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254 Then he let himself go, with unmasked bitterness. "It's no sense at all. It's jest damn foolishness. Who's going to work and care in a muddle like this? Here first you do—something anyhow—of the world's work, and it pays you hardly anything, and then it invites you to do nothing, nothing whatever, and pays you twelve hundred pounds a year. Who's going to respect laws and customs when they come to damn silliness like that?" He repeated, "Twelve hundred pounds a year!"

At the sight of Kipps' face he relented slightly.

"It's not you I'm thinking of, o' man; it's the system. Better you than most people. Still"

He laid both hands on the gate and repeated to himself, "Twelve 'undred a year.… Gee-Whizz, Kipps! You'll be a swell!"

"I shan't," said Kipps with imperfect conviction. "No fear."

"You can't 'ave money like that and not swell out. You'll soon be too big to speak to—'ow do they put it?—a mere mechanic like me."

"No fear, Siddee," said Kipps with conviction. "I ain't that sort."

"Ah!" said Sid, with a sort of unwilling scepticism, "money'll be too much for you. Besides—you're caught by a swell already."

"'Ow d'you mean?"

"That girl you're going to marry. Masterman says"

"Oo's Masterman?"

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Rh of the striking features of the Baltimore clippers of that period; namely, great dead-rise at her midship section, long, easy convex water-lines, low freeboard, and raking stem, stern-post and masts, and was really an enlarged clipper schooner rigged as a ship.

The Ann McKim was a remarkably handsome vessel, built as the pet ship of her owner without much regard to cost. Her frames were of live oak, she was copper-fastened throughout and her bottom was sheathed with red copper imported for this purpose. The flush deck was fitted with Spanish mahogany hatch combings, rails, companions, and skylights. She mounted twelve brass guns, and was equipped with brass capstan heads, bells, etc., and carried three skysail yards and royal studdingsails. She proved to be very fast, though of small carrying capacity, and the latter quality together with her elaborate and expensive fittings caused the older merchants to regard her unfavorably; so that for some years they still adhered to their fullbodied ships. The Ann McKim sailed in the China trade for a number of years, and upon the death of Mr. McKim in 1837, she was purchased by Howland & Aspinwall, of New York, and was commanded by Captain Perry. Eventually she was sold at Valparaiso in 1847, and ended her days under the Chilian flag.

Although the Ann McKim was the first clipper ship ever constructed, it cannot be said that she founded the clipper ship era, or even that she directly influenced ship-builders, since no other ship was built like her; but she may have suggested the

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V have helped us in the least; so we shut our mouths and killed the signalman next morning. His own chief, the hawk-nosed Yeoman of Signals, flung him bound to the executioner, saying: 'He ought to have known, sir; he ought to have known.' So he was boiled, scraped, and sand-papered, his hair was cut and his number was taken; after which he went forward and heard precisely what the lower deck thought of him. Then a visiting Captain's galley hanging on to the gangway rubbed it in gracefully and casually, and a fat beef-boat condoled with us ironically, and the whaler (see Note V.) heard all about it next time she went sailing without an officer in the stern-sheets. It was most annoying, but can't you see how easily this sort of accident may happen?

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  pratique des differentes parties de l'Angleterre,' translated from the English, 5 vols. Paris, 1803, and reissued under the title of 'La Maison rustique anglaise.' In the 'Rural Economy of the Midland Counties' Marshall proposed the establishment of a 'Board of Agriculture, or more generally of Rural Affairs,' and his proposal was carried into effect by parliament in 1793. Afterwards his plan of provisional surveys was adopted by the board, and he was urged to take a part in it, but he preferred continuing his own 'General Survey, which was completed in 12 vols. 1798, 8vo. He had previously published a 'General View of the Agriculture of the Central Highlands of Scotland,' 1794; 'A Review of the Landscape, a didactic poem,' 1795; and 'Planting and Rural Ornament,' 2 vols. 1796 (3rd edit, 1803). These were followed by a work 'On the Appropriation and Inclosure of Commonable and Intermixed Lands: with the heads of a Bill for that purpose: together with remarks on the outline of a Bill by a Committee of the House of Lords for the same purpose,' London, 1801, 8vo: and another 'On the Landed Property of England, an elementary and practical Treatise: containing the Purchase, the Improvement, and the Management of Landed Estates,' London, 1804, 4to. An abstract of the latter work appeared in 1806.

In 1808 Marshall retired to his native vale of Cleveland, Yorkshire, where he purchased a large estate. The latter years of his life were devoted to the composition of 'A Review and Complete Abstract of the Reports to the Board of Agriculture on the several Counties of England,' afterwards published in a collected form, 5 vols. Lomdon, 1817, 8vo. In 1799 he had published 'Proposals for a Rural Institute,. or College of Agriculture, and the other Branches of Rural Economy.' He was raising a building at Pickering for the purpose when he died (18 Sept. 1818). His monument in Pickering Church states that 'he was indefatigable in the study of rural economy,' and that 'he was an excellent mechanic, and had a considerable knowledge of most branches of science, particularly of philology, botany, and chemistry.'

Marshall was the first to form a collection of words peculiar to the Yorkshire dialect. The vocabulary appended to the 'Economy of Yorkshire' contains about eleven hundred words (, Hist. of Whitby, p. 241). Donaldson says that Marshall's agricultural writings are very valuable, and that as 'a rational observer and practical compiler he was decidedly superior' to Arthur Young (Agricultural Biography, p. 64).

 MARSHALL, WILLIAM (1748–1833), violinist and composer, was born at Fochabers, Morayshire, on 27 Dec. 1748. For several years he occupied the position of house-steward and butler to the Duke of Richmond and Gordon, who in 1790 appointed him factor on his estate. From that year till 1817 Marshall lived on a farm of his own at Keithmore. He died at Newfield on 29 May 1833.

He published ‘Marshall's Scottish Airs, Melodies, Strathspeys, Reels, &c., for Pianoforte, Violin, and Violoncello,’ Edinburgh, 1821, second edition 1822; and a collection of strathspeys and reels, with a bass for violoncello or harpsichord. A second collection of Scottish melodies, reels, and strathspeys for pianoforte, violin, and violoncello was published posthumously in 1847. Several of his songs, of which ‘Of a' the airts the wind can blaw’ was the most popular, were Scottish dance tunes adapted to poetry. He is said to have ‘played his airs to the delight of all who ever heard him.’

 MARSHALL, WILLIAM (1806–1875), organist and musical composer, son of William Marshall, a musicseller of Oxford, was born in that city in 1800. He gained his musical education as chorister of the Chapel Royal under John Stafford Smith and William Hawes. In 1825 he was appointed organist to Christ Church and St. John's College, Oxford, and also for some time officiated as organist at the church of All Saints. He took the degree of Mus. Bac. on 7 Dec. 1820, and that of Mus. Doc. on 14 Jan. 1840.

At the instance of his friend, Dr. Claughton, then professor of poetry at Oxford, and for a long .period vicar of the parish church of Kidderminster, Marshall was induced in 1846 to resign his Oxford post in favour of that of organist and choir-master to St. Mary's, Kidderminster. In that town, which became his headquarters for the rest of his life, he devoted his spare time to giving instruction in music. He is spoken of as a fine organist, and as being specially admirable as a teacher and conductor. On various occasions he con-


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CH. IV "Rare good chap I know—takes my first floor front room. Masterson says it's always the wife pitches the key. Always. There's no social differences—till women come in."

"Ah!" said Kipps profoundly. "You don't know."

Sid shook his head. "Fancy!" he reflected, "Art Kipps! … Twelve 'Undred a Year!"

Kipps tried to bridge that opening gulf. "Remember the Hurons, Sid?"

"Rather," said Sid.

"Remember that wreck?"

"I can smell it now—sort of sour smell."

Kipps was silent for a moment with reminiscent eyes on Sid's still troubled face.

"I say, Sid, 'ow's Ann?"

"She's all right," said Sid.

"Where is she now?"

"In a place … Ashford."

"Oh!"

Sid's face had become a shade sulkier than before.

"The fact is," he said, "we don't get on very well together. I don't hold with service. We're common people, I suppose, but I don't like it. I don't see why a sister of mine should wait at other people's tables. No. Not even if they got Twelve 'Undred a Year."

Kipps tried to change the point of application. "Remember 'ow you came out once when we were racing here? … She didn't run bad for a girl."

And his own words raised an image brighter than

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256 he could have supposed, so bright it seemed to breathe before him and did not fade altogether, even when he was back in Folkestone an hour or so later.

But Sid was not to be deflected from that other rankling theme by any reminiscences of Ann.

"I wonder what you will do with all that money," he speculated. "I wonder if you will do any good at all. I wonder what you could do. You should hear Masterman. He'd tell you things. Suppose it came to me, what should I do? It's no good giving it back to the state as things are. Start an Owenite profit-sharing factory perhaps. Or a new Socialist paper. We want a new Socialist paper."

He tried to drown his personal chagrin in elaborate exemplary suggestions.…

"I must be gettin' on to my motor," said Kipps at last, having to a large extent heard him out.

"What! Got a motor?"

"No!" said Kipps apologetically. "Only jobbed for the day."

"'Ow much?"

"Five pounds."

"Keep five families for a week! Good Lord!" That seemed to crown Sid's disgust.

Yet drawn by a sort of fascination he came with Kipps and assisted at the mounting of the motor. He

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  the rehearsals of the Philharmonic Society in London with great success. His musical activity lasted throughout his life, for he was professionally engaged in Liverpool within a month of his death, which took place at Handsworth, Birmingham, on 24 Aug. 1875.

His published compositions were: 'Three' Canzonets,' London, 1825, and 'Cathedral Services,' Oxford, 1847. A manuscript of his music is preserved in the Music School at Oxford. He was the author of 'The Art of Heading Church Music,' Oxford, 1842. He edited in 1829, in collaboration with Alfred Bennett, 'A Collection of Cathedral Chants,' and published at Oxford in 1840 'A Collection of Anthems used in the Cathedral and Collegiate Churches of England and Wales,' to which an appendix was added in 1851; it reached a fourth edition in 1862.

His younger brother, (1808–1876), born in 1808, achieved some success on the London stage as a tenor singer about 1835, under the assumed name of Manvers. In 1842 he turned his attention to concert and oratorio singing, in which he met with greater approbation. Some six or eight years afterwards he withdrew from public life, and died at Islington on 22 Feb. 876.

