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A Dictionary of Greek and Roman biography and mythology (ed. William Smith) 22 22 Browse Search
Polybius, Histories 2 2 Browse Search
Appian, The Foreign Wars (ed. Horace White) 1 1 Browse Search
Pliny the Elder, The Natural History (ed. John Bostock, M.D., F.R.S., H.T. Riley, Esq., B.A.) 1 1 Browse Search
Titus Livius (Livy), Ab Urbe Condita, books 5-7 (ed. Benjamin Oliver Foster, Ph.D.) 1 1 Browse Search
Sir Richard C. Jebb, Commentary on Sophocles: Oedipus at Colonus 1 1 Browse Search
Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome 1 1 Browse Search
Knight's Mechanical Encyclopedia (ed. Knight) 1 1 Browse Search
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Browsing named entities in Titus Livius (Livy), Ab Urbe Condita, books 5-7 (ed. Benjamin Oliver Foster, Ph.D.). You can also browse the collection for 240 BC or search for 240 BC in all documents.

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Titus Livius (Livy), The History of Rome, Book 7 (ed. Benjamin Oliver Foster, Ph.D.), chapter 2 (search)
layer; they no longer —as before —alternately threw off rude lines hastily improvised, like the Fescennines,The name was derived by the ancients either from Fescennia, a place in Etruria, or from fascinum, a phallic symbol. but performed medleys, full of musical measures, to melodies which were now written out to go with the flute, and with appropriate gesticulation. LiviusLivius Andronicus, a Greek captured at Tarentum, produced the first translation of a Greek play into Latin, in 240 B.C. was the first, some years later, to abandonB.C. 364 saturae and compose a play with a plot. Like everyone else in those days, he acted his own pieces; and the story goes that when his voice, owing to the frequent demands made upon it, had lost its freshness, he asked and obtained the indulgence to let a boy stand before the flautist to sing the monody, while he acted it himself, with a vivacity of gesture that gained considerably from his not having to use his voice. From tha