Lord Byron, the leading reviews of the period criticised the young

author in a harsh and narrow spirit, of which they have doubtless long since been thoroughly ashamed. The innumerable beauties of the collection of poems are far too well known to require exposition here. The "Lotos-eaters," the "Œnone," and the "Ulysses," indicate the power with which the poet transfuses the ancient classical modes of thought and feeling into a modern form. That exquisite idyll, "The Miller's daughter," is said to have first obtained for the author that royal approbation which afterwards secured his appointment as laureate. The reflective, self-searching, and metaphysical spirit of the present time is well represented in "The Palace of Art," "The Vision of Sin," "The Two Voices," and "Love and Duty." The next work published by Tennyson, "The Princess," is a kind of tragi-comedy, the main purpose of which is to explain what should be the just and fitting position of the female sex in an enlightened age. The work abounds in beautiful passages, though perhaps most readers are inclined to wish that the tenor of the book had been uniformly serious. We do not think Mr. Tennyson happy when he attempts to be humorous and playful, any more than Shelley or Browning. The "In Memoriam" is by many considered the highest achievement of its author; and if it be necessary for a man to have treated a great subject worthily before he can be esteemed a great poet, and if the "In Memoriam" can be fairly regarded as one continuous whole, then their opinion is certainly well founded. But perhaps neither of the premises is altogether just. However that may be, the poem must be always ranked among the noblest in the language. The poem entitled "Maud" excited much adverse criticism, but even those who censured it most strongly as unworthy of the author's genius, were obliged to admit that it contained many songs and detached passages of almost unrivalled beauty. Along with "Maud" was printed the "Ode on the death of the Duke of Wellington," a truly dignified and striking composition, worthy of the occasion on which it was penned. Like all his former productions, the last work of the laureate, the "Idylls of the King," can scarcely be regarded as a continuous poem, but that detracts little from the pleasure of the reader, or from the beauty of the work. The idylls should be read along with the "Morte d'Arthur," which might advantageously be printed with them as a fifth idyll. A few detached pieces have since been published by Mr. Tennyson in the Cornhill and Macmillan's Magazines. Few writers of equal genius have been so patient of the limæ labor ac mora. Nearly all his poems bear the stamp of profound reflection, elaborate execution, and careful correction. It would indeed have been well for the reputation of some other great poets had they published as little that was unworthy of their powers. Many of the passages most sharply attacked on their first appearance have been altered, and in some cases we think the author has shown an undue deference to the opinion of his critics. Mr. Tennyson is not only familiar with the great models of his art both in ancient and modern times, but is also well versed in scientific knowledge, without which perhaps he could hardly aspire to represent fully the poetic elements of the nineteenth century. Some interesting examples of the skill with which he treats physical science in its relation to humanity may be found in the "In Memoriam." How gracefully he can educe what is pleasing and romantic from the common circumstances of ordinary life he has shown us in his idylls—as, for instance, in that called "The Brook." Nothing can be more simple than the materials employed, yet the effect is as charming as in the Herman and Dorothea of Göthe, or the Evangeline of Longfellow. Not the least perhaps of his many excellences is the remarkable command of rhythm and metrical harmony by which his versification is distinguished. In this respect none of our modern poets, Shelley, Keats, and Coleridge excepted, will bear a comparison with the present laureate.