132 Sentences With "tragedians" | Random Sentence Generator

There was plenty of rich material here for tragedians to debate.

A massive tragedians mask that vaguely resembles his own face idles behind him on-stage.

This is not a new insight: The tragedians of ancient Greece knew it, and so did Freud.

Yet as with all great tragedians, a sense of hope emanates from the daring and integrity of the art itself.

It wasn't senility melting the edges of form and letting the clowns and tragedians cross-pollinate; experience and mastery were doing that.

Then the order comes down: Because of time constraints — there's a fireworks display to be had — comedians and tragedians are to perform simultaneously.

That his brand of realism has little to do with the work of modern political theorists and much to do with the work of ancient tragedians?

Tragedians were sponsored by a choregos, a chorus bringer, a wealthy or important Athenian citizen, who would recruit choristers and pay for everything: This was Lysicrates.

BRANTLEY He is a tragedian, first and foremost, though I think we can make room for tragedians in a time when they're a rare breed among directors.

Soon, the battle lines are drawn between those, of whatever class, who would try to save the world but fail — the comedians, that is — and those who won't try at all: the tragedians.

But in Greece, it's the absence of modern developments — of high-rises and high-speed technologies — that can make you feel as if you're walking among the ancient philosophers and tragedians who gave us our sense of hubris and catharsis.

"It's the absence of modern developments — of high-rises and high-speed technologies — that can make you feel as if you're walking among the ancient philosophers and tragedians who gave us our sense of hubris and catharsis," writes Pico Iyer in his story for T's spring Travel issue, for which he journeyed to some of the country's most storied classical sites.

In tragic theatre, however, these narratives were presented by actors. The most acclaimed Greek tragedians are Aeschylus, Sophocles, and Euripides. These tragedians often explored many themes around human nature, mainly as a way of connecting with the audience but also as way of bringing the audience into the play.

Together they had bravoed the great tragedians, and together hopelessly worshipped the beautiful faces, enskied and sainted, of famous actresses.

He stabs the Player and the Player appears to die. Guildenstern fully believes that he has killed the Player. Seconds later, the Tragedians begin to clap and the Player stands up and brushes himself off, revealing the knife to be a theatrical one with a retractable blade. The Tragedians then act out the deaths from the final scene of Hamlet.

Agamemnon inherited Mycenae and Menelaus became king of Sparta. The Murder of Agamemnon, Illustration from Stories from the Greek Tragedians by Alfred Church, 1897.

Marcus Pacuvius (; 220 – c. 130 BC) was an ancient Roman tragic poet. He is regarded as the greatest of their tragedians prior to Lucius Accius.

Old Attic, which was used by the historian Thucydides and the tragedians, replaced the native Attic with the of other dialects. Later writers, such as Plato, use the native Attic forms.

The actors beg to stay on Olympus, but Jupiter punishes them for their folly by sending them back to earth cursed as "eminent tragedians, whom no one ever goes to see".

No early Roman tragedy survives, though it was highly regarded in its day; historians know of three early tragedians—Quintus Ennius, Marcus Pacuvius and Lucius Accius. From the time of the empire, the work of two tragedians survives—one is an unknown author, while the other is the Stoic philosopher Seneca.Brockett and Hildy (2003, 50). Nine of Seneca's tragedies survive, all of which are fabula crepidata (tragedies adapted from Greek originals); his Phaedra, for example, was based on Euripides' Hippolytus.

Pelias sends forth Jason, in an 1879 illustration from Stories from the Greek Tragedians by Alfred Church. Coin (Chalkous) of Iolcus. 4th century BC. Obverse: Head of Artemis Iolkia. Reverse: Prow of Argo, ΙΩΛΚΙΩΝ (of Iolcians).

No early Roman tragedy survives, though it was highly regarded in its day; historians know of three early tragedians—Ennius, Pacuvius and Lucius Accius. One important aspect of tragedy that differed from other genres was the implementation of choruses that were included in the action on the stage during the performances of many tragedies.Gesine Manuwald, Roman Republican Theatre, (Cambridge: Cambridge University Press, 2011), 74. From the time of the empire, however, the work of two tragedians survives—one is an unknown author, while the other is the Stoic philosopher Seneca.

The gods are portrayed as chthonic, as near the beginning there is a reference to "Justice who dwells with the gods beneath the earth." Sophocles references Olympus twice in Antigone. This contrasts with the other Athenian tragedians, who reference Olympus often.

640; Beazley Archive 206070; LIMC 6591. Sophocles, and his fellow tragedians Euripides, and Ion of Chios, among others, all wrote plays titled Phoenix, now lost, which presumably told the story of Phoenix's conflict with his father.Gantz, p. 618; Kotlinska-Toma, pp.

Racine observes the dramatic unities more closely than the Greek tragedians had done. The philosopher Aristotle points out the ways in which tragedy differs from epic poetry: > "Tragedy generally tries to limit its action to a period of twenty-four > hours, or not much exceeding that, whilst epic poetry is unlimited in point > of time."Aristotle, Poetics, chapter 5. Writing centuries after the great Attic tragedians and using their works as a basis for generalization, he does not insist that the action of a tragedy must be confined to a single revolution of the sun, or that it must take place in one locality.

Rhesus (, Rhēsos) is an Athenian tragedy that belongs to the transmitted plays of Euripides. Its authorship has been disputed since antiquity,B. M. W. Knox, "Minor Tragedians", pp. 87–93, in P. E. Easterling & B. M. W. Knox (eds.), The Cambridge History of Classical Literature, vol.

Most notable precursors to anarchism in the ancient world were in China and Greece. In China, philosophical anarchism (i.e. the discussion on the legitimacy of the state) was delineated by Taoist philosophers Zhuang Zhou and Laozi. Anarchic attitudes were also articulated by tragedians and philosophers in Greece.

Atlantic Publishers. 2006. page 1. Found online: The "famous gracer of Tragedians" is generally taken to refer to Christopher Marlowe, educated at Corpus Christi College, Cambridge, who was accused of atheism. Greene comments that he is an admirer of Machiavelli, who is several times mentioned in Marlowe's work.

Each of the three tragedians, Aeschylus, Sophocles and Euripides wrote plays, all now lost, telling Telephus' story.Gantz, p. 578. Euripides' play Telephus (438 BC), dramatized Telephus' trip to Argos seeking a cure for his festering wound. In Euripides' account, Telephus disguised himself as a beggar dressed in rags.

McNerney started his musical career at the age of 12 singing in a based out of his high school band called Vomitorium. In 1993, Vomitorium released a demo titled Haurium Oscula De Te. The band changed their name to later The Tragedians, and released one demo cassette in 1995 entitled Krull.

Guildenstern theorizes on the nature of reality, focusing on how an event becomes increasingly real as more people witness it. A troupe of Tragedians arrives and offers the two men a show. They seem capable only of performances involving bloodbaths. The next two scenes are from the plot of Hamlet.

Xenocles () is the name of two Greek tragedians. There were two Athenian tragic poets of this name, one the grandfather of the other. No fragments of either are currently known, except for a few words of the elder apparently parodied in Aristophanes' The Clouds. The elder Xenocles wrote a play about Oedipus.

5; Proclus' Summary of the Nostoi, attributed to Agias of Trozen . The story of Palamedes death, and Nauplius' revenge was a popular one, by at least the fifth century BC.Sommerstein, p. 182. The tragedians Aeschylus, Sophocles and Euripides all wrote plays which apparently dealt with the story. Each had a play tilted Palamedes.

