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.
Book I. Satan presents himself as an old peasant, and, entering into
conversation with Jesus, advises Him to satisfy His hunger by
miraculously converting stones into bread. Jesus gives the tempter to
know that He recognizes him, and refuses to follow his suggestion.
II. Satan reports progress to his ministers, and asks advice. He returns
to the wilderness, and offers Jesus wealth, as the means of acquiring
power; but the suggestion is again rejected.
III. Satan shows Jesus several of the kingdoms of Asia, and points out
to Him their military power. He advises Him to seek alliance with the
Parthians, and promises his aid. He says by such alliance He might shake
off the Roman yoke, and raise the kingdom of David to first-class power.
Jesus rejects the counsel, and tells the tempter that the Jews were for
the present under a cloud for their sins, but that the time would come
when God would put forth His hand on their behalf.
IV. Satan shows Jesus Rome, with all its greatness, and says, “I can
easily dethrone Tiberius, and seat Thee on the imperial throne.” He then
shows Him Athens, and says, “I will make Thee master of their wisdom and
high state of civilization, if Thou wilt fall down and worship me.” “Get
thee behind Me, Satan!” was the indignant answer; and Satan, finding all
his endeavors useless, tells Jesus of the sufferings prepared for Him,
takes Him back to the wilderness, and leaves Him there; but angels come
and minister unto Him.--Milton (1671).
=Paraguay= (_A Tale of_), by Southey, in four cantos (1814). The
small-pox, having broken out amongst the Guarānis, carried off the whole
tribe except Quiāra and his wife, Monnĕma, who then migrated from the
fatal spot to the Mondai woods. Here a son (Yerūti) and afterwards a
daughter (Mooma) were born; but before the birth of the latter, the
father was eaten by a jagŭar. When the children were of a youthful age,
a Jesuit priest induced the three to come and live at St. Joăchin (3
_syl._); so they left the wild woods for a city life. Here, in a few
months, the mother flagged and died. The daughter next drooped, and soon
followed her mother to the grave. The son, now the only remaining one of
the entire race, begged to be baptized, received the rite, cried, “Ye
are come for me! I am ready;” and died also.
=Par´cinus=, a young prince, in love with his cousin, Irolit´a, but
beloved by Az´ira. The fairy Danamo was Azira’s mother, and resolved to
make Irolita marry the fairy Brutus; but Parcinus, aided by the fairy
Favorable, surmounted all obstacles, married Irolita, and made Brutus
marry Azira.
Parcinus had a noble air, a delicate shape, a fine head of hair
admirably white.... He did everything well, danced and sang to
perfection, and gained all the prizes at tournaments, whenever he
contended for them.--Comtesse D’Aunoy, _Fairy Tales_ (“Perfect
Love,” 1682).
=Par´dalo=, the demon-steed given to Iniguez Guerra, by his gobelin
mother, that he might ride to Tolēdo and liberate his father, Don Diego
Lopez, lord of Biscay, who had fallen into the hands of the
Moors.--_Spanish Story._
=Par´diggle= (_Mrs._) a formidable lady, who conveyed to one the idea “of
wanting a great deal more room.” Like Mrs. Jellyby, she devoted herself
to the concerns of Africa, and made her family of small boys contribute
all their pocket money to the cause of the Borrioboola Gha mission.--C.
Dickens, _Bleak House_ (1853).
=Pardoner’s Tale= (_The_), in Chaucer’s _Canterbury Tales_, is “Death and
the Rioters.” Three rioters agree to hunt down Death, and kill him. An
old man directs them to a tree in a lane, where, as he said, he had just
left him. On reaching the spot, they find a rich treasure, and cast lots
to decide who is to go and buy food. The lot falls on the youngest; and
the other two, during his absence, agree to kill him on his return. The
rascal sent to buy food poisons the wine, in order to secure to himself
the whole treasure. Now comes the catastrophe: The two set on the third
and slay him, but die soon after of the poisoned wine; so the three
rioters _find death_ under the tree, as the old man said, paltering in a
double sense (1388).
=Parian Verse=, ill-natured satire; so called from Archil´ochus, a native
of Paros.
=Pari-Ba´nou=, a fairy who gave Prince Ahmed a tent, which would fold into
so small a compass that a lady might carry it about as a toy, but, when
spread, it would cover a whole army.--_Arabian Nights_ (“Prince Ahmed
and Pari-Banu”).
=Paridel= is a name employed in the _Dunciad_ for an idle libertine--rich,
young, and at leisure. The model is Sir Paridel, in the _Faëry Queen_.
