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 Rh cannot tell thee", said the cow-herd, "but go on a little farther, and thou wilt come to the sheep-herd, and he, perhaps, may tell thee." So Child Rowland drew the good claymore [Excalibar], that never struck in vain, and hewed off the head of the cow-herd. He then went a little farther, till he came to the sheep-herd. . ..

[The sheep-herd, goat-herd, and swine-herd are all, each in his turn, served in the same manner; and lastly, he is referred to the hen-wife.]

"Go on yet a little farther", said the hen-wife, "till thou come to a round green hill surrounded with rings {terraces) from the bottom to the top; go round it three times widershins, and every time say: 'Open, door! open, door! and let me come in'; and the third time the door will open, and you may go in." So Child Rowland drew the good claymore [Excalibar], that never struck in vain, and hewed off the head of the hen-wife. Then went he three times widershins round the green hill, crying: "Open, door! open, door! and let me come in"; and the third time the door opened, and he went in. It immediately closed behind him, and he proceeded through a long passage, where the air was soft and agreeably warm, like a May evening, as is all the air of Elfland. The light was a sort of twilight or gloaming, but there were neither windows nor candles, and he knew not whence it came, if it was not from the walls and roof, which were rough and arched like a grotto, and composed of a clear and transparent rock, incrusted with sheep's-silver and spar, and various bright stones. At last he came to two wide and lofty folding-doors, which stood ajar. He opened them, and entered a large and spacious hall, whose richness and brilliance no tongue can tell. It seemed to extend the whole length and height of the hill. The superb Gothic pillars, by which the roof was supported, were so large and so lofty (said my scannachy) that the pillars of the Chanry Kirk, or of Pluscardin Abbey, are no more to be compared to them than the Knock of Alves is to be compared to Balrinnes or Ben-a-chi. They were of gold and silver, and were fretted, like the west window of the Chanry Kirk, with wreaths of flowers composed of diamonds and precious stones of all manner of beautiful colours. The key-stones of the arch above, instead


text: Page:Stevenson - Treasure Island.djvu/12

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


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 186 of coats of arms and other devices, were ornamented with clusters of diamonds in the same manner. And from the middle of the roof, where the principal arches met, was hung, by a gold chain, an immense lamp of one hollowed pearl, perfectly transparent, in the midst of which was suspended a large carbuncle that, by the power of magic, continually turned round, and shed over all the hall a clear and mild light like the setting sun; but the hall was so large, and these dazzling objects so far removed, that their blended radiance cast no more than a pleasing lustre, and excited no other than agreeable sensations in the eyes of Child Rowland. The furniture of the hall was suitable to its architecture; and at the farther end, under a splendid canopy, seated on a gorgeous sofa of velvet, silk, and gold, and—

Says —

A long conversation then takes place. Child Rowland tells her the news [of merry Carlisle] and of his own expedition, and concludes with the observation that, after his long and fatiguing journey to the castle of the King of Elfland, he is very hungry.

Burd Ellen looked wistfully and mournfully at him, and shook her head, but said nothing. Acting under the influence of a magic which she could not resist, she arose, and brought him a golden bowl full of bread and milk, which she presented to him with the same timid, tender, and anxious expression of solicitude.


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 Rh Remembering the instructions of the Warluck Merhn. " Burd Ellen", said Child Rowland, "I will neither taste nor touch till I have set thee free!" Immediately the folding-doors burst open with tremendous violence, and in came the King of Elfland:

"Strike, then, Bogle of Hell, if thou darest! " exclaimed the undaunted Child Rowland, starting up, and drawing the good claymore [Excalibar], that never struck in vain.

A furious combat ensued, and the King of Elfland was felled to the ground, but Child Rowland spared him, on condition that he should restore him his two brothers, who lay in a trance in a corner of the hall, and his sister, the fair burd Ellen. The King of Elfland then produced a small crystal phial, containing a bright red liquor, with which he anointed the lips, nostrils, eyelids, ears, and finger-ends of the two young men, who immediately awoke, as from a profound sleep, during which their souls had quitted their bodies, and they had seen, etc., etc., etc. So they all four returned in triumph to [merry Carlisle].

Such was the rude outline of the Romance of Child Rowland, as it was told to me when I was about seven or eight years old, by a country tailor then at work in my father's house. He was an ignorant and dull, good sort of honest man, who seemed never to have questioned the truth of what he related. Where the et cæteras are put down, many curious particulars have been omitted, because I was afraid of being deceived by my memory, and substituting one thing for another. It is right also to admonish the reader that "The Warluck Merlin, Child Rowland, and


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 188  Burd Ellen" were the only names introduced in his recitation, and that the others inclosed within brackets are assumed upon the authority of the locality given to the story by the mention of Merlin. In every other respect I have been as faithful as possible.

It was recited in a sort of formal, drowsy, measured, monotonous recitative, mixing prose and verse, in the manner of the Icelandic Sagas, and as is still the manner of reciting tales and fabulas aniles in the winter evenings, not only among the Islanders, Norwegians, and Swedes, but also among the Lowlanders in the north of Scotland, and among the Highlanders and Irish. This peculiarity, so far as my memory could serve me, I have endeavoured to preserve; but of the verses which have been introduced, I cannot answer for the exactness of any, except the stanza put into the mouth of the King of Elfland, which was indelibly impressed upon my memory, long before I knew anything of Shakespeare, by the odd and whimsical manner in which the tailor curled up his nose, and sniffed all about, to imitate the action which "fi, fi, fo, fum!" is intended to represent.

Jamieson's reference to Shakespeare may lead us to direct our attention in the first place to the very distinguished literary history of our story, at least according to my opinion. Browning found in King Lear a line of dark import—

and made out of it a mystical poem. He little thought he was dealing with a fragment of a fairy tale. Yet there can be little doubt that Edgar, in his mad scene in King Lear, is alluding to our tale, which indeed has some faint analogy with its plot, when he breaks into the lines:


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Rh The latter reference is to the cry of the King of Elfland. That some such story was current in England in Shakespeare's time, is proved by that curious mélange of nursery tales, Peele's The Old Wives' Tale. The main plot of this is the search of two brothers, Calopha and Thelea, for a lost sister, Delia, who has been bespelled by a sorcerer, Sacrapant (the names are taken from the Orlando Furioso). They are instructed by an old man (like Merlin in "Childe Rowland") how to rescue their sister, and ultimately succeed. The play has besides this the themes of the Thankful Dead, the Three Heads of the Well (which see), the Life Index, and a transformation; so that it is not to be wondered at if some of the traits of "Childe Rowland" are observed in it, especially as the name implies that it was made up of folk-tales.

But a still closer parallel is afforded by Milton's Comus. Here again we have two brothers in search of a sister, who has got into the power of an enchanter. But besides this, there is the refusal of the heroine to touch the enchanted food, just as Childe Rowland finally refuses. And ultimately the bespelled heroine is liberated by a liquid, which is applied to her lips and finger-tips, just as Childe Rowland's brothers are unspelled by applying a liquid to their eyelids, nostrils, lips, and finger-tips. Such a minute resemblance as this cannot be accidental, and it is therefore probable that Milton used the original form of "Childe Rowland", or some variant of it, as heard in his youth, and adapted it to the purposes of the masque at Ludlow Castle, and of his allegory. Certainly no other folk-tale in the world can claim so distinguished an offspring.

Whether this be so or no, these literary parallels prove at least that our tale has been told in these islands for at least 250 years, from Shakespeare's youth till

the date of the play; James I was declared King of Great Britain, October 1604. I may add that Motherwell, in his Minstrelsy, p. xiv, note, testifies that the story was still extant in the nursery at the time he wrote (1828).


text: Dramatis Personæ/Gold Hair: A Legend of Pornic


text: Dramatis Personæ/The Worst of It

title: Dramatis Personæ/The Worst of It


text: Dramatis Personæ/Abt Vogler

title: Dramatis Personæ/Abt Vogler


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 190 time, who declares (supra, p. 189, n.) that it was recited in his day, 1828, in Scotch nurseries. This independent testimony saves us the trouble of investigating very closely the authenticity of Jamieson's version, even if his accompanying remarks did not prove, on the face of them, his obvious bona fides.

Here, then, we have happening in our own land what we folk-lorists so often assume to happen elsewhere. The story existed before Shakespeare, yet does not get written down till 200 years after his death. The mere fact that it is ultimately written down in the Lowlands of Scotland need not, I think, disturb us from the conclusion that it existed in Elizabethan England, for I have been able to trace every one of the folk-stories which are preserved in Lowland Scotch either to England or to the Highlands. The story of "Childe Rowland" does not, therefore, arise in Lowland Scotland, and as it is known by Shakespeare's quotation to have been in England in the sixteenth century, it is, notwithstanding all Saturday Reviewers may say, an English fairy tale. But it bears within it marks of still higher antiquity than the sixteenth century. Here we reach those points of contrast between Folk-tale and Customary Archæology with which Messrs. Gomme, Hartland, and Lang have familiarised us. We may profitably, I think, devote some attention to the "survivals" of archaic life, which are, I believe, to be found in unusual profusion in "Childe Rowland".

I. Unction of Extremities.—We may dismiss rather curtly the youngest antiquity. Jamieson has already noticed that the way in which Burd Ellen's elder brothers are restored to life by anointment of the seats of the five senses—"unction of the extremities" we might call it—is derived from the extreme unction of the Roman Catholic Church. This involves that the tale received its final form while England was still Roman Catholic, i.e., before the sixteenth century. It does not necessarily follow that this touch was a part of the original when first composed.


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 Rh We shall soon see, I think, that its atmosphere was not within the Christian fold. Jamieson remarks, in an off-hand manner, that extreme unction with blood was in use among the Goths long before the introduction of Christianity, but I have failed to find any authentic justification for this statement. It will be observed, however, that it was with "a bright red liquor" that the unction of the extremities was performed in our tale.

