Book I. The poem opens in the island of Calypso, with a complaint

against Neptune and Calypso for preventing the return of Odysseus (3 _syl._) to Ithaca.

II. Telemachus, the son of Odysseus, starts in search of his father, accompanied by Pallas, in the guise of Mentor.

III. Goes to Pylos, to consult old Nestor, and

IV. Is sent by him to Sparta; where he is told by Menelāus that Odysseus is detained in the island of Calypso.

V. In the mean time, Odysseus leaves the island, and, being shipwrecked, is cast on the shore of Phæācia.

VI. Where Nausicāa, the king’s daughter, finds him asleep, and

VII. Takes him to the court of her father, Alcinöos, who

VIII. Entertains him hospitably.

IX. At a banquet, Odysseus relates his adventures since he started from Troy. Tells about the Lotus-eaters and the Cyclops, with his adventures in the cave of Polyphēmos. He tells how

X. The wind-god gave him the winds in a bag. In the island of Circê, he says, his crew were changed to swine, but Mercury gave him a herb called Mōly, which disenchanted them.

XI. He tells the king how he descended into Hadês;

XII. Gives an account of the syrens; of Scylla and Charybdis; and of his being cast on the island of Calypso.

XIII. Alcinoos gives Odysseus a ship which conveys him to Ithăca, where he assumes the disguise of a beggar,

XIV. And is lodged in the house of Eumœos, a faithful old domestic.

XV. Telemachus, having returned to Ithaca, is lodged in the same house,

XVI. And becomes known to his father.

XVII. Odysseus goes to his palace, is recognized by his dog, Argos; but

XVIII. The beggar Iros insults him, and Odysseus breaks his jaw-bone.

XIX. While bathing, the returned monarch is recognized by a scar on his leg;

XX. And when he enters his palace, becomes an eye-witness to the disorders of the court, and to the way in which

XXI. Penelopê is pestered by suitors. To excuse herself, Penelopê tells her suitors he only shall be her husband who can bend Odysseus’s bow. None can do so but the stranger, who bends it with ease. Concealment is no longer possible or desirable;

XXII. He falls on the suitors hip and thigh;

XXIII. Is recognized by his wife.

XXIV. Visits his old father, Laertês; and the poem ends.

=Œa´grian Harpist= (_The_), Orpheus, son of Œa´gros and Cal´liōpê.

... can no lesse Tame the fierce walkers of the wilderness, Than that Œagrian harpist, for whose lay Tigers with hunger pined and left their prey.

Wm. Browne, _Brittania’s Pastorals_, v. (1613).

=Œ´dipos= (in Latin _Œdipus_), son of Laïus and Jocasta. The most mournful tale of classic story.

⁂ This tale has furnished the subject matter of several tragedies. In Greek we have _Œdipus Tyrannus_ and _Œdipus at Colōnus_, by Sopho´oclês.[TN-45] In French, _Œdipe_, by Corneille (1659); _Œdipe_, by Voltaire (1718); _Œdipe chez Admète_, by J. F. Ducis (1778); _Œdipe Roi_ and _Œdipe à Colone_, by Chénier; etc. In English, _Œdipus_, by Dryden and Lee.

=Œno´ne= (3 _syl._), a nymph of Mount Ida, who had the gift of prophecy, and told her husband, Paris, that his voyage to Greece would involve him and his country (Troy) in ruin. When the dead body of old Priam’s son was laid at her feet, she stabbed herself.

Hither came at noon Mournful Œnōnê, wandering forlorn Of Paris, once her playmate on the hills [_Ida_]

Tennyson, _Œnone_.

⁂ Kalkbrenner, in 1804, made this the subject of an opera.

=Œno´pian=, father of Mer´opê, to whom the giant Orīon made advances. Œnopian, unwilling to give his daughter to him, put out the giant’s eyes in a drunken fit.

Orion ... Reeled as of yore beside the sea, When blinded by Œnopian.

Longfellow, _The Occultation of Orion_.

=Œte´an Knight= (_The_). Her´culês is so called, because he burnt himself to death on Mount Œta or Œtæa, in Thessaly.

So also did that great Œtean knight For his love’s sake his lion’s skin undight.

Spenser, _Faëry Queen_, v. 8 (1596).

=Offa=, king of Mercia, was the son of Thingferth, and the eleventh in descent from Woden. Thus: Woden (1) his son Wihtlæg, (2) his son Wærmund, (3) Offa I., (4) Angeltheow, (5) Eomær, (6) Icel, (7) Pybba, (8) Osmod, (9) Enwulf, (10) Thingferth, (11) Offa, whose son was Egfert, who died within a year of his father. His daughter, Eadburga, married Bertric, king of the West Saxons; and after the death of her husband, she went to the court of King Charlemagne. Offa reigned thirty-nine years (755-794).

=O’Flaherty= (_Dennis_), called “Major O’Flaherty.” A soldier, says he, is “no livery for a knave,” and Ireland is “not the country of dishonor.” The major pays court to old Lady Rusport, but when he detects her dishonest purposes in bribing her lawyer to make away with Sir Oliver’s will, and cheating Charles Dudley of his fortune, he not only abandons his suit, but exposes her dishonesty.--Cumberland, _The West Indian_ (1771).

=Og=, king of Basan. Thus saith the rabbis:

The height of his stature was 23,033 cubits [_nearly six miles_]. He used to drink water from the clouds, and toast fish by holding them before the orb of the sun. He asked Noah to take him into the ark, but Noah would not. When the flood was at its deepest, it did not reach to the knees of this giant. Og lived 3000 years, and then he was slain by the hand of Moses.

Moses was himself ten cubits in stature [_fifteen feet_], and he took a spear ten cubits long, and threw it ten cubits high, and yet it only reached the heel of Og.... When dead, his body reached as far as the river Nile, in Egypt.

Og’s mother was Enac, a daughter of Adam. Her fingers were two cubits long [_one yard_], and on each finger she had two sharp nails. She was devoured by wild beasts.--Maracci.

In the satire of _Absalom and Achitophel_, by Dryden and Tate, Thomas Shadwell, who was a very large man, is called “Og.”

=O´gier, the Dane=, one of the paladins of the Charlemagne epoch. When 100 years old, Morgue, the fay, took him to the island of Av´alon, “hard by the terrestrial paradise;” gave him a ring which restored him to ripe manhood, a crown which made him forget his past life, and introduced him to King Arthur. Two hundred years afterwards, she sent him to defend France from the paynims, who had invaded it; and having routed the invaders, he returned to Avalon again.--_Ogier, le Danois_ (a romance).

In a pack of French cards, Ogier, the Dane, is knave of spades. His exploits are related in the _Chansons de Geste_; he is introduced by Ariosto in _Orlando Furioso_, and by Morris in his _Earthly Paradise_ (“August”).

_Ogier’s Swords_, Curtāna (“the cutter”) and Sauvagine.

_Ogier’s Horse_, Papillon.

=Ogle= (_Miss_), friend of Mrs. Racket; she is very jealous of young girls, and even of Mrs. Racket, because she was some six years her junior.--Mrs. Cowley, _The Belle’s Stratagem_ (1780).

=O´gleby= (_Lord_), an old fop, vain to excess, but good-natured withal, and quite the slave of the fair sex, were they but young and fair. At the age of 70, his lordship fancied himself an Adonis, notwithstanding his qualms and his rheumatism. He required a great deal of “brushing, oiling, screwing, and winding up before he appeared in public,” but when fully made up, was game for the part of “lover, rake, or fine gentleman.” Lord Ogleby made his bow to Fanny Sterling, and promised to make her a countess; but the young lady had been privately married to Lovewell for four months.--Colman and Garrick, _The Clandestine Marriage_ (1766).

=O´gri=, giants who fed on human flesh.

=O’Groat= (_John_), with his two brothers, Malcolm and Gavin, settled in Caithness in the reign of James IV. The families lived together in harmony for a time, and met once a year at John’s house. On one occasion a dispute arose about precedency--who was to take the head of the table, and who was to go out first. The old man said he would settle the question at the next annual muster; accordingly he made as many doors to his house as there were families, and placed his guests at a round table.

=Oig M’Combich= (_Robin_), or M’Gregor, a Highland drover, who quarrels with Harry Wakefield, an English drover, about a pasture-field, and stabs him. Being tried at Carlisle for murder, Robin is condemned to death.--Sir W. Scott, _The Two Drovers_ (time, George III.).

