"Behold, above the mountains there is light,
A streak of gold, a line of gathering fire,
And the dim East hath suddenly grown bright
With pale aerial flame, that drives up higher
The lurid mists which all the night long were
Breasting the dark ravines and coverts bare;
Behold, behold! the granite gates unclose,
And down the vales a lyric people flows,
Who dance to music, and in dancing fling
Their frantic robes to every wind that blows,
_And deathless praises to the Vine-God sing._
Nearer they press, and nearer still in sight,
Still dancing blithely in a seemly choir;
Tossing on high the symbol of their rite,
The cone-tipp'd thyrsus of a god's desire;
Nearer they come, tall damsels flushed and fair,
With ivy circling their abundant hair,
Onward, with even pace, in stately rows,
With eye that flashes, and with cheek that glows,
And all the while their tribute-songs they bring,
And newer glories of the past disclose
_And deathless praises to the Vine-God sing._
The pure luxuriance of their limbs is white,
And flashes clearer as they draw the nigher,
Bathed in an air of infinite delight,
Smooth without wound of thorn, or fleck of mire,
Borne up by song as by a trumpet's blare,
Leading the van to conquest, on they fare,
Fearless and bold, whoever comes or goes,
These shining cohorts of Bacchantes close,
Shouting and shouting till the mountains ring,
And forests grim forget their ancient woes,
_And deathless praises to the Vine-God sing._
And youths there are for whom full many a night
Brought dreams of bliss, vague dreams that haunt and tire
Who rose in their own ecstasy bedight,
And wandered forth through many a scourging briar,
And waited shivering in the icy air,
And wrapped the leopard-skin about them there,
Knowing for all the bitter air that froze,
The time must come, that every poet knows,
When he shall rise and feel himself a king,
And follow, follow where the ivy grows,
_And deathless praises to the Vine-God sing._
But oh! within the heart of this great flight,
Whose ivory arms hold up the golden lyre?
What form is this of more than mortal height?
What matchless beauty, what inspired ire?
The brindled panthers know the prize they bear,
And harmonize their steps with tender care;
Bent to the morning, like a living rose,
The immortal splendour of his face he shows;
And, where he glances, leaf and flower and wing
Tremble with rapture, stirred in their repose,
_And deathless praises to the Vine-God sing._
_Envoi_.
Prince of the flute and ivy, all thy foes
Record the bounty that thy grace bestows,
But we, thy servants, to thy glory cling,
And with no frigid lips our songs compose,
_And deathless praises to the Vine-God sing._"
In the middle ages the chant royal was largely used for the praise of
the Virgin Mary. Eustache Deschamps (1340-1410) distinguishes these
Marian chants royaux, which were called "serventois," by the absence of
an envoi. These poems are first mentioned by Rutebeuf, a _trouvere_ of
the 13th century. The chant royal is practically unknown outside French
and English literature. (E. G.)
CHANTRY (Fr. _chanterie_, from _chanter_, to sing; Med. Lat.
_cantuaria_), a small chapel built out from a church, endowed in
pre-Reformation times for the express purpose of maintaining priests for
the chanting of masses for the soul of the founder or of some one named
by him. It generally contained the tomb of the founder, and, as the
officiator or mass-priest was often unconnected with the parochial
clergy, had an entrance from the outside. The word passed through
graduations of meaning. Its first sense was singing or chanting. Then it
meant the endowment funds, next the priests, and then the church or
chapel itself.
CHANUTE, a city of Neosho county, Kansas, U.S.A., 1 m. from the Neosho
river, and about 120 m. S.S.W. of Kansas city. Pop. (1890) 2826; (1900)
4208, of whom 210 were foreign-born and 171 were negroes; (1910 census)
9272. Chanute is served by the Atchison, Topeka & Santa Fe and the
Missouri, Kansas & Texas railways, the former having large repair shops.
