and Muretus expresses his astonishment, that the most grave and learned Benedictus Lampridius should have made this happy interpretation by Politian the theme of his _constant_ conversation, “Hanc Politiani sententiam in _omni_ sermone approbare solitum fuisse(472).” Why Lesbia preferred a sparrow to other birds, I know not, unless it was for those qualities which induced the widow of the Emperor Sigismond to esteem it more than the turtle-dove(473), and which so much excited the envy of the learned Scioppius, at Ingolstadt. 3. _Luctus in morte Passeris_. A lamentation for the death of the same sparrow— “Qui nunc it per iter tenebricosum, Illuc unde negant redire quemquam: At vobis male sit, malæ tenebræ Orci, quæ omnia bella devoratis.” The idea in this last line was probably taken from Bion’s celebrated _Idyllium_—the lamentation of Venus for the death of Adonis, where there is a similar complaint of the unrelenting Orcus— “Το δε παν καλον ἐς σε καταῥρει.” This poem on the death of Lesbia’s sparrow has suggested many similar productions. Ovid’s elegy, _In Mortem Psittaci_(474), where he extols and laments the favourite parrot of his mistress, Corinna, is a production of the same description; but it has not so much delicacy, lightness, and felicity of expression. It differs from it too, by directing the attention chiefly to the parrot, whereas Catullus fixes it more on the lady, who had been deprived of her favourite. Statius also has a poem on the death of a parrot, entitled _Psittacus Melioris_(475); and Lotichius, a celebrated Latin poet, who flourished in Germany about the middle of the 16th century, has, in his elegies, a similar production on the death of a dolphin(476). Naugerius, _In Obitum Borgetti Catuli_, nearly copies the poem of Catullus— “Nunc raptus rapido maloque fato, Ad manes abiit tenebricosas,” &c. It has been imitated closely, and with application to a sparrow, by Corrozet, Durant, and Monnoye, French poets of the 16th century—by Gacon and Richer, in the beginning, and R. de Juvigny, in the end, of the 18th century. In all these imitations, the idea of a departure to regions of darkness, whence no one returns, is faithfully preserved. Most of them are written with much grace and elegance; and this, indeed, is a sort of poetry in which the French remarkably excel.