=Oina-Morul=, daughter of Mal-Orchol, king of Fuärfed (a Scandinavian Island). Ton-Thormod asked her in marriage, and being refused by the father, made war upon him. Fingal sent his son Ossian to the aid of Mal-Orchol, and he took Ton-Thormod prisoner. The king now offered Ossian his daughter to wife, but the warrior-bard discovered that the lady had given her heart to Ton-Thormod; whereupon he resigned his claim, and brought about a happy reconciliation.--Ossian, _Oina-Morul_.

=Oith´ona=, daughter of Nuäth, betrothed to Gaul, son of Morni, and the day of their marriage was fixed; but before the time arrived, Fingal sent for Gaul to aid him in an expedition against the Britons. Gaul promised Oithona, if he survived, to return by a certain day. Lathmon, the brother of Oithona, was called away from home at the same time, to attend his father on an expedition; so the damsel was left alone in Dunlathmon. It was now that Dunrommath, lord of Uthal (one of the Orkneys) came and carried her off by force to Trom´athon, a desert island, where he concealed her in a cave. Gaul returned on the day appointed, heard of the rape, sailed for Trom´athon, and found the lady, who told him her tale of woe; but scarcely had she ended when Dunrommath entered the cave with his followers. Gaul instantly fell on him, and slew him. While the battle was raging, Oithona, arrayed as a warrior, rushed into the thickest of the fight, and was slain. When Gaul had cut off the head of Dunrommath, he saw what he thought a youth dying of a wound, and taking off the helmet, perceived it was Oithona. She died, and Gaul returned disconsolate to Dunlathmon.--Ossian, _Oithona_.

=Okba=, one of the sorcerers in the caves of Dom-Daniel “under the roots of the ocean.” It was decreed by fate that one of the race of Hodei´rah (3 _syl._), would be fatal to the sorcerers; so Okba was sent forth to kill the whole race, both root and branch. He succeeded in cutting off eight of them, but Thal´aba contrived to escape. Abdaldar was sent to hunt down the survivor, but was himself killed by a simoom.

“Curse on thee, Okba!” Khawla cried.... “Okba, wert thou weak of heart? Okba, wert thou blind of eye? Thy fate and ours were on the lot ... Thou hast let slip the reins of Destiny. Curse thee, curse thee, Okba!”

Southey, _Thalaba, the Destroyer_, ii. 7 (1797).

=O’Kean= (_Lieutenant_), a quondam admirer of Mrs. Margaret Bertram, of Singleside.--Sir W. Scott, _Guy Mannering_ (time, George II.).

=Olave=, brother of Norma, and grandfather of Minna and Brenda Troil.--Sir W. Scott, _The Pirate_ (time, William III.).

=Old Bags.= John Scott, Lord Eldon; so called because he carried home with him in sundry bags the cases pending his judgment (1751-1838).

=Old Bona Fide= (2 _syl._), Louis XIV. (1638, 1643-1715).

=Old Curiosity Shop= (_The_), a tale by C. Dickens (1840). An old man, having run through his fortune, opened a curiosity shop in order to earn a living, and brought up a granddaughter, named Nell [Trent], 14 years of age. The child was the darling of the old man, but, deluding himself with the hope of making a fortune by gaming, he lost everything, and went forth, with the child, a beggar. Their wanderings and adventures are recounted till they reach a quiet country village, where the old clergyman gives them a cottage to live in. Here Nell soon dies, and the grandfather is found dead upon her grave. The main character, next to Nell, is that of a lad named Kit [Nubbles], employed in the curiosity shop, who adored Nell as “an angel.” This boy gets in the service of Mr. Garland, a genial, benevolent, well-to-do man in the suburbs of London; but Quilp hates the lad, and induces Brass, a solicitor of Bevis Marks, to put a £5 bank-note in the boy’s hat, and then accuse him of theft. Kit is tried, and condemned to transportation, but the villainy being exposed by a girl-of-all-work, nicknamed “The Marchioness,” Kit is liberated and restored to his place, and Quilp drowns himself.

=Old Cutty Soames= (1 _syl._), the fairy of the mine.

=Old Fox= (_The_), Marshal Soult; so called from his strategic abilities and never-failing resources (1769-1851).

=Old Glory=, Sir Francis Burdett; so called by the radicals, because at one time he was their leader. In his later years Sir Francis joined the tories (1770-1844).

=Old Grog=, Admiral Edward Vernon; so called from his wearing a grogram coat in foul weather (1684-1757).

=Old Harry=, the devil. The Hebrew _seirim_ (“hairy ones”) is translated “devils” in _Lev._ xvii. 7, probably meaning “he-goats.”

=Old Hickory.= General Andrew Jackson was so called in 1813. He was first called “Tough,” then “Tough as Hickory,” then “Hickory,” and lastly “Old Hickory.”

=Old Humphrey=, the pseudonym of George Mogridge, of London (died 1854).

=Old Maid= (_The_), a farce by Murphy (1761). Miss Harlow is the “old maid,” aged 45, living with her brother and his bride, a beautiful young woman of 23. A young man of fortune, having seen them at Ranelagh, falls in love with the younger lady; and, inquiring their names, is told they are “Mrs. and Miss Harlow.” He takes it for granted that the elder lady is the mother, and the younger the daughter, so asks permission to pay his addresses to “Miss Harlow.” The request is granted, but it turns out that the young man meant Mrs. Harlow; and the worst of the matter is that the elder spinster was engaged to be married to Captain Cape, but turned him off for the younger man; and, when the mistake was discovered, was left like the last rose of summer to “pine on the stem,” for neither felt inclined to pluck and wear the flower.

=Old Maids=, a comedy by S. Knowles (1841). The “old maids” are Lady Blanche and Lady Anne, two young ladies who resolved to die old maids. Their resolutions, however, are but ropes of sand, for Lady Blanche falls in love with Colonel Blount, and Lady Anne with Sir Philip Brilliant.

=Old Man= (_An_), Sir Francis Bond Head, Bart., who published his _Bubbles from the Brunnen of Nassau_ under this signature.

=Old Man Eloquent= (_The_), Isoc´ratês, the orator. The defeat of the Athenians at Cheronæ´a had such an effect on his spirits that he languished and died within four days, in the 99th year of his age.

... that dishonest victory At Cheronæa, fatal to liberty, Killed with report that Old Man Eloquent.

Milton, _Sonnet_, ix.

The same _sobriquet_ was freely applied to John Quincy Adams.

=Old Man of the Mountains=, Hussan-ben-Sabah, sheik al Jebal; also called subah of Nishapour, the founder of the band (1090). Two letters are inserted in Rymer’s _Fœdera_ by Dr. Adam Clarke, the editor, said to be written by this sheik.

Aloaddin, “prince of the Assassins” (thirteenth century).

=Old Man of the Sea= (_The_), a monster which contrived to get on the back of Sindbad the sailor, and refused to dismount. Sindbad at length made him drunk, and then shook him off.--_Arabian Nights_ (“Sindbad the Sailor,” fifth voyage).

_Old Man of the Sea_ (_The_), Phorcus. He had three daughters, with only one eye and one tooth between ’em.--_Greek Mythology._

=Old Manor-House= (_The_), a novel by Charlotte Smith. Mrs. Rayland is the lady of the manor (1793).

=Old Moll=, the beautiful daughter of John Overie or Audery (contracted into Overs) a miserly ferryman. “Old Moll” is a standing toast with the parish officers of St. Mary Overs’.

=Old Mortality=, the best of Scott’s historical novels (1716). Morton is the best of his young heroes, and serves as an excellent foil to the fanatical and gloomy Burley. The two classes of actors, viz., the brave and dissolute cavaliers, and the resolute, oppressed covenanters, are drawn in bold relief. The most striking incidents are the terrible encounter with Burley in his rocky fastness; the dejection and anxiety of Morton on his return from Holland; and the rural comfort of Cuddie Headrigg’s cottage on the banks of the Clyde, with its thin blue smoke among the trees, “showing that the evening meal was being made ready.”

_Old Mortality_ always appeared to me the “Marmion” of Scott’s novels.--Chambers, _English Literature_, ii. 587.

_Old Mortality_, an itinerant antiquary, whose craze is to clean the moss from gravestones, and keep their letters and effigies in good condition.--Sir W. Scott, _Old Mortality_ (time, Charles II.).

⁂ The prototype of “Old Mortality” was Robert Patterson.

=Old Noll=, Oliver Cromwell (1590-1658).

_Old Noll’s Fiddler_, Sir Roger Lestrange, who played the base-viol at the musical parties held at John Hingston’s house, where Oliver Cromwell was a constant guest.

=Old Rowley=, Charles II., so called from his favorite race-horse (1630, 1660-1685).

