trigram

This is a table of type trigram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

trigram	frequency
of the greek	112
of the greeks	102
of the world	85
the same time	84
at the same	83
one of the	70
the spirit of	58
there is no	53
and in the	52
of his own	50
it is not	49
the history of	48
in the same	47
the life of	46
it may be	46
the age of	45
to have been	45
in order to	42
the character of	42
the genius of	41
the house of	39
in which the	38
seems to have	37
as in the	36
of the universe	36
the tale of	35
the subject of	34
of the human	34
of all the	34
of the drama	34
sense of the	34
as well as	34
history of the	33
the end of	33
of the most	32
the death of	32
point of view	32
some of the	32
in which he	31
in the first	31
in spite of	31
of the whole	31
the name of	31
in the case	30
the fragments of	30
of the poet	30
the case of	30
and of the	30
that of the	29
and to the	28
the greek race	28
the art of	27
part of the	27
would have been	27
of the great	27
of greek tragedy	27
on the other	27
work of art	27
it was the	27
the action of	27
the whole of	26
but it is	26
as it were	26
of greek literature	26
it will be	26
that he was	26
this is the	26
the nature of	25
works and days	25
may be said	25
of the gods	25
of the divine	25
of the soul	25
must have been	25
of the play	25
of the sea	24
the son of	24
spirit of the	24
the sphere of	24
the hands of	24
and that the	24
the beauty of	23
of the same	23
of the chorus	23
at this point	23
the work of	23
the love of	23
it has been	23
it is clear	23
to be the	22
of the anthology	22
of the tragic	22
the fact that	22
in like manner	22
the light of	22
of human life	21
we do not	21
of the athenian	21
the soul of	21
of the first	21
character of the	21
of his life	21
genius of the	21
the laws of	21
in the last	20
it is the	20
of greek art	20
it is only	20
it would be	20
among the greeks	20
portion of the	20
the persian war	20
in the second	20
of the attic	20
of the house	20
not to be	20
the unity of	20
to that of	20
at the end	20
is not the	19
poets of the	19
on the contrary	19
action of the	19
the force of	19
and all the	19
nature of the	19
that it is	19
we have to	19
it is to	19
a young man	19
it is a	19
life of the	19
the works of	19
the same way	19
a kind of	19
the study of	18
the style of	18
a native of	18
the law of	18
the power of	18
the works and	18
to the greeks	18
which has been	18
in the third	18
and it is	18
to be a	18
in this respect	18
the other hand	18
have been the	18
according to the	18
seem to have	18
one of these	18
it must be	18
to the greek	18
upon the stage	18
as a poet	18
in the age	18
the voice of	18
of the persian	17
like that of	17
by the greeks	17
is clear that	17
the plays of	17
may have been	17
of the hero	17
of the word	17
of the race	17
in the midst	17
that is to	17
poet of the	17
be regarded as	17
the point of	17
said to have	17
it is impossible	17
the conception of	17
is one of	17
is in the	17
of his art	17
that in the	17
the eyes of	17
is not a	17
the story of	17
end of the	17
as far as	17
the language of	17
there is a	17
of the iliad	17
of the spirit	17
the sense of	16
fragments of the	16
the notion of	16
hero and leander	16
to believe that	16
it was not	16
in his own	16
there is nothing	16
for the most	16
that we are	16
for the sake	16
the influence of	16
the time of	16
said about the	16
of the mind	16
it is enough	16
in the following	16
conception of the	16
order of the	16
to the same	16
no less than	16
in a great	16
is to say	16
dealing with the	16
description of the	16
the sake of	16
the author of	16
the human race	16
is enough to	15
by which the	15
of his age	15
with the whole	15
he does not	15
in other words	15
regarded as the	15
homer and hesiod	15
on the stage	15
of the athenians	15
that which is	15
the region of	15
the words of	15
the development of	15
the midst of	15
the greek genius	15
the poetry of	15
with regard to	15
attention to the	15
as it is	15
and at the	15
the mouth of	15
among the ancients	15
of gods and	15
might have been	15
many of the	15
of the poem	15
it is in	15
subject of the	15
of which the	15
and on the	15
of the modern	15
of the senses	15
we have seen	15
to suppose that	15
with which he	14
the poet of	14
the thought of	14
the conditions of	14
is said to	14
of the old	14
at the time	14
the expression of	14
the men of	14
together with the	14
structure of the	14
it is probable	14
to make the	14
the middle ages	14
the attic drama	14
of the sun	14
in the world	14
beauty of the	14
ancient and modern	14
and with the	14
of the homeric	14
we are not	14
the greek drama	14
of the dorian	14
the mind of	14
that the poet	14
the strength of	14
which he has	14
side by side	14
that he had	14
age of the	14
the old comedy	14
and by the	14
have been preserved	13
in all the	13
this kind of	13
the characters of	13
a great measure	13
than in the	13
for the first	13
in the history	13
climax of the	13
of art and	13
out of the	13
a series of	13
the man who	13
the temple of	13
the pathos of	13
same time the	13
of greek poetry	13
be said about	13
in all its	13
the period of	13
the greek spirit	13
connected with the	13
the first time	13
none of the	13
