This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.
quadgram | frequency |
---|---|
at the same time | 81 |
in the case of | 29 |
of the greek race | 25 |
in the same way | 19 |
the works and days | 18 |
on the other hand | 18 |
in the age of | 16 |
that is to say | 16 |
one of the most | 16 |
for the sake of | 16 |
the history of the | 16 |
the end of the | 16 |
it is clear that | 16 |
in the midst of | 15 |
the spirit of the | 15 |
at the end of | 15 |
the action of the | 15 |
it may be said | 14 |
the subject of the | 14 |
in the history of | 13 |
is said to have | 13 |
in a great measure | 13 |
it is probable that | 13 |
the same time the | 13 |
of the house of | 13 |
the life of the | 12 |
the genius of the | 12 |
for the first time | 12 |
it is impossible to | 12 |
it is enough to | 12 |
for the most part | 12 |
as in the case | 12 |
with the spirit of | 12 |
edges and gilt tops | 11 |
at the time of | 11 |
uncut edges and gilt | 11 |
seems to have been | 11 |
the opening of the | 10 |
of the human race | 10 |
the nature of the | 10 |
the age of the | 10 |
and at the same | 10 |
of the persian war | 10 |
the soul of man | 10 |
of the works and | 10 |
into the mouth of | 10 |
side by side with | 10 |
in course of time | 10 |
the house of atreus | 10 |
sense of the word | 10 |
the grandeur of the | 9 |
be said about the | 9 |
in the life of | 9 |
with a view to | 9 |
of thought and feeling | 9 |
seem to have been | 9 |
may be said in | 9 |
was a native of | 9 |
the case of the | 9 |
at the hands of | 8 |
spirit of the greeks | 8 |
may be gathered from | 8 |
in the character of | 8 |
it will be seen | 8 |
it is difficult to | 8 |
the fragments of the | 8 |
the climax of the | 8 |
be said in passing | 8 |
of the attic drama | 8 |
the order of the | 8 |
the time of the | 8 |
in the spirit of | 8 |
may be taken as | 8 |
the tale of thebes | 8 |
the race of men | 8 |
is reported to have | 8 |
of the greek genius | 8 |
from the fact that | 8 |
is one of the | 8 |
the function of the | 7 |
genius of the greeks | 7 |
the conduct of the | 7 |
this point of view | 7 |
the son of peleus | 7 |
is probable that the | 7 |
in the hands of | 7 |
of the human mind | 7 |
he seems to have | 7 |
what we know about | 7 |
of the greek drama | 7 |
the age in which | 7 |
in harmony with the | 7 |
this is not the | 7 |
an integral part of | 7 |
was one of the | 7 |
the character of achilles | 7 |
the beauty of the | 7 |
as well as of | 7 |
it is necessary to | 7 |
from this point of | 7 |
by the name of | 7 |
the character of the | 7 |
the triumph of the | 7 |
in so far as | 7 |
it is not a | 7 |
be regarded as the | 7 |
the eyes of the | 7 |
in the light of | 7 |
is clear that the | 6 |
of the divine in | 6 |
the plays of aristophanes | 6 |
for the creation of | 6 |
it is well known | 6 |
the house of the | 6 |
the thought of death | 6 |
the author of the | 6 |
on the one hand | 6 |
the death of patroclus | 6 |
of the character of | 6 |
the greeks of the | 6 |
a work of art | 6 |
a part of the | 6 |
of the life of | 6 |
government of the world | 6 |
to prove that the | 6 |
of achilles in the | 6 |
to believe that the | 6 |
the house of laius | 6 |
there is no doubt | 6 |
may be regarded as | 6 |
of the divine government | 6 |
is proved by the | 6 |
in spite of its | 6 |
the second drama of | 6 |
the same may be | 6 |
nothing can be more | 6 |
the poet of the | 6 |
the seven against thebes | 6 |
been preserved to us | 6 |
of the fragments of | 6 |
the poets of the | 6 |
it is true that | 6 |
integral part of the | 6 |
of art and literature | 6 |
under the influence of | 6 |
a portion of the | 6 |
to set forth the | 6 |
the hands of the | 6 |
the spirit of greek | 6 |
of the greek spirit | 6 |
the same time he | 6 |
the structure of the | 6 |
over and over again | 6 |
to the end of | 6 |
sold only in sets | 6 |
in the course of | 6 |
the difference between the | 6 |
of the mythopoeic faculty | 6 |
period of greek literature | 6 |
the point of view | 6 |
in which he describes | 6 |
same may be said | 6 |
must have been the | 6 |
of the tragic art | 6 |
in the prime of | 6 |
of gods and men | 6 |
the choruses of the | 6 |
of the attic stage | 6 |
of the age of | 6 |
to have been the | 6 |
is not a little | 6 |
the sense of beauty | 5 |
the study of the | 5 |
order of the world | 5 |
of dealing with the | 5 |
the poet and the | 5 |
be gathered from the | 5 |
with reference to the | 5 |
the beginning of the | 5 |
of the greeks was | 5 |
to that of the | 5 |
the same way as | 5 |
of gods and heroes | 5 |
way of dealing with | 5 |
in the work of | 5 |
in favor of the | 5 |
we are justified in | 5 |
the student of greek | 5 |
from an unknown play | 5 |
in spite of all | 5 |
it was only in | 5 |
by the light of | 5 |
of the origin of | 5 |
face to face with | 5 |
into the sphere of | 5 |
the anthology of cephalas | 5 |
to be regarded as | 5 |
may be said to | 5 |
in the middle ages | 5 |
the battle of salamis | 5 |
it is in the | 5 |
we do not know | 5 |
a few of the | 5 |
when compared with the | 5 |
of the seven sages | 5 |
in the works of | 5 |
some of the most | 5 |
but it is not | 5 |
when we remember that | 5 |
the whole of the | 5 |
the ancient and the | 5 |
the life of man | 5 |
on the side of | 5 |
in the language of | 5 |
in the eyes of | 5 |
within the sphere of | 5 |
of the prometheus unbound | 5 |
the minds of the | 5 |
of the anthology of | 5 |
at the opening of | 5 |
which he describes the | 5 |
it is noticeable that | 5 |
with regard to the | 5 |
reason to suppose that | 5 |
it is only by | 5 |
will be seen that | 5 |
in order that the | 5 |
the pathos of the | 5 |
it is better to | 5 |
order of the universe | 5 |
of the greek poets | 5 |
to account for the | 5 |
in order to make | 5 |
the nature of his | 5 |
may be referred to | 5 |
the character of helen | 5 |
with the whole of | 5 |
the statues of the | 5 |
the women of homer | 5 |
action of the play | 5 |
on the one side | 5 |
the fact that the | 5 |
of the senses and | 5 |
of the greeks in | 5 |
the greeks in their | 5 |
we must remember that | 5 |
may be said about | 5 |
the land of the | 5 |
at athens during the | 5 |
of hero and leander | 5 |
it is interesting to | 5 |
the voice of the | 5 |
of good and evil | 5 |
the same kind of | 5 |
childhood of the world | 5 |
in the poems of | 5 |
the lips of the | 5 |
in the first place | 5 |
in which he lived | 5 |
it is not the | 5 |
to the age of | 5 |
in the region of | 5 |
of the greeks for | 5 |
be regarded as a | 5 |
fragments of his poem | 5 |
be borne in mind | 5 |
drama of the trilogy | 5 |
that he should have | 5 |
as we have seen | 5 |
in the style of | 5 |
of the peloponnesian war | 5 |
the age of pericles | 5 |
to have been a | 5 |
of this kind of | 5 |
at the beginning of | 5 |
of the genius of | 5 |
in the mouth of | 4 |
the period of the | 4 |
of the middle ages | 4 |
in the house of | 4 |
supposed to have been | 4 |
at the moment of | 4 |
may have been the | 4 |
can only be paralleled | 4 |
been said about the | 4 |
of the nineteenth century | 4 |
the study of greek | 4 |
by the comic poets | 4 |
the character of oedipus | 4 |
is well known that | 4 |
into the region of | 4 |
the creation of a | 4 |
in the person of | 4 |
the first and second | 4 |
age in which he | 4 |
at the expense of | 4 |
of the old comedy | 4 |
we need not doubt | 4 |
the work of art | 4 |
the fragments of his | 4 |
the eyes of men | 4 |
in the days of | 4 |
in the art of | 4 |
be compared to a | 4 |
must be regarded as | 4 |
all the poets of | 4 |
ancient and modern comedy | 4 |
the fate of the | 4 |
genius of greek art | 4 |
during the middle ages | 4 |
the homeric and the | 4 |
it will be observed | 4 |
the whole of his | 4 |
in the mythopoeic age | 4 |
of the death of | 4 |
in the following lines | 4 |
it is no longer | 4 |
from the sphere of | 4 |
point of view of | 4 |
that of the greeks | 4 |
are supposed to have | 4 |
may be called the | 4 |
the philosophy of the | 4 |
the age of gold | 4 |
the appearance of the | 4 |