=Old Stone.= Henry Stone, statuary and painter (died 1653).

=Oldboy= (_Colonel_), a manly retired officer, fond of his glass, and not averse to a little spice of the Lothario spirit.

_Lady Mary Oldboy_, daughter of Lord Jessamy, and wife of the colonel. A sickly nonentity, “ever complaining, ever having something the matter with her head, back, or legs.” Afraid of the slightest breath of wind, jarred by a loud voice, and incapable of the least exertion.

_Diana Oldboy_, daughter of the colonel. She marries Harman.

_Jessamy_, son of the colonel and Lady Mary. An insufferable prig.--Bickerstaff, _Lionel and Clarissa_.

=Oldbuck= (_Jonathan_), the antiquary, devoted to the study and accumulation of old coins and medals, etc. He is sarcastic, irritable, and a woman-hater; but kind-hearted, faithful to his friends, and a humorist.--Sir W. Scott, _The Antiquary_ (time, George III.).

An excellent temper, with a slight degree of subacid humor; learning, wit, and drollery, the more poignant that they were a little marked by the peculiarities of an old bachelor; a soundness of thought, rendered more forcible by an occasional quaintness of expression--these were the qualities in which the creature of my imagintion[TN-46] resembled my benevolent and excellent friend.--Sir W. Scott.

The merit of _The Antiquary_ as a novel rests on the inimitable delineation of Oldbuck, that model of black-letter and Roman-camp antiquaries, whose oddities and conversation are rich and racy as any of the old crusted port that John of the Girnel might have held in his monastic cellars.--Chambers, _English Literature_, ii. 586.

=Oldcastle= (_Sir John_), a drama by Anthony Munday (1600). This play appeared with the name of Shakespeare on the title-page.

=Old Sledge.= Game of cards that, played at the “Settlemint”--(a group of log huts) among the Tennessee mountains, has a fatal fascination for Josiah Tait, who loses to a former suitor of the woman he has married everything he owns. The property is restored through the unexpected magnanimity of the winner, and the playing of Old Sledge becomes a lost art at the “Settlemint.”--Charles Egbert Craddock, _In the Tennessee Mountains_ (1884).

=Oldworth=, of Oldworth Oaks, a wealthy squire, liberally educated, very hospitable, benevolent, humorous, and whimsical. He brings up Maria, “the maid of the Oaks” as his ward, but she is his daughter and heiress.--J Burgoyne, _The Maid of the Oaks_ (1779).

=Ole ’Stracted=, a superannuated negro, formerly a slave, whose fancy is to wait in a hut on the old plantation for his master’s return. He was “sold South” forty years before, and his young master promised to go down next summer and buy him back. The poor fellow has saved in these years twelve hundred dollars to pay for his freedom. Unknown to himself or to them, his son and daughter-in-law minister to him in his last moments. He has put on his clean shirt, sure that “young marster” will come to-day. Rising to his feet he cries out:

“Heah de one you lookin’ for, Marster! Mymy--heah’s Little Ephrum!”

And with a smile on his face he sank back into his son’s arms.--Thomas Nelson Page, _In Ole Virginia_ (1887).

=Olifant=, the horn of Roland or Orlando. This horn and the sword “Durinda´na” were buried with the hero. Turpin tells us in his _Chronicle_ that Charlemagne heard the blare of this horn at a distance of eight miles.

_Olifant_ (_Basil_), a kinsman of Lady Margaret Bellenden, of the Tower of Tillietudlem.--Sir W. Scott, _Old Mortality_ (time, Charles II.).

=Olifaunt= (_Lord Nigel_), of Glenvarloch. On going to court to present a petition to James I. he aroused the dislike of the duke of Buckingham. Lord Dalgarno gave him the cut direct, and Nigel struck him, but was obliged to seek refuge in Alsatia. After various adventures he married Margaret Ramsay, the watch-maker’s daughter, and obtained the title-deeds of his estates.--Sir W. Scott, _The Fortunes of Nigel_ (time, James I.).

=Olim´pia=, the wife of Bireno, uncompromising in love, and relentless in hate.--Ariosto, _Orlando Furioso_ (1516).

_Olimpia_, a proud Roman lady of high rank. When Rome was sacked by Bourbon, she flew for refuge to the high altar of St. Peter’s, where she clung to a golden cross. On the advance of certain soldiers in the army of Bourbon to seize her, she cast the huge cross from its stand, and as it fell it crushed to death the foremost soldier. Others then attempted to seize her, when Arnold dispersed them and rescued the lady; but the proud beauty would not allow the foe of her country to touch her, and flung herself from the high altar on the pavement. Apparently lifeless, she was borne off; but whether she recovered or not we are not informed, as the drama was never finished.--Byron, _The Deformed Transformed_ (1821).

=Olindo=, the lover of Sophronia. Aladine, king of Jerusalem, at the advice of his magicians, stole an image of the Virgin, and set it up as a palladium in the chief mosque. During the night it was carried off, and the king, unable to discover the thief, ordered all his Christian subjects to be put to death. To prevent this massacre, Sophronia delivered up herself as the perpetrator of the deed, and Olindo, hearing thereof, went to the king and declared Sophronia innocent, as he himself had stolen the image. The king commanded both to be put to death, but, by the intercession of Clorinda, they were both set free.--Tasso, _Jerusalem Delivered_, ii. (1575).

=Oliphant= or =Ollyphant=, the twin-brother of Argan´tê, the giantess. Their father was Typhæus, and their mother Earth.--Spenser, _Faëry Queen_, iii. 7, 11 (1590).

=Olive Litchfield=, young woman married to an elderly man, whose fatherly kindness wins her grateful esteem. With her knowledge and sanction he leaves the bulk of his property to charitable objects, thereby disappointing her rapacious relatives. She is quite willing, as a widow, to marry the man her mother dismissed in order to wed her to a millionaire, but James Merion, the cured suitor, prefers a fresh love.--Ellen Olney Kirk, _A Daughter of Eve_.

=Olive Tree= (_The_), emblem of Athens, in memory of the famous dispute between Minerva (the patron goddess of Athens) and Neptune. Both deities wished to found a city on the same spot; and, referring the matter to Jove, the king of gods and men decreed that the privilege should be granted to whichever would bestow the most useful gift on the future inhabitants. Neptune struck the earth with his trident, and forth came a war-horse; Minerva produced an olive tree, emblem of peace; and Jove gave the verdict in favor of Minerva.

=Olive Carraze=, beautiful quadroon, virtuous and accomplished, whose mother, _Madame Delphine_, swears Olive is not her child, that she may secure the girl’s legal marriage with a white man who loves her honorably. On the afternoon of the marriage-day, when the wedded pair have taken their departure, Madame Delphine seeks her confessor, owns the perjury, receives absolution, and falls dead in the confessional.--George W. Cable, _Madame Delphine_ (1879).

=Oliver=, the elder son of Sir Rowland de Bois [_Bwor_], left in charge of his younger brother, Orlando, whom he hated and tried indirectly to murder. Orlando, finding it impossible to live in his brother’s house, fled to the forest of Arden, where he joined the society of the banished duke. One morning he saw a man sleeping, and a serpent and lioness bent on making him their prey. He slew both the serpent and lioness, and then found that the sleeper was his brother Oliver. Oliver’s disposition from this moment underwent a complete change, and he loved his brother as much as he had before hated him. In the forest the two brothers met Rosalind and Celia. The former, who was the daughter of the banished duke, married Orlando; and the latter, who was the daughter of the usurping duke, married Oliver.--Shakespeare, _As You Like It_ (1598).

=Oliver and Rowland=, the two chief paladins of Charlemagne. Shakespeare makes the duke of Alençon say:

Froissart, a countryman of ours, records, England all Olivers and Rowlands bred During the time Edward the Third did reign.

1 _Henry VI._ act i. sc. 2 (1589).

_Oliver’s Horse_, Ferrant d’Espagne.

_Oliver’s Sword_, Haute-claire.

=Oliver le Dain= or _Oliver le Diable_, court barber, and favorite minister of Louis XI. Introduced by Sir W. Scott in _Quentin Durward_ and _Anne of Geierstein_ (time, Edward IV.).

=Oliver Floyd=, a dashing lawyer, with iron-gray hair, and separated from his wife. His guardianly attention to Carol Lester set village and town gossip to talking.--Charlotte Dunning, _Upon a Cast_ (1885).

