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+The Project Gutenberg EBook of The Satires of A. Persius Flaccus, by 
+A. Persius Flaccus (AKA Persius)
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Satires of A. Persius Flaccus
+
+Author: A. Persius Flaccus (AKA Persius)
+
+Editor: Basil L. Gildersleeve
+
+Release Date: July 22, 2007 [EBook #22119]
+
+Language: Latin
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SATIRES OF A. PERSIUS FLACCUS ***
+
+
+
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+  [Transcriber’s Note:
+
+  This e-text includes characters that will only display in UTF-8
+  (Unicode) file encoding, including a number of Greek words:
+
+    Συνίσταντο οἱ μὲν ὡς τοῦτον, οἱ δ᾽ ὡς ἐκεῖνον....
+    ă, ĕ; ā, ē, ī, ō (letters with breve or macron)
+
+  If any of these characters do not display properly--in particular,
+  if the diacritic does not appear directly above the letter--or if the
+  quotation marks in this paragraph appear as garbage, make sure your
+  text reader’s “character set” or “file encoding” is set to Unicode
+  (UTF-8). You may also need to change the default font. As a last
+  resort, use the latin-1 version of the file instead.
+
+  In the printed text, emphasis within italicized passages was shown by
+  gesperrt (spaced-out) text. This is shown here with #marks#, as is
+  #boldface# type. Bold and gesperrt never occur in the same contexts.
+  Italics are shown by _lines_. In the Critical Appendix, superscript
+  α and ω are shown in braces as {α} and {ω}.
+
+  The Notes and Critical Appendix were printed in a block at the end of
+  the book. For this e-text, they have been regrouped so each Satire
+  with its notes forms a discrete unit. In addition, the Satires alone--
+  totaling about 700 lines-- have been repeated at the beginning of the
+  text, before the Introduction.]
+
+
+
+
+                    THE SATIRES
+                         of
+                 A. PERSIUS FLACCUS
+
+                     Edited By
+
+  BASIL L. GILDERSLEEVE, Ph.D. (Göttingen), LL.D.,
+  Professor of Greek in the University of Virginia.
+
+
+    [Publisher’s Device: ΛΑΜΠΑΔΙΑ ΕΧΟΝΤΕΣ ΔΙΑΔΩΣΟΥΣΙΝ ΑΛΛΗΛΟΙΣ]
+
+
+  New York:
+  Harper & Brothers, Publishers,
+  Franklin Square.
+  1875.
+
+
+
+
+  Entered according to Act of Congress, in the year 1875, by
+  HARPER & BROTHERS,
+  In the Office of the Librarian of Congress, at Washington.
+
+
+
+
+PREFACE.
+
+
+The text of this edition of Persius is in the main that of Jahn’s last
+recension (1868). The few changes are discussed in the Notes and
+recorded in the Critical Appendix.
+
+In the preparation of the Notes I have made large use of Jahn’s standard
+edition, without neglecting the commentaries of Casaubon, König, and
+Heinrich, or the later editions by Macleane, Pretor, and Conington, or
+such recent monographs on Persius as I have been able to procure.
+Special obligations have received special acknowledgment.
+
+My personal contributions to the elucidation of Persius are too slight
+to warrant me in following the prevalent fashion and cataloguing the
+merits of my work under the modest guise of aims and endeavors. I shall
+be contenf, if I have succeeded in making Persius less distasteful to
+the general student; more than content, if those who have devoted long
+and patient study to this difficult author shall accord me the credit of
+an honest effort to make myself acquainted with the poet himself as well
+as with his chief commentators.
+
+In compliance with the wish of the distinguished scholar at whose
+instance I undertook this work, Professor Charles Short, of Columbia
+College, New York, I have inserted references to my Latin Grammar and to
+the Grammar of Allen and Greenough, here and there to Madvig.
+
+B. L. GILDERSLEEVE.
+
+UNIVERSITY OF VIRGINIA, _February_, 1875.
+
+
+
+
+  CONTENTS.
+
+                                        Page
+
+  INTRODUCTION                           VII
+
+  A. PERSII FLACCI SATURARUM LIBER        39
+
+  VITA PERSII                             65
+  NOTES                                   71
+  CRITICAL APPENDIX                      207
+  INDEX                                  211
+
+
+       *       *       *       *       *
+
+  A. PERSII FLACCI
+
+  SATURARUM
+
+  LIBER.
+
+
+    [Duplicated material:
+    see Transcriber’s Note at beginning of e-text.]
+
+
+  PROLOGUS.
+
+
+  Nec fonte labra prolui caballino,
+  nec in bicipiti somniasse Parnaso
+  memini, ut repente sic poeta prodirem.
+  Heliconidasque pallidamque Pirenen
+  illis remitto, quorum imagines lambunt                           5
+  hederae sequaces: ipse semipaganus
+  ad sacra vatum carmen adfero nostrum.
+  quis expedivit psittaco suum chaere
+  picamque docuit nostra verba conari?
+  magister artis ingenique largitor                               10
+  venter, negatas artifex sequi voces;
+  quod si dolosi spes refulserit nummi,
+  corvos poetas et poetridas picas
+  cantare credas Pegaseium nectar.
+
+
+
+
+  SATURA I.
+
+
+  O curas hominum! o quantum est in rebus inane!
+  ‘Quis leget haec?’ Min tu istud ais? nemo hercule! ‘Nemo?’
+  Vel duo, vel nemo. ‘Turpe et miserabile!’ Quare?
+  ne mihi Polydamas et Troiades Labeonem
+  praetulerint? nugae. non, si quid turbida Roma                   5
+  elevet, accedas examenque inprobum in illa
+  castiges trutina, nec te quaesiveris extra.
+  nam Romae quis non--? a, si fas dicere-- sed fas
+  tum, cum ad canitiem et nostrum istud vivere triste
+  aspexi ac nucibus facimus quaecumque relictis,                  10
+  cum sapimus patruos; tunc, tunc, ignoscite-- ‘Nolo.’
+  Quid faciam? sed sum petulanti splene cachinno.
+    Scribimus inclusi, numeros ille, his pede liber,
+  grande aliquid, quod pulmo animae praelargus anhelet.
+  scilicet haec populo pexusque togaque recenti                   15
+  et natalicia tandem cum sardonyche albus
+  sede leges celsa, liquido cum plasmate guttur
+  mobile collueris, patranti fractus ocello.
+  hic neque more probo videas nec voce serena
+  ingentis trepidare Titos, cum carmina lumbum                    20
+  intrant, et tremulo scalpuntur ubi intima versu.
+  tun, vetule, auriculis alienis colligis escas?
+  auriculis, quibus et dicas cute perditus _ohe_.
+  ‘Quo didicisse, nisi hoc fermentum et quae semel intus
+  innata est rupto iecore exierit caprificus?’                    25
+  En pallor seniumque! o mores! usque adeone
+  scire tuum nihil est, nisi te scire hoc sciat alter?
+  ‘At pulchrum est digito monstrari et dicier _hic est!_
+  ten cirratorum centum dictata fuisse
+  pro nihilo pendas?’ Ecce inter pocula quaerunt                  30
+  Romulidae saturi, quid dia poemata narrent.
+  hic aliquis, cui circa umeros hyacinthia laena est,
+  rancidulum quiddam balba de nare locutus,
+  Phyllidas Hypsipylas, vatum et plorabile si quid,
+  eliquat ac tenero supplantat verba palato.                      35
+  adsensere viri: nunc non cinis ille poetae
+  felix? non levior cippus nunc inprimit ossa?
+  laudant convivae: nunc non e manibus illis,
+  nunc non e tumulo fortunataque favilla
+  nascentur violae? ‘Rides’ ait ‘et nimis uncis                   40
+  naribus indulges. an erit qui velle recuset
+  os populi meruisse et cedro digna locutus
+  linquere nec scombros metuentia carmina nec tus?’
+    Quisquis es, o, modo quem ex adverso dicere feci,
+  non ego cum scribo, si forte quid aptius exit,                  45
+  quando haec rara avis est, si quid tamen aptius exit,
+  laudari metuam, neque enim mihi cornea fibra est;
+  sed recti finemque extremumque esse recuso
+  euge tuum et belle. nam belle hoc excute totum:
+  quid non intus habet? non hic est Ilias Atti                    50
+  ebria veratro? non si qua elegidia crudi
+  dictarunt proceres? non quidquid denique lectis
+  scribitur in citreis? calidum seis ponere sumen,
+  scis comitem horridulum trita donare lacerna,
+  et ‘verum’ inquis ‘amo: verum mihi dicite de me.’               55
+  qui pote? vis dicam? nugaris, cum tibi, calve,
+  pinguis aqualiculus protenso sesquipede exstet.
+  o Iane, a tergo quem nulla ciconia pinsit,
+  nec manus auriculas imitari mobilis albas,
+  nec linguae, quantum, sitiat canis Apula, tantae!               60
+  vos, o patricius sanguis, quos vivere fas est
+  occipiti caeco, posticae occurrite sannae!
+    Quis populi sermo est? quis enim, nisi carmina molli
+  nunc demum numero fluere, ut per leve severos
+  effundat iunctura unguis? scit tendere versum                   65
+  non secus ac si oculo rubricam derigat uno.
+  sive opus in mores, in luxum, in prandia regum
+  dicere, res grandis nostro dat Musa poetae.
+  ecce modo heroas sensus adferre videmus
+  nugari solitos graece, nec ponere lucum                         70
+  artifices nec rus saturum laudare, ubi corbes
+  et focus et porci et fumosa Palilia faeno,
+  unde Remus, sulcoque terens dentalia, Quinti,
+  cum trepida ante boves dictatorem induit uxor
+  et tua aratra domum lictor tulit-- euge poeta!                  75
+  est nunc Brisaei quem venosus liber Acci,
+  sunt quos Pacuviusque et verrucosa moretur
+  Antiopa, aerumnis cor luctificabile fulta.
+  hos pueris monitus patres infundere lippos
+  cum videas, quaerisne, unde haec sartago loquendi               80
+  venerit in linguas, unde istuc dedecus, in quo
+  trossulus exsultat tibi per subsellia levis?
+  nilne pudet capiti non posse pericula cano
+  pellere, quin tepidum hoc optes audire _decenter_?
+  ‘Fur es’ ait Pedio. Pedius quid? crimina rasis                  85
+  librat in antithetis: doctas posuisse figuras
+  laudatur ‘bellum hoc!’ hoc bellum? an, Romule, ceves?
+  men moveat? quippe et, cantet si naufragus, assem
+  protulerim. cantas, cum fracta te in trabe pictum
+  ex umero portes? verum, nec nocte paratum                       90
+  plorabit, qui me volet incurvasse querela.
+    ‘Sed numeris decor est et iunctura addita crudis.
+  cludere sic versum didicit _Berecyntius Attis_
+  et _qui caeruleum dirimebat Nerea delphin_
+  sic _costam longo subduximus Appennino_.                        95
+  _Arma virum_, nonne hoc spumosum et cortice pingui,
+  ut ramale vetus vegrandi subere coctum?’
+  ‘Quidnam igitur tenerum et laxa cervice legendum?
+  _Torva mimalloneis inplerunt cornua bombis,_
+  _et raptum vitulo caput ablatura superbo_                      100
+  _Bassaris et lyncem Maenas flexura corymbis_
+  _euhion ingeminat, reparabilis adsonat echo?’_
+  haec fierent, si testiculi vena ulla paterni
+  viveret in nobis? summa delumbe saliva
+  hoc natat in labris, et in udo est Maenas et Attis,            105
+  nec pluteum caedit, nec demorsos sapit unguis.
+    ‘Sed quid opus teneras mordaci radere vero
+  auriculas? vide sis, ne maiorum tibi forte
+  limina frigescant: sonat hic de nare canina
+  littera.’ Per me equidem sint omnia protinus alba;             110
+  nil moror. euge! omnes, omnes bene mirae eritis res.
+  hoc iuvat? ‘hic’ inquis ‘veto quisquam faxit oletum.’
+  pinge duos anguis: pueri, sacer est locus, extra
+  meite! discedo. secuit Lucilius urbem,
+  te Lupe, te Muci, et genuinum fregit in illis;                 115
+  omne vafer vitium ridenti Flaccus amico
+  tangit et admissus circum praecordia ludit,
+  callidus excusso populum suspendere naso:
+  men muttire nefas? nec clam, nec cum scrobe? nusquam?
+  hic tamen infodiam. vidi, vidi ipse, libelle:                  120
+  auriculas asini quis non habet? hoc ego opertum,
+  hoc ridere meum, tam nil, nulla tibi vendo
+  Iliade. audaci quicumque adflate Cratino
+  iratum Eupolidem praegrandi cum sene palles,
+  aspice et haec, si forte aliquid decoctius audis.              125
+  inde vaporata lector mihi ferveat aure:
+  non hic, qui in crepidas Graiorum ludere gestit
+  sordidus, et lusco qui possit dicere ‘lusce,’
+  sese aliquem credens, Italo quod honore supinus
+  fregerit heminas Arreti aedilis iniquas;                       130
+  nec qui abaco numeros et secto in pulvere metas
+  scit risisse vafer, multum gaudere paratus,
+  si cynico barbam petulans nonaria vellat.
+  his mane edictum, post prandia Calliroen do.
+
+
+
+
+  SATURA II.
+
+
+  Hunc, Macrine, diem numera meliore lapillo
+  qui tibi labentis apponit candidus annos.
+  funde merum genio. non tu prece poscis emaci,
+  quae nisi seductis nequeas committere divis;
+  at bona pars procerum tacita libabit acerra.                     5
+  haud cuivis promptum est murmurque humilisque susurros
+  tollere de templis et aperto vivere voto.
+  ‘Mens bona, fama, fides’ haec clare et ut audiat hospes;
+  illa sibi introrsum et sub lingua murmurat ‘o si
+  ebulliat patruus, praeclarum funus?’ et ‘o si                   10
+  sub rastro crepet argenti mihi seria dextro
+  Hercule! pupillumve utinam, quem proximus heres
+  inpello, expungam! namque est scabiosus et acri
+  bile tumet. Nerio iam tertia conditur uxor.’
+  haec sancte ut poscas, Tiberino in gurgite mergis               15
+  mane caput bis terque et noctem flumine purgas?
+  heus age, responde-- minimum est quod scire laboro--
+  de Iove quid sentis? estne ut praeponere cures
+  hunc-- ‘cuinam?’ cuinam? vis Staio? an scilicet haeres?
+  quis potior index, puerisve quis aptior orbis?                  20
+  hoc igitur, quo tu Iovis aurem inpellere temptas,
+  dic agedum Staio, ‘pro Iuppiter! o bone’ clamet
+  ‘Iuppiter!’ at sese non clamet Iuppiter ipse?
+  ignovisse putas, quia, cum tonat, ocius ilex
+  sulpure discutitur sacro quam tuque domusque?                   25
+  an quia non fibris ovium Ergennaque iubente
+  triste iaces lucis evitandumque bidental,
+  idcirco stolidam praebet tibi vellere barbam
+  Iuppiter? aut quidnam est, qua tu mercede deorum
+  emeris auriculas? pulmone et lactibus unctis?                   30
+    Ecce avia aut metuens divum matertera cunis
+  exemit puerum frontemque atque uda labella
+  infami digito et lustralibus ante salivis
+  expiat, urentis oculos inhibere perita;
+  tunc manibus quatit et spem macram supplice voto                35
+  nunc Licini in campos, nunc Crassi mittit in aedis
+  ‘hunc optet generum rex et regina! puellae
+  hunc rapiant! quidquid calcaverit hic, rosa fiat!’
+  ast ego nutrici non mando vota: negato,
+  Iuppiter, haec illi, quamvis te albata rogarit.                 40
+  Poscis opem nervis corpusque fidele senectae.
+  esto age; sed grandes patinae tuccetaque crassa
+  adnuere his superos vetuere Iovemque morantur.
+  Rem struere exoptas caeso bove Mercuriumque
+  arcessis fibra ‘da fortunare Penatis,                           45
+  da pecus et gregibus fetum!’ quo, pessime, pacto,
+  tot tibi cum in flammas iunicum omenta liquescant
+  et tamen hic extis et opimo vincere ferto
+  intendit ‘iam crescit ager, iam crescit ovile,
+  iam dabitur, iam iam!’ donec deceptus et exspes                 50
+  nequiquam fundo suspiret nummus in imo.
+    Si tibi creterras argenti incusaque pingui
+  auro dona feram, sudes et pectore laevo
+  excutiat guttas laetari praetrepidum cor.
+  hinc illud subiit, auro sacras quod ovato                       55
+  perducis facies; nam fratres inter aenos
+  somnia pituita qui purgatissima mittunt,
+  praecipui sunto sitque illis aurea barba.
+  aurum vasa Numae Saturniaque inpulit aera
+  Vestalisque urnas et Tuscum fictile mutat.                      60
+  o curvae in terris animae et caelestium inanes!
+  quid iuvat hoc, templis nostros inmittere mores
+  et bona dis ex hac scelerata ducere pulpa?
+  haec sibi corrupto casiam dissolvit olivo,
+  haec Calabrum coxit vitiato murice vellus,                      65
+  haec bacam conchae rasisse et stringere venas
+  ferventis massae crudo de pulvere iussit.
+  peccat et haec, peccat: vitio tamen utitur. at vos
+  dicite, pontifices, in sancto quid facit aurum?
+  nempe hoc quod Veneri donatae a virgine pupae.                  70
+  quin damus id superis, de magna quod dare lance
+  non possit magni Messallae lippa propago:
+  conpositum ius fasque animo sanctosque recessus
+  mentis et incoctum generoso pectus honesto.
+  haec cedo ut admoveam templis et farre litabo.                  75
+
+
+
+
+  SATURA III.
+
+
+  ‘Nempe haec adsidue: iam clarum mane fenestras
+  intrat et angustas extendit lumine rimas:
+  stertimus indomitum quod despumare Falernum
+  sufficiat, quinta dum linea tangitur umbra.
+  en quid agis? siccas insana canicula messis                      5
+  iam dudum coquit et patula pecus omne sub ulmo est.’
+  unus ait comitum. “Verumne? itane? ocius adsit
+  huc aliquis! nemon?” turgescit vitrea bilis:
+  “findor”-- ut Arcadiae pecuaria rudere dicas.
+  iam liber et positis bicolor membrana capillis                  10
+  inque manus chartae nodosaque venit harundo.
+  tunc querimur, crassus calamo quod pendeat umor,
+  nigra quod infusa vanescat sepia lympha;
+  dilutas querimur geminet quod fistula guttas.
+  o miser inque dies ultra miser, hucine rerum                    15
+  venimus? at cur non potius teneroque columbo
+  et similis regum pueris pappare minutum
+  poscis et iratus mammae lallare recusas?
+  “An tali studeam calamo?” Cui verba? quid istas
+  succinis ambages? tibi luditur. effluis amens,                  20
+  contemnere: sonat vitium percussa, maligne
+  respondet viridi non cocta fidelia limo.
+  udum et molle lutum es, nunc nunc properandus et acri
+  fingendus sine fine rota. sed rure paterno
+  est tibi far modicum, purum et sine labe salinum--              25
+  quid metuas?-- cultrixque foci secura patella.
+  hoc satis? an deceat pulmonem rumpere ventis,
+  stemmate quod Tusco ramum millesime ducis,
+  censoremne tuum vel quod trabeate salutas?
+  ad populum phaleras! ego te intus et in cute novi.              30
+  non pudet ad morem discincti vivere Nattae?
+  sed stupet hic vitio et fibris increvit opimum
+  pingue, caret culpa, nescit quid perdat, et alto
+  demersus summa rursum non bullit in unda.
+  magne pater divum, saevos punire tyrannos                       35
+  haud alia ratione velis, cum dira libido
+  moverit ingenium ferventi tincta veneno:
+  virtutem videant intabescantque relicta.
+  anne magis Siculi gemuerunt aera iuvenci,
+  et magis auratis pendens laquearibus ensis                      40
+  purpureas subter cervices terruit, ‘imus,
+  imus praecipites’ quam si sibi dicat et intus
+  palleat infelix, quod proxima nesciat uxor?
+    Saepe oculos, memini, tangebam parvus olivo,
+  grandia si nollem morituri verba Catonis                        45
+  discere, non sano multum laudanda magistro,
+  quae pater adductis sudans audiret amicis.
+  iure; etenim id summum, quid dexter senio ferret,
+  scire erat in voto; damnosa canicula quantum
+  raderet; angustae collo non fallier orcae;                      50
+  neu quis callidior buxum torquere flagello.
+  haud tibi inexpertum curvos deprendere mores,
+  quaeque docet sapiens bracatis inlita Medis
+  porticus, insomnis quibus et detonsa iuventus
+  invigilat, siliquis et grandi pasta polenta;                    55
+  et tibi quae Samios diduxit littera ramos
+  surgentem dextro monstravit limite callem.
+  stertis adhuc, laxumque caput conpage soluta
+  oscitat hesternum, dissutis undique malis!
+  est aliquid quo tendis, et in quod dirigis arcum?               60
+  an passim sequeris corvos testaque lutoque,
+  securus quo pes ferat, atque ex tempore vivis?
+  helleborum frustra, cum iam cutis aegra tumebit,
+  poscentis videas: venienti occurrite morbo!
+  et quid opus Cratero magnos promittere montis?                  65
+  discite, o miseri, et causas cognoscite rerum:
+  quid sumus, et quidnam victuri gignimur; ordo
+  quis datus, aut metae qua mollis flexus et unde;
+  quis modus argento, quid fas optare, quid asper
+  utile nummus habet; patriae carisque propinquis                 70
+  quantum elargiri deceat; quem te deus esse
+  iussit, et humana qua parte locatus es in re.
+  disce, nec invideas, quod multa fidelia putet
+  in locuplete penu, defensis pinguibus Umbris,
+  et piper et pernae, Marsi monumenta clientis,                   75
+  menaque quod prima nondum defecerit orca.
+    Hic aliquis de gente hircosa centurionum
+  dicat ‘Quod sapio satis est mihi. non ego curo
+  esse quod Arcesilas aerumnosique Solones,
+  obstipo capite et figentes lumine terram,                       80
+  murmura cum secum et rabiosa silentia rodunt
+  atque exporrecto trutinantur verba labello,
+  aegroti veteris meditantes somnia, _gigni_
+  _de nihilo nihilum, in nihilum nil posse reverti._
+  hoc est, quod palles? cur quis non prandeat, hoc est?’          85
+  His populus ridet, multumque torosa iuventus
+  ingeminat tremulos naso crispante cachinnos.
+    ‘Inspice; nescio quid trepidat mihi pectus et aegris
+  faucibus exsuperat gravis alitus; inspice, sodes!’
+  qui dicit medico, iussus requiescere, postquam                  90
+  tertia conpositas vidit nox currere venas,
+  de maiore domo modice sitiente lagoena
+  lenia loturo sibi Surrentina rogabit.
+  ‘Heus, bone, tu palles!’ “Nihil est.” ‘Videas tamen istuc,
+  quidquid id est: surgit tacite tibi lutea pellis.’              95
+  “At tu deterius palles; ne sis mihi tutor;
+  iam pridem hunc sepeli: tu restas.” ‘Perge, tacebo.’
+  turgidus hic epulis atque albo ventre lavatur,
+  gutture sulpureas lente exalante mefites;
+  sed tremor inter vina subit calidumque triental                100
+  excutit e manibus, dentes crepuere retecti,
+  uncta cadunt laxis tunc pulmentaria labris.
+  hinc tuba, candelae, tandemque beatulus alto
+  conpositus lecto crassisque lutatus amomis
+  in portam rigidas calces extendit: at illum                    105
+  hesterni capite induto subiere Quirites.
+    ‘Tange, miser, venas et pone in pectore dextram.
+  nil calet hic. summosque pedes attinge manusque.
+  non frigent.’ Visa est si forte pecunia, sive
+  candida vicini subrisit molle puella,                          110
+  cor tibi rite salit? positum est algente catino
+  durum holus et populi cribro decussa farina:
+  temptemus fauces, tenero latet ulcus in ore
+  putre, quod haud deceat plebeia radere beta.
+  alges, cum excussit membris timor albus aristas;               115
+  nunc face supposita fervescit sanguis et ira
+  scintillant oculi, dicisque facisque, quod ipse
+  non sani esse hominis non sanus iuret Orestes.
+
+
+
+
+  SATURA IV.
+
+
+  ‘Rem populi tractas?’ barbatum haec crede magistrum
+  dicere, sorbitio tollit quem dira cicutae
+  ‘quo fretus? dic hoc, magni pupille Pericli.
+  scilicet ingenium et rerum prudentia velox
+  ante pilos venit, dicenda tacendaque calles.                     5
+  ergo ubi commota fervet plebecula bile,
+  fert animus calidae fecisse silentia turbae
+  maiestate manus. quid deinde loquere? “Quirites,
+  hoc puta non iustum est, illud male, rectius illud.”
+  scis etenim iustum gemina suspendere lance                      10
+  ancipitis librae, rectum discernis, ubi inter
+  curva subit, vel cum fallit pede regula varo,
+  et potis es nigrum vitio praefigere theta.
+  quin tu igitur, summa nequiquam pelle decorus,
+  ante diem blando caudam iactare popello                         15
+  desinis, Anticyras melior sorbere meracas!
+  quae tibi summa boni est? uncta vixisse patella
+  semper et adsiduo curata cuticula sole?
+  exspecta, haud aliud respondeat haec anus. i nunc
+  “Dinomaches ego sum,” suffla “sum candidus.” esto;              20
+  dum ne deterius sapiat pannucia Baucis,
+  cum bene discincto cantaverit ocima vernae.’
+    Ut nemo in sese temptat descendere, nemo,
+  sed praecedenti spectatur mantica tergo!
+  quaesieris ‘Nostin Vettidi praedia?’ “Cuius?”                   25
+  ‘Dives arat Curibus quantum non miluus errat.’
+  “Hunc ais, hunc dis iratis genioque sinistro,
+  qui, quandoque iugum pertusa ad compita figit,
+  seriolae veterem metuens deradere limum
+  ingemit: _hoc bene sit!_ tunicatum cum sale mordens             30
+  caepe et farrata pueris plaudentibus olla
+  pannosam faecem morientis sorbet aceti?”
+  at si unctus cesses et figas in cute solem,
+  est prope te ignotus, cubito qui tangat et acre
+  despuat ‘hi mores! penemque arcanaque lumbi                     35
+  runcantem populo marcentis pandere vulvas!
+  tu cum maxillis balanatum gausape pectas,
+  inguinibus quare detonsus gurgulio exstat?
+  quinque palaestritae licet haec plantaria vellant
+  elixasque nates labefactent forcipe adunca,                     40
+  non tamen ista filix ullo mansuescit aratro.’
+  caedimus inque vicem praebemus crura sagittis.
+  vivitur hoc pacto; sic novimus. ilia subter
+  caecum vulnus habes; sed lato balteus auro
+  praetegit. ut mavis, da verba et decipe nervos,                 45
+  si potes. ‘Egregium cum me vicinia dicat,
+  non credam?’ Viso si palles, inprobe, nummo,
+  si facis in penem quidquid tibi venit amarum,
+  si puteal multa cautus vibice flagellas:
+  nequiquam populo bibulas donaveris aures.                       50
+  respue, quod non es; tollat sua munera cerdo;
+  tecum habita: noris, quam sit tibi curta supellex.
+
+
+
+
+  SATURA V.
+
+
+  Vatibus hic mos est, centum sibi poscere voces,
+  centum ora et linguas optare in carmina centum,
+  fabula seu maesto ponatur hianda tragoedo,
+  vulnera seu Parthi ducentis ab inguine ferrum.
+  ‘Quorsum haec? aut quantas robusti carminis offas                5
+  ingeris, ut par sit centeno gutture niti?
+  grande locuturi nebulas Helicone legunto,
+  si quibus aut Prognes, aut si quibus olla Thyestae
+  fervebit, saepe insulso cenanda Glyconi;
+  tu neque anhelanti, coquitur dum massa camino,                  10
+  folle premis ventos, nec clauso murmure raucus
+  nescio quid tecum grave cornicaris inepte,
+  nec scloppo tumidas intendis rumpere buccas.
+  verba togae sequeris iunctura callidus acri,
+  ore teres modico, pallentis radere mores                        15
+  doctus et ingenuo culpam defigere ludo.
+  hinc trahe quae dicis, mensasque relinque Mycenis
+  cum capite et pedibus, plebeiaque prandia noris.’
+  Non equidem hoc studeo, bullatis ut mihi nugis
+  pagina turgescat, dare pondus idonea fumo.                      20
+  secreti loquimur; tibi nunc hortante Camena
+  excutienda damus praecordia, quantaque nostrae
+  pars tua sit, Cornute, animae, tibi, dulcis amice,
+  ostendisse iuvat: pulsa, dinoscere cautus,
+  quid solidum crepet et pictae tectoria linguae.                 25
+  his ego centenas ausim deposcere voces,
+  ut, quantum mihi te sinuoso in pectore fixi,
+  voce traham pura, totumque hoc verba resignent,
+  quod latet arcana non enarrabile fibra.
+    Cum primum pavido custos mihi purpura cessit                  30
+  bullaque succinctis Laribus donata pependit;
+  cum blandi comites totaque inpune Subura
+  permisit sparsisse oculos iam candidus umbo;
+  cumque iter ambiguum est et vitae nescius error
+  deducit trepidas ramosa in compita mentes,                      35
+  me tibi supposui: teneros tu suscipis annos
+  Socratico, Cornute, sinu; tum fallere sollers
+  apposita intortos extendit regula mores,
+  et premitur ratione animus vincique laborat
+  artificemque tuo ducit sub pollice vultum.                      40
+  tecum etenim longos memini consumere soles,
+  et tecum primas epulis decerpere noctes:
+  unum opus et requiem pariter disponimus ambo,
+  atque verecunda laxamus seria mensa.
+  non equidem hoc dubites, amborum foedere certo                  45
+  consentire dies et ab uno sidere duci
+  nostra vel aequali suspendit tempora Libra
+  Parca tenax veri, seu nata fidelibus hora
+  dividit in Geminos concordia fata duorum,
+  Saturnumque gravem nostro Iove frangimus una:                   50
+  nescio quod, certe est, quod me tibi temperat astrum.
+    Mille hominum species et rerum discolor usus;
+  velle suum cuique est, nec voto vivitur uno.
+  mercibus hic Italis mutat sub sole recenti
+  rugosum piper et pallentis grana cumini,                        55
+  hic satur inriguo mavult turgescere somno;
+  hic campo indulget, hunc alea decoquit, ille
+  in Venerem putris; sed cum lapidosa cheragra
+  fregerit articulos, veteris ramalia fagi,
+  tunc crassos transisse dies lucemque palustrem                  60
+  et sibi iam seri vitam ingemuere relictam.
+  at te nocturnis iuvat inpallescere chartis;
+  cultor enim iuvenum purgatas inseris aures
+  fruge Cleanthea. petite hinc puerique senesque
+  finem animo certum miserisque viatica canis!                    65
+  ‘Cras hoc fiet.’ Idem cras fiet. ‘Quid? quasi magnum
+  nempe diem donas.’ Sed cum lux altera venit,
+  iam cras hesternum consumpsimus: ecce aliud cras
+  egerit hos annos et semper paulum erit ultra.
+  nam quamvis prope te, quamvis temone sub uno                    70
+  vertentem sese frustra sectabere cantum,
+  cum rota posterior curras et in axe secundo.
+    Libertate opus est, non hac, ut, quisque Velina
+  Publius emeruit, scabiosum tesserula far
+  possidet. heu steriles veri, quibus una Quiritem                75
+  vertigo facit! hic Dama est non tressis agaso,
+  vappa lippus et in tenui farragine mendax:
+  verterit hunc dominus, momento turbinis exit
+  Marcus Dama. papae! Marco spondente recusas
+  credere tu nummos? Marco sub iudice palles?                     80
+  Marcus dixit: ita est; adsigna, Marce, tabellas.
+  haec mera libertas; hoc nobis pillea donant!
+  ‘An quisquam est alius liber, nisi ducere vitam
+  cui licet, ut voluit? licet ut volo vivere: non sum
+  liberior Bruto?’ “Mendose colligis,” inquit                     85
+  stoicus hic aurem mordaci lotus aceto
+  “haec reliqua accipio; _licet_ illud et _ut volo_ tolle.”
+  ‘Vindicta postquam meus a praetore recessi,
+  cur mihi non liceat, iussit quodcumque voluntas,
+  excepto si quid Masuri rubrica vetavit?’                        90
+  Disce, sed ira cadat naso rugosaque sanna,
+  dum veteres avias tibi de pulmone revello.
+  non praetoris erat stultis dare tenuia rerum
+  officia atque usum rapidae permittere vitae:
+  sambucam citius caloni aptaveris alto.                          95
+  stat contra ratio et secretam garrit in aurem,
+  ne liceat facere id quod quis vitiabit agendo.
+  publica lex hominum naturaque continet hoc fas,
+  ut teneat vetitos inscitia debilis actus.
+  diluis helleborum, certo conpescere puncto                     100
+  nescius examen: vetat hoc natura medendi.
+  navem si poscat sibi peronatus arator,
+  luciferi rudis, exclamet Melicerta perisse
+  frontem de rebus. tibi recto vivere talo
+  ars dedit, et veri speciem dinoscere calles,                   105
+  ne qua subaerato mendosum tinniat anro?
+  quaeque sequenda forent, quaeque evitanda vicissim,
+  illa prius creta, mox haec carbone notasti?
+  es modicus voti? presso lare? dulcis amicis?
+  iam nunc astringas, iam nunc granaria laxes,                   110
+  inque luto fixum possis transcendere nummum,
+  nec glutto sorbere salivam Mercurialem?
+  ‘haec mea sunt, teneo’ cum vere dixeris, esto
+  liberque ac sapiens praetoribus ac Iove dextro,
+  sin tu, cum fueris nostrae paulo ante farinae,                 115
+  pelliculam veterem retines et fronte politus
+  astutam vapido servas sub pectore vulpem,
+  quae dederam supra relego funemque reduco:
+  nil tibi concessit ratio; digitum exsere, peccas,
+  et quid tam parvum est? sed nullo ture litabis,                120
+  haereat in stultis brevis ut semuncia recti.
+  haec miscere nefas; nec, cum sis cetera fossor,
+  tris tantum ad numeros satyrum moveare Bathylli.
+  ‘Liber ego.’ Unde datum hoc sentis, tot subdite rebus?
+  an dominum ignoras, nisi quem vindicta relaxat?                125
+  ‘I puer et strigiles Crispini ad balnea defer!’
+  si increpuit, ‘cessas nugator;’ servitium acre
+  te nihil impellit, nec quicquam extrinsecus intrat,
+  quod nervos agitet; sed si intus et in iecore aegro
+  nascuntur domini, qui tu inpunitior exis                       130
+  atque hic, quem ad strigiles scutica et metus egit erilis?
+    Mane piger stertis. ‘Surge!’ inquit Avaritia ‘heia
+  surge!’ Negas; instat ‘Surge!’ inquit. “Non queo.” ‘Surge!’
+  “Et quid agam?” ‘Rogitas? en saperdam advehe Ponto,
+  castoreum, stuppas, hebenum, tus, lubrica Coa;                 135
+  tolle recens primus piper ex sitiente camelo;
+  verte aliquid; iura.’ “Sed Iuppiter audiet.” ‘Eheu!
+  varo, regustatum digito terebrare salinum
+  contentus perages, si vivere cum Iove tendis!’
+  iam pueris pellem succinctus et oenophorum aptas               140
+  ‘Ocius ad navem!’ nihil obstat, quin trabe vasta
+  Aegaeum rapias, ni sollers Luxuria ante
+  seductum moneat ‘Quo deinde, insane, ruis? quo?
+  quid tibi vis? calido sub pectore mascula bilis
+  intumuit, quod non exstinxerit urna cicutae?                   145
+  tu mare transilias? tibi torta cannabe fulto
+  cena sit in transtro, Veientanumque rubellum
+  exalet vapida laesum pice sessilis obba?
+  quid petis? ut nummi, quos hic quincunce modesto
+  nutrieras, pergant avidos sudare deunces?                      150
+  indulge genio, carpamus dulcia! nostrum est
+  quod vivis; cinis et manes et fabula fies.
+  vive memor leti! fugit hora; hoc quod loquor inde est.’
+  en quid agis? duplici in diversum scinderis hamo.
+  huncine, an hunc sequeris? subeas alternus oportet             155
+  ancipiti obsequio dominos, alternus oberres.
+  nec tu, cum obstiteris semel instantique negaris
+  parere imperio, ‘rupi iam vincula’ dicas;
+  nam et luctata canis nodum abripit; et tamen illi,
+  cum fugit, a collo trahitur pars longa catenae.                160
+  ‘Dave, cito, hoc credas iubeo, finire dolores
+  praeteritos meditor.’ crudum Chaerestratus unguem
+  adrodens ait haec ‘an siccis dedecus obstem
+  cognatis? an rem patriam rumore sinistro
+  limen ad obscenum frangam, dum Chrysidis udas                  165
+  ebrius ante fores exstincta cum face canto?’
+  “Euge, puer, sapias, dis depellentibus agnam
+  percute.” ‘Sed censen plorabit, Dave, relicta?’
+  “Nugaris; solea, puer, obiurgabere rubra.
+  ne trepidare velis atque artos rodere casses!                  170
+  nunc ferus et violens; at si vocet, haud mora, dicas:
+  _Quidnam igitur faciam? nec nunc, cum arcessat et ultro_
+  _supplicet, accedam?_ Si totus et integer illinc
+  exieras, nec nunc.” hic hic, quod quaerimus, hic est,
+  non in festuca, lictor quam iactat ineptus.                    175
+  ius habet ille sui palpo, quem ducit hiantem
+  cretata ambitio? vigila et cicer ingere large
+  rixanti populo, nostra ut Floralia possint
+  aprici meminisse senes: _quid pulchrius?_ at cum
+  Herodis venere dies, unctaque fenestra                         180
+  dispositae pinguem nebulam vomuere lucernae
+  portantes violas, rubrumque amplexa catinum
+  cauda natat thynni, tumet alba fidelia vino:
+  labra moves tacitus recutitaque sabbata palles.
+  tum nigri lemures ovoque pericula rupto,                       185
+  tum grandes galli et cum sistro lusca sacerdos
+  incussere deos inflantis corpora, si non
+  praedictum ter mane caput gustaveris alli.
+    Dixeris haec inter varicosos centuriones,
+  continuo crassum ridet Pulfennius ingens,                      190
+  et centum Graecos curto centusse licetur.
+
+
+
+
+  SATURA VI.
+
+
+  Admovit iam bruma foco te, Basse, Sabino?
+  iamne lyra et tetrico vivunt tibi pectine chordae?
+  mire opifex numeris veterum primordia vocum
+  atque marem strepitum fidis intendisse Latinae,
+  mox iuvenes agitare iocis et pollice honesto                     5
+  egregius lusisse senes. mihi nunc Ligus ora
+  intepet hibernatque meum mare, qua latus ingens
+  dant scopuli et multa litus se valle receptat.
+  Lunai portum, est operae, cognoscite, cives!
+  cor iubet hoc Enni, postquam destertuit esse                    10
+  Maeonides, Quintus pavone ex Pythagoreo.
+  hic ego securus vulgi et quid praeparet auster
+  infelix pecori, securus et angulus ille
+  vicini nostro quia pinguior, etsi adeo omnes
+  ditescant orti peioribus, usque recusem                         15
+  curvus ob id minui senio aut cenare sine uncto,
+  et signum in vapida naso tetigisse lagoena.
+  discrepet his alius! geminos, horoscope, varo
+  producis genio. solis natalibus est qui
+  tingat holus siccum muria vafer in calice empta,                20
+  ipse sacrum inrorans patinae piper; hic bona dente
+  grandia magnanimus peragit puer. utar ego, utar,
+  nec rhombos ideo libertis ponere lautus,
+  nec tenuis sollers turdarum nosse salivas.
+  messe tenus propria vive et granaria, fas est,                  25
+  emole; quid metuis? occa, et seges altera in herba est.
+  ast vocat officium: trabe rupta Bruttia saxa
+  prendit amicus inops, remque omnem surdaque vota
+  condidit Ionio; iacet ipse in litore et una
+  ingentes de puppe dii, iamque obvia mergis                      30
+  costa ratis lacerae. nunc et de caespite vivo
+  frange aliquid, largire inopi, ne pictus oberret
+  caerulea in tabula. ‘Sed cenam funeris heres
+  negleget, iratus quod rem curtaveris; urnae
+  ossa inodora dabit, seu spirent cinnama surdum,                 35
+  seu ceraso peccent casiae, nescire paratus.
+  tune bona incolumis minuas? et Bestius urguet
+  doctores Graios: _Ita fit, postquam sapere urbi_
+  _cum pipere et palmis venit nostrum hoc maris expers;_
+  _fenisecae crasso vitiarunt unguine pultes._’                   40
+  Haec cinere ulterior metuas? At tu, meus heres
+  quisquis eris, paulum a turba seductior audi.
+  o bone, num ignoras? missa est a Caesare laurus
+  insignem ob cladem Germanae pubis, et aris
+  frigidus excutitur cinis, ac iam postibus arma,                 45
+  iam chlamydes regum, iam lutea gausapa captis
+  essedaque ingentesque locat Caesonia Rhenos.
+  dis igitur genioque ducis centum paria ob res
+  egregie gestas induco; quis vetat? aude.
+  vae, nisi conives! oleum artocreasque popello                   50
+  largior; an prohibes? dic clare! ‘Non adeo,’ inquis
+  ‘exossatus ager iuxta est.’ Age, si mihi nulla
+  iam reliqua ex amitis, patruelis nulla, proneptis
+  nulla manet patrui, sterilis matertera vixit,
+  deque avia nihilum superest, accedo Bovillas                    55
+  clivumque ad Virbi, praesto est mihi Manius heres.
+  ‘Progenies terrae?’ Quaere ex me, quis mihi quartus
+  sit pater: haud prompte, dicam tamen; adde etiam unum,
+  unum etiam: terrae est iam filius, et mihi ritu
+  Manius hic generis prope maior avunculus exit.                  60
+  qui prior es, cur me in decursu lampada poscis?
+  sum tibi Mercurius; venio deus huc ego ut ille
+  pingitur; an renuis? vin tu gaudere relictis?
+  ‘Dest aliquid summae.’ Minui mihi; sed tibi totum est,
+  quidquid id est. ubi sit, fuge quaerere, quod mihi quondam      65
+  legarat Tadius, neu dicta repone paterna:
+  _Faenoris accedat merces; hinc exime sumptus._
+  _quid reliquum est?_ Reliquum? nunc, nunc inpensius ungue,
+  ungue, puer, caules! mihi festa luce coquetur
+  urtica et fissa fumosum sinciput aure,                          70
+  ut tuus iste nepos olim satur anseris extis,
+  cum morosa vago singultiet inguine vena,
+  patriciae inmeiat vulvae? mihi trama figurae
+  sit reliqua, ast illi tremat omento popa venter?
+  vende animam lucro, mercare atque excute sollers                75
+  omne latus mundi, nec sit praestantior alter
+  Cappadocas rigida pinguis plausisse castata:
+  rem duplica. ‘Feci; iam triplex, iam mihi quarto,
+  iam deciens redit in rugam: depunge, ubi sistam.’
+  Inventus, Chrysippe, tui finitor acervi.                        80
+
+    [End of duplicated material:
+    see Transcriber’s Note at beginning of e-text.]
+
+
+       *       *       *       *       *
+
+    _Quando cerco norme di gusto, vado ad Orazio, il più amabile;
+    quando ho bisogno di bile contra le umane ribalderie, visito
+    Giovenale, il più splendido; quando mi studio d’esser onesto,
+    vivo con PERSIO, il più saggio, e con infinito piacere mescolato
+    di vergogna bevo li dettati della ragione su le labbra di questo
+    verecondo e santissimo giovanetto._      VINCENZO MONTI.
+
+
+    Συνίσταντο οἱ μὲν ὡς τοῦτον, οἱ δ᾽ ὡς ἐκεῖνον πλὴν μόνου τοῦ
+    Ἴωνος‧ ἐκεῖνος δὲ μέσον ἑαυτὸν ἐφύλαττεν.    ΛΟΥΚΙΑΝΟΥ.
+
+
+    _PERSIUS das rechte Ideal eines hoffärtigen und mattherzigen
+    der Poesie beflissenen Jungen._    MOMMSEN.
+
+
+       *       *       *       *       *
+
+INTRODUCTION.
+
+
+An ancient _Vita Persii_, of uncertain authorship, of evident
+authenticity, gives all that it is needful for us to know about our
+poet-- much more than is vouchsafed to us for the rich individuality of
+Lucilius, much more than we can divine for the unsubstantial character
+of Juvenal.
+
+Aulus Persius Flaccus was born on the day before the nones of December,
+A.U.C. 787, A.D. 34, at Volaterrae, in Etruria. That Luna in Liguria was
+his birthplace is a false inference of some scholars from the words
+_meum mare_ in a passage of the sixth satire, where he describes his
+favorite resort on the Riviera.
+
+The family of Persius belonged to the old Etruscan nobility, and more
+than one Persius appears in inscriptions found at Volaterrae. Other
+circumstances make for his Etruscan origin: the Etruscan form of his
+name, _Aules_, so written in most MSS. of his Life; the Etruscan name of
+his mother, Sisennia; the familiar spitefulness of his mention of
+Arretium, the allusions to the Tuscan haruspex, to the Tuscan pedigree;
+the sneering mention of the Umbrians-- fat-witted folk, who lived across
+the Tuscan border. Most of these, it is true, are minute points, and
+would be of little weight in the case of an author of wider vision, but
+well-nigh conclusive in a writer like Persius, who tried to make up for
+the narrowness of his personal experience by a microscopic attention to
+details.
+
+Persius belonged to the same sphere of society as Maecenas. Like
+Maecenas an Etruscan, he was, like Maecenas, an _eques Romanus_. The
+social class of which he was a member did much for Roman literature;
+Etruria’s contributions were far less valuable, and Mommsen is right
+when he recognizes in both these men, so unlike in life and in
+principle-- the one a callous wordling, the other a callow philosopher--
+the stamp of their strange race, a race which is a puzzle rather than a
+mystery. Indeed, the would-be mysterious is one of the most salient
+points in the style of Persius as in the religion of the Etruscans, and
+Persius’s elaborate involution of the commonplace is parallel with the
+secret wisdom of his countrymen. The minute detail of the Etruscan
+ritual has its counterpart in the minute detail of Persius’s style, and
+the want of a due sense of proportion and a certain coarseness of
+language in our author remind us of the defects of Etruscan art and the
+harshness of the Etruscan tongue.
+
+Persius was born, if not to great wealth, at least to an ample
+competence. His father died when the poet was but six years old, and his
+education was conducted at Volaterrae under the superintendence of his
+mother and her second husband, Fusius. For the proper appreciation of
+the career of Persius, it is a fact of great significance that he seems
+to have been very much under the influence of the women of his
+household. To this influence he owed the purity of his habits; but
+feminine training is not without its disadvantages for the conduct of
+life. For social refinement there is no better school; but the pet of
+the home circle is apt to make the grossest blunders when he ventures
+into the larger world of no manners, and attempts to use the language of
+outside sinners. And so, when Persius undertakes to rebuke the
+effeminacy of his time, he outbids the worst passages of Horace and
+rivals the most lurid indecencies of Juvenal.
+
+When Persius was twelve years old he went to Rome, as Horace and Ovid
+had done before him, for the purpose of a wider and higher education,
+and was put to school with Verginius Flaccus, the rhetorician, and
+Remmius Palaemon, the grammarian. Verginius Flaccus was exiled from Rome
+by Nero, with Musonius Rufus, on account of the prominence which he had
+achieved as a teacher, and Quintilian quotes him as an authority in his
+profession. Remmius Palaemon, the other teacher of Persius, a man of
+high attainments and low principles, was one of the most illustrious
+grammarians of a time when grammarians could be illustrious. A freedman,
+with a freedman’s character, he was arrogant and vain, grasping and
+prodigal-- in short, a Sir Epicure Mammon of a professor. But his
+prodigious memory, his ready flow of words, his power of improvising
+poetry, attracted many pupils during his prolonged life, and after his
+death he was cited with respect by other grammarians-- a rare apotheosis
+among that captious tribe. The first satirical efforts of ingenuous
+youth are usually aimed at their preceptors, and the verses which
+Persius quotes in the First Satire are quite as likely to be from the
+school of Palaemon as from the poems of Nero.
+
+But the true teacher of Persius, the man to whom he himself attributed
+whatever progress he made in that ‘divine philosophy’ which deals at
+once with the constitution of the universe and the conduct of life-- his
+‘spiritual director,’ to use the language of Christian ascetics-- was
+Cornutus. Persius is one of those literary celebrities whose title to
+fame is not beyond dispute; and while some maintain his right to high
+distinction on the ground of intrinsic merit, others seek with perhaps
+too much avidity for the accidents to which he is supposed to owe his
+renown. If it is necessary to excuse, as it were, his reputation, the
+relation of Persius to Cornutus might go far to explain the care which
+schoolmasters have taken of the memory of the poet. No matter how
+crabbed the teacher may be, how austere the critic, the opening of the
+Fifth Satire, with its warm tribute to the guide of his life and the
+friend of his heart, calls up the image of the ideal pupil, and touches
+into kindred the brazen bowels of Didymus.
+
+Lucius Annaeus Cornutus, of Leptis in Africa, was a philosopher,
+grammarian, and rhetorician. It has been conjectured that he was a
+freedman of the literary family of the Annaei; and this is rendered
+probable by the fact that Annaeus Lucanus, the nephew of Annaeus Seneca,
+was his pupil. The year of his life and the year of his death are alike
+unknown. He was banished from Rome by Nero because he had ventured to
+suggest that Nero’s projected epic on Roman history would be too long if
+drawn out to four hundred books, and that the imperial poem would find
+no readers. When one of Nero’s flatterers rejoined that Chrysippus was a
+still more voluminous author, Cornutus had the bad taste to point out
+the practical importance of the writings of Chrysippus in contrast with
+Nero’s unpractical project; and Nero, who had a poet’s temper, if not a
+poet’s gifts, sent him to an island, there to revise his literary
+judgment. Cornutus was not only a man of various learning in philosophy,
+rhetoric, and grammar, but a tragic poet of some note, and perhaps a
+satirist. Whether the jumble that bears the name of Cornutus or
+Phurnutus, _De Natura Deorum_, is in any measure traceable to our
+Cornutus, is not pertinent to our subject. Of more importance to us than
+his varied attainments is his pure and lofty character, which made him
+worthy of the ardent affection with which Persius clung to his ‘Socratic
+bosom.’ It is recorded to his honor that Persius having bequeathed to
+him his library and a considerable sum of money, he accepted the books
+only and relinquished the money to the family of Persius. Nor did he
+cease his loving care for his friend after his ashes, but revised his
+satires, and suppressed the less mature performances of the young poet.
+
+The social circle in which Persius moved was not wide. The mark of the
+beast called Coterie, which is upon the foreheads of the most
+plentifully belaurelled Roman poets, is on his brow also. But it must be
+said that the men whom he associated with belonged to the chosen few of
+a corrupt time, albeit they would have been of more service to their
+country if they had not recognized themselves so conspicuously as the
+elect. The Stoic _salon_ in which Persius lived and moved and had his
+being reminds M. Martha of a Puritan household; it reminds us of the
+sequestered Legitimist opposition to the France of yesterday. We are so
+apt to see parallels when we are well acquainted with but one of the
+lines-- or with neither.
+
+Let us pass in review some of the associates and acquaintances of
+Persius.
+
+Among his early friends was Caesius Bassus, to whom the Sixth Satire is
+addressed: an older contemporary, who had studied with the same master,
+next to Horace, by a long remove, among the Roman lyrists. To his
+fellow-pupils belong Calpurnius, who is more than doubtfully identified
+with the author of the Bucolics; and Lucan (Annaeus Lucanus), the poet
+of the Pharsalia, who shared with him the instructions of Cornutus, and
+is said to have shown the most fervent admiration of the genius of his
+school-fellow. We are told that when the First Satire was recited, Lucan
+exclaimed that these were true poems. Whether he accompanied this
+encomium with a disparagement of his own performances, or simply had
+reference to the modest disclaimer of Persius’s Prologue, as Jahn is
+inclined to think, does not appear. The anecdote is in perfect keeping
+with the perfervid Spanish temper of Lucan and Lucan’s family. But this
+momentary burst of admiration is no indication of any genuine sympathy
+between the effusive and rhetorical Cordovan and the shy, philosophical
+Etruscan. Nominally they belonged to the same school-- the Stoic; but
+Persius was ready to resist unto blood, Lucan’s Stoicism was a mere
+parade.
+
+While this anecdote leaves us in suspense as to the relations between
+Lucan and Persius, we have express evidence that there was no sympathy
+between Persius and Seneca. They met, we are informed, but the poet took
+little pleasure in the society of the essayist. This is not the place to
+attempt a characteristic of this famous writer, who, like Persius,
+leaves few readers indifferent. Once the idol of the moralists-- who of
+all old birds are the most easily caught with chaff-- Seneca has fallen
+into comparative disfavor within the last few decades; yet sometimes a
+vigorous champion starts up to do battle for him, such as Farrar in
+England, and, with more moderation, Constant Martha in France; and his
+cause is by no means hopeless if the advocate can keep his hearers from
+reading Seneca for themselves. It is impossible not to admire Seneca in
+passages; it seems very difficult to retain the admiration after reading
+him continuously. The glittering phrase masks a poverty of thought; ‘the
+belt with its broad gold covers a hidden wound.’ To Persius, the
+youthful Stoic, with his high purpose and his transcendental views of
+life, Seneca the courtier, the time-server, the adroit flatterer, must
+have appeared little better than a hypocrite, or, which is worse to an
+ardent mind, a practical negation of his own aspirations. The young
+convert-- and Persius’s philosophy was Persius’s religion-- in the first
+glow of his enthusiasm, must have been repelled by the callousness of
+the older professor of the same faith. And yet so strong was the impress
+of the age that Persius and Seneca are not so far asunder after all. To
+understand Persius we must read Seneca; and the lightning stroke of
+Caligula’s tempestuous brain, _harena sine calce_, illuminates and
+shivers the one as well as the other.
+
+If the family of the Annaei did not prove congenial, there were others
+to whom Persius might look for sympathy and instruction. Such was
+M. Servilius Nonianus, a man of high position, of rare eloquence, of
+unsullied fame. Such was Plotius Macrinus, to whom the Second Satire is
+addressed, itself a eulogy. Even in his own family circle there were
+persons whose lofty characters have made them celebrated in history. His
+kinswoman Arria, herself destined to become famous for her devotion to
+her husband, was the wife of Thrasea Paetus, and the daughter of that
+other Arria, whose supreme cry, NON DOLET, when she taught her husband
+how to meet his doom, is one of the most familiar speeches of a period
+when speech was bought with death. Thrasea, the husband of the younger
+Arria, was one of the foremost men of his time, and bore himself with a
+moderation which contrasts strongly with the ostentatious virtue of some
+of the Stoic chiefs. He rebuked the vices of his time unsparingly, but
+steadily observed the respect due to the head of the state; and even
+when the decree was passed which congratulated Nero on the murder of his
+mother, he contented himself with retiring from the senate-house. But
+Thrasea’s silent disapproval of one crime fired Nero to another, and his
+refusal to deprecate the wrath of the emperor was the cause of his
+ruin-- if that could be called ruin which he welcomed as he poured out
+his blood in libation to Jupiter the Liberator.
+
+That the familiar intercourse with such a man should have inspired a
+youth of the education and the disposition of Persius with still higher
+resolves and still higher endeavors is not strange. That it sufficed, as
+some say, to penetrate Persius with the sober wisdom of maturer years,
+and made up to him for the lack of personal experience and artistic
+balance, is attributing more to association than association can
+accomplish.
+
+To Thrasea’s influence Jahn ascribes Persius’s juvenile essays in the
+preparation of _praetextae_, or tragedies with Roman themes, and it is
+not unlikely that a poetical description of his travels (ὁδοιπορικῶν)
+referred to some little trip that he took with Thrasea. Thanks to
+Cornutus, this youthful production-- which doubtless was nothing more
+than a weak imitation of Horace, or haply of Lucilius-- was suppressed
+after the death of the author, and with it his _praetexta_, and a short
+poem in honor of the elder Arria also.
+
+The purity of Persius’s morals, and the love which he bore his mother,
+his sister, his aunt, stand to each other reciprocally as cause and
+effect; and the occasional crudity of his language is, as we have
+already seen, the crudity of a bookish man, who thinks that the sure way
+to do a thing is to overdo it. Persius was a man of handsome person,
+gentle bearing, attractive manners, and added to the charm of his
+society the interest which always gathers about those whom the gods
+love.
+
+He died on his estate at the eighth milestone on the Appian Road, _vitio
+stomachi_, eight days before the kalends of December, A.U.C. 815-- A.D.
+62-- in the twenty-eighth year of his age.
+
+Cornutus first revised the satires of his friend, and then gave them to
+Caesius Bassus to edit. The only important change that Cornutus made was
+the substitution of _quis non_ for _Mida rex_ (1,121), a subject which
+is discussed in the Commentary. Other traces of wavering expression and
+_duplex recensio_ are due to the imagination of commentators, who
+attribute to the young poet a logical method and an exactness of
+development for which the style of Persius gives them no warrant. _Raro
+et tarde scripsit_, the statement of the Life of Persius, explains much.
+
+The poems of Persius were received with applause as soon as they
+appeared, and the old _Vita Persii_ would have us believe that people
+scrambled for the copies as if the pages were so many Sabine women.
+Quintilian, in his famous inventory of Greek and Roman literature, says
+that Persius earned a great deal of glory, and true glory, by a single
+book, and here and there the great scholar does Persius homage by
+imitating him; and Martial holds up Persius with his one book of price,
+as a contrast to the empty bulk of a half-forgotten epic. But it would
+not be worth the while to repeat the list of the admirers of Persius in
+the ages of later Latinity. It suffices to say that he was the special
+favorite of the Latin Fathers. Augustin quotes or imitates him often,
+and Jerome is saturated with the phraseology of our poet. Commended to
+Christian teachers by the elevation of his moral tone, by the pithiness
+of his maxims and reflections, and the energy of his figures, he was set
+up on a high chair, a big school-boy, to teach other school-boys, and
+scarcely a voice was raised in rebellion for centuries. But since the
+time of the Scaligers, who were not to be kept back by any consideration
+for the feelings of the Fathers, there has been much unfriendly
+criticism of Persius; and the world owes him a debt of gratitude for
+provoking an animosity that has opened the way to a freer discussion of
+the literary merits of the authors of antiquity. To be subject all one’s
+life through fear of literary death to the bondage of antique dullness,
+as well as to the thraldom of contemporary stupidity, would have been a
+sad result of the revival of letters.
+
+The first and last charge brought against Persius is his obscurity.
+Admitted by all, it is variously interpreted variously excused,
+variously attacked. Now it is accounted for by the political necessities
+of the time. Now it is attributed to the perverse ingenuity of the poet,
+which was fostered by the perverse tendencies of an age when, as
+Quintilian says, _Pervasit iam multos ista persuasio ut id iam demum
+eleganter dictum putent quod interpretandum sit_. Some simply resolve
+the lack of clearness into the lack of artistic power; others intimate
+that the fault lies more in the reader than in the author, whose
+dramatic liveliness, which puzzles us, presented no difficulties to the
+critics of his own century. But the controversy is not confined to the
+obscurity of the satires, Persius is all debatable ground. Some admire
+the pithy sententiousness of the poet; others sneer at his priggish
+affectation of superiority. Some point to the bookish reminiscences,
+which bewray the mere student; others recall the example of Ben Jonson,
+of Molière, to show that in literature, as in life, the greatest
+borrowers are often the richest men, and bid us observe with what rare
+and vivid power he has painted every scene that he has witnessed with
+his own eyes. To some he is a copyist of copyists; to others his real
+originality asserts itself most conspicuously where the imitation seems
+to be the closest. Julius Scaliger calls him _miserrimus auctor_; Mr.
+Conington notes his kindred to Carlyle.
+
+No critic has put the problem with more brutal frankness than M. Nisard,
+who, at the close of his flippant but suggestive chapter on Persius,
+asks the question, _Y a-t-il profit à lire Perse_? Though he makes a
+faint show of balancing the Ayes and Noes, it is very plain how he
+himself would vote. The impatient Frenchman is evidently not of a mind
+‘to read prefaces, biographies, memoirs, and commentaries on these
+prefaces, these biographies, these memoirs, and notes on these
+commentaries, in order to form an idea that will haply be very false and
+assuredly very debatable, of a work about which no one will ever talk to
+you, and of a poet about whom you will never find any one to talk to.’
+But the question, which may be an open one to a critic, is not an open
+one to an editor; and editors of Persius are especially prone to value
+their author by the labor which he has cost them, by the material which
+they have gathered about the text. The thoughts are, after all, so
+common that parallels are to be found on every hand; the compass is so
+small that it is an easy matter to carry in the memory every word, every
+phrase; and so-called illustrations suggest themselves even to an
+ordinary scholar in bewildering numbers, while the looseness of the
+connection gives ample scope to speculation. Hence the sarcasm of Joseph
+Scaliger: _Non pulchra habet sed in eum pulcherrima possumus scribere_;
+and the well-known criticism of the same scholar: _Au Perse de Casaubon
+la saulce vaut mieux que le poisson_. But this artificial love on the
+part of the editors has not contributed to the popularity of the author,
+and the youthful poet has been overlaid by his erudite commentators.
+Besides this disadvantage, Persius, when he is read at all, comes
+immediately after Juvenal, and, as if to enhance the contrast, is
+generally bound up with him; and the homeliness of his tropes, the
+crabbedness of his dialogue, the roughness of his transitions repel the
+young student, who finds the riddance of the historical and
+archaeological work which Juvenal involves a poor compensation for the
+lack of the large manner and the dazzling rhetoric of the great
+declaimer. On the other hand, maturer scholars have been found to
+reverse the popular verdict, and to say, with Mr. Simcox, that ‘the shy,
+youthful fervor of the dutiful boy, combined with the literary honesty
+which kept Persius from writing any thing which was not a part of his
+permanent consciousness, makes him improve upon every reading, which is
+more than can be said of Juvenal, who writes as if he thought and felt
+little in the intervals of writing.’ But while it is easy to get tired
+of Juvenal, it is not so easy to become enamored of Persius; and it must
+be admitted that the pleasure is questionable. Yet, in spite of
+M. Nisard, there is no real question about the utility of the study of
+the poet, who illustrates by what he does not say even more than by what
+he says the character of an age which is of supreme importance to the
+historian. Even if we put the study on lower ground, we must admit that
+Persius’s title to a prominent position in the annals of Roman
+literature is indefeasible. However desirable it may be to get rid of
+him, an author who has left his impress on Rabelais and Ben Jonson, as
+well as on Montaigne and Boileau-- an author whose poems have furnished
+so many quotations to modern letters, can not be dismissed from the
+necessities of a ‘polite education’ with a convenient sneer. Persius
+deserves our attention, if it were only as a problem of literary taste.
+
+To the end of the study of Persius, it is best to look away from the
+conflicting views of the critics, and to abandon the attempt to
+distinguish between the weight of facts and the momentum of rhetoric in
+the balanced antitheses of praise and blame. The position of the poet
+will be most accurately determined by the calculation of the statics of
+his department and his age.
+
+The Satire is the only extant form of Latin poetry that can lay claim to
+a truly national origin; and the error into which the early historians
+of classical literature were led by the resemblance between the name of
+the Roman satire and the name of the Greek satyr-drama has long been
+corrected. But the truth which this error involves, the connection
+between the comic drama and the satire, remains. The satire goes back to
+the popular source of comedy, and holds in solution all the elements
+which the Greeks combined into various forms of dramatic merriment. As
+the rhythmical movements, which culminate in such perfections as the
+dactylic hexameter and the iambic trimeter, are common to our whole
+race, and the rude Saturnian verse is one with the heroic, so the rustic
+songs of harvest and vintage are common to Greece and Italy; and it is
+no marvel that, as the satire was working itself out to classic
+proportions, it should have felt its kindred to Greek comedy, and should
+have drawn its materials and its methods from that literature on which
+Roman literature in its other departments was more directly dependent.
+And so the satire, though a genuine growth of Italian soil, was none the
+less subject to Greek influences. It was trained into Greek forms, it
+was permeated by Greek thought; and here as elsewhere the retranslation
+into Greek, of which the older commentators were so fond, is often the
+key to the meaning; here as elsewhere our appreciation of the author, as
+a whole, is conditioned by our knowledge of Greek literature.
+
+Horace, the master of Roman satire, has more than once drawn the
+parallel between satire and comedy; and Persius, who follows the
+literary, though not the philosophical creed of his predecessor, aims
+even more distinctly than Horace does at reproducing the mimicry of
+comedy on the narrow stage of the satire. At the close of the First
+Satire he goes so far as to demand of his readers the intense study of
+the Old Attic Comedy as the preparation for the enjoyment of his poems--
+an extraordinary demand, if we do not make due allowance for the
+rhetorical expression of high aims and earnest endeavors. A comparison
+of the triumvirate of the _comoedia prisca_ of Attica reveals little
+trace of direct influence, abundant evidence of extreme diversity in
+expression and conception. I say ‘expression,’ not ‘language.’ It is
+true that the language of Persius has a virile tone, but the masculine
+energy of his words is often out of keeping with the scholastic tameness
+of his thoughts. The breezy Pnyx of the Athenian and the stuffy
+_lecticula lucubratoria_ of the Roman are not further apart than
+Aristophanes and Persius.
+
+The New Attic Comedy, the comedy of situation and manners, furnished
+themes that lay nearer to the genius of Persius, although the grace of a
+Menander was much further from his grasp than from Terence, the
+half-Menander of Caesar’s epigram. One passage is all but translated
+from Menander’s Eunuch; and if Persius did not borrow traits for his
+picture of the miser and the spendthrift from the master of the New
+Comedy, it was not for lack of models. Indeed, so unreal is Persius,
+with all the realism of his language, that one of the most striking
+features of his poems-- the opposition to the military-- loses somewhat
+of its significance when we remember that the Macedonian period, to
+which the New Comedy belongs, is crowded with typical soldiers of
+fortune, with their coarse love of sensual pleasure-- their coarse
+contempt of every thing that can not be eaten, drunk, or handled. Every
+line of Persius’s centurion can be reproduced from the Greek; and
+although it would be going too far to say that there was no counterpart
+to his sketch in his own experience, although, on the contrary, Persius
+seems to have verified by actual observation whatever he learned from
+books, the historical value of his portrait is very much reduced by the
+existence of the Greek type. As a specimen of a kind of
+clerico-political opposition to an empire which its enemies might call
+an empire of brute force and military mechanism, the hostility of
+Persius to a class whose predominance was making itself felt more and
+more is not without its point and interest, and it is unfortunate that
+we have to leave its reality in suspense.
+
+Yet another form of the comic drama was the Mime, and we have the
+explicit statement of Joannes Lydus that Persius imitated the famous
+mimographer, Sophron; and although the fragments of Sophron are so
+scanty that this statement can not be verified, it is not without its
+intrinsic probability. The mimetic power of Sophron is notorious, and
+Persius might well have taken lessons from the man whom Plato
+acknowledged as his master. The dialogue, thus borrowed from the mime,
+became the artistic form of philosophic composition, and, as Persius’s
+Satires are essentially moral treatises, it is not surprising that he
+should have made large use of the same machinery. Plato himself
+furnished the movement for two of his essays, and we can detect a
+community of models between Persius and some of the later Greek writers.
+Lucian, the mercurial, and Persius, the saturnine, often work on the
+same theme, each in his way; and when the dialogue is dropped, and the
+bustle of the drama is succeeded by the effects of the scene-painter’s
+craft, we are reminded of another group of copyists, and find all the
+picturesque detail for which Persius is so famous in the letters of
+Alkiphron and Aristainetos, themselves far-off echoes of the New Comedy.
+
+Surely these are originals enough, the Attic Comedy, the Mime, Sophron
+and Plato, Menander and Philemon. But we find other models nearer home,
+and, passing by the reflections of Greek comedy in Plautus and Terence,
+its refractions in Afranius and Pomponius, we come to the satiric
+exemplars of Persius-- Lucilius and Horace. _Mox ut a scholis et
+magistris divertit, lecto libro Lucilli decimo, vehementer saturas
+conponere instituit._ This statement of the old _Vita Persii_ is much
+more consonant with the character of Persius than his own affected
+mirthfulness. His ‘saucy spleen’ had as little to do with his verse
+writing as righteous indignation with the rhetorical outpouring of
+Juvenal. His laughter was as much a part of the conventionalities of the
+satire as the _Camena_ was of his confidences to Cornutus. School-boys
+all imitate circus-riders; here and there one mimics the clown; and
+Persius, who had not outgrown the tendencies of boyhood, straightway
+began to make copies of verses in the manner of Lucilius. At the same
+time he was too much under the influence of Horace to follow Lucilius in
+his negligences, and too little master of the form to strike the mean
+between slovenly dictation and painful composition. As an imitator of
+Lucilius he boldly lashes men of straw where Lucilius flogged Lupus and
+Mucius, and breaks his milk-teeth on Alkibiades and Dama where Lucilius
+broke his jaw-teeth on living and moving enemies. As an imitator of
+Horace he appropriates the garb of Horatian diction; but the easy
+movement of roguish Flaccus is lost, and the stiff stride of the young
+Stoic betrays him at every turn.
+
+As in the case of the Old Attic Comedy, Persius’s intellectual affinity
+with Lucilius was purely imaginary; and for the purposes of this study
+it is unnecessary to reproduce the lines of Horace’s portrait of the
+‘great nursling of Aurunca,’ or to attempt to form a mosaic out of the
+chipped chips of Lucian Müller’s recent collection. The wide range of
+theme, the manly carelessness of style, the bold criticism, the bright
+humor, the biting wit-- in short, almost every characteristic of
+Lucilius that we can distinguish, shows how little kindred there must
+have been between the two men. The dozen scattered verses of the Tenth
+Book of Lucilius, which is said to have suggested the theme of the First
+Satire of Persius, and the fragments of the Fourth Book, which is
+imitated by Persius in his Third Satire, though more significant, give
+us no clew to the manner or the extent of his indebtedness. Here and
+there a verse, a hemistich, a jingle may have been taken from Lucilius,
+and he may have enriched his vocabulary here and there from Lucilius’s
+store of drastic words; but his obligations to Lucilius, real and
+imaginary, are all as nothing in comparison with the large drafts which
+he drew on the treasury of Horace.
+
+The obligations of Persius to Horace have been the theme of all the
+editors. The scholiasts themselves have quoted parallels, and Casaubon
+has written a special treatise on the subject, and commentators, with
+almost childish rivalry, have vied with each other in noting verbal
+coincidences and similar trains of thought. The fact of the imitation is
+too evident to need proof, and it would have been much more profitable
+to examine the causes and significance of this dependence, and to study
+the modifications of the language and the thought as they passed through
+the alembic of Persius’s brain, than to multiply examples of words and
+phrases that are common, not only to Horace and Persius, but to the
+language of every-day life. Indeed, some go so far as to make Persius
+quibble on Horace; and ‘How green you are,’ of the modern street, and
+‘What means that trump?’ of the modern card-table, are as much
+Shakespearian as some of Persius’s ‘borrowings’ are Horatian.
+
+Horace had long been a classic when Persius dodged his school-tasks and
+was a dab at marbles. Indeed, nothing is more remarkable about Roman
+literature than the rapidity with which the images of its Augustan
+heroes took on the _patina_ of age. The half-century that lay between
+Horace and Persius drew itself out to a distant perspective, and Virgil
+and Horace had all the authority of _veteres_. They not only dictated
+the forms of poetry, but permeated and dominated prose. True, the
+hostility to Virgil and Horace had not ceased; the _antiquarii_ were not
+dead; but the ground had been shifted. The admirers of republican poetry
+in the time of Horace were republicans-- in the time of Persius they
+were imperialists, and the maintenance of the authors of the Augustan
+age as the true classics was a part of the programme of the opposition.
+The court literature of the Neronian period found its models in the
+earlier epic essays of Catullus rather than in the poems of Virgil.
+Virgil had modified the Greek norms to suit the Latin tongue; but these
+men went back of malice aforethought to the Greek standard, and emulated
+the proportions of the Greek versification of the Alexandrian period.
+They were impatient of the classic vocabulary, and found the classic
+rhythms tame, and so they betook themselves to the earlier language and
+set it to more exact harmonies. It was no heresy with this set to
+consider Virgil at once light and rough. The mouth-filling words of the
+older and bolder period, marshaled in serried ranks, no gap, no break,
+as they kept time to a rhythmical cadence that was marked by all the
+music of consonance and assonance-- this was the ideal of the school
+which Persius assailed, just as an admirer of Pope or Goldsmith might
+assail the dominant poetry of our day, with its sensuous melody and its
+revived archaisms. Surely the worshippers of recent poets might pause
+before accepting the narrow literary creed of Persius. But, not to
+imitate the example of Nisard, and indulge in dangerous parallelisms, it
+is sufficient for our purpose to note that Persius’s close study of the
+language of Horace was not only a part of a liberal education, but a
+necessity of the school to which he belonged. If he was to write satire
+at all, he must needs take Horace for his model. If he had written an
+epic, he would have taken Virgil.
+
+Besides this, we may boldly say that reminiscence is no robbery. The
+verses, the phrases, the arguments that we know by heart often become so
+wholly ours that they weave themselves unconsciously into the texture of
+our speech. We use them as convenient forms of expression, without the
+least thought of plagiarism. We quote them, thinking that they are as
+familiar to others as they are to ourselves. They constitute, as it
+were, a sympathetic medium between men of culture. And so Persius
+repeated group after group of the words of Horace as innocently as the
+Augustan poets translated their Greek models, and thought no more harm
+than did the Emperor Julian when he Platonized, or Thackeray when he
+transfused the classics that he learned at the Charter House into his
+own matchless English. That he did it to excess is not to be denied. He
+never learned the lesson of Apelles-- what is enough.
+
+Having thus briefly disposed of those turns which are common to the
+Latin tongue, and those which ran freely into the pen of the writer, we
+have now to deal with a considerable number of passages in which the
+memory of Persius must have lingered over the words of Horace, in which
+his painstaking genius has hammered the thoughts of Horace into a more
+compact or a more angular utterance. To the majority of readers his
+condensations and his amplifications will alike appear to be so many
+distortions of the original. So, notably, where he characterizes Horace
+himself, and substitutes for the simple _naso adunco_ the puzzling
+_excusso naso_, where ‘the dreams of a sick man’ become the ‘dreams of a
+sick dotard,’ where ‘telling straight from crooked’ is twisted into
+‘discerning the straight line where it makes its way up between crooked
+lines,’ and where he wrings from the natural phrase ‘drink in with the
+ear’ the odd combination ‘bibulous ears.’ In the longer passages the
+wresting is still more pronounced; and those who refuse to take into
+consideration the moral attitude of Persius may well wonder at the
+perversity with which he distorts the lines and overcharges the colors
+of the original. But it is tolerably evident that, with all Persius’s
+admiration of Horace as an artist, he felt himself immeasurably superior
+to him morally, and looked upon these adaptations and alterations as so
+much gained for the effect of his discourse. The slyness of Horace might
+have answered well enough for his day and for the kind of vices that he
+reproved, but the depth over which Persius stood gave him a more than
+Stoic stature. Horace might have been content with a flute; nothing less
+resonant than a trumpet would have suited the moral elevation of
+Persius. Horace is a consummate artist, and not less an artist in the
+conduct of his life than in the composition of his poems. Persius is the
+prototype of the sensational preacher, and preachers of all centuries,
+from Augustin and Jerome to Macleane and Merivale, have had a weakness
+for him.
+
+Aside from the moral tone, which is enough to give a different ring to
+the most similar expressions in the two poets, there is an artistic
+difference of great significance in the handling of the dramatic
+element, which they both recognized as fundamental in the satire. The
+dramatic satires of Horace will not bear dislocation without
+destruction. In Persius the characters are always shifting, always
+fading away into an impersonal _Tu_. This may be partly due to the
+interval which he allowed to elapse between the periods of composition;
+but it is possible that he recognized the limitation of his own powers,
+that his satires were intended to be a knotted thong, and not a smooth
+horsewhip. This piecemeal composition, be it the result of poverty or of
+economy, makes Persius the very author for ‘Elegant Extracts.’ Hence it
+is not hard to defend him, as it is not hard to defend Seneca, and on
+similar grounds. Single verses ring in the ear for months and years.
+What line, for instance, more quoted than
+
+  _Tecum habita: noris quam sit tibi curta supellex_?
+
+What line sinks deeper than the sombre verse,
+
+  _Virtutem videant intabescantque relicta_?
+
+Single scenes, whether of dialogue or of description, possess every
+requirement of dramatic vividness. On every page of the commentary we
+call him bookish, and yet his pictures stand out from the canvas with a
+boldness which makes us concede that his books did not keep him from
+seeing, if they did not teach him to see, what was going on around him.
+What is not a little remarkable in so young a man is the honesty of his
+painting. A home-keeping youth, Persius gives us living pictures of what
+he saw at home, whether at Rome, at Volaterrae, or at Luna; in the
+school-room, in the lecture-room, in the court of justice, on the wharf,
+at the country cross-roads. He has watched the carpenter stretching his
+line, the potter whirling his wheel, the physician adjusting his scales.
+He has heard the horse-laugh of the burly centurion, and shivered; has
+heard, with a young Stoic sneer, a cooing and mincing declaimer. He
+knows all about ink and paper and parchment and reeds; he has not
+outlived his knowledge of marbles, and one might fancy that the lustral
+spittle of his aunty was still fresh on his brow. The fact that there is
+no breeziness about his poems, nothing that tells us of the liberal air
+beyond, is another sign of his truthfulness. His life is like his own
+‘ever retreating bay’ of the Sixth Satire, with the cliffs of Stoic
+philosophy between him and the wintry sea without. Arretium he knows--
+it was not so far from Volaterrae-- and Bovillae, in the neighborhood of
+which he had a farm, and Luna, and the world of Rome; but the rest of
+his geography is in the inane. Horace, on the other hand, ambles all
+over Italy, and treats us every now and then to a foreign tour with the
+air of a man who had run across the sea in his time; and even if he who
+takes us in his sweeping flight from Cadiz to Ganges be not the real
+Juvenal, the undisputed Juvenal has a far wider geographical outlook
+than Persius. This very limitation is one of the best signs of the
+artistic worth of Persius, and justifies the regret that he had not made
+himself the Crabbe of Roman poetry.
+
+We have seen that Persius was not slavishly dependent on Horace,
+assimilated the material that he derived from him, raised the worldly
+wisdom of Horace to the ideal standard of the Stoic, and followed a
+different canon of dramatic art. To this we may add that Persius, with a
+certain aristocratic disdain of conventionalities, goes deeper into the
+current of vulgar diction than the freedman’s son dared. Persius felt
+that he could afford to talk slang, and he talked it; and the
+commentators have found it necessary to hold Petronius in the left hand,
+as well as Horace in the right.
+
+We now proceed to yet another formal element, which is no less
+significant to the close student of antique literature. The Roman
+handling of the hexameter was artificial in the extreme. Reasoning
+backward from the Latin hexameter, scholars have been prone to transfer
+the conscious symbolism of the Roman poets to the Greek originals; and
+if they had stopped, say, at Apollonius Rhodius, they might have been
+justified, for in the later Greek poets something of the sort is not to
+be denied. But the healthier period of Greek poetic art was lifted far
+above such toying adaptations of sound to sense as commentators still
+discover in Homer when they enlarge on the symbolism of this or that
+spondaic verse, the beauty of this or that combination of diaeresis and
+caesura. A recent comparison of Homer with his successors has shown
+that, of all the spondaic verses in Homer, scarcely one in a hundred can
+be traced to any ‘picturesque’ motive, and the rapid movement of so many
+five-dactyl hexameters is simply the normal pace of the verse. When we
+come to Latin metres, however, we must take a different standard, and
+recognize a conscious modification of the Greek rule. The Ovidian
+pentameter of the best period-- to cite a familiar instance-- is subject
+to minute laws, which are transgressed at every turn in Greek elegiac
+poetry, and the different ideals of Persius and Horace are distinctly
+traceable in their treatment of the hexameter. Horace, as is well known,
+broke the lofty movement of the hexameter to suit the easy gait of the
+satire. Persius is more rhetorical than Horace, and, although he admits
+elision with as great freedom as his master, his verse has a more
+mechanical structure than the verse of Horace, and many of the
+conversational peculiarities of the Horatian hexameter are much less
+conspicuous in Persius. Horace weakens the caesura, employs a great
+number of spondaic words, and neglects the variety at which the epic
+aims; and perhaps the trained ear of a determined scholar might hear in
+the jog-trot of his satiric rhythms the hoofs of his bob-tailed mule and
+the lazy flapping of his portmanteau. Persius, on the other hand,
+hammers out his thoughts in a far more orthodox cadence. Comparing the
+first six hundred and fifty verses of the first book of the satires of
+Horace with the six hundred and fifty verses of Persius, we find that
+more than eight per cent. have five spondees against less than five per
+cent. in Persius. The so-called third trochee or feminine caesura of the
+third foot is found in one of ten of Horace’s hexameters, and only in
+one of twenty-six in Persius-- a low proportion even for a Latin poet.
+Still more striking is the rare use which Persius makes of the masculine
+caesura of the sixth foot, with its consequent monosyllabic close. Aside
+from all idle symbolism, this arrangement, which is comparatively common
+in Horace, gives the verse a certain familiar roughness, especially
+where the final word forces a union with the following line. These
+diversities can not be accidents, and serve to show that, although
+Persius might weave himself a garment from the dyed threads of Horatian
+diction, he was not bold enough to wear the _discincta tunica_ of
+Horace’s Muse. But we must not forget to be just, and it is only fair to
+add that such a garb would have been as inappropriate to his severe and
+lofty, though narrow spirit, as the Coan vestments of Ovid’s ‘kept
+goddess’-- if we may borrow the _déesse entretenue_ of Heinrich Heine.
+
+A comparison of Persius with Juvenal-- a favorite theme with editors--
+does not enter into the plan of this study. It suffices for our present
+purpose to note that the practiced rhetorician of the time of Trajan
+could not have shared Quintilian’s admiration of his youthful
+predecessor. The parallel passages which have been cited belong to the
+common stock of satirical strokes or to the thesaurus of proverbial
+phrases. Who can believe that Juvenal took _usque adeo_ from Persius, or
+borrowed from him the familiar _rara avis_? There are three or four
+touches in the Tenth Satire which recall some of the more striking
+expressions of Persius; but Ribbeck’s objections to the genuineness of
+this sophistic declamation, if not convincing, are at least sufficiently
+well founded to make us pause in citing them. In moral earnestness,
+Persius is as far superior to Juvenal as he is inferior to him in the
+rhetorical treatment of his themes; and so long as men will take into
+consideration this moral element, which modern critics are prone to
+eliminate from works of art, so long as they will say _pectus est quod
+satiricum facit_ as well as _quod theologum_, Persius will command a
+personal esteem which does not attach to the satires of Juvenal. The
+ingenious theory of Boissier, that the great satirist of the Caesars was
+a snubbed snob, brings out in still more striking contrast the figure of
+Persius as the reserved provincial aristocrat, and may be worthy of a
+more ample development than it has yet received. But Juvenal is a
+dangerous theme. As M. Martha has admirably observed, Juvenal is an
+author whose declamatory tone has infected his eulogists; and those who
+are not carried away by an ‘admiration which disfigures while it
+exalts,’ may readily be tempted into the opposite extreme. Let us turn,
+then, to other matters which illustrate more directly the character of
+our author’s compositions. And first a word or two of Stoicism.
+
+With the strong practical tendencies of the Romans, the only systems of
+Greek philosophy that ever found large acceptance at Rome were the
+Epicurean and the Stoic; and in the Stoic school the only doctrines that
+commanded much attention were the ethic. The subtle dialectic of the
+Stoics, of which we have some unjoyous specimens in Cicero’s
+philosophical compilations, was not congenial to the Roman mind; but the
+Stoic creed was the creed of the nobler spirits of the imperial time.
+Excluded from public life, or, at all events, from the satisfactory
+exercise of public functions, the elect few took refuge in Stoic
+philosophy.[1]
+
+    [Footnote 1: In this section of the Introduction I follow Zeller’s
+    Essay on Marcus Aurelius (_Vorträge u. Abhandlungen_) so closely
+    that some special acknowledgment seems to be necessary.]
+
+The object of Stoicism is by means of virtue and knowledge to make men
+independent of all without them, and happy in that independence. It is a
+pantheism: God revealed in every thing; God’s law recognized in every
+thing; God the substance from which every thing proceeds, to which every
+thing returns; the Original Fire, from which every thing is born again.
+God is the all-pervasive Spirit, Fate, Providence. Obedience to his
+eternal laws constitutes virtue and happiness. Good and evil are to be
+measured by this standard. All that brings us toward this is Good; all
+that carries us away from it is Evil. Every thing else is indifferent.
+
+In Grace or out of Grace, says the Christian; or, as Calvin expresses it
+in his nervous language, _Qui Christum dimidium habere vult, totum
+perdit_. In Virtue or out of Virtue, says the Stoic. There is nothing
+between. The wise are perfectly wise; the foolish are totally foolish.
+‘There is not a half-ounce of rectitude in the fool.’ The vicious man is
+as mad as Orestes-- nay, madder.
+
+The difference between human beings is slight. Alkibiades, the high-born
+and the handsome, is no better than shriveled old Baukis, who makes her
+livelihood by selling greens. All external distinctions sink into utter
+insignificance by the side of this great contrast of knowledge and
+ignorance into which virtue and vice are resolved.
+
+All humanity is one people; all the world one state; its ruler the
+Deity; its constitution the eternal law of the universe. The more
+unconditionally a man submits to the guidance of this law, the more
+exclusively he seeks his happiness in virtue, the more independent he
+will be of all without him, the more contented in himself, and yet the
+readier to enter into communion with others, and to do his duty to the
+whole of which he is a part.
+
+But it is to be observed that the Stoicism of Persius, like the Stoicism
+of Marcus Antoninus, was of a softer, milder, more religious character
+than that of Zeno and Chrysippus; and when the Stoic discourses on the
+nothingness of all earthly things, the ills of life, man’s moral
+weakness, and his need of help, we hear language that reminds us now of
+the epistles of the New Testament, now of the doctrines of Buddha. ‘The
+philosopher,’ says Zeller, ‘is a physician for the soul, a priest and
+servant of the Deity among men, and this he shows by the most unlimited,
+devoted, unreserved philanthropy.’ And not only so, but the Stoic does
+not disdain to make life brighter in the social circle; and the Sixth
+Satire of our author, which Nisard considers to be a youthful escapade
+of the poet-- _qui s’évertue comme un écolier qui sort de classe_-- is
+no less truly Stoic than the high-strung Third.
+
+In speaking of this subject it is difficult to keep from using the word
+religion, for the emotional element, which is so characteristic of
+religion, is not wanting in a system which is the popular synonym for
+suppression of emotion. This is the thesis which M. Martha has brought
+out into clear relief, and illumined by many apposite examples-- a
+thesis which will not be strange to those who have studied with any care
+the social aspects of the later life of antiquity. Under the empire
+morality was more than morality-- it was a religion; and all the
+formulae of certain phases of Christian ascetics may be applied to the
+ethical side of Stoic philosophy. It is difficult to approach the
+subject without seeming irreverence; but the faith of the Christian must
+be far from robust who can shrink from a parallel that goes no farther
+than the machinery-- that does not involve the motive power. It is not
+the aim of this study to determine whether this parallelism is to be
+recognized as a _praeparatio Evangelica_, or as the like result of
+similar forces at work in different systems of thought and belief. It is
+enough to present the parallelism, to excuse the phraseology.
+
+Our ancestors, at all events, were not afraid to recognize ‘natural
+Christians’ in such men as Socrates, in such youths as Persius. Why,
+even Seneca figured for a long time as St. Seneca; and Jeremy Taylor was
+following old example when he cited the Stoic as well as the Christian
+code. It is only one step from the recognition of this spiritual kindred
+to the recognition of the practical methods of spiritual work as
+anticipated in the life of antiquity-- practical methods which for our
+purposes are even better described by an unbeliever like Lucian than by
+a believer like Marcus Antoninus. In that age of transition we find
+father confessors, private chaplains, mendicant friars, missions,
+revivals, conversions, ecstasies-- all showing the deep needs of the
+human heart, which refused to be satisfied with the outworn gods of the
+Pantheon, and, in ignorance of the divine Person, who alone can answer a
+personal love, sought solace in the mechanism of morality. In
+characterizing Cornutus, I have already borrowed a phrase from
+M. Martha, and called him, as M. Martha calls Seneca, a spiritual
+director; and I have already ventured to call Persius a sensational
+preacher. His stock of philosophy or theology is not as large as some
+commentators suppose; and all the elaborate attempts to show by the
+satires that Persius was a thoroughly trained and consistent Stoic have
+failed. The most elementary knowledge of Stoic ethics is sufficient for
+the comprehension of Persius. Whatever else he knew he kept back for
+practical considerations. He sticks to the marrow of morality, and
+reiterates the cardinal doctrines of Stoicism with the vehemence of a
+Poundtext. This vehemence, this enthusiasm, may be explained by his
+youth, his Etruscan blood, his profession as a moral reformer. A critic
+with M. Taine’s resources might account for it by the climate of
+Volaterrae; but, however it may be accounted for, certain it is that he
+himself is much impressed with the profundity of the doctrines which he
+professes; that he warms and glows as he imparts to his auditors the
+great secret that they are not free because they are slaves to vice;
+that a man who does not understand his relations to his Maker can not
+move a finger without sinning; that in the flesh there is no good thing;
+and that the anguish of a tortured conscience is the worst of hells. But
+the difficulties of Persius are not due to recondite Stoic thought, and
+can not be cleared up by reference to Stoic philosophy. The trouble lies
+in the slangy expressions, the lack of organic development, the restless
+zeal to force his message home to the heart of every hearer, and the
+consequent shifting of the personages of his dialogue to suit the cases
+as they rose before his mind.
+
+Persius, then, was a preacher of Stoicism-- Stoicism, at once the
+philosophy and the religion of a time when serious and noble natures had
+no city of refuge except in their inmost selves, when the only possible
+activity seemed to be submission to the inevitable. The hydrostatic
+pressure of the imperial time forced all the better elements into this
+mould; and in so far Persius bears the stamp of his period, and the very
+absence of political and personal allusions shows how imperfect life
+must have been. But one school of commentators, headed by Casaubon, and
+represented to-day in Germany by Lehmann, in England by Pretor, see in
+Persius much more than a disciple of the Stoa; and the satires of our
+author-- especially the First and Fourth-- are supposed to be full of
+more or less oblique references to Nero’s person, his habits, his
+literary pretensions, his aristocratic birth. At one time it seemed as
+if this thesis, which was suggested by the scholiast, had been
+abandoned, but the field for historical ingenuity is too tempting; and
+one of the vaguest of all the satires, the Fifth, has been discovered by
+Lehmann to be full of the most stinging allusions to Nero. It is not
+enough to grant to this school that Nero, as the type of his age, may
+have been present to the mind of the author. They scornfully reject this
+concession, and resort to all manner of legerdemain in order to explain
+away the impossibilities of such an attack and the improbabilities of
+its execution. With such scope as these scholars allow themselves we may
+find parallels every where, and covert assaults may be detected in the
+most innocent literary performances. But it would not answer the purpose
+of this Introduction to enter into an elaborate discussion of this
+question, which seems to be destined to an uncomfortable resurrection as
+often as it is laid. Every plausible coincidence has been mentioned in
+the Notes, and it will be sufficient for ingenuous youth to know the
+opinions of distinguished scholars on the subject.
+
+If this essay had not been prolonged beyond the limit proposed, it might
+be well to give some account of the grammatical and rhetorical
+peculiarities of the style of Persius; but the grammar of Persius will
+present few difficulties to those who are at all familiar with the
+poetic syntax of the Latin language; and enough has been said to prepare
+the student, in a measure, for coping with the labored terseness of our
+author.
+
+The manuscripts of Persius are remarkable for their age, their number,
+and the stupid bewilderment of the transcribers. The best is the _Codex
+Montepessulanus_, or Montpellier manuscript, with which the _Codex
+Vaticanus_ closely coincides; but, in the words of Jahn, _Nullus Persii
+codex tantae auctoritatis est ut in rebus dubiis eius vestigia tuto
+sequaris sed semper inter complures optio eaque non raro incerta datur_.
+
+
+       *       *       *       *       *
+
+    A. PERSII FLACCI
+
+    SATURARUM
+
+    LIBER.
+
+       *       *       *       *       *
+
+
+  PROLOGUS.
+
+
+  Nec fonte labra prolui caballino,
+  nec in bicipiti somniasse Parnaso
+  memini, ut repente sic poeta prodirem.
+  Heliconidasque pallidamque Pirenen
+  illis remitto, quorum imagines lambunt                           5
+  hederae sequaces: ipse semipaganus
+  ad sacra vatum carmen adfero nostrum.
+  quis expedivit psittaco suum chaere
+  picamque docuit nostra verba conari?
+  magister artis ingenique largitor                               10
+  venter, negatas artifex sequi voces;
+  quod si dolosi spes refulserit nummi,
+  corvos poetas et poetridas picas
+  cantare credas Pegaseium nectar.
+
+
+NOTES.
+
+PROLOGUE.
+
+
+ARGUMENT.-- I never drank of Hippocrene, never dreamed on Parnassus. The
+maids of Helicon and the waters of Pirene are meat and drink for my
+masters-- the acknowledged classics-- not for me, a poor lay-brother,
+with my humble, homely song (1-7). Others succeed: the parrot with his
+Greek, the pie with her Latin. They have not dreamed on Parnassus
+either; but they have a teacher-- the great master Belly-- and Sixpence
+is their Phoebus Apollo. Hark how they troll forth their notes! (8-14).
+
+Alas for me! no golden Muse, no silver sixpence inspires me. _Quis leget
+haec?_
+
+
+This prologue is a survival of the dramatic element of the satire, as
+Casaubon has remarked. Peculiarly personal, the prologue is found in the
+earlier and in the later stages of art, in ballad literature and in
+reflective poetry. The spurious verses which precede the Aeneid-- _Ille
+ego_-- were intended to serve as a prologue, and prologues in prose and
+poetry are familiar to the readers of Martial, Statius, Ausonius, and
+Claudian.
+
+There is no good reason to doubt the genuineness of the prologue, or to
+attribute the authorship to Caesius Bassus, the Editor of Persius, as
+Heinrich has done. Nor is there any sufficient ground for supposing that
+the prologue is fragmentary. The two parts-- of seven verses each-- do
+not hang well together, but the connection of the thought is not so
+remote after all. ‘In the former part, Persius ridicules the pretended
+source of the poetical inspiration of his time, in the latter he exposes
+its real origin’ (Teuffel).
+
+More open to debate is the relation of the prologue to the satires. Is
+it an introduction to all, or only to the first? It is true that the
+prologue seems to belong especially to the first. Both furnish us with a
+programme of the poet’s views, with a confession of faith which
+consisted in a want of faith in the age; but as the First Satire itself
+contains a vindication of the poet’s work, and forms an introduction to
+the other five satires, it is safer not to restrict the prologue to the
+narrower office.
+
+It is needless to say that these verses have not lacked admirers and
+imitators. The latter half is parodied by Milton (_In Salmasii
+Hundredam_), and the line _magister artis ingenique largitor_ is
+expanded by Rabelais (4, 59).
+
+
+The metre is the _scazon_ or _choliambus_ (G., 755; A., 82, 2, _a_, R),
+and as the combination of different rhythms is one of the peculiarities
+of the earlier _satura_, it is not unlikely that Persius followed an
+older pattern. In Petronius, cap. 5, the choliambus is in like manner
+followed by the hexameter, but the analogy is not close. The choliambus,
+the invention of the great lampoonist Hippōnax, is admirably adapted by
+its structure for the expression of disappointment, vexation,
+discontent. The march of the iambus is suddenly checked in the fifth
+foot, and the rapid measure violently tripped up. It is a mischievous
+metre, and betrays in its malice the Thersitic character of its
+inventor.
+
+
+1. The allusion is to Ennius, the _alter Homerus_, who drank of
+Hippocrene (Prop., 3, 2 [4], 6), and dreamed that he had seen his great
+original on Parnassus (Cic., Ac. Pr., 2, 16, 51). --#fonte#: ‘_in_ the
+spring.’ The Latin Abl. often has a locative translation, when the
+conception is not necessarily or not distinctly locative. (G.,[2] 387.)
+--#prolui#: ‘drenched’ is designedly misused. The figure is _Litotes_.
+(G., 448, R. 2.) The greater the depression, the greater the rebound.
+_Non prolui labra_ = _ne primoribus quidem labris attigi_.
+--#caballino#: _Fons caballinus_, ‘hack’s spring,’ is a mock translation
+of _Hippocrene_ = ἵππου κρήνη: the fountain opened by Pegasus with his
+hoof. _Caballus_ is a comic equivalent of _equus_. Comp. Juvenal’s
+_Gorgonei #caballi#_ (3, 118).
+
+    [Footnote 2: G. = Gildersleeve’s L. Grammar; A. = Allen and
+    Greenough’s; M. = Madvig’s.]
+
+2. #bicipiti#: ‘two-peaked.’ Parnassus is called _biceps_, either
+because it appears to have two peaks from such common points of view as
+the entrance to the Corinthian Gulf (δικόρυμβος ὁ Παρνασός, Lucian,
+Char., 5), or because of the two tall cliffs (Ov., Met., 1, 316; 2,
+221)-- the Φαιδριάδες of Diodorus (16, 28), the δίλοφος πέτρα of
+Sophocles (Ant., 1126)-- between which the Castalian spring takes its
+rise. --#somniasse#: sc. _me somniasse_ (G., 527, R. 2; M., 401). With
+_memini_ the Pres. Inf. is more common of Personal Recollection (G.,
+277, R; A., 58, 11, _b_), but the Perfect is also found when the action
+is distinctly recognized as a by-gone. Comp. _saepe velut gemmas eius
+signumque probarem_ | _per causam #memini# me #tetigisse# manum_, Tib.,
+1, 6, 26. Also Ov., Am., 3, 7, 25-6; A. A., 2, 169. The Perfect is
+especially appropriate here, as the balance of the period would seem to
+require _nec prolui nec_ (_quod meminerim_) _somniavi_; and so Conington
+with correct instinct translates, ‘never that #I# can remember.’
+
+3. #sic#: οὕτως, ‘just so,’ ‘without any warning, any preparation.’
+--#prodirem#: ‘make my appearance’ (as it were on the stage).
+
+4. #Heliconidas#: The Muses. Comp. Hesiod (Theog., 1). Hermann prefers
+the epic form, _Heliconiadas_. --#-que# --#-que#: G., 478; A., 43, 2,
+_a._ --#pallidamque Pirenen#: Pirene is the fountain of Acrocorinthus,
+where Pegasus was broken in by Bellerophon. The poetic virtue of its
+water was a late discovery. _Pallidam_, attribute for effect. Comp.
+_pallida mors_, χλωρὸν δέος, and the like. The pallor of students and
+poets needs no illustration.
+
+5. #remitto#: ἀφίημι, for the more usual _relinquo_, which is a common
+v.l. Kisselius (_Specimen criticum_, p. 51) cites Cic., De Orat., 1, 58:
+_tibi #remittunt# istam voluptatem et ea se carere patiuntur_; and Tac.,
+Hist., 4, 11: _vim principis complecti, nomen remittere_. --#imagines#:
+‘busts’ (set up in libraries, public and private). Comp. _ut dignus
+venias hederis et imagine macra_, Juv., 7, 29. --#lambunt#: more
+frequently used of flames.
+
+6. #hederae#: Notice the plural, ‘ivy wreaths,’ G., 195, R. 6. The ivy,
+being sacred to Bacchus, formed the wreath of victors in scenic
+contests; thence transferred to poets generally. --#sequaces#: ‘lissom,
+pliant.’ Persius seldom, if ever, uses a merely descriptive epithet, and
+hence some commentators have detected a sneer in these words, ‘lackeying
+ivy belicks.’ --#semipaganus#: ‘poor half-brother of the guild’
+(Conington). The _paganus_ is admitted to all the _sacra pagi_
+(_paganalia_); the _semipaganus_ is a lay-brother. Persius is not a
+_vates_, but a _semivates_. He is not initiated into what Aristophanes
+calls the γενναίων ὄργια Μουσῶν, Ran., 356. Those who believe that the
+Satires of Persius were aimed at Nero, see in _semipaganus_,
+‘half-educated,’ as well as in the last seven verses, a deliberate
+disguise of the poet’s real condition, as a man of culture and of
+wealth. They overlook the sneer at the class which he is not worthy to
+join.
+
+7. #vatum#: with the same tone of derision as in the English equivalent,
+‘bards.’ --#nostrum#: perhaps not simply = _meum_, but ‘native,
+home-made.’
+
+8. #expedivit#: _Expedire_ and _conari_ both imply difficulty (Jahn),
+but the difficulty is completely conquered in _expedire_; not so in
+_conari_. The parrot, if not a Greek (ψιττακός), is a Hellenized Hindoo
+(_bitak_), and has learned to utter glibly his familiar _Bonjour_. The
+magpie is an Italian, and not so deft. Others regard this
+interpretation, which is essentially Jahn’s, as too subtle, and make
+_verba nostra_, which many prefer to _nostra verba_, simply equivalent
+to ‘human speech.’ --#chaere# = χαῖρε. Greek was the language of small
+talk, love talk, parrot-talk.
+
+10. #magister artis ingenique largitor#: _Magister_, of that which is
+taught; _largitor_, of that which comes from nature’s bounty; _-que_
+combines the two into an exhaustive unit (G., 478; A., 43, 3, _a_). The
+thought recurs in numberless forms. Comp. ἁ πενία, Διόφαντε, μόνα τὰς
+τέχνας ἐγείρει, Theocr., 21, 1; _Paupertas omnes artis perdocet_,
+Plaut., Stich., 1, 3. 23 (Jahn). Add χρεία διδάσκει, κἂν βραδύς τις ᾖ,
+σοφόν, Eur., fr. 709 (Nauck), and Alexis, fr. 205 (3, 479 Mein.), where
+the γαστήρ is expressly mentioned. Birds, it seems, were trained to talk
+by hunger.
+
+11. #negatas#: (_a natura_). --#artifex sequi#: poetic syntax for _a.
+sequendi_. G., 424, R. 4. (comp. 429, R. 4); A., 57, 8, _f_, 3.
+A so-called Greek construction. See 1, 59. 70. 118; 5, 15. 24; 6, 6. 24.
+--#sequi# = _sectari_. --#voces#: (articulate) ‘speech.’
+
+12. #quod si#: ‘Nay, if but.’ Commentators on Horace still indulge in
+remarks on the unpoetical character of _quod si_, copying Orelli on Od.,
+1, 1, 35. If _quod si_ is prosaic, Propertius is to be pitied; he uses
+it at every turn. --#dolosi#: ‘seductive, alluring.’ Persius does not
+deal much in ‘general epithets;’ hence δόλιον κέρδος (Pind., Pyth., 4,
+140) is not a sufficient parallel. --#refulserit#: better every way than
+_refulgeat_, which Jahn accepts in his ed. of 1868. The Perf. Subj. is
+more vivid and more correct than the Present. _Re-_ must not be
+overlooked. Like the English ‘again,’ it denotes the reversal of a
+previous condition. _Refulgere_, ‘to catch the eye by its glitter,’ ‘to
+flash on the sight’-- whereas it lay unnoticed before. --#nummi#: better
+translated as a coin. Comp. ‘The Splendid Shilling,’ ‘The Almighty
+Dollar;’ perhaps ‘The Magic Sixpence.’ Comp. Juv., 7, 8: _nam si Pieria
+#quadrans# tibi nullus in umbra | ostendatur_, etc.
+
+13. #corvos poetas et poetridas picas#: ‘Raven poets and poetess pies,’
+the substantive standing for an epithet, like _popa venter_, 6, 74.
+Which of the substantives is adjective to the other does not appear. For
+the _corvus_, Poe and Dickens will answer as well as Macrob., Sat. 2, 4.
+The male poet has a female counterpart in the magpie (_pica_). According
+to Ov. (Met., 5, 294, foll.), the daughters of Pierus, the Macedonian,
+were changed into magpies because they had challenged the Muses to a
+contest, and reviled the victorious goddesses. There seems to be an
+allusion to the literary ladies of the day, the blue-stockings of
+Juvenal’s Satire (6, 434 foll.). See Friedländer, _Sittengeschichte_, 1,
+481. _Poetridas_ after Gr. analogy.
+
+14. #cantare nectar#: a poetic extension of the cognate accusative =
+_nectareum carmen cantare_ (G., 331; A., 52, 1, _b_). _Nectar_ is copied
+from Pind., Ol., 7, 7 (νέκταρ χυτόν, Μοισᾶν δόσιν), and when combined
+with _Pegaseium_ is sufficiently grandiloquent to be as absurd as it is
+intended to be. The old reading, _melos_ (μέλος), with its faulty
+quantity, rarely finds a champion against _nectar_.
+
+
+CRITICAL APPENDIX.
+
+PROLOGUS.
+
+2. #Parnaso#: Parnasso, H. --4. #Heliconidas#: Heliconiadas, J{α}., H.
+--5. #remitto#: relinquo, J{α}. --7. #adfero#: affero, J{α}., H.
+--8. #chaere#: χαῖρε, J{α}., H. --9. #picam#: picas, J{α}. --#nostra
+verba#: verba nostra, H. --12. #refulserit#: J{α}.; refulgeat, J{ω}., H.
+
+
+       *       *       *       *       *
+
+
+  SATURA I.
+
+
+  O curas hominum! o quantum est in rebus inane!
+  ‘Quis leget haec?’ Min tu istud ais? nemo hercule! ‘Nemo?’
+  Vel duo, vel nemo. ‘Turpe et miserabile!’ Quare?
+  ne mihi Polydamas et Troiades Labeonem
+  praetulerint? nugae. non, si quid turbida Roma                   5
+  elevet, accedas examenque inprobum in illa
+  castiges trutina, nec te quaesiveris extra.
+  nam Romae quis non--? a, si fas dicere-- sed fas
+  tum, cum ad canitiem et nostrum istud vivere triste
+  aspexi ac nucibus facimus quaecumque relictis,                  10
+  cum sapimus patruos; tunc, tunc, ignoscite-- ‘Nolo.’
+  Quid faciam? sed sum petulanti splene cachinno.
+    Scribimus inclusi, numeros ille, his pede liber,
+  grande aliquid, quod pulmo animae praelargus anhelet.
+  scilicet haec populo pexusque togaque recenti                   15
+  et natalicia tandem cum sardonyche albus
+  sede leges celsa, liquido cum plasmate guttur
+  mobile collueris, patranti fractus ocello.
+  hic neque more probo videas nec voce serena
+  ingentis trepidare Titos, cum carmina lumbum                    20
+  intrant, et tremulo scalpuntur ubi intima versu.
+  tun, vetule, auriculis alienis colligis escas?
+  auriculis, quibus et dicas cute perditus _ohe_.
+  ‘Quo didicisse, nisi hoc fermentum et quae semel intus
+  innata est rupto iecore exierit caprificus?’                    25
+  En pallor seniumque! o mores! usque adeone
+  scire tuum nihil est, nisi te scire hoc sciat alter?
+  ‘At pulchrum est digito monstrari et dicier _hic est!_
+  ten cirratorum centum dictata fuisse
+  pro nihilo pendas?’ Ecce inter pocula quaerunt                  30
+  Romulidae saturi, quid dia poemata narrent.
+  hic aliquis, cui circa umeros hyacinthia laena est,
+  rancidulum quiddam balba de nare locutus,
+  Phyllidas Hypsipylas, vatum et plorabile si quid,
+  eliquat ac tenero supplantat verba palato.                      35
+  adsensere viri: nunc non cinis ille poetae
+  felix? non levior cippus nunc inprimit ossa?
+  laudant convivae: nunc non e manibus illis,
+  nunc non e tumulo fortunataque favilla
+  nascentur violae? ‘Rides’ ait ‘et nimis uncis                   40
+  naribus indulges. an erit qui velle recuset
+  os populi meruisse et cedro digna locutus
+  linquere nec scombros metuentia carmina nec tus?’
+    Quisquis es, o, modo quem ex adverso dicere feci,
+  non ego cum scribo, si forte quid aptius exit,                  45
+  quando haec rara avis est, si quid tamen aptius exit,
+  laudari metuam, neque enim mihi cornea fibra est;
+  sed recti finemque extremumque esse recuso
+  euge tuum et belle. nam belle hoc excute totum:
+  quid non intus habet? non hic est Ilias Atti                    50
+  ebria veratro? non si qua elegidia crudi
+  dictarunt proceres? non quidquid denique lectis
+  scribitur in citreis? calidum seis ponere sumen,
+  scis comitem horridulum trita donare lacerna,
+  et ‘verum’ inquis ‘amo: verum mihi dicite de me.’               55
+  qui pote? vis dicam? nugaris, cum tibi, calve,
+  pinguis aqualiculus protenso sesquipede exstet.
+  o Iane, a tergo quem nulla ciconia pinsit,
+  nec manus auriculas imitari mobilis albas,
+  nec linguae, quantum, sitiat canis Apula, tantae!               60
+  vos, o patricius sanguis, quos vivere fas est
+  occipiti caeco, posticae occurrite sannae!
+    Quis populi sermo est? quis enim, nisi carmina molli
+  nunc demum numero fluere, ut per leve severos
+  effundat iunctura unguis? scit tendere versum                   65
+  non secus ac si oculo rubricam derigat uno.
+  sive opus in mores, in luxum, in prandia regum
+  dicere, res grandis nostro dat Musa poetae.
+  ecce modo heroas sensus adferre videmus
+  nugari solitos graece, nec ponere lucum                         70
+  artifices nec rus saturum laudare, ubi corbes
+  et focus et porci et fumosa Palilia faeno,
+  unde Remus, sulcoque terens dentalia, Quinti,
+  cum trepida ante boves dictatorem induit uxor
+  et tua aratra domum lictor tulit-- euge poeta!                  75
+  est nunc Brisaei quem venosus liber Acci,
+  sunt quos Pacuviusque et verrucosa moretur
+  Antiopa, aerumnis cor luctificabile fulta.
+  hos pueris monitus patres infundere lippos
+  cum videas, quaerisne, unde haec sartago loquendi               80
+  venerit in linguas, unde istuc dedecus, in quo
+  trossulus exsultat tibi per subsellia levis?
+  nilne pudet capiti non posse pericula cano
+  pellere, quin tepidum hoc optes audire _decenter_?
+  ‘Fur es’ ait Pedio. Pedius quid? crimina rasis                  85
+  librat in antithetis: doctas posuisse figuras
+  laudatur ‘bellum hoc!’ hoc bellum? an, Romule, ceves?
+  men moveat? quippe et, cantet si naufragus, assem
+  protulerim. cantas, cum fracta te in trabe pictum
+  ex umero portes? verum, nec nocte paratum                       90
+  plorabit, qui me volet incurvasse querela.
+    ‘Sed numeris decor est et iunctura addita crudis.
+  cludere sic versum didicit _Berecyntius Attis_
+  et _qui caeruleum dirimebat Nerea delphin_
+  sic _costam longo subduximus Appennino_.                        95
+  _Arma virum_, nonne hoc spumosum et cortice pingui,
+  ut ramale vetus vegrandi subere coctum?’
+  ‘Quidnam igitur tenerum et laxa cervice legendum?
+  _Torva mimalloneis inplerunt cornua bombis,_
+  _et raptum vitulo caput ablatura superbo_                      100
+  _Bassaris et lyncem Maenas flexura corymbis_
+  _euhion ingeminat, reparabilis adsonat echo?’_
+  haec fierent, si testiculi vena ulla paterni
+  viveret in nobis? summa delumbe saliva
+  hoc natat in labris, et in udo est Maenas et Attis,            105
+  nec pluteum caedit, nec demorsos sapit unguis.
+    ‘Sed quid opus teneras mordaci radere vero
+  auriculas? vide sis, ne maiorum tibi forte
+  limina frigescant: sonat hic de nare canina
+  littera.’ Per me equidem sint omnia protinus alba;             110
+  nil moror. euge! omnes, omnes bene mirae eritis res.
+  hoc iuvat? ‘hic’ inquis ‘veto quisquam faxit oletum.’
+  pinge duos anguis: pueri, sacer est locus, extra
+  meite! discedo. secuit Lucilius urbem,
+  te Lupe, te Muci, et genuinum fregit in illis;                 115
+  omne vafer vitium ridenti Flaccus amico
+  tangit et admissus circum praecordia ludit,
+  callidus excusso populum suspendere naso:
+  men muttire nefas? nec clam, nec cum scrobe? nusquam?
+  hic tamen infodiam. vidi, vidi ipse, libelle:                  120
+  auriculas asini quis non habet? hoc ego opertum,
+  hoc ridere meum, tam nil, nulla tibi vendo
+  Iliade. audaci quicumque adflate Cratino
+  iratum Eupolidem praegrandi cum sene palles,
+  aspice et haec, si forte aliquid decoctius audis.              125
+  inde vaporata lector mihi ferveat aure:
+  non hic, qui in crepidas Graiorum ludere gestit
+  sordidus, et lusco qui possit dicere ‘lusce,’
+  sese aliquem credens, Italo quod honore supinus
+  fregerit heminas Arreti aedilis iniquas;                       130
+  nec qui abaco numeros et secto in pulvere metas
+  scit risisse vafer, multum gaudere paratus,
+  si cynico barbam petulans nonaria vellat.
+  his mane edictum, post prandia Calliroen do.
+
+
+NOTES.
+
+FIRST SATIRE.
+
+This Satire is an attack on the literature of the day as the
+efflorescence of the corruption of the times. The age is personified by
+a critical friend, but it is not always easy to determine when the poet
+is speaking and when the friend, or when the satirist is meeting an
+imaginary objection from some other imaginary quarter. The unreality of
+the whole dialogue is confessed with more candor than art in v. 44.
+Instead of a firm outline, we have a floating _quisquis es_.
+
+
+ARGUMENT.-- The poem opens with a line, which Persius recites to his man
+of straw, who forthwith urges him to abandon authorship (1-3). The poet
+acknowledges that he is at odds with his generation and expects no
+applause at their hands. But little does he care for their praise; let
+them prefer a Labeo to him. Their standard is not his standard. He is
+his own canon. He will not, can not follow the advice of his friend. He
+must obey the impulse of his temper and speak out (4-12).
+
+Whether we write laborious verse or laborious prose-- so the attack
+begins-- it is all one; display and applause are the aim and object of
+both. The style is fustian; the delivery wanton; the theme prurient. The
+bard is little better than a bawd (13-23). And yet so deeply rooted is
+this love of praise that learning is loss, unless it be minted into
+golden opinions, and knowledge is naught until it be known of men. To be
+pointed out as a lion, to be used as a school classic-- what glory!
+(24-30). Oh, yes! A glory shared by the dainty ditties, the mewling
+elegies of lisping, snuffling dandies, for this is what calls forth the
+approval of the after-dinner circle. Such is the praise that is to bless
+the poet even after death! (30-40). It is true that fame is not to be
+despised. No poet but feels his heart vibrate to praise. But the popular
+acclaim is not the ultimate standard. Mad epics, elegies thrown off in a
+surfeit, effusions of aristocratic easy-chairs are alike lauded. A man
+feeds the hungry and clothes the naked, and then asks for a candid
+opinion. Mockery of criticism! (40-62). The taste of the people relishes
+nothing but smooth verses-- verses without flaw or break, faultless
+machine-verses-- which answer any turn, and serve alike for satire, for
+eclogues, for heroic strains (63-75). Others, again, call themselves
+passionate pilgrims to the well of Latin undefiled, and linger over the
+obsolete magniloquence of Pacuvius and Accius. A fine _olla podrida_--
+this jumble of modern affectation and ancient trumpery (76-82). Bad as
+this is in literature, how much worse it is to find that the jargon of
+the _salon_ has become the language of the courts, and that the manly
+Roman speech is dead. Even in a matter of life and death, the accused
+thinks more of his rhetorical than of his judicial sentence, and listens
+for a ‘Pretty good,’ as if that were the verdict (83-91). It will not do
+to say that great improvements have been made in the art of verse.
+Smooth are the verses and resonant, but at the cost of sense, of manly
+vigor. Once catch the trick, and any body can reel off such lines
+(92-106). Ears are ticklish, our satirist admits. Truth is an unwelcome
+rasp, and the cold shoulder of great men no toothsome meal. Police
+regulations are stringent. ‘Commit no nuisance’ is posted every where.
+Ah, well! It was otherwise in the time of Lucilius. That was a free
+world in which he craunched Lupus and Mucius. It was otherwise in the
+time of Horace. That was a gay world, in which he tickled while he
+taught. And is the poet not to mutter even? King Midas’s barber told his
+master’s secret to a ditch. Where can a ditch be found? Here in this
+book (107-121). Few readers can our author hope or desire-- only such as
+have studied closely the great masters of the Attic sock, not such as
+ignorantly make a mock of Greek attire and Greek science, pride
+themselves on petty local honors, and rise to no higher conception of
+wit or fun than a dog-fight or a jibe at personal infirmity (122-134).
+
+It has been well observed that this is the only Satire of Persius in the
+strict sense of the term; the other five have rather the character of
+essays on moral themes.
+
+One of the best commentaries on this poem is the famous 114th Epistle of
+Seneca.
+
+The student of English literature will remember that Gifford’s Baviad is
+an imitation of this piece.
+
+
+1-7. At the very outset we encounter a difficulty in the distribution of
+the first lines between P. (Persius) and M. (Monitor, as the second
+interlocutor is usually called). The arrangement followed in the text
+may be explained thus:
+
+P. (_is discovered absorbed in contemplation. He recites a line from his
+projected poem_).-- ‘Vanity of vanities!’
+
+M.-- Who will read this stuff of yours?
+
+P. (_wakes up_).-- Do you mean that for me? Why, no one, of course.
+
+M.-- No one?
+
+P.-- Next to no one.
