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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).

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Rhine (search for this): card 1
n a criticism on the drama, to expose the vicious practice of the epic models. Though, to preserve the unity of his piece, and for a further reason (see note on v. 1), he hath artfully done this under the cover of general criticism. and such as promise a great deal, it generally happens that one or two verses of purple patch-work, that may make a great show, are tagged on; as when the grove and the altar of Diana and the meandering of a current hastening through pleasant fields, or the river Rhine, or the rainbow is described. But here there was no room for these [fine things]: perhaps, too, you know how to draw a cypress:Boughs of cypress were carried in funeral processions, and placed before the houses of the great, upon particular occasions of sorrow, Et non plebeios luctus testata cupressus. Lucan. From hence, perhaps, this tree was usually drawn in votive tablets; in pictures carried by beggars, to excite charity; and in those used by lawyers in courts of justice, to raise the co
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
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
Attica (Greece) (search for this): card 275
ThespisThespis. A native of Icarius, a village in Attica, to whom the invention of the drama has been ascribed. Before his time there were no performers except the chorus. He led the way to the formation of a dramatic plot and language, by directing a pause in the performance of the chorus, during which he came forward and recited with gesticulation a mythological story. Comp. note Epist. ii. 1. 163. The date is thus given by the Par. Chron. Boeckh.: *)Af' ou)= *Qe/spis o( poihth\s e)fa/nh, prw=tos o(\s e(di/dace dra=ma e)n a)/stei kai\ e)te/qh o( tra/gos a)=qlon e)/th *H*H*P*D*D, a)/rxontos *)Aqh/nhsie … nai/ou tou= prote/rou. Quod ad annum attinet, consistendum sane in Olymp. 61, eiusque tribus prioribus annis. Boeckh. in Chr. is said to have invented a new kind of tragedy, and to have carried his pieces about in carts, which [certain strollers], who had their faces besmeared with lees of wine, sang and acted. After him Aeschylus, the inventor of the vizard mask and decent robe, l
Rome (Italy) (search for this): card 275
, 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
Italy (Italy) (search for this): card 275
Orestes, Chryses, and the like. In the praetextata, Brutus, Decius, or Marcellus." So then we see when Grecian characters were introduced, it was called simply tragoedia; when Roman, praetextata; yet both, tragedies. The sole difference lay in the persons being foreign or domestic. The correspondence in every other respect was exact. The same is observed of the Roman comedy; when it adopted Greek characters, it was called comoedia; when Roman, togata tabernaria, or togata, simply. Nor would Italy be raised higher by valor and feats of arms, than by its language, did not the fatigue and tediousness of using the file disgust every one of our poets. Do you, the descendants of Pompilius, reject that poem, which many days and many a blot have not ten times subdued to the most perfect accuracy. Because Democritus believes that genius is more successful than wretched art, and excludes from Helicon all poets who are in their senses, a great number do not care to part with their nails or bear
Gesner (Oregon, United States) (search for this): card 419
, rich in money put out at interest, invites flatterers to come [and praise his works] for a reward. But if he be one who is well able to set out an elegant table,But compare MCCAUL's note: "Unctum. A savory dish, a delicacy. Comp. note, Epist. i. 15, 44, and 17, 12. Thus Pers. Sat. i. 50: 'Calidum scis ponere sumen, Scis comitem horridulum trita donare lacerna,' etc., where scis is a kind of comment on possit here as calidum sumen on unctum. Comp. also Sat. vi. 15: 'aut coenare sine uncto.' Gesner and Doering, however, explain unctum as used for convivam (note, Epist. i. 17, 12), and ponere for collocare, to place at table on a couch." and give security for a poor man, and relieve him when entangled in gloomy law-suits; I shall wonder if with his wealth he can distinguish a true friend from a false one. You, whether you have made, or intend to make, a present to any one, do not bring him full of joy directly to your finished verses: for then he will cry out, "Charming, excellent, judi
Aetna (Canada) (search for this): card 453
ditch while he belches out his fustian verses and roams about, though he should cry out for a long time, "Come to my assistance, 0 my countrymen;" not one would give himself the trouble of taking him up. Were any one to take pains to give him aid, and let down a rope; "How do you know, but he threw himself in hither on purpose?" I shall say: and will relate the death of the Sicilian poet. Empedocles, while he was ambitious of being esteemed an immortal god, in cold blood leaped into burning Aetna.Ardentem frigidus Aetnam insiluit.Hor. Ars 465 "In cold blood, deliberately." Horace, by playing on the words ardentum frigidus, would show that he did not believe the story, and told it as one of the traditions, which poets may use without being obliged to vouch the truth of them. The pleasantry continues, when he says, it is murder to hinder a poet from killing himself; a maxim, which could not be said seriously. Let poets have the privilege and license to die [as they please]. He who sav
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
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