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C O N T E N T S .

I NTRODU CT I ON

B Y R ECOL L ECTI ONS OF T H O M A S L OV E P EACOC K.

I R EDW D T A H EY B T . S AR S R C , AR

S O ME R ECOL L ECTI ON S OF C H I L D H OOD

CA L I DO R E : A FRA G M ENT OF AN U NFI N I S H ED R OM ANCE

T H E FO U R A G ES OF POETRY

- H R A MA T I C E I I I I . ORAE D A .

T H E L AST D A Y OF W I N DSOR FOREST

I NDEX OF FI RST L I NES OF L YR I CS I N T H E N I NE

V OL U M ES

I N T R O D U C T I O N .

’ “ i A T H ER up the fragmen ts th at remain is a prec ept whose application may be easily overstrain ed in the case of the m A m literary re nants of a favourite author. uch m n is n n c s s aller fractio than half , in such i sta e , ’ s usually better than t h e whole . Peacock editor h and publis er, however, have agreed, and it is t h e h is n ot s hoped that body of readers will di sent , c m h is c h h a s that the o plete edition of novels, whi n ow m fitl m run its course, ight be y supple ented by n m n n an appe dix of inor writi gs, hitherto u collected n s c s or ot easily acce sible . Su h a decision is e pe c ia lly justifiable in t h e case of a writer whose n m n slightest productio bears the sta p of origi ality,

- h and this is pre eminently the case wit Peacock , whose manner of presenting even a familiar idea is s n W h is s always di tinctively his ow . hen robu t indepen dence is associated with a c on genial sub ect f —it n j , the e fect is very agreeable, is like bei g made thoroughly at home by on e wh o 1 5 thoroughly m m c c m n at ho e hi self. Pea o k seldo respo ded to m the ere call of a publisher or editor, for such a im call was seldom addressed to h . He was neither 8 I n t r oduct ion . popular en ough nor needy en ough to be frequen tly m h is own n h m m diverted fro be t, and t us exe pt fro

h e C f a n d . taskwork, ould always be resh vigorous H is n ma e n ot ff reputatio , it y be hop d, will su er from any of t h e piec es comprised in t h e present m m c h c n n ew c a n d volu e, so e of whi o tribute olour h c n substance to the biograp i al outli e of the author, while others are e ssen tial to t h e full exhibition of c a s m n s his haracter a a of letter . ’ h e n ot m c The first of these, owev r, is fro Peaco k s

e n . m n s n c own p It is a paper of re i i ce e, for which t h e Editor is in de bte d to the un solicite d ki n dn ess of c t wh o s Sir Edward Stra hey, Bar , , ixty years ago, saw somethi n g a n d heard m ore of the Peacoc k of

' t h e n . T h e St r a c h e kn own I dia House elder y , to t h e readers of C a rlyl e as the subje c t of one of h is i n effaceable etchin gs of m en of marked person n ality , has a place i history as one of the ablest m m ho e servants of the East India Co pany, who, m m ffic n but for so e i patience of the o ial har ess, m h c ig t probably have ri sen to the h ighest pla e . on c m u He was ordial ter s with his colleag e, Pea ’ a n d h is n m n cock, so s re i iscences , as gracefully n c writte as they were gra efully tendered, contribute m n l r so ethi g not on y to thei avowed purpose, but to the record of the great City house from wh ich so l India was ong governed, which has not yet n found an historia . “ ” m R n So e ecollectio s of Childhood, on the ’ other hand , are Peacock s own . They appeared in f en /lay s and were reprinted as

I o I n

n adequate to support a Short story . If it had bee ’ compressed within the dimen sion s of Paul Heyse s “ n n n m Ce taur, a tale fou ded upo a si ilar idea, it m n n c c ight hav e bee a co siderable su ess , for it m a n d wants neither wit, hu our, nor Spirit ; the u is m a n d dialog e ore terse pointed than usual . But the difficulty of working the c onception out is m r h in tacitly ad itted by the g eat iatus the MS . The Welsh adventures of the hero are suddenly a n d so m a dropped , without uch as a rough dr ft to w h e h e is n s n n Sho how got there, tra ferred to Lo do , h m n where a chapter, penned wit as uch elaboratio as this sin gularly careful writer ever gave to any

h n . A ll t ing, conducts to nothi g at all the rest is

' n cfiimcem é mézn a m n m a m bou dless conj ecture, o i . h n m l W at was written, however, excepti g a s al portion whic h has become obscure from the

c m c M . m a cidental i perfe tion of the S , see s well C worthy of preservation . It is highly haracteristic ’ n m t h e s a n d of the author s e thusias for pa t, of the alliance which h e would fain have effected between the classical Spirit a n d the genius of romantic m a m n n m a edi evalis , while interesti g a alogies y be traced between it a n d a more celebrated work in ’ “ m a n spired by a si ilar order of ide s, Hei e s Gods ” T h in Exile . e picture of the habits of Welsh c parsons , utterly inappli able at the present day, is probably derived from Peacock ’s acquaintance with the clergyman whom h e describes in a letter “ m m as a little , du py, drunken , ountain goat . Peacock ’s Four A ges of Poetry ” has long ago I n r du n t o ct io . I I soared into immortality in the eagle grasp of the n c m h e rej oi der whi h it provoked fro S elley, ev n ’ though Shelley s spe c ific referen ces to it have been m s f n m n t h o itted . It is u ficie tly a ifest that if e author could h a v e obtain ed an audienc e as a poet h l n ot a s e wou d hav e sought one a critic , and the m n ma m epithets whi sical and Sple etic, y not see

n . O n quite i appropriate the other hand, the a n d analysis of the birth , growth , decay of poetry a n d s s S O n m is both just agaciou , lo g as it is li ited ch C n a n d to a particular s ool or ou try, it is under stood that upon a compreh en sive view these n m n l e n m a phe o e a wi l ver be fou d si ult neous, like a n d in m n c in ca n birth death the hu a ra e, or des n cence and exti ction in the sidereal universe. It should furth er be remarked that the apparently illiberal treatmen t of the Lake Poets is far from ’ n h n m n expressi g t e writer s real se ti e ts . He de r h lighted to gi d at Wordswort , Coleridge, and h s m. Southey, but he al o delig ted to quote the In ” G r yll Gran ge h e eulogises th eir absolute truth an d s a n s to Nature, of Word worth he says , in es ay “ in m reprinted this volu e, He has deep thought, ” c m in h s n gra eful i agin gs, great pat os, and little pa sio . — m n h in a j udg e t whic , save that it ignores the estimable service performed by the regeneration ma of poetic diction, y satisfy any but an ultra

Wordsworth ian . Dr a ma t ica e s In Horae , Peacock appear at his m best as a critic. The the es are worth the labour,

admitting of the eliciting of positive results, and 2 I I n t r oduct ion .

the read er lays the essays down with a con s c ious n s n h n ess of di tinct i tellec tual gain . T ree a cient m on e s m on e dra as , one corrupt , grievou ly utilated, m m n h n erely frag e tary, ave bee restored as perfectly m n c m as circu sta es per itted , a substantial conquest “ ” m t h m h n fro e real of C aos a d old Night . “ The Last Day of Windsor Forest forms a ’ n n a n fitti g conclusio to Peacock s writings, old ’ man s remin iscen c e of an episode memorable in t h e history of a place where mu c h of his life h a d a n d ch been passed, whi , after his favourite river, e h n a n in h he loved b tter t a y spot t e world . It is s in h i c m al o all probability s last o position . ’ n m for Fr a ser s M a a z in e Writte , as would see , g , it was n a n d s never se t there, was first publi hed by the present writer in the N a tion a l R ev iew for A ugust

1 88 7. Several others of Peacock’s miscellaneous c n arti les would have borne reprinti g , had the m n s n m di e io s of this volu e allowed, and two , which ought to be in c luded in a n y future edition of h is n s n m ffi n writi g pretendi g to co pleteness, are su cie tly m n c T h e remarkable to de and a brief oti e here . ’ review of Moore s Epicurean in the Westmin ster

e i 1 8 2 m m . R v ew for October 7, is really e orable Pea cock was not in general a very formidable assailan t

of the me n or opinions he disliked , but was for once ’ so thorough ly exasperated by Moore s caricature of “ his favourite philosophy, drawing a portrait of m everythin g that an e inent Epicurean was not, and presenting it to us as a fair specimen of what h e I n t r oduct ion . I 3 wa s a n d SO c , well qualified by his own pe uliar ran ge of kn owledge to effect a n d en j oy t h e exposure ’ of Moore s misappreh ension s as well a s his mist e s n n s t h e h a s n c c h pre e tatio , tha for o e a ieved a

critic i sm wh ic h m ay fairly be termed an n ih ila ti n g . c n n n c He a ot, i deed , distil the corrosive a id of h n h m n Carly le, or unc ai the overw el ing torre t of M a caulay h is in dictmen t is c umulative ; he r e n s t h C n a n d n a n d m tur to e harge agai agai , if so e h c n s f e w at tardy in produ i g the de ired e fect, leav s h is oppon ent at last riddled th rough a n d th rough

‘ a ma a n with s rcasms. The following y serve as m exa ple . Moore says

A m n s li a mn s a n d s h n e s a l e a h a f n o g o t ry colu p i x , r dy l su k f m s h me se e me s a n a n a ll h a n ow ro ig t , Ti d to t d w iti g , till t t flourish e d a rou n d sh ould fa ll be n ea th h is d esola tin g h a n d

like th e r est .

Peacoc k comments

T h e sa n ds of th e L ibya n d e se rt ga in i n g on Me mph is lik e n m ss h n o in a m a e t h e a se a is a i pre iv e th oug t orig l i g , but picture is a ltoge th e r Spoil e d by t h e figure of Tim e st a n di n g

wa in H a s M r M e f e n h a m e a n d e a it g . oor orgott t t ti tid w it n e ith e r for m en n or sa n d s T h e v e ry e sse n c e of t h e id e a O f

me is s ea n ce ssa n n e m n a b e e ss n . I f h e Ti t dy , i t , i t r i l progr io a n b sin ess in th e a ce is a s a n a e n h m se fS en h a s y u pl , it g t , i l il tly h e f e s a i n n ot a n t h a n im pe lli n g t e progr ss o d ol t o , w iti g till e s d s

h a n e h e in e b e n h is. A n d a s M e m ve do t ir work , ord r to gi ph i s wa s still a fiour ish in g c ity a t l e a st four c e n turie s l a t e r h a n e c s s e c imen of a n E c e a n m e m t our v ry uriou p pi ur , Ti ust

s a n f n o n n s a e n of h m se f h a ve tood w iti g or i co id e r bl portio i l .

Th i s ma y be a c on ven ien t place for rec ordin g s that Peacock was the writer of two letter , signed t c i n I 4 I n r odu t o .

Ph ila tmos Times m an d , in the of Nove ber 3 m 1 8 8 t h e n c s m Nove ber 7, 3 , on u su ce sful atte pt of the S emir a mis in the previous July to steam n t h e m n n m m h c agai st o soo fro Bo bay to Suez, w i h prove that a n y Opposition on h is part to t h e R e d Sea route for the I n dian mails was by no mean s due to a n y doubt of its practicability for steam n c n ships . There are probably other u a k owledged mm c co unication s of his on the same subje t . R E CO L L E CT I O N S

O F

M V P T H O A S L O E E AC O C K.

I R WA R D T H EY T B v S ED RAC BAR . S ,

’ N the Exami n er s Office at the I n dia House

L e aden h a ll t h e in Street, were drafted despatches of t h e Court of Direc tors of the East India Compan y relatin g to t h e a dmin is t r a t ion c R n a n d n of Justi e, eve ue , Public Works i

. I n 1 8 1 n h India 9 this Office was reorga ised, wit it s ffi n r n a view to greater e cie cy , and th ee ew m e n

- m m a n Edward Strachey ( y father), Ja es Mill , d Thomas Love Peacock were in troduced with the ” A m in title of ssistants, to be e ployed wr itin g t h e despa tc hes in the above- men tioned departme n ts c h respe tively. T ey were thus brought i n to a f m n w c n m a a iliar i tercourse, hi h , betwee y f ther a n d c m s n s Peaco k , beca e a la ti g friend hip . My p erson a l recollec tion s of Peac o c k do n ot go furth er bac k 1 8 2 s than about 7, but they were afterward supple men t e d m m h m c s n by those of y ot er, and of y ou i , t h l n e late Mrs Phi lipps, k own as Miss Kirkpatri c k m ’ to all readers of Tho as Carlyle s life . I remember 1 6 R ecollect ion s of

’ in m s m Peacock y father roo in the India House, a n d when h e occ asio n a lly cam e to dine a n d sl e e p ’ h h n n at our ouse at S ooter s Hill , as a ki dly, ge ial ,

h - man h f n n laug ter loving , rat er o d of good eati g a n d n n s a n a s h e so dri ki g, or at lea t of t lki g if were , for I remember n o oth er a c tual proof of th is th an s n h e me his ayi g, w n asked if he would have so “ ” c h is on e m h m n n erry pie, That of y eresies , ea i g h h h e kn n ! t at he ate it , thoug ew it to be u whole some ; and it is possible that my recollection s ma y be largely coloured by my familiarity with his desc ription s of eating a n d drinki n g in the h ospit ih h is e n h able houses s veral novels . O t e other n s n ma n wh h ha d , he practi ed as a you g , at his ero , “ ” n c h an d Mr Forester in Meli ourt, preac ed, gave up m sugar as a protest against negro slavery . This y m me m v other told , y father ha ing , I suppose , heard m h m h m it from Peacock hi self. S e also told e t at y father and on e or two oth er friends were spen ding Saturday and Sunday with Peac ock at h is c ottage C whe n h is little daugh ter died in 1 8 2 6 . The hild n a n d c c was thought to be getti g better, Pea o k went out in h igh spirits for a walk with h is frien ds . Wh e n they came back h e was told th at the c hild

. wa s a n d m was dead His grief great, he said to y fath er that there were tim es wh en the world could n m fun of m m m h n ot be ade . I re e ber y fat er bri g in g back on e day t h e li n es begin n i n g Lon g n ight ” c e s t h h c c h a d su c ed y little day, of w ich Pea o k s n h im a n d h c on t h ju t give a copy, w i h were put e ’ Ch d s - il gravestone, as told by his grand daughter.

I 8 R ecollect ion s of

h c m m t h e c n where, but of w i h I re e ber MS . opy lo g h m before . Thoug his hu ourous dislike of paper mon ey a n d politic al econ omists appears in h is s m h earlier novel , it was no doubt uc intensified c m by his i n tercourse with Mill . He one day a e ’ m h m a n d m n n to y fat er s roo , said, with ock i dig a “ n n n n h e tio , I will ever di e with Mill agai , for s m n c n m s a ks me to eet o ly politi al eco o ist . I dined h h im n h h M ush t a n d wit last ig t , w en he had e a c ulloch a n d f n n M ush M C , a ter di er, et took a

a h is a n d n p per out of pocket, bega to read : In t h e n m in i fancy of society, when Govern ent was ’ n c n — n ve ted to save a per e tage say, of 3 } per ce t . — on c e M a c ulloch whi h he was stopp d by C with , ‘ ’ sa n o n m a n n wa s I will y such thi g, e i g that this ” n t h n s o t e proper perce tage . Two or three year ” t h e wa s in c in later, story told Crot het Castle h n t e way the reade r k ows . Peacock was pleased ’ when h e was told th at a boy s simplicity had vainly tried to make out which of his c haracters “ h is own O n n s : h represented pi io , saying T at is ” m m e just as it should be. But y father told he thought that Peac ock really con sidered t h e state of society when m e n wore armour and had no pa per m n e n wn h s o . o y , was better tha our But e u ed to h a t h e c s n quote, wit approv l, las ical sayi g that the

d leoile l udibr ia m a n d h e worl was f , probably cared l e ss for t h e relative merits of differen t p e riods

f h s n t h e n s of e c h o i tory , tha for suitable e s a for a f supplyi n g the m t e rials or fun a n d laughter . He satiri sed the vices a n d follies of men as a fun- lovin g Tnoma L ov e Pea cock s . 1 9

c m B cari aturist ore than as a Juvenal or a utler, th ough the sterner mood is n ot always absent ; and his caricatures of Shelley, Byron, Southey, Words ua r ter l worth, Coleridge, and the editors of the Q y a n d E din our glz R ev iews provoke our laughter by h t e ridiculous wan t of resemblance to their originals . H e scoffed impartially at the two great party R ev iews h e m h , and once said to y father, as t ey man E din ur lz R passed a with a package of b g eviews, ” a n d mm There goes a lot of lies bad gra ar, with as much pleasure a s if he had been the editor of L e itima te R eview m n the g , to who he has i troduced ” n us in Meli court . n Peacock loved Latin and Greek, Italia and n French literature, as well as that of E gland . h is m W There is a story of fa iliarity ith French, and his ready wit (remin din g us of a somewhat Simi c lar story of Sheridan), how he recited, in dis us n a n m n c R n si g with Fre ch a the tragi dignity of aci e, n n m é several li es , begin ing with Mada e pr parez votre mouchoir and th e u n suspectin g hearer c n A h ould o ly reply , sir, you have taken the ” h i “ very worst verses in all R ac in e . In s Mis ” n fortunes of Elphin, he gave the Welsh lege ds f h h im a h with care ul accuracy . I eard s y t at he had great difficulty in gettin g at the true story of ’ s m n Talie in s birth , as ore than one lear ed authority had con c ealed h is own ignoranc e on t h e matter by saying th at th e story was too lon g to be told then and h e was proud of th e fact that Welsh a r ch aeo logist s treated h is book as a serious and valuable 2 0 R ecollect ion s of

n s additio to Wel h history. His familiar love of a n n Latin d Greek is known to all his readers . Ma y a s c holar must have foun d a n ew pleasure in his

- of- - n s a n d in t h e out the way quotations and allusio , skilful humour of his Greek etymologies of E n gli sh n m a n d s h h a es , e pecially for t ose of the three p ilo ” in n n h n h sophers Headlo g Hall , tha whic ot ing h m n h h n c ould be happier . Like ot er e w o ave ever

n m r bee at Oxford or Ca b idge, he would Speak dis ar a in l n n s U n p g g y of the lear i g of tho e iversities, and avowed h is opinion of t h e superiority of the Germans h c in classical studies . But thoug he re ommen ded m e a German commen tary on Greek metres a s a n n c c better than those of y E glish riti , he put ’ M a lt by s Lexic on as one of the th ree Greek c h m f h w n Lexi ons whic , he told y at er, ere i dis n m e t h e n H e der ic us pe sable for , other two bei g a n d a n d h e n h m Scapula, fi ally i self selected for m n n a e a copy of the Lo do edition of Sc pula, edited in 1 8 2 0 by the En glish scholars Bailey wa s a n d Maj or. It was pardonable if there a ’ little mixture of van ity in Peac ock s assertion th at t h e D ion y sia c a of N on n us was t h e fi n est poem n in the world after the Iliad , si ce very few but himse lf had the knowledge of the former wh i ch could qualify them for decidin g or disc ussin g the

h - s e question on it s merits. The hig ly poli h d verse of the P a n opolit a n poet would h av e greater charms ’ n e c s n n h n own for a ma of P aco k ge eratio t a for our , a n d t h e two spec imen s whi c h h e gives as m otto e s “ a n . to chapters viii . d x of the Misfortunes of Tkoma s L ov e Pea cock . 2 1

Elphi n ca n hardly be praised too much for th eir

c an d . ma n in m gra e beauty I y be forgive if, y t h e n c eightieth year, I look back to day whe Peaco k n m f s m me se t, through y ather , the verse which ake * f m t h e in ond of these ottoes, to schoolboy whose n studies h e took so kin d an i terest . ’ s Peacock literary style was elaborately polished , a n d r n he disliked w iti g letters , lest he should fall m n ffic a into any fault in hasty co po sitio . His o i l “ d e spatch es were des cribed by my father a s neat ” a n d c C e s c ma n . exa t, haract ri ti of the Whether “ ” t h e Chairs in L ea de n h a ll Street or the Board of Con trol foun d a n y wit or humour in them I ’ kn ow not : but I rec all Peacoc k s ac cou n t of h is h aving gon e on e da y to see a direc tor of the C om n r m h n n pany sell tea . He fou d the g eat erc a t pri ce s n m e itti g at a table in a roo , round which w re a n m in c u ber of tea brokers a state of fury, ea h n sh n a n d bra di i g a huge ledger, occasionally Shout “ in A n n . T h e m n g out , halfpe y o opoly of tea, of

A RM. r e a is wa kd a t a ov a dd oov def wv un u xfiu p p ,

' ’ ’ ’ e ‘ L ‘ f A ldépos rigi d. figov e 7r el A dS ci/q O r os o wAh ' ' 0 0 7r oI/ wv dwafv e v de de défer‘ a t ‘ 0 1556 0' oc 1 2pm Mfimo dedkeuoa v n mixer s wer da wow

’ G ra sp th e bold th yrsu s se e k t h e fi e ld s a rra y A n d do th i n gs worth y O f e th e re a l da y N ot with out toil to e a rth born m a n be fa ll s ’ To tre a d t h e floors ofJov e s immorta l h a lls N e e h im wh o n ot b e h v r to , y d e ds as strive n , t h e h H s l a c t h a Will brig t our rol b k e g t e s of h e a ven .

I I S T O CCH S in fire I tk B ook o M R BA U , 3 f e D I O N YS I A CA OF N ON N S U . 2 2 R ecollection s of

h w h n n whic the lo est price was eig t shilli gs a pou d , gave the Ea st I n dia Compan y a reven ue suffi cien t to pay the whole of the home expen ses of the Com n n n n on a n d pa y, i cludi g the i terest their stock , also sum s to pay a like into the Briti h treasury .

in n c ma s m s im If, co lusion, I y upple ent the e per fect memories a n d fa m ily tradition s from t h e ’ sourc es of Peacock s books a n d t h e memoirs of h is n - h h sa gra d daug ter, I s ould y that he was a

n - n ma n ki d hearted , genial, frie dly , who loved to sh are his en j oymen t of life with all arou n d h im ; a n - h d he was self in dul gent with out bei n g selfi s . n a n d His ideals of life were n oble and ge erous , in n m h n n Meli court they te per wit serious ess, eve s n fun a n d c c h c ad ess, the boyish love of ari ature w i h “ h im A n if s n never fail . d we se e in The Mi fortu es ” “ ” of Elph in an d Crotc h et Castle i n c reased in t elle ct ual power accompan ied by a more worldly n t h n n n c to e of thought, e atural co seque e of pros n m n f h n is s n pero s enjoy e t of li e as e fou d it , it plea a t ” c n n s in G r ll n t h e C to re og ise sig y Gra ge , hild of h is a n d e m t n t old age, a softer b tter orali y tha tha

- whic h ch aracterises the t wo last n amed books . I have written down th ese remi n iscen ces of Th omas Love Peacock hon estly : but I do n ot ask A t h e reader to accept them as absolutely true . good memory implies a sufficient ac tivity o f imagi n ation to form our original impression s of a person A n d h n we or a n eve n t i n to a distin ct picture . t e ’ keep that picture clear and livi n g in our mind s eye by retou c h in g it from time to time by wh at we Tkoma s L ov e Pea cock 2 . 3

m m h e n in suppose to be e ory, but w ich is oft , great

m n n . A n d so f e a r part at least, i agi atio , year a ter y , c c c c n s a n d n ot t h we re olle t our last re olle tio , e h n n it s m original t i g itself, or eve first i age . The

c s is n n s s c c s n c e r pro e s u co ciou , but we o a io ally dis ov it s reality when we come across some contemporary n an d fin d h w or otherwise i dependent record , o f n m n much is dif ere t fro our ow . The proper title n h of a biography, whether of oneself or of a ot er, will ” c h n un d h probably always be Di tu g Wahr eit, if ” w h n e translate it Trut and Fictio , and not n ecessarily Po e try and Truth .

D WA R D TRACH EY E S . R E C O I . L E C T I O N S O F

C H I L D H O O D .

B Y TH E TH R O F EAD L N G AL L A U O H O H .

H E B E E T A B Y H OU S .

PA SSED many of my early days in a n n mm cou try tow , on whose i ediate out a n n m n n skirts stood ancie t a sio , bearing m the n ame of the A bbey House . This ansion has lo n g Si n ce vanished from the face of the earth 5 but man y O f my pleasantest youthful rec ollections are ’ a n m m n associated with it, d in y i d s eye I still see

m m -m it as it stood, with its a iable, si ple annered, old English inhabitants . h m m n The ouse derived its na e fro standi g near, on e though not actually on, the Site of of those rich m n old abbeys , whose de es es the pure devotion of Henry t h e Eighth tran sferred from their former oc c upan ts (who foolishly imagined they had a right m m to the , though they lacked the ight which is it s essen c e) to the members of h is c on ven ient Parlia m n Wh o h im r un h e tary chorus, helped to down is

Scotch octave of wives . Of the abbey itself a

2 6 a lid a n s ll or e d i c a a . C , M e n e

n h headed nails . O the right of th is all was t h e a on gre t staircase the left, a passage to a wing t h m s c appropriated to e do e ti s . n t h e n n Faci g portal, a door ope ed i to an inner i n n . hall, the ce tre of which was a billiard table On the right of this hall was a library ; on the left

mm n n - m a parlour, which was the co o sitti g roo ; a n d f n m O n n aci g the iddle was a glazed door , pe i g on the broad flight of stone steps wh i c h led into n the garde s .