Thee, too, my Paridel, she marked thee there,
Stretched on the rack of a too-easy chair,
And heard thy everlasting yawn confess
The pains and penalties of idleness.
Pope, _The Dunciad_, iv. 341 (1742).
_Paridel_ (_Sir_), descendant of Paris, whose son was Parius, who
settled in Paros, and left his kingdom to his son, Par´idas, from whom
Paridel descended. Having gained the hospitality of Malbecco, Sir
Paridel eloped with his wife, Dame Hel´inore (3 _syl._), but soon
quitted her, leaving her to go whither she would. “So had he served many
another one” (bk. iii. 10). In bk. iv. 1 Sir Paridel is discomfited by
Sir Scudamore.--Spenser, _Faëry Queen_, iii. 10; iv. 1 (1590, 1596).
⁂ “Sir Paridel” is meant for Charles Nevil, sixth and last of the
Nevils, earls of Westmoreland. He joined the Northumberland rebellion of
1569 for the restoration of Mary queen of Scots; and when the plot
failed, made his escape to the Continent, where he lived in poverty and
obscurity. The earl was quite a Lothario, whose delight was to win the
love of women, and then to abandon them.
=Paris=, a son of Priam and Hecŭba, noted for his beauty. He married
Œnōnê, daughter of Cebren, the river-god. Subsequently, during a visit
to Menelāus, king of Sparta, he eloped with Queen Helen, and this
brought about the Trojan war. Being wounded by an arrow from the bow of
Philoctētês, he sent for his wife, who hastened to him with remedies;
but it was too late--he died of his wound, and Œnonê hung
herself.--Homer, _Iliad_.
_Paris_ was appointed to decide which of the three goddesses (Juno,
Pallas or Minerva) was the fairest fair, and to which should be awarded
the golden apple thrown “to the most beautiful.” The three goddesses
tried by bribes to obtain the verdict: Juno promised him dominion if he
would decide in her favor; Minerva promised him wisdom; but Venus said
she would find him the most beautiful of women for wife if he allotted
to her the apple. Paris handed the apple to Venus.
Not Cytherea from a fairer swain
Received her apple on the Trojan plain.
Falconer, _The Shipwreck_, i. 3 (1756).
_Paris_, a young nobleman, kinsman of Prince Es´calus of Verona, and the
unsuccessful suitor of his cousin, Juliet.--Shakespeare, _Romeo and
Juliet_ (1598).
_Paris_ (_Notre Dame de_), by Victor Hugo (1831). (See ESMERALDA and
QUASIMODO.)
=Parisina=, wife of Azo, chief of Ferrara. She had been betrothed before
her marriage to Hugo, a natural son of Azo, and after Azo took her for
his bride, the attachment of Parisina and Hugo continued and had freer
scope for indulgence. One night Azo heard Parisina in sleep confess her
love for Hugo, whereupon he had his son beheaded, and, though he spared
the life of Parisina, no one ever knew what became of her.--Byron,
_Parisina_ (1816).
Such is Byron’s version; but history says Niccolo III. of Ferrara
(Byron’s “Azo”) had for his second wife Parisina Malatesta, who showed
great aversion to Ugo, a natural son of Niccolo, whom he greatly loved.
One day, with the hope of lessening this strong aversion, he sent Ugo to
escort her on a journey, and the two fell in love with each other. After
their return the affection of Parisina and Ugo continued unabated, and a
servant, named Zoe´se (3 _syl._), having told the marquis of their
criminal intimacy, he had the two guilty ones brought to open trial.
They were both condemned to death; Ugo was beheaded first, then
Parisina. Some time after, Niccolo married a third wife, and had several
children.--Frizzi, _History of Ferrara_.
=Parisme´nos=, the hero of the second part of _Parismus_ (_q.v._). This
part contains the adventurous travels of Parismenos, his deeds of
chivalry, and love for the Princess Angelica, “the Lady of the Golden
Tower.”--Emanuel Foord, _Parismenos_ (1598).
=Paris´mus=, a valiant and renowned prince of Bohemia, the hero of a
romance so called. This “history” contains an account of his battles
against the Persians, his love for Laurana, daughter of the king of
Thessaly, and his strange adventures in the Desolate Island. The second
part contains the exploits and love affairs of Parisme´nos.--Emanuel
Foord, _Parismus_ (1598).
