584 



HATTON 



HAUNTED HOUSES 



second archbishop of that name was a monk of the 

 monastery of Fulda, and succeeded the celebrated 

 Rabanus Maurus, well known in the history of the 

 eucharistic controversies, as abbot of the monastery 

 of St Boniface, about the year 942. In the second 

 expedition of the Emperor Otho I. into Italy in 961 

 Hatto was sent as his ambassador from Pavia to 

 Rome ; and after his return, on the death of Arch- 

 bishop William, he was raised to the see of Mainz, 

 and continued one of the chief directors of the 

 imperial counsels. Of his after-life and of his 

 personal character the most opposite accounts have 

 been given. By some he is represented as a zealous 

 reformer, and an upright and successful adminis- 

 trator ; by others as a selfish and hard-hearted 

 oppressor of the poor ; and the strange legend of 

 his being devoured by rats, which Southey has 

 perpetuated in his well-known ballad, is represented 

 as an evidence of the estimate that was popularly 

 formed regarding him. It is by no means improb- 

 able, however, that this legend is of a much later 

 date, and that its real origin is to be traced to the 

 equivocal designation of the tower on the Rhine, 

 Mausethurm, near Bingen, which has been selected 

 as the scene of the occurrence. Mausethurm, 

 ' Mouse-tower,' is possibly only a corrupted form of 

 Mauth-thurm, ' Toll-tower, 'a sufficiently descriptive 

 name ; but the modified form of the word might 

 readily suggest a legend of mice or rats. Another 

 etymology is from muserie, an old word for ord- 

 nance. The date at which the Maiisethurm was 

 built is unknown, and it is far from certain that 

 it is not much later than the time of Hatto. It 

 was stormed by the Swedes in 1635. Archbishop 

 Hatto died in 969 or 970. See Baring-Gould, 

 Curious Myths of the Middle Ages (1869), and Max 

 Beheim, Die Mdusethurm-sage '( 1888 ). 



Hatton, JOHN LIPTROT, a self-educated musi- 

 cal composer, was born at Liverpool in 1809, and, 

 settling in London in 1832, soon made his name 

 known as a composer. From 1853 to 1859 he 

 was musical director of the Princess's Theatre. 

 He composed numerous operas, cantatas, overtures, 

 entr'actes, &c., but is remembered chiefly for his 

 musical settings of English songs, such as ' Good- 

 bye, Sweetheart,' 'The Tar's Song,' 'When Even- 

 ing's Twilight,' ' The Bait,' ' To Anthea,' &c. He 

 died at Margate on 20th September 1886. 



II at /J VId ( Hung. Zsombolya ), a town of Hun- 

 gary, 20 miles by rail W. of Temesvar. Pop. 8621. 



Hauberk. See ARMOUR. 



Haiictl, HANS CARSTEN, Danish poet, was born 

 at Frederikshald, in Norway, 12th May 1790. His 

 first attempts in literature being unsuccessful, he 

 began to study natural history ; but in 1846 was 

 appointed to the chair of Northern Literature in 

 the university of Kiel. Two years later the Hoi- 

 stein revolution drove him back to Copenhagen ; 

 and on the death of his friend Oehlenschlager, in 

 1850, he succeeded him in the chair of Esthetics at 

 the university there, and held it down to his death, 

 at Rome, 4th March 1872. Hauch's riper and more 

 successful works embrace nine historical tragedies, 

 all written between 1828 and 1850, in which he 

 exhibits great powers of individualising character 

 and portraying the local colouring of his scenes ; 

 Lyriske Digte ( 1842, 1862, and 1869), some of which 

 are extremely beautiful, and enjoy an undisputed 

 popularity in Denmark ; and many tales and 

 romances, &c. His epic-dramatic poem Hamadry- 

 aden (1830) met with warm appreciation in Ger- 

 many. At Copenhagen there appeared in 1873-75 

 Hauch's Samlede Romaner og Fortdllinger. 



