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 looking after my baby. The next day the cook and her daughter took the morning off to go to a “baba” to get, what I suppose they called the curse, removed. If my cook did not keep the flue clean and soot fell down, or if she quarrelled with the housemaid, it was never her fault—it had happened because some one had bewitched her.

If the “baba” fails to cure the sick person, he may call in a doctor, probably too late to be of any service. What the peasant believes in more than the doctor is the “popa,” or priest, and the sacrament. Owing to his faith, confession and the sacrament often have considerable effect in improving his condition. In the case of nervous girls, I have known the sacrament to cause a most marked improvement in health.

When a sick man has confessed and received the sacrament he is “grijit,” taken care of, provided for. If he now dies, he dies in his religion. Not to die in his religion would be a terrible thing; a customary oath and one of the most binding is, “Să nu mor în legea mea,” “May I not die in my religion” (S. page 290).

After the sacrament comes the “adiată,” or testament. This, in the case of illiterate peasants, is made by word of mouth in the presence of the whole family, also sometimes of a lawyer, as witnesses. “A lăsa cu limbă de moarte,” “To leave with the tongue of a dead man,” is the expression used, and the wishes of the dead are always respected.

A most important thing is to ensure that the sick man should not die without a candle in his hand. This candle, like all candles used for ceremonial purposes, must be made of bees-wax. Even if the sick man struggles and changes his position, the candle must be kept in his hand. “Âi ţine lumânarea,” “to hold the candle,” means that the person is on the point of dying (S. page 290.)

Once when staying in a village in the Carpathians, I was awakened by shrieks in the middle of the night, a woman was rushing round saying that her Ion, her husband,

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354 the true motive of the crime. Desecrations of graves in Haiti, as in the United States, are of exceedingly rare occurrence. And it would be highly unjust to hold a whole country accountable for or sharing in the evil actions of a few depraved members of its community. Depravity of morals and sentiment exists everywhere. The characteristic traits of a people cannot be found in the morbid or wicked passions of a handful of bad men. For instance, not long ago twenty persons were arrested at Jaszbereny (Hungary), charged with having killed and eaten many children; the leader of the band alone is alleged to have eaten eighteen children. Must we infer from this that all Hungarians are cannibals? Certainly not. Why then do writers generalize in speaking of crimes committed in Haiti! If there were occasion for it they might agitate for the proper punishment of crime when the offenders can be found. But there is no necessity for any such outside agitation as this duty is well discharged by the Republic. The juries and the courts have never hesitated to sentence to death assassins even when they pretend to have acted under the maddening influence of superstition; nor are women spared; found guilty of murder they are publicly shot. Such severity is the best evidence that superstitious beliefs have not a strong hold on the conscience of the people. In reality, crimes inspired by witchcraft are exceedingly rare. As a rule, murders and poisonings are not common in Haiti; and, all things considered,

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text: 1911 Encyclopædia Britannica/Pasticcio

title: 1911 Encyclopædia Britannica/Pasticcio


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Collier's New Encyclopedia (1921)/Zrinyi, Count Niklas

ZRINYI, COUNT NIKLAS, a Hungarian military officer; became famous for his defense of Sziget with 3,000 men against a Turkish army in August-September, 1566. While the enemy was forcing a narrow bridge leading to the castle on September 7, he ordered the gates to be opened and after firing a mortar filled with broken iron into their midst sallied forth at the head of 600 men. He was soon mortally shot, and several thousand Turks swarmed into the castle, where a mine of 3,000 pounds of gunpowder exploded immediately after their entrance, causing great carnage.

COUNT NIKLAS ZRINYI


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Rh the average of crime, compared with that of other countries, is inconsiderable. Unfortunately there is among the Haitians a strange tendency to ascribe all cases of sudden death to supernatural causes; and the foreigners who live in the island share this idea with the natives. In the United States apoplexy, heart failure, acute indigestion, etc., daily cause sudden deaths; nobody thinks of imputing them to witchcraft. But in Haiti when a person, apparently in good health, drops dead in consequence of one of these diseases, some people will in nine cases out of ten hold the "papa loi" responsible for this sudden decease; and even when the doctors perform a post-mortem examination, stating the cause of death and all the particulars, many people will still refuse to believe that the death was a natural one. Numerous stories of "loup-garou" and "papa-loi" proceed from this error. "Papa-loi," "mama-loi," and "loup-garou"—these are words which one is sure to find in every article and book written about Haiti. According to these writers, these names represent very important personages of the "vaudou" cult, the mere mention of which occasions a thrill of horror and fear. We will here examine the matter in all its bearings in order to allow the reader to form his own rational opinion about it. Because "vaudou-cannibalism," as described by St. John and other writers, does not exist in Haiti, it does not follow that there are no superstitions in the country. It would be ridiculous to affirm the contrary. The most civilized nations, after many centuries of existence, have not yet succeeded in freeing themselves from superstitious beliefs. Consequently it is not surprising to find superstition in Haiti; but such as it is in reality is very different from what it is usually represented to be. In order to understand the effect that the mere utterance of the word "vaudou" produces up to the present time on some minds, and to appreciate the persistence of the calumnies with which Haiti is overwhelmed on this account, one must go back to the dark days of


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Collier's New Encyclopedia (1921)/Zschokke, Johann Heinrich Daniel

ZSCHOKKE (tshok'kã), JOHANN HEINRICH DANIEL, a German author; born in Magdeburg, Germany, March 22, 1771. He was educated at the University of Frankfort-on-the-Oder, and settled in Switzerland, in which country he held an honored position in connection with education and public affairs, and with the press. His autobiography, several of his tales, and the “Hours of Devotion,” have been translated into English. He died in 1848.


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356 slavery. The slaves who were imported and scattered about the island of Saint-Domingue had all different beliefs and fetiches; very often they came from hostile tribes. The sufferings endured in common soon formed a bond of sympathy amongst them; and the "Creole" patois, which was quickly learned, allowed them to understand each other. Through the interchange of ideas which followed, hope entered into the hearts of the most daring among them. The vital question for them was how to shake off the abhorred yoke of slavery. The colonists had done their utmost to imbue their slaves with a superstitious fear of their power and of the might of France. Would these ignorant men, who had been brutalized by years of constant ill-treatment, ever dare to rise up against their redoubtable masters? The leaders, who were longing for the betterment of their condition, had to find put the safest way of instilling their boldness into their unfortunate companions. The ignorance and even the superstitions, which clouded the intellect of those who seemed to be forever bound to the soil, furnished a good opportunity for carrying out the work of redemption. Hatred of slavery, rancor provoked by revolting cruelties, and the craving after liberty united all the victims of the inhuman institution. Associations were formed and clandestine meetings took place in the depths of the forests. Whilst dancing and singing, the leaders went about sowing seeds of revolt; and in order to inspire the slave with confidence in them they pretended to possess supernatural powers, such as being able to insure happiness, to make their enemies impotent, and defy death itself by becoming invulnerable. Hyacinthe carried about with him an ox tail which he said was a charm against bullets; and Hallaou pretended to be immune from death by virtue of a white cock which never left him; these men were followed with confidence by their companions, who blindly rushed into all kinds of dangers at their command. These semi-political and semi-religious tales raised the courage of the slaves. Christianity, which they were practising without


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Rh Joe and Dave took him, one on each side, and started to run him on the track to Government House; but they hadn't gone far when at the hurried suggestion of one of the others, and clamorous approval of the rest (there were four others), they threw Pat on his flat, and knelt and sat on him while Dave cut the place with his pocket-knife, and squeezed out as much blood as he could.

Then they ran him on again, only stopping once to take more of his blood, till they got to the huts.

The storekeeper was absent after his horse, so they walked Pat up and down while the super opened the store with the wood axe, and handed out two bottles of brandy.

They gave Pat a long pull, gave two fresh men a nip, who relieved the pacers, and walked Pat up and down with a spurt, while the rest had a nip to brace their nerves.

"It's a long way to Cork, boys," said Pat. "It's a long way to Cork."

They gave him another pull, and walked him up and down.

"I can feel it goin' through me like fire, boys," he said. "I can feel it going through me like fire. Can't ye tie up me roomp somehow? Take a twist on a bit of fincin' wire or something."

One of them picked up a piece of fencing wire, but dropped it hopelessly.

They gave him another pull, and walked him up and down. And every time they walked him up and down the others had nips to keep up their spirits.


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92 was dying, and could any one give her a candle. At first I thought the candle was for some remedy such as cupping, but I soon found that her agony was not because she could not relieve her husband’s pain, but because he might pass away without a candle. My cook found a candle for her, but the man did not die.

In hospital wards during the war, they had to be content with one candle of any sort for many dying.

If a man suffers much a priest is called in to read prayers for him (molifte). If this does not ease him, his friends shift his position, putting him facing east. If he has done a wrong, the person wronged is sought, so that forgiveness may be obtained (S. page 291).

When the man is dead, a window is opened or a pane is broken so that the soul may fly out (S. page 291). Any mirrors which may be in the house are covered up. The eyes of the dead are closed by the most loved child. The priest is notified and the church bells are tolled, so that people may know that some one is dead.

In certain localities, the men related to the deceased show their sorrow by going about bare-headed even when going as far as the market-place. The women let down their hair, and begin lamenting the dead aloud. Words are said with a musical intonation, the words often constituting complete elegies of praise and regret for the dead.

In Macedonia, there are professionals who lament the dead, for pay; in Roumania amateurs only are found, who lament “pour l’amour de l’art.”

The dead man is now washed, sometimes for the second time only, the first being at his birth.

The water in which he was washed is poured out at the foot of a tree, and covered with the “kazan,” the vessel in which it was heated, for it would be a profanation to walk over it (S. page 291).

The face is shaven and the nails are cut. It is said that in some places the parings are stuck into a ball of wax and

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Collier's New Encyclopedia (1921)/Zueblin, Charles

ZUEBLIN, CHARLES, an American educator and publicist; born in Pendleton, Ind., in 1866. He was educated at the University of Pennsylvania, Northwestern University, Yale, and the University of Leipzig. In 1891 he founded the Northwestern University Settlement. In 1892 he became the first secretary of the Chicago Society for University Extension. From 1892 to 1895 he was instructor; from 1895 to 1896 assistant professor; from 1896 to 1902 associate professor; and from 1902 to 1908 full professor of sociology at the University of Chicago. In 1911-1912 he was editor of the “20th Century Magazine.” He lectured extensively and contributed frequently to philosophical and sociological journals, and to many of the most prominent magazines and reviews. From 1901 to 1902 he was president of the American League for Civic Improvement. He wrote: “American Municipal Progress” (1902); “A Decade of Civic Development” (1905); “The Religion of the Democrat” (1908); “Democracy and the Over-man” (1911).


