1. And first from great Antiquity, and before the Melody of _Syrens_, the Musical note of Swans hath been commended, and that they sing most sweetly before their death. For thus we read in _Plato_, that from the opinion of _Metempsuchosis_, or transmigration of the souls of men into the bodies of beasts most sutable unto their humane condition, after his death, _Orpheus_ the Musician became a Swan. Thus was it the bird of _Apollo_ the god of Musick by the _Greeks_; and an Hieroglyphick of musick among the _Egyptians_, from whom the _Greeks_ derived the conception; hath been the affirmation of many Latines, and hath not wanted assertors almost from every Nation. [Sidenote: _Of swans, and their singing before death._] All which notwithstanding, we find this relation doubtfully received by _Ælian_, as an hear-say account by _Bellonius_, as a false one by _Pliny_, expresly refuted by _Myndius_ in _Athenæus_; and severely rejected by _Scaliger_; whose words unto _Cardan_ are these: _De Cygni vero cantu suavissimo quem cum parente mendaciorum Græcia jactare ausus est, ad Luciani tribunal, apud quem novi aliquid dicas, statuo._ Authors also that countenance it, speak not satisfactorily of it. Some affirming they sing not till they die; some that they sing, yet die not. Some speak generally, as though this note were in all; some but particularly, as though it were only in some; some in places remote, and where we can have no trial of it; others in places where every experience can refute it; as _Aldrovandus_ upon relation delivered, concerning the Musick of the Swans on the river of _Thames_ near _London_. [Sidenote: _The figuration to be found in Elks, and not in common Swans._]