; slay. See Kill.

 As*sas"sin*ate (&?;), n. [F. assassinat.] 1. An assassination, murder, or murderous assault. [Obs.]

 If I had made an assassinate upon your father. B. Jonson.
2. An assassin. [Obs.] Dryden.
 As*sas'si*na"tion (&?;), n. The act of assassinating; a killing by treacherous violence.

 As*sas"si*na'tor (&?;), n. An assassin.

 As*sas"sin*ous (&?;), a. Murderous. Milton.
 As*sas"tion (&?;), n. [F., fr. LL. assatio, fr. L. assare to roast.] Roasting. [Obs.] Sir T. Browne.
 As*sault" (&?;), n. [OE. asaut, assaut, OF. assaut, asalt, F. assaut, LL. assaltus; L. ad + saltus a leaping, a springing, salire to leap. See Assail.] 1. A violent onset or attack with physical means, as blows, weapons, etc.; an onslaught; the rush or charge of an attacking force; onset; as, to make assault upon a man, a house, or a town.

 The Spanish general prepared to renew the assault. Prescott.
 Unshaken bears the assault Of their most dreaded foe, the strong southwest. Wordsworth.
2. A violent onset or attack with moral weapons, as words, arguments, appeals, and the like; as, to make an assault on the prerogatives of a prince, or on the constitution of a government. Clarendon.
3. (Law) An apparently violent attempt, or willful offer with force or violence, to do hurt to another; an attempt or offer to beat another, accompanied by a degree of violence, but without touching his person, as by lifting the fist, or a cane, in a threatening manner, or by striking at him, and missing him. If the blow aimed takes effect, it is a battery. Blackstone. Wharton.
 Practically, however, the word assault is used to include the battery. Mozley & W. Syn. -- Attack; invasion; incursion; descent; onset; onslaught; charge; storm.

 As*sault", v. t. [imp. & p. p. Assaulted; p. pr.
 & vb. n. Assaulting.] [From Assault, n.: cf. OF. assaulter, LL. assaltare.] 1. To make an assault upon, as by a sudden rush of armed men; to attack with unlawful or insulting physical violence or menaces.

 Insnared, assaulted, overcome, led bound. Milton.
2. To attack with moral means, or with a view of producing moral effects; to attack by words, arguments, or unfriendly measures; to assail; as, to assault a reputation or an administration.

 Before the gates, the cries of babes newborn,... Assault his ears. Dryden.
 In the latter sense, assail is more common.

Syn. -- To attack; assail; invade; encounter; storm; charge. See Attack.

 As*sault"a*ble (&?;), a. Capable of being assaulted.

 As*sault"er (&?;), n. One who assaults, or violently attacks; an assailant. E. Hall.
 As*say" (&?;), n. [OF. asai, essai, trial, F. essa.
 See Essay, n.] 1. Trial; attempt; essay. [Obs.] Chaucer.
 I am withal persuaded that it may prove much more easy in the assay than it now seems at distance. Milton.
2. Examination and determination; test; as, an assay of bread or wine. [Obs.]

 This can not be, by no assay of reason. Shak.
3. Trial by danger or by affliction; adventure; risk; hardship; state of being tried. [Obs.]

 Through many hard assays which did betide. Spenser.
4. Tested purity or value. [Obs.]

 With gold and pearl of rich assay. Spenser.
5. (Metallurgy) The act or process of ascertaining the proportion of a particular metal in an ore or alloy; especially, the determination of the proportion of gold or silver in bullion or coin.

6. The alloy or metal to be assayed. Ure.
Assay and essay are radically the same word; but modern usage has appropriated assay chiefly to experiments in metallurgy, and essay to intellectual and bodily efforts. See Essay.

Assay is used adjectively or as the first part of a compound; as, assay balance, assay furnace.

Assay master, an officer who assays or tests gold or silver coin or bullion. -- Assay ton, a weight of 29,166 grams.

 As*say", v. t. [imp. & p. p. Assayed (&?;); p. pr. & vb. n. Assaying.] [OF. asaier, essaier, F. essayer, fr. essai. See Assay, n., Essay, v.] 1. To try; to attempt; to apply. [Obs. or Archaic] To-night let us assay our plot. Shak.
 Soft words to his fierce passion she assayed. Milton.
2. To affect. [Obs.]

 When the heart is ill assayed. Spenser.
3. To try tasting, as food or drink. [Obs.]

4. To subject, as an ore, alloy, or other metallic compound, to chemical or metallurgical examination, in order to determine the amount of a particular metal contained in it, or to ascertain its composition.

 As*say", v. i. To attempt, try, or endeavor. [Archaic. In this sense essay is now commonly used.]

 She thrice assayed to speak. Dryden.
 As*say"a*ble (&?;), a. That may be assayed.

 As*say"er, n. One who assays. Specifically: One who examines metallic ores or compounds, for the purpose of determining the amount of any particular metal in the same, especially of gold or silver.

 As*say"ing, n. The act or process of testing, esp. of analyzing or examining metals and ores, to determine the proportion of pure metal.

 ||Asse (&?;), n. (Zoöl.) A small foxlike animal (Vulpes cama) of South Africa, valued for its fur.

 As'se*cu*ra"tion (&?;), n. [LL. assecuratio, fr. assecurare.]
 Assurance; certainty. [Obs.]

 As'se*cure" (&?;), v. t. [LL. assecurare.] To make sure or safe; to assure. [Obs.] Hooker.
 As'se*cu"tion (&?;), n. [F. assécution, fr. L. assequi to obtain; ad + sequi to follow.] An obtaining or acquiring.
 [Obs.] Ayliffe.
 As"se*gai (&?;), n. Same as Assagai.

 As*sem"blage, n. [Cf. F. assemblage. See Assemble.] 1.
 The act of assembling, or the state of being assembled; association.

 In sweet assemblage every blooming grace. Fenton.
2. A collection of individuals, or of individuals, or of particular things; as, a political assemblage; an assemblage of ideas.

Syn. -- Company; group; collection; concourse; gathering; meeting; convention. Assemblage, Assembly. An assembly consists only of persons; an assemblage may be composed of things as well as persons, as, an assemblage of incoherent objects. Nor is every assemblage of persons an assembly; since the latter term denotes a body who have met, and are acting, in concert for some common end, such as to hear,


THE SHAPE OF FEAR AND OTHER GHOSTLY TALES By Elia Wilkinson Peattie Original Contents THE SHAPE OF FEAR ON THE NORTHERN ICE THEIR DEAR LITTLE GHOST A SPECTRAL COLLIE THE HOUSE THAT WAS NOT STORY OF AN OBSTINATE CORPSE A CHILD OF THE RAIN THE ROOM OF THE EVIL THOUGHT STORY OF THE VANISHING PATIENT THE PIANO NEXT DOOR AN ASTRAL ONION FROM THE LOOM OF THE DEAD A GRAMMATICAL GHOST THE SHAPE OF FEAR TIM O'CONNOR—who was descended from the O'Conors with one N—— started life as a poet and an enthusiast. His mother had designed him for the priesthood, and at the age of fifteen, most of his verses had an ecclesiastical tinge, but, somehow or other, he got into the newspaper business instead, and became a pessimistic gentleman, with a literary style of great beauty and an income of modest proportions. He fell in with men who talked of art for art's sake,—though what right they had to speak of art at all nobody knew,—and little by little his view of life and love became more or less profane. He met a woman who sucked his heart's blood, and he knew it and made no protest; nay, to the great amusement of the fellows who talked of art for art's sake, he went the length of marrying her. He could not in decency explain that he had the traditions of fine gentlemen behind him and so had to do as he did, because his friends might not have understood. He laughed at the days when he had thought of the priesthood, blushed when he ran across any of those tender and exquisite old verses he had written in his youth, and became addicted to absinthe and other less peculiar drinks, and to gaming a little to escape a madness of ennui.

 As the years went by he avoided, with more and more scorn, that part of the world which he denominated Philistine, and consorted only with the fellows who flocked about Jim O'Malley's saloon. He was pleased with solitude, or with these convivial wits, and with not very much else beside. Jim O'Malley was a sort of Irish poem, set to inspiring measure.
 He was, in fact, a Hibernian Mæcenas, who knew better than to put bad whiskey before a man of talent, or tell a trite tale in the presence of a wit. The recountal of his disquisitions on politics and other current matters had enabled no less than three men to acquire national reputations; and a number of wretches, having gone the way of men who talk of art for art's sake, and dying in foreign lands, or hospitals, or asylums, having no one else to be homesick for, had been homesick for Jim O'Malley, and wept for the sound of his voice and the grasp of his hearty hand.

 When Tim O'Connor turned his back upon most of the things he was born to and took up with the life which he consistently lived till the unspeakable end, he was unable to get rid of certain peculiarities. For example, in spite of all his debauchery, he continued to look like the Beloved Apostle. Notwithstanding abject friendships he wrote limpid and noble English. Purity seemed to dog his heels, no matter how violently he attempted to escape from her. He was never so drunk that he was not an exquisite, and even his creditors, who had become inured to his deceptions, confessed it was a privilege to meet so perfect a gentleman.
 The creature who held him in bondage, body and soul, actually came to love him for his gentleness, and for some quality which baffled her, and made her ache with a strange longing which she could not define. Not that she ever defined anything, poor little beast! She had skin the color of pale gold, and yellow eyes with brown lights in them, and great plaits of straw-colored hair. About her lips was a fatal and sensuous smile, which, when it got hold of a man's imagination, would not let it go, but held to it, and mocked it till the day of his death. She was the incarnation of the Eternal Feminine, with all the wifeliness and the maternity left out—she was ancient, yet ever young, and familiar as joy or tears or sin.

 She took good care of Tim in some ways: fed him well, nursed him back to reason after a period of hard drinking, saw that he put on overshoes when the walks were wet, and looked after his money. She even prized his brain, for she discovered that it was a delicate little machine which produced gold. By association with him and his friends, she learned that a number of apparently useless things had value in the eyes of certain convenient fools, and so she treasured the autographs of distinguished persons who wrote to him—autographs which he disdainfully tossed in the waste basket. She was careful with presentation copies from authors, and she went the length of urging Tim to write a book himself. But at that he balked.

 "Write a book!" he cried to her, his gentle face suddenly white with passion. "Who am I to commit such a profanation?" She didn't know what he meant, but she had a theory that it was dangerous to excite him, and so she sat up till midnight to cook a chop for him when he came home that night.

 He preferred to have her sitting up for him, and he wanted every electric light in their apartments turned to the full. If, by any chance, they returned together to a dark house, he would not enter till she touched the button in the hall, and illuminated the room. Or if it so happened that the lights were turned off in the night time, and he awoke to find himself in darkness, he shrieked till the woman came running to his relief, and, with derisive laughter, turned them on again. But when she found that after these frights he lay trembling and white in his bed, she began to be alarmed for the clever, gold-making little machine, and to renew her assiduities, and to horde more tenaciously than ever, those valuable curios on which she some day expected to realize when he was out of the way, and no longer in a position to object to their barter.

