Part 196

=Callipolis= (_ka-lip´o-lis_).--_Battle of Alcazar_, George Peele. A character in the _Battle of Alcazar_, used by Sir Walter Scott and others as a synonym for lady-love, sweetheart, charmer. Sir Walter always spells the word Callipolis, but Peele calls it Calipolis.

=Calydon= (_kal´i-don_).--A forest celebrated in the romances relating to King Arthur and Merlin.

=Camaralzaman, Prince.=--_Arabian Nights._--One of the stories of the _Arabian Nights_ and the name of a prince who fell in love with Badoura, princess of China, the moment he saw her.

=Camancho= (_kä-mä´chō_).--_Don Quixote_, Cervantes. A character in an episode in _Don Quixote_, who gets cheated out of his bride after having made great preparations for their wedding.

=Camballo= (_kam-bal´o_), or =Cambel=.--_Faërie Queene_, Spenser. A brother of Candace. He challenged every suitor to his sister’s hand, and overthrew all except Triamond, who married the lady.

=Cambalu.=--In the _Voyages of Marco Polo_ the chief city of the province of Cathay.

=Cambuscan= (_kam-bus-kan´_, or _kam-bus´kan_).--A Tartar king identical with Genghis Khan. The king of the Far East sent Cambuscan a “steed of brass, which, between sunrise and sunset, would carry its rider to any spot on the earth.” All that was required was to whisper the name of the place in the horse’s ear, mount upon his back, and turn a pin set in his ear. When the rider had arrived at the place required, he had to turn another pin, and the horse instantly descended, and, with another screw of the pin, vanished till it was again required. This story is begun by Chaucer in the _Squire’s Tale_, but was never finished.

=Camelot= (_kam´e-lot_).--A parish in Somersetshire, England (now called Queen’s Camel), where King Arthur is said to have held his court. In this place there are still to be seen vast intrenchments of an ancient town or station--called by the inhabitants “King Arthur’s Palace.”

=Camilla= (_ka-mil´ä_).--(1) The virgin queen of the Volscians, famous for her fleetness of foot. She aided Turnus against Æneas. (2) Wife of Anselmo of Florence in _Don Quixote_. Anselmo, in order to rejoice in her incorruptible fidelity, induced his friend Lothario to try to corrupt her. This he did, and Camilla was not trial-proof, but fell. Anselmo for a time was kept in the dark, but at the end Camilla eloped with Lothario. Anselmo died of grief, Lothario was slain in battle, and Camilla died in a convent.

=Camille= (_kä-mēl´_).--(1) In Corneille’s tragedy of _Les Horaces_. When her brother meets her and bids her congratulate him for his victory over the three curiatii, she gives utterance to her grief for the death of her lover. Horace says, “What! can you prefer a man to the interests of Rome?” Whereupon Camille denounces Rome, and concludes with these words: “Oh, that it were my lot!” (2) Whitehead dramatized the subject and called it _The Roman Father_.

=Canace= (_kan´a-se_).--_Faërie Queene_, Spenser. A paragon among women, the daughter of King Cambuscan, to whom the king of the East sent as a present a mirror and a ring. The mirror would tell the lady if any man on whom she set her heart would prove true or false, and the ring (which was to be worn on her thumb) would enable her to understand the language of birds and to converse with them. Canace was courted by a crowd of suitors, but her brother gave out that anyone who pretended to her hand must encounter him in single combat and overthrow him. She ultimately married Triamond, son of the fairy, Agapë.

=Candide= (_kä_N-_dēd´_), =ou l’Optimisme= _(ōō lop-tē-mēzm´_).--A philosophical novel by Voltaire, published in 1759. It is named from its hero, who bears all the worst ills of life with a cool, philosophical indifference, laughing at its miseries. Written ostensibly to ridicule philosophical optimism, and on the spur given to pessimist theories by the Lisbon earthquake, _Candide_ is really as comprehensive as it is desultory. Religion, political government, national peculiarities, human weakness, ambition, love, loyalty--all come in for the unfailing sneer. The moral, wherever there is a moral, is, “Be tolerant, and _cultivez vôtre jardin_”; that is to say, Do whatsoever work you have to do diligently.

