The Classical Tradition: Greek and Roman ... - Historia Antigua

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CONTENTS xv AElfric 46 translations of the Gospels 47 Britain's primacy in the culture of the Dark Ages 47 CHAPTER 3. THE MIDDLE AGES: FRENCH LITERA- TURE 48-69 France the centre of medieval literature 48 Romances of chivalrous adventure 48-57 Roland 49 Other chivalrous romances 49 Rise in culture and deepening of classical knowledge 50 The Romance of Troy and its sources 51 'Dares' 51 his purposes 51 his methods 52 'Dictys' 52 Why these books were used 53 Influence of The Romance of Troy 53 The Trojan legend 54 Imitators of the poem 54 The Romance of Aeneas 55 The Romance of Thebes 56 The Romance of Alexander 56 The Lay of Aristotle 57 Ovid and romantic love 57-62 The conception of romantic love 57 Some of its artistic products 58 Ovid 59 his authority in French literature 59 his influence on the development of romantic love 59 his stories and his poems: 60 Pyramus and Thisbe 60 Philomela 61 The Heroides and others 62 The Art of Love 62 The Metamorphoses moralized 62 The Romance of the Rose 62-9 Classical influences on its form 63 dream 63 battle 64 dialogue 64 didactic tone 65 shapelessness 67 Classical influences on its material 67 illustrative examples 67 arguments 68 descriptions 68
xvi CONTENTS Classical authors known to the poets of the Rose 68 Admirers and opponents of the poem 69 CHAPTER 4. DANTE AND PAGAN ANTIQUITY 70-80 Dante the synthesis of pagan and medieval Christian culture 70 The Comedy: meaning of its title: happy ending 70 humble style 71 Vergil as the guide of Dante: 72 prophet of Christianity 72 Christian by nature 73 herald of Roman empire 74 lover of Italy 74 poet: his influence on Dante's style 75 revealer of the underworld 77 poet of exile 78 Interpenetration of pagan and Christian worlds in The Comedy . 78 The classical writers from whom Dante drew 79 CHAPTER 5. TOWARDS THE RENAISSANCE: PETRARCH, BOCCACCIO, CHAUCER 81-103 The rebirth of Greco-Roman civilization began in Italy, where it died latest 81 Its two initiators were Italians with French connexions 81 PETRARCH 81-8 The contrast between Petrarch and Dante symbolizes the gulf between the Middle Ages and the Renaissance 81 Petrarch's dislike of The Comedy 82 His travel and friendships 82 His library and his discovery of lost classical books 82 Petrarch's and Dante's knowledge of the classics 84 Petrarch and Dante as Christians 85 Petrarch's works: 85 Latin 85 Africa 85 Originality and adaptation 85 Eclogues 86 Secret 86 Italian 87 Canzoniere 87 Triumphs 87 Petrarch as poet laureate 88 BOCCACCIO 89-93 The contrast between Boccaccio and Dante 89 The Decameron 89 Boccaccio as a synthesis of classical and modern elements 90 The Theseid 90
Page 2 and 3: THE CLASSICAL TRADITION
Page 4 and 5: THE CLASSICAL TRADITION GREEK AND R
Page 6 and 7: PREFACE T HIS book is an outline of
Page 8 and 9: PREFACE ix Elliot V. K. Dobbie; Cha
Page 10 and 11: ACKNOWLED xi Gallimard, Paris, from
Page 12 and 13: CONTENTS ABBREVIATIONS xxxvii CHAPT
Page 16 and 17: CONTENTS xvii Filostrato 90 Fiammet
Page 18 and 19: CONTENTS xix Amyntas and The Faithf
Page 20 and 21: CONTENTS xxi MONTAIGNE 185-93 Monta
Page 22 and 23: CONTENTS xxiii his 'invention' of t
Page 24 and 25: CONTENTS xxv Nationalism in languag
Page 26 and 27: CONTENTS xxvii Limitations of the '
Page 28 and 29: CONTENTS xxix Escape and fulfilment
Page 30 and 31: CONTENTS xxxi His favourites 419 Ho
Page 32 and 33: CONTENTS xxxiii Marius the Epicurea
Page 34 and 35: CONTENTS xxxv Myths as symbols of p
Page 36 and 37: ABBREVIATIONS The following convent
Page 38 and 39: I INTRODUCTION O UR modern world is
Page 40 and 41: 1. INTRODUCTION 3 which Milton and
Page 42 and 43: 1. INTRODUCTION 5 First of all, the
Page 44 and 45: 1. INTRODUCTION 7 but from the simp
Page 46 and 47: 1. INTRODUCTION 9 and teaching of J
Page 48 and 49: 1. INTRODUCTION 11 and at last it f
Page 50 and 51: 1. INTRODUCTION 13 their spelling a
Page 52 and 53: 1. INTRODUCTION 15 great that the a
Page 54 and 55: 1. INTRODUCTION 17 standards and to
Page 56 and 57: 1. INTRODUCTION 19 and strong, with
Page 58 and 59: 1. INTRODUCTION 21 fauns, Diana and
Page 60 and 61: 2. THE DARK AGES: ENGLISH LITERATUR
Page 62 and 63: 2. THE DARK AGES: ENGLISH LITERATUR
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2. THE DARK AGES: ENGLISH LITERATUR
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3. THE MIDDLE AGES: FRENCH LITERATU
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4. DANTE AND PAGAN ANTIQUITY 71 fur
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4. DANTE AND PAGAN ANTIQUITY 73 Thi
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4. DANTE AND PAGAN ANTIQUITY 75 str
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4. DANTE AND PAGAN ANTIQUITY 77 In
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4. DANTE AND PAGAN ANTIQUITY 79 tri
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5 TOWARDS THE RENAISSANCE PETRARCH,
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PETRARCH, BOCCACCIO, CHAUCER 83 liv
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PETRARCH, BOCCACCIO, CHAUCER 85 fir
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PETRARCH, BOCCACCIO, CHAUCER 87 the
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PETRARCH, BOCCACCIO, CHAUCER 89 BOC
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PETRARCH, BOCCACCIO, CHAUCER 91 if
