ADELARDO See also:

• LOPEZ, CARLOS ANTONIO (1790-1862)

LOPEZ DE See also:

• AYALA, DON PEDRO LOPEZ DE (1332–1407)

AYALA Y See also:

• HERRERA, FERNANDO DE (c. 1534-1597)
• HERRERA, FRANCISCO (1576-1656)

HERRERA (1828–1879)  , See also:

• SPANISH

Spanish writer and politician, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Guadalcanal on the 1st of May 1828, and at a very See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age began See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing for the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre of his native See also:

• TOWN

town . The titles of these juvenile performances, which were played by amateurs, were Salga See also:

• POR

por donde saliere, Me voy 4 Sevilla and La See also:

• CORONA (Lat. for " crown ")

Corona y el Fugal . As travelling companies never visited Guadalcanal, and as ladies took no See also:

• PART

part in the representations, these three plays were written for men only . See also:

• AYALA, DON PEDRO LOPEZ DE (1332–1407)

Ayala persuaded his See also:

• SISTER

sister to appear as the heroine of his See also:

• COMEDY

comedy, La primera Dama, and the innovation, if it scandalized some of his townsmen, permitted him to develop his See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent more freely . In his twentieth See also:

• YEAR

year he matriculated at the university of See also:

• SEVILLE
• SEVILLE (Span. Sevilla, Lat. Ispalis or Hispalis, Moorish Ishbiliya)

Seville, but his career as a student was undistinguished . In Seville he made acquaintance with See also:

• GARCIA
• GARCIA (DEL POPOLO VICENTO), MANOEL (1775-1832)

Garcia Gutierrez, who is reported to have encouraged his dramatic ambitions and to have given him the benefit of his own experience as a playwright . Early in 1850 Ayala removed his name from the university books, and settled in See also:

• MADRID

Madrid with the purpose of becoming a professional dramatist . Though he had no See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends and no See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence, he speedily found an opening . A four-See also:

• ACT (Lat. actus, actum)

act See also:

• PLAY

play in See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, Un Hombre de Estado, was accepted by the managers of the Teatro Espanol, was given on the 25th of See also:

• JANUARY

January 1851, and proved a remarkable success . Henceforward Ayala's position and popularity were secure . Within a twelve-See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month he became more widely known by his Castigo y Perden, and by a more humorous effort, Los dos Guzmanes; and shortly afterwards he was appointed by the Moderado See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government to a See also:

• POST

post in the See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office, which he lost in 1854 on the See also:

• ACCESSION (from Lat. accedere, to go to, to approach)

accession to See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of the Liberal party . In 1854 he produced See also:

• RIOJA, LA

Rioja, perhaps the most admired and the most admirable of all his See also:

• WORKS

works, and from 1854 to 1856 he took an active part in the See also:

• POLITICAL

political See also:

• CAMPAIGN

campaign carried on in the See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

journal El Padre Cobos .

A zarzuela, entitled Guerta a muerte, for which Emilio Arrieta composed the See also:

• MUSIC

music, belongs to 1855, and to the same collaboration is due El Agente de Matrimonios . At about this date Ayala passed over from the Moderates to the Progressives, and this political manoeuvre had its effect upon the See also:

• FATE

fate of his plays . The performances of Los Comuneros were attended by members of the different parties; the utterances of the different characters were taken to represent the author's See also:

• PERSONAL

personal opinions, and every speech which could be brought into connexion with current politics was applauded by one See also:

• HALF

half of the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house and derided by the other half . A zarzuela, named El See also:

• CONDE
• CONDE, LOUIS DE BOURBON, PRINCE
• CONDE, LOUIS II
• CONDE, PRINCES OF

Conde de Castralla, was given amid much uproar on the 20th of See also:

• FEBRUARY

February 1856, and, as the piece seemed likely to cause serious disorder in the theatre, it was suppressed by the government after the third performance . Ayala's rupture with the Moderates was . now See also:

• COMPLETE

complete, and in 1857, through the See also:

• INTEREST

interest of O'Donnell, he was elected as Liberal See also:

• DEPUTY (through the Fr. from a Late Lat. use of deputare, to cut off, allot; putare having the original sense of to trim, prune)

deputy for See also:

• BADAJOZ
• BADAJOZ (formerly sometimes written Badajos)

Badajoz . His political changes are difficult to follow, or to explain, and they have been unsparingly censured . So far as can be judged, Ayala had no strong political views, and drifted with the current of. the moment . He took part in the revolution of 1868, wrote the " Manifesto of See also:

• CADIZ
• CADIZ (Cadiz)
• CADIZ (in Lat. Gades, and formerly called Cales by the English)

Cadiz," took office as colonial See also:

• MINISTER (Lat. minister, servant)

minister, favoured the candidature of the duc de See also:

• MONTPENSIER, ANNE MARIE LOUISE
• MONTPENSIER, COUNTS AND DUKES OF

Montpensier, resigned in 1871, returned to his early Conservative principles, and was a member of Alfonso XII.'s first See also:

• CABINET

cabinet . Meanwhile, however divided in See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion as to his political conduct, his countrymen were practically unanimous in admiring his dramatic See also:

• WORK

work; and his reputation, if it gained little by El Nuevo See also:

• DON
• DON (anc. Tanais)