Potential for comedy lay in his use of 'contemporary' characters; in his sophisticated tone; his relatively informal Greek (see In Greek below); and in his ingenious use of plots, centred on motifs that later became standard in Menander's New Comedy, such as the 'recognition scene'. Other tragedians also used recognition scenes, but they were heroic in emphasis, as in Aeschylus's The Libation Bearers, which Euripides parodied in Electra (Euripides was unique among the tragedians in incorporating theatrical criticism in his plays).Justina Gregory, A Companion to Greek Tragedy, Blackwell Publishing Ltd (2005), p. 267 Traditional myth, with its exotic settings, heroic adventures, and epic battles, offered potential for romantic melodrama, as well as for political comments on a war theme,B.

The production of Julius Caesar proceeded. The production was the first – and only – time that the three sons of one of America's great tragedians, Junius Brutus Booth, performed together on the same stage. The production raised $3,500 for the building of the statue of Shakespeare in Central Park, which stands there today.Michale W. Kauffman.

From the time of the empire, the work of two tragedians survives—one is an unknown author, while the other is the Stoic philosopher Seneca.Brockett and Hildy (2003, 50). Nine of Seneca's tragedies survive, all of which are fabula crepidata (tragedies adapted from Greek originals); his Phaedra, for example, was based on Euripides' Hippolytus.Brockett and Hildy (2003, 49–50).

When the contest for tragedy was introduced, two tragedians competed, each presenting two plays. No contests for satyr plays, nor for the singing and dancing of dithyrambs, were included.Brockett and Hildy (2003, 21). Towards the end of the century, the festival's plays were performed in the Theatre of Dionysus (though it is unclear when this location was first used).

Visual art, such as vase painting, was another medium in which myths of the Trojan War circulated.Burgess, pp. 3–4. In later ages playwrights, historians, and other intellectuals would create works inspired by the Trojan War. The three great tragedians of Athens—Aeschylus, Sophocles, and Euripides—wrote a number of dramas that portray episodes from the Trojan War.

The conversation ends between Rosencrantz, Guildenstern, and Hamlet. Guildenstern tries to be optimistic, while Rosencrantz admits that the pair had made no progress and that Hamlet had entirely outwitted them. The Player returns to the stage. He is angry that the pair had not earlier stayed to watch their play because, without an audience, his Tragedians are nothing.

The stage becomes black and, presumably, the characters go to sleep. Hamlet switches the letter with one he has written himself, an act which takes place offstage in Hamlet. The pair discovers that the Tragedians are hidden ("impossibly", according to the stage directions) in several barrels on deck. They are fleeing Denmark because their play had offended Claudius.

His subject matter was Greek, with one known exception, a praetexta called Aeneas. Tragedians in the Julio-Claudian and Flavian periods typically were men of relatively high social status, and their works often expressed their political views under an insufficient veil of fiction. Only a few lines of his work remain, some of which belong to Aeneas.Conte, Latin Literature, pp.

Jovan Sterija Popović is undoubtedly one of the most significant figures of Serbian literature. With good reason he has been given the name "the father of Serbian drama". Following the example of the great French and German tragedians, he described events from the history of the Serbian people. The Belgrade theatre Theater on Đumruk opened with his tragedy Smrt Stefana Dečanskog in 1841.

One of his main areas of research was Hippocratic medicine. He published a book in 1970 dedicated to this field, and partly consisted of work written by Hippocrates originally. In addition, he also concerned himself with the Greek tragedians and co-authored works about Sophocles, for example. For his efforts he was awarded in 1962 an honorary doctorate at the University of Athens.Gnomon.

According to philosopher Aristotle (384–322 BCE), the spirit of a theatrical play was its mythos. The term mythos was also used for the source material of Greek tragedy. The tragedians of the era could draw inspiration from Greek mythology, a body of "traditional storylines" which concerned gods and heroes. David Wiles observes that modern conceptions about Greek tragedy can be misleading.

In favor of Creusa, Jason abandoned Medea. In the version of the myth commonly followed by ancient tragedians, Medea obtained her revenge by giving Creusa a dress that had been cursed by the sorceress. The curse caused the dress, or Shirt of Flame to stick to Creusa's body and burn her to death as soon as she put it on.Seneca, Medea 817 ff.

Eurīpídēs, ; ) was a tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the Suda says it was ninety-two at most. Of these, eighteen or nineteen have survived more or less complete (Rhesus is suspect).

Berolini: Typis et impensis G. Reimeri 1821. but the major results are to be found in the enormous array of classical authors edited by him. Anything like a complete list of his works would occupy too much space, but it may be said that his industry extended to nearly the whole of Greek literature with the exception of the tragedians and lyric poets.

Edward Meredith Cope (28 July 181815 August 1873), English classical scholar. He was educated at Ludlow College and then Shrewsbury. He then went onto Trinity College, Cambridge, of which society he was elected fellow in 1842, having taken his degree in 1841 as senior classic. He was for many years lecturer at Trinity, his favorite subjects being the Greek tragedians, Plato and Aristotle.

They wrote about such works as Scholia and Pindar. Countless works are also included, such as the tragedians of Sophocles and Euripides, Ptolemy's Geography, Nonnus of Panaopolis' Dionysiaca, edits and "rediscoveries" on Plutarch and the Greek Anthology of epigrams. Works assembled by Theodore Metochites at the Monastery of Chora can be found in the libraries of Istanbul, Oxford, the Vatican and even Paris.

Atreus argued that because the sun had reversed its path, the election of Thyestes should be reversed. The argument was heeded, and Atreus became king. His first move was to pursue Thyestes and all his family – that is, his own kin – but Thyestes managed to escape from Mycenae. The Return of Agamemnon, Illustration from Stories from the Greek Tragedians by Alfred Church, 1897.

Medea was first performed in 431 BC at the City Dionysia festival. Here every year, three tragedians competed against each other, each writing a tetralogy of three tragedies and a satyr play (alongside Medea were Philoctetes, Dictys and the satyr play Theristai). In 431 the competition was among Euphorion (the son of famed playwright Aeschylus), Sophocles (Euripides' main rival) and Euripides. Euphorion won, and Euripides placed last.

2; Fowler 2013, p. 591. The scholion cites "the tragedians" as his source; for an account of these two lost plays, and their being possible sources for the scholion, see Gantz, pp. 31-32. (In the Odyssey, Lampetie and Phaethousa, the shepherds of Helios' cattle and sheep on Thrinacia, are instead the daughters of Helios by Neaera.)Homer, Odyssey 12.131-133; Gantz, pp. 30, 34.

Guildenstern, still trying to struggle against destiny, stabs The Player with the other man's dagger, only to find that the weapon is a theatrical prop. Scenes of the deaths of Ophelia, Laertes, Gertrude, Claudius and Hamlet are shown, and both Rosencrantz and Guildenstern, finally accepting their fate, are hanged. The film ends with the tragedians packing up their cart and continuing on their way.

All of these plays about Telephus are now lost. We know of them only through preserved fragments, and the reports of other ancient writers. Each of the three great tragedians Aeschylus, Sophocles and Euripides wrote multiple plays which featured the story. Aeschylus wrote a play called Mysians which perhaps told the story of Telephus coming to Mysia and seeking purification for having killed his maternal uncles.

