The History and Antiquities of the Doric Race, Vol. 2 of 2Müller, Karl Otfried
History
The History and Antiquities of the Doric Race, Vol. 2 of 2
Müller, Karl Otfried
Dorians -- History; Greece -- Antiquities, Dorian; Greece -- History -- Dorian Invasions, approximately 1125-1025 B.C.
philosophical view, which enabled him to satirize mankind, without
disturbing the calmness and tranquillity of his thoughts; while at the
same time his scenes of common life were marked with the acute and
penetrating genius which characterized the Sicilians.(1673)
5. Notwithstanding this excellence, the comedy of Epicharmus was only an
insulated and passing phenomenon, as we are not informed of any successors
of that great poet, except Deinolochus(1674) his son, or rather his
disciple. But about half a century after Epicharmus,(1675) Sophron, the
mimographer, made his appearance, who was the author of a new species of
comedy, though in many respects resembling that of his predecessor. Still
this variety of the drama differed so much, not only from that of Sicily,
but from any other which existed in Greece, that its origin must, after
all our attempts at explanation, remain involved in great obscurity. The
mimes of Sophron had no accompaniment of music or dancing, and they were
written, not in verse, but in prose, though perhaps in certain _rhythmical
divisions_.(1676) This latter circumstance seems quite singular, and
without example in the Greek literature which has been transmitted to us.
But that it was in reality so, seems improbable, when we remember that
there would naturally be an intermediate rhythm, formed at the transition
from the metrical to the prosaic style;(1677) and with the Dorians this
would have taken the form of concise and disjointed sentences, a
periodical style being more suited to the Athenians. We are led to this
notion by the consideration of some remains of Lacedæmonian composition,
in which no one can fail to see the rhythmical form and symmetry of the
sentences. Thus in the famous letter of Hippocrates,(1678)
ἔρρει τὰ καλά. Μίνδαρος γ᾽ ἀπεσσούα;
πεινῶντι τὤνδρες; ἀπορέομες τι χρὴ δρᾶν.
and also in that of the Lacedæmonian women, preserved by Plutarch,(1679)
κακὰ τεῦ φάμα κακκέχυται;
ταύταν ἀπωθεῦ, ἢ μὴ ἔσο,
where the rhythm passes insensibly into verse; which is less strikingly
the case in other instances.(1680)
Public-domain text, read in full here on John Shaqi.
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