II. We may next take the notion contained in the curious word widershins. In my book I adopted a friend's suggestion that this word is derived from the words wider, against, and shine, "the course of the sun". For this I have been taken to task by my friend Mr. J. Gollonez in the Academy, who informs us, with an appalling array of Teutonic learning, that it is rather from wider, and a word sinn, equivalent to "sense", but the very existence of which in English has to be assumed ad hoc; so that the word simply means " contrariwise". On my pointing out that this does not explain the sh in "widershins", nor the special sense "opposite to the sun's course", Mr. Gollonez allows that "shine" had some influence on the word as a folk-etymology. "'Twas Tweedledum," I said. "No," says Mr. Gollonez, "'tis Tweedledee, with only an infusion of Tweedledum." But that etymology is so exact a science, one would feel tempted to smile.

But whether "contrariwise" or "counterclockwise", as the mathematicians say, the idea attached to zvidershins is ancient, though not archaic. It points to a time of opposition between Christendom and paganism. To do things in a way opposite to the Church way was to league oneself with the enemies of the Church. Hence the door of the Dark Tower opens to him that has gone round it three times widershins, just as the Devil appeared to those who said the Paternoster backwards. This element in the story points, then, to a time when Christianity was introduced into these islands, and had the upperhand.

III. Yet there are, seemingly, elements in it which must


text: Dramatis Personæ/Confessions

title: Dramatis Personæ/Confessions


text: Dramatis Personæ/May and Death

title: Dramatis Personæ/May and Death


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192 trace back long before that time for their origin. Our hero is the youngest of three brothers, yet he is called the childe or heir. Have we here a trace of the time when the youngest son was the heir? That custom has left traces even upon English land, where it is known as "Borough English", and exists still, I believe, in some few English manors. Yet it most probably traces from the very earliest times when Englishmen were still wandering, and had not settled into tuns.

IV. The taboo against taking food in the enemy's land has something savage and archaic about it, as is the case with all taboos. It is an incident tolerably frequent in folk-tales or fairy tales, and there is a classical example of it in the myth of Persephone. Mr. Hartland, who has recently studied the matter, comes to the conclusion that there is some relation between the taboo against taking food in Elfland and that against eating the food of the dead. If we carried out this explanation in the present instance, it would follow that the Dark Tower—if we may so call the hilly palace of the Erlkönig of our tale—is the Underworld peopled by the dead, and the King of Elfland is a variant of Pluto. Our story would thus be another instance of the well-known theme of the Descent to Hell. This involves, of course, that Fairies are Ghosts, which needs an explanation why people should believe both in fairies and ghosts.

V. Against this there are certain indications in our story that tell for a recent theory of fairies that is more substantial in so far as it supposes them to have really existed. I refer to the recently published work of Mr. D. MacRitchie, The Testimony of Tradition (Kegan Paul, Trench, Trübner & Co.) i.e., of tradition about the fairies and the rest. Briefly put, Mr. MacRitchie's view is that the elves, trolls, and fairies represented in popular tradition are really the mound-dwellers, whose remains have been discovered in some abundance in the form of


text:
Deaf and Dumb (Browning)

Only the prism's obstruction shows aright The secret of a sunbeam, breaks its light Into the jewelled bow from blankest white; So may a glory from defect arise: Only by Deafness may the vexed Love wreak Its insuppressive sense on brow and cheek, Only by Dumbness adequately speak As favoured mouth could never, through the eyes.

title: Deaf and Dumb (Browning)


text:
Confessions

 * Confessions, the autobiography of Augustine of Hippo
 * Confessions, a short story by Alice Brown
 * Confessions, a poem by Robert Browning
 * Confessions, the autobiography of Jean-Jacques Rousseau

title: Confessions


text:
User talk:41.30.91.10

Welcome

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title: User talk:41.30.91.10


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Rh green hillocks, which have been artificially raised over a long and low passage leading to a central chamber open to the sky. Mr. MacRitchie shows that in several instances traditions about trolls or "good people" have attached themselves to mounds, which have afterwards on investigation turned out to be evidently the former residence of men of smaller build than the mortals of to-day. He goes on further to identify these with the Picts—fairies are called "Pechs" in Scotland—and other early races, but with these ethnological equations we need not much concern ourselves. It is otherwise with the mound-traditions and their relation, if not to fairy tales in general, to tales about fairies, trolls, elves, etc. These are very few in number, and generally bear the character of anecdotes. The fairies, etc., steal a child, they help a wanderer to a drink, and then disappear into a green hill; they help cottagers with their work at night, but disappear if their presence is noticed; human midwives are asked to help fairy mothers, fairy maidens marry ordinary men, or girls marry and live with fairy husbands. All such things may have happened, and bear no such à priori marks of impossibility as speaking animals, flying through the air, and similar incidents of the folk-tale pure and simple. If, as archæologists tell us, there was once a race of men in Northern Europe, very short and hairy, that dwelt in underground chambers artificially concealed by green hillocks, it does not seem unlikely that odd survivors of the race should have lived on after they had been conquered and nearly exterminated by Aryan invaders, and should occasionally have performed something like the pranks told of fairies and trolls.

VI. Certainly the description of the Dark Tower of the King of Elfland in "Childe Rowland" has a remarkable resemblance to the dwellings of the "good folk" which recent excavations have revealed. Mr. MacRitchie gives illustrations of one of the most interesting of these, the Maes How of Orkney; by his kindness I was enabled


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194 to reproduce this in my English Fairy Tales, page 243. This is a green mound some 100 feet in length and 35 in breadth at its broadest part. Tradition had long located a goblin in its centre, but it was not till 1861 that it was discovered to be pierced by a long passage 53 feet in length, and only two feet four inches high, for half of its length. This led into a central chamber 15 feet square and open to the sky.

Now it is remarkable how accurately all this corresponds to the Dark Tower of "Childe Rowland", allowing for a little idealisation on the part of the narrator. We have the long dark passage leading into the well-lit central chamber, and all enclosed in a green hill or mound. Mr. MacRitchie in a private communication points out that the brilliant decorations of the interior may have some connection with the brightly decorated mats hung on the walls of Esquimaux huts. This is perhaps going a little too much into minutiæ.

VII. Even such a minute touch as the terraces on the hill in our story have their bearing, I believe, on Mr. MacRitchie's "realistic" views of Faerie. For in quite another connection Mr. G. L. Gomme, in his recent Village Community (W. Scott), pp. 75-98, has given reasons and examples for believing that terrace cultivation along the sides of hills was a practice of the non-Aryan and pre-Aryan inhabitants of these isles. Here, then, from a quarter quite unexpected by Mr. MacRitchie, we have evidence of the association of the King of Elfland with a non-Aryan mode of cultivation of the soil. By Mr. Gomme's kindness I was enabled to give an illustration of this in my English Fairy Tales, p. 244.

If there is anything in these points, our story may have a certain amount of historic basis, and give a record which history fails to give of the very earliest conflict of races in these isles. I do not wish to press the point unduly, but it certainly seems to me that it would be worth while


text: Dictionary of National Biography, 1885-1900/Gray


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 Rh seeing if there are any sufficient number of terraced hills with enclosed chambers that are associated in the popular mind with the fairies, elfs, pixies, "good folk", and the thousand-and-one other names the people give to these enigmatic beings. I have myself collected a list of the local names which are thus associated with fairies, and the near future may perhaps lead to something more tangible about the fairies than might be expected.

VIII. I have left to the last a trait that certainly seems archaic and savage, though I have no theory to account for it. It is the curious "off with their head" method by which Childe Rowland rewards the service of the herds and the hen-wife for telling him his way. Why this should be done on any folk-lore principles I am at a loss to understand.

The story of Childe Rowland would thus be an idealised account of a marriage by capture—another savage trait—by one of the pre-Aryan dwellers, with an Aryan maiden, and her recapture by her brothers, an incident which was probably not uncommon when the two races dwelt side by side, but in a state of permanent hostility. That is the conclusion that some of the above indications would lead us to if we study the tale merely with the view of tracing "survivals".

But there is another way of looking at it, that of the Science of Fairy Tales properly so-called, which deals with tales as tales, and without reference to their archæological references. This has first to do with the origin of the tale in the sense of asking when and where it was first told as a tale. Luckily here our problem is simple. There is nothing exactly parallel to the whole story outside England, so England was its original home. The nearest parallel is the story of the Red Ettin, where we have the


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 196 enchanted castle and the successful youngest brother. The latter trait is of course one of the most frequent of folk-tale formulæ; I have drawn out a list extending to some hundreds of tales in which the youngest son or daughter is successful after the elder ones had failed, but I am convinced that the choice of the youngest son as a hero is due to artistic, not archæological causes. But there is one contribution that the science of the folk-tale may make to the problem of antiquity which we have been hitherto discussing, and that is by directing our first attention to the form of "Childe Rowland".

This begins with verse, then turns to prose, and throughout drops again at intervals into poetry in a friendly way, like Mr. Wegg. Now this is a form of writing not unknown in other branches of literature, the cante-fable, of which "Aucassin et Nicolette" is the most distinguished example. Nor is the cante-fable confined to France. Many of the heroic verses of the Arabs contained in the Hamâsa would be unintelligible without accompanying narrative, which is nowadays preserved in the commentary. The verses imbedded in the Arabian Nights give them something of the character of a cante-fable, and the same may be said of the Indian and Persian story-books, though the verse is usually of a sententious and moral kind, as in the gâthas of the Buddhist Jatakas. The contemporary Hindoo storytellers, Mr. Hartland remarks, also commingle verse and prose. Even as remote as Zanzibar, Mr. Lang notes, the folk-tales are told as cante-fables. There are even traces in the Old Testament of such screeds of verse amid the prose narrative, as in the story of Lamech or that of Balaam. All this suggests that this is a very early and common form of narrative.