which seem to have | 4 |
the outlines of the | 4 |
be referred to the | 4 |
the groundwork of his | 4 |
it is easy to | 4 |
the greek conception of | 4 |
second drama of the | 4 |
in spite of his | 4 |
his poem on nature | 4 |
of the tale of | 4 |
the last three centuries | 4 |
has been said about | 4 |
to the service of | 4 |
this style of composition | 4 |
the idea of nemesis | 4 |
it is possible to | 4 |
only be paralleled by | 4 |
it is possible that | 4 |
of the mythopoeic age | 4 |
of one of the | 4 |
the origin of the | 4 |
the wrath of achilles | 4 |
in obedience to the | 4 |
the tale of the | 4 |
have been preserved to | 4 |
conditions of the mythopoeic | 4 |
upon the subject of | 4 |
this species of composition | 4 |
the iambic and trochaic | 4 |
the love of achilles | 4 |
by side with the | 4 |
in any true sense | 4 |
in the absence of | 4 |
the spirit of this | 4 |
the iliad and the | 4 |
on the occasion of | 4 |
the unity of the | 4 |
in the mind of | 4 |
it is curious to | 4 |
to insist upon the | 4 |
as a poet and | 4 |
is the beauty of | 4 |
why is it that | 4 |
into the company of | 4 |
in common with the | 4 |
of love as a | 4 |
what we mean by | 4 |
it must be remembered | 4 |
shores of the mediterranean | 4 |
in the service of | 4 |
portion of his life | 4 |
from the point of | 4 |
in dealing with the | 4 |
the poems of homer | 4 |
to the present day | 4 |
periods of greek literature | 4 |
we are forced to | 4 |
in the second drama | 4 |
the force of the | 4 |
the imagination of the | 4 |
the development of the | 4 |
the contrast between the | 4 |
is the same as | 4 |
the doctrine of nemesis | 4 |
by contact with the | 4 |
the speech of the | 4 |
creatures of a day | 4 |
idea of greek tragedy | 4 |
the divine government of | 4 |
to the house of | 4 |
we find in the | 4 |
may be said that | 4 |
the service of the | 4 |
the same sort of | 4 |
to the height of | 4 |
the lines in which | 4 |
borne in mind that | 4 |
in a dorian state | 4 |
in order to appreciate | 4 |
the comedy of manners | 4 |
the minds of men | 4 |
the same time it | 4 |
the face of the | 4 |
in the palace of | 4 |
it is far more | 4 |
in the last place | 4 |
reported to have said | 4 |
as far as we | 4 |
on the face of | 4 |
the tale of troy | 4 |
by the exercise of | 4 |
of the drama in | 4 |
at the point of | 4 |
and this is the | 4 |
of the spirit of | 4 |
the problem of the | 4 |
modern sense of the | 4 |
the relation of the | 4 |
of all of them | 4 |
in the middle of | 4 |
those who are curious | 4 |
the works of the | 4 |
it is here that | 4 |
as the source of | 4 |
it would have been | 4 |
at a later period | 4 |
the greater portion of | 4 |
age of the despots | 4 |
a large portion of | 4 |
of the characters of | 4 |
us to believe that | 4 |
by the exhibition of | 4 |
to the production of | 4 |
for the explanation of | 4 |
the freedom of the | 4 |
on the shores of | 4 |
the greeks and romans | 4 |
put into the mouth | 4 |
to be found in | 4 |
the middle of the | 4 |
in the choice of | 4 |
to the laws of | 4 |
the termination of the | 4 |
one of the chief | 4 |
athens in the age | 4 |
a passage in the | 4 |
the spirit of his | 4 |
the meaning of the | 4 |
to the student of | 4 |
that i were a | 4 |
the consciousness of the | 4 |
it must not be | 4 |
the whole of this | 4 |
be illustrated by the | 4 |
since the days of | 4 |
the altar of the | 4 |
the conditions of the | 4 |
was the object of | 4 |
within the limits of | 4 |
the chorus of the | 4 |
sense of the divine | 4 |
the qualities of his | 4 |
of his age and | 4 |
he was a native | 4 |
the odes of anacreon | 4 |
a great measure to | 4 |
the childhood of the | 4 |
the production of the | 4 |
at the very moment | 4 |
of the greeks is | 4 |
of the history of | 4 |
the structure of his | 4 |
beyond the reach of | 4 |
function of the chorus | 4 |
an example of the | 4 |
the genius of greek | 4 |
between the ancient and | 4 |
to the study of | 4 |
in the centre of | 4 |
of the homeric age | 4 |
to the conclusion that | 4 |
the conclusion of the | 4 |
is not easy to | 4 |
are the words of | 4 |
do justice to the | 4 |
the empire of the | 4 |
divine government of the | 4 |
in a play of | 4 |
lines in which he | 4 |
that he was a | 4 |
transition from the heroic | 4 |
markup is enclosed in | 4 |
his treatment of the | 4 |
the beauty of his | 4 |
by reason of its | 4 |
to the conception of | 4 |
in accordance with the | 4 |
the school of sophocles | 4 |
a poet of the | 4 |
of the greeks and | 4 |
in spite of the | 4 |
of the world as | 4 |
to whom we owe | 4 |
the conditions under which | 4 |
point of view is | 4 |
in his treatment of | 4 |
canto of the works | 4 |
in the plays of | 4 |
in the development of | 4 |
with which he has | 4 |
the characters of men | 4 |
ancient and the modern | 4 |
in order to comprehend | 3 |
meaning of the word | 3 |
of this poem is | 3 |
and the fragments of | 3 |
to the eyes of | 3 |
men of the future | 3 |
the future of the | 3 |
when we speak of | 3 |
qualities of the greek | 3 |
friendship among the greeks | 3 |
a view to the | 3 |
may be cited as | 3 |
is hardly necessary to | 3 |
irony of the situation | 3 |
from the temple of | 3 |
the conclusion that the | 3 |
must be prepared to | 3 |
the sons of earth | 3 |
different points of view | 3 |
of archilochus as a | 3 |
of the greek people | 3 |
the expression of the | 3 |
with the subject of | 3 |
far as we may | 3 |
the mind of the | 3 |
in the homeric poems | 3 |
of his art is | 3 |
conception of the divine | 3 |
have no reason to | 3 |
the shores of the | 3 |
poets of the world | 3 |
to a sense of | 3 |
on the tale of | 3 |
the whole history of | 3 |
we find that the | 3 |
of a man who | 3 |
the legend of prometheus | 3 |
in their choice of | 3 |
the force of his | 3 |
bears the name of | 3 |
character of the greek | 3 |
the feasts of demeter | 3 |
by john lothrop motley | 3 |
in the halls of | 3 |
at the present moment | 3 |
a supposed basis of | 3 |
to do justice to | 3 |
the most part in | 3 |
and the punishment of | 3 |
the three plays of | 3 |
on the paths of | 3 |
the transition from the | 3 |
and the works and | 3 |
might be compared to | 3 |
in the noblest sense | 3 |
of pain and death | 3 |
which can only be | 3 |
of the poet to | 3 |
of the modern world | 3 |
the following is a | 3 |
account of the universe | 3 |
it was the object | 3 |
the central point of | 3 |
the interests of the | 3 |
and aristotle in the | 3 |
in the schools of | 3 |
in connection with the | 3 |
is greatly to be | 3 |
the education of the | 3 |
in this style of | 3 |
of this period are | 3 |
most beautiful of all | 3 |
the cry of agamemnon | 3 |
in the quality of | 3 |
not to be born | 3 |
in the minds of | 3 |
the evolution of the | 3 |
and the force of | 3 |
the pure light of | 3 |
with the names of | 3 |
with maps and illustrations | 3 |
not the case with | 3 |
that the poet was | 3 |
is compared to a | 3 |
is an imitation of | 3 |
the part of the | 3 |
the cultivation of the | 3 |
greatly to be regretted | 3 |
by the greeks in | 3 |
the anguish of the | 3 |
the style of the | 3 |
greeks of the best | 3 |
the position of the | 3 |
must be remembered that | 3 |
sense of proportion and | 3 |
is not the same | 3 |
the son of the | 3 |
of the great french | 3 |
cannot be conceived than | 3 |
think of him as | 3 |
treasures of greek literature | 3 |
as a dramatic poet | 3 |
lyrical poetry in greece | 3 |
the world in which | 3 |
is to be found | 3 |
be seen that the | 3 |
it was impossible for | 3 |
of the later greek | 3 |
one point of view | 3 |
the doctrine of the | 3 |
there is no reason | 3 |
this review of the | 3 |
sophocles led onward to | 3 |
history of the world | 3 |
yet none the less | 3 |
which prevailed at athens | 3 |
it is thus that | 3 |
the passion of the | 3 |
be conceived than that | 3 |
of the human intellect | 3 |
published by harper brothers | 3 |
must not be forgotten | 3 |
the murder of his | 3 |
here and there in | 3 |
the attention of the | 3 |
to some of the | 3 |
be out of place | 3 |