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152 "I'm drowsin' down, boys," he said, wearily. "I'm drowsin' down. Ah! boys, it's a pity to lose such a man."

They roused him up, and walked him up and down before giving him another pull, but they had nips themselves to keep up to it.

"Ah! boys!" he said. "It's a long way to Cork."

"So it seems," said the super; but he got out a couple more bottles to be ready. He had some himself. They gave Pat another pull, and walked him up and down. The relief had pulls before they went in, and the relieved had pulls when they fell out.

And they walked him up and down.

They started one off on horseback to "Stiffners," on the main road, to see if there was a doctor or snakebite expert there, and to bring back more spirits, in case they ran short. The super gave him two quid, but he never came back.

And they walked Pat up and down and did exactly as before, till they couldn't wake him, nor the super—nor themselves till next day.

Pat woke first, and thought, and remembered; then he roused Dave, and, staggering, walked him up and down.

"Dave," he said (in conclusion). "Dave, me friend. Ye saved me life wid ye're pocket-knife, and soocked me blood. Here's a couple of quid for ye're sweetheart, me boy. An' there's wan of the same again whinever and any time ye ask for it."

"Don't mention, Pat," said Dave. "It was nothing. I'd do the same to yer any day."


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Rh "I know ye would, me boy," said Pat, and, the super being still unconscious, they lay down again, well within the home gums' shade, and slept like brothers.


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Rh understanding its importance and meaning, was mixed up in their minds with the superstitious beliefs taught by those who were unquestionably deceiving them, but with the praiseworthy object of bettering their condition. Hierarchy was established to insure the success of the undertaking; the leaders had subordinates under their authority scattered through the island, whose duty was to carry out their decisions. The colonists at last began to fear these meetings, which assumed the appearance of a menace to their domination. The beating of the drum which was supposed to summon the adepts or to form part of the mysterious ceremonies of vaudou struck terror into their hearts. These ceremonies had a two-fold aim: on one hand to inspire the ignorant masses with confidence in order to decide them to rise up against their powerful masters; on the other hand to conceal as much as possible the true object of the leaders in order to remove the suspicions of those whose yoke they intended to shake off. Toussaint Louverture, whose religious sentiments were unquestioned and who was a strong protector of the Catholic cult and clergy of Saint-Domingue, had nevertheless witnessed the secret meeting in which the conspirators, stirred by the fierce Boukmann, had taken the "bloody oath" on the entrails of a wild boar. The slaves have never been charged with indulging in human sacrifices in all the vaudou meetings at which they prepared for their uprisings. And what was called vaudou can be compared with the many secret associations, with political and religious purposes, which existed and are still to be found even nowadays in Europe. From the meetings in which vaudou ceremonies only were supposed to be practised came the signals which would cause the slaves to rush upon the colonists and to set fire to the plantations. In order to strike the masters with fear and to impair their resistance, the leaders who were preparing the great struggle for liberty did not scruple to spread all kinds of horrible


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Rh kept as a keepsake (S. page 292). The body is dressed in new clothes, and the hands are folded on the breast ; a long, thin, soft bees-wax candle is taken, bent in and out to take the form of a cross and put into the hands of the corpse. In the centre of the cross a silver coin is placed, usually an old coin no longer in use. The ring is left on the finger of married people, and an unmarried girl would be dressed like a bride and have a ring placed on her finger (S. page 292).

The measure of the body is taken for a coifin either by means of a long reed or by a bit of string, care being taken not to measure off too great a length, as otherwise some one else would die. The reed is put into the coffin, the string plastered up over the door (S. page 292).

When the body is put into the coffin, the feet are tied together; they are untied when the coffin is put into the grave. The body, with the exception of the head, is covered by a white veil or shroud, the “guilgiŭ” or “pânza.” The Roumanians have proverbs equivalent to our “To go on till the last gasp.” “Pâna’n pânzele albe,” “Until the white veil,” or “Pâna’n guilgiŭ,” “Until the shroud.”

An eikon is usually placed on top of the shroud. Sometimes things used in ordinary life are also put into the coffin. Thus a shepherd might be buried with his crook and whistle. In the coffin of the mother of a family, dolls may be put to represent the children she has had (S. page 293).

In most parts of the old kingdom of Roumania, the corpse is kept in the house for three days, but in Bessarabia it is the priest who decides when the burial is to take place, and he may fix it even for the day after the death.

In towns, for example Bucharest, long black flags are hung out at the gate posts to show that there is someone dead in the house. Black tablets with the name of the dead person, in silver letters, are also placed outside, and it is an act of respect for anyone to go in and visit the dead. It is noticeable that one does not say “Good day,”

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A Square Poem

I often wondered when I cursed, Often feared where I would be— Wondered where she'd yield her love, When I yield, so will she. I would her will be pitied! Cursed be love! She pitied me ...

title: A Square Poem


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Talk:A Square Poem

From Martin Gardner, The Universe in a Handkerchief (1996), ISBN 0-387-94673-X, p.20.--Longfellow (talk) 13:17, 4 October 2010 (UTC)

title: Talk:A Square Poem


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 “Buna ziua,” in the house of death; it is the only instance of which I know when this greeting is omitted.

There is among Roumanians a great deal of enjoyment of the death rites even of strangers. My cook used invariably to visit all the dead in the neighbourhood, and would rush to the front of the house and stand for hours to look at the funerals which passed. When we moved to a larger house, it was a great grievance to her that she could no longer see funerals so well as before.

Candles are kept lighted in the room of death and prayers are said. The priest reads the gospels, “stîlpii,” “pillars,” i.e. pillars of religion. The relations keep lamenting as much as possible; and especially at night there is a great gathering of people, called the priveghiŭ or wake. The corpse is watched constantly to see that no animal—as for example a cat—should pass over it, for that would be a great sacrilege. A fire is often lighted in the courtyard, and visitors can sit either inside or outside. All kinds of games are played, and excellent opportunities for flirtations are afforded. There is a book which is always read on these occasions, “Vămile Văzduhului,” “The toll gates of the spirit,” written by St. Vasile (Basil) the Great. This describes how down below is hell and up above is heaven, with twenty-four steps in between. At each step, there is a devil and an angel, and they investigate the man’s record to see whether he ought to go upwards or downwards. Realistic pictures of these toll gates are sometimes seen in peasant cottages.

The relations during this time will have obtained mourning clothes. The customs as to mourning are very severe for the middle class. The women are simply swathed in crape, and the only relief to their black would be the powder and paint on their faces. Sometimes even the men wear black suits, and instead of white collars and cuffs, they wear shiny black ones. The peasants are content with a black band round the arm, and as a sign of grief they do

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 1684, and was ninety-four when he died in 1778. Robert was taught the rudiments in the little chapel of his native Seathwaite, and afterwards apparently by Henry Forest (1683–1741), the curate of Loweswater, at which place in course of time Walker acted as schoolmaster down to 1735, when he became curate of Seathwaite with a stipend of 5l. a year and a cottage. In 1755 he computed his official income thus: 5l. from the patron, 5l. from the bounty of Queen Anne, 3l. rent-charge upon some tenements at Loweswater, 4l. yearly value of house and garden, and 3l. from fees—in all 20l. per annum. Nevertheless, by dressing and faring as a peasant, with strict frugality and with the aid of spinning, ‘at which trade he was a great proficient,’ he managed not only to support a family of eight, but even to save money, and when, in 1755–6, it was proposed by the bishop of Chester to join the curacy of Ulpha to that of Seathwaite, Walker refused the offer lest he should be suspected of cupidity. A few years later the curacy was slightly augmented; and as his children grew up and were apprenticed his circumstances became easy. He was enabled to earn small sums as ‘scrivener’ to the surrounding villages. He also acted as schoolmaster, but for his teaching he made no charge; ‘such as could afford to pay gave him what they pleased.’ ‘His seat was within the rails of the altar, the communion table was his desk, and, like Shenstone's schoolmistress, the master employed himself at the spinning wheel while the children were repeating their lessons by his side.’ The pastoral simplicity of his life is graphically sketched by Wordsworth, who alludes to his grave in the ‘Excursion’ (bk. vii. ll. 351 sq.), and in the eighteenth of the ‘Duddon's Sonnets’ (‘Seathwaite Chapel’) refers to Walker as the ‘Gospel Teacher Whose good works formed an endless retinue, A pastor such as Chaucer's verse portrays, Such as the heaven-taught skill of Herbert drew And tender Goldsmith crowned with deathless praise.’ Walker died on 25 June 1802, and was buried three days later in Seathwaite churchyard. His wife Anne, like himself, was ninety-three at the time of her death (January 1802). Walker's tombstone has recently been turned over and a new inscription cut, while a brass has been erected to his memory in Seathwaite chapel. The latter, as well as the parsonage, has been rebuilt since Walker's day. His character may have been idealised to some extent by Wordsworth (as that of Kyrle by Pope), but there is confirmatory evidence as to the nobility of his life and the beneficent influence that he exercised. The epithet of ‘Wonderful’ attached to his name by the countryside can scarce be denied to a man who with his income left behind him no less a sum than 2,000l.

[The chief authority for ‘Wonderful Walker’ is the finely touched memoir embodied by Wordsworth in his notes to the Duddon Sonnets. See the Works of Wordsworth, 1888, pp. 825–833, and the Poems of Wordsworth, ed. Knight, 1896, vi. 249, v. 298; see also Gent. Mag. 1760 pp. 317–19, 1803 i. 17–19, 103; Christian Remembrancer, October 1819; Rix's Notes on the Localities of the Duddon Sonnets (Wordsworth Society Trans. v. 61–78); Rawnsley's English Lakes, ii. 191–2; Parkinson's Old Church Clock, 1880, p. 99; Tutin's Wordsworth Dictionary, 1891, p. 30; Sunday Mag. xi. 34.]

WALKER, ROBERT FRANCIS (1789–1854), divine and author, son of Robert Walker of Oxford, was born there on 15 Jan. 1789. He received his earlier education at Magdalen College school, and while a chorister at chapel is said to have so attracted Lord Nelson by his singing that he gave him half a guinea. He entered New College, Oxford, in 1806, and graduated B.A. in 1811, and M.A. in 1813. In 1812 he was appointed chaplain to New College; in 1815 he became curate at Taplow; at the end of 1816 or the beginning of 1817 he removed to Henley-on-Thames; and in 1819 he went to Purleigh, Essex, where he was curate in charge to an absentee rector, the provost of Oriel College, Oxford. There he remained for thirty years, until failing health compelled him to give up his charge. In 1848, struck with paralysis, he went to reside at Great Baddow, near Chelmsford, and there he died on 31 Jan. 1854. He was buried at Purleigh.

He was twice married: first, to Frances Langton at Cookham, Berkshire, in 1814 (by her he had four sons and one daughter, and she died in 1824); and, secondly, to Elizabeth Palmer at Olney, on 30 Sept. 1830 (by her he had five sons, and she died in 1876).