 O'Connor's idiosyncrasy of fear was a source of much amusement among the boys at the office where he worked. They made open sport of it, and yet, recognizing him for a sensitive plant, and granting that genius was entitled to whimsicalities, it was their custom when they called for him after work hours, to permit him to reach the lighted corridor before they turned out the gas over his desk. This, they reasoned, was but a slight service to perform for the most enchanting beggar in the world.

 "Dear fellow," said Rick Dodson, who loved him, "is it the Devil you expect to see? And if so, why are you averse? Surely the Devil is not such a bad old chap." "You haven't found him so?" "Tim, by heaven, you know, you ought to explain to me. A citizen of the world and a student of its purlieus, like myself, ought to know what there is to know! Now you're a man of sense, in spite of a few bad habits—such as myself, for example. Is this fad of yours madness?—which would be quite to your credit,—for gadzooks, I like a lunatic! Or is it the complaint of


ao bolo is, in appearance, superior to that of Ilokano manufacture. It is a broad blade swelling markedly toward the center, and is somewhat similar in shape to the barong of the Sulu Moro of the Sulu Archipelago. This weapon finds its chief field of use in the Quiangan and Banawi areas. In these districts the bolo is fitted with an open scabbard, and the bright blade presents a novel appearance lying exposed against the red scabbard. The Igorot manufacturer of the bolo does not make the scabbard, and most of the bolos used within the Bontoc area are sheathed in the closed wooden scabbard commonly found in Lepanto and Benguet.
Pipe production, and smoking The Igorot of Bontoc area make pipes of wood, clay, and metal. All their pipes have small bores and bowls. In Benguet a wooden pipe is commonly made with a bowl an inch and a half in diameter; it has a large bore also. In Banawi I obtained a wooden pipe with a bowl 8¼ inches in circumference and 4 inches in height, but having a bore averaging only half an inch in diameter.
Nearly all pueblos make the pipes they use, but pipes of clay and metal are manufactured by the Igorot for Igorot trade. I never learned that wooden pipes are made by them for commercial purposes.
The wooden pipe of the area varies from simple tubular forms, exactly like a modern cigar holder, to those having bowls set at right angle to the stem. All wooden pipes are whittled by the men, and some of Page 131them are very graceful in form and have an excellent polish. They are made of at least three kinds of wood—ga-sa′-tan, la-no′-ti, and gi-gat′. Most pipes—wooden, clay, or metal—have separable stems.
A few men in Agawa, a pueblo near the western border of the area, make beautiful clay pipes, called "ki-na-lo′-sab." The clay is carefully macerated between the fingers until it is soft and fine. It is then roughly shaped by the fingers, and afterwards, when partially hardened, is finished with a set of five light, wooden tools.
The finished bowls are in three different colors. When baked about nine hours the pipes come forth gray. Those coming out red have been burned about twelve hours, usually all night. The black ones are made by reburning the red bowls about half an hour in palay straw.
Two men in Sabangan and one each in Genugan and Takong—all western pueblos—manufacture metal "anito" pipes. To-day brass wire and the metal of cartridge shells are most commonly employed in making these pipes.
The process of manufacture is elaborate and very interesting. First a beeswax model is made the exact size and shape of the finished metal pipe. All beeswax, called "a-tĭd′," used in pipe making comes from Barlig through Kanu, and the illustration (Pl. CVIII) shows the form in which it passes in commerce in the area. A small amount of wax is softened by a fire until it can be flattened in the palm of the hand. It is then rolled around a stick the size of the bore in the bowl. The outside of the wax bowl is next designed as is shown in the illustration (Pl. CVIII). A careful examination of the illustration will show that the design represents the sitting figure of a man. He is resting his elbows on his knees and holding his lower jaw in his hands—eyes, ears, nose, mouth, and fingers are all represented. This design is made in the wax with a small knife. The wax for the short stem piece is flattened and folded around a stick the size of the bore of the stem. The stem piece is then set into the bowl and the design which was started on the bowl is continued over the stem.
When the wax pipe is completed a projecting point of wax is attached to the base of the pipe, and the whole is imbedded in a clay jacket, the point of wax, however, projecting from the jacket. The clay used by the pipe maker is obtained in a pit at Pingad in the vicinity of Genugan. Around the wax point a clay funnel is built. The clay mold, called "bang-bang′-a," is thoroughly baked by a fire. In less than an hour the mold is hardened and brown, and the wax pipe within it has melted and the wax been poured out of the mold through the gate or opening left by the melting point of wax, leaving the mold empty.
A small Malayan bellows, called "op-op′," the exact duplicate in miniature of the double tubular bellows described in the preceding section on "metal weapons," furnishes the draught for a small charcoal Page 132fire. The funnel of the clay mold is filled with pieces of metal, and the entire thing is buried in the fired charcoal. In fifteen minutes the metal melts and runs down through the gate at the bottom of the funnel into the hollow, wax-lined mold.
Since the entire mold is hot, the metal does not cool or harden promptly, and the pipe maker taps and jars the mold in order to make the metal penetrate and fill every part.
The mold is set aside to cool and is then broken away from the metal core. To-day the pipe maker possesses a file with which to smooth and clean the crude pipe. Formerly all that labor, and it is extensive, was performed with stones.
It requires two men to make the "anito" pipes—tĭn-ak-ta′-go. One superintends all the work and performs the finest of it, and the second pumps the bellows and smooths and cleans the pipe after it is cast. The two men make four pipes per day, but the purchaser of an "anito" pipe puts days of toil on the metal, smoothing and perfecting it by cleaning and digging out the design until it becomes really a beautiful bit of primitive art.
When a pueblo wants a few tĭn-ak-ta′-go it sends for the manufacturer, and he comes to the pueblo with his helper and remains as long as necessary. Ay-o′-na, of Genugan, annually visits Titipan, Ankiling, Sagada, Bontoc, and Samoki. He usually furnishes all material, and receives a peseta for each pipe, but the pueblo furnishes the food. In this way a pipe maker is a journeyman about half the year.
Tukukan makes a smooth, cast-metal pipe, called "pĭn-e-po-yong′," and Baliwang makes tubular iron pipes at her smithies. They are hammered out and pounded and welded over a core. I have seen several of such excellent workmanship that the welded seam could not be detected on the surface.
In the western part of the area both men and women smoke, and some smoke almost constantly. Throughout the areas occupied by Christians children of 6 or 7 years smoke a great deal. I have repeatedly seen girls not over 6 years of age smoking rolls of tobacco, "cigars," a foot long and more than an inch in diameter, but in Bontoc area small children do not smoke. In most of the area women do not smoke at all, and boys seldom smoke until they reach maturity.
In Bontoc the tobacco leaf for smoking is rolled up and pinched off in small sections an inch or so in length. These pieces are then wrapped in a larger section of leaf. When finished for the pipe the tobacco resembles a short stub of a cigar. Only half a dozen whiffs are generally taken at a smoke, and the pipe with its tobacco is then tucked under the edge of the pocket hat. Four pipes in five as they are seen sticking from a man's hat show that the owners stopped smoking long before they exhausted their pipes.
Page 133 Fire making The oldest instrument for fire making used by the Bontoc Igorot is now seldom found. However, practically all boys of a dozen years know how to make and use it.
It is called "co-li′-li," and is a friction machine made of two pieces of dry bamboo. A 2-foot section of dead and dry bamboo is split lengthwise and in one piece a small area of the stringy tissue lining the tube is splintered and picked quite loose. Immediately over this, on the outside of the tube, a narrow groove is cut at right angles to it. This piece of bamboo becomes the stationary lower part of the fire machine. One edge of the other half of the original tube is sharpened like a chisel blade. This section is grasped in both hands, one at each end, and is at first slowly and heavily, afterwards more rapidly, drawn back and forth through the groove of the stationary bamboo, making a small conical pile of dry dust beneath the opening.
After a dozen strokes the sides of the groove and the edge of the friction piece


may be made to Milan, Lakes Como and Maggiore, or to Milan, Verona (famous for its extraordinary fortifications), Padua, and Venice. Or, if passengers desire to visit Parma (famous for Correggio's frescoes) and Bologna, they can by rail go on to Florence, and rejoin the steamer at Leghorn, thus spending about three weeks amid the cities most famous for art in Italy.
 From Genoa the run to Leghorn will be made along the coast in one night, and time appropriated to this point in which to visit Florence, its palaces and galleries; Pisa, its cathedral and "Leaning Tower," and Lucca and its baths, and Roman amphitheater; Florence, the most remote, being distant by rail about sixty miles. From Leghorn to Naples (calling at Civita Vecchia to land any who may prefer to go to Rome from that point), the distance will be made in about thirty-six hours; the route will lay along the coast of Italy, close by Caprera, Elba, and Corsica. Arrangements have been made to take on board at Leghorn a pilot for Caprera, and, if practicable, a call will be made there to visit the home of Garibaldi. Rome [by rail], Herculaneum, Pompeii, Vesuvius, Vergil's tomb, and possibly the ruins of Paestum can be visited, as well as the beautiful surroundings of Naples and its charming bay. The next point of interest will be Palermo, the most beautiful city of Sicily, which will be reached in one night from Naples. A day will be spent here, and leaving in the evening, the course will be taken towards Athens. Skirting along the north coast of Sicily, passing through the group of Aeolian Isles, in sight of Stromboli and Vulcania, both active volcanoes, through the Straits of Messina, with "Scylla" on the one hand and "Charybdis" on the other, along the east coast of Sicily, and in sight of Mount Etna, along the south coast of Italy, the west and south coast of Greece, in sight of ancient Crete, up Athens Gulf, and into the Piraeus, Athens will be reached in two and a half or three days. After tarrying here awhile, the Bay of Salamis will be crossed, and a day given to Corinth, whence the voyage will be continued to Constantinople, passing on the way through the Grecian Archipelago, the Dardanelles, the Sea of Marmora, and the mouth of the Golden Horn, and arriving in about forty-eight hours from Athens. After leaving Constantinople, the way will be taken out through the beautiful Bosphorus, across the Black Sea to Sebastopol and Balaklava, a run of about twenty-four hours. Here it is proposed to remain two days, visiting the harbors, fortifications, and battlefields of the Crimea; thence back through the Bosphorus, touching at Constantinople to take in any who may have preferred to remain there; down through the Sea of Marmora and the Dardanelles, along the coasts of ancient Troy and Lydia in Asia, to Smyrna, which will be reached in two or two and a half days from Constantinople. A sufficient stay will be made here to give opportunity of visiting Ephesus, fifty miles distant by rail. From Smyrna towards the Holy Land the course will lay through the Grecian Archipelago, close by the Isle of Patmos, along the coast of Asia, ancient Pamphylia, and the Isle of Cyprus. Beirut will be reached in three days. At Beirut time will be given to visit Damascus; after which the steamer will proceed to Joppa. From Joppa, Jerusalem, the River Jordan, the Sea of Tiberias, Nazareth, Bethany, Bethlehem, and other points of interest in the Holy Land can be visited, and here those who may have preferred to make the journey from Beirut through the country, passing through Damascus, Galilee, Capernaum, Samaria, and by the River Jordan and Sea of Tiberias, can rejoin the steamer. Leaving Joppa, the next point of interest to visit will be Alexandria, which will be reached in twenty-four hours.
 The ruins of Caesar's Palace, Pompey's Pillar, Cleopatra's Needle, the Catacombs, and ruins of ancient Alexandria will be found worth the visit. The journey to Cairo, one hundred and thirty miles by rail, can be made in a few hours, and from which can be visited the site of ancient Memphis, Joseph's Granaries, and the Pyramids. From Alexandria the route will be taken homeward, calling at Malta, Cagliari (in Sardinia), and Palma (in Majorca), all magnificent harbors, with charming scenery, and abounding in fruits. A day or two will be spent at each place, and leaving Parma in the evening, Valencia in Spain will be reached the next morning. A few days will be spent in this, the finest city of Spain. From Valencia, the homeward course will be continued, skirting along the coast of Spain. Alicant, Carthagena, Palos, and Malaga will be passed but a mile or two distant, and Gibraltar reached in about twenty-four hours. A stay of one day will be made here, and the voyage continued to Madeira, which will be reached in about three days. Captain Marryatt writes: "I do not know a spot on the globe which so much astonishes and delights upon first arrival as Madeira." A stay of one or two days will be made here, which, if time permits, may be extended, and passing on through the islands, and probably in sight of the Peak of Teneriffe, a southern track will be taken, and the Atlantic crossed within the latitudes of the northeast trade winds, where mild and pleasant weather, and a smooth sea, can always be expected. A call will be made at Bermuda, which lies directly in this route homeward, and will be reached in about ten days from Madeira, and after spending a short time with our friends the Bermudians, the final departure will be made for home, which will be reached in about three days. Already, applications have been received from parties in Europe wishing to join the Excursion there.
 The ship will at all times be a home, where the excursionists, if sick, will be surrounded by kind friends, and have all possible comfort and sympathy. Should contagious sickness exist in any of the ports named in the program, such ports will be passed, and others of interest substituted. The price of passage is fixed at $1,250, currency, for each adult passenger. Choice of rooms and of seats at the tables apportioned in the order in which passages are engaged; and no passage considered engaged until ten percent of the passage money is deposited with the treasurer. Passengers can remain on board of the steamer, at all ports, if they desire, without additional expense, and all boating at the expense of the ship. All passages must be paid for when taken, in order that the most perfect arrangements be made for starting at the appointed time.
 Applications for passage must be approved by the committee before tickets are issued, and can be made to the undersigned.
 Articles of interest or curiosity, procured by the passengers during the voyage, may be brought home in the steamer free of charge.
 Five dollars per day, in gold, it is believed, will be a fair calculation to make for all traveling expenses onshore and at the various points where passengers may wish to leave the steamer for days at a time. The trip can be extended, and the route changed, by unanimous vote of the passengers. CHAS. C. DUNCAN, 117 WALL STREET, NEW YORK R. R. G******, Treasurer Committee on Applications J. T. H


