Civilization, Egyptian, 2; in Io-

nian colonies, 95.
Clement of Alexandria, 209.
Climate, influence of, on Greek
development, 30.

Comedy, traits of, in the Odys-
sey, 71; derivation of the
name, 200; development of, at
Athens, 200.
Corinth, 158.

Criticism of Aristophanes, 204.
Cult of Adonis, 229.
Cyrene, the nymph, 153.

Damophyla, 113.

Danae, description of, by Simo-
nides, 122.
Dante, 119, 216, 238.
Delphi, oracle of, 89, 90; rela-
tion of Pindar to, 127.
Demodocus, the minstrel, 36,
79.

Dionysia, the Great, 160.
Dionysus, 157; song of, 158;
festival of, Co.

Dirge, the, 121; introduced by
Simonides, 121.

Dithyramb, the, 157; description

of, 157; development of, due
to Arion, 158.

Divination by fire at Olympia,
123.

Divine and human action, 59; in

the Odyssey, 69.

Dorian lyric, the, 109; choral,

114, 142, 144, 157.
Dorian ode, the, 113.
Doric temples at Olympia, 129.
Drama, transition from ancient
to modern, 216; birth of Eng-
lish, 217.
Drama, Attic, Pindar's relation
to, 155, 156; origin of, 157;
Aeschylus the founder of, 162.
Dryden, 227.

Egyptian civilization, 2.
Elegiac couplet, the, 96, 101.
Elegiac poetry, origin of, 95;
popular character of, 102; vi-
tality of, 103; kinship with

English drama, birth of, 217.
English war-poetry, early, 40.
Epic period, the, how related to

the lyric, 34; duration of, 94.
Epic poetry as distinct from
lyric and dramatic, 32; later
Greek, 35; relation of Pindar
to, 150.
Epinicia, 120.
Erinna, 113.

Eros, of the poets, 119.
Euripides, 155; attacked in Attic
Comedy, 191, 199; residence
at Salamis, 191; relation to
Athens of his time, 192; work
as a dramatist, 193, 194; char-
acter of his tragedies, 194, 195;
treatment of the Chorus, 196;
his prologues, 198; popularity
in later times, 205; popularity
at Rome, 206; in modern
times, 206; merits as a poet,
207; his kinship with all ages,
208; influence on the history
of the world, 210; realism,
210; difficulties under which
he worked, 215.

Gods, the Homeric, 23, 70.
Goethe, 238.

Gothic Architecture, 29.
Graces, the, invocation to, by

Pindar, 147.
Graioi, 12.

Greek compared with Sanskrit,

21.

Greek monarchy, Aristotle on,
17.

Greek shepherds, love-songs of,
232.

Greeks, distinction of, among
Indo-Europeans, 27.
Gymnopaedia, festival of, 116.

255

Iambic poetry, 103; obscurity of
its origin, 104; general char-
acter of, 106; compared with
elegiac, 106; illustration from
Solon, 107; kinship with ele-
giac, 107; why classed as lyric,
108.

Iambic satire, 105.

Ibycus, 119; characteristics of
his poetry, 119.

Iliad, the, religion in, 15; climax
of, 58; use of simile in, 62; re-
semblance between the Odys-
sey and, 64; differences be-
tween the Odyssey and, 64;
dramatic force of, 67.

tury, 236.

the, 95.

Jonson, Ben, 217.

Keats, 242; his relation to Greek
poetry, 242, 243.

trast between, 239, 240.

Heracles, 153, 154.

Heracles, shield of, of Hesiod,

90.

Herodotus, 164.

Hesiod, rival of Homer, 79; po-
ems of, 79; date of, 79; Theo-
gony of, 88, 89; style of, com-
pared with the Homeric, 91;
as a teacher, 92; literary inter-
est of, 93.

Hexameter, character of, 97.
Homeric language, 21.
Homeric nobleness and rapid-
ity, 56; use of direct speech,
61; simile, 61.

Homeric plainness of thought
and style, 54, 55.
Homeric poems, probable origin
of, 14; as a revelation of the
Greek faculties, 24; form of,
53; position of women in, 72;
characteristics of women in,
76; general character of, 78;
poetical art in, 78; style of,
compared with the Hesiodic,
91.

Landor, 242.

Language, Homeric, 21.

Lesbos, cultivation of music at,
110; school of citharodes at,
III, 158.
Lessing, 236.