Walker took a keen interest in ecclesiastical movements, his sympathies being with the evangelical party. He was specially interested in the German section of that party, and translated several of their works: 1. Hofacker's ‘Sermons,’ 1835. 2. Krummacher's ‘Elijah the Tishbite,’ 1836. 3. ‘Glimpse of the Kingdom of Grace,’ 1837. 4. ‘Elisha,’ 1838. 5. Burk's ‘Memoirs of John Albert Bengel, D.D.,’ 1837. 6. Barth's ‘History of the Church,’ 1840. 7. Blumhardt's ‘Christian Missions,’ 1844. 8. Leipoldt's ‘Memoir of H. E. Rauschen-


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 busch;’ and he left at his death in manuscript Beck's ‘Psychology,’ Bythner's ‘Lyra Prophetica,’ Lavater's ‘Life and Prayers,’ and grammars of Danish and Arabic. In a memoir written by his friend, Rev. T. Pyne, a number of extracts of verse by him are given.

 WALKER, SAMUEL (1714–1761), divine, born at Exeter on 16 Dec. 1714, was the fourth son of Robert Walker of Withycombe Raleigh, Devonshire, by his wife Margaret, daughter of Richard Hall, rector of St. Edmund and All Hallows, Exeter. Robert Walker (1699–1789), his elder brother, made manuscript collections for the history of Cornwall and Devon, which at one time belonged to Sir Thomas Phillipps (Phillipps MSS. 13495, 13698–9).

Samuel was educated at Exeter grammar school from 1722 to 1731. He matriculated from Exeter College, Oxford, on 4 Nov. 1732, graduating B.A. on 25 June 1736. In 1737 he was appointed curate of Doddiscombe Leigh, near Exeter, but resigned his position in August 1738 to accompany Lord Rolle's youngest brother to France as tutor. Returning early in 1740, he became curate of Lanlivery in Cornwall. On the death of the vicar, Nicolas Kendall, a few weeks later, he succeeded him on 3 March 1739–1740. In 1746 he resigned the vicarage, which he had only held in trust, and was appointed rector of Truro and vicar of Talland. Although Walker had always been a man of exemplary moral character, he had hitherto shown little religious conviction. About a year after settling in Truro, however, he came under the influence of George Conon, the master of Truro grammar school, a man of saintly character. He gradually withdrew himself from the amusements of his parishioners, and devoted himself exclusively to the duties of his ministry. In his sermons he dwelt especially on the central facts of evangelical theology—repentance, faith, and the new birth, which were generally associated at that time with Wesley and his followers. Such crowds attended his preaching that the town seemed deserted during the hours of service, and the playhouse and cock-pit were permanently closed. In 1752 he resigned the vicarage of Talland on account of conscientious scruples respecting pluralities. In 1754 he endeavoured to consolidate the results of his labours by uniting his converts in a religious society or guild, bound to observe certain rules of conduct. In 1755 he also formed an association of the neighbouring clergy who met monthly ‘to consult upon the business of their calling.’ The methods by which he endeavoured to stimulate religious life resemble those employed by the Wesleys, who were much interested in the work accomplished by Walker, and frequently conferred with him on matters of doctrine and organisation. In 1755 and 1756, when the question of separation from the English church occupied their chief attention, John and Charles Wesley consulted Walker both personally and by letter. Walker failed to convince John Wesley of the unlawfulness of leaving the English church, but he helped to show him its inexpediency, and in 1758 persuaded him to suppress the larger part of a pamphlet which he had written, entitled ‘Reasons against a Separation from the Church of England,’ fearing that some of the reasons which convinced Wesley might have a contrary effect on others. Walker strongly disapproved of the influence exerted by the lay preachers in directing the course of the Wesleyan movement. ‘It has been a great fault all along,’ he wrote to Charles Wesley, ‘to have made the low people of your council.’

Walker died unmarried on 19 July 1761 at Blackheath, at the house of William Legge, second earl of Dartmouth [q. v.], who had a great affection for him. He was buried in Lewisham churchyard.

Walker was the author of: 1. ‘The Christian: a Course of eleven practical Sermons,’ London, 1755, 12mo; 12th ed. 1879, 8vo. 2. ‘Fifty-two Sermons on the Baptismal Covenant, the Creed, the Ten Commandments, and other important Subjects of Practical Religion,’ London, 1763, 2 vols. 8vo; new edition by John Lawson, with a memoir by Edward Bickersteth [q. v.], 1836. 3. ‘Practical Christianity illustrated in Nine Tracts,’ London, 1765, 12mo; new edition, 1812. 4. ‘The Covenant of Grace, in Nine Sermons,’ Hull, 1788, 12mo, reprinted from the ‘Theological Miscellany;’ new edition, Edinburgh, 1873, 12mo. 5. Ten sermons, entitled ‘The Refiner, or God's Method of Purifying his People,’ Hull, 1790, 12mo, reprinted from the ‘Theological Miscellany;’ reissued in a new arrangement as ‘Christ the Purifier,’ London, 1794, 12mo; new edition, 1824, 12mo. 6. ‘The Christian Armour: ten Sermons, now first published from the Author's Remains,’ London, 1841, 18mo; new edition, Chichester, 1878, 8vo. [Sidney's Life and Ministry of Samuel Walker, 2nd ed. 1838; Samuel Walker of Truro (Religious Tract Soc.); Ryle's Christian


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 Leaders of the Last Century, 1869, pp. 306–27; Bennett's Risdon Darracott, 1815; Tyerman's Life of John Wesley, 1870, ii. 207, 211, 244, 250, 279, 317, 414, 585; Polwhele's Biogr. Sketches, 1831, i. 75; Hervey's Letters, 1837, p. 718; Life of Countess of Huntingdon, ii. 54, 414–15; Penrose's Christian Sincerity, 1829, pp. 179–81; Elizabeth Smith's Life Reviewed, 1780, pp. 17, 36; Middleton's Biogr. Evangelica, 1786, iv. 350–74; Foster's Alumni Oxon. 1715–1886; Nichols's Lit. Anecd. i. 122; Bibliotheca Cornub. ii. 846, iii. 1358; Notes and Queries, 9th ser. iv. 162.]

 WALKER, SAYER (1748–1826), physician, was born in London in 1748. After school education he became a presbyterian minister at Enfield, Middlesex, but afterwards studied medicine in London and Edinburgh, graduated M.D. at Aberdeen on 31 Dec. 1791, and became a licentiate of the College of Physicians of London on 25 June 1792. He was in June 1794 elected physician to the city of London Lying-in Hospital, and his chief practice was midwifery. He retired to Clifton, near Bristol, six months before his death on 9 Nov. 1826. He published in 1796 ‘A Treatise on Nervous Diseases,’ and in 1803 ‘Observations on the Constitution of Women.’ His writings contain nothing of permanent value.

[Munk's Coll. of Phys. ii. 423; Gent. Mag. 1826, ii. 470.]  WALKER, SIDNEY (1795-1846), Shakespearean critic. [See .]

WALKER, THOMAS (1698–1744), actor and dramatist, the son of Francis Walker of the parish of St. Anne, Soho, was born in 1698, and educated at a school near his father's house, kept by a Mr. Medow or Midon. About 1714 he joined the company of Shepherd, probably the Shepherd who was at Pinkethman's theatre, Greenwich, in 1710, and was subsequently, together with Walker, at Drury Lane. Barton Booth saw Walker playing Paris in a droll named ‘The Siege of Troy,’ and recommended him to the management of Drury Lane. In November 1715 (probably 6 Nov.) he seems to have played Tyrrel in Cibber's ‘Richard III.’ On 12 Dec. 1715 he was Young Fashion in a revival of the ‘Relapse.’ On 3 Feb. 1716 he was the first Squire Jolly in the ‘Cobbler of Preston,’ an alteration by Charles Johnson of the induction to the ‘Taming of the Shrew.’ On 21 May ‘Cato,’ with an unascertained cast, was given for his benefit. On 17 Dec. he was the first Cardono in Mrs. Centlivre's ‘Cruel Gift.’ He also played during the season Axalla in ‘Tamerlane’ and Portius in ‘Cato.’ Beaupré, in the ‘Little French Lawyer,’ was given next season, and on 6 Dec. 1717 he was the first Charles in Cibber's ‘Nonjuror.’ Pisander in the ‘Bondman,’ Rameses—an original part—in Young's ‘Busiris’ (7 March 1719), and Laertes followed, and he was (11 Nov.) the first Brutus in Dennis's ‘Invader of his Country,’ an alteration of ‘Coriolanus,’ and (17 Feb. 1720) the first Daran in Hughes's ‘Siege of Damascus.’ Cassio and Vernon in the ‘First Part of King Henry IV,’ Alcibiades in ‘Timon of Athens,’ Pharmaces in ‘Mithridates,’ Octavius in ‘Julius Cæsar,’ Aaron in ‘Titus Andronicus,’ are among the parts he played at Drury Lane. On 23 Sept. 1721 he appeared at Lincoln's Inn Fields as Edmund in ‘Lear,’ playing during his first season Carlos in ‘Love makes a Man,’ Polydore in the ‘Orphan,’ Bassanio, Hotspur, Don Sebastian, Oroonoko, Aimwell in the ‘Beaux' Stratagem,’ Young Worthy in ‘Love's Last Shift,’ Bellmour in the ‘Old Bachelor,’ Paris in Massinger's ‘Roman Actor,’ Lorenzo in the ‘Spanish Friar,’ and many other parts in tragedy and comedy. At Lincoln's Inn he remained until 1733, playing, with other parts, Antony in ‘Julius Cæsar,’ Adrastus in ‘Œdipus,’ Constant in the ‘Provoked Wife,’ Leandro in the ‘Spanish Curate,’ Hephestion in ‘Rival Queens,’ Alexander the Great, Captain Plume, King in ‘Hamlet,’ Phocias—an original part—in the ‘Fatal Legacy’ (23 April 1723), Roebuck in Farquhar's ‘Love and a Bottle,’ Massaniello, Lovemore in the ‘Amorous Widow,’ Wellbred in ‘Every Man in his Humour,’ Harcourt in the ‘Country Wife,’ Younger Belford in the ‘Squire of Alsatia,’ Dick in the ‘Confederacy,’ Cromwell in ‘Henry VIII,’ Massinissa in ‘Sophonisba,’ Marsan—an original part—in Southerne's ‘Money the Mistress’ (19 Feb. 1726), Don Lorenzo in the ‘Mistake,’ Pierre in ‘Venice Preserved,’ and Young Valère in the ‘Gamester.’

