The ancient rhythmical art recovered; or, A new method of explaining the metrical structure of a Greek tragic chorus

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Page 22 - So bright is thy beauty, so charming thy song, As had drawn both the beasts and their Orpheus along : But such is thy avarice, and such is thy pride, That the beasts must have starved, and the poet have died.
Page 19 - THY forest, Windsor! and thy green retreats, At once the monarch's and the muse's seats, Invite my lays. Be present, sylvan maids ! Unlock your springs, and open all your shades.
Page 2 - ... of the Scottish music — a circumstance which we should, at any rate, have concluded to have been the case, from the general considerations we have stated : and it is surely absurd to suppose, that, while the inhabitants of the mountains and the plains possessed melodies dictated by Nature herself, the more refined inhabitants of the cities could listen to such barbarous jargon as the hymns to Apollo and Nemesis are supposed to have consisted of. The most artificial melodies of modern times...
Page 12 - Verum id nihil impedit, quin poetas, ubi liberum erat, brevi an longa syllaba finiré versum vellent, longam príEtulisse credamus. Nam in fine versus quoniam consistit vox et pausa fit in pronunciando, longa syllaba, quia stabilior est, omnino ad concludendum versum aptior est judicata. Itaque et v paragogicum addi in melioribus libris videmus, et ipsi poetas anteposuerunt producías syllabas, ebaí quam e¡í(4v, ale} quam alév, et quae similia sunt, in fine versus dicere preferentes.
Page 21 - He forms a couplet by transferring the anacrusis from the beginning of the second verse to the end of the first: " Thus when Philomela drooping, Softly seeks her silent shade.
Page 7 - Homo vel se judice, metri imperitissimus quo tarnen nemo unquam, in versibus, propter metrum, concidendis audacius egit.

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