) and of the bronze
statuette
of the snake-god, Glykon, now in the Boston Museum of Fine Arts.
Allinson - Lucian, Satirist and Artist
" Lloyd George has his atten tion called to his inconsistency in " black guarding landholders, though a farmer him self ":
tovs yfjv exovras XotSopw yeupyds &v.
A Coue patient, like an aspiring horse walking the rollers of an old-time threshing machine, repeats his formula: " I'm growing better every day"
ailv fiekriuv, ^eXrUtiv aiev kixavTOv
ccofxi. re kcli \fsvxyv «Ml xar' ffixap iyd>,
as well he might if he could write such good Greek or would read attentively Lucian's Lie
[186]
lucian's creditors and debtors
Fancier! Satire is still as sanatory in the twen tieth as in the second century. As a part of our " Debt to Greece " it also, like Kipling's Banjo, draws
the world together, link by link: Yea, from Delos up to Limerick and back!
[187]
NOTES AND BIBLIOGRAPHY
NOTES
Grateful acknowledgment of indebtedness for various helpful references is made to Dr. G. Alder Blumer; to Pro fessors J. C. Adams of Yale, Jos. Jastrow of Wisconsin, A. Trowbridge of Princeton; to Director L. E. Rowe of the R. I. School of Design; to the author's colleagues: Professors Clough, Crowell, Hastings, Koopman, and R. M. Mitchell; and also to Professor G. H. Chase and the Fogg Museum, Harvard, and Director B. H. Hill of Athens and the Boston Museum of Fine Arts for their courtesies in ob taining the illustrations. Also to Messrs. Ginn and Co. for permission to use matter in Allinson's Lucian (College Series of Greek Authors).
1. For a different emphasis see the able article " Lucian
the Sophist," by Emily J. Putnam, in Classical Philology,
iv. 162-177 (1909).
2. Cf. M. Croiset, La Vie et les Oeuvres de Lucien, Paris,
1882, p. 390.
3. Op. cit. , p. 393. For detailed illustration of Lucian's
influence see below, Chapter VIII, pp. 130-187.
4. Cf. A. D. Fraser, " The Age of the Extant Columns
of the Olympieium at Athens," in Art Bulletin, iv. (1921). The temple, newly oriented on the Pisistratus site, was be gun by Antiochus Epiphanes but left unfinished at his death in 164 B. C. and finished and dedicated by Hadrian in 131 A. D.
5. Only as a very recherche piece of satire could this be assigned to Lucian.
6. Cf. Franz Cumont, After Life in Roman Paganism, New Haven and London, 1922, p. 17 et passim. See, also, his Astrology and Religion among the Greeks and Romans, New York and London, 1912, p. 53: "It is to their (i. e. , the Greeks') everlasting honour that, amid the tangle of precise observations and superstitious fancies which made
[191]
NOTES
up the priestly lore of the East, they discovered and utilised the serious elements, while neglecting the rubbish. "
7. For such an imaginary banquet at the villa of Atticus, see Roads from Rome, A. C. E. Allinson, New York, 1922,
pp. 104-215-
8. See Suidas, article AovKiavSs; Photius, Biblioth. 128;
Lactantius, Inst, div. , 1. 9; Eunapius, Lives of the Philos ophers, preface — cited and discussed by Croiset, op. cit. , Chapter I.
9. Or by 117 a. d. if bom under the Emperor Trajan as Suidas vaguely asserts. Croiset, op. cit. , pp. 2 and 52, argues for 125 AJ).
10. Harmon's rendering. (See Bibliography. )
11. Pro Lapsu in Salutando, 13. For Lucian's actual cita tion or reminiscences of Latin authors, see below, p. 125
(Chapter VIII).
12. See B. L. Gildersleeve, Essays and Studies, Baltimore,
1890, p. 108, on Lucian's Complete Rhetorician.
13. If we include Asinus, Suit of Sigma against Tau, and
the Syrian Goddess.
14. Text and translation in The Loeb Classical Library
(by A. M. Harmon) will occupy eight vols, when com pleted.
