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by verses Cirei tbkngtd-tbe comfonions of Vlyffts." -by singing the aid snake it iurftcn in the WtMiÆim. Bring, bring my Dofbnit bom from ibetily, 0 tyty vtrftt. . y .,
first i surround tbeeiiutb theft thru lists distinguished vtitb three colourit o.tfd if ad this image three times stout these abort. The deity dt light t in an odd . nvntbtr. Bring, tring my Daphnis borne front the city, 0 my verses.
Knit tbrec colours, with three knots, Amaryllis: knit them quickly Atnaryllit: and fay, I Jtnit the knots of Venus. Bring, itmg my Daphnis bant from the iity, 0 my verses.
As this mud hardens, and p thitifiax mffts, ; ■
The number three was thought t( most perfect of all numbers, harii regard to the beginning,' midi and end. The deity Here mention is probably Hecate, who presid over magical rites, and had thi faces.
- 77. NeSie tribus nodis, (iff.}! fame superstition is continued.
8o. Limus ut hie, €jfc] 1 sorceress proceeds to the faiw piece of witchcraft, the making images, which are said to tonsui the person for whom they are nwj as the images themselves are ca fumed; and adds some other ce' monies. '-'■. •; ■.«:*:'.■■ '''"4'
Hera are plainly, two images i scribed; one of mud and theod of wax: the former of which irai necessarily grow hard, and the lat: softec, in the same fire. "Sen* of opinion, that the sorceress!;! snakes- her own image of. mud; n\ that of Daphnis of wax j that 1 may melt with regard to.her, # wax; but grow. obdurate tQ ^ Woman , he was now in love with, and to ajkpthers, as the mud hardened in. the fire. Others think both the images represented Daphnis: and not without reason; for how should the image of the. sorceress he supposed to make the heart )f Daphnis hard to other women, >y growing hard itself? But perlaps it may be best, to suppose with iervius, that the image of mud reirescnted the sorceress, and that of rax Daphnis: and'that .as Daphnis rould melt into love of her, as his nage dissolTed, so (he would grow bdurate,. as her image hardened, ^his, interpretation seems to agree, ith what she wishes presently afterards j that he may love her vehelentJy, and that stie may not rend his passion;
l'rno ecdemque igni: sic nostro Daphnis a more.
NO T E S.
Talis amor teneat: nec sit mihi "cura mederi."
orace also, in one of his Satires, :aks of two witches, that made 'o images, one of wool, and the her of wax; that the woollen e was the biggest, and seemed to d it over the poor waxen one, lich "stood-in. a suppliant posture, dy so melt; mt „ ,
Lanea et effigies erat, altera ce\ reaj major'
quae poenis compesceret "infer iorem. Cerea, suppliciter stabat, servilt
*' bus,, usque . . Jam peritura modis."
"As this devoted wax melts o'er "the fire, '■*->■ s'i -*
"Let Myndian Delphid melt ift* "warm desire." Creech.1'
In later times, there have been many, who have attempted the lives' of others, by making representati-' ons of them in clay or wax, in order to consume such persons by consuming their images. About thr beginning of. the last century, many* persons were convicted of this, and other such like practices, and executed accordingly. King James" the First, who then fate upon the throne, was a great believer of. the power of magick,. and condescended so far, as to be the author of a book intituled DaemonoUgie, in which amongst other particulars, he speaks of these images as being frequently made at that timej and ascribes the power of them to the devil. "To "some others at these .times he "teacheth, how. to make pictures of waxe or claye, that by the "roasting thereof, the persons that "they beare the name of,: may be "continually melted or dried away "by continuall sickeneisc. .
