led herself “Ganimed,” while Celia dressed as a peasant-girl and called herself “Aliena.” When they reached Arden they lodged for a time in a shepherd’s hut, and Oliver de Boys was sent to tell them that his brother Orlando was hurt and could not come to the hut as usual. Oliver and Celia fell in love with each other, and their wedding day was fixed. Ganimed resumed the dress of Rosalind, and the two brothers married at the same time.—Shakespeare: As You Like It (1598).

Arden is an hypothetical place.

Celia, a girl of 16, in Whitehead’s comedy of The School for Lovers. It was written expressly for Mrs. Cibber, daughter of Dr. Arne.

Mrs. Cibber was at the time more than 50 years old, but the uncommon symmetry and exact proportion in her form, with her singular vivacity, enabled her to represent the character of “Celia” with all the juvenile appearance marked by the author.—Percy: Anecdotes.

Celia, a poetical name for any ladylove: as “Would you know my Celia’s charms…?” Not unfrequently Strephon is the wooer when Celia is the wooed. Thomas Carew calls his “sweet sweeting” Celia; her real name is not known.

Celia (Dame), mother of Faith, Hope, and Charity. She lived in the hospice called Holiness. (Celia is from the Latin, cœlume, “heaven.”)—Spenser: Faërie Queene, i. 10 (1590).

Celidon, the scene of one of Arthur’s twelve battles, also called “Celidon-the-Forest,” and said to be Tweeddale. Celyddon was a common term for a British forest. (See Celadon, p. 191.)

Célimène, a coquette courted by Alceste the “misanthrope” (a really good man, both upright and manly, but blunt in behaviour, rude in speech, and unconventional). Alceste wants Célimène to forsake society and live with him in seclusion; this she refuses to do, and he replies, as you cannot find, “tout en moi, comme moi tout en vous, allez, je vous refuse.” He then proposes to her cousin Eliante, but Eliante tells him she is already engaged to his friend Philinte, and so the plays ends.—Molière: Le Misanthrope (1666).

(“Célimène” in Molière’s Les Précieuses Ridicules is mere dummy. She is brought on the stage occasionally towards the end of the play, but never utters one word, and seems a supernumerary of no importance at all.)

Celinda, the victim of count Fathom’s seduction.—Smollett: Count Fathom (1754).

The count placed an Eolian harp in her bedroom, and “the strings no sooner felt the impression of the wind than they began to pour forth a stream of melody more ravishingly delightful than the song of Philomel, the warbling brook, and all the concert of the wood.”—Smollett: Count Fathom.

Cellide, beloved by Valentine and his son Francisco. The lady naturally prefers the younger man.—Fletcher: Mons. Thomas (1619). Beaumont died 1616.

Celt. Tennyson calls the irritability of the Irish and Welsh

The blind hysterics of the Celt.
   —In Memoriam, cix.

Celtic and Iberian Fields (The), France and Spain.

Roving the Celtic and Iberian fields.
   —Milton: Comus, 60 (1634).

Celtic Homer (The), Ossian, said to be of the third century.

If Ossian lived at the introduction of Christianity, as by all appearances he did, his epoch will be the latter end of the third and beginning of the fourth century.

  By PanEris using Melati.

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