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Browsing named entities in a specific section of Q. Horatius Flaccus (Horace), The Art of Poetry: To the Pisos (ed. C. Smart, Theodore Alois Buckley). Search the whole document.

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Washington (United States) (search for this): card 189
t first low and simple. The first, as best agreeing to the then state of the stage, which required only a soft music to go along with and assist the chorus, there being no large and crowded theaters to fill in those days. And the latter, as suiting best to the then state of the times, whose simplicity and frugal manners exacted the severest temperance, as in every thing else, so in their dramatic ornaments and decorations. But, when conquest had enlarged the territory and widened the walls of Rome, and, in consequence thereof, a social spirit had dispelled that severity of manners, by the introduction of frequent festival solemnities, then, as was natural to expect, a freer and more varied harmony took place. And thus it was, that the tibicen, the musician who played to the declamation in the acts, instead of the rude and simpler strain of the old times, gave a richness and variety of tone; and instead of the old inactive posture, added the grace of motion to his art. Just in the same
Nero (Ohio, United States) (search for this): card 189
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
Bentley (Canada) (search for this): card 189
m affection or interest. Though even these may be supposed, in cases where the character toward which they draw is represented as virtuous. A chorus, thus constituted, must always, it is evident, take the part of virtue: because this is the natural, and almost necessary determination of mankind, in all ages and nations, when acting freely and unconstrained. and give them friendly advice, and regulate the passionate, and love to appease thou who swell [with rage]:I read pacare tumentes, with Bentley, Orelli, and others. let them praise the repast of a short meal, the salutary effects of justice, laws, and peace with her open gates; let them conceal what is told to them in confidence,The Choriphaeus was present through the whole play, and was often necessarily intrusted with the secrets of the persons of the drama. To preserve the probability, the poets chose a chorus, that was obliged by their own interest to keep those secrets, and without acting contrary to their duty. Euripides hath
Horace (North Dakota, United States) (search for this): card 189
a quicker elocution, such as must of course attend the more numerous harmony of the lyre: not, as M. Dacier translates it, "une eloquence temeraire et outrée," an extravagant straining and affectation of style. 2. From the reason of the thing, which makes it incredible that the music of the theater should then be most complete, when the times were barbarous, and entertainments of this kind little encouraged or understood. 3. From the character of that music itself; for the rudeness of which, Horace, in effect, apologizes, in defending it only on the score of the imperfect state of the stage, and the simplicity of its judges. This then being clear, I observe, II. That those two verses, Indoctus quid enim saperet liberque laborum, Rusticus urbane confusus, turpis honesto? (212-213) are, as they now stand, utterly inexplicable. This hath appeared long since, from the fruitless labors of the critics, and, above all, of Lambin, one of the best of them, who, after several repeated efforts t
Pytho (Greece) (search for this): card 189
of the tragic chorus, these happening, as from the nature of the thing they must, at the same time. new movements and a luxuriance to the ancient art, and strutting backward and forward, drew a length of train over the stage; thus likewise new notes were added to the severity of the lyre, and precipitate eloquence produced an unusual language [in the theater]: and the sentiments [of the chorus, then] expert in teaching useful things and prescient of futurity, differ hardly from the oracular Delphi.Sententia Delphis.Hor. Ars 219 Sententia is properly an aphorism taken from life, briefly representing either what is or what ought to be the conduct of it: "Oratio sumpta de vita, quae aut quid sit aut quid esse oporteat in vita, breviter ostendit." (Ad Herenn. Rhet. 1. iv.) These aphorisms are here mentioned, as constituting the peculiar praise and beauty of the chorus. This is finely observed, and was intended to convey an oblique censure on the practice of those poets, who stuff out ever
Cicero (Wisconsin, United States) (search for this): card 189
egard to numbers and sounds, like that in another place, which respects words (l. 51), is one of those which is allowed, when sumpta pudenter. The comparative major, which is a palliative, shows this; and is further justified by a like passage in Cicero de Oratore (I. iii. c. 48), where, speaking of this very license in poetry, he observes, that out of the heroic and iambic measure, which was at first strictly observed, there arose by degrees the anapaest, "procerior quidam numerus, et ille licein ea" (i. e. poetica), says he, "licentiam statuo majorem esse, quam in nobis faciendorum iungendorumque verborum." The poet says this license extended "numeris modisque," the former of which words will express that license of meter spoken of by Cicero, and which is further explained, v. 256, etc., where an account is given of the improvement of the iambic verse. HURD. For what taste could an unlettered clown and one just dismissed from labors have, when in company with the polite; the base, wi
Hurd (Arkansas, United States) (search for this): card 189
e expression itself occurs in the piece entitled "Orator," in which, comparing the freedoms of the poetical and oratorical style, "in ea" (i. e. poetica), says he, "licentiam statuo majorem esse, quam in nobis faciendorum iungendorumque verborum." The poet says this license extended "numeris modisque," the former of which words will express that license of meter spoken of by Cicero, and which is further explained, v. 256, etc., where an account is given of the improvement of the iambic verse. HURD. For what taste could an unlettered clown and one just dismissed from labors have, when in company with the polite; the base, with the man of honor? Thus the musician addedSic priscae … arti tibicenHor. Ars 215, etc. — Sic etiam fidibusHor. Ars 216, etc. This is the application of what hath 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
Cicero (New York, United States) (search for this): card 189
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 mention only two from Cicero. (Acad. 1. ii. 7) "Quam multa quae nos fugiunt in cantu, exaudiunt in eo genere exercitati: Qui, primo inflatu tibicinis, Antiopam esse aiunt aut Andromachem, cum nos ne suspicemur quidem." The other is still more express. In his piece entitled "Orator," speaking of the negligence of the Roman writers in respect of numbers, he observes, that there were even many passages in their tragedies, which, unless the tibia played to them, could not be distinguished from mere prose: "quae nisi cum tib