In these two battles the Teutones and Am-
orones are said to have lost the incredible number of
290,000 men (200,000 slain, and 90,000 taken pris-
oners), and the Cimbri 300,000 men (140,000 slain,
?
orones are said to have lost the incredible number of
290,000 men (200,000 slain, and 90,000 taken pris-
oners), and the Cimbri 300,000 men (140,000 slain,
?
Charles - 1867 - Classical Dictionary
c.
) This
town produced also Protagoras the sophist, Scylh-
tnus an Iambic poet, Andron a geographical writer,
and Apellicon the great book-collector, to whom liter-
ature is indebted for the preservation of the works of
Aristotle. Though deserted, as we have already re-
marked, by the greater part of its inhabitants, Teos
still continued to exrit as an Ionian city, as may be
seen from Thucydides (3, 32). The chief produce of
the Teian territory was wine (lav. 37, 27), and Bac-
chus was the deity principally revered by the inhabi-
? ? tants. It is singular that Pliny (5, 38) should rank
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? TEKENTWS.
TER
knottier way, or whose taste was abhorrent from all
sort of buffoonery, had recourse to the other expedi-
ent of double plots; and this probably gained him the
popular reputation of being the most artful writer for
the stage. The Hecyra is the only one of his come-
dies of the true ancient cast; hence the want of suc-
cess with which it met on its first and second repre-
sentations. When first biought forward, in 589, it
was interrupted by the spectators leaving the theatre,
attracted by the superior interest of a boxing-match
and rope-dancers. A combat of gladiators had the
like unfortunate effect when it was attempted to be
again exhibited in 594. The celebrated actor, L. Am-
bivius, encouraged by the success which he hsd expe-
rienced in reviving the condemned plays of Cscilius,
ventured to produce it a third time on the atage, when
it recived a patient hearing, and was frequently repeat-
ed. Still, however, most of the old critics and com-
mentators speak of it as greatly inferior to the other
plays of Terence. On the whole, however, the plots
of Terence are, in most respects, judiciously laid: the
incidents are aelected with taste, arranged and con-
nected with inimitable art, and painted with exquisite
grace and beauty. --In the representation of characters
and manners, Terence was considered by the ancients
as surpassing all their comic poets. In this depart-
ment of his art, he shows that comprehensive knowl-
edge of the humours and inclinations of mankind,
which enabled him to delineate characters as well as
manners with a genuine and apparently unstudied sim-
plicity. All the inferior passions which form the
range of comedy are so nicely observed and accurately
expressed, that we nowhere find a truer or more lively
representation of human nature. --Erasmus, one of the
best judges of classical literature at the revival of
learning, saya that there is no author from whom we
can better learn the pure Roman style than from the
poet Terence. It haa been farther remarked of him,
that the Romans thought themselves in conversation
when they heard his comedies. Terence, in fact, gave
re the Roman tongue its highest perfection in point of
e. cgancc and grace. For this ineffabilis amanitas, as
It is called by Heinsius, he was equally admired by his
own contemporaries and the writers in the golden pe-
riod of Roman literature. He is called by Ctesar pun
? ermonis amator, and Cicero characterizes him aa
"Quicquid come loquens, ac omnia dulcia dicens. "
Even in the last age of Latin poetry, and when his
pure simplicity was so different from the style sffected
by the writers of the day, he continued to be regarded
as the model of correct composition. Ausonms. in
his beautiful poem addressed to his grandson, hails
him, on account of hia style, as the ornament of I. a-
tium. Among all the Latin writers, indeed, from En-
nius to Ausonius, we meet with nothing so simple, so
full of grace and delicacy--in fine, nothing that can
be compared to his comedies for elegance of dialogue,
presenting a constant flow of easy, genteel, unaf-
fected conversation, which never subsides into vulgar-
ity or grossness, and never rises higher than the ordi-
nary level of polite conversation. Of this, indeed, he
was ao careful, that when he employed any sentence
which he had found in the tragic poets, he stripped it
of that air of grandeur and majesty which rendered it
unsuitable for common life anc comedy. The narra-
tives in particular possess a beautiful and pictureaque
simplicity. As to what may be called the poetical
? ? stylo of Terence, it has been generally allowed that
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? TEH
TER
1 rights, a city of Venetia, in the territor; of the
Uarni, now Trieste. It waa situate at the northeast-
ern extremity of the Sinua Tergeatinus. In Strabo
we find it sometimes called Tergesta, or Tergestas
. n the plural. (Slrab. , 314. ) Tho Greeks knew it
by the name of Tergeatrum. (Artemid. , ap. Steph.
By*. --Damns. Ptrug. ,y. 384) It suffered severe-
ly, on one occasion, from a sudden incursion of the
lapydes. (Appian, B. 111. . 18. --Strabo, 207. )
Tkkina, a town of the Bruttii, on the coast of the
Mare Tyrrhenum. It is now St. Euphcmia. The ad-
jacent bay was called Sinus Terinxus. The earliest
writers who have noticed this place are Scylax (Peri-
plus, p. S) and Lycophron. Strabo informs us that it
was destroyed by Hannibal, when he found that he
could no longer retain it. It was probably restored at
a later period, as we find it named by Pliny and Ptol-
emy. (Cramer's- Anc. Greece, vol. 2, p. 416. )
TERMlLiE. Vid. Lycia.
Tkkminai. Ii. an annual festival at Rome, observed
in honour of the god Terminus, in the month of Feb-
ruary. It was then usual for peasants to assemble near
the principal landmarks which separated their fields,
and, after they had crowned them with garlands and
Bowers, to make libations of milk and wine, and to
sacrifice a lamb or a young pig. This festival was
originally established by Numa; and though at first
it was forbidden to shed the blood of victims, yet, in
process of time, landmarks were plentifully sprinkled
with it. (Ovid, Fast. , 2, 641. )
Terminus, a divinity at Rome, who was supposed
to preside over boundaries. His worship was first in-
troduced at Rome by Numa. who persuaded his sub-
jects that the limits of their lands were under the im-
mediate care and superintendence of Heaven. His
temple waa on the Tarpcian rock, and he was rcpre-
nent? d with a human head, without feet or arms, to in-
timate that he never moved, wherever he was. It is
said that w'. ien Tarquin the Proud wished to build a
temple on the Tarpeian rock to Jupiter, the god Ter-
minus alone refused to give way. ((hid, Fast. , 2,
im. --Plut. , Vit. Num. )
Terpamikr, a lyric poet and musician of Lesbos,
670 B. C. , whose date is determined by his appearance
ir. the mother-country of Greece: of his early life in
Lesbos nothing is known. The first account of him
describes him in Peloponnesus, which at that time
surpassed the rest of Greece in political power, in well-
ordered governments, and probably also in mental cul-
tivation. It is one of the most certain dates of an-
cient chronology, that, in the 26th Olympiad (B. C. 670),
musical contests were first introduced at the feast of
Apollo Carneius, and at their first celebration Terpan-
der was crowned victor. He was also victor four suc-
cessive times in the musical contest at the Pythian
temple of Delphi. In Laccdsmon, whose citizens,
from the earliest times, had been distinguished for their
love of music and dancing, the first scientific cultiva-
tion of music was ascribed to Terpander (Plut. , de
Mils. , c. 9); and a record of the precise time had been
preserved, probably in the registers of public games.
