76 LOON-LOPE DE VEGA. and violet, which is blended behind with the plumage of the back; the whole of the upper parts are of a deep black, slightly glossed with green, and thickly spotted with white, in regular transverse or semicircular rows, two spots on the end of each feather; the lower parts are pure white, with a slight dusky line across the vent. The outside of the legs and feet is black, the inside lead color. The leg is four inches in length; both legs and feet are marked with five-sided polygons; weight about eight to ten pounds. The female is somewhat smaller than the male, and differs in her colors. The young do not attain their perfect plumage until the second or third year. It should be mentioned, however, that Temminck and the prince of Musignano state that the two sexes are alike in plumage: our sportsmen who reside on the coast where these birds are plenty, insist, on the contrary, that the adults of both sexes may always be distinguished by their plumage. The female lays two large brownish eggs, and generally builds at the edge of small islands or the margins of lakes and ponds. In swimming and diving, the legs only are used, and not the wings, as in the guillemot and auk tribes; and, from their being situated far behind, and their slight deviation from the line of the body, the bird is enabled to propel itself through the water with great velocity. posed several theatrical pieces, when scarcely 12 years of age. About this time, he ran away from school with a comrade, for the purpose of seeing the world, but was stopped in Astorga, and sent back, by the authorities of the place, to Madrid. Lope early lost his parents, but was enabled, by the assistance of Avila, bishop of Alcala, to complete his studies. He afterwards found a patron in the duke of Alva, at Madrid. Encouraged by this Mæcenas, whose secretary he became, he composed his Arcadia, a heroic pastoral in prose and verse, of which Montemayor had given an example in his Diana. The Arcadia is an idyl, in five acts, in which the shepherds, with their Dulcineas, speak the language of Amadis, and discuss questions of theology, grammar, rhetoric, arithmetic, geometry, music and poetry. Inscriptions are also introduced upon the pedestals of the statues of distinguished men in a saloon, in which a part of the action takes place. This work proved the various acquisitions of the author. Conceits and quibbles are frequent in this, as in Lope's other writings. In general, he is one of those writers who set a danger ous example of that false wit, a taste for which extended almost all over Europe. Marino particularly introduced it into Italy, and acknowledged, with lively expressions of admiration, that Lope had been his pattern. After the publication of Loos, Daniel Frederic, a distinguished his Arcadia, Lope married. He appears, die-sinker, was born at Altenburg, in Sax- however, to have cultivated the poetic art ony, in 1735. Stieler, the royal die-cutter, with increasing zeal. A nobleman of took him as an apprentice, but kept him rank having made himself merry at Lope's back from jealousy. Loos, however, final- expense, the poet revenged himself upon ly went to Dresden, where he worked at this critic, and exposed him to the laughter the mint, but his merits were here also of the whole city. His opponent challenged kept secret by his employer. After many him, and was dangerously wounded in vicissitudes, Loos was employed in the the encounter, and Lope was obliged to Prussian service at Magdeburg, but was flee to Valencia. After his return to Madrid, unable to maintain his family, and lived the loss of his wife rendered a residence in for some time in poverty, in Berlin. His that place insupportable to him. In 1588, merit was at last acknowledged. In therefore, he served in the invincible ar1787, he became member of the academy mada, the fate of which is well known. of fine arts, and produced a great number During this expedition he wrote La Herof medals. Purity of style and drawing mosura de Angelica (the Beauty of Angeliwere not so much required in medals as ca), a poem in 20 cantos, which continues at present in Germany, but his successors the history of this princess from the time have hardly surpassed him in technical in which Ariosto left it. By this work he skill. Loos died in 1818. His son is one hoped to do honor to his country, in of the chief officers of the Berlin mint. which, as he learned in Turpin, the succeeding adventures of the heroine occur red. In addition to the peril of rivalry with Ariosto, the difficulty of success was increased by the appearance of a poem upon the same subject, by Luis Borhono de Soto, under the title Las Lagrymas de Angelica, which passed for one of LOPE DE VEGA (Don Lope Felix de Vega Carpio; Frey, as he is often called, signifies friar), a celebrated dramatic poet, was born at Madrid, Sept. 25, 1562. While a