Page:History of the Literature of Ancient Greece (Müller) 2ed.djvu/537

INDEX. Page ACH2EUS (tragedian), his age and coun- try .' 383 his manner artificial ib. a good writer of Satyric dramas .... ib. ACUSILAUS (historian), his age and country 261 his works, dialect, &c ib. 2ESCHYLUS (tragedian), time and place of his birth 317 fought at Marathon 318 a poet by profession ib. arranged and conducted his choruses without assistance ib. his peculiar actors, Cleandrus and Myniscns ib. seventy of his plays extant in anti- quity 319 period within which they were written ib. obtained the prize for tragedy thirteen times ib. three tragedies and a Satyric drama for each contest . ib. each three connected in subject and plan ib. differed in this from his successors . . ib. instance and nature of a trilogy 320 all his extant dramas late in his career ib. earliest extant, The Persians ib. its date, outline of its plan ib. critical examination of its subject, and allusions 321 other lost plays in the same trilogy ; the Phineus ib. the Glaucus Pontius 322 residence of JEschylus in Sicily ib. reasons assigned for it 323 The Persians reproduced before Hiero ib. The Seven against Thebes — its probable date ib. its plan and subject ib. conjectures as to the trilogy of which it formed part 324 his disposition and opinions as shown by his poetry 325 The Suppliants — trilogy to which it belonged ib. its want of dramatic interest owing to its being the middle piece 326 the other plays of the trilogy ib. time of its production 327 the Prometheus Bound — probably one of his last productions ib. its allegorical tendency ib. what character is represented by Pro- metheus ib. Page AESCHYLUS, plan and purport of the trilogy 328 his tragedies require faith in a divine power , 329 general critical remarks on the trilogy ib. loss of the Prometheus Unbound, to be lamented 330 plan of it traced by its fragments .... ib. the Orestean trilogy 331 its great value ib. only complete trilogy extant ib. time of its production ib. the Agamemnon ib. character of the hero ib. tragic effect of the play 332 The Choifhorai — its plot ib. progress of the action ib. the Furies, according to the view of jEschylus 333 The Erinnyes, concluding play of the trilogy ib. the artist combined with the poet in their exhibition ib. plan and action of the play ib. Satyric drama attached to this trilogy — the Proteus 334 critical remarks on iEschylus 335 his language, grammatical construction, &c ib. adapted his language to his characters 336 success of the Orestean trilogy ib. his return to Sicily, and death ib. great respect shown to him and his works after his death ib. .&SOP 145 account of him, his age, &c 146 character of his fables ib. metre, &c. of them ib. AGATHARCHTJS (scene-painter) 310 AGATHON (tragedian), his age, &c. . . 383 strange demeanour and habits ib. his style", Sfc ib. his "Flotcer" 384 AGIAS of Trcezene. (See Cyclic poems) 69 ALC^US (lyric poet) 166 his birthplace and family ib. his age, and perilous times 167 his poetry full of passionate emotion . . ib. subjects of his poems ib. those called 2 }ari l/ m P oems °y the an- cients 168 his convivial poems ib. his erotic poems — connexion with Sappho 169 superior to the odes of Horace ib. 2 l 2