Chapter XXI: Part 21

DAULATABAD, a hill-fortress in Hyderabad state, India, about 10 m. N.W. of the city of Aurangabad. The former city of Daulatabad (Deogiri) has shrunk into a mere village, though to its earlier greatness witness is still borne by its magnificent fortress, and by remains of public buildings noble even in their decay. The fortress stands on a conical rock crowning a hill that rises almost perpendicularly from the plain to a height of some 600 ft. The outer wall, 2(3/4) m. in circumference, once enclosed the ancient city of Deogiri (Devagiri), and between this and the base of the upper fort are three lines of defences. The fort is a place of extraordinary strength. The only means of access to the summit is afforded by a narrow bridge, with passage for not more than two men abreast, and a long gallery, excavated in the rock, which has for the most part a very gradual upward slope, but about midway is intercepted by a steep stair, the top of which is covered by a grating destined in time of war to form the hearth of a huge fire kept burning by the garrison above. Besides the fortifications Daulatabad contains several notable monuments, of which the chief are the Chand Minar and the Chini Mahal. The Chand Minar, considered one of the most remarkable specimens of Mahommedan architecture in southern India, is a tower 210 ft. high and 70 ft. in circumference at the base, and was originally covered with beautiful Persian glazed tiles. It was erected in 1445 by Ala-ud-din Bahmani to commemorate his capture of the fort. The Chini Mahal, or China Palace, is the ruin of a building once of great beauty. In it Abul Hasan, the last of the Kutb Shahi kings of Golconda, was imprisoned by Aurangzeb in 1687.

Deogiri is said to have been founded c. A.D. 1187 by Bhillama I. the prince who renounced his allegiance to the Chalukyas and established the power of the Yadava dynasty in the west. In 1294 the fort was captured by Ala-ud-din Khilji, and the rajas, so powerful that they were held by the Mussulmans at Delhi to be the rulers of all the Deccan, were reduced to pay tribute. The tribute falling into arrear, Deogiri was again occupied by the Mahommedans under Malik Kafur, in 1307 and 1310, and in 1318 the last raja, Harpal, was flayed alive. Deogiri now became an important base for the operations of the Mussulman conquering expeditions southwards, and in 1339 Mahommed ben Tughlak Shah determined to make it his capital, changed its name to Daulatabad ("Abode of Prosperity"), and made arrangements for transferring to it the whole population of Delhi. The project was interrupted by troubles which summoned him to the north; during his absence the Mussulman governors of the Deccan revolted; and Daulatabad itself fell into the hands of Zafar Khan, the governor of Gulbarga. It remained in the hands of the Bahmanis till 1526, when it was taken by the Nizam Shahis. It was captured by the emperor Akbar, but in 1595 it again surrendered to Ahmad Nizam Shah of Ahmednagar, on the fall of whose dynasty in 1607 it passed into the hands of the usurper, the Nizam Shahi minister Malik Amber, originally an Abyssinian slave, who was the founder of Kharki (the present Aurangabad). His successors held it until their overthrow by Shah Jahan, the Mogul emperor, in 1633; after which it remained in the possession of the Delhi emperors until, after the death of Aurangzeb, it fell to the first nizam of Hyderabad. Its glory, however, had already decayed owing to the removal of the seat of government by the emperors to Aurangabad.

DAUMIER, HONORE (1808-1879), French caricaturist and painter, was born at Marseilles. He showed in his earliest youth an irresistible inclination towards the artistic profession, which his father vainly tried to check by placing him first with a _huissier_, and subsequently with a bookseller. Having mastered the technique of lithography, Daumier started his artistic career by producing plates for music publishers, and illustrations for advertisements; these were followed by anonymous work for publishers, in which he followed the style of Charlet and displayed considerable enthusiasm for the Napoleonic legend. When, in the reign of Louis Philippe, Philipon launched the comic journal, _La Caricature_, Daumier joined its staff, which included such powerful artists as Deveria, Raffet and Grandville, and started upon his pictorial campaign of scathing satire upon the foibles of the bourgeoisie, the corruption of the law and the incompetence of a blundering government. His caricature of the king as "Gargantua" led to Daumier's imprisonment for six months at Ste Pelagie in 1832. The publication of _La Caricature_ was discontinued soon after, but Philipon provided a new field for Daumier's activity when he founded the _Charivari_. For this journal Daumier produced his famous social caricatures, in which bourgeois society is held up to ridicule in the figure of Robert Macaire, the hero of a then popular melodrama. Another series, "_L'histoire ancienne_," was directed against the pseudo-classicism which held the art of the period in fetters. In 1848 Daumier embarked again on his political campaign, still in the service of _Charivari_, which he left in 1860 and rejoined in 1864. In spite of his prodigious activity in the field of caricature--the list of Daumier's lithographed plates compiled in 1904 numbers no fewer than 3958--he found time for flight in the higher sphere of painting. Except for the searching truthfulness of his vision and the powerful directness of his brushwork, it would be difficult to recognize the creator of _Robert Macaire_, of _Les Bas bleus_, _Les Bohemiens de Paris_, and the _Masques_, in the paintings of "Christ and His Apostles" at the Ryks Museum in Amsterdam, or in his "Good Samaritan," "Don Quixote and Sancho Panza," "Christ Mocked," or even in the sketches in the Ionides Collection at South Kensington. But as a painter, Daumier, one of the pioneers of naturalism, was before his time, and did not meet with success until in 1878, a year before his death, when M. Durand-Ruel collected his works for exhibition at his galleries and demonstrated the full range of the genius of the man who has been well called the Michelangelo of caricature. At the time of this exhibition Daumier, totally blind, was living in a cottage at Valmondois, which was placed at his disposal by Corot, and where he breathed his last in 1879. An important exhibition of his works was held at the Ecole des Beaux-Arts in 1900.

