Part 51

_Sforza_ (_Ludov´ico_), duke of Milan, surnamed “the More,” from _mora_, “a mulberry” (because he had on his arm a birth-stain of a mulberry color). Ludovico was dotingly fond of his bride, Marcelia, and his love was amply returned; but during his absence in the camp, he left Francesco lord protector, and Francesco assailed the fidelity of the young duchess. Failing in his villainy, he accused her to the duke of playing the wanton with him, and the duke, in a fit of jealousy, slew her. Sforza was afterwards poisoned by Eugenia (sister of Francesco), whom he had seduced.

_Nina Sforza_, the duke’s daughter.--Massinger, _The Duke of Milan_ (1622).

⁂ This tragedy is obviously an imitation of Shakespeare’s _Othello_ (1611).

=Sganarelle=, the “cocu imaginaire,” of Molière’s comedy (1660). The plot runs thus: Célie was betrothed to Lélie, but her father, Gorgĭbus, insisted on her marrying Valère, because he was the richer man. Célie fainted on hearing this, and dropped her lover’s miniature, which was picked up by Sganarelle’s wife. Sganarelle, thinking it to be the portrait of a gallant, took possession of it, and Lélie asked him how he came by it. Sganarelle said he took it from his wife, and Lélie supposed that Célie had become the wife of Sganarelle. A series of misapprehensions arose thence: Célie supposed that Lélie had deserted her for Madame Sganarelle; Sganarelle supposed that his wife was unfaithful to him; madame supposed that her husband was an adorer of Célie; and Lélie supposed that Célie was the wife of Sganarelle. In time they met together, when Lélie charged Célie with being married to Sganarelle; both stared, an explanation followed, when a messenger arrived to say that Valère was married.--Molière, _Le Cocu Imaginaire_.

_Sganarelle_, younger brother of Ariste (2 _syl._); a surly, domineering, conceited fellow, the dupe of the play. His brother says to him, “Cette farouche humeur à tous vos procédés inspire un air bizarre, et, jusques à l’habit, rend tout chez vous barbare.” The father of Isabelle and Léonor, on his death-bed, committed them to the charge of Sganarelle and Ariste, who were either to marry them or dispose of them in marriage. Sganarelle chose Isabelle, but insisted on her dressing in serge, going to bed early, keeping at home, looking after the house, mending the linen, knitting socks, and never flirting with any one. The consequence was, she duped her guardian, and cajoled him into giving his signature to her marriage with Valère.--Molière, _L’Ecole des Maris_.

_Sganarelle_ (3 _syl._). At about 63 years of age, Sganarelle wished to marry Dorimène (3 _syl._), daughter of Alcantor, a girl fond of dances,

## parties of pleasure, and all the active enjoyments of young life.

Feeling some doubts about the wisdom of this step, he first consults a friend, who dissuades him, but, seeing the advice is rejected, replies “Do as you like.” He next consults two philosophers, but they are so absorbed in their philosophy, that they pay no attention to him. He then asks the gypsies, who take his money and decamp with a dance. At length, he overhears Dorimène telling a young lover that she only marries the old dotard for his money, and that he cannot live above a few months; so he makes up his mind to decline the marriage. The father of the lady places the matter in his son’s hands, and the young fire-eater, armed with two swords, goes at once to the old _fiancé_, and begs him to choose one. When Sganarelle declines to fight, the young man beats him soundly, and again bids him choose a sword. After two or three good beatings, Sganarelle consents to the marriage “forcé.”--Molière, _Le Mariage Forcé_ (1664).

Molière wrote _Sganarelle ou Le Cocu Imaginaire_ (_q.v._) as a supplement to this comedy.

⁂ This joke about marrying is borrowed from Rabelais, _Pantagruel_, iii. 35, etc. Panurge asks Trouillogan whether he would advise him to marry. The sage says “No.” “But I wish to do so,” says the prince. “Then do so, by all means,” says the sage. “Which, then, would you advise?” asks Panurge. “Neither,” says Trouillogan. “But,” says Panurge, “that is not possible.” “Then both,” says the sage. After this, Panurge consults many others on the subject, and lastly the oracle of the Holy Bottle.