men in whom the | 3 |
in the composition of | 3 |
the good sense of | 3 |
as well as the | 3 |
on the subject of | 3 |
in one of the | 3 |
it is only in | 3 |
the greeks had been | 3 |
in rich foreshadowings of | 3 |
after the production of | 3 |
to have said that | 3 |
led onward to euripides | 3 |
to the disadvantage of | 3 |
type of the greek | 3 |
the sections of the | 3 |
to the formation of | 3 |
works of art and | 3 |
in the modern world | 3 |
in the third place | 3 |
be quoted from the | 3 |
of romeo and juliet | 3 |
it is hardly necessary | 3 |
the commencement of the | 3 |
it is almost impossible | 3 |
after his own fashion | 3 |
subject of the play | 3 |
to have been written | 3 |
might be selected as | 3 |
is not possible to | 3 |
in another place he | 3 |
the unity of action | 3 |
the fact remains that | 3 |
us at the present | 3 |
games were held in | 3 |
with the faculty of | 3 |
the history of art | 3 |
to the sound of | 3 |
the influence of love | 3 |
the modern sense of | 3 |
it is only when | 3 |
in common with all | 3 |
as that which is | 3 |
as we possess it | 3 |
of the drama to | 3 |
that follow on the | 3 |
that the greeks of | 3 |
helen in the odyssey | 3 |
the flower of youth | 3 |
of the first play | 3 |
a development of the | 3 |
justice and the punishment | 3 |
reason to believe that | 3 |
and here and there | 3 |
of the nature of | 3 |
it is clear from | 3 |
all the changes of | 3 |
in the moral order | 3 |
by john addington symonds | 3 |
bear in mind that | 3 |
qualities of his poetry | 3 |
reputation among the ancients | 3 |
was a man of | 3 |
of the most interesting | 3 |
of the heroic age | 3 |
of the law of | 3 |
it would appear that | 3 |
the chapter on the | 3 |
know about his life | 3 |
in the words of | 3 |
to the consideration of | 3 |
in the first instance | 3 |
of achilles for patroclus | 3 |
section of the anthology | 3 |
on the part of | 3 |
are made to feel | 3 |
by the attic tragedians | 3 |
the masterpieces of greek | 3 |
of the ancient greeks | 3 |
by a process of | 3 |
the same time a | 3 |
of the prehistoric age | 3 |
will be enough to | 3 |
order to make the | 3 |
a prominent part in | 3 |
of the early greek | 3 |
what is called the | 3 |
of the queen of | 3 |
the medea of euripides | 3 |
shouting in the trench | 3 |
it is certain that | 3 |
in the first rank | 3 |
we may conjecture that | 3 |
in the works and | 3 |
we have seen that | 3 |
the pleasures of the | 3 |
you greeks are always | 3 |
we know about his | 3 |
to which i have | 3 |
the cry of the | 3 |
the poets of his | 3 |
and it is not | 3 |
which might have been | 3 |
the beginning of his | 3 |
to show how the | 3 |
of the natural order | 3 |
he tells us in | 3 |
the greeks and us | 3 |
the substance of the | 3 |
age in which the | 3 |
is only by a | 3 |
the circumstances under which | 3 |
of the art of | 3 |
the lost treasures of | 3 |
between the greeks and | 3 |
in the last act | 3 |
it is worth while | 3 |
than that of the | 3 |
the account of the | 3 |
of the relation of | 3 |
on the plains of | 3 |
it is not easy | 3 |
order to understand the | 3 |
of the greeks as | 3 |
of plato and aristotle | 3 |
the gnomes of theognis | 3 |
the centre of the | 3 |
in his old age | 3 |
in the faust legend | 3 |
in the beauty of | 3 |
by the greeks to | 3 |
difference between ancient and | 3 |
by plato in the | 3 |
that bears his name | 3 |
from a passage in | 3 |
it must be confessed | 3 |
this is the last | 3 |
sections of the anthology | 3 |
is it possible to | 3 |
with the sense of | 3 |
the hand of god | 3 |
which have been preserved | 3 |
the story of the | 3 |
an account of the | 3 |
and the sense of | 3 |
of the universe and | 3 |
this part of the | 3 |
the main points of | 3 |
we remember that the | 3 |
to dwell upon the | 3 |
of the modern drama | 3 |
like that of the | 3 |
to the expression of | 3 |
when we consider the | 3 |
is by no means | 3 |
soul of poor patroclus | 3 |
of the four ages | 3 |
to the notion of | 3 |
their prize was a | 3 |
the art of sophocles | 3 |
the conscience of the | 3 |
is contained in the | 3 |
forms of the same | 3 |
from the works of | 3 |
the founders of the | 3 |
the same time there | 3 |
history of the human | 3 |
but at the same | 3 |
be added that the | 3 |
more than any other | 3 |
the value of the | 3 |
of the soul which | 3 |
whatever may have been | 3 |
at the time when | 3 |
the speeches of the | 3 |
in the historic period | 3 |
an early period of | 3 |
tragedy of the greeks | 3 |
belonged to a family | 3 |
epigrams of the anthology | 3 |
among the extant tragedies | 3 |
of art in the | 3 |
a history of the | 3 |
the light of the | 3 |
yet it may be | 3 |
that the climax of | 3 |
of youth and beauty | 3 |
it is not possible | 3 |
the mystery of his | 3 |
to point out the | 3 |
of greek literature are | 3 |
genius of the vatican | 3 |
the poetry of the | 3 |
of the greek character | 3 |
the divine in nature | 3 |
but as soon as | 3 |
among the ancients for | 3 |
a form of art | 3 |
altar of the god | 3 |
conception of the universe | 3 |
of the epicurean and | 3 |
whole of him he | 3 |
the walls of troy | 3 |
the cardinal idea of | 3 |
the hero in his | 3 |
hero and leander of | 3 |
of the greeks that | 3 |
the states of hellas | 3 |
the forms of art | 3 |
the whole of him | 3 |
structure of his odes | 3 |
could not fail to | 3 |
it is right to | 3 |
poet and the philosopher | 3 |
the child of zeus | 3 |
is not the case | 3 |
be taken as the | 3 |
the temple of the | 3 |
the disadvantage of the | 3 |
is the secret of | 3 |
to be regretted that | 3 |
which has just been | 3 |
and the spirit of | 3 |
he may have been | 3 |
of the mind to | 3 |
of the tragic poets | 3 |
view of human life | 3 |
in the times of | 3 |
the senses and the | 3 |
the fragments we possess | 3 |
the trilogy of the | 3 |
we know about the | 3 |
the stone of tantalus | 3 |
version of the new | 3 |
reminds us of the | 3 |
the comedy of aristophanes | 3 |
the powers of heaven | 3 |
of proportion and of | 3 |
climax of the oedipus | 3 |
we are made to | 3 |
be compared with the | 3 |
forms the subject of | 3 |
in this respect the | 3 |
if we wish to | 3 |
the full blaze of | 3 |
the qualities of the | 3 |
our attention upon the | 3 |
that portion of the | 3 |
to show that the | 3 |
the theogony and the | 3 |
theogony and the works | 3 |
the romance of helen | 3 |
the notion of a | 3 |
in the same spirit | 3 |
of the sea and | 3 |
the fixed material of | 3 |
the best of the | 3 |
formed the basis of | 3 |
the soul of the | 3 |
the scene in the | 3 |
the discovery of the | 3 |
to believe that he | 3 |
the nature of a | 3 |
the dead body of | 3 |
separation between the greeks | 3 |
last act of the | 3 |
we have already seen | 3 |
the original of the | 3 |
the greatness of the | 3 |
not as yet been | 3 |
and the modern drama | 3 |
as a specimen of | 3 |
on the point of | 3 |
with the mystery of | 3 |
and it is only | 3 |
a part of his | 3 |
curse of the house | 3 |
in order to understand | 3 |
the ideal towards which | 3 |
the men of the | 3 |
we may take the | 3 |
is true of the | 3 |
the date of the | 3 |
the exhibition of the | 3 |
the object of the | 3 |
of the son of | 3 |
in this place to | 3 |
be said to be | 3 |
upon the tale of | 3 |
we are in the | 3 |
the riches of the | 3 |
of which we possess | 3 |
as far as possible | 3 |
the tragedy of shakespeare | 3 |
between ancient and modern | 3 |
like a young man | 3 |
we have no reason | 3 |
time of the persian | 3 |
is the strength of | 3 |
the ghost of achilles | 3 |
the soul of poor | 3 |
in the matter of | 3 |
in the direction of | 3 |
the direct interposition of | 3 |
the states of greece | 3 |
to which we are | 3 |
is the child of | 3 |
may be quoted from | 3 |
what has been said | 3 |
we must be careful | 3 |
a greek of the | 3 |
to the level of | 3 |
gods and men the | 3 |
the school of isocrates | 3 |
a very early period | 3 |
the side of the | 3 |
to justify the opinion | 3 |
the myth of herakles | 3 |
which we find in | 3 |
of the plays of | 3 |
