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Further, I have, as far as possible, gone on the principle of quoting parallel passages in full, instead of contenting myself with a bare reference, considering the former course not only more convenient to the reader, but also fairer in every way, as by this means any argument that rests upon a quotation can at once have its due weight assigned to it,-neither less nor more. A few suggestions of my own, which I venture to submit to the judgment of scholars, will be found in the notes on the following lines: I26, 135, 147, 209, 251, 278, 327, 550, 1002, I008, 1157, I207, I365. of Oxford and Cambridge respectively, for indicating several of the subjects suitable to my purpose, among the treasures of art entrusted to his keeping in the British Museum: and to the Reverend C. King, Senior Fellow of Trinity, for allowing me to consult him on the particular province of ancient art in which he is a recognised master. Those who have ever had to spend much time in looking up references will, I think, agree with me in holding that few things are more vexatious than to find a particular opinion on a doubtful point supported by an array of references which may or may not be relevant, but all of which have to be tested in detail before any further advance can be made. In the case of one or two of them, it is some slight gratification to find them to a certain extent confirmed by their having independently occurred to others. I am further specially indebted to Messrs George Bell and Sons, the publishers of Mr King's Antique Gemns and RPilngs (1872), for allowing electrotypes to be taken for this book from woodcuts used in that admirable work; eleven of the illustrations (including a gem in the Fitzwilliam Museum, originally engraved for the Syndics of the University Press) are, with the author's kind concurrence, borrowed from the comprehensive series there published. ' lartens-Schaafhausen cabinet' Dionysos Leontomorphos. It is doubtless undramatic for the king, after ordering his attendants to capture all the Theban revellers they can find, as well as the Lydian stranger, to allow a band of Asiatic women to go on beating their drums, and dancing and singing unmolested in front of his own palace'. A chorus of aged Thebans, for instance, might have required no departure from dramatic probability, but it would have been a poor exchange for our revel-band of Oriental women, gaily clad in bright attire and singing jubilant songs, as they lightly move to the sound of Bacchanalian music. 512, observzatum est a quibusdam senarios i ps minus 50 priminum pcdema anapaeslu hzabere, et in 950 versibus solutiones 368 esse. present play we have the advantage of two such passages, in which the revels on Cithaeron and the death of Pentheus are described in narratives which are, perhaps, unsurpassed in Greek tragedy for radiant brilliancy, energetic swiftness and the vivid representation of successive incidents, following fast on one another. WVe have a similar instance of repose in Shakespeare in the short dialogue between Duncan and Banquo just as they approach the gates of Macbeth's castle (l Iacbeth I. I-9); upon which it was well observed by Sir Joshua Reynolds that 'their conversation very naturally turns upon the beauty of its situation, and the pleasantness of the air: and Banquo observing the martlets' nests in every recess of the cornice, remarks that where those birds most breed and haunt, the air is delicate. This is well shewn by the moralising refrain at the close of the successive stanzas in one of Wordsworth's poems of the imagination, called' Devotional incitements.' For this illustration I am indebted to Professor Colvin. ON THE PURPOSE OF THE PLA Y lxxv antiquity, who, in the phrase of a hostile critic, is made to describe himself as 'from the scrolls of lore distilling the essence of his wit"? The fate of his Phoenician comrades is ingeniously indicated by the overturned pitcher. Telephus, according to the legend, had at first repelled the Greeks; but Dionysus came to their help, and caused him to be tripped up by a vine, and thereupon wounded by the spear of Achilles.