=Oliv´ia=, a rich countess, whose love was sought by Orsino, duke of Illyria; but having lost her brother, Olivia lived for a time in entire seclusion, and in no wise reciprocated the duke’s love; in consequence of which Viola nicknamed her “Fair Cruelty.” Strange as it may seem, Olivia fell desperately in love with Viola, who was dressed as the duke’s page, and sent her a ring. Mistaking Sebastian (Viola’s brother) for Viola, she married him out of hand.--Shakespeare, _Twelfth Night_ (1614).

Never were Shakespeare’s words more finely given than by Miss M. Tree [1802-1862] in the speech to “Olivia,” beginning, “Make me a willow cabin at thy gate.”--Talfourd (1821).

_Olivia_, a female Tartuffe (2 _syl._), and consummate hypocrite of most unblushing effrontery.--Wycherly, _The Plain Dealer_ (1677).

The duc de Montausier was the prototype of Wycherly’s “Mr. Manly,” the “plain dealer,” and of Molière’s “Misanthrope.”

_Olivia_, daughter of Sir James Woodville, left in charge of a mercenary wretch, who, to secure to himself her fortune, shut her up in a convent in Paris. She was rescued by Leontine Croaker, brought to England, and became his bride.--Goldsmith, _The Good-natured Man_ (1768).

_Olivia_, the tool of Ludovĭco. She loved Vicentio, but Vicentio was plighted to Evadne, sister of Colonna. Ludovico induced Evadne to substitute the king’s miniature for that of Vicentio, which she was accustomed to wear. When Vicentio returned, and found Evadne with the king’s miniature, he believed what Ludovico had told him that she was the king’s wanton, and he cast her off. Olivia repented of her duplicity, and explained it all to Vicentio, whereby a reconciliation took place, and Vicentio married his troth-plighted lady, “more sinned against than sinning.”--Shiel, _Evadne_ or _The Statue_ (1820).

_Olivia_, “the rose of Aragon,” was the daughter of Ruphi´no, a peasant, and bride of Prince Alonzo of Aragon. The king refused to recognize the marriage, and, sending his son to the army, compelled the cortez to pass an act of divorce. This brought to a head a general revolt. The king was dethroned, and Almagro made regent. Almagro tried to make Olivia marry him; ordered her father to the rack, and her brother to death. Meanwhile the prince returned at the head of his army, made himself master of the city, put down the revolt, and had his marriage duly recognized. Almagro took poison and died.--S. Knowles, _The Rose of Aragon_ (1842).

_Olivia_ [PRIMROSE], the elder daughter of the vicar of Wakefield. She was a sort of a Hebê in beauty, open, sprightly, and commanding. Olivia Primrose “wished for many lovers,” and eloped with Squire Thornhill. Her father went in search of her, and on his return homeward, stopped at a roadside inn, called the Harrow, and there found her turned out of the house by the landlady. It was ultimately discovered that she was legally married to the squire.--Goldsmith, _Vicar of Wakefield_ (1765).

_Olivia_, young girl who hearkens to _The Talking Oak_ in Tennyson’s poem of that name (1842).

=Olivia de Zenuga=, daughter of Don Cæsar. She fixed her heart on having Julio de Melessina for her husband, and so behaved to all other suitors as to drive them away. Thus to Don Garcia, she pretended to be a termagant; to Don Vincentio, who was music-mad, she professed to love a Jew’s-harp above every other instrument. At last Julio appeared, and her “bold stroke” obtained as its reward “the husband of her choice.”--Mrs. Cowley, _A Bold Stroke for a Husband_ (1782).

=Olla=, bard of Cairbar. These bards acted as heralds.--Ossian.

=Ol´lapod= (_Cornet_), at the Galen’s Head. An eccentric country apothecary, “a jumble of physic and shooting.” Dr. Ollapod is very fond of “wit,” and when he has said what he thinks a smart thing he calls attention to it, with “He! he! he!” and some such expression as “Do you take, good sir! do you take?” But when another says a smart thing, he titters, and cries, “That’s well! that’s very well! Thank you, good sir, I owe you one!” He is a regular rattle; details all the scandal of the village; boasts of his achievements or misadventures; is very mercenary, and wholly without principle.--G. Colman, _The Poor Gentleman_ (1802).

⁂ This character is evidently a copy of Dibdin’s “Doctor Pother” in _The Farmer’s Wife_ (1780).

=Ol´lomand=, an enchanter, who persuaded Ahu´bal, the rebellious brother of Misnar, sultan of Delhi, to try by bribery to corrupt the troops of the sultan. By an unlimited supply of gold, he soon made himself master of the southern provinces and Misnar marched to give him battle. Ollomand, with 5000 men, went in advance and concealed his company in a forest; but Misnar, apprised thereof by spies, set fire to the forest, and Ollomand was shot by the discharge of his own cannons, fired spontaneously by the flames: “For enchantment has no power except over those who are first deceived by the enchanter.”--Sir C. Morell [J. Ridley], _Tales of the Genii_ (“The Enchanter’s Tale,” vi., 1751).

=Oluf= (_Sir_), a bridegroom who rode late to collect guests to his wedding. On his ride, the daughter of the erl king met him and invited him to dance a measure, but Sir Oluf declined. She then offered him a pair of gold spurs, a silk doublet, and a heap of gold, if he would dance with her: and when he refused to do so, she struck him “with an elf-stroke.” On the morrow, when all the bridal party was assembled, Sir Oluf was found dead in a wood.--_A Danish Legend_ (Herder).

=Olympia=, countess of Holland and wife of Bire´no. Being deserted by Bireno, she was bound naked to a rock by pirates, but was delivered by Orlando, who took her to Ireland, where she married King Oberto (bks. iv., v.),[TN-47]--Ariosto, _Orlando Furioso_ (1516).

_Olympia_, sister to the grand-duke of Muscovia.--Beaumont and Fletcher, _The Loyal Subject_ (1618).

=Omawhaws= [_Om´.a.waws_] or =Omahas=, an Indian tribe of Dakota.

O, chief of the mighty Omahaws!

Longfellow, _To the Driving Cloud_.

=Ombre´lia=, the rival of Smilinda, for the love of Sharper; “strong as the footman, as the master sweet.”--Pope, _Eclogues_ (“The Basset Table,” 1715).

=O’Neal= (_Shan_), leader of the Irish insurgents in 1567. Shan O’Neal was notorious for profligacy.

=O’Malley= (_Charles_). Dashing Irishman in Charles James Lever’s novel _Charles O’Malley_.

=O’More= (_Rory_). Hero of a novel of same name and the lover of Katharine O’Bawn, in the popular song, Rory O’More. Novel and song are by Samuel Lover.

=Onei´za= (3 _syl._), daughter of Moath, a well-to-do Bedouin, in love with Thal´aba, “the destroyer” of sorcerers. Thalaba, being raised to the office of vizier, married Oneiza, but she died on the bridal night.--Southey, _Thalaba, the Destroyer_, ii., vii. (1797).

=Oneida Warrior= (_The_), Outalissi (_q.v._).--Campbell, _Gertrude of Wyoming_ (1809).

=Only= (_The_), Johann Paul Friedrich Richter, called by the Germans _Der Einzige_, from the unique character of his writings.

⁂ The Italians call Bernardo Accolti, an Italian poet of the sixteenth century, “Aretino the Only,” or _L’Unico Aretino_.

=Open, Ses´ame!= (3 _syl._) the magic words which caused the cave door of the “forty thieves” to open of itself. “Shut Sesamê!” were the words which caused it to shut. Sesame is a grain, and hence Cassim, when he forgot the word, cried, “Open, Wheat!” “Open, Rye!” “Open, Barley!” but the door obeyed no sound but “Open, Sesamê!”--_Arabian Nights_ (“Ali Baba or The Forty Thieves”).

=Ophelia=, the young, beautiful, and pious daughter of Polo´nius, lord chamberlain to the king of Denmark. Hamlet fell in love with her, but her father forbade her holding word or speech with the Prince, and she obeyed so strictly that her treatment of him, with his other wrongs, drove him to upbraid and neglect her. Ophelia was so wrought upon by his conduct that her mind gave way. In her madness, attempting to hang a wreath of flowers on a willow by a brook, a branch broke, and she was drowned.--_Hamlet_ (1596).

Tate Wilkinson, speaking of Mrs. Cibber (Dr. Arne’s daughter, 1710-1766), says: “Her features, figure and singing, made her the best ‘Ophelia’ that ever appeared either before or since.”

=Ophiuchus= [_Of´.i.ū´.kus_], the constellation _Serpentarius_. Ophiuchus is a man who holds a serpent (Greek _Ophis_) in his hands. The constellation is situated to the south of _Herculês_; and the principal star, called “Ras Alhague,” is in the man’s head. (_Ras Alhague_)[TN-48] is from the Arabic, _rás-al-hawwá_, “the serpent-charmer’s head.”)

