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It explains the choice of dialogue-like “drama,” draws a model from Aeschylus, and presents lyric scenes intended to anticipate Greece’s ultimate triumph as part of broader civilization and social 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does Shelley call the work a “lyrical drama” rather than another genre?","Question",{"text":63,"@type":64},"He says the subject can be treated only lyrically, and that the piece is composed in dialogue, so calling it a drama is a comparable “licence” to poets calling their works epics.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"What is the author’s stated basis for the poem’s interest?",{"text":68,"@type":64},"He attributes whatever interest the poem may have to his intense sympathy with the cause he intends to celebrate, prompted by events of the moment.",{"name":70,"@type":61,"acceptedAnswer":71},"Which classical model does the author cite for his conception?",{"text":72,"@type":64},"He points to “the Persae of Eachylus” (Aeschylus) as the first model for his 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JAMES OLLIER VERE STREETBOND STREETMDCCcXXI1  \nTO  \n# HIS EXCELLENCYPRINCE ALEXANDER MAVROCORDATO\n\nLATE SECRETARY FOR FOREIGN APFAIRS  \nTO THE HOSPODAB OFWALLACHIA,  \nTHE DRAMA OF HELLAS  \nIS INSCRIBEDAS AN 1MPER FECT TOKEN  \nOF THE ADMIRAT¹ON,SYMPATHY,AND FR1ENDSHIP  \nTHE AUTHOR.  \nPrsA,November 1st,1821.  \n# PREFACE.\n\nTaE poem of Hellas,written at the suggestion of theevents of the moment,is a mere improvise,and derivesits interest(should it be found to possess any)solely fromthe intense sympathy which the Author feels with thecause he would celebrate.  \nThe subject,in its present state,is insusceptible ofbeing treated otherwise than lyrically,and if I have calledthis poem a drama from the circumstance of its beingcomposed in dialogue,the licence is not greater than thatwhich has been assumed by other poets who have calledtheir productions epics,only because they have been di-vided into twelve or twenty-four books.  \nThe Persae of Eachylus afforded me the first model ofmy conception,although the decision of the gloriouscontest now waging in Greece being yet suspended for-bids a catastrophe parallel to the return of Xerxes and thedesolation of the Persians.I have,therefore,contentedmyself with exhibiting a series of lyric pictures,and withhaving wrought upon the curtain of futurity,which fallsupon the unfinished scene,such figures of indistinct and  \nvisionary delineation as suggest the final triumph of theGreek cause as a portion of the cause of civilization andsocial improvement.  \nThe drama(if drama it must be called)is,however,80inartificial that I doubt whether,if recited on the Thespianwaggon to an Athenian village at the Dionysiaca,itwould have obtained the prize of the goat.I shall bearwith equanimity any punishment greater than the loss ofsuch a reward which the Aristarchi of the hour may thinkfit to inflict.  \nThe only goat-song which I have yet attempted has,Iconfess,in spite of the unfavourable nature of the sub-ject,received a greater and a more valuable portion ofapplause than I expected or than it deserved.  \nCommon fame is the only authority which I can allegefor the details which form the basis of the poem,and Imust trespass upon the forgiveness of my readers for thedisplay of newspaper erudition to which I have been re-duced.Undoubtedly,until the conclusion of the war,itwill be impossible to obtain an account of it sufficientlyauthentic for historical materials;but poets have theirprivilege,and it is unquestionable that actions of the mostexalted courage have been performed by the Greeks—thatthey have gained more than one naval victory,and thattheir defeat in Wallachia was signalized by circumstancesof heroism more glorious even than victory.  \nThe apathy of the rulers of the civilized world to theastonishing circumstance of the descendants of that nationto which they owe their civilization—rising as it were fromthe ashes of their ruin,is something perfectly inexplicableto a mere spectator of the shews of this mortal scene.  \n·We·are all Greeks.Our laws,our literature,our religion,  \nPREFACE.  \nour arts,have their root in Greece.But for Greece—Rome,the instructor,the conqueror,or the metropolis ofour ancestors,would have spread no illumination with herarns,and we might still have been savages and idolaters;or,what is worse,might have arrived at such a stagnantand miserable state of social institution as China andJapan possess.  \nThe human form and the human mind attained to a per-fection in Greece which has impressed its image on thosefaultless productions,whose very fragments are the despairof modern art,and has propagated impulses which cannotcease,through a thousand channels of manifest or imper-ceptible operation,to ennoble and delight mankind untilthe extinetion of the race.  \nThe modern Greek is the descendant of those gloriousbeings whom the imagination almost refuses to figure toitself as belo","cbCaiueoQptYkBB4","https://ap.wps.com/l/cbCaiueoQptYkBB4","pdf",1192449,"English","# Preface\n## Purpose and inspiration\n## Form and dramatic license\n## Literary models and method\n## Greece, civilization, and political reflection","[{\"question\":\"Why does Shelley call the work a “lyrical drama” rather than another genre?\",\"answer\":\"He says the subject can be treated only lyrically, and that the piece is composed in dialogue, so calling it a drama is a comparable “licence” to poets calling their works epics.\"},{\"question\":\"What is the author’s stated basis for the poem’s interest?\",\"answer\":\"He attributes whatever interest the poem may have to his intense sympathy with the cause he intends to celebrate, prompted by events of the moment.\"},{\"question\":\"Which classical model does the author cite for his conception?\",\"answer\":\"He points to “the Persae of Eachylus” (Aeschylus) as the first model for his conception.\"}]","HEllas - A Lyrical Drama - Preface | 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