Chapter Orloff Diamond to Orsini of O by Brewer's Readers Handbook

now.” This advice was acted on; but as the villain left the tent, Abulcacem muttered to himself, “Look for a like reward thyself; that restless head of wickedness in the grave will brood no treason.”—Southey: Roderick, etc., xx., xxii. (1814).

Orphan of China (The), a drama by Murphy. Zaphimri, the sole sur vivor of the royal race of China, was committed in infancy to Zamti the mandarin, that he might escape f rom the hand of Timurkan’, the Tartar conqueror. Zamti brought up Zaphimri as his son, and sent Hamet, his real son, to Corea, where he was placed under the charge of Morat. Twenty years afterwards, Hamet led a band of insurgents against Timurkan, was seized, and ordere d to be put to death under the notion that he was “the orphan of China.” Zaphimri, hearing thereof, went to the Tartar and declared that he, not Hamet, was the real prince; whereupon Timurkan ordered Zamti and his wife Mandanê, with Hamet and Zaphimri, to be seized. Zamti and Mandanê were ordered to the torture, to wring from them the truth. In the interim, a party of insurgent Chinese rushed into the palace, killed the king, and established “the orphan of China” on the throne of his fathers (1759).

Orphan of the Frozen Sea, Martha, the daughter of Ralph de Lascours (captain of the Urania) and h is wife Louise. The c rew having rebelled, the three, with their servant Barabas, were cast adrift in a boat, which ran on an iceberg in the Frozen Sea. Ralph thought it was a small island, but the iceberg broke up, both Ralph and his wife were drowned, but Barabas and Martha escaped. Martha was taken by an Indian tribe, which brought her up and named her Orgarita (“withered wheat”), from her white complexion. In Mexico she met with her sister Diana and her grandmother Mme. de Theringe , and probably married Horace de Brienne.—Stirling: Orphan of the Frozen Sea (1856).

Orphan of the Temple, Marie Thérèse Charlott e duchesse d’Angoulême, daughter of Louis XVI.; so called from the Temple, where she was imprisoned. She was called “The Modern Antigonê” by her uncle Louis XVIII.

Orpheus. (For a parallel fable, see Wainamoinen.)

Odin was an Orpheus and Arion.

Odin was eminently skilled in music, and could sing airs so tender and melodious that the rocks would expand with delight; while the spirits of inferior regions would stand motionless around him, attracted by the sweetness of his strains.—Crichton and Wheaton: Scandinavia, vol. i. p. 81.

Orpheus and Eurydice , Glück’s best opera (Orfeo). Libretto by Calzabigi, who also wrote for Glück the libretto of Alceste (1767). King produced an English version of Orpheus and Eurydice.

The tale is introduced by Pope in his St. Cecilia’s Ode.

Of Orpheus now no more let poets tell,
To bright Cecilia greater power is given:
His numbers raised a shade from hell,
Hers lift the soul to heaven.
   —Pope: St. Cecilia’s Day (1709).

Orpheus of Highwaymen, John Gay, author of The Beggar’s Opera (1688–1732).

Orpheus of the Green Isle (The), Furlough O’Carolan, poet and musician (1670–1738).

Orraca (Queen), wife of Affonso II. The legend says that five friars of Morocco went to her, and said, “Three things we prophesy to you: (1) we five shall all suffer martyrdom; (2) our bodies will be brought to Coimbra; and (3) whichever sees our relics first, you or the king, will die the same day.” When their bodies were brought to Coimbra, the king told queen Orraca she must join the procession with him. She pleaded illness, but Affonso replied the relics would cure her; so they started on their journey. As they were going, the queen told the king to speed on before, as she could not travel so fast; so he speeded on with his retinue, and started a boar on the road. “Follow him!” eried the king, and they went after the boar and killed it. In the mean time, the queen reached the procession, fully expecting her husband had