Whitney combines Freitag’s and Reusner’s Emblems under one motto (p. 189), _In sinu alere serpentem_,—“To nourish a serpent in the bosom,”—but applies them to the siege of Antwerp in 1585 in a way which Schiller’s famous history fully confirms:[112]—“The government of the citizens was shared among too many hands, and too strongly influenced by a disorderly populace to allow any one to consider with calmness, to decide with judgment, or to execute with firmness.” The typical Sinon is here introduced by Whitney,— “Thovghe, cittie stronge the cannons shotte dispise, And deadlie foes, beseege the same in vaine: Yet, in the walles if pining famine rise, Or else some impe of SINON, there remaine. What can preuaile your bulwarkes? and your towers, When, all your force, your inwarde foe deuoures.” In fact, Sinon seems to have been the accepted representative of treachery in every form; for when Camillus, at the siege of Faleria, rewarded the Schoolmaster as he deserved for attempting to give up his scholars into captivity, the occurence is thus described in the _Choice of Emblemes_, p. 113,— “With that, hee caus’de this SINON to bee stripte, And whippes, and roddes, vnto the schollers gaue: Whome, backe againe, into the toune they whipte.” Shakespeare is even more frequent in his allusions to this same Sinon. The _Rape of Lucrece_, published in 1594, speaks of him as “the perjured Sinon,” “the false Sinon,” “the subtle Sinon,” and avers (vol. ix. p. 537, l. 1513),— “Like a constant and confirmed devil, He entertain’d a show so seeming just, And therein so ensconc’d his secret evil,— That jealousy itself could not mistrust, False creeping craft and perjury should thrust Into so bright a day such black-faced storms, Or blot with hell-born sin such saint-like forms.” Also in _3 Henry VI._ (act. iii. sc. 2, l. 188, vol. v. p. 285), and in _Titus Andronicus_ (act. v. sc. 3, l. 85, vol. vi. p. 527), we read,— “I’ll play the orator as well as Nestor, Deceive more slyly than Ulysses could, And like a Sinon, take another Troy;” and,— “Tell us what Sinon hath bewitch’d our ears, Or who hath brought the fatal engine in That gives our Troy, our Rome, the civil wound.” But in _Cymbeline_ (act. iii. sc. 4, l. 57, vol. ix. p. 226), Æneas is joined in almost the same condemnation with Sinon. Pisano expostulates with Imogen,—