Hence it appears that Terpander was a younger con-
temporary of Callinus and Archilochus; so that the
dispute among the ancients, whether Terpander or Ar-
chilochus were the older, must probably be decided by
supposing them to have lived about the same time. At
the bead of all the inventions of Terpander stands the
? ? aeren-stringed cithara. The only accompaniment for
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? TEU
TEU
? pint cf bis clerical brethren. However this may hare
been, a distinction is carefully observed between the
works which T'/rtullian wrote previous to his separa-
tion from the Catholic Church and those which he
composed afterward, when he had ranged himself
? rnong the followers of Montanus. The former are
four in number, his Apologeticus, and those which
treat of baptism, of penitence, and prayer. The last
? f these is regarded as his first production. Some
luthors add a work in two volumes, addressed to his
wife, in which he gives her directions as to the course
of conduct which she should pursue in the state of
widowhood. Most critics consider this to have been
composed by him at an advanced age. The worke
written by Tertullian after he had become a Monta-
oisi are. Apologies for Christianity, Treatises on Ec-
tlcsiastical Discipline, and two species of polemical
works, the one directed against heretics, and the other
against Catholics. The laiier are four in number, De
Pudtcitia, De Fuga in I'ersecuiione, De Jcjunia, De
Monogamia. His principal work is the Apologeticus
Adtersus Gentes mentioned above. It is addressed
10 the governors of the provinces; it refutes the cal-
umnies which had been uttered against the religion of
the gospel, and shows that its professors were faithful
and obedient subjects. It is the best work written in
favour of Christianity during the early agea of the
Church. It contains a number of very curious histor-
ical passages on the ceremonies of the Christian
Church , as, for example, a description of the agapa
ox love-feasts. Tertullian remoulded this work, and
it appeared under the new title Ad Naliones. In ita
altered state S possesses more method, bu' less fire
than the first The writings of Tertullian show an
ardent and impassioned spirit, a brilliant imagination,
a high degree of natural talent and profound erudition.
His style, however, is obscure, though animated, and
betrays the foreign extraction of the writer. The pe-
rusal of Tertullian is very important for the student of
ecclesiastical history. He informs us, more correctly
than any other writer, respecting the Christian doc-
trines of his time, the constitution of the Church, its
ceremonies, and the attacks of heretics against Chris-
tianity. Tertullian was held in very high esteem by
the subsequent fathers of the Church. St. Cyprian
read his works incessantly, ana used to call him, by
way of eminence, The Master. Vincent of Lerina
used to say " that every word of Tertullian waa a sen-
tence, and every sentence a triumph over error. "
The best edition of the entire works of Tertullian is
that of Scmler, 4 vols. 8vo, Hal. , 1770; and of his
Apology, that of Havercamp, 8vo, L. Bat. , W18.
Tethys, the wife of Oceamis, and daughter of Ura-
nus and Terra. Their offspring were the rivers of
the earth, and three thousand daughters, named Oce-
anides cr Ocean-nymphs. (He*. , Thcog , 337, seqq. )
The name of Tcthys (Ttflic) is thought to mean the
Nurse, the Rearer. Hermann renders it Alumina.
[Keightley's Mythology, p. 51. )
Tetrapolis, I. a name given to the city of Antioch,
the capital of Syria, because divided, as it were, into
four cities, each having ita separate wall, besides a
common one enclosing all. (Vii. Antiochia I. )--II.
A name applied to Doris, in Greece (Dorica Tetrap-
olis), from its four cities. (Vid. Doris. )
Tkcckk, I. a king of part of Troas, son of the Sea-
mander by Idsca. His aubjecta were called Teucri,
? ? from his name; and hia daughter Batea married Dar-
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? THA
Vat of Carbo, turned back and spread desolation in
Gaul; and the Romans despatched an army against
them under Spurius Cassius. This army was annihi-
lated by the Celtic hordes, who had associated them-
selves with the Cimbri and Teutones. The barbarians
Unified the Romans by their enormous stature, by
their firmness in order of battle, and by their mode of
fighting, of which the peculiarity consisted in extend-
ing their lines so as to enclose large tracts of ground,
and in forming harriers around them with their wagons
and chariMs. The danger to the Romans from tho
combined German and Celtic populations seemed the
greater, as the Jugurthine wars, in the beginning of
the contest, engaged their best generals. They there-
fore sent into Gaul L. Serrilius Csspio, a consul, with
a consular army. Ca>pio, quite in the spirit of the
senatorial party of his tir. es, plundered the Gauls, and
seized their sacred treasures instead of preserving dis-
cipline. This was in A. U. C. 647. Tho next year,
Cspio was declared proconsul of Gallia Narbonensis,
and Cneius Manlius, the consul, was appointed his
colleague. These two generals, neither of whom pos-
sessed any merit, happening not to agree, separated
their forces, but were both attacked at the same time,
one by the Gauls, the other by the Cimbri, and their
armies were cut to pieces. The consternation which
this occasioned at Rome was increased by the spread-
ing of a report that the enemy were preparing to pass
the Alps. But the barbarians, instead of concentra-
ting their force for a descent upon Italy, wasted Spain
and scoured the Gallic territories. Marius was now
chosen consul; and, while the foe were plundering
Spain and Gaul, he was actively employed in exerci-
sing and disciplining his army. At length, in the third
year of his command in Gaul, in his fourth consulship,
the Teutones and Ambrones made their appearance
in the south of Gaul; while the Cimbri, and all the
tribes united with them, attempted to break into Italy
from the northeast. Marius defeated the Teutones
ind Amblones near Aqua; Sextiff) (now Aix), in Gaul;
and, in the following year, uniting his forces with
those of Catulus, he entirely defeated the Cimbri in
:he plain of Vercella? , to the north of the Po, near the
Sesiitu.