15. M. Croiset (op. cit. ), decides tentatively for 4 or 5 periods: (a) Works written before Lucian's " conversion " from Rhetoric; (b) His first essays in a new genre — under the influence of Middle and New Comedy; (b. 2) The large Menippean group; (c) Maturer products under influence of Old Comedy; (d) Writings of his old age. More arbitrary is the chronological arrangement of P. M. Bolderman, Studia Lucianea, Leyden, 1898: (1) Those before 155 A. D. ; (2) From 155-165 a. d. ; (3) From 165-180 A. D. ; (4) After 180 a. d. This is usefully concrete.
16. Vera Historia, II. 21. 17. Icaromenippus, 18. 18. Dial. Mort. , 21.
19. Juvenal, Sat. , II. 4:
quamquam plena omnia gypso Chrysippi invenias.
[192]
NOTES
20. Apologia, 15. Rohde (see Bibliography), p. 324. 31. See Icaromenippus, 13.
22. Erasmus, for example, see below, page 147.
23. B. L. Gildersleeve, op. cit. , p. 351.
24. Epitrepontes, 179K, F. G. Allinson in The Loeb Clas sical Library, p. 126.
25. Cf. Franz Cumont, op. cit. , p. 39.
26. See Peregrinus, 11-13.
27. Cataplus or " The Voyage Down. "
28. Interlocutor also in the Cock, see below, p. 101. For
his literary immortality, see below, p. 150.
29. Franz Cumont (op. cit. , p. 106), compares Lucian's journey to heaven with " the three stages " of the journey
to Paradise "widely entertained in the East. " He adds: " A trace of this belief seems to linger " in Saint Paul's ref erence to being " lifted to the third heaven " (2 Corinth. , 12, 2). For the hero carried up to heaven by an eagle in the Persian epic of Firdausi, " an ancestor probably of the eagle in Chaucer's House of Fame," see W. P. Ker, The Dark Ages, New York, 1904, p. 69.
30. See Timon, 10.
31. Also of other post-Aristotelian philosophies. Compare Menander, 549K and 556K, English translation by F. G. Allinson, in The Loeb Classical Library, New York and London, 1021.
32. Philopseudes, or The Maker and Lover of Lies.
33. See below, p. 177, and add St. Patrick's extermination of snakes, etc. , in Ireland, modelled after Lucian.
34. Cf. Franz Cumont, op. cit. , especially pp. 8 and 23.
35. See photographs, fronting page 109, of the coin of Ionopolis (= Abonuteichos, cf. Pape, Griech. Eigennamen, s. v.
) and of the bronze statuette of the snake-god, Glykon, now in the Boston Museum of Fine Arts. See Museum Bulletin, Vol. II. 2, 1904.
36. Compare the curious mechanism found in the excava tions at ancient Corinth by which, as interpreted by Direc tor B. H. Hill of the American School of Classical Studies at Athens, an unseen " prophet " could give oracular answers through a concealed passage.
[193]
NOTES
37. For references see Allinson, Lucian, op. cit. , pp. xv
and 205-6.
38. Odyssey, VII. 115 ft.
39. For further details, obligations to Antonius Diogenes,
and coincidences with the Arabian Nights, see below, p. 124. 40. Unless we assume that it was borrowed, en bloc, from the lost Comedy of Antiphanes, see below, p. 122. See also
pp. 161, 180.
41. See below, pp. 1278.
42. See illustration opposite page 109.
43. For discussion of the testimony of Athenagoras, Phil-
ostratus, Eusebius, and Ammianus Marcellinus, see Allinson, Lucian, op. cit. , pp. 202-204.
44. Sandys (see Bibliography), Vol. I, pp. 320-321, how ever, is inclined to follow the opinion of Hemsterhuis that Lucian does not refer to Pollux.
45. For a happy paraphrase of the untranslatable blun ders, see the version by the Fowlers (see Bibliography).
46. E. g. , The Pseudopurist or Solecist.
47. See Harmon, Lucian, Vol. I, p. 395.
48. For Lucian's use or ridicule of predecessors, see be
low, p. 124, note; for his Vera Historia, see Rohde, p. 196
Bibliography), for his preeminence in parody, cf. Rohde, p. 206, note to 210, for Thule, p. 260; and for Lu cian's relation" to Hesiod, Comedy, etc. , and to the mediaeval Utopias, see The Greek Land of Cockaigne," by Campbell Bonner, Transactions of the American Philological Asso ciation, XLI. 175-185 (1910).
(cf.
49. See, for example, in True Story, II. 28, the mockery of the prophylactic given to Odysseus by Hermes, Od. , X. 288 ff.
