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 thraldom that lay between the Napoleonic wars and the Revolution of 1848; his poetry reflects exactly the spirit of his people under the Metternich régime, and there is a deep truth behind the description of Der Traum, ein Leben as the Austrian Faust. His fame was in accordance with the general tenor of his life; even in Austria a true understanding for his genius was late in coming, and not until the centenary of 1891 did the German-speaking world realize that it possessed in him a dramatic poet of the first rank; in other words, that Grillparzer was no mere “Epigone” of the classic period, but a poet who, by a rare assimilation of the strength of the Greeks, the imaginative depth of German classicism and the delicacy and grace of the Spaniards, had opened up new paths for the higher dramatic poetry of Europe.

Grillparzer’s Sämtliche Werke are edited by A. Sauer, in 20 vols., 5th edition (Stuttgart, 1892–1894); also, since the expiry of the copyright in 1901, innumerable cheap reprints. Briefe und Tagebücher, edited by C. Glossy and A. Sauer (2 vols., Stuttgart, 1903). Jahrbuch der Grillparzer-Gesellschaft, edited by K. Glossy (the publication of the Grillparzer Society) (Vienna, 1891 ff.). See also H. Laube, Franz Grillparzers Lebensgeschichte (Stuttgart, 1884); J. Volkelt, Franz Grillparzer als Dichter des Tragischen (Nördlingen, 1888); E. Reich, Franz Grillparzers Dramen (Dresden, 1894); A. Ehrhard, Franz Grillparzer (Paris, 1900) (German translation by M. Necker, Munich, 1902); H. Sittenberger, Grillparzer, sein Leben und Wirken (Berlin, 1904); Gustav Pollak, F. Grillparzer and the Austrian Drama (New York, 1907). Of Grillparzer’s works, translations have appeared in English of Sappho (1820, by J. Bramsen; 1846, by E. B. Lee; 1855, by L. C. Cumming; 1876, by E. Frothingham); and of Medea (1879, by F. W. Thurstan and J. A. Wittmann). Byron’s warm admiration of Sappho (Letters and Journals, v. 171) is well known, while Carlyle’s criticism, in his essay on German Playwrights (1829), is interesting as expressing the generally accepted estimate of Grillparzer in the first half of the 19th century. See the bibliography in K. Goedeke’s Grundriss zur Geschichte der deutschen Dichtung, 2nd ed., vol. viii. (1905).

GRIMALD (or ), NICHOLAS (1519–1562), English poet, was born in Huntingdonshire, the son probably of Giovanni Baptista Grimaldi, who had been a clerk in the service of Empson and Dudley in the reign of Henry VII. He was educated at Christ’s College, Cambridge, where he took his B.A. degree in 1540. He then removed to Oxford, becoming a probationer-fellow of Merton College in 1541. In 1547 he was lecturing on rhetoric at Christ Church, and shortly afterwards became chaplain to Bishop Ridley, who, when he was in prison, desired Grimald to translate Laurentius Valla’s book against the alleged Donation of Constantine, and the De gestis Basiliensis Concilii of Aeneas Sylvius (Pius II.). His connexion with Ridley brought him under suspicion, and he was imprisoned in the Marshalsea. It is said that he escaped the penalties of heresy by recanting his errors, and was despised accordingly by his Protestant contemporaries. Grimald contributed to the original edition (June 1557) of Songes and Sonettes (commonly known as Tottel’s Miscellany), forty poems, only ten of which are retained in the second edition published in the next month. He translated (1553) Cicero’s De officiis as Marcus Tullius Ciceroes thre bokes of duties (2nd ed., 1556); a Latin paraphrase of Virgil’s Georgics (printed 1591) is attributed to him, but most of the works assigned to him by Bale are lost. Two Latin tragedies are extant; Archipropheta sive Johannes Baptista, printed at Cologne in 1548, probably performed at Oxford the year before, and Christus redivivus (Cologne, 1543), edited by Prof. J. M. Hart (for the Modern Language Association of America, 1886, separately issued 1899). It cannot be determined whether Grimald was familiar with Buchanan’s Baptistes (1543), or with J. Schoeppe’s Johannes decollatus vel Ectrachelistes (1546). Grimald provides a purely romantic motive for the catastrophe in the passionate attachment of Herodias to Herod, and constantly resorts to lyrical methods. As a poet Grimald is memorable as the earliest follower of Surrey in the production of blank verse. He writes sometimes simply enough, as in the lines on his own childhood addressed to his mother, but in general his style is more artificial, and his metaphors more studied than is the case with the other contributors to the Miscellany. His classical reading shows itself in the comparative terseness and smartness of his verses. His epitaph was written by Barnabe Googe in May 1562.

