See also:

• IDYL, or IDYLL (Gr. ei5i XXeov, a descriptive piece, from ethos, a shape or style; Lat. idyllium)

IDYL, or IDYLL (Gr. ei5i XXeov, a descriptive piece, from ethos, a shape or See also:

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

style; See also:

• LAT

Lat. idyllium)  , a See also:

• SHORT, FRANCIS JOB (1857– )

short poem of a See also:

• PASTORAL (from Lat. pastor, a shepherd)

pastoral or rural See also:

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

character, in which something of the See also:

• ELEMENT (Lat. elementum)

element of landscape is preserved or See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt . The earliest commentators of antiquity used the See also:

• TERM

term to designate a See also:

• GREAT

great variety of brief and homely poems, in which the description of natural See also:

• OBJECTS

objects was introduced, but the pastoral See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea came into existence in connexion with the Alexandrian school, and particularly with See also:

• THEOCRITUS

Theocritus, See also:

• BION

Bion and See also:

• MOSCHUS

Moschus, in the 3rd See also:

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

century before See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ . It appears, however, that ethvXMcov was not, even then, used consciously as the name of a See also:

• FORM (Lat. forma)

form of 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, but as a diminutive of et5os, and merely signified " a little piece in the See also:

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

style of " whatever See also:

• ADJECTIVE (from the Lat. adjectives, added)

adjective might follow . Thus the idyls of the pastoral poets were eth6XX a ai1roXirca, little pieces in the goatherd style . We possess ten of the so-called " Idyls " of Theocritus, and these are the type from which the popular idea of this See also:

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

kind of poem is taken . But it is observable that there is nothing in the technical character of these ten very diverse pieces which leads us to suppose that the poet intended them to be regarded as typical . In fact, if he had been asked whether a poem was or was not an See also:

• IDYL, or IDYLL (Gr. ei5i XXeov, a descriptive piece, from ethos, a shape or style; Lat. idyllium)

idyl he would doubtless have been unable to comprehend the question . As a See also:

• MATTER

matter of fact, the first of his poems, the celebrated " See also:

• DIRGE

Dirge for See also:

• DAPHNIS

Daphnis, " has become the prototype, not of the See also:

• MODERN

modern idyl, but of the modern See also:

• ELEGY

elegy, and the not less famous " Festival of See also:

• ADONIS

Adonis " is a realistic See also:

• MIME

mime . It was the six little epical romances, if they may be so called, which started the conception of the idyl of Theocritus . It must be remembered, however, that there is nothing in See also:

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

ancient literature which justifies the notion of a form of verse recognized as an " idyl." In the 4th century after Christ the word seems to have become accepted in Latin as covering short descriptive poems of very diverse characters, for the See also:

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

early See also:

• MSS

MSS. of See also:

• AUSONIUS, DECIMUS MAGNUS (c. 310-395)

Ausonius contain a See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section of " Edyllia," which embraces some of the most admirable of the See also:

• MISCELLANEOUS

miscellaneous pieces of that writer . But that Ausonius himself called his poems " idyls " is highly doubtful . Indeed, it is not certain that the heading is not a See also:

• MISTAKE (i.e. take amiss)

mistake for " Epyllia." The word was revived at the See also:

• RENAISSANCE, THE

Renaissance and applied rather vaguely to Latin and See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek imitations of Theocritus and of See also:

• VIRGIL (PUBLIUS VERGILIUS MARC)
• VIRGIL, POLYDORE (c. 1470-1555)

Virgil .

It was also applied to modern poems of a romantic and pastoral character published by such writers as See also:

• TASSO, TORQUATO (1544-1595)

Tasso in See also:

• ITALY
• ITALY (Italia)

Italy, See also:

• MONTE

Monte-See also:

• MAYOR (Lat. major, greater)
• MAYOR, JOHN EYTON BICKERSTETH (1825– )

mayor in See also:

• PORTUGAL

Portugal and See also:

• RONSARD, PIERRE DE (1524-1585)

Ronsard in See also:

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

French . In 1658 the See also:

• ENGLISH

English critic, See also:

• EDWARD

Edward See also:

• PHILLIPS
• PHILLIPS, ADELAIDE (1833-1882)
• PHILLIPS, EDWARD (163o-1696)
• PHILLIPS, JOHN (1800—1874)
• PHILLIPS, SAMUEL (1814—1854)
• PHILLIPS, STEPHEN (1868– )
• PHILLIPS, THOMAS (1770-1845)
• PHILLIPS, WENDELL (1811-1884)

Phillips, defined an " idyl " as " a kind of See also:

• ECLOGUE

eclogue," but it was seldom used to describe a modern poem . Mme Deshoulires published a See also:

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

series of seven Idylles in 1675, and Boileau makes a vague reference to the form . The sentimental See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German idyls of Salomon See also:

• GESSNER,

Gessner (in See also:

• PROSE

prose, 1758) and See also:

• VOSS, JOHANN HEINRICH (1751–1826)
• VOSS, RICHARD (1851– )

Voss (in hexameters, 1800) were modelled on Theocritus . See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe's See also:

