Page:History of the Literature of Ancient Greece (Müller) 2ed.djvu/540

518 518 CHORUS, tragic, how provided 297, dress and appearance number and arrangement of signification of its different branches. . represented the ideal spectator metrical forms and changes of metre. . rhythmical treatment of the several parts variety in the number, length, and ar- rangement of the parts might carry on a lyrical dialogue .... examples rare of the chorus conversing among themselves such examples confined to Euripides. . how employed by Sophocles its position essentially perverted by Euripides the Embolima — introduced by Agathon comic chorus derived from the lesser Dionysia costume, number and arrangement of the comic chorus the parabasis and epirrhema explained CIN^THON (epic poet), his country and age works attributed to him CINESIAS (lyric poet) ridiculed by Aristopluxnes Plato's opinion of him CLON AS (musician) COMEDY of the Greeks sprang from the same cause as Tragedy critical distinctions between corresponding features of tragic and comic poetry Wit a chief element of comic repre- sentation forms of comedy developed by Attic genius their construction referred to the wor- ship of Bacchus the lesser Dionysia comic chorus especially derived from. . the old lyric comedy traditions respecting Susarion Epicharmus (Sicilian comedian). (See his name) his residence, Doric origin, &c age, &c. of Susarion. (See his name) Chionides, Magnes, Ecphantides — their age, &c constitute the first period of Greek comedy second period Cratinus, Crates, Telecleides, Hermip- pus, Eupolis, &c, their age, &c Aristophanes. (See his name) transition to the middle comedy of the Athenians Diodes, Philyllius, Sannyrion, &c. . . apparatus of the comic drama points it had in common with tragedy number of actors costume, masks, &c INDEX. Page Page COMEDY, 318 costume and number of the chorus —. 400 ib. its arrangement ib. 300 parabasis and epirrhema explained. . 401 310 comic dancing — the kordax 402 311 rhythmical structure and metres .... 403 ib. meanings conveyed by rhythm 404 the language and dialect of comedy. . ib. ib. Cratinus. (See his name) 428 Eupolis. (See his name) 430 312 Crates. (See his name) 431 313 Sicilian comedy — its flourishing period 433 its principal writers ib. 316 earlier in its development than the ib. Athenian 436 348 middle Attic comedy ib. its poets and their period 408 364 new comedy ib. 365 Menander (see his name), and other writers ib. 395 Roman imitations 439 characteristics of the new comedy .... 440 400 characters introduced 442 401 manners and feelings of the age .... 443 its power of ridicule 444 100 COMOS, festive rejoicing, described by 101 Hesiod 21 448 CORA (Proserpine), see 11 n. ib. CORAX. (See Sophists) 466 ib. CORINNA (lyric poetess) 217 161 celebrated in the youth of Pindar .. ib. 391 assisted him with her advice ib. ib. her style, &c ib. ib. CORYBANTES, Phrygian worship of 26 392 CRATES (comedian) 431 originally an actor of Cratinus ib. ib. his style — artificial design and deve- lopment of his plots ib. 393 . CRATINUS (comedian), his style and manner 428 ib. his choruses 429 394 his play, the Pytine — its plot, &c. . . ib. 395 made himself the subject of his own ib. comedy ib. 396 law passed in his time restraining comic satire 430 ib. CYCLIC poems 64 ib. origin of the name ib. ib. dates and countries of the poets .... ib. must have possessed perfect copies of 397 Homer's poems ib. Arctinus of Miletus — age of 65 ib. account of his poems ib. ib. The destruction of Troy and the Mthi- opis 66 ib. Lesches or Lescheus — age of ib. account of his poems — the Little Iliad, &c ib. 398 abridgment of the Cyclic poems by ib. Proclus 67 ib. Stasinus of Cyprus — his poem, the ib. Cypria 68 399 preceded the Iliad in the Cyclus .... ib. ib. Agias of Trozzene — his poem, the Nostoi 69