BLANCHE OF CASTILE (1188-1252), wife of Louis VIII. of France, third daughter of Alphonso VIII., king of Castile, and of Eleanor of England, daughter of Henry II., was born at Valencia. In consequence of a treaty between Philip Augustus and John of England, she was betrothed to the former's son, Louis, and was brought to France, in the spring of 1200, by John's mother Eleanor. On the 22nd of May 1200 the treaty was finally signed, John ceding with his niece the fiefs of Issoudun and Gracay, together with those that Andre de Chavigny, lord of Chateauroux, held in Berry, of the English crown. The marriage was celebrated the next day, at Portmort on the right bank of the Seine, in John's domains, as those of Philip lay under an interdict.
Blanche first displayed her great qualities in 1216, when Louis, who on the death of John claimed the English crown in her right, invaded England, only to find a united nation against him. Philip Augustus refused to help his son, and Blanche was his sole support. The queen established herself at Calais and organized two fleets, one of which was commanded by Eustace the Monk, and an army under Robert of Courtenay; but all her resolution and energy were in vain. Although it would seem that her masterful temper exercised a sensible influence upon her husband's gentler character, her role during his reign (1223-1226) is not well known. Upon his death he left Blanche regent and guardian of his children. Of her twelve or thirteen children, six had died, and Louis, the heir--afterwards the sainted Louis IX.,--was but twelve years old. The situation was critical, for the hard-won domains of the house of Capet seemed likely to fall to pieces during a minority. Blanche had to bear the whole burden of affairs alone, to break up a league of the barons (1226), and to repel the attack of the king of England (1230).
But her energy and firmness overcame all dangers. There was an end to the calumnies circulated against her, based on the poetical homage rendered her by Theobald IV., count of Champagne, and the prolonged stay in Paris of the papal legate, Romano Bonaventura, cardinal of Sant'
Angelo. The nobles were awed by her warlike preparations or won over by adroit diplomacy, and their league was broken up. St Louis owed his realm to his mother, but he himself always remained somewhat under the spell of her imperious personality. After he came of age (1236) her influence upon him may still be traced. In 1248 she again became regent, during Louis IX.'s absence on the crusade, a project which she had strongly opposed. In the disasters which followed she maintained peace, while draining the land of men and money to aid her son in the East. At last her strength failed her. She fell ill at Melun in November 1252, and was taken to Paris, but lived only a few days. She was buried at Maubuisson.
Besides the works of Joinville and William of Nangis, see elie Berger, "Histoire de Blanche de Castille, reine de France," in _Bibliotheque des ecoles francaises d'Athenes et de Rome_, vol. lxx. (Paris, 1895); Le Nain de Tillemont, "Vie de Saint Louis," ed. by J. de Gaulle for the _Societe de l'histoire de France_ (6 vols., 1847-1851); and Paulin Paris, "Nouvelles recherches sur les moeurs de la reine Blanche et de Thibaud," in _Cabinet historique_ (1858).
BLANCH FEE, or BLANCH HOLDING (from Fr. _blanc_, white), an ancient tenure in Scottish land law, the duty payable being in silver or white money in contradistinction to gold. The phrase was afterwards applied to any holding of which the quit-rent was merely nominal, such as a penny, a peppercorn, &c.
BLANDFORD, or BLANDFORD FORUM, a market town, and municipal borough in the northern parliamentary division of Dorsetshire, England, on the Stour, 19 m. N.W. of Bournemouth by the Somerset & Dorset railway. Pop.
(1901) 3649. The town is ancient, but was almost wholly destroyed by fire in the 18th century. The church of St Peter and St Paul, a classical building, was built in 1732. There are a grammar-school (founded in 1521 at Milton Abbas, transferred to Blandford in 1775), a Blue Coat school (1729), and other educational charities. Remnants of a mansion of the 14th century, Damory Court, are seen in a farmhouse, and an adjoining Perpendicular chapel is used as a barn. There are numerous early earthworks on the chalk hills in the neighbourhood. The fine modern mansion of Bryanston, in the park adjoining the town, is the seat of Lord Portman. The municipal borough is under a mayor, 4 aldermen and 12 councillors. Area, 145 acres.