Among folk-tales there are still many traces of the cante-fable. Thus, in Grimm's collection, verses occur in Nos. 1, 5, 11, 12, 13, 15, 19, 21, 24, 28, 30, 36, 38a, b, 39a, 40, 45, 46, 47, out of the first fifty tales, 36 per cent. Of Chambers' twenty-one folk-tales, in the Popular Rhymes of


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 Rh Scotland, only five are without interspersed verses. Of the forty tales contained in my volume, thirteen contain rhymed lines, while four contain "survivals" of rhymes, and two others are rhythmical if not rhyming. As most of the remainder are drolls, which have probably a different origin, there seems to be great probability that originally all folk-tales of a serious character were interspersed with rhyme, and took therefore the form of the cante-fable. It is indeed unlikely that the ballad itself began as continuous verse, and the cante-fable is probably the protoplasm out of which both ballad and folk-tale have been differentiated, the ballad by omitting the narrative prose, the folk-tale by expanding it. In "Childe Rowland" we have the nearest example to such protoplasm, and it is not difficult to see how it could have been shortened into a ballad or reduced to a prose folk-tale pure and simple.

Thus a consideration of its form confirms our impression of the antiquity of our story even in its present form, and combines with our folk-lore discussion of the archaic elements of the tale to prove that in "Childe Rowland" we have the oldest of extant English fairy tales. That it is connected with such names as Shakespeare, Milton and Browning enables me to contend as I did at the beginning of this paper that "Childe Rowland" is the most interesting of our native fairy tales.


text: Folk-Lore/Volume 2/Childe Rowland

title: Folk-Lore/Volume 2/Childe Rowland


text:
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 and A.D. 1008 : ' Creach la Flaithbertach ua Neill co firu Breagh co tuc boromamor' (A foray by Flaithbertach O'Neill on the men of Bregia, and he took a great boroma). Eric has part of the same meaning, and the statement of the most famous borama begins : Isi seo imorro innéraic, this is, moreover, the eric (Book of Leinster, facs. 295 b, line 20). This was an annual tribute which the Leinstermen had in early times been forced to pay to the kings of Tara. It consisted, according to the 'Book of Leinster,' of 15,000 cows, 15,000 pigs, 15,000 linen cloths, 15,000 silver chains, 15,000 wethers, 15,000 copper cauldrons, 1 huge copper cauldron capable of holding 12 pigs and 12 lambs, 30 white cows with red ears, with calves of the same colour and trappings, and its payment was often refused and led to endless wars. It has often been supposed that Brian received his cognomen because he put an end to this tribute by subduing the king of Tara ; but there is no passage in early historians justifying this statement. As Brian is called Boroma by Tigernach O'Braoin, a writer who lived in the middle of the eleventh century (the existing fragmentary manuscript of his history being of about the year 1150), it is clear that the title was a real one, given him during his life. But Brian was throughout life a taker and not a refuser of tributes. No one who has read the Irish chronicles could think it likely that a hero of the Dal Cais would care to be celebrated as a reliever of the burdens of the Leinstermen, first his enemies, and then his subjects. Brian was called Boroimhe or Brian of the Tribute, because of the tribute which he had levied throughout Ireland, and which brought plenty to the Dal Cais, but was taken from the Leinstermen, the Connaughtmen, the men of Meath, and of Ulster, with as firm a hand as ever the most famous borama was seized from the descendants of Eochu mac Echach by the kings of Tara.

In 1013 fighting began again between the Danes of Dublin, who found allies in Ossory and Leinster and Maelsechlainn. The king of Meath was worsted and sent to ask help from Brian, who ravaged Ossory and Leinster and joined Maelsechlainn at Kilmainham near Dublin, where some remains of an old earthwork at Garden Hill have been conjectured to mark their encampment. They besieged the Danes from 9 Sept. till Christmas, but then had to raise the siege. In the spring Brian again marched against the Danes, who, besides allies from Leinster, had obtained help from Scandinavia. He wasted Leinster and marched to the north side of Dublin. On Good Friday, 23 April 1014, at Cluantarbh, on the north side of Dublin Bay, a decisive battle was fought, in which the Danes were routed with great slaughter. Brian's sons, Murchadh and Donchadh, and his grandson led the Irish, and Brian himself, too old : for active fighting, knelt in his tent, repeating psalms and prayers. Here he was slain by Brodar, a Danish jarl.

The victory was the most important the Irish had ever won over the Danes, and the Danes were never after powerful in Ireland beyond the walls of their boroughs. The battle was celebrated in poetic accounts full of dramatic details, both by the Irish and the Northmen, sometimes natural as in the saga where a fugitive stops to fasten his shoe: 'Why,' says a pursuing Irishman, 'do you delay ?' 'I live,' answers the fugitive, 'away in Iceland, and it is too late to go home tonight.' Or sometimes supernatural, as in the Irish tale, where Aibhell of Craig Liath, the bensidh of the Dal Cais, warns Brian the night before the battle of his approaching death. The Irish chronicler (Cogadh G. re G.) describes the battle in alliterative prose, sometimes breaking into verse, as does the English chronicler in celebrating Brunanburh. In the case of Cluan Tarbh, as probably in that of Brunanburh, it was the nearness and actual living fame of the event that made the historian become a poet, and not distance of time that caused history to become inextricably blended with romance. Brian was carried to Armagh and there buried. His tomb is forgotten, and his power died with him. Two sons, Tadhg and Donnchadh, survived him, while his son Murchadh and his grandson Toirdelbhach were slain in the battle. His clansmen returned to Cenn Coradh, and Maelsechlainn mac Domhnaill again reigned as chief king of Ireland, and so continued till his death. Brian had raised the power of the Munstermen to a pitch it had never reached before, and his fifty years of war wore out the Danish strength ; but his efforts to obtain supremacy in Ireland diminished the force of hereditary right throughout the country, and suggested to willing chiefs that submission should only be yielded to him who could exact it. The last chief king of Ireland of the ancient line was the Maelsechlainn whom Brian had for a time dispossessed, and when he died in 1022 no king of Tara was ever after able to enforce even the slight general control exercised in former times, and the king James, who united the rule of England and Scotland, was the next real king of the whole of Ireland. The fame of Brian Boroimhe has been spread throughout Ireland by Dr. Geoffrey Keating, whose interesting 'Forus feasa air Eirinn' was the most


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 AN AMAZONIAN CUSTOM IN THE CAUCASUS.

NE of the best known legends of classical authors relates to a fabled nation of warlike women, deprived of the use of one breast by a process of cauterisation and known as Amazons. According to a well-authenticated custom, still current among the Cherkes or Adighé, the Abkhas, and to some extent among the Osets, the growth of both breasts during maidenhood is artificially repressed by means of a leather corset. The object of this paper is to offer an explanation for the origin of the modern custom, and to show reason for believing it to be lineally descended from an older one anterior to the time of Herodotus, and having, therefore, a possible ancestry of twenty-five centuries.

In Asia, which at that period was separated from Europe by the river Don, the ancient Greeks knew of Amazons in two localities: on the banks of the Thermodon near Sinope, and on the isthmus north of the great chain of the Caucasus. It is probable they first became acquainted with those that lay nearest them, and accounted for those they heard of afterwards in the neighbourhood of the Caucasus by an imaginary migration, such as Herodotus relates. Some of the reports that may have been true of


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 172 the Amazons of the Thermodon were very likely transferred without sufficient ground to the Amazons of the Caucasus. Whether there existed any nearer connection between the two groups than that both performed some operation upon the right breast, and had some customs in common, does not concern us here. We may, therefore, dismiss the legends referring to the westerly Amazons, and confine our attention to the easterly variety.

First, we have to establish as nearly as possible their actual geographical position. According to Herodotus, Amazons were found among the Sauromatai, who lived between four and five days' journey north-east of the upper end of the Sea of Azov. Hippocrates places the Sauromatai in Europe, that is to say, west of the Don and of the Sea of Azov. But Scylax, in his Periplus of the Euxine, locates them much in the same position as Herodotus, on the left bank of the Don and contiguous to the Maiotai. Scymnus of Chios and the second anonymous author of the Periplus, place them in Europe, and identify the Maiotai with the Sauromatai, who were themselves a tribe of the Sarmatai. Strabo gives us three versions, which do not greatly differ. According to one, the Amazons were believed to live among the mountains above Albania (the lower valley of the Kur), but separated from the Albanians by the Scythian tribes of Glai and Lēgai, and by the Mermadalis river (Terek?). Others maintained that the Amazons bordered upon the Gargarenses, who lived at the northern foot of the Caucasian mountains, called Ceraunia, by which Strabo meant the south-eastern end of the range. According to a third report, the country of the Amazons and of the Siracene was traversed by a rapid


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 Rh torrent called the Mermodas, which descended from the mountains and discharged into the Sea of Azov.

From these accounts it may be assumed that certain customs, summarised under the term Amazon, prevailed among tribes that occupied an area bounded on the south by the northern slopes of the Caucasus, though, perhaps, only as far south as the Terek from the point where this river bends eastwards; on the east by the Caspian Sea; on the west by the Black Sea, the Sea of Azov and the Don, perhaps even by an undefined line to the west of that river; on the north the limits were undetermined by any natural feature, but extended for a distance of three or of fifteen days' march—Herodotus gives both distances in different passages—north of the mouth of the Don.

Having localised the area within which Amazonian customs were disseminated, the next step is to identify, if possible, the Sauromatai, a tribe, as we have seen, of the Sarmatai, with some of the existing nations of the Caucasus. As ethnic names, both of these are undoubtedly lost, though it is alleged by a native Cherkes author that the word Sharmat is still remembered, and that some Cherkes families claim to be descended from the ancient Sarmatians. Herodotus distinguishes between the Scythians west of the Don and the non-Scythians to the east of the river, though at the same time he supposes the Sauromatai to be a mixed race of Scythian men and Amazon women from the banks of the Thermodon. His theory that the people were half-breeds seems to have been framed by himself or his informants to account for two facts, or supposed facts: the prevalence of certain customs known to exist in another part of Asia, which could only be explained, so far as he or his informant could see, by a migration—in reality fictitious—from there to the Don region; the fact, probably quite erroneous, that the Sauromatai spoke broken Scythian, as the women


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Translation:Puss in Boots/Act 3/Scene 6

ACT THREE

__________ Scene Six Another part of the country, beside a river. _____

Gottlieb I've been standing around here waiting for my good friend Hinze for two hours now. There's still no sign of him. Ah, there he is now! But look how fast he's running! He seems to be all out of breath.