50. See below, p. 185, for Nansen's comparison with the Norse " Ginnungagap. "
51. Accepted by Croiset, op. cit. , see pp. 63 and 204; also H. W. Smyth, Greek Dialects, Oxford, 1894, pp- 116-119, for Lucian's Ionism.
52. Translated (expurgated) by E. J. Smith in Selections from Lucian, Harper's, New York, 1892.
53. For pedigree of the " Ass," see The Metamorphoses [194]
NOTES
Ascribed to Lucius of Patrae, by B. F. Perry (Princeton dissertation, ioio). Sandys (op. cit. ), Vol. I, p. 310, ac cepts the Ass as Lucianic, as does Von Christ (cf. Bibliog raphy), 2nd part, 2nd half, p. 736.
54. Cf. , inter alios, the critical panegyric of M. Croiset, op. cit. , pp. 385-389, 291-296, and G. E. B. Saintsbury's verdict: A History of Criticism, Vol. I, p. 150, et passim.
55. Assuming that Antonius lived as early as the first Christian century. For detailed discussion of the extracts from Antonius in Photius: MvpioplpXiov § Bi/SXio0ijk7;, as well as for other sources, from Homer to Theopompus on to Plutarch, and also for traces of far-flung oriental tales, see E. Rohde, pp. 242-250, 260 ff.
56. M. Croiset, op. cit. , p. 70 and note.
57. See, for Lucretius, Franz Cumont, After Life in Ro man Paganism, pp. 8, 9. (Cumont's suggestion might be reenforced by Lucian's own transliteration aaKepdOrts, Alex. , 48), also p. 67 for the obvious rehearsal in Philops. 31, of Pliny's ghost story; for Virgil and the cornel-tree of Aen. iii, see C. S. Jerram: Luciani Vera Historia, Oxford, 1892, 1, 120; and, ibidem, note on V. H. , I. 37 for Juvenal; and note to V. H. , II. 33 for Ovid ; for all of these Roman authors (except Pliny), see H. W. L. Hime, Lucian the Syrian Satirist, London, New York, and Bombay, 1900, Ap pendix, pp. 92-95, i. e. , thirteen parallel passages (some more convincing than others) ; for Ovid, see also Croiset, op. cit. , p. 311; for Tacitus, see Sandys, op. cit. , II, p. 309; for Plautus, cf. Trinummus, Act. iv. , Sc. 4 for some direct or indirect connection with Lucian's Icaromenippus. Also Lu cian's True History, p. 9, by Chas. Whibley, London, 1894.
58. Ars Amat. , II. 687 ff.
59. See Bliimner (cf. Bibliography).
60. E. A. Gardner, A Handbook of Greek Sculpture,
New York and London, 1897, p. 3.
61. For the two types of the Europa story and for An
dromeda with details and citations, see Allinson, op. cit. , p. 185, notes, and pp. 181-184; cf. E. S. Hartland, Legend of Perseus, London, 1894-96.
62. See above, p. 107.
[I9S]
NOTES
63. Madvig's enticing emendation, Piscator, 39, rip, TrrtpurTiv for ri)v ye rparriv.
64. Cf. Forster, p. 18 (sec Bibliography), for Fonzio, Benvenuto Garofalo, Luca, Signorelli; p. 20 for the Alex- ander-Roxana subject; and foil. pp. for many other sug gestions. "
65. For specimens of Holbein's Dance of Death," see frontispiece.
66. The complicated Holbein question is discussed in The (N. Y. ) Nation, Nov. 19, 1903, in a review of a re-issue of
the Bell-Macmillan ed. of the Dance of Death. The origi nal drawings, now accessible, show " that they are by more
. . . " It is demonstrable that the designer
than one hand. "
was not always, and hence possibly not at all, the draughts man for the wood-engraver. " The woodcuts of the original Lyons edition of 1538 should be compared.
67. For details of the Lubeck painting, see p. 19 of the Dance of Death in Painting and Print, by T. Tindall Wild- ridge, London, 1887, an inexpensive illustrated booklet which gives, inter alia, some 30 examples in England, France, Germany and Switzerland of the " Dance of Death " in painting or (occasionally) in sculpture on bridges or in houses, churchyards, and cloisters. For the motif itself,
firmly naturalized in Europe independent of any literary tradition, see the scenes in Death's Jest Book, by Thos. Beddoes (cf. p. 179, below).
tovs yfjv exovras XotSopw yeupyds &v.
