Fables of Phaedrus — Book 5

PROLOGUE.

If I shall anywhere insert the name of Æsop, to whom I have already rendered every {honor} that was his due, know that it is for the sake of {his} authority, just as some statuaries do in our day, who obtain a much greater price for their productions, if they inscribe the name of Praxiteles on their marbles, and Myron[1] on their polished silver.

{Therefore} let {these} Fables obtain a hearing.

Carping envy more readily favours the works of antiquity than those of the present day.

But now I turn to a Fable, with a moral to the purpose.

[Footnote V. 1: _And Myron_)--Ver.

7. Myron was a famous sculptor, statuary, and engraver, of Greece.

He was a native of Eleutheræ, in Boeotia, and according to Petronius Arbiter, died in extreme poverty.

] FABLE I.

DEMETRIUS AND MENANDER.

Demetrius,[2] who was called Phalereus, unjustly took possession of the sovereignty of Athens.

The mob, according to their usual practice, rush from all quarters vying with each other, and cheer him, and wish him joy.

Even the chief men kiss the hand by which they are oppressed, while they silently lament the sad vicissitudes of fortune.

Moreover, those who live in retirement, and take their ease, come creeping in last of all, that their absence may not injure them.

Among these Menander, famous[3] for his Comedies (which Demetrius, who did not know him, had read, and had admired the genius of the man), perfumed with unguents, and clad in a flowing robe, came with a mincing and languid step.

As soon as the Tyrant caught sight of him at the end of the train: "What effeminate wretch," said he, "is this, who presumes to come into my presence?"

Those near him made answer: "This is Menander the Poet."

Changed in an instant, he exclaimed: "A more agreeable looking man could not possibly exist."

[Footnote V. 2: _Called Phalereus_)--Ver.

1. Demetrius Phalereus, the statesman, philosopher, and ruler of Athens, was so called from the Attic demus, or borough of Phalerus, where he was born.

He died in exile in Egypt, according to some accounts, of the bite of a serpent.

There seems no good reason for giving to his rule over the Athenians the epithet of "improbum," found in the next line, although in the latter years of his government he gave himself up in a great measure to sensual pursuits.

] [Footnote V. 3: _Menander, famous_)--Ver.

9. Menander, the inventor of the New Comedy.

Some of the Comedies of Terence are Translations from his works.

] FABLE II.

THE TRAVELLERS AND THE ROBBER.

Two Soldiers having fallen in with a Robber, one fled, while the other stood his ground, and defended himself with a stout right-hand.

The Robber slain, his cowardly companion comes running up, and draws his sword; then throwing back his travelling cloak,[4] says: "Let's have him;" "I'll take care he shall soon know whom he attacks."

On this, he who had vanquished {the robber made answer}: "I wish you had seconded me just now at least with those words; I should have been still more emboldened, believing them true; now keep your sword quiet, as well as your silly tongue, that you may be able to deceive others who don't know you.

I, who have experienced with what speed you take to your heels, know full well that no dependence is to be placed upon your valour."

This story may be applied to him who is courageous in prosperity, in times of danger takes to flight.

[Footnote V. 4: _His travelling cloak_)--Ver.

5. The "pænula" was a travelling-cloak made of leather or wool, with a hood attached to it, to cover the head.

] FABLE III.

THE BALD MAN AND THE FLY.

A Fly bit the bare pate of a Bald Man; who, endeavouring to crush it, gave himself a heavy blow.

Then said the Fly jeeringly: "You wanted to revenge the sting of a tiny insect with death; what will you do to yourself, who have added insult to injury?"

{The Man} made answer: "I am easily reconciled to myself, because I know that there was no intention of doing harm.

But you, worthless insect, and one of a contemptible race, who take a delight in drinking human blood, I could wish to destroy you, even at a heavier penalty."

This Fable teaches that pardon is to be granted to him who errs through mistake.

But him who is designedly mischievous, I deem to be deserving of {any} punishment.

FABLE IV.

THE MAN AND THE ASS.

A Man having sacrificed a young boar to the god Hercules, to whom he owed performance of a vow {made} for the preservation of his health, ordered the remains of the barley to be set for the Ass.

But he refused {to touch it}, and said: "I would most willingly accept your food, if he who had been fed upon it had not had his throat cut."

Warned by the significance of this Fable, I have always been careful to avoid the gain that exposed to hazard.