Enter running.

Hinze Now, my dear Gottlieb, quickly, take off your clothes.

Gottlieb My clothes?

Hinze And then jump into the water here.

Gottlieb Into the water?

Hinze And then I'll throw your clothes into the bushes.

Gottlieb Into the bushes?

Hinze And then you'll be sorted!

Gottlieb I couldn't have put it better myself; when I'm drowned and naked, I will be adequately provided for.

Hinze This is no time for jokes

Gottlieb I'm not joking. Is this what I've been waiting here for?

Hinze Get undressed!

Gottlieb Well, anything to please you.

Hinze Come on, you only have to take a quick dip.

He leaves with Gottlieb, then returns with the clothes, which he throws into the bushes.

Hinze Help! Help! Help!

The carriage drives up. looks out of the coach door.

King What is it, huntsman? Why are you screaming?

Hinze Help, your majesty, the Count of Carabas has drowned!

King Drowned!

Princess in the carriage Carabas!

King My daughter fainted! The Count drowned!

Hinze Perhaps he can still be saved; he is lying there in the water.

King Servants! Spare no effort! Save the noble man!

A Servant We have rescued him, your majesty.

Hinze One misfortune after another, my lord! While the Count was bathing here in the clear stream, some scroundrel stole his clothes.

King Unstrap my trunk at once! Give him some of my clothes! Cheer up, my dear, the Count has been saved.

Hinze I must hurry.

Exit Hinze.

Enter in the king's clothes.

Gottlieb Your majesty

King This must be the Count! I recognize him from my clothes! Get in, my dear chap how do you do? Where do you get all the rabbits? I'm beside myself with joy! Drive on, coachman!

The carriage drives off quickly.

A Servant The devil himself couldn't get out of there fast enough now I have the pleasure of running after them on foot, and I'm as wet as a drowned rat to boot.

Leutner How many more times, I wonder, will the carriage appear? This scenario has been repeated far too often.

Wiesener Neighbor! Why, you're asleep!

Wiesener's Neighbor Not at all a fine play!

title: Translation:Puss in Boots/Act 3/Scene 6


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  of all Irish histories from its appearance in the seventeenth century till the time when Irish literature ceased to be read at all in the country about the year of the famine. The book was written in Munster, and therefore praises the most famous of her heroes. In later days still, from the time of Daniel O'Connell downwards, the renown of Brian has been spread more and more. 'For it was he that released the men of Erin and its women from the bondage and iniquity of the foreigners and the pirates. It was he that gained five-and-twenty battles over the foreigners, and who killed and banished them as we have already said.' These words of the old Munster chronicler, who wrote all the praise he could of the popular hero of the south, represent the spirit in which Brian has been extolled in modern times. He has been often praised in books and speeches as an enlightened patriot, a compeer of King Alfred and of Washington. In the chronicles of his own times this is not his aspect; he there appears as a strong man and a hardy warrior, skilful in battle and in plotting, proud of his ancestors and of his tribe, and determined that the Dal Cais should be the greatest tribe in Ireland, the tribe with the most cattle and the most tribute. Such was Brian, son of Cenneide, for whom no fitter title could be found than that of Boroimhe, of the tribute, the main object of so many of his battles.

BRIANT. [See ]

BRIANT, ALEXANDER (1553–1581), Jesuit, was born in Somersetshire in 1553, and in 1574 became a member of Hart Hall, Oxford. Having been converted to the catholic religion, he passed over to the English college of Douay, which shortly afterwards removed to Rheims; was ordained priest in 1578, and was sent back to the English mission in 1579. He laboured in his native county, where he reconciled the father of Robert Parsons, the Jesuit, to the catholic church. His career was very brief. He was seized by a party of pursuivants who were really in search of Father Parsons, on 28 April 1581, and carried off to the Compter prison in London, whence he was transferred to the Tower. Cardinal Allen says 'he was tormented with needles thrust under his nails, racked also otherwise in cruel sort, and specially by two whole days and nights with famine, which they did attribute to obstinacy, but indeed (sustained in Christ's quarrel) it was most honourable constancy' (Modest Defence of English Catholicks, 11). Briant was also subjected to the horrible torture of the instrument nicknamed 'the scavenger's daughter.' Norton, the rack-master, who boasted that he would stretch Briant a foot longer than God had made him, was afterwards called to account by his employers for his excessive cruelty. From his cell Briant addressed a letter to the Jesuit fathers in England begging the favour of admission to the society, and his request was acceded to. On 16 Nov. 1581 he was tried in the queen's bench at Westminster, with six other priests, and condemned to death for high treason under the 27th of Elizabeth. He suffered at Tyburn with Father Edmund Campion and the Rev. Ralph Sherwin, on 1 Dec. 1581. He was a young man of singular beauty, and behaved with great intrepidity at the execution. 'His quarters were hanged up for a time in public places' (, Athenæ Oxon. ed. Bliss, i. 480). There is an engraved portrait of him. His letter to the English Jesuits is printed in Foley's 'Records,' iv. 355-358.

[Aquepontanus, Concert. Eccl. Cathol. in Anglia (1589-94), ii. 72, 74, iii. 407; Challoner's Missionary Priests (1741), i. 63-69; Oliver's Collections S. J.; Foley's Records, iv. 343-67, vii. 84; Simpson's Life of Campion; Granger's Biog. Hist, of England (1824), i. 274; Wood's Athenæ Oxon. (Bliss), i. 479; Dodd's Church Hist. ii. 114; Bromley's Cat. of Engraved Portraits, 34; Hist, del glorioso Martirio di diciotto Sacerdoti (1585), 111; Diaries of Douay College; Letters and Memorials of Cardinal Allen, 95, 107; Howell's State Trials; Bartoli, Dell' Istoria della Compagnia di Giesu,


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 immediately vnder God, the supreme power and authoritie of the Churches of Englande and Ireland. So be it. Anno 1559.' The dedication is addressed to the Marquis of Northampton. The 'Register of Martyrs' extends from 4 Feb. 1555 to 17 Nov. 1558, and consists of seventy-seven six-line doggerel stanzas. Foxe clearly found the 'Register' of use to him in the compilation of his 'Acts and Monuments.' A fine religious poem entitled 'The Wishes of the Wise,' in twenty verses of four lines each, concludes the work. The original edition was printed by Richard Adams, and he was fined by the Stationers' Company for producing it without license. Another surreptitious edition appears to have been issued about the same time, but of that no copy has survived. A second edition was 'newly imprinted at the earnest request of divers godly and well-disposed citizens' in 1597. Several extracts from the book appear in the Parker Society's 'Devotional Poetry of the Reign of Elizabeth' (161, 175), and the whole is reprinted in Arber's 'Garner,' iv. 143 et seq. Two other books are assigned to Brice in the Stationers' Registers, but nothing is now known of either of them. The first is 'The Courte of Venus moralized,' which Hugh Singleton received license to print about July 1567; the second is 'Songs and Sonnettes,' licensed to Henry Bynnemon in 1568. In 1570 John Allde had license to print 'An Epitaphe on Mr. Brice,' who may very probably be identified with the author of the 'Register.'

 BRICIE, BRICIUS, or BRIXIUS (d. 1222), bishop of Moray, was a cadet of the noble house of Douglas, his mother being sister to Friskinus de Kerdal of Kerdal on the river Spey. He was the second prior of Lesmahagow, and in 1203 was elevated to the bishopric of Moray. His application to Pope Innocent III caused the cathedral of the see to be fixed at Spynie. He also founded the College of Canons. He is said to have attended a council at Rome in 1215. He died in 1222 and was buried at Spynie. According to Dempster he was the author of 'Super Sententias' and of 'Homiliæ.'

 BRICMORE, BRICHEMORE, or BRYGEMOORE, H—— (14th cent.), surnamed, an obscure scholastic of the fourteenth century, is stated to have lived at Oxford, and to have written commentaries on some of the works of Aristotle (, Commentarii de Scriptoribus Britannicis, cap. ccclvi. p. 340). He is probably the same person with, of whom Leland rives a very similar description (cap. dxiii. p. 429); at least the identification has been handed down from Bale, x. 89, and Pits, append. 41, p. 828, to Tanner (Bibl Brit. p. 124). That Bricmore had a certain celebrity in his day is shown by the fact that some 'Notulæ secundum H. Brygemoore' appear in a manuscript of Corpus Christi College, Oxford, ccxxx. f. 33 (, Catal. ii. 93 6) in connection with extracts from Walter Burley and others of the great schoolmen. The only account of his life is contained in Dempster (Historia Ecclesiastica Gentis Scotorum, ii. 178, p. 100, Bologna 1627), who states that Bricmore was one of a number of Scots sent to the university of Oxford by decree of the council of Vienne, and that he was a canon of Holy Rood, Edinburgh. Dempster adds that he died in England in 1382, but gives as his authority for this the continuator of John of Fordun, which appears, however, to be a false reference, and the date is scarcely compatible with the mention of the council which was held seventy years earlier.

 BRIDE,. [See .]

