a profligate who gives himself up so entirely to the gratification of sense, especially to the most powerful of all the impulses, that of love, that he acknowledges no higher consideration; and partly in wanton daring, partly to allay all uneasy misgiving, he then challenges that Spirit in which he disbelieves to demonstrate to him its existence in the only way he holds valid-through the senses. This ideal career is aptly enough localised in one of the most luxurious cities of the once worldmonarchy of the Saracens Seville, and the characters wear the names of the ancient noble families of the place. The hero of the story, Don Juan, is described as a member of the celebrated family Tenorio, and is sometimes represented as living contemporary with Peter the Cruel, sometimes with Charles V. His chief aim is the seduction of the daughter of a governor of Seville, or of a nobleman of the family of the Ulloas. Being opposed by the father, he stabs him in a duel. He then forces his way into the family tomb of the murdered man, within the convent of San Francisco, causes a feast to be prepared there, and invites the statue which had been erected to his victim to be his guest. The stone guest appears at table as invited, compels Don Juan to follow him, and, the measure of his sins being full, delivers him over to hell. At a later period the legend came to be mixed up with the story of a similar profligate, Juan de Maraña, who hrad in like manner sold himself to the devil, but was at last converted, and died as a penitent monk in the odour of sanctity.

The story is probably a very old one. It is said that a poem with the like moral, El Ateista Fulminado, by an unknown author, was familiar in the monasteries long ere, in the first half of the 17th century, the legend of Don Juan was put into form by the monk Gabriel Tellez (Tirso de Molina), in El Burlador de Sevilla y Convivado de Piedra. This drama was transplanted to the Italian stage, and soon found its way to Paris, where numerous versions of it, among others Molière's Don Juan, ou le Festin de Pierre (first acted 1665), made their appearance. The latter provoked virulent criticism, and its full text was not printed for many years. It was put on the English stage by Shadwell under the title of The Libertine (1676). In the end of the 17th century, a new Spanish version of Tellez's play was prepared by Antonio de Zamora, and brought out on the stage. It is this version that forms the groundwork of the later Italian versions and of Mozart's opera. It was first put into an operatic form by Vincenzo Righini (1777); the text of Mozart's Don Giovanni was written by Lorenza da Ponte (1787). Through this famous opera the story became popular all over Europe, and has since furnished a theme for numbers of poets, playwrights, and writers of romance. Alexander Dumas has a drama, Don Juan de Marana; Byron's Don Juan follows only the name, and character; and Prosper Mérimée's novel, Les Ames du Purgatoire, is founded upon it. Mr G. B. Shaw has made paradoxical use of the story in Man and Superman. See De Bévotte, La Légende de Don Juan.

Donkey, a word of doubtful etymology, confined to slang dictionaries until so late as 1821, but now in current use as a synonym for Ass (9.). A donkey-engine is a small engine used for some subsidiary purpose, as for raising weights on board steam-vessels.

Donn, ROB. See MACKAY (ROBERT).

Donnay, MAURICE, French dramatist, born in Paris, 12th October 1859, was admitted to the Académie in 1907. His plays include Amants (1895) and L'Autre Danger (1902).

