Euripides
King Midas
Scissors
Ivanhoe
Richard the Lionheart
Samson Agonistes
The Riddle
Judges 14:5-8
"Then
went Samson down, and his father and his mother, to Timnath, and came
to the vineyards of Timnath: and, behold, a young lion roared against
him...
And after a time he returned to take her, and he turned aside to see the carcase of the lion: and, behold, there was a swarm of bees and honey in the carcase of the lion."
1Peter 5:8
"Be sober, be vigilant; because your adversary the devil, as a roaring lion, walketh about, seeking whom he may devour:"
"The Apostle Paul himself thought it not unworthy to insert a verse of Euripides into the Text of Holy Scripture, I Cor. 15.33,"~~~Milton: Introduction to Samson Agonistes
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Chess: "The Riddle" "King Midas" "Scissors" "Ivanhoe"
INTERESANTE!!!
"The Apostle Paul himself thought it not unworthy to insert a verse of Euripides into the Text of Holy Scripture, I Cor. 15.33"~~~ John Milton
BingChat me dice:
-John Milton, in the introduction to his work “Samson Agonistes”, suggests that the Apostle Paul incorporated a verse from Euripides into the text of the Holy Scripture, specifically 1 Corinthians 15:33. This is a point of scholarly debate.
-The line “Be not deceived: evil communications corrupt good manners” is found in 1 Corinthians 15:33. While this line is often attributed to the Bible, some believe that Paul may have been quoting a popular saying of the time, or even a line from a play by Euripides, a renowned playwright of ancient Greece.
-However, it’s important to note that there isn’t a consensus among scholars about this. Some agree with Milton’s assertion, while others maintain that the line is original to Paul’s letter. Without further historical context or evidence, it’s difficult to definitively say whether this line originated from Euripides or was original to the Bible.
-This is a fascinating example of how literature, history, and religious texts can intersect and influence each other. It’s also a reminder of the rich, complex layers of meaning that can be found in such texts, and the ongoing debates among scholars about their origins and interpretation
Milton escribe en su Introducción a Samson Agonistes:
Of that sort of Dramatic Poem which is call'd Tragedy
Tragedy, as it was antiently compos'd, hath been ever held the gravest, moralest, and most profitable of all other Poems: therefore said by Aristotle to be of power by raising pity and fear, or terror, to purge the mind of those and such like passions, that is to temper and reduce them to just measure with a kind of delight, stirr'd up by reading or seeing those passions well imitated. Nor is Nature wanting in her own effects to make good his assertion: for so in Physic things of melancholic hue and quality are us'd against melancholy, sowr against sowr, salt to remove salt humours. Hence Philosophers and other gravest Writers, as Cicero, Plutarch and others, frequently cite out of Tragic Poets, both to adorn and illustrate thir discourse. The Apostle Paul himself thought it not unworthy to insert a verse of Euripides into the Text of Holy Scripture, I Cor. 15.33, and Paræus commenting on the Revelation, divides the whole Book as a Tragedy, into Acts distinguisht each by a Chorus of Heavenly Harpings and Song b'tween. Heretofore Men in highest dignity have labour'd not a little to be thought able to compose a Tragedy. Of that honour Dionysius the elder was no less ambitious, then before of his attaining to the Tyranny. Augustus Cæsar also had begun his Ajax, but unable to please his own judgment with what he had begun, left it unfinisht. Seneca the Philosopher is by some thought the Author of those Tragedies (at lest the best of them) that go under that name. Gregory Nazianzen a Father of the Church, thought it not unbeseeming the sanctity of his person to write a Tragedy, which he entitl'd, Christ suffering. This is mention'd to vindicate Tragedy from the small esteem, or rather infamy, which in the account of many it undergoes at this day with other common Interludes; hap'ning through the Poets error of intermixing Comic stuff with Tragic sadness and gravity; or introducing trivial and vulgar persons, which by all judicious hath bin counted absurd; and brought in without discretion, corruptly to gratifie the people. And though antient Tragedy use no Prologue, yet using sometimes, in case of self defence, or explanation, that which Martial calls an Epistle; in behalf of this Tragedy coming forth after the antient manner, much different from what among us passes for best, thus much before-hand may be Epistl'd; that Chorus is here introduc'd after the Greek manner, not antient only but modern, and still in use among the Italians. In the modelling therefore of this Poem, with good reason, the Antients and Italians are rather follow'd, as of much more authority and fame. The measure of Verse us'd in the Chorus is of all sorts, call'd by the Greeks Monostrophic, or rather Apolelymenon, without regard had to Strophe, Antistrophe or Epod, which were a kind of Stanza's fram'd only for the Music, then us'd with the Chorus that sung; not essential to the Poem, and therefore not material; or being divided into Stanza's or Pauses, they may be call'd Allæostropha. Division into Act and Scene referring chiefly to the Stage (to which this work never was intended) is here omitted.