of the North Atlantic. See Hagdon.

 Sheat"fish' (?), n. [Cf. dial. G. scheid, schaid, schaiden.]
 (Zoöl.) A European siluroid fish (Silurus glanis) allied to the cat-fishes. It is the largest fresh-water fish of Europe, sometimes becoming six feet or more in length. See Siluroid.

 Sheath (?), n. [OE. schethe, AS. scð, sceáð, scð; akin to OS. skðia, D. scheede, G. scheide, OHG. sceida, Sw. skida, Dan. skede, Icel. skeiðir, pl., and to E. shed, v.t., originally meaning, to separate, to part. See Shed.] 1. A case for the reception of a sword, hunting knife, or other long and slender instrument; a scabbard.

 The dead knight's sword out of his sheath he drew.

Spenser.
2. Any sheathlike covering, organ, or part. Specifically: (a) (Bot.) The base of a leaf when sheathing or investing a stem or branch, as in grasses. (b) (Zoöl.) One of the elytra of an insect.

Medullary sheath. (Anat.) See under Medullary. -- Primitive sheath. (Anat.) See Neurilemma. -- Sheath knife, a knife with a fixed blade, carried in a sheath. -- Sheath of Schwann. (Anat.)
 See Schwann's sheath.

 Sheath"bill' (?), n. (Zoöl.) Either one of two species of birds composing the genus Chionis, and family Chionidæ, native of the islands of the Antarctic seas.

 They are related to the gulls and the plovers, but more nearly to the latter. The base of the bill is covered with a saddleshaped horny sheath, and the toes are only slightly webbed. The plumage of both species is white.

 Sheathe (?), v. t. [imp. & p. p. Sheathed (?); p. pr.
 & vb. n. Sheating.] [Written also sheath.] 1. To put into a sheath, case, or scabbard; to inclose or cover with, or as with, a sheath or case.

 The leopard... keeps the claws of his fore feet turned up from the ground, and sheathed in the skin of his toes.

Grew.
 'T is in my breast she sheathes her dagger now.

Dryden.
2. To fit or furnish, as with a sheath. Shak.
3. To case or cover with something which protects, as thin boards, sheets of metal, and the like; as, to sheathe a ship with copper.

4. To obtund or blunt, as acrimonious substances, or sharp particles. [R.] Arbuthnot.
To sheathe the sword, to make peace.

 Sheathed (?), a. 1. Povided with, or inclosed in, sheath.

2. (Bot.) Invested by a sheath, or cylindrical membranaceous tube, which is the base of the leaf, as the stalk or culm in grasses; vaginate.

 Sheath"er (?), n. One who sheathes.

 Sheath"fish' (?), n. (Zoöl.) Same as Sheatfish.

 Sheath"ing (?), p. pr. & a. from Sheathe. Inclosing with a sheath; as, the sheathing leaves of grasses; the sheathing stipules of many polygonaceous plants.

 Sheath"ing, n. That which sheathes. Specifically: (a) The casing or covering of a ship's bottom and sides; the materials for such covering; as, copper sheathing. (b) (Arch.) The first covering of boards on the outside wall of a frame house or on a timber roof; also, the material used for covering; ceiling boards in general.

 Sheath"less (?), a. Without a sheath or case for covering; unsheathed.

 Sheath"-winged' (?), a. (Zoöl.) Having elytra, or wing cases, as a beetle.

 Sheath"y (?), a. Forming or resembling a sheath or case. Sir T. Browne.
 She"a tree' (?). (Bot.) An African sapotaceous tree (Bassia, or Butyrospermum, Parkii), from the seeds of which a substance resembling butter is obtained; the African butter tree.

 Sheave (?), n. [Akin to OD. schijve orb, disk, wheel, D. schiff, G. scheibe, Icel. skfa a shaving, slice; cf. Gr. &?;&?;&?; a staff. Cf. Shift, v., Shive.] A wheel having a groove in the rim for a rope to work in, and set in a block, mast, or the like; the wheel of a pulley.

Sheave hole, a channel cut in a mast, yard, rail, or other timber, in which to fix a sheave.

 Sheave, v. t. [See Sheaf of straw.] To gather and bind into a sheaf or sheaves; hence, to collect. Ashmole.
 Sheaved (?), a. Made of straw. [Obs.] Shak.
 Sheb"an*der (?), n. [Per. shhbandar.] A harbor master, or ruler of a port, in the East Indies. [Written also shebunder.]

 She*bang" (?), n. [Cf. Shebeen.] A jocosely depreciative name for a dwelling or shop. [Slang,U.S.]

 She*been" (?), n. [Of Irish origin; cf. Ir. seapa a shop.] A low public house; especially, a place where spirits and other excisable liquors are illegally and privately sold. [Ireland] She*chi"nah (?), n. See Shekinah.

 Sheck"la*ton (?), n. [Cf. Ciclatoun.] A kind of gilt leather. See Checklaton. [Obs.] Spenser.
 Shed (?), n. [The same word as shade. See Shade.] A slight or temporary structure built to shade or shelter something; a structure usually open in front; an outbuilding; a hut; as, a wagon shed; a wood shed.

 The first Aletes born in lowly shed.

Fairfax.
Sheds of reeds which summer's heat repel.

Sandys.
 Shed, v. t. [imp. & p. p. Shed; p. pr. & vb. n.
 Shedding.] [OE. scheden, sch&?;den, to pour, to part, AS. scdan, sceádan, to pert, to separate; akin to OS.
 sk&?;&?;an, OFries. sk&?;tha, G. scheiden, OHG.
 sceidan, Goth. skaidan, and probably to Lith. skëdu I part, separate, L. scindere to cleave, to split, Gr. &?;&?;&?;, Skr. chid, and perch. also to L. caedere to cut. √159.
 Cf. Chisel, Concise, Schism, Sheading, Sheath, Shide.] 1. To separate; to divide. [Obs. or Prov. Eng.] Robert of Brunne.
2. To part with; to throw off or give forth from one's self; to emit; to diffuse; to cause to emanate or flow; to pour forth or out; to spill; as, the sun sheds light; she shed tears; the clouds shed rain.

 Did Romeo's hand shed Tybalt's blood?

Shak.
 Twice seven consenting years have shed Their utmost bounty on thy head.

Wordsworth.
3. To let fall; to throw off, as a natural covering of hair, feathers, shell; to cast; as, fowls shed their feathers; serpents shed their skins; trees shed leaves.

4. To cause to flow off without penetrating; as, a tight roof, or covering of oiled cloth, sheeds water.


grains and minute isometric crystals of tin-white color. It is found near Sudbury, Ontario Canada, and is the only known compound of platinum occuring in nature.

 Sperse (?), v. t. To disperse. [Obs.] Spenser.
 Spes"sart*ite (?), n.[From Spessart, in Germany.] (Min.)
 A manganesian variety of garnet.

 Spet (?), v. t. [AS. sp&?;tan. See Spit.] To spit; to throw out. [Obs.]

 Spet, n. Spittle. [Obs.]

 Spetch"es (?), n. pl. Parings and refuse of hides, skins, etc., from which glue is made.

 Spew (?), v. t. [imp. & p. p. Spewed (?); p. pr.& vb. n. Spewing.] [OE. spewen, speowen, AS. spwan;n to D. spuwen to spit. OS & OHG. spwan, G. speien, Icel. sp&?;ja to spew, Sw. spy, Dan. spye, Goth.
 spiewan, th. spjauti, L. spuere to split, Gr. &?;&?;&?;, Skr. shtiv, shthv. Cf. Pyke, Spit.] [Written also spue.]
 1. To eject from the stomach; to vomit.

2. To cast forth with abhorrence or disgust; to eject.

 Because thou art lukewarm, and neither hot nor cold, I will spew thee out of my mouth.

Rev. ii. 16.
 Spew, v. i. 1. To vomit. Chaucer.
2. To eject seed, as wet land swollen with frost.

 Spew, n. That which is vomited; vomit.

 Spew"er (?), n. One who spews.

 Spew"i*ness (?), n. The state of being spewy.

 Spew"y (?), a. Wet; soggy; inclined to spew.

 Sphac"el (?), n. [Gr. &?;&?;&?;: cf. F. sphacèle.]
 (Med.) Gangrene.

 Sphac"e*late (?), v. i. [imp. & p. p. Sphacelated (?); p. pr. & vb. n. Sphacelating.] [NL. sphacelare, sphacelatum, mortify: cf. F. sphacéler. See Sphacelus.] (Med.) To die, decay, or become gangrenous, as flesh or bone; to mortify.