MARSHALL, WILLIAM, D.D. (1807–1880), Scottish divine, born in the hamlet of Meadowmore, Perthshire, early in 1807, of poor parents, was educated at a small village school at Tulliebelton, and afterwards at one of the minor schools in Perth. At the age of thirteen he matriculated at Glasgow University, where he spent two years, completing his arts course at Edinburgh in 1824. Like many other distinguished Scottish scholars, he supported himself at college by teaching during the recess, both at his original school at Tulliebelton, and at a similar establishment at Cottartown of Moneydie in Perthshire. On finishing his college studies he entered the Divinity Hall in connection with the united secession church in 1824, and studied under Professor [q. v.] of Greyfriars, Glasgow, one of the leaders of theology among the Scottish dissenters. In 1829 he was licensed as a preacher of the united secession church, and in the following year was called to the charge of the congregation in that communion at Coupar-Angus, Perthshire, to which office he was ordained on 28 Dec. 1830. In 'the ten years' conflict' Marshall's combative nature, powerful pen, and robust style of oratory gave him a leading position as a champion of 'the voluntary principle,' In 1833 he edited a monthly magazine called ' The Dissenter,' which had a brief existence, and became secretary of the Voluntary Church Association. He contended, with the secession church, that the church should be supported by voluntary contributions, and should be entirely free from state control. In this respect he differed both from the established church of Scotland and from those who ultimately formed the free church. The leaders of the secession church also took an active part in political affairs, and Marshall and Dr. [q. v.] roused public opinion in favour of the repeal of the corn laws and the emancipation of British slaves. So outspoken was Marshall in support of the former question that in 1842 the 'Times' called attention to one of his speeches, and insisted that the lord advocate (Rae) should prosecute him for sedition.

In 1847 Marshall was energetic in bringing about the union of the relief and secession churches, whose junction formed the united presbyterian church. The semi- jubilee of his ordination Was celebrated in 1855. Ten years later he was chosen moderator of the united presbyterian synod, the highest dignity that his co-religionists could confer upon him. In June 1865 the degree of D.D. was conferred upon Marshall by the university of New York, and in the following month the same honour was awarded him by the university of Hamilton, Canada. On 20 Oct. 1872 he was presented with 1,500l., contributed by members of his own and other denominations. Severe illness prostrated him during this year, and in 1873 he consented to the appointment of a colleague, devoting his leisure to literary pursuits. He continued in the pastorate of the united presbyterian church at Coupar-Angus, his first charge, till his death, which took place suddenly on 22 Aug. 1880.

Marshall's historic works preserve his fame, but his brilliance as a controversialist constitutes his main title to remembrance. His publications were:
 * 1) 'The Dissenter,' twelve monthly numbers, January-December 1833, published in Perth.
 * 2) 'The Old Testament Argument for Ecclesiastical Establishments considered,' Perth, 1834.
 * 3) 'The Principles of the Westminster Standards Persecuting,' Edinburgh, 1873.
 * 4) 'Men of Mark in British Church History,' 1875, Edinburgh.
 * 5) 'Historic Scenes in Forfarshire,' 1875, Edinburgh.
 * 6) 'The Story of Cranmer, Archbishop of Canterbury,' 1876, Edinburgh.
 * 7) 'Historic Scenes in Perthshire,' 1880, Edinburgh. Articles on 'Historic Scenes in Fifeshire' were in


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 62 clipper design in vessels of ship rig, and owing to the fact that she fell into the hands of Howland & Aspinwall, she without doubt hastened the opening of that era, as the first really extreme clipper ship, the Rainbow, was owned by that firm.

It is difficult at this distance of time to determine exactly what influence the Ann McKim exercised upon the science of ship-building, though from the fact that no ship had ever been built like her, it is probable that she was an object of considerable interest in the maritime world, and it is certain that during the years following her appearance a more determined effort was made in the United States to improve the model and sailing qualities of ships. Among the most notable of these attempts were the Courier, already mentioned, built by Donald McKay in 1842, and the Akbar, a ship of six hundred and fifty tons, built by Samuel Hall at East Boston in 1839, for John M. Forbes, and others, who employed her in the China trade. On her first voyage the Akbar made the passage from New York to Canton in one hundred and nine days, beating up the China Sea against the northeast monsoon. On this voyage she was commanded by Captain James Watkins, in after years commodore of the Pacific Mail Steamship Co. Later she was commanded by Captain Philip Dumaresq, who made a number of rapid passages in her to and from China. Then came the Helena, of 650 tons, built by William H. Webb in 1841. This ship was owned by N. L. and G. Griswold, and also sailed in the China trade under the command of Captain Benjamin, who made some fine passages. The Paul

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CH. IV was pleased to note it was not the most modern of motors, but that was the only grain of comfort. Kipps mounted at once, after one violent agitation of the little shop-door to set the bell a-jingle and warn his Uncle and Aunt. Sid assisted with the great furlined overcoat and examined the spectacles.

"Good-bye, o' chap!" said Kipps.

"Good-bye, o' chap!" said Sid.

The old people came out to say good-bye.

Old Kipps was radiant with triumph, "'Pon my Sammy, Artie! I'm a goo' mind to come with you," he shouted, and then, "I got something you might take with you!"

He dodged back into the shop and returned with the perforated engraving after Morland.

"You stick to this, my boy," he said. "You get it repaired by someone who knows. It's the most vallyble thing I got you so far, you take my word."

"Warrup!" said the motor, and tuff, tuff, tuff, and backed and snorted while old Kipps danced about on the pavement as if foreseeing complex catastrophes, and told the driver, "That's all right."

He waved his stout stick to his receding nephew. Then he turned to Sid. "Now, if you could make something like that, young Pornick, you might blow a bit!"

"I'll make a doocid sight better than that before I done," said Sid, hands deep in his pockets.

"Not you," said old Kipps.

The motor set up a prolonged sobbing moan and

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258 vanished around the corner. Sid stood motionless for a space, unheeding some further remark from old Kipps. The young mechanic had just discovered that to have manufactured seventeen bicycles, including orders in hand, is not so big a thing as he had supposed, and such discoveries try one's manhood.…

"Oh well!" said Sid at last, and turned his face towards his mother's cottage.

She had got a hot teacake for him, and she was a little hurt that he was dark and preoccupied as he consumed it. He had always been such a boy for teacake, and then when one went out specially and got him one!

He did not tell her—he did not tell anyone—he had seen young Kipps. He did not want to talk about Kipps for a bit to anyone at all.

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 along he would hook his chin on the railing and pull a long face and read along down till he came to that, and then he would chuckle to himself and walk off, looking satisfied and comfortable. So I scratched it off to get rid of those fools. But a dead man always takes a deal of pride in his monument. Yonder goes half-a-dozen of the Jarvises, now, with the family monument along. And Smithers and some hired spectres went by with his a while ago. Hello, Higgins, good-bye, old friend! That's Meredith Higgins—died in '44—belongs to our set in the cemetery—fine old family—great-grandmother was an Injun—I am on the most familiar terms with him—he didn't hear me was the reason he didn't answer meme. [sic] And I am sorry, too, because I would have liked to introduce you. You would admire him. He is the most disjointed, sway-backed, and generally distorted old skeleton you ever saw, but he is full of fun. When he laughs it sounds like rasping two stones together, and he always starts it off with a cheery screech like raking a nail across a window-pane. Hey, Jones! That is old Columbus Jones—shroud cost four hundred dollars—entire trousseau, including monument, twenty-seven hundred. That was in the Spring of '26. It was enormous style for those days. Dead people came all the way from the Alleghanies to see his things—the party that occupied the grave next to mine remembers it well. Now do you see that individual going along with a piece of a head-board under his arm, one leg-bone below his knee gone, and not a thing in the world on? That is

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 :: course of publication in the 'Dundee Weekly News' at the time of Marshall's death. Marshall wrote the 'Memoir of Dr. Young of Perth' (his father-in-law), prefixed to a volume of Young's sermons (1858).

MARSHAM, JOHN (1602–1685), writer on chronology, born on 23 Aug. 1602, was second son of Thomas Marsham, alderman of London, by Magdalen, daughter of Richard Springham, merchant, of London. After attending Westminster School he matriculated at St. John's College, Oxford, on 22 Oct. 1619, and graduated B. A. on 17 Feb. 1622-3, M.A. on 5 July 1625 (, Alumni Oxon. 1500-1714, iii. 975). He spent the winter of 1625 in Paris. In 1626 and 1627 he travelled in France, Italy, and Germany, and then returned to London, where he became a member of the Middle Temple (1627). In 1629 he went through Holland and Gelderland to the siege of Bois-le-Duc, and thence by Flushing to Boulogne and Paris in the retinue of Sir [q. v.], ambassador extraordinary at the court of Louis XIII. Marsham was made one of the six clerks in chancery on 15 Feb. 1037-8 (, Catalogue, p. 109). Upon the breaking out of the civil war he followed the king to Oxford, and was consequently deprived of his place by the parliament. After the surrender of Oxford he returned to London (1646), and having compounded for his real estate for 356l. 6s. 2d. he lived in studious retirement at his seat of Whom Place, in the parish of Cuxton, Kent. In 1660 he was returned M.P. for Rochester, was restored to his place in chancery, and was knighted. On 12 Aug. 1603 he was created a baronet. He was allowed to hand over his clerkship to his son Robert on 20 Oct. 1680 (ib. p. 111). Marsham died at Bushey Hall, Hertfordshire, on 25 May 1685, and was buried in Cuxton Church. By Elizabeth (1612-1689), daughter of Sir William Hammond of St. Albans in Nonington, Kent, he had two sons, John and Robert, and a daughter Elizabeth.