the opening of	13
is probable that	13
the object of	13
development of the	13
in the middle	13
so far as	13
the philosophy of	13
a part of	13
the days of	13
that the greeks	13
to understand the	13
with the spirit	13
in common with	13
the names of	13
the comedy of	13
the school of	13
the gnomic poets	13
than any other	13
of dealing with	12
for a moment	12
to think of	12
the form of	12
seems to be	12
him in the	12
the ideal of	12
in the prometheus	12
more than a	12
thought and feeling	12
the centre of	12
the pride of	12
we find in	12
treatment of the	12
the flower of	12
of this kind	12
in the odyssey	12
the student of	12
in order that	12
he was the	12
he did not	12
of greek history	12
the arts of	12
conditions of the	12
to prove that	12
the poems of	12
the greeks of	12
the choice of	12
the difference between	12
of the works	12
which we have	12
be said to	12
to set forth	12
of thought and	12
the passions of	12
in this way	12
the grandeur of	12
version of the	12
of a man	12
of the agamemnon	12
must not be	12
the fall of	12
the beginning of	12
the structure of	12
nothing can be	12
the most part	12
he seems to	12
the triumph of	12
in the greek	12
sense of beauty	12
is impossible to	12
on which the	12
time of the	12
the origin of	12
in connection with	12
the part of	12
the comic poets	12
the title of	12
a portion of	12
the greek poets	12
the relation of	12
the children of	12
the murder of	12
the speech of	12
picture of the	12
of the hellenic	12
the tales of	11
the poets of	11
them in the	11
as soon as	11
nature of his	11
on the one	11
of a greek	11
the passion of	11
son of peleus	11
than that of	11
to the end	11
the loss of	11
qualities of the	11
he was a	11
works of art	11
all of them	11
the greeks and	11
ought to be	11
the legend of	11
the charm of	11
when he was	11
we find that	11
the secret of	11
it is difficult	11
with that of	11
as that which	11
with his own	11
the importance of	11
the human mind	11
uncut edges and	11
belonged to the	11
the doctrine of	11
and gilt tops	11
of the highest	11
we must not	11
the tragedy of	11
the modern world	11
can only be	11
the fame of	11
men and women	11
opening of the	11
in course of	11
in the end	11
in harmony with	11
the minds of	11
reported to have	11
of the past	11
to the first	11
in the life	11
edges and gilt	11
a man of	11
the greeks had	11
this point of	11
even in the	11
account of the	11
the sons of	11
the exhibition of	11
in favor of	11
of the clouds	11
to form a	11
in the iliad	11
which had been	11
of the people	11
the interest of	11
the qualities of	11
a man who	11
the contrast between	11
the heart of	11
of the mythopoeic	11
the race of	11
helen in the	11
to his own	11
of one of	11
of love and	11
of the future	10
the greek poet	10
the limits of	10
of the fancy	10
the queen of	10
difference between the	10
in dealing with	10
of the nation	10
course of time	10
the state of	10
a body of	10
by side with	10
compared with the	10
which may be	10
the evolution of	10
of the muses	10
the same as	10
the modern drama	10
the glory of	10
soul of man	10
of the other	10
of the new	10
the service of	10
of the myths	10
such is the	10
matter of the	10
the greeks to	10
as in a	10
supposed to have	10
a form of	10
the conduct of	10
the freedom of	10
section of the	10
the mythopoeic age	10
the value of	10
into the mouth	10
it is true	10
what we know	10
period of the	10
as that of	10
the prometheus bound	10
and from the	10
of youth and	10
gods and men	10
of his poetry	10
had to be	10
may be taken	10
of the prometheus	10
the picture of	10
with a view	10
have been a	10
as they are	10
that we have	10
through all the	10
grandeur of the	10
harmony with the	10
by the poet	10
of the deity	10
the type of	10
the problem of	10
house of atreus	10
so as to	10
of the dead	10
it is possible	10
these are the	10
a poet of	10
it appears that	10
the attic stage	10
regarded as a	10
the creation of	10
with which the	10
study of the	10
character of achilles	10
no more than	10
was a native	10
the morality of	10
a play of	10
the greeks were	10
in the frogs	10
be said in	10
here and there	10
the child of	10
of the two	10
the powers of	10
which have been	10
the burden of	10
men of the	10
a period of	10
in greek tragedy	10
the production of	10
to show that	10
and for the	10
we know about	10
the mystery of	10
in the very	10
can be more	10
the will of	10
of the present	9
is to be	9
connection with the	9
the meaning of	9
it is necessary	9
the ghost of	9
the hand of	9
has to be	9
is proved by	9
the face of	9
that he is	9
which is the	9
of the birds	9
of the fragments	9
the splendor of	9
in mind that	9
will be seen	9
of his plays	9
what the greeks	9
in the fifth	9
he is not	9
the tragedies of	9
that it was	9
of the god	9
in the universe	9
the fate of	9
age in which	9
set forth the	9
the order of	9
at the very	9
the lips of	9
conduct of the	9
of the messenger	9
they are not	9
be taken as	9
of his poem	9
not so much	9
at first sight	9
of the oedipus	9
we see the	9
between the two	9
passage of the	9
us with a	9
would not have	9
the middle comedy	9
the theory of	9
contact with the	9
those who have	9
simonides of amorgos	9
to which the	9
we need not	9