In these two battles the Teutones and Am-
orones are said to have lost the incredible number of
290,000 men (200,000 slain, and 90,000 taken pris-
oners), and the Cimbri 300,000 men (140,000 slain,
? nd 60,000 taken prisoners. --Liv. , Epit. , 68. -- Vid.
Marius. )
Thais, a celebrated Greek hetserist, who accom-
panied Alexander on his expedition into Asia, and in-
stigated him, while under the influence of wine, to set
tire to the royal palace at Persepolis. (Vid. Persepo-
lis. ) After the death of Alexander she attached her-
self to Ptolemy, son of Lagus, by whom she had two
sons and a daughter. This daughter was named
Irene, and became the wife of Ennostus, king of Soli,
in the island of Cyprus. There is no good reason for
the opinion that she lived with the poet Menander be-
fore accompanying the army of Alexander. This sup-
|iosition arose from Menander's having composed a
piece entitled Thais. (Athenaus, 13, p. 676, D. --
Bayh, Diet. , s. v. --Michaud, Biogr. Univ. , vol. 45,
p. 230. )
Thala, a city of Africa, in the dominions of Ju-
eurtha. It is supposed by some to be the same with
f elepte, now Ferrcanach, though this seems doubtful.
Mannert, however, inclines to this opinion. (Consult
? ? Shaw's Travels in Barbary, vol. 1, pt. 2, c. 5. )
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? THA
THE
bvpi nearli opposite to the modem Racca. Geogra-
pners are wrong in removing it to Ul-Dcer (Wil-
uams, Giogr. of Asia, p. 129, ser/q ) This ford was
passed by Cyrus the Younger in his expedition against
Artaxerxe*' afterward by Darius after his defeat by
Alexander at Issus; and near three years after by Al-
exander in pursuit of Darius, previous to the battle of
Arbela. (Xen. , Anab. , 1, 4. --Plin. , 5, 24 --Stepk.
Byz. ,i. r)
Thapsus, I. now Demsas, a town of Africa Propria,
on the coast, southeast of Hadrumctum, where Scipio
and Juba wero defeated by Coisar. It was otherwise
a place of little consequence. (Manner! , Gcogr. , vol.
10, pt. 2, p. 241. )--II. A town of Sicily, on the east-
ern coast, not far to the north of Syracuse. It was
situate on a peninsula, which was sometimes called an
island, and which now bears the name of Macromsi.
The place probably obtained its name from the penin-
sula producing the ^tixfioc, a sort of plant or shrub
used for dyeing yellow. (Thucyd. , 6,4. --Bloomfield,
ad Thucyd. , I. e. )
Thasus, an island in the -Etrcan, off the coast of
Thrace, and opposite the mouth of the Nestus. It
received, at a very remote period, a colony of Phoeni-
cians, under the conduct of Thasus (Herod. , 6, 47.
-- Scymn. , Ch. , v. 660), that enterprising people having
already formed settlements in several islands of the
^Egean. (Thucyd. , 1, 8. ) They were induced to
possess themselves of Thasus, from the valuable sil-
ver-mines which it contained, and which, it appears,
they afterward worked with unremitting assiduity.
Herodotus, who visited this island, reports that a large
mountain on the side of Samothrace had been turned
upside down (uvrarpa/ifievov) in search of the precious
uir-tal. Thasus, at a later period, was recolonized by
a party of Parians, pursuant to the command of an or-
acle to the father of the poet Archilochus. From this
document, quoted by Stephanas, we learn that the
ancient name of the island was iEria. (Pliny, 4,
IS. ) It is said by others to have been also named
Cbxyse. (Eustath. , ad Dion. Ptrieg. , p. 97. ) His-
? iseus the Milesian,during the disturbances occasioned
by the Ionian revolt, fruitlessly endeavoured to make
himself master of this island, which was subsequently
conquered by Mardonius, when the Thasians were
commanded to pull down their fortifications, and re-
move their ships to Abdera. (Herod. , 6,44. ) On the
expulsion of the Persians from Greece, Thasus, to-
gether with the other islands on this coast, became
tributary to Athens; disputes, however, having arisen
between the islanders and that po-ver 3n the subject of
the mines on the Thracian coast, a war ensued, and
the Thasians were besieged for three years. On their
surrender their fortifications were destroyed, and their
ships of war removed to Athens. (Thucyd. , I, 101. )
Thasus once more revolted, after the great failure of
the Athenians in Sicily, at which lime a change was
effected in the government of the island from democ-
racy to oligarchy. (Thucyd, 8, 64. ) According to
Herodotus, the revenues of Thasus amounted to two
hundred, and sometimes three hundred, talents annu-
ally. These funds were principally derived from the
mines of Scapte-hyle, in Thrace (6, 48). --The capital
of the island was Thasus. --Thasus furnished, besides
gold and silver, marbles and wine, which were much
esteemed. (Plin. , 35, 6. -- Senee. , Epi. it. , 86. --
Athen. , 1,51. ) The soil was excellent. (Dion. Pe-
? ? rieg. , v. 623 ) The modern name of the island is
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? THEATRUM.
xHEATKUM.
divtiu worship. In Greece, pre-eminently ihe land of
:he song and the lyre, this practice prevailed from the
moat ancient times. At the periodic festivals of their
several deities, bands of choristers, accompanied by
the pipe, the lute, or the harp, sang the general praisea
of the god. or episodic narrations ol his various achieve-
ments. The leasts of Bacchus had, of course, their
sacred choruses; and these choruses, from the cir-
cumstances of the festival, naturally fell into two
classes of very different character. The hymns ad-
dreascd immediately to the divinity, round the hal-
lowed altar during the solemnity of the service, were
grave, lofty, and restrained. The songs inspired by
the carousals of the banquet, and uttered amid the rev-
elriea of the Phallic procession, were coarse, ludi-
crous, and satirical, interspersed with mutual jeat and
gibe. 1'he hymn which accompanied the opening sac-
rifice was called iiBvpaptot, a term of doubtful ety-
mology and import. Perhaps, like the repulsive sym-
bol ol the Phallic rites, its origin must be referred to
an Eastern clime. --Besides the chanters of the Dithy-
ramb and the singers of the Phallic, there was, proba-
bly from the first introduction of Bacchic worship, a
third class of performers in these annual festivals.
