Chapter Britannia Redivivus to Brothers of B by Brewer's Readers Handbook

Britannia Redivivus to Brothers

Britannia Redivivus, a poem on the birth of James [II.] by Dryden.

Britannias Pastorals, by W. Browne. Book i. published in 1613; book ii., in 1616; and book iii., in 1652.

British Apollo (The), containing answers to 2000 questions on arts and sciences, some serious and some humorous (1740), by a “Society of Gentlemen.”

British History of Geoffrey of Monmouth, is a translation of a Welsh Chronicle. It is in nine books, and contains a “history” of the Britons and Welsh from Brutus, great-grandson of the Trojan Æneas to the death of Cadwallo or Cadwallader in 688. This Geoffrey was first archdeacon of Monmouth, and then bishop of St. Asaph. The general outline of the work is’ the same as that given by Nennius three centuries previously. Geoffrey’s Chronicle, published about 1143, formed a basis for many subsequent “historical” works. A compendium by Diceto is published in Gale’s Chronicles.

N.B.—It has its value as an ancient chronicle, but is wholly worthless as a history of facts.

British Lion (The), the spirit or pugnacity of the British nation, as opposed to John Bull, which symbolizes the substantiality, obstinacy, and solidity of the British nation, with all its prejudices and national peculiarities. To rouse John Bull is to tread on his corns, to rouse the British Lion is to blow the wartrumpet in his ears. The British Lion also means the most popular celebrity of the British nation for the time being.

Our glorious constitution is owing to the habit which the British Lion observes of sitting over his wine after dinner.—W. Jerdan.

British Pausanias (The), W. Camden, the antiquary (1551–1623).

British SoldiersBattle (The), the battle of Inkerman, November 5, 1854.

For stubborn valour, for true old English resolution to fight it out to the last, amid every disadvantage and against almost overwhelming odds, men will for ages point to Inkerman, “The British Soldiers’ Battle.”—Sir E. Creasy: The Fifteen Decisive Battles (preface).

Britomart, the representative of chastity. She was the daughter and heiress of king Ryence of Wales, and her legend forms the third book of the Faërie Queene. One day, looking into Venus’s looking-glass, given by Merlin to her father, she saw therein sir Artegal , and fell in love with him. Her nurse Glaucê tried by charms “to undo her love,” but “love that is in gentle heart begun no idle charm can remove.’ Glaucê, finding her “charms” ineffectual, took her to Merlin’s cave in Carmarthen, and the magician told her she would be the mother of a line of kings (the Tudors), and after twice 400 years one of he r off- spring, “a royal virgin,” would shake the power of Spain. Glaucê now suggested that they should sta rt in quest of sir Artegal, and Britomart donned the armour of Angela (queen of the Angles), which she found in her father’s armoury, and taking a magic spear which “nothing could resist,” she sallied forth. Her adventures allegorize the triumph of chastity over impurity: Thus in Castle Joyous, Malacasta (lust), not knowing her sex, tried to seduce her, “but she flees yout hful lust, which wars against the soul.” She next overthrew Marinel, son of Cymoent. Then made her appearance as the Squire of Dames. Her last achievement was the deliverance of Amoret (wifely love) from the enchanter Busirane. Her marriage is deferred to bk. v. 6, when she tilted with sir Artegal, who “shares away the ventail of her helmet with his sword,” and was about to strike again when he became so amazed at her beauty that he thought she must be a goddess. She bade the knight remove his helmet, at once recognized him, consented “to be his love, and to take him for her lord.”—Spenser: Faërie Queene, iii. (1590).

She charmed at once and tamed the heart,
Incomparable Britomart.
   —Sir W. Scott.

Briton (Colonel), a Scotch officer, who sees donna Isabella jump from a window in order to escape from a marriage she dislikes. The colonel catches her, and takes her to the house of donna Violante, her friend. Here he calls upon her, but don Felix, the lover of Violante, supposing Violante to be the object