THE TRAGEDY OF ROMEO AND JULIET

Dramatis Personae

Chorus.

Escalus, Prince of Verona.

Paris, a young Count, kinsman to the Prince.

Montague, heads of two houses at variance with each other.

Capulet, heads of two houses at variance with each other.

An old Man, of the Capulet family.

Romeo, son to Montague.

Tybalt, nephew to Lady Capulet.

THE POETICS OF ARISTOTLE

I

I propose to treat of Poetry in itself and of its various kinds, noting the essential quality of each; to inquire into the structure of the plot as requisite to a good poem; into the number and nature of the parts of which a poem is composed; and similarly into whatever else falls within the same inquiry. Following, then, the order of nature, let us begin with the principles which come first.

Epic poetry and Tragedy, Comedy also and Dithyrambic: poetry, and the music of the flute and of the lyre in most of their forms, are all in their general conception modes of imitation. They differ, however, from one: another in three respects,—the medium, the objects, the manner or mode of imitation, being in each case distinct.

SOCRATES

CHARACTERS:
SOCRATES
ANITUS, High Priest
MELITUS, Athenian Judge
XANTIPPE, Wife of Socrates
AGLAEA, a young Athenian girl raised by Socrates
SOPHRONINE, a young Athenian boy raised by Socrates
DRIXA, a merchant woman attached to Anitus
TERPANDRE, attached to Anitus
ACROS, attached to Anitus
JUDGES
DISCIPLES OF SOCRATES
NONOTI, a pedant protected by Anitus
BERTIOS, another
CHOMOS, another

FAUST

Preface

It is twenty years since I first determined to attempt the translation of Faust, in the original metres. At that time, although more than a score of English translations of the First Part, and three or four of the Second Part, were in existence, the experiment had not yet been made. The prose version of Hayward seemed to have been accepted as the standard, in default of anything more satisfactory: the English critics, generally sustaining the translator in his views concerning the secondary importance of form in Poetry, practically discouraged any further attempt; and no one, familiar with rhythmical expression through the needs of his own nature, had devoted the necessary love and patience to an adequate reproduction of the great work of Goethe's life.

THE ANTICHRIST

PREFACE

This book belongs to the most rare of men. Perhaps not one of them is yet alive. It is possible that they may be among those who understand my “Zarathustra”: how could I confound myself with those who are now sprouting ears?—First the day after tomorrow must come for me. Some men are born posthumously.