+
+M.-- A lame and impotent conclusion!
+
+P.-- Why so? Am I to fear that Polydamas and the Trojan dames shall make
+up their minds to give Labeo the preference over me? Stuff! Don’t
+assent, when muddled Rome rejects a thing as light weight, and do not
+trouble yourself to get the faulty tongue of that pair of scales to work
+right, and look not outside of yourself for what you can find only
+within yourself.
+
+1. #O curas hominum! O quantum est in rebus inane!# _Homines_ and _res_
+are both used for ‘the world,’ sometimes singly, sometimes together.
+_Res_ is often to be omitted in translation, or another turn given.
+_O quantum est in rebus inane_, ‘Vanity of vanities’-- a suitable Stoic
+text. There seems to be no allusion to Lucretius’s common phrase, _in
+rebus inane_.
+
+2. #Quis leget haec?# a quotation from Lucilius, according to the
+scholiast. Jahn follows Pinzger in supposing that the quotation begins
+with _O curas hominum!_ See, however, L. Müller, _Lucilius_, p. 194.
+
+3. #vel duo vel nemo#: is more guarded, and hence (by Litotes) stronger
+than _nemo_. Comp. Gr. ἢ τις ἢ οὐδείς.
+
+4. #ne mihi praetulerint#: an elliptical sentence, such as we often find
+in final relations (A., 70, 3, _f_), in English as well as in Latin (G.,
+688, R.). The sequence is not common in the classic period, but see G.,
+512, R. Comp. Plaut., Aul., 2, 3, 11; Liv., 44, 22, and Weissenborn in
+loc. The Greek would be: μὴ προτιμήσωσι. --#Polydamas#: Some write
+_Pulydamas_, corresponding with the Homeric form, Πουλυδάμας; but
+_Pōlydamas_ (Πωλυδάμας) is the Sicilian Doric, like _pōlypus_ (πωλύπος).
+The allusion is to a familiar passage in Hom., Il., 22, 100. 104. 5:
+Πουλυδάμας μοι πρῶτος ἐλεγχείην ἀναθήσει-- νῦν δ᾽ ἐπεὶ ὤλεσα λαὸν
+ἀτασθαλίῃσιν ἐμῇσιν | αίδέομαι Τρῶας καὶ Τρῳάδας ἑλκεσιπέπλους. These
+are the words of Hector, as he steels his great heart to meet Achilles.
+Polydamas is the counsellor who had urged him (18, 254) to withdraw the
+Trojans into Troy, and Hector is ashamed to turn back and encounter the
+rebuke of Polydamas and the reproaches of his people. Persius uses
+Polydamas as the type of the Roman critic, and by a familiar satiric
+stroke leaves out the Trojan men, as if they were no men in Rome. Others
+understand ‘Nero and his effeminate court.’ The Homeric passage had been
+well worn by Aristotle and Cicero (Att., 2, 5, 1; 7, 1, 4; 8, 16, 2)
+before it came to Persius. There is perhaps a side-thrust at the pride
+of the old Roman families in their Trojan descent. Comp. Juv., 1, 100:
+_iubet a praecone vocari | ipsos #Troiugenas#_; also 8, 181. See
+Friedländer, _Sittengesch_., 1, 230. --#Labeonem#: the Attius (Labeo) of
+v. 50, an unfortunate translator of Homer, who stuck close to the
+letter. The scholiast has preserved a line. Ὠμὸν βεβρώθοις Πρίαμον
+Πριάμοιό τε παῖδας (Il., 4, 35) is rendered thus: _crudum manduces
+Priamum Priamique pisinnos_. ‘Raw you’d munch both Priam himself and
+Priam’s papooses.’
+
+5. #nugae#: The accusative is more common. Comp. G., 340, R. 1. --#non
+accedas-- nec quaesiveris#: _Non_ and _nec_, where Quintilian’s rigid
+rule (1, 5, 50) requires _ne_ and _neve_. G., 266, R. 1; A., 41, 2, _e_.
+Comp. 3, 73 and 5, 45. --#turbida#: ‘muddle-headed’ (Conington). But
+comp. _Alexandrea turbida_, Auson., Clar. Urb., 3, 4.
+
+6, 7. #elevet#: ‘reject as light.’ The figure is taken from weighing,
+doubtless a common trope in the schools. --#examen#: (_filum, ligula_)
+is the ‘index, tongue, or needle’ which is said to be _inprobum_,
+‘faulty,’ ‘wilful,’ ‘untoward,’ because it does not move freely or
+accurately on its pivot. --#trutina#: (Gr. τρυτάνη, a word of doubtful
+etymology and loose application, means here ‘a balance,’ ‘a pair of
+scales,’ not, as the scholiast says, the _foramen_, ‘fork’ or ‘cheeks,’
+in which the _examen_ plays. --#castiges# = _percutias_ (Schol.) of the
+tap given to a hitching balance. Gesner, s.v., regards _castigare_ here
+as equivalent to _conpescere_ (5, 100), a view which has a good deal in
+its favor. The notion is not ‘do not correct the popular standard,’ but
+‘do not try to get an exact result by the popular standard (for your
+guidance).’ Hermann (_Lect. Pers._, II., 9) follows those who understand
+the _examen_ and _trutina_ of different instruments: _Noli examen tuum
+in #populi# trutina castigare._[3] So Pretor, who translates: ‘Do not
+try to correct the erring tongue of your delicate balance by applying to
+it a pair of ordinary scales.’ --#nec te quaesiveris extra#: (_te_) ‘Nor
+look for yourself (what you can find only in yourself) outside of
+yourself.’ ‘Be your own norm.’ Others arrange: _nec quaesiveris extra
+te_, ‘Nor ask any opinion but your own.’
+
+    [Footnote 3: No satisfactory treatment of this subject is
+    accessible to me. The Greek and Latin dictionaries are wildly at
+    variance with one another and with the authorities. _Examen_ seems
+    to have been originally the strap by which the beam was suspended--
+    not from AG, but from AP. See Isidor., Orig., 16, 23, and comp.
+    _amentum_ (_ammentum_). Add Lucil., 16, 14 (L. Müller).
+    Eustathius’s τρυτάνη ἐπὶ ζογοῦ ἡ τειρομένη τῷ βάρει τῶν ὄγκων
+    points to the pivot (knife-edge) as the first meaning of _trutina_.]
+
+8-12. The distribution followed is that of Jahn (1843), which gives
+_nolo_ (v. 11) to the interlocutor. The jerky, self-interrupting
+discourse is supposed to be characteristic of the _petulante splene
+cachinno_. ‘What is the use of consulting Rome? Every body there is an--
+If I might say what! If I might? Surely I may, when I consider how old
+we are become, how grum we are, and all the step-fatherly manner of our
+lives, since the days of “commoneys” and “alley tors.” Indulge me. _It
+can not be._ What am I to do? Nothing? But I am a man of laughter with a
+saucy spleen.’
+
+8. #nam Romae quis non?# The suppressed predicate is to be supplied from
+the general scope of the passage. The sentence is not completed in v.
+131 (_auriculas asini habet_), for the simple reason that Persius did
+not write _quis non_ in that passage, but _Mida rex_.
+
+9. #cum--aspexi#: _Cum_ is equivalent to _postquam_ here. G., 567; A.,
+62, 3, _e_. --#canitiem#: ‘premature old age,’ ‘loss of youthful
+freshness.’ All through this satire the poet lashes old age, as
+commentators have observed. So here, and 22. 26. 56. 79. The ‘hoary
+head’ is not a ‘crown of glory,’ but a sign of debauchery; the ‘fair,
+round belly,’ which is not uncomely in the elderly justice, is nothing
+but a swagging paunch; the bald pate is not a mirror of honor, but a
+mirror of dishonor; in short, ‘no fool like an old fool.’ Especially
+severe is Persius on the ‘used-up’ man; and the affected moralizing of
+young men, who had outlived their youth before they had had time to
+forget the games of boyhood, drove him to satire. On the Neronian
+hypothesis, Persius is endeavoring to masquerade as an old man.
+--#nostrum istud vivere triste#: ‘sour way of life.’ This is a so-called
+_figura Graeca_, which out-Greeks the Greeks. Good authors are very
+cautious in adding an attribute to the infinitive, and do not go beyond
+_ipsum, hoc ipsum_. _Scire tuum_, v. 27; _ridere meum_, v. 122; _velle
+suum_, 5, 53; _sapere nostrum_, 6, 38, can not be rendered literally
+into the language from which they are supposed to be imitated. Nursery
+infinitives (3, 17) belong to a different category.
+
+10. #nucibus#: The modern equivalent is ‘marbles.’ The very games
+survive. (See 3, 50.) It is hardly necessary to prove that putting away
+such childish things means becoming a man. _Da nuces pueris, iners |
+concubine: satis diu | lusisti nucibus_, Catull., 61, 127-9.
+
+11. #patruos#: On the accusative, see G., 329, R. 1; A., 52, 1, _c._ The
+_patruorum rigor_ was proverbial. Owing to the legal position of the
+paternal uncle, who was often the guardian, it is the _patruus_, not the
+_avunculus_, who is the type of severity. So the cruel uncle of the
+ballad of the ‘children in the wood’ is the father’s brother.
+
+12. #quid faciam?# G., 258; A., 57, 6. --#sed#: (I know you want me to
+do nothing), ‘but’ (I can’t keep quiet) ‘I am a laugher born.’
+--#petulante#: literally, ‘given to butting,’ hence ‘saucy’ --#splene#:
+The seat of laughter. --#cachinno#: a substantive, perhaps built by
+Persius on the analogy of _bibo_, _epulo_, _erro_, etc. Comp. _glutto_,
+5, 112; _palpo_, 5, 176. Hermann, following Heindorf, makes _cachinno_
+a verb, and reads: _tunc, tunc-- ignoscite, nolo; quid faciam sed sum
+petulante splene-- cachinno_, ‘Then-- then-- excuse me-- I would rather
+not-- what am I to do?-- I can’t help it-- my spleen is too much for
+me-- I must have my laugh.’ Jahn (1868) accepts _tunc, tunc-- ignoscite,
+nolo_, but goes no further.
+
+13-23. The battery opens. Verse-wright and writer of prose alike care
+for nothing except applause. Follows a vivid picture of a popular
+recitation.
+
+13. #Scribimus inclusi#: Comp. _scribimus indocti_, etc. Hor., Ep., 2,
+1, 117. --#inclusi#: ‘in closet pent’ (Gifford’s Baviad), to show the
+artificial and labored character of the composition in contrast with the
+beggarly result. Markland’s ingenious conjecture, _inclusus numeris_, is
+not necessary. Heinr. admires Markl., but retains _numeros_ as a Greek
+accusative! --#numeros#: ‘poetry;’ #pede liber# = _pede libero_,
+‘foot-loose,’ ‘prose,’ _soluta oratio_.
+
+14. #grande#: ‘vast,’ ‘grandiose.’ _Grandis_ is always used with
+intention, which our word ‘grand’ sometimes fails to give. See 1, 68; 2,
+42; 3, 45. 55; 5, 7. 186; 6, 22. --#quod pulmo#: ‘something vast enough
+to make a lung generous of breath pant in the utterance of it.’ Jahn
+(1868) reads _quo_ for _quod; quo_ is not so vigorous. --#animae
+praelargus#: a stretch of the adjectives of fulness (G., 373, R. 6; A.,
+50, 3, _b_); _praelargus = capacissimus._
+
+15. #scilicet#: Ironical sympathy, ‘O yes!’ --#haec#: The position is
+emphatic. --#populo#: ‘to the public,’ ‘in public.’ The political force
+of _populus_ has ceased. --#pexus#: ‘with hair and beard well dress’d.’
+‘Combed’ hardly conveys the notion: say ‘shampooed.’ --#togaque
+recenti#: ‘fresh’ (from the fuller).
+
+16. #natalicia sardonyche#: Jewelry reserved for great occasions. The
+brilliancy of the sardonyx is a common theme. _Rufe vides ilium
+subsellia prima tenentem | cuius et hinc lucet sardonychata manus_,
+Mart., 2, 29, 1-2 --#tandem#: shows impatience. --#albus# = _albatus_
+(comp. 2, 40; Hor., Sat., 2, 2, 61) on account of the _toga recens_. So
+_niveos ad frena Quirites_, Juv., 10, 45. Heinr. argues at length in
+favor of ‘pale.’
+
+17. #sede celsa# = _ex cathedra_. --#leges#: So Jahn (1868), despite the
+MSS. _Legens_ may be explained at a pinch as _lecturus_, a comma being
+put after _ocello_; Hermann combines with _pulmo_, and comp. Juv., 10,
+238 sq., where _os_ stands for the owner of the same. Add _cana gula_,
+Juv., 14, 10. But _pexus_ and _albus_ make such a synecdoche incredible.
+--#liquido#: _quia liquidam vocem efficit._ Comp. Hor., Od., 1, 24, 3:
+_cui liquidam pater | vocem cum cithara dedit_. The attribute is put for
+the effect, as in _pallidam Pirenen_, Prol., 4. --#plasmate#: according
+to Quint., 1, 8, 2, a technical name for the professional training of
+the voice, a kind of rhetorical _solfeggio_. Others understand the
+_plasma_ of a gargle to clear the throat.
+
+18. #mobile collueris#: _Mobile_ is predicative. Translate: ‘after
+gargling your throat to suppleness by filtering modulation.’ --#patranti
+ocello#: ‘an eye that would be doing,’ ‘a leering, lustful eye.’ Quint.
+(8, 3, 44) says of _patrare: mala consuetudine in obscenum intellectum
+sermo detortus_. Comp. ‘do’ in Shaksp., Troil. and Cressida, 4, 2: Go
+hang yourself, you naughty, mocking uncle! You bring me to _do_, and
+then you flout me too. --#fractus# = _effeminatus_, ‘debauched,’
+‘languishing,’ _κλαδαρός._ Conington translates: ‘with a languishing
+roll of your wanton eye.’
+
+19. #neque more probo nec voce serena#: Litotes. See Prol., 1.
+
+20. #ingentis Titos#: Comp. _celsi Rhamnes_, Hor., A. P., 342. Here,
+however, there is a reference to size of body (like _ingens Pulfennius_,
+5, 190; _torosa iuventus_, 3, 86; _caloni alto_, 5, 95), for which
+Persius seems to have had a Stoic contempt. _Titi_, perhaps another form
+of _Tities_, the old Sabine nobility (Mommsen, _Rom. Gesch._, B. 1,
+K. 4), of whom much aristocratic virtue might have been expected
+(_sanctos licet horrida mores | tradiderit domus ac veteres imitata
+#Sabinos#_, Juv., 10, 298-9). Instead of that we have great, hulking
+debauchees. --#trepidare#: ‘quiver.’ The word is used indifferently of
+pleasant and unpleasant agitation. The quavering measure thrills them so
+that they can not sit still. On the infinitive, see 3, 64.
+
+21. #scalpuntur intima#: ‘their marrow is tickled.’ _Scalpere_ is
+opposed to _radere_, 1, 107. Comp. 3, 114; 5, 15.
+
+22. #tun#: _-ne_ is often found in rhetorical questions. --#vetule#:
+‘you old reprobate,’ ‘you old sinner.’ --#escas#: ‘tidbits;’ ‘_escas
+colligere_,’ ‘cater.’
+
+23. #quibus et dicas#: _Et_ belongs to _cute perditus_, which is
+variously explained ‘dropsical,’ ‘unblushing,’ ‘thoroughly diseased.’
+The context requires a tough subject, and ‘hide-bound’ or
+‘case-hardened’ might answer as a rendering. --#ohe#: a reminiscence of
+Hor., Sat. 2, 5, 96: _importunus amat laudari; donec ‘#Ohe iam#’ | ad
+caelum manibus sublatis dixerit, urge, | crescentem tumidis infla
+sermonibus utrem_, which last line helps us to understand _cute
+perditus_. Persius, as is his wont, tries to improve on Horace, and
+makes his man inelastic.
+
+24-43. M. Study is useless except to show what a man has in him. --P.
+A low ideal for a student. --M. Fame is a fine thing. --P. It would be a
+fine thing if it were not shared by every dinner-table poet. --M. You
+are too captious. It is a great thing to have written poems that are
+proof against trunk-maker and pastry-cook.
+
+24. #Quo didicisse?# The exclamatory infinitive with involved subject.
+G., 534 (340); A., 57, 8, _g_.
+
+25. #iecore#: the seat of the passions. Here ‘heart’ or ‘breast’ would
+seem to be more appropriate. --#caprificus#: the wild fig-tree sprouts
+in the clefts of rocks and cracks of buildings, which it rends in its
+growth. _Ad quae | discutienda valent mala robora fici_, Juv., 10, 145.
+
+26. #En pallor seniumque#: ‘So that’s the meaning of your studious
+pallor (v. 124; 3, 85; 5, 62) and your (early) old age.’ With _senium_
+comp. Hor., Ep., 1, 18, 47: _inhumanae #senium# depone Camenae_. Persius
+mocks at the weariness to the flesh which the student has undergone for
+so paltry a result. This is the arrangement of Jahn (1843) and Hermann.
+Jahn (1868) follows Heinr. in giving the line to the remonstrant. _En_,
+originally an interrogative, is, after the time of Sallust, confounded
+with _em_, and combined with the nom. in the sense of _em_, which
+properly takes the accus. alone. So Ribbeck, _Beiträge zur Lehre von den
+latein. Partikeln_, S. 35. --#o mores#: Cicero’s famous ejaculation.
+--#usque adeone#: _Usque adeone mori miserum est_, Verg., Aen., 12, 646;
+_usque adeo nihil est_, Juv., 3, 84.
+
+27. #scire tuum nihil est#, etc.: ‘And is thy knowledge nothing if not
+known’ (Gifford). These jingles were much admired in antiquity. The
+passage from Lucilius, which Persius is said to have imitated, reads,
+according to L. Müller (fr. inc., 40, 73): _ne dampnum faciam, scire hoc
+sibi nesciat is me_. A better example in Lucr., 4, 470.
+
+28. #At#: objects. See G., 490; A., 43, 3, _b_. --#digito monstrari#:
+δακτύλῳ δείκνυσθαι (δακτυλοδεικτεῖσθαι). _Quod #monstror digito#
+praetereuntium_, Hor., Od., 4, 3, 22; _saepe aliquis #digito# vatem
+designat euntem_, Ov., Am., 3, 1. 19. --#hic est#: οὗτος ἐκεῖνος, in the
+well-known story of Demosthenes. Cic., Tusc. Dis., 5, 36. --#dicier#: On
+the form, see G., 191, 2; A., 30, 6, _e_, 4. So _fallier_, 3, 50.
+
+29. #cirratorum#: ‘curl-pates.’ Jahn cites Mart., 9, 29, 7: _Matutini
+#cirrata# caterva magistri_. School-boys wore their hair long, but
+Persius does not waste his epithets, and ‘youths of quality’ are
+doubtless meant. Comp. the _lautorum pueros_ of Juv., 7, 177.
+--#dictata#: ‘Persius takes not only higher schools, but higher lessons,
+_dictata_ being passages from the poets read out by the master (for want
+of books) and repeated by the boys’ (Conington). Translate ‘a
+lesson-book,’ a ‘school classic.’
+
+30. #Ecce#: introduces a satiric sketch of ‘classic poets at work.’
+--#inter pocula#: ‘over their cups.’ Poems were read at table by an
+ἀναγνώστης, as lives of the saints are still read in religious houses.
+
+31. #Romulidae#: Comp. _Titos_, v. 20; _trossulus_, v. 82; _Romule_, v.
+87. --#dia#: θεῖα, an affected word. ‘Let us hear,’ say the company,
+‘what his charming verses are about’ (Pretor). Conington renders: ‘What
+news from the divine world of poesy?’
+
+32. #hyacinthia laena#: The dandies of the day wore upper garments of
+military cut and gay colors. A similar military dandyism on the part of
+non-military men is observable in the Macedonian period. Comp.
+χλαμυδηφόροι ἄνδρες, Theocr., 15, 6, with the commentators.
+
+33. #rancidulum quiddam#: ‘affected stuff,’ ‘namby-pamby trash.’
+--#balba de nare# = _de nare balbutiens_, ‘with a nasal lisp,’ ‘with a
+snuffle and a lisp’ (Conington). _Balbus_ is especially used of the
+introduction of an aspirate, and ‘lisp,’ which involves a spirant, is
+only approximate. Comp. θαῦμα μέγα, _inquid #balba#_, Lucil., 6, 20,
+with L. Müller’s note. --#locutus#: Perf. Part. where we should expect a
+Present. G., 278, R.
+
+34. #Phyllidas Hypsipylas#: Phyllis, fearing that she had been deserted
+by her lover, Demophon, hanged herself, and was changed into an
+almond-tree (Ov., Her., 2). Hypsipyle of Lemnos, after bearing two
+children to Jason, was forsaken by him (Ov., Her., 6). These doleful
+themes (_plorabilia_) were popular in Persius’s time. The plural is
+contemptuous in Latin as in English.
+
+35. #eliquat#: ‘filters.’ Every rough particle is strained out so as to
+make the voice ‘liquid.’ The passage from Apul., Flor., p. 351, Elm.,
+cited by Jahn, _canticum videtur ore tereti semihiantibus in conatu
+labellis #eliquare#_, indicates a cooing position of the lips, in which
+the mouth simulates a colander. --#supplantat#: ὑποσκελίζει (Lucil., 29,
+50, L. M.), ‘trips up.’ To judge by Hor., Sat., 2, 3, 274, _balba
+#feris# annoso verba palato_, of which the language of Persius seems to
+be an exaggeration, the sounds impinge upon the roof of the mouth
+instead of coming out boldly-- a kind of lolling utterance. --#tenero#:
+adds another shade: the tripping is light, for the roof is sensitive;
+‘minces his words as though his mouth were sore’ (Pretor).
+
+36. #adsensere viri#: Observe the Epic vein. _Adsensere omnes_, Verg.,
+Aen., 2, 130; _adsensere dii_, Ov., Met., 9, 259 (Jahn). _Viri_,
+‘heroes.’ --#non-? -- non-?# On the form of the question, see G., 455;
+A., 71, 1, R.
+
+37. #levior cippus#: Sufficiently familiar is the old wish, SIT · TIBI ·
+TERRA · LEVIS, which, like the modern R · I · P ·, was promoted to the
+dignity of initials (S · T · T · L ·). --#ossa#: _Patrono meo #ossa#
+bene quiescant_, Petron., 39.
+
+38. #manibus# = _cineribus_, ‘remains’ (Conington). On this
+‘materialism,’ see Tylor, _Primitive Culture_, 2, 24 foll.
+
+40. #nascentur violae#: ‘Lay her i’ the earth | and from her fair and
+unpolluted flesh | may _violets spring_.’ Shaksp., Hamlet, 5, 1.
+--#‘Rides’ ait#: As in Hor., Ep., 1, 19, 43. _Ait_ is used like _inquit_
+(G., 199, R. 3), without any definite reference. --#nimis uncis |
+naribus indulges#: ‘you are too much given to hooking, curling your
+nose.’ _Naribus uti_, Hor., Ep., 1, 19, 45; _naso adunco_, Hor., Sat.,
+1, 6, 5.
+
+41. #an#: when used alone is more or less rhetorical, and is intended to
+force a conclusion involved in the foregoing; ‘What?’ ‘So then?’ G.,
+459; A., 71, 2, _b_. Persius’s use of it is instructive: v. 87; 2, 19.
+26; 3, 19. 27. 61; 5, 83. 125. 163. 164; 6, 51. 63. --#velle meruisse#:
+See G., 275, 2; A., 53, 11, _d_, for the tense of _meruisse_. The Perf.
+after _velle_ is legal rather than Greek. Comp. v. 91, _qui me volet
+#incurvasse# querela_. So Hor. (Sat. 2, 3, 187), mimicking the legal
+tone: _ne quis #humasse velit# Aiacem, Atrida, vetas? cur?_ Other Perf.
+Infinitives with varying motives are found: 1, 132; 2, 66; 4, 7. 17; 5,
+24. 33; 6, 4. 6. 17. 77.
+
+42. #os populi#: ‘popular applause,’ ‘a place in the mouths of men’
+(Conington). Comp. the phrase _in ore esse_. --#cedro digna#: Cedar oil
+was used to preserve manuscripts. _Speramus carmina fingi | posse
+linenda cedro_, Hor., A. P., 331-2.
+
+43. #nec scombros nec tus#: The fear of the mackerel is a stroke of
+Catullus, 95, 8, which Milton imitates, Ep., 10: _gaudete scombri_.
+Comp. Mart., 4, 86, 8. For _tus_, comp. Hor., Ep., 2, 1, 269: _deferar
+in vicum vendentem #tus# et odores | et piper et quicquid chartis
+amicitur ineptis_. The modern equivalent is the grocer or the
+pastry-cook.
+
+44-62. The poet gives up his dramatizing and speaks in his own person.
+‘I am not indifferent to fame, but I reject a standard which approves
+such stuff as Labeo’s, such ditties as “persons of quality” dictate
+after dinner, a standard which makes a hot dish the test of poetic
+fervor, and covers a multitude of poetic sins with a cast-off cloak. If
+you had eyes in the back of your head, you would see that all this
+praise is for value received.’
+
+44. #dicere feci#: G., 527, R. 1; A., 70, 2.
+
+45. #non ego#: ‘I do not decline your praise-- no, not I.’ G., 447; A.,
+76, 3, _d_. Comp. 2, 3; 3, 78; and Hor., Ep., 1, 19, 37, _#non ego#
+ventosae plebis suffragia venor_. --#si forte quid aptius exit#: ‘if I
+chance to turn out (off) a rather neat piece of work.’ _Exit_ may mean
+‘to leave the shop’ (_ex officina exire_, Cic., Parad., pr. 5), or ‘to
+leave the potter’s wheel,’ as _urceus exit_, Hor., A. P., 22 (Jahn).
+Conington translates ‘hatch’ on account of _rara avis_. Κακὸν ᾠόν. The
+passage is imitated by Quint., 12, 10, 26.
+
+46. #quando#: gives the reason for his saying _si forte_. There is no
+necessity of writing _quanquam_, but the translation ‘although’ is not
+unnatural, as causative particles are often adversative. Comp. _cum_ and
+Gr. ἐπεί. --#rara avis#: proverbial as in the famous line of Juv., 6,
+165.
+
+47. #laudari metuam#: So Hor., _metuens audiri_, Ep., 1, 16, 60; _metuit
+tangi_, Od., 3, 11, 10. In prose the construction is less common with
+_metuo_ than with _vereor_. G., 552, R. 1; M., 376, Obs. --#cornea#: ‘of
+horn.’ The metaphorical use seems to be novel. Comp. Hom., Od., 19, 211:
+ὀφθαλμοὶ δ᾽ ὡς εἰ #κέρα# ἔστασαν ἠὲ σίδηρος. --#fibra#: ‘heart.’ See 5,
+29.
+
+48. #recti finemque extremumque#: ‘the ultimate standard.’ Conington
+renders ‘be-all and end-all.’
+
+49. #euge, belle#: like _decenter_ (v. 84), are current expressions of
+approbation at public readings. _Euge_, ‘bravo!’ _belle_, ‘well said!’
+_decenter_, ‘pretty fair!’ Martial gives us a list of popular comments
+(2, 27, 3-4): _Effecte! graviter! st! nequiter! euge! beate! | hoc
+volui!_ --#excute#: a favorite word with Persius as with Seneca, Ep.,
+13, 8; 16, 7; 22, 10; 26, 3; De Ira, 3, 36 (Jahn). The metaphor is taken
+from shaking clothes in order to get out any thing that may be concealed
+in them-- Gr., ἐκσείειν. We should say ‘analyze.’
+
+50. #quid non intus habet#: The figure is kept up. ‘What is not covered
+up in that beggarly rag of a _#belle#_’? --#non# = _nonne_. G., 445
+and R.; A., 71, 1. --#Atti#: See v. 4. --#Ilias ebria#: Comp. _ebrius
+sermo_, Sen., Ep., 19, 9.
+
+51. #veratro#: white hellebore (_album multum terribilius nigro_, Plin.,
+II. N., 25, 5, 21), a strong emetic, which students took ‘to quicken
+their wits.’ The modern _veratrum_ is a different drug. --#elegidia#:
+contemptuous, ‘bits of elegies’ on such themes as Phyllis and Hypsipyle.
+_E._ a Greek word not in Greek lexicons, like _poetridas_, Prol., 13.
+--#crudi#: with their dinners undigested and their brains muddled.
+
+52. #dictarunt#: ‘extemporize.’ --#lectis#: ‘sofas.’ The ancients wrote
+in a recumbent posture far more frequently than we do.
+
+53. #citreis#: ‘of citron wood,’ ‘wood of the thyia’ (_Thyia
+articulata_, African Arbor Vitae, Plin., 15, 29). The fabulous cost of
+tables of this material is well known. Cic., Verr., 4, 17, 37. --#scis#:
+‘you know how.’ _Scire_ in this sense is related to _posse_, as Fr.
+_savoir_ to _pouvoir_, a traditional distinction. --#calidum#:
+‘hot-and-hot’ (Pretor). --#ponere#: 1. ‘serve up;’ 2. ‘cause to serve
+up,’ ‘treat to.’ _Heri non tam bonum #posui# et multo honestiores
+cenabant_, Petron., 34. --#sumen#: a dainty dish in the eyes of Greek
+and Roman. Comp. _vulva nil pulchrius ampla_, Hor., Ep., 1, 15, 41;
+Plut., Sanit. Praec., 124F; Alciphr., Ep., 1, 20; and the joke in
+Alexis, fr. 188 (3, 473 Mein.).
+
+54. #comitem horridulum trita donare lacerna#: This is the kind of
+patronage that galled Lucian (De Merced. Cond., 37), who mentions the
+paltry present of an ἐφεστρίδιον ἄθλιον ἢ χιτώνιον ὑπόσαθρον. On the
+word _comitem_, see 3, 7. _Horridulum comitem_, ‘shivering beggar of a
+companion,’ ‘poor devil in your suite.’ For the custom, comp. Hor., Ep.,
+1, 19, 37: _Non ego ventosae plebis suffragia venor | impensis #cenarum#
+et #tritae# munere #vestis#_.
+
+56. #qui pote?# _Pote_ is an archaism for _potis_. Both _potis_ and
+_pote_ are used as predicates without regard to number and gender.
+--#vis dicam#: G., 546, R. 3; A., 70, 3, _f_, R. _Vis_ does not wait for
+an answer. See 6, 63. --#nugaris#: ‘you are a twaddler’ (Conington).
+--#calve#: Persius calls up his _vetulus_ (v. 22) again, and gives him a
+huge ‘bombard’ of a belly. Nero had a _venter proiectus_, and some
+editors fancy that Nero’s person is aimed at here, and Nero’s poetry in
+the verses that follow. See Introd., xxxvi.
+
+57. #aqualiculus#: (said properly to mean ‘a pig’s stomach’) ‘paunch,’
+‘cloak-bag of guts,’ Shaksp. --#protenso sesquipede#: Comp. the Greek
+proverb: παχεῖα γαστὴρ λεπτὸν οὐ τίκτει νόον. Even M. Martha is forced
+to say: _Le trait n’est ni spirituel ni poli_ (_Moralistes Romains_, p.
+147). For the justification, see v. 128. Jahn (1843) reads _propenso_.
+
+58. #Iane#: Janus, who sees both ways, is secure from being laughed at
+behind his back. --#ciconia pinsit# = _pinsendo ludit_. The fingers of
+the mocker imitate the clapping of the stork’s bill. _Pinsit_, ‘pounds,’
+because the _ciconia levat ac deprimit rostrum dum clangit_, Isidor.,
+Orig., 20, 15, 3. ‘Pecks at’ is not correct; ‘claps’ is nearer. What
+seems to be meant is mock applause.
+
+59. #auriculas#: The imitation of ass’s ears by the hands belongs to
+universal culture. --#imitari mobilis# = _ad imitandum m._ G., 424,
+R. 4; A., 57, 8, _f._ --#albas#: on account of the white lining. Ov.,
+Met., 11, 176: _aures-- villis #albentibus# implet_.
+
+60. #linguae#: The thrusting out of the tongue in derision is as common
+now as it was then. --#canis Apula#: Apulia was the δίψιον Ἄργος of
+Italy. _Siticulosae Apuliae_, Hor., Epod., 3, 16. --#tantae#: So Jahn
+and Herm. ‘Tongues big enough to represent the thirst of an Apulian
+hound’ (Pretor). Jahn compares for the construction, Luc., 1, 259:
+_quantum rura silent, tanta quies_. Conington considers _tantum_ ‘much
+neater,’ and makes _quantum sitiat = quantum sitiens protendat_, ‘a
+length of tongue protruded like an Apulian dog in the dog-days.’
+
+61. #vos, o patricius sanguis#: Hor., A. P., 291: _vos, o | Pompilius
+sanguis_. The Nom. for the Vocative in solemn address. G., 194, R. 3;
+A., 53, _a._ --#fas est# = _fatum est_, ‘it is ordained.’
+
+62. #occipiti#: Notice the exceptional Abl. in _i_. Comp. Auson.,
+Epigr., 12, 8: _#occipiti# calvo es_, and _capiti_, v. 83. --#posticae#:
+chiefly of the back part of a building: ‘back-stairs’ (Conington).
+--#occurrite#: ‘turn round and face’ (Conington and Pretor). --#sannae#:
+‘flout,’ ‘gibe,’ ‘fleer,’ μῶκος.
+
+63-82. Persius takes up the thread which Janus had rudely snapt: ‘We
+have heard the bounden praise of dependants. What does the town say?
+Why, they admire the smooth flow of the verse, the grand style. If they
+find these requisites, little do they care about theme or order of
+development; the ’prentice hand that bungles an eclogue, undertakes an
+epic-- nay, jumbles eclogue and epic-- Bravo, poet! all the same.
+Another mania is the passion for the old poets, a Pacuvian revival. What
+is to be expected when all this bubble-and-squeak language is the daily
+food of our children and the dear delight of lecture-halls?’
+
+63. #Quis# = _qui_. G., 105; A., 21, 1, _a._ --#quis enim#: _Enim_, like
+γὰρ; ‘why, what else?’ ‘of course.’ G., 500; A., 43, 3, _d._
+
+64. #nunc demum#: as if something marvellous had been accomplished.
+--#severos#: ‘captious, critical.’
+
+65. #effundat#: ‘suffers to glide smoothly,’ a harsh expression.
+--#iunctura#: The image is that of the joining of pieces of marble, as
+in an _opus tessellatum_. Comp. Lucil., fr. inc., 10, 33 (L. M.): _quam
+lepide λέξεις conpostae, ut tesserulae, omnes | arte pavimenti atque
+emblemati’ vermiculati_. The poet is compared with an artisan, not with
+an artist. He knows how to fit the pieces together so perfectly as to
+present a continuous smooth surface to the pressure of the most exacting
+nail. Comp. v. 92. --#tendere versum#: ‘to lay off a verse,’ as a
+carpenter lays off his work. The propriety of the word _tendere_ is
+heightened, if we remember that the hexameter was called the _versus
+longus_.
+
+66. Carpenter-like, the versewright stretches his ruddled line
+(_rubrica_), sights it (_oculo derigit uno_), and springs it. The modern
+carpenter uses chalk instead of ruddle, but the red pencil may be
+regarded as a survival of color. For references, see Rost’s Passow, s.v.
+στάθμη. For the spelling _derigat_, remember that _dirigere_ is ‘to
+point in different directions;’ _derigere_ ‘in one.’ --#ac si derigat#:
+On the sequence, see G., 604; A., 61, 1, R.
+
+67. #sive#: seldom used alone; here for _vel si_. --#in mores, in luxum,
+in prandia regum#: a kind of anticlimax. _In_ does not necessarily,
+though it does naturally, denote hostility. The _prandium_ was
+originally a very simple meal. The Stoic model is set up in Seneca, Ep.
+83, 6: _Panis deinde siccus et sine mensa prandium, post quod non sunt
+lavandae manus._ The _manger sur le pouce_ became in time the _déjeuner
+à la fourchette_ (_calidum prandium_, Plaut., Poen., 3, 5, 14), and then
+the _déjeuner dinatoire_ (_prandia cenis ingesta_, Sen., N. Q., 4,
+13, 6). _Regum_, ‘grandees,’ ‘nabobs,’ belongs to _prandia_ alone.
+
+68. #res grandis#: ‘sublimities.’
+
+69. #heroas#: used as an adjective. --#sensus#: ‘sentiments.’
+--#adferre#: ‘parade,’ ‘bring on parade.’ On the Inf., see 3, 64.
+
+70. #nugari graece#: ‘dabble in Greek verses,’ a phase of fashionable
+education, no more peculiar to Nero than to Horace (Sat. 1, 10, 31).
+--#ponere lucum#: ‘put before our eyes,’ ‘paint,’ ‘describe.’ _Lucus_,
+a favorite poetic theme. Jahn thinks of the grove in which Mars and Rhea
+Silvia met, Juv., 1, 7. Perhaps young poets tried their skill on groves,
+as young draughtsmen on trees.
+
+71. #artifices#: With _artifices ponere_ comp. _artifex sequi_, Prol.,
+11. --#rus saturum#: ‘lush, teeming country.’ --#corbes-- focus--
+porci#: all ‘properties’ of country life.
+
+72. #fumosa Palilia faeno#: The festival called _Palilia_, in honor of
+Pales (from the same radical as _pa-sco_), was celebrated on the
+anniversary of the founding of Rome, April 21st. It was a day reeking
+(_fumosa_) with bonfires of hay (_faenum_), over which the peasants
+leaped, doubtless ‘to appease the evil spirit by a pretended sacrifice’
+(Pretor). The dictionaries will furnish the _loci classici_. The other
+form, _Parilia_, is due to ‘dissimilation.’ Comp. _meridies_ for
+_medidies_.
+
+73. #unde#: ‘the source of;’ loosely used to show connection. --#Remus#:
+not unfrequently takes the place of his longer brother, whose oblique
+cases do not fit well into dactylic verse. So _turba Remi_, Juv., 10,
+73; _reddat signa Remi_, Prop., 4, 6, 80; and the other examples in
+Freund. --#sulco#: ‘_with_’ and ‘_in_ the furrow.’ See Prol., v., 1.
+--#terens#: ‘wearing bright’ (Conington), ‘furbishing.’ König compares:
+_#sulco attritus# splendescere vomer_, Verg., Georg., 1, 46.
+--#dentalia#: ‘share-beams,’ Verg., Georg., 1, 171, with Conington’s
+note. --#Quinti#: Cincinnatus, Liv., 3, 26.
+
+74. #cum dictatorem induit#: So Jahn (1843). Decidedly the easiest
+reading, but the best in connection with _terens_. In his ed. of 1868,
+Jahn reads _quem dictatorem_. Hermann objects to the expression, and
+insists on _dictaturam_, appealing in his preface to Plin., H. N., 18,
+3, 20, for _dictaturam_ in the sense of _vestem dictatoriam_. Surely, to
+‘robe dictator’ and to ‘robe with the dictatorship’ are not far apart,
+and the former is the more striking expression. --#trepida#: ‘flurried.’
+See v. 20. --#ante boves#: is supposed to give local coloring, and to
+bring before us the ‘slow, bovine gaze’ of the astonished cattle.
+
+75. #tua aratra#: Poetic plural. --#euge poeta#: Here the applause comes
+in. Mr. Pretor considers the words from _corbes_ to _tulit_ ‘a
+quotation, perhaps from one of Nero’s poems.’
+
+76. #est nunc#: Persius attacks the _antiquarii_ in imitation of Horace.
+The older Latin poets have long been restored to their rights. Accius
+and Pacuvius hardly need defenders. Hermann makes the sentence
+interrogative. --#Brisaei#: ‘Bacchic.’ _Brisaeus_ was an epithet of
+Bacchus, transferred to the poet of Bacchus, who was perhaps too devoted
+a worshipper of the god. There was a famous saying of Cratinus, who was
+in like manner called ταυροφαγος, a surname of Bacchus: ὕδωρ δὲ πίνων
+οὐδὲν ἂν τέκοι σοφόν, fr. 186 (2, 119 Mein.). Comp. Hor., Ep., 1, 19, 1.
+--#venosus#: For the figure, comp. Tac., Dial. 21. The ‘standing out of
+the veins’ refers not so much to the ‘shrinking of the flesh in old age’
+(Conington), as to the scrawniness of the person. So Tacit. uses _durus
+et siccus_ of Asinius Pollio (l.c.), Gr. ἰσχνός. ‘Angular,’
+‘hard-lined,’ is about what is meant. Others prefer ‘thick-veined,’
+‘turgid.’ --#liber#: of a play, Quint., 1, 10, 18; Prop., 4 (3), 21, 28
+(Jahn). --#Acci#: also written _Atti_ (584-650? A.U.C.). Cicero calls
+him _gravis et ingeniosus poeta, summus poeta_ (pr. Planc., 24, 59;
+Sest., 56, 120); Hor., _altus_ (Ep., 2, 1, 56); Ov., _animosi oris_
+(Am., 1, 15, 19). Pacuvius said that the compositions of Accius were
+_sonora quidem et grandia sed duriora paulum et acerbiora_.
+
+77. #Pacuvius#: nephew of Ennius (534-622 A.U.C.). His great model was
+Sophocles. --#verrucosa#: ‘warty,’ intended to be a climax of ugliness.
+--#moretur#: ‘fascinates,’ ‘enthralls.’ _Fabula-- valdius oblectat
+populum meliusque #moratur#_, Hor., A. P., 321.
+
+78. #Antiopa#: imitated from a lost play of Euripides. The fragments
+have been collected by Ribbeck, _Tr. Lat. Reliq._, p. 62; comp. p. 278.
+Antiope, as the mother of Amphion and Zethus, and the victim of Dirce,
+is famous in literature and in art (the _Toro Farnese_). --#aerumnis cor
+luctificabile fulta#: ‘who props her dolorific heart on teen’ (Gifford).
+Jahn defends the conception as truly poetical, apart from the obsolete
+language. ‘The only stay of her sad heart is sorrow.’ The words are
+doubtless taken from the play itself, of course in different order.
+_Aerumna_ was out of date as early as the time of Quintilian (8, 3, 26),
+who protests against the use of it. As to _luctificabile_, if we go by
+the fragments, it is Accius, rather than Pacuvius, that indulges in such
+formations as _horrificabilis_, _aspernabilis_, _tabificabilis_,
+_execrabilis_, _evocabilis_.
+
+79. #lippos#: of the eyes of the mind. Comp. 2, 72.
+
+80. #sartago#: literally ‘a frying-pan,’ ‘hubble-bubble’ (Conington),
+‘gallimaufry,’ ‘galimatias,’ ‘olio’ (Gifford), ‘olla podrida.’
+
+81. #dedecus#: The language is disgraced and degraded by this mixture of
+old and new. Persius would not have enjoyed Tennyson’s resuscitations.
+See Introd., xxiv. --#in quo#: ‘at which.’
+
+82. #trossulus#: an old name of the Roman knights, of disputed origin.
+It was afterward used in derision. Jahn compares the German _Junker_.
+--#exsultat#: ἀναπηδᾷ, ‘jumps up in delight.’ --#per subsellia#: Jahn
+understands the ‘benches’ or ‘forms’ in court; others, perhaps more
+correctly, the seats in the lecture-hall. There is a climax. First,
+private teaching; next, public lectures; thirdly, practical life, to
+which we come in the following verse. --#levis#: the position is
+emphatic, ‘the smug, womanish creature.’ _Levis_ is _levigatus_. Ancient
+literature is full of allusions to this effeminate παρατιλσις.
+
+83. #nilne#: stronger than _nonne_, ‘not a blush of shame.’ --#capiti#:
+rarer Ablative in _i_. Neue gives examples (_Formenlehre_, 1, 242). The
+simple Abl. is found with _pellere_, even in prose, and the Dative,
+which some prefer, would be forced. --#cano#: See note on v. 9.
+
+84. #quin optes#: G., 551; A., 65, 1, _b._ --#tepidum#: ‘lukewarm,’
+_decenter_ being faint praise. ‘In good taste’ (Conington). Gr.
+πρεπόντως.
+
+85. #‘Fur es’#: The accuser puts his point plainly enough; in three
+letters, as the Romans would say. --#ait#: Comp. v. 40. --#Pedio#: Jahn
+thinks it likely that this Pedius is not Horace’s man (Sat., 1, 10, 28),
+but one Pedius Blaesus, condemned under Nero, Tac., Ann., 14, 18; Hist.,
+1, 77. Persius knew more about Horace than about the _causes célèbres_
+of his own day. --#rasis antithetis#: commonly rendered ‘polished
+antitheses.’ With _radere_ comp. the Gr. διεσμιλευμέναι φροντίδες,
+Alexis, fr. 215 (3, 483 Mein.). But the figure may possibly be taken
+from the careful removal of overweight in either scale of the balance.
+The antitheses are scraped down to an exact equipoise.
+
+86. #doctas figuras#: _Doctus_, Scaliger’s correction, which requires,
+moreover, a period at _figuras_, is unnecessary. _Doctas figuras_, like
+_artes doctae_, _dicta docta_, _doli docti_. _Figurae_, σχήματα,
+embraces ‘tropes.’ --#posuisse# = _quod posuerit_. G., 533; A., 70, 5,
+_b._
+
+87. #an#: ‘what?’ ‘can it be that?’ --#Romule#: bitter, like _Titi_,
+_Romulidae_, _trossulus_. Comp. Catull., 29, 5. 9. --#ceves#: ‘Wag the
+tail’ keeps within bounds of possible translation.
+
+88. #men moveat?# So _#men moveat# cimex Pantilius_, Hor., Sat., 1, 10,
+78. The sentiment is that of the well-worn _si vis me flere, dolendum
+est | primum ipsi tibi_, Hor., A. P., 102. _Moveat_ sc. _Pedius_.
+--#quippe#: is often ironical, ‘good sooth.’ --#protulerim#: The Perf.
+Subj. in a sentence involving total negation.
+
+89. #cantas#? ‘you sing, do you?’ --#fracta te in trabe pictum#:
+Shipwrecked men appealed to charity by carrying about pictures of the
+disaster which had overtaken them. Comp. 6, 32. _Si #fractis# enatat
+exspes | navibus, aere dato qui pingitur_, Hor., A. P., 20, and Juv.,
+14, 302. _Trabe_ is the wrecked vessel as it appears in the picture,
+although it is possible that the painting may have been put on a broken
+plank of the ship, in order to heighten the pathos. So Jahn.
+
+90. #ex umero#: We say ‘on the shoulder,’ from a different point of
+view. G., 388, R. 2. --#nocte paratum#: ‘got up overnight.’
+
+91. #plorabit#: an imperative future. --#volet#: Observe the greater
+exactness of the Latin expression. G., 624; A., 27, 2. --#incurvasse#:
+See v. 42, and add Liv., 28, 41, 5; 30, 14, 6; 40, 10, 5, and the _S. C.
+de Bacanalibus_ (passim).
+
+92-106. ‘But,’ rejoins the impersonal personage, whom Persius always has
+at hand, ‘we have made great advances in art. Contrast this verse and
+that verse with the roughness of the Aeneid!’-- ‘The Aeneid rough? Well,
+what is smooth? [_He gives a specimen of fashionable poetry._] If we had
+an inch of our sires’ backbone, such drivel would be impossible. And as
+for art-- it is as easy as spitting.’
+
+I have followed the distribution as presented in Hermann. Jahn gives vv.
+96, 97 to Persius, 98-102 to the interlocutor, the rest to Persius. It
+is impossible to discuss all the arrangements that have been suggested
+for this passage.
+
+92. #decor#: Gr. χάρις. --#iunctura#: is used as in v. 64, of
+‘smoothness,’ ‘harmonious sequence,’ the even surface without a break.
+See Quint., 9, 4, 33. All the specimen verses that follow avoid
+mechanically the offences against _iunctura_ that Quintilian enumerates,
+and do not avail themselves of the license which he accords to a _grata
+neglegentia_. There is no elision, no synaloepha, in any of them. As
+these fashionable verses have been held up to derision by the satirist,
+commentators have been busy in hunting out defects, and translators have
+vied with each other in absurd renderings. But Jahn has wisely warned us
+against an over-curious search into the supposed faults of these verses,
+which Vossius pronounced superior to any thing in the compositions of
+the critic himself. It is enough for us to know that to the ear of
+Persius the lines lacked masculine vigor. The multiplication of
+diaereses, the length of the words, the careful avoidance of elision,
+the dainty half-rhyme of _bombis_ and _corymbis_, the jingle of
+_ablatura_ and _flexura_, may be cited as confirmations of the view of
+Persius, but, with the exception of the desperate verse 95, the diction
+is in keeping with the theme. If _adsonat Echo_ is not ridiculous in
+Ovid (Met., 3, 505), it is not ridiculous here; and one surely needs to
+be told that _reparabilis_ is not a happy adjective for Echo, who is
+always ‘paying back’ and making good.
+
+93. #cludere versum#: like _concludere versum_ (Hor., Sat., 1, 4, 40),
+is ‘round a verse’ (Conington), rather than ‘close a line.’ --#didicit#:
+What is the subject? ‘Our man,’ ‘our poet,’ the lover of _decor et
+iunctura_? So most commentators. Heinr. makes _Attis_ the subject. The
+personification of _iunctura_ would not be too harsh for Persius.
+--#Berecyntius Attis#: It suffices to refer to Catull., 63. Berecyntus,
+a mountain in Phrygia.
+
+94. #Nerea#: god of the sea, the water. In modern Gr. νερόν is ‘water.’
+The use, which Conington calls ‘grotesque,’ is almost as ‘grotesque’ as
+_Vulcanus_ for ‘fire.’ The scholiast thinks of Arion’s dolphin.
+Bacchus’s dolphin is as likely.
+
+95. #sic costam longo subduximus Appennino#: With the close of the
+verse, comp. Ov., 2, 226: _Aeriaeque Alpes et nubifer Appenninus_; and
+Haupt’s note. ‘We filched a rib from the long Apennine.’ The
+interpretations are all unsatisfactory. The scholiast sees in the
+removal of the rib from the mountain a metaphor for the removal of a
+syllable from the hexameter. The only point worthy of notice in this
+remark is the emphasis laid on the spondaic verse. The _Graece nugari
+soliti_ doubtless used spondaic verses more freely than the model Latin
+poets (comp. Catull., 64). Some understand the words to refer to a
+forced march (_putavi tam pauca milia #subripi# posse_, Sen., Ep.,
+53, 1); others to the device attributed to Hannibal in crossing the Alps
+(_montem rumpit aceto_, Juv., 10, 153). It is all idle guess-work,
+without a context; but, guess for guess, the expression would suit a
+‘Titanomachia,’ and the rib might answer for a weapon, as once a
+jaw-bone did. The jingle of the verse is like Verg., Aen., 3, 549:
+_cornua #velatarum# obvertimus #antennarum#_, quoted by the scholiast.
+
+96. #Arma virum!# ‘Compare with these elegant verses _Arma virum_; what
+a rough affair!’ Not only were the opening words of a poem used to
+indicate the poem itself-- Μῆνιν ἄειδε the Iliad, Ἄνδρα μοι ἔννεπε the
+Odyssey, _Arma virum_ the Aeneid-- but the first verses were considered
+peculiarly significant. So the metrical structure of the first verse of
+the Iliad is very different from that of the first verse of the Odyssey.
+_Arma virum_, etc., with its short words and its frequent caesurae, was
+harsh to the ear of the interlocutor, and is compared with the rough,
+cracked bark of the cork-tree. --#spumosum et cortice pingui#: ‘frothy
+and fluffy’ (Conington). As usual, Persius works out his comparison into
+minute details.
+
+97. #vegrandi subere#: So Jahn, instead of _praegrandi subere_. Do not
+translate ‘huge, overgrown bark’ (Conington), but ‘dwarfed, stunted
+cork-tree.’ See Ribbeck (_Beiträge zur Lehre von den lateinischen
+Partikeln_, S. 9), who has discussed _ve_ and this verse at some length.
+Both Conington and Pretor admire the metaphysics of Jahn, who has
+‘explained, after Festus and Nonius, _vegrandis_ as _male grandis_, so
+as to include the two senses attributed to it by Gell., 5, 12; 16, 5, of
+_too small_ and _too large_.’ But _ve-_ means separation (Vaniček,
+_Etym. Wb._, S. 166); _ve-cor-s_, ‘out of one’s mind;’ _ve-sanu-s_, ‘out
+of one’s sound senses;’ _ve-grandi-s_, ‘shrunken,’ ‘dwarfed,’
+‘undergrown’ (if the word is admissible). For the growth of the
+cork-tree, R. refers to Plin., N. H., 16, 8, 13: _suberi #minima
+arbor#-- cortex tantum in fructu, praecrassus ac renascens atque etiam
+in denos pedes undique explanatus_. Some of the best commentators give
+these two verses (96 and 97) to Persius, and consider _Arma virum_ as an
+invocation of the shades of Vergil, ‘as Horace, A. P., 141, contrasts
+the opening of the Odyssey with _Fortunam Priami cantabo_.’ _Hoc_ is
+supposed to refer to the specimen verses. Ribbeck also (l.c.) regards
+the swollen, light bark of the low cork-tree as the image of the _genus
+tumidum et leve_, as opposed to the _grande et grave_. --#coctum#:
+‘thoroughly dried.’
+
+98. #Quidnam igitur#: _Igitur_ is not unfrequently used in questions, as
+our ‘then.’ So _quidnam igitur censes?_ Juv., 4, 130. But, unless the
+question is a rejoinder, it is not very appropriate. ‘If the Aeneid is
+rough, give us something really soft,’ would be a fit reply to _Arma
+virum_, etc., in the mouth of the objector. Conington, who gives 96-98
+to Persius, connects thus: ‘If these are your specimens of finished
+versification, give us something peculiarly languishing.’ --#laxa
+cervice#: the attitude of the _mobile guttur_, v. 18.
+
+99. #Torva mimalloneis#: Persius can not wait for a specimen, and gives
+one himself. This is much more dramatic than the arrangement, which
+makes the respondent cite the verses. The verses are attributed to Nero
+by the scholiast, and in fact Nero is said to have composed a poem on
+the Bacchae, Dio., 61, 20. The theme is so common that no conclusion is
+to be drawn from that statement. Mr. Pretor, who understands by
+_iunctura_ ‘a resetting of old verses,’ regards 99-102 as a weak
+_réchauffé_ of Catull., 64, 257 seqq., and compares Tac., Ann., 14, 16.
+--#Torva#: ‘grim.’ So _#torvum#que repente | clamat_, Verg., Aen., 7,
+399 (of Bacchanalian madness). --#mimalloneis#: from Mimas, on the coast
+opposite Chios. With the whole verse comp. _multis raucisonos efflabant
+cornua bombos_, Catull., 64, 264, and Lucr., 4, 544.
+
+100. #vitulo superbo#: variously caricatured as ‘the haughty, the
+scornful calf.’ No such effect could have been produced by the original.
+Comp. ταῦροι ὑβρισταί, Eur., Bacch., 743 (Jahn); γαυροτέρα μόσχω,
+Theocr., 11, 21; _equae superbiunt_, Plin., 10, 63. The Bacchanal
+rending of animals is familiar. --#ablatura#: On this free use of the
+future participle, see G., 672; A., 72, 4.
+
+101. #Bassaris#: a Bacchante. Jahn cites a Greek epigram (Anth. Pal., 6,
+74), which shows how close a resemblance may be due simply to community
+of theme. --#lyncem#: ‘The lynx was sacred to Bacchus as the conqueror
+of India.’
+
+102. #euhion#: Gr. εὔιον, Accus. of εὔιος (commonly but falsely spelled
+_Evius_), _Euhius_, Bacchus. --#reparabilis#: Actively, as Horace’s
+_dissociabilis_, Od., 1, 3, 22; ‘renewing,’ ‘restoring,’ ‘reawakening.’
+So Ov., Met., 1, 11, of the moon: _#reparat# nova cornua_. --#adsonat#:
+‘chimes in.’
+
+103. #testiculi vena ulla paterni#: ‘_Honestius expressit_, Ov., Her.,
+16, 291: _si sint vires in semine avorum_.’ ‘If we had one spark of our
+fathers’ manhood alive in us’ (Conington).
+
+104. #delumbe#: ‘backboneless,’ ‘marrowless.’ Comp. ἰσχιορρωγικός
+--#saliva#: Spittle is ‘foolish rheum’ as well as tears.
+
+105. #in udo est Maenas et Attis#: ‘Your Maenas and your Attis-- it
+drivels away.’
+
+106. #nec pluteum caedit#, etc.: _Pluteus_, which is commonly rendered
+‘desk,’ is, ‘according to the scholiast, the back-board of the
+_lecticula lucubratoria_,’ or studying-sofa, such as Augustus indulged
+in, Suet., Aug., 78; comp. v. 53. ‘The man lies on his couch after his
+meal, listlessly drivelling out his verses, without any physical
+exertion or even motion of impatience’ (Conington). Persius underrates
+the artistic finish, as he has overdrawn the moral conclusion.
+--#demorsos#: ‘bitten down to the quick.’ _Et in versu faciendo | saepe
+caput scaberet vivos et roderet ungues_, Hor., Sat., 1, 10, 70.
+
+107-121. M. But what is the use of offending people? We must not tell
+the truth at all times. You will have a cool reception at certain great
+houses. Nay, the dog will be set on you. --P. Well! I make no struggle.
+Every thing is lovely. No nuisance, you say. All right. Boys, let us go
+somewhere else. But there was Lucilius-- he wielded the lash, he gnawed
+the bones of his victims. There was Horace-- he probed his friend’s
+heart and punched him in the ribs, and had the town dangling from the
+gibbet of his tip-tilted nose. And I am not to say-- Bo! Not all to
+myself? Not with a ditch for my confidant? Nowhere? Nowhere, you say?
+But I will. I have found a place-- a ditch. It is my book. Here, book,
+is my great secret: ‘All the world’s an ass.’ What a relief!
+
+107. #quid#: What case? --#radere#: ‘rasp.’ --#mordaci vero#: _Verum_ is
+so completely a substantive that there is no difficulty about _mordaci
+vero_ (comp. G., 428, R. 2). Much bolder is _generoso honesto_, 2, 74;
+_opimum pingue_, 3, 32.
+
+108. #vidĕ#: like _cavĕ_, and other iambic Imperatives. G., 704, 2; A.,
+78, 2, _d_. --#sis# = _si vis_, to soften the Imperative, ‘pray do.’
+--#maiorum tibi forte#: Hor., Sat., 2, 1, 60: _O puer ut sis | vitalis
+metuo et maiorum ne quis amicus | #frigore# te feriat._ _Maiores_ =
+‘grandees.’
+
+109. #limina frigescant#: like the modern slang, ‘leave one out in the
+cold.’ _Limen_ is used in many Latin turns where ‘threshold’ would be
+too stately in English. Mrs. Gamp would render: ‘the great man’s cold
+doorsteps will settle on your lungs.’ --#canina littera#: ‘R is for the
+dog,’ Shaksp., Romeo and Jul.; ‘A dog snarling R,’ Ben Jonson. See
+Dictionaries, s.v. _hirrire_. Gr. ἀραρίζειν. An allusion to the familiar
+_cave canem_. ‘The snarl is that of the great man’ (Scholiast).
+Conington compares _ira cadat naso_, 5, 91. The obvious interpretation
+is the right one. ‘There is a sound of snarling in the air,’ refers
+simply to the great man’s dog, which will be set on the unwelcome
+satirist.
+
+110. #per me#: ‘for all I care,’ ἐμοῦ γ᾽ ἕνεκα, a familiar use of the
+preposition _per: #per me# habeat licet_, Plaut., Mercat., 5, 4, 29.
+--#equidem#: Not for _ego quidem_, although this opinion affected the
+practice of Cicero, Horace, Vergil, Quintilian, the younger Pliny.
+Sallust, like Varro, combines _equidem_ with every person. So Ribbeck
+(l.c. S. 36), who derives _equidem_ from _e_ interj. and _quidem_.
+Conington tries to save the rule here by making the expression
+equivalent to _equidem concedo_. Another exception is found 5, 45, where
+C. goes through the same legerdemain: _non #equidem# dubites_, ‘I would
+not have you doubt.’ --#alba#: ‘lovely,’ ‘whitewash them as much as you
+please.’
+
+111. #nil moror#, etc.: The whole line, indeed the whole passage, is
+strongly conversational in its tone. _Nil moror_, ‘I don’t wish to be in
+your way, to spoil sport.’ Comp. Ter., Eun., 3, 2, 7, and Gesner, s.v.
+_moror_. --#bene#: Comp. Cic., Fam., 7, 22: _bene potus._ See also note
+on 4, 22. --#mirae res#: ‘wonders of the world’ (Conington), ‘miracles
+of perfection.’
+
+112. #hoc iuvat?# ‘I hope that is satisfactory.’ --#veto quisquam faxit
+oletum#: ‘commit no nuisance.’ Observe the legal tone. _Quisquam_, on
+account of the negative idea. The negative _ne_ is omitted after _veto_
+as often after _caveo_. G. 548, R. 2; A., 57, 7, _a_. _Faxit_,
+a disputed form. G., 191, 5; A., 30, 6, _e_.
+
+113. #pinge duos anguis#: ‘a sign of dedication rather than of
+prohibition’ (Pretor). The dedication involves the prohibition. This is
+one of the innumerable phases of serpent-worship. For the serpent, as
+the symbol of the _genius loci_, which is Greek as well as Latin, see
+Verg., Aen., 5, 95, and the commentators. The reading _pinguedo sanguis_
+of some of the best MSS. may be mentioned, _animi causa_.
+
+114. #secuit#: ‘cut to the bone.’ --#Lucilius#: The _loci classici_ are
+Hor., Sat., 1, 4, 6; 1, 10, 1; 2, 1, 62; Juv., 1, 19, 165. The
+_testimonia de Lucilio_ have been collected and annotated by L. Müller,
+Lucil., p. 170 seqq.; p. 288 seqq.
+
+115. #Lupe, Muci#: L. Cornelius Lentulus Lupus Cons. A.U.C. 598, and P.
+Mucius Scaevola Cons. A.U.C. 621, Juv., 1, 154. --#genuinum#: ‘Breaking
+the back-tooth’ shows the eagerness with which the satirist gnawed the
+bones of his victims. Comp. Petron., 58: _venies sub #dentem#_, ‘you
+will be “chawed” up.’
+
+116. A deservedly admired characteristic of Horace. --#vafer#: a hard
+word to catch. _Vafer_ crowns the formidable list of synonyms in the
+well-known passage of Cic., Off., 3, 13, 57: _versuti, obscuri, astuti,
+fallacis, malitiosi, callidi, veteratoris, #vafri#_, ‘a shuffler,
+a hoodwinker, a trickster, a cheat, a designing rascal, a cunning fox,
+a blackleg, _a sly dog_.’ The indirectness of _vafer_ may sometimes be
+rendered by ‘politic,’ ‘adroit.’ ‘Rogue’ is a tolerable equivalent.
+--#amico#: is much happier than _amici_ would be; it makes the friend a
+party to the game. _Horatius qui ridendo verum dicit_ (Sat., 1, 1, 24)
+_tam leniter vitia tangit, ut ipse, quem tangit, amicus rideat et
+poetam, qui dum ludere videtur intima aggreditur, lubens admittat et
+excipiat_ (Jahn, after Teuffel). --#admissus#: ‘gets himself let in,’
+‘gains his entrance’ (Conington, after Gifford).
+
+117. #praecordia#: ‘heartstrings.’
+
+118. #excusso#: Persius would not be Persius, if he did not give us a
+problem even in his best passages. _Excusso naso_ stronger than
+_emunctae naris_, Hor., Sat., 1, 4, 8 (Jahn). According to Heinr.,
+_excusso = sursum iactato_, like _excussa brachia_, Ov., Met., 5, 596,
+which seems to suit _suspendere_. Conington renders, ‘with a sly talent
+for tossing up his nose and catching the public on it,’ doubtless with
+reference to ‘tossing in a blanket,’ a pastime not unknown to the
+ancients: _Ibis ab #excusso# missus in astra sago_, Mart., 1, 3, 8.
+Comp. Suet., Otho, 2; Cervantes, Don Quijote, 1, 17; and on the
+_sagatio_, see Friedländer, _Sittengesch._, 1, 25. As the blanket is
+drawn tight in order to effect the elevation of the person tossed, we
+may combine with this figure the old version of an ‘unwrinkled nose,’
+a nose that is ‘kept straight’ (_exporrectus_) by the owner to
+disguise his merriment (_ac si nihil tule ageret_). But this is
+over-interpretation, the besetting sin of the editors of Persius.
+--#callidus suspendere#: On the construction, see Prol., 11. --#naso#:
+_Naso #suspendis# adunco_, Hor., Sat., 1, 6, 5. Comp. 2, 8, 64.
+
+119. #men#: On _ne_ in rhetorical questions, see v. 22. --#nec clam--nec
+cum scrobe#: ‘neither to myself nor with a hole in the ground for my
+listener.’ The negative in _nefas_ is subdivided by _nec-- nec_, G.,
+444, R. Others supply _fas_, G., 446, R. --#nusquam#: The answer of the
+critic, Jahn (1843). In the ed. of 1868 he writes with Hermann,
+_nusquam?_ as a part of Persius’s question. The arrangement in the text
+seems to be more in accordance with Persius’s fashion of anticipating an
+answer (ἀνθυποφορά). ‘Nowhere? you say.’ --#scrobe#: Allusion to the
+story of Midas and his barber, for which no reader will need to be
+referred to Ov., Met., 11, 180 seqq.
+
+121. #quis non habet?# According to the _Vita Persii_, the poet had
+written _Mida rex habet_, intended for King Populus. Cornutus, afraid
+that Nero would take the fling to himself, changed the words to _quis
+non habet?_ The story is not very consistent with the theory that
+Persius went so far as to ridicule Nero’s poetry.
+
+122. #ridere meum#: See v. 9. --#nulla#: G., 304, R. 2. --#vendo#: ‘I am
+going to sell;’ familiar present for future; hence = _vendito_.
+
+123. #Iliade#: Probably the Iliad of Labeo. Homer’s Iliad would be too
+extravagant. --#audaci quicumque#, etc.: The poet distinctly points to
+the mordant Old Attic Comedy as his model; yet there is little trace of
+direct imitation of the worthies whom he cites, and the interval of
+conception is abysmal. --#adflate#: Persius, like some other Roman
+poets, goes beyond reasonable bounds in the use of the Vocative as a
+predicate. G., 324, R. 1; A., 35, _b_. The Greeks were cautious, and in
+Vergil the Vocative can be detached and felt as such, but not here, nor
+in 3, 28. --#Cratino#: the oldest of the famous comic triumvirate:
+_Eupolis atque #Cratinus# Aristophanesque poetae_, Hor., Sat., 1, 4, 1.
+Cratinus was the Archilochus of the Attic stage, hence _audax_. See the
+famous characteristic in Aristophanes, Eq., 527.
+
+124. #iratum Eupolidem#: The epithet is borne out by the fragments.
+--#praegrandi cum sene#: Aristophanes. The adjective refers to his
+greatness: ‘the old giant.’ _Sene_ is not to be pressed. Men who come
+before the public early are often called old before their time. Hannibal
+calls himself an old man when he was only in his forty-fourth year,
+Liv., 30, 30. Others understand _sene_ as a compliment to an ‘ancient’
+author. Instead of Aristophanes, Heinrich and others suppose that
+Lucilius is meant. Comp. Hor., Sat., 2, 1, 34: _vita #senis#_, although
+Lucilius was only about forty-five at the time of his death-- but see L.
+Müller, _Lucilius_, p. 288. --#palles#: ‘study yourself pale over.’ The
+combination with the Accusative is bold, but not bolder than other
+cognate Accusatives. ‘Gain a Eupolidean pallor’ = ‘a pallor due to
+Eupolis.’ For different phases of _pallere_ with Accus., see 3, 43. 85;
+5, 184.
+
+125. #decoctius#: The figure is from wine that is ‘boiled down,’ ‘well
+refined.’ Not ‘opposed to the _spumosus_ of v. 96’ (Conington), as is
+shown by _coctum_, v. 97. --#audis#: ‘have an ear for’ (Conington).
+
+126. #inde# = _ab iis_, ‘by these’ (G., 613, R. 1; A., 48, 5), ‘by the
+study of these,’ dependent on _vaporata_. --#vaporata#: ‘steamed,’ hence
+‘cleansed,’ ‘refined’ (Jahn). Comp. _#purgatas# aures_, 5, 63; _aurem
+mordaci #lotus# aceto_, 5, 86. --#lector mihi ferveat#: _Mihi_ really
+depends on _ferveat_, though it may be conveniently translated by ‘my’
+with _lector_. ‘Let my reader be one who comes to me with his ears aglow
+from the pure effluence of such poetry.’
+
+127. #non hic#: _Hic_ is different in tone from _is_, more distinctly
+demonstrative, and hence more distinctly contemptuous. --#in crepidas#:
+The simple Accusative with _ludere_ is the regular construction.
+_Crepidae_, a part of the Greek national dress. Comp. Suet., Tib., 13:
+_redegit se_ [_Tiberius_], _deposito patrio habitu, ad pallium et
+#crepidas#_. Hence _fabulae crepidatae_ of tragedies with Greek plots.
+--#Graiorum#: the rarer and more stilted form for _Graecorum_, perhaps
+by way of rebuking the impertinence of this stolid would-be wag.
+
+128. #sordidus#: ‘low creature,’ ‘dirty dog.’ Himself vulgar, he can not
+understand refinement of manners or attire. --#qui possit#: Casaubon
+reads _poscit_ to match _gestit_. But Indicative and Subjunctive may
+well be combined, the former of a fact, the latter of a characteristic:
+‘a man who-- and a man to--.’ So in the famous line: _sunt qui non
+habeant, est qui non curat habere_, Hor., Ep., 2, 2, 182. --#lusce#:
+‘Old One-eye’ (Conington). The lowness of the wit is evident. In v. 56
+the poet appears to break his own rule, but baldness and corpulence are
+in his eyes badges of vice, not simple misfortunes.
+
+129. #aliquem#: G., 301. --#Italo#: ‘provincial.’ --#supinus# =
+_superbus_. The head is thrown back with the chin in the air, a familiar
+stage attitude. Others render ‘lolling at his ease.’
+
+130. #fregerit#: G., 541; A., 63, 2. --#heminas iniquas#: ‘short
+half-pint measures.’ This was the duty of the aedile. --#Arreti#:
+Arretium in Etruria. So Juvenal takes Ulubrae as the type of a small
+provincial town: _vasa minora | frangere pannosus vacuis aedilis
+#Ulubris#_, 10, 102.
+
+131. #abaco#: The _abacus_ was a slab of marble or other material which
+was covered with sand (_pulvis_), for the purpose of drawing
+mathematical figures or making calculations (Jahn). Or _pulvere_ may be
+dissociated from _abaco_, and then _abacus_ would be a counting-board,
+_pulvis_, the sand on the ground (_eruditus pulvis_, Cic., N. D., 2, 18,
+48), familiar from the story of the murder of Archimedes. --#metas#:
+‘cones.’
+
+132. #scit#: as if this were a feat. Comp. v. 53. --#risisse#: γελάσαι,
+‘to have his laugh at,’ one of the Perfect Infinitives mentioned in note
+on v. 41. --#vafer#: ironical. --#gaudere paratus#: _Paratus_, as a
+Participle from _parare_, takes the Infinitive with ease. The grammars
+generally treat it as an exceptional Adjective. Here _paratus_ is οἷος;
+‘Just your man to have a fit of glee.’ Comp. Petron., 43: _#paratus#
+fuit quadrantem de stercore mordicus tollere_.
+
+133. #Cynico barbam#: ‘a Cynic’s beard for him.’ G., 343, R. 2.
+_#Vellunt# tibi #barbam# | lascivi pueri_, Hor., Sat., 1, 3, 133 (of a
+Stoic). The beard was the badge of a philosopher. --#nonaria#: so called
+because women of that class were not allowed to ply their trade before
+the ‘ninth hour’-- ‘callet,’ ‘trull.’ --#vellat#: because dependent;
+otherwise _gaudet si vellit_. G., 666; A., 66, 2. The Cynic philosopher
+and the _nonaria_ (ὁ καὶ ἡ κύων) belong to each other by elective
+affinity, Alciphron, 3, 55, 9. See an amusing parallel between
+philosopher and courtesan in the same sophist, 1, 34; and on the worst
+specimens of the ‘Capuchins of antiquity,’ as the Cynics have been
+called, comp. Friedländer, _Sittengesch._, 3, 572.
+
+134. #edictum#: ‘play-bill,’ after Sen., Ep., 117, 30. Others, ‘the
+business of the courts,’ the praetor’s court being a favorite
+lounging-place. --#prandia#: See v. 67. --#Calliroen#: possibly one of
+the _elegidia procerum_ (v. 51), after the order of Phyllis and
+Hypsipyle (v. 34). Comp. Ov., Met., 9, 407, Rem. Am., 455-6. Others
+suppose that Persius meant a _nonaria_. See note on 6, 73, and comp.
+Plutarch, Quaest. Conv., 3, 6, 4. With this gracious permission,
+Casaubon compares the edict of Hor., Ep., 1, 19, 8: _Forum putealque
+Libonis | mandabo siccis, adimam cantare severis_.
+
+
+CRITICAL APPENDIX.
+
+SATURA I.
+
+6. #examenque#: examenve, J{α}., H. --8. #nam Romae quis non#: nam Romae
+est quis non, J{α} --a: ac, J{α}.; ah, H. --9. #tum#: tunc, J{α}., H.
+--11. #tunc, tunc, ignoscite-- ‘Nolo:’# J{α}.; tunc, tunc-- ignoscite,
+nolo, J{ω}., H. --12. #splene cachinno#: splene-- cachinno, H. --14.
+#quod#: J{α}., H.; quo, J{ω}. --17. #leges#: legens, J{α}., H. --19.
+#nec#: neque, J{α}. --32. #circa#: circum, J{α}. --#umeros#: humeros,
+J{ω}., H. --#hyacinthia#: hyacinthina, J{α}., H. --35. #supplantat#:
+subplantat, J{ω}. --36. #adsensere#: assensere, J{α}., H. --57.
+#protenso#: propenso, J{α}. --60. #Apula#: Appula, H. --#tantae#:
+tantum, Heinrich, Conington. --66. #derigat#: dirigat, J{α}., H. --69.
+#adferre#: afferre, J{α}., H. --74. #cum#: J{α}.; quem, J{ω}., H.
+--#dictatorem#: dictaturam, H. --76. #Acci#: Atti, J{α}. --78. #fulta#:
+fulta? H. --82. #exsultat#: J{α}., H.; exultat, J{ω}. --88. #men moveat?
+quippe et#: men moveat quippe et, J{α}., H. --89. #protulerim#:
+protulerim? J{α}., H. --91. #querela#: J{α}., Brambach; querella, J{ω}.,
+H. --93. #cludere#: claudere, J{α}., H. --95. #Appennino#: Apennino,
+J{α}. --97. #vegrandi#: praegrandi, H. --102. #euhion#: evion, J{α}.
+--111. #omnes, omnes#: omnes etenim, J{α}. --114. #meite#: meiite,
+J{α}., H. --119. #nec cum scrobe? nusquam?# nec cum scrobe, nusquam?
+J{ω}., H.; nec cum scrobe? ‘nusquam.’ J{α}. --130. #heminas#: J{α}., H.;
+eminas, J{ω}.
+
+
+       *       *       *       *       *
+
+
+  SATURA II.
+
+
+  Hunc, Macrine, diem numera meliore lapillo
+  qui tibi labentis apponit candidus annos.
+  funde merum genio. non tu prece poscis emaci,
+  quae nisi seductis nequeas committere divis;
+  at bona pars procerum tacita libabit acerra.                     5
+  haud cuivis promptum est murmurque humilisque susurros
+  tollere de templis et aperto vivere voto.
+  ‘Mens bona, fama, fides’ haec clare et ut audiat hospes;
+  illa sibi introrsum et sub lingua murmurat ‘o si
+  ebulliat patruus, praeclarum funus?’ et ‘o si                   10
+  sub rastro crepet argenti mihi seria dextro
+  Hercule! pupillumve utinam, quem proximus heres
+  inpello, expungam! namque est scabiosus et acri
+  bile tumet. Nerio iam tertia conditur uxor.’
+  haec sancte ut poscas, Tiberino in gurgite mergis               15
+  mane caput bis terque et noctem flumine purgas?
+  heus age, responde-- minimum est quod scire laboro--
+  de Iove quid sentis? estne ut praeponere cures
+  hunc-- ‘cuinam?’ cuinam? vis Staio? an scilicet haeres?
+  quis potior index, puerisve quis aptior orbis?                  20
+  hoc igitur, quo tu Iovis aurem inpellere temptas,
+  dic agedum Staio, ‘pro Iuppiter! o bone’ clamet
+  ‘Iuppiter!’ at sese non clamet Iuppiter ipse?
+  ignovisse putas, quia, cum tonat, ocius ilex
+  sulpure discutitur sacro quam tuque domusque?                   25
+  an quia non fibris ovium Ergennaque iubente
+  triste iaces lucis evitandumque bidental,
+  idcirco stolidam praebet tibi vellere barbam
+  Iuppiter? aut quidnam est, qua tu mercede deorum
+  emeris auriculas? pulmone et lactibus unctis?                   30
+    Ecce avia aut metuens divum matertera cunis
+  exemit puerum frontemque atque uda labella
+  infami digito et lustralibus ante salivis
+  expiat, urentis oculos inhibere perita;
+  tunc manibus quatit et spem macram supplice voto                35
+  nunc Licini in campos, nunc Crassi mittit in aedis
+  ‘hunc optet generum rex et regina! puellae
+  hunc rapiant! quidquid calcaverit hic, rosa fiat!’
+  ast ego nutrici non mando vota: negato,
+  Iuppiter, haec illi, quamvis te albata rogarit.                 40
+  Poscis opem nervis corpusque fidele senectae.
+  esto age; sed grandes patinae tuccetaque crassa
+  adnuere his superos vetuere Iovemque morantur.
+  Rem struere exoptas caeso bove Mercuriumque
+  arcessis fibra ‘da fortunare Penatis,                           45
+  da pecus et gregibus fetum!’ quo, pessime, pacto,
+  tot tibi cum in flammas iunicum omenta liquescant
+  et tamen hic extis et opimo vincere ferto
+  intendit ‘iam crescit ager, iam crescit ovile,
+  iam dabitur, iam iam!’ donec deceptus et exspes                 50
+  nequiquam fundo suspiret nummus in imo.
+    Si tibi creterras argenti incusaque pingui
+  auro dona feram, sudes et pectore laevo
+  excutiat guttas laetari praetrepidum cor.
+  hinc illud subiit, auro sacras quod ovato                       55
+  perducis facies; nam fratres inter aenos
+  somnia pituita qui purgatissima mittunt,
+  praecipui sunto sitque illis aurea barba.
+  aurum vasa Numae Saturniaque inpulit aera
+  Vestalisque urnas et Tuscum fictile mutat.                      60
+  o curvae in terris animae et caelestium inanes!
+  quid iuvat hoc, templis nostros inmittere mores
+  et bona dis ex hac scelerata ducere pulpa?
+  haec sibi corrupto casiam dissolvit olivo,
+  haec Calabrum coxit vitiato murice vellus,                      65
+  haec bacam conchae rasisse et stringere venas
+  ferventis massae crudo de pulvere iussit.
+  peccat et haec, peccat: vitio tamen utitur. at vos
+  dicite, pontifices, in sancto quid facit aurum?
+  nempe hoc quod Veneri donatae a virgine pupae.                  70
+  quin damus id superis, de magna quod dare lance
+  non possit magni Messallae lippa propago:
+  conpositum ius fasque animo sanctosque recessus
+  mentis et incoctum generoso pectus honesto.
+  haec cedo ut admoveam templis et farre litabo.                  75
+
+
+NOTES.
+
+SECOND SATIRE.
+
+The theme of this Satire is the Wickedness and Folly of Popular Prayers.
+The true philosopher is the only man that knows how to pray aright, and
+the Stoic is your only true philosopher. Compare, on the subject of
+prayer, the Second Alcibiades ascribed to Plato.
+
+
+ARGUMENT.-- Macrinus, you may well salute your returning birthday. Your
+wishes on that day of wishes are pure, whereas most of our magnates pray
+for what they dare not utter aloud. Any one can hear their requests for
+sound mind and good report, but the petitions for the death of an uncle,
+a ward, a wife, the prayer for sudden gain, are mere whispers (1-15).
+Strange that, in order to prepare for such impieties as these, men
+should go through all manner of lustral services, and trust to the ear
+of Jove what they would not breathe to any mortal (15-23). Strange that
+men should fancy because Jove is not swift to strike the sinner dead
+that he may be insulted with safety, or easily bought off by a lot of
+greasy chitterlings (24-30).
+
+Pass from wicked to foolish prayers. Grandam and aunt would have skinny
+Master Hopeful a wealthy nabob, would have him make a great match. Girls
+are to scramble for him, and roses spring up beneath his feet. Silly
+petitions! Refuse them, Jupiter (31-40). Nor less silly are those
+prayers whose fulfilment the suppliant himself defeats-- prayers for a
+hale old age, despite rich made-dishes (41-43); prayers for wealth,
+while the worshipper expends his whole substance in sacrifice (44-51).
+
+The trouble lies in this, that men judge the gods by themselves. Because
+gold brings a joyous flutter to their hearts, they think to sway the
+gods by gold, and change to gold the vessels of the sanctuary. The gods
+are measured by our ‘accursed blubber,’ that flesh which corrupts all
+that it handles. Yet the flesh tastes what it touches, and enjoys the
+ruin which it has wrought. But what can a pure god do with our gold? To
+him it is a spent toy, an idle offering. Let us give the gods honest and
+upright hearts, and a handful of meal will suffice to gain their
+blessing (32-75).
+
+
+Although the colors of the piece pale before the rhetorical glare of
+Juvenal’s Tenth Satire, which treats of a kindred theme-- the ‘Vanity of
+Human Wishes’-- the philosophical commonplace is handled with
+considerable vigor, and with all the picturesque detail of the author’s
+style. And Montaigne, who, as a moralist, quotes Persius very often, has
+garnished the 56th essay of his First Book with copious extracts from
+this Satire.
+
+
+1-15. Macrinus, your prayers are pure, you need no private audience of
+the gods. Not so the petitions of many of our foremost men. Far
+different is what they say and what they whisper, when they come before
+the gods in prayer.
+
+1. #Hunc diem#: The birthday was always a high-day in Rome, as
+elsewhere. In French, _fête_ is a synonym of birthday. --#Macrine#:
+‘Plotius Macrinus, the scholiast says, was a learned man, who loved
+Persius as his son, having studied in the house of the same preceptor,
+Servilius. He had sold some property to Persius at a reduced rate’
+(Conington). --#meliore#: sc. _solito_. G., 312, 2; A., 17, 5.
+--#lapillo#: The Scythians used to drop into a quiver a stone for every
+day, white for the good and black for the bad, and when life was over
+the stones were counted. There is a similar story of the Thracians,
+Plin., H. N., 7, 40, 41 (Jahn). The phrase ‘white stone’ is so common
+that one passage will suffice as a parallel: _Felix utraque lux diesque
+nobis | signandi #melioribus lapillis#_, Mart., 9, 52, 4.
+
+2. #labentis#: not simply an _epitheton ornans_, ‘the gliding years,’
+but ‘the years as they glide away.’ _Eheu, fugaces, Postume, Postume |
+#labuntur anni#_, Hor.., Od., 2, 14, 1. --#apponit#: ‘puts to your
+account.’ Comp. _quem fors dierum cumque dabit lucro | #appone#_, Hor.,
+Od., 1, 9, 15. Each day lived may be a day gained or a day lost. Comp.
+also Hor., Od., 2, 5, 15. --#candidus#: λευκὴ ἡμέρα, λευκὸν εὐάμερον
+φάος, Soph., Ai., 709. Comp. Catull., 8, 3: _fulsere vere #candidi# tibi
+soles_.
+
+3. #genio#: ‘The tutelary Deity, or “guardian angel,” who was supposed
+to attend on every individual from the cradle to the grave. Its cultus
+was strictly materialistic, and should be compared with the offerings of
+meat, drink, and clothes which were made to the _manes_ of the dead.
+Comp. Censorin., De Die Nat., 3; Serv. ad Verg., Georg., 1, 302; Hor.,
+Ep., 2, 2, 187: _scit #Genius#, natale comes qui temperat astrum |
+naturae deus humanae_, _mortalis in unum | quodque caput, vultu
+mutabilis albus et ater_. In character it was the reflex of the man
+(comp. Sat. 6, 48, where it represents the _felicitas_ of the emperor);
+it might be humored and appeased by proper attention, more especially by
+sacrifice (comp. 5, 151), or irritated and made baneful by neglect
+(comp. 4, 27; Juv., 10, 129). From these latter passages it would appear
+to represent the _alter homo_, or second self.’ So Pretor. The _genius_
+is the divine element which is born with a man, and when he dies becomes
+a _lar_, if he is good; if he is wicked, a _larva_, or a _lemur_.
+Departed _genii_ were called _manes_-- ‘good fellows’-- doubtless with a
+view to propitiation. --#non tu#: Comp. 1, 45. --#emaci#: ‘chaffering,
+haggling.’ Prayer was often conceived as bargain and sale. See v. 29,
+and Plato, Euthyphro, 14E (Jahn). By the _prece emaci_ is meant the
+_votum_, or vow, the εὐχή, and not the προσευχή, as Gregory of Nyssa
+puts it (De Orat., Ed. Paris. a. 1638, Tom. 1, p. 724D). Casaubon
+compares Hor., Od., 3, 29, 59: _ad miseras preces | decurrere et #votis
+pacisci#_.
+
+4. #seductis#: Comp. _paulum a turba #seductior# audi_, 6, 42.
+--#nequeas#: G., 633; A., 65, 2.
+
+5. #at bona pars#: Comp. Hor., Sat., 1, 1, 61: _at #bona pars# hominum._
+--#libabit#: Gnomic or sententious future. See 3, 93. Jahn comp. Juv.,
+8, 182: _quae | turpia cerdoni Volesos Brutumque decebunt_. ‘That which
+is done is that which shall be done.’ The other reading, _libavit_
+(gnomic Perfect), is not so good. See G., 228, R. 2, and Dräger,
+_Histor. Synt. der lat. Sprache_, § 127.
+
+6. #haud cuivis#: Comp. _non #cuivis# homini contingit_, Hor., Ep., 1,
+17, 36. --#humilis#: ‘that keep near the ground,’ ‘groundling,’ hence
+‘low.’ Persius delights in rare epithets.
+
+7. #aperto vivere voto#: Comp. Mart., 1, 39, 6: _si quis erit recti
+custos, mirator honesti | et #nihil arcano qui roget ore deos#_.
+
+8. #Mens bona#: Comp. Hor., Ep., 1, 16, 59. --#Mens bona, fama, fides#:
+are commonly considered to be the things prayed for. They are possibly
+persons prayed to. ‘Such notions as Welfare (_salus_), Honesty
+(_fides_), Harmony (_concordia_), belong to the oldest and holiest Roman
+divinities’ (Mommsen). --#hospes#: ‘a stranger,’ ‘any body.’
+
+9. #o si#: On this form of the wish, see G., 254, R. 1; A., 57, 4, _b._
+_O si_ may be considered an elliptical conditional sentence, but as the
+ellipsis is emotional it must not be supplied. Such an apodosis as
+scholars are prone to understand for the Greek (καλῶς ἂν ἔχοι) _bene
+sit_, would change the _wish_ into a _thought_. In this passage the
+apodosis, which is involved in _praeclarum funus_, comes limping in as
+an afterthought.
+
+10. #ebulliat#: is slang. Comp. _tam bonus Chrysanthus animam
+#ebulliit#_, Petron., 42 (_nos non pluris sumus quam #bullae#_, ibid.);
+Sen., Apocolocynt., 4. Conington renders ‘go off.’ ‘Kick the bucket’
+would be worthy of Persius. _Ebulliat_ must be read _ebulljat_ (G.,
+717). The best MSS. have _ebullit_, but such a Subjunctive would be more
+than doubtful (G., 191, 3; Neue, _Formenl._, 2, 339). --#praeclarum
+funus#: Either ‘that would be a grand funeral,’ or ‘that would be a
+corpse worth seeing.’ In the former case the man of prayer tries to
+salve his conscience by promising his uncle (comp. 1, 11) a ‘first-class
+funeral.’ Comp. _#funus# egregie factum laudet vicinia_, Hor., Sat., 2,
+5, 105. In the latter, he is welcoming the death of the crabbed old man.
+For _funus_, in this connection, Jahn compares Prop., 1, 17, 8: _haecine
+parva meum #funus# harena teget?_ The half-light of the passage is well
+suited to the paltering knavery of the prayer.
+
+11. #sub rastro#, etc.: Hor., Sat., 2, 6, 10: _O si urnam argenti fors
+quae mihi monstret, ut illi_ | _thesauro invento, qui mercennarius
+agrum_ | _illum ipsum mercatus aravit, dives amico_ | _Hercule_.
+
+12. #Hercule#: This is Hercules πλουτοδότης, to whom the Romans
+consecrated a tithe of their gains. Mommsen and others dissociate this
+Hercules from the Greek Ἡρακλῆς. According to Casaubon and the schol.
+(v. 44), Hermes (Mercury) is the bestower of windfalls found on the way,
+Hercules the patron of sought treasures. --#pupillum#: ‘The Twelve
+Tables provided that where no guardian was appointed by will, the next
+of kin would be guardian, and he would of course be heir’ (Conington,
+after Jahn).
+
+13. #inpello#: ‘whose kibe I gall,’ ‘whom I tread hard upon.’
+--#expungam#: ‘get him out’ (of his place in the will). --#namque#:
+gives an explanation, which serves at once to heighten and to excuse the
+hope. ‘You see he is in a bad way already. He is going to die at any
+rate, and death would really be a relief to all parties.’ --#scabiosus#:
+‘scrofulous.’ --#acri | bile#: δριμεῖα χολή, Casaubon, who compares
+Juv., 6, 565: _consulit #ictericae# lento de funere matris_.
+
+14. #tumet#: Comp. _turgescit vitrea bilis_, 3, 8; _mascula bilis_ |
+_intumuit_, 5, 145. --#Nerio#: Nerius is the usurer in Horace, Sat., 2,
+3, 69. Persius borrows his names from Horace, as Horace borrows his from
+Lucilius-- progressive bookishness, of which there are several examples.
+Comp. Pedius, 1, 85; Craterus, 3, 65; Bestius, 6, 37. --#conditur#: So
+Jahn (1868) and Hermann. Jahn (1843) reads _ducitur_ with many MSS.
+_Ducitur_ is not to be explained of ‘being carried out to burial’
+(Servius ad Verg., Georg., 4, 256), but in its ordinary sense of ‘being
+married.’ Nerius has got rid of two wives, and ‘is actually marrying a
+third.’ _Conditur_ is best supported by MS. authority, and gives a
+sufficiently good sense. Hermann quotes, in support of _#conditur#_,
+Mart., 5, 37, where a man survives the loss of a rich wife, and γυναῖκα
+θάπτειν κρεῖττόν ἐστιν ἢ γαμεῖν, Chaeremon, ap. Stobaeum, Sermon., 88,
+22. Among the wishes in Lucian’s Icaromen., 25, we find ὦ θεοί, τὸν
+πατέρα μοι ταχέως ἀποθανεῖν (comp. v. 10), and εἴθε κληρονομήσαιμι τῆς
+γυναικός, which is the key of this verse. On the use of the Dative, see
+G., 352, R. 1; A., 51, 4, _c_.
+
+15, 16. These are the impious prayers that must be prefaced by pious
+observances.
+
+15. #in gurgite mergis#: G., 384, R. 1; A., 56, 1, _c_, R.
+
+16. #bis terque#: δὶς καὶ τρίς. G., 497. --#flumine#: Prol., 1. The
+lustral use of the bath, the pollution of the night, the peculiar virtue
+of running water, are common to Scriptural and classical antiquity.
+Lev., chap. 15. _Illo_ | _mane die, quo tu indicis ieiunia nudus_ | _in
+#Tiberi# stabit_, Hor., Sat., 2, 3, 290; _Ter matutino #Tiberi# mergetur
+et ipsis_ | _verticibus timidum #caput abluet#_, Juv., 6, 523; _Ac
+primum pura #somnum# tibi #discute# lympha_, Prop., 4, 10, 13. For
+parallels, see Tylor, _Primitive Culture_, 2, 388.
+
+17-30. With a sudden dramatic turn, Persius pins his omnipresent Second
+Person to the wall by an ironical question touching his conception of
+the divine character. ‘What do you think of God? What can you think of
+God when you confide to him wishes that you would conceal from a Staius?
+Are you so bold because God is so slow? Are you so bold because God’s
+favor is so cheaply bought?’
+
+17. #minimum est#, etc.: Ironical. --#scire laboro#: So Hor., Ep., 1, 3,
+2, and _nosse laboro_, Sat., 2, 8, 19.
+
+18. #estne ut#: On this periphrasis, see G., 558; A., 70, 4, _a_. _Si
+#est#, patrue, culpam #ut# Antipho in se admiserit_, Ter., Phormio, 2,
+1, 40. Comp. Hec., 3, 5, 51; 4, 1, 43; Adelph., 3, 5, 4; Hor., Od., 3,
+1, 9. --#cures#: _Curare_, with Inf. usually has a negative (3, 78) or
+equivalent, as here.
+
+19. #‘cuinam?’ cuinam?# The first _cuinam_ is the question of the other
+man, the second the echo of Persius. Comp. Ar., Ach., 594: ἀλλὰ #τίς#
+γὰρ εἶ; Δ. #ὅστις;# πολίτης χρηστός. --#vis#: Comp. 1, 56. --#Staio#:
+Staius can not be identified-- _homuncio nobis ignotus_ (König)-- and,
+as Jahn admirably remarks, it makes no difference who he was, whether
+Staienus, as the scholiast says (Cic., Verr., 2, 32, 79; pro Cluentio,
+7, 24, 65), or an average Philistine, or a typical scoundrel. The name
+was a common one. Jones is measured with Jupiter. --#an scilicet
+haeres#: ‘what? are we to suppose that you are hesitating?’
+
+20. #quis#: may be for _uter_. Comp. Cic., Att., 16, 14, 1; Fam., 7,
+3, 1; Caes., B. G., 5, 44. ‘Which of the two is the better judge?’ And
+this is the more satisfactory rendering if Staius is a neutral
+character. If he is a villain, ‘who would be a better judge’ or ‘better
+as a judge,’ is more suitable.
+
+21. #inpellere#: ‘smite’ (Verg., Georg., 4, 349; Aen., 12, 618),
+a rather strong word for _humilis susurros_. Pretor renders ‘quicken;’
+Conington, ‘have an effect on.’ ‘Reach’ is about what is meant. With the
+thought of the passage, comp. Sen., Ep., 10, 5, cited by Casaubon: _Nunc
+quanta dementia est hominum? Turpissima vota diis insusurrant: si quis
+admoverit aurem, conticescent; et quod hominem scire nolunt, deo
+narrant._
+
+22. #agedum#: _#Agedum# hoc mi expedi primum_, Ter., Eun., 4, 4, 27.
+_Dum_ shows impatience. ‘Be at it,’ or ‘be done with it,’ as the case
+may be. --#clamet#: _Dic-- clamet = si dicas-- clamet._ G., 594. 4; A.,
+60, 1, _b_.
+
+23. #sese non clamet#: _Iovem_ would make the joke clearer, but Persius
+would have had to pound his desk and bite his nails to get _Iovem_ in.
+‘Because he could swear by no greater, he sware by himself,’ Hebr., 6,
+13. König compares Hor., Sat., 1, 2, 17: _Maxime, quis non, | Juppiter,
+exclamat simul atque audivit?_
+
+24. ‘The guilty worshipper is in a grove (_lucis_, v. 27) during a
+thunderstorm; the lightning strikes not him but one of the sacred trees,
+and he congratulates himself on his escape-- without reason, as Persius
+tells him. The circumstances are precisely those used by Lucretius to
+enforce his skeptical argument, 6, 390 and 416’ (Conington).
+
+25. #sulpure sacro#: ‘lightning.’ Comp. the Greek θεῖον, once innocently
+derived from the Adjective θεῖος. --#tuque domusque#: Comp. Juv., 13,
+206: _cum prole domoque_. The editors cite the oracle in Herod., 6, 86,
+3: πᾶσαν | συμμάρψας ὀλέσει #γενεὴν# καὶ #οἶκον# ἅπαντα.
+
+26. #fibris#: the extremities of the liver, λόβοι. --#Ergenna#: an
+Etruscan name. The Etruscans were great bowel-searchers (_haruspices_)
+and lightning-doctors.
+
+27. #lucis#: local Abl. and poetic Plural. --#bidental#: According to a
+law of Numa, whosoever was struck dead by lightning was buried where he
+fell, and the spot was inclosed. The place was called _puteal_, from the
+resemblance of the inclosure to a well-curb, or _bidental_, because of
+the _oves bidentes_ (sheep with upper and lower teeth, hence ‘full
+grown’) sacrificed in the consecration of the spot, which was invested
+with a holy horror (_triste_), and might not even be looked at
+(_evitandum_). Here _bidental_ is transferred from the place to the
+person: ‘a trophy of vengeance’ (Conington), ‘a monument of wrath’
+(Gifford). _Triste bidental_, Hor., A. P., 471.
+
+28. #idcirco#: Emphatic resumption. --#vellere# = _vellendam_. G., 424,
+R. 4; A., 57, 8, _f._ On the phrase _vellere barbam_, comp. 1, 133.
+Jupiter was always represented as bearded, γενειήτης, Lucian, Sacrif.,
+11. ‘Jove, will nothing wake thee? | Must vile Sejanus _pull thee by the
+beard_ | ere thou wilt open thy black-lidded eyes | and look him dead?’
+Ben Jonson, Sejan., 4, 5.
+
+29. #aut#: Another (negatived) case. See G., 460, R.; A., 71, 2.
+--#quidnam est, qua mercede# = _quanam mercede_; unusual. Not
+dissimilar, Caes., B. G., 5, 31: _#Omnia# excogitantur #quare# nec sine
+periculo maneatur et languore militum et vigiliis periculum augeatur._
+
+30. #emeris#: Jahn compares _praebere_ and _dare aurem_, to which
+Conington adds _commodare_, Hor., Ep., 1, 1, 40. --#pulmone#: for the
+larger, _lactibus_ for the smaller intestines γαλακτίδες. ‘The details
+are mentioned contemptuously’ (Conington). Comp. Juv., 6, 540; 10, 354;
+13, 115.
+
+31-40. Thus far we have had wicked prayers; now we have specimens of
+silly prayers, of old wives’ wishes.
+
+31. #Ecce#: _transitioni servit_ (Casaubon). See 1, 30. The showman puts
+in a new slide, and says ‘Look here.’ --#avia aut matertera#: The doting
+fondness of grandmothers, aunts, and nurses is proverbial. Their
+affection is not tempered by responsibility; hence their indiscretion.
+_Matertera_ is the mother’s sister, as _amita_ (whence ‘aunt’) the
+father’s; but, significantly enough, there is not the same moral
+distinction as between _patruus_ and _avunculus_ (whence ‘uncle’).
+--#metuens divum#: δεισιδαίμων. G., 374, R. 1; A., 50, 3, _b._
+--#cunis#: Dat. is more picturesque than Abl.
+
+32. #exemit#: The Perf. brings the scene before us, and makes it
+particular instead of generic. --#uda#: ‘slobbering.’
+
+33. #infami digito#: The middle finger (Juv., 10, 53) being used in
+mocking and indecent gesture, was considered on that very account to
+have more power against fascination. The notion still survives, and is
+embodied in coral ‘amulets’ or ‘charms’ (_breloques_) manufactured at
+Genoa. --#lustralibus#: The lustral day for a girl was the eighth, for a
+boy the ninth. Such a day would be the day for vows and prayers. On the
+corresponding Gr. ἀμφιδρόμια, see the Classical Dictionaries. --#ante#:
+adverbial, ‘first of all.’ --#salivis#: Spittle has manifold medical and
+magical virtues among all nationalities. Comp. Plin., H. N., 28, 4, 22;
+Juv., 8, 112; Petron., 131. The Plural is poetical, perhaps intimating
+abundance.
+
+34. #expiat#: ‘charms against mischief’ (Conington). --#urentis#:
+‘blasting,’ ‘withering,’ μαραίνοντας. --#oculos#: If the belief in the
+‘evil eye’ is not too well known and too widely spread to need
+illustration, comp. Verg., Ecl., 3, 103; Hor., Ep., 1, 14, 37. On the
+philosophy of the evil eye, see Plutarch, Quaest. Conv., 5, 7.
+--#inhibere perita#: On the construction, see Prol., 11.
+
+35. #manibus#: We say ‘in,’ Prol., 1. Translate ‘arms,’ as often.
+--#quatit#: Il., 6, 474: αὐτὰρ ὅ γ᾽ ὃν φίλον υἱὸν ἐπεὶ κύσε #πῆλέ# τε
+χερσιν, | εἶπεν ἐπευξάμενος Διί τ᾽ ἄλλοισιν τε θεοῖσιν. ‘Dances,’
+‘dandles.’ --#spem macram#: ‘the skinny hope.’
+
+36. #Licini#: Licinus, originally slave and steward of Caesar, then set
+free and made procurator of Gaul, where he acquired immense wealth by
+extortion. Comp. Juv., 1, 109: _Ego possideo plus | Pallante et
+#Licinis#_. --#Crassi#: a still more familiar synonym for wealth, Cic.,
+Att., 1, 4, 3. The two combined in Sen., Ep., 119, 9: _Quorum nomina cum
+#Crasso Licinoque# numerantur_. --#mittit#: ‘transports,’ ‘wafts’
+(Pretor); ‘packs off’ (Conington), is not in keeping with the
+mock-lyrical tone of the passage.
+
+37. #hunc#: δεικτικῶς König comp. Catullus, 62, 42: _Multi illum pueri,
+multae #optavere# puellae_. On _optet_, comp. G., 281, Exc. 1; A., 49,
+1, _d._ --#rex et regina#: Comp. 1, 67. ‘My lord and [my] lady’
+(Conington). As the prayer is extravagant, Pretor thinks that the words
+are to be taken literally, and Conington inclines to the same opinion.
+But there is no objection to _regina_ for _domina_ in itself, Mart., 10,
+64.
+
+38. #rapiant# = _diripiant_, ἁρπάζοιεν. ‘May the girls have a scramble
+for him.’ The sexes are to be reversed in his honor. Casaubon comp.:
+_Editum librum continuo mirari homines et #diripere# coeperunt_, Vita
+Persii. --#rosa fiat#: Casaubon comp. Claud., Seren., 1, 89: _Quocumque
+per herbam | reptares, fluxere #rosae#_. A fairy-tale wish. Comp.
+Theocr., 8, 41; Verg., Ecl., 7, 59.
+
+39. #ast# = _at_ + _set_. G., 490; R. --#nutrici#: _Quid voveat dulci
+#nutricula# maius alumno_, Hor., Ep., 1, 4, 8. With the sentiment of the
+passage Casaubon comp. Sen., Ep., 60, 1: _Etiamnum optas quod tibi
+#optavit nutrix# aut paedagogus aut mater? Nondum intellegis quantum
+mali optaverint?_
+
+40. #albata#: ‘clad in white,’ the proper attire of worshippers,
+Tibull., 2, 1, 13; Plaut., Rud., 1, 5, 12 (Jahn). Hence ‘though she ask
+it with every requisite form’ (Conington). See v. 15.
+
+41-51. From wicked wishes we have passed to silly wishes, from silly we
+now pass to insane. Men pray for health and pray for wealth, and all the
+while are doing their utmost to break down their health and squander
+their wealth.
+
+41. #nervis#: ‘thews,’ ‘sinews.’ --#senectae#: may depend on _poscis
+opem_ or on _fidele_ (Casaubon’s view), ‘to stand you in stead in old
+age’ (Conington), or ‘to stand your old age in stead.’ The latter is the
+more forcible.
+
+42. #esto#: ‘so far, so good’ (Conington). --#grandes patinae#, etc.:
+Comp. Hor., Sat., 2, 2, 95: _#Grandes# rhombi #patinaeque#_ | _grande
+ferunt una cum damno dedecus._ Jahn (1868) reads _pingues_.
+--#tuccetaque crassa#: According to the Schol., ‘beef steeped in a thick
+gravy, which enables it to keep a year.’ ‘Rich gravies’ (Conington);
+‘rich forced meats’ (Pretor). ‘Rich potted meats.’ --#his# = _his
+precibus, votis_. --#vetuere#: Perf. to show that ‘the mischief is
+already done’ (Pretor). It is not a general Perfect. Comp. 32.
+
+44. #rem struere#: The Biblical ‘heap up riches.’ Hor., Sat., 1, 1, 35:
+_acervo_ | _quem #struit#_. --#caeso bove#: An expensive sacrifice.
+Comp. Gr. βουθυτεῖν. --#Mercurium#: See note on v. 11. An allusion to
+Mercury, or rather Hermes, as the God of Flocks and father of Pan, is
+barely possible.
+
+45. #arcessis# = _in auxilium vocas_ (Jahn). Conington’s ‘serve a
+summons on’ is a caricature. Comp. Ov., Fast., 4, 263, and Petron., 122.
+_Accerso_ is a rarer form than _arcesso_, and to be reserved for state
+occasions, according to Brambach. --#fibra#: See v. 26. --#da fortunare#
+= _ut fortunent_. --#fortunare#: used absolutely, as in Afranius, v. 84
+(Ribbeck). _Fortuno_ a _vox sollemnis_ in prayers (Jahn). --#Penatis#:
+Gods of the Basket and Store.
+
+46. #quo, pessime, pacto#: Hor., Sat., 2, 7, 22: _quo pacto, pessime?_
+
+47. #iunicum# = _iuvencarum_. Observe the extravagance of the sacrifice,
+and compare with the expression Catull., 90, 6: _omentum in flamma
+pingue #liquefaciens#_.
+
+48. #extis et ferto#: Comp. vv. 30, 45. _Fertum_ (_a ferendo_), a kind
+of sacrificial cake or pudding, _libi genus, quod crebrius ad sacra
+obmovebatur_ (Jahn).
+
+49. #et tamen#: _at tamen_ (Hermann), on which see 5, 159.
+
+50-51. Casaubon sees in this passage an imitation of Hesiod, O. et D.,
+369: δειλὴ δ᾽ ἐνὶ πυθμένι φειδώ (_sera parsimonia in fundo est_, Sen.,
+Ep., 1, 5). I have followed the old reading, which makes _nummus_ the
+subject. The personification is in Persius’s vein, as Schlüter correctly
+remarks. Comp. _tacita acerra_, v. 5; _gemuerunt aera_, 3, 39; _sapiens
+porticus_, 3, 53; _modice sitiente lagoena_, 3, 92. _Nummi_ are nursed
+as children, 5, 149; there is a kind of personification in _dolosi
+nummi_, Prol., 12, and literature is full of personified coins, of
+‘nimble sixpences,’ ‘slow shillings,’ ‘adventurous guineas.’ Add: _ac
+velut exhausta redivivus pullulet arca | #nummus#_, Juv., 6, 363. Paley
+(ap. Pretor) suggests that _nequiquam_ may be considered the exclamation
+of the _#nummus#_. This gives so happy a turn that I am almost tempted
+to put it in the text. It is the familiar story of ‘the bottom dime,’
+set to the familiar tune of the ‘Last Rose of Summer.’ Jahn makes the
+numbskull, not the _nummus_, the subject, and reads in his ed. of 1843:
+
+  _Nequiquam fundo_, suspiret, _nummus in imo_!
+
+In his ed. of 1868 he follows Hermann, who reads:
+
+  Nequiquam _fundo_, suspiret, _nummus in imo_!
+
+Pretor prints:
+
+  _Nequiquam: fundo_, suspiret, _nummus in imo_!
+
+The scholiast hesitates. All much more prosaic and much less
+satisfactory. --#suspiret#: See G., 574, R.; A., 62, 2, _d._
+
+52-75. With a sudden start Persius strikes at the root of the matter--
+the false conception of the divine character. ‘Thou thoughtest,’ saith
+God, ‘that I was altogether such a one as thyself,’ Ps. 50, 21. Because
+you love gold, you fancy that God loves gold, and judge of His Holiness
+by your corruption. God demands a pure heart, and not ‘thousands of
+rams.’ This is a plane on which the highest expressions of the most
+various religions meet, so that Hebrew, Greek, and Christian hold almost
+identical discourse. M. Martha (_Moralistes Romains_, p. 134) recognizes
+‘a progress’ in thoughts, which are immemorial in their antiquity.
+
+52. #creterras#: preferred by Jahn (1868) and Hermann to _crateras_, in
+which the Acc. Sing. of the Greek word κρατήρ seems to be taken as the
+stem (G., 72, R. 2). See Hor., Od., 3, 18, 7: Sat., 2, 4, 80. Comp. also
+_statera_ and _panthera_. G. Meyer (_Beitrage zur Stammbildung_ in
+Curtius, _Studien_, 5, 72) questions the Accus. origin. --#argenti#: The
+context indicates the material, which in prose would be _ex argento_ or
+_argentea_ (G., 396; A., 54, 2). The Genitive should give us the
+contents as in v. 11, _argenti seria_. Comp. Juv., 9, 141: _#argenti#
+vascula puri_. --#incusa#: ‘is a translation of ἐμπαιστά (Casaubon),
+ἐμπαιστικη τέχνη being the art of embossing silver or some other
+material with golden ornaments (_crustae_ or _emblemata_). Hence
+_crateras argenti incusaque dona_ is probably a hendiadys’ (Conington).
+_Chrysendeta_, or parcel-gilt plate (Pretor). --#pingui#: ‘thick,’ not a
+generic epithet.
+
+53. #dona#: Predicate. --#pectore laevo#: Jahn strangely follows
+Casaubon in understanding _pectore laevo_ as _mente laeva_. Comp. Verg.,
+Ecl., 1, 16: _si mens non #laeva# fuisset_. The side of the heart is
+meant. König comp. _#laeva# parte mamillae | nil salit Arcadico iuveni_,
+Juv., 7, 159.
+
+54. #excutiat#: In his ed. of 1868 Jahn has abandoned the harsh
+_excutias_ of 1843, which leaves _laetari praetrepidum cor_ to take care
+of itself, with _laetari_ as an histor. Inf. of habit. Comp. Verg.,
+Georg., 1, 200; 4, 134; Aen., 4, 422; 7, 15. --#guttas#: ‘Your heart in
+an eager flutter of excited joy would drive the life-drops from your
+left breast.’ So Pretor, who adds that Persius alludes to the faintness
+produced by any violent excitement. Comp. Verg., Georg., 3, 105: _cum
+spes arrectae iuvenum exsultantiaque haurit | corda pavor pulsans_. With
+_guttas_ comp. ‘As dear to me as are the ruddy _drops_ that visit this
+sad heart,’ Shaksp. Jahn understands ‘tears,’ Heinrich ‘sweat’ (comp.
+Juv., 1, 167: _tacita #sudant# praecordia culpa_). In the latter case we
+should expect _ut_, as Schlüter observes. --#laetari praetrepidum#:
+‘over-hasty to rejoice’ (Conington). For the construction, comp. Prol.,
+11, and Hor., Od., 2, 4, 24: _cuius octavum #trepidavit# aetas |
+claudere lustrum_. On the meaning of _trepidum_, see 1, 20.
+
+55. #illud, quod#: ‘that strange fashion that,’ instead of the
+impersonal construction with the Inf. with a different shade of meaning
+(G., 525; A., 70, 5). --#subiīt#: On the quantity of the final syllable,
+see G., 705, Exc. 4; A., 84, _g_, 5. --#auro ovato#: Comp. _triumphato
+auro_, Ov., Ep. ex Ponto, 2, 1, 41 (Jahn). An allusion to the ‘unjust
+acquisition of the gold offered to Heaven’ seems to be too modern,
+despite Juv., 8, 106.
+
+56. #nam#: ‘for instance.’ G., 500, R. 1. --#fratres aenos#: ‘brazen
+brotherhood’ (Gifford). There are various interpretations: 1. The gods
+generally (Jahn). 2. The fifty sons of Aegyptus, whose statues stood in
+the portico of the Palatine Apollo over against those of the fifty
+Danaides, Prop., 2, 31, 1 seqq.; Ov., Trist., 3, 1, 59 seqq.
+(Scholiast). 3. The Dioscuri. The first explanation is the best. All the
+gods might appear in vision, but some were more famous for such
+appearances than others. The very existence of the statues of the sons
+of Aegyptus is problematical, and their connection with dreams
+inexplicable (Jahn). As for the Dioscuri, they were notoriously
+beardless youths, apart from the fact that _qui mittunt_ points to more
+than two (Casaubon).
+
+57. #pituita#: trisyllabic, as in Hor., Sat., 2, 2, 76; Ep., 1, 1, 108.
+_Pituita_, ‘phlegm,’ ‘gross humor.’ ‘That _pituita_ was supposed to mark
+a heavy, cloudy intellect, is clear from the meaning of the opposite
+expression, _emunctae naris_’ (Pretor). See also the commentators on
+Hor., ll.cc.
+
+58. #aurea barba#: Cic., N. D., 3, 34, 83: _Aesculapii Epidaurii #barbam
+auream# demi iussit [Dionysius], neque enim convenire barbatum esse
+filium cum in omnibus fanis pater imberbis esset._
+
+59. #vasa Numae#: called _capedines_ and _simpuvia_. --#Saturnia aera#:
+Old coinage, according to Schol., Casaubon, and Jahn. The earliest
+coinage is said to have been stamped on one side with the head of Janus,
+the coiner, on the other with a ship, in honor of Saturn’s arrival in
+Italy. It is best to translate loosely by ‘brass’ or ‘bronze,’ as the
+explanation is far from certain. --#inpulit#: ‘kicked out.’
+
+60. #Vestalis urnas#: always of earthenware. --#Tuscum fictile#:
+‘Etruscan pottery.’ ‘Etruscan’ both by reason of its origin and its use
+in Etruscan ritual.
+
+61. #O curvae#: A passionate apostrophe, which reminds M. Martha of
+Bossuet. --#in terris#: So Jahn and Hermann. We should expect _in
+terras_, but the Abl. is more forcible as denoting the fixity rather
+than the tendency of the position. --#caelestium inanes#: On the Gen.,
+see G., 373, R. 6; A., 50, 3, _c_. Jahn quotes Hor., Od., 3, 11, 23:
+_#inane# lymphae | dolium fundo pereuntis imo_.
+
+62. #quid iuvat hoc#: So Jahn. _Hos_, Hermann’s reading, is not
+necessary, though natural. _Hoc_ often anticipates the contents of a
+dependent clause, as here with the Inf., 5, 45; _ut_ with Subj., 5, 19.
+--#templis inmittere mores#: is more than ‘the opposite to v. 7:
+_tollere de templis_.’ _Inmittere_, ‘turn loose upon,’ like so many
+_hostes_, _sicarii_, etc. _Mores_, ‘courses of life.’
+
+63. #bona dis#: Brachylogy. ‘What is good in the eyes of the gods.’
+--#ducere#: ‘infer.’ --#scelerata pulpa#: ‘sinful, pampered flesh’
+(Conington). _Pulpa_ is the Stoic σάρξ, σαρκίδιον, in a stronger form.
+M. Martha (l.c. p. 133, note) says that the Christian σάρξ (_caro_) is
+borrowed from the language of philosophy. Others only note the
+coincidence. _Pulpa_ may be rendered ‘blubber.’
+
+64. #haec#: sc. _pulpa_. --#sibi#: ‘to suit its taste.’ --#corrupto#:
+The oil is spoiled by the spice, Verg., Georg., 2, 465: _Alba nec
+Assyrio fucatur lana veneno | nec #casia# liquidi #corrumpitur# usus
+#olivi#._
+
+65. #Calabrum#: ‘The beauty of the Calabrian fleece consisted in its
+perfect whiteness,’ which is destroyed by the dye. --#coxit#: here in a
+bad sense, as we often use ‘cook,’ ‘doctor.’ --#vitiato#: The _murex_ is
+spoiled as well as the _vellus_; both have violence done to their
+natures. Comp. Juv., 3, 20: _ingenuum #violarent# marmora tofum_. On the
+hard treatment of the _murex_, or κάλχη, see St. John, _Manners and
+Customs of Ancient Greece_, 3, 225 foll.
+
+66. #bacam#: ‘pearl,’ literally ‘berry.’ The transfer is explained by
+Auson., Mos., 70: _albentes concharum germina #bacas#. Diluit insignem
+#bacam#_, Hor., Sat., 2, 3, 241. --#rasisse#: Perf., like the Greek Aor.
+Inf. See 1, 42.
+
+67. #massae#: ‘ore.’ --#crudo de pulvere#: ‘from their primitive slag’
+(Conington).
+
+68. #vitio utitur#: ‘gets some good out of its sin.’ --#nempe#: G., 500,
+R. 2.
+
+70. #pupae#: The ancients dedicated to the gods what they had done with.
+So when the girl was ripe for marriage, she hung up her dolls. The
+sailor hangs up his clothes, Hor., Od., 1, 5, 16; the lover his harp,
+Od., 3, 26, 3. The Sixth Book of the Greek Anthology is full of
+examples. An ingenious friend suggests that the practice of publishing a
+list of commentators in editions of the classics is a survival of this
+usage.
+
+71. #quin damus#: See G., 268; A., 57, 7, _d_. --#lance#: ‘sacrificial
+plate,’ ‘paten.’ Ov., Ep. ex P., 4, 8, 39: _nec quae de parva dis pauper
+libat acerra | tura minus grandi quam data #lance# valet_ (Jahn).
+
+72. #Messallae propago#: Lucius Aurelius Cotta Messalinus (Schol.), an
+unworthy son of M. Valerius Messalla Corvinus. See Tac., Ann., 6, 7. He
+was a notorious debauchee in the reign of Tiberius. --#lippa#: alludes
+to the effect of his excesses. Comp. 5, 77.
+
+73. #conpositum#: ‘in just balance,’ ‘well blended’ (Conington). --#ius
+fasque#: ‘duty to God and man’ (Conington). --#recessus mentis#: φρενῶν
+μυχός Theocr., 29, 3 (Jahn).