The eldest son, John, who inherited his father's valuable library, commenced a history of England, but did not publish any part of it, and compiled an historical list of all the boroughs in England. His only son, John, the third baronet, died unmarried in 1696. Robert, the younger son of the first baronet, had, by the gift of his father, a cabinet of Greek medals, and was also learned and studious. In July 1681, being then seated at Bushey Hall, Hertfordshire, he was knighted. He served in three parliaments for Maidstone in the reigns of William and Anne. Upon the death of his nephew John in 1696 he became fourth baronet, and dying in 1703 was succeeded by his son Robert (d. 1724), who was created, on 25 June 1716, Lord Romney in Kent. Marsham had a great reputation in his day for his extensive knowledge of history, chronology, and languages. According to Wotton, Marsham was the first who made the Egyptian antiquities intelligible. Hallam also commends his work. He wrote 'Diatriba Chronological 4to, London, 1649, a dissertation in which he examines succinctly the principal difficulties that occur in the chronology of the Old Testament. Most of it was afterwards inserted in his more elaborate 'Chronicus Canon Ægypticus, Ebraicus, Gnecus, et disquisitiones,' fol. London, 1672, a beautifully printed book (other editions, 4to, Leipzig, 1676, and 4to, Franeker, 1699, but both inaccurate). He wrote also the preface to the first volume of Dodsworth and Dugdale's 'Monasticon Anglicanum' (1655), which is entitled 'Προπύλαιον Johannis Marshami;' and left unfinished 'Canonis Chronici liber quint us: sive Imperium Persicum,' 'De Provinciis et Legionibus Romanis,' 'De re nummaria,' and other treatises.

His portrait by R. White is prefixed to his 'Chronicus Canon.' An original painting of him is in the possession of the Earl of Romney, but the artist is unknown.

MARSHAM, THOMAS (d. 1819), entomologist, became a fellow of the Linnean Society in March 1788, and was elected secretary the same year. He continued to hold this office till 1798, when he was elected treasurer, which post he resigned in May 1816. He died on 26 Nov. 1819. Marshman began a work upon British insects, under the title of 'Entomologica Britannica.' Of this, however, only vol. i. 'Coleoptera Britannica,' 8vo, London, 1802, appeared. Nine papers on various entomological subjects were read by him before the Linnean Society, and published in their 'Transactions,'

 MARSHE, GEORGE (1515-1555), protestant martyr. [See ]


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 MARSHMAN, JOHN CLARK (1794–1877), author of the 'History of India,' eldest son of [q. v.] the missionary, was born in August 1794. He accompanied his father to Serampur in 1800, and from 1812 directed his father's religious undertakings. For twenty years he held the position of a secular bishop, providing for a great body of missionaries, catechists, and native Christians, collecting for them large sums of money, while living, like his colleagues, on 200l. a year. He at last surrendered the mission into the hands of the baptists, and thenceforth betook himself to secular work. He started a paper-mill, the only one in India; founded with his father the first paper in Bengali, the 'Suinachar Durpun,' on 31 May 1818; established, also with his father, the first English weekly, the 'Friend of India' (since published at Calcutta) in 1821; published a series of law books, one of which, the ' Guide to the Civil Law,' was for years the civil code of India, and was probably the most profitable law book ever published. He also started a Christian colony on a tract of land purchased in the Sunderbunds. All his undertakings except the last succeeded, and the profits were largely devoted to promoting education, which he regarded as the needful forerunner of Christianity. He had the sympathy of the king of Denmark, to whom Serampur then belonged, and the king's influence prevented the suppression of his newspaper, which offended the local officials by its plain speaking. He expended 30,000l. on the Serampur College for the education of natives, a college still working with great success. Unwillingly he accepted the place of official Bengali translator to the government, and henceforth was abused daily in the native newspapers as 'the hireling of the government.' The salary, 1,000l. a year, he paid away in furthering the cause of education. He resigned his post and returned to England in 1852.

Marshman was an earnest student of Indian history. From his pen came the first, and for years the only, history of Bengal, and he was long engaged on the ‘History of India,’ which he finished and published after his return to England. His reading was very wide, and he was a distinguished oriental scholar. He studied Chinese, knew all the great Sanscrit poems, and gave much attention to Persian. In England, however, he was not recognised. He was refused a seat in the Indian council, and though his services to education were, at the instigation of Lord Lawrence, tardily recognised by the grant of the Star of India in 1868, he had to seek occupation as chairman of the committee of audit of the East India railway. He made three unsuccessful attempts to obtain a seat in parliament, for Ipswich in 1857, Harwich in 1859, and Marylebone in 1861. He died at Redcliffe Square North, Kensington, London, 8 July 1877.

Marshman wrote:
 * 1) ‘Reply of J. C. Marshman to the Attack of J. S. Buckingham on the Serampore Missionaries,’ 1826.
 * 2) ‘A Dictionary of the Bengalee Language, abridged from Dr. William Carey's “Dictionary,”’ by J. C. Marshman, vol. i., Bengalee and English; vol. ii., English and Bengalee, by J. C. Marshman, 1827–8; 3rd edit. 1864–7.
 * 3) ‘Guide Book for Moonsiffs, Sudder Ameens, and Principal Sudder Ameens, containing all the Rules necessary for the conduct of Suits in their Courts,’ 1832.
 * 4) ‘Guide to Revenue Regulations of the Presidencies of Bengal and Agra,’ 1835, 2 vols.
 * 5) ‘The History of India from Remote Antiquity to the Accession of the Mogul Dynasty,’ 1842; 5th edit. 1860.
 * 6) ‘Marshman's Guide to the Civil Law of the Presidency of Fort William,’ translated into Urdu by J. J. Moore, 1845–6, 2 vols.; 2nd edit. 1848.
 * 7) ‘Outline of the History of Bengal;’ 5th edit. 1844.
 * 8) ‘History of Bengal from the Accession of Suraj-ad-dowla to the Administration of Lord W. Bentinck inclusive,’ translated into Bengali, 1848.
 * 9) ‘The Darogah's Manual, comprising also the Duties of Landholders in connection with the Police,’ 1850.
 * 10) ‘How Wars arise in India; Observations on Mr. Cobden's Pamphlet entitled “The Origin of the Burmese War,”’ 1853.
 * 11) ‘Letter to J. Bright, Esq., M.P., relative to the Debates on the India Question,’ 1853; 2nd edit. 1853.
 * 12) ‘The Life and Times of Carey, Marshman, and Ward, embracing the History of the Serampore Mission,’ 1859, 2 vols.
 * 13) ‘Memoirs of Major-General Sir H. Havelock,’ 1860; 3rd edit. 1867.
 * 14) ‘The History of India from the Earliest Period to the close of the Eighteenth Century,’ 1863, pt. i. only.
 * 15) ‘The History of India from the Earliest Period to the Close of Lord Dalhousie's Administration,’ 1863–7, 3 vols.; 2nd edit. 1867; an abridgment appeared in 1876 (2nd edit. 1880; 3rd edit., bringing the work to 1891, ‘by a relative,’ 1893).

MARSHMAN, JOSHUA (1768–1837), orientalist and missionary, son of John Marshman, a weaver, said to be descended


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Rh Jones, of 620 tons, built by Waterman & Elwell at Medford in 1842, was owned by John M. Forbes and Russell & Co., of China. She was commanded by Captain N. B. Palmer and on her first voyage in 1843 she sailed from Boston for Hong-kong, January 15th, crossed the equator 26 days out, was 54 days to the Cape of Good Hope, 88 days to Java Head, and arrived at Hong-kong 111 days from Boston. In 1848, this ship made the run from Java Head to New York in 76 days.

In 1844, A. A. Low & Brother, of New York, contracted with Brown & Bell to build the Houqua, of 706 tons, constructed for Captain N. B. Palmer. She made a number of very fast passages. On her first voyage she made the passage from New York to Java Head in 72 days, thence to Hong-kong in 12 days, total 84 days. Her best records from China were as follows: From Hong-kong, December 9, 1844, passed Java Head 15 days out, was 70 days to the Equator in the Atlantic, thence 20 days to New York, total 90 days—distance by log, 14,272 miles. December 9, 1845, sailed from Hong-kong, passed Java Head 16 days out, arrived at New York, March 10, 1846, 91 days' passage. Under the command of Captain McKanzie, in 1850, she made the passage from Shanghai to New York in 88 days, the shortest passage up to that time. This ship was named in honor of Houqua, the well-known Canton merchant who was beloved and respected by American and English residents in China, no less for his integrity than for his great kindness and his business ability.

In 1844 also William H. Webb built the Montauk,

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 from an officer in the parliamentary army, and Mary Couzener, who was sprung from a Huguenot stock, was born at Westbury Leigh, Wiltshire, where his father lived, on 20 April 1768. After some scanty teaching at the village school, where one Coggeshall ruled, he was apprenticed at fifteen to Cater, a London bookseller and a native of Westbury Leigh, but at the end of live months came back to assist his father at weaving. Both in London and at home he read omnivorously, mastering, it is said, over five hundred volumes before he was eighteen. He usually had a book before him on the loom.

Weary of weaving, he became in 1794 master of the baptist school at Broadmead, Bristol, at the same time studying classics in the Bristol academy. The accounts which he read of the labours of (1761-1834) [q. v.] in India led him to offer himself to the Baptist Missionary Society, and in company with William Ward and two others he sailed from Portsmouth for India on 29 May 1799, arriving at Serampur, where Carey soon joined them, on 13 Oct. The East India Company not allowing missionaries into their territory, they remained here under Danish protection, living in common, translating the Bible into various languages, and not only preaching and teaching in Serampur, but itinerating through the surrounding country. In a few years they had established several stations, and had rendered the scriptures, in whole or in part, into Bengali, Oriva, Sanscrit, Telugu, Punjabi, Hindustani, Manratti, Hindi, Sikh, and other languages, Marshman taking a foremost part in this work. In 1811 he received the degree of D.D. from Brown University, U.S. In 1818, in conjunction with his son and the other missionaries, he established the first newspaper ever printed in any Eastern language, the 'Sumachar Durpun, or Mirror of News,' and in the same year commenced the publication of the 'Friend of India,' a monthly magazine. Marshman now drew up the prospectus of a missionary ' college for the instruction of Asiatic Christian and other youth in Eastern literature and European science,' which was built at Serampur on the banks of the Hugh at a cost of 15,000l. In 1820 he started the 'Quarterly Friend of India.' In the same year a controversy with Rammohun Roy on the doctrine of the atonement much occupied him. In 1827 the connection between the Baptist Missionary Society and the Serampur missionaries was severed owing to differences as to administration, and a painful and protracted controversy took place, Marshman acting as representative of the missionaries. Like Carey, he suffered at times from melancholia. On 6 Dec. 1837 he died at Serampur, and on the 6th was buried in the mission cemetery.

