Wilamowitz on, 39
Tiryns, remains of temples at, 105
Tombs, domed or circular buildings, 110;
Pantheon, 110;
Castle of St. Angelo, 111;
Invalides in Paris, 111;
Mausoleum of Queen Victoria, 111;
Treasure House of Atreus, 111;
Tomb of the Minyæ, 111;
early, in Ireland, 111
_Tract on the Sublime_, translated by Burke, 92;
point of view of, 92
Tragedy, Greek: material, 42;
Milton’s view of, 47, 48
Travels, not thoroughly Greek, 97
Treaties, between Greek city-states, 198
Trinity College, Dublin: some of the requisites for degree, 179
Turin, Academy of, _Transactions_; referred to, 197
U
Unions or leagues, question as to rights of contracting parties, 202, 203;
European examples, 204
V
Vases, ornamentation of, 132
Venetian Republic, 184
Villari, Professor Pasquale, _Studies_:
quoted, on problem of art in Renaissance, 113, 114
Viollet-le-Duc, _Entretiens sur l’architecture_:
his theory of the origin of the arch, 109
Virgil, first foreign imitator of Homer, 42;
compared with Milton, 46
_Æneid_: M. Arnold compares style with Milton’s, 47;
Dryden’s translation, 53
_Eclogues_: 24
_Georgics_: 24
Vitruvius, 104
W
Wagner, Richard, turned natural defect into success, 87;
effect of his attempt to combine poetry and music, 136;
effect of his music on morals, 138, 139
_Tristan and Isolde_: 139
War, between Hellenic peoples: weapons and prisoners, 199
Weem of Scale, beehive huts at, 100
Whitelaw’s _Sophocles_, 64
Wilamowitz, on _Persians_ of Timotheus, 39
Wills or testaments, 194-197
Women’s rights, 181
Wordsworth, least Greek of nineteenth-century poets, 57;
illuminated by Plato, 57;
and Pantheism, 228, 229;
immortality of soul, 242, 243
_Excursion_: 40, 57
Wyse, William, of Trinity College, Cambridge, 195
X
Xanthus the Lydian, historian, 71
Xenophanes, founder of school of Elea, 221;
doctrine of, 222
Xenophon, historian, 79
_Cyrus_: 94
_Hiero_: picture of gloom, 116
Z
Zeno, Eleatic, theory of sound, 225, 226
Zeno, the Stoic, 245
Zoölogy promoted by Aristotle, 171
FOOTNOTES:
[1] The recent book of August Fick upon the place-names in Greek lands
shows that the great majority are not Greek, and this is particularly
the case with Attica, the purest home of culture, showing that even
here there survived a large indigenous population. This is the new
signification of the Athenian claim to be _autochthonous_, or native
children of the soil.
[2] The readers of my _Rambles and Studies in Greece_ will remember how
I was once shipwrecked in the very harbour of Ægina, and compelled to
seek hospitality in a modest private house. When I saw the woman of the
house in the morning, by the light of day, I shouted to my companions
that one of the figures of the Parthenon had walked into the room. The
splendid type was there in its perfection.
[3] The _Odyssey_ of Homer, the two tragedies on Œdipus of Sophocles,
the _Birds and Frogs_ of Aristophanes, the Pythian odes of Pindar, not
to speak of smaller gems such as the scraps of Sappho and Simonides,
the Idylls of Theocritus.
[4] Of course this common inference may be quite mistaken. Artificial
things are often a real and great improvement on nature.
[5] This is probably the case with Hipponax.
[6] This remark is from Hare’s almost forgotten _Guesses at Truth_, an
excellent book.
[7]
“Keen were his pangs but keener far to feel He nursed the pinion which
impelled the steel”
is straight from Æschylus.
[8] I know no translation of the whole seven plays of Æschylus that
I can recommend, though there be many admirable versions of the
_Agamemnon_, but among the English reproductions of Sophocles let me
call your attention to that of Mr. Whitelaw, of most of Euripides to
that of Mr. Way. Both of these are eminently the work of scholars who
are also poets.
[9] I need hardly add that the brilliant comedies of Aristophanes are
to be found in the well known books of J. Hookham Frere and of Mr.
Rogers, who has quite recently brought out another play.
[10] I say _fresco_ because this is usually occupied with historical
scenes.
[11] The reader can now consult the brilliant and suggestive
_Thucydides Mythistoricus_ of Mr. Cornford on this aspect of the
historian and his work.
[12] Book iii., 82-4
[13] _Cf._ for example what Herodotus tells us in his fourth book of
the affairs of Cyrene.
[14] I must refer the audience for details to the chapter on Thucydides
in my _History of Greek Literature_.
[15] The minutiæ of rythm and harmony to which they condescended are
such that I could not possibly make them clear to you in a short
passage of a lecture, but must refer you to the chapters on Isocrates
and Demosthenes in my _History of Greek Literature_.
[16] _Cf._ § 457 of my _Greek Literature_.
[17] On this _Cf._ §§ 416, 437 of my _Greek Literature_.
[18] An exception may be made for the genuine letters of which we
have found the actual originals among the papyri of Egypt. Here we
find, among Greeks scattered abroad, the offspring of adventurous
and mercenary soldiers, all the urbanities of modern letter writing.
