CHARACTER SKETCHES OF ROMANCE, FICTION, AND THE DRAMA. (continued 5)

Oracle (Sir), name used in Merchant of Venice to express conceited, pugnacious man.

Orange (Prince of), a title given to the heir-apparent of the king of Holland. “Orange” is a petty principality in the territory of Avignon, in the possession of the Nassau family.

Orania, the lady-love of Am´adis of Gaul.—Lobeira, Amadis of Gaul (fourteenth century).

Orator Henley, the Rev. John Henley, who for about thirty years delivered lectures on theological, political, and literary subjects (1692-1756).

^*_*^* Hogarth has introduced him into several of his pictures; and Pope says of him:

Orator Hunt, the great demagogue in the time of the Wellington and Peel administration. Henry Hunt, M.P., used to wear a gray hat, and these hats were for the time a badge of democratic principles, and called “radical hats” (1773-1835).

Orbaneja, the painter of Ube´da, who painted so preposterously that he inscribed under his objects what he meant them for.

Orbaneja would paint a cock so wretchedly designed that he was obliged to inscribe under it, “This is a cock.”—Cervantes, Don Quixote, II. i. 3 (1615).

Orbilius, the schoolmaster who taught Horace. The poet calls him “the flogger” (plagōsus).—Ep. ii. 71.

^*_*^* The Orbilian Stick is a birch rod or cane.

Ordigale, the otter in the beast-epic of Reynard the Fox, i. (1498).

Ordovi´ces (4 syl.), people of Ordovicia, that is, Flintshire, Denbighshire, Merionetshire, Montgomeryshire, Carnarvonshire and Anglesey. (In Latin the i is short: Ordovĭcês.)

Or´dovies (3 syl.), the inhabitants of North Wales. (In Latin North Wales is called Ordovic´ia.)

Or´ead (3 syl.), a mountain-nymph. Tennyson calls “Maud” an oread, because her hall and garden were on a hill.

Oreäd. Echo is so called.

Ore´ades (4 syl.) or O´reads (3 syl.), mountain-nymphs.

Orel´io, the favorite horse of King Roderick, the last of the Goths.

Ores´tes (3 syl.), son of Agamemnon, betrothed to Hermi´onê (4 syl.), daughter of Menela´us (4 syl.), king of Sparta. At the downfall of Troy Menelāus promised Hermionê in marriage to Pyrrhus, king of Epīrus, but Pyrrhus fell in love with Androm´achê, the widow of Hector, and his captive. An embassy, led by Orestês, was sent to Epirus to demand that the son of Andromachê should be put to death, lest, as he grew up, he might seek to avenge his father’s death. Pyrrhus refused to comply. In this embassage Orestês met Hermionê again, and found her pride and jealousy aroused to fury by the slight offered her. She goaded Orestês to avenge her insults, and the ambassadors fell on Pyrrhus and murdered him. Hermionê, when she saw the dead body of the king borne along, stabbed herself, and Orestês went raving mad.—Ambrose Philips, The Distressed Mother (1712).

Orfeo and Heuro´dis, the tale of Orpheus and Eurydĭcê, with the Gothic machinery of elves and fairies.

^*_*^* Glück has an opera called Orfeo; the libretto, by Calzabigi, based on a dramatic piece by Poliziano (1764).

Orgari´ta, “the orphan of the Frozen Sea,” heroine of a drama. (See Martha.)—Stirling, The Orphan of the Frozen Sea (1856).

Or´gilus, the betrothed lover of Penthe´a, by the consent of her father; but, at the death of her father, her brother, Ith´oclês, compelled her to marry Bass´anês, whom she hated. Ithoclês was about to marry the princess of Sparta, but a little before the event was to take place Penthea starved herself to death, and Orgilus was condemned to death for murdering Ithoclês.—John Ford, The Broken Heart (1633).

Orgoglio [Or.gole´.yo], a hideous giant, as tall as three men, son of Earth and Wind. Finding the Red Cross Knight at the fountain of Idleness he beats him with a club, and makes him his slave. Una informs Arthur of it, and Arthur liberates the knight and slays the giant (Rev. xiii. 5, 7, with Dan. vii. 21, 22).—Spenser, Faëry Queen, i. (1590).

^*_*^* Arthur first cut off Orgoglio’s left arm, i. e. Bohemia was cut off first from the Church of Rome; then he cut off the giant’s right leg, i. e. England.

Orgon, brother-in-law of Tartuffe (2 syl.). His credulity and faith in Tartuffe, like that of his mother, can scarcely be shaken even by the evidence of his senses. He hopes against hope, and fights every inch of ground in defence of the religious hypocrite.—Molière, Tartuffe (1664).

Oria´na, daughter of Lisuarte, king of England, and spouse of Am´adis of Gaul (bk. ii. 6). The general plot of this series of romances bears on this marriage, and tells of the thousand and one obstacles from rivals, giants, sorcerers and so on, which had to be overcome before the consummation could be effected. It is in this unity of plot that the Amadis series differs from its predecessors—the Arthurian romances, and those of the paladins of Charlemagne, which are detached adventures, each complete in itself, and not bearing to any common focus.—Amadis de Gaul (fourteenth century).

^*_*^* Queen Elizabeth is called “the peerless Oriana,” especially in the madrigals entitled The Triumphs of Oriana (1601). Ben Jonson applies the name to the queen of James I. (Oriens Anna).

Oriana, the nursling of a lioness, with whom Esplandian fell in love, and for whom he underwent all his perils and exploits. She was the gentlest, fairest, and most faithful of her sex.—Lobeira, Amadis de Gaul (fourteenth century).

Orian´a, the fair, brilliant, and witty “chaser” of the “wild goose” Mirabel, to whom she is betrothed, and whose wife she ultimately becomes.—Beaumont and Fletcher, The Wild-Goose Chase (1652).

Oriana, the ward of old Mirabel, and bound by contract to her guardian’s son whom she loves; but young Mirabel shilly-shallies, till he gets into trouble with Lamorce (3 syl.), and is in danger of being murdered, when Oriana, dressed as a page, rescues him. He then declared that his “inconstancy has had a lesson,” and he marries the lady.—G. Farquhar, The Inconstant (1702).

Oriana, in Tennyson’s ballad so called, “stood on the castle wall,” to see her spouse, a Norland chief, fight. A foeman went between “the chief, and the wall,” and discharged an arrow, which, glancing aside, pierced the lady’s heart and killed her. The ballad is the lamentation of the spouse on the death of his bride (1830).

O´riande (3 syl.), a fay who lived at Rosefleur, and was brought up by Maugis d’Aygremont. When her protégé grew up, she loved him, “d’un si grand amour, qu’elle doute fort qu’il ne se departe d’avecques elle.”—Romance de Maujis d’Aygremont et de Vivian son Frère.

O´riel, a fairy, whose empire lay along the banks of the Thames, when King Oberon held his court in Kensington Gardens.—Tickell, Kensington Gardens (1686-1740).

Orient (The). In The New Priest of Conception Bay, Fanny Dare sings to little Mary Barré how the good ship Orient was wrecked.

“Woe for the brave ship Orient! Woe for the old ship Orient! For in the broad, broad light With the land in sight,— Where the waters bubbled white,— One great, sharp shriek!—one shudder of affright! And—— down went the brave old ship, the Orient!” Robert Lowell, The New Priest of Conception Bay (1858).

Oriflamme, the banner of St. Denis. When the counts of Vexin became possessed of the abbey, the banner passed into their hands, and when, in 1082, Philippe I. united Vexin to the crown, the oriflamme or sacred banner belonged to the king. In 1119 it was first used as a national banner. It consists of a crimson silk flag, mounted on a gilt staff (un glaive tout doré où est attaché une banière vermeille). The loose end is cut into three wavy vandykes, to represent tongues of flame, and a silk tassel is hung at each cleft. In war the display of this standard indicates that no quarter will be given. The English standard of no quarter was the “burning dragon.”

Raoul de Presle says it was used in the time of Charlemagne, being the gift of the patriarch of Jerusalem. We are told that all infidels were blinded who looked upon it. Froissart says it was displayed at the battle of Rosbecq, in the reign of Charles VI., and “no sooner was it unfurled than the fog cleared away, and the sun shone on the French alone.”

Origilla, the lady-love of Gryphon, brother of Aquilant; but the faithless fair one took up with Martāno, a most impudent boaster and a coward. Being at Damascus during a tournament in which Gryphon was the victor, Martano stole the armor of Gryphon, arrayed himself in it, took the prizes, and then decamped with the lady. Aquilant happened to see them, bound them, and took them back to Damascus, where Martano was hanged, and the lady kept in bondage for the judgment of Lucīna.—Ariosto, Orlando Furioso (1516).

Orillo, a magician and robber, who lived at the mouth of the Nile. He was the son of an imp and fairy. When any one of his limbs was lopped off, he had the power of restoring it; and when his head was cut off, he could take it up and replace it. When Astolpho encountered this magician, he was informed that his life lay in one particular hair; so instead of seeking to maim his adversary, Astolpho cut off the magic hair, and the magician fell lifeless at his feet.—Ariosto, Orlando Furioso (1516).

Orinda, “the incomparable,” Mrs. Katherine Philipps, who lived in the reign of Charles II., and died of small-pox.

^*_*^* Her praises were sung by Cowley, Dryden, and others.

Ori´on, a giant of great beauty, and a famous hunter, who cleared the island of Chios of wild beasts. While in the island, Orion fell in love with Merŏpê, daughter of king Œnop´ion; but one day, in a drunken fit, having offered her violence, the king put out the giant’s eyes, and drove him from the island. Orion was told if he would travel eastward, and expose his sockets to the rising sun, he would recover his sight. Guided by the sound of a Cyclop’s hammer, he reached Lemnos, where Vulcan gave him a guide to the abode of the sun. In due time, his sight returned to him, and at death he was made a constellation. The lion’s skin was an emblem of the wild beasts which he slew in Chios, and the club was the instrument he employed for the purpose.

Orion and the Blacksmith. The reference is to the blacksmith mentioned in the preceding article, whom Orion took on his back to act as guide to the place where the rising sun might be best seen.

Orion’s Dogs were Arctophŏnus (“the bear-killer”) and Ptoophăgos (“the glutton of Ptoon,” in Bœōtia).

Orion’s Wife, Sidê.

Orion. After Orion has set in the west, Aurīga (the Charioteer) and Gem´ini (Castor and Pollux) are still visible. Hence Tennyson says:

Orion, a seraph, the guardian angel of Simon Peter.—Klopstock, The Messiah, iii. (1748).

Orith´yia or Orith´ya, daughter of Erectheus, carried off by Boreas to Thrace.

Phineas Fletcher calls the word “Orithy´a.”