"But," say you, "those who have got riches by rapine, are {still} in possession of them."

Come, then, let us enumerate those, who, being detected, have come to a bad end; you will find that those {so} punished constitute a great majority.

Rashness brings luck to a few, misfortune to most.

FABLE V.

THE BUFFOON AND THE COUNTRYMAN.

Men are in the habit of erring through prejudice; and while they stand up in defence of their erroneous notions, {are wont} to be driven by plain facts to confession of their mistakes.

A rich Man, about to entertain the people with grand shows, invited all, by the promise of a reward, to exhibit whatever new piece of ingenuity any one could.

The Performers came to the contest for fame, among whom a Buffoon, well known for his drollery, said that he had a kind of entertainment which had never yet been brought out at {any} theatre.

The rumour, spreading, brought together the {whole} city; and the places, empty shortly before, sufficed not for the multitude.

But as soon as he appeared on the stage, alone, {and} without any apparatus, any stage-assistants, the very intenseness of expectation produced silence.

Suddenly, he dropped down his head towards his bosom, and so well did he imitate the voice of a pig with his own, that they concluded there was a real one under his cloak, and ordered it to be shaken out.

This being done, as soon as they found that nothing was discovered, they loaded the Man with many praises, and bestowed upon him the greatest applause.

A Countryman seeing this take place: "Egad," said he, "he shan't surpass me;" and immediately gave out that he would do the same thing still better on the following day.

A still greater crowd assembled.

Prejudice had already taken possession of their minds, and they took their seats, determined to deride, and not as {unbiassed} spectators.

Both Performers come forth.

First, the Buffoon grunts away, and excites their applause, and awakens their acclamations.

Next, the Countryman, pretending that he concealed a pig beneath his clothes (which, in fact, he did; but quite unsuspected, because they had found none about the other), twitched the ear of the real {pig}, which he was concealing, and with the pain forced from it its natural cry.

The people shouted with one voice that the Buffoon had given a much more exact imitation, and ordered the Countryman to be driven from the stage.

On this, he produced the pig itself from the folds of his cloak, and convicting them of their disgraceful mistake by a manifest proof: "Look," said {he}, "this shows what sort of judges you are."

FABLE VI.

THE TWO BALD MEN.

A Bald Man chanced to find a comb in the public road.

Another, equally destitute of hair, came up: "Come," said he, "shares, whatever it is you have found."

The other showed the booty, and added withal: "The will of the Gods has favoured us, but through the malignity of fate, we have found, as the saying is, a coal instead of a treasure."

This complaint befits him whom hope has disappointed.

FABLE VII.

PRINCEPS, THE FLUTE-PLAYER.

When a weak mind, beguiled by frivolous applause, has once given way to insolent self-sufficiency, {such} foolish vanity is easily exposed to ridicule.

Princeps, the Flute-player, was pretty well known, being accustomed to accompany Bathyllus[5] with his music on the stage.

It chanced that, at a representation, I don't well remember what it was, while the flying-machine[6] was being whirled along, he fell heavily, through inadvertence, and broke his left leg, when he would much rather have parted with two right ones.

[7] He was picked up and carried to his house groaning aloud.

Some months pass by before his cure is completed.

As is the way with the spectators, for {they are} a merry race, the man began to be missed, by whose blasts the vigour of the dancer was wont to be kept at full stretch.

A certain Nobleman was about to exhibit a show, just when Princeps was beginning to walk abroad.

With a present {and} entreaties he prevailed upon him merely to present himself on the day of the show.

When the day came a rumour about the Flute-player ran through the theatre.

Some affirmed that he was dead, some that he would appear before them without delay.

The curtain falling,[8] the thunders rolled,[9] and the Gods conversed in the usual form.

At this moment the Chorus struck up a song unknown to him who had so recently returned; of which the burthen was this: "Rejoice, Rome, in security, for your prince [{Princeps}] is well."

All rise with one consent and applaud.

The Flute-player kisses hands, {and} imagines that his friends are congratulating him.

The Equestrian order perceive the ridiculous mistake, and with loud laughter encore the song.

It is repeated.

My man {now} throws himself {sprawling} at full length upon the stage.

[10] Ridiculing him, the Knights applaud;

while the people fancy he is {only} asking for a chaplet.