All the Roman formulæ of politeness we find in Cicero’s letters,
were derived from this source--the long current Greek forms of
correspondence.
[19] If Shakspeare’s _Romeo and Juliet_ ends not in happiness, but in
disaster, the devices of the play--the sleeping drug, the hiding in the
tomb where the lovers again unite, these are the stock devices of our
Greek novels, so clearly, that the story must have been derived through
Italian versions from a Greek novel of this kind. Boccaccio was clearly
influenced by this literature.
[20] The first beginnings of music, in the form of whistles or pipes,
are found among prehistoric remains of people who had never learned to
write, but only to draw pictures.
[21] In the rudest cases the house was not excavated but was built on
the surface, and then covered with a mound of earth.
[22] The inner lintel stone 30 feet long, 16 deep, and over 3 thick,
weighs about 112 tons. The _dromos_ is 115 long and 19 wide. The
doorway is 17½ feet high and 8 feet wide at the top swelling to 8½ at
the ground. The whole chamber about 50 feet high and 50 across the
floor. Read description in Baedeker, p. 324.
[23] The beehive chamber I take to be an importation from northern and
central Europe and therefore probably due to that strain in early Greek
civilisation.
[24] Villari’s _Studies_, p. 258.
[25] God--says Herodotus in the famous dialogue of Xerxes and Artabanus
on the fugitive character of human happiness--God, that has given to
man a sweet taste of life, is found grudging in his dole.
[26] Nothing is more striking in the old churches of such towns as
Lüneburg, Wismar, Rostock, than the representation of the Crucifixion
on the carved wooden work used as the reredos in various chapels as
well as over the high altar. The main figures are in high relief, the
crowd standing in front of them in the clear, all coloured richly and
in many colours as well as gilding. But for the painful subject, these
triumphs of the carver are perhaps the most splendid in mediæval art.
The magnificent tombs of the Dukes of Burgundy at Dijon are their
worthy rivals in stone.
[27] The foaming heads of the horses of the rising sun at the left
corner of the east pediment of the Parthenon are a splendid exception
to this calm in the angles of the pediment, and the subdued calmness
of the horses of Selene, which represent her setting, accentuates this
exception.
[28] This I tell you from the first-hand evidence of my son who was
for years in the Solomon Islands and saw it done a hundred times by
natives, but never even after desperate efforts by any European.
[29] A curious exception is now to be made for the panels with
portraits of the dead found on mummy cases of the first and second
centuries in Roman Egypt.
[30] And yet there were several ignorant and random attempts made to
reproduce it with modern harmonies.
[31] This is the view advocated in the _Tract on Music_ by Philodemus,
large fragments of which were recovered on a charred papyrus from
Herculaneum. There is another fragment of a similar character recently
discovered and printed by Messrs. Grenfell and Hunt.
[32] _Viz._: 1 + 3 = 2²²; 1 + 3 + 5 = 3²; 1 + 3 + 5 + 7 = 4², and so on.
[33] There is even an arithmetical proof mentioned by Aristotle that
the ratio of side to diagonal of a square cannot be one of whole
numbers.
If it were, the ratio will be that of two numbers in its lowest terms,
and hence one must be even and the other odd, else both were still
divisible by 2.
[Illustration: graphic] here _b_² = 2_a_² ∴ _a_ is odd and _b_ even.
Now let _b_ = 2_c_ then 4_c_² = 2_a_² and 2_c_² = _a_² ∴ _a_ is even
and _b_ odd, which is absurd.
[34] Readers who wish to prosecute this subject further will find the
best exposition of it in Prof. Smyly’s paper in the volume of Essays
dedicated to Prof. Nicole of Geneva.
[35] Heron, περἰ Αὐτοματοποιητικῆς, caps. iii. and iv.
[36] See my _Epoch of Irish History_, last chapter.
[37] His theory is laid down in several now forgotten books brimful of
learning. It is the theory of four fundamental harmonies, or elements,
the relations of which produce in every body health and disease.
[38] πάρ γἀρ έμοἰ θάνατος,, said Agamemnon, according to the copy which
Aristotle quotes.
[39] ἐπἰ ῤήτοις γέρασι πατριας βασιλείας (Pol.).
[40] Χρέων άποκόπη and γῆς ἀναδασμός
[41] The abortive attempt of Agis III. of Sparta only led to his own
ruin.
[42] _Centesimæ usuræ_
[43] The phrase of “sound mind and deliberate intention” (Νοῶν καἰ
φρονῶν) points to what is told repeatedly in the speeches of Isæus; on
questions of disputed inheritances, even if a will were proved genuine
and fully attested, it could be set aside if proof were given of undue
influence, such as lunacy, the effects of a philtre, or the cozening
of women, even the testator’s wife. The cases he argues might occur
to-day, and be discussed in like manner.
[44] In the _Transactions_ of the Academy of Turin, 1826.
[45] It happened May 28, 585 B.C.
[46] So Tennyson in a poem of his boyhood.
[47] _De Finibus_, lib. iii., sub. fin.
[48] 2 Cor. vi., 9, 10.