Dean handed the phone to his wife as the light went on like in the comic books—a flashing bulb of inspiration.
Maccius Plautus (c. 254-184) was the greatest comic dramatist of Rome.
Yet, in the words of Macaulay, who gives an admirable account of the discussion in his essay on the comic dramatists of the Restoration, "when all deductions have been made, great merit must be allowed to the work."
His pieces abound in comic situations, and some of them, Magister Blackstadius (1844), Rika Morbror (1845), En tragedi i Vimtnerby (1848) and others, maintain their reputation.
There are numerous French and Latin letters, his Apologie, a promising fragment of comic prose narrative, and a large collection of occasional verses, odes, elegies, stanzas, &c.
Ennius called his didactic poem on natural philosophy Epicharmus after the comic poet.
There was something peculiar about it, quite unsoldierly, rather comic, but extremely attractive.
As a dramatist he worked more in the spirit of Plautus than of Ennius, Pacuvius, Accius or Terence; but the great Umbrian humorist is separated from his older contemporary, not only by his breadth of comic power, but by his general attitude of moral and political indifference.
Comic poets, Old (7): Epicharmus, Cratinus, Eupolis, Aristo phanes, Pherecrates, Crates, Plato.
A brief tract on comic metres (De comicis dimensionibus) and a work De causis linguae Latinae - the earliest Latin grammar on scientific principles and following a scientific method - were his only other purely literary works published in his lifetime.
But we find no trace of the exuberant comic power and geniality of his great contemporary.
Of these the most popular are comedies and serio-comic national dramas.
The praise given to his concerto for the violin, which was played at the Conservatoire by Mazas, encouraged him to undertake the resetting of the old comic opera, Julie (1811).
EPICHARMUS (c. 54 0 -45 0 B.C.), Greek comic poet, was born in the island of Cos.
If further selection be made from the large body of miscellaneous poems, the comic poem on the physician Andro Kennedy may stand out as one of the best contributions to medieval Goliardic literature; The Two Mariit Wemen and the Wedo, as one of the richest and most effective pastiches in the older alliterative style, then used by the Scottish Chaucerians for burlesque purposes; Done is a battell on the Dragon Blak, for religious feeling expressed in melodious verse; and the well-known Lament for the Makaris.
The comic element by way of relief, and in course of time he arrives at pure comedy and develops the study of character.
Under the title of Select Scottish Ballads he reprinted in 1783 his tragic ballads, with a supplement comprising Ballads of the Comic Kind.
Jens Baggesen is the greatest comic poet that Denmark has produced; and as a satirist and witty lyrist he has no rival among the Danes.
A fragment of the comic poet 1 Aristotle, An.
His Amphitryons is a free imitation of the Latin, yet thoroughly national in spirit and cast in the popular redondilha; the dialogue is spirited, the situations comic. King Seleucus derives from Plutarch and has a prose prologue of real interest for the history of the stage, while Filodemo is a clever tragi-comedy in verse with prose dialogues interspersed.
Plutarch (Pericles) gives many interesting details as to Pericles' personal bearing, home life, and patronage of art, literature and philosophy, derived in part from the old comic poets, Aristophanes, Cratinus, Eupolis, Hermippus, Plato and Teleclides; in part from the contemporary memoirs of Stesimbrotus and Ion of Chios.
Humiliating to human nature in general as are the annals of the 18th-century campaigns in Europe, there is no point of view from which they appear in a light so tragi-comic as from that afforded by Italian history.
A situation - hazardous in spite of its comic substratum - between Thaumasta and the pretended Parthenophil is conducted, as Gifford points out, with real delicacy; but the comic scenes are merely stagy, notwithstanding, or by reason of, the effort expended on them by the author.
Gifford holds that Dekker's hand is perpetually traceable in the first three acts of The Sun's Darling, and through the whole of its comic part, but that the last two acts are mainly Ford's.
Die Meistersinger is perhaps Wagner's most nearly perfect work of art; and it is a striking proof of its purity and greatness that, while the whole work is in the happiest comic vein, no one ever thinks of it as in any way slighter than Wagner's tragic works.
Actors, comic and tragic, pantomimi, and the performers of the circus were commonly slaves, as were also the gladiators.
He is at home alike in the epic and the lyric, the tragic and the comic poets, and his knowledge of the prose writers is very extensive.
Aliscans continues the story, telling how Guillaume obtained reinforcements from Laon, and how, with the help of the comic hero, the scullion Rainouart or Rennewart, he avenged the defeat of Aliscans and his nephew's death.
Doveri and erected in 1816, although modern, has an historic interest as the work of an academy dating from the 16th century, called the Congrega de' Rozzi, that played an important part in the history of the Italian comic stage.
The characters are well drawn and the dialogue full of comic strength, the scenes knit together and the plot skilfully worked out.
Terence's earliest play was the Andria, exhibited in 166 B.C. A pretty, but perhaps apocryphal, story is told of his having read the play, before its exhibition, to Caecilius (who, after the death of Plautus, ranked as the foremost comic poet), and of the generous admiration of it manifested by Caecilius.