Orlando, the younger son of Sir Rowland de Bois [Bwor]. At the death of his father, he was left under the care of his elder brother, Oliver, who was charged to treat him well; but Oliver hated him, wholly neglected his education, and even tried by many indirect means to kill him. At length, Orlando fled to the forest of Arden´, where he met Rosalind and Celia in disguise. They had met before at a wrestling match, when Orlando and Rosalind fell in love with each other. The acquaintance was renewed in the forest, and ere many days had passed the two ladies resumed their proper characters, and both were married, Rosalind to Orlando, and Celia to Oliver, the elder brother.—Shakespeare, As You Like It (1598).

Orlando (in French Roland, q.v.), one of the paladins of Charlemagne, whose nephew he was. Orlando was confiding and loyal, of great stature, and possessed unusual strength. He accompanied his uncle into Spain, but on his return was waylaid in the valley of Roncesvallês (in the Pyrenees) by the traitor Ganelon, and perished with all his army, A.D. 778. His adventures are related in Turpin’s Chronique; in the Chanson de Roland, attributed to Théroulde. He is the hero of Bojardo’s epic, Orlando Innamorato; and of Ariosto’s continuation called Orlando Furioso (“Orlando mad”). Robert Greene, in 1594, produced a drama which he called The History of Orlando. Rhode’s farce of Bombastês Furioso (1790) is a burlesque of Ariosto’s Orlando Furioso.

Orlando’s Ivory Horn, Olifant, once the property of Alexander the Great. Its bray could be heard for twenty miles.

Orlando’s Horse, Brigliadoro (“golden bridal”).

Orlando’s Sword, Durinda´na or Durandana, which once belonged to Hector, is “preserved at Rocamadour, in France; and his spear is still shown in the cathedral of Pa´via, in Italy.”

Orlando was of middling stature, broad-shouldered, crooked-legged, brown-visaged, red-bearded, and had much hair on his body. He talked but little, and had a very surly aspect, although he was perfectly good-humored.—Cervantes, Don Quixote, II. i. 1 (1615).

Orlando’s Vulnerable Part. Orlando was invulnerable except in the sole of his foot, and even there nothing could wound him but the point of a large pin; so that when Bernardo del Carpio assailed him at Roncesvallês, he took him in his arms and squeezed him to death, in imitation of Herculês, who squeezed to death the giant Antæ´us (3 syl.).—Cervantes, Don Quixote, II. ii. 13 (1615).

Orlando Furioso, a continuation of Bojardo’s story, with the same hero. Bojardo leaves Orlando in love with Angelica, whom he fetched from Cathay and brought to Paris. Here, says Ariosto, Rinaldo falls in love with her, and, to prevent mischief, the king placed the coquette under the charge of Namus; but she contrived to escape her keeper, and fled to the island of Ebūda, where Rogēro found her exposed to a sea-monster, and liberated her. In the mean time, Orlando went in search of his lady, was decoyed into the enchanted castle of Atlantês, but was liberated by Angelica, who again succeeded in effecting her escape to Paris. Here she arrived just after a great battle between the Christians and pagans, and, finding Medōra, a Moor, wounded, took care of him, fell in love with him, and eloped with him to Cathay. When Orlando found himself jilted, he was driven mad with jealousy and rage, or rather his wits were taken from him for three months by way of punishment, and deposited in the moon. Astolpho went to the moon in Elijah’s chariot, and St. John gave him “the lost wits” in an urn. On reaching France Astolpho bound the madman, then, holding the urn to his nose, the wits returned to their nidus, and the hero was himself again. After this, the siege was continued, and the Christians were wholly successful. (See Orlando Innamorato.)—Ariosto, Orlando Furioso (1516).

^*_*^* This romance in verse extends to forty-six cantos. Hoole, in his translation, has compressed the forty-six cantos into twenty-four books; but Rose has retained the original number. The adventures of Orlando, under the French form “Roland,” are related by Turpin in his Chronicle, and by Théroulde in his Chanson de Roland.

^*_*^* The true hero of Ariosto’s romance is Rogēro, and not Orlando. It is with Rogero’s victory over Rodomont that the poem ends. The concluding lines are:

Orlando Innamora´to, or Orlando in love, in three books, by Count Bojardo, of Scandiano, in Italy (1495). Bojardo supposes Charlemagne to be warring against the Saracens in France, under the walls of Paris. He represents the city to be besieged by two infidel hosts—one under Agramantê, emperor of Africa, and the other under Gradasso, king of Sirica´na. His hero is Orlando, whom he supposes (though married at the time to Aldebella) to be in love with Angelica, a fascinating coquette from Cathay, whom Orlando had brought to France. (See Orlando Furioso.)

^*_*^* Berni of Tuscany, in 1538, published a burlesque in verse on the same subject.

Orleans, a most passionate innamorato, in love with Agripy´na.—Thomas Dekker, Old Fortunatus (1600).

Orleans talks “pure Biron and Romeo;” he is almost as poetical as they, quite as philosophical, only a little madder.—C. Lamb.

(“Biron,” in Shakespeare’s Love’s Labor’s Lost; “Romeo,” in his Romeo and Juliet.)

Orleans (Gaston, duke of), brother of Louis XIII. He heads a conspiracy to assassinate Richelieu and dethrone the king. If the plot had been successful, Gaston was to have been made regent; but the conspiracy was discovered, and the duke was thwarted in his ambitious plans.—Lord Lytton, Richelieu (1839).

Orleans (Louis, duc d’), to whom the Princess Joan (daughter of Louis XI.) is affianced.—Sir W. Scott, Quentin Durward (time, Edward IV.).

Orlick (Dolge), usually called “Old Orlick,” though not above five and twenty, journeyman to Joe Gargery, blacksmith. Obstinate, morose, broad-shouldered, loose-limbed, swarthy, of great strength, never in a hurry, and always slouching. Being jealous of Pip, he allured him to a hut in the marshes, bound him to a ladder, and was about to kill him, when, being alarmed by approaching steps, he fled. Subsequently, he broke into Mr. Pumblechook’s house, was arrested, and confined in the county jail. This surly, ill-conditioned brute was in love with Biddy, but Biddy married Joe Gargery.—C. Dickens, Great Expectations (1860).

Orloff Diamond (The), the third largest cut diamond in the world, set in the top of the Russian sceptre. The weight of this magnificent diamond is 194 carats, and its size is that of a pigeon’s egg. It was once one of the eyes of the idol Sheringham, in the temple of Brahma; came into the hands of the Shah Nadir; was stolen by a French grenadier and sold to an English sea-captain for £2000; the captain sold it to a Jew for £12,000; it next passed into the hands of Shafras; and in 1775, Catherine II. of Russia gave for it £90,000. (See Diamonds.)

Or´mandine (3 syl.), the necromancer who threw St. David into an enchanted sleep for seven years, from which he was reclaimed by St. George.—R. Johnson, The Seven Champions of Christendom, i. 9 (1617).

Orme (Victor), a poor gentleman in love with Elsie.—Wybert Reeve, Parted.

Ormond (The duke of), a privy councillor of Charles II.—Sir W. Scott, Peveril of the Peak (time, Charles II.).

Ormston (Jock), a sheriff’s officer at Fairport.—Sir W. Scott, The Antiquary (time, George III.).

Ornithol´ogy (The Father of), George Edwards (1693-1773).

Oroma´zes (4 syl.), the principle of good in Persian mythology. Same as Yezad (q.v.).

Oroonda´tes (5 syl.), only son of a Scythian king, whose love for Statīra (widow of Alexander the Great) led him into numerous dangers and difficulties, which, however, he surmounted.—La Calprenède, Cassandra (a romance).

Oroono´ko (Prince), son and heir of the king of Angola, and general of the forces. He was decoyed by Captain Driver aboard his ship; his suite of twenty men were made drunk with rum; the ship weighed anchor; and the prince, with all his men, were sold as slaves in one of the West Indian Islands. Here Oroonoko met Imoin´da (3 syl.), his wife, from whom he had been separated, and whom he thought was dead. He headed a rising of the slaves, and the lieutenant-governor tried to seduce Imoinda. The result was that Imoinda killed herself, and Oroonoko (3 syl.) slew first the lieutenant-governor and then himself. Mrs. Aphra Behn became acquainted with the prince at Surinam, and made the story of his life the basis of a novel, which Thomas Southern dramatized (1696).

Orozem´bo, a brave and dauntless old Peruvian. When captured and brought before the Spanish invaders, Orozembo openly defied them, and refused to give any answer to their questions (act i. 1).—Sheridan, Pizarro (altered from Kotzebue, 1799).

Orpas, once archbishop at Sev´ille. At the overthrow of the Gothic kingdom in Spain, Orpas joined the Moors and turned Moslem. Of all the renegades “the foulest and the falsest wretch was he that e’er renounced his baptism.” He wished to marry Florinda, daughter of Count Julian, in order to secure “her wide domains;” but Florinda loathed him. In the Moorish council Orpas advised Abulcacem to cut off Count Julian, “whose power but served him for fresh treachery; false to Roderick first, and to the caliph now.” This advice was acted on; but, as the villain left the tent, Abulcacem muttered to himself, “Look for a like reward thyself; that restless head of wickedness in the grave will brood no treason.”—Southey, Roderick, etc., xx., xxii. (1814).

Orphan of China, a drama by Murphy. Zaphimri, the sole survivor of the royal race of China, was committed in infancy to Zamti, the mandarin, that he might escape from the hand of Ti´murkan´, the Tartar conqueror. Zamti brought up Zaphimri as his son, and sent Hamet, his real son, to Corea, where he was placed under the charge of Morat. Twenty years afterwards, Hamet led a band of insurgents against Timurkan, was seized, and ordered to be put to death under the notion that he was “the orphan of China.” Zaphimri, hearing thereof, went to the Tartar and declared that he, not Hamet, was the real prince; whereupon Timurkan ordered Zamti and his wife, Mandānê, with Hamet and Zaphimri, to be seized. Zamti and Mandanê were ordered to the torture, to wring from them the truth. In the interim, a party of insurgent Chinese rushed into the palace, killed the king, and established “the orphan of China” on the throne of his fathers (1759).

Orphan of the Frozen Sea, Martha, the daughter of Ralph de Lascours (captain of the Uran´ia) and his wife, Louise. The crew having rebelled, the three, with their servant, Bar´abas, were cast adrift in a boat, which ran on an iceberg in the Frozen Sea. Ralph thought it was a small island, but the iceberg broke up, both Ralph and his wife were drowned, but Barabas and Martha escaped. Martha was taken by an Indian tribe, which brought her up and named her Orgari´ta (“withered wheat”), from her white complexion. In Mexico she met with her sister, Diana, and her grandmother, Mde. de Theringe (2 syl.), and probably married Horace de Brienne.—E. Stirling, Orphan of the Frozen Sea (1856).