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PETRARCH, BOCCACCIO, CHAUCER 93 pos
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PETRARCH, BOCCACCIO, CHAUCER 95 It
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PETRARCH, BOCCACCIO, CHAUCER 97 are
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PETRARCH, BOCCACCIO, CHAUCER 99 the
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PETRARCH, BOCCACCIO, CHAUCER 101 is
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PETRARCH, BOCCACCIO, CHAUCER 103 he
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6. THE RENAISSANCE: TRANSLATION 105
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7 THE RENAISSANCE DRAMA I N the Mid
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7. THE RENAISSANCE: DRAMA 129 and l
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7. THE RENAISSANCE: DRAMA 131 The i
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7. THE RENAISSANCE: DRAMA 133 passi
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7. THE RENAISSANCE: DRAMA 135 was n
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7. THE RENAISSANCE: DRAMA 137 the f
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7. THE RENAISSANCE: DRAMA 139 Masqu
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7. THE RENAISSANCE: DRAMA 141 a coc
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7. THE RENAISSANCE: DRAMA 143 insis
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8. THE RENAISSANCE: EPIC 145 the co
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8. THE RENAISSANCE: EPIC 147 and Ch
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8. THE RENAISSANCE: EPIC 149 Jealou
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8. THE RENAISSANCE: EPIC 151 No: li
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8. THE RENAISSANCE: EPIC 153 exampl
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8. THE RENAISSANCE: EPIC 155 Homeri
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8. THE RENAISSANCE: EPIC 157 It is
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8. THE RENAISSANCE: EPIC 159 begins
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8. THE RENAISSANCE: EPIC 161 is not
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y. THE RENAISSANCE: PASTORAL AND RO
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9. THE RENAISSANCE: PASTORAL AND RO
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10. RABELAIS AND MONTAIGNE 179 esta
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10. RABELAIS AND MONTAIGNE 181 by e
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10. RABELAIS AND MONTAIGNE 183 A si
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10. RABELAIS AND MONTAIGNE 185 empi
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10. RABELAIS AND MONTAIGNE 187 age
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10. RABELAIS AND MONTAIGNE 189 Diod
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10. RABELAIS AND MONTAIGNE 191 to c
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10. RABELAIS AND MONTAIGNE 193 gant
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11. SHAKESPEARE'S CLASSICS 195 firs
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11. SHAKESPEARE'S CLASSICS 197 fair
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11. SHAKESPEARE'S CLASSICS 199 are
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11. SHAKESPEARE'S CLASSICS 201 quot
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11. SHAKESPEARE'S CLASSICS 203 Plat
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11. SHAKESPEARE'S CLASSICS 205 diou
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11. SHAKESPEARE'S CLASSICS 207 In a
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11. SHAKESPEARE'S CLASSICS 209 inst
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11. SHAKESPEARE'S CLASSICS 211 can
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11. SHAKESPEARE'S CLASSICS 213 mult
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11. SHAKESPEARE'S CLASSICS 215 Amph
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11. SHAKESPEARE'S CLASSICS 217 are
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12 THE RENAISSANCE AND AFTERWARDS L
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LYRIC POETRY 221 Simple, private, e
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LYRIC POETRY 223 and pattern—not
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LYRIC POETRY 225 of the festival fo
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LYRIC POETRY 227 Horace is a solo s
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LYRIC POETRY 229 modern Anacreontic
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LYRIC POETRY 231 in 1513. Educated
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LYRIC POETRY 233 to write odes, and
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LYRIC POETRY 235 odes and those of
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LYRIC POETRY 237 one in Love's Labo
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LYRIC POETRY 239 This, then, is the
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LYRIC POETRY 241 This was little mo
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LYRIC POETRY 243 expressing genuine
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LYRIC POETRY 245 he knew no Greek.
