Francesco, the “Iago” of Massinger’s Duke of Milan; the Duke Sforza “the More” being Othello; and the cause of hatred being that Sforza had seduced “Eugenia” Francesco’s sister. As Iago was Othello’s favorite and ancient, so Francesco was Sforza’s favorite and chief minister. During Sforza’s absence with the camp, Francesco tried to corrupt the duke’s beautiful young bride Marcelia, and being repulsed, accused her to the duke of wishing to play the wanton with him. The duke believed his favorite minister, and in his mad jealously ran upon Marcelia and slew her. He was then poisoned by Eugenia, whom he had seduced.—Massinger, The Duke of Milan (1622). (See Francisco.)
Francis, the faithful, devoted servant of “the stranger.” Quite impenetrable to all idle curiosity.—Benj. Thompson, The Stranger (1797).
Francis (Ayrault), a visionary who living in the dream-world he has evoked, neglects his nearest of kin, and lets opportunities of happiness, usefulness and patriotic service go by unimproved.—Thomas Wentworth Higginson, The Monarch of Dreams (1887).
Francis (Father), a Dominican monk, the confessor of Simon Glover.—Sir W. Scott, Fair Maid of Perth (time, Henry IV.).
Francis (Le Baron). Young French nobleman who renounces king and country. Is shipwrecked in New England, marries Molly Wilder and settles in Plymouth as a physician. He is the father of Lazarus le Baron.—“Round Robin Series,” A Nameless Nobleman.
Francis (Father), a monk of the convent at Namur.—Sir W. Scott, Quentin Durward (time, Edward IV.).
Franciscans. So called from St. Francis, of Assisi, their founder, in 1208. Called “Min´orites” (or Inferiors), from their professed humility; “Gray Friars,” from the color of their coarse clothing; “Mendicants,” because they obtained their daily food by begging; “Observants,” because they observed the rule of poverty. Those who lived in convents were called “Conventual Friars.”
Franciscan Sisters were called “Clares,” “Poor Clares,” “Minoresses,” “Mendicants,” and “Urbanites” (3 syl.)
Francis´co, the son of Valentine. Both father and son are in love with Cellide (2 syl.), but the lady naturally prefers the son.—Beaumont and Fletcher, Mons. Thomas (1619).
Francis´co, a musician, Antonio’s boy in The Chances, a comedy by Beaumont and Fletcher (1620).