Orphan of the Temple, Marie Thérèse Charlotte, duchess d’Angoulême, daughter of Louis XVI.; so called from the Temple, where she was imprisoned. She was called “The Modern Antig´onê” by her uncle, Louis XVIII.

Orphant Annie. A bound girl, who is credited by l’enfant terrible of the household with the goblin-lore he lavishes upon a visitor, this being the moral:

“You better mind yer parents and yer teachers fond and dear, An’ churish ’em ’at loves you an’ dry the orphant’s tear, An’ he’p the poor an’ needy ones ’at clusters all about, Er the gobble-uns ’ll git you Ef you Don’t Watch Out!” James Whitcomb Riley, The Boss Girl and Other Sketches (1886).

Orpheus. (For a parallel fable, see Wainamoinen.)

Orpheus and Eurydice (4 syl.), Glück’s best opera (Orfeo). Libretto by Calzabigi, who also wrote for Glück the libretto of Alceste (1767). King produced an English version of Orpheus and Eurydice.

^*_*^* The tale is introduced by Pope in his St. Cecilia’s Ode.

Orpheus of Highwaymen, John Gay, author of The Beggar’s Opera (1688-1732).

Orpheus of the Green Isle (The), Furlough O’Carolan, poet and musician (1670-1738).

Or´raca (Queen), wife of Affonso II. The legend says that five friars of Morocco, went to her, and said, “Three things we prophesy to you: (1) we five shall all suffer martyrdom; (2) our bodies will be brought to Coimbra; and (3) which ever see our relics the first, you or the king, will die the same day.” When their bodies were brought to Coimba, the king told Queen Orraca she must join the procession with him. She pleaded illness, but Affonso replied the relics would cure her; so they started on their journey. As they were going, the queen told the king to speed on before, as she could not travel so fast; so he speeded on with his retinue, and started a boar on the road. “Follow him!” cried the king, and they went after the boar and killed it. In the mean time, the queen reached the procession, fully expecting her husband had joined it long ago; but lo! she beheld him riding up with great speed. That night the king was aroused at midnight with the intelligence that the queen was dead.—Southey, Queen Orraca (1838); Francisco Manoel da Esperança, Historia Sarafica (eightteenth century).

Orrock (Puggie), a sheriff’s officer at Fairport.—Sir W. Scott, The Antiquary (time, George III.).

Orsin, one of the leaders of the rabble rout that attacked Hudibras at the bear-baiting.—S. Butler, Hudibras (1663).

Orsi´ni (Maffio), a young Italian nobleman, whose life was saved by Genna´ro at the battle of Rim´ini. Orsini became the fast friend of Gennaro, but both were poisoned by the Princess Neg´roni at a banquet.—Donizetti, Lucrezia di Borgia (opera, 1834).

Orsi´no, duke of Illyria, who sought the love of Olivia, a rich countess; but Olivia gave no encouragement to his suit, and the duke moped and pined, leaving manly sports for music and other effeminate employments. Viola entered the duke’s service as a page, and soon became a great favorite. When Olivia married Sebastian (Viola’s brother), and the sex of Viola became known, the duke married her, and made her duchess of Illyria.—Shakespeare, Twelfth Night (1614).

Orson, twin brother of Valentine, and son of Bellisant. The twin-brothers were born in a wood near Orleans, and Orson was carried off by a bear, which suckled him with its cubs. When he grew up he became the terror of France, and was called “The Wild Man of the Forest.” Ultimately, he was reclaimed by his brother Valentine, overthrew the Green Knight, and married Fezon, daughter of the duke of Savary, in Aquitane.—Valentine and Orson (fifteenth century).

Orson and Ellen. Young Orson was a comely young farmer from Taunton, stout as an oak, and very fond of the lasses, but he hated matrimony, and used to say, “the man who can buy milk is a fool to keep a cow.” While still a lad, Orson made love to Ellen, a rustic maiden; but, in the fickleness of youth, forsook her for a richer lass, and Ellen left the village, wandered far away, and became waiting maid to old Boniface, the innkeeper. One day Orson happened to stop at this very inn, and Ellen waited on him. Five years had passed since they had seen each other, and at first neither knew the other. When, however, the facts were known, Orson made Ellen his wife, and their marriage feast was given by Boniface himself.—Peter Pindar [Dr. Wolcot], Orson and Ellen (1809).

Ortel´lius (Abraham), a Dutch geographer, who published in 1570, his Theatrum Orbis Terræ, or Universal Geography (1527-1598).

Ortheris, cockney companion of Mulvaney. He suffers violently from homesickness in India.—Rudyard Kipling, Soldiers Three.

Orthodoxy. When Lord Sandwich said, “he did not know the difference between orthodoxy and heterodoxy,” Warburton, bishop of Gloucester, replied, “Orthodoxy, my lord, is my doxy, and heterodoxy is another man’s doxy.”

Orthodoxy (The Father of), Athanasius (296-373).

Orthrus, the two-headed dog of Euryt´ion, the herdsman of Geryon´eo. It was the progeny of Typha´on and Echidna.

Ortwine (2 syl.), knight of Metz, sister’s son of Sir Hagan of Trony, a Burgundian.—The Nibelungen Lied (eleventh century).

Or´ville (Lord), the amiable and devoted lover of Evelina, whom he ultimately marries.—Miss Burney, Evelina (1778).

Osbaldistone (Mr.), a London merchant.

Frank Osbaldistone, his son, in love with Diana Vernon, whom he marries.

Sir Hildebrand Osbaldistone, of Osbaldistone Hall, uncle of Frank, his heir.

His Sons were: Percival, “the sot;” Thorncliffe, “the bully;” John, “the gamekeeper;” Richard, “the horse-jockey:” Wilfred, “the fool;” and Rashleigh, “the scholar,” a perfidious villain killed by Rob Roy.—Sir W. Scott, Rob Roy (time, George I.).

Rob Roy Macgregor was dramatized by Pocock.

Osborne (Mr.), a hard, money-loving, purse-proud, wealthy London merchant, whose only gospel was that “according to Mammon.” He was a widower, and his heart of hearts was to see his son, Captain George, marry a rich mulatto. While his neighbor, Sedley, was prosperous, old Sedley encouraged the love-making of George and Miss Sedley; but when old Sedley failed, and George dared to marry the bankrupt’s daughter, to whom he was engaged, the old merchant disinherited him. Captain George fell on the field of Waterloo, but the heart of old Osborne would not relent, and he allowed the widow to starve in abject poverty. He adopted, however, the widow’s son George, and brought him up in absurd luxury and indulgence. A more detestable cad than old Sedley cannot be imagined.

Maria and Jane Osborne, daughters of the merchant, and of the same mould. Maria married Frederick Bullock, a banker’s son.

Captain George Osborne, son of the merchant; selfish, vain, extravagant, and self-indulgent. He was engaged to Amelia Sedley, while her father was in prosperity, and Captain Dobbin induced him to marry her after the father was made a bankrupt. Happily, George fell on the field of Waterloo, or one would never vouch for his conjugal fidelity.—Thackeray, Vanity Fair (1848).

Oscar, son of Ossian and grandson of Fingal. He was engaged to Malvi´na, daughter of Toscar, but before the day of marriage arrived, he was slain in Ulster, fighting against Cairbar, who had treacherously invited him to a banquet and then slew him, A.D. 296. Oscar is represented as most brave, warm-hearted, and impetuous, most submissive to his father, tender to Malvina, and a universal favorite.

Oscar Roused from Sleep. “Caolt took up a huge stone and hurled it on the hero’s head. The hill for three miles round shook with the reverberation of the blow, and the stone, rebounding, rolled out of sight. Whereupon Oscar awoke, and told Caolt to reserve his blows for his enemies.”

Oscar Dubourg. Amiable, affectionate young fellow, betrothed to blind Lucilla Finch. To cure the epilepsy attendant upon an injury to his head, he takes nitrate of silver, concealing the discoloration of his complexion caused by the drug from the knowledge of his betrothed, who has a nervous horror of ugliness and deformity. When she regains her sight, he leaves her because he dares not disclose the truth that she has mistaken his brother for himself, and does not enter her presence until her sight again leaves her.—Wilkie Collins, Poor Miss Finch.

Os´ewald (3 syl.), the reeve, of “the carpenteres craft,” an old man.—Chaucer, Canterbury Tales (1388).

Oseway (Dame), the ewe, in the beast-epic of Reynard the Fox (1498).

O’Shanter (Tam), a farmer, who, returning home from Ayr very late and well-soaked with liquor, had to pass the kirk of Alloway. Seeing it was illuminated, he peeped in, and saw there the witches and devils dancing, while old Clootie was blowing the bagpipes. Tam got so excited that he roared out to one of the dancers, “Weel done, Cutty Sark!” In a moment all was dark. Tam now spurred his “grey mare Meg” to the top of her speed, while all the fiends chased after him. The river Doon was near, and Tam just reached the middle of the bridge when one of the witches, whom he called Cutty Sark, reached him; but it was too late—he had passed the middle of the stream, and was out of the power of the crew. Not so his mare’s tail—that had not yet passed the magic line, and Cutty Sark, clinging thereto, dragged it off with an infernal wrench.—R. Burns, Tam O’Shanter.

Osi´ris, judge of the dead, brother and husband of Isis. Osiris is identical with Adonis and Thammuz. All three represent the sun, six months above the equator, and six months below it. Adonis passed six months with Aphrodītê in heaven, and six months with Persephŏnê in hell. So Osiris in heaven was the beloved of Isis, but in the land of darkness was embraced by Nepthys.

Osiris, the sun; Isis, the moon.

Osman, sultan of the East, the great conqueror of the Christians, a man of most magnanimous mind and of noble generosity. He loved Zara, a young Christian captive, and was by her beloved with equal ardor and sincerity. Zara was the daughter of Lusignan d’Outremer, a Christian king of Jerusalem; she was taken prisoner by Osman’s father, with her elder brother, Nerestan, then four years old. After twenty years’ captivity, Nerestan was sent to France for ransom, and on his return presented himself before the sultan, who fancied he perceived a sort of intimacy between the young man and Zara, which excited his suspicion and jealousy. A letter, begging that Zara would meet him in a “secret passage” of the seraglio, fell into the sultan’s hands, and confirmed his suspicions. Zara went to the rendezvous, where Osman met her and stabbed her to the heart. Nerestan was soon brought before him, and told him he had murdered his sister, and all he wanted of her was to tell her of the death of her father, and to bring her his dying benediction. Stung with remorse, Osman liberated all his Christian captives, and then stabbed himself.—Aaron Hill, Zara (1735).

^*_*^* This tragedy is an English adaptation of Voltaire’s Zaïre (1733).