His life and art were made the subject of an important volume by
Arsene Alexandre in 1888; see also Gustave Geffroy, _Daumier_ (Paris,
Libraire de l'Art), and Henri Frantz and Octave Uzanne, _Daumier and
Gavarni_ (London, _The Studio_, 1904), with a large selection of the
artist's work.

DAUN (DHAUN), LEOPOLD JOSEF, COUNT VON (1705-1766), prince of Thiano, Austrian field marshal, was born at Vienna on the 24th of September 1705. He was intended for the church, but his natural inclination for the army, in which his father and grandfather had been distinguished generals, proved irresistible. In 1718 he served in the campaign in Sicily, in his father's regiment. He had already risen to the rank of colonel when he saw further active service in Italy and on the Rhine in the War of the Polish Succession (1734-35). He continued to add to his distinctions in the war against the Turks (1737-39), in which he attained the rank of a general officer. In the War of the Austrian Succession (1740-42), Daun, already a lieutenant field marshal in rank, distinguished himself by the careful leadership which was afterwards his greatest military quality. He was present at Chotusitz and Prague, and led the advanced guard of Khevenhuller's army in the victorious Danube campaign of 1743. Field Marshal Traun, who succeeded Khevenhuller in 1744, thought equally highly of Daun, and entrusted him with the rearguard of the Austrian army when it escaped from the French to attack Frederick the Great. He held important commands in the battles of Hohenfriedberg and Soor, and in the same year (1745) was promoted to the rank of _Feldzeugmeister_. After this he served in the Low Countries, and was present at the battle of Val. He was highly valued by Maria Theresa, who made him commandant of Vienna and a knight of the Golden Fleece, and in 1754 he was elevated to the rank of field marshal.

During the interval of peace that preceded the Seven Years' War he was engaged in carrying out an elaborate scheme for the reorganization of the Austrian army; and it was chiefly through his instrumentality that the military academy was established at Wiener-Neustadt in 1751. He was not actively employed in the first campaigns of the war, but in 1757 he was placed at the head of the army which was raised to relieve Prague. On the 18th of June 1757 Daun defeated Frederick for the first time in his career in the desperately fought battle of Kolin (q.v.). In commemoration of this brilliant exploit the queen immediately instituted a military order bearing her name, of which Daun was nominated first grand cross. The union of the relieving army with the forces of Prince Charles at Prague reduced Daun to the position of second in command, and as such he took part in the pursuit of the Prussians and the victory of Breslau. Frederick now reappeared and won the most brilliant victory of the age at Leuthen. Daun was present on that field, but was not held accountable for the disaster, and when Prince Charles resigned his command, Daun was appointed in his place. With the campaign of 1758 began the war of manoeuvre in which Daun, if he missed, through over-caution, many opportunities of crushing the Prussians, at least maintained a steady and cool resistance to the fiery strategy of Frederick. In 1758 Major-General Loudon, acting under Daun's instructions, forced the king to raise the siege of Olmutz, and later in the same year Daun himself surprised Frederick at Hochkirch and inflicted a severe defeat upon him (October 14th). In the following year the war of manoeuvre continued, and on the 20th and 21st of November he surrounded the entire corps of General Finck at Maxen, forcing the Prussians to surrender. These successes were counterbalanced in the following year by the defeat of Loudon at Liegnitz, which was attributed to the dilatoriness of Daun, and Daun's own defeat in the great battle of Torgau (q.v.). In this engagement Daun was so severely wounded that he had to return to Vienna to recruit.

He continued to command until the end of the war, and afterwards worked with the greatest energy at the reorganization of the imperial forces. In 1762 he had been appointed president of the _Hofkriegsrath_. He died on the 5th of February 1766. By the order of Maria Theresa a monument to his memory was erected in the church of the Augustinians, with an inscription styling him the "saviour of her states." In 1888 the 56th regiment of Austrian infantry was named after him. As a general Daun has been reproached for the dilatoriness of his operations, but wariness was not misplaced in opposing a general like Frederick, who was quick and unexpected in his movements beyond all precedent. Less defence perhaps may be made for him on the score of inability to profit by a victory.

See _Der deutsche Fabius Cunctator, oder Leben u. Thaten S. E. des H.
Leopold Reichsgrafen v. Dhaun K.K.F.M._ (Frankfort and Leipzig,
1759-1760), and works dealing with the wars of the period.

DAUNOU, PIERRE CLAUDE FRANCOIS (1761-1840), French statesman and historian, was born at Boulogne-sur-Mer, and after a brilliant career in the school of the Oratorians there, joined the order in Paris in 1777. He was professor in various seminaries from 1780 till 1787, when he was ordained priest. He was already known in literary circles by several essays and poems, when the revolution opened a wider career. He threw himself with ardour into the struggle for liberty, and refused to be silenced in his advocacy of the civil constitution of the clergy by the offer of high office in the church. Elected to the Convention by Pas-le-Calais, he associated himself with the Girondists, but strongly opposed the death sentence on the king. He took little part in the struggle against the Mountain, but was involved in the overthrow of his friends, and was imprisoned for a year. In December 1794 he returned to the Convention, and was the principal author of the constitution of the year III. It seems to have been due to his Girondist ideas that the Ancients were given the right of convoking the _corps legislatif_ outside Paris, an expedient which made possible Napoleon's _coup d'etat_ of the 18th and 19th Brumaire. The creation of the Institute was also due to Daunou, who drew up the plan for its organization. His energy was largely responsible for the suppression of the royalist insurrection of the 13th Vendemiaire, and the important place he occupied at the beginning of the Directory is indicated by the fact that he was elected by twenty-seven departments as member of the Council of Five Hundred, and became its first president. He had himself set the age qualification of the directors at forty, and thus debarred himself as candidate, as he was only thirty-four. The direction of affairs having passed into the hands of Talleyrand and his associates, Daunou turned once more to literature, but in 1798 he was sent to Rome to organize the republic there, and again, almost against his will, he lent his aid to Napoleon in the preparation of the constitution of the year VIII. His attitude towards Napoleon was not lacking in independence, but in this controversy with the pope, the emperor was able again to secure from him the learned treatise _Sur la puissance temporelle du Pape_ (1809). Still he took little part in the new regime, with which at heart he had no sympathy, and turned more and more to literature. At the Restoration he was deprived of the post of archivist of the empire, which he had held from 1807, but from 1819 to 1830 (when he again became archivist of the kingdom) he held the chair of history and ethics at the College de France, and his courses were among the most famous of that age of public lectures. During the reign of Louis Philippe he received many honours. In 1839 he was made a peer. He died in 1840.

