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

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CONTENTS xxix Escape and fulfilment 365 physical 365 psychical 366 aesthetic 366 2. GERMANY 367-90 The sixteenth-century Renaissance did not affect Germany 367 Nor did the ideals of the baroque age in literature stir her 368 The German Renaissance began in the mid-eighteenth century 369 Winckelmann 369 His English predecessors 369 His History of Art among the Ancients 370 Lessing 371 Laocoon 371 the legend 371 the group 372 why it was admired 372 Other works 374 Voss 375 Enthusiasm for Greek in Germany: Herder and Goethe 375 Difficulty of assimilating Greek influences 376 Schiller 376 The Gods of Greece 376 Holderlin 377 parallel to Keats 378 Goethe 379 His love for Greek 379 His escape to Rome 380 Iphigenia 380 Roman Elegies 380 Xenia 382 Hermann and Dorothea: a Homeric idyll 382 "Wood's Essay on the Original Genius of Homer 383 Wolf's Introduction to Homer 383 his arguments and their conclusions 384 their effect on scholars and writers 385 Goethe's varying reactions to them 386 Faust II 386 What does Helen of Troy symbolize ? 387 physical beauty 387 aesthetic experience 387 Greek culture 387 its difficulty and loftiness 388 its transience for modern men 388 Euphorion and the revolutionary poets 388 Faust the German and Helen the Greek 389 3. FRANCE AND THE UNITED STATES 390-407 Classical influences were a leading factor in the French Revolution 390-9
xxx CONTENTS Their expression in art: David 391 in music: Gluck 392 in political morality: Rousseau 392 the idealized Sparta 394 the inspiration of Plutarch 395 in political symbolism 396 in oratory and statesmanship 397 Parallel expressions in the American revolution 399—401 institutions, illustrations, mottoes 399 names of places 399 President Jefferson as a humanist 400 French literature of the revolution 401-5 Andre Chenier 401 his brother Marie-Joseph 401 his poetry 402 Chateaubriand 403 The Martyrs 403 The Genius of Christianity 404 The heir of the revolution: Victor Hugo 405—7 his revolution in the poetic vocabulary 405 his love and scorn of Vergil 406 his revulsion from the discipline of the classics 407 4. ENGLAND 408-23 What did Greek and Roman civilization and literature mean for the English poets of the revolutionary age ? 408 Wordsworth might seem to be alien from classical influence 408 as a child of nature 408 as a poet who rarely imitated other poets 408 as inventor of a new pastoral 409 But for Wordsworth the classics meant spiritual nobility 409 Roman history 409 Stoic philosophy 410 Platonism 411 control of emotion 412 Byron's attitude to Greece and Rome was equivocal 412 he knew much classical literature 413 but bad teaching prevented him from accepting its full power 413 He preferred the countries themselves, and their ideals 415 Keats compared to Shakespeare 415 How he got his classical knowledge 415 Latin books; translations; dictionaries; other authors 415 the Elgin Marbles and Greek vases 416 The gaps in his knowledge as they affected his poetry 417 For Keats Greek poetry and art meant beauty 417 Shelley compared to Milton 418 His wide knowledge of Greek and Latin 418
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 14 and 15: CONTENTS xv AElfric 46 translations
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 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
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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
Page 600 and 601:
NOTES ON 2. DARK AGES: ENGLISH LITE
Page 602 and 603:
ENGLISH LITERATURE 565 gospel, but
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ENGLISH LITERATURE 567 21. See D. M
Page 606 and 607:
ENGLISH LITERATURE 569 establish an
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ENGLISH LITERATURE 571 Boethius' bo
Page 610 and 611:
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.
Page 622 and 623:
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
Page 628 and 629:
Page 630 and 631:
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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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Page 644 and 645:
Page 646 and 647:
Page 648 and 649:
Page 650 and 651:
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 660 and 661:
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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
Page 678 and 679:
NOTES ON 14. THE BATTLE OF THE BOOK
Page 680 and 681:
Page 682 and 683:
Page 684 and 685:
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
Page 710 and 711:
3. FRANCE AND U.S.A. 673 31. Vergil
Page 712 and 713:
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
Page 718 and 719:
5. ITALY 681 disdain of classical l
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6. CONCLUSION 683 2. Ovid, Tristia
Page 722 and 723:
NOTES ON 20. PARNASSUS AND ANTICHRI
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Page 726 and 727:
Page 728 and 729:
NOTES ON 21. A CENTURY OF SCHOLARSH
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Page 732 and 733:
Page 734 and 735:
NOTES ON 22. THE SYMBOLISTS AND JOY
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NOTES ON 22. THE SYMBOLISTS AND JOY
Page 738 and 739:
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
Page 744 and 745:
INDEX Important references are show
Page 746 and 747:
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.
Page 770 and 771:
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
Page 790 and 791:
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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