the growth of the village for several years. In 1847, with a population of 12,000, Milwaukee was chartered as a city, and Juneau was elected the first mayor.
Consult: Wheeler, Chronicles of Milwaukee (Milwaukee, 1861); Buck, Pioneer History of Milwaukee (3 vols., ib., 1876-84), the third volume of which is entitled Milwaukee Under the Charter.
MILYUTIN, mĭl-yo͞o′tĭn, Dmitri, Count (1816—). A Russian general and military reformer. He was born in Moscow; entered the army in his youth, and was appointed chief of staff in the Caucasus in 1856. In 1862, after submitting his programme for a reform of the Russian army, he was made Minister of War, remaining in office for a score of years. In 1898 he was made field-marshal. Milyutin wrote on the campaign of 1839 in Northern Daghestan (1856), and on Suvaroff's campaign of 1799 against France (1856).
MILYUTIN, Nikolai (1818-72). A Russian statesman, brother of Count Dmitri. Before he was twenty he entered the employ of the Department of Interior; in Alexander II.'s reforms he took a prominent part, especially in the reorganization of credit, in the introduction of provincial institutions centring on the mir, in the emancipation of the serfs, and in agrarian commissions in Lithuania in 1863 and in Poland in 1864. He was Secretary of State for Poland from 1866 to 1868, and attempted to break down the power of the Roman Catholic clergy in that province. Milyutin wrote on Russian military statistics. Consult Leroy-Beaulieu, Un homme d'état russe (Paris, 1884).
MIMAMSA, mē̇-mäm′sȧ (Skt. mīmāṁsā, investigation, discussion). The collective name of two of the six orthodox systems of Hindu philosophy. The two Mimamsa divisions are: first, the Pūrva-mīmāṁsā, ‘Prior Inquiry’ or Karma-mīmāṁsā, “Inquiry concerning Works”; the second is Uttara-mīmāṁsā, ‘Later Inquiry’ or Brahma-mīmāṁsā, ‘Inquiry concerning the Supreme Spirit,’ or more commonly simply Vēdānta (q.v.). As a matter of fact, the two systems comprised under the name Mimamsa have little in connnon, though both are theistic in nature and both arose about the beginning of our era. The former deals chiefly with the Vedic ritual and its significance, the latter with speculations as to the nature of the Supreme Spirit.
The reputed founder of the system is Jaimini, and the principles are embodied in a series of Sūtras, or aphorisms, in twelve books, discussing the sacred ceremonies of the Veda and the merit accruing from their proper performance. The oldest extant commentary on this obscure work is the Bhāshya of Sabara-Svamin, whose date is placed long after the birth of Christ. This composition in turn was critically annotated, about A.D. 700, by the great Mimamsa authority, Kumarila.
The Mimamsa system has been one to which less attention has been given by European scholars than to any of the others. One of the earliest treatises on the subject was an essay on the Mimamsa by Colebrooke in 1826, reprinted in his Miscellaneous Essays (London, 1873). Consult: Garbe, Philosophy of Ancient India (Chicago, 1897); Max Müller, The Six Systems of Ancient Indian Philosophy (New York, 1899); Cowell and Gough, The Sarva-Darśana-Samgraha of Madhava Achārya (Loudon, 1894).
MIME (Lat. mimus, from Gk. μῖμος, mimos, imitator, actor, sort of drama, from μιμεῖσθαι, mimeisthai, to mimic). A species of popular comedy among the ancients, in which scenes of common life were represented with imitative gestures and dancing, and with jocose dialogue more or less freely improvised. It was said to have been invented by Sophron of Syracuse, who wrote in the Doric-Greek dialect. Mimes were a favorite amusement of convivial parties, the guests themselves being commonly the performers. Among the Romans, the mime early appeared, though in a somewhat different character, and shared popular favor along with the primitive Latin Saturæ and Atellan farces. Although abounding in rough ridicule and often indecent, yet in the hands of such writers as Laberius and Publilius Syrus the mime included much homely wisdom in the shape of familiar saws and proverbial lines which have survived the pieces that contained them. In the theatres, mimes came to be used later as afterpieces. The actors, themselves called mimes (mimi), appeared in front of the stage, without buskins or masks, but characteristically attired in patch-work cloaks (centunculi), as were the harlequins (q.v.) of a later day. Under the Empire, however, they were largely superseded in popular liking by the pantomimes (q.v.). Consult: Teuffel and Schwabe, History of Roman Literature (Eng. trans., London, 1900); Friedländer, Sittengeschichte Roms, vol. ii. (Leipzig, 1890); Patin, Études sur la poésie latine (Paris, 1875); Grysar, Der römische Mimus (Vienna, 1854).
MIM′EOGRAPH. See Copying Machines.
MIMESIS. See Orthography, Figures of.
MIMICRY (from mimic, from Lat. mimicus, from Gk. μιμικός, mimikos, relating to mimes, from μῖμος, mimos, mime). A form of protective resemblance by which one species so closely resembles another in external form and coloring as to be mistaken for it, although the two may not be really allied and often belong to distinct families or orders. As early as 1746 Rösei von Rosenhof in his Insekten-Belustigungen drew attention to the resemblance which geometric caterpillars, and also certain moths when in repose, present to dry twigs, and thus conceal themselves; and afterwards Erasmus Darwin, first in his The Lives of the Plants, and afterwards in his Zoönomia (1794), sketched out the subject of protective mimcry.
Bates's Theory of Mimicry. These facts received little attention, however, until 1862, when Bates proposed a general theory to account for them. He found during many years' residence in Brazil strikingly colored butterflies belonging to the brilliantly colored family Heliconidæ, and associated with them and indistinguishable, except on close examination, certain butterflies belonging to the structurally very different family of Pieridæ; also certain swallow-tail butterflies and day-flying moths. None of the mimicking insects were as abundant as the Heliconidæ they resembled. The Heliconidæ have an offensive taste and odor, in consequence of which they are immune from attacks by insectivorous animals; they fly deliberately, and they make no attempt at concealment although their bright, distinctive