 BRIDELL, FREDERICK LEE (1831–1863), landscape painter, was born at Southampton 7 Nov. 1831, and was the son of a builder in that town. It was intended that he should follow his father's business, but his impulse towards art was irresistible, and, without having received any regular instruction, he began to paint portraits at the age of fifteen. His performances attracted the attention of a picture cleaner and dealer visiting Southampton, who induced him to become his apprentice for seven years. During this period Bridell continued to study painting by his own unaided efforts, and produced a number of landscapes in the manner of the old masters, which became the property of his employer. In 1851, his first exhibited picture, 'A Bit in Berkshire,' was hung at the Royal Academy. In 1853 his engagement was renewed for seven years on condition of his being sent to the continent to study, his time being jealously accounted for, and his work remaining mortgaged to his master. After a short stay at Paris he established himself at Munich, where he contracted friendships with Piloty and other eminent painters. Here he perfected himself


text: Dictionary of National Biography, 1885-1900/Bricmore, H.


text: Dictionary of National Biography, 1885-1900/Bride, Saint


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 in the technique of his art, painted and exhibited several pictures highly commended by the German critics, and sent one, 'The Wild Emperor Mountains,' to the Royal Academy. In 1857 he returned to England, and unsuccessfully sought release from his imprudent contract. His first important work, 'Sunset on the Atlantic,' was exhibited at Liverpool in November of this year, and excited great admiration from the effective treatment of sea and sky. In 1858 he produced his 'Temple of Venus,' a gorgeous ideal composition painted in emulation of Turner; and in the autumn of this year went to Rome and painted his grand picture of the Coliseum, a most impressive work. The skeleton of the colossal edifice rears itself gaunt and black against the prevailing moonlight, and the barefooted Capuchins, who on the same spot inspired Gibbon with the thought of his 'Decline and Fall,' bearing torches at the head of a dim funeral procession, steal along in the deep shadows. It was intended to be the final member of a series of poetical landscapes illustrating the rise, greatness, and decline of imperial Rome, which, with this exception, were never painted. In February 1859 he married Eliza, daughter of William Johnson Fox, herself an artist of distinguished talent. His health failing almost immediately afterwards, he returned to England, freed himself from his bondage by a heavy payment, partly in money and partly in pictures, and in 1860 was again in Italy, where he made sketches for numerous landscapes subsequently executed, among which 'Under the Pine Trees at Castle Fusano, 'On the Hills above Varenna,' 'The Chestnut Woods at Varenna,' 'Etruscan Tombs at Civita Castellana,' and 'The Villa d'Este, Tivoli,' deserve especial mention. His principal patron at this time was Mr. James Wolff of Southampton, for whom the 'Temple of Venus' had been painted, and who acquired so many of his works as to form a 'Bridell Gallery,' subsequently dispersed by auction, when it produced nearly four thousand pounds. He also enjoyed the patronage of Sir Theodore Martin, Mr. John Platt, and other collectors of discrimination, and seemed to have every prospect of a brilliant career, when in August 1863 he succumbed to consumption, originated by early privations and aggravated by his devotion to art. Notwithstanding his youth and the obstacles created by impaired health and unfavourable circumstances, he had already proved himself 'a great master of landscape and an honour to the English school'. His art had gone counter to the tendencies of his day. While his contemporaries, under pre-Raphaelite influences, inclined more and more to the minute and realistic, Bridell, inspired by Turner, was broad, ample, and imaginative. His work was bold and rapid, full of rich colour and refined feeling. He aimed especially at conveying the sentiment of a landscape. Every picture was inspired by some leading idea, which made itself felt in the minutest detail. Sunrise and sunset, mist and moonshine, combinations of light and shade in general, were his favourite effects. 'In his painting of skies and clouds in particular,' says Sir Theodore Martin, 'Mr. Bridell seems to us to occupy a place among British artists only second to Turner.' As a man he was a type of the artistic temperament, bright and genial, impulsive and affectionate, quick of apprehension, and fertile in ideas, and, when not depressed by sickness or excessive toil, full of energy and enthusiasm. He had wonderfully overcome the disadvantages of his early education, and his notes of travel and art, though perfectly simple and nowise intended for publicity, show that he could write as well as paint.

 BRIDEOAKE, RALPH (1613–1678), bishop of Chichester, was of lowly parentage, being, according to Wood, the son of Richard Brideoake, or Briddock, of Cheetham Hill, Manchester, by his wife, Cicely, daughter of John Booth of Lancashire. He was born at Cheetham Hill, and was baptised at the Manchester parish church on 31 Jan. 1612-13. He was educated at the Manchester grammar school, and admitted a student of Brasenose College, Oxford, 15 July 1630. He graduated B.A. in 1634, and through the favour of Dr. Pink, warden of New College, Oxford, was appointed pro-chaplain of that college. In 1636, by royal letters, he was made M.A., having then the reputation of being a good Greek scholar and a poet. He addressed some verses to Thomas Randolph, prefixed to his 'Poems;' and he wrote two elegies on the death of 'Master Ben Jonson.' To eke out his income he took the curacy of Wytham, near Oxford, and acted also as corrector of the press in the university. In this last capacity he had occasion to revise a book by Dr. Thomas Jackson, president of Corpus Christi College, who was so much pleased with Brideoake's work, that he rewarded him with the mastership of the Manchester free grammar school, which fell vacant about the year 1638, and of which Jackson was patron. Of this school Brideoake was


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 afterwards, 20 Aug. 1663, elected a feoffee. He lived at Manchester, and his house, misprinted 'Dr. Pridcock's,' is on Ogilby's roadmap. He also became chaplain to the Earl of Derby. He was present at the siege of Lathom House, and proved himself a zealous servant of the family. It is thought that he had some share in the authorship of the account of the siege which was first published in 1823. Meanwhile he lost the mastership of the school, and his monument says he was despoiled of all his goods. When Lord Derby and his family fell into trouble, he did his best for them, and had for a time the management of the estates. When the earl was taken prisoner after the battle of Worcester, his chaplain proceeded to London to intercede for his life. The speaker, Lenthall, to whom Brideoake applied, was unable to interfere with the sentence, but he was so much struck with the address and powers of the applicant, that he offered to make him his chaplain, which offer was accepted, as also that of preacher of the rolls, which came soon after. Lenthall underwent some obloquy for thus preferring a 'malignant,' but he remained true to his choice, and procured him about the end of the year 1654 the vicarage of Witney in Oxfordshire, to which the revenues of the rectory of the same place were subsequently annexed by Lenthall's means. He was at Witney until August 1663, when he presented a successor. He was likewise appointed to Long Molton, Norfolk. When Lenthall was on his death-bed in 1662, he sent for Brideoake as a comforter. Brideoake was also a friend of Humphrey Chetham, the benefactor, and assisted him in his concerns. At Witney, and at St. Bartholomew's, London, to which rectory he was instituted 8 Sept. 1660, on presentation of the king, he performed his duties with great zeal, 'outvying in labour and vigilancy' his brethren in the ministry. On 14 March 1659 he was appointed one of the commissioners for the approbation and admission of presbyterian ministers, and notwithstanding this appointment he managed, 'having a good way of thrusting and squeezing, and elbowing himself into patronage,' to find favour with the royal party after the Restoration. He became chaplain to the king, was installed canon of Windsor 28 July 1660, on the presentation of the king, created D.D. 2 Aug. 1660, and rector of the valuable living of Standish, near Wigan. This last preferment had been given him formerly by the Earl of Derby, but he had been kept out of it by the 'triers' in the Commonwealth time. In 1662 he offered his London benefice to Richard Heyrick in exchange for the wardenship of the collegiate church at Manchester. He preached at the latter church several times, on one occasion arousing the indignation of the saintly Henry Newcome by some expressions which he used. Evelyn heard him preach a mean discourse. In September 1667 he was installed dean of Salisbury, and 9 March 1674-5, through the influence of the Duchess of Portsmouth, 'whose hands,' as Anthony [à] Wood says [sagely remarks], 'were always ready to take bribes,' he was elected to the bishopric of Chichester, with which see he was permitted to hold in commendam his canonry of Windsor, his deanery of Salisbury, and rectory of Standish. He died suddenly when on a visitation of his diocese, 5 Oct. 1678, and was interred in Bray's Chapel, Windsor, where his effigy in alabaster covers his grave. Wood says that it was his ambition to acquire wealth and to found a family. He was a liberal subscriber to the repair of his own and St. Paul's Cathedral. He married Mary, daughter of Sir Richard Saltonstall of Okenden, Essex, and left three sons. He wrote several occasional pieces of poetry. He contributed some Latin and English verses to 'Musarum Oxoniensium Charisteria pro regina Maria recens e nixus laboriosi discrimine recepta' (Oxon. 1638), and a Latin commendatory preface to N. Mosley's 'ψυχοσοφία' or Natural and Divine Contemplations of the Soul of Man,' 1653.

 BRIDFERTH. [See .]

 BRIDGE, BEWICK (1767–1833), mathematician, was a native of Linton in Cambridgeshire, and received his education at St. Peter's College, Cambridge, of which society he became a fellow. He graduated B.A. as senior wrangler in 1790, M.A. in 1793, B.D. in 1811. After holding for some years the professorship of mathematics in the East India Company's College at Haileybury, near Hertford, he was, in 1816, presented by St. Peter's College to the vicarage of Cherryhinton, near Cambridge, where he died on 15 May 1833, aged 66.

Bridge, who was a fellow of the Royal


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 174 descended from the Amazons of the Thermodon had never learnt perfectly the language of their husbands. Here I take it the word Scythian is used in a wider and looser sense than in that generally employed by Herodotus, for he gained the information through hearsay, and may therefore be taken to include a Caucasian language. If there is a grain of truth in the statement, it is that the men and women did not always speak the same dialect: that the Sauromatai were, in fact, like the Cherkes, exogamous. Hippocrates, who wrote a little later than Herodotus, though he places the Sauromatai west of the Don, is very positive in his assertion that they were different from other nations, and therefore from the Scyths. Strabo, writing shortly before the beginning of the Christian era, says of seventy nations, all speaking different languages, that used to assemble at the Colchidian mart of Dioscurias, that they were chiefly Sarmatians, but all of them Caucasian tribes. Talking of the Iberians, the modern Imeretians and Georgians, he mentions that those of them inhabiting the mountains lived like the Sarmatians and Scythians, on whose country they bordered and with whom they were connected by affinity of race. The Scythians here referred to are no doubt the Gēlai and Lēgai tribes, belonging to the Caucasus. He places the Albanians in the lower valley of the Kur, east of the Alazan, and makes the Caucasus their northern boundary, apparently confining them to the plain. But as they were reported to speak twenty-six languages, and could bring a larger force into the field than the Iberians, it is evident that many hill tribes must be included in their number, and this people is now doubtless represented by the Lesgians. Of the nationalities occupying the northern slopes of the main Chain, the Lesgians, therefore, and perhaps the Chechents, if the Gelai are represented by the Galgai, are to be excluded from the Sarmatai, and then we are left with the Cherkes and the Abkhas. A few centuries ago, the Adighé occupied a great part of the area previously inhabited


text: Dictionary of National Biography, 1885-1900/Bridell, Frederick Lee


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 Rh by the Sauromatai, Maiotai, and other Sarmatian tribes. When Georgio Interiano visited them in the middle of the 15th century the Cherkes extended from the Don along the Sea of Azov as far south as Abkhasia, which thus gave them, according to his estimation, a coast line of five hundred miles. Before his time, till driven out by the Tartars, they had settlements in the Crimea. Until recently they peopled the country between Taman and the confines of the Abkhas country, as well as the great and little Kabardá. There is, therefore, considerable ground for assuming that the Sarmatai, including the Sauromatai, Maiotai, and the many other tribes into which they were sub-divided, whom ancient writers aver to have been Caucasians, to have had racial affinity with the Iberians, to have been different from Scythians, in Herodotus' narrow sense of the word, and to have had Amazons among them, are now represented by the Cherkes and Abkhas, or Absne, who occupy, or have occupied, much of the same geographical area, who are Caucasians, who are certainly more nearly related to the Georgians than to any non-Caucasian people, who are anaryan and allophyl as regards Tatars, Mongols, and Finno-ugrians, and who retain the custom of flattening the breasts during maidenhood.