Osmand, a necromancer, who, by enchantment, raised up an army to resist the Christians. Six of the champions were enchanted by Osmand, but St. George restored them. Osmand tore off his hair, in which lay his spirit of enchantment, bit his tongue in two, disembowelled himself, cut off his arms, and died.—R. Johnson, Seven Champions of Christendom, i. 19 (1617).

Osmond, an old Varangian guard.—Sir W. Scott, Count Robert of Paris (time, Rufus).

Osmond (Gilbert), the incarnation of polished selfishness. He deserts one woman, who has sacrificed everything for him, and marries Isabel Archer for her money; eyes his only child as he might a pretty puppet, and sends her back to her convent upon finding that she will not increase his social consequence by marrying an English nobleman.—Henry James, Jr., Portrait of a Lady (1881).

Osmyn, alias Alphonso, son of Anselmo, king of Valentia, and husband of Alme´ria, daughter of Manuel, king of Grana´da. Supposed to have been lost at sea, but in reality cast on the African coast, and tended by Queen Zara, who falls in love with him. Both are taken captive by Manuel, and brought to Granada. Here Manuel falls in love with Zara, but Zara retains her passionate love for Alphonso. Alphonso makes his escape, returns at the head of an army to Granada, finds both the king and Zara dead, but Almeria, being still alive, becomes his acknowledged bride.—W. Congreve, The Mourning Bride (1697).

Osric, a court fop, contemptible for his affectation and finical dandyism. He is made umpire by King Claudius, when Laertês and Hamlet “play” with rapiers in “friendly” combat.—Shakespeare, Hamlet (1596).

Osse´o, son of the Evening Star, whose wife was O´weenee. In the Northland there were once ten sisters of surpassing beauty; nine married beautiful young husbands, but the youngest, named Oweenee, fixed her affections on Osseo, who was “old, poor and ugly,” but “most beautiful within.” All being invited to a feast, the nine set upon their youngest sister, taunting her for having married Osseo; but forthwith Osseo leaped into a fallen oak, and was transformed into a most handsome young man, his wife to a very old woman, “wrinkled and ugly,” but his love changed not. Soon another change occurred; Oweenee resumed her former beauty, and all the sisters and their husbands were changed to birds, who were kept in cages about Osseo’s wigwam. In due time a son was born, and one day he shot an arrow at one of the caged birds, and forthwith the nine, with their husbands, were changed to pygmies.

Ossian, the warrior-bard. He was son of Fingal (king of Morven) and his first wife, Ros-crana (daughter of Cormac, king of Ireland).

His wife was Evir-Allen, daughter of Branno (a native of Ireland); and his son was Oscar.

Oswald, steward to Goneril, daughter of King Lear.—Shakespeare, King Lear (1605).

Oswald, the cup-bearer to Cedric, the Saxon, of Rotherwood.—Sir W. Scott, Ivanhoe (time, Richard I.).

Oswald (Prince), being jealous of Gondibert, his rival for the love of Rhodalind (the heiress of Aribert, king of Lombardy), headed a faction against him. A battle was imminent, but it was determined to decide the quarrel by four combatants on each side. In this combat Oswald was slain by Grondibert.—Sir W. Davenant, Gondibert, i. (died 1668).

Othel´lo, the Moor, commander of the Venetian army. Iago was his ensign or ancient. Desdemona, the daughter of Brabantio, the senator, fell in love with the Moor, and he married her; but Iago, by his artful villainy, insinuated to him such a tissue of circumstantial evidence of Desdemona’s love for Cassio, that Othello’s jealousy being aroused, he smothered her with a pillow, and then killed himself.—Shakespeare, Othello (1611).

^*_*^* The story of this tragedy is taken from the novelletti of Giovanni Giraldi Cinthio (died 1573).

Addison says of Thomas Betterton (1635-1710): “The wonderful agony which he appeared in when he examined the circumstance of the handkerchief in the part of ‘Othello,’ and the mixture of love that intruded on his mind at the innocent answers of ‘Desdemona,’ ... were the perfection of acting.” Donaldson, in his Recollections, says that Spranger Barry (1719-1777) was the beau-ideal of an “Othello;” and C. Leslie, in his Autobiography, says the same of Edmund Kean (1787-1833).

Otho, the lord at whose board Count Lara was recognized by Sir Ezzelin. A duel was arranged for the next day, and the contending parties were to meet in Lord Otho’s hall. When the time of meeting arrived, Lara presented himself, but no Sir Ezzelin put in his appearance; whereupon Otho, vouching for the knight’s honor, fought with the count, and was wounded. On recovering from his wound, Lord Otho became the inveterate enemy of Lara, and accused him openly of having made away with Sir Ezzelin. Lara made himself very popular, and headed a rebellion; but Lord Otho opposed the rebels, and shot him.—Byron, Lara (1814).

Otnit, a legendary emperor of Lombardy, who gains the daughter of the soldan for wife, by the help of Elberich, the dwarf.—The Heldenbuch (twelfth century).

Otranto (Tancred, prince of), a crusader.

Ernest of Otranto, page of the prince of Otranto.—Sir W. Scott, Count Robert of Paris (time, Rufus).

Otranto (The Castle of), a romance by Horace Walpole (1769).

O’Trigger (Sir Lucius), a fortune-hunting Irishman, ready to fight every one, on any matter, at any time.—Sheridan, The Rivals (1775).

Otta´vio (Don), the lover of Donna Anna, whom he was about to make his wife, when Don Giovanni seduced her and killed her father (the commandant of the city) in a duel.—Mozart, Don Giovanni (opera, 1787).

Otto, duke of Normandy, the victim of Rollo, called “The Bloody Brother.”—Beaumont and Fletcher, The Bloody Brother (1639).

Ot´uel (Sir), a haughty and presumptuous Saracen, miraculously converted. He was a nephew of Ferragus or Ferracute, and married a daughter of Charlemagne.

Ouida, an infantile corruption of Louisa. The full name is Louise de la Ramée, authoress of Under Two Flags (1867), and many other novels.

Outalissi, eagle of the Indian tribe of Onei´da, the death-enemies of the Hurons. When the Hurons attacked the fort under the command of Waldegrave (2 syl.), a general massacre was made, in which Waldegrave and his wife was slain. But Mrs. Waldegrave, before she died, committed her boy, Henry, to the charge of Outalissi, and told him to place the child in the hands of Albert of Wy´oming, her friend. This Outalissi did. After a lapse of fifteen years, one Brandt, at the head of a mixed army of British and Indians, attacked Oneida, and a general massacre was made; but Outalissi, wounded, escaped to Wyoming, just in time to give warning of the approach of Brandt. Scarcely was this done, when Brandt arrived. Albert and his daughter, Gertrude, were both shot, and the whole settlement was extirpated.—Campbell, Gertrude of Wyoming (1809).

Outis (Greek for “nobody”), a name assumed by Odysseus (Ulysses) in the cave of Polypheme (3 syl.). When the monster roared with pain from the loss of his eye, his brother giants demanded who was hurting him. “Outis” (Nobody), thundered out Polypheme, and his companions left him.—Homer, Odyssey.

Outram (Lance), park-keeper to Sir Geoffrey Peveril.—Sir W. Scott, Peveril of the Peak (time, Charles II.).

Overdees (Rowley), a highwayman.—Sir W. Scott, Guy Mannering (time, George II.).

O´verdo (Justice), in Ben Jonson’s Bartholomew Fair (1614).

Overdone (Mistress), a bawd.—Shakespeare, Measure for Measure (1603).

Overreach (Sir Giles), Wellborn’s uncle. An unscrupulous, hard-hearted rascal, grasping and proud. He ruined the estates both of Wellborn and Allworth, and by overreaching grew enormously rich. His ambition was to see his daughter Margaret marry a peer; but the overreacher was overreached. Thinking Wellborn was about to marry the rich dowager Allworth, he not only paid all his debts, but supplied his present wants most liberally, under the delusion “if she prove his, all that is her’s is mine.” Having thus done, he finds that Lady Allworth does not marry Wellborn, but Lord Lovell. In regard to Margaret, fancying she was sure to marry Lord Lovell, he gives his full consent to her marriage; but finds she returns from church not Lady Lovell, but Mrs. Allworth.—Massinger, A New Way to Pay Old Debts (1628).

^*_*^* The prototype of “Sir Giles Overreach” was Sir Giles Mompesson, a usurer outlawed for his misdeeds.

Overs (John), a ferryman who used to ferry passengers from Southwark to the City, and accumulated a considerable hoard of money by his savings. On one occasion, to save the expenses of board, he simulated death, expecting his servants would fast till he was buried; but they broke into his larder and cellar and held riot. When the old miser could bear it no longer he started up and belabored his servants right and left; but one of them struck the old man with an oar and killed him.

Mary Overs, the beautiful daughter of the ferryman. Her lover, hastening to town, was thrown from his horse, and died. She then became a nun, and founded the church of St. Mary Overs on the site of her father’s house.

Overton (Colonel), one of Cromwell’s officers.—Sir W. Scott, Woodstock (time, Commonwealth).

Ovid (The French), Du Bellay; also called “The Father of Grace and Elegance” (1524-1560).

Ovid and Corinna. Ovid disguises, under the name of Corinna, the daughter of Augustus, named Julia, noted for her beauty, talent and licentiousness. Some say that Corinna was Livia, the wife of Augustus.—Amor., i. 5.

O´wain (Sir), the Irish knight of King Stephen’s court, who passed through St. Patrick’s purgatory by way of penance.—Henry of Saltrey, The Descent of Owain (1153).

O´weenee, the youngest of ten sisters, all of surpassing beauty. She married Osseo, who was “old, poor, and ugly,” but “most beautiful within.” (See Osseo.)—Longfellow, Hiawatha, xii. (1855).

Owen (Sam), groom of Darsie Latimer, i.e. Sir Arthur Darsie Redgauntlet.—Sir W. Scott, Redgauntlet (time, George III.).

Owen, confidential clerk of Mr. Osbaldistone, senior.—Sir W. Scott, Rob Roy (time, George I.).

Owen (Sir), passed in dream through St. Patrick’s purgatory. He passed the convent gate, and the warden placed him in a coffin. When the priests had sung over him the service of the dead, they placed the coffin in a cave, and Sir Owen made his descent. He came first to an ice desert, and received three warnings to retreat, but the warnings were not heeded, and a mountain of ice fell on him. “Lord, Thou canst save!” he cried, as the ice fell, and the solid mountain became like dust, and did Sir Owen no harm. He next came to a lake of fire, and a demon pushed him in. “Lord, Thou canst save!” he cried, and angels carried him to paradise. He woke with ecstacy, and found himself lying before the cavern’s mouth.—R. Southey, St. Patrick’s Purgatory (from the Fabliaux of M. le Grand.