When, however, the reality came to be known throughout all the tiers, Princeps, his leg bound up with a snow-white fillet, clad in snow-white tunic, {and} snow-white shoes,[11] while pluming himself on the honors really paid to the Deified House,[12] was thrust out headlong by common consent.

[Footnote V. 5: _Accompany Bathyllus_)--Ver.

5. He alludes to Bathyllus, the favourite and freedman of Mecænas, and who brought to perfection pantomimic dancing at Rome.

] [Footnote V. 6: _Flying-machine_)--Ver.

7. The "pegma" was a piece of machinery used on the stage for the purpose of aiding the ascents and descents of the Gods there represented.

] [Footnote V. 7: _Losing two right ones_)--Ver.

9. The Poet puns on the twofold meanings of the word "tibia," which signifies the main bone of the leg, and a pipe or flute.

These pipes were right-handed or left-handed, probably varying in tone, two being played at a time.

Explained at length, the pun means, "Princeps broke his left leg, when he could have better afforded to break two right-handed pipes."

] [Footnote V. 8: _The curtain falling_)--Ver.

23. The "aulæum," or stage-curtain, called also "siparium," was a piece of tapestry stretched on a frame, which, rising before the stage, concealed it till the actors appeared.

Instead of drawing up this curtain to discover the stage and actors, according to the present practice, it was depressed when the play began, and fell beneath the level of the stage: whence "aulæa premuntur" or "mittuntur," "the curtain is dropped," meant that the play had began.

] [Footnote V. 9: _The thunders rolled_)--Ver.

23. This thunder was made by the noise of rolling stones in copper vessels.

] [Footnote V. 10: _Upon the stage_)--Ver.

32. The "pulpitum" was properly an elevated place on the proscenium, or space between the scene and the orchestra.

] [Footnote V. 11: _Snow-white shoes_)--Ver.

37. We learn from Ovid and other authors that white shoes were solely worn by the female sex.

] [Footnote V. 12: _To the Deified house_)--Ver.

38. Taking to himself the honor that belonged to the house of Augustus, which was worshipped with Divine honors.

] FABLE VIII.

THE EMBLEM OF OPPORTUNITY.

A Bald Man, balancing on a razor's edge, fleet of foot, his forehead covered with hair,[13] his body naked--if you have caught him, hold him fast; when he has once escaped, not Jupiter himself can overtake him: he is the emblem how shortlived is Opportunity.

The ancients devised such a portraiture of Time, {to signify} that slothful delay should not hinder the execution of our purposes.

[Footnote V. 13: _His forehead covered with hair_)--Ver.

2. From this figure of Time or Opportunity, Time came to be represented in the middle ages with a tuft of hair on his forehead; whence our common expression "To take time by the forelock," signifying to make the best of an opportunity.

] FABLE IX.

THE BULL AND THE CALF.

When a Bull was struggling with his horns in a narrow passage, and could hardly effect an entrance to the manger, a Calf began to point out in what way he might turn himself: "Hush," said {the Bull}, "I knew that before you were born."

Let him who would instruct a wiser man, consider {this as} said to himself.

FABLE X.

THE HUNTSMAN AND THE DOG.

A Dog, who had always given satisfaction to his master by his boldness against swift and savage beasts, began to grow feeble under increasing years.

On one occasion, being urged to the combat with a bristling Boar, he seized him by the ear; but, through the rottenness of his teeth, let go his prey.

Vexed at this, the Huntsman upbraided the Dog.

Old Barker[14] {replied}: "It is not my courage that disappoints you, but my strength.

You commend me for what I have been; and you blame me that I am not {what I was}."

You, Philetus,[15] may easily perceive why I have written this.

[Footnote V. 14: _Old Barker_)--Ver.

7. We may here enumerate the names of this nature, which we find given by Phædrus to various animals: "laniger," "wool-bearer," the sheep; "auritulus," "long-ears," the ass; "sonipes," "sounding-hoof," the horse;

"barbatus," "long-beard," the goat; "retorridus," "brindle," the mouse; and "latrans," "barker," the dog.

] [Footnote V. 15: _Philetus.

_)--Ver.

10. Of this Philetus nothing certain is known, but he is supposed to have been a freedman of the emperor Claudius.

] THE NEW FABLES,

BY SOME ATTRIBUTED TO PHÆDRUS.

[1] [Footnote NF.

1: _Attributed to Phædrus_)--Cassito and Jannelli, with several other critics, are strongly of opinion that these Fables were written by Phædrus.