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LYRIC POETRY 247 In France it was t
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LYRIC POETRY 249 His friend Milton
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LYRIC POETRY 251 Goethe admired Pin
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LYRIC POETRY 253 inheritance which
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13 TRANSITION WE have seen how, aft
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13. TRANSITION 257 (d) And finally,
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13. TRANSITION 259 decay creeping o
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14 THE BATTLE OF THE BOOKS T HERE w
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14. THE BATTLE OF THE BOOKS 263 a b
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14. THE BATTLE OF THE BOOKS 265 had
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14. THE BATTLE OF THE BOOKS 267 is
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14. THE BATTLE OF THE BOOKS 269 war
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14. THE BATTLE OF THE BOOKS 271 tio
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14. THE BATTLE OF THE BOOKS 273 as
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14. THE BATTLE OF THE BOOKS 275 Thi
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14. THE BATTLE OF THE BOOKS 277 of
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14. THE BATTLE OF THE BOOKS 279 gre
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14. THE BATTLE OF THE BOOKS 281 a v
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14. THE BATTLE OF THE BOOKS 283 'Th
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14. THE BATTLE OF THE BOOKS 285 bee
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14. THE BATTLE OF THE BOOKS 287 The
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15 A NOTE ON BAROQUE THE word 'baro
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15. A NOTE ON BAROQUE 291 Alessandr
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16 BAROQUE TRAGEDY I N poetry the m
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16. BAROQUE TRAGEDY 295 effective t
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16. BAROQUE TRAGEDY 297 (Always clo
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16. BAROQUE TRAGEDY 299 extravaganc
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16. BAROQUE TRAGEDY 301 Clarence's
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17 SATIRE T HE word 'satire' has no
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17. SATIRE 305 and Cyrano de Berger
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17. SATIRE 307 And easy, smiling, s
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17. SATIRE 309 writers gained addit
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17. SATIRE 3" Juvenal, and Alamanni
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17. SATIRE 313 not like it much bet
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17. SATIRE 315 ancestry of these ch
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17. SATIRE 317 are linked and the s
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17. SATIRE 319 However, all the 'cl
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17. SATIRE 321 poetic and emotional
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18. BAROQUE PROSE 323 of the ninete
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18. BAROQUE PROSE 325 Of this secon
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18. BAROQUE PROSE 327 Meanwhile ano
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18. BAROQUE PROSE 329 example. In M
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18. BAROQUE PROSE 331 naturalized.