child, he displayed a lively taste for poetry, made verses before he knew how to write, and, as he himself avers, had com LOPE DE VEGA. the best poems in the Spanish language, and was honorably mentioned in Don Quixote. In 1590, Lope returned to Madrid, and again entered the married state. In 1598, he obtained one of the poetical prizes, offered on the occasion of the canonization of St. Isidore. This prize poem he published with many other poems, under the name of Tomè de Burguillos. About this time, he also composed a great number of pieces for the theatre. His literary fame increased, and his domestic situation made this the happiest period of his life. But he lost his son, and soon after his wife, and had only a daughter left. He now sought consolation from religion, and became a priest and secretary of the inquisition. His devotion, however, did not interfere with his poetical studies, and he still endeavored to maintain the distinguished rank which he had taken upon the Spanish Parnassus, and to repel the attacks of his foes and his rivals, among whom Luis de Gongora y Argote was the most distinguished. Lope, who had been attacked in his satires, and who was indignant at the corruption of taste produced by him, allowed himself to ridicule his obscure and affected style, and that of his pupils, although, in his poem Laurel de Apollo, he acknowledges the talents of Gongora. But Gongora's corrupt taste infected even his opponents, and it must be confessed that Lope's last works are not entirely exempt from it. Another yet more distinguished assailant was Cervantes, who publicly advised him, in a sonnet, to leave the epic poem, upon which he was then engaged-Jerusalem conquistada-unfinished. Lope parodied this sonnet, and published his poem, the weakest of his performances. He accompanied it with many remarks, which are all found in the last edition of 1777. Cervantes acknowledged his merits, however, in the following verses: "Poeta insigne, á cuyo verso o prosa (A distinguished poet, whom no one, in verse or prose, surpasses or equals.) Cervantes died soon after (1616), in poverty, in the very city in which his rival lived in splendor and luxury, and in the possession of the public admiration. How differently has posterity judged of these two poets! For 200 years, the fame of Cervantes has been increasing, while Lope is neglected in his own country. About the time of Cervantes' death, the enthusiasm of the Spaniards for Lope approached to idolatry, and he himself was 77 not wise enough to reject it. The number of his poetical productions is extraordinary. Scarcely a year passed in which he did not print a poem, and, in general, scarcely a month, nay, scarcely a week, in which he did not produce a piece for the theatre. A pastoral, in prose and verse, in which he celebrates the birth of Christ, established his supremacy in this branch; and many verses and hymns on sacred subjects bore testimony to his zeal for the new calling to which he had devoted himself. Philip IV, who greatly favored the Spanish theatre, when he ascended the throne, in 1621, found Lope in possession of the stage, and of an unlimited authority over poets, actors, and the public. He immediately loaded him with new marks of honor and favor. At this time Lope published Los Triumphos de la Fé; Las Fortunas de Diana, novels in prose, imitations of those of Cervantes; Circe, an epic poem, and Philomela, an allegory, in which, under the character of the nightingale, he seeks to revenge himself upon certain critics, whom he represents under that of the thrush. His celebrity increased so much that, suspicious with respect to the enthusiasm which had been shown for him, he printed the work Soliloquios a Dios, under the assumed name, N. P. Gabriel de Padecopeo (an anagram of Lope de Vega de Carpio),which likewise obtained great applause. He afterwards published a poem on the subject of Mary Stuart, viz. Corona tragica (the Tragic Crown), and dedicated it to pope Urban VIII, who had also commemorated the death of this queen. The pope wrote an answer to the poet with his own hand, and conferred on him the title of doctor of theology; he also sent him the cross of the order of Malta-marks of honor which, at the same time, rewarded his zeal for strict Catholicism, on which account he was also made a familiar of the inquisition. All this contributed to support the enthusiasm of the Spaniards for this "wonder of literature." people for whom he wrote, without regard to criticism (for he says in his strange poem, Arte de hazer Comedias, that the people pay for the comedies, and, consequently, he who serves them should consult their pleasure), ran after him whenever he made his appearance in the street, to gaze upon this prodigy of nature (monstruo de naturaleza), as Cervantes called him. The directors of the theatre paid him so liberally, that at one time he is said to