See C. H. Herford, Studies in the Literary Relations of England and Germany (pp. 113–119, 1886). ''A Catalogue of printed books. . . by'' writers bearing the name of Grimaldi (ed. A. B. Grimaldi), printed 1883; and Arber’s reprint of Tottel’s Miscellany.

GRIMALDI, GIOVANNI FRANCESCO (1606–1680), Italian architect and painter, named Il Bolognese from the place of his birth, was a relative of the Caracci family, under whom it is presumed he studied first. He was afterwards a pupil of Albani. He went to Rome, and was appointed architect to Pope Paul V., and was also patronized by succeeding popes. Towards 1648 he was invited to France by Cardinal Mazarin, and for about two years was employed in buildings for that minister and for Louis XIV., and in fresco-painting in the Louvre. His colour was strong, somewhat excessive in the use of green; his touch light. He painted history, portraits and landscapes—the last with predilection, especially in his advanced years—and executed engravings and etchings from his own landscapes and from those of Titian and the Caracci. Returning to Rome, he was made president of the Academy of St Luke; and in that city he died on the 28th of November 1680, in high repute not only for his artistic skill but for his upright and charitable deeds. His son Alessandro assisted him both in painting and in engraving. Paintings by Grimaldi are preserved in the Quirinal and Vatican palaces, and in the church of S. Martino a’Monti; there is also a series of his landscapes in the Colonna Gallery.

GRIMALDI, JOSEPH (1779–1837), the most celebrated of English clowns, was born in London on the 18th of December 1779, the son of an Italian actor. When less than two years old he was brought upon the stage at Drury Lane; at the age of three he began to appear at Sadler’s Wells; and he did not finally retire until 1828. As the clown of pantomime he was considered without an equal, his greatest success being in Mother Goose, at Covent Garden (1806 and often revived). Grimaldi died on the 31st of May 1837.

His Memoirs in two volumes (1838) were edited by Charles Dickens.

GRIMKÉ, SARAH MOORE (1792–1873) and ANGELINA EMILY (1805–1879), American reformers, born in Charleston, South Carolina—Sarah on the 6th of November 1792, and Angelina on the 20th of February 1805—were daughters of John Fachereau Grimké (1752–1819), an artillery officer in the Continental army, a jurist of some distinction, a man of wealth and culture and a slave-holder.

Their older brother, (1786–1834), was born in Charleston; graduated at Yale in 1807; was a successful lawyer, and in 1826–1830 was a member of the state Senate, in which he, almost alone of the prominent lawyers of the state, opposed nullification; he strongly advocated spelling-reform, temperance and absolute non-resistance, and published Addresses on Science, Education and Literature (1831). His early intellectual influence on Sarah was strong.

In her thirteenth year Sarah was godmother to her sister Angelina. Sarah in 1821 revisited Philadelphia, whither she had accompanied her father on his last illness, and there, having been already dissatisfied with the Episcopal Church and with the Presbyterian, she became a Quaker; so, too, did Angelina, who joined her in 1829. Both sisters (Angelina first) soon grew into a belief in immediate abolition, strongly censured by many Quakers, who were even more shocked by a sympathetic letter dated “8th Month, 30th, 1835” written by Angelina to W. L. Garrison, followed in 1836 by her Appeal to the Christian Women of the South, and at the end of that year, by an Epistle to the Clergy of the Southern States, written by Sarah, who now thoroughly agreed with her younger sister. In the same year, at the invitation of Elizur Wright (1804–1885), corresponding secretary of the American Anti-Slavery Society, Angelina, accompanied by Sarah, began giving talks on slavery, first in private and then in public, so that in 1837, when they set to work in Massachusetts, they had to secure the use of large halls. Their speaking from public platforms resulted in a letter issued by some members of the General Association of Congregational Ministers of Massachusetts, calling on the clergy to close their