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18. BAROQUE PROSE 333 1 like a trea
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18. BAROQUE PROSE 335 Such devices
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18. BAROQUE PROSE 337 of Fenelon's
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18. BAROQUE PROSE 339 Age, it stigm
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18. BAROQUE PROSE 341 for his work
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18. BAROQUE PROSE 343 To begin with
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18. BAROQUE PROSE 345 Roman world a
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18. BAROQUE PROSE 347 period from A
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18. BAROQUE PROSE 349 empire into t
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18. BAROQUE PROSE 351 was destroyed
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18. BAROQUE PROSE 353 merits of Rom
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19 THE TIME OF REVOLUTION § I. INT
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19. THE TIME OF REVOLUTION: INTRODU
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19. THE TIME OF REVOLUTION: GERMANY
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FRANCE AND THE UNITED STATES 391 to
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FRANCE AND THE UNITED STATES 393 in
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FRANCE AND THE UNITED STATES 395 co
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FRANCE AND THE UNITED STATES 397 na
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FRANCE AND THE UNITED STATES 399 co
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FRANCE AND THE UNITED STATES 401 Mi
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FRANCE AND THE UNITED STATES 403 se
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FRANCE AND THE UNITED STATES 405 th
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FRANCE AND THE UNITED STATES 407 re
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19. THE TIME OF REVOLUTION: ENGLAND
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19. THE TIME OF REVOLUTION: ITALY 4
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19. THE TIME OF REVOLUTION: CONCLUS
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20 PARNASSUS AND ANTICHRIST IN one
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20. PARNASSUS AND ANTICHRIST 439 in
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20. PARNASSUS AND ANTICHRIST 441 He
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20. PARNASSUS AND ANTICHRIST 443 sc
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20. PARNASSUS AND ANTICHRIST 445 an
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20. PARNASSUS AND ANTICHRIST 447 in
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20. PARNASSUS AND ANTICHRIST 449 Th
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20. PARNASSUS AND ANTICHRIST 451 me
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20. PARNASSUS AND ANTICHRIST 453 de
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20. PARNASSUS AND ANTICHRIST 455 Ro
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20. PARNASSUS AND ANTICHRIST 457 he
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20. PARNASSUS AND ANTICHRIST 459 he
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20. PARNASSUS AND ANTICHRIST 461 An
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20. PARNASSUS AND ANTICHRIST 463 Hy
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20. PARNASSUS AND ANTICHRIST 465 th
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21. A CENTURY OF SCHOLARSHIP 467 ci
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21. A CENTURY OF SCHOLARSHIP 469 Eg
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21. A CENTURY OF SCHOLARSHIP 471 of
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21. A CENTURY OF SCHOLARSHIP 473 fi
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21. A CENTURY OF SCHOLARSHIP 475 Ma
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21. A CENTURY OF SCHOLARSHIP 477 co
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21. A CENTURY OF SCHOLARSHIP 479 ra
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21. A CENTURY OF SCHOLARSHIP 481 ba
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21. A CENTURY OF SCHOLARSHIP 483 Ho
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21. A CENTURY OF SCHOLARSHIP 485 wi
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21. A CENTURY OF SCHOLARSHIP 487 Af
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21. A CENTURY OF SCHOLARSHIP 489 In
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21. A CENTURY OF SCHOLARSHIP 491 pa
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21. A CENTURY OF SCHOLARSHIP 493 ef
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21. A CENTURY OF SCHOLARSHIP 495 cl
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21. A CENTURY OF SCHOLARSHIP 497 of
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21. A CENTURY OF SCHOLARSHIP 499 Th
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22 THE SYMBOLIST POETS AND JAMES JO
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22. THE SYMBOLIST POETS AND JAMES J
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23. THE REINTERPRETATION OF THE MYT
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24 CONCLUSION W E have come a long
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24. CONCLUSION 543 or fifteen centu
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24. CONCLUSION 545 into Greek-speak
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24. CONCLUSION 547 Christianity and
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24. CONCLUSION 549 and Milton and T
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BRIEF BIBLIOGRAPHY 551 4 H. BROWN,
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BRIEF BIBLIOGRAPHY 553 13. R. NEWAL
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BRIEF BIBLIOGRAPHY 555 24. The Warb
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NOTES ON 1. INTRODUCTION 557 moment
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NOTES ON 1. INTRODUCTION 559 (A.D.
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NOTES ON 1. INTRODUCTION 561 500 ye
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NOTES ON 2. DARK AGES: ENGLISH LITE
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ENGLISH LITERATURE 565 gospel, but
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ENGLISH LITERATURE 567 21. See D. M
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ENGLISH LITERATURE 569 establish an
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ENGLISH LITERATURE 571 Boethius' bo
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ENGLISH LITERATURE 573 67. Alfred m
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FRENCH LITERATURE S7S Trojan war wa
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FRENCH LITERATURE 577 22. Sidney, A
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FRENCH LITERATURE 579 see C. S. Lew
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FRENCH LITERATURE 581 l'us dis lo v
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FRENCH LITERATURE 583 (Adu. Iouin.