Fauns and Satyrs were, in popular belief, the regular
attendants of the deity; and the received character of
these singular beings was in admirable harmony with
the merry Dionysia. The goat, as an animal espe-
cially injurious to the vines, and, therefore, peculiarly
obnoxious to the god of the vineyard, was the appro-
priate offering in the Bacchic sacrifices. In the horns
and hide of the victim, all that was requisite to furnish
aatyric guise was at hand ; and thus a baud of mum-
mers was easily formed, whose wit, waggery, and gri-
mace would prove no insignificant addition to the
amusements of the village carnival. --In these rude
festivities the splendid drama of the Greeks found its
origin. The lofty poetry of the Dithyramb, combined
with the lively exhibition of the Satyric chorus, was at
length wrought out into the majestic tragedy of Soph-
ocles. The Phallic song was expanded and improved
into the wonderful comedy of Aristophanes--<<In the
first rise of the Bacchic festivals, the rustic singers
used to pour forth their own unpolished and extempo-
raneous strains. By degrees, these rude choruses as-
sumed a more artificial form. Emulation was excited,
and contests between neighbouring districts led to the
successive introduction of such improvements as might
tend to add interest and effect to the rival exhibitions.
It was probably now that a distinction in prizes was
made. Heretofore a goat appears to have been the
ordinary reward of the victorious choristers; and the
term Tpayydia (rpuyov uiij), or goat-song, to have
comprehended the several choral chaniings in the Di-
snysia. To the Dithyramb a bull was now assigned,
as a nobler meed for its sacred ode; the successful
singers of the Phallic received a basket of figs and a
vessel of wine; while the goat wss left to the Satyric
chorus. Subsequently, when the Dithyramb and the
drama had become established in all their perfection
? . hrouglioiit the cities of Greece, the general prize was
? tripod, which was commonly dedicated by the victor
tj Bacchus, with a tablet, bearing the names of the
successful composer, choragus, and tribe. --The Dithy-
ramb was at a very early period admitted into the
Doric cities, and there cherished will peculiar atten-
tion by a succession of poets; among whom Archilo-
? ? ehus of Paros, Arion of Methylene, Simonidea of
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? THEA1 HUM.
tHEATKCM.
tetor wr. n his episodic recitations was so important
an advance, as leading directly to the formation of
dramatic plot and dialogue; and the other improve-
ments, which imparted skill, regularity, and unity to
the movements of the chorus, were of so influential a
description, that Thespis is generally considered the
inventor of the drama. Of tragedy, properly so call-
ed, he does not appear to have had any idea. ' Stories,
more or less ludicrous, generally turning upon Bac-
chus and his followers, interwoven with the dance and
the song of a well-trained chorus, formed the drama
of Thespis. --The Satyric chorus had by this time
been admitted into Athens; contests were set on foot;
and the aucccss which attended the novelties of Thes-
pis sharpened, no doubt, the talents of his competi-
tors. This emulation would naturally produce im-
firovement upon improvement: but we discover no
cading change in the line of the incipient drama until
the appearance of Phrynichus, the son of Polyphrad-
inon and the pupil of Thespis. At the close of the
sixth century before Christ, the elements of tragedy,
though still in a separate state, were individually so
fitted and prepared as to require nothing but a master
hand to unite them into one whole of life and beauty.
The Dithyramb presented in its sok'nn tone and lofty
strains a rich mine of choral poetry; the regular nar-
rative and mimetic character of the Thespian chorus
furnished the form and materials of dramatic exhibi-
tion. To Phrynichus belongs the chief merit of this
combination. Dropping the light and farcical cast of
the Thespian drama, and dismissing altogether Bac-
chus with his satyrs, he sought for the subjects of his
pieces in the grave and striking events registered in the
mythology or history of his country. This, however,
was not a practice altogether original or unexampled.
The fact, casually mentioned by Herodotus (5, 67),
that the tragic choruses at Sicyon sung, not the adven-
tures of Bacchus, but the woes of Adrastus, shows
that, in the Cyclic chorus at least, melancholy incident
tnd mortal personages had long before been intro-
duced. There is also some reason for supposing that
the young tragedian was deeply indebted to Homer in
the formation of his drama. Aristotle distinctly at-
tributes to the author of the Iliad and Odyssey the
primary suggestion of tragedy, as in his Margites was
given the first idea of comedy. (Poet. , 4, 12. ) Now
it is an historical fact, that, a few years before Phryn-
ichus began to exhibit, the Homeric poems had been
collected, revised, arranged, and published by the care
of Pisistratus. (Cic. , de Oral. , 3, 34. ) Such an
event would naturally attract attention, and add a
deeper interest to the study of this mighty master;
and it is easy to conceive how his /n/tf/neir Spa/tan-
Kai, as Aristotle terms them, would strike and operate
upon a mind acute, ready, and ingenious, as that of
Phrynichus must have been. At any rate, these two
facts stand in close chronological connexion--the first
edition of Homer, and the hirth of tragedy properly so
called --Taking, then, the ode and the tone of the
Dithyramb, the mimetic personifications of Homer and
the themes which additional tradition or even recent
events supplied, Phrynichus combined these several
materials together, and so brought them forward under
the dramatic form of the Thespian exhibition. Thus,
at length, docs tragedy dawn upon us. --These changes
in the character of the drama necessarily produced
corresponding alterations in its form and manner. The
? ? recitative was no longer a set of disjointed, rambling
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? THEATRJM
THEATl'. UM
H*rmeas and Proclus, the commentators on Plato,
the loss is not very great. -- Pratinas was a native of
Phhus, and a poet of higher talent He too attempt-
ed the new style of dramatic composition, and once
obtained a tragic victory. But the manifest pre-emi-
nence of the youthful iEschylus probably deterred the
Phliasian from continuing to cultivate the graver form
o the art, and led hint to contrive a novel and mixed
kind of play. Borrowing from tragedy its external
. "brut and mythological materials, Pratinas added a
chorus of Satyrs, << th their lively songs, gestures, and
movements. This new composition was called the
Satyric Drama. The novelty was exceedingly well-
timed. The innovations of Thespis and PhrynichuB
had banished the Satyric chorus, with its wild pranks
and merriment, to the great displeasure of the com-
monalty, who retained a strong regret for their old
amusement amid the new and more refined exhibitions.