Owen Meredith, Robert Bulwer Lytton, afterwards Lord Lytton, son of the poet and novelist (1831-1892).

Owl (The), sacred to Minerva, was the emblem of Athens.

Owls hoot in B♭ and G♭, or in F♯ and A♭.—Rev. G. White, Natural History of Selborne, xlv. (1789).

Owl a Baker’s Daughter (The). Our Lord once went into a baker’s shop to ask for bread. The mistress instantly put a cake in the oven for Him, but the daughter, thinking it to be too large, reduced it to half the size. The dough, howover, swelled to an enormous bulk, and the daughter cried out, “Heugh! heugh! heugh!” and was transformed into an owl.

Well, God ’ield you! They say the owl was a baker’s daughter.—Shakespeare, Hamlet (1596).

Ox (The Dumb), St. Thomas Aqui´nas; so named by his fellow-students on account of his taciturnity (1224-1274).

An ox once spoke as learned men deliver.—Beaumont and Fletcher, Rule a Wife and Have a Wife, iii. 1 (1640).

Ox. The black ox hath trod on his foot, he has married and is hen-pecked; calamity has befallen him. The black ox was sacrificed to the infernals, and was consequently held accursed. When Tusser says the best way to thrive is to get married, the objector says:

Oxford (John, earl of), an exiled Lancastrian. He appears with his son Arthur as a travelling merchant, under the name of Philipson.

^*_*^* The son of the merchant Philipson is Sir Arthur de Vere.

The countess of Oxford, wife of the earl.—Sir W. Scott, Anne of Geierstein (time, Edward IV.).

Oxford (The young earl of), in the court of Queen Elizabeth.—Sir W. Scott, Kenilworth (time, Elizabeth).

Ozair (2 syl.), a prophet. One day, riding on an ass by the ruins of Jerusalem, after its destruction by the Chaldeans, he doubted in his mind whether God could raise the city up again. Whereupon God caused him to die, and he remained dead a hundred years, but was then restored to life. He found the basket of figs and cruse of wine as fresh as when he died, but his ass was a mass of bones. While he still looked, the dry bones came together, received life, and the resuscitated ass began to bray. The prophet no longer doubted the power of God to raise up Jerusalem from its ruins.—Al Korân, ii. (Sale’s notes).

^*_*^* This legend is based on Neh. ii. 12-20.

P Placenticus, the Dominican, wrote a poem of 253 Latin hexameters, called Pugna Porcorum, every word of which begins with the letter p (died 1548). It begins thus:

There was one composed in honor of Charles le Chauve, every word of which began with c.

The best known alliterative poem in English is the following:—

Tusser has a poem of twelve lines, in rhyme, every word of which begins with t. The subject is on Thriftiness (died 1580).

P’s (The Five), William Oxberry, printer, poet, publisher, publican and player (1784-1824).

Pache (J. Nicolas), a Swiss by birth. He was minister of war in 1792, and maire de Paris 1793. Pache hated the Girondists, and at the fall of Danton, was imprisoned. After his liberation, he retired to Thym-le-Moutiers (in the Ardennes), and died in obscurity (1740-1823).

Swiss Pache sits sleek-headed, frugal, the wonder of his own ally for humility of mind.... Sit there, Tartuffe, till wanted.—Carlyle.

Pacific (The), Amadeus VIII., count of Savoy (1383, 1391-1439, abdicated, and died 1451).

Frederick III., emperor of Germany (1415, 1440-1493).

Olaus III. of Norway (*, 1030-1093).

Pac´olet, a dwarf, “full of great sense and subtle ingenuity.” He had an enchanted horse, made of wood, with which he carried off Valentine, Orson and Clerimond from the dungeon of Ferrăgus. This horse is often alluded to. “To ride Pacolet’s horse” is a phrase for going very fast.—Valentine and Orson, fifteenth century).

Pacolet, a familiar spirit.—Steele, The Tatler (1709).

Pacolet, or Nick Strumpfer, the dwarf servant of Norna “of the Fitful Head.”—Sir W. Scott, The Pirate (time William III.).

Pacomo (St.), an Egyptian, who lived in the fourth century. It is said that he could walk among serpents unhurt; and when he had occasion to cross the Nile, he was carried on the back of a crocodile.

The hermit fell on his knees before an image of St. Pacomo, which was glued to the wall.—Lesage, Gil Blas, iv. 9 (1724).

Paddington (Harry), one of Macheath’s gang of thieves. Peachum describes him as a “poor, petty-larceny rascal, without the least genius. That fellow,” he says, “though he were to live for six months, would never come to the gallows with credit” (act i. 1).—Gay, The Beggar’s Opera (1727).

Paddy, an Irishman. A corruption of Padhrig, Irish for Patrick.

Padlock (The), a comic opera by Bickerstaff. Don Diego (2 syl.), a wealthy lord of 60, saw a country maiden named Leonora, to whom he took a fancy, and arranged with the parents to take her home with him and place her under the charge of a duenna for three months, to see if her temper was as sweet as her face was pretty; and then either “to return her to them spotless, or make her his lawful wife.” At the expiration of the time, the don went to arrange with the parents for the wedding, and locked up his house, giving the keys to Ursula, the duenna. To make assurance doubly sure, he put a padlock on the outer door, and took the key with him. Leander, a young student, smitten with the damsel, laughed at locksmiths and duennas, and, having gained admission into the house, was detected by Don Diego, who returned unexpectedly. The old don, being a man of sense, perceived that Leander was a more suitable bridegroom than himself, so he not only sanctioned the alliance, but gave Leonora a handsome wedding dowry (1768).

Pæan, the physician of the immortals.

Pæa´na, daughter of Corflambo, “fair as ever yet saw living eye,” but “too loose of life and eke too light.” Pæana fell in love with Amĭas, a captive in her father’s dungeon; but Amias had no heart to give away. When Placĭdae was brought captive before Pæana, she mistook him for Amias, and married him. The poet adds, that she thenceforth so reformed her ways “that all men much admired the change, and spake her praise.”—Spenser, Faëry Queen, iv. 9 (1596).

Pagan, a fay who loved the Princess Imis; but Imis rejected his suit, as she loved her cousin, Philax. Pagan, out of revenge, shut them up in a superb crystal palace, which contained every delight except that of leaving it. In the course of a few years, Imis and Philax longed as much for a separation as, at one time, they wished to be united.—Comtesse D’Aunoy, Fairy Tales (“Palace of Revenge,” 1682).

Page (Mr.), a gentleman living at Windsor. When Sir John Falstaff made love to Mrs. Page, Page himself assumed the name of Brooke, to outwit the knight. Sir John told the supposed Brooke his whole “course of wooing,” and how nicely he was bamboozling the husband. On one occasion, he says, “I was carried out in a buck-basket of dirty linen before the very eyes of Page, and the deluded husband did not know it.” Of course, Sir John is thoroughly outwitted and played upon, being made the butt of the whole village.

Mrs. Page, wife of Mr. Page of Windsor. When Sir John Falstaff made love to her, she joined with Mrs. Ford to dupe him and punish him.

Anne Page, daughter of the above, in love with Fenton. Slender calls her “the sweet Anne Page.”

William Page, Anne’s brother, a schoolboy.—Shakespeare, Merry Wives of Windsor (1595).

Page (Sir Francis), called “The Hanging Judge” (1661-1741).

Page (Ruth). A dainty little miss, bright, happy and imaginative, called sometimes “Teenty-Taunty.” Her head is full of fairy-lore, and when she tumbles into the water one day, she dreams in her swoon of Fairy-Land and the wonders thereof, of a bunch of forget-me-nots she was to keep alive if she would have her mother live, and so many other marvellous things, that her distressed father opines that “the poor child would be rational enough, if she had not read so many fairy-books.”—John Neal, Goody Gracious and the Forget-me-not (183-).

Paget (The Lady), one of the ladies of the bedchamber in Queen Elizabeth’s court.—Sir W. Scott, Kenilworth (time, Elizabeth).

Paine (Squire). “Hard-headed, hard fe’tured Yankee,” whose conversion to humanity and Christianity is effected by Roxanna Keep.

She “drilled the hole, an’ put in the powder of the Word, an’ tamped it down with some pretty stiff facts ... but the Lord fired the blast Himself.”—Rose Terry Cooke, Somebody’s Neighbors (1881).

Painter of Nature. Remi Belleau, one of the Pleiad poets, is so called (1528-1577).

The Shepheardes Calendar, by Spenser, is largely borrowed from Belleau’s Song of April.

Painter of the Graces. Andrea Appiani (1754-1817).

Painters.

A Bee. Quentin Matsys, the Dutch painter, painted a bee so well that the artist Mandyn thought it a real bee, and proceeded to brush it away with his handkerchief (1450-1529).

A Cow. Myro carved a cow so true to nature that bulls mistook it for a living animal (B.C. 431).

A Curtain. Parrhasios painted a curtain so admirably that even Zeuxis, the artist, mistook it for real drapery (B.C. 400).

A Fly. George Alexander Stevens says, in his Lectures on Heads:

I have heard of a connoisseur who was one day in an auction-room where there was an inimitable piece of painting of fruits and flowers. The connoisseur would not give his opinion of the picture till he had first examined the catalogue; and, finding it was done by an Englishman, he pulled out his eye-glass. “Oh, sir,” says he, “those English fellows have no more idea of genius than a Dutch skipper has of dancing a cotillion. The dog has spoiled a fine piece of canvas; he is worse than a Harp Alley signpost dauber. There’s no keeping, no perspective, no foreground. Why, there now, the fellow has actually attempted to paint a fly upon that rosebud. Why, it is no more like a fly than I am like—;” but, as he approached his finger to the picture, the fly flew away (1772)

Grapes. Zeuxis (2 syl.) a Grecian painter, painted some grapes so well that birds came and pecked at them, thinking them real grapes (B.C. 400).

A Horse. Apellês painted Alexander’s horse Bucephalos so true to life that some mares came up to the canvas neighing, under the supposition that it was a real animal (about B.C. 334).

A Man. Velasquez painted a Spanish admiral so true to life that when King Felipe IV. entered the studio he mistook the painting for the man, and began reproving the supposed officer for neglecting his duty in wasting his time in the studio, when he ought to have been with his fleet (1590-1660).

Accidental effects in painting.

Apellês, being at a loss to paint the foam of Alexander’s horse, dashed his brush at the picture in a fit of annoyance, and did by accident what his skill had failed to do (about B.C. 334).

The same tale is told of Protog´enês, who dashed his brush at a picture, and thus produced “the foam of a dog’s mouth,” which he had long been trying in vain to represent (about B.C. 332).

Painters (Prince of). Parrhasios and Apellês are both so called (fourth century B.C.).

