quadgram

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