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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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Cyclops (Arizona, United States) (search for this): card 220
nd of tragic comedies among the Greeks, which they called Satyrs, because the chorus was formed of Satyrs, who sung the praises of Bacchus between the acts, and said a thousand low pleasantries. The only piece of this kind remaining to us is the Cyclops of Euripides, in which Ulysses is the principal actor. The Romans, in imitation of the Greek Satyrs, had their Atellanae, so called from Atella, the city where they were first played. and attempted raillery with severity, still preserving the gr" (72-76) St. Jerome hath finely imitated this passage: "our vices oblige us to play many characters, for every vice wears a different mask. Thus in a theater, the same person plays a robust and nervous Hercules, a dissolute Venus, and a furious Cyclops." conspicuous in regal purple and gold, may deviate into the low style of obscure, mechanical shops; or, [on the contrary,] while he avoids the ground, affect cloudy mist and empty jargon. TragedyIndigna tragoedia versus.Hor. Ars 231 Horace mea
Atella (Italy) (search for this): card 220
tragic verse for the paltry [prize of a] goat, soon after exposed to view wild satyrs naked,There was a kind of tragic comedies among the Greeks, which they called Satyrs, because the chorus was formed of Satyrs, who sung the praises of Bacchus between the acts, and said a thousand low pleasantries. The only piece of this kind remaining to us is the Cyclops of Euripides, in which Ulysses is the principal actor. The Romans, in imitation of the Greek Satyrs, had their Atellanae, so called from Atella, the city where they were first played. and attempted raillery with severity, still preserving the gravity [of tragedy]: because the spectator on festivals, when heated with winePotus et exlex.Hor. Ars 224 The lines, Indoctus quid enim saperet liberque laborum Rusticus urbane confusus, turpis honesto (212-213) were, I observed, certainly misplaced. They should, I think, come in here, where their sense is extremely pertinent. The poet had been speaking of the satyric drama, which, says he,
Rome (Italy) (search for this): card 220
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