Painters’ Characteristics.

Angelo (Michael): an iron frame, strongly developed muscles, and an anatomical display of the human figure. The Æschylos of painters (1474-1564).

Carracci: eclectic artists, who picked out and pieced together parts taken from Correggio, Raphael, Titian and other great artists. If Michael Angelo is the Æschylos of artists, and Raphael the Sophoclês, the Carracci may be called the Euripidês of painters. I know not why in England the name is spelt with only one r.

Correggio: known by his wonderful foreshortenings, his magnificent light and shade. He is, however, very monotonous (1494-1534).

Crome (John): an old woman in a red cloak walking up an avenue of trees (1769-1821).

David: noted for his stiff, dry, pedantic, “highly classic” style, according to the interpretation of the phrase by the French in the first Revolution (1748-1825).

Dolce (Cario): famous for his Madonnas, which were all finished with most extraordinary delicacy (1616-1686).

Domenichi´no: famed for his frescoes, correct in design and fresh in coloring (1581-1614).

Guido: his specialty is a pallid or bluish-complexioned saint, with saucer or uplifted eyes (1574-1642).

Holbein: characterized by bold relief, exquisite finish, force of conception, delicacy of tone, and dark background (1498-1554).

Lorraine (Claude): a Greek temple on a hill, with sunny and highly finished classic scenery. Aerial perspective (1600-1682).

Murillo: a brown-faced Madonna (1618-1682).

Ommeganck: sheep (1775-1826).

Perugino (Pietro): known by his narrow, contracted figures and scrimpy drapery (1446-1524).

Poussin: famous for his classic style. Reynolds says: “No works of any modern have so much the air of antique painting as those of Poussin” (1593-1665).

Poussin (Gaspar): a landscape painter, the very opposite of Claude Lorraine. He seems to have drawn his inspiration from Hervey’s Meditations Among the Tombs, Blair’s Grave, Young’s Night Thoughts, and Burton’s Anatomy of Melancholy (1613-1675).

Raphael: the Sophoclês of painters. Angelo’s figures are all gigantesque and ideal, like those of Æschylos. Raphael’s are perfect human beings (1483-1520).

Reynolds: a portrait-painter. He presents his portraits in bal masqué, not always suggestive either of the rank or character of the person represented. There is about the same analogy between Watteau and Reynolds as between Claude Lorraine and Gaspar Poussin (1723-1792).

Rosa (Salvator): dark, inscrutable pictures, relieved by dabs of palette-knife. He is fond of savage scenery, broken rocks, wild caverns, blasted heaths, and so on (1615-1673).

Rubens: patches of vermillion dabbed about the human figure, wholly out of harmony with the rest of the coloring (1577-1640).

Steen (Jan): an old woman peeling vegetables, with another old woman looking at her (1636-1679).

Tintoretti: full of wild fantastical inventions. He is called “The Lightning of the Pencil” (1512-1594).

Titian: noted for his broad shades of divers gradations (1477-1576).

Veronese (Paul): noted for his great want of historical correctness and elegance of design; but he abounds in spirited banquets, sumptuous edifices, brilliant aerial spectres, magnificent robes, gaud, and jewelry (1530-1588).

Watteau: noted for his fêtes galantes, fancy-ball costumes, and generally gala-day figures (1684-1721).

Paix des Dames (La), the treaty of peace concluded at Cambray in 1529, between François I. of France and Karl V., emperor of Germany. So called because it was mainly negotiated by Louise of Savoy (mother of the French king), and Margaret, the emperor’s aunt.

Palabras Carinosas.

“Good-night! I have to say good-night To such a host of peerless things! Good-night unto the fragile hand All queenly with its weight of rings; Good-night to fond uplifted eyes, Good-night to chestnut braids of hair, Good-night unto the perfect mouth And all the sweetness nestled there,— The snowy hand detains me,—then I’ll have to say Good-night again!” Thomas Bailey Aldrich, Poems, 1858-84.

Paladore, a Briton in the service of the king of Lombardy. One day, in a boar-hunt, the boar turned on the Princess Sophia, and, having gored her horse to death, was about to attack the lady, but was slain by the young Briton. Between these two young people a strong attachment sprang up; but the Duke Bire´no, by an artifice of false impersonation, induced Paladore to believe that the princess was a wanton, and had the audacity to accuse her as such to the senate. In Lombardy, the punishment for this offence was death, and the princess was ordered to execution. Paladore, having learned the truth, accused the duke of villainy. They fought, and Bireno fell. The princess, being cleared of the charge, married Paladore.—Robert Jephson, The Law of Lombardy (1779).

Palame´des (4 syl.), son of Nauplios, was, according to Suidas, the inventor of dice. (See Alea.)

Palamedes (Sir), a Saracen, who adored Isolde, the wife of King Mark of Cornwall. Sir Tristram also loved the same lady, who was his aunt. The two “lovers” fought, and Sir Palamedês, being overcome, was compelled to turn Christian. He was baptized, and Sir Tristram stood his sponsor at the font.—Thomas of Erceldoune, called “The Rhymer,” Sir Tristram (thirteenth century).

Palame´des of Lombardy, one of the allies of the Christian army in the first crusade. He was shot by Corinda with an arrow (bk. xi.).—Tasso, Jerusalem Delivered (1575).

Palamon and Arcite (2 syl.), two young Theban knights, who fell into the hands of Duke Theseus (2 syl.), and were by him confined in a dungeon at Athens. Here they saw the duke’s sister-in-law, Emily, with whom both fell in love. When released from captivity, the two knights told to the duke their tale of love; and the duke promised that whichever proved the victor in single combat, should have Emily for his prize. Arcite prayed to Mars “for victory,” and Palamon to Venus that he might “obtain the lady,” and both their prayers were granted. Arcite won the victory, according to his prayer, but, being thrown from his horse, died; so Palamon, after all, “won the lady,” though he did not win the battle.—Chaucer, Canterbury Tales (“The Knight’s Tale,” 1388).

This tale is taken from the Le Teseide of Boccaccio.

The Black Horse, a drama by John Fletcher, is the same tale. Richard Edwards has a comedy called Palæmon and Arcyte (1566).

Pale (The), or The English Pale, a part of Ireland, including Dublin, Meath, Carlow, Kilkenny and Louth.

Pale Faces. So the American Indians call the European settlers.

Pale´mon, son of a rich merchant. He fell in love with Anna, daughter of Albert, master of one of his father’s ships. The purse-proud merchant, indignant at this, tried every means to induce his son to abandon such a “mean connection,” but without avail; so at last he sent him in the Britannia (Albert’s ship) “in charge of the merchandise.” The ship was wrecked near Cape Colonna, in Attica; and although Palēmon escaped, his ribs were so broken that he died almost as soon as he reached the shore.

Pale´mon and Lavinia, a poetic version of Boaz and Ruth. “The lovely young Lavinia” went to glean in the fields of young Palemon, “the pride of swains;” and Palemon, falling in love with the beautiful gleaner, both wooed and won her.—Thomson, The Seasons (“Autumn,” 1730).

Pales (2 syl.), god of shepherds and their flocks.—Roman Mythology.

Pal´inode (3 syl.), a shepherd in Spenser’s Eclogues. In ecl. v. Palinode represents the Catholic priest. He invites Piers (who represents the Protestant clergy) to join in the fun and pleasures of May. Piers then warns the young man of the vanities of the world, and tells him of the great degeneracy of pastoral life, at one time simple and frugal, but now discontented and licentious. He concludes with the fable of the kid and her dam. The fable is this: A mother-goat, going abroad for the day, told her kid to keep at home, and not to open the door to strangers. She had not been gone long when up came a fox, with head bound from “headache,” and foot bound from “gout,” and carrying a ped of trinkets. The fox told the kid a most piteous tale, and showed her a little mirror. The kid, out of pity and vanity, opened the door; but while stooping over the ped to pick up a little bell, the fox clapped down the lid and carried her off.

In ecl. vii. Palinode is referred to by the shepherd Thomalin, as “lording it over God’s heritage,” feeding the sheep with chaff, and keeping for himself the grains.—Spenser, Shepheardes Calendar (1572).

Palinode (3 syl.), a poem in recantation of a calumny. Stesich´oros wrote a bitter satire against Helen, for which her brothers, Castor and Pollux, plucked out his eyes. When, however, the poet recanted, his sight was restored to him again.

Horace’s Ode, xvi. i. is a palinode. Samuel Butler has a palinode, in which he recanted what he said in a previous poem of the Hon. Edward Howard. Dr. Watts recanted in a poem the praise he had previously bestowed on Queen Anne.

Palinu´rus, the pilot of Æne´as. Palinurus, sleeping at the helm, fell into the sea and was drowned. The name is employed as a generic word for a steersman or pilot, and sometimes for a chief minister. Thus, Prince Bismarck might have been called the palinurus of William, emperor of Germany and king of Prussia.

Palisse (La), a sort of M. Prudhomme; a pompous utterer of truisms and moral platitudes.

Palissy (Bernard, the potter), succeeded, after innumerable efforts and privations, in inventing the art of enamelling stone ware. He was arrested and confined in the Bastille for Huguenot principles, and died there in 1589.

Palla´dio (Andrea), the Italian classical architect (1518-1580).

The English Palladio, Inigo Jones (1573-1653).

Palla´dium.

Of Ceylon, the deláda or tooth of Buddha, preserved in the Malegawa temple at Kandy. Natives guard it with great jealousy, from a belief that whoever possesses it acquires the right to govern Ceylon. When, in 1815, the English obtained possession of the tooth, the Ceylonese submitted to them without resistance.

Of Eden Hall, a drinking-glass, in the possession of Sir Christopher Musgrave, Bart., of Edenhall, Cumberland.

Of Jerusalem. Aladine, king of Jerusalem, stole an image of the Virgin, and set it up in a mosque, that she might no longer protect the Christians, but become the palladium of Jerusalem. The image was rescued by Sophronia, and the city taken by the crusaders.

Of Meg´ara, a golden hair of King Nisus. Scylla promised to deliver the city into the hands of Minos, and cut off the talismanic lock of her father’s head while he was asleep.

Of Rome, the ancīle or sacred buckler which Numa said fell from heaven, and was guarded by priests called Salii.

Of Scotland, the great stone of Scone, near Perth, which was removed by Edward I. to Westminster, and is still there, preserved in the coronation chair.

Of Troy, a colossal wooden statue of Pallas Minerva, which “fell from heaven.” It was carried off by the Greeks, by whom the city was taken, and burned to the ground.

Pallet, a painter, in Smollett’s novel of Peregrine Pickle (1751).

The absurdities of Pallet are painted an inch thick, and by no human possibility could such an accumulation of comic disasters have befallen the characters of the tale.

