Research Results For 'Tom'

BELL

A bell is a hollow, somewhat cup-shaped, sounding instrument of metal. The metal from which bells are usually made (by founding) is an alloy, called bell-metal, commonly composed of eighty parts of copper and twenty of tin. The proportion of tin varies, however, from one-third to one-fifth of the weight of the copper, according to the sound required, the size of the bell, and the impulse to be given. The clearness and richness of the tone depend upon the metal used, the perfection of its casting, and also upon its shape; it having been shown by a number of experiments that the well-known shape with a thick lip is the best adapted to give a perfect sound. The depth of the tone of a bell increases in proportion to its size.

A bell is divided into the body or barrel, the ear or cannon, and the clapper or tongue. The lip or sound-bow is that part where the bell is struck by the clapper. It is uncertain whether the jangling instruments used by the Egyptians and Israelites can be correctly described as bells; but it is certain that bells of a considerable size were in early use in China and Japan, and that the Greeks and Romans used them for various purposes. They are said to have been first introduced into Christian churches about 400 AD by Paulinus, bishop of Nola, in Campania (whence campana and nola as old names of bells); although their adoption on a wide scale does not become apparent until after the year 550, when they were introduced into France.

Benedict Biscop, abbot of Wearmouth, seems to have imported bells from Italy to England in 680, but their use in Ireland and Scotland is probably of earlier date. The oldest of those existing in Great Britain and Ireland, such as the 'bell of St. Patrick's will' and St Ninian's bell, are quadrangular and made of thin iron plates hammered and riveted together.

Until the thirteenth century bells were of comparatively small size, but after the casting of the Jacqueline of Paris (6.5 tons) in 1400 their weight rapidly increased. Among the more famous bells are the bell of Cologne, 11. tons, 1448; of Dantzic, 6 tons, 1453; of Halberstadt, 7.5, 1457; of Rouen, 16, 1501; of Breslau, 11, 1507; of Lucerne, 71, 1636; of Oxford,7.5 1680; of Paris, 12.8, 1680; of Bruges, 10.5, 1680; of Vienna, 17.75, 1711; of Moscow (the monarch of all bells), 193, 1736; three other bells at Moscow ranging from 16 to 31 tons, and a fourth of 80 tons cast in 1819; the bell of Lincoln (Great Tom), 5.5, 1834; of York Minster (Great Peter), 10.75, 1845; of Montreal, 134, 1847; of Westminster (Big Ben), 15.5, 1856, (St Stephen), 13.5, 1858; the Great Bell of St. Paul's, 17.5, 1882. Others are the bells of Ghent (5 tons), Gorlitz (10.75 tons), St Peter's, Rome (8 tons), Antwerp (7.25 tons), Olmutz (18 tons), Sacred Heart, Paris (27 tons), Novgorod (31 tons), Pekin (53.5 tons).

Besides their use in churches bells are employed for various purposes, formerly the most common use being to summon attendants or domestics in private houses, hotels, etc. Bells for this purpose were of small size and may be held in the hand and rung, but most commonly were rung by means of wires stretched from the various apartments to the place where the bells were hung. Bells rung by electricity became common in hotels and other establishments around 1905.

CORGI

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DRAMA

Drama (from the Greek drew, I act), is a class of writings which almost entirely consist of dialogue, persons being represented as acting and speaking, and the pieces being usually intended to be acted on a stage by parties assuming the characters of the respective persons.

Its two great branches are tragedy and comedy, the former, roughly speaking, melancholy in character, the latter cheerful. The origin of the drama must be sought for in the love of imitation, and dramatic performances of some kind are to be met with probably among all nations.

Dramatic compositions are found in the Old Testament, for example in Job and the Song of Solomon; and ancient India and China both developed a dramatic literature of their own.