The city is in the Kansas-Oklahoma oil and gas field, and is surrounded
by a fine farming and dairying region, in which special attention is
given to the raising of small fruit; oil, gas, cement rock and brick
shale are found in the vicinity. Among the city's manufactures are
refined oil, Portland cement, vitrified brick and tile, glass, asphalt,
ice, cigars, drilling machinery, and flour. The municipality owns and
operates the waterworks, a natural gas plant, and an electric lighting
plant. Four towns--New Chicago, Tioga, Chicago Junction and
Alliance--were started here about the same time (1870). In 1872 they
were consolidated, and the present name was adopted in honour of Octave
Chanute (b. 1832), the civil engineer and aeronautist (see FLIGHT AND
FLYING), then the engineer of the Lawrence, Leavenworth & Galveston
railway (now part of the Atchison system). Chanute was incorporated as a
city of the third class in 1873, and its charter was revised in 1888.
Natural gas and oil were found here in 1899, and Chanute became one of
the leaders of the Kansas independent refineries in their contest with
the Standard Oil Company.
CHANZY, ANTOINE EUGENE ALFRED (1823-1883), French general, was born at
Nouart (Ardennes) on the 18th of March 1823. The son of a cavalry
officer, he was educated at the naval school at Brest, but enlisted in
the artillery, and, subsequently passing through St Cyr, was
commissioned in the Zouaves in 1843. He saw a good deal of fighting in
Algeria, and was promoted lieutenant in 1848, and captain in 1851. He
became _chef de bataillon_ in 1856, and served in the Lombardy campaign
of 1859, being present at Magenta and Solferino. He took part in the
Syrian campaign of 1860-61 as a lieutenant-colonel; and as colonel
commanded the 48th regiment at Rome in 1864. He returned to Algeria as
general of brigade, assisted to quell the Arab insurrection, and
commanded the subdivisions of Bel Abbes and Tlemcen in 1868. Although he
had acquired a good professional reputation, he was in bad odour at the
war office on account of suspected contributions to the press, and at
the outbreak of the Franco-German War he was curtly refused a brigade
command. After the revolution, however, the government of national
defence called him from Algeria, made him a general of division, and
gave him command of the XVI. corps of the army of the Loire. (For the
operations of the Orleans campaign which followed, see FRANCO-GERMAN
WAR.) The Loire army won the greatest success of the French during the
whole war at Coulmiers, and followed this up with another victorious
action at Patay; in both engagements General Chanzy's corps took the
most brilliant part. After the second battle of Orleans and the
separation of the two wings of the French army, Chanzy was appointed to
command that in the west, designated the second army of the Loire. His
enemies, the grand duke of Mecklenburg, Prince Frederick Charles, and
General von der Tann, all regarded Chanzy as their most formidable
opponent. He displayed conspicuous moral courage and constancy, not less
than technical skill, in the fighting from Beaugency to the Loire, in
his retreat to Le Mans, and in retiring to Laval behind the Mayenne. As
Gambetta was the soul, Chanzy was the strong right arm of French
resistance to the invader. He was made a grand officer of the Legion of
Honour, and was elected to the National Assembly. At the outbreak of the
Commune, Chanzy, then at Paris, fell into the hands of the insurgents,
by whom he was forced to give his parole not to serve against them. It
was said that he would otherwise have been appointed instead of MacMahon
to command the army of Versailles. A ransom of L40,000 was also paid by
the government for him. In 1872 he became a member of the committee of
defence and commander of the VII. army corps, and in 1873 was appointed
governor of Algeria, where he remained for six years. In 1875 he was
elected a life senator, in 1878 received the grand cross of the Legion
of Honour, and in 1879, without his consent, was nominated for the
presidency of the republic, receiving a third of the total votes. For
two years he was ambassador at St Petersburg, during which time he
received many tokens of respect, not only from the Russians, but also
from the German emperor, William I., and Prince Bismarck. He died
suddenly, while commanding the VI. army corps (stationed nearest to the
German frontier), at Chalons-sur-Marne, on the 4th of January 1883, only
a few days after Gambetta, and his remains received a state funeral. He
was the author of _La Deuxieme Armee de la Loire_ (1872). Statues of
General Chanzy have been erected at Nouart and Le Mans.
