e.g. Drws (the door of) Ardudwy, Rhinog fawr and Rhinog fach (cliffs); an exception is the verdant Cwm bychan (little combe or hollow). The Meini gwyr Ardudwy (stones of the men of Ardudwy) possibly mark the site of a fight.
HARLEQUIN, in modern pantomime, the posturing and
acrobatic character who gives his name to the “harlequinade,”
attired in mask and parti-coloured and spangled tights, and
provided with a sword like a bat, by which, himself invisible,
he works wonders. It has generally been assumed that Harlequin
was transferred to France from the “Arlecchino” of Italian
medieval and Renaissance popular comedy; but Dr Driesen in
his Ursprung des Harlekins (Berlin, 1904) shows that this is
incorrect. An old French “Harlekin” (Herlekin, Hellequin
and other variants) is found in folk-literature as early as 1100;
he had already become proverbial as a ragamuffin of a demoniacal
appearance and character; in 1262 a number of harlekins
appear in a play by Adam de la Halle as the intermediaries of
King Hellekin, prince of Fairyland, in courting Morgan le Fay;
and it was not till much later that the French Harlekin was
transformed into the Italian Arlecchino. In his typical French
form down to the time of Gottsched, he was a spirit of the air,
deriving thence his invisibility and his characteristically light
and aery whirlings. Subsequently he returned from the Italian
to the French stage, being imported by Marivaux into light
comedy; and his various attributes gradually became amalgamated
into the latter form taken in pantomime.
HARLESS (originally Harles), GOTTLIEB CHRISTOPH
(1738–1815), German classical scholar and bibliographer, was born
at Culmbach in Bavaria on the 21st of June 1738. He studied at
Halle, Erlangen and Jena. In 1765 he was appointed professor of
oriental languages and eloquence at the Gymnasium Casimirianum
in Coburg, in 1770 professor of poetry and eloquence at Erlangen,
and in 1776 librarian of the university. He held his professorship
for forty-five years till his death on the 2nd of November 1815.
Harless was an extremely prolific writer. His numerous editions
of classical authors, deficient in originality and critical judgment,
although valuable at the time as giving the student the results
of the labours of earlier scholars, are now entirely superseded.
But he will always be remembered for his meritorious work in
connexion with the great Bibliotheca Graeca of J. A. Fabricius,
of which he published a new and revised edition (12 vols., 1790–1809,
not quite completed),—a task for which he was peculiarly
qualified. He also wrote much on the history and bibliography
of Greek and Latin literature.
His life was written by his son, Johann Christian Friedrich Harless (1818).
HARLESS, GOTTLIEB CHRISTOPH ADOLF VON (1806–1879),
German divine, was born at Nuremberg on the 21st of
November 1806, and was educated at the universities of Erlangen
and Halle. He was appointed professor of theology at Erlangen
in 1836 and at Leipzig in 1845. He was a strong Lutheran and
exercised a powerful influence in that direction as court preacher
in Dresden and as president of the Protestant consistory at
Munich. His chief works were Theologische Encyklopädie und
Methodologie (1837) and Die christliche Ethik (1842, Eng. trans.
1868). He died on the 5th of September 1879, having, a few
years earlier, written an autobiography under the title Bruchstücke
aus dem Leben eines süddeutschen Theologen.
HARLINGEN, a seaport in the province of Friesland, Holland,
on the Zuider Zee, and the terminus of the railway and canal
from Leeuwarden (1512 m. E.). It is connected by steam tramway
by way of Bolswaard with Sneek. Pop. (1900) 10,448. Harlingen
has become the most considerable seaport of Friesland
since the construction of the large outer harbour in 1870–1877,
and in addition to railway and steamship connexion with
Bremen, Amsterdam, and the southern provinces there are
regular sailings to Hull and London. Powerful sluices protect
the inner harbour from the high tides. The only noteworthy
buildings are the town hall (1730–1733), the West church, which
consists of a part of the former castle of Harlingen, the Roman
Catholic church, the Jewish synagogue and the schools of
navigation and of design. The chief trade of Harlingen is the
exportation of Frisian produce, namely, butter and cheese,
cattle, sheep, fish, potatoes, flax, &c. There is also a considerable
import trade in timber, coal, raw cotton, hemp and jute for the
Twente factories. The local industries are unimportant, consisting
of saw-mills, rope-yards, salt refineries, and sail-cloth and
margarine factories.