In politics Daunou was a Girondist without combativeness; a confirmed republican, who lent himself always to the policy of conciliation, but whose probity remained unchallenged. He belonged essentially to the centre, and lacked both the genius and the temperament which would secure for him a commanding place in a revolutionary era. As an historian his breadth of view is remarkable for his time; for although thoroughly imbued with the classical spirit of the 18th century, he was able to do justice to the middle ages. His _Discours sur l'etat des lettres au XIII^e siecle_, in the sixteenth volume of the _Histoire litteraire de France_, is a remarkable contribution to that vast collection, especially as coming from an author so profoundly learned in the ancient classics. Daunou's lectures at the College de France, collected and published after his death, fill twenty volumes (_Cours d'etudes historiques_, 1842-1846). They treat principally of the criticism of sources and the proper method of writing history, and occupy an important place in the evolution of the scientific study of history in France. All his works were written in the most elegant style and chaste diction; but apart from his share in the editing of the _Historiens de la France_, they were mostly in the form of separate articles on literary and historical subjects. Personally Daunou was reserved and somewhat austere, preserving in his habits a strange mixture of bourgeois and monk. His indefatigable work as archivist in the time when Napoleon was transferring so many treasures to Paris is not his least claim to the gratitude of scholars.

See Mignet, _Notice historique sur la vie et les travaux de Daunou_
(Paris, 1843); Taillandier, _Documents bibliographiques sur Daunou_
(Paris, 1847), including a full list of his works; Sainte-Beuve,
_Daunou_ in his _Portraits Contemporains_, t. iii. (unfavourable and
somewhat unfair).

DAUPHIN (Lat. _Delphinus_), an ancient feudal title in France, borne only by the counts and dauphins of Vienne, the dauphins of Auvergne, and from 1364 by the eldest sons of the kings of France. The origin of this curious title is obscure and has been the subject of much ingenious controversy; but it now seems clear that it was in the first instance a proper name. Among the Norsemen, and in the countries colonized by them, the name Dolphin or Dolfin (_dolfr_, "a wound") was fairly common, e.g. in the north of England; thus a Dolfin is mentioned among the tenants-in-chief in Domesday Book, and there was a Dolphin, lord of Carlisle, towards the end of the 11th century. It has thus been conjectured by some that the dauphins of Vienne derived their title from Teutonic sources through Germany. But in the south, too, the name--not necessarily derived from the same root--was not unknown, though exceedingly rare, and was moreover illustrated by two conspicuous figures in the Catholic martyrology: St Delphinus, bishop of Bordeaux from 380 to 404, and St Annemundus, surnamed Dalfinus, bishop of Lyons from c. 650 to 657. Whatever its origin, this name was borne by Guigo, or Guigue IV. (d. 1142), count of Albon and Grenoble, as an additional name, during the lifetime of his father, and was also adopted by his son Guigue V. Beatrice, daughter and heiress of Guigue V., whose second husband was Hugh III., duke of Burgundy, bestowed the name on their son Andre, to recall his descent from the ancient house of the counts of Albon, and in the charters he is called sometimes Andreas Dalphinus, sometimes Dalphinus simply, but his style is still "count of Albon and Vienne." His successors Guigue VI. (d. 1270) and John I. (d. 1282) call themselves sometimes Delphinus, sometimes Delphini, the name being obviously treated as a patronymic, and in the latter form it was borne by the sons of the reigning "dauphin." But even under Guigue VI. foreigners had begun to confuse the name with a title of dignity, an imperial diploma of 1248 describing Guigue as "Guigo Dalphinus Viennensis."

It was not until the third dynasty, founded by the marriage of Anne, heiress of John I., with Humbert, lord of La Tour du Pin, that "dauphin" became definitely established as a title. Humbert not only assumed the name of Delphinus, but styled himself regularly Dauphin of the Viennois (Dalphinus Viennensis), and in a treaty concluded in 1285 between Humbert and Robert, duke of Burgundy, the word _delphinatus_ (Dauphine) appears for the first time, as a synonym for _comitatus_ (county). In 1349 Humbert II., the last of his race, sold Dauphine to Charles of Valois, who, when he became king of France in 1364, transferred it to his eldest son. From that time the eldest sons of the kings of France were always either actual or titular dauphins of the Viennois. The "canting arms" of a dolphin, which they quartered with the royal _fleurs de lys_, were originally assumed by Dauphin, count of Clermont, instead of the arms of Auvergne (the earliest extant example is appended to a deed of 1199), and from him they were borrowed by the counts of the Viennois. Guigue VI. used this device on his secret seal from his accession, the earliest extant example dating from 1237, but, though no specimens have survived, M. Prudhomme thinks it probable that the dolphin was also borne by Andre Dauphin. It was also assumed by Guigue V., count of Forez (1203-1241), a descendant of Guigue Raymond of the Viennois, count of Forez, in right of his wife Ida Raymonde. It is thus abundantly clear that the name of Dauphin was not assumed from the armorial device, but vice versa.