It now remains to compare what is reported of the Amazons with existing customs of the Cherkes and


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User talk:122.169.48.49

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 176 Abkhas. According to Herodotus, the women of the Sauromatai did not form a distinct nation like the Amazons of the Thermodon, from whom they were imagined to descend. Though they wore the same dress as men, and fought and hunted on horseback, this was not always or necessarily by themselves, for they also did so in company with their husbands. Girls, however, could not marry till they had killed a man in battle, from which custom they received from their Scythian neighbours the epithet of "manslayers". Hippocrates, discoursing on the Sauromatai, mentions that the women, armed with bow and javelin, fought their enemies on horseback, but only so long as they were in an unmarried state. They might not enter matrimony till they had slain three enemies, and did not live with their husbands till they had offered the sacrifice prescribed by law. After marriage women ceased to ride, save on a special emergency. During infancy mothers cauterised the right breast of their female children, by applying a heated metal instrument made for the purpose. Strabo enters into rather fuller particulars, but refers to tribes dwelling south of the Sauromatai on the counterforts of the main Chain. From infancy the Amazons had the right breast cauterised to allow of the arm being used with greater ease, especially when throwing the javelin. When at home they ploughed, planted, pastured cattle, and trained horses. The strongest spent much time in hunting on horseback, and in practising warlike exercises. In spring, they passed two months on a neighbouring mountain, the boundary between them and the Gargarenses. The latter also ascended the mountain, in conformity with ancient custom, to perform common sacrifices, and to have intercourse with the women in secret and darkness, for the purpose of obtaining offspring, each man taking the first woman he met. When the women became pregnant they were sent away. The female children were retained by the Amazons, the males were taken by the Gargarenses to be brought up. The children were distributed among families


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 Rh in which the master treated them entirely as his own. This evidently implies a system of fosterage.

Interweaving the substance of the above reports, after making due allowance for the evident tincture of the fabulous they contain, with what is known of existing customs among the Cherkes and Abkhas, a slight summary may be constructed of manners and customs that may, I think, with more or less reason be attributed to the Sarmatians about the sixth century B.C., though, of course, their origin must be much older. It may not be amiss to mention here that rich traces of a very considerable degree of civilisation, to which archæologists like Virchow and E. Chantre assign a date of about 1000 B.C., but culminating about 700 B.C., have been found in the sepulchres of Koban, near the northern entrance of the Pass of Dariel. Though most of the metallic objects are of bronze, iron was known, and they belong to the early iron period.

The Sarmatians, though without fixed habitations, were possessed of a certain social organisation, being divided, at any rate, into nobles and vassals, many of whom were only slaves. They were also separated into exogamous tribes, for marriage within the tribe was regarded as incest, and punishable with death, perhaps by drowning, as was recently the case. Children of both sexes were not brought up at home, but were transferred to the care of foster-parents, and only returned to the parental hearth when they had attained the age of manhood or womanhood. Though the women were ferocious enough towards tribal enemies their status at home was very low, little better than that of a slave, at any rate after marriage. All outdoor labour, such as ploughing and reaping, tending sheep, cattle, and horses, was performed entirely by them, and in defence of their charge, when attacked, they fought as savagely as the men. Unmarried women—for the care of herding fell chiefly on them—dressed like men, and by reason of their duties were armed with bows and javelins. Perhaps the belief that a woman could not bear courageous children, and was


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 Henry Cornelius Agrippa


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 178 of becoming a mother, unless she herself had given proof of her own courage by slaying at least one tribal enemy, gave rise to the usage that a girl might not marry till she had killed one, perhaps three individuals. And reciprocally it is far from improbable that among a race of warriors a man might not take a wife till he had shown his bravery in battle by bringing home at least one head. The whole duty of man lay in fighting, robbing, avenging the death of relatives, man stealing, and, for those that lived on the coast, in piracy. Still, the wild, untutored instinct that glorified acts like these was tempered by a sentiment that made a virtue of generosity and hospitality on the part of the nobles, and demanded respect towards old age from all ranks of society. Largely on account of their vocations, but partly from a superstitious dislike of the men, with their manly instincts, to be seen much in company with women, the sexes lived on the whole rather separate lives, and intercourse between married couples was of a clandestine nature. At certain annual festivals in honour of some divinity celebrated in sacred groves, where sacrifice was made, accompanied by games and athletic sports, promiscuous intercourse was carried on after dark. It may be the worship in spring of certain deities demanded it as a necessary rite. To obtain a wife a man had to pay a price for her in sheep, cattle, horses, or other valuables. But concurrent with this usage women were sometimes carried off, and sometimes they simply consented to live with a man, without further ceremony, though unions of this nature were chiefly prevalent in the lowest class. After marriage a woman lost much of her maidenly freedom, no longer roved after her flocks and herds in society with other girls, but had to follow her husband for the purpose of performing the necessary menial duties he would have disdained to do for himself At an early age, perhaps between the ages of seven and ten as nowadays, mothers began to flatten the breasts of their female children by compressing them with a broad leather belt


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 Rh or corset, which was sewn round the chest, and was only cut open by the bridegroom on the wedding day by means of a dagger. Such at least is the modern practice. In the above reconstruction of facts stated or hinted by Greek writers I have suggested how it happened that the Amazons were thought to be almost a race by themselves.

It arose in a great measure from their occupation. It was women's work to pasture the flocks and herds, and therefore to defend them if attacked. To do this they must be armed. It need not be supposed that the men never protected the herds themselves. They probably did so when actual danger was anticipated, but under ordinary circumstances it was left to the unmarried women to shield the sheep and cattle from the assaults of casual marauders. That cauterisation of the right breast was ever practised in the Caucasus seems to me highly improbable, though it may have been done elsewhere. Some writers, Professor Sayce among them, maintain that the Amazons that overran Asia Minor, and left traces of themselves at Ephesus, Smyrna, Cyme, and other places were priestesses of the Great Goddess. And it is conceivable these may have sacrificed their right breasts to her by searing them with a hot iron in such a way as to destroy their development. Even Greek and Latin writers were sceptical on this point, and the reason alleged for the custom, to allow greater freedom in casting a javelin or drawing a bow, seems unnecessary from a physiological point of view. Yet, undoubtedly, some operation was performed, or the Greek legend would have had no foundation. If the reason for flattening the breasts about to be proposed is the true one, there is nothing improbable in believing that the existing custom has a long row of centuries behind it, quite enough to throw it back in time beyond the sixth century B.C.

The great desire of women, more especially during a period of warlike barbarism, is to bear male children. Turning our attention to the result of flattening a girl's breasts and letting her wear male attire, it is obvious that


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 180 a sex distinction has been obliterated, and she has become externally assimilated to a male youth. Moreover, the object has evidently been intentional. It would be no outrage to the reasoning powers of the Sarmatians to suppose that they believed a woman's chances of bearing male children were vastly enhanced by her wearing a man's dress, and by being conformed in some degree to the male type by forcible compression of the breasts during maidenhood. They would argue thus: a woman wants to bear male children, therefore she ought to be made as much like a man as possible. A conviction of this kind is gained by a process identical with the immature reasoning that underlies what is called sympathetic magic. Here a postulant by a symbolical act expresses the longings of his heart in the mute language of signs, under the vague hope that his wish will be granted either by the spirit or deity in v.hose power it lies to bestow such a desire, or by virtue of an irresistible necessity, the exact nature of which he cannot fathom, but in which he has, nevertheless, the profoundest belief In applying this statement to the reasoning of the Sarmatians there seems to be a hiatus. For how is a spirit or an all-compelling necessity to understand what a girl means by dressing like a man and repressing the growth of the breasts? That every Amazon was expected to marry and bear children, and had herself the wish to do so, was regarded as so natural as to be implicit, and to be understood by anybody. All she had to do, therefore, to be fully comprehended by the powers that grant such desires was to hoist, as it were, a signal to indicate the sex of the child she desired to conceive, and this she did naturally enough by donning male attire and exhibiting her flattened bosom. It may be asked why this was done only in maidenhood, and not during the married state, when it would seem more appropriate? It is obvious repression of the breasts could not be maintained when a woman became a mother, and for all we know she may have continued to wear


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Translation:Puss in Boots/Act 3/Scene 7

ACT THREE

__________ Scene Seven The Palace of the Bugbear. _____

Discovered, as a rhinoceros; is standing in front of him.

Peasant May it please your grace

Bugbear Justice must be done, my friend.

Peasant But I can't pay you now.

Bugbear But you lost the case; the law demands your money and your punishment; your estates must be sold off; you have no alternative under the law.

Exit peasant.

Bugbear who has turned back into an ordinary bugbear These people would lose all respect for me if I did not force them to fear me like this.

enters, bowing profusely.

Bailiff May it please you my lord  I

Bugbear What's the matter, my friend?

Bailiff With your kindest permission, your grace, I tremble in your formidable presence.

