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Updated: May 16, 2025
He saw the springing oats in a neighboring field that should furnish the pipes for the winds of Pan. He saw, as the dying poet Ibycus, the cranes go honking overhead. And he said, "I can't die now. It's ploughing time."
And suddenly there appeared sailing across the sky a dark object which a moment's inspection showed to be a flock of cranes flying directly over the theatre. "Of Ibycus! did he say?" The beloved name revived the sorrow in every breast. As wave follows wave over the face of the sea, so ran from mouth to mouth the words, "Of Ibycus! him whom we all lament, whom some murderer's hand laid low!
Ibycus, the pious poet, was on his way to the chariot races and musical competitions held at the Isthmus of Corinth, which attracted all of Grecian lineage. Apollo had bestowed on him the gift of song, the honeyed lips of the poet, and he pursued his way with lightsome step, full of the god.
I cannot refuse, said Parmenides; and yet I feel rather like Ibycus, who, when in his old age, against his will, he fell in love, compared himself to an old racehorse, who was about to run in a chariot race, shaking with fear at the course he knew so well this was his simile of himself.
The ducks that denounced the poet Ibycus are as nothing in comparison with the single hair that these country spies fasten across the opening of a door by means of two little flattened pills of wax, fixed so high up, or so low down, that the trick is never suspected. If the gallant comes out of his own door and opens the other, the broken hair tells the tale.
Every heart fluttered between illusion and reality, and every breast panted with undefined terror, quailing before the awful power that watches secret crimes and winds unseen the skein of destiny. At that moment a cry burst forth from one of the uppermost benches "Look! look! comrade, yonder are the cranes of Ibycus!"
In order to understand the story of Ibycus which follows it is necessary to remember, first, that the theatres of the ancients were immense fabrics capable of containing from ten to thirty thousand spectators, and as they were used only on festival occasions, and admission was free to all, they were usually filled.
The result was that both poets began to make ballads for the next year's 'Almanac'. Schiller contributed five: 'The Diver', 'The Ring of Polycrates', 'The Cranes of Ibycus', 'The Errand at the Furnace' and 'The Knight of Toggenburg'. In subsequent years he wrote three others: 'The Pledge', 'Hero and Leander' and 'The Count of Hapsburg'. To these may be added 'The Glove , which was not called a ballad because not written in uniform stanzas, and 'The Fight with the Dragon , which was called a 'romanza'.
The Cranes of Ibycus permitted a thoroughly epic development; what made the subject of intrinsic value to the poet was the idea which sprung from it of the power of artistic representation upon the human soul.
Uhland's ballads and romances vary greatly in quality; none, perhaps, has the grandiose dramatic and ethical note of Schiller's The Cranes of Ibycus and none the power of revealing the hidden forces of nature in anthropomorphic and demoniac form as Goethe does in his Erlking and The Fisher.
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