Donne, JOHN, a striking figure among English His mother poets, was born in London in 1573. was daughter of John Heywood, the epigrammatist, himself related to Sir Thomas More; his father, who belonged to a good old Welsh family, was a prosperous London ironmonger, who died early in 1576, leaving a widow and six children. Young Donne was brought up a Catholic, as his mother and her family were resolute adherents of that faith. In 1584 he was admitted at Hart Hall, Oxford, and here began his lifelong friendship with Sir Henry Wotton. There is documentary evidence for Izaak Walton's statement that he migrated to Cambridge, and for his taking his M. A. there. He appears to have spent some years in foreign travel, returning to be admitted at Lincoln's Inn in 1592. After a careful examination of the points at issue betwixt the Roman and Anglican churches, he joined the latter. In 1596 he accompanied the Cadiz expedition of Essex, and after his return from the Islands Voyage (1597), was appointed secretary to the lord-keeper, Sir Thomas Egerton, who set the highest value upon his services. Here Donne made the acquaintance of many of the chief men of his day, and wrote, without printing it, great part of his poetry. His wit, his personal beauty, and the charm of his personality brought him the warmest friendships, and the passionate love withal of Anne, the young daughter of Sir George More, brother of the lord-keeper's wife. The pair were secretly married about the close of 1601, the bride being but seventeen years old. Sir George More was violently enraged, at once caused Donne and his confidants to be committed to prison, and persuaded the lord-keeper into dismissing him from his office. The young couple were, however, befriended by the wife's cousin, Sir Francis Wooley, whose house at Pyrford was their home until 1604. Donne's knowledge of theology and of civil and canon law, and his general erudition, found him employment in 1605-8, when, living at Mitcham, he assisted Morton in refuting the arguments of Catholic political recusants. In 1610 his PseudoMartyr was an independent contribution to the same controversy. During this period also Donne wrote much verse. His Divine Poems he sent in 1607 to George Herbert's mother. The first poem to be printed was his famous elegy on Sir Robert Drury's daughter (1611), which procured him the friendship of a powerful patron, who carried Donne abroad with him for some months. It was at Paris that he saw pass twice before him the famous vision of his wife with a dead child in her arms, which was verified by a messenger twelve days later. His friend Morton, afterwards Bishop of Durham, had long urged Donne to take holy orders. Willing to do so in 1612, he was dissuaded by Somerset, who employed him in the Essex divorce; but at the king's solicitation he was at length ordained early in 1615. The king appointed him a royal chaplain, and fourteen country livings, it is said, were offered him within a year. He accepted in 1616 the rectory of Keyston, in Huntingdonshire, as well as that of Sevenoaks, keeping the latter until his death. As reader also at Lincoln's Inn, he quickly took the front rank among the preachers of the time, weeping,' says Izaak Walton, 'sometimes preaching to himself like an angel from a cloud, for his auditory, sometimes with them; always but in none; carrying some, as St Paul was, to heaven in holy raptures, and enticing others by a sacred art and courtship to amend their lives: here picturing a vice so as to make it ugly to those that practised it; and a virtue so as to make it beloved, even by those that loved it not; and all this with a most particular grace and an unexpressible addition of comeliness.' In the August of 1617 the death of his much-loved wife, the mother of his seven living

6

and five buried children, left him almost detached from the world, his soul 'elemented of nothing but sadness; yet he continued to preach with saintlike fervour for ten years after his elevation to the deanery of St Paul's in 1621. He died 31st March 1631, and was buried in St Paul's, under a monument representing him wrapped in his shroud, which survived the Great Fire, as Cotton's poem conceitedly notes.

Ben Jonson told Drummond that he esteemed Donne the first poet in the world in some things,' but that he would perish for not being understood;' and Dryden's judgment was that he was 'the greatest wit though not the best poet of our nation.' His poems were assiduously handed about among his contemporaries, with whom his influence was supreme, but Ben Jonson's prophecy threatened to come true. Many readers now again have eyes to discern poetry of rare quality, hidden like precious jewels in the midst of a dross of distressing obscurities of thought and imagery, elaborate ingenuity or rather fantasticality, and the most perversely far-fetched allusiveness, shallow philosophising, and laborious unrhythmical wit. His early amatory poems are lava-streams aglow with passion at white-heat, which cannot flow freely for the cinders that obstruct the current, although ever and anon revealing with startling unexpectedness the purity and intensity beneath. Peculiarly characteristic of Donne's poetry is that swift transition at will from the fleeting images of voluptuous pleasure to the abiding mystery of death. Amid much that is hardly poetical at all, Donne's saving grace as a poet is, in Mr. Saintsbury's phrase, his fiery imagination shining in dark places, the magical illumination of obscure and shadowy thoughts with the lightning of fancy.'