Other works by him are editions of Anacreon (1778), several plays of the Greek tragedians, Apollonius Rhodius (1780), Aristophanes, with an excellent Latin translation (1781–1783), Gnomici poetae Graeci (1784), Sophocles (1786),He also published a three-volume edition of Sophocles in 1788: Sophoclis tragoedias septem cum scholiis veteribus, versione Latina et notis. Accedunt deperditorum dramatum fragmenta. Ex editione Rich. Franc. Phil. Brunck, tom.

Rosencrantz does not quite make the connection, but Guildenstern is frightened into a verbal attack on the Tragedians' inability to capture the real essence of death. The stage becomes dark. When the stage is once again visible, Rosencrantz and Guildenstern lie in the same position as had the actors portraying their deaths. The partners are upset that they have become the pawns of the royal couple.

While Cartman awaits the fight in class, Mr. Garrison says, "So you see, at this point Euripides knew he could not win the battle", referencing The Frogs, a comedic play by Aristophanes where the Greek tragedians Euripides and Aeschylus are measured against one another, the better to be revived so he can "educate the thoughtless" and rid Athens of evil politicians that are ruining the city (1500–1502, The Frogs).

Bellerose or Belle-Rose (1592 – 1670) was the stage name of the French actor- manager Pierre le Messier. He was one of the leading tragedians of the first half of the 17th century.Forman 2010, p. 47.Roy 1995 He apprenticed with Valleran le Conte in 1609, performed in Bourges in 1619, and directed his own company in Marseille in 1620, but little else is known about his early career.

The A scholia on Iliad 1.59, agrees with Proclus' and Apollodorus' accounts, but attributes the vine-tripping to Dionysus, angry because of unpaid honors, and adds that in addition to leading the Greeks to Troy, Telephus also agreed not to aid the Trojans in the coming war.Gantz, p. 579. Hyginus account seems to be based, in part at least, on one or more of the tragedians lost plays.Gantz, p. 579.

Pelias sends forth Jason, in an 1879 illustration from Stories from the Greek Tragedians by Alfred Church. During Jason's absence, Pelias thought the Argo had sunk, and this was what he told Aeson and Promachus, who committed suicide by drinking poison. However, it is unknown but possible that the two were both killed directly by Pelias. When Jason and Medea returned, Pelias still refused to give up his throne.

Although the play was only acted once, it, like Tom Thumb, sold when printed. Its attacks on poetic license and the antirealism of domestic tragedians and morally sententious authors was an attack on the values central to the Whig version of personal worth. Two years later, Fielding was joined by Henry Carey in anti-Walpolean satire. His Chrononhotonthologos takes its cue from Tom Thumb by outwardly satirizing the emptiness of bombast.

It is noticeable that there is no mention of these Heracleidae or their invasion in Homer or Hesiod. Herodotus (vi. 52) speaks of poets who had celebrated their deeds, but these were limited to events immediately succeeding the death of Heracles. The story was first amplified by the Greek tragedians, who probably drew their inspiration from local legends, which glorified the services rendered by Athens to the rulers of Peloponnesus.

Tragic themes are ever-present in the world of ancient epic. Ancient tragedians often focused on ideas such as mythology, love, passion and violence in their works and these are clearly reflected in epic, especially in Ovid's Metamorphoses. Tragic themes do not simply refer to subject matter however and can also be used in reference to the format of the writing, such as utilizing dramatic monologues, or soliloquies, metatheatre, and emphasizing time and place.

The murder of Agamemnon (1879 illustration from Alfred Church's Stories from the Greek Tragedians) According to the Odyssey, Menelaus's fleet was blown by storms to Crete and Egypt, where they were unable to sail away because the winds were calm.Homer, Odyssey 4.360. Only five of his ships survived. Menelaus had to catch Proteus, a shape-shifting sea god, to find out what sacrifices to which gods he would have to make to guarantee safe passage.

30.73 made his severity proverbial.Hor. A. P. 450 It is likely that he, or more probably, another predecessor at Alexandria, Zenodotus, was responsible for the division of the Iliad and Odyssey into twenty-four books each. According to the Suda, Aristarchus wrote 800 treatises () on various topics; these are all lost but for fragments preserved in the various scholia. His works cover such writers as Alcaeus, Anacreon, Pindar, Hesiod, and the tragedians.

The Chariot of Zeus, from an 1879 Stories from the Greek Tragedians by Alfred Church. Throughout history Zeus has been depicted as using violence to get his way and terrorize humans. As god of the sky he has the power to hurl lightning bolts as a weapon. Since lightning is quite powerful and sometimes deadly, it is a bold sign when lightning strikes because it is known that Zeus most likely threw the bolt.

After the King and Queen leave, the partners contemplate their job. They see Hamlet walk by but fail to seize the opportunity to interrogate him. The Tragedians return and perform their dress rehearsal of The Murder of Gonzago. Their play moves beyond the scope of what the reader sees in Hamlet; characters resembling Rosencrantz and Guildenstern are seen taking a sea voyage and meeting their deaths at the hands of English courtiers (foreshadowing the duo's true fate).

Orestes slaying Clytemnestra The assassination of Agamemnon, an illustration from Stories from the Greek Tragedians by Alfred Church, 1897. After a stormy voyage, Agamemnon and Cassandra landed in Argolis, or, in another version, were blown off course and landed in Aegisthus' country. Clytemnestra, Agamemnon's wife, had taken Aegisthus, son of Thyestes, as a lover. When Agamemnon came home he was slain by Aegisthus (in the oldest versions of the story)Homer, Odyssey 3:266 or by Clytemnestra.

Greek and Roman authorities such as Hippocrates and Galen formed the foundation of the practice of medicine even longer than Greek thought prevailed in philosophy. In the French theater, tragedians such as Molière and Racine wrote plays on mythological or classical historical subjects and subjected them to the strict rules of the classical unities derived from Aristotle's Poetics. The desire to dance like a latter-day vision of how the ancient Greeks did it moved Isadora Duncan to create her brand of ballet.

Another account claims Dionysus ordered Theseus to abandon Ariadne on the island of Naxos, for Dionysus had seen her as Theseus carried her onto the ship and had decided to marry her. A third descent by Dionysus to Hades is invented by Aristophanes in his comedy The Frogs. Dionysus, as patron of the Athenian dramatic festival, the Dionysia, wants to bring back to life one of the great tragedians. After a poetry slam, Aeschylus is chosen in preference to Euripides.

La Pléiade () is the name given to a group of 16th-century French Renaissance poets whose principal members were Pierre de Ronsard, Joachim du Bellay and Jean-Antoine de Baïf. The name was a reference to another literary group, the original Alexandrian Pleiad of seven Alexandrian poets and tragedians (3rd century B.C.), corresponding to the seven stars of the Pleiades star cluster. The name "Pléiade" was also adopted in 1323 by a group of fourteen poets (seven men and seven women) in Toulouse.

269 Euripides is also known for his use of irony. Many Greek tragedians make use of dramatic irony to bring out the emotion and realism of their characters or plays, but Euripides uses irony to foreshadow events and occasionally amuse his audience. For example, in his play Heracles, Heracles comments that all men love their children and wish to see them grow. The irony here is that Heracles will be driven into a madness by Hera, and will kill his children.

Philoctetes was the subject of four different plays of ancient Greece, each written by one of the three major Greek tragedians. Of the four plays, Sophocles' Philoctetes is the only one that has survived. Sophocles' Philoctetes at Troy, Aeschylus' Philoctetes and Euripides' Philoctetes have all been lost, with the exception of some fragments. Philoctetes is also mentioned in Homer's Iliad, Book 2, which describes his exile on the island of Lemnos, his being wounded by snake-bite, and his eventual recall by the Greeks.

