Hal successively one of a band of Tarcomans, a menial servant, a pupil of the physician-royal of Persia, an attendant on the chief executioner, a religious devotee, and a dealer in tobacco pipes in Constantinople. Stratagem enables him to win the hand of a rich Turkish widow; he rises to be an official to the Shah, is appointed Secretary to the mission of Mirzah Firouz, and accompanies the Russian ambassador to London. A sequel, Haji Baba in England (1828), was less successful. The Persian Picaroon, with his morals sitting easy about him, a rogue indeed, but not a malicious one, with as much wit and cunning as enable him to dupe others, and as much vanity as to afford them perpetual means of retaliation; a sparrow-hawk, who, while he floats through the air in quest of the smaller game, is himself perpetually exposed to be pounced upon by some stronger bird of prey, interests and amuses us, while neither deserving nor expecting serious regard or esteem; and like Will Vizard of the hill, the knave is our very good friend."-SIR W. SCOTT. Hal, Bluff King, a popular nickname for King Henry VIII of England, which has given a title to a dozen pantomimes in which he is the hero. Alternate nicknames are Bluff Harry and Burly King Harry. Ere yet in scorn of Peter's pence, reserve. May there not have been a young fellow remembered by Shakespeare, who went by night on deer-stealing frolics near Stratford, who yet kept from waste and ruin a true self, with which his comrades had small acquaintance and who now helped Shakespeare to understand the nature of the wild Prince and his scapegrace acquaintances?-E. DOWDEN: Shakespeare Primer. Hales, the Ever Memorable John, a title applied to John Hales (15841656), a famous English divine. Halevy, Jehuda ben, a Jewish poet of the fifteenth century whom Heine has taken as the titular hero of one of his most beautiful poems. Like the Crusaders he made his pilgrimage to Jerusalem; and there, amid the ruins, sang a song of Zion which has become famous among his people. A "bold Saracen," riding by, lolled over his saddle and plunged a spear into the singer's breast: Quietly flowed the Rabbi's life-blood, quietly he sang his song to an end and his last dying sigh was Jerusalem!" Halifax, John, hero of a novel, John Halifax, Gentleman (1856), by Mrs. An orphan Dinah Mulock Craik. brought up in poverty and obscurity, he finds among his dead father's effects a book autographed "John Halifax, Gentleman," and he takes this designation as an ideal to be lived up to. By faithfulness, integrity and grit he rises to wealth and marries a girl of gentle birth. The character is said to have been studied from Handel Cossham, the son of a Gloucestershire carpenter who beof the British critics were disposed came a wealthy colliery owner. Some to question whether it were possible for a man of such antecedents to justify the term 'gentleman insistently thrust upon him on the title-page. The question could never have arisen in America. The Prince whom Shakespeare admires and loves more than any other person in English history, afterwards to become Shakespeare's ideal King of England, cares little for mere reputation. He does not think much of himself and of his own honor; and while there is nothing to do and his great father holds all power in his own right hand, Prince Hal escapes from the cold proprieties of the court to the boisterous life and mirth of the tavern. He is, however, only waiting for a call to action, and Shake speare declares that from the first he was conscious of his great destiny, and, while seeming to scatter his force in frivolity, was holding his true self, well guarded, in-Saturday Review. SO A boy who begins by being a farm-servant until he is fourteen, and then is employed in a tan-yard to fetch the skins from market, might possess all the fine characteristics bestowed on John Halifax, his self-reliance, his energy, his integrity, his passion for selfimprovement; but he would not-he could not attain the bearing and manners of a gentleman; he could not by mere effort of self-culture attain the tone of good society. Hallam Hallam, Arthur, the intimate friend of Arthur Tennyson (engaged to Tennyson's sister), whose early death occasioned the series of poems bound together as In Memoriam (1850). Arthur Hallam (1811-1833) was the son of Henry Hallam, the literary historian of the Middle Ages. 183 I know not how to express what I have felt I do not speak as another would to praise and admire the poems; few of them indeed I have as yet been capable of reading, the grief they express is too much akin to that they revive. It is better than any monument which could be raised to the memory of my beloved son; it is a more lively and enduring testament to his great virtues and talents that the world should know the friendship which existed between you, that posterity should associate his name with that of Alfred Tennyson.HENRY HALLAM, letter to Tennyson in A Memoir of Tennyson, vol. i, p. 327. Haller, Mrs., in Benjamin Thompson's drama The Stranger (1797), adapted from Kolzebue, is the name assumed by Adelaide, Countess of Waldbourg, when she