Marshman was undoubtedly one of the ablest orientalists and most earnest missionaries that laboured in India. In addition to the works mentioned above he published: He also assisted Carey in the preparation of his Sanscrit grammar. By his marriage in 1791 to Hannah Shepherd he had twelve children, six of whom died in infancy. His son is noticed separately. His youngest daughter married Sir Henry Havelock.
 * 1) 'The Works of Confucius, containing the Original Text, with a Translation and a preliminary Dissertation on the Language of China,' Serampur, 1809.
 * 2) 'A Dissertation on the Characters and Sounds of the Chinese Language,' Serampur, 1809.
 * 3) 'Clavis Sinica, or Elements of Chinese Grammar, with an Appendix containing the Ta-Hyoth of Confucius, with a Translation,' Serampur, 1814, towards the expense of publishing which government granted 1,000l.
 * 4) A Chinese version of the Bible, the first complete edition printed in that language, and the first Chinese book printed from moveable metal types. This work cost him fourteen years' labour.

 MARSTON, Barons. [See, first , 1676-1731; , second , 1707-1762.]

 MARSTON, JOHN (1575?–1634), dramatist and divine, born about 1575 (probably at Coventry), belonged to the old Shropshire family of Marstons. His father, John Marston, sometime lecturer of the Middle Temple, third son of Ralph Marston of Gayton (or Heyton), Shropshire, married Maria, daughter of Andrew Guarsi, an Italian surgeon who had settled in London. On 4 Feb. 1591-2 'John Marston, aged 16, a gentleman's son, of co. Warwick,' was matriculated at Brasenose College, Oxford. This John Marston, who was admitted B.A. on 6 Feb. 1593-4 as the 'eldest son of an esquire,' is clearly the dramatist, whom Wood wrongly identified with a John Marston, or Marson, of Corpus. From a passage in the elder Marston's will, proved in 1599, it may be gathered that the dramatist was trained for the law, but found legal studies distasteful. In 1598 he had published some satires, and in the following year he was writing for the stage. He seems to have abandoned play-writing about 1607, but the date at which he took holy orders is


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Marston not known. On 10 Oct. 1616 he was presented to the living of Christchurch, Hampshire, which he resigned (assumably from ill-health) on 13 Sept. 1631. In 1633 a collective edition of his plays was issued by the publisher, William Sheares, who, in a dedicatory address to Lady Elizabeth Carey, viscountess Falkland, speaks of the author as ‘in his autumn and declining age,’ and ‘far distant from this place.’ On 25 June 1634 Marston died in Aldermanbury parish, London, and on the following day he was buried in the Temple Church beside his father. The gravestone was inscribed ‘Oblivioni sacrum,’ and it is curious to note that his early satire, ‘The Scourge of Villainy’ (burned by archiepiscopal order in 1599), was dedicated ‘To everlasting Oblivion.’ Marston's will was proved on 9 July 1634 by his widow, who was buried by his side on 4 July 1657. She was a daughter of the Rev. William Wilkes, chaplain to James I, and rector of St. Martin's, Wiltshire. Ben Jonson told Drummond of Hawthornden that ‘Marston wrote his father-in-law's preachings and his father-in-law his comedies,’ pleasantly contrasting the playwright's asperity with the preacher's urbanity.

Marston's first work was ‘The Metamorphosis of Pigmalion's Image. And certain Satyres,’ 8vo, entered in the Stationers' register 27 May 1598, and issued anonymously in the same year. The dedicatory verses ‘To the World's Mighty Monarch, Good Opinion,’ are subscribed ‘W. K.,’ i.e. W. Kinsayder, a pseudonym assumed by Marston. ‘The Scourge of Villanie. Three Bookes of Satyres,’ 8vo, appeared later in 1598, and was republished with additions in 1599. ‘Pigmalion's Image,’ written in the metre of ‘Venus and Adonis,’ is a somewhat licentious poem. Marston, in the ‘Scourge of Villainie’ (sat. vi.), pretends that it was written with the object of throwing discredit on amatory poetry, but the Archbishop of Canterbury in 1599 ordered both it and ‘Pigmalion’ to be burned (see the ‘Order for Conflagration’ cited in Notes and Queries, 3rd ser. xii. 436). It was republished in 1613 and 1628 in a volume containing ‘Alcilia’ and ‘Amos and Laura.’ The satires are vigorous, but rough and obscure. Among the persons attacked was Joseph Hall [q. v.], who had assailed Marston in ‘Virgidemiæ.’ A certain ‘W. I.,’ in ‘The Whipping of the Satire,’ 1601, commented severely on Marston's satires, and in the same year an anonymous rhymester issued ‘The Whipper of the Satire’ in Marston's defence. Meres, in ‘Palladis Tamia,’ 1598, mentions Marston among leading English satirists; John Weever, in his ‘Epigrams,’ 1599, joins him, with Ben Jonson; and Charles Fitzgeoffrey, in ‘Affaniæ,’ 1601, has some Latin verses in his praise. The best criticism on Marston's satires is in ‘The Returne from Parnassus.’

Henslowe records in his ‘Diary,’ 28 Sept. 1599, that he lent ‘unto Mr. Maxton, the new poete, the sum of forty shillings.’ The name ‘Maxton’ is corrected by another hand to ‘Mastone.’ The entry plainly refers to Marston, but he is not mentioned again in the ‘Diary.’ In 1602 came from the press the ‘History of Antonio and Mellida. The First Part,’ 4to, and ‘Antonio's Revenge. The Second Part,’ 4to, both acted by the Children of Paul's. These plays had been entered in the ‘Stationers' Register’ on 21 Oct. 1601, and in the same year had been held up to ridicule by Ben Jonson in the ‘Poetaster.’ The writing is uneven; detached scenes are memorable, but there is an intolerable quantity of fustian. Frequently we are reminded of Seneca's tragedies, which Marston had closely studied. The ‘Malcontent,’ 1604, 4to, reissued in the same year, with additions by Webster, is more skilfully constructed, and shows few traces of the barbarous diction that disfigured ‘Antonio and Mellida.’ It was dedicated to Ben Jonson [q. v.], who told Drummond of Hawthornden that he had many quarrels with Marston, ‘beat him and took his pistol from him, wrote his “Poetaster” on him; the beginning of them were that Marston represented him on the stage in his youth given to venery.’ The original quarrel began about 1598. They had been reconciled in 1604, but other quarrels followed. In 1605 Marston prefixed complimentary verses to Jonson's ‘Sejanus,’ and in the same year was published ‘Eastward Ho,’ 4to, an excellent comedy of city life, written by Jonson and Marston in conjunction with Chapman. Passages in ‘Eastward Ho’ containing satirical reflections on the Scots, and particularly glancing at Sir James Murray, gave offence. The authors were sent to prison, but were quickly released. Hogarth is said to have drawn the plan of his prints, ‘The Industrious and Idle Prentice,’ from ‘Eastward Ho,’ which was revived at Drury Lane on lord mayor's day 1751, under the title of ‘The Prentices,’ and in 1775 as ‘Old City Manners.’ The spirited comedy, ‘The Dutch Courtezan,’ 1605, 4to, originally produced by the Children's company at Blackfriars, and revived by Betterton in 1680 under the title of ‘The Revenge, or a Match in Newgate,’ shows Marston at his best. ‘Parasitaster, or the Fawne,’ 1606, 4to, an entertaining comedy (partly founded on Boccaccio's ‘Tales,’ No. 3 of Day iii.), was


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 64 540 tons, for A. A. Low & Brother, and the Panama, 670 tons, for N. L. & G. Griswold, both vessels for the China trade, and Samuel Hall, of East Boston, built the barque Coquette, 420 tons, commanded by Captain Oliver Eldridge. The Coquette sailed from Boston, June 29, 1844, was 76 days to Java Head, and 99 days to Canton. She was owned by Russell & Co., of China, and made several fast passages between Calcutta and ports in China. Young James H. Perkins made a voyage to China as a passenger on board this vessel, and his famous schooner yacht Coquette, which defeated the sloop Maria in a match off Sandy Hook in 1846, was named for the clipper barque.

These were among the first clipper ships built in the United States, and while by no means extreme clippers, they were sharper and finer models than any vessels which had been constructed up to that time, and clearly indicated the dawn of a new epoch in naval architecture.

I have now brought this narrative to the opening of the clipper ship era, and have endeavored to sketch the development of the merchant marine of Great Britain and the United States from the common starting point—where the ship-builders of both countries derived their best knowledge of ship models and construction from the French—as they advanced along diverging lines under different climatic, social, and political conditions, until we now find them at points widely distant from each other—Great Britain with her stately, frigate-built Indiaman, embodying the glories of the past; the United States with her wild packet ship scending

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 and an Expositio Ethicorum Aristotelis. Several of his writings exist still in manuscript.

ARIA (Ital. for “air”), a musical term, equivalent to the English “air,” signifying a melody apart from the harmony, but especially a musical composition for a single voice or instrument, with an accompaniment of other voices or instruments.

The aria originally developed from the expansion of a single vocal melody, generally on the lines of what is known as binary form (see and ). Accordingly, while the germs of aria form may be traceable in the highest developments of folk-song, the aria as a definite art-form could not exist before the middle of the 17th century; because up to that time the whole organization of music was based upon polyphonic principles which left no room for the development of melody for melody’s sake. When at the beginning of the 17th century the Monodists (see and ) inaugurated a new era and showed in their first experiments the enormous possibilities latent in their new art of accompanying single voices by instruments, it was natural that for many years the mere suggestiveness and variety of their experiments should suffice to retain the attention of contemporary listeners, without any real artistic coherence in the works as wholes. But, even at the outset, mere novelty of harmony, however poignant its emotional expression, was felt by the profounder spirits of the new art to be an untrustworthy guide to progress. And Monteverde’s famous lament of the deserted Ariadne is one of many early examples that appeal to an elementary sense of form by making the last phrase identical with the first. As instrumental music grew, and the modern sense of key became strong and consistent, composers felt themselves more and more able to appeal to that sense of harmonically consistent melody which has asserted itself in folk-music before the history of harmonic music may be said to have begun. The technique of solo singers grew as rapidly as that of solo players, and composers soon found their chief musical interest in doing justice to both. In Sir Hubert Parry’s work, The Music of the 17th Century (Oxford History of Music, vol. iii.), will be found numerous illustrations of the early development of aria forms, from their first indications in Monteverde’s instinctive struggles after coherence, to their complete maturity in the works of Alessandro Scarlatti.

