KNOUT (from the French transliteration of a Russian word of Scandinavian origin; cf. A.-S. cnotta, Eng. knot), the whip used in Russia for flogging criminals and political offenders. It is said to have been introduced under Ivan III. (1462-1505). The knout had different forms. One was a lash of raw hide, 16 in. long, attached to a wooden handle, 9 in. long. The lash ended in a metal ring, to which was attached a second lash as long, ending also in a ring, to which in turn was attached a few inches of hard leather ending in a beak-like hook. Another kind consisted of many thongs of skin plaited and interwoven with wire, ending in loose wired ends, like the cat-o’-nine tails. The victim was tied to a post or on a triangle of wood and stripped, receiving the specified number of strokes on the back. A sentence of 100 or 120 lashes was equivalent to a death sentence; but few lived to receive so many. The executioner was usually a criminal who had to pass through a probation and regular training; being let off his own penalties in return for his services. Peter the Great is traditionally accused of knouting his son Alexis to death, and there is little doubt that the boy was actually beaten till he died, whoever was the executioner. The emperor Nicholas I. abolished the earlier forms of knout and substituted the pleti, a three-thonged lash. Ostensibly the knout has been abolished throughout Russia and reserved for the penal settlements.
KNOWLES, SIR JAMES (1831-1908), English architect and editor, was born in London in 1831, and was educated, with a view to following his father’s profession, as an architect at University College and in Italy. His literary tastes also brought him at an early age into the field of authorship. In 1860 he published The Story of King Arthur. In 1867 he was introduced to Tennyson, whose house, Aldworth, on Blackdown, he designed; this led to a close friendship, Knowles assisting Tennyson in business matters, and among other things helping to design scenery for The Cup, when Irving produced that play in 1880. Knowles became intimate with a number of the most interesting men of the day, and in 1869, with Tennyson’s co-operation, he started the Metaphysical Society, the object of which was to attempt some intellectual rapprochement between religion and science by getting the leading representatives of faith and unfaith to meet and exchange views.
The members from first to last were as follows: Dean Stanley, Seeley, Roden Noel, Martineau, W. B. Carpenter, Hinton, Huxley, Pritchard, Hutton, Ward, Bagehot, Froude, Tennyson, Tyndall, Alfred Barry, Lord Arthur Russell, Gladstone, Manning, Knowles, Lord Avebury, Dean Alford, Alex. Grant, Bishop Thirlwall, F. Harrison, Father Dalgairns, Sir G. Grove, Shadworth Hodgson, H. Sidgwick, E. Lushington, Bishop Ellicott, Mark Pattison, duke of Argyll, Ruskin, Robert Lowe, Grant Duff, Greg, A. C. Fraser, Henry Acland, Maurice, Archbishop Thomson, Mozley, Dean Church, Bishop Magee, Croom Robertson, FitzJames Stephen, Sylvester, J. C. Bucknill, Andrew Clark, W. K. Clifford, St George Mivart, M. Boulton, Lord Selborne, John Morley, Leslie Stephen, F. Pollock, Gasquet, C. B. Upton, William Gull, Robert Clarke, A. J. Balfour, James Sully and A. Barratt.
Papers were read and discussed at the various meetings on such subjects as the ultimate grounds of belief in the objective and moral sciences, the immortality of the soul, &c. An interesting description of one of the meetings was given by Magee (then bishop of Peterborough) in a letter of 13th of February 1873:—
“Archbishop Manning in the chair was flanked by two Protestant bishops right and left; on my right was Hutton, editor of the Spectator, an Arian; then came Father Dalgairns, a very able Roman Catholic priest; opposite him Lord A. Russell, a Deist; then two Scotch metaphysical writers, Freethinkers; then Knowles, the very broad editor of the Contemporary; then, dressed as a layman and looking like a country squire, was Ward, formerly Rev. Ward, and earliest of the perverts to Rome; then Greg, author of The Creed of Christendom, a Deist; then Froude, the historian, once a deacon in our Church, now a Deist; then Roden Noel, an actual Atheist and red republican, and looking very like one! Lastly Ruskin, who read a paper on miracles, which we discussed for an hour and a half! Nothing could be calmer, fairer, or even, on the whole, more reverent then the discussion. In my opinion, we, the Christians, had much the best of it. Dalgairns, the priest, was very masterly; Manning, clever and precise and weighty; Froude, very acute, and so was Greg. We only wanted a Jew and a Mahommedan to make our Religious Museum complete” (Life, i. 284).
The last meeting of the society was held on 16th May 1880. Huxley said that it died “of too much love”; Tennyson, “because after ten years of strenuous effort no one had succeeded in even defining metaphysics.” According to Dean Stanley, “We all meant the same thing if we only knew it.” The society formed the nucleus of the distinguished list of contributors who supported Knowles in his capacity as an editor. In 1870 he became editor of the Contemporary Review, but left it in 1877 and founded the Nineteenth Century (to the title of which, in 1901, were added the words And After). Both periodicals became very influential under him, and formed the type of the new sort of monthly review which came to occupy the place formerly held by the quarterlies. In 1904 he received the honour of knighthood. He died at Brighton on the 13th of February 1908.
KNOWLES, JAMES SHERIDAN (1784-1862), Irish dramatist and actor, was born in Cork, on the 12th of May 1784. His father was the lexicographer, James Knowles (1759-1840), cousin-german of Richard Brinsley Sheridan. The family removed to London in 1793, and at the age of fourteen Knowles published a ballad entitled The Welsh Harper, which, set to music, was very popular. The boy’s talents secured him the friendship of Hazlitt, who introduced him to Lamb and Coleridge. He served for some time in the Wiltshire and afterwards in the Tower Hamlets militia, leaving the service to become pupil of Dr Robert Willan (1757-1812). He obtained the degree of M.D., and was appointed vaccinator to the Jennerian Society. Although, however, Dr Willan generously offered him a share in his practice, he resolved to forsake medicine for the stage, making his first appearance probably at Bath, and playing Hamlet at the Crow Theatre, Dublin. At Wexford he married, in October 1809, Maria Charteris, an actress from the Edinburgh Theatre. In 1810 he wrote Leo, in which Edmund Kean acted with great success; another play, Brian Boroihme, written for the Belfast Theatre in the next year, also drew crowded houses, but his earnings were so small that he was obliged to become assistant to his father at the Belfast Academical Institution. In 1817 he removed from Belfast to Glasgow, where, besides conducting a flourishing school, he continued to write for the stage. His first important success was Caius Gracchus, produced at Belfast in 1815; and his Virginius, written for Edmund Kean, was first performed in 1820 at Covent Garden. In William Tell (1825) Macready found one of his favourite parts. His best-known play, The Hunchback, was produced at Covent Garden in 1832; The Wife was brought out at the same theatre in 1833; and The Love Chase in 1837. In his later years he forsook the stage for the pulpit, and as a Baptist preacher attracted large audiences at Exeter Hall and elsewhere. He published two polemical works—the Rock of Rome and the Idol Demolished by its own Priests—in both of which he combated the special doctrines of the Roman Catholic Church. Knowles was for some years in the receipt of an annual pension of £200, bestowed by Sir Robert Peel. He died at Torquay on the 30th of November 1862.