The plot of Molière’s comedy is founded on an adventure recorded of the count of Grammont (_q.v._). The count had promised marriage to la belle Hamilton, but deserted her, and tried to get to France. Being overtaken by the two brothers of the lady, they clapped their hands on their swords, and demanded if the count had not forgotten something or left something behind. “True,” said the count; “I have forgotten to marry your sister;” and returned with the two brothers to repair this oversight.

_Sganarelle_, father of Lucinde. Anxious about his daughter because she has lost her vivacity and appetite, he sends for four physicians, who retire to consult upon the case, but talk only on indifferent topics. When Sganarelle asks the result of their deliberation, they all differ, both in regard to the disease, and the remedy to be applied. Lisette (the lady’s maid) sends for Clitandre, the lover, who comes disguised as a quack doctor, tells Sganarelle that the young lady’s disease must be acted on through the imagination, and prescribes a mock marriage. Sganarelle consents to the experiment, but Clitandre’s assistant being a notary, the mock marriage proves to be a real one.--Molière, _L’Amour Médecin_ (1665).

_Sganarelle_, husband of Martine. He is a faggot-maker, and has a quarrel with his wife, who vows to be even with him for striking her. Valère and Lucas (two domestics of Géronte) ask her to direct them to the house of a noted doctor. She sends them to her husband, and tells them he is so eccentric that he will deny being a doctor, but they must beat him well. So they find the faggot-maker, whom they beat soundly, till he consents to follow them. He is introduced to Lucinde, who pretends to be dumb, but, being a shrewd man, he soon finds out that the dumbness is only a pretence, and takes with him Léandre as an apothecary. The two lovers understand each other, and Lucinde is rapidly cured with “pills matrimoniac.”--Molière, _Le Médecin Malgré Lui_ (1666).

⁂ Sganarelle being asked by the father what he thinks is the matter with Lucinde, replies, “Entendez-vous le Latin?” “En aucune façon,” says Géronte. “Vous n’entendez point le Latin?” “Non, monsieur.” “That is a sad pity,” says Sganarelle, “for the case may be briefly stated thus:

Cabricias arci thuram, catalamus, singulariter, nominativo, hæc musa, _la muse_, bonus, bona, bonum. Deus sanctus, estne oratio Latinas? etiam, _oui_, quare? _pourquoi?_ quia substantivo et adjectivum concordat in generi, numerum, et casus.” “Wonderful man!” says the father.--Act iii.

_Sganarelle_ (3 _syl._), valet to Don Juan. He remonstrates with his master on his evil ways, but is forbidden sternly to repeat his impertinent admonitions. His praise of tobacco, or rather snuff, is somewhat amusing:

Tabac est la passion des honnêtes gens; et qui vit sans tabac n’est pas digne de vivre. Non seulement il réjouit et purge les cerveaux humains, mais encore il instruit les ames à la vertu, et l’on apprend avec lui à devenir honnête homme ... il inspire des sentiments d’honneur à tous ceux qui en prennent.--Molière, _Don Juan_, i. 1 (1665).

=Shaccabac=, in _Blue Beard_. (See SCHACABAC.)

I have seen strange sights. I have seen Wilkinson play “Macbeth;” Matthews, “Othello;” Wrench, “George Barnwell;” Buckstone, “Iago;” Rayner, “Penruddock;” Keeley, “Shylock;” Liston, “Romeo” and “Octavian;” G. F. Cooke, “Mercutio;” John Kemble, “Archer;” Edmund Kean, clown in a pantomine; and C. Young, “Shaccabac.”--_Record of a Stage Veteran._

“Macbeth,” “Othello,” “Iago” (in _Othello_), “Shylock” (_Merchant of Venice_), “Romeo” and “Mercutio” (in _Romeo and Juliet_), all by Shakespeare: “George Barnwell” (Lillo’s tragedy so called); “Penruddock” (in _The Wheel of Fortune_), by Cumberland);[TN-169] “Octavian” (in Colman’s drama so called); “Archer” (in _The Beaux’ Stratagem_, by Farquhar).

=Shackfords= (_The_). _Lemuel Shackford_, “a hard, avaricious, passionate man, holding his own way remorselessly.... A prominent character because of his wealth, endless lawsuits and eccentricity.”