T h e n in Old : e garde s were the style a larg , square lawn occupied a n ample spac e in t h e d m of centre, separate by broad walks fro belts trees and shrubs on eac h side ; a n d in fron t c n s h n were two advan i g grove , wit a lo g, wide

n h m e n c n vista betwee t e , looking to the op ou try , from which the groun ds were separated by a ter

c n n . n e ra ed wall over a deep , su ke dyke O of the gr oves we c alled the Green Grove an d t h e other the Dark Grove . The first had a pleasant glade , with sloping banks c overed with flowery turf t h e m s c n h other was a ass of tree , too closely a opied wit m foliage for grass to grow beneath the . T h e fa mily con sisted of a gentleman and h is

w f d h son . i e, with two aug ters and a The eldest daughter wa s on the con fi n es of womanhood ; the you n gest was little more than a child t h e son was

n m . h is betwee the I do not know exact age, but n an d h e I was seve or eight , was two or three years more . m m e The fa ily lived , fro taste, in a very retir d S ome R ecollec t ion s o kild/coo 2 f C d. 7 mann er ; but to the few whom th ey rece ived they m n s e h s t h e were e ine tly ho pitable . I was, p r ap , m m n s e wh o wa s m fore ost a o g the e few, for Charl s, y h n s schoolfellow, was never happy in our olidays u le s h im A n a n I was with . freque t guest was elderly m n m c t h e m ale relatio , u h respected by fa ily, but n o h m favourite of C arles , over who he was dis posed to assume greater authority than Ch arles n was willi g to ac kn owledge . The moth er a n d daugh ter had all t h e solid qualities which were c onsidered female virtues in

s. n h h a s se n o the dark age Our e lig tened age , wi ly, s m n h m a n d doubt , di carded a y of t e , substituted h s T h r t h e S ow for olidity . e dark ages prefer ed m a n d t h e w t h e natural blosso , fruit that follo s it

n c - s m e lightened age prefers the artifi ial double blos o , c n n t h whi h falls and leaves othi g . But e double blossom is brillian t wh ile it lasts a n d where t here is muc h light there ough t to be somethi n g to glitter In I t . These ladies h a d t h e faculty of stayi n g at home a n d this wa s a prin ciple am on g t h e an tiqu e faculties that uph eld t h e rura l m a n sion s of the m iddli n g n r A sk h n h n h m et id en us ge t y . Brig to , C elte a , g h m f A n a sk omn e h a s e c h c . d , w at b o e of t at a ulty the plough - Sh are wh at h a s become of the rural

man sion s . n h n n h own They ever, I t i k, we t out of t eir n s c h ch a grou d but to ur , or to take their regular d ily T h e n airin g in the old family c arriage . you g lady in n sh e on e m in was an ade pt preservi g had roo , 2 8 a lidor e a n d isc ll a C , M e a n e .

a n d the corner of the hall, between the front the n h great staircase, entirely surrou ded wit Shelves in m m n h c m co part e ts stowed wit lassified sweet eats, s t h e O f j ellies , and preserved fruit , work her own n h sweet ha ds . T ese were distin guished orn aments

- m n of the supper table 5 for the fa ily di ed early, and m n n A c aintai ed the old fashio of supper . hild would not easily forget the bountiful and beautiful

array of fruits, natural and preserved, and the m i m c m a n d a ple variety of preparat ons of ilk , rea , m T h custard, by which they were acco panied. e

- m supper table had atter for all tastes . I remember what was most to mine . n m n h The you g lady perfor ed o the harpsic ord . Over what a gulf of time this name alon e looks back What a stride from the harp sichord to on e ’ of B r oa dwood s last gr and pianos ! A n d yet with c n in what pleasure, as I stood by the or er of the m n stru ent, I liste ed to it, or rather, to her ! I would give much to know that t h e worldly lot of th is gen tle and amiable creature had been a happy O n n m n m on e . She fte ge tly re o strated with e for puttin g h er harpsic hord out of tu n e by playing t h e bells upo n it 5 but I was never in a serious s c rape

h e r n c . n on n with , except o e I had i sisted taki g ’ from the n urser y maid the han dle of the little girl s h c se t garden carriage, wit whi h I off at full Speed , and had not run man y yards before I overturn ed

i . T h e the carriage, and rolled out the little g rl A a n d c hild cried like lice Fell, would not be sh pacified . Luckily e ran to her sister, who let S ome R ecollect ion s o ildk o 2 f Ck o d. 9

me off m n n c n with an ad o itio , and the exa tio of a ’ promise n ever to meddle again with the ch ild s c a rriage. m s Charles wa s fond of ro ances . The My teries ” dol h o t h e a n d of U p , and all ghost goblin stories

h is m n . of the day, were fa iliar readi g I cared little about them at that time 5 but he amused me by n mm relati g their gri est passages . He was very A anxious that the bbey House Should be haunted , n o n o but it had strange sights or sounds, and h a d plausible tradition to han g a ghost on . I very nearly accommodated h im with what he n wa ted . The garden- front of the hou se was covered with m n n in jas i e, and it was a pure delight to sta d the summer twilight on t h e top of t h e ston e steps in h n h n ss m ali g the fragran c e of t e multitudi ous blo o s . O n e n n n n h eve i g, as I was sta di g on t ese steps

n sa w m n w a - alo e, I so ethi g like the hite he d dress of a tall figure advan c i n g from the righ t- h and — a s c it — a n d grove, the Dark Grove we alled , after

e e c . a n r a t e a bri f interval , r ede This, at y , looked n a a n d awful . Prese tly it appe red again , again

n h n h c m m n c s n va is ed . O w i h I j u ped to y co lu io , a n d flew i n to the parlour with the an noun cemen t h in that there wa s a g o st the Dark Grove . The h f n m n w ole family sallied or th to se e the phe o eno . T h a n c n e appearan c es d disappearan es con ti ued . A ll n e h a c n n e c co jectur d w t it ould be, but o ould n m n n divi e . I n a i ute or two all the serva ts were in a n d the hall. They all tried their skill , were 0 Ca lidor a n d M i ll 3 e, sce a n ea . all A t equally unable to solve the riddle . last , the m h m aster of the ouse leading the way, we arched a n d n in a body to the Spot , u ravelled the mystery . It was a large bun c h of flowers on the top of a tall n in t h e n t h lily, wavi g wi d at the edge of e grove, a n d disa ppearin g at in tervals behin d the stem of a

. a n d th e c m i tree My ghost, o pact phalanx in wh ch

n e c we sallied agai st it, w re long the subj e t of m e m n wa s c n rri e t . It a ruel disappoi tme n t to h wa s n C arles , wh o obliged to aba don all hopes of h n avi g the house haunted . O n e day Charles was in disgr ac e with h is elder e s f c h r lation, who had exerted u fi ient aut ority to m i c h i h m ake h m a aptive in s c a ber . He wa s pro h ib it e d m n a n on e m e a n d fro seei g y but 5 , of c m n m s n n m ourse, a ost urge t es e ger was se t to e im in h is c e s . n h m xpre s I fou d ha ber, sitting by t h e h h s a n d an cc fire, wit a pile of g ostly tale , a u mula t ion of ch h e a s n n m lead, whi was c ti g i to du ps " in m m t h e n c a ould Du ps , i experien ed reader m s n w c r s — a s u t k o , are flat i cle of lead ort of petty quoits— with whic h sc hoolboys amu s ed th em selves h a n d n ss alf a century ago, perhaps do still, u le the ma m n m c e off s n rch of i d has ar h d with uch va ities . “ ” in t h e n n n No doubt, astou di g progress of i tellect, t h e time will a rriv e when boy s will play at philo sophers i n stead of pla y i n g at soldiers — will figh t with woode n argum en ts i n ste ad of woode n swords — an d pitch leaden syllogism s i n stead of leade n h f t h e n of s n e w dumps . C arles was be ore daw thi

. as h n m light He had c t several u dred du ps , and ome R co ect ion s o kild/zood 1 S e ll f C . 3

l me was sti l at work . The quibble did not occur to a t t h e me n h ti 5 but, in after years , I ever eard of a man in the dump s without th i n kin g of my s chool

e . f llow . His position was sufficien tly melancholy

H is c h amber was at the en d of a lon g corridor . m n n t m a n m n He was deter i ed o to ake y sub issio , a n d h is captivity was likely to last till the en d O f i h s . a n d m s holidays Ghost stories, lead for du p , h is a n d n n n th e were stores provisio s , for sta di g

en n ui. n h is Siege of I thi k, with the aid of sister, I had some share in makin g his peace 5 but su c h is t h e h in association of ideas, t at, when I first read ’ B n Lord yron s Don Jua ,

I pa ss my e v e n in gs in lon g ga ll e rie s sol e ly ’ ’ A n d th a t s th e re a son I m so m e la n ch oly 5 t h e li n es immediately c on jured up the image of poor Ch arle s in t h e midst of his dumps a n d spec tres at the e n d of his own lon g gallery . C A L I D O R E A FR AG M E N T O F

A R MAN E 1 8 1 O C . [ m

A C H PTE R I .

OT WI T H ST A N DI N G the great improve ments of machin ery in this rapidly im n a e h so m provi g g , whic is uch wiser, a n d n n better, happier tha all that we t before it, ever y gen tleman is not yet accommodated with t h e c O f e ma onvenience a pock t boat . We y therefore re adily imagine that Miss A p- Nan n y and her sister of L la n la sr h d Ellen, the daughters of the Vicar g y , were n ot a little astonish ed in a Su n day eveni n g sea h n f c walk on the shore, w e a little Ski f, whi h, by th e rapidity of its motion h a d attrac ted their atten

n c n s r a n n h tio while but a Spe k upo the wave , upo t e

m h m e h m n beach , fro whic e erg d a very andso e you g n m e n ot in n ge tle an , dr ssed exactly the ewest

s n n t h e fa hion, who, after taki g dow sail and hauling n c h up the boat upo the bea , carefully folded it up in t h e Size of a prayer- book a n d tran sferred it to i n n h s pocket . He did not otice the you g ladies m h till he had co pleted t is operation , and when he

3 4 Ca lidor e

m c n m fill m if by e ha is , to his glass fro the jug of w n h m on a n d t h ale that stood bet ee t e the table, e momen t th i s good example wa s se t by on e t h e oth er followed it i n stan tan eou sly a n d automatically ’ as t h e two figures at St D un st a n s strike upon the h ell c n e m m to the great delight of Co k ys, a aze ent

s c s a n d c n n c . T h e of ru ti , o solatio of pi kpockets stran ger made s everal attempts to draw th em i n to c e n c s c c n onv rsatio , but ould not uc eed in extra ti g ” m h n h um m h m A n ore t a a fro either of t e . t le gth on e t h e n n m n h n t h e of revere d ge tle e , avi g buzzed u c a n d m n m s s j g, arti ulated, with slow i ute e pha i “ ” “ ” Will you joi n in an other jug ? H um ! said t h h A n e ot er. violent rattling of copper e sued in their respective coat poc kets 5 t wo equal quantities of h a lf-pen ce were deliberately c oun ted down upon t h e h ell wa s n a n d n table 5 the ru g, the little , rou d ,

n - m m Welsh waiti g aid carried out the oney, and n n c h a s reple ished the jug in Sile e . T ey went on h e before till the liquor was exhausted, when it m ’ ca e the other s turn to ask the question , and the “ m n n in sa e eve tful words , Will you joi another ” ? h m m jug were repeated, wit the sa e cere onies and t h e m s m sa e re ults . Our traveller, in the eanwhile,

looked over his tablets of i n struction . These two re veren d ge n tl e men were t h e Vicar of L la n gla sr h y d n h n a c h c a d t e R e ctor of B wlc h pe b . The re tor per formed afte rn oon servic e a t a chapel twen ty miles

m a n d L la n lasr h d - fro his rectory , g y lying half way e n m h e n n betw e the , slept every Sunday ight u der n e a the roof of Gwyneth Owe , wh re his de rest friend, t R m A Fr agmen of a o a n ce . 3 5

L la n la sr h d met h im m the Vicar of g y , to s oke away ss the evening. They had thus pa ed together every n th e Sunday evening for forty years, and duri g whole period had s c arc ely said t e n words to each other beyon d the usual forms of me e tin g a n d part ” in a n d in n e ? g, Will you join a oth r jug Yet were their meetin gs so i n te rwoven with th e ir habitual comforts that either would h av e regarded th e loss of the other as the greatest earthly misfortun e that c h im n h s ould have befallen , and would ever , per ap , h ave mustered suffic ien t firmn ess of voic e to address “ ” m n n in n h ? the sa e questio , Will you j oi a ot er jug ma s m n to a n y other h uman bein g . It y ee si gular to those who h ave heard the extensive form of Welsh hospitality th at t h e vicar did n ot invite the rector to pass th ese even in gs at h is vic arage 5 but it must be remembere d th at t h e R ector of B wlc h pen bach was every week at L lan gla sr h y din the way of h is n a n d h L la n la sr h d h a d n o busi ess , t at the Vicar of g y business whatever to take h im on a n y Sin gle oc casion to B wlch pen b a ch 5 therefore the balan ce of the c on sumption of ale would h ave been e n tirely again st the h vicar, and as they regularly drank t ree quarts each

n on e n a n d fift - at a sitti g, or hu dred y Six quarts in a R e B wl c h en b a c h h c n year, the ctor of p would ave o sumed in forty years six th ou sa n d two h un dred a n d s h n c m n forty quart of ale, wit out equivale t or o pe sa t h e n s t h e c of L la n la sr h d tion, at expe e of Vi ar g y , a circumstan ce n ot to be though t of without vexation of Spirit . h is Our traveller folded up tablets, rung the bell, 3 6 Ca lidor e

and inquired what he could have for supper, and what win e wa s to be had ? T h e landlady en tered

m n an with a te pti g list of articles , d enumerated m f n s n several na es O wi e. The tra ger seemed per lex ed n m p , and at le gth said he would have the all,

for h e se e - h n liked to a well covered table , avi g h alway s been u sed to on e . T e la n dlady dropped c a n d t h e n m n a double ourtesy , reverend ge tle e s a n dropped their pipe ; the pipes broke, d the c on odorous embers were s attered the hearth .

n s m a n d n s Whe the upper s oked , the wi e parkled on t h e t h e s n n table, tra ger pressed the revere d n h im h n ot n e gen tlemen to j oi . T ey did i de d m c s n a n d s s require u h pres i g, a si ted with great ' i n du stry in t h e demolition of h is a b un da n t b a n quet but still n ot a sylla ble c ould h e extrac t fr om eith er e m c a a L la n la sr h d of th ex ept th t the Vic r of g y , m h e n when his heart was war ed wit Mad ira , i vited the rec tor a n d the youn g stran ger to breakfast with h im h e n m n n c c t h t ext or i g at the vi arage , whi h e c h m latter j oyfully ac epted, as he very well by t is ti e u n derstood th at h is lively a n d j ovial c ompan ion was the father of t h e b e autiful creature who had

- H e s charmed h im on t h e se a shore . ate from this m in n n s e n c n m a n th e h ti e co te ted il e , co te pl ti g appy meetin g of the followin g morn i n g wh ile t h e rever e n d gen tlemen si pped t h e liquid so fa r a n d on ly till wit h th eir usua l felicitous sympath y they van ish ed n at the same i n stan t un de r the table . The la dlady a n d her h ousehold were summon ed to their assist L lan la sr h d m ance . The Vicar of g y was carried ho e A F a men t o a R oma n ce r g f . 3 7

R B wlch en b a ch by the postillions, and the ector of p was put to bed by the ostler.

A llow me to han d you some toast : y ou must — have had a very pleasan t sail yesterday . Very plea sa n t l— Did you c ome far ? Very fa n — From Ireland perhap s — Not from Irelan d — T h en you m c m n in c m ust have o e a lo g way su h a s all boat, m — sm such a very s all boat . Not so very all it is one of our best sea boats — Do you carry your best sea boats in your waistc oat po c kets ? Th en I suppose in your great - coat po ckets y ou carry your sh ips of t h e n e — e m e m c m m li But, d ar , sir, you ust o e fro a very stran ge plac e — I c ome from a part of the world which is kn own to the rest by t h e n ame of r n a m n ot sa m Ter a I c ogn ita. I at liberty to y ore

— n c n n it . sir if n co er i g But, , it is a fair questio , what has brought you to Wales — I h ave lande d on this h n n s ore by accide t. My prese t destination is a h n Lon don . I m to remain in t is isla d twelve m n n o ths, and retur with a wife and a philosopher . - God bless m e ! wh at can Terra I n cognita wan t s an d h ow m with a philo opher, are you to take the — — Wh P I n m h m e . away the sa e boat t at brought y , who do you thin k will trust herself ? You would s m m P— m like o e ore tea Ellen , y dear, do you think any lady would trust herself P— I f sh e h a d love — m a n d s enough, said Ellen Crea sugar, aid Miss

A - -T i p Nanny . he boat s perfectly safe, said the r a n st nger, looki g at Ellen . I could go through a e it — L b s an hurrican with . ove, to e ure, will do y 3 8 Ca lidor e

A - me thing, said Miss p Nanny, but, Lord bless I ma y take an egg, and to be sure it would be worth some risk just in t h e way of curiosity to se e Terra

n . m n Incog ita They ust be very stra ge people, but wh at th ey ca n want of a philosopher I cannot imagin e — I hope if you brin g h im this way you h im m m will keep uzzled, for y papa says they are m n a n d m very terrible onsters, fiends of dark ess i ps n ot m of the devil. I would trust yself in a boat m on e . with for the world Would you, Ellen, y P— I m dear Should not be uch afraid, said Ellen , m n s ili g, if he were in the hands of a safe keeper . — W h m us e have a p ilosopher or two a ong already, t h e n o m n said stranger, and they are by ea s such formidable animals as you seem to supp os e — But

- — m so A . I y papa says , said Miss p Nanny b ow c n c n acquies e e, said the stra ger, but perhaps the c — Welsh variety is a peculiarly fier e breed . I a m sa happy to y there is not one in all Wales , said

- — A n . I m Miss p Na ny hear they run ta e in London, said Ellen — Th en you are not so much afraid of m s a - the as your si ter, said the str nger. Not quite, m said Ellen , s iling again , I think I would venture i n to the same room with one even if he were not in e — n s A an iron cag Oh , fie , Elle , said Mi s p N is anny, that what you call having liberal opinions . a m I cann ot imagine where you got them . I sure

m m me . you did not learn the fro Do you know, sir, Ellen is very heterodox . My papa actually detected her in the fact of reading a wicked book ” w h is called Principles of Moral Science, which, ith A Fr a men t o a R oma n ce g f . 3 9

m h n usual sweet te per, he put, wit out sayi g a word, O n n n behind the fire . He says liberal pi io s are o ly n m m — man ! a a other na e for i piety . Dear, good s id A - n n n n h e r m h t h e Mrs p Na y, ope i g out for first m f in ti e, he never was guilty O a liberal Opinion the course of his life .

c an n man fi ur — Sir, what a you g of your g e you look like a c our t ier m me a n by makin g love at first m ? c a n m n sir ? sight to y daughter What you ea , Perhap s you have heard th at sh e will have a

‘

s n n a n d ma m . thou a d pou ds, that y be a te ptation - t h e s m e m c h Money , said tranger, is to ere aff 5 m c a n d h n and producing a bag fro his po ket, S aki g c n n t h e it by one or er, he scattered o floor a pro T h ca s n h n fusion of gold . e Vi r, who had ee not i g m n h but paper oney for twenty years , was asto is ed s n c n at the e yellow apparitio s , and pi ki g up one on e inspected it with great curiosity. On Side was the phenomenon of a crowned head with a m f handso e and intelligent ace, and the legend

A R T H U R U S R EX . t h e n On reverse, a lio Sleeping ’ - n R ED I B O . at Neptune s feet, and the lege d Here n R n A is a foreig potentate, said the evere d Dr p

n m n m m . Nan y, who I ever re e ber to have heard of m Pray, is he legiti ate by the grace of God, or a blasphemous a n d seditious usurper W hom the people have had the i mpuden ce to c hoose for themselves P— H e is very legitimate an d has an h older title than any oth er bein g in t e world . — h im . Then I reverence , said the Vicar Old 40 Ca lidor e

A A n n uthority, Sir, old uthority, there is othi g A h h an like old ut ority . But w at do you w t with m — sir n y daughter Candidly, , said the stra ger, I a m on for e a m so n a quest a wif , and far i spired c n s a n d n h am by the gra e of Ve u , Cupid, Ju o , t at I — willi n g my qu e st sh ould end where it begin s here . — O u c a m c n a quest, ex l i ed the Vi ar ; Ve us , Cupid, m a n d A h h . R c Juno I see ow it is i h , hu oured, a n d ou touched in the head . Pray , what do y m n — ean by Ju o Juno Pronuba, said the stranger, m e — I sir the goddess of arriag see, , you are in c lin ed to make a joke O f both me an d my e m s h un daught r. Sir , I u t tell you t is very c m n — M sir ou — be o i g levity. y dear , I assure y Sir, ma n m it is palpable. Would any ake a serious ma n m h h is proposal to a of y clot for daughter, a n d talk to h im of the grace of Venus and Cupid n m P— I and Juno Pro uba, the goddess of arriage sir swear to you, , said the stranger, earnestly , by the sacred head of Pan .

When they approached th e destin ed island they were deligh ted to perc eive th at its a spect presen ted m s m n m n n a o t pro isi g diversity of ou tai , valley, a n d forest reposing in the su n shi n e of a delicious n climate . Two very singular persons were walki g on the seashore 5 on e in the a ppearanc e a young a n d handsome ma n with a crown of vi n e -leaves on his head 5 the other a wild an d sin gular figure in a fine state of picturesque roughness with goat’s s horn s an d feet and a laughing face . A th e vessel

4 2 Ca lidor e

our m m c sacrifices 5 they broke i ages, any of whi h we had sate for ourselves 5 they called us frightful a n d c ac ophonous n ames— B e elzebub and A maimon and A staroth : they plu n dered and demolish ed m u s our te ples , and built gly tructures on their n c c ruins , where , i stead of dan ing and rejoi ing as s n they had been u ed to do, and delighti g us with m ss spectacles of hu an happine , they were eternally n Sighing and groani g, and beating their breasts , n a n d n and droppi g their lower jaws , turni g up the a n d n c whites of their eyes , cursi g ea h other and m C n s c m all ankind , and hau ting u h dis al staves a n d n m that we Shut our eyes and ears , , flyi g fro s m our favourite terrestrial scene , asse bled in a body among the c louds Of Olympus . Here we held a council a s to wh at was to be done for the amen dment of these perverted mortals 5 but Jupiter m h c s h is m infor ed us t at ne es ity, istress, and that m h im for of the world , co pelled to acquiesce a m in n n n h m ti e this co ditio of thi gs , t at ankind, who had never been good for a great deal, were now m so so beco e worthless , and withal disagreeable, that t h e wisest course we could adopt would be to leave them to themselves a n d retire to an undis t ur b ed island for which he had stipulated with the h n fates . Here, t e , we are, and have been for m h ages . That ountain on which the w ite clouds n ow n m are resting is Mou t Oly pus, and there dwell Jupiter and the Olympian deities . I n these forests and valleys reside Pan and Silenus, the m m Fauns and the Satyrs, and the s all ny phs and A Fr a men t o a R oma n ce g f . 43

n ii m m ge . I divide y ti e between the two , for m m m s m s though y ho e is Oly pu , I have a o t special frien dship for Pan . Now I have only this sa m m to y , that if you co e here to ake frightful n n s faces, chau t lo g tune , and curse each other n through the ose, I give you fair warning to depart in : fin d peace if not, we shall no trouble in ex i pelling you by force, as Jup ter will testify to you . Jupiter gave the required t est ifica tion by a peal of thunder from Olympus . n n A Merli and Ki g rthur fell on their knees, and ‘ m the rest of their party followed the exa ple . Great B m P a n acchus and ighty , said Merlin, pity our n c us ig oran e and take under your protection, for sh m if you bani us fro this happy Shore, our vessel m s ust wander over the sea for ever, like the Flying m a n d Dutch an that is to be, we are very ill victualled for such a navigation .

The first object of Calidor e on arriving in Lon don was to change some of his gold A rthurs into n m m the circulati g ediu of the country, and on m a s aking inquiry at his hotel, he w directed, for n this purpose, to a spacious stone buildi g with high A walls and no windows . lighting from his hackney

a m - h coach, with oney box in his and, he wandered through a labyrinth of paved c ourts and spacious rooms filled with smoky- faced Clerks and solid m globes of Jews , through so e of which he had ffi m great di culty in forcing his way. After so e m f ti e, he discovered the o fice h e wanted, pre n se ted his gold, which was duly tried , weighed, a n e m m T h sum d carefully r oved fro his sight . e n c a n d was enounced with very disti ct arti ulation , a wa s h im piece of paper given to , with which he n n was se t to a other place. How would you like sir ? — ma n it, said a little sharp nosed with a quill behind his ca n — I n the c irc ulatin g medium of this C a lidor e — m n city, said But I ea , Sir, in what por — tions I n no portion s : I wish to have it all at n e — n sir ? man — o c Thousa ds , said the little The sum sir a lidor e — m a n Specified , , said C The little n n s — sir put i to his ha d several lips of paper . Well , C a lidor e a m h P said , what I to do wit these sir e ma n Whatever you please, , said the littl ,

m n . s c m m s s ili g I wi h I ould say as uch for y elf. a m m C a lidor e I uch obliged to you , said ; and I have no doubt you are a n exceedin gly facetious a n d n m m agreeable perso ; but, at the sa e ti e , if you would have the goodn ess to direct me where I c an m m n — ma n h receive y o ey Sir, said the little , t at m n — — e n is your o ey This C rtai ly, sir ; that . What

- would you have Gold coin , to be sure, said C a lidor e — a m sir Gold coin I afraid, , you are a

ff man n n disa ected and a Jacobi , or you would ot ask for such a thing, when I have given you the m n Sir it best o ey in the world . Pray, , look at ’ — you are a stranger, perhaps look at it, sir ; that s all . — Calidor e looked at one of the pieces of paper, and read aloud : I promise to pay to Mr Henry Hare — One Thousand Pounds — John Piggin m — W t botha . ell, sir ; and what have I o do with n c A Fr agmen t of a R oma e. 4 5

’ John Figgin b oth a m s promise to pay a thousand a — h n Fi in b oth a m sir pounds to Henry H re Jo gg , ,

n m m a n d havi g ade that pro ise, put it upon that

m a h n . paper, akes that p per wort a thousand pou ds — — e n s alidor e . T O To H ry Hare, aid C any one ,

h ma n : said t e little . You overlook the words or

— e . t h e . I n e bear r Now, Sir, you are bearer u d r h n Fi in b ot h a m m m stan d . Jo gg pro ises to pay e h n s — — n a t ousa d pound Precisely . The , Sir, if you will have the good n ess to dire c t m e to John

Fi in h m n h im m gg b ot a I will tha k to pay e directly . — ir m h s ! s t e m . But, good God , you i take atter s sir l— Ye s sir h n i in b oth a m Mi take, , Jo F gg does

n l : wh a r e not pay 5 he o y Signs . We pay we, o h m c h m s — l sir n wh ere 5 I and y u Very wel , 5 the y c a n you not pay me without all this c irc umlocution ?

u — H o - Sir, I have paid y o w, Sir With those

s sir . h m s s m note , Sir, t ese are pro i e to pay , ade on e Fi in b th a m sh m by gg o . I wi these pro ises to be Y u n m n in c c m performed . o se d e rou d a ir le fro Fi in b t h a m a n d m Fi in b oth a m Hare to gg o , fro gg to a n d a m m ch in t h e a s y ourself, I still as u dark a m m c ever, as to where I to look for the perfor an e of th eir very liberal promises — Oh ! th e perform n c e si — e Sir — a s sa a , n very tru , you y 5 but, sir, m s of n s h h c m n pro i es are two ki d , t ose w i h are ea t f m a n d h s h n ot t h e to be per or ed, t o e whic are , latter bei n g forms u sed for c on ven ie n c e a n d dis of n s — n sir s m patch busi es The , , the e pro ises are n ot m n m d — m e sir ea t to be perfor e Pardon , , they m m are eant to be perfor ed, not literally, but in a 46 Ca lidor e

manner. They used to be performed by giving h n gold to the bearer, but that aving been fou d peculiarly incon venient has been laid aside by A ct

m n in et - of Parlia e t ever since the year N y Seven , and h m we now pay paper with paper, w ich si plifies n — A n d a sir business exceedi gly pr y, , do these promi ses to pay pass for real ities amon g the people ? — l Sir Certain y they do , ; one of those slips of paper which you hold in your hand will purchase m n — h the labour of fifty e for a year. Jo n Piggin botham must be a person of very great c on n m c m seque ce, there is not u h trouble I presu e in

m n n s — m c sir aki g one of these thi g Not u h, . h i in b oth a m h a s ll Then I suppose, sir, Jo n F gg a the c n n h is labour of the ou try u der absolute disposal . A ss uredly this Figgin b oth am must be a great n m magician, and profou dly Skilled in agic and demon ology : for this is almost more than Merlin m n could do, to ake the eternal repetitio of the m m it s n m sa e pro ise pass for eter al perfor ance, and exerc ise unlimited control over the lives an d m fortunes of a whole nation, erely by putting his

m Of . na e upon pieces paper However, since, m m such is the case, I ust try to ake the best of the matter : but if I find that these talismans Of the great magi c ian Figgin b ot h a m do n ot act upon the a s me n n people you give to u dersta d they will, I shall take the liberty of blowin g my bugle in his h d m n m enc ante castle, and in the ea ti e, Sir, I n respectfully take leave of your courtly prese ce . — P m ! h e oor, deranged gentle an exclaimed t little m t o a R a c A Fr ag en f om n e. 47 ma n C alidor e n ou after was go e, did y ever hear a ma n so in f m n s P— talk all your li e, Mr Solo o Very m c d m n m h u h cracke , said Mr Solo o s , very uc c racked in th e head ; but seems to be sound in c c ma n the po ket, whi h is the better part of . M IS C E L L A N I E S .

