The lady, who was sensible that it had been always her fault they were not married, answered, that she was willing; and going herself to her father and mother, she acquainted them with her intention. This gave them the utmost satisfaction; and the next Sunday the marriage was solemnized with all possible demonstrations of joy. And that spectacle was not attended with this good alone; but all the women of Ravenna, for the time to come, were so terrified with it, that they were more ready to listen to, and oblige the men, than ever they had been before. CYMON AND IPHIGENIA. Beroaldus, who translated this novel into Latin, and published it in Paris in 1499, affirms, that it is taken from the annals of the kingdom of Cyprus; and from his intimacy with Hugo IV., king of that island, may perhaps have had grounds for saying so, besides Boccaccio's own allegation to the same effect. Whether entirely fictitious, or grounded upon historical fact, it is one of those novels which have added most to the reputation of the "Decameron;" nor has the version of Dryden been the least admired among his poems. This popularity seems entirely due to the primary incident, the reforming of Cymon from his barbarism and idiocy, by the influence of a passion, which almost all have felt at one period of their life, and love to read and hear of ever afterwards. Perhaps the original idea of Cymon's conversion is to be found in the Idyl of Theocritus, entitled ΒΟΥΚΟΛΙΣΚΟΣ. There is not in our language a strain of more beautiful and melodious poetry, than that so often quoted, in which Dryden describes the sleeping nymph, and the effect of her beauty upon the clownish Cymon. But it is only sufficient to mention that passage, to recal it to the recollection of every general reader, and of most who have read any poetry at all. The narrative, it must be confessed, is otherwise inartificial, and bears little proportion, or even reference, to this most striking and original incident. Cymon might have carried off Iphigene, and all the changes of fortune which afterwards take place might have happened, though his love had commenced in an ordinary manner; nor is there any thing in his character or mode of conduct, which calls back to our recollection, his having such a miraculous instance of the power of love. In short, in the progress of the tale, we quite lose sight of its original and striking commencement; nor do we find much compensation by the introduction of the new actor Lysander, with whose passion and disappointment we have little sympathy; and whose expedients, as Dryden plainly confesses, are no other than an abuse of his public office by the commission of murder and rape. These are perhaps too critical objections to a story, which Dryden took from Boccaccio, as Boccaccio had probably taken it from some old annalist, as containing a striking instance of the power of the gentler affections, in regulating and refining the human mind, and a curious illustration of