HARMATTAN, the name of a hot dry parching wind that blows
during December, January and February on the coast of Upper
Guinea, bringing a high dense haze of red dust which darkens
the air. The natives smear their bodies with oil or fat while this
parching wind is blowing.
HARMODIUS, a handsome Athenian youth, and the intimate
friend of Aristogeiton. Hipparchus, the younger brother of
the tyrant Hippias, endeavoured to supplant Aristogeiton in the
good graces of Harmodius, but, failing in the attempt, revenged
himself by putting a public affront on Harmodius’s sister at a
solemn festival. Thereupon the two friends conspired with a few
others to murder both the tyrants during the armed procession
at the Panathenaic festival (514 B.C.), when the people were
allowed to carry arms (this licence is denied by Aristotle in
Ath. Pol.). Seeing one of their accomplices speaking to Hippias,
and imagining that they were being betrayed, they prematurely
attacked and slew Hipparchus alone. Harmodius was cut down
on the spot by the guards, and Aristogeiton was soon captured
and tortured to death. When Hippias was expelled (510),
Harmodius and Aristogeiton became the most popular of
Athenian heroes; their descendants were exempted from public
burdens, and had the right of public entertainment in the
Prytaneum, and their names were celebrated in popular songs and
scolia (after-dinner songs) as the deliverers of Athens. One of
these songs, attributed to a certain Callistratus, is preserved
in Athenaeus (p. 695). Their statues by Antenor in the agora
were carried off by Xerxes and replaced by new ones by Critius
and Nesiotes. Alexander the Great afterwards sent back the
originals to Athens. It is not agreed which of these was the
original of the marble tyrannicide group in the museum at
Naples, for which see article Greek Art, Pl. I. fig. 50.
See Köpp in Neue Jahrb. f. klass. Altert. (1902), p. 609.
HARMONIA, in Greek mythology, according to one account
the daughter of Ares and Aphrodite, and wife of Cadmus. When
the government of Thebes was bestowed upon Cadmus by Athena,
Zeus gave him Harmonia to wife. All the gods honoured the
wedding with their presence. Cadmus (or one of the gods)
presented the bride with a robe and necklace, the work of
Hephaestus. This necklace brought misfortune to all who
possessed it. With it Polyneices bribed Eriphyle to persuade
her husband Amphiaraus to undertake the expedition against
Thebes. It led to the death of Eriphyle, of Alcmaeon, of Phegeus
and his sons. Even after it had been deposited in the temple
of Athena Pronoia at Delphi, its baleful influence continued.
Phayllus, one of the Phocian leaders in the Sacred War (352 B.C.)
carried it off and gave it to his mistress. After she had worn it
for a time, her son was seized with madness and set fire to the
house, and she perished in the flames. According to another
account, Harmonia belonged to Samothrace and was the daughter
of Zeus and Electra, her brother Iasion being the founder of
the mystic rites celebrated on the island (Diod. Sic. v. 48).
Finally, Harmonia is rationalized as closely allied to Aphrodite
Pandemos, the love that unites all people, the personification of
order and civic unity, corresponding to the Roman Concordia.
Apollodorus iii. 4-7; Diod. Sic. iv. 65, 66; Parthenius, Erotica, 25; L. Preller, Griech. Mythol.; Crusius in Roscher’s Lexikon.
HARMONIC. In acoustics, a harmonic is a secondary tone
which accompanies the fundamental or primary tone of a vibrating
string, reed, &c.; the more important are the 3rd, 5th, 7th,
and octave (see Sound; Harmony). A harmonic proportion
in arithmetic and algebra is such that the reciprocals of the
proportionals are in arithmetical proportion; thus, if a, b, c
be in harmonic proportion then 1/a, 1/b, 1/c are in arithmetical
proportion; this leads to the relation 2/b＝ac/(a＋c). A harmonic
progression or series consists of terms whose reciprocals
form an arithmetical progression; the simplest example is:
