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Castle Orguellous nephew sprang to his feet lightly and cried, "Vassal, yield ye prisoner ere I slay ye!" but his foe was so dazed that for a space he might speak no word.

When he gat breath and speech he sighed forth, "Ah, God, who will slay me? Since she be dead I care naught for my life."

Sir Gawain wondered much what the words might mean, and he shook him by the vizor, and when he saw that he took no heed he spake again, "Sir Knight, yield to me!" And he sighed, "Suddenly was she slain who was fairest in the world; I loved her with a passing great love!"

When Sir Gawain saw that he would answer none otherwise, conjure him as he might, he cut the laces of his helmet, and saw that he lay with his eyes closed as one in a swoon; by reason of the great heat and his sore thirst he had lost all colour, and was senseless. Sir Gawain was vexed in that he might not win from him speech, neither by word nor by blow, yet was he loth to slay him; nor would he leave him lying; for he thought an he slew him he might lose all he would gain by his victory, and should he get him back to the pavilion to seek aid to bear his prisoner hence, on his return he


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 another vision—twelve years since his last seizure—he hastened to build the monastery Cnoberesburg or Burghcastle, in Suffolk, on land granted by the king. Then, committing it to the charge of Goban and Dichull, he went away to his brother Ultan, with whom he lived as a hermit for a year.

Owing to the disturbed state of the country he had to go to France and take refuge with Clovis, king of Neustria. The king being a child, the government was in the hands of Erchinoald, mayor of the palace, who gave him land at Latiniacum, now Lagny, on the Marne, six leagues from Paris. Here he erected a monastery in 644. According to the account in the ‘Codex Salmanticensis,’ it was when travelling with Clovis and Erchinoald that his last illness came on. He died on 16 Jan. probably in 650, at Macerias, now Mazeroeles. He was buried at Peronne, in the church built by Erchinoald, and with this place his name has since been associated. He was reputed to have performed miracles in his lifetime, and even his pastoral staff, if sent to a sick person, was supposed to have a healing power. The brethren whom he took with him formed the nucleus of an Irish monastery, and the succession appears to have been kept up by emissaries from Ireland, as we read in the ‘Annals of the Four Masters’ at 774, that ‘Moenan, son of Cormac, abbot of Cathair Fursa (the city of Fursa, i.e. Peronne) in France, died.’ Fursa's visions were placed on record soon after his death in ‘the little book’ to which Bæda refers, and which Mabillon considers to be the life published by Surius at 16 Jan. Bæda describes the agitation of a monk who, when describing what he heard from Fursa's lips, though it was the severest season of the year, and he was thinly clad, broke out into a profuse perspiration from mere terror.

FURSDON, JOHN, in religion (d. 1638), Benedictine monk, the eldest son of Philip Fursdon of Fursdon in the parish of Cadbury, Devonshire, was born at Thorverton in that county. He became an enthusiastic disciple of Father Augustine Baker [see ], his father's chaplain, and proceeded to the Benedictine convent of St. Gregory at Douay, where, after completing the year of probation, he took the solemn vows as a professed father of the order, 25 Nov. 1620 (, Chronicle, Append. p. 8). Returning to the English mission, he laboured chiefly in the southern counties, and he appears to have often resided in the families of Viscount Montagu and Lady Elizabeth Falkland. He was an instrument in the conversion of Lady Falkland's four daughters, and of [q. v.] Fursdon, who frequently passed under the assumed name of Breton, died in Lady Falkland's house in London on 2 Feb. 1637–8.

His works are:
 * 1) ‘The Life of the … Lady Magdalen, Viscountesse Montague, written in Latin … by Richard Smith [bishop of Chalcedon], and now translated into English by C. F.,’ 1627, 4to, dedicated to Antony Maria, viscount Montague.
 * 2) ‘The Life and Miracles of St. Benedict,’ 1638, 12mo, with plates.
 * 3) ‘The Rule of St. Bennet, by C. F.,’ Douay, 1638, 4to, dedicated to ‘Mrs. Anne Carie, daughter of the Lord Viscount Faulkland.’ A new edition by ‘one of the Benedictine Fathers of St. Michael's, near Hereford [i.e. Francis Cuthbert Doyle], was published at London, 1875, 8vo.

FUSELI, HENRY (1741–1825), painter and author, born at Zurich in Switzerland, 7 Feb. 1741, was the second son of Johann Caspar Fuessli, painter and lexicographer, and Elisabetha Waser, his wife. The family of Fuessli, still, as for many generations, resident in Zurich, has produced many members distinguished in art, literature, and science. Melchior Fuessli, an ancestor, had distinguished himself for original work. Johann Caspar Fuessli, a pupil of Kupetzky, the portrait-painter, was himself a well-known painter of portraits and landscapes, patronised by the petty royalty of the neighbouring states, and the author of the ‘Lives of the Helvetic Painters.’ His brothers, Heinrich and Johann Rudolf, were also artists, and the latter was the compiler of the ‘Allgemeines Künstler-Lexicon;’ each had a son named Heinrich, whose works should be carefully distinguished from those of John Henry Fuseli. Of Johann Caspar's numerous family five survived, including Heinrich; the eldest, Johann Rudolf, became an artist, entered the imperial service at Vienna, and possessed the family taste for lexicography; the youngest, Johann Caspar, was most noted for his achievements in entomology, another science to which the family was addicted; the daughters, Anna

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 and Elisabetha, were noted for their skill in drawing birds and insects. This art-loving family was on intimate terms with the literary circle at Zurich, which claims to have started the romantic movement in general literature, represented by J. J. Bodmer, J. J. Breitinger, and the painter-poet, Salomon Gessner, who stood sponsor to the infant Heinrich. Fuessli was therefore nursed in an atmosphere of romanticism from his earliest days, and showed an early predilection for art. He received some instruction from his father and elder brother, but the father was discouraged by his own experience of an artist's career, and, distrustful of his son's mechanical powers, intended the boy for the clerical profession. Fuseli, however, secretly pursued his studies, and his habit of drawing with his left hand, while his father or tutor was reading aloud, caused him to be ‘ambidexter,’ a faculty which he retained through life. He studied eagerly his father's collection of prints after Michelangelo and other artists, and his childish productions all showed the love of weird fantasy characteristic of his later works. He made drawings to illustrate the old poem of ‘Howleglas,’ and subsequently etched them; and he studied with interest the works of Tobias Stimmer, Jost Amman, and other old Zurich artists. When about twelve his family removed into the country for his mother's health, and art for a time made way among the children for entomology. When he was about fifteen his father placed him at the Collegium Carolinum at Zurich, of which Bodmer and Breitinger were professors. Here he quickly attracted attention by his hot temper, his various extravagances in dress and behaviour, and his immense capacities for mental labour. He rapidly acquired a good knowledge of the English, French, and Italian languages, besides Greek and Latin, and was an ardent student of the works of Shakespeare, Richardson, Milton, Dante, and Rousseau, which, with the Bible, gave plenty of scope to his ever-active pencil. He made several essays in composition, both prose and verse, but never showed any aptitude for mathematics or other abstract sciences. He made many intimate friends, among them Johann Caspar Lavater, the physiognomist, the brothers Johann Jakob and Felix Hess, Leonard Usteri, and others who attained distinction in after life. In 1761 Lavater and Fuessli, whose kindred characters made them the closest of friends, entered into holy orders, and at once made their mark by their attempts to raise the style of pulpit oratory in Zurich. Before they could accomplish much they became involved in a cause which soon agitated the whole town. One Felix Grebel, bailiff of Gruningen, one of the bailiwicks of Zurich, was accused of gross oppression and extortion. The young friends, in August 1762, sent an anonymous letter to Grebel threatening exposure. They next published a pamphlet, entitled ‘The Under-Bailiff, or the Complaints of a Patriot,’ and sent copies to the various members of the government. The authors were summoned to appear; Lavater and Fuessli came forward accordingly and proved their charges. Grebel was disgraced, but, as he was son-in-law of the burgomaster, and had powerful family connections, it was thought advisable for the young patriots to absent themselves for a time from Zurich. J. G. Sulzer, the author of a ‘Theory of the Fine Arts,’ who was about to return to Berlin, where he was professor, offered to take them with him, and in March 1763 Lavater, Fuessli, and the brothers Hess left Zurich. They visited Augsburg, where Fuessli was especially struck with Reichel's colossal statue of St. Michael at the arsenal, proceeded to Leipzig, where they met Ernesti, Gellert, and other celebrities, and reached Berlin to find that their fame had preceded them. Fuessli was at once employed to assist Rode on a set of illustrations to Bodmer's ‘Noachide,’ but after a short stay in Berlin visited Professor Spalding, the theologian, at Barth in Pomerania. At this time there was a desire to establish a channel of literary communication between Germany and England, and through Sulzer's kind agency Fuessli was summoned to Berlin and presented to the British minister, Sir Andrew Mitchell, at whose house, among others, he met Dr. John Armstrong [q. v.], afterwards his intimate friend. Mitchell was impressed by the young man's literary and artistic compositions, and offered to take him to England. Lavater and his other friends accompanied him as far as Göttingen, where he left them, and reached England towards the end of 1763. Thus introduced, he easily obtained access to several persons of importance, notably Mr. Coutts, the banker (who remained his steadfast friend and patron throughout), Millar, the bookseller, and Cadell, his successor, and Joseph Johnson, the well-known radical publisher in St. Paul's Churchyard. At Johnson's dinner-table he met some of the most remarkable persons in art and literature of the day. At first he appears to have thought only of a literary life, and supported life by translating books, although his pencil was never idle. In 1765 Fusseli, as he now called himself, published a translation of Winckelmann's ‘Reflections on the Painting and Sculpture of the Greeks,’


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 92 would surely find him gone. Thus was he much perplexed in mind. Then he doffed his helm, and sat him down beside the knight, sheathing Excalibur, and taking the sword of his foe. In a short space the Soudoier came again to himself, and seeing him sit thus, asked of him his name. Then he answered straightway, and when the other knew 'twas Gawain, he said, "Sir, now know I for a certainty that ye be the best knight in the world." Then he held his peace, and spake no further, and Sir Gawain looked upon him, and said, "Fair Sir Knight, bear me no ill will for aught ye may have heard me say, but come with me, an ye will, to yonder pavilion, and we will take your pledge."

Then the Rich Soudoier answered, "I have a lady I love more than my life, and if she die then must I needs die too, so soon as I hear tell thereof. I pray ye, sir, for God's sake, for love's sake, for gentleness, for courtesy, save me my love that she die not, by covenant that, whether for right or for wrong, no man of the Castle Orguellous shall henceforth be against ye. Fair sir, an ye will do for me that which I now pray, I will pledge my faith to do all the king's


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 which provoked an animated reply from James Barry [q. v.] He also, at the suggestion of his friend, John Bonnycastle [q. v.], plunged into the controversy then raging between Voltaire and Rousseau, with a spirited pamphlet in defence of Rousseau; the greater part of this impression was accidentally destroyed by fire at Johnson's shop, and not much regretted by the author. In 1766 he became travelling tutor to Viscount Chewton, the eldest son of Earl Waldegrave, but his impetuous nature was not suitable to the office, and in 1767 he returned to London. Happening to obtain an introduction to Sir Joshua Reynolds, he produced a portfolio of his drawings; Reynolds was surprised to find that he had never been in Italy, and also that he was doubtful of his artistic abilities, and urged him most strongly to become a painter. Thus encouraged he devoted himself entirely to drawing, and tried his hand at oil-painting. His first picture, ‘Joseph interpreting the dreams of the butler and baker of Pharaoh,’ was purchased by his friend Johnson; it is now in the possession of Hon. Henry Dudley Ryder. In 1769 he started with Armstrong for a tour in Italy. They sailed for Leghorn, quarrelled during a tedious voyage, and parted upon their arrival. Fuseli (or Fuzely), as the artist now called himself to suit the Italian pronunciation, proceeded alone to Rome, where he arrived on 9 Feb. 1770. Here he remained eight years, studying most energetically the works of the great masters, and above all Michelangelo, by whose great genius he was influenced to an exaggerated degree, much as Spranger and Goltzius had been, though he was fully aware of their mistakes. His abilities gained him many friends and numerous commissions. In 1774 there appeared at the Royal Academy exhibition a drawing of ‘The death of Cardinal Beaufort,’ by—Fuseli at Rome; in 1775, at the exhibition of the Society of Artists at Exeter Change, ‘Hubert yielding to the entreaties of Prince Arthur,’ by Mr. Fuseli at Rome; and in 1777, at the Royal Academy, ‘A Scene in Macbeth,’ by—Fusole at Rome. A book of drawings made by him in Rome (preserved in the print room at the British Museum) contains numerous sketches, embodying many of the ideas from Milton, Dante, and Shakespeare, which he afterwards worked up into his more famous pictures. He visited Venice, Naples, and Pompeii, and on leaving Rome in 1778 returned through Lombardy to Switzerland; here he revisited his family and friends at Zurich, remained there six months, fell in love but was unsuccessful in his suit, and painted a picture of ‘The Confederacy of the Founders of Helvetian Liberty’ for his native town. In 1779 he was back in London, and lodging at 100 St. Martin's Lane with John Cartwright [q. v.], a fellow student with him at Rome. Fuseli renewed his intimacy with his old friends (including Armstrong, who paid him a handsome compliment in his ‘Art of Preserving Health,’ ii. 236), and made several new ones, notably William Lock [q. v.] of Norbury and his son, and Dr. Moore [q. v.], author of ‘Zeluco,’ with whose family he became on terms of special intimacy. In 1780 he again exhibited at the Royal Academy, sending ‘Ezzelin Bracciaferro musing over Meduna, slain by him for disloyalty during his absence in the Holy Land’ (a subject of his own invention, formerly in the Angerstein Collection), ‘Satan starting from the touch of Ithuriel's spear,’ and ‘Jason appearing before Pelias.’ These pictures excited much attention, and obtained a prominent place by the direction of Sir Joshua Reynolds. In 1781 he painted, and in 1782 exhibited, his picture of ‘The Nightmare,’ which at once took the popular fancy, and insured his future success; he painted several versions of it (one is in the possession of the Earl of Harrowby), and numerous engravings were made from them. A large drawing of this subject is in the print room at the British Museum. In 1781 his father died at Zurich, and in the same year Fuseli painted an interview between himself and his aged tutor, Bodmer, which he sent to Zurich. In 1786 Alderman Boydell [q. v.] started his scheme of a Shakespeare gallery, and invited Fuseli to contribute; such a scheme had occupied Fuseli's mind at Rome when musing in the Sistine Chapel, as is shown by the sketch-book mentioned above. He contributed one small picture and eight large, including ‘Titania and Bottom’ (now in the National Gallery), ‘Macbeth and the Witches,’ and ‘Hamlet and his Father's Ghost;’ the last filled with awe the minds of the spectators, and, though extravagant in its execution, possessed real power. He also painted some pictures for Woodmason's ‘Shakespeare.’ On 30 June 1788 Fuseli married Sophia Rawlins of Bath Easton, near Bath, who is stated to have been one of his models, and often sat to him after marriage; she proved an affectionate and patient, if not very intelligent, wife, to whom he was sincerely attached. He now removed to 72 Queen Anne Street East (now Foley Street), and, in consequence of his marriage, overcame his reluctance to be connected with any associated body of artists, and became a candidate for the Royal Academy. He was elected associate 3 Nov. 1788, and academician 10 Feb. 1790, beating Bonomi [q. v.] on the


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 latter occasion, to the great umbrage of Sir Joshua Reynolds. In 1790 Johnson, the publisher, issued proposals for an edition of Milton's poems, similar to Boydell's ‘Shakespeare;’ Cowper, the poet, was to edit the poems, and Fuseli to paint a series of pictures, to be engraved by Sharp, Bartolozzi, Blake, and other eminent engravers. Cowper's insanity and Boydell's hostility prevented the completion of the work, but Fuseli's mind was fired by the enterprise, and he conceived his ‘Milton Gallery.’ He devoted all his time to painting pictures for it, and on 20 May 1799 opened a gallery of forty pictures, taken from Milton's poems, at the rooms lately vacated by the Royal Academy in Pall Mall. It attracted considerable attention, but it was evident that the fantastic extravagance in which Fuseli's strength lay was unsuited to the stateliness of Milton's poems. The results grievously belied his expectations, and he closed the gallery after two months; in the following year he re-opened it with the addition of seven new pictures, but neither his own efforts nor those of his friends produced satisfactory results. Among the best known of these pictures were ‘The Lazar House’ (now in the possession of Lord North at Wroxton Abbey), ‘Satan calling up his Legions,’ ‘The Bridging of Chaos,’ ‘Satan, Sin, and Death,’ ‘The Night Hag’ (of which there is a large drawing in the print room at the British Museum), ‘The Deluge,’ ‘Lycidas’ (several versions of this exist), ‘Milton dictating to his daughters,’ &c. In 1799 Fuseli succeeded James Barry, R.A. [q. v.], as professor of painting at the Royal Academy, and in March 1801 delivered his first lectures. In December 1804 he succeeded Richard Wilson, R.A. [q. v.], as keeper, and moved from Berners Street, where he was then residing, to Somerset House. He thereby vacated his professorship, but in 1810, on Tresham's resignation, he volunteered to supply the vacancy until a suitable candidate could be found; the Academy then re-elected him to the post, and he continued to hold the joint offices during the remainder of his life. In 1802 he visited Paris in order to study the marvellous collection of works of art brought together by Napoleon, in which he found ample material for his future lectures. The rest of Fuseli's life was mainly occupied in his duties at the Royal Academy, in which he took an unfailing interest. In 1815, through the agency of Canova, a warm admirer, he received the diploma of the Academy of St. Luke at Rome. He remained in full possession of all his faculties up to the end; delivered his last course of lectures in 1825 in his eighty-fourth year; exhibited two pictures that year at the Royal Academy, and left another unfinished on his easel. On Sunday, 10 April 1825, while on a visit at Putney Hill to his friend the Countess of Guilford (daughter of Mr. Coutts), with whom and her daughters he was on terms of great intimacy, Fuseli was taken ill, and died on Saturday, 16 April. His body was removed to Somerset House, and on 25 April was buried in the crypt of St. Paul's Cathedral, between the graves of Reynolds and Opie. His widow survived him for some years. He left no children.

Fuseli was below middle stature, but well proportioned. His forehead was high, his nose prominent and inclined to be aquiline, his eyes of a bright and penetrating blue; his hair was blanched at an early age by a fever in Italy, and his eyebrows were broad and bushy. He was always careful of his dress and person, and was an abstemious and frugal liver, as well as an early riser. He would often rise at dawn to go out into the country on some favourite entomological pursuit. Lavater, in his ‘Physiognomy’ (ed. 1789), inserts two portraits of Fuseli, one in early life and one from a drawing by Sir Thomas Lawrence; his reading of Fuseli's character from his features proved very accurate. Fuseli's countenance was remarkably expressive, and he showed in every feature and gesture the rapid and varying impressions of his mind, and the intensity of his emotions. Among other portraits of Fuseli are a profile done at Rome by J. Northcote, R.A. (in the possession of Mr. J. Carrick Moore); a portrait by Williamson done at Liverpool; a portrait by J. Opie, R.A. (who also painted Mrs. Fuseli), now in the National Portrait Gallery; a miniature by Moses Haughton, by some considered the best likeness of him; the well-known portrait by G. H. Harlowe, so familiar from engravings; a drawing by G. S. Newton, R.A.; a sketch by Sir George Hayter in January 1812, now in the print room at the British Museum; and a drawing by Sir Thomas Lawrence done shortly before his death. A bust was executed in Rome in 1778, another is at Wroxton Abbey, and two were done later by E. H. Baily, R.A., one taken after death.

As a painter Fuseli can only be judged by posterity from the wrecks of his great pictures. He suffered throughout from not having adopted the profession until late in life, and his industry and anatomical studies at Rome never compensated for his lack of early and methodical training. His


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 natural impetuosity of temperament rendered him incapable of paying laborious attention to the ordinary technical details of painting. His method of colouring was faulty to an extreme, and his colour, though often fine, was strange, gloomy, and frequently unpleasing. In many of his pictures the lividness of his flesh-tints has been enhanced by the uniform blackness to which time has reduced the shadows. Were it not for the graver of Moses Haughton [q. v.], who lodged with Fuseli at Somerset House, and worked under his personal direction, John Raphael Smith, J. P. Simon, and others, he would be little known. His numerous sketches afford a better insight into his art than his completed pictures, in which the great power of his imagination is sometimes obscured. He sometimes indulged in considerable freedom of subject, but most of these sketches were destroyed. After his death a collection of eight hundred drawings by Fuseli were purchased from his widow by Sir Thomas Lawrence, and subsequently passed into the possession of the Countess of Guilford, but are now dispersed. While endeavouring to tread in the ‘terribil via’ of Michelangelo, he followed the precepts of Lavater in expressing by attitude, gesture, or other movements of the limbs or features, the passions or emotions which he wished to delineate in his characters. The artist most akin to him was William Blake, who engraved some of his drawings; Blake owed a great deal to the friendship of Fuseli, and both entertained a mutual esteem and affection for each other, with undoubted advantage on both sides. Among the pictures painted by Fuseli, in addition to his ‘Milton’ and ‘Shakespeare’ productions, were ‘Perceval delivering Belisane from the enchantment of Urma,’ ‘Œdipus and his daughters’ (now in the Walker Art Gallery at Liverpool), ‘Paolo and Francesca de Rimini,’ ‘Ugolino in the Torre della Fame,’ ‘Dion seeing a Female Spectre overturn his Altars and sweep his Hall,’ ‘Psyche pursued by the Fates’ (at Wroxton Abbey), ‘Queen Mab’ (in the possession of the Earl of Harrowby), ‘Ariadne, Theseus, and the Minotaur,’ ‘William Tell leaping ashore’ (notorious for its exaggerated limbs), ‘Caractacus at Rome,’ ‘The Spirit of Plato appearing to a Student,’ ‘Cæsar's Ghost appearing to Brutus,’ ‘Hercules attacking Pluto,’ ‘Christ and his disciples at Emmaus’ (now in the possession of Lord North at Kirtling Tower, Newmarket), scenes from the Nibelungenlied, &c. Most of these were exhibited at the Royal Academy, to which he contributed sixty-nine pictures in all; many have perished from natural decay or unmerited neglect. He published a few etchings, notably one of ‘Fortune,’ of which the original drawing is in the British Museum, and experimented in lithography. He provided numerous illustrations to the small editions of the poets and classics, Bell's ‘Theatre,’ and other similar works then in vogue. The title of ‘Principal Hobgoblin-Painter to the Devil,’ humorously conferred on him, was neither undeserved nor resented by him.

As a teacher Fuseli was popular among his pupils, in spite of his eccentricities; he was also successful in his method, which seems to have consisted in inspiring his pupils with the desire to learn, rather than in giving them actual technical instruction, according to a favourite precept of his, that time and not the teacher makes an artist. Haydon, in whom Fuseli took great interest, Leslie, Etty, Mulready, and others have testified to his beneficial influence (see Builder, 1864, p. 4, for a similar tribute from a lady pupil). As an author Fuseli has hardly been esteemed as much as he deserves; he was a large contributor to the periodical literature of his day, especially to the ‘Analytical Review;’ he made numerous translations of works for Johnson and other publishers, and later in life few works on art of any importance were issued without a preliminary ‘imprimatur’ from Fuseli's pen, e.g. Blake's illustrations to Blair's ‘Grave.’ He revised Dr. Hunter's translation of Lavater's ‘Physiognomy;’ greatly assisted Cowper in his translation of Homer's ‘Iliad;’ and himself translated Lavater's ‘Aphorisms on Man.’ He also made a collection of ‘Aphorisms on Art’ of his own composition, which were published after his death, and are worth perusing. His lectures, especially the first three, which were published separately in 1801, show a wealth of learning and erudition unusual in an artist. His style, though often grandiose to absurdity, was in the fashion of the time. He indulged the family passion for lexicography by editing and re-editing Pilkington's ‘Dictionary of Painters,’ and by assisting his cousin in completing his uncle Rudolf's ‘Allgemeines Künstler-Lexicon.’ His devotion to the family science of entomology lasted through life, and is often evident in his pictures. Fuseli became one of the leading figures in London society, and was esteemed as much for his literary as for his artistic powers; he was an indispensable guest at Johnson the publisher's dinner-table, the resort of the leading radical celebrities of the day, and the circle was not complete without Fuseli's caustic wit and brilliant epigram. He was fearless in avowing his opinions, and when Johnson was imprisoned by the government for alleged sedition, he continued to visit him in prison as before. He made few enemies, and his freedom of speech and criti-


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CAN and requested her to go to the house of his mother, who lived not far distant, and was related to Cannera. At length, however, on understanding that she was near her end, and that she wished to receive the Holy Eucharist, he complied with her desire. As she died very soon after, her wish to be interred in that holy place was also fulfilled." If she is the same as St. Cainder, as stated in the Martyrology of Donegal, her festival is the 28th January.

Canning, George, an author, an Irishman, appears to have taken his degree of B.A. at the University of Dublin in 1754. His father, a gentleman of property in the north of Ireland, disinherited him for marrying, in 1768, Miss Costello, a dowerless beauty. George Canning was the author of some poems, and of a translation of Anti-Lucretius. He was called to the Bar, but never pursued his profession with earnestness, and his sojourn in London, on an allowance from his father of, £150 per annum, was a perpetual struggle against adverse circumstances. Nevertheless he and his wife were received into some of the best literary circles, and led a respected, if not a contented and happy life. He died in the Temple, London, 11th April 1771, one year after the birth of his son, the great George Canning.

 Cantwell, Andrew, M.D., was born in the County of Tipperary, in the beginning of the 18th century. He took his degree in 1729, at Montpelier, and six years afterwards removed to Paris, where he became eminent as a physician and professor. A voluminous writer on medical questions, he was noted as a bitter opponent of inoculation for the small-pox, then first practised; he spent some time in England pursuing the study of inoculation and confirming his conviction of its inutility and danger. He was a Fellow of the Royal Society of London, and contributed three papers printed in the Philosophical Transactions. He died in Paris, 11th July 1764.

 Carew, Sir Peter, was born at Ottery-Mohun, in Devonshire, in 1514. After a varied and eventful military career, he appeared in Ireland in August 1568, as claimant for the old Leinster and Munster estates of his ancestors, which had gradually been re-occupied by the Irish chieftains during the wars of the Roses. He first landed at Waterford, and then repaired to Dublin, where he resided during the prosecution of his claims. He was a prominent figure in Irish politics for the next seven years; and his presence materially contributed to the wars of the Butlers and other chieftains who naturally resented the Government putting him in the possession of estates which had been in their occupation for centuries. In 1568 Sir Peter was appointed governor of Leighlin. We are seriously told that "he so courteously dealed, and so friendly entreated his tenants, the Kavanaghs, and so liberally bestowed them, that, albeit it were some grief unto them to be dispossessed of the possessions which so long time they had held and enjoyed, yet they most gladly served him and became his tenants." Several attempts were made to assassinate him. Sir Edmund Butler, brother to the Earl of Ormond, especially resented his claiming some of his lands, and in 1569 raised an insurrection, and gave the Government no small trouble. Sir Peter distinguished himself in the ensuing war, chiefly in the capture of Clogrenan Castle. In 1572, after a short visit to England, he repaired to Cork and prosecuted his claims to certain Munster estates. He died at Ross, 27th November 1575, and his body was interred at "Waterford in great pomp, in presence of Lord-Deputy Sidney and other notables. He is described as "of a mean stature, but very well compact, and somewhat broad, big boned and strongly sinewed, his face of a very good countenance, his complexion swarte or cholyryke, his hair black, and his beard thick and great."

 Carew, Sir George, Earl of Totnes, soldier and statesman, son of Dean Carew, was born in 1558, probably at Exeter. After studying at Oxford, he and his brother Peter came over to Ireland in 1575, under patronage of their kinsman Sir Peter Carew. After Sir Peter's death, both of the brothers are mentioned as being engaged in the Irish wars. They appear as captains of a company of Devon and Cornishmen that landed at Waterford in 1579, and were afterwards appointed to keep the Castle of Adare, where they were besieged by the Earl of Desmond. Peter was slain in a sally, 25th August 1580. In a letter to Walsingham, three months afterwards, George is able to boast that "Hope of revenge did … breed me comfort: … it hath been my good hap to kill him that slew my brother." On midsummer eve of 1583, being in Dublin with his company, and hearing that one O'Nasye, a follower of the Cavenaghs, who was in town on Government business (having brought in prisoner Walter Eustace, brother of Viscount Baltinglass) and with a Government safe conduct, had boasted that he was concerned in his brother's death (in battle), George sallied forth and stabbed him mortally. Although, in answer to the representations of the Lords-Justices,  71


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Fyfe inflammable substances was great, and he often gave evidence in official inquiries on such subjects. He was much esteemed both by his students and in private life. He was twice married; his son, also named Andrew Fyfe, was a London physician.

 FYFE, WILLIAM BAXTER COLLIER (1836?–1882), painter, was born at Dundee about 1836, and brought up in the neighbouring village of Carnoustie. Although the Scottish prejudices of his father's household were unpropitious to art, friends enabled him to become a student of the Royal Scottish Academy when only fifteen. Here his crayon portraits won prizes, and were highly praised. He afterwards studied at Paris during parts of 1857 and 1858. His first picture of importance, ‘Queen Mary resigning her Crown at Loch Leven Castle,’ appeared at the Royal Scottish Academy in 1861. In 1863, after having passed a year among the art treasures of France, Italy, and Belgium, he settled in London and devoted much of his time to portraiture, which he varied with landscapes and fancy subjects, but his summers were often spent in Scotland. His pictures of ‘The Death of John Brown of Priesthill’ and ‘Jeanie Deans and the Laird o' Dumbiedykes’ attracted much notice, and in 1866 he began to exhibit at the Royal Academy. In 1868 and 1869 he painted ‘The Wood Merchant,’ ‘The “Scotsman,” Sir?’ ‘The Flower Girl,’ ‘The Orange Girl,’ ‘Marketing,’ and ‘A Girl of the Period,’ the last of which became very popular. These were followed during the next four years by ‘The Young Cavalier,’ ‘The Page,’ ‘On Household Cares intent,’ ‘The Maid of Honour,’ ‘Bide a wee,’ and ‘What can a young Lassie dae wi' an auld Man?’ several of which were engraved in the illustrated newspapers of Europe and America, and even of Asia. About 1874 Fyfe again visited Italy, and painted several Italian subjects. His best-known works of later date were ‘A Good Catholic,’ ‘Wandering Minstrels,’ ‘The Love Letter,’ ‘A Quiet Christmas,’ ‘The Fisherman's Daughter,’ ‘A Chelsea Pensioner,’ and ‘The Raid of Ruthven,’ his most important historical picture, which was exhibited at the Royal Academy in 1878, and afterwards at the Royal Scottish Academy. His last works were ‘Hide and Seek,’ ‘A Fisher Girl,’ and ‘Nellie.’ Among his portraits some of the most important were those of the Earl and Countess of Dufferin, Lord Houghton, Sir David and Lady Baxter, Alderman Sir William m'Arthur, and Dr. Lorimer, first principal of the London Presbyterian College. His own portrait was one of his latest works.

Fyfe died suddenly at Abbey Road, St. John's Wood, London, on 15 Sept. 1882, in the forty-seventh year of his age, and was buried in Willesden cemetery.

 FYNCH or FINCH, MARTIN (1628?–1698), ejected minister, was born about 1628, and entered the ministry about 1648. His maiden effort as an author was a criticism (1656) of the mystical theology of Sir Henry Vane. He was ejected from the vicarage of Tetney, Lincolnshire, by the uniformity act of 1662. In 1668 we find him in Norwich, where he acted as one of three ‘heads and teachers’ of a congregation of three hundred independents, who met for worship in the house of John Tofts, a grocer, in St. Clement's parish. On the issuing of the indulgence of 1672, Fynch took out a license to preach in the house of Nicholas Withers, in St. Clement's. He became pastor of the independent congregation in succession to John Cromwell (d. April 1685). Their meeting-place was the west granary in St. Andrew's parish. Fynch removed his flock to a brewhouse in St. Edmund's parish, which he fitted up as a meeting-house; and after the passing of the Toleration Act (1689) he secured a site in St. Clement's parish, being ‘part of the Friars' great garden,’ on which a handsome building was erected (finished 1693), originally known as the ‘New Meeting,’ but since 1756 called the ‘Old Meeting.’ John Stackhouse was Fynch's colleague from about 1691.

With the presbyterian minister at Norwich,, D.D. [q. v.], who died 18 Jan. 1691, Fynch was in close relations, both personal and ecclesiastical. In accordance with the terms of the ‘happy union’ (mooted in 1690), these divines agreed to discard the dividing names ‘presbyterian’ and ‘independent’ and co-operate simply as dissenters. Fynch preached Collinges's funeral sermon, and defended his memory in reply to a pamphlet by (1634–1692) [q. v.]

Fynch suffered from failing eyesight, and was a victim to calculus, a malady prevalent in Norfolk. He died on 13 Feb. 1697 (i.e. 1698), and was buried in the graveyard on the north side of his meeting-house,


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 Castle Orguellous will, nor shall there be therein man of arms whom I will not make swear the same. But an if my lady knew thereof, as God be my witness, she would die straightway, for never would she believe that ye had conquered me; 'tis truth I tell ye! Now of your courtesy, Sir Knight, I pray of ye this great service, that ye come back with me to the castle, that ye there do me honour, and kneeling to my lady declare ye her prisoner; an ye will thus make feint and say I have vanquished ye in fair field, then shall ye save my life, and that of my most sweet lady, and if ye will not do thus, then slay me here and now!"

Then that gentle knight, Sir Gawain, remembered him of how he had found him aforetime in the forest beneath the tower, and how the maiden who rode to keep tryst feared for his life, and he knew that he loved his lady with so great a love that he would die an she knew him to be shamed, and he thought within himself 'twas over much cruelty to slay so good a knight, and he answered. "Fair sir, certes will I go with ye to the Castle Orguellous, and there yield me captive, nor will I forbear for any doubt or misgiving. It might well turn to my shame,


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CAR admitted, "George Carew hath lately committed a very foul act, able to make the Irishmen to enter into an hatred of us, trusting us in nothing, and thinking that there is treachery in any fair promises made unto them,"  it does not appear to have interfered with his advancement, and by the spring of 1586 we find him knighted and sent on a private mission to Elizabeth by Sir John Perrot. He had already acquired large estates in Ireland. In February 1588 he was appointed Master of the Ordnance, and returned to Ireland; and in 1590 was admitted to the Privy Council. In 1592 he was Lieutenant-General of the English Ordnance, and in 1596 and '97 he was engaged with Essex and Ealeigh in expeditions against Spain; in March 1599 he was appointed to attend the Earl of Essex to Ireland; and on 27th January 1600 he was made President of Munster. His proceedings for the next three years are carefully detailed in Pacata Hibernia, nominally written by Thomas Stafford, but inspired by himself. Of the proceedings detailed in the early part of the work, perhaps the capture of Glin Castle is the most interesting. By his vigour and decision he succeeded in completely crushing within a short space of time the insurrection in the south of Ireland. He was somewhat regardless of the means by which he effected the pacification of the country, and on more than one occasion negotiated for the assassination of Irish leaders, or as it was then termed, he "drew a draft" upon them. When he had settled matters in the south, the civil administration claimed much of his attention, and we find detailed particulars concerning a new Irish coinage. On 1st October 1601, a large Spanish force under Don Juan d'Aguila, in forty-four vessels, appeared off the south of Ireland, and occupied Kinsale, the vessels returning for additional troops and supplies. The whole south again rose in arms, and O'Neill and O'Donnell hastened to effect a juncture with Don Juan. Carew immediately marched south with a comparatively small force, and blockaded Kinsale. Troops were rapidly sent to him from England, and on 24th December, in conjunction with Lord Mountjoy, he routed the allies, and Don Juan was shortly afterwards obliged to capitulate and return to Spain. Dunboy Castle bravely held out until the 18th June 1602, when Carew, after a regular siege, took it by assault, putting the garrison to the sword. Extraordinary devotion was shown by the besieged under MacGeoghegan, who held the place for O'Sullivan Beare, and who perished in the final assault. Carew says: "The whole number of the ward consisted of one hundred and fortie three selected fighting men, being the best choice of all their forces, of the which no man escaped but were either slain, executed, or buried in the mines, and so obstinate and resolved a defence had not been seen within this Kingdome." Captain Tyrrill and twelve men were respited in the expectation that they would consent to purchase their lives by doing "acceptable service" in betraying others of their countrymen, but indignantly refusing these terms they were all executed a few hours afterwards. The siege of Dunboy, as related in Pacata Hibernia, is one of the saddest and most picturesque incidents in Irish history. The end of the war found the country in a deplorable condition of ruin and depopulation. Carew and the other English leaders, and their Irish allies, profited largely by the confiscations that ensued. He returned to England in March 1602-'3 at the earnest request of his friend Cecil. Carew stood in as high favour with James as with Elizabeth, and in the Irish Patent Rolls are recorded the numerous grants bestowed on him from time to time. In 1605 he was created Baron Carew, and was made Governor of Guernsey. In 1611 he was despatched to Ireland as head of the commission for the plantation of Ulster. His correspondence with Sir Thomas Roe, English ambassador to the Great Mogul, extending from 1615 to 1625, contains summaries of news that are of the greatest value to the historian. At the funeral of King James he was attacked by palsy, which proved nearly fatal. The favour which followed him through the reigns of Elizabeth and James continued unabated under Charles I., by whom he was created Earl of Totnes. Much of the leisure of the last years of his life was spent in arranging with indefatigable industry his invaluable collection of papers connected with the history of Ireland, now in Lambeth Palace, in thirty-nine volumes, besides four volumes in the Bodleian Library. Brewer's Calendar, in 6 vols. 8vo., is perhaps the richest store of Irish historical materials connected with the time. Cox drew largely upon them in his history. Carew died at the Savoy, London, 27th March 1629, aged about 72, and was buried at Stratford-upon-Avon. He left one daughter. His Countess survived him many years. His letters and other manuscripts belonging to Ireland, he left to his natural son, Sir Thomas Stafford. [It may be said that a communication in Notes and Queries, 3rd Series, throws some doubt upon this relationship.] Carew's portrait, prefixed to 72


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 94 but even if I should die thereby, I would not, Sir Knight, that ye or your lady be wronged or aggrieved."

Then the knight spake frankly, "Sir, I am your liege man all the days of my life." And he gave him his hand, and sware straitly that he would do all the king's pleasure. And when Sir Gawain had taken his oath, straightway the two mounted their steeds and betook them to the Castle Orguellous.

Well nigh did King Arthur die or wrath when he saw his nephew ride hence, and he cried, "Now am I indeed bereft if my nephew be led therein; now will they hold him prisoner! Think ye, my lords, that he be of a truth captive?"

"Yea, Sire, of a faith, so it seemeth, yet are we greatly in marvel thereat, for we know certainly that he had vanquished and overthrown his adversary. Never so great an ill hap hath befallen any knight, for ere the knight of the castle rose we said surely that he was conquered!"

The king had no heart to hearken longer, but betook him straightway to his bed; cause enow had he for woe, or so it seemed him!


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 Castle Orguellous But they of the castle sped joyously to meet their lord, whom they thought to have lost, and ran to bear the tidings to the lady, who was well nigh distraught with grief, and anger, and they told her that her lord came again. "And he leadeth by the bridle, as one conquered, Sir Gawain!"

Even at these words came the knights unto the gateway, and dismounted, and Sir Gawain speedily yielded him prisoner to the maiden, saying, "Lady, take here my sword, and know of a proven truth that this good knight, your true lover, hath vanquished me by force of arms."

Never since the hour ye were born did ye see such rejoicing as the maiden made, and the Rich Soudoier spake, saying, "Ride ye to my castle of Bouvies with five hundred knights, and make ready the chambers. I will be with ye to-morrow, and would fain sojourn there we will have but few folk with us. Marvel not at this, for to-day have I been over much wearied."

And the maiden answered, "Ye have well said; the castle is very fair and pleasant." With that she was mounted, and the knights set forth to convoy her to the


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 castle. And know ye why he sent her hence? 'Twas that he might tell his men the truth of what had passed.

When the lady had departed 'twas made known throughout the castle how the matter had in very truth fallen out, and the lord bade release the son of Do, and the butler, and they did his bidding. But when Sir Gawain saw Giflet he ran towards him, and kissed him more than a hundred times, and made marvellous great joy of him. Then they sat them down on a bench, side by side, and held converse together. And when the twain who had fought were disarmed they brought for the four very fair robes of rich and royal cloth; never had ye seen such. Then the Soudoier bade saddle four steeds, and they mounted, and rode thus adown the street.

Thus they four alone took their way to the pavilion, and the king's men beheld them, even as they came forth from the castle gateway, and Sir Ywain cried, "By my faith, and no lie, I see four men come hither, and all four be knights, so it seemeth me!" And Kay answered, "I see them too!"

And when they came so near to the


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 Castle Orguellous pavilion that their faces might be seen, Sir Ywain ran joyfully to the king. "Sire, Sire, an God help me, here cometh Sir Gawain, and with him three others, all hand in hand: there be the son of Do, and Sir Lucains, and for the fourth a great knight! "

The king answered no word, but made semblance as if he heard not, and rose not from his couch, save that he raised himself somewhat higher thereon.

In a little space he spake to his knights, "Be not over dismayed, but make as fair a countenance as ye may; methinks they come thither to bid us return with them to prison, but I go not hence ere that I be vanquished, or have freed my comrades." And all answered, "Well spoken, Sire!"

But now had the four come so nigh that they had dismounted, and come before the king; never was seen such rejoicing as his lord made of Giflet, but now was he in sore distress, and, lo! his sorrow was turned to joy! Why should I lie to ye? The Rich Soudoier told him how Sir Gawain had conquered him, and how, by his courtesy, he had given life to him and to his fair lady;


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 98 and the king hearkened to the tale right willingly.

Now will I leave speaking of them, but this much will I say, that well might the lord of the castle love and cherish him who first overcame him by arms and then did him so great honour as to yield him to his lady so that his life might thereby be saved. So here will I hold my peace, no, nor speak further, save to tell ye that now was the king lord alike of the Castle Orguellous and the lands around; never in all his days did he make so great a conquest, as Bleheris doth witness to us.


text:
Author:Arthur Gamgee

Works

 * (Movements of Respiration)
 *  Text-book of the physiological chemistry of the animal body, including an account of the chemical changes occurring in disease

title: Author:Arthur Gamgee


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100 the door of which is broken open by his indignant knights, who insist upon knowing the reason of his accusation, is found in B.N. 12577; 794; 1453; and Mons. This latter version seems to me an unintelligent expansion of that in our text. Arthur’s desire is to incite his knights to the rescue of their comrade, not to heap unnecessary insult upon them. The fact that here Ywain is specially coupled with Gawain should be noted. Ywain is one of the earliest of Arthurian heroes, appearing in the chronicles; whenever we find him in a position of importance there is at least the possibility that we are dealing with the survival of an early and genuine Arthurian tradition.

15.—Now will I tell ye their names. The list of knights taking part in the expedition varies somewhat in the different texts. It is noteworthy that Lancelot is occasionally omitted, and that nowhere does he hold a prominent position. This group of stories was manifestly composed at a period when that hero was still practically unknown to Arthurian tradition.

16.—One day the king came forth from a very great forest. An English version of the adventure which follows will be found in Sir Frederick Madden’s ‘Syr Gawayne,’ under the title of ‘Kay and the Spit.’

25.—The tale is here over long. Throughout the whole section devoted by Wauchier to the Gawain in contradistinction to the Perceval adventures, there are constant references to the length and importance of the ‘grand conte’ of which they formed a part. There are numerous ‘Perilous Cemeteries’ in Arthurian romance, e.g. there is one in the prose Lancelot, which Hector and Gawain attempt, and are worsted: another in Perilleus, and a third forms the subject of a special poem, ‘L’Atre Perilleus.’ Of this last Gawain is the hero. There is s cemetery connected with the adventure of the Chapel of the Black Hand, and one in the Queste. It is impossible to determine the tale to which the compiler here alludes.


text: Dictionary of National Biography, 1885-1900/Fuller, Andrew


text: Dictionary of National Biography, 1885-1900/Fuller, Francis (1637?-1701)


text: Dictionary of National Biography, 1885-1900/Fuller, Francis (1670-1706)


text: Dictionary of National Biography, 1885-1900/Fuller, Isaac


text: Dictionary of National Biography, 1885-1900/Fuller, John (d.1558)


text: Dictionary of National Biography, 1885-1900/Fuller, John (d.1825)


text: Dictionary of National Biography, 1885-1900/Fuller, Samuel


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 28.—Esterlins, besants, &c. The original is Esterlins, porpres, e besans, Deniers de muce e d’aufricains. The correct translation is doubtful. Porpres is a texture, and seems to be out of place among an enumeration of coins. ‘Denier s de muce’ is found in no dictionary or article on coins. Muce may signify a hiding place, hence the treasure-trove of the translation; or, as M. Paul Meyer suggests, muce may be an error for murcie, which would be the equivalent of Spanish, at that period Saracen, money. Du Cange, under the heading of ‘Africanus,’ gives ‘Moneta Saracenorum.’ It is noteworthy that the MSS. of later date omit these lines.

29.—Grails of silver. This is the only instance I know in which the word Grail is used in a general sense, and it is of value as indicating the meaning which the writers of that period attached to the word.

38.—Ider de Lis. The father’s name is more generally given as Norres de Lis. Llys is the Welsh for castle, and the spelling of the word varies in the texts. Brandelis is, as a rule, written in one word, and spelt with an i; when the castle alone is spoken of it is written Lys. I have endeavoured to indicate this peculiarity in the translation. Cf. Gawain’s appeal to his uncle to eat, and Arthur’s refusal, with Arthur and Gorlagon published by Prof. Kittredge; cf. Folk-Lore, March 1904, where a translation of this curious tale, with explanatory comment, is given.

41.—A comrade for Huden. Huden, or Hudenc, is Tristan’s dog. The reference is interesting, as showing a knowledge of the Tristan story on the part of the compiler. That hero, however, plays no part in this group of tales.

48.—There came forth a damosel. The lady’s name is not given here, but later on she is called Guilorete, and in other texts Gloriete.


text: Dictionary of National Biography, 1885-1900/Fuller, Thomas (1593-1667)


text: Dictionary of National Biography, 1885-1900/Fuller, Thomas (1654-1734)


text: Dictionary of National Biography, 1885-1900/Fuller, William (1670-1717?)


text:
Page:The Celtic Review volume 4.djvu/389

 376 THE CELTIC REVIEW The Ohms, Scpts, and Regiments of the Scottish Highlands. By FRANK ADAM, F.R.G.S., F.R.S.A. Scot. W. and A. K. Johnston. 505 pp. dy. 8vo. 15s. net. The aim of this book ‘ is the presenting in condensed form an epitome of information relating to Tartans, Highland Clan Matters, Scottish Regiments, and, as far as possible, Clan Septs.’ Of the fifteen chapters into which it is divided, four deal with history from 400 B.c. down to 1902 AMD., while chapters are also devoted to Highland music, the Celtic languages in the British Isles, and Armorial bearings. There are thirty-five appendices, and plates of one hundred and fourteen tartans. Mr. Adam’s difficult task was rendered still more difficult by residence in Selangor, and though the work contains much matter that will be read with interest, and which will be a useful starting—point for critical inquiry, it would be unsafe to found on it. The historical side, for instance, repeats many of the errors in Skene’s Scottish Highlanders, which Skene himself subsequently corrected. The origin of the clans is often imsatisfactorily dealt with, ag., the Mathesons are made Norse, and the Grants Celtic. Mr. Adam has also been following unsafe guides in philology. Altogether we are rather disappointed that the author has not been able to avail himself more of reliable modern research. In Appendix twenty-six giving the Celtic census of 1901, Glasgow, which Mr. Adam regards as the Highland capital, is returned at seventy-nine , persons speaking Gaelic only, and 16,930 speaking Gaelic and English, or not quite two and a half per cent. of the total population of 690,044. Yet Mr. Adam assures us on p. 338 that Glasgow contains over 250,000 Highlanders, or over thirty-six per cent. of the total population. But perhaps Mr. Adam’s notion of what constitutes a Highlander dilfers from Helen Macgregor’s. l

Sir Gwain and the Lady of Lys. Translated for the first time from Wanchier l de Denain’s section of the Conte del Graal. By Jessie L. Weston. i David Nutt. 2s. net. This is the seventh volume of the series of Arthurian Romances unrepre- l sented in Malory's Morto d’Arthxwr. It describes an expedition xmdertaken i by King Arthur and several of his knights against Castle Orguellous to i rescue a brother of the Round Table ; also certain adventnues (one of them l the outcome of the love-story of Sir Gawain and the Lady of Lys) which l befell them on the way thither. One may apply to the whole Miss Weston’s l own words regarding the second adventure: ‘an admirable story, pic- l turesque, vivid, and full of human interest’ Doubtless a good deal of the credit for this is due to the translator, whose diction has a delightful old- world atmosphere about it, without, however, the least trace of aifectation. Perhaps, too, the book gains something from the fact that it has been written for the general public rather than for a few Arthurian specialists, and that in the most interesting part an obviously later version of the tale has been preferred to an older but less pleasant one. The result is a piece of writing which makes one wish that the different versions of our own Gaelic tales, Dagmzeu by Google ,


text: Dictionary of National Biography, 1885-1900/Fullerton, Georgiana Charlotte


text: Dictionary of National Biography, 1885-1900/Fulwell, Ulpian


text: Dictionary of National Biography, 1885-1900/Fulwood, Christopher


text: Dictionary of National Biography, 1885-1900/Fulwood, William


text: Sir Gawain and the Lady of Lys

title: Sir Gawain and the Lady of Lys


text: Dictionary of National Biography, 1885-1900/Furneaux, Philip


text: Dictionary of National Biography, 1885-1900/Furness, Richard


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


text: Dictionary of National Biography, 1885-1900/Fursdon, John


text: Dictionary of National Biography, 1885-1900/Fuseli, Henry


text: Dictionary of National Biography, 1885-1900/Fyfe, Andrew


text:
Author:George Christopher Trout Bartley

Works

 * (in part)

title: Author:George Christopher Trout Bartley


text: Dictionary of National Biography, 1885-1900/Fyfe, William Baxter Collier


text: Dictionary of National Biography, 1885-1900/Fynch, Martin


text:
Page:The Life of Michael Angelo.djvu/197

 Such was the indifference with which Michael Angelo, when near the end of his days, regarded his works.

Since the death of Vittoria no great affection brightened up his life. Love had fled.

He had lost his brothers and his best friends. Luigi del Riccio had died in 1546, Sebastiano del Piombo in 1547, his brother Giovan Simone in 1548. He had never been in very close relations with his youngest brother, Sigismondo, who died in 1555. His familiar and crabbed affection he had centred on his orphan niece and nephew, the children of Buonarroto, the brother whom he loved the most. The girl's name was Cecca (Francesca), the boy's Leonardo. Michael Angelo placed Cecca in a convent, gave her a trousseau, paid for her board and lodging, and, when she married, gave her one of his possessions as a dowry. He personally looked after the education of Leonardo, who was nine years of age at the death of his father. A long correspondence, which often recalls that


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 at a time, without having once seen them do so; so that from seeing them thus au naturel, and without any suspicion of my proximity, I might have come to the conclusion that they were not diving birds at all. As it is, I am inclined to think that they rarely dive except to avoid danger, and only then when surprised and as a last resource. For instance, if a moor-hen sees one from the smallest distance it flies to the nearest belt of reeds, but if one appears quite suddenly on the bank just above it—as sometimes happens—it will then often dive. Even here, however, according to my own experience, it is more likely to trust to its wings; so that, as it seems to me, the habit under any circumstances is only an occasional one, and may, therefore, be in process either of formation or cessation. If we look at the moor-hen's foot, which shows no special adaptation to swimming, but a very marked one for walking over a network of water-herbage, the former of these two suppositions seems the more probable. The bird from a shore and weed-walker has become aquatic, and is probably becoming more so. If the habit of diving is only becoming established, it is possible that some localities might be more conducive to its quick increase than others, and it would be interesting, I think, if observers in different parts of the country would make and record observations on this point.

