V._ act ii. sc. 2 (1598).

Sir Charles Napier is credited with a far more laconic despatch, on
making himself master of Scinde, in 1843. Taking possession of
Hyderabad, and outflanking Shere Mohammed by a series of most brilliant
manoeuvres, he is said to have written home this punning despatch:
_Pecc[=a]vi_ ("I have sinned" [Scinde]).

=Roman Father= (_The_), Horatius, father of the Horatii and of Horatia.
The story of the tragedy is the well-known Roman legend about the
Horatii and Curiatii. Horatius rejoices that his three sons have been
selected to represent Rome, and sinks the affection of the father in
love for his country. Horatia is the betrothed of Caius Curiatius, but
is also beloved by Valerius, and when the Curiatii are selected to
oppose her three brothers, she sends Valerius to him with a scarf, to
induce him to forego the fight. Caius declines, and is slain. Horatia is
distracted; they take from her every instrument of death, and therefore
she resolves to provoke her surviving brother, Publius, to kill her.
Meeting him in his triumph, she rebukes him for murdering her lover,
scoffs at his "patriotism," and Publius kills her. Horatius now resigns
Publius to execution for murder, but the king and Roman people rescue
him.--W. Whitehead (1741).

[Asterism] Corneille has a drama on the same subject, called _Les
Horaces_ (1639).

=Roman des Romans= (_Le_), a series of prose romances connected with
Am'adis, of Gaul. So called by Gilbert Saunier.

=Romans= (_Last of the_), Rienzi, the tribune (1310-1354).

Charles James Fox (1749-1806).

Horace Walpole, _Ultimus Romanorum_ (1717-1797).

Caius Cassius was so called by Brutus.

The last of all the Romans, fare thee well!
It is impossible that ever Rome
Should breed thy fellow.

Shakespeare, _Julius Caesar_, act v. sc. 3. (1607).

_Romans_ (_Most Learned of the_), Marcus Terentius Varro (B.C. 116-28).

=Romance of the Rose=, a poetical allegory, begun by Guillaume di Lorris
in the latter part of the thirteenth century, and continued by Jean de
Meung in the former half of the fourteenth century. The poet dreams that
Dame Idleness conducts him to the palace of Pleasure, where he meets
Love, whose attendant maidens are Sweet-looks, Courtesy, Youth, Joy, and
Competence, by whom he is conducted to a bed of roses. He singles out
one, when an arrow from Love's bow stretches him fainting on the ground,
and he is carried off. When he co