CHAOS, in the Hesiodic theogony, the infinite empty space, which existed
before all things (_Theog._ 116, 123). It is not, however, a mere
abstraction, being filled with clouds and darkness; from it proceed
Erebus and Nyx (Night), whose children are Aether (upper air) and Hemera
(Day). In the Orphic cosmogony the origin of all goes back to Chronos,
the personification of time, who produces Aether and Chaos. In the
Aristophanic parody (_Birds_, 691) the winged Eros in conjunction with
gloomy Chaos brings forth the race of birds. The later Roman conception
(Ovid, _Metam._ i. 7) makes Chaos the original undigested, amorphous
mass, into which the architect of the world introduces order and
harmony, and from which individual forms are created. In the created
world (cosmos, order of the universe) the word has various
meanings:--the universe; the space between heaven and earth; the
under-world and its ruler. Metaphorically it is used for the
immeasurable darkness, eternity, and the infinite generally. In modern
usage "chaos" denotes a state of disorder and confusion.
CHAPBOOK (from the O. Eng. _chap_, to buy and sell), the comparatively
modern name applied by booksellers and bibliophiles to the little
stitched tracts written for the common people and formerly circulated in
England, Scotland and the American colonies by itinerant dealers or
chapmen, consisting chiefly of vulgarized versions of popular stories,
such as _Tom Thumb_, _Jack the Giant Killer_, _Mother Shipton_, and
_Reynard the Fox_--travels, biographies and religious treatises. Few of
the older chapbooks exist. Samuel Pepys collected some of the best and
had them bound into small quarto volumes, which he called Vulgaria;
also four volumes of a smaller size, which he lettered _Penny
Witticisms, Penny Merriments, Penny Compliments_ and _Penny
Godlinesses_. The early chapbooks were the direct descendants of the
black-letter tracts of Wynkyn de Worde. It was in France that the
printing-press first began to supply reading for the common people. At
the end of the 15th century there was a large popular literature of
farces, tales in verse and prose, satires, almanacs, &c., stitched
together so as to contain a few leaves, and circulated by itinerant
booksellers, known as colporteurs. Most early English chapbooks are
adaptations or translations of these French originals, and were
introduced into England early in the 16th century. The chapbooks of the
17th century present us with valuable illustrations of the manners of
the time; one of the best known is that containing the story of Dick
Whittington. Others which had a great vogue are _Jack the Giant Killer,
Little Red Riding Hood_, and _Mother Shipton_. Those of the 18th century
are far inferior in every way, both as regards the literature and the
printing; and unfortunately it is these which form the bulk of what is
now known to us in collections as chapbooks. They have never exercised
any great influence in England nor received much attention, owing no
doubt to their poor literary character. In France, on the other hand,
their French equivalents have been the object of close and systematic
study, and _L'Histoire des livres populaires ou de la litterature du
colportage_ by Charles Nisard (1854) goes deeply into the subject.
Amongst English books may be mentioned _Notices of Fugitive Tracts and
Chapbooks_, by J.O. Halliwell-Phillipps (1849); _Chapbooks of the 18th
Century_, by John Ashton (1882), and some reprints by the Villon Society
in 1885. The word "chapbook" has not been noticed earlier than 1824,
when Dibdin, the celebrated bibliographer, described a work as being "a
chapbook, printed in rather a neat black-letter."
CHAPE (from the Fr. _chape_, a hood, cope or sheath), a cover or metal
plate, such as the cap upon the needle in the compass, also the
transverse guard of a sword which protects the hand. From the original
meaning comes the use of the word as a support or catch to attach one
thing to another, as the hook on a belt to which the sword is fastened.
The word is also used for the tip of a fox's brush.
CHAPEL, a place of religious worship,[1] a name properly applied to that
of a Christian religious body, but sometimes to any small temple of
pagan worship (Lat. _sacellum_). The word is derived through the O. Fr.
_chapele_, modern _chapelle_, from the Late Lat. _capelle_ or
_cappella_, diminutive of _cappa_, a cape, particularly that of a monk.
This word was transferred to any sanctuary containing relics, in the
early history of the Frankish Church, because the cloak of St Martin,
_cappa brevior Sancti Martini_, one of the most sacred relics of the
Frankish kings, was carried in a sanctuary or shrine wherever the king
went; and oaths were taken on it (see Ducange, _Glossarium_, s.v.