=Candor, Mrs.=--A most energetic slanderer in Sheridan’s _School for Scandal_.

=Canterbury Tales, The=, by Geoffrey Chaucer, consist of a _Prologue_ and twenty-four narratives of which only two, _Chaucer’s Tales of Melibœus_ and _The Parson’s Tale_, are in prose, the remainder being written in couplets of ten syllables, which have laid the foundation for the most popular form of English verse.

The plan of the poem is as follows: The author supposes that, on the evening before he starts on a pilgrimage to the shrine of St. Thomas-à-Becket, at Canterbury, he stops at the Tabard Inn, in Southwark, where he finds himself in the midst of a company of twenty-one, of all ranks and ages and both sexes, who are also bound for the same destination. After supper, the host of Tabard, Harry Baillie by name, proposes that, to beguile the journey there and back, the pilgrims shall each of them tell two tales as they come and go; and that he who by the general voice shall have told his story best, shall, on their return to the hostelry, be treated to a supper at the common cost. This is agreed to with acclamation; and, accordingly, the pilgrims start next morning on their way, listening, as they ride, to the heroic tale of the brave and gentle knight who has been chosen to narrate the first tale.

It will be understood that Chaucer does not profess to give to the world all the stories told. As a matter of fact, he gives only twenty-four, of which two have been already named, the remainder being those told by the Knight, the Miller, the Reeve, the Cook, the Man of Law, the Wife of Bath, the Friar, the Sompnour, the Clerk, the Squire, the Franklin, the Doctor, the Pardoner, the Shipman, the Prioress, the Monk, the Nun’s Priest, the second Nun, the Canon’s Yeoman, the Manciple, and Chaucer himself (Sir Topas). Unfinished, as it is, however, the poem was immensely popular, even in the author’s time; and it was one of the first books that was issued from the press of Caxton, probably in 1475.

=Caora= (_kä´ō-rä_).--_Description of Guiana_, Raleigh. A river on the banks of which are a people whose heads grow beneath their shoulders. Their eyes are in their shoulders, and mouths in the middle of their breasts. The original picture is found in Hakluyt’s _Voyages_, 1598.

=Capulet= (_kap´ū-let_).--The head of a noble Veronese house in Shakespeare’s tragedy of _Romeo and Juliet_, hostile to the house of Montague. He is at times self-willed and tyrannical, but a jovial and testy old man.

=Capulet, Lady.=--The proud and stately wife of Capulet, and mother of Juliet.

=Caradoc= (_kar´a-dok_).--A knight of the Round Table. Also, in history, the British chief whom the Romans called Caractacus. Caradoc is the hero of an old ballad entitled _The Boy and the Mantle_.

=Carker= (_kär´ker_).--A scoundrelly clerk in Dickens’ _Dombey and Son_.

=Carton, Sidney.=--A hero transformed by unselfish love in Dickens’ _Tale of Two Cities_. He voluntarily goes to the guillotine to save his successful rival in love.

=Casca= (_kas´kä_).--_Julius Cæsar_, Shakespeare. A blunt-witted Roman, one of the conspirators against Julius Cæsar.

=Cassandra= (_ka-san´drä_).--A daughter of Priam, king of Troy, gifted with the power of prophecy; but Apollo, whom she had offended, brought it to pass that no one believed her predictions. Shakespeare makes use of this character in _Troilus and Cressida_.

=Cassibelan.=--Great uncle to Cymbeline, in Shakespeare’s play by that name.