On a critical examination, however, they will be found to be so dissimilar in style and language from those acknowledged to be by Phædrus, that it is very difficult not to come to the conclusion that they are the work of some more recent writer, of inferior genius, and less pure latinity.

They were first published in 1809, at Naples, by Cassito, from a MS. which had belonged to Nicholas Perotti, Archbishop of Sipontum or Manfredonia, at the end of the fifteenth century, and who, notwithstanding his assertions to the contrary, was perhaps either the author of them or altered them very materially.

They appear in the MSS.

in a mutilated condition; and the lacunæ have been filled up according to the fancy of the successive Editors of the Fables.

Those inserted in Gail's edition have in general been here adopted.

] FABLE I.

THE APE AND THE FOX.

_The Greedy Man is not willing to give even from his superabundance.

_ An Ape asked a Fox for a part of her tail, that he might decently cover his naked hinder parts therewith; but the ill-natured creature {replied}: "Although it grow {even} longer {than it is}, still I will sooner drag it through mud and brambles, than give you ever so small a part {thereof}."

FABLE II.

THE AUTHOR.

_We must not require what is unreasonable.

_ If Nature had[2] formed the human race according to my notions, it would have been far better endowed: for she would have given us every good quality that indulgent Fortune has bestowed on {any} animal: the strength of the Elephant, and the impetuous force of the Lion, the age of the Crow, the majestic port of the fierce Bull, the gentle tractableness of the fleet Horse; and Man should still have had the ingenuity that is peculiarly his own.

Jupiter in heaven laughs to himself, no doubt, he who, in his mighty plan, denied these {qualities} to men, lest our audacity should wrest {from him} the sceptre of the world.

Contented, therefore, with the gifts of unconquered Jove, let us pass the years of our time allotted by fate, nor attempt more than mortality permits.

[Footnote NF.

2: _If nature had_)--Ver.

1. This can hardly be styled a Fable; it is merely an Epilogue or moral lesson.

] FABLE III.

MERCURY AND THE TWO WOMEN.

_Another Fable on the same subject.

_ Once on a time, two Women had given their guest, Mercury, a mean and sordid entertainment; one of the women had a little son in the cradle, while the profession of a Courtesan had its charms for the other.

In order, therefore that he might give a suitable return for their services, when about to depart, and just crossing the threshold, he said: "In me you behold a God; I will give you at once whatever each may wish."

The Mother makes her request, and asks that she may immediately see her Son graced with a beard; the Courtesan {requests} that whatever she touches may follow her.

Mercury flies away--the women return in-doors: behold the infant, with a beard, is crying aloud.

The Courtesan happened to laugh heartily at this, on which the humours {of the head} filled her nostrils, as is often the case.

Intending therefore to blow her nose, she seized it with her hand, and drew out its length to the ground; and {thus}, while laughing at another, she became herself a subject for laughter.

[3] [Footnote NF.

3: _For laughter_)--Ver.

17. This story savours more of the false wit of the middle ages than of the genius of Phædrus.

] FABLE IV.

PROMETHEUS AND CUNNING.

_On Truth and Falsehood.

_ When once Prometheus, the framer of a new race, had formed Truth from fine earth, that she might be able to dispense justice among mankind, being suddenly summoned by the messenger of great Jove, he left {his} workshop in charge of treacherous Cunning, whom he had lately received in apprenticeship.

The latter, inflamed by zeal, with clever hand formed an image of similar appearance, corresponding stature, and like in every limb, so far as the time permitted.

When nearly the whole had now been wondrously set up, he found he had no clay to make the feet.

{His} master came back, and Cunning, confused by fear at his quick return, sat down in his own place.

Prometheus, admiring so strong a resemblance, wished the merit to appear to belong to his own skill, {and} therefore placed the two images together in the furnace.

When they were thoroughly baked, and life had been breathed into them, hallowed Truth moved on with modest gait; but her imperfect copy remained fixed on the spot.

Thence the spurious image, the result of the stealthy work, was called Mendacity,[4] because they say, she has no feet,--an assertion with which I readily agree.

[Footnote NF.

4: _Was called Mendacity_)--Ver.

21. There is a sort of pun intended upon the word "menda," a blemish.

Because Falsehood was blemished in having no feet, she was called "mendacium" or "mendacity."

