cious to suffer the fondness and licentiousness of a few to detract from the honour of allegory and parable in general. This would be rash, and almost profane; for, since religion delights in such shadows and disguises, to abolish them were, in a manner, to prohibit all intercourse betwixt things divine and human.

Upon deliberate consideration, my judgment is, that a concealed instruction and allegory was originally intended in many of the ancient fables. This opinion may, in some respect, be owing to the veneration I have for antiquity, but more to observing that some fables discover a great and evident similitude, relation, and connection with the thing they signify, as well in the structure of the fable as in the propriety of the names whereby the persons or actors are characterized; insomuch, that no one could positively deny a sense and meaning to be from the first intended, and purposely shadowed out in them. For who can hear that Fame, after the giants were destroyed, sprung up as their posthumous sister, and not apply it to the clamour of parties and the seditious rumours which commonly fly about for a time upon the quelling of insurrections? Or who can read how the giant Typhon cut out and carried away Jupiter's sinews-which Mercury afterwards stole and again restored to Jupiter-and not presently observe that this allegory denotes strong and powerful rebellions, which cut away from kings their sinews, both of money and authority; and that the way to have them restored is by lenity, affability, and prudent edicts, which soon reconcile, and as it were steal upon the affections of the subject? Or who, upon hearing that memorable expedition of the gods against the giants, when the braying of Silenus's ass greatly contributed in putting the giants to flight, does not clearly conceive that this directly points at the monstrous enterprises of rebellious subjects, which are frequently frustrated and disappointed by vain fears and empty rumours?

Again, the conformity and purport of the names frequently manifest and self-evident. Thus Metis, the wife of Jupiter, plainly signifies counsel; Typhon, swelling; Pan, universality; Nemesis, revenge, &c. Nor is it a wonder, if sometimes a piece of history or other things are introduced, by way of ornament; or if the times of the action are confounded; or if part of one fable be tacked to another; or if the allegory be new turned; for all this must necessarily happen, as the fables were the inventions of men who lived in different ages and had different views; some of them being ancient, others more modern; some having an eye to natural philosophy, and others to morality or civil policy.

It may pass for a farther indication of a concealed and secret meaning, that some of these fables are so absurd and idle in their narration as to show and proclaim an allegory, even afar off. A fable that carries probability with it may be supposed invented for pleasure, or in imitation of history; but those that could never be conceived or related in this way must surely have a different use. For example, what a monstrous fiction is this, that Jupiter should take Metis to wife, and as soon as he found her pregnant eat her up, whereby he also conceived, and out of his head brought forth Pallas armed. Certainly no mortal could, but for the sake of the moral it couches, invent such an absurd dream as this, so much out of the road of thought!

But the argument of most weight with me is this, that many of these

ously, their great and voluminous labours have almost destroyed the energy, the efficacy, and grace of the thing, whilst, being unskilled in nature, and their learning no more than that of common-place, they have applied the sense of the parables to certain general and vulgar matters, without reaching to their real purport, genuine interpretation, and full depth. For myself, therefore, I expect to appear new in these common things, because, leaving untouched such as are sufficiently plain and open, I shall drive only at those that are either deep or rich.

I.-CASSANDRA, OR DIVINATION.

EXPLAINED OF TOO FREE AND UNSEASONABLE ADVICE.

THE Poets relate, that Apollo, falling in love with Cassandra, was still deluded and put off by her, yet fed with hopes, till she had got from him the gift of prophecy; and having now obtained her end, she flatly rejected his suit. Apollo, unable to recall his rash gift, yet enraged to be outwitted by a girl, annexed this penalty to it, that though she should always prophesy true, she should never be believed; whence her divinations were always slighted, even when she again and again predicted the ruin of her country.

EXPLANATION.-This fable seems invented to express the insignificance of unseasonable advice. For they who are conceited, stubborn, or intractable, and listen not to the instructions of Apollo, the god of harmony, so as to learn and observe the modulations and measures of affairs, the sharps and flats of discourse, the difference between judicious and vulgar ears, and the proper times of speech and silence, let them be ever so intelligent, and ever so frank of their advice, or their counsels ever so good and just, yet all their endeavours, either of persuasion or force, are of little significance, and rather hasten the ruin of those they advise. But, at last, when the calamitous event has made the sufferers feel the effect of their neglect, they too late reverence their advisers, as deep, foreseeing, and faithful prophets.

Of this we have a remarkable instance in Cato of Utica, ho discovered afar off, and long foretold, the approaching of his country, both in the first conspiracy, and as it prosecuted in the civil war between Cæsar and Pompey,

foot by the secret motion and instigation of the peers and nobles, under whose connivance the common sort are prepared for rising: whence proceeds a swell in the state, which is appositely denoted by the nursing of Typhon. This growing posture of affairs is fed by the natural depravity, and malignant dispositions of the vulgar, which to kings is an envenomed serpent. And now the disaffected, uniting their force, at length break out into open rebellion, which, producing infinite mischiefs, both to prince and people, is represented by the horrid and multiplied deformity of Typhon, with his hundred heads, denoting the divided powers; his flaming mouths, denoting fire and devastation; his girdles of snakes, denoting sieges and destruction; his iron hands, slaughter and cruelty; his eagle's talons, rapine and plunder; his plumed body, perpetual rumours, contradictory accounts, &c. And sometimes these rebellions grow so high, that kings are obliged, as if carried on the backs of the rebels, to quit the throne, and retire to some remote and obscure part of their dominions, with the loss of their sinews, both of money and majesty.

But if now they prudently bear this reverse of fortune, they may, in a short time, by the assistance of Mercury, recover their sinews again; that is, by becoming moderate and affable; reconciling the minds and affections of the people to them, by gracious speeches, and prudent proclamations, which will win over the subject cheerfully to afford new aids and supplies, and add fresh vigour to authority. But prudent and wary princes here seldom incline to try fortune by a war, yet do their utmost, by some grand exploit, to crush the reputation of the rebels and if the attempt succeeds, the rebels, conscious of the wound received, and distrustful of their cause, first betake themselves to broken and empty threats, like the hissings of serpents; and next, when matters are grown desperate, to flight. And now, when they thus begin to shrink, it is safe and seasonable for kings to pursue them with their forces, and the whole strength of the kingdom; thus effectually quashing and suppressing them, as it were by the weight of a mountain.