_Richard Shackford_, nephew of _Lemuel_, a frank, whole-souled young fellow, intent upon his profession, but willing to make everybody else comfortable as he wins his way up. He is accused, upon circumstantial evidence, of the murder of his uncle, but is extricated by his own sagacity, which enables him to fix the crime upon the true assassin.--T. B. Aldrich, _The Stillwater Tragedy_ (1880).

=Shaddai= (_King_), who made war upon Diabolus for the regaining of Mansoul.--John Bunyan, _The Holy War_ (1682).

=Shade= (_To fight in the_). Dieneces [_Di.en´.e.seez_], the Spartan, being told that the army of the Persians was so numerous that their arrows would shut out the sun, replied, “Thank the gods! we shall then fight in the shade.”

=Shadow= (_Simon_), one of the recruits of the army of Sir John Falstaff. “A half-faced fellow,” so thin that Sir John said, “A foeman might as well level his gun at the edge of a penknife” as at such a starveling.--Shakespeare, 2 _Henry IV._ act iii. sc. 2 (1598).

=Shadrach, Meshach and Abednego= were cast, by the command of Nebuchadnezzar, into a fiery furnace, but received no injury, although the furnace was made so hot that the heat thereof “slew those men” that took them to the furnace.-_Dan._ iii. 22.

By Nimrod’s order, Abraham was bound and cast into a huge fire at Cûtha; but he was preserved from injury by the angel Gabriel, and only the cords which bound him were burnt. Yet so intense was the heat that above 2000 men were consumed thereby.--See _Gospel of Barnabas_, xxviii.; and Morgan, _Mahometanism Explained_, V. i. 4.

=Shadwell= (_Thomas_), the poet-laureate, was a great drunkard, and was said to be “round as a butt, and liquored every chink” (1640-1692).

Besides, his [_Shadwell’s_] goodly fabric fills the eye, And seems designed for thoughtless majesty.

Dryden, _MacFlecknoe_ (1682).

⁂ Shadwell took opium, and died from taking too large a dose. Hence Pope says:

Benlowes, propitious still to blockheads, bows; And Shadwell nods the poppy on his brows.

_The Dunciad_, iii. 21, 22 (1728).

Benlowes was a great patron of bad poets, and many have dedicated to him their lucubrations. Sometimes the name is shifted into “Benevolus.”

=Shaf´alus and Procrus.= So Bottom, the weaver, calls Cephălus and Procris. (See CEPHALUS.)

_Pyramus._ Not Shafalus to Procrus was so true.

_Thisbe._ As Shafalus to Procrus; I to you.

Shakespeare, _Midsummer Night’s Dream_ (1592).

=Shaftesbury= (_Anthony Ashley Cooper, earl of_), introduced by Sir W. Scott in _Peveril of the Peak_ (time, Charles II.).

=Shafton= (_Ned_), one of the prisoners in Newgate with old Sir Hildebrand Osbaldistone.--Sir W. Scott, _Rob Roy_ (time, George I.).

_Shafton_ (_Sir Piercie_), called “The knight of Wolverton,” a fashionable cavaliero, grandson of old Overstitch, the tailor, of Holderness. Sir Piercie talks in the pedantic style of the Elizabethan courtiers.--Sir W. Scott, _The Monastery_ (time, Elizabeth).

=Shah= (_The_), a famous diamond, weighing 86 carats. It was given by Chosroës, of Persia, to the Czar of Russia. (See DIAMONDS.)

=Shakebag= (_Dick_), a highwayman with Captain Colepepper.--Sir W. Scott, _Fortunes of Nigel_ (time, James I.).

=Shakespeare=, introduced by Sir W. Scott in the ante-rooms of Greenwich Palace.--Sir W. Scott, _Kenilworth_ (time, Elizabeth).

⁂ In _Woodstock_ there is a conversation about Shakespeare.

_Shakespeare’s Home._ He left London before 1613, and established himself at Stratford-on-Avon, in Warwickshire, where he was born (1564), and where he died (1616). In the diary of Mr. Ward, the vicar of Stratford, is this entry: “Shakspeare, Drayton and Ben Jonson had a merry meeting, and, it seems, drank too hard, for Shakspeare died of a fever then contracted.” (Drayton died 1631, and Ben Jonson, 1637.) Probably Shakespeare died on his birthday, April 23.

_Shakespeare’s Monument_, in Westminster Abbey, designed by Kent, and executed by Scheemakers, in 1742. The statue to Shakespeare in Drury Lane Theatre was by the same.

