No More Learning

Terence's plays it is the most varied in action and The comedies of Terence have been translated
the most vivacious in dialogue, and makes the into most of the languages of modern Europe, and
received censure of his being deficient in vis comica in conjunction with Plautus were, on the revival
scarcely intelligible.
of the drama, the models of the most refined, if
Baif, a poet in the reign of Charles IX. , trans- not the most genial play-writers. In Italy the
lated the Eunuch into French verse. The modern Terentian Comedy was opposed in the 15th and
imitations of it are Aretine's La Tulanta, La- | 16th centuries to the Commiédie dell'Arte, and
Fontaine's L'Eunuque, which is in fact a trans- Ariosto, Aretine, Lodovico Dolce, and Battista
lation, retaining the names, scenes, and manners of Porta drew deeply from “ this well of” Latin
the original; and Sir Charles Sedley's Bellamira undefiled. ” The Pedante was substitnted for
1687. It is also the source of Le Muet, by Bruyés the Currens Serrus, but the swaggering captain
and Palaprat, first acted in 1691.
and the parasite were retained with little altera.
5. Phormio, was performed in the same year tion. In Spain Pedro Simon de Abril, about the
with the preceding, at the Roman Games on the middle of the 16th century, published a complete
1st of October. (Comp. Drakenborch. ad Liv. xlv. translation of Terence, which is still much esteemed.
1, 6. ) This year (161) may therefore be regarded (Bouterwek, Spanish Lit. p. 198, Eng. trans. Bogue. )
annus mirabilis” of his reputation. It is The English versions of Bernard, Hoole, and
borrowed from the 'Endikacóuevos, “ Plaintiff” or Echard (see Tytler's Essay on the Principles of
“ Heir-at-Law" of Apollodorus, and is named Translat. p. 244,&c. ) have been long superseded by
“ Phormio” from the parasite whose devices con- that of Colman, one of the most faithful and spi-
nect the double-plot. Phormio, however, is not a rited translations of an ancient writer. Besides
parasite of the Gnatho stamp, but an accommo- Baif's Eunuchus Menage mentions a very old
dating gentleman who reconciles all parties, some. French version of the whole of Terence, partly in
what after the fashion of Mr. Harmony in Mrs. prose; but the most accurate and useful of the French
Inch bald's Every One has his Fault. It would translations is the prose version by the Daciers. Poli-
beem from the Prologue, that Terence wearied out, tian was the first to divide the scenes into metrical
if not convinced, by his censors iterating that his lines, but Erasmus greatly improved upon his ar-
plays were “ tenui oratione et scripturâ levi," at-rangement.
tempted in the present a loftier style, and, as Do- The Didascalia preserve the names of the prin-
natius says, dealt with passions too earnest for cipal actors of Terence's plays, when originally pro-
mirth. It is therefore the more strange that this duced. They were Ambivius Turpio, L. Atilius
comedy should have suggested to Molière one of Praenestinus, and Minutius Prothimus; and Flac-
his most extravagant farces, Les Fourberies de cus, son of Claudius, furnished the musical accom-
Scapin. Molière, however, borrowed from other paniments to all six comedies. The Periochae
sources as well.
or summaries in lambic verse of the plot of each
as the "


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TERENTIUS.
1001
TERENTIUS.
comedy were drawn up by C. Sulpicius Apolli- " Tu quoque tu in summis, o dimidiate Menander,
waris.
Poneris, et merito, puri sermonis amator,
In closing this summary of Terence's comedies,
Lenibus atque utinam scriptis adjuncta foret vis
we may remark that Terence added no new cha-
Comica, ut aequato virtus pollerei honore
racters to the repertoire of the Attic drama (comp.
Cum Graecis, neque in hac despectus parte jaceres.
