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Xenophon mentions the tale of "Bacchus and Ariadne," Pantomimically played, and Martial tells us he saw the whole story of "Pasiphae," minutely represented on the stage of the Mimis, and Plautus, in his epilogue to "Casina," has "Nunc vos aequim est, manibus meritis, Meritam mercedem dare. Qui faxit, clam uxorem, ducat scortum Semper quod volet.

Sed certe Auctor fecit talem descriptionem tam laudabiliter quam prudenter, ut heic implicite tangeret originem famosae stirpis istius, et ut daret meritam famam et laudem huic mulieri dignissimae. A literal translation will afford the most telling comment on the nature of the Italian version.

Her, whom you ne'er accus'd, you now condemn; Bene quam meritam esse autumas, dicis male mereri, Her merit, once confess'd, you now deny; and, Id quod scis, prodest nihil; id quod nescis, obest, From what you've learnt no real good accrues, But ev'ry ill your ignorance pursues.

"Eam, quam nihil accusas, damnas." A man would say condemnas if he wished to avoid making a verse. "Bene quam meritam esse autumas, dicis male mereri. Id, quod scis, prodest nihil; id, quod nescis, obest." The very relation of the contrary effects makes a verse that would be harmonious in a narration. "Quod scis, nihil prodest; quod nescis, multum obest."