The statue of Shakespeare in the British Museum is by Roubiliac, and was bequeathed to the nation by Garrick. His best portrait is by Droeshout.

_Shakespeare’s Plays_, quarto editions:

ROMEO AND JULIET: 1597, John Danter; 1599, Thomas Creede for Cuthbert Burby; 1609, 1637. Supposed to have been written, 1595.

KING RICHARD II.: 1597, Valentine Simmes for Andrew Wise; 1598, 1608 (with an additional scene); 1615, 1634.

KING RICHARD III.: 1597, ditto; 1598, 1602, 1612, 1622.

LOVE’S LABOR’S LOST; 1598, W. W. for Cuthbert Burby. Supposed to have been written, 1594.

KING HENRY IV. (pt. I): 1598, P. S. for Andrew Wise; 1599, 1604, 1608, 1613. Supposed to have been written, 1597.

KING HENRY IV. (pt. 2): 1600, V. S. for Andrew Wise and William Aspley; 1600. Supposed to have been written, 1598.

KING HENRY V.: 1600, Thomas Creede for Thomas Millington and John Busby; 1602, 1608. Supposed to have been written, 1599.

MIDSUMMER NIGHT’S DREAM: 1600, Thomas Fisher; 1600, James Roberts. Mentioned by Meres, 1598. Supposed to have been written, 1592.

MERCHANT OF VENICE: 1600, I. R. for Thomas Heyes; 1600, James Roberts; 1637. Mentioned by Meres, 1598.

MUCH ADO ABOUT NOTHING: 1600, V. S. for Andrew Wise and William Aspley.

MERRY WIVES OF WINDSOR: 1602, T. C. for Arthur Johnson; 1619. Supposed to have been written, 1596.

HAMLET: 1603, I. R. for N. L.; 1605, 1611. Supposed to have been written, 1597.

KING LEAR: 1608, A. for Nathaniel Butter; 1608, B. for ditto. Acted at Whitehall, 1607. Supposed to have been written, 1605.

TROILUS AND CRESSIDA: 1609, G. Eld for R. Bonian and H. Whalley (with a preface). Acted at court, 1609. Supposed to have been written, 1602.

OTHELLO: 1622, N. O. for Thomas Walkely. Acted at Harefield, 1602.

The rest of the dramas are:

_All’s Well that Ends Well_, 1598. First title supposed to be _Love’s Labor’s Won_.

_Antony and Cleopatra_, 1608. No early mention made of this play.

_As You Like It._ Entered at Stationer’s Hall, 1600.

_Comedy of Errors_, 1593. Mentioned by Meres, 1598.

_Coriolanus_, 1610. No early mention made of this play.

_Cymbeline_, 1605. No early mention made of this play.

1 _Henry VI._ Alluded to by Nash in _Pierce Penniless_, 1592.

2 _Henry VI._ Original title, _First Part of the Contention_, 1594.

3 _Henry VI._ Original title, _True Tragedy of Richard Duke of York_, 1595.

_Henry VIII._, 1601. Acted at the Globe Theatre, 1613.

_John_ (_King_), 1596. Mentioned by Meres, 1598.

_Julius Cæsar_, 1607. No early mention made of this play.

_Lear_, 1605. Acted at Whitehall[TN-170] 1607. Printed 1608.

_Macbeth_, 1606. No early mention made of this play.

_Measure for Measure_, 1603. Acted at Whitehall[TN-171] 1604.

_Merry Wives of Windsor_, 1596. Printed 1602.

_Pericles Prince of Tyre._ Printed 1609.

_Taming of the Shrew._ (?) Acted at Henslow’s Theatre, 1593. Entered at Stationer’s Hall, 1607.

_Tempest_, 1609. Acted at Whitehall, 1611.

_Timon of Athens_, 1609. No early mention made of this play.

_Titus Andronicus_, 1593. Printed 1600.

_Twelfth Night._ Acted in the Middle Temple Hall, 1602.

_Two Gentlemen of Verona_, 1595. Mentioned by Meres[TN-172] 1598.

_Winter’s Tale_, 1604. Acted at Whitehall, 1611.

First complete collection in folio; 1623, Isaac Jaggard and Ed. Blount; 1632, 1664, 1685. The second folio is of very little value.