Prol. in Heautont. with Hor. A. P. 114), and that,
even in Horace's time, in spite of the passion for
Unum hoc maceror et doleo tibi deesse, Terenti. "
spectacie and melodrama, his plays attracted crowded The preceding extracts show the ancient critics
audiences, and were as familiarly known to the unanimous in ascribing to Terence immaculate
Roman populace, as the stanzas of Tasso's “ Gieru- purity and elegance of language, and nearly so in
salemme" to the Venetian gondoliers. (Hor. Ep. ii. denying him cis comica. Their opinion is entitled
1. 60. )
to the more respect from their having had the entire
An account of the principal ancient commenta- Menander before them, and from its confirmation
tors on Terence will be found under the names Callio- by modern censors from Emsmus to Colman. Yet
pius, Donatus, Eugraphius, and Evanthius. The we are not inclined to let their verdict pass un-
earliest treatise on the Terentian metres is that of questioned. In the first place, four of Terence's
Rufinus of Antioch. Bentley, in bis edition of the six plays are more or less comélies larmoyantes
poet (Cambridge, 1726, 4to. ), was the first to ar. sentimental comedies — in which ris comica is not
range them on a scientific principle : since that a primary element. In the next, Terence is gene-
time no material improvement has been made either rally contrasted with Plautus, with whom he had
in the text or the metrical system of these comedies. so little in common that we might as justly com-
For an account of Bentley's edition, see his Life pare Addison with Moliére. Granting to the elder
by Monk (ii. pp. 225-231, 8vo. ed). Mr. Hallam poet the highest genius for exciting laughter, and
(Mid. Ages, ii. p. 342, 8th ed. ) has some very inge. the eloquence which Aelius Stilo ascribed to him
nious and instructive remarks on the versification of (Varr. ap. Quinct. x. I. $ 99), and a natural force
Terence, and there is a satisfactory article on the
“ virtus"
- which his rival wanted, there will
same subject in the Penny Cyclopaedia (Terentian remain to Terence greater consistency of plot and
Metres). A selection of Prolegomena to Terence character, closer observation of generic and indivi-
is prefixed to the edition of Terence by Mr. Giles, dual distinctions, deeper pathos, subtler wit, more
London, 8vo. 1837.
skill and variety in metre, and in rhythm, and a
The ancient critics on Terence were very nume- wider command of the middle region between sport
rous. We cite the principal of them chronologically and earnest. It may be objected that Terence's
before offering any remarks of our own.
superiority in these points arises from his copying
Nearest in time, Afranius wrote in his Compitalia his Greek originals more servilely. But no servile
that Terence was sui generis, really incomparable, copy is an animated copy, and we have correspond-
“ Terenti non similem dices quempiam. ”
ing fragments enough of Menander to prove that
Terence retouched and sometimes improved his
Varro (Parmenio, Nonius, 8. v. Poscere) says he model. (Zimmerman, Terenz. 1. Menand. 1842. )
was surpassing in the portraiture of character, “ in He cannot, indeed, be ranked with the dramatic
ethesin Terentius poscit palmam. ” Cicero (Opt. poets who exert a deep or permanent influence on
Gen. Or. 1. § 3) said that he differed from his the passions of men or the art of representation
brother-artists in
genere, unum vero est genus with Sophocles and Aristophanes, with Shakspere
perfecti, a quo qui absunt, genere differunt, ut ab or Lope de Vega, with Moliére or Schiller. But
Attio Terentius," and in a fragment of his Limo, we incline to class him with Massinger, Racine,
probabıy a critical miscellany in verse, commends and Alfieri — writers in whom the form is more
him as the interpreter of Menander,
perfectly elaborated than the matter is genially con-
ceived.