eloped from her husband. The latter also dropped his identity, and, known only as "the stranger," led a roving and purposeless life. Mrs. Haller lives for three years in the service of the Countess of Wintersen and is there sought in marriage by Baron Steinfort. She confesses the truth to him, and he succeeds in finding and reconciling her husband. Hamlet, hero of Shakespeare's tragedy, Hamlet, Prince of Denmark. This is the title as it appears in the Folio of 1623, the text of which differs from the five preceding quartos (1603, 1604, 1605, 1611, the last undated) as they differ more or less materially from one another. Hamlet in his final evolution is the most interesting character in all imaginative literature. A prince of a studious and philosophic temperament, his natural melancholy is aggravated by the mysterious death of his father and the hurried wedding that followed between his widowed mother and his uncle Claudius, who had usurped the throne. The Ghost of his father appears; reveals that Claudius had murdered him, and swears him to revenge. Thereafter Hamlet Hamlet's mind is torn by doubt and indecision. He assumes an antic disposition partly to baffle his enemies, partly to create a veil behind which to hide his true self, partly because his whole moral nature is indeed deeply disordered (DowDEN) -his wild and excitable state lending itself with dangerous ease to the feigning of actual derangement. He puts the Ghost's credibility to the test by hiring players to reproduce on a mimic stage a similar murder and so betrays the king into a virtual confession. Even now he delays action by every thinnest pretext. He will not kill the king when he comes upon him at prayer lest his soul be saved thereby. Yet a few minutes later, surprised by a sudden impulse of suspicion, he kills Polonius, who is concealed behind an arras, and therefore invisible. Treacherously stabbed at last by Laertes' poisoned foil, Hamlet exchanges weapons in the scuffle, wounds Laertes and then, learning of the poison and of his own imminent death, seeing ruin and destruction all around him, he plunges the weapon into the heart of Claudius. No one of mortal mould (save Him "whose blessed feet were nailed for our advantage to the bitter cross") ever trod this earth, commanding such absorbing interest as this Hamlet, this mere creation of a poet's brain. No syllable that he whispers, no word let fall by any one near him but is caught and pondered as no words ever have been except of Holy Writ. Upon no throne built by mortal hands has ever "beat so fierce a light" as upon that airy fabric reared at Elsinore,-H. H. FURNESS. To me it is clear that Shakespeare sought to depict a great deed laid upon a soul unequal to the performance of it. In this view I find the piece composed throughout. Here is an oak tree planted in a costly vase. only lovely flowers; the roots spread out, the vase is shivered to pieces.-GOETHE: Wilhelm Meister. which should have received into its bosom It is an inherent peculiarity of a mind like Hamlet's that it should be conscious of its analyzing their own emotions and motives. own defect. Men of his type are forever They cannot do anything, because they are always as it were standing at the crossroads, and see too well the disadvantages of every one of them. It is not that they are incapable of resolve, but somehow the band between the motive power and the Hamlet, Young, in George Eliot's satirical poem, A College Breakfast Party, the chief guest at Horatio's table: Blond metaphysical and sensuous Credulity were better; held inert Hamlin, Jack, i.e., John, in Bret Harte's Gabriel Conroy and in several of his short tales, a professional gambler of amiable disposition and gentlemanly manners who, despite his exterior air of gayety, is deeply dissatisfied with his lawless and predatory manner of existence. In Bohemian Days in San Francisco Bret Harte gives some account of a real person who doubtless was Jack Hamlin's prototype as well as John Oakhurst's (q.v.). Harte describes his handsome face, his pale southern look, his slight figure, the scrupulous elegance and neatness of his dress, his genial manner and the nonchalance with which he set out for the duel that ended in his death. The type was a new one and it completely revolutionized the ideal of the gambler which had long obtained both in fiction and on the stage. As a London critic very neatly said, with this dainty and delicate California desperado Bret Harte banished forever the turgid villains of Ainsworth and Lytton. H. C. MERWIN: Life of Bret Harte. Handy Andy Han, hero of a romance, Han of Iceland (Fr. Han d'Islande, 1823), by Victor Hugo. Claiming descent from Ingulph the Exterminator, a monster of hoary antiquity famous for his hatred of mankind except as articles of uncooked food, he carries out the family traditions under modern dietary restrictions, especially after the loss of his son, and finally, sated with carnage, arson, and pillage, he surrenders himself to justice. Addressing his judges he says, "I have committed more murders and set more fires than you have pronounced unjust judments in all