THE

TABLE OF CEBES:

A DIALOGUE

BETWEEN AN OLD MAN AND A TRAVELLER.

While we were walking in the temple of Saturn, in the city of Thebes, and viewing the votive honours of the God, the various offerings which had been presented to that deity, we observed at the entrance of the Fane, a picture tablet that engaged our attention, as it was a thing entirely new, both with regard to the painting and the design. For some time, we stood considering the device and fable, but still found ourselves unable to guess the meaning. The piece did not seem to be either a city or a camp; but was a kind of a walled court, that had within it two other inclosures, and one of them was larger than the other. The first court opened at a gate, before which a vast crowd of people appeared, impatient to enter; and within a group of female figures was represented. Stationed at the porch without, was seen a venerable form, who looked like some great teacher, and seemed to warn the rushing multitude. Long we gazed at this work, but were not able to understand the design,

till

THE

MYTHOLOGICAL PICTURE OF CEBES:

BY THE REV. AND FAMOUS

JEREMY COLLIER.'

As we were taking a turn in Saturn's temple, we saw a great many consecrated presents, remarkable enough for their curiosity. Amongst the rest, we took particular notice of a picture hung over the door; the piece we perceived was all emblem and mythology; but then the representation was so singular and out of custom, that we were perfectly at a loss whence it should come, and what was the meaning of it. Upon a strict view, we found it was neither a city, nor a camp, but a sort of court, with two partitions of the same figure within it, though one of them was larger than the other. The first court had a crowd of people at the gate, and within we saw a great company of women. Just at the entrance of the first gate, there stood an old man, who by his gesture and countenance, seemed to be busy in giving advice to the crowd as they came in. And being long at a stand about the design of the fable, a grave man somewhat in years, making up, begins to discourse us in this manner. Gentlemen,

says

till an old man came up to us, and spoke in the following manner.

§ 1. O. It is no wonder strangers, that you cannot comprehend this picture: for even our inhabitants are not able to give a solution of the allegoric scene. The piece is not an offering of any of our citizens, but the work of a foreigner, a man of great learning and virtue, and a zealous disciple of the Samian or Elean sages, who arrived here many years ago, and by his conversation instructed us in the best learning, which is morality. It was he built and consecrated this temple to Saturn, and placed here this picture you see before you.

T. And did you know, (I said) and converse with this wise man?

O. Yes, (he replied) I was long acquainted with him, and as he was but young, and talked with great judgment upon the most important subjects, with astonishment I have listened to him, and with pleasure heard him explain the moral of this fable.

T. Expound to us then, (I conjure you) the meaning of the picture, if business does not call you away; for we long to be instructed in the design of the piece.

O. I am at leisure, (the old man answered) and willingly consent to your request; but I must inform

you

says he, I understand you are strangers, and therefore it is no wonder the history of this picture should puzzle you; for there are not many of our own countrymen that can explain it. For you are to observe, this is none of our town manufacture*. But a long while ago, a certain outlandish man † of great sense and learning, and who by his discourse and behaviour, seemed to be a disciple of Pythagoras and Parmenides; this gentleman, I say, happening to travel hither, built this structure, and dedicated both the temple and this piece of painting to Saturn. Sir, said I, had you any acquaintance with this gentleman. Yes, says he, I had the benefit of his conversation, and was one of his admirers a long time. For, to my thinking, though he was but young, he talked at a strange significant rate ‡.

N. B. The remainder of Collier's facetious ver

sion is omitted, for want of room.

*The Greek words which Collier renders townmanufacture, are πολιτικον αναθημα.

+ And what he calls outlandish, is gevos.

† The Greek is, διελέγετο πολλα και σπουδαια.

you first, there is some danger in what you ask. If you hearken with attention, and by consideration understand the precepts, you will become wise, virtuous, and blest*: if otherwise, you will be abandoned, blind, and miserable +. The explanation of the picture resembles the enigma of the Sphinx, which she proposed to every passenger that came that way. If they could expound the riddle they were safe; but if they failed in the attempt, they were destroyed by the monster. Folly is as it were a Sphinx to mankind. She asks you, How is good and ill defined? If you cannot explain the problem, and happen to misjudge, you perish by degrees, and become the victim of her cruelty. You do not die immediately, as the unhappy did by the Theban monster; but by the force and operation of folly, you will find yourself dying from day to day, your rational part wounded and decayed, every noble power of the soul confounded, and like those given up to punishment for life, feel the last of those pangs, which guilt prepares for the stupid: but if by

* Εσεσθε φρονιμοι και ευδαιμονες.

Η άφρονες, και καικοδαίμονες, και πικροί, και αμαθεις.

This monster, who lived near Thebes, was said to be the daughter of Typhon and Echidna, and had a head and face like a girl, wings like a bird, and in the rest like a dog.