_Capella_). Such a sanctuary was served by a priest, who was hence
called _capellanus_, from which is derived the English "chaplain"
(q.v.). The strict application of the word to a sanctuary containing
relics was extended to embrace any place of worship other than a church,
and it was synonymous, therefore, with "oratory" (_oratorium_),
especially one attached to a palace or to a private dwelling-house. The
celebrated Sainte Chapelle in Paris, attached to what is now the Palais
de Justice, well illustrates the early and proper meaning of the word.
It was built (consecration, 1248) by St Louis of France to contain the
relic of the Crown of Thorns, ransomed by the king from the Venetians,
who held it in pawn from the Latin emperor of the East, John of Brienne,
lately dead. The chapel served as the sanctuary of the relic lodged in
the upper chapel, and the whole building was attached as the place of
worship to the king's palace. This, the primary meaning, survives in the
chapels usually placed in the aisles of cathedrals and large churches.
They were originally built either to contain relics of a particular
saint to whom they were dedicated, or the tomb of a particular family.
In the Church of England the word is applied to a private place of
worship, attached either to the palaces of the sovereign, "chapels
royal," or to the residence of a private person, to a college, school,
prison, workhouse, &c. Further, the word has particular legal
applications, though in each case the building might be and often is
styled a church. These are places of worship supplementary to a parish
church, and may be either "chapels of ease," to ease or relieve the
mother-church and serve those parishioners who may live far away,
"parochial chapels," the "churches" of ancient divisions of a very large
and widely scattered parish, or "district chapels," those of a district
of a parish divided under the various church building acts. A "free
chapel" is one founded by the king and by his authority, and visited by
him and not by the bishop. A "proprietary chapel" is one that belongs to
a private person. They are anomalies to the English ecclesiastical law,
have no parish rights, and can be converted to other than religious
purposes, but a clergyman may be licensed to perform duty in such a
place of worship. In the early and middle part of the 19th century such
proprietary chapels were common, but they have practically ceased to
exist. "Chapel" was early and still is in England the general name of
places of worship other than those of the established Church, but the
application of "church" to all places of worship without distinction of
sect is becoming more and more common. The word "chapel" was in this
restricted sense first applied to places of worship belonging to the
Roman Church in England, and was thus restricted to those attached to
foreign embassies, or to those of the consorts of Charles I. and II. and
James II., who were members of that church. The word is still frequently
the general term for Roman Catholic churches in Great Britain and always
so in Ireland. The use of "chapel" as a common term for all
Nonconformist places of worship was general through most of the 19th
century, so that "church and chapel" was the usual phrase to mark the
distinction between members of the established Church and those of
Nonconformist bodies. Here the widened use of "church" noticed above has
been especially marked. Most of the recent buildings for worship erected
by Nonconformist bodies will be found to be styled Wesleyan,
Congregational, &c., churches. It would appear that while the word
"chapel" was not infrequent in the early history of Nonconformity,
"meeting-house" was the more usual term.
From the architectural point of view the addition of chapels to a
cathedral or large church assumes some historical importance in
consequence of the changes it involved in the plan. It was the
introduction of the apsidal chapels in the churches of France which
eventually led to the _chevet_ or cluster of eastern chapels in many of
the great cathedrals, and also sometimes to the extension of the
transept so as to include additional apsidal chapels on the east side.
In France, and to a certain extent in Italy, the multiplication of
chapels led to their being placed on the north and south side of the
aisles, and in some cases, as at Albi in France, to the suppression of
the aisles and the instalment of the chapels in their place. The chapels
of the colleges at Oxford and Cambridge are sometimes of large
dimensions and architecturally of great importance, that of Christ
Church being actually the cathedral of Oxford; among others may be
mentioned the chapel of Merton College, and the new chapel of Exeter
College, both in Oxford, and the chapel of King's College, Cambridge,
which is roofed over with perhaps the finest fan-vault in England. (See
VAULT, Plate II., fig. 19.)