the choice of subjects | 3 |
which the modern dramatist | 3 |
after all is said | 3 |
has been conjectured that | 3 |
which we observe in | 3 |
the sun and moon | 3 |
we hear nothing of | 3 |
but it could not | 3 |
the powers of the | 3 |
throw light upon the | 3 |
basis of truth in | 3 |
species of the drama | 3 |
to him who gives | 3 |
revision of the english | 3 |
of the middle comedy | 3 |
the height of his | 3 |
is likened to a | 3 |
to a knowledge of | 3 |
with all that is | 3 |
as well as a | 3 |
it is not strange | 3 |
the activity of the | 3 |
of the three plays | 3 |
of old age and | 3 |
and that of the | 3 |
in the ninth century | 3 |
constitutional history of england | 3 |
to the poetry of | 3 |
the second period is | 3 |
the story of achilles | 3 |
ebb and flow of | 3 |
to the spirit of | 3 |
the last of the | 3 |
separated from the action | 3 |
they seem to have | 3 |
public and private life | 3 |
of the style of | 3 |
in his own lifetime | 3 |
avail to demur that | 3 |
the peculiar nature of | 3 |
the spirit of a | 3 |
of marathon and salamis | 3 |
in this supreme moment | 3 |
he was the first | 3 |
enough in this place | 3 |
would have been impossible | 3 |
the athenians of the | 3 |
at the period of | 3 |
instituted a polemic against | 3 |
in the beginning of | 3 |
the canon of the | 3 |
the introduction of the | 3 |
it would be easy | 3 |
of many of the | 3 |
to be said about | 3 |
from the pen of | 3 |
it has been conjectured | 3 |
in the climax of | 3 |
it could not be | 3 |
period is one of | 3 |
in the evolution of | 3 |
of the united states | 3 |
the limits of the | 3 |
an episode in the | 3 |
the old comedy of | 3 |
the disease of language | 3 |
to justify us in | 3 |
the will of a | 3 |
to the exclusion of | 3 |
the odes of pindar | 3 |
by far the most | 3 |
upon the ruins of | 3 |
of the new comedy | 3 |
at the very end | 3 |
but there is no | 3 |
the central figure of | 3 |
the conception of nature | 3 |
but it is in | 3 |
have no means of | 3 |
the first part of | 3 |
a disease of language | 3 |
the details of the | 3 |
studies of the greek | 3 |
the arts of life | 3 |
to have been composed | 3 |
the life of christ | 3 |
can do justice to | 3 |
sense of the term | 3 |
on account of his | 3 |
the news of the | 3 |
of the comic poets | 3 |
we gather from the | 3 |
the sense in which | 3 |
of the ionian race | 3 |
of the greeks were | 3 |
appear upon the stage | 3 |
a description of the | 3 |
the plains of troy | 3 |
of the highest art | 3 |
the founder of the | 3 |
of the fourth century | 3 |
and some of the | 3 |
the choice of a | 3 |
the golden age of | 3 |
at this point of | 3 |
is clear from the | 3 |
the knowledge of the | 3 |
the same way the | 3 |
a necessary condition of | 3 |
all the plays of | 3 |
of the anthology is | 3 |
through the medium of | 3 |
from one point of | 3 |
for the display of | 3 |
a motto on the | 3 |
of a national drama | 3 |
the shadows of the | 3 |
not a little curious | 3 |
of the children of | 3 |
summed up in the | 3 |
was a wreath of | 3 |
would that i were | 3 |
the end of his | 3 |
as a kind of | 3 |
both good and bad | 3 |
a polemic against the | 3 |
in the delineation of | 3 |
can be said to | 3 |
the formation of the | 3 |
is not strange that | 3 |
the strength of men | 3 |
the altars of the | 3 |
after the age of | 3 |
impression left upon our | 3 |
of eupsychia by euripides | 3 |
instinct of the greeks | 3 |
we are led to | 3 |
of the public and | 3 |
what we have to | 3 |
the last act of | 3 |
in the process of | 3 |
an important part in | 3 |
of the modern age | 3 |
is the product of | 3 |
of his life in | 3 |
from new electrotype plates | 3 |
choice of a wife | 3 |
compared with that of | 3 |
may be described as | 3 |
the splendor of the | 3 |
has been made of | 3 |
the background of the | 3 |
in the second century | 3 |
of one of these | 3 |
beauty of the world | 3 |
of all the greeks | 3 |
evidence of the senses | 3 |
one of the seven | 3 |
for the middle comedy | 3 |
from the lips of | 3 |
as distinguished from the | 3 |
of which we have | 3 |
the separation of the | 3 |
quite consistent with the | 3 |
by the standard of | 3 |
must have been a | 3 |
may be termed the | 3 |
nor is it possible | 3 |
as the ideal of | 3 |
but when he has | 3 |
from generation to generation | 3 |
same time there is | 3 |
iliad and the odyssey | 3 |
prize was a wreath | 3 |
with the exception of | 3 |
in the last scene | 3 |
the second and third | 3 |
the sin of prometheus | 3 |
to imagine that the | 3 |
it is in vain | 3 |
to bear in mind | 3 |
the tale of prometheus | 3 |
the heart of the | 3 |
formed the groundwork of | 3 |
the temper of his | 3 |
no reason to suspect | 3 |
the progress of the | 3 |
in the prometheus bound | 3 |
must be confessed that | 3 |
iphigeneia at the altar | 3 |
cry of the king | 3 |
in some of his | 3 |
of the greeks with | 3 |
is the son of | 3 |
it should be added | 3 |
the most beautiful of | 3 |
in both of these | 3 |
the resources of the | 3 |
in relation to the | 3 |
in this way he | 3 |
he has none of | 3 |
of that which is | 3 |
through all the year | 3 |
the secret of the | 3 |
for the subject of | 3 |
far as we can | 3 |
to think of the | 3 |
the tragedy of sophocles | 3 |
from the action of | 3 |
the age of euripides | 3 |
and not till then | 3 |
so far as they | 3 |
in his own person | 3 |
yet there is no | 3 |
the children of the | 3 |
doctrine of hereditary guilt | 3 |
in the highest degree | 3 |
when we turn to | 3 |
in the same breath | 3 |
for the development of | 3 |
the poem on nature | 3 |
the exercise of the | 3 |
an awful sense of | 3 |
and the ghost of | 3 |
should be added that | 3 |
the mysteries of the | 3 |
of the new testament | 3 |
while at the same | 3 |
we mean by modernism | 3 |
the end of a | 3 |
of the oedipus tyrannus | 3 |
the dialogues of plato | 3 |
the ruler of the | 3 |
it is as though | 3 |
of the whole poem | 3 |
to the shrine of | 3 |
of his poem on | 3 |
through a period of | 3 |
genius of the greek | 3 |
one of the earliest | 3 |
his point of view | 3 |
swallowed up in the | 3 |
the dissolution of the | 3 |
the flourishing period of | 3 |
the plays of euripides | 3 |
of the greek religion | 3 |
in spite of their | 3 |
by means of which | 3 |
of the world was | 3 |
in the trilogy of | 3 |
of the human body | 3 |
of the first period | 3 |
of art to the | 3 |
in the land of | 3 |
theory of the world | 3 |
the first step in | 3 |
the truth of this | 3 |
to suppose that the | 3 |
for the beauty of | 3 |
of the best age | 3 |
for a supposed basis | 3 |
in the school of | 3 |
a member of the | 3 |
so far as we | 3 |
took the place of | 3 |
the spectacle of a | 3 |
during the last three | 3 |
is it that of | 3 |
linguistic and solar theories | 3 |
criticism on his style | 3 |
supposed basis of truth | 3 |
it is one of | 3 |
this point in the | 3 |
of the hellenic genius | 3 |
cardinal idea of greek | 3 |
if we are to | 3 |
the principles of the | 3 |
the love of women | 3 |
in the face of | 3 |
there is good reason | 2 |
is expressed in the | 2 |
peculiar nature of the | 2 |
to be distinguished from | 2 |
english version of the | 2 |
playwrights of this period | 2 |
the ways of life | 2 |
love as a main | 2 |
may seem at first | 2 |
the subject of dramatic | 2 |
a daughter of the | 2 |
being are the same | 2 |
we should have to | 2 |
for war is not | 2 |
the history of athens | 2 |
when he was engaged | 2 |
the pride of wealth | 2 |
of the world for | 2 |
the friendship of achilles | 2 |
of which he was | 2 |
the moral order of | 2 |
not against the spirit | 2 |
to do but to | 2 |
the spirit of ancient | 2 |
the elegies of theognis | 2 |
the dedicatory epigrams are | 2 |
at the conclusion of | 2 |
to die before the | 2 |
yet at the same | 2 |
nature of his inspiration | 2 |
for its own sake | 2 |
to call attention to | 2 |
central figure of achilles | 2 |
to the woods and | 2 |
the idola fori were | 2 |
the queen of beauty | 2 |
and wed his mother | 2 |
this way of dealing | 2 |
in the year b | 2 |