Satan stood Unterrified, and like a comet burned, That fires the length of Ophiuchus huge, In the Arctic sky.

Milton, _Paradise Lost_, ii. 709, etc. (1665).

=Opium-Eater= (_The English_), Thomas de Quincey, who published _Confessions of an English Opium-Eater_ (1845).

=O. P. Q.=, Robert Merry (1755-1798); object of Gifford’s satire in _Baviad_ and _Mæviad_, and of Byron’s in his _English Bards and Scotch Reviewers_. He marries Miss Brunton, the actress.

And Merry’s metaphors appear anew, Chained to the signature of O. P. Q.

Byron, _English Bards and Scotch Reviewers_ (1809).

=Oracle of the Church= (_The_), St. Bernard (1091-1153).

=Oracle of the Holy Bottle= (_The_), an oracle sought for by Rabelais, to solve the knotty point “whether Panurge (2 _syl._) should marry or not.” The question had been put to sibyl and poet, monk and fool, philosopher and witch, but none could answer it. The oracle was ultimately found in Lantern-land.

This, of course, is a satire on the celibacy of the clergy and the withholding of the cup from the laity. Shall the clergy marry or not?--that was the moot point; and the “Bottle of Tent Wine,” or the clergy, who kept the bottle to themselves, alone could solve it. The oracle and priestess of the bottle were both called _Bacbuc_ (Hebrew for “bottle”).--Rabelais, _Pantag´ruel_, iv., v. (1545).

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

... I am Sir Oracle, And when I ope my lips, let no dog bark!”[TN-49]

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

=Orania=, the lady-love of Am´adis of Gaul.--Lobeira, _Amadis of Gaul_ (fourteenth century).

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

⁂ Hogarth has introduced him into several of his pictures; and Pope says of him:

Imbround with native bronze, lo! Henley stands, Tuning his voice, and balancing his hands, How fluent nonsense trickles from his tongue! How sweet the periods, neither said nor sung!...

Oh, great restorer of the good old stage, Preacher at once and zany of thy age! Oh, worthy thou of Egypt’s wise abodes; A decent priest where monkeys were the gods!

_The Dunciad_ (1742).

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

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

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

=Orbilius=, the schoolmaster who taught Horace. The poet calls him “the flogger” (_plagōsus_).--_Ep._ ii. 71.

⁂ _The Orbilian Stick_ is a birch rod or cane.

=Ordigale=, the otter in the beast-epic of _Reynard the Fox_, i. (1498).

=Ordovi´ces= (4 _syl._), people of Ordovicia, that is, Flintshire, Denbighshire, Merionetshire, Montgomeryshire, Carnarvonshire and Anglesey. (In Latin the _i_ is short: _Ordovĭcês_.)

The Ordovīces now which North Wales people be.

Drayton, _Polyolbion_, xvi. (1613).

=Or´dovies= (3 _syl._), the inhabitants of North Wales. (In Latin North Wales is called _Ordovic´ia_.)

Beneath his [_Agricola’s_] fatal sword the Ordovies to fall (Inhabiting the west), those people last of all ... withstood.

Drayton, _Polyolbion_, viii. (1612).

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

I see my Oreäd coming down.

_Maud_, I. xvi. 1 (1855).

_Oreäd._ Echo is so called.

=Ore´ades= (4 _syl._) or =O´reads= (3 _syl._), mountain-nymphs.

Ye Cambrian [_Welsh_] shepherds then, whom these our mountains please, And ye our fellow-nymphs, ye light Oreädês.

Drayton, _Polyolbion_, ix. (1612).

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

’Twas Orelio On which he rode, Roderick’s own battle-horse, Who from his master’s hand had wont to feed, And with a glad docility obey His voice familiar.

Southey, _Roderick, etc._, xxv. (1814).

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

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

⁂ Glück has an opera called _Orfeo_; the libretto, by Calzabigi, based on a dramatic piece by Poliziano (1764).

=Orgari´ta=, “the orphan of the Frozen Sea,” heroine of a drama. (See MARTHA.)--Stirling, _The Orphan of the Frozen Sea_ (1856).

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

=Orgoglio= [_Or.gole´.yo_], a hideous giant, as tall as three men, son of Earth and Wind. Finding the Red Cross Knight at the fountain of Idleness he beats him with a club, and makes him his slave. Una informs Arthur of it, and Arthur liberates the knight and slays the giant (_Rev._ xiii. 5, 7, with _Dan._ vii. 21, 22).--Spenser, _Faëry Queen_, i. (1590).

⁂ Arthur first cut off Orgoglio’s _left arm_, _i. e._ Bohemia was cut off first from the Church of Rome; then he cut off the giant’s _right leg_, _i. e._ England.

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

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

⁂ Queen Elizabeth is called “the peerless Oriana,” especially in the madrigals entitled _The Triumphs of Oriana_ (1601). Ben Jonson applies the name to the queen of James I. (_Oriens Anna_).

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

_Orian´a_, the fair, brilliant, and witty “chaser” of the “wild goose” Mirabel, to whom she is betrothed, and whose wife she ultimately becomes.--Beaumont and Fletcher, _The Wild-Goose Chase_ (1652).

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

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

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

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

=Orient= (_The_). In _The New Priest of Conception Bay_, Fanny Dare sings to little Mary Barré how the good ship _Orient_ was wrecked.

“Woe for the brave ship Orient! Woe for the old ship Orient! For in the broad, broad light With the land in sight,-- Where the waters bubbled white,-- One great, sharp shriek!--one shudder of affright! And---- down went the brave old ship, the Orient!”

Robert Lowell, _The New Priest of Conception Bay_ (1858).

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

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

I have not reared the Oriflamme of death. ... me it behooves To spare the fallen foe.

Southey, _Joan of Arc_, viii. 621, etc. (1837).

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

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

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

⁂ Her praises were sung by Cowley, Dryden, and others.

We allowed you beauty, and we did submit ... Ah, cruel sex, will you depose us too in wit? Orinda does in that too reign.

Cowley, _On Orinda’s Poems_ (1647).

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

He [_Orion_] Reeled as of yore beside the sea, When, blinded by Œnopion, He sought the blacksmith at his forge, And, climbing up the mountain gorge, Fixed his blank eyes upon the sun.

Longfellow, _The Occultation of Orion_.

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

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

_Orion’s Wife_, Sidê.

_Orion._ After Orion has set in the west, _Aurīga_ (the Charioteer) and _Gem´ini_ (Castor and Pollux) are still visible. Hence Tennyson says:

... the Charioteer And starry Gemini hang like glorious crowns Over Orion’s grave low down in the west.

_Maud_, III. vi. 1 (1855).

_Orion_, a seraph, the guardian angel of Simon Peter.--Klopstock, _The Messiah_, iii. (1748).

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

Such, dalliance as alone the North wind hath with her, Orithya not enjoyed, from Thrace when he her took, And in his saily plumes the trembling virgin shook.

Drayton, _Polyolbion_, x. (1612).

Phineas Fletcher calls the word “Orithy´a.”

None knew mild zephyr’s from cold Eurus’ mouth, Nor Orithya’s lover’s violence [_North wind_].

_Purple Island_, i. (1633).

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

_Orlando_ (in French ROLAND, _q.v._), one of the paladins of Charlemagne, whose nephew he was. Orlando was confiding and loyal, of great stature, and possessed unusual strength. He accompanied his uncle into Spain, but on his return was waylaid in the valley of Roncesvallês (in the Pyrenees) by the traitor Ganelon, and perished with all his army, A.D. 778. His adventures are related in Turpin’s _Chronique;_ in the _Chanson de Roland_, attributed to Théroulde. He is the hero of Bojardo’s epic, _Orlando Innamorato_; and of Ariosto’s continuation called _Orlando Furioso_ (“Orlando mad”). Robert Greene, in 1594, produced a drama which he called _The History of Orlando_. Rhode’s farce of _Bombastês Furioso_ (1790) is a burlesque of Ariosto’s _Orlando Furioso_.

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

_Orlando’s Horse_, Brigliadoro (“golden bridal”).

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

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

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

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

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

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

Then at full stretch he [_Rogero_] raised his arm above The furious Rodomont, and the weapon drove Thrice in his gaping throat--so ends the strife, And leaves secure Rogero’s fame and life.

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

⁂ Berni of Tuscany, in 1538, published a burlesque in verse on the same subject.

=Orleans=, a most passionate innamorato, in love with Agripy´na.--Thomas Dekker, _Old Fortunatus_ (1600).