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NOTES ON 4. DANTE AND PAGAN ANTIQUI
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NOTES ON 4. DANTE AND PAGAN ANTIQUI
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NOTES ON 5. TOWARDS THE RENAISSANCE
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NOTES ON 6. THE RENAISSANCE: TRANSL
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NOTES ON 6. THE RENAISSANCE: TRANSL
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NOTES ON 7. THE RENAISSANCE: DRAMA
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NOTES ON 7. THE RENAISSANCE: DRAMA
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NOTES ON 8. THE RENAISSANCE: EPIC 6
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PASTORAL AND ROMANCE 613 17. For th
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NOTES ON 10. RABELAIS AND MONTAIGNE
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NOTES ON 10. RABELAIS AND MONTAIGNE
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NOTES ON 11. SHAKESPEARE'S CLASSICS
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Page 664 and 665:
Page 666 and 667:
NOTES ON 12. LYRIC POETRY 629 Did P
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NOTES ON 12. LYRIC POETRY 631 (Du B
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NOTES ON 12. LYRIC POETRY 633 54. P
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NOTES ON 12. LYRIC POETRY 635 The p
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NOTES ON 12. LYRIC POETRY 637 95. T
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NOTES ON 13. TRANSITION 639 patrona
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NOTES ON 14. THE BATTLE OF THE BOOK
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Page 682 and 683:
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NOTES ON 15. A NOTE ON BAROQUE 647
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NOTES ON 16. BAROQUE TRAGEDY 649 10
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NOTES ON 17. SATIRE 651 23. These f
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NOTES ON 17. SATIRE 653 37. Juvenal
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NOTES ON 18. BAROQUE PROSE 655 gene
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NOTES ON 18. BAROQUE PROSE 657 35.
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NOTES ON 18. BAROQUE PROSE 659 reco
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NOTES ON 18. BAROQUE PROSE 661 Roma
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1. INTRODUCTION 663 Greece and Germ
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2. GERMANY 665 mann published in th
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2. GERMANY 667 38. On this see Kell
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2. GERMANY 669 feat is impossible t
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3. FRANCE AND U.S.A. 671 Rousseau s
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3. FRANCE AND U.S.A. 673 31. Vergil
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675 Notes on 19. THE TIME OF REVOLU
Page 714 and 715:
4. ENGLAND 677 16. Wordsworth, pref
Page 716 and 717:
4. ENGLAND 679 53. See N. I. White
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5. ITALY 681 disdain of classical l
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6. CONCLUSION 683 2. Ovid, Tristia
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NOTES ON 20. PARNASSUS AND ANTICHRI
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NOTES ON 21. A CENTURY OF SCHOLARSH
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NOTES ON 22. THE SYMBOLISTS AND JOY
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NOTES ON 22. THE SYMBOLISTS AND JOY
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701 Notes on 23. THE REINTERPRETATI
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THE REINTERPRETATION OF THE MYTHS 7
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70S Notes on 24. CONCLUSION 1. For
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INDEX Important references are show
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458; modern French drama, 537; Raci
Page 748 and 749:
INDEX Astyanax, 144. asymmetry, 324
Page 750 and 751:
Belial, 150, 160, 521. Bell, Aubrey
Page 752 and 753:
INDEX 715 bucolic poets, 162-3, 375
Page 754 and 755:
Chateaubriand, works, 435; The Geni
Page 756 and 757:
Claudius, emperor, 304, 670. clausu
Page 758 and 759:
dancing, 219, 220-2, 224-6, 234, 24
Page 760 and 761:
dominae, 578. Domitian, 314, 578. d
Page 762 and 763:
encyclopaedias, 8, 15, 48, 67, 98,
Page 764 and 765:
Dead, 279; Digression on the Ancien
Page 766 and 767:
Godeau, 280. Godfrey de Bouillon, 1
Page 768 and 769:
INDEX H.D., 541. Habert, 116, 125.
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286-7, 368, 375, 416, 419, 430, 446
Page 772 and 773:
Isidore, in Timon of Athens, 197; o
Page 774 and 775:
Klinger, F. M. von, Sturm und Drang
Page 776 and 777:
literature, and civilization, 275-6
Page 778 and 779:
Marat, 391, 393, 395. Marcellus, ca
Page 780 and 781:
mistletoe, 698. mistranslations, 96
Page 782 and 783:
Neue Jahrbucher fur das klassische
Page 784 and 785:
676; modern, 85, 88, 89-90, 91, 92-
Page 786 and 787:
388, 394-5, 409-12. 417, 420, 439,
Page 788 and 789:
Propylaea, 664. prose, 242, 322, 32
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INDEX 753 Robespierre, Maximilien,
Page 792 and 793:
Saliat, Pierre, 116, 189. Sallust,
Page 794 and 795:
61, 199, 205, 618; Sonnets, 58, 179
Page 796 and 797:
symbolism, in literature, 32, 63-4,
Page 798 and 799:
Tuileries, 396, 633. Tuim, Jehan de
Page 800:
Winchester, city, 46; College, 11,
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