’ ’ P u blis/zea in Ollier s M iscella n [ y ,

THE FOU R A GES OF POETR Y.

n ma s sa e e ossun t a m Q ui in t e r h aec n ut r iun t ur n o gi p r p , qu

- c Ole r i in lin a h a a n ETR O N I S . be n e qu cu bit t . P U

ET R Y ma O , like the world , y be said to h s in ffe n ave four age , but a di re t order the first a ge of poetry bein g the a ge n c of iro 5 the se ond, of gold 5 the third , of Silver ; and the fourth of brass . s c The fir t, or iron age of poetry, is that in whi h rude bards celebrate in rough n umbers the exploits s in s n ma n of ruder chief , day whe every is a a n d n c m m warrior, whe the great pra tical axi of “ m c h h a n d every for of so iety , to keep w at we ave c c a n n ot s n to cat h what we , is yet di guised u der m a n d ms n e na es of justice for of law, but is the ak d m t h e n c n otto of aked sword , whi h is the o ly judge m a n d jury in every questio n of meum a n d tuu . In s a t h e n h e n s the e d ys , o ly t ree trad s flourishi g (beside h h s w a r e h t at of priest , which flouris e al ays) t ose of : n king, thief, and beggar the beggar bei g, for the m d n ost part, a king ej ect, and the thief a ki g

o a lidor e a n d iscella n ea . 5 C , M

m has appropriated, how any houses he has de m olish ed h on e h a s for ot er people, what a large he h m m c h a s s e built for i self, how u h gold he tow d in a n d h ow a n d n away it, liberally ple tifully he

s n s n a n d im pays , feed , and i toxicate the divi e m s n ortal bard , the so s of Jupiter, but for whose everlasti n g son gs the n ames of heroes would

perish . This is the first stage of poetry before the in v en n h n c m tion of writte letters . T e umeri al odulation is m m s n at once useful as a help to e ory, and plea a t m n to the ears of uncultured e , who are easily

: m caught by sound and, fro the exceeding flexi b ilit t h e n m n e y of yet u for ed la guage, the poet do s no violenc e to h is ideas in subjec tin g th em to th e

m . T h e n s fetters of nu ber savage, i deed, li ps in m a n d n nu bers, all rude and u civilised people express themselves in the manner which we c all poetical . c n The s e ery by which he is surrounded, and the h m superstitions w ich are the creed of his age, for ’ m R m n u the poet s ind . ocks , ou tains, seas, n sub h im dued forests, unnavigable rivers, surround m a n d m c with for s of power ystery, whi h ignorance a n d s s m fear have peopled with pirit , under ulti fa r ious m s n m n na es of gods, goddes es , y phs, ge ii, n n s s n m a d dae mo s . Of all the e per o ages arvellous tales are in existen ce : the n ymphs are not ih f n n m n m e n a n d n dif ere t to ha dso e you g , the ge tle men - gen ii are mu c h troubled a n d very troublesome with a propensity to be rude to pretty maidens Tke Four A es o r g f Poet y . 51

h a r d ffi n the , therefore , finds no di culty in traci g t h e genealogy of his c hief to a n y of th e deities in his neighbourhood with whom the said chief may m n be ost desirous of claimi g relationship . I n s in h m thi pursuit, as all ot ers , so e, of course , will attain a very marked pre- emin en c e 5 and these m s will be held in high honour, like De odocu in

c n n n the Odyssey, and will be o seque tly i flated n h m with bou dless vanity, like T a yris in the Iliad . Poets are a s yet the on ly historian s a n d chron iclers m a n s of their ti e, d the sole depo itories of all the knowledge of their age ; a n d though this k n ow ledge is rather a crude c on geries of tradition al n s h c c n pha ta ies t an a olle tio of useful truths, yet ,

a s m . h such it is , they have it to the selves T ey n a n d n h s a r are observi g thi king, while ot er e robbin g and fighti n g : a n d th ough their obj ec t be n m n h t h e nothi g ore tha to secure a s are of Spoil , c c m h s e n d n yet they a o plish t i by i tellectual , not by physic al power : their suc cess excites emulation to the attain men t of in tellec tual eminen ce : thus they sharpen their own wits a n d awaken those of h m m h n others, at t e sa e ti e that t ey gratify va ity a n m c A s s d a use uriosity . kilful di play of the little kn owledge th ey have gain s them c redit for the s n m ch m h h n t posses io of u ore whic they ave o . Their familia rity with the sec ret history of gods an d n O n m m c ffi ge ii btai s for the , without u h di culty, t h e reputation of i n spiration ; t h us th ey are n ot n h s n s h n s m s a n d o ly i toria , but t eologia , oralist , ‘ : ex ca tkedr ct legislators delivering their oracles , 2 Ca lidor e a n d isc ll a 5 , M e a n e .

and being indeed often themselves (as Orpheus and A mphion ) regarded as portion s a n d emana n c tions of divinity : buildi g ities with a song , and leading brutes with a symphon y 5 wh ic h are on ly meta phors for the faculty of leading multitudes by

the nose . T h e golden a g e of poetry finds its materials in n h the age of iron . This age begi s w en poetry begin s to be retrospective ; when something like a m s m c s ore extended yste of ivil polity is e tablished , when personal stren gth a n d c ourage avail less to n a n d the aggra dizing of their possessor, to the ma n m m ki g and arring of kings and kingdo s, and n n are checked by organised bodies, social i stitutio s,

n M e n m in and hereditary successio s . also live ore the light of truth a n d within the i n terchange of observation ; a n d thus perceive that the agency of gods and genii is n ot so frequen t among them m a n d selves as, to judge fro the songs legends of s m m n c m the pa t ti e, it was a o g their an estors . Fro c m n m n s these two cir u sta ces , really di i i hed personal a n d m h m power, apparently di inis ed fa iliarity with h a n d gods and genii , t ey very easily naturally

n c : I st m n deduce two co lusions , That e are de n a n d z ud ge erated, , That they are less in favour h wit the gods . The people of the petty states a n d c n s e olo ie , which hav now acquired stability and m a n d for , which owed their origin first prosperity

e a n d n C h ma to the tal nts courage of a si gle ief, g n ify their foun der through t h e mists of distan ce h im and tradition , and perceive achieving wonders T/ze Four A ges of Poet ry . 53

with a god or goddess always at his elbow. They fin d his name and his exploits thus magnified a n d c m n w ac o pa ied in their traditionary songs, hich are n m m s A ll h im their o ly e orial . that is said of is in h c n n t is chara ter . There is othi g to contradict it . The ma n and his exploits and his tutelary deities are mixed and blen ded in on e i n variable associa m m tion . The arvellous, too, is very uch like a

— : s n snow ball it grow as it rolls dow ward , till the n c little ucleus of truth , whi h began its descent m mm m fro the su it, is hidden in the accu ulation of superin duced h yperbole . n a n d When traditio , thus adorned exaggerated, has surrounded the founders of families and states m m c with so uch adventitious power and agnificen e, is n o h c c an there praise w i h a living poet , without

n c m fear of bei g ki ked for clu sy flattery, address to n C n ot s t h e m a livi g hief, that will till leave i pres sion that the latter is not so great a ma n a s his man m s in c a ancestors . The u t , this ase, be pr ised n m through h is a n cestors . Their great ess ust be s a n d h e m n establi hed , ust be show to be their

’ n a n A ll h worthy desc e d t . t e people of a state are s in A ll s intere ted the founder of their state. tates that h ave harmon ised i n to a c ommon form of n in h n s society , are i terested t eir respective fou der . l m n n in h n c s A ll m n A l e are i terested t eir a e tors . e c h h a r s I n love to look ba k into t e days t at e pa t. these c irc umstances tradition al n ation al poetry is c reconstructed and brought, like haos, into order n h m a d form. T e interest is ore universal under a lidor e a n d isc ll a 54 C , M e a n e . standin g is enlarged : passion still has scope and play : character is still various an d strong : nature is still unsubdued and existing in all h er beauty m c n a n d m en c and agnifi e ce, are not yet ex luded m h er n m n fro observatio by the ag itude of cities , or the daily confi n ement of civic life : poetry is m : in m ore an art it requires greater skill nu bers , r mm n m n g eater co and of la guage, ore exte sive and n a n d c m n s n various k owledge, greater o prehe ive ess m n h n of i d . It still exists wit out rivals in a y other m n n s depart e t of literature and eve the art , paint in n a n d m g and sculpture certai ly, usic probably, m n d m T h are co paratively rude a i perfect . e whole n h a s s field of in tellect is its ow . It no rival in in history, nor in philosophy, nor science . It is c s n c ulti vated by the greate t i telle ts of the age, and listen ed to by all the rest . This is the age of n n w m . o Ho er, the golde age of poetry Poetry has attai n ed its perfection : it has attain ed the poi n t whi c h it c an not pass : gen ius th erefore Seeks n ew forms for t h e treatme n t of the same Subjects : n th e n a n d A c a a n d he ce lyric poetry of Pi dar l eus, i E ch lus a n c t h e trag c poetry of s y d Sopho les. h n n m c T e favour of ki gs , the ho our of the Oly pi c n n m row , the applause of prese t ultitudes , all that c a n n a n d m feed va ity sti ulate rivalry, await the c s m c m suc e sful cultivator of this art, till its for s be o e a n d n ew n in n w exhausted , rivals arise arou d it e c c m fields of literature, whi h gradually a quire ore n i fluence as, with the progress of reason and c m m ivilisation, facts beco e ore interesting than T/z Four A s o r e ge f Poet y . 55

: m ma fiction indeed , the aturity of poetry y be c n n n s o sidered the i fa cy of history . The tran ition from Homer to Herodotus is scarcely more r e markable than that from Herodotus to Thucydides in t h e gradual dereliction of fabulous inc ident and me orna nted language . Herodotus is as much a n s m in poet, in relatio to Thucydide , as Ho er is

relation to Herodotus . The history of Herodotus is half a poem : it was written while the whole

field of literature yet belonged to the Muses , and the nin e books of which it was composed were r a s su er in the efore of right, well of courtesy, p n n m scribed with their ni e a es . n s Speculatio s, too, and di putes, on the nature of man a n d of mind ; on moral dutie s a n d on good a n d evil ; on the an imate a n d in an imate compon en ts of the vi sible world ; begin to share atten tion with t h e eggs of Leda a n d t h e horns of a n d w m Io, to dra off fro poetry a portion of its n on ce un divided audie ce . c m Then o es the silver age, or the poetry of s is s civilised life . Thi poetry of two kind , imita n m c n tive a n d origi al . The i itative o si sts in r e n a n d n a n t h casti g, givi g exquisite polish to e poetry of the age of gold : of this Virgil is the a n n m T h most obvious d striki g exa ple . e original

h c m c c : is c iefly o i , didacti , or satiric as in Men

A a n d n . T h ander, ristophanes, Horace, Juve al e poetry of this age is c h aracterised by a n exqui site a n d n s a n d fastidious selectio of word , a laboured a n d somewhat monotonous harmon y of expression 6 a lidor e a d ll 5 C , n Misce a n ea .

m n c in n but its onoto y onsists this, that experie ce h t h e m n having ex austed all varieties of odulatio , c c m a n d the ivilised poetry sele ts the ost beautiful, prefers t h e repetition of these to ran gi n g thr ough

the variety of all . But the best expression bein g n c t h e n s e that i to whi h idea aturally fall , it r quires the utmost labour a n d c are SO to rec on cile the in flexibility of civilised lan guage and the laboured polish of v er sifica t ion with the idea in ten ded to be e n s ma n ot c express d, that se e y appear to be sa ri m a n fic ed to soun d . Hence nu erous efforts d rare

suc c ess . s Thi state of poetry is, however, a step towards c n n a n d its extin tio . Feeli g passion are best painted in n m n a n d , and roused by, or a e tal figurative lan guage 5 but the reason a n d the u n derstan din g are best addressed in the simplest a n d most un v a r h n n ish e d p rase . Pure reason a n d dispassio ate in a s truth would be perfectly ridiculous verse , we ’ ma y judge by versifyin g one Of Euclid s demonstra n h n tio s . T is will be found true of all dispassio ate n n a n d n r e reaso i g whatever, of all reaso ing that quires comprehen sive views a n d en larged combin a n s is m n tio . It only the ore ta gible points of m h c mm n orality, t ose whi h co and asse t at once, h m in m n a n d in those w ich have a irror every i d, wh i c h the severity of reason is warmed an d r en de red palatable by bein g mixed up with feelin g and n n n i imagi atio , that are applicable eve to what s called moral poetry : and as the scie n c es of morals m n and of i d advance towards perfection, as they

8 a lidor e a n d iscella n ea . 5 C , M

It is now evident that poetry must either cease

c n . T h e to be ultivated, or strike into a ew path poets of the age of gold have been imitated and repeated till no n ew i mitation will attract n otic e : th e li mited ran ge of ethical a n d didactic poetry is exhausted : the association s of daily life in a n n ce m adva d stute of society are of very dry, etho dical uh - m -of- c : , poetical atter fa t but there is always m n m s a ultitude of listless idlers, yawni g for a u e m n an d : e t, gaping for novelty and the poet makes it h is glory to be foremost among their purveyors . n m h c The co es the age of brass, whic , by rej e t in n n g the polish a d the lear ing of the age of silver,

' a n d taking a retrograde strike to t h e b ar b a r ism s

n and crude traditions of the age of iro , professes to

n h retur to nature a n d revive t h e age of gold . T is com is the second childhood of poetry. For the h n m pre ensive e ergy of the Ho eric Muse, which , n n c n n by givi g at o e the gra d outli e of things, pre sented to the mind a vivid picture in one or two n m m m n verses, i i itable alike in si plicity and ag i

fice n c e s m - , is sub tituted a verbose and inutely de of s tailed description thought , passions, actions , m n persons, and things, in that loose ra bli g style of a n m a sta n s ede in un o verse, which y one y write, p , n n s in a n at the rate of two hu dred li e hour . To this age may be referred all the poets wh o flourished T h in the declin e of t h e R oman Empire . e best s m m peci en of it, though not the ost generally Dion siaca o n us con known , is the y of N n , which Tke Four A ges of Poet ry . 59 tain s many passages of exceedin g beauty in the n midst of masses of amplification a n d repetitio . The iron age of classica l poetry m a y be called t h c t h n t h e m c e barbari of e golde , Ho eri 5 the silver,

n t h e N on n ic . the Virgilia and brass , the “ Modern poetry has also its four ages : but it ” h f n wears its rue wit a dif ere ce . To the age of brass in the ancient world suc c e d in c th e th e e de the dark ages, whi h light of

a a n d h Gospel beg n to spread over Europe, in whic , m a n d n c n by a ysterious i s rutable dispensatio , the t h s h darkness thicken e d with e progre s of the lig t . The tribes that overran t h e R oman Empire brough t c m h f ba k the days of barbaris , but with t is di fer n h m n in e ce , that t ere were a y books the world , m n s h c h a n a y place in w i h t ey were preserved , d c m on e h m oc asionally so e by w o they were read, ’ who i n deed (if h e escaped bein g burned pour l a mour de D ieu n e m f )ge erally lived an obj ct of ysterious ear, t h e m n a lch mist a n d a s with reputation of agicia , y , r ol r m n t h n n t oge . The e ergi g of e atio s of Europe m n sm a n d s n fro this superi duced barbari , their ettli g m wa s c m into new for s of polity, a co panied, as the s h a d n fir t ages of Greece bee , with a wild spirit of

n c c o- n n w m n n adve ture, whi h , operati g with e a ers an d s c new superstitions, raised up a fre h rop of ma n ot ss h chi eras, le fruitful, t ough far less beauti

- h c . m de ifica i ful, t an those of Gree e The se i t on m m m th e c h of wo en by the axi s of age of ivalry, c m n n s n ew o bi i g with the e fables, produced the m r o ance of the middle ages . The foun ders of the lidor a n d is a 60 a e cell . C , M n ea

new line of heroes took the place of the demi-gods m of Grecian poetry . Charle agne and his Paladins, A n rthur and his k ights of the round table, the

heroes of the iron age of chivalrous poetry, were m m n m seen through the sa e ag ifying ist of distance, a n d their exploits were celebrated with even more m extravagant hyperbole . These legends, co bined with the exaggerated love that pervades the son gs m of the troubadours , the reputation of agic that m en n attached to learned , the infa t wonders of l m natural phi osophy, the crazy fanaticis of the

crusades , the power and privileges of the great s m m n feudal chief , and the holy ysteries of onks a d

n m ch uns, for ed a state of society in whi no two m m a n d lay en could eet without fighting, in which

-fi h t er the three staple ingredients of lover, prize g , n m a d fanatic, that co posed the basis of the charac ma n m a n d ter of every true , were ixed up diversi fied in f a n d so , di ferent individuals classes, with m n n c a n d c a y disti ctive excellen ies, under su h an

n m m i finite otley variety of costu e, as gave the range of a most exten sive a n d picturesque field to the n s n two great co titue ts of poetry, love and battle. From these ingredients of the iron age of modern in m m a n poetry, dispersed the rhy es of instrels d n n the so gs of the troubadours, arose the golde age, in whic h the scattered materials were harmon ised and blended about the time of the revival of learn h ing ; but wit this peculiar difference, that Greek and R oman literature pervaded all the poetr y of m r the golden age of odern poetry, and hence e Tli F ur s 1 e o A ge of Poet ry . 6 sulte d a heterogeneous compound of all ages and c n n nations in one pi ture ; an i fi ite licence, which gave to the poet the free ran ge of the whole field m m m of i agination and e ory . This was carried A h very far by riosto, but farthest of all by S ake s m m peare and his conte poraries , who used ti e and locality merely because th ey could not do without m c m s h the , because every a tion u t have its w en and where 5 but they made no scruple of deposin g m m a R o an E peror by an Italian Count, and send in g h im off in the disguise of a Fren ch pilgrim to be Shot with a blunderbuss by an English arc her. This makes the Old English drama very pictur a n m esque, at y rate, in the variety of costu e, and very diversified in action and character : though it is a picture of nothin g that ever was seen on n ea rth except a Ve etian carnival . n ma The greatest of E glish poets, Milton, y be said to stand alon e between the ages of gold and m n n t h e silver, co bi i g excellencies of both 5 for with all the energy, and power, and freshness of an d the first, he united all the studied elaborate m h agnificence of t e second . The silver age succeeded 5 begi n ning with m n n Dryden , co i g to perfectio with Pope, and

n m n an d . endi g with Golds ith , Colli s , Gray Cowper dive sted verse of its exquisite poli sh ; m m n he thought in etre, but paid ore attentio to h is th oughts th an h is verse . It would be diffic ult to draw t h e boundary of prose a n d blank verse between his letters and his poetry . 6 2 a lidor e a n d c ll n C is e a ea . , M

The silver age was the reign of authority ; but n n n ot n authority now bega to be Shake , o ly in

poetry but in the whole Sphere of its dominion . The con temporaries of Gray and Cowper were a n s c t i deep d elaborate thinkers . The ubtle s e p c ism m mn n of Hu e, the sole iro y of Gibbon, the R a n d t h e n daring paradoxes of ousseau , biti g c s ridicule of Voltaire, dire ted the energie of four extraordin ary min ds to sh ape every portion of n the reign of authority . I quiry was roused, the c a n d m activity of intelle t was excited, poetry ca e

in for its share of the general result . The changes had been run g on lovely maid and n mm a n d sylva shade, su er heat green retreat, a n d n waving trees Sighing breeze, ge tle swains a n d m n v er sifi r s m a orous pai s , by e who took the on a s m n m n r trust, eani g so ethi g ve y soft and

n m c n h : s te der, without uch ari g w at but with thi ge n eral activity of intellect c ame a n ec essity for even poets to appear to kn ow somethin g of what s m n a n d they profes ed to talk of. Tho so Cowper looked at the trees and h ills whi c h so many in gen i ous gentlemen had rhymed about so lon g without h m c looking at t e at all, and the effe t of the opera tion on poetry was like t h e discovery of a n ew

. n n an d th e world Pai ting shared the i fluence, principles of pic turesque beauty were explored by adven turous essayists with i n defatigable per t in a s s h h n h e c ity . The ucce s w ic atte ded t se ex per i m n c f m m e ts, and the pleasure whi h resulted ro the , ff m had the usual e ect of all new enthusias s, that T/z Four t 6 e A ges of Poe ry . 3

Of n n turning the heads of a few unfortu ate perso s, c h t h e m n the patriar s of age of brass , who, istaki g

m n n - m n the pro i e t novelty for the all i porta t totality , seem to have ratiocinated muc h in the followin g n man er Poetic al genius is the finest of all things, a n d we feel th at we have more of it than any one T h n ever had . e way to bri g it to perfection is to c c ultivate poetical impressions exc lusively . Poeti al impressions c a n be receiv e d on ly among n atural

- scenes : for all that is artificial is an ti poetic al .

h e of Society is artificial , t erefor we will live out s c h e m n n l o iety. T ou tains are atura , therefore we will e n liv in the moun tai n s . There we Shall be shini g m an d s n odels of purity virtue, pa si g the whole day in the inn ocent and amiable occupation of goin g up a n d n h n c m n s a n d dow ill , receivi g poeti al i pressio , commun icatin g them in immortal verse to admiring ” n n m c n c ge eratio s . To so e su h perversio of intelle t owe s c n fr m it m s we that egregiou o at e y of rhy ester , k n own by the n ame of the Lake Poets ; who certainly did receive and commun icate to the world some of t h e most extraordinary poeti cal m ss s h a n d i pre ion that ever were eard of, ripened n m c n i to odels of publi virtue, too sple did to need l n h e s n n in c i lustratio . T y wrote verse o a ew pr iple 5 saw roc ks and rivers in a n ew light 5 a n d remain i n g s n n of h a n d m tudiously ig ora t istory, society, hu an c n s h nature, ultivated the pha ta y only at t e expense

m m a n d t h e n a n d c n of the e ory reaso ; o trived, though they h a d retreated from t h e world for the express purpose of seein g Nature as She 6 Ca lidor e a n d iscella n ea . 4 , M wa s Sh e , to see her only as was not, converting the

n n - n c la d they lived in i to a sort of fairy la d, whi h m s m m they peopled with y ticis s and chi aeras . This W con gave hat is called a new tone to poetry, and m jured up a herd of desperate i itators, who have brought the age of brass prematurely to its dotage . The descriptive poetry of the present day has been called by it s c ultivators a return to nature .

Nothin g is more impertin en t than thi s pretension . h e n Poetry cannot travel out of t regio s of its birth ,

m - m the uncultivated lands of se i civilised en . Mr Of Wordsworth, the great leader the returners to n n c c n nature, ca ot des ribe a s ene u der his own eyes without puttin g in to it the Shadow of a Danish n m boy or the livi g ghost of Lucy Gray, or so e similar phantastical parturition of the moods of m his own ind .

