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English citations of proœmia
|1840 1850 1880|
|ME «||15th c.||16th c.||17th c.||18th c.||19th c.||20th c.||21st c.|
- 1840 CE, Karl Otfried Müller, History of the Literature of Ancient Greece, Baldwin and Cradock; Chapter VII, § 2, page #73:
- But although these proœmia were not immediately connected with the service of the gods, and although a poet might have prefixed an invocation of this kind to an epic composition recited by him alone, without a rival, in any meeting of idle persons †, yet we may perceive from them how many and different sacred festivals in Greece were attended by rhapsodists.
- 1840 CE, P. W. Forchhammer, Apollon’s Ankunft in Delphi, in The Classical Museum, Taylor and Walton; Volume II, Chapter XXVI, page #413:
- The whole appears to have been divided into two books, or as Avienus calls them volumina ; for there are two proœmia, one at the beginning of the collection, and another before the beginning of the letter M, which probably formed the beginning of the second book.
- 1850 CE, William Mure, A Critical History of the Language and Literature of Ancient Greece, Longman, Brown, Green and Longmans; Volume II, Book II, Chapter XXI, § 11, pages 414–415:
- There is, therefore, much plausibility in the opinion of Hermann, now generally adopted by critical commentators, that these hundred lines of introduction comprise, not one, but several, of those proœmia habitually prefixed to the epic compositions of this early period in the public rehearsals, and afterwards embodied in the editions of the poems as portions of the genuine text. It might naturally happen, that in different manuscripts, current during the earlier ages of writing simultaneously with the more popular mode of oral promulgation, different proœmia, containing perhaps certain passages or verses in common, might be preferred.
- 1880 CE, Frank B. Tarbell, The Philippics of Demosthenes, Ginn & Heath; Introduction, page №. XXXVII:
- Contrast, for instance, the extended but artistic and lucid periods into which the proœmia of the accompanying orations are cast, with the short, nervous sentences of impassioned passages like Phil. I, 10.