The Satyric drama gave them back, under an improved
form, the favourite diversion of former limes; and was
received with such universal applause, that the tragic
poets, in compliance with the humour of their auditors,
deemed it advisable to combine this ludicrous exhibi-
tion with their graver pieces.
town produced also Protagoras the sophist, Scylh-
tnus an Iambic poet, Andron a geographical writer,
and Apellicon the great book-collector, to whom liter-
ature is indebted for the preservation of the works of
Aristotle. Though deserted, as we have already re-
marked, by the greater part of its inhabitants, Teos
still continued to exrit as an Ionian city, as may be
seen from Thucydides (3, 32). The chief produce of
the Teian territory was wine (lav. 37, 27), and Bac-
chus was the deity principally revered by the inhabi-
? ? tants. It is singular that Pliny (5, 38) should rank
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? TEKENTWS.
TER
knottier way, or whose taste was abhorrent from all
sort of buffoonery, had recourse to the other expedi-
ent of double plots; and this probably gained him the
popular reputation of being the most artful writer for
the stage. The Hecyra is the only one of his come-
dies of the true ancient cast; hence the want of suc-
cess with which it met on its first and second repre-
sentations. When first biought forward, in 589, it
was interrupted by the spectators leaving the theatre,
attracted by the superior interest of a boxing-match
and rope-dancers. A combat of gladiators had the
like unfortunate effect when it was attempted to be
again exhibited in 594. The celebrated actor, L. Am-
bivius, encouraged by the success which he hsd expe-
rienced in reviving the condemned plays of Cscilius,
ventured to produce it a third time on the atage, when
it recived a patient hearing, and was frequently repeat-
ed. Still, however, most of the old critics and com-
mentators speak of it as greatly inferior to the other
plays of Terence. On the whole, however, the plots
of Terence are, in most respects, judiciously laid: the
incidents are aelected with taste, arranged and con-
nected with inimitable art, and painted with exquisite
grace and beauty. --In the representation of characters
and manners, Terence was considered by the ancients
as surpassing all their comic poets. In this depart-
ment of his art, he shows that comprehensive knowl-
edge of the humours and inclinations of mankind,
which enabled him to delineate characters as well as
manners with a genuine and apparently unstudied sim-
plicity. All the inferior passions which form the
range of comedy are so nicely observed and accurately
expressed, that we nowhere find a truer or more lively
representation of human nature. --Erasmus, one of the
best judges of classical literature at the revival of
learning, saya that there is no author from whom we
can better learn the pure Roman style than from the
poet Terence. It haa been farther remarked of him,
that the Romans thought themselves in conversation
when they heard his comedies. Terence, in fact, gave
re the Roman tongue its highest perfection in point of
e. cgancc and grace. For this ineffabilis amanitas, as
It is called by Heinsius, he was equally admired by his
own contemporaries and the writers in the golden pe-
riod of Roman literature. He is called by Ctesar pun
? ermonis amator, and Cicero characterizes him aa
"Quicquid come loquens, ac omnia dulcia dicens. "
Even in the last age of Latin poetry, and when his
pure simplicity was so different from the style sffected
by the writers of the day, he continued to be regarded
as the model of correct composition. Ausonms. in
his beautiful poem addressed to his grandson, hails
him, on account of hia style, as the ornament of I. a-
tium. Among all the Latin writers, indeed, from En-
nius to Ausonius, we meet with nothing so simple, so
full of grace and delicacy--in fine, nothing that can
be compared to his comedies for elegance of dialogue,
presenting a constant flow of easy, genteel, unaf-
fected conversation, which never subsides into vulgar-
ity or grossness, and never rises higher than the ordi-
nary level of polite conversation. Of this, indeed, he
was ao careful, that when he employed any sentence
which he had found in the tragic poets, he stripped it
of that air of grandeur and majesty which rendered it
unsuitable for common life anc comedy. The narra-
tives in particular possess a beautiful and pictureaque
simplicity. As to what may be called the poetical
? ? stylo of Terence, it has been generally allowed that
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? TEH
TER
1 rights, a city of Venetia, in the territor; of the
Uarni, now Trieste. It waa situate at the northeast-
ern extremity of the Sinua Tergeatinus. In Strabo
we find it sometimes called Tergesta, or Tergestas
. n the plural. (Slrab. , 314. ) Tho Greeks knew it
by the name of Tergeatrum. (Artemid. , ap. Steph.
By*. --Damns. Ptrug. ,y. 384) It suffered severe-
ly, on one occasion, from a sudden incursion of the
lapydes. (Appian, B. 111. . 18. --Strabo, 207. )
Tkkina, a town of the Bruttii, on the coast of the
Mare Tyrrhenum. It is now St. Euphcmia. The ad-
jacent bay was called Sinus Terinxus. The earliest
writers who have noticed this place are Scylax (Peri-
plus, p. S) and Lycophron. Strabo informs us that it
was destroyed by Hannibal, when he found that he
could no longer retain it. It was probably restored at
a later period, as we find it named by Pliny and Ptol-
emy. (Cramer's- Anc. Greece, vol. 2, p. 416. )
TERMlLiE. Vid. Lycia.
Tkkminai. Ii. an annual festival at Rome, observed
in honour of the god Terminus, in the month of Feb-
ruary. It was then usual for peasants to assemble near
the principal landmarks which separated their fields,
and, after they had crowned them with garlands and
Bowers, to make libations of milk and wine, and to
sacrifice a lamb or a young pig. This festival was
originally established by Numa; and though at first
it was forbidden to shed the blood of victims, yet, in
process of time, landmarks were plentifully sprinkled
with it. (Ovid, Fast. , 2, 641. )
Terminus, a divinity at Rome, who was supposed
to preside over boundaries. His worship was first in-
troduced at Rome by Numa. who persuaded his sub-
jects that the limits of their lands were under the im-
mediate care and superintendence of Heaven. His
temple waa on the Tarpcian rock, and he was rcpre-
nent? d with a human head, without feet or arms, to in-
timate that he never moved, wherever he was. It is
said that w'. ien Tarquin the Proud wished to build a
temple on the Tarpeian rock to Jupiter, the god Ter-
minus alone refused to give way. ((hid, Fast. , 2,
im. --Plut. , Vit. Num. )
Terpamikr, a lyric poet and musician of Lesbos,
670 B. C. , whose date is determined by his appearance
ir. the mother-country of Greece: of his early life in
Lesbos nothing is known. The first account of him
describes him in Peloponnesus, which at that time
surpassed the rest of Greece in political power, in well-
ordered governments, and probably also in mental cul-
tivation. It is one of the most certain dates of an-
cient chronology, that, in the 26th Olympiad (B. C. 670),
musical contests were first introduced at the feast of
Apollo Carneius, and at their first celebration Terpan-
der was crowned victor. He was also victor four suc-
cessive times in the musical contest at the Pythian
temple of Delphi. In Laccdsmon, whose citizens,
from the earliest times, had been distinguished for their
love of music and dancing, the first scientific cultiva-
tion of music was ascribed to Terpander (Plut. , de
Mils. , c. 9); and a record of the precise time had been
preserved, probably in the registers of public games.
