See also:tours in endurin cf .
See also:Lat. tollere to lift Skt. tuld
See also:balance) the name the vacations of 1841, 1842, and 1843 (2 vols., 1844); and Final of an
See also:ancient Greek unit of
See also:weight, the heaviest in use both for Memorials of
See also:Charles Lamb (1849 50)• Mr .
See also:Justice Coltman as
See also:judge of the
See also:court of
See also:common pleas, he attained these distinctions more perhaps for his laborious care in the conduct of cases than on account of any forensic brilliance . At the general election in 1835 he was returned for
See also:Reading . This seat he retained for close upon six years, and he was again returned in 1847 . In the
See also:House of
See also:Commons he introduced an
See also:Bill; his speech on this subject was considered the most telling made in the House during that session . The bill met with strong opposition, but Talfourd had the satisfaction of seeing it pass into
See also:law in 1842, albeit in a greatly modified
See also:form . Dickens dedicated the Pickwick Papers to him . In his early years in
See also:London Talfourd was dependent—in
See also:great measure, at least—upon his
See also:literary exertions . He was at this
See also:period on the
See also:staff of the London
See also:Magazine, and was an occasional contributor to the
See also:Edinburgh and Quarterly reviews, the New Monthly Magazine, and other
See also:periodicals; while, on joining the
See also:Oxford circuit, he acted as law reporter to The Times . His legal writings on matters germane to literature are excellent expositions, animated by a lucid and telling, if not highly polished,
See also:style . Among the best of these are his article " On the Principle of Advocacy in the Practice of the
See also:Bar " (in the Law Magazine,
See also:January 1846); his Proposed New Law of Copyright of the Highest Importance to Authors (1838); Three Speeches delivered in the House of Commons in Favour of an Extension of Copyright (184o) ; and his famous Speech for the
See also:Defendant in the
See also:Prosecution, the
See also:Queen v .
See also:Moxon, for the Publication of Shelley's Poetical
See also:Works (1841) . But Talfourd cannot be said to have gained any position among men of letters until the production of his tragedy
See also:Ion, which was privately printed in 1835, and produced in the following
See also:year at Covent
See also:Garden theatre . The tragedy was also well received in
See also:America, and was reproduced at Sadler's
See also:Wells in
See also:December 1861 . This dramatic poem, its author's masterpiece, turns upon the voluntary sacrifice of Ion,
See also:king of
See also:Argos, in response to the Delphic
See also:oracle, which had declared that only with the extinction of the reigning
See also:family could the prevailing pestilence incurred by the deeds of that family be removed . Two years later, at the Haymarket theatre, The Athenian
See also:Captive was acted with moderate success . In 1839
See also:Glencoe, or the
See also:Fate of the Macdonalds, was privately printed, and in 184o it was produced at the Haymarket; but this home drama is inferior to his two classic plays . The Castilian (1853) did not excite a tenth
See also:part of the
See also:interest called forth by Ion . Before this he had produced various other
See also:prose writings, among them his "
See also:History of Greek Literature," in the
See also:Encyclopaedia Metro- monetary purposes and for commodities (see WEIGHTS AND
See also:MEASURES) . The weight itself was originally Babylonian, and derivatives were in use in
See also:Syria and
See also:Egypt . In
See also:medieval Latin and also in many Romanic
See also:languages the word was used figuratively, of will, inclination or
See also:desire, derived from the sense of balance, but the general figurative use for natural endowments or gifts,
See also:faculty, capacity or ability, is due to the parable of the talents in Matt.
See also:xxv .
TALE (O.Eng. talu, number, account, story; the word...
SIR THOMAS NOON TALFOURD (1795-1854)
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