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16 whose water imparted poetic inspiration. Also the nymph of the same, daughter of the river-god Permessus.

 Agasĭas. A Greek artist of Ephesus, probably in the 1st century The Borghese Gladiator in the Louvre is from his hand. (See .)

 Agătharchĭdēs. A Greek grammarian of Cnidus, who lived at Alexandria in the 2nd century as tutor, and afterwards guardian, of a prince. He composed several historical works (one on the successors of Alexander), a well written performance, and a description of the Red Sea in five books. Of the former only a few fragments remain, of the last some considerable extracts from the first and fifth books.

 Agătharchus. A Greek, painter of Samos, the inventor of scene-painting. (See .)

 Agăthĭās. Of Myrīna in Asia Minor, a Greek poet and historian, born about 530, lived at Constantinople as a jurist, and died about 582. By his Kyklos, a collection of his own and contemporary poems topically arranged in eight books, he helped to originate the Greek (q.v.) which still contains 101 epigrams by him. In his last years he wrote, in a laboured florid style, a history of Justinian in five books, treating of the years 552–8 in continuation of Procopius.

 Agăthŏdæmōn (= good dæemon) In Greek mythology a good spirit of the cornfields and vineyards, to whom libations of unmixed wine were made at meals. In works of art he is represented as a youth, holding in one hand a horn of plenty and a bowl, in the other a poppy and ears of corn. (Comp. {{sc|Eventus.)

 Agăthōn. A tragic poet of Athens, born 448, a friend of Eurīpĭdēs and Plato, universally celebrated for his beauty and refined culture. The banquet he gave in honour of his dramatic victory of 417 is immortalized in Plato's Sympŏsĭŏn. He was, together with Euripides, at the court of Archelāus, king of Macedonia, and probably died there about {{sc|b.c.}} 402. He appears to have carried still further the rhetorical manner of Euripides, adopting entirely the views of the sophist Gorgias; and his namby-pamby style is ridiculed by Aristŏphănes. On the stage he introduced several innovations: he was the first to make the chorus a mere intermezzo, having nothing to do with the action, and in his tragedy of Anthŏs (= flower) he invented both characters and plot for himself, instead of resorting to old myths.

 Agāvē (Gr. Agāūē). Daughter of Cadmus and wife of Echīōn. She, with other women, in a bacchanalian frenzy tore to pieces her own son Pentheus (q.v.).

<section end="Agave" /> <section begin="Agdistis" />Agdistis. See {{sc|Rhea}}.

<section end="Agdistis" /> <section begin="Ages" />Ages. Since the time of Hesiod, the Greeks, and the Romans after them, generally assumed the existence of four ages.

(1) The age of gold, in which Krŏnŏs or Saturnus was king. During this period mankind enjoyed perpetual youth, joy, and peace undisturbed, reaping in their fulness the fruits which the earth spontaneously brought forth. Death came upon them like a soft slumber; and after it they became good dæmŏnĕs, watching men like guardians in their deeds of justice and injustice, and hovering round them with gifts of wealth.

(2) The golden age was succeeded by that of silver. This was inferior to the golden both in physical and mental force. The people of the silver age remained for a hundred years in the condition of children, simple and weakly. Even if they attained maturity, their folly and arrogance prevented their living long. They continued to exist after death as spirits, living beneath the earth, but not immortal.

(3) Zeus then created the brazen age, so<section end="Ages" />