Word: classics
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Dates: during 1910-1919
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...incumbent of the fellowship must agree to pursue his studies for the year of his incumbency at the American School of Classic Studies at Athens. The following subjects of theses are proposed by the committee: 1. The Expression of Pathos in Homer. 2. The Dramatic Art of Menander. 3. The Humanism of Euripides. 4. Lucian as a Critic of Art. 5. The Romantic Element in the later Greek Epic. 6. Greek Comedy in the Light of Contemporary Vase-painting. 7. Imperialism and Religion at Athens in the Fifth Century B.C. 8. The Iliupersis in the Work of the Greek Vase...
...more of the tuneful than of the chatty, and if we are to accept the verdict of packed houses this is quite as it should be. A slender plot for which two obliging comedians apologize--why should they?--a variety of entertainment ranging from trick bicycle riding to a classic ballet, uncommonly good taste in the way of settings and costumes, and a chorus made up not of painted puppets but of spirited and gifted human beings--these are a few of the charms of a thoroughly novel entertainment...
...Townsend has written an intensely moving tragedy in "Alaric Jourdan's House". All the monotonous majesty of the land of the St. Lawrence is felt in the situation involving three tellingly drawn characters, and the play moves with almost classic poise to an inevitable denouement of great power...
...celebrated French architect, Daniele Barbaro and other guests of honor. The masque itself, representing the progress of architecture through the ages then proceeded. Father Time introduced, in order, the spirits of the various styles of architecture. Each spirit was accompanied by different figures including the Romanesque, Gothic, Elizabethan, and Classic orders, each group of figures participating in a dance. This was followed by a representation of modern architecture as prophesied by the students of Cambridge University. The second masque represented the uniting of ancient and modern architecture...
...already given signal proofs of his ability as a conductor, cannot be too highly praised for his admirable work with the Pierian Sodality. His beat is clear and firm, his readings of the several works presented were scholarly, poetic, and forceful by turns. He inspires his men to be classic, romantic and ultra-modern as the occasion demands, and his training and resourceful tact have created a standard for the Pierian which is not only extremely creditable in its present accomplishment, but a basis for future striving