A Coue patient, like an aspiring horse walking the rollers of an old-time threshing machine, repeats his formula: " I'm growing better every day"
ailv fiekriuv, ^eXrUtiv aiev kixavTOv
ccofxi. re kcli \fsvxyv «Ml xar' ffixap iyd>,
as well he might if he could write such good Greek or would read attentively Lucian's Lie
[186]
lucian's creditors and debtors
Fancier! Satire is still as sanatory in the twen tieth as in the second century. As a part of our " Debt to Greece " it also, like Kipling's Banjo, draws
the world together, link by link: Yea, from Delos up to Limerick and back!
[187]
NOTES AND BIBLIOGRAPHY
NOTES
Grateful acknowledgment of indebtedness for various helpful references is made to Dr. G. Alder Blumer; to Pro fessors J. C. Adams of Yale, Jos. Jastrow of Wisconsin, A. Trowbridge of Princeton; to Director L. E. Rowe of the R. I. School of Design; to the author's colleagues: Professors Clough, Crowell, Hastings, Koopman, and R. M. Mitchell; and also to Professor G. H. Chase and the Fogg Museum, Harvard, and Director B. H. Hill of Athens and the Boston Museum of Fine Arts for their courtesies in ob taining the illustrations. Also to Messrs. Ginn and Co. for permission to use matter in Allinson's Lucian (College Series of Greek Authors).
1. For a different emphasis see the able article " Lucian
the Sophist," by Emily J. Putnam, in Classical Philology,
iv. 162-177 (1909).
2. Cf. M. Croiset, La Vie et les Oeuvres de Lucien, Paris,
1882, p. 390.
3. Op. cit. , p. 393. For detailed illustration of Lucian's
influence see below, Chapter VIII, pp. 130-187.
4. Cf. A. D. Fraser, " The Age of the Extant Columns
of the Olympieium at Athens," in Art Bulletin, iv. (1921). The temple, newly oriented on the Pisistratus site, was be gun by Antiochus Epiphanes but left unfinished at his death in 164 B. C. and finished and dedicated by Hadrian in 131 A. D.
5. Only as a very recherche piece of satire could this be assigned to Lucian.
6. Cf. Franz Cumont, After Life in Roman Paganism, New Haven and London, 1922, p. 17 et passim. See, also, his Astrology and Religion among the Greeks and Romans, New York and London, 1912, p. 53: "It is to their (i. e. , the Greeks') everlasting honour that, amid the tangle of precise observations and superstitious fancies which made
[191]
NOTES
up the priestly lore of the East, they discovered and utilised the serious elements, while neglecting the rubbish. "
7. For such an imaginary banquet at the villa of Atticus, see Roads from Rome, A. C. E. Allinson, New York, 1922,
pp. 104-215-
8. See Suidas, article AovKiavSs; Photius, Biblioth. 128;
Lactantius, Inst, div. , 1. 9; Eunapius, Lives of the Philos ophers, preface — cited and discussed by Croiset, op. cit. , Chapter I.
9. Or by 117 a. d. if bom under the Emperor Trajan as Suidas vaguely asserts. Croiset, op. cit. , pp. 2 and 52, argues for 125 AJ).
10. Harmon's rendering. (See Bibliography. )
11. Pro Lapsu in Salutando, 13. For Lucian's actual cita tion or reminiscences of Latin authors, see below, p. 125
(Chapter VIII).
12. See B. L. Gildersleeve, Essays and Studies, Baltimore,
1890, p. 108, on Lucian's Complete Rhetorician.
13. If we include Asinus, Suit of Sigma against Tau, and
the Syrian Goddess.
14. Text and translation in The Loeb Classical Library
(by A. M. Harmon) will occupy eight vols, when com pleted.
15. M. Croiset (op. cit. ), decides tentatively for 4 or 5 periods: (a) Works written before Lucian's " conversion " from Rhetoric; (b) His first essays in a new genre — under the influence of Middle and New Comedy; (b. 2) The large Menippean group; (c) Maturer products under influence of Old Comedy; (d) Writings of his old age. More arbitrary is the chronological arrangement of P. M. Bolderman, Studia Lucianea, Leyden, 1898: (1) Those before 155 A. D. ; (2) From 155-165 a. d. ; (3) From 165-180 A. D. ; (4) After 180 a. d. This is usefully concrete.