 Sphac"e*late, v. t. (Med.) To affect with gangrene.

 { Sphac"e*late (?), Sphac"e*la'ted (?), } a. (Med.) Affected with gangrene; mortified.

 Sphac'e*la"tion (?), n. (Med.) The process of becoming or making gangrenous; mortification.

 ||Sphac"e*lus (?), n. [NL., fr. Gr. &?;&?;&?;&?;.]
 (Med.) Gangrenous part; gangrene; slough.

 ||Sphæ*ren"chy*ma (?), n. [NL., fr. Gr. &?;&?;&?; sphere + -enchyma as in parenchima.] (Bot.) Vegetable tissue composed of thin-walled rounded cells, -- a modification of parenchyma.

 ||Sphæ*rid"i*um (?), n.; pl. Sphæridia (#). [NL., fr. Gr. &?;&?;&?; a sphere.] (Zoöl.) A peculiar sense organ found upon the exterior of most kinds of sea urchins, and consisting of an oval or sherical head surmounting a short pedicel. It is generally supposed to be an olfactory organ.

 Sphæ"ro*spore (?), n. [Gr. &?;&?;&?;&?; sphere + E. spore.] (Bot.) One of the nonsexual spores found in red algæ; a tetraspore.

 Sphær"u*lite (?), n. (Min.) Same as Spherulite.

 Sphag*nic"o*lous (?), a. [Sphagnum + L. colere to inhabit.] (Bot.) Growing in moss of the genus Sphagnum.

 Sphag"nous (?), a. (Bot.) Pertaining to moss of the genus Sphagnum, or bog moss; abounding in peat or bog moss.

 ||Sphag"num (?), n. [NL., fr/ Gr. &?;&?;&?; a kind of moss.] (Bot.) A genus of mosses having white leaves slightly tinged with red or green and found growing in marshy places; bog moss; peat moss.

 Sphal"er*ite (?), n. [Gr. &?;&?;&?; slippery, uncertain. See Blende.] (Min.) Zinc sulphide; -- called also blende, black-jack, false galena, etc. See Blende (a).

 Sphene (?), n. [F. sphène, fr. Gr. sfh'n a wedge.] (Min.)
 A mineral found usually in thin, wedge-shaped crystals of a yellow or green to black color. It is a silicate of titanium and calcium; titanite.

 Sphe*neth"moid (?), a. [Sphenoid + ethmoid.] (Anat.)
 Of or pertaining to both the sphenoidal and the ethmoidal regions of the skull, or the sphenethmoid bone; sphenethmoidal.

Sphenethmoid bone (Anat.), a bone of the skull which surrounds the anterior end of the brain in many amphibia; the girdle bone.

 Sphe*neth"moid, n. (Anat.) The sphenethmoid bone.

 Sphe'neth*moid"al (?), a. (Anat.) Relating to the sphenoethmoid bone; sphenoethmoid.

 Sphe*nis"can (?), n. (Zoöl.) Any species of penguin.

 Sphe"no- (?). A combining form used in anatomy to indicate connection with, or relation to, the sphenoid bone; as in sphenomaxillary, sphenopalatine.

 Sphe"no*don (?), n. [Gr. sfh'n a wedge + &?;&?;&?;, &?;&?;&?;, a tooth.] (Zoöl.) Same as Hatteria.

 Sphe"no*eth*moid'al (?), a. (Anat.) Sphenethmoid.

 Sphe"no*gram (?), n. [Gr. sfh'n a wedge + -gram.] A cuneiform, or arrowheaded, character.

 Sphe*nog"ra*pher, n. One skilled in sphenography; a sphenographist.

 Sphe'no*graph"ic (?), a. Of or pertaining to sphenography.

 Sphe*nog"ra*phist (?), n. A sphenographer.

 Sphe*nog"ra*phy (?), n. [Gr. sfh'n a wedge + -graphy.] The art of writing in cuneiform characters, or of deciphering inscriptions made in such characters.

 Sphe"noid (?), a. [Gr. &?;&?;&?;; sfh'n a wedge + e'i^dos form: cf. F. sphénoïde.] 1.
 Wedge-shaped; as, a sphenoid crystal.

2. (Anat.) Of or pertaining to the sphenoid bone.

Sphenoid bone (Anat.), an irregularly shaped bone in front of the occipital in the base of the skull of the higher vertebrates. It is composed of several fetal bones which become united the adult. See Alisphenoid, Basisphenoid, Orbitosphenoid, Presphenoid.

 Sphe"noid (?), n. 1. (Crystallog.) A wedge-shaped crystal bounded by four equal isosceles triangles. It is the hemihedral form of a square pyramid.

2. (


in the exercise of one's office; with authority.

 The Vatican Council declares that the Pope, is infallible "when he speaks ex cathedra." Addis & Arnold's Cath. Dict.
 Ca*the"dral (?), n. [LL. cathedralis (sc. ecclesia): cf. F. cathédrale. See Cathedra.] The principal church in a diocese, so called because in it the bishop has his official chair (Cathedra) or throne.

 Ca*the"dral, a. [LL. cathedralis: cf. F. cathédral.]

1. Pertaining to the head church of a diocese; as, a cathedral church; cathedral service.

2. Emanating from the chair of office, as of a pope or bishop; official; authoritative.

 Now, what solemnity can be more required for the pope to make a cathedral determination of an article! Jer. Taylor.
3. Resembling the aisles of a cathedral; as, cathedral walks. Pope.
 Cath'e*dral"ic (?), a. Cathedral. [R.]

 Cath'e*dra"ted (?), a. [From Cathedra.] Relating to the chair or office of a teacher. [Obs.]

 Cath'e*ret"ic (?), n. [Gr. &?;, fr. &?; to bring down or raze; &?; down + &?; to take.] (Med.) A mild kind caustic used to reduce warts and other excrescences. Dunglison.
 Cath"er*ine wheel' (?). [So called from St. Catherine of Alexandria, who is represented with a wheel, in allusion to her martyrdom.] 1. (Geoth.Arth.) Same as Rose window and Wheel window. Called also Catherine-wheel window.

2. (Pyrotechny) A revolving piece of fireworks resembling in form the window of the same name. [Written also Catharine wheel.]

 Cath"e*ter (?), n. [L., fr. Gr. &?; a thing let down or put in, catheter, fr. &?; to send down, to let down; &?; + &?; to send.] (Med.) The name of various instruments for passing along mucous canals, esp. applied to a tubular instrument to be introduced into the bladder through the urethra to draw off the urine.

Eustachian catheter. See under Eustachian. -- Prostatic catheter, one adapted for passing an enlarged prostate.

 { Cath"e*ter*ism (?), Cath'e*ter*i*za"tion (?), } n. (Med.)
 The operation of introducing a catheter.

 Cath"e*ter*ize (?), v. t. [imp. & p. p. Catheterized (?); p. pr. & vb. n. Catheterizing.] (Med.) To operate on with a catheter. Dunglison.
 Cath'e*tom"e*ter (?), n. [From Gr. &?; vertical height + -meter.]
 An instrument for the accurate measurement of small differences of height; esp. of the differences in the height of the upper surfaces of two columns of mercury or other fluid, or of the same column at different times. It consists of a telescopic leveling apparatus (d), which slides up or down a perpendicular metallic standard very finely graduated (bb).
 The telescope is raised or depressed in order to sight the objects or surfaces, and the differences in vertical height are thus shown on the graduated standard. [Written also kathetometer.]

 ||Cath"e*tus (?), n.; pl. catheti (#). [L., fr. Gr.
 &?; a perpendicular line, fr. &?; let down, fr. &?;. See Catheter.] (Geom.) One line or radius falling perpendicularly on another; as, the catheti of a right-angled triangle, that is, the two sides that include the right angle. Barlow.
 Cath"ode (?), n. [Gr. &?; descent; &?; down + &?; way.]
 (Physics) The part of a voltaic battery by which the electric current leaves substances through which it passes, or the surface at which the electric current passes out of the electrolyte; the negative pole; -- opposed to anode. Faraday.
Cathode ray (Phys.), a kind of ray generated at the cathode in a vacuum tube, by the electrical discharge.

 Ca*thod"ic (k*thd"k), a. (Physiol.) A term applied to the centrifugal, or efferent, course of the nervous influence. Marshall Hall.
 Cat"-hole' (kt"hl'), n. (Naut.) One of two small holes astern, above the gunroom ports, through which hawsers may be passed.

 Cath"o*lic (kth"*k), a. [L. catholicus, Gr. kaqoliko's, universal, general; kata' down, wholly + "o'los whole, probably akin to E. solid: cf. F. catholique.] 1. Universal or general; as, the catholic faith.

 Men of other countries [came] to bear their part in so great and catholic a war. Southey.
 This epithet, which is applicable to the whole Christian church, or its faith, is claimed by Roman Catholics to belong especially to their church, and in popular usage is so limited.

2. Not narrow-minded, partial, or bigoted; liberal; as, catholic tastes.

3. Of or pertaining to, or affecting the Roman Catholics; as, the Catholic emancipation act.

Catholic epistles, the epistles of the apostles which are addressed to all the faithful, and not to a particular church; being those of James, Peter, Jude, and John.

 Cath"o*lic, n. 1. A person who accepts the creeds which are received in common by all parts of the orthodox Christian church.

2. An adherent of the Roman Catholic church; a Roman Catholic.

Old Catholic, the name assumed in 1870 by members of the Roman Catholic church, who denied the ecumenical character of the Vatican Council, and rejected its decrees, esp. that concerning the infallibility of the pope, as contrary to the ancient Catholic faith.

 Ca*thol"i*cal (?), a. Catholic. [Obs.]

 Ca*thol"i*cism (?), n. [Cf. F. catholicisme.]

1. The state or quality of being catholic or universal; catholicity. Jer. Taylor.
2. Liberality of sentiment; breadth of view.

3. The faith of the whole orthodox Christian church, or adherence thereto.

4. The doctrines or faith of the Roman Catholic church, or adherence thereto.

 Cath'o*lic"i*ty (?), n. 1. The state or quality of being catholic; universality.

2. Liberality of sentiments; catholicism.

3. Adherence or conformity to the system of doctrine held by all parts of the orthodox Christian church; the doctrine so held; orthodoxy.

4. Adherence to the doctrines of the church of Rome, or the doctrines themselves.

 Ca*thol"i*cize (?), v. t. & i. To make or to become catholic or Roman Catholic.

 Cath"o*lic*ly (?), adv. In a catholic manner; generally; universally. Sir L. Cary.
 Cath"o*lic*ness, n. The quality of being catholic; universality; catholicity.

