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Polybius, Histories 602 0 Browse Search
M. Tullius Cicero, Orations, for Quintius, Sextus Roscius, Quintus Roscius, against Quintus Caecilius, and against Verres (ed. C. D. Yonge) 226 0 Browse Search
Titus Livius (Livy), History of Rome, books 1-10 (ed. Rev. Canon Roberts) 104 0 Browse Search
Titus Livius (Livy), History of Rome, books 1-10 (ed. Rev. Canon Roberts) 102 0 Browse Search
Cornelius Tacitus, The History (ed. Alfred John Church, William Jackson Brodribb) 92 0 Browse Search
John Conington, Commentary on Vergil's Aeneid, Volume 1 90 0 Browse Search
Titus Livius (Livy), History of Rome, books 1-10 (ed. Rev. Canon Roberts) 80 0 Browse Search
Pausanias, Description of Greece 80 0 Browse Search
M. Tullius Cicero, Orations, The fourteen orations against Marcus Antonius (Philippics) (ed. C. D. Yonge) 78 0 Browse Search
John Conington, Commentary on Vergil's Aeneid, Volume 2 70 0 Browse Search
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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 Rome (Italy) or search for Rome (Italy) in all documents.

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Q. Horatius Flaccus (Horace), The Art of Poetry: To the Pisos (ed. C. Smart, Theodore Alois Buckley), line 220 (search)
octus quid enim saperet liberque laborum, Rusticus urbane confusus, turpis honesto?" The rusticus and turpis demanded the satyric piece. It was the necessary result of this mixutre; as, to gratify the better sort, the urbanus and honestus, the tragic drama was exhibited. It is some prejudice in favor of this conjecture, that it explains to us, what would otherwise appear very strange, that such gross ribaldry, as we know the Atellanes consisted of, could ever be endured by the politest age of Rome. But scenical representations being then intended, not as in our days, for the entertainment of the better sort, but on certain great solemnities, indifferently for the diversion of the whole city, it became necessary to consult the taste of the multitude, as well as of those, quibus est equus et pater et res.Hor. Ars 248 and disorderly, was to be amused with captivating shows and agreeable novelty. But it will be expedient so to recommend the bantering, so the rallying satyrs, so to turn ear
Q. Horatius Flaccus (Horace), The Art of Poetry: To the Pisos (ed. C. Smart, Theodore Alois Buckley), line 275 (search)
, and is so called because the praetexta was the distinguishing habit of such persons; 2. Tabernaria, frequently called Togata, though that word, as we have seen, had properly a larger sense. 3. Atellana. 4. Planipedis." He next marks the difference of these several sorts of the Togatae from the similar corresponding ones of the Palliatae, which are these: 1. "Tragoedia, absolutely so styled. 2. Comoedia. 3. Satyri. 4. Mi=mos." (These four sorts of the Palliatae were also probably in use at Rome; certainly, at least, the two former.) It appears then from thence, that praetextata was properly the Roman tragedy. But he adds, "Togata praetextata a tragoedia differt" and it is also said, "to be only like tragedy, tragoediae similis." What is this difference and this likeness? The explanation follows. "Heroes are introduced into tragedy, such as Orestes, Chryses, and the like. In the praetextata, Brutus, Decius, or Marcellus." So then we see when Grecian characters were introduced, it was