=Cassio= (_kash´iō_).--A Florentine, and lieutenant of Othello, and a tool of Iago, in Shakespeare’s tragedy of _Othello_. Iago made Cassio drunk, and then set on Roderigo to quarrel with him. Cassio wounded Roderigo. Othello suspended Cassio, but Iago induced Desdemona to plead for his restoration. This interest in Cassio confirmed the jealous rage of Othello to murder Desdemona and kill himself. After the death of Othello, Cassio was appointed governor of Cyprus.

=Castle Dangerous.=--A keep belonging to the Douglas family, which gives its name to one of Sir Walter Scott’s _Tales of My Landlord_. It was so called by the English because it was always retaken from them by the Douglas.

=Castle of Indolence.=--The title of a poem by Thomson, and the name of a castle, described in it as situated in a pleasing land of drowsiness, where every sense was steeped in the most luxurious and enervating delights.

=Castlewood, Beatrix.=--The heroine of Thackeray’s novel _Henry Esmond_, a picture of splendid, lustrous, physical beauty.

=Caudle, Mrs. Margaret.=--The feigned author of a series of curtain lectures by Douglas Jerrold, published in _Punch_, purporting to be the lectures delivered by Mrs. Margaret Caudle to her patient husband, Job Caudle, between the hours of ten at night and seven in the morning.

=Cauline, Sir.=--A knight in Percy’s _Reliques_, who served the wine to the king of Ireland. He fell in love with Christabelle, the king’s daughter, and she became his troth-plight wife, without her father’s knowledge. When the king knew of it, he banished Sir Cauline. After a time the soldain asked the lady in marriage, but Sir Cauline challenged his rival and slew him. He himself, however, died of the wounds he had received, and the Lady Christabelle, out of grief, “burst her gentle hearte in twayne.”

=Cecilia, St.=--A patron saint of the blind, also patroness of musicians, and “inventor of the organ.” According to tradition, an angel fell in love with her for her musical skill, and used nightly to visit her.

=Celadon= (_sel´a-don_) =and Amelia.=--Lovers of matchless beauty and most devoted to each other. Being overtaken by a thunderstorm, Amelia became alarmed, but Celadon, folding his arm about her, said, “’Tis safety to be near thee, sure”; but while he spoke Amelia was struck by lightning and fell dead in his arms.

=Celia.=--_Faërie Queene_, Spenser. (1) Mother of Faith, Hope and Charity. She was herself known as Heavenliness and lived in the hospices Holiness. (2) Celia, cousin to Rosalind in Shakespeare’s comedy _As You Like It_. Celia is a common poetical name for a lady or a lady-love.

=Chadband= (_chad´band_), =The Rev.=--A clerical character in Dickens’ _Bleak House_. He will always stand as a type of hypocritical piety.

=Chanticleer= (_chan´ti-klēr_).--The cock in the tale of _Reynard the Fox_, and in Chaucer’s _Nonne Prestes Tale_.

=Charlemagne= (_chär´le-män_).--The romance of Charlemagne and his paladins is of French origin, as the romances of King Arthur and the Knights of the Round Table is of Celtic or Welsh origin. According to one tradition Charlemagne is not dead, but waits, crowned and armed, in Odenberg, near Saltzburg, till the time of the antichrist, when he will wake up and deliver Christendom. According to another tradition, Charlemagne appears in seasons of plenty. He crosses the Rhine on a golden bridge, and blesses both cornfields and vineyards.

=Charmian= (_chär´mi-an_).--A kind-hearted but simple-minded female attendant on Cleopatra in Shakespeare’s play of _Antony and Cleopatra_.

=Cheeryble= (_chēr´i-bl_) =Brothers, The.=--A firm of benevolent London merchants in Dickens’ _Nicholas Nickleby_.

=Chery and Fair-Star.=--_Countess d’Aulnoy’s Fairy Tales._ Two children of royal birth, whom their father’s brothers and their mother’s sisters cast out to sea; they are found and brought up by a corsair and his wife. Ultimately they are told of their birth by a green bird and marry each other. A similar tale is found in _The Arabian Nights_.

