As when o’er Erymanth Diana roves Or wide Taygetus’s resounding groves; A sylvan train the huntress queen surrounds, Her rattling quiver from her shoulder sounds; Fierce in the sport along the mountain brow, They bay the boar or chase the bounding roe. High o’er the lawn with more majestic pace, Above the nymphs she treads with stately grace.—POPE. Pliny, therefore, can hardly have written “sacrificantium,” rather “venantium” (hunting), or something like it; perhaps “sylvis vagantium” (roaming the woods), which corresponds more nearly in number of letters to the altered word. “Saltantium” (bounding), approaches most nearly to the παίζουσι of Homer. Virgil, also, in his imitation of this passage, represents the nymphs as dancing. (Æneid, i. 497, 498.) Qualis in Eurotæ ripis, aut per juga Cynthi Exercet Diana choros.... Such on Eurotas’ banks or Cynthus’ height Diana seems; and so she charms the sight, When in the dance the graceful goddess leads The choir of nymphs and overtops their heads.—DRYDEN. Spence gives a remarkable criticism on this passage. (Polymetis, dial. viii.) “This Diana,” he says, “both in the picture and in the descriptions, was the Diana Venatrix, though she was not represented, either by Virgil or Apelles or Homer, as hunting with her nymphs; but as employed with them in that sort of dances which of old were regarded as very solemn acts of devotion.” In a note he adds, “The expression of παίζειν, used by Homer on this occasion, is scarce proper for hunting; as that of “choros exercere,” in Virgil, should be understood of the religious dances of old, because dancing, in the old Roman idea of it, was indecent, even for men, in public, unless it were the sort of dances used in honor of Mars or Bacchus or some other of their gods.” Spence supposes that those solemn dances are here referred to, which, among the ancients, were counted among the acts of religion. “It is in consequence of this,” he says, “that Pliny, in speaking of Diana’s nymphs on this very occasion, uses the word “sacrificare” of them, which quite determines these dances of theirs to have been of the religious kind.” He forgets that, in Virgil, Diana joins in the dance, “exercet Diana choros.” If this were a religious dance, in whose honor did Diana dance it? in her own, or in honor of some other deity? Both suppositions are absurd. If the old Romans did hold dancing in general to be unbecoming in a grave person, was that a reason why their poets should transfer the national gravity to the manners of the gods, which were very differently represented by the old Greek poets? When Horace says of Venus (Od. iv. lib. i.),— Jam Cytherea choros ducit Venus, imminente luna; Junctæque Nymphis Gratiæ decentes Alterno terram quatiunt pede....