the appearance of	9
at any rate	9
the heroes of	9
of the chief	9
of the audience	9
in so far	9
the greeks was	9
with the same	9
of the earth	9
of the ancient	9
of the king	9
of the national	9
of this period	9
of his death	9
or in the	9
a new and	9
a wreath of	9
of the middle	9
consistent with the	9
the process of	9
to some extent	9
the crime of	9
on the ground	9
of the trilogy	9
in a box	9
of this sort	9
race of men	9
face to face	9
of the plot	9
us in the	9
the growth of	9
which he was	9
upon the earth	9
who has been	9
the absence of	9
the present day	9
the climax of	9
could not be	9
drama of the	9
which he had	9
of greek mythology	9
solution of the	9
the shrine of	9
that he has	9
a view to	9
subject to the	9
the body of	9
of one who	9
of the antigone	9
of the later	9
all that is	9
the sweetness of	9
the mother of	9
should have been	9
of his style	9
but in the	9
interest of the	9
of the elder	9
was the first	9
integral part of	9
example of the	9
tale of thebes	9
philosophy of life	9
the consciousness of	9
us to the	9
light of the	9
case of the	9
in the spirit	9
and the modern	9
of the three	9
we feel that	9
of greek life	9
the oedipus tyrannus	9
a work of	9
it should be	9
to the utmost	8
is reported to	8
to show how	8
in the one	8
in the present	8
was one of	8
said in passing	8
to the sea	8
the choruses of	8
the new comedy	8
but when the	8
the statue of	8
the mysteries of	8
gods and heroes	8
the cause of	8
of the renaissance	8
of lyric poetry	8
the tragic art	8
the forms of	8
that is the	8
art and literature	8
the battle of	8
of his character	8
form of art	8
what may be	8
one of his	8
of the ionian	8
to exhibit the	8
be gathered from	8
in this place	8
been said about	8
fragments of his	8
in which they	8
account for the	8
from the fact	8
no reason to	8
poem on nature	8
of the second	8
he could not	8
the sacrifice of	8
achilles in the	8
to express the	8
that the first	8
the attention of	8
of his poems	8
the women of	8
in the works	8
down to the	8
the groundwork of	8
among the most	8
notion of the	8
as we have	8
in which we	8
to be found	8
theory of the	8
and when the	8
the men who	8
that he may	8
the theme of	8
the substance of	8
the presentation of	8
up to the	8
of the euripidean	8
the use of	8
the wrath of	8
him to the	8
by no means	8
i have already	8
by means of	8
the poet was	8
the cry of	8
of what is	8
is clear from	8
in obedience to	8
voice of the	8
it in the	8
the date of	8
is difficult to	8
in the highest	8
the function of	8
the place of	8
clear that the	8
the composition of	8
the prometheus unbound	8
the greek myths	8
of the seven	8
spirit of greek	8
it is also	8
this is not	8
of a new	8
just as the	8
of the english	8
them to the	8
when compared with	8
the best of	8
we have the	8
may be gathered	8
might be quoted	8
of the titan	8
of a great	8
of the state	8
place in the	8
who have been	8
the introduction of	8
the bard of	8
yet it is	8
the lines of	8
at the hands	8
points of view	8
by his own	8
which we are	8
the ruin of	8
the statues of	8
to all the	8
portion of his	8
by way of	8
to the present	8
both of these	8
the truth of	8
that he should	8
relation to the	8
the daughters of	8
of the tale	8
book of the	8
translation of the	8
nor is it	8
reference to the	8
the perfection of	8
of the best	8
to account for	8
the imagination of	8
reminds us of	8
passage in the	8
in the modern	8
of the age	8
of greek sculpture	8
such as the	8
the poet who	8
we must be	8
the treatment of	8
the side of	8
period of greek	8
a matter of	8
and through the	8
only in the	8
of the situation	8
so much of	8
of the epic	8
is no longer	8
a sense of	8
in the character	8
from the same	8
they seem to	8
the altar of	8
in the antigone	8
story of the	8
by the name	8
of a day	8
in this play	8
a sort of	8
the family of	8
of the legend	8
the greeks in	8
of the sophoclean	8
the trilogy of	8
light upon the	8
knowledge of the	8
a picture of	8
as if the	8
the world has	8
the condition of	7
of the achaians	7
the education of	7
to whom the	7
value of the	7
is the same	7
more than the	7
has just been	7
the world as	7
forms of art	7
the poet has	7
the source of	7
the memory of	7
the whole series	7
we must remember	7
we know that	7
of his subject	7
when at last	7
and so forth	7
to be regretted	7
of all these	7
much of the	7
the peloponnesian war	7
the most perfect	7
to live in	7
the fabric of	7
away from the	7
is no doubt	7
upon the ground	7
the seven sages	7
it is curious	7
believe that the	7
the divine government	7
the four elements	7
the mythopoeic faculty	7
is but a	7
the outlines of	7
the operation of	7
compared to a	7
children of the	7
the three plays	7
to illustrate the	7
it is no	7
the worship of	7
the affairs of	7
in the other	7
of sophocles and	7
few of the	7
the shores of	7
the difficulty of	7
is far more	7
the question of	7
of the passions	7
the following lines	7
the walls of	7
land of the	7
that they were	7
the presence of	7
be referred to	7
of old age	7
between and b	7
of the greatest	7
point in the	7
preserved to us	7
seem to be	7
to be regarded	7
was destined to	7
of the vatican	7
had not been	7
the germs of	7
to the very	7
of domestic life	7
of the third	7
