Necyomantia

When I saw all this, the life of man came before me under the likeness of a great pageant, arranged and marshalled by Chance, who distributed infinitely varied costumes to the performers, She would take one and array him like a king, with tiara, bodyguard, and crown complete; another she dressed like a slave; one was adorned with beauty, another got up as a ridiculous hunchback; there must be all kinds in the show. Often before the procession was over she made individuals exchange characters; they could not be allowed to keep the same to the end; Croesus must double parts and appear as slave and captive; Maeandrius, starting as slave, would take over Polycrates’s despotism, and be allowed to keep his new clothes for a little while. And when the procession is done, every one disrobes, gives up his character with his body, and appears, as he originally was, just like his neighbour. Some, when Chance comes round collecting the properties, are silly enough to sulk and protest, as though they were being robbed of their own instead of only returning loans. You know the kind of thing on the stage—tragic actors shifting as the play requires from Creon to Priam, from Priam to Agamemnon; the same man, very likely, whom you saw just now in all the majesty of Cecrops or Erechthets, treads the boards next as a slave, because the author tells him to. The play over, each of them throws off his gold-spangled robe and his mask, descends from the buskin’s height, and moves a mean ordinary creature; his name is not now Agamemnon son of Atreus or Creon son of Menoeceus, but Polus son of Charicles of Sunium or Satyrus son of Theogiton of Marathon. Such is the condition of mankind, or so that sight presented it to me.