16. Vera Historia, II. 21. 17. Icaromenippus, 18. 18. Dial. Mort. , 21.
19. Juvenal, Sat. , II. 4:
quamquam plena omnia gypso Chrysippi invenias.
[192]
NOTES
20. Apologia, 15. Rohde (see Bibliography), p. 324. 31. See Icaromenippus, 13.
22. Erasmus, for example, see below, page 147.
23. B. L. Gildersleeve, op. cit. , p. 351.
24. Epitrepontes, 179K, F. G. Allinson in The Loeb Clas sical Library, p. 126.
25. Cf. Franz Cumont, op. cit. , p. 39.
26. See Peregrinus, 11-13.
27. Cataplus or " The Voyage Down. "
28. Interlocutor also in the Cock, see below, p. 101. For
his literary immortality, see below, p. 150.
29. Franz Cumont (op. cit. , p. 106), compares Lucian's journey to heaven with " the three stages " of the journey
to Paradise "widely entertained in the East. " He adds: " A trace of this belief seems to linger " in Saint Paul's ref erence to being " lifted to the third heaven " (2 Corinth. , 12, 2). For the hero carried up to heaven by an eagle in the Persian epic of Firdausi, " an ancestor probably of the eagle in Chaucer's House of Fame," see W. P. Ker, The Dark Ages, New York, 1904, p. 69.
30. See Timon, 10.
31. Also of other post-Aristotelian philosophies. Compare Menander, 549K and 556K, English translation by F. G. Allinson, in The Loeb Classical Library, New York and London, 1021.
32. Philopseudes, or The Maker and Lover of Lies.
33. See below, p. 177, and add St. Patrick's extermination of snakes, etc. , in Ireland, modelled after Lucian.
34. Cf. Franz Cumont, op. cit. , especially pp. 8 and 23.
35. See photographs, fronting page 109, of the coin of Ionopolis (= Abonuteichos, cf. Pape, Griech. Eigennamen, s. v.
) and of the bronze statuette of the snake-god, Glykon, now in the Boston Museum of Fine Arts. See Museum Bulletin, Vol. II. 2, 1904.
36. Compare the curious mechanism found in the excava tions at ancient Corinth by which, as interpreted by Direc tor B. H. Hill of the American School of Classical Studies at Athens, an unseen " prophet " could give oracular answers through a concealed passage.
[193]
NOTES
37. For references see Allinson, Lucian, op. cit. , pp. xv
and 205-6.
38. Odyssey, VII. 115 ft.
39. For further details, obligations to Antonius Diogenes,
and coincidences with the Arabian Nights, see below, p. 124. 40. Unless we assume that it was borrowed, en bloc, from the lost Comedy of Antiphanes, see below, p. 122. See also
pp. 161, 180.
41. See below, pp. 1278.
42. See illustration opposite page 109.
43. For discussion of the testimony of Athenagoras, Phil-
ostratus, Eusebius, and Ammianus Marcellinus, see Allinson, Lucian, op. cit. , pp. 202-204.
44. Sandys (see Bibliography), Vol. I, pp. 320-321, how ever, is inclined to follow the opinion of Hemsterhuis that Lucian does not refer to Pollux.
45. For a happy paraphrase of the untranslatable blun ders, see the version by the Fowlers (see Bibliography).
46. E. g. , The Pseudopurist or Solecist.
47. See Harmon, Lucian, Vol. I, p. 395.
48. For Lucian's use or ridicule of predecessors, see be
low, p. 124, note; for his Vera Historia, see Rohde, p. 196
Bibliography), for his preeminence in parody, cf. Rohde, p. 206, note to 210, for Thule, p. 260; and for Lu cian's relation" to Hesiod, Comedy, etc. , and to the mediaeval Utopias, see The Greek Land of Cockaigne," by Campbell Bonner, Transactions of the American Philological Asso ciation, XLI. 175-185 (1910).
(cf.
49. See, for example, in True Story, II. 28, the mockery of the prophylactic given to Odysseus by Hermes, Od. , X. 288 ff.
