No More Learning

C. 468 was the time. (Plut. Arist. 3. ) Besides “ The Women
the date of a remarkable event in the poet's life. of Aetna, "Aeschylus also composed other pieces in
In that year he was defeated in a tragic contest by Sicily, in which are said to have occurred Sicilian
his younger rival Sophocles, and if we may be words and expressions not intelligible to the Athe-
licve Plutarch (Cim. 8), his mortification at this nians. (Athen. ix. p. 402, b. ) From the number of
indignity, as he conceived it, was so great, that he such words and expressions, wbich have been
quitted Athens in disgust the very same year, and noticed in the later extant plays of Aeschylus, it
went to the court of Hiero (Paus. i. 2. § 3), king bas been inferred that he spent a considerable time
of Syracuse, where he found Simonides the lyric in Sicily, on this his first visit. We must not
poet, who as well as himself was by that prince however omit to mention, that, according to some
most hospitably received. Of the fact of his hav- accounts, Aeschylus also visited Sicily about B. C.
ing risited Sicily at the time alluded to, there can 488, previous to what we have considered his first
be no doubt; but whether the motive alleged by risit. (Bode, Id. iii. p. 215. ) The occasion of this
Plutarch for his doing so was the only one, or a retirement is said to have been the victory gained
real one, is a question of considerable difficulty, over him by Simonides, to whom the Athenians
though of little practical moment. It may be, as adjudged the prize for the best elegy on those who
bas been plausibly maintained by some authors, fell at Marathon. This tradition, however, is not
that Aeschylus, whose family and personal honours supported by strong independent testimony, and
were connected with the glories of Marathon, and accordingly its truth has been much questioned.
the heroes of the Persian war, did not sympathise Suidas indeed states that Aeschylus had visited
with the spirit of aggrandisement by which the Sicily even before this, when he was only twenty-
councils of his country were then actuated, nor five years of age (B. C. 499), immediately after his
approve of its policy in the struggle for the first contest with Pratinas, on which occasion the
supremacy over Greece.
The contemporaries of crowd of spectators was so great as to cause the
his earlier years, Miltiades, Aristeides, and the fall of the wooden planks (ixpa) or temporary
mistocles, whose achievements in the service of scaffolding, on which they were accommodated
their country were identified with those of himself with seats.
and his family, had been succeeded by Cimon : and In B. C. 467, his friend and patron king Hiero
the aristocratical principles which Aeschylus sup- died; and in B. C. 458, it appears that Aeschylus
1
ported were gradually being supplanted and over- was again at Athens from the fact that the trilogy
bome by the advance of democracy. From all of the Oresteia was produced in that year. The
this, Aeschylus might bave felt that he was conjecture of Böckh, that this might have been a
outliving his principles, and have felt it the more second representation in the absence of the poet,
keenly, from Cimon, the hero of the day, having is not supported by any probable reasons, for we
been one of the judges who awarded the tragic have no intimation that the Oresteia ever had been
prize to Sophocles in preference to himself. (Plut. acted before. (Hermann, Opusc. ii. p. 137. ) In the
1. c. ) On this supposition, Athens could not have same or the following year (B. C. 457), Aeschylus
been an agreeable residence to a person like again visited Sicily for the last time, and the
Aeschylus, and therefore he might have been dis reason assigned for this his second or as others
posed to leave it; but still it is more than probable conceive his fourth visit to this island, is both pro-
ihat his defeat by Sophocles materially influenced bable and sufficient. The fact is, that in his play
bis determinations, and was at any rate the proxi- of the Eumenides, the third and last of the three
mate cause of his removing to Sicily. It has been plays which made up the Orestean trilogy, Aes-
further conjectured that the charge of dobbela or chylus proved himself a decided supporter of the
impiety which was brought against Aeschylus for ancient dignities and power of that “ watchful
an alleged publication of the mysteries of Ceres guardian” of Athens, the aristocratical court of the
(Aristo Eth. iii. 1), but possibly from political Areiopagus, in opposition to Pericles and his de
diotives, was in some measure connected with his mocratical coadjutors. With this trilogy Aeschylus
retirement from his native country. If this were was indeed successful as a poet, but not as a poli-
really the case, it follows, that the play or plays tician: it did not produce the effects be had wished
which
gave
the supposed offence to the Athenians, and intended, and he found that he had striven
must have been published before B. C. 468, and in vain against the opinions and views of a gene-
therefore that the trilogy of the Oresteia could ration to which he did not belong. Accordingly it
have had no connexion with it. Shortly before has been conjectured that either from disappoint-
the arrival of Aeschylus at the court of Hiero, that ment or fear of the consequences, or perhaps from
prince had built the town of Aetna, at the bottom both these causes, he again quitted Athens, and
of the mountain of that name, and on the site of retired once more to Sicily. But another reason,
the ancient Catana : in connexion with this event, which if founded on truth, perhaps operated in
Aeschylus is said to have composed his play of the conjunction with the former, has been assigned for
Women of Aetna (B. C. 471, or 472), in which he his last sojourn in Sicily. This rests on a state-
predicted and prayed for the prosperity of the ment made more or less distinctly by various
new city. At the request of Hiero, he also repro-authors, to the effect that Aeschylus was accused
duced the play of the Persae, with the trilogy of of impiety before the court of the Areiopagus, and
which he had been victorious in the dramatic con- that he would have been condemned but for the
tests at Athens. (B. C. 472. ) Now we know that interposition of his brother Ameinias, who had
the trilogy of the Seven against Thebes was re distinguished himself at the battle of Salamis.
