jurymen impanelled and sworn at the trial was, by the County Courts Act 1903, increased from five to eight.
There is an appeal from the county courts on matters of law to a divisional court of the High Court, i.e. to the admiralty division in admiralty cases and to the king’s bench division in other cases (sec. 120 of act of 1888). The determination of the divisional court is final, unless leave be given by that court or the court of appeal (Judicature Acts 1894). (See further Appeal.) In proceedings under the Workmen’s Compensation Act the appeal from a county court judge is to the court of appeal, with a subsequent appeal to the House of Lords. In 1908 a Committee was appointed by the lord chancellor “to inquire into certain matters of county court procedure.” The committee presented a report in 1909 (H.C. 71), recommending the extension of existing county court jurisdiction, but a bill introduced to give effect to the recommendations was not proceeded with.
See Annual County Courts Practice, also “Fifty Years of the English County Courts,” by County Court Judge Sir T. W. Snagge, in Nineteenth Century, October 1897.
COUPÉ (French for “cut off”), a small closed carriage of the brougham type, with four wheels and seats for two persons; the term is also used of the front compartment on a diligence or mail-coach on the continent of Europe, and of a compartment in a railway carriage with seats on one side only.
COUPLET, a pair of lines of verse, which are welded together by an identity of rhyme. The New English Dict. derives the use of the word from the French couplet, signifying two pieces of iron riveted or hinged together. In rhymed verse two lines which complete a meaning in themselves are particularly known as a couplet. Thus, in Pope’s Eloisa to Abelard:—
“Speed the soft intercourse from soul to soul,
And waft a sigh from Indus to the Pole.”
In much of old English dramatic literature, when the mass of the composition is in blank verse or even in prose, particular emphasis is given by closing the scene in a couplet. Thus, in the last act of Beaumont and Fletcher’s Thierry and Theodoret the action culminates in an unexpected rhyme:—
“And now lead on; they that shall read this story
Shall find that virtue lives in good, not glory.”
In French literature, the term couplet is not confined to a pair of lines, but is commonly used for a stanza. A “square” couplet, in French, for instance, is a strophe of eight lines, each composed of eight syllables. In this sense it is employed to distinguish the more emphatic parts of a species of verse which is essentially gay, graceful and frivolous, such as the songs in a vaudeville or a comic opera. In the 18th century, Le Sage, Piron and even Voltaire did not hesitate to engage their talents on the production of couplets, which were often witty, if they had no other merit, and were well fitted to catch the popular ear. This signification of the word couplet is not unknown in England, but it is not customary; it is probably used in a stricter and a more technical sense to describe a pair of rhymed lines, whether serious or merry. The normal type, as it may almost be called, of English versification is the metre of ten-syllabled rhymed lines designated as heroic couplet. This form of iambic verse, with five beats to each line, is believed to have been invented by Chaucer, who employs it first in the Prologue The Legend of Good Women the composition of which is attributed to the year 1385. That poem opens with the couplet:—
“A thousand times have I heard man tell
That there is joy in heaven and pain in hell.”
This is an absolutely correct example of the heroic couplet, which ultimately reached such majesty in the hands of Dryden and such brilliancy in those of Pope. It has been considered proper for didactic, descriptive and satirical poetry, although in the course of the 19th century blank verse largely took its place. Epigram often selects the couplet as the vehicle of its sharpened arrows, as in Sir John Harington’s
“Treason doth never prosper: what’s the reason?
Why, if it prosper, none dare call it treason.”
(E. G.)
COUPON (from Fr. couper, to cut), a certificate entitling its owner to some payment, share or other benefit; more specifically, one of a series of interest certificates or dividend warrants attached to a bond running for a number of years. The word coupon (a piece cut off) possesses an etymological meaning so comprehensive that, while on the Stock Exchange it is only used to denote such an interest certificate or a certificate of stock of a joint-stock company, it may be as suitably, and elsewhere is perhaps more frequently, applied to tickets sold by tourist agencies and others. The coupons by means of which the interest on a bond or debenture is collected are generally printed at the side or foot of that document, to be cut off and presented for payment at the bank or agency named on them as they become due. The last portion, called a “talon,” is a form of certificate, and entitles the holder, when all the coupons have been presented, to obtain a fresh coupon sheet. They pass by delivery, and are as a rule exempt from stamp duty. Coupons for the payment of dividends are also attached to the share warrants to bearer issued by some joint-stock companies. The coupons on the bonds of most of the principal foreign loans are payable in London in sterling as well as abroad.
COURANTE (a French word derived from courir, to run), a dance in 3-2 time march in vogue in France in the 17th century (see Dance). It is also a musical term for a movement or independent piece based on the dance. In a suite it followed the Allemande (q.v.), with which it is contrasted in rhythm.
COURAYER, PIERRE FRANÇOIS LE (1681–1776), French Roman Catholic theological writer, was born at Rouen on the 17th of November 1681. While canon regular and librarian of the abbey of St Geneviève at Paris, he conducted a correspondence with Archbishop Wake on the subject of episcopal succession in England, which supplied him with material for his work, Dissertation sur la validité des ordinations des Anglais et sur la succession des évêques de l’Église anglicane, avec les preuves justificatives des faits avancés (Brussels, 1723; Eng. trans. by D. Williams, London, 1725; reprinted Oxford, 1844, with memoir of the author), an attempt to prove that there has been no break in the line of ordination from the apostles to the English clergy. His opinions exposed him to a prosecution, and with the help of Bishop Atterbury, then in exile in Paris, he took refuge in England, where he was presented by the university of Oxford with a doctor’s degree. In 1736 he published a French translation of Paolo Sarpi’s History of the Council of Trent, and dedicated it to Queen Caroline, from whom he received a pension of £200 a year. Besides this he translated Sleidan’s History of the Reformation, and wrote several theological works. He died in London on the 17th of October 1776, and was buried in the cloisters of Westminster Abbey. In his will, dated two years before his death, he declared himself still a member of the Roman Catholic Church, although dissenting from many of its opinions.
COURBET, GUSTAVE (1819–1877), French painter, was born at Ornans (Doubs) on the 10th of June 1819. He went to Paris in 1839, and worked at the studio of Steuben and Hesse; but his independent spirit did not allow him to remain there long, as he preferred to work out his own way by the study of Spanish, Flemish and French painters. His first works, an “Odalisque,” suggested by Victor Hugo, and a “Lélia,” illustrating George Sand, were literary subjects; but these he soon abandoned for the study of real life. Among other works he painted his own portrait with his dog, and “The Man with a Pipe,” both of which were rejected by the jury of the Salon; but the younger school of critics, the neo-romantics and realists, loudly sang the praises of Courbet, who by 1849 began to be famous, producing such pictures as “After Dinner at Ornans” and “The Valley of the Loire.” The Salon of 1850 found him triumphant with the “Burial at Ornans,” the “Stone-Breakers” and the “Peasants of Flazey.” His style still gained in individuality, as in “Village Damsels” (1852), the “Wrestlers,” “Bathers,” and “A Girl Spinning” (1852). Though Courbet’s realistic work is not devoid of importance, it is as a landscape and sea painter that he will be most honoured by posterity. Sometimes, it must be owned, his realism is rather coarse and brutal, but when he paints the forests of Franche-Comté, the “Stag-Fight,” “The Wave,” or the “Haunt of the Does,” he is inimitable. When Courbet had