HaufF, WILHELM, German writer, was born at 

 Stuttgart, 29th November 1802, and was educated 

 at Tubingen. He acted for a couple of years as 

 private tutor, and had been editor of the Morqen- 



blatt for about three-quarters of a year when he 

 died, 18th November 1827. Although only twenty- 

 five at the time of his death, Hauffhas left behind 

 him works which have taken a permanent place 

 in German literature ; he has even become well 

 known of late years, through several translations 

 and editions of his best books, in Great Britain. 

 This reputation is due to his Mdrchen or fairy- 

 tales (1826-28) and his Tales (1828), all alike 

 admirable for their freshness, simplicity, and play- 

 ful fancy. Two of the latter, Die Bettlerin vom 

 Pout des Arts and Das Bild des Kaisers, may 

 be regarded as his masterpieces. The greatest 

 effort of his playful fancy was, however, the exhil- 

 arating Phantasien im Bremen Rathskeller ( 1827). 

 Some of his poems, of which he only wrote a few, 

 have become volkslieder. All these works were 

 but short ; his longest productions were none of 

 them so successful. The romance of Lichtenstein 

 (1826), although popular in Germany, owing to its. 

 local fidelity and its being almost the first historical 

 novel written in German in Sir Walter Scott's style, 

 reveals several defects when tested as a work of art. 

 His earliest lengthy work, Memoiren des Satans- 

 (1826-27), is an incomplete and immature produc- 

 tion, but full of promise as an example of satiric 

 humour. In the same vein Hauff wrote a parody 

 of Clauren in Der Mann im Monde (1826), and 

 an earnest satire against him in Kontroverspredigt 

 (1826). His Sdmmtliche Werke were published by 

 G. Schwab in 5 vols. in 1830 ( 18th ed. 1882). 



, MARTIN, Sanskritist, born 30th January 

 1826, near Balingen, in Wurtemberg, Avas professor 

 at Poona from 1859 to 1866, and at Munich from 

 1868 till his death, 3d June 1876. He wrote on the 

 Pehlevi language, and on the Rig-veda, and Essays 

 on the Sacred Language, Writings, and Religion of 

 the Parsees (1862). 



Hauksbee. See HAWKSBEE. 



Haulbowline. See CORK. 



Haunted Houses in former times were very 

 common in every corner of England and Scotland, 

 and many persistent traditions descended of unquiet; 

 spirits who were doomed to haunt for ever the spot 

 on which they had wrought or suffered some deed 

 of blood. Dim shadows of earthly forms, they con- 

 tinued into their ghostly existence the form and 

 aspect that they wore in life, and the gaping and 

 bleeding wounds of murder froze the heart of the 

 beholder from age to age. Shrieks, wailings, 

 wringing of the hands, knockings, infernal curses- 

 and blasphemies such were some of the accessory 

 horrors that the popular imagination cast around 

 these ghostly creations, of whom many continued to> 

 possess, but in intensified form, all the power and 

 disposition to evil which had belonged to them in 

 life. These unquiet spirits could sometimes be- 

 laid, or compelled to rest finally in their graves, 

 or the Red Sea, by the exercitations of clergymen 

 of pre-eminent piety, who often contrived to exor- 

 cise them by passing a night of severe religious 

 exercises alone in the haunted chamber or house. 

 The inevitable decline of belief in the supernatural 

 has swept away almost all our domestic ghosts, 

 spite of the especial proneness of the popular imag- 

 ination to this kind of belief. Of the haunted 

 houses of Scotland, past or present, none are more 

 famous than Glamis Castle, Cortachy Castle, and 

 Spedlins Tower ; no local ghosts were more per- 

 sistent than those that haunted Newton Castle,, 

 Huntingtower, Allanbank, Woodhouselee, and Fin- 

 haven. In England, among the most striking cases 

 are Corby Castle with its 'radiant boy,' Peel Castle 

 with its ' Mauthe Dog,' Ashley Hall, Skipsea. 

 Castle, Hilton Castle with its ' Cauld Lad,' Hol- 

 land House, Rainham Hall with its 'Gray Lady,' 

 Tharston Hall, Newstead Abbey, Powis Castle,, 