The chariness of the moor-hen in diving is the more interesting because the coot, which belongs to the same family, has the same general habits, and has evidently become aquatic by the same gradual process, dives frequently, and is accustomed to feed upon weeds

title: Page:BirdWatchingSelous.djvu/190


text: Sir Gawain and the Lady of Lys/Introduction


text: Sir Gawain and the Lady of Lys/Sir Gawain and the Lady of Lys


text:
Author:Pseudo-Dionysius the Areopagite

Extant works

 * Divine Names (Περὶ θείων ὀνομάτων)
 * Mystical Theology (Περὶ μυστικῆς θεολογίας)
 * Celestial Hierarchy (Περὶ τῆς οὐρανίου ἱεραρχίας)
 * Ecclesiastical Hierarchy (Περὶ τῆς ἐκκλησιαστικῆς ἱεραρχίας)
 * Ten letters

Collected works

 * The Works of Dionysius the Areopagite, in 2 vols., translated by John Parker

title: Author:Pseudo-Dionysius the Areopagite


text: Sir Gawain and the Lady of Lys/Castle Orguellous


text: Sir Gawain and the Lady of Lys/Notes

title: Sir Gawain and the Lady of Lys/Notes


text: John Masefield/Rule Brittania

title: John Masefield/Rule Brittania


text:
Page:A Compendium of Irish Biography.djvu/97

CAR Pacata Hibernia, is eminently pleasing.

Carey, John, LL.D., an eminent classical scholar, was born in Ireland in 1756. He edited more than fifty volumes of the Regent's Classics, Ainsworth's Latin Dictionary, Schleusner's New Testament Lexicon, and the like; and was besides the author and translator of several valuable works. The Eclectic Review, referring to a work edited by him, say : "Dr. Carey's name is a guarantee for correct impression." He died in 1829.

 Carey, Matthew, brother of preceding, author and publisher, was born in Dublin, 28th January 1760. He was apprenticed to the printing business; and at eighteen he published a pamphlet on the wrongs endured by Irish Catholics. It was denounced as treasonable, and he was obliged to fly to Paris, where he was employed for a time by Franklin in his private printing office. Returning to Dublin, he commenced in 1783 The Volunteer's Journal, and again incurring the hostility of Government, he was imprisoned in Newgate. Disguised as a woman, he escaped on board an American vessel, and landed at Philadelphia in November 1784. Lafayette, with whom he had become acquainted in France, advanced him money, and in the January after his arrival he commenced the Pennsylvania Herald. His reports of the debates in the Assembly assured its success. About 1791 he entered on the business of bookselling, in which he was eminently successful. A strenuous advocate of protection, he issued fifty-nine works bearing upon that question, besides many other books and pamphlets on social and economic subjects. He advocated a system of internal improvements, by which Pennsylvania was much benefited. In 1819 appeared his able work, Vindidiciœ Hiberniœ, an examination and refutation of the charges against his countrymen with regard to the War of 1641-'52. He accumulated a large fortune; and "as a practical philanthropist, brave, munificent, and discreet, his adopted country is under lasting obligations to him. He was an untiring advocate of popular education, and a bold reformer of municipal abuses— labouring effectually to carry out the greatest good of the greatest number." The accidental overturning of his carriage hastened his death, 15th September 1839, aged 79. Allibone speaks of him as one to whom "the citizens of the United States will ever owe … a debt of gratitude for his invaluable labours as a citizen, a politician, and a philanthropist." Henry C. Carey, his son, born in Philadelphia, continued his father's fame as a writer and publisher. Allibone devotes nearly two pages to a review of his works.

 Carey, William Panlett, brother of preceding, was born in Ireland in 1768. He was a United Irishman. He subsequently removed to England, and "distinguished himself," says Allibone, "as an eloquent advocate of art, artists, and political reform, and as the author of many critical and poetical contributions to the periodicals of the day. Among those on whose behalf his pen was early enlisted may be mentioned Chantrey, Hogan, Gibson, and James Montgomery." He died in 1839.

 Carleton, Sir Guy, Lord Dorchester, was born at Strabane, 3rd September 1724. Entering the Guards at an early age, he became in 1748 Lieutenant-Colonel of the 72nd Foot; served in the German campaign of 1757; under Amherst at the siege of Louisburg in 1757; as Quartermaster-General, under Wolfe at Quebec, in 1759; and was wounded at the siege of Belleisle. Made a Colonel in 1762, he served in the Havannah expedition, and was wounded at the assault on the Moro Castle. In 1766 he was Lieutenant-Governor, and in 1774 Governor of Quebec. In October of next year he attempted to retake Ticonderoga and Crown Point from the Americans, and narrowly escaped being made prisoner. Reaching Quebec, he exerted himself successfully in putting it in a state of defence, and, 31st December 1775, repulsed the assault of the Americans, who lost their leader, his countryman. General Montgomery. Receiving reinforcements, he drove the Americans from the province, and on 13th October 1776, in a naval battle on Lake Champlain, he totally defeated the flotilla under Arnold. In 1778 he was made a Lieutenant-General, and in 1781 succeeded Sir Henry Clinton as Commander-in-chief in America, where he had the credit of doing all in his power to soften the acerbities of war. He returned to Great Britain in 1783, was created Baron Dorchester in 1786, and for the next ten years was; Governor of British North America. His administration was marked by mildness and justice. The latter part of his life was spent in England, where he died, l0th November 1808, aged 84.

 Carleton, William, an author, distinguished for his just delineation of the character of the Irish peasantry, was born on Shrove Tuesday, 1798, at Prillisk, near Clogher, County of Tyrone. He was the youngest of fourteen children. His father, a small farmer, was a man of considerable intelligence, endowed with a surprising 73


text: Talk:Webster v. Reproductive Health Services/Concurrence-dissent Stevens


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The Works of Dionysius the Areopagite/On Divine Names/Preface

PREFACE TO THE “DIVINE NAMES.”
The Treatise on “Divine Names” was written by Dionysius, at the request of Timothy, and at the instigation of Hierotheus, to express, in a form more easily understood, the more abstract Treatise of Hierotheus, who was his chief instructor after St. Paul. Its purpose is to explain the epithets in Holy Scripture applied alike to the whole Godhead—Father, Son, and Holy Ghost. It does not pretend to describe the unrevealed God, Who is beyond expression and conception, and can only be known through that union with God, “by which we know, even as we are known.” Holy Scripture is the sole authority, beyond which we must neither think nor speak of Almighty God. The Treatise, being written by one of the most learned Greeks, the phraseology is, naturally, that of Plato and Aristotle ; but Plato and Aristotle are not authorities here. When Plato treated his Hebrew instructor with such reverence, and was so versed in the Pentateuch, we need not be sensitive as to the admission of Plato’s authority. But, as a matter of fact, on the question of Exemplars and some other points, the opinions of Plato are expressly refuted. The phrase of Luther, “Platonising, rather than Christianising,” proves only a very meagre acquaintance with Dionysius. The Greek language is moulded in a marvellous manner to express the newly revealed Christian Faith in its most exalted form, in a style which Daillé confesses to be always of the same “colour;” and Pearson, “always like itself.” Jahn has followed Dionysius step by step in order to trace the connection between the language of Plato and Dionysius, for the purpose of exploding the puerile supposition that such complex writings as these could have been evolved from the elementary treatises of Proclus and Plotinus. Most probably, some of the lost writings of Dionysius are in part preserved in those writers and in Clement of Alexandria; but Dionysius is the Master, not Pupil! The works are very distinct and precise upon the Divinity of Christ, and the Hypostatic Union. Like St. Paul, Dionysius affirms that He, Who made all things, is God; and further that Jesus is God, by some startling phraseology. He speaks of James, “the Lord’s brother,” “brother of God” David, from whom was born Christ after the flesh, is called “father of God.” When speaking of the entombment of the Blessed Virgin, he speaks of her body as the “Life-springing” and “God-receptive body;” thus testifying that Jesus, born of a pure Virgin, is Life and God. He describes the miracles of Jesus as being, as it were, the new and God-incarnate energy of God become Man. The newly-coined words indicate an original thinker moulding the Greek language to a newly acquired faith. There are two words, “Agnosia” and “Divine Gloom,” which illustrate a principle running through these writings,—that the negative of abstraction denotes the superlative positive. “Divine Gloom” is the darkness from excessive light; “Agnosia” is neither ignorance nor knowledge intensified: but a supra-knowledge of Him, Who is above all things known. It is “the most Divine knowledge of Almighty God, within the union beyond mind, when the mind, having stood apart from all existing things, and then, having dismissed itself, has been united to the superluminous rays—thence and there, being illuminated by the unsearchable wisdom.” In the Mystic Theology, Dionysius exhorts Timothy thus,—“But, thou, O dear Timothy, leave behind both sensible perception, and intellectual efforts, and all objects of sense and intelligence; and all things being and not being, and be raised aloft as far as attainable, ἀγνώστως —unknowingly, -- to the union with Him above every essence and knowledge. For by the resistless and absolute ecstacy from thyself, in all purity, thou wilt be carried high to the superessential ray of the Divine darkness, when thou hast cast away all, and become liberated from all.” Thus, we must pass beyond all things known, and all things being, and lie passive under the illuminating ray of God, if we would attain the highest conception of Him, “Who passeth all understanding.” God “unknown” is still the Godd of Dionysius, and He is still to be worshipped unknowingly. There is a tradition that Dionysius erected the altar in Athens “to God unknown,” as author of the inexplicable darkness, which he observed in Egypt, and found afterwards from St. Paul to have been contemporaneous with the Crucifixion. Did St. Paul adapt his discourse at Athens to the conversion of Dionysius?

The only heresiarch, whom Dionysius mentions by name, is Elymas, the Sorcerer, Simon Magus, a man of great intellectual attainments and a considerable author. Flavius Clemens and Eugenius, Bishop of Toledo, were disciples of Simon before their conversion to Christ. The tenets of Elymas are described by Hippolytus. He formed an eclectic system from the Old Testament and the Christian Faith, and with Cerinthus and Carpocrates originated many heresies to which the apostolic epistles allude, and which in later times became prominent in the Church. In refuting these heresies, by manifestation of the truth, Dionysius anticipated many errors—ancient and modern.