On 29 Jan. 1728 Walker took his great original part of Captain Macheath in the ‘Beggar's Opera,’ a rôle in which his reputation was established. He was an indifferent musician; but the gaiety and ease of his style, and his bold dissolute bearing, won general recognition. On 10 Feb. 1729 he was the first Xerxes in Madden's ‘Themistocles,’ and on 4 March the first Frederick in Mrs. Haywood's ‘Frederick, Duke of Brunswick.’ Lysippus in a revival of the ‘Maid's Tragedy’ and Juba in ‘Cato’ followed. On 4 Dec. 1730 he was the original Ramble in Fielding's ‘Coffee-house Politician.’ He also played Myrtle in the ‘Conscious Lovers,’ Cosroe in the ‘Prophetess,’ Corvino in ‘Volpone,’ and Lord Wronglove in the ‘Lady's Last


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 Stake,’ and was, in the season 1730–1, the first Cassander in Frowde's ‘Philotas,’ Adrastus in Jeffrey's ‘Merope,’ Pylades in Theobald's ‘Orestes,’ and Hypsenor in Tracy's ‘Periander.’

On 10 Feb. 1733, at the new theatre in Covent Garden, Walker was the first Periphas in Gay's ‘Achilles.’ At this house he played Lothario, Banquo, Hector in Dryden's ‘Troilus and Cressida,’ Angelo in ‘Measure for Measure,’ Sempronius in ‘Cato,’ Lord Morelove in ‘Careless Husband,’ Timon, Carlos in the ‘Fatal Marriage,’ the King in the ‘Mourning Bride,’ Ghost in ‘Hamlet,’ Fainall in the ‘Way of the World,’ Colonel Briton, Bajazet, Henry VI in ‘Richard III,’ Young Rakish in the ‘School Boy,’ Falconbridge, Dolabella in ‘All for Love,’ Horatio in ‘Fair Penitent,’ Norfolk in ‘Richard II,’ Marcian in ‘Theodosius,’ Kite in ‘Recruiting Officer,’ and Scandal in ‘Love for Love.’ The last part in which he can be traced at Covent Garden is Ambrosio in ‘Don Quixote,’ which he played on 17 May 1739. In 1739–40 he appears to have been out of an engagement, but he played, 17 May 1740, Macheath for his benefit at Drury Lane. In 1740–41 he was seen in many of his principal parts at Goodman's Fields. But after Garrick's arrival at Goodman's Fields in 1741, Walker's name was taken from the bills and did not reappear until 27 May 1742, when the ‘Beggar's Opera’ and the ‘Virgin Unmasked’ were given for his benefit. He seems to have played in Dublin in 1742 as Kite in the ‘Recruiting Officer,’ with Garrick as Plume.

Walker's first dramatic effort was compressing into one the two parts of D'Urfey's ‘Massaniello.’ This was produced at Lincoln's Inn Fields, 31 July 1724, with Walker as Massaniello. John Leigh [q. v.] wrote concerning this— Tom Walker his creditors meaning to chouse, Like an honest, good-natured young fellow, Resolv'd all the summer to stay in the house And rehearse by himself Massaniello. The ‘Quaker's Opera,’ 8vo, 1728, a species of catchpenny imitation by Walker of the ‘Beggar's Opera,’ was acted at Lee and Harper's booth in Bartholomew Fair. Whether Walker played in it is not known. The ‘Fate of Villainy,’ 8vo, 1730, probably an imitation of some older play, was given at Goodman's Fields on 24 Feb. 1730 by Mr. and Mrs. Giffard with little success. It is unequal in merit, some parts being fairly, others poorly, written. In 1744 Walker went to Dublin, taking with him this play, which was acted there under the title of ‘Love and Loyalty.’ The second night was to have been for his benefit. Not being able to furnish security for the expenses of the house, he could not induce the managers to reproduce it. He died three days later, 5 June 1744, his death being accelerated by poverty and disappointment.

Walker was a good, though scarcely a first-class, actor in both comedy and tragedy, his forte being the latter. He played many leading parts in tragedies, most of them now wholly forgotten. His best serious parts were Bajazet, Hotspur, Edmund, and Falconbridge; in comedy he was received with most favour as Worthy in the ‘Recruiting Officer,’ Bellmour in the ‘Old Bachelor,’ and Harcourt in the ‘Country Girl.’ Rich said concerning him that he was the only man who could turn a tune [sing] who could [also] speak. Davies says that his imitation as Massaniello of a well-known vendor of flounders was eminently popular, and that his Edmund in ‘Lear’ was the best he had seen. After his success in Macheath, in consequence of which Gay dubbed him a highwayman, he was much courted by young men of fashion, and gave way to habits of constant intemperance, to which his decline in his profession and premature death were attributed.

Walker had a good face, figure, presence, and voice. His portrait as Macheath, painted by J. Ellys and engraved by Faber, jun., a companion to that of Lavinia Fenton as Polly, is described in the ‘Catalogue of Engraved Portraits’ by Chaloner Smith, who says that four copies are known.

[Works cited; Genest's Account of the English Stage; Biographia Dramatica; Hitchcock's Irish Stage; Chetwood's General History of the Stage; Doran's Annals of the Stage, ed. Lowe; Davies's Dramatic Miscellanies; Betterton's [Curll's] History of the English Stage; Georgian Era.]

WALKER, THOMAS (1784–1836), police magistrate and author, son of Thomas Walker (1749–1817), was born at Barlow Hall, Chorlton-cum-Hardy, near Manchester, on 10 Oct. 1784. His father was a Manchester cotton merchant and the head of the whig or reform party in the town. In 1784 he led the successful opposition to Pitt's fustian tax, and in 1790, when he was borough-reeve, founded the Manchester Constitutional Society. His warehouse was attacked in 1792 by a ‘church and king’ mob, and in that year he was prosecuted for treasonable conspiracy; but the evidence was so plainly perjured that the charge was abandoned. At the trial he was defended by Erskine, and among his friends and correspondents were


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 sugar 1s. 4d.; a sack of coals cost 10d., a pound of soap 8d., though this was not much in demand as yet, for the value of cleanliness was unproved. Prices were rising year by year.

"Cannot you remember?" said a man of this period to his friend and neighbour, "within these thirty years, I could buy the best pig or goose that I could lay my hand on for 4d., which now costeth me double and triple the money? It is likewise in greater ware as in beef and mutton. I have seen a cap for 13d. as good as I can get now for 2s. 6d.; of cloth ye have heard how the price is risen, how a pair of shoes cost 12d., yet in my time I have bought a better for 6d." Such is the plaint of human nature, which amid all the changes of the world remains ever the same.


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 Charles James Fox, Lord Derby, Thomas Paine, and many others. His portrait, after a picture by Romney, was engraved by Sharpe in 1795.

The younger Thomas Walker went to Trinity College, Cambridge, and graduated B.A. in 1808 and M.A. in 1811. He was called to the bar at the Inner Temple on 8 May 1812, and, after the death of his father, lived for some years at Longford Hall, Stretford, engaging in township affairs, and dealing successfully with the problem of pauperism, which subject became his special study. In 1826 he published ‘Observations on the Nature, Extent, and Effects of Pauperism, and on the Means of reducing it’ (2nd edit. 1831), and in 1834 ‘Suggestions for a Constitutional and Efficient Reform in Parochial Government.’ In 1829 he was appointed a police magistrate at the Lambeth Street court. On 20 May 1835 he began the publication of ‘The Original,’ and continued it weekly until the following 2 Dec. It is a collection of his thoughts on many subjects, intended to raise ‘the national tone in whatever concerns us socially or individually;’ but his admirable papers on health and gastronomy form the chief attraction of the work. Many editions of ‘The Original’ were published: one, with memoirs of the two Walkers by William Blanchard Jerrold [q. v.], came out in 1874; another, edited by William Augustus Guy [q. v.], in 1875; one with an introduction by Henry Morley in 1887, and in the same year another ‘arranged on a new plan.’ A selection, entitled ‘The Art of Dining and of attaining High Health,’ was printed at Philadelphia in 1837; and another selection, by Felix Summerley (i.e. Sir Henry Cole), was published in 1881 under the title of ‘Aristology, or the Art of Dining.’

Walker died unmarried at Brussels on 20 Jan. 1836, and was buried in the cemetery there. A tablet to his memory was placed in St. Mary's, Whitechapel.

[Gent. Mag. 1836, i. 324; Jerrold's Memoir, noticed above; Espinasse's Lancashire Worthies; Hayward's Biogr. and Critical Essays, 1858, ii. 396.]

WALKER, THOMAS (1822–1898), journalist, was born on 5 Feb. 1822 in Marefair, Northampton. His parents sent him to an academy in the Horse Market at the age of six, where he remained till ten. The headmaster was James Harris. His father died when he was young, and his mother accepted the offer of relatives at Oxford to take charge of him. He was taught carpentering there in the workshop of Mr. Smith. At the close of his apprenticeship he began business with Mr. Lee; but he retired at twenty-four because it was uncongenial, and also because he had determined to become a journalist.

He gave his leisure hours to self-training, reading the best books, and reading them often. He perused Thomas Brown's ‘Philosophy of the Human Mind’ five times in succession. He learned German in order to study Kant's works in the original. At a later period he was so much impressed by Coleridge as to read his ‘Aids to Reflection’ and portions of the ‘Friend’ once every five years. He equipped himself for the pursuit of journalism by becoming an adept at shorthand, and in September 1846 he advertised in the ‘Times’ for an engagement. Before doing so he had formed three resolutions: ‘The first was to refuse no position, however humble, provided it could be honestly accepted; the second, to profess less than he could perform; and the third, to perform more than he had promised.’ T. P. Healey, proprietor of the ‘Medical Times,’ engaged Walker as reporter. Walker also contributed papers to ‘Eliza Cook's Journal.’ Having made the acquaintance of Frederick Knight Hunt [q. v.], assistant-editor of the ‘Daily News,’ he first wrote for that journal, and next obtained a subordinate post on the editorial staff, his duty being, to use his own words, ‘to fag for the foreign sub-editor [J. A. Crowe], translate for him, and condense news from the European and South American journals.’ In 1851 he became foreign and general sub-editor. On the death of William Weir [q. v.] in 1858 he was appointed to the editorship. As editor he was distinguished for his support of the cause of Italian liberty, and by his confidence in the ultimate triumph of the federalists in the American civil war. Under the influence of Miss Martineau he advocated very strongly the justice of the action of the northern states, and refused to yield to the strong pressure brought to bear by friends of the confederates. He resigned the editorship in 1869 to accept the charge of the ‘London Gazette,’ a less arduous post. He retired on 31 July 1889, when the office of editor was suppressed. He died on 16 Feb. 1898 at his residence in Addison Road, Kensington, and was buried on 20 Feb. in Brompton cemetery. He was twice married, and a daughter survived him. His later years were devoted to philanthropic work in connection with the congregational church, in which he once held the honourable position of president of the London branch. He was a man of great strength of character. Dr. Strauss, one of his teachers, styles him ‘a


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 very cormorant at learning, and one of those rare men who have the faculty of acquiring knowledge’ (Reminiscences of an Old Bohemian, i. 112). The principles of domestic, colonial, and foreign policy which he formulated and enforced on becoming editor of the ‘Daily News,’ made that journal's fame; and when he retired from conducting it, Mr. Frederick Greenwood wrote in the ‘Pall Mall Gazette’ that Walker had been distinguished as editor ‘by a delicate sense of honour and great political candour. He always held aloof from partisan excesses, and has shown himself at all times anxious to do justice to opponents—not common merits.’