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

(“Biron,” in Shakespeare’s _Love’s Labor’s Lost_; “Romeo,” in his _Romeo and Juliet_.)

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

_Orleans_ (_Louis, duc d’_), to whom the Princess Joan (daughter of Louis XI.) is affianced.--Sir W. Scott, _Quentin Durward_ (time, Edward IV.).

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

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

=Or´mandine= (3 _syl._), the necromancer who threw St. David into an enchanted sleep for seven years, from which he was reclaimed by St. George.--R. Johnson, _The Seven Champions of Christendom_, i. 9 (1617).

=Orme= (_Victor_), a poor gentleman in love with Elsie.--Wybert Reeve, _Parted_.

=Ormond= (_The duke of_), a privy councillor of Charles II.--Sir W. Scott, _Peveril of the Peak_ (time, Charles II.).

=Ormston= (_Jock_), a sheriff’s officer at Fairport.--Sir W. Scott, _The Antiquary_ (time, George III.).

=Ornithol´ogy= (_The Father of_), George Edwards (1693-1773).

=Oroma´zes= (4 _syl._), the principle of good in Persian mythology. Same as Yezad (_q.v._).

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

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

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

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

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

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

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

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

“You better mind yer parents and yer teachers fond and dear, An’ churish ’em ’at loves you an’ dry the orphant’s tear, An’ he’p the poor an’ needy ones ’at clusters all about, Er the gobble-uns ’ll git you Ef you Don’t Watch Out!”

James Whitcomb Riley, _The Boss Girl and Other Sketches_ (1886).

=Orpheus.= (For a parallel fable, see WAINAMOINEN.)

=Orpheus and Eurydice= (4 _syl._), Glück’s best opera (_Orfeo_). Libretto by Calzabigi, who also wrote for Glück the libretto of _Alceste_ (1767). King produced an English version of _Orpheus and Eurydice_.

⁂ The tale is introduced by Pope in his _St. Cecilia’s Ode_.

Of Orpheus now no more let poets tell, To bright Cecilia greater power is given; His numbers raised a shade from hell, Hers lift the soul to heaven.

Pope, _St. Cecilia’s Day_ (1709).

=Orpheus of Highwaymen=, John Gay, author of _The Beggar’s Opera_ (1688-1732).

=Orpheus of the Green Isle= (_The_), Furlough[TN-50] O’Carolan, poet and musician (1670-1738).

=Or´raca= (_Queen_), wife of Affonso II. The legend says that five friars of Morocco, went to her, and said, “Three things we prophesy to you: (1) we five shall all suffer martyrdom; (2) our bodies will be brought to Coimbra; and (3) which ever see our relics the first, you or the king, will die the same day.” When their bodies were brought to Coimba,[TN-51] the king told Queen Orraca she must join the procession with him. She pleaded illness, but Affonso replied the relics would cure her; so they started on their journey. As they were going, the queen told the king to speed on before, as she could not travel so fast; so he speeded on with his retinue, and started a boar on the road. “Follow him!” cried the king, and they went after the boar and killed it. In the mean time, the queen reached the procession, fully expecting her husband had joined it long ago; but lo! she beheld him riding up with great speed. That night the king was aroused at midnight with the intelligence that the queen was dead.--Southey, _Queen Orraca_ (1838); Francisco Manoel da Esperança, _Historia Sarafica_ (eightteenth[TN-52] century).

=Orrock= (_Puggie_), a sheriff’s officer at Fairport.--Sir W. Scott, _The Antiquary_ (time, George III.).

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

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

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

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

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

=Ortel´lius= (_Abraham_), a Dutch geographer, who published in 1570, his _Theatrum Orbis Terræ_, or _Universal Geography_ (1527-1598).

I more could tell to prove the place our own, Than by his spacious maps are by Ortellius shown.

Drayton, _Polyolbion_, vi. (1612).

=Ortheris=, cockney companion of Mulvaney. He suffers violently from homesickness in India.--Rudyard Kipling, _Soldiers Three_.

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

_Orthodoxy_ (_The Father of_), Athanasius (296-373).

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

With his two-headed dogge that Orthrus hight, Orthrus begotten by great Typhaon And foule Echidna in the house of Night.

Spenser, _Faëry Queen_, v., 10 (1596).

=Ortwine= (2 _syl._), knight of Metz, sister’s son of Sir Hagan of Trony, a Burgundian.--_The Nibelungen Lied_ (eleventh century).

=Or´ville= (_Lord_), the amiable and devoted lover of Evelina, whom he ultimately marries.--Miss Burney, _Evelina_ (1778).

=Osbaldistone= (_Mr._), a London merchant.

_Frank Osbaldistone_, his son, in love with Diana Vernon, whom he marries.

_Sir Hildebrand Osbaldistone_, of Osbaldistone Hall, uncle of Frank, his heir.

_His Sons_ were: Percival, “the sot;” Thorncliffe, “the bully;” John, “the gamekeeper;” Richard, “the horse-jockey:”[TN-53] Wilfred, “the fool;” and Rashleigh, “the scholar,” a perfidious villain killed by Rob Roy.--Sir W. Scott, Rob Roy (time, George I.).

_Rob Roy Macgregor_ was dramatized by Pocock.

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

_Maria_ and _Jane Osborne_, daughters of the merchant, and of the same mould. Maria married Frederick Bullock, a banker’s son.

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

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

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

Gun thog Caoilte a chlach nach gàn, Agus a n’ aighai’ chiean gun bhuail; Tri mil an tulloch gun chri.

_Gaelic Romances._

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

=Os´ewald= (3 _syl._), the reeve, of “the carpenteres craft,” an old man.--Chaucer, _Canterbury Tales_ (1388).

=Oseway= (_Dame_), the ewe, in the beast-epic of _Reynard the Fox_ (1498).

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

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

_Osiris_, the sun; Isis, the moon.

They [_the priests_] wore rich mitres shaped like the moon, To show that Isis doth the moon portend, Like as Osiris signifies the sun.

Spenser, _Faëry Queen_, v. 7 (1596).

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

⁂ This tragedy is an English adaptation of Voltaire’s _Zaïre_ (1733).

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

=Osmond=, an old Varangian guard.--Sir W. Scott, _Count Robert of Paris_ (time, Rufus).

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

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

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

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

From the story of Osseo Let [_us_] learn the fate of jesters.

Longfellow, _Hiawatha_, xii. (1855).

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

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

=Oswald=, steward to Goneril, daughter of King Lear.--Shakespeare, _King Lear_ (1605).

_Oswald_, the cup-bearer to Cedric, the Saxon, of Rotherwood.--Sir W. Scott, _Ivanhoe_ (time, Richard I.).

_Oswald_ (_Prince_), being jealous of Gondibert, his rival for the love of Rhodalind (the heiress of Aribert, king of Lombardy), headed a faction against him. A battle was imminent, but it was determined to decide the quarrel by four combatants on each side. In this combat Oswald was slain by Grondibert.[TN-54]--Sir W. Davenant, _Gondibert_, i. (died 1668).

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

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

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

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

=Otnit=, a legendary emperor of Lombardy, who gains the daughter of the soldan for wife, by the help of Elberich, the dwarf.--_The Heldenbuch_ (twelfth century).

=Otranto= (_Tancred, prince of_), a crusader.

_Ernest of Otranto_, page of the prince of Otranto.--Sir W. Scott, _Count Robert of Paris_ (time, Rufus).

_Otranto_ (_The Castle of_), a romance by Horace Walpole (1769).

=O’Trigger= (_Sir Lucius_), a fortune-hunting Irishman, ready to fight every one, on any matter, at any time.--Sheridan, _The Rivals_ (1775).

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

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

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

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

=Outalissi=, eagle of the Indian tribe of Onei´da, the death-enemies of the Hurons. When the Hurons attacked the fort under the command of Waldegrave (2 _syl._), a general massacre was made, in which Waldegrave and his wife was[TN-55] slain. But Mrs. Waldegrave, before she died, committed her boy, Henry, to the charge of Outalissi, and told him to place the child in the hands of Albert of Wy´oming, her friend. This Outalissi did. After a lapse of fifteen years, one Brandt, at the head of a mixed army of British and Indians, attacked Oneida, and a general massacre was made; but Outalissi, wounded, escaped to Wyoming, just in time to give warning of the approach of Brandt. Scarcely was this done, when Brandt arrived. Albert and his daughter, Gertrude, were both shot, and the whole settlement was extirpated.--Campbell, _Gertrude of Wyoming_ (1809).

