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النشر الإلكتروني

Quid verbis opus est? hac famâ impulsus Chremes,
Ultro ad me venit, unicam gnatam suam
Cum dote summâ filio uxorem ut daret.
Placuit; despondi: hic nuptiis dictus est dies.

Sos. Quid obstat, cur non vere fiant ?

Sim. Audies.
Fere in diebus paucis, quibus hæc acta sunt,
Chrysis vicina hæc moritur.

Sos. O factum bene!
Beasti: heu! metui à Chryside.

Sim. Ibi tum filius
Cum illis, qui amabant Chrysidem, una aderat
Curabat una funus : tristis interim, [frequens:
Nonnunquam conlacrumabat. Placuit tum id mihi.
Sic cogitabam: hem, hic parvæ consuetudinis

(7) Chrémes has the same original in the moon'as Cerdon in Hudibras, drawn ante in fig. 21. His prototype is composed of the entire shadows of the moon, which include, therefore, those which make up the prototype of Charinus, in which sense, he may be said to be Charinus's father. The character of Chremes is that of a dotard, and the prototype of Cerdon, as before pointed out as being the same as his, might be very properly assumed for such a character to represent. Chremes may have his name from the numerous round marks of light like coins on his person ; xenua, money.

(8) Moritur. i. e, the portion of the moon ascribed to Chrysis, goes out of view, becomes obscured.

Causâ mortem hujus tam fert familiariter :
Quid, si ipse amâsset? quid mihi hic faciet patri?
Hæc ego putabam esse omnia humani ingeni
Mansuetique animi officia. Quid multis moror?
Egomet quoque ejus causâ in funus prodeo,
Nihil suspicans etiam mali.

Sos. Hem, quid est?

Sim. Scies.
Effertur, imus : interea inter mulieres, (lam, (9)
Quæ ibi aderant, forte unam adspicio adolescenti-
Formům

Sos. Bònů fortassé--
· Sini. Et voltu, Sosia,
Adeo modesto, adeo venusto, ut nihil supra.
Quia tum mihi lamentari præter cætera's
Visa est: et quia erat forma preter cæteras
Honesta, et liberali; accedo ad pedissequas ;
Quæ sit, rogo: sororem esse aiunt Chrysidis.

(9) If the map of the moon be placed with the north side uppermost, there will be seen, composed entirely of light without shadow (formâ præter cæteras honestâ, el liberali) the appearance of a pregnant womnan, as she is afterwards stated to be. This I take to be the prototype of Glycerium, otherwise called Virgo; and a drawing of her, as thus situate, is given hereafter, but under different circumstances, though not less traceable in the same space in the moon, namely, those of holding a young child in her arms.

Percussit illico animum. At at, hoc illud est,
Hinc illæ lacrumæ, hæc illa est misericordia.

Sos. Quem timeo, quorsum eyadas.

Sim. Funus interim Procedit: sequimur: ad sepulchrum venimus. In ignem imposita est:(10) fletur. Intercah@csoror,

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(10) In ignem imposita est. In one of the treatises mentioned in the preface to the first volume, 1 enuinerated some particulars in which the moderns unduly take the ancients à la lettre, instead of conceiving their statements to be enveloped in fable and disguise: one of those enumerated is the supposed practice of the ancients burning the corpses of their dead: we have, here, in one line a sepulchre or graye, mentioned as being in use; and in the very next line (which is of itself sufficient to raise some doubt upon the point) a fire is also mentioned for the purpose above supposed. The true way of reconciling together the two united practices, and at the same time unveiling the mystery involved in the fable (or, rather, in the metaphorical expression of the ancients burning their dead, is to understand that the dead corpses were laid upon quick lime, and thereby burned or consumed in their coffins; and that supposition will suffice to explain all the passages in the classics, which treat of burning the dead, wherever such passages are found. To give one remarkable instance; the following statement appears in Thucydides on the plague of Athens: Nouou TE TOUTES CUVETQQ OXθησαν, οις εχρωντο προτερον περι τας ταφας: εθαπτον δε ως έκαςος ηδυνατο, και πολλοί ες αναισχυντες θηκας ετραποντο,

Quam dixi, ad flammam accessitimprudentius, (11) Satis cum periculo, ibi tum exanimatus Pamphilus

σπανοι των επιτηδειων, δια το συχνες ηδη προτεθνάναι σφισιν, επι πυρας αλλοτριας, φασαντες τας νησαντας, οι μεν, επιθεντες τον εαυτων νεκρών υφηπτον, οι δε, καιομενε αλλά, ανωθεν ETTIGATOUTES OU QEDOLEV, OTTNEGAV. There is here the same union of the two methods of disposing of the dead, as there is above in Terence; and though the passage, in the latter part of it, is the strongest of any that I remember, in apparent proof of burning the dead, yet by the words taças and Onxas it points in an especial manner to the disposing of the dead in graves. Is it, in fact, credible, that in a plague or pestilence, when so many deaths occur, any other method than that of burying the dead under ground, would be tolerated? But even in ordinary times, and in any community whatsoever, numerous or the contrary, a little reflection will lead necessarily to the conclusion, that such a practice, otherwise than in very rare individual instances, would be in possible. Nor is the conclusion thus contended for, by any means shaken by our reading frequently in the classics, of the ashes of the dead being deposited and buried in urns; it is only a continuation, or graft, as. it were, on the same fable or metaphor; for a coffin shaped for a human body bas itself the general form of an urn, if placed on its end towards the feet, as may be seen from the black lines of fig. 119; the dotted lines that form the rings and cover of the urn, being supposed to be framed by the imagination of a poet or sculptor out of the cords looped at the sides, or coiled up on the top, by which cords

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