Jerome informs us (Eccles. 46) that Pantaenus, one of the most celebrated Christian philosophers of Alexandria, was sent, A.D. 193, by Demetrius, Bishop of that city, to India, at the request of a delegation from India for that purpose. Pantaenus discovered, on his arrival, that St. Bartholomew (one of the twelve) had preached the coming of Jesus Christ, in that country. Pantaenus found a copy of the Hebrew Gospel of St. Matthew in India. Now, by the extract, contained in the Scholia of Maximus, from the Scholia of Dionysius of Alexandria (250) upon the Divine Names, and also by the extract from a letter of the same Dionysius, recently discovered in the British Museum (Nos. 12151-2), we know that the writings of Dionysius the Areopagite were known and treasured in Alexandria a few years after the death of Pantaenus. Can we reasonably doubt that Pantaenus took the writings of Dionysius, and the more abstract works of Hierotheus, to India? Have we not here an explanation of the remarkable similarity between the Hindu philosophy, as expressed by Sankara in the eighth, and Râmânuja in the thirteenth century, and the “Divine Names?” Sankara treats of the Supreme as “absolutely One;” Râmânuja as “non-dual, with qualification.” Both these truths are combined and expressed in Dionysius.

I cannot but believe that many of the beautiful expressions about Vishnu, the Redeemer, in the Râmâyana of Tulsidâs are Christian Truths under a Hindu dress. Many learned Hindus affirm that it is needless for them to become Christian, because they have a more exalted conception of the Supreme God than Christians themselves. I submit that the “Divine Names” will be instrumental in bringing India to the Christian Faith, in the best and only effectual way—by communities and not by individuals—through the most learned and devout, and not through the most ignorant.

Dionysius was first converted, and then, through him, those who naturally and properly followed his lead.

Lucius Flavius Dexter
Dexter was a friend of Jerome. Jerome even addresses him as “ filius amicus ,” and describes him as “ clarus apud saeculum et Christi fidei deditus .”

Dexter became Prefect of the Pretorian Oriental Guards, and was one of the most illustrious statesmen of his time. He resided two years in Toledo. From the archives of the Church of Toledo and other cities he compiled a chronicle from A.D. 1 to A.D. 430, giving a brief summary of the Church events in Spain. That chronicle he dedicated to Jerome, who, enrolled both Chronicle and Author amongst his “illustrious men.” It was at the request of Dexter that Jerome wrote his book on Ecclesiastical Writers. Among the earliest Bishops of Toledo, Dexter describes a remarkable man,—Marcellus,—surnamed Eugenius, on account of his noble birth. Bivarius says he was of the house and family of Caesar, being uncle to the Emperor Hadrian. Marcellus was consecrated Bishop by Dionysius the Areopagite at Aries, and sent to Toledo. Respecting him, Dexter records that Dionysius dedicated the books of the Divine Names to him, u.c. 851, A.D. 98. Dexter further records that Dionysius surnamed Marcellus, Timothy, on account of his excellent disposition. Polycrates, Bishop of Ephesus, relates that Timothy, Bishop of Ephesus, to whom the works of Dionysius were originally dedicated, was martyred during the reign of Nerva, A.D. 96-97. Upon the return of Dionysius to Gaul, after his visit to St. John, released from Patmos, we find him calling his friend Marcellus, Timothy, and presenting the books of the “Divine Names” to him, A.D. 98; in order that he might still have a Timothy on earth,— “ in vivis ”—although his first Timothy, “ migravit ad Christum ,” A.D. 97.

This touch of nature, preserved in a chronicle, written more than 1400 years ago, by an illustrious statesman, who was son of a Bishop celebrated for learning and sanctity, may fairly be deemed, by an unprejudiced mind, reasonable proof that the “Divine Names” were written previous to A.D. 9

N.B. As the result of some research I affirm that our Saviour’s last commission is the Key to Church history in the first century. As He commanded the Apostles to preach the Gospel throughout the world, so the Gospel was preached when St. Paul wrote his Epistle to the Colossians, Chap. I. v. 23 (τοῦ κηρυχθέντος ἐν πάσῃ κτίσει), and with such success amongst the most learned and noble, that, but for the cruel massacre of Flavius Clemens and his family for the Christian Faith, there would have been a Christian Emperor in the first century. As Jesus said, “Ye shall be witnesses of Me unto the uttermost parts of the earth” (Acts Chap. 1. v. 8), so the Apostles planted the Church of Christ in Gaul, Spain and Britain, with its threefold ministry; and by the end of the second century there was an organised Church throughout each of those territories.

Dr. Schneider informs me “that in Germany they now admit that the external proofs are in favour of genuineness of Dionysius, but they confine themselves to the internal proofs. They pretend that the doctrine is too clear and precise to have been written in the apostolic age.”

How could the chief Areopagite, the convert and companion of St. Paul, and the familiar friend of St. John, Theologus, have understood theology!!


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140 brother, a humpback, goes out with little money, but on his way procures burial for a man's corpse, which the widow has been unable to do because of lack of money to pay the priest. The next day a fox with a white tail meets him, and in return for a bit of cake leads him to the castle of a princess. There the prince resists the lady's advances, which he suspects are derisive, and is sent to her sister's castle, where he has the same experience. When he arrives at the castle of the third sister, he yields to her proposals, is given the remedy for his father and a magical sword, and is told how to go home. On the way he rescues his brothers from the scaffold by waving his sword, and is robbed and thrown into a well by them. Thence he is rescued by the fox, which comes at his call, and before it disappears explains that it is the ghost. Meanwhile, the older brothers have cured the king by the water of life in a phial; so when the hero comes home he is not believed. In a year and a day the princess arrives there according to her promise, and with a little son. At a feast she proclaims the truth, cuts her husband into bits, sprinkles the heap of fragments with the water of life, and marries the handsome youth who at once arises—the humpback transformed.

According to Simrock IX., finally, the three sons of a king seek the bird phoenix to cure their blind father. The two elder enter the castle of a beautiful maiden, and are lost; but the youngest resists the temptation, and takes lodging at an inn. There at night he is startled by a ghost, which tells him that it is the spirit of a man whom the host has buried in the cellar for non-payment of a score, and which implores his help. The youth arranges for payment of the debt and for proper burial, then goes his way. In the wood he meets a wolf, which instructs him how to find the bird phoenix in a cage in

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Rh the magical castle, and carries him thither. Because he fails to take the worse-looking bird according to instructions, he has to get a steed as swift as wind for the lord of the castle. Again he is disobedient when told to take the worst-looking horse only, and so has to get the most beautiful woman in the world for the lord of this castle. Again he is brought by the wolf to a castle, where he obediently chooses a black maiden instead of one who is apparently beautiful. With maiden, horse, and bird he turns home. The wolf in parting from him explains that it is the ghost of the dead man, and warns him not to buy gallows flesh. When he meets his brothers on their way to be hanged, however, he forgets this, and ransoms them. In return he is nearly murdered by them and left for dead, but is rescued and healed by the wolf, and so at last reaches his destination.

In none of these nine stories is the burial of the dead, one of the two most fundamental features of our leading motive, in any way obscured. They are thus less difficult to treat than was the preceding group, in spite of the added complications introduced by the advent of the helpful animal. This creature should naturally take the rôle of the ghost, appear as the embodiment of the dead man's soul indeed; and with but two exceptions it actually fulfils the part. In those two there has been, apparently, imperfect amalgamation, so that the helper is duplicated, and the motivation obscured. In Walewein, a literary version, consciously adapted to the requirements of a roman d'adventure, this need excite no wonder. The ghost does its part properly, and the fox is merely an additional agency in the service of the hero, acting out of pure kindness of heart as far as one can see. Lotharingian, not contented with duplicating the trait, triplicates it.

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142 The fox, as in the ordinary form of The Thankful Beasts, helps the hero because of a benefit received; the shepherd bestows magical gifts, as in a common type of The Water of Life, because of the hero's kindness; while the dead debtor remains inactive after the burial, and plays no further part in the narrative.

As for The Water of Life, there are fewer complications in this group than in that where the thankful beast does not appear. In all of the variants some of the fundamental traits of the theme remain intact. In all save Walewein and Brazilian (which is a degenerate form presumably carried across the sea by Spaniards or Portuguese) the three brothers set out from home in quite the normal way. Walewein again lacks the water of life, which Brazilian retains. All the other versions, save Tuscan, keep this water or replace it by some other restorative agency. Two variants only fail to make the older brothers act treacherously towards the hero, these being again Walewein and Brazilian. The former thus lacks three of the essentials of the theme, the latter two. Yet since Walewein makes the hero win his princess by going on from adventure to adventure quite in the normal manner, and since Brazilian makes him obtain both water of life and princess, though with loss of interesting details, we are surely justified in placing both in this category.

It is worth our while to note in this connection that all these nine variants come from southern Europe, directly or by derivation. Geographical proximity, though not sufficient in itself as a basis of classification, adds welcome confirmation to other proof in cases like this, where a small group of highly complicated tales is found to exist in neighbouring countries only. That

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Rh Walewein can be connected with this specialized subdivision has important bearings on the question whence the material for that romance was taken. In view of the limited territory which this form of the story has covered as a folk-tale in six hundred years, and the fact that France would be the centre of the region, it seems fair to assume that some thirteenth century French writer took a märchen of his own land as the basis for his work, thus elaborating with native material the adventures of a Celtic hero.

The question now arises as to what light the group just considered throws upon the variants which combine the simple theme of The Grateful Dead with The Water of Life or some such motive. It appeared, the reader will remember, that according to the elements foreign to the main motive they must be separated into four classes. Reference to these classes will show that the variants with The Thankful Beasts are in many respects different from any one of them as far as the features peculiar to The Water of Life, or kindred themes, are concerned. Yet because Maltese and the brief Venetian, though otherwise transformed, are the only tales aside from these that preserve the treachery of the hero's brothers^ it is safe to class them together. Both Maltese and Venetian come, it will be observed, from the same general region as all the other members of the group.

Since the elements left by subtracting The Grateful Dead from the variants of the four categories thus discovered are very diverse, we cannot postulate a parent form from which all four classes might have sprung. Indeed, the evidence thus far obtained all points to a separate combination of already developed themes with The Grateful Dead. The test of this will be found in

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144 an examination of those variants of those larger compounds, which have also traces of The Water of Life or some allied motive.

Turning first to such versions of the combination The Grateful Dead + The Poison Maiden, we find eleven on our list, all of which have already been summarized and discussed in connection with the simple compound. These are Esthonian II., Rumanian I., Irish I., Irish II., Irish III, Danish III, Norwegian II., Simrock X., Harz I., Jack the Giant-Killer, and Old Wives' Tale. Since we know definitely that Danish III. (the tale by Christian Andersen) was taken from Norwegian II, it may be left out of account. Ten variants thus remain to be studied with reference to the subsidiary elements.

