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Nothing could be further removed from the pseudo-classical manner of the eighteenth century than this modern and individual interpretation of the old mythical story of Penthesilea and Achilles, between whom love breaks forth in the midst of mortal combat. The clash of passions creates scenes in this drama that transcend the humanly and dramatically permissible.
Along each of the two unpierced walls, against panels of peeling stucco, stood a line of statuary heathen goddesses, fauns, athletes and gladiators, with here and there a vase or urn copied from the antique. The furniture consisted of half a dozen chairs, a settee, and an octagon table, all carved out of wood in pseudo-classical patterns, and painted with a grey wash to resemble stone.
Odes, pseudo-classical tragedies, satirical comedies, epic poems, elegies, and all the other recognised forms of poetical composition, appeared in great profusion, and many of the writers acquired a remarkable command over their native language, which had hitherto been regarded as uncouth and barbarous.
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