217 



ALLEGORY. 



ALLIGATION. 



218 



formance of services inherently due from the subject from his birth, 

 who is, in like manner, entitled to the protection of the sovereign 

 before the latter has formally accepted the duties of sovereignty by 

 taking the coronation oath. The Crown can, by proclamation, summon 

 the liegemen to return to the kingdom. An instance of this occurred 

 in 1807, when it was declared, by proclamation, that the kingdom was 

 menaced and endangered; all seamen and seafaring men who were 

 natural-born subjects were recalled from foreign service, and ordered 

 to return home, on pain of being proceeded against for a contempt. 



By the ancient law every male subject of the age of twelve years 

 (with certain exceptions) was bound to take the oath of allegiance 

 when summoned to the Courts Leets and Tourns ; and various statutes, 

 from the reign of Elizabeth to the present time, expressly require it 

 from public functionaries and other persons before they enter upon 

 their respective duties, or practise in their several professions. By 

 1 George I. c. 13, two justices of the peace, or other commissioners 

 appointed by the Crown, may tender the oath to any person suspected 

 of disaffection. 



From a violation of allegiance resxilts the highest offence known to 

 the law TREASON. 



(Blackst. Comm., Mr. KBIT'S ed. vol. i. p. 367, et seq. ; Kale's Pleas 

 of the Grown,, vol. i. p. 58, et seq. ; and Mr. Justice Foster's Dwcounc 

 on Il'njh Treason.) 



ALLEGORY, literally, a discourse which has another meaning than 

 what is directly expressed. Thus, the address of Menenius Agrippa to 

 his fellow-citizens of Rome, as recorded by Livy, in which he described 

 a rebellion of the industrious against the wealthier orders of a state, 

 under the figure of a conspiracy of all the other members of the human 

 body against the stomach, was an allegory. An allegory, however, is 

 not intended to deceive or perplex, in which respect it differs from an 

 enigma or riddle. 



Allegory has been a favourite mode of composition in all countries 

 and ages. Sometimes it has been recommended by seeming to afford 

 the only or the fittest available means of giving a lively or intelligible 

 representation of certain subjects or notions. The poets of different 

 nations, for example, have resorted to this method, in order to convey 

 sufficiently vivid conceptions of the different virtues and vices, and 

 other abstractions which they have wished to set before their readers. 

 They have personified these notions, as it is termed ; that is to say, 

 they have figured them in the shape of living beings invested with the 

 forms and qualities naturally adapted to the character of each. Such 

 pictures are allegories, and are to be found abundantly scattered over 

 nearly all poetry. 



Of all poets who have dealt in allegories of this description, our own 

 Spenser is the most famous and the greatest ; no other has either pro- 

 duced so vast a number of these vivified idealities, or put into them 

 Bnch a spirit of life and ah- of actual existence. A long allegory, it is 

 commonly said, has been usually unsuccessful as such ; and, in illus- 

 tration of this assertion, the instance of the ' Faerie Queen ' has been 

 often quoted, as that of a work which, with all its attractions in parts, 

 is wearisome as a whole. The plan of the general allegory upon which 

 Spenser's poem is framed, is certainly in a remarkable degree com- 

 plicated, cumbersome, and uninteresting ; and, if he had aimed at 

 composing a mere tale of romance, without fettering himself with any 

 scheme of allusion either to the moral virtues or the achievements of 

 Queen Elizabeth, both of which subjects he has endeavoured to 

 illustrate, he would have doubtless done better, as well as saved 

 himself much needless labour. But, on the other hand, nobody 

 complains of fatigue in reading Swift's 'Tale of a Tub,' which is 

 likewise a tolerably long allegory ; and Banyan's ' Pilgrim's Progress ' 

 has always been a popular work. These, and other examples which 

 might be quoted, seem to prove that, if the allegory be sufficiently 

 simple and natural, it may be protracted to a considerable extent 

 without becoming tiresome. 



ALLEGRET'TO, in music, an Italian diminutive of Allegro, neither 

 so fast nor so brilliant as that term denotes, though rather quick, and 

 moderately gay. 



ALLE'GRO, in Music, signifies gay, uportire, and, by inference, quick 

 in tune. An allegro is not understood to be so fast in vocal as in 

 instrumental music. Its quickness is likewise modified by the number 

 and value of the notes in a bar. Thus it is always more rapid, cceterie 

 paribtu, in two-crotchet tune than in four-crotchet in three-quaver 

 time than in six-quaver ; and as the speed of this movement has many 

 degrees of difference, other words are commonly added, more exactly 

 to explain the composer's intention. This term is also used sub- 

 stantively ; thus, we say, an Alkyro of Mozart, of Beethoven, &c. It is 

 often combined with other terms, such as ' agitato/ ' brillante,' &c., to 

 denote varieties of quickness and effect. 