“Quicquid come loquens, ac omnia dulcia dicens. ”
Nor in summing up his merits should we
omit the praise which has been universally accorded
Volcatius Sedigitus (de Poet. Com. ap. Gell. xv. 24) him that, although a foreigner and a freedman,
assigns Terence only the sixth place among the he divides with Cicero and Caesar the palm of pure
Roman comic poets, an opinion deeply resented by Latinity.
many modern scholars. (Rutger's Var. Lect. iv. The principal editions of Terence are, "princeps,"
19; Francis. Asulanus, Èp. &c. ) Horace awards Mediol. 1470, fol. ; Mureti, 1555, 1558, 8vo. fre-
him the palm of art (Ep. ii. 1. 59, “ vincere Cae quently reprinted ; Faerni, Florent. 1565, 8vo. ;
cilius gravitate, Terentius arte"), and Ovid distin- Lindenbrogii, Paris, 1602, 4to. , Francofurt, 1623;
guishes his festive humour (Trist. ii. 357), Parei et Riccii. Neap. Nemet. 1619, 2 vols. 4to. ;
“Nec liber est judicium animi ; sed honesta vo-
Bentleii, an epoch in Terentian text and metres,
Cantab. 1726, 4to. , Amstel. 1727, 4to. , Lips.
Juntas,
Plurima mulcendis auribus apta refert.
1791, 8vo. ; Westerhovii. Hagae Com, 1727, 2
Accius esset atrox, convioa Terentius esset. "
vols. 4to. ; Stallbaum, Lips. 1830, 8vo. and
Zeune, I. K. 1774, which contains nearly every
Quintilian (x. 1) depreciates Roman comedy gene-thing good in its predecessors, and ample prolego-
rally,“ in comoedia marime claudicamus,"and thinks mena. There are also numerous editions of single
that Terence erred in not adhering to the Se- plays.
narian measure of his Greek originals; and Ser. The principal Codices of Terence are, the Vati-
vius (ad Aen. i. 414) says "sciendum est Teren can Bembinus, written about the fifth century, A. D. ,
tium, propter solam proprietatem, omnibus comicis and the Cambridge. A second Vatican Codex dates
esse praepositum ; quibus est, quantum ad caetera from the ninth century, A. D. , and contains draw-
spectat, inferior. " We cite Caesar's famous epi- ings of the masks worn by the actors. (Boëttig.
gram last, both on account of its author and of the Spec. ed. Terent. Lips. 1795. ) Besides the autho-
verdict be delivers.
rities already cited, see Crinit. de Poct. c. 8;
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1002
TER LLUS.
TERPANDER.
Dunlop. Hist. Rom. Lit. vol. i. p. 110, foll. ; Dry | Rliegium, while on the other hand he maintained
den's “ Essay on Dramatic Pocsie" (works, vol. relations of friendship and hospitality with the
xv. p. 263. Scott. ed. ); Hurd's (Bp. ) Dialogues on Carthaginian general Hamilcar. Hence, when he
“ Poetical Imitution," “ Provinces of the Druma," was expelled from Himera, by Theron, tyrant of
&c. ; Diderot, “ Essai sur la Poesie Dramatique" | Agrigentum, he applied to the Carthaginians for
(oeuvres); Spectator, No. 502 ; Colman's "Te assistance, and his son-in-law Anaxilas not only
rence," &c.
(W. B. D.
) supported his prayers, but gave his own children as
TERES (TÁpris). 1. King of the Odrysae and hostages for his sincerity. The Carthaginians ac-
father of SITALCES, was the founder of the great cordingly determined to undertake his restoration,
Odryssian monarchy A daughter of his married or rather, under pretence of doing so, to extend
Ariapeithes, king of the Scythians. (Herod. iv. 80, their own power in Sicily, and the expulsion of
vii. 137 ; Thuc. ii. 29 ; Xen. Anab. vii. 2. § 22, 5. Terillus thus became the real cause of their great
§ 1. )
