Suchergebnisse

An item in a composite volume comprising pamphlets concerning the ficticious Popish Plot to assassinate King Charles II of England. ; Manuscript copy of a poem ascribed to Mr. Dryden and the Earl of Mulgrave, written 1679. A transcription of Naboth's vineyard, in the same hand, begins on leaf 3 verso.

This paper today will deal with the interrelation between democracy and the dramatic genre called Satyr play; the dramatic genre that flourished and developed in the course of the fifth century Athens.

1 sheet (2 p.) ; By Jospeh Haines. ; Verse- "Farewel damn'd Stygian juyce, that dost bewitch,". ; Caption title. ; Imprint from colophon. ; Printed on verso: A song upon ale (Wing (2nd ed.) S4683A). ; Reproduction of the original in the Harvard University Library.

[6], 10 p. ; Preface signed: H.P. ; Poem. ; Reproduction of original in Huntington Library.

Rien de commun ou presque entre le pervers inquiétant de l'imaginaire contemporain et la figure de satyre telle qu'elle émergea au tournant du vie siècle av. J-C à Athènes. Étroitement associé à l'univers dionysiaque, cet humanoïde singulier, au corps hybride et de plus en plus animalisé, danse, gesticule, s'excite à tout va. Sur plus de 7 000 vases attiques, se déploie à travers lui tout l'arc du corps paroxystique, toutes les figures de l'excès : l'incessant buveur de vin, le trousseur permanent, l'éjaculateur dispendieux… Mais, dans l'univers dionysiaque, c'est aux ménades, non aux satyres, qu'il revient cependant d'incarner la crudité de la violence aveugle.

[4], 71 p. ; In verse. ; Attributed to Daniel Defoe. Cf. BM. ; First (?) edition published anonymously. Cf. BM. ; Place of publication from Wing. ; Reproduction of original in Huntington Library.

Abstract
Especially in recent years, scholars have tended to regard the satyr play as a genre which, despite its humorous features, seriously aimed at carrying out a socio-political function, or – at the very last – at conveying ethical or cultural messages to its Athenian audience. According to these views, the satyrs' rusticity would have served the purpose of satisfying the tastes of the countryside citizens, less attracted to tragedy, thus facilitating – after Cleisthenes' reforms – a process of demographic osmosis among different population groups. By staging the satyrs' antiethos the poet would have operated kat'antiphrasin to affirm and strengthen the social norms and values; the childish ingenuity of marginal and wild creatures such as the satyrs would have helped the Athenians rediscover the origins of their own culture; the exhibition of ithyphallic satyrs would have contributed to reestablish, in the male spectators, that sense of virility that tragedy, exciting typically feminine emotions, had temporarily eclipsed. These interpretations focus on themes and elements which are, indeed, important to the plot of the satyr play. However, their paideutic meaning or pragmatic effectiveness is weakened – if not utterly neutralized – by their being placed in the context of a playful metafiction, where actions, situations, and relationships between the characters have no value in themselves, but appear to be subject to a single dominant aim: to raise a smile from the audience. To fulfill this purpose, the playwright exploits all the estrangement effects conveyed by the interaction and the interlocution between satyrs and heroes. Ancient critics had already grasped the true nature of the genre aptly defined as a playful tragedy (tragoidia paizousa), and were essentially correct (though not exhaustive) in giving it a function of diachysis or delectatio/relaxatio. The satyr-chorus will only take on a real political function in the last decades of the 4th century bc, in parallel with the progressive reduction of the onomasti komoidein in comedy. This will lead to a partial contamination between the two genres, and to the loss of the original features of the classical satyr play.

This article considers how Victor Hugo's philosophical poem "Le Satyre" incorporates thought into verse. Central to the first series of La Légende des siècles (1859), "Le Satyre" explores the idea of progress through a variety of physical experiences. The faun's physicality is usually interpreted as a grotesque challenge to the classical gods, symbolizing the Revolution overturning hierarchies, but it is also part of a wider exploration of the embodiment of thought. The satyr's body, gestures, and feelings shape the poem's argument, and in his own performance he uses an array of concrete metaphors to express abstract concepts. The famous passage in which he expands into a landscape is just the most striking instance of this synthesis of the conceptual and the material. Attending closely to the way Hugo articulates these connections between ideas and bodily presence ultimately permits a reconsideration of the poem's political sense.

Aus der Sammlung von Heinrich Lempertz, sen. ; Volltext // Exemplar mit der Signatur: München, Bayerische Staatsbibliothek -- Cat. 283 o-74,10

1 sheet ([1] p.) : coat of arms. ; Signed: Hen: Bold. ; In verse. ; Item at 1557:10 identified as Wing S718A (entry cancelled). ; Item at 1557:10 is a reproduction of original in the Harvard University Library. ; Item at 2615:15 is a reproduction of original in the Bodleian Library.