2. St. Augustine, “the pillar of truth and hammer of heresies” (395-430).—Hakewell.
3. John Faber. So called from the title of one of his works, Malleus Hereticorum (1470-1541).
Hammer of Scotland, Edward I. His son inscribed on his tomb: “Edwardus Longus Scotorum Malleus hic est” (1239, 1272-1307).
Hammerlein (Claus), the smith, one of the insurgents at Liège.—Sir W. Scott, Quentin Durward (time, Edward IV.).
Hamond, captain of the guard of Rollo (“the bloody brother” of Otto, and duke of Normandy). He stabs the duke, and Rollo stabs the captain; so that they kill each other.—Beaumont and Fletcher, The Bloody Brother (1639).
Hamor (Everett), artist to whom Gwenn consents to sit as a model, and who reciprocates the favor by stealing her heart, his own fancy being enthralled, while he knows that he cannot marry her.
While she dances—a breathing poem, her clear eyes seeking Hamor’s with a kind of proud pleading—“Your smile, too, O my master,” they pleaded; “your smile to crown my joy,”—he is talking of art to a young Danish woman, also an artist, and not seeing Gwenn.—Blanche Willis Howard, Gwenn (1883).
Hampden (John), was born in London, but after his marriage lived as a country squire. He was imprisoned in the gatehouse for refusing to pay a tax called ship-money, imposed without the authority of parliament. The case was tried in the Exchequer Chamber, in 1638, and given against him. He threw himself heart and soul into the business of the Long Parliament, and commanded a troop in the parliamentary army. In 1643 he fell in an encounter with Prince Rupert; but he has ever been honored as a patriot, and the defender of the rights of the people (1597-1643).
[Shall] Hampden no more, when suffering Freedom calls,
Encounter Fate, and triumph as he falls?