*f They can bewitch and take the 'f life of men or women, by roast"ing pf .the pictures,, which like." "wife is verie possible to their V master to ^erforroe: for although "that instrument of waxehave no "vertue in that turae doings yet n may he not very well, even hy "the fame measure, that his con"jured slaves melts that waxe at the *' fire, may-he* not, I fay, at these "fame times, fubtily, as a spirit, so ** weaken and scatter the spirits of '* life of the patient, as may make "him on the one part, for- faint*' nesse, to sweat out the humour "of his bodie, and on the other "part, for the not concurrence of "these spirits, which causes his di*' gestion, so debilitate his sto"macke, that this humour radi<( call, continually sweating out on *e the one fart, and no new good *' sucke being put in the place *' thereof, for lacke of digestion *' on the other, he at last shall va» *' niih away, even as his picture will doe at the fires And that "knavish and cunning worlceman, "by troubling him, onely at some"times, makes a proportion, so "neere betwixt theworking of the "one and the .other, that both "shall end as it were at one time." However, notwithstanding the reasonings of this learned Monarch, I believe few are now afraid of thisi or any other power of witchcraft, except the most illiterate of the people.
82. Sparge mokm) fssc.} „".Thfe
a mola was made of meal, seltedj "parched, and kneaded, mltta, "whence it was called mola, and "victims were said to be imtufated; because the foreheads of the victims, and the hearths, "and the knives had this cake "crumbled upon them. There"fore this cake is crumbled upon "the image of Daphnis, as upon "the victim of this great sacrifice."
In the eighth Aeneid, When Dido pretends to make a magical sacrifice, in order to recover the love of Aeneas, among other rites, she makes use of this sort of cake;
"tpfa mola, manibusque pus, si
"tariajuxta, •> "Unam exuta pedera vinclis, is
"vesterecincta, , ,-. . f? Teftatur moritura deos, et con
"scia fati -:. - ■■rv-i
acquora mundi, •^-'Garbasufr ut quondam magnte-in-> J w«: tenta1 theatric E'-n1* *• ** Dat crepitum matos inter^jactiktaj "trabeisque: Interdum perfcissa" furit petulan"tibus Euris, "Et fragilis fortitus charta/uni
"commeditatur j °' '* Id quoque enim genus m tbhitra
"cognoscere poflis1,1 ° **■ Aut ubi fofpenfam vestem, ehar
"tasve volanteis °- i' "Verberibus venti versant, pjan"guntque per auras';" '.
• ■ .■> ■ '4. .ntLl *•
The use of the bitumen seems to have been the (ame with that of brimstone with us, in the making of matches. The twigs of ; bay were dipped into it, to make them •kindle more readily. The bay was thought to express, by it's crackling noise, a detestation of fire: "Lau"ros quidem manifesto abdicat ig"nes crepitu, et quadam -detesta"tione." Pliit: -M; c. nit. The fame author adds, that Tiberius used to crown his head with bays, when it thundered; to preserve himself from danger; " Ti"berium principem, tonante caelo, "coronari ea solitum ferunt contra ■M fulminum metns.*5 iR A ' '•" ^
Lauros:\ W'isrambr, in the ancient Oblong manuscript, according toPien'iis. 1 • j.- - \ rtSt vrt.ipi\i t ...i
The Earl of Lauderdale seems to have mistaken the fense of this paf
sage j for he represents Daphnis # being already possessed by that passion, with which the sorceress only wishes he may be inspired} 'v
.** .Ar. mater virideis faltus orbata **
"peragrans, "Linquit humi pedibus vestigia
"pressa bisukis, • • *« Omnia convisens oculis loca, si , ■ *' qucat ufquam "Confpicereamisl'umfoetum : corri
*f pletque querelis *' Frondiferum nemus adsistens; et
"crebra revisit "Ad stabulum, desiderio perfixa
"juvenci. *' Nec teneras falices, atque herbae
"rore vigentes, "Fluminaque ulla qucunt fummis
"labentia ripis *' Oblectare animum, fubitamque
"avertere curam: j>Jec yitulorum aliae species per
"pabulaJaeta" "Perivare queunt alio, curaque
"levare: "Usque adeo quiddam proprium
86. Bucula.] It is a diminitive of bes.r
87; Prof ter aquae rivumy tic] Thus Lucretius j
. • '. it ■
"Prostrati in gramine nrolli
"Propter aquae rivum,- sub ramis "arboris altac." ■?■
•Protumlit in ulva.] So I with Heinsius. Pierius found in ulva in the Lombard manuscript; but he says in herba is the more usual reading. Heinsius, according to Burman, found in ulva in all bis manuscripts except one; and in,oae of them viridi coneumbit in uhiBurman adds, that it ie Ttnfidit m