=Chibiabos.=--The musician in Longfellow’s _Hiawatha_, personifying harmony in nature.

=Childe Harold’s Pilgrimage.=--A poem, in the Spenserian stanza, by Lord Byron. It consists of four cantos, of which the first and second were published in 1812, the third in 1816, and the fourth in 1818; and the preface to the first two cantos contained the following explanation of the origin and purpose of the poem.

“It was written,” says Lord Byron, “for the most part, amid the scenes which it attempts to describe. It was begun in Albania; and the parts relative to Spain and Portugal were composed from the author’s observations in those countries.... the scenes attempted to be sketched are in Spain, Portugal, Epirus, Acarnania, and Greece (the third canto describes scenes in Belgium, Switzerland, and the Valley of the Rhine; and canto four is chiefly occupied with Rome).... A fictitious character is introduced for the sake of giving some connection to the piece, which, however, makes no pretensions to regularity. It has been suggested to me by friends, on whose opinion I set a high value, that in this fictitious character, Childe Harold, I may incur the suspicion of having intended some real personage; this I beg leave, once for all, to disclaim. Harold is the creation of imagination, for the purpose I have stated. In some trivial particulars, and those merely local, there might be grounds for such a notion; but in the main points, I should hope, none whatever. It is almost superfluous to mention that the appellation ‘Childe’ is used as more consonant with the old structure of versification which I have adopted.”

=Children in the Wood.=--Two characters in an ancient and well-known ballad entitled _The Children in the Wood_, or _The Norfolk Gent’s Last Will and Testament_. This is said to be a disguised recital of the alleged murder of his nephews by Richard III.

=Chillingly, Kenelm.=--The hero in a novel by this name by Bulwer.

=Chillon= (_shē-yôn_), =The Prisoner of.=--A poem by Lord Byron, founded on the story of Francois de Bonnivard, the hero of Genevan independence, and published in 1816. Bonnivard was born in 1496, and died in 1571. An account of his life, in France, is prefixed to the poem.

=Chingachgook.=--A sagamore of the Mohicans and father of Uncas, in Cooper’s _Leather-Stocking Tales_.

=Chloe= (_klō´ē_).--_Daphnis and Chloe_, Longus. (1) The shepherdess loved by Daphne. (2) _Paul and Virginia_ by St. Pierre is founded on this romance. (3) Chloe is also a shepherdess in Shakespeare’s _As You Like It_.

=Chœreas.=--The lover of Callirrhoë, in Chariton’s Greek romance.

=Chriemhild=, or =Kriemhild= (_krēm´hild_).--The heroine of the German epic poem, the _Nibelungenlied_. She is represented as a woman of the rarest grace and beauty, and rich beyond conception. By the treacherous murder of her husband she is transformed into a furious creature of revenge. For plot of this epic cycle, see “Kriemhild.”

=Christabel= (_kris´ta-bel_).--(1) The subject and heroine of an old romance by Sir Eglamour of Artois. (2) The heroine of an ancient ballad _Sir Cauline_. (3) The lady in Coleridge’s poem _Christabel_.

=Christian= (_kris´tian_).--The hero of John Bunyan’s allegory _Pilgrim’s Progress_. He flees from the “City of Destruction,” and journeys to the “Celestial City.” He starts with a heavy burden on his back, but it falls off when he stands at the foot of the cross. All his trials on the way are depicted.

=Christiana= (_kris-tē-ä´nä_).--The wife of Christian, who, starting with her children and Mercy from the “City of Destruction,” forms the subject of Bunyan’s _Pilgrim’s Progress_, part II. She was placed under the guidance of Mr. Great-Heart, and met her husband at the Celestial City.

=Christmas Carol, A.=--A ghost story of Christmas, by Charles Dickens, published in 1843, with illustrations by John Leech. “We are all charmed,” wrote Lord Jeffrey to the author, “with your _Carol_, chiefly, I think, for the genuine goodness which breathes all through it, and is the true inspiring angel by which its genius has been awakened. The whole scene of the Cratchits is like the dream of a benevolent angel, in spite of its broad reality, and little Tiny Tim in life and death almost as sweet and touching as Nelly.”

