This volume opens with a list of illustrations that includes photogravures, etchings, and wood engravings, hinting at the lavish late-nineteenth-century edition from which it derives. The entries themselves are compact, often beginning with a character's name in bold, followed by a brief identification and a narrative summary. For instance, the entry for Cassio describes him as "simple minded but not strong-minded," a judgment that echoes Dr. Johnson's assessment. The work moves swiftly between genres, from Shakespearean drama to opera to the Arabian Nights, without commentary on the transitions.

Alphabetical Architecture and Cross-References

The entries are arranged strictly alphabetically, but the volume also contains internal cross-references. The entry for Cassibellaun, for example, directs the reader to "Cassibelan" in Shakespeare's Cymbeline. This structure allows the reader to trace a character across different works and authors. The entry for Cassim, from "Ali Baba," includes the magic phrase "Open Sesamê!" and the fatal mistake of saying "Open Barley!"—a detail that underscores the book's attention to memorable plot points. The cross-references are not exhaustive, but they create a network that rewards sequential reading.

Condensed Plot Summaries and Moral Judgments

Many entries condense an entire plot into a few sentences, often with a moral or psychological observation. The entry for Cassio ends with Dr. Johnson's verdict: "brave, benevolent, and honest, ruined only by his want of stubbornness to resist an insidious invitation." Similarly, the entry for Count Cassel in Lovers' Vows describes him as "an empty-headed, heartless, conceited puppy" and quotes his boast about learning love "in the wilds of America." These judgments give the volume a critical edge, though they are not consistent across all entries.

Illustrations as a Parallel Narrative

The front matter lists over forty illustrations, each keyed to a specific character or scene. The list includes works by artists such as Gustave Doré, Sir Edwin Landseer, and J.L. Gérôme. The illustrations are not described in the text excerpts, but their presence suggests that the volume was designed as a visual as well as a textual reference. The entry for Cassibellaun, for instance, might have been accompanied by an engraving of the elephant that terrified the Britons—a detail mentioned in the text but not depicted in the excerpts.

Sources from Classical to Romantic

The entries draw on a wide range of sources, from Geoffrey of Monmouth's British History to Weber's opera Der Freischütz. The entry for Cassibellaun cites both Caesar's Commentaries and Drayton's Polyolbion, as well as Tennyson's poem "Boadicea." This eclecticism reflects the editor's aim to cover "romance, fiction and the drama" across periods and languages. The entry for Cassandra, though brief, mentions Shakespeare's Troilus and Cressida and the myth of Apollo's curse. The volume thus functions as a bridge between classical and modern literary traditions.

Readers approaching this volume should treat it as a starting point rather than a definitive source. The entries are often based on earlier reference works and may reflect Victorian tastes and biases. The illustrations, while not reproduced in this digital edition, are an integral part of the original design. For a fuller understanding, consult the works cited and compare entries across volumes.