 WALKER, THOMAS LARKINS (d. 1860), architect, son of Adam Walker, was a pupil of Augustus Charles Pugin [q. v.], and a co-executor of his will. He designed (1838–9) All Saints' Church, Spicer Street, Mile End; 1839, Camphill House, Warwickshire, for J. Craddock; 1839–40, church at Attleborough, Nuneaton, for Lord Harrowby; 1840–2, St. Philip's Church, Mount Street, Bethnal Green; 1841, hospital at Bedworth, Warwickshire; 1842, Hartshill church, Warwickshire; and restored the church at Ilkeston, Derbyshire.

During part of his practice he resided at Nuneaton, and subsequently at Leicester. Emigrating to China, he died at Hongkong on 10 Oct. 1860.

He published various illustrated architectural works in the style of Augustus Pugin's productions, viz.: 1. ‘Vicar's Close Wells,’ 1836, 4to. 2. ‘Manor House and Church at Great Chalfield, Wilts,’ 1837, 4to. 3. ‘Manor House of South Wraxhall, Wilts, and Church of St. Peter at Biddlestone,’ 1838, 4to. These three volumes are in continuation of Pugin's ‘Examples of Gothic Architecture,’ and the plates in the first-named are by Augustus Welby Northmore Pugin [q. v.] 4. ‘The Church of Stoke Golding, Leicestershire,’ 1844, 4to, for Weale's ‘Quarterly Papers on Architecture.’ He also edited Davy's ‘Architectural Precedents,’ 1841, 8vo, in which he included an article on architectural practice and the specification of his own hospital at Bedworth.

 WALKER, WILLIAM (1623–1684), schoolmaster and author, was born in Lincoln in 1623, and educated at the public school there. He proceeded to Trinity College, Cambridge, where he took his degree. He taught for some time at a private school at Fiskerton, Nottinghamshire, was headmaster of Louth grammar school, and subsequently of Grantham grammar school, where he is erroneously said to have had Sir Isaac Newton as a pupil. Newton, however, had left the Grantham grammar school while Walker's predecessor, Mr. Stokes, was still at its head, but there existed a friendship of some intimacy between the two when Walker was vicar of Colsterworth, after he had left Grantham. Walker died on 1 Aug. 1684.

Walker's works show his two chief interests, pedagogy and theology. As a pedagogue he gained a considerable reputation in his time, and was known as ‘Particles’ Walker from his book on that subject. His chief works are: 1. ‘A Dictionary of English and Latin Idioms,’ London, 1670. 2. ‘Phraseologia Anglo-Latina, to which is added Parœmiologia Anglo-Latina,’ London 1672. 3. ‘A Treatise of English Particles,’ London, 1673, which has gone through many editions and been the subject of a great number of editorial comments. 4. ‘The Royal (Lily's) Grammar explained,’ London, 1674. 5. ‘A Modest Plea for Infants' Baptism,’ Cambridge, 1677. 6. ‘Βαπτισμῶν Διδαχή, the Doctrine of Baptisms,’ London, 1678. 7. ‘English Examples of Latin Syntaxis,’ London, 1683. 8. ‘Some Improvements to the Art of Teaching,’ London, 1693.

 WALKER, WILLIAM (1791–1867), engraver, son of Alexander Walker, by his wife, Margaret Somerville of Lauder, was born at Markton, Musselburgh, near Edinburgh, on 1 Aug. 1791. His father was for some time a manufacturer of salt from sea water, but this business proving unprofitable, he removed to Edinburgh, and there apprenticed his son to E. Mitchell, an engraver of repute. In 1815 young Walker came to London, and worked under James Stewart (1791–1863) [q. v.] and Thomas Woolnoth, later taking lessons in mezzotint from Thomas Lupton [q. v.] Obtaining, through the Earl of Kellie, an introduction to Sir Henry Raeburn [q. v.], he was employed to engrave a large plate of that artist's fine equestrian portrait of the Earl of Hopetoun, which established his reputation, and he subsequently engraved a number of the same painter's portraits, including those of Sir Walter Scott and Raeburn himself; the last is perhaps the finest example of stipple work ever produced. In 1828 Walker commis-


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Tieck's Notice on the Continuation of Novalis' "Heinrich von Ofterdingen"

The author advanced no farther in the composition of this second part, which he called The Fulfilment, as he had called the first The Expectation, because all that was left to anticipation in the latter, was explained and fulfilled in the former. It was the design of the author to write, after the completion of Ofterdingen, six romances for the statement of his views of physical science, civil life, commerce, history, political science, and of love; as his views of poetry had been given in Ofterdingen. I need not remind the intelligent reader, that the author in this poem has not adhered very closely to the time or the person of that well known Minnesinger, though every part brings him and his time to remembrance. It is an irreparable loss, not only to the friends of the author, but to art itself, that he could not have finished this romance, the originality and great design of which would have been better developed in the second than in the first part. For it was by no means his object to represent this or that occurrence, to embrace one side of poetry, and explain it by figures and narrative; but it was his intention, as is plain from the last chapter of the first part, to express the real essence of poetry and explain its inmost aim.

To this end nature, history, war, and civil life, with their usual events, are all transformed to poetry, as that is the spirit which animates all things.

I shall endeavor as far as possible, from my memory of conversations with my friend, and from what I can discover in the papers he has left, to give the reader some idea of the plan and subject-matter of the second part of this work.

To the poet, who has apprehended the essence of his art at its central point, nothing appears contradictory or strange; to him all riddles are solved. By the magic of fancy he can unite all ages and all worlds; wonders vanish, and all things change to wonders. So is this book written; and the reader will find the boldest combinations, particularly in the tale which closes the first part. Here are renewed all those differences by which ages seem separated, and hostile worlds meet each other. The poet wished particularly to make this tale the transition-point to the second part, in which the narrative soars from the common to the marvellous, and both are mutually explained and restored; the spirit of the prologue in verse should return at each chapter, and this state of mind, this wonderful view of things should be permanent. By this means the invisible world remains in eternal connexion with the visible. This speaking spirit is poetry itself; but at the same time the sidereal man who is born from the love of Henry and Matilda. In the following lines, which should have their place in Ofterdingen, the author has expressed in the simplest manner the interior spirit of his works:

The gardener, who converses with Henry, is the same old man who had formerly entertained Ofterdingen's father. The young girl, whose name is Cyane, is not his child, but the daughter of the Count of Hohenzollern. She came from the East; and though it was at an early age, yet she can recollect her home. She has long lived a strange life in the mountains, among which she was brought up by her deceased mother. She has lost in early life a brother, and has narrowly escaped death in a vaulted tomb; but an old physician rescued her in some peculiar way. She is gentle, and kind, and very familiar with the supernatural. She tells the poet her history as she had heard it once from her mother. She sends him to a distant cloister, whose monks seem to be a kind of spirit-colony; everything is like a mystic, magic lodge. They are the priests of the holy fire in youthful minds. He hears the distant chant of the brothers; in the church itself, he has a vision. With an old monk Henry converses about death and magic, has presentiment of death — and of the philosopher's stone; visits the cloister-garden and the churchyard, concerning which latter I find the following poem:—

This poem was perhaps a prologue to a second chapter. Now an entirely new period of the work would have opened; the highest life proceeding from the stillest death; he has lived among the dead and conversed with them. Now the book would have become nearly dramatic, the epic tone, as it were, uniting together and simply explaining the single scenes. Henry suddenly finds himself in Italy, distracted, rent with wars; he sees himself the leader of an army. All the elements of war play in poetic colors. With an irregular band, he attacks a hostile city; here appears in episode the love of a noble of Pisa for a Florentine maiden. War-songs—"a great war, like a duel, noble, philosophical, human throughout. Spirit of the old chivalry; the tournament. Spirit of bacchanalian sadness. Men must fall by each other,—nobler than to fall by fate. They seek death.—Honor, fame, is the warrior's joy and life. The warrior lives in death and like a shade. Desire for death is the warrior-spirit. Upon the earth is war at home; it must be upon earth."—In Pisa Henry finds the son of Frederick II, who becomes his confidential friend. He also travels to Loretto. Several songs were to follow here.

The poet is cast away on the shores of Greece by a tempest. The old world with its heroes and treasures of art fills his mind. He converses with a Grecian about morality. Everything from ancient times is present to him; he learns to understand the old pictures and histories. Conversation upon Grecian polity and mythology.

After becoming acquainted with the heroic age and with antiquity, he visits the Holy Land, for which he had felt so great a longing from his youth. He seeks Jerusalem, and acquaints himself with Oriental poetry. Strange events among the infidels detain him in desert regions; he discovers the family of the eastern girl (see Part I.): the manners and life of nomadic tribes.—Persian tales, recollections of the remotest antiquity. The book during all these various events was to retain its characteristic hue, and recall to mind the blue flower: throughout, the most distant and distinct traditions were to be knit together, Grecian, Oriental, Biblical, Christian, with reminiscences of and references to both the Indian and Northern mythology.—The Crusades.—Life at sea.—Henry visits Rome. Roman history.

Sated with his experiences, Henry at length returns to Germany. He finds his grandfather, a profound character; Klingsohr is in his society. An evening's conversation with them.

Henry joins the court of Frederick, and becomes personally acquainted with the emperor. The court would have made a worthy appearance, portraying the best, greatest, and most remarkable men, collected from the whole world, whose centre is the emperor himself. Here appears the greatest splendor, and the truly great world. German character and German history are explained. Henry converses with the emperor concerning government and the empire; obscure hints of America and the Indies. The sentiments of a prince,—the mystic emperor,—the book, De tribus impostoribus.

Henry having now, in a new and higher method than in the Expectation, lived through and observed nature, life, and death, war, the East, history, and poetry, turns back into his mind as to an old home. From his knowledge of the world and of himself arises the impulse for expression; the wondrous world of fable now draws the nearest, because the heart is fully open to its comprehension.

