(5) Be silent Ovid, of Cadmus and Arethusa; For if him to a snake, her to fountain, Converts he fabling, that I grudge him not; Because two natures never front to front Has he transmuted, so that both the forms To interchange their matter ready were. Together they responded in such wise, That to a fork the serpent cleft his tail, And eke the wounded drew his feet together. The legs together with the thighs themselves Adhered so, that in little time the juncture No sign whatever made that was apparent. He with the cloven tail assumed the figure The other one was losing, and his skin Became elastic, and the other's hard. I saw the arms draw inward at the armpits, And both feet of the reptile, that were short, Lengthen as much as those contracted were. Thereafter the hind feet, together twisted, Became the member that a man conceals, And of his own the wretch had two created. While both of them the exhalation veils With a new colour, and engenders hair On one of them and depilates the other,

(25) The most remarkable of allegorical creatures was the mantichora, which Ctesias describes as having aflame-colored body, lionlike in shape, three rows of teeth, a human head and ears, blue eyes, a tail ending in a series of spikes and stings, thorny and scorpionlike, and a voice which sounded like the blare of trumpets. This synthetic quadruped ambled into mediæval works on natural history, but, though seriously considered, had never been seen, because it inhabited inaccessible regions and consequently was difficult to locate.

(3) That which Timaeus argues of the soul Doth not resemble that which here is seen, Because it seems that as he speaks he thinks. He says the soul unto its star returns, Believing it to have been severed thence Whenever nature gave it as a form. Perhaps his doctrine is of other guise Than the words sound, and possibly may be With meaning that is not to be derided. If he doth mean that to these wheels return The honour of their influence and the blame, Perhaps his bow doth hit upon some truth. This principle ill understood once warped The whole world nearly, till it went astray Invoking Jove and Mercury and Mars. The other doubt which doth disquiet thee Less venom has, for its malevolence Could never lead thee otherwhere from me. That as unjust our justice should appear In eyes of mortals, is an argument Of faith, and not of sin heretical. But still, that your perception may be able To thoroughly penetrate this verity, As thou desirest, I will satisfy thee.

(22) The Egyptians occasionally represented the Phœnix as having the body of a man and the wings of a bird. This biform, creature had a tuft of feathers upon its head and its arms were upraised in an attitude of prayer. As the phœnix was the symbol of regeneration, the tuft of feathers on the back of its head might well symbolize the activity of the Pineal gland, or third eye, the occult function of which was apparently well understood by the ancient priestcraft.

(3) On the whole earth plants grew up like hair upon the heads of men.

(13) This Chapter is not frequently met with in the papyri; it was written on the wrappings and the bandages of the dead; for instance, on the funeral cloth of King Thothmes III, where it is not complete. This Chapter is interesting, as it shows how repulsive to the Egyptians was the idea of corruption, of the decay of the body, which is described here in most realistic terms. This is one of the reasons why they gave such importance to mummification

(394) What is the use of platted hair, O fool! what of the raiment of goat-skins? Within thee there is ravening, but the outside thou makest clean.

(6) The one uprose and down the other fell, Though turning not away their impious lamps, Underneath which each one his muzzle changed. He who was standing drew it tow'rds the temples, And from excess of matter, which came thither, Issued the ears from out the hollow cheeks; What did not backward run and was retained Of that excess made to the face a nose, And the lips thickened far as was befitting. He who lay prostrate thrusts his muzzle forward, And backward draws the ears into his head, In the same manner as the snail its horns; And so the tongue, which was entire and apt For speech before, is cleft, and the bi-forked In the other closes up, and the smoke ceases. The soul, which to a reptile had been changed, Along the valley hissing takes to flight, And after him the other speaking sputters.

(8) The second portion (beginning with My nostril ) dates from the papyri of the Theban period, though we must depend upon later authorities for the entire Section

(19) Paracelsus discovered that in many cases plants revealed by their shape the particular organs of the human body which they served most effectively. The medical system of Paracelsus was based on the theory that by removing the diseased etheric mumia from the organism of the patient and causing it to be accepted into the nature of some distant and disinterested thing of comparatively little value, it was possible to divert from the patient the flow of the archæus which had been continually revitalizing and nourishing the malady. Its vehicle of expression being transplanted, the archæus necessarily accompanied its mumia, and the patient recovered.

