And make us shine for ever—that is life.”—Thomson
[140]. For other pictorial illustrations of Phaëton’s charioteership and fall, see Plantin’s Ovid (pp. 46–49), and De Passe (16 and 17); also Symeoni’s Vita, &c., d’Ovidio (edition 1559, pp. 32–34).
[141]. Ovid’s Metamorphoses, by Crispin de Passe (editions 1602 and 1607, p. 10), presents the fable well by a very good device.
[142]. See the reprint of The Dialoges of Creatures Moralysed, by Joseph Haslewood, 4to, London, 1816 (Introd., pp. viij and ix).
[143]. With the addition of two friends in conversation seated beneath the elm and vine, Boissard and Messin (1588, pp. 64, 65) give the same device, to the mottoes, “Amicitiæ Immortali,”—To immortal friendship: “Parfaite est l’Amitié qui vit après la mort.”
[144]. “Centvm Fabvlæ ex Antiqvis delectæ, et a Gabriele Faerno Cremonense carminibus explicatæ. Antuerpiæ ex officina Christoph. Plantini, M.D.LXXXIII.” 16mo. pp. 1–171.
[145]. See the French version of Æsop, with 150 beautiful vignettes, “Les Fables et la Vie d’Esope:” “A Anvers En l’imprimerie Plantiniēne Chez la Vefue, & Jean Mourentorf, M.D.XCIII.” Here the bird is a jay (see p. 117, Du Gay, xxxi); and the peacocks are the avengers upon the base pretender to glories not his own.
[146]. Cervantes and Shakespeare died about the same time,—it may be, on the same day; for the former received the sacrament of extreme unction at Madrid 18th of April, 1616, and died soon after; and the latter died the 23rd of April, 1616.
[147]. Paralleled in Æsop’s Fables, Antwerp, 1593; by Fab. xxxviii., De l Espriuier & du Rossignol; lii., De l Oyseleur & du Merle; and lxxvii., Du Laboureur & de la Cigoigne.
[148]. Identical almost with “La fin covronne l’oevvre” in Messin’s version of Boissard’s Emblematum Liber (4to, 1588), where (p. 20) we have the device of the letter Y as emblematical of human life; and at the end of the stanzas the lines,—