See also:

• HERODAS (Gr. 'Hpw&as), or HERONDAS (the name is spelt differently in the few places where he is mentioned)

HERODAS (Gr. 'Hpw&as), or HERONDAS (the name is spelt differently in the few places where he is mentioned)  , See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek poet, the author of See also:

• SHORT, FRANCIS JOB (1857– )

short humorous dramatic scenes in See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, written under the Alexandrian See also:

• EMPIRE

empire in the 3rd See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century B.C . Apart from the See also:

• INTRINSIC (through Fr. intrinsique, from Lat. intrinsecus, inwardly; inter, within, secus, following, from root of sequi, to follow)

intrinsic merit of these pieces, they are interesting in the See also:

• HISTORY

history of Greek literature as being a new See also:

• SPECIES

species, illustrating Alexandrian methods . They are called McµlaOot, "See also:

• MIME

Mime-iambics." Mimes were the Dorian product of See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• ITALY
• ITALY (Italia)

Italy and See also:

• SICILY (Ital. Sicilia)

Sicily, and the most famous of them—from which See also:

• PLATO

Plato is said to have studied the See also:

• DRAWING

drawing of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character—were the See also:

• WORK

work of See also:

• SOPHRON

Sophron . These were scenes in popular See also:

• LIFE

life, written in the See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language of the See also:

• PEOPLE

people, vigorous with racy See also:

• PROVERBS, BOOK OF (Heb. Mishle Slzelomoh, " Proverbs of Solomon," abridged by the later Jews to Mishle; Septuagint, irapotpiai or II. EaX.; Lat. Vulg. Parabolae sal. and Liber proverbiorum)

proverbs such as we get in other reflections of that region—in See also:

• PETRONIUS (G. (?)1

Petronius and the Pentamerone . Two of the best known and the most vital among the Idylls of See also:

• THEOCRITUS

Theocritus, the and and the 15th, we know to have been derived from mimes of Sophron . What Theocritus is doing there, See also:

• HERODAS (Gr. 'Hpw&as), or HERONDAS (the name is spelt differently in the few places where he is mentioned)

Herodas, his younger contemporary, is doing in another manner—casting old material into novel See also:

• FORM (Lat. forma)

form, upon a small See also:

• SCALE
• SCALE (1) A

scale, under strict conditions of technique . The method is entirely Alexandrian: Sophron had written in a See also:

• PECULIAR

peculiar See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of rhythmical See also:

• PROSE

prose; Theocritus uses the See also:

• HEXAMETER

hexameter and Doric, Herodas the scazon or " lame " See also:

• IAMBIC

iambic (with a dragging spondee at the end) and the old Ionic See also:

• DIALECT (from Gr. Sia stcror, conversation, manner of speaking, &aXeyec6at, to converse)

dialect with which that curious See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre was associated . That, however, hardly goes beyond the choice and form of words; the structure of the sentences is See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close-knit See also:

• ATTIC (i.e. "in the Attic style ")

Attic . But the grumbling metre and See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint language suit the See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of See also:

• COMMON

common life which Herodas aims at realizing; for, as Theocritus may be called idealist, Herodas is a realist unflinching . His persons talk in vehement exclamations and emphatic turns of speech, with proverbs and fixed phrases; and occasionally, where it is designed as proper to the See also:

• PART

part, with the most naked coarseness of expression . The See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene of the second and the See also:

• FOURTH

fourth is laid at See also:

• COS
• COS, or STANKO (Ital. Stanchio, Turk. Islan-keui, by corruption from Etc rav KW)

Cos, and the speaking characters in each are never more than three . In Mime I. the old See also:

• NURSE (a shortened form of the earlier " nourice," adapted through the French from Lat. nutrix, nu/rite, to nourish)

nurse, now the professional go-between or bawd, calls on Metriche, whose See also:

• HUSBAND

husband has been See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long away in See also:

• EGYPT

Egypt, and endeavours to excite her See also:

• INTEREST

interest in a most desirable See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, fallen deeply in love with her at first sight .

After See also:

• HEARING (formed from the verb " to hear," O. Eng. hyran, heron, &c., a common Teutonic verb; cf. Ger. Koren, Dutch hooren, &c.; the O. Tent. form is seen in Goth. hausjan; the initial h makes any connexion with " ear," Lat. audire, or Gr. &Kobew very doub

hearing all the arguments Metriche declines with dignity, but consoles the old woman with an ample See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass of See also:

• WINE (Lat. vinum, Gr. oivos)

wine, this kind being always represented with the See also:

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

taste of Mrs Gamp . II. is a See also:

• MONOLOGUE (from Gr. µovos, alone, and X yos, speech)

monologue by the lIopvo0ogx6s (" Whoremonger ") prosecuting a See also:

• MERCHANT (O. Fr. marcheant, modern marchand; from Lat. mercari, to trade, merx, goods, merchandise)

merchant-trader for breaking into his See also:

• ESTABLISHMENT (0. Fr. establissement, Fr. etablissement, late Norm. Fr. establishement, from O. Fr. establir, Fr. etablir, Lat. stabilire, to make stable)

establishment at See also:

