Not less festive was the third Interlude, because, as is narrated in the fable, Cupid being occupied with the love of his beautiful Psyche, and not caring any more to kindle the customary flames in the hearts of mortals, and using with others, as others with him, fraud and deceit, it was inevitable that among those same mortals, who were living without love, there should arise at the same time a thousand frauds and a thousand deceits. And therefore it was made to appear that the floor of the stage swelled up, and finally that it was changed into seven little mounds from which there were seen to issue, as things evil and hurtful, first seven Deceits, and then seven others, which could be recognized as such with ease, for the reason that not only the bust of each was all spotted, after the likeness of a leopard, and the thighs and legs like serpents, but their locks were seen all composed of malicious foxes in most fantastic forms and very beautiful attitudes; and in their hands, not without laughter from the bystanders, some were holding traps, some hooks, and others guileful crooks and grapnels, under which had been concealed with singular dexterity some musical serpents, for the sake of the music that they had to make. These, expressing thus the conception described above, after they had first most sweetly sung, and then sung and played, the following madrigal, went with very beautiful order (providing material for the deceptions of the comedy) their several ways along the four above-mentioned passages of the stage: S' amor vinto e prigion, posto in oblio L' arco e l' ardente face, Della madre ingannar nuovo desio Lo punge, e s' a lui Psiche inganno face, E se l' empia e fallace Coppia d' invide suore inganno e froda Sol pensa, or chi nel mondo oggi piu sia Che 'l regno a noi non dia? D' inganni dunque goda Ogni saggio, e se speme altra l' invita Ben la strada ha smarrita. FOURTH INTERLUDE.