In the origin and perfection of poetry, all the associations of life were composed of poetic al c materials . With us it is de idedly the reverse . h n o We know, too, t at there are Dryads in Hyde ’ h - park nor Naiads in t e R egent s canal . But bar baric manners a n d supern atural in tervention s are c essential to poetry . Either in the s ene, or in the m s m m time, or in both , it u t be re ote fro our n W h ordinary perceptio s . hile the istorian and the philosopher are advancing in , and accelerating,

s n t h e n the progre s of k owledge, poet is wallowi g n n a n d n in the rubbi sh of departed ig ora ce, raki g up the ashes of dead savages to find gewgaws and S c rattles for the grown babies of the age . Mr ott

66 a lidor e a n d i c ll n ea C , M s e a . sentimentality of the present time is grafted on the misre presen ted ruggedness of the past into a heterogen eous c on geries of unamalgamating man s c e n m on mm ner , suffi i t to i pose the co on readers n of poetry , over whose understandi gs the poet of s c s ss mm n n thi la s po esses that co a di g advantage,

h in ms a n d c n n whic , all circu tances o ditio s of life, ma n h o n m n a w k ows so ethi g, however little, always possesses ove r one who knows noth i n g . A po e t in our times is a semi -barbarian in a

m n h civilised c om u ity . He lives in the days t at i n c s . H s are pa t ideas, thoughts , feeli gs, asso ia n s m n n s O tio , are all with barbarous a er , bsolete

m an d n s. T h e m c custo s , exploded superstitio ar h

h is n is h c . of i tellect like t at of a crab , ba kward T h e brigh ter t h e light diffused aroun d h im by t h e n c n ss progre ss of reaso , the thi ker is the dark e of a m c m an tiquated barb ris , in whi h he buries hi self m h n h is like a ole, to t row up the barre hillocks of c m Cimmerian labours . The philosophi ental tran quillity which looks round with a n equal eye on all n s discr imi external thi g , collects a store of ideas, n n ates their relative value, assig s to all their proper a n d m m n place, fro the aterials of useful k owledge h c e d a n d n m t us colle t d , appreciate , arra ged, for s n e w combin atio n s th at impress the stamp of their

a n d power utility on the real business of life, is diametri c ally t h e reverse of th at frame of mind n m can wh i ch poetry i spires, or fro which poetry T h a r e e man ate . e highest inspirations of poetry resolvable into three in gredients : th e ran t of un Po r 6 Tli e Four A ges of et y . 7

n n a regulated passio , the whi ing of ex ggerated feel in n n m n : a n d c a n g, and the ca t of factitious se ti e t therefore serve on ly to ripen a splendid lunatic like A n lexander, a puli g driveller like Werter, or a m w h c an morbid drea er like Words ort . It never m h s h m n or in a n ake a p ilo op er, nor a states an, y f n n class of li e a n useful or rational ma n . It ca ot claim t h e sligh test share in a n y on e of the c omforts and utilities of life of whic h we h ave witn essed so n n c man y a d S O rapid adva e s . But though not ma n m useful, it y be said it is highly or a ental , and

deserves to be cultivated for the pleasure it yields. h Even if t is be granted, it does not follow that a writer of poetry in t h e presen t state of society is h is own m h not a waster of ti e, and a robber of t at

e s. n ot on e of h ch of oth r Poetry is t ose arts whi , n n n a n d m c n like pai ti g, require repetitio ultipli atio , d ff m n in order to be i used a o g society . There are more good poems already existin g th an are suffi c ient to employ that portion of life wh ich any mere reader and rec ipien t of poetical impression s sh ould m h n devote to the , and these avi g been produced m in c ar in poetical ti es, are far superior all the h ac t er istics of poetry to the artificial rec on struct ion s m n of a few orbid as c etics in u poetical times . To read the promisc uous rubbi sh of the presen t time t h e e c e th e to the exclusion of sel t tr asures of past, is to substitute t h e worse for the better variety of m the sa e mode of en joymen t . in But whatever degree poetry is cultivated , it must necessarily be to the neglect of some branc h 68 Ca lidor e a n d iscella n ea , M .

of useful study : and it is a lamentable spectacle to

see m n a e n n n n i ds, cap ble of bett r thi gs , ru i g to seed in the spec ious i n dolen ce of these empty aimless n mockeries of i tellectual exertion . Poetry was the men tal rattle th at awaken ed the atten tion of in t elle ct in t h e in fan cy of c ivil society : but for the m aturity of mi n d to make a seriou s busi n e ss of t h e h n c s a s playt i gs of its hildhood, is as ab urd for a

- n man m full grow to rub his gu s with coral , and c ry to be charmed to Sleep by the jin gle of silver bells . A s to that small portion of our contemporary n poetry, which is neither descriptive, nor arrative , n r m o dra atic, and which , for want of a better m ma m n na e, y be called ethical , the ost disti guished n m s i portio of it, consisting erely of querulou , egot s ’ s s h tic al rhapsodie , to express the writer igh dis n a n d h n satisfactio with the world everyt i g in it , serves only to con firm what has been said of the

m - C wh o m se i barbarous haracter of poets, fro sing ” in dit h r a mb ics a n d m h h g y Io Triu p e, w ile society s w a n d m n was avage, gro rabid, out of their ele e t m s n as it bec o es poli hed and enlighte ed . N ow n n ot , when we co sider that it is to the a n d a n d a n d thinking studious, scientific philo c c mm t sophi al part of the o uni y, not to those whose mi n ds are bent on t h e pursuit a n d promotion of m n n n m h per a e tly useful e ds and ai s, t at poets m s h m n m u t address t eir i strelsy, but to that uch l c m larger portion of the reading pub i , whose inds are not awakened to the desire of valuable kn ow u e t 6 Tke Fo r A g s of Poe ry . 9 l a n d f n edge, who are indi ferent to anything beyo d c m m c a n d being har ed, oved, ex ited , affected,

: m m n m n exalted char ed by har o y, oved by se ti c n e ment, ex ited by passio , aff cted by pathos, and

x m : m n n e alted by subli ity har o y, which is la guage n m c o the rack of Procrustes ; senti ent, whi h is c an ting egotism in the mask of refined feeling ; ch c mm n passion, whi is the o otio of a weak and m h c n selfish ind 5 pathos, w i h is the whi ing of an m a n d m c is in fla un anly spirit 5 subli ity, whi h the tion of an empty head : when we con sider that the great a n d perman ent interests of human society bec ome more and more the mai n - sprin g of intel lect ual pursuit 5 that in proportion as they become so n n m , the subordi acy of the or a ental to the useful will be more a n d more seen a n d ackn owledged 5 a n d that th erefore the progress of u seful art and c a n d m a n c n w S ience, of oral d politi al k o ledge, will con ti n ue more a n d more to withdraw attention m s a n d n n s c on fro frivolou u co ducive, to olid and duc iv e studies : th at th erefore th e poetical audience will not on ly continually dimin ish in the propor tion of it s number to that of the rest of the reading public , but will also Sink lower and lower in the comparison of intellectual acquirement : when we con sider that the poet must still please his audi m ence, and ust therefore continue to sink to their mm level, while the rest of the co unity is rising above it : we may easily conceive that the day is r not distant, when the degraded state of eve y species of poetry will be as generally recognised a s 0 a lidor e a n d iscella n ea 7 C , M . that of dramatic poetry has long been : and this m a n c e n c not fro y de reas either of i telle tual power, n c u n n or i telle t al acquisitio , but because i tellectual power and intellectual acquisition h ave turned m n s the selves into other and better chan el , and have aban doned the cultivation and the fate of t h e m n m poetry to e d generate fry of oder rhy esters, a n d O m s m a n c their ly pic judge , the ag zi e criti s, who continue to debate and promulgate orac les about poetry, as if it were still what it was in the

m r - in - n r o r es Ho e ic age , the all all of i tellectual p g h c n sion, and as if t ere were no su h thi gs in exist m m n m m ence as athe aticians, astro o ers, che ists , m m h s c n s oralists , etap y i ia s, hi torians , politicians , m s n and political econo ist , who have built i to the n m m upper air of intellige ce a pyra id , fro the summit of whi c h they se e the modern Parnassus m a n d m far beneath the , , knowing how s all a place it occupies in the c omprehensiven ess of their c m m cir prospe t , s ile at the little a bition and the c umscr ib ed perc eptions with which the drivellers and moun tebanks upon it are contending for the c poetical palm and the critical hair. ZE R M T I H O R D A A C /E .

o. N I .

’ P bl e in Fr aser s M a a n 1 2 l c cl ii. [ u ish d g zi e, 85 , vo . xlv . No . xv ]

ET H E n — n O , we thi k for we can ot cite c h apter and vers e— sa y s somewhere som e thin g to this effect— th at t h e realities of life present little th at is eith er satisfac tory or hope ful 5 and that the on ly refuge for a min d whi ch is in aspires to better views of society, the idealities of the theatr e . n n Without going to the full extent of this opi io , ma sa m we y y , that the dra a has been the favourite h a s study of this portion of our plurality, and fur n ish e d m m n n to us , on any and a y occasio s, a re fuge of light and tranquillity from the storms a n d

- darkness of every day life . It is needless to look further than to the A n a n d Sh a ks ea r e a sh t h e the ian theatre p , to est bli position that the drama has c ombined the highe st poetry with the highest wisdom ; n eith er is it necessary to show th at the great masters of the art n h have a lo g train of wort y followers , partially familiar to all who look to dramatic literature for 2 Ca lidor e a n d isc lla n 7 , M e ea .

m m n n m a use e t alo e, and ore extensively as to those m who ake it a subj ect of study . Still there are man y exc ellen t dramas compara t iv e ly little known ; much valuable matter bearin g t h e m m n n on dra a, re ai ing to be developed 5 a d m n m n a y dra atic questions , which conti ue to be ff subjects of controversy, and O er topics of inter n esti g discussion . It is our purpose to presen t our views of some c s m Of of these subj e t , in the for analyses or eriti c isms ; n ot following a n y order of c h ronology or c n h lassificatio , but only that in w ich our readings m n ma m or re i iscences y suggest the .

U ER L S OR T H E B U R I ED R A R Q O U , T E SU E .

A R M AN C M EDY F H E TH I R C E T RY O O O T D N U .

H I m w m n n is T S co edy, hich , fro inter al evide ce, n n a n d M a x imian assig able to the age of Diocletia , n m m is the o ly R o an co edy which , in addition to m n n d n the re ai s of Plautus a Tere ce , has escaped m on the ravages of ti e . It is not only this

account a great literary curiosity, but it is in itself n a very amusing and origi al drama . It is little n r known in this cou t y . The first editors of this comedy had access to

several manuscript copies of it . The last editor V ossia n us had access to two : the Codex , now in m w the library at L eyden, in the argin of hich

l d a n d isc lla a Ca i or e e n e . 74 , M

Klin ka m r m r prose. e recognised the traces of et e, and arranged the whole into verse, printing the

- n a s an d m al prose text on the left ha d p ge , the etric m s arrange ent on the right. The ta k is executed

t m s C a . wi h uch kill , and little arbitrary h nge In s Of h is n in thi portion work , as i deed the whole of m n it, he derived great advantage fro havi g been * t h e n pupil of D . J . Van Le nep , at whose instiga n n h is tio he u dertook t e edition . The result , a m n ost agreeable readi g, of which we regretted to come to the c lose . uer ol us siv e A ul ula r ia This play is called Q , uer olus m A ula Olla Q , or the Co edy of the , or , n c is a large covered pot or vessel of any ki d, whi h in this case the depository of a tr easure . The dramatis person ae are

L A R F M R I S YCO P H A N T A . A ILIA . S

Q U ER OL U S .

MA N DR OG E R U S . A R B I TER .

R N P SA DA A ALU S .

’ Plautus s comedy of A uln la r ia (the basis of

T h e le a rn e d a n d a ccomplish e d e ditor of Ter en t ia n us M ou r n s H m n i . e c o ple te d t h e e dition wh ich S a n t e us h a d begu n .

‘ ' “ T h e M . a n d n a n t oma lu a a r l S S e ditio s h a v e a ll P s, b ba s c m os e s a bl n o b th e a e b n ot rou o p it , uit e , dou t , to g , ut to so c orrec t a n d e le ga n t a writ e r a s th e a uth or of th i s c ome dy .

an t ola b us is c lass ca l e H or . S a t . 8 1 1 a n d Ta ke P i ( s e . i , ) l n -k a l suits t h e ch a ra cte r in que stion be tt e r th a A ll a rt . [Th i s v e ry i n ge n ious e me n d a tion is n ot n otice d by Subse qu e n t ’ e s wh o se em b e n a c a n e h Pea c c s essa ditor , to u qu i t d wit o k y . - G .] Hor w D r a ma ticw . 75

’ ’ Moliere s L A v a r e) takes its name from a similar subject 5 but there is nothing in common betwe e n m t h e the co edies, excepting buried treasure, the m t h e title, and the Circu stances of prologue being t a milia r i Spoken by the household dei y, the Lar F s. ’ In Plautus s prologue , the Lar tells the audience, that the heads of the families had been a succes m s on e m r sion of iser , of who had buried a t easure , c n ot the secret of whi h he had the heart , even n s n son when dyi g, to reveal to his o 5 that the had a n d m lived died poor and parsi onious, and had o n h im in c n c shown n ho our to , the Lar 5 o sequen e of which he had done nothing towards aidin g h im h r n to discover the buried treasure t at the g a dson , a t er a milia s the present p f , was no better than his predecessors 5 but that h e had a daughter who was very pious towards her household deity 5 on which account he h a d led the father to the discovery of r h m the treasu e, in order that the daug ter ight have

a dowry . m uer olus m The co edy of Q has no fe ale character, m and the hero does not appear to have a fa ily. The Euclio Lar tells the audience, that , the father of u r lu u Q e o s, going abroad on business, had b ried a f m al ar n treasure be ore the do estic t 5 that, dyi g

abroad, he had entrusted the secret to Mandro erus h im uer olus g , and had given a letter to Q , enj oinin g his son to divide the t reasure with his M a n r er us u friend d og , as a reward for faithf lly de liveri n g the message ; that Man dr oger us had made a scheme for getting surreptitious possession ofth e 6 Ca lidor e a n d iscella n ea . 7 , M

m whole 5 that he, the Lar, would frustrate this sche e, and take care that the treasure Should go to its m right owner, who he describes as not bad, but ungr ateful . The first scene consists of a dialogue between u r olus u r ol us m Q e and the Lar. Q e enters, co plain in t h e m g of Fortune , when Lar presents hi self h im before .

u er Oh F n e — oh l n n e ! m i Fa e Q . , ortu , b i d Fortu i p ous t !

L a r . a l ue r olus ! H i , Q uer h a s h h m f ien P Q . W t would t t ou wit e , r d owe h e e n h in n or h a e s le n I t ot g , v to goods m e s O f th in e in y poss s ion . B e n o a n t gry . a Sta y ; I must t lk with th e e . uer h Q . I a ve n o le isure . ’ a r a for h m s . T is h m ll L . St y , t ou u t I , w o th ou h ast ca ed f a i I n te rms o a ccus t on . I a ccused

Fortu n e a n d Fa t e . a m th h se l I y ou h o d god , ’ h a e a n d Wh om t ou ca ll st F t Fortun e . i a n It s str ge . I k n ow n ot wh a t to th i n k 5 but th i s a ppea rs n e f t h e n M e O o G e ii or t h e yst ri es. i e is a a a H s rob wh it e , n d r di n ce is a roun d h im .

h h t h c m la n is ba se ss r L a r . T oug y o p i t le , Q ue olus, I a m m e b a n d h a e c m ov d y it , v o e to ren de r, h a n e e L a r m a l did be f W t v r to ort ore ,

T h e e as n of t h s a e . ll r o y t t Now, te thy grie va n ce s. h e da l n ot b e l n e T y wou d o g n ough . e l W l , briefly

A fe w ; th e h ea viest . O n e on ly que stion R es l e me Wh e ef e h e n s h o v r or do t u ju t t rive, A n d th e just suffer H or a D r a c ma t i a . 77

u r olus The Lar proceeds to interrogate Q e , as to his right to include himself in t h e latter class 5 and having led h im to confess himself guilty of robbin g n h m e orchards as a boy, of perjuri g i self as a lov r, ’ n n h h is n ma n of i trigui g wit eighbour s wife as a , a n d s n c c ch of u dry other pe adilloes, whi society a n d c n mn n c tolerates justice o de s, he co ludes that he has n o righ t to look on himself as an egregious m n speci en of i j ured virtue . uer ol us ss m Q , neverthele , insists that uch worse m en m c of f are u h better f. He has su fered by a false friend 5 h is fath er h a s left h im n othi n g but h is n d n h e s P a n t ola b us poor house a la d 5 has a lave, , who does n othing but eat a n d drin k en ormou sly 5 his last crops were destroyed by a storm 5 he has a h c n bad neighbour. To all w i h the Lar a swers Man y fathers have n ot even left either house or n h m n n m n la d : others ave had a y false frie ds, a y

n m s : h e dru ken slaves , any bad neighbour is well u r lus en ough with on ly one of eac h . Q e o specifies

m n s in m . B so ebody who abou d worldly co forts ut ,

s h h as a n n m . is ays the Lar, e i curable alady How your own health ? Q uer olus is quite well . The Lar s s c n e n n ? I S n ot a k , Would you ha g co ditio s health t h e first of blessin gs ? Q uer olus admits that h e is s off h e n the be t of t two ; but still i sists that, though h h im is c m positively it is well wit , it ill, o paratively h h T h e n h im h is h f wit ot ers. Lar the gives c oice o c n uer olus s s m o ditions . Q first de ire ilitary glory 5 n h ifli cul ie s the civil honours . T e d t and troubles of both being Shown, he rejects both , and desires 8 Ca lidor e a n d iscella n ea . 7 , M

ffl n ma a private life of a ue ce, in which his riches y give h im suflicien t auth ority to dominee r over his him s n u s. h eighbo r The Lar tells , t at if he wi hes h c to live w ere publi law has no authority, he had man is better go to the Loire, where every j udge in h is own c a n d s n r ause, the tro ger w ites his de c rees with a cudgel on the bones and skin of the weaker . s Klin kh a m r n n Thi passage , e is of Opi io , relates t h e B a a uda n to g , who, about the end of the reig c s in of Dio letian, establi hed that portion of Gaul one of th e earliest combin ation s of Socialism and Lynch law not without dreadful provocation from the c ruelties a n d extortion s of the R oman rulers : i f c s m ss n and were w th di ficulty redu ed to ub i io , after * s m t h e m Max imian . a war of o e years , by E peror The hi story of th is B aga udic war may be read in

. uer olus n o Gibbon , chap . xiii Q , t without a sar castic reflec tion on t h e i n n ocen ce a n d happi

s n t h e ne s of sylvan life , re ounces offered share in this fore st republic : goes through a series of ff n wishes for di ere t states of life, each of which , n n s with the co ditio s attached to it, he succes ively t n m rej ects he co es to persons, whose position he

would like to occupy .

Oth e r e ditors a ssign t h e Q ue r olus to th e e a rly pa rt of fh cen r e n f n t h e R ut ilius h m is t h e fi t tu y, id ti yi g , to w o it h h e C a s R u ilius N uma t ia n us a n d d e dica ted, wit t e po t l udiu t , poin ting out th a t th e Ba ga udae con tin u e d to b e more or less m n of t h e troubl e some for two h un dre d ye a rs. T h e en tio l s s c n e b C n s a n n e se ems a c n clus e so idu , fir t oi d y o t ti , o iv ' ’ a — a rgumen t a ga in st Klin kh aime r s d t e . G . a ma i H or a D r t ca . 79

- G iv e me a t l e a st th e mon e y ch ests ofTitius. i Yes, with h s gout .

No gout . m n e -c Nor o y h ests. Wh e me h en t h e of a n n - s y , giv , t , troop d ci g girl , Wh i ch t h e n ew-come old u sure r h a s brough t with

h im .

L a r a e th e h l e ch r s : a e C h e s P a h ia . T k w o o u t k yt ri , p , ’ se s i h t h e h of N s s a Bri i w t w e ig t e tor ye rs. H a h a a n d wh e re fore s T h e old u ure r h a s it .

e a s a n d da n c n - ls m s h T h e y r i g gir u t go toge t e r . * T s n ot . e i e m e m e h i will do W ll , g v i pude n c . B m e n a n d m n a e th e f m e i pud t , do i t oru m But with th e loss of wisdo . Wh y T h e impud en t

A r e n e ve r wise . W h h en a r e n o m n y , t , e h a ppy ? m a r n ot h se h n s So e e : t o you t i k o. I f I sh ow you n a n d h a h is h n ot a O e rich e lt y too , e h ppy ? a r se e t h e h e a h b n ot th e min L . You lt y ody d h a m a b e s c h e n h e fea T t y i k wit vy , op , or r, n a a ce n sa is e A mbitio , v ri u t fi d . T e fa c sh s n ot t h e h e a Wh a if bl h e . in i ow rt t , pu c s h e m n s a t h me n i Joyou , our o L oves ot h s wife ? r l es m ch a n d es h a l O ov too u , di wit j e ousy ?

u r olus i ss n a n h Q e gives up the d scu io , d leaves is s h im fate to his Lar . The Lar tell , he shall be rich in spite of himself ; he shall do all in h is c power to send away his good lu k, but it shall

Q uer olus seems to h a ve th ough t with Butle r H e th a t h a s but impud en ce o all h n s h a s a s n T t i g ju t pret e ce . a lidor e a n d isc lla n C , M e ea . force itself upon h im : with several other ambigui of h h uer olus ties prop ecy, over w ich he leaves Q

m l n . uer olus in arve li g Q , after a soliloquy, which s he expres es his perplexity , goes on . M a n dr o er us c o h a n t a g enters , with Sy p and Sar da n a alus M a n dr o r us c m p . ge has laid a s he e for n getti g possession of the buried treasure, without n a n n uer olus givi g y portio of it to Q , and has selec ted t h e other two knaves as h is instruments . M n s a dr oger us exults in his anticipated succes . But Sy c oph a n t a has h a d a dream of bad omen

S e. sa w a s n h th e e as e h ch we h e y I l t ig t tr ur , w i op

n h a n To ge t i to our ds. Wh a t th en ? I sa w

ie ce s of l b n l a s a im se P go d ut o y gl p , h n d n s a n d l e ch a n s Th rough b a rb e d ooks a ri g , litt i .

D s h n ot e a m of fe e s a n d a sh es ? id t t ou dr tt r too, l

h n a s c s e a m e e e h e e O , i u pi iou dr r I xplod t , n h a d m e a m A n d t h y ill ome s. I y dr too ’ of a Twa s a fu n e r l .

a u T h e s s e h e e M d. god pro p r t n o h m W e pa id th e l a st rites to I k n ow t w o . ’ e T is w ll .

A n d e t h e e a a h h a s a n e . w pt d d , lt oug tr g r e s a r e s n s e a m c n a e s M a ud. Th e good ig dr s go by o tr ri a Sh d a Fu n e r ls ow joy a n t e a rs b e lon g to l ugh t e r . d m e a m n n ot h I a lso h a y dr . I k ow w o m e t h e fa e s a ss n e n n e b m e Told , t ig d to o ut , T fin d h e b e b Sh m o t uri d gold ut it ould profit e , h a m h s a f m O n ly so muc s I ig t w llow ro it .

e M s a m a b e ea m h a h e use Sy . o t d ir l dr W t ot r we h a e for b e a t a n d n ? C a n v it , ut to dri k it

a c proceed to reconnoitre the locality,

a lidor e a n d iscella n ea . C , M

L et us lose n o time

I n se e kin g h im . I would most willin gly 5

B a t h s m men I h a e n ot th e e s e . ut , t i o t , v l i ur

uer . l fa n se h im a il n s Q I wou d i ek too . H , frie d . e W e a n s e Sy . w r

T h y fri e n dly sa luta tion . I s your t a lk O fse cre ts ? S e cre ts to th e gen e ra l 5

Not to th e wise . I se eme d to ca tch a men tion f me a O so gre t ma gu s. On e most won d e rful

I n n a n . W h o h e n ce I n n ot . divi tio , or w , k ow I s h e so de e p in a r t Most a bsolut e h e e f e I a S co h a n t a c me W r or , pr y you , y p , o S a h i tr ig twa y to vi sit h m . f i a t h me I h a ve r en d s o , A i n wa ti g m e on urgen t bu sin ess .

’ - S ardan apalus over rules Sy COph an t a S objections . u r lu n m Q e o s e treats to be of their party . They ake m c n n S c o h an t a any diffi ulties, and at last co se t . y p n h ma suggests to Sarda apalus, t at the astrologer y m a n d be an i postor ; , anticipating all the scruples ue r olus m c m that Q ight have raised, o pletes the c h i onquest of s confidence . While they are dis c M a n dr o er us m m ussing, g ost opportunely co es in in m t Sight, walking slowly onward, profound edi a h im tion . They stop , and respectfully request to b m n h im m m e per itted to co sult , and i bibe so e

m . n portion of his wisdo He a swers, like one over m dist r ib u flowing with it, and ost bountiful in its Hor a D r a ma t ica . 8 3

tion, that he is at leisure, and will answer any questions they please to ask .

They begin with questions, respecting the powers to be propitiated 5 the offerin gs to be made to them 5 the secondary instrumen ts through which they deliver their oracles stars ; celestial and r i i m terrest al prod gies 5 consecrated ani als 5 harpies ,

: n m geese, and cynocephali a very curious e u era h m tion of powers, never otherwise t an alevolently s n c n exerted, unle s under the influe e of abu dant ms gifts and sacrifices, though it is not the god hi elf

m h is - : in who exacts the , but door keeper all which, while popular superstition s are obviou sly a n d Klin kh amer h n n a n d ostensibly, t i ks the corruptio s oppression s of th e several authorities of t h e state

are covertly satirised . Sy COph a n t a receives th is exposition as thoroughly discouragi n g all application to the powers in ques tion 5 and soli c its a n explanation of some more

Simple meth od of solving t h e mysteries of destiny .

M a ud s m ch e e n s n th e n a a l h . Fir t , u d p d upo t our Wh e th e r a m a n b e born to a good fa t e

e b ia n of th e G e n N xt , y propit tio ii , ’ Wh o e n a e s e c e e s m a e h a gov r F t d r , to k t t good h ch a t h a b h e n W i t e first w s ill y t ir ki d powe r , I f l n e e l i h n th e a s Evi Fortu dw l w t i w ll ,

h e ma b ch a me a n d n a n d a i f . S y e r d , bou d , c rr e d orth r e Q ue . Th is w e r most e x ce lle n t 5 but th a t we m a y ‘ W h c n e h a n it o fid n c e obe y you , vi g told us M ch h a n e s me h n h a n u t t you k ow, t ll o t i g t t you k ow

n ot .

A ss e n n n f ur dly, I k ow o e o you th ree , B an l y y previous kn ow e dge . 8 Ca lid r a d 4 o e, n Miscella n ea .

h a is a T t ce rt in .

F s h en h e e . T h n S l ir t , t , to t y ame is a rda n a pa u s P a n d - oor low born . ’ T is so. ’ M u A ma n s h l a d. poor c i d , M i h a n m ocke d w t a roy l a e . ’ ca n I t d en y it . A n idle r a n d a glutton p e tula n t a m f a n d a l m Ca l itou s th yse l , ca a ity h To all wh o kn ow t e e . Eh ! M a n dr oge r us ! h l m m I did n ot a sk t ee to proc a i y vi ces. a n ot lie h a h a s h m I m y . W t t t ou ore to a sk ?

