Page:Encyclopædia Britannica, Ninth Edition, v. 5.djvu/699

Rh Strict confinement to bed and the administration of bland drinks such as milk, barley-water, and beef-tea, along with counter-irritation to the abdomen, will be found valuable adjuvants to treatment. In the second stage of cholera opium is of less value, and other remedies are called for. The violent vomiting and purging and the intense thirst may be relieved by iced effervescing drinks, while at the same time endeavours should be made to maintain the heat of the body by friction with stimulating liniments or mustard to the surface, and by enveloping the body in flannel and surrounding it with hot bottles. For the relief of the cramps the inhalation of chloroform is recommended, and probably chloral would be found of equal value. Stimulants such as ammonia and brandy must be had recourse to where these measures fail to establish reaction and the patient threatens to sink. When reaction occurs and the vomiting ceases, liquid food in small quantities should be cautiously administered.

1em  CHOLET, a town of France, in the south of the depart ment of Maine-et-Loire, on the right bank of the Moine. It gives its name to an arrondissement, created in 1857. It has a council of prud hommes, and a tribunal of com merce ; its cattle market is good, and the manufacture of cotton-yarn, calico, cambric, woollen stuffs, and leather is considerable. The town owes the rise of its prosperity to the settlement of weavers there by Colbert. It suffered greatly in the Yendean war in 1793, insomuch that for years afterwards it was almost without inhabitants. Popu lation (1872), 11,550.  CHOLULA, an ancient town of Mexico, situated on the plateau of La Puebla between Yera Cruz and the city of Mexico. Although formerly a populous place, it now con tains little over 6000 inhabitants, mostly Indians, who are engaged in agricultural pursuits. At the time of the Spanish conquest Cholula then known as Chololan was a town of great importance, consecrated to the worship of the god Quetzalcoatl, who had here one of the noblest temples in the country, built on the summit of a truncated pyramid. This pyramid, which is 160 feet high, is now the most conspicuous feature in the place, and is surrounded by a chapel dedicated to Our Lady de los Remedios. The tovn was visited by Cortez in 1519 in his march to Tenochtitlan, the city of Montezuma, and on that occasion was given over to massacre and pillage, owing to a suspicion against the good faith of the inhabitants.  CHONS, an Egyptian deity called also Khons or Khonsou, principally worshipped at Thebes as the great eldest son of Amen Ha and Mut, and identified with Aah the moon. He had two names in the Thebaid, his second being Neferhotep ; as such he is called the god of two names. By the Greeks he was called Chon, and considered to be a form of Hercules. Like Horus he is represented as a youthful god, his form mummied, wearing the lock of hair at the right side of his head and a skullcap surmounted by the full and dichotomized lunar disk, or else hawk- headed, wearing the same. He holds a crook and whip. He was a celestial deity, and at a later time connected with Thoth, and was said to have proceeded from Nu or Han the celestial waters, or to be the same as Har or Horus and Shu or Sos. The functions of Chons are exceedingly limited; he is said in the Eitual to overthrow the proud, and to be mystically connected with the Phoenix. But the most remarkable characters of Chons are those mentioned on a tablet found on a temple in the S.W. quarter ot Karnak dedicated to the god, which had been repaired or erected by Rameses III. of the 20th dynasty, said to be of sandstoneandbasalt, the doors plated with gold and electrum. The temple of calcareous stone in the Karnak quarter was dedicated to Chons in two characters, that of giving oracles and of expelling evil, and the remarkable tablet found there records the departure of the god in his ark in the 16th year of the reign of Barneses XII. to the land of Bakhtan to expel a demon which had possessed the daughter of the king of that country and sister of the queen of Egypt. After effecting this miracle, and remaining some time there, the god returned in his ark conducted by priests in the 33d year of the same reign. Attached to this temple were cynocephali, a species of ape supposed to represent the moon and the living avatar or sacred animal of the lunar gods, under the charge of a priest or prophet. The worship of Chons appears to have been very common at the Ptolemaic period, and figures of the god in bronze and porcelain are not uncommon in collections. He is an inferior deity of the Pantheon, and although in type allied with Ptah, Osiris, and Horus, exercises none of the attributes of these deities, his chief function being that of the lunar gods; he represents the youngest as Ammon did the oldest of the divine circle.

1em  CHOPIN, (1810-1849), a cele brated composer and pianist, was born at Zelazowa- Vola, near Warsaw, on February 8, 1810. His family was of French origin, but in spite of this he has become the greatest and the most national exponent of Slavonic or more especially Polish nationality in music. In looking through the list of his compositions, teeming with mazurkas, valses, polonaises, and other forms of national dance music, one could hardly suppose that here one of the most melancholy natures has revealed itself. This seeming paradox is solved by the type of Chopin s nationality, a nationality of which it has justly been said that its very dances are sadness intensified. But notwithstanding this strongly pronounced national type of his compositions, his music is always expressivs of his individual feelings and sufferings to a degree rarely met with in the annals of the art. He is indeed the lyrical composer par excellence of the modern school, and the intensity of his expression finds its equal in literature only in the songs of Heinrich Heine, to whom Chopin has been justly compared. A sensation of such high-strung passion cannot be prolonged. Hence we see that the shorter forms of music, the e&quot;tude, the nocturne, besides the national dances already alluded to, are chosen by Chopin in preference. Even where he treats the larger forms of the concerto or the sonata, this concen trated not to say pointed character of Chopin s style becomes obvious. The more extended dimensions seem to encum ber the freedom of his movements. The concerto for piano forte with accompaniment of the orchestra in E may be instanced. Here the adagio takes the form of a romance, and in the final rondo the rhythm of a Polish dance be comes recognizable while the instrumentation throughout is meagre and wanting in colour. Chopin is out of his element, and even the beauty of his melodies and harmonies cannot 