+
+74. #incoctum#: ‘thoroughly imbued.’ --#generoso honesto#: ‘with the
+honor of a gentleman.’ See note on _mordaci vero_, 1, 107.
+
+75. #cedo#: Notice the quantity. G., 190, 4; A., 38, 2, _f_. _Cĕdo_,
+‘give here,’ ‘let.’ For the construction: _cedo ut bibam_, Plaut.,
+Most., 2, 1, 26; _cedo ut inspiciam_, Curc., 5, 2, 54. --#admovere#:
+a sacrificial word. --#farre litabo#: Comp. Hor., Od., 3, 23, 19:
+_mollivit aversos Penatis | #farre# pio et saliente mica_. _Litare_ is
+the Greek καλλιερεῖν, ‘offer acceptably.’ The sentiment may be
+illustrated without end. Comp. θυσία μεγίστη τῷ θεῷ τό γ᾽ εὐσεβεῖν,
+Men., Mon., 246, and Eur., fr. 329 and 940 (Nauck).
+
+
+CRITICAL APPENDIX.
+
+SATURA II.
+
+5. #libabit#: libavit _al_. --9. #murmurat#: immurmurat, J{α}.
+--10. #ebulliat#: ebullit _Cod. Montepessulanus_. --14. #conditur#:
+ducitur, J{α}. --#pro#: proh, J{α}. --16. #purgas?# purgas. J{α}. --25.
+#sulpure#: sulfure, J{α}., H. --37. #optet#: optent _al_. --42.
+#grandes#: J{α}., H.; pingues, J{ω}. --#tucceta#: tuceta, J{α}. --43.
+#adnuere#: annuere, J{α}. --45. #arcessis#: accersis, H. --47.
+#flammas#: flamma, J{α}. --48. #et tamen#: ac tamen, J{α}.; at tamen, H.
+--52. #creterras#: crateras. J{α}. --54. #excutiat#: excutias, J{α}., H.
+--61. #terris#: terras _al_. --#caelestium#: coelestium, J{α}., H.
+--#inanes#: J{α}., H.; inanis, J{ω}. _At vid. Ritschel. Prolegg.
+Trinum._, xc.; _Neue, Formenl._, 1, 257. --62. #quid iuvat hoc#: quid
+iuvat, hos, H. --66. #bacam#: baccam, J{α}., H. --73. #animo#: animi, H.
+
+
+       *       *       *       *       *
+
+
+  SATURA III.
+
+
+  ‘Nempe haec adsidue: iam clarum mane fenestras
+  intrat et angustas extendit lumine rimas:
+  stertimus indomitum quod despumare Falernum
+  sufficiat, quinta dum linea tangitur umbra.
+  en quid agis? siccas insana canicula messis                      5
+  iam dudum coquit et patula pecus omne sub ulmo est.’
+  unus ait comitum. “Verumne? itane? ocius adsit
+  huc aliquis! nemon?” turgescit vitrea bilis:
+  “findor”-- ut Arcadiae pecuaria rudere dicas.
+  iam liber et positis bicolor membrana capillis                  10
+  inque manus chartae nodosaque venit harundo.
+  tunc querimur, crassus calamo quod pendeat umor,
+  nigra quod infusa vanescat sepia lympha;
+  dilutas querimur geminet quod fistula guttas.
+  o miser inque dies ultra miser, hucine rerum                    15
+  venimus? at cur non potius teneroque columbo
+  et similis regum pueris pappare minutum
+  poscis et iratus mammae lallare recusas?
+  “An tali studeam calamo?” Cui verba? quid istas
+  succinis ambages? tibi luditur. effluis amens,                  20
+  contemnere: sonat vitium percussa, maligne
+  respondet viridi non cocta fidelia limo.
+  udum et molle lutum es, nunc nunc properandus et acri
+  fingendus sine fine rota. sed rure paterno
+  est tibi far modicum, purum et sine labe salinum--              25
+  quid metuas?-- cultrixque foci secura patella.
+  hoc satis? an deceat pulmonem rumpere ventis,
+  stemmate quod Tusco ramum millesime ducis,
+  censoremne tuum vel quod trabeate salutas?
+  ad populum phaleras! ego te intus et in cute novi.              30
+  non pudet ad morem discincti vivere Nattae?
+  sed stupet hic vitio et fibris increvit opimum
+  pingue, caret culpa, nescit quid perdat, et alto
+  demersus summa rursum non bullit in unda.
+  magne pater divum, saevos punire tyrannos                       35
+  haud alia ratione velis, cum dira libido
+  moverit ingenium ferventi tincta veneno:
+  virtutem videant intabescantque relicta.
+  anne magis Siculi gemuerunt aera iuvenci,
+  et magis auratis pendens laquearibus ensis                      40
+  purpureas subter cervices terruit, ‘imus,
+  imus praecipites’ quam si sibi dicat et intus
+  palleat infelix, quod proxima nesciat uxor?
+    Saepe oculos, memini, tangebam parvus olivo,
+  grandia si nollem morituri verba Catonis                        45
+  discere, non sano multum laudanda magistro,
+  quae pater adductis sudans audiret amicis.
+  iure; etenim id summum, quid dexter senio ferret,
+  scire erat in voto; damnosa canicula quantum
+  raderet; angustae collo non fallier orcae;                      50
+  neu quis callidior buxum torquere flagello.
+  haud tibi inexpertum curvos deprendere mores,
+  quaeque docet sapiens bracatis inlita Medis
+  porticus, insomnis quibus et detonsa iuventus
+  invigilat, siliquis et grandi pasta polenta;                    55
+  et tibi quae Samios diduxit littera ramos
+  surgentem dextro monstravit limite callem.
+  stertis adhuc, laxumque caput conpage soluta
+  oscitat hesternum, dissutis undique malis!
+  est aliquid quo tendis, et in quod dirigis arcum?               60
+  an passim sequeris corvos testaque lutoque,
+  securus quo pes ferat, atque ex tempore vivis?
+  helleborum frustra, cum iam cutis aegra tumebit,
+  poscentis videas: venienti occurrite morbo!
+  et quid opus Cratero magnos promittere montis?                  65
+  discite, o miseri, et causas cognoscite rerum:
+  quid sumus, et quidnam victuri gignimur; ordo
+  quis datus, aut metae qua mollis flexus et unde;
+  quis modus argento, quid fas optare, quid asper
+  utile nummus habet; patriae carisque propinquis                 70
+  quantum elargiri deceat; quem te deus esse
+  iussit, et humana qua parte locatus es in re.
+  disce, nec invideas, quod multa fidelia putet
+  in locuplete penu, defensis pinguibus Umbris,
+  et piper et pernae, Marsi monumenta clientis,                   75
+  menaque quod prima nondum defecerit orca.
+    Hic aliquis de gente hircosa centurionum
+  dicat ‘Quod sapio satis est mihi. non ego curo
+  esse quod Arcesilas aerumnosique Solones,
+  obstipo capite et figentes lumine terram,                       80
+  murmura cum secum et rabiosa silentia rodunt
+  atque exporrecto trutinantur verba labello,
+  aegroti veteris meditantes somnia, _gigni_
+  _de nihilo nihilum, in nihilum nil posse reverti._
+  hoc est, quod palles? cur quis non prandeat, hoc est?’          85
+  His populus ridet, multumque torosa iuventus
+  ingeminat tremulos naso crispante cachinnos.
+    ‘Inspice; nescio quid trepidat mihi pectus et aegris
+  faucibus exsuperat gravis alitus; inspice, sodes!’
+  qui dicit medico, iussus requiescere, postquam                  90
+  tertia conpositas vidit nox currere venas,
+  de maiore domo modice sitiente lagoena
+  lenia loturo sibi Surrentina rogabit.
+  ‘Heus, bone, tu palles!’ “Nihil est.” ‘Videas tamen istuc,
+  quidquid id est: surgit tacite tibi lutea pellis.’              95
+  “At tu deterius palles; ne sis mihi tutor;
+  iam pridem hunc sepeli: tu restas.” ‘Perge, tacebo.’
+  turgidus hic epulis atque albo ventre lavatur,
+  gutture sulpureas lente exalante mefites;
+  sed tremor inter vina subit calidumque triental                100
+  excutit e manibus, dentes crepuere retecti,
+  uncta cadunt laxis tunc pulmentaria labris.
+  hinc tuba, candelae, tandemque beatulus alto
+  conpositus lecto crassisque lutatus amomis
+  in portam rigidas calces extendit: at illum                    105
+  hesterni capite induto subiere Quirites.
+    ‘Tange, miser, venas et pone in pectore dextram.
+  nil calet hic. summosque pedes attinge manusque.
+  non frigent.’ Visa est si forte pecunia, sive
+  candida vicini subrisit molle puella,                          110
+  cor tibi rite salit? positum est algente catino
+  durum holus et populi cribro decussa farina:
+  temptemus fauces, tenero latet ulcus in ore
+  putre, quod haud deceat plebeia radere beta.
+  alges, cum excussit membris timor albus aristas;               115
+  nunc face supposita fervescit sanguis et ira
+  scintillant oculi, dicisque facisque, quod ipse
+  non sani esse hominis non sanus iuret Orestes.
+
+
+NOTES.
+
+THIRD SATIRE.
+
+
+ARGUMENT.-- The Satire opens dramatically. A young Roman of the upper
+classes is discovered asleep, snoring off the effects of yesterday’s
+debauch. To him one of his familiars, half companion, half tutor, who
+rouses him by telling him that the sun is already high in the heavens,
+and it is time to be up. The young fellow bawls for his servants, brays
+for them, and makes a show of going to work. But nothing suits him. He
+curses the ink because it is too thick, then he curses it because it is
+too thin, and finally swears at pen and ink both. ‘You big baby,’
+exclaims the monitor. ‘Do you expect me to study with such a pen?’ asks
+the young man with a whine. ‘Don’t come to me with your puling nonsense,
+you dab of untempered mortar, you unformed lump of clay. You are lazing
+away the time, when every minute is of moment, when the potter’s wheel
+should fly faster and faster, and deft hands should mould the vessel of
+your life (1-24). But I see you think that you have already attained
+perfection. You are satisfied with your position in life, move in a good
+circle. Tell that to the profane vulgar. I know you, every inch of you.
+Shame on you, that you, with your training, should live like a brutish
+creature, who does not know what a rich jewel he is flinging away, who
+sinks without a struggle in the slough of vice, whose soul dies and
+makes no sign. But you, who know better, will have a dire fate. No worse
+doom could Jove himself bring down on cruel tyrants than the vain
+yearning for lost virtue, which they can never hope to regain. Nay,
+worse than the brazen bull of Phalaris and the pendent sword of Damocles
+is the consciousness of sin, the pallor that blanches not the cheek
+only, but the very heart (25-43). You are past the age of childhood, and
+have not the excuse of tender years. If you were a child, I could
+understand your behavior. I remember my own childhood, how hateful and
+unprofitable task-work alternated with frivolous play, how I dodged the
+learning of the piece I had to speak, how I had no thought for any thing
+save dice and marbles and tops (44-51). But you have reached a higher
+level. You know the great norms of life, the doctrines of the Porch; you
+understand the distinctions of Right and Wrong. Pshaw! As I live, you
+are snoring still. Wake up, I say, and tell me-- have you any aim in
+life? Or are you nothing better than a boy following sparrows with a
+pinch of salt?’ (52-62).
+
+Here the poet drops the dramatic form, deserts the individuality of the
+student, and makes his exhortation general, reserving, of course, the
+right to pick out at will any member of his congregation for rebuke. He
+mounts the pulpit and begins to preach. His text is:
+
+‘Be wise to-day; ’tis madness to defer.’ Go back to the first principles
+of all true philosophy, the constitution of the universe, the position
+of man in that universe, the great laws of Ethic as derived from the
+great laws of Physic. In brief, study your Stoic catechism. Do not allow
+yourself to be diverted from higher study by success in the lower ranges
+of life. You lawyer there, for instance, do not let hams and sprats, the
+gifts of thankful clients, seduce you from the ambrosia of true
+philosophy (63-76).
+
+But hark! some one is talking out in church. It is the voice of the
+unsavory centurion.
+
+‘I have got all the sense I want. I would not be for all the world one
+of your painful philosophers, with head tucked down, eyes riveted on the
+ground, mumbling and muttering a lot of metaphysic trash-- _chimaera
+bombinans in vacuo_-- and the rest of the scholastic stuff. What! get
+pale for that? What! miss my breakfast for that!’
+
+Great applause in the galleries, and a rippling reduplication of
+laughter from the muscular humanity of the period (77-87).
+
+A sudden turn, or rather a sudden return to the figure of v. 63. The
+connection, if there be a connection, seems to be this:
+
+Such men as the centurion are hopelessly lost, have already ‘imbodied
+and imbruted.’ Like Natta, they are unconscious of their moral ruin. But
+there are those who, half-conscious of their condition, consult a
+physician of the soul, a spiritual director. The state of this class is
+set forth in a dramatic parable. A man feels sick, goes to see a doctor,
+follows his advice for a while, gets better, and then, despite all
+remonstrance, violates the plainest rules of diet and falls dead
+(88-106).
+
+But before our preacher can make the application, he is interrupted by
+an impatient hearer, perhaps none other than the yawning youth, whose
+acquaintance we made in the beginning of the Satire. Whoever he is, he
+is so literal that he does not understand the drift of the apologue.
+
+‘Sick! Who’s sick? Not I. No fever in my veins. No chill in hands or
+feet.’
+
+‘But,’ says our resolute moralist, ‘the sight of money, the meaning
+smile of a pretty girl, makes your heart beat a devil’s tattoo. Coarse
+flour shows that you are mealy-mouthed, and tough cabbage brings out the
+ulcer in your throat. Kindle the fire of wrath beneath the cauldron of
+your blood, and Orestes is sane in comparison’ (107-118).
+
+
+According to Jahn, this Satire is aimed at those that have received a
+thorough training in ethics, but, owing to the weakness of human nature,
+fail to follow the true guide of life; and, although well aware of their
+short-comings, imitate the example of those brutish souls whose sins are
+excused by their ignorance. In short, the Satire is an expansion of the
+old theme-- _Video meliora proboque_.
+
+Knickenberg (_De Ratione Stoica in Persii Satiris Apparente_, p. 16
+seqq.) maintains that in conformity with Stoic doctrine, it is not so
+much the weakness of human nature as imperfect knowledge-- the _inscitia
+debilis_ of v. 99-- that is the source of the vices which the author
+lashes in the present Satire. According to the Stoic, virtue is
+knowledge, and the snoring youth, with his half-knowledge, which keeps
+him from rising to the height of virtue, is the pattern of the false
+philosophy of the time.
+
+But Persius is not an expounder of the Stoic philosophy, as a system,
+any more than Seneca is; and commentators have attributed to him a
+profounder knowledge of philosophy than he had, certainly a profounder
+knowledge than it would have been artistic to show. Persius repeats the
+catechism of the sect, expands some of their favorite theses, elaborates
+some of their pet figures, and finds fault with his fellow students in
+the lofty tone which he had caught from his teachers. A glaring paradox,
+such as we find in 5, 119, he is but too happy to reproduce, but the
+subtle analysis for which the Stoics were famous does not appear in his
+poems.
+
+
+The Satire is said by the Scholiast to be imitated from the Fourth Book
+of Lucilius.
+
+
+1-24. A young student is roused by one of his companions, who, after
+meditating on his snoring form (1-4), remonstrates with him against
+lying abed so long. Yawning and headachy, he attempts to go to work,
+calls his servants testily, has his writing materials brought, swears at
+them, and is rebuked by his sage friend for his babyishness, and urged
+to make use of this golden season of life.
+
+1. #Nempe#: The opening is made very lively by the use of _nempe_, which
+implies a preceding statement, and thus plunges at once into the thick
+of the dialogue. ‘And so’-- a clear imitation of Hor., Sat., 1, 10, 1.
+Comp. the English use of ‘and’ in the first verse of lyrics, and the
+common stage trick of beginning a scene with conjunctions: Farquhar,
+Beaux’ Stratagem, 2, 2: ‘_And_ was she the daughter of the house?’
+Cibber, The Provoked Wife, 5, 4: ‘_But_ what dost thou think will come
+of this business?’ This effect is lost by bringing in the _comes_ at v.
+5, as some do. --#mane#: Substantive, the Abl. of which, _mane_
+(_mani_), is in more common use as an Adverb. --#fenestras#: ‘windows,’
+here for ‘window-shutters.’
+
+2. #extendit#: ‘makes wider,’ ‘makes seem wider,’ a familiar optical
+effect. --#rimas#: ‘chinks’ (between the shutters).
+
+3. #stertimus#: Ironical First Person, excluding the speaker.
+--#indomitum#: ‘heady,’ ‘unmanageable’ (Conington). Falernian was a
+strong wine: _ardens_, Hor., Od., 2, 11, 9; _severum_, Od., 1, 27, 19;
+_forte_, Sat., 2, 4, 24. Add Lucan, 10, 162: _#Indomitum# Meroe cogens
+spumare #Falernum#_. --#quod sufficiat#: ‘what ought to be enough.’ G.,
+633; A., 65, 2. --#despumare#: ‘work off,’ ‘carry off the fumes of’
+(Conington). _Despumare_ is a technical term ‘skim’ (Verg., Georg., 1,
+296), like ‘rack’ in English.
+
+4. #quintā dum linea tangitur umbrā#: where we should expect _quintă
+linea umbrā_, by what is called Hypallagé. Conington compares Aeschyl.,
+Ag., 504: δεκάτῳ σε φέγγει τῷδ᾽ ἀφικόμην ἔτους. See Schneidewin’s note.
+--#dum#: ‘while,’ ‘whereas,’ ‘and yet.’ Comp. G., 572, R.; A., 72, 1,
+_c_. --#linea#: of the sun-dial. The fifth hour (about 11 o’clock) was
+the time of the _prandium_, according to Auson., Ephem. Loc. Ordin.
+Coqui, 1, 2 (Casaubon): _Sosia, prandendum est, quartam iam totus in
+horam | sol calet: ad #quintam# flectitur umbra #notam#_. In Horace’s
+time breakfast was after 10 (Sat., 1, 5, 25). The sophist Alciphron
+implies that 12 was the hour in his day (3, 4, 1).
+
+5. #en quid agis?# Comp. _en quid ago_? Verg., Aen., 4, 534. In lively
+questions the present is often used as a future, as: _Quoi #dono#
+lepidum novum libellum?_ Catull., 1, 1. --#siccas#: proleptic or
+predicative, to be combined with _coquit_. Conington renders ‘is baking
+the crops dry,’ but _coquere_ is too common in this sense for such a
+translation, a criticism which applies to a very large proportion of
+Conington’s picturesque versions. _Coquere_ is the regular word for
+‘ripen’-- Gr. πέσσω-- Varro, R. R., 1, 7, 4; 54, 1. Tr. ‘is ripening
+hard’ (in the broiling sun). --#insana canicula#: ‘the mad dog-star’ is,
+of course, the ‘mad dog’s star’ (Conington). Comp. Hor., Od., 3, 29, 18;
+Ep., 1, 10, 16.
+
+7. #comitum#: _Comes_ is a wide term, embracing fellow-students and
+tutors. The Greek word is οἱ συνοντες. See Lucian’s famous tract, περὶ
+τῶν ἐπὶ μισθῷ #συνόντων# (de mercede conductis).
+
+8. #aliquis#: ‘somebody,’ ‘τις,’ of a servant. _Aperite #aliquis#
+actutum ostium_, Ter., Adelphi, 4, 4, 46. Ὥσπερ ἐν οἴκῳ ἔνιοι δεσπόται
+προστάττουσι, Ἴτω #τις# ἐφ᾽ ὕδωρ, Ξύλα #τις# σχισάτω, Xen., Cyr., 5, 3,
+49. --#nemon?# on the rhetorical _-ne_, see 1, 22. --#vitrea bilis#:
+a medical term, ὑαλώδης χολή, according to Casaubon. Comp. _splendida
+bilis_, Hor., Sat., 2, 3, 141.
+
+9. #findor#: ‘I’m splitting,’ the exclamation of the impatient youth.
+The old reading, _finditur_, ‘he’ or ‘it’ (_bilis_) ‘is splitting,’ has
+little MS. authority. Others read _findimur_. --#Arcadiae pecuria#: The
+asses of Arcady were famous in antiquity. --#rudere#: with _u_ long only
+here and Auson., Epigr., 76, 3.
+
+10. #iamque liber#: The distribution of these articles is not without
+its difficulty. According to some, _liber_ is the author to be explained
+by the teacher; _chartae_, the papyrus for rough notes; _membrana_, the
+parchment for a more careful transcript. According to others, ‘_liber_
+is the author out of which the lesson or thesis is to be transcribed,
+and _membrana_ the parchment wrapper for preserving the loose sheets, as
+the work progresses’ (Pretor). --#bicolor#: used either of the two sides
+of the skin-- the one from which the hair had been scraped, yellow, the
+other white (Casaubon), or, more probably, of the custom of coloring the
+parchment artificially (Jahn). --#capillis#: is commonly taken for
+_pilis_, a rare use. The hair side of the skin was carefully smoothed
+with pumice-stone. _Arida modo #pumice# expolitum_, Cat., 1, 2; _cui
+#pumex# tondeat ante comas_, Tib., 3, 1, 10. The old explanation,
+according to which _positis capillis = capillis ornatis sive pexis_
+(Plum), has found an advocate in Schlüter. The young man is supposed to
+have dressed his hair before he goes to work.
+
+11. #nodosa harundo# = _calamus_ of the next verse.
+
+12. #querimur#: In his ed. of 1868 Jahn has abandoned _queritur_ (1843)
+here and in v. 14. Comp. _stertimus_, v. 3. --#calamo#: In prose, _de
+calamo_.
+
+13. #nigra sepia#: ‘The blackness of the liquor,’ Conington, who says
+correctly that _nigra_ is emphatic. _Sepia_, ‘juice of the cuttle-fish,’
+used for ink. Comp. Auson., Epist., 4, 76; 7, 54 (Jahn).
+
+14. #fistula# = _harundo_. The nib of the pen was badly slit. Comp. _nec
+iam #fissipedis# per #calami# vias | grassetur Cnidiae sulcus
+harundinis_, Auson., Epist., 7, 49-50.
+
+The whole period is very awkward, and is not improved by Jahn’s _sed_
+for _quod_ in v. 13. Mr. Pretor suspects a _duplex recensio_, and
+brackets v. 13. In any other author I should suggest _dilutas#que
+nimis#_ for _dilutas #querimur#_, v. 14 (Mp. _querimus_).
+
+15. #ultra miser# = _miserior_. --#hucine rerum#: _Hucine_ is archaic
+and colloquial. On _rerum_, see G., 371, R. 4; A., 50, 2, _d_. Comp. 1,
+1 for the translation.
+
+16. #tenero columbo#: a pet name for children (Schol.). _Columbus_ is
+‘the house-pigeon,’ _palumbus_ ‘the wood-pigeon.’ Some of the best MSS.
+read _palumbo_, which Bentley on Hor., Od., 1, 2, 10, prefers. Notice
+further that nurses often feed their babies pigeon-fashion. --#regum
+pueris#: ‘aristocratic babies,’ ‘babies of quality’ (Conington). _Regum_
+as in 1, 67. --#pappare#: (_papare_, Jahn, 1843) Infin. for Substantive,
+‘pap.’ Such Infinitives are hardly parallel with _vivere triste_ (1, 9),
+and belong rather to the _verba togae_. They may be called nursery
+Infinitives. Comp. Titin. (ap. Charisium, 1, p. 99P.), v. 78 Ribb.:
+_Date illi #biber#, iracunda haec est_. Comp. the Greek τὸ πιεῖν, τὸ
+φαγεῖν, Theocr., 10, 53; Anthol. Pal., 12, 34, 5. The Scholiast calls
+_pappare_ and _lullare_ ‘_voces mutilas_.’ --#minutum#: ‘chewed fine,’
+‘minced.’
+
+18. #iratus#: ‘in a pet.’ --#mammae#: exactly our ‘mammy;’ depends on
+_lallare_, not on _iratus_. --#lallare#: like _pappare_, ‘lullaby.’
+‘Pettishly refusing to let mammy sing you to sleep’ (Conington)-- ‘to go
+by-bye for mammy.’
+
+19. #studeam#: G., 258; A., 57, 6. The absolute use of _studere_ is
+post-Augustan. _Desidioso #studere# torqueri est_, Sen., Ep. M., 71, 23.
+--#Cui verba#: sc. _das_?
+
+20. #succinis#: ‘sing to an instrument or second to a person,’ hence ’to
+sing small’ (Conington), ‘come whimpering, whining with.’ --#ambages#:
+‘beating about the bush,’ ‘shuffling excuses.’ _Quando pauperiem, missis
+#ambagibus#, horres_, Hor., Sat., 2, 5, 9. --#tibi luditur#: _Tua res
+agitur_, ‘it is your game,’ ‘your stake,’ ‘your affair.’ --#effluis
+amens#: with a sudden change of figure. The dissolute young man is
+compared to a cracked jar, from which all the noble ‘wine of life’
+(Shaksp., Macbeth, 2, 3) is escaping. The passage in Ter., Eun., 1, 2,
+25, which is often cited in this connection: _Plenus rimarum sum; huc
+atque huc #perfluo#_ refers to ‘a leaky vessel,’ one who can not keep a
+secret.
+
+21. #contemnere#: A sudden desertion of the metaphor, unless
+_contemnere_ be a technical term, like ἀποδοκιμάζειν, ‘reject on test.’
+Cicero combines _conterere et contemnere_, _contemnere et reicere_,
+_contemnere et pro nihilo putare_. The Scholiast thinks that the word is
+an unhappy reminiscence of Hor., Sat., 2, 3, 14: _#contemnere# miser_.
+--#sonat vitium# = _sono indicat vitium_. _Sonat vitium_, like _sapit
+mare_, ‘sounds flawy,’ ‘has a flawy ring.’ The Schol. comp. Verg., Aen.,
+1, 328: _nec vox #hominem sonat#_. --#maligne#: ‘ill-naturedly,’
+‘grudgingly,’ of that which falls short of what was expected. _Maligne
+respondet_, ‘gives a short answer,’ ‘a dull sound.’
+
+22. #viridi#: = _crudo_, ‘untempered.’ The material is ill-mixed and the
+crock ill-baked (_non cocta_).
+
+23. ‘Persius steps back, as it were, while pursuing the metaphor,’ is
+Conington’s droll defence of Persius’s ὕστερον πρότερον. Common critics
+would say that Persius had bungled the figure. --#properandus et
+fingendus#: not necessarily equivalent to _propere fingendus_. Comp.
+Juv., 4, 134: _argillam atque rotam citius #properate#_.
+
+24-43. Persius: ‘I know what you are going to say. You have a fair
+estate, you have nothing to dread, you have good connections, you have a
+good position. Away with these baubles. I know you yourself. You live no
+higher life than the dullest sensualist, who knows not what he is
+losing; but the time will come when you will be roused to the
+consciousness of your loss, and your soul must be tortured with the
+expectation of impending ruin and the carking of hidden sin.’ --#rure
+paterno#: G., 412, R. 1; A., 55, 3, _c_, R.
+
+25. #far modicum#: _Modicum_ with a sneer. The young man keeps up a show
+of Stoic moderation. --#salinum--patella#: two articles of plate, to
+which every respectable family aspired. Compare the apostle-spoons and
+the candle-cup of the Elizabethan period. The _salinum_ and the
+_patella_ were exempt, when all other gold and silver plate was called
+for to meet the necessities of the state. --#purum et sine labe#:
+literally and metaphorically.
+
+26. #quid metuas#: _ex animo iuvenis_. The young man is supposed to ask
+_quid metuam?_ See v. 19. ‘I have nothing to fear on the score of
+poverty.’ --#cultrix foci#: The _patella_ was used in the worship of the
+Lares. Conington preserves the possible double sense of ‘inhabitant’ and
+‘worshipper,’ by rendering ‘a dish for fireside service.’ --#secura#:
+‘that knows no fear’ (of want).
+
+27. #hoc satis?# This is very well, but is it enough? --#an deceat#: The
+connection is not very plain, and Jahn thinks that another person is
+apostrophised. Persius is attacking the same man, now as to his fortune,
+now as to his family. That this is not clearly brought out, is simply
+his own fault. --#ventis#: ‘with airs’ (Pretor). See 4, 20.
+
+28. #stemmate#: Abl. as a whence-case. ‘Comp. Juv., 8, 1-6; Suet., Nero,
+37. These _stemmata_ were genealogical trees or tables of pedigree, in
+which the family portraits (_imagines_) were connected by winding lines.
+Comp. _#stemmata# vero lineis discurrebant ad imagines pictas_, Plin.,
+H. N., 25, 2, and _multae #stemmatum# flexurae_, Sen., de Benef., 3, 28’
+(Pretor, after Jahn). --#Tusco#: The Etruscans were great sticklers for
+family, as Persius well knew. Comp. Hor., Od., 3, 29, 1; Sat., 1, 6, 1;
+Prop., 4, 9, 1. Your aristocratic philosopher can afford to be
+disdainful of birth. A Stoic commonplace: _si quid est aliud in
+philosophia boni, hoc est quod #stemma# non inspicit_, Sen., Ep., 44, 1.
+--#ramum# = _lineam_. --#millesime#: ‘a thousand times removed’
+(Pretor). On the case, 1, 123. Conington recognizes a side-thrust, and
+compares Savage’s ‘No _tenth_ transmitter of a foolish face.’
+
+29. #censoremne#: So Casaubon. Jahn (1868) reads _-que_, thus abandoning
+the reading which is best supported by MSS., but utterly unsupported by
+grammar, _-ve_. The careless use of _vel_ after _ve_ is one of those
+slips that are simply incredible, nor can _-ve-- vel_ be successfully
+defended by connecting the latter closely with _trabeate_. Pretor
+explains, ‘because you have a censor in your family, or are yourself a
+knight of distinction (sc. _quodve censorem tuum salutas vel quod ipse
+trabeatus es_)’. Heinr.’s conjecture, _fatuum_, with a reference to the
+censorship of Claudius, is itself almost fatuous. If we are to resort to
+conjecture, Heinr.’s other suggestion, _vetulum_, would be mild. Jahn
+explains this line (after Niebuhr) of the _municipales equites_,
+‘Because you are a great man in your own provincial town.’ Comp. 1, 129.
+‘In any case the allusion is to the annual _transvectio_ of the
+_equites_ before the censor, who used to review them (_recognoscere_) as
+they defiled before him on horseback. If _censorem_ is understood of
+Rome, _tuum_ will imply that the youth is related to the Emperor, like
+Juvenal’s Rubellius Blandus, 8, 40; otherwise it means “your local
+censor”’ (Conington). --#trabeate#: The _trabea_ is the official dress
+of the _equites_. Comp. 1, 123.
+
+30. #ad populum phaleras#: ‘The _phalerae_ included all the trappings of
+the horse and rider. They were on occasion much ornamented with metal,
+and Polybius (6, 23) says that they were given as rewards of merit to
+cavalry soldiers’ (Pretor, after Jahn). ‘To the mob with your trappings,
+your stars and garters.’ --#intus et in cute#: ‘inside and out;’ a rough
+equivalent. _In cute_ (Gr. ἐν χρᾦ) means ‘closely’ (‘to a dot, a T’).
+See Lexx. s.v. χρῶς.
+
+31. #non pudet#: ‘You are not ashamed?’ (you ought to be). See G., 455.
+--#discincti#: Comp. _#discinctus# aut perdam #nepos#_, Hor., Epod., 1,
+34 (Schol.). The _discinctus_ is ‘a man of loose habits.’ --#Nattae#:
+taken at random from Hor., Sat., 1, 6, 124.
+
+32. #stupet#: ἀναισθητεῖ (Casaubon). He is ‘past feeling,’ his
+conscience is benumbed, is ‘seared with a hot iron.’ --#fibris increvit
+opimum pingue#: ‘his heart is overgrown with thick collops of fat’
+(Conington). The Scriptural parallels are familiar: Psa., 119, 70;
+Matt., 13, 15; John, 12, 40. The Delphin ed. comp. Tertull., de Anima,
+20: _#Opimitas# impedit sapientiam._ On _opimum pingue_, comp. 1, 107.
+
+33. #caret culpa#: Perhaps because the Stoic would not hold him
+responsible, Epictet., Diss., 1, 18. Conington well remarks that
+Casaubon’s quotation from Menand., Mon., 430-- ὁ μηδὲν εἰδὼς οὐδὲν
+ἐξαμαρτάνει-- does not meet the case. In Menander we have to do with ‘a
+sin of ignorance’ against others. Here the sin is against the man’s own
+nature. Possibly _culpa_ is = _conscientia culpae_.
+
+34-43. The terrors of remorse.
+
+34. #rursum non bullit#: ‘he makes no bubbles,’ ‘makes no further
+struggles,’ ‘he is down among the dead men.’
+
+36. #velis#: ‘deign.’ _Velle_ gives a reverential turn to the wish.
+
+37. #moverit#: Perf. Subj. Attraction of mood. G., 666; A., 66, 2.
+--#ferventi tincta veneno#: The _gelidum venenum_ chills, this poison
+fires the blood. Comp. Alciphr., 1, 37, 3: θερμότερον φάρμακον, of a
+love potion. _Occultum inspires #ignem# fallasque #veneno#_, Verg.,
+Aen., 1, 688. _Tincta_ is a reminiscence of the shirt of Nessus and the
+bridal-gift of Medea to Glaucé.
+
+38. #intabescant#: belongs to the same sphere of comparison.
+_Intabescere_, κατατήκεσθαι, is hopeless pining for a lost love. Comp.
+Theocr., 1, 66; 11, 14. For the figure, see Ov., Met., 3, 487: _ut
+#intabescere# flavae_ | _igne levi cerae-- solent, sic attenuatus amore_
+| _liquitur_. --#relicta#: sc. _virtute_. Conington comp. Verg., Aen.,
+4, 692: _quaesivit caelo lucem ingemuitque #reperta#_. _Relicta_ = _quod
+religuerint_.
+
+39. #anne# = _an_. --#Siculi iuvenci#: Every one has heard of the brazen
+bull made by Perillus for Phalaris of Agrigentum, Cic., Off., 2, 7, 26,
+and the sword of Damocles, in the next verse, is a proverb in English.
+Comp. Hor., Od., 3, 1, 17; Cic., Tusc. Dis., 5, 21, 61. --#aera#: poet.
+Plur. Vivid personification and identification.
+
+40. #auratis laquearibus# = _de a. l. Laquearibus_, ‘sunken panels
+(_lacus_) between the cross-beams of the ceiling.’ See Verg., Aen., 1,
+726. --#ensis#: a poetic word, ‘glaive,’ ‘brand.’
+
+41. #purpureas cervices#: Damocles was arrayed in royal purple; hence
+_purpureas_ (Casaubon). Others apply the expression to tyrants
+generally. Comp. Hor., Od., 1, 35, 12: _purpurei tyranni_.
+
+42. #imus#: Better to have a sword hanging by a hair over your neck than
+yourself to be hanging above an abyss of misery. The commentators refer
+to Tiberius’s letter to the senate (Tac., Ann., 6, 6; Suet., Tib., 67),
+by way of illustrating the shuddering perplexity of the sinful tyrant.
+--#dicat#: The subject is loosely involved. --#intus | palleat#: This
+‘not very intelligible expression’ (Conington) is paralleled by Shaksp.,
+Macb., 2, 2: ‘My hands are of your color, but I shame | to wear a heart
+so _white_.’
+
+43. #quod#: dependent on the notion of fear contained in _pallere_. G.,
+329, R. 1; A., 52, 1, _a_. --#proxima uxor#: ‘the wife at his side,’
+‘the wife of his bosom.’ --#nesciat#: ‘is not to know.’
+
+44-51. You have not the excuse of an unenlightened conscience, nor have
+you the plea of the ignorance of boyhood. Boys will be boys. I was a boy
+myself, played boyish tricks, loved boyish sports. My training was bad,
+my behavior only to be justified by my training.
+
+44. #parvus#: ‘as a small boy:’ _Memini quae plagosum #mihi parvo#_ |
+_Orbilium dictare_, Hor., Ep., 2, 1, 70. --_olivo:_ The boy would tip
+(_tangere_) his eyes with oil, in order to make believe, by the use of
+the remedy, that he was suffering from the disease. For the anointing of
+sore eyes, see Hor., Sat., 1, 8, 25; Ep., 1, 1, 29.
+
+45. #grandia#: ‘sublime.’ _Grandia verba_ is the American ‘tall talk.’
+--#nollem#: Iterative conditional. G., 569, R. 2; A., 59, 5, _b_.
+--#morituri Catonis#: Such compositions were very much in vogue as
+rhetorical exercises. Comp. Juv., 1, 16 (oration to Sulla, advising a
+withdrawal from public life); 7, 161 (speech made for Hannibal). Seneca
+(Ep., 24, 6) does not seem to regard the theme of Cato’s death as
+threadbare.
+
+46. #discere#: better than _dicere_. The boy shirks the learning rather
+than the speaking, and the sore eyes would be a better excuse for the
+one than for the other. --#non sano#: Comp. Petron., cap. 1; Tac., Or.,
+35, on this system of training. Hermann reads _et insano_. --#laudanda#
+= _quae laudaret_, the free adjective use of the Gerundive, which is
+more common in later times.
+
+47. #quae pater audiret#: Juv., 7, 166: _ut totiens illum #pater
+audiat#_. --#sudans#: from excitement; hardly ‘in a glow of perspiring
+ecstasy’ (Conington). _Sudans_ is thrown in maliciously as a comment.
+
+48. #iure#: εἰκότως, ‘and well I might.’ --#etenim#: is καὶ γάρ.
+Theoretically the predicate of the preceding sentence is to be repeated
+with the _et_. Practically it is often best to leave _et_ untranslated.
+G., 500, R. 2 and 3; A., 43, 3, _d_. --#senio#, etc.: ‘The game was
+played with four _tali_, which, unlike the _tesserae_, were rounded on
+two sides, while the other four faces were marked with one, three, four,
+or six pips, and called respectively _unio_, _ternio_, _quaternio_,
+_senio_. The _canis_ was the worst throw, when all four _tali_ showed
+single pips (Ov., A. A., 2, 206; Trist., 2, 474; Mart., 13, 1, 6; Prop.,
+4, 8, 46), and the _Venus_ the best, when all the faces turned up were
+different (Lucian, Amor., p. 415); or else, for it varied upon occasion,
+when all showed sices. The ace was a losing throw and the sice a winning
+one, when the pips were counted’ (Pretor, after Jahn). Persius wanted to
+know the value of each throw, what one brought in (_ferret_) another
+swept off (_raderet_).
+
+49. #scire erat in voto#: _Hoc #erat in votis#_, Hor., Sat., 2, 6, 1.
+
+50. #angustae collo non fallier orcae#: The allusion is to a game at
+_nuces_, called τρόπα or ‘cherry-pit.’ ‘’Tis not for gravity to play at
+_cherry-pit_ with Satan,’ Shaksp., Twelfth N., 3, 4. Fr. _à la
+fossette_. Comp. Rabelais, 1, 2. The modern equivalent of _nuces_ is
+marbles, and the modern τρόπα is ‘pitch-in-the-hole,’ or ‘knucks.’
+Instead of the hole in the ground (βόθρος), the ancients used a small
+jar (_orca_), and to enhance the difficulty of getting in, the neck of
+this jar was made narrow (_collo angustae orcae = angusto collo orcae_,
+by Hypallagé, v. 4). So the modern hole admits but one marble. Comp.
+[Ov.] Nux, 85, 86: _Vas quoque saepe cavum spatio distante locatur, | in
+quod missa levi nux cadat #una# manu._ --#fallier#: like _dicier_, 1,
+28.
+
+51. #neu quis# = _et ne quis_. G., 546. ‘_Et [erat in voto] ne quis
+callidior [esset]._’ --#buxum#: ‘top,’ because made of ‘boxwood.’ Comp.
+Verg., Aen., 7, 382: _volubile #buxum#_. --#torquere#: See Prol., 11,
+and 1, 118.
+
+52. You have had a better training. You have reached years of
+discretion. You know Right from Wrong. --#curvos# = _pravos_. Comp.
+_scilicet ut possem #curvo# dinoscere rectum_, Hor., Ep., 2, 2, 44, and
+Persius, 4, 12; 5, 38.
+
+53. #quaeque docet#: _Quae_ depends by Zeugma on some notion involved in
+_deprendere_, such as _tenere_. G., 690; M., 478, Obs. 4. --#sapiens
+porticus#: Comp. _sapientem barbam_, Hor., Sat., 2, 3, 35; _eruditus
+pulvis_, Cic., N. D., 2, 18, 48. --#bracatis inlita Medis#: The στοὰ
+ποικίλη, the resort of Zeno and his school, was adorned with paintings
+by Polygnotus and others. One of these paintings represented the battle
+of Marathon, hence ‘the wise Porch bepainted with the trouser’d Medes.’
+_Inlita_ perhaps contemptuous, not necessarily ‘frescoed.’ The _bracae_
+ἀναξυρίδες, θύλακοι, a mark of barbaric luxury and display. Comp. Prop.,
+4, 3, 17: _Tela fugacis equi et #bracati militis# arcus_ and _Persica
+braca_, Ov., Tr., 5, 10, 34 (Freund). --#quibus#: Neuter. _Quibus et =
+et quibus._ Trajection, G., 693. --#detonsa#: ‘close-cropped,’ for so
+the Stoics wore their hair, although they let their beard grow long ἐν
+χρῷ κουρίαι, Luc., Hermot., 18; Vit. Auct., 20. Comp. Juv., 2, 15:
+_supercilio brevior coma_.
+
+55. #invigilat#: ‘rather tautological after _insomnis_. _Nec capiat
+somnos #invigiletque# malis_, Ov., Fast., 4, 530’ (Conington). Positive
+and negative sides of an action are more frequently combined in Latin
+and Greek than in English, and ‘sleepless vigil’ would not be strange
+even in English. --#siliquis#: ‘pulse.’ Hor., Ep., 2, 1, 123: _vivit
+[vates] #siliquis# et pane secundo_. --#grandi polenta#: ‘mighty messes
+of porridge;’ coarse, thick stuff (Macleane). ‘_Polenta_, ἄλφιτα, “pearl
+barley,” a Greek, not a Roman dish (Plin., H. N., 18, 19, 28), mentioned
+as a simple article of diet by Attalus, Seneca’s preceptor (Ep., 110,
+18)’ (Conington, after Jahn).
+
+56. #Samios# = Pythagorean, from Pythagoras of Samos. ‘And the letter,
+which is disparted into Samian branches, has pointed out to you the
+steep path whose track is on the right.’ --#diduxit#: as demanded by the
+sense against the MSS., which have _deduxit_. --#littera#: The letter Υ,
+or rather its old form [[symbol]], was selected by Pythagoras to embody
+the immemorial image of the two paths (Hesiod, O. et D., 287-292), so
+familiar in the apologue of Hercules at the cross-roads (Xen., Comm., 2,
+1, 20), and alluded to again by our author, 5, 34. Hence this letter was
+called the Pythagorean; Auson., Id., 12, de litt. monos., 9:
+_#Pythagorae# bivium ramis patet ambiguis_ Υ (comp. also Id., 15, 1:
+_quod vitae sectabor iter?_) Hence the _rami Samii_ above. ‘The stem
+stands for the unconscious life of infancy and childhood, the diverging
+branches for the alternative offered to the youth, virtue or vice’
+(Conington).
+
+57. #surgentem#: The path to the right is the _surgens callis_ of
+Persius, the ὄρθιος οἶμος of Hesiod. The character itself points upward,
+and the right-hand path is a clear-cut line (_limes_), so that there is
+no mistaking the road, unless you are bent on following Shakspeare’s
+‘primrose path of dalliance,’ instead of ‘the steep and thorny path to
+heaven.’
+
+58. #stertis adhuc#: The preacher finds his audience still snoring,
+despite his eloquence. As _stertis_ can not be divorced from what
+follows, it is better to take it as an exclamation than as a rhetorical
+question. --#laxumque caput#, etc.: ‘Your head a-lolling with its
+coupling loose, yawns a yawn of yesterday with jaws unhinged at every
+point.’ The head is _laxum_ on account of its weight. Comp. καρηβαρεῖν
+Alciphr., 3, 32, and Menand., fr. 67 (4, 88 Mein.).
+
+59. #oscitat hesternum#: ‘Yawning off yesterday’ (Conington); the yawn
+is yesterday’s yawn, because it comes from yesterday’s debauch, Alexis,
+fr. 277 (3, 515 Mein.). --#undique#: ‘from all points of the compass’
+(Conington), ‘an intentional exaggeration for _utraque parte_.’
+--#malis#: Jahn’s _malis?_ (1843) is not good. The description is too
+minute for the interrogative form.
+
+60. #est aliquid#: Ironical; hence the expectation of a negative answer
+is suppressed. G., 634, R. 1; A., 65, 2, _a_. --#quo# = _in quod_.
+Schlüter combines with _tendis arcum_. --#in quod#: The other reading,
+_in quo_, is unsatisfactorily defended by Hermann and Pretor.
+
+61. ‘A wild-goose chase’ is the corresponding English expression for the
+Latin _corvos sequi_, the Greek τὰ πετόμενα διώκειν. ‘Each word is
+carefully selected. Thus the chase is a random one (_passim_), the
+object worthless (_corvos_), the missile any thing that comes first to
+hand’ (Pretor, after Jahn). Jahn refers further to Aeschyl., Ag., 394
+(Dind.): διώκει παῖς ποτανὸν ὄρνιν. Familiar is Eurip.: πτηνὰς διώκεις,
+ὦ τέκνον, τὰς ἐλπίδας.
+
+62. #ex tempore#: ‘for the moment,’ ‘at the beck of the moment,’ ‘by the
+rule of the moment’ (Conington).
+
+63-76. A general preachment begins. Wake up, you snorer. Wake up, all
+you snorers. You are all sick, or all threatened with sickness. Do not
+postpone the remedy until it is too late. That remedy is to be found in
+the principles of true wisdom; in other words, in the doctrines of the
+Stoic creed. Before the sermon is finished, the preacher notices an
+unfriendly stir in his audience, and is punching a member of his
+congregation when he is interrupted.
+
+63. #helleborum#: The black hellebore this time (1, 51). The black was
+good for dropsy, Plin., H. N., 25, 5, 22. It was the great ‘purger of
+melancholy.’ --#cutis aegra tumebit#: Comp. vv. 95, 98. --#venienti
+occurrite morbo#: Every one will remember the well-worn Ovidian
+_Principiis obsta_, R. A., 91. The comparison of moral with physical
+disease was a favorite topic with the Stoics, who overdid it, according
+to Cic., Tusc. Dis., 4, 10, 23.
+
+64. #poscentis#: Elsewhere Persius uses after _video_ the less vivid
+Infinitive, 1, 19. 69; 3, 91. On the difference, see G., 527, R. 1; A.,
+72, 3, _d_. So after _facio_, 1, 44.
+
+65. #quid opus#: G., 390, R.; A., 52, 3, _a_. --#Cratero#: More
+bookishness. Craterus was a famous physician of the time of Cicero.
+Hor., Sat., 2, 3, 161. --#magnos promittere montis#: A proverbial
+phrase, which survives in several modern languages: Fr. _monts et
+merveilles_; Germ. _goldene Berge versprechen_. Jahn compares Ter.,
+Phormio, 1, 2, 18: _modo non #montis# auri pollicens_; Heinr., Sall.,
+Cat. 23: _maria #montis#que polliceri coepit_.
+
+66. #discite o#: To remove the hiatus, Barth suggested _io_, Guyet
+_vos_. Hor., Od., 3, 14, 11: _male ominatis_, is not a parallel for the
+hiatus, even if the reading be correct, and the parallel in Catull., 3,
+16, is conjectural. --#causas cognoscite rerum#: Comp. Verg., Georg., 2,
+490: _Felix qui potuit #rerum cognoscere causas#_, and _sapientia est
+rerum divinarum et humanarum #causarumque scientia#_, Cic., Off., 2,
+2, 5. On the connection of the different articles of this catechism, see
+Knickenberg, l.c. p. 35 seqq. _Discite_ is the exhortation to the study
+of philosophy. _Causas cognoscite rerum_ bids us pursue what the Stoics
+called Physic, for without a knowledge of nature there can be no
+knowledge of duty. Ethic is based on Physic; τέλος ἐστὶ τὸ ὁμολογουμένως
+τῇ φύσει ζῆν (Stob., Ecl., 2, 132). See Long’s _Antoninus_, p. 56. The
+constitution of nature once understood, we shall know what we owe to
+God, what to ourselves, what to mankind, what things are good, what
+evil. _Quid fas optare_ refers to our duty to God, _quem te deus esse
+iussit_ to our duty to ourselves, _patriae carisque propinquis_ to our
+duty to our neighbors. But nothing is more evident than the absence of
+any logical development. Comp. with the whole passage, Sen., Ep., 82, 6:
+_sciat quo iturus sit, unde ortus, quod illi bonum, quod malum sit, quid
+petat, quid evitet, quae sit illa ratio quae appetenda ac fugienda
+discernat, qua cupiditatum mansuescit insania, timorum saevitia
+conpescitur_.
+
+67. #quid sumus#: The independent form with the Indicative is more
+lively; the regular dependent form with the Subjunctive comes in below,
+v. 71. G., 469, R. 1; A., 67, 2, _d_. --#quidnam# = _quam vitam_. G.,
+331, R. 2; A., 52, 3, _a_, N. --#victuri#: The use of the Participle in
+an interrogative clause is unnatural in English (G., 471). The future
+Participle of purpose is late or poetical (G., 673; A., 72, 4, _a_).
+‘And what the life that we are born to lead.’ --#ordo#: According to
+Heinr. and Jahn _ordo_ is used with reference to the position in the
+chariot-race, so that the comparison begins here, and not at _metae_.
+Soph., El., 710: στάντες δ᾽ ἵν᾽ αὐτοὺς οἱ τεταγμένοι βραβεῖς | κλήροις
+ἔπηλαν καὶ κατέστησαν διφρους. But as τάξις (_ordo_) is a Stoic term, it
+is not unlikely that the use of the word suggested the figure, which
+came in as an after-thought. The Stoic preacher, as well as the
+Christian, finds it necessary to repeat himself in slightly different
+forms, and we must not look for a sharp distinction between _ordo quis
+datus_ and _humana qua parte locatus es in re_, between _quidnam victuri
+gignimur_ and _quem te deus esse iussit_.
+
+68. #quis# = _qui_. So 1, 63. G., 105; A., 21, 1, _a_. --#qua et unde#:
+where (how) it lies and from what point to begin, ‘where to take it’
+(Conington). Herm.’s _quam_ is not so good. --#metae flexus#: ‘turn
+round the goal.’ The difficulty of rounding the goal in a chariot-race
+is notorious. See Il., 23, 306 foll.; Soph., El., 720 foll., and the
+commentators on Plato, Io, 537. With the expression _metae flexus_ Jahn
+comp. Stat., Theb., 6, 433: _flexae-- metae_. _Mollis_, ‘gradual,’
+‘easy.’ So Caes., B. G., 5, 9: _#molle# litus_, of a gently sloping
+shore.
+
+69. #quis modus argento#: The Sixth Satire deals with a similar theme.
+--#quid fas optare#: the argument of the Second Satire. --#asper
+nummus#: ‘coin fresh from the mint,’ ‘rough from the die,’ Suet., Nero,
+44. So Jahn. Others consider this distinction too subtle, and make
+_a. n._ simply equivalent to ‘coined silver,’ as opposed to ‘silver
+plate,’ _argentum_. Conington suggests the meaning, ‘What is the use of
+money hoarded up and not circulated (_tritus_)?’ Comp. Hor., Sat., 1, 1,
+41 foll., 73: _nescis quo valeat nummus? quem praebeat usum?_
+
+70. #carisque propinquis#: Hor., Sat., 1, 1, 83.
+
+72. #locatus#: ‘posted,’ τεταγμένος, ‘a military metaphor’ (Arrian,
+Diss., 1, 9, 16; M. Anton., 11, 13). --#humana re#: ‘humanity,’ _inter
+homines_.
+
+73. #disce, nec invideas#: sc. _discere_, according to Jahn. _His te
+quoque iungere, Caesar | #invideo#_, Lucan., 2, 550, like φθονεῖν: μὴ
+#φθόνει# μοι ἀποκρίνασθαι τοῦτο, Plat., Gorg., 489A. Persius singles out
+one of his audience, who is tempted away from philosophy by his gains as
+an advocate. Others, less satisfactorily, suppose that the lawyer is
+outside of the congregation. On _#nec# invideas_, see 1, 7. --#multa
+fidelia putet#: ‘Many a jar of good things is spoiling;’ ‘The details
+are contemptuous. There is a coarseness in fees paid in kind’
+(Conington). Comp. Juv., 7, 119. --#pinguibus Umbris#: ‘fat’ in every
+sense, in figure, in fortune, and in wit. In Mart., 7, 53, an Umbrian
+sends by eight huge Syrian slaves a miscellaneous lot of presents, value
+30 nummi-- a proceeding due as much to stupidity as to stinginess
+(_parcus Umber_, Cat., 39, 11). The appearance of the Umbrians was not
+prepossessing, if we may judge by Ovid’s portrait of an Umbrian dame
+(A. A., 3, 303-4).
+
+75. #et piper et pernae#: The _piper_ is not the Indian, but the
+inferior Italian (Plin., H. N., 12, 7, 4; 16, 32, 59) (Meister).
+_Pernae_, a stock present. Comp. _siccus #petasunculus# et vas |
+pelamydum_, Juv., 7, 119. To supply _putet_ with _piper_ is not
+satisfactory, and we must take refuge in Zeugma. Pretor is for dropping
+v. 75, and sees in Persius’s awkwardness traces of a _duplex recensio_,
+as in vv. 12-14. --#Marsi#: For the simplicity of the Marsians, Jahn
+compares Juv., 3, 169; 14, 180.
+
+76. #mena#: ‘sprat,’ cheap sea-fish of some sort. ‘You have not yet come
+to the last sprat of the first barrel’ (Conington). --#defecerit#: As
+_non quod_ more commonly takes the Subjunctive, the shifting to the
+Subjunctive from the Indicative, after _nec invideas_, is not strange.
+G., 541, R. 1; A., 66, 1, _d_, R.
+
+77-85. The discourse is cut short by a military man, who, with the
+dogmatism of his class (_vieux soldat, vieille bête_), sets down all
+philosophers as a pack of noodles. The lines of the picture which he
+draws are familiar to every student of manners. ‘Persius hates the
+military cordially (comp. 5, 189-191) as the most perfect specimens of
+developed animalism, and consequently most antipathetic to a
+philosopher. See Nisard, _Études sur les Poetes Latins_ [1, 3^e éd.
+273-277; Martha, _Moralistes Romains_, p. 141]. Horace merely glances at
+the education their sons received, as contrasted with that given him by
+his father, in spite of narrow means, Sat., 1, 6, 72. Juvenal has an
+entire satire on them (16), in which he complains of their growing power
+and exclusive privileges, but without any personal jealousy’
+(Conington). Persius is so bookish that I suspect Greek influence. Comp.
+κομψὸς στρατιώτης, οὐδ᾽ ἐὰν πλάττῃ θεός, | οὐδεὶς γένοιτ᾽ ἂν, Menand.,
+fr. 711 (4, 277 Mein.). See Introd., xx.
+
+77. #de gente#: G., 371, R. 5; A., 50, 2, _e_, R. 1. _Gente_, ‘tribe,’
+‘crew.’ --#hircosa#: ‘Rammish’ is not too strong, opposed to
+_unguentatus_ in a fragment of Sen., ap. Gell., 12, 2, 11 (cited by
+Jahn). The unsavory soldier and the perfumed dandy are alike foes to the
+simplicity of the Stoic school. Your old soldier prided himself on his
+stench, as would appear from the dainty anecdote in Plutarch, Mor.,
+180C: ὦ βασιλεῦ, θάρρει καὶ μὴ φοβοῦ τὸ πλῆθος τῶν πολεμίων, αὐτὸν γὰρ
+ἡμῶν #τὸν γράσον# οὐχ ὑπομενοῦσι. --#centurionum#: The rank is higher,
+but the intellectual level is that of the typical German _Wachtmeister_.
+
+78. #Quod sapio satis est mihi#: Jahn (1868); _Quod satis est sapio
+mihi_, Jahn (1843), Herm. With the latter reading the words _quod satis
+est = satis_ must be taken together, and a little more stress is laid on
+_mihi_. The general sense is the same. Comp. Plato, Phaedr., 242C: ὥσπερ
+οἱ τὰ γράμματα φαῦλοι #ὅσον ἐμαυτῷ μόνον# ἱκανός, with a very different
+tone. --#non ego#: ‘no-- not I.’ See 1, 45. --#curo#: ‘care,’ i.e.,
+‘want.’ See 2, 18.
+
+79. #Arcesilas#: Arcesilaus, the founder of the New Academy, flourished
+about 300 B.C. His great advance on Socrates was his knowing that he did
+not even know that he knew nothing, Cic., Acad., 1, 12, 45. Solon
+flourished about 600 B.C. Our hircose friend is made to jumble his
+samples. --#aerumnosi Solones#: Notice the contemptuous use of the
+Plural. _Aerumnosus_, κακοδαίμων, ‘God-forsaken,’ ‘poor devil,’ is a
+strange epithet for Solon, but we have to do with an ignoramus and a
+jolter-head.
+
+80. #obstipo capite#: ‘with stooped head,’ ‘bent forward,’ κεκυφότες.
+Hor., Sat., 2, 5, 92: _Davus sis comicus atque | stes capite #obstipo#,
+multum similis metuenti._ Comp. the description of Ulysses in Il., 3,
+217 foll. --#figentes lumine terram#: Jahn quotes a parallel from Stat.,
+Silv., 5, 1, 140. More common forms are _figere lumina terra, in humo,
+in terram_. ‘They bore the ground with their eyes,’ ‘look at it as if
+they would look through it.’ Casaubon comp. Plat., Alcib. II., 138A. Add
+Lucian, Vit. Auct., 7; Aristaenet., 1, 15.
+
+81. #murmura#: Imitated by Auson., Id., 17, 24: _murmure concluso
+rabiosa silentia rodunt_. --#rabiosa#: ‘Mad dogs do not bark.’
+--#silentia#: Poetic Plural; very common. --#rodunt#: ‘biting the lips
+and grinding the teeth.’ ‘Whether _murmura_ and _silentia_ are
+Accusatives of the object, or cognates, is not clear’ (Conington).
+‘Chewing the cud of mumbled words and mad-dog silence’ is very much in
+the vein of Persius. Comp. _rarus sermo illis et magna libido tacendi_,
+Juv., 2, 14.
+
+82. #exporrecto trutinantur#: The lips are thrust out (a sign of deep
+thought) and quiver like a balance; hence they are said ‘to poise their
+words upon the quivering balance of a thrust-out lip’-- a caricature of
+the simple figure _ponderare verba_. Jahn compares Luc., Hermot., 1, 1:
+καὶ #τὰ χείλη διεσάλευες# ἠρέμα ὑποτονθορύζων; and Casaubon, Aristaen.,
+2, 3: ἠρέμα #τῷ χείλη κινεῖ# καὶ ἄττα δήπου πρὸς ἑαυτὸν ψιθυρίζει.
+
+83. #aegroti veteris#: The _aegri somnia_ of Hor., A. P., 7. As usual,
+Persius exaggerates, and makes the sick man (_aegroti_) a dotard to boot
+(_veteris_). Jahn understands, ‘a confirmed invalid.’ Comp. Juv., 9, 16:
+_#aegri veteris# quem tempore longo | torret quarta dies_, etc. --#gigni
+| de nihilo nihilum#: The cardinal doctrine of Epicurus (Lucr., 1, 150),
+but not confined to him.
+
+85. #hoc est quod palles#: G., 331, R. 2; A., 52, 1, _b_. Comp. 1, 124.
+The Cognate Accusative is susceptible of a great variety of
+translations. ‘Is this the stuff that you get pale on?’ (Pretor). ‘Is
+this what makes you pale?’ --#prandeat#: The _prandium_, originally a
+military meal, was dear to the military stomach. Comp. _#impransi#
+correptus voce magistri_, Hor., Sat., 2, 3, 257.
+
+86. #his#: Abl. Conington makes it a Dative, and cites an evident Abl.
+to prove it, Verg., Aen., 4, 128. Jahn comp. Hor., Sat., 2, 8, 83:
+_ridetur fictis rerum_. --#multum#: with _torosa_, according to Jahn.
+
+87. Conington notices the grandiloquence of the line. ‘Cloth of frize’
+is often ‘matched’ with ‘cloth of gold’ in Persius. --#naso crispante#:
+‘curling nostrils.’ The mob laughs, the soldiers snicker. The listening
+rabble is frankly amused. The crew to which the centurion belongs sneer
+too much to laugh out. Or perhaps the poet makes the distinction between
+the general _ridere_ (γελᾶν) and the mocking laughter of _cachinnare_
+(καγχάζειν).
+
+88-106. It is strange, as Pretor observes, that the sudden change
+introduced by this line should not have been noticed by the
+commentators. With a more mature artist there would be a suspicion of
+dislocation. As it is, the unity of the Satire would gain by omitting
+66-87. Persius composed slowly, and we find here as elsewhere traces of
+piecemeal work.
+
+The preacher takes up his parable. A man feels sick, consults a
+physician, lies by; is more comfortable, takes a fancy to a bath and a
+draught of wine. He meets a friend, perhaps his medical friend, on the
+way. ‘My dear fellow, you are pale as a ghost.’ --‘Pshaw!’ --‘Look out!
+You are yellow as saffron, and bless me! if you are not swelling.’
+--‘Pale? Why, you are paler than I am. Don’t come the guardian over me.
+My guardian has been dead a year and a day.’ --‘Go ahead, I’m mum.’ --He
+goes ahead, stuffs himself, takes his bath. While he is drinking a chill
+strikes him, and he is a dead man. No expense spared on the funeral.
+‘You can’t mean that for me,’ says a literalist. ‘If I’m sick, you are
+another. I have no fever, no ague.’ Nay, but you are subject to the
+worst of diseases-- to the fever of covetousness, the fever of lust, to
+daintiness with its sore mouth, to fear with its cold chill, and, worse
+than all, to the raging delirium of anger.
+
+88. #inspice#: ἐπίσκεψαι, a medical term. Comp. Plaut., Pers., 2, 5, 15.
+--#nescio quid#: G., 469, R. 2; A., 67, 2, _e_. _Quid_ is the Accusative
+of the Inner Object. ‘I have a strange fluttering at my heart.’
+--#aegris#: ‘out of order.’ As _aegris_ is emphatic, co-ordinate in
+English. There is ‘something wrong about my throat _and_--’
+
+89. #exsuperat#: Neuter. Comp. _#exsuperant# flammae_, Verg., Aen., 2,
+759. --#gravis#: ‘foul.’ So Ov., A. A., 3, 277: _#gravis# oris odor_.
+--#sodes#: The original form is commonly supposed to be _si audes_
+(_saudes_), Plaut., Trin., 2, 1, 18; from _audeo_ (comp. _avidus_), ‘if
+you have the heart,’ ‘an thou wilt,’ A., 35, 2, _a_. Others put _sodes_
+under SA (pron.), as akin to _sodalis_, and comp. ἠθεῖος, ‘own dear
+friend,’ ‘_mon cher_.’ See Vaniček, _Lat. Etym. Wb._, S. 165. _Sodes_ =
+_socius_ is an old tradition.
+
+90. #requiescere#: ‘keep quiet.’ --#postquam vidit#: with a causal
+shade. See 5, 88; 6,10, and G., 567; A., 62, 2, _e_.
+
+91. #tertia nox#: The patient thinks that he has the more common
+semitertian, whereas he has the quartan. When the third night comes
+without a chill, he fancies that he is safe.
+
+92. #de maiore domo#: The ‘great house’ is clearly that of a rich
+friend, rather than that of a large dealer. Casaubon compares Juv., 5,
+32: _cardiaco numquam cyathum, missurus amico_. --#modice sitiente
+lagoena#: Thirst and capacity are near akin; a flagon of moderate thirst
+is a flagon ‘of moderate swallow,’ as Conington renders it. The
+personification of the flagon is old and not uncommon. See the humorous
+epigram, Anthol. Pal., 5, 135.
+
+93. #lenia Surrentina#: _Lenia_ is either ‘mild’ or ‘mellow.’ The
+Surrentine was a light wine often recommended to invalids, Plin., H. N.,
+14, 6, 8; 23, 1, 20. --#loturo#: He asks _before_ bathing; he drinks
+_after_ bathing. For the custom Jahn compares Sen., Ep., 122, 6.
+--#rogabit#: So Jahn (1868) and Hermann. Jahn (1843) reads _rogavit_,
+like the Greek Aorist in descriptions. The Future makes it more
+distinctly a supposed case.
+
+94. #videas#: rather optative than imperative in its tone.
+
+95. #surgit#: ‘is swelling,’ ‘getting bloated.’ --#tacite#: ‘insensibly’
+(Conington). --#pellis#: ‘hide.’ Comp. Juv., 10, 192: _deformem pro cute
+#pellem#_.
+
+96. #At tu deterius#: _Le trait est comique. Ce serait de la gaieté, si
+Perse savait rire_, Nisard. --#ne sis mihi tutor#, etc.: Proverbial. So
+Hor., Sat., 2, 3, 88: _ne sis patruus mihi_.
+
+97. #iam pridem sepeli#: Comp. _Omnes composui. Felices! Nunc ego
+resto_, Hor., Sat., 1, 9, 28. _Sepeli_ for _sepelii_ (_sepelivi_),
+a rare contraction. --#turgidus his epulis#: Hor., Ep., 1, 6, 61: _crudi
+#tumidique# lavemur_, and comp. Juv., 1, 142 seqq: _paena tamen
+praesens, cum tu deponis amictus | #turgidus# et crudum pavonem in
+balnea portas | hinc subitae mortes atque intestata senectus_. --#hic#:
+‘our man.’ --#albo ventre#: _Turgidus epulis_ is one feature, _albo
+ventre_ another. _Ventre_ does not depend on _turgidus_. The color
+(λευκός) is a sign of weakness and sickness. The swollen belly makes a
+ghastly show. --#lavatur#: ‘takes his bath.’ Comp. G., 209; A., 39, _c_,
+N.
+
+99. #sulpureas mefites#: _Mefitis_ is originally the vapor from
+sulphur-water; hence the propriety of the epithet _sulpureas_.
+
+100. #calidum triental#: The wine was heated to bring out the sweat.
+_Bibere et sudare vita cardiaci est_, Sen., Ep., 15, 3. --#triental#:
+restored by Jahn (1843) for _trientem_, to which he returned in 1868.
+_Triens_ is the measure, ⅓ sextarius, _triental_ would be the vessel.
+Comp. with this passage Lucil., 28, 39-40 (L. M.): _ad cui? quem febris
+una atque una ἀπεψια | vini inquam #cyathus# unus potuit tollere_.
+
+101. #crepuere#: Vivid Aorist, not a simple return to the narrative
+form. Comp. 5, 187. For the Greek, which Persius imitates, see Kühner,
+_Ausf. Gramm._ (_2te Ausg._), 2, 138. --#retecti#: He shows his teeth
+when he chatters.
+
+102. #uncta#: Remember the large use of oil in Italian cookery.
+--#cadunt# = _vomuntur_, but there is a certain helplessness in
+_cadunt_. --#pulmentaria#: originally ὄψον, ‘relish,’ afterward
+‘dainties.’ See the Dictionaries.
+
+103. #hinc#: ‘hereupon.’ --#tuba#: Trumpets announced the death, and
+trumpets were sounded at the funeral. See Hor., Sat., 1, 6, 42.
+--#candelae# = _cerei_, ‘wax lights,’ supposed by Jahn and others to
+have been used chiefly when the death was sudden, on the basis of Sen.,
+Tranq., 11, 7. --#tandem#: ‘After all the preliminary performances’
+(Macleane). --#beatulus#: μακαρίτης. Jahn cites Amm. Marcell., 25, 3:
+_quem cum #beatum# fuisse Sallustius respondisset praefectus, intellexit
+occisum_. ‘The dear departed’ (Conington). ‘Our sainted friend.’
+--#alto#: A mark of a first-class funeral.
+
+104. #conpositus#: ‘laid out.’ ‘By foreign hands thy decent limbs
+_composed_,’ Pope. --#crassis lutatus amomis#: Every word is
+contemptuous: ‘bedaubed with lots of coarse ointments.’ The Plural
+_amoma_ indicates the cheap display. With _crassis_, comp. Hor., A. P.,
+375: _#crassum# unguentum_; with _amomis_, Juv., 4, 108: _#amomo# |
+quantum vix redolent duo funera_.
+
+105. #in portam#: A custom at least as old as Homer, Il., 19, 212.
+_Porta_ here = _ianua_, _fores_, but ‘nowhere else’ (Macleane).
+--#rigidas#: The gender of _calx_ is unsteady. See Neue, _Formenlehre_,
+1, 694.
+
+106. #hesterni Quirites#: ‘Citizens of twenty-four hours’ standing’
+(Conington); slaves left free by him. Hence _capite induto_, with the
+_pilleus_ ‘cap of liberty’ on. The winding up of the man reminds one of
+Petron., 42: _bene elatus est, planctus est optime, manumisit aliquot_.
+
+107. Persius hauls out his man-of-straw, his _souffre-douleur_, and
+makes him talk. --#Tange venas#: ‘Feel my pulse,’ the regular
+expression, as in Sen., Ep., 22, 1: _vena #tangenda# est_. --#miser#:
+Comp. v. 15. ‘You’re another!’ ‘Poor creature yourself’ (Conington).
+--#pone in pectore dextram#: If you are not satisfied with my pulse, put
+your hand on my heart.
+
+108. #nil calet hic#: After some hesitation, I have given the whole
+passage from _Tange miser_ to _non frigent_ to one person, who
+anticipates the verdict of the monitor by _nil calet hic_ and _non
+frigent_. ‘You must admit that my heart is not hot nor my feet cold.’ At
+the same time the very clearness is an objection.
+
+109. #Visa est si forte#: On the form of the conditional, see G., 569;
+A., 59, 2, _b_. On the obvious thought, see 2, 52 foll.; 4, 47.
+
+111. #rite#: ‘regularly.’ --#positum est#: ‘served up.’
+
+112. #durum holus#: ‘tough cabbage,’ ‘half boiled’ (Pretor). --#populi#
+(= _plebis_) #cribro#: ‘A coarse, common sieve.’ Hence _p. c. decussa
+farina_, ‘coarse-bolted flour,’ the _panis secundus_ of Horace, Ep., 2,
+1, 123, the ‘seconds’ of the modern miller. The ancients were very
+dainty in this article. The parasite in Alciphron (1, 21, 2) expresses
+his disgust at the ἀρτος ὁ ἐξ ἀγορας.
+
+114. #putre quod haud deceat#: The Relative with the Subjunctive is
+parallel with the Adjective. G., 439, R. Comp. 1, 14. _Haud deceat_, ‘it
+won’t do,’ ‘it won’t answer.’ --#plebeia beta#: The beet is a vulgar
+vegetable, Mart., 13, 13 (Jahn). The irony is evident, as the beet is
+proverbially tender. See Dictionaries, s.v. _betizare_.
+
+115. #excussit#: _Excutere aristas_ seems to be a vulgar expression,
+like the English ‘raise a goose-skin, goose-flesh, duck-flesh.’
+--#aristas# = _pilos_. Jahn refers to Varro, L. L., 6, 49. --#timor
+albus#: See note on Prol., 4.
+
+116. #face supposita#: The heart is the caldron and passion the
+fire-brand.
+
+118. #Orestes#: the typical madman.
+
+
+CRITICAL APPENDIX.
+
+SATURA III.
+
+11. #harundo#: arundo, J{α}., H. --12. #querimur#: queritur, J{α}.
+--#umor#: humor, J{α}., H. --13. #quod#: J{α}., H.; sed, J{ω}. --14.
+#querimur#: queritur, J{α}. --15. #hucine#: huccine, J{α}., H. --17.
+#pappare#: papare, J{α}. --29. #censoremne#: Casaubon.; censoremque,
+J{ω}.; censoremve, J{α}., H. --31. #Nattae?# J{α}., H.; Nattae. J{ω}.
+--32. #vitio et#: _om._ et H. --46. #discere non sano#: dicere et
+insano, H. --48. #iure: (;)#: J{α}., H.; iure etenim, J{ω}. --53.
+#bracatis#: braccatis, H. --56. #diduxit#: deduxit, H. --58. #adhuc#:
+adhuc? J{α}. --59. #malis!#: malis? J{α}. --60. #in quod#: in quo, H.
+--68. #qua#: quam, H. --73. #nec#: neque, J{α}. --76. #mena#: maena,
+J{α}. --78. #quod sapio satis est mihi#: quod satis est sapio mihi,
+J{α}., H. --89. #alitus#: halitus, J{α}., H. --92. #lagoena#: lagena,
+J{α}., H. --93. #rogabit#: rogavit, J{α}. --94. #istuc#: istud, J{α}.,
+H. --99. #sulpureas exalante#: sulfureas exhalante, J{α}., H.
+--#mefites#: mephites, J{α}. --100. #triental#: J{α}.; trientem, J{ω}.,
+H. --105. #rigidas#: rigidos, J{α}. --112. #holus#: olus, J{α}., H.
+
+
+       *       *       *       *       *
+
+
+  SATURA IV.
+
+
+  ‘Rem populi tractas?’ barbatum haec crede magistrum
+  dicere, sorbitio tollit quem dira cicutae
+  ‘quo fretus? dic hoc, magni pupille Pericli.
+  scilicet ingenium et rerum prudentia velox
+  ante pilos venit, dicenda tacendaque calles.                     5
+  ergo ubi commota fervet plebecula bile,
+  fert animus calidae fecisse silentia turbae
+  maiestate manus. quid deinde loquere? “Quirites,
+  hoc puta non iustum est, illud male, rectius illud.”
+  scis etenim iustum gemina suspendere lance                      10
+  ancipitis librae, rectum discernis, ubi inter
+  curva subit, vel cum fallit pede regula varo,
+  et potis es nigrum vitio praefigere theta.
+  quin tu igitur, summa nequiquam pelle decorus,
+  ante diem blando caudam iactare popello                         15
+  desinis, Anticyras melior sorbere meracas!
+  quae tibi summa boni est? uncta vixisse patella
+  semper et adsiduo curata cuticula sole?
+  exspecta, haud aliud respondeat haec anus. i nunc
+  “Dinomaches ego sum,” suffla “sum candidus.” esto;              20
+  dum ne deterius sapiat pannucia Baucis,
+  cum bene discincto cantaverit ocima vernae.’
+    Ut nemo in sese temptat descendere, nemo,
+  sed praecedenti spectatur mantica tergo!
+  quaesieris ‘Nostin Vettidi praedia?’ “Cuius?”                   25
+  ‘Dives arat Curibus quantum non miluus errat.’
+  “Hunc ais, hunc dis iratis genioque sinistro,
+  qui, quandoque iugum pertusa ad compita figit,
+  seriolae veterem metuens deradere limum
+  ingemit: _hoc bene sit!_ tunicatum cum sale mordens             30
+  caepe et farrata pueris plaudentibus olla
+  pannosam faecem morientis sorbet aceti?”
+  at si unctus cesses et figas in cute solem,
+  est prope te ignotus, cubito qui tangat et acre
+  despuat ‘hi mores! penemque arcanaque lumbi                     35
+  runcantem populo marcentis pandere vulvas!
+  tu cum maxillis balanatum gausape pectas,
+  inguinibus quare detonsus gurgulio exstat?
+  quinque palaestritae licet haec plantaria vellant
+  elixasque nates labefactent forcipe adunca,                     40
+  non tamen ista filix ullo mansuescit aratro.’
+  caedimus inque vicem praebemus crura sagittis.
+  vivitur hoc pacto; sic novimus. ilia subter
+  caecum vulnus habes; sed lato balteus auro
+  praetegit. ut mavis, da verba et decipe nervos,                 45
+  si potes. ‘Egregium cum me vicinia dicat,
+  non credam?’ Viso si palles, inprobe, nummo,
+  si facis in penem quidquid tibi venit amarum,
+  si puteal multa cautus vibice flagellas:
+  nequiquam populo bibulas donaveris aures.                       50
+  respue, quod non es; tollat sua munera cerdo;
+  tecum habita: noris, quam sit tibi curta supellex.
+
+
+NOTES.
+
+FOURTH SATIRE.
+
+The theme of this Satire is contained in the closing verses. It is the
+Apollinic γνῶθι σαυτόν. Want of self-knowledge is the fault which is
+scourged. The basis is furnished by the Platonic dialogue, known as the
+First Alcibiades, and the characters are the same. The person lectured
+under the mask of Alcibiades is a young Roman noble, in whom
+commentators of a certain school have recognized the familiar features
+of Nero.
+
+
+ARGUMENT.-- Socrates is supposed to be addressing Alcibiades. You
+undertake to engage in politics? You rely on your genius, do you? What
+do you know of the norms of right and wrong, you callow youngster? What
+do you know of the subtle distinctions of casuistry, that you undertake
+to say what is just and what is unjust? You have a goodly outside, but
+that is all, and you are fitter for a course of hellebore than for a
+career of statesmanship. What is your end and aim in life? Dainty dishes
+and basking in the sunshine? The first old crone you meet has the same
+exalted ideal. Or do you boast of your descent? You praise your lineage,
+you trumpet forth your beauty, just as yon market-woman cries up her
+greens (1-22).
+
+You do not know yourself. Who knows himself? Every one sees his
+neighbor’s faults, no one his own. You sneer at the curmudgeon who
+groans out a health over the sour stuff he gives his laborers on a
+holiday (23-32). And while you make mock at him, some fellow, who is
+standing at your side, nudges you with his elbow, and tells you that you
+are as bad as he, though in another way (33-41). And so we give and take
+punishment. This is our plan of life. We hide our faults from ourselves.
+We get testimonials from our neighbors to impose on our own consciences.
+Awake to righteousness! Put your goodness to the test! If you yield to
+the temptation of covetousness, of lust, in vain will you drink in the
+praises of the rabble. Reject what you are not. Let Rag, Tag, and
+Bobtail take away their tributes. Live with yourself, and you will find
+out how scanty is your moral furniture (42-52).
+
+
+Jahn regards this Satire as the earliest of the six, and it certainly
+shows even greater immaturity than the others. The well-known
+individuality of Socrates is coarsely handled, the irony lacks the
+subtle play, the mischievous good-nature of the great Athenian; and
+though the glaring anachronisms may be defended by such exemplars as
+Horace (notably in Sat., 2, 5), there is all the difference in the world
+between the sly humor of the older poet, who peeps from behind the Greek
+mask and winks at the Roman audience, and the grim contortions of the
+beardless representative of the bearded master.
+
+The indecency of a part of the Satire is considered by Teuffel a valid
+objection to the view taken by Jahn, but the imagination of early youth
+and the experience of corrupt old age often meet in disgusting detail,
+and the obscenities of bookish men are among the worst in literature.
+Add to this the peculiar views of the Stoic school as to the corruption
+of the flesh (2, 63), and the consequent Stoic tendency to degrade the
+body by the most contemptuous representations of physical functions, and
+we can the more readily understand how Marcus Antoninus, the purest
+character of his time, should have besmirched his Meditations with
+passages which lack a parallel for their crudity; and why Persius, the
+poet of virginal life, should have outdone the _praegrandis senex_ of
+Attic comedy in the coarseness of his expressions.
+
+
+1-22. Socrates exposes the incompetence of Alcibiades for affairs of
+state, his lack of ethical training, his need of a just balance, his
+grovelling views of life, his puerile pride in his ancient family and in
+his handsome face. Socrates and Alcibiades were contrasts so tempting
+that dialogues between them were favorite philosophical exercises.
+
+1. #rem populi# = _rem publicam_. --#tractas?# On the form of the
+question, see G., 455; A., 71, 1, R. Comp. Plato, Alc. I., p. 106C:
+διανοεῖ γὰρ παριέναι συμβουλεύσων Ἀθηναίοις ἐντὸς οὐ πολλοῦ χρόνου, and
+further, p. 118B, and Conv., p. 216A. --#barbatum#: The beard was the
+conventional mark of the philosopher in the time of Persius; it is an
+anachronism in the case of Socrates, who lived before shaving was the
+rule and the beard a badge. However, the custom was old in Persius’s
+day, and the slip is slight. So Plato’s long beard is noticed by
+Ephippus ap. Athen., 11, p. 509C (3, 332 Mein.). Comp. Juv., 14, 12:
+_barbatos-- magistros_. --#crede#: advertises a want of art.
+
+2. #sorbitio#: ‘draught,’ ‘dose.’ So Sen., E. M., 78, 25. --#tollit# =
+_sustulit_. A solitary Historical Present with a relative is harsh to us
+for all the examples and all the commentators.
+
+3. #quo fretus?# See 3, 67. Comp. Plato, Alc. I., p. 123E: τὶ οὖν ποτ᾽
+ἔστιν ὅτῳ #πιστεύει# τὸ μειράκιον. --#magni pupille Pericli#: Because
+Alcibiades owed his start in life to his guardian and kinsman Pericles.
+See Plat., l.c. p. 104B. For the form _Pericli_, see G., 72; A., 11, I.,
+4.
+
+4. #scilicet#: Ironical, 1, 15; 2, 19. ‘Of course.’ Comp. the old ‘God
+wot.’ --#ingenium et rerum prudentia#: ‘wit and wisdom.’ _Prudentia_ may
+be translated ‘knowledge,’ and _rerum_ ‘world,’ ‘life,’ but not
+necessarily. See 1, 1. --#velox#: Predicative (Schol.), ‘have been quick
+in coming’ (Conington).
+
+5. #ante pilos#: ‘before your beard.’ ‘A contrast with _barbatum
+magistrum_’ (Conington), but _b._ can hardly be used in the same breath
+as the mark of mature years and as the ensign of a philosopher.
+--#venit#: On the number, see G., 281, Exc. 2; A., 49, 1, _b._
+--#dicenda tacendaque#: Comp. Hor., Ep., 1, 7, 72-- _dicenda tacenda
+locutus_-- for the expression. For the sense, Conington comp. Aeschylus,
+Cho., 582: σιγᾶν ὅπου δεῖ καὶ λέγειν τὰ καίρια. In Horace it means ‘all
+sorts of things;’ here, ‘what you must say, what leave unsaid.’
+
+6. #commota fervet bile#: Comp. Hor., Od., 1, 13, 4: _fervens difficili
+#bile# tumet iecur_.
+
+7. #fert animus#: Well-known phrase of Ov., Met., 1, 1. So in Greek,
+φέρει ὁ νοῦς, ἡ γνώμη, ἡ φρήν. The verse has a stately irony, and should
+have a stately translation. ‘The spirit moves you’ (Pretor) is degraded
+to slang. ‘Your bosom’s lord biddeth you wave a hush profound.’
+--#fecisse#: Comp. 1, 91. --#silentia#: Comp. 3, 81.
+
+8. #maiestate manus#: ‘with majestic hand’. (G., 357, R. 2), ‘by the
+imposing action of your hand’ (Conington). --#quid deinde loquere?# The
+orator has not considered his speech. ‘Now that you have got your
+silence, what have you got to say.’ --#Quirites#: Persius drops his
+Greek. Alcibiades is a mere quintain.
+
+9. #puta#: ‘put case,’ ‘say,’ ‘for instance,’ is an iambic Imperative,
+with the ultimate shortened, like _cavē̆_, _vidē̆_, etc., 1, 108.
+Hermann gives it to Socrates, which is favored by the sense; Jahn and
+others to Alcibiades, as caricatured by Socrates, which is favored by
+the position. Heinrich reads _puto_.
+
+10. #scis etenim#, etc.: _and_ (well you may) _for you know how_, etc.
+On _scis_, see 1, 53; on _etenim_, 3, 48. Comp. Plato, l.c. 110C: ᾤου
+ἄρα ἐπίστασθαι καὶ παῖς ὤν, ὡς ἔοικε, τὰ δίκαια καὶ τὰ ἄδικα. It may be
+necessary to observe that all this is sarcasm. Conington takes it
+literally, and considers these statements as so many concessions.
+--#gemina lance# = _geminis lancibus_. Comp. Ov., A. A., 2, 644:
+_geminus pes_.
+
+11. #ancipitis#: ‘wavering.’ --#rectum discernis#: ‘You can distinguish
+the straight line when it runs among crooked lines on either hand-- ay,
+even when your square with twisted leg is but a faulty guide.’ The
+straight line is virtue, the crooked lines are vices. The difficulty of
+picking out the right course is much enhanced when the rule by which we
+go is itself warped-- that is, ‘as Casaubon explains it, when justice
+has to be corrected by equity.’ The _regula_ here is not the _regula_ of
+5, 38, but the _norma_, or carpenter’s square.
+
+13. #potis es#: See 1, 56. --#theta#: Θ, the initial of θάνατος, was the
+mark of condemnation used in the time of Persius, instead of the older C
+(_condemno_). It was also employed in epitaphs, in army lists, and the
+like, for ‘deceased.’ Translate ‘black mark.’
+
+14. #quin desinis#: See 2, 71. --#tu#: The elision of the monosyllable
+is harsh (Jahn). See 1, 51. 66. 131. --#igitur#: ‘If all this is so, why
+then--.’ Comp. the indignant _igitur_ (εἶτα) of 1, 98. --#summa pelle
+decorus#: Hor. Ep., 1, 16, 45: _Introrsus turpem, speciosum #pelle
+decora#_. --#nequiquam#: ‘because you can not impose on me.’ Comp. 3, 30
+(Conington).
+
+15. #ante diem#: ‘before your time.’ --#blando caudam iactare popello#:
+Casaubon thinks that a peacock is meant, Jahn suggests a horse. The
+Scholiast says that the image is that of a (pet) dog. _Pelle decorus_
+would not apply to the peacock, nor very well to the horse. It does
+apply to Alcibiades as the lion’s whelp of Aristoph., Ran., 1431. Comp.
+the famous description in Aeschyl., Agam., 725 (Dindorf). The comparison
+of politicians with lions is found also in Plato, Gorg., 483E. The only
+difficulty lies in _blando popello_, but petting implies _blanditiae_ on
+both sides. ‘The dog fawns on those who caress him’ (Conington).
+--#popello#: contemptuously, 6, 50; Hor., Ep., 1, 7, 65.
+
+16. #Anticyras#: There were two towns of that name, one on the Maliac
+Gulf, the other in Phocis; both famous for their hellebore, but
+especially the latter. The town for its product, after the pattern of
+Hor., Sat., 2, 3, 83; A. P., 300 (Jahn). The Plural is the familiar
+poetic exaggerative. --#meracas#: ‘undiluted,’ ‘without a drop of
+water.’Hor., Ep., 2, 2, 137: _expulit helleboro morbum bilemque
+#meraco#_. On the use of hellebore as a preparative for philosophy,
+comp. the well-known experience of Chrysippus: οὐ θέμις γενέσθαι σοφόν,
+ἢν μὴ τρὶς ἐφεξῆς τοῦ ἐλλεβόρου πιῃς, Lucian, Vit. Auct., 23 (1, 564
+R.). --#melior sorbere# = _qui melius sorberes_ (comp. _quo graves
+Persae #melius# perirent_, Hor., Od., 1, 2, 22).
+
+17. #summa boni# = _summum bonum_. --#uncta patella#: ‘rich dishes.’
+Comp. 3, 102. The reference to a sacrificial dish (3, 26) is less
+likely. As the character of Alcibiades is not kept up with any care by
+Persius, it is hardly worth while to note that he was a most sensitive
+_gourmet_, as is shown by the curious anecdote, Teles ap. Stob., Flor.,
+5, 67. --#vixisse#: The Perfect with intention. G., 275, 1; A., 58, 11,
+_e._ ‘To have the satisfaction of _having lived_ on the daintiest fare,’
+so that you may say when you come to die, _vixi dum vixi bene_. Comp.
+Sen., Ep., 23, 10: _Id agendum est ut satis #vixerimus#_.
+
+18. #curata cuticula sole#: with reference to the _apricatio_ or
+_insolatio_. Comp. Juv., 11, 203: _nostra bibat vernum contracta
+#cuticula solem#_. What was a matter of hygiene became a matter of
+luxury. The sun-cure has been revived of late years. _Curare cuticulam_,
+_cutem_, _pelliculam_ is commonly used of ‘good living’ generally,
+‘taking very good care of one’s dear little self.’ See Hor., Ep., 1, 2,
+29. 4, 15; Sat., 2, 5, 38; Juv., 2, 105. --#haec#: δεικτικῶς. --#i
+nunc#: ‘_Irridentis vel exprobrantis formula_,’ Jahn, who gives an
+overwhelming list of examples (comp. Hor., Ep., 1, 6, 17; 2, 3, 76). The
+usage requires it to be connected with _suffla_. ‘Go on, then, and blow
+as you have been blowing.’ _Suffla_ in this sense is quite as ‘low’ as
+our Americanism. Persius has the aristocrat’s contempt for superfine
+language, and by a natural reaction falls, not unfrequently, into slang.
+Jahn compares 5, 13 and 3, 27, and the Greek proverbial expression φυσᾷ
+γὰρ οὐ σμικροῖσιν αὐλίσκοις ἔπι. Add Menand., fr. 296 (4, 157 Mein.):
+οἷοι λαλοῦμεν ὄντες οἱ τρισάθλιοι | ἅπαντες #οἱ φυσῶντες ἐφ᾽ ἑαυτοῖς
+μέγα#. ‘Mouth it out’ (Conington), ‘spout it out’ (Macleane).
+
+20. #Dinomaches#: The mother of Alcibiades came of the great house of
+the Alcmaeonidae, and it was to her that he owed his connection with
+Pericles. The Gen. without _filius_ (G., 360, R. 3; A., 50, 1, _b_) is
+rare in the predicate. --#candidus# = _pulcher_. Comp. 3, 110. The
+beauty of Alcibiades is well known, Plat., l.c. p. 104A. --#esto#: εἶεν;
+an ironical concession.
+
+21. #dum ne#: Comp. G., 575; A., 61, 3. Final sentences are often
+elliptical (comp. note on 1, 4). ‘Only you must admit that,’ etc.; ‘_dum
+ne neges deterius sapere_.’ --#pannucia#: Here not ‘ragged,’ but
+‘shrivelled.’ Comp. Mart., 11, 46, 3. --#Baucis#: The name is copied
+from the Baucis of Ovid, Met., 8, 640, the wife of Philemon, the Joan of
+the antique Darby; a poor woman, who had a patch of vegetables. The
+_anicula quae agreste holus vendebat_, in Petron., 6, is a similar
+figure.
+
+22. #bene#: with _discincto_, according to Jahn, who compares _bene
+mirae_, 1, 111. Mr. Pretor says that if thus combined, ‘_bene_ is weak
+and adds nothing to the picture.’ He forgets that there is such a thing
+as being _male discinctus_. Comp. Hor., Sat., 1, 2, 132: _#discincta#
+tunica fugiendum est ac pede nudo_. If _bene_ is combined with
+_cantaverit_, it must be used in its mercantile sense with _vendere_,
+_cantare_ being equivalent to _cantando vendere_. ‘When she has cried
+off her herbs at a good figure.’ --#discincto vernae#: _Verna_, of
+itself a synonym for all that is saucy and pert, is heightened by
+_discinctus_, for which see 3, 31. --#ocima#: ‘basil,’ ‘water-cress,’ or
+what not, stands for ‘greens’ generally. Jahn thinks that it was an
+aphrodisiac, referring to Eubul., fr. 53 (3, 229 Mein.). Persius, as we
+have seen, delights in picturesque detail, and his comparisons must not
+be pressed. Alcibiades cries his wares, just as the herb-seller cries
+hers. So the ‘apple-woman’ or ‘orange-girl’ in modern times might be
+selected as the standard of a rising politician, hawking his wares from
+hustings to hustings, from stump to stump. The far-fetched
+interpretation that _ocima cantare_ = _convicia ingerere_, because, as
+Pliny tells us (19, 7), ‘basil is to be sown with curses,’ may be
+mentioned as a specimen of the way in which the text of our author has
+been smothered by learning.
+
+23-41. The satire becomes more general. No one tries to know his own
+faults; each has his eyes fixed on his neighbor’s short-comings. Take
+some rich skinflint, and, as soon as he is mentioned, the details of his
+meanness will be spread before us. And yet you are as great a sinner in
+a different direction. Comp. M. Anton., 7, 71: γελοῖόν ἐστι τὴν μὲν
+ἰδίαν κακίαν μὴ φεύγειν ὃ καὶ δυνατόν ἐστι, τὴν δὲ τῶν ἄλλων φεύγειν
+ὅπερ ἀδύνατον.
+
+23. #Ut#: _how_. --#in sese descendere#: ‘go down into his own heart.’
+The thought is simply _noscere se ipsum_. The heart is a depth, a well,
+a cellar, a sea. This is not the _recede in te ipsum quantum potes_ of
+Sen., Ep., 7, 8. Comp. M. Anton., 4, 3. Still less is it Mr. Pretor’s
+‘enter the lists against yourself,’ which would make ‘self’ at once the
+arena and the antagonist.
+
+24. #spectatur#: The positive (_quisque_) must be supplied from the
+preceding negative. Comp. G., 446, R.; M., 462 b. --#mantica#: According
+to the familiar fable of Aesop (Phaedr., 4, 10), each man carries two
+wallets. The one which holds his own faults is carried on his back; the
+other, which contains his neighbor’s, hangs down over his breast. Comp.
+Catull., 22, 21: _sed non videmus #manticae# quod in tergo est_. Persius
+reduces the two wallets to one. Each man’s knapsack of faults is open to
+the inspection of all save himself.
+
+25. #quaesieris#: G., 250; A., 60, 2, _b_; ἔροιτ᾽ ἄν τις. Persius gets
+away from Socrates and Alcibiades into a land of shadowy second persons.
+One of these is supposed to ask another whether he knows a certain
+estate. The casual question leads to a caustic characteristic of the
+owner, which is interrupted by another indefinite character, who quotes
+an _ignotus aliquis_, and the general impression at the close is that
+every body is violently preached at except the son of Dinomache, with
+whom we started. --#Vettidi#: With the characteristic of Vettidius,
+comp. Horace’s Avidienus (_cui canis cognomen_, Sat., 2, 2, 55), and the
+ἀνελεύθερος and the μικρολόγος of Theophrastus.
+
+26. #Curibus#: in the land of the Sabines, the land of frugal habits.
+Comp. 6, 1. --#miluus errat#: So Jahn (1868). _Miluus_ is trisyllabic,
+as in Hor., Epod., 16, 31. Hermann, _oberrat_; Jahn (1843), _oberret_.
+The expression is proverbial: _quantum #milvi# volant_, Petron., 37.
+Comp. Juv., 9, 55.
+
+27. #dis iratis genioque sinistro#: Comp. Hor., Sat., 2, 3, 8: _#iratis#
+natus paries #dis# atque poetis_. A substantive expression of quality
+without a common noun is rare in Latin as in English (M., 287, Obs. 3),
+but not limited in time. See Dräger, _Histor. Syntax_, § 226. ‘The
+aversion of the gods and at war with his genius,’ his ‘second self,’ who
+‘delights in good living,’ _quia genius laute vivendo gaudere putabatur_
+(Jahn).
+
+28. #quandoque# = _quandocumque_, as Hor., Od., 4, 1, 17, 2, 34.
+--#pertusa# = _pervia_, according to Jahn; ‘roads and thoroughfares’
+(Conington); = _calcata_, _trita_, Heinr., which seems more natural.
+--#compita#: ‘The _compitalia_ is meant. Comp. Cato, R. R., 5, 4: _Rem
+divinam nisi #compital#ibus in #compito# [vilicus] ne faciat._ It was
+one of the _feriae conceptivae_, held in honor of the _Lares compitales_
+on or about the 2d of January. It is said to have been instituted by
+Servius Tullius, and restored by Augustus (Suet., Aug., 31), and was
+observed with feasting. Comp. Cato, R. R., 5, 7, and _uncta compitalia_.
+Anthol. Lat., 2, 246, 27B. n. 105, 27M.’ So Pretor, after Jahn. With
+_com-pit-a_ comp. Greek πάτ-ος, _path_. --#figit#: The suspension of the
+yoke symbolizes the suspension of labor. The yoke stands for the plough
+as well, Tibull., 2, 1, 5.
+
+29. #metuens deradere#: See 1, 47. Comp. Hor., Sat., 2, 4, 80:
+_#metuentis reddere# soldum_. --#limum#: ‘the dirt’ on the jar. Comp.
+_sive gravis veteri craterae #limus# adhaesit_, Hor., Sat., 2, 4, 80.
+The Scholiast understands ‘the seal.’
+
+30. #hoc bene sit#: The formula in drinking a health. Comp. Plaut.,
+Pers., 5, 1, 20. Here used also as a kind of grace. --#tunicatum |
+caepe#: πολύλοπον κρόμμυον (Casaubon). _#Tunicatum# caepe_, ‘bulbous or
+coated onion,’ as opposed to the _sectile #porrum#_, or ‘chives’
+(Pretor). It may be going too far to exclude _epitheta ornantia_ from
+Persius, but he certainly uses them sparingly. _Tunicatum_ is commonly
+understood to mean ‘skin and all,’ as we say of a potato, ‘jacket and
+all.’ Comp. Juv., 14, 153: _#tunicam# mihi malo lupini_. But as the skin
+of an onion is not very ‘filling,’ and as _tunica_ may be used in the
+sense of ‘coat’ or ‘layer,’ the slight change to _tunicatim_-- ‘layer by
+layer’-- has suggested itself to me. It is not a whit more exaggerated
+than Juvenal’s _filaque sectivi numerata includere porri_ (14, 133).
+
+31. #farrata olla#: ‘porridge pot of spelt,’ an every-day meal with
+others, holiday fare with these unfortunates, hence _plaudentibus_. The
+Abl. of Cause. _Farratam ollam_ (Jahn [1843] and Hermann) may be
+defended by Stat., Silv., 5, 3, 140 (cited by Jahn): _#fratrem plausere#
+Therapnae_, but there is danger of the miser’s eating it.
+
+32. #pannosam#: ‘mothery.’ Every word tells. It is not wine, but
+vinegar; it is not even good vinegar, but vinegar that is getting flat;
+it is not even clear vinegar, but the lees of vinegar; and not even
+honest lees, but mothery lees. --#morientis#: ‘Dying vinegar’ is not so
+familiar to us as ‘dead wines.’ Comp. Mart., 1, 18, 8. --#aceti#: Comp.
+_faece rubentis #aceti#_, Mart., 11, 56, 7.
+
+33. Picture of a sensualist. --#figas in cute solem#: εἰληθερεῖν, ‘fix
+the sun in your skin,’ ‘let the sun’s rays pierce your skin,’ instead of
+_bibere_, _combibere solem_, Juv., 11, 203 (quoted above, v. 18), and
+Mart., 10, 12, 7; or the more prosaic _sole uti_, Mart., 1, 77, 4.
+
+34. #cubito tangat#: an immemorial familiarity. Examples range from
+Homer, Od., 14, 485 to Aristaen., 1, 19, 27. Persius has in mind Hor.,
+Sat., 2, 5, 42: _nonne vides (aliquis #cubito# stantem prope #tangens#)
+inquiet_, etc.
+
+35. #acre | despuat#: ‘empty acrid spittle,’ sc. on you. Others read _in
+mores_ with Jahn (1843). Jahn (1868) reads with Hermann, _Hi mores_. Of
+course it is impossible to analyze this spittle, which flows to the end
+of v. 41. See the Introduction to the Satire. ‘_Persium_,’ as Quintilian
+says of Horace, _in quibusdam nolim interpretari_ (1, 8, 6). This is one
+of the passages that called down on our author the rebuke of that
+verecund gentleman Pierre Bayle: _Les Satires de Perse sont
+dévergondées_.
+
+42-52. Such is life. We hit and are hit in turn. We disguise our
+faults-- our _vulnera vitae_-- even from ourselves, and appeal to that
+common jade, common fame, for a certificate of health. But temptation
+reveals the corruption within. You are guilty of avarice, lust,
+swindling, and the praises of the mob are of no moment. Be yourself.
+Examine yourself, and know how scantily furnished you are.
+
+42. #caedimus#, etc.: Hor., Ep., 2, 2, 97: _#caedimur# et totidem plagis
+consumimus hostem_ (Casaubon). The resemblance here, as often elsewhere,
+is merely verbal, as in Horace ‘the passage of arms is a passage of
+compliments’ (Conington). --#praebemus#: ‘expose,’ ‘present.’
+
+43. #vivitur hoc pacto#: Negatively expressed _non aliter vivitur_. In
+other words: _haec est condicio vivendi_, Hor., Sat., 2. 8, 65, which
+Casaubon compares. ‘These are the terms, this the rule of life.’ --#sic
+novimus# = _notum est_ (Jahn). ‘So we have learned it.’ ‘This is its
+lesson.’ --#ilia subter#: G., 414, R. 3. The danger of the wound is well
+known.
+
+44. #caecum#: ‘hidden.’ --#lato balteus auro#: The baldric covered the
+groin, and was often ornamented with bosses of gold. Comp. Verg., Aen.,
+5, 312: _#lato# quam circumplectitur #auro | balteus#_. This broad gold
+belt is the symbol of wealth and rank.
+
+45. #ut mavis#: Ironical. Hor., Sat., 1, 4, 21. --#da verba#: Comp. 3,
+19. --#decipe nervos#: ‘cheat your muscle,’ ‘cheat yourself into the
+belief that you are sound;’ and certainly self-deception seems to be
+required by the context. Otherwise _decipe nervos_ might be considered
+as equivalent to _mentire robur_, _pro sano te iacta_, _sanum te finge_.
+
+47. #non credam?# G., 455; A., 71, 1, R. --#inprobe#: The _inprobus_ is
+hard-headed as well as hard-hearted. Comp. _plorantesque #inproba#
+natos-- reliquit_, Juv., 6, 86.
+
+48. #amarum#: Jahn reads _amorum_ in his ed. of 1843, but was sorry for
+it. In 1868 he reads _amarum_, and punctuates so as to throw it into the
+grave of the next line.
+
+49. #si puteal#: A _versus conclamatus_ (Jahn). The old explanation
+makes this passage refer to exorbitant usury. The _puteal_ here meant is
+supposed to be the one mentioned by Hor., Sat., 2, 6, 13-- the _puteal
+Libonis_, situated near the praetor’s tribunal, and on that account a
+favorite haunt of usurers, who would naturally have frequent occasion to
+appear in court. Comp. the poplar-tree, which was the rendezvous of a
+certain ‘ring’ of contractors in Athens, Andoc., 1, 133. Local allusions
+of this kind are the despair of commentators; the _puteal_ is, after
+all, as mysterious as a ‘corner’ to the uninitiated, and we can only
+gather that _puteal flagellare_ is slang for some recondite swindling
+process, which required a certain amount of knowingness (hence
+_cautus_). Conington renders, ‘flog the exchange with many a stripe.’ We
+may Americanize by ‘clean out, thrash out Wall Street.’ The Neronians,
+Casaubon at their head, understand the passage as referring to Nero’s
+habit of going out at night in disguise and maltreating people in the
+street-- see Tac., Ann., 13, 25; Suet., Nero, 26-- and _cautus_ is
+supposed to allude to the measures which he took for his personal
+safety.
+
+50. #bibulas donaveris aures#: The student is by this time familiar with
+Persius’s way of hammering a familiar figure into odd shapes. If ears
+drink in, then ears are thirsty; if they are thirsty, then they tipple;
+and if you can give ear, you can bestow ears. ‘In vain would you have
+given up your thirsty ears to be drenched by the praises of the mob.’
+_Donaveris_, Perf. Subj., μάτην παρεσχηκὼς ἂν εἴης τὰ ὦτα. Future
+ascertainment of a completed action. G., 271, 2.
+
+51. #cerdo#: Κέρδων, a plebeian proper name. Conington translates by the
+‘Hob and Dick’ of Shakspeare’s Coriolanus. The common rendering,
+‘cobbler,’ is a false inference from Mart., 3, 59, 1; 99, 1.
+
+52. #tecum habita#: Comp. 1, 7. --#noris#: The punctuation of all the
+editors makes _noris_ an Imperative Subjunctive. Still a kind of
+condition is involved = _si habites, noris_. G., 594, 4; A., 60, 1, _b_.
+One of the most threadbare quotations from Latin poetry.
+
+
+CRITICAL APPENDIX.
+
+SATURA IV.
+
+3. #hoc#: o, H. --9. #hoc puta#: _hoc_, puta, H.; puto, Heinr. --13.
+#theta#: theta? H. --19. #exspecta#: expecta, J{ω}. --20. #suffla#:
+sufla, J{ω}. --26. #miluus errat#: milvus oberret, J{α}.; milvus
+oberrat, H. --31. #farrata olla#: farratam ollam, J{α}., H. --35. #hi
+mores#: in mores, J{α}. --38. #exstat#: extat, J{ω}. --48. #venit
+amarum#: H.; venit, amarum, J{ω}.; venit amorum, J{α}. --_sed mox
+paenituit_. _Vid. Prolegg._, 193, 1.
+
+
+       *       *       *       *       *
+
+
+  SATURA V.
+
+
+  Vatibus hic mos est, centum sibi poscere voces,
+  centum ora et linguas optare in carmina centum,
+  fabula seu maesto ponatur hianda tragoedo,
+  vulnera seu Parthi ducentis ab inguine ferrum.
+  ‘Quorsum haec? aut quantas robusti carminis offas                5
+  ingeris, ut par sit centeno gutture niti?
+  grande locuturi nebulas Helicone legunto,
+  si quibus aut Prognes, aut si quibus olla Thyestae
+  fervebit, saepe insulso cenanda Glyconi;
+  tu neque anhelanti, coquitur dum massa camino,                  10
+  folle premis ventos, nec clauso murmure raucus
+  nescio quid tecum grave cornicaris inepte,
+  nec scloppo tumidas intendis rumpere buccas.
+  verba togae sequeris iunctura callidus acri,
+  ore teres modico, pallentis radere mores                        15
+  doctus et ingenuo culpam defigere ludo.
+  hinc trahe quae dicis, mensasque relinque Mycenis
+  cum capite et pedibus, plebeiaque prandia noris.’
+  Non equidem hoc studeo, bullatis ut mihi nugis
+  pagina turgescat, dare pondus idonea fumo.                      20
+  secreti loquimur; tibi nunc hortante Camena
+  excutienda damus praecordia, quantaque nostrae
+  pars tua sit, Cornute, animae, tibi, dulcis amice,
+  ostendisse iuvat: pulsa, dinoscere cautus,
+  quid solidum crepet et pictae tectoria linguae.                 25
+  his ego centenas ausim deposcere voces,
+  ut, quantum mihi te sinuoso in pectore fixi,
+  voce traham pura, totumque hoc verba resignent,
+  quod latet arcana non enarrabile fibra.
+    Cum primum pavido custos mihi purpura cessit                  30
+  bullaque succinctis Laribus donata pependit;
+  cum blandi comites totaque inpune Subura
+  permisit sparsisse oculos iam candidus umbo;
+  cumque iter ambiguum est et vitae nescius error
+  deducit trepidas ramosa in compita mentes,                      35
+  me tibi supposui: teneros tu suscipis annos
+  Socratico, Cornute, sinu; tum fallere sollers
+  apposita intortos extendit regula mores,
+  et premitur ratione animus vincique laborat
+  artificemque tuo ducit sub pollice vultum.                      40
+  tecum etenim longos memini consumere soles,
+  et tecum primas epulis decerpere noctes:
+  unum opus et requiem pariter disponimus ambo,
+  atque verecunda laxamus seria mensa.
+  non equidem hoc dubites, amborum foedere certo                  45
+  consentire dies et ab uno sidere duci
+  nostra vel aequali suspendit tempora Libra
+  Parca tenax veri, seu nata fidelibus hora
+  dividit in Geminos concordia fata duorum,
+  Saturnumque gravem nostro Iove frangimus una:                   50
+  nescio quod, certe est, quod me tibi temperat astrum.
+    Mille hominum species et rerum discolor usus;
+  velle suum cuique est, nec voto vivitur uno.
+  mercibus hic Italis mutat sub sole recenti
+  rugosum piper et pallentis grana cumini,                        55
+  hic satur inriguo mavult turgescere somno;
+  hic campo indulget, hunc alea decoquit, ille
+  in Venerem putris; sed cum lapidosa cheragra
+  fregerit articulos, veteris ramalia fagi,
+  tunc crassos transisse dies lucemque palustrem                  60
+  et sibi iam seri vitam ingemuere relictam.
+  at te nocturnis iuvat inpallescere chartis;
+  cultor enim iuvenum purgatas inseris aures
+  fruge Cleanthea. petite hinc puerique senesque
+  finem animo certum miserisque viatica canis!                    65
+  ‘Cras hoc fiet.’ Idem cras fiet. ‘Quid? quasi magnum
+  nempe diem donas.’ Sed cum lux altera venit,
+  iam cras hesternum consumpsimus: ecce aliud cras
+  egerit hos annos et semper paulum erit ultra.
+  nam quamvis prope te, quamvis temone sub uno                    70
+  vertentem sese frustra sectabere cantum,
+  cum rota posterior curras et in axe secundo.
+    Libertate opus est, non hac, ut, quisque Velina
+  Publius emeruit, scabiosum tesserula far
+  possidet. heu steriles veri, quibus una Quiritem                75
+  vertigo facit! hic Dama est non tressis agaso,
+  vappa lippus et in tenui farragine mendax:
+  verterit hunc dominus, momento turbinis exit
+  Marcus Dama. papae! Marco spondente recusas
+  credere tu nummos? Marco sub iudice palles?                     80
+  Marcus dixit: ita est; adsigna, Marce, tabellas.
+  haec mera libertas; hoc nobis pillea donant!
+  ‘An quisquam est alius liber, nisi ducere vitam
+  cui licet, ut voluit? licet ut volo vivere: non sum
+  liberior Bruto?’ “Mendose colligis,” inquit                     85
+  stoicus hic aurem mordaci lotus aceto
+  “haec reliqua accipio; _licet_ illud et _ut volo_ tolle.”
+  ‘Vindicta postquam meus a praetore recessi,
+  cur mihi non liceat, iussit quodcumque voluntas,
+  excepto si quid Masuri rubrica vetavit?’                        90
+  Disce, sed ira cadat naso rugosaque sanna,
+  dum veteres avias tibi de pulmone revello.
+  non praetoris erat stultis dare tenuia rerum
+  officia atque usum rapidae permittere vitae:
+  sambucam citius caloni aptaveris alto.                          95
+  stat contra ratio et secretam garrit in aurem,
+  ne liceat facere id quod quis vitiabit agendo.
+  publica lex hominum naturaque continet hoc fas,
+  ut teneat vetitos inscitia debilis actus.
+  diluis helleborum, certo conpescere puncto                     100
+  nescius examen: vetat hoc natura medendi.
+  navem si poscat sibi peronatus arator,
+  luciferi rudis, exclamet Melicerta perisse
+  frontem de rebus. tibi recto vivere talo
+  ars dedit, et veri speciem dinoscere calles,                   105
+  ne qua subaerato mendosum tinniat anro?
+  quaeque sequenda forent, quaeque evitanda vicissim,
+  illa prius creta, mox haec carbone notasti?
+  es modicus voti? presso lare? dulcis amicis?
+  iam nunc astringas, iam nunc granaria laxes,                   110
+  inque luto fixum possis transcendere nummum,
+  nec glutto sorbere salivam Mercurialem?
+  ‘haec mea sunt, teneo’ cum vere dixeris, esto
+  liberque ac sapiens praetoribus ac Iove dextro,
+  sin tu, cum fueris nostrae paulo ante farinae,                 115
+  pelliculam veterem retines et fronte politus
+  astutam vapido servas sub pectore vulpem,
+  quae dederam supra relego funemque reduco:
+  nil tibi concessit ratio; digitum exsere, peccas,
+  et quid tam parvum est? sed nullo ture litabis,                120
+  haereat in stultis brevis ut semuncia recti.
+  haec miscere nefas; nec, cum sis cetera fossor,
+  tris tantum ad numeros satyrum moveare Bathylli.
+  ‘Liber ego.’ Unde datum hoc sentis, tot subdite rebus?
+  an dominum ignoras, nisi quem vindicta relaxat?                125
+  ‘I puer et strigiles Crispini ad balnea defer!’
+  si increpuit, ‘cessas nugator;’ servitium acre
+  te nihil impellit, nec quicquam extrinsecus intrat,
+  quod nervos agitet; sed si intus et in iecore aegro
+  nascuntur domini, qui tu inpunitior exis                       130
+  atque hic, quem ad strigiles scutica et metus egit erilis?
+    Mane piger stertis. ‘Surge!’ inquit Avaritia ‘heia
+  surge!’ Negas; instat ‘Surge!’ inquit. “Non queo.” ‘Surge!’
+  “Et quid agam?” ‘Rogitas? en saperdam advehe Ponto,
+  castoreum, stuppas, hebenum, tus, lubrica Coa;                 135
+  tolle recens primus piper ex sitiente camelo;
+  verte aliquid; iura.’ “Sed Iuppiter audiet.” ‘Eheu!
+  varo, regustatum digito terebrare salinum
+  contentus perages, si vivere cum Iove tendis!’
+  iam pueris pellem succinctus et oenophorum aptas               140
+  ‘Ocius ad navem!’ nihil obstat, quin trabe vasta
+  Aegaeum rapias, ni sollers Luxuria ante
+  seductum moneat ‘Quo deinde, insane, ruis? quo?
+  quid tibi vis? calido sub pectore mascula bilis
+  intumuit, quod non exstinxerit urna cicutae?                   145
+  tu mare transilias? tibi torta cannabe fulto
+  cena sit in transtro, Veientanumque rubellum
+  exalet vapida laesum pice sessilis obba?
+  quid petis? ut nummi, quos hic quincunce modesto
+  nutrieras, pergant avidos sudare deunces?                      150
+  indulge genio, carpamus dulcia! nostrum est
+  quod vivis; cinis et manes et fabula fies.
+  vive memor leti! fugit hora; hoc quod loquor inde est.’
+  en quid agis? duplici in diversum scinderis hamo.
+  huncine, an hunc sequeris? subeas alternus oportet             155
+  ancipiti obsequio dominos, alternus oberres.
+  nec tu, cum obstiteris semel instantique negaris
+  parere imperio, ‘rupi iam vincula’ dicas;
+  nam et luctata canis nodum abripit; et tamen illi,
+  cum fugit, a collo trahitur pars longa catenae.                160
+  ‘Dave, cito, hoc credas iubeo, finire dolores
+  praeteritos meditor.’ crudum Chaerestratus unguem
+  adrodens ait haec ‘an siccis dedecus obstem
+  cognatis? an rem patriam rumore sinistro
+  limen ad obscenum frangam, dum Chrysidis udas                  165
+  ebrius ante fores exstincta cum face canto?’
+  “Euge, puer, sapias, dis depellentibus agnam
+  percute.” ‘Sed censen plorabit, Dave, relicta?’
+  “Nugaris; solea, puer, obiurgabere rubra.
+  ne trepidare velis atque artos rodere casses!                  170
+  nunc ferus et violens; at si vocet, haud mora, dicas:
+  _Quidnam igitur faciam? nec nunc, cum arcessat et ultro_
+  _supplicet, accedam?_ Si totus et integer illinc
+  exieras, nec nunc.” hic hic, quod quaerimus, hic est,
+  non in festuca, lictor quam iactat ineptus.                    175
+  ius habet ille sui palpo, quem ducit hiantem
+  cretata ambitio? vigila et cicer ingere large
+  rixanti populo, nostra ut Floralia possint
+  aprici meminisse senes: _quid pulchrius?_ at cum
+  Herodis venere dies, unctaque fenestra                         180
+  dispositae pinguem nebulam vomuere lucernae
+  portantes violas, rubrumque amplexa catinum
+  cauda natat thynni, tumet alba fidelia vino:
+  labra moves tacitus recutitaque sabbata palles.
+  tum nigri lemures ovoque pericula rupto,                       185
+  tum grandes galli et cum sistro lusca sacerdos
+  incussere deos inflantis corpora, si non
+  praedictum ter mane caput gustaveris alli.
+    Dixeris haec inter varicosos centuriones,
+  continuo crassum ridet Pulfennius ingens,                      190
+  et centum Graecos curto centusse licetur.
+
+
+NOTES.
+
+FIFTH SATIRE.
+
+The theme of the Fifth Satire is the Stoic doctrine of True Liberty. All
+men are slaves except the philosopher, and Persius has learned to be a
+philosopher-- thanks to Cornutus, to whom the Satire is addressed.
+Compare and contrast Horace’s handling of a like subject in Sat., 2, 3.
+In Teuffel’s commentary on his translation of this Satire, the matter is
+briefly summed up in these words: Horace is an artist, Persius a
+Preacher. See Introd., xxvi. Comp. also Hor., Sat., 2, 7, 46 seqq.
+
+
+ARGUMENT.-- Persius speaks: Poets have a way of asking for a hundred
+mouths, a hundred tongues, whether the theme be tragedy or epic.
+--Cornutus: A hundred mouths, a hundred tongues! What do you want with
+them? Or, for that matter, with a hundred gullets either, to worry down
+the tragic diet which other poets affect. You do not pant like a
+bellows, nor croak like a jackdaw, nor strain your cheeks to bursting in
+the high epic fashion. Your language is to be the language of every-day
+life, to which you are to give an edge by skilful combination. Your
+utterance is modest, and your art is shown in rasping the unhealthy body
+of the age, and in impaling its faults with high-bred raillery. Be such
+your theme. Let others sup full with tragic horrors, if they will. Do
+you know nothing beyond the frugal luncheon of our daily food (1-18).