The

Donne's poems were first collected in 1633. editions of Dr Grosart, in his 'Fuller Worthies Library' (1872), of E. K. Chambers (1895), and of the Grolier Club (N.Y. 1895) have been superseded by the critical edition of Professor Grierson (1912). Selections from the sermons were edited by Pearsall Smith (1919), and Keynes (1923); his Devotions by Sparrow (1923). Alford's edition of his works in six volumes (1839) is far from satisfactory, but includes most of the sermons, of which Dr Jessopp accounts for no less than 180, written and preached within sixteen years, but its pious editor thought fit to leave out many of the earlier poemsDonne's real claim to a permanent place in English letters -although indeed he could claim for countenance the fact, as Walton tells us, that the dean himself in later life 'wished they had been abortive, or so short-lived that his own eyes had witnessed their funerals.' For his life see Walton's masterpiece (ed. Causton); Saintsbury, in Chambers's edition; Dr Jessopp in the Dictionary of National Biography, his monograph on Donne (mainly as churchman, 1897), and E. Gosse's Life and Letters of Donne (2 vols. 1899). See also Ramsay, Les doctrines médiévales chez Donne (1920); Aronstein, John Donne als Dichter (1922); and Keynes's Bibliography (1914). Donnybrook, a former village and parish, now mostly embraced in the borough of Dublin, at one time celebrated for a fair notorious for fighting, chartered by King John, and abolished in 1855. Don Quixote. See CERVANTES.

From an

Doo, GEORGE THOMAS, was born in the parish of Christ Church, Surrey, 6th January 1800. early age he practised as an engraver in London, and in 1825 he proceeded to Paris, where he studied under Suisse. He has made himself best known by his famous plates of Knox Preaching,' after Wilkie; of Eastlake's Italian Pilgrims coming in Sight of Rome;' by his exquisitely finished heads of women and children, after Lawrence; and by his engravings from Raffaelle, Correggio, and others. His plate of the Calmady Children, titled 'Nature,' after Lawrence, produced in 1830, ranks as his masterpiece. In 1851 he was elected a Fellow of

Doolittle, HILDA, known as 'H. D.,' was born 10th September 1886, at Bethlehem, Pennsylvania, daughter and sister of two successive professors of astronomy in Pennsylvania University. Educated at a private school in West Philadelphia and Bryn Mawr College, she went to Europe in 1911. A visit to London developed into permanent residence. She was associated with Mr Ezra Pound in founding the Imagist school of poetry. In 1913 she married another Imagist poet, the Englishman Richard Aldington (born 1892). Her polished, classical art, applied to vers libre, made her the most outstanding of the Imagist group, whose ideals of the exact word, concentration, poetry that is hard and clear, never blurred or indefinite,' may be studied in her contributions to Some Imagist Poets (1915-16-17), and her own volumes, Sea Garden (1916) and Hymen (1921).

Doom, the old name given to the last judgment, and to those representations of it in churches which have a religious rather than an artistic object. Many of the dooms are executed in distemper. In the reign of Edward VI. most of them were washed over, or otherwise obliterated, as superstitious. Doom Palm. See DUM PALM. Doomsday Book. See DOMESDAY BOOK. Doomster. See DEEMSTER. Doon, a famous river of Scotland, rising in the It runs south-east of Ayrshire in Loch Enoch. north-west through Loch Doon, a gloomy sheet of water, 6 miles long by of a mile wide, surrounded by bare treeless mountains, past Dalmellington, Burns's Monument, and Alloway Kirk, to join the Firth of Clyde 2 miles S. of Ayr. Its whole length is about 30 miles. On leaving Loch Doon the river flows through the picturesque Glen Ness, a rocky and beautifully wooded ravine. On an islet in the loch are the ruins of a castle. Burns has made this one of the world's most classic streams.