the circumstances of	7
and some of	7
part in the	7
what we have	7
from this point	7
of common life	7
when he has	7
an integral part	7
in his mind	7
the company of	7
to point out	7
him by the	7
the scene is	7
of its own	7
of the mediterranean	7
of the ancients	7
that all the	7
of which we	7
some of them	7
greeks in their	7
the later greek	7
we have lost	7
the height of	7
the purity of	7
them from the	7
in the theatre	7
there was no	7
are made to	7
the bloom of	7
it as a	7
to observe the	7
it seems to	7
may not be	7
but with the	7
of the deep	7
condition of the	7
in the hands	7
which i have	7
it is this	7
the whole is	7
far as we	7
author of the	7
of the theatre	7
the play of	7
as the first	7
the age in	7
poetry in greece	7
there was nothing	7
government of the	7
in the light	7
to the divine	7
the second drama	7
it from the	7
triumph of the	7
by which he	7
the middle of	7
of the sophists	7
the nineteenth century	7
the deeds of	7
by far the	7
which we may	7
in the state	7
we ought to	7
in relation to	7
the formation of	7
the facts of	7
may be quoted	7
of the heroes	7
good and evil	7
as it was	7
is well known	7
splendor of the	7
by the chorus	7
the ethics of	7
eyes of the	7
the existence of	7
the first and	7
to the gods	7
when i drink	7
the balance of	7
antipater of sidon	7
probable that the	7
of the spring	7
of the moral	7
which the poet	7
that may be	7
the justice of	7
of the men	7
to maintain the	7
the punishment of	7
philosophy of the	7
by the same	7
doctrine of nemesis	7
be said that	7
out of place	7
of the life	7
he may have	7
to his friend	7
could have been	7
a great and	7
of achilles in	7
poetry and art	7
which formed the	7
to the old	7
of their own	7
belongs to the	7
with all the	7
that of his	7
it with the	7
of the epigrams	7
the spectacle of	7
well as of	7
it was only	7
it was in	7
proved by the	7
activity of the	7
remains to be	7
when we read	7
of lyrical poetry	7
the greek pantheon	7
of the flesh	7
in greek literature	7
at the altar	7
not to mention	7
use of the	7
can be said	7
he describes the	7
from the sea	7
which seems to	7
of a play	7
the states of	7
is necessary to	7
i do not	7
the standard of	7
distinguished from the	7
in this passage	7
what is the	7
the destinies of	7
but that he	7
in honor of	7
contrast between the	7
than any of	7
at a later	7
at last the	7
to say that	7
the land of	7
the life and	7
with so much	7
feeling for the	7
force of the	7
the chorus in	7
achievements of the	7
of poetry and	7
of his genius	7
to which we	7
the pleasures of	7
in this period	7
prove that the	7
of the heroic	7
the odes of	7
of all kinds	7
scene in the	7
the first place	7
the events of	7
the prime of	7
in accordance with	7
function of the	7
the homeric poems	7
nor is the	7
they were not	7
that has been	7
of the character	7
of the four	7
and this is	7
house of the	7
to do with	7
the lives of	7
for it was	7
that the greek	7
would be a	7
the palace of	7
the fire of	7
the sentiment of	6
of the term	6
what has been	6
which he describes	6
thought of death	6
of the series	6
of his predecessors	6
that being is	6
of the genius	6
it is far	6
to justify the	6
as we may	6
night and day	6
them in his	6
of such a	6
god in the	6
we gather from	6
his father and	6
thoughts and feelings	6
contained in the	6
of the french	6
works of the	6
in the whole	6
i were a	6
the most sublime	6
when we remember	6
it was a	6
consists of a	6
plays of the	6
of the physical	6
we possess of	6
of the tragedy	6
in his tragedies	6
harmodius and aristogeiton	6
up in the	6
same time he	6
appeal to the	6
of the night	6
the heroic age	6
which the greek	6
it is quite	6
of helen by	6
led to the	6
the last of	6
the one side	6
of the fall	6
view of the	6
the person of	6
of which he	6
and that of	6
known to us	6
the image of	6
imagination of the	6
view of human	6
of the day	6
fragment from the	6
we find it	6
and with his	6
tragedy and comedy	6
love as a	6
to the highest	6
of his nation	6
the golden age	6
me to the	6
ascribed to him	6
the gods of	6
is the last	6
the poet to	6
members of the	6
and in his	6
at the opening	6
in that of	6
the canon of	6
it is an	6
we seem to	6
the reach of	6
is full of	6
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and to have	6
with reference to	6
the fine arts	6
cast upon the	6
he has not	6
of pain and	6
minds of the	6
is no less	6
may be referred	6
in the palace	6
as we possess	6
we may regard	6
lies in the	6
nor did he	6
the effect of	6
the basis of	6
in the art	6
features of the	6
period of his	6
of the myth	6
may be regarded	6
of archilochus and	6
second drama of	6
of these lines	6
by the sea	6
for the greeks	6
the world and	6
by the comic	6
as an artist	6
the first period	6
at the moment	6
this species of	6
form to the	6
in the oedipus	6
the supremacy of	6
listening to the	6
on the same	6
in the more	6
the tragic poets	6
which seem to	6
and the other	6
the achievements of	6
may be called	6
outlines of the	6
the elements of	6
to begin with	6
are we to	6
the passion for	6
the course of	6
which they had	6
canto of the	6
for the creation	6
plays of aristophanes	6
greeks of the	6
to leave the	6
ceased to be	6
the divine in	6
in addition to	6
