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 REGULAR, orderly, following or arranged according to a rule (Lat. regula, whence O.Fr. reule, whence English “rule”), steady, uniform, formally correct. The earliest and only use in English until the 16th century was in the Med. Lat. sense of regutaris, one bound by and subject to the rule (regula) of a monastic or religious order, a member of the “regular” as opposed to the “secular” clergy, and so, as a substantive, a regular, i.e. a monk or friar. Another specific application is to that portion of the armed forces of a nation which are organized on a permanent system, the standing army, as opposed to “irregulars,” levies raised on a voluntary basis and disbanded when the particular campaign” or war for which they were raised is at an end. In the British army, the forces were divided into regulars, militia and volunteers, until 1906, when they were divided into regular and territorial forces.

REGULUS, MARCUS ATILIUS, Roman general and consul (for the second time) in the ninth year of the First Punic War (256 ). He was one of the commanders in the Punic naval expedition which shattered the Carthaginian fleet at Ecnornus, and landed an army on Carthaginian territory (see PUNIC WARS). The invaders were so successful that the other consul, L. Manlius Vulso, was recalled to Rome, Regulus being left behind to finish the war. After a severe defeat at Adys near Carthage, the Carthaginians were inclined for peace, but the terms proposed by Regulus were so harsh that they resolved to continue the war. In 255, Regulus was completely defeated and taken prisoner by the Spartan Xanthippus. There is no further trustworthy information about him. According to tradition, he remained in captivity until 2 50, when after the defeat of the Carthaginians at Panormus he was sent to Rome on parole to negotiate a peace or exchange of prisoners. On his arrival he strongly urged the senate to refuse both proposals, and returning to Carthage was tortured to death (Horace, Odes, iii. 5). This story made Regulus to the later Romans the type of heroic endurance; but most. historians regard it as insufficiently attested, Polybius being silent. The tale was probably invented by the annalists to excuse the cruel treatment of the Carthaginian prisoners by the Romans.

REHAN, ADA (1860–), American actress, whose real name was Crehan, was born in Limerick, Ireland, on the 22nd of April 1860. Her parents removed to the United States when she was five years old, and it was in Newark, N.J., that in 1874 she made her first stage appearance in a small part in Across the Continent. She was with Mrs John Drew's stock company in' Philadelphia, John W. Albaugh's in Albany and Baltimore, and other companies for several seasons, playing every kind of minor part, until she became connected with Augustin Daly's theatrical management in 1879. Under his training she soon showed her talents for vivid, charming portrayal of character, first in modern and then in older comedies. She was the heroine in all the Daly adaptations from the German, and added to her triumphs the parts of Peggy in Wycherly's Country Girl, Julia in the Hunchback, and especially Katharina in The Taming of the Shrew, besides playing Rosalind and Viola. Miss Rehan accompanied Daly's company to England (first in 1884), France and Germany (1886). Her life-size portrait as Katharina is in the picture-gallery, and her bust, with Ellen Terry's, at the entrance to the theatre in the Shakespeare Memorial at Stratford-on-Avon.

REHEARSAL (from “rehearse,” to say over again, repeat, recount, O.Fr. rehercer, from re, again, and hercer, to harrow, cf. “hearse,” the original meaning being to rake or go over the same ground again as with a harrow), a recital of words or statements, particularly the trial performance in private of a play, musical composition, recitation, &c., for the purpose of practice preparatory to the performance in public. In the theatre a “full rehearsal” is one in which the whole performance is gone through with all the performers, a “dress rehearsal” one in which the performance is carried out with scenery, costumes, properties, &c., exactly as it is to be played in public.

 REHOBOAM (Heb. rehab'ām, probably “the clan is enarged,” see Ecclus. xlvii. 23, although on the analogy of Rehabiah and Bab. ra'bi-ilu, ' Am may represent some god; Septuagint reads ), son of Solomon and first king of Judah. On the events which led to his accession and the partition of the Hebrew monarchy, see,. Although his age is given as forty-one (1 Kings xiv. 21), the account of his treatment of the Israelite deputation (1 Kings xii.), as also 2 Chron. xiii. 7, give an impression of youth. He was partly of Ammonite origin (1 Kings xiv. 21), and, like his father, continued the foreign worship which his connexions involved. The chief event of his reign was the incursion of Egypt under Sheshonk (Shishak) I., who came up against Judah and despoiled the temple about 930 (see, History, § “Deltaic Dynasties”). That this invasion is to be connected with the friendly relations which are said to have subsisted between the first of the Libyan dynasty and Rehoboam's rival is unlikely. Sheshonk has figured his campaign outside the great temple of Karnak with a list of some 150 places which he claims to have conquered, but it is possible that these were only tributary, and the names may be largely based upon older lists. Towns of both Judah and Israel are incorporated, and it is possible that Jerusalem once stood where now the stone is mutilated. The book of Chronicles enumerates several Judaean cities fortified by Rehoboam (not necessarily connected with Sheshonk's campaign), and characteristically regards the invasion as a punishment (2 Chron. xi. 5 sqq., xii. 1–15; for the prophet Shemaiah see 1 Kings xii. 21–24). Of Rehoboam's successor Abijah (or Abijam) little is known except a victory over jeroboam recorded in 2 Chron. xiii. See further, , and (History), §§ 7,9.

 REICHA, ANTON JOSEPH (1770–1836), French musical theorist and teacher of composition, was born at Prague on the 27th of February 1770, and educated chiefly by his uncle, Joseph Reicha (1746–1795), a clever violoncellist, who first received him into his house at Wallerstein in Bohemia, and afterwards carried him to Bonn. Here, about 1789, he was made flutist in the orchestra of the elector. In 1794 he went to Hamburg and gave 'music lessons there, also producing the opera Godefroid de Montfort. He was in Paris in 1799 and in Vienna from 1802 to 1808, during which period he saw much of Beethoven and Haydn. In the latter year he returned to Paris, where he produced three operas without much success. In 1817 he succeeded Méhul as professor of counterpoint at the Conservatoire. In 1829 he was naturalized as a Frenchman, and in 1835 he was admitted as a member of the Institute in the place of Boieldieu. He died in Paris on the 28th of May 1836. He produced a vast quantity of church music, five operas, a number of symphonies, oratorios and many miscellaneous works. Though clever and ingenious, his compositions are more remarkable for their novelty than for the beauty of the ideas upon which they are based. His fame is, indeed, more securely based upon his didactic works. His Traité de mélodie (Paris, 1814), Cours de composition musicale (Paris, 1818), Traité de haute composition musicale (Paris, 1824–26), and Art du compositeur dramatique (Paris, 1833), are valuable and instructive essays for the student, though many of the theories they set forth are now condemned as erroneous.

REICHENAU, a picturesque island in the Untersee or western arm of the lake of Constance, 3 m. long by 1 broad, and connected with the east shore by a causeway three-quarters of a mile long. It belongs to the grand duchy of Baden. The soil 