=Pariza´de= (4 _syl._), daughter of Khrosrou-schah, sultan of Persia, and
sister of Bahman and Perviz. These three, in infancy, were sent adrift,
each at the time of birth, through the jealousy of their two maternal
aunts, who went to nurse the sultana in her confinement; but they were
drawn out of the canal by the superintendent of the sultan’s gardens,
who brought them up. Parizadê rivalled her brothers in horsemanship,
archery, running and literature. One day, a devotee who had been kindly
entreated by Parizadê, told her the house she lived in wanted three
things to make it perfect: (1) _the talking bird_, (2) _the singing
tree_, and (3) _the golden-colored water_. Her two brothers went to
obtain these treasures, but failed. Parizadê then went, and succeeded.
The sultan paid them a visit, and the talking bird revealed to him the
story of their birth and bringing up. When the sultan heard the
infamous tale, he commanded the two sisters to be put to death, and
Parizadê, with her two brothers, were then proclaimed the lawful
children of the sultan.--_Arabian Nights_ (“The Two Sisters,” the last
story).
⁂ The story of _Cherry and Fairstar_, by the Comtesse D’Aunoy, is an
imitation of this tale; and introduces the “green bird,” the “singing
apple,” and the “dancing water.”
=Parkes= (_Mr._). A clergyman “of simplicity and sincerity, fully in
earnest to do the Lord’s work and do it with all his might.” He suggests
to his congregation when the Week of Prayer comes around that they “make
a Week of Practice instead.” The result is told in _The Deacon’s
Week_.--Rose Terry Cooke (1886).
=Parley= (_Peter_), Samuel Griswold Goodrich, an American. Above seven
millions of his books were in circulation in 1859 (1793-1860).
⁂ Several piracies of this popular name have appeared. Thus, S. Kettell,
of America, pirated the name in order to sell under false colors; Darton
and Co,[TN-63] issued a Peter Parley’s _Annual_ (1841-1855); Simkins, a
Peter Parley’s _Life of Paul_ (1845); Bogue, a Peter Parley’s _Visit to
London_, etc. (1844); Tegg, several works under the same name; Hodson, a
Peter Parley’s _Bible Geography_ (1839); Clements, a Peter Parley’s
_Child’s First Step_ (1839). None of which works were by Goodrich, the
real “Peter Parley.”
William Martin was the writer of Darton’s “Peter Parley series.” George
Mogridge wrote several tales under the name of Peter Parley. How far
such “false pretences” are justifiable, public opinion, must decide.
=Parliament= (_The Black_), a parliament held by Henry VIII. in Bridewell.
(For Addled parliament, Barebone’s parliament, the Devil’s parliament,
the Drunken parliament, the Good parliament, the Long parliament, the
Mad parliament, the Pensioner parliament, the Rump parliament, the
Running parliament, the Unmerciful parliament, the Useless parliament,
the Wonder-making parliament, the parliament of Dunces, see _Dictionary
of Phrase and Fable_, 657.)
=Parnelle= (_Mde._), the mother of M. Orgon, and an ultra-admirer of
Tartuffe, whom she looks on as a saint. In the adaptation of Molière’s
comedy by Isaac Bickerstaff, Mde. Parnelle is called “old Lady Lambert;”
her son, “Sir John Lambert;” and Tartuffe, “Dr. Cantwell.”--Molière,
_Tartuffe_ (1664); Bickerstaff, _The Hypocrite_ (1768).
⁂ _The Nonjuror_, by Cibber (1706), was the quarry of Bickerstaff’s
play.
=Parody= (_Father of_), Hippo´nax of Ephesus (sixth century B.C.).
=Parol´les= (3 _syl._), a boastful, cowardly follower of Bertram, count of
Rousillon. His utterances are racy enough, but our contempt for the man
smothers our mirth, and we cannot laugh. In one scene the bully is taken
blindfolded among his old acquaintances, whom he is led to suppose are
his enemies, and he villifies[TN-64] their characters to their faces in
most admired foolery.--Shakespeare, _All’s Well that Ends Well_ (1598).
He [_Dr. Parr_] was a mere Parolles in a pedagogue’s wig.--_Noctes
Ambrosianæ._
(For similar tongue-doughty heroes, see BASILISCO, BESSUS, BLUFF,
BOBADIL, BOROUGHCLIFF, BRAZEN, FLASH, PISTOL, PYRGO, POLINICES,[TN-65]
SCARAMOUCH, THRASO, VINCENT DE LA ROSA, etc.)
=Parpaillons= (_King of the_), the father of Gargamelle, “a jolly pug and
well-mouthed wench,” who married Grangousier “in the vigor of his age,”
and became the mother of Gargantua.--Rabelais, _Gargantua_, i. 3 (1533).
=Parr= (_Old_). Thomas Parr, we are told, lived in the reign of ten
sovereigns. He married his second wife when he was 120 years old, and
had a child by her. He was a husbandman, born at Salop, in 1483, and
died 1635, aged 152.