The eldest son of the French king was sometimes called "the king dauphin" (_le roy daulphin_), to distinguish him from the dauphin of Auvergne, who was known, since Auvergne became an appanage of the royal house, as "the prince dauphin." The dauphinate of Auvergne, which is to be distinguished from the county, dates from 1155, when William VII., count of Auvergne, was deposed by his uncle William VIII. "the Old." William VII. had married a daughter of Guigue IV. Dauphin, after whom their son was named Dauphin (Delphinus). The name continued, as in Viennois, as a patronymic, and was not used as a title until 1281, when Robert II., count of Clermont, in his will, styles himself for the first time Dauphin of Auvergne (_Alvernie delphinus_) for the portion of the county of Auvergne left to his house. In 1428 Jeanne, heiress of the dauphin Beraud III., married Louis de Bourbon, count of Montpensier (d. 1486), thus bringing the dauphinate into the royal house of France. It was annexed to the crown in 1693.

See A. Prudhomme, "De l'origine et du sens des mots dauphin et
dauphine" in _Bibliotheque de l'Ecole des Chartes_, liv. an. 1893
(Paris, 1893).

DAUPHINE, one of the old provinces (the name being still in current use in the country) of pre-Revolutionary France, in the south-east portion of France, between Provence and Savoy; since 1790 it forms the departments of the Isere, the Drome and the Hautes Alpes.

After the death of the last king of Burgundy, Rudolf III., in 1032, the territories known later as Dauphine (as part of his realm) reverted to the far-distant emperor. Much confusion followed, out of which the counts of Albon (between Valence and Vienne) gradually came to the front. The first dynasty ended in 1162 with Guigue V., whose daughter and heiress, Beatrice, carried the possessions of her house to her husband, Hugh III., duke of Burgundy. Their son, Andre, continued the race, this second dynasty making many territorial acquisitions, among them (by marriage) the Embrunais and the Gapencais in 1232. In 1282 the second dynasty ended in another heiress, Anna, who carried all to her husband, Humbert, lord of La Tour du Pin (between Lyons and Grenoble). The title of the chief of the house was Count (later Dauphin) of the Viennois, _not_ of Dauphine. (For the origin of the terms Dauphin and Dauphine see DAUPHIN.) Humbert II. (1333-1349), grandson of the heiress Anna, was the last independent Dauphin, selling his dominions in 1349 to Charles of Valois, who on his accession to the throne of France as Charles V. bestowed Dauphine on his eldest son, and the title was borne by all succeeding eldest sons of the kings of France. In 1422 the Diois and the Valentinois, by the will of the last count, passed to the eldest son of Charles VI., and in 1424 were annexed to the Dauphine. Louis (1440-1461), later Louis XI. of France, was the last Dauphin who occupied a semi-independent position, Dauphine being annexed to the crown in 1456. The suzerainty of the emperor (who in 1378 had named the Dauphin "Imperial Vicar" within Dauphine and Provence) gradually died out. In the 16th century the names of the reformer Guillaume Farel (1489-1565) and of the duke of Lesdiguieres (1543-1626) are prominent in Dauphine history. The "States" of Dauphine (dating from about the middle of the 14th century) were suspended by Louis XIII. in 1628, but their unauthorized meeting (on the 21st of July 1788) in the tennis court (_Salle du Jeu de Paume_) of the castle of Vizille, near Grenoble, was one of the earliest premonitory signs of the great French Revolution of 1789. It was at Laffrey, near Grenoble, that Napoleon (March 7th, 1815) was first acclaimed by his old soldiers sent to arrest him.

BIBLIOGRAPHY.--J. Brun-Durand, _Dictionnaire topographique du
departement de la Drome_ (Paris, 1891); Jules Chevalier, _Essai
historique sur l'eglise et la ville de Die_, Montelimar and Valence (2
vols., 1888 and 1896); W. A. B. Coolidge, H. Duhamel and Felix Perrin,
_Climbers' Guide to the Central Alps of the Dauphiny_ (a revision of a
French work by the same, issued at Grenoble in 1887), London, 1892
(new ed. 1905); J. J. Guiffrey, _Histoire de la reunion du Dauphine a
la France_ (Paris, 1868); Joanne, _Dauphine_ (Paris, 1905); A.
Prudhomme, _Histoire de Grenoble_ (Grenoble, 1888); Ib., "De l'origine
des mots 'Dauphin' et Dauphine" (article in vol. liv. (1893) of the
_Bibliotheque de l'Ecole des Chartes_); A. Rochas, _Biographie du
Dauphine_ (2 vols., Paris, 1856); J. Roman, _Dictionnaire
topographique_ (Paris, 1884); _Tableau historique_ (Paris, 2 vols.,
1887 and 1890); and _Repertoire archeologique du departement des
Hautes-Alpes_ (Paris, 1888); J. Roman, _Histoire de la ville de Gap_
(Gap, 1892); A. De Terrebasse, _Notice sur les Dauphins de Viennois_
(Vienne, 1875); J. M. De Valbonnais, _Histoire de Dauphine_ (2 vols.,
Geneva, 1722); J. A. Felix Faure, _Les Assemblees de Vizille et de
Romans_, 1788 (Paris, 1887); O. Chenavas, _La Revolution de 1788 en
Dauphine_ (Grenoble, 1888); C. Lory, _Description geologique du
Dauphine_ (Paris, 1860). (W. A. B. C.)

