The Greek theater and its dramaFlickinger, Roy C. (Roy Caston)
History
The Greek theater and its drama
Flickinger, Roy C. (Roy Caston)
Drama -- Technique; Greek drama -- History and criticism; Theater -- Greece -- History -- To 500
THE GREEK THEATER AND ITS DRAMA
[Illustration]
THE UNIVERSITY OF CHICAGO PRESS
CHICAGO, ILLINOIS
THE BAKER & TAYLOR COMPANY
NEW YORK
THE CAMBRIDGE UNIVERSITY PRESS
LONDON AND EDINBURGH
THE MARUZEN-KABUSHIKI-KAISHA
TOKYO, OSAKA, KYOTO, FUKUOKA, SENDAI
THE MISSION BOOK COMPANY
SHANGHAI
[Illustration: FIG. 1
THE THEATER OF DIONYSUS ELEUTHEREUS AT ATHENS AS SEEN FROM THE ACROPOLIS
See p. 62, n. 1]
THE GREEK THEATER
AND ITS DRAMA
ROY C. FLICKINGER, PH.D.
_Professor of Greek and Latin
Northwestern University_
[Illustration]
THE UNIVERSITY OF CHICAGO PRESS
CHICAGO, ILLINOIS
COPYRIGHT 1918 BY
THE UNIVERSITY OF CHICAGO
All Rights Reserved
Published May 1918
Composed and Printed By
The University of Chicago Press
Chicago, Illinois, U.S.A.
MATRI CARAE
PIETATIS CAUSA
Greek, Sir, is like lace; every man gets as much of it as he
can.—DR. SAMUEL JOHNSON
PREFACE
Prior to the outbreak of the world-war in Europe it seemed that America
was about to pass through a period of great popular interest in the
drama. With the return of normal activities consequent upon the coming
of peace it is to be hoped that this interest may be revived and may
continue to grow. So far as such interest is hysterical or manifested
by attempts at play-writing on the part of those without training,
experience, or natural aptitude it has little to commend it. On the other
hand, nothing can be more wholesome than a widespread comprehension of
the origin, history, and basic principles of tragedy and comedy. Thus,
we are deeply indebted to the successive scholars who have undertaken
to analyze Elizabethan drama and assign to Seneca, the Latin comedians,
Aristotle, the Greek playwrights, and the various mediaeval elements
their respective shares of influence. But, as the ultimate source of
all other dramatic art, the Greeks’ contribution, whether in precept or
example, must ever occupy a unique position. Accordingly, no effort,
however humble, to make the theater and drama of the Greeks more widely
known ought to require an apology.
In the following pages I have tried to do three things:
Public-domain text, read in full here on John Shaqi.
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