on account of	6
contrasted with the	6
of the history	6
of her own	6
lines in which	6
of the east	6
are the two	6
we have been	6
instead of being	6
the whole race	6
since it is	6
disease of language	6
them with the	6
within the limits	6
to produce a	6
but at the	6
to the age	6
those who are	6
if we may	6
an example of	6
the misery of	6
freedom of the	6
the people of	6
to explain the	6
in the land	6
of the odyssey	6
an account of	6
of the more	6
sparta and athens	6
of the art	6
of the law	6
the depth of	6
what we call	6
good and bad	6
from the heroic	6
in the prime	6
of the fable	6
of the last	6
of the lost	6
life and death	6
are forced to	6
the realm of	6
be called the	6
love and discord	6
part of his	6
by the attic	6
the praises of	6
the whole world	6
said to be	6
art of the	6
not for the	6
at the present	6
in the agamemnon	6
borne in mind	6
what we mean	6
of the early	6
of his odes	6
death of patroclus	6
the case with	6
all the poets	6
in the ninth	6
of the comic	6
all these things	6
the advantages of	6
we hear of	6
the linguistic theory	6
in which she	6
a far more	6
be in the	6
one of those	6
the same kind	6
the second period	6
bear in mind	6
of what we	6
attention upon the	6
the mythus of	6
a few of	6
of all things	6
was in the	6
character of helen	6
over and over	6
inherent in the	6
the chorus are	6
woe is me	6
student of greek	6
it is worth	6
a fragment from	6
one of their	6
is true that	6
sold only in	6
is the most	6
and there is	6
age of greek	6
across the sea	6
of hero and	6
some of his	6
from that which	6
more or less	6
the fury of	6
it is well	6
step in the	6
the one hand	6
hands of the	6
a translation of	6
of a national	6
the same may	6
could not have	6
he was not	6
spite of its	6
in the poetics	6
the thoughts of	6
style of the	6
the vision of	6
up with the	6
the drama in	6
we have no	6
his conception of	6
of the origin	6
with paper labels	6
there is the	6
do justice to	6
the idea of	6
the praise of	6
what are we	6
athens during the	6
do not know	6
of his father	6
the ancient and	6
upon which the	6
in whom the	6
which the greeks	6
in the air	6
the ruins of	6
plato in the	6
then comes the	6
the conclusion of	6
we should have	6
revolution in the	6
on the sea	6
the senses and	6
of the syracusan	6
the epigrams of	6
a life of	6
the seven against	6
by the greek	6
in the course	6
been preserved to	6
the relations of	6
the list of	6
when it is	6
in the play	6
house of laius	6
has been said	6
same may be	6
within the sphere	6
justice to the	6
owing to the	6
in the moral	6
the drama of	6
choruses of the	6
have to be	6
we remember that	6
to draw the	6
the changes of	6
and in this	6
the sin of	6
the legends of	6
all the great	6
is more than	6
which we possess	6
sons of the	6
adequate to the	6
each of these	6
during the last	6
but when he	6
to call the	6
the homeric and	6
the sun and	6
and over again	6
and the chorus	6
that portion of	6
be compared to	6
we read the	6
the attic tragedians	6
on the subject	6
the old man	6
be compared with	6
the conclusion that	6
under the influence	6
first of all	6
poetry of the	6
the details of	6
in the mythopoeic	6
expression of the	6
of the parthenon	6
earth and water	6
of the trojan	6
illustration of the	6
the scene of	6
relation of the	6
has never been	6
must remember that	6
seven against thebes	6
the matter of	6
be seen that	6
the criticism of	6
life of man	6
of a truth	6
the exercise of	6
the realities of	6
the poet and	6
only in sets	6
upon the subject	6
of a god	6
his treatment of	6
not a little	6
in a word	6
yet there is	6
the speeches of	6
to use the	6
the discovery of	6
in the fourth	6
be paralleled by	6
to the death	6
in the clouds	6
he is the	6
the masterpieces of	6
in one of	6
the sight of	6
in the future	5
in the tragedy	5
in the drama	5
of the style	5
the amount of	5
when the greek	5
the lot of	5
of the linguistic	5
play of the	5
beauty of his	5
this style of	5
to be in	5
passion for the	5
a later period	5
public and private	5
sets forth the	5
they do not	5
in all these	5
pathos of the	5
work of the	5
the greek and	5
of the year	5
satire on women	5
worth while to	5
the quality of	5
may be the	5
as distinguished from	5
production of the	5
of all of	5
than for the	5
upon the scene	5
early age of	5
of the christian	5
the decline of	5
of his tragedies	5
the anthology of	5
that i may	5
find in the	5
of the characters	5
statues of the	5
at variance with	5
on the point	5
him that he	5
for whom the	5
legend of the	5
to confound the	5
no sense of	5
exhibition of the	5
that the two	5
of the one	5
qualities of his	5
the arms of	5
in the style	5
the corpse of	5
it is noticeable	5
for it is	5
who is the	5
it was impossible	5
in praise of	5
the clash of	5
in his youth	5
the description of	5
accordance with the	5
so much on	5
as may be	5
any of the	5
the satyric drama	5
the following is	5
and the world	5
to describe the	5
and also as	5
lives of the	5
the energy of	5
it is thus	5
to connect the	5
to make it	5
of that which	5
and the divine	5
that he will	5
the vengeance of	5
view of life	5
was forced to	5
was only in	5
the stream of	5
the temper of	5
the hearts of	5
the dramas of	5
by reason of	5
