KARL WILHELM See also:

• KARL WILHELM DINDORF (1802-1883)

DINDORF (1802-1883)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German classical See also:

• SCHOLAR, SCHOLARSHIP

scholar, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• LEIPZIG

Leipzig on the 2nd of See also:

• JANUARY

January 1802 . From his earliest years he showed a strong See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste for classical studies, and after completing F . Invernizi's edition of See also:

• ARISTOPHANES
• ARISTOPHANES (c. 448–385 B.e.1)

Aristophanes at an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, and editing several grammarians and rhetoricians, was in 1828 appointed extraordinary See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of See also:

• LITERARY

literary See also:

• HISTORY

history in his native See also:

• CITY (through Fr. cite, from Lat. civitas)

city . Disappointed at not obtaining the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary professorship when it became vacant in 1833, he resigned his See also:

• POST

post in the same See also:

• YEAR

year, and devoted himself entirely to study and literary See also:

• WORK

work . His See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention had at first been chiefly given to See also:

• ATHENAEUS

Athenaeus, whom he edited in 1827, and to the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek dramatists, all of whom he edited separately and combined in his Poetae scenici Graeci (183o and later See also:

• EDITIONS

editions) . He also wrote a work on the metres of the Greek dramatic poets, and compiled See also:

• SPECIAL

special lexicons to See also:

• AESCHYLUS (525–456 B.c.)

Aeschylus and See also:

• SOPHOCLES (495-406 B.c.)

Sophocles . He edited See also:

• PROCOPIUS

Procopius for See also:

• NIEBUHR, BARTHOLD GEORG (1776–1831)
• NIEBUHR, KARSTEN (1733-1815)

Niebuhr's Corpus of the See also:

• BYZANTINE

Byzantine writers, and between 1846 and 1851 brought out at See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford an important edition of See also:

• DEMOSTHENES

Demosthenes; he also edited See also:

• LUCIAN (d. 312)
• LUCIAN [Aowaavos] (c. A.D. 120-180)

Lucian and See also:

• JOSEPHUS, FLAVIUS (c. 37-C. 95?)

Josephus for the See also:

• DIDOT

Didot See also:

• CLASSICS

classics . His last important editorial labour was his See also:

• EUSEBIUS
• EUSEBIUS (Gr. EuOi/3tos, from ebaegils, pious, cf. the Latin name Pius)
• EUSEBIUS [OF CAESAREA] (c. 260-c. 340)
• EUSEBIUS [OF EMESA] (d. c. "36o)

Eusebius of Caesarea (1867-1871) . Much of his attention was occupied by the re-publication of Stephanus's See also:

• THESAURUS (Gr. B17o-avp6s)

Thesaurus (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1831-1865), chiefly executed by him and his See also:

• BROTHER

brother See also:

• LUDWIG, KARL FRIEDRICH WILHELM (1816—1895)
• LUDWIG, OTTO (1813-1865)

Ludwig, a work of prodigious labour and utility . His reputation suffered somewhat through the imposture practised upon him by the Greek See also:

• CONSTANTINE

Constantine See also:

• SIMONIDES (or SEMONIDES) OF AMORGOS

Simonides, who succeeded in deceiving him by a fabricated fragment of the Greek historian See also:

• URANUS
• URANUS (Heaven)

Uranus . The See also:

• BOOK

book was printed, and a few copies had been circulated, when the See also:

• FORGERY (derived through the French from Latin fabricare, to construct)

forgery was discovered, just in See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to prevent its being given to the See also:

• WORLD

world under the auspices of the university of Oxford . Shortly after thedeath of his brother, he lost all his See also:

• PROPERTY

property and his library by rash speculations .