(21) The earliest known text of this chapter is that of the Tomb of Amenemhait at Thebes ( Ta ), of the time of Thothmes III. It is almost as inaccurate as that of Nebseni ( Aa ), or the Brockelhurst Ax . Nor is the text of Ani of any use towards clearing up any of the difficulties

(13) The adherents of Basilides are in the habit of calling the passions appendages: saying that these are in essence certain spirits attached to the rational soul, through some original perturbation and confusion; and that, again, other bastard and heterogeneous natures of spirits grow on to them, like that of the wolf, the ape, the lion, the goat, whose properties showing themselves around the soul, they say, assimilate the lusts of the soul to the likeness of the animals. For they imitate the actions of those whose properties they bear. And not only are they associated with the impulses and perceptions of the irrational animals, but they affect the motions and the beauties of plants, on account of their bearing also the properties of plants attached to them. They have also the properties of a particular state, as the hardness of steel. But against this dogma we shall argue subsequently, when we treat of the soul. At present this only needs to be pointed out, that man, according to Basilides, preserves the appearance of a wooden horse, according to the poetic myth, embracing as he does in one body a host of such different spirits. Accordingly, Basilides' son himself, Isidorus, in his book, About the Soul attached to us, while agreeing in the dogma, as if condemning himself, writes in these words:

(5) Sometimes an animal, when covered, struggles So that his impulse needs must be apparent, By reason of the wrappage following it; And in like manner the primeval soul Made clear to me athwart its covering How jubilant it was to give me pleasure. Then breathed: "Without thy uttering it to me, Thine inclination better I discern Than thou whatever thing is surest to thee; For I behold it in the truthful mirror, That of Himself all things parhelion makes, And none makes Him parhelion of itself. Thou fain wouldst hear how long ago God placed me Within the lofty garden, where this Lady Unto so long a stairway thee disposed. And how long to mine eyes it was a pleasure, And of the great disdain the proper cause, And the language that I used and that I made. Now, son of mine, the tasting of the tree Not in itself was cause of so great exile, But solely the o'erstepping of the bounds. There, whence thy Lady moved Virgilius, Four thousand and three hundred and two circuits Made by the sun, this Council I desired;

(13) [paragraph continues] Homerus, as Hesiodus took the subject for his Theogony likewise from thence, which Ovidius took afterwards for a pattern for his Metamorphosis. The knowledge of Nature's secret operations constitutes the principal sense of all these ancient writings, but ignorance framed out of it that external or veiled mythology and the lower class of people turned it into idolatry.

(4) Of the four lists were fashioned the two arms, The thighs and legs, the belly and the chest Members became that never yet were seen. Every original aspect there was cancelled; Two and yet none did the perverted image Appear, and such departed with slow pace. Even as a lizard, under the great scourge Of days canicular, exchanging hedge, Lightning appeareth if the road it cross; Thus did appear, coming towards the bellies Of the two others, a small fiery serpent, Livid and black as is a peppercorn. And in that part whereat is first received Our aliment, it one of them transfixed; Then downward fell in front of him extended. The one transfixed looked at it, but said naught; Nay, rather with feet motionless he yawned, Just as if sleep or fever had assailed him. He at the serpent gazed, and it at him; One through the wound, the other through the mouth Smoked violently, and the smoke commingled. Henceforth be silent Lucan, where he mentions Wretched Sabellus and Nassidius, And wait to hear what now shall be shot forth.

(71) And with them the Head of Days, His head white and pure as wool, And His raiment indescribable.

(15) And, first, a clothing of skins covered them; afterwards, it is said, woven garments were prepared from a cloth woven in the wilderness.

(1) "Behold the monster with the pointed tail, Who cleaves the hills, and breaketh walls and weapons, Behold him who infecteth all the world." Thus unto me my Guide began to say, And beckoned him that he should come to shore, Near to the confine of the trodden marble; And that uncleanly image of deceit Came up and thrust ashore its head and bust, But on the border did not drag its tail. The face was as the face of a just man, Its semblance outwardly was so benign, And of a serpent all the trunk beside. Two paws it had, hairy unto the armpits; The back, and breast, and both the sides it had Depicted o'er with nooses and with shields. With colours more, groundwork or broidery Never in cloth did Tartars make nor Turks, Nor were such tissues by Arachne laid. As sometimes wherries lie upon the shore, That part are in the water, part on land; And as among the guzzling Germans there, The beaver plants himself to wage his war; So that vile monster lay upon the border, Which is of stone, and shutteth in the sand.

(7) This word has always been translated fingers , a sense which is evidently wrong in this place, where parts of the head only are mentioned, and when one would expect the hair or the beard

(16) "The design of a temple depends on symmetry, the principles of which must be most carefully observed by the architect. They are due to proportion, in ἀναλογία. Proportion is a correspondence among the measures of the members of an entire work, and of the whole to a certain part selected as standard. From this result the principles of symmetry. Without symmetry and proportion there can be no principles in the design of any temple; that is, if there is no precise relation between its members, as in the case of those of a well shaped man. For the human body is so designed by nature that the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth part of the whole height; the open hand from the wrist to the tip of the middle finger is just the same; the head from the chin to the crown is an eighth, and with the neck and shoulder from the top of the breast to the lowest roots of the hair is a sixth; from the middle of the breast to the summit of the crown is a fourth. If we take the height of the face itself, the distance from the bottom of the chin to the under side of the nostrils [and from that point] to a line between the eyebrows is the same; from there to the lowest roots of the hair is also a third, comprising the forehead. The length of the foot is one sixth of the height of the body; of the forearm, one fourth; and the breadth of the breast is also one fourth. The other members, too, have their own symmetrical proportions, and it was by employing them that the famous painters and sculptors of antiquity attained to great and endless renown."