The European drama bad its origin in Greece. Both forms, tragic and comic, took their rise in the celebrations of the Greek festivals of Dionysus (Bacchus), at which hymns and chants were sung by choruses in honour of the god, and the chorus continued to be a prominent feature of the old Greek drama. Greek comedy commenced about 580-560 BC with Susarion, but it was long in attaining regular form. Of the old Greek comedy the chief representatives were Oratinus, Eupolis, Pherecrates, and Aristophanes - the last the greatest.

The invention of tragedy is generally ascribed to Thespis about 530 BC, who was followed by Phrynichus. But the true creator of tragedy was Aeschylus, in whose works and those of Sophocles and Euripides it found its most perfect expression. Thespis had only one actor, who from time to time relieved the chorus by declamation. Aeschylus changed this representation into real action by making use of two actors in addition to the chorus. Aeschylus also introduced masks; and by means of a long gown and the cothurnus, or buskin, the lofty stature of the heroes was imitated. A third actor was first introduced by Sophocles. The accommodations for the spectators were improved, and machinery and scenery introduced. The theatres, which had been formerly built of wood, were now large stone erections, capable of containing the greater number of the citizens. The regular drama among the Romans was borrowed from the Greeks. Plautus and Terence were imitators of the Greek comedy, Livius Andronicus (240 BC) of the Greek tragedy. Of the Roman tragedy, the dramas of Seneca are the only specimens extant.

In most modern European countries the regular drama took its rise in the mysteries, miracle-plays, and moralities of the middle ages. In Italy, however, it began with a reproduction in Latin of classical models. The earliest tragedy in Italian is Trissino's Sofonisba (1502). Regular comedies in Italian were written by Ariosto, Aretino, Macchiavelli, and others; and to the same period (15th and 16th centuries) belongs the Italian Pastoral Drama, which sprung from the ancient idylls, and aimed at a fanciful delineation of Arcadian and mythological scenes. Among the pastoral dramatists of this period are Poliziano, Tasso, and Guarini. The pastorals gave birth to the opera, early masters of which, so far as it may be included in the poetic drama, are Zenoand Metastasio. The Italian drama waned in the 17th century, but in the 18th genuine comedy and classic tragedy were restored, the former by Goldoni, the latter by Alfieri. Monti, Manzoni, and Niccolini are among the later writers of tragedy.

The other European nations cultivated the dramatic art much later than the Italians. The English and Spaniards devoted their attention to it almost at the game time; the former reaching their acme in William Shakespeare, the latter in Lope de Vega and Calderon. The history of the English theatre and the drama is naturally divided into two parts, the first of which begins with the reign of Elizabeth I and ends with the reign of Charles I. The rapid developmentof the drama during the reign of Elizabeth I was entirely unhampered by foreign influence. Lyly, Peele, Greene, Marlowe, William Shakespeare, Ben Jonson, Beaumont and Fletchor, Chapman, Webster, Middleton, Marston, Ford,and Massinger are among the chief names connected with the brilliant period of the English drama.

During the Commonwealth the Puritans prohibited all kinds of plays, and the theatres were shut up for thirteen years. With Charles II the drama reappeared, and exhibited a licentiousness hardly equalled by that of any other Christian nation. Among the chief names belonging to this period are Dryden, Otway, Lee, Shadwell, Wycherley, and Etherege. From the close of the 17th to that of the 18th century British comedy was cultivated with much success by Cibber, Farquhar, Congreve, Sheridan, and others.

During the 19th century many writers have been conspicuous by their dramas. Among the chief of these may be noted Byron, Coleridge, Landor, Shelley, Maturin, Talfourd, Milman, Sir Henry Taylor, the first Lord Lytton, Knowles, R. H. Home, Arnold, Browning, Swinburne, and Tennyson. Among other 19th-century writers for the stage, who, however, may be called playwrights rather than dramatists, may be named, Douglas Jerrold, Tom Taylor, Charles Reade, Thomas Robertson, W. G. Wills, H. Byron, R. Buchanan, Dion Boucicault, W. S. Gilbert, J. M. Barrie, A. W. Pinero, H. A. Jones, etc.