expedition under Hamilcar, which terminated in
2. King of a portion of Thrace in the time of the memorable battle of Himera, B. c. 480. (Herod.
Philip of Macedon, with whom he was at first vii. 165. ) Of the fate of Terillus himself after the
allied against the Athenians. Afterwards, how defeat of his allies we know nothing. [E. H. B. ]
ever, he joined Cersobleptes in hostilities to Philip, TE'RMINUS, a Roman divinity presiding over
and, together with his confederate, was subdued boundaries and frontiers. His worship is said to
by the Macedonian king early in B. C. 342. (Phil. have been instituted by Numa who ordered that
Ep. ad Ath. ap. Demost. p. 161; comp. Diod. xvi. every one should mark the boundaries of his landed
71. ) (CERSOBLEPTES. ]
(E. E. ] property by stones to be consecrated to Jupiter
TEREUS (Tnpeús), a son of Ares, a king of the (Zeus Spos), and at which every year sacrifices
Thracians, in Daulis, afterwards Phocis. (Apollod. were to be offered at the festival of the Terminalia.
iii. 14. S 8 ; Thucyd. ii. 29. ) Some traditions place (Dionys. ii. 9, 74. ) These sacred boundaries ex-
Tereus at Pegae, in Megaris. (Pans. i. 41. $ 8. ) | isted not only in regard to private property, but
Pandion, king of Attica, who by his wife Zeux- also in regard to the state itself, the boundary of
ippe had two daughters, Philomela and Procne, which was not to be trangressed by any foreign
and twin sons, Erechtheus and Butes, called in the foe. But in later times the latter must have fallen
assistance of Tereus against some enemy, and gave into oblivion, while the termini of private property
him his daughter Procne in marriage. Tereus be- retained their sacred character even in the days of
came by her the father of Itys, and then concealed Dionysius, who states that sacrifices of cakes, meal,
her somewhere in the country, that he might thus and fruit (for it was unlawful to stain the boundary
be enabled to marry her sister Philomela whom he stones with blood), still continued to be offered.
deceived by saying that Procne was dead. At the The god Terminus himself appears to have been
same time he deprived Philomela of her tongue. no other than Jupiter himself, in the capacity of
Ovid (Met. vi. 565) reverses the story by stating the protector of boundaries. (Ov. Fast. ii. 639,
that Tereus told Procne that her sister Philomela &c. ; Lactant. i. 20, 37. ) The Terminus of the
was dead. Philomela, however, soon learned the Roman state originally stood between the fifth and
truth, and made it known by a few words which sixth milestone on the road towards Laurentum,
she wove into a peplus. Procne then came to Phi- near a place called Festi, and that ancient boundary
lomela and killed her own son Itys. Tereus, who of the ager Romanus continued to be revered with
had been cautioned by an oracle against such an the same ceremonies as the boundaries of private
occurrence, suspected his own brother Dryas and estates. (Ov. Fast. I. c. ; Strab. v. p. 230. ) Another
killed him. (Hygin. Fab. 45. ) Procne took fur- public Terminus stood in the temple of Jupiter in
ther vengeance by placing the flesh of her own the Capitol, and above it there was an opening in
child in a dish before Tereus, and then fled with the roof, because no Terminus was allowed to be
her sister. Tereus pursued them with an axe, under cover. (Fest. p. 368, ed. Müller. ) This is
and when the sisters were overtaken they prayed another proof that Terminus was only an attribute
to the gods to change them into birds. Procne, of Jupiter, although tradition gave a different rea-
accordingly, became a nightingale, Philomela a son for this circumstance ; for when that temple
swallow, and Tereus a hoopop. (Tzetz. Chil. was to be founded, and it was necessary to exau-
vii. 142, 459; Eustath. ad Hom. p. 1875 ; gurate other sanctuaries standing on the same site,
Serv. ad Virg. Eclog. vi. 78 ; Ov. Mlet. vi. 424 — all the gods readily gave way to Jupiter and Juno,
675. ) According to some, Procne became a swal- but the auguries would not allow the sanctuaries of
low, Philomela a nightingale, and Tereus a hawk. Terminus and Juventas to be removed. This was
(Hygin. Fab. 45. ) According to the Megarian taken as an omen that the Roman state would re-
tradition, Tereus, being unable to overtake the main ever undiminished and young, and the chapels
women, killed himself.