presented soon after the “ Persians : " it follows (Aelinn, V. H. v. 19. ) According to some authors
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## p. 42 (#62) ##############################################

42
AESCHYLUS.
AESCHYLUS.
1
His younger
this accusation was preferred against him, for | Tyr. ) From and by means of these persons arose
having m some of his plays either divulged or what was called the Tragic School of Aeschylus,
profanely spoken of the mysteries of Ceres. Ac which continued for the space of 125 years.
cording to others, the charge originated from his We have hitherto spoken of Aeschylus as a poet
having introduced on the stage the dread god only; but it must not be forgotten that he was also
desses, the Eumenides, which he had done in such highly renowned as a warrior. His first achieve
a way as not only to do violence to popular pre- ments as a soldier were in the battle of Marathon,
judice, but also to excite the greatest alarm among in which his brother Cynaegeirus and himself so
the spectators. Now, the Eumenides contains no- highly distinguished themselves, that their exploits
thing which can be considered as a publication of were commemorated with a descriptive painting in
the mysteries of Ceres, and therefore we are in the theatre of Athens, which was thought to be
clined to think that his political enemies availed much older than the statue there erected in honour
themselves of the unpopularity he had incurred by of Aeschylus. (Paus i. 21. ♡ 2. ) The epitaph
his “ Chorus of Furies,” to get up against him a which he wrote on himself, proves that he con-
charge of impiety, which they supported not only sidered his share in that battle as the most glo
by what was objectionable in the Eumenides, but rious achievement of his life, though he was
also in other plays not now extant. At any rate, also engaged at Artemisium, Salamis, and Pla-
from the number of authorities all confirming this taea. (Paus. i. 14. Ø 4. ) All his family, indeed,
conclusion, there can be no doubt that towards the were distinguished for bravery.
end of his life Aeschylus incurred the serious dis brother Ameinias (Herod. viii. 84 ; Diod. xi. 25)
pleasure of a strong party at Athens, and that was noted as having commenced the attack on
after the exhibition of the Orestean trilogy he the Persian ships at Salamis, and at Marathon no
retired to Gela in Sicily, where he died B. c. 456, one was so perseveringly brave as Cynaegeirus.
in the 69th year of his age, and three years after (Herod. vi. 114. ) Hence we may not unreason-
the representation of the Eumenides. On the ably suppose, that the gratitude of the Athenians
manner of his death the ancient writers are unani- for such services contributed somewhat to a due
mous. (Suidas, s. v. Xenwrnuvv. ) An eagle, say appreciation of the poet's merits, and to the tragic
they, mistaking the poet's bald head for a stone, victory which he gained soon after the battle of
let a tortoise fall upon it to break the shell, and Marathon (B. C. 484) and before that of Salamis.
so fulfilled an oracle, according to which Aeschylus Nor can we wonder at the peculiar vividness and
was fated to die by a blow from heaven. The spirit with wbich he portrays the “ pomp and cir-
inhabitants of Gela shewed their regard for cumstance" of war, as in the Persae, and the
his character, by public solemnities in his honour, Seven against Thebes," describing its incidents
by erecting a noble monument to him, and inscrib and actions as one who had really been an actor
ing it with an epitaph written by himself. (Paus. in scenes such as he paints.