+
+Persius: It is not my aim to have my pages swollen with ‘Bubbles from
+the Brunnen of Poesy.’ We are alone, far from the madding crowd, and I
+may throw open my heart to you, for I would have you know how great a
+part of my soul you are. Knock at the walls of my heart, for you are
+skilful to distinguish the solid from the hollow, to tell the painted
+stucco of the tongue from the strong masonry of the soul. To this end I
+fain would ask-- and ask until I get-- a hundred voices, to show how
+deeply I have planted you in my heart of hearts; to tell you all that is
+past telling in my inmost being (19-29). When first the purple garb of
+boyhood withdrew its guardianship, and the amulet-- no longer potent--
+was hung up, an offering to the old-fashioned household gods, when all
+about me humored me, and when the dress of manhood permitted my eyes to
+rove at will through the Subura with all its wares and wiles, what time
+the youth’s path is doubtful, and bewilderment, ignorant of life, brings
+the excited mind to the spot where the great choice of roads is to be
+made-- in that decisive hour I made myself son to you, and you took me,
+Cornutus, to your Socratic heart. Where my character was warped, the
+quiet application of the rule of right straightened what in me was
+crooked. My mind was constrained by reason, wrestled with its conqueror,
+and took on new features under your forming hand. How I remember the
+long days I spent with you, the first-fruits of the festal nights I
+plucked with you. Our work, our rest we ordered both alike, and the
+strain of study was eased by the pleasures of a modest table (30-44).
+Nay, never doubt that there is a harmony between our stars. Our
+constellation is the Balance or the Twins. The same aspect rules our
+nativities. Some star, be that star what it may, blends my fate with
+yours (45-51).
+
+We are attuned each to other; but look abroad, and see how different men
+are from us and from each other. Each has his own aims in life. One is
+bent on active merchandise, one is given up to sluggish sleep, another
+is fond of athletic sports. One is drained dry by dicing, another by
+chambering and wantonness; but when the chalk-stones of gout rattle
+among their fingers and toes, they awake to the choke-damp and the foggy
+light in which they have spent their days, and mourn too late their
+wasted life (52-61).
+
+But you delight to wax pale over nightly studies. A tiller of the human
+soul, you prepare the soil, and sow the field of the ear with the pure
+grain of Stoic wisdom. Hence seek, young and old, an aim for your higher
+being, provision for your hoary head (62-65).
+
+‘Hoary head, you say?’ interposes an objector. ‘That can be provided for
+as well to-morrow.’ To-morrow! ‘Next day the fatal precedent will
+plead.’ Another to-morrow comes, and we have used up yesterday’s
+to-morrow, and so our days are emptied one by one. To-morrow! It is
+always ahead of us, as the hind wheel can never overtake the front
+wheel, though both be in the self-same chariot (66-72).
+
+The remedy for this and all the other ills of life is True Liberty-- not
+such as gives a dole of musty meal, a soup-house ticket to the new-made
+citizen; not such as makes a tipsy slave free in the twinkling of an
+eye. Now Dama is a worthless groom, and would sell himself for a handful
+of provender. Anon he is set free, as you call it-- becomes Marcus Dama.
+Excellent surety! Most excellent judge! If Marcus says it is so, it is
+so. Your sign and seal here, good Marcus. Pah! This is the liberty that
+manumission gives. Up speaks Marcus: ‘Well! Who is free except the man
+that can do as he pleases? I can do as I please. _Argal_ I am free as
+air.’ --‘Not so,’ says your learned Stoic. ‘Your logic is at fault.
+I grant the rest, but I demur to the clause “as you please.”’ --‘The
+praetor’s wand made me my own man. May I not do what I please, if I
+offend not against the statute-book?’ (73-90).
+
+‘Do what you please!’ cries Persius, who identifies himself with the
+Stoic philosopher. ‘Stop just there and learn of me; but first cease to
+be scornful, and let me get these old wives’ notions out of your head.
+The praetor could not teach you any thing about the conduct of life with
+all its perplexities. As well expect a man to teach an elephant to dance
+the tight-rope. Reason bars the way, and whispers, “You must not do what
+you will spoil in the doing.” This is nature’s law, the law of
+common-sense. You mix medicine, and know nothing of scales and weights?
+You, a clodhopper, and undertake to pilot a ship? Absurd, you say; and
+yet what do you know of life? How can you walk upright without
+philosophy? How can you tell the ring of the genuine metal, and detect
+the faulty sound of the base alloy? Do you know what to seek, what to
+avoid, what to mark with white, what with black? Can you control your
+wishes, moderate your expenses, be indulgent to your friends? Do you
+know how to save and how to spend? Can you keep your month from watering
+at the sight of money, from burning at the taste of ginger? When you can
+say in truth, “All this is mine,” then you are truly free. But if you
+retain the old man under the new title, I take back all that I have
+granted. You can do nothing that is right. Every action is a fault. Put
+forth your finger-- you sin. There is not a half-ounce of virtue in your
+silly carcass. You must be all right or all wrong. Man is one. You can
+not be virtuous by halves. You can not be at once a ditcher and a
+dancer. You are a slave still, though the praetor’s wand may have waved
+away your bonds. You do not tremble at a master’s voice, ‘tis true, but
+there are other masters than those whom the law recognizes. The wires
+that move you do not jerk you from without, but masters grow up within
+your bosom’ (91-131).
+
+
+Here the dialogue is dropped. We leave Dama, whose personality has been
+getting fainter all the time, and are treated to a series of more or
+less dramatic scenes in illustration of the Ruling Passions.
+
+So Avarice and Luxury dispute about the body and soul of an un-Stoic
+slave (132-160).
+
+A Lover tries to break the chain that binds him to an unworthy mistress
+(161-175).
+
+Another is led captive by Ambition at her will (176-179).
+
+Yet another is under the dominion of Superstition (180-188).
+
+But why discourse thus? Imagine what the military would say to such a
+screed of doctrine. I hear the horse-laugh of Pulfennius, as he bids a
+clipped dollar for a hundred Greek philosophers-- a cent apiece
+(189-191).
+
+
+This Satire is justly considered by many critics the best of all the
+productions of Persius, as it is the least obscure. The warm tribute to
+his master Cornutus may have had its share in commending the poem to
+teachers, who, of all men, are most grateful for gratitude. But apart
+from this revelation of a pure and loving heart, the peculiar talent of
+Persius, which consists in vivid portraiture of character and situation,
+appears to great advantage in this composition. True, the introduction
+is not wrought into the poem, and the poet’s discourse is too distinctly
+a Stoic school exercise, and reminiscence crowds on reminiscence, but
+there is a certain movement in the Satire, or Epistle, as it were better
+called, which carries us on over the occasional rough places, without
+the perpetual jolt which we feel every where else on the ‘corduroy road’
+of Persius’s _Gradus ad Parnassum_.
+
+
+1-4. Persius: Oh for a hundred voices, a hundred mouths, a hundred
+tongues!
+
+1. #Vatibus hic mos est#: Comp. Hor., Sat., 1, 2, 86: _#regibus hic mos#
+est._ _Vatibus_, with a sneer. See Prol., 7. --#centum sibi poscere
+voces#: Examples might be multiplied indefinitely from Homer to Charles
+Wesley. Comp. Il., 2, 489: οὐδ᾽ εἴ μοι δέκα μὲν γλῶσσαι, δέκα δὲ στόματ᾽
+εἶεν; and Verg., Aen., 6, 625: _non mihi si linguae centum sint oraque
+centum_; also Georg., 2, 43; Ov., Met., 8, 532. Conington burlesques the
+passage by translating _poscere_ ‘put in a requisition for,’ and
+_optare_ ‘bespeak.’ By such devices humor of a certain kind might be
+extracted from elegies, and Vergil be made ‘to put in a requisition for
+Quintilius at the Bureau of the Gods,’ Hor., Od., 1, 24, 12.
+
+3. #seu ponatur#: The mood after _seu_-- _seu_ is determined on general
+principles (A., 61, 4, _c_). In practice, however, the Indicative is
+more common (G., 597, R. 4). The Subjunctive is to be explained by G.,
+666 (see last example), and A., 66, 2. --#ponatur# = _proponatur_ (Cic.,
+Tusc. Dis., 1, 4, 7). Comp. θεῖναι, θέσις. Jahn understands it as
+_ponere lucum_, 1, 70, _posuisse figuras_, 1, 86. Perhaps there is a
+play on the different senses of _ponere_. ‘Serve up’ would not be bad in
+view of vv. 9, 10. --#hianda#: ‘To be spouted by some doleful actor.’
+‘_Hianda_ has reference to the tragic mask, in which a wide aperture was
+cut for the mouth, to facilitate a distinct enunciation. From the
+appearance presented by the speaker, it soon came to be used of a
+bombastic style of utterance. Comp. _carmen #hiare#_, Prop., 2, 31, 6,
+and _grande Sophocleo carmen bacchamur #hiatu#_, Juv., 6, 636.’ Pretor,
+after Jahn.
+
+4. #vulnera Parthi#: Is _Parthi_ object or subject? The passage is a
+reminiscence of Hor., Sat., 2, 1, 15: _aut labentia equo describat
+#vulnera Parthi#_. If _Parthi_ is the object, an interpretation which is
+favored by the Horatian passage and by the propriety of the epic theme--
+for why should a Roman enlarge upon the wounds that the Parthian
+deals?-- _ducentis ab inguine ferrum_ must be rendered ‘drawing the dart
+from his groin.’ Still _ab_ is not a suitable preposition, nor can it be
+defended by such expressions as _ducere suspiria ab imo pectore_, Ov.,
+Met., 10, 402. Others think of ‘trailing the shaft from his groin,’ in
+which it had been imbedded. Comp. v. 160: _a collo trahitur pars longa
+catenae_. If _Parthi_ is the subject, translate, ‘The Parthian who draws
+the arrow from [the quiver] near his groin.’ The Eastern nations wore
+the quiver low, the Greeks upon the shoulder. This line refers to epic
+poetry as the preceding to tragedy.
+
+5-18. Cornutus: What need have you of a hundred mouths? You have no
+foolish tragedy to cram, no big epics to mouth. Your simple satire
+demands a simple style, the talk of every day, only better put. Your
+business is to scourge and pierce, and yet remember that you are a
+gentleman. Let these themes suffice you, and leave to others the
+stage-horrors of cannibalic feasts; yourself content with the pot-luck
+of the Roman cit.
+
+5. #Quorsum haec#: Comp. Hor., Sat., 2, 7, 21. --#aut#: G., 460, R.; A.,
+71, 2. --#robusti carminis offas#: ‘dumplings of substantial poetry,’
+‘lumps of solid poetry’ (Conington). _Offa_ is a dumpling of meal or
+flesh. Comp. Apul., Met., 1, 3, on the chokiness of a certain _polentae
+caseatae #offula# grandior_.
+
+6. #ingeris#: ‘cram.’ The whole passage is intended to be coarse. ‘What
+great gobbets of stuffing song are you cramming yourself with, that you
+require a hundred throats to strain them down?’ Others understand:
+_ingeris_ sc. _populo_. See v. 177. --#centeno gutture# = _centum
+gutturibus_. So _centena arbore_, Verg., Aen., 10, 207 (Conington).
+
+7. #grande#: See 1, 14. --#locuturi#: See 1, 100. --#nebulas#: Jahn is
+reminded of Hor., A. P., 230: _nubes et inania captet_. Observe that
+_legunto_ suggests the culinary figure below. The mists represent the
+vegetables, Procne and Thyestes furnish the meat. --#Helicone#: See
+Prologue. Persius is as intensely Roman in poetic practice as he is
+Greek in philosophic theory. --#legunto#: The Imperative, instead of the
+Subjunctive, gives the tone of an edict or of a cookery-book.
+
+8. #Prognes--Thyestae#: See Classical Dictionaries for the familiar
+myths. Observe the balance. Procne served up her son, Thyestes made a
+dinner off his. Both are common tragic themes. See Hor., A. P., 91.
+186-187. --#olla fervebit#: ‘Who are going to set Thyestes’s pot
+a-boiling’ (Conington).
+
+9. #Glyconi#: Glyco was a stupid actor of the day, who could not
+understand a joke. The Neronians have made the most of the fact, as
+reported by the Scholiast, that G. was manumitted by Nero, who paid his
+half-owner Vergilius 300,000 sesterces for his share. So, for instance,
+Lehmann (_De A. Persii Satira Quinta_, p. 17), who has nosed out all
+manner of subtle Neronian flavors in this innocent satire. --#cenanda#:
+Comp. 3, 46.
+
+10. #coquitur dum#: When the action with _dum_, ‘while,’ is co-extensive
+with the action in the leading clause, the limit may be expressed by
+_until_, ‘while it is smelting’ = ‘until it is smelted’ --#massa#: See
+note on 2, 67.
+
+11. #folle#: The wind is squeezed ‘with’ or ‘in’ the bellows rather than
+‘from’ the bellows. The Scholiast notices the Horatian reminiscence,
+Sat., 1, 4, 19: _at tu conclusas hircinis #follibus# auras | usque
+laborantes, dum ferrum molliat ignis | ut mavis, imitare_. Comp. also
+Juv., 7, 111: _tunc immensa cavi spirant mendacia #folles#_. --#nec
+clauso murmure#, etc.: ‘Nor with pent-up murmur croak to yourself until
+you are hoarse some solemn nonsense.’
+
+13. #scloppo#: So Jahn (1868), instead of _stloppo_ (1843). This is
+supposed to be a word coined to express the sound (comp. _bombis_, 1,
+99). Conington renders ‘plop.’ Vaniček records it under SKAR, S. 183,
+and it may well be the ‘slap’ with which the distended cheeks are
+reduced, and hence the ‘plop’ which is heard. The childish trick may be
+witnessed wherever there are children. Persius multiplies absurd and
+meaningless noises without any sharp distinction.
+
+14. #verba togae#: ‘the language of every-day life.’ The _fabula togata_
+is Roman comedy, as opposed to the _fabula praetexta_, or Roman tragedy,
+and to the _f. palliata_, the subjects of which were Greek. Persius
+insists on the connection of the national satire with the national
+comedy, and the scanty remains of the _fabula togata_ deserve close
+comparison. --sequeris = _sectaris_. Prol., 11. --#acri iunctura#: ‘nice
+grouping,’ ‘telling combination.’ The words are familiar, but the
+setting is new. Comp. Hor., A. P., 47: _#notum# si callida #verbum# |
+reddiderit #iunctura# novum_; and 242: _tantum #series iunctura#que
+pollet | tantum #de medio sumptis# accedit honoris_. An important
+passage, as showing the intense self-consciousness of the poet’s art.
+
+15. #ore teres modico#: Jahn comp. _ore rotundo_, Hor., A. P., 323. The
+mouth stands for the style, and the position of the mouth symbolized the
+utterance (_ore magis quam labris loquendum est_, Quint., 11, 3, 81).
+_Teres_ as in Cic., De Orat., 3, 52, 199: _est [oratio] et plena quaedam
+sed tamen #teres# et tenuis, non sine nervis et viribus._ ‘A moderate
+rounding of the cheek’ (Conington); but although in view of v. 13 it
+would be desirable to retain the figure, it is hardly possible. ‘With
+smooth and compassed tone.’ As _teres ore = ore modico_, Hermann
+(_L. P._, II., 46) comp. Ov., Fast., 6, 425: _lucoque obscurus opaco_.
+--#pallentis mores#: The ‘spirit of the age’ is also the ‘body of the
+age.’ Hence the figure. ‘Pale’ with disease and vice (comp. 4, 47),
+‘guilty.’ --#radere#: Comp. 1, 107.
+
+16. #ingenuo ludo#: ‘with high-bred raillery,’ ‘with raillery that a
+gentleman may speak and hear.’ Persius has in mind εὐτραπελία, the
+πεπαιδευμένη ὕβρις of Aristotle, Rhet., 2, 12, as Conington suggests.
+--#defigere#: Variously explained. So ‘post up,’ ‘placard’ (Casaubon);
+‘pin to the ground’ (Conington); ‘pierce,’ like an arrow (Jahn);
+‘sting,’ like a hornet, as in Ov., Fast., 3, 753: _milia crabronum
+coeunt et vertice nudo, | spicula #defigunt# oraque summa notant_. Comp.
+the use of _figere_, 3, 80.
+
+17. #hinc#: From every-day life. König compares Hor., A. P., 318: _vivas
+#hinc# ducere voces_. --#quae dicis#: So Jahn (1868), after the best
+MSS. In 1843 we find _dicas_, which is more natural, but not necessary.
+--#Mycenis#: Dative, far more forcible than the locative Ablative. Jahn
+comp. Prol., 5: _illis relinquo_, a reading which he afterward
+abandoned. See G., 344, R. 3.
+
+18. #cum capite et pedibus#: served up to Thyestes after he had finished
+his dinner. Comp. Aeschyl., Ag., 1594; Sen., Thyest., 764. --#plebeia
+prandia#: Your theme is ‘human nature’s daily food,’ not the heroic
+suppers of ‘raw-head and bloody-bones’ that teach us nothing. _Mensa_ is
+contrasted with _prandia_ (comp. Seneca’s _sine mensa prandium_, cited
+1, 67) as ‘banquet’ with ‘meal,’ ‘_Tafel_’ with ‘_Tisch_.’
+
+19-29. Persius: You understand my aims. I do not care to swell my page
+with frothy nonsense. And now that we are alone, I desire you to examine
+my heart, that you may see how you are enshrined in it-- a theme for
+which I might well desire a hundred voices.
+
+19. #equidem#: Here in accordance with common usage. See 1, 110.
+--#bullatis nugis#: ‘air-blown trifles’ (Gifford). _Bullatis:_ so Jahn
+(1868) with Hermann. The reading of the oldest MSS., _pullatis_, ‘sad
+colored,’ explained now as ‘tragic stuff’ (because mourners were
+_pullati_); now as stuff for the groundlings (because the common people
+were _pullati_), is scarcely tenable. _Ampullatis_, Jahn’s conjecture,
+though defended by Lachmann (Lucret., 6, 1067), is metrically bad; but
+the sense is excellent, and the reference would be to a passage which
+Persius must have had in his mind. Hor., A. P., 97: _proicit #ampullas#
+et sesquipedalia verba_. Even Thyestes is mentioned in the context, l.c.
+91. _Bullatis_, ‘bubbly.’ Hermann (_L. P._, I., 32) comp. _alata avis_,
+and makes _bullatis_ refer to _tumorem et inanem verborum strepitum_.
+
+20. #dare pondus fumo#: Casaubon comp. Hor., Ep., 1, 19, 42: _nugis
+#addere pondus#_. Horace uses the expression in the sense of ‘attaching
+importance.’ Persius means that these trifles are fitted to lend
+importance, to give seeming substance to mere vapors. _Fumus_ is a
+synonym for ‘humbug.’ On _dare idonea_ = _idonea quae det_, see G., 424,
+R. 4; A., 57, 8, _f._
+
+22. #excutienda#: See 1, 49. But the figure changes below, or there is a
+figure within a figure, the heart being compared to a wall, the wall to
+a dress. On the construction, see G., 431; A., 72, 5, _c._
+
+23. #pars animae#: Comp. _te meae partem animae_, Hor., Od., 2, 17, 5;
+_animae dimidium meae_, Od., 1, 3, 8. --#Cornute#: See Introduction, ix.
+
+24. #ostendisse#: once for all. See G., 275, 1; A., 58, 11, _d._
+--#pulsa#: κροῦε. See 3, 21. --#dinoscere cautus#: Hor., Sat., 1, 6, 51:
+_cautum adsumere dignos_. Comp. Prol., 11.
+
+25. #solidum crepet#: like _sonat vitium_, 3, 21. G., 331, R. 2; A., 52,
+3, _a._ --#pictae tectoria linguae#: The comparison is taken from a
+stuccoed party-wall painted to look solid. Comp. Afran. ap. Non., 152,
+28, v. 14 (Ribbeck): _fallaci aspectu #paries pictus# putidus_
+(= _puter_). The notion in _pictae_ belongs rather to _tectoria_ than to
+_linguae_-- ‘painted tongue-stucco.’ The figure will not bear close
+examination any more than the stucco.
+
+26. #his, ut# = _ad haec ut._ Comp. _hoc, ut_, v. 19. Others read _hic_.
+--#centenas# = _centum_. G., 310, R.; A., 18, 2, _d_. --#deposcere#:
+Notice the determination that lies in _deposcere_.
+
+27. #quantum fixi#: This is not conceived as a dependent interrogative,
+as is shown by v. 29, where the antecedent of the parallel clause is
+expressed. G., 469, R. 3. --#sinuoso#: Comp. Plin., H. N., 2, 37: _cor
+prima domicilia intra se animo et sanguini praebet #sinuoso specu#_.
+_Sinuoso pectore_ = _in recessu mentis_, 2, 73.
+
+28. #voce#: carelessly repeated after _voces_. --#pura#: ‘honest.’
+
+29. #non enarrabile#: i.e., save by the hundred voices. There is no
+contradiction, and even if there were-- this is supposed to be poetry.
+--#fibra#: 1, 47.
+
+30-51. When first I put away the things of boyhood and encountered the
+temptations of youth, and stood bewildered at the cross-roads of life,
+I threw myself into your sheltering arms, and put myself under your
+guiding hand. Happy the memory of those days and nights, as they brought
+common work and common rest. Surely a common star controls our destinies
+and makes us one.
+
+30. #pavido#: variously interpreted of the fear-- 1. Which an entrance
+on life breeds; 2. Which requires the protection of the _praetexta_; 3.
+Which the rule of tutors and governors inspires. The third view is
+favored by _blandi comites_, as Conington remarks. Comp. Mart., 11, 39,
+2: _et pueri #custos# assiduusque #comes#_ with v. 6: _te dispensator,
+te domus ipsa #pavet#_. --#custos purpura#: ‘the guardian purple.’
+_Purpura_ = _praetexta_, the dress of boyhood, which was of itself a
+protection. This was exchanged for the _toga_ when the nonage was over.
+_Per hoc inane #purpurae# decus precor_, Hor., Epod., 5, 7. --#mihi#: If
+_cessit_ is taken absolutely, _mihi_ may depend on the predicative
+notion in _custos_ = _quae mihi custos fuerat_. Casaubon explains, _mihi
+cessit, ut iam annis maiori vel etiam ut hosti_. It seems best to
+combine the two: ‘When the purple resigned its dreaded guardianship over
+me.’
+
+31. #bulla#: the well-known ‘boss,’ which contained amulets and the
+like. Comp. 2, 70. --#succinctis#: ‘Like _cinctutis_ (Hor., A. P., 50),
+_incinctos_ (Ov., Fast., 2, 632), in allusion to the _cinctus Gabinus_,
+in which primitive dress they (the Lares) were always represented. It
+was worn over the left shoulder, leaving the right arm free’ (Pretor).
+Conington renders _succinctis_, ‘quaint.’
+
+32. #blandi#: (_fuerunt_). --#comites#: Jahn considers these _comites_
+the same as those mentioned in 3, 7. See note. The epigram of Mart.,
+cited above, v. 30, makes for this view: the harsh tutors have become
+_blandi comites_. But most commentators prefer to take _comites_ in its
+general sense. --#tota Subura#: On the construction, see G., 386; A.,
+55, 3, _f._ The Subura, as the focus of business life, was the haunt of
+persons who are sufficiently characterized as _Suburanae magistrae_,
+Mart., 11, 78, 11.
+
+33. #permisit sparsisse#: On the Inf., see G., 532, R. 1; A., 70, 3,
+_a._ On the tense, note on 1, 41. With the phraseology, Jahn comp. Val.
+Flacc., 5, 247: _tua nunc terris, tua #lumina# toto | #sparge# mari_.
+_Spargere_ is a happy word for a rapid, roving glance. --#iam#: ἤδη. The
+English idiom often refuses to give the exact force of _iam_. The
+youngster has got a ‘sure enough’ _candidus umbo_. The contrast in time
+is the former _praetexta_. --#candidus umbo#: ‘_Umbo_ was the knot into
+which the folds of the toga were gathered after passing the left
+shoulder’ (Pretor). Of course the _umbo_ was _candidus_, as the _toga_
+was.
+
+34. #iter ambiguuum#: See 3, 56. --#vitae nescius error#: is
+bewilderment from ignorance of life.
+
+35. #deducit#: So Jahn (1843), a reading which he has strangely forsaken
+(1868) for _diducit_. Schlüter puts it neatly thus: _homines in compita
+ubi viae #di#ducuntur_, _#de#duci dicuntur_. _Compita_ does not mean the
+roads, but the place where the roads meet-- the crossing (Schol.). _De_
+adds the notion of decision to _ducit_. Comp. _in discrimen #de#ducere_,
+Cic., Fam., 10, 24, 4. The youth is brought to a point where he must
+choose. --#trepidas#: See 1, 74.
+
+36. #supposui#: Almost ‘I made you adopt me.’ _Supponere_ is used of
+supposititious children. As Persius’s own father died while the poet was
+young, there is a tone of orphanage about the expression that appeals to
+our sympathy. ‘I threw myself as a son into your arms.’ --#suscipis#: is
+the correlative of _supposui_.
+
+37. #Socratico sinu#: The loving care of Socrates is meant, as well as
+his wisdom, as Jahn has observed. --#fallere sollers#: On the
+construction, see G., 424, R. 4; A., 57, 8, _f_, 3; Prol., 11. ‘Skilful
+to deceive,’ in the sense of the gradual Socratic approach. The rule is
+not rudely applied, but cheats the warped nature into rectitude. Jahn’s
+note amounts to this, that a ruler that understands deception,
+understands detection, and hence is a true ruler.
+
+38. #regula#: ‘ruler.’ See note on 4, 11.
+
+39. #premitur ratione#: Comp. Verg., Aen., 6, 80: _fera corda domans
+fingitque #premendo#_. --#vinci laborat# = _dum vincitur laborat_, _cum
+labore vincitur_. ‘_Laborat_ shows that the pupil’s mind co-operated
+with his teacher’ (Conington).
+
+40. #artificem#: Passive, _arte factum_, ‘artistic,’ ‘finished.’ The
+figure is of course taken from moulding in wax or clay. --#ducit
+vultum#: Comp. _exigite ut teneros mores ceu pollice #ducat# | ut si
+quis cera vultum facit_, Juv., 7, 237; only there the workman moulds,
+here the material. Transl. ‘take on,’ ‘assume,’ as in Ov., Met., 1, 402:
+_saxa #ducere# formam_ (Jahn). --#pollice#: The thumb is largely used in
+moulding. See Juv., l.c., and Ov., Met., 10, 285; Stat., Achill., 1,
+332, quoted by Jahn.
+
+41. #etenim#: καὶ γὰρ. See 3, 48. --#memini consumere#: See Prol., 2.
+--#soles# = _dies_. The antithesis runs throughout. _Soles-- opus--
+seria_ are opposed to _noctes-- requiem-- mensa_.
+
+42. #primas noctes#: ‘the early hours of the night.’ --#epulis#: ‘for
+feasting.’ Others, ‘from feasting,’ i.e., for study, 3, 54; 5, 62.
+--#decerpere#: The expression is a cross between _carpe diem_ (Hor.,
+Od., 1, 11, 8) and _partem solido demere de die_ (Hor., Od., 1, 1, 20).
+_Decerpere_ is to pluck with resolute, eager hand.
+
+43. #unum opus et requiem# = _unum opus et (unam) requiem_ (Jahn).
+Casaubon comp. Verg., Georg., 4, 184.
+
+44. #laxamus seria#: Jahn comp. Verg., Aen., 9, 223: _#laxabant# curas_.
+
+45. #non equidem hoc dubites#: On _equidem_, see note on 1, 110. With
+_non dubites_ comp. _non accedas_, 1, 5. --#foedere certo#: Jahn comp.
+Manil., 2, 475: _iunxit amicitias horum sub #foedere certo#_. _Foedus
+certum_, ‘fixed law,’ ‘fixed principle.’
+
+46. #consentire dies#: On the Inf., instead of the normal _quin_ with
+Subj., see G., 551, R. 4; M., 375 c., Obs. 2. For the thought, comp.
+Hor., Od., 2, 17, 21: _utrumque nostrum incredibili modo | #consentit#
+astrum_. --#ab uno sidere duci#: Astrology was very popular in Persius’s
+time, having been brought into vogue by Tiberius. It was the
+aristocratic mode of divination, and is compared by Friedländer
+(_Sittengesch._, 1, 347) with the spiritualism and table-turning of the
+present day. Philosophy was not proof against it; indeed, the later
+Stoics always had a leaning to it, and Panaetius was the only one that
+rejected it (Knickenberg, l.c. p. 79). All people of ‘culture’ talked
+about ‘horoscope,’ ‘nativity,’ and ‘malign aspect,’ just as the same
+class in our time speak of ‘the spectroscope,’ ‘heat a mode of motion,’
+and ‘the survival of the fittest.’ Horace and Persius, who imitates
+Horace, have caught up some of the current terms, and travel along the
+Zodiac in blissful ignorance of their own stars.
+
+47. #aequali Libra#: So Hor., Od., 2, 17, 17: _seu #Libra# seu me
+Scorpios adspicit_. Comp. the whole passage.
+
+48. #Parca tenax veri#: Comp. _Parca non mendax_, Hor., Od., 2, 16, 39.
+‘Fate is represented with scales in her hands, also as marking the
+horoscope on the celestial globe’ (Jahn). The _Parca_ of mythology is
+identified with the _Fatum_ of the Stoics. --#seu#: Observe the
+irregularity of _vel-- seu_ instead of _seu-- seu_. --#nata#
+#fidelibus#: ‘ordained for faithful friends.’ ‘The hour of birth is said
+to be born itself, as in Aeschyl., Ag., 107, ξύμφυτος αἰών; Soph.,
+O. R., 1082, συγγενεῖς μῆνες’ (Conington).
+
+49. #Geminos#: Casaubon quotes Manil., 2, 628: _magnus erit #Geminis#
+amor et concordia duplex_.
+
+50. #Saturnumque gravem#, etc.: ‘We together cross malignant Saturn by
+propitious Jove.’ ‘Saturnine’ and ‘jovial’ are remnants of astrological
+belief. _Nostro_ is not only ‘our,’ but ‘on our side,’ ‘propitious.’
+
+51. #nescio quod#: almost = _aliquod_. See v. 12. --#est quod temperat#:
+On the Mood, see G., 634, R. 1; M., 365, Obs. 2. With the expression,
+comp. Hor., Ep., 2, 2, 187: _scit genius, natale comes qui #temperat#
+astrum_, where the parts are reversed. --#me tibi temperat#: The Dative
+is used after the analogy of _miscere_. ‘Blends my being with thine.’
+
+52-61. Our aims, our lives are one. But ‘many men, many minds.’ Each has
+his passion-- the merchant, the man of ease, the lover of sport, the
+gamester, the rake-- but they have to reckon with disease at last, and
+groan over the failure of their lives.
+
+52. #Mille hominum species#: The Schol. quotes Hor., Sat., 2, 1, 27:
+_quot capitum vivunt, totidem studiorum | milia_. Proverbial is Ter.,
+Phorm., 2, 3, 14: _quot homines, tot sententiae: suos cuique mos_.
+--#usus rerum#: ‘practice of life,’ ‘practice.’ See 1, 1, note.
+--#discolor#: ‘of various hue.’
+
+53. #velle suum cuique est#: Comp. Verg., Ecl., 2, 65: _trahit sua
+quemque voluptas_. On _velle suum_, see 1, 9. --#nec uno vivitur voto#:
+Comp. 2, 7: _aperto vivere voto_. The negative form of a proposition
+following the positive strengthens it. _Nec uno_, ‘far different.’ With
+the examples that follow, Jahn comp. Hor., Ep., 1, 18, 21 seqq.
+
+54. #mercibus mutat piper#: On the Abl., see G., 404, R.; A., 54, 8. The
+normal construction is _merces mutat pipere_; the other does not occur
+in archaic Latin nor in model prose. Horace is the first to use it,
+e.g., Od., 3, 1, 47; Epod., 9, 27. Livy introduces it into prose, but
+employs it only once (5, 30, 3). So Dräger, _Histor. Syntax_, § 235.
+--#sub sole recenti#: The Schol. comp. Hor., Sat., 1, 4, 29: _hic mutat
+merces #surgente a sole# ad eum quo | vespertina tepet regio_.
+
+55. #rugosum piper#: ‘wrinkled pepper,’ ‘shrivelled pepper,’ the
+shrivelling being the effect of the hot Eastern sun. None of your
+Italian pepper, but the genuine Eastern article. See note on 3, 75.
+--#pallentis cumini#: like _pallidam Pirenen_, Prol., 4. attribute for
+effect, an imitation and, strange to say, without attempt at
+enhancement, of the _exsangue cuminum_ of Hor., Ep., 1, 19, 18. _Cuminum
+pallorem bibentibus gignit_, Plin., H. N., 20, 14, 57. Cumin was
+considered an indispensable condiment. The large use of it is shown by
+the compounds in Greek (κυμινοδόχη-- θήκη, κτέ)-- see Seiler ad
+Alciphron., 3, 58-- and it ranks with pepper in Petron., 49; with salt
+in Alexis, fr. 169 (3. 465 Mein.). Add Plutarch, Quaest. Conv., 5, 10.
+
+56. #inriguo somno#: _Inriguo_ is active. Sleep waters him, as it were,
+and increases his fat. Comp. Verg., Aen., 3, 511: _fessos sopor
+#inrigat# artus_. ‘Dewy sleep’ is almost too sweet for the passage.
+König, a prosaic soul, thinks of the ‘sweaty sleep’ of a man who is
+gorged with meat and drink.
+
+57. #campo#: The gymnastic exercises of the _campus_, and especially of
+the _campus Martius_ in Rome, are familiar. See Hor., Od., 1, 8, 4; Ep.,
+1, 7, 59; A. P., 162, referred to by Jahn. --#decoquit# = _coquendo
+vires absumit_. The word is employed of a man who has used up, run
+through, his means. So Cic., Phil., 2, 18, 44: _tenesne memoria
+praetextatum te #decoxisse#_? Here it is the man who is used up, who is
+made to go to pot.
+
+58. #putris#: Gr. τακερός. ‘In wanton dalliance melts away’ (Gifford).
+--#lapidosa cheragra#: Comp. Hor., Ep., 1, 1, 31: _nodosa #cheragra#_.
+The chalk-stones of gout are compared with hailstones.
+
+59. #fregerit#: Perf. Subj. in a generic sense. G., 569, R. 2 (end).
+Comp. _postquam illi iusta cheragra | #contudit# articulos_, Hor., Sat.,
+2, 7, 15 seqq. --#veteris ramalia fagi#: The comparison is between the
+fingers and the knotty boughs. Comp. Hesiod’s πέντοζος, O. et D., 744.
+--#fagi#: _Fagus_, φηγός, and ‘beech’ (BHAG) are etymologically, but not
+botanically, the same. See Curtius, _Grundzüge_, No. 160.
+
+60. A forcible passage, on which Conington says: ‘The conception here is
+of life passed in a Boeotian atmosphere of thick fogs and pestilential
+vapors, which the sun never penetrates-- probably with especial
+reference to the pleasures of sense, of which Persius has just been
+speaking. So the “vapor, heavy, hueless, formless, cold,” in Tennyson’s
+“Vision of Sin.”’ --#crassos dies#: _sub crasso aere_ (Jahn).
+--#transisse#: Heinr. comp. Tib., 1, 4, 33: _vidi iam iuvenem, premeret
+cum serior aetas, | maerentem stultos #praeteriisse# dies_. --#lucem
+palustrem#: ‘boggy’ = ‘foggy light’ is ‘light choked by fog.’ _Crassos
+dies lucemque palustrem_ must be connected closely-- ‘gross days in
+foggy light’-- so as to get rid of an awkward Zeugma with _transisse_.
+
+61. #sibi#: with _ingemuere_ (Conington). --#iam seri#: ‘too, too late.’
+On _iam_, see v. 33. On _seri_, G., 324, R. 6; A., 47, 6. --#ingemuere#:
+like the Gr. Aorist. Comp. v. 187 and 3, 101. G., 228, R. 2; A., 58, 5,
+_c_. ‘Heave a sigh’ (Conington). --#relictam#: _anteactam_ (Casaubon).
+_Iam post terga #reliquit# | sexaginta annos_, Juv., 13, 16.
+
+62-65. Contrast of Cornutus’s noble mission. His creed the only creed
+for life.
+
+62. #at#: in lively contrast. --#nocturnis#: Comp. 1, 90.
+--#inpallescere#: Comp. 1, 26.
+
+63. #purgatas#: _Purgare_ is an agricultural term like our ‘clean,’ and
+the metaphor is kept up. The field is the ear. --#inseris#: where we
+should expect _seris_.
+
+64. #fruge Cleanthea#: Cleanthes is selected here on account of his
+strict life and virtuous poverty, in opposition to the luxury and wealth
+of the _Romulidae_, as Knickenberg remarks, l.c. p. 9. --#petite#: Mr.
+Pretor supposes that this is Cornutus’s invitation to the world. But if
+Cornutus speaks here, where does Persius come in again?-- unless he
+takes up the cudgels for his master in v. 66.
+
+65. #finem# = τέλος. --#miseris#: ‘wretched else.’ --#viatica#: Jahn
+quotes Diog. Laert., 1, 5, 80: #ἐφόδιον# ἀπὸ νεότητος εἰς γῆρας
+ἀναλάμβανε σοφιαν; and 5, 11, 21: κάλλιστον #ἐφόδιον# τῷ γήρᾳ ἡ παιδεία.
+--#canis#: G., 195, R. 1.
+
+66-72. ‘There is time enough for that,’ says an impersonal sinner.
+‘To-morrow will do as well.’ ‘“To-morrow, and to-morrow, and to-morrow.”
+To-morrow never becomes to-day.’
+
+66. #Cras hoc fiet#, etc.: ‘I will do this that you ask of me
+to-morrow.’ ‘You will do to-morrow just what you are doing to-day.’ Jahn
+comp. Ov., R. A., 104: _Cras quoque fiet idem._ Hermann arranges: _Cras
+hoc fiet idem. Cras fiet?_ ‘This will, can be done to-morrow as well as
+to-day.’ ‘To-morrow, you say?’ Comp. Petron., 82: _quod hodie non est,
+cras erit_.
+
+67. #nempe diem donas#: ‘Well, what of it? Suppose I go on the same way
+to-morrow; it will only be a day-- a great present, forsooth, to be
+haggling about!’ On _nempe_, see G., 500, R. 2. --#cum venit--
+consumpsimus#: more lively than _cum venerit-- consumpserimus_ (G.,
+229). One clause is involved in the other. G., 236, R. 4. This seems to
+be better than making _venit_ iterative, and _consumpsimus_ an Aoristic
+Perf.
+
+69. #egerit#: ‘unloads,’ ‘carts off.’ _Egerere_ is the opposite of
+_ingerere_ (v. 6). Comp. Sen., Ep., 47, 2: _venter maiore opera omnia
+e#gerit# quam in#gessit#_. Jahn makes _egerit_ = _impulerit_, in order
+to save the figure. Compare _truditur dies die_, Hor., Od., 2, 18, 15,
+and Petron., 45: _dies diem trudit_; and 82: _vita truditur_. But even
+this does not save the figure, and the sudden change of metaphor is in
+Persius’s vein. --#paulum erit ultra#: ‘To-morrow will always be a
+little further on,’ is the common rendering, the figure changing at this
+point.
+
+70. #quamvis--vertentem#: A later construction. G., 611, R.; M., 443,
+Obs. --#cantum#: ‘tire.’
+
+72. #cum curras#: ‘seeing that you are running.’ Here _cum_ is nearly
+equivalent to _si_, as it is thrown by _sectabere_ into the future, and
+is thus made hypothetical. Comp. G., 591, R. 3, and 584.
+
+73-90. What men need is Liberty-- not the freedom of the city, which
+insures a quota of damaged corn; not the freedom of the freedman, which
+gives a slave a name to be free, while he is yet a slave; but the
+liberty wherewith Philosophy sets men free. The freedman demurs to this
+hard doctrine, but a Stoic adept silences him by his ‘Short Method.’
+
+73. #hac, ut, quisque#: _Hac_ is the adverb, _ut_ = _qua_, _quisque_ =
+_quicunque_ (comp. _quandoque_ = _quandocumque_, 4, 28), a sad complex
+of harshnesses, which may be rendered thus: ‘Liberty is what is wanted;
+not after the prevalent (G., 290, 7) fashion, by which each man that has
+worked his way up to a Publius in the Veline tribe is owner of a ticket
+for a ration of musty spelt.’ Other readings, such as _hac quam ut
+quisque_ (Passow), _hac qua quisque_ (Meister), are mere devices to
+relieve the grammatical situation, which is doubtless unnatural in the
+extreme, as _hac_ seems to belong to _libertate_, and _ut quisque_ is a
+familiar combination. Conington makes _non hac_ the beginning of an
+independent sentence, and translates: ‘It is not by _this_ freedom that
+every fire-new citizen, who gets his name enrolled in a tribe, is
+privileged to get a pauper’s allowance for his ticket.’ --#Velina#:
+Comp. Hor., Ep., 1, 6, 52: _hic multum in Fabia valet, ille #Velina#_.
+The Veline was one of the last two tribes instituted (Becker, _Rom.
+Alt._, 2, 1, 170), and is supposed by some to be one of the four city
+tribes to which the _libertini_ were restricted. The name of the tribe
+to which a man belongs is put in the Abl. (as a whence case). So
+_M. Larcius L. f. #Pomptina# Pudens_ (Becker, l.c. 198).
+
+74. #Publius#: Only freemen were entitled to the _praenomen_. Comp.
+Hor., Sat., 2, 5, 32: _#Quinte#, puta, aut #Publi# (gaudent praenomine
+molles | auriculae_). --#emeruit#: literally ‘has served his time’ (of a
+soldier), ‘has worked his way up to be a Publius’ (supplying _esse_).
+--#tesserula#: the well-known _tessera frumentaria_, Suet., Aug., 41.
+
+75. #Quiritem#: Rare in the Singular (Schol.).
+
+76. #vertigo#: the ‘twirl’ of the familiar process of _manumissio per
+vindictam_. ‘The lictor touched the slave with the _vindicta_, the
+master turning him round and “dismissing him from his hand” with the
+words _Hunc hominem liberum esse volo_’ (Conington). --#facit#: is
+causal as well as _faciat_. G., 627, R.; A., 63. --#Dama#: Δημᾶς =
+Δημήτριος; according to others for Δημέας (Mehlhorn, _Gr. Gr._, 183),
+a common slave’s name. --#non tressis#: Jahn comp. _#non semissis#
+homo_, Vatin. ap. Cic., Fam., 5, 10, 1.
+
+77. #vappa#: ‘dead wine,’ hence ‘mean liquor.’ --#lippus#: the effect of
+drinking. --#in farragine tenui#: ‘in the matter of,’ and hence ‘for a
+poor feed of corn.’
+
+78. #verterit--exit# = _si verterit-- exit_. G., 257; A., 57, 5. Comp.
+v. 189. The Perf. is aoristic, ‘give him a whirl.’ --#momento#:
+literally by the ‘motion,’ ‘by virtue,’ ‘by the act of whirling.’ ‘By
+dint’ would give an ironical turn.
+
+79. #Marcus#: as _Publius_, v. 74. Jahn cites an inscription: M · FVFIVS
+· M · L · DAMA. --#papae#: Ironical admiration. ‘Wondrous change! Every
+body will trust this thief, this liar now!’ _Papae_ (Gr. παπαῖ, βαβαί).
+‘Whew!’ ‘Prodigious!’ --#recusas?# Fie on you, if you do! See note on 4,
+1.
+
+80. #adsigna tabellas#: ‘your hand and seal to this document,’ ‘witness
+this document.’
+
+82. #mera#: ‘pure and simple’ (ironical). --#pillea#: See 3, 106.
+
+83. #An quisquam-- Bruto#: These words are generally assigned to Dama,
+and it is certainly more humorous to make the promoted stable-boy argue
+in mood and figure than to rake up one of Persius’s dead-alive
+spectators, as König does, and after him Pretor. _Quisquam_, because of
+the negative answer expected. See 1, 112, and G., 304; A., 21, 2, _h_.
+
+84. #ut voluit#: The Stoic formula did not differ from the popular
+definition. Certainly it does not sound recondite to say: _libertas est
+potestas vivendi ut velis_, Cic., Parad., 5, 1, 34; or with Arrian,
+Diss., 4, 1, 1: ἐλεύθερός ἐστιν ὁ ζῶν ὡς βούλεται, but the words must be
+understood in their Stoic sense.
+
+85. #Mendose colligis#: φαύλως συλλογίζει. ‘Your syllogism is faulty.’
+‘Marcus, thou reasonest ill.’
+
+86. #stoicus hic#: ‘our Stoic friend’ (Conington). Persius himself.
+--#aurem# --#lotus#: Comp. v. 63 and 1, 126. _Lotus_ may be reflexive.
+G., 332, R. 2; A., 53, 3, _c_, R. --#aceto#: Vinegar was used in cases
+of deafness, Cels., 6, 7, 2, 3 (König).
+
+87. #accipio--tolle#: ‘Persius admits the major, but denies the minor;
+denies both that the man has a will (_volo_) and that he is free
+(_licet_) to follow it’ (Conington). Mr. Pretor limits the concession to
+_vivere_ (τὸ ζῆν), and explains: ‘The mere fact that you are a living
+creature, I admit; the inference contained in _licet_ and _ut volo_,
+I altogether deny.’ ‘This dissection of the argument word by word’ may
+be ‘more in keeping with the character of the Stoic’-- the Stoics were
+great choppers of logic-- but it is not in keeping with the style of
+Persius, who is subtle every where except in his arguments.
+
+88. #Vindicta#: the _festuca_, or ‘wand,’ with which the lictor struck
+the manumittend. See v. 76. --#postquam recessi#: with a causal tone.
+See note on 3, 90. --#meus#: ‘my own man,’ hence ‘my own master’ (G.,
+299, R.); _mei iuris_ (Schol.).
+
+90. #Masuri rubrica#: ‘The canon of Masurius.’ ‘Masurius Sabinus, an
+eminent lawyer, lived in the reigns of Tiberius and Nero, and wrote a
+work in three books, entitled _Ius Civile_.’ _Rubrica_, ‘because the
+titles and first few words of the laws were commonly picked out with
+vermilion. Comp. _perlege #rubras# | maiorum leges_, Juv., 14, 192’
+(Pretor, after Jahn). A low creature like Dama has a soul that is not
+above the statute-book; lofty spirits, like our Stoic, and believers in
+the higher law sneer at the canon and its maker. So Marc. Antonin., ap.
+Front., Ep., 2, 7 (p. 32 Naber), speaks of _deliramenta Masuriana_.
+Comp. Quint., 12, 3, 11. --#vetavit#: for _vetuit_, reminds us of the
+slip of another youthful genius, Kirke White, and his ‘rudely blow’d.’
+There is no sufficient warrant for the form.
+
+91-131. A Stoic sermon. Text: Do nothing that you will spoil in the
+doing. You know nothing as you ought to know it, and you can do nothing
+as you ought to do it. You are ignorant of the first principles of
+morals; you have no control over your desires, your appetites. You may
+call yourself free, but you are a slave for all that. For one master
+without, you have a legion of masters within.
+
+91. #Disce#: Comp. 3, 66. --#naso#: the simple Abl. as a whence case.
+Comp. 1, 83. The nose is the familiar seat of anger. Theocr., 1, 18: καί
+οἱ ἀεὶ δριμεῖα χολὰ ποτὶ #ῥινὶ# κάθηται]. For Biblical parallels, see
+Gesenius or Fürst, s.v. אַף [Hebrew: af]. The anger is shown by
+snorting, or, as here, by snarling. --#rugosa#: Comp. _#corruget#
+nares_, Hor., Ep., 1, 5, 23. --#sanna#: 1, 62.
+
+92. #dum revello#: ‘_while_ I _am_ plucking’ = ‘_until_ I _have_
+plucked.’ See note on v. 10. --#veteres avias#: ‘old grandmothers,’ for
+‘inveterate, rooted, grandmotherish notions.’ Comp. _patruos sapere_, 1,
+11, and ὁ λεγόμενος #γραῶν# ὕθλος, Plat., Theaet., 176B. --#de pulmone#:
+The lung is the seat of pride in 3, 27 (comp. _suffla_, 4, 20). Jahn
+regards it here as the seat of wrath.
+
+93. #erat#: ‘as you thought.’ G., 224, R. 3; A., 58, 3, _d_. --#tenuia
+rerum officia#: ‘mastery of the subtle distinctions of duty.’ _Tenuia_,
+a trisyllable, as often. G., 717. _Rerum_, parallel with _vitae_. See
+1, 1.
+
+94. #usum rapidae vitae#: ‘the right management of the rapid course of
+life.’ The metaphor is taken either from a river (_#rapidus# amnis,
+#rapidi# fluminum lapsus, #rapidum# flumen, #rapidus# Tigris_, Hor.),
+which sweeps away the man who does not understand its current, or from a
+race-course in which there is no stopping, as Conington thinks (3, 67).
+Others understand _rapidae_ simply as ‘fleeting.’
+
+95. #sambucam#: The ordinary translation, ‘dulcimer,’ is not strictly
+correct, though ‘dulcimer’ suggests the exotic refinement of the
+_sambuca_, a four-stringed instrument of Eastern origin, synonymous with
+cultivated luxury. --#citius aptaveris#: θᾶττον ἂν ἁρμόσειας; written
+out = _citius aptaveris quam praetor det_, but it is better not written
+out. Notice the Perf. Subj. ‘You would sooner _succeed in making_
+a dulcimer fit, sooner _get_ a dulcimer _to fit_ [the hand of] a gawky
+camp-porter.’ --#caloni#: used in its original sense of a soldier’s
+hewer of wood and drawer of water. Persius, who has no admiration for
+soldiers themselves, would naturally select a soldier’s drudge as a type
+of awkwardness and stupidity. So, in effect, Conington. --#alto#: We
+combine ‘tall and gawky;’ ‘hulking’ (Conington). Comp. the sneer at the
+_#ingentis# Titos_, 1, 20, and _Pulfennius #ingens#_, 5, 190, and the
+ἀνὴρ #τρισκαιδεκάπηχυς# of Theocr., 15, 17.
+
+96. #stat contra#: ‘confronts,’ ‘stops the way.’ Jahn comp. Mart., 1,
+53, 12: _#stat contra#, dicitque tibi tua pagina: Fur es_, a parallel
+which no conscientious commentator can quote without qualms. Juv., 3,
+290: _#stat contra# starique iubet_. --#ratio#: ‘Right reason’ here is
+equivalent to _natura_ below, which is itself equivalent to _publica lex
+hominum_. See Knickenberg, l.c. p. 20 seqq. --#secretam#: ‘private.’
+--#garrit#: It is hard choosing between _gannit_ and _garrit_. Martial
+has _#garrire# in aurem, in auriculam_, 1, 89, 1; 3, 28, 2, and _aurem
+dum tibi praesto #garrienti#_, 11, 24, 2; Afran., ap. Non., 452, 11 (283
+Ribb.): _#gannire# ad aurem numquam didici dominicam_.
+
+97. #liceat#: with reference to v. 84.
+
+98. #publica lex hominum naturaque#: ‘The universal law of human
+nature.’ Of course in the peculiar Stoic sense. See note on 3, 67. ‘The
+doctrine of a supreme law of Nature, the actual source and ideal
+standard of all particular laws, was characteristic of the Stoics, and
+lay at the bottom of the Roman juristical notion of a _ratio naturalis_
+or _ius gentium_’ (Conington).
+
+99. #teneat actus#: As _tenere cursum_ is sometimes used in the sense of
+‘check a course,’ ‘refrain from a course,’ so _tenere vetitos actus_
+means to refrain from, or, as Pretor translates, ‘hold in abeyance
+forbidden actions.’ To this effect König. But as _tenere cursum_ is also
+used in the sense of ‘hold a course, keep on a course,’ Jahn’s version,
+which makes it a law of nature for weak ignorance to pursue forbidden
+actions, is not without justification. In that case _fas est_ = ‘it is
+to be expected,’ as in _operi longo fas est obrepere somnum_. For the
+thought of the necessity of sin for the ignorant, see v. 119. But the
+immediate context favors the former interpretation. Casaubon’s _tenere
+vetitos_ = _habere pro vetitis_ is without warrant in usage.
+
+100-104. Popular illustrations of the doctrine drawn from medicine and
+navigation, and from Hor., Ep., 2, 1, 114: _navem agere ignarus navis
+timet: abrotonum aegro | non audet, nisi qui didicit dare_.
+
+100. #certo conpescere puncto#, etc.: ‘although you do not know how to
+check [that is, to bring to the perpendicular and keep there] the tongue
+or index [of the steelyard by putting the equipoise or pea] at a certain
+point.’ ‘Although you do not know how to use the steelyard’ (_statera_).
+On the _examen_, see 1, 6; _punctum_ is one of the points or notches
+(_notae_) on the graduated arm. With _nescius conpescere_ comp.
+_callidus suspendere_, 1, 118, and Prol., 11. --#natura# = _lex_, as
+above.
+
+102. #peronatus#: The _pero_ was a thick boot of raw-hide, _crudus
+pero_, Verg., Aen., 7, 690, and Juv., 14, 186: _quem non pudet alto |
+per glaciem #perone# tegi, qui summovet Euros | pellibus inversis_
+(Jahn). The _peronatus arator_ is a clodhopper, a country bumpkin.
+
+103. #luciferi rudis#: Not a good stroke. Some knowledge of the stars
+was necessary for the ploughman himself, as Casaubon remarks. See Verg.,
+Georg., 1, 204 seqq. So notably of the Pleiades, Hesiod, O. et D., 383.
+615. --#Melicerta#: Portunus, patron of sailors, Verg., Georg., 1, 437.
+--#perisse#: Comp. Hor., Ep., 2, 1, 80: _clament #periisse# pudorem |
+cuncti paene patres_.
+
+104. #frontem#: the seat of modesty for modesty itself. In English,
+‘face,’ ‘front,’ and ‘forehead’ are used for the absence of modesty; but
+‘frontless’ and ‘effrontery’ accord with the usage and in Juv., 13, 242:
+_quando recepit | eiectum simul attrita de fronte pudorem?_ --#de
+rebus#: ‘from the world,’ or omitted. See 1, 1. --#recto talo#: Comp.
+Hor., Ep., 2, 1, 176: _cadat an #recto# stet fabula #talo#_. Jahn comp.
+further Pind., Isthm., 6, 12: ὀρθῷ ἔστασας ἐπὶ σφυρῷ, and Eur., Hel.,
+1449: ὀρθῷ βῆναι ποδί. Transl. ‘uprightly.’
+
+105. #ars#: Philosophy. [_Philosophus_] _#artem# vitae professus_, Cic.,
+Tusc. Dis., 2, 4, 12; _sapientia #ars# est_, Sen., Ep., 29, 3.
+--#speciem#: Jahn gave up in 1868 the hopeless _specimen_ of 1843, which
+left _qua_ in the next line utterly unprovided for. That this aberration
+of a distinguished scholar should have been followed at all is a sad
+instance of _Nachbeterei_-- a German word, not exclusively a German
+vice.
+
+106. #ne qua#: sc. _species_. _Ne_ because of the general notion of
+apprehension in the sentence, as after _videre_. G., 548, R. 2; A., 70,
+3, _e_. --#subaerato auro#: _Subaeratus_ is a translation of ὑπόχαλκος.
+Ὑπόχαλκον νόμισμα is literally a coin (of gold or silver) with copper
+underneath. Of course we should say gilt or silvered copper coin.
+_Subaerato auro_, Abl. Abs. --#mendosum tinniat#: With _mendosum_ comp.
+_sonat vitium_, 3, 21; _solidum crepet_, v. 25; with _tinniat_, Quint.,
+11, 3, 31: _sonis homines, ut aera #tinnitu#, dinoscimus_. Translate the
+line: ‘that no [seeming truth] give a faulty ring, due to the copper
+underneath the gold.’
+
+107. #forent#: On the sequence, see G., 511, R. 2; A., 58, 10, _a_.
+
+108. #ilia prius creta#, etc.: Comp. Hor., Sat., 2, 3, 246: _sanin
+#creta# an #carbone# notandi_.
+
+109. #modicus voti#: On the Gen., see G., 374, R. 2; A., 50, 3, _c_.
+--#presso lare#: ‘Your establishment within your means?’ _Pressus_
+opposed to _diffusus_. --#dulcis#: ‘indulgent.’ Observe the ‘sweet
+reasonableness’ of the ancient religionist. He, too, was an apostle of
+‘sweetness and light.’
+
+110. #iam nunc-- iam nunc#: ‘At the very moment,’ ‘just at the right
+time,’ hence ‘at one instant, at another.’ --#astringas# --#laxes#:
+‘shut tight-- open wide.’ --#granaria#: 6, 25, Plural of abundance.
+Comp. 2, 33.
+
+111. #inque luto#: It was a favorite trick of the Roman boys to solder a
+piece of money to a stone in the pavement, in order to have a laugh at
+any one who might stoop to pick it up (Scholiast). Similar pranks are
+common enough now. Comp. Hor., Ep., 1, 16, 63: _qui liberior sit avarus
+| in triviis fixum, cum se demittit ob assem | non video_.
+
+112. #glutto#: On the formation, see _cachinno_, 1, 12.
+‘Lickerish-mouthed that you are’ would give the coarse tone.
+--#salivam#: Doth not our mouth water? --#Mercurialem#: Excited by gain
+and not by food. See 2, 12. ‘Water of treasure-trove’ (Conington).
+
+113. #haec mea sunt, teneo#: The commentators notice the legal tone.
+--#cum dixeris#: G., 584.
+
+114. #-que ac#: a rare combination. --#praetoribus ac Iove dextro#:
+a kind of Zeugma = _praetoribus [auctoribus] et Iove dextro_, ‘by the
+grace of the praetors and Jove.’ The Jupiter here meant is the _Iuppiter
+Liberator_ (Ζεὺς ἐλευθέριος), so famous in connection with the death of
+Persius’s friend, Thrasea Paetus, Tac., Ann., 16, 35. See Introd., xiii.
+
+115. #sin#: ‘(if not) but if,’ G., 593; A., 59, 1, _a_; Ribbeck, l.c.
+14. --#cum#: ‘whereas,’ ‘after,’ adversative. --#nostrae farinae#: ‘one
+of our grain, batch, set,’ ‘one of our kidney’-- doubtless a proverbial
+expression. The metaphor is taken from the mill or from the bakery. The
+batch referred to is the Stoic school. Of course the statement is
+ironical. ‘Whereas (to judge by your bold pretensions to liberty) you
+were a little while ago in our set.’
+
+116-118. The drift of the passage is plain enough. ‘A change of fortune
+does not bring with it a change of character. If you possess all that
+you say you possess, then you are free and wise. But if you are, after
+all, the same old man, I take back all that I have granted. You are a
+fool, a slave.’ This familiar Stoic thesis is covered over with a mass
+of confused metaphors, at least according to the commentators and
+translators. --#pelliculam veterem retines#: is supposed to be: 1. An
+ass in a lion’s skin, after Hor., Sat., 1, 6, 22; or, 2. A snake that
+has not cast its slough (Jahn). --#astutam servas vulpem#: is the fox
+dressed up like a lion, Hor., Sat., 2, 3, 186. --#vapido pectore#:
+contains an allusion to ‘dead wine,’ _vappa_, v. 77, and is opposed to
+_incoctum generoso pectus honesto_, 2, 74. --#funem reduco#: 1. Of a
+beast that has had rope allowed it and is pulled in; 2. Of a cock-chafer
+that is played at the end of a string (Ar., Nub., 763). --#fronte#
+#politus#: words that do not fit in very satisfactorily with ass, fox,
+flat wine, restiff beast, or buzzing cock-chafer. My admiration of
+Persius is not unqualified, but this medley is almost too wild even for
+his turbid genius; and here, as elsewhere, commentators have been misled
+by looking at mere verbal coincidences with Horace. There is an Aesopic
+fable (149 Halm), the moral of which gives the substance of this
+passage: ὁ λόγος δηλοῖ ὅτι οἱ φαῦλοι τῶν ἀνθρώπων, κἂν τὰ προσχήματα
+λαμπρότερα ἀναλάβωσι, τὴν γοῦν φύσιν οὐ μετατίθενται. In this fable,
+which bears a family likeness to ϝαλῆ ποτ᾽ ἀνδρός (Babr. 32), _La Chatte
+Metamorphosée en Femme_ (La Fontaine, 2, 18), Zeus, charmed with the
+cleverness of Reynard, had made him king of the beasts; but wishing to
+try whether fortune had changed his character, he caused a beetle to fly
+before His Majesty’s eyes as he was borne by in state. The fox could not
+withstand the temptation, leaped from the litter, and tried to catch the
+game in such unseemly guise that Zeus deposed him. The fox is Dama, made
+Marcus; nay, become a philosopher (_nostrae farinae_), and the
+philosopher is king: _sapiens-- dives | #liber#, honoratus, pulcher,
+#rex# denique regum_, as Horace puts the Stoic doctrine (Ep., 1, 1,
+107). But if despite his fair seeming, his smooth regal brow (_fronte
+politus_), he retains his old nature (_pelliculam veterem_), and the old
+Reynard-- the old rascal that swindled his master for a feed of corn--
+is still in his heart (_astutam servas sub pectore vulpem_), our _deus
+ex machina_ takes back all that he has granted; he is a slave still.
+
+117. #relego#: So Jahn. Inferior MSS. have _repeto_. _Relego_ evidently
+suggested the new figure, _funem reduco_.
+
+119. #digitum exsere, peccas#: a favorite expression with the Stoics to
+show that the wise man alone understands the conduct of life. Epictet.,
+fr. 53: ἡ φιλοσοφία φησὶν ὅτι οὐδὲ τὸν δάκτυλον ἐκτείνειν εἰκῆ προσήκει
+(Casaubon).
+
+120. #nullo ture litabis#: Comp. 2, 75. Here _litabis_ = _litando
+impetrabis_.
+
+122. #fossor#: ‘a ditcher, a clown, a clodhopper.’ _Fossor_ = _in
+cultus_. Comp. ‘navvy.’ Juvenal (11, 80) speaks of the _squalidus
+fossor_; Catullus (22, 10) combines _fossor_ and _#caprimulgus#_, Eur.
+(El., 252), σκαφεύς and βουφορβός.
+
+123. #tris tantum ad numeros moveare#: ‘dance three steps in time.’
+_Ad_, as often, of the standard; _numerus_ = ῥυθμός; _moveri_ of the
+dance, as in Hor., Ep., 2, 2, 125, and as _motus_ in Od., 3, 6, 21:
+_#motus# doceri gaudet Ionicos | matura virgo_. --#satyrum#: a kind of
+Cognate Accusative, as in Hor., l.c.: _qui | nunc #satyrum#, nunc
+agrestem Cyclopa movetur_. Persius selects the _satyrus_ in distinct
+opposition to the _agrestis Cyclops_, a more congenial dance for the
+_agrestis fossor_. See the commentators on Horace. --#Bathylli#:
+Bathyllus was a famous dancer in the time of Augustus. More bookishness.
+See Phaedr., 5, 7, 5; Juv., 6, 63.
+
+124. #Liber ego#: The language of Dama. Only Dama is fading out.
+‘Persius meets this reassertion of freedom with a new answer. Before he
+had contended that fools had no _rights_; now he shows that they have no
+independent _power_’ (Conington). --#Unde datum hoc sentis#: So Hor.,
+Sat., 2, 2, 31: _Unde datum hoc sentis_, only _sentis_ here is
+equivalent to _censes_ (Jahn). On the interrogative with the Participle,
+see 3, 67. _Unde datum_, ‘Who allowed you?’ _unde_ being = _a quo_.
+Comp. _inde_, 1, 126, and G., 613, R. 1; A., 48, 5. --#tot subdite
+rebus#: Comp. Hor., Sat., 2, 7, 75: _tune mihi dominus rerum imperiis
+hominumque | #tot tantisque# minor_ = ἥσσων = _subditus_.
+
+125. #an#: ‘or’ (do you mean to say?) ‘what?’ See 1, 41. --#relaxat#: in
+a general sense. Exit Dama. Enter Impersonal _Tu_.
+
+126. #I puer#: sample order of a sample master. --#strigiles#: A man
+might go to a common bath, but he would not like to use a common scraper
+(_strigilis_, ξύστρα). On the _strigilis_, see, if needful, the
+commentators on Juv., 3, 263. --#Crispini#: Perhaps the bath-keeper. The
+name is Horatian, Sat., 1, 2, 120, and elsewhere.
+
+127. #si increpuit#: The slave loiters, the master scolds. --#‘cessas
+nugator:’# Much more effective in the mouth of the master than as an
+apodosis to _si increpuit_, as Hermann has it, and Jahn (1868); though
+Schlüter’s remark, _verba_ ‘_cessas nugator?’ dominum, non philosophum
+decent_, does not amount to much, when we consider that the philosopher
+is Persius himself. _Nugator_ is used here of wasting time; but the use
+of _nugari_ and its forms, which were often addressed to slaves, is
+wider, like the English ‘fool.’ So in Petron., 52, a boy lets a cup
+fall, and Trimalchio cries, _ne sis nugax_. With _cessas_ comp. Hor.,
+Ep., 2, 2, 14: _semel hic cessavit_. ‘What do you mean by this
+loitering, you dawdler, you?’ --#servitium acre#: ‘the goad of bondage,’
+as Conington suggests. _Acre_, from the same radical as _aculeus_.
+
+128. #nihil nec quicquam#: G., 482, R. 3.
+
+129. #nervos#: ‘wires.’ The figure of the puppet (_sigillarium_, ἄγαλμα
+νευρόσπαστον) as a favorite one with the Stoics, to judge by
+M. Antoninus, who uses it very often, e.g., σιγιλλάρια νευροσπαστούμενα,
+7, 3; νευροσπαστια, 6, 28. Comp. Hor., Sat., 2, 7, 80: _tu mihi qui
+imperitas alii servis miser atque | duceris ut #nervis# alienis mobile
+lignum_. --#agitet#: ‘There is nothing from without to set your wires
+going.’ Your masters are within. --#iecore#: See 1, 25.
+
+130. #domini#: An immemorial figure. So Sophocles of Love. _Di meliora,
+inquit, libenter vero istinc sicut a #domino# agresti ac furioso
+profugi_, Cic., Cat. Mai., 14, 47. --#qui#: ‘how?’ --#exis# = _evadis_.
+See 1, 46; 6, 60.
+
+131. #atque# = _quam_. G., 311, R. 6. --#hic# = _de quo loquimur_. G.,
+290, 3. --#metus erilis# = _metus eri_. G., 360, R. 1; 363, R.; A., 50,
+1, _a_. ‘If I be a master, where is _my fear_?’ Mal., 1, 6. The
+assumption of Hendiadys, ‘fear of the master’s whip,’ is unnecessary,
+and makes the passage less forcible.
+
+132-191. The remainder of the Satire is taken up with descriptions of
+the ruling passions: Avarice (132-142), Luxury (143-160), Love
+(161-175), Ambition (176-179), Superstition (180-189). The language is
+lively and mimetic, and forcibly recalls the connection between comedy
+and satire.
+
+132-160. Avarice finds you snoring, makes you get up, thrusts a bill of
+lading in your hand, cuts out work for you-- not very honest work
+either-- and chides you till she gets you to the ship. As you are about
+to embark, Luxury takes you aside, remonstrates with you, reminds you of
+the annoyances of a sea voyage. And all for what? The difference between
+five and eleven per cent. Why so greedy? ‘Life let us cherish.’ Enjoy it
+while you may. And so you are in a strait betwixt two. First you submit
+to one, then to the other master; and when you have once rebelled, you
+must not say, ‘I have broken my bonds.’ So a struggling hound may wrench
+away the staple, but drags the chain after it.
+
+132. #Mane stertis#: a reminiscence of himself, 3, 3.
+
+134. #saperdam#: Sing. for the Plur. Comp. _mena_, 3, 76. The _saperda_
+(σαπέρδης, κορακῖνος) was a cheap fish for salting. The best came from
+the Palus Maeotis (Sea of Azow, Balik-Denghis, or Fish-sea), where they
+were caught in vast quantities. ‘Salt herring.’ --#Ponto#: a whence
+case.
+
+135. #castoreum, stuppas, hebenum, tus#: A mere hodge-podge. Comp.
+Menand., fr. 720 (4, 279 Mein.): στυππεῖον, ἐλέφαντ᾽, οἶνον, αὐλαίαν,
+μύρον. The wares are mainly Eastern. Musk came from Pontus, ebony and
+frankincense from the Far East. --#lubrica Coa#: ‘slippery Coans,’ may
+be understood of ‘oily (or laxative) Coan wines,’ Hor., Sat., 2, 4, 29,
+or of ‘soft Coan vestments,’ which were little more than woven air,
+Hor., Od., 4, 13, 13. The use of _Coa_ for ‘Coan robes’ is sustained by
+Ov., A. A., 2, 298: _#Coa# decere puta_, even if Hor., Sat., 1, 2, 101,
+be cavilled at, and the effect is droller.
+
+136. #recens primus piper#: _Recens_, ‘fresh,’ ‘just in;’ _primus_,
+‘forestall the market.’ --#ex sitiente camelo#: The thirsty camel brings
+the scene before our eyes-- comp. _ante boves_, 1, 74-- and shows that
+the genuine Indian pepper is meant, the _rugosum piper_ of v. 55. The
+camel must have come a long way to be thirsty (_sitim quadriduo
+tolerat_, Plin., H. N., 8, 18), but Madam Avarice will not let her slave
+wait until the camel has been unloaded and has had its drink.
+
+137. #verte aliquid; iura#: _Verte aliquid_ is said with impatience, and
+_aliquid_ is to be urged. Comp. _frange #aliquid#_, 6, 32; _dest
+#aliquid#_, 6, 64; _fodere aut arare aut #aliquid# ferre_, Ter., Heaut.,
+1, 1, 17. ‘Do something or other in the way of trade.’ This obviates
+Jahn’s objection, who finds the expression tame after the preceding
+list, and prefers to make _vertere_ = _versuram facere_, ‘borrow money’
+(to pay debts), and to interpret _iura_ of swearing out of the
+obligation. But the connection in which _iura_ stands shows that it is
+professional, and hence dishonorable; and though _verte aliquid_ is not
+necessarily immoral, observe that in English we add ‘honest’ to the
+phrase ‘turn a penny,’ if we wish to prevent a sinister interpretation,
+which is the interpretation here, as König remarks. As for the
+‘tameness,’ _mercare_ is ‘tame’ after _vende animam lucro_, 6, 75.
+
+138. #varo#: or _baro_, ‘lout.’ This obscure word is entered by Vaniček
+(_Etym. Wörterb._, S. 36) under KAR (KVAR)-- comp. _varus_, ‘crooked’--
+so that _varo_ would be ‘a wrong-headed creature,’ ‘a perverse
+blockhead.’ The verb _obvaro_ occurs in Ennius (Trag., 2 Vahl.), and
+_varo_ (Subst.) would be a formation like _cachinno_ (1, 12) and _palpo_
+(5, 176). --#regustatum digito terebrare salinum#: After the Greek
+proverb: ἁλίαν τρυπᾶν (of extreme poverty). Casaubon quotes, and every
+body after him, Apoll. Tyan., Ep., 7: ἐμοὶ δ᾽ εἴη τὴν ἁλιαν τρυπᾶν ἐν
+Θέμιδος οἴκῳ. ‘To taste and taste until you bore a hole with your finger
+in the salt-cellar.’ ‘To lick the platter clean.’ --#salinum#: Only the
+most advanced philosophers professed to consider salt, which even the
+miser could not well dispense with (4, 30), as a luxury. So Thrasycles,
+in Luc., Tim., 56: ὄψον δὲ ἥδιστον θύμον ἢ κάρδαμον ἢ #εἴ ποτε τρυφῴην
+ὀλίγον τῶν ἁλῶν#.
+
+139. #perages#: according to Casaubon, an imitation of the Gr. διάγειν.
+Warrant for the ellipsis of _vitam_ or _aetatem_ seems to be lacking.
+Some wish to read _perges_ here, and combine it with _terebrare_. If so,
+the word _perges_ must not be translated ‘continue’ τρυπῶν διατελεῖς,
+but ‘proceed.’ See the Dictionaries. There is no authority for making
+_perages_ = _perges_. --#vivere cum Iove#: Madam Avarice is
+blasphemously familiar in her expressions. ‘To live on good terms with
+Jupiter.’
+
+140. #pellem#: simply ‘a skin,’ which might serve as many purposes as a
+modern traveller’s shawl. Jahn interprets it as meaning a sort of
+packing cloth (_segestre_), and compares Petron., 102. This is much more
+likely than the _pastoria pellis_ of Ov., Met., 2, 680, the βαίτη of
+Theocr., 3, 25, elsewhere called νάκος, 5, 2, ‘a peasant’s coat of raw
+hide.’ --#succinctus#: ‘high girt,’ hence ‘equipped.’ --#oenophorum#: ‘a
+wine case.’ Comp. Hor., Sat., 1, 6, 109: _pueri lasanum portantes
+#oenophorumque#_.
+
+141. #Ocius ad navem#: It matters not who says this: ‘Off to the ship
+this instant.’ We are on the wharf, where such cries are in the air; but
+if we must assign them to somebody, they are best assigned to the
+master, who hurries the slaves on board. --#quin#: G., 551,1; A., 70, 4,
+_g_. --#trabe vasta#: ‘mammoth ship.’ The man’s greed is indicated by
+the size of the ship, as contrasted with the slenderness of his personal
+equipment. _Vastum Aegaeum_, another reading, would be an epithet
+wasted, a rare extravagance in Persius.
+
+142. #rapias#: ‘scour.’ Casaubon comp. Stat., Theb., 5, 3: _#rapere#
+campum_. So Verg., Georg., 3, 103: _campum | #corripuere#_. The notion
+is that of devouring. --#sollers#: ‘artful’ (literally, all-art).
+
+143. #seductum#: Comp. 2, 4; 6, 42. --#quo deinde ruis?# So Verg., Aen.,
+5, 741. _Deinde_, ‘next.’
+
+144. #quid tibi vis?# Comp. Hor., Sat., 1, 2, 69. G., 351, R.; A., 51,
+7, _d_. --#calido#: is proleptic. ‘Your breast is heated by a rising of
+potent bile.’ --#mascula# = _robusta_ (Jahn). _Mascula bilis_ means
+_bilis nigra_, μελαγχολία. Conington compares the Greek use of ἀρσην as
+κτύπος ἄρσην, Soph., Phil., 1455. See 6, 4.
+
+145. #intumuit#: Comp. 2, 14; 3, 8. --#non exstinxerit#: οὐκ ἂν σβέσειε.
+G., 629 (250); A., 60, 2, _b_. --#urna#: nearly three gallons, half an
+amphora. --#cicutae#: the remedy for madness from this cause, Hor., Ep.,
+2, 2, 53.
+
+146. #mare transilias#: G., 251; A., 57, 6. Conington’s ‘skip across’
+would hardly answer for Horace’s _non tangenda rates | #transiliunt#
+vada_, Od., 1, 3, 24. Tr. ‘vault over.’ --#torta cannabe#: ‘Twisted
+hemp’ is ‘rope,’ but Persius probably means a ‘coil of rope.’ --#fulto#:
+with _tibi_. Jahn quotes Juv., 3, 82: _#fultusque# toro meliore
+recumbet_. A coil of rope will be your cushion and a bench your table.
+
+147. #Veientanumque rubellum#: The _Veientana uva_ (Mart., 2, 53, 4)
+yielded a coarse red wine. _Et Veientani bibitur faex crassa #rubelli#_,
+Mart., 1, 103, 9. Not a happy stroke, as Teuffel has observed. A sea
+voyage does not involve bad wine.
+
+148. #vapida pice#: ‘fusty pitch.’ Jars were pitched to preserve the
+wine. --#laesum#: ‘damaged.’ --#sessilis obba#: ‘broad-bottomed jorum,’
+‘squab jug’ (Gifford). _Obba_ is an obsolete word for a large
+drinking-cup. Conington’s ‘noggin’ does not hold enough.
+
+149. #quincunce#: As an _as_ a month is twelve per cent. per annum, so
+5/12 _as_ (_quincunx_) is five per cent., and _deunx_ eleven.
+
+150. #nutrieras#: We use ‘nursing’ in similar connections, but rather in
+the sense of ‘husbanding.’ The figure is an extension of the Greek
+τόκος. See Shaksp., M. of V., 1, 3, where the ‘breed for barren metal’
+embodies an ancient prejudice. Comp. further Hor., Ep., 1, 18, 35:
+_nummos alienos #pascet#_. --#nummi-- pergant avidos sudare deunces#: So
+Jahn (1843). ‘May go on to sweat out a greedy eleven per cent.’ Hermann
+edits: _nummos-- peragant avido sudore deunces_, and so Jahn (1868). H.
+(_L. P._, II., 57) refers to _bona peragere_ (6, 22), and says that the
+merchant, dissatisfied with his modest five per cent. which had
+increased his capital, goes in for eleven per cent., which gobbles it
+up, and has his sweat for his pains. On _pergant_, see note on v. 139;
+with _sudare deunces_ comp. Verg., Ecl., 4, 30: _sudabunt roscida
+mella_.
+
+151. #indulge genio#: See note on 2, 3. --#nostrum est quod vivis#:
+Variously interpreted. ‘Your real life is mine,’ i.e., ‘only that part
+of life which you bestow on me is life’ (Casaubon, and so, in effect,
+Jahn). ‘Your life belongs to me and you (_nostrum_ answering to
+_carpamus dulcia_), not to any one else, such as Avarice, and it is all
+that we have’ (Conington). ‘It is all in our favor that you are alive’
+(Pretor)-- clearly wrong. There is an evident reminiscence of the
+Horatian _#quod spiro# et placeo, si placeo, #tuum# est_ (Od., 4, 3,
+24), which sustains Casaubon’s view.
+
+152. #cinis et manes et fabula fies#: See note on 1, 36. There are
+clearly three stages, as Conington suggests: ‘first ashes, then a shade,
+then a name.’ With _fabula fies_ comp. Hor., Ep., 1, 13, 9: _fabula
+fias_, and Od., 1, 4, 16: _iam te premet nox #fabulaeque manes#_.
+
+153. #vive memor leti#: So Hor., Sat., 2, 6, 97. --#hoc quod loquor inde
+est#: ‘What I am saying-- this speech of mine-- is so much off, so much
+time lost.’ Comp. _dum loquimur fugerit invida | aetas_, Hor., Od., 1,
+11, 7.
+
+154. #en quid agis?# See 3, 5. --#duplici hamo#: ‘a couple of hooks.’ If
+_hamo_ is a fish-hook, _scinderis_ is a metaphor within a metaphor. ‘You
+are like a fish distracted by two hooks,’ not knowing which to bite at.
+Comp. Hor., Ep., 1, 7, 74: _occultum visus decurrere piscis ad #hamum#_,
+and for _scinderis_, Verg., Aen., 2, 39: _#scinditur# incertum studia in
+contraria vulgus_. The executioner’s hook, which others understand, is
+generally _uncus_; Juv., 10, 66: _Seianus ducitur #unco#_.
+
+155. #sequeris#: See note on 3, 5. --#subeas oportet#: G., 535, R. 1;
+A., 70, 3, _f_, R.
+
+156. #oberres#: Gr. δραπετεύειν, ‘go at large’ (Pretor).
+
+157-158. #nec--dicas# = _neu dicas_. See note on 1, 5.
+
+159. #nam et#: (Don’t say so) ‘for.’ ‘Why, there’s the dog that, like
+you (_et_), breaks its fastening.’ --#luctata#: ‘by a wrench.’
+--#nodum#: ‘is the knot by which the chain is fastened to the bar of the
+door, (_sera_). Comp. Prop., 4, 11, 25-6: _#Cerberus# et nullas hodie
+petat improbus umbras, | sed iaceat tacita lapsa catena #sera#_’
+(Pretor). --#et tamen#: So Jahn (1868). _At tamen_, the reading of most
+MSS., can not stand, if Madvig is right in maintaining that _at tamen_
+always means ‘at least.’ Hermann’s _ast tamen_ is well supported by
+MSS., and is more vigorous than _et_.
+
+160. #a collo#: G., 388, R. 2; A., 42, 2. --#pars longa catenae#: The
+long chain hampers its flight, and makes it easier to catch. The
+comparison clearly suggests the next picture.
+
+161-175. Persius, knowing little of love or liaison, goes to his Greek
+books for an example, and finds it, where it was not far to seek, in
+Menander’s Eunuch. Horace (Sat., 2, 3, 259 seqq.) follows Terence’s
+adaptation, Persius seems to have stuck to the original. Hence the
+dialogue is between Chaerestratus (Χαιρέστρατος), the young master, and
+Davus (Δᾶος), the confidential servant, and not between Phaedria and
+Parmeno, as in the Latin dramatist.
+
+Ch. Davus, I’m going to put a stop to this sort of thing. --D. Thank
+Heaven for that! --Ch. But-- I should not like to hurt her feelings. Do
+you think she’ll cry? --D. Well, if you talk that way, you had better
+not kick over the traces at all. She will give it to you soundly when
+she gets hold of you again, and she will get hold of you again as soon
+as she calls you. Don’t be making suppositions. Go back to her in no
+case.
+
+A man who can make such a resolution and keep it-- here is your free
+man, not the lictor’s whirligig.
+
+161. #Dave, cito#: Observe how he jerks out the words between the
+gnawings. --#credas iubeo#: G., 546, R. 3. --#finire dolores#, etc.:
+From Hor., l.c. 263: _an potius mediter #finire dolores#_.
+
+162. #praeteritos#: logically superfluous with _finire_, and yet not bad
+dramatically; ‘that I have been having, undergoing.’ --#crudum#:
+predicative, ‘to the raw,’ ‘to the quick.’ Comp. 1, 106: _demorsos
+unguis_.
+
+163. ##ad#rodens#: more natural than _abrodens_. ‘He is in meditation,
+not in despair’ (Hermann). --#siccis#: opp. to _madidis_, _ebriis_.
+‘What! shall I be a standing disgrace in the way of my sober relations?’
+
+164. #rumore sinistro#: ‘What? make myself the talk of all the
+scandal-mongers by squandering my estate?’
+
+165. #limen ad obscenum#: ‘at a bawdy-house.’ See note on 1, 109. He
+puts the case strongly. Remember that he is shut out. --#frangam#:
+colloquial, ‘smash up,’ ‘make flinders of.’ --#Chrysidis#: In Terence
+the lady’s name is Thais, not Chrysis. --#udas#: ‘dripping.’ With what?
+With perfumes (Lucr., 4, 1179), with wine (Hor., Od., 1, 7, 22), with
+tears (Ov., Am., 1, 6, 18), with rain (Hor., Od., 3, 10, 19), with the
+sweat of the commentators of Persius.
+
+166. Comp. Hor., Sat., 1, 4, 51: _#ebrius# et, magnum quod dedecus,
+ambulet ante | noctem #cum facibus#_. --#ante fores canto#: Antique
+erotic literature is full of the caterwaulings of excluded lovers
+(παρακλαυσίθυρα).
+
+167. #puer#: ‘Davus encourages his master, hence _puer_ instead of
+Terence and Horace’s _ere_’ (Conington). ‘My young master’ gives the
+tone here, ‘my boy’ below. --#sapias#: ‘I do hope you are going to show
+your sense.’ Rather optative than imperative. --#dis depellentibus#:
+_depulsoribus_ = _dis averruncis_. The Gr. is ἀποτρόπαιος, ἀπωσίκακος,
+ἀλεξίκακος. Comp. ἀποτρόποισι δαίμοσι, Aesch., Pers., 203 (quoted by
+Pretor).
+
+169. #Nugaris#: ‘at your old nonsense, I see.’ See v. 127. --#solea#:
+The slipper was and is a matronly instrument of torture (Luc., D. D.,
+11, 1), and hence the fun of its application to grown-up men, as in the
+familiar story of Hercules and Omphalé, Luc., D. D., 13, 2. ‘To slipper’
+would be understood as well in a modern nursery as βλαυτοῦν was in a
+Greek gynaikonitis. _Philtra quibus valeat mentem vexare mariti | et
+#solea# pulsare natis_, Juv., 6, 611-12. --#obiurgabere#: a _terminus
+technicus_. Petron., 34: _colaphis #objurgare# puerum iussit_.
+--#rubra#: A dramatic touch. This ‘No Goody Two Shoes’ wore the
+fashionable red slippers. Comp. the _talon rouge_ of the last century.
+
+170. #ne trepidare velis# = _noli trepidare_. ‘Pray don’t undertake to
+be restiff, to be plunging about.’ Chaerestratus is a wild beast in the
+toils. This suggests _ferus_, and then the metaphor is dropped, unless
+_exieras_, v. 174, be a remnant of it.
+
+171. The distribution of what follows is not clear. Jahn and Hermann
+make Davus’s speech end with _dicas_, so that _haud mora_ is the reply
+which the slave puts into the mouth of his master. ‘If she should call
+you, you would say: “Anon, anon, mistress.”’ Chaerestratus speaks the
+words from _Quidnam_ to _accedam_, and Davus concludes with _si totus--
+nec nunc_. If Jahn’s view be adopted, I do not see how we are to reject
+the old conjecture _ne tunc_ or _nec tunc_ for the reading _ne nunc, nec
+nunc_, v. 174. According to Heinrich, followed by Macleane and
+Conington, _haud mora_ is adverbial, and the words _quidnam-- accedam_
+are attributed by Davus to Chaerestratus. ‘In Terence,’ says Conington,
+‘the lover has received a summons before the scene begins, and he
+deliberates whether to obey it. In Persius he is trying to resolve under
+the pressure of disappointment, and even then can not make up his mind;
+so that his servant tells him that if he _should_ be summoned back, he
+is pretty sure to entertain the question.’ I have followed Heinrich’s
+arrangement. Speech within speech is as characteristic of Persius as
+metaphor within metaphor.
+
+172. #nec nunc#: So Jahn in his ed. of 1868. _Ne nunc_, his former
+reading, for _ne nunc quidem_, condemned by Madvig, has a doubtful
+support in Hor., Sat., 2, 3, 262, a clear support in Petron., 9, 47.
+--#arcessat#: So Jahn for _arcessor_, which is excessively harsh, by
+reason of the double change, person and mood, in _supplicet_.
+
+174. #si exieras#: εἴ γ᾽ ἐξέβης. ‘If (as you pretend you did) you got
+away heart-whole and fancy-free, don’t go to her even now.’ _Si_ with
+Pluperf. Ind. (not iterative) is not common, Cic., N. D., 2, 35, 90.
+Others read _exieris_. --#nec nunc#: sc. _accedas_. --#hic, hic#: The
+Adverb, as appears from _in festuca_. Comp. Hor., Ep., 1, 17, 39: _hic
+est aut nusquam quod quaerimus_.
+
+175. #festuca#: is generally explained as a synonyme for _vindicta_.
+Others refer it to the practice of throwing stubble on the manumitted
+slave, Plut., De Sera Num. Vind., p. 550 (Conington). --#ineptus#: ‘as
+if a lictor could make a man truly free!’ (Jahn).
+
+176-179. Ambition’s Slave.
+
+176. #palpo#: literally ‘patter, stroker,’ ‘softsawder-man,’ i.e.,
+electioneerer. Another of the _verba togae_. See note on 1, 12. _Palpo_
+is explained by Io. Sarisberiensis (ap. Jahn) as ‘one who feels his way
+with the people;’ but this is not so simple nor so much in accordance
+with the use of _palpare_. --#ducit hiantem#: Comp. Hor., Sat., 1, 2,
+88: _emptorem inducat #hiantem#_, where Bentley reads _ducat_ on account
+of this passage. Also Verg., Georg., 2, 508: _hunc plausus #hiantem#-- |
+corripuit_, and Solon, 13, 36 (Bergk), #χάσκοντες# κούφαις ἐλπίσι
+τερπόμεθα.
+
+177. #cretata# = _candidata_. Togas were chalked then, as belts are
+pipe-clayed now. The candidate naturally put on his best. ‘My Lady
+Canvass in holiday attire, in spotless white.’ --#vigila#: ‘Be up
+early,’ in the same sense as our phrase, ‘You must get up early to do
+this or that.’ There is no special reference to the morning _salutatio_.
+--#cicer#: Comp. Hor., Sat., 2, 3, 182: _in #cicere# atque faba bona tu
+perdasque lupinis, | latus ut in circo spatiere et aeneus ut stes_. The
+vetch was a vulgar vegetable.
+
+178. #nostra#: _nobis aedilibus celebrata_ (Jahn). On the ironical First
+Person, see 3, 3. --#Floralia#: See the Dictionaries.
+
+179. #aprici# = _apricantes_. See 4, 18. 19. To ‘love to live i’ th’
+sun’ (Shaksp.) is common to the feebleness of age and the luxury of
+youth, 4, 33. --#quid pulchrius#: Snatch of the old men’s chat
+(Hermann). Ironical comment of Persius (Jahn). The former is more in
+Persius’s manner.
+
+#at#: An abrupt transition to the Thraldom of Superstition (180-188).
+Whether the slave of superstition is identical with the slave of
+ambition or not is not certain-- probably not.
+
+180. #Herodis--dies#: Probably Herod’s birthday, celebrated by the sect
+of the Herodians. Persius takes Herod as the most familiar Jewish
+personage to indicate Jewish superstition. On the spread of Judaism in
+the Roman Empire, see Friedländer, _Sittengesch._, 3, 489. --#uncta
+fenestra#: The ‘window’ is ‘greasy’ from the oil-lamps.
+
+181. #lucernae#: Those who wish illustrations for what they can see with
+their own eyes, may consult Friedländer, l.c. 1, 292. The lights remind
+one of the Feast of Tabernacles.
+
+182. #violas#: Comp. Juv., 12, 90: _omnis #violae# iactabo colores_. The
+violet may be our violet or the pansy (_viola bicolor_). --#rubrumque
+amplexa catinum#: The tunny is so large that it embraces the dish, and
+is not embraced by it. Comp. Hor., Sat., 2, 4, 77: _angustoque vagos
+piscis urgere #catino#_. _Rubrum_, the common color of pottery.
+
+183. #cauda thynni#: The tunny has a large tail, hence some such
+adjective as ‘taily’ is desiderated. Comp. note on 6, 10. --#natat#:
+Makes fun of the fish’s swimming in the circumstances. --#tumet#:
+‘bulges.’ The big belly of the jar looks as if it were ‘swollen’ with
+wine.
+
+184. #labra movet tacitus#: Comp. Hor., Ep., 1, 16, 60: _#labra movet#,
+metuens audiri_ (of a prayer to Laverna). A recondite allusion to the
+secret prayer of the Jews is unlikely. --#recutita sabbata# =
+_recutitorum sabbata_. Comp. Ov., Rem. Am., 219, 220: _nec te peregrina
+morentur | #sabbata#_. --#palles# = _pallidus times_. G., 329, R. 1; A.,
+52, 1, _a_. Comp. our English ‘blanch’ or ‘blench.’
+
+185. #tum#: As soon as the man has got over his Jewish fright he is
+assailed by other superstitions. --#lemures#: ‘hobgoblins.’ See note on
+2, 3. Comp. Hor., Ep., 2, 2, 208: _somnia, terrores magicos, miracula,
+sagas, | #nocturnos lemures#, portentaque Thessala rides?_ --#ovoque
+pericula rupto#: The Schol. refers these words to the Gr. ᾠοσκοπική
+(Jahn). ‘The priests used to put eggs on the fire, and observe whether
+the moisture came out from the side or the top, the bursting of the egg
+being considered a very dangerous sign.’ So Conington, after the
+Scholiast. _Lemures_ and _pericula_ have no strict grammatical
+connection. Some supply _timentur_ out of _palles_, others connect with
+_incussere_ by Zeugma.
+
+186. #grandes galli#: Juvenal’s _ingens | semivir_ (6, 512). The
+peculiar worship of Cybelé had long been familiar to the Romans.
+--#sistro#: The σεῖστρον, or ‘timbrel,’ was peculiar to the service of
+Isis, which had been imported more recently. On its significance, see
+Plut., De Isid. et Osir., p. 376. The vibratory theory of life, with its
+perpetual sensuous unrest, is no novelty, as some of its eloquent
+advocates seem to think. --#lusca#: Why _lusca_? The priestess is
+supposed to have been struck blind by Isis, who visited offenders in
+that way. Comp. Ov., Ep. ex P., 1, 1, 53, and Juv., 13, 93: _Isis et
+irato feriat mea lumina sistro_. One homely explanation is that the
+priestess, being one-eyed, had betaken herself to religion in despair of
+a husband! (Schol.)
+
+187. #incussere#: Gr. Aorist. Comp. 3, 101. The expression, ‘strike the
+gods into you,’ after the analogy of _incutere metum, terrorem_, is the
+other side of Vergil’s famous _magnum si pectore postit | #excussisse
+deum#_ (Aen., 6, 78). --#inflantis#: ‘who have a way of swelling.’
+Compare the use of _depellentibus_ for _depulsoribus_, v. 167. See G.,
+439.
+
+188. #praedictum#: ‘prescribed.’ --#alli#: The superstitious usage here
+referred to has not yet been paralleled.
+
+189-91. Last scene of all. Horse-laughter of the muscular military.
+
+189. #Dixeris--ridet# = _si dixeris-- ridet_. Comp. v. 78.
+--#varicosos#: Comp. Juv., 6, 397: _#varicosus# fiet haruspex_ (from
+long-standing). Varicose veins would naturally be common with men who
+were as much on their legs as the soldiers of that day. But as
+_varicare_ means to stand or walk, as if one had _varices_, ‘to
+straddle’ (Quint., 11, 3, 125), and as _vāricus_ means ‘straddling’
+(Ov., A. A., 3, 304), it seems better to translate _varicosos_
+‘straddling’ here, always remembering the origin. With the change of
+quantity, comp. _văcillo_ and _vācillo (vaccillo)_, Lachm., _Lucret._,
+p. 37. --#centurionum#: See note on 3, 77.
+
+190. #crassum ridet#: Comp. _subrisit molle_, 3, 110. --#Pulfennius#:
+Jahn’s last. The name is variously written. Notice a similar trouble
+about a _hircosus centurio_ in Caes., B. G., 5. 44, once Pulfio, now
+Pulio. Heinrich recognizes a fellow-countryman in _Vulfennius_ (Wulfen).
+--#ingens#: Comp. _#torosa# inventus_, 3, 86; _caloni #alto#_, 5, 95.
+
+191. #Graecos#: Comp. _doctores Graios_, 6, 38. --#curto#: ‘clipped.’
+--#licetur#: A similar notion is worked out with admirable humor in
+Lucian’s Vitarum Auctio.
+
+
+CRITICAL APPENDIX.
+
+SATURA V.
+
+3. #maesto#: moesto, J{α}., H. --8. #Prognes#: Procnes, #H. --9.
+cenanda#: coenanda, J{α}., #H. --13. scloppo#: stloppo, J{α}., #H. --17.
+dicis#: dicas, J{α}., H. --19. #bullatis#: pullatis, J{α}.; ampullatis
+_proposuit_ J. --24. #dinoscere#: dignoscere, J{α}. --35. #deducit#:
+J{α}., H.; diducit, J{ω}. --38. #apposita#: J{α}., H.; adpos., J{ω}.
+--58. #cheragra#: chiragra, J{α}. --66. #‘cras hoc fiet.’ Idem cras
+fiet#: cras hoc fiet idem-- Cras fiet? H. --68. #consumpsimus#:
+consumsimus, J{α}. --71. #cantum#: canthum, J{α}., H. --76. #tressis#:
+J{α}., H.; tresis, J{ω}. --82. #pillea#: pilea, J{α}., H. --102.
+#navem#: navim, J{α}. --105. #speciem dinoscere#: specimen dignoscere,
+J{α}. --110. #astringas#: adstringas, J{α}. --112. #glutto#: gluto,
+J{α}. --117. #sub#: J{α}., H.; in, J{ω}. --119. #exsere#: J{α}., H.;
+exere, J{ω}. --122. #cetera#: caetera, J{α}. --123. #tris#: tres, H.
+--#satyrum#: satyri, J{α}. --127. #‘cessas nugator:’# J{α}.; cessas
+nugator, J{ω}., H. _Vid. Comment._ --131. #erilis#: herilis, J{α}., H.
+--132. #heia#: eia, J{α}. --135. #hebenum#: ebenum, J{α}., H. --136.
+#ex#: e, J{α}. --#camelo#: J{α}., H.; camello, J{ω}. --138. #varo#:
+J{α}.; baro, J{ω}., H. --142. #ni#: nisi, J{α}., H. --145.
+#exstinxerit#: J{α}., H.; extinxerit, J{ω}. --146. #transilias#:
+transsilias, J{α}. --147. #cena#: coena, J{α}., H. --148. #exalet#:
+exhalet, J{α}., H. --149. #nummi#: J{α}.; nummos, J{ω}., H. --150.
+#pergant avidos sudare#: J{α}.; peragant avido sudore, J{ω}., H. --155.
+#huncine#: hunccine, J{α}., H. --159. #et tamen#: ac tamen, J{α}.; ast
+tamen, H. --163. #adrodens#: abrodens, J{α}. --165. #obscenum#:
+obscoenum, J{α}. --172. #nec nunc#: ne nunc, J{α}. --#arcessat#:
+accersar, H.; arcessor _al_. --174. #exieras#: exieris _al_. --#nec
+nunc#: ne nunc, J{α}. --190. #Pulfennius#: Fulfennius, J{α}.
+
+
+       *       *       *       *       *
+
+
+  SATURA VI.
+
+
+  Admovit iam bruma foco te, Basse, Sabino?
+  iamne lyra et tetrico vivunt tibi pectine chordae?
+  mire opifex numeris veterum primordia vocum
+  atque marem strepitum fidis intendisse Latinae,
+  mox iuvenes agitare iocis et pollice honesto                     5
+  egregius lusisse senes. mihi nunc Ligus ora
+  intepet hibernatque meum mare, qua latus ingens
+  dant scopuli et multa litus se valle receptat.
+  Lunai portum, est operae, cognoscite, cives!
+  cor iubet hoc Enni, postquam destertuit esse                    10
+  Maeonides, Quintus pavone ex Pythagoreo.
+  hic ego securus vulgi et quid praeparet auster
+  infelix pecori, securus et angulus ille
+  vicini nostro quia pinguior, etsi adeo omnes
+  ditescant orti peioribus, usque recusem                         15
+  curvus ob id minui senio aut cenare sine uncto,
+  et signum in vapida naso tetigisse lagoena.
+  discrepet his alius! geminos, horoscope, varo
+  producis genio. solis natalibus est qui
+  tingat holus siccum muria vafer in calice empta,                20
+  ipse sacrum inrorans patinae piper; hic bona dente
+  grandia magnanimus peragit puer. utar ego, utar,
+  nec rhombos ideo libertis ponere lautus,
+  nec tenuis sollers turdarum nosse salivas.
+  messe tenus propria vive et granaria, fas est,                  25
+  emole; quid metuis? occa, et seges altera in herba est.
+  ast vocat officium: trabe rupta Bruttia saxa
+  prendit amicus inops, remque omnem surdaque vota
+  condidit Ionio; iacet ipse in litore et una
+  ingentes de puppe dii, iamque obvia mergis                      30
+  costa ratis lacerae. nunc et de caespite vivo
+  frange aliquid, largire inopi, ne pictus oberret
+  caerulea in tabula. ‘Sed cenam funeris heres
+  negleget, iratus quod rem curtaveris; urnae
+  ossa inodora dabit, seu spirent cinnama surdum,                 35
+  seu ceraso peccent casiae, nescire paratus.
+  tune bona incolumis minuas? et Bestius urguet
+  doctores Graios: _Ita fit, postquam sapere urbi_
+  _cum pipere et palmis venit nostrum hoc maris expers;_
+  _fenisecae crasso vitiarunt unguine pultes._’                   40
+  Haec cinere ulterior metuas? At tu, meus heres
+  quisquis eris, paulum a turba seductior audi.
+  o bone, num ignoras? missa est a Caesare laurus
+  insignem ob cladem Germanae pubis, et aris
+  frigidus excutitur cinis, ac iam postibus arma,                 45
+  iam chlamydes regum, iam lutea gausapa captis
+  essedaque ingentesque locat Caesonia Rhenos.
+  dis igitur genioque ducis centum paria ob res
+  egregie gestas induco; quis vetat? aude.
+  vae, nisi conives! oleum artocreasque popello                   50
+  largior; an prohibes? dic clare! ‘Non adeo,’ inquis
+  ‘exossatus ager iuxta est.’ Age, si mihi nulla
+  iam reliqua ex amitis, patruelis nulla, proneptis
+  nulla manet patrui, sterilis matertera vixit,
+  deque avia nihilum superest, accedo Bovillas                    55
+  clivumque ad Virbi, praesto est mihi Manius heres.
+  ‘Progenies terrae?’ Quaere ex me, quis mihi quartus
+  sit pater: haud prompte, dicam tamen; adde etiam unum,
+  unum etiam: terrae est iam filius, et mihi ritu
+  Manius hic generis prope maior avunculus exit.                  60
+  qui prior es, cur me in decursu lampada poscis?
+  sum tibi Mercurius; venio deus huc ego ut ille
+  pingitur; an renuis? vin tu gaudere relictis?
+  ‘Dest aliquid summae.’ Minui mihi; sed tibi totum est,
+  quidquid id est. ubi sit, fuge quaerere, quod mihi quondam      65
+  legarat Tadius, neu dicta repone paterna:
+  _Faenoris accedat merces; hinc exime sumptus._
+  _quid reliquum est?_ Reliquum? nunc, nunc inpensius ungue,
+  ungue, puer, caules! mihi festa luce coquetur
+  urtica et fissa fumosum sinciput aure,                          70
+  ut tuus iste nepos olim satur anseris extis,
+  cum morosa vago singultiet inguine vena,
+  patriciae inmeiat vulvae? mihi trama figurae
+  sit reliqua, ast illi tremat omento popa venter?
+  vende animam lucro, mercare atque excute sollers                75
+  omne latus mundi, nec sit praestantior alter
+  Cappadocas rigida pinguis plausisse castata:
+  rem duplica. ‘Feci; iam triplex, iam mihi quarto,
+  iam deciens redit in rugam: depunge, ubi sistam.’
+  Inventus, Chrysippe, tui finitor acervi.                        80
+
+
+NOTES.
+
+SIXTH SATIRE.
+
+The Sixth Satire is addressed to Caesius Bassus, a friend of Persius.
+The theme of it is the Proper Use of the Goods of this Life, which takes
+the personal form of a vindication of the poet’s course in preferring
+moderate enjoyment to mean parsimony or grasping avarice.
+
+
+ARGUMENT.-- Are you by this time snugly ensconced by your Sabine fire?
+And _do_ the chords of your lyre wake to life at your vigorous touch?
+O cunning craftsman! in whose song the noble tongue of our sires is set
+to manly music, while young and old alike feel the play of your sportive
+wit, which in all its sport never forgets the gentleman (1-6).
+
+While you are yonder, I am in my dear Liguria, where the coast is warm,
+the sea is wintry but kindly, the rocks bar out the storm, and the shore
+retreats far inland.
+
+  ‘Luna’s port-- ’tis well worth while, good people, to know it.’
+
+This was a saying of Ennius, as he woke up in his senses from his
+Pythagorean dreams and became plain Quintus, instead of the ‘blind old
+man of Scio’s rocky isle,’ and a wise saying of that hearty old cock it
+was (7-11).
+
+Well, here I am, caring nothing for the rabble rout, caring nothing what
+an ill wind may be getting up for my flock. My neighbor may have a
+better patch of ground, men of lower birth may be growing rich over me.
+I will not fret myself into a crooked old man for that, nor dine without
+a bit of something nice, nor nose out a swindle in the imperfect seal of
+a flagon of flat wine (12-17).
+
+How men differ in such matters! The very same horoscope may bring forth
+rights and lefts. Here is one that even on his birthday allows himself
+only the scantiest and meanest fare. Here is another that eats up, like
+a spirited lad as he is, a vast estate. For my part, ‘Enjoyment,
+enjoyment,’ is my motto, although I do not intend to treat my freedmen
+to turbots, and do not understand the difference between cock-ortolan
+and hen-ortolan after they are cooked (18-24).
+
+Now this is the way to live, I take it. Up to your harvest, up to the
+last grain of your garners. What are you afraid of? It is a mere matter
+of harrowing, and lo! another crop is there (25, 26).
+
+But you say, Mr. Critic, ‘There are claims on one. A friend is
+shipwrecked, the poor fellow is utterly ruined. One must do something
+for him.’
+
+Well and good! Sell a piece of land, give the proceeds to the needy
+friend, and keep him from begging up and down with a pictorial appeal to
+the benevolent (27-33).
+
+Ay, but what of the heir? _He_ will dock the funeral meats, if _you_
+dock the estate. One, sure, would not be stenchful when one’s dead, and
+your bones will not be perfumed, or the perfumes will be stale or
+adulterated. One can not expect to diminish one’s property without
+paying for it. Why, I heard Bestius say of your Greek teachers, from
+whom you learned this precious wisdom of yours, that ever since this new
+doctrine came to town the very haymakers have been spoiling their good,
+wholesome fare by rancid grease.
+
+Well, what of all this-- the heir’s neglect and Bestius’s
+fault-finding-- would you fear _them_ beyond the grave? (34-41).
+
+But come, my heir, let us dismiss the critic, and have a quiet chat
+together. Consider the claims on me. Here comes a glorious piece of news
+from the Emperor. The Germans have been defeated with great slaughter.
+A grand triumph is preparing. This is no time to hold back. I am going
+to bring out a hundred pairs of gladiators in honor of the occasion.
+Forbid it, if you dare. If you don’t like that, I am going to give
+largess to the people-- none of your vile vetches, but oil and pasties.
+Do you object? Out with it (42-51).
+
+What do you say? ‘My farm is hardly worth having after that.’ Well, if
+you don’t want it, I can get some of the women to take it; and if there
+is none of them left, I can go to the next village, and Hodge will
+accept. ‘A son of earth?’ you say; ‘a nobody?’ Pshaw! If you come to
+that, I can just remember who my great-great-grandfather was. Two
+generations further back and I come to a son of earth, a nobody, and
+Hodge is a relation-- a distant relation, but still a relation-- a kind
+of great-great-uncle. Believe me, the Lord No Zoo is father of us all
+(52-60).
+
+You are an impatient heir, I must say. Why can’t you wait for my shoes
+until I take them off? I am the God of Fortune to you, just as he is
+painted in the pictures, with a purse in his hand. Will you take what I
+leave, and be glad to get it? It falls short; I know it does. But if I
+have lessened it, it is for myself that I have lessened it, and what is
+left is all yours. Don’t stop to ask about that old legacy, and serve up
+a stale dish of fatherly advice. I know how fathers talk. ‘Credit
+yourself by the interest. Debit yourself by the expenses. What is the
+remainder?’ Remainder? Fudge! Souse the cabbage, boy. Don’t spare the
+oil. Am I to dine off cow-heel and turnips on a holiday, that your
+graceless grandson may stuff himself with _pâté de foie gras_, and
+indulge himself in aristocratic connections? Am I to go through the eye
+of a cambric needle that he may have a priestly paunch? (61-74).
+
+Furthermore, if you are not content with the little that I can leave
+you, sell your life for gain. Try every trade. Try every nook and corner
+of the earth. Go to Cappadocia, for instance, where you can make
+something by dealing in slaves, and become an adept in that dainty
+business. Double your capital. ‘I have done so. Nay, I have trebled it,
+quadrupled it, decupled it. Tell me where to draw the line.’ Tell you
+where to draw the line? Why, Chrysippus himself could not find the limit
+between wealth and poverty. A dollar more does not make a man rich,
+a dollar less does not make him poor. Where is the turning-point? And
+yet this man talks as if the turning-point had been found! (75-80.)
+
+
+The Sixth Satire is the most obscure and unsatisfactory of the poems of
+Persius, and baffled interpreters have taken refuge in the hypothesis
+that the Satire is incomplete. The roughness of the metre and the
+harshness of the transitions favor this view; but parts are wrought out
+with all the minuteness of detail that is characteristic of our author’s
+style, and some of the highest authorities, such as Jahn, consider the
+Satire complete. The close, as Mr. Pretor remarks, is exactly in
+Persius’s manner, and we must look elsewhere in the Satire for the
+breaks-- if breaks there be.
+
+
+1-11. Are you spending the winter on your Sabine farm, Bassus, and have
+you resumed your poetry? I am in my Ligurian resort, so praised by
+Ennius.
+
+1. #iam#: in the question implies uncertainty, ‘actually?’ ‘so?’
+--#bruma# = _brevuma_ = _brevissuma_ (_dies_), ‘the shortest day,’
+‘winter-solstice,’ ‘midwinter.’ --#foco#: contrast between the
+_fireside_ of the land of the Sabines and the open-air _warmth_ of
+Liguria. --#Basse#: ‘Caesius Bassus, one of the intimate friends of
+Persius, was deputed by Cornutus to edit his Satires after his death. He
+is classed with Horace, as a lyric poet, by Quintilian (10, 1, 96), who,
+however, thinks him inferior to some of his own contemporaries, and he
+is probably the same with the author of a treatise on Metres, which is
+referred to by various grammarians, and still exists in an interpolated
+epitome, but different from Gabius or Gavius Bassus, who wrote works on
+the origin and signification of words and on the gods. Bassus was
+killed, according to the Scholiast, in the famous eruption of Vesuvius’
+(Conington, after Jahn). See also v. 5. --#Sabino#: The simplicity of
+the Sabines has already been noted (see 1, 20), and Jahn thinks that the
+life about the fireside (Verg., Georg., 2, 532) is an indication of the
+primitive tastes of Bassus and his family. _Sabino_ also prepares the
+way for _tetrico_ (below). Comp. _#tetrica# ac tristis disciplina
+#Sabinorum#_, Liv., 1, 18 (quoted by Jahn).
+
+2. #tetrico#: ‘austere.’ --#vivunt#: Persius was thinking of Horace’s
+_vivuntque commissi calores | Aeoliae fidibus puellae_, Od., 4, 9, 11.
+12. _Iam vivunt_, ‘wake to life’ (Pretor), where ‘wake’ represents
+_iam_. See note on 5, 33.
+
+3. #mire#: is an Adjective or an Adverb, according as _opifex_ is a
+Substantive or an Adjective. --#opifex#: Commentators supply _es_, but
+the Nom. can be used in characteristic exclamation. See G., 340, R. 1,
+and comp. 1, 5. With _opifex intendisse_ comp. Prol., 11, and _egregius
+lusispe_ below. For the Perf., see 1, 41, note. --#veterum primordia
+vocum#: Perhaps ‘the racy richness of our early tongue.’ Lucr. (4, 531)
+uses _primordia vocum_ of the beginnings of articulate sound, as Quint.,
+1, 9, 1, uses _dicendi primordia_ of instruction in the rudimentary
+preparation for rhetoric. Bassus, as the whole context shows, affected
+to belong to the _antiquiores homines_, and imitated the diction of an
+earlier time. Persius belongs to a different school of art, and his
+friendship makes him guarded. Jahn understands a grammatical poem, of
+which Lucilius furnishes a familiar example in his Ninth Book (see L.
+Müller’s _Lucilius_, p. 221), but, as Pretor remarks, _numeris-- marem
+strepitum fidis intendisse Latinae_ indicates lyric poetry.
+
+4. #marem strepitum#: like ἄρρην φθόγγος. Comp. Hor., A. P., 402: _mares
+animos_. --#fidis Latinae#: Stress is to be laid on _Latinae_. Persius
+himself is intensely Latin in his vocabulary. --#intendisse#: ‘Verg.,
+Aen., 9, 774, speaks of stringing the numbers on the chords; Persius
+goes further [and fares worse], and talks of stringing sounds on the
+numbers’ (Conington).
+
+5. #mox#: points to another side of Bassus’s poetry, the non-lyrical,
+probably satires, for one _Bassus in satyris_, mentioned by Fulgentius
+(ap. Jahn), is most likely our man, despite Jahn’s objections.
+--#iocis#: Heinrich, _ex coni_. The passage is a very difficult one. The
+interpretation turns on the two words, _iocos_ (or _iocis_), _senes_ (or
+_senex_), as the reading _egregios_ for _egregius_ may be discarded.
+
+  (1.) Jahn reads in both editions (1843 and 1868) _iocos_ and _senes_.
+
+  (2.) Hermann’s _senex_, the reading of Montepess., was
+    enthusiastically advocated by Hermann himself.
+
+  (3.) Heinrich’s _iocis_ has the merit of making a perfectly clear
+    sense, and is accepted by Mr. Pretor.
+
+  (1.) If we read _iocos_ with the MSS., _iuvenes_ must be considered
+    an Adjective, and _iuvenes iocos_ = _iuvenilis iocos_. This almost
+    compels us to make _senes_ an Adjective also, and the following
+    translation may be given: ‘Rare genius for carrying on the frolics
+    of youth [in song], and for giving play with virtuous skill to the
+    jests of the aged.’
+
+  (2.) Hermann’s reading labors under the difficulty of requiring us to
+    understand _senex_ of Bassus, who was not an old man at the time;
+    but compare the note on _praegrandi sene_, 1, 124. Notice also the
+    want of balance in the absolute _lusisse_. ‘Then showing yourself
+    excellent in your old age at wakening young loves and frolicking
+    over the chords with a virtuous touch’ (Conington). _Iocus_ is
+    often used of love. Comp. Catull., 8, 6: _ibi illa multa tum
+    #iocosa# fiebant_.
+
+  (3.) Heinrich’s _iocis_ gives us, ‘Rarely skilled to rally the young
+    with jibe and jest and have a fling at old sinners, but all in
+    high-bred style.’ _Pollice honesto_ is the _ingenuo ludo_ of 5, 16.
+    Comp. also 2, 74: _generoso #honesto#_; and the _#honesta# oratio_
+    of Ter., Andr., 1, 1, 114: _quae opponitur #plebeiae#_, as Gesner
+    says, s.v. It is hardly necessary to say that the English language
+    has no synonyme for _honestus_, which embraces the goodly outside
+    as well as the pure heart.
+
+Mr. Conington translates Hermann’s text and comments on Jahn’s. _Lusisse
+senes_ he understands as _amavisse senili more_, the poet being said to
+do the deed he writes about, Verg., Ecl., 9, 19. It would be far more
+simple to make _iocos senes_ = _amores senilis_, harsh as that would be.
+Old men’s philanderings are fair game for the satirist or comic poet to
+have his fling at (_lusisse_). _Turpe senilis amor_, as the master says,
+Ov., Am., 1, 9, 4. Compare the Casina of Plautus. --#pollice#: the
+cithern being played chiefly with the thumb.
+
+6. #lusisse#: Comp. _scit #risisse#_, 1, 132. --#mihi#: The step-father
+of Persius probably had a seat there.
+
+7. #intepet#: The warmth of the coast made it a favorite resort for
+invalids. It is not unlikely that Persius was a man of delicate
+constitution. --#hibernat#: According to some, ‘my sea winters,’ that
+is, ‘rests for the winter,’ is not vexed by the keels of ships (Schol.).
+According to others, ‘is wintry,’ like _hiemat_ (the more common word in
+this sense). A stormy sea was supposed to lash itself warm. Jahn quotes,
+among other passages, Cic., N. D., 2, 10, 26: _maria agitata ventis
+#tepescunt#_. --#meum#: ‘my sea,’ ‘my favorite haunt.’ Some have
+inferred falsely from this passage that Luna was the birthplace of
+Persius.
+
+8. #latus dant#: ‘present their giant side,’ ‘interpose a mighty
+barrier’ against the winds. Jahn comp. Verg., Aen., 1, 105: _undis #dat
+latus#_. --#valle# = _sinu_. The Abl. of manner may be translated
+locally; ‘into a deep bay’ (Conington). --#se receptat#: ‘retreats,’
+‘retires’ from the storms. So Horace (Od., 1, 17, 17; Epod., 2, 11)
+speaks of a _reducta vallis_. Jahn refers the frequentative to the
+windings of the bay. ‘Keeps retreating,’ ‘retreats further and further,’
+might very well be said from the traveller’s point of view. The
+description of the harbor, now the Gulf of Spezia, is said to be very
+accurate.
+
+9. #Lunai portum#, etc.: Ennius, Ann., v. 16 (Vahl.). Luna, from which
+the harbor took its name, was not on the gulf, but on the eastern side
+of the Macra (Magra), near the modern Sarzana. --#est operae#: Commonly
+explained by the ellipsis of _pretium_. But the Gen. is very elastic.
+--#cognoscite#: is easier in tone, _cognoscere_ is easier for
+translation. #cives#: ‘good people all.’ Ger. _Leutlein_. Jahn notices
+the _antiqua gramtas_ of _civis_.
+
+10. #cor Enni#: Comp. _re-#cor#-dor_ and _#cor#-datus_, and our ‘get _by
+heart_.’ So _credidit meum #cor#_, Enn., Ann., 374 (Vahl.). See Mart.,
+3, 26, 4; 11, 84, 17. The expression is little more than _cordatus
+Ennius_, as in the familiar passage, _tergemini #vis# Geryonaï_, Lucr.,
+5, 28. So _#corpore# Turni_, Verg., Aen., 7, 650; Greek, βία, ἴς, δέμας,
+στόμα (Ἀνύτης στόμα, Anthol. P., 9, 26, 3). On the same principle are
+based such combinations as _#mens# provida Reguli_, Hor., Od., 3, 5, 13,
+and _venit et Crispi iucunda #senectus#_. Juv., 4, 81, and _Montani
+quoque #venter# adest_, l.c. 107. ‘Ennius, in his sober moments’
+(Gifford). --#destertuit#: On the Tense, see G., 563; A., 62, 2, _a_.
+‘Snored off his being,’ i.e., the dream that he was Homer. Ennius’s
+dreams are touched up in Prol., 2, where it has been mentioned that
+Ennius dreamed that he had seen Homer. For the further visions, see the
+citations in Vahlen’s ed. of Ennius, Ann., v. 15.
+
+11. #Maeonides#: poetic ‘flash-name,’ like the ‘Bard of Avon.’
+--#Quintus#: ‘plain Quintus’ (Gifford). The Scholiast fancies that
+_quintus_ is a numeral, and gives the following order of
+transmigrations: 1. Pythagoras; 2. A peacock; 3. Euphorbus; 4. Homer.
+Tertullian gives: 1. Euphorbus; 2. Pythagoras; 3. Homer; 4. A peacock.
+The pun would be a wretched one, but that is no objection; more serious
+is the wrong use of the Preposition _ex_ for _ab_. Heinrich combines
+confidently _Maeonides Quintus_, ‘Homer with a Roman _praenomen_.’