DAURAT (or DORAT), JEAN (in Lat. AURATUS), (1508-1588), French poet and scholar, and member of the Pleiade, was born at Limoges in 1508. His name was originally Dinemandy. He belonged to a noble family, and, after studying at the college of Limoges, came up to Paris to be presented to Francis I., who made him tutor to his pages. He rapidly gained an immense reputation as a classical scholar. As a private tutor in the house of Lazare de Baif, he had J. A. de Baif for his pupil. His son, Louis, showed great precocity, and at the age of ten translated into French verse one of his father's Latin pieces; his poems were published with his father's. Jean Daurat became the director of the College de Coqueret, where he had among his pupils, besides Baif, Ronsard, Remy, Belleau and Pontus de Tyard. Joachim du Bellay was added by Ronsard to this group; and these five young poets, under the direction of Daurat, formed a society for the reformation of the French language and literature. They increased their number to seven by the initiation of the dramatist Etienne Jodelle, and thereupon they named themselves La Pleiade, in emulation of the seven Greek poets of Alexandria. The election of Daurat as their president proved the weight of his personal influence, and the value his pupils set on the learning to which he introduced them, but as a writer of French verse he is the least important of the seven. Meanwhile he collected around him a sort of Academy, and stimulated the students on all sides to a passionate study of Greek and Latin poetry. He himself wrote incessantly in both those languages, and was styled the Modern Pindar. His influence extended beyond the bounds of his own country, and he was famous as a scholar in England, Italy and Germany. In 1556 he was appointed professor of Greek at the College Royale, a post which he continued to hold until, in 1567, he resigned it in favour of his nephew, Nicolas Goulu. Charles IX. gave him the title of _poeta regius_. His flow of language was the wonder of his time; he is said to have composed more than 15,000 Greek and Latin verses. The best of these he published at Paris in 1586 as _J. Aurati Lemovicis poetae et interpretis regii poemata_. He died at Paris on the 1st of November 1588, having survived all his illustrious pupils of the Pleiade, except Pontus de Tyard. He was a little, restless man, of untiring energy, rustic in manner and appearance. His unequalled personal influence over the most graceful minds of his age gives him an importance in the history of literature for which his own somewhat vapid writings do not fully account.

The _Oeuvres poetiques_ in the vernacular of Jean Daurat were edited
(1875) with biographical notice and bibliography by Ch. Marty-Laveaux
in his _Pleiade francaise_.

DAVENANT, CHARLES (1656-1714), English economist, eldest son of Sir William Davenant, the poet, was born in London, and educated at Cheam grammar school and Balliol College, Oxford, but left the university without taking a degree. At the age of nineteen he had composed a tragedy, _Circe_, which met with some success, but he soon turned his attention to law, and having taken the degree of LL.D., he became a member of Doctors' Commons. He was member of parliament successively for St Ives, Cornwall, and for Great Bedwyn. He held the post of commissioner of excise from 1683 to 1689, and that of inspector-general of exports and imports from 1705 till his death in 1714. He was also secretary to the commission appointed to treat for the union with Scotland. As an economist, he must be classed as a strong supporter of the mercantile theory, and in his economic pamphlets--as distinct from his political writings--he takes up an eclectic position, recommending governmental restrictions on colonial commerce as strongly as he advocates freedom of exchange at home. Of his writings, a complete edition of which was published in London in 1771, the following are the more important:--_An Essay on the East India Trade_ (1697); _Two Discourses on the Public Revenues and Trade of England_ (1698); _An Essay on the probable means of making the people gainers in the balance of Trade_ (1699); _A Discourse on Grants and Resumptions and Essays on the Balance of Power_ (1701).

DAVENANT (or D'AVENANT), SIR WILLIAM (1606-1668), English poet and dramatist, was baptized on the 3rd of March 1606; he was born at the Crown Inn, Oxford, of which his father, a wealthy vintner, was proprietor. It was stated that Shakespeare always stopped at this house in passing through the city of Oxford, and out of his known or rumoured admiration of the hostess, a very fine woman, there sprang a scandalous story which attributed Davenant's paternity to Shakespeare, a legend which there is reason to believe Davenant himself encouraged, but which later criticism has cast aside as spurious. In 1621 the vintner was made mayor of Oxford, and in the same year his son left the grammar school of All Saints, where his master had been Edward Sylvester, and was entered an undergraduate of Lincoln College, Oxford. He did not stay at the university, however, long enough to take a degree, but was hurried away to appear at court as a page, in the retinue of the gorgeous duchess of Richmond. From her service he passed into that of Fulke Greville, Lord Brooke, in whose house he remained until the murder of that eminent man in 1628. This blow threw him upon the world, not altogether without private means, but greatly in need of a profitable employment.

He turned to the stage for subsistence, and in 1629 produced his first play, the tragedy of _Albovine_. It was not a very brilliant performance, but it pleased the town, and decided the poet to pursue a dramatic career. The next year saw the production at Blackfriars of _The Cruel Brother_, a tragedy, and _The Just Italian_, a tragi-comedy. Inigo Jones, the court architect, for whom Ben Jonson had long supplied the words of masques and complimentary pieces, quarrelled with his great colleague in the year 1634, and applied to William Davenant for verses. The result was _The Temple of Love_, performed by the queen and her ladies at Whitehall on Shrove Tuesday, 1634, and printed in that year. Another masque, _The Triumphs of the Prince D'Amour_, followed in 1636. The poet returned to the legitimate drama by the publication of the tragi-comedy of _The Platonic Lovers_, and the famous comedy of _The Wits_, in 1636, the latter of which, however, had been licensed in 1633. The masque of _Britannica Triumphans_ (1637) brought him into some trouble, for it was suppressed as a punishment for its first performance having been arranged for a Sunday. By this time Davenant had, however, thoroughly ingratiated himself with the court; and on the death of Ben Jonson in 1637 he was rewarded with the office of poet-laureate, to the exclusion of Thomas May, who considered himself entitled to the honour. It was shortly after this event that Davenant collected his minor lyrical pieces in a volume entitled _Madagascar and other Poems_ (1638); and in 1639 he became manager of the new theatre in Drury Lane. The civil war, however, put a check upon this prosperous career; and he was among the most active partisans of royalty through the whole of that struggle for supremacy.