The Megarians showed of the two divinities were inclosed within the walls
the tomb of Tereus in their own country, and an of the new temple. (Serv. ad Aen. ii. 575, ix.
annual sacrifice was offered to him. Procne and 448 ; Ov. Fast. ii. 671. ) Here we may ask, what
Philomela, moreover, were there believed to have had a Terminus to do on the Capitol, unless he was
escaped to Attica, and to have wept themselves to connected or identical with Jupiter ? (Comp. Liv.
death. (Paus. i. 41. $ 8. )
[L. S. ] i. 55, v. 54, xliii. 13, xlv. 44 ; Polyb. iii. 25
TERIDATES. [Tiridates. ]
Hartung, Die Relig. der Röm. ii. p. 50, &c. ) (L. S. ]
TERILLUS (Týpiados), son of Crinippus, ty- TERPANDER (Tépravopos), of Lesbos, was
rant of Himera, in Sicily. We know nothing of the father of Greek music, and through it of lyric
the means by which he rose to power, or of the poetry, although his own poetical compositions were
duration or events of his reign : it is only from few and in extremely simple rhythms.
subsequent circumstances that we learn that he had
Müller, whose account of Terpander is so excel-
Bought to fortify his power by giving his daughter lent, that it is necessary to follow him to a great ex.
Cydippe in marriage to Anaxilas, the ruler of tent, has justly remarked that, setting aside the my.
a
:


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TERPANDER.
1003
TERPANDER.
p. 627,
thological traditions about early minstrels, such as of the oldest cities of Boeotia, is another indication
Orpheus, Philammon, Chrysothemis, and others, the of his descent from the Pierians, while the ciaim
history of Greek music begins with Terpander. But of Cyme is probably connected with the traditions
Müller, and other scholars, have pointed out the fact, which derived his genealogy froin Homer or from
that Terpander may be connected with one of the Hesiod. (See Plehn, Lesbiucu, pp. 140-142. ) The
most interesting and important of those traditions. statement of Diodorus (vi. 23, ap. Tzetz. Chil. i.
The beautiful fable, which told how the head and 16) that he was a native of Methymna, must be
lyre of Orpheus, cast upon the waves by the Thra- regarded as simply a mistake.
cian Maenads, were borne to Lesbos, and there The age at which Terpander flourished is genc-
received with religious honours, was doubtless an rally considered one of the best ascertained dites
allegory, signifying the trans'erence of the art of of that remote period of chronology ; although the
music to that island from Pieria, which the ancients still more important question of his relation, in
afterwards confounded with Thrace; a transference point of time, to the other early musicians, Olym-
which is confirmed by the undoubted tradition, pus and Clonas, and to the earliest iambic and
thut Lesbos was colonised by the Aeolians of Boco elegiac poets, Archilochus and Cullinus, and the
tia, who were of the same race as the Pieriang, lyric poets Tyrtaeus and Alcman, is allowed to
and who had among them one of the carliest sents present very great difficulties. As to the first
of the worship of the Muses, upon Mount llelicon. point, C. O. Miiller snys that " it is one of the
(Orpheus. ) Now the very town in Lesbos, at most certain dates of the more * ancient chro-
which the grave of Orpheus was shown, and where nology, that in the 26th Olympiad (1. C. 676)
the nightingales were said to sing most sweetly, musical contests were first introduced at the feast
Antissa, was the birthplace of Terpander. The of Apollo Carneius [at Sparta), and at their first
presumption that he belonged to one of those fami- celebration Terpander was crowned victor. ” (llist.
lies in which, according to the Greek custom, the Lit. Anc. Greece, vol. i. p. 150, vol. i. p. 268 of the
art was handed down from father to son, is German ; comp. Dor. b. iv. c. 6. § 1; and Mr. Grotu
strengthened by the significancy of his name; and echoes the statement, that “ this is one of the best
this significant name, again, finds numerous paral- ascertained points among the obscure chronology
lels in the early history of other arts as well as of the seventh century” (Hist. of Greece, vol. ir.