Arsetes to Arthgallo

Arsetes, the aged eunuch who brought up Clorinda, and attended on her.—Tasso: Jerusalem Delivered (1575).

Artaban, the French type of nobiliary pride.

Artamenes or Le Grand Cyrus, “a long-winded romance,” by Mdlle. Scudéri (1607–1701).

Artaxaminous , king of Utopia, married to Griskinissa, whom he wishes to divorce for Distaffina. But Distaffina is betrothed to general Bombastês, and when the general finds that his “fond one” prefers “half a crown” to himself, he hates all the world, and challenges the whole race of man by hanging his boots on a tree, and daring any one to displace them. The king, coming to the spot, reads the challenge, and cuts the boots down, whereupon Bombastês falls on his majesty, and “kills him,” in a theatrical sense, for the dead monarch, at the close of the burletta, joins in the dance, and promises, if the audience likes, “to die again to-morrow.”—Rhodes: Bombastes Furioso.

Artchila Murtchila, the magic words which “Fourteen” was required to pronounce when he wished to get any specific object “into his sack.”—A Basque Legend. (See Fourteen.)

Artegal, a mythic king of Britain in the Chronicle of Geoffrey of Monmouth. Milton introduces him in his mythical History of Britain in six books (1670).

Artegal or Arthegal (Sir), son of Gorloïs prince of Cornwall, stolen in infancy by the fairies, and brought up in Fairyland. Britomart saw him in Venus’s looking-glass, and fell in love with him. She married him, and became the mother of Aurelius Conan, from whom (through Cadwallader) the Tudor dynasty derives descent. The wanderings of Britomart, as a lady knight-errant and the impersonation of chastity, is the subject of book iii. of the Faërie Queene; and the achievements of sir Artegal, as the impersonation of justice, is the subject of bk. v.

Sir Artegal’s first exploit was to decide to which claimant a living woman belonged. This he decided according to Solomon’s famous judgment respecting “the living and dead child” (canto 1). His next was to destroy the corrupt practice of bribery and toll (canto 2). His third was the exposing of Braggadoccio and his follower Trompart (canto 3). He had then to decide to which brother a chest of money found at sea belonged—whether to Bracidas or Amidas; he gave judgment in favour of the former (canto 4). He then fell into the hands of Radigund queen of the Amazons, and was released by Britomart (cantos 5 and 6), who killed Radigund (canto 7). His last and greatest achievement was the deliverance of Irena (Ireland) from Grantorto (rebellion), whom he slew (canto 12).

(This rebellion was that called the earl of Desmond’s, in 1580. Before bk. iv. 6, Artegal is spelt Arthegal, but never afterwards.)

N.B.—“Sir Artegal” is meant for lord Gray of Wilton, Spenser’s friend. He was sent in 1580 into Ireland as lord-lieutenant, and the poet was his secretary. The marriage of Artegal with Britomart means that the justice of lord Gray was united to purity of mind or perfect integrity of conduct.—Spenser: Faërie Queene, v. (1596).

Artemisia, daughter of Lygdamis and queen of Caria. With five ships she accompanie d Xerxes in his invasion of Greece, and greatly distinguished herself in the battle of Salamis by her prudence and courage. (This is not the Artemisia who built the Mausoleum.)

Our statues…she
The foundress of the Babylonian wall [semiramis],
The Carian Artemisia, strong in war.
   —Tennyson: The Princess, ii.

Artemisia, daughter of He

  By PanEris using Melati.

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