The French drama was in a miserable state before Corncille (1606-84), who indeed is looked on as the founder of the drama in France. Racine, Moliere, Voltaire, and in later times Hugo, are some of the other distinguished French dramatists. Since about 1820 a new dramatic school has been formed in France, which, departing from the ancient strictness of what is called the classic, approaches more and more to the German or British, or what is called the romantic school. The establishment of this school formed part of the general reaction against the excessive adherence to classic models in literature, the leader in the movement being Victor Hugo. C. Delavigne marks the transition from the classical to the beginnings of the romantic school, and among the 19th century dramatists may be mentioned A. de Vigny, George Sand, A. de Musset, Merimee, Ponsard, Augier, Scribe, Dumas the Younger, and Sardou.

The German drama is of later birth than any thus far mentioned, and for a long time the Germans contented themselves with translations and adaptations from the French. Leasing was the first who, by word and deed, broke the French sway (1755), and he was succeeded by Schiller and Goethe, who rank as the greatest of the more modern dramatists. Prominent names in the German drama are Kotzebue, Korner, Schlegel, Tieck, Brentano, Grillparzer, Hebbel, Ludwig, Gutzkow, Freytag, Laube, Von Moser, etc.

The Dutch drama begins with the classical tragedies of Koster in the beginning of the 17th century, and reached its highest in Vondel (1587-1659). Holberg, Heiberg, Oehlenschlager, Ibsen, and Bjornson are the chief names connected with the Scandinavian drama.

The advent of moving pictures during the 20th century revolutionised drama, and introduced film or movies to the audience, with the USA quickly developing a reputation for film making based in Hollywood, and by the end of the 20th century the Indian city of Mumbai had become a leading center of Hindi language film making producing more films than even Hollywood.
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LONG PARLIAMENT

The meeting of the Long Parliament (as it was afterwards called) in November 1640 ended the great days of the English monarchy, and sowed the seeds for the English Civil War. The Commons were determined on reform; they meant to put an end to the king's unconstitutional methods in both Church and State. Charles I himself, though he seldom faced facts, saw that some concessions would be necessary. But a real settlement was not achieved, chiefly because tempers were rising and the atmosphere soon became that of a revolution. Charles was partly to blame. He had no real desire for a lasting understanding with Parliament, and his shifty character aroused general distrust. But he found that the more he gave way to Parliament, the more it demanded. John Pym, a squire of Somerset, was the acknowledged leader of the Commons.

His enemies nicknamed him 'King Pym'. He was 'the first great popular organiser', for he used the press, the petition, and even the platform to support his cause. He now led the attack on the chief instruments of the late personal government. The judges who had upheld Charles's financial exactions in the Courts were arrested and imprisoned, and so was Archbishop Laud, who was beheaded in 1645. But the principal victim was Strafford. He was charged with having tried to 'subvert the fundamental laws and government of England and Ireland, and instead thereof to introduce an in March arbitrary and tyrannical government against law'. 1641 he was brought to Westminster Hall to be tried for high treason. But his accusers were at once faced with a difficult point. Strafford may have tried to 'subvert the laws'; but treason meant treason to the king, and had Strafford been a traitor to Charles? It was difficult to prove that he had, and as the trial proceeded it became clear that the verdict would be Not Guilty. But the Puritan majority in the House was determined that Strafford should die. Parliament therefore passed a special Bill of Attainder, condemning the minister to death without trial.

The Lords passed the Bill of Attainder, and it remained for the king to give or to withhold his consent. Some may think that it was Charles's duty to risk his life to defend Strafford. But the mob raged round Whitehall, howling for blood. Charles feared for the safety of the queen and his children, and he gave way. ' If my own person only were in danger', he told the Council, with tears in his eyes, 'I would gladly venture it to save Lord Strafford's life.' Three days later the earl was led to his execution in May 1641 in the presence of a crowd of 200000 people who had come to witness the end of 'Black Tom Tyrant'. No man ever died more bravely. 'I thank my God', he said, as he prepared to die, 'I am not afraid of death, but do as cheerfully put off my doublet at this time as ever I did when I went to bed.' The executioner offered to cover his eyes with a handkerchief. 'Thou shalt not bind my eyes.' said Strafford, 'for I will see it done.' And so he placed his head upon the block.