Here the author's etymology is at fault, as the word "mendacity" comes from "mentior," to lie; which is not likely to have been derived from "menda."

Besides, Falsehood, whether she has feet or not, generally travels more speedily than Truth.

] FABLE V.

[5] THE AUTHOR.

_Nothing is long concealed.

_ * * * Pretended vices are sometimes profitable to men, but still the truth appears in time.

[Footnote NF.

5: _Fable V. _)--This seems to be only a fragment;

probably the moral of a Fable now lost.

] FABLE VI.

THE SIGNIFICATION OF THE PUNISHMENTS OF TARTARUS.

_The meaning is to be considered, not the mere words.

_ The story of Ixion, whirling round upon the wheel, teaches {us} what a rolling thing is fortune.

Sisyphus, with immense labour, pushing the stone up the lofty hill, which ever, his labour lost, rolls back from the top, shows that men's miseries are endless.

When Tantalus is athirst, standing in the midst of the river, the greedy are described, whom a sufficiency of blessings surrounds, but none can they enjoy.

The wicked Danaïds carry water in urns, and cannot fill their pierced vessels; just so, whatever you bestow on luxury, will flow out beneath.

Wretched Tityus is stretched over nine acres,[6] presenting for dire punishment a liver that ever grows again: by this it is shown that the greater the extent of land a man possesses, the heavier are his cares.

Antiquity purposely wrapped up the truth, in order that the wise might understand--the ignorant remain in error.

[Footnote NF.

6: _Nine acres_)--Ver.

13. "Jugera."

The "jugerum" was a piece of land 240 feet long by 120 wide.

] FABLE VII.

THE AUTHOR.

_On the Oracle of Apollo.

_ Phoebus!

who dost inhabit Delphi and the beauteous Parnassus, say what is most useful to us.

Why do the locks of the holy prophetess stand erect;

the tripods shake; the holy shrines resound; the laurels, too,[7] quiver, and the very day grow pale?

Smitten by the Divinity, the Pythia utters {these} words, and the warning of the Delian God instructs the nations: "Practise virtue; pay your vows to the Gods above; defend your country, your parents, your children, {and} your chaste wives with arms;

repel the foe with the sword; assist your friends; spare the wretched;

favour the good; meet the treacherous face to face; punish offences;

chastise the impious; inflict vengeance on those who, by base adultery, defile the marriage couch; beware of the wicked; trust no man too far."

Thus having said, the Maiden falls frenzied to the ground: frenzied, indeed, for what she said, she said in vain.

[Footnote NF.

7: _The laurels, too_)--Ver.

5. The "cortina" or oracular shrine was surrounded with laurels; which were said to quiver while the oracles were being pronounced.

This is probably the most beautiful portion of these newly-discovered poems.

Still, it cannot with propriety be called a Fable.

] FABLE VIII.

ÆSOP AND THE AUTHOR.

_On a bad Author who praised himself.

_ A Person had recited[8] some worthless composition to Æsop, in which he had inordinately bragged about himself.

Desirous, therefore, to know what the Sage thought {thereof}: "Does it appear to you," said he, "that I have been too conceited?

I have no empty confidence in my own capacity."

Worried to death with the execrable volume, Æsop replied: "I greatly approve of your bestowing praise on yourself, for it will never be your lot to receive it from another."

[Footnote NF.

8: _A person had recited_)--Ver.

1. Adry remarks that this is not a Fable, but only an Epigram.

] FABLE IX.

POMPEIUS MAGNUS AND HIS SOLDIER.

_How difficult it is to understand a man.

_ A Soldier of Pompeius Magnus, a man of huge bulk, by talking mincingly and walking with an affected gait, had acquired the character of an effeminate wretch, {and that} most fully established.

Lying in wait by night for the beasts of burden of his General, he drives away the mules {laden} with garments and gold, and a vast weight of silver.

A rumour of what has been done gets abroad; the soldier is accused, {and} carried off to the Prætorium.

On this, Magnus {says to him}: "How say you?

Have you dared to rob me, comrade?"

The soldier forthwith spits into his left hand, and scatters about the spittle with his fingers.

"Even thus, General," says he, "may my eyes drip out, if I have seen or touched {your property}."

Then Magnus, a man of easy disposition, orders the false accusers to be sent about their business,[9] and will not believe the man guilty of so great audacity.