i. 14. § 4; Athen. xiv. 627. d. Vit. Anon. ) In it The style of Aeschylus is bold, energetic, and
Gela is mentioned as the place of his burial, and sublime, full of gorgeous imagery, and magnificent
the field of Marathon as the place of his most expressions such as became the elevated characters
glorious achievements; but no mention is made of of his dramas, and the ideas he wished to express.
his poetry, the only subject of commemoration in (Aristoph. Ran. 934. ) This sublimity of diction
the later epigrams written in his honour. At was however sometimes carried to an extreme,
Athens also his name and memory were holden in which made his language turgid and inflated, so
especial reverence, and the prophecy in which he that as Quintilian (x. 1) says of him," he is
(Athen. viii. 347, e. f. ) is said to have predicted his grandiloquent to a fault" in the turn of his er.
own posthumous fame, when he was first defeated pressions, the poetical predominates over the syd-
by Sophocles, was amply fulfilled. His pieces tactical. He was peculiarly fond of metaphorical
were frequently reproduced on the stage ; and by phrases and strange compounds, and obsolete lan-
a special decree of the people, a chorus was proguage, so that he was much more epic in bis
vided at the expense of the state for any one who language than either Sophocles or Euripides, and
might wish to exhibit his tragedies a second time. excelled in displaying strong feelings and impulses,
(Aristoph. Achar. 102; Aeschyl. vita. ) Hence and describing the awful and the terrible, rather
Aristophanes (Ran. 892) makes Aeschylus say of than in exhibiting the workings of the human
himself, that his poetry did not die with him; and mind under the influence of complicated and various
even after his death, he may be said to have motives. But notwithstanding the general eleva-
gained many victories over his successors in Attic tion of his style, the subordinate characters in his
tragedy. (Hermann, Opusc. ii. p. 158. ) The plays plays, as the watchman in the Agamemnon, and
thus exhibited for the first time may either have the nurse of Orestes in the Choephoroe, are made
been those which Aeschylus had not produced to use language fitting their station, and less re-
bimself, or such as had been represented in Sicily, moved from that of common life.
and not at Athens, during his lifetime. The in- The characters of Aeschylus, like his diction,
dividuals who exhibited his dramatic remains on are sublime and majestic, - they were gods and
the Attic stage were bis sons Euphorion and Bion: heroes of colossal magnitude, whose imposing aspect
the former of whom was, in B. C. 43), victorious could be endured by the heroes of Marathon and
with a tetralogy over Sophocles and Euripides Salamis, but was too awful for the contemplation
(Argum. Eurip. Med. ), and in addition to this is of the next generation, who complained that
said to have gained four victories with dramatic Aeschylus' language was not human. (Aristoph.
pieces of his father's never before represented. Run. 1056. ) Hence the general impressions pro-
(Blomfield, ad Argum. Agam. p. 20. ) · Philocles duced by the poetry of Aeschylus were rather of a
also, the son of a sister of Aeschylus, was victo- religious than of a moral nature: his personages
rious over the King Oedipus of Sophocles, probably being both in action and suffering, superhuman,
with a tragedy of his uncle's. (Argum. Soph. Ocd. and therefore not always fitted to teach practical
|
1
1


## p. 43 (#63) ##############################################

AESCHYLUS.
43
AESCHYLUS.
lessons. He produces indeed a sort of religious overstrained; and Quintilian (x. 1) expresses
awe, and dread of the irresistible power of the himself much to the same effect. The expression
gode, to which man is represented as being entirely attributed to Sophocles, that Aeschylus did what
subject; but on the other hand humanity often was right without knowing it (Athen. X. p. 428, f. ),
appears as the sport of an irrevocable destiny, or in other words, that he was an unconscious genius,
the victim of a struggle between superior beings. working without any knowledge of or regard to
Still Aeschylus sometimes discloses a providential the artistical laws of his profession, is worthy of
order of compensation and retribution, while he note. So also is the observation of Schlegel (Lec-
always teaches the duty of resignation and sub- ture iv. ), that “ Generally considered, the tragedies
mission to the will of the gods, and the futility of Aeschylus are an example amongst many, that
and fatal consequences of all opposition to it. See in art, as in nature, gigantic productions precede
Quarterly Review, No. 112, p. 315.