Hence it appears that Terpander was a younger con-
temporary of Callinus and Archilochus; so that the
dispute among the ancients, whether Terpander or Ar-
chilochus were the older, must probably be decided by
supposing them to have lived about the same time. At
the bead of all the inventions of Terpander stands the
? ? aeren-stringed cithara. The only accompaniment for
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? TEU
TEU
? pint cf bis clerical brethren. However this may hare
been, a distinction is carefully observed between the
works which T'/rtullian wrote previous to his separa-
tion from the Catholic Church and those which he
composed afterward, when he had ranged himself
? rnong the followers of Montanus. The former are
four in number, his Apologeticus, and those which
treat of baptism, of penitence, and prayer. The last
? f these is regarded as his first production. Some
luthors add a work in two volumes, addressed to his
wife, in which he gives her directions as to the course
of conduct which she should pursue in the state of
widowhood. Most critics consider this to have been
composed by him at an advanced age. The worke
written by Tertullian after he had become a Monta-
oisi are. Apologies for Christianity, Treatises on Ec-
tlcsiastical Discipline, and two species of polemical
works, the one directed against heretics, and the other
against Catholics. The laiier are four in number, De
Pudtcitia, De Fuga in I'ersecuiione, De Jcjunia, De
Monogamia. His principal work is the Apologeticus
Adtersus Gentes mentioned above. It is addressed
10 the governors of the provinces; it refutes the cal-
umnies which had been uttered against the religion of
the gospel, and shows that its professors were faithful
and obedient subjects. It is the best work written in
favour of Christianity during the early agea of the
Church. It contains a number of very curious histor-
ical passages on the ceremonies of the Christian
Church , as, for example, a description of the agapa
ox love-feasts. Tertullian remoulded this work, and
it appeared under the new title Ad Naliones. In ita
altered state S possesses more method, bu' less fire
than the first The writings of Tertullian show an
ardent and impassioned spirit, a brilliant imagination,
a high degree of natural talent and profound erudition.
His style, however, is obscure, though animated, and
betrays the foreign extraction of the writer. The pe-
rusal of Tertullian is very important for the student of
ecclesiastical history. He informs us, more correctly
than any other writer, respecting the Christian doc-
trines of his time, the constitution of the Church, its
ceremonies, and the attacks of heretics against Chris-
tianity. Tertullian was held in very high esteem by
the subsequent fathers of the Church. St. Cyprian
read his works incessantly, ana used to call him, by
way of eminence, The Master. Vincent of Lerina
used to say " that every word of Tertullian waa a sen-
tence, and every sentence a triumph over error. "
The best edition of the entire works of Tertullian is
that of Scmler, 4 vols. 8vo, Hal. , 1770; and of his
Apology, that of Havercamp, 8vo, L. Bat. , W18.
Tethys, the wife of Oceamis, and daughter of Ura-
nus and Terra. Their offspring were the rivers of
the earth, and three thousand daughters, named Oce-
anides cr Ocean-nymphs. (He*. , Thcog , 337, seqq. )
The name of Tcthys (Ttflic) is thought to mean the
Nurse, the Rearer. Hermann renders it Alumina.
[Keightley's Mythology, p. 51. )
Tetrapolis, I. a name given to the city of Antioch,
the capital of Syria, because divided, as it were, into
four cities, each having ita separate wall, besides a
common one enclosing all. (Vii. Antiochia I. )--II.
A name applied to Doris, in Greece (Dorica Tetrap-
olis), from its four cities. (Vid. Doris. )
Tkcckk, I. a king of part of Troas, son of the Sea-
mander by Idsca. His aubjecta were called Teucri,
? ? from his name; and hia daughter Batea married Dar-
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? THA
Vat of Carbo, turned back and spread desolation in
Gaul; and the Romans despatched an army against
them under Spurius Cassius. This army was annihi-
lated by the Celtic hordes, who had associated them-
selves with the Cimbri and Teutones. The barbarians
Unified the Romans by their enormous stature, by
their firmness in order of battle, and by their mode of
fighting, of which the peculiarity consisted in extend-
ing their lines so as to enclose large tracts of ground,
and in forming harriers around them with their wagons
and chariMs. The danger to the Romans from tho
combined German and Celtic populations seemed the
greater, as the Jugurthine wars, in the beginning of
the contest, engaged their best generals. They there-
fore sent into Gaul L. Serrilius Csspio, a consul, with
a consular army. Ca>pio, quite in the spirit of the
senatorial party of his tir. es, plundered the Gauls, and
seized their sacred treasures instead of preserving dis-
cipline. This was in A. U. C. 647. Tho next year,
Cspio was declared proconsul of Gallia Narbonensis,
and Cneius Manlius, the consul, was appointed his
colleague. These two generals, neither of whom pos-
sessed any merit, happening not to agree, separated
their forces, but were both attacked at the same time,
one by the Gauls, the other by the Cimbri, and their
armies were cut to pieces. The consternation which
this occasioned at Rome was increased by the spread-
ing of a report that the enemy were preparing to pass
the Alps. But the barbarians, instead of concentra-
ting their force for a descent upon Italy, wasted Spain
and scoured the Gallic territories. Marius was now
chosen consul; and, while the foe were plundering
Spain and Gaul, he was actively employed in exerci-
sing and disciplining his army. At length, in the third
year of his command in Gaul, in his fourth consulship,
the Teutones and Ambrones made their appearance
in the south of Gaul; while the Cimbri, and all the
tribes united with them, attempted to break into Italy
from the northeast. Marius defeated the Teutones
ind Amblones near Aqua; Sextiff) (now Aix), in Gaul;
and, in the following year, uniting his forces with
those of Catulus, he entirely defeated the Cimbri in
:he plain of Vercella? , to the north of the Po, near the
Sesiitu.