Pal´merin of England, the hero and title of a romance in chivalry. There is also an inferior one entitled Palmerin d’Oliva.

The next two books were Palmerin d’Ol´iva and Palmerin of England. “The former,” said the curé, “shall be torn in pieces and burnt to the last ember; but Palmerin of England shall be preserved as a relique of antiquity, and placed in such a chest as Alexander found amongst the spoils of Darius, and in which he kept the writings of Homer. This same book is valuable for two things: first, for its own especial excellency, and next because it is the production of a Portuguese monarch, famous for his literary talents. The adventures of the castle of Miraguarda therein, are finely imagined, the style of composition is natural and elegant, and the utmost decorum is preserved throughout.”—Cervantes, Don Quixote, I. i. 6 (1605).

Palmi´ra, daughter of Alcānor, chief of Mecca. She and her brother, Zaphna, were taken captives in infancy, and brought up by Mahomet. As they grew in years they fell in love with each other, not knowing their relationship; but when Mahomet laid siege to Mecca, Zaphna was appointed to assassinate Alcanor, and was himself afterwards killed by poison. Mahomet then proposed marriage to Palmira, but to prevent such an alliance, she killed herself.—James Miller, Mahomet, the Impostor (1740).

Pal´myrene (The), Zenobia, queen of Palmyra, who claimed the title of “Queen of the East.” She was defeated by Aurelian, and taken prisoner (A.D. 273). Longinus lived at her court, and was put to death on the capture of Zenobia.

Pal´omides (Sir), son and heir of Sir Astlabor. His brothers were Sir Safire and Sir Segwar´idês. He is always called the Saracen, meaning “unchristened.” Next to the three great knights (Sir Launcelot, Sir Tristram, and Sir Lamorake), he was the strongest and bravest of the fellowship of the Round Table. Like Sir Tristram, he was in love with La Belle Isond, wife of King Mark, of Cornwall; but the lady favored the love of Sir Tristram, and only despised that of the Saracen knight. After his combat with Sir Tristram, Sir Palomides consented to be baptized by the bishop of Carlisle (pt. iii. 28).

He was well made, cleanly and bigly, and neither too young nor too old. And though he was not christened, yet he believed in the best manners, and was faithful and true of his promise, and also well conditioned. He made a vow that he would never be christened unto the time that he achieved the beast Glatisaint.... And also he avowed never to take full christendom unto the time that he had done seven battles within the lists.—Sir T. Malory, History of Prince Arthur, ii. 149 (1470).

Pam, Henry John Temple, viscount Palmerston (1784-1865).

Pam´ela. Lady Edward Fitzgerald is so called (*-1831).

Pam´ela [Andrews], a simple, unsophisticated country girl, the daughter of two aged parents, and maid-servant of a rich young squire, called B, who tries to seduce her. She resists every temptation, and at length marries the young squire, and reforms him. Pamela is very pure and modest, bears her afflictions with much meekness, and is a model of maidenly prudence and rectitude. The story is told in a series of letters which Pamela sends to her parents.—S. Richardson, Pamela, or Virtue Rewarded (1740).

The pure and modest character of the English maiden [Pamela] is so well maintained, ... her sorrows and afflictions are borne with so much meekness; her little intervals of hope ... break in on her troubles so much like the specks of blue sky through a cloudy atmosphere—that the whole recollection is soothing, tranquilizing, and doubtless edifying.—Sir W. Scott.

Pamela is a work of much humbler pretensions than Clarissa Harlowe.... A simple country girl whom her master attempts to seduce, and afterwards marries.... The wardrobe of poor Pamela, her gown of sad-colored stuff, and her round-eared caps; her various attempts at escape, and the conveyance of her letters; the hateful character of Mrs. Jewkes, and the fluctuating passions of her master before the better part of his nature obtains ascendancy—these are all touched with the hand of a master.—Chambers, English Literature, ii. 161.

Pamina and Tam´ino, the two lovers who were guided by “the magic flute” through all worldly dangers to the knowledge of divine truth (or the mysteries of Iris).—Mosart, Die Zauberflöte (1790).

Pamphlet (Mr.), a penny-a-liner. His great wish was “to be taken up for sedition.” He writes on both sides, for as he says, he has “two hands, ambo dexter.”

“Time has been,” he says, “when I could turn a penny by an earthquake, or live upon a jail distemper, or dine upon a bloody murder; but now that’s all over—nothing will do now but roasting a minister, or telling the people they are ruined. The people of England are never so happy as when you tell them they are ruined.”—Murphy, The Upholsterer, ii. 1 (1758).

Pan, Nature personified, especially the vital crescent power of nature.

Pan, in Spenser’s ecl. iv., is Henry VIII., and “Syrinx” is Anne Boleyn. In ecl. v. “Pan” stands for Jesus Christ in one passage, and for God the Father in another.—Spenser, Shepheardes Calendar (1572).

Pan (The Great), François M. A. de Voltaire; also called “The Dictator of Letters” (1694-1778).

Pancaste (3 syl.), or Campaspe, one of the concubines of Alexander the Great. Apellés fell in love with her while he was employed in painting the king of Macedon, and Alexander, out of regard to the artist, gave her to him for a wife. Apellês selected for his “Venus Rising from the Sea” (usually called “Venus Anadyomĕnê”) this beautiful Athenian woman, together with Phrynê, another courtezan.

^*_*^* Phrynê was also the academy figure for the “Cnidian Venus” of Praxitĕlês.

Pancks, a quick, short, eager, dark man, with too much “way.” He dressed in black and rusty iron grey; had jet-black beads for eyes, a scrubby little black chin, wiry black hair striking out from his head in prongs like hair-pins, and a complexion that was very dingy by nature, or very dirty by art, or a compound of both. He had dirty hands, and dirty, broken nails, and looked as if he had been in the coals. He snorted and sniffed, and puffed and blew, and was generally in a perspiration. It was Mr. Pancks who “moled out” the secret that Mr. Dorrit, imprisoned for debt in the Marshalsea prison, was heir-at-law to a great estate, which had long lain unclaimed, and was extremely rich (ch. xxxv.). Mr. Pancks also induced Clennam to invest in Merdle’s bank shares, and demonstrated by figures the profit he would realize; but the bank being a bubble the shares were worthless.—C. Dickens, Little Dorrit (1857).

Pancrace, a doctor of the Aristotelian school. He maintained that it was improper to speak of the “form of a hat,” because form “est la disposition extérieure des corps qui sont animés,” and therefore we should say the “figure of a hat,” because figure “est la disposition extérieure des corps qui sont inanimés;” and because his adversary could not agree, he called him “un ignorant, un ignorantissime, ignorantifiant, et ignorantifiè” (sc. viii.).—Molière, Le Mariage Forcé (1664).

Pancras (The earl of), one of the skillful companions of Barlow, the famous archer; another was called the “Marquis of Islington;” while Barlow himself was mirthfully created by Henry VIII., “Duke of Shoreditch.”

Pancras (St.), patron saint of children, martyred by Diocletian at the age of 14 (A.D. 304).

Pan´darus, the Lycian, one of the allies of Priam in the Trojan war. He is drawn under two widely different characters: In classic story he is depicted as an admirable archer, slain by Diomed, and honored as a hero-god in his own country; but in mediæval romance he is represented as a despicable pimp, insomuch that the word pander is derived from his name. Chaucer, in his Troïlus and Cresseide, and Shakespeare, in his drama of Troilus and Cressida, represent him as procuring for Troilus the good graces of Cressid, and in Much Ado About Nothing, it is said that Troilus “was the first employer of pandars.”

Pandemo´nium, “the high capital of Satan and his peers.” Here the infernal parliament was held, and to this council Satan convened the fallen angels to consult with him upon the best method of encompassing the “fall of man.” Satan ultimately undertook to visit the new world; and, in the disguise of a serpent, he tempted Eve to eat of the forbidden fruit.—Milton, Paradise Lost, ii. (1665).

Pandi´on, king of Athens, father of Procnê and Philome´la.

Pandolf (Sir Harry), the teller of whole strings of stories, which he repeats at every gathering. He has also a stock of bon-mots. “Madam,” said he, “I have lost by you to-day.” “How so, Sir Harry!” replies the lady. “Why, madam,” rejoins the baronet, “I have lost an excellent appetite.” “This is the thirty-third time that Sir Harry hath been thus arch.”

We are constantly, after supper, entertained with the Glastonbury Thorn. When we have wondered at that a little, “Father,” saith the son, “let us have the Spirit in the Wood.” After that, “Now tell us how you served the robber.” “Alack!” saith Sir Harry, with a smile, “I have almost forgotten that; but it is a pleasant conceit, to be sure;” and accordingly he tells that and twenty more in the same order over and over again.—Richard Steele.

Pandolfe (2 syl.), father of Lélie.—Molière, L’Etourdi (1653).

Pando´ra, the “all-gifted woman.” So called because all the gods bestowed some gift on her to enhance her charms. Jove sent her to Prometheus for a wife, but Hermês gave her in marriage to his brother, Epime´theus (4 syl.). It is said that Pandora enticed the curiosity of Epimetheus to open a box in her possession, from which flew out all the ills that flesh is heir to. Luckily the lid was closed in time to prevent the escape of Hope.

^*_*^* “Unwiser son” is a Latinism, and means “not so wise as he should have been;” so audacior, timidior, vehementior, iracundior, etc.

Pandos´to, or The Triumph of Time, a tale by Robert Greene (1588), the quarry of the plot of The Winter’s Tale by Shakespeare.

Panel (The), by J. Kemble, is a modified version of Bickerstaff’s comedy ’Tis Well ’tis no Worse. It contains the popular quotation:

Pangloss (Dr. Peter), an LL.D. and A.S.S. He began life as a muffin-maker in Milk Alley. Daniel Dowlas, when he was raised from the chandler’s shop in Gosport to the peerage, employed the doctor “to larn him to talk English;” and subsequently made him tutor to his son Dick, with a salary of £300 a year. Dr. Pangloss was a literary prig of ponderous pomposity. He talked of a “locomotive morning,” of one’s “sponsorial and patronymic appellations,” and so on; was especially fond of quotations, to all of which he assigned the author, as “Lend me your ears. Shakespeare. Hem!” or “Verbum sat. Horace. Hem!” He also indulged in an affected “He! he!”—G. Colman, The Heir-at-Law (1797).

A.S.S. stands for Artium Societatis Socius (“Fellow of the Society of Arts”).

Pangloss, an optimist philosopher. (The word means “All Tongue.”)—Voltaire, Candide.

Panjam, a male idol of the Oroungou tribes of Africa; his wife is Alēka, and his priests are called panjans. Panjam is the special protector of kings and governments.