your lives. I would gladly drink the blood in your veins. It is my nature to hate men, my mission to harm them. Colonel, it is I who crushed a battallion of your regiment with fragments of rock. I was avenging my son. Now, judges, my son is dead; I come here to seek death. I am tired of life, since it cannot be a lesson and an example to a successor. I have drunk am no longer enough blood, I thirsty; now, here I am, you can drink mine." He is accordingly condemned to death. Finding the ordinary processes of justice too tardy, however, and being, as we have seen, of an impetuous disposition, he sets fire to his prison and perishes in the flames with his few surviving enemies. Handy Andy, the nickname of Andy Rooney, the deus ex machina in Samuel Lover's novel of Irish life, Handy Andy (1842). It was given to him in pure irony because, in the author's own words, Andy "had the most singularly ingenious knack of doing everything the wrong way." By his inveterate blundering he furnishes matter alike for mirth and wrath to all who are in any way connected with him. Yet in the end his very blundering saves the situation and turns the tables against villainy in favor of virtue and honesty, so that all his world rejoices with him when Andy proves to be the lawful heir to the title and estates of Lord Scatterbrain and weds his pretty cousin Happy Valley Oonah despite all matrimonial complications brought about by his own recklessness. 185 Happy Valley, in Dr. Johnson's oriental romance, Rasselus, an abode of continual but monotonous felicity, which Rasselus abandons in the search for more strenuous joys. He returns to it thoroughly disillusioned with the outside world. Harapha of Gath, a character, original with Milton, in his dramatic poem of Samson Agonistes. Harapha scoffs at Samson in his chains, but is afraid of his strength and keeps at a safe distance. " Harlowe beautiful young lady, hard, cold, brilliant, misled by worldly considerations into a loveless marriage with the middle-aged Mallinger Grandcourt, who is harder and colder than herself. He reduces her to such chaotic despair that when he is accidentally drowning she withholds the hand that might have rescued him. She is ultimately saved, " as though by fire" through her unreturned love for Daniel Deronda. Gwendolen is akin to Rosamond Vincy in Middlemarch-as selfish, as dead to duty and tenderness, as confident and unscrupulous. Rosamond is perhaps more consistently selfish, after the common idea; but there is an intense, enduring strength of egotism in Gwendolen which is surely not less repulsive. Gwendolen, however, has this superiority the narrow-brained women who through conferred upon her, that she is not one of life regard all their own selfish demands as rights. She has a root of conscience in her. science was never aroused, and to all appearBut the reader cannot forget that this conance never would have been aroused, till Deronda's eye rested on her; and he is not willing to see the great moral difference between one outside conscience and another, between being guided by the opinion of society and being guided by the judgment of one extremely attractive person. Rosa Gwendolen is always saying to Deronda, "You despise me," and is represented as learning to despise herself through his eyes. Hardcastle, Squire, in Goldsmith's comedy, She Stoops to Conquer, a jovial, generous, but prosy country gentleman, old-fashioned himself and fond, as he says, of "everything that's old-old friends, old manners, old times, old books, old wine" (Act i, Sc. 1). His wife, Lady Hardcastle, on the other hand is fond of the latest fashions and the genteelest society, but never having been in London has scant opportunity for enjoying either. By her first marriage she is the mother of Tony Lumpkin; her second has yielded her a daughter, Kate Hard-mond dreads being despised by the world. castle, who "stoops to conquer Young Marlow (q.v.). Hardy, Letitia, the eponymic 'belle in The Belle's Stratagem (1780) by Mrs. Cowley. Daughter to the fond and foolish but wellmeaning Mr. Hardy, Lydia is affianced to Doricourt, a fashionable man about town, elegant and volatile, but essentially honorable, who irks at the bondage of an enforced betrothal. To win his love she appears in disguise at a masquerade, and Doricourt falls an easy victim to the beautiful stranger." Old Hardy now feigns sickness and from his pretended deathbed urges Doricourt to an immediate marriage. He unwillingly consents. His chagrin is changed to joy when Letitia appears in her masquerade dress and reveals the "stratagem." Harleth, Gwendolen, the principal female character in George Eliot's novel, Daniel Deronda (1876). A But interesting young men are not always impersonations of the Law and the Gospel, and the world would be no gainer were Gwendolen's way of deferring to a single conscience invested with such attractive externals, rather than to the aggregate conscience of society, to become the generally accepted rule.