+Conington follows doubtingly. --#pavone#: _Memini me fiere #pavum#_,
+Enn., Ann., v. 15 (Vahl.). --#Pythagoreo#: ‘Since _Pythagoras’_ time
+that I was an Irish rat,’ Shaksp.
+
+12-17. Here I am in happy unconcern, caring naught for vulgar herd or
+threatened flock. I do not pine because my neighbor waxes fat. Let who
+will get up in the world; I won’t let my hair turn gray for that, nor
+stint myself, nor poke my nose into the wax of every jar of wine I open
+to see whether somebody has not been tampering with the seal.
+
+12. #securus#: with Gen., Verg., Aen., 1, 350; 10, 326. --#quid
+praeparet auster#: Jahn comp. _quid cogitet umidus #auster#_, Verg.,
+Georg., 1, 462; and 444: _arboribusque satisque Notus #pecorique#
+sinister_.
+
+13. #infelix#: with Dat. Verg., Georg., 2, 239: _tellus_-- _#infelix#
+frugibus_, quoted by Conington. --#pecori#: as it were, doubly
+dependent. --#securus et#: The trajection of _et_ (1, 23) gives
+_securus_ a better position. --#angulus#: as in _O si #angulus# ille |
+proximus accedat_, Hor., Sat., 2, 6, 8.
+
+14. #pinguior#: Jahn quotes appositely for the thought, _fertilior seges
+est alienis semper in agris_, Ov., A. A., 1, 349. So Juv., 14, 142:
+_maiorque videtur | et melior vicina seges_. --#adeo omnes#: The
+emphasis of _adeo_ may be given by repetition, _all, ay, all_. The
+supposition is an extreme one, hence the Subjunctive _ditescant_. Notice
+the harsh elision at this point, which is avoided by smoother writers.
+Persius has it fourteen times in all-- eight times in this one Satire--
+which may be interpreted as an indication of its incompleteness.
+
+15. #peioribus#: Comp. Hor., Ep., 1, 6, 22: _#peioribus# ortus_. The
+social sense is the more prominent. --#usque# = _ubi-s-que_, ‘no matter
+where or when,’ hence ‘every where,’ and, as here, ‘always.’
+
+16. #curvus#: ‘bent double.’ --#minui#: ‘lose flesh’ (Conington).
+--#senio#: before my time. Comp. 1, 26. --#uncto#: synonymous with
+‘dainty.’ Jahn comp. Hor., A. P., 422, and 3, 102; 4, 17.
+
+17. #signum tetigisse#: Only good wines were sealed. The miser not only
+seals up his vile stuff, but, in his anxious scrutiny into the state of
+the seal, butts his nose against it-- perhaps with the additional idea
+of helping the sense of sight with the sense of smell. _Recusem
+tetigisse_ = _nolim tetigisse_. Comp. note on 1, 91.
+
+18-24. Others may not agree with me in these views. Even twins born
+under the same star may be widely different. One gives himself a treat
+only on his birthday, and a poor treat it is. Another devours his
+substance before he comes of age. I am for enjoyment, but not for waste;
+for enjoyment, but not for a subtle discernment of the pleasures of the
+table.
+
+18. #his#: On the Dat., see G., 388, R. 1; A., 51, 2, _g_. _His_ is
+Neuter. ‘These views of mine.’ --#geminos#: Comp. Hor., Ep., 2, 2, 183
+seqq. --#horoscope#: ‘natal star,’ ‘star of nativity.’ Comp. note on 5,
+46. --#varo genio#: ‘of diverging temper.’ _#Varus#_ is often used of
+distorted, bowed legs, and _varo genio_ is only Persius’s way of saying
+that the dispositions of twins often go apart.
+
+19. #producis#: ‘bring forth,’ ‘give birth to,’ ‘beget,’ Plaut., Rud.,
+4, 4, 129; Prop., 5, 1, 89 (Conington). Jahn renders it _in lucem edit
+et educat_, which is more in conformity with general usage and with the
+notion of control in the star of nativity. --#solis natalibus#: This
+picture has been much admired. Every word tells. This high-day comes but
+once a year (_solis_), the cabbage is dry (_sine uncto_), he does not
+souse it with oil, as Persius does (_ungue, puer, caules_, v. 69), but
+moistens it (_tingat_) with fish brine (_muria_), which he has bought--
+sly fox that he is (_vafer_)-- in a cup (a cupful at a time, to prevent
+waste), while, with his own hand (_ipse_)-- for he trusts no other-- he
+dusts (_inrorans_) the platter with the dear, precious pepper, sacred in
+his eyes (_sacrum_).
+
+20. #muria#: was a cheap sauce, ‘made of the _thynnus_, and less
+delicate than _garum_, made of the _scomber_’ (Macleane); hence the
+point of buying it only as he wanted it-- a small quantity at a time.
+--#empta#: Both Conington and Pretor direct us to combine _empta_ with
+_muria_. It can not be combined with any thing else, as _calice_ is
+rigidly masculine, Neue, _Formenl._, 1, 691.
+
+21. #sacrum#: _Acerbe dictum quia avarus tamquam sacro parcit_ (Jahn).
+Jahn compares ἅλς θεῖος, but has not overlooked the real point, as Mr.
+Pretor intimates. --#inrorans#: Comp. _instillat_ in a similar
+description of a miser (Avidienus), in Hor., Sat., 2, 2, 62. --#dente
+peragit#: ‘gobbles up’ (Conington). _Peragere_, ‘go through,’ ‘run
+through.’
+
+22. #magnanimus#: Ironical, like Hor., Ep., 1, 15, 27: _rebus maternis
+atque paternis | #fortiter# absumptis_. ‘High-hearted hero.’ --#puer#:
+while a mere lad. ‘Gifford notices the rapidity of the metre, and
+contrasts it with the slowness of v. 20.’ It would have been more to the
+purpose if he had noticed the mockery of the position, which suspends
+the sense. ‘He-- his property-- with nothing but his teeth-- his vast
+estate-- heroic being-- runs through-- while nothing but a boy.’
+
+23. #rhombos#: It suffices to refer to Juv., Sat., 4. --#ponere#: 1, 53.
+For the construction, see Prol., 11.
+
+24. #tenuis--salivas#: ‘delicate juices,’ ‘subtle flavors.’ _Saliva_ =
+_sapor_, as in Plin., H. N., 22, 1, 22: _sua cuique vino #saliva#_, by a
+natural transfer from the consumer to the consumed; or, as Conington
+puts it, from effect to cause. See 5, 112. --#sollers nosse#: Prol., 11.
+--#turdarum#: ‘thrushes,’ ‘fieldfares,’ a well-known delicacy, Hor.,
+Sat., 2, 5, 10; Ep., 1, 15, 41. The Scholiast tells us that the feminine
+is used for the ordinary masculine, because the Brillat-Savarins of the
+period undertook to tell the sex by the taste. The difference between
+_turdorum_ and _turdarum_ reminds one of ‘calipash’ and ‘calipee.’
+
+25-33. The true course is to live fully up to your income and trust to
+the next crop. ‘But suppose an extraordinary demand is made on you.
+Suppose a friend is shipwrecked.’ What easier than to sell a piece of
+land and relieve his wants?
+
+25. #tenus#: here ‘fully up to.’ Jahn makes _tenus_ an Adverb, compares
+Verg., Aen., 1, 737: _summo #tenus# attigit ore_, and explains _messe
+propria vive_ as = _consume fructus agrorum tuorum usque ad finem, quoad
+suppetunt_. --#propria#: ‘Is it not lawful for me to do what I will with
+_mine own_?’
+
+26. #emole#: to the last grain. --#occa#: Comp. Hor., Ep., 2, 2, 161:
+_cum segetes #occat# tibi mox frumenta daturas_. --#in herba#: ‘in the
+blade.’ Ov., Her., 17, 263: _adhuc tua messis in #herba# est_. Have
+something of the farmer’s hopeful spirit. Comp. the Gr. proverb: ἀεὶ
+γεωργὸς εἰς νέωτα πλούσιος.
+
+27. #ast#: 2, 39. An impersonal objector speaks. --#officium# = τὸ
+καθῆκον, which embraces our charity. The Stoics insisted on χρηστότης,
+without prejudice to ἀπάθεια. They wanted _benevolentia_ without
+_misericordia_. See Knickenberg, l.c. p. 90. The poet gets the better of
+the philosopher in Persius. --#trabe rupta#: Comp. 1, 89. --#Bruttia
+saxa#: In the toe of the Italian boot.
+
+28. #prendit#: Casaubon comp. _#prensantemque# uncis manibus capita
+aspera montis_, Verg., Aen., 6, 360 (of Palinurus). --#surdaque vota#:
+_Surdus_ is ‘dull of hearing’ and ‘dull of sound,’ ‘deaf,’ and, as here,
+‘unheard,’ Comp. κωφός, The radical is SVAR, ‘heavy;’ ‘neither his ear
+_heavy_ that it can not hear.’
+
+29. #Ionio#: sc. _sinu_, if we may judge by Juv., 6, 92: _lateque
+#sonantem# pertulit #Ionium#_. Gr. Ἰόνιος #κόλπος#. Comp. Thuc., 1, 24
+with 6, 30. It is used here in a wide sense, as is shown by _Bruttia
+saxa_, v. 27. Comp. Serv. ad Aen., 3, 211: _sciendum #Ionium sinum# esse
+#immensum# ab Ionia usque ad #Siciliam#_. On the translation and
+construction of _Ionio_, see note on Prol., 1. --#ipse#: the master of
+the vessel. G., 297, R. 1.
+
+30. #de puppe dii#: Paintings of the gods. Comp. Verg., Aen., 10, 171:
+_aurato fulgebat #Apolline puppis#_. The gods may have been Castor and
+Pollux, no unlikely ‘sign,’ Acts, 28, 11. _Ingentes_ implies the size of
+the ship and the magnitude of the loss (Jahn). See note on _trabe
+vasta_, 5, 141. --#obvia mergis#: Jahn comp. Hor., Epod., 10, 21: _opima
+quod si praeda eurvo litore | porrecta #mergos# iuveris_. Any large
+sea-bird will answer, such as ‘cormorant.’
+
+31. #lacerae#: Conington comp. Ov., Her., 2, 45: _at #laceras# etiam
+#puppes# furiosa refeci_. --#et#: καί, ‘if need be.’ --#caespite vivo#:
+Comp. Hor., Od., 1, 19, 13; 3, 8, 4; ‘live sod,’ ‘green turf.’ Here
+landed property is meant, in contrast to the income, represented by the
+_messis_.
+
+32. #pictus#: See note on 1, 89. ‘With his picture’ (Conington).
+--#oberret#: ‘go up and down the country.’ --#tabula caerulea#: ‘a
+sea-green board,’ as might be expected from the subject.
+
+33-41. ‘But,’ resumes the interlocutor, ‘your heir will object to your
+curtailing your property, and not show you the proper respect when you
+are dead. You can’t expect to diminish your property without scath. And,
+in fact, you philosophers are very much spoken against on account of the
+bad example you set, the bad influence you have exerted on the common
+people.’ --Well, what of it? Would you care any thing about what was
+done to you or said of you after you are dead?
+
+The connection is much disputed.
+
+33. #cenam funeris#: the _epulum funebre_, the ‘funeral baked meats’ of
+Hamlet, not the _silicernium_ proper, not the _exigua #feralis cena#
+patella_ of Juv., 5, 85, the scanty meal left at the funeral pile for
+the _dis manibus_.
+
+34. #curtaveris#: G., 542; A., 70, 5, _b_. --#urnae#: Do not efface the
+personal conception (G., 344, R. 3; A., 51, N.) by translating ‘put
+into.’ The urn receives; hence _dabit_ = ‘commit,’ ‘consign.’
+
+35. #inodora#: Ov., Trist., 3, 3, 69: _atque ea (= ossa) cum foliis et
+#amomi# pulvere misce_; Tib., 3, 2, 23 (Jahn). --#seu spirent#: 5, 3.
+--#cinnama--casiae#: On the Plural, see G., 195, R. 6; A., 14, 1, _a_.
+--#surdum#: ‘faint,’ a transfer from hearing to smell. On the
+construction, see 5, 25.
+
+36. #ceraso#: This passage is our only authority for the fraudulent
+admixture. Tr., ‘whether the cinnamon have lost the fragrance of its
+breath, or cassia be taken in adulteration with cherry-bark.’ --#nescire
+puratus#: here ‘fully resolved,’ rather than as in 1, 132.
+
+37. #tune bona incolumis minuas#: In his ed. of 1868 Jahn has followed
+Sinner’s suggestion, and transposed parts of vv. 37 and 41, so as to
+read _Haec cinere ulterior metuas_ here, and _Tune bona incolumis
+minuas_ below, as Hermann had done before him, only Hermann puts the
+words in the mouth, not of the objector, but of Persius. I am unable to
+see how either arrangement helps us out of the difficulties of the
+passage. In his ed. of 1843, Jahn makes _tune bona incolumis minuas?_
+the language of the heir, who asks angrily, ‘Do you expect to diminish
+your property without suffering for it?’ It is rather the language of
+the objector, who had just told Persius that he would miss a good
+funeral by curtailing his estate, and who goes on to cite Bestius, as
+another opponent of this new-fangled philosophy. Persius dismisses this
+tirade by the single question: ‘What would all this be to you or me
+after we are dead?’ This gets rid of Bestius as a new speaker. He is
+quoted by the objector. Mr. Pretor translates: ‘Do you mean to say,
+Persius, that _you_ would thus break up your property, while hearty and
+strong, instead of waiting to bequeath it by will on your death-bed?’
+--#incolumis#: χαίρων, _impune_. --#et#: Others besides the heir are
+dissatisfied. --#Bestius#: the _corrector Bestius_ of Hor., Ep., 1, 15,
+37, who is quoted here by the opponent of Persius, as inveighing against
+doctrines that have taught the lower classes to waste their substance on
+condiments and spoil their wholesome fare, after the pattern of such
+gentlemen as Persius. Comp. _usque recusem-- cenare sine uncto_, v. 16,
+and _ungue, puer, caules_, v. 69.
+
+38. #doctores Graios#: Comp. 5, 191. --#Ita fit#: ‘That is the way of
+it.’ --#sapere nostrum#: 1, 9. --#urbi#: with _venit_. _Venire_ with the
+Dat., like the Greek ἐλθεῖν, on account of the personal interest
+involved, ‘came’ being = ‘was brought,’ _allatum est_. See Kühner,
+_A. G._, 2, 351, and Weissenborn on Liv., 32, 6, 4.
+
+39. #cum pipere et palmis#: notoriously foreign productions. Comp.
+_advectus Romam quo pruna et cottona vento_, Juv., 3, 83. _Palmis_ =
+‘dates.’ --#nostrum hoc#: ‘this new wisdom of our day.’ --#maris
+expers#: Hor., Sat., 2, 8, 15: _Chium #maris expers#_. The explanations
+are by no means convincing. _Maris expers._ (1) Not mixed with salt
+water, which was supposed to be wholesome, as in Horace, l.c. (2)
+_insulum_, Heinr., the most simple, ‘foolish philosophy,’ ‘insipid
+sapience.’ (3) Devoid of manliness (Casaubon). Comp. 1, 103, 104, in
+which case _maris_ would be a pun, as there is an evident Horatian
+reminiscence. See Introd., xxiii. But the Horatian passage is itself
+variously interpreted. (4) The rendering, ‘innocent of the sea,’ i.e.,
+‘home-grown,’ is in manifest contradiction to the drift of the passage.
+
+40. #fenisecae#: Type of the rustic laborer. Comp. _fossor_, 5, 122.
+_Fenisecae_, the plebeian spelling for _faenisecae_, seems more
+appropriate here. --#crasso unguine#: They can not get a good article,
+but they are determined to imitate their betters, and so they take a
+poor one. With _crasso unguine_ comp. 3, 104: _crassis amomis_.
+--#vitiarunt pultes#: On _vitiarunt_ comp. 2, 65; _puls_ is the national
+porridge, the _farrata olla_ of 4, 31.
+
+41. #cinere ulterior#: ‘when you are the other side of the grave’ (comp.
+5, 152); περαιτέρω κόνεως (Casaubon).
+
+41-60. Persius turns on his heir: ‘Glorious news has come of a great
+victory. I wish to celebrate it by games-- by largess. Will you forbid
+it? If you don’t want what is left, let it alone. I can get somebody to
+take it-- some beggar, perhaps, related to me through that son of earth,
+Adam.’
+
+42. #quisquis eris#: does not so much show ‘the indifference of Persius
+himself’ to his successor as the utter lack of real personality in the
+Satire. See note on 1, 44. --#seductior#: Comp. 2, 4. _Paulum_ with
+_seductior_. Comp. Petron., 13: _#seduxit# me #paululum# a turba_; and
+Plaut., Asin., 5, 2, 75; Ter., Eun., 4, 4, 39. The Accusative with the
+Comparative is rare but sure, Dräger, l.c. § 245, _b_; for examples with
+_paulum_, Sil., 15, 21; Stat., Theb., 10, 938 (Freund).
+
+43. #o bone#, etc.: The only passage in Persius that deals with the
+political life of his time, the only passage that has any historic
+force. A keen observer in his narrow sphere, Persius has hit off very
+happily the features of this droll triumph of Caligula’s. True, he was
+only seven years old when it took place; but he lost his father when he
+was six, and yet recalls him vividly, and this parade must have made an
+abiding impression, whether he saw it or only heard of it. Caligula’s
+German expedition is recounted in Suet., Calig., 43 seqq.: ‘He ordered a
+triumph, which was to be unprecedentedly splendid, and cheap in
+proportion, as he had a right to the property of his subjects-- changed
+his mind, forbade any proposal on the subject under capital penalties,
+abused the senate for doing nothing, and finally entered the city in
+ovation on his birthday’ (Conington). With _o bone_ comp. _heus bone_,
+3, 94. --#laurus# = _laureata epistola_, the letter bound with bays, in
+which victories were announced.
+
+44. #Germanae pubis#: ‘flower of the German army’ (Pretor), _pubes_
+being = ἡλικία.
+
+45. #aris | frigidus excutitur cinis#: Of course to make room for new
+sacrifices, but _frigidus_ intimates that the ashes had had time to
+cool; such occasions were rare. Comp. Apul., Met., 4, 83: _arae viduae
+#frigido cinere# foedatae_. _Aris_, Dat. _Excutitur_ denotes haste. ‘The
+ashes are hustled off.’ --#postibus#: ‘for the door-posts’ (of temples,
+palaces, the residence of the _triumphator_, and other buildings). With
+the Dative comp. Juv., 6, 51: _necte coronam | #postibus#_.
+
+46. #lutea gausapa#: ‘yellow wools.’ The coarse fabric known as
+_gausapa_ was used to make yellow wigs for the mock German captives. The
+light hair of the Germans is a familiar characteristic, and a similar
+device is recorded of Domitian by Tacitus, Agr., 39 (Jahn). As the
+captives were actually Gauls, Casaubon understands _gausapa_ of the
+common Gallic costume.
+
+47. #Caesonia#: the mistress, and, after the birth of a daughter and the
+divorce of Lollia, the wife of Caligula, Suet., Cal., 25. --#ingentis
+Rhenos#: Jahn understands statues or pictures of the Rhine, to be
+carried in procession, referring to the Jordan on the Arch of Titus, and
+citing Ov., A. A., 1, 223 seqq., for the Euphrates and Tigris. Conington
+adds Verg., Georg., 3, 28, for the Nile, and considers the Plural
+_Rhenos_ sarcastic. The more common interpretation regards _Rhenos_ as
+_Rhenanos_. Suet., l.c. 47, mentions expressly the fact that Caligula
+picked out the tallest men he could find (_procerissimum quemque_) for
+the procession.
+
+48. #genioque ducis#: On _genio_, see 2, 3. The genius of the Emperor
+was publicly worshipped, Ov., Fast., 5, 145. Caligula punished those who
+did not swear by his genius, Suet., Cal., 27. _Ducis_ is sarcastic. ‘So
+Juv., 4, 145; 7, 21, calls Domitian _dux_, with reference to a similar
+exploit, a sham triumph with manufactured slaves’ (Conington, after
+Jahn). --#centum paria#: Comp. Hor., Sat., 2, 3, 85: _ni sic fecissent
+#gladiatorum# dare #centum# | damnati populo #paria# atque epulum_. The
+number is absurd for any ordinary fortune, and the extravagance of the
+threat destroys the dramatic effect on the heir.
+
+49. #induco#: The familiar Present for the Future. _Induco, verbum
+harenae_ (Casaubon). --#aude#: We should say, ‘I dare you’ (Conington).
+
+50. #oleum#: Largesses of oil by Caesar and Nero are recorded by Suet.,
+Caes., 38, Nero, 12 (Jahn). --#artocreas#: ἀρτόκρεας = _visceratio_,
+‘bread-meat’ for ‘bread-and-meat.’ Outside of the numerals, such
+copulative compounds (_dvandva_ in Sanskrit) are rare, and chiefly late.
+Comp. _suovetaurilia_, νυχθήμερον, the famous word of seventy-nine
+syllables in Ar., Eccl., 1169, and Mod. Gr. ἀνδρόγυνον, ‘man-and-wife.’
+Some consider _artocreas_ a kind of meat-pasty. --#popello#: 4, 15.
+
+51, 52. #dic clare#: It were very much to be wished that he had. The
+context seems to require, on the one hand, a motive for the silence of
+the heir; on the other, a motive for declining the inheritance. The
+interpretation of _non adeo-- iuxta est_ depends on the meaning of
+_exossatus_, which is sometimes rendered ‘exhausted,’ ‘impoverished,’
+‘worn out,’ as if ‘boneless’ and ‘marrowless’ were the same thing here;
+sometimes, and with far more probability, ‘cleared of stones.’ A poetic
+allusion to the ‘bones of Mother Earth,’ Ov., Met., 1, 393 seqq.
+(Schol.), would be out of place, and the common culinary sense of
+_exossatus_, ‘boned,’ is in keeping with the homely character of
+Persius’s tropes. _Adeo_ is sometimes considered a Verb, in the sense of
+_adire hereditatem;_ sometimes an Adverb, and connected now with
+_prohibeo_ (from _prohibes_), now with _exossatus_; and, finally, some
+give _exossatus-- est_ to the heir, others to Persius. I subjoin the
+chief distributions and interpretations:
+
+(1.) _Non adeo_, inquis. Exossatus ager iuxta est. Jahn (1843). (Do you
+mean to hinder me? Out with it.) ‘Not exactly,’ you say. Here is a
+worn-out field hard by. If you won’t have it, another will.
+
+(2.) ‘Non adeo,’ inquis? Exossatus ager iuxta est (Conington). You won’t
+accept the inheritance, you say? Here is a field, now, cleared for
+ploughing.
+
+(3.) ‘Non adeo,’ inquis, ‘exossatus ager iuxta est,’ Jahn (1868), which
+may be rendered, ‘I am sure that your land here is not in such very good
+order’ (that you can afford such extravagance). Good order or not, I can
+find some one to take it off my hands, etc.
+
+(4.) Hermann bases his interpretation on the Schol., and understands
+_non adeo exossatus ager_ to be a field that is not wholly cleared of
+stones, to which the heir points as a cogent argument against his making
+a difficulty. He is afraid of a stoning from the people, as above he was
+afraid of doing any thing to disoblige the Emperor (_Lect. Pers._, II.,
+64).
+
+(5.) Teuffel agrees with Hermann’s interpretation of _exossatus_, but
+separates _non adeo_, ‘Not exactly.’ See (1.). ‘There is a field hard by
+from which the stones have [just] been dug up,’ where they are lying in
+convenient heaps.
+
+(6.) Heinrich takes _adeo_ to be the Verb, _exossatus_ as
+‘impoverished,’ and _iuxta_ = _paene_.
+
+(7.) _Non adeo_, inquis. _Exossatus ager iuxta est_ is rendered by Mr.
+Pretor, ‘I can’t quite forbid it; but let me suggest to you that your
+land is impoverished.’
+
+(8.) König understands the heir to say: ‘I will not accept. I have a
+well-tilled piece of land of my own hard by.’
+
+I am not ashamed to acknowledge that the only point about which I am
+convinced is the impossibility of making _exossatus_ mean
+‘impoverished.’
+
+53. #amitis#: _Amita_ is the aunt by the father’s side. See note on 2,
+31. Persius left his property to his mother and sister, and all this
+string of suppositions is in keeping with the impersonal character of
+his heir. Teuffel notices the utter jumble of legal relations.
+--#proneptis patrui#: ‘female cousin twice removed.’
+
+54. #sterilis vixit#: ‘has lived barren’ means ‘has died childless,
+without issue.’
+
+55. #nihilum#: ‘neither chick nor child.’ --#Bovillas#: Bovillae lay
+between Rome and Aricia, and was the first stage on the Appian road,
+hence called ‘suburban’ by Ov., Fast., 3, 667 (Jahn). Persius had an
+estate in the neighborhood.
+
+56. #clivum ad Virbi#: Martial’s _clivus Aricinus_ (2, 19, 3; 12, 32,
+10), a noted station for beggars. Juv., 4, 17: _dignus #Aricinos# qui
+mendicaret ad axes_. Virbius was identified with Hippolytus, and
+worshipped as the hero of Aricia. --#Manius#: a typical beggar’s name.
+There was a proverb: _multi #Mani# Ariciae_, Fest., s.v., with the
+explanation, _multos claros viros ibi fuisse_. The ‘Arician aristocracy’
+must have become a term of contempt by the time of Persius (πάλαι ποτ᾽
+ἦσαν ἄλκιμοι Μιλήσιοι).
+
+57. #progenies terrae#: is the indignant remonstrance of the heir,
+_progenies terrae_ being = the more familiar _terrae filius_, Cic.,
+Att., 1, 13, 4 al.; our ‘groundling’ can answer only as a play on the
+word. --#quartus pater# = _abavus_, ‘great-great-grandfather.’
+
+58. #haud prompte, dicam tamen#: μόλις μὲν, ἐξερῶ δ᾽ ὅμως (Conington);
+μόλις μὲν, ἀλλ᾽ οὖν ἐξερῶ Comp. [Dem.] 58, 26. --#adde etiam unum# =
+_atavum_, ‘one step further back.’
+
+59. #unum etiam# = _tritavum_.
+
+60. #ritu | generis#: ‘by regular descent’ (Conington). Jahn connects
+_generis_ with _avunculus_. --#maior avunculus#: _avii aut aviae
+avunculus est_ (Jahn), ‘great-great-uncle.’ Persius qualifies this
+statement by _prope_, ‘something like,’ but he has not only got the
+degree wrong, but has passed over to the mother’s side. The thought of
+this _frigidiuscula ratio_, as Jahn calls it, does not need
+illustration. Still, comp. Juv., 4, 99: _unde fit ut malim fraterculus
+esse gigantum_. --#exit# = _evadit_, 1, 45; 5, 130.
+
+61-74. Persius: ‘You are getting impatient. Why not wait for your turn?
+I am Fortune. Wait until I drop my purse into your hand, and then be
+satisfied with what I have left in it. _Tadius bequeathed me some
+money._ I know he did. What is that to you? None of your fatherly advice
+about looking after my balance at the banker’s. What do I care about
+“balance?” I will eat a good dinner, and not starve myself for your
+spoilt grandson’s sake.’
+
+61. #qui prior es#: In this form of the λαμπαδηφορία ‘the course was
+marked out in stations, at each of which a new set of runners stood
+ready to take up the race, and so long as the torch remained alight, and
+the conditions of the race were thus fulfilled, it could not exchange
+hands except at particular stations’ (Pretor, after Jahn). Here the man
+in advance is represented as trying to get the torch out of Persius’s
+hands before he has reached the station, while Persius is yet running
+(_in decursu_), which Jahn properly emphasizes. The interpretation is
+much disputed. --#poscis#: implies impatience.
+
+62. #Mercurius#: See note on 2, 11.
+
+63. #pingitur#: Ἑρμῆς κερδῷος, ‘with money-bag in hand.’ Comp. Ar.,
+Ach., 991, 992: πῶς ἂν ἐμὲ καὶ σέ τις Ἔρως ξυναγάγοι λαβών, | ὥσπερ ὁ
+#γεγραμμένος#, ἔχων στέφανον ἀνθέμων. --#vin tu gaudere relictis#:
+_Gaudere_ here almost = ἀγαπᾶν, ‘be thankful for whatever I shall leave
+you.’ According to the ordinary rules of grammar, _vis_ would be the
+rhetorical, _vin_ the genuine form of the question (G., 455), but _ne_
+can not be pinned down by strict rules, as has been remarked. See note
+on 1, 22.
+
+64. #dest aliquid summae#: may be an objection of the heir, or an
+anticipated objection. Persius often reminds us of Mrs. Caudle. --#minui
+mihi#: It was mine, and I diminished it to suit myself. It was mine to
+lessen; what is left will be all your own to keep.
+
+65. #fuge quaerere# = _noli quaerere_, as in Hor., Od., 1, 9, 13.
+
+66. #neu#: 3, 51. --#repone#: ‘dish up again;’ the _paterna dicta_ may
+be considered a _crambe repetita_. Comp. Quint., 2, 4, 29: _cum eadem
+iudiciis pluribus dicunt, fastidium movent velut frigidi et #repo siti#
+cibi_. Persius is nothing if not culinary. Jahn (1868) reads: _oppone_,
+which is clearer but tamer. _Paterna d._ is simply ‘the talk one hears
+from fathers,’ severe old gentlemen on the stage.
+
+67. #faenoris--reliquum est#: clearly a specimen of fatherly counsel.
+Every Polonius has something to say to his Laertes on this subject
+(Hamlet, 1, 3). Persius’s Polonius advises his son to keep an account,
+enter (_accedat_ = _apponatur_, see note on 2, 2) his interest on the
+credit side, charge his expenses to the debit side, and find the
+remainder-- in other words, to live carefully within the income of his
+property. Before the old gentleman gets through, Persius repeats his
+last word mockingly: ‘Remainder? Hang the remainder.’ This is also
+Conington’s view, who compares the commercial arithmetic lesson in Hor.,
+A. P., 327 seqq. --#merces#: Hor. uses _merces_ alone in the same sense
+as _faenoris merces_ here, Sat., 1, 2, 14. 3, 88. --#hinc#: from the
+capital, or from the interest, or from both. I am inclined to refer
+_hinc_ to the side of the account.
+
+69. #ungue caules-- festa luce#: See note on v. 19.
+
+70. #urtica#: Comp. Hor., Ep., 1, 12, 7: _abstemius herbis | vivis et
+#urtica#_; and Sat., 2, 2, 117: _#holus fumosae# cum pede pernae_
+(Jahn). --#sinciput#: ‘pig’s cheek.’ The swine was the common sacrifice
+and the common dish. --#aure#: _Fissa aure_ seems to be nothing more
+than a picturesque detail. The pig’s head was bung up in the smoke by a
+slit in its ear.
+
+71. #tuus iste nepos#: Mr. Pretor sees a trace of incompleteness in the
+mention of _tuus iste nepos_, ‘whose existence has never before been
+hinted at.’ The _nepos_ is hauled up out of the inane like the
+_quisquis_ heir himself. --#anscris extis#: Comp. Juv., 5, 114:
+_#anseris# ante ipsum magni #iecur#_.
+
+73. #patriciae#: implies great expense. This coarse combination of
+sensual pleasures is an argument in favor of the old-fashioned
+interpretation of _Calliroen_, 1, 134. --#trama#: Fr. _trame_, ‘woof.’
+Such terms are apt to stick. Others translate falsely ‘warp.’ ‘_Trama
+figurae_ is “a thread-paper figure,” as _trama_ is the thread of the
+woof, which crosses that of the upright _stamen_ or warp, and when the
+nap is worn off the cloths, these threads are laid bare.’ Stocker,
+quoted by Pretor.
+
+74. #tremat#: ‘quiver,’ like jelly, ‘wag.’ --#omento#: ‘fatty caul,’
+‘fat,’ 2, 47. --#popa#: used as a Substantive. Comp. Prol., 13.
+‘Alderman-belly,’ instead of an ‘aldermanic belly.’ ‘They which waited
+at the altar’-- for the _popae_ were the priests’ assistants-- ‘were
+partakers with the altar’ (1 Cor., 9, 13), and waxed fat on the _iunicum
+omenta_. Pretor quotes Prop., 4, 3, 62: _succinctique calent ad nova
+lucra #popae#_.
+
+75-80. Commentators notice the abrupt transition. Jahn says that the
+dialogue is dropped, but who expects invariably close connection between
+two heads of a sermon? In my judgment Persius is still hammering away at
+his impatient heir, and bids him earn money for himself, if he is not
+content to wait for Persius’s death, and does not like Persius’s mode of
+living. ‘Sell your life, ransack the world, drive every trade. Double,
+treble, quadruple, decuple your property. But you will find that there
+is no point where you can stop, where you will be rich enough.’
+
+75. #vende animam lucro#: Casaubon comp. the Greek proverb: θανάτου
+ὤνιον τὸ κέρδος, and Longin., Sublim., 44: τὸ ἐκ τοῦ παντὸς κερδαίνειν
+ὠνούμεθα τῆς ψυχῆς. --#excute#: (for the last time of eight) ‘ransack.’
+
+76. #latus mundi#: Hor., Od., 1, 22, 19 (Conington). --#nec# = _neu_.
+See 1, 7.
+
+77. #Cappadocas#: The slaves of Cappadocia were, as a rule, tall and
+well grown (Petron., 63), and good litter-bearers (Mart., 6, 77, 4)
+(Jahn), but in other respects extremely undesirable cattle. --#rigida#:
+‘fixed upright.’ _#Rigidae# columnae_, Ov., Fast., 3, 529 (Jahn).
+--#plausisse#: So Jahn (1868). In 1843 he edited _pavisse_, and comp.
+_quot pascit servos?_ Juv., 3, 141, and other passages. But _pāvisse_
+may have been intended as a Third Conjugation Perf. from _păvio_, and
+hence = _plausisse_. So Longfellow uses ‘dove’ for ‘dived.’ Slaves were
+slapped to try their condition. On the Inf. and the Perfect, see _opifex
+intendisse_, v. 3, note. --#catasta#: ‘platform.’ The sense of the
+passage, ‘Make yourself an expert in slave flesh.’
+
+78. #feci--sistam#: words of the avaricious man. The passage is imitated
+from Hor., Ep., 1, 6, 34: _mille talenta rotundentur, totidem altera,
+porro | tertia succedant et quae pars quadret acervum_. --#quarto#: as
+if he had written _ter_ before.
+
+79. #redit#: the regular word for ‘income,’ ‘revenue.’ Comp. _reditus_.
+--#rugam#: _Ruga_ = _sinus_, ‘fold in a garment.’ The _sinus_ answers to
+our ‘pocket,’ hence ‘purse.’ The _ruga_, then, is the _rugosum
+marsupium_ (Heinrich), or the ‘yet unfilled bosom’ of Juv., 14, 327. ‘It
+comes into a purse that wrinkles still.’ To bring this out more clearly
+Mr. Paley (ap. Pretor) puts a semicolon after _deciens_. --#depunge#: So
+Jahn (1868) for his previous _depinge_. ‘Prick a hole.’ --#ubi sistam#:
+G., 469, 623; A., 67, 2, _b_.
+
+80. #inventus#: Ironical. ‘So some one has been found, Chrysippus, to
+mark the limit of your heap.’ If you can find a man to put a bound to
+greed, you can find a man to solve the _sorites_ of Chrysippus. The
+fallacy called the σωρείτης, or σωριτης, Lat. _acervus_, is often
+mentioned; so in Hor., Ep., 2, 1, 47, where it is illustrated by pulling
+hair after hair from the tail of a horse, and taking year after year
+from the age of a poet. See Hamilton’s Lectures on Logic, p. 268 (Am.
+ed.).
+
+
+CRITICAL APPENDIX.
+
+SATURA VI.
+
+5. #iocis#: Heinr. _ex coni._; iocos, J., H., Codd. --6. #egregius#:
+egregios _al_. --#senes#: senex, H. --16. #cenare#: coenare, J{α}., H.
+--17. #lagoena#: lagena, J{α}., H. --20. #tingat#: J{α}., H., Bramb.;
+tinguat, J{ω}. --#holus#: olus, J{α}., H. --#empta#: emta, J{α}., H.
+--24. #tenuis salivas#: tenuem salivam, J{α}. --30. #dii#: Brambach;
+dei, J., H. --31. #caespite#: Brambach; cespite, J., H. --33. #cenam#:
+coenam, J{α}., H. --34. #negleget#: negliget, J{α}., H. --37. #tune bona
+incolumis minuas#: J{α}.; _haec verba et v. 41 verba_ haec-- metuas
+_transposuit Sinnerus quem secuti sunt_ J{ω}. _et_ H. --40. #fenisecae#:
+faenisecae, J{α}.; foenisacae, H. --50. #conives#: connives, J{α}., H.
+--51. #inquis#: inquis. J{α}. --64. #dest#: deest, J{α}., H. --66.
+#Tadius#: Stadius J{α}. --#repone#: J{α}., H.; oppone, J{ω}. --67.
+#faenoris#: Brambach; fenoris, J{ω}.; foenoris, J{α}., H. --#sumptus#:
+sumtus, J{α}. --69. #ungue#: unge, J{α}. --#coquetur#: coquatur, J{α}.,
+H. --77. #plausisse#: pavisse, J{α}. --79. #depunge#: depinge, J{α}., H.
+
+
+       *       *       *       *       *
+
+    VITA A. PERSII FLACCI
+
+    DE COMMENTARIO PROBI VALERII SUBLATA.
+
+
+       *       *       *       *       *
+
+  [The line divisions and numbers of the original have been retained,
+  although they are not used in any editorial references. Brackets
+  are in the original. Note that the first page break is inconsistent
+  with the following line numbers.]
+
+
+  A. Persius Flaccus natus est pridie nonas Decembris
+  Fabio Persico L. Vitellio coss. decessit VIII kalendas
+  Decembris P. Mario Asinio Gallo coss.                            5
+
+  natus est in Etruria Volaterris, eques Romanus, sanguine
+  et affinitate primi ordinis viris coniunctus. decessit
+  ad octavum miliarium in via Appia in praediis
+  suis.
+
+  pater eum Flaccus pupillum reliquit moriens annorum             10
+  fere sex. Fulvia Sisennia mater nupsit postea
+  Fusio equiti Romano et eum quoque extulit inter
+  paucos annos.
+
+  studuit Flaccus usque ad annum XII aetatis suae
+  Volaterris, inde Romae apud grammaticum Remmium                 15
+  Palaemonem et apud rhetorem Verginium Flavum.
+  cum esset annorum XVI, amicitia coepit uti Annaei
+  Cornuti, ita ut ab eo nusquam discederet. inductus
+  aliquatenus in philosophiam est.
+
+  amicos habuit a prima adulescentia Caesium Bassum               20
+  poetam et Calpurnium Staturam, qui vivo eo iuvenis
+  decessit. coluit ut patrem Servilium Nonianum. cognovit
+  per Cornutum etiam Annaeum Lucanum, aequaevum
+  auditorem Cornuti. [nam Cornutus illo tempore
+    [-- page --]
+  tragicus fuit sectae stoicae. sed] Lucanus adeo mirabatur
+  scripta Flacci, ut vix retineret se recitantem clamore,
+  quin illa [esse] vera poemata diceret, etsi ipse
+  sua ludos faceret. sero cognovit et Senecam, sed non
+  ut caperetur eius ingenio. usus est apud Cornutum
+  duorum convictu virorum et doctissimorum et sanctissimorum,      5
+  acriter tum philosophantium, Claudii Agathemeri,
+  medici, Lacedaemonii, et Petronii Aristocratis,
+  Magnetis, quos unice miratus est et aemulatus, cum aequales
+  essent, Cornuti minores et ipsi.
+
+  idem etiam decem fere annos summe dilectus a Paeto              10
+  Thrasea est, ita ut peregrinaretur quoque cum eo aliquando,
+  cognatam eius Arriam habente uxorem.
+
+  fuit morum lenissimorum, verecundiae virginalis,
+  formae pulchrae, pietatis erga matrem et sororem et
+  amitam exemplo sufficientis.                                    15
+
+  fuit frugi et pudicus.
+
+  reliquit circa HS vicies matri et sorori. scriptis tamen
+  ad matrem codicillis Cornuto rogavit ut daret sestertia,
+  ut quidam, centum, ut alii volunt et argenti facti
+  pondo viginti et libros circa septingentos Chrysippi sive       20
+  bibliothecam suam omnem. verum Cornutus sublatis
+  libris pecuniam [sororibus, quas heredes frater fecerat]
+  reliquit.
+
+  et raro et tarde scripsit. hunc ipsum librum inperfectum
+  reliquit. versus aliqui dempti sunt ultimo libro,               25
+  ut quasi finitus esset. leviter retractavit Cornutus
+  et Caesio Basso petenti, ut ipsi cederet, tradidit
+  edendum.
+
+    [-- page --]
+  scripsit etiam Flaccus in pueritia praetextam † vescio
+  et hodoeporicon librum unum et paucos in socrum
+  Thraseae [in Arriae matrem] versus, quae se
+  ante virum occiderat. omnia ea auctor fuit Cornutus
+  matri eius ut aboleret.                                          5
+
+  editum librum continuo mirari et diripere homines
+  coepere.
+
+  decessit autem vitio stomachi anno aetatis XXX.
+
+  sed mox ut a scholis et magistris divertit, lecto libro
+  Lucilii decimo vehementer saturas conponere instituit.          10
+  cuius libri principium imitatus est, sibi primo, mox omnibus
+  detracturus cum tanta recentium poetarum et oratotum
+  insectatione, ut etiam Neronem [illius temporis
+  principem] culpaverit. cuius versus in Neronem cum
+  ita se haberet ‘auriculas asini Mida rex habet,’ in eum         15
+  modum a Cornuto, Persio iam tum mortuo, est commutatus
+  ‘auriculas asini quis non habet?’ ne hoc Nero in
+  se dictum arbitraretur.
+
+  QUINTILIANUS X, 1, 94 multum et verae gloriae
+  quamvis uno libro Persius meruit.                               20
+
+  MARTIALIS IV, 9, 7
+  Saepius in libro numeratur Persius uno,
+    quam levis in tota Marsus Amazonide.
+
+  IOANNES LYDUS DE MAG. I, 41 Πέρσιος δὲ
+  τὸν ποιητὴν Σώφρονα μιμήσασθαι θέλων τὸ Λυκόφρονος              25
+  παρῆλθεν ἀμαύρον.
+
+
+       *       *       *       *       *
+
+CRITICAL APPENDIX.
+
+
+The first reading is the reading of this edition, which, in the absence
+of any statement to the contrary, coincides with Jahn’s edition of 1868.
+Variations in spelling have been noted where they have been deemed
+instructive.
+
+  J{α}. = Jahn, ed. of 1843.
+  J{ω}. =  “       “   1868.
+  J.    =  “    both editions.
+  H.    = Hermann (1854).
+
+  [The remainder of the Critical Appendix has been distributed among
+  the individual Satires.]
+
+
+       *       *       *       *       *
+
+    INDEX.
+
+
+       *       *       *       *       *
+
+  [Transcriber’s Note:
+
+  All references are to Satires and line numbers, not to physical
+  pages. Punctuation is German-style, so:
+    Prol., 14; 1, 11. 106; 3, 59. 110; 4, 34
+  may be read as:
+    Prologue line 14
+    Satire 1 lines 11, 106
+    Satire 3 lines 59, 110
+    Satire 4 line 34]
+
+
+  A.
+
+  abaco, 1, 131.
+  abavus, 6, 57 (note).
+  Ablative in ī, 1, 62. 83.
+    not necessarily locative, Prol., 1; 2, 35; 6, 8.
+  accerso, 2, 45.
+  Acci, 1, 76.
+  accipio, 5, 87.
+  Accusative cognate, Prol., 14; 1, 11. 106; 3, 59. 110; 4, 34;
+      5, 25. 106. 123. 190; 6, 35.
+    for abl., 6, 42.
+  acerra, 2, 5.
+  aceti morientis, 4, 32.
+  aceto lotus, 5, 86.
+  acre despuat, 4, 34.
+  acre servitium, 5, 127.
+  acri iunctura, 5, 14.
+  actus teneat, 5, 99.
+  ad, 5, 123.
+  adductis amicis, 3, 47.
+  adeo, 6, 14. 51.
+  adferre sensus, 1, 69.
+  adflate, 1, 123.
+  Adjective for Subst., 1, 107; 2, 74; 3, 52.
+  admissus, 1, 117.
+  admovere templis, 2, 75.
+  adnuere his, 2, 43.
+  adrodens, 5, 163.
+  adsensere viri, 1, 36.
+  adsigna tabellas, 5, 81.
+  adsonat, 1, 102.
+  adverso, ex adv. dicere, 1, 44.
+  Aegaeum rapere, 5, 142.
+  aegroti veteris, 3, 83.
+  Aegyptus, sons of, 2, 56 (note).
+  aenos fratres, 2, 56.
+  aequali Libra, 5, 47.
+  aera invenci, 3, 39.
+    Saturnia, 2, 59.
+  aerumnis, 1, 78.
+  aerumnosi, 3, 79.
+  agaso, 5, 76.
+  agedum, 2, 22.
+  ager exossatus, 6, 52.
+  agitare iocos (?), 6, 5.
+  Ague, semitertian, 3, 91.
+  ait (indef. person), 1, 40.
+  alba, 1, 110.
+  albata, 2, 40.
+  albo ventre, 3, 98.
+  albus cum sardonyche, 1, 16.
+    timor, 3, 115.
+  Alcibiades, 4, 3 (note).
+  alea, 5, 57.
+  algente catino, 3, 111.
+  alges, 3, 115.
+  aliquid, 3, 60; 5, 137.
+  aliquis, 3, 8.
+  alitus gravis, 3, 89.
+  alli caput, 5, 188.
+  ambages succinis, 3, 20.
+  ambiguum iter, 5, 34.
+  ambitio cretata, 5, 177.
+  amitis, 6, 53.
+  amomis crassis, 3, 104.
+  amplexa catinum, 5, 182.
+  an, 1, 41.
+  anceps, 4, 11; 5, 156.
+  anguis duos, 1, 113.
+  angulus, 6, 13.
+  anhelo, 1, 14; 5, 10.
+  animae pars, 5, 23.
+  animam vende, 6, 75.
+  anne, 3, 39.
+  anseris exta, 6, 71.
+  ante boves, 1, 74.
+  Anticyras, 4, 16.
+  Antiopa, 1, 78.
+  antithetis rasis, 1, 86.
+  anus, 4, 19.
+  Aorist descriptive, 3, 101; 5, 187.
+    gnomic, 2, 5.
+    infinitive, 1, 132; 2, 66; 5, 33; 6, 77.
+  aperto voto, 2, 7.
+  ἀποτρόποισι δαίμοσι, 5, 167.
+  Appennino, 1, 95.
+  apponit annos, 2, 2.
+  apposita regula, 5, 38.
+  apricatio, 4, 18. 19. 33 (note).
+  aprici senes, 5, 179.
+  aptius, 1, 45.
+  Apula canis, 1, 60.
+  aqualiculus, 1, 57.
+  arator peronatus, 5, 102.
+  aratra, 1, 75.
+  aratro, 4, 41.
+  Arcadiae pecuaria, 3, 9.
+  Arcesilas, 3, 79.
+  arcessat, 5, 172.
+  arcessis, 2, 45.
+  arcum dirigere, 3, 60.
+  argenti creterras, 2, 52.
+    seria, 2, 10.
+  argento modus, 3, 69.
+  Aricia, 6, 56 (note).
+  aris excutere, 6, 44.
+  aristas excutere, 3, 115.
+  Aristophanes, 1, 124 (note).
+  arma virum, 1, 96.
+  Arreti, 1, 130.
+  ars = philosophia, 5, 105.
+  articulos fregerit, 5, 59.
+  artifex ponere, 1, 71.
+    sequi, Prol., 11.
+  artificem vultum, 5, 40.
+  artis magister, Prol., 10.
+  artocreas, 6, 50.
+  asini, 1, 121.
+  asper nummus, 3, 69.
+  ast, 2, 39.
+  astringas, 5, 110.
+  Astrology, 5, 46 (note).
+  astutam vulpem, 5, 117.
+  at, 1, 28; 5, 62.
+  atavus, 6, 58 (note).
+  atque (after compar.), 5, 131.
+  Atti, 1, 50.
+  Attis, 1, 93. 105.
+  Attribute for effect, Prol., 4; 17.
+  audaci Cratino, 1, 123.
+  aude, 6, 49.
+  auratis laquearibus, 3, 40.
+  aure vaporata, 1, 126.
+  aurem lotus, 5, 86.
+  aures bibulas, 4, 50.
+  auriculas albas, 1, 59.
+    asini, 1, 121.
+    emere, 2, 30.
+    radere, 1, 108.
+  auro ovato, 2, 55.
+    pingui, 2, 52.
+    subaerato, 5, 106.
+  auster infelix, 6, 12.
+  aut and an, 5, 5.
+  avaritia, 5, 132.
+  avia, 2, 31.
+  avias veteres, 5, 92.
+  avunculus maior, 6, 60.
+  axe secundo, 5, 72.
+
+
+  B.
+
+  bacam conchae, 2, 66.
+  balanatum, 4, 37.
+  balba nare, 1, 33.
+  balnea, 5, 126.
+  balteus, 4, 44.
+  barba aurea, 2, 58.
+  barbatus magister, 4, 1.
+  Bassaris, 1, 101.
+  Bassus Caesius, 6, 1 (note).
+  Bathylli, 5, 123.
+  Baucis, 4, 21.
+  beatulus, 3, 103.
+  belle, 1, 49.
+  bellum (adj.), 1, 87.
+  bene, 1, 111; 4, 30.
+  Berecyntius, 1, 93.
+  Bestius, 6, 37.
+  beta, 3, 114.
+  bibulas aures, 4, 50.
+  bicipiti Parnaso, Prol., 2.
+  bicolor membrana, 3, 10.
+  bidental, 2, 27.
+  bile acri, 2,14.
+    commota, 4, 6.
+  bilis mascula, 5, 144.
+    vitrea, 3, 8.
+  Birthday, 2, 1.
+  bis terque, 2, 16.
+  Blaesus Pedius, 1, 85 (note).
+  blandi comites, 5, 32.
+  blando popello, 4, 15.
+  bombis, 1, 99.
+  bona mens, 2, 8.
+    pars, 2, 5.
+  bone, 3, 94; 6, 43.
+  βουθυτεῖν, 2, 44.
+  bove caeso, 2, 44.
+  Bovillas, 6, 55.
+  bracatis Medis, 3, 53.
+  Brisaei, 1, 76.
+  Bruto liberior, 5, 85.
+  bruma, 6, 1.
+  Bruttia saxa, 6, 27.
+  buccas tumidas, 5, 13.
+  bulla donata, 5, 31.
+  bullatis nugis, 5, 19.
+  bullit, 3, 34.
+  buxum torquere, 3, 51.
+
+
+  C.
+
+  caballino fonte, Prol., 1.
+  cachinno, 1, 12.
+  cachinnos ingeminare, 3, 87.
+  caeco occipiti, 1, 62.
+  caecum vulnus, 4, 44.
+  caedimus, 4, 42.
+  caelestium inanes, 2, 61.
+  caerulea tabula, 6, 33.
+  caepe tunicatum, 4, 31.
+  caeso bove, 2, 44.
+  Caesonia, 6, 47.
+  caespite vivo, 6, 31.
+  Calabrum vellus, 2, 65.
+  calamo, 3, 12. 19.
+  calcaverit, 2, 38.
+  calces extendit, 3, 105.
+    gender of, _ib._
+  calet, 3, 108.
+  calice, 6, 20.
+  calidae turbae, 4, 7.
+  calidum sumen, 1, 53.
+    triental, 3, 100.
+  Caligula, 6, 43 (note).
+  callem surgentem, 3, 57.
+  calles, 4, 5.
+  callidus, 5, 14.
+    suspendere naso, 1, 118.
+  Calliroen, 1, 134.
+  caloni, 5, 95.
+  calve, 1, 56.
+  camelo sitiente, 5, 136.
+  Camena hortante, 5, 21.
+  camino coquitur, 5, 10.
+  campo indulgere, 5, 57.
+  candelae, 3, 103.
+  candidus dies, 2, 2.
+    umbo, 5, 33.
+  canem cave, 1, 109 (note).
+  canicula, 3, 5.
+    damnosa, 3, 49.
+  canina littera, 1, 109.
+  canis (capillis), 5, 65.
+  canis Apula, 1, 60.
+  cano capiti, 1, 83.
+  canitiem, 1, 9.
+  cannabe, 5, 146.
+  cantare ocima, 4, 22.
+    nectar, Prol., 14.
+  cantum, 5, 71.
+  capedines, 2, 59 (note).
+  capillis positis, 3, 10.
+  capite et pedibus, 5, 18.
+    induto, 3, 106.
+    obstipo, 3, 80.
+  capiti cano, 1, 83.
+  Cappadocas, 6, 77.
+  caprificus, 1, 25.
+  caput alli, 5, 188.
+    laxum, 3, 58.
+  carbone notare, 5, 108.
+  carere culpa, 3, 33.
+  carmen robustum, 5, 5.
+  carpamus dulcia, 5, 151.
+  casia, 2, 64; 6, 36.
+  casses artos, 5, 170.
+  castigare examen, 1, 7.
+  castoreum, 5, 135.
+  catasta, 6, 77.
+  catenae, 5, 160.
+  catino, 3, 111.
+    catinum rubrum, 5, 182.
+  Catonis morituri, 3, 45.
+  caudam iactare, 4, 15.
+  caules ungue, 6, 69.
+  cansas rerum, 3, 66.
+  cautus dinoscere, 5, 24.
+  cedo, 2, 75.
+  cedro, 1, 42.
+  celsa sede, 1, 17.
+  cena funeris, 6, 33.
+  cenanda, 5, 9.
+  censen, 5, 168.
+  censorem tuum, 3, 29.
+  centenas voces, 5, 26.
+  centeno gutture, 5, 6.
+  centum voces poscere, 5, 1.
+    paria, 6, 48.
+  centuriones, 5, 189.
+  centurionum, 3, 77.
+  centusse curto, 5, 191.
+  ceraso peccent, 6, 36.
+  cerdo, 4, 51.
+  certo puncto, 5, 100.
+  cervice laxa, 1, 98.
+  cervices purpureas, 3, 41.
+  cessas, 5, 127.
+  cesses, 4, 33.
+  cessit pavido, 5, 30.
+  ceves, 1, 87.
+  chaere = χαῖρε, Prol., 8.
+  Chaerestratus, 5, 162.
+  chartae, 3, 11.
+  chartis nocturnis, 5, 62.
+  cheragra, 5, 58.
+  Cherry pit, 3, 50.
+  chlamydes, 6, 46.
+  chordae, 6, 2.
+  chrysendeta, 2, 52 (note).
+  Chrysidis, 5, 165.
+  Chrysippus, 6, 80.
+  cicer, 5, 177.
+  ciconia, 1, 58.
+  cicutae, 4, 2; 5, 145.
+  Cincinnatus, 1, 73 (note).
+  cinere ulterior, 6, 41.
+  cinis, 5, 152.
+  cinis frigidus, 6, 45.
+  cippus, 1, 37.
+  cirratorum, 1, 29.
+  citius, 5, 95.
+  citreis lectis, 1, 53.
+  cives, 6, 9.
+  cladem, 6, 44.
+  clamare sese, 2, 23.
+  clauso murmure, 5, 11.
+  Cleanthea fruge, 5, 64.
+  clivum Virbi, 6, 56.
+  cludere versum, 1, 93.
+  Coa lubrica, 5, 135.
+  cocta fidelia, 3, 22.
+  cognatis siccis, 5, 164.
+  colligis = συλλογίζει, 5, 85.
+  collo orcae, 3, 50.
+  collueris, 1, 18.
+  columbo, 3, 16.
+  comitem, 1, 54.
+  comites, 5, 32.
+  comitum, 3, 7.
+  committere, 2, 4.
+  commota bile, 4, 6.
+  conari, Prol., 9.
+  conchae baca, 2, 66.
+  concordia fata, 5, 49.
+  condidit Ionio, 6, 29.
+  conditur uxor, 2, 14.
+  conives, 6, 50.
+  conpage soluta, 3, 68.
+  conpescere examen, 5, 100.
+  conpita, 4, 28; 5, 35.
+  conpositas venas, 3, 91.
+  conpositum ius, 2, 73.
+  conpositus lecto, 3, 104.
+  consentire, 5, 46.
+  consumere cras, 5, 68.
+    soles, 5, 41.
+  contemnere, 3, 21.
+  Copulative compounds, 6, 50.
+  coquere messis, 3, 6.
+    vellus, 2, 65.
+  coquitur massa, 5, 10.
+  cor Enni, 6, 10.
+    luctificabile, 1, 78.
+  corbes, 1, 71.
+  cornea, 1, 47.
+  cornicaris, 5, 12.
+  cornua torva, 1, 99.
+  Cornute, 5, 23. 37.
+  corrupto olivo, 2, 64.
+  cortice pingui, 1, 96.
+  corvos poetas, Prol., 13.
+    corvos sequi, 3, 61.
+  corymbis, 1, 101.
+  costa ratis, 6, 31.
+  costam subduximus, 1, 95.
+  cras hesternum, 5, 68.
+  crassa tucceta, 2, 42.
+  Crassi aedes, 2, 36.
+  crassis amomis, 3, 104.
+  crassos dies, 5, 60.
+  crassum ridere, 5, 190.
+  Craterus, 3, 65.
+  Cratinus, 1, 123.
+  crepet, 2, 11.
+    solidum, 5, 25.
+  crepidas, 1, 127.
+  crepuere dentes, 3, 101.
+  creta notare, 5, 108.
+  cretata ambitio, 5, 177.
+  cribro populi, 3, 112.
+  crispante naso, 3, 87.
+  Crispini balnea, 5, 126.
+  crudi, 1, 51.
+  crudis, 1, 92.
+  crudo pulvere, 2, 67.
+  crudum unguem, 5, 162.
+  crura praebere, 4, 42.
+  cubito tangere, 4, 34.
+  cuinam? cuinam? 2, 19.
+  cuivis, 2, 6.
+  culpa carere, 3, 33.
+  cultor invenum, 5, 63.
+  cultrix foci, 3, 26.
+  cum = postquam, 1, 9.
+  cuminum, 5, 55.
+  cunis exemit, 2, 31.
+  curas hominum, 1, 1.
+  curata cuticula, 4, 18.
+  Curibus, 4, 26.
+  curo, 3, 78.
+  curta supellex, 4, 52.
+  curtare rem, 6, 34.
+  curto centusse, 5, 191.
+  curva, 4, 12.
+  curvae in terris, 2, 61.
+  curvos mores, 3, 52.
+  curvus, 6, 16.
+  custos purpura, 5, 30.
+  cute, in c. figere, 4, 33.
+    in c. novi, 3, 30.
+    perditus, 1, 23.
+  cuticula curata, 4, 18.
+  cutis aegra, 3, 63.
+  Cybele, 5, 186 (note).
+  cynico, 1, 133.
+
+
+  D.
+
+  δακτυλοδεικτεῖσθαι, 1, 28.
+  Dama, 6, 76. 79.
+  damnosa canicula, 3, 49.
+  Damocles, 3, 39 (note).
+  Danaides, 2, 56 (note).
+  dare verba, 3, 19; 4, 45.
+  Dative case, 1, 116. 126; 6, 34.
+  datum seutire, 5, 124.
+  Davus, 5, 161.
+  decenter, 1, 84.
+  decerpere, 5, 42.
+  decipe nervos, 4, 45.
+  decoctius, 1, 125.
+  decoquit, 5, 57.
+  decor, 1, 92.
+  decorus pelle, 4, 14.
+  decursu, 6, 61.
+  decussa farina, 3, 112.
+  dedecus, 1, 81.
+    obsto, 5, 163.
+  deducit, 5, 35.
+  defigere culpam, 5, 16.
+  deinde, 4, 8; 5, 143.
+  δεισιδαιμων, 2, 31.
+  delphin, 1, 94.
+  delumbe, 1, 104.
+  demersus, 3, 34.
+  demorsos, 1, 106.
+  demum, 1, 64.
+  dentalia terens, 1, 73.
+  dente peragere, 6, 21.
+  dentes refecti, 3, 101.
+  depellentibus dis, 5, 167.
+  deposcere voces, 5, 26.
+  deprendere mores, 3, 52.
+  depunge, 6, 79.
+  deradere limum, 4, 29.
+  derigere, 1, 66.
+  descendere in sese, 4, 23.
+  despuat, 4, 35.
+  despumare, 3, 3.
+  destertuit, 6, 10.
+  detonsa, 3, 54.
+  deunces, 5, 150.
+    dexter senio, 3, 48.
+  dextro Hercule, 2, 12.
+    Iove, 5, 114.
+  dia, 1, 31.
+  Dice, 3, 48.
+  dicenda tacenda, 4, 5.
+  dicier, 1, 28.
+  dictarunt, 1, 52.
+  dictata, 1, 29.
+  dictatorem induit, 1, 74.
+  diducere ramos, 3, 56.
+  dies Herodis, 5, 180.
+  digito infami = medio, 2, 33.
+    monstrari, 1, 28.
+  digitum exsere, 5, 119.
+  digna cedro, 1, 42.
+  dilutas guttas, 3, 14.
+  Dinomaches, 4, 20.
+  dinoscere cautus, 5, 25.
+    speciem, 5, 105.
+  dirimebat, 1, 94.
+  discernere rectum, 4, 11.
+  discincti Nattae, 3, 31.
+  discincto vernae, 4, 22.
+  discolor usus, 5, 52.
+  discrepet, 6, 18.
+  discutitur, 2, 25.
+  dis depellentibus, 5, 167.
+    iratis, 4, 27.
+  disponere, 5, 43.
+  Dissimilation, 1, 72.
+  dissutis malis, 3, 59.
+  ditescant, 6, 15.
+  diversum, in d. scindere, 5, 154.
+  dividere in Geminos, 5, 49.
+  doctas figuras, 1, 86.
+  doctores Graios, 6, 38.
+  dolores finire, 5, 161.
+  dolosi nummi, Prol., 12.
+  domini, 5, 130.
+  domo maiore, 3, 92.
+  δραπετεύειν, 5, 156.
+  ducere bona, 2, 63.
+    ferrum, 5, 4.
+    ramum, 3, 28.
+    vultum, 5, 40.
+  duci ab uno sidere, 5, 46.
+  ducis genio, 6, 48.
+  dum, 3, 4; 5, 10.
+  dum ne, 4, 21.
+  duplici hamo, 5, 154.
+  durum holus, 3, 112.
+
+
+  E.
+
+  ebria, 1, 50.
+  ebulliat, 2, 10.
+  ecce, 1, 30; 2, 31.
+  echo, 1, 102.
+  edictum, 1, 134.
+  effluis, 3, 20.
+  effundat, 1, 65.
+  egerit, 5, 69.
+  egregius lusisse, 6, 6.
+  εἶεν, 4, 20.
+  ἐκσειειν, 1, 49.
+  elargiri, 3, 71.
+  elegidia, 1, 51.
+  ἐλευθέριος Ζεύς, 5, 114.
+  elevet, 1, 6.
+  eliquat, 1, 35.
+  Elision, 4, 14.
+  elixas, 4, 40.
+  Ellipsis, 1, 4; 3, 19; 5, 139; 6, 29.
+  emaci prece, 2, 3.
+  emeruit, 5, 74.
+  emole, 6, 26.
+  ἐμπαιστά, 2, 52.
+  empta in calice, 6, 20.
+  emunctae naris, 1, 118.
+  en, 1, 26.
+  enarrabile, 5, 29.
+  enim, 1, 63.
+  Enni cor, 6, 10.
+  Ennius, Prol., 2; 6, 10 (note).
+  ensis, 3, 40.
+  Epithets, general, Prol., 12.
+  epulis, 5, 42.
+  equidem, 1, 110; 5, 19. 45.
+  Ergenna, 2, 26.
+  erilis metus, 5, 131.
+  error, 5, 34.
+  escas, 1, 22.
+  esseda, 6, 47.
+  estne ut, 2, 18.
+  esto, 1, 20.
+  etenim, 3, 48.
+  ἤ τις ἢ οὐδείς, 1, 3.
+  Etruscan rites, 2, 36.
+  Etymology of ast, 2, 39.
+    bidental, 2, 27.
+      conpita, 4, 28.
+    fagus, 5, 59.
+    Palilia, 1, 72.
+    scloppus, 5, 13.
+    sodes, 3, 89.
+    sollers, 5, 142.
+    surdus, 6, 35.
+    usque, 6, 15.
+    varo (baro), 5, 138.
+  euge, 1, 49. 75. 111.
+  euhion, 1, 102.
+  Eupolis, 1, 124.
+  evitandum, 2, 27.
+  exalare, 3, 99; 5, 148.
+  examen, 1, 6; 5, 100.
+  excussit aristas, 3, 115.
+  excusso naso, 1, 118.
+  excute, 1, 49; 6, 75.
+  excutiat guttas, 2, 54.
+  excutienda, 5, 22.
+  excutit e manibus, 3, 101.
+  excutitur cinis, 6, 45.
+  exire, 1, 46; 5, 78. 130. 174; 6, 60.
+  exossatus ager, 6, 52.
+  expedivit, Prol., 7.
+  expers maris, 6, 39.
+  expiare frontem, 2, 34.
+  exporrecto, 3, 82.
+  expungam, 2, 13.
+  exsere digitum, 5, 119.
+  exspes, 2, 50.
+  exstet aqualiculus, 1, 57.
+  exstinxerit, 5, 145.
+  exsultat, 1, 82.
+  exsuperat, 3, 89.
+  extendit calces, 3, 105.
+    mores, 5, 38.
+    rimas, 3, 2.
+  extrinsecus, 5, 128.
+
+
+  F.
+
+  fabula, 5, 3. 152.
+  face exstincta, 5, 166.
+    supposita, 3, 116.
+  facere with inf., 1, 44.
+  faecem pannosam, 4, 32.
+  faeno fumosa, 1, 72.
+  faenoris merces, 6, 67.
+  fagi, 5, 59.
+  Falernum, 3, 3.
+  fallere sollers, 5, 37.
+  fallier, 3, 50.
+  fallit regula, 4, 12.
+  far modicum, 3, 25.
+  farina, 3, 112; 5, 115.
+  farrago, 5, 77.
+  farrata olla, 4, 31.
+  farre litabo, 2, 75.
+  fas, 1, 61; 2, 73; 5, 99.
+  fata, 5, 49.
+  favilla, 1, 39.
+  faxit, 1, 112.
+  fenestra, 5, 180.
+  fenestras, 3, 1.
+  fenisecae, 6, 40.
+  fermentum, 1, 24.
+  ferrum, 5, 4.
+  fert animus, 4, 7.
+  ferto opimo, 2, 48.
+  ferus, 5, 171.
+  ferveat lector, 1, 126.
+  fervebit olla, 5, 9.
+  ferventi veneno, 3, 37.
+  ferventis massae, 2, 67.
+  fervescit sanguis, 3, 116.
+  fervet plebecula, 4, 6.
+  festa luce, 6, 69.
+  festuca, 5, 175.
+  fibra, 1, 47; 2, 26. 45; 3, 32; 5, 29.
+  fictile, 2, 60.
+  fidele senectae, 2, 41.
+  fidelia non cocta, 3, 22.
+    putet, 3, 73.
+    tumet, 5, 183.
+  fidelibus nata, 5, 48.
+  figere iugum, 4, 28.
+    solem, 4, 33.
+    terram, 3, 80.
+  figurae trama, 6, 73.
+  figuras ponere, 1, 86.
+  filix, 4, 41.
+  Final sentence elliptical, 1, 4.
+  findor, 3, 9.
+  fingendus, 3, 24.
+  finire dolores, 5, 161.
+  finis, 1, 48; 5, 65.
+  fissa aure, 6, 70.
+  fistula, 3, 14.
+  fixum mummum, 5, 111.
+    Flaccus, 1, 116.
+  flagellas puteal, 4, 49.
+  flexus metae, 3, 68.
+  Floralia, 5, 178.
+  foci cultrix, 3, 26.
+  foco admovit, 6, 1.
+  focus, 1, 72.
+  foedere certo, 5, 45.
+  folle, 5, 11.
+  fonte caballino, Prol., 1.
+  forcipe, 4, 40.
+  fores udas, 5, 166.
+  fortunare, 2, 45.
+  fossor, 5, 122.
+  fractus, 1, 18.
+  frangere Saturnum, 5, 50.
+    rem patriam, 5, 165.
+  fratres aenos, 2, 56.
+  fretus, 4, 3.
+  frigere, 3, 109.
+  frigescant, 1, 109.
+  frigidus cinis, 6, 45.
+  frontem perisse, 5, 104.
+  fronte politus, 5, 116.
+  fruge Cleanthea, 5, 64.
+  fulta, 1, 78.
+  fulto, 5, 146.
+  fumo dare pondus, 5, 20.
+  fumosa Palilia, 1, 72.
+  fumosum sinciput, 6, 70.
+  fundo imo, 2, 51.
+  funem reduco, 5, 118.
+  funeris cena, 6, 33.
+  funus praeclarum, 2, 10.
+  fur, 1, 85.
+  Future as imperative, 1, 91.
+    gnomic, 2, 5.
+    participle, 1, 100.
+
+
+  G.
+
+  Gabinus cinctus, 5, 31 (note).
+  Galli, 5, 186.
+  garrit, 5, 96.
+  gaudere = ἀγαπᾶν, 6, 63.
+    paratus, 1, 132.
+  gausape, 4, 37; 6, 46.
+  gemina lance, 4, 10.
+  geminet guttas, 3, 14.
+  Geminos (in G.) dividere, 5, 49.
+    producis, 6, 18.
+  generoso honesto, 2, 74.
+  Genitive of material, 2, 52.
+    free use of, 1, 14.
+  genius, 1, 113; 2, 3; 4, 27; 5, 151; 6, 19. 48.
+  genuinum, 1, 115.
+  glutto, 5, 112.
+  Glyconi, 5, 9.
+  graece nugari, 1, 70.
+  Graiorum, 1, 127.
+  Graios, 6, 38.
+  grana, 5, 55.
+  granaria, 5, 110; 6, 25.
+  grande loqui, 1, 14; 5, 7.
+  grandes Galli, 5, 186.
+    patinae, 2, 42.
+  grandi polenta, 3, 55.
+  grandia, 3, 45.
+  gravis alitus, 3, 89.
+    Saturnus, 5, 50.
+  gurgite, 2, 15.
+  gurgulio, 4, 38.
+  guttas excutere, 2, 54.
+  gutture exalare, 3, 99.
+    niti, 5, 6.
+
+
+  H.
+
+  habita tecum, 4, 52.
+  haeres, 2, 19.
+  hamo duplici, 5, 154.
+  hebenum, 5, 135.
+  hederae, Prol., 6.
+  Helicone, 5, 7.
+  Heliconidas, Prol., 4.
+  Hellebore, 3, 63; 4, 16; 5, 100.
+  heminas, 1, 130.
+  Hendiadys, 2, 52; 5, 131.
+  herba, 6, 26.
+  Hercule dextro, 2, 12.
+  heres proximus, 2, 12.
+  Ἑρμῆς κερδῷος, 6, 51.
+  heroas sensus, 1, 69.
+  Herodis dies, 5, 180.
+  hesterni Quirites, 3, 106.
+  hesternum cras, 5, 68.
+    oscitat, 3, 59.
+  hianda, 5, 3.
+  hiantem ducere, 5, 176.
+  Hiatus, 3, 66.
+  hibernat, 6, 7.
+    hircosa, 3, 77.
+  Historic present, 4, 2.
+  holus durum, 3, 112.
+    siccum, 6, 20.
+  hominum, 1, 1.
+  honesto generoso, 2, 74.
+  horoscope, 6, 18.
+  horridulus, 1, 54.
+  hospes, 2, 8.
+  hucine rerum, 3, 15.
+  humana re, 3, 72.
+  humilis susurros, 2, 6.
+  hyacinthia, 1, 32.
+  Hypallage, 3, 4. 50. 57.
+  Hyperbaton, 1, 23; 6, 13.
+  Hypsipylas, 1, 34.
+
+
+  I.
+
+  iactare caudam, 4, 15.
+    festucam, 5, 175.
+  iam, 5, 33.
+    nunc, 5, 110.
+  Iane, 1, 58.
+  idcirco, 2, 28.
+  idonea dare, 5, 20.
+  iecore, 1, 25.
+    aegro, 5, 129.
+  igitur, 1, 98; 4, 14.
+  ignovisse, 2, 24.
+  ilex, 2, 24.
+  ilia, 4, 43.
+  Ilias Atti, 1, 50. 123.
+  imagines, Prol., 5; 3, 28.
+  Imperfect of a false impression, 5, 93.
+  inane, 1, 1.
+  inanes caelestium, 2, 61.
+  inclusi, 1, 13.
+  incoctum honesto, 2, 74.
+  incolumis, 6, 37.
+  increpuit, 5, 127.
+  increvit fibris, 3, 32.
+  incurvasse, 1, 91.
+  incusa auro, 2, 52.
+  incutere deos, 5, 187.
+  inde, 1, 126; 5, 153.
+  indomitum Falernum, 3, 3.
+  induco, 6, 49.
+  indulge genio, 5, 151.
+  induto capite, 3, 106.
+  inepte cornicari, 5, 12.
+  ineptus lictor, 5, 175.
+  inexpertum deprendere, 3, 52.
+  infami digito, 2, 33.
+  infelix auster, 6, 13.
+  Infinitive, perf. instead of present, Prol., 2; 1, 42. 91. 132;
+      2, 66; 4, 7. 17; 5, 24. 33; 6, 4. 6. 17. 77.
+    for gerund, etc., Prol., 11; 1, 59. 70. 118; 2, 34. 54; 3, 51;
+      4, 16; 5, 20. 24. 37. 100; 6, 3. 24. 36. 77.
+    as a subst. with demonst. and possessive, 1. 9. 27. 123; 5, 53;
+      6, 38.
+    nursery infinitives, 3, 18.
+    in exclamation, 1, 24; 4, 36.
+    passive in -er, 1, 28; 3, 50.
+    for subjunctive, 5, 46.
+  inflantis corpora, 5, 187.
+  infodiam, 1, 120.
+  infundere monitus, 1, 79.
+  infusa lympha, 3, 13.
+  ingemere, 4, 13.
+    vitam, 5, 61.
+  ingeminat, 1, 102; 3, 87.
+  ingeni largitor, Prol., 10.
+  ingenium, 4, 4.
+  ingentis Titos, 1, 20.
+  ingenuo ludo, 5, 16.
+  ingerere, 5, 6. 177.
+  inhibere perita, 2, 34.
+  iniquas heminas, 1, 130.
+  inlita Medis, 3, 53.
+  inmeiat vulvae, 6, 73.
+  inmittere templis, 2, 62.
+  inodora, 6, 35.
+  inpallescere chartis, 5, 62.
+  inpellere, 2, 13. 59; 5, 128.
+    aurem, 2, 21.
+  inpensius, 6, 68.
+  inprobe, 4, 47.
+  inriguo somno, 5, 56.
+  inrorans piper, 6, 21.
+    insana canicula, 3, 5.
+  inscitia debilis, 5, 99.
+  inserere aures, 5, 63.
+  Insolatio, 3, 33. 98; 4, 18; 5, 179.
+  insomnis, 3, 54.
+  inspice, 3, 88.
+  instanti imperio, 5, 157.
+  insulso Glyconi, 5, 9.
+  intabescant, 3, 38.
+  integer, 5, 173.
+  intendisse numeris, 6, 4.
+  intepet ora, 6, 7.
+  Interrogative dependent in Indicative, 3, 67.
+  intima, 1, 21.
+  intortos mores, 5, 38.
+  introrsum, 2, 9.
+  intumuit bilis, 5, 145.
+  intus novi, 3, 30.
+    pallere, 3, 42.
+  i nunc, 4, 19.
+  invigilat, 3, 55.
+  Ionio condere, 6, 29.
+  Iove nostro, 5, 50.
+    dextro, 5, 114.
+  iratis dis, 4, 27.
+  iratum Eupolidem, 1, 124.
+  Ironical 1st Person, 3, 3.
+  Isis, 5, 186 (note).
+  Italo honore, 1, 129.
+  iubeo (construction), 5, 161.
+  iudex potior, 2, 20.
+  iugum figere, 4, 28.
+  iunctura, 1, 65. 92; 5, 14.
+  iura, 5, 137.
+  iure, 3, 48.
+  ius fasque, 2, 73.
+  iustum suspendere, 4, 10.
+
+
+  L.
+
+  labefactent, 4, 40.
+  labella uda, 2, 32.
+  labello exporrecto, 3, 82.
+  labentis annos, 2, 2.
+  Labeo Attius, 1, 4. 50. 123 (note).
+  laborat vinci, 5, 39.
+  laboro scire, 2, 17.
+  labra moves, 5, 184.
+    prolui, Prol., 1.
+  lacerae ratis, 6, 31.
+  lactibus unctis, 2, 30.
+  laena, 1, 32.
+  laetari praetrepidum, 2, 54.
+  laevo pectore, 2, 53.
+  lagoena, 6, 17.
+    sitiente, 3, 92.
+  lallare, 3, 18.
+  lambunt, Prol., 5.
+  λαμπαδηφορία, 6, 61.
+  lance gemina, 4, 10.
+    magna, 2, 71.
+  lapidosa cheragra, 5, 58.
+  lapillo meliore, 2, 1.
+  laquearibus auratis, 3, 40.
+  lare presso, 5, 109.
+  largior, 6, 51.
+  largire, 6, 32.
+  largitor, Prol., 10.
+  Laribus donata, 5, 31.
+  larvae, 1, 38 (note).
+  latet ulcus, 3, 113.
+  Latinae fidis, 6, 4.
+  lato auro, 4, 44.
+  latus dare, 6, 8.
+    mundi, 6, 76.
+  lautus ponere, 6, 23.
+  lavatur, 3, 98.
+  Lawyers’ fees, 3, 75.
+  laxa cervice, 1, 98.
+  laxamus seria, 5, 44.
+  laxes granaria, 5, 110.
+  laxis labris, 3, 102.
+  laxum caput, 3, 58.
+  lector ferveat, 1, 126.
+  legarat, 6, 66.
+  legere nebulas, 5, 7.
+  leges, 1, 17.
+  lemures, 5, 185.
+  lenia Surrentina, 3, 93.
+  leti memor, 5, 153.
+  λευκὴ ἡμέρα, 2, 2.
+  levis, sit tibi terra, 1, 37 (note).
+  levis trossulus, 1, 82.
+  lex publica, 5, 98.
+  libabit, 2, 5.
+  libelle, 1, 120.
+  liber = play, 1, 76.
+  Liberator Iuppiter, 5, 114 (note).
+  liber pede, 1, 13.
+  libertate, 5, 73.
+    Libonis puteal, 4, 49 (note).
+  Libra aequali, 5, 47.
+  librae ancipitis, 4, 11.
+  librat, 1, 86.
+  licetur Graecos, 5, 191.
+  Licini, 2, 36.
+  lictor, 1, 75.
+    ineptus, 5, 175.
+  Ligus ora, 6, 6.
+  limen obscenum, 5, 165.
+  limina frigescant, 1, 109.
+  limite dextro, 3, 57.
+  limo viridi, 3, 22.
+  limum veterem, 4, 29.
+  linea, 3, 4.
+  lingua, sub l., 2, 9.
+  linguae pictae, 5, 25.
+  lippa propago, 2, 72.
+  lippus, 1, 79; 5, 77.
+  liquescant in flammas, 2, 47.
+  liquido plasmate, 1, 17.
+  litabis, 5, 120.
+  litabo farre, 2, 75.
+  Literary ladies, Prol., 13.
+  Litotes, Prol., 1; 1, 19.
+  littera canina, 1, 110.
+    Pythagorea, 3, 56.
+  litus, 6, 8.
+  locatus, 3, 72.
+  loturo, 3, 93.
+  lotus, 5, 86.
+  lubrica Coa, 5, 135.
+  lucem palustrem, 5, 60.
+  lucernae dispositae, 5, 181.
+  Luciferi rudis, 5, 103.
+  Lucilius, 1, 2. 114.
+  lucis (Abl.), 2, 27.
+  lucro vendere, 6, 75.
+  luctata canis, 5, 159.
+  luctificabile, 1, 78.
+  lucum ponere, 1, 70.
+  luditur tibi, 3, 20.
+  ludo ingenuo, 5, 16.
+  lumbum intrant, 1, 20.
+  lumine figentes, 3, 80.
+  Lunai portus, 6, 9.
+  Lupus, 1, 115.
+  lusca sacerdos, 5, 186.
+  lusce, 1, 128.
+  lusisse, 6, 6.
+  lustralibus, 2, 33.
+  lutatus amomis, 3, 104.
+  lutea gausapa, 6, 46.
+    pellis, 3, 95.
+  luto, in l. fixum, 5, 111.
+  lutum udum, 3, 23.
+  luxum, 1, 67.
+  luxuria sollers, 5, 142.
+  lyncem, 1, 101.
+  lyra, 6, 2.
+
+
+  M.
+
+  macram spem, 2, 35.
+  Macrinus, 2, 1.
+  Maenas, 1, 101. 105.
+  Maeonides, 6, 11.
+  magister artis, Prol., 10.
+  magistrum barbatum, 4, 1.
+  magnanimus puer, 6, 22.
+  maiestate manus, 4, 8.
+  maiorum limina, 1, 108.
+  μακαρίτης, 3, 103.
+  maligne, 3, 21.
+  mammae, 3, 18.
+  mando, 2, 39.
+  mane, 1, 134.
+    clarum, 3, 1.
+  manes, 1, 38; 5, 152.
+    offerings to, 2, 3.
+  manibus quatere, 2, 35.
+  Manius, 6, 56. 60.
+  mansuescit, 4, 41.
+  mantica, 4, 24.
+  marcentis vulvas, 4, 36.
+  Marcus Dama, 5, 79.
+  marem strepitum, 6, 4.
+  maris expers, 6, 39.
+  Marsi clientis, 3, 75.
+  mascula bilis, 5, 144.
+  massa, 5, 10.
+  massae venas, 2, 67.
+  Masuri rubrica, 5, 90.
+  matertera, 2, 31; 6, 54.
+  medendi natura, 5, 101.
+  medico, 3, 90.
+  Medis bracatis, 3, 52.
+  meditari somnia, 3, 83.
+  mefites sulpureas, 3, 99.
+  meite, 1, 114.
+  melior sorbere, 4, 16.
+    membrana bicolor, 3, 10.
+  memini, Prol., 3.
+  memor leti, 5, 153.
+  mena, 3, 76.
+  Menander, 5, 161 (note).
+  mendose colligis, 5, 85.
+  mendosum tinnire, 5, 106.
+  mens bona, 2, 8.
+  mera libertas, 5, 82.
+  meracas, 4, 16.
+  mercare, 6, 75.
+  mercede, 2, 29.
+  merces faenoris, 6, 67.
+  mercibus Italis, 5, 54.
+  Mercurialem salivam, 5, 112.
+  Mercurius, 2, 44.
+    κερδῷος, 6, 62.
+  mergis obvia, 6, 30.
+  merum fundere, 2, 3.
+  Messalinus, 2, 72.
+  Messalla, 2, 72.
+  messe propria, 6, 25.
+  metae flexus, 3, 68.
+  metas, 1, 131.
+  metuens divum, 2, 31.
+  metuentia scombros, 1, 43.
+  metuo with Inf., 1, 47; 4, 28.
+  meus, 5, 88.
+  Mida rex, 1, 121 (note).
+  mille species, 5, 52.
+  millesime, 3, 28.
+  miluus, 4, 26.
+  Mimalloneis, 1, 99.
+  Mimas, 1, 99 (note).
+  minui, 6, 16.
+  minutum pappare, 3, 17.
+  mirae, bene mirae, 1, 111.
+  mire opifex, 6, 3.
+  mittit, 2, 36.
+  mobile, 1, 18.
+  mobilis imitari, 1, 59.
+  modice sitiente, 3, 92.
+  modico ore, 5, 15.
+  modicus voti, 5, 109.
+  modus, 3, 69.
+  molle subrisit, 3, 110.
+  momento turbinis, 5, 78.
+  monstrari digito, 1, 28.
+  montis promittere, 3, 65.
+  morari Iovem, 2, 43.
+  mordaci aceto, 5, 86.
+    vero, 1, 107.
+  mores pallentis, 5, 15.
+  moretur, 1, 77.
+  morientis aceti, 4, 32.
+  moror, 1, 111.
+  morosa vena, 6, 72.
+  moveare, 5, 123.
+  Mucius, 1, 115.
+  muria, 6, 20.
+  murice vitiato, 2, 65.
+  murmura rodere, 3, 81.
+    tollere, 2, 6.
+  murmure clauso, 5, 11.
+  mutare mercibus, 5, 54.
+  muttire, 1, 119.
+  Mycenis, 5, 17.
+
+
+  N.
+
+  nare balba, 1, 33.
+  naribus uncis, 1, 41.
+  naso cadat ira, 5, 91.
+    crispante, 3, 87.
+    excusso, 1, 118.
+    tangere, 6, 17.
+  nata fidelibus, 5, 48.
+  natalia, 6, 19.
+  natalicia, 1, 16.
+  natat, 5, 182.
+  Natta, 3, 31.
+  natura, 5, 98. 101.
+  naufragus, 1, 88; 6, 33 (note).
+  ne = ne-quidem, 5, 172.
+    omitted, 1, 112.
+  -ne in rhetorical questions, 1, 22.
+  nebulas legere, 5, 7.
+  nectar cantare, Prol., 14.
+  nefas, 1, 119.
+  negatas, Prol., 11.
+  Negative, position of, 1, 45; 2, 3.
+  nempe, 2, 70; 3, 1; 5, 67.
+  nepos, 6, 71.
+  Nerea, 1, 94.
+  Nerius, 2, 14.
+  Nero, supposed allusions to, 1, 56. 75. 121; 4, 49.
+  nervis, 2, 41.
+  nervos agitare, 5, 129.
+    decipere, 4, 45.
+  neu, 3, 51; 6, 66.
+    nigra sepia, 3, 13.
+  nihil de nihilo, 3, 84.
+  niti gutture, 5, 6.
+  nocte paratum, 1, 90.
+  noctem purgare, 2, 16.
+  noctes decerpere, 5, 42.
+  nodosa harundo, 3, 11.
+  nodum abripit, 5, 159.
+  non, position of, 1, 45; 2, 3; 3, 78.
+  non = ne, 1, 5; 5, 45.
+  non = nonne, 1, 50.
+  nonaria, 1, 133.
+  noris, 4, 52.
+  nostin, 4, 25.
+  nostrum, Prol., 7; 5, 151.
+  novimus, 4, 43.
+  nox tertia, 3, 91.
+  nucibus, 1, 10.
+  nugae, 1, 5.
+    bullatae, 5, 19.
+  nugari Graece, 1, 70.
+  nugaris, 1, 56.
+  nugator, 5, 127.
+  Numae aurum, 2, 59.
+  numerare diem, 2, 1.
+  numeris, 6, 3.
+  numeros, 1, 13; 5, 123.
+  nummi dolosi, Prol., 12.
+  nummus asper, 3, 70.
+  nutrici, 2, 39.
+  nutrire nummos, 5, 150.
+
+
+  O.
+
+  obba, 5, 148.
+  oberres, 5, 156.
+  oberret, 6, 32.
+  obiurgabere, 5, 169.
+  obscenum limen, 5, 165.
+  obsequio, 5, 156.
+  obstipo capite, 3, 80.
+  obstiteris, 5, 157.
+  obvia mergis, 6, 30.
+  occa, 6, 26.
+  occipiti, 1, 62.
+  occurrite, 1, 62; 3, 64.
+  ocello patranti, 1, 18.
+  ocima, 4, 22.
+  ocius ad navem, 5, 141.
+  oculos urentis, 2, 34.
+  oenophorum, 5, 140.
+  offas carminis, 5, 5.
+  officium, 5, 94; 6, 27.
+  ohe, 1, 23.
+  oletum, 1, 112.
+  oleum, 6, 50.
+  olivo corrupto, 2, 64.
+    tangere, 3, 44.
+  olla farrata, 4, 31.
+    Prognes, 5, 8.
+  omentum, 2, 47; 6, 74.
+  ᾠοσκοπική, 5, 185.
+  operae est, 6, 9.
+  opertum, 1, 121.
+  opifex, 6, 3.
+  opimo ferto, 2, 48.
+  opimum pingue, 3, 32.
+  optare linguas centum, 5, 2.
+  orbis pueris, 2, 20.
+  orca, 3, 76.
+  orcae angustae, 3, 50.
+  ordo, 3, 67.
+  ore modico, 5, 15.
+  Orestes, 3, 118.
+  oscitat, 3, 59.
+  o si, 2, 9.
+  os populi, 1, 42.
+  ossa, 1, 37.
+  ostendisse iuvat, 5, 24.
+  ovato auro, 2, 55.
+  ovile, 2, 49.
+  ovo rupto, 5, 185.
+
+
+  P.
+
+  pacto, 4, 43.
+  Pacuvius, 1, 77.
+  pagina, 5, 20.
+  palaestritae, 4, 39.
+  palato, 1, 35.
+  Palilia, 1, 72.
+  pallentis cumini, 5, 55.
+    mores, 5, 15.
+  palles, 1, 124; 3, 94. 96; 4, 47; 5, 80. 184.
+  palliatae, 5, 14 (note).
+  pallidam Pirenen, Prol., 4.
+  pallor, 1, 26.
+  palmis, 6, 39.
+  palpo, 5, 176.
+  palustrem lucem, 5, 60.
+  panis secundus, 3, 112 (note).
+    pannosam, 4, 32.
+  pannucia, 4, 21.
+  papae, 5, 79.
+  pappare minutum, 3, 17.
+  paratum nocte, 1, 90.
+  paratas gaudere, 1, 132.
+    nescire, 6, 36.
+  Parca, 5, 48.
+  paria centum, 6, 48.
+  Parnaso, Prol., 2.
+  Parthi vulnera, 5, 4.
+  Participle in questions, 3, 67; 5, 124.
+  parvus, 3, 44.
+  patella, 3, 26; 4, 17.
+  pater quartus, 6, 58.
+  paterna dicta, 6, 66.
+  paterni testiculi, 1, 103.
+  patinae, 2, 42; 6, 21.
+  patranti ocello, 1, 18.
+  patriciae vulvae, 6, 73.
+  patricius sanguis, 1, 61.
+  patruelis, 6, 53.
+  patrui proneptis, 6, 54.
+  patruus, 1, 11; 2, 10.
+  patula ulmo, 3, 6.
+  pavido mihi, 5, 30.
+  pavisse, 6, 77.
+  pavone, 6, 11.
+  peccas, 5, 119.
+  peccat (pulpa), 2, 68.
+  peccent casiae, 6, 36.
+  pectine, 6, 2.
+  pectore calido, 5, 144.
+    laevo, 2, 53.
+    sinuoso, 5, 27.
+    sub p. vulpum, 5, 117.
+  pecuaria Arcadiae, 3, 9.
+  pede liber, 1, 13.
+  pedes summos, 3, 108.
+  Pedius, 1, 85.
+  Pegaseium, Prol., 14.
+  peioribus orti, 6, 15.
+  pelle summa, 4, 14.
+  pellem aptas, 5, 140.
+  pelliculam, 5, 116.
+  pellis lutea, 3, 95.
+  Penatis, 2, 45.
+  penu locuplete, 3, 74.
+  perages, 5, 139.
+  peragit bona, 6, 22.
+  percussa, 3, 21.
+  percute agnam, 5, 168.
+  perditus cute, 1, 23.
+  perducere facies, 2, 56.
+  Perfect, 2, 32. 43; 5, 95.
+    Inf. See Infinitive.
+  pergant sudare, 5, 150.
+  perge, 3, 97.
+  Pericli, 4, 3.
+  perisse frontem, 5, 102.
+  perita inhibere, 2, 34.
+  permisit sparsisse, 5, 33.
+  pernae, 3, 75.
+  peronatus, 5, 103.
+  pertusa conpita, 4, 28.
+  πετόμενα διώκειν, 3, 60.
+  petulanti, 1, 12. 133.
+  pexus, 1, 15.
+  Phalaris, 3, 39.
+  phaleras, 3, 30.
+  Phyllidas, 1, 34.
+  picam, Prol., 9.
+  picas, Prol., 13.
+  pictum in trabe, 1, 89.
+  pillea, 5, 82.
+  pilleus, 3, 106 (note).
+  pilos, ante p., 4, 5.
+  pingitur, ut p., 6, 63.
+  pingue opimum, 3, 33.
+  pinguem nebulam, 5, 181.
+  pingui auro, 2, 52.
+  pinguibus Umbris, 3, 74.
+  pinguior angulus, 5, 14.
+  pinsit, 1, 58.
+  piper, 3, 75; 5, 55. 136; 6, 21.
+  Pirenen, Prol., 4.
+  pituita, 2, 57.
+  plantaria, 4, 39.
+  plaudere, w. accus. (?), 4, 31.
+  plausisse, 6, 77.
+  plebeia, 3, 114; 5, 18.
+  plorabile, 1, 34.
+  Plural, Prol., 6; 1, 75; 2, 33; 3, 79. 104; 4, 16; 5, 110.
+  pluteum caedit, 1, 106.
+  poetas corvos, Prol., 13.
+  poetridas, Prol., 13.
+  ποικίλη στοά, 3, 53.
+  polenta, 3, 55.
+    politus fronte, 5, 116.
+  pollice, 5, 40.
+    honesto, 6, 5.
+  Polydamas, 1, 4.
+  pondus dare fumo, 5, 20.
+  ponere, 1, 53. 70; 3, 111; 5, 3; 6, 23.
+  pontifices, 2, 69.
+  Ponto advehe, 5, 134.
+  popa venter, 6, 74.
+  popello, 6, 50.
+    blando, 4, 15.
+  populi rem = rem publicam, 4, 1.
+  porci, 1, 72.
+  porrum sectile, 4, 30 (note).
+  portam, extendit in p., 3, 105.
+  porticus sapiens, 3, 54.
+  postibus, 6, 45.
+  postica sanna, 1, 62.
+  postquam, 3, 90.
+  pote, 1, 56.
+  potis, 4, 13.
+  praebet vellere, 2, 28.
+  praecedenti tergo, 4, 24.
+  praecipites imus, 3, 42.
+  praecordia, 1, 117; 5, 22.
+  praedictum, 5, 188.
+  praefigere theta, 4, 13.
+  praegrandi, 1, 124.
+  praelargus, 1, 14.
+  praeparet auster, 6, 12.
+  praeponere, 2, 18.
+  praestantior, 6, 76.
+  praetegit, 4, 45.
+  praetor, 5, 88. 93.
+  praetrepidum laetari, 2, 54.
+  praetulerint, 1, 5.
+  prandeat, 3, 85.
+  prandia plebeia, 5, 18.
+    post p. Calliroen, 1, 134.
+    regum, 1, 67.
+  premere ratione, 5, 39.
+    ventos, 5, 11.
+  presso Lare, 5, 109.
+  primas noctes, 5, 42.
+  primordia vocum, 6, 3.
+  proceres, 1, 52.
+  procerum, 2, 5.
+  prodirem, Prol., 3.
+  producis, 6, 19.
+  progenies terrae, 6, 57.
+  Prognes olla, 5, 8.
+  pro Iuppiter, 2, 22.
+  Prolepsis, 3, 5.
+  prolui, Prol., 1.
+  promittere montis, 3, 65.
+  promptum, 2, 6.
+  proneptis patrui, 6, 53.
+  properandus, 3, 23.
+  protenso, 1, 57.
+  protinus, 1, 110.
+  protulerim, 1, 89.
+  proxima uxor, 3, 43.
+  prudentia rerum, 4, 4.
+  psittaco, Prol., 8.
+  pubis Germanae, 6, 44.
+  Publius, 5, 74.
+  puer, 5, 167; 6, 22.
+  Pulfennius, 5, 190.
+  pullatis (?), 5, 19.
+  pulmentaria, 3, 102.
+  pulmo praelargus, 1, 14.
+  pulmone, 2, 30.
+  pulmonem rumpere, 3, 27.
+  pulpa, 2, 63.
+  pulsa, 5, 24.
+  pultes, 6, 40.
+  puncto certo, 5, 100.
+  pupae, 2, 70.
+  pupille, 4, 3.
+  pupillum, 2, 12.
+  puppe, in p. dii, 6, 30.
+  Puppets, 5, 128.
+  pura voce, 5, 28.
+  purgare noctem, 2, 16.
+  purgatas aures, 5, 63.
+  purpura custos, 5, 30.
+  purum salinum, 3, 25.
+  puta, 4, 9.
+  puteal, 4, 49.
+  putet, 3, 73.
+  putre ulcus, 3, 114.
+  putris, 5, 58.
+  Pythagoras, 3, 56 (note).
+  Pythagoreo, 6, 11.
+
+
+  Q.
+
+  quaesieris, 4, 25.
+  quamvis, 5, 70.
+  quando, 1, 46.
+    quandoque = quandocumque, 4, 28.
+  Quartan ague, 3, 91.
+  quartus pater, 6, 57.
+  quatere manibus, 2, 35.
+  que-que, Prol., 4.
+  quid agis, 3, 5.
+  quidnam, 2, 29.
+  quin, w. indic., 2, 71; 4, 14.
+    w. subjunct., 1, 84.
+  quincunce modesto, 5, 149.
+  Quinti, 1, 73.
+  Quintus Ennius, Prol., 1; 6, 11.
+  quippe, 1, 88.
+  Quiritem, 5, 75.
+  Quirites, 3, 106; 4, 8.
+  quis = qui, 1, 63. 68.
+       = uter (?), 2, 20.
+  quisquam, 1, 112; 5, 83. 128.
+  quisque = quicumque, 5, 73.
+  quo with Inf., 1, 24.
+  quod si, Prol., 12.
+  quorsum, 5, 5.
+
+
+  R.
+
+  R for L by dissimilation, 1, 72.
+  rabiosa silentia, 3, 81.
+  radere, 1, 107; 3, 114; 5, 15.
+  raderet, 3, 50.
+  ramale, 1, 97.
+  ramalia, 5, 59.
+  ramos Samios, 3, 56.
+  ramosa compita, 5, 35.
+  ramum ducere, 3, 28.
+  rancidulum, 1, 33.
+  rapiant hunc, 2, 38.
+  rapias Aegaeum, 5, 142.
+  rapidae vitae, 5, 94.
+  rara avis, 1, 46.
+  rasis antithetis, 1, 85.
+  rasisse, 2, 68.
+  rastro, 2, 11.
+  ratio, 5, 96. 119.
+  ratione, 3, 36; 5, 39.
+  ratis, 6, 31.
+  rauco murmure, 5, 11.
+  recens piper, 5, 136.
+  recenti sole, 5, 54.
+    toga, 1, 15.
+  receptare se, 6, 8.
+  recessus mentis, 2, 73.
+  recto talo, 5, 104.
+  rectum discernere, 4, 11.
+  recusem minui, 6, 15.
+  recutita sabbata, 5, 184.
+  redire in rugam, 6, 79.
+  reduco funem, 5, 118.
+  refulserit, Prol., 12.
+  regina, 2, 37.
+  regula, 4, 12; 5, 38.
+  regum = procerum, 1, 67; 3, 17.
+  regustatum salinum, 5, 138.
+  Relative w. subjunct., 3, 114.
+  relaxat, 5, 125.
+  relego, 5, 118.
+  relicta (virtute), 3, 38.
+  relictam vitam, 5, 61.
+  rem populi, 4, 1.
+  remitto, Prol., 5.
+  Remus, 1, 73.
+  reparabilis, 1, 102.
+  repone, 6, 66.
+  requiescere, 3, 90.
+  rerum prudentia, 4, 4.
+  resignent, 5, 28.
+  respondere maligne, 3, 22.
+  respue, 4, 51.
+  restas, 3, 97.
+  retecti dentes, 3, 101.
+  revello, 5, 92.
+  rex, 2, 37.
+  Rhenos, 6, 47.
+  Rhetorical question, with -ne, 1, 22.
+  rhombos, 6, 23.
+  ridere crassum, 5, 190.
+    meum, 1, 122.
+  rimas extendere, 3, 2.
+  rite salit, 3, 111.
+  ritu generis, 6, 59.
+  rixanti populo, 5, 178.
+  robusti carminis, 5, 5.
+  rodere casses, 5, 170.
+    murmura, 3, 81.
+  Roma turbida, 1, 5.
+  Romule, 1, 87.
+  Romulidae, 1, 31.
+  rosa fiat, 2, 38.
+  rota acri, 3, 24.
+    curras, 5, 72.
+  rubellum, 5, 147.
+  rubra solea, 5, 169.
+    rubrica, 1, 66; 5, 90.
+  rudere, 3, 9.
+  rudis Luciferi, 5, 103.
+  rugam, in r. redire, 6, 79.
+  rugosum piper, 5, 55.
+  rumore sinistro, 5, 164.
+  rumpere buccas, 5, 13.
+    pulmonem, 3, 27.
+  runcare, 4, 36.
+  rus saturum, 1, 71.
+
+
+  S.
+
+  sabbata recutita, 5, 184.
+  Sabino foco, 6, 1.
+  sacerdos, 5, 186.
+  sacras facies, 2, 55.
+  sacrum piper, 6, 21.
+  salinum purum, 3, 25.
+    terebrare, 5, 138.
+  salit cor, 3, 111.
+  saliva summa, 1, 104.
+  salivam Mercurialem, 5, 112.
+    turdarum, 6, 24.
+  salivis lustralibus, 2, 33.
+  salutas, 3, 29.
+  sambucam, 5, 95.
+  Samios ramos, 3, 56.
+  sancte, 2, 15.
+  sancto, in s., 2, 69.
+  sanctos recessus, 2, 73.
+  sanguis fervescit, 3, 116.
+    patricius, 1, 61.
+  sanna rugosa, 5, 91.
+  sannae posticae, 1, 62.
+  saperdam, 5, 134.
+  sapere deterius, 4, 21.
+    hoc, 6, 38.
+  sapiens porticus, 3, 53.
+  sapimus patruos, 1, 11.
+  sapit, 1, 106.
+  sardonyche, 1, 16.
+  sartago, 1, 80.
+  σάρξ, 2, 63.
+  satur, 5, 56; 6, 71.
+  saturi, 1, 31.
+  Saturnia aera, 2, 59.
+  Saturnum gravem, 5, 50.
+  saturum, 1, 71.
+  satyrum, 5, 123.
+  saxa, 6, 27.
+  scabiosum far, 5, 74.
+  scabiosus, 2, 13.
+  scalpuntur, 1, 21.
+  scelerata pulpa, 2, 63.
+  scilicet, 1, 15; 2, 19; 4, 4.
+  scinderis, 5, 154.
+  scintillant oculi, 3, 117.
+  scire tuum, 1, 27.
+  scis, 1, 53; 4, 10.
+  scloppo, 5, 13.
+  scombros, 1, 42.
+  scopuli, 6, 8.
+  scribimus inclusi, 1, 13.
+  scrobe, 1, 119.
+  scutica, 5, 131.
+  secretam aurem, 5, 96.
+  secreti loquimur, 5, 21.
+  sectabere, 5, 71.
+  secto pulvere, 1, 131.
+  secuit urbem, 1, 114.
+  secundo axe, 5, 72.
+  secura patella, 3, 26.
+  securus vulgi, 6, 12.
+  sede celsa, 1, 17.
+  seductior, 6, 42.
+  seductis divis, 2, 4.
+  seductum, 5, 143.
+  semipaganus, Prol., 6.
+  semuncia recti, 5, 121.
+  sene praegrandi, 1, 124.
+  senes, 6, 6.
+  sēnio dexter, 3, 48.
+  senio minui, 6, 16.
+  senium, 1, 26.
+  sepeli = sepelii, 3, 97.
+  sepia nigra, 3, 13.
+  sequaces, Prol., 6.
+  Sequence of Tenses, 1, 4; 5, 107.
+  sequi = sectari, Prol., 11; 5, 14.
+  seria argenti, 2, 11.
+  seria laxamus, 5, 44.
+  seriolae, 4, 29.
+  Serpent worship, 1, 113.
+  servas vulpem, 5, 117.
+  servitium acre, 5, 127.
+  sesquipede, 1, 57.
+  sessilis obba, 5, 148.
+  severos unguis, 1, 64.
+  si = εἴγε, 5, 173.
+  sic, Prol., 3.
+    siccas messes, 3, 5.
+  siccis cognatis, 5, 163.
+  Siculi iuvenci, 3, 39.
+  sidere, ab uno s. duci, 5, 46.
+  signum lagoenae, 6, 17.
+  silentia fecisse, 4, 7.
+    rodere, 3, 81.
+  siliquis pasta, 3, 55.
+  simpuvia, 2, 59 (note).
+  sin, 5, 115.
+  sinciput, 6, 70.
+  singultiet, 6, 72.
+  sinistro genio, 4, 27.
+    rumore, 5, 164.
+  sinu Socratico, 5, 37.
+  sinuoso pectore, 5, 27.
+  sis = sivis, 1, 108.
+  sistro, 5, 186.
+  sitiente camelo, 5, 136.
+    lagoena, 3, 92.
+  sive = vel si, 1, 67.
+  Socrates, 4, 1 (note).
+  Socratico sinu, 5, 37.
+  sodes, 3, 89.
+  sole assiduo, 4, 18.
+    recenti, 5, 54.
+  solea rubra, 5, 169.
+  soles longos, 5, 41.
+  solidum crepet, 5, 25.
+  sollers, 5, 142.
+    fallere, 5, 37.
+    nosse, 6, 24.
+  Solones, 3, 79.
+  somniasse, Prol., 2.
+  somno inriguo, 5, 56.
+  sonare vitium, 3, 21.
+  sorbere melior, 4, 16.
+  sorbet, 4, 32.
+  sorbitio, 4, 2.
+  sordidus, 1, 128.
+  σωρίτης, 6, 80.
+  sparsisse oculos, 5, 33.
+  speciem veri, 5, 105.
+  species hominum, 5, 52.
+  spirare surdum, 6, 35.
+  Spleen, the seat of laughter, 1, 12.
+  splene petulanti, 1, 12.
+  spondente, 5, 79.
+  spumosum, 1, 96.
+  Staienus, 2, 19 (note).
+  Staius, 2, 19. 22.
+  stare contra, 5, 96.
+  Steelyard, 5, 100.
+  stemmate Tusco, 3, 28.
+  steriles veri, 5, 75.
+  stertimus, 3, 3.
+  stertis, 3, 58.
+  Stoic catechism, 3, 67; 5, 104.
+  stolidam barbam, 2, 28.
+  strepitum marem, 6, 4.
+  strigiles, 5, 126. 131.
+  stingere venas, 2, 66.
+  struere rem, 2, 44.
+  studere (absol.), 3, 9.
+  stupet vitio, 3, 32.
+  stuppas, 5, 135.
+  subaerato auro, 5, 106.
+  subdite rebus, 5, 124.
+  subduximus, 1, 95.
+  subeas dominos, 5, 155.
+  subere, 1, 97.
+  subiere, 3, 106.
+  subiīt, 2, 55.
+  subit inter curva rectum, 4, 11.
+    tremor, 3, 110.
+  subrisit molle, 3, 110.
+  subsellia, 1, 82.
+  Subura, 5, 32.
+  succinctis Laribus, 5, 31.
+  succinctus, 5, 140.
+  succinis ambages, 3, 20.
+  sudans pater, 3, 47.
+  sudare deunces, 5, 150.
+  sudes, 2, 53.
+  suffla, 4, 20.
+  sulco terens, 1, 73.
+  sulpure sacro, 2, 25.
+  sulpureas mefites, 3, 99.
+  sumen calidum, 1, 53.
+  summa boni, 4, 17.
+  summae dest aliquid, 6, 64.
+  summos pedes, 3, 108.
+  supellex, 4, 52.
+  superbo vitulo, 1, 100.
+  supinus, 1, 129.
+  supplantat, 1, 35.
+  supposita face, 3, 116.
+  supposui, 5, 36.
+  surda vota, 6, 28.
+  surdum spirare, 6, 35.
+    surgentem callem, 3, 57.
+  surgit pellis, 3, 95.
+  Surrentina, 3, 93.
+  suscipis, 5, 36.
+  suspendere lance, 4, 10.
+    naso, 1, 118.
+    tempora, 5, 47.
+
+
+  T.
+
+  tabellas adsigna, 5, 81.
+  tabula caerulea, 6, 33.
+  Tadius, 6, 66.
+  tali (game), 3, 48 (note).
+  talo recto, 5, 104.
+  tandem, 1, 16; 3, 103.
+  tange venas, 3, 107.
+  tantae quantum, 1, 60.
+  tectoria linguae, 5, 25.
+  temone, 5, 70.
+  temperat, 5, 51.
+  tempore, vivis ex t., 3, 62.
+  temptemus fauces, 3, 113.
+  tenax veri, 5, 48.
+  tendere versum, 1, 65.
+  teneat actus, 5, 99.
+  tenero columbo, 3, 16.
+    palato, 1, 35.
+  tenuia (trisyllab.), 5, 94.
+  tenuis salivas, 6, 24.
+  tenus, 6, 25.
+  tepidum, 1, 84.
+  terebrare salinum, 5, 138.
+  terens sulco, 1, 73.
+  teres ore, 5, 15.
+  terrae filius, 6, 59.
+    progenies, 6, 57.
+  tertia nox, 3, 91.
+  tesserula, 5, 74.
+  testaque lutoque, 3, 61.
+  testiculi, 1, 103.
+  tetigisse signum, 6, 17.
+  tetrico pectine, 6, 2.
+  theta nigrum, 4, 13.
+  Thyestae olla, 5, 8.
+  thynni cauda, 5, 183.
+  Tiberino in gurgite, 2, 15.
+  timor albus, 3, 115.
+  tincta veneno, 3, 37.
+  tinniat mendosum, 5, 106.
+  Titos ingentis, 1, 20.
+  toga recenti, 1, 15.
+  togae verba, 5, 14.
+  tollat munera cerdo, 4, 51.
+  tolle piper, 5, 136.
+    ut volo, 5, 87.
+  tollere susurros, 2, 7.
+  tollit = sustulit, 4, 2.
+  torosa iuventus, 3, 86.
+  torquere buxum, 3, 51.
+  torva cornua, 1, 99.
+  trabe fracta, 1, 89.
+    rupta, 6, 27.
+    vasta, 5, 141.
+  trabeate, 3, 29.
+  tragoedo maesto, 5, 3.
+  traham voce, 5, 28.
+  Trajection, 1, 23; 6, 13.
+  trama figurae, 6, 73.
+  transcendere nummum, 5, 111.
+  transilias mare, 5, 146.
+  transisse, 5, 60.
+  transtro, 5, 147.
+  transvectio, 3, 29 (note).
+  tremor subit, 3, 100.
+  tremulos cachinnos, 3, 87.
+  trepida, 1, 74.
+  trepidare, 1, 20; 5, 170.
+  trepidas mentes, 5, 35.
+  trepidat, 3, 88.
+  tressis agaso, 5, 76.
+  triental calidum, 3, 100.
+  triplex, 6, 78.
+  triste bidental, 2, 27.
+  trita lacerna, 1, 54.
+  tritavus, 6, 57 (note).
+  Troiades, 1, 4.
+  trossulus, 1, 82.
+  trutina, 1, 5.
+  trutinari verba, 3, 82.
+  tuba, 3, 103.
+  tucceta crassa, 2, 42.
+  tumebit cutis, 3, 63.
+  tumet bile, 2, 14.
+    fidelia, 5, 183.
+  tunicatum caepe, 4, 30.
+  turbida Roma, 1, 5.
+  turbinis momento, 5, 78.
+  turdarum salivas, 6, 24.
+  ture litabis, 5, 120.
+  turgescat pagina, 5, 20.
+    turgescere somno, 5, 56.
+  turgescit bilis, 3, 8.
+  turgidus, 3, 98.
+  tus, 5, 135.
+  Tusco stemmate, 3, 22.
+  Tuscum fictile, 2, 60.
+  tutor, 3, 96.
+
+
+  U.
+
+  uda labella, 2, 32.
+  udas fores, 5, 165.
+  udo, in udo esse, 1, 105.
+  ulcus putre, 3, 113.
+  ulterior cinere, 6, 41.
+  ultra, 3, 15.
+  umbo candidus, 5, 33.
+  umbra quinta, 3, 4.
+  Umbris pinguibus, 3, 74.
+  uncta fenestra, 5, 180.
+    patella, 4, 17.
+    pulmentaria, 3, 102.
+  uncto, sine uncto cenare, 6, 16.
+  unctus, 4, 33.
+  uncus, 5, 154 (note).
+  unde, 1, 73.
+  undique, 3, 59.
+  ungue caules, 6, 68.
+  unguine crasso, 6, 40.
+  unguis severos, 1, 65.
+  unum opus, 5, 43.
+  ὑπᾴδειν, 3, 20.
+  ὑποσκελίζειν, 1, 35.
+  ὑπόχαλκος, 5, 106.
+  urentis oculos, 2, 34.
+  urnas Vestalis, 2, 60.
+  urtica, 6, 70.
+  usque adeo, 1, 26.
+  usum vitae, 5, 94.
+  usus rerum, 5, 52.
+  ut omitted, 1, 56.
+  uxor proxima, 3, 43.
+
+
+  V.
+
+  vafer, 1, 116. 132; 6, 20.
+  vago inguine, 6, 72.
+  vallis = sinus, 6, 8.
+  vanescere, 3, 13.
+  vapida lagoena, 6,17.
+    pice, 5, 148.
+  vapido pectore, 5, 117.
+  vaporata aure, 1, 126.
+  vappa, 5, 77.
+  varicosos centuriones, 5, 189.
+  varo (baro), 5, 138.
+  varo genio, 6, 18.
+    pede, 4, 12.
+  vatibus, 5, 1.
+  vatum, Prol., 7.
+  ve-, 1, 97.
+  ve or vel redundant (?), 3, 29.
+  vegrandi, 1, 97.
+  Veientanum rubellum, 5, 147.
+  vel duo, vel nemo, 1, 3.
+  Velina, 5, 73.
+  velle suum, 5, 53.
+    with perf. inf., 1, 41. 91.
+  vellere barbam, 1, 133; 2, 28.
+  vellus Calabrum, 2, 65.
+  velox, 4, 4.
+  vena singultiet, 6, 72.
+    testiculi, 1, 103.
+  venas conpositas, 3, 91.
+    stringere, 2, 66.
+    tangere, 3, 107.
+  vendo = vendito, 1, 122.
+  veneno ferventi, 3, 37.
+  Veneri donatae pupae, 2, 70.
+  venire with the dative, 6, 39.
+  venosus, 1, 76.
+  venter, Prol., 11; 3, 98.
+  ventis rumpere, 3, 27.
+  ventos premere, 5, 11.
+  veratro, 1, 51.
+  verba dare, 3, 19; 4, 45.
+    togae, 5, 14.
+  verecunda mensa, 5, 44.
+  veri speciem, 5, 105.
+  vernae discincto, 4, 22.
+  verrucosa, 1, 77.
+  versum cludere, 1, 93.
+    tendere, 1, 65.
+  verte aliquid, 5, 137.
+  verterit, 5, 78.
+  vertigo, 5, 76.
+  verumne, 3, 7.
+  Vestalis urnas, 2, 60.
+  vetare superos, 2, 43.
+  vetavit, 5, 90.
+  veteres avias, 5, 92.
+  vetitos actus, 5, 99.
+    veto faxit, 1, 112.
+  Vettidius, 4, 25.
+  vetule, 1, 22.
+  viatica, 5, 65.
+  vibice, 4, 49.
+  vicinia, 4, 46.
+  vidĕ, 1, 108.
+  vigila, 5, 177.
+  vin and vis, 1, 56; 6, 63.
+  vinci laborat, 5, 39.
+  vindicta, 5, 88. 125.
+  violae, 1, 40.
+  violas, 5, 182.
+  Virbi clivus, 5, 56.
+  viridi limo, 3, 22.
+  vis dicam, 1, 56.
+  visceratio, 6, 50 (note).
+  vitae rapidae, 5, 94.
+  vitiabit agendo, 5, 97.
+  vitiarunt pultes, 6, 40.
+  vitiato murice, 2, 65.
+  vitio praefigere theta, 2, 68.
+    stupet, 3, 32.
+    utitur, 2, 68.
+  vitium sonare, 3, 21.
+  vitrea bilis, 3, 8.
+  vitulo superbo, 1, 100.
+  vivere nostrum, 1, 9.
+  vivitur, 4, 43; 5, 53.
+  vivo caespite, 6, 31.
+  vivunt chordae, 6, 2.
+  vixisse, 4, 17.
+  Vocative in the predicate, 1, 123; 3, 28.
+  voce pura, 5, 28.
+  voces centum, 5, 1.
+  vomere nebulam, 5, 181.
+  voti modicus, 5, 109.
+  voto aperto, 2, 7.
+    in voto esse, 3, 49.
+  vulnera Parthi, 5, 4.
+  vulnus caecum, 4, 44.
+  vulpem astutam, 5, 117.
+  vulvae patriciae, 6, 73.
+  vulvas marcentis, 4, 36.
+
+
+  Z.
+
+  Zeugma, 3, 75; 5, 114. 185.
+
+
+
+
+THE END.
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Errata (Noted by Transcriber)
+
+Quando cerco norme di gusto
+  [text reads “uome”: checked against original]
+
+“Neue” in bibliographical references is a personal name.
+
+Notes
+
+  “Note I.7” will be found under I.5 (long sentence).
+
+I.84 Gr. πρεπόντως [epsilon invisible].
+III.20 ‘... or second to a person,’ hence ‘to sing small’
+  [text reads “...to a person,’ ‘hence to sing...”]