By Scarlatti’s time it was thoroughly established that the binary form of melody was that which could best be expanded into a form which should do justice both to singers and to the players who accompanied them. Thus the aria became on a small scale the prototype of the Concerto; and under that heading will accordingly be found all that need be said as to the relation between the instrumental ritornello and the material of the voice part in an aria.

So far we have spoken only of the main body of the aria; but the addition of a middle section with a da Capo, which constitutes the universal 18th-century da Capo form of aria, adds a very simple new principle to the essential scheme without really modifying it. A typical aria of the Scarlatti or Handelian type is a very large melody in binary form, delivered by the voice, which expands it with florid perorations before each cadence (and sometimes also with florid preludes); while relief is given to the voice, further spaciousness to the form, and justice done to the accompaniment, by the addition of an instrumental ritornello containing the gist of the melody not only at the beginning and end, but also in suitable shorter forms at the principal intermediate cadences in foreign keys. A smaller scheme of the same kind in a new group of related keys, but generally without much new material, is then appended as a middle section after which follows the main section da Capo. The result is generally a piece of music of considerable length, in a form which cannot fail to be effective and coherent; and there is little cause for wonder in the extent to which it dominated 18th-century music. It was not, however, invariable. In the Cavatina we find a form too small for the da Capo; and in the oratorios of Handel and the choral works of Bach we find a majority of arias in a larger form which evades the possibility of exact repetition.

The aria forms are profoundly influenced by the difference between the Sonata style and the style of Bach and Handel. But the scale of the form is inevitably small, and in any opera an aria is hardly possible except in a situation which is a tableau rather than an action. Consequently there is no such difference between the form of the classical operatic aria of Mozart and that of the Handelian type as there is between sonata music and suite music. The scale, however, has become too large for the da Capo, which was in any case too rigid to survive in music designed to intensify a dramatic situation instead of to distract attention from it. The necessary change of style was so successfully achieved that, until Wagner succeeded in devising music that moved absolutely pari passu with his drama, the aria remained as the central formal principle in dramatic music; and few things in artistic evolution are more interesting than the extent to which Mozart’s predecessor, the great dramatic reformer Gluck, profited by the essential resources of his pet aversion, the aria style, when he had not only purged it of what had become the stereotyped ideas of ritornellos and vocal flourishes, but animated it by the new sense of dramatic climax to which the sonata style appealed.

In modern opera the aria is almost always out of place, and the forms in which definite melodies nowadays appear are rather those of the song in its limited sense as that of a poem in formal stanzas all set to the same music. In other words, a song in a modern opera tends to be something which would be sung even if the drama had to be performed as a play without music; whereas a classical aria would in non-musical drama be a soliloquy. This can be shown by works at such opposite poles of musical and dramatic technique as Bizet’s Carmen and the later works of Wagner. In Carmen the librettist has so managed that, if his work were performed as a play, almost the whole of it would have to be sung; and the one exception of musical importance is the developed soliloquy of Micaëla in the third act, which, although treated in no old-fashioned or commonplace spirit by the composer, is the one thing in the opera which sounds “operatic.”

In the later works of Wagner those passages in which we can successfully detach complete melodies from their context have, one and all, dramatically the aspect of songs and not of soliloquies. Siegmund sings the song of Spring to his sister-bride; Mime teaches Siegfried lessons of gratitude in nursery rhymes; and the whole story of the Meistersinger is a series of opportunities for song-singing.

The distinctions and gradations between aria and song are of great aesthetic importance, but their history would carry us too far. The distinction is obviously of the same importance as that between dramatic and lyric poetry. Beethoven’s Adelaïde is a famous example of what is called a song when it is really entirely in aria style; while the operas of Mozart and Weber naturally contain in appropriate situations many numbers which really are songs. The composers themselves generally give appropriate names. Thus Mozart, in Figaro, calls “Non so piu cosa son” an aria, because of its free style, though Cherubino actually sings it as a song he has just invented; while “Voi che sapete,” being more purely lyric, is called Canzona.

The term aria form is applied, generally most inaccurately, to all kinds of slow cantabile instrumental music of which the general design can be traced to the operatic aria. Mozart, for example, is very fond of slow movements in large binary form without development, and this is constantly called aria-form, though the term ought certainly to be restricted to such examples as have some traits of the aria style, such as the first slow movement in the great serenade in B flat. At all events, until writers on music have agreed to give the term some more accurate use, it is as well to avoid it and its cognate version, Lied-form, altogether in speaking of instrumental music.

The air or aria in a suite is a short binary movement in a flowing rhythm in common or duple time and by no means of the broadly tunelike quality which its name would seem to imply.

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Leslie peers of Scotland. He continued to serve in parliament until his death (Home Office Papers, 1760–5, p. 43). On the accession of George I in 1714 he received the appointment of vice-admiral of Scotland, and in the following year, and successively until 1721, was lord high commissioner for his majesty to the general assembly of the church of Scotland (, Life of Col. Blackadder, p. 457; Cal. of Treasury Papers, 1714–19, under date 14 April 1716).

Rothes also took an active part against the Pretender and his forces on the outbreak of the rebellion in 1715. He attempted to seize Perth in advance of the rebels, but by a sudden dash they forestalled him. On a party of Jacobites attempting to proclaim the Pretender at Kinross, he, sword in hand, and followed by a troop of the grey dragoons, entered the town, scattered the rebels, and carried Sir Thomas Bruce of Kinross prisoner to Stirling. At the battle of Sheriffmuir he led a body of sixty gentlemen volunteers, and rendered good service. He also raised the Fifeshire militia, and when Rob Roy garrisoned Falkland, and made the palace his headquarters for raiding the neighbourhood, Rothes turned his own house of Leslie into a royal garrison, and with some troops and a few Swiss kept the highlanders in check (, History of the Rebellion, pp. 219, 232, 300, 329, 340). For the activity he thus displayed his lands suffered severely at the hands of the rebels, and as some acknowledgment the king conferred upon him in 1716 the governorship of the castle of Stirling, an appointment which he retained till his death. Through the good offices of Lord Townshend, then secretary of state, he also received a commission in that year as chamberlain of Fife and Strathearn, to which office attached a yearly salary of 320l. sterling (Hist. MSS. Comm. 11th Rep. pt. iv. pp. 183–6; Cal. of Treasury Papers, 1720–8, vol. ccxxxix. No. 3, vol. ccxlvii. No. 20). He was also lord-lieutenant of the counties of Fife, Kinross, and Aberdeen, and was heritable sheriff of Fife. He died on 9 May 1722 (, Retours) at Leslie House, and the scene at his deathbed is described by Colonel Blackadder, his deputy at Stirling Castle, who was present (, Life of Col. Blackadder, pp. 523–6). He married, on 29 April 1697, Lady Jean Hay, daughter of John, second marquis of Tweeddale, who survived him until 4 Sept. 1731. They had issue eight sons and four daughters. He was succeeded in the earldom by his eldest son, John, ninth earl [q. v.]

LESLIE, JOHN, ninth (1698?–1767), born about 1698, was the eldest son of John, eighth earl [q. v.] Making choice of a military career, he had command of a troop of dragoons as early as 1715, was promoted to the command of a company of foot-guards two years later; and in 1719 was commissioned as lieutenant-colonel of the 21st regiment of foot. He succeeded as Earl of Rothes on the death of his father in May 1722, and retained his father's post as governor of the castle of Stirling. In the following year he was chosen as a representative peer for Scotland, and was re-elected in 1727, 1747, 1754, and 1761. Under the Heritable Jurisdictions Act he in 1747 disposed of the hereditary sheriffdom of Fife, which had long been held by the Rothes family, to the government, receiving in compensation the sum of 6,268l. 16s., though he claimed 10,000l. In June 1744 he was appointed to the office of chamberlain of Fife and Strathearn (, Memorials of the Family of Wemyss of Wemyss, i. 372).

Continuing in the army, he, on 25 May 1732, was appointed to the command of the 25th regiment of foot; was promoted to the rank of major-general 26 Feb. 1743, and acted in this rank at the battle of Dettingen. He received a commission as colonel of the 2nd troop of grenadier horse-guards on 25 April 1745, and took part in the battle of Rocoux in October of the following year, gallantly heading the charge of the first line of cavalry. In 1750 (16 Jan.) he was appointed colonel of the 2nd regiment of dragoons, and in April following took command of the 3rd regiment of foot-guards. During his later years he was attached to the Irish military staff, on which in the last-mentioned year he held the rank of lieutenant-general. On 3 March 1753 he was created a knight of the order of the Thistle, and became a full general in 1765. He rose to be commander-in-chief of the forces in Ireland, was governor of Duncannon Fort, and a member of the Irish privy council (Home Office Papers, 1760–5 pp. 88, 134, 1766–9 p. 203). He died on 10 Dec. 1767 (, Retours) at Leslie House, which during his time was destroyed by fire and rebuilt.

Leslie was twice married: first, on 25 May 1741, at London, to Hannah, second daughter and coheiress of Matthew Howard of Thorpe, Norfolk, who died at Dublin on 26 April 1761; and secondly, on 27 June 1763, at Tynninghame to Mary Lloyd, daughter of Mary, countess of Haddington, by a previous marriage. He left issue, by his first marriage only, two sons and two daughters, of whom the eldest son succeeded him as tenth earl. The Countess


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Rh into a long, sweeping head sea, and flinging a rainbow of flying spray across her weather-bow, in which was imaged the promise of a glorious future.

In 1841, John W. Griffeths, of New York, proposed several improvements in marine architecture, which were embodied in the model of a clipper ship exhibited at the American Institute, in February of that year. Later he delivered a series of lectures on the science of ship-building, which were the first discourses upon this subject in the United States. Mr. Griffeths advocated carrying the stem forward in a curved line, thereby lengthening the bow above water; he also introduced long, hollow water-lines and a general drawing out and sharpening of the forward body, bringing the greatest breadth further aft. Another improvement which he proposed was to fine out the after body by rounding up the ends of the main transom, thus relieving the quarters and making the stern much lighter and handsomer above the water-line.