The film, like the play, focuses on Rosencrantz and Guildenstern and their actions (or lack thereof) within the play of Hamlet. The film begins as they travel on horseback to Elsinore, contemplating fate, memory and language. Rosencrantz finds and continually flips a coin which always comes up heads, causing Guildenstern to conclude that something is wrong with reality. They meet a travelling troupe of tragedians on the way, and during their conversation with the lead Player, they are mysteriously transported into the action of Hamlet at Elsinore.

194–195 The only surviving comments from any of those who saw the play come from the diary of the Earl of Egmont, who reported that The Author's Farce and Tom Thumb "are a ridicule on poets, several of their works, as also of operas, etc., and the last of our modern tragedians, and are exceedingly full of humour, with some wit."Lockwood 2004 qtd p. 204 The play was hardly discussed at all during the 18th century, and the 19th century mostly followed the same trend.

As a writer he is most famous for his three collections of poetry: Poèmes antiques (1852), Poèmes barbares (1862), Poèmes tragiques (1884). He is also known for his translations of Ancient Greek tragedians and poets, such as Aeschylus, Sophocles, Euripides and Horace. .Homère, les tragiques grecs (Eschyle, Sophocle, Euripide), Hésiode, Théocrite, Biôn, Moskhos, Tyrtée, Horace, etc. Leconte de Lisle played a leading role in the Parnassian poetic movement (1866) and shared many of the values of other poets of this generation, bridging the Romantic and Symbolist periods.

From condemnation of the unrealistic and exaggerated elements of melodrama was born a demand for greater verisimilitude in plots and for literary dignity in texts. Zeno was the first to undertake reform to make melodrama more sober, according to the arcadici principles, developed further by Metastasio. Inspired by French tragedians, he respected, as they did, the rule of the unity of time and space. He reduced the number of characters and scenes and eliminated the clown roles, constructing his works so that they could be presented also without music.

54–55 In Tom Thumb and Tragedy of Tragedies, Fielding emphasises abuses of the English language in his character's dialogues, by removing meaning or adding fake words to the dialogue, to mimic and mock the dialogues of Colley Cibber's plays.Rivero 1989 p. 63 The satire of Tom Thumb reveals that the problem with contemporary tragedy is its unconscious mixture of farcical elements. This results from the tragedians lacking a connection to the tradition of tragedy and their incorporation of absurd details or fanciful elements that remove any realism within the plot.

It is also possible that some of these tragedians clung to the tradition in a way that caused them to distort many of the elements, which result in farcical plots. These tragedies become humorous because of their absurdities, and Tom Thumb pokes fun at such tragedies while becoming one itself. The satire of the play can also be interpreted as a deconstruction of tragedy in general. Fielding accomplishes the breaking down and exposing of the flaws of Tragedy through showing that the genre is already breaking down itself.

One of Conried's early radio appearances came in 1937, when he appeared in a supporting role in a broadcast of The Taming of the Shrew on KECA in Los Angeles, California. Four years later, a newspaper reported about his role on Hedda Hopper's Hollywood: "But at the mike, he's equally convincing as old men, drunks, dialeticians, or Shakesperean tragedians. Miss Hopper favors him for her dramatizations when the script will allow him, as she puts it, 'to have his head.'" Conried appeared regularly on radio during the 1940s and 1950s.

At the University of Chicago in the 1950s he was a student of Leo Strauss, along with Allan Bloom, Stanley Rosen and several others who were to go on to illustrious academic careers. Philipp Fehl was one of his fellow students and a good friend. Benardete wrote his doctoral dissertation on Homer (recently reprinted as Achilles and Hector: The Homeric Hero by St. Augustine's Press). His publications range over the spectrum of classical texts and include works on Homer, Hesiod, Herodotus, the Attic tragedians, and most especially Plato and Aristotle.

In 1785 Schröder again took over his Hamburg management and conducted the theatre with marked ability until his retirement in 1798. The Hamburg theatre again falling into decay, the master was once more summoned to assist in its rehabilitation, and in 1811 he returned to it for one year. He died in 1816. As an actor Schröder was the first to depart from the stilted style of former tragedians; as a manager he raised the standard of plays presented and contributed, with Abel Seyler, to introducing Shakespeare on the German stage.

Similarly, in Helen, Theoclymenus remarks how happy he is that his sister has the gift of prophecy, and will warn him of any plots or tricks against him (the audience already knows that she has betrayed him). In this instance, Euripides uses irony not only for foreshadowing, but for comic effect also—something few tragedians did. Likewise, in the Bacchae, Pentheus’ first threat to the god Dionysus is that if he catches him in his city, he will ‘chop off his head’; and, in the final acts of the play, Pentheus is beheaded.

M. Bowie, Aristophanes: Myth, Ritual and Comedy (Cambridge University Press, 1993, 1996), p. 229. the ruler of the underworld is one of the characters, under the name of Plouton. The play depicts a mock descent to the underworld by the god Dionysus to bring back one of the dead tragic playwrights in the hope of restoring Athenian theater to its former glory. Pluto is a silent presence onstage for about 600 lines presiding over a contest among the tragedians, then announces that the winner has the privilege of returning to the upper world.

Unseen characters have been used since the beginning of theatre with the ancient Greek tragedians, such as Laius in Sophocles' Oedipus Rex and Jason's bride in Euripides' Medea, and continued into Elizabethan theatre with examples such as Rosaline in Shakespeare's Romeo and Juliet. However, it was the early twentieth-century European playwrights Strindberg, Ibsen, and Chekhov who fully developed the dramatic potential of the unseen character. Eugene O'Neill was influenced by his European contemporaries and established the absent character as an aspect of character, narrative, and stagecraft in American theatre.

All actors were male and wore masks. A Greek chorus danced as well as sang, though no one knows exactly what sorts of steps the chorus performed as it sang. Choral songs in tragedy are often divided into three sections: strophe ("turning, circling"), antistrophe ("counter-turning, counter-circling") and epode ("after-song"). Many ancient Greek tragedians employed the ekkyklêma as a theatrical device, which was a platform hidden behind the scene that could be rolled out to display the aftermath of some event which had happened out of sight of the audience.

He held both of these appointments until his death, from heart disease, at St Alban Hall, on 8 March 1825. Elmsley was a man of great learning and European reputation, and was considered to be the best ecclesiastical scholar in England. He is best known for his collation of the manuscripts of the Greek tragedians, in particular Sophocles and Euripides, and his important work on restoring their text. Editors who have worked in the same field have praised his careful method and diligence in drawing together authorities for the purposes of illustration.

"Tynan, pp. 286–88 The Times said of him, "None of the great figures of the English theatre has been more versatile than he," and the paper ranked his plays in "the classical tradition of Congreve, Sheridan, Wilde and Shaw".The Times, 27 March 1973, p. 18 In praise of his versatility, another admirer said, "There are probably greater painters than Noël, greater novelists than Noël, greater librettists, greater composers of music, greater singers, greater dancers, greater comedians, greater tragedians, greater stage producers, greater film directors, greater cabaret artists, greater TV stars.

