Toad-Eater (Pulteney’s). Henry Vane was so called in 1742, by Sir Robert Walpole. Two years later, Sarah Fielding, in David Simple, speaks of “toad-eater” as “quite a new word,” and she suggests that it is “a metaphor taken from a mountebank’s boy eating toads in order to show his master’s skill in expelling poison,” and “built on a supposition that people who are in a state of dependence are forced to do the most nauseous things to please and humor their patrons.”
Tobo´so (Dulcinĕa del), the lady chosen by Don Quixote for his particular paragon. Sancho Panza says she was “a stout-built, sturdy wench, who could pitch the bar as well as any young fellow in the parish.” The knight had been in love with her before he took to errantry. She was Aldonza Lorenzo, the daughter of Lorenzo Corchuelo and Aldonza Nogalês; but when Signior Quixāda assumed the dignity of knighthood, he changed the name and style of his lady into Dulcinea del Tobōso, which was more befitting his rank.--Cervantes, Don Quixote, I. i. 1 (1605).
Toby, waiter of the Spa hotel, St. Ronan’s, kept by Sandie Lawson.--Sir W. Scott, St. Ronan’s Well (time, George III.).
Toby, a brown Rockingham-ware beer jug, with the likeness of Toby Filpot embossed on its sides, “a goodly jug of well-browned clay, fashioned into the form of an old gentleman, atop of whose bald head was a fine froth answering to his wig” (ch. iv.).
Gabriel lifted Toby to his mouth, and took a hearty draught.--C. Dickens, Master Humphrey’s Clock (“Barnaby Rudge,” xli., 1841).
Toby, Punch’s dog, in the puppet-show exhibition of Punch and Judy.
In some versions of the great drama of Punch, there is a small dog (a modern innovation), supposed to be the private property of that gentleman, and of the name of Toby--always Toby. This dog has been stolen in youth from another gentleman, and fraudulently sold to the confiding hero who, having no guile himself, has no suspicion that it lurks in others; but Toby, entertaining a grateful recollection of his old master, and scorning to attach himself to any new patron, not only refuses to smoke a pipe at the bidding of Punch but (to mark his old fidelity more strongly) seizes him by the nose, and wrings the same with violence, at which instance of canine attachment the spectators are always deeply affected.--C. Dickens.
Toby, in the periodical called Punch, is represented as a grave, consequential, sullen, unsocial pug, perched on back volumes of the national Menippus, which he guards so stolidly that it would need a very bold heart to attempt to filch one. There is no reminiscence in this Toby, like that of his peep-show namesake, of any previous master, and no aversion to his present one. Punch himself is the very beau-ideal of good-natured satire and far-sighted shrewdness, while his dog (the very Diogĕnês of his tribe) would scorn his nature if he could be made to smile at anything.
⁂ The first cover of immortal Punch was designed by A. S. Henning; the present one by Richard Doyle.
Toby (Uncle), a captain, who was wounded at the siege of Namur, and was obliged to retire from the service. He is the impersonation of kindness, benevolence, and simple-heartedness; his courage is undoubted, his gallantry delightful for its innocence and modesty. Nothing can exceed the grace of Uncle Toby’s love-passages with the Widow Wadman. It is said that Lieutenant Sterne (father of the novelist), was the prototype of Uncle Toby.--Sterne, Tristram Shandy (1759).