have possessed property to the amount of more than 100,000 ducats; but he was The himself so generous and charitable, that he left but little. The spiritual college in Madrid, into which he had been admitted, chose him president (capellan mayor). In common conversation, any thing perfect in its kind, was called Lopean. Until 1635, he continued without interruption to produce poems and plays. At this period, however, he occupied himself with religious thoughts, and devoted himself strictly to monastic practices, and died August 26 of the same year. The princely splendor of his funeral, of which the duke of Susa, the most distinguished of his patrons, and the executor of his will, had the direction, the great number as well as the tone of the panegyrics, which were composed for this occasion, the emulation of foreign and native poets to bewail his death, and to celebrate his fame, presented an example altogether unique in the history of literature. The splendid exequies continued for three days, and ceremonies in honor of the Spanish Phoenix were performed upon the Spanish stages with great solemnity. The number of Lope's compositions is astonishing. It is said that he printed more than 21,300,000 lines, and that 800 of his pieces have appeared upon the stage. In one of his last works, he affirmed that the printed portion of them was less than those which were ready for the press. The Castilian language is, indeed, very rich, the Spanish verses are often very short, and the laws of metre and rhythm are not rigid. We may, however, doubt the pretended number of Lope's works, or we must admit, that, if he began to compose when 13 years of age, he must have written about 900 verses daily, which, if we consider his employments, and the interruptions to which, as a soldier, a secretary, the father of a family, and a priest, he must have been subject, appears inconceivable. What we possess of his works amounts to only about a fourth of this quantity. This, however, is sufficient to excite astonishment at his fertility. He himself informs us that he had more than a hundred times composed a piece and brought it on the stage within 24 hours. Perez de Montalvan asserts that Lope composed as rapidly in poetry as in prose, and that he made verses faster than his amanuensis could write them. He estimates Lope's plays at 1800, and his sacramental pieces (Autos sacramentalos) at 400. Of his writings, his dramatic works are the most celebrated. The plots of those that approach nearest to the character of tragedy, are usually so extensive, that other poets would have made, at least, four pieces of them. Such, for instance, is the exuberance found in La Fuerza lastimosa, which obtained the distinction of being represented in the seraglio at Constantinople. In fertility of dramatic invention, and facility of language, both in prose and verse, Lope stands alone. The execution and the connexion of his pieces are often slight and loose. He is also accused of making too frequent and uniform a use of duels and disguises (which fault, however, his successors committed still more frequently), and of freedom in his delineations of manners. Some (lord Holland, for instance) have attributed to him also the introduction of the character termed gracioso, upon the Spanish stage. In those irregular pieces, which Lope composed for the popular taste, we find such bombast of language and thought, that we are often tempted to conclude that he intended to make sport of his subject and his hearers. The merit of the elaborate parts of his tragedies consists particularly in the rich exuberance of his figures, and, according to the Spanish critics, the purity of his language. In judging of his boldness in treating religious affairs, we must take into consideration the character of the nation, and the nature of the Spanish stage. Many foreign dramatic writers, we may add, have imitated Lope, and are indebted to him for their best pieces and touches. Schlegel, in his lectures on the drama (Vorlesungen über dramatische Kunst), says of Lope-"Without doubt, this writer, sometimes too much extolled, sometimes too much undervalued, appears in the most favorable light in his plays; the theatre was the best school for the correction of his three capital faults, viz. defective connexion, prolixity, and a useless display of learning." In some of his pieces, especially the historical, which were founded upon old romances and traditions, a certain rudeness of manner predominates, which is by no means destitute of character, and seems manifestly to have been chosen for the subjects. Others, which delineate the manners of the time, display a cultivated tone. They all contain much humor and interesting situations, and probably there are few which, with some alterations, would not be well received, even at the present day. Their general faults are the same-carelessness of plot and