 Ca*thol"i*con (?), n. [Gr. &?;, neut. &?;, universal. See Catholic.] (Med.) A remedy for all diseases; a panacea.

 ||Ca*thol"i*cos (?), n. [NL. See Catholic.] (Eccl.) The spiritual head of the Armenian church, who resides at Etchmiadzin, Russia, and has ecc


THE VALET'S TRAGEDY AND OTHER STUDIES By Andrew Lang TO THE MARQUIS D'EGUILLES 'FOR THE LOVE OF THE MAID AND OF CHIVALRY' CONTENTS PREFACE I. THE VALET'S TRAGEDY II. THE VALET'S MASTER III. THE MYSTERY OF SIR EDMUND BERRY GODFREY IV. THE FALSE JEANNE D'ARC.
 V. JUNIUS AND LORD LYTTELTON'S GHOST VI. THE MYSTERY OF AMY ROBSART VII. THE VOICES OF JEANNE D'ARC VIII. THE MYSTERY OF JAMES DE LA CLOCHE IX. THE TRUTH ABOUT 'FISHER'S GHOST' X. THE MYSTERY OF LORD BATEMAN XI. THE QUEEN'S MARIE XII. THE SHAKESPEARE-BACON IMBROGLIO PREFACE These studies in secret history follow no chronological order. The affair of James de la Cloche only attracted the author's attention after most of the volume was in print. But any reader curious in the veiled intrigues of the Restoration will probably find it convenient to peruse 'The Mystery of James de la Cloche' after the essay on 'The Valet's Master,' as the puzzling adventures of de la Cloche occurred in the years (_PHONE_), when the Valet was consigned to lifelong captivity, and the Master was broken on the wheel. What would have been done to 'Giacopo Stuardo' had he been a subject of Louis XIV., ''tis better only guessing.' But his fate, whoever he may have been, lay in the hands of Lord Ailesbury's 'good King,' Charles II., and so he had a good deliverance.

 The author is well aware that whosoever discusses historical mysteries pleases the public best by being quite sure, and offering a definite and certain solution. Unluckily Science forbids, and conscience is on the same side. We verily do not know how the false Pucelle arrived at her success with the family of the true Maid; we do not know, or pretend to know, who killed Sir Edmund Berry Godfrey; or how Amy Robsart came by her death; or why the Valet was so important a prisoner. It is only possible to restate the cases, and remove, if we may, the errors and confusions which beset the problems. Such a tiny point as the year of Amy Robsart's marriage is stated variously by our historians. To ascertain the truth gave the author half a day's work, and, at last, he would have voted for the wrong year, had he not been aided by the superior acuteness of his friend, Mr. Hay Fleming. He feels morally certain that, in trying to set historians right about Amy Robsart, he must have committed some conspicuous blunders; these always attend such enterprises of rectification.

 With regard to Sir Edmund Berry Godfrey, Mr. A. W. Crawley-Boevey points out to me that in an unpublished letter of Mr. Alexander Herbert Phaire in 1743-44 (Addit. MSS. British Museum 4291, fol. 150) Godfrey is spoken of in connection with his friend Valentine Greatrakes, the 'miraculous Conformist,' or 'Irish Stroker,' of the Restoration. 'It is a pity,' Mr.
 Phaire remarks, 'that Sir Edmund's letters, to the number of 104, are not in somebody's hands that would oblige the world by publishing them. They contain many remarkable things, and the best and truest secret history in King Charles II.'s reign.' Where are these letters now? Mr. Phaire does not say to whom they were addressed, perhaps to Greatrakes, who named his second son after Sir Edmund, or to Colonel Phaire, the Regicide. This Mr.
 Phaire of 1744 was of Colonel Phaire's family. It does not seem quite certain whether Le Fevre, or Lee Phaire, was the real name of the so-called Jesuit whom Bedloe accused of the murder of Sir Edmund.

 Of the studies here presented, 'The Valet's Master,' 'The Mystery of Sir Edmund Berry Godfrey,' 'The False Jeanne d'Arc,' 'The Mystery of Amy Robsart,' and 'The Mystery of James de la Cloche,' are now published for the first time. Part of 'The Voices of Jeanne d'Arc,' is from a paper by the author in 'The Proceedings of the Society for Psychical Research.' 'The Valet's Tragedy' is mainly from an article in 'The Monthly Review,' revised, corrected, and augmented. 'The Queen's Marie' is a recast of a paper in 'Blackwood's Magazine'; 'The Truth about "Fisher's Ghost,"' and 'Junius and Lord Lyttelton's Ghost' are reprinted, with little change, from the same periodical. 'The Mystery of Lord Bateman' is a recast of an article in 'The Cornhill Magazine.' The earlier part of the essay on Shakespeare and Bacon appeared in 'The Quarterly Review.' The author is obliged to the courtesy of the proprietors and editors of these serials for permission to use his essays again, with revision and additions.* The author is deeply indebted to the generous assistance of Father Gerard and Father Pollen, S.J.; and, for making transcripts of unpublished documents, to Miss E. M. Thompson and Miss Violet Simpson.

 Since passing the volume for the press the author has received from Mr.
 Austin West, at Rome, a summary of Armanni's letter about Giacopo Stuardo.
 He is led thereby to the conclusion that Giacopo was identical with the eldest son of Charles II.—James de la Cloche—but conceives that, at the end of his life, James was insane, or at least was a 'megalomaniac,' or was not author of his own Will.

 I. THE VALET'S TRAGEDY 1. THE LEGEND OF THE MAN IN THE IRON MASK The Mystery of the Man in the Iron Mask is, despite a pleasant saying of Lord Beaconsfield's, one of the most fascinating in history. By a curious coincidence the wildest legend on the subject, and the correct explanation of the problem, were offered to the world in the same year, 1801.
 According to this form of the legend, the Man in the Iron Mask was the genuine Louis XIV., deprived of his rights in favour of a child of Anne of Austria and of Mazarin. Immured in the Isles Sainte-Marguerite, in the bay of Cannes (where you are shown his cell, looking north to the sunny town), he married, and begot a son. That son was carried to Corsica, was named de Buona Parte, and was the ancestor of Napoleon. The Emperor was thus the legitimate representative of the House of Bourbon.

 This legend was circulated in 1801, and is referred to in a proclamation of the Royalists of La Vendee. In the same year, 1801, Roux Fazaillac, a Citoyen and a revolutionary legislator, published a work in which he asserted that the Man in the Iron Mask (as known in rumour) was not one man, but a myth, in which the actual facts concerning at least two men were blended. It is certain that Roux Fazaillac was right; or that, if he was wrong, the Man in the Iron Mask was an obscure valet, of French birth, residing in England, whose real name was Martin.

 Before we enter on the topic of this poor menial's tragic history, it may be as well to trace the progress of the romantic legend, as it blossomed after the


The soft, succulent part of fruit; as, the pulp of a grape. (c) The exterior part of a coffee berry. B. Edwards. (d) The material of which paper is made when ground up and suspended in water.

 Pulp, v. t. [imp. & p. p. Pulped (?); p. pr. & vb. n. Pulping.] 1. To reduce to pulp.

2. To deprive of the pulp, or integument.

 The other mode is to pulp the coffee immediately as it comes from the tree. By a simple machine a man will pulp a bushel in a minute.

B. Edwards.
 Pul'pa*toon" (?), n. [F. poulpeton, poupeton, a sort of ragout.] A kind of delicate confectionery or cake, perhaps made from the pulp of fruit. [Obs.] Nares.
 Pulp"i*ness (?), n. the quality or state of being pulpy.

 Pul"pit (?), n. [L. pulpitum: cf. OF. pulpite, F. pulpitre.]

1. An elevated place, or inclosed stage, in a church, in which the clergyman stands while preaching.

 I stand like a clerk in my pulpit.

Chaucer.
2. The whole body of the clergy; preachers as a class; also, preaching.

 I say the pulpit (in the sober use Of its legitimate, peculiar powers) Must stand acknowledged, while the world shall stand, The most important and effectual guard, Support, and ornament of virtue's cause.

Cowper.
3. A desk, or platform, for an orator or public speaker.

 Pul"pit, a. Of or pertaining to the pulpit, or preaching; as, a pulpit orator; pulpit eloquence.

 Pul"pit*ed (?), a. Placed in a pulpit. [R.]

 Sit... at the feet of a pulpited divine.

Milton.
 Pul*pit*eer" (?), n. One who speaks in a pulpit; a preacher; -- so called in contempt. Howell.
 We never can think it sinful that Burns should have been humorous on such a pulpiteer.

Prof. Wilson.
 Pul"pit*er (?), n. A preacher. [Obs.]

 Pul*pit"ic*al (?), a. Of or pertaining to the pulpit; suited to the pulpit. [R.] -- Pul*pit"ic*al*ly, adv. [R.] Chesterfield.
 Pul"pit*ish (?), a. Of or pertaining to the pulpit; like preaching.
 Chalmers.
 Pul"pit*ry (?), n. The teaching of the pulpit; preaching. [R. & Obs.] " Mere pulpitry." Milton.
 Pulp"ous (?), a. [L. pulposus: cf. F. pulpeux. See Pulp.] Containing pulp; pulpy. " Pulpous fruit." J. Philips.
 -- Pulp"ous*ness, n. Pulp"y (?), n. Like pulp; consisting of pulp; soft; fleshy; succulent; as, the pulpy covering of a nut; the pulpy substance of a peach or a cherry.

 ||Pul"que (?), n. [Sp.] An intoxicating Mexican drink. See Agave.

 Pul"sate (?), v. i. [imp. & p. p. Pulsated (?); p. pr. & vb. n. Pulsating.] [L. pulsatus, p. p. of pulsare to beat, strike, v. intens. fr. pellere to beat, strike, drive. See Pulse a beating, and cf. Pulse, v.] To throb, as a pulse; to beat, as the heart.

 The heart of a viper or frog will continue to pulsate long after it is taken from the body.

E. Darwin.
 Pul"sa*tile (?), a. [Cf. It. pulsatile, Sp. pulsatil.]
 1. Capable of being struck or beaten; played by beating or by percussion; as, a tambourine is a pulsatile musical instrument.

2. Pulsating; throbbing, as a tumor.

 ||Pul'sa*til"la (?), n. [NL.] (Bot.) A genus of ranunculaceous herbs including the pasque flower. This genus is now merged in Anemone. Some species, as Anemone Pulsatilla, Anemone pratensis, and Anemone patens, are used medicinally.

 Pul*sa"tion (?), n. [L. pulsatio a beating or striking: cf.
 F. pulsation.] 1. (Physiol.) A beating or throbbing, especially of the heart or of an artery, or in an inflamed part; a beat of the pulse.

2. A single beat or throb of a series.

3. A stroke or impulse by which some medium is affected, as in the propagation of sounds.

4. (Law) Any touching of another's body willfully or in anger. This constitutes battery.

 By the Cornelian law, pulsation as well as verberation is prohibited.

Blackstone.
 Pul"sa*tive (?), a. [Cf. F. pulsatif.] Beating; throbbing.

 Pul*sa"tor (?), n. [L.] 1. A beater; a striker.

2. (Mech.) That which beats or throbs in working.

 Pul"sa*to*ry (?), a. [Cf. F. pulsatoire.] Capable of pulsating; throbbing. Sir H. Wotton..
 Pulse (?), n. [OE. puls, L. puls, pultis, a thick pap or pottage made of meal, pulse, etc. See Poultice, and cf.
 Pousse.] Leguminous plants, or their seeds, as beans, pease, etc.

