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C. Quid, si aliquo ad ludos me pro manduco locem?
L. Quapropter? C. Quia pol clare crepito dentibus.
Plautus, in Rudente.

These grotesque masks were designed partly to raise terror, and partly laughter. Juvenal also alludes to them:

Pars magna Italiæ est, si verum admittimus, in qua
Nemo togam sumit, nisi mortuus. Ipsa dierum
Festorum herboso colitur si quando theatro
Majestas, tandemque redit ad pulpita notum
Exodium, cum personæ pallentis hiatum
In gremio matris formidat rusticus infans.

Sat. iii.

Superstition is often closely connected with vice, sometimes degenerating into it, and ultimately furnishing a mere cloak for it. The festivals and ceremonies in honour of Bacchus, celebrated by his frantic priestesses, whose very name is derived åñò tõ μaíveσdai are thus indignantly described:

Nota Bonæ secreta Deæ, cum tibia lumbos
Incitat; et cornu pariter, vinoque feruntur
Attonitæ, crinemque rotant, ululantque Priapi
Mænades.

Juvenal. sat. vi.

Morpheus is represented as one of the children of sleep, and as taking the human semblance: —

At pater e populo natorum mille suorum
Excitat artificem, simulatoremque figuræ,

Morphea.

Ovid. Metamorph. xi.

Another of the sons of sleep is denominated pobúrwe, from the Greek po6nTpòv, signifying affright, or a dreadful vision and phantom of night:

Hunc Icelon Superi, mortale Phobetora vulgus
Nominat.

MISCELLANEOUS PASSAGES FROM PLUTARCH.

WE have an English proverb, that cleanliness is next to godliness. The sentiment, though quaint in terms, expresses an ancient and universal feeling with all people, sufficiently civilised to have "sat in good men's seats," or to "have been knolled to church by the bell" of any religious sect, false or true. Plutarch thus describes the magnificence of the funeral made for Timoleon by the Syracusans, and attended by the people dressed in what we should call their Sunday clothes: Πρἔπεμπον δὲ πολλαὶ μυριάδες ἀνδρῶν καὶ γυναικῶν, ὧν ὄψις μὲν ἦν ἑορτῇ πρέπουσα, πάντων ἐςεφανωμένων καὶ καθαρὼς ἐσθῆς τας φορούνων.

The transfiguration of Christ, as recorded by Matthew, chap. xvii., forcibly illustrates the naturally received connection, between whiteness and absolute purity : — " And after six days Jesus taketh Peter, James, and John his brother, and bringeth them up into an high mountain apart, and was transfigured before them and his face did shine as the sun, and his raiment was white as the light."

There is considerable obscurity and difficulty in the following passage of Plutarch's treatise, Cur Pythia nunc non reddat Oracula carmine. In the text of Wyttenbach it stands thus:- Οἶμαι δὲ για νώσκειν τὸ παρ ̓ Ἡρακλείτῳ λεγόμενον, ὅς ̓ ἄναξ, οὗ τὸ μανο

τεῖον ἐςι τὸ ἐν Δελφοῖς, οὔτε λέγει, οὔτε κρύπτει, ἀλλὰ σηpaive. The reading of the earliest editions, for what stands here as ὅς ἄναξ, was ὥστ ̓ ὄνας, which gave rise to an erroneous opinion that the distinction of Heraclitus was this: The Delphic god no longer either declares or conceals any thing by the instrumentality of dreams, but signifies it clearly. But Amyot and Xylander agree in introducing the conjectural readings "va, making the sense to be, that the king whose oracle, etc. i. e. Apollo, only furnishes a glance, or vista vision of futurity, neither explaining events categorically, nor veiling them in impenetrable darkness. The reading left by Wyttenbach to occupy the text, ős övaş, is manifestly incorrect. The words unabbreviated must be ὡς ὁ ἄναξ.

There is much curious matter in the treatise of Plutarch on Isis and Osiris, with respect to the doctrines of Zoroaster concerning Oromazes, and Arimanius, and Mithras. Mithras was the mediatorial power between the other two, whose respective worship. is thus characterised: 'Edidate pév tậ εὐκταῖα θύειν καὶ χαριτήρια, τῷ δὲ ἀποτρόπαια καὶ σκυθρωπά.

The proverb, Isiacum non facit Linostolia, the dress does not make the monk, seems to have originated with Plutarch: Οὔτε γὰρ φιλόσοφους πως γωνοτροφίαι καὶ τριβωνοφορίαι ποιοῦσι, οὔτε ἰσιάκους αἱ λίγοπολίαι.

MISCELLANEOUS PASSAGES FROM ERASMUS.

THIS elegant author was strong and bitter in his satirical paintings: as much so as Juvenal himself. The revivers of letters were naturally close copyists of the patterns they had so newly acquired: but the coarser parts of the texture were most congenial to their talents and their taste. They dealt much in general satire and personal invective: and both in their hands degenerated into abuse. The following passage from the Encomium Moria will be thought germane to the matter:-" Sed multo etiam suavius, si quis animadvertat anus, longo jam senio mortuas, adeoque cadaverosas, ut ab inferis redisse videri possint, tamen illud semper in ore habere, øãs åyaðòv: adhuc catulire, atque, ut Græci dicere solent, xanpoùv, et magna mercede conductum aliquem Phaonem inducere, fucis assidue vultum oblinere, nusquam a speculo discedere, infimæ pubis sylvam vellere, vietas ac putres ostentare mammas, tremuloque gannitu languentem solicitare cupidinem, potitare, misceri puellarum choris, literulas amatorias scribere."

The following passage is remarkable, as having furnished a subject of illustration to the pencil of Holbein "Rursum alios qui pecuniæ con tactum ceu aconitum horreant, nec a vino interim, nec a mulierum contactu temperantes. The

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