Page:EB1911 - Volume 04.djvu/898

 This exploit is often represented on vase paintings from the 6th century  and onwards, the Egyptian monarch and his companions being represented as negroes, and the legend is referred to by Herodotus and later writers. Although some of the Greek writers made Busiris an Egyptian king and a successor of Menes, about the sixtieth of the series, and the builder of Thebes, those better informed by the Egyptians rejected him altogether. Various esoterical explanations were given of the myth, and the name not found as a king was recognized as that of the tomb of Osiris. Busiris is here probably an earlier and less accurate Graecism than Osiris for the name of the Egyptian god Usiri, like Bubastis, Buto, for the goddesses Ubasti and Uto. Busiris, Bubastis, Buto, more strictly represent Pusiri, Pubasti, Puto, cities sacred to these divinities. All three were situated in the Delta, and would be amongst the first known to the Greeks. All shrines of Osiris were called P-usiri, but the principal city of the name was in the centre of the Delta, capital of the 9th (Busirite) nome of Lower Egypt; another one near Memphis (now Abusir) may have helped the formation of the legend in that quarter. The name Busiris in this legend may have been caught up merely at random by the early Greeks, or they may have vaguely connected their legend with the Egyptian myth of the slaying of Osiris (as king of Egypt) by his mighty brother Seth, who was in certain aspects a patron of foreigners. Phrasius, Chalbes and Epaphus (for the grandfather of Busiris) are all explicable as Graecized Egyptian names, but other names in the legend are purely Greek. The sacrifice of foreign prisoners before a god, a regular scene on temple walls, is perhaps only symbolical, at any rate for the later days of Egyptian history, but foreign intruders must often have suffered rude treatment at the hands of the Egyptians, in spite of the generally mild character of the latter.

BUSK, GEORGE (1807–1886), British surgeon, zoologist and palaeontologist, son of Robert Busk, merchant of St Petersburg, was born in that city on the 12th of August 1807. He studied surgery in London, at both St Thomas’s and St Bartholomew’s hospitals, and was an excellent operator. He was appointed assistant-surgeon to the Greenwich hospital in 1832, and served as naval surgeon first in the Grampus, and afterwards for many years in the Dreadnought; during this period he made important observations on cholera and on scurvy. In 1855 he retired from service and settled in London, where he devoted himself mainly to the study of zoology and palaeontology. As early as 1842 he had assisted in editing the Microscopical Journal; and later he edited the Quarterly Journal of Microscopical Science (1853–1868) and the Natural History Review (1861–1865). From 1856 to 1859 he was Hunterian professor of comparative anatomy and physiology in the Royal College of Surgeons, and he became president of the college in 1871. He was elected F.R.S. in 1850, and was an active member of the Linnean, Geological and other societies, and president of the Anthropological Institute (1873–1874); he received the Royal Society’s Royal medal and the Geological Society’s Wollaston and Lyell medals. Early in life he became the leading authority on the Polyzoa; and later the vertebrate remains from caverns and river-deposits occupied his attention. He was a patient and cautious investigator, full of knowledge, and unaffectedly simple in character. He died in London on the 10th of August 1886.

BUSKEN-HUET, CONRAD (1826–1886), Dutch literary critic, was born at the Hague on the 28th of December 1826. He was trained for the Church, and, after studying at Geneva and Lausanne, was appointed pastor of the Walloon chapel in Haarlem in 1851. In 1863 conscientious scruples obliged him to resign his charge, and Busken-Huet, after attempting journalism, went out to Java in 1868 as the editor of a newspaper. Before this time, however, he had begun his career as a polemical man of letters, although it was not until 1872 that he was made famous by the first series of his Literary Fantasies, a title under which he gradually gathered in successive volumes all that was most durable in his work as a critic. His one novel, Lidewijde, was written under strong French influences. Returning from the East Indies, Busken-Huet settled for the remainder of his life in Paris, where he died in April 1886. For the last quarter of a century he had been the acknowledged dictator in all questions of Dutch literary taste. Perfectly honest, desirous to be sympathetic, widely read, and devoid of all sectarian obstinacy, Busken-Huet introduced into Holland the light and air of Europe. He made it his business to break down the narrow prejudices and the still narrower self-satisfaction of his countrymen, without endangering his influence by a mere effusion of paradox. He was a brilliant writer, who would have been admired in any language, but whose appearance in a literature so stiff and dead as that of Holland in the ’fifties was dazzling enough to produce a sort of awe and stupefaction. The posthumous correspondence of Busken-Huet has been published, and adds to our impression of the vitality and versatility of his mind.

BUSKIN (a word of uncertain origin, existing in many European languages, as Fr. brousequin, Ital. borzacchino, Dutch brozeken, and Span, borceguí), a half-boot or high shoe strapped under the ankle, and protecting the shins; especially the thick-soled boot or cothurnus in the ancient Athenian tragedy, used to increase the stature of the actors, as opposed to the soccus, “sock,” the light shoe of comedy. The term is thus often used figuratively of a tragic style.

BUSLAEV, FEDOR IVANOVICH (1818–1898), Russian author and philologist, was born on the 13th of April 1818 at Kerensk, where his father was secretary of the district tribunal. He was educated at Penza and Moscow University. At the end of his academical course, 1838, he accompanied the family of Count S. G. Strogonov on a tour through Italy, Germany and France, occupying himself principally with the study of classical antiquities. On his return he was appointed assistant professor of Russian literature at the university of Moscow. A study of Jacob Grimm’s great dictionary had already directed the attention of the young professor to the historical development of the Russian language, and the fruit of his studies was the book On the Teaching of the National Language (Moscow, 1844 and 1867), which even now has its value. In 1848 he produced his work On the Influence of Christianity on the Slavonic Language, which, though subsequently superseded by Franz von Miklosich’s Christliche Terminologie, is still one of the most striking dissertations on the development of the Slavonic languages. In this work Buslaev proves that long before the age of Cyril and Methodius the Slavonic languages had been subject to Christian influences. In 1855 he published Palaeographical and Philological Materials for the History of the Slavonic Alphabets, and in 1858 Essay towards an Historical Grammar of the Russian Tongue, which, despite some trivial defects, is still a standard work, abounding with rich material for students, carefully collected from an immense quantity of ancient records and monuments. In close connexion with this work in his Historical Chrestomathy of the Church-Slavonic and Old Russian Tongues (Moscow, 1861). Buslaev also interested himself in Russian popular poetry and old Russian art, and the result of his labours is enshrined in Historical Sketches of Russian Popular Literature and Art (St Petersburg, 1861), a very valuable collection of articles and monographs, in which the author shows himself a worthy and faithful disciple of Grimm. His Popular Poetry (St Petersburg, 1887) is a valuable supplement to the Sketches. In 1881 he was appointed professor of Russian literature at Moscow, and three years later published his Annotated Apocalypse with an atlas of 400 plates, illustrative of ancient Russian art.

BUSS, FRANCES MARY (1827–1894), English schoolmistress, was born in London in 1827, the daughter of the painter-etcher R. W. Buss, one of the original illustrators of Pickwick. She was educated at a school in Camden Town, and continued there as a teacher, but soon joined her mother in keeping a school in Kentish Town. In 1848 she was one of the original attendants at lectures at the new Queen’s College for Ladies. In 1850 her