+III.29 trabeatus es_)’ [text has close quote inside parenthesis]
+III.34 #rursum non bullit# [printed with line 33]
+III.56 The letter Υ, or rather its old form [[symbol]]
+  _the second form is a vertical line with bar projecting to the
+  upper left_
+V.38 see note on 4.11 [4.12]
+V.64, 65 [all notes printed with line 63]
+V.65 #viatica#, #miseris# [order of notes transposed]
+V.156 #oberres# [text reads “155”, repeated]
+V.157-158 #nec--dicas# [text reads “156”]
+V.162 ‘to the raw,’ ‘to the quick.’ [second open quote missing]
+VI.5 no synonyme for _honestus_, [spelling unchanged]
+
+Critical Appendix
+
+II.14 #pro# [the nearest occurrence of this word is in line II.22]
+III.93 [text reads III.94]
+IV.20 #suffla# [printed with line 19]
+VI.69 #ungue# [printed with line 67]
+
+Index
+
+  Unambigous punctuation errors were silently corrected.
+
+  Attribute for effect, Prol., 4; 1, 17. [number 1 missing]
+  inflantis corpora, 5, 187
+  lusca sacerdos, 5, 186
+  δραπετεύειν, 5, 156
+    [in all three, book number misprinted as 1]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Satires of A. Persius Flaccus, by 
+A. Persius Flaccus (AKA Persius)
+
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+The Project Gutenberg EBook of The Satires of A. Persius Flaccus, by 
+A. Persius Flaccus (AKA Persius)
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Satires of A. Persius Flaccus
+
+Author: A. Persius Flaccus (AKA Persius)
+
+Editor: Basil L. Gildersleeve
+
+Release Date: July 22, 2007 [EBook #22119]
+
+Language: Latin
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SATIRES OF A. PERSIUS FLACCUS ***
+
+
+
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+  [Transcriber's Note:
+
+  This text is intended for users whose text readers cannot use the
+  "real" (unicode/utf-8) version of the file. Greek has been
+  transliterated and shown between +marks+. Other characters that could
+  not be fully displayed have been "unpacked" and shown between braces:
+
+    [)a] [)e] short vowels (printed with breve symbol)
+    [-a] [-e] [-i] [-o] long vowels (printed with macron)
+
+  In the Notes, the name "Vanicek" is given without hacek.
+
+  In the printed text, emphasis within italicized passages was shown by
+  gesperrt (spaced-out) text. This is shown here with #marks#, as is
+  #boldface# type. Bold and gesperrt never occur in the same contexts.
+  Italics are shown by _lines_. In the Critical Appendix, superscript
+  alpha and omega are shown as {a} and {w}.
+
+  The Notes and Critical Appendix were printed in a block at the end of
+  the book. For this e-text, they have been regrouped so each Satire
+  with its notes forms a discrete unit. In addition, the Satires alone--
+  totaling about 700 lines-- have been repeated at the beginning of the
+  text, before the Introduction.]
+
+
+
+
+                    THE SATIRES
+                         of
+                 A. PERSIUS FLACCUS
+
+                     Edited By
+
+  BASIL L. GILDERSLEEVE, Ph.D. (G�ttingen), LL.D.,
+  Professor of Greek in the University of Virginia.
+
+
+    [Publisher's Device: +LAMPADIA ECHONTES DIAD�SOUSIN ALL�LOIS+]
+
+
+  New York:
+  Harper & Brothers, Publishers,
+  Franklin Square.
+  1875.
+
+
+
+
+  Entered according to Act of Congress, in the year 1875, by
+  HARPER & BROTHERS,
+  In the Office of the Librarian of Congress, at Washington.
+
+
+
+
+PREFACE.
+
+
+The text of this edition of Persius is in the main that of Jahn's last
+recension (1868). The few changes are discussed in the Notes and
+recorded in the Critical Appendix.
+
+In the preparation of the Notes I have made large use of Jahn's standard
+edition, without neglecting the commentaries of Casaubon, K�nig, and
+Heinrich, or the later editions by Macleane, Pretor, and Conington, or
+such recent monographs on Persius as I have been able to procure.
+Special obligations have received special acknowledgment.
+
+My personal contributions to the elucidation of Persius are too slight
+to warrant me in following the prevalent fashion and cataloguing the
+merits of my work under the modest guise of aims and endeavors. I�shall
+be contenf, if I have succeeded in making Persius less distasteful to
+the general student; more than content, if those who have devoted long
+and patient study to this difficult author shall accord me the credit of
+an honest effort to make myself acquainted with the poet himself as well
+as with his chief commentators.
+
+In compliance with the wish of the distinguished scholar at whose
+instance I undertook this work, Professor Charles Short, of Columbia
+College, New York, I have inserted references to my Latin Grammar and to
+the Grammar of Allen and Greenough, here and there to Madvig.
+
+B. L. GILDERSLEEVE.
+
+UNIVERSITY OF VIRGINIA, _February_, 1875.
+
+
+
+
+  CONTENTS.
+
+                                        Page
+
+  INTRODUCTION                           VII
+
+  A. PERSII FLACCI SATURARUM LIBER        39
+
+  VITA PERSII                             65
+  NOTES                                   71
+  CRITICAL APPENDIX                      207
+  INDEX                                  211
+
+
+       *       *       *       *       *
+
+  A. PERSII FLACCI
+
+  SATURARUM
+
+  LIBER.
+
+
+    [Duplicated material:
+    see Transcriber's Note at beginning of e-text.]
+
+
+  PROLOGUS.
+
+
+  Nec fonte labra prolui caballino,
+  nec in bicipiti somniasse Parnaso
+  memini, ut repente sic poeta prodirem.
+  Heliconidasque pallidamque Pirenen
+  illis remitto, quorum imagines lambunt                           5
+  hederae sequaces: ipse semipaganus
+  ad sacra vatum carmen adfero nostrum.
+  quis expedivit psittaco suum chaere
+  picamque docuit nostra verba conari?
+  magister artis ingenique largitor                               10
+  venter, negatas artifex sequi voces;
+  quod si dolosi spes refulserit nummi,
+  corvos poetas et poetridas picas
+  cantare credas Pegaseium nectar.
+
+
+
+
+  SATURA I.
+
+
+  O curas hominum! o quantum est in rebus inane!
+  'Quis leget haec?' Min tu istud ais? nemo hercule! 'Nemo?'
+  Vel duo, vel nemo. 'Turpe et miserabile!' Quare?
+  ne mihi Polydamas et Troiades Labeonem
+  praetulerint? nugae. non, si quid turbida Roma                   5
+  elevet, accedas examenque inprobum in illa
+  castiges trutina, nec te quaesiveris extra.
+  nam Romae quis non--? a, si fas dicere-- sed fas
+  tum, cum ad canitiem et nostrum istud vivere triste
+  aspexi ac nucibus facimus quaecumque relictis,                  10
+  cum sapimus patruos; tunc, tunc, ignoscite-- 'Nolo.'
+  Quid faciam? sed sum petulanti splene cachinno.
+    Scribimus inclusi, numeros ille, his pede liber,
+  grande aliquid, quod pulmo animae praelargus anhelet.
+  scilicet haec populo pexusque togaque recenti                   15
+  et natalicia tandem cum sardonyche albus
+  sede leges celsa, liquido cum plasmate guttur
+  mobile collueris, patranti fractus ocello.
+  hic neque more probo videas nec voce serena
+  ingentis trepidare Titos, cum carmina lumbum                    20
+  intrant, et tremulo scalpuntur ubi intima versu.
+  tun, vetule, auriculis alienis colligis escas?
+  auriculis, quibus et dicas cute perditus _ohe_.
+  'Quo didicisse, nisi hoc fermentum et quae semel intus
+  innata est rupto iecore exierit caprificus?'                    25
+  En pallor seniumque! o mores! usque adeone
+  scire tuum nihil est, nisi te scire hoc sciat alter?
+  'At pulchrum est digito monstrari et dicier _hic est!_
+  ten cirratorum centum dictata fuisse
+  pro nihilo pendas?' Ecce inter pocula quaerunt                  30
+  Romulidae saturi, quid dia poemata narrent.
+  hic aliquis, cui circa umeros hyacinthia laena est,
+  rancidulum quiddam balba de nare locutus,
+  Phyllidas Hypsipylas, vatum et plorabile si quid,
+  eliquat ac tenero supplantat verba palato.                      35
+  adsensere viri: nunc non cinis ille poetae
+  felix? non levior cippus nunc inprimit ossa?
+  laudant convivae: nunc non e manibus illis,
+  nunc non e tumulo fortunataque favilla
+  nascentur violae? 'Rides' ait 'et nimis uncis                   40
+  naribus indulges. an erit qui velle recuset
+  os populi meruisse et cedro digna locutus
+  linquere nec scombros metuentia carmina nec tus?'
+    Quisquis es, o, modo quem ex adverso dicere feci,
+  non ego cum scribo, si forte quid aptius exit,                  45
+  quando haec rara avis est, si quid tamen aptius exit,
+  laudari metuam, neque enim mihi cornea fibra est;
+  sed recti finemque extremumque esse recuso
+  euge tuum et belle. nam belle hoc excute totum:
+  quid non intus habet? non hic est Ilias Atti                    50
+  ebria veratro? non si qua elegidia crudi
+  dictarunt proceres? non quidquid denique lectis
+  scribitur in citreis? calidum seis ponere sumen,
+  scis comitem horridulum trita donare lacerna,
+  et 'verum' inquis 'amo: verum mihi dicite de me.'               55
+  qui pote? vis dicam? nugaris, cum tibi, calve,
+  pinguis aqualiculus protenso sesquipede exstet.
+  o Iane, a tergo quem nulla ciconia pinsit,
+  nec manus auriculas imitari mobilis albas,
+  nec linguae, quantum, sitiat canis Apula, tantae!               60
+  vos, o patricius sanguis, quos vivere fas est
+  occipiti caeco, posticae occurrite sannae!
+    Quis populi sermo est? quis enim, nisi carmina molli
+  nunc demum numero fluere, ut per leve severos
+  effundat iunctura unguis? scit tendere versum                   65
+  non secus ac si oculo rubricam derigat uno.
+  sive opus in mores, in luxum, in prandia regum
+  dicere, res grandis nostro dat Musa poetae.
+  ecce modo heroas sensus adferre videmus
+  nugari solitos graece, nec ponere lucum                         70
+  artifices nec rus saturum laudare, ubi corbes
+  et focus et porci et fumosa Palilia faeno,
+  unde Remus, sulcoque terens dentalia, Quinti,
+  cum trepida ante boves dictatorem induit uxor
+  et tua aratra domum lictor tulit-- euge poeta!                  75
+  est nunc Brisaei quem venosus liber Acci,
+  sunt quos Pacuviusque et verrucosa moretur
+  Antiopa, aerumnis cor luctificabile fulta.
+  hos pueris monitus patres infundere lippos
+  cum videas, quaerisne, unde haec sartago loquendi               80
+  venerit in linguas, unde istuc dedecus, in quo
+  trossulus exsultat tibi per subsellia levis?
+  nilne pudet capiti non posse pericula cano
+  pellere, quin tepidum hoc optes audire _decenter_?
+  'Fur es' ait Pedio. Pedius quid? crimina rasis                  85
+  librat in antithetis: doctas posuisse figuras
+  laudatur 'bellum hoc!' hoc bellum? an, Romule, ceves?
+  men moveat? quippe et, cantet si naufragus, assem
+  protulerim. cantas, cum fracta te in trabe pictum
+  ex umero portes? verum, nec nocte paratum                       90
+  plorabit, qui me volet incurvasse querela.
+    'Sed numeris decor est et iunctura addita crudis.
+  cludere sic versum didicit _Berecyntius Attis_
+  et _qui caeruleum dirimebat Nerea delphin_
+  sic _costam longo subduximus Appennino_.                        95
+  _Arma virum_, nonne hoc spumosum et cortice pingui,
+  ut ramale vetus vegrandi subere coctum?'
+  'Quidnam igitur tenerum et laxa cervice legendum?
+  _Torva mimalloneis inplerunt cornua bombis,_
+  _et raptum vitulo caput ablatura superbo_                      100
+  _Bassaris et lyncem Maenas flexura corymbis_
+  _euhion ingeminat, reparabilis adsonat echo?'_
+  haec fierent, si testiculi vena ulla paterni
+  viveret in nobis? summa delumbe saliva
+  hoc natat in labris, et in udo est Maenas et Attis,            105
+  nec pluteum caedit, nec demorsos sapit unguis.
+    'Sed quid opus teneras mordaci radere vero
+  auriculas? vide sis, ne maiorum tibi forte
+  limina frigescant: sonat hic de nare canina
+  littera.' Per me equidem sint omnia protinus alba;             110
+  nil moror. euge! omnes, omnes bene mirae eritis res.
+  hoc iuvat? 'hic' inquis 'veto quisquam faxit oletum.'
+  pinge duos anguis: pueri, sacer est locus, extra
+  meite! discedo. secuit Lucilius urbem,
+  te Lupe, te Muci, et genuinum fregit in illis;                 115
+  omne vafer vitium ridenti Flaccus amico
+  tangit et admissus circum praecordia ludit,
+  callidus excusso populum suspendere naso:
+  men muttire nefas? nec clam, nec cum scrobe? nusquam?
+  hic tamen infodiam. vidi, vidi ipse, libelle:                  120
+  auriculas asini quis non habet? hoc ego opertum,
+  hoc ridere meum, tam nil, nulla tibi vendo
+  Iliade. audaci quicumque adflate Cratino
+  iratum Eupolidem praegrandi cum sene palles,
+  aspice et haec, si forte aliquid decoctius audis.              125
+  inde vaporata lector mihi ferveat aure:
+  non hic, qui in crepidas Graiorum ludere gestit
+  sordidus, et lusco qui possit dicere 'lusce,'
+  sese aliquem credens, Italo quod honore supinus
+  fregerit heminas Arreti aedilis iniquas;                       130
+  nec qui abaco numeros et secto in pulvere metas
+  scit risisse vafer, multum gaudere paratus,
+  si cynico barbam petulans nonaria vellat.
+  his mane edictum, post prandia Calliroen do.
+
+
+
+
+  SATURA II.
+
+
+  Hunc, Macrine, diem numera meliore lapillo
+  qui tibi labentis apponit candidus annos.
+  funde merum genio. non tu prece poscis emaci,
+  quae nisi seductis nequeas committere divis;
+  at bona pars procerum tacita libabit acerra.                     5
+  haud cuivis promptum est murmurque humilisque susurros
+  tollere de templis et aperto vivere voto.
+  'Mens bona, fama, fides' haec clare et ut audiat hospes;
+  illa sibi introrsum et sub lingua murmurat 'o si
+  ebulliat patruus, praeclarum funus?' et 'o si                   10
+  sub rastro crepet argenti mihi seria dextro
+  Hercule! pupillumve utinam, quem proximus heres
+  inpello, expungam! namque est scabiosus et acri
+  bile tumet. Nerio iam tertia conditur uxor.'
+  haec sancte ut poscas, Tiberino in gurgite mergis               15
+  mane caput bis terque et noctem flumine purgas?
+  heus age, responde-- minimum est quod scire laboro--
+  de Iove quid sentis? estne ut praeponere cures
+  hunc-- 'cuinam?' cuinam? vis Staio? an scilicet haeres?
+  quis potior index, puerisve quis aptior orbis?                  20
+  hoc igitur, quo tu Iovis aurem inpellere temptas,
+  dic agedum Staio, 'pro Iuppiter! o bone' clamet
+  'Iuppiter!' at sese non clamet Iuppiter ipse?
+  ignovisse putas, quia, cum tonat, ocius ilex
+  sulpure discutitur sacro quam tuque domusque?                   25
+  an quia non fibris ovium Ergennaque iubente
+  triste iaces lucis evitandumque bidental,
+  idcirco stolidam praebet tibi vellere barbam
+  Iuppiter? aut quidnam est, qua tu mercede deorum
+  emeris auriculas? pulmone et lactibus unctis?                   30
+    Ecce avia aut metuens divum matertera cunis
+  exemit puerum frontemque atque uda labella
+  infami digito et lustralibus ante salivis
+  expiat, urentis oculos inhibere perita;
+  tunc manibus quatit et spem macram supplice voto                35
+  nunc Licini in campos, nunc Crassi mittit in aedis
+  'hunc optet generum rex et regina! puellae
+  hunc rapiant! quidquid calcaverit hic, rosa fiat!'
+  ast ego nutrici non mando vota: negato,
+  Iuppiter, haec illi, quamvis te albata rogarit.                 40
+  Poscis opem nervis corpusque fidele senectae.
+  esto age; sed grandes patinae tuccetaque crassa
+  adnuere his superos vetuere Iovemque morantur.
+  Rem struere exoptas caeso bove Mercuriumque
+  arcessis fibra 'da fortunare Penatis,                           45
+  da pecus et gregibus fetum!' quo, pessime, pacto,
+  tot tibi cum in flammas iunicum omenta liquescant
+  et tamen hic extis et opimo vincere ferto
+  intendit 'iam crescit ager, iam crescit ovile,
+  iam dabitur, iam iam!' donec deceptus et exspes                 50
+  nequiquam fundo suspiret nummus in imo.
+    Si tibi creterras argenti incusaque pingui
+  auro dona feram, sudes et pectore laevo
+  excutiat guttas laetari praetrepidum cor.
+  hinc illud subiit, auro sacras quod ovato                       55
+  perducis facies; nam fratres inter aenos
+  somnia pituita qui purgatissima mittunt,
+  praecipui sunto sitque illis aurea barba.
+  aurum vasa Numae Saturniaque inpulit aera
+  Vestalisque urnas et Tuscum fictile mutat.                      60
+  o curvae in terris animae et caelestium inanes!
+  quid iuvat hoc, templis nostros inmittere mores
+  et bona dis ex hac scelerata ducere pulpa?
+  haec sibi corrupto casiam dissolvit olivo,
+  haec Calabrum coxit vitiato murice vellus,                      65
+  haec bacam conchae rasisse et stringere venas
+  ferventis massae crudo de pulvere iussit.
+  peccat et haec, peccat: vitio tamen utitur. at vos
+  dicite, pontifices, in sancto quid facit aurum?
+  nempe hoc quod Veneri donatae a virgine pupae.                  70
+  quin damus id superis, de magna quod dare lance
+  non possit magni Messallae lippa propago:
+  conpositum ius fasque animo sanctosque recessus
+  mentis et incoctum generoso pectus honesto.
+  haec cedo ut admoveam templis et farre litabo.                  75
+
+
+
+
+  SATURA III.
+
+
+  'Nempe haec adsidue: iam clarum mane fenestras
+  intrat et angustas extendit lumine rimas:
+  stertimus indomitum quod despumare Falernum
+  sufficiat, quinta dum linea tangitur umbra.
+  en quid agis? siccas insana canicula messis                      5
+  iam dudum coquit et patula pecus omne sub ulmo est.'
+  unus ait comitum. "Verumne? itane? ocius adsit
+  huc aliquis! nemon?" turgescit vitrea bilis:
+  "findor"-- ut Arcadiae pecuaria rudere dicas.
+  iam liber et positis bicolor membrana capillis                  10
+  inque manus chartae nodosaque venit harundo.
+  tunc querimur, crassus calamo quod pendeat umor,
+  nigra quod infusa vanescat sepia lympha;
+  dilutas querimur geminet quod fistula guttas.
+  o miser inque dies ultra miser, hucine rerum                    15
+  venimus? at cur non potius teneroque columbo
+  et similis regum pueris pappare minutum
+  poscis et iratus mammae lallare recusas?
+  "An tali studeam calamo?" Cui verba? quid istas
+  succinis ambages? tibi luditur. effluis amens,                  20
+  contemnere: sonat vitium percussa, maligne
+  respondet viridi non cocta fidelia limo.
+  udum et molle lutum es, nunc nunc properandus et acri
+  fingendus sine fine rota. sed rure paterno
+  est tibi far modicum, purum et sine labe salinum--              25
+  quid metuas?-- cultrixque foci secura patella.
+  hoc satis? an deceat pulmonem rumpere ventis,
+  stemmate quod Tusco ramum millesime ducis,
+  censoremne tuum vel quod trabeate salutas?
+  ad populum phaleras! ego te intus et in cute novi.              30
+  non pudet ad morem discincti vivere Nattae?
+  sed stupet hic vitio et fibris increvit opimum
+  pingue, caret culpa, nescit quid perdat, et alto
+  demersus summa rursum non bullit in unda.
+  magne pater divum, saevos punire tyrannos                       35
+  haud alia ratione velis, cum dira libido
+  moverit ingenium ferventi tincta veneno:
+  virtutem videant intabescantque relicta.
+  anne magis Siculi gemuerunt aera iuvenci,
+  et magis auratis pendens laquearibus ensis                      40
+  purpureas subter cervices terruit, 'imus,
+  imus praecipites' quam si sibi dicat et intus
+  palleat infelix, quod proxima nesciat uxor?
+    Saepe oculos, memini, tangebam parvus olivo,
+  grandia si nollem morituri verba Catonis                        45
+  discere, non sano multum laudanda magistro,
+  quae pater adductis sudans audiret amicis.
+  iure; etenim id summum, quid dexter senio ferret,
+  scire erat in voto; damnosa canicula quantum
+  raderet; angustae collo non fallier orcae;                      50
+  neu quis callidior buxum torquere flagello.
+  haud tibi inexpertum curvos deprendere mores,
+  quaeque docet sapiens bracatis inlita Medis
+  porticus, insomnis quibus et detonsa iuventus
+  invigilat, siliquis et grandi pasta polenta;                    55
+  et tibi quae Samios diduxit littera ramos
+  surgentem dextro monstravit limite callem.
+  stertis adhuc, laxumque caput conpage soluta
+  oscitat hesternum, dissutis undique malis!
+  est aliquid quo tendis, et in quod dirigis arcum?               60
+  an passim sequeris corvos testaque lutoque,
+  securus quo pes ferat, atque ex tempore vivis?
+  helleborum frustra, cum iam cutis aegra tumebit,
+  poscentis videas: venienti occurrite morbo!
+  et quid opus Cratero magnos promittere montis?                  65
+  discite, o miseri, et causas cognoscite rerum:
+  quid sumus, et quidnam victuri gignimur; ordo
+  quis datus, aut metae qua mollis flexus et unde;
+  quis modus argento, quid fas optare, quid asper
+  utile nummus habet; patriae carisque propinquis                 70
+  quantum elargiri deceat; quem te deus esse
+  iussit, et humana qua parte locatus es in re.
+  disce, nec invideas, quod multa fidelia putet
+  in locuplete penu, defensis pinguibus Umbris,
+  et piper et pernae, Marsi monumenta clientis,                   75
+  menaque quod prima nondum defecerit orca.
+    Hic aliquis de gente hircosa centurionum
+  dicat 'Quod sapio satis est mihi. non ego curo
+  esse quod Arcesilas aerumnosique Solones,
+  obstipo capite et figentes lumine terram,                       80
+  murmura cum secum et rabiosa silentia rodunt
+  atque exporrecto trutinantur verba labello,
+  aegroti veteris meditantes somnia, _gigni_
+  _de nihilo nihilum, in nihilum nil posse reverti._
+  hoc est, quod palles? cur quis non prandeat, hoc est?'          85
+  His populus ridet, multumque torosa iuventus
+  ingeminat tremulos naso crispante cachinnos.
+    'Inspice; nescio quid trepidat mihi pectus et aegris
+  faucibus exsuperat gravis alitus; inspice, sodes!'
+  qui dicit medico, iussus requiescere, postquam                  90
+  tertia conpositas vidit nox currere venas,
+  de maiore domo modice sitiente lagoena
+  lenia loturo sibi Surrentina rogabit.
+  'Heus, bone, tu palles!' "Nihil est." 'Videas tamen istuc,
+  quidquid id est: surgit tacite tibi lutea pellis.'              95
+  "At tu deterius palles; ne sis mihi tutor;
+  iam pridem hunc sepeli: tu restas." 'Perge, tacebo.'
+  turgidus hic epulis atque albo ventre lavatur,
+  gutture sulpureas lente exalante mefites;
+  sed tremor inter vina subit calidumque triental                100
+  excutit e manibus, dentes crepuere retecti,
+  uncta cadunt laxis tunc pulmentaria labris.
+  hinc tuba, candelae, tandemque beatulus alto
+  conpositus lecto crassisque lutatus amomis
+  in portam rigidas calces extendit: at illum                    105
+  hesterni capite induto subiere Quirites.
+    'Tange, miser, venas et pone in pectore dextram.
+  nil calet hic. summosque pedes attinge manusque.
+  non frigent.' Visa est si forte pecunia, sive
+  candida vicini subrisit molle puella,                          110
+  cor tibi rite salit? positum est algente catino
+  durum holus et populi cribro decussa farina:
+  temptemus fauces, tenero latet ulcus in ore
+  putre, quod haud deceat plebeia radere beta.
+  alges, cum excussit membris timor albus aristas;               115
+  nunc face supposita fervescit sanguis et ira
+  scintillant oculi, dicisque facisque, quod ipse
+  non sani esse hominis non sanus iuret Orestes.
+
+
+
+
+  SATURA IV.
+
+
+  'Rem populi tractas?' barbatum haec crede magistrum
+  dicere, sorbitio tollit quem dira cicutae
+  'quo fretus? dic hoc, magni pupille Pericli.
+  scilicet ingenium et rerum prudentia velox
+  ante pilos venit, dicenda tacendaque calles.                     5
+  ergo ubi commota fervet plebecula bile,
+  fert animus calidae fecisse silentia turbae
+  maiestate manus. quid deinde loquere? "Quirites,
+  hoc puta non iustum est, illud male, rectius illud."
+  scis etenim iustum gemina suspendere lance                      10
+  ancipitis librae, rectum discernis, ubi inter
+  curva subit, vel cum fallit pede regula varo,
+  et potis es nigrum vitio praefigere theta.
+  quin tu igitur, summa nequiquam pelle decorus,
+  ante diem blando caudam iactare popello                         15
+  desinis, Anticyras melior sorbere meracas!
+  quae tibi summa boni est? uncta vixisse patella
+  semper et adsiduo curata cuticula sole?
+  exspecta, haud aliud respondeat haec anus. i nunc
+  "Dinomaches ego sum," suffla "sum candidus." esto;              20
+  dum ne deterius sapiat pannucia Baucis,
+  cum bene discincto cantaverit ocima vernae.'
+    Ut nemo in sese temptat descendere, nemo,
+  sed praecedenti spectatur mantica tergo!
+  quaesieris 'Nostin Vettidi praedia?' "Cuius?"                   25
+  'Dives arat Curibus quantum non miluus errat.'
+  "Hunc ais, hunc dis iratis genioque sinistro,
+  qui, quandoque iugum pertusa ad compita figit,
+  seriolae veterem metuens deradere limum
+  ingemit: _hoc bene sit!_ tunicatum cum sale mordens             30
+  caepe et farrata pueris plaudentibus olla
+  pannosam faecem morientis sorbet aceti?"
+  at si unctus cesses et figas in cute solem,
+  est prope te ignotus, cubito qui tangat et acre
+  despuat 'hi mores! penemque arcanaque lumbi                     35
+  runcantem populo marcentis pandere vulvas!
+  tu cum maxillis balanatum gausape pectas,
+  inguinibus quare detonsus gurgulio exstat?
+  quinque palaestritae licet haec plantaria vellant
+  elixasque nates labefactent forcipe adunca,                     40
+  non tamen ista filix ullo mansuescit aratro.'
+  caedimus inque vicem praebemus crura sagittis.
+  vivitur hoc pacto; sic novimus. ilia subter
+  caecum vulnus habes; sed lato balteus auro
+  praetegit. ut mavis, da verba et decipe nervos,                 45
+  si potes. 'Egregium cum me vicinia dicat,
+  non credam?' Viso si palles, inprobe, nummo,
+  si facis in penem quidquid tibi venit amarum,
+  si puteal multa cautus vibice flagellas:
+  nequiquam populo bibulas donaveris aures.                       50
+  respue, quod non es; tollat sua munera cerdo;
+  tecum habita: noris, quam sit tibi curta supellex.
+
+
+
+
+  SATURA V.
+
+
+  Vatibus hic mos est, centum sibi poscere voces,
+  centum ora et linguas optare in carmina centum,
+  fabula seu maesto ponatur hianda tragoedo,
+  vulnera seu Parthi ducentis ab inguine ferrum.
+  'Quorsum haec? aut quantas robusti carminis offas                5
+  ingeris, ut par sit centeno gutture niti?
+  grande locuturi nebulas Helicone legunto,
+  si quibus aut Prognes, aut si quibus olla Thyestae
+  fervebit, saepe insulso cenanda Glyconi;
+  tu neque anhelanti, coquitur dum massa camino,                  10
+  folle premis ventos, nec clauso murmure raucus
+  nescio quid tecum grave cornicaris inepte,
+  nec scloppo tumidas intendis rumpere buccas.
+  verba togae sequeris iunctura callidus acri,
+  ore teres modico, pallentis radere mores                        15
+  doctus et ingenuo culpam defigere ludo.
+  hinc trahe quae dicis, mensasque relinque Mycenis
+  cum capite et pedibus, plebeiaque prandia noris.'
+  Non equidem hoc studeo, bullatis ut mihi nugis
+  pagina turgescat, dare pondus idonea fumo.                      20
+  secreti loquimur; tibi nunc hortante Camena
+  excutienda damus praecordia, quantaque nostrae
+  pars tua sit, Cornute, animae, tibi, dulcis amice,
+  ostendisse iuvat: pulsa, dinoscere cautus,
+  quid solidum crepet et pictae tectoria linguae.                 25
+  his ego centenas ausim deposcere voces,
+  ut, quantum mihi te sinuoso in pectore fixi,
+  voce traham pura, totumque hoc verba resignent,
+  quod latet arcana non enarrabile fibra.
+    Cum primum pavido custos mihi purpura cessit                  30
+  bullaque succinctis Laribus donata pependit;
+  cum blandi comites totaque inpune Subura
+  permisit sparsisse oculos iam candidus umbo;
+  cumque iter ambiguum est et vitae nescius error
+  deducit trepidas ramosa in compita mentes,                      35
+  me tibi supposui: teneros tu suscipis annos
+  Socratico, Cornute, sinu; tum fallere sollers
+  apposita intortos extendit regula mores,
+  et premitur ratione animus vincique laborat
+  artificemque tuo ducit sub pollice vultum.                      40
+  tecum etenim longos memini consumere soles,
+  et tecum primas epulis decerpere noctes:
+  unum opus et requiem pariter disponimus ambo,
+  atque verecunda laxamus seria mensa.
+  non equidem hoc dubites, amborum foedere certo                  45
+  consentire dies et ab uno sidere duci
+  nostra vel aequali suspendit tempora Libra
+  Parca tenax veri, seu nata fidelibus hora
+  dividit in Geminos concordia fata duorum,
+  Saturnumque gravem nostro Iove frangimus una:                   50
+  nescio quod, certe est, quod me tibi temperat astrum.
+    Mille hominum species et rerum discolor usus;
+  velle suum cuique est, nec voto vivitur uno.
+  mercibus hic Italis mutat sub sole recenti
+  rugosum piper et pallentis grana cumini,                        55
+  hic satur inriguo mavult turgescere somno;
+  hic campo indulget, hunc alea decoquit, ille
+  in Venerem putris; sed cum lapidosa cheragra
+  fregerit articulos, veteris ramalia fagi,
+  tunc crassos transisse dies lucemque palustrem                  60
+  et sibi iam seri vitam ingemuere relictam.
+  at te nocturnis iuvat inpallescere chartis;
+  cultor enim iuvenum purgatas inseris aures
+  fruge Cleanthea. petite hinc puerique senesque
+  finem animo certum miserisque viatica canis!                    65
+  'Cras hoc fiet.' Idem cras fiet. 'Quid? quasi magnum
+  nempe diem donas.' Sed cum lux altera venit,
+  iam cras hesternum consumpsimus: ecce aliud cras
+  egerit hos annos et semper paulum erit ultra.
+  nam quamvis prope te, quamvis temone sub uno                    70
+  vertentem sese frustra sectabere cantum,
+  cum rota posterior curras et in axe secundo.
+    Libertate opus est, non hac, ut, quisque Velina
+  Publius emeruit, scabiosum tesserula far
+  possidet. heu steriles veri, quibus una Quiritem                75
+  vertigo facit! hic Dama est non tressis agaso,
+  vappa lippus et in tenui farragine mendax:
+  verterit hunc dominus, momento turbinis exit
+  Marcus Dama. papae! Marco spondente recusas
+  credere tu nummos? Marco sub iudice palles?                     80
+  Marcus dixit: ita est; adsigna, Marce, tabellas.
+  haec mera libertas; hoc nobis pillea donant!
+  'An quisquam est alius liber, nisi ducere vitam
+  cui licet, ut voluit? licet ut volo vivere: non sum
+  liberior Bruto?' "Mendose colligis," inquit                     85
+  stoicus hic aurem mordaci lotus aceto
+  "haec reliqua accipio; _licet_ illud et _ut volo_ tolle."
+  'Vindicta postquam meus a praetore recessi,
+  cur mihi non liceat, iussit quodcumque voluntas,
+  excepto si quid Masuri rubrica vetavit?'                        90
+  Disce, sed ira cadat naso rugosaque sanna,
+  dum veteres avias tibi de pulmone revello.
+  non praetoris erat stultis dare tenuia rerum
+  officia atque usum rapidae permittere vitae:
+  sambucam citius caloni aptaveris alto.                          95
+  stat contra ratio et secretam garrit in aurem,
+  ne liceat facere id quod quis vitiabit agendo.
+  publica lex hominum naturaque continet hoc fas,
+  ut teneat vetitos inscitia debilis actus.
+  diluis helleborum, certo conpescere puncto                     100
+  nescius examen: vetat hoc natura medendi.
+  navem si poscat sibi peronatus arator,
+  luciferi rudis, exclamet Melicerta perisse
+  frontem de rebus. tibi recto vivere talo
+  ars dedit, et veri speciem dinoscere calles,                   105
+  ne qua subaerato mendosum tinniat anro?
+  quaeque sequenda forent, quaeque evitanda vicissim,
+  illa prius creta, mox haec carbone notasti?
+  es modicus voti? presso lare? dulcis amicis?
+  iam nunc astringas, iam nunc granaria laxes,                   110
+  inque luto fixum possis transcendere nummum,
+  nec glutto sorbere salivam Mercurialem?
+  'haec mea sunt, teneo' cum vere dixeris, esto
+  liberque ac sapiens praetoribus ac Iove dextro,
+  sin tu, cum fueris nostrae paulo ante farinae,                 115
+  pelliculam veterem retines et fronte politus
+  astutam vapido servas sub pectore vulpem,
+  quae dederam supra relego funemque reduco:
+  nil tibi concessit ratio; digitum exsere, peccas,
+  et quid tam parvum est? sed nullo ture litabis,                120
+  haereat in stultis brevis ut semuncia recti.
+  haec miscere nefas; nec, cum sis cetera fossor,
+  tris tantum ad numeros satyrum moveare Bathylli.
+  'Liber ego.' Unde datum hoc sentis, tot subdite rebus?
+  an dominum ignoras, nisi quem vindicta relaxat?                125
+  'I puer et strigiles Crispini ad balnea defer!'
+  si increpuit, 'cessas nugator;' servitium acre
+  te nihil impellit, nec quicquam extrinsecus intrat,
+  quod nervos agitet; sed si intus et in iecore aegro
+  nascuntur domini, qui tu inpunitior exis                       130
+  atque hic, quem ad strigiles scutica et metus egit erilis?
+    Mane piger stertis. 'Surge!' inquit Avaritia 'heia
+  surge!' Negas; instat 'Surge!' inquit. "Non queo." 'Surge!'
+  "Et quid agam?" 'Rogitas? en saperdam advehe Ponto,
+  castoreum, stuppas, hebenum, tus, lubrica Coa;                 135
+  tolle recens primus piper ex sitiente camelo;
+  verte aliquid; iura.' "Sed Iuppiter audiet." 'Eheu!
+  varo, regustatum digito terebrare salinum
+  contentus perages, si vivere cum Iove tendis!'
+  iam pueris pellem succinctus et oenophorum aptas               140
+  'Ocius ad navem!' nihil obstat, quin trabe vasta
+  Aegaeum rapias, ni sollers Luxuria ante
+  seductum moneat 'Quo deinde, insane, ruis? quo?
+  quid tibi vis? calido sub pectore mascula bilis
+  intumuit, quod non exstinxerit urna cicutae?                   145
+  tu mare transilias? tibi torta cannabe fulto
+  cena sit in transtro, Veientanumque rubellum
+  exalet vapida laesum pice sessilis obba?
+  quid petis? ut nummi, quos hic quincunce modesto
+  nutrieras, pergant avidos sudare deunces?                      150
+  indulge genio, carpamus dulcia! nostrum est
+  quod vivis; cinis et manes et fabula fies.
+  vive memor leti! fugit hora; hoc quod loquor inde est.'
+  en quid agis? duplici in diversum scinderis hamo.
+  huncine, an hunc sequeris? subeas alternus oportet             155
+  ancipiti obsequio dominos, alternus oberres.
+  nec tu, cum obstiteris semel instantique negaris
+  parere imperio, 'rupi iam vincula' dicas;
+  nam et luctata canis nodum abripit; et tamen illi,
+  cum fugit, a collo trahitur pars longa catenae.                160
+  'Dave, cito, hoc credas iubeo, finire dolores
+  praeteritos meditor.' crudum Chaerestratus unguem
+  adrodens ait haec 'an siccis dedecus obstem
+  cognatis? an rem patriam rumore sinistro
+  limen ad obscenum frangam, dum Chrysidis udas                  165
+  ebrius ante fores exstincta cum face canto?'
+  "Euge, puer, sapias, dis depellentibus agnam
+  percute." 'Sed censen plorabit, Dave, relicta?'
+  "Nugaris; solea, puer, obiurgabere rubra.
+  ne trepidare velis atque artos rodere casses!                  170
+  nunc ferus et violens; at si vocet, haud mora, dicas:
+  _Quidnam igitur faciam? nec nunc, cum arcessat et ultro_
+  _supplicet, accedam?_ Si totus et integer illinc
+  exieras, nec nunc." hic hic, quod quaerimus, hic est,
+  non in festuca, lictor quam iactat ineptus.                    175
+  ius habet ille sui palpo, quem ducit hiantem
+  cretata ambitio? vigila et cicer ingere large
+  rixanti populo, nostra ut Floralia possint
+  aprici meminisse senes: _quid pulchrius?_ at cum
+  Herodis venere dies, unctaque fenestra                         180
+  dispositae pinguem nebulam vomuere lucernae
+  portantes violas, rubrumque amplexa catinum
+  cauda natat thynni, tumet alba fidelia vino:
+  labra moves tacitus recutitaque sabbata palles.
+  tum nigri lemures ovoque pericula rupto,                       185
+  tum grandes galli et cum sistro lusca sacerdos
+  incussere deos inflantis corpora, si non
+  praedictum ter mane caput gustaveris alli.
+    Dixeris haec inter varicosos centuriones,
+  continuo crassum ridet Pulfennius ingens,                      190
+  et centum Graecos curto centusse licetur.
+
+
+
+
+  SATURA VI.
+
+
+  Admovit iam bruma foco te, Basse, Sabino?
+  iamne lyra et tetrico vivunt tibi pectine chordae?
+  mire opifex numeris veterum primordia vocum
+  atque marem strepitum fidis intendisse Latinae,
+  mox iuvenes agitare iocis et pollice honesto                     5
+  egregius lusisse senes. mihi nunc Ligus ora
+  intepet hibernatque meum mare, qua latus ingens
+  dant scopuli et multa litus se valle receptat.
+  Lunai portum, est operae, cognoscite, cives!
+  cor iubet hoc Enni, postquam destertuit esse                    10
+  Maeonides, Quintus pavone ex Pythagoreo.
+  hic ego securus vulgi et quid praeparet auster
+  infelix pecori, securus et angulus ille
+  vicini nostro quia pinguior, etsi adeo omnes
+  ditescant orti peioribus, usque recusem                         15
+  curvus ob id minui senio aut cenare sine uncto,
+  et signum in vapida naso tetigisse lagoena.
+  discrepet his alius! geminos, horoscope, varo
+  producis genio. solis natalibus est qui
+  tingat holus siccum muria vafer in calice empta,                20
+  ipse sacrum inrorans patinae piper; hic bona dente
+  grandia magnanimus peragit puer. utar ego, utar,
+  nec rhombos ideo libertis ponere lautus,
+  nec tenuis sollers turdarum nosse salivas.
+  messe tenus propria vive et granaria, fas est,                  25
+  emole; quid metuis? occa, et seges altera in herba est.
+  ast vocat officium: trabe rupta Bruttia saxa
+  prendit amicus inops, remque omnem surdaque vota
+  condidit Ionio; iacet ipse in litore et una
+  ingentes de puppe dii, iamque obvia mergis                      30
+  costa ratis lacerae. nunc et de caespite vivo
+  frange aliquid, largire inopi, ne pictus oberret
+  caerulea in tabula. 'Sed cenam funeris heres
+  negleget, iratus quod rem curtaveris; urnae
+  ossa inodora dabit, seu spirent cinnama surdum,                 35
+  seu ceraso peccent casiae, nescire paratus.
+  tune bona incolumis minuas? et Bestius urguet
+  doctores Graios: _Ita fit, postquam sapere urbi_
+  _cum pipere et palmis venit nostrum hoc maris expers;_
+  _fenisecae crasso vitiarunt unguine pultes._'                   40
+  Haec cinere ulterior metuas? At tu, meus heres
+  quisquis eris, paulum a turba seductior audi.
+  o bone, num ignoras? missa est a Caesare laurus
+  insignem ob cladem Germanae pubis, et aris
+  frigidus excutitur cinis, ac iam postibus arma,                 45
+  iam chlamydes regum, iam lutea gausapa captis
+  essedaque ingentesque locat Caesonia Rhenos.
+  dis igitur genioque ducis centum paria ob res
+  egregie gestas induco; quis vetat? aude.
+  vae, nisi conives! oleum artocreasque popello                   50
+  largior; an prohibes? dic clare! 'Non adeo,' inquis
+  'exossatus ager iuxta est.' Age, si mihi nulla
+  iam reliqua ex amitis, patruelis nulla, proneptis
+  nulla manet patrui, sterilis matertera vixit,
+  deque avia nihilum superest, accedo Bovillas                    55
+  clivumque ad Virbi, praesto est mihi Manius heres.
+  'Progenies terrae?' Quaere ex me, quis mihi quartus
+  sit pater: haud prompte, dicam tamen; adde etiam unum,
+  unum etiam: terrae est iam filius, et mihi ritu
+  Manius hic generis prope maior avunculus exit.                  60
+  qui prior es, cur me in decursu lampada poscis?
+  sum tibi Mercurius; venio deus huc ego ut ille
+  pingitur; an renuis? vin tu gaudere relictis?
+  'Dest aliquid summae.' Minui mihi; sed tibi totum est,
+  quidquid id est. ubi sit, fuge quaerere, quod mihi quondam      65
+  legarat Tadius, neu dicta repone paterna:
+  _Faenoris accedat merces; hinc exime sumptus._
+  _quid reliquum est?_ Reliquum? nunc, nunc inpensius ungue,
+  ungue, puer, caules! mihi festa luce coquetur
+  urtica et fissa fumosum sinciput aure,                          70
+  ut tuus iste nepos olim satur anseris extis,
+  cum morosa vago singultiet inguine vena,
+  patriciae inmeiat vulvae? mihi trama figurae
+  sit reliqua, ast illi tremat omento popa venter?
+  vende animam lucro, mercare atque excute sollers                75
+  omne latus mundi, nec sit praestantior alter
+  Cappadocas rigida pinguis plausisse castata:
+  rem duplica. 'Feci; iam triplex, iam mihi quarto,
+  iam deciens redit in rugam: depunge, ubi sistam.'
+  Inventus, Chrysippe, tui finitor acervi.                        80
+
+    [End of duplicated material:
+    see Transcriber's Note at beginning of e-text.]
+
+
+       *       *       *       *       *
+
+    _Quando cerco norme di gusto, vado ad Orazio, il pi� amabile;
+    quando ho bisogno di bile contra le umane ribalderie, visito
+    Giovenale, il pi� splendido; quando mi studio d'esser onesto,
+    vivo con PERSIO, il pi� saggio, e con infinito piacere mescolato
+    di vergogna bevo li dettati della ragione su le labbra di questo
+    verecondo e santissimo giovanetto._      VINCENZO MONTI.
+
+
+    +Sunistanto hoi men h�s touton, hoi d' h�s ekeinon pl�n monou
+    tou I�nos; ekeinos de meson heauton ephulatten.+    +LOUKIANOU.+
+
+
+    _PERSIUS das rechte Ideal eines hoff�rtigen und mattherzigen
+    der Poesie beflissenen Jungen._    MOMMSEN.
+
+
+       *       *       *       *       *
+
+INTRODUCTION.
+
+
+An ancient _Vita Persii_, of uncertain authorship, of evident
+authenticity, gives all that it is needful for us to know about our
+poet-- much more than is vouchsafed to us for the rich individuality of
+Lucilius, much more than we can divine for the unsubstantial character
+of Juvenal.
+
+Aulus Persius Flaccus was born on the day before the nones of December,
+A.U.C. 787, A.D. 34, at Volaterrae, in Etruria. That Luna in Liguria was
+his birthplace is a false inference of some scholars from the words
+_meum mare_ in a passage of the sixth satire, where he describes his
+favorite resort on the Riviera.
+
+The family of Persius belonged to the old Etruscan nobility, and more
+than one Persius appears in inscriptions found at Volaterrae. Other
+circumstances make for his Etruscan origin: the Etruscan form of his
+name, _Aules_, so written in most MSS. of his Life; the Etruscan name of
+his mother, Sisennia; the familiar spitefulness of his mention of
+Arretium, the allusions to the Tuscan haruspex, to the Tuscan pedigree;
+the sneering mention of the Umbrians-- fat-witted folk, who lived across
+the Tuscan border. Most of these, it is true, are minute points, and
+would be of little weight in the case of an author of wider vision, but
+well-nigh conclusive in a writer like Persius, who tried to make up for
+the narrowness of his personal experience by a microscopic attention to
+details.
+
+Persius belonged to the same sphere of society as Maecenas. Like
+Maecenas an Etruscan, he was, like Maecenas, an _eques Romanus_. The
+social class of which he was a member did much for Roman literature;
+Etruria's contributions were far less valuable, and Mommsen is right
+when he recognizes in both these men, so unlike in life and in
+principle-- the one a callous wordling, the other a callow philosopher--
+the stamp of their strange race, a race which is a puzzle rather than a
+mystery. Indeed, the would-be mysterious is one of the most salient
+points in the style of Persius as in the religion of the Etruscans, and
+Persius's elaborate involution of the commonplace is parallel with the
+secret wisdom of his countrymen. The minute detail of the Etruscan
+ritual has its counterpart in the minute detail of Persius's style, and
+the want of a due sense of proportion and a certain coarseness of
+language in our author remind us of the defects of Etruscan art and the
+harshness of the Etruscan tongue.
+
+Persius was born, if not to great wealth, at least to an ample
+competence. His father died when the poet was but six years old, and his
+education was conducted at Volaterrae under the superintendence of his
+mother and her second husband, Fusius. For the proper appreciation of
+the career of Persius, it is a fact of great significance that he seems
+to have been very much under the influence of the women of his
+household. To this influence he owed the purity of his habits; but
+feminine training is not without its disadvantages for the conduct of
+life. For social refinement there is no better school; but the pet of
+the home circle is apt to make the grossest blunders when he ventures
+into the larger world of no manners, and attempts to use the language of
+outside sinners. And so, when Persius undertakes to rebuke the
+effeminacy of his time, he outbids the worst passages of Horace and
+rivals the most lurid indecencies of Juvenal.
+
+When Persius was twelve years old he went to Rome, as Horace and Ovid
+had done before him, for the purpose of a wider and higher education,
+and was put to school with Verginius Flaccus, the rhetorician, and
+Remmius Palaemon, the grammarian. Verginius Flaccus was exiled from Rome
+by Nero, with Musonius Rufus, on account of the prominence which he had
+achieved as a teacher, and Quintilian quotes him as an authority in his
+profession. Remmius Palaemon, the other teacher of Persius, a man of
+high attainments and low principles, was one of the most illustrious
+grammarians of a time when grammarians could be illustrious. A freedman,
+with a freedman's character, he was arrogant and vain, grasping and
+prodigal-- in short, a Sir Epicure Mammon of a professor. But his
+prodigious memory, his ready flow of words, his power of improvising
+poetry, attracted many pupils during his prolonged life, and after his
+death he was cited with respect by other grammarians-- a rare apotheosis
+among that captious tribe. The first satirical efforts of ingenuous
+youth are usually aimed at their preceptors, and the verses which
+Persius quotes in the First Satire are quite as likely to be from the
+school of Palaemon as from the poems of Nero.
+
+But the true teacher of Persius, the man to whom he himself attributed
+whatever progress he made in that 'divine philosophy' which deals at
+once with the constitution of the universe and the conduct of life-- his
+'spiritual director,' to use the language of Christian ascetics-- was
+Cornutus. Persius is one of those literary celebrities whose title to
+fame is not beyond dispute; and while some maintain his right to high
+distinction on the ground of intrinsic merit, others seek with perhaps
+too much avidity for the accidents to which he is supposed to owe his
+renown. If it is necessary to excuse, as it were, his reputation, the
+relation of Persius to Cornutus might go far to explain the care which
+schoolmasters have taken of the memory of the poet. No matter how
+crabbed the teacher may be, how austere the critic, the opening of the
+Fifth Satire, with its warm tribute to the guide of his life and the
+friend of his heart, calls up the image of the ideal pupil, and touches
+into kindred the brazen bowels of Didymus.
+
+Lucius Annaeus Cornutus, of Leptis in Africa, was a philosopher,
+grammarian, and rhetorician. It has been conjectured that he was a
+freedman of the literary family of the Annaei; and this is rendered
+probable by the fact that Annaeus Lucanus, the nephew of Annaeus Seneca,
+was his pupil. The year of his life and the year of his death are alike
+unknown. He was banished from Rome by Nero because he had ventured to
+suggest that Nero's projected epic on Roman history would be too long if
+drawn out to four hundred books, and that the imperial poem would find
+no readers. When one of Nero's flatterers rejoined that Chrysippus was a
+still more voluminous author, Cornutus had the bad taste to point out
+the practical importance of the writings of Chrysippus in contrast with
+Nero's unpractical project; and Nero, who had a poet's temper, if not a
+poet's gifts, sent him to an island, there to revise his literary
+judgment. Cornutus was not only a man of various learning in philosophy,
+rhetoric, and grammar, but a tragic poet of some note, and perhaps a
+satirist. Whether the jumble that bears the name of Cornutus or
+Phurnutus, _De Natura Deorum_, is in any measure traceable to our
+Cornutus, is not pertinent to our subject. Of more importance to us than
+his varied attainments is his pure and lofty character, which made him
+worthy of the ardent affection with which Persius clung to his 'Socratic
+bosom.' It is recorded to his honor that Persius having bequeathed to
+him his library and a considerable sum of money, he accepted the books
+only and relinquished the money to the family of Persius. Nor did he
+cease his loving care for his friend after his ashes, but revised his
+satires, and suppressed the less mature performances of the young poet.
+
+The social circle in which Persius moved was not wide. The mark of the
+beast called Coterie, which is upon the foreheads of the most
+plentifully belaurelled Roman poets, is on his brow also. But it must be
+said that the men whom he associated with belonged to the chosen few of
+a corrupt time, albeit they would have been of more service to their
+country if they had not recognized themselves so conspicuously as the
+elect. The Stoic _salon_ in which Persius lived and moved and had his
+being reminds M. Martha of a Puritan household; it reminds us of the
+sequestered Legitimist opposition to the France of yesterday. We are so
+apt to see parallels when we are well acquainted with but one of the
+lines-- or with neither.
+
+Let us pass in review some of the associates and acquaintances of
+Persius.
+
+Among his early friends was Caesius Bassus, to whom the Sixth Satire is
+addressed: an older contemporary, who had studied with the same master,
+next to Horace, by a long remove, among the Roman lyrists. To his
+fellow-pupils belong Calpurnius, who is more than doubtfully identified
+with the author of the Bucolics; and Lucan (Annaeus Lucanus), the poet
+of the Pharsalia, who shared with him the instructions of Cornutus, and
+is said to have shown the most fervent admiration of the genius of his
+school-fellow. We are told that when the First Satire was recited, Lucan
+exclaimed that these were true poems. Whether he accompanied this
+encomium with a disparagement of his own performances, or simply had
+reference to the modest disclaimer of Persius's Prologue, as Jahn is
+inclined to think, does not appear. The anecdote is in perfect keeping
+with the perfervid Spanish temper of Lucan and Lucan's family. But this
+momentary burst of admiration is no indication of any genuine sympathy
+between the effusive and rhetorical Cordovan and the shy, philosophical
+Etruscan. Nominally they belonged to the same school-- the Stoic; but
+Persius was ready to resist unto blood, Lucan's Stoicism was a mere
+parade.
+
+While this anecdote leaves us in suspense as to the relations between
+Lucan and Persius, we have express evidence that there was no sympathy
+between Persius and Seneca. They met, we are informed, but the poet took
+little pleasure in the society of the essayist. This is not the place to
+attempt a characteristic of this famous writer, who, like Persius,
+leaves few readers indifferent. Once the idol of the moralists-- who of
+all old birds are the most easily caught with chaff-- Seneca has fallen
+into comparative disfavor within the last few decades; yet sometimes a
+vigorous champion starts up to do battle for him, such as Farrar in
+England, and, with more moderation, Constant Martha in France; and his
+cause is by no means hopeless if the advocate can keep his hearers from
+reading Seneca for themselves. It is impossible not to admire Seneca in
+passages; it seems very difficult to retain the admiration after reading
+him continuously. The glittering phrase masks a poverty of thought; 'the
+belt with its broad gold covers a hidden wound.' To Persius, the
+youthful Stoic, with his high purpose and his transcendental views of
+life, Seneca the courtier, the time-server, the adroit flatterer, must
+have appeared little better than a hypocrite, or, which is worse to an
+ardent mind, a practical negation of his own aspirations. The young
+convert-- and Persius's philosophy was Persius's religion-- in the first
+glow of his enthusiasm, must have been repelled by the callousness of
+the older professor of the same faith. And yet so strong was the impress
+of the age that Persius and Seneca are not so far asunder after all. To
+understand Persius we must read Seneca; and the lightning stroke of
+Caligula's tempestuous brain, _harena sine calce_, illuminates and
+shivers the one as well as the other.
+
+If the family of the Annaei did not prove congenial, there were others
+to whom Persius might look for sympathy and instruction. Such was
+M. Servilius Nonianus, a man of high position, of rare eloquence, of
+unsullied fame. Such was Plotius Macrinus, to whom the Second Satire is
+addressed, itself a eulogy. Even in his own family circle there were
+persons whose lofty characters have made them celebrated in history. His
+kinswoman Arria, herself destined to become famous for her devotion to
+her husband, was the wife of Thrasea Paetus, and the daughter of that
+other Arria, whose supreme cry, NON DOLET, when she taught her husband
+how to meet his doom, is one of the most familiar speeches of a period
+when speech was bought with death. Thrasea, the husband of the younger
+Arria, was one of the foremost men of his time, and bore himself with a
+moderation which contrasts strongly with the ostentatious virtue of some
+of the Stoic chiefs. He rebuked the vices of his time unsparingly, but
+steadily observed the respect due to the head of the state; and even
+when the decree was passed which congratulated Nero on the murder of his
+mother, he contented himself with retiring from the senate-house. But
+Thrasea's silent disapproval of one crime fired Nero to another, and his
+refusal to deprecate the wrath of the emperor was the cause of his
+ruin-- if that could be called ruin which he welcomed as he poured out
+his blood in libation to Jupiter the Liberator.
+
+That the familiar intercourse with such a man should have inspired a
+youth of the education and the disposition of Persius with still higher
+resolves and still higher endeavors is not strange. That it sufficed, as
+some say, to penetrate Persius with the sober wisdom of maturer years,
+and made up to him for the lack of personal experience and artistic
+balance, is attributing more to association than association can
+accomplish.
+
+To Thrasea's influence Jahn ascribes Persius's juvenile essays in the
+preparation of _praetextae_, or tragedies with Roman themes, and it is
+not unlikely that a poetical description of his travels (+hodoiporik�n+)
+referred to some little trip that he took with Thrasea. Thanks to
+Cornutus, this youthful production-- which doubtless was nothing more
+than a weak imitation of Horace, or haply of Lucilius-- was suppressed
+after the death of the author, and with it his _praetexta_, and a short
+poem in honor of the elder Arria also.
+
+The purity of Persius's morals, and the love which he bore his mother,
+his sister, his aunt, stand to each other reciprocally as cause and
+effect; and the occasional crudity of his language is, as we have
+already seen, the crudity of a bookish man, who thinks that the sure way
+to do a thing is to overdo it. Persius was a man of handsome person,
+gentle bearing, attractive manners, and added to the charm of his
+society the interest which always gathers about those whom the gods
+love.
+
+He died on his estate at the eighth milestone on the Appian Road, _vitio
+stomachi_, eight days before the kalends of December, A.U.C. 815-- A.D.
+62-- in the twenty-eighth year of his age.
+
+Cornutus first revised the satires of his friend, and then gave them to
+Caesius Bassus to edit. The only important change that Cornutus made was
+the substitution of _quis non_ for _Mida rex_ (1,121), a subject which
+is discussed in the Commentary. Other traces of wavering expression and
+_duplex recensio_ are due to the imagination of commentators, who
+attribute to the young poet a logical method and an exactness of
+development for which the style of Persius gives them no warrant. _Raro
+et tarde scripsit_, the statement of the Life of Persius, explains much.
+
+The poems of Persius were received with applause as soon as they
+appeared, and the old _Vita Persii_ would have us believe that people
+scrambled for the copies as if the pages were so many Sabine women.
+Quintilian, in his famous inventory of Greek and Roman literature, says
+that Persius earned a great deal of glory, and true glory, by a single
+book, and here and there the great scholar does Persius homage by
+imitating him; and Martial holds up Persius with his one book of price,
+as a contrast to the empty bulk of a half-forgotten epic. But it would
+not be worth the while to repeat the list of the admirers of Persius in
+the ages of later Latinity. It suffices to say that he was the special
+favorite of the Latin Fathers. Augustin quotes or imitates him often,
+and Jerome is saturated with the phraseology of our poet. Commended to
+Christian teachers by the elevation of his moral tone, by the pithiness
+of his maxims and reflections, and the energy of his figures, he was set
+up on a high chair, a big school-boy, to teach other school-boys, and
+scarcely a voice was raised in rebellion for centuries. But since the
+time of the Scaligers, who were not to be kept back by any consideration
+for the feelings of the Fathers, there has been much unfriendly
+criticism of Persius; and the world owes him a debt of gratitude for
+provoking an animosity that has opened the way to a freer discussion of
+the literary merits of the authors of antiquity. To be subject all one's
+life through fear of literary death to the bondage of antique dullness,
+as well as to the thraldom of contemporary stupidity, would have been a
+sad result of the revival of letters.
+
+The first and last charge brought against Persius is his obscurity.
+Admitted by all, it is variously interpreted variously excused,
+variously attacked. Now it is accounted for by the political necessities
+of the time. Now it is attributed to the perverse ingenuity of the poet,
+which was fostered by the perverse tendencies of an age when, as
+Quintilian says, _Pervasit iam multos ista persuasio ut id iam demum
+eleganter dictum putent quod interpretandum sit_. Some simply resolve
+the lack of clearness into the lack of artistic power; others intimate
+that the fault lies more in the reader than in the author, whose
+dramatic liveliness, which puzzles us, presented no difficulties to the
+critics of his own century. But the controversy is not confined to the
+obscurity of the satires, Persius is all debatable ground. Some admire
+the pithy sententiousness of the poet; others sneer at his priggish
+affectation of superiority. Some point to the bookish reminiscences,
+which bewray the mere student; others recall the example of Ben Jonson,
+of Moli�re, to show that in literature, as in life, the greatest
+borrowers are often the richest men, and bid us observe with what rare
+and vivid power he has painted every scene that he has witnessed with
+his own eyes. To some he is a copyist of copyists; to others his real
+originality asserts itself most conspicuously where the imitation seems
+to be the closest. Julius Scaliger calls him _miserrimus auctor_; Mr.
+Conington notes his kindred to Carlyle.
+
+No critic has put the problem with more brutal frankness than M. Nisard,
+who, at the close of his flippant but suggestive chapter on Persius,
+asks the question, _Y a-t-il profit � lire Perse_? Though he makes a
+faint show of balancing the Ayes and Noes, it is very plain how he
+himself would vote. The impatient Frenchman is evidently not of a mind
+'to read prefaces, biographies, memoirs, and commentaries on these
+prefaces, these biographies, these memoirs, and notes on these
+commentaries, in order to form an idea that will haply be very false and
+assuredly very debatable, of a work about which no one will ever talk to
+you, and of a poet about whom you will never find any one to talk to.'
+But the question, which may be an open one to a critic, is not an open
+one to an editor; and editors of Persius are especially prone to value
+their author by the labor which he has cost them, by the material which
+they have gathered about the text. The thoughts are, after all, so
+common that parallels are to be found on every hand; the compass is so
+small that it is an easy matter to carry in the memory every word, every
+phrase; and so-called illustrations suggest themselves even to an
+ordinary scholar in bewildering numbers, while the looseness of the
+connection gives ample scope to speculation. Hence the sarcasm of Joseph
+Scaliger: _Non pulchra habet sed in eum pulcherrima possumus scribere_;
+and the well-known criticism of the same scholar: _Au Perse de Casaubon
+la saulce vaut mieux que le poisson_. But this artificial love on the
+part of the editors has not contributed to the popularity of the author,
+and the youthful poet has been overlaid by his erudite commentators.
+Besides this disadvantage, Persius, when he is read at all, comes
+immediately after Juvenal, and, as if to enhance the contrast, is
+generally bound up with him; and the homeliness of his tropes, the
+crabbedness of his dialogue, the roughness of his transitions repel the
+young student, who finds the riddance of the historical and
+archaeological work which Juvenal involves a poor compensation for the
+lack of the large manner and the dazzling rhetoric of the great
+declaimer. On the other hand, maturer scholars have been found to
+reverse the popular verdict, and to say, with Mr. Simcox, that 'the shy,
+youthful fervor of the dutiful boy, combined with the literary honesty
+which kept Persius from writing any thing which was not a part of his
+permanent consciousness, makes him improve upon every reading, which is
+more than can be said of Juvenal, who writes as if he thought and felt
+little in the intervals of writing.' But while it is easy to get tired
+of Juvenal, it is not so easy to become enamored of Persius; and it must
+be admitted that the pleasure is questionable. Yet, in spite of
+M. Nisard, there is no real question about the utility of the study of
+the poet, who illustrates by what he does not say even more than by what
+he says the character of an age which is of supreme importance to the
+historian. Even if we put the study on lower ground, we must admit that
+Persius's title to a prominent position in the annals of Roman
+literature is indefeasible. However desirable it may be to get rid of
+him, an author who has left his impress on Rabelais and Ben Jonson, as
+well as on Montaigne and Boileau-- an author whose poems have furnished
+so many quotations to modern letters, can not be dismissed from the
+necessities of a 'polite education' with a convenient sneer. Persius
+deserves our attention, if it were only as a problem of literary taste.
+
+To the end of the study of Persius, it is best to look away from the
+conflicting views of the critics, and to abandon the attempt to
+distinguish between the weight of facts and the momentum of rhetoric in
+the balanced antitheses of praise and blame. The position of the poet
+will be most accurately determined by the calculation of the statics of
+his department and his age.
+
+The Satire is the only extant form of Latin poetry that can lay claim to
+a truly national origin; and the error into which the early historians
+of classical literature were led by the resemblance between the name of
+the Roman satire and the name of the Greek satyr-drama has long been
+corrected. But the truth which this error involves, the connection
+between the comic drama and the satire, remains. The satire goes back to
+the popular source of comedy, and holds in solution all the elements
+which the Greeks combined into various forms of dramatic merriment. As
+the rhythmical movements, which culminate in such perfections as the
+dactylic hexameter and the iambic trimeter, are common to our whole
+race, and the rude Saturnian verse is one with the heroic, so the rustic
+songs of harvest and vintage are common to Greece and Italy; and it is
+no marvel that, as the satire was working itself out to classic
+proportions, it should have felt its kindred to Greek comedy, and should
+have drawn its materials and its methods from that literature on which
+Roman literature in its other departments was more directly dependent.
+And so the satire, though a genuine growth of Italian soil, was none the
+less subject to Greek influences. It was trained into Greek forms, it
+was permeated by Greek thought; and here as elsewhere the retranslation
+into Greek, of which the older commentators were so fond, is often the
+key to the meaning; here as elsewhere our appreciation of the author, as
+a whole, is conditioned by our knowledge of Greek literature.
+
+Horace, the master of Roman satire, has more than once drawn the
+parallel between satire and comedy; and Persius, who follows the
+literary, though not the philosophical creed of his predecessor, aims
+even more distinctly than Horace does at reproducing the mimicry of
+comedy on the narrow stage of the satire. At the close of the First
+Satire he goes so far as to demand of his readers the intense study of
+the Old Attic Comedy as the preparation for the enjoyment of his poems--
+an extraordinary demand, if we do not make due allowance for the
+rhetorical expression of high aims and earnest endeavors. A comparison
+of the triumvirate of the _comoedia prisca_ of Attica reveals little
+trace of direct influence, abundant evidence of extreme diversity in
+expression and conception. I say 'expression,' not 'language.' It is
+true that the language of Persius has a virile tone, but the masculine
+energy of his words is often out of keeping with the scholastic tameness
+of his thoughts. The breezy Pnyx of the Athenian and the stuffy
+_lecticula lucubratoria_ of the Roman are not further apart than
+Aristophanes and Persius.
+
+The New Attic Comedy, the comedy of situation and manners, furnished
+themes that lay nearer to the genius of Persius, although the grace of a
+Menander was much further from his grasp than from Terence, the
+half-Menander of Caesar's epigram. One passage is all but translated
+from Menander's Eunuch; and if Persius did not borrow traits for his
+picture of the miser and the spendthrift from the master of the New
+Comedy, it was not for lack of models. Indeed, so unreal is Persius,
+with all the realism of his language, that one of the most striking
+features of his poems-- the opposition to the military-- loses somewhat
+of its significance when we remember that the Macedonian period, to
+which the New Comedy belongs, is crowded with typical soldiers of
+fortune, with their coarse love of sensual pleasure-- their coarse
+contempt of every thing that can not be eaten, drunk, or handled. Every
+line of Persius's centurion can be reproduced from the Greek; and
+although it would be going too far to say that there was no counterpart
+to his sketch in his own experience, although, on the contrary, Persius
+seems to have verified by actual observation whatever he learned from
+books, the historical value of his portrait is very much reduced by the
+existence of the Greek type. As a specimen of a kind of
+clerico-political opposition to an empire which its enemies might call
+an empire of brute force and military mechanism, the hostility of
+Persius to a class whose predominance was making itself felt more and
+more is not without its point and interest, and it is unfortunate that
+we have to leave its reality in suspense.
+
+Yet another form of the comic drama was the Mime, and we have the
+explicit statement of Joannes Lydus that Persius imitated the famous
+mimographer, Sophron; and although the fragments of Sophron are so
+scanty that this statement can not be verified, it is not without its
+intrinsic probability. The mimetic power of Sophron is notorious, and
+Persius might well have taken lessons from the man whom Plato
+acknowledged as his master. The dialogue, thus borrowed from the mime,
+became the artistic form of philosophic composition, and, as Persius's
+Satires are essentially moral treatises, it is not surprising that he
+should have made large use of the same machinery. Plato himself
+furnished the movement for two of his essays, and we can detect a
+community of models between Persius and some of the later Greek writers.
+Lucian, the mercurial, and Persius, the saturnine, often work on the
+same theme, each in his way; and when the dialogue is dropped, and the
+bustle of the drama is succeeded by the effects of the scene-painter's
+craft, we are reminded of another group of copyists, and find all the
+picturesque detail for which Persius is so famous in the letters of
+Alkiphron and Aristainetos, themselves far-off echoes of the New Comedy.
+
+Surely these are originals enough, the Attic Comedy, the Mime, Sophron
+and Plato, Menander and Philemon. But we find other models nearer home,
+and, passing by the reflections of Greek comedy in Plautus and Terence,
+its refractions in Afranius and Pomponius, we come to the satiric
+exemplars of Persius-- Lucilius and Horace. _Mox ut a scholis et
+magistris divertit, lecto libro Lucilli decimo, vehementer saturas
+conponere instituit._ This statement of the old _Vita Persii_ is much
+more consonant with the character of Persius than his own affected
+mirthfulness. His 'saucy spleen' had as little to do with his verse
+writing as righteous indignation with the rhetorical outpouring of
+Juvenal. His laughter was as much a part of the conventionalities of the
+satire as the _Camena_ was of his confidences to Cornutus. School-boys
+all imitate circus-riders; here and there one mimics the clown; and
+Persius, who had not outgrown the tendencies of boyhood, straightway
+began to make copies of verses in the manner of Lucilius. At the same
+time he was too much under the influence of Horace to follow Lucilius in
+his negligences, and too little master of the form to strike the mean
+between slovenly dictation and painful composition. As an imitator of
+Lucilius he boldly lashes men of straw where Lucilius flogged Lupus and
+Mucius, and breaks his milk-teeth on Alkibiades and Dama where Lucilius
+broke his jaw-teeth on living and moving enemies. As an imitator of
+Horace he appropriates the garb of Horatian diction; but the easy
+movement of roguish Flaccus is lost, and the stiff stride of the young
+Stoic betrays him at every turn.
+
+As in the case of the Old Attic Comedy, Persius's intellectual affinity
+with Lucilius was purely imaginary; and for the purposes of this study
+it is unnecessary to reproduce the lines of Horace's portrait of the
+'great nursling of Aurunca,' or to attempt to form a mosaic out of the
+chipped chips of Lucian M�ller's recent collection. The wide range of
+theme, the manly carelessness of style, the bold criticism, the bright
+humor, the biting wit-- in short, almost every characteristic of
+Lucilius that we can distinguish, shows how little kindred there must
+have been between the two men. The dozen scattered verses of the Tenth
+Book of Lucilius, which is said to have suggested the theme of the First
+Satire of Persius, and the fragments of the Fourth Book, which is
+imitated by Persius in his Third Satire, though more significant, give
+us no clew to the manner or the extent of his indebtedness. Here and
+there a verse, a hemistich, a jingle may have been taken from Lucilius,
+and he may have enriched his vocabulary here and there from Lucilius's
+store of drastic words; but his obligations to Lucilius, real and
+imaginary, are all as nothing in comparison with the large drafts which
+he drew on the treasury of Horace.
+
+The obligations of Persius to Horace have been the theme of all the
+editors. The scholiasts themselves have quoted parallels, and Casaubon
+has written a special treatise on the subject, and commentators, with
+almost childish rivalry, have vied with each other in noting verbal
+coincidences and similar trains of thought. The fact of the imitation is
+too evident to need proof, and it would have been much more profitable
+to examine the causes and significance of this dependence, and to study
+the modifications of the language and the thought as they passed through
+the alembic of Persius's brain, than to multiply examples of words and
+phrases that are common, not only to Horace and Persius, but to the
+language of every-day life. Indeed, some go so far as to make Persius
+quibble on Horace; and 'How green you are,' of the modern street, and
+'What means that trump?' of the modern card-table, are as much
+Shakespearian as some of Persius's 'borrowings' are Horatian.
+
+Horace had long been a classic when Persius dodged his school-tasks and
+was a dab at marbles. Indeed, nothing is more remarkable about Roman
+literature than the rapidity with which the images of its Augustan
+heroes took on the _patina_ of age. The half-century that lay between
+Horace and Persius drew itself out to a distant perspective, and Virgil
+and Horace had all the authority of _veteres_. They not only dictated
+the forms of poetry, but permeated and dominated prose. True, the
+hostility to Virgil and Horace had not ceased; the _antiquarii_ were not
+dead; but the ground had been shifted. The admirers of republican poetry
+in the time of Horace were republicans-- in the time of Persius they
+were imperialists, and the maintenance of the authors of the Augustan
+age as the true classics was a part of the programme of the opposition.
+The court literature of the Neronian period found its models in the
+earlier epic essays of Catullus rather than in the poems of Virgil.
+Virgil had modified the Greek norms to suit the Latin tongue; but these
+men went back of malice aforethought to the Greek standard, and emulated
+the proportions of the Greek versification of the Alexandrian period.
+They were impatient of the classic vocabulary, and found the classic
+rhythms tame, and so they betook themselves to the earlier language and
+set it to more exact harmonies. It was no heresy with this set to
+consider Virgil at once light and rough. The mouth-filling words of the
+older and bolder period, marshaled in serried ranks, no gap, no break,
+as they kept time to a rhythmical cadence that was marked by all the
+music of consonance and assonance-- this was the ideal of the school
+which Persius assailed, just as an admirer of Pope or Goldsmith might
+assail the dominant poetry of our day, with its sensuous melody and its
+revived archaisms. Surely the worshippers of recent poets might pause
+before accepting the narrow literary creed of Persius. But, not to
+imitate the example of Nisard, and indulge in dangerous parallelisms, it
+is sufficient for our purpose to note that Persius's close study of the
+language of Horace was not only a part of a liberal education, but a
+necessity of the school to which he belonged. If he was to write satire
+at all, he must needs take Horace for his model. If he had written an
+epic, he would have taken Virgil.
+
+Besides this, we may boldly say that reminiscence is no robbery. The
+verses, the phrases, the arguments that we know by heart often become so
+wholly ours that they weave themselves unconsciously into the texture of
+our speech. We use them as convenient forms of expression, without the
+least thought of plagiarism. We quote them, thinking that they are as
+familiar to others as they are to ourselves. They constitute, as it
+were, a sympathetic medium between men of culture. And so Persius
+repeated group after group of the words of Horace as innocently as the
+Augustan poets translated their Greek models, and thought no more harm
+than did the Emperor Julian when he Platonized, or Thackeray when he
+transfused the classics that he learned at the Charter House into his
+own matchless English. That he did it to excess is not to be denied. He
+never learned the lesson of Apelles-- what is enough.
+
+Having thus briefly disposed of those turns which are common to the
+Latin tongue, and those which ran freely into the pen of the writer, we
+have now to deal with a considerable number of passages in which the
+memory of Persius must have lingered over the words of Horace, in which
+his painstaking genius has hammered the thoughts of Horace into a more
+compact or a more angular utterance. To the majority of readers his
+condensations and his amplifications will alike appear to be so many
+distortions of the original. So, notably, where he characterizes Horace
+himself, and substitutes for the simple _naso adunco_ the puzzling
+_excusso naso_, where 'the dreams of a sick man' become the 'dreams of a
+sick dotard,' where 'telling straight from crooked' is twisted into
+'discerning the straight line where it makes its way up between crooked
+lines,' and where he wrings from the natural phrase 'drink in with the
+ear' the odd combination 'bibulous ears.' In the longer passages the
+wresting is still more pronounced; and those who refuse to take into
+consideration the moral attitude of Persius may well wonder at the
+perversity with which he distorts the lines and overcharges the colors
+of the original. But it is tolerably evident that, with all Persius's
+admiration of Horace as an artist, he felt himself immeasurably superior
+to him morally, and looked upon these adaptations and alterations as so
+much gained for the effect of his discourse. The slyness of Horace might
+have answered well enough for his day and for the kind of vices that he
+reproved, but the depth over which Persius stood gave him a more than
+Stoic stature. Horace might have been content with a flute; nothing less
+resonant than a trumpet would have suited the moral elevation of
+Persius. Horace is a consummate artist, and not less an artist in the
+conduct of his life than in the composition of his poems. Persius is the
+prototype of the sensational preacher, and preachers of all centuries,
+from Augustin and Jerome to Macleane and Merivale, have had a weakness
+for him.
+
+Aside from the moral tone, which is enough to give a different ring to
+the most similar expressions in the two poets, there is an artistic
+difference of great significance in the handling of the dramatic
+element, which they both recognized as fundamental in the satire. The
+dramatic satires of Horace will not bear dislocation without
+destruction. In Persius the characters are always shifting, always
+fading away into an impersonal _Tu_. This may be partly due to the
+interval which he allowed to elapse between the periods of composition;
+but it is possible that he recognized the limitation of his own powers,
+that his satires were intended to be a knotted thong, and not a smooth
+horsewhip. This piecemeal composition, be it the result of poverty or of
+economy, makes Persius the very author for 'Elegant Extracts.' Hence it
+is not hard to defend him, as it is not hard to defend Seneca, and on
+similar grounds. Single verses ring in the ear for months and years.
+What line, for instance, more quoted than
+
+  _Tecum habita: noris quam sit tibi curta supellex_?
+
+What line sinks deeper than the sombre verse,
+
+  _Virtutem videant intabescantque relicta_?
+
+Single scenes, whether of dialogue or of description, possess every
+requirement of dramatic vividness. On every page of the commentary we
+call him bookish, and yet his pictures stand out from the canvas with a
+boldness which makes us concede that his books did not keep him from
+seeing, if they did not teach him to see, what was going on around him.
+What is not a little remarkable in so young a man is the honesty of his
+painting. A home-keeping youth, Persius gives us living pictures of what
+he saw at home, whether at Rome, at Volaterrae, or at Luna; in the
+school-room, in the lecture-room, in the court of justice, on the wharf,
+at the country cross-roads. He has watched the carpenter stretching his
+line, the potter whirling his wheel, the physician adjusting his scales.
+He has heard the horse-laugh of the burly centurion, and shivered; has
+heard, with a young Stoic sneer, a cooing and mincing declaimer. He
+knows all about ink and paper and parchment and reeds; he has not
+outlived his knowledge of marbles, and one might fancy that the lustral
+spittle of his aunty was still fresh on his brow. The fact that there is
+no breeziness about his poems, nothing that tells us of the liberal air
+beyond, is another sign of his truthfulness. His life is like his own
+'ever retreating bay' of the Sixth Satire, with the cliffs of Stoic
+philosophy between him and the wintry sea without. Arretium he knows--
+it was not so far from Volaterrae-- and Bovillae, in the neighborhood of
+which he had a farm, and Luna, and the world of Rome; but the rest of
+his geography is in the inane. Horace, on the other hand, ambles all
+over Italy, and treats us every now and then to a foreign tour with the
+air of a man who had run across the sea in his time; and even if he who
+takes us in his sweeping flight from Cadiz to Ganges be not the real
+Juvenal, the undisputed Juvenal has a far wider geographical outlook
+than Persius. This very limitation is one of the best signs of the
+artistic worth of Persius, and justifies the regret that he had not made
+himself the Crabbe of Roman poetry.
+
+We have seen that Persius was not slavishly dependent on Horace,
+assimilated the material that he derived from him, raised the worldly
+wisdom of Horace to the ideal standard of the Stoic, and followed a
+different canon of dramatic art. To this we may add that Persius, with a
+certain aristocratic disdain of conventionalities, goes deeper into the
+current of vulgar diction than the freedman's son dared. Persius felt
+that he could afford to talk slang, and he talked it; and the
+commentators have found it necessary to hold Petronius in the left hand,
+as well as Horace in the right.
+
+We now proceed to yet another formal element, which is no less
+significant to the close student of antique literature. The Roman
+handling of the hexameter was artificial in the extreme. Reasoning
+backward from the Latin hexameter, scholars have been prone to transfer
+the conscious symbolism of the Roman poets to the Greek originals; and
+if they had stopped, say, at Apollonius Rhodius, they might have been
+justified, for in the later Greek poets something of the sort is not to
+be denied. But the healthier period of Greek poetic art was lifted far
+above such toying adaptations of sound to sense as commentators still
+discover in Homer when they enlarge on the symbolism of this or that
+spondaic verse, the beauty of this or that combination of diaeresis and
+caesura. A recent comparison of Homer with his successors has shown
+that, of all the spondaic verses in Homer, scarcely one in a hundred can
+be traced to any 'picturesque' motive, and the rapid movement of so many
+five-dactyl hexameters is simply the normal pace of the verse. When we
+come to Latin metres, however, we must take a different standard, and
+recognize a conscious modification of the Greek rule. The Ovidian
+pentameter of the best period-- to cite a familiar instance-- is subject
+to minute laws, which are transgressed at every turn in Greek elegiac
+poetry, and the different ideals of Persius and Horace are distinctly
+traceable in their treatment of the hexameter. Horace, as is well known,
+broke the lofty movement of the hexameter to suit the easy gait of the
+satire. Persius is more rhetorical than Horace, and, although he admits
+elision with as great freedom as his master, his verse has a more
+mechanical structure than the verse of Horace, and many of the
+conversational peculiarities of the Horatian hexameter are much less
+conspicuous in Persius. Horace weakens the caesura, employs a great
+number of spondaic words, and neglects the variety at which the epic
+aims; and perhaps the trained ear of a determined scholar might hear in
+the jog-trot of his satiric rhythms the hoofs of his bob-tailed mule and
+the lazy flapping of his portmanteau. Persius, on the other hand,
+hammers out his thoughts in a far more orthodox cadence. Comparing the
+first six hundred and fifty verses of the first book of the satires of
+Horace with the six hundred and fifty verses of Persius, we find that
+more than eight per cent. have five spondees against less than five per
+cent. in Persius. The so-called third trochee or feminine caesura of the
+third foot is found in one of ten of Horace's hexameters, and only in
+one of twenty-six in Persius-- a low proportion even for a Latin poet.
+Still more striking is the rare use which Persius makes of the masculine
+caesura of the sixth foot, with its consequent monosyllabic close. Aside
+from all idle symbolism, this arrangement, which is comparatively common
+in Horace, gives the verse a certain familiar roughness, especially
+where the final word forces a union with the following line. These
+diversities can not be accidents, and serve to show that, although
+Persius might weave himself a garment from the dyed threads of Horatian
+diction, he was not bold enough to wear the _discincta tunica_ of
+Horace's Muse. But we must not forget to be just, and it is only fair to
+add that such a garb would have been as inappropriate to his severe and
+lofty, though narrow spirit, as the Coan vestments of Ovid's 'kept
+goddess'-- if we may borrow the _d�esse entretenue_ of Heinrich Heine.
+
+A comparison of Persius with Juvenal-- a favorite theme with editors--
+does not enter into the plan of this study. It suffices for our present
+purpose to note that the practiced rhetorician of the time of Trajan
+could not have shared Quintilian's admiration of his youthful
+predecessor. The parallel passages which have been cited belong to the
+common stock of satirical strokes or to the thesaurus of proverbial
+phrases. Who can believe that Juvenal took _usque adeo_ from Persius, or
+borrowed from him the familiar _rara avis_? There are three or four
+touches in the Tenth Satire which recall some of the more striking
+expressions of Persius; but Ribbeck's objections to the genuineness of
+this sophistic declamation, if not convincing, are at least sufficiently
+well founded to make us pause in citing them. In moral earnestness,
+Persius is as far superior to Juvenal as he is inferior to him in the
+rhetorical treatment of his themes; and so long as men will take into
+consideration this moral element, which modern critics are prone to
+eliminate from works of art, so long as they will say _pectus est quod
+satiricum facit_ as well as _quod theologum_, Persius will command a
+personal esteem which does not attach to the satires of Juvenal. The
+ingenious theory of Boissier, that the great satirist of the Caesars was
+a snubbed snob, brings out in still more striking contrast the figure of
+Persius as the reserved provincial aristocrat, and may be worthy of a
+more ample development than it has yet received. But Juvenal is a
+dangerous theme. As M. Martha has admirably observed, Juvenal is an
+author whose declamatory tone has infected his eulogists; and those who
+are not carried away by an 'admiration which disfigures while it
+exalts,' may readily be tempted into the opposite extreme. Let us turn,
+then, to other matters which illustrate more directly the character of
+our author's compositions. And first a word or two of Stoicism.
+
+With the strong practical tendencies of the Romans, the only systems of
+Greek philosophy that ever found large acceptance at Rome were the
+Epicurean and the Stoic; and in the Stoic school the only doctrines that
+commanded much attention were the ethic. The subtle dialectic of the
+Stoics, of which we have some unjoyous specimens in Cicero's
+philosophical compilations, was not congenial to the Roman mind; but the
+Stoic creed was the creed of the nobler spirits of the imperial time.
+Excluded from public life, or, at all events, from the satisfactory
+exercise of public functions, the elect few took refuge in Stoic
+philosophy.[1]
+
+    [Footnote 1: In this section of the Introduction I follow Zeller's
+    Essay on Marcus Aurelius (_Vortr�ge u. Abhandlungen_) so closely
+    that some special acknowledgment seems to be necessary.]
+
+The object of Stoicism is by means of virtue and knowledge to make men
+independent of all without them, and happy in that independence. It is a
+pantheism: God revealed in every thing; God's law recognized in every
+thing; God the substance from which every thing proceeds, to which every
+thing returns; the Original Fire, from which every thing is born again.
+God is the all-pervasive Spirit, Fate, Providence. Obedience to his
+eternal laws constitutes virtue and happiness. Good and evil are to be
+measured by this standard. All that brings us toward this is Good; all
+that carries us away from it is Evil. Every thing else is indifferent.
+
+In Grace or out of Grace, says the Christian; or, as Calvin expresses it
+in his nervous language, _Qui Christum dimidium habere vult, totum
+perdit_. In Virtue or out of Virtue, says the Stoic. There is nothing
+between. The wise are perfectly wise; the foolish are totally foolish.
+'There is not a half-ounce of rectitude in the fool.' The vicious man is
+as mad as Orestes-- nay, madder.
+
+The difference between human beings is slight. Alkibiades, the high-born
+and the handsome, is no better than shriveled old Baukis, who makes her
+livelihood by selling greens. All external distinctions sink into utter
+insignificance by the side of this great contrast of knowledge and
+ignorance into which virtue and vice are resolved.
+
+All humanity is one people; all the world one state; its ruler the
+Deity; its constitution the eternal law of the universe. The more
+unconditionally a man submits to the guidance of this law, the more
+exclusively he seeks his happiness in virtue, the more independent he
+will be of all without him, the more contented in himself, and yet the
+readier to enter into communion with others, and to do his duty to the
+whole of which he is a part.
+
+But it is to be observed that the Stoicism of Persius, like the Stoicism
+of Marcus Antoninus, was of a softer, milder, more religious character
+than that of Zeno and Chrysippus; and when the Stoic discourses on the
+nothingness of all earthly things, the ills of life, man's moral
+weakness, and his need of help, we hear language that reminds us now of
+the epistles of the New Testament, now of the doctrines of Buddha. 'The
+philosopher,' says Zeller, 'is a physician for the soul, a priest and
+servant of the Deity among men, and this he shows by the most unlimited,
+devoted, unreserved philanthropy.' And not only so, but the Stoic does
+not disdain to make life brighter in the social circle; and the Sixth
+Satire of our author, which Nisard considers to be a youthful escapade
+of the poet-- _qui s'�vertue comme un �colier qui sort de classe_-- is
+no less truly Stoic than the high-strung Third.
+
+In speaking of this subject it is difficult to keep from using the word
+religion, for the emotional element, which is so characteristic of
+religion, is not wanting in a system which is the popular synonym for
+suppression of emotion. This is the thesis which M. Martha has brought
+out into clear relief, and illumined by many apposite examples-- a
+thesis which will not be strange to those who have studied with any care
+the social aspects of the later life of antiquity. Under the empire
+morality was more than morality-- it was a religion; and all the
+formulae of certain phases of Christian ascetics may be applied to the
+ethical side of Stoic philosophy. It is difficult to approach the
+subject without seeming irreverence; but the faith of the Christian must
+be far from robust who can shrink from a parallel that goes no farther
+than the machinery-- that does not involve the motive power. It is not
+the aim of this study to determine whether this parallelism is to be
+recognized as a _praeparatio Evangelica_, or as the like result of
+similar forces at work in different systems of thought and belief. It is
+enough to present the parallelism, to excuse the phraseology.
+
+Our ancestors, at all events, were not afraid to recognize 'natural
+Christians' in such men as Socrates, in such youths as Persius. Why,
+even Seneca figured for a long time as St. Seneca; and Jeremy Taylor was
+following old example when he cited the Stoic as well as the Christian
+code. It is only one step from the recognition of this spiritual kindred
+to the recognition of the practical methods of spiritual work as
+anticipated in the life of antiquity-- practical methods which for our
+purposes are even better described by an unbeliever like Lucian than by
+a believer like Marcus Antoninus. In that age of transition we find
+father confessors, private chaplains, mendicant friars, missions,
+revivals, conversions, ecstasies-- all showing the deep needs of the
+human heart, which refused to be satisfied with the outworn gods of the
+Pantheon, and, in ignorance of the divine Person, who alone can answer a
+personal love, sought solace in the mechanism of morality. In
+characterizing Cornutus, I have already borrowed a phrase from
+M. Martha, and called him, as M. Martha calls Seneca, a spiritual
+director; and I have already ventured to call Persius a sensational
+preacher. His stock of philosophy or theology is not as large as some
+commentators suppose; and all the elaborate attempts to show by the
+satires that Persius was a thoroughly trained and consistent Stoic have
+failed. The most elementary knowledge of Stoic ethics is sufficient for
+the comprehension of Persius. Whatever else he knew he kept back for
+practical considerations. He sticks to the marrow of morality, and
+reiterates the cardinal doctrines of Stoicism with the vehemence of a
+Poundtext. This vehemence, this enthusiasm, may be explained by his
+youth, his Etruscan blood, his profession as a moral reformer. A critic
+with M. Taine's resources might account for it by the climate of
+Volaterrae; but, however it may be accounted for, certain it is that he
+himself is much impressed with the profundity of the doctrines which he
+professes; that he warms and glows as he imparts to his auditors the
+great secret that they are not free because they are slaves to vice;
+that a man who does not understand his relations to his Maker can not
+move a finger without sinning; that in the flesh there is no good thing;
+and that the anguish of a tortured conscience is the worst of hells. But
+the difficulties of Persius are not due to recondite Stoic thought, and
+can not be cleared up by reference to Stoic philosophy. The trouble lies
+in the slangy expressions, the lack of organic development, the restless
+zeal to force his message home to the heart of every hearer, and the
+consequent shifting of the personages of his dialogue to suit the cases
+as they rose before his mind.
+
+Persius, then, was a preacher of Stoicism-- Stoicism, at once the
+philosophy and the religion of a time when serious and noble natures had
+no city of refuge except in their inmost selves, when the only possible
+activity seemed to be submission to the inevitable. The hydrostatic
+pressure of the imperial time forced all the better elements into this
+mould; and in so far Persius bears the stamp of his period, and the very
+absence of political and personal allusions shows how imperfect life
+must have been. But one school of commentators, headed by Casaubon, and
+represented to-day in Germany by Lehmann, in England by Pretor, see in
+Persius much more than a disciple of the Stoa; and the satires of our
+author-- especially the First and Fourth-- are supposed to be full of
+more or less oblique references to Nero's person, his habits, his
+literary pretensions, his aristocratic birth. At one time it seemed as
+if this thesis, which was suggested by the scholiast, had been
+abandoned, but the field for historical ingenuity is too tempting; and
+one of the vaguest of all the satires, the Fifth, has been discovered by
+Lehmann to be full of the most stinging allusions to Nero. It is not
+enough to grant to this school that Nero, as the type of his age, may
+have been present to the mind of the author. They scornfully reject this
+concession, and resort to all manner of legerdemain in order to explain
+away the impossibilities of such an attack and the improbabilities of
+its execution. With such scope as these scholars allow themselves we may
+find parallels every where, and covert assaults may be detected in the
+most innocent literary performances. But it would not answer the purpose
+of this Introduction to enter into an elaborate discussion of this
+question, which seems to be destined to an uncomfortable resurrection as
+often as it is laid. Every plausible coincidence has been mentioned in
+the Notes, and it will be sufficient for ingenuous youth to know the
+opinions of distinguished scholars on the subject.
+
+If this essay had not been prolonged beyond the limit proposed, it might
+be well to give some account of the grammatical and rhetorical
+peculiarities of the style of Persius; but the grammar of Persius will
+present few difficulties to those who are at all familiar with the
+poetic syntax of the Latin language; and enough has been said to prepare
+the student, in a measure, for coping with the labored terseness of our
+author.
+
+The manuscripts of Persius are remarkable for their age, their number,
+and the stupid bewilderment of the transcribers. The best is the _Codex
+Montepessulanus_, or Montpellier manuscript, with which the _Codex
+Vaticanus_ closely coincides; but, in the words of Jahn, _Nullus Persii
+codex tantae auctoritatis est ut in rebus dubiis eius vestigia tuto
+sequaris sed semper inter complures optio eaque non raro incerta datur_.
+
+
+       *       *       *       *       *
+
+    A. PERSII FLACCI
+
+    SATURARUM
+
+    LIBER.
+
+       *       *       *       *       *
+
+
+  PROLOGUS.
+
+
+  Nec fonte labra prolui caballino,
+  nec in bicipiti somniasse Parnaso
+  memini, ut repente sic poeta prodirem.
+  Heliconidasque pallidamque Pirenen
+  illis remitto, quorum imagines lambunt                           5
+  hederae sequaces: ipse semipaganus
+  ad sacra vatum carmen adfero nostrum.
+  quis expedivit psittaco suum chaere
+  picamque docuit nostra verba conari?
+  magister artis ingenique largitor                               10
+  venter, negatas artifex sequi voces;
+  quod si dolosi spes refulserit nummi,
+  corvos poetas et poetridas picas
+  cantare credas Pegaseium nectar.
+
+
+NOTES.
+
+PROLOGUE.
+
+
+ARGUMENT.-- I never drank of Hippocrene, never dreamed on Parnassus. The
+maids of Helicon and the waters of Pirene are meat and drink for my
+masters-- the acknowledged classics-- not for me, a poor lay-brother,
+with my humble, homely song (1-7). Others succeed: the parrot with his
+Greek, the pie with her Latin. They have not dreamed on Parnassus
+either; but they have a teacher-- the great master Belly-- and Sixpence
+is their Phoebus Apollo. Hark how they troll forth their notes! (8-14).
+
+Alas for me! no golden Muse, no silver sixpence inspires me. _Quis leget
+haec?_
+
+
+This prologue is a survival of the dramatic element of the satire, as
+Casaubon has remarked. Peculiarly personal, the prologue is found in the
+earlier and in the later stages of art, in ballad literature and in
+reflective poetry. The spurious verses which precede the Aeneid-- _Ille
+ego_-- were intended to serve as a prologue, and prologues in prose and
+poetry are familiar to the readers of Martial, Statius, Ausonius, and
+Claudian.
+
+There is no good reason to doubt the genuineness of the prologue, or to
+attribute the authorship to Caesius Bassus, the Editor of Persius, as
+Heinrich has done. Nor is there any sufficient ground for supposing that
+the prologue is fragmentary. The two parts-- of seven verses each-- do
+not hang well together, but the connection of the thought is not so
+remote after all. 'In the former part, Persius ridicules the pretended
+source of the poetical inspiration of his time, in the latter he exposes
+its real origin' (Teuffel).
+
+More open to debate is the relation of the prologue to the satires. Is
+it an introduction to all, or only to the first? It is true that the
+prologue seems to belong especially to the first. Both furnish us with a
+programme of the poet's views, with a confession of faith which
+consisted in a want of faith in the age; but as the First Satire itself
+contains a vindication of the poet's work, and forms an introduction to
+the other five satires, it is safer not to restrict the prologue to the
+narrower office.
+
+It is needless to say that these verses have not lacked admirers and
+imitators. The latter half is parodied by Milton (_In Salmasii
+Hundredam_), and the line _magister artis ingenique largitor_ is
+expanded by Rabelais (4, 59).
+
+
+The metre is the _scazon_ or _choliambus_ (G., 755; A., 82, 2, _a_, R),
+and as the combination of different rhythms is one of the peculiarities
+of the earlier _satura_, it is not unlikely that Persius followed an
+older pattern. In Petronius, cap. 5, the choliambus is in like manner
+followed by the hexameter, but the analogy is not close. The choliambus,
+the invention of the great lampoonist Hipp[-o]nax, is admirably adapted
+by its structure for the expression of disappointment, vexation,
+discontent. The march of the iambus is suddenly checked in the fifth
+foot, and the rapid measure violently tripped up. It is a mischievous
+metre, and betrays in its malice the Thersitic character of its
+inventor.
+
+
+1. The allusion is to Ennius, the _alter Homerus_, who drank of
+Hippocrene (Prop., 3, 2 [4], 6), and dreamed that he had seen his great
+original on Parnassus (Cic., Ac. Pr., 2, 16, 51). --#fonte#: '_in_ the
+spring.' The Latin Abl. often has a locative translation, when the
+conception is not necessarily or not distinctly locative. (G.,[2] 387.)
+--#prolui#: 'drenched' is designedly misused. The figure is _Litotes_.
+(G., 448, R. 2.) The greater the depression, the greater the rebound.
+_Non prolui labra_ = _ne primoribus quidem labris attigi_.
+--#caballino#: _Fons caballinus_, 'hack's spring,' is a mock translation
+of _Hippocrene_ = +hippou kr�n�+: the fountain opened by Pegasus with
+his hoof. _Caballus_ is a comic equivalent of _equus_. Comp. Juvenal's
+_Gorgonei #caballi#_ (3, 118).
+
+    [Footnote 2: G. = Gildersleeve's L. Grammar; A. = Allen and
+    Greenough's; M. = Madvig's.]
+
+2. #bicipiti#: 'two-peaked.' Parnassus is called _biceps_, either
+because it appears to have two peaks from such common points of view as
+the entrance to the Corinthian Gulf (+dikorumbos ho Parnasos+, Lucian,
+Char., 5), or because of the two tall cliffs (Ov., Met., 1, 316; 2,
+221)-- the +Phaidriades+ of Diodorus (16, 28), the +dilophos petra+ of
+Sophocles (Ant., 1126)-- between which the Castalian spring takes its
+rise. --#somniasse#: sc. _me somniasse_ (G., 527, R. 2; M., 401). With
+_memini_ the Pres. Inf. is more common of Personal Recollection (G.,
+277, R; A., 58, 11, _b_), but the Perfect is also found when the action
+is distinctly recognized as a by-gone. Comp. _saepe velut gemmas eius
+signumque probarem_ | _per causam #memini# me #tetigisse# manum_, Tib.,
+1, 6, 26. Also Ov., Am., 3, 7, 25-6; A. A., 2, 169. The Perfect is
+especially appropriate here, as the balance of the period would seem to
+require _nec prolui nec_ (_quod meminerim_) _somniavi_; and so Conington
+with correct instinct translates, 'never that #I# can remember.'
+
+3. #sic#: +hout�s+, 'just so,' 'without any warning, any preparation.'
+--#prodirem#: 'make my appearance' (as it were on the stage).
+
+4. #Heliconidas#: The Muses. Comp. Hesiod (Theog., 1). Hermann prefers
+the epic form, _Heliconiadas_. --#-que# --#-que#: G., 478; A., 43, 2,
+_a._ --#pallidamque Pirenen#: Pirene is the fountain of Acrocorinthus,
+where Pegasus was broken in by Bellerophon. The poetic virtue of its
+water was a late discovery. _Pallidam_, attribute for effect. Comp.
+_pallida mors_, +chl�ron deos+, and the like. The pallor of students and
+poets needs no illustration.
+
+5. #remitto#: +aphi�mi+, for the more usual _relinquo_, which is a
+common v.l. Kisselius (_Specimen criticum_, p. 51) cites Cic., De Orat.,
+1, 58: _tibi #remittunt# istam voluptatem et ea se carere patiuntur_;
+and Tac., Hist., 4, 11: _vim principis complecti, nomen remittere_.
+--#imagines#: 'busts' (set up in libraries, public and private). Comp.
+_ut dignus venias hederis et imagine macra_, Juv., 7, 29. --#lambunt#:
+more frequently used of flames.
+
+6. #hederae#: Notice the plural, 'ivy wreaths,' G., 195, R. 6. The ivy,
+being sacred to Bacchus, formed the wreath of victors in scenic
+contests; thence transferred to poets generally. --#sequaces#: 'lissom,
+pliant.' Persius seldom, if ever, uses a merely descriptive epithet, and
+hence some commentators have detected a sneer in these words, 'lackeying
+ivy belicks.' --#semipaganus#: 'poor half-brother of the guild'
+(Conington). The _paganus_ is admitted to all the _sacra pagi_
+(_paganalia_); the _semipaganus_ is a lay-brother. Persius is not a
+_vates_, but a _semivates_. He is not initiated into what Aristophanes
+calls the +gennai�n orgia Mous�n+, Ran., 356. Those who believe that the
+Satires of Persius were aimed at Nero, see in _semipaganus_,
+'half-educated,' as well as in the last seven verses, a deliberate
+disguise of the poet's real condition, as a man of culture and of
+wealth. They overlook the sneer at the class which he is not worthy to
+join.
+
+7. #vatum#: with the same tone of derision as in the English equivalent,
+'bards.' --#nostrum#: perhaps not simply = _meum_, but 'native,
+home-made.'
+
+8. #expedivit#: _Expedire_ and _conari_ both imply difficulty (Jahn),
+but the difficulty is completely conquered in _expedire_; not so in
+_conari_. The parrot, if not a Greek (+psittakos+), is a Hellenized
+Hindoo (_bitak_), and has learned to utter glibly his familiar
+_Bonjour_. The magpie is an Italian, and not so deft. Others regard this
+interpretation, which is essentially Jahn's, as too subtle, and make
+_verba nostra_, which many prefer to _nostra verba_, simply equivalent
+to 'human speech.' --#chaere# = +chaire+. Greek was the language of
+small talk, love talk, parrot-talk.
+
+10. #magister artis ingenique largitor#: _Magister_, of that which is
+taught; _largitor_, of that which comes from nature's bounty; _-que_
+combines the two into an exhaustive unit (G., 478; A., 43, 3, _a_). The
+thought recurs in numberless forms. Comp. +ha penia, Diophante, mona tas
+technas egeirei+, Theocr., 21, 1; _Paupertas omnes artis perdocet_,
+Plaut., Stich., 1, 3. 23 (Jahn). Add +chreia didaskei, kan bradus tis �,
+sophon+, Eur., fr. 709 (Nauck), and Alexis, fr. 205 (3, 479 Mein.),
+where the +gast�r+ is expressly mentioned. Birds, it seems, were trained
+to talk by hunger.
+
+11. #negatas#: (_a natura_). --#artifex sequi#: poetic syntax for _a.
+sequendi_. G., 424, R. 4. (comp. 429, R. 4); A., 57, 8, _f_, 3.
+A so-called Greek construction. See 1, 59. 70. 118; 5, 15. 24; 6, 6. 24.
+--#sequi# = _sectari_. --#voces#: (articulate) 'speech.'
+
+12. #quod si#: 'Nay, if but.' Commentators on Horace still indulge in
+remarks on the unpoetical character of _quod si_, copying Orelli on Od.,
+1, 1, 35. If _quod si_ is prosaic, Propertius is to be pitied; he uses
+it at every turn. --#dolosi#: 'seductive, alluring.' Persius does not
+deal much in 'general epithets;' hence +dolion kerdos+ (Pind., Pyth., 4,
+140) is not a sufficient parallel. --#refulserit#: better every way than
+_refulgeat_, which Jahn accepts in his ed. of 1868. The Perf. Subj. is
+more vivid and more correct than the Present. _Re-_ must not be
+overlooked. Like the English 'again,' it denotes the reversal of a
+previous condition. _Refulgere_, 'to catch the eye by its glitter,' 'to
+flash on the sight'-- whereas it lay unnoticed before. --#nummi#: better
+translated as a coin. Comp. 'The Splendid Shilling,' 'The Almighty
+Dollar;' perhaps 'The Magic Sixpence.' Comp. Juv., 7, 8: _nam si Pieria
+#quadrans# tibi nullus in umbra | ostendatur_, etc.
+
+13. #corvos poetas et poetridas picas#: 'Raven poets and poetess pies,'
+the substantive standing for an epithet, like _popa venter_, 6, 74.
+Which of the substantives is adjective to the other does not appear. For
+the _corvus_, Poe and Dickens will answer as well as Macrob., Sat. 2, 4.
+The male poet has a female counterpart in the magpie (_pica_). According
+to Ov. (Met., 5, 294, foll.), the daughters of Pierus, the Macedonian,
+were changed into magpies because they had challenged the Muses to a
+contest, and reviled the victorious goddesses. There seems to be an
+allusion to the literary ladies of the day, the blue-stockings of
+Juvenal's Satire (6, 434 foll.). See Friedl�nder, _Sittengeschichte_, 1,
+481. _Poetridas_ after Gr. analogy.
+
+14. #cantare nectar#: a poetic extension of the cognate accusative =
+_nectareum carmen cantare_ (G., 331; A., 52, 1, _b_). _Nectar_ is copied
+from Pind., Ol., 7, 7 (+nektar chuton, Moisan dosin+), and when combined
+with _Pegaseium_ is sufficiently grandiloquent to be as absurd as it is
+intended to be. The old reading, _melos_ (+melos+), with its faulty
+quantity, rarely finds a champion against _nectar_.
+
+
+CRITICAL APPENDIX.
+
+PROLOGUS.
+
+2. #Parnaso#: Parnasso, H. --4. #Heliconidas#: Heliconiadas, J{a}., H.
+--5. #remitto#: relinquo, J{a}. --7. #adfero#: affero, J{a}., H.
+--8. #chaere#: +chaire+, J{a}., H. --9. #picam#: picas, J{a}. --#nostra
+verba#: verba nostra, H. --12. #refulserit#: J{a}.; refulgeat, J{w}., H.
+
+
+       *       *       *       *       *
+
+
+  SATURA I.
+
+
+  O curas hominum! o quantum est in rebus inane!
+  'Quis leget haec?' Min tu istud ais? nemo hercule! 'Nemo?'
+  Vel duo, vel nemo. 'Turpe et miserabile!' Quare?
+  ne mihi Polydamas et Troiades Labeonem
+  praetulerint? nugae. non, si quid turbida Roma                   5
+  elevet, accedas examenque inprobum in illa
+  castiges trutina, nec te quaesiveris extra.
+  nam Romae quis non--? a, si fas dicere-- sed fas
+  tum, cum ad canitiem et nostrum istud vivere triste
+  aspexi ac nucibus facimus quaecumque relictis,                  10
+  cum sapimus patruos; tunc, tunc, ignoscite-- 'Nolo.'
+  Quid faciam? sed sum petulanti splene cachinno.
+    Scribimus inclusi, numeros ille, his pede liber,
+  grande aliquid, quod pulmo animae praelargus anhelet.
+  scilicet haec populo pexusque togaque recenti                   15
+  et natalicia tandem cum sardonyche albus
+  sede leges celsa, liquido cum plasmate guttur
+  mobile collueris, patranti fractus ocello.
+  hic neque more probo videas nec voce serena
+  ingentis trepidare Titos, cum carmina lumbum                    20
+  intrant, et tremulo scalpuntur ubi intima versu.
+  tun, vetule, auriculis alienis colligis escas?
+  auriculis, quibus et dicas cute perditus _ohe_.
+  'Quo didicisse, nisi hoc fermentum et quae semel intus
+  innata est rupto iecore exierit caprificus?'                    25
+  En pallor seniumque! o mores! usque adeone
+  scire tuum nihil est, nisi te scire hoc sciat alter?
+  'At pulchrum est digito monstrari et dicier _hic est!_
+  ten cirratorum centum dictata fuisse
+  pro nihilo pendas?' Ecce inter pocula quaerunt                  30
+  Romulidae saturi, quid dia poemata narrent.
+  hic aliquis, cui circa umeros hyacinthia laena est,
+  rancidulum quiddam balba de nare locutus,
+  Phyllidas Hypsipylas, vatum et plorabile si quid,
+  eliquat ac tenero supplantat verba palato.                      35
+  adsensere viri: nunc non cinis ille poetae
+  felix? non levior cippus nunc inprimit ossa?
+  laudant convivae: nunc non e manibus illis,
+  nunc non e tumulo fortunataque favilla
+  nascentur violae? 'Rides' ait 'et nimis uncis                   40
+  naribus indulges. an erit qui velle recuset
+  os populi meruisse et cedro digna locutus
+  linquere nec scombros metuentia carmina nec tus?'
+    Quisquis es, o, modo quem ex adverso dicere feci,
+  non ego cum scribo, si forte quid aptius exit,                  45
+  quando haec rara avis est, si quid tamen aptius exit,
+  laudari metuam, neque enim mihi cornea fibra est;
+  sed recti finemque extremumque esse recuso
+  euge tuum et belle. nam belle hoc excute totum:
+  quid non intus habet? non hic est Ilias Atti                    50
+  ebria veratro? non si qua elegidia crudi
+  dictarunt proceres? non quidquid denique lectis
+  scribitur in citreis? calidum seis ponere sumen,
+  scis comitem horridulum trita donare lacerna,
+  et 'verum' inquis 'amo: verum mihi dicite de me.'               55
+  qui pote? vis dicam? nugaris, cum tibi, calve,
+  pinguis aqualiculus protenso sesquipede exstet.
+  o Iane, a tergo quem nulla ciconia pinsit,
+  nec manus auriculas imitari mobilis albas,
+  nec linguae, quantum, sitiat canis Apula, tantae!               60
+  vos, o patricius sanguis, quos vivere fas est
+  occipiti caeco, posticae occurrite sannae!
+    Quis populi sermo est? quis enim, nisi carmina molli
+  nunc demum numero fluere, ut per leve severos
+  effundat iunctura unguis? scit tendere versum                   65
+  non secus ac si oculo rubricam derigat uno.
+  sive opus in mores, in luxum, in prandia regum
+  dicere, res grandis nostro dat Musa poetae.
+  ecce modo heroas sensus adferre videmus
+  nugari solitos graece, nec ponere lucum                         70
+  artifices nec rus saturum laudare, ubi corbes
+  et focus et porci et fumosa Palilia faeno,
+  unde Remus, sulcoque terens dentalia, Quinti,
+  cum trepida ante boves dictatorem induit uxor
+  et tua aratra domum lictor tulit-- euge poeta!                  75
+  est nunc Brisaei quem venosus liber Acci,
+  sunt quos Pacuviusque et verrucosa moretur
+  Antiopa, aerumnis cor luctificabile fulta.
+  hos pueris monitus patres infundere lippos
+  cum videas, quaerisne, unde haec sartago loquendi               80
+  venerit in linguas, unde istuc dedecus, in quo
+  trossulus exsultat tibi per subsellia levis?
+  nilne pudet capiti non posse pericula cano
+  pellere, quin tepidum hoc optes audire _decenter_?
+  'Fur es' ait Pedio. Pedius quid? crimina rasis                  85
+  librat in antithetis: doctas posuisse figuras
+  laudatur 'bellum hoc!' hoc bellum? an, Romule, ceves?
+  men moveat? quippe et, cantet si naufragus, assem
+  protulerim. cantas, cum fracta te in trabe pictum
+  ex umero portes? verum, nec nocte paratum                       90
+  plorabit, qui me volet incurvasse querela.
+    'Sed numeris decor est et iunctura addita crudis.
+  cludere sic versum didicit _Berecyntius Attis_
+  et _qui caeruleum dirimebat Nerea delphin_
+  sic _costam longo subduximus Appennino_.                        95
+  _Arma virum_, nonne hoc spumosum et cortice pingui,
+  ut ramale vetus vegrandi subere coctum?'
+  'Quidnam igitur tenerum et laxa cervice legendum?
+  _Torva mimalloneis inplerunt cornua bombis,_
+  _et raptum vitulo caput ablatura superbo_                      100
+  _Bassaris et lyncem Maenas flexura corymbis_
+  _euhion ingeminat, reparabilis adsonat echo?'_
+  haec fierent, si testiculi vena ulla paterni
+  viveret in nobis? summa delumbe saliva
+  hoc natat in labris, et in udo est Maenas et Attis,            105
+  nec pluteum caedit, nec demorsos sapit unguis.
+    'Sed quid opus teneras mordaci radere vero
+  auriculas? vide sis, ne maiorum tibi forte
+  limina frigescant: sonat hic de nare canina
+  littera.' Per me equidem sint omnia protinus alba;             110
+  nil moror. euge! omnes, omnes bene mirae eritis res.
+  hoc iuvat? 'hic' inquis 'veto quisquam faxit oletum.'
+  pinge duos anguis: pueri, sacer est locus, extra
+  meite! discedo. secuit Lucilius urbem,
+  te Lupe, te Muci, et genuinum fregit in illis;                 115
+  omne vafer vitium ridenti Flaccus amico
+  tangit et admissus circum praecordia ludit,
+  callidus excusso populum suspendere naso:
+  men muttire nefas? nec clam, nec cum scrobe? nusquam?
+  hic tamen infodiam. vidi, vidi ipse, libelle:                  120
+  auriculas asini quis non habet? hoc ego opertum,
+  hoc ridere meum, tam nil, nulla tibi vendo
+  Iliade. audaci quicumque adflate Cratino
+  iratum Eupolidem praegrandi cum sene palles,
+  aspice et haec, si forte aliquid decoctius audis.              125
+  inde vaporata lector mihi ferveat aure:
+  non hic, qui in crepidas Graiorum ludere gestit
+  sordidus, et lusco qui possit dicere 'lusce,'
+  sese aliquem credens, Italo quod honore supinus
+  fregerit heminas Arreti aedilis iniquas;                       130
+  nec qui abaco numeros et secto in pulvere metas
+  scit risisse vafer, multum gaudere paratus,
+  si cynico barbam petulans nonaria vellat.
+  his mane edictum, post prandia Calliroen do.
+
+
+NOTES.
+
+FIRST SATIRE.
+
+This Satire is an attack on the literature of the day as the
+efflorescence of the corruption of the times. The age is personified by
+a critical friend, but it is not always easy to determine when the poet
+is speaking and when the friend, or when the satirist is meeting an
+imaginary objection from some other imaginary quarter. The unreality of
+the whole dialogue is confessed with more candor than art in v. 44.
+Instead of a firm outline, we have a floating _quisquis es_.
+
+
+ARGUMENT.-- The poem opens with a line, which Persius recites to his man
+of straw, who forthwith urges him to abandon authorship (1-3). The poet
+acknowledges that he is at odds with his generation and expects no
+applause at their hands. But little does he care for their praise; let
+them prefer a Labeo to him. Their standard is not his standard. He is
+his own canon. He will not, can not follow the advice of his friend. He
+must obey the impulse of his temper and speak out (4-12).
+
+Whether we write laborious verse or laborious prose-- so the attack
+begins-- it is all one; display and applause are the aim and object of
+both. The style is fustian; the delivery wanton; the theme prurient. The
+bard is little better than a bawd (13-23). And yet so deeply rooted is
+this love of praise that learning is loss, unless it be minted into
+golden opinions, and knowledge is naught until it be known of men. To be
+pointed out as a lion, to be used as a school classic-- what glory!
+(24-30). Oh, yes! A glory shared by the dainty ditties, the mewling
+elegies of lisping, snuffling dandies, for this is what calls forth the
+approval of the after-dinner circle. Such is the praise that is to bless
+the poet even after death! (30-40). It is true that fame is not to be
+despised. No poet but feels his heart vibrate to praise. But the popular
+acclaim is not the ultimate standard. Mad epics, elegies thrown off in a
+surfeit, effusions of aristocratic easy-chairs are alike lauded. A man
+feeds the hungry and clothes the naked, and then asks for a candid
+opinion. Mockery of criticism! (40-62). The taste of the people relishes
+nothing but smooth verses-- verses without flaw or break, faultless
+machine-verses-- which answer any turn, and serve alike for satire, for
+eclogues, for heroic strains (63-75). Others, again, call themselves
+passionate pilgrims to the well of Latin undefiled, and linger over the
+obsolete magniloquence of Pacuvius and Accius. A fine _olla podrida_--
+this jumble of modern affectation and ancient trumpery (76-82). Bad as
+this is in literature, how much worse it is to find that the jargon of
+the _salon_ has become the language of the courts, and that the manly
+Roman speech is dead. Even in a matter of life and death, the accused
+thinks more of his rhetorical than of his judicial sentence, and listens
+for a 'Pretty good,' as if that were the verdict (83-91). It will not do
+to say that great improvements have been made in the art of verse.
+Smooth are the verses and resonant, but at the cost of sense, of manly
+vigor. Once catch the trick, and any body can reel off such lines
+(92-106). Ears are ticklish, our satirist admits. Truth is an unwelcome
+rasp, and the cold shoulder of great men no toothsome meal. Police
+regulations are stringent. 'Commit no nuisance' is posted every where.
+Ah, well! It was otherwise in the time of Lucilius. That was a free
+world in which he craunched Lupus and Mucius. It was otherwise in the
+time of Horace. That was a gay world, in which he tickled while he
+taught. And is the poet not to mutter even? King Midas's barber told his
+master's secret to a ditch. Where can a ditch be found? Here in this
+book (107-121). Few readers can our author hope or desire-- only such as
+have studied closely the great masters of the Attic sock, not such as
+ignorantly make a mock of Greek attire and Greek science, pride
+themselves on petty local honors, and rise to no higher conception of
+wit or fun than a dog-fight or a jibe at personal infirmity (122-134).
+
+It has been well observed that this is the only Satire of Persius in the
+strict sense of the term; the other five have rather the character of
+essays on moral themes.
+
+One of the best commentaries on this poem is the famous 114th Epistle of
+Seneca.
+
+The student of English literature will remember that Gifford's Baviad is
+an imitation of this piece.
+
+
+1-7. At the very outset we encounter a difficulty in the distribution of
+the first lines between P. (Persius) and M. (Monitor, as the second
+interlocutor is usually called). The arrangement followed in the text
+may be explained thus:
+
+P. (_is discovered absorbed in contemplation. He recites a line from his
+projected poem_).-- 'Vanity of vanities!'
+
+M.-- Who will read this stuff of yours?
+
+P. (_wakes up_).-- Do you mean that for me? Why, no one, of course.
+
+M.-- No one?
+
+P.-- Next to no one.
+
+M.-- A lame and impotent conclusion!
+
+P.-- Why so? Am I to fear that Polydamas and the Trojan dames shall make
+up their minds to give Labeo the preference over me? Stuff! Don't
+assent, when muddled Rome rejects a thing as light weight, and do not
+trouble yourself to get the faulty tongue of that pair of scales to work
+right, and look not outside of yourself for what you can find only
+within yourself.