Bugbear Oh, this is not nearly my most terrifying form.

Bailiff I came in fact in the matter of  to beg you to take my part against my neighbor  I also brought this purse with me  but the sight of the Grand Inquisitor is too horrifying.

The Bugbear suddenly turns himself into a mouse and sits in a corner.

Bailiff Hey, where has the Bugbear gone?

Bugbear in a delicate voice Just put the money down there on the table; I will sit here to avoid frightening you.

Bailiff Here.

He puts the money down.

Bailiff Oh, this justice is a wonderful thing. How can one be afraid of such a mouse!

Exit bailiff.

Bugbear assuming his natural form Not a bad purse one must also take pity on human frailty.

Enter.

Hinze With your permission aside Courage, Hinze, courage aloud Your Excellency

Bugbear What do you want?

Hinze I am a traveling scholar who wishes to take the liberty of making your acquaintance, your excellency.

Bugbear Very well, then, make my acquaintance.

Hinze You are a mighty prince; your love of justice is known all over the world.

Bugbear Yes, I don't doubt it. Do sit down.

Hinze I have heard many wonderful things about Your Highness

Bugbear Yes, people are always looking for something to talk about, and it is only natural that the reigning monarch should take pride of place in their discussions.

Hinze But there is one thing I just cannot believe: that Your Excellency can transform himself into an elephant or a tiger.

Bugbear I can give you an example of my powers right now.

He turns himself into a lion.

Hinze trembling, he pulls out a notebook Permit me to make a note of this curiosity. But now could you please resume your own charming form? Otherwise I shall die of fright.

Bugbear in his natural form That's some trick, eh, my dear fellow?

Hinze Amazing! But one more thing: they also say you can transform yourself into very small animals; with all due respect, I find that even more inconceivable; for, pray tell, what becomes then of your not inconsiderable bulk?

Bugbear Let me show you.

He transforms himself into a mouse; Hinze leaps after him on all fours; the Bugbear flees terrified into another room, with Hinze in hot pursuit.

Hinze returning Freedom and Equality! The Law has been devoured! Now surely the Tiers État Gottlieb will take office.

Everyone in the pit stamps and hisses.

Schlosser Wait! This is a revolutionary play after all! I suspect there's an allegorical and mystical meaning behind every word. Stop! Stop! Now I wish I could reflect on everything and experience it all again in order to spot all the hints and hidden suggestions, and to plumb the work's religious depths. Stop! Don't stamp! They should perform the play again from the beginning. Stop this infernal racket!

The stamping continues; Wiesener and several others applaud; Hinze is totally perplexed.

Bötticher I must

Fischer Keep quiet.

Bötticher Must must

Müller He's really struggling! Look how he's inflating himself!

Fischer I'd be afraid he might burst with the effort.

Bötticher Must must

Fischer For heaven's sake, you'll kill yourself!

Bötticher Pr–pr very loud Praise!!

The gag flies out of his mouth, across the orchestra, onto the stage, and lands on Hinze's head.

Hinze Ow! Arggh! They're throwing stones at me! I've been mortally wounded in the head!

He runs away.

Bötticher Must praise, extol, apotheosize and interpret the heavenly, nay unique, talent of this peerless man, to which nothing comparable is to be found in this or any other country. Oh, for shame! Now he must think that in my attempt to extol him I was actually trying to harm him, and all because that infernal gag landed on his sacred laurel-crowned head.

Fischer It was like a cannon shot.

Müller Leave him, he's only prattling on and praising his precious actor, but grab a hold of Schlosser, who's now become rabid.

Schlosser Oh, the profundity, the profundity of mystical opinions! Oh, surely now in the final scene the so-called cat will kneel down on the mountaintops before the rising Sun, whose rosy-fingered rays will shine through his transparent body! But, alas, now we are going to be deprived of this glorious scene! Listen! Will this stamping never cease! No, you wretches, let me go Get away!

Leutner Here, Fischer, luckily I found a piece of strong twine in the orchestra pit; there, tie his hands.

Müller And his feet, he's thrashing about like a madman.

Bötticher Ah, that's better. How free I feel, now that my gag has flown far away into the wide world! Now my eulogies can overflow once more like a raging torrent that has burst its banks, copious and prolix. I can display my learning with allusions and quotations, and reel off purple passages from the ancients. Oh, what grace this man has! How ingeniously he expressed his weariness by slightly bending and cracking his knees when he was obliged to stand still, and not by wiping the sweat from his brow, as a common artiste would have done; no, he had no time for such nonsense, not he — the foremost, the unique, the superhuman, the colossal, the Titanic!

Fischer Now that the barrage has been removed, he starts up with the hymns right on cue.

Müller Leave him; Schlosser is much worse.

Schlosser Ah! Now the secret society that is working for the good of humanity should appear; now freedom is to be proclaimed, and I am in chains!

The tumult increases, as does the clamor in the pit and in the gallery.

Leutner Now, this is one hell of a spectacle! It's as if the whole theater were about to collapse.

Playwright in the wings Madness! Leave me alone But where can I flee?

He rushes distraught onto the stage.

Playwright What am I to do, most miserable of wretches? The play will be over presently everything might have run smoothly  and to think I was expecting this moral scene to win me so much acclaim. If only it weren't so far from here to the king's palace  I could fetch the pacifier  at the end of the second act  he made all the fables of Orpheus seem credible to me. But what a fool I am! I'm totally confused; Here I am standing on the stage  while the pacifier must be somewhere  behind the scenes. I will look for him I must find him  he will save me!

The Playwright leaves the stage; he returns promptly.

Playwright He is not there. Pacifier! An empty echo mocks me. Hurry, your honor! Just a little mediating criticism and the whole country  which is now in uproar  will be pacified. We liked the whole of the play we only failed to understand the middle section  audience and me alike! Mediator! Pacifier! Slightly better criticism to end this anarchy! Alas! He has deserted me. Ha!! There he is he must come onstage!

The pauses are filled by stamping from the pit; the playwright delivers this monologue in recitative, so that the effect is one of melodrama.

Pacifier behind the scenes No, I shan't go on.

Playwright Come on, show some courage, man! I'm sure you'll be a great success.

Pacifier The uproar is too terrifying.

Playwright forcing him onto the stage The whole world is waiting for you! Get out there! Mediate! Pacify!

Pacifier coming onstage with his glockenspiel Well, I'll have a go.

He sounds the bells and sings.

Pacifier

The pit begins to applaud, while the scene is changed; the fire-and-water music from The Magic Flute begins to play, above appears the open temple of the Sun, the sky is clear and Jupiter is sitting in it; below is Hell with Tarkaleon; goblins and witches onstage, many lights. Unrestrained applause from the audience, everything is in turmoil.

Wiesener Now the cat only has to pass through fire and water, and the play will be over.

Enter, with bandaged head,.

Hinze This is the palace of the Count of Carabas. What the dickens! This place has certainly undergone some transformation!

King A beautiful palace!

Hinze Since things have gone this far, taking Gottlieb by the hand you must first pass through the fire here, and then through the water.

Gottlieb walks through fire and water to the sound of flute and timpani.

Hinze You have survived the ordeal; now, my prince, you have been found worthy to govern.

Gottlieb Governing, Hinze, is a peculiar thing. I'm beginning to feel a little luke-warm about it now.

King And now accept my daughter's hand.

Princess How happy I am!

Gottlieb Me too. But, my lord, I wish I could also reward my servant.

King By all means; I hereby raise him to the peerage.

He presents the cat with a medal.

King What exactly is his name?

Gottlieb Hinze; he was born into a humble family, but his virtues exalt him.

quickly steps forward.

Leander Make way! Make way!

He pushes his way through the crowd.

Leander I have ridden posthaste in order to offer my adorable princess and her husband-to-be my heartiest congratulations.

He steps forward and bows to the audience

Loud and universal rapping. The curtain falls.

title: Translation:Puss in Boots/Act 3/Scene 7


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 Rh men's clothing all her life; but the act was performed before marriage to ensure the first child being, if possible, a boy. A similar explanation would account for the false beards worn by Argive brides when they slept with their husbands, and for the widespread custom, alluded to by Mr. J. G. Frazer, of men dressing as women and women as men at marriage, if it could be assumed that the older custom was for women alone to dress in that way, and when the meaning of the ceremony was forgotten that bridegrooms also dressed like women; a change which might arise from a growing spirit of buffoonery and frolic such as is never absent from rustic weddings.

John Abercromby.


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title: Author:John Abercromby


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x


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Rh


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Translation:Puss in Boots/Epilogue

Epilogue

__________

King stepping out from behind the curtain Tomorrow we will have the honor of repeating today's performance.

Fischer What insolence!

Everyone stamps. The King is thrown into confusion, he retreats, then returns.

King Tomorrow: Allzu scharf macht schartig.

All Yes! That's better!

The King leaves the stage to general applause. There are cries of "The final scenery! The final scenery!"

Behind the Curtain Really! Well, since they are calling for the final scenery!

The curtain rises, the stage is empty; only the scenery is to be seen. comes forward, bowing.

Hanswurst Forgive me for being so bold as to thank you on behalf of the scenery; it is only right that the scenery should be at least a little polite. She will strive to earn the applause of an enlightened audience in the future too; therefore she certainly shall not lack for lamps or the necessary adornments, for the applause of such an assembly will so so  so encourage her  oh, look, see how she is moved to tears and can no longer speak.

He leaves the stage quickly and dries his eyes, several people in the pit start crying, the senery is taken down, leaving the walls of the stage bare; people start to leave; climbs out of his box; emerges meekly onto the stage.

Playwright I am free once again

Fischer Are you still there?

Müller You should be gone home by now.

Playwright Just a few more words with your kind permission! My play has flopped

Fischer Who are you talking to?

Müller So we noticed.

Playwright I, perhaps, am not entirely to blame

Müller Who else, then? Whose fault was that we were compelled to tie up this worthy young man here, who would otherwise have run amok like a madman? Who else, if not you, is to blame for leaving us addleheaded and confused?

Schlosser Enlightened man! Isn't it true that your noble drama presents a mystical theory revealing the nature of love?