of the war	5
vision of the	5
resolut zu leben	5
of the school	5
history of england	5
the greeks for	5
in a greek	5
the deus ex	5
put into the	5
altar of the	5
the myths of	5
in one place	5
a long and	5
of the roman	5
to comprehend the	5
appropriate to the	5
the occasion of	5
true of the	5
the very end	5
instead of the	5
legends connected with	5
of heaven and	5
that they are	5
of her character	5
the chorus of	5
three periods in	5
to her father	5
the same sort	5
the poem on	5
a poem of	5
athens in the	5
a new element	5
last of the	5
way of dealing	5
the sound of	5
he should have	5
the impression of	5
on which he	5
are justified in	5
to preserve the	5
imagined that the	5
that the old	5
in passing that	5
the joys of	5
of the public	5
the united states	5
passing to the	5
it must not	5
i have been	5
who are curious	5
tragedy of sophocles	5
to make us	5
he might have	5
the dialogues of	5
that i were	5
to the deity	5
and that their	5
a glimpse of	5
may here be	5
the most brilliant	5
with the greek	5
favor of the	5
show that the	5
rather than the	5
it would appear	5
the burning of	5
old age of	5
him like a	5
there are few	5
poet and the	5
penetrated with the	5
the athenian audience	5
mind of the	5
the rules of	5
the first part	5
with these words	5
of hereditary guilt	5
the attitude of	5
a greek of	5
of their most	5
upon his head	5
with any certainty	5
doctrine of the	5
of the arts	5
which it was	5
the fourth century	5
the waters of	5
to be said	5
more and more	5
powers of the	5
of the mythus	5
the consequences of	5
that when the	5
analysis of the	5
some of these	5
the science of	5
it had been	5
order that the	5
the world is	5
the offspring of	5
what remains of	5
nothing but the	5
of athens in	5
was not a	5
the greeks themselves	5
be borne in	5
of this poem	5
to maintain a	5
the result of	5
is it that	5
suited to the	5
daughter of the	5
in no other	5
and modern comedy	5
to those of	5
to the house	5
them in their	5
in the south	5
the breath of	5
to trace the	5
moral and religious	5
like that which	5
of the former	5
which was the	5
of the death	5
in the work	5
was not the	5
of euripides to	5
in the golden	5
of the iambic	5
regard to the	5
youths and maidens	5
implicit in the	5
on the side	5
for his own	5
plato and aristotle	5
we are justified	5
in point of	5
on that account	5
of time and	5
nor can the	5
details of the	5
of the olive	5
the medea of	5
in all probability	5
the homeric age	5
in his power	5
games were held	5
to us in	5
fury of the	5
more than any	5
nor need we	5
reason to suppose	5
be added that	5
be enough to	5
is the first	5
with all that	5
of passion and	5
the creator of	5
all we know	5
the trojan war	5
the prospect of	5
which they are	5
a disease of	5
enabled him to	5
is better to	5
though it is	5
of the queen	5
the first of	5
that the ancients	5
whole of the	5
like those of	5
as a greek	5
women of homer	5
if he be	5
that the iliad	5
temper of his	5
of a long	5
from the very	5
epigrams of the	5
same kind of	5
childhood of the	5
of the action	5
with many a	5
a vein of	5
and many a	5
spite of all	5
the folly of	5
which he lived	5
a nation of	5
it is better	5
origin of the	5
these good things	5
be illustrated by	5
characteristic of the	5
has been preserved	5
upon the same	5
have been written	5
more to the	5
of the grave	5
in its origin	5
us with the	5
the fragment of	5
the universe is	5
says the poet	5
on the earth	5
taken from the	5
strong enough to	5
the originality of	5
of the theogony	5
of asia minor	5
the joy of	5
is involved in	5
the episode of	5
to the height	5
male and female	5
it is interesting	5
nor was it	5
instance of the	5
of plato and	5
in the eyes	5
have been in	5
from the action	5
and as a	5
of homer and	5
a spirit of	5
he had to	5
order to make	5
him on the	5
would be impossible	5
is not possible	5
point of the	5
in the language	5
to the modern	5
and by a	5
of the spectators	5
of him as	5
might be selected	5
the serenity of	5
the whole earth	5
as opposed to	5
study of greek	5
at the beginning	5
speeches of the	5
is but the	5
by contact with	5
the early greeks	5
the soul is	5
of dramatic art	5
and when he	5
remind us of	5
if we are	5
belong to the	5
age of pericles	5
fact that the	5
of god and	5
each other in	5
in the oresteia	5
ancient and the	5
years of his	5
to have said	5
of marcus aurelius	5
enough has been	5
the elegies of	5
the rites of	5
of the poems	5
to the full	5
the daughter of	5
from the greek	5
the wisdom of	5
us at the	5
some of their	5
consciousness of the	5
far more than	5
which is so	5
be quoted from	5
it remained for	5
in the region	5
us of the	5
of the story	5
of the despots	5
us by the	5
by the light	5
has been well	5
is interesting to	5
an imitation of	5
the chief actors	5
not to the	5
lips of the	5
in respect of	5
the commencement of	5
there are many	5
of life and	5
meaning of the	5
after his own	5
but also to	5
anthology of cephalas	5
women in the	5
be remembered that	5
of good and	5
is noticeable that	5
the persons of	5
old age and	5
close to the	5
it as the	5
the advent of	5
in the poems	5
to which he	5
series of events	5
would be easy	5
fragments we possess	5
and what he	5
to the other	5