Door (O.E. duru and dor, related to Lat. fores, Gr. thyra). The doorway has always been regarded in all countries as a most

important feature of any structure, and is therefore generally made more or less ornamental. The doorways of the Egyptian and Assyrian temples and palaces were of great size and magwith colossal statues. Those nificence, and were adorned of the Greek and Roman temples were likewise large, and in the Roman were often the only aperture for the admission of light. Classic doorways are invariably surrounded with mouldings, Doorway of Erechtheum. which form the architrave. In the doorways of the Greeks the jambs generally incline inwards towards the top, and the lintel juts out at the ends-the mouldings being returned round it. Over the architrave there is frequently a frieze and cornice supported on trusses, which serve to give dignity and to protect the door from the weather.

10

In the later Roman architecture,

when the arch became an admitted element in the style, doorways were naturally treated with an arched head. The medieval styles derived from the Roman, such as the Byzantine, Romanesque, and Gothic, as well as the Saracenic, followed the same course, and the arched doorways were amongst their most characteristic features. In Romanesque architecture the doorway is always semicircular, and the arched head is enriched with mouldings springing from shafts in the jambs. The derivation of the mouldings and ornamentation of the arch and of the caps of the pillars is, in the earlier examples, clearly traceable to the classic prototypes; but the Roman details gradually give place to Teutonic features. The arched head is frequently filled in with a flat stone, so as to reduce the height of the doorway to that of the caps and give it a square head, which is a more convenient form for the door. The flat stone or

tympanum is usually ornamented with sculpture representing our Saviour, or some Scripture subject. When the doorway was wide it was generally divided into two openings with a central pilaster.

In the various Gothic styles the doorway is invariably a prominent object. This is especially the case in French architecture, in which the portals of the cathedrals and churches are of great size, and richly ornamented with large sculptured figures and bas-reliefs. One of the most notable of these is the majestic deeply-recessed triple portal of Reims Cathedral. Those of the English edifices, although highly ornamented, are not on so great a scale. A favourite decoration of all periods is a series of niches filled with figures carried round the jambs and archway. In early Gothic the doorways are pointed and surmounted with a gable, in the later periods the pointed arch

is often inclosed with square mouldings or labels, and in the Flamboyant and Tudor styles the fourcentred arch and the ogee or reversed arch are commonly employed. Of course in all periods the mouldings and enrichments of the doorway are those of the time, and in late examples become very attenuated.

The doors themselves are generally of timberthe early ones having the frame covered on the outside with plain lining and ornamented with ironwork, the scrolls of which sometimes extended over the whole surface. In later examples the doors were usually panelled, and often partly covered with tracery-especially in Perpendicular work. Doors of chambers were also sometimes beautifully carved with bas-reliefs in the panels. Doors were occasionally made of metal, the bronze gates of the Baptistery of Florence and Pisa Cathedral being well-known examples.

Doora. See DURRA.

Doornboom (Acacia horrida), a common tree in the wastes of South Africa. The name ('thorn-tree') given to it by the Dutch colonists, and the botanical specific name, are due to the number and sharpness of its spines. It seldom much exceeds 30 feet in height, but its timber is hard and tough, and is much used for house-carpentry, &c. See ACACIA.

Doppler, CHRISTIAN (1803-53), born at Salzburg, became professor of physics at Vienna (1851). Doppler's principle' explains the shift of lines in the Spectrum (q.v.) of a star approaching or withdrawing from the observer; and likewise the drop in pitch of (say) a locomotive whistle as it passes the hearer. See STARS.

Doquet. See DOCKET.

Dor. See MONT-DORE-LES-BAINS. Dor, a negro people of Central Africa, also called Bongo, between 6° and 8° N. lat., and bordering on the Dinka and Niam-Niam stocks.

Dor. See DUNG-BEETLE.

Dora, SISTER. See PATTISON.