Don Juan, was greatly increased by El Tanto por Ciento and El Tejado de Vidrio . His last play, Consuelo, was given on the 3oth of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1878 . Ayala was nominated to the post of See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president of See also:

• CONGRESS (Lat. congressus, coming together, from congredi; cum, with, and gradus, step)

congress shortly before his See also:

• DEATH

death, which occurred unexpectedly on the 3oth of January 1879 . The best of his lyrical work, excellent for finish and intense sincerity, is his Epistola to Emilio Arrieta, and had he chosen to dedicate himself to lyric See also:

• POETRY

poetry, he might possibly have ranked with the best of See also:

• SPAIN
• SPAIN (Espana)

Spain's See also:

• MODERN

modern singers; as it is, he is a very considerable poet who affects the dramatic See also:

• FORM (Lat. forma)

form .

In his later writings he deals with modern society, its vices, ideals and perils; yet in many essentials he is a See also:

• MANIFEST (Lat. manifestus, clear, open to view)

manifest See also:

• DISCIPLE

disciple of See also:

• CALDERON, RODRIGO (d. 1621), COUNT OF OLIVA AND MARQUES DE LAS SIETE IGLESIAS

Calderon . He has the See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar Calderonian limitations; the substitution of types for characters, of eloquence for vital See also:

• DIALOGUE

dialogue . Nor can he equal the See also:

• SUBLIME (Lat. sublimis, exalted)

sublime lyrism of his See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model; but he is little inferior in poetic conception, in dignified idealization, and in picturesque imagery . And it may be fairly claimed for him that in El Tejado de Vidrio and El See also:

• TANTA

Tanta por Ciento he displays a very exceptional See also:

• COMBINATION (Lat. combinare, to combine)

combination of satiric intention with romantic See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration . By these plays and by Rioja and Consuelo he is entitled to be judged . They will at least ensure for him an See also:

• HONOURABLE (Fr. honorable, from Lat. honorabilis, worthy of honour)

honourable See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the See also:

• HISTORY

history of the modern Spanish theatre . A complete edition of his dramatic works, edited by his friend and See also:

• RIVAL

rival Tamayo y Baus, has been published in seven volumes (Madrid, 1881–1885) . (J . F.-K.) AYE-AYE, a word of uncertain signification (perhaps only an exclamation), but universally accepted as the designation of the most remarkable and aberrant of all the Malagasy lemurs (see See also:

• PRIMATES
• PRIMATES (Lat. primas, first)

PRIMATES) . The aye-aye, Chiromys (or Daubentonia) madagascariensis, is an See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal with a superficial resemblance to a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long-haired and dusky-coloured See also:

• CAT
• CAT, CIVET
• CAT, HOUSE

cat with unusually large eyes . It has a broad rounded See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head, See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face, large naked eyes, large hands, and long thin fingers with pointed claws, of which the third is remarkable for its extreme, slenderness . The 'See also:

• FOOT

foot resembles that of the other lemurs in its large opposable See also:

• GREAT

great toe with a See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat See also:

• NAIL (O. Eng. naegal, cf. Dutch, Ger., Swed. nagel; the word is also related to Lat. unguis, Gr. ovu, Sans. nakhas)

nail; but all the other toes have pointed compressed claws .

Tail long and bushy . See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

General See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour dark See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown, the See also:

• OUTER

outer See also:

• FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur being long and rather loose, with a woolly under-coat . Teats two, . inguinal in position . The aye-aye was discovered by See also:

• PIERRE

Pierre Sonnerat in 178o, the specimen brought to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris by that traveller being the only one known until 186o . Since then many others have been obtained, and one lived for several years in the gardens of the Zoological Society of See also:

• LONDON

London . Like so many lemurs, it is completely nocturnal in its habits, living either alone or in pairs, chiefly in the See also:

• BAMBOO

bamboo forests . Observations upon See also:

• CAPTIVE (from Lat. capere, to take)

captive specimens have led to the conclusion that it feeds principally on juices, especially of the See also:

• SUGAR

sugar-See also:

• CANE

cane, which it obtains by tearing open the hard woody circumference of the stalk with its strong incisor See also:

• TEETH (O.E. Eel); plural of tooth, O.E. top)

teeth; but it is said also to devour certain See also:

• SPECIES

species of See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-See also:

• BORING

boring caterpillars, which it obtains by first cutting down with its teeth upon their burrows, and then• picking them out of their See also:

• RETREAT (O. Fr. retrete, mod. retraite, from Lat. retrahere, to draw back)

retreat with the claw of its attenuated See also:

• MIDDLE

middle See also:

• FINGER

finger., It constructs large See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

ball-like nests of dried leaves, lodged in a See also:

• FORK (Lat. furca)

fork of the branches of a large See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree, and with the opening on one See also:

• SIDE
• SIDE (mod. Eski Adalia)

side . Till recently the aye-aye was regarded as representing a See also:

• FAMILY

family by itself—the Ch'iromyidae; but the See also:

• DISCOVERY

discovery that it resembles the other lemurs of See also:

• MADAGASCAR

Madagascar in the structure of the inner See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear, and thus differs from all other members of the See also:

• GROUP

group, has led to the conclusion that it is best classed as a subfamily (Chiromyidae) of the Lemuridae, (R .