_Shakespeare’s Parents._ His father was John Shakespeare, a glover, who married Mary Arden, daughter of Robert Arden, Esq., of Bomich, a good country gentleman.

_Shakespeare’s Wife_, Anne Hathaway, of Shottery, some eight years older than himself; daughter of a substantial yeoman.

_Shakespeare’s Children._ One son, Hamnet, who died in his twelfth year (1585-1596). Two daughters, who survived him, Susanna and Judith, twin-born with Hamnet. Both his daughters married and had children, but the lines died out.

_Voltaire says of Shakespeare_: “Rimer had very good reason to say that Shakespeare _n’etait[TN-173] q’un vilain singe_.” Voltaire, in 1765, said, “Shakespeare is a savage with some imagination, whose plays can please only in London and Canada.” In 1735 he wrote to M. de Cideville, “Shakespeare is the Corneille of London, but everywhere else he is a great fool (_grand fou d’ailleur_).”

=Shakespeare of Divines= (_The_), Jeremy Taylor (1613-1667).

Taylor, the Shakespeare of divines.--Emerson.

=Shakespeare of Eloquence= (_The_). The comte de Mirabeau was so called by Barnave (1749-1791).

=Shakespeare of Germany= (_The_), Augustus Frederick Ferdinand von Kotzebue (1761-1819).

=Shakespeare of Prose Fiction= (_The_). Richardson, the novelist, is so called by D’Israeli (1689-1761).

=Shallow=, a weak-minded country justice, cousin to Slender. He is a great braggart, and especially fond of boasting of the mad pranks of his younger days. It is said that Justice Shallow is a satirical portrait of Sir Thomas Lucy of Charlecote, who prosecuted Shakespeare for deer-stealing.--Shakespeare, _The Merry Wives of Windsor_ (1596); and 2 _Henry IV._ (1598).

As wise as a justice of the quorum and custalorum in Shallow’s time.--Macaulay.

=Shallum=, lord of a manor consisting of a long chain of rocks and mountains called Tirzah. Shallum was “of gentle disposition, and beloved both by God and man.” He was the lover of Hilpa, a Chinese antediluvian princess, one of the 150 daughters of Zilpah, of the race of Cohu or Cain.--Addison, _Spectator_, viii. 584-5 (1712).

=Shalott= (_The lady of_), a poem by Tennyson, in four parts. Pt. i. tells us that the lady passed her life in the island of Shalott in great seclusion, and was known only by the peasantry. Pt. ii. tells us that she was weaving a magic web, and that a curse would fall on her if she looked down the river. Pt. iii. describes how Sir Lancelot rode to Camelot in all his bravery; and the lady gazed at him as he rode along. Pt. iv. tells us that the lady floated down the river in a boat called _The Lady of Shalott_, and died heart-broken on the way. Sir Lancelot came to gaze on the dead body, and exclaimed, “She has a lovely face, God in his mercy grant her grace!” This ballad was afterwards expanded into the _Idyll_ called “Elaine, the Lily Maid of Astolat” (_q.v._), the beautiful incident of Elaine and the barge being taken from the _History of Prince Arthur_, by Sir T. Malory.

“While my body is whole, let this letter be put into my right hand, and my hand bound fast with the letter until I be cold, and let me be put in a fair bed with all the richest clothes that I have about me, and so let my bed and all my rich clothes be laid with me in a chariot to the next place whereas the Thames is, and there let me be put in a barge, and but one man with me such as ye trust to steer me thither, and that my barge be covered with black samite over and over.” ... So when she was dead, the corpse and the bed and all was led the next way unto to the Thames, and there a man and the corpse and all were put in a barge on the Thames, and so the man steered the barge to Westminster, and there he rowed a great while to and fro, or any man espied.--Pt. iii. 123.

King Arthur saw the body and had it buried, and Sir Lancelot made an offering, etc. (ch. 124); much the same as Tennyson has reproduced it in verse.

_Shalott_ (_The lady of_). “It is not generally known that the lady of Shalott lived, last summer, in an attic at the east end of South Street.” Thus begins a story of an incurable invalid, whose only amusement is watching street scenes reflected in a small mirror hung opposite the one window of her garret-room. A stone flung by a boy shatters the mirror, and the fragile creature never recovers from the shock.--Elizabeth Stuart Phelps, _The Lady of Shalott_.

