"'Ante' ait 'emoriar, quam sit tibi copia nostri.'"
rendered in the English by:
"Let mee dye first ere thou meddle with mee."
This terminates the interview; Echo does not seem to make any appearance on the stage. The few lines which, in Ovid, describe the effect of her hopeless love, are partly followed in ll. 740-747 of the English play.
Scene XI. Dorastus and Clinias abuse, fight with, and finally kill each other.
Scene XII. Narcissus enters, fleeing from Echo (a connecting touch not found in Ovid). His speech, on discovering the well, is a mixture of the description of his transports in the Metamorphoses, and of the soliloquy there attributed to him. ll. 697-707 of the Narcissus correspond word for word to Met. iii. 442-450.
It is remarkable that the use of the name of the goddess of corn instead of bread itself ("Cereris," l. 437) should have suggested to the English writer a similar metaphorical use of the names of Morpheus and Bacchus. Another small point worthy of note is the introduction of a jest into the midst of this mournful scene; Ovid's:
"Et, quantum motu formosi suspicor oris,
Verba refers aures non pervenientia nostras"
being irreverently rendered by:
"And by thy lippes moving, well I doe suppose
Woordes thou dost speake, may well come to our nose;
For to oure eares I am sure they never passe."