=Christmas Eve.=--A poem by Robert Browning, in which, “after following through a long course of reflection the successive phases of religious belief, he arrives at the certainty that, however confused be the vision of Christ, where His love is, there is the Life; and that, the more direct the revelation of that Love, the deeper and more vital is its power.”

=Christopher, St.=--The giant that carried a child over a brook, and said, “Chylde, thou has put me in grete peryll. I might bere no greater burden.” The Chylde was the Christ and the burden was the “Sin of the World.” This has been a favorite theme for painters.

=Chrysalde= (_krē-zäld´_).--A character in Molière’s _L’Ecole des Femmes_; a friend of Arnolphe.

=Chrysale= (_krē-zäl´_).--An honest, simple-minded, henpecked tradesman, in the same comedy by Molière.

=Chuzzlewit, Martin.=--The hero of Dickens’ novel of the same name. The story is remarkable for the attention it directed to the system of ship hospitals and to the workhouse nurses whose prototype in Sarah Gamp has become famous all over the world.

=Chuzzlewit, Jonas.=--A miser and a murderer, the opposite type of character from Martin.

=Cimmerians= (_si-mē´ri-anz_).--A people described by Homer dwelling “beyond the ocean stream,” in a land where the sun never shines.

=Cinderella.=--Heroine of a fairy tale. She is the drudge of the house, while her elder sisters go to fine balls. At length a fairy enables her to go to the prince’s ball; the prince falls in love with her, and she is discovered by means of a glass slipper which she drops, and which will fit no foot but her own. She is represented as returning good for evil and heaping upon her half-sisters every kindness a princess can show.

=Cipango= (_si-pang´gō_).--A marvelous island, described in the _Voyages_ of Marco Polo, the Venetian traveler. It is represented as lying in the Eastern seas, some one thousand five hundred miles from land, and of its beauty and wealth many stories are related. Columbus made a diligent search for this island.

=Clärchen= (_klār´chen_).--A female character in Goethe’s _Egmont_, noted for her constancy and devotion.

=Clare, Ada.=--The wife of Carstone, and one of the most important characters in Dickens’ _Bleak House_.

=Clavileño= (_klä-vē-lān´yō_), =El Alígero=.--The wooden horse on which Don Quixote got astride in order to disenchant the Infanta Antonomasia, her husband, and the Countess Trifaldi. It was “the very horse on which Peter of Provence carried off the fair Magalona, and was constructed by Merlin.” This horse was called Clavileño, or Wooden Peg, because it was governed by a wooden pin in the forehead.

=Cléante= (_klā-ont´_).--Brother-in-law of Orgon in Molière’s _Tartuffe_. He is distinguished for his genuine piety, and is both high-minded and compassionate. The same name occurs in two other plays by Molière.

=Cleishbotham= (_klēsh´bo_TH-_am_), =Jedediah=.--Schoolmaster and parish clerk of Gandercleuch, who employed his assistant teacher to arrange and edit the tales told by the landlord of the Wallace inn of the same parish. These tales the editor disposed in three series, called by the general title of _The Tales of My Landlord_. Of course the real author is Sir Walter Scott.

=Clementina, Lady.=--A beautiful and accomplished woman, deeply in love with Sir Charles Grandison, in Richardson’s novel of this name.

=Cleon= (_klē´on_).--(1) In Shakespeare’s _Pericles_, governor of Tarsus, burned to death with his wife Dionysia by the enraged citizens, to revenge the supposed murder of Marina, daughter of Pericles, prince of Tyre. (2) The personification of glory in Spenser’s _Faërie Queene_.

=Clifford, Paul.=--An attractive highwayman and an interesting hero in Bulwer’s novel by the same name. He is familiar with the haunts of low vice and dissipation, but afterward is reformed and elevated by the power of love.