be prepared to	5
of the protagonist	5
from the other	5
side with the	5
he would not	5
be conceived than	5
the same spirit	5
if a man	5
the sage of	5
that in his	5
to the world	5
the dikaios logos	5
something of the	5
powers of heaven	5
life in the	5
of his race	5
maps and illustrations	5
in all his	5
a crowd of	5
of young men	5
the phenomenal universe	5
him in his	5
nor is this	5
an unknown play	5
the empire of	5
in one sense	5
not the same	5
his life is	5
conditions under which	5
the dignity of	5
they had not	5
it does not	5
is only by	5
the greek conception	5
the iambic metre	5
subordinated to the	5
in the next	5
of art which	5
the manner of	5
the personality of	5
of the body	5
of the noblest	5
dealt with the	5
to the point	5
the situation is	5
the songs of	5
the world was	5
passed into the	5
there was a	5
into the sphere	5
reflections on the	5
with all its	5
the world of	5
his anger and	5
age of gold	5
love of achilles	5
language of the	5
and the most	5
of her who	5
nor can we	5
of his audience	5
be selected as	5
his own life	5
he tells us	5
at the conclusion	5
of the man	5
of blood and	5
to reconstruct the	5
a piece of	5
the method of	5
belonged to a	5
product of the	5
on this point	5
the position of	5
is it possible	5
gave birth to	5
it will not	5
john addington symonds	5
us to believe	5
in his hand	5
the doom of	5
or of the	5
listen to the	5
the faculty of	5
the consideration of	5
the halls of	5
no means of	5
battle of salamis	5
but rather to	5
the priest of	5
at athens during	5
and the same	5
are the words	5
it is one	5
with the old	5
the right to	5
for a while	5
destined to be	5
in the days	5
to have a	5
the shadow of	5
to keep the	5
species of composition	5
separation of the	5
his old age	5
the purpose of	5
a branch of	5
all the greeks	5
of the peloponnesian	5
to the student	5
the following fragment	5
a great poet	5
it could not	5
and the soul	5
turns upon the	5
the cultivation of	5
the superiority of	5
they did not	5
as i have	5
the blood of	5
life and the	5
forms of the	5
purpose of the	5
changes in the	5
i wish to	5
which might be	5
had not yet	5
the differences between	5
him with a	5
our sense of	5
passion of the	5
and the whole	5
in the republic	5
that the gods	5
the celebration of	5
comedy of aristophanes	5
it is here	5
the analogy of	5
the lines in	5
if he had	5
the case is	5
seen that the	5
at one time	5
said that the	5
of sophocles is	5
of the dramatic	5
celebration of the	5
wrath of achilles	5
the preservation of	5
of his great	5
for the moment	5
a masterpiece of	5
be found in	5
the honor of	5
by the rev	5
literature of the	5
from an unknown	5
at a banquet	5
of the subject	5
form of the	5
is set forth	5
of his drama	5
with the very	5
of a race	5
the iliad and	5
faith in the	5
the childhood of	5
a passage in	5
perhaps the most	5
periods of greek	5
of the dramatis	5
that he must	5
that aristophanes was	5
a pair of	5
of the battle	5
of helen and	5
transition from the	5
the sympathies of	5
the most interesting	5
contrast with the	5
the paths of	5
the hero of	5
that all these	5
in the symposium	5
was held by	5
to face with	5
that the whole	5
in the greeks	5
it cannot be	5
we are told	5
it was to	5
the mouthpiece of	5
moment in the	5
a theory of	5
and that he	5
and i am	5
to which they	5
but those who	5
the drama was	5
the throne of	5
delineation of character	5
illustrated by the	5
it is hardly	5
the world in	5
of human nature	5
criticism of the	5
birth and death	5
sight of the	5
are not so	5
at the last	5
because it is	5
of aristophanes is	5
what is called	5
to whom we	5
of the fourth	5
remember that the	5
prominent part in	5
the stage of	5
much that is	5
in the heroic	5
the murderer of	5
in this style	5
have failed to	5
only in a	5
with the universe	5
what can be	5
the gods are	5
side of the	5
rather than a	5
the portrait of	5
the conscience of	5
the temples of	5
the inspiration of	5
gathered from the	5
involved in the	5
the bodies of	5
the delineation of	5
the labors of	5
to enter into	5
beginning of the	5
to the laws	5
he had not	5
of a certain	5
it is easy	5
from the point	5
the gift of	5
here is the	5
the greek mind	5
given to the	5
same way as	5
the elegiac metre	4
bears his name	4
one who has	4
of love as	4
to the ships	4
characters of men	4
to return to	4
this part of	4
of the city	4
creatures of a	4
could hardly have	4
to appreciate the	4
yet it may	4
them for the	4
the vicissitudes of	4
face of the	4
the close of	4
the most important	4
in the physical	4
to insist upon	4
whole of this	4
the tenderness of	4
words of the	4
the fourth period	4
expression in the	4
on the occasion	4
destruction of the	4
each of the	4
of the imagination	4
at the expense	4
and from this	4
the earth with	4
the chorus from	4
there are no	4
sense of what	4
the last three	4
as a whole	4
decline and decay	4
sun and moon	4
of the problem	4
and death of	4
in the ion	4
conscience of the	4
have felt that	4
with the greeks	4
not from the	4
an ode of	4
central figure of	4
not as a	4
the greeks with	4
the rule of	4
the moment of	4
minds of men	4
we have gained	4
all the other	4
for one moment	4
and for all	4
and the works	4
and a half	4
handling of the	4