I h a e h e a m ch a ea . I f h h a s S a r d. v rd too u lr dy t ou t

h m e ese e for m a h e a n A ug t or , r rv it y priv te ri g. m n Ma n dr o er us e l m f n Now to y tur , g t l y ortu e f a m a So m uch o it s y b e good n o more .

d I m be n f m t h e be n n n : h M a u . ust gi ro gi i g T ou a n t a a n d f n le A r t Sy COph , o ob birth . ’ i T s tru e . A h less s ec f m h wort ubj t ro t e first .

S c A la s y . e sse n n s c m a l Pr d dow by wro g , o p sse d by pe ri s F e l a n d fir e a n d a rom st e , , w t e r . It would se em h a l e i m Th a t th ou dst iv d w th e . Nough t of th y own ’ * I s le f h e e : b m ch of h e m t to t ut u ot r e n s .

T m ch m ch . P a fa S c. me n o f y oo u too u r y vour urth e r . h n Turn to t is worth y ma . S e f a f t p orw rd , ri en d m T h y n a e is Q uer olus . ’ r T i n Q ue . s e ve so. d Wh a is th e h P B e e n th e S M a u . e h a n d s t our tw ixt e ve n th . u r N h n e sca es h im h e n s h is Q e . ot i g p propou d question

A es a lien a m . D ebt . m Hor a D r a a t ica . 85

* d a h a a n s e s l e a cle s a . A n str ig tw y w r it , ik p ydr

n a n s e n s. M a rs n ow is trigo . S tur look to V u

a M e c is h h h im . Jupite r is qu a dr te . r ury wrot wit

n h m n i in h e r n . T h e sun is rou d . T e oo s spri g T m n e h n ea l I h a ve co bi d t y ge ogy ,

ue r lus l F n e s e s h e e . Q o . Evi ortu e pr s t

It is too true . h fa h l f h e n h n T y t e r e t t e ot i g . T h f n i h n h h a s a b a d n e h y rie ds g ve n ot i g . T ou t ig bour ; A worth less sla ve

H is n a me P a n t ol a b us. h Z T ou h a st a n oth e r sla ve h is n a m e is e ta . ’ uer i m f Q . T s a n i e st . Divin e a strologe r Sh a l l I d e scribe th y h ouse ? Ful l w e ll th ou kn owe st ’ in I n e e r wa s it . l h a I wou d gla dly e r . n h i n h En te ri g , t e porti co s o th e rig t A d a a m s n th e s cr riu oppo ite . a c l Ex t y . I n t h e sa c ra rium a r e th re e little sta tu es n e of th h h l od f h G e n ii O e ou se o d G 5 two o t e . I h h a s N o ce th e T ou t prov e d th y k n owl edge . w produ re me dy fm l n O y i l fortu e . Th a t is quickly don e ; h e a c I s m Wit out d l y or ost . s t h e a cra riu S ecre t a n d solita ry ?

Cle s dr a a a e -cl c b h ich m e wa s me as e p y w t r o k , y w ti ur d , a s a - l by n h our g a ss. 1 ' Pea c ock h a s e vide n tly n ot gra sp e d th e t e ch n ica l sign ifi c a n O f sa lt u a n m e h a n th e e n a n s a wh tio , y or t Fr ch tr l tor o e n e s da n se T i r d r it . h e mea n in g s th a t t h e moon is in cr e a s in in h - g lig t . G . T h e en ius 1 G L oci : a n d th e G en ius D omin i. 86 Ca lidor e a n d i ll , M sce a n ea .

en s Ev o. Noth i n g con cea le d th e re ? Noth in g th e re a t a ll 5 ce t h a Ex pt e im ges. Th e re must b e pe rforme d A solemn rite : but th e e a n d e ve ry on e h a e e T t rit x clude s. b e So it . A n d by stra n ge rs m T h e rit e must b e p e rfor e d . S o let b e it . Coul d we fin d a n y on so sh ort a n oti ce ’ d O n e if h e se l a id us Tw e re we ll a n pportu , t wou d .

t o on uer olus The w knaves , the invitation of Q , very obligin gly promise their assistanc e : and Q uer olus desires P an t ola b us to r un for his friend ‘ A r b it er fi Man dr o er us and neighbour, the g , who n t s uer olus does o like this ort of witness , urges Q

n T h is c . c om ot to delay . e hour auspi ious The n M a n dr o r us bi n ation O f stars is mo st promisi g . ge uer lu asks Q uer olus if h e h a s an empty box . Q o s

h e h m . replies, is too well provided wit e pty boxes

n c M an dr o er us O e will be ne essary , says g , to carry L m A n d m out the l ust r u . 1 they go in to perfor their ceremonies . P an t olab us in The next scene brings in , who

r T h e A b e wa s a ma s a e h se e s ecia A r kit e . r it r gi tr t , w o p l duty wa s th e de t e rmin a tion a n d a pportion m e n t of i n h erit f b ue r olus n a s a f e n b in a n ce s. H e is sen t or y Q , o ly ri d ut

n sc n e h is e c a f ce is b h n a . th e con cludi g e , p uli r o fi roug t i to pl y ' f h e ca n in h ich 1 T h e lust r um is th e re sidu e o t purifi tio , w e s e th e e l ll i n b e em e is a bs be a n d r idu , vi or po ut o to r ov d , or d in cluded . a t 8 Hor a D r ma ica . 7 dulges himself in a long soliloquy 5 first complain ’ ing of his master s un reasonableness in obj ec ti n g to petty thefts an d waste of property : in keeping n n strict accou ts, and requiring the full cha ge of his money : in begrudging his domesti c s their own

: in m quantities of sleep and wine requiring the , m when he gives the holidays, to return to their

: in m fin er -m n day stor ing, if he sees g arks o his

- : mm a n drinking cups in discovering i ediately, if m a phora has been cracked and sealed up again, or if an abstrac ted portion of wine has been replaced n by water in detecti g abrasions of Silver and gold .

A n d his frien d the A rbiter is worse than himself. He gives half- allowance of food a n d double allow

. uer olus ance of work Q feeds his household well , i and s not exacting of hard labour. He is the m best of the two, but too uch given to scolding , and too liberal with his whip . But the life of m m do estic Slaves is not so bad as so e think . h They are thought drowsy and stupid, because t ey

. B s sleep in the day ut this they do, becau e they keep it up at night . The night is their day . n Then they bathe, the they feast, then they enjoy m T h e m the selves . worst of thieves are asters, who m n Sit up late the selves, and steal part of the ight

m . m s m fro their servants In any re pects, the aster n is their serva t . He has to find the revenue,they have to consume it . m He then fancies he hears his aster calling, to know why he loiters 5 and thinking it very hard m that he cannot take his own ti e about his errand, d c n a id a n is e a ea . 8 8 C l or e, M ll

m a n d utters a string of aledictions, takes his departure . m t h a n d uer olus Now co e in e three rogues, Q with the box .

h n h h a s n e en h L a y down t h e burt e . T ou t do oug e i n in h self To sa ti sfy r lig o , t y n e of s A idin g to be a r Ill Fortu out door . h a a s en e h T h y a r t is migh ty. W t udd w ig t ’ in h s b as h for on e H a s come to t i ox Tw lig t , ’ h s A n d n ow o er b ur t e n two . Dost th ou n ot kn ow Noth i n g is h e a vi e r th an Evi l Fortun e ?

u e I n . Q er . Too w ll k ow it T h e G s fa e e od vour th . a e e a h n e is No h ou se w s v e r purifi d s t i . l h e is h e e m a e fa A ll t h e b ad uck it ld r d st . ’ ’ b a t h e e s e e e s W e ll e r it to riv r d p t pool , h e it s own e h Sh a ll sen t h e b m W e r w ig t d it to otto . E n e e en f m h a e h But vil Fortu , v ro t t d pt , a ise b e h e e h e ef e Obse M y r to trou l t . T r or rve , e e th s C se b e n h a n d da To k p y door lo olt d ig t y , a d A m n f ie n n Till th re e cl ys e n . d it or r d s or kin dre d N ot e e n G n e Sh l s h h e a h v ood Fortu , ou d t t ou r er

k n ockin g . h a e a s th h se is Cl ea for e T t p riod p t , y ou r ver .

I Sh a ll obse rv e . Sh cl se Ba l s . s c an d h ut o r , o k , c a i n s.

fa s en n Sh a ll b e s a e . F a e l No t i g p r d r we l , grea t M ast e r.

The accompli c es are now in un disturbed pos session of their prize . They had kept Q uer olus m out of the sacrariu , while they whipped the urn into the box ; and now determin e on proceedi n g

- ma to a solitary spot on the river Side, where they y

Ca lidor e a n d iscella n a 90 , M e .

Oh e a Ma n dr o er us— fa h e a n d mas e ! , gr t g t r t r

n h a c m a es e l h e s in m n n . U ppy o r d , v i your a d our i g h s is m ch se h a n h a e l s a ma n T i u wor t to v o t . f * Th i s is t h e loss o losse s. Wh e re a r e n ow h e s Your h ope s ofpowe r a n d we a lth ? A ll turn e d to a s . a h Fa lse h ope h a s b rbe d t e stin g of pove rty.

M a ud. L a n f ie n s m e la n ch l b h en . y dow , poor r d , your o y urt ur ea s a r e due h s c n e a l ur n O t r to t i i e r . Oh m s fa se e a s e h a e I f ll e h e e , o t l tr ur v o ow d t Th rough sea s a n d win ds ? M a de prosp erous n a viga tion Ma a n d ma h e ma cs h a s e gic t ti ve I tudi d , Th a t burie d me n migh t ch ea t m e A n d e xpoun de d h e f e h s n a n of m own ? T ir a t to ot e r , ig or t y e is f h h n ot H re a buri e d a t e r . I , w o w e pt ’ M o n n o m n a s a n e ue r olus y w , w our tr g r s. Q

M n n ot h m a n h s ie f is due . our s , to w o lo e t i gr Oh c e l eas e h a wa s th e sea se , ru tr ur W t di Th a t c a rr ie d th e e from life ? Wh a t fun e ra l pyre n e h e e a sh es ? U s th e e c a n h e s Tur d t to , y xp t t ir , Wh h a h n oh a e ? y st t ou di si h e rite d , tre sur h e h e Sh a l we cut of h a ses e ce W t r l , wit out t r , Now ben d our ste ps u m e L ook to th e r n on ce or . R a e h n e d ov r t e i scription . Fu n e ra l r e lics

I can n ot touch : n oth i n g I dre a d so d ee ply .

S c h h a a m a a n a a l s. y . T ou st ti id soul , S rd p u

a m mit u m a e t umultu m jore do us ge , jor ,

Pla n n t ur n mm a m fun e r a . em dolor em gu u i , qu N o Fin it in h c ca s es e m de duce r e summa m g o u , v t h umor e c a c o C on t e n tus, v e x a r e ocul os o t . n a s P lor a t ur la c r imis a missa p ecu i ve ri . V i 1 0 - 1 JU . xii . 3 3 4. F e ign e d sorrow oft in fun era l rite s a ppe a rs ea ea s T h e loss ofgold is wept with r l t r . Hor a D r a ma tica . 9 I

R ea ds ER E L I S T R I ER I N US N ( ) H E , S O O F T R I I CI P T I N U S , EPO S ITE A N D B R I E m l D D U D . Oh e , mise ra b e

M h ea is in m h a . T h e sm e of l y rt y t ro t ll go d , h a e h e a l l I v rd , is a ways swe e t but th is is redo en t Of dire a roma t a 5 'l' e ve n th rough th e ma ss O f ea ch e s l e a h a c e s n h a tr rou d , 1 t t ov r dow t e sh es. S e ll e fum e th e e a h a s been m ch h o w p r d , d d u on oure d . ’ H a d b s en e th e ma e s a n n I ut li t d to gpi w r i g , ’ h a d fa l I n ot l n in th is ca la mity . h a d e t h a m n i n Nor I , I obey d e d o it o G n m i - ive e th s morn in g by a crop ta ile d dog . Wh a t a dmon ition ? A s le f th e h se I t ou , H e r a b n m le a n d e d me ba n e e e s c a . tw y g , tripp kw rd Wh a h a d I n e h e e l Euclio t do to t , o d , Th ou Sh ouldst d e ride me in t h y life a n d d ea th Wh a t sh a ll We do n ow ? h a e ma n s us W t r i to , ’ But to re ven ge ourse lve s on Euc lio s son , A n d ma ke us p a stim e ofh is cre dulous fe a r ?

e e in a n d m a . Ta e ca e h e se es n ot P p , rk k r you .

n d s m e n a r e a n e h n t h e s H e a h i r g d wit i door , n d e s A ll a rme d with rods a cudg l . Ke e pin g gua rd ’ a n n e . a a ch a n d f G i st Evil Fortu Now ppro , righ te n

th em .

a h a r t sh e a n d h e a en b ea in . S y t ou , t r t to r k

L u cri bon us est odor e x r e

ua lib . U V . x iv 2 0 Q et J . 4, 5. ll n h e e ll - n n a n e of s a A udi g to t w k ow ecdot Ve p sia n . ue t on e s 2 . S , V p . 3 ‘ r A lludin g to th e s wee t h e rbs wh i ch it wa s customa ry to la y ove r th e a sh e s 5 a n d wh ich m a y h a v e be en pla ced in t h e ur n b En e i n c e a se t h e e ce n . y l o, to i r d ptio T h e e a wa l l ma n e i e a t I l d s we i gi d , to g v prob bility to h e a a e n e h pp r t w ig t , 2 Ca lidor e a n d iscella n ea . 9 , M

Ho Q uer olus ? Wh o c a lls m i Q uick let e n . For wh a t ?

Th a t I ma y e n t e r my old qua rt e rs . Z e a P a n t ola b us s an b t h e s t t d y door , en ce il n e W h h e th e G e a M a s e H , Ev Fortu it r r t t r e h e e Con ve y d t . H e pr e dicte d my re turn

A n d I a m h e re . We h G F n e en rt t ou ood ortu e v ,

Th ou Sh ouldst n ot en te r. h n e a t th T u d r e door , a th e men a s e h e h h To dr w id , w il t rough t e win dow

W e c a s h s f n e a ur n . h u r u t t i u r l O , Q e ol s R e cei e t h e e a s e h ich l Euclio l e f h v tr ur w o d t t ee , ’ S ch ea h b e e e h n e a n d s h l ch t ch n s . u w lt v r t i , u y i dre N ow a ll on b a es f m h s s l , o rd , l t ro t i acri ege m A rise so e pe ril to our libe rti es.

They make off accordingly 5 but Sardanapalus n can ot be satisfied, unless he enjoys the terror of r lus h is s Q ue o , on receiving through window a vi it m fro the dead . He puts his ear to the door. He is astounded by shouts of j oy a n d the jingling of c gold. The broken urn has scattered its ontents c m s on the floor. He hastens ba k to his co rade 5 m n ma thinking that if he re ai s, he y be apprehended for a thief, without having the pleasure of their m n co pa y . The Lar enters again

h ur n h a s e l e it s e h of l L a r . T e yi d d up w ig t go d 5 R e n de re d true fa ith to it s d e positor e l h e l e s e th e e s D uded t e d ud r 5 robb d thiev ,

l d r a n d iscella n ea Ca i o e . 94 , M

h e e is i h n W r t , t e is h e A i ma a i He re t rb ter , to ke p rt tion . ’ I say t is in your h a n ds. From yours ?

From min e . a in h a n s h en ? Tw s your d , t ’ Yes a n d m h h a e sta d h e e , ig t v y t r n a m m T h e wh ole I o ly c l i y h on est sh a re . i n ot h en c n e n e You st r e u til you r d r it .

W h h a e en e e it . y , I v r d r d To wh om Wh en ? How ?

- h th e in . To day . He re . Th roug w dow h e n e h en ca me it ? W c , t , m e a a m Fro th s cr riu . How we n t it th en ce ?

Y u e se lf. Out th rough t h e door . o bor it out your i You w e re to Sh ow t to me with out fra ud . i a T h h n a a n ot But th is s idle t lk . e t i g ppe rs . Wh e re is th is trea sure

a ud h a e en h e . M . I v giv it to t e l t h ’ I swea r by a l e gods. Twa s in a n ur n . h I pitch e d it t rough th e W in dow . Bra ve con fession T n is b e Oh h A b e h is, th e , , wort y r it r

Wh o h url e d i n to my h ouse th a t fun e ra l ur n . P a n t ola b us th e f a men s — a n e a , r g t C you r d Wh a t h e re is writte n

I h a e ea a n d ea it . v r d , r d

U H ER E L I ES T R I ER I N U S , SON O F T R I CI P I T I N S , ” DEPO S I TED A N D B U R I ED .

Not c on ten t fa l n in th li in With i i g your duty to e v g, You h a ve ma d e s port a n d mock e ry of t h e dea d Brok en i n to th e tomb 5 dug up th e a sh e s Born e th e m a broa d i n to th e public wa y Stole n th e treasure wh ich wa s burie d with th e m 5 Hor a D r a ma t ica . 9 5

A n d h le th e fa a l e cs h h th e n ur d t r li t roug wi dow , T sca e on t h e fl a n d h s ll e o tt r oor, t u po ut T h h h e ouse t ou first h a dst p lun de re d .

Fa re th ee we ll . e I s ek n o more . Fortun e a ban don s m e .

uer olus h im . Q , however, will not let go They examine and cross - examine h im 5 threaten to take h im to the praetor 5 but give h im the choice of the m h im charge which they shall ake against , whether it shall be for robbery or sacrilege . He tries a defence on each charge severally, and gives up n m C both poi ts in despair, leaving it to the to harge h im h — with whichever t ey please either the theft, mm which he could not co it, or the sacrilege, which he would not have c ommitted. But he throws m h m n hi self on t eir ercy, and only e treats to be allowed to depart . The A r biter now intercedes h im s f for , a having been really, however un aith ’ m uer olus s . A n d fully, the eans of Q wealth ue r olus n b e Q , who had bee previously disposed to h im h im m i generous towards , agrees to give a n

t en an ce an d h im . , receive into his household Sy coph an ta and Sardan apalus then presen t them selves . They solicit a small participation in ’ uer olus s . Q bounty They are aware, that one house does not take three hungry idlers 5 but they m m m on i plore a oderate donation, to Speed the n r l a other quest. Q ue o us replies

L et t h e be a t en pa rasite

Ha ve compen sa tion for h is i njurie s. 6 Ca lidor e a n d is ella 9 , M c n ea .

A n d mm f i ediately ollows a sort of epilogue, in

m -c on sult um n f the for of a senatus , fixi g a tari f of m co pensation for torn clothes, bruises, broken n a ll m n bo es , and other for s of i jury to which para m sites are liable . This was ost probably subj oined ’ a n r l as exposition of Q ue o us s last words. I n w t h e n n Old this vie of co clusio , we follow the reading : M er cedem v ul n er um v ict us r eczjoia t P a r a

situs. I n con v iv io u r it d us 81 0 . si f e v este isciss , Klin kh amer terminates the comedy thus :

v uln er um mer cede m victus r e cipia t .

P a uca desider a ut ur .

A n d m m after so e preli inary, presents the final passage a s a pa n n us a ssut us

’ ‘ PA R A SI I U S . I n c n i si f e i &c o v vio u r t , .

m m Three of the editors of this co edy, and any s e in t h e h s other writer , hav Spoken of it hig e t r ut e r a n d s terms of praise . G Pareu disparaged it . “ Ca n n eget ie r thin ks th at none c an disparage it ” n but those who do not u n dersta d it . The ill humour of G r ut er a n d Pareu s appears to have m h e n been excited chiefly fro t e MSS . b ari g on the

P l a uti uer ol us : n ot th e f title Q , but this was ault of h m a s n t h e aut or, who speaks of hi self treadi g in ’ n m Plautus s steps . The assig ent of the authorship n to Plautus must have been very ancie t, for

Commen t a r on Vir il fEn . . Servius, in his y g ( lii lu Cites it as P la uti Q uer o s.

' 8 a lidor a tl z 9 C e, n d d scell a n ea .

No . II .

’ [Publish e d in Fr a ser s [Maga zin e for A pri l

THE PHA ETHON OF EU R IPIDES .

I T had l on g been k n own that there existed in t h e library at Pari s a man uscript called the Codex Cla r omon ta n us n n m n , contai i g an inedited frag e t, m n m n c m or frag e ts, of Euripides ; and a y re la a tion s on the subj ect had been uttered from Ger m n a n mm B a y, but without y result, till I anuel ekker, n h h n c ommu passi g t roug Paris , tra scribed it, and n ica t e d m n n n it to Her a , who subseque tly received

m H a sius n . a c fro H . a copy represe ting the MS c n h h ordi g to t e exact trace of t e letters . Fortified h h n s c wit t is i di pensable basis of orrection, Her m an n revised a n d edited the co n ten ts of the MS . with his own emendations in 1 8 2 1 5 and thus brought the world ac quain ted with t wo large frag ' * m n mm ents of the Phaetho . I ediately on their

e e e a a w i e h f l l n n e f m a Tw lv y rs go, e r e ce v d t e o owi g ot ro ’ C a ss ca f e n h wa a t e m a f e ma n l i l ri d , w o s n ot t h ti e wa re o H r n s publi ca tion W h a t is th e M er ops of E r ipides a bout ? O f ’ t h e G e e M in t h e in L a a — h r k S S . K g s ibr ry a t P ris wh i c a n y ’ m a e a min e f r a n — body y x o ski g N O . 1 0 7 c on ta in s St Pa ul s

- E s e s a n d le a e s a t e a s ff. 1 62 a r e b s pi tl , two v l t , 3 , o viou ly

a im se s . T h e e a e s c n s s of f a e s a n d e a ch P l p t two l v o i t our p g , a e o f c mn s of th e in a l r n h is i p g two olu orig w iti g , w i ch n la rge

e e s a n d c m se s a r n of t h e M er o s of E e l tt r , o pri po tio p uripid s. A t t h e a e of n l e n - fiv e n e s in a r t o y tw ty li column , th e re a r e two h u n dre d v e rse s : wh a t a n obl e fra gme n t Hor a D r a ma t ica . 99

n r m publicatio , he t ans itted a copy to Goethe, wh o, s c h n being tru k by t eir extraordi ary beauty, ar n m s m ra ged the , and the previou ly known frag ents t h e m c c n of sa e tragedy, a ordi g to his own view of n m n their proper order 5 tra slated the i to verse, filli n g up a few of the la cun a with addition s of h is own ; and connected t h e series by an analytical exposition of the probable progress of the drama .

T h e se n n i of t h f h n I ll co d writi g s e fi t ce tury . f we a ow t h e fir st writi n g to b e on ly a littl e m ore th a n h a lf a s old a a n m a b e t h e a a h Of th e a a n h m lf g i , it y utogr p Tr ge di i se . ’ n t h e s h a n h en s e But you will k ow poe t d , w you e it “ T h is i n form a tion wa s giv e n a bout a c en tury a go by M n fa c n wh o a s h a in t h e m a n ma a n b e o t u o , dd , t t rgi y pl i ly se e n se e a l me s M e s Ch s a n d de a r wv t h e v r ti , rop , oru , p n ame s of th h h e e a e a m of e i n t e rlocutors . T i s r l t s s a a tte r me e c i s n h a n n ea h O e as e ase n r ur o ity, ot vi g a y id w ily r d writi g m a b a n o h is e a m n a n was c s y e re store d d re a d . S x i tio ur ory h e e wa s n o m e h e n ma e a n h e a n d a c a e f (t r otiv t to k y ot r), r ul se a rch will prob a bly di sc ove r m a n y m or e th a n two r escr ib e d le a ve s . T h a e en n e i n forma tion of Mon tfa uc on h s n ot b oti ce d , I be e e b a n e s n e ce on e n s a e a r n e G e m a n li v , y y p r o , x pt Bru , l d r , wh o c e s a b s m e f e a s a o f m a ri d out lu tily out it o fi ty y r g , ro e m e c n of e m a n V il loison . I f . h a d h a r ot or e r G r y , to V e rd h im M h e l m s e h a e h a d a ch a t t h e S . , wou d o t lik ly v tou ’ T h a f t h e en ch n s M e pri n t e d c a t logue o Fr Ki g S S . doe s n ot e m a h a m se s n or is s a b a r rk th a t t i s is p li p t , it u u l ; ut it st t e s h a se e a e a e s e e s e n f m e a n d s t h e t t v r l l v w r tol or rly , old to

n e of t h e H a e a n C lle c n a n d on e a n n of t h e ow r rl i o tio , l r i g h f h E f b n e h e m h s e t e a of O e a e . t t , rl x ord li r lly r tur d t T i a n e c e is e e ma a ble a n d if a n i n of t h e s dot v ry r rk , y port o lo t ” ra e wa s a bs a c n n ot m a c s . T g dy tr te d , o ly ir ulou [Th is le tte r must b e from t h e pe n of Th omas J e ffe rson H — ogg . G . ] I OO a lidor e a n d C , Miscella n ea .

Since that period there have been several edi n t h e m n in h tio s of frag e ts of Euripides, w ich the remain s of this tragedy have been arranged accord in g to the views of the respec tive editors . The same task is p e rformed in t h e valuable and ela

n E ur i ides R estit ut us. borate work of Hartu g, p T h e latest edition of the fragmen ts of Euripides is n sh wn that of Wag er . We all give our o view of m n P ka et/zou n cin n the frag e ts of , oti g i cidentally a n y essential points of differen ce in the arrange m n e t , The prologue was most probably spoken by

'

f m n . h n Oceanus, the ather of Cly e e Phaet o , to h m n n t h w o Hartung assig s it, could o ave spoken c c n ot it, be ause he ould know all the previous C c m s h is c ir u tances of history . This per fe t know ledge of the past is indi spen sable to t h e speaker of the prologue 5 a n d in cases wh ere n o mortal c an s s u s n s po se s it, E ripide assig the task to a spirit or a deity— as to the gh ost of Polydorus to reveal the h is m e t h e history of urder, or to Venus to solv ’ m h e s ffl c n . m n m ystery of P a dra a i tio Cly e e , to who R a n d h n m h h e avius ot ers assig it, ig t av spoken the prologue 5 but as the on ly fragme n t c ited from it s n in t h e c h pre e ts her accusative ase, t is supposi c m s f h th tion be o e at least doubt ul, alt ough e

passage ma y admit t h e person al pronoun . Euri ” “ s n s m n h pides , say Strabo, represe t Cly e e to ave ” m n been given in marriage to Merops . Cly e e might h ave Spoken of h erself a s havi n g been so h given , t ough Strabo , in introducing the passage,

1 0 2 a lidor e a n d iscella n C , M ea .

