Chapter OLIVIA to One Side of O by Brewer's Readers Handbook

OLIVIA to One Side

OLIVIA, a rich countess, whose love was sought by Orsino duke of Illyria; but, having lost her brother, Olivia lived for a time in entire seclusion, and in no wise reciprocated the duke’s love; in consequence of which Viola nicknamed her “Fair Cruelty.” Strange as it may seem, Olivia fell desperately in love with Viola, who was dressed as the duke’s page, and sent her a ring. Mistaking Sebastian (Viola’s brother) for Viola, she married him out of hand.—Shakespeare: Twelfth Night (1614).

Never were Shakespeare’s words more finely given than by Miss M. Tree [1802–1862] in the speech to “Olivia,” beginning, “Make me a willow cabin at thy gate.”—Talfourd (1821).

Olivia, a female Tartuffe , and consummate hypocrite of most unblushing effrontery.—Wycherly: The Plain Dealer (1677).

(The duc de Montausier was the prototype of Wycherly’s “Mr. Manly” the “plain dealer,” and of Molière’s “Misanthrope.”)

Olivia, daughter of sir James Woodville, left in charge of a mercenary wretch, who, to secure to himself her fortune, shut her up in a convent in Paris. She was rescued by Leontine Croaker, brought to England, and became his bride.—Goldsmith: The Good-natured Man (1768).

Olivia, the tool of Ludovico. She loved Vicentio, but Vicentio was plighted to Evadne sister of Colonna. Ludovico induced Evadne to substitute the king’s miniature for that of Vicentio, which she was accustomed to wear. When Vicentio returned, and found Evadne with the king’s miniature, he believed what Ludovico had told him, that she was the king’s wanton, and he cast her off. Olivia repented of her duplicity, and explained it all to Vicentio, whereby a reconciliation took place, and Vicentio married his troth-plighted lady “more sinned against than sinning.”—Shiel: Evadne or The Statue (1820).

Olivia, “the rose of Aragon,” was the daughter of R uphino, a peasant, and bride of prince Alonzo of Aragon. The king refused to recognize the marriage, and, sending his son to the army, compelled the cortez to pass an act of divorce. This brought to a head a general revolt. The king was dethroned, and Almagro made regent. Almagro tried to make Olivia marry him; ordered her father to the rack, and her brother to death. Meanwhile the prince returned at the head of his army, made himself master of the city, put down the revolt, and had his marriage duly recognized. As for Almagro, he took poison and died.—Knowles: The Rose of Aragon (1842).

Olivia [Primrose], the elder daughter of the vicar of Wakefield. She was a sort of Hebê in beauty, open, sprightly, and commanding. Olivia Primrose “wished for many lovers,” and eloped with squire Thornhill. Her father went in search of her, and, on his return homeward, stopped at a roadside inn, called the Harrow, and there found her turned out of the house by the landlady. It was ultimately discovered that she was legally married to the squire.—Goldsmith: Vicar of Wakefield (1765).

Olivia de Zuniga, daughter of don Cæsar. She fixed her heart on having Julio de Melessina for her husband, and so behaved to all other suitors as to drive them away. Thus to don Garcia she pretended to be a termagant; to don Vincentio, who was music mad, she professed to love a Jew’s-harp above every other instrument. At last Julio appeared, and her “bold stroke” obtained as its reward “the husband of her choice.”—Mrs. Cowley: A Bold Stroke for a Husband (1782).

Olla, bard of Cairbar. These bards acted as heralds.—Ossian.

Ollapod (Cornet), at the Galen’s Head. An eccentric country apothecary, “a jumble of physic and shooting.” Dr. Ollapod is very fond of “wit,” and when he has said what he thinks a smart thing, he calls attention to it, with “He! he! he!” and some such expression as “Do you take, good sir? do you take?” But when another says a smart thing, he titters, and cries, “That’s well! that’s very well! Thank you, good sir, I owe you one!” He is a regular rattle-pate; details all the scandal of the village; boasts of his achievements or misadventures; is very mercenary, and wholly without principle.—Colman: The Poor Gentleman (1802).