This proposed departure from old methods naturally met with much opposition, but in 1843 the firm of Howland & Aspinwall commissioned Smith & Dimon, of New York, in whose employ Mr. Griffeths had spent several years as draughtsman, to embody these experimental ideas in a ship of 750 tons named the Rainbow. This vessel, the first extreme clipper ship ever built, was therefore, the direct result of Mr. Griffeths's efforts for improvement. Her bow with its concave waterlines and the greatest breadth at a point considerably further aft than had hitherto been regarded as practicable, was a radical departure, differing not

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 followed in the same year by a blood-curdling tragedy, the ‘Wonder of Women, or the Tragedie of Sophonisba,’ 4to. ‘What you will,’ a comedy, 1607, 4to, contains some sarcastic allusions to Ben Jonson. ‘The Insatiate Countess,’ a tragedy, was published in 1613, 4to, with Marston's name on the title-page. It was reprinted in 1631, and in most copies of that edition Marston's name is found; but in one copy (belonging to the Duke of Devonshire) of ed. 1631 the authorship is assigned to the actor, William Barksteed, and the ‘Insatiate Countess’ was not included in the 1633 collective edition of Marston's plays. A couple of lines from this tragedy are found in Barksteed's ‘Myrrha,’ 1607; and there are many passages of graceful poetry that bear no resemblance to Marston's authentic writings. The explanation may be that Marston, when he entered the church, left this work unfinished, and that it was afterwards taken in hand by Barksteed. It is to be regretted that the text of the ‘Insatiate Countess,’ which has much poetry and passion, is frequently corrupt and mutilated. Plot and underplot are taken from the fourth and fifteenth ‘Tales’ of Bandello, pt. i.; both tales are given in Painter's ‘Palace of Pleasure,’ Nos. 24 and 26.

In two indifferent anonymous comedies, ‘Histriomastix,’ 1610, and ‘Jack Drum's Entertainment,’ 1616, Marston's hand is plainly distinguishable. His share in the former may be slight, but for the latter (written about 1600) he was largely responsible. Among ‘Divers Poetical Essays,’ appended to Robert Chester's ‘Love's Martyr,’ 1601, is a poem by Marston. He also wrote some Latin speeches (Royal MSS., 18 A, xxxi. Brit. Mus.) on the occasion of the visit of the king of Denmark to James I in 1606; and an entertainment (Bridgewater House MS.) in honour of a visit paid by the Dowager-countess of Derby to her son-in-law and daughter, Lord and Lady Huntingdon, at Ashby. ‘The Mountebank's Masque’ (first printed in Progresses of James I, iii. 466), performed at court in February 1616–17, was assigned by Collier on insufficient authority to Marston. Some of the songs are much in Campion's manner. Portions of the masque are found in Quarles's ‘Virgin Widow,’ 1649. Collier, in ‘Memoirs of Edward Alleyn’ (p. 154), prints a letter of Marston to Henslowe, but Warner (Cat. of Dulwich MSS., p. 49) shows it to be a forgery. The letter of ‘John Marston’ to Lord Kimbolton, printed in Collier's ‘Shakespeare,’ ed. 1858, i. 179, was written in 1641—seven years after the dramatist's death. A wearisome manuscript poem, ‘The New Metamorphosis … Written by J. M., Gent., 1600’ (Addit. MSS. 14824–6), of some thirty thousand lines, has been uncritically assigned to Marston. A mot of Marston is recorded in Manningham's ‘Diary’ under date 21 Nov. 1602, and in Ashmole MS. 36–7 is preserved a couplet by Marston on George Villiers, duke of Buckingham, ‘made some few months before he was murthered.’

Marston's works were collected in 1856, 3 vols. 8vo, by J. O. Halliwell; and by the present writer in 1887, 3 vols. 8vo. The satires and poems, 2 vols. 4to, are included in Grosart's ‘Occasional Issues.’

MARSTON, JOHN WESTLAND (1819–1890), dramatic poet, born at Boston, Lincolnshire, on 30 Jan. 1819, was son of the Rev. Stephen Marston, minister of a baptist congregation in the town. In 1834 he was articled to his maternal uncle, a London solicitor; but although he was not inattentive to the duties of the office, and obtained a fair knowledge of law, literature and the theatre had much greater attractions for him. His evenings were devoted to the theatre, and becoming acquainted with Heraud, Francis Barham, and other members of the mystical group which at that time gathered around [q. v.], he contributed to Heraud's magazine ‘The Sunbeam,’ and upon obtaining release from his articles, himself became editor of a mystical periodical entitled ‘The Psyche.’ The school had remarkable affinities with the contemporary, but entirely independent, movement of New England transcendentalism, but was in comparison a very feeble growth. Among its chief supporters were some wealthy ladies near Cheltenham, always ready to equip missionaries in the cause, and on their liberality Marston, who had given up the profession of law without fully adopting the profession of literature, for a time depended. Through them he made the acquaintance of Eleanor Jane Potts, eldest daughter of the proprietor of ‘Saunders's News Letter,’ who had retired to Cheltenham. She was not, as has been stated, a member of the Earl of Mayo's family. A warm and durable attachment on both sides was the consequence, which resulted in marriage in May 1840, notwithstanding the strongest opposition on the part of the lady's family. Marston idealised and inverted his love story in his first play, the


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Marston ‘Patrician's Daughter’ (1841, 8vo), performed in December 1842. Being brought out by Macready, and accompanied with a prologue by Dickens, this drama, though not an entire success on the stage, obtained a notoriety not altogether gratifying to the author, who would have wished his name to be more intimately associated with his maturer productions. It represents a mission to which he for some time devoted himself—the elevation of ordinary nineteenth-century life to a pitch of feeling at which heroic blank verse seems the only adequate dramatic vehicle. The ‘Patrician's Daughter’ has much literary merit, but the unreasonable, not to say revolting, conduct of the hero must always prevent its being a favourite play. Marston had already produced a little volume entitled ‘Gerald, a Dramatic Poem, and other Poems’ (1842, 12mo), respectable, like everything he wrote, but betraying much less influence from the muse than from his friend the author of ‘Festus.’

Bulwer and Knowles had ceased to write, and for many years Marston was almost the only acted dramatist who wrought with any elevation of purpose. ‘The Heart and the World’ (1847) was a failure, but in 1849 Marston, laying his theories aside for a time, appeared with an historical drama, ‘Strathmore,’ which obtained great success, and which he himself regarded as his best work. It has fine literary qualities, although the author's inability to think himself into the age he exhibits constitutes a grave defect. The same may be said of ‘Philip of France’ and ‘Marie de Méranie’ (1850), ‘a stirring tragedy, of which the verse has an appropriate martial ring,’ and in which Helen Faucit produced a great impression. It is based to some extent on G. P. R. James's novel ‘Philip Augustus.’ In the interim (1852) had appeared ‘Anne Blake,’ another domestic drama, clever, but marred by such situations and dénouements as only occur on the stage. In ‘A Life's Ransom’ (1857) the domestic and historical elements are in some measure blended, the action being laid at the revolution of 1688. Such a piece might be easily produced by a man of Marston's literary ability, but his next tragi-comedy, ‘A Hard Struggle’ (1858), required genuine feeling in the author and great command over the resources of the stage. Being written in prose, it produces a greater impression of reality than his more ambitious efforts; it drew tears and enthusiastic praise from Dickens, and obtained a greater success than any of his pieces, owing in part to the powerful acting of Dillon.

After his marriage Marston lived entirely in London, except for occasional visits to France and short lecturing tours in Scotland and Lancashire. He had become well known in London literary society, especially to Dickens and his circle, and had taken a part in Bulwer's comedy of ‘Not so bad as we seem,’ acted for the benefit of the Guild of Literature and Art. About the same time a tragedy on the history of Montezuma, which would have afforded ample scope for scenic display, was written for and purchased by Charles Kean, but never produced. In 1837 Marston undertook the editorship of the ‘National Magazine’ in conjunction with John Saunders. The early numbers had excellent contributions from Sydney Dobell, Mrs. Crowe, and other writers of mark, and illustrations after young artists of genius like Arthur Hughes and W. L. Windus, and with adequate capital the enterprise would probably have succeeded. Relinquishing it, and also renouncing vain attempts in fiction, for which, strangely enough, he did not appear to possess the slightest qualification, Marston returned to the theatre, and produced successively ‘The Wife's Portrait’ (1862) and ‘Pure Gold’ (1863), prose dramas of little account; ‘Donna Diana’ (1863), the best of all his plays, but mainly taken from Moreto's masterpiece, ‘El Desden con el Desden;’ and ‘The Favourite of Fortune’ (1866), a play of sufficient merit to have kept the stage if it had not been expressly written for an actor of such marked individuality as Sothern. It achieved a conspicuous success upon its production. The same remark applies to ‘A Hero of Romance,’ adapted from Octave Feuillet in 1867, and ‘Life for Life’ (1869), written for Miss Neilson. ‘Broken Spells’ followed in 1873, but with his last play, ‘Under Fire’ (1885), he experienced a mortifying failure. The piece was the weakest he ever wrote, and he had entirely lost touch with the time.

From about 1863 Marston contributed much poetical criticism to the ‘Athenæum.’ The celebrated review of ‘Atalanta in Calydon’ was written by him. Criticism, indeed, seemed rather his forte than original composition. His theoretical knowledge of the histrionic art was also profound; but though he showed little disposition to cultivate it practically, he was an excellent mimic, and Miss Neilson, like many other actors and actresses, owed much to his tuition. No one judged an actor more accurately, and the admonitions of few were more valuable. He proved his power as a critic of acting in his ‘Our Recent Actors: Recollections of


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 late distinguished Performers of both Sexes,' 2 vols. 1888.