Aristophanes' comedy, The Frogs (405 BC), attacks the new tragedy of Agathon and Euripides, and opposes it to the old tragedy of Aeschylus. In The Frogs, Dionysus, the god of theatre and wine, descends into Hades and observes a heated dispute between Aeschylus and Euripides over who is the best in tragedy. Dionysus is engaged to be the judge, and decides the outcome, not based on the merits of the two tragedians, but based on their political stance regarding the political figure, Alcibiades. Since Aeschylus prefers Alcibiades, Dionysus declares Aeschylus the winner.

However, these representations always differ considerably from the plots of the play or are too general to support any direct link to Euripides' play. But the violent and powerful character of Medea, and her double nature — both loving and destructive — became a standard for later periods of antiquity, and seems to have inspired numerous adaptations. With the text's rediscovery in 1st-century Rome (the play was adapted by the tragedians Ennius, Lucius Accius, Ovid, Seneca the Younger and Hosidius Geta, among others); again in 16th-century Europe; and with the development of modern literary criticism: Medea has provoked multifarious reactions.

The Labourers of Herakles is a 1995 play created by English poet and playwright Tony Harrison. It is partially based on remaining fragments of tragedies by ancient Greek dramatist Phrynichos, one of the earliest tragedians. Harrison's play deals with genocide and ethnic cleansing and uses Heracles filicide as a metaphor for the unspeakable horrors of war and man's inhumanity to man. Immediately after the 23 August performance of his play at Delphi Harrison left for a frontline assignment to witness the Bosnian War and write poems for the atrocities in an assignment commissioned by The Guardian.

English Eccentrics and Eccentricities was written by John Timbs and published first in two volumes by Richard Bentley in New Burlington Street, London, in 1866. It remains both entertaining light reading and a source of biographical incident, sometimes rarely repeated on unusual people of the late 18th and early 19th century, from celebrities to recluses, religious notables to country astrologers, pop authors to tragedians. As Timbs lays out his purpose in his preface: > , a few words before we introduce you to our . They may be odd company: yet, > how often do we find eccentricity in the minds of persons of good > understanding.

Sir Denys Lionel Page (11 May 19086 July 1978) was a British classicist and textual critic who served as the 34th Regius Professor of Greek at the University of Cambridge and the 35th Master of Jesus College, Cambridge. He is best known for his critical editions of the Ancient Greek lyric poets and tragedians. Coming from a middle-class family in Reading, Page studied classics at Christ Church, Oxford and served the college as a lecturer for most of the 1930s. He spent the Second World War as a member of the military intelligence unit Ultra based at Bletchley Park.

Another of his earlier papers, and one frequently referred to, was Commentatio Academica de simultate quae Platoni cum Xenophonte intercessisse fertur (1811). Other philosophical writings were Commentatio in Platonis qui vulgo fertur Minoem (1806), and Philolaos des Pythagoreers Lehren nebst den Bruchstücken (1819), in which he endeavoured to show the genuineness of the fragments. Besides his edition of Pindar, Böckh published an edition of the Antigone of Sophocles (1843) with a poetical translation and essays. An early and important work on the Greek tragedians is his Graecae Tragoediae Principum ... num ea quae supersunt et genuine omnia sint et forma primitive servata (1808).

He tells them to stop questioning their existence because, upon examination, life appears too chaotic to comprehend. The Player, Rosencrantz, and Guildenstern lose themselves in yet another illogical conversation that demonstrates the limits of language. The Player leaves in order to prepare for his production of The Murder of Gonzago, set to be put on in front of Hamlet and the King and Queen. The royal couple enters and begins another short scene taken directly from Hamlet: they ask about the duo's encounter with the Prince, and Rosencrantz and Guildenstern inform them about his interest in the Tragedians' production.

Instead they have brought to the fore the literary qualities of the History, which they see as belonging to the narrative tradition of Homer and Hesiod and as concerned with the concepts of justice and suffering found in Plato and Aristotle and problematized in Aeschylus and Sophocles.Clifford Orwin, The Humanity of Thucydides, Princeton, 1994. Richard Ned Lebow terms Thucydides "the last of the tragedians", stating that "Thucydides drew heavily on epic poetry and tragedy to construct his history, which not surprisingly is also constructed as a narrative."Richard Ned Lebow, The Tragic vision of Politics (Cambridge University Press, 2003), p. 20.

After his return to Greece, Orestes took possession of his father's kingdom of Mycenae (killing Aegisthus' son, Alete) to which were added Argos and Laconia. He was said to have died of a snakebite in Arcadia. His body was conveyed to Sparta for burial (where he was the object of a cult) or, according to a Roman legend, to Aricia, when it was removed to Rome (Servius on Aeneid, ii. 116). Electra and Orestes, from Alfred Church, Stories from the Greek Tragedians, 1897 Before the Trojan War, Orestes was to marry his cousin Hermione, daughter of Menelaus and Helen.

The Greek tragedians amplified the story, probably drawing inspiration from local legends which glorified the services rendered by Athens to the rulers of Peloponnesus. The Heracleidae feature as the main subjects of Euripides' play, Heracleidae.It is the first of two surviving plays by Euripides where the family of Heracles are suppliants (the second being Heracles Mad). J. A. Spranger found the political subtext of Heracleidae, never far to seek, so particularly apt in Athens towards the end of the peace of Nicias, in 419 BCE, that he suggested the date as that of the play's first performance.

In the last 5 years of the 19th century he toured extensively, putting on performances of Monbars, Othello, Hamlet and The Corsican Brothers in town after town, state after state—everywhere but New York.Bulliet, pp. 167–69. When the lawyers finally resolved his alimony difficulties, Mantell – now significantly older – returned to New York, but not as a romantic lead, as he had been known for so many years, but as a classic tragedian. One of his first leading roles after his return to New York was as Richard III, where he demonstrated that "the line of great tragedians on the American stage had not ended with Edwin Booth".

The main theme in The Birth of Tragedy is that the fusion of Dionysian and Apollonian Kunsttrieben ("artistic impulses") forms dramatic arts or tragedies. He argued that this fusion has not been achieved since the ancient Greek tragedians. Apollo represents harmony, progress, clarity, and logic, whereas Dionysus represents disorder, intoxication, emotion, and ecstasy. Nietzsche used these two forces because, for him, the world of mind and order on one side, and passion and chaos on the other, formed principles that were fundamental to the Greek culture: the Apollonian a dreaming state, full of illusions; and Dionysian a state of intoxication, representing the liberations of instinct and dissolution of boundaries.

The Armenian Theatre has its roots in the theatre of Ancient Greece, and it was a natural development of ancient religious rituals, when hired professional gusans (troubadours), sang the praises of the nobleman's ancestors in lengthy verses. Singers of lamentations or tragedians were known as voghbergus, and those participating in festive ceremonies were called katakagusan (Comedians). The history of the Armenian Real Theater begins at about 70 BC. According to Plutarch, the first historically known theatre in Armenia was built during the reign of Tigran the Great. In Dikranagert he opened a great public theatre in 69 B.C., fourteen years before Pompey's first public theatre in Rome.

These statements frequently refer to authors of the western canon and compare their works and talents in rhetorical language; cited authors include the Greek tragedians, Edgar Allan Poe, and especially many French authors of Ducasse's period, including Charles Baudelaire, Alexander Dumas, and Victor Hugo. Poésies is therefore not a collection of poetry as its title suggests, but instead a work of literary criticism, or poetics. Poésies also contrasts with the negative themes of Maldoror in the sense that it uses far more positive, uplifting, and humanistic language. Goodness and conventional moral values are regularly praised, even as authors familiar to Ducasse are sometimes denigrated: Despite this, there are commonalities with Maldoror.

