In some cases the use of the word "labyrinth" in a book-title seems to suggest that the term was regarded as an equivalent for "Thesaurus" or "Compendium of Knowledge" in respect of any particular branch of learning. This is the case in the "Gardener's Labyrinth" of Didymus Mountayne (Thomas Hill), to which we referred in Chapter XIII. The title has no reference to the discourse on mazes which occupies a small section of the book, but simply means the gardener's book of instructions or _vade mecum_. Much the same meaning is conveyed also by the title of a rather earlier book, the "Labyrinthus Medicorum Errantium" or "Labyrinth of Lost Physicians," which was one of the last works of the great Swiss doctor and alchemist Paracelsus, and was published in 1553, twelve years after his death. The Polish educational reformer Komensky, better known as Comenius (1592-1671), likewise published a "Labyrinthus" of this kind. An English translation of it was printed early in the present century under the title of "The Labyrinth of the World and the Paradise of the Heart." The "Labyrinthus" or "Laborintus" ascribed to the monk Eberhard of Bethune, who wrote in A.D. 1212 or thereabouts, is an elaborate and critical treatise on poetry and pedagogics; it is alternatively entitled "De Miseriis Rectorum Scholarum," and its reiterated plaints on the woes of the schoolmaster should find an echo in the heart of many a present-day instructor of youth. "_Love_ in these labyrinths his slaves detains," sang Pope; but he was only making use of an old and well-worn metaphor, which we mention at the moment because it has so often figured in book-titles. In 1593 Dr. G. Fletcher, uncle of the dramatist, wrote a poem of ingenious form entitled "A Lover's Maze." A similar title, "Love in a Maze," was given by Shirley to one of his plays, a performance of which was witnessed by Pepys on May 22, 1662. "The play hath little in it," says Pepys, "but Lacy's part of a country fellow, which he did to admiration." In 1611 a suite of poems entitled "Le Labyrinthe d'Amour" was published by a French poet, who modestly veiled his identity behind the initials "H. F. S. D. C." A century and a half later another French writer, equally retiring--his initials were "T. M."--wrote an _opéra comique_ of the same name. One would almost think that there was something shameful or dangerous in allowing one's identity to be revealed in connection with works bearing such titles, for we find the same desire for anonymity in the writer of some poems entitled "The Maze" which appeared in 1815, headed by a quotation from Cowper: "... to and fro, Caught in a labyrinth you go."