, Samuel Taylor 353–5, 360 elegy 23–4, 45, 66–71, 83, 168–88, colometry 131–2, 301–2 196, 266 colonisation (see also foundation poetry)42, dialect 120–3, 174 45–50, 172, 195 and epic 6, 123, 171, 172, 174, Colophon 49, 171, 172, 190 185–7 comedy (see also drama)42, 118, 151, 165–6, and epigram 169–70, 179–82 279, 280, 297 function 182–5 Corinna 65, 128 funerary 168–9, 179 Corinth 31, 41, 55, 124, 181, 189, 241 Hellenistic 307–8, 309–10 Cowley, Abraham 345, 380 included or not in ‘Greek lyric’ 2–3 Crete 54, 284, 285 Latin 188, 325 Critias 40, 51–2, 152–3, 177–8, 228, 243 martial 23, 38, 171, 174, 186 fr. 4 W 177 meaning of the label 168–9 cult / ritual (see also hero-cult)24–30, 46, metre 138, 168–9, 177 52–4, 63–5, 75–9, 103, 151, 160, 162–3, mode of performance 12–13, 23, 170 166, 190, 192, 193, 212, 232, 315–16, narrative (see also Simonides, Plataea elegy) 331–2 23, 170, 172, 178–9 Cyrene 48, 49, 62, 126, 261 Eleusis 151 Eliot, T. S. 384–5 dance (see also chorus)23, 27, 28, 83, 85–8, elite see class 194, 219 enkômion 11, 31–2, 52, 66–7, 252, daphnêphorikon 26, 54, 55, 65 277, 306 David, Jacques-Louis 356 Ennius 320 deixis 28, 115–20, 216, 326 envy 60–2 Delos 43, 53, 104–5 Ephesus 171 Delphi (see also Pindar Pyth.)123, 178, epic (see also Homer and Greek lyric vs. 256, 316 hexameter poetry)6, 14–15, 72, Demeter 150, 151, 316 80–3, 95–108, 115, 127, 158, desire see erôs 163–4, 171, 172, 178, 185–7, dêute 35, 67, 235 198, 207 dialect 99, 100–3, 120–8, 163, 231 epigram (see also Simonides)45, 49, 169–70, Dicaearchus 274 179–82, 237, 303, 321, 323 Dionysius Chalcus 46, 117, 177 epinikion 22, 30, 31–2, 33, 42–3, 49–50, 53, Dionysius of Halicarnassus 250, 312, 347 60–2, 76, 199, 245–9, 253–6, 257–61, Dionysus 21, 27, 28, 29, 67, 83, 84, 298, 300 89–94, 111–12, 151, 231, 232, 233, Hellenistic 307–8, 311, 312 238, 334 mode of performance 245 dirge see thrênos survival of Pindar’s 247–9, 378 dithyramb 21–9, 50–1, 53, 55, 62–3, 111, epithalamion see wedding song 242–4, 248, 252, 277–82, 300, epodes (iambos) 24, 93, 137, 154, 156–9 314, 315 Eratosthenes 300 Donne, John 374 Erinna 304, 357 Dorian / Doric 53, 122, 124–8, 174, 189, 199 erôs / love poetry (see also gender)35–7, drama / dramatic (see also comedy and 58–71, 172, 174, 178, 193, 199–200, tragedy)6, 70, 93–4, 111–12, 165, 209, 214–26, 229–31, 235, 236–9, 197, 230, 240, 242–4, 252, 288–93, 305–6, 343, 346–9, 355–64, 367–8, 297, 329 369, 373–4 451 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84944-9 - The Cambridge Companion to Greek Lyric Edited by Felix Budelmann Index More information index Estienne, Henri 343–5, 347 transformative effects 90–4 Euenus 176–7 use and history of the label 2–5, 275 Eumelus 124, 126 variety and characteristics 5–7, 100–3, 111, Euripides 169, 277, 280 114–20, 350 exhortation 38, 82, 106, 171, 174, 183, vs.