those of regulated symmetry, which then dwindle
With respect to the construction of his plays, away into delicacy and insignificance; and that
it has been often remarked, that they have poetry in her first manifestation always approaches
little or no plot, and are therefore wanting in nearest to the awfulness of religion, whatever shape
dramatic interest: this deficiency however may the latter may assume among the various races of
strike us more than it otherwise would in conse- men. " Aeschylus himself used to say of his
quence of most of his extant plays being only parts, dramas, that they were fragments of the great
or acts of a more complicated drama. Still we banquet of Homer's table. (Athen. viii. p. 347, e. )
cannot help being impressed with the belief, that The alterations made by Aeschylus in the compa
he was more capable of sketching a vast outline, sition and dramatic representation of Tragedy
than of filling up its parts, however bold and were so great that he was considered by the
vigorous are the sketches by which he portrays Athe as the father of it, just as Homer was
and groups his characters. His object, indeed, ac- of Epic poetry and Herodotus of History. (Philostr.
cording to Aristophanes, in such plays as the Vit. Apoll. vi
. 11.
) As the ancients themselves
Persae, and the Seven against Thebes, which are remarked, it was a greater advance from the
more epical than dramatical, was rather to animate elementary productions of Thespis, Choerilus, and
his countrymen to deeds of glory and warlike Phrynichus, to the stately tragedy of Aeschylus,
achievement, and to inspire them with generous than from the latter to the perfect and refined
and elevated sentiments, by a vivid exhibition of forms of Sophocles. It was the advance from
noble deeds and characters, than to charm or infancy if not to maturity, at least to a youthful
startle by the incidents of an elaborate plot. (Ran. and vigorous manhood. Even the improvements
1000. ) The religious views and tenets of Aes and alterations introduced by his successors were
chylus, so far as they appear in his writings, were the natural results and suggestions of those of
Homeric. Like Homer, he represents Zeus as Aeschylus. The first and principal alteration
the supreme Ruler of Universe, the source and which he made was the introduction of a second
centre of all things. To bim all the other divini- actor (deutepaywvloths, Aristot. Poct. 4. $ 16),
ties are subject, and from him all their powers and and the consequent formation of the dialogue pro
authority are derived. Even Fate itself is some-perly so called, and the limitation of the choral
times identical with his will, and the result of his parts. So great was the effect of this change that
decrees. He only of all the beings in heaven and Aristotle denotes it by saying, that he made the
earth is free to act as he pleases. (Prom. 40. ) dialogue, the principal part of the play (TÓN
In Philosophical sentiments, there was a tradi- Adyou #puraywviottu taperkevagev), instead of
tion that Aeschylus was a Pythagorean (Cic. Tus. the choral part, which was now become subsidiary
Disp. ii. 10); but of this his writings do not and secondary: This innovation was of course
furnish any conclusive proof, though there certainly adopted by his contemporaries, just as Aeschylus
was some similarity between him and Pythagoras himself (e. g. in the Choephoroe 665—716) fol-
in the purity and elevation of their sentiments. lowed the example of Sophocles, in subsequently
The most correct and lively description of the introducing a third actor. The characters in his
character and dramatic merits of Aeschylus, and of plays were sometimes represented by Aeschylus
the estimation in which he was held by his con- himself
. (Athen. i. p. 39. ) In the early part of
temporaries and immediate successors, is given by his career he was supported by an actor named
Aristophanes in his “Frogs. " He is there de Cleandrus, and afterwards by Myniscus of Chal-
picted as proud and impatient, and his style and chis. (Vita apud Robert. p. 161. ) The dialogue
genius such as we have described it. Aristophanes between the two principal characters in the plays
was evidently a very great admirer of him, and of Aeschylus was generally kept up in a strictly
sympathised in no common degree with his politi- symmetrical form, each thought or sentiment of
cal and moral sentiments. He considered Aes the iwo speakers being expressed in one or two
chylus as without a rival and utterly unapproachable unbroken lines : e. g. as the dialogue betweei.