negligent execution. They are also deficient in depth, and in those fine qualities which constitute the mysteries of the art. A Colleccion de las Obras sueltas assi en Prosa como en Verso de D. Lope, &c., ap LOPE DE VEGA-LORD'S SUPPER. peared at Madrid, 1776, seq. (21 vols., 4to.). This does not contain his plays, however, which were published at an earlier date, in 25 vols., 4to. Concerning his life (of which his poem Dorothea gives, perhaps, the most valuable information) and writings, consult the work of lord Holland-Some Account of the Life and Writings of Lope Felix de Vega Carpio (London, 1817, 2 vols., 2d edition). LORD; of uncertain etymology; a title of honor or dignity, used in different senses. In the feudal times, lord (seigneur) was the grantor or proprietor of the land, who retained the dominion or ultimate property of the feud or fee, the use only being granted to the tenant. A person who has the fee of a manor, and consequently the homage of his tenants, is called the lord of the manor. In these cases, the lordship or barony was connected with the seigneurial rights of jurisdiction. The superior lord is styled lord paramount, and if his tenants again grant a portion of land to other persons, they being tenants in reference to the lord paramount, and lords in reference to their own tenants, are called mesne or mean, i. e. middle lords. Lord is also a mere title of dignity, attached to certain official stations, which are sometimes hereditary, but sometimes only official or personal. All who are noble by birth or creation, that is, the peers of England, are called lords; the five orders of nobility constitute the lords temporal, in contradistinction from the prelates of the church, or lords spiritual, both of whom sit together in the house of lords. (See Peers.) It is sometimes only an official title, as lord advocate, lord mayor, &c. It is also applied, but only by courtesy, to the sons of dukes and marquises, and to the eldest sons of earls.-In Scripture, the word LORD, when printed in capitals, in the Old Testament, is a translation of the Hebrew Adonai, which the Jews were accustomed to substitute in reading, and even in writing, for the ineffable name Jehovah (q. v.). In the New Testament, it is applied to Jesus Christ, the term, in the original Greek, being kuptos (owner, master.) 79 symbol of his body, which was soon to be broken; and the red wine (for, probably, Christ used this kind of wine, which is the most common in Palestine) was a significant symbol of his blood. In all the churches founded by the apostles, this usage was introduced. In the first and second century, this rite was celebrated in connexion with the agape (q. v.) or love feast. After the third century, when the congregations became more numerous, the agapes ceased, and the Lord's supper was from thence celebrated on the occasion of every divine service in the churches, in such a way that all present could partake, with the exception of catechumens (i. e. Christians not yet baptized), and of unbelievers. These were obliged to withdraw when the celebration of the Lord's supper commenced, because communion was considered as a mysterious act, which was to be withheld from profane eyes. Christians soon began to ascribe supernatural power to the rite, and to take the consecrated bread and wine for more than bread and wine, and to maintain that the body and the blood of our Savior were united with them. From this originated the doctrine of transubstantiation, which was started by Parrhasius Radbertus, in the ninth century. Though this doctrine was at first opposed (see Berengarius), yet it was soon generally received, and, in 1215, solemnly confirmed by pope Innocent III, in the fourth Lateran council. From the new doctrine sprang the adoration of the host (in which God was present, according to the new belief), as well as the custom of refusing the cup in the communion to the laity, because it was supposed, that, where the body of Christ was, his blood must be too (Concomitance), whence the use of the wine was not necessary for the reception of the communion. This refusal was, also, partly owing to a desire of avoiding every occasion whereby the blood of Christ might be incautiously spilled, and become profaned; and partly to the efforts of the clergy to establish a distinction in their own favor. Even before the origin of the doctrine of transubstantiation, the Lord's supper had begun to be represented as a sacrifice. From this sprang the private mass. (See Mass.) After the notion of purgatory had become prevalent, this doctrine was connected with the above-mentioned conception of the communion as a sacrifice, and now masses were said chiefly for the purpose of delivering the souls of the deceased from purgatory. As early as the seventh century, private masses were celebrated in various places; after the ninth century, they were in use