Dora, or DOR (now Tantura), a great Phoenician city on the coast of Palestine, 8 miles N. of Cæsarea, with remains of the Hyksos period.

Dora d'Istria. See GHIKA. Dorak-el-Atek, a town of Persia, in the province of Arabistan, situated in a marshy plain on the Jerrahi, 55 miles E. of Basra. Pop. 8000. It is the seat of the sheikh of Dorakistan or

Kaban.

Doran, JOHN, Ph.D., born in London 11th March 1807, brought out a melodrama, Justice, or the Venetian Jew, at the Surrey Theatre in 1824. His Sketches and Reminiscences appeared in 1828, and in 1835 a History of Reading. In 1854 he published Habits and Men, followed by Table Traits, Queens of England of the House of Hanover (1855), Monarchs retired from Business (1857), History of Court Fools (1858), The Princes of Wales (1860), Memoir of Queen Adelaide (1861), Their Majesties' Servants (1864, a history of the stage from Betterton to Kean; new ed. by Lowe, 1887), A Lady of the Last Century (1873, an account of Mrs Montagu), Mann and Manners (1876, the letters of Sir Horace Mann to Horace Walpole), London in Jacobite Times (1877), Memories of Our Great Towns (1878), and In

and About Drury Lane (1885). Dr Doran was repeatedly acting-editor of the Athenæum; edited the Church and State Gazette (1841-52); and at his death, 25th January 1878, was editor of Notes and Queries.

Dorat. See DAURAT.

Dorcas Society, the name given to an association of ladies who make or provide clothes for necessitous families. The name is taken from Acts, ix. 39: And all the widows stood by him weeping, and showing the coats and garments which Dorcas made while she was with them.'

Dorchester, a municipal borough, the county town of Dorsetshire, on the Frome, 8 miles N. of Weymouth, and 110 by rail (by road 119) WSW. of London. Till 1867 it returned two members to parliament, till 1885 one. It has a trade in ale and beer, a large agricultural market of cattle and cereals, and sends much butter to London. The free grammar-school founded in 1579 has been rebuilt and reorganised. The county museum is rich in geological specimens found in the county, including the fore-paddle of a Pleiosaurus 6 feet 3 inches in length, discovered at Kimmeridge. The museum also contains a fine piece of Roman pavement (almost perfect) found on the site of the old Dorchester Castle, when the County prison was built in 1793. Pop. (1841) 3249; (1921) 9554. Dorchester was the Roman Durnovaria or Durinum, a walled town with a fosse, and a chief Roman British station. Part of the wall, 6 feet thick, still remains, and is carefully preserved. Near Dorchester are the remains of the most perfect Roman amphitheatre in England, 218 by 163 feet, and 30 feet deep, the seats rising from the arena, cut in the chalk, and capable of holding 13,000 spectators. There is also a Roman camp with a ditch and high vallum. Near Dorchester is a large British station with three earthen ramparts (one 60 feet high), a mile and a half in circuit, and pierced by intricate passages. Its name, Maiden Castle,' has nothing to do with a castle for defending maidens, or strong enough to be defended by girls; but is the Celtic-British maidun, hill fort. (There are four or five other Maiden Castles' in England and Scotland.) In March 1645 Cromwell held the town as his head quarters with 4000 men, and in 1685 Judge Jeffreys held his bloody assize' here, when 292 received sentence of death as being implicated in Monmouth's rebellion. In the porch of St Peter's Church the Rev. John White is buried. A leading Puritan, and known as the Patriarch of Dor chester, he was the projector of the colony of Massachusetts, in New England, but did not join the expedition. He was a member of the Westminster Assembly and minister in Dorchester, with a short interruption from 1606 till his death in 1648. The original edition of Case's Guide to Dorchester was written by the Dorchester pastoral poet, William Barnes (q.v.); but Dorchester is better known as the home of Thomas Hardy (q.v.), and the centre of his Wessex.