=Outis= (Greek for “nobody”), a name assumed by Odysseus (_Ulysses_) in the cave of Polypheme (3 _syl._). When the monster roared with pain from the loss of his eye, his brother giants demanded who was hurting him. “Outis” (_Nobody_), thundered out Polypheme, and his companions left him.--Homer, _Odyssey_.

=Outram= (_Lance_), park-keeper to Sir Geoffrey Peveril.--Sir W. Scott, _Peveril of the Peak_ (time, Charles II.).

=Overdees= (_Rowley_), a highwayman.--Sir W. Scott, _Guy Mannering_ (time, George II.).

=O´verdo= (_Justice_), in Ben Jonson’s _Bartholomew Fair_ (1614).

=Overdone= (_Mistress_), a bawd.--Shakespeare, _Measure for Measure_ (1603).

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

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

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

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

=Overton= (_Colonel_), one of Cromwell’s officers.--Sir W. Scott, _Woodstock_ (time, Commonwealth).

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

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

So was her heavenly body comely raised On two faire columnes; those that Ovid praised In Julia’s borrowed name.

=O´wain= (_Sir_), the Irish knight of King Stephen’s court, who passed through St. Patrick’s purgatory by way of penance.--Henry of Saltrey, _The Descent of Owain_ (1153).

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

=Owen= (_Sam_), groom of Darsie Latimer, _i.e._ Sir Arthur Darsie Redgauntlet.--Sir W. Scott, _Redgauntlet_ (time, George III.).

_Owen_, confidential clerk of Mr. Osbaldistone, senior.--Sir W. Scott, _Rob Roy_ (time, George I.).

_Owen_ (_Sir_), passed in dream through St. Patrick’s purgatory. He passed the convent gate, and the warden placed him in a coffin. When the priests had sung over him the service of the dead, they placed the coffin in a cave, and Sir Owen made his descent. He came first to an ice desert, and received three warnings to retreat, but the warnings were not heeded, and a mountain of ice fell on him. “Lord, Thou canst save!” he cried, as the ice fell, and the solid mountain became like dust, and did Sir Owen no harm. He next came to a lake of fire, and a demon pushed him in. “Lord, Thou canst save!” he cried, and angels carried him to paradise. He woke with ecstacy, and found himself lying before the cavern’s mouth.--R. Southey, _St. Patrick’s Purgatory_ (from the _Fabliaux_ of M. le Grand.[TN-56]

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

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

Owls hoot in B♭ and G♭, or in F♯ and A♭.--Rev. G. White, _Natural History of Selborne_, xlv. (1789).

=Owl a Baker’s Daughter= (_The_). Our Lord once went into a baker’s shop to ask for bread. The mistress instantly put a cake in the oven for Him, but the daughter, thinking it to be too large, reduced it to half the size. The dough, howover,[TN-57] swelled to an enormous bulk, and the daughter cried out, “Heugh! heugh! heugh!” and was transformed into an owl.

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

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

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

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

Why, then, do folk this proverb put, “The black ox near trod on thy foot,” If that way were to thrive?

_Wiving and Thriving_, lvii. (1557).

The black oxe had not trode on his or her foote; But ere his branch of blesse could reach any roote, The flowers so faded that in fifteen weekes A man might copy the change in the cheekes Both of the poore wretch and his wife.

Heywood (1646).

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

⁂ _The son of the merchant Philipson_ is Sir Arthur de Vere.

_The countess of Oxford_, wife of the earl.--Sir W. Scott, _Anne of Geierstein_ (time, Edward IV.).

_Oxford_ (_The young earl of_), in the court of Queen Elizabeth.--Sir W. Scott, _Kenilworth_ (time, Elizabeth).

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

⁂ This legend is based on _Neh._ ii. 12-20.

=P= Placenticus, the Dominican, wrote a poem of 253 Latin hexameters, called _Pugna Porcorum_, every word of which begins with the letter _p_ (died 1548). It begins thus:

Plaudite, Porcelli, porcorum pigra propago Progreditur ... etc.

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

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

An Austrian army, awfully arrayed, Boldly by battery besieged Belgrade. Cossack commanders, cannonading, come, Dealing destruction’s devastating doom; Every endeavor engineers essay For fame, for fortune, forming furious fray. Gaunt gunners grapple, giving gashes good; Heaves high his head heroic hardihood. Ibraham, Islam, Ismael, imps in ill, Jostle John, Jarovlitz, Jem, Joe, Jack, Jill; Kick kindling Kutusoff, kings’ kinsmen kill; Labor low levels loftiest, longest lines; Men march ’mid moles, ’mid mounds, ’mid murderous mines. Now nightfall’s nigh, now needful nature nods, Opposed, opposing, overcoming odds. Poor peasants, partly purchased, partly pressed, Quite quaking, “Quarter! Quarter!” quickly quest. Reason returns, recalls redundant rage, Saves sinking soldiers, softens signiors sage. Truce, Turkey, truce! truce, treacherous Tartar train! Unwise, unjust, unmerciful Ukraine! Vanish, vile vengeance! vanish, victory vain! Wisdom walls war--wails warring words. What were Xerxes, Xantippê, Ximenês, Xavier? Yet Yassy’s youth, ye yield your youthful yest Zealously, zanies, zealously, zeal’s zest.

From H. Southgate, _Many Thoughts on Many Things_.

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

=P’s= (_The Five_), William Oxberry, printer, poet, publisher, publican and player (1784-1824).

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

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

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

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

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

=Pac´olet=, a dwarf, “full of great sense and subtle ingenuity.” He had an enchanted horse, made of wood, with which he carried off Valentine, Orson and Clerimond from the dungeon of Ferrăgus. This horse is often alluded to. “To ride Pacolet’s horse” is a phrase for _going very fast_.--_Valentine and Orson_, [TN-58]fifteenth century).

_Pacolet_, a familiar spirit.--Steele, _The Tatler_ (1709).

_Pacolet_, or NICK STRUMPFER, the dwarf servant of Norna “of the Fitful Head.”--Sir W. Scott, _The Pirate_ (time William III.).

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

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

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

=Paddy=, an Irishman. A corruption of _Padhrig_, Irish for Patrick.

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

=Pæan=, the physician of the immortals.

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

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

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

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

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

_William Page_, Anne’s brother, a schoolboy.--Shakespeare, _Merry Wives of Windsor_ (1595).

_Page_ (_Sir Francis_), called “The Hanging Judge” (1661-1741).

Slander and poison dread from Delia’s rage; Hard words or hanging if your judge be Page.

Pope.

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

=Paget= (_The Lady_), one of the ladies of the bedchamber in Queen Elizabeth’s court.--Sir W. Scott, _Kenilworth_ (time, Elizabeth).

_Paine_[TN-59] (_Squire_). “Hard-headed, hard fe’tured Yankee,” whose conversion to humanity and Christianity is effected by Roxanna Keep.

She “drilled the hole, an’ put in the powder of the Word, an’ tamped it down with some pretty stiff facts ... but _the Lord fired the blast Himself_.”--Rose Terry Cooke, _Somebody’s Neighbors_ (1881).

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

_The Shepheardes Calendar_, by Spenser, is largely borrowed from Belleau’s _Song of April_.

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

=Painters.=

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

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

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

_A Fly._ George Alexander Stevens says, in his _Lectures on Heads_:

I have heard of a connoisseur who was one day in an auction-room where there was an inimitable piece of painting of fruits and flowers. The connoisseur would not give his opinion of the picture till he had first examined the catalogue; and, finding it was done by an Englishman, he pulled out his eye-glass. “Oh, sir,” says he, “those English fellows have no more idea of genius than a Dutch skipper has of dancing a cotillion. The dog has spoiled a fine piece of canvas; he is worse than a Harp Alley signpost dauber. There’s no keeping, no perspective, no foreground. Why, there now, the fellow has actually attempted to paint a fly upon that rosebud. Why, it is no more like a fly than I am like--;” but, as he approached his finger to the picture, the fly flew away (1772)[TN-60]

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

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

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

_Accidental effects in painting._

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

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

_Painters_ (_Prince of_). Parrhasios and Apellês are both so called (fourth century B.C.).

=Painters’ Characteristics.=

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

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

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

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

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

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

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

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

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

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

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

OMMEGANCK: sheep (1775-1826).

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

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

POUSSIN (_Gaspar_): a landscape painter, the very opposite of Claude Lorraine. He seems to have drawn his inspiration from Hervey’s _Meditations Among the Tombs_, Blair’s _Grave_, Young’s _Night Thoughts_, and Burton’s _Anatomy of Melancholy_ (1613-1675).