every where. Thus the Lord's supper had become, in the course of time, something quite different from the design of its founder. This had been contended previous to the reformation, by some parties dissatisfied with the ruling church, especially by the Hussites (see Hussites, in article Huss), in the fifteenth century, to whom, indeed, the council of Bàle was obliged to allow the use of the cup in the communion. The reformers renewed the complaint, that the church had deviated, in the celebration of the Lord's supper, from the purpose of Christ, and the example of the apostolic age, and both the German and Swiss reformers agreed in rejecting the doctrine of transubstantiation and the mass, and maintaining, that the Lord's supper ought to be celebrated before the whole congregation, and with the administration of both bread and wine. In explaining the words by which the supper was instituted, Luther and Zuinglius differed, and their different opinions on this subject formed the principal subject of the unhappy dissension between the Lutheran and Calvinistic churches. Luther took the words, "This is my body," &c., in their literal sense, and thought that the body and blood of Jesus Christ were united, in a mysterious way, with the bread and the wine, so that the communicant receives, with and under (cum et sub) the bread and wine, the real body and real blood of the Redeemer. Zuinglius, on the other side, understood the words in a figurative sense, and supposed that Jesus Christ meant to say, "The bread and the wine represent my body and my blood," and maintained, therefore, that the bread and wine were mere signs of the body and the blood of Christ. From this difference of opinion arose a violent dispute between Luther and Zuinglius, which, in later times, has been continued between the Lutheran and Calvinistic divines. The opinion advanced by Calvin, by which a spiritual presence of the body and blood of Christ is supposed in the communion, though it came nearer to the Lutheran doctrine than that of Zuinglius did, yet was essentially different, and, therefore, also met with a strong opposition from the strict adherents of Luther. Melanchthon inclined to the Calvinistic notion, and so did many other Lutheran divines, who were called by the opposite party Philip ists and Crypto-Calvinists. The formula concordia, or articles of religious peace, suppressed the Crypto-Calvinists in the greatest part of the Lutheran church, and established the idea of Luther. In recent times, many Lutheran divines have inclined to the Calvinistic doctrine. The Greek church has not adopted the doctrine of transubstantiation in its whole extent; yet her doctrine comes nearer to this dogma than to that of the reformed church. The Oriental Christians differ also from the Western, in using leavened bread in the Lord's supper, and in administering it to children. (See Greek Church.) [The doctrine of the Lord's supper has given rise to such long and bitter contention between Catholics and Protestants, that the following remarks, written by a Catholic, and giving the Catholic views on this subject, may not be uninteresting to our readers.] The Catholic doctrine of communion (says the writer) cannot be understood without a clear insight into the fundamental views of the Catholic church on all sacred things. He, to whom Christianity is not an external revelation of the Deity, to whom Jesus is not the incarnate God, and his doctrine not divine truth higher than all human conceptions, who regards not the church as a divine institution, and her traditions as indisputably true, cannot enter into the Catholic views on the communion. It must be particularly considered, that Catholic Christianity is of a truly mystic nature. By mysticism we mean not the capricious imaginations of each individual, but the universal mystical belief of the church. Of these mysteries the sacrament of communion is the highest, and is the central point of all the institutions of the Catholic church. In all religions, we find the idea of a sacrifice, which man offers to the Deity, by which he acknowledges a relation between himself and the Deity, and endeavors to represent the devout spirit of religion by an act of external worship. The purer is this idea of a sacrifice, the purer is the religion. It was reserved for Christianity to give it its highest reality and greatest purity. In the prophecies relating to the Messiah, it is said, that he shall be a priest after the order of Melchisedek (Psalm cx. 4); but this Melchisedek was a priest of the Most High, who offered bread and wine. (Gen. xiv.) How then was this prophecy fulfilled? Malachi predicted that the sacrifices of the ancient law would be abolished, and supplied by a pure meat-offering. (Malachi i,11.) The incarnate God walked in the flesh among mortals, teaching and working miracles. After having performed the miracle of |