The poetic compositions of Lycophron chiefly consisted of tragedies, which secured him a place in the Pleiad of Alexandrian tragedians. The Suda gives the titles of twenty tragedies, of which a very few fragments have been preserved: Aeolus, Allies (Symmakhoi), Andromeda, Chrysippus, Daughters of Aeolus, Daughters of Pelops, Elephenor, Herakles, Hippolytus, Kassandreis, Laius, Marathonians, Menedemus, Nauplius, Oedipus (two versions), Orphan (Orphanos), Pentheus, Suppliants (Hiketai), Telegonus, and the Wanderer (Aletes). Among these, a few well-turned lines show a much better style than the Alexandra. Lycophron's tragedies are said to have been much admired by Menedemus of Eretria, although Lycophron had ridiculed him in a satyr play.

Archaic epic and lyric also drew his attention during this period, as well as the new papyrus finds that were adding to the corpus of the tragedians. But Callimachus remained his primary focus, and a series of articles on the still further fragments which were being published at this time solidified his reputation as the foremost scholar of the poet's work, and in 1934 he was recognized as a full member of the Bavarian Academy of Sciences and Humanities. In 1937 Pfeiffer would have to move again: he was forced out of his chair at Munich because of his marriage to a Jewish woman.Vogt (2001) 324.

According to the accounts given by Pindar and the tragedians, Agamemnon was slain in a bath by his wife alone, after being ensnared by a blanket or a net thrown over him to prevent resistance.Aeschylus, Agamemnon, 1389 In Homer's version of the story in the Odyssey, Aegisthus ambushes and kills Agamemnon in a feasting hall under the pretense of holding a feast in honor of Agamemnon's return home from Troy. Clytemnestra also killed Cassandra. Her jealousy of Cassandra, and her wrath at the sacrifice of Iphigenia and at Agamemnon's having gone to war over Helen of Troy, are said to have been the motives for her crime.

This century is also traditionally recognized as the classical period of the Greeks, which would continue all the way through the 4th century until the time of Alexander the Great. The life of Socrates represented a major milestone in Greek philosophy though his teachings only survive through the work of his students, most notably Plato and Xenophon. The tragedians Aeschylus, Sophocles, and Euripides, as well as the comedian Aristophanes all date from this era and many of their works are still considered classics of the western theatrical canon. The Persian Wars, fought between a coalition of Greek cities and the vast Achaemenid Persian Empire was a pivotal moment in Greek politics.

The primary models for Nonnus are Homer and the Cyclic poets; Homeric language, metrics, episodes, and descriptive canons are central to the Dionysiaca. The influence of Euripides' Bacchae is also significant, as is probably the influence of the other tragedians whose Dionysiac plays do not survive. His debt to poets whose work survives only in disjointed fragments is far harder to gauge, but it is likely that he alludes to earlier poets' treatments of the life of Dionysus, such as the lost poems by Euphorion, Peisander of Laranda's elaborate encyclopedic mythological poem, Dionysius, and Soteirichus. Reflections of Hesiod's poetry, especially the Catalogue of Women, of Pindar, and Callimachus can all be seen in the work of Nonnus.

The bust of Euripides, who was hosted by Archelaus Archelaus was also known as a man of culture and extended cultural and artistic contacts with southern Greece. In his new palace at Pella (where he moved the capital from the old capital at Aigai), he hosted great poets, tragedians, including Agathon and Euripides (who wrote his tragedies Archelaus and The Bacchae while in Macedon), musicians, and painters, including Zeuxis (the most celebrated painter of his time). Archelaus reorganized the Olympia, a religious festival with musical and athletic competitions honoring Olympian Zeus and the Muses at Dion, the Olympia of Macedon. The greatest athletes and artists of Greece came to Macedon to participate in this event.

In 1869, Edwin Booth, then one of the world's most distinguished stage tragedians and arguably America's greatest Hamlet, opened his theatre, Booth's Theatre, in Manhattan on the southeast corner of 23rd Street and Sixth Avenue. Central to the identity of Booth's theatre was the stage background of Edwin Booth, who belonged to the Booth Family dynasty, which ruled the American stage in the 19th century. It was actually touring with his father, Junius Brutus Booth, that gave Edwin his first break, first appearing as Tressel in Richard II in Boston in 1849. After his father's death in 1852 Booth toured internationally, visiting Australia and Hawaii and briefly settling in California before returning to the east coast.

Plautus, the more popular of the two, wrote between 205 and 184 BC and twenty of his comedies survive, of which his farces are best known; he was admired for the wit of his dialogue and his use of a variety of poetic meters.Brockett and Hildy (2003, 48). All of the six comedies that Terence wrote between 166 and 160 BC have survived; the complexity of his plots, in which he often combined several Greek originals, was sometimes denounced, but his double-plots enabled a sophisticated presentation of contrasting human behaviour. No early Roman tragedy survives, though it was highly regarded in its day; historians know of three early tragedians—Quintus Ennius, Marcus Pacuvius, and Lucius Accius.

Its meaning was "derangement", or "departure from the normal". However, the word was used strictly and other words were used such as "insanity" or "crazy", as these words were introduced by Aurelius Cornelius Celsus. The term “paranoia” first made an appearance during plays of Greek tragedians, and was also used by sufficient individuals such as Plato and Hippocrates. Nevertheless, the word “paranoia” was the equivalent of “delirium” or “high fever”. Eventually, the term made its’ way out of everyday language for two millennia. “Paranoia” was soon revived as it made an appearance in the writings of the “nosologists”. It began to take appearance in France, with the writings of Rudolph August Vogel (1772) and Francois Boissier de Sauvage (1759).

3 The story follows an acting troupe headed by Thespis, the legendary Greek father of the drama, who temporarily trade places with the gods on Mount Olympus, who have grown elderly and ignored. The actors turn out to be comically inept rulers. Having seen the ensuing mayhem down below, the angry gods return, sending the actors back to Earth as "eminent tragedians, whom no one ever goes to see". Gilbert would return to this theme twenty-five years later in his last opera with Sullivan, The Grand Duke, in which a theatre company temporarily replaces the ruler of a small country and decides to "revive the classic memories of Athens at its best".

259 (the latter possibly being completed post mortem by the poet's son); and the very authorship of Rhesus is a matter of dispute.William Ritchie, The Authenticity of the Rhesus of Euripides, Cambridge University Press (1964) In fact, the very existence of the Alphabet plays, or rather the absence of an equivalent edition for Sophocles and Aeschylus, could distort our notions of distinctive Euripidean qualitiesmost of his least "tragic" plays are in the Alphabet edition; and, possibly, the other two tragedians would appear just as genre-bending as this "restless experimenter", if we possessed more than their "select" editions.Justina Gregory, 'Euripidean Tragedy', in A Companion to Greek Tragedy, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 254 See Extant plays below for listing of "Select" and "Alphabetical" plays.

In 1763 the ministry of Lord Bute imposed an excise tax of 4 shillings per hogshead on cider and perry on Britain's cider-producing agricultural counties. In Devon, Herefordshire, and Worcestershire protest meetings were common, and violent attacks occurred against the ministry. In 1763 soon after the enactment of the new tax, Heath published the pamphlet The Case of the County of Devon with respect to the consequences of the new Excise Duty on Cyder and Perry advocating the repeal of the cider tax in Devonshire, and his endeavours led to success three years later. As a classical scholar Heath made his reputation by his critical and metrical notes on the Greek tragedians, which procured him an honorary DCL from Oxford (31 March 1752).