In Esthonian II. the hero releases a princess, who goes with devils every night to church, by watching in the church for three nights with three, six, and twelve candles on successive nights. In Rumanian I. the hero wins a princess by explaining why she wears out twelve pairs of slippers every night; and he accomplishes this by the aid of his helper, who follows the lady in the form of a cat, and picks up the handkerchief, spoon, and ring which she drops in the house of the dragons. According to Irish I. the helper obtains for the hero horses of gold and silver, a sword of light, a cloak of darkness, and a pair of slippery shoes; he helps him keep over night a comb and a pair of scissors, in spite of enchantment, and finally gets the lips of the giant enchanter, so that the hero unspells and wins the lady of his quest. In Irish II. the hero is joined by a green man (the grateful dead), a gunner, a listener, a blower, and a strong man. By the aid of the first he gives his princess a pair of scissors, a comb, and the enchanter's head; by the aid of the others he obtains water from the well of the western world, and is enabled to walk over three miles of needles. Irish III.

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Rh has a helper who obtains for the hero a sword, a cloak of darkness, and swift shoes, rescues a pair of scissors, and obtains the enchanter's head, while the hero wins a race by the aid of the shoes. According to Norwegian II. the hero and helper get a sword, a ball of yarn, and a hat, while the latter follows the princess and rescues a pair of scissors and a ball, finally obtaining the troll's head. In Simrock X. the helper secures three rods, a sword, and a pair of wings, follows the princess, and learns how to answer her riddles, emphasizing his knowledge by getting the wizard's head. Harz I. has the helper give wings and a rod to the hero, who flies with the princess and learns to guess her riddles, cutting off the monster's head. In Jack the Giant-Killer Jack obtains gold, a coat and cap, a sword, and a pair of slippers for his master, follows the princess, and secures the handkerchief and the demon's head, which are requisite to the unspelling. Finally, according to Old Wives' Tale, the helper, while invisible, slays the conjuror, and so obtains the princess for his master.

It will at once be recognized that all of these variants are of one type as far as the traits just specified are concerned. The basal element is the hero's success in winning an enchanted princess either by accomplishing difiicult feats or answering riddles. The water of life, as such, appears in only one story, Irish II., and there not as the prime goal of the hero's quest, but merely as the object of a subsidiary labour. Clearly these tales not only form a group by themselves, but have in combination with The Grateful Dead and The Poison Maiden a theme which is not properly The Water of Life. This theme is as clearly The Lady and the Monster, which is closely allied to The Water of Life, but is essentially distinct. It has already been found compounded with the simple form of The Grateful Dead in the somewhat

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Dionysius the Areopagite, Works (1897)

Divine Names

Mystical Theology

Letters of Dionysius the Areopagite

Heavenly Hierarchy

Ecclesiastical Hierarchy

Source

ccel.org

title: Dionysius the Areopagite, Works (1897)


text: Appletons' Cyclopædia of American Biography/Strakosch, Maurice


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was uproar and confusion in the coaches through which Bob had to pass to reach the car where he knew Betty was. Distracted mothers with frightened, crying children charged up and down the aisles, excited men ran through, and the wildest guesses flew about. The concensus [sic] of opinion was that they had hit something!

"Oh, Bob!" Betty greeted him with evident relief when he at last reached her. "What has happened? Is any one hurt? Will another train come up behind us and run into us?"

This last was a cheerful topic broached by the fussy little man whose capacity for going ahead and meeting trouble was boundless.

"Of course not!" Bob's scorn was more reassuring than the gentlest answer. "As soon as a train stops they set signals to warn traffic. What a horrible racket every one is making! They're all screeching at once. Get your hat, Betty, and we'll go and find out something definite. I don't know any more than you do, but I can't stand this noise." Rh


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26 Betty was glad to get away from the babble of sound, and they went down the first set of steps and joined the procession that was picking its way over the ties toward the engine.

"Express due in three minutes," said a brake-man warningly, hurrying past them. "Stand well back from the tracks."

He went on, cautioning every one he passed, and a majority of the passengers swerved over to the wide cinder path on the other side of the second track. A few persisted in walking the ties.

"Here she comes! Look out!" Bob shouted, as a trail of smoke became visible far up the track.

He had insisted that Betty stand well away from the track, and now the few persistent ones who had remained on the cleared track scrambled madly to reach safety. A woman who walked with a cane, and who had overridden her young-woman attendant's advice that she stay in the coach until news of the accident, whatever it was, could be brought to her, was almost paralyzed with nervous fright. Bob went to her distressed attendant's aid, and between them they half-carried, half-dragged the stubborn old person from the shining rails.

"Toto!" she gasped.

Bob stared, but Betty's quick eye had seen.


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Rh There, in the middle of the track, sat a fluffy little dog, its eyes so thickly screened with hair that it is doubtful if it could see three inches before its shining black nose. This was Toto, and the rush of events had completely bewildered him. The dog was accustomed to being held on its mistress' lap or carried about in a covered basket, but she had decided that a short walk would give the little beast needed exercise, and it had pantingly tagged along after her, obedient, as usual, to her whims. Now she had suddenly disappeared. Well, Toto must sit down and wait for her to come back. Perhaps she might miss him and come after him right away.

The thundering noise of the train was clearly audible when Betty swooped down on the patient Toto, grabbed him by his fluffy neck, and sprang back. Bob, turning from his charge, had caught a glimpse of the girl as she dashed toward something on the track, and now as she jumped he grasped her arm and pulled her toward him. He succeeded in dragging her back several rods, but they both stumbled and fell. There was a yelp of protest from Toto, drowned in the mighty shriek and roar of the train. The great Eastern Limited swept past them, rocking the ground, sending out a cloud of black smoke shot with sparks, and letting fall a rain of gritty cinders.

"Don't you ever let me catch you doing


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  Forbidding the Hoarding of Gold Coin, Gold Bullion and Gold Certificates

By virtue of the authority vested in me by Section 5(b) of the Act of October 6, 1917 , as amended by  Section 2 of the Act of March 9, 1933  , entitled “An Act to provide relief in the existing national emergency in banking, and for other purposes”, in which amendatory Act Congress declared that a serious emergency exists, I, Franklin D. Roosevelt, President of the United States of America, do declare that said national emergency still continues to exist and pursuant to said section do hereby prohibit the hoarding of gold coin, gold bullion, and gold certificates within the continental United States by individuals, partnerships, associations and corporations and hereby prescribe the following regulations for carrying out the purposes of this order:

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28 like that again!" scolded Bob, getting to his feet and helping Betty up. "0f all the foolish acts! Why, you would have been struck if you'd made a misstep. What possessed you, Betty?"

"Toto," answered Betty, dimpling, brushing the dirt from her skirts and daintily shaking out the fluffy dog. "See what a darling he is, Bob. Do you suppose I could let a train run over him?"

Bob admitted, grudgingly, for he was still nervous and shaken, that Toto was a "cute mutt," and then, when they had restored him to his grateful mistress, they went on to their goal. No one had noticed Betty's narrow escape, for all had been concerned with their own safety. Betty herself was inclined to minimize the danger, but Bob knew that she might easily have been drawn under the wheels by the suction, if not actually overtaken on the track.

There was a crowd about the engine, and the grimy-faced engineer leaned from his cab, inspecting them impassively. His general attitude was one of boredom, tinged with disgust.

"Guess they've all been telling him what to do," whispered Bob, who, while only a lad, had a trick of correctly estimating situations.

Pressing their way close in, he and Betty were at last able to see what had stopped the train.


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Rh The high wind, which was still blowing with undiminished force, had blown down a huge tree. It lay directly across the track, and barely missed the east-bound rails.

"Another foot, and she'd have tied up traffic both ways," said the brakeman who had warned the passengers of the approach of the express. "What you going to do, Jim?"

The engineer sighed heavily.

"Got to wait till it's sawed in pieces small enough for a gang to handle," he answered. "We've sent to Tippewa for a cross-cut saw. Take us from now till the first o' the month to saw that trunk with the emergency saws."

"Where's Tippewa?" called out an inquisitive passenger. "Any souvenirs there?"

"Sure. Indian baskets and that kind of truck," volunteered the young brakeman affably, as the engineer did not deign to answer. "'Bout a mile, maybe a mile and a half, straight up the track. We don't stop there. You'll have plenty of time, won't he, Jim?"

"We'll be here a matter of three hours or more," admitted the engineer.

"Let's walk to the town, Betty," suggested Bob. "We don't want to hang around here for three hours. All this country looks alike."

Apparently half the passengers had decided that a trip to the town promised a break in the


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30 monotony of a long train trip, and the track resembled the main street of Pineville on a holiday. Every one walked on the track occupied by the stalled train, and so felt secure.

"Bob," whispered Betty presently, "look. Aren't those the two men you followed this morning? Just ahead of us—see the gray suits? And did you hear anything to report?"

"Why, I haven't told you, have I?" said Bob contritely. "The train stopping put it out of my mind. What do you think, Betty, they were talking about the Saunders place! Can you imagine that?"

"The Saunders place?" echoed Betty, stopping short. "Why, Bob, do you suppose—do you think—"

"Sure! It must be the farm my aunts live on," nodded Bob. "Saunders isn't such a common name, you know. Besides, the one they call Dan Carson—he isn't with them, guess he is too fat to enjoy walking—said it was owned by a couple of old maids. Oh, it is the right place, I'm sure of it. And I count on your Uncle Dick's knowing where it is, since they spoke of the farm being in the heart of the oil section."

"Where do you suppose they're going now?" speculated Betty.

"Oh, I judge they want to see the sights, same as we do," replied Bob carelessly. "Perhaps


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Rh they count on fleecing some confiding Tippewa citizen out of his hard-earned wealth. They can't do much in three hours, though, and I think they're booked to go right on through to Oklahoma. Of course I don't know how crooks work their schemes, but it seems to me if you want to make money, honestly or dishonestly, in oil, you go where oil is."

Betty Gordon was not given to long speeches, but when she did speak it was usually to the point.

"I don't think they're going back to the train," she announced quietly. "They're carrying their suitcases."

"Well, what do you know about that!" Bob addressed a telegraph pole. "Here I am making wild guesses, and she takes one look at the men themselves and tells their plans. Do I need glasses? I begin to think I do."

"I don't guess their plans," protested Betty. "Anyway, perhaps they were afraid to leave their bags in the car."

"No, it looks very much to me as though they had said farewell to the Western Limited," said Bob. "They wouldn't carry those heavy cases a mile unless they meant to leave for good. Let's keep an eye on them, because if they are going to 'work' the Saunders place, I'd like to see how they intend to go about it."

For some time the boy and girl tramped in