—G. TENON, Jacques René, a celebrated French surgeon, was born at Sepaux, near Joigny, in 1724. He studied at Paris under Winslow, and Antoine and Bernard de Jussieu. His acquirements in anatomy, physiology, and the natural sciences, were of a high character. In 1744 he was named chirurgien de première classe aux armées, and served in the campaign of Flanders. On his return he obtained by concours the post of first surgeon at the Salpétrière, where he delivered a course on surgery. He was partly instrumental in introducing the practice of inoculation into France, by establishing an institution for its performance. He, however, unhesitatingly abandoned inoculation on becoming acquainted with the superior claims of vaccination. In 1759 he was admitted a member of the Academy of Sciences. Shortly before the Revolution, at the request of Louis XVI., he visited the hospitals of England for the purpose of making observations on English practice. On his return he was elected a deputy in the legislative assembly. After the breaking out of the Revolution he retired from political life. He was a member of the legion of honour, and a member of the Institute of the first class. He died at Paris on the 15th January, 1815. Amongst his works are—"Recherches sur les cataractes capsulaires," read before the Academy of Sciences on the 19th March, 1755; three memoirs on the Exfoliation of Bones, and a memoir on the Teeth, in the Memoires of the same academy; "On the Means of Prolonging Life," Paris, 1813; memoirs on Anatomy, Pathology, and Surgery, published in 1806.—F. C. W. TENORE, Michel, a distinguished Italian botanist, who died at Naples on 19th July, 1861, aged eighty-one. He was professor of botany at Naples, and founded the botanic garden there, and acted as director of it for fifty years. He was very courteous to English visitors. He published a Flora Neapolitana in 5 vols. folio.—J. H. B. TENTERDEN. See Abbot. TENTORI, Cristofero, a Spanish divine, born in the province of Seville in 1745. His family are said to have been of Italian origin. On the death of his father in 1806, he left Spain for ever, and went to reside in Italy; but as he refused to acknowledge Joseph Bonaparte as king, he became an object of suspicion, and was compelled to devote himself to private teaching in the family of the Tiepoli until his death in 1810. His principal works are entitled "Storia civile e politica della repubblica di Venizia;" "Raicolto cronologico ragionato di documenti inediti che formano la Storia diplomatica della revoluzione e caduta della repubblica di Venizia," Venice, 1799; "Il Matrimonio," &c.—F. M. W. TENTZEL, Wilhelm Ernst, a German man of letters, was born at Greussen, Thuringia, in 1659. He studied at Wittenberg, and in 1685 obtained a mastership at Gotha, where at the same time he superintended the ducal cabinet of coins and curiosities. In 1702 he was appointed historiographer at Dresden, but soon resigned this office, and died on 24th November, 1707. Amongst his numerous works his "Saxonia Numismatica," Frankfort, 1705, acquired the greatest fame. He was the first German writer who originated a monthly magazine, Monatliche Unterredungun, Leipsic, 1688-98, in which he criticized the new publications of the German book market.—K. E. TERBURG, Gerard, an excellent Dutch portrait painter, a Vandyck in little. He was born at Zwolle in 1608; was taught painting by his father; and after many travels in Germany, France, Italy, and Spain, where he was knighted, settled finally at Deventer, where he became burgomaster, and where he died in 1681. Terburg excelled in conversation pieces as well as portraits, and is favourably distinguished among the Dutch painters for having generally avoided the low, vulgar subjects commonly treated by them; his pictures being taken almost exclusively from the social life of the upper or middle classes. A lady in a white satin dress was a favourite subject with him. He had a sister, Gezina, who imitated his style.—R. N. W. TERENTIANUS. See Maurus Terentianus. TERENTIUS (Publius Terentius Afer), the dramatist, was born at Carthage, 195 b.c. He was early brought as a slave to Rome, and became one of the household of Publius Terentius Lucanus, a wealthy senator. Here he received an excellent education through the kindness of his master, from whom also he received his manumission at an early age. At this time he assumed, as was usual, the name of his patron—Terentius—by which he is known to posterity. His first play, the "Andria," was brought on the stage 166 b.c., partly through the interest of Cæcilius, himself celebrated as a writer of comedy. The genius of Terence soon secured him the favour and patronage of Scipio Africanus Minor, his friend Lælius, and other Roman nobles, who wished by every means to diffuse among their countrymen a taste for Grecian letters and civilization. Through their kindness he was enabled to travel through Greece, where he collected abundant literary treasures and materials for future dramas. Unhappily, he died, while on his return to Italy, at the age of thirty-five. In his own day the comedies of Terence, though highly valued by the more intellectual Romans, were not generally popular. The audience was not sufficiently refined to appreciate the author. While, however, Greek manners and tastes gradually made their