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tions of paintings; while the plot, not very intelligible at the best, is still further perplexed by the extraordinary affectation of making nearly all the names alike; thus, the hero and heroine are Hysminias and Hysmine, the towns are Aulycomis, Eurycomis, Artycomis, &c. In all these works, the outline is the same; the lovers undergo endless buffetings by sea and land, imaginary deaths, and escapes from marauders; but not a spark of genius or fancy enlivens these dull productions, which, sometimes maudlin and bombastic, often indecent, would defy the patience of the most determined novel reader. One of these writers, Xenophon of Ephesus, the author of the "Ephesiacs, or Habrocomas and Anthia," is commended by Politian for the classical purity of his language, in which he considers him scarcely inferior to his namesake the historian: but the work has little else to recommend it. The two principal personages are represented as miracles of personal beauty; and the women fall in love with Habrocomas, as well as the men with Anthia, literally by dozens at a time: the plot, however differs from that of the others in marrying them at the commencement, and sending them through the ordinary routine of dangers afterwards. The _Ephesiacs_ are, however, noticeable from its having been supposed by Mr Douce, (_Illustrations of Shakspeare_, ii. 198,) that the catastrophe in Romeo and Juliet was originally borrowed from one of the adventures of Anthia, who, when separated from her husband, is rescued from banditti by Perilaus, governor of Cilicia, and by him destined for his bride. Unable to evade his solicitations, she procures from the "poverty, not the will" of an aged physician named Eudoxus, what she supposes to be a draught of poison, but which is really an opiate. She is laid with great pomp, loaded with gems and costly ornaments, in a vault; and on awakening, finds herself in the hands of a crew of pirates, who have broken open her sepulchre in order to rifle the treasures which they knew to have been deposited there. "This work," (observes Mr Douce,) "was certainly not published nor translated in the time of Luigi da Porto, the original narrator of the story of Romeo and Juliet: but there is no reason why he might not have seen a copy of the original in MS. We might enumerate several more of these later productions of the same school; but a separate analysis of each would be both tedious and needless, as none present any mar
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