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 According to Suidas, Dinarchus wrote 160 speeches; and Dionysius held that, out of 85 extant speeches bearing his name, 58 were genuine,—28 relating to public, 30 to private causes. Although the authenticity of the three speeches mentioned above is generally admitted, Demetrius of Magnesia doubted that of the speech Against Demosthenes, while A. Westermann rejected all three. Dinarchus had little individual style and imitated by turns Lysias, Hypereides and Demosthenes. He is called by Hermogenes , a metaphor taken from barley compared with wheat, or beer compared with wine,—a Demosthenes whose strength is rougher, without flavour or sparkle.

 DINARD, a seaside town of north-western France, in the department of Ille-et-Vilaine. The town, which is the chief watering-place of Brittany, is situated on a rocky promontory at the mouth of the Rance opposite St Malo, which is about 1 m. distant. It is a favourite resort of English and Americans as well as of the French, its attractions being the beauty of its situation, the mildness of the climate and the good bathing. It has two casinos and numerous luxurious hotels and elegant villas. Together with the adjoining watering-place of St Enogat, Dinard has a population of 4882 (1906).

 DINDIGUL, a town of British India, in the Madura district of Madras, 880 ft. above the sea, 40 m. from Madura by rail. Pop. (1901) 25,182. Dindigul has risen into importance as the centre of a trade in tobacco and manufacture of cigars, which are exported to England. There are two large European cigar factories here. The town has manufactures of silk, muslin and blankets, and an export trade in hides and cardamoms; and there is a large native Christian population, with two churches. The ancient fort, well preserved, stands on a rock rising 350 ft. above the town; this was formerly a position of great strategic importance, commanding passes into Madura from Coimbatore, and figured prominently in the military operations of the Mahrattas in the 17th and 18th centuries, and of Hyder Ali in 1755 seq., being thrice captured by the British (1767, 1783, 1790). After the two first captures it was restored to Hyder Ali under treaty; after the third it was ceded to the East India Company.

 DINDORF, KARL WILHELM (1802–1883), German classical scholar, was born at Leipzig on the 2nd of January 1802. From his earliest years he showed a strong taste for classical studies, and after completing F. Invernizi’s edition of Aristophanes at an early age, and editing several grammarians and rhetoricians, was in 1828 appointed extraordinary professor of literary history in his native city. Disappointed at not obtaining the ordinary professorship when it became vacant in 1833, he resigned his post in the same year, and devoted himself entirely to study and literary work. His attention had at first been chiefly given to Athenaeus, whom he edited in 1827, and to the Greek dramatists, all of whom he edited separately and combined in his Poetae scenici Graeci (1830 and later editions). He also wrote a work on the metres of the Greek dramatic poets, and compiled special lexicons to Aeschylus and Sophocles. He edited Procopius for Niebuhr’s Corpus of the Byzantine writers, and between 1846 and 1851 brought out at Oxford an important edition of Demosthenes; he also edited Lucian and Josephus for the Didot classics. His last important editorial labour was his Eusebius of Caesarea (1867–1871). Much of his attention was occupied by the republication of Stephanus’s Thesaurus (Paris, 1831–1865), chiefly executed by him and his brother Ludwig, a work of prodigious labour and utility. His reputation suffered somewhat through the imposture practised upon him by the Greek Constantine Simonides, who succeeded in deceiving him by a fabricated fragment of the Greek historian Uranius. The book was printed, and a few copies had been circulated, when the forgery was discovered, just in time to prevent its being given to the world under the auspices of the university of Oxford. Shortly after the death of his brother, he lost all his property and his library by rash speculations. He died on the 1st of August 1883.

His brother (1805–1871) was born at Leipzig on the 3rd of January 1805, and died there on the 6th of September 1871. He never held any academical position, and led so secluded a life that many doubted his existence, and declared that he was a mere pseudonym. The important share which he took in the edition of the Thesaurus is nevertheless authenticated by his own signature to his contributions. He also published valuable editions of Polybius, Dio Cassius and other Greek historians.

 D’INDY, PAUL-MARIE-THÉODORE-VINCENT (1851–&emsp;&emsp;), French musical composer, was born in Paris, on the 27th of March 1851. He studied composition and the organ at the Paris Conservatoire under César Franck, and obtained the grand prize offered by the city of Paris in 1885 with Le Chant de la Cloche, a dramatic legend after Schiller. His principal works, beside the above, are the symphonic trilogy Wallenstein, the symphonic works entitled Saugefleurie, La Forêt enchantée, Istar, Symphonie sur un air montagnard français; overture to Anthony and Cleopatra; Ste Marie Magdeleine, a cantata; Attendez-moi sous l’orme, a one-act opera; Fervaal, a musical drama in three acts. Vincent d’Indy is perhaps the most prominent among the disciples of César Franck. Imbued with very high aims, he was always guided by a lofty ideal, and few musicians have attained so complete a mastery over the art of instrumentation. His music, however, lacks simplicity, and can never become popular in the widest sense. His opera Fervaal, which is styled “action musicale”, is constructed upon the system of Leit-motifs. Its legendary subject recalls both Parsifal and Tristan, and the music is also suggestive of Wagnerian influence. D’Indy can scarcely be considered so typical a representative of modern French music as his juniors Alfred Bruneau, the composer of Le Rêve, L’Attaque du moulin, Messidor, or Gustave Charpentier, the author of Louise, who chose subjects of modern life for their operatic works.

 DINEIR, a small town in Asia Minor, built amidst the ruins of Celaenae-Apamea, near the sources of the Maeander (Menderes). It is the terminus of the Smyrna-Aidin-Dineir railway. Pop. 1400. (See .)

 DINGELSTEDT, FRANZ VON (1814–1881), German poet and dramatist, was born at Halsdorf, in Hesse Cassel, on the 30th of June 1814. Having studied at the university of Marburg, he became in 1836 a master at the Lyceum in Cassel, from which he was transferred to Fulda in 1838. In 1839 he produced a novel, Unter der Erde, which obtained considerable success, and in 1841 published the book by which he is best remembered, the Lieder eines kosmopolitischen Nachtwächters. These poems, animated as they are by a spirit of bitter opposition to everything that savours of despotism, were an effective contribution to the political poetry of the day. The popularity of this book determined Dingelstedt to take up a literary career, and in 1841 he obtained an appointment on the staff of the Augsburger allgemeine Zeitung. In 1843, however, the satirist of German princes accepted, to the general surprise, the appointment of private librarian to the king of Württemberg, and in the same year he married the celebrated Bohemian opera singer, Jenny Lutzer. In 1845 he published a volume of poems, some of which, treating of modern life, possessed great literary rather than strictly poetical merit. A subsequent collection, published in 1852, attracted little attention. The success of his tragedy Das Haus der Barneveldt (1850) obtained for him the position of intendant at the court theatre at Munich, where he soon became the centre of literary society. He incurred, however, the animosity of the Jesuit clique at the court, and in 1856 was suddenly dismissed on the most frivolous charges. A similar position was offered to him at Weimar through the influence of Liszt, and he remained there until 1867. His administration was most successful, and he especially distinguished himself by presenting all Shakespeare’s historical plays upon the stage in an unbroken cycle. In 1867 he became director of the court opera house in Vienna, and in 1872 of the Hofburgtheater, a position he held until his death on the 15th of May 1881. Among his other works may be noticed an autobiographical sketch of his Munich career, entitled Münchener