In these two battles the Teutones and Am-
orones are said to have lost the incredible number of
290,000 men (200,000 slain, and 90,000 taken pris-
oners), and the Cimbri 300,000 men (140,000 slain,
? nd 60,000 taken prisoners. --Liv. , Epit. , 68. -- Vid.
Marius. )
Thais, a celebrated Greek hetserist, who accom-
panied Alexander on his expedition into Asia, and in-
stigated him, while under the influence of wine, to set
tire to the royal palace at Persepolis. (Vid. Persepo-
lis. ) After the death of Alexander she attached her-
self to Ptolemy, son of Lagus, by whom she had two
sons and a daughter. This daughter was named
Irene, and became the wife of Ennostus, king of Soli,
in the island of Cyprus. There is no good reason for
the opinion that she lived with the poet Menander be-
fore accompanying the army of Alexander. This sup-
|iosition arose from Menander's having composed a
piece entitled Thais. (Athenaus, 13, p. 676, D. --
Bayh, Diet. , s. v. --Michaud, Biogr. Univ. , vol. 45,
p. 230. )
Thala, a city of Africa, in the dominions of Ju-
eurtha. It is supposed by some to be the same with
f elepte, now Ferrcanach, though this seems doubtful.
Mannert, however, inclines to this opinion. (Consult
? ? Shaw's Travels in Barbary, vol. 1, pt. 2, c. 5. )
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? THA
THE
bvpi nearli opposite to the modem Racca. Geogra-
pners are wrong in removing it to Ul-Dcer (Wil-
uams, Giogr. of Asia, p. 129, ser/q ) This ford was
passed by Cyrus the Younger in his expedition against
Artaxerxe*' afterward by Darius after his defeat by
Alexander at Issus; and near three years after by Al-
exander in pursuit of Darius, previous to the battle of
Arbela. (Xen. , Anab. , 1, 4. --Plin. , 5, 24 --Stepk.
Byz. ,i. r)
Thapsus, I. now Demsas, a town of Africa Propria,
on the coast, southeast of Hadrumctum, where Scipio
and Juba wero defeated by Coisar. It was otherwise
a place of little consequence. (Manner! , Gcogr. , vol.
10, pt. 2, p. 241. )--II. A town of Sicily, on the east-
ern coast, not far to the north of Syracuse. It was
situate on a peninsula, which was sometimes called an
island, and which now bears the name of Macromsi.
The place probably obtained its name from the penin-
sula producing the ^tixfioc, a sort of plant or shrub
used for dyeing yellow. (Thucyd. , 6,4. --Bloomfield,
ad Thucyd. , I. e. )
Thasus, an island in the -Etrcan, off the coast of
Thrace, and opposite the mouth of the Nestus. It
received, at a very remote period, a colony of Phoeni-
cians, under the conduct of Thasus (Herod. , 6, 47.
-- Scymn. , Ch. , v. 660), that enterprising people having
already formed settlements in several islands of the
^Egean. (Thucyd. , 1, 8. ) They were induced to
possess themselves of Thasus, from the valuable sil-
ver-mines which it contained, and which, it appears,
they afterward worked with unremitting assiduity.
Herodotus, who visited this island, reports that a large
mountain on the side of Samothrace had been turned
upside down (uvrarpa/ifievov) in search of the precious
uir-tal. Thasus, at a later period, was recolonized by
a party of Parians, pursuant to the command of an or-
acle to the father of the poet Archilochus. From this
document, quoted by Stephanas, we learn that the
ancient name of the island was iEria. (Pliny, 4,
IS. ) It is said by others to have been also named
Cbxyse. (Eustath. , ad Dion. Ptrieg. , p. 97. ) His-
? iseus the Milesian,during the disturbances occasioned
by the Ionian revolt, fruitlessly endeavoured to make
himself master of this island, which was subsequently
conquered by Mardonius, when the Thasians were
commanded to pull down their fortifications, and re-
move their ships to Abdera. (Herod. , 6,44. ) On the
expulsion of the Persians from Greece, Thasus, to-
gether with the other islands on this coast, became
tributary to Athens; disputes, however, having arisen
between the islanders and that po-ver 3n the subject of
the mines on the Thracian coast, a war ensued, and
the Thasians were besieged for three years. On their
surrender their fortifications were destroyed, and their
ships of war removed to Athens. (Thucyd. , I, 101. )
Thasus once more revolted, after the great failure of
the Athenians in Sicily, at which lime a change was
effected in the government of the island from democ-
racy to oligarchy. (Thucyd, 8, 64. ) According to
Herodotus, the revenues of Thasus amounted to two
hundred, and sometimes three hundred, talents annu-
ally. These funds were principally derived from the
mines of Scapte-hyle, in Thrace (6, 48). --The capital
of the island was Thasus. --Thasus furnished, besides
gold and silver, marbles and wine, which were much
esteemed. (Plin. , 35, 6. -- Senee. , Epi. it. , 86. --
Athen. , 1,51. ) The soil was excellent. (Dion. Pe-
? ? rieg. , v. 623 ) The modern name of the island is
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? THEATRUM.
xHEATKUM.
divtiu worship. In Greece, pre-eminently ihe land of
:he song and the lyre, this practice prevailed from the
moat ancient times. At the periodic festivals of their
several deities, bands of choristers, accompanied by
the pipe, the lute, or the harp, sang the general praisea
of the god. or episodic narrations ol his various achieve-
ments. The leasts of Bacchus had, of course, their
sacred choruses; and these choruses, from the cir-
cumstances of the festival, naturally fell into two
classes of very different character. The hymns ad-
dreascd immediately to the divinity, round the hal-
lowed altar during the solemnity of the service, were
grave, lofty, and restrained. The songs inspired by
the carousals of the banquet, and uttered amid the rev-
elriea of the Phallic procession, were coarse, ludi-
crous, and satirical, interspersed with mutual jeat and
gibe. 1'he hymn which accompanied the opening sac-
rifice was called iiBvpaptot, a term of doubtful ety-
mology and import. Perhaps, like the repulsive sym-
bol ol the Phallic rites, its origin must be referred to
an Eastern clime. --Besides the chanters of the Dithy-
ramb and the singers of the Phallic, there was, proba-
bly from the first introduction of Bacchic worship, a
third class of performers in these annual festivals.