-London Saturday Review, September 23, 1876. Harley, or Young Harley, hero of Henry McKenzie's novel, A Man of Feeling (1771), a youth of the most exquisite sensitiveness, a mere bundle of nerves forever quivering on the verge of collapse. Loving his neighbor's daughter, Miss Walton, he is too shy to avow his passion until he is bedfast, and when his lady accepts him he dies of the shock. Harlowe, Clarissa, heroine and title of a novel by Samuel Richardson (1751). Having drawn in Pamela the portrait of a poor girl subjected to temptation, Richardson here sub rascally parsimony painted from the comic rather than the tragic side. The cunning folly of his economics, the bewildered stupidity that results from his absorption in one idea; the mits a young lady to similar experiences. Clarissa belongs to a good country family in eighteenth century England. She is wooed by the notorious profligate Lovelace, whose suit is frowned upon by the Harlowes, in-violent despair into which he is cluding at first even Clarissa herself. But she is secretly taken by his dashing ways. He succeeds in abducting her and so seriously compromising her that she dies of shame. Lovelace (q.v.) is killed in a duel by her cousin, Colonel Morden. All incomplete as she is, she remains the Eve of fiction, the prototype of the modern heroine, the common mother of all the selfcontained, self-suffering, self-satisfied young persons whose delicacies and repugnances, whose independence of mind and body, whose airs and ideas and imaginings are the stuff of the modern novel. With her begins a new ideal of womanhood; from her proceeds a type unknown in fact and fiction until she came. When after outrage she declines to marry her destroyer and prefers death to the condonation of her dishonor, she strikes a note and assumes a position till then not merely unrecognized but absolutely undiscovered.-W. E. HENLEY: Views and Reviews, p. 221. Harold, Childe, the titular hero of Childe Harold's Pilgrimage, a narrative and descriptive poem by Lord Byron. Cantos 1 and 2 appeared in 1812. Childe Harold (evidently Byron's own ideal of himself) is a gloomy, haughty, imperious youth, the freshness of whose feelings has been exhausted in a round of unholy pleasure. Satiated and heart-sick, he leaves behind him his lemans and his fellow bacchanals, bids farewell to England, and wanders over the continent of Europe, viewing its fairest scenes with the abstracted gaze of one who is in them but not of them, whose thoughts are not the thoughts of other men, who has risen superior to either hope or fear. Yet through all this affection of scowling cynicism Byron shows that his heart can still beat high with generous enthusiasm for what is great, beautiful and heroic, his nerves still tingle with contempt for what is base and ignoble. Harpagon, the titular "Miser" in Molière's comedy, L'Avare (1667), an impersonation of grasping and thrown by the supposed loss of his treasure-box-all are suffused with so broad a light of humor that they leave no sting behind them; you feel only kindness for a character that has furnished so much fun. His own man-of-all-work, under pressure from the miser himself, thus reports some current tales: "One neighbour says that you have private almanacks printed, in which you double the ember-days and vigils in order to oblige your household to observe more fasts than others; another, that you have always a quarrel ready to pick with your servants at "boxing" time, or when they are leaving you, so as to have a pretext for giving them nothing. Another says that you once had a warrant out against the cat of one of your neighbours for having eaten up the remains of a leg of mutton; another, that you were caught one night coming to steal your own horse's oats, and that your coachman-my predecessor-gave you, in the dark, I don't know how many blows with a stick, about which you never said anything." The Avare of Molière, though taken from the Latin piece. Plautus's Miser is a man the Aulalaria of Plautus, differs widely from who loves gold for its own sake, for the sake of amassing it, hoarding it up, and reserving it for solitary enjoyment, whereas Harpagon, to the pure love of gold adds also the love of lucre, and to bring in more money will part with, and put in circulation, that and there lies the essential difference bewhich he already possesses. He is a usurer, tween the miser of Plautus and the Avare of Molière. It is the difference between avarice and avidity.-Edinburgh Review. Harper, in Cooper's novel, The Spy: the name under which George Washington hides his personality. Cooper cannot be congratulated upon his success in the few attempts he has made to represent historical personages. Washington, as shown to us in The Spy, is a formal piece of mechanism, as destitute of vital character as Maelzel's automaton trumpeter. This, we admit, was a very difficult subject, alike from the peculiar traits of Washington, and from the reverence in which his name and memory are held by his countrymen. Harper under which name Washington is introduced, appears in only two or three scenes; but, during these, we hear so much of the solemnity and impressiveness of his manner, the gravity of his brow, the steadiness of his gaze, that we get the notion of a |