It is remarkable that the use of the name of the goddess of corn instead of bread itself ("Cereris," l. 437) should have suggested to the English writer a similar metaphorical use of the names of Morpheus and Bacchus. Another small point worthy of note is the introduction of a jest into the midst of this mournful scene; Ovid's: "Et, quantum motu formosi suspicor oris, Verba refers aures non pervenientia nostras" being irreverently rendered by: "And by thy lippes moving, well I doe suppose Woordes thou dost speake, may well come to our nose; For to oure eares I am sure they never passe." Ovid's Narcissus discovers his own identity with the vision (_Met._ iii. 463), which the English version ignores; while, on the other hand, the prophecy of ll. 730-731: "I, which whilome was The flower of youth, shalbee made flower againe" finds no counterpart in Ovid. Many of the reflections and entreaties ascribed to Narcissus in the Latin version are omitted in the English; neither is there any mention of the beating of the breast (_Met._ iii. 480-485). The final conversation with Echo is given thus by Ovid: Eheu! Eheu! Heu frustra dilecte puer! Heu frustra dilecte puer! Vale! Vale! The English writer somewhat amplifies this, Echo being always a favourite stage-character. The rising up of Narcissus after death is an English expedient; so is Echo's return to give a final account of herself, the matter of which is suggested, as has been said, by _Met._ iii. 393-401. So much for the classical basis of the play; it remains to notice briefly the points in which it resembles an English comedy, or shows traces of the influence of other English writers. Most remarkable in the latter connection is the frequent coincidence of expressions between the _Narcissus_ and Shakspere's _Henry IV._ (Part 1.). Amongst these are the following: L. 78. Ladds of metall. Cf. 1 _Henry IV._, ii. 4, 13. 80. No vertue extant " ii. 4, 132. 111. I tickle (them) for " ii. 4, 489. 422. Never ioyd (it) since " ii. 1, 13. 575. Kee (= quoth) pickpurse " ii. 1, 53. 734. (My) grandam earth " iii. 1, 34. See also the notes on ll. 282, 396, and 683. As _Henry IV._ was entered at Stationers' Hall February 25th, 1597, and the first quarto appeared in 1598, it is quite possible that these may be direct borrowings on the part of the writer of the _Narcissus_. A common trick of English burlesque at this time (cf. _Midsummer Night's Dream_, v. 1, 337, etc.) was the inversion of epithets, producing nonsensical combinations; an expedient which, if we condemn it as poor wit, we must at least allow to fall under the definition of humour as "the unexpected." A good example of this occurs in ll. 360, 361: "So cruell as the huge camelion, Nor yet so changing as small elephant." And another in ll. 677, 678: