De saltatione

The pantomime must be familiar, too, with the story of the Hesperides, and the dragon that guarded the golden fruit; with burdened Atlas, and Geryon, and the driving of the oxen from Erythea;

and every tale of metamorphosis, of women turned into trees or birds or beasts, or (like Caeneus and Tiresias) into men.

From Phoenicia he must learn of Myrrha and Adonis, who divides Assyria betwixt grief and joy; and in more modern times of all that Antipater[*](Not Antipater, but Antiochus, is meant.) and Seleucus suffered for the love of Stratonice.

The Egyptian mythology is another matter: it cannot be omitted, but on account of its mysterious character it calls for a more symbolical exposition;—the legend of Epaphus, for instance, and that of Osiris, and the conversion of the Gods into animals; and, in particular, their love adventures, including those of Zeus himself, with his various transformations.

Hades still remains to be added, with all its tragic tale of guilt and the punishment of guilt, and the loyal friendship that brought Theseus thither with Pirithous.