as a tragic poet; and represents even Sophocles Kratos and Hephaestus at the beginning of the
himself as readily yielding to and admitting his Prometheus. In the same way, in the Seven
superior claims to the tragic throne. But few if against Thebes, Eteocles always expresses himself
any of the ancient critics seem to have altogether in three lines between the reflections of the chorus,
coincided with Aristophanes in his estimation of This arrangement, differing as it does from the
Aeschylus, though they give him credit for his forms of ordinary conversation, gives to the dialogue
excellences. Thus Dionysius (De Poet. Vet
. ii. 9) of Aeschylus an elevated and stately character,
praises the originality of his ideas and of his ex- which bespeaks the conversation of gods and he
pressions, and the beauty of his imagery, and the roes. But the improvements of Acschylus were
propriety and dignity of his characters. Longinus not limited to the composition of tragedy : be added
(15) speaks of his elevated creations and imagery, the resources of art in its exhibition. Thus, he is
but condemns some of his expressions as harsh and said to have availed bimself of the skill of Aga-


## p. 44 (#64) ##############################################

44
AESCHYLUS.
AESCULAPIUS.
tharcus, who painted for him the first scenes which AE'SCHYLUS (Aio yulos), of ALEXANDRIA,
had ever been drawn according to the principles of an epic poet, who must have lived previous to the
lincar perspective. (Vitruv. Praef. lib. vii. ) He end of the second century of our aer, and whom
also furnished his actors with more suitable and Athenaeus calls a well-informed man. One of his
magnificent dresses, with significant and various poems bore the title “ Amphitryon," and another
masks, and with the thick-soled cothurnus, to raise * Messeniaca. " A fragment of the former is pre-
their statue to the height of heroes. He moreover served in Athenaeus. (xiii. p. 599. ) According
bestowed so much attention on the choral dances, to Zenobius (v. 85), he had also written a work on
that he is said to have invented various figures proverbs. (Tepl naporwr ; compare Schneidewin,
himself, and to have instructed the choristers in Praefat. Paroemiogr. p. xi. )
(L. S. )
them without the aid of the regular ballet-masters. AESCHYLUS of CNIDUS, & contemporary of
(Athen. i. p. 21. ) So great was Aeschylus' skill as Cicero, and one of the most celebrated rhetoricians
a teacher in this respect, that Telestes, one of his in Asia Minor. (Cic. Brut. 91, 95. )
choristers, was able to express by dance alone the A E’SCHYLUS (Aioxúdos), of RHODES, was
various incidents of the play of the Seven against appointed by Alexander the Great one of the in-
Thebes. (Athen. I. c. ) The removal of all deeds spectors of the governors of that country after its
of bloodsłied and murder from the public view, in conquest in B. c. 332. (Arrian, Arab. iii. 5; comp.
conformity with the rule of Horace (A. P. 185), Curt. iv. 8. ) He is not spoken of again till B. C.
is also said to have been a practice introduced by 319, when he is mentioned as conveying in four
Aeschylus. (Philos. Vit. Apol. vi. 11. ) With him ships six hundred talents of silver from Cilicia to
also arose the usage of representing at the same Macedonia, which were detained at Ephesus by
time a trilogy of plays connected in subject, so that Antigonus, in order to pay his foreign mercenaries.
each formed one act, as it were, of a great whole, (Diod. xviii. 52. )
which might be compared with some of Shake AESCULA'PIUS ('AOKATFÓs), the god of the
speare's historical plays. Even before the time of medical art. In the Homeric poems Aesculapius
Aeschylus, it had been customary to contend for does not appear to be considered as a divinity, but
the prize of tragedy with three plays exhibited at merely as a human being, which is indicated by
the same time, but it was reserved for him to shew the adjective duvuwv, which is never given to a
how each of three tragedies might be complete in god. No allusion is made to his descen, and he
itself, and independent of the rest, and neverthe is merely mentioned as the intrip duuuws, and the
less form a part of a harmonious and connected father of Machaon and Podaleirius. (17. ii. 731,
whole. The only example still extant of such a iv. 194, xi. 518. ) From the fact that Homer (Ol.
trilogy is the Oresteia, as it was called. A Saty- iv. 232) calls all those who practise the healing
rical play commonly followed each tragic trilogy, art descendants of Paeëon, and that Podaleirius
and it is recorded that Aeschylus was no less a and Machaon are called the sons of Aesculapius,
master of the ludicrous than of the serious drama it has been inferred, that Aesculapius and Paeeon
(Paus. ii. 13. & 5. )
are the same being, and consequently a divinity.