From 1860 to about 1874 Marston's circumstances were prosperous, and his house near the Regent's Park was a favourite meeting-place for poets, actors, and literary men. The latter years of his life were clouded by calamity, especially the successive deaths of his wife in 1870, of his two daughters, Eleanor, wife of [q. v.], in February 1879, and Cicely in July 1878, and of his gifted and only son, [q. v.] His circumstances also became much impaired; but his friend Mr. Henry Irving generously organised (1 June 1887) a special performance of 'Werner' for his benefit at the Lyceum Theatre. The full receipts, amounting to 928l. 16s., were paid to Marston; all the expenses being borne by Mr. Irving. Marston died at his lodgings in the Euston Road, 5 Jan. 1890, after a long illness, and was interred with his wife and children in Highgate cemetery. Marston's great title to distinction is that of having long been the chief upholder of the poetical drama on the English stage. His talents, indeed, were unequal to so arduous a task, but the mere fact of his having undertaken it singles him from the crowd. Regarded merely as a dramatist, he is entitled to great praise for the elegance of his diction, the elevation of his sentiments, and the careful construction of his plots; but his perception of individual character is weak, and such effect as he produces is often obtained by unreal exaggeration. None of his plays, unless 'A Hard Struggle' be an exception, have sufficient vitality to keep the stage. As the anecdotic historian of the stage he has an honourable and exceptional place; and some of his minor poems, especially the verses on the Balaklava charge and a few sonnets, are very happy inspirations. He stood higher as a critic than as a poet, but his efforts in this field were of necessity too ephemeral to secure an abiding reputation. As a man he was somewhat enigmatical; his fluency and bonhomie concealed a deep reserve, which itself sometimes appeared but the veil of irresolution; he seemed to oscillate between the mystic and the man of the world; and, though he was entirely unassuming, something theatrical seemed to cling to all he said and did. In 1863 he received the degree of LL.D. from the university of Glasgow. A collection of his dramatic works, with an appendix of poems, was edited by himself in 1876. 'Montezuma,' 'At Bay,' and 'Charlotte Corday' remain in manuscript. He contributed articles to vols. vi. and vii. of this Dictionary.

 MARSTON, PHILIP BOURKE (1850–1887), poet, son of [q. v.], was born in London 13 Aug. 1850. Philip James Bailey and Dinah Maria Mulock were his sponsors, and the most popular of the latter s short poems, 'Philip, my King,' is addressed to him. When only three years old he experienced the irreparable misfortune of loss of sight, occasioned by the injudicious administration of belladonna as a prophylactic against scarlet fever, aggravated, it was thought, by an accidental blow. The privation of vision was not for many years so complete as to prevent him from. seeing, in his own words, 'the tree-boughs waving in the wind, the pageant of sunset in the west, and the glimmer of a fire upon the hearth;' and this dim, imperfect perception must have been more stimulating to the imagination than a condition of either perfect sight or total blindness. He indulged, like Hartley Coleridge, in a consecutive series of imaginary adventures and in the reveries called up by music, for which he exhibited the usual fondness of the blind. The inevitable effect was to excite the ideal side of a powerful mind into premature and excessive activity while discouraging reflection and mental discipline, to which he remained a stranger all his life. His extraordinary gifts of verbal expression and melody were soon manifested in poems of remarkable merit for his years, and displaying a power of delineating the aspects of nature which, his affliction considered, seemed almost incomprehensible. These efforts met full recognition from the brilliant literary circle then gathered around his father, and he was intensely happy for a time in the affection of Mary Nesbit, a young lady of great personal and other attractions. The death of his betrothed from rapid consumption, in November 1871, absolutely prostrated him, and was the precursor of a series of calamities which might well excuse the morbid element in his views of life and nature. In 1874 a kindred genius and most faithful friend, Oliver Madox Brown [q.v.], died after a short and entirely unforeseen illness. In 1878 he was bereaved with equal suddenness of his sister Cicely, to whom one of his most beautiful poems is addressed, and whose devotion to him was absolute. His surviving sister, Eleanor, died early in the following year; her husband, [q. v.], followed shortly, and a few


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I praise thee while my days go on; I love thee while my days go on; Through dark and death, through fire and frost, With emptied arms and treasure lost, I thank thee while my days go on.

N fiction (though perhaps not now as much as formerly) marriage is often treated as the end of all things in a woman's life, and the last chapter winds up with the "happy ever after," like the concluding scene of a melodrama. But in this romance of Isabel Burton, this drama of real life, marriage was but the beginning of the second and more important half of her life. It was the blossoming of love's flower, the expanding of her womanhood, the fulfilment of her destiny. For such a marriage as hers was a sacrament consecrated by love; it was a knitting together, a oneness, a union of body, soul, and spirit, of thought, feeling, and inclination, such as is not often given to mortals to enjoy. But then Burton was no ordinary man, nor was his wife an ordinary woman. She often said he was


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172 "the only man in the world who could manage me," and to this it may be added that she was the only woman in the world who would have suited him. No other woman could have held him as she did. The very qualities which made her different to the ordinary run of women were those which made her the ideal wife for a man like Richard Burton. The eagle does not mate with the domestic hen, and in Isabel's unconventional and adventurous temperament Burton saw the reflex of his own. Though holding different views on some things, they had the same basic principles; and though their early environment and education had been widely different, yet Nature, the greatest force of all, had brought them together and blended them into one. It was a union of affinities. Isabel merged her life in her husband's. She sacrificed everything to him save two things—her rare individuality, and her fervent faith in her religion. The first she could not an she would; the second she would not an she could; and to his honour be it said he never demanded it of her. But in all else she was his absolutely; her passionate ideals, the treasure of her love, her life's happiness—all were his to cherish or to mar as he might please. She had a high ideal of the married state. "I think," she writes, "a true woman who is married to her proper mate recognizes the fully performed mission, whether prosperous or not, and no one can ever take his place for her as an interpreter of that which is between her and her Creator, to her the shadow of God's protection here on earth." And her conception of a wife's duty was an equally unselfish one, for she wrote of the


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 years later Marston lost a sincere friend and literary comrade in the gifted and unhappy [q. v.] His sight had also become extinct, and his pecuniary means were greatly diminished.

The sadness of his poetry is therefore no subject for surprise, and is chiefly to be regretted as a barrier in the way of a literary renown which might have stood much higher under happier circumstances. The three volumes of poetry published in his lifetime, 'Song-Tide and other Poems' (1871), 'All in All' (1875), and 'Wind Voices' (1883), abound with beautiful thoughts expressed in beautiful language, but soon become tedious from the monotony, not merely of sentiment, but of diction and poetical form. The sonnet was undoubtedly best adapted to render his usual vein of feeling; and that or allied forms of verse became so habitual with him that he seemed to experience a difficulty in casting his thoughts into any other mould. Supreme excellence, however, is at once so indispensable in the sonnet and so difficult to attain, that although Marston did not always fall short of it, the greater part of his work in this department can only be classed as second-rate. He also suffered from the too faithful following, degenerating into imitation, of a greater master, Rossetti. It was, however, Rossetti's kindly appreciation of his disciple, and like generosity on the part of Mr. Swinburne, that formed the main solace of Marston's infelicitous life. His own generous and open disposition procured him many warm friends, among them his subsequent editors and biographers, Mrs. Louise Chandler Moulton, the American poetess, and Mr. William Sharp. The former was especially instrumental in finding a public in America for the numerous short stories by which the author partly supported himself, and which, after his death, were collected by Mr. Sharp under the title of 'For a Song's Sake and other Stories' (1887, 8vo).

Marston's relations with his father also were singularly affectionate; he usually accompanied him in a summer tour, and it was an one of these excursions that he received the sunstroke which accelerated the paralytic attack that befell him early in 1887, and proved fatal on 13 Feb. His memory was honoured by a fine elegy from Mr. Swinburne's pen, printed in the 'Fortnightly Review' for January 1891; and two posthumous collections of his poems were published by Mrs. Moulton, under the titles of 'Garden Secrets' (1887) and 'A Last Harvest' (1891 ). She also published in 1892 'The Collected Poems of Philip Bourke Marston, with Biographical Sketch and Portrait.'

 MARTEN. [See also, and .]  MARTEN, HENRY (1562?–1641), civilian, son of Anthony Marten by Margaret, daughter of John Yate of Lyford, Berkshire, born in the parish of St. Michael Bassishaw, London, probably in 1562, was educated at Winchester School and New College, Oxford, where he matriculated 24 Nov. 1581, aged 19, and was elected to a fellowship in 1582. He had also a little property in London, left him by his father, worth 40l. a year. By the advice of [q. v.] he applied himself to the study of the civil and canon law, and adopted the practice of holding weekly disputations on moot points raised by cases pending in the high commission court. He graduated B.C.L. in 1587 and D.C.L. in 1592, and was admitted a member of the College of Advocates on 16 Oct. 1596. In August 1605 he took part in the disputations held before the king at Oxford. Marten early acquired an extensive practice in the admiralty, prerogative, and high commission courts, and was appointed official of the archdeaconry of Berkshire. On 3 March 1608-9 he was made king's advocate, and in March 1612-13 he was employed on a mission to the Palatinate in connection with the marriage settlement of the Lady Elizabeth. He was appointed chancellor of the diocese of London in 1616, was knighted at Hampton Court on 16 Jan. 1616-17, and in the following October was made judge of the admiralty court. He was one of the commissioners appointed in January 1618-19 to negotiate a treaty of peace between the English and Dutch East India Companies, and in common with his colleagues was thought to have sold the interests of the English company for money (Court and Times of James I, ii. 183).

On 29 April 1620 Marten was placed on the high commission. He also sat on the special commission which in October 1621 tried and determined in the negative the curious question whether Archbishop Abbot was incapacitated for his functions by his involuntary homicide. As judge of the admiralty court the case of Sir John Eliot and the pirate Nutt came before him in July 1623, but only on a special reference to take the necessary evidence and report to the privy council. His conduct in keeping strictly within the terms of the reference, and expressing no opinion on the merits of


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Marten the case, has, on insufficient grounds, been censured as subservient (, Life of Sir John Eliot, 2nd edit. i. 34 et seq.) On 4 Aug. he wrote to Secretary Conway, urging Eliot's release on bail, and as he had not to try the case it is not clear that he could have done more. His subsequent relations with Eliot were those of close friendship. In September 1624 he was one of the commissioners for the settlement of the Amboyna affair. The same month Archbishop Abbot conferred upon him the places of dean of the arches and judge of the prerogative court of Canterbury', vacant by the death of Sir William Bird (5 Sept ), both of which he retained on the deprivation of the archbishop 9 Oct. 1627. He stood well with King James, who complimented him 'as a mighty monarch in his jurisdiction over land and sea, the living and the dead,'

Marten entered parliament as member for St. Germans, Cornwall, on 22 April 1625, and made his maiden speech at the opening of the Oxford session on 1 Aug., when he supported Eliot in the attack upon the Duke of Buckingham. His tone, however, in this and succeeding debates was studiously moderate. Nevertheless, in the next parliament, to which he was again returned for St. Germans (10 Jan. 1625-6), an attempt was made to exclude him on the ground of his complicity in the committal of Sir Robert Howard [q. v.] by the high commission during the prorogation of parliament in March 1624-5. He was, however, allowed to take his seat on pleading ignorance of the distinction — in regard to matters of privilege — between prorogation and dissolution. He sat for the university of Oxford in the parliament of 1628, and took an important part in the debates on the Petition of Right. His speech against the lords' addition at the conference of both houses on 23 May — a master- piece of tact, firmness, and moderation — is printed in Rushworth's ' Historical Collections,' i. 579 et seq., and the 'Parliamentary History,' ii. 366. Though he had come into sharp collision with the Duke of Buckingham in the matter of a French ship, the St. Peter of Newhaven, seized on suspicion of carrying Spanish goods, and illegally detained by the duke's orders, Marten, nevertheless, opposed (13 June 1628) the insertion in the Remonstrance of a clause expressly censuring the duke. In January 1628-9 he was placed on the committee of inquiry as to the affair of the Clerkenwell Jesuits.