His misfortune, wrote Laud, was that 'he served a mild and gracious prince, who knew not how to be, or be made great'. That summer Parliament was busy passing a number of Acts intended to make absolute government impossible for the future. One Act declared that the present Parliament could not be dissolved without its own consent; another - the Triennial Act - that in future Parliaments should be Called every three years. The three Courts by which the king and Laud had carried out their religious and financial measures were abolished - the Star Chamber, the Court of High Commission, and the Council of the North. Finally Ship-Money and other arbitrary forms of taxation were declared illegal. These abolitions of the year 1641 were the permanent, constructive work of the Puritan revolution; nor were the institutions then destroyed restored with the monarchy in 1660. Meanwhile another Bill had come up for discussion. A petition was presented to Parliament praying for the ending of episcopacy (that is, the rule of the Church by bishops) 'in all its roots and branches'.

The thorough-going Puritan members considered the petition, and a 'Root-and-Branch' Bill in 1641 was prepared, but it fell through. For now a new factor came into play. Hitherto a large majority, both of Lords and Commons, had been united in their opposition to the king. But this Bill divided parliamentarians for the first time. There were many who began to fear extremes; and a moderate party now sprang up. It was out of this debate on the Root-and- Branch Bill that the germs of the future Roundhead and Cavalier parties were formed. The extremists - the Roundheads - included Pym, Hampden, and Oliver Cromwell. The chief figures on the other side were Lord Falkland and Sir Edward Hyde, afterwards the famous Earl of Clarendon, the future Chancellor and historian. Parliament adjourned for six months, but met again at the end of October. It had no sooner assembled than terrible news arrived from Ireland. Now that the stern hand of Strafford was withdrawn, the crushed Irish had risen against their lords. There was a sudden and horrible rebellion thousands of Protestants were massacred in cold blood. When this news was received in London it only served to increase the Puritan fury. Meanwhile the Commons drew up a Grand Remonstrance in November 1641, in which they recited the past acts of the king and his servants to which they objected - there were 201 items - and stated a programme for the future. Some of its clauses prayed the king to reduce the power of the bishops and to remove 'oppressions in religion'. Another clause asked His Majesty to employ ministers 'such as the Parliament may have cause to confide in' - which in later times solved the problem of disputes between king and Parliament.

All this shows that Parliament had considerably advanced its demands. During the months from November 1640 to September 1641 they, had succeeded in placing constitutional checks on the king's power. From November 1641 to August 1642 they were bent on seizing control of both Church and State, until they forced Charles to reply: ' If I granted your demands, I should be no more than the mere phantom of a king.' The Grand Remonstrance was passed by a majority of only eleven - a fact which illustrates the growth of the anti-Puritan party.

The situation, at the end of 1641, was dangerous in the extreme. On the one hand the queen and the swaggering ' Cavaliers' of the Court were urging Charles to strike at King Pym and his fellow leaders before it was too late. On the other hand, London was a stronghold of Puritanism, and it was the London merchants who had felt the weight of Charles's taxation most heavily. The London ' prentices' and the king's swordsmen were itching to get at one another's throats. Never the less Pym proceeded steadily on his way. He was determined to deprive the king of the command of the militia; for it was obvious that if the Irish rebellion was to be crushed a militia must be called out. And once Charles had command of the national armed forces, would he not use them to crush Parliament and destroy English liberty for ever? Pym had no doubt that he would. A Militia Bill was therefore brought in, and - contrary to all English law and custom - it took the command of the military forces out of the king's hands. To this Charles of course refused his consent.

