Page:History of the Literature of Ancient Greece (Müller) 2ed.djvu/542

520 INDEX. Page ELEGEION, its metrical form 106 word probably of Asiatic origin ib. its recitation accompanied by the flute alone ib. at least in its early period 107 its subjects — must express emotion . . 108 symposiac elegies 113 no necessity for dividing the subject into the different branches, of mar- tial, symposiac, erotic, &c 125 different tone assumed by, in the Alexandrine period ib. Mimnermus, Theognis, Terpander, Echembrotus, Callinus, Tyrtceus, Archilochus, Simonides, Solon, Xenoplianes. (See those names) the later elegiac poetry and its writers 452 ELEUSINIAN mysteries. (See Deities of the Greeks) « 231 EMBOLIMA. (See Chorus) 365 EMPEDOCLES (Sicilian philosopher), his age and country 253 great personal reputation ib. his poem on Nature 254 his physical philosophy and theories . . 255 EPIC Poetry or Epos. (See Poetry of EPICHARMUS. (See Comedy of the Greeks) 397 his age and residence 433 his character and that of his plays . . 434 their mythical form reconcilable with their ethical tendency 435 EPIGRAMMATIC poetry 126 form and original subject of the epigram ib. object t;> ennoble the subject ib. celebrated authors of 127 occasional variances in the metre .... 128 EPIRRHEMA. (See Chorus) 401 ERINNA (poetess) 180 her poem, called The Spindle ib. EUGAMMON of Cyrene. (See Cyclic Poems) 70 EUMELUS (epic poet), his country and age 101 works attributed to him ib. genuineness of most denied by Pau- sanias ib. EUMOLPUS a Pierian, not a Thracian 26 EUPOLIS (comedian), 430 his style and characteristics ib. EURIPIDES (tragedian), 357 difference between him and Sophocles ib. his character 358 his age, &c ib. his philosophical convictions opposed to his legends ib. his employment of mythical subjects explained 359 Aristotle's distinction between him and Sophocles ib. his characters like the Athenians of his day ib. Page EURIPIDES, his minute attention to petty circum- stances „ 360 hi3 remarks, &c. on the life and habits of women ib. unjustly described by Aristophanes as a woman-hater .... ib. his frequent bringing of children on the stage ib. his allusions to public events and po- litics ib. fondness for general and abstract views of things 361 the favourite of the modern youth of Athens ib. his alterations in the form of tragedy. 362 the prologue described and explained . . ib. the dens ex machind almost introduced by him 363 its frequent employment in his later plays ib. all the weight laid upon it at the end of his career ib. his object in so using it ib. position of the chorus essentially per- verted by him 364 the lyric element thrown more into the hands of the actors 365 Cephisophon, his chief actor, eminent in the monodies ib. loose and irregular metrical form of these pieces ib. style of his dialogue , 366 his language ib. distinction between his earlier and later plays ib. the A/cestis — first of his extant plays.. 367 account of it — added to a trilogy instead of a Satyric drama ib. not to be included in his regular tra- gedies ib. the Medea — a model of his tragedies . . ib. its date, plot, &c ib. Aristotle's judgment of Euripides as a poet 368 the Hippolytus crowned — its date, &c. ib. its plot — characters of women in these plays ib. the Hecuba — tragedy of jmthos 369 unjustly censured for want of unity of action ib. its plot and perepeteia ib. class of subjects of his later plays. . . . 370 do not depict such energetic passion . . ib. rich in allusions to the events of the day ib. the Heracleidce — its political views .. ib. its plan and subject ib. the Suppliants — its affinity to the Heracleidse 371 its political action ib. its independent beauties — songs of the chorus ib. the Ion — its beauties and defects .... ib. its plot and general object 372