 If all the world Should, in a pet of temperance, feed on pulse.

Milton.
 Pulse, n. [OE. pous, OF. pous, F. pouls, fr.
 L. pulsus (sc. venarum), the beating of the pulse, the pulse, from pellere, pulsum, to beat, strike; cf. Gr. &?; to swing, shake, &?; to shake. Cf. Appeal, Compel, Impel, Push.] 1.
(Physiol.) The beating or throbbing of the heart or blood vessels, especially of the arteries.

 In an artery the pulse is due to the expansion and contraction of the elastic walls of the artery by the action of the heart upon the column of blood in the arterial system. On the commencement of the diastole of the ventricle, the semilunar valves are closed, and the aorta recoils by its elasticity so as to force part of its contents into the vessels farther onwards. These, in turn, as they already contain a certain quantity of blood, expand, recover by an elastic recoil, and transmit the movement with diminished intensity. Thus a series of movements, gradually diminishing in intensity, pass along the arterial system (see the Note under Heart). For the sake of convenience, the radial artery at the wrist is generally chosen to detect the precise character of the pulse. The pulse rate varies with age, position, sex, stature, physical and psychical influences, etc.

2. Any measured or regular beat; any short, quick motion, regularly repeated, as of a medium in the transmission of light, sound, etc.; oscillation; vibration; pulsation; impulse; beat; movement.

 The measured pulse of racing oars.

Tennyson.
 When the ear receives any simple sound, it is struck by a single pulse of the air, which makes the eardrum and the other membranous parts vibrate according to the nature and species of the stroke.

Burke.
Pulse glass, an instrument consisting to a glass tube with terminal bulbs, and containing ether or alcohol


dreadful description of the state of the slummers. One might give innumerable examples of the essentially unsympathetic and unpopular quality of these realistic writers. But perhaps the simplest and most obvious example with which we could conclude is the mere fact that these writers are realistic. The poor have many other vices, but, at least, they are never realistic. The poor are melodramatic and romantic in grain; the poor all believe in high moral platitudes and copy-book maxims; probably this is the ultimate meaning of the great saying, "Blessed are the poor." Blessed are the poor, for they are always making life, or trying to make life like an Adelphi play. Some innocent educationalists and philanthropists (for even philanthropists can be innocent) have expressed a grave astonishment that the masses prefer shilling shockers to scientific treatises and melodramas to problem plays. The reason is very simple. The realistic story is certainly more artistic than the melodramatic story. If what you desire is deft handling, delicate proportions, a unit of artistic atmosphere, the realistic story has a full advantage over the melodrama. In everything that is light and bright and ornamental the realistic story has a full advantage over the melodrama. But, at least, the melodrama has one indisputable advantage over the realistic story. The melodrama is much more like life. It is much more like man, and especially the poor man. It is very banal and very inartistic when a poor woman at the Adelphi says, "Do you think I will sell my own child?" But poor women in the Battersea High Road do say, "Do you think I will sell my own child?" They say it on every available occasion; you can hear a sort of murmur or babble of it all the way down the street. It is very stale and weak dramatic art (if that is all) when the workman confronts his master and says, "I'm a man." But a workman does say "I'm a man" two or three times every day. In fact, it is tedious, possibly, to hear poor men being melodramatic behind the footlights; but that is because one can always hear them being melodramatic in the street outside. In short, melodrama, if it is dull, is dull because it is too accurate. Somewhat the same problem exists in the case of stories about schoolboys. Mr. Kipling's "Stalky and Co."
is much more amusing (if you are talking about amusement) than the late Dean Farrar's "Eric; or, Little by Little." But "Eric" is immeasurably more like real school-life. For real school-life, real boyhood, is full of the things of which Eric is full—priggishness, a crude piety, a silly sin, a weak but continual attempt at the heroic, in a word, melodrama. And if we wish to lay a firm basis for any efforts to help the poor, we must not become realistic and see them from the outside.
We must become melodramatic, and see them from the inside. The novelist must not take out his notebook and say, "I am an expert." No; he must imitate the workman in the Adelphi play. He must slap himself on the chest and say, "I am a man."
XX. Concluding Remarks on the Importance of Orthodoxy Whether the human mind can advance or not, is a question too little discussed, for nothing can be more dangerous than to found our social philosophy on any theory which is debatable but has not been debated.
But if we assume, for the sake of argument, that there has been in the past, or will be in the future, such a thing as a growth or improvement of the human mind itself, there still remains a very sharp objection to be raised against the modern version of that improvement. The vice of the modern notion of mental progress is that it is always something concerned with the breaking of bonds, the effacing of boundaries, the casting away of dogmas. But if there be such a thing as mental growth, it must mean the growth into more and more definite convictions, into more and more dogmas. The human brain is a machine for coming to conclusions; if it cannot come to conclusions it is rusty. When we hear of a man too clever to believe, we are hearing of something having almost the character of a contradiction in terms. It is like hearing of a nail that was too good to hold down a carpet; or a bolt that was too strong to keep a door shut. Man can hardly be defined, after the fashion of Carlyle, as an animal who makes tools; ants and beavers and many other animals make tools, in the sense that they make an apparatus. Man can be defined as an animal that makes dogmas. As he piles doctrine on doctrine and conclusion on conclusion in the formation of some tremendous scheme of philosophy and religion, he is, in the only legitimate sense of which the expression is capable, becoming more and more human. When he drops one doctrine after another in a refined scepticism, when he declines to tie himself to a system, when he says that he has outgrown definitions, when he says that he disbelieves in finality, when, in his own imagination, he sits as God, holding no form of creed but contemplating all, then he is by that very process sinking slowly backwards into the vagueness of the vagrant animals and the unconsciousness of the grass. Trees have no dogmas.
Turnips are singularly broad-minded.
If then, I repeat, there is to be mental advance, it must be mental advance in the construction of a definite philosophy of life. And that philosophy of life must be right and the other philosophies wrong. Now of all, or nearly all, the able modern writers whom I have briefly studied in this book, this is especially and pleasingly true, that they do each of them have a constructive and affirmative view, and that they do take it seriously and ask us to take it seriously. There is nothing merely sceptically progressive about Mr. Rudyard Kipling. There is nothing in the least broad minded about Mr. Bernard Shaw. The paganism of Mr. Lowes Dickinson is more grave than any Christianity. Even the opportunism of Mr. H. G. Wells is more dogmatic than the idealism of anybody else. Somebody complained, I think, to Matthew Arnold that he was getting as dogmatic as Carlyle. He replied, "That may be true; but you overlook an obvious difference. I am dogmatic and right, and Carlyle is dogmatic and wrong." The strong humour of the remark ought not to disguise from us its everlasting seriousness and common sense; no man ought to write at all, or even to speak at all, unless he thinks that he is in truth and the other man in error. In similar style, I hold that I am dogmatic and right, while Mr. Shaw is dogmatic and wrong. But my main point, at present, is to notice that the chief among these writers I have discussed do most sanely and courageously offer themselves as dogmatists, as founders of a system. It may be true that the thing in Mr. Shaw most interesting to me, is the fact that Mr. Shaw is wrong. But it is equally true that the thing in Mr.
Shaw most interesting to himself, is the fact that Mr. Shaw is right.
Mr. Shaw may have none with him but himself; but it is not for himself he cares. It is for the vast and universal church, of which he is the only member.
The two typical men of genius whom I have mentioned here, and with whose names I have begun this book, are very symbolic, if only because they have shown that the fiercest dogmatists can make the best artists.
In the fin de siecle atmosphere every one was crying out that literature should be free from all causes and all ethical creeds. Art was to produce only exquisite workmanship, and it was especially the note of those days to demand brilliant plays and brilliant short stories. And when they got them, they got them from a couple of moralists. The best short stories were written by a man trying to preach Imperialism. The best plays were written by a man trying to preach Socialism. All the art of all the artists looked tiny and tedious beside the art which was a byproduct of propaganda.
The reason, indeed, is very


is a phrase that seems to have originated with those who suffered by the confiscation of church property.
[6] The Marquis of Winchester, the brave defender of his house at Basing, had been made prisoner by Cromwell at the storming of that house in 1645. Waller had been foiled in his attempt on this place in the year preceding.—T. W.
[7] Sir John Ogle, one of the Royalist commanders, who was intrusted with the defence of Winchester Castle, which he surrendered on conditions just before the siege of Basing House.—T. W.
[8] Wren, bishop of Ely, was committed to the Tower in 1641, accused with high "misdemeanours" in his diocese.
[9] David Jenkins, a Welsh Judge, who had been made prisoner at the taking of Hereford, and committed first to Newgate and afterwards to the Tower. He refused to acknowledge the authority of the Parliament, and was the author of several tracts published during the year (while he was prisoner in the Tower), which made a great noise.—T. W.
[10] Sir Francis Wortley, Bart., was made a prisoner in 1644, at the taking of Walton House, near Wakefield, by Sir Thomas Fairfax.
[11] Sir Edward Hales, Bart., of Woodchurch, in Kent, had been member for Queenborough in the Isle of Sheppey. He was not a Royalist.
[12] Sir George Strangways, Bart., according to the marginal note in the original. Another of the name, Sir John Strangways, was taken at the surrender of Sherborne Castle.
[13] Sir Henry Bedingfield, Bart., of Norfolk; Sir Walter Blount, Bart., of Worcester; and Sir Francis Howard, Bart., of the North, were committed to the Tower on the 22nd of January, 1646.
[14] The horrible barbarities committed by the Irish rebels had made the Catholics so much abhorred in England, that every English member of that community was suspected of plotting the same massacres in England.—T.
W.
[15] Sir John Hewet, of Huntingdonshire, was committed to the Tower on the 28th of January, 1645(–6).
[16] Sir Thomas Lunsford, Bart., the celebrated Royalist officer, was committed to the Tower on the 22nd of January, 1646. The violence and barbarities which he and his troop were said to have perpetrated led to the popular belief that he was in the habit of eating children.
From Fielding and from Vavasour, Both ill-affected men; From Lunsford eke dilver us, That eateth up children.