+
+1. #O curas hominum! O quantum est in rebus inane!# _Homines_ and _res_
+are both used for 'the world,' sometimes singly, sometimes together.
+_Res_ is often to be omitted in translation, or another turn given.
+_O quantum est in rebus inane_, 'Vanity of vanities'-- a suitable Stoic
+text. There seems to be no allusion to Lucretius's common phrase, _in
+rebus inane_.
+
+2. #Quis leget haec?# a quotation from Lucilius, according to the
+scholiast. Jahn follows Pinzger in supposing that the quotation begins
+with _O curas hominum!_ See, however, L. M�ller, _Lucilius_, p. 194.
+
+3. #vel duo vel nemo#: is more guarded, and hence (by Litotes) stronger
+than _nemo_. Comp. Gr. +� tis � oudeis+.
+
+4. #ne mihi praetulerint#: an elliptical sentence, such as we often find
+in final relations (A., 70, 3, _f_), in English as well as in Latin (G.,
+688, R.). The sequence is not common in the classic period, but see G.,
+512, R. Comp. Plaut., Aul., 2, 3, 11; Liv., 44, 22, and Weissenborn in
+loc. The Greek would be: +m� protim�s�si+. --#Polydamas#: Some write
+_Pulydamas_, corresponding with the Homeric form, +Pouludamas+; but
+_P[-o]lydamas_ (+P�ludamas+) is the Sicilian Doric, like _p[-o]lypus_
+(+p�lupos+). The allusion is to a familiar passage in Hom., Il., 22,
+100. 104. 5: +Pouludamas moi pr�tos elenchei�n anath�sei-- nun d' epei
+�lesa laon atasthali�sin em�sin | aideomai Tr�as kai Tr�adas
+helkesipeplous+. These are the words of Hector, as he steels his great
+heart to meet Achilles. Polydamas is the counsellor who had urged him
+(18, 254) to withdraw the Trojans into Troy, and Hector is ashamed to
+turn back and encounter the rebuke of Polydamas and the reproaches of
+his people. Persius uses Polydamas as the type of the Roman critic, and
+by a familiar satiric stroke leaves out the Trojan men, as if they were
+no men in Rome. Others understand 'Nero and his effeminate court.' The
+Homeric passage had been well worn by Aristotle and Cicero (Att., 2, 5,
+1; 7, 1, 4; 8, 16, 2) before it came to Persius. There is perhaps a
+side-thrust at the pride of the old Roman families in their Trojan
+descent. Comp. Juv., 1, 100: _iubet a praecone vocari | ipsos
+#Troiugenas#_; also 8, 181. See Friedl�nder, _Sittengesch_., 1, 230.
+--#Labeonem#: the Attius (Labeo) of v. 50, an unfortunate translator of
+Homer, who stuck close to the letter. The scholiast has preserved a
+line. +�mon bebr�thois Priamon Priamoio te paidas+ (Il., 4, 35) is
+rendered thus: _crudum manduces Priamum Priamique pisinnos_. 'Raw you'd
+munch both Priam himself and Priam's papooses.'
+
+5. #nugae#: The accusative is more common. Comp. G., 340, R. 1. --#non
+accedas-- nec quaesiveris#: _Non_ and _nec_, where Quintilian's rigid
+rule (1, 5, 50) requires _ne_ and _neve_. G., 266, R. 1; A., 41, 2, _e_.
+Comp. 3, 73 and 5, 45. --#turbida#: 'muddle-headed' (Conington). But
+comp. _Alexandrea turbida_, Auson., Clar. Urb., 3, 4.
+
+6, 7. #elevet#: 'reject as light.' The figure is taken from weighing,
+doubtless a common trope in the schools. --#examen#: (_filum, ligula_)
+is the 'index, tongue, or needle' which is said to be _inprobum_,
+'faulty,' 'wilful,' 'untoward,' because it does not move freely or
+accurately on its pivot. --#trutina#: (Gr. +trutan�+, a word of doubtful
+etymology and loose application, means here 'a balance,' 'a pair of
+scales,' not, as the scholiast says, the _foramen_, 'fork' or 'cheeks,'
+in which the _examen_ plays. --#castiges# = _percutias_ (Schol.) of the
+tap given to a hitching balance. Gesner, s.v., regards _castigare_ here
+as equivalent to _conpescere_ (5, 100), a view which has a good deal in
+its favor. The notion is not 'do not correct the popular standard,' but
+'do not try to get an exact result by the popular standard (for your
+guidance).' Hermann (_Lect. Pers._, II., 9) follows those who understand
+the _examen_ and _trutina_ of different instruments: _Noli examen tuum
+in #populi# trutina castigare._[3] So Pretor, who translates: 'Do not
+try to correct the erring tongue of your delicate balance by applying to
+it a pair of ordinary scales.' --#nec te quaesiveris extra#: (_te_) 'Nor
+look for yourself (what you can find only in yourself) outside of
+yourself.' 'Be your own norm.' Others arrange: _nec quaesiveris extra
+te_, 'Nor ask any opinion but your own.'
+
+    [Footnote 3: No satisfactory treatment of this subject is
+    accessible to me. The Greek and Latin dictionaries are wildly at
+    variance with one another and with the authorities. _Examen_ seems
+    to have been originally the strap by which the beam was suspended--
+    not from AG, but from AP. See Isidor., Orig., 16, 23, and comp.
+    _amentum_ (_ammentum_). Add Lucil., 16, 14 (L. M�ller).
+    Eustathius's +trutan� epi zogou h� teiromen� t� barei t�n ogk�n+
+    points to the pivot (knife-edge) as the first meaning of _trutina_.]
+
+8-12. The distribution followed is that of Jahn (1843), which gives
+_nolo_ (v. 11) to the interlocutor. The jerky, self-interrupting
+discourse is supposed to be characteristic of the _petulante splene
+cachinno_. 'What is the use of consulting Rome? Every body there is an--
+If I might say what! If I might? Surely I may, when I consider how old
+we are become, how grum we are, and all the step-fatherly manner of our
+lives, since the days of "commoneys" and "alley tors." Indulge me. _It
+can not be._ What am I to do? Nothing? But I am a man of laughter with a
+saucy spleen.'
+
+8. #nam Romae quis non?# The suppressed predicate is to be supplied from
+the general scope of the passage. The sentence is not completed in v.
+131 (_auriculas asini habet_), for the simple reason that Persius did
+not write _quis non_ in that passage, but _Mida rex_.
+
+9. #cum--aspexi#: _Cum_ is equivalent to _postquam_ here. G., 567; A.,
+62, 3, _e_. --#canitiem#: 'premature old age,' 'loss of youthful
+freshness.' All through this satire the poet lashes old age, as
+commentators have observed. So here, and 22. 26. 56. 79. The 'hoary
+head' is not a 'crown of glory,' but a sign of debauchery; the 'fair,
+round belly,' which is not uncomely in the elderly justice, is nothing
+but a swagging paunch; the bald pate is not a mirror of honor, but a
+mirror of dishonor; in short, 'no fool like an old fool.' Especially
+severe is Persius on the 'used-up' man; and the affected moralizing of
+young men, who had outlived their youth before they had had time to
+forget the games of boyhood, drove him to satire. On the Neronian
+hypothesis, Persius is endeavoring to masquerade as an old man.
+--#nostrum istud vivere triste#: 'sour way of life.' This is a so-called
+_figura Graeca_, which out-Greeks the Greeks. Good authors are very
+cautious in adding an attribute to the infinitive, and do not go beyond
+_ipsum, hoc ipsum_. _Scire tuum_, v. 27; _ridere meum_, v. 122; _velle
+suum_, 5, 53; _sapere nostrum_, 6, 38, can not be rendered literally
+into the language from which they are supposed to be imitated. Nursery
+infinitives (3, 17) belong to a different category.
+
+10. #nucibus#: The modern equivalent is 'marbles.' The very games
+survive. (See 3, 50.) It is hardly necessary to prove that putting away
+such childish things means becoming a man. _Da nuces pueris, iners |
+concubine: satis diu | lusisti nucibus_, Catull., 61, 127-9.
+
+11. #patruos#: On the accusative, see G., 329, R. 1; A., 52, 1, _c._ The
+_patruorum rigor_ was proverbial. Owing to the legal position of the
+paternal uncle, who was often the guardian, it is the _patruus_, not the
+_avunculus_, who is the type of severity. So the cruel uncle of the
+ballad of the 'children in the wood' is the father's brother.
+
+12. #quid faciam?# G., 258; A., 57, 6. --#sed#: (I know you want me to
+do nothing), 'but' (I can't keep quiet) 'I am a laugher born.'
+--#petulante#: literally, 'given to butting,' hence 'saucy' --#splene#:
+The seat of laughter. --#cachinno#: a substantive, perhaps built by
+Persius on the analogy of _bibo_, _epulo_, _erro_, etc. Comp. _glutto_,
+5, 112; _palpo_, 5, 176. Hermann, following Heindorf, makes _cachinno_
+a verb, and reads: _tunc, tunc-- ignoscite, nolo; quid faciam sed sum
+petulante splene-- cachinno_, 'Then-- then-- excuse me-- I would rather
+not-- what am I to do?-- I can't help it-- my spleen is too much for
+me-- I must have my laugh.' Jahn (1868) accepts _tunc, tunc-- ignoscite,
+nolo_, but goes no further.
+
+13-23. The battery opens. Verse-wright and writer of prose alike care
+for nothing except applause. Follows a vivid picture of a popular
+recitation.
+
+13. #Scribimus inclusi#: Comp. _scribimus indocti_, etc. Hor., Ep., 2,
+1, 117. --#inclusi#: 'in closet pent' (Gifford's Baviad), to show the
+artificial and labored character of the composition in contrast with the
+beggarly result. Markland's ingenious conjecture, _inclusus numeris_, is
+not necessary. Heinr. admires Markl., but retains _numeros_ as a Greek
+accusative! --#numeros#: 'poetry;' #pede liber# = _pede libero_,
+'foot-loose,' 'prose,' _soluta oratio_.
+
+14. #grande#: 'vast,' 'grandiose.' _Grandis_ is always used with
+intention, which our word 'grand' sometimes fails to give. See 1, 68; 2,
+42; 3, 45. 55; 5, 7. 186; 6, 22. --#quod pulmo#: 'something vast enough
+to make a lung generous of breath pant in the utterance of it.' Jahn
+(1868) reads _quo_ for _quod; quo_ is not so vigorous. --#animae
+praelargus#: a stretch of the adjectives of fulness (G., 373, R. 6; A.,
+50, 3, _b_); _praelargus = capacissimus._
+
+15. #scilicet#: Ironical sympathy, 'O yes!' --#haec#: The position is
+emphatic. --#populo#: 'to the public,' 'in public.' The political force
+of _populus_ has ceased. --#pexus#: 'with hair and beard well dress'd.'
+'Combed' hardly conveys the notion: say 'shampooed.' --#togaque
+recenti#: 'fresh' (from the fuller).
+
+16. #natalicia sardonyche#: Jewelry reserved for great occasions. The
+brilliancy of the sardonyx is a common theme. _Rufe vides ilium
+subsellia prima tenentem | cuius et hinc lucet sardonychata manus_,
+Mart., 2, 29, 1-2 --#tandem#: shows impatience. --#albus# = _albatus_
+(comp. 2, 40; Hor., Sat., 2, 2, 61) on account of the _toga recens_. So
+_niveos ad frena Quirites_, Juv., 10, 45. Heinr. argues at length in
+favor of 'pale.'
+
+17. #sede celsa# = _ex cathedra_. --#leges#: So Jahn (1868), despite the
+MSS. _Legens_ may be explained at a pinch as _lecturus_, a comma being
+put after _ocello_; Hermann combines with _pulmo_, and comp. Juv., 10,
+238 sq., where _os_ stands for the owner of the same. Add _cana gula_,
+Juv., 14, 10. But _pexus_ and _albus_ make such a synecdoche incredible.
+--#liquido#: _quia liquidam vocem efficit._ Comp. Hor., Od., 1, 24, 3:
+_cui liquidam pater | vocem cum cithara dedit_. The attribute is put for
+the effect, as in _pallidam Pirenen_, Prol., 4. --#plasmate#: according
+to Quint., 1, 8, 2, a technical name for the professional training of
+the voice, a kind of rhetorical _solfeggio_. Others understand the
+_plasma_ of a gargle to clear the throat.
+
+18. #mobile collueris#: _Mobile_ is predicative. Translate: 'after
+gargling your throat to suppleness by filtering modulation.' --#patranti
+ocello#: 'an eye that would be doing,' 'a leering, lustful eye.' Quint.
+(8, 3, 44) says of _patrare: mala consuetudine in obscenum intellectum
+sermo detortus_. Comp. 'do' in Shaksp., Troil. and Cressida, 4, 2: Go
+hang yourself, you naughty, mocking uncle! You bring me to _do_, and
+then you flout me too. --#fractus# = _effeminatus_, 'debauched,'
+'languishing,' _+kladaros+._ Conington translates: 'with a languishing
+roll of your wanton eye.'
+
+19. #neque more probo nec voce serena#: Litotes. See Prol., 1.
+
+20. #ingentis Titos#: Comp. _celsi Rhamnes_, Hor., A. P., 342. Here,
+however, there is a reference to size of body (like _ingens Pulfennius_,
+5, 190; _torosa iuventus_, 3, 86; _caloni alto_, 5, 95), for which
+Persius seems to have had a Stoic contempt. _Titi_, perhaps another form
+of _Tities_, the old Sabine nobility (Mommsen, _Rom. Gesch._, B. 1,
+K. 4), of whom much aristocratic virtue might have been expected
+(_sanctos licet horrida mores | tradiderit domus ac veteres imitata
+#Sabinos#_, Juv., 10, 298-9). Instead of that we have great, hulking
+debauchees. --#trepidare#: 'quiver.' The word is used indifferently of
+pleasant and unpleasant agitation. The quavering measure thrills them so
+that they can not sit still. On the infinitive, see 3, 64.
+
+21. #scalpuntur intima#: 'their marrow is tickled.' _Scalpere_ is
+opposed to _radere_, 1, 107. Comp. 3, 114; 5, 15.
+
+22. #tun#: _-ne_ is often found in rhetorical questions. --#vetule#:
+'you old reprobate,' 'you old sinner.' --#escas#: 'tidbits;' '_escas
+colligere_,' 'cater.'
+
+23. #quibus et dicas#: _Et_ belongs to _cute perditus_, which is
+variously explained 'dropsical,' 'unblushing,' 'thoroughly diseased.'
+The context requires a tough subject, and 'hide-bound' or
+'case-hardened' might answer as a rendering. --#ohe#: a reminiscence of
+Hor., Sat. 2, 5, 96: _importunus amat laudari; donec '#Ohe iam#' | ad
+caelum manibus sublatis dixerit, urge, | crescentem tumidis infla
+sermonibus utrem_, which last line helps us to understand _cute
+perditus_. Persius, as is his wont, tries to improve on Horace, and
+makes his man inelastic.
+
+24-43. M. Study is useless except to show what a man has in him. --P.
+A low ideal for a student. --M. Fame is a fine thing. --P. It would be a
+fine thing if it were not shared by every dinner-table poet. --M. You
+are too captious. It is a great thing to have written poems that are
+proof against trunk-maker and pastry-cook.
+
+24. #Quo didicisse?# The exclamatory infinitive with involved subject.
+G., 534 (340); A., 57, 8, _g_.
+
+25. #iecore#: the seat of the passions. Here 'heart' or 'breast' would
+seem to be more appropriate. --#caprificus#: the wild fig-tree sprouts
+in the clefts of rocks and cracks of buildings, which it rends in its
+growth. _Ad quae | discutienda valent mala robora fici_, Juv., 10, 145.
+
+26. #En pallor seniumque#: 'So that's the meaning of your studious
+pallor (v. 124; 3, 85; 5, 62) and your (early) old age.' With _senium_
+comp. Hor., Ep., 1, 18, 47: _inhumanae #senium# depone Camenae_. Persius
+mocks at the weariness to the flesh which the student has undergone for
+so paltry a result. This is the arrangement of Jahn (1843) and Hermann.
+Jahn (1868) follows Heinr. in giving the line to the remonstrant. _En_,
+originally an interrogative, is, after the time of Sallust, confounded
+with _em_, and combined with the nom. in the sense of _em_, which
+properly takes the accus. alone. So Ribbeck, _Beitr�ge zur Lehre von den
+latein. Partikeln_, S. 35. --#o mores#: Cicero's famous ejaculation.
+--#usque adeone#: _Usque adeone mori miserum est_, Verg., Aen., 12, 646;
+_usque adeo nihil est_, Juv., 3, 84.
+
+27. #scire tuum nihil est#, etc.: 'And is thy knowledge nothing if not
+known' (Gifford). These jingles were much admired in antiquity. The
+passage from Lucilius, which Persius is said to have imitated, reads,
+according to L. M�ller (fr. inc., 40, 73): _ne dampnum faciam, scire hoc
+sibi nesciat is me_. A better example in Lucr., 4, 470.
+
+28. #At#: objects. See G., 490; A., 43, 3, _b_. --#digito monstrari#:
++daktul� deiknusthai (daktulodeikteisthai)+. _Quod #monstror digito#
+praetereuntium_, Hor., Od., 4, 3, 22; _saepe aliquis #digito# vatem
+designat euntem_, Ov., Am., 3, 1. 19. --#hic est#: +houtos ekeinos+, in
+the well-known story of Demosthenes. Cic., Tusc. Dis., 5, 36.
+--#dicier#: On the form, see G., 191, 2; A., 30, 6, _e_, 4. So
+_fallier_, 3, 50.
+
+29. #cirratorum#: 'curl-pates.' Jahn cites Mart., 9, 29, 7: _Matutini
+#cirrata# caterva magistri_. School-boys wore their hair long, but
+Persius does not waste his epithets, and 'youths of quality' are
+doubtless meant. Comp. the _lautorum pueros_ of Juv., 7, 177.
+--#dictata#: 'Persius takes not only higher schools, but higher lessons,
+_dictata_ being passages from the poets read out by the master (for want
+of books) and repeated by the boys' (Conington). Translate 'a
+lesson-book,' a 'school classic.'
+
+30. #Ecce#: introduces a satiric sketch of 'classic poets at work.'
+--#inter pocula#: 'over their cups.' Poems were read at table by an
++anagn�st�s+, as lives of the saints are still read in religious houses.
+
+31. #Romulidae#: Comp. _Titos_, v. 20; _trossulus_, v. 82; _Romule_, v.
+87. --#dia#: +theia+, an affected word. 'Let us hear,' say the company,
+'what his charming verses are about' (Pretor). Conington renders: 'What
+news from the divine world of poesy?'
+
+32. #hyacinthia laena#: The dandies of the day wore upper garments of
+military cut and gay colors. A similar military dandyism on the part of
+non-military men is observable in the Macedonian period. Comp.
++chlamud�phoroi andres+, Theocr., 15, 6, with the commentators.
+
+33. #rancidulum quiddam#: 'affected stuff,' 'namby-pamby trash.'
+--#balba de nare# = _de nare balbutiens_, 'with a nasal lisp,' 'with a
+snuffle and a lisp' (Conington). _Balbus_ is especially used of the
+introduction of an aspirate, and 'lisp,' which involves a spirant, is
+only approximate. Comp. +thauma mega+, _inquid #balba#_, Lucil., 6, 20,
+with L. M�ller's note. --#locutus#: Perf. Part. where we should expect a
+Present. G., 278, R.
+
+34. #Phyllidas Hypsipylas#: Phyllis, fearing that she had been deserted
+by her lover, Demophon, hanged herself, and was changed into an
+almond-tree (Ov., Her., 2). Hypsipyle of Lemnos, after bearing two
+children to Jason, was forsaken by him (Ov., Her., 6). These doleful
+themes (_plorabilia_) were popular in Persius's time. The plural is
+contemptuous in Latin as in English.
+
+35. #eliquat#: 'filters.' Every rough particle is strained out so as to
+make the voice 'liquid.' The passage from Apul., Flor., p. 351, Elm.,
+cited by Jahn, _canticum videtur ore tereti semihiantibus in conatu
+labellis #eliquare#_, indicates a cooing position of the lips, in which
+the mouth simulates a colander. --#supplantat#: +huposkelizei+ (Lucil.,
+29, 50, L. M.), 'trips up.' To judge by Hor., Sat., 2, 3, 274, _balba
+#feris# annoso verba palato_, of which the language of Persius seems to
+be an exaggeration, the sounds impinge upon the roof of the mouth
+instead of coming out boldly-- a kind of lolling utterance. --#tenero#:
+adds another shade: the tripping is light, for the roof is sensitive;
+'minces his words as though his mouth were sore' (Pretor).
+
+36. #adsensere viri#: Observe the Epic vein. _Adsensere omnes_, Verg.,
+Aen., 2, 130; _adsensere dii_, Ov., Met., 9, 259 (Jahn). _Viri_,
+'heroes.' --#non-? -- non-?# On the form of the question, see G., 455;
+A., 71, 1, R.
+
+37. #levior cippus#: Sufficiently familiar is the old wish, SIT � TIBI �
+TERRA � LEVIS, which, like the modern R � I � P �, was promoted to the
+dignity of initials (S � T � T � L �). --#ossa#: _Patrono meo #ossa#
+bene quiescant_, Petron., 39.
+
+38. #manibus# = _cineribus_, 'remains' (Conington). On this
+'materialism,' see Tylor, _Primitive Culture_, 2, 24 foll.
+
+40. #nascentur violae#: 'Lay her i' the earth | and from her fair and
+unpolluted flesh | may _violets spring_.' Shaksp., Hamlet, 5, 1.
+--#'Rides' ait#: As in Hor., Ep., 1, 19, 43. _Ait_ is used like _inquit_
+(G., 199, R. 3), without any definite reference. --#nimis uncis |
+naribus indulges#: 'you are too much given to hooking, curling your
+nose.' _Naribus uti_, Hor., Ep., 1, 19, 45; _naso adunco_, Hor., Sat.,
+1, 6, 5.
+
+41. #an#: when used alone is more or less rhetorical, and is intended to
+force a conclusion involved in the foregoing; 'What?' 'So then?' G.,
+459; A., 71, 2, _b_. Persius's use of it is instructive: v. 87; 2, 19.
+26; 3, 19. 27. 61; 5, 83. 125. 163. 164; 6, 51. 63. --#velle meruisse#:
+See G., 275, 2; A., 53, 11, _d_, for the tense of _meruisse_. The Perf.
+after _velle_ is legal rather than Greek. Comp. v. 91, _qui me volet
+#incurvasse# querela_. So Hor. (Sat. 2, 3, 187), mimicking the legal
+tone: _ne quis #humasse velit# Aiacem, Atrida, vetas? cur?_ Other Perf.
+Infinitives with varying motives are found: 1, 132; 2, 66; 4, 7. 17; 5,
+24. 33; 6, 4. 6. 17. 77.
+
+42. #os populi#: 'popular applause,' 'a place in the mouths of men'
+(Conington). Comp. the phrase _in ore esse_. --#cedro digna#: Cedar oil
+was used to preserve manuscripts. _Speramus carmina fingi | posse
+linenda cedro_, Hor., A. P., 331-2.
+
+43. #nec scombros nec tus#: The fear of the mackerel is a stroke of
+Catullus, 95, 8, which Milton imitates, Ep., 10: _gaudete scombri_.
+Comp. Mart., 4, 86, 8. For _tus_, comp. Hor., Ep., 2, 1, 269: _deferar
+in vicum vendentem #tus# et odores | et piper et quicquid chartis
+amicitur ineptis_. The modern equivalent is the grocer or the
+pastry-cook.
+
+44-62. The poet gives up his dramatizing and speaks in his own person.
+'I am not indifferent to fame, but I reject a standard which approves
+such stuff as Labeo's, such ditties as "persons of quality" dictate
+after dinner, a standard which makes a hot dish the test of poetic
+fervor, and covers a multitude of poetic sins with a cast-off cloak. If
+you had eyes in the back of your head, you would see that all this
+praise is for value received.'
+
+44. #dicere feci#: G., 527, R. 1; A., 70, 2.
+
+45. #non ego#: 'I do not decline your praise-- no, not I.' G., 447; A.,
+76, 3, _d_. Comp. 2, 3; 3, 78; and Hor., Ep., 1, 19, 37, _#non ego#
+ventosae plebis suffragia venor_. --#si forte quid aptius exit#: 'if I
+chance to turn out (off) a rather neat piece of work.' _Exit_ may mean
+'to leave the shop' (_ex officina exire_, Cic., Parad., pr. 5), or 'to
+leave the potter's wheel,' as _urceus exit_, Hor., A. P., 22 (Jahn).
+Conington translates 'hatch' on account of _rara avis_. +Kakon �on+. The
+passage is imitated by Quint., 12, 10, 26.
+
+46. #quando#: gives the reason for his saying _si forte_. There is no
+necessity of writing _quanquam_, but the translation 'although' is not
+unnatural, as causative particles are often adversative. Comp. _cum_ and
+Gr. +epei+. --#rara avis#: proverbial as in the famous line of Juv., 6,
+165.
+
+47. #laudari metuam#: So Hor., _metuens audiri_, Ep., 1, 16, 60; _metuit
+tangi_, Od., 3, 11, 10. In prose the construction is less common with
+_metuo_ than with _vereor_. G., 552, R. 1; M., 376, Obs. --#cornea#: 'of
+horn.' The metaphorical use seems to be novel. Comp. Hom., Od., 19, 211:
++ophthalmoi d' h�s ei #kera# hestasan �e sid�ros+. --#fibra#: 'heart.'
+See 5, 29.
+
+48. #recti finemque extremumque#: 'the ultimate standard.' Conington
+renders 'be-all and end-all.'
+
+49. #euge, belle#: like _decenter_ (v. 84), are current expressions of
+approbation at public readings. _Euge_, 'bravo!' _belle_, 'well said!'
+_decenter_, 'pretty fair!' Martial gives us a list of popular comments
+(2, 27, 3-4): _Effecte! graviter! st! nequiter! euge! beate! | hoc
+volui!_ --#excute#: a favorite word with Persius as with Seneca, Ep.,
+13, 8; 16, 7; 22, 10; 26, 3; De Ira, 3, 36 (Jahn). The metaphor is taken
+from shaking clothes in order to get out any thing that may be concealed
+in them-- Gr., +ekseiein+. We should say 'analyze.'
+
+50. #quid non intus habet#: The figure is kept up. 'What is not covered
+up in that beggarly rag of a _#belle#_'? --#non# = _nonne_. G., 445
+and R.; A., 71, 1. --#Atti#: See v. 4. --#Ilias ebria#: Comp. _ebrius
+sermo_, Sen., Ep., 19, 9.
+
+51. #veratro#: white hellebore (_album multum terribilius nigro_, Plin.,
+II. N., 25, 5, 21), a strong emetic, which students took 'to quicken
+their wits.' The modern _veratrum_ is a different drug. --#elegidia#:
+contemptuous, 'bits of elegies' on such themes as Phyllis and Hypsipyle.
+_E._ a Greek word not in Greek lexicons, like _poetridas_, Prol., 13.
+--#crudi#: with their dinners undigested and their brains muddled.
+
+52. #dictarunt#: 'extemporize.' --#lectis#: 'sofas.' The ancients wrote
+in a recumbent posture far more frequently than we do.
+
+53. #citreis#: 'of citron wood,' 'wood of the thyia' (_Thyia
+articulata_, African Arbor Vitae, Plin., 15, 29). The fabulous cost of
+tables of this material is well known. Cic., Verr., 4, 17, 37. --#scis#:
+'you know how.' _Scire_ in this sense is related to _posse_, as Fr.
+_savoir_ to _pouvoir_, a traditional distinction. --#calidum#:
+'hot-and-hot' (Pretor). --#ponere#: 1. 'serve up;' 2. 'cause to serve
+up,' 'treat to.' _Heri non tam bonum #posui# et multo honestiores
+cenabant_, Petron., 34. --#sumen#: a dainty dish in the eyes of Greek
+and Roman. Comp. _vulva nil pulchrius ampla_, Hor., Ep., 1, 15, 41;
+Plut., Sanit. Praec., 124F; Alciphr., Ep., 1, 20; and the joke in
+Alexis, fr. 188 (3, 473 Mein.).
+
+54. #comitem horridulum trita donare lacerna#: This is the kind of
+patronage that galled Lucian (De Merced. Cond., 37), who mentions the
+paltry present of an +ephestridion athlion h� chit�nion huposathron+. On
+the word _comitem_, see 3, 7. _Horridulum comitem_, 'shivering beggar of
+a companion,' 'poor devil in your suite.' For the custom, comp. Hor.,
+Ep., 1, 19, 37: _Non ego ventosae plebis suffragia venor | impensis
+#cenarum# et #tritae# munere #vestis#_.
+
+56. #qui pote?# _Pote_ is an archaism for _potis_. Both _potis_ and
+_pote_ are used as predicates without regard to number and gender.
+--#vis dicam#: G., 546, R. 3; A., 70, 3, _f_, R. _Vis_ does not wait for
+an answer. See 6, 63. --#nugaris#: 'you are a twaddler' (Conington).
+--#calve#: Persius calls up his _vetulus_ (v. 22) again, and gives him a
+huge 'bombard' of a belly. Nero had a _venter proiectus_, and some
+editors fancy that Nero's person is aimed at here, and Nero's poetry in
+the verses that follow. See Introd., xxxvi.
+
+57. #aqualiculus#: (said properly to mean 'a pig's stomach') 'paunch,'
+'cloak-bag of guts,' Shaksp. --#protenso sesquipede#: Comp. the Greek
+proverb: +pacheia gast�r lepton ou tiktei noon+. Even M. Martha is
+forced to say: _Le trait n'est ni spirituel ni poli_ (_Moralistes
+Romains_, p. 147). For the justification, see v. 128. Jahn (1843) reads
+_propenso_.
+
+58. #Iane#: Janus, who sees both ways, is secure from being laughed at
+behind his back. --#ciconia pinsit# = _pinsendo ludit_. The fingers of
+the mocker imitate the clapping of the stork's bill. _Pinsit_, 'pounds,'
+because the _ciconia levat ac deprimit rostrum dum clangit_, Isidor.,
+Orig., 20, 15, 3. 'Pecks at' is not correct; 'claps' is nearer. What
+seems to be meant is mock applause.
+
+59. #auriculas#: The imitation of ass's ears by the hands belongs to
+universal culture. --#imitari mobilis# = _ad imitandum m._ G., 424,
+R. 4; A., 57, 8, _f._ --#albas#: on account of the white lining. Ov.,
+Met., 11, 176: _aures-- villis #albentibus# implet_.
+
+60. #linguae#: The thrusting out of the tongue in derision is as common
+now as it was then. --#canis Apula#: Apulia was the +dipsion Argos+ of
+Italy. _Siticulosae Apuliae_, Hor., Epod., 3, 16. --#tantae#: So Jahn
+and Herm. 'Tongues big enough to represent the thirst of an Apulian
+hound' (Pretor). Jahn compares for the construction, Luc., 1, 259:
+_quantum rura silent, tanta quies_. Conington considers _tantum_ 'much
+neater,' and makes _quantum sitiat = quantum sitiens protendat_, 'a
+length of tongue protruded like an Apulian dog in the dog-days.'
+
+61. #vos, o patricius sanguis#: Hor., A. P., 291: _vos, o | Pompilius
+sanguis_. The Nom. for the Vocative in solemn address. G., 194, R. 3;
+A., 53, _a._ --#fas est# = _fatum est_, 'it is ordained.'
+
+62. #occipiti#: Notice the exceptional Abl. in _i_. Comp. Auson.,
+Epigr., 12, 8: _#occipiti# calvo es_, and _capiti_, v. 83. --#posticae#:
+chiefly of the back part of a building: 'back-stairs' (Conington).
+--#occurrite#: 'turn round and face' (Conington and Pretor). --#sannae#:
+'flout,' 'gibe,' 'fleer,' +m�kos+.
+
+63-82. Persius takes up the thread which Janus had rudely snapt: 'We
+have heard the bounden praise of dependants. What does the town say?
+Why, they admire the smooth flow of the verse, the grand style. If they
+find these requisites, little do they care about theme or order of
+development; the 'prentice hand that bungles an eclogue, undertakes an
+epic-- nay, jumbles eclogue and epic-- Bravo, poet! all the same.
+Another mania is the passion for the old poets, a Pacuvian revival. What
+is to be expected when all this bubble-and-squeak language is the daily
+food of our children and the dear delight of lecture-halls?'
+
+63. #Quis# = _qui_. G., 105; A., 21, 1, _a._ --#quis enim#: _Enim_, like
++gar+; 'why, what else?' 'of course.' G., 500; A., 43, 3, _d._
+
+64. #nunc demum#: as if something marvellous had been accomplished.
+--#severos#: 'captious, critical.'
+
+65. #effundat#: 'suffers to glide smoothly,' a harsh expression.
+--#iunctura#: The image is that of the joining of pieces of marble, as
+in an _opus tessellatum_. Comp. Lucil., fr. inc., 10, 33 (L. M.): _quam
+lepide +lexeis+ conpostae, ut tesserulae, omnes | arte pavimenti atque
+emblemati' vermiculati_. The poet is compared with an artisan, not with
+an artist. He knows how to fit the pieces together so perfectly as to
+present a continuous smooth surface to the pressure of the most exacting
+nail. Comp. v. 92. --#tendere versum#: 'to lay off a verse,' as a
+carpenter lays off his work. The propriety of the word _tendere_ is
+heightened, if we remember that the hexameter was called the _versus
+longus_.
+
+66. Carpenter-like, the versewright stretches his ruddled line
+(_rubrica_), sights it (_oculo derigit uno_), and springs it. The modern
+carpenter uses chalk instead of ruddle, but the red pencil may be
+regarded as a survival of color. For references, see Rost's Passow, s.v.
++stathm�+. For the spelling _derigat_, remember that _dirigere_ is 'to
+point in different directions;' _derigere_ 'in one.' --#ac si derigat#:
+On the sequence, see G., 604; A., 61, 1, R.
+
+67. #sive#: seldom used alone; here for _vel si_. --#in mores, in luxum,
+in prandia regum#: a kind of anticlimax. _In_ does not necessarily,
+though it does naturally, denote hostility. The _prandium_ was
+originally a very simple meal. The Stoic model is set up in Seneca, Ep.
+83, 6: _Panis deinde siccus et sine mensa prandium, post quod non sunt
+lavandae manus._ The _manger sur le pouce_ became in time the _d�jeuner
+� la fourchette_ (_calidum prandium_, Plaut., Poen., 3, 5, 14), and then
+the _d�jeuner dinatoire_ (_prandia cenis ingesta_, Sen., N. Q., 4,
+13, 6). _Regum_, 'grandees,' 'nabobs,' belongs to _prandia_ alone.
+
+68. #res grandis#: 'sublimities.'
+
+69. #heroas#: used as an adjective. --#sensus#: 'sentiments.'
+--#adferre#: 'parade,' 'bring on parade.' On the Inf., see 3, 64.
+
+70. #nugari graece#: 'dabble in Greek verses,' a phase of fashionable
+education, no more peculiar to Nero than to Horace (Sat. 1, 10, 31).
+--#ponere lucum#: 'put before our eyes,' 'paint,' 'describe.' _Lucus_,
+a favorite poetic theme. Jahn thinks of the grove in which Mars and Rhea
+Silvia met, Juv., 1, 7. Perhaps young poets tried their skill on groves,
+as young draughtsmen on trees.
+
+71. #artifices#: With _artifices ponere_ comp. _artifex sequi_, Prol.,
+11. --#rus saturum#: 'lush, teeming country.' --#corbes-- focus--
+porci#: all 'properties' of country life.
+
+72. #fumosa Palilia faeno#: The festival called _Palilia_, in honor of
+Pales (from the same radical as _pa-sco_), was celebrated on the
+anniversary of the founding of Rome, April 21st. It was a day reeking
+(_fumosa_) with bonfires of hay (_faenum_), over which the peasants
+leaped, doubtless 'to appease the evil spirit by a pretended sacrifice'
+(Pretor). The dictionaries will furnish the _loci classici_. The other
+form, _Parilia_, is due to 'dissimilation.' Comp. _meridies_ for
+_medidies_.
+
+73. #unde#: 'the source of;' loosely used to show connection. --#Remus#:
+not unfrequently takes the place of his longer brother, whose oblique
+cases do not fit well into dactylic verse. So _turba Remi_, Juv., 10,
+73; _reddat signa Remi_, Prop., 4, 6, 80; and the other examples in
+Freund. --#sulco#: '_with_' and '_in_ the furrow.' See Prol., v., 1.
+--#terens#: 'wearing bright' (Conington), 'furbishing.' K�nig compares:
+_#sulco attritus# splendescere vomer_, Verg., Georg., 1, 46.
+--#dentalia#: 'share-beams,' Verg., Georg., 1, 171, with Conington's
+note. --#Quinti#: Cincinnatus, Liv., 3, 26.
+
+74. #cum dictatorem induit#: So Jahn (1843). Decidedly the easiest
+reading, but the best in connection with _terens_. In his ed. of 1868,
+Jahn reads _quem dictatorem_. Hermann objects to the expression, and
+insists on _dictaturam_, appealing in his preface to Plin., H. N., 18,
+3, 20, for _dictaturam_ in the sense of _vestem dictatoriam_. Surely, to
+'robe dictator' and to 'robe with the dictatorship' are not far apart,
+and the former is the more striking expression. --#trepida#: 'flurried.'
+See v. 20. --#ante boves#: is supposed to give local coloring, and to
+bring before us the 'slow, bovine gaze' of the astonished cattle.
+
+75. #tua aratra#: Poetic plural. --#euge poeta#: Here the applause comes
+in. Mr. Pretor considers the words from _corbes_ to _tulit_ 'a
+quotation, perhaps from one of Nero's poems.'
+
+76. #est nunc#: Persius attacks the _antiquarii_ in imitation of Horace.
+The older Latin poets have long been restored to their rights. Accius
+and Pacuvius hardly need defenders. Hermann makes the sentence
+interrogative. --#Brisaei#: 'Bacchic.' _Brisaeus_ was an epithet of
+Bacchus, transferred to the poet of Bacchus, who was perhaps too devoted
+a worshipper of the god. There was a famous saying of Cratinus, who was
+in like manner called +taurophagos+, a surname of Bacchus: +hud�r de
+pin�n ouden an tekoi sophon+, fr. 186 (2, 119 Mein.). Comp. Hor., Ep.,
+1, 19, 1. --#venosus#: For the figure, comp. Tac., Dial. 21. The
+'standing out of the veins' refers not so much to the 'shrinking of the
+flesh in old age' (Conington), as to the scrawniness of the person. So
+Tacit. uses _durus et siccus_ of Asinius Pollio (l.c.), Gr. +ischnos+.
+'Angular,' 'hard-lined,' is about what is meant. Others prefer
+'thick-veined,' 'turgid.' --#liber#: of a play, Quint., 1, 10, 18;
+Prop., 4 (3), 21, 28 (Jahn). --#Acci#: also written _Atti_ (584-650?
+A.U.C.). Cicero calls him _gravis et ingeniosus poeta, summus poeta_
+(pr. Planc., 24, 59; Sest., 56, 120); Hor., _altus_ (Ep., 2, 1, 56);
+Ov., _animosi oris_ (Am., 1, 15, 19). Pacuvius said that the
+compositions of Accius were _sonora quidem et grandia sed duriora paulum
+et acerbiora_.
+
+77. #Pacuvius#: nephew of Ennius (534-622 A.U.C.). His great model was
+Sophocles. --#verrucosa#: 'warty,' intended to be a climax of ugliness.
+--#moretur#: 'fascinates,' 'enthralls.' _Fabula-- valdius oblectat
+populum meliusque #moratur#_, Hor., A. P., 321.
+
+78. #Antiopa#: imitated from a lost play of Euripides. The fragments
+have been collected by Ribbeck, _Tr. Lat. Reliq._, p. 62; comp. p. 278.
+Antiope, as the mother of Amphion and Zethus, and the victim of Dirce,
+is famous in literature and in art (the _Toro Farnese_). --#aerumnis cor
+luctificabile fulta#: 'who props her dolorific heart on teen' (Gifford).
+Jahn defends the conception as truly poetical, apart from the obsolete
+language. 'The only stay of her sad heart is sorrow.' The words are
+doubtless taken from the play itself, of course in different order.
+_Aerumna_ was out of date as early as the time of Quintilian (8, 3, 26),
+who protests against the use of it. As to _luctificabile_, if we go by
+the fragments, it is Accius, rather than Pacuvius, that indulges in such
+formations as _horrificabilis_, _aspernabilis_, _tabificabilis_,
+_execrabilis_, _evocabilis_.
+
+79. #lippos#: of the eyes of the mind. Comp. 2, 72.
+
+80. #sartago#: literally 'a frying-pan,' 'hubble-bubble' (Conington),
+'gallimaufry,' 'galimatias,' 'olio' (Gifford), 'olla podrida.'
+
+81. #dedecus#: The language is disgraced and degraded by this mixture of
+old and new. Persius would not have enjoyed Tennyson's resuscitations.
+See Introd., xxiv. --#in quo#: 'at which.'
+
+82. #trossulus#: an old name of the Roman knights, of disputed origin.
+It was afterward used in derision. Jahn compares the German _Junker_.
+--#exsultat#: +anap�da+, 'jumps up in delight.' --#per subsellia#: Jahn
+understands the 'benches' or 'forms' in court; others, perhaps more
+correctly, the seats in the lecture-hall. There is a climax. First,
+private teaching; next, public lectures; thirdly, practical life, to
+which we come in the following verse. --#levis#: the position is
+emphatic, 'the smug, womanish creature.' _Levis_ is _levigatus_. Ancient
+literature is full of allusions to this effeminate +paratilsis+.
+
+83. #nilne#: stronger than _nonne_, 'not a blush of shame.' --#capiti#:
+rarer Ablative in _i_. Neue gives examples (_Formenlehre_, 1, 242). The
+simple Abl. is found with _pellere_, even in prose, and the Dative,
+which some prefer, would be forced. --#cano#: See note on v. 9.
+
+84. #quin optes#: G., 551; A., 65, 1, _b._ --#tepidum#: 'lukewarm,'
+_decenter_ being faint praise. 'In good taste' (Conington). Gr.
++prepont�s+.
+
+85. #'Fur es'#: The accuser puts his point plainly enough; in three
+letters, as the Romans would say. --#ait#: Comp. v. 40. --#Pedio#: Jahn
+thinks it likely that this Pedius is not Horace's man (Sat., 1, 10, 28),
+but one Pedius Blaesus, condemned under Nero, Tac., Ann., 14, 18; Hist.,
+1, 77. Persius knew more about Horace than about the _causes c�l�bres_
+of his own day. --#rasis antithetis#: commonly rendered 'polished
+antitheses.' With _radere_ comp. the Gr. +diesmileumenai phrontides+,
+Alexis, fr. 215 (3, 483 Mein.). But the figure may possibly be taken
+from the careful removal of overweight in either scale of the balance.
+The antitheses are scraped down to an exact equipoise.
+
+86. #doctas figuras#: _Doctus_, Scaliger's correction, which requires,
+moreover, a period at _figuras_, is unnecessary. _Doctas figuras_, like
+_artes doctae_, _dicta docta_, _doli docti_. _Figurae_, +sch�mata+,
+embraces 'tropes.' --#posuisse# = _quod posuerit_. G., 533; A., 70, 5,
+_b._
+
+87. #an#: 'what?' 'can it be that?' --#Romule#: bitter, like _Titi_,
+_Romulidae_, _trossulus_. Comp. Catull., 29, 5. 9. --#ceves#: 'Wag the
+tail' keeps within bounds of possible translation.
+
+88. #men moveat?# So _#men moveat# cimex Pantilius_, Hor., Sat., 1, 10,
+78. The sentiment is that of the well-worn _si vis me flere, dolendum
+est | primum ipsi tibi_, Hor., A. P., 102. _Moveat_ sc. _Pedius_.
+--#quippe#: is often ironical, 'good sooth.' --#protulerim#: The Perf.
+Subj. in a sentence involving total negation.
+
+89. #cantas#? 'you sing, do you?' --#fracta te in trabe pictum#:
+Shipwrecked men appealed to charity by carrying about pictures of the
+disaster which had overtaken them. Comp. 6, 32. _Si #fractis# enatat
+exspes | navibus, aere dato qui pingitur_, Hor., A. P., 20, and Juv.,
+14, 302. _Trabe_ is the wrecked vessel as it appears in the picture,
+although it is possible that the painting may have been put on a broken
+plank of the ship, in order to heighten the pathos. So Jahn.
+
+90. #ex umero#: We say 'on the shoulder,' from a different point of
+view. G., 388, R. 2. --#nocte paratum#: 'got up overnight.'
+
+91. #plorabit#: an imperative future. --#volet#: Observe the greater
+exactness of the Latin expression. G., 624; A., 27, 2. --#incurvasse#:
+See v. 42, and add Liv., 28, 41, 5; 30, 14, 6; 40, 10, 5, and the _S. C.
+de Bacanalibus_ (passim).
+
+92-106. 'But,' rejoins the impersonal personage, whom Persius always has
+at hand, 'we have made great advances in art. Contrast this verse and
+that verse with the roughness of the Aeneid!'-- 'The Aeneid rough? Well,
+what is smooth? [_He gives a specimen of fashionable poetry._] If we had
+an inch of our sires' backbone, such drivel would be impossible. And as
+for art-- it is as easy as spitting.'
+
+I have followed the distribution as presented in Hermann. Jahn gives vv.
+96, 97 to Persius, 98-102 to the interlocutor, the rest to Persius. It
+is impossible to discuss all the arrangements that have been suggested
+for this passage.
+
+92. #decor#: Gr. +charis+. --#iunctura#: is used as in v. 64, of
+'smoothness,' 'harmonious sequence,' the even surface without a break.
+See Quint., 9, 4, 33. All the specimen verses that follow avoid
+mechanically the offences against _iunctura_ that Quintilian enumerates,
+and do not avail themselves of the license which he accords to a _grata
+neglegentia_. There is no elision, no synaloepha, in any of them. As
+these fashionable verses have been held up to derision by the satirist,
+commentators have been busy in hunting out defects, and translators have
+vied with each other in absurd renderings. But Jahn has wisely warned us
+against an over-curious search into the supposed faults of these verses,
+which Vossius pronounced superior to any thing in the compositions of
+the critic himself. It is enough for us to know that to the ear of
+Persius the lines lacked masculine vigor. The multiplication of
+diaereses, the length of the words, the careful avoidance of elision,
+the dainty half-rhyme of _bombis_ and _corymbis_, the jingle of
+_ablatura_ and _flexura_, may be cited as confirmations of the view of
+Persius, but, with the exception of the desperate verse 95, the diction
+is in keeping with the theme. If _adsonat Echo_ is not ridiculous in
+Ovid (Met., 3, 505), it is not ridiculous here; and one surely needs to
+be told that _reparabilis_ is not a happy adjective for Echo, who is
+always 'paying back' and making good.
+
+93. #cludere versum#: like _concludere versum_ (Hor., Sat., 1, 4, 40),
+is 'round a verse' (Conington), rather than 'close a line.' --#didicit#:
+What is the subject? 'Our man,' 'our poet,' the lover of _decor et
+iunctura_? So most commentators. Heinr. makes _Attis_ the subject. The
+personification of _iunctura_ would not be too harsh for Persius.
+--#Berecyntius Attis#: It suffices to refer to Catull., 63. Berecyntus,
+a mountain in Phrygia.
+
+94. #Nerea#: god of the sea, the water. In modern Gr. +neron+ is
+'water.' The use, which Conington calls 'grotesque,' is almost as
+'grotesque' as _Vulcanus_ for 'fire.' The scholiast thinks of Arion's
+dolphin. Bacchus's dolphin is as likely.
+
+95. #sic costam longo subduximus Appennino#: With the close of the
+verse, comp. Ov., 2, 226: _Aeriaeque Alpes et nubifer Appenninus_; and
+Haupt's note. 'We filched a rib from the long Apennine.' The
+interpretations are all unsatisfactory. The scholiast sees in the
+removal of the rib from the mountain a metaphor for the removal of a
+syllable from the hexameter. The only point worthy of notice in this
+remark is the emphasis laid on the spondaic verse. The _Graece nugari
+soliti_ doubtless used spondaic verses more freely than the model Latin
+poets (comp. Catull., 64). Some understand the words to refer to a
+forced march (_putavi tam pauca milia #subripi# posse_, Sen., Ep.,
+53, 1); others to the device attributed to Hannibal in crossing the Alps
+(_montem rumpit aceto_, Juv., 10, 153). It is all idle guess-work,
+without a context; but, guess for guess, the expression would suit a
+'Titanomachia,' and the rib might answer for a weapon, as once a
+jaw-bone did. The jingle of the verse is like Verg., Aen., 3, 549:
+_cornua #velatarum# obvertimus #antennarum#_, quoted by the scholiast.
+
+96. #Arma virum!# 'Compare with these elegant verses _Arma virum_; what
+a rough affair!' Not only were the opening words of a poem used to
+indicate the poem itself-- +M�nin aeide+ the Iliad, +Andra moi ennepe+
+the Odyssey, _Arma virum_ the Aeneid-- but the first verses were
+considered peculiarly significant. So the metrical structure of the
+first verse of the Iliad is very different from that of the first verse
+of the Odyssey. _Arma virum_, etc., with its short words and its
+frequent caesurae, was harsh to the ear of the interlocutor, and is
+compared with the rough, cracked bark of the cork-tree. --#spumosum et
+cortice pingui#: 'frothy and fluffy' (Conington). As usual, Persius
+works out his comparison into minute details.
+
+97. #vegrandi subere#: So Jahn, instead of _praegrandi subere_. Do not
+translate 'huge, overgrown bark' (Conington), but 'dwarfed, stunted
+cork-tree.' See Ribbeck (_Beitr�ge zur Lehre von den lateinischen
+Partikeln_, S. 9), who has discussed _ve_ and this verse at some length.
+Both Conington and Pretor admire the metaphysics of Jahn, who has
+'explained, after Festus and Nonius, _vegrandis_ as _male grandis_, so
+as to include the two senses attributed to it by Gell., 5, 12; 16, 5, of
+_too small_ and _too large_.' But _ve-_ means separation (Vanicek,
+_Etym. Wb._, S. 166); _ve-cor-s_, 'out of one's mind;' _ve-sanu-s_, 'out
+of one's sound senses;' _ve-grandi-s_, 'shrunken,' 'dwarfed,'
+'undergrown' (if the word is admissible). For the growth of the
+cork-tree, R. refers to Plin., N. H., 16, 8, 13: _suberi #minima
+arbor#-- cortex tantum in fructu, praecrassus ac renascens atque etiam
+in denos pedes undique explanatus_. Some of the best commentators give
+these two verses (96 and 97) to Persius, and consider _Arma virum_ as an
+invocation of the shades of Vergil, 'as Horace, A. P., 141, contrasts
+the opening of the Odyssey with _Fortunam Priami cantabo_.' _Hoc_ is
+supposed to refer to the specimen verses. Ribbeck also (l.c.) regards
+the swollen, light bark of the low cork-tree as the image of the _genus
+tumidum et leve_, as opposed to the _grande et grave_. --#coctum#:
+'thoroughly dried.'
+
+98. #Quidnam igitur#: _Igitur_ is not unfrequently used in questions, as
+our 'then.' So _quidnam igitur censes?_ Juv., 4, 130. But, unless the
+question is a rejoinder, it is not very appropriate. 'If the Aeneid is
+rough, give us something really soft,' would be a fit reply to _Arma
+virum_, etc., in the mouth of the objector. Conington, who gives 96-98
+to Persius, connects thus: 'If these are your specimens of finished
+versification, give us something peculiarly languishing.' --#laxa
+cervice#: the attitude of the _mobile guttur_, v. 18.
+
+99. #Torva mimalloneis#: Persius can not wait for a specimen, and gives
+one himself. This is much more dramatic than the arrangement, which
+makes the respondent cite the verses. The verses are attributed to Nero
+by the scholiast, and in fact Nero is said to have composed a poem on
+the Bacchae, Dio., 61, 20. The theme is so common that no conclusion is
+to be drawn from that statement. Mr. Pretor, who understands by
+_iunctura_ 'a resetting of old verses,' regards 99-102 as a weak
+_r�chauff�_ of Catull., 64, 257 seqq., and compares Tac., Ann., 14, 16.
+--#Torva#: 'grim.' So _#torvum#que repente | clamat_, Verg., Aen., 7,
+399 (of Bacchanalian madness). --#mimalloneis#: from Mimas, on the coast
+opposite Chios. With the whole verse comp. _multis raucisonos efflabant
+cornua bombos_, Catull., 64, 264, and Lucr., 4, 544.
+
+100. #vitulo superbo#: variously caricatured as 'the haughty, the
+scornful calf.' No such effect could have been produced by the original.
+Comp. +tauroi hubristai+, Eur., Bacch., 743 (Jahn); +gaurotera mosch�+,
+Theocr., 11, 21; _equae superbiunt_, Plin., 10, 63. The Bacchanal
+rending of animals is familiar. --#ablatura#: On this free use of the
+future participle, see G., 672; A., 72, 4.
+
+101. #Bassaris#: a Bacchante. Jahn cites a Greek epigram (Anth. Pal., 6,
+74), which shows how close a resemblance may be due simply to community
+of theme. --#lyncem#: 'The lynx was sacred to Bacchus as the conqueror
+of India.'
+
+102. #euhion#: Gr. +euion+, Accus. of +euios+ (commonly but falsely
+spelled _Evius_), _Euhius_, Bacchus. --#reparabilis#: Actively, as
+Horace's _dissociabilis_, Od., 1, 3, 22; 'renewing,' 'restoring,'
+'reawakening.' So Ov., Met., 1, 11, of the moon: _#reparat# nova
+cornua_. --#adsonat#: 'chimes in.'
+
+103. #testiculi vena ulla paterni#: '_Honestius expressit_, Ov., Her.,
+16, 291: _si sint vires in semine avorum_.' 'If we had one spark of our
+fathers' manhood alive in us' (Conington).
+
+104. #delumbe#: 'backboneless,' 'marrowless.' Comp. +ischiorr�gikos+
+--#saliva#: Spittle is 'foolish rheum' as well as tears.
+
+105. #in udo est Maenas et Attis#: 'Your Maenas and your Attis-- it
+drivels away.'
+
+106. #nec pluteum caedit#, etc.: _Pluteus_, which is commonly rendered
+'desk,' is, 'according to the scholiast, the back-board of the
+_lecticula lucubratoria_,' or studying-sofa, such as Augustus indulged
+in, Suet., Aug., 78; comp. v. 53. 'The man lies on his couch after his
+meal, listlessly drivelling out his verses, without any physical
+exertion or even motion of impatience' (Conington). Persius underrates
+the artistic finish, as he has overdrawn the moral conclusion.
+--#demorsos#: 'bitten down to the quick.' _Et in versu faciendo | saepe
+caput scaberet vivos et roderet ungues_, Hor., Sat., 1, 10, 70.
+
+107-121. M. But what is the use of offending people? We must not tell
+the truth at all times. You will have a cool reception at certain great
+houses. Nay, the dog will be set on you. --P. Well! I make no struggle.
+Every thing is lovely. No nuisance, you say. All right. Boys, let us go
+somewhere else. But there was Lucilius-- he wielded the lash, he gnawed
+the bones of his victims. There was Horace-- he probed his friend's
+heart and punched him in the ribs, and had the town dangling from the
+gibbet of his tip-tilted nose. And I am not to say-- Bo! Not all to
+myself? Not with a ditch for my confidant? Nowhere? Nowhere, you say?
+But I will. I have found a place-- a ditch. It is my book. Here, book,
+is my great secret: 'All the world's an ass.' What a relief!
+
+107. #quid#: What case? --#radere#: 'rasp.' --#mordaci vero#: _Verum_ is
+so completely a substantive that there is no difficulty about _mordaci
+vero_ (comp. G., 428, R. 2). Much bolder is _generoso honesto_, 2, 74;
+_opimum pingue_, 3, 32.
+
+108. #vid[)e]#: like _cav[)e]_, and other iambic Imperatives. G.,
+704, 2; A., 78, 2, _d_. --#sis# = _si vis_, to soften the Imperative,
+'pray do.' --#maiorum tibi forte#: Hor., Sat., 2, 1, 60: _O puer ut sis
+| vitalis metuo et maiorum ne quis amicus | #frigore# te feriat._
+_Maiores_ = 'grandees.'
+
+109. #limina frigescant#: like the modern slang, 'leave one out in the
+cold.' _Limen_ is used in many Latin turns where 'threshold' would be
+too stately in English. Mrs. Gamp would render: 'the great man's cold
+doorsteps will settle on your lungs.' --#canina littera#: 'R is for the
+dog,' Shaksp., Romeo and Jul.; 'A dog snarling R,' Ben Jonson. See
+Dictionaries, s.v. _hirrire_. Gr. +ararizein+. An allusion to the
+familiar _cave canem_. 'The snarl is that of the great man' (Scholiast).
+Conington compares _ira cadat naso_, 5, 91. The obvious interpretation
+is the right one. 'There is a sound of snarling in the air,' refers
+simply to the great man's dog, which will be set on the unwelcome
+satirist.
+
+110. #per me#: 'for all I care,' +emou g' heneka+, a familiar use of the
+preposition _per: #per me# habeat licet_, Plaut., Mercat., 5, 4, 29.
+--#equidem#: Not for _ego quidem_, although this opinion affected the
+practice of Cicero, Horace, Vergil, Quintilian, the younger Pliny.
+Sallust, like Varro, combines _equidem_ with every person. So Ribbeck
+(l.c. S. 36), who derives _equidem_ from _e_ interj. and _quidem_.
+Conington tries to save the rule here by making the expression
+equivalent to _equidem concedo_. Another exception is found 5, 45, where
+C. goes through the same legerdemain: _non #equidem# dubites_, 'I would
+not have you doubt.' --#alba#: 'lovely,' 'whitewash them as much as you
+please.'
+
+111. #nil moror#, etc.: The whole line, indeed the whole passage, is
+strongly conversational in its tone. _Nil moror_, 'I don't wish to be in
+your way, to spoil sport.' Comp. Ter., Eun., 3, 2, 7, and Gesner, s.v.
+_moror_. --#bene#: Comp. Cic., Fam., 7, 22: _bene potus._ See also note
+on 4, 22. --#mirae res#: 'wonders of the world' (Conington), 'miracles
+of perfection.'
+
+112. #hoc iuvat?# 'I hope that is satisfactory.' --#veto quisquam faxit
+oletum#: 'commit no nuisance.' Observe the legal tone. _Quisquam_, on
+account of the negative idea. The negative _ne_ is omitted after _veto_
+as often after _caveo_. G. 548, R. 2; A., 57, 7, _a_. _Faxit_,
+a disputed form. G., 191, 5; A., 30, 6, _e_.
+
+113. #pinge duos anguis#: 'a sign of dedication rather than of
+prohibition' (Pretor). The dedication involves the prohibition. This is
+one of the innumerable phases of serpent-worship. For the serpent, as
+the symbol of the _genius loci_, which is Greek as well as Latin, see
+Verg., Aen., 5, 95, and the commentators. The reading _pinguedo sanguis_
+of some of the best MSS. may be mentioned, _animi causa_.
+
+114. #secuit#: 'cut to the bone.' --#Lucilius#: The _loci classici_ are
+Hor., Sat., 1, 4, 6; 1, 10, 1; 2, 1, 62; Juv., 1, 19, 165. The
+_testimonia de Lucilio_ have been collected and annotated by L. M�ller,
+Lucil., p. 170 seqq.; p. 288 seqq.
+
+115. #Lupe, Muci#: L. Cornelius Lentulus Lupus Cons. A.U.C. 598, and P.
+Mucius Scaevola Cons. A.U.C. 621, Juv., 1, 154. --#genuinum#: 'Breaking
+the back-tooth' shows the eagerness with which the satirist gnawed the
+bones of his victims. Comp. Petron., 58: _venies sub #dentem#_, 'you
+will be "chawed" up.'
+
+116. A deservedly admired characteristic of Horace. --#vafer#: a hard
+word to catch. _Vafer_ crowns the formidable list of synonyms in the
+well-known passage of Cic., Off., 3, 13, 57: _versuti, obscuri, astuti,
+fallacis, malitiosi, callidi, veteratoris, #vafri#_, 'a shuffler,
+a hoodwinker, a trickster, a cheat, a designing rascal, a cunning fox,
+a blackleg, _a sly dog_.' The indirectness of _vafer_ may sometimes be
+rendered by 'politic,' 'adroit.' 'Rogue' is a tolerable equivalent.
+--#amico#: is much happier than _amici_ would be; it makes the friend a
+party to the game. _Horatius qui ridendo verum dicit_ (Sat., 1, 1, 24)
+_tam leniter vitia tangit, ut ipse, quem tangit, amicus rideat et
+poetam, qui dum ludere videtur intima aggreditur, lubens admittat et
+excipiat_ (Jahn, after Teuffel). --#admissus#: 'gets himself let in,'
+'gains his entrance' (Conington, after Gifford).
+
+117. #praecordia#: 'heartstrings.'
+
+118. #excusso#: Persius would not be Persius, if he did not give us a
+problem even in his best passages. _Excusso naso_ stronger than
+_emunctae naris_, Hor., Sat., 1, 4, 8 (Jahn). According to Heinr.,
+_excusso = sursum iactato_, like _excussa brachia_, Ov., Met., 5, 596,
+which seems to suit _suspendere_. Conington renders, 'with a sly talent
+for tossing up his nose and catching the public on it,' doubtless with
+reference to 'tossing in a blanket,' a pastime not unknown to the
+ancients: _Ibis ab #excusso# missus in astra sago_, Mart., 1, 3, 8.
+Comp. Suet., Otho, 2; Cervantes, Don Quijote, 1, 17; and on the
+_sagatio_, see Friedl�nder, _Sittengesch._, 1, 25. As the blanket is
+drawn tight in order to effect the elevation of the person tossed, we
+may combine with this figure the old version of an 'unwrinkled nose,'
+a nose that is 'kept straight' (_exporrectus_) by the owner to
+disguise his merriment (_ac si nihil tule ageret_). But this is
+over-interpretation, the besetting sin of the editors of Persius.
+--#callidus suspendere#: On the construction, see Prol., 11. --#naso#:
+_Naso #suspendis# adunco_, Hor., Sat., 1, 6, 5. Comp. 2, 8, 64.
+
+119. #men#: On _ne_ in rhetorical questions, see v. 22. --#nec clam--nec
+cum scrobe#: 'neither to myself nor with a hole in the ground for my
+listener.' The negative in _nefas_ is subdivided by _nec-- nec_, G.,
+444, R. Others supply _fas_, G., 446, R. --#nusquam#: The answer of the
+critic, Jahn (1843). In the ed. of 1868 he writes with Hermann,
+_nusquam?_ as a part of Persius's question. The arrangement in the text
+seems to be more in accordance with Persius's fashion of anticipating an
+answer (+anthupophora+). 'Nowhere? you say.' --#scrobe#: Allusion to the
+story of Midas and his barber, for which no reader will need to be
+referred to Ov., Met., 11, 180 seqq.
+
+121. #quis non habet?# According to the _Vita Persii_, the poet had
+written _Mida rex habet_, intended for King Populus. Cornutus, afraid
+that Nero would take the fling to himself, changed the words to _quis
+non habet?_ The story is not very consistent with the theory that
+Persius went so far as to ridicule Nero's poetry.
+
+122. #ridere meum#: See v. 9. --#nulla#: G., 304, R. 2. --#vendo#: 'I am
+going to sell;' familiar present for future; hence = _vendito_.
+
+123. #Iliade#: Probably the Iliad of Labeo. Homer's Iliad would be too
+extravagant. --#audaci quicumque#, etc.: The poet distinctly points to
+the mordant Old Attic Comedy as his model; yet there is little trace of
+direct imitation of the worthies whom he cites, and the interval of
+conception is abysmal. --#adflate#: Persius, like some other Roman
+poets, goes beyond reasonable bounds in the use of the Vocative as a
+predicate. G., 324, R. 1; A., 35, _b_. The Greeks were cautious, and in
+Vergil the Vocative can be detached and felt as such, but not here, nor
+in 3, 28. --#Cratino#: the oldest of the famous comic triumvirate:
+_Eupolis atque #Cratinus# Aristophanesque poetae_, Hor., Sat., 1, 4, 1.
+Cratinus was the Archilochus of the Attic stage, hence _audax_. See the
+famous characteristic in Aristophanes, Eq., 527.
+
+124. #iratum Eupolidem#: The epithet is borne out by the fragments.
+--#praegrandi cum sene#: Aristophanes. The adjective refers to his
+greatness: 'the old giant.' _Sene_ is not to be pressed. Men who come
+before the public early are often called old before their time. Hannibal
+calls himself an old man when he was only in his forty-fourth year,
+Liv., 30, 30. Others understand _sene_ as a compliment to an 'ancient'
+author. Instead of Aristophanes, Heinrich and others suppose that
+Lucilius is meant. Comp. Hor., Sat., 2, 1, 34: _vita #senis#_, although
+Lucilius was only about forty-five at the time of his death-- but see L.
+M�ller, _Lucilius_, p. 288. --#palles#: 'study yourself pale over.' The
+combination with the Accusative is bold, but not bolder than other
+cognate Accusatives. 'Gain a Eupolidean pallor' = 'a pallor due to
+Eupolis.' For different phases of _pallere_ with Accus., see 3, 43. 85;
+5, 184.
+
+125. #decoctius#: The figure is from wine that is 'boiled down,' 'well
+refined.' Not 'opposed to the _spumosus_ of v. 96' (Conington), as is
+shown by _coctum_, v. 97. --#audis#: 'have an ear for' (Conington).
+
+126. #inde# = _ab iis_, 'by these' (G., 613, R. 1; A., 48, 5), 'by the
+study of these,' dependent on _vaporata_. --#vaporata#: 'steamed,' hence
+'cleansed,' 'refined' (Jahn). Comp. _#purgatas# aures_, 5, 63; _aurem
+mordaci #lotus# aceto_, 5, 86. --#lector mihi ferveat#: _Mihi_ really
+depends on _ferveat_, though it may be conveniently translated by 'my'
+with _lector_. 'Let my reader be one who comes to me with his ears aglow
+from the pure effluence of such poetry.'
+
+127. #non hic#: _Hic_ is different in tone from _is_, more distinctly
+demonstrative, and hence more distinctly contemptuous. --#in crepidas#:
+The simple Accusative with _ludere_ is the regular construction.
+_Crepidae_, a part of the Greek national dress. Comp. Suet., Tib., 13:
+_redegit se_ [_Tiberius_], _deposito patrio habitu, ad pallium et
+#crepidas#_. Hence _fabulae crepidatae_ of tragedies with Greek plots.
+--#Graiorum#: the rarer and more stilted form for _Graecorum_, perhaps
+by way of rebuking the impertinence of this stolid would-be wag.
+
+128. #sordidus#: 'low creature,' 'dirty dog.' Himself vulgar, he can not
+understand refinement of manners or attire. --#qui possit#: Casaubon
+reads _poscit_ to match _gestit_. But Indicative and Subjunctive may
+well be combined, the former of a fact, the latter of a characteristic:
+'a man who-- and a man to--.' So in the famous line: _sunt qui non
+habeant, est qui non curat habere_, Hor., Ep., 2, 2, 182. --#lusce#:
+'Old One-eye' (Conington). The lowness of the wit is evident. In v. 56
+the poet appears to break his own rule, but baldness and corpulence are
+in his eyes badges of vice, not simple misfortunes.
+
+129. #aliquem#: G., 301. --#Italo#: 'provincial.' --#supinus# =
+_superbus_. The head is thrown back with the chin in the air, a familiar
+stage attitude. Others render 'lolling at his ease.'
+
+130. #fregerit#: G., 541; A., 63, 2. --#heminas iniquas#: 'short
+half-pint measures.' This was the duty of the aedile. --#Arreti#:
+Arretium in Etruria. So Juvenal takes Ulubrae as the type of a small
+provincial town: _vasa minora | frangere pannosus vacuis aedilis
+#Ulubris#_, 10, 102.
+
+131. #abaco#: The _abacus_ was a slab of marble or other material which
+was covered with sand (_pulvis_), for the purpose of drawing
+mathematical figures or making calculations (Jahn). Or _pulvere_ may be
+dissociated from _abaco_, and then _abacus_ would be a counting-board,
+_pulvis_, the sand on the ground (_eruditus pulvis_, Cic., N. D., 2, 18,
+48), familiar from the story of the murder of Archimedes. --#metas#:
+'cones.'
+
+132. #scit#: as if this were a feat. Comp. v. 53. --#risisse#:
++gelasai+, 'to have his laugh at,' one of the Perfect Infinitives
+mentioned in note on v. 41. --#vafer#: ironical. --#gaudere paratus#:
+_Paratus_, as a Participle from _parare_, takes the Infinitive with
+ease. The grammars generally treat it as an exceptional Adjective. Here
+_paratus_ is +hoios+; 'Just your man to have a fit of glee.' Comp.
+Petron., 43: _#paratus# fuit quadrantem de stercore mordicus tollere_.
+
+133. #Cynico barbam#: 'a Cynic's beard for him.' G., 343, R. 2.
+_#Vellunt# tibi #barbam# | lascivi pueri_, Hor., Sat., 1, 3, 133 (of a
+Stoic). The beard was the badge of a philosopher. --#nonaria#: so called
+because women of that class were not allowed to ply their trade before
+the 'ninth hour'-- 'callet,' 'trull.' --#vellat#: because dependent;
+otherwise _gaudet si vellit_. G., 666; A., 66, 2. The Cynic philosopher
+and the _nonaria_ (+ho kai h� ku�n+) belong to each other by elective
+affinity, Alciphron, 3, 55, 9. See an amusing parallel between
+philosopher and courtesan in the same sophist, 1, 34; and on the worst
+specimens of the 'Capuchins of antiquity,' as the Cynics have been
+called, comp. Friedl�nder, _Sittengesch._, 3, 572.
+
+134. #edictum#: 'play-bill,' after Sen., Ep., 117, 30. Others, 'the
+business of the courts,' the praetor's court being a favorite
+lounging-place. --#prandia#: See v. 67. --#Calliroen#: possibly one of
+the _elegidia procerum_ (v. 51), after the order of Phyllis and
+Hypsipyle (v. 34). Comp. Ov., Met., 9, 407, Rem. Am., 455-6. Others
+suppose that Persius meant a _nonaria_. See note on 6, 73, and comp.
+Plutarch, Quaest. Conv., 3, 6, 4. With this gracious permission,
+Casaubon compares the edict of Hor., Ep., 1, 19, 8: _Forum putealque
+Libonis | mandabo siccis, adimam cantare severis_.
+
+
+CRITICAL APPENDIX.
+
+SATURA I.
+
+6. #examenque#: examenve, J{a}., H. --8. #nam Romae quis non#: nam Romae
+est quis non, J{a} --a: ac, J{a}.; ah, H. --9. #tum#: tunc, J{a}., H.
+--11. #tunc, tunc, ignoscite-- 'Nolo:'# J{a}.; tunc, tunc-- ignoscite,
+nolo, J{w}., H. --12. #splene cachinno#: splene-- cachinno, H. --14.
+#quod#: J{a}., H.; quo, J{w}. --17. #leges#: legens, J{a}., H. --19.
+#nec#: neque, J{a}. --32. #circa#: circum, J{a}. --#umeros#: humeros,
+J{w}., H. --#hyacinthia#: hyacinthina, J{a}., H. --35. #supplantat#:
+subplantat, J{w}. --36. #adsensere#: assensere, J{a}., H. --57.
+#protenso#: propenso, J{a}. --60. #Apula#: Appula, H. --#tantae#:
+tantum, Heinrich, Conington. --66. #derigat#: dirigat, J{a}., H. --69.
+#adferre#: afferre, J{a}., H. --74. #cum#: J{a}.; quem, J{w}., H.
+--#dictatorem#: dictaturam, H. --76. #Acci#: Atti, J{a}. --78. #fulta#:
+fulta? H. --82. #exsultat#: J{a}., H.; exultat, J{w}. --88. #men moveat?
+quippe et#: men moveat quippe et, J{a}., H. --89. #protulerim#:
+protulerim? J{a}., H. --91. #querela#: J{a}., Brambach; querella, J{w}.,
+H. --93. #cludere#: claudere, J{a}., H. --95. #Appennino#: Apennino,
+J{a}. --97. #vegrandi#: praegrandi, H. --102. #euhion#: evion, J{a}.
+--111. #omnes, omnes#: omnes etenim, J{a}. --114. #meite#: meiite,
+J{a}., H. --119. #nec cum scrobe? nusquam?# nec cum scrobe, nusquam?
+J{w}., H.; nec cum scrobe? 'nusquam.' J{a}. --130. #heminas#: J{a}., H.;
+eminas, J{w}.
+
+
+       *       *       *       *       *
+
+
+  SATURA II.
+
+
+  Hunc, Macrine, diem numera meliore lapillo
+  qui tibi labentis apponit candidus annos.
+  funde merum genio. non tu prece poscis emaci,
+  quae nisi seductis nequeas committere divis;
+  at bona pars procerum tacita libabit acerra.                     5
+  haud cuivis promptum est murmurque humilisque susurros
+  tollere de templis et aperto vivere voto.
+  'Mens bona, fama, fides' haec clare et ut audiat hospes;
+  illa sibi introrsum et sub lingua murmurat 'o si
+  ebulliat patruus, praeclarum funus?' et 'o si                   10
+  sub rastro crepet argenti mihi seria dextro
+  Hercule! pupillumve utinam, quem proximus heres
+  inpello, expungam! namque est scabiosus et acri
+  bile tumet. Nerio iam tertia conditur uxor.'
+  haec sancte ut poscas, Tiberino in gurgite mergis               15
+  mane caput bis terque et noctem flumine purgas?
+  heus age, responde-- minimum est quod scire laboro--
+  de Iove quid sentis? estne ut praeponere cures
+  hunc-- 'cuinam?' cuinam? vis Staio? an scilicet haeres?
+  quis potior index, puerisve quis aptior orbis?                  20
+  hoc igitur, quo tu Iovis aurem inpellere temptas,
+  dic agedum Staio, 'pro Iuppiter! o bone' clamet
+  'Iuppiter!' at sese non clamet Iuppiter ipse?
+  ignovisse putas, quia, cum tonat, ocius ilex
+  sulpure discutitur sacro quam tuque domusque?                   25
+  an quia non fibris ovium Ergennaque iubente
+  triste iaces lucis evitandumque bidental,
+  idcirco stolidam praebet tibi vellere barbam
+  Iuppiter? aut quidnam est, qua tu mercede deorum
+  emeris auriculas? pulmone et lactibus unctis?                   30
+    Ecce avia aut metuens divum matertera cunis
+  exemit puerum frontemque atque uda labella
+  infami digito et lustralibus ante salivis
+  expiat, urentis oculos inhibere perita;
+  tunc manibus quatit et spem macram supplice voto                35
+  nunc Licini in campos, nunc Crassi mittit in aedis
+  'hunc optet generum rex et regina! puellae
+  hunc rapiant! quidquid calcaverit hic, rosa fiat!'
+  ast ego nutrici non mando vota: negato,
+  Iuppiter, haec illi, quamvis te albata rogarit.                 40
+  Poscis opem nervis corpusque fidele senectae.
+  esto age; sed grandes patinae tuccetaque crassa
+  adnuere his superos vetuere Iovemque morantur.
+  Rem struere exoptas caeso bove Mercuriumque
+  arcessis fibra 'da fortunare Penatis,                           45
+  da pecus et gregibus fetum!' quo, pessime, pacto,
+  tot tibi cum in flammas iunicum omenta liquescant
+  et tamen hic extis et opimo vincere ferto
+  intendit 'iam crescit ager, iam crescit ovile,
+  iam dabitur, iam iam!' donec deceptus et exspes                 50
+  nequiquam fundo suspiret nummus in imo.
+    Si tibi creterras argenti incusaque pingui
+  auro dona feram, sudes et pectore laevo
+  excutiat guttas laetari praetrepidum cor.
+  hinc illud subiit, auro sacras quod ovato                       55
+  perducis facies; nam fratres inter aenos
+  somnia pituita qui purgatissima mittunt,
+  praecipui sunto sitque illis aurea barba.
+  aurum vasa Numae Saturniaque inpulit aera
+  Vestalisque urnas et Tuscum fictile mutat.                      60
+  o curvae in terris animae et caelestium inanes!
+  quid iuvat hoc, templis nostros inmittere mores
+  et bona dis ex hac scelerata ducere pulpa?
+  haec sibi corrupto casiam dissolvit olivo,
+  haec Calabrum coxit vitiato murice vellus,                      65
+  haec bacam conchae rasisse et stringere venas
+  ferventis massae crudo de pulvere iussit.
+  peccat et haec, peccat: vitio tamen utitur. at vos
+  dicite, pontifices, in sancto quid facit aurum?
+  nempe hoc quod Veneri donatae a virgine pupae.                  70
+  quin damus id superis, de magna quod dare lance
+  non possit magni Messallae lippa propago:
+  conpositum ius fasque animo sanctosque recessus
+  mentis et incoctum generoso pectus honesto.
+  haec cedo ut admoveam templis et farre litabo.                  75
+
+
+NOTES.
+
+SECOND SATIRE.
+
+The theme of this Satire is the Wickedness and Folly of Popular Prayers.
+The true philosopher is the only man that knows how to pray aright, and
+the Stoic is your only true philosopher. Compare, on the subject of
+prayer, the Second Alcibiades ascribed to Plato.
+
+
+ARGUMENT.-- Macrinus, you may well salute your returning birthday. Your
+wishes on that day of wishes are pure, whereas most of our magnates pray
+for what they dare not utter aloud. Any one can hear their requests for
+sound mind and good report, but the petitions for the death of an uncle,
+a ward, a wife, the prayer for sudden gain, are mere whispers (1-15).
+Strange that, in order to prepare for such impieties as these, men
+should go through all manner of lustral services, and trust to the ear
+of Jove what they would not breathe to any mortal (15-23). Strange that
+men should fancy because Jove is not swift to strike the sinner dead
+that he may be insulted with safety, or easily bought off by a lot of
+greasy chitterlings (24-30).
+
+Pass from wicked to foolish prayers. Grandam and aunt would have skinny
+Master Hopeful a wealthy nabob, would have him make a great match. Girls
+are to scramble for him, and roses spring up beneath his feet. Silly
+petitions! Refuse them, Jupiter (31-40). Nor less silly are those
+prayers whose fulfilment the suppliant himself defeats-- prayers for a
+hale old age, despite rich made-dishes (41-43); prayers for wealth,
+while the worshipper expends his whole substance in sacrifice (44-51).
+
+The trouble lies in this, that men judge the gods by themselves. Because
+gold brings a joyous flutter to their hearts, they think to sway the
+gods by gold, and change to gold the vessels of the sanctuary. The gods
+are measured by our 'accursed blubber,' that flesh which corrupts all
+that it handles. Yet the flesh tastes what it touches, and enjoys the
+ruin which it has wrought. But what can a pure god do with our gold? To
+him it is a spent toy, an idle offering. Let us give the gods honest and
+upright hearts, and a handful of meal will suffice to gain their
+blessing (32-75).
+
+
+Although the colors of the piece pale before the rhetorical glare of
+Juvenal's Tenth Satire, which treats of a kindred theme-- the 'Vanity of
+Human Wishes'-- the philosophical commonplace is handled with
+considerable vigor, and with all the picturesque detail of the author's
+style. And Montaigne, who, as a moralist, quotes Persius very often, has
+garnished the 56th essay of his First Book with copious extracts from
+this Satire.
+
+
+1-15. Macrinus, your prayers are pure, you need no private audience of
+the gods. Not so the petitions of many of our foremost men. Far
+different is what they say and what they whisper, when they come before
+the gods in prayer.
+
+1. #Hunc diem#: The birthday was always a high-day in Rome, as
+elsewhere. In French, _f�te_ is a synonym of birthday. --#Macrine#:
+'Plotius Macrinus, the scholiast says, was a learned man, who loved
+Persius as his son, having studied in the house of the same preceptor,
+Servilius. He had sold some property to Persius at a reduced rate'
+(Conington). --#meliore#: sc. _solito_. G., 312, 2; A., 17, 5.
+--#lapillo#: The Scythians used to drop into a quiver a stone for every
+day, white for the good and black for the bad, and when life was over
+the stones were counted. There is a similar story of the Thracians,
+Plin., H. N., 7, 40, 41 (Jahn). The phrase 'white stone' is so common
+that one passage will suffice as a parallel: _Felix utraque lux diesque
+nobis | signandi #melioribus lapillis#_, Mart., 9, 52, 4.
+
+2. #labentis#: not simply an _epitheton ornans_, 'the gliding years,'
+but 'the years as they glide away.' _Eheu, fugaces, Postume, Postume |
+#labuntur anni#_, Hor.., Od., 2, 14, 1. --#apponit#: 'puts to your
+account.' Comp. _quem fors dierum cumque dabit lucro | #appone#_, Hor.,
+Od., 1, 9, 15. Each day lived may be a day gained or a day lost. Comp.
+also Hor., Od., 2, 5, 15. --#candidus#: +leuk� h�mera, leukon euameron
+phaos+, Soph., Ai., 709. Comp. Catull., 8, 3: _fulsere vere #candidi#
+tibi soles_.
+
+3. #genio#: 'The tutelary Deity, or "guardian angel," who was supposed
+to attend on every individual from the cradle to the grave. Its cultus
+was strictly materialistic, and should be compared with the offerings of
+meat, drink, and clothes which were made to the _manes_ of the dead.
+Comp. Censorin., De Die Nat., 3; Serv. ad Verg., Georg., 1, 302; Hor.,
+Ep., 2, 2, 187: _scit #Genius#, natale comes qui temperat astrum |
+naturae deus humanae_, _mortalis in unum | quodque caput, vultu
+mutabilis albus et ater_. In character it was the reflex of the man
+(comp. Sat. 6, 48, where it represents the _felicitas_ of the emperor);
+it might be humored and appeased by proper attention, more especially by
+sacrifice (comp. 5, 151), or irritated and made baneful by neglect
+(comp. 4, 27; Juv., 10, 129). From these latter passages it would appear
+to represent the _alter homo_, or second self.' So Pretor. The _genius_
+is the divine element which is born with a man, and when he dies becomes
+a _lar_, if he is good; if he is wicked, a _larva_, or a _lemur_.
+Departed _genii_ were called _manes_-- 'good fellows'-- doubtless with a
+view to propitiation. --#non tu#: Comp. 1, 45. --#emaci#: 'chaffering,
+haggling.' Prayer was often conceived as bargain and sale. See v. 29,
+and Plato, Euthyphro, 14E (Jahn). By the _prece emaci_ is meant the
+_votum_, or vow, the +euch�+, and not the +proseuch�+, as Gregory of
+Nyssa puts it (De Orat., Ed. Paris. a. 1638, Tom. 1, p. 724D). Casaubon
+compares Hor., Od., 3, 29, 59: _ad miseras preces | decurrere et #votis
+pacisci#_.
+
+4. #seductis#: Comp. _paulum a turba #seductior# audi_, 6, 42.
+--#nequeas#: G., 633; A., 65, 2.
+
+5. #at bona pars#: Comp. Hor., Sat., 1, 1, 61: _at #bona pars# hominum._
+--#libabit#: Gnomic or sententious future. See 3, 93. Jahn comp. Juv.,
+8, 182: _quae | turpia cerdoni Volesos Brutumque decebunt_. 'That which
+is done is that which shall be done.' The other reading, _libavit_
+(gnomic Perfect), is not so good. See G., 228, R. 2, and Dr�ger,
+_Histor. Synt. der lat. Sprache_, � 127.
+
+6. #haud cuivis#: Comp. _non #cuivis# homini contingit_, Hor., Ep., 1,
+17, 36. --#humilis#: 'that keep near the ground,' 'groundling,' hence
+'low.' Persius delights in rare epithets.
+
+7. #aperto vivere voto#: Comp. Mart., 1, 39, 6: _si quis erit recti
+custos, mirator honesti | et #nihil arcano qui roget ore deos#_.
+
+8. #Mens bona#: Comp. Hor., Ep., 1, 16, 59. --#Mens bona, fama, fides#:
+are commonly considered to be the things prayed for. They are possibly
+persons prayed to. 'Such notions as Welfare (_salus_), Honesty
+(_fides_), Harmony (_concordia_), belong to the oldest and holiest Roman
+divinities' (Mommsen). --#hospes#: 'a stranger,' 'any body.'
+
+9. #o si#: On this form of the wish, see G., 254, R. 1; A., 57, 4, _b._
+_O si_ may be considered an elliptical conditional sentence, but as the
+ellipsis is emotional it must not be supplied. Such an apodosis as
+scholars are prone to understand for the Greek (+kal�s an echoi+) _bene
+sit_, would change the _wish_ into a _thought_. In this passage the
+apodosis, which is involved in _praeclarum funus_, comes limping in as
+an afterthought.
+
+10. #ebulliat#: is slang. Comp. _tam bonus Chrysanthus animam
+#ebulliit#_, Petron., 42 (_nos non pluris sumus quam #bullae#_, ibid.);
+Sen., Apocolocynt., 4. Conington renders 'go off.' 'Kick the bucket'
+would be worthy of Persius. _Ebulliat_ must be read _ebulljat_ (G.,
+717). The best MSS. have _ebullit_, but such a Subjunctive would be more
+than doubtful (G., 191, 3; Neue, _Formenl._, 2, 339). --#praeclarum
+funus#: Either 'that would be a grand funeral,' or 'that would be a
+corpse worth seeing.' In the former case the man of prayer tries to
+salve his conscience by promising his uncle (comp. 1, 11) a 'first-class
+funeral.' Comp. _#funus# egregie factum laudet vicinia_, Hor., Sat., 2,
+5, 105. In the latter, he is welcoming the death of the crabbed old man.
+For _funus_, in this connection, Jahn compares Prop., 1, 17, 8: _haecine
+parva meum #funus# harena teget?_ The half-light of the passage is well
+suited to the paltering knavery of the prayer.
+
+11. #sub rastro#, etc.: Hor., Sat., 2, 6, 10: _O si urnam argenti fors
+quae mihi monstret, ut illi_ | _thesauro invento, qui mercennarius
+agrum_ | _illum ipsum mercatus aravit, dives amico_ | _Hercule_.
+
+12. #Hercule#: This is Hercules +ploutodot�s+, to whom the Romans
+consecrated a tithe of their gains. Mommsen and others dissociate this
+Hercules from the Greek +H�rakl�s+. According to Casaubon and the schol.
+(v. 44), Hermes (Mercury) is the bestower of windfalls found on the way,
+Hercules the patron of sought treasures. --#pupillum#: 'The Twelve
+Tables provided that where no guardian was appointed by will, the next
+of kin would be guardian, and he would of course be heir' (Conington,
+after Jahn).
+
+13. #inpello#: 'whose kibe I gall,' 'whom I tread hard upon.'
+--#expungam#: 'get him out' (of his place in the will). --#namque#:
+gives an explanation, which serves at once to heighten and to excuse the
+hope. 'You see he is in a bad way already. He is going to die at any
+rate, and death would really be a relief to all parties.' --#scabiosus#:
+'scrofulous.' --#acri | bile#: +drimeia chol�+, Casaubon, who compares
+Juv., 6, 565: _consulit #ictericae# lento de funere matris_.
+
+14. #tumet#: Comp. _turgescit vitrea bilis_, 3, 8; _mascula bilis_ |
+_intumuit_, 5, 145. --#Nerio#: Nerius is the usurer in Horace, Sat., 2,
+3, 69. Persius borrows his names from Horace, as Horace borrows his from
+Lucilius-- progressive bookishness, of which there are several examples.
+Comp. Pedius, 1, 85; Craterus, 3, 65; Bestius, 6, 37. --#conditur#: So
+Jahn (1868) and Hermann. Jahn (1843) reads _ducitur_ with many MSS.
+_Ducitur_ is not to be explained of 'being carried out to burial'
+(Servius ad Verg., Georg., 4, 256), but in its ordinary sense of 'being
+married.' Nerius has got rid of two wives, and 'is actually marrying a
+third.' _Conditur_ is best supported by MS. authority, and gives a
+sufficiently good sense. Hermann quotes, in support of _#conditur#_,
+Mart., 5, 37, where a man survives the loss of a rich wife, and +gunaika
+thaptein kreitton estin � gamein+, Chaeremon, ap. Stobaeum, Sermon., 88,
+22. Among the wishes in Lucian's Icaromen., 25, we find +� theoi, ton
+patera moi tache�s apothanein+ (comp. v. 10), and +eithe kl�ronom�saimi
+t�s gunaikos+, which is the key of this verse. On the use of the Dative,
+see G., 352, R. 1; A., 51, 4, _c_.
+
+15, 16. These are the impious prayers that must be prefaced by pious
+observances.
+
+15. #in gurgite mergis#: G., 384, R. 1; A., 56, 1, _c_, R.
+
+16. #bis terque#: +dis kai tris+. G., 497. --#flumine#: Prol., 1. The
+lustral use of the bath, the pollution of the night, the peculiar virtue
+of running water, are common to Scriptural and classical antiquity.
+Lev., chap. 15. _Illo_ | _mane die, quo tu indicis ieiunia nudus_ | _in
+#Tiberi# stabit_, Hor., Sat., 2, 3, 290; _Ter matutino #Tiberi# mergetur
+et ipsis_ | _verticibus timidum #caput abluet#_, Juv., 6, 523; _Ac
+primum pura #somnum# tibi #discute# lympha_, Prop., 4, 10, 13. For
+parallels, see Tylor, _Primitive Culture_, 2, 388.
+
+17-30. With a sudden dramatic turn, Persius pins his omnipresent Second
+Person to the wall by an ironical question touching his conception of
+the divine character. 'What do you think of God? What can you think of
+God when you confide to him wishes that you would conceal from a Staius?
+Are you so bold because God is so slow? Are you so bold because God's
+favor is so cheaply bought?'
+
+17. #minimum est#, etc.: Ironical. --#scire laboro#: So Hor., Ep., 1, 3,
+2, and _nosse laboro_, Sat., 2, 8, 19.
+
+18. #estne ut#: On this periphrasis, see G., 558; A., 70, 4, _a_. _Si
+#est#, patrue, culpam #ut# Antipho in se admiserit_, Ter., Phormio, 2,
+1, 40. Comp. Hec., 3, 5, 51; 4, 1, 43; Adelph., 3, 5, 4; Hor., Od., 3,
+1, 9. --#cures#: _Curare_, with Inf. usually has a negative (3, 78) or
+equivalent, as here.
+
+19. #'cuinam?' cuinam?# The first _cuinam_ is the question of the other
+man, the second the echo of Persius. Comp. Ar., Ach., 594: +alla #tis#
+gar ei? D. #hostis?# polit�s chr�stos.+ --#vis#: Comp. 1, 56. --#Staio#:
+Staius can not be identified-- _homuncio nobis ignotus_ (K�nig)-- and,
+as Jahn admirably remarks, it makes no difference who he was, whether
+Staienus, as the scholiast says (Cic., Verr., 2, 32, 79; pro Cluentio,
+7, 24, 65), or an average Philistine, or a typical scoundrel. The name
+was a common one. Jones is measured with Jupiter. --#an scilicet
+haeres#: 'what? are we to suppose that you are hesitating?'
+
+20. #quis#: may be for _uter_. Comp. Cic., Att., 16, 14, 1; Fam., 7,
+3, 1; Caes., B. G., 5, 44. 'Which of the two is the better judge?' And
+this is the more satisfactory rendering if Staius is a neutral
+character. If he is a villain, 'who would be a better judge' or 'better
+as a judge,' is more suitable.
+
+21. #inpellere#: 'smite' (Verg., Georg., 4, 349; Aen., 12, 618),
+a rather strong word for _humilis susurros_. Pretor renders 'quicken;'
+Conington, 'have an effect on.' 'Reach' is about what is meant. With the
+thought of the passage, comp. Sen., Ep., 10, 5, cited by Casaubon: _Nunc
+quanta dementia est hominum? Turpissima vota diis insusurrant: si quis
+admoverit aurem, conticescent; et quod hominem scire nolunt, deo
+narrant._
+
+22. #agedum#: _#Agedum# hoc mi expedi primum_, Ter., Eun., 4, 4, 27.
+_Dum_ shows impatience. 'Be at it,' or 'be done with it,' as the case
+may be. --#clamet#: _Dic-- clamet = si dicas-- clamet._ G., 594. 4; A.,
+60, 1, _b_.
+
+23. #sese non clamet#: _Iovem_ would make the joke clearer, but Persius
+would have had to pound his desk and bite his nails to get _Iovem_ in.
+'Because he could swear by no greater, he sware by himself,' Hebr., 6,
+13. K�nig compares Hor., Sat., 1, 2, 17: _Maxime, quis non, | Juppiter,
+exclamat simul atque audivit?_
+
+24. 'The guilty worshipper is in a grove (_lucis_, v. 27) during a
+thunderstorm; the lightning strikes not him but one of the sacred trees,
+and he congratulates himself on his escape-- without reason, as Persius
+tells him. The circumstances are precisely those used by Lucretius to
+enforce his skeptical argument, 6, 390 and 416' (Conington).
+
+25. #sulpure sacro#: 'lightning.' Comp. the Greek +theion+, once
+innocently derived from the Adjective +theios+. --#tuque domusque#:
+Comp. Juv., 13, 206: _cum prole domoque_. The editors cite the oracle in
+Herod., 6, 86, 3: +pasan | summarpsas olesei #gene�n# kai #oikon#
+hapanta+.
+
+26. #fibris#: the extremities of the liver, +loboi+. --#Ergenna#: an
+Etruscan name. The Etruscans were great bowel-searchers (_haruspices_)
+and lightning-doctors.
+
+27. #lucis#: local Abl. and poetic Plural. --#bidental#: According to a
+law of Numa, whosoever was struck dead by lightning was buried where he
+fell, and the spot was inclosed. The place was called _puteal_, from the
+resemblance of the inclosure to a well-curb, or _bidental_, because of
+the _oves bidentes_ (sheep with upper and lower teeth, hence 'full
+grown') sacrificed in the consecration of the spot, which was invested
+with a holy horror (_triste_), and might not even be looked at
+(_evitandum_). Here _bidental_ is transferred from the place to the
+person: 'a trophy of vengeance' (Conington), 'a monument of wrath'
+(Gifford). _Triste bidental_, Hor., A. P., 471.
+
+28. #idcirco#: Emphatic resumption. --#vellere# = _vellendam_. G., 424,
+R. 4; A., 57, 8, _f._ On the phrase _vellere barbam_, comp. 1, 133.
+Jupiter was always represented as bearded, +genei�t�s+, Lucian, Sacrif.,
+11. 'Jove, will nothing wake thee? | Must vile Sejanus _pull thee by the
+beard_ | ere thou wilt open thy black-lidded eyes | and look him dead?'
+Ben Jonson, Sejan., 4, 5.
+
+29. #aut#: Another (negatived) case. See G., 460, R.; A., 71, 2.
+--#quidnam est, qua mercede# = _quanam mercede_; unusual. Not
+dissimilar, Caes., B. G., 5, 31: _#Omnia# excogitantur #quare# nec sine
+periculo maneatur et languore militum et vigiliis periculum augeatur._
+
+30. #emeris#: Jahn compares _praebere_ and _dare aurem_, to which
+Conington adds _commodare_, Hor., Ep., 1, 1, 40. --#pulmone#: for the
+larger, _lactibus_ for the smaller intestines +galaktides+. 'The details
+are mentioned contemptuously' (Conington). Comp. Juv., 6, 540; 10, 354;
+13, 115.
+
+31-40. Thus far we have had wicked prayers; now we have specimens of
+silly prayers, of old wives' wishes.
+
+31. #Ecce#: _transitioni servit_ (Casaubon). See 1, 30. The showman puts
+in a new slide, and says 'Look here.' --#avia aut matertera#: The doting
+fondness of grandmothers, aunts, and nurses is proverbial. Their
+affection is not tempered by responsibility; hence their indiscretion.
+_Matertera_ is the mother's sister, as _amita_ (whence 'aunt') the
+father's; but, significantly enough, there is not the same moral
+distinction as between _patruus_ and _avunculus_ (whence 'uncle').
+--#metuens divum#: +deisidaim�n+. G., 374, R. 1; A., 50, 3, _b._
+--#cunis#: Dat. is more picturesque than Abl.
+
+32. #exemit#: The Perf. brings the scene before us, and makes it
+particular instead of generic. --#uda#: 'slobbering.'
+
+33. #infami digito#: The middle finger (Juv., 10, 53) being used in
+mocking and indecent gesture, was considered on that very account to
+have more power against fascination. The notion still survives, and is
+embodied in coral 'amulets' or 'charms' (_breloques_) manufactured at
+Genoa. --#lustralibus#: The lustral day for a girl was the eighth, for a
+boy the ninth. Such a day would be the day for vows and prayers. On the
+corresponding Gr. +amphidromia+, see the Classical Dictionaries.
+--#ante#: adverbial, 'first of all.' --#salivis#: Spittle has manifold
+medical and magical virtues among all nationalities. Comp. Plin., H. N.,
+28, 4, 22; Juv., 8, 112; Petron., 131. The Plural is poetical, perhaps
+intimating abundance.
+
+34. #expiat#: 'charms against mischief' (Conington). --#urentis#:
+'blasting,' 'withering,' +marainontas+. --#oculos#: If the belief in the
+'evil eye' is not too well known and too widely spread to need
+illustration, comp. Verg., Ecl., 3, 103; Hor., Ep., 1, 14, 37. On the
+philosophy of the evil eye, see Plutarch, Quaest. Conv., 5, 7.
+--#inhibere perita#: On the construction, see Prol., 11.
+
+35. #manibus#: We say 'in,' Prol., 1. Translate 'arms,' as often.
+--#quatit#: Il., 6, 474: +autar ho g' hon philon huion epei kuse #p�le#
+te chersin, | eipen epeuxamenos Dii t' alloisin te theoisin+. 'Dances,'
+'dandles.' --#spem macram#: 'the skinny hope.'
+
+36. #Licini#: Licinus, originally slave and steward of Caesar, then set
+free and made procurator of Gaul, where he acquired immense wealth by
+extortion. Comp. Juv., 1, 109: _Ego possideo plus | Pallante et
+#Licinis#_. --#Crassi#: a still more familiar synonym for wealth, Cic.,
+Att., 1, 4, 3. The two combined in Sen., Ep., 119, 9: _Quorum nomina cum
+#Crasso Licinoque# numerantur_. --#mittit#: 'transports,' 'wafts'
+(Pretor); 'packs off' (Conington), is not in keeping with the
+mock-lyrical tone of the passage.
+
+37. #hunc#: +deiktik�s+ K�nig comp. Catullus, 62, 42: _Multi illum
+pueri, multae #optavere# puellae_. On _optet_, comp. G., 281, Exc. 1;
+A., 49, 1, _d._ --#rex et regina#: Comp. 1, 67. 'My lord and [my] lady'
+(Conington). As the prayer is extravagant, Pretor thinks that the words
+are to be taken literally, and Conington inclines to the same opinion.
+But there is no objection to _regina_ for _domina_ in itself, Mart., 10,
+64.
+
+38. #rapiant# = _diripiant_, +harpazoien+. 'May the girls have a
+scramble for him.' The sexes are to be reversed in his honor. Casaubon
+comp.: _Editum librum continuo mirari homines et #diripere# coeperunt_,
+Vita Persii. --#rosa fiat#: Casaubon comp. Claud., Seren., 1, 89:
+_Quocumque per herbam | reptares, fluxere #rosae#_. A fairy-tale wish.
+Comp. Theocr., 8, 41; Verg., Ecl., 7, 59.
+
+39. #ast# = _at_ + _set_. G., 490; R. --#nutrici#: _Quid voveat dulci
+#nutricula# maius alumno_, Hor., Ep., 1, 4, 8. With the sentiment of the
+passage Casaubon comp. Sen., Ep., 60, 1: _Etiamnum optas quod tibi
+#optavit nutrix# aut paedagogus aut mater? Nondum intellegis quantum
+mali optaverint?_
+
+40. #albata#: 'clad in white,' the proper attire of worshippers,
+Tibull., 2, 1, 13; Plaut., Rud., 1, 5, 12 (Jahn). Hence 'though she ask
+it with every requisite form' (Conington). See v. 15.
+
+41-51. From wicked wishes we have passed to silly wishes, from silly we
+now pass to insane. Men pray for health and pray for wealth, and all the
+while are doing their utmost to break down their health and squander
+their wealth.
+
+41. #nervis#: 'thews,' 'sinews.' --#senectae#: may depend on _poscis
+opem_ or on _fidele_ (Casaubon's view), 'to stand you in stead in old
+age' (Conington), or 'to stand your old age in stead.' The latter is the
+more forcible.
+
+42. #esto#: 'so far, so good' (Conington). --#grandes patinae#, etc.:
+Comp. Hor., Sat., 2, 2, 95: _#Grandes# rhombi #patinaeque#_ | _grande
+ferunt una cum damno dedecus._ Jahn (1868) reads _pingues_.
+--#tuccetaque crassa#: According to the Schol., 'beef steeped in a thick
+gravy, which enables it to keep a year.' 'Rich gravies' (Conington);
+'rich forced meats' (Pretor). 'Rich potted meats.' --#his# = _his
+precibus, votis_. --#vetuere#: Perf. to show that 'the mischief is
+already done' (Pretor). It is not a general Perfect. Comp. 32.
+
+44. #rem struere#: The Biblical 'heap up riches.' Hor., Sat., 1, 1, 35:
+_acervo_ | _quem #struit#_. --#caeso bove#: An expensive sacrifice.
+Comp. Gr. +bouthutein+. --#Mercurium#: See note on v. 11. An allusion to
+Mercury, or rather Hermes, as the God of Flocks and father of Pan, is
+barely possible.
+
+45. #arcessis# = _in auxilium vocas_ (Jahn). Conington's 'serve a
+summons on' is a caricature. Comp. Ov., Fast., 4, 263, and Petron., 122.
+_Accerso_ is a rarer form than _arcesso_, and to be reserved for state
+occasions, according to Brambach. --#fibra#: See v. 26. --#da fortunare#
+= _ut fortunent_. --#fortunare#: used absolutely, as in Afranius, v. 84
+(Ribbeck). _Fortuno_ a _vox sollemnis_ in prayers (Jahn). --#Penatis#:
+Gods of the Basket and Store.
+
+46. #quo, pessime, pacto#: Hor., Sat., 2, 7, 22: _quo pacto, pessime?_
+
+47. #iunicum# = _iuvencarum_. Observe the extravagance of the sacrifice,
+and compare with the expression Catull., 90, 6: _omentum in flamma
+pingue #liquefaciens#_.
+
+48. #extis et ferto#: Comp. vv. 30, 45. _Fertum_ (_a ferendo_), a kind
+of sacrificial cake or pudding, _libi genus, quod crebrius ad sacra
+obmovebatur_ (Jahn).
+
+49. #et tamen#: _at tamen_ (Hermann), on which see 5, 159.
+
+50-51. Casaubon sees in this passage an imitation of Hesiod, O. et D.,
+369: +deil� d' eni puthmeni pheid�+ (_sera parsimonia in fundo est_,
+Sen., Ep., 1, 5). I have followed the old reading, which makes _nummus_
+the subject. The personification is in Persius's vein, as Schl�ter
+correctly remarks. Comp. _tacita acerra_, v. 5; _gemuerunt aera_, 3, 39;
+_sapiens porticus_, 3, 53; _modice sitiente lagoena_, 3, 92. _Nummi_ are
+nursed as children, 5, 149; there is a kind of personification in
+_dolosi nummi_, Prol., 12, and literature is full of personified coins,
+of 'nimble sixpences,' 'slow shillings,' 'adventurous guineas.' Add: _ac
+velut exhausta redivivus pullulet arca | #nummus#_, Juv., 6, 363. Paley
+(ap. Pretor) suggests that _nequiquam_ may be considered the exclamation
+of the _#nummus#_. This gives so happy a turn that I am almost tempted
+to put it in the text. It is the familiar story of 'the bottom dime,'
+set to the familiar tune of the 'Last Rose of Summer.' Jahn makes the
+numbskull, not the _nummus_, the subject, and reads in his ed. of 1843:
+
+  _Nequiquam fundo_, suspiret, _nummus in imo_!
+
+In his ed. of 1868 he follows Hermann, who reads:
+
+  Nequiquam _fundo_, suspiret, _nummus in imo_!
+
+Pretor prints:
+
+  _Nequiquam: fundo_, suspiret, _nummus in imo_!
+
+The scholiast hesitates. All much more prosaic and much less
+satisfactory. --#suspiret#: See G., 574, R.; A., 62, 2, _d._
+
+52-75. With a sudden start Persius strikes at the root of the matter--
+the false conception of the divine character. 'Thou thoughtest,' saith
+God, 'that I was altogether such a one as thyself,' Ps. 50, 21. Because
+you love gold, you fancy that God loves gold, and judge of His Holiness
+by your corruption. God demands a pure heart, and not 'thousands of
+rams.' This is a plane on which the highest expressions of the most
+various religions meet, so that Hebrew, Greek, and Christian hold almost
+identical discourse. M. Martha (_Moralistes Romains_, p. 134) recognizes
+'a progress' in thoughts, which are immemorial in their antiquity.
+
+52. #creterras#: preferred by Jahn (1868) and Hermann to _crateras_, in
+which the Acc. Sing. of the Greek word +krat�r+ seems to be taken as the
+stem (G., 72, R. 2). See Hor., Od., 3, 18, 7: Sat., 2, 4, 80. Comp. also
+_statera_ and _panthera_. G. Meyer (_Beitrage zur Stammbildung_ in
+Curtius, _Studien_, 5, 72) questions the Accus. origin. --#argenti#: The
+context indicates the material, which in prose would be _ex argento_ or
+_argentea_ (G., 396; A., 54, 2). The Genitive should give us the
+contents as in v. 11, _argenti seria_. Comp. Juv., 9, 141: _#argenti#
+vascula puri_. --#incusa#: 'is a translation of +empaista+ (Casaubon),
++empaistik� techn�+ being the art of embossing silver or some other
+material with golden ornaments (_crustae_ or _emblemata_). Hence
+_crateras argenti incusaque dona_ is probably a hendiadys' (Conington).
+_Chrysendeta_, or parcel-gilt plate (Pretor). --#pingui#: 'thick,' not a
+generic epithet.
+
+53. #dona#: Predicate. --#pectore laevo#: Jahn strangely follows
+Casaubon in understanding _pectore laevo_ as _mente laeva_. Comp. Verg.,
+Ecl., 1, 16: _si mens non #laeva# fuisset_. The side of the heart is
+meant. K�nig comp. _#laeva# parte mamillae | nil salit Arcadico iuveni_,
+Juv., 7, 159.
+
+54. #excutiat#: In his ed. of 1868 Jahn has abandoned the harsh
+_excutias_ of 1843, which leaves _laetari praetrepidum cor_ to take care
+of itself, with _laetari_ as an histor. Inf. of habit. Comp. Verg.,
+Georg., 1, 200; 4, 134; Aen., 4, 422; 7, 15. --#guttas#: 'Your heart in
+an eager flutter of excited joy would drive the life-drops from your
+left breast.' So Pretor, who adds that Persius alludes to the faintness
+produced by any violent excitement. Comp. Verg., Georg., 3, 105: _cum
+spes arrectae iuvenum exsultantiaque haurit | corda pavor pulsans_. With
+_guttas_ comp. 'As dear to me as are the ruddy _drops_ that visit this
+sad heart,' Shaksp. Jahn understands 'tears,' Heinrich 'sweat' (comp.
+Juv., 1, 167: _tacita #sudant# praecordia culpa_). In the latter case we
+should expect _ut_, as Schl�ter observes. --#laetari praetrepidum#:
+'over-hasty to rejoice' (Conington). For the construction, comp. Prol.,
+11, and Hor., Od., 2, 4, 24: _cuius octavum #trepidavit# aetas |
+claudere lustrum_. On the meaning of _trepidum_, see 1, 20.
+
+55. #illud, quod#: 'that strange fashion that,' instead of the
+impersonal construction with the Inf. with a different shade of meaning
+(G., 525; A., 70, 5). --#subi[-i]t#: On the quantity of the final
+syllable, see G., 705, Exc. 4; A., 84, _g_, 5. --#auro ovato#: Comp.
+_triumphato auro_, Ov., Ep. ex Ponto, 2, 1, 41 (Jahn). An allusion to
+the 'unjust acquisition of the gold offered to Heaven' seems to be too
+modern, despite Juv., 8, 106.
+
+56. #nam#: 'for instance.' G., 500, R. 1. --#fratres aenos#: 'brazen
+brotherhood' (Gifford). There are various interpretations: 1. The gods
+generally (Jahn). 2. The fifty sons of Aegyptus, whose statues stood in
+the portico of the Palatine Apollo over against those of the fifty
+Danaides, Prop., 2, 31, 1 seqq.; Ov., Trist., 3, 1, 59 seqq.
+(Scholiast). 3. The Dioscuri. The first explanation is the best. All the
+gods might appear in vision, but some were more famous for such
+appearances than others. The very existence of the statues of the sons
+of Aegyptus is problematical, and their connection with dreams
+inexplicable (Jahn). As for the Dioscuri, they were notoriously
+beardless youths, apart from the fact that _qui mittunt_ points to more
+than two (Casaubon).
+
+57. #pituita#: trisyllabic, as in Hor., Sat., 2, 2, 76; Ep., 1, 1, 108.
+_Pituita_, 'phlegm,' 'gross humor.' 'That _pituita_ was supposed to mark
+a heavy, cloudy intellect, is clear from the meaning of the opposite
+expression, _emunctae naris_' (Pretor). See also the commentators on
+Hor., ll.cc.
+
+58. #aurea barba#: Cic., N. D., 3, 34, 83: _Aesculapii Epidaurii #barbam
+auream# demi iussit [Dionysius], neque enim convenire barbatum esse
+filium cum in omnibus fanis pater imberbis esset._
+
+59. #vasa Numae#: called _capedines_ and _simpuvia_. --#Saturnia aera#:
+Old coinage, according to Schol., Casaubon, and Jahn. The earliest
+coinage is said to have been stamped on one side with the head of Janus,
+the coiner, on the other with a ship, in honor of Saturn's arrival in
+Italy. It is best to translate loosely by 'brass' or 'bronze,' as the
+explanation is far from certain. --#inpulit#: 'kicked out.'
+
+60. #Vestalis urnas#: always of earthenware. --#Tuscum fictile#:
+'Etruscan pottery.' 'Etruscan' both by reason of its origin and its use
+in Etruscan ritual.
+
+61. #O curvae#: A passionate apostrophe, which reminds M. Martha of
+Bossuet. --#in terris#: So Jahn and Hermann. We should expect _in
+terras_, but the Abl. is more forcible as denoting the fixity rather
+than the tendency of the position. --#caelestium inanes#: On the Gen.,
+see G., 373, R. 6; A., 50, 3, _c_. Jahn quotes Hor., Od., 3, 11, 23:
+_#inane# lymphae | dolium fundo pereuntis imo_.
+
+62. #quid iuvat hoc#: So Jahn. _Hos_, Hermann's reading, is not
+necessary, though natural. _Hoc_ often anticipates the contents of a
+dependent clause, as here with the Inf., 5, 45; _ut_ with Subj., 5, 19.
+--#templis inmittere mores#: is more than 'the opposite to v. 7:
+_tollere de templis_.' _Inmittere_, 'turn loose upon,' like so many
+_hostes_, _sicarii_, etc. _Mores_, 'courses of life.'
+
+63. #bona dis#: Brachylogy. 'What is good in the eyes of the gods.'
+--#ducere#: 'infer.' --#scelerata pulpa#: 'sinful, pampered flesh'
+(Conington). _Pulpa_ is the Stoic +sarx, sarkidion+, in a stronger form.
+M. Martha (l.c. p. 133, note) says that the Christian +sarx+ (_caro_) is
+borrowed from the language of philosophy. Others only note the
+coincidence. _Pulpa_ may be rendered 'blubber.'
+
+64. #haec#: sc. _pulpa_. --#sibi#: 'to suit its taste.' --#corrupto#:
+The oil is spoiled by the spice, Verg., Georg., 2, 465: _Alba nec
+Assyrio fucatur lana veneno | nec #casia# liquidi #corrumpitur# usus
+#olivi#._
+
+65. #Calabrum#: 'The beauty of the Calabrian fleece consisted in its
+perfect whiteness,' which is destroyed by the dye. --#coxit#: here in a
+bad sense, as we often use 'cook,' 'doctor.' --#vitiato#: The _murex_ is
+spoiled as well as the _vellus_; both have violence done to their
+natures. Comp. Juv., 3, 20: _ingenuum #violarent# marmora tofum_. On the
+hard treatment of the _murex_, or +kalch�+, see St. John, _Manners and
+Customs of Ancient Greece_, 3, 225 foll.
+
+66. #bacam#: 'pearl,' literally 'berry.' The transfer is explained by
+Auson., Mos., 70: _albentes concharum germina #bacas#. Diluit insignem
+#bacam#_, Hor., Sat., 2, 3, 241. --#rasisse#: Perf., like the Greek Aor.
+Inf. See 1, 42.
+
+67. #massae#: 'ore.' --#crudo de pulvere#: 'from their primitive slag'
+(Conington).
+
+68. #vitio utitur#: 'gets some good out of its sin.' --#nempe#: G., 500,
+R. 2.
+
+70. #pupae#: The ancients dedicated to the gods what they had done with.
+So when the girl was ripe for marriage, she hung up her dolls. The
+sailor hangs up his clothes, Hor., Od., 1, 5, 16; the lover his harp,
+Od., 3, 26, 3. The Sixth Book of the Greek Anthology is full of
+examples. An ingenious friend suggests that the practice of publishing a
+list of commentators in editions of the classics is a survival of this
+usage.
+
+71. #quin damus#: See G., 268; A., 57, 7, _d_. --#lance#: 'sacrificial
+plate,' 'paten.' Ov., Ep. ex P., 4, 8, 39: _nec quae de parva dis pauper
+libat acerra | tura minus grandi quam data #lance# valet_ (Jahn).
+
+72. #Messallae propago#: Lucius Aurelius Cotta Messalinus (Schol.), an
+unworthy son of M. Valerius Messalla Corvinus. See Tac., Ann., 6, 7. He
+was a notorious debauchee in the reign of Tiberius. --#lippa#: alludes
+to the effect of his excesses. Comp. 5, 77.
+
+73. #conpositum#: 'in just balance,' 'well blended' (Conington). --#ius
+fasque#: 'duty to God and man' (Conington). --#recessus mentis#:
++phren�n muchos+ Theocr., 29, 3 (Jahn).
+
+74. #incoctum#: 'thoroughly imbued.' --#generoso honesto#: 'with the
+honor of a gentleman.' See note on _mordaci vero_, 1, 107.
+
+75. #cedo#: Notice the quantity. G., 190, 4; A., 38, 2, _f_. _C[)e]do_,
+'give here,' 'let.' For the construction: _cedo ut bibam_, Plaut.,
+Most., 2, 1, 26; _cedo ut inspiciam_, Curc., 5, 2, 54. --#admovere#:
+a sacrificial word. --#farre litabo#: Comp. Hor., Od., 3, 23, 19:
+_mollivit aversos Penatis | #farre# pio et saliente mica_. _Litare_ is
+the Greek +kallierein+, 'offer acceptably.' The sentiment may be
+illustrated without end. Comp. +thusia megist� t� the� to g' eusebein+,
+Men., Mon., 246, and Eur., fr. 329 and 940 (Nauck).
+
+
+CRITICAL APPENDIX.
+
+SATURA II.
+
+5. #libabit#: libavit _al_. --9. #murmurat#: immurmurat, J{a}.
+--10. #ebulliat#: ebullit _Cod. Montepessulanus_. --14. #conditur#:
+ducitur, J{a}. --#pro#: proh, J{a}. --16. #purgas?# purgas. J{a}. --25.
+#sulpure#: sulfure, J{a}., H. --37. #optet#: optent _al_. --42.
+#grandes#: J{a}., H.; pingues, J{w}. --#tucceta#: tuceta, J{a}. --43.
+#adnuere#: annuere, J{a}. --45. #arcessis#: accersis, H. --47.
+#flammas#: flamma, J{a}. --48. #et tamen#: ac tamen, J{a}.; at tamen, H.
+--52. #creterras#: crateras. J{a}. --54. #excutiat#: excutias, J{a}., H.
+--61. #terris#: terras _al_. --#caelestium#: coelestium, J{a}., H.
+--#inanes#: J{a}., H.; inanis, J{w}. _At vid. Ritschel. Prolegg.
+Trinum._, xc.; _Neue, Formenl._, 1, 257. --62. #quid iuvat hoc#: quid
+iuvat, hos, H. --66. #bacam#: baccam, J{a}., H. --73. #animo#: animi, H.
+
+
+       *       *       *       *       *
+
+
+  SATURA III.
+
+
+  'Nempe haec adsidue: iam clarum mane fenestras
+  intrat et angustas extendit lumine rimas:
+  stertimus indomitum quod despumare Falernum
+  sufficiat, quinta dum linea tangitur umbra.
+  en quid agis? siccas insana canicula messis                      5
+  iam dudum coquit et patula pecus omne sub ulmo est.'
+  unus ait comitum. "Verumne? itane? ocius adsit
+  huc aliquis! nemon?" turgescit vitrea bilis:
+  "findor"-- ut Arcadiae pecuaria rudere dicas.
+  iam liber et positis bicolor membrana capillis                  10
+  inque manus chartae nodosaque venit harundo.
+  tunc querimur, crassus calamo quod pendeat umor,
+  nigra quod infusa vanescat sepia lympha;
+  dilutas querimur geminet quod fistula guttas.
+  o miser inque dies ultra miser, hucine rerum                    15
+  venimus? at cur non potius teneroque columbo
+  et similis regum pueris pappare minutum
+  poscis et iratus mammae lallare recusas?
+  "An tali studeam calamo?" Cui verba? quid istas
+  succinis ambages? tibi luditur. effluis amens,                  20
+  contemnere: sonat vitium percussa, maligne
+  respondet viridi non cocta fidelia limo.
