sations of love when first arising in Virginia; and the pantomimic dance in which she and Paul take part.

An anonymous and "select" translation of Longus, published at Truro, in 1803, has been taken as the basis of the present version. The passages (and there are many) omitted by the former translator are here given, together with a considerable fragment, first discovered by M. Paul Louis Courier, in 1810, in the Laurentian Library at Florence. It has been the endeavour of the present translator to make his version convey the sense of the original as faithful as possible, except in some few passages ("egregio inspersos corpore nævos") where it has been considered advisable to employ the veil of a learned language.

In reading the work of Longus, we must bear in mind that he was most probably a heathen, or at any rate, that he describes the heathen state of morals.

The following passage from Dr. Nott's Preface to his translation of Catullus will illustrate the principle upon which the present translator has gone, in presenting in an English dress passages entirely omitted in the anonymous version, before referred to :

"When an ancient classic is translated and explained, the work may be considered as forming a link in the chain of history. History should not be falsified, we ought therefore to translate him somewhat fairly, and when he gives us the manners of his own day, however disgusting to our sensations and repugnant to our natures they may oftentimes prove, we must not, in translation, suppress or even too much gloss them over, through a fastidious regard to delicacy." *

ACHILLES TATIUS was a native of Alexandria, commonly assigned to the second or third century of the Christian æra,

*N.B.-There have been two other English versions of the work of Longus, one by George Thornley, in 1657, another by James Craggs, in 1764.

There are translations in Italian by Caro and Gozzi, and a French one by Amyot; the first version of the Romance into a modern language, which gives the sense of the original with fidelity, and at the same time with great spirit and quaintness.

but considered by the best critics to have flourished after Heliodorus, to whom he is looked upon as next in point of literary merit, and whom he has more or less imitated in various parts of his works, like him frequently introducing into the thread of his narrative the Ægyptian buccaneers. According to Suidas, he became, towards the end of his life, a Christian and a Bishop; a statement which is however considered doubtful, as no mention is made by that lexicographer of his Episcopal see, and Photius, who mentions him in three different places, is silent upon the subject.

In point of style, Achilles Tatius is considered to excel Heliodorus and the other writers of Greek Romance. Photius says of him,—“ With regard to diction and composition, Tatius seems to me to excel when he employs figurative language: it is clear and natural; his sentences are precise and limpid, and such as by their sweetness greatly delight the ear."

Like Heliodorus, one of his principal excellences lies in descriptions; and though these, as Mr. Dunlop observes, are too luxuriant, they are in general beautiful, the objects being at once well selected, and so painted as to form in the mind of the reader a distinct and lively image. As an example of his merit in this way, may be mentioned his description of a garden, and of a tempest followed by a shipwreck; also his accounts of the pictures of Europa, Andromeda, and Prometheus, in which his descriptions and criticisms are executed with very considerable taste and feeling." The same writer, however, justly notes the absurd and aukward manner in which the author, as if to show his various acquirements, drags in without the slightest necessity, some of those minute descriptions, viz., those of the necklace, and of different zoological curiosities, in the Second Book, together with the invention of purple-dying, and the accounts drawn from natural history, which are interspersed in the Fourth Book."

In his discussions upon the passions of love, and its power over human nature, however we may object to the warmth of his description, we cannot but allow the ability with which the colours are laid on. '

"The rise and progress of the passion of Clitopho for Leucippe," observes Mr. Dunlop, "is extremely well exe

cuted, of this there is nothing in the romance of Heliodorus. Theagenes and Chariclea, are at first sight violently and mutually enamoured; in Tatius we have more of the restless agitation of love and the arts of courtship. Indeed this is by much the best part of the Clitopho and Leucippe, as the author discloses very considerable acquaintance with the human heart. This knowledge also appears in the sentiments scattered through the work, though it must be confessed, that in many of his remarks he is apt to subtilize and refine too much."