it was for the | 2 |
in the second period | 2 |
greek tragedy and the | 2 |
the following passage may | 2 |
the frogs of aristophanes | 2 |
the names of a | 2 |
of the greeks of | 2 |
to have recourse to | 2 |
since the age of | 2 |
he went forth to | 2 |
by aphrodite of priapus | 2 |
may be adduced from | 2 |
garland have i woven | 2 |
it would seem that | 2 |
tells you to delay | 2 |
it may be allowed | 2 |
passions of terror and | 2 |
have been given to | 2 |
with that of his | 2 |
that we ought to | 2 |
ancient and modern chivalry | 2 |
that in which he | 2 |
and kept within the | 2 |
of the attic theatre | 2 |
in the action of | 2 |
a couple of lines | 2 |
homer and hesiod to | 2 |
realization and outward embodiment | 2 |
that the poet of | 2 |
be taken as a | 2 |
to the greeks of | 2 |
after the fashion of | 2 |
the firmness of his | 2 |
the greatness and the | 2 |
one of their most | 2 |
which we have to | 2 |
there was in the | 2 |
a passing allusion to | 2 |
the figures in a | 2 |
the moment now is | 2 |
to the character of | 2 |
from the death of | 2 |
that the interests of | 2 |
the substance of his | 2 |
from an unshorn meadow | 2 |
a detailed examination of | 2 |
euripidean handling of her | 2 |
it is recorded that | 2 |
of the promethean legend | 2 |
greek feeling for the | 2 |
the light of his | 2 |
of soul to him | 2 |
which the ancients held | 2 |
or the science of | 2 |
the shield of achilles | 2 |
is not improbable that | 2 |
operations of the human | 2 |
by the contrast between | 2 |
the second of these | 2 |
system of marcus aurelius | 2 |
sufficient to form the | 2 |
most varied thoughts and | 2 |
to the fourth period | 2 |
to rank among the | 2 |
i were a fair | 2 |
their own sweet will | 2 |
the theme i sing | 2 |
last trilogy of prometheus | 2 |
written for the most | 2 |
pen and pencil of | 2 |
in the modern drama | 2 |
what has to be | 2 |
of the unity of | 2 |
he shall be shown | 2 |
best be illustrated by | 2 |
within sight of the | 2 |
in ethics we have | 2 |
in order that she | 2 |
flourished between and b | 2 |
as we gather from | 2 |
on the coast of | 2 |
the uncertainty of human | 2 |
been pointed out to | 2 |
which professes to be | 2 |
of this sort is | 2 |
of truth and opinion | 2 |
when there were no | 2 |
the hero to the | 2 |
the late john addington | 2 |
the cup which theocritus | 2 |
father and weds his | 2 |
of all spiritual movement | 2 |
and that it has | 2 |
but in course of | 2 |
the sculptures of pheidias | 2 |
to the type of | 2 |
the tale of io | 2 |
the chorus from the | 2 |
not comedies in the | 2 |
tragedy offers no katharsis | 2 |
which they have been | 2 |
her father and her | 2 |
suggested with regard to | 2 |
what we know as | 2 |
body of rudimentary thought | 2 |
the history of his | 2 |
free handling of myths | 2 |
sire of gods and | 2 |
and to what extent | 2 |
seems to have originated | 2 |
might be quoted from | 2 |
the speech of oedipus | 2 |
i have tried to | 2 |
been the subject of | 2 |
seasons of the year | 2 |
in the theatre of | 2 |
of myths permitted to | 2 |
is nothing left for | 2 |
appear to me the | 2 |
societies of the united | 2 |
attitude of the greeks | 2 |
to use a modern | 2 |
to suppose that he | 2 |
the final extinction of | 2 |
middle place between the | 2 |
to point out that | 2 |
the crime of xerxes | 2 |
these have been preserved | 2 |
will be seen from | 2 |
from that which is | 2 |
the treatment of eupsychia | 2 |
do not care to | 2 |
to us as the | 2 |
in the fourth place | 2 |
conduct in public and | 2 |
size of the theatre | 2 |
angel of the spring | 2 |
upon the death of | 2 |
nemesis in early greek | 2 |
long after it has | 2 |
it is to the | 2 |
in connection with this | 2 |
such a way as | 2 |
of man and the | 2 |
divest our minds of | 2 |
enter into the details | 2 |
and the doctrine of | 2 |
law that like ourselves | 2 |
supposed conditions of the | 2 |
logos in the clouds | 2 |
emergence of philosophy from | 2 |
great progressive races of | 2 |
is still more true | 2 |
impossibility of obtaining absolute | 2 |
universe in its embrace | 2 |
affections in right tune | 2 |
have been the subject | 2 |
he was engaged in | 2 |
of xenophanes and parmenides | 2 |
of decline and decay | 2 |
the very essence of | 2 |
of the despots in | 2 |
for a translation of | 2 |
from the same feeling | 2 |
are therefore justified in | 2 |
we have no means | 2 |
among the daughters of | 2 |
greek art in its | 2 |
god in the physical | 2 |
of homer and hesiod | 2 |
days of youth and | 2 |
be taken from the | 2 |
the unity of being | 2 |
what are we to | 2 |
the forebodings of his | 2 |
intuition of the greeks | 2 |
rhetoricians appear as playwrights | 2 |
on their own ground | 2 |
fragments of the lost | 2 |
obscurity of the promethean | 2 |
the death of alexander | 2 |
the language of common | 2 |
a new and more | 2 |
of situation in the | 2 |
a sketch of its | 2 |
played the part of | 2 |
to the ideal of | 2 |
a wreath of myrtle | 2 |
and one of the | 2 |
the derivation of the | 2 |
and this he has | 2 |
devoted his genius to | 2 |
attention of the audience | 2 |
the modern dramatist has | 2 |
he said that they | 2 |
and the splendor of | 2 |
in italy and greece | 2 |
in form and color | 2 |
of the age in | 2 |
of the ionian sect | 2 |
be reckoned among the | 2 |
the allegorical element in | 2 |
he would not have | 2 |
period of transition from | 2 |
reconstruct the life of | 2 |
in passing that this | 2 |
animal conditions of humanity | 2 |
the main point in | 2 |
of the flesh and | 2 |
the domestic life of | 2 |
but one of the | 2 |
as a compound of | 2 |
the divine life of | 2 |
the manners of the | 2 |
the great progressive races | 2 |
by the sight of | 2 |
the characters of the | 2 |
in the ion of | 2 |
the conquest of the | 2 |
he shows how the | 2 |
did you not know | 2 |
gave way to the | 2 |
he stood at the | 2 |
and manner of his | 2 |
rich foreshadowings of the | 2 |
must be taken into | 2 |
of progress in all | 2 |
the force of their | 2 |
very little is known | 2 |
upon education and conduct | 2 |
of comedy to the | 2 |
passion or admiration in | 2 |
yet it would be | 2 |
at a game of | 2 |
of the national polytheism | 2 |
of the hero to | 2 |
the fall of troy | 2 |
we fail to recognize | 2 |
antigone do not make | 2 |
our conception of the | 2 |
and the consciousness of | 2 |
the mother of the | 2 |
of the word idyl | 2 |
the world has ever | 2 |
of art which we | 2 |
could do was to | 2 |
the remainder of his | 2 |
is impossible to say | 2 |
speculations of the greeks | 2 |
law of progress in | 2 |
of the hero is | 2 |
the greeks displayed their | 2 |
the inculcation of the | 2 |
of the fine arts | 2 |
different views of the | 2 |
and the prospect of | 2 |
may be in the | 2 |
the impression left upon | 2 |
to her face that | 2 |
the bloom of youth | 2 |
in close connection with | 2 |
the scenes of the | 2 |
antigone is not subject | 2 |
was thought worthy of | 2 |
on the lips of | 2 |
all the masterpieces of | 2 |
greek and hebrew myths | 2 |
which exists between the | 2 |
consciousness of the greeks | 2 |
the whole dramatic literature | 2 |
the chapters on the | 2 |
an account of its | 2 |
the nations of the | 2 |
greatness as a poet | 2 |
is involved in the | 2 |
great people the seeds | 2 |
not appear to have | 2 |
that we should have | 2 |
of life and the | 2 |
for the knowledge of | 2 |
in the more vital | 2 |
the aryan races had | 2 |
the law of her | 2 |
temples of the gods | 2 |
were no better than | 2 |
we use the word | 2 |
life is buried in | 2 |
which we are accustomed | 2 |
the stream of time | 2 |
is not the place | 2 |
the lament for bion | 2 |
the destruction of the | 2 |
with the genius that | 2 |
to notice that the | 2 |
in the temple of | 2 |
as the creator of | 2 |
the genius of aristophanes | 2 |
poets of this period | 2 |
live in harmony with | 2 |
there is nothing more | 2 |
by the lapse of | 2 |
did he fail to | 2 |
seated on the ground | 2 |
the mere realization and | 2 |
have nothing in common | 2 |