Loyal Songs, ed. 1731, i. 38.
T. W.
[17] Sir William Lewis, one of the eleven members who had been impeached by the army.
[18] Col. Giles Strangwaies, of Dorsetshire, taken with Sir Lewis Dives, at the surrender of Sherborne, was committed to the Tower on the 28th August, 1645. He was member for Bridport in the Long Parliament, and was one of those who attended Charles's "Mongrel" Parliament at Oxford.
[19] Sir Lewis Dives, an active Royalist, was governor of Sherborne Castle for the King, and had been made a prisoner by Fairfax in August, 1645, when that fortress was taken by storm. He was brother-in-law to Lord Digby.
[20] Sir John Morley, of Newcastle, committed to the Tower on the 18th of July, 1645.
[21] King was a Royalist general, in the north, who was slain July, 1643.
[22] Sir William Morton, of Gloucestershire, committed to the Tower on the 17th August, 1644. Cardinal Morton, Archbishop of Canterbury, brought about the marriage between King Henry VII. and the daughter of Edward IV., and thus effected the unison of the rival houses of York and Lancaster.
[23] Thomas Coningsby, Esq., of Northmyus in Hertfordshire, committed to the Tower in November, 1642, for reading the King's commission of array in that county.
[24] Sir Wingfield Bodenham, of the county of Rutland, committed to the Tower on the 31st of July, 1643.
[25] Sir Henry Vaughan, a Welsh knight, committed to the Tower on the 18th July, 1645.
[26] Lilburn was, as has been observed, in the Tower for his practices against the present order of things, he being an advocate of extreme democratic principles; and he was there instructed in knotty points of law by Judge Jenkins, to enable him to torment and baffle the party in power. It was Jenkins who said of Lilburne that "If the world were emptied of all but John Lilburne, Lilburne would quarrel with John, and John with Lilburne."—T. W.
[27] Mr Thomas Violet, of London, goldsmith, committed to the Tower January 6th, 1643(–4), for carrying a letter from the King to the mayor and common council of London.
[28] Dr Hudson had been concerned in the King's transactions with the Scots, previous to his delivering himself up to them, and he and Ashburnham had been his sole attendants in his flight from Oxford for that purpose.—T. W.
[29] Poyntz and Massey were staunch Presbyterians, and their party counted on their assistance in opposing the army: but they withdrew, when the quarrel seemed to be near coming to extremities.
[30] Glynn was one of the eleven members impeached by the army.
[31] It was believed at this time that Fairfax was favourable to the restoration of the King.
[32] The "Jack Ketch" of the day.
[33] The copy in the "Rump Songs" has "Smee and his tub." [34] The old proverbial expression of "the devil and his dam" was founded on an article of popular superstition which is now obsolete. In 1598, a Welshman, or borderer, writes to Lord Burghley for leave "to drive the devill and his dam" from the castle of Skenfrith, where they were said to watch over hidden treasure: "The voyce of the countrey goeth there is a dyvell and his dame, one sitts upon a hogshed of gold, the other upon a hogshed of silver." (Queen Elizabeth and her Times, ii.
397.) The expression is common in our earlier dramatic poets: thus Shakespeare,— —"I'll have a bout with thee; Devil, or devil's dam, I'll conjure thee: Blood will I draw on thee, thou art a witch." (Hen. V. Part I. Act I. sc.
5.)
T. W.
[35] The prediction was not quite so speedily verified.
[36] Colonel Hewson, originally a shoemaker.
[37] Newspapers.
[38] In the seventeenth century Lancashire enjoyed an unhappy pre-eminence in the annals of superstition, and it was regarded especially as a land of witches. This fame appears to have originated partly in the execution of a number of persons in 1612, who were pretended to have been associated together in the crime of witchcraft, and who held their unearthly meetings at the Malkin Tower, in the forest of Pendle. In 1613 was published an account of the trials, in a thick pamphlet, entitled "The Wonderful Discoverie of Witches in the Countie of Lancaster. With the Arraignment and Triall of nineteene notorious Witches, at the Assizes and general Goale Deliverie, holden in the Castle of Lancaster, on Monday, the seventeenth of August last, 1612. Published and set forth by commandment of his Majesties Justices of Assize in the North Parts, by Thomas Potts, Esquier." "The famous History of the Lancashire Witches" continued to be popular as a chap-book up to the beginning of the nineteenth century.—T. Wright.
[39] An allusion to the Dutch War of 1651 and 1652.
[40] Oliver Cromwell.
[41] The Welsh were frequently the subject of satirical allusions during the civil wars and the Commonwealth.
[42] Speaker of the Long Parliament.
[43] Cromwell's wife.
[44] Cromwell's two sons, Richard


with goat-feet and goat-horns. Again, all these minor goat-formed divinities partake more or less clearly of the character of woodland deities. Thus, Pan was called by the Arcadians the Lord of the Wood. The Silenuses kept company with the tree-nymphs. The Fauns are expressly designated as woodland deities; and their character as such is still further brought out by their association, or even identification, with Silvanus and the Silvanuses, who, as their name of itself indicates, are spirits of the woods. Lastly, the association of the Satyrs with the Silenuses, Fauns, and Silvanuses, proves that the Satyrs also were woodland deities. These goat-formed spirits of the woods have their counterparts in the folk-lore of Northern Europe. Thus, the Russian wood-spirits, called Ljeschie (from ljes, "wood"), are believed to appear partly in human shape, but with the horns, ears, and legs of goats. The Ljeschi can alter his stature at pleasure; when he walks in the wood he is as tall as the trees; when he walks in the meadows he is no higher than the grass. Some of the Ljeschie are spirits of the corn as well as of the wood; before harvest they are as tall as the corn-stalks, but after it they shrink to the height of the stubble.
This brings out—what we have remarked before—the close connexion between tree-spirits and corn-spirits, and shows how easily the former may melt into the latter. Similarly the Fauns, though wood-spirits, were believed to foster the growth of the crops. We have already seen how often the corn-spirit is represented in folk-custom as a goat. On the whole, then, as Mannhardt argues, the Pans, Satyrs, and Fauns perhaps belong to a widely diffused class of wood-spirits conceived in goat-form. The fondness of goats for straying in woods and nibbling the bark of trees, to which indeed they are most destructive, is an obvious and perhaps sufficient reason why wood-spirits should so often be supposed to take the form of goats. The inconsistency of a god of vegetation subsisting upon the vegetation which he personifies is not one to strike the primitive mind. Such inconsistencies arise when the deity, ceasing to be immanent in the vegetation, comes to be regarded as its owner or lord; for the idea of owning the vegetation naturally leads to that of subsisting on it. Sometimes the corn-spirit, originally conceived as immanent in the corn, afterwards comes to be regarded as its owner, who lives on it and is reduced to poverty and want by being deprived of it. Hence he is often known as "the Poor Man" or "the Poor Woman." Occasionally the last sheaf is left standing on the field for "the Poor Old Woman" or for "the Old Rye-woman." Thus the representation of wood-spirits in the form of goats appears to be both widespread and, to the primitive mind, natural.
Therefore when we find, as we have done, that Dionysus—a tree-god—is sometimes represented in goat-form, we can hardly avoid concluding that this representation is simply a part of his proper character as a tree-god and is not to be explained by the fusion of two distinct and independent worships, in one of which he originally appeared as a tree-god and in the other as a goat.
Dionysus was also figured, as we have seen, in the shape of a bull. After what has gone before we are naturally led to expect that his bull form must have been only another expression for his character as a deity of vegetation, especially as the bull is a common embodiment of the corn-spirit in Northern Europe; and the close association of Dionysus with Demeter and Persephone in the mysteries of Eleusis shows that he had at least strong agricultural affinities.
The probability of this view will be somewhat increased if it can be shown that in other rites than those of Dionysus the ancients slew an OX as a representative of the spirit of vegetation. This they appear to have done in the Athenian sacrifice known as "the murder of the OX" (bouphonia).
It took place about the end of June or beginning of July, that is, about the time when the threshing is nearly over in Attica.
According to tradition the sacrifice was instituted to procure a cessation of drought and dearth which had afflicted the land. The ritual was as follows. Barley mixed with wheat, or cakes made of them, were laid upon the bronze altar of Zeus Polieus on the Acropolis. Oxen were driven round the altar, and the OX which went up to the altar and ate the offering on it was sacrificed. The axe and knife with which the beast was slain had been previously wetted with water brought by maidens called "water-carriers." The weapons were then sharpened and handed to the butchers, one of whom felled the OX with the axe and another cut its throat with the knife. As soon as he had felled the OX, the former threw the axe from him and fled; and the man who cut the beast's throat apparently imitated his example. Meantime the OX was skinned and all present partook of its flesh. Then the hide was stuffed with straw and sewed up; next the stuffed animal was set on its feet and yoked to a plough as if it were ploughing. A trial then took place in an ancient law-court presided over by the King (as he was called) to determine who had murdered the OX. The maidens who had brought the water accused the men who had sharpened the axe and knife; the men who had sharpened the axe and knife blamed the men who had handed these implements to the butchers; the men who had handed the implements to the butchers blamed the butchers; and the butchers laid the blame on the axe and knife, which were accordingly found guilty, condemned, and cast into the sea.
The name of this sacrifice,— "the murder of the OX,"—the pains taken by each person who had a hand in the slaughter to lay the blame on some one else, together with the formal trial and punishment of the axe or knife or both, prove that the OX was here regarded not merely as a victim offered to a god, but as itself a sacred creature, the slaughter of which was sacrilege or murder. This is borne out by a statement of Varro that to kill an OX was formerly a capital crime in Attica. The mode of selecting the victim suggests that the OX which tasted the corn was viewed as the corn-deity taking possession of his own. This interpretation is supported by the following custom. In Beauce, in the district of Orleans, on the twenty-fourth or twenty-fifth of April they make a straw man called "the great mondard." For they say that the old mondard is now dead and it is necessary to make a new one. The straw man is carried in solemn procession up and down the village and at last is placed upon the oldest apple-tree. There he remains till the apples are gathered, when he is taken down and thrown into the water, or he is burned and his ashes cast into water. But the person who plucks the first fruit from the tree succeeds to the title of "the great mondard." Here the straw figure, called "the great mondard" and placed on the oldest apple-tree in spring, represents the spirit of the tree, who, dead in winter, revives when the apple-blossoms appear on the boughs. Thus the person who plucks the first fruit from the tree and thereby receives the name of "the great mondard" must be regarded as a representative of the tree-spirit. Primitive peoples are usually reluctant to taste the annual first-fruits of any crop, until some ceremony has been performed which makes it safe and pious for them to do so. The reason of this reluctance appears to be a belief that the first-fruits either belong to or actually contain a divinity.
Therefore when a man or animal is seen boldly to appropriate the sacred first-fruits, he or it is naturally regarded as the divinity himself in human or animal form taking possession of his own. The time of the Athenian sacrifice, which fell about the close of the threshing, suggests that the wheat


p. & vb. n. Collimating.] [See Collimation.] (Physics & Astron.) To render parallel to a certain line or direction; to bring into the same line, as the axes of telescopes, etc.; to render parallel, as rays of light.

 Collimating eyepiece, an eyepiece with a diagonal reflector for illumination, used to determine the error of collimation in a transit instrument by observing the image of a cross wire reflected from mercury, and comparing its position in the field with that of the same wire seen directly. -- Collimating lens (Optics), a lens used for producing parallel rays of light.

 Col'li*ma"tion (?), n. [Cf. F. collimation, fr. a false reading (collimare) for L. collineare to direct in a straight line; col- + linea line. Cf. Collineation.] The act of collimating; the adjustment of the line of the sights, as the axial line of the telescope of an instrument, into its proper position relative to the other parts of the instrument.

Error of collimation, the deviation of the line collimation of an astronomical instrument from the position it ought to have with respect to the axis of motion of the instrument. -- Line of collimation, the axial line of the telescope of an astronomical or geodetic instrument, or the line which passes through the optical center of the object glass and the intersection of the cross wires at its focus.

 Col"li*ma'tor (?), n. 1. (Astron.) A telescope arranged and used to determine errors of collimation, both vertical and horizontal. Nichol.
2. (Optics) A tube having a convex lens at one end and at the other a small opening or slit which is at the principal focus of the lens, used for producing a beam of parallel rays; also, a lens so used.