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

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

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

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

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

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

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

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

WATTEAU: noted for his _fêtes galantes_, fancy-ball costumes, and generally gala-day figures (1684-1721).

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

=Palabras Carinosas.=

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

Thomas Bailey Aldrich, _Poems_, 1858-84.

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

=Palame´des= (4 _syl._), son of Nauplios, was, according to Suidas, the inventor of dice. (See ALEA.)

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

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

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

This tale is taken from the _Le Teseide_ of Boccaccio.

_The Black Horse_, a drama by John Fletcher, is the same tale. Richard Edwards has a comedy called _Palæmon and Arcyte_ (1566).

=Pale= (_The_), or THE ENGLISH PALE, a part of Ireland, including Dublin, Meath, Carlow, Kilkenny and Louth.

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

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

A gallant youth, Palemon was his name, Charged with the commerce hither also came; A father’s stern resentment doomed to prove, He came, the victim of unhappy love.

Falconer, _The Shipwreck_, i. 2 (1756).

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

=Pales= (2 _syl._), god of shepherds and their flocks.--_Roman Mythology._

Pomōna loves the orchard; And Liber loves the vine; And Palês loves the straw-built shed, Warm with the breath of kine.

Lord Macaulay, _Lays of Ancient Rome_ (“Prophecy of Capys,” 1842).

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

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

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

The bard who libelled Helen in his song, Recanted after, and redressed the wrong.

Ovid, _Art of Love_, iii.

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

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

More had she spoke, but yawned. All nature nods ... E’en Palinurus nodded at the helm.

Pope, _The Dunciad_, iv. 614 (1742).

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

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

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

_The English Palladio_, Inigo Jones (1573-1653).

=Palla´dium.=

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

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

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

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

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

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

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

=Pallet=, a painter, in Smollett’s novel of _Peregrine Pickle_ (1751).

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

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

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

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

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

The Palmyrene that fought Aurelian.

Tennyson, _The Princess_, ii. (1847).

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

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

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

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

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

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

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

=Pamina and Tam´ino=, the two lovers who were guided by “the magic flute” through all worldly dangers to the knowledge of divine truth (or the mysteries of Iris).--Mosart,[TN-61] _Die Zauberflöte_ (1790).

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

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

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

Universal Pan. Knit with the Graces and the Hours in dance, Led on the eternal spring.

Milton, _Paradise Lost_, iv. 266, etc. (1665).

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

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

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

⁂ Phrynê was also the academy figure for the “Cnidian Venus” of Praxitĕlês.

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

=Pancrace=, a doctor of the Aristotelian school. He maintained that it was improper to speak of the “_form_ of a hat,” because form “est la disposition extérieure des corps qui sont animés,” and therefore we should say the “_figure_ of a hat,” because figure “est la disposition extérieure des corps qui sont inanimés;” and because his adversary could not agree, he called him “un ignorant, un ignorantissime, ignorantifiant, et ignorantifiè”[TN-62] (sc. viii.).--Molière, _Le Mariage Forcé_ (1664).

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

_Pancras_ (_St._), patron saint of children, martyred by Diocletian at the age of 14 (A.D. 304).

=Pan´darus=, the Lycian, one of the allies of Priam in the Trojan war. He is drawn under two widely different characters: In classic story he is depicted as an admirable archer, slain by Diomed, and honored as a hero-god in his own country; but in mediæval romance he is represented as a despicable pimp, insomuch that the word _pander_ is derived from his name. Chaucer, in his _Troïlus and Cresseide_, and Shakespeare, in his drama of _Troilus and Cressida_, represent him as procuring for Troilus the good graces of Cressid, and in _Much Ado About Nothing_, it is said that Troilus “was the first employer of pandars.”

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

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

None take pity on thy pain; Senseless trees, they cannot hear thee; Ruthless bears, they will not cheer thee; King Pandion he is dead; All thy friends are lapped in lead.

Richard Barnfield, _Address to the Nightingale_ (1594).

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

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

=Pandolfe= (2 _syl._), father of Lélie.--Molière, _L’Etourdi_ (1653).

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

More lovely than Pandora, whom the gods Endowed with all their gifts, ... to the unwiser son Of Japhet brought by Hermês, she ensnared Mankind with her fair looks, to be avenged On him [_Promētheus_] who had stole Jove’s ... fire.

Milton, _Paradise Lost_, iv. 714, etc. (1665).

⁂ “Unwiser son” is a Latinism, and means “not so wise as he should have been;” so _audacior_, _timidior_, _vehementior_, _iracundior_, etc.

=Pandos´to=, or _The Triumph of Time_, a tale by Robert Greene (1588), the quarry of the plot of _The Winter’s Tale_ by Shakespeare.

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

Perhaps it was right to dissemble your love; But why do you kick me downstairs?

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

A.S.S. stands for _Artium Societatis Socius_ (“Fellow of the Society of Arts”).

_Pangloss_, an optimist philosopher. (The word means “All Tongue.”)--Voltaire, _Candide_.

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

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

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

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

Foote’s nonsense lines are these:

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

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

Sleek Panope with all her sisters played.

Milton, _Lycidas_, 95 (1638).

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

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

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

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

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

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

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

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

The sixth age shifts Into the lean and slippered Pantaloon.

Shakespeare, _As You Like It_, act ii. sc. 7 (1600).

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

Scarce the ascent Began, when lo! a panther, nimble, light, And covered with a speckled skin, appeared, ... and strove to check my onward going.

Dantê, _Hell_, i. (1300).

_Panther_ (_The Spotted_), the Church of England. The “milk-white doe” is the Church of Rome.

The panther, sure the noblest next the hind, The fairest creature of the spotted kind; Oh, could her inborn stains be washed away, She were too good to be a beast of prey.

Dryden, _The Hind and the Panther_, i. (1687).

=Panthino=, servant of Antonio (the father of Protheus, one of the two heroes of the play).--Shakespeare, _Two Gentlemen of Verona_ (1594).

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

And Panton, waging harmless war with words.

Dryden, _MacFlecknoe_, (1682).

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

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

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

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

When brother Paolo’s energetic shake Should do the relics justice.

R. Browning, _The Ring and the Book_, ii. 409.

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

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

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

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

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

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

Till to astonished realms Papyra taught To paint in mystic colors sound and thought. With Wisdom’s voice to print the page sublime, And mark in adamant the steps of Time.

Darwin, _Loves of the Plants_, ii. (1781).

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

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

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

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

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

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

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

=Paradise Lost.= Satan and his crew, still suffering from their violent expulsion out of heaven, are roused by Satan’s telling them about a “new creation;” and he calls a general council to deliberate upon their future operations (bk. i.). The council meet in the Pandemonium hall, and it is resolved that Satan shall go on a voyage of discovery to this “new world” (bk. ii.). The Almighty sees Satan, and confers with His Son about man. He foretells the Fall, and arranges the scheme of man’s redemption. Meantime, Satan enters the orb of the sun, and there learns the route to the “new world” (bk. iii.). On entering Paradise, he overhears Adam and Eve talking of the one prohibition (bk. iv.). Raphael is now sent down to warn Adam of his danger, and he tells him who Satan is (bk. v.); describes the war in heaven, and expulsion of the rebel angels (bk. vi.). The angel visitant goes on to tell Adam why and how this world was made (bk. vii.); and Adam tells Raphael his own experience (bk. viii.) After the departure of Raphael, Satan enters into a serpent, and, seeing Eve alone, speaks to her. Eve is astonished to hear the serpent talk, but is informed that it had tasted of “the tree of knowledge,” and had become instantly endowed with both speech and wisdom. Curiosity induces Eve to taste the same fruit, and she persuades Adam to taste it also (bk. ix.). Satan now returns to hell, to tell of his success (bk. x.). Michael is sent to expel Adam and Eve from the garden (bk. xi.); and the poem concludes with the expulsion, and Eve’s lamentation (bk. xii.).--Milton (1665).

_Paradise Lost_ was first published by Matthias Walker, of St. Dunstan’s. He gave for it £5 down; on the sale of 1300 copies, he gave another £5. On the next two impressions, he gave other like sums. For the four editions, he therefore paid £20. The agreement between Walker and Milton is preserved in the British Museum.

It must be remembered that the wages of an ordinary workman was at that time about 3_d._ a day, and now we give 3_s._; so that the price given was equal to about £250, according to the present value of money. Goldsmith tells us that the clergyman of his “deserted village” was “passing rich” with £40 a year = £500 present value of money.

=Paradise Regained=, in four books. The subject is the Temptation. Eve, being tempted, _lost_ paradise; Christ, being tempted, _regained_ it.