ALLEMANDE, in music, a dance supposed to have derived its 

 name from the country, Germany, in which it originated. It is written 

 in two-crotchet tune, and is now understood to be moderately quick ; 

 but anciently it was a slow dance. Handel, and other composers of 

 his period, wrote it in four-crotchet time. 



ALL-HALLOWS, ALL-HALLOWMAS, or simply HALLOWMAS, 

 th< old English name for All Saintt' Day, or the 1st of November. 



All-Hallowmas derives its importance from the popular usages, 

 which in our own and various other countries have distinguished some- 

 times the day itself, but more generally the night preceding, called its 



Eve or Vigil. There is reason to believe that this was a pagan before 

 it was transformed into a Christian festival ; and there can at any rate 

 be no question that the ceremonies to which we refer are of Druidical 

 origin. Bonfires, bell-ringings, and domestic merry-makings, in which 

 lamb's wool (ale or wine mixed with the pulp of roasted apples) was the 

 principal beverage, marked the eve of Hallowmas. The season called 

 for such demonstrations. The harvest was over ; the winter was at hand. 



But the eve of All-Hallows is especially famous for those observances 

 which have been wont to take place on it, connected with the super- 

 stitious wish of prying into futurity. The same ceremonies of this 

 description appear to have been anciently practised in England, Ireland, 

 and Scotland ; but they are now almost universally disused. The well- 

 known poem of Burns, the ' Halloween,' will immortalise the memory 

 of the ancient ceremonies to which it relates. 



ALLIANCE, THE HOLY. [TBEATIES, CHRONOLOGICAL TABLE OF.] 



ALLIGATION, derived from the Latin ad and lirjare, signifying to 

 bind together, or unite. It is a rule in arithmetic, by which the price 

 of a mixture is found when the price of the ingredients is known. 

 This is an application to commercial arithmetic only, but the following 

 questions, which fall under the rule, will show its scope better than 

 any general definition. 



How much wine at 60s. a dozen must be added to a pipe worth 95s. 

 a dozen, in order that the mixture may be worth 70s. a dozen ? 



If a cubic foot of copper weighs 8788 ounces, and of zinc 7200 

 ounces, hi what proportions must copper and zinc be mixed, so that a 

 cubic foot of the mixture may weigh 8000 ounces ? 



For the algebraist we may say, that all questions fall under the rule 

 of alligation which involve the solution of such an equation as, 



ax + by + cz = n (.c + y + z) 



in which n must be intermediate between a, b, and c ; which is in- 

 determinate unless further relations between x, y, and z are given. 

 Any person moderately skilled in algebra may reduce a question of 

 alligation to an equation of this form ; and as the number of cases is 

 infinite, and several of those given in the books of arithmetic are 

 practically useless, we shall here confine ourselves to an example of 

 one process for the algebraical student, and two rules of the most 

 simple cases for all other readers. 



There are three ingredients, worth a, l>, and c shillings per ounce : 

 in what proportions must a mixture of m ounces be made, so as to be 

 worth k shillings an ounce ; it being understood that the quantities of 

 the two first ingredients must be in the proportion of p to q ? Let px 

 be the quantity of the first ingredient ; then qx is that of the second ; 

 let y be that of the third. Then by the question, 



px + qx + y = m. . . . (1) 



But i/:r ounces, at shillings an ounce, cost apx shillings ; therefore 

 the price of the whole is 



apx + bqx + cy shillings, 

 which by the question is Inn shillings : hence, 



ajox + bqx + cy = km. ... (2) 



and which two equations, with two unknown quantities, can be solved 

 by the common method. 



Rule I. Where the quantity of each ingredient, and its price, are 

 given, to find the price per pound, gallon, or whatever it may be, of 

 the mixture ; multiply the quantity of each ingredient by its price, 

 and add ; then divide the sum of all these products by the sum of all 

 the quantities in the ingredients. 



Example. What is the worth per ounce of a mixture of 25 ounces 

 of sugar at lOd. with 15 ounces at lid. 1 



25 ounces at lOrf. is worth 25Qd. 

 15 lid. lS5d. 



40 



40 ) 415 ( lOJJrf. 

 40 



15 



Answer, 10J5rf. or 10i</. very nearly. 



Rule II. To find in what proportions per cent, two ingredients must 

 be mixed, in order that the price per ounce, &c., of the mixture may 

 be one which has been previously determined upon. To find the 

 proportion of the fint ingredient, take the difference of price between 

 the mixture and the second ingredient, multiply by 100, and divide by 

 the difference between the prices of the ingredients. 



Example. I wish to know in what proportion wines at 45s. and 70s. 

 a dozen must be mixed, in order that the mixture may be worth 55s. 

 a dozen ? 



Price of the mixture . . 55s. 

 second ingredient 70s. 



difference 15 

 multiply 100 



difference of price of ingredients 25 ) 1500 ( 60 



150 