Nearly all of the latter, and a great part of the subsequent speech of Dionysus, have unfortunately been lost. The elaborate word-painting of Shelley, in Beatrice's description of the gloomy chasm appointed for her father's murder (Cczci III I, 243-265), impressive as it is to the reader who has time to linger over its details in the solitude of his room, would have been utterly out of place in any play intended for representation on the stage. In the present play, the occasional outbursts of admiration for the beauties of! But, as appears from passages in other plays, the poet had no great love for prophets and soothsayers; and, in the present instance, he allows the taunt of interested motives which is flung at Teiresias by Pentheus, to remain unanswered by the former (n. Accordingly, we cannot unreservedly accept the prophet as the spokesman of the poet's opinions; and we shall, here as elsewhere, look more naturally for these in the choral odes. with the sentiments which might naturally have been expected from a band of Asiatic women. M., where it is suggested that this type may have been 'derived from some composition by Scopas.') /2 cxl INTR OD UCTION. Next follows a young Satyr with a panther's skin flung over his left shoulder, playing the double flute, the bass notes being sounded by the tibia dextra or atv Xo aip8piios, and the treble by the tibia sinistra or av Xos yvvatrjios (Herod. The drapery with its sweeping folds is admirably suggestive of swift and energetic movement. in a pseudo-archaic design on a marble vase in the Louvre, inscribed 2QSIBIO2 AOHNAIO2 EIIOI (Miiller-Wieseler II 6021); and in Zoega's Bassirilievi II plates 1 The lettering there engraved has O and E instead of 0 and H; but the inscription as here given, rests on the authority of a facsimile in Frihner's Sculpture Antique du Louvre ed. Thus, the subject of our woodcut, though resembling the work of Scopas, so far as regards the dismembered kid held in the Maenad's hand, and also in its lively attitude of dancing, nevertheless differs from it in respect to the position of the head and the treatment of the hair.

The balance of the composition requires the speech of Cadmus to be followed by a corresponding speech of Agave. As it is, a few touches suffice to give a clear and vivid impression of the kind of scene intended by him, and all more elaborate details would have been obviously out of place; for of this, as of all the master-pieces of Greek literature, the remark of Lessing holds good, 'that it is the privilege of the ancients never in any matter to do too much or too little' (Laokoon, preface). place nurse, who, reflecting perhaps the ordinary Athenian feeling in such matters, warns her mistress that it would be unsafe to express such longings as these in public, as they would at once be set down to a disordered imagination. \A.~ ~~~~~~~~~~~~' ) \o i: i' ONV Tf HE PURPOSE OF THE PLA Y. Among such indications it has been usual to quote one of the speeches of Teiresias, with its protest against rationalising and philosophising about the gods, and its declaration of acquiescence in the traditions of the popular faith (200 ff). 79, and Part II no 6 in the Official Guide to the Graeco-Roman Sculptures in the B. Foremost of the three figures, here represented as moving onwards in the dance, is a Maenad with her head thrown back and her hair streaming loosely from behind her head, partly clad in a talaric chiton, and beating with her right hand the tympfanum which she holds in her left. Behind her, a mantle flutters in the air, with its upper end caught by the hand that holds the knife. A similar design occurs again and again in ancient reliefs (e.g. 62, none of them exactly corresponds to the above description.

After a while, it occurred to me that the materials thus collected might serve as a PREFA CE.

The impulse thus given to the study of the play led to my continuing to devote attention to it, after taking my degree, and to my including it from time to time, in and after 1869, among the subjects of my College lectures.

The Iambic lines, in general, are remarkable for the large number of resolved feet, which is one of the marks of the poet's later manner'. Of both the messengers' speeches we may almost say, as has been lately said of the dramas of Calderon, that 'the scenery is lighted up with unknown and preternatural splendour.' The account of the catastrophe in the second speech is remarkably vigorous. 1 Im Labyrinth der Thilecr hinzuschleichen, Dann diesen Felsen zu r-steigenz, VTon den der Quell sich ewig sprude Ind stiirzt, Das ist die Lust, die solche Pfade wiirzt! A partial solution of the difficulty is not far to seek. The oracle of the god, who had caused his fall, replied that only he that had dealt the wound could cure the same, and the king was healed by Achilles with the rust of his spear. S.; the woodcut is borrowed from the vignette of King's Antique Gems and Ri Zngs, where the copy is drawn to twice the actual size of the gem. The lamp was found at Dali, the ancient Idalium, in 1871, and was sent by Mr Consul Sandwith to the Rev.