to stem the tide | 2 |
the sense of proportion | 2 |
it has often been | 2 |
nature to greek mythology | 2 |
masterly treatment of the | 2 |
of the round table | 2 |
upon the fragments of | 2 |
presents one of the | 2 |
considered as a greek | 2 |
natural law that like | 2 |
the pride of hellas | 2 |
of man with nature | 2 |
in the breasts of | 2 |
new conception of the | 2 |
than any of his | 2 |
his critique of the | 2 |
that his doom must | 2 |
these lines in a | 2 |
the genius of athens | 2 |
as to justify the | 2 |
may possibly have been | 2 |
of greek history were | 2 |
delicate and subtle in | 2 |
for it is clear | 2 |
the later ages of | 2 |
the iphigenia in tauris | 2 |
which it afforded for | 2 |
the celebration of the | 2 |
achilles in the odyssey | 2 |
the despots in greece | 2 |
is no longer a | 2 |
precepts upon education and | 2 |
one and the same | 2 |
and also for the | 2 |
it is only from | 2 |
in the expression of | 2 |
interesting to trace the | 2 |
of the points suggested | 2 |
under the auspices of | 2 |
the liberty of the | 2 |
the voyage of the | 2 |
state of the homeric | 2 |
hellenization of the east | 2 |
the sweetness of a | 2 |
surviving monuments of greek | 2 |
and in the last | 2 |
among the greeks was | 2 |
the fourth and fifth | 2 |
that gave birth to | 2 |
final solution of the | 2 |
to wound the earth | 2 |
to inbreed and cherish | 2 |
to know what has | 2 |
before the separation of | 2 |
monuments of greek sculpture | 2 |
we may conclude that | 2 |
prominence the chief features | 2 |
it may be urged | 2 |
who loves so well | 2 |
and philosophers of greece | 2 |
which belongs to the | 2 |
the moral order is | 2 |
appear to have been | 2 |
but also in the | 2 |
and hesiod to the | 2 |
apollonius of tyana and | 2 |
to a man who | 2 |
after the humiliation of | 2 |
and it may be | 2 |
at a time when | 2 |
that may be taken | 2 |
period of the persian | 2 |
estimation in which the | 2 |
for the expression of | 2 |
and modern modes of | 2 |
is the life of | 2 |
the chorus in the | 2 |
make up a trilogy | 2 |
among the mountains of | 2 |
it was necessary to | 2 |
in the order of | 2 |
a natural law that | 2 |
the genius of eternal | 2 |
the passage of the | 2 |
absence of love as | 2 |
nothing need be said | 2 |
it would be unfair | 2 |
use a modern phrase | 2 |
development of a national | 2 |
christianity of the imitatio | 2 |
of helen in the | 2 |
any other greek poet | 2 |
the points suggested with | 2 |
stir us with the | 2 |
greek athletes in the | 2 |
of the importance of | 2 |
would be impossible to | 2 |
strange that he should | 2 |
in dance and song | 2 |
admiration in all the | 2 |
threw his shield away | 2 |
the chiefs of the | 2 |
of the dorian race | 2 |
religion and state of | 2 |
were really written by | 2 |
it is thought that | 2 |
author of sketches and | 2 |
elements of greek mythology | 2 |
titles of the lost | 2 |
who are curious about | 2 |
station in the centre | 2 |
the pleasures of a | 2 |
no more than a | 2 |
of the youth who | 2 |
places in the foreground | 2 |
to an early period | 2 |
fragment from an unknown | 2 |
of the wit of | 2 |
the dialogues of lucian | 2 |
is swallowed up in | 2 |
the personalities of archilochus | 2 |
which the following is | 2 |
the daughters of lycambes | 2 |
drama could have been | 2 |
to which he was | 2 |
of sketches and studies | 2 |
us in believing that | 2 |
to the ears of | 2 |
of the elder tragedians | 2 |
is the foundation of | 2 |
which were connected with | 2 |
uttered by the chorus | 2 |
the flesh and spirit | 2 |
failed to observe the | 2 |
not a single fragment | 2 |
we find it in | 2 |
dealing with the problem | 2 |
to the chain of | 2 |
years of his life | 2 |
the persian war to | 2 |
three points of greek | 2 |
son of the titan | 2 |
the genius of hellas | 2 |
the charm of helen | 2 |
the festivals of demeter | 2 |
who are curious to | 2 |
must have but one | 2 |
of the dorian style | 2 |
when he has once | 2 |
of elegies and iambics | 2 |
soldiers on the plains | 2 |
fortunes of the greeks | 2 |
is to know what | 2 |
land of the white | 2 |
to remark that he | 2 |
the paths of sleep | 2 |
the solution of the | 2 |
opening of the orestes | 2 |
him in dramatic art | 2 |
the second isthmian he | 2 |
or admiration in all | 2 |
the anger of achilles | 2 |
of zeus as a | 2 |
who have been educated | 2 |
the theory of art | 2 |
when he chooses to | 2 |
is vitally important in | 2 |
the iron ring of | 2 |
three hundred and forty | 2 |
called the third canto | 2 |
chorus from the action | 2 |
and outward embodiment of | 2 |
and the modern circe | 2 |
know no more than | 2 |
is made up of | 2 |
immature work of the | 2 |
on the cup which | 2 |
as the result of | 2 |
progress in all art | 2 |
the whole range of | 2 |
of a great and | 2 |
are not bound to | 2 |
tragedy has no religious | 2 |
must be careful not | 2 |
in the chapters on | 2 |
as soon as the | 2 |
the style in which | 2 |
the poem begins with | 2 |
and the civil power | 2 |
a supreme work of | 2 |
indifference to life when | 2 |
blood upon his hands | 2 |
but also by the | 2 |
of all these things | 2 |
the stationary character of | 2 |
in answer to the | 2 |
the literature of the | 2 |
and so on through | 2 |
that the two chief | 2 |
whatever that may mean | 2 |
in the war of | 2 |
revel we will go | 2 |
for thee this garland | 2 |
the persons of a | 2 |
analysis of the antigone | 2 |
traces of the doctrine | 2 |
from the eyes of | 2 |
the possession of the | 2 |
virtue and public civility | 2 |
of sculpture to the | 2 |
as a greek ideal | 2 |
of oedipus the king | 2 |
to the nations of | 2 |
justify the opinion that | 2 |
a new direction to | 2 |
sculpture to the drama | 2 |
in the construction of | 2 |
inferior to that of | 2 |
of the midnight sun | 2 |
which the tragic art | 2 |
a few fragments of | 2 |
be taken into account | 2 |
revealed to us by | 2 |
a work of pure | 2 |
pain and discord to | 2 |
sold by subscription only | 2 |
comedy in its relation | 2 |
is at an end | 2 |
a sufficient number of | 2 |
moment in the history | 2 |
the dualism of truth | 2 |
of the moral attitude | 2 |
into his own hands | 2 |
the tragedies which were | 2 |
that we are not | 2 |
athletes in the autolycus | 2 |
the condition of a | 2 |
we may gather from | 2 |
comedy to the type | 2 |
of the works of | 2 |
it need not be | 2 |
the substance of their | 2 |
supplied us with a | 2 |
the actors in that | 2 |
the hero of a | 2 |
it appears that the | 2 |
existed for the greek | 2 |
one to the other | 2 |
as the comedy of | 2 |
sense of what is | 2 |
a desire for established | 2 |
by the conditions of | 2 |
beautiful of all the | 2 |
can only be explained | 2 |
that this poem of | 2 |
the situation of the | 2 |
the lives of the | 2 |
to make us feel | 2 |
and the circumstances of | 2 |
those who seek to | 2 |
is not so much | 2 |
moral and religious notions | 2 |
the five chief periods | 2 |
as opposed to the | 2 |
purple through the streets | 2 |
of the shepherd in | 2 |
is not the theme | 2 |
his metaphysic of being | 2 |
and to show that | 2 |
upon the evolution of | 2 |
introduces us to the | 2 |
on the labors of | 2 |
the sight of the | 2 |
certain that in the | 2 |
sent him forth to | 2 |
importance of achilles in | 2 |
at this point to | 2 |
out of place in | 2 |
easy it is to | 2 |
to lay bare the | 2 |
explained by reference to | 2 |
a new element into | 2 |
repetition of old plots | 2 |
canto of the four | 2 |
what remains to be | 2 |
that he was not | 2 |
before our eyes in | 2 |
and to have been | 2 |
the dear glad angel | 2 |
of the rustic muse | 2 |
far as it goes | 2 |
by night and day | 2 |
and in my bosom | 2 |
a great variety of | 2 |
and to account for | 2 |
to judge by the | 2 |
on the mind of | 2 |
the fragrance of the | 2 |
unshorn in spring the | 2 |
opening of oedipus the | 2 |
the moral character of | 2 |
sons of the achaians | 2 |
old age and death | 2 |
his epicurean philosophy of | 2 |
homeric and the modern | 2 |
dealing with the prometheus | 2 |
of his life at | 2 |
