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(8) Define the ἐπεισόδιον, πάροδος, ἔξοδος, στάσιμον, κόμμος.

7. Explain and illustrate by examples the epithet koμπоpaKEλopρýμova, applied to Eschylus (Báтp. 838); and give a brief account of the plot and conclusion of the Bárpayo of Aristophanes.

8. (1) At what period did Sophocles live? What public office did he bear? At what age did he die?

(2) What is known of his general feelings and conduct towards Eschylus?

(3) Are any traces of a contrary feeling discernible in the writings of Euripides ?

9. (1) Arrange the Plays of Sophocles in the chronological order of their subjects, and mention those of Eschylus and Euripides which are written on the same subjects with any of them.

(2) Was the Philoctetes of Sophocles successful? Did either of the other Tragedians write on the same subject?

10. (1) What catastrophe does Aristotle consider best for Tragedy? Which of the three Tragedians most generally accords with his opinion on this point?

(2) What species of character does the same Critic con

sider as best adapted for Tragedy? Compare the character of Philoctetes in this respect with the Timon of Shakspeare.

(3) Define the Περιπέτεια and Αναγνώρισις; and say if there be any example of either or both in the Philoctetes.

11. (1) Explain the Cesuras of an Iambic Senarius—the rule relating to an Anapest in the case of a proper name— and that respecting a whole metre being included in a single word.

(2) Define the Pause; and say whether it is violated by any of the following lines. If by any, correct them.

(α) ἤδη, τέκνον, στέλλεσθε ;—καιρὸς γὰρ καλεῖ.
(6) φίλοι δὲ ναυταὶ, πῶς ἂν ὑμῖν ἐμφανής.
(c) ἴωμεν, ὦ παῖ, προσκύσαντες τὴν ἔσω.

(α) τί ποτε λέγεις, ὦ τέκνον; ὡς οὐ μανθάνω.

12.

v. 466.

531.

533.

914.

Define the metrical Ictus; and say, where it falls in the words ἱκεσίου, ἀκράτωρ, and προδέδομαι in the following lines :

νεῦσον, πρὸς αὐτοῦ Ζηνὸς ἱκεσίου, τέκνον.

ἀκράτωρ ὁ τλήμων, χωλός. ἀλλὰ μή μ' ἀφῆς.
ἀπόλωλα τλήμων, προδέδομαι. τὶ μ ̓, ὦ ξένε.

13. ὅσος οὐδέποτ ̓ ἦλθεν ἀθρόως εἰς τὴν Πνύκα.

ν. 484.

486.

923.

(1) How does this line violate the laws of a Tragic Se

narius ?

(2) How, of a Comic?

(3) Is there any other fault besides that of metre ?

14. Where was Lemnos?

What is its modern name? How

is the corruption accounted for? sion, "Lemnia facinora."

15. (1) v. 173. νοσεῖ νόσον.

Explain the proverbial expres

Are there any instances of a different construction of this phrase in the Tragedians? (2) ν. 201. εύστομ ̓ ἔχε. Explain this construction. (3) Do the same with σιγ ̓ ἔχοντες, ν. 258, and supply the elision and the accent in σιγ'.

16. ἐκπλαγῆτε, ν. 226. πληγέντα, 267.

(1) Account for the difference in the antepenultima of these two words.

(2) Which of the Aorist tenses did the Tragedians generally prefer ? And why?

17. οὔνομα, 251. What dialect is this?

How do you ac

count for its admission in the Tragedians? In what other words

do they preserve the same dialect?

18. (1) διακονεῖσθαι.

What is the quantity of the second syllable of this word? How accounted for?

(2) What is the quantity of the
λέα, and similar accusatives

final syllable of Αχιλ

?

Are there

Are there any viola

19.

tions of the rule, either real or apparent, in Attic writers?

(3) Give a general account of the usage of the Tragedians in respect of the quantity of the second syllable of avia and its derivatives.

(4) Mark the quantity of the former syllable in λίαν, πικρός, μικρός,—of παs, and the latter syllable in μέγας, τάλας, τάλαν.

(5) How do the Tragedians scan μὴ οὐ ? Is their practice invariable?

Accentuate ούτε and ούδε, and account for the difference. Mark the difference of accent, according to the different significations, in πονηρος, θεαν, καλως, διδομεν; and of accent and breathing in eις, απλούς, ην, ενι

20. (1) Mention by what moods and tenses the particles ou μὴ are necessarily followed.

(2) Show generally the difference of construction between χρὴ and δεῖ; and illustrate particularly the Attic usage of the latter word.

(3) θεοῖσιν εἰ δίκης μέλει. 1036. Give different constructions of this phrase.