Julius Caesar's lines on Terence, the "dimidiatus Menander," while they complain of lack of comic power, characterize him as "puri sermonis amator."
It is at first sight remarkable that Voltaire, whose comic power was undoubtedly far in excess of his tragic, should have written many tragedies of no small excellence in their way, but only one fair second-class comedy, Nanine.
He was not only the first in point of time, and according to ancient testimony one of the first in point of merit, among the comic poets of Rome, and in spirit, though not in form, the earliest of the line of Roman satirists, but he was also the oldest of the national poets.
Before his Richard had exhausted its original effect, he won new applause as Aboan, and soon afterwards as Lear and as Pierre in Otway's Venice Preserved, as well as in several comic characters (including that of Bayes).
The first fruits of his work were a comic opera, Der neue krumme Teufel, and a Mass in F major (both written in 1751), the former of which was produced with success.
This firm prospered for a while, and issued in 1889 Mark Twain's own comic romance, A Connecticut Yankee at King Arthur's Court, and in 1892 a less successful novel, The American Claimant.
He also composed commentaries on the lyric and comic poets and on Thucydides and Demosthenes; part of his commentary on this last author was first published in 1904.
The comic papyri of the XXth Dynasty have also a very strong sense of character, even through coarse drawing and some childish combinations.
As a satirist and comic poet he followed Baggesen, and in all branches of the poetic art stood a little aside out of the main current of romanticism.
The comic poets satirized them, and Plato and Demosthenes inveighed against them; but they continued to spread, with all their fervid enthusiasm, their superstition and their obscene practices, wide among the people, whose religious cravings were not satisfied with the purely external religions of Hellenism.
The chevalier de Mere, a man of some literary distinction, who had made her acquaintance at Mme de Neuillant's, discovered her penniless condition, and introduced his "young Indian," as he called her, to Scarron, the famous wit and comic writer, at whose house all the literary society of the day assembled.
The Operas portuguezas of Antonio Jose da Silva, produced between 1733 and 1741, owe their name to the fact that arias, minuets and modinhas were interspersed with the prose dialogue, and if neither the plots, style, nor language are remarkable, they have a real comic force and a certain originality.
Here and there there are touches of the latter, as in the portrait of Quintessence, but passion is everywhere absent - an absence for which the comic structure and plan of the book do not by any means supply a complete explanation.
Powerful as a comic playwright, he was not a poet in the proper sense of the term.
He is commonly considered as a humorist, and no doubt he is a humorist of a remarkable comic force and of a refreshing fertility.
But such Huckleberry Finn is, beyond all question; it is a story of very varied interest, now comic, now almost tragic, frequently poetic, unfailingly truthful, although not always sustained at its highest level.
In epic poetry Hephaestus is rather a comic figure, and his limping gait provokes "Homeric laughter" among the gods.
Religious discussions and philosophical dissertations alternate with comic episodes.
She had a passion for writing, and produced not only a mass of letters written in French, but pamphlets and plays, comic and serious, in French and Russian.
LUCIUS POMPONIUS, called Bononiensis from his birthplace Bononia, Latin comic poet, flourished about 90 B.C. (or earlier).
Athenaeus himself states that he was the author of a treatise on the thratta - a kind of fish mentioned by Archippus and other comic poets - and of a history of the Syrian kings, both of which works are lost.
Critics again are agreed that Suidas was simply gulled by the comic poets when he tells of her husband, Cercolas of Andros.
This rifacimento remained the standard text with a few unimportant additions for nearly two centuries, except that, by a truly comic revolution of public taste, Condorcet in 1776 published, after study of the original, which remained accessible in manuscript, another garbling, conducted this time in the interests of unorthodoxy.
His colleagues in the librarianship were Alexander of Aetolia and Lycophron of Chalcis, to whom were allotted the tragic and comic writers respectively, Homer and other epic poets being assigned to Zenodotus.
He attempted comedy, but with so little success that in the canon of Volcacius Sedigitus he is mentioned, solely as a mark of respect "for his antiquity," tenth and last in the list of comic poets.
11), the great comic dramatist of ancient Rome, was born at Sarsina in Umbria according to the testimony of Festus, who calls him Umber Sarsinas, and Jerome.
In one considerable comic fragment attributed to him - the description of a coquette - there is great truth and shrewdness of observation.
The serio-comic epic of Peder Paars, the earliest of the great classics of the Danish language, appeared in 1719.
Some of the old masters of the Yamato school were, however, admirable in their rendering of the burlesqtie, and in modern times KyOsai, the last of the Hokusai school, outdid all his predecessors in the riotous originality of his weird and comic fancies.
The comic trimeter in Philipp. iii.
The comic efforts with which he moved his tongue made her drop her eyes and with difficulty repress the sobs that rose to her throat.
While he is never ranked as a writer of tragedy with Ennius, Pacuvius or Accius, he is placed in the canon of the grammarian Volcaaus Sedigitus third (immediately after Caecilius and Plautus) in the rank of Roman comic authors.