The Parthenon Frieze And Other Essays

Reprint of the original, first published in 1882.

Excerpt from The Parthenon Frieze, and Other Essays Upon a broken tombstone of the Prime, When youths, who loved the gods, were loved again And rapt from sight, two human forms remain. One, shrunk with years and hoary with their rime, Gropes for the hand of one who sits sublime And, calm in large-limbed youth, prepares to drain The cup of endless life. In vain! in vain! He cannot reach beyond the screen of time. So, Arthur, as our human years go by, I stand and blindly grope for thy dear hand, And listen for a whisper from thy tongue. In vain! in vain! I only hear Love cry: "He feasts with gods upon the eternal strand; For they in whom the gods delight die young." About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1882 edition. Excerpt: ... oidipous tyrannos. That the oldest and most influential university in New England should have brought out, with distinguished success, in her own theatre, an ancient Greek tragedy in the original language, with all the proper equipments of stage, scenery, costume and music, is, in several ways, a most noteworthy event. Educationally considered, it means that the study of ancient Greek, so long a dry, barren encumbrance of the ground, has at last borne fruit, fit to enter as sustenance into the intellectual, moral, and artistic life of the more favoured members of the community. From a literary point of view, it means the revival of an intelligent interest in the robust, earnest, soulstrengthening works of the grand old masters, as opposed to the feeble, pampering, alcoholic love-lore, on which so many mere rhymers and story-tellers nowadays base their lofty titles of poets and men of letters. Lastly, it means that the old supercilious spirit, which regarded paganism as a mere cloud of error, dispelled by the pure light of Christian truth, is giving way to a kindly appreciation of the human as human, of the good and the true, wherever they are found. If such exhibitions are frequently repeated at Cambridge and initiated at other great seats of learning and education, we may hope that in a short time there will issue from our universities a succession of scholarly, philosophical artists, capable of finding for the glad, generous, but only half-grasped ideas, which shape American life, forms as original, perfect, and eternal as those in which Sophokles and his brethren cast the gloomy beliefs that ran through Hellenic life. When that time comes, we shall have a literature as much nobler than that of the Greeks as free love of the good, as...

This 1885 book examines the extant works of the Greek sculptor Pheidias, best known as the creator of the Parthenon Marbles and the gold and ivory statue of Zeus at Olympia. Waldstein examines the Parthenon Marbles with particular scrutiny and charts the relationship between Pheidias' school and the development of later Greek art.