The character who embodies the Greeks' struggle for emancipation is Myron's friend Euphranor. As the well-read Webster surely knew, Livy's History of Rome--which appears to be the main classical source for Webster's drama--tells us of a historical figure named Euphranor, who was a Greek general who fought for King Perseus in the struggle for Greek independence from Rome at Meliboea.
For example, Euphranor, believing that Klydone shares his libertarian and nationalistic impulses, petitions the disenfranchised slave girl to persuade Myron to join the Greek citizens in their fight for freedom:
Se comentan sus habitos de lectura ("Lee y relee el Quijote, que casi le parece el mejor de todos los libros (pero no quiere ser injusto con Shakespeare y con dear old Virgil), y su amor se extiende al diccionario en el que busca las palabras" [OC 2:62]), su relacion con autores que generan contraste respecto al porte intelectual mas bien languido de FitzGerald ("Es amigo de personas ilustres [Tennyson, Carlyle, Dickens, Thackeray], a las que no se siente inferior, a despecho de su modestia y su cortesia" [OC 2: 62]) y sus proyectos de escritura ("Ha publicado un dialogo decorosamente escrito, Euphranor
, y mediocres versiones de Calderon y de los grandes tragicos griegos" [OC 2: 62]).
I'd like to begin by noting the uncanny resemblance between Cather-ine's and my interest in the education of the sentiments and the con-structed conversation between a young man named Euphranor and an older man named Theocles described in an essay written by Moses Mendelssohn entitled "On Sentiments." Mendelssohn's artfully constructed sequence of letters between the two men poignantly repeats the play between the endorsement of sentiment alone and the demands of its structured and educated refinement referenced in Catherine's piece.
Undoubtedly proponents of liberal Jewish confessionalism would do well to have Euphranor as their spokesman but is he right regarding the distance between beauty and truth?
or Parrhasius, or Aetion, or Euphranor
to paint it, but since it is impossible nowadays to find anyone so excellent and so thoroughly master of his craft, I shall show you the picture as best I can in unembellished prose.
As evidence, he cited a famous comparison of two Theseuses, Hercules' purported friend: a rose-fed Theseus painted by Parrhasius and a beef-eater painted by Euphranor
.(130) Parrhasius stylized Theseus so that the hero became effeminate (rose or flowery), whereas the carnivore version by Euphranor
is true to his subject.
I am agnostic on the relationship of truth and beauty, at least as Mendelssohn presents it: his Euphranor
, like Jane Austen's Marianne Dashwood or Kierkegaard's aesthete in Either/Or, is an aesthetic consumer, not a producer, and has only the dimmest sense of the role of judgment in artistic creation.
Volume I: Rubaiyat of Omar Khayyam (1859), Salaman and Absal (1856), Euphranor
(9) The monist or uniform reduction of the soul to "a body built of clay in a clay-built house"--expressly introduced as a "metaphor" and swiftly dismissed as a "bad" one--had already occurred to FitzGerald's collegians as they conversed about metaphor in Euphranor
: A Dialogue of Youth (London, 1851), p.
(4) As FitzGerald waited to be summoned to the bedside, he took down from the bookshelf the copy of his own Euphranor
: A Dialogue on Youth that he had given to Browne and added the inscription: "This little book would never have been written, had I not known my dear friend William Browne, who, unconsciously, supplied the moral" (Letters, 2:330n).