Red-figure vase painting showing an actor dressed as Xanthias in The Frogs, standing next to a statuette of Heracles The Frogs tells the story of the god Dionysus, who, despairing of the state of Athens' tragedians, travels to Hades (the underworld) to bring the playwright Euripides back from the dead. (Euripides had died the year before, in 406 BC.) He brings along his slave Xanthias, who is smarter and braver than Dionysus. As the play opens, Xanthias and Dionysus argue over what kind of jokes Xanthias can use to open the play. For the first half of the play, Dionysus routinely makes critical errors, forcing Xanthias to improvise in order to protect his master and prevent Dionysus from looking incompetent—but this only allows Dionysus to continue to make mistakes with no consequence.

Historians know the names of many ancient Greek dramatists, not least Thespis, who is credited with the innovation of an actor ("hypokrites") who speaks (rather than sings) and impersonates a character (rather than speaking in his own person), while interacting with the chorus and its leader ("coryphaeus"), who were a traditional part of the performance of non-dramatic poetry (dithyrambic, lyric and epic).Banham (1998, 441–444). For more information on these ancient Greek dramatists, see the articles categorised under "Ancient Greek dramatists and playwrights" in Wikipedia. Only a small fraction of the work of five dramatists, however, has survived to this day: we have a small number of complete texts by the tragedians Aeschylus, Sophocles and Euripides, and the comic writers Aristophanes and, from the late 4th century, Menander.

Michael Davis works primarily in Greek philosophy, in moral and political philosophy, and in what might be called the “poetics” of philosophy. He is the translator, with Seth Benardete, of Aristotle's On Poetics and has written on a variety of philosophers from Plato to Heidegger and of literary figures ranging from Homer and the Greek tragedians to Saul Bellow and Tom Stoppard. Davis is probably best known for his interpretations of Aristotle, where he articulates the metaphysical implications of practical life (The Poetry of Philosophy, The Politics of Philosophy, and The Soul of the Greeks) as well as the practical implications of metaphysics (The Autobiography of Philosophy). The other primary influence on Davis's thought is Plato, for whom the necessary connection between the practical and the theoretical shows up in the dialogic form of philosophy.

Portus corrected and annotated the texts of many Ancient Greek authors, and translated many into Latin, including Aristotle's Rhetoric, the treatises of Hermogenes of Tarsus, Aphthonius and pseudo-Longinus (edition printed by Jean Crespin in 1569), the Syntax of Apollonius Dyscolus, the hymns and letters of Synesius of Cyrene, and the Odes of Gregory of Nazianus. He also produced commentaries on numerous authors: Homer, Pindar, the Greek tragedians (Aeschylus, Sophocles and Euripides), Aristophanes, Thucydides, Xenophon, Demosthenes, Theocritus, Dionysius of Halicarnassus. He provided corrections and additional remarks to the Lexicon of Robert Constantin (Geneva, 1592). Shortly after his death, his son published many further volumes of his work at Lausanne: Commentarii in Pindari Olympia, Pythia, Nemea, Isthmia (1583); six of his treatises entitled In omnes Sophoclis tragœdias prolegomena, Sophoclis et Euripidis collatio, etc.

Some of the leading actors and theatre managers of the 19th century worked at The Winter Garden Theatre, from Jenny Lind and Laura Keene to Dion Boucicault and Edwin Booth.Mary C. Henderson. The City and the Theatre, (Back Stage Books, New York, 2004) p. 95. One of the most significant and politically influential productions in American theatre history took place on a single night at The Winter Garden Theatre on November 25, 1864, when three sons of one of America's great tragedians, Junius Brutus Booth, namely Junius Brutus Booth, Jr., Edwin Booth, and John Wilkes Booth staged a benefit performance of Shakespeare's Julius Caesar to raise funds to build a statue of Shakespeare in Central Park; four months later John Wilkes would assassinate Abraham Lincoln in Washington D.C. as he cried out the historic words of Brutus in ancient Rome.

In literature, some great tragedians such as Corneille, Jean Racine and Alfieri, took inspirations from Tacitus for their dramatic characters. Edward Gibbon was strongly influenced by Tacitus' historical style in his History of the Decline and Fall of the Roman Empire, The French Revolutionaries, for whom Tacitus had been a central part of their early education, made much use of his criticisms of tyranny and love of the republic--he is one of the authors most often quoted (behind Cicero, Horace, and Plutarch) by the members of the National and Legislative Assemblies and by revolutionary authors such as Jacques Pierre Brissot. Later, during the Reign of Terror, Camille Desmoulins and the writers of the Actes des apôtres used him to denounce the excesses of the Jacobins. Napoleon, on the other hand, attacked his works furiously, both for style and contents.

Tragedians often competed with alternative versions of the same plot: for example, Michel le Clerc produced an Iphigénie in the same year as Racine (1674), and Jacques Pradon also wrote a play about Phèdre (1677). The success of Pradon's work (the result of the activities of a claque) was one of the events which caused Racine to renounce his work as a dramatist at that time, even though his career up to this point was so successful that he was the first French author to live almost entirely on the money he earned from his writings. Others, including the historian Warren Lewis, attribute his retirement from the theater to qualms of conscience. However, one major incident which seems to have contributed to Racine's departure from public life was his implication in a court scandal of 1679.

After the fall of the junta in 1974, Zografou returned to journalism writing articles for Eleftherotypia and other newspapers and magazines. During that time, she also published many commercially successful books; Mou servirete ena vasilopoulo parakalo (May I have a Crown Prince, please?), Nichtose agapi mou ine chtes (The night has come my love, it's yesterday), I agapi arghise mia mera (Love arrived a day late) and the literary autobiography I Syvaritissa (The Sybarite), were some of them. I agapi arghise mia mera was adapted for a Hellenic Broadcasting Corporation series, starring Tania Tripi and Kariofilia Karampeti. In 1998, Zografou published her last work, Apo ti Mideia sti Stachtopouta, i istoria tou fallou (From Medea to Cinderella; the story of the phallus), a large scale essay on the origins of patriarchy in Greek society, examining the Hellenic World from prehistoric times to the Great Tragedians.

Under the influence of heroic epic, Doric choral lyric and the innovations of the poet Arion, it had become a narrative, ballad-like genre. Because of these, Thespis is often called the "Father of Tragedy"; however, his importance is disputed, and Thespis is sometimes listed as late as 16th in the chronological order of Greek tragedians; the statesman Solon, for example, is credited with creating poems in which characters speak with their own voice, and spoken performances of Homer's epics by rhapsodes were popular in festivals prior to 534 BC. Thus, Thespis's true contribution to drama is unclear at best, but his name has been given a longer life, in English, as a common term for performer — i.e., a "thespian." The dramatic performances were important to the Athenians – this is made clear by the creation of a tragedy competition and festival in the City Dionysia.

Two poems by Homer's near contemporary Hesiod, the Theogony and the Works and Days, contain accounts of the genesis of the world, the succession of divine rulers, the succession of human ages, the origin of human woes, and the origin of sacrificial practices. Myths are also preserved in the Homeric Hymns, in fragments of epic poems of the Epic Cycle, in lyric poems, in the works of the tragedians and comedians of the fifth century BC, in writings of scholars and poets of the Hellenistic Age, and in texts from the time of the Roman Empire by writers such as Plutarch and Pausanias. Aside from this narrative deposit in ancient Greek literature, pictorial representations of gods, heroes, and mythic episodes featured prominently in ancient vase paintings and the decoration of votive gifts and many other artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles.

