Milo of Crotona, a celebrated wrestler, who as is recorded was crowned in the fiftieth Olympiad, met with a lamentable and extraordinary death. When, now an old man, he had desisted from his athletic art and was journeying alone in the woody parts of Italy, he saw an oak very near the roadside, gaping in the middle of the trunk, with its branches extended: willing, I suppose, to try what strength he had left, he put his fingers into the fissure of the tree, and attempted to pluck aside and separate the oak, and did actually tear and divide it in the middle; but when the oak was thus split in two, and he relaxed his hold as having accomplished his intention, upon a cessation of the force it returned to its natural position, and left the man, when it united, with his hands confined, to be torn by wild beasts. Translation of Rev. W. Beloe. [Pg 6261] GESTA ROMANORUM hat are the 'Gesta Romanorum'? The most curious and interesting of all collections of popular tales. Negatively, one thing they are not: that is, they are not Deeds of the Romans, the acts of the heirs of the Cæsars. All such allusions are the purest fantasy. The great "citee of Rome," and some oddly dubbed emperor thereof, indeed the entire background, are in truth as unhistorical and imaginary as the tale itself. Such stories are very old. So far back did they spring that it would be idle to conjecture their origin. In the centuries long before Caxton, the centuries before manuscript-writing filled up the leisure hours of the monks, the 'Gesta,' both in the Orient and in the Occident, were brought forth. Plain, direct, and unvarnished, they are the form in which the men of ideas of those rude times approached and entertained, by accounts of human joy and woe, their brother men of action. Every race of historic importance, from the eastern Turanians to the western Celts, has produced such legends. Sometimes they delight the lover of folk-lore; sometimes they belong to the Dryasdust antiquarian. But our 'Gesta,' with their directness and naïveté, with their occasional beauty of diction and fine touches of sympathy and imagination,—even with their Northern lack of grace,—are properly a part of literature. In these 'Deeds' is found the plot or ground-plan of such master works as 'King Lear' and the 'Merchant of Venice,' and the first cast of material refined by Chaucer, Gower, Lydgate, Schiller, and other writers.