BLANDRATA, or BIANDRATA, GIORGIO (c. 1515-1588), Italian physician and polemic, who came of the De Blandrate family, powerful from the early part of the 13th century, was born at Saluzzo, the youngest son of Bernardino Blandrata. He graduated in arts and medicine at Montpellier in 1533, and specialized in the functional and nervous disorders of women. In 1544 he made his first acquaintance with Transylvania; in 1553 he was with Alciati in the Grisons; in 1557 he spent a year at Geneva, in constant intercourse with Calvin, who distrusted him. He attended the English wife (Jane Stafford) of Count Celso Massimiliano Martinengo, preacher of the Italian church at Geneva, and fostered anti-trinitarian opinions in that church. In 1558 he found it expedient to remove to Poland, where he became a leader of the heretical party at the synods of Pinczow (1558) and Ksionzh (1560 and 1562). His point was the suppression of extremes of opinion, on the basis of a confession literally drawn from Scripture. He obtained the position of court physician to the queen dowager, the Milanese Bona Sforza. She had been instrumental in the burning (1539) of Catharine Weygel, at the age of eighty, for anti-trinitarian opinions; but the writings of Ochino had altered her views, which were now anti-Catholic. In 1563 Blandrata transferred his services to the Transylvanian court, where the daughters of his patroness were married to ruling princes. He revisited Poland (1576) in the train of Stephen Bathory, whose tolerance permitted the propagation of heresies; and when (1579) Christopher Bathory introduced the Jesuits into Transylvania, Blandrata found means of conciliating them. Throughout his career he was accompanied by his two brothers, Ludovico and Alphonso, the former being canon of Saluzzo. In Transylvania, Blandrata co-operated with Francis David (d. 1579), the anti-trinitarian bishop, but in 1578 two circumstances broke the connexion. Blandrata was charged with "Italian vice"; David renounced the worship of Christ. To influence David, Blandrata sent for Faustus Socinus from Basel. Socinus was David's guest, but the discussion between them led to no result. At the instance of Blandrata, David was tried and condemned to prison at Deva (in which he died) on the charge of innovation. Having amassed a fortune, Blandrata returned to the communion of Rome. His end is obscure. According to the Jesuit, Jacob Wujek, he was strangled by a nephew (Giorgio, son of Alphonso) in May 1588. He published a few polemical writings, some in conjunction with David.
See Malacarne, _Commentario delle Opere e delle Vicende di G.
Blandrata_ (Padova, 1814); Wallace, _Anti-trinitarian Biography_, vol.
ii. (1850). (A. Go.*)
BLANE, SIR GILBERT (1740-1834), Scottish physician, was born at Blanefield, Ayrshire, on the 29th of August 1749. He was educated at Edinburgh university, and shortly after his removal to London became private physician to Lord Rodney, whom he accompanied to the West Indies in 1779. He did much to improve the health of the fleet by attention to the diet of the sailors and by enforcing due sanitary precautions, and it was largely through him that in 1795 the use of lime-juice was made obligatory throughout the navy as a preventive of scurvy. Enjoying a number of court and hospital appointments he built up a good practice for himself in London, and the government constantly consulted him on questions of public hygiene. He was made a baronet in 1812 in reward for the services he rendered in connexion with the return of the Walcheren expedition. He died in London on the 26th of June 1834. Among his works were _Observations on the Diseases of Seamen_ (1795) and _Elements of Medical Logic_ (1819).
BLANFORD, WILLIAM THOMAS (1832-1905), English geologist and naturalist, was born in London on the 7th of October 1832. He was educated in private schools in Brighton and Paris, and with a view to the adoption of a mercantile career spent two years in a business house at Civita Vecchia. On returning to England in 1851 he was induced to enter the newly established Royal School of Mines, which his younger brother Henry F. Blanford (1834-1893), afterwards head of the Indian Meteorological Department, had already joined; he then spent a year in the mining school at Freiburg, and towards the close of 1854 both he and his brother obtained posts on the Geological Survey of India. In that service he remained for twenty-seven years, retiring in 1882. He was engaged in various parts of India, in the Raniganj coalfield, in Bombay, and in the coalfield near Talchir, where boulders considered to have been ice-borne were found in the Talchir strata--a remarkable discovery confirmed by subsequent observations of other geologists in equivalent strata elsewhere. His attention was given not only to geology but to zoology, and especially to the land-mollusca and to the vertebrates. In 1866 he was attached to the Abyssinian expedition, accompanying the army to Magdala and back; and in 1871-1872 he was appointed a member of the Persian Boundary Commission. The best use was made of the exceptional opportunities of studying the natural history of those countries. For his many contributions to geological science Dr Blanford was in 1883 awarded the Wollaston medal by the Geological Society of London; and for his labours on the zoology and geology of British India he received in 1901 a royal medal from the Royal Society. He had been elected F.R.S. in 1874, and was chosen president of the Geological Society in 1888. He was created C.I.E. in 1904. He died in London on the 23rd of June 1905. His principal publications were: _Observations on the Geology and Zoology of Abyssinia_ (1870), and _Manual of the Geology of India_, with H.B.
Medlicott (1879).
Biography, with bibliography and portrait, in _Geological Magazine_, January 1905.