50. See below, p. 185, for Nansen's comparison with the Norse " Ginnungagap. "
51. Accepted by Croiset, op. cit. , see pp. 63 and 204; also H. W. Smyth, Greek Dialects, Oxford, 1894, pp- 116-119, for Lucian's Ionism.
52. Translated (expurgated) by E. J. Smith in Selections from Lucian, Harper's, New York, 1892.
53. For pedigree of the " Ass," see The Metamorphoses [194]
NOTES
Ascribed to Lucius of Patrae, by B. F. Perry (Princeton dissertation, ioio). Sandys (op. cit. ), Vol. I, p. 310, ac cepts the Ass as Lucianic, as does Von Christ (cf. Bibliog raphy), 2nd part, 2nd half, p. 736.
54. Cf. , inter alios, the critical panegyric of M. Croiset, op. cit. , pp. 385-389, 291-296, and G. E. B. Saintsbury's verdict: A History of Criticism, Vol. I, p. 150, et passim.
55. Assuming that Antonius lived as early as the first Christian century. For detailed discussion of the extracts from Antonius in Photius: MvpioplpXiov § Bi/SXio0ijk7;, as well as for other sources, from Homer to Theopompus on to Plutarch, and also for traces of far-flung oriental tales, see E. Rohde, pp. 242-250, 260 ff.
56. M. Croiset, op. cit. , p. 70 and note.
57. See, for Lucretius, Franz Cumont, After Life in Ro man Paganism, pp. 8, 9. (Cumont's suggestion might be reenforced by Lucian's own transliteration aaKepdOrts, Alex. , 48), also p. 67 for the obvious rehearsal in Philops. 31, of Pliny's ghost story; for Virgil and the cornel-tree of Aen. iii, see C. S. Jerram: Luciani Vera Historia, Oxford, 1892, 1, 120; and, ibidem, note on V. H. , I. 37 for Juvenal; and note to V. H. , II. 33 for Ovid ; for all of these Roman authors (except Pliny), see H. W. L. Hime, Lucian the Syrian Satirist, London, New York, and Bombay, 1900, Ap pendix, pp. 92-95, i. e. , thirteen parallel passages (some more convincing than others) ; for Ovid, see also Croiset, op. cit. , p. 311; for Tacitus, see Sandys, op. cit. , II, p. 309; for Plautus, cf. Trinummus, Act. iv. , Sc. 4 for some direct or indirect connection with Lucian's Icaromenippus. Also Lu cian's True History, p. 9, by Chas. Whibley, London, 1894.
58. Ars Amat. , II. 687 ff.
59. See Bliimner (cf. Bibliography).
60. E. A. Gardner, A Handbook of Greek Sculpture,
New York and London, 1897, p. 3.
61. For the two types of the Europa story and for An
dromeda with details and citations, see Allinson, op. cit. , p. 185, notes, and pp. 181-184; cf. E. S. Hartland, Legend of Perseus, London, 1894-96.
62. See above, p. 107.
[I9S]
NOTES
63. Madvig's enticing emendation, Piscator, 39, rip, TrrtpurTiv for ri)v ye rparriv.
64. Cf. Forster, p. 18 (sec Bibliography), for Fonzio, Benvenuto Garofalo, Luca, Signorelli; p. 20 for the Alex- ander-Roxana subject; and foil. pp. for many other sug gestions. "
65. For specimens of Holbein's Dance of Death," see frontispiece.
66. The complicated Holbein question is discussed in The (N. Y. ) Nation, Nov. 19, 1903, in a review of a re-issue of
the Bell-Macmillan ed. of the Dance of Death. The origi nal drawings, now accessible, show " that they are by more
. . . " It is demonstrable that the designer
than one hand. "
was not always, and hence possibly not at all, the draughts man for the wood-engraver. " The woodcuts of the original Lyons edition of 1538 should be compared.
67. For details of the Lubeck painting, see p. 19 of the Dance of Death in Painting and Print, by T. Tindall Wild- ridge, London, 1887, an inexpensive illustrated booklet which gives, inter alia, some 30 examples in England, France, Germany and Switzerland of the " Dance of Death " in painting or (occasionally) in sculpture on bridges or in houses, churchyards, and cloisters. For the motif itself,
firmly naturalized in Europe independent of any literary tradition, see the scenes in Death's Jest Book, by Thos. Beddoes (cf. p. 179, below).
