Vol. TIL] 
the merit of the work. We obferve in 
jt, with much pleature, fome tranflations 
of detached fcenes of Ariftophanes in- 
corporated with the fubjeét.”” D. Taffin, 
in his Hiffoire tittéraire de la Congregation 
de 8. Maur, after {peaking of this laft- 
mentioned work, adds ‘‘ Father Lobi- 
neau has moreover tranflated fome pieces 
of Ariftophanes ; his tranflations, how- 
ever, have not feen the light. His propen- 
fity to this fort of ftudies, fo oppofite to 
the-purfuits of his fraternity, has been, 
doubtlefs, the reafon that a fatirical and 
ficentious romance, called The Adven- 
tures of Pomponius, a Roman Knight, 
has been afcribed to him, although erro- 
-neoufly. He died in the abbey of St. 
Jacut) near Se.) Maloes,’ June’ '3;'4727, 
in the 61ft year of his age.’”’ From the 
fame D. Fallin, fome farther particulars 
have been gathered relative to him, VIZ. 
that Gui Alexis Lobineau was born at 
Rennes, in 1966, and that he made his 
profeifion Dec. rsth, 1683, in the abbey 
of St. Melaine, to which thefe manu- 
{cripts formerly belonged. He was about 
twenty-nine years of age when he tranf- 
lated Ariftophanes. We fhall prefent our 
readers with the fubftance of the intereft- 
ing and curious Preface, which forms a 
complete Differtation on the Kefgion and 
Manners of the Athenians, drawn extirely 
from the works of Ariftophanes. 
The Preraceis highly curious, con- 
taining all Ariftophanes (in a manner) 
melted down in it; it prefents a judi- 
cious view of the religion, the public and 
private life, the tribunals, the feftivals, 
the games, the dances, the apparel, do- 
meftic manners, &c. of the Athenians, 
colle&ted, with the happieft difcernment, 
from the writings of Ariftophanes him- 
felf. After fome introductory remarks 
on the origin of comedy (viz. the ruftic 
fongs and licentious fatires wherein the 
Jabourers indulged themfelves after a. 
plentiful harvest, and which improved by 
degrees into public fpeétacles) and cn the 
obfcenities, low wit, and play of words, 
often found in Ariftophanes, and which 
he introduced (together with the ridicu- 
lous entrance of frogs, birds, &c.) in 
compliance with the tafte of the vulgar, 
the author obferves, that the ancient 
poets, in their compofitions, were a€tuat- 
ed by motives very different from thofe 
of modern ones. The latter feek to 
pleafe folely for the purpofe of emolu- 
ment; while the former had judges 
whofe fuffrages it was neceflary to gain, 
in order to enfure the reputation and fuc- 
cefs of their pieces. At Athens and 
Religion and Fefivals of the Athenians, Sc. 
527 
Rome, the {peétators entered the theatre 
without being obliged te contribute any 
thing towards the expences of the {pec- 
tacle, which were defrayed either by the 
ftate, or by opulent individuals. We 
learn from Ariftcphanes, that a certain 
number of judges were appointed at 
Athens, with authority to decide on the 
merits of a new piece, and that they 
were bound, by oath, to pronounce an 
equitable judgment. 
The obfcenities introduced into the 
reprefentations (as in the Affembly of 
women, Lyfiftratus, and other pieces of 
Ariftophanes, wherein the vine-dreffer, 
Trygzus, expofes the naked theory, &c. 
and fhows it to the audience in that con- 
dition) are confidered by this author as 
depending on the religious worfhip of 
the ancients; the fpectacles themfelves 
making a part of their religious ceremo- 
nies*. The ludicrous myfteries of Pria- 
pus and Venus are well known ;—thofe 
myfteries, however, which were cele- 
brated with the greateft gravity, are not 
exempt from the charge of immodeft re- 
prefentations. In the celebration of 
fome of thefe, the figure of the virile 
member was catried publicly in folemn 
proceffion on the top of a pole; bafkets 
alfo, filled with fimilar reprefentations, 
were carried, as part of the religious 
pomp. And although we are unabie to 
come at the contents of that impenetrable 
fecret which was confided to women 
only, under fuch horrid execrations, and 
obferved fo inviolably by them, yer from 
the exterior appendages, it is reafonable 
to prefume that the interior effence of 
thofe formidable myfteries confifted in 
feeing and hearing things not the beft 
calculated to infpire the virtue of conti- 
nence. 
The dances, which, with the ancients, 
formed an effential part of their public 
{pectacles, were not lefs immodeft than 
the comedies themfelves. Ariftophanes 
more than once condemns the lafcivious 
poftures praétifed in the licentious dances 
called cordaces, and introduces a drunken 
dance, a Scythian running hither and 

* Hence doubtlefs arofe the cuftom of actors 
appearing on the ftage, armed with the fame 
figure (made of leather, painted a flefh colour) 
as that which was carried at the end of a pole, 
in the celebration of the myfteries. Arifto- 
phanes, who was not overburthened with reli- 
gion, pours contempt on that impudent and ri- 
diculous cuftom, although he was not able te 
effect its abolition, 
3 Dies thither 