BLANK (from the Fr. _blanc_, white), a word used in various senses based on that of "left white," i.e. requiring something to be filled in; thus a "blank cheque" is one which requires the amount to be inserted, an insurance policy in blank, where the name of the beneficiary is lacking, "blank verse" (_q.v_.) verse without rhyme, "blank cartridge" that contains only powder and no ball or shot. The word is also used, as a substantive, for a ticket in a lottery or sweepstake which does not carry a number or the name of a horse running or for an unstamped metal disc in coining.
BLANKENBERGHE, a seaside watering-place on the North Sea in the province of West Flanders, Belgium, 12 m. N.E. of Ostend, and about 9 m. N.W. of Bruges, with which it is connected by railway. It is more bracing than Ostend, and has a fine parade over a mile in length. During the season, which extends from June to September, it receives a large number of visitors, probably over 60,000 altogether, from Germany as well as from Belgium. There is a small fishing port as well as a considerable fishing-fleet. Two miles north of this place along the dunes is Zeebrugge, the point at which the new ship-canal from Bruges enters the North Sea. Fixed population (1904) 5925.
BLANKENBURG. (1) A town and health resort of Germany, in the duchy of Brunswick, at the N. foot of the Harz Mountains, 12 m. by rail S.W. from Halberstadt. Pop. (1901) 10,173. It has been in large part rebuilt since a fire in 1836, and possesses a castle, with various collections, a museum of antiquities, an old town hall and churches. There are pine-needle baths and a hospital for nervous diseases. Gardening is a speciality. In the vicinity is a cliff or ridge of rock called Teufelsmauer (Devil's wall), from which fine views are obtained across the plain and into the deep gorges of the Harz Mountains.
(2) Another BLANKENBURG, also a health-resort, is situated in Schwarzburg-Rudolstadt, Thuringia, at the confluence of the rivers Rinne and Schwarza, and at the entrance of the Schwarzatal. Its environs are charming, and to the north of it, on an eminence, rise the fine ruins of the castle of Greifenstein, built by the German king Henry I., and from 1275 to 1583 the seat of a cadet branch of the counts of Schwarzburg.
BLANKETEERS, the nickname given to some 5000 operatives who on the 10th of March 1817 met in St Peter's Field, near Manchester, to march to London, each carrying blankets or rugs. Their object was to see the prince regent and lay their grievances before him. The Habeas Corpus Act was suspended, and the leaders were seized and imprisoned. The bulk of the demonstration yielded at once. The few stragglers who persisted in the march were intercepted by troops, and treated with considerable severity. Eventually the spokesmen had an interview with the ministers, and some reforms were the result.
BLANK VERSE, the unrhymed measure of iambic decasyllable in five beats which is usually adopted in English epic and dramatic poetry. The epithet is due to the absence of the rhyme which the ear expects at the end of successive lines. The decasyllabic line occurs for the first time in a Provencal poem of the 10th century, but in the earliest instances preserved it is already constructed with such regularity as to suggest that it was no new invention. It was certainly being used almost simultaneously in the north of France. Chaucer employed it in his _Compleynte to Pitie_ about 1370. In all the literatures of western Europe it became generally used, but always with rhyme. In the beginning of the 16th century, however, certain Italian poets made the experiment of writing decasyllabics without rhyme. The tragedy of _Sophonisba_ (1515) of G.G. Trissino (1478-1550) was the earliest work completed in this form; it was followed in 1525 by the didactic poem _Le Api_ (The Bees), of Giovanni Rucellai (1475-1525), who announced his intention of writing _"Con verso Etrusco dalle rime sciolto,"_ in consequence of which expression this kind of metre was called _versi sciolti_ or blank verse. In a very short time this form was largely adopted in Italian dramatic poetry, and the comedies of Ariosto, the _Aminta_ of Tasso and the _Pastor Fido_ of Guarini are composed in it. The iambic blank verse of Italy was, however, mainly hendecasyllabic, not decasyllabic, and under French influences the habit of rhyme soon returned.
Before the close of Trissino's life, however, his invention had been introduced into another literature, where it was destined to enjoy a longer and more glorious existence. Towards the close of the reign of Henry VIII., Henry Howard, earl of Surrey, translated two books of the _Aeneid_ into English rhymeless verse, "drawing" them "into a strange metre." Surrey's blank verse is stiff and timid, permitting itself no divergence from the exact iambic movement:--
"Who can express the slaughter of that night, Or tell the number of the corpses slain, Or can in tears bewail them worthily?
The ancient famous city falleth down, That many years did hold such seignory."
