Among the personæ in the piece is Pan, whom we find addressing the fauns in this punning style:—
Oh long-ear'd, but short-sighted fauns, desist;
To the great Pan, ye little pitchers, list;
Pan knows a thing or two. In point of fact,
He's a deep Pan—and anything but cracked.
A perfect oracle Pan deems himself; he
Is earthenwarish—so, of course, is delfy.
Trust, then, to Pan your troubles to remove;
A warming-Pan he'll to your courage prove.
A prophet, he foresees the ills you'd fear;
So for them all you have your Pan-a-seer.
In "Pygmalion"[13] we are asked to suppose that Venus is indignant with the sculptor for his lack of susceptibility to female charms. Cupid therefore undertakes to punish him by making him fall in love with his new statue, Galatea. To this statue Venus, at Pygmalion's request, gives life; but she withholds the power of loving. Galatea, therefore, is for ever slighting the sculptor's affection. Here is the opening of their first interview, which the curious may compare with the similar situation in Mr. Gilbert's "Pygmalion and Galatea:"—
Pygmal. My beautiful—my own! (embracing her).
Statue.Oh! don't, sir, please;
I'm sure I'm much too soft to stand a squeeze.
Pygmal. Too soft! What mean you?
Statue.Nay, I hardly know.
I was so firm and hard an hour ago;
Suddenly I grew soft——
Pygmal.Nay, speak no farder.
You're getting softer but renews my (h)ardour;
Unrivalled maid!
Statue. You rivals talk about,
Who've done your best yourself to cut me out;
With chisel—mallet—sir, 'tis my conviction,
Your mallet ought to have my mallet-diction.
Pygmal. Your sculptor, amorous, implores you madly.