and the hesiodic spirit | 2 |
the interest of their | 2 |
it may be fairly | 2 |
it is rather a | 2 |
artistic value in the | 2 |
the sage of agrigentum | 2 |
preserved by the comic | 2 |
before the walls of | 2 |
to strike the keynote | 2 |
to the soul of | 2 |
italy and greece for | 2 |
the fall of man | 2 |
is the triumph of | 2 |
spirit of greek tragedy | 2 |
the pride of the | 2 |
to the beauty of | 2 |
to his old age | 2 |
as a work of | 2 |
plays of aristophanes and | 2 |
the midst of their | 2 |
we may add that | 2 |
the action of his | 2 |
the question of the | 2 |
has been supplanted by | 2 |
the case of aristophanes | 2 |
presentation on the stage | 2 |
to this stage of | 2 |
of the epigram is | 2 |
of god and man | 2 |
of the power of | 2 |
when i see the | 2 |
in the greek mind | 2 |
artistic presentation of homeric | 2 |
the grace of the | 2 |
it is difficult for | 2 |
a remedy against the | 2 |
with the development of | 2 |
by introducing a new | 2 |
the domain of lyric | 2 |
greek text is transliterated | 2 |
there is none to | 2 |
here and there the | 2 |
the ruin of the | 2 |
and the science of | 2 |
the athlete of lysippus | 2 |
injustice done to euripides | 2 |
from the accession of | 2 |
an elaborate description of | 2 |
the gods of greece | 2 |
remains to be said | 2 |
the waters of oblivion | 2 |
the tales of the | 2 |
surely you have heard | 2 |
poetical genius of empedocles | 2 |
the pure and perfect | 2 |
we have lost the | 2 |
splendid period of the | 2 |
i shall be a | 2 |
of the beauty of | 2 |
in a greek city | 2 |
of which the following | 2 |
yet he is not | 2 |
from the first a | 2 |
than that of his | 2 |
that some of the | 2 |
the mother of a | 2 |
was the triumph of | 2 |
presentation of the furies | 2 |
the scholiasts of alexandria | 2 |
decay of youth and | 2 |
resolut zu leben in | 2 |
be imagined that the | 2 |
literature of the greeks | 2 |
is said that the | 2 |
and bitter tears to | 2 |
the period of his | 2 |
that it is impossible | 2 |
mutations of greek history | 2 |
the seat of sooth | 2 |
ought not to be | 2 |
of the whole world | 2 |
what was his fault | 2 |
the doom of the | 2 |
the foreground of the | 2 |
ionian contempt for women | 2 |
analysis of oedipus tyrannus | 2 |
to the fall of | 2 |
interest of the play | 2 |
the presentation of tragic | 2 |
young men and girls | 2 |
the religious feeling of | 2 |
consummate works of art | 2 |
the oracle at delphi | 2 |
the last trilogy of | 2 |
we run a risk | 2 |
the exigencies of the | 2 |
with the love of | 2 |
put upon the stage | 2 |
of human life with | 2 |
to the magnitude of | 2 |
between zeus and prometheus | 2 |
theophrastus and the later | 2 |
production of the antigone | 2 |
the type of tragedy | 2 |
in all its splendor | 2 |
we are therefore justified | 2 |
as soon as she | 2 |
quid olim lusit anacreon | 2 |
and here it must | 2 |
be regretted that we | 2 |
of southern nature to | 2 |
transliterated and enclosed in | 2 |
in the preservation of | 2 |
all probability from the | 2 |
we are not bound | 2 |
the final solution of | 2 |
whom the fate of | 2 |
the worship of dionysus | 2 |
the region of the | 2 |
before the throne of | 2 |
among gods and men | 2 |
and ocean with his | 2 |
offers a parallel to | 2 |
hesiod for the early | 2 |
by which we are | 2 |
was a king of | 2 |
for having been the | 2 |
in order to maintain | 2 |
the treatment of the | 2 |
the downfall of the | 2 |
his fame among the | 2 |
the value attached by | 2 |
all we know about | 2 |
and traditions of the | 2 |
is a poem of | 2 |
achilles considered as a | 2 |
the treatment of helen | 2 |
the mind of oedipus | 2 |
made to feel that | 2 |
are for the most | 2 |
to the present purpose | 2 |
fault in the climax | 2 |
that the greek myths | 2 |
the apprehension of a | 2 |
know not how to | 2 |
history of the greek | 2 |
of eating and drinking | 2 |
very bottom of the | 2 |
relation of sculpture to | 2 |
is called fortune from | 2 |
to the death of | 2 |
and feelings of the | 2 |
come in for their | 2 |
not at the same | 2 |
the art of writing | 2 |
of the soul of | 2 |
events of his own | 2 |
made in favor of | 2 |
be easy enough to | 2 |
of athens by the | 2 |
illustrate this phase of | 2 |
in relation to his | 2 |
and the nature of | 2 |
into contact with the | 2 |
harmodius and aristogeiton brave | 2 |
and enclosed in number | 2 |
in which they had | 2 |
of the state of | 2 |
the sake of its | 2 |
that the old comedy | 2 |
who gave utterance to | 2 |
when contrasted with the | 2 |
the daughters of danaus | 2 |
a compound of military | 2 |
the whole human race | 2 |
which she pours forth | 2 |
not so much by | 2 |
the ghost of darius | 2 |
by the help of | 2 |
the life and love | 2 |
be achieved by the | 2 |
hellas at the time | 2 |
are not always the | 2 |
the mellow tints of | 2 |
the whole of their | 2 |
after the dissolution of | 2 |
by the sacrifice of | 2 |
played in the history | 2 |
can be said about | 2 |
we listen to the | 2 |
of the manner of | 2 |
to return from this | 2 |
the child of leda | 2 |
homeric and the hesiodic | 2 |
lyric poetry in greece | 2 |
play an important part | 2 |
translation of the fragments | 2 |
for the purchase of | 2 |
of the hellenic stock | 2 |
with honor to his | 2 |
enclosed in number signs | 2 |
it is not certain | 2 |
passage in the poetics | 2 |
the old to the | 2 |
conditions of the attic | 2 |
their myths in common | 2 |
may take the following | 2 |
we turn to the | 2 |
subject of dramatic presentation | 2 |
shepherd of the house | 2 |
the life of sophocles | 2 |
a fragment from an | 2 |
is not subject to | 2 |
of the greek intellect | 2 |
si quid olim lusit | 2 |
the name of a | 2 |
in the end be | 2 |
same way as the | 2 |
but this is not | 2 |
to the fact that | 2 |
will in that of | 2 |
southern sense of fun | 2 |
men who have been | 2 |
are among the most | 2 |
among the women of | 2 |
the athene of the | 2 |
the future is to | 2 |
action of the greek | 2 |
had been spread abroad | 2 |
the wit of aristophanes | 2 |
but the souls of | 2 |
to reflect upon the | 2 |
as though they were | 2 |
is from the pen | 2 |
from his point of | 2 |
reason to suspect that | 2 |
kala pratois kala phainetai | 2 |
world as a whole | 2 |
nothing in common with | 2 |
dares to feed his | 2 |
the greater number of | 2 |
he was able to | 2 |
a simple study of | 2 |
to the class of | 2 |
moral attitude of the | 2 |
the drama as a | 2 |
water are all things | 2 |
of the divine rule | 2 |
was the friend of | 2 |
the elaboration of the | 2 |
the epicurean and stoic | 2 |
different from that of | 2 |
decline and fall of | 2 |
the strength of the | 2 |
splendid picture of the | 2 |
antagonism of good and | 2 |
of the english version | 2 |
the glory of a | 2 |
conception of her character | 2 |
personalities of archilochus and | 2 |
the fifth book of | 2 |
with ares in the | 2 |
wine as sweet as | 2 |
great measure to the | 2 |
the genealogies of the | 2 |
here it must be | 2 |
of the white elephant | 2 |
of the world into | 2 |
after the same fashion | 2 |
me to live is | 2 |
the heart of zeus | 2 |
studies of greek poets | 2 |
southern nature to greek | 2 |
the sun and the | 2 |
we discover that the | 2 |
by the story of | 2 |
of human life and | 2 |
geography of the prometheus | 2 |
the prime of spring | 2 |
aims at the presentation | 2 |
between the satire of | 2 |
his first in b | 2 |
to the sublimity of | 2 |
trilogy of the oresteia | 2 |
of two great nations | 2 |
the spirit of christianity | 2 |
the action of a | 2 |
structure of the whole | 2 |
no less than the | 2 |
harp of epic song | 2 |
blind forces of nature | 2 |
and the chorus is | 2 |
the recesses of the | 2 |
the masterpieces of the | 2 |
of the sun in | 2 |
the moment in the | 2 |
and cherish in a | 2 |
in form and stature | 2 |
prove that the ancients | 2 |
this picture of the | 2 |
history were accomplished with | 2 |
the goods of life | 2 |
the subject of a | 2 |
would be wrong to | 2 |
is the subject of | 2 |
middle plays in trilogies | 2 |