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    Rhetoric Aristotle (Translated by W. Rhys Roberts) Book I 1 Rhetoric is the counterpart of Dialectic. Both alike are con- cerned with such things as come, more or less, within the general ken of all men and belong to no definite science. Accordingly all men make use, more or less, of both; for to a certain extent all men attempt to discuss statements and to maintain them, to defend themselves and to attack others. Ordinary people do this either at random or through practice and from acquired habit. Both ways being possible, the subject can plainly be handled systematically, for it is possible to inquire the reason why some speakers succeed through practice and others spontaneously; and every one will at once agree that such an inquiry is the function of an art. Now, the framers of the current treatises on rhetoric have cons- tructed but a small portion of that art. The modes of persuasion are the only true constituents of the art: everything else is me- rely accessory. These writers, however, say nothing about en- thymemes, which are the substance of rhetorical persuasion, but deal mainly with non-essentials. The arousing of prejudice, pity, anger, and similar emotions has nothing to do with the essential facts, but is merely a personal appeal to the man who is judging the case. Consequently if the rules for trials which are now laid down some states-especially in well-governed states-were applied everywhere, such people would have nothing to say. All men, no doubt, think that the laws should prescribe such rules, but some, as in the court of Areopagus, give practical effect to their thoughts 4 Aristotle and forbid talk about non-essentials.
  • Initiation Into Literature

    Initiation Into Literature

    Initiation into Literature Emile Faguet This page copyright © 2003 Blackmask Online. http://www.blackmask.com PREFACE. CHAPTER I. ANCIENT INDIA CHAPTER II. HEBRAIC LITERATURE CHAPTER III. THE GREEKS CHAPTER IV. THE LATINS CHAPTER V. THE MIDDLE AGES: FRANCE CHAPTER VI. THE MIDDLE AGES: ENGLAND CHAPTER VII. THE MIDDLE AGES: GERMANY CHAPTER VIII. THE MIDDLE AGES: ITALY CHAPTER IX. THE MIDDLE AGES: SPAIN AND PORTUGAL CHAPTER X. THE SIXTEENTH AND SEVENTEENTH CENTURIES: FRANCE CHAPTER XI. THE SIXTEENTH AND SEVENTEENTH CENTURIES: ENGLAND CHAPTER XII. THE SIXTEENTH AND SEVENTEENTH CENTURIES: GERMANY CHAPTER XIII. THE SIXTEENTH AND SEVENTEENTH CENTURIES: ITALY CHAPTER XIV. THE SIXTEENTH AND SEVENTEENTH CENTURIES: SPAIN AND PORTUGAL CHAPTER XV. THE EIGHTEENTH AND NINETEENTH CENTURIES: FRANCE CHAPTER XVI. THE EIGHTEENTH AND NINETEENTH CENTURIES: ENGLAND CHAPTER XVII. THE EIGHTEENTH AND NINETEENTH CENTURIES: GERMANY CHAPTER XVIII. THE EIGHTEENTH AND NINETEENTH CENTURIES: ITALY CHAPTER XIX. THE EIGHTEENTH AND NINETEENTH CENTURIES: SPAIN CHAPTER XX. RUSSIAN LITERATURE CHAPTER XXI. POLISH LITERATURE Produced by Ted Garvin, Marlo Dianne, Charles Franks and the Online Distributed Proofreading Team INITIATION INTO LITERATURE BY EMILE FAGUET TRANSLATED FROM THE FRENCH BY SIR HOME GORDON, BART. The Translator begs to acknowledge with appreciation the courtesy of the Author in graciously consenting to make some valuable additions, at his request, specially for the English version. PREFACE. This volume, as indicated by the title, is designed to show the way to the beginner, to satisfy and more especially to excite his initial curiosity. It affords an adequate idea of the march of facts and of ideas. The reader is led, somewhat rapidly, from the remote origins to the most recent efforts of the human mind.