 Col"lin (?), n. [Gr. ko'lla glue.] A very pure form of gelatin.

 Col"line (?), n. [F. colline, fr. L. collis a hill.]
 A small hill or mount. [Obs.]

 And watered park, full of fine collines and ponds. Evelyn.
 Col*lin'e*a"tion (?), n. [L. collineare to direct in a straight line. See Collimation.] The act of aiming at, or directing in a line with, a fixed object. [R.] Johnson.
 Coll"ing (?), n. [From Coll, v. t.] An embrace; dalliance.
 [Obs.] Halliwell.
 Coll"ing*ly, adv. With embraces. [Obs.] Gascoigne.
 Col*lin"gual (?), a. Having, or pertaining to, the same language.

 Col*liq"ua*ble (?), a. Liable to melt, grow soft, or become fluid.
 [Obs.] Harvey.
 Col*liq"ua*ment (?), n. The first rudiments of an embryo in generation. Dr. H. More.
 Col"li*quate (?), v. t. & i. [imp. & p. p. Colliquated; p. pr. & vb. n. Colliquating.] [Pref. col- + L. liquare, liquatum, to melt.] To change from solid to fluid; to make or become liquid; to melt. [Obs.]

 The ore of it is colliquated by the violence of the fire. Boyle.
 [Ice] will colliquate in water or warm oil. Sir T. Browne.
 Col'li*qua"tion (?), n. 1. A melting together; the act of melting; fusion.

 When sand and ashes are well melted together and suffered to cool, there is generated, by the colliquation, that sort of concretion we call "glass". Boyle.
2. (Med.) A processive wasting or melting away of the solid parts of the animal system with copious excretions of liquids by one or more passages. [Obs.]

 Col*liq"ua*tive (?), a. Causing rapid waste or exhaustion; melting; as, colliquative sweats.

 Col*liq'ue*fac"tion (?), n. [L. colliquefactus melted; col- + liquefacere; liqure to be liquid + facere to make.]
 A melting together; the reduction of different bodies into one mass by fusion.

 The incorporation of metals by simple colliquefaction. Bacon.
 Col"lish (?), n. (Shoemaking) A tool to polish the edge of a sole. Knight.
 Col*li"sion (?), n. [L. collisio, fr. collidere. See Collide.] 1. The act of striking together; a striking together, as of two hard bodies; a violent meeting, as of railroad trains; a clashing.

2. A state of opposition; antagonism; interference.

 The collision of contrary false principles. Bp.
 Warburton.
 Sensitive to the most trifling collisions. W. Irving.
Syn. -- Conflict; clashing; encounter; opposition.

 Col*li"sive (?), a. Colliding; clashing. [Obs.]

 Col*lit"i*gant (?), a. Disputing or wrangling. [Obs.] -- n. One who litigates or wrangles. [Obs.]

 Col"lo*cate (?), a. [L. collocatus, p. p. of collocare.
 See Couch.] Set; placed. [Obs.] Bacon.
 Col"lo*cate (?), v. t. [imp. & p. p. Collocated (?); p. pr. & vb. n. Collocating (?).] To set or place; to set; to station.

 To marshal and collocate in order his battalions. E. Hall.
 Col'lo*ca"tion (?), n. [L. collocatio.] The act of placing; the state of being placed with something else; disposition in place; arrangement.

 The choice and collocation of words. Sir W. Jones.
 Col'lo*cu"tion (?), n. [L. collocutio, fr. colloqui, -locutum, to converse; col- + loqui to speak. See Loquacious.] A speaking or conversing together; conference; mutual discourse. Bailey.
 Col"lo*cu'tor (?), n. [L. collocutor] One of the speakers in a dialogue. Derham.
 Col*lo"di*on (?), n. [Gr. &?; like glue; ko'lla glue + &?; form. Cf. Colloid.] (Chem.) A solution of pyroxylin (soluble gun cotton) in ether containing a varying proportion of alcohol. It is strongly adhesive, and is used by surgeons as a coating for wounds; but its chief application is as a vehicle for the sensitive film in photography.

Collodion process (Photog.), a process in which a film of sensitized collodion is used in preparing the plate for taking a picture.
 -- Styptic collodion, collodion containing an astringent, as tannin.

 Col*lo"di*on*ize (?), v. t. To prepare or treat with collodion. R. Hunt.
 Col*lo"di*o*type (?), n. A picture obtained by the collodion process; a melanotype or ambrotype.

 Col*lo"di*um (?), n. See Collodion.

 Col*logue" (?), v. i. [Cf. L. colloqui and E. dialogue.
 Cf. Collocution.] To talk or confer secretly and confidentially; to converse, especially with evil intentions; to plot mischief. [Archaic or Colloq.]

 Pray go in; and, sister, salve the matter, Collogue with her again, and all shall be well. Greene.
 He


and Zoroastrian story, appear the descriptions of two Trees of Life, also a Tree of Knowledge. In the accounts given of these trees, the Ficus, the female Tree of Life, represents the life of the soul, while the palm, the male Tree of Life, is that which gives physical life, which also is the true significance of the word "lord." When, however, either of these trees stood alone, or unaccompanied by its counterpart, by it both of the creative principles were understood. By these ideas is suggested the thought which among a certain school of psychologists of the present century seems to be gaining ground, namely: that man is a dual entity, or, in other words, that he has a subjective mind and an objective self, which so long as this life endures must co-operate or work together.

 In the following descriptions of Egyptian emblems, will be perceived some of the changes which finally took place relative to the idea of sex in the god-idea.

 In the museum of Egyptian antiquities in Berlin is a sepulchral tablet representing the Tree of Life. This emblem figures the trunk of a tree, from the top of which emerges the bust of a woman—Netpe. She is the goddess of heavenly existence, and is administering to the deceased the water and the bread of life, the latter of which is represented by a substance in the form of cakes or rolls. The time at which this tablet was found is not known, but it is supposed to belong to the period of the XIXth dynasty, or about the time of Rameses II., 1400 years B.C.

 There is also in the Berlin museum another representation of the Egyptian Tree of Life, in which the trunk has given place to the entire body of a woman. This, also, is Netpe, who is still spiritual wisdom or the maternal principle. We are informed by Forlong that Diana was worshipped by the Amazons under a sacred tree.(12) From this symbol the tree, which grew first into the figure of a divine woman, and later assumed the form of a divine man, arose the emblem of the cross.

 On the Nineveh tablets is pictured a Tree of Life which is surrounded by winged spirits, bearing in their hands the pine cone, a symbol indicating life, and which is said to have the same significance as the crux-ansata, or cross, among the Egyptians.

 In later ages, the Tree of Life, i. e., the divine man, or cross, or both together, furnish immortal food to those who lay hold upon them, exactly in the same manner as did Netpe, the goddess of wisdom, or spiritual life, in former times. According to the testimony of Barlow, this is the subject "most frequently symbolized on early Christian sepulchral tablets and monuments."(13) Christ's body was the "bread of life," and his blood was the "wine from the Tree of Life," of which to partake was life eternal.
 The cross, as in earlier religions, represented completeness of life. The jambu tree, the Buddhist god-tree, is in the shape of a cross.(14) Among the Kelti a tall oak was not only a symbol of the Deity, but it was Jupiter himself, while the earth from which it sprang was the Great Mother. Throughout Europe, in all ages, the oak has received divine honors. The fact that under its branches Jew, Pagan, and Christian alike swore their most solemn oaths, shows that its veneration was not confined to any particular nation or locality.

 The sacredness of the oak among the Druids is well attested by all writers who have dealt with this interesting people. In Rome its branches formed the badge of victory worn by conquering heroes, this emblem being the highest mark of distinction which could be conferred upon them.

 Forlong assures us that the oak was even more worshipped at the West than was the sacred Ficus at the East. Like it, the wood of the oak must be used "to call down the sacred fire from Heaven and gladden in the yule (Suiel or Seul) log of Christmas-tide even Christian fires, as well as annually renew with fire direct from Ba-al, on Beltine day, the sacred flame on every public and private hearth, and this from the temples of Meroe on the Nile, to the farthest icy forests and mountains of the Sklavonian."(15) Among the Druids, the mistletoe was also sacred especially when entwining the oak. Together they represented the Tree of Life, or the two generating agencies throughout Nature. Of the species of it which grows on the oak, Borlaise says that they deified the mistletoe and were not to look upon it but in the most devout and reverential manner: "When the end of the year approached, they marched with great solemnity to gather the mistletoe of the oak in order to present it to Jupiter, inviting all the world to assist in the ceremony."(16) According to the Latin writer Pliny, the "Druids have nothing more sacred than the mistletoe and the tree on which it grows, provided it be an oak."
 This plant, which is called All Heal, although sought after with the greatest religious ardor, is seldom found, but should the people who go forth at Christmas time in large numbers succeed in finding it they immediately set about preparing feasts under the tree upon which it grows; at the same time, in the most solemn manner, two white bulls are brought forth to be sacrificed. After the feast has been prepared and the sacrifice made ready, the priest ascends the tree and with a golden pruning-knife cuts the sacred branches of the mistletoe, dropping them into a white cloth prepared for the occasion. The bulls are then sacrificed and a prayer offered that "God would render his own gift prosperous to those on whom he has bestowed it." They believed that administered in a potion it would impart fecundity to any barren animal, and that it was a remedy against all kinds of poison. The branches of the mistletoe were then distributed among the faithful, each cherishing the token as the most sacred emblem of his faith. It is thought that the Christmas tree is a remnant of this custom.

 Although the Christbaum of the Germans, the Yggdrasill of the Scandinavians, and the Christmas tree of the English speaking nations are still regarded as belonging exclusively to Christianity, their birthplace was the far East, and their origin long anterior to our present era. This subject will be referred to later in these pages. The palm, which in course of time became the most sacred tree of Egypt, is said to have put forth a shoot every month during the year. At Christmas tide, or at the winter solstice, a branch from this tree was used as a symbol of the renewal of time or of the birth of the New Year.

 On the Zodiac of Dendera, preserved in the National Library at Paris, are two trees, the one representing the East, or India and China, the other, the West, or Egypt. The former of these trees is putting forth a pair of leaves and is topped by the emblems of Siva, emblems which indicate the fructifying powers of Nature, whilst the Egyptian sacred tree, which is surmounted by the ostrich plume, the emblem of truth, is indicative of Light, Intelligence, or the life of the soul. In a discourse delivered by Dr. Stukeley in 1760, attention was directed to the grove of Abraham as "that famous oak grove of Beersheba, planted by the illustrious prophet and first Druid—Abraham; and from whom our celebrated British Druids came, who were of the same patriarchal reformed religion, and brought the use of sacred groves to Britain."(17) The fact has been ascertained that in Arabia, in very ancient times, there was a goddess named Azra who was worshipped under the form of a tree called Samurch, and that in Yemen tree-worship still prevails. To the date is ascribed divine honors. This tree is said to have its regular priests, services, rites, and festivals, and is as zealously worshipped as are the gods of any other country. We are not informed as to whether the Jewish Tree of Life was borrowed from the Chaldeans or the Egyptians, but, as the significance