style of composition	4
presentation of the	4
we may take	4
creation of a	4
have been so	4
or that he	4
his plays were	4
a member of	4
greek mythology is	4
of the sense	4
a future state	4
but it would	4
the thoughts and	4
modern sense of	4
the youth of	4
of morality and	4
of the furies	4
the tauric iphigenia	4
of the idyls	4
estimation in which	4
in the field	4
the chapter on	4
the home of	4
burden of the	4
the expense of	4
from which the	4
at his side	4
of view is	4
after his death	4
to treat the	4
the dramatic art	4
his own lifetime	4
that which we	4
the first great	4
iliad and the	4
of some of	4
shores of the	4
large portion of	4
of the north	4
in illustration of	4
the promethean legend	4
the conviction that	4
spirit of his	4
his poem on	4
terror and pity	4
the greater portion	4
are not the	4
and the philosopher	4
are some of	4
of the tomb	4
the titles of	4
every student of	4
by reference to	4
think of the	4
that the most	4
in some of	4
it might be	4
greek conception of	4
the iambic and	4
presented by the	4
euripides to the	4
a variety of	4
is the only	4
the third play	4
the will and	4
the father of	4
on the whole	4
appears upon the	4
produced by the	4
sympathy with nature	4
the cult of	4
tale of his	4
derived from the	4
under which he	4
the reign of	4
we may conjecture	4
he speaks of	4
of this chapter	4
was natural to	4
of the ion	4
he made the	4
which of the	4
to bear upon	4
termination of the	4
the present time	4
for such a	4
frederick the great	4
a passing notice	4
the conditions under	4
eyes of men	4
there is something	4
is not only	4
the birth of	4
nor does he	4
so far the	4
in a poem	4
the last two	4
the theatre of	4
the lyric poets	4
our conception of	4
from which to	4
of the several	4
the lyrics of	4
the dramatic action	4
of truth and	4
member of the	4
if thou wilt	4
obedience to the	4
of earth and	4
of beauty which	4
the invasion of	4
tragedy and the	4
comedy of manners	4
in all that	4
saying that he	4
is possible that	4
important in the	4
we are to	4
we shall be	4
ideal of the	4
department of the	4
it must have	4
of life are	4
feeling of the	4
forces of the	4
in such a	4
to be developed	4
that what the	4
well known to	4
a time when	4
to the english	4
each of his	4
greeks and romans	4
for us to	4
before our eyes	4
the town of	4
the very moment	4
the dedicatory epigrams	4
last three centuries	4
the play is	4
to whom he	4
by the exhibition	4
to show the	4
play of his	4
to see the	4
are devoted to	4
to find that	4
chorus of the	4
the form which	4
the central point	4
the apprehension of	4
lament for adonis	4
the breadth of	4
of the natural	4
introduction of the	4
the struggle with	4
markup is enclosed	4
of a bygone	4
in his plays	4
beneath the earth	4
the labor of	4
in the matter	4
the island of	4
we are forced	4
of the son	4
iambic and trochaic	4
and the spirit	4
the nations of	4
the early greek	4
of the truth	4
off the stage	4
and splendor of	4
to the middle	4
to accept the	4
is not more	4
the sorrow of	4
for the greek	4
influence of euripides	4
of the shepherd	4
in the school	4
tale of the	4
of modern art	4
partly by the	4
of the passage	4
of the prehistoric	4
only be paralleled	4
it to the	4
us feel that	4
in another place	4
with him in	4
the myth of	4
so that he	4
of all that	4
his own heart	4
of the conception	4
the modern dramatist	4
is that he	4
of the slave	4
the gist of	4
the art which	4
art of sophocles	4
is marked by	4
determined by the	4
to the production	4
awful sense of	4
he has no	4
the altars of	4
of view of	4
to our mind	4
come from the	4
that man is	4
was still a	4
to be of	4
the following couplet	4
with those of	4
summed up in	4
poets and philosophers	4
must be regarded	4
is to live	4
to their own	4
the verses of	4
to fall in	4
of the mountains	4
believe that he	4
which it has	4
from the war	4
odes of anacreon	4
shadows of the	4
spirit of a	4
in the climax	4
a sketch of	4
of greek thought	4
most beautiful of	4
a drama of	4
ionians and dorians	4
was a great	4
is that the	4
justify us in	4
and in particular	4
the old order	4
we wish to	4
but there are	4
of the philosophers	4
i will not	4
he is a	4
of the work	4
his native city	4
was born at	4
in a dorian	4
is all the	4
on his own	4
last act of	4
to quit the	4
they had been	4
him as the	4
artists of the	4
a specimen of	4
to the spirit	4
for them the	4
idea of greek	4
belief in the	4
to look upon	4
is about to	4
with more than	4
in his cradle	4
character of a	4
the tyranny of	4
to the athenian	4
us that the	4
been given to	4
the last act	4
than those of	4
not easy to	4
but for all	4
the shape of	4
is the beauty	4
of the real	4
the ears of	4
on the waves	4
the truth is	4
of the south	4
spirit of this	4
the ingenuity of	4
that she will	4
the bones of	4
who sought to	4
been conjectured that	4
speak of the	4
mingles with the	4
spite of his	4
no better than	4
that he might	4
greek tragedy and	4
may be fairly	4
as the source	4
different from that	4
the monuments of	4
by plato in	4
at this period	4
and not the	4
the same poet	4
to use a	4
to conclude that	4
we only know	4
which the whole	4
to one of	4
unity of action	4
to fancy that	4
speech of the	4
belief in a	4