C lymen e wa s giv en in ma rri a ge

T M e s m n a ch of h is ce a n -sh e o rop , o r t o or

T h e a n h ich s f m h is f - e c a r l d w fir t , ro our st e e d d , T h e a s en n un h c di g S strik e s wit h is gold en fir e . Th is la n d th e n e igh bourin g bl a c k - c om pl e xion e d m en ’ Ca l t h n a e s a n d h e R a m M n l e Su s St bl t e l of or in g .

n m s n The ki gdo of Merop was, therefore, co ter m n t h m n n un h s c n i al to e do i io s of the S . T at thi vi i ity wa s n s n h m i nocuous is expre sed in a ot er frag ent, whi c h also apparently belon gs to t h e prologue

’ ’ T h e n s e c e a m e a sce n n o e r th e e a h Su fi r fl , di g rt Most burn s th e d ist a n t l a n ds with ge n tle r r a y e m e in t h e n a T p r g e r . T h e prologue is followed by a dialogue between

' m n a n d son in c n Cly e e her , whi h Phaetho urges his c s m h obj e tions to the propo ed arriage, c iefly, it m on c n h is would see , ac ou t of inferiority in birth

s m s to his bride, who is evidently a godde s , and o t s m a n probably A urora . Thi y be i ferred from

1 n m e verse 3 5. We have u bered the v rses for n n c n c conve ie e of refere e . The following three m n e n h c n a n d frag e ts app ar to belo g to t is s e e, to have been spoken by Ph aethon

ka tk u T f - b n ma n b m e s a s a e b ma a P é o . h e e ec e re or o l v y rri g ,

Sold for a dowry to a lofti e r n a me . h m i m n h e ch A ea vy doo s st a pe d upo t ri , f h m e n a s h To lose t h e c l e a rn e ss o t e ir t l ig t . I s h a n e b e n b n h e se f it t t Fortu , i g li d r l , G iv es h e r own bli n d n e ss wh e re sh e Sh owers h e r fa vours

’ T h e a ir is e v e rywh e re t h e e a gl e s pa th n A n d e ve ry l an d is to t h e bra v e h is c ou try .

Th s s l n e is a an d h e se n m e f m i fir t i dded , t co d odifi d , ro th e fragmen t s of un ce rta i n drama s. Hor a D r a ma t ic a . 1 0 3

We now come to the first of t h e two great frag

m s m odex Cla r omon t a n u h ent fro the C s. T e same scene continues :

Cl m n e e h is n sel y e . I giv t cou , R e mem e n th e m s i h m m b ri g pro i e wh ch e ad e e . ’ A sk h e n on e fa — h a e h t , vour w t so e r t ou wilt : n e n m e h m s n ot a in O o ly or t ou u t see k to g . I f h s b e a n e h i n t i gr t d , t ou w lt truly k ow T h a h e is th e S un ifn ot th m h e y F t r 5 , y ot r a H a s spoke n f lse ly . H ow sh a ll I a pproa ch T h e burn i n g dwe llin g of th e god ofda y ? ’ Cl men e ll b e h is c a e e e h e sa fe f m h a m . y . Twi r to k p t e ro r ’ h a ll ifh n T ou s y st w e , e b e i d e e d my sire . T h e i m m truth w ll b e in ti e a de pl a i n to th e e . ’ h a m sa is e h s a k t n ot h l . En oug . I t fi d t ou pe s lig t y R e turn i n to th e pa l a ce 5 for th e h a n dma ids A r e c m n f h wh o h le th e m n a ch s l m o i g ort , , w i o r u e s b r , S e e n h is e l n an d h a ca e w p dow dw l i g, wit d ily r , a e h h a n if th e ls M k brig t t e floors d pur y wa l , A n d with th e n a tive odours of our la n d M a l h e n m fa h e ke a l th e e n tra n ce fra gra n t . W y t r Sh a se f m s e e a n d a ss n h h t h e ll ri ro l p , , p i g t roug a e s g t , S h a e a me o ma a e h en e a in ll sp k to f rri g , t , d p rt g, a a ch th e a a c of th un I will ppro p l e e S , A n d e a n oh m h e if h r l r , ot r t y words a e true .

This dialogue is followed by the entrance of the t h e h n m m n Chorus , a d aids already e tioned, who, in th e c n n c first lyri al so g, prese t a beautiful pi ture of t h e m n n the life of early or i g, and celebrate the

' n approaching nuptials of Phaetho . a idor n d is a 1 0 4 C l e, a M cell n ea .

C H O R S U .

’ T h e d a wn sca rce glitt e rs o e r t h e h ills T h e n h n a e h e e e e s e mb e ig ti g l , w r tr ow r, in h e s sh a e a n d s S till sits t i ck t d , fill

T h e a ir h s n of e n e s e wit o g g tl t pow r , P n h e s f sa d n e f s a n ouri g t o t, , tu ul tr i ,

s s m n e in a n . For Ity , Ity , our d v i T h e e ma s m s c f m t h e c s e r d ke u i ro ro k , h s A s sh e ph e rds upla n d drive t eir flock .

T h e colts in pa irs to pas ture go T h e dogs be fore t h e h u n t e r boun d * h e a n - f n a in s flow A n d wh e re t e O c ou t , ’ T h e swa n s m ellifluous n ote s re soun d . Ve sse l s a r e movin g on t h e d e ep ’ S om e by th e c a r s impe tuou s sw e e p 5 ’ h e s m e be f e t h e fa in a e W il o , or vour g g l ,

S a t h e a ma a n d s e a t h e sa . t y t ll st , pr d il

h e se se e a l a s s h le h e s T v r t k w i ot r ply , ’ T is m n e th e a a c e a n i p l to dor , A n d s n th e h h s e mn i g ig ol ity, Th a t ope n s with th is open in g morn ’ T h e n uptia ls of our sove reign s son

T h e fon dl o ch e r ish e d n on e y , o ly R e e e n ce a n d l e m ce e m l v r ov y voi p oy, a se th n ff l To r i e so g o e st a joy .

’ F se a n s sh a e t h e ma s e s e a or rv t r t r w l , A n d w e ll with son g h is bl iss m a y gre e t

T h e O ce a n wa s a ea i e s n n t h a h gr t r v r, urrou di g e e rt ;

a n d t h e se a s e e n e s f m . e n a e h a d of w r i l t ro it B i g riv r , it , c se it s f n a n s h ch a r e h e e a ce n th e m our , ou t i , w i r pl d o e xtre e e a e n S st r h ore . A n of th e i l i l T portio MS . s h er e i l eg b e .

a lidor e a n d isc a n ea . 1 0 6 C , M ell

n n t h im a m n h s ofm a ls I c ou t o o g t e wi e ort ,

W h o a s a fa h e - m n e ch l e n , t r to ill i d d i dr ,

O r a s a n s b e c s i e s f e e l ce n ce . , ki g, to u j t , g v r i O n e a n ch or doe s n ot h old a sh ip a s sa fe ly * h a s h e i f A s th a t wh ic l y out t r e . A sin gle ch e I s to a c ity a pre ca rious gu a rd

- e n e a m n e se es e l . A s co d , qu l i d d , rv it w l From which it would seem th at Merops informed t h e people of his inten tion not on ly to unite his son h im a n to a bride of exalted birth , but to give n equal share of his thro e. s Goethe assign these passages, and several others , S un n to a dialogue between the and Phaetho , supposi n g the sc ene c hanged for a time to the T h n Solar Palace . e political reflectio s thus put

“ l . i a n h s a r h Pi n da r sa ys ( 0 v . ) Two c or e good to old ” B oe kh n n m th e by in stormy w e a th e r . c e xpou ds O e fro h e a a n d on e f m th e s e n h s l l a t h e sh d , ro t r . T i wou d y ip b n th e se a a n d s a m h er H e m s h a e a s e o . ro d id to , w p u t v be e n th in kin g of a sh ip moore d h e a d a n d ste rn in a tide i e h s m s a e h a s be e n c e b s bs n e s r v r . T i i t k opi d y u e qu e t ditor Sh owi n g th a t k n owle dge of words a lon e will n ot suffic e for a n e s h s me n e e of th e s b e c -m a e xpo itor , wit out o k owl dg u j t tt r . It would b e curious to se e h ow B oe ckh a n d h is followe rs ’ would d e a l with Euripide s s th ird a n ch or : wh e th e r th e y la it f m a m sh s W e e m m would y out ro id ip . r e be r a fa ce tious “ bl ca n in h ch a a a s s h e r b pu i tio , w i l dy k l e a rn e d h us a n d , “ h e h e th e G e e s sa w sun m n a n d s a s se a e s w t r r k , oo , t r , , riv r , ” ” e s a n d e e s a s we ? Ye s m e a h e e fi ld , tr , do , y d r, r pli es, h e sa w th e sa m e h n s a s we b h e t y t i g do , ut t y sa w th em in ” “ ” “ G ee . B ess m e ! sa s th e a h a m r k l y l dy , t t u st h a ve ” bee n ve ry puzzlin g. It is on ly th rough th is sort of G re e k me dium th a t our l e a rn e d profe ssors could h a ve seen a sh ip n a a le of n ridi g out g wi d . 1 Hor a D r a ma t ica . 0 7 i n to the mouth of the Sun he thinks very muc h out of place— whi c h makes it the more sin gular m that h e should so h ave assign ed the . The m c change of scene, also, fro the Pala e to Merops Sun th e c of that of the , and back to Pala e of n c Merops, is co trary to the prin iples of the Greek m h n s a n d s dra a, is altoget er u nece sary, de troys the s implic ity of the tragedy . With respect to the scen e between Merops an d “ n s : n Phaetho , Goethe observe U fortunately the next s c ene is all but lost : but it is easy to se e A h th at it s dramatic capabilities were great . fat er who h a s prepared for his son a magn ifi c ent m - a n d son arriage festival , a who has declared to h is mother that in the midst of th ese prepara tion s it is h is i n ten tion to steal away a n d under a n n m take perilous adve ture, prese t the ost

- s n n n n s c intensely triki g opposi g i flue ce , of whi h it ca n sca rc ely be doubted Euripide s took full a d ” in m n th vantage the deve lop e t of e dialogue. Goe the proceeds to assign to th is dialogue the m n n m argu e ts of Phaethon agai st arriage, which , n n e a n d h co curring with Wag r Bot e, we have c n c n m assigned to the pre edi g s e e with Cly ene. It is n ot probable that Phaethon stated h is objec tion s to th e proposed marriage to Merops : h is wa s n c m purpose , appare tly , to a co plish it, if he Sh ould fin d himself equal in birth to his goddess bride : he would therefore h ave dissembled with h is v m supposed father, reser ing to hi self the ulti mate decision on the result of h is in terview with a lidor e a n d i ce a n a 1 0 8 C , M s ll e .

c h e m e a s c om the Sun , whi h ight saf ly do, the pl etion of the ceremon y was reserved for the m n n . n e e n eve i g Merops , i d d, as is evide t fro s n m n n on n n sub eque t frag e ts, we t u i terruptedly a n d unsuspiciously with the preparation s for the m arriage . Phaethon h a s departed : has obtained from h is reluc tan t fath er perm ission to drive t h e chariot of the Sun and early in his ascen t h a s been struck n is down by a thu derbolt from Jupiter. There now a lon g break in t h e series of fragments : but on e of the fragmen ts of un c ertain dramas appears n s th to belo g to thi part of e tragedy .

h f m a e sh n in h f bea T e or , l t flouri i g yout ul uty , e fa n -s a b e e n en ch e a n d H a s lik a lli g t r qu d , pour e d

I t s livin g bre a th on th e e th e rea l wa st e .

We m a y assume th at a thun der-peal has been d h m n e n n in hear , and t at so ethi g has be see the “ n e h n m m h dista ce . Hurl d eadlo g fla ing fro t e k m n n Ch eth ereal s y . Cly e e a d the orus un der stan d the catastrophe : but it is probable th at a

n n h c n messen ger a ounces t e parti ulars . A other n m ma c h uncertai frag ent y perhaps be pla ed ere.

’ M a n h a s h n e s ess n y t u d r bloodl wou d d estroy e d .

T h e m n m frag ent next in order belo gs to Cly en e .

T h e c se of h im m s e a m e is e f orp o t d r to l t,

n a sh e a m a c c essle ss c s . To rot , u w d , id ro k

This passage is preserved by Plutarch , who quotes it as not agreeing with the received

1 0 li o a n d M . I Ca d r e, iscella n ea in m m s g Destroyer . Ca ssandra akes a si ilar allu ion in A a m mn on fEsch lus ob the g e of y . It is to be se h h S un A rved, owever, t at the and pollo are s in m a n d fEsch lus always distinct deitie Ho er y , in h s a though Euripides, t i pass ge, appears to treat

m as n e . sa the o We y appears, for it is not quite m so. a n clear that he does The l st li e, ore literally n is tra slated,

f s By th ose wh o k n ow th e u n spok e n n a mes o god .

A n d A pollo might have been t h e epithet of the t wo O deities , though given penly to Phoebus, and

tacitly to Helio s. is n n me The body bor e i to the palac e. Cly ne n follows it . Merops e ters at the head of the

Hymen eal Chorus .

H R C O U S .

H m e n oh me n n ow we s n y , Hy i g , h e e of t h e b i a a n t h e n T , r d l tr i ki g , From wh om a ll bliss proc e e ds ’ A n d h e r e s a h e h e a e n l b h , Jov d ug t r , v y rig t,

V e n s wh o th e n a e u , to upti l rit h a n l T h e ppy virgi ea ds . h C ia e e n a n d fa O , ypr , v r you g ir , 0 lov e lie st of th e que e n s of h e a ve n To th e e I ra i se t h e c h ora l pra y e r 5

A n d th son h m is i e n to y , to w o g v , I n lin k s of m utua l love to bi n d h s n s a n d a h s of m n n T e o d ug t er a ki d .

h H me n V e n s e ! c mb n e O y , u , Lov o i ’ b e ss a n c e n s e e n s n e To l our i t ov r ig li , A n d h n in h s e a me o our, t i r g l do , b e wh o ea e s h e r a h m T h e rid l v st rry o e , Hor a D r a ma t ica . 1 1 I

O ur youth fu l lord to gra ce . ’ a e is h is h a n m n a ch s e G re t r t o r prid , Wh o ga i n s th e love of su ch a bride A n f a h a ce lo e o e rt ly r , W h o we ds a da ugh te r of t h e sky Wh om mort a ls a n d immorta l s v ie To ble ss : wh ose p e e rless h igh e sta te ’ Ea rth s utmost bou n ds sh a ll ce lebra te . G o th ou le a d in th e se d a mse l s b id th e que e n With sole m n H ym e n e a l da n ce a n d son g

n a of t h s h n Surrou d th e lta rs e god , wit i T h e a a ce a n d th e sa c e se a of e s a p l , r d t V t s a s th e l s a l a s use Fir t , tru y piou w y , A pproa ch with pra ye r it

f m m h se b e e n ro y ou giv , h A dowe r wort y t h e c e lestia l bride . tt n da n t in i h a A e . Oh k g n h a st e my ste ps ve le ft th e pa la ce f m th e m a b e ch a mb e s of th e ea s For , ro r l r tr ure h h t h e n s a n d ss e s of th e s Pour , t roug joi t fi ur door , Th ick stre a k s of bla c ken i n g smoke sh owin g with in 0 a c e of a m e f m e ofsm n N tr fl but u oulde ri g a sh e s. h a s en n a s l es t h e s e n But t i w rd , t udd wra th

Of lca n sh n e t h e a s in fir Vu ould i volv w ll e , A m s h ese h a n a s of th son id t t ppy upti l y . H ow sa y you S e e th a t you h a ve n ot mi st a k e n T h e sm e of sa c ce h h h ok rifi , w ic I a ve ord e re d F m a ll th e a a s for h m ro lt r , t is s ok e you s pe a k of.

A tt en da n t . h a e e l n e . A ll is cl e a I v w l ot d r , e x ce pt

A s I h a ve said . n s m fe h K ow y wi t is, or n ot ? A tt en da ut T h e een is a ll in e n on a . qu t t s c rifi ce . h en s ch be n n n s if n e le c e I go , t u gi i g , g t d ,

M a e a fe a f e n s . Oh e e n of y l d to r ul d , Q u Fire

M . e S ill gibl e . 1 1 2 a l d r e a n d is ll ea . C i o , M ce a n

Da h e of C e es a n d h b n e s lca n ug t r r t ou , ou t ou Vu n L ook on my dwe lli g with be n ig n an t eye s.

in a n d h Merops goes , the C orus expresses its n h c fears . The Chorus of Virgi s, w i h sung the m s n c n Hy eneal Song, appear to have go e ba k i to h m the palace, and the C orus of Fe ale Slaves in the

n n m n h a d s co fide ce of Cly e e , who as isted her to a r a n d h a d t c r y in the body, lef the stage to the m h Hy eneal Chorus , ave now returned to their place . C H OR U S

Oh mi se ry oh m ise ry Wh e re sh a ll I sta y my flyi ng fe e t e e n o m a e e h e a c e ca n see How , W h r ort l y t ir tr , ’ I n a ir e a h s f n bsc , or rt pro ou d o urity , ? Fi n d a n i n scrut a bl e re tre a t e h e e en A las a l as th e wr tc d qu , A n d h e r e a son in a n c n ce a e d d , v i o l d ,

e r e f h e r sh a m e n ow b e see n H gri , will ,

A n d a ll th e fe a rful truth re v e a le d . ’ l e th e n s c e R e ve a le d wil b Su illi it lov ,

- - e n th e h n n b a n of e . T h e fir e im prin t d wou d , lig t i g r d Jov h mme as a e e f Oh wre t ch e d wit i ur bl gri , D a ugh t e r of O ce a n ! to th y Fa th e r spre a d T h h a n s in a e S e e th e ie f y d pr y r , to p d to y r l , ’ A n d ch as e th e p e ril s wh i ch o e r h a n g t h y h e a d . M er ops A l a s a las

C H O R U S ’ ’ H e a r st th ou th e mon a rch s groa n s ? l M ch l A er ops. y i d CH O R U S

H e ca lls on h im wh o c a n n ot h ea r

l im ma n fe s in e a h . Wh o ies be fore h , i t d t

1 1 lid r e a n d sc ll 4 Ca o , Mi e a n ea .

h T h un h m made to is mother. e S a d urged h i to m h r desist fro his ras pu pose .

ch n ot th e e n s m ch n s l e h l h e m Tou r i , y ild , u ki l d to o d t , N or m n t h e a r h h as n ot e a ou t c t ou t l rn e d to guide .

T h e n ext passage is pres e rved by Lon gin us S un n t h e n n The , givi g rei s to Phaetho , says

D r ive n ot with i n t h e L y b ia n a tmosph e re 5 ’ H a n n o m s e n ot b e a th h e e s vi g oi tur , twill r y w l , * B e n h e m ut s d t down wa rd .

A n d further on

Di e c th e on th e se e n e a e r t y cours v Pl i d s. h s h a n h e a b e se e t h e e n s a n d s c T i vi g rd , iz d r i , tru k

T h e fir e - n e s e e s a n d a n ch e h e m on h e wi g d t d , l u d t t ir c se our ,

A n t h e f of h e e h e a a lo g olds t ir t e r l w y . T h e s e be h n e b t h e S a n ' s a ir , i d, rod y iri 1 t r ,

Th s se e ms m h a th e e l as c f ce of t h e a i to i ply, t t ti or v pour ,

e n e a e in a m is a m s h e e b t h e h e a O fth e s a c a r g r t d o t t o p r y t ol r ,

e n e i e b n e is a n h e as sa e I n c. t d d to g v it uoya cy . Th e r ot r p g ,

Fa b. Fr a i f a n d fir e is . 6 in h ch t h e b e a h o a e g 4 , w r t w t r e n um e ra t e d a m on g th e th i n gs th a t a r e migh ty

A ewa l fie W OT G JLOU Ka l 7r vpbs S epuoii 7r uoa 2

h ch a n e h n m a b n n sh h a w i W g r t i ks r e rk a l e , as t e di g to ow t t t h e powe r of st e a m was k n ow n to t h e A th e n ia n s.

‘ S s imm e dia t e l b e f r h is c sm ca s n was e 1 iriu , y o e o i l ri i g , , po ti f c a c n s e e c se be h n t h e un . T h e S un h e e e lly o id r d , lo i d S , t r or ,

idin e i h e h be f S i i s wa s in th e be s s i n r g t r wit or ore r u , t po it o to a dv ise h is son to wh om h e h a d a ba n don e d t h e a bsolut e

— guid a n ce of t h e c a n S e e t h e post sc ript to th is a rticl e . ’ se s n a n d h a n e a n a a n c o da U d i gly , wit out y xpl tory dju t , mp si n e s t h e sun a n d T o a or' ov th e s a b t h e a d e c g ifi , p dog t r ; ut j

e dor més is sim l a a n b e l n s n o s a in tiv p p y st rry, d o g to t r

a pa rti cul r . Hor a D r a ma t ica 1 1 . 5

A dmon ish i n g h is son Te n d th ith e rw a rd ’ h s wa e c th e ch a h s wa n ow. T i y dir t riot 5 t i y ,

Would you not say th at the Spirit of the poet c n t h e r h h h n a n d h n h is as e ds cha iot wit P aet o , s ari g peril flie s with t h e fir e - win ge d steeds ? for un le ss it were carried in e qual c ourse with th ese c elestial ” n n works it could not prese t suc h vivid pha tasies . To th is narration we may assign a remarka ble fragm ent cited by A th en aeus without th e name of c n s the play, being part of a des riptio of the hor es of the S un .

O n e of e - n a cch s flow r lovi g B u , IEth o s wh o e n s th e a m n a a es p , rip utu l gr p , * h se n a m e me n i e n e W o g v to wi .

s m on e It would ee , that of the four horses was m n c n separately do i ant in ea h of the four seaso s, h n and that each a d its ow tutelar de ity . The last preserved passage must be very n ear t h c c n e close of the spee h of O ea us, and relates to t h e burial of Phaeth on under t h e shade of h is

m m h s n . sisters, eta orp o ed i to poplars

Cool - sh a dowin g tre e s ’ Sh a s e a h e f n a ms o e r h is e ema ll pr d t ir o d r lov d r in s. That this portion of the fable was adopted both [Esch lus e s h by y and Euripid , we ave the authority n of Pli y . [E sch ylus h a d preceded Euripides in th e treat m n h c in of a e t of t is subje t, the tragedy the H eli des /zt r un tke D a ug e s of tire S .

' ee th e f e en ai l/60 1 m otuov i H S r qu t n ome r . 1 1 6 Ca lidor e a n d isc ll , M e a n ea .

Of this tragedy too little is preserved to enable m n n us to for a idea of its pla . The three Sisters of Phaethon might have formed h m the Chorus, as the t ree Furies for that of the

um n ide n ot E e s. We do agree with those learn ed m n s e s n h n Ger a , who are for r olvi g every C orus i to n m n h one Procrustea nu ber. We thi k the C orus E umen ides a n d of the was three, that of the Sup

h e . m pliants fifty . Of t is hereaft r Her ann thin ks the sisters of Ph aethon could not have formed the m m n Chorus, because the Chorus ust re ai to the a n d t h e m m t h e s end, eta orphosis of sister is (as n n h above oticed) i cluded in the tragedy. But t e metamorphosis might have been the subj ect of m mm n prophecy, or ight have co e ced as the m c in dra a losed, like the sinking of the rock

Prometheu s. [Esch ylus makes the Po run westward in to the ocean ; therefore t h e Ocean - n ymphs might have m s m for ed the Choru , or the Ny phs of the Po . B m ut on the precedents of the Eu enides, the h oe h or oe n n m C p , and the Supplia ts, we thi k it ost probable th at the Chorus gave its title to the tragedy. m m The Chorus ight, however, have been ore m h s n ot numerous , as yt ologi ts are agreed about m s n n the nu ber of the isters of Phaetho . Hygi us m n makes the seve .

c s m d. x v u . 2 0 8 m The S holia t on Ho er, 0 , akes Phaethon and h is three sisters t h e offspring Of the R A Sun and of hoda, daughter of sopus 5 represents

1 8 a lidor e a n d is ell I C , M c a n ea .

n s th e c . ight, below the vi ible boundary of o ean

on h c - c He gives t is subje t passages of Stesi horus , A n m h Mimn er mus h eol t us P h er e c de s ti ac us, , T y , y , a n d m n h m E sch l us , a o gst t e , the following of y , bein g unquestion ably part of a n address by the ’ Chorus to Ph aeth on we adopt Herman n s readin g

h e e on t h e l m s of th e e s e n e e W r , i it w t r d p , ’ T h e e n e sse l f a m e b ca n s a r t gold v , r d y Vul , ’ A a th e n h e h f n w its y sire s d e sce n t . Wh a s ou d R e fuge a n d re st be n e a th th e th i ck e st gloom

O f sa c e sa b e -s e e e N h h n r d l t d d ig t , t e re i H e h l s h is b n ir m C cu fluous wa . o d illowy , lo g, y

There are two fra gm ents of un c ertain dramas which Herman n thinks may be assign ed to the H elia des : on e which ma y be aptly addressed to disc ourage t h e rashn ess of Ph ae th on

” ’ l is n ea a f -f e d s wro g to b r too swi t oot cour e , n e wh o fa l h a e c e for n l For on i v r dit good cou se .

