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It is no matter of wonder and hardly a matter of blame, that poetry, which is destined to shed a glory over human existence, could make nothing more out of such a life than the Menandrian comedy presents to us.
It is no matter of wonder and hardly a matter of blame, that poetry, which is destined to shed a glory over human existence, could make nothing more out of such a life than the Menandrian comedy presents to us.
The eulogies of a bachelor life, which are so frequent in Menander, are repeated by his Roman remodeller only with characteristic shyness, whereas the lover in his agony, the tender husband at the -accouchement-, the loving sister by the death-bed in the -Eunuchus- and the -Andria- are very gracefully delineated; in the -Hecyra- there even appears at the close as a delivering angel a virtuous courtesan, likewise a genuine Menandrian figure, which the Roman public, it is true, very properly hissed.
After the poet has declared his purpose of preparing in the favourite Menandrian measure a sketch of geography intelligible for scholars and easy to be learned by heart, he dedicates as Apollodorus dedicated his similar historical compendium to Attalus Philadelphus king of Pergamus athanaton aponemonta dexan Attalo teis pragmateias epigraphein eileiphoti IV. XIII. Historical Composition
Max. vi. 3, 12; Plutarch., Quaest. Rom. 14; Cicero, de Har. Resp. 12, 26; Ritschl. III. XII. Moneyed Aristocracy II. IX. Censure of Art The scanty use made of what is called the middle Attic comedy does not require notice in a historical point of view, since it was nothing but the Menandrian comedy in a less developed form. There is no trace of any employment of the older comedy.
There is no want of the due accompaniment of reflections on the joys and sorrows of love, of tearful parting scenes, of lovers who in the anguish of their hearts threaten to do themselves a mischief; love or rather amorous intrigue was, as the old critics of art say, the very life-breath of the Menandrian poetry.
The eulogies of a bachelor life, which are so frequent in Menander, are repeated by his Roman remodeller only with characteristic shyness, whereas the lover in his agony, the tender husband at the -accouchement-, the loving sister by the death-bed in the -Eunuchus- and the -Andria- are very gracefully delineated; in the -Hecyra- there even appears at the close as a delivering angel a virtuous courtesan, likewise a genuine Menandrian figure, which the Roman public, it is true, very properly hissed.
Max. vi. 3, 12; Plutarch., Quaest. Rom. 14; Cicero, de Har. Resp. 12, 26; Ritschl. III. XII. Moneyed Aristocracy II. IX. Censure of Art The scanty use made of what is called the middle Attic comedy does not require notice in a historical point of view, since it was nothing but the Menandrian comedy in a less developed form. There is no trace of any employment of the older comedy.
After the poet has declared his purpose of preparing in the favourite Menandrian measure a sketch of geography intelligible for scholars and easy to be learned by heart, he dedicates as Apollodorus dedicated his similar historical compendium to Attalus Philadelphus king of Pergamus athanaton aponemonta dexan Attalo teis pragmateias epigraphein eileiphoti IV. XIII. Historical Composition
There is no want of the due accompaniment of reflections on the joys and sorrows of love, of tearful parting scenes, of lovers who in the anguish of their hearts threaten to do themselves a mischief; love or rather amorous intrigue was, as the old critics of art say, the very life-breath of the Menandrian poetry.
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