It suffices if the whole Drama be found not produc't beyond the fift Act, Of the style and uniformitie, and that commonly call'd the Plot, whether intricate or explicit, which is nothing indeed but such œconomy, or disposition of the fable as may stand best with verisimilitude and decorum; they only will best judge who are not unacquainted with Æschylus, Sophocles, and Euripides, the three Tragic Poets unequall'd yet by any, and the best rule to all who endeavour to write Tragedy. The circumscription of time wherein the whole Drama begins and ends, is according to antient rule, and best example, within the space of 24 hours
"The Apostle Paul himself thought it not unworthy to insert a verse of Euripides into the Text of Holy Scripture, I Cor. 15.33"~~~ John Milton
BingChat me dice:
-John Milton, in the introduction to his work “Samson Agonistes”, suggests that the Apostle Paul incorporated a verse from Euripides into the text of the Holy Scripture, specifically 1 Corinthians 15:33. This is a point of scholarly debate.
-The line “Be not deceived: evil communications corrupt good manners” is found in 1 Corinthians 15:33. While this line is often attributed to the Bible, some believe that Paul may have been quoting a popular saying of the time, or even a line from a play by Euripides, a renowned playwright of ancient Greece.
-However, it’s important to note that there isn’t a consensus among scholars about this. Some agree with Milton’s assertion, while others maintain that the line is original to Paul’s letter. Without further historical context or evidence, it’s difficult to definitively say whether this line originated from Euripides or was original to the Bible.
-This is a fascinating example of how literature, history, and religious texts can intersect and influence each other. It’s also a reminder of the rich, complex layers of meaning that can be found in such texts, and the ongoing debates among scholars about their origins and interpretation
Milton escribe en su Introducción a Samson Agonistes:
Of that sort of Dramatic Poem which is call'd Tragedy
Tragedy, as it was antiently compos'd, hath been ever held the gravest, moralest, and most profitable of all other Poems: therefore said by Aristotle to be of power by raising pity and fear, or terror, to purge the mind of those and such like passions, that is to temper and reduce them to just measure with a kind of delight, stirr'd up by reading or seeing those passions well imitated. Nor is Nature wanting in her own effects to make good his assertion: for so in Physic things of melancholic hue and quality are us'd against melancholy, sowr against sowr, salt to remove salt humours. Hence Philosophers and other gravest Writers, as Cicero, Plutarch and others, frequently cite out of Tragic Poets, both to adorn and illustrate thir discourse. The Apostle Paul himself thought it not unworthy to insert a verse of Euripides into the Text of Holy Scripture, I Cor. 15.33, and Paræus commenting on the Revelation, divides the whole Book as a Tragedy, into Acts distinguisht each by a Chorus of Heavenly Harpings and Song b'tween. Heretofore Men in highest dignity have labour'd not a little to be thought able to compose a Tragedy. Of that honour Dionysius the elder was no less ambitious, then before of his attaining to the Tyranny. Augustus Cæsar also had begun his Ajax, but unable to please his own judgment with what he had begun, left it unfinisht. Seneca the Philosopher is by some thought the Author of those Tragedies (at lest the best of them) that go under that name. Gregory Nazianzen a Father of the Church, thought it not unbeseeming the sanctity of his person to write a Tragedy, which he entitl'd, Christ suffering. This is mention'd to vindicate Tragedy from the small esteem, or rather infamy, which in the account of many it undergoes at this day with other common Interludes; hap'ning through the Poets error of intermixing Comic stuff with Tragic sadness and gravity; or introducing trivial and vulgar persons, which by all judicious hath bin counted absurd; and brought in without discretion, corruptly to gratifie the people. And though antient Tragedy use no Prologue, yet using sometimes, in case of self defence, or explanation, that which Martial calls an Epistle; in behalf of this Tragedy coming forth after the antient manner, much different from what among us passes for best, thus much before-hand may be Epistl'd; that Chorus is here introduc'd after the Greek manner, not antient only but modern, and still in use among the Italians. In the modelling therefore of this Poem, with good reason, the Antients and Italians are rather follow'd, as of much more authority and fame. The measure of Verse us'd in the Chorus is of all sorts, call'd by the Greeks Monostrophic, or rather Apolelymenon, without regard had to Strophe, Antistrophe or Epod, which were a kind of Stanza's fram'd only for the Music, then us'd with the Chorus that sung; not essential to the Poem, and therefore not material; or being divided into Stanza's or Pauses, they may be call'd Allæostropha. Division into Act and Scene referring chiefly to the Stage (to which this work never was intended) is here omitted.
It suffices if the whole Drama be found not produc't beyond the fift Act, Of the style and uniformitie, and that commonly call'd the Plot, whether intricate or explicit, which is nothing indeed but such œconomy, or disposition of the fable as may stand best with verisimilitude and decorum; they only will best judge who are not unacquainted with Æschylus, Sophocles, and Euripides, the three Tragic Poets unequall'd yet by any, and the best rule to all who endeavour to write Tragedy. The circumscription of time wherein the whole Drama begins and ends, is according to antient rule, and best example, within the space of 24 hours
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