Distribution of Greek dialects in the classical period In the archaic and classical periods, there were three main dialects of the Greek language: Aeolic, Ionic, and Doric, corresponding to the three main tribes of the Greeks, the Aeolians (chiefly living in the islands of the Aegean and the west coast of Asia Minor north of Smyrna), the Ionians (mostly settled in the west coast of Asia Minor, including Smyrna and the area to the south of it), and the Dorians (primarily the Greeks of the coast of the Pelopennesus, for example, of Sparta, Crete and the southernmost parts of the west coast of Asia Minor). Homer's Iliad and Odyssey were written in a kind of literary Ionic with some loan words from the other dialects. Ionic, therefore, became the primary literary language of ancient Greece until the ascendancy of Athens in the late 5th century. Doric was standard for Greek lyric poetry, such as Pindar and the choral odes of the Greek tragedians.

The title of this autobiographical work, published in Rome in 1945, cites a definition that the Italian historian Luigi Salvatorelli gave of him, entitling one of his essays "Ernesto Buonaiuti, pellegrino di Roma" to emphasize Buonaiuti's love for the Catholic Church, despite the grave disciplinary sanctions he had to face (La Cultura, XII, 1933, pp. 375–391). Buonaiuti claims as his own two works of a modernist tendency published anonymously in 1908: Lettere di un prete modernista ("Letters from a Modernist Priest"), which he considered "a youth's sin", and Il Programma dei Modernisti ("The Modernists' Program"). His modernist positions are motivated by scientific reasons (Biblical criticism and exegesis). Initially his modernism seemed similar to the positions of Protestant liberal theologians like Albrecht Ritschl and Adolf von Harnack; however, after researching spirituality in the ancient world, from Zarathustra to the Greek tragedians, Buonaiuti began to recognize in pre-Christian spiritual experiences an anticipation of the Christian view of life.

In many Western classical poetic traditions, the metre of a verse can be described as a sequence of feet, each foot being a specific sequence of syllable types — such as relatively unstressed/stressed (the norm for English poetry) or long/short (as in most classical Latin and Greek poetry). Iambic pentameter, a common metre in English poetry, is based on a sequence of five iambic feet or iambs, each consisting of a relatively unstressed syllable (here represented with "-" above the syllable) followed by a relatively stressed one (here represented with "/" above the syllable) — "da-DUM" = "- /" : - / - / - / - / - / So long as men can breathe, or eyes can see, - / - / - / - / - / So long lives this, and this gives life to thee. This approach to analyzing and classifying metres originates from Ancient Greek tragedians and poets such as Homer, Pindar, Hesiod, and Sappho. However some metres have an overall rhythmic pattern to the line that cannot easily be described using feet.

Charles Kean and his wife as Macbeth and Lady Macbeth, in costumes that aimed to be historically accurate (1858). After a visit to the United States in 1830, where he was received with much favour, he appeared in 1833 at Covent Garden as "Sir Edmund Mortimer" in Colman's The Iron Chest, but his success was not pronounced enough to encourage him to remain in London, especially as he had already won a high position in the provinces. In January 1838, however, he returned to Drury Lane, and played Hamlet with a success which gave him a place among the principal tragedians of his time. He married the actress Ellen Tree (1805-1880) on 25 January 1842, they performed on the Lincoln Circuit in April and May 1845 appearing at Stamford, Peterborough, Boston, Lincoln (where the theatre was uncommonly well attended) and the Georgian Angles Theatre, Wisbech before making a second visit to America with her from 1845 to 1847.

Philip II was assassinated in 336 BC at the theatre of Aigai, Macedonia, amid games and spectacles celebrating the marriage of his daughter Cleopatra of Macedon.. Alexander the Great was allegedly a great admirer of both theatre and music. He was especially fond of the plays by Classical Athenian tragedians Aeschylus, Sophocles, and Euripides, whose works formed part of a proper Greek education for his new eastern subjects alongside studies in the Greek language, including the epics of Homer.. While he and his army were stationed at Tyre (in modern-day Lebanon), Alexander had his generals act as judges not only for athletic contests but also for stage performances of Greek tragedies.. The contemporaneous famous actors Thessalus and Athenodorus performed at the event.The actor Athenodorus performed despite risking a fine for being absent from the simultaneous Dionysia festival of Athens where he was scheduled to perform (a fine that his patron Alexander agreed to pay). See for details.

The Despoliation of Egypt: In Pre-rabbinic, Rabbinic and Patristic Traditions, Brill, 2008, page 59, "First, Ezekiel's Exagôgê, with its extant 269 lines of iambic trimeters, is the most extensive example of the Greek dramatic literature of the Hellenistic period. Second, it is the earliest Jewish play in history, and as such provides important information as how a Hellenized Jew would try to mould biblical material into Greek dramatic forms by means of techniques developed by Greek tragedians." The only more extensive remnant of the Greco-Jewish poets is that found in the Sibylline Oracles.John J. Collins, Between Athens and Jerusalem: Jewish Identity in the Hellenistic Diaspora, Crossroad, 1983, page 224: "Ezekiel the Tragedian - Another early specimen of "mystical" Judaism is found in the drama on the Exodus by Ezekiel, which, at 269 lines, is the most extensive remnant of the Greco-Jewish poets apart from the Sibylline Oracles" Exagōgē is a five-act drama written in iambic trimeter, retelling of the biblical story of The Exodus from Egypt.

Philiscus of Corcyra (), or Philicus, was a distinguished tragic poet, and one of the seven who formed the Tragic Pleiad, was also a priest of Dionysus, and in that character he was present at the coronation procession of Ptolemy II Philadelphus in 284 BC. Pliny states that his portrait was painted in the attitude of meditation by Protogenes, who is known to have been still alive in 304 BC. Pliny the Elder, Natural History, xxxv.106. It seems, therefore, that the time of Philiscus must be extended to an earlier period than that assigned to him by the Suda, who merely says that he lived under Ptolemy Philadelphus. He wrote 42 dramas,Suda φ 358 of which we know nothing, except that the Themistocles, which is enumerated among the plays of Philiscus of Athens the comic poet, ought probably to be ascribed to him : such subjects are known to have been chosen by the tragedians, as in the Marathonians of Lycophron. The choriambic hexameter verse was named after Philiscus, on account of his frequent use of it (Hephaestion . p. 53).

Even though he often disregarded the principles of musical composition, he created works regarded as admirable for his age. The Universal Journal of Music 1850 supplement included a biographical sketch of Schumann that noted, "It has been related that Schumann, as a child, possessed rare taste and talent for portraying feelings and characteristic traits in melody,—ay, he could sketch the different dispositions of his intimate friends by certain figures and passages on the piano so exactly and comically that everyone burst into loud laughter at the similitude of the portrait."Eric Himy, pianist, Recording Homage to Schumann, CD Notes, (Centaur, 2006), CEN 2858, chosen by BBC December 2007 as CD of the month, includes "Kinderscenen", "Träumerei" At age 14, Schumann wrote an essay on the aesthetics of music and also contributed to a volume, edited by his father, titled Portraits of Famous Men. While still at school in Zwickau, he read the works of the German poet-philosophers Schiller and Goethe, as well as Byron and the Greek tragedians.