He died on the 1st of See also:

• AUGUST (originally Sextilis)

August 1883 . His brother LUDWIG (18o5--1871) was born at Leipzig on the 3rd of January 1805, and died there on the 6th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1871 . He never held any academical position, and led so secluded a See also:

• LIFE

life that many doubted his existence, and declared that he was a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere See also:

• PSEUDONYM (Gr. >l ev&,vuµos, having a false name, ¢Evirls, false and ovoµa, name)

pseudonym . The important See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share which he took in the edition of the Thesaurus is nevertheless authenticated by his own See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature to his contributions . He also published valuable editions of See also:

• POLYBIUS (c. 204–122 B.C.)

Polybius, Dio See also:

• CASSIUS
• CASSIUS, AVIDIUS (d. A.D. 175)
• CASSIUS, GAIUS

Cassius and other Greek historians . D'INDY, See also:

• PAUL
• PAUL (PAULUS)

PAUL-See also:

• MARIE

MARIE-See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

THEODORE-See also:

• VINCENT (or VINCENTIUS), ST
• VINCENT, GEORGE (1796-1831?)
• VINCENT, MARY ANN (1818-1887)

VINCENT (1851- ), See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French musical composer, was born in Paris, on the 27th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1851 . He studied See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition and the See also:

• ORGAN

organ at the Paris See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire under Cesar See also:

• FRANCK
• FRANCK, CESAR (1822-1890)
• FRANCK, or FRANK [latinized FRANCUS], SEBASTIAN (c. 1499-c. 1543)

Franck, and obtained the See also:

• GRAND

grand See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize offered by the city of Paris in 1885 with Le See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

Chant de la Cloche, a dramatic See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend after See also:

• SCHILLER, JOHANN CHRISTOPH FRIEDRICH VON (1759-18o5)

Schiller . His See also:

• PRINCIPAL

principal See also:

• WORKS

works, beside the above, are the symphonic trilogy See also:

• WALLENSTEIN (properly WALDSTEIN), ALBRECHT WENZEL EUSEBIUS VON

Wallenstein, the symphonic works entitled Saugefleurie, La Foret enchantee, Istar, Symphonie sur un See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air montagnard See also:

• FRANCAIS, ANTOINE, COUNT (1756-1836)

francais; See also:

• OVERTURE (Fr. ouverture, opening)

overture to See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

Anthony and See also:

• CLEOPATRA

Cleopatra; Ste Marie Magdeleine, a See also:

• CANTATA (Italian for a song or story set to music)

cantata; Attendez-moi sous forme, a one-See also:

• ACT (Lat. actus, actum)

act See also:

• OPERA (Italian for " work ")

opera; Fervaal, a musical See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama in three acts . Vincent d'Indy is perhaps the most prominent among the disciples of Cesar Franck . Imbued with very high aims, he was always guided by a lofty ideal, and few musicians have attained so See also:

• COMPLETE

complete a mastery over the See also:

• ART

art of See also:

• INSTRUMENTATION

instrumentation . His See also:

• MUSIC

music, however, lacks simplicity, and can never become popular in the widest sense . His opera Fervaal, which is styled " See also:

• ACTION

action musicale," is constructed upon the See also:

• SYSTEM

system of Leit-motifs .

Its legendary subject recalls both See also:

• PARSIFAL

Parsifal and See also:

• TRISTAN
• TRISTAN, or TRISTRAM

Tristan, and the music is also suggestive of Wagnerian See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence . D'Indy can scarcely be considered so typical a representative of See also:

• MODERN

modern French music as his juniors See also:

• ALFRED

Alfred See also:

• BRUNEAU, ALFRED (1857– )

Bruneau, the composer of Le Rene, L'Attaque du See also:

• MOULIN (Fr. moulin, a mill)

moulin, Messidor, or Gustave See also:

• CHARPENTIER, FRANCOIS (1620-1702)

Charpentier, the author of See also:

• LOUISE [AUGUSTE WILHELMINE AMALIE LUISE] (1776-1810)

Louise, who See also:

• CHOSE (Fr. for " thing ")

chose subjects of modern life for their operatic works .