21. εἴθ' αιθέρος ἄνω πλωάδες ὀξυτόνου διὰ πνεύματος ἕλωσί μ'. 1092-4. Translate and explain this. Support your interpretation of πλωάδες, or of any other verbs you may adopt in its place as the true reading.

22. δρασείεις. What verb is this called ? Show how it is formed; and adduce other words of the same kind. them with similar verbs in the Latin language.

23.

ὡς μ ̓ ἐθηράσω, λαβὼν

πρόβλημα σαυτοῦ παῖδα τόνδ' ἀγνῶτ ̓ ἐμοὶ,

Compare

ὃς οὐδὲν ἤδη πλὴν τὸ προσταχθὲν ποιεῖν. v. 1007-10. Is on the right reading here? Investigate the point by the analogy of Attic usage, and explain accurately the difference between the form of the first and third persons.

24.

χωρῶμεν νῦν πάντες ἀολλέες,

νύμφαις ἁλίαισιν ἐπευξάμενοι,

νόστου σωτῆρας ικέσθαι. v. 1469-71.

(1) Correct this passage, and state the ground of the correction.

(2) What is the last line called, and why? To what peculiar restrictions is its metre subject?

25. Show on what grounds the following passages are objectionable, and correct them :

(1) ὦ σπέρμ ̓ Ἀχιλλέως, μή με διαβάλλῃς στρατῷ. ν. 582. (2) εκόντα, μήτ' ἀέκοντα, μηδέ τῳ τέχνῃ.

771.

(3) ΦΙ. ἐκεῖσε, νῦν μ' ἐκεῖσε. ΝΕ. που λέγεις; ΦΙ. ἄνω.

(4) καὶ πῶς δίκαιον, ἅ γ' έλαβες βουλαῖς ἐμεῖς,
πάλιν μεθέσθαι ταῦτα;

$14.

1247-8.

26. Give a brief general account of the state of the Athenian Theatre in the time of Sophocles, and the feeling that existed between the Tragedians, Comedians, and Philosophers.

AJAX.

TRINITY COLLEGE. 1822.

A.

(1) DISTINGUISH between History, Epic Poetry, Tragedy and Comedy-in what do they agree? In what do they differ?

(2) In Tragedy what are the instruments, the manner, and the objects of imitation? In what order of importance does Aristotle place these last?

(3) Was the law of the three Unities a law of the Greek school-? State your opinion, and with it examples, either confirming that opinion, or exceptions to it. Did the Roman school admit the law? What modern school has most strictly

B.

Γ.

conformed to it? rence to the law. des scenes?

State the inconveniences of a rigid adhe-
What does Corneille mean by la liaison

(1) In what manner, and by what funds was the Athenian stage supported? (2) What is the greatest amount on record of their Theatrical expenses in one year? (3) Were these funds ever infringed? What was the difficulty in infringing them ? (4) Give the meaning of the terms: λειτουργία ἐγκύκλιοι. χορηγία χορηγόν ἐνέγκειν χορόν δίδοναι, χορη γεῖν τραγῳδοῖς. ἀντιχορηγοί-χοροδιδάσκαλοι ἀρχιθεωρία. (5) Explain the following inscription :

ΟΔΗΜΟΣΕΚΟΡΗΓΕΙΠΥΘΑΓΟΡΑΣΗΡΚΕΝ + ΑΓΩΝΟΘΕ

ΤΗΣΘΡΑΣΥΚΛΗΣ

ΘΡΑΣΥΛΛΟΥ ΔΕΚΕΛΕΥΣ + ΙΠΠΟΘΟΩΝΤΙΣΠΑΙΔΩΝΕ
NIKA+

ΘΕΩΝΘΗΒΑΙΟΣΗΥΛΕΙ +ΠΡΟΝΟΜΟΣΘΗΒΑΙΟΣΕΔΙ-
ΔΑΣΚΕΝ.

(1) To whom do the Arundel marbles ascribe the invention of Tragedy? Between what two events is the epoch of its invention placed? Approximate by this means to the date of the invention. Does the authority of Plutarch or of Plato coincide with the marbles? When and under what king were the Arundel marbles engraved ? On what subjects are they most particular?

(2) Το whom has the invention of Comedy been ascribed ? What is the opinion of Theocritus? of Aristotle ? Who is named by the Arundel marbles as the inventor? Which way does the etymology of certain scenic words lean? What is the reason that so little is known of the progress of Comedy?

(3) Translate and explain,

(1) γενομένη οὖν απ ̓ ἄρχης αὐτοσχεδιάστικη καὶ αὕτη καὶ ἡ κωμῳδία.

(2) οὐδὲν πρὸς τὸν Διόνυσον.

(3) Βάκχος ὅτε τριττόν κατάγοι χορὸν— τράγος ἆθλον Χ ̓ ὦ ̓ττικὸς ἦν σύκων ἄῤῥιχος ὕθλος ἔτι.

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