=Shamho´zai= (3 _syl._), the angel who debauched himself with women, repented, and hung himself up between earth and heaven.--Bereshit rabbi (in _Gen._ vi. 2).

⁂ Harût and Marût were two angels sent to be judges on earth. They judged righteously until Zohara appeared before them, when they fell in love with her, and were imprisoned in a cave near Babylon, where they are to abide till the day of judgment.

=Shandy= (_Tristram_), the nominal hero of Sterne’s novel called _The Life and Opinions of Tristram Shandy, Gentleman_ (1759). He is the son of Walter and Elizabeth Shandy.

_Captain Shandy_, better known as “Uncle Toby,” the real hero of Sterne’s novel. Captain Shandy was wounded at Namur, and retired on half-pay. He was benevolent and generous, brave as a lion but simple as a child, most gallant and most modest. Hazlitt says that “the character of Uncle Toby is the finest compliment ever paid to human nature.” His modest love-passages with Widow Wadman, his kindly sympathy for Lieutenant Lefevre, and his military discussions, are wholly unrivalled.

_Aunt Dinah_ [_Shandy_], Walter Shandy’s aunt. She bequeathed to him £1000, which Walter fancied would enable him to carry out all the wild schemes with which his head was crammed.

_Mrs. Elizabeth Shandy_, mother of Tristram Shandy. The ideal of nonentity, individual from its very absence of individuality.

_Walter Shandy_, Tristram’s father, a metaphysical Don Quixote, who believes in long noses and propitious names; but his son’s nose was crushed, and his name, which should have been Trismegistus (“the most propitious”), was changed in christening to Tristram (“the most unlucky”). If much learning can make man mad, Walter Shandy was certainly mad in all the affairs of ordinary life. His wife was a blank sheet, and he himself a sheet so written on and crossed and rewritten that no one could decipher the manuscript.--L. Sterne, _The Life and Opinions of Tristram Shandy_ (1759).

=Sharp=, the ordinary of Major Touchwood, who aids him in his transformation, but is himself puzzled to know which is the real and which the false colonel.--T. Dibdin, _What Next?_

_Sharp_ (_Rebecca_), the orphan daughter of an artist. “She was small and slight in person, pale, sandy-haired, and with green eyes, habitually cast down, but very large, odd, and attractive when they looked up.” Becky had the “dismal precocity of poverty,” and, being engaged as governess in the family of Sir Pitt Crawley, bart., contrived to marry, clandestinely, his son, Captain Rawdon Crawley, and taught him how to live in splendor “upon nothing a year.” Becky was an excellent singer and dancer, a capital talker and wheedler, and a most attractive, but unprincipled, selfish, and unscrupulous woman. Lord Steyne introduced her to court; but her conduct with this peer gave rise to a terrible scandal, which caused a separation between her and Rawdon, and made England too hot to hold her. She retired to the Continent, was reduced to a Bohemian life, but ultimately attached herself to Joseph Sedley, whom she contrived to strip of all his money, and who lived in dire terror of her, dying in six months under very suspicious circumstances.--Thackeray, _Vanity Fair_ (1848).

_Sharp_ (_Timothy_), the “lying valet” of Charles Gayless. His object is to make his master, who has not a sixpence in the world, pass for a man of wealth in the eyes of Melissa, to whom he is engaged.--Garrick, _The Lying Valet_ (1741).

=Sharp-Beak=, the crow’s wife, in the beast-epic called _Reynard the Fox_ (1498).

=Sharpe= (_The Right Rev. James_), archbishop of St. Andrew’s, murdered by John Balfour (a leader in the covenanters’ army) and his party.--Sir W. Scott, _Old Mortality_ (time, Charles II.).

=Sharper= (_Master_), the cutler in the Strand.--Sir W. Scott, _Peveril of the Peak_ (time, Charles II.).

=Sharpitlaw= (_Gideon_), a police officer.--Sir W. Scott, _Heart of Midlothian_ (time, George II.).

=Shawonda´see=, son of Mudjekeewis, and king of the south wind. Fat and lazy, listless and easy. Shawondasee loved a prairie maiden (the Dandelion), but was too indolent to woo her.--Longfellow, _Hiawatha_ (1855).