hide Matching Documents

The documents where this entity occurs most often are shown below. Click on a document to open it.

Document Max. Freq Min. Freq
C. Suetonius Tranquillus, The Lives of the Caesars (ed. Alexander Thomson) 16 0 Browse Search
Epictetus, Works (ed. George Long) 14 0 Browse Search
Epictetus, Works (ed. Thomas Wentworth Higginson) 12 0 Browse Search
Cornelius Tacitus, The Annals (ed. Alfred John Church, William Jackson Brodribb) 10 0 Browse Search
C. Suetonius Tranquillus, The Lives of the Caesars (ed. Alexander Thomson) 10 0 Browse Search
C. Suetonius Tranquillus, The Lives of the Caesars (ed. Alexander Thomson) 6 0 Browse Search
C. Suetonius Tranquillus, The Lives of the Caesars (ed. Alexander Thomson) 6 0 Browse Search
C. Suetonius Tranquillus, The Lives of the Caesars (ed. Alexander Thomson) 6 0 Browse Search
Cornelius Tacitus, A Dialogue on Oratory (ed. Alfred John Church, William Jackson Brodribb) 4 0 Browse Search
Cornelius Tacitus, The Life of Cnæus Julius Agricola (ed. Alfred John Church, William Jackson Brodribb) 4 0 Browse Search
View all matching documents...

Browsing named entities in Q. Horatius Flaccus (Horace), The Art of Poetry: To the Pisos (ed. C. Smart, Theodore Alois Buckley). You can also browse the collection for Nero (Ohio, United States) or search for Nero (Ohio, United States) in all documents.

Your search returned 1 result in 1 document section:

Q. Horatius Flaccus (Horace), The Art of Poetry: To the Pisos (ed. C. Smart, Theodore Alois Buckley), line 189 (search)
th been said, in general, concerning the refinement of theatrical music to the case of tragedy. Some commentators say, and to comedy. But in this they mistake, as will appear presently. M. Dacier hath I know not what conceit about a comparison betwixt the Roman and Greek stage. His reason is, that the lyre was used in the Greek chorus, as appears, lie says, from Sophocles playing upon this instrument himself in one of his tragedies. And was it not used too in the Roman chorus, as appears from Nero's playing upon it in several tragedies? But the learned critic did not apprehend this matter. Indeed, from the caution with which his guides, the dealers in antiquities, always touch this point, it should seem that they too had no very clear conception of it. The case I take to have been this: the tibia, as being most proper to accompany the declamation of the acts, cantanti succinere, was constantly employed, as well in the Roman tragedy as comedy. This appears from many authorities. I menti