In the hero of his work, Achilles Tatius is more unfortunate even than Heliodorus." Clitopho," says a reviewer, "is a human body, uninformed with a human soul, but delivered up to all the instincts of nature and the senses. He neither commands respect by his courage, nor affection by his constancy." As in the work of HELIODORUS so in that of Achilles Tatius, it is the heroine who excites our sympathy and interest:-"Leucippe, patient, high-minded, resigned and firm, endures adversity with grace; preserving throughout the helplessness and temptations of captivity, irreproachable purity and constancy unchangeable."

In concluding these remarks upon one of the three chief writers of Greek Romance, one more observation of Mr. Dunlop will not be out of place.-"Tatius," he says, "has been much blamed for the immorality of his Romance, and it must be acknowleged that there are particular passages which are extremely exceptionable; yet, however odious some of these may be considered, the general moral tendency of the story is good; a remark which may be extended to all the Greek Romances. Tatius punishes his hero and heroine for eloping from their father's house, and afterwards rewards them for their long fidelity."

Several French translations of Achilles Tatius have appeared; an Italian one by Coccio; also an English one, published at Oxford in 1638, which the present writer, after many inquiries, has been unable to procure a sight of.

October, 1855.

R. S.

HELIODORUS.

ETHIOPICS:

OR,

ADVENTURES OF THEAGENES AND CHARICLEA.

SUMMARY.

As the thread of the story in the Ethiopics is rather entangled, through the author's method of telling it, the following summary from Dunlop's "History of Fiction," will be useful.

"The action of the romance is supposed to take place previous to the age of Alexander the Great, while Egypt was tributary to the Persian monarchs. During that period a queen of Ethiopia, called Persina, having viewed at an amorous crisis a statue of Andromeda, gives birth to a daughter of fair complexion. Fearing that her husband might not think the cause proportioned to the effect, she commits the infant in charge to Sisimithres, an Ethiopian senator, and deposits in his hands a ring and some writings, explaining the circumstances of her birth. The child is named Chariclea, and remains for seven years with her reputed father. At the end of this period he becomes doubtful of her power to preserve her chastity any longer in her native country; he therefore determines to carry her along with him, on an embassy to which he had been appointed, to Oroondates, satrap of Egypt. In that land he accidentally meets Charicles, priest of Delphi, who was travelling on account of domestic afflictions, and to him he transfers the care of Chariclea. Charicles brings her to

Delphi, and destines her for the wife of his nephew Alcamenes. In order to reconcile her mind to this alliance, he delivers her over to Calasiris, an Egyptian priest, who at that period resided at Delphi, and undertook to prepossess her in favour of the young man. About the same time, Theagenes, a Thessalian, and descendant of Achilles, comes to Delphi, for the performance of some sacred rite: Theagenes and Chariclea, having seen each other in the temple, become mutually enamoured.

Calasiris, who had been engaged to influence the mind of Chariclea in favour of her intended husband Alcamenes, is warned in a vision by Apollo that he should return to his own country, and take Theagenes and Chariclea along with him. Henceforth his whole attention is directed to deceive Charicles, and effect his escape from Delphi. Having met with some Phoenician merchants, and having informed the lovers of his intentions, he sets sail along with them for Sicily, to which country the Phoenician vessel was bound; but soon after, passing Zacynthus, the ship is attacked by pirates, who carry Calasiris and those under his protection to the coast of Egypt.

"On the banks of the Nile, Trachinus, the captain of the pirates, prepares a feast to solemnize his nuptials with Chariclea; but Calasiris, with considerable ingenuity having persuaded Pelorus, the second in command, that Chariclea is enamoured of him, a contest naturally arises between him and Trachinus during the feast, and the other pirates, espousing different sides of the quarrel, are all slain except Pelorus, who is attacked and put to flight by Theagenes. The stratagem of Calasiris, however, is of little avail, except to himself: for immediately after the contest, while Calasiris is sitting on a hill at some distance, Theagenes and Chariclea are seized by a band of Egyptian robbers, who conduct them to an establishment formed on an island in a remote lake. Thyamis, the captain of the banditti, becomes enamoured of Chariclea, and declares an intention of espousing her. Chariclea pretends that she is the sister of Theagenes, in order that the jealousy of the robber may not be excited, and the safety of her lover endangered. Chariclea, however, is not long compelled to assume this character of sister.