tale of human suffering | 2 |
came the soul of | 2 |
in the same state | 2 |
sketches and studies in | 2 |
with the destinies of | 2 |
the creature of a | 2 |
is curious to find | 2 |
the muses and the | 2 |
between rome and carthage | 2 |
element in the promethean | 2 |
indestructible elements in the | 2 |
to the praise of | 2 |
in the education of | 2 |
treatment of helen by | 2 |
to remove old landmarks | 2 |
dealing with the myths | 2 |
a weaker and more | 2 |
in the notes to | 2 |
wily subtleties and reflexes | 2 |
know god in the | 2 |
of the seasons and | 2 |
through the dark continent | 2 |
the sake of his | 2 |
the region of hereditary | 2 |
he complains of the | 2 |
are written on the | 2 |
of a systematic pantheon | 2 |
of the facts of | 2 |
descriptive history of the | 2 |
be read in bergk | 2 |
the greek pantheon in | 2 |
the legends used by | 2 |
too exclusive attention to | 2 |
moral order of the | 2 |
to account for words | 2 |
all the details of | 2 |
bedouin tribes of the | 2 |
when he was an | 2 |
at some period of | 2 |
by the genius of | 2 |
for the appearance of | 2 |
we must be prepared | 2 |
all the action of | 2 |
we are told that | 2 |
would be unfair to | 2 |
yet it was not | 2 |
that the greeks never | 2 |
treatment of eupsychia by | 2 |
it remained for a | 2 |
we may remember that | 2 |
value in the renaissance | 2 |
to be the bride | 2 |
to the purpose to | 2 |
of the sea with | 2 |
to pay old debts | 2 |
achilles in the iliad | 2 |
heard the voice of | 2 |
itself the germs of | 2 |
the men and women | 2 |
the remote and mystic | 2 |
and typographical errors were | 2 |
mythology and greek art | 2 |
period of his life | 2 |
which corresponds to the | 2 |
the surviving monuments of | 2 |
of the syracusan expedition | 2 |
calypso and the isle | 2 |
personal beauty of sophocles | 2 |
shepherd in the third | 2 |
aspects of greek art | 2 |
like harmodius and aristogeiton | 2 |
the shrine of delphi | 2 |
the love of zeus | 2 |
of the war of | 2 |
the cities of greece | 2 |
attempt to reconstruct a | 2 |
and to confirm the | 2 |
greek poets by john | 2 |
about the attic tragedians | 2 |
men of the nineteenth | 2 |
the sweetness of the | 2 |
among the ancients was | 2 |
dig for a supposed | 2 |
the old comedy itself | 2 |
late john addington symonds | 2 |
tragedians ridiculed by aristophanes | 2 |
he is said to | 2 |
of virtue and public | 2 |
on this account that | 2 |
the law of their | 2 |
a high ideal of | 2 |
leben in two volumes | 2 |
lamentations over the decay | 2 |
that the gods themselves | 2 |
pathos of the situation | 2 |
if we reject the | 2 |
you to delay no | 2 |
as we have already | 2 |
woven of wilding flowers | 2 |
be said to exist | 2 |
we seem to have | 2 |
when as yet the | 2 |
the comic poets and | 2 |
the ruins of the | 2 |
kolazein ou thanontas eusebes | 2 |
doctrine of a future | 2 |
in the fact that | 2 |
it will be enough | 2 |
this surely you have | 2 |
new element into the | 2 |
exquisite proportion observed in | 2 |
of the chief actors | 2 |
in vogue among the | 2 |
the men whom he | 2 |
men as they ought | 2 |
two conditions for the | 2 |
as apprehended by the | 2 |
greek history were accomplished | 2 |
has sustained her character | 2 |
the science of nature | 2 |
the free handling of | 2 |
we read such lines | 2 |
is difficult to believe | 2 |
poet of the fancy | 2 |
of the poems of | 2 |
about the difference between | 2 |
to the advantages of | 2 |
which i have already | 2 |
have been preserved by | 2 |
conditions for the development | 2 |
the one side and | 2 |
education of the greeks | 2 |
modern poets to the | 2 |
inbreed and cherish in | 2 |
in the last degree | 2 |
the quarrel with agamemnon | 2 |
mother of the gods | 2 |
spiritual movement to greek | 2 |
the preservation of greek | 2 |
art of the greeks | 2 |
contempt for the knowledge | 2 |
philosophy and poetry and | 2 |
the first dawn of | 2 |
of genius as a | 2 |
the compilers of commonplace | 2 |
used it as a | 2 |
is the pathos of | 2 |
bane of the ancient | 2 |
in time of need | 2 |
of the appearance of | 2 |
to use the words | 2 |
of phoebus at delphi | 2 |
fix our attention upon | 2 |
has just been advanced | 2 |
more distinct than that | 2 |
of the shepherd who | 2 |
and discord to harmony | 2 |
to speak of the | 2 |
to put up with | 2 |
outward embodiment of the | 2 |
on the ground of | 2 |
whole tragedy of the | 2 |
in connection with some | 2 |
is so interesting that | 2 |
with the passion of | 2 |
added something of his | 2 |
marks the transition from | 2 |
of him as the | 2 |
the solar theory to | 2 |
the voice of gods | 2 |
is the reason why | 2 |
art is shown by | 2 |
of the earliest among | 2 |
of the very soul | 2 |
was the voice of | 2 |
of dealing with mythology | 2 |
modern modes of judging | 2 |
that of the greek | 2 |
the scope of this | 2 |
the standard of the | 2 |
and studies in southern | 2 |
covers the whole of | 2 |
of his own heart | 2 |
the universe as it | 2 |
the first of these | 2 |
the type of the | 2 |
the throne of zeus | 2 |
in the death of | 2 |
due in a great | 2 |
so far as it | 2 |
with the death of | 2 |
and artistic value in | 2 |
hearing of his death | 2 |
a fixed body of | 2 |
of women in the | 2 |
in the south of | 2 |
in the third period | 2 |
the following hymn to | 2 |
of the poem is | 2 |
an unknown play of | 2 |
we seem to be | 2 |
work of art so | 2 |
the state of society | 2 |
to life when honor | 2 |
of the agamemnon the | 2 |
impression on the mind | 2 |
face of the world | 2 |
of the greek mind | 2 |
she gave thee beauty | 2 |
naught but violence and | 2 |
for a motto on | 2 |
intellectual development of europe | 2 |
the presentation of the | 2 |
to the question of | 2 |
in the formation of | 2 |
that the greeks were | 2 |
the student of prehistorical | 2 |
preservation of greek poetry | 2 |
of the vintage god | 2 |
and the helen of | 2 |
of tyana and the | 2 |
a hymn to health | 2 |
of the dikaios logos | 2 |
feeling in modern poets | 2 |
when so much remains | 2 |
his greatness as a | 2 |
breaks the spirit of | 2 |
her by the hand | 2 |
called fortune from without | 2 |
not strange that he | 2 |
regarded as the first | 2 |
herein we trace the | 2 |
to touch upon the | 2 |
concerning the situation of | 2 |
by ismene and by | 2 |
solid ground of defence | 2 |
the impulse of the | 2 |
the common heritage of | 2 |
the age of nero | 2 |
same feeling in modern | 2 |
his parentage and life | 2 |
whole of the first | 2 |
of the poet who | 2 |
well as of the | 2 |
at this point the | 2 |
for this reason the | 2 |
it has been well | 2 |
the scenery of theocritus | 2 |
of the most charming | 2 |
hymns in praise of | 2 |
points suggested with regard | 2 |
they were not divided | 2 |
begging of the question | 2 |
in gold and colours | 2 |
in the depth of | 2 |
was concentrated on the | 2 |
and difference between ancient | 2 |
parmenides in the dialogues | 2 |
is shown by the | 2 |
in the hand of | 2 |
the passions of terror | 2 |
critics of the modern | 2 |
are justified in giving | 2 |
may be questioned whether | 2 |
criticism among the ancients | 2 |
pure nature in theocritus | 2 |
reminds us of a | 2 |
in all that concerns | 2 |
the ghost of clytemnestra | 2 |
upon a bed of | 2 |
solution of the laian | 2 |
is the exclamation of | 2 |
supreme work of art | 2 |
the people among whom | 2 |
of hamlet or of | 2 |
current of greek history | 2 |
of plato and the | 2 |
in opposition to the | 2 |
to do with the | 2 |
the triumph of sophocles | 2 |
would be out of | 2 |
sire by aphrodite of | 2 |
be adduced from the | 2 |
it may also be | 2 |
of heroes and heroines | 2 |
of philosophy from mythology | 2 |
has no religious idea | 2 |
to orestes in the | 2 |
to one of the | 2 |
of the relations of | 2 |
part of the messenger | 2 |
to suppose that this | 2 |
the men of marathon | 2 |
and poetry and art | 2 |
the times of the | 2 |
us to understand the | 2 |
nor ever scythe hath | 2 |
would it have been | 2 |
take no heed of | 2 |
climax of the drama | 2 |
the greek art par | 2 |