Fauns and Satyrs were, in popular belief, the regular
attendants of the deity; and the received character of
these singular beings was in admirable harmony with
the merry Dionysia. The goat, as an animal espe-
cially injurious to the vines, and, therefore, peculiarly
obnoxious to the god of the vineyard, was the appro-
priate offering in the Bacchic sacrifices. In the horns
and hide of the victim, all that was requisite to furnish
aatyric guise was at hand ; and thus a baud of mum-
mers was easily formed, whose wit, waggery, and gri-
mace would prove no insignificant addition to the
amusements of the village carnival. --In these rude
festivities the splendid drama of the Greeks found its
origin. The lofty poetry of the Dithyramb, combined
with the lively exhibition of the Satyric chorus, was at
length wrought out into the majestic tragedy of Soph-
ocles. The Phallic song was expanded and improved
into the wonderful comedy of Aristophanes--<<In the
first rise of the Bacchic festivals, the rustic singers
used to pour forth their own unpolished and extempo-
raneous strains. By degrees, these rude choruses as-
sumed a more artificial form. Emulation was excited,
and contests between neighbouring districts led to the
successive introduction of such improvements as might
tend to add interest and effect to the rival exhibitions.
It was probably now that a distinction in prizes was
made. Heretofore a goat appears to have been the
ordinary reward of the victorious choristers; and the
term Tpayydia (rpuyov uiij), or goat-song, to have
comprehended the several choral chaniings in the Di-
snysia. To the Dithyramb a bull was now assigned,
as a nobler meed for its sacred ode; the successful
singers of the Phallic received a basket of figs and a
vessel of wine; while the goat wss left to the Satyric
chorus. Subsequently, when the Dithyramb and the
drama had become established in all their perfection
? . hrouglioiit the cities of Greece, the general prize was
? tripod, which was commonly dedicated by the victor
tj Bacchus, with a tablet, bearing the names of the
successful composer, choragus, and tribe. --The Dithy-
ramb was at a very early period admitted into the
Doric cities, and there cherished will peculiar atten-
tion by a succession of poets; among whom Archilo-
? ? ehus of Paros, Arion of Methylene, Simonidea of
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? THEA1 HUM.
tHEATKCM.
tetor wr. n his episodic recitations was so important
an advance, as leading directly to the formation of
dramatic plot and dialogue; and the other improve-
ments, which imparted skill, regularity, and unity to
the movements of the chorus, were of so influential a
description, that Thespis is generally considered the
inventor of the drama. Of tragedy, properly so call-
ed, he does not appear to have had any idea. ' Stories,
more or less ludicrous, generally turning upon Bac-
chus and his followers, interwoven with the dance and
the song of a well-trained chorus, formed the drama
of Thespis. --The Satyric chorus had by this time
been admitted into Athens; contests were set on foot;
and the aucccss which attended the novelties of Thes-
pis sharpened, no doubt, the talents of his competi-
tors. This emulation would naturally produce im-
firovement upon improvement: but we discover no
cading change in the line of the incipient drama until
the appearance of Phrynichus, the son of Polyphrad-
inon and the pupil of Thespis. At the close of the
sixth century before Christ, the elements of tragedy,
though still in a separate state, were individually so
fitted and prepared as to require nothing but a master
hand to unite them into one whole of life and beauty.
The Dithyramb presented in its sok'nn tone and lofty
strains a rich mine of choral poetry; the regular nar-
rative and mimetic character of the Thespian chorus
furnished the form and materials of dramatic exhibi-
tion. To Phrynichus belongs the chief merit of this
combination. Dropping the light and farcical cast of
the Thespian drama, and dismissing altogether Bac-
chus with his satyrs, he sought for the subjects of his
pieces in the grave and striking events registered in the
mythology or history of his country. This, however,
was not a practice altogether original or unexampled.
The fact, casually mentioned by Herodotus (5, 67),
that the tragic choruses at Sicyon sung, not the adven-
tures of Bacchus, but the woes of Adrastus, shows
that, in the Cyclic chorus at least, melancholy incident
tnd mortal personages had long before been intro-
duced. There is also some reason for supposing that
the young tragedian was deeply indebted to Homer in
the formation of his drama. Aristotle distinctly at-
tributes to the author of the Iliad and Odyssey the
primary suggestion of tragedy, as in his Margites was
given the first idea of comedy. (Poet. , 4, 12. ) Now
it is an historical fact, that, a few years before Phryn-
ichus began to exhibit, the Homeric poems had been
collected, revised, arranged, and published by the care
of Pisistratus. (Cic. , de Oral. , 3, 34. ) Such an
event would naturally attract attention, and add a
deeper interest to the study of this mighty master;
and it is easy to conceive how his /n/tf/neir Spa/tan-
Kai, as Aristotle terms them, would strike and operate
upon a mind acute, ready, and ingenious, as that of
Phrynichus must have been. At any rate, these two
facts stand in close chronological connexion--the first
edition of Homer, and the hirth of tragedy properly so
called --Taking, then, the ode and the tone of the
Dithyramb, the mimetic personifications of Homer and
the themes which additional tradition or even recent
events supplied, Phrynichus combined these several
materials together, and so brought them forward under
the dramatic form of the Thespian exhibition. Thus,
at length, docs tragedy dawn upon us. --These changes
in the character of the drama necessarily produced
corresponding alterations in its form and manner. The
? ? recitative was no longer a set of disjointed, rambling
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H*rmeas and Proclus, the commentators on Plato,
the loss is not very great. -- Pratinas was a native of
Phhus, and a poet of higher talent He too attempt-
ed the new style of dramatic composition, and once
obtained a tragic victory. But the manifest pre-emi-
nence of the youthful iEschylus probably deterred the
Phliasian from continuing to cultivate the graver form
o the art, and led hint to contrive a novel and mixed
kind of play. Borrowing from tragedy its external
. "brut and mythological materials, Pratinas added a
chorus of Satyrs, << th their lively songs, gestures, and
movements. This new composition was called the
Satyric Drama. The novelty was exceedingly well-
timed. The innovations of Thespis and PhrynichuB
had banished the Satyric chorus, with its wild pranks
and merriment, to the great displeasure of the com-
monalty, who retained a strong regret for their old
amusement amid the new and more refined exhibitions.
The Satyric drama gave them back, under an improved
form, the favourite diversion of former limes; and was
received with such universal applause, that the tragic
poets, in compliance with the humour of their auditors,
deemed it advisable to combine this ludicrous exhibi-
tion with their graver pieces.