As early as May 1642, Davenant was accused before the Long Parliament of being mainly concerned in a scheme to seduce the army to overthrow the Commons. He was accordingly apprehended at Faversham, and imprisoned for two months in London; he then attempted to escape to France, and succeeded in reaching Canterbury, where he was recaptured. Escaping a second time, he made good his way to the queen, with whom he remained in France until he volunteered to carry over to England some military stores for the army of his old friend the earl of Newcastle, by whom he was induced to enter the service as lieutenant-general of ordnance. He acquitted himself with so much bravery and skill that, after the siege of Gloucester, in 1643, he was knighted by the king. After the battle of Naseby he retired to Paris, where he became a Roman Catholic, and spent some months in the composition of his epic poem of _Gondibert_. In 1646 he was sent by the queen on a mission to Charles I., then at Newcastle, to advise him to "part with the church for his peace and security." The king dismissed him with some sharpness, and Davenant returned to Paris, where he was the guest of Lord Jermyn. In 1650 he took the command of a colonizing expedition that set sail from France to Virginia, but was captured in the Channel by a parliamentary man-of-war, which took him back to the Isle of Wight. Imprisoned in Cowes castle until 1651, he tempered the discomfort and suspense of his condition by continuing the composition of _Gondibert_. He was sent up to the Tower to await his trial for high treason, but just as the storm was about to break over his head, all cleared away. It is believed that the personal intercession of Milton led to this result. Another account is that he was released by the desire of two aldermen of York, once his prisoners, whom he had allowed to escape. Davenant, released from prison, immediately published _Gondibert_, the work on which his fame mainly rests, a chivalric epic in the four-line stanza which Sir John Davies had made popular by his _Nosce teipsum_, the influence of which is strongly marked in the philosophical passages of _Gondibert_. It is a cumbrous, dull production, but is relieved with a multitude of fine and felicitous passages, and lends itself most happily to quotation.

During the civil war one of his plays had been printed, the tragedy of _The Unfortunate Lovers_, in 1643. One of his best plays, _Love and Honour_, was published in 1649, but appears to have been acted long before. He found that there were many who desired him to recommence his theatrical career. Such a step, however, was absolutely forbidden by Puritan law. Davenant, therefore, by the help of some influential friends, obtained permission to open a sort of theatre at Rutland House, in Charterhouse Yard, where, on the 21st of May 1656, he began a series of representations, which he called _operas_, as an inoffensive term. This word was then first introduced into the English language. The opening piece was a kind of dialogue defending the drama in the abstract. This was followed by his own _Siege of Rhodes_, printed the same year, which was performed with stage decorations and machinery of a kind hitherto quite unthought of in England. Two other innovations in its production were the introduction of recitative and the appearance of a woman, Mrs Coleman, on the stage. He continued until the Restoration to produce ephemeral works of this kind, only one of which, _The Cruelty of the Spaniards in Peru_, in 1658, was of sufficient literary merit to survive. In 1660 he had the infinite satisfaction of being able to preserve the life of that glorious poet who had, nine years before, saved his own from a not less imminent danger. The mutual relations of Milton and Davenant do honour to the generosity of two men who, sincerely opposed in politics, knew how to forget their personal anger in their common love of letters. In 1659 Davenant suffered a short imprisonment for complicity in Sir George Booth's revolt. Under Charles II. Davenant flourished in the dramatic world; he opened a new theatre in Lincoln's Inn Fields, which he called the Duke's; and he introduced a luxury and polish into the theatrical life which it had never before known in England. Under his management, the great actors of the Restoration, Betterton and his coevals, took their peculiar French style and appearance; and the ancient simplicity of the English stage was completely buried under the tinsel of decoration and splendid scenery. Davenant brought out six new plays in the Duke's Theatre, _The Rivals_ (1668), an adaptation of _The Two Noble Kinsmen_, which Davenant never owned, _The Man's the Master_ (1669), comedies translated from Scarron, _News from Plymouth_, _The Distresses_, _The Siege_, _The Fair Favourite_, tragi-comedies, all of which were printed after his death, and only one of which survived their author on the stage. He died at his house in Lincoln's Inn Fields on the night of the 7th of April 1668, and two days afterwards was buried in Poets' Corner, Westminster Abbey, with the inscription "O rare Sir William Davenant!" In 1672 his writings were collected in folio. His last work had been to travesty Shakespeare's _Tempest_ in company with Dryden.

The personal character, adventures and fame of Davenant, and more especially his position as a leading reformer, or rather debaser, of the stage, have always given him a prominence in the history of literature which his writings hardly justify. His plays are utterly unreadable, and his poems are usually stilted and unnatural. With Cowley he marks the process of transition from the poetry of the imagination to the poetry of the intelligence; but he had far less genius than Cowley, and his influence on English drama must be condemned as wholly deplorable. (E. G.)

DAVENPORT, EDWARD LOOMIS (1816-1877), American actor, born in Boston, made his first appearance on the stage in Providence in support of Junius Brutus Booth. Afterwards he went to England, where he supported Mrs Anna Cora Mowatt (Ritchie) (1819-1870), Macready and others. In 1854 he was again in the United States, appearing in Shakespearian plays and in dramatizations of Dickens's novels. As Bill Sykes he was especially successful, and his Sir Giles Overreach and Brutus were also greatly admired. He died at Canton, Pennsylvania, on the 1st of September 1877. In 1849 he had married Fanny Vining (Mrs Charles Gill) (d. 1891), an English actress also in Mrs Mowatt's company. Their daughter FANNY (LILY GIPSY) DAVENPORT (1850-1898) appeared in America at the age of twelve as the king of Spain in _Faint Heart Never Won Fair Lady_. Later (1869) she was a member of Daly's company; and afterwards, with a company of her own, acted with especial success in Sardou's _Fedora_ (1883), _Cleopatra_ (1890), and similar plays. Her last appearance was on the 25th of March 1898, shortly before her death.

