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Dr Thomas Warton, indeed, was disposed to regard Tusser as the mere rude beginner of what Mason perfected in his 'English Garden;' but it is a reasonable matter of taste whether the latter work at all comes up to the former in aught save an elegance bordering on affectation; and certainly there is nothing in Mason to suggest the faintest comparison with Hesiod's didactic poem. Tusser's work is probably its closest parallel in all the intervening ages.

It remains to inquire whether Hesiod's 'Theogony' has found with posterity as close an imitator as the work on which we have been dwelling. But this question is easily answered in the negative. The attempts of the so-called Orphic poets—the most considerable of whom were Cercops, a Pythagorean, and Onomacritus, a contemporary of the Pisistratids—to improve on the elder theogonies and cosmogonies, can hardly be mentioned in this category, being more mystical than mythical, and in the nature of refinements and abstractions, higher than the Hesiodic chaos. Nor, though full of mythologic learning even to cumbrousness, can the five hymns of the Alexandrian Callimachus be said to have aught of resemblance to the venerable system of Greek theogonies, which owes its promulgation to the genius of Hesiod. Studied and laboured to a fault, the legends which he connects