Early in January 1642 he took the queen's advice, and instructed the Attorney- General to impeach Pym, Hampden, and three other leading members of the Commons. The members were alarmed, but Charles promised them 'on the word of a king' that no violence should be done them. The next day - the 4th of January 1642 - he went down to the House with 400 swordsmen. He left his guard at the door, and walked in accompanied only by Prince Rupert, his German nephew. But the five members, warned of his intention, had fled by river. There was a dead silence as the king looked round. He asked the Speaker, Lenthall, where the missing members were. 'I have neither eyes to see', Lenthall replied, 'nor tongue to speak in this place, but as this House shall direct me.' There was another pause as Charles scanned the benches. 'I see', he said at last, 'all the birds are flown. I do expect you will send them to me as soon as they shall return hither.' Then, amid cries of 'Privilege, privilege', he walked out. By this revolutionary act the king had outlawed himself. All hope of reconciliation being now past, he determined to try the issue of war. He left his capital on the 10th of January, sent the queen out of the country, and took up his quarters at York. Parliament claimed the control of the militia and secured the command of the fleet. During the spring and summer of 1642 both sides were busy raising troops. The great strength of the Puritan cause was London. The city contained a tenth of the population of England - 500000 out of five million. The number of troops which London provided was more than sufficient to quell any Royalist opposition in the surrounding country. The London 'train-bands' therefore protected the Puritan leaders during the eight months that the king was gathering his army in the north - January to August 1642. And so the English Civil War started.
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THE ADVENTURES OF TOM SAWYER

The Adventures of Tom Sawyer is a novel written in 1876 by American author Mark Twain. It describes the childhood escapades of Tom Sawyer and his friends Huckleberry Finn and Joe Harper in a small Mississippi community before the Civil War. It, and its sequel The Adventures of Huckleberry Finn published in 1885, are remarkable for their rejection of the high moral tone prevalent in 19th-century children's literature.
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TICHBORNE CASE

The Tichborne case was a long and famous case in English history. Tichborne is an estate in Hampshire. Roger Charles Tichborne, eldest son of James, afterwards tenth baronet, was born in 1829 and in 1853 sailed to Valparaiso and the next year to Rio de Janeiro in the Bella which subsequently left Rio de Janeiro for Jamaica and was never seen, nor heard from again. The baronetcy and estates passed to his brother, Alfred. Alone of the family his mother, clinging to hope, advertised world wide for information regarding her son. A butcher in Australia, one Tom Castro, seeing the advert claimed to be the lost Sir Roger, saved from the Bella, and as such was received by the infatuated mother. The claim was opposed on behalf of a son of Sir Alfred and on March the 6th, 1872, 103 days into the case, the claimant was non-suited and arrested at Orton on a charge of perjury. he was brought to trial and on the 188th day of the case sentenced to fourteen years imprisonment with hard labour. The two trials cost about 200,000 pounds and cheated the estate out of over 90,000 pounds spent defending the case.
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TOM

In gold mining,a tom is a kind of cradle used for gold washing, chiefly found in use in China. One end consists of a perforated plate, underneath which is a box in which the particles of gold collect. The other and lower end of the tom is a sluice.
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TOM AND JERRY

Tom and Jerry are cartoon-film characters that were created in 1939 by American animators William Hanna and Joseph Barbera. The typically violent scenarios show Jerry the mouse getting the better of Tom the cat. A total of 154 short cartoon films were made, three of which won Academy Awards, and a full length film was also made.
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TOM BROWN'S SCHOOLDAYS

Tom Brown's Schooldays is a story by Thomas)Hughes, first published in 1857. It is a story of life at Rugby school under Arnold, and is one of the most successful of all school stories, and proves valuable for its faithful picture of English public school life at the period. In 1861 a sequel, Tom Brown at Oxford, was published but proved less popular.
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TOM JONES

Tom Jones (The History of Tom Jones, a Foundling) is a novel written in 1749 by Henry Fielding. The story tells of a foundling, Tom Jones, led astray by the impetuousness of his own nature. He has many adventures, which take him through scenes of uproarious 18th-century life, until he is finally redeemed by his own good heart and the love of the beautiful Sophia Western.
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