Dahlia. Lovely girl, who goes off with Edward Blancove, believing herself married to him. Discovering the deception, she returns to the farm, and resumes her old life. When the penitent lover seeks her and would marry her, she refuses. “She has left her heart among the ashes of the fire” that consumed her youth and honor.
Rhoda. Devoted sister who seeks Dahlia until she is found, and cherishes her tenderly through life. Rhoda marries a farmer, and Dahlia lives for seven years as her housemate. George Meredith, Rhoda Fleming (1888).
Flem´ing (Archdeacon), the clergyman to whom old Meg Murdockson made her confession.—Sir W. Scott, Heart of Midlothian (time, George II.).
Fleming (Sir Malcolm), a former suitor of Lady Margaret de Hautlieu.—Sir W. Scott, Castle Dangerous (time, Henry I.).
Fleming (Lady Mary), one of the maids of honor to Mary Queen of Scots.—Sir W. Scott, The Abbot (time, Elizabeth).
Fleming (Rose), niece of Mrs. Maylie. Rose marries her cousin Harry Maylie.
She was past 17. Cast in so slight and exquisite a mould, so mild and gentle, so pure and beautiful, that earth seemed not her element, nor its rough creatures her fit companions. The very intelligence that shone in her deep blue eye ... seemed scarcely ... of the world, and yet the changing expression of sweetness and good-humor, the thousand lights that played about the face ... above all the smile, the cheerful, happy smile, were made for home and fireside peace and happiness.—C. Dickens, Oliver Twist, xxix. (1837).
Flemish School (The), a school of painting commencing in the fifteenth century, with the brothers Van Eyck. The chief early masters were Memling, Van der Weyden, Matsys, and Mabuse. The chief of the second period were Rubens, Vandyck, Snyders, Jordæns, Gaspar de Crayer and the younger Teniers.
Flemming (Paul), scholarly hero of Longfellow’s Hyperion. Among the storied ruins of the Old World, he wins his bride by weaving to her stories from his own imagination (1839).
Fleshly School (The), a class of British poets of which Swinburne, Rossetti, Morris, etc., are exponents; so called from the sensuous character of their poetry.