"Limping" iambic verse or sca-
zon, 105.

Lore, magical, in the Odyssey,
68.

Lyre, invocation to, 146.
Lyric poetry, Greek, 94; period
of, 109; causes of its decline,
123.

Magical lore, in the Odyssey, 68.
Martial elegies, 99.
Maxims of Hesiod, 87.
Mediaeval art, 237.
Melancholy, Greek, 20.
Melic poetry, 108.
Menelaus, 77.
Migrations, Hellenic, 12.
Milton, quoted, 57; his apprecia-
tion of classical literature, 241.
Mimnermus, 99.

Olympia, the sacred precinct at,
128.

Olympian Festival, the, 128; re-
ligious elements connected
with, 131.
Olympian Ode, analysis of the
first, 137.
Oratorio, comparison between
Odes of Pindar and, 140.
Origin of Attic Drama, 157.

Pan-Hellenic range of Pindar's
Odes, 136.
Pelops, legend of, 138.
Pentameter, introduction of, 97.
Pericles, age of, relation of So-
phocles to, 188.

Perses, brother of Hesiod, 80.
Persian Wars, the, 101.
Philemon, 206.

Phocylides of Miletus, 100.

Phoenicians, 9.

Phrygia, origin of elegy in, 96.
Phrynichus, 161, 162.
Picturesque effects in the Odys-
sey, 67.

Pindar, odes of, 109, 127; general
effect of, 140.

Pindar, preeminence as a lyric
poet, 126; life and period of,
127; relation to Delphi, 127;
characteristics of his poetry,
132; artistic power of, 141;
originality of, 143; feeling for
music, 146; sense of beauty in
nature, 147; views of human
life, 148; relation to epic po-
etry, 150; affinity to Attic
Drama, 155, 156.

Pindaric diction, characteristics
of, 144.

Plato, dialogues of, 77.
Plutarch on the style of Sopho-
cles, 185.

Poetical art, in Homeric poetry,
78.

Pope's translation of Homer,
quoted, 56.

Priests, in Homer, 16.
Prologues of Euripides, 198.
Pythian ode, description of the
fourth, 150.

Religion, in the Iliad, 15.
Renaissance, the, 236.
Roman adaptation of Greek
Comedy, 215.

Romance, meaning of, 216.
Romances of chivalry, French,

41.

Romantic School, the, 238.
Rome, popularity of Euripides
at, 206; influence of Greek
poetry on, 234.
Rossetti, D. G., 245.

Salamis, residence of Euripides
at, 191.

Sanskrit compared with Greek

21.

Sanskrit epics compared with
Homer, 28.

Temple of Zeus at Olympia, 129.
Terpander, 111, 158.

Sidney, Sir Philip, 227.
Simile, Homeric use of, 61.
Simonides as an elegist, 101; his
character and work, 120.
Solon, 99; his use of elegy, 100;
illustration of iambic verse
from, 107.
Sophocles, his happy life, 180;
ethical and religious views,
181; introduces a third actor,
184; periods of his style, 185;
general characteristics of his
plays, 186; use of the chorus
by, 187; relation to the Age
of Pericles, 188.
Sparta, poetic themes suggested
by, 114; Dorian lyric at, 115.
Stadion at Olympia, 130.
Stanza, the Sapphic, 112; Aeo-
lian four-line, 113.
Statue of Zeus at Olympia, 129.
Stesichorus, of Himera, 117;
choral poetry of, 118; epic
style of, 118; triad of, 118.

poetry, 232.

Theognis of Megara, 100.
Theogony, the, of Hesiod, 88;
characteristics of, 89.
Theology of Aeschylus, 176.
Thespis, 160.

Threnos, or dirge, 121.
Tragedy, Attic, nature of, 163;
material of, 163; didactic ele-
ment in, 164; portraiture of
character in, 166; its claim de-
fined, 218.

Triad of Stesichorus, 118.
Trilogy, use of, by Aeschylus,
179.
Tyrtaeus, 99.

Victory, ode of, 109, 124.
Voltaire, 145.

Winckelmann, 236.
Women, position of, in Homeric
poetry, 72; characteristics of,
76; as portrayed by Euripides,
209.
Works and Days, the, of Hesiod,

79.

Xenophanes, 101, 192.

Zeus, temple and statue of, at
Olympia, 129.

UNIV. OF..