T h e other ma y have been Spoken by the

H elia des m n , co pari g their fate with that of the a n d f n m Pleiades, justi yi g, by exa ple, their incessant lamentation

T h e se v e n illustrious da ugh te rs ’ fA la s h e fa h e s h a O t w e pt t ir t r e vy toil , Be a ri n g t h e w e igh t ofh e a v e n 5 wh e re n ow th e y we a r

fm h s e n W n l e ss Ple a s. T h e forms o ig ty pl dour , i g i d

fEsch lus Whatever was the plan of y , it was in all probability confined to the fate of Phaethon ma and his sisters . Euripides, we y agree with D r a t i Hor a a m ca . 1 1 9

a n d m n Hartung, varied extended the argu e t by i n troducin g the n uptial preparation s a n d the peril m n m n m h n of Cly e e . Cly e e beca e thereby t e pri c i h c n h pal C haracter . T is ha ge wa s t e sourc e of the many excellences by whi c h this dram a wa s dis t in uish e d h a n on e g ; and how great t ese were, y capable of j udgmen t must understand from its ” remain s . Goethe prefac es h is restoration by expressing his sen se of the profound reveren c e with wh i c h such c m n h a n d r e pre ious re ai s are to be approac ed, m n on th e m n arki g si ple tragic gra deur of the fable ,

in h c is c n n c a n w ich the a tion o fi ed to the lo ality, d n ot e t h e h n e a n d xtended to w ole u iv rse , as in Ovid on n us n s n n n h N , so that the i tere t is co ce trated o t e n a m perso s of the dr a . A cc ordin g to the view which we have taken of n m n c n n t the arra ge e t, the a tio begi s wi h the dawn . T h e disc ussion s of Phaeth on with Clymen e a n d h is Merops, and departure for the Palace of the n c Sun , take place before su rise . His fall o curs

- th e n . n while he is yet on asce t The thu der clap ,

n a s m m n n n c a d the fall, of a eteoric ass, a ou e the h c atastrophe to Clymen e and the Chorus . T e early bolt of Jupiter preven ts the c alamities whi c h n c h t h e s the lo ger ourse of P aethon, in later poet ,

n . n inflicts o the world The Sun appare tly, how i h is s m n ever griev ng for child, re u es the vaca t n place, and the solar chariot conti ues its way s through the heavens . The nuptial preparation , m begun by the old king in his orning hope, are 1 2 0 a lidor e a n d iscella n ea . C , M

n h im h is conti ued by , in ignorance of the fate of

son n . sh supposed , till early the evening The angui a n d fears of Clymen e are separated by th e n uptial Choru s from the discovery of the c atastrophe by

h is n m n n n . T h e Merops, conseque t our i g and a ger in terven in g deity then recon c iles t h e husban d to e a n d s m n the wif , point to both a elancholy co sola tio n in the eternal rest of Phaethon un der the shade i h s n m on h is m . of sisters, weepi g a ber to b ” - m s h m May after ti e, ays Goet e, discover ore of this in estimable work ! I almost envy the n of s ma an d happi ess tho e who y live to see it, may be thereby further excit ed to persevere in t h e s n n tudy of a tiquity, whe ce solely pure education , a n d n m n h m n the adva ce ent of the obler u a ities, are ” n to be hoped a d expected . In th is vow and in these hopes we most fully a n d c n n cordially oncur ; thi ki g, as we do with “ ” e r Harris , that the gold n period of Grecian g eat n A n n c h ness, withi which the the ia tragi t eatre in n flourished, was a providential event ho our of m hu an nature, to show to what perfection the ” species might ascend .

IP PO STS CR T.

We said we should notice, incidentally, any essential differen ces in the arrangemen t . We did n not add, in the interpretatio 5 for this would lead us too far from our present purpose into criticism

s ch a H er me , book iii . p . v .

1 2 2 a lidor e a n d i ll C sce a n a . , M e

. h w c n to the chariot, obviously But o a the adverb Xm as c vwm so a s m be onstrued with , to ake it sign ify behi n d t h e bac k of t h e h orse ? A n d th en wh at bec omes of 7777 211 2 ? How c ould the S un n c ride behi d the ba k of the horse, unless he rode on h is ? on h im tail But if he rode at all, he own a would be a postilion to his ch ri ot, and take on m n hi self a Share in its guida ce, which he had n a n d i disputably abandoned, wholly exclusively, to Phaethon . A n d h e m if placed hi self behind the horse, with n h im out ridi g on at all , he would only be self n in a u h supported floati g v c o. Myt ology gives all the gods vehi cles excepti n g o n ly those who hav e

n A ca f m n . wi gs . pollo and Vul n all fro heave Merc ury n ever starts on his erran d till he has tied l on his t a a r ia . We c on c ur with the editors of Lon gi n u s in t e ’ je ctin g R utger sius s emen dations and in adhering n Eer lov to the MS . readi g, p . We con c ur with Toup a n d Weiske in rej ecting

n h m n EEi r o the i n terpretatio w ich so e have give to p g,

u a t r icu n h c eg us s s. If this had bee ot erwise orrect, Euripides would not have used the term vaguely he would have Spec ified the star to which the h orse is n h s a n belonged . But there o aut ority for uch interpretation 5 n or for supposin g that the Sun h a d

- - - a n s m n ih . y rest horse , like a oder four hand His mm n four steeds were i ortal and uncha geable, like m hi self. ma i 2 Hor a D r a t ca . 1 3

n The literal tra slation of the passage, as it stands in n n is Lo gi us,

T h e Fa h e beh n h a n n e on th ba f S t r, i d , vi g go e ck o irius, R e s n h i od , a dvi i g s son .

It is diffic ult to i magin e the God of Day ridin g on h t t e bac k of a dog even of the Ca n is Ca les is . But th e name Sirius does n ot neces sarily suggest

Esl ro c c the idea of a dog . If p g be orre tly derived

m Esi h Tkes. . fro p Sol, teste Suida (Step . ed

Eel zo a dr l V a l . i S tell a S o a r is py . p p g jp is , the c n S un h is Star pe uliarly belo ging to the , as auxiliary in f n a the di fusio of heat . This Star is also c lled the Dog of Orion but Siriu s is an other n ame of h t e n ot t h e n m t h e . Star, a e of Dog I n passages wh ere poeti c al dign ity is given to h t e n h e c n . perso ified Star, is alled o ly Sirius Q uin tus Smy r n a eus seem s to give a chariot and horses to Sirius in the passage cited by Toup

’ ' Ofos déK wepc wwv dv a pr a lv er' a t Thr ea t/ 020 ’ H é7\t o r cbv err l déua 1 r ii d a doowv s, dnn x p u p , ’ - ’ ‘ H ii 81 6 ofm o t a ti t t ' é er ot p, bh w K l p/ a u a vmp p rr n yp Eefpt os

A S s m m the Sun appears, ri ing up fro the li its t n s n on of ocean , radia i g ple did fire the earth n n h h im whe the Star Sirius is bor e, toget er with , by ” s s a n d h n a n d hor e c ariots , whe the chariots horses of Sirius and the Sun run side by side alon g h c k t e Cir le of the s y . - fax1 6 9511 (57 05 m The MSS . of Longinus have all , fro

371 7 95 Vi na which the editors have made 6 , dropping

the aspirate . 1 2 a lidor e a n d iscella n ea . 4 C , M

A reading, still nearer to the MSS . than that ’ ‘ ’ n bm cf) év is n t : which has bee adopted, would be (

’ ’ ’ ’ ' ii Z et fov II a r hp 6 5711 0 0 eu g r d. p Be étn s " ’ I 1 r 1 r ev e, 7r a 25a. v ov der cbv .

n in The Father, havi g gone behind , that part of the sky in whic h were the r es S ir ii (Sirius h im f c s m sel , his hariot and horse ), rode , ad onishing his

son . h n We suggest this, wit all defere ce but we n thi k it a presentable lection . The Greeks computed their c anicular days from the heliacal risi n g of Sirius— the time when his rising first bec omes vi sible in the morn i n g twilight — wh ich is not till h e is about fifteen degrees in

n : in n adva ce of the Sun other words, whe the Sun d is about fifteen egrees below the horizon, at the s n time of the ri i g of the Star . T h e cosmical rising of Sirius (the time when he rises with the S un ) is therefore about fifteen days h m earlier t an the heliacal . Inter ediately, the Star, n in S un n bei g the path of the , is lost in the Sple dour

of h is rays . A t A n m the s, in the ti e of Euripides, the heliacal b m m rising of Sirius, y an approxi ate co putation , th e n : c m occurred in begin ing of July the os ical, m consequently, j ust after the iddle of June . c It occurred, therefore, before the lose of the period within which the nightingale Sings the season distinctly marked in the begin ning of the

- W . 1 . tragedy, 4 4 5 m Immediately before his cos ical rising, Sirius, as we have said , poetically considered, was close behind t h e Solar chariot .

1 2 6 a lidor a d s ll C e, n Mi ce a n ea .

’ Old nn s n e e s a n f h of m n E iu r pr g ort a r s to si g, h th e a id h a s n a b n Wit out t t tro g pot tion s ri g .

L e t h se wh o n n ot a n d a s l t o dri k , u te re y di n e , in la w h M m l Dry up t e uses s e l of wi n e .

H or . E ist . 1 p I . 9.

U MB ERL AN D H ur fv fla on : C translates n g but, as it c m had a wi ker coat, it was ore properly a flask ; m w h n n n uch larger, ho ever, t a a ythi g we are accus

t ome d c so. in c in c n to all It was , fa t, a flask o n fla on in c structio , and a g capa ity 5 a sort of

c - po ket pistol for Pantagruel . T h e loss of th is c omedy is on e of the greatest in the wrec k of the Greek drama 5 n ot merely from m n it s n n m what ust have bee i tri sic value , but fro the m c c ms n c n n i n re arkable ir u ta es atte di g t s productio . A n in t h a kts t e ristopha es, a parabasis of e g , pr oach e d t h e A th enians with their n eglect of th eir most illustrious c omi c poets when th ey had grown old and past t h e power of dramatic produc tion 5 a n d n s c C r a t in us n m s i tan ed , who had o ce, a id t h m n a n t eir tu ultuous applause, rushed alo g in n n a n d n irresistible torre t, uprooti g oaks, pla es, and m in s n n ene ies ; when, all festival , othi g was heard but some of his c horal Son gs ; and n ow th at his n c mm a n d wa s n i telle t was di ed , his lyre u strung, c n a n d m h is a n d his oro al was dry, hi self as dry as

n h n h h h h a d n o coro al , peris i g wit t irst, t ey pity for t h e s m h im 5 whereas, for ake of his for er victories, h n n in n m a n d he oug t to be dri ki g the Pryta eu , seated in becomin g apparel in the most honourable place of the theatre . Hor a D r a ma t i ca . 1 2 7

r a t in us C , less grateful for the honour done to m n h n n n his past achieve e ts , t a i dig ant at the dis a r a eme n t n on h is e n c n p g throw pr se t de li e, pro duc ed t h e n n - n m , at age of i ety seve , his co edy of Fla sk a n d e n t h e the , carried off the first priz agai st Clouds A s n h in m of ri topha es, whic , the j udg ent of A s ms s h is ri tophanes hi elf, was the be t of all

m . A s s wa s in h co edies ri tophane third t is contest, * A mi sia s e n s c n Koun os p b i g e o d with his . I n t h e Fla sk r a t in us c mo , C introdu ed Co edia, as h is s n c m h im n th n wife , eeki g a divor e fro o e grou d h n n c h ms of his avi g egle ted her, and giving i elf up m s e ss h ch n e n ot n n to his , i tr , Met a, whi sig ifi s dru ke n s c n t h e B euv er e of R e s, but addi tion to dri k y abe ’ la is. in m n m t h e r Here, as a y other Greek dra as, taste

e of Kon n os wa s th e pr ce ptor S ocra tes . T h e purpose of

h s c me e h a of t h e Clouds wa s a t i o dy, lik t t , prob bly to l a ugh a t S c a es . I n a f a m e n h ch a e a s be n o r t r g t w i pp r to lo g to it , ” S c a e s is ca e bes of t h e fe w a n d a n e s of th e ma n o r t ll d t , v i t y , a n d is a se e h a s n ca for h is f i pr i d , p r p iro i lly , ortitude n goin g a b h a h e a ba e C a a n d n - sh e s e t i out wit t r d r lo k wor out o , y , w th a ll h s m a n fe s e n e e c n e sce n n fl t i i t pov rty, v r o d di g to a tt e r . Va in is h e e se n ot in n a se n se of t h e a e c i e r u d , our ordi ry dj t v , b in h a h ch we i e h e n we sa b i ut t t w i g v it w y a dv e r ia lly in v a n . a b in a n C m n n h in n L our v i . o i g to ot g e ss. Th is is th e se n se

of a n of a n e s in E cclesia stes . S c a e s i a V ity v iti , o r t s d dre sse d a s t h e b e st of th e fe w— th e fe w be i n g th e good 5 but a t t h e sa me me a s a sin a se e ss m e mbe of ti , gul rly u l r t h e S ta t e 5 t h e m ost re m a rka ble Sp e cim e n of a ma n t a ki n g much wi h n o s troubl e t re ult .

ui fe n em e s f ou b e uv e r e ? f ca r e a s Q t pr i r , oi y S oi qui t b e u san s soif dura n t le t e mps din n oc e n ce ? B euv e ry e : c a r — r i v a t io r a su n it k t L . . C . . p p ppo a bi um. i 5 I 2 8 a lidor e a n d iscella n e C , M a . of the A thenians for j udicial pleadin gs may have e n in c r been larg ly i dulged, the advo acy of their e s ect iv e m mo a n d p clai s by Co edia Metha, each n holdi n g th at C r a ti us b e lon ged exclusively to h er . The fragmen ts of this c omedy are few and brief 5 but t h e y th row some light on its scope and r prog ess . T h e first two in order are from a speech of

Comoedia .

N w n a en n h s es n o I would tur tt tio to t i qu tio , Wh e h e be n h s e e a a t r , i g t u d vot d to riv l , T h e r a n d for h e r h e ca m n a e s m e ? o , lu i t ld a n d n h h ch a n e n h im O age wi e a v e wrough t t i s g upo , n h n a i M e h Th a t h e th i k s n ot i g e qu l to h s t a .

wa s h is e a fe n ow n o m e so. O n ce I d r wi , but or

A n m h n The thenia s ixed water with t eir wi e, and to this prac tice that of Cr atin us himself wa s not an moe in n m n r e r e ex c eption . Co dia , the ext frag e t, p im so h is sen ts h as absorbed in favourite beverage, n m that all his ideas , eve of fe ale beauty, were ex m pressed in images drawn fro it .

ifh e l s n a h f l bea Now ook upo yout u uty, e a s s if on e of h e r h e e of a e H k , to t r w t r \Vould b e a pl e a sa n t mixture ?

C r a t in us begi n s h is reply by something like a n m h c h m fore sic for ula, of w i several exa ples are m adduced fro Greek orators .

0 Ca lidor e a n d iscella n ea I 3 , M .

U n e ss s m e s h is m h t h e sh n n l o top out , gu i g torre t e a d n a ll f Will b r ow b e or e it .

A f m n s ter this, Co oedia appears to have b e e a ked h ow t h e m n e n in Sh e , if judg e t w re give her favour, would keep her h u sban d sober ? VI I I .

H ow h ow c a n a n on e , y K e e p h im from dri n k ? from too m uch drin k ?

CO M CED I A .

n I k ow . I wil l come down like ligh t n in g on h is wi n e -tubs Burn up h is casks to a sh e s s ma sh a ll ve sse l s Th a t m i n iste r to drin k h e sh a ll n ot h a ve S O m ch n e n a a n e a -c e u u brok s vi g r ru t .

n e n s C r at in us ec m e e n Mei ke thi k that b o s p nite t , e n h is a n d sm s h a r tur s to first wife, di is es Met 5 wh i c h h e i n fers from t h e n e xt fragme n t

I X .

n I fe e l a n d own my wic k e d e ss a n d folly .

n se m in h s n en n c But we ca not e ore t i , tha rep ta e for n h sc m e a a n d havi g altoget er di arded Co o di ,

h r a in u r taken exc lu sively to M e t a . No . G t s e mai n ed wh at h e was to t h e last : or A ri stoph an e s c ould n ever have said that h e died of a broke n heart on se e in g the ru n n in g to waste of a barrel of wi n e whi ch had been fr actured in a La cedaemon ian i n cursio n . h m s s a n d w The ot er frag ent are hort, thro little h on c a n d n n a m lig t the subj e t , we ca ot st te fro

n h m n n t h v r t h e vide c e t e ter i atio of e fable . N e e e e s we h n th e e m s s we h a h m n l s , t i k pr i e , as ve t e , poi t o a ma tic H r a D r a . I 3 1

n n n n moe a n d h to o ly o e co clusio . Co dia Met a e ach severally plea ded her ex c lusive righ t to C r a t in us 5 C r a t in us de mo n strate d th at h is devotio n

i to Comoedia would b e un a v a ilin g with out t h e in a n h a n d h n sh t h e Spir tio of Met a ; t ey fi i ed, like h n e s ma n a d r e n eroi of a Ger tr ge y, by ag ei g to live h in h armon y with t h e h ero a n d each ot e r.

h r a r e s m c e s in h c h T e e o e tra of a festival, w i r a in us e a s a n n s n a n a n d h c h C t t d dri k abu d tly, w i

s n n t h e probably, with its fe tal so gs, wou d up ma dra . We ma y presume t h e c omedy to h ave con tain ed m C h c e dit h r a mb ic s n ot n in n so e oi y , o ly the torre t of s h C r a t in us h ms a n d so ver e poured fort by i elf, s n in ss c i gularly panegyrized a pa age previously ited, but in t h e c h oral ode s ; a n d th a t in th es e Bacch u s a s c c n n t h e A h e n s a s in w elebrated o joi tly with t ian , t h e few fragmen ts of th e dith y r a mb ic s of Pin dar

wh ich h ave been spared to us. T h e Gree k Bac ch ic Ch orus gre w out of the son gs of t h e vi n tage 5 rec itation s betwe e n t h e c h ora l s n s e n s a n d n o g gr w i to dialogue , progressively i to r a in u i s e a h t h e drama. C t s s ju tly r g rded as t e

of th e m . m h im father Old Co edy It is clai ed for , a s ZE SCh lus in a h wa s s for y Tragedy, th t e the fir t wh o e stablish ed order in t h e di sposition of t h e sc n s m n t h e n m t h e k s e e , li iti g u ber of spea er to three : whi ch Horac e lays down a s a rule of th e dra ma : Zvee oua r ta logui per son a la kor et a n d th a t fr m e s c h h a d m e n c n o j ok , whi ai d o ly at e x iti g la h e h e a sh n c a n d a ug t r, took to l i g publi pri v t e vic e 1 2 Ca lidor e a n d isc lla n a 3 , M e e . in it s m a n d m fla ella t ion s all for s , ad inistered his g m e s c n m T h with or ju ti e tha ercy. e Old Comedy thus bec ame a mighty in strumen t of moral a n d

c c n a n d t h e c e politi al e sure, satiri rod was wi lded m s e c C r a t in us Eu olis a n d A s o t eff tively by , p , ri to n s wh m c a n d e s C a s pha e , o both Hora e P r ius ite th e ir th re e great prec ursor s in t h e poetic al den un c ia

n . T h e m n in c tio of rascals Old Co edia s had , fa t, a n u n limited lawful auth ority to say wh atever th ey pleased of anybody : they spared n eith er gods n or m en a n d h c n t - 5 t ey exer ised, duri g about six y four a c n r ofli a t es a n d ye rs , a very salutary o trol over p g m c n c n n de agogues , till the li e e dege erated i to in h s c me n abuse ; or, ot er word , be a ob oxious to pa rtie s in t h e State who had suffic ien t power to coerce it . n e w is n ot Our prese t purpos , ho ever, with the moral a n d political c en sorship exercised by the Old m t h e n h h Co edy , but with doctri e of w ic the Flask furn i shes t h e text— th e n ecessary depen d r n en ce of good poet y o good liquor . ’ * m m c u n h im Ho er s De odocus has a p of wi e by ,

n h is m n ma . c t h e to dri k as i d y direct Her ules , n m n n n fi n est ge tle a of a tiquity, accordi g to Lord ’ n ddo — a n d h m on e M o b o , r t ough not hi self a poet, of t h e greatest subjec ts of poetry— is disti n ctly

h is n a ch arac terised by love of stro g pot tions.

m - Wordsworth , though hi self a water drinker,

0 . O dy ss . viii . 7 J a c e wh o wa s a f e e c l es th e n e s e n e ma n r Hor , , t r H r u , fi t g tl ” o f a n tiquity .

1 Ca lidor e a n d iscell a n ea 3 4 , M .

n s - de ce goes, there is not a ingle water drinker m n h a o g t em. We h ave shown the Father of Comedy as a

cc s . A A h n a t h e devotee of Ba hu ccording to t e eus,

so a n d n v Father of Tragedy was no less , e er wrote when h e wa s sober whic h led Sophocles to sa y to h im [Esch lus l h ou do , Oh , y if w at y do you well , n ot n n h A n d you do it, k owi g w at you I Esch ylus o cc asion ally j ustified h is prac tice by m n h is t h e m m aki g heroes do sa e . For exa ple, in t h e h e h n a n d c m Cabiri , broug t Jaso his o panions gloriously dr un k on t h e stage 5 a n d in t h e ve ry sma mn n s h h r a m fin ll re a t we ave of t is d a , we d th e m th re ate n in g to drin k up a ll the wi n e in the c so h h n ot e v e pla e t oroug ly, that they will l a eve n

n a a drop of vi e g r .

c s h h a m fEsch lus for Sopho le , t oug he bl ed y

- n l n c in n wa s n h over i du ge e wi e, evert eless far from

n - h c in h s fin i a ti Bac c i his abit . We d h m a t Chios i h i v e ry fa c etiou s n s c ups . T

Euripides wa s n ot give n to m err i me n t 5 h e h a s ’ ’ - n c d a s A a si o t h e n h n a s h i bee alle y g, u laug i g, s pre c e A n a s n e h im a n ptor, ax gora , had bee befor , d se n s s n as sub que tly was Cras u , the gra dfather of t h e Triumvir ; wh o is sa id n ever to ha ve laughed

n c e h c wa s a t h is own c n but o , w i h a j oke of cra ki g, on t h e n n t h e s a n d t h e c e co ge iality of lip lettu , ’ wh n h e sa w a n a ss a n t h ist le s e n e e ti g q, Wher o s e s s n e c n Cicero ob erv , that this i gle x eptio does

A h e n ae s . 2 8 f. I d . 60 f t u , p 4 , T . , p 3 , .

I S imilem k uben i l a br a l a ct uca m . Hor a D r a ma tica 1 . 3 5

h i n n ot take away s title to the appellatio . Euripides is accu sed by A le xan der E t olus— who c alls h im

mo ék w h - n — of n ot n n n n u y g, laug ter hati g e live i g wi e * with jests 5 but th is Sh ows that he did dr in k n h e n ot c in h is wi e, though was fa etious cups like

h c A n d ma n n Sop o les . we y observe , i cide tally , th a t those who hold tragedy to h ave progressively m n n in fEsch lus degenerated fro its origi al gra deur y , c an n ot den y the simultan eous dimin ution of the

c ch n . A t s m m n h Ba ic i spiration the a e ti e , we ow ere

fin d m n n on a n d ore Sple did pa egyrics good liquor, it s n n c on t h e n m n h n t h e i flue e e joy e t of life, t a in “ ” m s s c t h e c a dra as of Euripide , e pe ially Ba ch e “ ” i c s a n d s ch c th e ar d Cy lop , the pee of Her ules to

A n da n in t h e A c s s tte t , l e ti

H o you wh y look you th us s ol e mn a n d th ough tful It ill be c om e s a se rva n t to m e e t gu e st s

With gloomy looks 5 th e ir due is c ordi a l se rvi ce . ’ H e r e you re ce ive your m a ste r s a n c i e n t frie n d h sma a s e c a n d c n a c e b s Wit di l p t o tr t d row ,

in m n s m e e n i f B e n d g your i d to o xtra e ou s gr e .

m e h e e h a m a a se m a n . Co r , t t you y grow wi r Kn ow you th e n a ture of a ll morta l th i n gs

o h e n c e Sh h a e e a n e ? s e n h e n N w ould you v l r d it Li t , t To a ll m a n ki n d d e a th is t h e fore sh own doom 5

N or is h e e on e of a ll wh o e - da t r liv to y , ’ if h a - Th a t k n ow s e Sh ll se e to morrow s d a wn . h e is n o a r t e ce t h e C s h a h e T re to pi r loud , t t id

T h e e n d to wh i ch t h e st e ps of Fortu n e l e a d . N h a n h e a a n d e a n e h s m c h f m me ow vi g rd l r d t u u ro , M a k e gl a d your spirit drin k t h e pa ssi n g da y ’ Es e e m own a n d a ll th e e s a s n e s . t your , r t Fortu

n s . 2 0 A ulu s C e lli ; xv . 1 6 a lidor e a n d isc lla n a 3 C , M e e .

Worsh ip e spe cia lly th e swe e te st Powe r O f e a e n m a m n b n n H v to ort l e e nig a t Ve n u s. L e a e se l e ss c a e s a n d b m s v u r , profit y y word ,

I f i h e e m h e m a s I h in m s . r g t you d t , t k you u t do

A n h e a h e a h s a n d c ss hi s h e sh l dor your d wit wr t , ro t t r o d T n h me a n d e l I n t h e b o dri k wit 5 w l k ow owl , S a l n h im se s e p rk i g wit joyou s pul , will driv you f m n O ut ofth is d a rk c on tra ction o your i d . M e n sh ould l e a rn wisdom from morta lity 5 ’ A n d tis my judgme n t th a t to a ll wh o pa ss

e - u s Th e ir da ys with sol e mn looks a n d purs d p brow ,

fe is n ot fe b m e e c a a m . Li truly li , ut r l ity

Of the habits of Eupolis we h ave no direct evi dence 5 but a s h e was il t er z ofr a cota n to sen n o sec on d in time— of the th ree gr eat n ames of t h e Old Comedy

E u bolis a t ue Cr a t in us A r ist o /za ues ue oeta , g , p g p f

we ma y presume that if he h a d formed an ythin g n like a co trast to the other two, it would have n n m n n bee recorded as a phe o e o . A s m n n ri tophanes hi self, otwithstandi g his jokes on n r a t in us is A th n the vi osity of C , said in e ae us T to have been well primed with wine when h e sa t ” n e A n d A n s n dow to writ ; as ristopha e has take ,

’ Pe rsius s e n um e ra tion is more stri c tly ch ron ologica l a uda ci gu icu mgu e a fia t e Cr a t in o I r a /u m E u olidem r a r a n di cu m seue a lles p p g p .