Playwright Not to my knowledge; I was just trying to restore to all of you the lost sentiments of your childhood, so that you could experience whole-heartedly the depicted fairytale, but without regarding it as something more important than it actually was.

Leutner That is not an easy thing to do, my good man.

Playwright Admittedly, you would then have to put all your schooling aside for two hours.

Fischer How is that possible, then?

Playwright Forget all you have ever learned

Müller Why not, indeed?

Playwright Just as they have done in the newspapers.

Müller Just think what that would entail!

Playwright In short, you would need to become children again.

Fischer But we thank God that we are no longer children.

Leutner Our schooling has cost us enough toil and sweat as it is.

Drumrolls are heard again.

Prompter You should try to compose a few verses, Mr Poet; they might earn you more respect.

Playwright Perhaps I can come up with a Xenie.

Prompter What's that?

Playwright A newfangled style of poetry that makes one feel better than can be described. Addressing the pit

Rotten pears and apples and balled-up pieces of paper are thrown at him from the pit.

Playwright Those men down there are too well-versed in this type of poetry for me.

Müller Come on, Fischer, Leutner, let's drag Schlosser home, a sacrificial victim to Art.

Schlosser while they are hauling him off Do your worst, vulgarians, the light of love and truth will still permeate the universe.

They all leave.

Playwright I'm going home too.

Bötticher Hist! Mr Poet!

Playwright What is it?

Bötticher I was not one of your detractors, but the captivating performance of that unique man who played the virtuous Hinze has somewhat prevented me from fully comprehending the art of dramatic composition, but to which, all the same, I also want to see that justice is done; now I would just like to know whether this great man is staying in the theater.

Playwright No. But what did you want him for?

Bötticher Just to worship him a little and expound his greatness. But could you please hand me that gag over there; I think I'll keep it as a souvenir of the barbarism of my age and of my compatriots.

Playwright Here.

Bötticher I will always remember your kindness with gratitude.

He leaves.

Playwright Oh, you ungrateful century!

He leaves. The few people who are still in the theater go home.

title: Translation:Puss in Boots/Epilogue


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 212 EATING EATING


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 LOVE

{{Hoyt quote | num = | text = Odi et amo. Quare id faciam, fortasse requiris. Nescio: sed fieri sentio, et excrucior. I hate and I love. Why do I do so you perhaps ask. I cannot say; but I feel it to be so, and I am tormented accordingly. Catullus—Carmina. LXXXV. | seealso = (See also {{sc|Martial) 2 There's no love lost between us. | author = Cervantes | work = Don Quixote. | place = Bk. IV. Ch. 13. Fielding—Grub Street. Act I. Sc. 4. | author = Garrick | work = Correspondence. (1759) | author = Goldsmith | work = She Stoops to Conquer. Act IV. Ben Jonson—Every Man Out of His Humour. Act II. Sc. 1. Le Sage—Gil Bias. Bk. IX. Ch. VII. As trans, by Smollett. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = It's love, it's love that makes the world go round. Popular French song in Chansons Nationales et Populaires de France. Vol. II. P. 180. (About 1821) | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = I tell thee Love is Nature's second sun, ,/ Causing a spring of virtues where he shines. George Chapman—All Fools. Act I. Sc. 1. L. 98. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = 5 | text = None ever loved, but at first sight they loved. George Chapman—The Blind Beggar of Alexandria. | seealso = (See also {{sc|Marlowe}}) | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = Banish that fear; my name can never waste, For love sincere refines upon the taste. Collet Cibber—The Double Gallant. Act V. Sc. 1. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = So mourn'd the dame of Ephesus her love. Collet Cibber—Richard III. Act II. Altered from Shakespeare. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = What have I done? What horrid crime committed? To me the worst of crimes—outliv'd my liking. Collet Cibber—Richard III. Act III. Sc. 2. Altered from Shakespeare. | seealso = (See also {{sc|Crashaw}}) | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = Vivunt in venerem frondes omnisque vicissim Felix arbor amat; mutant ad mutua palmse Foedera. The leaves live but to love, and in all the lofty grove the happy trees love each his neighbor. Claudianus—De Nuptiis Honorii et Marios. LXV. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = Her very frowns are fairer far Than smiles of other maidens are. Hartley Coleridge—Song. She is not Fair. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = Alas! they had been friends in youth; But whispering tongues can poison truth, And constancy lives in realms above; And life is thorny, and youth is vain; And to be wroth with one we love Doth work like madness in the brain. Coleridge—Christabel. Pt. II. LOVE 467 All thoughts, all passions, all delights, Whatever stirs this mortal frame, All are but ministers of Love, And feed his sacred flame. Coleridge—Love. St. 1. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = I have heard of reasons manifold Why love must needs be blind, But this is the best of all I hold— His eyes are in his mind. Coleridge—To a Lady. St. 2. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = He that can't live upon love deserves to die in a ditch. Congreve. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = 15 | text = Say what you will, 'tis better to be left Than never to have loved. Congreve—Way of the World. Act II. Sc. 1. | seealso = (See also {{sc|Crabbe, Guartni, Tennyson}}) | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = If there's delight in love, 'tis when I see The heart, which others bleed for, bleed for me. Congreve—Way of the World. ActlH. Sc. 3. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = I know not when the day shall be, I know not when our eyes may meet; What welcome you may give to me, Or will your words be sad or sweet, It may not be 'till years have passed, 'Till eyes are dim and tresses gray; The world is wide, but, love, at last, Our hands, our hearts, must meet some day. Hugh Conway—Some Day. How wise are they that are but fools in love! How a man may choose a Good Wife. Act I. 1. Attributed to Joshua Cooke in Diet, of Nat. Biog. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = A mighty pain to love it is, And 'tis a pain that pain to miss; But, of all pains, the greatest pain Is to love, but love in vain. Abraham Cowley—Trans, of Anacreontic Odes. VII. Gold. (Anacreon's authorship doubted.) | seealso = (See also {{sc|Moore}}) | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = Our love is principle, and has its root In reason, is judicious, manly, free. | author = Cowper | work = The Task. Bk. V. L. 353. | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = Better to love amiss than nothing to have loved. Crabbe—The Struggles of Conscience. Tale 14. | seealso = (See also {{sc|Congreve}}) | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = Heaven's great artillery. ^f Crashaw—Flaming Heart. L. 56. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = Love's great artillery. Crashaw—Prayer. L. 18. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = Mighty Love's artillery. Crashaw—Wounds of the Lord Jesus. L. 2. | author = | work = | place = | note = | topic = Love | page = 467 }}

{{Hoyt quote | num = | text = And I, what is my crime I cannot tell, Vnless it be a crime to haue lou'd too well. Crashaw—Alexias. | seealso = (See also {{sc|Cibber, Pope) y


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484

LOVE LIES BLEEDING Amarantus Caudatus

LOYALTY (See Fidelity, Patriotism, Royalty)

LUCK

{{Hoyt quote | num = | text = "Then here goes another," says he, "to make sure, For there's luck in odd numbers," says Rory O'More. Samuel Lover—Rory O'More. | seealso = (See also {{sc|Merry Wives op Windsor) | author = | work = | place = | note = | topic = | page = 484 }}

{{Hoyt quote | num = 15 | text = Good luck befriend thee, Son; for at thy birth The fairy ladies danced upon the hearth. | author = Milton | work = At a Vacation Exercise in the College. . | place = | note = | topic = | page = 484 }}

{{Hoyt quote | num = | text = By the luckiest stars. All's Well That Ends Well. Act I. Sc. 3. L. 252. | author = | work = | place = | note = | topic = | page = 484 }}

{{Hoyt quote | num = | text = When mine hours were nice and lucky. Antony and Cleopatra. Act III. Sc. 13. L. 179. | author = | work = | place = | note = | topic = | page = 484 }}

{{Hoyt quote | num = | text = And good luck go with thee. | author = | work = Henry V. | place = Act IV. Sc. 3. L. 11. | note = | topic = | page = 484 }}

{{Hoyt quote | num = | text = As good luck would have it. Merry Wives of Windsor. Act III. Sc. 5. L. 83. | author = | work = | place = | note = | topic = | page = 484 }}

{{Hoyt quote | num = | text = Goodluckliesinoddnumbers * * * They say there is divinity in odd numbers, either in nativity, chance, or death. MerryWives of Windsor. Act V. Sc. 1. L. 2. | seealso = (See also {{sc|Lover}}) | topic = | page = 484 }}

{{Hoyt quote | num = | text = And wheresoe'er thou move, good luck Shall fling her old shoe after. | author = Tennyson | work = Will Waterproofs Lyrical Monologue. St. 27. | seealso = (See also {{sc|Heywood) . | place = | note = | topic = Love | page = 484 }}

LUXURY

{{Hoyt quote | num = | text = Blesses his stars, and thinks it luxury. | author = Addison | work = Cato. Act I. Sc. 4. | place = | note = | topic = | page = 484 }}

{{Hoyt quote | num = | text = To treat a poor wretch with a bottle of Burgundy, and fill his snuff-box, is like giving a pair of laced ruffles to a man that has never a shirt on his back. Tom Brown—Laconics. | seealso = (See also {{sc|Sorbienne}}) | topic = | page = 484 }}

{{Hoyt quote | num = | text = Sofas 'twas half a sin to sit upon, So costly were they; carpets, every stitch Of workmanship so rare, they make you wish You could glide o'er them like a golden fish. | author = Byron | work = Don Juan. Canto V. St. 65. . | place = | note = | topic = | page = 484 }}

{{Hoyt quote | num = | text = Blest hour! It was a luxury—to be! Coleridge—Reflections on having left a Place of Retirement. L. 43. | author = | work = | place = | note = | topic = | page = 484 }}

{{Hoyt quote | num = | text = O Luxury! thou curst by Heaven's decree. | author = Goldsmith | work = Deserted Village. L. 385. | place = | note = | topic = | page = 484 }}


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HOWARD——INGLETHORP

N.B.— f.e. stands for from end and l.l. for last line


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 NIGHT NIGHTINGALE


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