Aeschylus is said to have written seventy trage But whererer Homer mentions the healing god, it
dies. Of these only seven are extant, namely, the is always Paecon, and never Aesculapius; and as
“Persians," the - Seven against Thebes,” the in the poet's opinion all physicians were descended
" Suppliants,” the “Prometheus," the “ Agamem- from Paeëon, be probably considered Aesculapius
non," the “Choephoroe,” and “ Eumenides ;” the in the same light. This supposition is corroborated
last three forming, as already remarked, the trilogy by the fact that in later times Paeeon was identi-
of the “Oresteia. ” The “Persians" was acted in fied with Apollo, and that Aesculapius is uni-
B. C. 472, and the “Seven against Thebes" a year versally described as a descendant of Apollo. The
afterwards. The “Oresteia was represented in two sons of Aesculapius in the Iliad, were the
B. C. 458 ; the “Suppliants” and the “Prometheus” physicians in the Greek army, and are described
were brought out some time between the “Seven as ruling over Tricca, Ithome, and Oechalia (n.
against Thebes" and the “Oresteia. " It has been ii. 729. ) According to Eustathius (ad Hom. p.
supposed from some allusions in the “Suppliants," 330), Lapithes was a son of Apollo and Stilbe, and
that this play was acted in B. C. 461, when Athens Aesculapius was a descendant of Lapithes. This
was allied with Argos.
tradition seems to be based on the same ground-
The first edition of Aeschylus was printed at work as the more common one, that Aesculapius
Venice, 1518, 8vo. ; but parts of the Agamemnon was a son of Apollo and Coronis, the daughter of
and the Choephoroe are not printed in this edition, Phlegyas, who is a descendant of Lapithes.
and those which are given, are made up into one (Apollod. ii. 10. § 3; Pind. Pyth. ii. 14, with
play. Of the subsequent editions the best was by the Schol. )
Stanley, Lond. 1663, fo. with the Scholia and a The common story then goes on as follows
commentary, reedited by Butler. The best recent When Coronis was with child by Apollo, she
editions are by Wellauer, Lips. 1823, W. Dindorf, became enamoured with Ischys, an Arcadian,
Lips. 1827, and Scholefield, Camb. 1830. There and Apollo informed of this by a raren, which
are numerous editions of various plays, of which he had set to watch her, or, according to Pindar,
those most worthy of mention are by Blomfield, by his own prophetic powers, sent his sister
Müller, Klausen, and Peile. The principal Eng- Artemis to kill Coronis. Artemis accordingly de
lish translations are by Potter, Harford, and Med- stroyed Coronis in her own house at Lacereia in
win. (Petersen, De Aeschyli Vita et Fabulis, Thessaly, on the shore of lake Baebia (Comp.
Havniae, 1814; Welcker, Die Aeschyl. Trilogie Hom. Hymn. 27. 3. ) According to Ovid (Met. li.
Prometheus, Darmstadt, 1824, Nachtrag zur Tri 605, &c. ) and Hyginus (Poet. A str. ii. 40), it was
logie, Frankf. 1826, and Drie Griech. Trugödien, Apollo himself who killed Coronis and Ischys.
Bonn, 1840; Klausen, Theologumena Aeschyli When the body of Coronis was to be burnt, Apollo,
Tragici, Berol. 1829. )
[R. W. ] | or, according to others (Paus. ii. 26. & 5), Hermes,
9


## p. 45 (#65) ##############################################

S.
of ALEJANDRIA
,
ed previous to the
I aer, and when
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on," and an
the formers
599. ) According
written a work
mare schiedenis
(LS]
conteniporaryd
ated rhetoriaus
15. )
if RHODES,
I one of the in
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nseying in fear
: from Ciri u
at Ephesus hy
gi mercenana.
, the god of the
ms Aesthesia
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, bet
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(11 i 731,
at Homer
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s and Paceca
aly a diais.
ealing code in
pius; and as
AESCULAPIUS.
A ESCULAPIUS.
45
saved the child (Aesculapius) from the flames, and while some consider Aesculapius to have been
carried it to Cheiron, who instructed the boy in originally a real personage, whom tradition had
the art of healing and in hunting. (Pind. Pyth connected with various marvellous stories, others
iii.