• ALEXIS
• ALEXIS, WILLIBALD

Alexis and Dora is an idyl . It appears that the very See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general use, or abuse, of the word in the second See also:

• HALF

half of the Igth century, both in English and French, arises from the popularity of two See also:

• WORKS

works, curiously enough almost identical in date, by two eminent and popular poets . The Idylles heroiques (1858) of See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor de See also:

• LAPRADE, PIERRE MARTIN VICTOR RICHARD DE (1812–1883)

Laprade and the Idylls of the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King (1859) of See also:

• TENNYSON, ALFRED TENNYSON

Tennyson enjoyed a success in either See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country which led to a wide See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of the See also:

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

title among those who had, perhaps, a very inexact idea of its meaning . Among modern Germans, Berthold See also:

• AUERBACH, BERTHOLD (1812-1882)

Auerbach and Jeremias Gotthelf have been prominent as the composers of sentimental idyls founded on anecdotes of See also:

• VILLAGE

village-See also:

• LIFE

life . On the whole, it is impossible to admit that the idyl has a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place among definite See also:

• LITERARY

literary forms . Its character is vague and has often been purely sentimental, and our conception of it is further obscured by the fact that though the noun carries no bucolic idea with it in English, the adjective("idyllic ") has come to be synonymous with pastoral and rustic . (E . G.) IFFLAND, See also:

• AUGUST (originally Sextilis)

AUGUST WILHELM (1759–1814), German actor and dramatic author, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover on the 19th of See also:

• APRIL

April 1759 .

His See also:

• FATHER

father intended his son to be a clergyman, but the boy preferred the See also:

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

stage, and at eighteen ran away to See also:

• GOTHA

Gotha in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to prepare himself for a theatrical career . He was fortunate enough to receive instruction from Hans See also:

• EKHOF, KONRAD (1720-1778)

Ekhof, and made such rapid progress that he was able in 1779 to accept an engagement at the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre in See also:

• MANNHEIM

Mannheim, then rising into prominence . He soon stood high in his profession, and extended his reputation by frequently playing in other towns . In 1796 he settled in See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, where he became director of the See also:

• NATIONAL

national theatre of See also:

• PRUSSIA
• PRUSSIA (Ger. Preussen; Lat. Borussia)

Prussia; and in 1811 he was made general director of all representations before See also:

• ROYALTY (0. Fr. realte, reialte, royaulte, from Med. Lat. regalitas, the substantive of regalis, of or belonging to a king, rex)

royalty . Iflland produced the classical works of Goethe and See also:

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

Schiller with conscientious care; but he had little understanding for the See also:

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

drama of the romantic writers . The form of See also:

• PLAY

play in which he was most at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home, both as actor and playwright, was the domestic drama, the sentimental play of everyday life . His works are almost entirely destitute of See also:

• IMAGINATION

imagination; but they display a thorough mastery of the technical necessities of the stage, and a remarkable See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of devising effective situations . His best characters are See also:

• SIMPLE

simple and natural, fond of domestic life, but too much given to the utterance of sentimental See also:

• COMMONPLACE

commonplace . His best-known plays are See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die See also:

• JAGER, GUSTAV (1832– )

Jager, Dienstpflicht, Die Advokaten, Die Mandel and Die Hagestolzen . Iffland was also a dramatic critic, and German actors place high value on the reasonings and hints respecting their See also:

• ART

art in his Almanach See also:

• FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur Theater and Theaterfreunde . In 1798–1802 he issued his Dramatischen Werke in 16 volumes, to which he added an autobiography (See also:

• HEINE, HEINRICH, (1797-1856)

Heine theatralische Laufbahn) . In 1807–1809 Iffland brought out two volumes of Neue dramatische Werke .

Selections from his writings were afterwards published, one in 11 (See also:

• LEIPZIG

Leipzig, 1827–1828), the other in ro volumes (Leipzig, 1844, and again r86o) . As an actor, he was conspicuous for his brilliant portrayal of See also:

• COMEDY

comedy parts . His See also:

• FINE

fine gentlemen, polished men of the See also:

• WORLD

world, and distinguished princes were See also:

• MODELS

models of perfection, and showed none of the traces of elaborate study which were noticed in his See also:

• INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)

interpretation of tragedy . He especially excelled in presenting those types of See also:

• MIDDLE

middle-class life which appear in his own comedies . Iffland died at Berlin on the 22nd of See also:

• SEPTEMBER (Lat. septem, seven)

September 1814 . A See also:

• BRONZE

bronze portrait statue of him was erected in front of the Mannheim theatre in 1864 . See K . Duneker, 1j/and in seinen Schriften als Kiinstler, Lehrer, and Direktor der Berliner Biihne (1859); W . Koffka, Iffland and See also:

• DALBERG

Dalberg (1865); and Lampe, Studien fiber If/See also:

• LAND

land als Dramatiker (See also:

• CELLE

Celle, 1899) . Iffland's interesting autobiography, Heine theatralische Laufbahn, was republished by H . See also:

• HOLSTEIN
• HOLSTEIN, FRIEDRICH VON (1837–1909)

Holstein in 1885 .