Not long afterwards a barbarian, confiding in his strength of hand, challenges one of the Romans.

Each man fears to accept the challenge, and the leaders of highest rank mutter {among themselves}.

At length, this effeminate wretch in appearance, but Mars in prowess, approached the General, who was seated on his tribunal, and, with a lisping voice, said "May I?"

[10] But Magnus, getting angry, as {well he might}, the matter being so serious, ordered him to be turned out.

Upon this, an aged man among the Chieftain's friends, {remarked}: "I think it would be better for this person to be exposed to the hazards of Fortune, since in him our loss would be but small, than a valiant man, who, if conquered through {some} mischance, might entail upon you a charge of rashness."

Magnus acquiesced, and gave the Soldier permission to go out to meet {the champion}, whose head, to the surprise of the army, he whipped off sooner than you could say it, and returned victorious.

Thereupon said Pompeius: "With great pleasure I present you with the soldier's crown, because you have vindicated the honor of the Roman name; nevertheless," said he, "may my eyes drip out" (imitating the unseemly act with which the Soldier had accompanied his oath), "if you did not carry off my property from among the baggage."

[Footnote NF.

9: _About their business_)--Ver.

13. The words suggested in Orellius, "Indicii falsi auctores propelli jubet," are used here to fill up the lacuna.

] [Footnote NF.

10: _May I?

_)--Ver.

29. "Licet?"

meaning: "Do you give me permission to go against the enemy?"

The story about the spittle savours of the middle ages.

] FABLE X.

JUNO, VENUS, AND THE HEN.

_On the Lustfulness of Women.

_ When Juno[11] was praising her own chastity, Venus did not lose the opportunity of a joke, and, to show that there was no female equal to herself {in that virtue}, is said to have asked this question of the Hen: "Tell me, will you, with how much food could you be satisfied?"

The hen replied: "Whatever you give me will be enough; but still you must let me scratch a bit with my feet."

"To keep you from scratching," said {the Goddess}, "is a measure of wheat enough?"

"Certainly; indeed it is too much; but still do allow me to scratch."

"In fine," {said Venus}, "what do you require, on condition of not scratching at all?"

Then at last the hen confessed the weak point in her nature: "Though a {whole} barn were open for me, still scratch I must."

Juno is said to have laughed at the joke of Venus, for by the Hen she meant the Female Sex.

[Footnote NF.

11: _When Juno_)--Ver.

1. This story is both silly and in very bad taste.

] FABLE XI.

THE FATHER OF A FAMILY AND ÆSOP.

_How a bad-tempered Son may be tamed.

_ A Father of a family had a passionate Son, who, as soon as he had got out of his fathers sight, inflicted many a blow upon the servants, and gave loose to the impetuous temper of youth.

Æsop consequently told this short story to the old man.

A certain Man was yoking an old Ox along with a Calf; and when the Ox shunning {to bear} the yoke with a neck so unfit for it, alleged the failing strength of his years: "You have no reason to fear," said the Countryman, "I don't do this that you may labour, but that you may tame him, who with his heels and horns has made many lame."

Just so, unless you always keep your son by you, and by your management restrain his temper, take care that the broils in your house don't increase to a still greater degree.

Gentleness is the remedy for a bad temper.

[12] [Footnote NF.

12: _Remedy for a bad temper_)--Ver.

15. This doctrine is stated in far too general terms.

] FABLE XII.

THE PHILOSOPHER AND THE VICTOR IN THE GYMNASTIC GAMES.

_How Boastfulness may sometimes be checked.

_ A Philosopher chancing to find the Victor in a gymnastic contest too fond of boasting, asked him whether his adversary had been the stronger man.

{To this} the other {replied}: "Don't mention it; my strength was far greater."

"Then, you simpleton," retorted {the Philosopher}, "what praise do you deserve, if you, being the stronger, have conquered one who was not so powerful?

You might perhaps have been tolerated if you had told us that you had conquered one who was your superior in strength."

FABLE XIII.

THE ASS AND THE LYRE.

_How Genius is often wasted through Misfortune.

_ An Ass espied a Lyre lying in a meadow: he approached and tried the strings with his hoof; they sounded at his touch.

"By my faith, a pretty thing," said he; "it happens unfortunately that I am not skilled in the art.

If any person of greater skill had found it, he might have charmed my ears with divine notes."

So Genius is often wasted through Misfortune.