Though reputed the first civilian of his time, Marten was much hampered in the administration of the admiralty court by writs of prohibition issuing from the king's bench, against which he unsuccessfully appealed to the king in Easter term 1630. He was one of the commissioners for the repair of St. Paul's appointed 10 April 1631, and sat in the Painted Chamber as judicial assessor to the court of chivalry on the trial of Lord Reay's appeal of battle against David Ramsay on 28 Nov. following. He had a hand in the revision of the statutes of the university of Oxford, the title, *De Judiciis,' being referred to him by the revisers in 1633, and was one of the commissioners through whom the completed work was transmitted by the king to the university in June 1636. He argued before the privy council for several days ' with his utmost skill,' says Clarendon, against the validity of the ' new canons ' framed by convocation after the dissolution of the Short parliament of 1640. In that parliament he eat for St. Ives, Cornwall, but was not returned to the Long parliament, by which he was fined 250/. for his part in the imprisonment of Sir Robert Howard.

Marten was superseded by Sir John Lambe as dean of the arches in the autumn of 1633, but retained his place in the high commission court until its abolition by the Long parliament, and the judgeship of the admiralty and prerogative courts until his death on 26 Sept. 1641. He was buried in the parish church of Longworth, Berkshire, where was his principal seat. He had several other estates in the same county. His town house was in Aldersgate Street. Gay ton (' Letter to Col. Marten,' prefixed to his Family Letters of Harry Marten) termed him ambiguously ' the bluenosed Romanist.' At his death several petitions charging him with misfeasance in his various judicial capacities were pending in the House of Lords. By his first wife, Elizabeth, who died 19 June 1618, Marten had issue, two sons, Henry [q. v.] and George, and three daughters, Elizabeth, Jane, and Mary. Marten apparently married a second wife, who died in 1077. (Knights, p. 372) represents her as the mother of the regicide, out this is probably a mistake. Some of his decisions have been printed for the Camden Society in 'Cases in the Courts of Star Chamber and High Commission,' and 'Documents illustrating the Impeachment of the Duke of Buckingham.' Marten's name is frequently spelt Martin. [Kirby's Winchester Scholars, p. 146; Wood's Annals, ed. Gutch, 1796, ii. 387, 403; Athenæ Oxon. (Bliss), iii. 17; Fuller's Worthies, ‘London;’ Reg. Univ. Oxford, ed. Clark, vol. ii. pt. i. pp. 232–3, pt. ii. p. 109, pt. iii. p. 146; Coote's Cat. of Civilians, p. 64; Nichols's Progr. James I, i. 535; Metcalfe's Book of Knights, p. 69; Court and Times of James I, i. 387, ii. 35,


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Marten 183, 473; Hacket's Scrinia Reserata, pt. i. p. 67; Returns of Members of Parliament (Official); Cal. State Papers, Dom. Addenda, 1580–1625 p. 621, Dom. 1603–1610 p. 496, 1627–8 p. 377, 1628–9 p. 122, 1631–3 p. 6, 1633–4 p. 326, 1636–7 p. 158, 1637 pp. 109, 410, 1638–9 p. 32, 1641–3 pp. 92, 126, Colon. East. Indies, 1617–21 pp, 219, 233, 1623–4 pp. 405, 410–11, 413; Lysons's Mag. Brit. i. 314; Ashmole's Berkshire, p. 160; Stow's Survey of London, ed. Strype, 1754, ii. 39–40; Hist. MSS. Comm. 4th Rep. App. pp. 12, 103, 13th Rep. pt. iv.; Godwin, De Præsul. p. 195; Rymer's Fœdera (Sanderson), xvi. 772; Issues of the Exch., ed. Devon, p. 161; Commons' Debates, 1625 (Camd. Soc.); Eliot's Negotium Posterorum, ed. Grosart; Camden Miscellany (Camd. Soc.), ii. Disc. Jes. Coll.; Rushworth's Hist. Coll. i. 521, 579 et seq. 617, ii. 112; Whitelocke's Memorials, pp. 10, 14; Comm. Journ. i. 851–7; Lords' Journ. iv. 291, 293, 326, 335, 361–2; Parl. Hist. ii. 255, 366, 419, 473; Harl. MSS. 1721 f. 453, 2305 f. 255 b, 4777 ff. 54 b, 97, 158, 168, 174, 188 b, 6800 ff. 98, 325; Cobbett's State Trials, ii. 1452, iii. 495; Laud's Diary, 21 Dec. 1640; Cardwell's Synodale, i. 380 et seq.; Clarendon's Rebellion, ed. 1849, bk. i. § 11, bk. iii. § 70; Clarendon's Life, ed. 1827, i. 87; Hook's Archbishops of Canterbury, v. 283; Gardiner's Hist. of Engl. vol. v.]  MARTEN, HENRY or HARRY (1602–1680), regicide, elder son of Sir Henry Marten [q. v.] by his first wife, was born at Oxford in 1602 (, Athenæ Oxon' iii. 1237). After being ' instructed in grammar learning in Oxon, he became a gentleman-commoner of University College,' matriculating on 31 Oct. 1617 (, Register of the University of Oxford, ii. 364). He obtained the degree of B.A. in 1619, was admitted to Gray's Inn on 10 Aug. 1618, and then travelled for some time in France (, Gray's Inn Register, p. 142). 'At his return, his father found out a rich wife for him, whom he married, something unwillingly '. Her name was Margaret, widow of William Staunton (Cal. State Papers, Dom. 1636-7, p. 274). The marriage proved unhappy. ' He was a great lover of pretty girls, to whom he was so liberal that he spent the greatest part of his estate'. As early as 1639 he is described as costing his father 1,000l. per annum (Cal. State Papers, Dom. 1638-9, p. 590). In 1639 Marten made his first appearance in politics by declining to contribute to the general loan raised for the Scottish war (, iii. 912). This act made him popular, and in April 1640, and again in the following November, he was returned to parliament as one of the members for Berkshire. According to Aubrey, Marten's zeal for the popular cause was further stimulated by an insult which he had received from the king, who publicly termed him 'an ugly rascal' and a 'whore-master,' and ordered him to be turned out of Hyde Park. In parliament he was from the first conspicuous as one of the most extreme members of the popular party. To his friend Hyde Marten privately confessed that he thought some of the popular leaders knaves, 'and that when they had done as much as they intended to do, they should be used as they had used others. The other pressed him then to say what he desired ; to which, after a little pause, he very roundly answered, "I do not think one man wise enough to govern us all" ' (, Life, i. § 91). Marten showed great zeal against Strafford, and was one of the spokesmen of the section eager to proceed against the earl by bill of attainder instead of impeachment (, Studies and Illustrations of the Great Rebellion, pp. 337, 339, 341). He also delivered speeches in favour of the protestation, and in support of the theory that the ordinances of parliament were valid without the king's assent (, Notes of the Long Parliament, pp. 67, 162;, History of England, ix. 301 , 353). When the committee of safety was constituted, Marten was one of the ten commoners appointed, and reported to parliament the resolution of the committee, asserting that the king intended to levy war against the parliament, and recommending the raising of an army of ten thousand men (, pp. 496, 497). Charles, in his declaration of 12 Aug. 1642, complained that 'it hath been publicly said by Marten that our office is forfeitable, and that the happiness of the kingdom doth not depend upon us, nor any of the regal branches of that stock.' He went on to demand that Marten should be delivered up to stand his trial for high treason, and excepted him from pardon, Votes and Ordinances, 4to, 1643, p. 660).

When war broke out Marten subscribed 1,200l. to the parliamentary cause, and undertook to raise a regiment of horse. Parliament appointed him governor of Reading, which he evacuated with some haste when the king's army came to Oxford (, Rebellion, vi. § 125). The chief theatre of his exploits was the House of Commons. Though a member of the committee of safety himself, he was a severe critic of its actions, and shared the jealousy with which the house regarded the authority the committee claimed. 'A pint pot,' once observed Marten, 'could not hold a pottle of liquor, nor could they be capable to despatch so much business as was committed to them'


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 66 merely in degree but in kind from any ship that preceded her. One critical observer declared that her bow had been turned "outside in," and that her whole form was contrary to the laws of nature. The Rainbow was designed and built with great care and was not launched until January, 1845.

Mr. Griffeths relates a good story about the masting of this vessel. It appears that Mr. Aspinwall, who had an excellent idea of what a ship ought to be, had come to the conclusion that the masting of vessels was a question of no small moment in shipbuilding, and determined that his new ship should have the benefit of foreign aid in placing the masts. Accordingly, he informed the builders that he would obtain assistance from abroad, for their benefit as well as his own. The builders naturally paid little attention to this information. The port-captain, who was appointed to superintend the construction, was directed by Mr. Aspinwall to select the best authorities in Europe on masting ships. The European experts were written to in reference to this important matter, and after they had duly considered the principal dimensions of the vessel, the trade in which she was to be employed, etc., a spar draft and elaborate calculations were prepared and forwarded to New York.

In the meantime, the construction of the Rainbow had progressed steadily. The clamps being ready, the deck beams were placed according to the original drawings, the framing of the decks completed, hatches and mast partners framed, channels and mast-steps secured; the masts and yards were also made and the ship planked and caulked by the time

title: Page:The Clipper Ship Era.djvu/98