In the Manesian collection of Minnesingers, we find a rather obscure rival song of Henry of Ofterdingen and Klingsohr with other poets; instead of this jousting, the author would have represented another peculiar poetic contest, the war of the good and evil principles in songs of religion and irreligion, the invisible world contrasted with the visible. "Out of Enthusiasm the poets in bacchanalian intoxication contend for death." The sciences are poetized; mathematics also enters the lists. The plants of India are commemorated in song; new glorification of Indian mythology.

This is Henry's last act upon the earth; the transition to his own glorification. This is the solution of the whole work, the Fulfilment of the allegory which concludes the First Part. Everything is explained and completed, supernaturally and yet most naturally. The partition between Fiction and Truth, between the Past and the Present has fallen down. Faith, Fancy, and Poetry lay open the internal world.

Henry reaches Sophia's land, in Nature, such as might be allegorically painted; after having conversed with Klingsohr concerning certain singular signs and omens. These are mostly awakened by an old song which he hears by chance, and in which is described a deep water in a secluded spot. The song excites within him long forgotten recollections; he visits the water, and finds a small golden key, which a raven had stolen from him some time before, and which he had never expected to find. An old man had given it to him soon after Matilda's death, with the injunction that he should carry it to the emperor, who would tell him what to do with it. Henry seeks the emperor, who is highly rejoiced and gives him an ancient manuscript, in which it is written that the emperor should give it to that man who ever brought him a golden key; that this man would discover in a secret place an old talisman, a carbuncle for his crown, in which a space was yet left for it. The place itself is also described in the parchment. After reading the description, Henry takes the road to a mountain, and meets on the way the stranger who first told him and his parents concerning the blue flower; he converses with him about Revelation. He enters the mountain and Cyane trustingly follows him.

He soon reaches that wonderful land in which air and water, flowers and animals, differ entirely from those of earthly nature. The poem at the same time changes in many places to a play. "Men, beasts, plants, stones and stars, the elements, sounds, colors, meet like one family, act and converse like one race. Flowers and brutes converse concerning men. The world of fable is again visible; the real world is itself regarded as a fable." He finds the blue flower; it is Matilda, who sleeps and has the carbuncle. A little girl, their child, sits by a coffin, and renews his youth. "This child is the primeval world, the close of the golden time." "Here the Christian religion is reconciled with the Heathen. The history of Orpheus, of Psyche, and others are sung."

Henry plucks the blue flower, and delivers Matilda from her enchantment, but she is lost to him again; he becomes senseless through pain, and changes to a stone. "Edda (the blue flower, the Eastern Maiden, Matilda) sacrifices herself upon the stone; he is transformed to a melodious tree. Cyane hews down the tree and burns herself with him. He becomes a golden ram. Edda, Matilda, is obliged to sacrifice it. He becomes a man again. During these metamorphoses he has the very strangest conversations."

He is happy with Matilda, who is both the Eastern Maiden and Cyane. A joyous spirit-festival is celebrated. All that has past was Death, the last dream and awakening. "Klingsohr comes again as king of Atlantis. Henry's mother is Fancy, his father, Sense. Swaning is the Moon; the miner is the antiquary and at the same time Iron. The emperor Frederick is Arcturus. The Count of Hohenzollern and the merchants also return." Everything flows into an allegory. Cyane brings the stone to the emperor; but Henry is now himself the poet of the fabulous tale which the merchants had formerly related to him.

The blissful land suffers yet again by enchantment, while subjected to the changes of the Seasons. Henry destroys the realm of the Sun. The whole work was to close with a long poem, only the begining of which was composed.

They ride to the sun, and first bring the Day, then the Night; then to the North, for Winter, then to the South, to find Summer; from the East they bring the Spring, from the West the Autumn. Then they hasten after Youth, next to Age, to the Past and to the Future.

This is all I have been able to give the reader from my own recollection, and from scattered words and hints in the papers of my friend. The accomplishment of this great task would have been a lasting memorial of a new poesy. In this notice I have preferred to be short and dry, rather than expose myself to the danger of adding anything from my own fancy. Perhaps many a reader will be grieved at the fragmentary character of these verses and words, as well as myself, who would not regard with any more devout sadness a piece of some ruined picture of Raphael or Corregio.


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  Sir [q. v.] to paint a portrait of Lord Brougham, and of this he published an engraving, obtaining a cast of Brougham's face to insure accuracy. In 1829, on his marriage, he settled at 64 Margaret Street, where he resided until his death. In 1830 he produced his well-known portrait of Robert Burns (to whose widow he was introduced), from the picture by Alexander Nasmyth, executed in stipple and mezzotint with the assistance of Samuel Cousins [q. v.] Of this plate Nasmyth is said to have remarked that it was a better likeness of the poet than his own picture. Walker's subsequent work comprises about a hundred portraits of contemporary notabilities, after various painters, chiefly in mezzotint, and all published by himself, with some interesting subject-pieces, of which the most important are ‘The Reform Bill receiving the Royal Assent in 1832,’ after S. W. Reynolds; ‘Luther and his Adherents at the Diet of Spires,’ after G. Cattermole, 1845; ‘Caxton presenting his first Proof-sheet to the Abbot of Westminster,’ after J. Doyle, 1850; ‘The Literary Party at Sir Joshua Reynolds's,’ after J. Doyle; ‘The Aberdeen Cabinet deciding upon the Expedition to the Crimea,’ after J. Gilbert; and ‘The Distinguished Men of Science living 1807–8,’ from a drawing by J. Gilbert, J. L. Skill, and himself. Most of these compositions were of Walker's own conception, and great pains were taken over the likenesses and accessories. Upon the ‘Men of Science,’ which was his last work, he was occupied for six years. The original drawing of this is now, with an impression from the plate, in the National Portrait Gallery, London, which also possesses the drawing and print of the ‘Aberdeen Cabinet.’ Walker died at his house in Margaret Street, London, on 7 Sept. 1867, and was buried in Brompton cemetery.

(1800–1876), born in 1800, wife of William Walker, was the second daughter of [q. v.], by whom she was taught in her childhood to engrave in mezzotint. At the age of fourteen she engraved a portrait of herself, from a picture by Opie, and one of Thomas Adkin. She afterwards became an excellent miniature-painter and had many eminent sitters, including five prime ministers, Lord Melbourne, Lord John Russell, Lord Aberdeen, Lord Palmerston, and Mr. Gladstone. She also painted in oils, and her portrait of the Earl of Devon hangs in the hall of Christ Church, Oxford. She was a frequent exhibitor at the Royal Academy between 1818 and 1850, and in 1830 was appointed miniature-painter to William IV. After her marriage she greatly assisted her husband in his various works. She died on 9 Nov. 1876, and was buried with him. Opie's portrait of Mrs. Walker when a child was exhibited at the Royal Academy in 1875, and at the Grosvenor Gallery in 1888. A small portrait of her, engraved by T. Woolnoth from a miniature by herself, was published in 1825.

WALKER, WILLIAM SIDNEY (1795–1846), Shakespearean critic, born at Pembroke, South Wales, on 4 Dec. 1795, was eldest child of John Walker, a naval officer, who died at Twickenham in 1811 from the effects of wounds received in action. The boy was named after his godfather, Admiral Sir (William) Sidney Smith, under whom his father had served. His mother's maiden name was Falconer. William Sidney, who was always called by his second christian name, was a precocious child of weak physique. After spending some years successively at a school at Doncaster, kept by his mother's brother, and with a private tutor at Forest Hill, he entered Eton in 1811. He had already developed a remarkable literary aptitude. At ten he translated many of Anacreon's odes into English verse. At eleven he planned an epic in heroic verse on the career of Gustavus Vasa, and in 1813, when he was seventeen, he managed to publish by subscription the first four books in a volume entitled ‘Gustavus Vasa, and other Poems.’ The immature work does no more than testify to the author's literary ambitions. At Eton he learnt the whole of Homer's two poems by heart, and wrote Greek verse with unusual correctness and facility. There, too, he began lifelong friendships with [q. v.] and [q. v.], and, after leaving school, made some interesting contributions to the ‘Etonian,’ which Praed edited. Walker, who was through life of diminutive stature, of uncouth appearance and manner, and abnormally absent-minded, suffered much persecution at school from thoughtless companions. After winning many distinctions at Eton, he was entered as a sizar at Trinity College, Cambridge, on 16 Feb. 1814, but did not proceed to the university till the following year. There he fully maintained the promise of his schooldays. He read enormously in ancient and modern literature. In 1815 he published ‘The Heroes of Waterloo: an Ode,’ as well as translations of ‘Poems from the Danish, selected by Andreas Andersen Feldborg.’ In 1816 appeared another


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 ode by Walker, ‘The Appeal of Poland.’ He won the Craven scholarship in 1817, and the Porson prize for Greek verse in 1818, and he was admitted scholar of Trinity on 3 April of the latter year. Although his ignorance of mathematics rendered his passing the examination for the degree of B.A. in 1819 a matter of extreme difficulty, he was elected on the score of his classical attainments to a fellowship at his college in 1820. His manners and bearing did not lose at the university their boyish awkwardness, but he maintained close relations with Praed and Moultrie, the friends of his boyhood, and formed a helpful intimacy with Derwent Coleridge [q. v.] In 1824 he was an unsuccessful candidate for the Greek professorship in the university. He made no other effort to engage in educational work. While a fellow of Trinity he lived in seclusion in his college rooms, reading desultorily and occasionally writing for periodicals. He contributed philological essays to the ‘Classical Journal,’ and both verse and prose to Knight's ‘Quarterly Magazine.’ In 1823 he prepared for publication Milton's newly discovered treatise ‘De Ecclesia Christiana,’ a volume of which Charles Richard Sumner [q. v.], then librarian at Windsor, was the ostensible editor. In 1828 he edited for Charles Knight a useful ‘Corpus Poetarum Latinorum’ (other editions 1848 and 1854).

As an undergraduate Walker had been perplexed by religious doubts, and had applied for guidance to William Wilberforce [q. v.] During 1818–19 Wilberforce wrote him letters in which he endeavoured to confirm his beliefs. The influence of Charles Simeon pacified him for a time, but he deemed himself disqualified by his sceptical views regarding eternal punishment from taking holy orders. As a consequence he lay under the necessity of resigning his fellowship in 1829. The loss of his fellowship deprived him of all means of subsistence, and, owing to his unbusinesslike habits and childish credulity, he was involved in debt to the amount of 300l. His old friend Praed came to his assistance in 1830, and, after paying his debts, settled on him an income for life of 52l. a year. To that sum Trinity College added 20l. On this income of 72l. Walker managed to support himself till his death. He moved to London in 1831, lodging at first in Bloomsbury, and then in the neighbourhood of St. James's Street. He lived entirely alone, and a painful hallucination that he was possessed by a ‘demon’ gradually clouded his reason. He neglected his dress and person, and social intercourse with him grew impossible. To the last he was capable of occasional literary work, which bore few traces of his disease, and he at times described to old friends with rational calmness the distressing symptoms of his mental decay. He died of the stone at his lodging, a single room on the top floor of 41 St. James's Place, on 15 Oct. 1846. He was buried in Kensal Green cemetery. On the tomb were engraved some lines from his friend Moultrie's poem, called ‘The Dream of Life,’ in which the writer lamented the ‘shapeless wreck’ to which Walker's fine intellect was reduced in his later years. Moultrie published in 1852 a collection of his letters and poems, which show literary facility and versatility, under the title of ‘The Poetical Remains of William Sidney Walker, formerly Fellow of Trinity College, Cambridge, with a Memoir of the Author.’

Walker left voluminous manuscripts, including many discursive essays in criticism and numerous notes on the text and versification of Shakespeare. The papers were examined by William Nanson Lettsom, one of Walker's school and college friends. After endeavouring, without much success, to introduce some sort of order into Walker's multifarious Shakespearean collections, Lettsom published in 1854 ‘Shakespeare's Versification, and its Apparent Irregularities explained by Examples from Early and Late English Writers.’ This volume was printed at the expense of Mr. Crawshay (of the ironmaster's family), who made Walker's acquaintance just before he left Cambridge; it reached a second edition in 1857, and a third in 1859. There followed in 1860, in three volumes, which Lettsom also edited, ‘A Critical Examination of the Text of Shakespeare, with Remarks on his Language and that of his Contemporaries, together with Notes on his Plays and Poems.’ Walker's two Shakespearean works mainly deal with minute points of Shakespearean prosody and syntax, but they embody the results of very vast and close reading in Elizabethan literature. The wealth of illustrative quotation has rendered them an invaluable quarry for succeeding Shakespearean commentators and students of Elizabethan literature. Their defects are the want of logical arrangement of the heterogeneous material and the absence of an index.

[Moultrie's Memoir, 1852; information kindly supplied by Dr. Aldis Wright.]

WALKER-ARNOTT, GEORGE ARNOTT (1799-1868), botanist. [See .]

WALKINGAME, FRANCIS (fl. 1751–1785), ‘writing master and accomptant and master of the boarding-school in Kensing-


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 xii. 191–211), but could not possibly be by St. Simon, as Von Reumont and others assume, for it relates to events five to ten years after his death.

Clementina and Prince Charles Edward seem to have met first either at her father's house, Shawfield, in Glasgow, or at Bannockburn House, the seat of her Jacobite uncle, Sir Hugh Paterson, bart., where the prince spent most of January 1746. He is said to have ‘obtained from her a promise to follow him wherever Providence might lead, if he failed in his attempt;’ and, having through an uncle, ‘General Gram’ (probably Sir John Graeme), procured a nomination to a noble chapter of canonesses in Belgium (Mémoire), she rejoined him at Avignon in 1749, at Ghent in 1750 , or more probably at Paris in the summer of 1752. For several years she shared his wandering fortunes, passing for his wife under such aliases as Johnson and Thompson, and moving about to Ghent, Liège, Basel, Bouillon, and other places. The connection was viewed by Jacobites with disfavour and mistrust, for Clementina had a sister Catherine, who was bedchamber-woman and then housekeeper at Leicester House to George III's mother, the princess dowager of Wales, and to whom Clementina was thought to communicate the gravest secrets. Their feelings of suspicion and dislike are vividly depicted by Scott in his novel ‘Redgauntlet.’ Clementina's sister must have been twenty years the elder if the third Earl of Bute (1713–1792) ‘first came up from Scotland to Lonnon, seated on her lap’ (, Letters, ii. 208–9). Remonstrances, however, by Macnamara and ‘Jemmy’ Dawkins proved unavailing. Clementina perhaps bore Prince Charles a son, who is said to have been baptised by a non-juring clergyman (afterwards Bishop Gordon), and who must have died in infancy. A daughter Charlotte was certainly baptised as a catholic at Liège on 29 Oct. 1753, not long before which date ‘Pickle the Spy’ writes word to the English government that ‘Mrs. Walkingshaw is now at Paris big with child; the Pretender keeps her well, and seems to be very fond of her.’ According, however, to Lord Elcho's manuscript journal, she soon, like the prince, took to drink, and once in a low Paris restaurant to his ‘Vous êtes une coquine,’ retorted with ‘Your Royal Highness is unworthy to bear the name of a gentleman.’ As, indeed, he was, if, according to the same spiteful source, he really ‘often gave her as many as fifty thrashings with a stick during the day.’ Dr. King, who also was prejudiced, is much to the same effect: ‘She had no elegance of manners; and as they had both contracted an odious habit of drinking, so they exposed themselves very frequently, not only to their own family, but to all their neighbours. They often quarreled, and sometimes fought; they were some of those drunken scenes which probably occasioned the report of his madness’ (Anecdotes, p. 207).

Anyhow, on 22 July 1760 Clementina fled with her daughter from Bouillon to Paris, at the instigation, says the ‘Mémoire,’ of the prince's father, ‘James III,’ who allowed her ten thousand livres a year. On James's death in 1766 this allowance was first cut off, and then by Cardinal York reduced to one half on her signing an affidavit that there had been no marriage between her and his brother. The Comtesse d'Albertroff, as she now styled herself, withdrew hereupon to a convent at Meaux. Of her last days little definite is known. She died at Freiburg in Switzerland in November 1802, after ten years' sojourn there, and left 12l. sterling, six silver spoons, a geographical dictionary, and three books of piety, bequeathing a louis apiece to each of her relatives, ‘should any of them still remain, as a means of discovering them.’ Horace Walpole was certainly wrong in writing (26 Aug. 1784) that she died in a Paris convent ‘a year or two ago;’ in September 1799 she was still in receipt of three thousand crowns a year from the cardinal. A portrait by Allan Ramsay is in possession of Mr. James Maxtone-Graham of Cultoquhey.

In July 1784 Miss Walkinshaw's daughter was living en pension in a Paris convent as Lady Charlotte Stuart, when Prince Charles, who had vainly attempted to recover her in 1760, sent for his ‘chère fille’ to come to him at Florence, and legitimated her as Duchess of Albany by a deed registered on 6 Sept. by the Paris parliament. She reached Florence on 5 Oct., and on 2 Dec. moved with her father to Rome. Amiable and sensible, she soothed his last three years, and endeared herself also to her uncle, Cardinal York, who at first had denied her the title of duchess. She survived her father by only twenty months, dying at Bologna on 14 Nov. 1789 of the results of a fall from her horse. The story of her marriage to a Swedish Count Rohenstart [see under ] seems an absolute fiction. [Lives of Prince Charles Edward by Pichot (4th edit. Paris, 1846), Klose (Leipzig, 1842, Engl. transl. 1845), and A. C. Ewald (2 vols. 1875); Tales of the Century, Edinb. 1847, by John Sobieski and Charles Edward Stuart, pp. 78–128, to be used with extreme caution;


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Games, 43, 94, 96, 209, 210, 221, 223, 277, 278, 292, 343, 387

Gardens, 55, 115–117, 158, 167–171, 205, 237, 289

Gas. 335

Hair, 12, 18, 32, 39, 44, 67, 89, 117, 138, 175, 209, 223, 262, 311, 333

Hawks, 50, 91, 92, 183

Houses, 2, 4, 10, 11, 21, 35, 65, 76, 81, 110, 111, 112, 166, 167, 172, 205, 269, 289, 367

Manners, 80, 81, 112, 192, 219, 236, 259, 263, 264, 292, 293, 354

Marriage, 37, 52, 195–198, 321, 341

Matches, 336

Medical, 56, 99, 100–104, 146, 147, 226, 227, 228, 247, 279, 281, 325, 378

Methodists. See Dissenters

Middle classes, 110, 164, 165, 241, 316, 319, 342–3, 350

Monastery, 54, 55, 59, 70, 150, 152

Names, 16, 52

Neolithic, 3–8, 9

Newspapers, 215, 230, 257, 258, 285, 365

Norman, 57, 62, 64, 68, 70, 72, 73, 76, 124

Palaeolithic, 2

Parliament, 64

Photography, 367

Plays, 133, 183–185, 209, 319

Post, 201, 259, 355, 356

Punishments, 53, 96, 97, 142, 182, 217, 272, 273–275, 331, 347, 375

Puritans, 192–214, 2l6, 303

Railways. See Steam

Receipts, 24, 56, 101, 103, 104, 114, 146, 193, 227, 233

Religion, 26, 27, 44, 48–60, 68

Roads, 19, 28, 76, 128, 159, 229, 284, 285, 288

Romans, 15–30, 49

Saxon, 31–46, 48, 57, 64, 67, 70, 72, 73

Schools, 55, 126, 152, 154, 155, 241, 328–331, 370–376, 384–5

Servants, 120, 180, 293, 294, 295, 296

Shoes, 23, 43, 88, 118, 138

Small-pox. See Epidemics

Spinning, 5, 158, 305

Spirits, 82, 270

Sport, 2, 26, 42, 92–94, 144, 145, 182, 209, 220, 222, 236, 286, 303, 318, 381

Steam, 324, 327, 344–346, 357


text: Dictionary of National Biography, 1885-1900/Baker, George (1540-1600)


text: Dictionary of National Biography, 1885-1900/Baker, George (1722-1809)


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Agriculture, 34, 82, 106, 158, 302, 362, 364

Architecture, 69, 124

Beds, 65, 120, 172, 187, 188

Black Death. See Epidemics

Briton (ancient), 10, 11, 16, 18, 28

Burial, 3, 7, 26, 44, 247

Cards, 183, 220, 277, 317

Castles, 64, 76, 110

Celt, 8, 48

Children, 40, 70, 153, 155–157, 198–200, 241, 242, 257, 278, 327–331. 361, 371–374

Church, 49, 54, 67, 68, 91, 123–133, 149, 203, 217, 286, 297, 379

Clothes, 2, 5

Coach, 130, 188, 201, 229, 259, 269, 287, 288, 345

Dance, 183, 292, 340

Danes, 57, 58, 61, 64, 72, 73

Democracy. See Working class

Dissenters, 203–206, 300–302, 379, 380

Dress, 3, 5, 12, 16, 18, 23, 43, 67, 88, 89, 90, 118, 119, 137–140, 175–178, 192, 207, 208, 224, 248, 260–263, 300. 304, 305, 310, 314. 331–333. 340, 366

Drinks, 11, 36, 37, 67, 166, 230–233, 238, 270, 271, 292, 317, 354. 380

Electricity, 389, 390

Epidemics, 105, 225, 246, 280

Fairs, 84, 159

Feudal system, 63

Food, 2, 11, 23, 24, 36, 38, 66, 77, 78, 79, 80, 112, 113, 114, 141, 193, 218, 252, 253, 254, 290–1, 343

Free trade, 364

405


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 XXVII., 1865-1885. Bank holidays, 1871. Bicycles, 1867. Board schools, 1870. Cocaine, 1884. Parcel post, 1883. Pneumatic tires, 1881. Postcards, 1870. Postal orders, 1881. Telephones, 1870. Tricycles, 1878. Typewriters, 1866.