DAVENPORT, ROBERT (fl. 1623-1639), English dramatist, is mentioned as the author of a play licensed in 1624 under the title of _Henry I._ In 1653 _Henry I. and Henry II._ was entered at Stationers' Hall by Humphrey Moseley with a second part said to be the work of Davenport and Shakespeare. Of this play or plays nothing has been discovered, but _King John and Matilda_ (printed 1655), which probably dates from about the same time, has survived. Throughout the play, as in its closing scene quoted by Charles Lamb in his _Dramatic Specimens_, there is much "passion and poetry" which saves the piece from being classed as pure melodrama. _The City-Night-Cap_ was licensed in 1624, but not printed until 1661. The underplot of this unsavoury play was borrowed from Cervantes and Boccaccio, and Mrs Aphra Behn's _Amorous Prince_ (1671) is an adaptation from it. _A New Tricke to Cheat the Divell_ (printed 1639) is a farcical comedy, which contains among other things the idea of the popular supper story which reappears in Hans Andersen's _Little Claus and Big Claus_. As told by Davenport the story closely resembles the _Scottish Freires of Berwick_, which was printed in 1603. Three other plays entered in the Stationers' Register as Davenport's are lost, and he collaborated in two plays with Thomas Drue.

Davenport's plays were reprinted by A. H. Bullen in _Old English
Plays_ (new series, 1890). The volume includes two didactic poems,
which first saw the light in 1623.

DAVENPORT, a city and the county seat of Scott county, Iowa, U.S.A., on the Mississippi river, opposite Rock Island, Illinois, with which it is connected by two fine bridges and by a ferry. It is the third largest city in the state. Pop. (1890) 26,872; (1900) 35,254, including 8479 foreign-born (6111 German), and 19,230 of foreign parentage (13,294 German); (1905, state census) 39,797; (1910) 43,028. Davenport is served by the Chicago, Burlington & Quincy, the Chicago, Milwaukee & St Paul, the Chicago, Rock Island & Pacific, the Iowa & Illinois (interurban), and the Davenport, Rock Island & North Western railways; opposite the city is the western terminus of the Illinois and Mississippi, or Hennepin, Canal (which connects the Mississippi and Illinois rivers). Davenport lies on the slope of a bluff affording extensive views of landscape and river scenery. In the city are an excellent public library, an Academy of Sciences, several turn-halls and other German social organizations, the Iowa soldiers' orphans' home, Brown business college, and several minor Roman Catholic institutions. Davenport is an episcopal see of the Roman Catholic and the Protestant Episcopal churches. The city has a large commerce and trade by water and rail in coal and grain, which are produced in the vicinity, is of special importance. With Rock Island and Moline it forms one great commercial unit. Among Davenport's manufactures are the products of foundries and machine shops, and of flouring, grist and planing mills; glucose syrup and products; locomotives, steel cars and car parts, washing machines, waggons, carriages, agricultural implements, buttons, macaroni, crackers and brooms. The value of the total factory product for 1905 was $13,695,978, an increase of 38.7% over that of 1900. Davenport was founded in 1835, under the leadership of Colonel George Davenport; it was incorporated as a town in 1838, and was chartered as a city in 1851.

DAVENTRY, a market town and municipal borough in the Southern parliamentary division of Northamptonshire, England, 74 m. N.W. from London by the London & North Western railway. Pop. (1901) 3780. It is picturesquely situated on a sloping site in a rich undulating country. On the adjacent Borough Hill are extensive earthworks, and the discovery of remains here and at Burnt Walls, immediately south, proves the existence of a considerable Roman station. The chief industry of the town is the manufacture of boots and shoes. The borough is under a mayor, four aldermen and twelve councillors. Area, 3633 acres.

In spite of the Roman remains on Borough Hill, nothing is known of the town itself until the time of the Domesday Survey, when the manor consisting of eight hides belonged to the countess Judith, the Conqueror's niece. According to tradition, Daventry was created a borough by King John, but there is no extant charter before that of Elizabeth in 1576, by which the town was incorporated under the name of the bailiff, burgesses and commonalty of the borough of Daventry. The bailiff was to be chosen every year in the Moot Hall and to be assisted by fourteen principal burgesses and a recorder. James I. confirmed this charter in 1605-1606, and Charles II. in 1674-1675 granted a new charter. The "quo warranto" rolls show that a market every Wednesday and a fair on St Augustine's day were granted to Simon son of Walter by King John. The charter of 1576 confirms this market and fair to the burgesses, and grants them two new fairs each continuing for two days, on Tuesday after Easter and on the feast of St Matthew the Apostle. Wednesday is still the market day. The town was an important coaching centre, and there was a large local industry in the manufacture of whips. During the civil wars Daventry was the headquarters of Charles I. in the summer of 1645, immediately before the battle of Naseby, at which he was defeated. A Cluniac priory founded here shortly after the Conquest has left no remains.

DAVEY OF FERNHURST, HORACE DAVEY, BARON (1833-1907), English judge, son of Peter Davey, of Horton, Bucks, was born on the 30th of August 1833, and educated at Rugby and University College, Oxford. He took a double first-class in classics and mathematics, was senior mathematical scholar and Eldon law scholar, and was elected a fellow of his college. In 1861 he was called to the Bar at Lincoln's Inn, and read in the chambers of Mr (afterwards Vice-Chancellor) Wickens. Devoting himself to the Chancery side, he soon acquired a large practice, and in 1875 became a Q.C. In 1880 he was returned to parliament as a Liberal for Christchurch, Hants, but lost his seat in 1885. On Gladstone's return to power in 1886 he was appointed solicitor-general and was knighted, but had no seat in the House, being defeated at both Ipswich and Stockport in 1886; in 1888 he found a seat at Stockton-on-Tees, but was rejected by that constituency in 1892. As an equity lawyer Sir Horace Davey ranked among the finest intellects and the most subtle pleaders ever known at the English bar. He was standing counsel to the university of Oxford, and senior counsel to the Charity Commissioners, and was engaged in all the important Chancery suits of his time. Among the chief leading cases in which he took a prominent part were those of _The Mogul Steamship Company_ v. _M'Gregor_, 1892, _Boswell_ v. _Coaks_, 1884, _Erlanger_ v. _New Sombrero Company_, 1878, and the _Ooregum Gold Mines Company_ v. _Roper_, 1892; he was counsel for the promoters in the trial of the bishop of Lincoln, and leading counsel in the Berkeley peerage case. In 1862 he married Miss Louisa Donkin, who, with two sons and four daughters, survived him. In 1893 he was raised to the bench as a lord justice of appeal, and in the next year was made a lord of appeal in ordinary and a life peer. He died in London on the 20th of February 1907. Lord Davey's great legal knowledge was displayed in his judgments no less than at the bar. In legislation he took no conspicuous part, but he was a keen promoter of the act passed in 1906 for the checking of gambling.

