[Footnote 21: In this Ode is contained all the use which our poet made of his knowledge of the Saxon manners, gleaned from Bede and Bochart. It is certain, that the Saxons, like the other Northmen, used the horrible superstition of human sacrifices. Woden, Freya or Frigga his wife, and Thor the god of war, were worshipped by the Saxons with probably the same attributes ascribed to them as in Denmark and Sweden. The casting of lots is mentioned by Alfred in his version of Bede, _pluton mid tanum_, "they cast lots with twigs." Much, and most extensive learning, has been displayed on the subject, by Mr Turner, in the fourth volume of his Anglo-Saxon History.] [Footnote 22: This long stage direction contains an attempt to render interesting what is necessarily ridiculous. With all the assistance of bloody spunges, a stage combat must be always a ludicrous representation of a real one. We are content, in old plays, to let it pass, as a hieroglyphic, which conveys to us the author's meaning; but modern dramatists would do well to obscure their combats, if the termination is to be a bloody one.] [Footnote 23: The Nine Worthies were equally divided among three religions; namely, Three Pagans, Hector, Pompey, and Alexander the Great; three Jews, Joshua, David, and Judas Machabæus; and three Christians, Arthur, Charlemagne, and Godfrey of Boulogne.] [Footnote 24: In this passage, Dryden's discontent with the existing circumstances glances out: It is probable, that much was here omitted, or altered, which would have adorned the termination of the piece, had it been represented to Charles II. as originally designed by the author.] [Footnote 25: With a slight alteration in spelling, a modern poet would have written _Bond-Street_ beaux. A billet-doux from _Bow-Street_ would be now more alarming than flattering.] CLEOMENES, THE SPARTAN HERO, A TRAGEDY. TO WHICH IS PREFIXED THE LIFE OF CLEOMENES, BY MR THOMAS CREECH. _His armis, illâ quoque tutus in Aulâ._--JUV. Sat. iv. CLEOMENES.