He chose his subjects from the national history, and began with the Auto de Gil Vicente, in which he resuscitated the founder of the theatre, and followed this up with other prose plays, among which the Alfageme de Santarem takes the palm; finally he crowned his labours by Frei Luiz de Sousa, a tragedy of fatality and pathos and one 'of the really notable pieces of the century.
The autobiography in Latin verse, with its playful humour, occasional pathos and sublime self-complacency, was thrown off at the age of eighty-four.
In his greatest extant speech-that Against Eratosthenes-and also in the fragmentary Olympiacus, he has pathos and fire; but these were not characteristic qualities of his work.
In a sermon on the Apocalypse he shook men's souls by his terrible threats of the wrath to come, and drew tears from their eyes by the tender pathos of his assurances of divine mercy.
Almost as subtle, and much more directly impressive, is the pathos of the death of Siegfried, which is heightened by an unprecedented appeal to a sense of musical form on the scale of the entire tetralogy.
He was the first to impart to the Roman adaptations of Greek tragedy the masculine dignity, pathos and oratorical fervour which continued to animate them in the hands of Pacuvius and Accius, and, when set off by the acting of Aesopus, called forth vehement applause in the age of Cicero.
The pathos of the Children's Crusade of 1212 only nerved him to fresh efforts.
Cockburn's forensic style was remarkable for its clearness, pathos and simplicity; and his conversational powers were unrivalled among his contemporaries.
The generous scorn and pathos of the historian acting on extraordinary gifts of imaginative insight and characterization, and the fierce indignation of the satirist finding its vent in exaggerating realism, doubtless to some extent warped their impressions; nevertheless their works are the last voices expressive of the freedom and manly virtue of the ancient world.
No contemporary, unaided by personal knowledge, could be expected to trust in Wagner's purity of ideal on the strength of Tannhauser, which actually achieved popularity by such coarse methods of climax as the revivalistic end of the overture, by such maudlin pathos as 0 du mein holder Abendstern, and by the amiably childish grand-opera skill with which half the action is achieved by processions and a considerable fraction of the music is represented by fanfares.