=Clinker, Humphrey.=--A novel by Smollett. The hero, by the same name, a philosophic youth, meets many adventures. Brought up in the workhouse, put out by the parish as apprentice to a blacksmith, he was afterward employed as a hostler’s assistant. Having been dismissed from the stable, and reduced to great want, he at length attracts the notice of Mr. Bramble who takes him into his family as a servant. He becomes the accepted lover of Winifred Jenkins, and at length turns out to be a natural son of Mr. Bramble.

=Cloten= (_klō´ten_).--A rejected lover of Imogen, in Shakespeare’s play of _Cymbeline_.

=Clorinda= (_klō-rin´dä_).--_Jerusalem Delivered_, Tasso. Clorinda, the heroine of this poem, is represented as an Amazon inspiring the most tender affection in others, especially in the Christian chief Tancred; yet she is herself susceptible of no passion but the love of military fame.

=Clouds, The.=--A famous comedy by Aristophanes. Strepsiades (“Turncoat”) sends his spendthrift son Phidippides to the phrontistery (“thinking shop”) of Socrates, who appears as a sophist, to be reformed by training in rhetoric. Phidippides refuses to go; so Strepsiades goes himself, and finds Socrates swinging in a basket, observing the sun and ether. Socrates summons the Clouds, his new deities, and undertakes to make a sophist of him and free him from the religion of his fathers. Unfortunate results of his new knowledge show Strepsiades his error, and he abandons Socrates and sets the phrontistery on fire.

=Cock, The.=--A famous tavern in Fleet street, London, opposite the Temple. Tennyson has immortalized it in his _Will Waterproof’s Lyrical Monologue_.

=Cœlebs= (_sē´lebz_).--The hero of a novel by Hannah More, _Cœlebs in Search of a Wife_.

=Colada.= (_kō-lä´_TH_ä_).--The sword taken by the Cid from Ramon Berenger, count of Barcelona. This sword had two hilts of solid gold.

=Colin Clout= (_kol´in klout_).--A name that Spenser applies to himself in the _Faërie Queene_ and _Shepherd’s Calendar_. Colin Clout also is introduced into Gay’s pastorals.

=Cologne= (_kō-lōn´_), =The Three Kings of.=--The three magi who visited the Infant Savior, and whose bodies are said to have been brought by the Empress Helena from the East to Constantinople, whence they were transferred to Milan. Afterward they were removed to Cologne and placed in the principal church of the city. Their names are commonly said to be Jaspar, Melchior, and Balthazar.

=Comedy of Errors.=--A comedy by Shakespeare. Twin brothers of exact likeness named Antipholus are served by attendant slaves named Dromio also of striking resemblance. The humor of the play lies in the complications that arise. The two brothers are lost at sea with their servants and are picked up by different vessels. After long separation they all reappear in Ephesus. There is great entanglement of plot until both brothers face each other in a trial before the duke and all is explained.

=Complete Angler, The= (or, _The Contemplative Man’s Recreation_. “A discourse, of Fish and Fishing, not unworthy the Perusal of most Anglers”).--A famous treatise by Izaak Walton, published in 1653. “Whether,” says Sir John Hawkins, “we consider the elegant simplicity of the style, the ease and unaffected humor of the dialogue, the lovely scenes which it delineates, the enchanting pastoral poetry which it contains, or the fine morality it so sweetly inculcates, it has hardly its fellow in any of the modern languages.”

=Comus.=--A masque, or dramatic poem, by John Milton, published in 1637. It was written for the earl of Bridgewater, and acted at his residence, Castle Ludlow, in Shropshire, on Michaelmas night, 1634. The music is by Henry Lawes. Comus (a revel) was the Roman god of banqueting and festive amusements; but in Milton’s poems he appears as a lewd enchanter, whose pleasure it is to deceive and ruin the chaste and innocent.