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text: Dictionary of National Biography, 1885-1900/Baker, Henry (1698-1774)


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 XXIV., circa 1802-1820. Blackwood's Magazine, 1817. Bridge (suspension), 1819. Dahlias, 1804. Lancers, 1820. Quadrille, 1813. Shoddy, 1813. Steadier crossed Atlantic, 1819. Waltz, 1813. "Waverley," 1814.

XXV., circa 1820-1837. Abolition of slavery, 1833. Alpaca, 1836. Bazaars, 1833. Liberal and Conservative, 1830. Lucifer matches, 1833. Mackintoshes, 1825. Oil (paraffin,), 1830. Omnibus, 1829. Polka, 1830. Train (Liverpool and Manchester), 1830.

XXVI., 1837-1865. Baths (public), 1846. Book post, 1857. Bradshaw's Guide, 1839. Brougham, 1939. Cable (Atlantic), 1865. Cheques, 1856. Chloroform, 1848L Crinolines, 1854. Electric lighting, 1858. Envelopes, 1837. Free library, 1852. Money orders, 1838. Penny post, 1840. Photography, 1847. Post-office Savings Bank, 1861. Royal Agricultural Society, 1838. Sewing machines, 1854. Stamps, 1840. Telegraph, 1837. Torpedo shells, 1861.


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358 stories and to exaggerate the influence and power of the vaudou cult. Legends were thus created; and as it is very difficult to uproot the legends of a people, especially when based upon fear, those concerning vaudou are still in circulation. Traces of this institution can perhaps still be found in the mountains of Haiti; for, after having helped to accomplish heroic deeds, what is called vaudou could not be expected to disappear from one day to the other. But this vaudou never has had, nor has it at the present day, the odious character ascribed to it; in some respects it can be compared to some of the religious sects which exist in the United States. And the worship of the yellow snake, which the adepts of vaudou are charged with practising, is one of the assertions which nobody has been able to prove. It would not be surprising to see a people brought up in slavery worshipping idols and deifying various reptiles. Nations whose civilization was far from being backward have deified animals. It is a well-known fact that the Egyptians worshipped the crocodile; and the snake in many instances has been worshipped. The Romans adorned many of their temples with Æsculapius's snake, which they held sacred; and, according to tradition, Moses was instructed by the Lord to make an iron serpent, which it sufficed to behold to be cured of the poisonous bite of the snakes sent to chastise the sons of Israel. Consequently, as a fetich, the snake is not of African invention. Without upholding the doctrine of Auguste Comte, I may safely say that even up to the present fetichism is more widespread and more generally practised than people will admit; very often it cannot be distinguished from idolatry. Intelligent men, and the average among the less intelligent ones, will see in images but mere symbolic figures and do not confound with them any idea of divinity; but not so with the great majority of believers, who sometimes worship the symbol like the divinity—thus, without thinking, many people are fetichists. Be it as it may, I am in a position to affirm that the


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68

I one day and sat among the stones Strewn in the entry of the moaning cave; A morning air, sweet after rain, ran over The rippling levels of the lake, and blew Coolness and moisture and all smells of bud And foliage from the dark and dripping woods Upon my fever'd brows that shook and throbb'd From temple unto temple. To what height The day had grown I know not. Then came on me The hollow tolling of the bell, and all The vision of the bier. As heretofore I walk'd behind with one who veil'd his brow. Methought by slow degrees the sullen bell


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 get a cut at the "stragglers." So presently we started again, the man with the leg sitting on the trap's seat beside Jimmy, and Jimmy smoking, and with a look of stolid satisfaction on his face, talking to the man with the leg about the various bad legs he had known, and now and then grunting an inquiry over his shoulder to his other patient in the body of the trap.

Mitchell asked Jimmy who the fancy mattresses were for, and he said they were for a stranger. "Man or woman?" asked Mitchell.

"Dunno yit," grunted Jimmy. "It ain't come yet."

They said at the station that four strangers at one time was Jimmy's record, but one or two said it wasn't.

I think that that old Jericho track, where so many men fell amongst thieves and were left sore, hurt, and like to die, would have been right into Jimmy's hands.

And, come to think of it, none of them "rightly knew" Jimmy's real name, or where he came from. Jimmy said "Somewheres."

But when he dies the boys will have a good headstone, if they have to bring it all the way from Sydney, and on it they'll have chiselled the words—

And underneath, if the advice of one prevails—

And men shall do likewise until the Great Strangers' Friend calls them.


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Rh So rich a prize, the man who stood with me Stept gaily forward, throwing down his robes, And claspt her hand in his: again the bells Jangled and clang'd: again the stormy surf Crash'd in the shingle: and the whirling rout Led by those two rush'd into dance, and fled Wind-footed to the steeple in the woods, Till they were swallow'd in the leafy bowers, And I stood sole beside the vacant bier.

There, there, my latest vision—then the event!


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182 friends and keeping company, conversing with their gossips, and making merry at child-births, christenings and funerals, and all with the permission and knowledge of their husbands." Indeed, this making merry on solemn occasions was characteristic of Elizabethan days. At Christmas, commemorated in other countries by devotional practices, England "rang from one end to the other with mirth. Sports and fooleries, feasts and frolics, games and revels filled the joyous days from All Hallows Eve to the Feast of Pentecost. They loved a noise: the firing of cannon, the beating of drums, the blast of trumpets and the ringing of many bells was as music in their ears. Our Elizabethan forefathers were not yet afflicted with the nerves of the twentieth century. Bear-baiting and bull-baiting presented no horrors to their minds; men and women watched, with varying degrees of pleasure, the hoodwinking of the wretched animals; they applauded the circle of those who plied the tethered beast with whips till it madly charged its unknown foes. But then they were familiar with the sight of public executions, performed by the local butcher on market days, and their fathers had watched the martyrs in the cause of religion tied to stakes at


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Rh Toll'd quicker, and the breakers on the shore Sloped into louder surf: those that went with me, And those that held the bier before my face, Moved with one spirit round about the bay, Trod swifter steps; and while I walk'd with these In marvel at that gradual change, I thought Four bells instead of one began to ring, Four merry bells, four merry marriage-bells, In clanging cadence jangling peal on peal— A long loud clash of rapid marriage-bells. Then those who led the van, and those in rear, Rush'd into dance, and like wild Bacchanals Fled onward to the steeple in the woods: I, too, was borne along and felt the blast Beat on my heated eyelids: all at once The front rank made a sudden halt; the bells Lapsed into frightful stillness; the surge fell From thunder into whispers; those six maids


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70 With shrieks and ringing laughter on the sand Threw down the bier; the woods upon the hill Waved with a sudden gust that sweeping down Took the edges of the pall, and blew it far Until it hung, a little silver cloud Over the sounding seas: I turn'd: my heart Shrank in me, like a snow flake in the hand, Waiting to see the settled countenance Of her I loved, adorn' d with fading flowers. But she from out her death-like chrysalis. She from her bier, as into fresher life, My sister, and my cousin, and my love, Leapt lightly clad in bridal white—her hair Studded with one rich Provence rose—a light Of smiling welcome round her lips—her eyes And cheeks as bright as when she climb'd the hill. One hand she reach' d to those that came behind. And while I mused nor yet endured to take


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Rh Smithfield while the flames consumed them. It was the age of rack and thumb-screw, and familiar to all were the heads of traitors freely exhibited to a callous public. Of out-door sports, hawking and hunting still held their place, while within, dancing was becoming more and more popular. Elizabeth herself was a famous dancer, and woe betide the courtier who could not tread a measure or go through the stately movements of the "peacock." Card-playing had now superseded the game of chess, and was growing more and more in favour. Primero, trump, and gleek were the favourites, involving heavy stakes, which bring back the cry of Falstaff: "I never prospered since I forswore myself at primero." But all these amusements pale before the growing delight of play-going. To the allegorical morality play—revived to-day by the Elizabethan Stage Society in the representation of "Everyman"—succeeded historical representations, at first crude, but carried to a triumphant height by Shakspere. When Elizabeth ascended the throne there was no theatre: miscellaneous plays were acted in the courtyards of great inns or other open spaces, on temporary stages standing


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title: The Lover's Tale/Part 3


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184 on four legs and protected by an awning in bad weather. But in 1576 a regular playhouse was established and called The Theatre. Here the stage literally was a stage—a platform erected against one end of the square building. On the other three sides stood the spectators in the pit or yard, while all round ran galleries, boxes, or rooms, like the galleries of an old inn-yard. There was no arrangement for scenery; everything was very simple, and much was left to the imagination. The locality was indicated by a ticket bearing one such word as "Garden," "Thebes," and the spectators pictured the scene according to experience. The coarseness of some of the early plays may be inferred from the stage directions, such as "Enter Anne in bed," &c. Sir Philip Sydney laughed openly at the inadequacy of scenic effect: "Now you shall see three ladies walk to gather flowers," he says, "and then we must believe the stage to be a garden. By and by we hear news of a shipwreck in the same place; then we are to blame if we accept it not for a rock; upon the back of that comes out a hideous monster with fire and smoke; then the miserable beholders are bound to take it for a cave." A regular company of players was appointed, and on Sundays at one


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 many paragraphs, some verse, and other matter with the stump of a blue pencil. Then he cut out all the marked pieces carefully with his penknife, and pasted them on strips of brown paper; then he borrowed a carpenter's rule, measured the strips carefully, and entered the result in a pocket-book!

The girl noticed first, of course. Then she whispered to the landlady, who went and had an indifferent look, as also had Poisonous Jimmy. They'd seen too many drink and drought "looneys" to take much notice. Then One-Eyed Bogan went to see for himself, and glared in quite awhile with his one eye.

"——! Blowed if he ain't took it from Billy!" he said. "I told yer yer couldn't be too careful in them cases! Lunatic-doctors an' lunatic-nurses all get it more or less themselves if they stick to the game long enough. Who the blazes next, I wonder?"

Then the new lunatic wanted a piece of white paper, and the landlady humoured him—as she had done the others—to "save trouble and for the sake of peace and quietness." She found it at the bottom of a "band-box" (where did that term come from to Australia?). Then he wrapped the brown paper with the slips pasted on, folded it, tied it neatly with twine, addressed, stamped—and posted it to a newspaper!

"And I'll have to send it, because it's stamped," said Poisonous Jimmy. "Couldn't keep it back without a doctor's certificate. You chaps had better give the policeman a hint—what goes in the coach with your mate. T'other looney's goin' too."

But just a little rite had to be performed that