Dorchester, now an unimportant village of Oxfordshire, 9 miles SE. of Oxford, was the seat of the Mercian bishops from the 7th century till 1073, when the see was transferred to Lincoln. The Augustinian abbey church (mainly 13th century; restored) is lavishly ornamented, and has an interesting Jesse' window.

Dorchester, formerly a separate town of Massachusetts, 4 miles S. of Boston, was in 1869 annexed to that city. The fortification of Dorchester Heights by Washington, in March 1776, compelled the British to evacuate Boston.

Dorchester, GUY CARLETON, 1ST BARON (1724-1808), was governor of Quebec, 1766-70 (acting), 1775-77, 1786-91, and 1793-96, and defended that city against the Americans, whom he defeated at Lake Champlain, 1776. In 1782-83 he was British commander-in-chief in America.

Dordogne, a department in the south-west of France, formed of the ancient Guiennese district of Périgord, with small portions of Agenais, Limousin, and Angoumois. Area, 3530 sq. m. Pop. (1861) 501,687; (1921) 396,742. The department derives its name from the river Dordogne, which, after a course of 305 miles, 185 of them navigable, unites with the Garonne to form the large estuary of the Gironde. The climate is mild and healthy, except in the west. The soil is generally poor, the surface for the most part hilly, and covered with forests or, more frequently, heath and underwood; but here and there is a valley of extraordinary beauty and fertility, inclosed with hills, the sides of which are usually clothed with vine yards. Among the most noted productions are the truffles of Périgord. The iron industry is the most important in the department. Other manufactures are paper, woollens, chemical manures, and glassware, and there is an active trade in wine, brandy, oil, fruits, walnuts, hams, and cattle. Dordogne has five arrondissements - Bergerac, Nontron, Périgueux, Ribérac, and Sarlat. The capital is Périgueux. The Dordogne basin is rich in palæolithic remains.

Dordrecht. See DORT.

books, was born at Strasburg, 6th January 1833. Doré, GUSTAVE, painter and illustrator of In 1845 he came to Paris, at the age of fifteen began to exhibit landscape subjects in pen and ink in the Salon; in 1848 he became a contributor to the Journal staff of the Journal pour tous. rire, and he was afterwards on the pour He first made his mark by his illustrations to Rabelais (1854), to Sue's Wandering Jew, and to Balzac's Contes Drolatiques (1856), which fully displayed his facility of execution and his fantastic power of invention. These were followed by innumerable illustrated editions of other well-known works; in 1861 by Dante's Inferno, in 1863 by the Contes of Perrault, in 1863 by Don Quixote, in 1868 by the Purgatorio and Paradiso of Dante, in 1865-66 by the Bible, in 1866 by Paradise Lost, in 1867-68 by Tennyson's Idylls of the King, in 1867 by La Fontaine's Fables, and many other series of designs, the latest of which became poor and feeble in character, the artist having exhausted himself by incessant over-production. Doré was also ambitious of ranking as an historical painter, and he executed much in colour. He himself said that between 1850 and 1870 he earned £280,000 by his pencil. Among the earliest of his pictures are The Battle of the Alma,' and 'The Battle of Inkermann,' shown in the Salons of 1855 and 1857. Two of his most successful oil-pictures are 'Paolo and Francesca da Rimini' (1863), and The Neophyte' (1868). His 'Tobit and the Angel' is in the Luxembourg Gallery. For many years there was a Doré gallery in London, filled with his works, which were more popular there than in France, among which_the enormous canvases of Christ leaving the Prætorium' (1867-72) and Christ's Entry into Jerusalem' figured prominently. He is, however, seen at his best in his book-illustrations, for his colouring is unreal and wanting in delicacy and harmoniousness, and he had no technical mastery over the methods of oil-painting. He is most successful in subjects of a weirdly humorous or grotesque class; but he fails completely in the religious scenes which he so often set himself to depict. He displayed