Panjandrum (The Grand), and village potentate or Brummagem magnate. The word occurs in S. Foote’s farrago of nonsense, which he wrote to test the memory of old Macklin, who said in a lecture “he had brought his own memory to such perfection that he could learn anything by rote on once hearing it.”

He was the Great Panjandrum of the place.—Percy Fitzgerald.

^*_*^* The squire of a village is the Grand Panjandrum, and the small gentry the Picninnies, Joblillies, and Garyulies.

Foote’s nonsense lines are these:

So she went into the garden to cut a cabbage leaf to make an apple pie; and at the same time a great she-bear, coming up the street, pops its head into the shop. “What! no soap?” So he died, and she very imprudently married the barber! and there were present the Picninnies, and the Joblillies, and the Garyulies, and the Grand Panjandrum himself, with the little round button at top, and they all fell to playing the game of catch as catch can, till the gunpowder ran out at the heel of their boots.—S. Foote, The Quarterly Review, xcv. 516, 517 (1854).

Pan´ope (3 syl.), one of the nereids. Her “sisters” are the sea-nymphs. Panopê was invoked by sailors in storms.

Pansy Osmund, daughter of Mr. Osmund and Madame Merle, but ignorant who her mother is. After her father’s second marriage, the girl, who has been brought up by the nuns, is extremely fond of her step-mother, and when she grows under her fostering care into a lovely woman, becomes attached to Edward Rosier, a man of small fortune. Her father, cold and hard as stone, decrees that she shall marry an English lord, and upon her refusal, sends her back to the convent.—Henry James, Jr., Portrait of a Lady (1881).

Pantag´ruel´, king of the Dipsodes (2 syl.), son of Gargantua, and last of the race of giants. His mother, Badebec, died in giving him birth. His paternal grandfather was named Grangousier. Pantagruel was a lineal descendant of Fierabras, the Titans, Goliath, Polypheme (3 syl.), and all the other giants traceable to Chalbrook, who lived in that extraordinary period noted for its “week of three Thursdays.” The word is a hybrid, compounded of the Greek panta (“all”), and the Hagarene word gruel (“thirsty”). His immortal achievement was his “quest of the oracle of the Holy Bottle.”—Rabelais, Gargantua and Pantagruel, ii. (1533).

Pantagruel’s Course of Study. Pantagruel’s father, Gargantua, said in a letter to his son:

“I intend and insist that you learn all languages perfectly; first of all Greek, in Quintillian’s method; then Latin, then Hebrew, then Arabic and Chaldee. I wish you to form your style of Greek on the model of Plato, and of Latin on that of Cicero. Let there be no history you have not at your finger’s ends, and study thoroughly cosmography and geography. Of liberal arts, such as geometry, mathematics and music, I gave you a taste when not above five years old, and I would have you now master them fully. Study astronomy, but not divination and judicial astrology, which I consider mere vanities. As for civil law, I would have thee know the digests by heart. You should also have a perfect knowledge of the works of Nature, so that there is no sea, river, or smallest stream, which you do not know for what fish it is noted, whence it proceeds, and whither it directs its course; all fowls of the air, all shrubs and trees, whether forest or orchard, all herbs and flowers, all metals and stones should be mastered by you. Fail not at the same time most carefully to peruse the Talmudists and Cabalists, and be sure by frequent anatomies to gain a perfect knowledge of that other world called the microcosm, which is man. Master all these in your young days, and let nothing be superficial; as you grow into manhood, you must learn chivalry, warfare, and field manœuvres.”—Rabelais, Pantagruel, ii. 8 (1533).

Pantag´ruel’s Tongue. It formed shelter for a whole army. His throat and mouth contained whole cities.

Then did they [the army] put themselves in close order, and stood as near to each other as they could, and Pantagruel put out his tongue half-way, and covered them all, as a hen doth her chickens.—Rabelais, Pantagruel, ii. 32 (1533).

Pantagruelian Lawsuit (The). This was between Lord Busqueue and Lord Suckfist, who pleaded their own cases. The writs, etc., were as much as four asses could carry. After the plaintiff had stated his case, and the defendant had made his reply, Pantagruel gave judgment, and the two suitors were both satisfied, for no one understood a word of the pleadings, or the tenor of the verdict.—Rabelais, Pantagruel, ii. (1533).

Pantaloon. In the Italian comedy, Il Pantalo´ne is a thin, emaciated, old man, and the only character that acts in slippers.

Panther (The), symbol of pleasure. When Dantê began the ascent of fame, this beast met him, and tried to stop his further progress.

Panther (The Spotted), the Church of England. The “milk-white doe” is the Church of Rome.

Panthino, servant of Antonio (the father of Protheus, one of the two heroes of the play).—Shakespeare, Two Gentlemen of Verona (1594).

Panton, a celebrated punster in the reign of Charles II.

Panurge, a young man, handsome and of good stature, but in very ragged apparel when Pantag´ruel first met him on the road leading from Charenton Bridge. Pantagruel, pleased with his person, and moved with pity at his distress, accosted him, when Panurge replied, first in German, then in Arabic, then in Italian, then in Biscayan, then in Bas-Breton, then in Low Dutch, then in Spanish. Finding that Pantagruel knew none of these languages, Panurge tried Danish, Hebrew, Greek, Latin, with no better success. “Friend,” said the prince, “can you speak French?” “Right well,” answered Panurge, “for I was born in Touraine, the garden of France.” Pantagruel then asked him if he would join his suite, which Panurge most gladly consented to do, and became the fast friend of Pantagruel. His great forte was practical jokes. Rabelais describes him as of middle stature, with an aquiline nose, very handsome, and always moneyless. Pantagruel made him governor of Salmygondin.—Rabelais, Pantagruel, iii. 2 (1545).

Panza (Sancho), of Adzpetia, the squire of Don Quixote de la Mancha; “a little squat fellow, with a tun belly and spindle shanks” (pt. I. ii. 1). He rides an ass called Dapple. His sound common sense is an excellent foil to the knight’s craze. Sancho is very fond of eating and drinking, is always asking the knight when he is to be put in possession of the island he promised. He salts his speech with most pertinent proverbs, and even with wit of a racy, though sometimes of rather a vulgar savor.—Cervantes, Don Quixote (1605).

^*_*^* The wife of Sancho is called “Joan Panza” in pt. I., and “Teresa Panza” in pt. II. “My father’s name,” she says to Sancho, “was Cascajo, and I, by being your wife, am now called Teresa Panza, though by right I should be called Teresa Cascajo” (pt. II. i. 5).

Paolo (2 syl.), the cardinal brother of Count Guido Franceschi´ni, who advised his bankrupt brother to marry an heiress, in order to repair his fortune.

Paper King (The), John Law, projector of the Mississippi Bubble (1671-1729).

The basis of Law’s project was the idea that paper money may be multiplied to any extent, provided there be security in fixed stock.—Rich.

Paphian Mimp, a certain plie of the lips, considered needful for “the highly genteel.” Lady Emily told Miss Alscrip, “the heiress,” that it was acquired by placing one’s self before a looking-glass, and repeating continually the words “nimini pimini;” “when the lips cannot fail to take the right plie.”—General Burgoyne, The Heiress, iii. 2 (1781).

(C. Dickens has made Mrs. General tell Amy Dorrit that the pretty plie is given to the lips by pronouncing the words “papa, potatoes, poultry, prunes and prism.”)

Papillon, a broken-down critic, who earned four shillings a week for reviews of translations “without knowing one syllable of the original,” and of “books which he had never read.” He then turned French valet, and got well paid. He then fell into the service of Jack Wilding, and was valet, French marquis, or anything else to suit the whims of that young scapegrace.—S. Foote, The Liar (1761).

Papy´ra, goddess of printing and literature; so called from papyrus, a substance once used for books, before the invention of paper.

Paracelsus is said to have kept a small devil prisoner in the pommel of his sword. He favored metallic substances for medicines, while Galen preferred herbs. His full name was Philippus Aure´olus Theophrastus Paracelsus, but his family name was Bombastus (1493-1541).

Paracelsus, at the age of 20, thinks knowledge the summum bonum, and, at the advice of his two friends, Festus and Michal, retires to a seat of learning in quest thereof. Eight years later, being dissatisfied, he falls in with Aprile, an Italian poet, and resolves to seek the summum bonum in love. Again he fails, and finally determines “to know and to enjoy.”—R. Browning, Paracelsus.

Par´adine (3 syl.), son of Astolpho, and brother of Dargonet, both rivals for the love of Laura. In the combat provoked by Prince Oswald against Gondibert, which was decided by four combatants on each side, Hugo “the Little” slew both the brothers.—Sir. Wm. Davenant, Gondibert, i. (died 1668).

Paradisa´ica (“the fruit of paradise”). So the banana is called. The Mohammedans aver that the “forbidden fruit” was the banana or Indian fig, and cite in confirmation of this opinion that our first parents used fig leaves for their covering after their fall.

Paradise, in thirty-three cantos, by Dantê (1311). Paradise is separated from Purgatory by the river Lethê; and Dantê was conducted through nine of the spheres by Beatrice, who left him in the sphere of “unbodied light,” under the charge of St. Bernard (canto xxxi.). The entire region is divided into ten spheres, each of which is appropriated to its proper order. The first seven spheres are the seven planets, viz. (1) the Moon, for angels, (2) Mercury, for archangels, (3) Venus, for virtues, (4) the Sun, for powers, (5) Mars, for principalities, (6) Jupiter, for dominions, (7) Saturn, for thrones. The eighth sphere is that of the fixed stars for the cherubim; the ninth is the primum mobĭlê for the seraphim; and the tenth is the empyre´an for the Virgin Mary and the triune deity. Beatrice, with Rachel, Sarah, Judith, Rebecca and Ruth, St. Augustin, St. Francis, St. Benedict, and others, were enthroned in Venus, the sphere of the virtues. The empyrean, he says, is a sphere of “unbodied light,” “bright effluence of bright essence, uncreate.” This is what the Jews called “the heaven of the heavens.”

Paradise was placed in the legendary maps of the Middle Ages, in Ceylon; but Mahomet placed it “in the seventh heaven.” The Arabs have a tradition that when our first parents were cast out of the garden, Adam fell in the isle of Ceylon, and Eve in Joddah (the port of Mecca).—Al Korân, ii.

Paradise and the Pe´ri. A peri was told she would be admitted into heaven if she would bring thither the gift most acceptable to the Almighty. She first brought a drop of a young patriot’s blood, shed on his country’s behalf; but the gates would not open for such an offering. She next took thither the last sigh of a damsel who had died nursing her betrothed, who had been stricken by the plague; but the gates would not open for such an offering. She then carried up the repentant tear of an old man converted by the prayers of a little child. All heaven rejoiced, the gates were flung open, and the peri was received with a joyous welcome.—T. Moore, Lalla Rookh (“Second Tale,” 1817).