• NIGHT

night and attempting to carry off one of the inmates, who is produced in See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court . The vulgar blackguard, who is a stranger to any sort of shame, remarking that he has no See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence to See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call, proceeds to a peroration in the See also:

• REGULAR

regular oratorical See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, appealing to the Coan See also:

• JUDGES, THE BOOK OF

judges not to be unworthy of their traditional glories . In fact, the whole oration is also a See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque in every detail of an Attic speech at See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law; and in this See also:

• CASE
• CASE, JOHN (d. 1600)

case we have the material from which to estimate the excellence of the See also:

• PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel)

parody . In III. a desperate See also:

• MOTHER

mother brings to the schoolmaster a truant urchin, with whom neither she nor his incapable old See also:

• FATHER

father can do anything . In a voluble stream of interminable sentences she narrates his misdeeds and implores the schoolmaster to flog him . The boy accordingly is hoisted on anther's back and flogged; but his spirit does not appear to be subdued, and the mother resorts to the old man after all . IV. is a visit of two poor See also:

• WOMEN

women with an offering to the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

temple of Asclepius at Cos . While the humble See also:

• COCK, EDWARD (1805-1892)

cock is being sacrificed, they turn, like the women in the See also:

• ION

Ion of See also:

• EURIPIDES (48o–4o6 B.C.)

Euripides, to admire the See also:

• WORKS

works of See also:

• ART

art; among them a small boy strangling a vulpanser—doubtless the work of See also:

• BOETHUS

Boethus that we know—and a sacrificial procession by See also:

• APELLES

Apelles, " the Ephesian," of whom we have an interesting piece of contemporary eulogy . The oily sacristan is admirably painted in a few slight strokes . V. brings us very close to some unpleasant facts of See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient life . The jealous woman accuses one of her slaves, whom she has made her favourite, of infidelity; has him See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound and sent degraded through the See also:

• TOWN

town to receive 2000 lashes; no sooner is he out of sight than she recalls him to be branded " at one See also:

• JOB

job." The only pleasing See also:

• PERSON, OFFENCES AGAINST THE

person in the piece is the little maidservant—permitted liberties as a verna brought up in the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house—whose ready tact suggests to her See also:

• MISTRESS

mistress an excuse for postponing See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution of a See also:

• THREAT

threat made in ungovernable fury .

VI. is a friendly chat or a private conversation . The subject is an ugly one, but the See also:

• DIALOGUE

dialogue is as See also:

• CLEVER

clever and amusing as the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest, with some delicious touches . Our interest is engaged here in a certain Kerdon, the See also:

• ARTISTIC

artistic shoemaker, to whom we are introduced in VII . (the name had already become generic for the shoemaker as the typical representative of See also:

• RETAIL

retail See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade), a little bald man with a fluent See also:

• TONGUE (O. Eng. lunge)

tongue, complaining of hard times, who bluffs and wheedles by turns . VII. opens with a mistress waking up her maids to listen to her See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

dream; but we have only the beginning, and the other fragments are very short . Within the limits of too lines or less Herodas presents us with a highly entertaining scene and with characters definitely See also:

• DRAWN

drawn . Some of these had been perfected no doubt upon the Attic See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, where the tendency in the 4th century had been gradually to evolve accepted types—not individuals, but generalizations from a class, an art in which See also:

• MENANDER
• MENANDER (342–291 B.C.)
• MENANDER (MILINDA)

Menander's was esteemed the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master-See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . The Hopvoj3ou,6s and the Maarposrbs we can piece together from succeeding literature, and see how skilfully the established traits are indicated here . This is achieved by true dramatic means, with touches never wasted and the more delightful often because they do not clamour for See also:

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

attention . The execution has the qualities of first-See also:

• RATE

rate Alexandrian work in See also:

• MINIATURE

miniature, such as the epigrams of See also:

• ASCLEPIADES

Asclepiades possess, the finish and See also:

• FIRM

firm outlines; and these little pictures See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear the test of all artistic work—they do not lose their freshness with familiarity, and gain in interest as one learns to appreciate their subtle points . The See also:

• PAPYRUS

papyrus MS., obtained from the See also:

• FAYUM

Fayum, is in the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of the See also:

• BRITISH

British Museum, and was. first printed by F . G .

See also:

• KENYON, LLOYD KENYON, 1ST BARON (1732-1802)

Kenyon in 1891 . See also:

• EDITIONS

Editions by 0 . See also:

• CRUSIUS, CHRISTIAN AUGUST (1715–1775)

Crusius (1905, See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text only, in 'Ieubner See also:

• SERIES (a Latin word from serere, to join)

series) and J . A . See also:

• NAIRN

Nairn (1904), with introduction, notes and bibliography . There is an See also:

• ENGLISH

English verse See also:

• TRANSLATION

translation of the mimes by H . Sharpley (1906) under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title A Realist of the See also:

• AEGEAN

Aegean . (W . G .