DAVID (a Hebrew name meaning probably _beloved_[1]),

Source.

in the Bible, the son of Jesse, king of Judah and Israel, and founder of the royal Judaean dynasty at Jerusalem. The chronology of his period is uncertain: the usual date, 1055-1015 B.C., is probably thirty years to half a century too early. The books of Samuel (strictly, 1 Sam. xvi.-1 Kings ii.), which are our principal source for the history of David, show how deep an impression the personality of the king, his character, his genius and the romantic story of his early years had left on the mind of the nation. Of no hero of antiquity do we possess so life-like a portrait. Minute details and traits of character are portrayed with a vividness which bears all the marks of contemporary narrative. But the record is by no means all of one piece or of one date. This history, as we now have it, is extracted from various sources of unequal value, which are fitted together in a way which offers considerable difficulties to the critic. In the history of David's early adventures, for example, the narrative is not seldom disordered, and sometimes seems to repeat itself with puzzling variations of detail, which have led critics to the unanimous conclusion that the First Book of Samuel is drawn from at least two sources. It is indeed easy to understand that the romantic incidents of this period were much in the mouths of the people--to whom David was a popular hero--and in course of time were written down in various forms which were not combined into perfect harmony by later editors, who gave excerpts from several sources rather than a new and independent history. These excerpts, however, have been so pieced together, that it is often impossible to separate them with precision, and to distinguish accurately between earlier and later elements. It even appears from a study of the Greek text that some copies of the books of Samuel incorporated narratives which other copies did not acknowledge. For the literary problems of these books, see also SAMUEL (BOOKS).

The parallel history of David in 1 Chron. xi.-xxix. contains a great deal of additional matter, which can rarely be treated as of equal historical value with the preceding. Where it follows the chapters in Samuel it is important for textual and other critical problems, but it omits narratives in which it is not interested (David's youth, persecution by Saul, Absalom's revolt, &c.), and adds long passages (David's arrangements for the temple, &c.) which reflect the views of a much later age than David's. The lists of officers, &c., are fuller than those in Samuel, and here and there contain notices of value. A comparison of the two records, however, is especially important for its illustration of the later tendency to idealize the figure of David, and the historical critic has to bear in mind the possibility that this tendency had begun long before the Chronicler's time, and that it may be found in the relatively older records preserved in Samuel.

Introduction to Saul.

David's father, Jesse, was a citizen of Bethlehem in Judah, 5 m. south of Jerusalem; the polite deprecation in 1 Sam. xviii. 18 means little (cf. Saul in ix. 21). Tradition made him a descendant of the ancient nobles of Judah through Boaz and the Moabitess Ruth, but the tendency to furnish a noble ancestry for a noble figure--especially one of obscure birth--is widespread (cf. GENEALOGY). He was the youngest of eight sons,[2] and spent his youth in an occupation which the Hebrews as well as the Arabs seem to have held in low esteem. He kept his father's sheep in the desert steppes of Judah, and there developed the strength, agility, endurance and courage which distinguished him throughout life (cf. 1 Sam. xvii. 34, xxiv. 2; 2 Sam. xvii. 9). There, too, he acquired that skill in music which led to his first introduction to Saul (1 Sam. xvi. 14-23, and the apocryphal Psalm of David, Ps. cli. in the Septuagint). He found favour in the king's eye, and became his armour-bearer.[3] But traditions varied. In 1 Sam. xvii. he does not follow his master to the field against the Philistines; he is an obscure untried shepherd lad sent by his father with supplies for his brothers in the Israelite camp. He does not even present himself before the king, and his brothers treat him with a petulance hardly conceivable if he stood well at court, and it appears from the close that neither Saul nor his captain Abner had heard of him before (vv. 55-58). There is, indeed, a flat contradiction between the two accounts, but a family of Greek MSS. represented by the Vatican text omit xvii. 12-31, xvii. 55-xviii. 5, and thus the difficulty is greatly lessened. Characteristic of the omitted portions are the friendship which sprang up between Jonathan and David and the latter's appointment to a command in the army. A further difficulty is caused by 2 Sam. xxi. 19, which makes Elhanan the slayer of Goliath. David's exploit is not referred to in 1 Sam. xxi. 10-15, xxix., and on this and other grounds the simpler tradition in 2 Sam. is usually preferred. (See GOLIATH.) But it must have been by some valiant deed that Saul was led to notice him (cf. xiv. 52), and David soon became both a popular hero and an object of jealousy to Saul. According to the Hebrew text of 1 Sam. xviii., Saul's jealousy leaped at once to the conclusion that David's ambition would not stop short of the kingship. Such a suspicion would be intelligible if we could suppose that the king had heard something of the significant act of Samuel, which now stands at the head of the history of David in witness of that divine election and unction with the spirit of Yahweh on which his whole career hung (xvi. 1-13). But this passage is the sequel to the rejection of Saul in xv., and Samuel's position agrees with that of the late writer in vii., viii. and xii.[4]

Conflicts with Saul.