P . 2 a T 4 9 , . I R a be la is took a ft e r h is ma ste rs of th e Old Com e dy : A la c m s n de c c e se n e a e n e e o po itio livr ig uri l , j p rdy n e e m ploya i on cqu e s plu s n y a n lt r e t e m ps que c e lluy qui e st oit e s ah a en e ma e fe c n c e e sca v oir e st e u t li pr dr r tio orpor ll , , b v a n t e t ma n ea n A ss e st - cc la s e h e e de g t . u i ju t ur scr ipr e ce s h a ult es ” ma iér e — t s e t sc e n ce s fun e s P . l i pro d . rol . i .

1 8 a lid r e a n d is lla 3 C o , M ce n ea .

Middle Comedy gradually subside d i n to pic tures m n n s a n d f of a er characters of everyday li e, to h c h t h m w i e New Co edy was exclusively devoted . h n h n But bot abou d wit praises of co viviality . The remains of t h e Middle Comedy are redolen t a n d t h e m of festivity, New Co edy supplied, accord “ in ch n m g to Plutar , the greatest u ber of pleasant n s h a s m n me n thi g to be eard acco pa i ts to suppers , ch so m s m with whi it was ixed up , that it ee ed as i f they c ould be m ore easily c arried th rough with

h n h n n e n h n s out wine t a wit out Me a der 5 pl asa t t i g , in sw a n d m c n h eet fa iliar di tio , wort y to be heard t h e s h n h n n n a n d m c h by ober, wit ot i g to a oy, u to * de h h W e n ot c n s h s lig t t e jovial . do o true t i too m n n h a d c literally , as i plyi g that wi e eased to be n s n s is n ot s i di pe sable at supper , for it ea y to con c eive th e j o v ial a s receivin g deligh t from a n y thi n g else in its ab se n c e ; but we take it a s a stron g expre ssion of the gre at pleasure whic h wa s a d t o a n e c n e sa n a s dde b quets , by r itatio s of pl a t p sa s f m h e t h N e m ge ro t e favourit poet of e w Co edy . A t t h e m m it m m h in sa e ti e ust be ad itted, t at h se n a n d h f ms c m t e seco d t ird or of o edy, every thi n g is more te mpera te a n d subdued th an in th eir c s We fin d in h e m vigorous a n d fiery pre ur or . t

- even praise s of wa ter drin kin g . Eubulus (Middle Comedy) says Pure water- drin kers are in v e n tive 5 wi n e c louds t h e mi n d 5 a pa ssa ge wh ich

dor osdi évudov t h e n c i is certai n ly p . But i terlo utor n A th enae us i mmediate ly subj oin s a n opposite quota

i 1 2 b . ua si S ru . Q . y p. vi i . 3 , p 7 , c 1 Hor a D r a ma t i a . 3 9

m A m s m th e tion fro phis (al o Middle Co edy), to ec h sc s n eff t, t at there is a power of di our e in wi e , and that th e gen ius of water- drin kers is st upefie d h h n by t eir t in potatio s . h h m m n T ere are, owever, ore praises of te pera ce

- in n n . h wi e than of pure water drinki g Thus, t ere * m n c mm n n mix e are a y re o e datio s to it with wat r,

L M on b oddo h se a s e s e e a ll G e e a m ord , w o t t w r r k , w r ly “ a dvoca tes th is mix e d liquor : A s by Isi s a pl a n t wa s dis c e e h ch f n sh e b ea m a n so b O si s h e r ov r d w i ur i d r d to , y ri , h sba n a n d b h e a n a r t wa s n e n e of ma n a n u d rot r , i v t d ki g dri k for m a h a r t is h a is c a e er men t a t ion h c h h e n . T is w t ll df , w i a t h e ce of t h e a e a n d so s ma e in e pplie d to jui gr p ; fir t d w ,

‘ h ch a h h it h a s be e n e m ch a b se a s a m s w i , lt oug v ry u u d ( l o t

n of n a e a n d a r t h a s be e n b m a n a n d e ve ry produ ctio tur y ),

s e b M n Tli e sweet oison th e re fore is ve ry prop e rly tyl d y ilto , p o misu sed win e ma b e a e t h e m s se f se s f , y ppli d to o t u ul purpo 5 for is th e be s c a of a e a n d a t a ll me s of fe it t ordi l old g , ti li it e n e n s t h e s s a n d h e e f e a cch s is c a e b liv pirit , t r or B u ll d y Virgil

L a t it ia da t or a n d ch e sh e s t h e s m a ch . is , it ri to But it a e a a b se of h s i in m e n m e s n gr t u t i l quor od r ti , to dri k it pure , h m e of a e h ch a m s b wit out ixtur w t r, w i I orry to o se rve so m ch a c ise in a n h e e a e fu u pr t d Brit i , w r port , win ll a s s n a s th e be s G e e n e t h e Ch a n a s tro g t r k wi , i ( I a m i n form e d by a ge n tle m a n wh o h a s be e n in G re e ce a n d ofte n dra n k of h a n e is n h a n m e t t wi ), dru k wit out y ixtur of wa t e r wh ich , m a k e s it v e ry i n fl a mma tory a n d i n toxic a tin g 5 h e e a s n e w r wi , e m e h a e is a m ch be e n prop rly ix d wit w t r , u tt r dri k th a n pure a e for c e c s th e c n e ss a n d c of t w t r , it orr t old rudity h e wa t e r , a n d a m e s a e n a e s t h e s m a ch a n d m , I p r u d d , i vigor t to , a k e s it m e e a s e s h a n n a a e a s c a es/z . or ily dig t t t u tur l di t , I ll it , fi It is h e e f e e h a S m n h a s sa Tka t win e t r or tru w t olo o id , witkou t wa ter is n ot ood n or wa ter wit /con t win e bu t bot t g , 5 k oget /z e r a n x c l n t dr k T m a ke e el e in . h e a n c ie n t G re e k s a n d R om a n s , a s h e n ot n n e h a e so n e h t y did dri k wi wit out w t r , it e r did th e y 1 0 a lidor e a n d M iscella n a 4 C , e . a n d w m n h n h a al ays ore tha alf a d lf. Eubulus n d c s ch h m n n h i tro u e Bac us i self, sayi g eve of t is mixed liquor

h e e c s n o m e I mix for en e s s T r up , or , prud t gu t T h e first for h e a lth t h e n e xt for lov e a n d pl e asure T h e h for s e e h ch b e n a n e t h e se t ird l p , w i i g dr i d, wi \ h a s e n h me T h e f h is n ot for us Vill t o . ourt , But i n sol e n c e t h e fifth be lon gs to c l a mour T h e sixth to riotou s m e rrim e n t t h e se v e n th

e e s t h e e h h s a n d s mm n e s To j r ig t to row , u o r I n la w th e n n h a h t h e e n h m a n e ss i t to wr t t t to d , h n i h b s for m s e s h s m ch in e s . Fig ti g, w t owl i il T u , u w , e n on e sm a e sse s e a Pour d i to ll v l , trip up qu lly m in a n d h e e s n T h e ds l of t h e dri k e rs.

h m n c n n n m t h e P ile o , se o d only to Me a der a ong

N e w m wa s h ms m e authors of the Co edy, i elf a od l of temperan c e (it does n ot a ppear th at h e wa s a

- n m h n c water dri ker), and lived ore t a a entury ; but

a e h n e if h e c e t n a n d dri n k w t r wit out wi , t y ould g wi e ; t h e

m a n s e wh o c n ot a ff n e a h e h a n n R o oldi r , ould ord wi , r t r t dr i k e a e m e in e a h a n d ma e of a l pur w t r , ix d v g r wit it , d it iquor P osca i h e f e h as e e e s r b c a lle d . Virg l , t re or , v ry prop rly d c i e d t h e use of in e h e n s ea n of a cch s h e h a s sa w , w , p ki g B u , id

u u n v n t is A ch el ra mi P oc la qe i e o scuit a vi s.

T h e a n c e n G e e s h e ef e n e e a n e e e n in i t r k , t r or , v r dr k it pur , v h c a es h en h e e e so m ch e a n d n t e h e roi g , w t y w r u bigg r stro ge r

a n in a f e mes . T h e R ma n s a s m e h a e th t rti o l o ix d it wit w t r, a n d H ora ce c a ll s loudly for it

Q uis pu e r ocyus R e st in gue t a r de n t is Fa l e rn i P ocula pr ae t e r e un t e ly mph é ?

A n cien t M et a /z sics 1 1 . p y , vol iv . p . 4

M isc la n a 1 2 a lidor e a n d el e . 4 C ,

is c h c m a n d it s m e n n but it a tro ai tetra eter, full a i g ’ c a n n b e e s e ofC r a t in us s n a s ot xpre s d, like that se riu , W h in t wo in on e . e t e re fore give it

B e s be a n d n ot h c e s o r, lig tly r dulou f Th e se a r e t h e n e rv e s a n d sin e ws o t h e mi n d . T H E L A S T DA Y O F W I N D S O R

FO R E S T .

T h e n a M of th e f n a e is e a n a m n [ origi l S . ollowi g p p r xt t o g t h e MS . e m a n s of t h e a h t h e a e h m a s e P e a r i ut or , l t T o Lov c c a n d is t h e n on e of h e m a bs e c m e e a n d o k , o ly t olut ly o pl t for a for re a dy public tion . It wa s in a ll proba bility in t e n d e d ’ Fr a ser s M a a in e b n e e a e a e h e e n or so fa r a s g z , ut v r pp r d t r , , ca n b e sc e e e se h e e . T h ba b a e of c om di ov r d , l w r e pro l e d t si n is a 1 2 po tio bout 86 .

A a f m t h e e a m e of t h e a e a n d it s in e e s p rt ro lit r ry rit p p r, t r t a s a e c off e n c c ms a n c e s is a n c n c s n r ord orgott ir u t , it fitti g o lu io

t h e e a fe of th e e e a n a h e n n h e e to lit r ry li v t r ut or , di g it w r it ’ m a b e sa h a e e n h y id to v b gu . Pe a c oc k s firs t a n d on ly sc ool h a d be e n a t En le fie ld G e e n on t h e f in s g r , e v rge o W d or

e s a n d h e e h e mb b e h a r a n d s a n For t , t r i i d t t love fo riv e r ylv sce n e in e n e a a n d for h a of n s ry g r l , t t t h e Th a m e s a n d Wi d or in a ic a h ch c s n e a a l i — N a t ion a l p rt ul r, w i olour rly l h s writin gs ' M a a i A - n e u . 1 88 . R G . g z , g 7 . ]

A N Y m n a n d s m m of y you ger, o e of y m e a s a ss n t h e aturer y r , were p ed o borders

n a s a n of Wi dsor Forest . I w e rly give to n s a n d r a e a n s a n d h e lo g walk ru l xplor tio , t re was sc a r c e ly a Spot of t h e Park or t h e Forest with

h ch wa s n ot n m h r w i I i ti ately ac quai n te d . T e e w e re two ve ry differen t sce n e s to wh ic h I wa s ec a a c h e d : r n e a n d a e esp i lly att Vi gi ia Wat r, d ll n e a Wi kfiel l r n d P ai n . 1 a lidor e a n d is lla C , M ce n ea .

n n c The ba k of Virgi ia Water, which the publi m t h e h I n n enter fro W eatsheaf , is bordered, between the c as c ade to t h e left a n d t h e iron gates h c h to the right , by groves of trees, w i , with the n n n t h e h exceptio of a few old o es ear water, ave n h n grow up with i n my memory . T ey were pla ted h a n d n s c e wa s by George the T ird, the e tire pa ’ n s n n s h e called the Ki g Pla tatio . Perhap t ey wer more beautiful in a n ea rlier stage th a n th ey a r e n ow ma so h n a n d f h ; or I y t i k eel, throug the n n c t h e s n c ge eral prefere e of past to the pre e t, whi h ms n s f m I n m s see i eparable ro old age . y fir t n c h t h e c e m a s acquai tan e wit pla , and for so e ye r n s n in t h m subseque tly, itti g e large upper roo of I n n c on an d the , I ould look the cascade th e n of th e e c h e n m expa se lak , whi h av lo g been asked by trees . n n t h e u c Virgi ia Water was always ope to p bli , h h c through the W eats eaf Inn, ex ept during the

n c a n n h wh o rege y d reig of George t e Fourth, n ot n t h e n s n c s h m o ly Shut up grou d , but e lo ed t e , W h n t h e n c s here t ey were ope to a road, wi h igher f e than even t h e outside passen gers of stage- c oach e s c h m h s in h is ould look over, t at he ig t be invi ible m t h n s n . e pu t, while fi hi g on the lake Willia

n r e - Fourth lowered the fe ces , and opened the old access . n n While George the Third was Ki g , Virgi ia

c h e n Water was a ve ry solitary pla e . I ave be

da n n . there day after y , without seei g a other visitor n Now it has ma y visitors . It is a source of great

1 6 a lidor e a n d iscella n a . 4 C , M e

h s c h e Wordswort would not vi it Yarrow, be ause feared to disappoin t his imagin ation

B e Ya s e a m n se e n n n n rrow tr u , u k ow m s we sh a l r ue It u t , or l it W e h a e a s n of own v vi io our , A h wh y sh ould we un do it ? T h e e a s e e a ms of m e s n a s tr ur d dr ti lo g p t , ’ e e e h e m W n s m e M a W ll k p t , i o rrow ’ ’ h en e e h e e a h h t is fa For w w r t r , lt oug ir, ’ * a n h e a Twill b e ot r Y rrow .

h n h e t h wa s Yet w e af erwards visited it, thoug it n ot wh h e h a d m s fu at drea ed , he till found it beauti l , a n d rejoic ed in havin g seen it :

a in e n t h h e h T h e v pours l g r rou d e ig t s, h m e a n d s n m s a n sh T e y lt , oo u t v i 5 n e h is h e s n or m e is m n e O our t ir , or i a d h h h ch l ba n ish S t oug t w i I wou d , ’ h a n h e e e But t t I k ow, w r r I go , T h e n n e ma e a y g ui i g , Y rrow Will dwe ll with me to h e igh t en joy A n d h e e m m n in sor r o c r y i d w. T

He foun d compensation in t h e reality for t h e differen c e of imagin ed scen e 5 but there is n o suc h c ompen sation for the disappoin tme n ts of mem ory ; a n d h — in c sc w ere the pla e of enes of youth , where n n a n e h we have wa dered u der tique tre s , t rough a n d s a n d n groves glades, through bushe u derwood,

m n n a n d - n a o g fer , fox glove, and bou ding deer ; “ wh s m n c ms n c ere , perhap , every i utest cir u ta e of ” “ ” c h a s n n ot n in s pla e bee only as a frie d it elf, but has re c alled some assoc iatio n of early frien d

r r d Ya ow Un v isite . T Ya r r ow Visit ed, dso F r est 1 T/i e L a st D ay of Win r o . 47 h — we ca n n s w n s ip , or youthful love o ly pa s bet ee high fen c es a n d dusty roads 5 I th in k it best to h t h e a n d m s avoid t h e sig t of reality, to ake the be t of Ch erish ing at a distan ce

e m of h a h a s be e n T h e m ory w t , — Wor dswor tk . A n d n e ve r more will b e .

n ot m a n O n n on I do express , or i ply, y pi io the

n a e c s . m ge er l utility of n lo ures For the ost part, “ th e y illustrate t h e Sc riptural ma xim : To h im

h h m m ch n a n d r m t at hat uch , u shall be give 5 f o h im h h n n h that ath little, s all be take away eve t e h h a r e m s e n h s little he h a t . T ey like o t v e ts in t i “ s m b a d s a n d in dif world, Good to o e , to other , ” r h m e h fe en t to t e ajority . Th y are good to t e

n - n wh o s a n h is n d h la d ow er, get addition to la 5 t ey

a d t h e sh n s s h i are b to poor pari io er, who lo e s righ ts of c ommon ; they are b a d to t h e lover of s for m f h s a r e n n rural walk , who ootpat a ihilated 5 th ey are bad to th ose for Wh om t h e sc en e s of th eir

h a r e m t h e a t h yout blotted fro f ce of e world .

e s st a r e of n o c n in n c Th e la a cou t ledger bala es , wh ich profess to demon st rate th at t h e loss of t h e poor is more th an c oun terbalanc e d by t h e gain of t h e rich 5 th a t t h e aggregate gain is th e gain of t h e c ommun ity ; a n d th at a ll matters of taste a n d feel

n fitl e n h . i g are y r prese ted by a cyp er So be it. ’ George the Fourth s e xc lu sion s and h igh fen ces h a d ffe c a s c e h im not , however, e tu lly e ur d to the s n a n m e n c sec recy he de ired . O e in e outside of t h e n s a n d s n s in t h e royal grou d , stood, still ta d , 1 8 Ca lidor e a n d iscella ea 4 , M n .

m n - w m m idst of a pi e grove, a to er, which , fro its for ,

mm n c - s h was co o ly alled the Clock Ca e . T is tower, a n d t h e n n n s sm la d rou d it, had bee old for a all sum in n n , as a lot a sale of Crow La ds . The wa s in h a n d n h tower two or t ree stories, was i abited m wh o c s by a poor fa ily, had a teles ope , upplied, m s t h e n e w o t probably, by proprietor, on the plat m of t h e c h t h e e for roof, whi rose high above tre s , a n d mm n n e t h co a ded a ext nsive View of e lake . Thi s towe r a n d its groun ds bec ame a place of great c n c s a n d V s of n resort for pi i partie , i itors all ki ds , wh o e a s n a t t h e c kept up a perp tu l succe sio teles ope, wh ile t h e R oyal A n gler a n d h is fair C ompan ion

h n h c m a n n n n c were fis i g . T is be a e i tolerable uisa e

t h e - c s set on n e ot ia to would b e re lu e . He foot a g

n - h c - s T h e sum tio for r e purch asin g t e Clo k Ca e . [ d e man ded wa s man y times t h e multiple of t h e

c h se m n T h e m n s m pur a o ey . de a d was for o e

me e s s e d t h e r e wa s n . ti r i t , but prop i tor i flexible sum a t h e e e The required was p id , prop rty revert d t h e n a n d t h e c h r m to Crow , publi were s ut out f o

k - n h n m th e Cloc Case a d its territory. W e Willia th e h c d h s s d h im Fourt suc eede , t i tory was tol to , h s A d c w is ? a n d e aid goo pla e for a vie , it I

n c e n a n d e m will put a old oupl i to it , giv the a ” c h n e h s m telescope 5 whi was do wit out los of ti e. n c h c a n d I sa w a d onversed with t is old ouple, looked th rough their te le scope . t h m m m th e wa s A bout e sa e ti e, Willia Fourth Sitti n g on e Sun day even in g in a wi n dow of Windsor

h n . Castle, w en the terrace was thro ged with people

1 0 a lidor e a n d iscella ea 5 C , M n .

sh a m a be c me e s e in H is M a e s a n Pe s n or ll or y o v t d j ty , or y r o

e s n s in s for H im b e f S a d or P r o Tru t y virtu h e re o ) h ll b e , a n t h e sa me is a n d a r e h e e b sa ff e a ll n e n a n d r y , di or st e d to I t ts Purpose s wh a tsoe v e r 5 a n d th a t from th e n c e forth n o Pe rson Pe s n s sh a b e e s n e a b e a n a in e n a or r o ll qu tio d or li l to y P , P lty n sh m e n for h n n c s n n s in or Pu i t u ti g, our i g, killi g , de troy g , or a n a n D e e h a s e e i h n th e sa m e sa e a n d t ki g y r w t o v r w t i , v e xce pt with i n such Pa rt or Pa rt s th e re of (ifa n y ) a s sh a ll b e e n c lose d with Pa le s a n d k e pt for a Pa rk or Pa rks by th e

O n e s e sse es e n a n s h e e f w r , L , or T t t r o .

There can be little doubt that t h e exc eption in fa vour of the Crown was in ten ded to apply to all t h e provision s of the c lause 5 but it was h eld by Coun sel learn ed in t h e la w th at it applied to t h e h n h c first alf o ly, and t at after the spe ified day it wa s lawful to kill deer in a n y portion of t h e old n c h e h forest not e losed wit pal s , w ether such portion h a d h n in w or a d not bee ve sted the Cro n . The n n a Crow allotmen t had bee left s it was . A m w n n m r ed ith this opi io , a far er of Water w s h e f n s m Oakley, ho e real I av orgotte in his a su ed

n m c n m R n n a e, alli g hi self obi Hood, and taki g h im h is me n h m c with two of , w o he alled Scarlet

n n h n a d Little Joh , sallied fort daily i to the forest ’ n e r a n d m to kill the Ki g s d e , returned ho e every

evening loaded with spoil . R n Lord Harcourt, who was then Deputy a ger a n d h s of the Forest, disc arged all the dutie of n n n R n R superi te de ce (for the a ger, who was a oyal n ss n h n n High e , of course, did ot i g), we t forth also, e a s the repr sentative of Majesty, to put down these s I n m m s audacious tre passers . y forest ra ble I was L a s t D n ds r Fo s t 1 1 T/ze ay of Wi o r e . 5 a witn ess to some of th eir a lt e r c a t ion s z— Lord Harc ourt th reaten in g to ruin R obi n Hood by pro cess in t h e Court of Exc h equ e r ; R obin Hood s h im sh n t h e A c t etting at defiance, flouri i g of ’ m n a n d s n n Parlia e t, ayi g , My Lord , if you do t ’ n m A c s m c k ow how to ake t of Parlia ent, I ll tea h ” you . n e n s th e n wh O day I was walki g toward Di gle, en me t ma n h un e m e I a wit a g , who ask d if I had seen R obin Hood ? I said I had j u st see n h im at e s n c s n c a littl di ta e in discus io with Lord Har ourt, wh o on s — c R n n on was hor e ba k, obi Hood bei g

. s m n c n foot He a ked e to poi t out the dire tio , h c a n d in n s h im w i h I did 5 retur , I a ked who he m h m w s . H e ig t be . He told e he a Scarlet was a le a sa n t - k n ma n a n d s m me a s p loo i g , ee ed as rry h is original : like on e in high en joyme n t of sport . h n n m m T h e n T is we t o so e ti e . law was ot h on R n a n d broug t to bear obi Hood , it was finally determin ed to settle t h e matter by drivin g the deer m n out of t h e forest in to th e pa rk . Two regi e ts of c e m h h wa s avalry w re e ployed for this purpose, w ic a s se c s e c n c kept ret as pos ibl , for a o ourse of people would h ave been a serious impedimen t to the op e ration . I rec eived i n tellige n c e of it from a frien d at c n me d s n m ourt , who poi ted out to a goo po itio fro c h wh i h to view t e close of the proc eedings . s n wa s on s n n My po itio a ri i g grou d , covered h e s n a n e wit tre , and overlooki g xtensive glade . 1 2 a lidor e a n M i ll ea 5 C , d sce a n .

on m n m n The park was y left ha d , the ai part of t h f s on h h A d e ore t t e rig t a n d be fore m e . wi e

n of t h e a n h a e en e m e a n d exte t park p li g d b r ov d, n c n e n c a n t h rope fe i g had be arrie d to a gre t l e g , at

n f m n n s c e O e . wa oblique a gl s ro the p i g It a lear, c m n a n d m h wa s f n d al sun y day, for a ti e t ere pro ou n s f n n Sile c e . This wa first broken by the ai t sou d ’ of s n swe n e a c r s n s m bugle , a ri g h othe sig al fro remote poin ts in t h e di stan c e 5 d r a win g n earer by n h e n e s a d n ss e . degre , growi g progre iv ly loud T c a m h s n e e n n m e two or t ree traggli g d r, bou di g fro

e s a n d n h h t h e e n n th e the tre , fly i g t roug op i g of park

s. h n m n m s a n d m pale T e ca e greater u ber , ulti ately c on grega ted h erds 5 t h e beatin gs ofth eir multit udin O us fee t mi n gled with t h e tramplin gs of t h e y et

n se e h s s a n d t h e l n s t h e . u n or e , ful sou d of bugles s a n f m th e s La t appe red the cavalry, issui g ro wood , a n d n n e mse in se m - c f m n ra gi g th lves a i cir le , ro hor n f h f T h n s to hor o t e rope en ci n g . e Ope pace was h e t h e C se c n filled wit d er, terrified by ha , o fused by h e own n m a n d h n in c n t ir u bers , rus i g all dire tio s , t h e gr eater part th rough t h e park O pen in g 5 man y n t h e n c n h ch few tryi g to leap rope fe i g, in w i a

a n d on e c c e e sc a n were hurt 5 or two su eed d , pi g to h n s m n sh R t eir old hau t , ost probably to fur i obin h is n n f e Hood with last ve iso east . By d grees the m s h n n s s a a s grew t i er ; at la t all had di appe red, t h e n c n t h e for t h e h rope fe i g Shut up park nig t, t h e s n s a n d a n cavalry rode off toward Wi d or, all ag i

a n w s Sile t . s wa s h a n e n m Thi , wit out y exc ptio , the ost beauti

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fli eliucou r t l . . , vo . i p 94. ’ C se was h l lo d P i e m on s h u n dre dth ye a r .

G r ll G r a n e l . . y g , vo i . p 90 . Did you h ea r oft h e c ura t e wh o mou n t e d h is m a re ?

Cr ot cket Ca st le . 1 82 , p . D n a n d s n a n d e a t a n d la h M a id M a r ia n ri k i g , ug . , p . 77.

a t h e f Me n e n . M i or t un es o E l kin 1 8 F ir gi t to rli giv sf f p , p . 3 . a se ba s th e sa fir e e e F l rd cre d p rv rt . M i or t un es o E l kin 8 . sf f p , p . 9 t h e bl e h n bl b ffa h n th e e . Fill u or , u u lo or

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t h e s e n e b e e ch a n d h e a l n k For l d r t s p i g oa .

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a dl n H a ll . 1 . H e o g , p 59 n h I lov e t h e gre e n a n d tra quil S ore .

[Mis or t u n es o E l h in . . f f p , p 54 ’ a h m d s b n I pl ye d wit you i c ow lips lowi g .

G r ll G r a n e . . . 1 6. y g , vol i p 3

b n n ir e e s a dlon H a ll . 88 . I n i S e . H e h s la s t i P t r li g , p

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fr a of e s f e e . [Pl a id M a r ia n . 1 . It was a i r ord r r , p 53 ’ a i m n J a ck H om e r s Ch ristm s p e y l e a r e d n urse .

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r ll G r a n I G e . . y g , vol i . p . 3 4 ’ M a m s s e th s i e o e r O ry , y i t r , y orrow g v .

H ea dlon H a ll . 1 . g , p 57

- O t h e Spr ing time of life is t h e sea son of bloomi n g.

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G r ll G r a n e . 1 . y g , vol . ii p . 55

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