Surrey soon found an imitator in Nicholas Grimoald, and in 1562 blank verse was first applied to English dramatic poetry in the _Gorboduc_ of Sackville and Norton. In 1576, in the _Steel Glass_ of Gascoigne, it was first used for satire, and by the year 1585 it had come into almost universal use for theatrical purposes. In Lyly's _The Woman in the Moon_ and Peek's _Arraignment of Paris_ (both of 1584) we find blank verse struggling with rhymed verse and successfully holding its own. The earliest play written entirely in blank verse is supposed to be _The Misfortunes of Arthur_ (1587) of Thomas Hughes. Marlowe now immediately followed, with the magnificent movement of his _Tamburlaine_ (1589), which was mocked by satirical critics as "the swelling bombast of bragging blank verse" (Nash) and "the spacious volubility of a drumming decasyllable" (Greene), but which introduced a great new music into English poetry, in such "mighty lines" as
"Still climbing after knowledge infinite, And always moving as the restless spheres,"
or:--
"See where Christ's blood streams in the firmament!"
Except, however, when he is stirred by a particularly vivid emotion, the blank verse of Marlowe continues to be monotonous and uniform. It still depends too exclusively on a counting of syllables. But Shakespeare, after having returned to rhyme in his earliest dramas, particularly in _The Two Gentlemen of Verona_, adopted blank verse conclusively about the time that the career of Marlowe was closing, and he carried it to the greatest perfection in variety, suppleness and fulness. He released it from the excessive bondage that it had hitherto endured; as Robert Bridges has said, "Shakespeare, whose early verse may be described as syllabic, gradually came to write a verse dependent on stress." In comparison with that of his predecessors and successors, the blank verse of Shakespeare is essentially regular, and his prosody marks the admirable mean between the stiffness of his dramatic forerunners and the laxity of those who followed him. Most of Shakespeare's lines conform to the normal type of the decasyllable, and the rest are accounted for by familiar and rational rules of variation. The ease and fluidity of his prosody were abused by his successors, particularly by Beaumont and Fletcher, who employed the soft feminine ending to excess; in Massinger dramatic blank verse came too near to prose, and in Heywood and Shirley it was relaxed to the point of losing all nervous vigour.
The later dramatists gradually abandoned that rigorous difference which should always be preserved between the cadence of verse and prose, and the example of Ford, who endeavoured to revive the old severity of blank verse, was not followed. But just as the form was sinking into dramatic desuetude, it took new life in the direction of epic, and found its noblest proficient in the person of John Milton. The most intricate and therefore the most interesting blank verse which has been written is that of Milton in the great poems of his later life. He reduced the elisions, which had been frequent in the Elizabethan poets, to law; he admitted an extraordinary variety in the number of stresses; he deliberately inverted the rhythm in order to produce particular effects; and he multiplied at will the caesurae or breaks in a line. Such verses as
"Arraying with reflected purple and gold-- Shoots invisible virtue even to the deep-- Universal reproach, far worse to bear-- Me, me only, just object of his ire"--
are not mistaken in rhythm, nor to be scanned by forcing them to obey the conventional stress. They are instances, and _Paradise Lost_ is full of such, of Milton's exquisite art in ringing changes upon the metrical type of ten syllables, five stresses and a rising rhythm, so as to make the whole texture of the verse respond to his poetical thought.
Writing many years later in _Paradise Regained_ and in _Samson Agonistes_, Milton retained his system of blank verse in its general characteristics, but he treated it with increased dryness and with a certain harshness of effect. It is certainly in his biblical drama that blank verse has been pushed to its most artificial and technical perfection, and it is there that Milton's theories are to be studied best; yet it must be confessed that learning excludes beauty in some of the very audacious irregularities which he here permits himself in _Samson Agonistes_. Such lines as
"Made arms ridiculous, useless the forgery-- My griefs not only pain me as a lingering disease-- Drunk with idolatry, drunk with wine-- Justly, yet despair not of his final pardon"--
are constructed with perfect comprehension of metrical law, yet they differ so much from the normal structure of blank verse that they need to be explained, and to imitate them would be perilous. A persistent weakness in the third foot has ever been the snare of English blank verse, and it is this element of monotony and dulness which Milton is ceaselessly endeavouring to obviate by his wonderful inversions, elisions and breaks.
After the Restoration, and after a brief period of experiment with rhymed plays, the dramatists returned to the use of blank verse, and in the hands of Otway, Lee and Dryden, it recovered much of its magnificence. In the 18th century, Thomson and others made use of a very regular and somewhat monotonous form of blank verse for descriptive and didactic poems, of which the _Night Thoughts_ of Young is, from a metrical point of view, the most interesting. With these poets the form is little open to licence, while inversions and breaks are avoided as much as possible. Since the 18th century, blank verse has been subjected to constant revision in the hands of Wordsworth, Coleridge, Shelley, Keats, Tennyson, the Brownings and Swinburne, but no radical changes, of a nature unknown to Shakespeare and Milton, have been introduced into it.