+  udum et molle lutum es, nunc nunc properandus et acri
+  fingendus sine fine rota. sed rure paterno
+  est tibi far modicum, purum et sine labe salinum--              25
+  quid metuas?-- cultrixque foci secura patella.
+  hoc satis? an deceat pulmonem rumpere ventis,
+  stemmate quod Tusco ramum millesime ducis,
+  censoremne tuum vel quod trabeate salutas?
+  ad populum phaleras! ego te intus et in cute novi.              30
+  non pudet ad morem discincti vivere Nattae?
+  sed stupet hic vitio et fibris increvit opimum
+  pingue, caret culpa, nescit quid perdat, et alto
+  demersus summa rursum non bullit in unda.
+  magne pater divum, saevos punire tyrannos                       35
+  haud alia ratione velis, cum dira libido
+  moverit ingenium ferventi tincta veneno:
+  virtutem videant intabescantque relicta.
+  anne magis Siculi gemuerunt aera iuvenci,
+  et magis auratis pendens laquearibus ensis                      40
+  purpureas subter cervices terruit, 'imus,
+  imus praecipites' quam si sibi dicat et intus
+  palleat infelix, quod proxima nesciat uxor?
+    Saepe oculos, memini, tangebam parvus olivo,
+  grandia si nollem morituri verba Catonis                        45
+  discere, non sano multum laudanda magistro,
+  quae pater adductis sudans audiret amicis.
+  iure; etenim id summum, quid dexter senio ferret,
+  scire erat in voto; damnosa canicula quantum
+  raderet; angustae collo non fallier orcae;                      50
+  neu quis callidior buxum torquere flagello.
+  haud tibi inexpertum curvos deprendere mores,
+  quaeque docet sapiens bracatis inlita Medis
+  porticus, insomnis quibus et detonsa iuventus
+  invigilat, siliquis et grandi pasta polenta;                    55
+  et tibi quae Samios diduxit littera ramos
+  surgentem dextro monstravit limite callem.
+  stertis adhuc, laxumque caput conpage soluta
+  oscitat hesternum, dissutis undique malis!
+  est aliquid quo tendis, et in quod dirigis arcum?               60
+  an passim sequeris corvos testaque lutoque,
+  securus quo pes ferat, atque ex tempore vivis?
+  helleborum frustra, cum iam cutis aegra tumebit,
+  poscentis videas: venienti occurrite morbo!
+  et quid opus Cratero magnos promittere montis?                  65
+  discite, o miseri, et causas cognoscite rerum:
+  quid sumus, et quidnam victuri gignimur; ordo
+  quis datus, aut metae qua mollis flexus et unde;
+  quis modus argento, quid fas optare, quid asper
+  utile nummus habet; patriae carisque propinquis                 70
+  quantum elargiri deceat; quem te deus esse
+  iussit, et humana qua parte locatus es in re.
+  disce, nec invideas, quod multa fidelia putet
+  in locuplete penu, defensis pinguibus Umbris,
+  et piper et pernae, Marsi monumenta clientis,                   75
+  menaque quod prima nondum defecerit orca.
+    Hic aliquis de gente hircosa centurionum
+  dicat 'Quod sapio satis est mihi. non ego curo
+  esse quod Arcesilas aerumnosique Solones,
+  obstipo capite et figentes lumine terram,                       80
+  murmura cum secum et rabiosa silentia rodunt
+  atque exporrecto trutinantur verba labello,
+  aegroti veteris meditantes somnia, _gigni_
+  _de nihilo nihilum, in nihilum nil posse reverti._
+  hoc est, quod palles? cur quis non prandeat, hoc est?'          85
+  His populus ridet, multumque torosa iuventus
+  ingeminat tremulos naso crispante cachinnos.
+    'Inspice; nescio quid trepidat mihi pectus et aegris
+  faucibus exsuperat gravis alitus; inspice, sodes!'
+  qui dicit medico, iussus requiescere, postquam                  90
+  tertia conpositas vidit nox currere venas,
+  de maiore domo modice sitiente lagoena
+  lenia loturo sibi Surrentina rogabit.
+  'Heus, bone, tu palles!' "Nihil est." 'Videas tamen istuc,
+  quidquid id est: surgit tacite tibi lutea pellis.'              95
+  "At tu deterius palles; ne sis mihi tutor;
+  iam pridem hunc sepeli: tu restas." 'Perge, tacebo.'
+  turgidus hic epulis atque albo ventre lavatur,
+  gutture sulpureas lente exalante mefites;
+  sed tremor inter vina subit calidumque triental                100
+  excutit e manibus, dentes crepuere retecti,
+  uncta cadunt laxis tunc pulmentaria labris.
+  hinc tuba, candelae, tandemque beatulus alto
+  conpositus lecto crassisque lutatus amomis
+  in portam rigidas calces extendit: at illum                    105
+  hesterni capite induto subiere Quirites.
+    'Tange, miser, venas et pone in pectore dextram.
+  nil calet hic. summosque pedes attinge manusque.
+  non frigent.' Visa est si forte pecunia, sive
+  candida vicini subrisit molle puella,                          110
+  cor tibi rite salit? positum est algente catino
+  durum holus et populi cribro decussa farina:
+  temptemus fauces, tenero latet ulcus in ore
+  putre, quod haud deceat plebeia radere beta.
+  alges, cum excussit membris timor albus aristas;               115
+  nunc face supposita fervescit sanguis et ira
+  scintillant oculi, dicisque facisque, quod ipse
+  non sani esse hominis non sanus iuret Orestes.
+
+
+NOTES.
+
+THIRD SATIRE.
+
+
+ARGUMENT.-- The Satire opens dramatically. A young Roman of the upper
+classes is discovered asleep, snoring off the effects of yesterday's
+debauch. To him one of his familiars, half companion, half tutor, who
+rouses him by telling him that the sun is already high in the heavens,
+and it is time to be up. The young fellow bawls for his servants, brays
+for them, and makes a show of going to work. But nothing suits him. He
+curses the ink because it is too thick, then he curses it because it is
+too thin, and finally swears at pen and ink both. 'You big baby,'
+exclaims the monitor. 'Do you expect me to study with such a pen?' asks
+the young man with a whine. 'Don't come to me with your puling nonsense,
+you dab of untempered mortar, you unformed lump of clay. You are lazing
+away the time, when every minute is of moment, when the potter's wheel
+should fly faster and faster, and deft hands should mould the vessel of
+your life (1-24). But I see you think that you have already attained
+perfection. You are satisfied with your position in life, move in a good
+circle. Tell that to the profane vulgar. I know you, every inch of you.
+Shame on you, that you, with your training, should live like a brutish
+creature, who does not know what a rich jewel he is flinging away, who
+sinks without a struggle in the slough of vice, whose soul dies and
+makes no sign. But you, who know better, will have a dire fate. No worse
+doom could Jove himself bring down on cruel tyrants than the vain
+yearning for lost virtue, which they can never hope to regain. Nay,
+worse than the brazen bull of Phalaris and the pendent sword of Damocles
+is the consciousness of sin, the pallor that blanches not the cheek
+only, but the very heart (25-43). You are past the age of childhood, and
+have not the excuse of tender years. If you were a child, I could
+understand your behavior. I remember my own childhood, how hateful and
+unprofitable task-work alternated with frivolous play, how I dodged the
+learning of the piece I had to speak, how I had no thought for any thing
+save dice and marbles and tops (44-51). But you have reached a higher
+level. You know the great norms of life, the doctrines of the Porch; you
+understand the distinctions of Right and Wrong. Pshaw! As I live, you
+are snoring still. Wake up, I say, and tell me-- have you any aim in
+life? Or are you nothing better than a boy following sparrows with a
+pinch of salt?' (52-62).
+
+Here the poet drops the dramatic form, deserts the individuality of the
+student, and makes his exhortation general, reserving, of course, the
+right to pick out at will any member of his congregation for rebuke. He
+mounts the pulpit and begins to preach. His text is:
+
+'Be wise to-day; 'tis madness to defer.' Go back to the first principles
+of all true philosophy, the constitution of the universe, the position
+of man in that universe, the great laws of Ethic as derived from the
+great laws of Physic. In brief, study your Stoic catechism. Do not allow
+yourself to be diverted from higher study by success in the lower ranges
+of life. You lawyer there, for instance, do not let hams and sprats, the
+gifts of thankful clients, seduce you from the ambrosia of true
+philosophy (63-76).
+
+But hark! some one is talking out in church. It is the voice of the
+unsavory centurion.
+
+'I have got all the sense I want. I would not be for all the world one
+of your painful philosophers, with head tucked down, eyes riveted on the
+ground, mumbling and muttering a lot of metaphysic trash-- _chimaera
+bombinans in vacuo_-- and the rest of the scholastic stuff. What! get
+pale for that? What! miss my breakfast for that!'
+
+Great applause in the galleries, and a rippling reduplication of
+laughter from the muscular humanity of the period (77-87).
+
+A sudden turn, or rather a sudden return to the figure of v. 63. The
+connection, if there be a connection, seems to be this:
+
+Such men as the centurion are hopelessly lost, have already 'imbodied
+and imbruted.' Like Natta, they are unconscious of their moral ruin. But
+there are those who, half-conscious of their condition, consult a
+physician of the soul, a spiritual director. The state of this class is
+set forth in a dramatic parable. A man feels sick, goes to see a doctor,
+follows his advice for a while, gets better, and then, despite all
+remonstrance, violates the plainest rules of diet and falls dead
+(88-106).
+
+But before our preacher can make the application, he is interrupted by
+an impatient hearer, perhaps none other than the yawning youth, whose
+acquaintance we made in the beginning of the Satire. Whoever he is, he
+is so literal that he does not understand the drift of the apologue.
+
+'Sick! Who's sick? Not I. No fever in my veins. No chill in hands or
+feet.'
+
+'But,' says our resolute moralist, 'the sight of money, the meaning
+smile of a pretty girl, makes your heart beat a devil's tattoo. Coarse
+flour shows that you are mealy-mouthed, and tough cabbage brings out the
+ulcer in your throat. Kindle the fire of wrath beneath the cauldron of
+your blood, and Orestes is sane in comparison' (107-118).
+
+
+According to Jahn, this Satire is aimed at those that have received a
+thorough training in ethics, but, owing to the weakness of human nature,
+fail to follow the true guide of life; and, although well aware of their
+short-comings, imitate the example of those brutish souls whose sins are
+excused by their ignorance. In short, the Satire is an expansion of the
+old theme-- _Video meliora proboque_.
+
+Knickenberg (_De Ratione Stoica in Persii Satiris Apparente_, p. 16
+seqq.) maintains that in conformity with Stoic doctrine, it is not so
+much the weakness of human nature as imperfect knowledge-- the _inscitia
+debilis_ of v. 99-- that is the source of the vices which the author
+lashes in the present Satire. According to the Stoic, virtue is
+knowledge, and the snoring youth, with his half-knowledge, which keeps
+him from rising to the height of virtue, is the pattern of the false
+philosophy of the time.
+
+But Persius is not an expounder of the Stoic philosophy, as a system,
+any more than Seneca is; and commentators have attributed to him a
+profounder knowledge of philosophy than he had, certainly a profounder
+knowledge than it would have been artistic to show. Persius repeats the
+catechism of the sect, expands some of their favorite theses, elaborates
+some of their pet figures, and finds fault with his fellow students in
+the lofty tone which he had caught from his teachers. A glaring paradox,
+such as we find in 5, 119, he is but too happy to reproduce, but the
+subtle analysis for which the Stoics were famous does not appear in his
+poems.
+
+
+The Satire is said by the Scholiast to be imitated from the Fourth Book
+of Lucilius.
+
+
+1-24. A young student is roused by one of his companions, who, after
+meditating on his snoring form (1-4), remonstrates with him against
+lying abed so long. Yawning and headachy, he attempts to go to work,
+calls his servants testily, has his writing materials brought, swears at
+them, and is rebuked by his sage friend for his babyishness, and urged
+to make use of this golden season of life.
+
+1. #Nempe#: The opening is made very lively by the use of _nempe_, which
+implies a preceding statement, and thus plunges at once into the thick
+of the dialogue. 'And so'-- a clear imitation of Hor., Sat., 1, 10, 1.
+Comp. the English use of 'and' in the first verse of lyrics, and the
+common stage trick of beginning a scene with conjunctions: Farquhar,
+Beaux' Stratagem, 2, 2: '_And_ was she the daughter of the house?'
+Cibber, The Provoked Wife, 5, 4: '_But_ what dost thou think will come
+of this business?' This effect is lost by bringing in the _comes_ at v.
+5, as some do. --#mane#: Substantive, the Abl. of which, _mane_
+(_mani_), is in more common use as an Adverb. --#fenestras#: 'windows,'
+here for 'window-shutters.'
+
+2. #extendit#: 'makes wider,' 'makes seem wider,' a familiar optical
+effect. --#rimas#: 'chinks' (between the shutters).
+
+3. #stertimus#: Ironical First Person, excluding the speaker.
+--#indomitum#: 'heady,' 'unmanageable' (Conington). Falernian was a
+strong wine: _ardens_, Hor., Od., 2, 11, 9; _severum_, Od., 1, 27, 19;
+_forte_, Sat., 2, 4, 24. Add Lucan, 10, 162: _#Indomitum# Meroe cogens
+spumare #Falernum#_. --#quod sufficiat#: 'what ought to be enough.' G.,
+633; A., 65, 2. --#despumare#: 'work off,' 'carry off the fumes of'
+(Conington). _Despumare_ is a technical term 'skim' (Verg., Georg., 1,
+296), like 'rack' in English.
+
+4. #quint[-a] dum linea tangitur umbr[-a]#: where we should expect
+_quint[)a] linea umbr[-a]_, by what is called Hypallag�. Conington
+compares Aeschyl., Ag., 504: +dekat� se phengei t�d' aphikom�n etous+.
+See Schneidewin's note. --#dum#: 'while,' 'whereas,' 'and yet.' Comp.
+G., 572, R.; A., 72, 1, _c_. --#linea#: of the sun-dial. The fifth hour
+(about 11 o'clock) was the time of the _prandium_, according to Auson.,
+Ephem. Loc. Ordin. Coqui, 1, 2 (Casaubon): _Sosia, prandendum est,
+quartam iam totus in horam | sol calet: ad #quintam# flectitur umbra
+#notam#_. In Horace's time breakfast was after 10 (Sat., 1, 5, 25). The
+sophist Alciphron implies that 12 was the hour in his day (3, 4, 1).
+
+5. #en quid agis?# Comp. _en quid ago_? Verg., Aen., 4, 534. In lively
+questions the present is often used as a future, as: _Quoi #dono#
+lepidum novum libellum?_ Catull., 1, 1. --#siccas#: proleptic or
+predicative, to be combined with _coquit_. Conington renders 'is baking
+the crops dry,' but _coquere_ is too common in this sense for such a
+translation, a criticism which applies to a very large proportion of
+Conington's picturesque versions. _Coquere_ is the regular word for
+'ripen'-- Gr. +pess�+-- Varro, R. R., 1, 7, 4; 54, 1. Tr. 'is ripening
+hard' (in the broiling sun). --#insana canicula#: 'the mad dog-star' is,
+of course, the 'mad dog's star' (Conington). Comp. Hor., Od., 3, 29, 18;
+Ep., 1, 10, 16.
+
+7. #comitum#: _Comes_ is a wide term, embracing fellow-students and
+tutors. The Greek word is +hoi sunontes+. See Lucian's famous tract,
++peri t�n epi misth� #sunont�n#+ (de mercede conductis).
+
+8. #aliquis#: 'somebody,' '+tis+,' of a servant. _Aperite #aliquis#
+actutum ostium_, Ter., Adelphi, 4, 4, 46. +H�sper en oik� enioi despotai
+prostattousi, It� #tis# eph' hud�r, Xula #tis# schisat�+, Xen., Cyr., 5,
+3, 49. --#nemon?# on the rhetorical _-ne_, see 1, 22. --#vitrea bilis#:
+a medical term, +hual�d�s chol�+, according to Casaubon. Comp.
+_splendida bilis_, Hor., Sat., 2, 3, 141.
+
+9. #findor#: 'I'm splitting,' the exclamation of the impatient youth.
+The old reading, _finditur_, 'he' or 'it' (_bilis_) 'is splitting,' has
+little MS. authority. Others read _findimur_. --#Arcadiae pecuria#: The
+asses of Arcady were famous in antiquity. --#rudere#: with _u_ long only
+here and Auson., Epigr., 76, 3.
+
+10. #iamque liber#: The distribution of these articles is not without
+its difficulty. According to some, _liber_ is the author to be explained
+by the teacher; _chartae_, the papyrus for rough notes; _membrana_, the
+parchment for a more careful transcript. According to others, '_liber_
+is the author out of which the lesson or thesis is to be transcribed,
+and _membrana_ the parchment wrapper for preserving the loose sheets, as
+the work progresses' (Pretor). --#bicolor#: used either of the two sides
+of the skin-- the one from which the hair had been scraped, yellow, the
+other white (Casaubon), or, more probably, of the custom of coloring the
+parchment artificially (Jahn). --#capillis#: is commonly taken for
+_pilis_, a rare use. The hair side of the skin was carefully smoothed
+with pumice-stone. _Arida modo #pumice# expolitum_, Cat., 1, 2; _cui
+#pumex# tondeat ante comas_, Tib., 3, 1, 10. The old explanation,
+according to which _positis capillis = capillis ornatis sive pexis_
+(Plum), has found an advocate in Schl�ter. The young man is supposed to
+have dressed his hair before he goes to work.
+
+11. #nodosa harundo# = _calamus_ of the next verse.
+
+12. #querimur#: In his ed. of 1868 Jahn has abandoned _queritur_ (1843)
+here and in v. 14. Comp. _stertimus_, v. 3. --#calamo#: In prose, _de
+calamo_.
+
+13. #nigra sepia#: 'The blackness of the liquor,' Conington, who says
+correctly that _nigra_ is emphatic. _Sepia_, 'juice of the cuttle-fish,'
+used for ink. Comp. Auson., Epist., 4, 76; 7, 54 (Jahn).
+
+14. #fistula# = _harundo_. The nib of the pen was badly slit. Comp. _nec
+iam #fissipedis# per #calami# vias | grassetur Cnidiae sulcus
+harundinis_, Auson., Epist., 7, 49-50.
+
+The whole period is very awkward, and is not improved by Jahn's _sed_
+for _quod_ in v. 13. Mr. Pretor suspects a _duplex recensio_, and
+brackets v. 13. In any other author I should suggest _dilutas#que
+nimis#_ for _dilutas #querimur#_, v. 14 (Mp. _querimus_).
+
+15. #ultra miser# = _miserior_. --#hucine rerum#: _Hucine_ is archaic
+and colloquial. On _rerum_, see G., 371, R. 4; A., 50, 2, _d_. Comp. 1,
+1 for the translation.
+
+16. #tenero columbo#: a pet name for children (Schol.). _Columbus_ is
+'the house-pigeon,' _palumbus_ 'the wood-pigeon.' Some of the best MSS.
+read _palumbo_, which Bentley on Hor., Od., 1, 2, 10, prefers. Notice
+further that nurses often feed their babies pigeon-fashion. --#regum
+pueris#: 'aristocratic babies,' 'babies of quality' (Conington). _Regum_
+as in 1, 67. --#pappare#: (_papare_, Jahn, 1843) Infin. for Substantive,
+'pap.' Such Infinitives are hardly parallel with _vivere triste_ (1, 9),
+and belong rather to the _verba togae_. They may be called nursery
+Infinitives. Comp. Titin. (ap. Charisium, 1, p. 99P.), v. 78 Ribb.:
+_Date illi #biber#, iracunda haec est_. Comp. the Greek +to piein, to
+phagein+, Theocr., 10, 53; Anthol. Pal., 12, 34, 5. The Scholiast calls
+_pappare_ and _lullare_ '_voces mutilas_.' --#minutum#: 'chewed fine,'
+'minced.'
+
+18. #iratus#: 'in a pet.' --#mammae#: exactly our 'mammy;' depends on
+_lallare_, not on _iratus_. --#lallare#: like _pappare_, 'lullaby.'
+'Pettishly refusing to let mammy sing you to sleep' (Conington)-- 'to go
+by-bye for mammy.'
+
+19. #studeam#: G., 258; A., 57, 6. The absolute use of _studere_ is
+post-Augustan. _Desidioso #studere# torqueri est_, Sen., Ep. M., 71, 23.
+--#Cui verba#: sc. _das_?
+
+20. #succinis#: 'sing to an instrument or second to a person,' hence 'to
+sing small' (Conington), 'come whimpering, whining with.' --#ambages#:
+'beating about the bush,' 'shuffling excuses.' _Quando pauperiem, missis
+#ambagibus#, horres_, Hor., Sat., 2, 5, 9. --#tibi luditur#: _Tua res
+agitur_, 'it is your game,' 'your stake,' 'your affair.' --#effluis
+amens#: with a sudden change of figure. The dissolute young man is
+compared to a cracked jar, from which all the noble 'wine of life'
+(Shaksp., Macbeth, 2, 3) is escaping. The passage in Ter., Eun., 1, 2,
+25, which is often cited in this connection: _Plenus rimarum sum; huc
+atque huc #perfluo#_ refers to 'a leaky vessel,' one who can not keep a
+secret.
+
+21. #contemnere#: A sudden desertion of the metaphor, unless
+_contemnere_ be a technical term, like +apodokimazein+, 'reject on
+test.' Cicero combines _conterere et contemnere_, _contemnere et
+reicere_, _contemnere et pro nihilo putare_. The Scholiast thinks that
+the word is an unhappy reminiscence of Hor., Sat., 2, 3, 14:
+_#contemnere# miser_. --#sonat vitium# = _sono indicat vitium_. _Sonat
+vitium_, like _sapit mare_, 'sounds flawy,' 'has a flawy ring.' The
+Schol. comp. Verg., Aen., 1, 328: _nec vox #hominem sonat#_.
+--#maligne#: 'ill-naturedly,' 'grudgingly,' of that which falls short of
+what was expected. _Maligne respondet_, 'gives a short answer,' 'a dull
+sound.'
+
+22. #viridi#: = _crudo_, 'untempered.' The material is ill-mixed and the
+crock ill-baked (_non cocta_).
+
+23. 'Persius steps back, as it were, while pursuing the metaphor,' is
+Conington's droll defence of Persius's +husteron proteron+. Common
+critics would say that Persius had bungled the figure. --#properandus et
+fingendus#: not necessarily equivalent to _propere fingendus_. Comp.
+Juv., 4, 134: _argillam atque rotam citius #properate#_.
+
+24-43. Persius: 'I know what you are going to say. You have a fair
+estate, you have nothing to dread, you have good connections, you have a
+good position. Away with these baubles. I know you yourself. You live no
+higher life than the dullest sensualist, who knows not what he is
+losing; but the time will come when you will be roused to the
+consciousness of your loss, and your soul must be tortured with the
+expectation of impending ruin and the carking of hidden sin.' --#rure
+paterno#: G., 412, R. 1; A., 55, 3, _c_, R.
+
+25. #far modicum#: _Modicum_ with a sneer. The young man keeps up a show
+of Stoic moderation. --#salinum--patella#: two articles of plate, to
+which every respectable family aspired. Compare the apostle-spoons and
+the candle-cup of the Elizabethan period. The _salinum_ and the
+_patella_ were exempt, when all other gold and silver plate was called
+for to meet the necessities of the state. --#purum et sine labe#:
+literally and metaphorically.
+
+26. #quid metuas#: _ex animo iuvenis_. The young man is supposed to ask
+_quid metuam?_ See v. 19. 'I have nothing to fear on the score of
+poverty.' --#cultrix foci#: The _patella_ was used in the worship of the
+Lares. Conington preserves the possible double sense of 'inhabitant' and
+'worshipper,' by rendering 'a dish for fireside service.' --#secura#:
+'that knows no fear' (of want).
+
+27. #hoc satis?# This is very well, but is it enough? --#an deceat#: The
+connection is not very plain, and Jahn thinks that another person is
+apostrophised. Persius is attacking the same man, now as to his fortune,
+now as to his family. That this is not clearly brought out, is simply
+his own fault. --#ventis#: 'with airs' (Pretor). See 4, 20.
+
+28. #stemmate#: Abl. as a whence-case. 'Comp. Juv., 8, 1-6; Suet., Nero,
+37. These _stemmata_ were genealogical trees or tables of pedigree, in
+which the family portraits (_imagines_) were connected by winding lines.
+Comp. _#stemmata# vero lineis discurrebant ad imagines pictas_, Plin.,
+H. N., 25, 2, and _multae #stemmatum# flexurae_, Sen., de Benef., 3, 28'
+(Pretor, after Jahn). --#Tusco#: The Etruscans were great sticklers for
+family, as Persius well knew. Comp. Hor., Od., 3, 29, 1; Sat., 1, 6, 1;
+Prop., 4, 9, 1. Your aristocratic philosopher can afford to be
+disdainful of birth. A Stoic commonplace: _si quid est aliud in
+philosophia boni, hoc est quod #stemma# non inspicit_, Sen., Ep., 44, 1.
+--#ramum# = _lineam_. --#millesime#: 'a thousand times removed'
+(Pretor). On the case, 1, 123. Conington recognizes a side-thrust, and
+compares Savage's 'No _tenth_ transmitter of a foolish face.'
+
+29. #censoremne#: So Casaubon. Jahn (1868) reads _-que_, thus abandoning
+the reading which is best supported by MSS., but utterly unsupported by
+grammar, _-ve_. The careless use of _vel_ after _ve_ is one of those
+slips that are simply incredible, nor can _-ve-- vel_ be successfully
+defended by connecting the latter closely with _trabeate_. Pretor
+explains, 'because you have a censor in your family, or are yourself a
+knight of distinction (sc. _quodve censorem tuum salutas vel quod ipse
+trabeatus es_)'. Heinr.'s conjecture, _fatuum_, with a reference to the
+censorship of Claudius, is itself almost fatuous. If we are to resort to
+conjecture, Heinr.'s other suggestion, _vetulum_, would be mild. Jahn
+explains this line (after Niebuhr) of the _municipales equites_,
+'Because you are a great man in your own provincial town.' Comp. 1, 129.
+'In any case the allusion is to the annual _transvectio_ of the
+_equites_ before the censor, who used to review them (_recognoscere_) as
+they defiled before him on horseback. If _censorem_ is understood of
+Rome, _tuum_ will imply that the youth is related to the Emperor, like
+Juvenal's Rubellius Blandus, 8, 40; otherwise it means "your local
+censor"' (Conington). --#trabeate#: The _trabea_ is the official dress
+of the _equites_. Comp. 1, 123.
+
+30. #ad populum phaleras#: 'The _phalerae_ included all the trappings of
+the horse and rider. They were on occasion much ornamented with metal,
+and Polybius (6, 23) says that they were given as rewards of merit to
+cavalry soldiers' (Pretor, after Jahn). 'To the mob with your trappings,
+your stars and garters.' --#intus et in cute#: 'inside and out;' a rough
+equivalent. _In cute_ (Gr. +en chr�+) means 'closely' ('to a dot, a T').
+See Lexx. s.v. +chr�s+.
+
+31. #non pudet#: 'You are not ashamed?' (you ought to be). See G., 455.
+--#discincti#: Comp. _#discinctus# aut perdam #nepos#_, Hor., Epod., 1,
+34 (Schol.). The _discinctus_ is 'a man of loose habits.' --#Nattae#:
+taken at random from Hor., Sat., 1, 6, 124.
+
+32. #stupet#: +anaisth�tei+ (Casaubon). He is 'past feeling,' his
+conscience is benumbed, is 'seared with a hot iron.' --#fibris increvit
+opimum pingue#: 'his heart is overgrown with thick collops of fat'
+(Conington). The Scriptural parallels are familiar: Psa., 119, 70;
+Matt., 13, 15; John, 12, 40. The Delphin ed. comp. Tertull., de Anima,
+20: _#Opimitas# impedit sapientiam._ On _opimum pingue_, comp. 1, 107.
+
+33. #caret culpa#: Perhaps because the Stoic would not hold him
+responsible, Epictet., Diss., 1, 18. Conington well remarks that
+Casaubon's quotation from Menand., Mon., 430-- +ho m�den eid�s ouden
+examartanei+-- does not meet the case. In Menander we have to do with 'a
+sin of ignorance' against others. Here the sin is against the man's own
+nature. Possibly _culpa_ is = _conscientia culpae_.
+
+34-43. The terrors of remorse.
+
+34. #rursum non bullit#: 'he makes no bubbles,' 'makes no further
+struggles,' 'he is down among the dead men.'
+
+36. #velis#: 'deign.' _Velle_ gives a reverential turn to the wish.
+
+37. #moverit#: Perf. Subj. Attraction of mood. G., 666; A., 66, 2.
+--#ferventi tincta veneno#: The _gelidum venenum_ chills, this poison
+fires the blood. Comp. Alciphr., 1, 37, 3: +thermoteron pharmakon+, of a
+love potion. _Occultum inspires #ignem# fallasque #veneno#_, Verg.,
+Aen., 1, 688. _Tincta_ is a reminiscence of the shirt of Nessus and the
+bridal-gift of Medea to Glauc�.
+
+38. #intabescant#: belongs to the same sphere of comparison.
+_Intabescere_, +katat�kesthai+, is hopeless pining for a lost love.
+Comp. Theocr., 1, 66; 11, 14. For the figure, see Ov., Met., 3, 487: _ut
+#intabescere# flavae_ | _igne levi cerae-- solent, sic attenuatus amore_
+| _liquitur_. --#relicta#: sc. _virtute_. Conington comp. Verg., Aen.,
+4, 692: _quaesivit caelo lucem ingemuitque #reperta#_. _Relicta_ = _quod
+religuerint_.
+
+39. #anne# = _an_. --#Siculi iuvenci#: Every one has heard of the brazen
+bull made by Perillus for Phalaris of Agrigentum, Cic., Off., 2, 7, 26,
+and the sword of Damocles, in the next verse, is a proverb in English.
+Comp. Hor., Od., 3, 1, 17; Cic., Tusc. Dis., 5, 21, 61. --#aera#: poet.
+Plur. Vivid personification and identification.
+
+40. #auratis laquearibus# = _de a. l. Laquearibus_, 'sunken panels
+(_lacus_) between the cross-beams of the ceiling.' See Verg., Aen., 1,
+726. --#ensis#: a poetic word, 'glaive,' 'brand.'
+
+41. #purpureas cervices#: Damocles was arrayed in royal purple; hence
+_purpureas_ (Casaubon). Others apply the expression to tyrants
+generally. Comp. Hor., Od., 1, 35, 12: _purpurei tyranni_.
+
+42. #imus#: Better to have a sword hanging by a hair over your neck than
+yourself to be hanging above an abyss of misery. The commentators refer
+to Tiberius's letter to the senate (Tac., Ann., 6, 6; Suet., Tib., 67),
+by way of illustrating the shuddering perplexity of the sinful tyrant.
+--#dicat#: The subject is loosely involved. --#intus | palleat#: This
+'not very intelligible expression' (Conington) is paralleled by Shaksp.,
+Macb., 2, 2: 'My hands are of your color, but I shame | to wear a heart
+so _white_.'
+
+43. #quod#: dependent on the notion of fear contained in _pallere_. G.,
+329, R. 1; A., 52, 1, _a_. --#proxima uxor#: 'the wife at his side,'
+'the wife of his bosom.' --#nesciat#: 'is not to know.'
+
+44-51. You have not the excuse of an unenlightened conscience, nor have
+you the plea of the ignorance of boyhood. Boys will be boys. I was a boy
+myself, played boyish tricks, loved boyish sports. My training was bad,
+my behavior only to be justified by my training.
+
+44. #parvus#: 'as a small boy:' _Memini quae plagosum #mihi parvo#_ |
+_Orbilium dictare_, Hor., Ep., 2, 1, 70. --_olivo:_ The boy would tip
+(_tangere_) his eyes with oil, in order to make believe, by the use of
+the remedy, that he was suffering from the disease. For the anointing of
+sore eyes, see Hor., Sat., 1, 8, 25; Ep., 1, 1, 29.
+
+45. #grandia#: 'sublime.' _Grandia verba_ is the American 'tall talk.'
+--#nollem#: Iterative conditional. G., 569, R. 2; A., 59, 5, _b_.
+--#morituri Catonis#: Such compositions were very much in vogue as
+rhetorical exercises. Comp. Juv., 1, 16 (oration to Sulla, advising a
+withdrawal from public life); 7, 161 (speech made for Hannibal). Seneca
+(Ep., 24, 6) does not seem to regard the theme of Cato's death as
+threadbare.
+
+46. #discere#: better than _dicere_. The boy shirks the learning rather
+than the speaking, and the sore eyes would be a better excuse for the
+one than for the other. --#non sano#: Comp. Petron., cap. 1; Tac., Or.,
+35, on this system of training. Hermann reads _et insano_. --#laudanda#
+= _quae laudaret_, the free adjective use of the Gerundive, which is
+more common in later times.
+
+47. #quae pater audiret#: Juv., 7, 166: _ut totiens illum #pater
+audiat#_. --#sudans#: from excitement; hardly 'in a glow of perspiring
+ecstasy' (Conington). _Sudans_ is thrown in maliciously as a comment.
+
+48. #iure#: +eikot�s+, 'and well I might.' --#etenim#: is +kai gar+.
+Theoretically the predicate of the preceding sentence is to be repeated
+with the _et_. Practically it is often best to leave _et_ untranslated.
+G., 500, R. 2 and 3; A., 43, 3, _d_. --#senio#, etc.: 'The game was
+played with four _tali_, which, unlike the _tesserae_, were rounded on
+two sides, while the other four faces were marked with one, three, four,
+or six pips, and called respectively _unio_, _ternio_, _quaternio_,
+_senio_. The _canis_ was the worst throw, when all four _tali_ showed
+single pips (Ov., A. A., 2, 206; Trist., 2, 474; Mart., 13, 1, 6; Prop.,
+4, 8, 46), and the _Venus_ the best, when all the faces turned up were
+different (Lucian, Amor., p. 415); or else, for it varied upon occasion,
+when all showed sices. The ace was a losing throw and the sice a winning
+one, when the pips were counted' (Pretor, after Jahn). Persius wanted to
+know the value of each throw, what one brought in (_ferret_) another
+swept off (_raderet_).
+
+49. #scire erat in voto#: _Hoc #erat in votis#_, Hor., Sat., 2, 6, 1.
+
+50. #angustae collo non fallier orcae#: The allusion is to a game at
+_nuces_, called +tropa+ or 'cherry-pit.' ''Tis not for gravity to play
+at _cherry-pit_ with Satan,' Shaksp., Twelfth N., 3, 4. Fr. _� la
+fossette_. Comp. Rabelais, 1, 2. The modern equivalent of _nuces_ is
+marbles, and the modern +tropa+ is 'pitch-in-the-hole,' or 'knucks.'
+Instead of the hole in the ground (+bothros+), the ancients used a small
+jar (_orca_), and to enhance the difficulty of getting in, the neck of
+this jar was made narrow (_collo angustae orcae = angusto collo orcae_,
+by Hypallag�, v. 4). So the modern hole admits but one marble. Comp.
+[Ov.] Nux, 85, 86: _Vas quoque saepe cavum spatio distante locatur, | in
+quod missa levi nux cadat #una# manu._ --#fallier#: like _dicier_, 1,
+28.
+
+51. #neu quis# = _et ne quis_. G., 546. '_Et [erat in voto] ne quis
+callidior [esset]._' --#buxum#: 'top,' because made of 'boxwood.' Comp.
+Verg., Aen., 7, 382: _volubile #buxum#_. --#torquere#: See Prol., 11,
+and 1, 118.
+
+52. You have had a better training. You have reached years of
+discretion. You know Right from Wrong. --#curvos# = _pravos_. Comp.
+_scilicet ut possem #curvo# dinoscere rectum_, Hor., Ep., 2, 2, 44, and
+Persius, 4, 12; 5, 38.
+
+53. #quaeque docet#: _Quae_ depends by Zeugma on some notion involved in
+_deprendere_, such as _tenere_. G., 690; M., 478, Obs. 4. --#sapiens
+porticus#: Comp. _sapientem barbam_, Hor., Sat., 2, 3, 35; _eruditus
+pulvis_, Cic., N. D., 2, 18, 48. --#bracatis inlita Medis#: The +stoa
+poikil�+, the resort of Zeno and his school, was adorned with paintings
+by Polygnotus and others. One of these paintings represented the battle
+of Marathon, hence 'the wise Porch bepainted with the trouser'd Medes.'
+_Inlita_ perhaps contemptuous, not necessarily 'frescoed.' The _bracae_
++anaxurides, thulakoi+, a mark of barbaric luxury and display. Comp.
+Prop., 4, 3, 17: _Tela fugacis equi et #bracati militis# arcus_ and
+_Persica braca_, Ov., Tr., 5, 10, 34 (Freund). --#quibus#: Neuter.
+_Quibus et = et quibus._ Trajection, G., 693. --#detonsa#:
+'close-cropped,' for so the Stoics wore their hair, although they let
+their beard grow long +en chr� kouriai+, Luc., Hermot., 18; Vit. Auct.,
+20. Comp. Juv., 2, 15: _supercilio brevior coma_.
+
+55. #invigilat#: 'rather tautological after _insomnis_. _Nec capiat
+somnos #invigiletque# malis_, Ov., Fast., 4, 530' (Conington). Positive
+and negative sides of an action are more frequently combined in Latin
+and Greek than in English, and 'sleepless vigil' would not be strange
+even in English. --#siliquis#: 'pulse.' Hor., Ep., 2, 1, 123: _vivit
+[vates] #siliquis# et pane secundo_. --#grandi polenta#: 'mighty messes
+of porridge;' coarse, thick stuff (Macleane). '_Polenta_, +alphita+,
+"pearl barley," a Greek, not a Roman dish (Plin., H. N., 18, 19, 28),
+mentioned as a simple article of diet by Attalus, Seneca's preceptor
+(Ep., 110, 18)' (Conington, after Jahn).
+
+56. #Samios# = Pythagorean, from Pythagoras of Samos. 'And the letter,
+which is disparted into Samian branches, has pointed out to you the
+steep path whose track is on the right.' --#diduxit#: as demanded by the
+sense against the MSS., which have _deduxit_. --#littera#: The letter
++Y+, or rather its old form [[symbol]], was selected by Pythagoras to
+embody the immemorial image of the two paths (Hesiod, O. et D.,
+287-292), so familiar in the apologue of Hercules at the cross-roads
+(Xen., Comm., 2, 1, 20), and alluded to again by our author, 5, 34.
+Hence this letter was called the Pythagorean; Auson., Id., 12, de litt.
+monos., 9: _#Pythagorae# bivium ramis patet ambiguis_ +Y+ (comp. also
+Id., 15, 1: _quod vitae sectabor iter?_) Hence the _rami Samii_ above.
+'The stem stands for the unconscious life of infancy and childhood, the
+diverging branches for the alternative offered to the youth, virtue or
+vice' (Conington).
+
+57. #surgentem#: The path to the right is the _surgens callis_ of
+Persius, the +orthios oimos+ of Hesiod. The character itself points
+upward, and the right-hand path is a clear-cut line (_limes_), so that
+there is no mistaking the road, unless you are bent on following
+Shakspeare's 'primrose path of dalliance,' instead of 'the steep and
+thorny path to heaven.'
+
+58. #stertis adhuc#: The preacher finds his audience still snoring,
+despite his eloquence. As _stertis_ can not be divorced from what
+follows, it is better to take it as an exclamation than as a rhetorical
+question. --#laxumque caput#, etc.: 'Your head a-lolling with its
+coupling loose, yawns a yawn of yesterday with jaws unhinged at every
+point.' The head is _laxum_ on account of its weight. Comp. +kar�barein+
+Alciphr., 3, 32, and Menand., fr. 67 (4, 88 Mein.).
+
+59. #oscitat hesternum#: 'Yawning off yesterday' (Conington); the yawn
+is yesterday's yawn, because it comes from yesterday's debauch, Alexis,
+fr. 277 (3, 515 Mein.). --#undique#: 'from all points of the compass'
+(Conington), 'an intentional exaggeration for _utraque parte_.'
+--#malis#: Jahn's _malis?_ (1843) is not good. The description is too
+minute for the interrogative form.
+
+60. #est aliquid#: Ironical; hence the expectation of a negative answer
+is suppressed. G., 634, R. 1; A., 65, 2, _a_. --#quo# = _in quod_.
+Schl�ter combines with _tendis arcum_. --#in quod#: The other reading,
+_in quo_, is unsatisfactorily defended by Hermann and Pretor.
+
+61. 'A wild-goose chase' is the corresponding English expression for the
+Latin _corvos sequi_, the Greek +ta petomena di�kein+. 'Each word is
+carefully selected. Thus the chase is a random one (_passim_), the
+object worthless (_corvos_), the missile any thing that comes first to
+hand' (Pretor, after Jahn). Jahn refers further to Aeschyl., Ag., 394
+(Dind.): +di�kei pais potanon ornin+. Familiar is Eurip.: +pt�nas
+di�keis, � teknon, tas elpidas+.
+
+62. #ex tempore#: 'for the moment,' 'at the beck of the moment,' 'by the
+rule of the moment' (Conington).
+
+63-76. A general preachment begins. Wake up, you snorer. Wake up, all
+you snorers. You are all sick, or all threatened with sickness. Do not
+postpone the remedy until it is too late. That remedy is to be found in
+the principles of true wisdom; in other words, in the doctrines of the
+Stoic creed. Before the sermon is finished, the preacher notices an
+unfriendly stir in his audience, and is punching a member of his
+congregation when he is interrupted.
+
+63. #helleborum#: The black hellebore this time (1, 51). The black was
+good for dropsy, Plin., H. N., 25, 5, 22. It was the great 'purger of
+melancholy.' --#cutis aegra tumebit#: Comp. vv. 95, 98. --#venienti
+occurrite morbo#: Every one will remember the well-worn Ovidian
+_Principiis obsta_, R. A., 91. The comparison of moral with physical
+disease was a favorite topic with the Stoics, who overdid it, according
+to Cic., Tusc. Dis., 4, 10, 23.
+
+64. #poscentis#: Elsewhere Persius uses after _video_ the less vivid
+Infinitive, 1, 19. 69; 3, 91. On the difference, see G., 527, R. 1; A.,
+72, 3, _d_. So after _facio_, 1, 44.
+
+65. #quid opus#: G., 390, R.; A., 52, 3, _a_. --#Cratero#: More
+bookishness. Craterus was a famous physician of the time of Cicero.
+Hor., Sat., 2, 3, 161. --#magnos promittere montis#: A proverbial
+phrase, which survives in several modern languages: Fr. _monts et
+merveilles_; Germ. _goldene Berge versprechen_. Jahn compares Ter.,
+Phormio, 1, 2, 18: _modo non #montis# auri pollicens_; Heinr., Sall.,
+Cat. 23: _maria #montis#que polliceri coepit_.
+
+66. #discite o#: To remove the hiatus, Barth suggested _io_, Guyet
+_vos_. Hor., Od., 3, 14, 11: _male ominatis_, is not a parallel for the
+hiatus, even if the reading be correct, and the parallel in Catull., 3,
+16, is conjectural. --#causas cognoscite rerum#: Comp. Verg., Georg., 2,
+490: _Felix qui potuit #rerum cognoscere causas#_, and _sapientia est
+rerum divinarum et humanarum #causarumque scientia#_, Cic., Off., 2,
+2, 5. On the connection of the different articles of this catechism, see
+Knickenberg, l.c. p. 35 seqq. _Discite_ is the exhortation to the study
+of philosophy. _Causas cognoscite rerum_ bids us pursue what the Stoics
+called Physic, for without a knowledge of nature there can be no
+knowledge of duty. Ethic is based on Physic; +telos esti to
+homologoumen�s t� phusei z�n+ (Stob., Ecl., 2, 132). See Long's
+_Antoninus_, p. 56. The constitution of nature once understood, we shall
+know what we owe to God, what to ourselves, what to mankind, what things
+are good, what evil. _Quid fas optare_ refers to our duty to God, _quem
+te deus esse iussit_ to our duty to ourselves, _patriae carisque
+propinquis_ to our duty to our neighbors. But nothing is more evident
+than the absence of any logical development. Comp. with the whole
+passage, Sen., Ep., 82, 6: _sciat quo iturus sit, unde ortus, quod illi
+bonum, quod malum sit, quid petat, quid evitet, quae sit illa ratio quae
+appetenda ac fugienda discernat, qua cupiditatum mansuescit insania,
+timorum saevitia conpescitur_.
+
+67. #quid sumus#: The independent form with the Indicative is more
+lively; the regular dependent form with the Subjunctive comes in below,
+v. 71. G., 469, R. 1; A., 67, 2, _d_. --#quidnam# = _quam vitam_. G.,
+331, R. 2; A., 52, 3, _a_, N. --#victuri#: The use of the Participle in
+an interrogative clause is unnatural in English (G., 471). The future
+Participle of purpose is late or poetical (G., 673; A., 72, 4, _a_).
+'And what the life that we are born to lead.' --#ordo#: According to
+Heinr. and Jahn _ordo_ is used with reference to the position in the
+chariot-race, so that the comparison begins here, and not at _metae_.
+Soph., El., 710: +stantes d' hin' autous hoi tetagmenoi brabeis |
+kl�rois ep�lan kai katest�san diphrous+. But as +taxis+ (_ordo_) is a
+Stoic term, it is not unlikely that the use of the word suggested the
+figure, which came in as an after-thought. The Stoic preacher, as well
+as the Christian, finds it necessary to repeat himself in slightly
+different forms, and we must not look for a sharp distinction between
+_ordo quis datus_ and _humana qua parte locatus es in re_, between
+_quidnam victuri gignimur_ and _quem te deus esse iussit_.
+
+68. #quis# = _qui_. So 1, 63. G., 105; A., 21, 1, _a_. --#qua et unde#:
+where (how) it lies and from what point to begin, 'where to take it'
+(Conington). Herm.'s _quam_ is not so good. --#metae flexus#: 'turn
+round the goal.' The difficulty of rounding the goal in a chariot-race
+is notorious. See Il., 23, 306 foll.; Soph., El., 720 foll., and the
+commentators on Plato, Io, 537. With the expression _metae flexus_ Jahn
+comp. Stat., Theb., 6, 433: _flexae-- metae_. _Mollis_, 'gradual,'
+'easy.' So Caes., B. G., 5, 9: _#molle# litus_, of a gently sloping
+shore.
+
+69. #quis modus argento#: The Sixth Satire deals with a similar theme.
+--#quid fas optare#: the argument of the Second Satire. --#asper
+nummus#: 'coin fresh from the mint,' 'rough from the die,' Suet., Nero,
+44. So Jahn. Others consider this distinction too subtle, and make
+_a. n._ simply equivalent to 'coined silver,' as opposed to 'silver
+plate,' _argentum_. Conington suggests the meaning, 'What is the use of
+money hoarded up and not circulated (_tritus_)?' Comp. Hor., Sat., 1, 1,
+41 foll., 73: _nescis quo valeat nummus? quem praebeat usum?_
+
+70. #carisque propinquis#: Hor., Sat., 1, 1, 83.
+
+72. #locatus#: 'posted,' +tetagmenos+, 'a military metaphor' (Arrian,
+Diss., 1, 9, 16; M. Anton., 11, 13). --#humana re#: 'humanity,' _inter
+homines_.
+
+73. #disce, nec invideas#: sc. _discere_, according to Jahn. _His te
+quoque iungere, Caesar | #invideo#_, Lucan., 2, 550, like +phthonein: m�
+#phthonei# moi apokrinasthai touto+, Plat., Gorg., 489A. Persius singles
+out one of his audience, who is tempted away from philosophy by his
+gains as an advocate. Others, less satisfactorily, suppose that the
+lawyer is outside of the congregation. On _#nec# invideas_, see 1, 7.
+--#multa fidelia putet#: 'Many a jar of good things is spoiling;' 'The
+details are contemptuous. There is a coarseness in fees paid in kind'
+(Conington). Comp. Juv., 7, 119. --#pinguibus Umbris#: 'fat' in every
+sense, in figure, in fortune, and in wit. In Mart., 7, 53, an Umbrian
+sends by eight huge Syrian slaves a miscellaneous lot of presents, value
+30 nummi-- a proceeding due as much to stupidity as to stinginess
+(_parcus Umber_, Cat., 39, 11). The appearance of the Umbrians was not
+prepossessing, if we may judge by Ovid's portrait of an Umbrian dame
+(A. A., 3, 303-4).
+
+75. #et piper et pernae#: The _piper_ is not the Indian, but the
+inferior Italian (Plin., H. N., 12, 7, 4; 16, 32, 59) (Meister).
+_Pernae_, a stock present. Comp. _siccus #petasunculus# et vas |
+pelamydum_, Juv., 7, 119. To supply _putet_ with _piper_ is not
+satisfactory, and we must take refuge in Zeugma. Pretor is for dropping
+v. 75, and sees in Persius's awkwardness traces of a _duplex recensio_,
+as in vv. 12-14. --#Marsi#: For the simplicity of the Marsians, Jahn
+compares Juv., 3, 169; 14, 180.
+
+76. #mena#: 'sprat,' cheap sea-fish of some sort. 'You have not yet come
+to the last sprat of the first barrel' (Conington). --#defecerit#: As
+_non quod_ more commonly takes the Subjunctive, the shifting to the
+Subjunctive from the Indicative, after _nec invideas_, is not strange.
+G., 541, R. 1; A., 66, 1, _d_, R.
+
+77-85. The discourse is cut short by a military man, who, with the
+dogmatism of his class (_vieux soldat, vieille b�te_), sets down all
+philosophers as a pack of noodles. The lines of the picture which he
+draws are familiar to every student of manners. 'Persius hates the
+military cordially (comp. 5, 189-191) as the most perfect specimens of
+developed animalism, and consequently most antipathetic to a
+philosopher. See Nisard, _�tudes sur les Poetes Latins_ [1, 3^e �d.
+273-277; Martha, _Moralistes Romains_, p. 141]. Horace merely glances at
+the education their sons received, as contrasted with that given him by
+his father, in spite of narrow means, Sat., 1, 6, 72. Juvenal has an
+entire satire on them (16), in which he complains of their growing power
+and exclusive privileges, but without any personal jealousy'
+(Conington). Persius is so bookish that I suspect Greek influence. Comp.
++kompsos strati�t�s, oud' ean platt� theos, | oudeis genoit' an+,
+Menand., fr. 711 (4, 277 Mein.). See Introd., xx.
+
+77. #de gente#: G., 371, R. 5; A., 50, 2, _e_, R. 1. _Gente_, 'tribe,'
+'crew.' --#hircosa#: 'Rammish' is not too strong, opposed to
+_unguentatus_ in a fragment of Sen., ap. Gell., 12, 2, 11 (cited by
+Jahn). The unsavory soldier and the perfumed dandy are alike foes to the
+simplicity of the Stoic school. Your old soldier prided himself on his
+stench, as would appear from the dainty anecdote in Plutarch, Mor.,
+180C: +� basileu, tharrei kai m� phobou to pl�thos t�n polemi�n, auton
+gar h�m�n #ton grason# ouch hupomenousi+. --#centurionum#: The rank is
+higher, but the intellectual level is that of the typical German
+_Wachtmeister_.
+
+78. #Quod sapio satis est mihi#: Jahn (1868); _Quod satis est sapio
+mihi_, Jahn (1843), Herm. With the latter reading the words _quod satis
+est = satis_ must be taken together, and a little more stress is laid on
+_mihi_. The general sense is the same. Comp. Plato, Phaedr., 242C:
++h�sper hoi ta grammata phauloi #hoson emaut� monon# hikanos+, with a
+very different tone. --#non ego#: 'no-- not I.' See 1, 45. --#curo#:
+'care,' i.e., 'want.' See 2, 18.
+
+79. #Arcesilas#: Arcesilaus, the founder of the New Academy, flourished
+about 300 B.C. His great advance on Socrates was his knowing that he did
+not even know that he knew nothing, Cic., Acad., 1, 12, 45. Solon
+flourished about 600 B.C. Our hircose friend is made to jumble his
+samples. --#aerumnosi Solones#: Notice the contemptuous use of the
+Plural. _Aerumnosus_, +kakodaim�n+, 'God-forsaken,' 'poor devil,' is a
+strange epithet for Solon, but we have to do with an ignoramus and a
+jolter-head.
+
+80. #obstipo capite#: 'with stooped head,' 'bent forward,' +kekuphotes+.
+Hor., Sat., 2, 5, 92: _Davus sis comicus atque | stes capite #obstipo#,
+multum similis metuenti._ Comp. the description of Ulysses in Il., 3,
+217 foll. --#figentes lumine terram#: Jahn quotes a parallel from Stat.,
+Silv., 5, 1, 140. More common forms are _figere lumina terra, in humo,
+in terram_. 'They bore the ground with their eyes,' 'look at it as if
+they would look through it.' Casaubon comp. Plat., Alcib. II., 138A. Add
+Lucian, Vit. Auct., 7; Aristaenet., 1, 15.
+
+81. #murmura#: Imitated by Auson., Id., 17, 24: _murmure concluso
+rabiosa silentia rodunt_. --#rabiosa#: 'Mad dogs do not bark.'
+--#silentia#: Poetic Plural; very common. --#rodunt#: 'biting the lips
+and grinding the teeth.' 'Whether _murmura_ and _silentia_ are
+Accusatives of the object, or cognates, is not clear' (Conington).
+'Chewing the cud of mumbled words and mad-dog silence' is very much in
+the vein of Persius. Comp. _rarus sermo illis et magna libido tacendi_,
+Juv., 2, 14.
+
+82. #exporrecto trutinantur#: The lips are thrust out (a sign of deep
+thought) and quiver like a balance; hence they are said 'to poise their
+words upon the quivering balance of a thrust-out lip'-- a caricature of
+the simple figure _ponderare verba_. Jahn compares Luc., Hermot., 1, 1:
++kai #ta cheil� diesaleues# �rema hupotonthoruz�n+; and Casaubon,
+Aristaen., 2, 3: +�rema #t� cheil� kinei# kai atta d�pou pros heauton
+psithurizei+.
+
+83. #aegroti veteris#: The _aegri somnia_ of Hor., A. P., 7. As usual,
+Persius exaggerates, and makes the sick man (_aegroti_) a dotard to boot
+(_veteris_). Jahn understands, 'a confirmed invalid.' Comp. Juv., 9, 16:
+_#aegri veteris# quem tempore longo | torret quarta dies_, etc. --#gigni
+| de nihilo nihilum#: The cardinal doctrine of Epicurus (Lucr., 1, 150),
+but not confined to him.
+
+85. #hoc est quod palles#: G., 331, R. 2; A., 52, 1, _b_. Comp. 1, 124.
+The Cognate Accusative is susceptible of a great variety of
+translations. 'Is this the stuff that you get pale on?' (Pretor). 'Is
+this what makes you pale?' --#prandeat#: The _prandium_, originally a
+military meal, was dear to the military stomach. Comp. _#impransi#
+correptus voce magistri_, Hor., Sat., 2, 3, 257.
+
+86. #his#: Abl. Conington makes it a Dative, and cites an evident Abl.
+to prove it, Verg., Aen., 4, 128. Jahn comp. Hor., Sat., 2, 8, 83:
+_ridetur fictis rerum_. --#multum#: with _torosa_, according to Jahn.
+
+87. Conington notices the grandiloquence of the line. 'Cloth of frize'
+is often 'matched' with 'cloth of gold' in Persius. --#naso crispante#:
+'curling nostrils.' The mob laughs, the soldiers snicker. The listening
+rabble is frankly amused. The crew to which the centurion belongs sneer
+too much to laugh out. Or perhaps the poet makes the distinction between
+the general _ridere_ (+gelan+) and the mocking laughter of _cachinnare_
+(+kanchazein+).
+
+88-106. It is strange, as Pretor observes, that the sudden change
+introduced by this line should not have been noticed by the
+commentators. With a more mature artist there would be a suspicion of
+dislocation. As it is, the unity of the Satire would gain by omitting
+66-87. Persius composed slowly, and we find here as elsewhere traces of
+piecemeal work.
+
+The preacher takes up his parable. A man feels sick, consults a
+physician, lies by; is more comfortable, takes a fancy to a bath and a
+draught of wine. He meets a friend, perhaps his medical friend, on the
+way. 'My dear fellow, you are pale as a ghost.' --'Pshaw!' --'Look out!
+You are yellow as saffron, and bless me! if you are not swelling.'
+--'Pale? Why, you are paler than I am. Don't come the guardian over me.
+My guardian has been dead a year and a day.' --'Go ahead, I'm mum.' --He
+goes ahead, stuffs himself, takes his bath. While he is drinking a chill
+strikes him, and he is a dead man. No expense spared on the funeral.
+'You can't mean that for me,' says a literalist. 'If I'm sick, you are
+another. I have no fever, no ague.' Nay, but you are subject to the
+worst of diseases-- to the fever of covetousness, the fever of lust, to
+daintiness with its sore mouth, to fear with its cold chill, and, worse
+than all, to the raging delirium of anger.
+
+88. #inspice#: +episkepsai+, a medical term. Comp. Plaut., Pers., 2, 5,
+15. --#nescio quid#: G., 469, R. 2; A., 67, 2, _e_. _Quid_ is the
+Accusative of the Inner Object. 'I have a strange fluttering at my
+heart.' --#aegris#: 'out of order.' As _aegris_ is emphatic, co-ordinate
+in English. There is 'something wrong about my throat _and_--'
+
+89. #exsuperat#: Neuter. Comp. _#exsuperant# flammae_, Verg., Aen., 2,
+759. --#gravis#: 'foul.' So Ov., A. A., 3, 277: _#gravis# oris odor_.
+--#sodes#: The original form is commonly supposed to be _si audes_
+(_saudes_), Plaut., Trin., 2, 1, 18; from _audeo_ (comp. _avidus_), 'if
+you have the heart,' 'an thou wilt,' A., 35, 2, _a_. Others put _sodes_
+under SA (pron.), as akin to _sodalis_, and comp. +�theios+, 'own dear
+friend,' '_mon cher_.' See Vanicek, _Lat. Etym. Wb._, S. 165. _Sodes_ =
+_socius_ is an old tradition.
+
+90. #requiescere#: 'keep quiet.' --#postquam vidit#: with a causal
+shade. See 5, 88; 6,10, and G., 567; A., 62, 2, _e_.
+
+91. #tertia nox#: The patient thinks that he has the more common
+semitertian, whereas he has the quartan. When the third night comes
+without a chill, he fancies that he is safe.
+
+92. #de maiore domo#: The 'great house' is clearly that of a rich
+friend, rather than that of a large dealer. Casaubon compares Juv., 5,
+32: _cardiaco numquam cyathum, missurus amico_. --#modice sitiente
+lagoena#: Thirst and capacity are near akin; a flagon of moderate thirst
+is a flagon 'of moderate swallow,' as Conington renders it. The
+personification of the flagon is old and not uncommon. See the humorous
+epigram, Anthol. Pal., 5, 135.
+
+93. #lenia Surrentina#: _Lenia_ is either 'mild' or 'mellow.' The
+Surrentine was a light wine often recommended to invalids, Plin., H. N.,
+14, 6, 8; 23, 1, 20. --#loturo#: He asks _before_ bathing; he drinks
+_after_ bathing. For the custom Jahn compares Sen., Ep., 122, 6.
+--#rogabit#: So Jahn (1868) and Hermann. Jahn (1843) reads _rogavit_,
+like the Greek Aorist in descriptions. The Future makes it more
+distinctly a supposed case.
+
+94. #videas#: rather optative than imperative in its tone.
+
+95. #surgit#: 'is swelling,' 'getting bloated.' --#tacite#: 'insensibly'
+(Conington). --#pellis#: 'hide.' Comp. Juv., 10, 192: _deformem pro cute
+#pellem#_.
+
+96. #At tu deterius#: _Le trait est comique. Ce serait de la gaiet�, si
+Perse savait rire_, Nisard. --#ne sis mihi tutor#, etc.: Proverbial. So
+Hor., Sat., 2, 3, 88: _ne sis patruus mihi_.
+
+97. #iam pridem sepeli#: Comp. _Omnes composui. Felices! Nunc ego
+resto_, Hor., Sat., 1, 9, 28. _Sepeli_ for _sepelii_ (_sepelivi_),
+a rare contraction. --#turgidus his epulis#: Hor., Ep., 1, 6, 61: _crudi
+#tumidique# lavemur_, and comp. Juv., 1, 142 seqq: _paena tamen
+praesens, cum tu deponis amictus | #turgidus# et crudum pavonem in
+balnea portas | hinc subitae mortes atque intestata senectus_. --#hic#:
+'our man.' --#albo ventre#: _Turgidus epulis_ is one feature, _albo
+ventre_ another. _Ventre_ does not depend on _turgidus_. The color
+(+leukos+) is a sign of weakness and sickness. The swollen belly makes a
+ghastly show. --#lavatur#: 'takes his bath.' Comp. G., 209; A., 39, _c_,
+N.
+
+99. #sulpureas mefites#: _Mefitis_ is originally the vapor from
+sulphur-water; hence the propriety of the epithet _sulpureas_.
+
+100. #calidum triental#: The wine was heated to bring out the sweat.
+_Bibere et sudare vita cardiaci est_, Sen., Ep., 15, 3. --#triental#:
+restored by Jahn (1843) for _trientem_, to which he returned in 1868.
+_Triens_ is the measure, 1/3 sextarius, _triental_ would be the vessel.
+Comp. with this passage Lucil., 28, 39-40 (L. M.): _ad cui? quem febris
+una atque una +apepsia+ | vini inquam #cyathus# unus potuit tollere_.
+
+101. #crepuere#: Vivid Aorist, not a simple return to the narrative
+form. Comp. 5, 187. For the Greek, which Persius imitates, see K�hner,
+_Ausf. Gramm._ (_2te Ausg._), 2, 138. --#retecti#: He shows his teeth
+when he chatters.
+
+102. #uncta#: Remember the large use of oil in Italian cookery.
+--#cadunt# = _vomuntur_, but there is a certain helplessness in
+_cadunt_. --#pulmentaria#: originally +opson+, 'relish,' afterward
+'dainties.' See the Dictionaries.
+
+103. #hinc#: 'hereupon.' --#tuba#: Trumpets announced the death, and
+trumpets were sounded at the funeral. See Hor., Sat., 1, 6, 42.
+--#candelae# = _cerei_, 'wax lights,' supposed by Jahn and others to
+have been used chiefly when the death was sudden, on the basis of Sen.,
+Tranq., 11, 7. --#tandem#: 'After all the preliminary performances'
+(Macleane). --#beatulus#: +makarit�s+. Jahn cites Amm. Marcell., 25, 3:
+_quem cum #beatum# fuisse Sallustius respondisset praefectus, intellexit
+occisum_. 'The dear departed' (Conington). 'Our sainted friend.'
+--#alto#: A mark of a first-class funeral.
+
+104. #conpositus#: 'laid out.' 'By foreign hands thy decent limbs
+_composed_,' Pope. --#crassis lutatus amomis#: Every word is
+contemptuous: 'bedaubed with lots of coarse ointments.' The Plural
+_amoma_ indicates the cheap display. With _crassis_, comp. Hor., A. P.,
+375: _#crassum# unguentum_; with _amomis_, Juv., 4, 108: _#amomo# |
+quantum vix redolent duo funera_.
+
+105. #in portam#: A custom at least as old as Homer, Il., 19, 212.
+_Porta_ here = _ianua_, _fores_, but 'nowhere else' (Macleane).
+--#rigidas#: The gender of _calx_ is unsteady. See Neue, _Formenlehre_,
+1, 694.
+
+106. #hesterni Quirites#: 'Citizens of twenty-four hours' standing'
+(Conington); slaves left free by him. Hence _capite induto_, with the
+_pilleus_ 'cap of liberty' on. The winding up of the man reminds one of
+Petron., 42: _bene elatus est, planctus est optime, manumisit aliquot_.
+
+107. Persius hauls out his man-of-straw, his _souffre-douleur_, and
+makes him talk. --#Tange venas#: 'Feel my pulse,' the regular
+expression, as in Sen., Ep., 22, 1: _vena #tangenda# est_. --#miser#:
+Comp. v. 15. 'You're another!' 'Poor creature yourself' (Conington).
+--#pone in pectore dextram#: If you are not satisfied with my pulse, put
+your hand on my heart.
+
+108. #nil calet hic#: After some hesitation, I have given the whole
+passage from _Tange miser_ to _non frigent_ to one person, who
+anticipates the verdict of the monitor by _nil calet hic_ and _non
+frigent_. 'You must admit that my heart is not hot nor my feet cold.' At
+the same time the very clearness is an objection.
+
+109. #Visa est si forte#: On the form of the conditional, see G., 569;
+A., 59, 2, _b_. On the obvious thought, see 2, 52 foll.; 4, 47.
+
+111. #rite#: 'regularly.' --#positum est#: 'served up.'
+
+112. #durum holus#: 'tough cabbage,' 'half boiled' (Pretor). --#populi#
+(= _plebis_) #cribro#: 'A coarse, common sieve.' Hence _p. c. decussa
+farina_, 'coarse-bolted flour,' the _panis secundus_ of Horace, Ep., 2,
+1, 123, the 'seconds' of the modern miller. The ancients were very
+dainty in this article. The parasite in Alciphron (1, 21, 2) expresses
+his disgust at the +artos ho ex agoras+.
+
+114. #putre quod haud deceat#: The Relative with the Subjunctive is
+parallel with the Adjective. G., 439, R. Comp. 1, 14. _Haud deceat_, 'it
+won't do,' 'it won't answer.' --#plebeia beta#: The beet is a vulgar
+vegetable, Mart., 13, 13 (Jahn). The irony is evident, as the beet is
+proverbially tender. See Dictionaries, s.v. _betizare_.
+
+115. #excussit#: _Excutere aristas_ seems to be a vulgar expression,
+like the English 'raise a goose-skin, goose-flesh, duck-flesh.'
+--#aristas# = _pilos_. Jahn refers to Varro, L. L., 6, 49. --#timor
+albus#: See note on Prol., 4.
+
+116. #face supposita#: The heart is the caldron and passion the
+fire-brand.
+
+118. #Orestes#: the typical madman.
+
+
+CRITICAL APPENDIX.
+
+SATURA III.
+
+11. #harundo#: arundo, J{a}., H. --12. #querimur#: queritur, J{a}.
+--#umor#: humor, J{a}., H. --13. #quod#: J{a}., H.; sed, J{w}. --14.
+#querimur#: queritur, J{a}. --15. #hucine#: huccine, J{a}., H. --17.
+#pappare#: papare, J{a}. --29. #censoremne#: Casaubon.; censoremque,
+J{w}.; censoremve, J{a}., H. --31. #Nattae?# J{a}., H.; Nattae. J{w}.
+--32. #vitio et#: _om._ et H. --46. #discere non sano#: dicere et
+insano, H. --48. #iure: (;)#: J{a}., H.; iure etenim, J{w}. --53.
+#bracatis#: braccatis, H. --56. #diduxit#: deduxit, H. --58. #adhuc#:
+adhuc? J{a}. --59. #malis!#: malis? J{a}. --60. #in quod#: in quo, H.
+--68. #qua#: quam, H. --73. #nec#: neque, J{a}. --76. #mena#: maena,
+J{a}. --78. #quod sapio satis est mihi#: quod satis est sapio mihi,
+J{a}., H. --89. #alitus#: halitus, J{a}., H. --92. #lagoena#: lagena,
+J{a}., H. --93. #rogabit#: rogavit, J{a}. --94. #istuc#: istud, J{a}.,
+H. --99. #sulpureas exalante#: sulfureas exhalante, J{a}., H.
+--#mefites#: mephites, J{a}. --100. #triental#: J{a}.; trientem, J{w}.,
+H. --105. #rigidas#: rigidos, J{a}. --112. #holus#: olus, J{a}., H.
+
+
+       *       *       *       *       *
+
+
+  SATURA IV.
+
+
+  'Rem populi tractas?' barbatum haec crede magistrum
+  dicere, sorbitio tollit quem dira cicutae
+  'quo fretus? dic hoc, magni pupille Pericli.
+  scilicet ingenium et rerum prudentia velox
+  ante pilos venit, dicenda tacendaque calles.                     5
+  ergo ubi commota fervet plebecula bile,
+  fert animus calidae fecisse silentia turbae
+  maiestate manus. quid deinde loquere? "Quirites,
+  hoc puta non iustum est, illud male, rectius illud."
+  scis etenim iustum gemina suspendere lance                      10
+  ancipitis librae, rectum discernis, ubi inter
+  curva subit, vel cum fallit pede regula varo,
+  et potis es nigrum vitio praefigere theta.
+  quin tu igitur, summa nequiquam pelle decorus,
+  ante diem blando caudam iactare popello                         15
+  desinis, Anticyras melior sorbere meracas!
+  quae tibi summa boni est? uncta vixisse patella
+  semper et adsiduo curata cuticula sole?
+  exspecta, haud aliud respondeat haec anus. i nunc
+  "Dinomaches ego sum," suffla "sum candidus." esto;              20
+  dum ne deterius sapiat pannucia Baucis,
+  cum bene discincto cantaverit ocima vernae.'
+    Ut nemo in sese temptat descendere, nemo,
+  sed praecedenti spectatur mantica tergo!
+  quaesieris 'Nostin Vettidi praedia?' "Cuius?"                   25
+  'Dives arat Curibus quantum non miluus errat.'
+  "Hunc ais, hunc dis iratis genioque sinistro,
+  qui, quandoque iugum pertusa ad compita figit,
+  seriolae veterem metuens deradere limum
+  ingemit: _hoc bene sit!_ tunicatum cum sale mordens             30
+  caepe et farrata pueris plaudentibus olla
+  pannosam faecem morientis sorbet aceti?"
+  at si unctus cesses et figas in cute solem,
+  est prope te ignotus, cubito qui tangat et acre
+  despuat 'hi mores! penemque arcanaque lumbi                     35
+  runcantem populo marcentis pandere vulvas!
+  tu cum maxillis balanatum gausape pectas,
+  inguinibus quare detonsus gurgulio exstat?
+  quinque palaestritae licet haec plantaria vellant
+  elixasque nates labefactent forcipe adunca,                     40
+  non tamen ista filix ullo mansuescit aratro.'
+  caedimus inque vicem praebemus crura sagittis.
+  vivitur hoc pacto; sic novimus. ilia subter
+  caecum vulnus habes; sed lato balteus auro
+  praetegit. ut mavis, da verba et decipe nervos,                 45
+  si potes. 'Egregium cum me vicinia dicat,
+  non credam?' Viso si palles, inprobe, nummo,
+  si facis in penem quidquid tibi venit amarum,
+  si puteal multa cautus vibice flagellas:
+  nequiquam populo bibulas donaveris aures.                       50
+  respue, quod non es; tollat sua munera cerdo;
+  tecum habita: noris, quam sit tibi curta supellex.
+
+
+NOTES.
+
+FOURTH SATIRE.
+
+The theme of this Satire is contained in the closing verses. It is the
+Apollinic +gn�thi sauton+. Want of self-knowledge is the fault which is
+scourged. The basis is furnished by the Platonic dialogue, known as the
+First Alcibiades, and the characters are the same. The person lectured
+under the mask of Alcibiades is a young Roman noble, in whom
+commentators of a certain school have recognized the familiar features
+of Nero.
+
+
+ARGUMENT.-- Socrates is supposed to be addressing Alcibiades. You
+undertake to engage in politics? You rely on your genius, do you? What
+do you know of the norms of right and wrong, you callow youngster? What
+do you know of the subtle distinctions of casuistry, that you undertake
+to say what is just and what is unjust? You have a goodly outside, but
+that is all, and you are fitter for a course of hellebore than for a
+career of statesmanship. What is your end and aim in life? Dainty dishes
+and basking in the sunshine? The first old crone you meet has the same
+exalted ideal. Or do you boast of your descent? You praise your lineage,
+you trumpet forth your beauty, just as yon market-woman cries up her
+greens (1-22).
+
+You do not know yourself. Who knows himself? Every one sees his
+neighbor's faults, no one his own. You sneer at the curmudgeon who
+groans out a health over the sour stuff he gives his laborers on a
+holiday (23-32). And while you make mock at him, some fellow, who is
+standing at your side, nudges you with his elbow, and tells you that you
+are as bad as he, though in another way (33-41). And so we give and take
+punishment. This is our plan of life. We hide our faults from ourselves.
+We get testimonials from our neighbors to impose on our own consciences.
+Awake to righteousness! Put your goodness to the test! If you yield to
+the temptation of covetousness, of lust, in vain will you drink in the
+praises of the rabble. Reject what you are not. Let Rag, Tag, and
+Bobtail take away their tributes. Live with yourself, and you will find
+out how scanty is your moral furniture (42-52).
+
+
+Jahn regards this Satire as the earliest of the six, and it certainly
+shows even greater immaturity than the others. The well-known
+individuality of Socrates is coarsely handled, the irony lacks the
+subtle play, the mischievous good-nature of the great Athenian; and
+though the glaring anachronisms may be defended by such exemplars as
+Horace (notably in Sat., 2, 5), there is all the difference in the world
+between the sly humor of the older poet, who peeps from behind the Greek
+mask and winks at the Roman audience, and the grim contortions of the
+beardless representative of the bearded master.
+
+The indecency of a part of the Satire is considered by Teuffel a valid
+objection to the view taken by Jahn, but the imagination of early youth
+and the experience of corrupt old age often meet in disgusting detail,
+and the obscenities of bookish men are among the worst in literature.
+Add to this the peculiar views of the Stoic school as to the corruption
+of the flesh (2, 63), and the consequent Stoic tendency to degrade the
+body by the most contemptuous representations of physical functions, and
+we can the more readily understand how Marcus Antoninus, the purest
+character of his time, should have besmirched his Meditations with
+passages which lack a parallel for their crudity; and why Persius, the
+poet of virginal life, should have outdone the _praegrandis senex_ of
+Attic comedy in the coarseness of his expressions.
+
+
+1-22. Socrates exposes the incompetence of Alcibiades for affairs of
+state, his lack of ethical training, his need of a just balance, his
+grovelling views of life, his puerile pride in his ancient family and in
+his handsome face. Socrates and Alcibiades were contrasts so tempting
+that dialogues between them were favorite philosophical exercises.
+
+1. #rem populi# = _rem publicam_. --#tractas?# On the form of the
+question, see G., 455; A., 71, 1, R. Comp. Plato, Alc. I., p. 106C:
++dianoei gar parienai sumbouleus�n Ath�naiois entos ou pollou chronou+,
+and further, p. 118B, and Conv., p. 216A. --#barbatum#: The beard was
+the conventional mark of the philosopher in the time of Persius; it is
+an anachronism in the case of Socrates, who lived before shaving was the
+rule and the beard a badge. However, the custom was old in Persius's
+day, and the slip is slight. So Plato's long beard is noticed by
+Ephippus ap. Athen., 11, p. 509C (3, 332 Mein.). Comp. Juv., 14, 12:
+_barbatos-- magistros_. --#crede#: advertises a want of art.
+
+2. #sorbitio#: 'draught,' 'dose.' So Sen., E. M., 78, 25. --#tollit# =
+_sustulit_. A solitary Historical Present with a relative is harsh to us
+for all the examples and all the commentators.
+
+3. #quo fretus?# See 3, 67. Comp. Plato, Alc. I., p. 123E: +ti oun pot'
+estin hot� #pisteuei# to meirakion+. --#magni pupille Pericli#: Because
+Alcibiades owed his start in life to his guardian and kinsman Pericles.
+See Plat., l.c. p. 104B. For the form _Pericli_, see G., 72; A., 11, I.,
+4.
+
+4. #scilicet#: Ironical, 1, 15; 2, 19. 'Of course.' Comp. the old 'God
+wot.' --#ingenium et rerum prudentia#: 'wit and wisdom.' _Prudentia_ may
+be translated 'knowledge,' and _rerum_ 'world,' 'life,' but not
+necessarily. See 1, 1. --#velox#: Predicative (Schol.), 'have been quick
+in coming' (Conington).
+
+5. #ante pilos#: 'before your beard.' 'A contrast with _barbatum
+magistrum_' (Conington), but _b._ can hardly be used in the same breath
+as the mark of mature years and as the ensign of a philosopher.
+--#venit#: On the number, see G., 281, Exc. 2; A., 49, 1, _b._
+--#dicenda tacendaque#: Comp. Hor., Ep., 1, 7, 72-- _dicenda tacenda
+locutus_-- for the expression. For the sense, Conington comp. Aeschylus,
+Cho., 582: +sigan hopou dei kai legein ta kairia+. In Horace it means
+'all sorts of things;' here, 'what you must say, what leave unsaid.'
+
+6. #commota fervet bile#: Comp. Hor., Od., 1, 13, 4: _fervens difficili
+#bile# tumet iecur_.
+
+7. #fert animus#: Well-known phrase of Ov., Met., 1, 1. So in Greek,
++pherei ho nous, h� gn�m�, h� phr�n+. The verse has a stately irony, and
+should have a stately translation. 'The spirit moves you' (Pretor) is
+degraded to slang. 'Your bosom's lord biddeth you wave a hush profound.'
+--#fecisse#: Comp. 1, 91. --#silentia#: Comp. 3, 81.
+
+8. #maiestate manus#: 'with majestic hand'. (G., 357, R. 2), 'by the
+imposing action of your hand' (Conington). --#quid deinde loquere?# The
+orator has not considered his speech. 'Now that you have got your
+silence, what have you got to say.' --#Quirites#: Persius drops his
+Greek. Alcibiades is a mere quintain.
+
+9. #puta#: 'put case,' 'say,' 'for instance,' is an iambic Imperative,
+with the ultimate shortened, like _cav[)-e]_, _vid[)-e]_, etc., 1, 108.
+Hermann gives it to Socrates, which is favored by the sense; Jahn and
+others to Alcibiades, as caricatured by Socrates, which is favored by
+the position. Heinrich reads _puto_.
+
+10. #scis etenim#, etc.: _and_ (well you may) _for you know how_, etc.
+On _scis_, see 1, 53; on _etenim_, 3, 48. Comp. Plato, l.c. 110C: +�ou
+ara epistasthai kai pais �n, h�s eoike, ta dikaia kai ta adika+. It may
+be necessary to observe that all this is sarcasm. Conington takes it
+literally, and considers these statements as so many concessions.
+--#gemina lance# = _geminis lancibus_. Comp. Ov., A. A., 2, 644:
+_geminus pes_.
+
+11. #ancipitis#: 'wavering.' --#rectum discernis#: 'You can distinguish
+the straight line when it runs among crooked lines on either hand-- ay,
+even when your square with twisted leg is but a faulty guide.' The
+straight line is virtue, the crooked lines are vices. The difficulty of
+picking out the right course is much enhanced when the rule by which we
+go is itself warped-- that is, 'as Casaubon explains it, when justice
+has to be corrected by equity.' The _regula_ here is not the _regula_ of
+5, 38, but the _norma_, or carpenter's square.
+
+13. #potis es#: See 1, 56. --#theta#: +Th+, the initial of +thanatos+,
+was the mark of condemnation used in the time of Persius, instead of the
+older C (_condemno_). It was also employed in epitaphs, in army lists,
+and the like, for 'deceased.' Translate 'black mark.'
+
+14. #quin desinis#: See 2, 71. --#tu#: The elision of the monosyllable
+is harsh (Jahn). See 1, 51. 66. 131. --#igitur#: 'If all this is so, why
+then--.' Comp. the indignant _igitur_ (+eita+) of 1, 98. --#summa pelle
+decorus#: Hor. Ep., 1, 16, 45: _Introrsus turpem, speciosum #pelle
+decora#_. --#nequiquam#: 'because you can not impose on me.' Comp. 3, 30
+(Conington).
+
+15. #ante diem#: 'before your time.' --#blando caudam iactare popello#:
+Casaubon thinks that a peacock is meant, Jahn suggests a horse. The
+Scholiast says that the image is that of a (pet) dog. _Pelle decorus_
+would not apply to the peacock, nor very well to the horse. It does
+apply to Alcibiades as the lion's whelp of Aristoph., Ran., 1431. Comp.
+the famous description in Aeschyl., Agam., 725 (Dindorf). The comparison
+of politicians with lions is found also in Plato, Gorg., 483E. The only
+difficulty lies in _blando popello_, but petting implies _blanditiae_ on
+both sides. 'The dog fawns on those who caress him' (Conington).
+--#popello#: contemptuously, 6, 50; Hor., Ep., 1, 7, 65.
+
+16. #Anticyras#: There were two towns of that name, one on the Maliac
+Gulf, the other in Phocis; both famous for their hellebore, but
+especially the latter. The town for its product, after the pattern of
+Hor., Sat., 2, 3, 83; A. P., 300 (Jahn). The Plural is the familiar
+poetic exaggerative. --#meracas#: 'undiluted,' 'without a drop of
+water.'Hor., Ep., 2, 2, 137: _expulit helleboro morbum bilemque
+#meraco#_. On the use of hellebore as a preparative for philosophy,
+comp. the well-known experience of Chrysippus: +ou themis genesthai
+sophon, �n m� tris ephex�s tou elleborou pi�s+, Lucian, Vit. Auct., 23
+(1, 564 R.). --#melior sorbere# = _qui melius sorberes_ (comp. _quo
+graves Persae #melius# perirent_, Hor., Od., 1, 2, 22).
+
+17. #summa boni# = _summum bonum_. --#uncta patella#: 'rich dishes.'
+Comp. 3, 102. The reference to a sacrificial dish (3, 26) is less
+likely. As the character of Alcibiades is not kept up with any care by
+Persius, it is hardly worth while to note that he was a most sensitive
+_gourmet_, as is shown by the curious anecdote, Teles ap. Stob., Flor.,
+5, 67. --#vixisse#: The Perfect with intention. G., 275, 1; A., 58, 11,
+_e._ 'To have the satisfaction of _having lived_ on the daintiest fare,'
+so that you may say when you come to die, _vixi dum vixi bene_. Comp.
+Sen., Ep., 23, 10: _Id agendum est ut satis #vixerimus#_.
+
+18. #curata cuticula sole#: with reference to the _apricatio_ or
+_insolatio_. Comp. Juv., 11, 203: _nostra bibat vernum contracta
+#cuticula solem#_. What was a matter of hygiene became a matter of
+luxury. The sun-cure has been revived of late years. _Curare cuticulam_,
+_cutem_, _pelliculam_ is commonly used of 'good living' generally,
+'taking very good care of one's dear little self.' See Hor., Ep., 1, 2,
+29. 4, 15; Sat., 2, 5, 38; Juv., 2, 105. --#haec#: +deiktik�s+. --#i
+nunc#: '_Irridentis vel exprobrantis formula_,' Jahn, who gives an
+overwhelming list of examples (comp. Hor., Ep., 1, 6, 17; 2, 3, 76). The
+usage requires it to be connected with _suffla_. 'Go on, then, and blow
+as you have been blowing.' _Suffla_ in this sense is quite as 'low' as
+our Americanism. Persius has the aristocrat's contempt for superfine
+language, and by a natural reaction falls, not unfrequently, into slang.
+Jahn compares 5, 13 and 3, 27, and the Greek proverbial expression
++phusa gar ou smikroisin auliskois epi+. Add Menand., fr. 296 (4, 157
+Mein.): +hoioi laloumen ontes hoi trisathlioi | hapantes #hoi phus�ntes
+eph' heautois mega#+. 'Mouth it out' (Conington), 'spout it out'
+(Macleane).
+
+20. #Dinomaches#: The mother of Alcibiades came of the great house of
+the Alcmaeonidae, and it was to her that he owed his connection with
+Pericles. The Gen. without _filius_ (G., 360, R. 3; A., 50, 1, _b_) is
+rare in the predicate. --#candidus# = _pulcher_. Comp. 3, 110. The
+beauty of Alcibiades is well known, Plat., l.c. p. 104A. --#esto#:
++eien+; an ironical concession.
+
+21. #dum ne#: Comp. G., 575; A., 61, 3. Final sentences are often
+elliptical (comp. note on 1, 4). 'Only you must admit that,' etc.; '_dum
+ne neges deterius sapere_.' --#pannucia#: Here not 'ragged,' but
+'shrivelled.' Comp. Mart., 11, 46, 3. --#Baucis#: The name is copied
+from the Baucis of Ovid, Met., 8, 640, the wife of Philemon, the Joan of
+the antique Darby; a poor woman, who had a patch of vegetables. The
+_anicula quae agreste holus vendebat_, in Petron., 6, is a similar
+figure.
+
+22. #bene#: with _discincto_, according to Jahn, who compares _bene
+mirae_, 1, 111. Mr. Pretor says that if thus combined, '_bene_ is weak
+and adds nothing to the picture.' He forgets that there is such a thing
+as being _male discinctus_. Comp. Hor., Sat., 1, 2, 132: _#discincta#
+tunica fugiendum est ac pede nudo_. If _bene_ is combined with
+_cantaverit_, it must be used in its mercantile sense with _vendere_,
+_cantare_ being equivalent to _cantando vendere_. 'When she has cried
+off her herbs at a good figure.' --#discincto vernae#: _Verna_, of
+itself a synonym for all that is saucy and pert, is heightened by
+_discinctus_, for which see 3, 31. --#ocima#: 'basil,' 'water-cress,' or
+what not, stands for 'greens' generally. Jahn thinks that it was an
+aphrodisiac, referring to Eubul., fr. 53 (3, 229 Mein.). Persius, as we
+have seen, delights in picturesque detail, and his comparisons must not
+be pressed. Alcibiades cries his wares, just as the herb-seller cries
+hers. So the 'apple-woman' or 'orange-girl' in modern times might be
+selected as the standard of a rising politician, hawking his wares from
+hustings to hustings, from stump to stump. The far-fetched
+interpretation that _ocima cantare_ = _convicia ingerere_, because, as
+Pliny tells us (19, 7), 'basil is to be sown with curses,' may be
+mentioned as a specimen of the way in which the text of our author has
+been smothered by learning.
+
+23-41. The satire becomes more general. No one tries to know his own
+faults; each has his eyes fixed on his neighbor's short-comings. Take
+some rich skinflint, and, as soon as he is mentioned, the details of his
+meanness will be spread before us. And yet you are as great a sinner in
+a different direction. Comp. M. Anton., 7, 71: +geloion esti t�n men
+idian kakian m� pheugein ho kai dunaton esti, t�n de t�n all�n pheugein
+hoper adunaton+.
+
+23. #Ut#: _how_. --#in sese descendere#: 'go down into his own heart.'
+The thought is simply _noscere se ipsum_. The heart is a depth, a well,
+a cellar, a sea. This is not the _recede in te ipsum quantum potes_ of
+Sen., Ep., 7, 8. Comp. M. Anton., 4, 3. Still less is it Mr. Pretor's
+'enter the lists against yourself,' which would make 'self' at once the
+arena and the antagonist.
+
+24. #spectatur#: The positive (_quisque_) must be supplied from the
+preceding negative. Comp. G., 446, R.; M., 462 b. --#mantica#: According
+to the familiar fable of Aesop (Phaedr., 4, 10), each man carries two
+wallets. The one which holds his own faults is carried on his back; the
+other, which contains his neighbor's, hangs down over his breast. Comp.
+Catull., 22, 21: _sed non videmus #manticae# quod in tergo est_. Persius
+reduces the two wallets to one. Each man's knapsack of faults is open to
+the inspection of all save himself.
+
+25. #quaesieris#: G., 250; A., 60, 2, _b_; +eroit' an tis+. Persius gets
+away from Socrates and Alcibiades into a land of shadowy second persons.
+One of these is supposed to ask another whether he knows a certain
+estate. The casual question leads to a caustic characteristic of the
+owner, which is interrupted by another indefinite character, who quotes
+an _ignotus aliquis_, and the general impression at the close is that
+every body is violently preached at except the son of Dinomache, with
+whom we started. --#Vettidi#: With the characteristic of Vettidius,
+comp. Horace's Avidienus (_cui canis cognomen_, Sat., 2, 2, 55), and the
++aneleutheros+ and the +mikrologos+ of Theophrastus.
+
+26. #Curibus#: in the land of the Sabines, the land of frugal habits.
+Comp. 6, 1. --#miluus errat#: So Jahn (1868). _Miluus_ is trisyllabic,
+as in Hor., Epod., 16, 31. Hermann, _oberrat_; Jahn (1843), _oberret_.
+The expression is proverbial: _quantum #milvi# volant_, Petron., 37.
+Comp. Juv., 9, 55.
+
+27. #dis iratis genioque sinistro#: Comp. Hor., Sat., 2, 3, 8: _#iratis#
+natus paries #dis# atque poetis_. A substantive expression of quality
+without a common noun is rare in Latin as in English (M., 287, Obs. 3),
+but not limited in time. See Dr�ger, _Histor. Syntax_, � 226. 'The
+aversion of the gods and at war with his genius,' his 'second self,' who
+'delights in good living,' _quia genius laute vivendo gaudere putabatur_
+(Jahn).
+
+28. #quandoque# = _quandocumque_, as Hor., Od., 4, 1, 17, 2, 34.
+--#pertusa# = _pervia_, according to Jahn; 'roads and thoroughfares'
+(Conington); = _calcata_, _trita_, Heinr., which seems more natural.
+--#compita#: 'The _compitalia_ is meant. Comp. Cato, R. R., 5, 4: _Rem
+divinam nisi #compital#ibus in #compito# [vilicus] ne faciat._ It was
+one of the _feriae conceptivae_, held in honor of the _Lares compitales_
+on or about the 2d of January. It is said to have been instituted by
+Servius Tullius, and restored by Augustus (Suet., Aug., 31), and was
+observed with feasting. Comp. Cato, R. R., 5, 7, and _uncta compitalia_.
+Anthol. Lat., 2, 246, 27B. n. 105, 27M.' So Pretor, after Jahn. With
+_com-pit-a_ comp. Greek +pat-os+, _path_. --#figit#: The suspension of
+the yoke symbolizes the suspension of labor. The yoke stands for the
+plough as well, Tibull., 2, 1, 5.
+
+29. #metuens deradere#: See 1, 47. Comp. Hor., Sat., 2, 4, 80:
+_#metuentis reddere# soldum_. --#limum#: 'the dirt' on the jar. Comp.
+_sive gravis veteri craterae #limus# adhaesit_, Hor., Sat., 2, 4, 80.
+The Scholiast understands 'the seal.'
+
+30. #hoc bene sit#: The formula in drinking a health. Comp. Plaut.,
+Pers., 5, 1, 20. Here used also as a kind of grace. --#tunicatum |
+caepe#: +polulopon krommuon+ (Casaubon). _#Tunicatum# caepe_, 'bulbous
+or coated onion,' as opposed to the _sectile #porrum#_, or 'chives'
+(Pretor). It may be going too far to exclude _epitheta ornantia_ from
+Persius, but he certainly uses them sparingly. _Tunicatum_ is commonly
+understood to mean 'skin and all,' as we say of a potato, 'jacket and
+all.' Comp. Juv., 14, 153: _#tunicam# mihi malo lupini_. But as the skin
+of an onion is not very 'filling,' and as _tunica_ may be used in the
+sense of 'coat' or 'layer,' the slight change to _tunicatim_-- 'layer by
+layer'-- has suggested itself to me. It is not a whit more exaggerated
+than Juvenal's _filaque sectivi numerata includere porri_ (14, 133).
+
+31. #farrata olla#: 'porridge pot of spelt,' an every-day meal with
+others, holiday fare with these unfortunates, hence _plaudentibus_. The
+Abl. of Cause. _Farratam ollam_ (Jahn [1843] and Hermann) may be
+defended by Stat., Silv., 5, 3, 140 (cited by Jahn): _#fratrem plausere#
+Therapnae_, but there is danger of the miser's eating it.
+
+32. #pannosam#: 'mothery.' Every word tells. It is not wine, but
+vinegar; it is not even good vinegar, but vinegar that is getting flat;
+it is not even clear vinegar, but the lees of vinegar; and not even
+honest lees, but mothery lees. --#morientis#: 'Dying vinegar' is not so
+familiar to us as 'dead wines.' Comp. Mart., 1, 18, 8. --#aceti#: Comp.
+_faece rubentis #aceti#_, Mart., 11, 56, 7.
+
+33. Picture of a sensualist. --#figas in cute solem#: +eil�therein+,
+'fix the sun in your skin,' 'let the sun's rays pierce your skin,'
+instead of _bibere_, _combibere solem_, Juv., 11, 203 (quoted above, v.
+18), and Mart., 10, 12, 7; or the more prosaic _sole uti_, Mart., 1, 77,
+4.
+
+34. #cubito tangat#: an immemorial familiarity. Examples range from
+Homer, Od., 14, 485 to Aristaen., 1, 19, 27. Persius has in mind Hor.,
+Sat., 2, 5, 42: _nonne vides (aliquis #cubito# stantem prope #tangens#)
+inquiet_, etc.
+
+35. #acre | despuat#: 'empty acrid spittle,' sc. on you. Others read _in
+mores_ with Jahn (1843). Jahn (1868) reads with Hermann, _Hi mores_. Of
+course it is impossible to analyze this spittle, which flows to the end
+of v. 41. See the Introduction to the Satire. '_Persium_,' as Quintilian
+says of Horace, _in quibusdam nolim interpretari_ (1, 8, 6). This is one
+of the passages that called down on our author the rebuke of that
+verecund gentleman Pierre Bayle: _Les Satires de Perse sont
+d�vergond�es_.
+
+42-52. Such is life. We hit and are hit in turn. We disguise our
+faults-- our _vulnera vitae_-- even from ourselves, and appeal to that
+common jade, common fame, for a certificate of health. But temptation
+reveals the corruption within. You are guilty of avarice, lust,
+swindling, and the praises of the mob are of no moment. Be yourself.
+Examine yourself, and know how scantily furnished you are.
+
+42. #caedimus#, etc.: Hor., Ep., 2, 2, 97: _#caedimur# et totidem plagis
+consumimus hostem_ (Casaubon). The resemblance here, as often elsewhere,
+is merely verbal, as in Horace 'the passage of arms is a passage of
+compliments' (Conington). --#praebemus#: 'expose,' 'present.'
+
+43. #vivitur hoc pacto#: Negatively expressed _non aliter vivitur_. In
+other words: _haec est condicio vivendi_, Hor., Sat., 2. 8, 65, which
+Casaubon compares. 'These are the terms, this the rule of life.' --#sic
+novimus# = _notum est_ (Jahn). 'So we have learned it.' 'This is its
+lesson.' --#ilia subter#: G., 414, R. 3. The danger of the wound is well
+known.
+
+44. #caecum#: 'hidden.' --#lato balteus auro#: The baldric covered the
+groin, and was often ornamented with bosses of gold. Comp. Verg., Aen.,
+5, 312: _#lato# quam circumplectitur #auro | balteus#_. This broad gold
+belt is the symbol of wealth and rank.
+
+45. #ut mavis#: Ironical. Hor., Sat., 1, 4, 21. --#da verba#: Comp. 3,
+19. --#decipe nervos#: 'cheat your muscle,' 'cheat yourself into the
+belief that you are sound;' and certainly self-deception seems to be
+required by the context. Otherwise _decipe nervos_ might be considered
+as equivalent to _mentire robur_, _pro sano te iacta_, _sanum te finge_.
+
+47. #non credam?# G., 455; A., 71, 1, R. --#inprobe#: The _inprobus_ is
+hard-headed as well as hard-hearted. Comp. _plorantesque #inproba#
+natos-- reliquit_, Juv., 6, 86.
+
+48. #amarum#: Jahn reads _amorum_ in his ed. of 1843, but was sorry for
+it. In 1868 he reads _amarum_, and punctuates so as to throw it into the
+grave of the next line.
+
+49. #si puteal#: A _versus conclamatus_ (Jahn). The old explanation
+makes this passage refer to exorbitant usury. The _puteal_ here meant is
+supposed to be the one mentioned by Hor., Sat., 2, 6, 13-- the _puteal
+Libonis_, situated near the praetor's tribunal, and on that account a
+favorite haunt of usurers, who would naturally have frequent occasion to
+appear in court. Comp. the poplar-tree, which was the rendezvous of a
+certain 'ring' of contractors in Athens, Andoc., 1, 133. Local allusions
+of this kind are the despair of commentators; the _puteal_ is, after
+all, as mysterious as a 'corner' to the uninitiated, and we can only
+gather that _puteal flagellare_ is slang for some recondite swindling
+process, which required a certain amount of knowingness (hence
+_cautus_). Conington renders, 'flog the exchange with many a stripe.' We
+may Americanize by 'clean out, thrash out Wall Street.' The Neronians,
+Casaubon at their head, understand the passage as referring to Nero's
+habit of going out at night in disguise and maltreating people in the
+street-- see Tac., Ann., 13, 25; Suet., Nero, 26-- and _cautus_ is
+supposed to allude to the measures which he took for his personal
+safety.
+
+50. #bibulas donaveris aures#: The student is by this time familiar with
+Persius's way of hammering a familiar figure into odd shapes. If ears
+drink in, then ears are thirsty; if they are thirsty, then they tipple;
+and if you can give ear, you can bestow ears. 'In vain would you have
+given up your thirsty ears to be drenched by the praises of the mob.'
+_Donaveris_, Perf. Subj., +mat�n paresch�k�s an ei�s ta �ta+. Future
+ascertainment of a completed action. G., 271, 2.
+
+51. #cerdo#: +Kerd�n+, a plebeian proper name. Conington translates by
+the 'Hob and Dick' of Shakspeare's Coriolanus. The common rendering,
+'cobbler,' is a false inference from Mart., 3, 59, 1; 99, 1.
+
+52. #tecum habita#: Comp. 1, 7. --#noris#: The punctuation of all the
+editors makes _noris_ an Imperative Subjunctive. Still a kind of
+condition is involved = _si habites, noris_. G., 594, 4; A., 60, 1, _b_.
+One of the most threadbare quotations from Latin poetry.
+
+
+CRITICAL APPENDIX.
+
+SATURA IV.
+
+3. #hoc#: o, H. --9. #hoc puta#: _hoc_, puta, H.; puto, Heinr. --13.
+#theta#: theta? H. --19. #exspecta#: expecta, J{w}. --20. #suffla#:
+sufla, J{w}. --26. #miluus errat#: milvus oberret, J{a}.; milvus
+oberrat, H. --31. #farrata olla#: farratam ollam, J{a}., H. --35. #hi
+mores#: in mores, J{a}. --38. #exstat#: extat, J{w}. --48. #venit
+amarum#: H.; venit, amarum, J{w}.; venit amorum, J{a}. --_sed mox
+paenituit_. _Vid. Prolegg._, 193, 1.
+
+
+       *       *       *       *       *
+
+
+  SATURA V.
+
+
+  Vatibus hic mos est, centum sibi poscere voces,
+  centum ora et linguas optare in carmina centum,
+  fabula seu maesto ponatur hianda tragoedo,
+  vulnera seu Parthi ducentis ab inguine ferrum.
+  'Quorsum haec? aut quantas robusti carminis offas                5
+  ingeris, ut par sit centeno gutture niti?
+  grande locuturi nebulas Helicone legunto,
+  si quibus aut Prognes, aut si quibus olla Thyestae
+  fervebit, saepe insulso cenanda Glyconi;
+  tu neque anhelanti, coquitur dum massa camino,                  10
+  folle premis ventos, nec clauso murmure raucus
+  nescio quid tecum grave cornicaris inepte,
+  nec scloppo tumidas intendis rumpere buccas.
+  verba togae sequeris iunctura callidus acri,
+  ore teres modico, pallentis radere mores                        15
+  doctus et ingenuo culpam defigere ludo.
+  hinc trahe quae dicis, mensasque relinque Mycenis
+  cum capite et pedibus, plebeiaque prandia noris.'
+  Non equidem hoc studeo, bullatis ut mihi nugis
+  pagina turgescat, dare pondus idonea fumo.                      20
+  secreti loquimur; tibi nunc hortante Camena
+  excutienda damus praecordia, quantaque nostrae
+  pars tua sit, Cornute, animae, tibi, dulcis amice,
+  ostendisse iuvat: pulsa, dinoscere cautus,
+  quid solidum crepet et pictae tectoria linguae.                 25
+  his ego centenas ausim deposcere voces,
+  ut, quantum mihi te sinuoso in pectore fixi,
+  voce traham pura, totumque hoc verba resignent,
+  quod latet arcana non enarrabile fibra.
+    Cum primum pavido custos mihi purpura cessit                  30
+  bullaque succinctis Laribus donata pependit;
+  cum blandi comites totaque inpune Subura
+  permisit sparsisse oculos iam candidus umbo;
+  cumque iter ambiguum est et vitae nescius error
+  deducit trepidas ramosa in compita mentes,                      35
+  me tibi supposui: teneros tu suscipis annos
+  Socratico, Cornute, sinu; tum fallere sollers
+  apposita intortos extendit regula mores,
+  et premitur ratione animus vincique laborat
+  artificemque tuo ducit sub pollice vultum.                      40
+  tecum etenim longos memini consumere soles,
+  et tecum primas epulis decerpere noctes:
+  unum opus et requiem pariter disponimus ambo,
+  atque verecunda laxamus seria mensa.
+  non equidem hoc dubites, amborum foedere certo                  45
+  consentire dies et ab uno sidere duci
+  nostra vel aequali suspendit tempora Libra
+  Parca tenax veri, seu nata fidelibus hora
+  dividit in Geminos concordia fata duorum,
+  Saturnumque gravem nostro Iove frangimus una:                   50
+  nescio quod, certe est, quod me tibi temperat astrum.
+    Mille hominum species et rerum discolor usus;
+  velle suum cuique est, nec voto vivitur uno.
+  mercibus hic Italis mutat sub sole recenti
+  rugosum piper et pallentis grana cumini,                        55
+  hic satur inriguo mavult turgescere somno;
+  hic campo indulget, hunc alea decoquit, ille
+  in Venerem putris; sed cum lapidosa cheragra
+  fregerit articulos, veteris ramalia fagi,
+  tunc crassos transisse dies lucemque palustrem                  60
+  et sibi iam seri vitam ingemuere relictam.
+  at te nocturnis iuvat inpallescere chartis;
+  cultor enim iuvenum purgatas inseris aures
+  fruge Cleanthea. petite hinc puerique senesque
+  finem animo certum miserisque viatica canis!                    65
+  'Cras hoc fiet.' Idem cras fiet. 'Quid? quasi magnum
+  nempe diem donas.' Sed cum lux altera venit,
+  iam cras hesternum consumpsimus: ecce aliud cras
+  egerit hos annos et semper paulum erit ultra.
+  nam quamvis prope te, quamvis temone sub uno                    70
+  vertentem sese frustra sectabere cantum,
+  cum rota posterior curras et in axe secundo.
+    Libertate opus est, non hac, ut, quisque Velina
+  Publius emeruit, scabiosum tesserula far
+  possidet. heu steriles veri, quibus una Quiritem                75
+  vertigo facit! hic Dama est non tressis agaso,
+  vappa lippus et in tenui farragine mendax:
+  verterit hunc dominus, momento turbinis exit
+  Marcus Dama. papae! Marco spondente recusas
+  credere tu nummos? Marco sub iudice palles?                     80
+  Marcus dixit: ita est; adsigna, Marce, tabellas.
+  haec mera libertas; hoc nobis pillea donant!
+  'An quisquam est alius liber, nisi ducere vitam
+  cui licet, ut voluit? licet ut volo vivere: non sum
+  liberior Bruto?' "Mendose colligis," inquit                     85
+  stoicus hic aurem mordaci lotus aceto
+  "haec reliqua accipio; _licet_ illud et _ut volo_ tolle."
+  'Vindicta postquam meus a praetore recessi,
+  cur mihi non liceat, iussit quodcumque voluntas,
+  excepto si quid Masuri rubrica vetavit?'                        90
+  Disce, sed ira cadat naso rugosaque sanna,
+  dum veteres avias tibi de pulmone revello.
+  non praetoris erat stultis dare tenuia rerum
+  officia atque usum rapidae permittere vitae:
+  sambucam citius caloni aptaveris alto.                          95
+  stat contra ratio et secretam garrit in aurem,
+  ne liceat facere id quod quis vitiabit agendo.
+  publica lex hominum naturaque continet hoc fas,
+  ut teneat vetitos inscitia debilis actus.
+  diluis helleborum, certo conpescere puncto                     100
+  nescius examen: vetat hoc natura medendi.
+  navem si poscat sibi peronatus arator,
+  luciferi rudis, exclamet Melicerta perisse
+  frontem de rebus. tibi recto vivere talo
+  ars dedit, et veri speciem dinoscere calles,                   105
+  ne qua subaerato mendosum tinniat anro?
+  quaeque sequenda forent, quaeque evitanda vicissim,
+  illa prius creta, mox haec carbone notasti?
+  es modicus voti? presso lare? dulcis amicis?
+  iam nunc astringas, iam nunc granaria laxes,                   110
+  inque luto fixum possis transcendere nummum,
+  nec glutto sorbere salivam Mercurialem?
+  'haec mea sunt, teneo' cum vere dixeris, esto
+  liberque ac sapiens praetoribus ac Iove dextro,
+  sin tu, cum fueris nostrae paulo ante farinae,                 115
+  pelliculam veterem retines et fronte politus
+  astutam vapido servas sub pectore vulpem,
+  quae dederam supra relego funemque reduco:
+  nil tibi concessit ratio; digitum exsere, peccas,
+  et quid tam parvum est? sed nullo ture litabis,                120
+  haereat in stultis brevis ut semuncia recti.
+  haec miscere nefas; nec, cum sis cetera fossor,
+  tris tantum ad numeros satyrum moveare Bathylli.
+  'Liber ego.' Unde datum hoc sentis, tot subdite rebus?
+  an dominum ignoras, nisi quem vindicta relaxat?                125
+  'I puer et strigiles Crispini ad balnea defer!'
+  si increpuit, 'cessas nugator;' servitium acre
+  te nihil impellit, nec quicquam extrinsecus intrat,
+  quod nervos agitet; sed si intus et in iecore aegro
+  nascuntur domini, qui tu inpunitior exis                       130
+  atque hic, quem ad strigiles scutica et metus egit erilis?
+    Mane piger stertis. 'Surge!' inquit Avaritia 'heia
+  surge!' Negas; instat 'Surge!' inquit. "Non queo." 'Surge!'
+  "Et quid agam?" 'Rogitas? en saperdam advehe Ponto,
+  castoreum, stuppas, hebenum, tus, lubrica Coa;                 135
+  tolle recens primus piper ex sitiente camelo;
+  verte aliquid; iura.' "Sed Iuppiter audiet." 'Eheu!
+  varo, regustatum digito terebrare salinum
+  contentus perages, si vivere cum Iove tendis!'
+  iam pueris pellem succinctus et oenophorum aptas               140
+  'Ocius ad navem!' nihil obstat, quin trabe vasta
+  Aegaeum rapias, ni sollers Luxuria ante
+  seductum moneat 'Quo deinde, insane, ruis? quo?
+  quid tibi vis? calido sub pectore mascula bilis
+  intumuit, quod non exstinxerit urna cicutae?                   145
+  tu mare transilias? tibi torta cannabe fulto
+  cena sit in transtro, Veientanumque rubellum
+  exalet vapida laesum pice sessilis obba?
+  quid petis? ut nummi, quos hic quincunce modesto
+  nutrieras, pergant avidos sudare deunces?                      150
+  indulge genio, carpamus dulcia! nostrum est
+  quod vivis; cinis et manes et fabula fies.
+  vive memor leti! fugit hora; hoc quod loquor inde est.'
+  en quid agis? duplici in diversum scinderis hamo.
+  huncine, an hunc sequeris? subeas alternus oportet             155
+  ancipiti obsequio dominos, alternus oberres.
+  nec tu, cum obstiteris semel instantique negaris
+  parere imperio, 'rupi iam vincula' dicas;
+  nam et luctata canis nodum abripit; et tamen illi,
+  cum fugit, a collo trahitur pars longa catenae.                160
+  'Dave, cito, hoc credas iubeo, finire dolores
+  praeteritos meditor.' crudum Chaerestratus unguem
+  adrodens ait haec 'an siccis dedecus obstem
+  cognatis? an rem patriam rumore sinistro
+  limen ad obscenum frangam, dum Chrysidis udas                  165
+  ebrius ante fores exstincta cum face canto?'
+  "Euge, puer, sapias, dis depellentibus agnam
+  percute." 'Sed censen plorabit, Dave, relicta?'
+  "Nugaris; solea, puer, obiurgabere rubra.
+  ne trepidare velis atque artos rodere casses!                  170
+  nunc ferus et violens; at si vocet, haud mora, dicas:
+  _Quidnam igitur faciam? nec nunc, cum arcessat et ultro_
+  _supplicet, accedam?_ Si totus et integer illinc
+  exieras, nec nunc." hic hic, quod quaerimus, hic est,
+  non in festuca, lictor quam iactat ineptus.                    175
+  ius habet ille sui palpo, quem ducit hiantem
+  cretata ambitio? vigila et cicer ingere large
+  rixanti populo, nostra ut Floralia possint
+  aprici meminisse senes: _quid pulchrius?_ at cum
+  Herodis venere dies, unctaque fenestra                         180
+  dispositae pinguem nebulam vomuere lucernae
+  portantes violas, rubrumque amplexa catinum
+  cauda natat thynni, tumet alba fidelia vino:
+  labra moves tacitus recutitaque sabbata palles.
+  tum nigri lemures ovoque pericula rupto,                       185
+  tum grandes galli et cum sistro lusca sacerdos
+  incussere deos inflantis corpora, si non
+  praedictum ter mane caput gustaveris alli.
+    Dixeris haec inter varicosos centuriones,
+  continuo crassum ridet Pulfennius ingens,                      190
+  et centum Graecos curto centusse licetur.
+
+
+NOTES.
+
+FIFTH SATIRE.
+
+The theme of the Fifth Satire is the Stoic doctrine of True Liberty. All
+men are slaves except the philosopher, and Persius has learned to be a
+philosopher-- thanks to Cornutus, to whom the Satire is addressed.
+Compare and contrast Horace's handling of a like subject in Sat., 2, 3.
+In Teuffel's commentary on his translation of this Satire, the matter is
+briefly summed up in these words: Horace is an artist, Persius a
+Preacher. See Introd., xxvi. Comp. also Hor., Sat., 2, 7, 46 seqq.
+
+
+ARGUMENT.-- Persius speaks: Poets have a way of asking for a hundred
+mouths, a hundred tongues, whether the theme be tragedy or epic.
+--Cornutus: A hundred mouths, a hundred tongues! What do you want with
+them? Or, for that matter, with a hundred gullets either, to worry down
+the tragic diet which other poets affect. You do not pant like a
+bellows, nor croak like a jackdaw, nor strain your cheeks to bursting in
+the high epic fashion. Your language is to be the language of every-day
+life, to which you are to give an edge by skilful combination. Your
+utterance is modest, and your art is shown in rasping the unhealthy body
+of the age, and in impaling its faults with high-bred raillery. Be such
+your theme. Let others sup full with tragic horrors, if they will. Do
+you know nothing beyond the frugal luncheon of our daily food (1-18).
+
+Persius: It is not my aim to have my pages swollen with 'Bubbles from
+the Brunnen of Poesy.' We are alone, far from the madding crowd, and I
+may throw open my heart to you, for I would have you know how great a
+part of my soul you are. Knock at the walls of my heart, for you are
+skilful to distinguish the solid from the hollow, to tell the painted
+stucco of the tongue from the strong masonry of the soul. To this end I
+fain would ask-- and ask until I get-- a hundred voices, to show how
+deeply I have planted you in my heart of hearts; to tell you all that is
+past telling in my inmost being (19-29). When first the purple garb of
+boyhood withdrew its guardianship, and the amulet-- no longer potent--
+was hung up, an offering to the old-fashioned household gods, when all
+about me humored me, and when the dress of manhood permitted my eyes to
+rove at will through the Subura with all its wares and wiles, what time
+the youth's path is doubtful, and bewilderment, ignorant of life, brings
+the excited mind to the spot where the great choice of roads is to be
+made-- in that decisive hour I made myself son to you, and you took me,
+Cornutus, to your Socratic heart. Where my character was warped, the
+quiet application of the rule of right straightened what in me was
+crooked. My mind was constrained by reason, wrestled with its conqueror,
+and took on new features under your forming hand. How I remember the
+long days I spent with you, the first-fruits of the festal nights I
+plucked with you. Our work, our rest we ordered both alike, and the
+strain of study was eased by the pleasures of a modest table (30-44).
+Nay, never doubt that there is a harmony between our stars. Our
+constellation is the Balance or the Twins. The same aspect rules our
+nativities. Some star, be that star what it may, blends my fate with
+yours (45-51).
+
+We are attuned each to other; but look abroad, and see how different men
+are from us and from each other. Each has his own aims in life. One is
+bent on active merchandise, one is given up to sluggish sleep, another
+is fond of athletic sports. One is drained dry by dicing, another by
+chambering and wantonness; but when the chalk-stones of gout rattle
+among their fingers and toes, they awake to the choke-damp and the foggy
+light in which they have spent their days, and mourn too late their
+wasted life (52-61).
+
+But you delight to wax pale over nightly studies. A tiller of the human
+soul, you prepare the soil, and sow the field of the ear with the pure
+grain of Stoic wisdom. Hence seek, young and old, an aim for your higher
+being, provision for your hoary head (62-65).
+
+'Hoary head, you say?' interposes an objector. 'That can be provided for
+as well to-morrow.' To-morrow! 'Next day the fatal precedent will
+plead.' Another to-morrow comes, and we have used up yesterday's
+to-morrow, and so our days are emptied one by one. To-morrow! It is
+always ahead of us, as the hind wheel can never overtake the front
+wheel, though both be in the self-same chariot (66-72).
+
+The remedy for this and all the other ills of life is True Liberty-- not
+such as gives a dole of musty meal, a soup-house ticket to the new-made
+citizen; not such as makes a tipsy slave free in the twinkling of an
+eye. Now Dama is a worthless groom, and would sell himself for a handful
+of provender. Anon he is set free, as you call it-- becomes Marcus Dama.
+Excellent surety! Most excellent judge! If Marcus says it is so, it is
+so. Your sign and seal here, good Marcus. Pah! This is the liberty that
+manumission gives. Up speaks Marcus: 'Well! Who is free except the man
+that can do as he pleases? I can do as I please. _Argal_ I am free as
+air.' --'Not so,' says your learned Stoic. 'Your logic is at fault.
+I grant the rest, but I demur to the clause "as you please."' --'The
+praetor's wand made me my own man. May I not do what I please, if I
+offend not against the statute-book?' (73-90).
+
+'Do what you please!' cries Persius, who identifies himself with the
+Stoic philosopher. 'Stop just there and learn of me; but first cease to
+be scornful, and let me get these old wives' notions out of your head.
+The praetor could not teach you any thing about the conduct of life with
+all its perplexities. As well expect a man to teach an elephant to dance
+the tight-rope. Reason bars the way, and whispers, "You must not do what
+you will spoil in the doing." This is nature's law, the law of
+common-sense. You mix medicine, and know nothing of scales and weights?
+You, a clodhopper, and undertake to pilot a ship? Absurd, you say; and
+yet what do you know of life? How can you walk upright without
+philosophy? How can you tell the ring of the genuine metal, and detect
+the faulty sound of the base alloy? Do you know what to seek, what to
+avoid, what to mark with white, what with black? Can you control your
+wishes, moderate your expenses, be indulgent to your friends? Do you
+know how to save and how to spend? Can you keep your month from watering
+at the sight of money, from burning at the taste of ginger? When you can
+say in truth, "All this is mine," then you are truly free. But if you
+retain the old man under the new title, I take back all that I have
+granted. You can do nothing that is right. Every action is a fault. Put
+forth your finger-- you sin. There is not a half-ounce of virtue in your
+silly carcass. You must be all right or all wrong. Man is one. You can
+not be virtuous by halves. You can not be at once a ditcher and a
+dancer. You are a slave still, though the praetor's wand may have waved
+away your bonds. You do not tremble at a master's voice, 'tis true, but
+there are other masters than those whom the law recognizes. The wires
+that move you do not jerk you from without, but masters grow up within
+your bosom' (91-131).
+
+
+Here the dialogue is dropped. We leave Dama, whose personality has been
+getting fainter all the time, and are treated to a series of more or
+less dramatic scenes in illustration of the Ruling Passions.
+
+So Avarice and Luxury dispute about the body and soul of an un-Stoic
+slave (132-160).
+
+A Lover tries to break the chain that binds him to an unworthy mistress
+(161-175).
+
+Another is led captive by Ambition at her will (176-179).
+
+Yet another is under the dominion of Superstition (180-188).
+
+But why discourse thus? Imagine what the military would say to such a
+screed of doctrine. I hear the horse-laugh of Pulfennius, as he bids a
+clipped dollar for a hundred Greek philosophers-- a cent apiece
+(189-191).
+
+
+This Satire is justly considered by many critics the best of all the
+productions of Persius, as it is the least obscure. The warm tribute to
+his master Cornutus may have had its share in commending the poem to
+teachers, who, of all men, are most grateful for gratitude. But apart
+from this revelation of a pure and loving heart, the peculiar talent of
+Persius, which consists in vivid portraiture of character and situation,
+appears to great advantage in this composition. True, the introduction
+is not wrought into the poem, and the poet's discourse is too distinctly
+a Stoic school exercise, and reminiscence crowds on reminiscence, but
+there is a certain movement in the Satire, or Epistle, as it were better
+called, which carries us on over the occasional rough places, without
+the perpetual jolt which we feel every where else on the 'corduroy road'
+of Persius's _Gradus ad Parnassum_.
+
+
+1-4. Persius: Oh for a hundred voices, a hundred mouths, a hundred
+tongues!
+
+1. #Vatibus hic mos est#: Comp. Hor., Sat., 1, 2, 86: _#regibus hic mos#
+est._ _Vatibus_, with a sneer. See Prol., 7. --#centum sibi poscere
+voces#: Examples might be multiplied indefinitely from Homer to Charles
+Wesley. Comp. Il., 2, 489: +oud' ei moi deka men gl�ssai, deka de
+stomat' eien+; and Verg., Aen., 6, 625: _non mihi si linguae centum sint
+oraque centum_; also Georg., 2, 43; Ov., Met., 8, 532. Conington
+burlesques the passage by translating _poscere_ 'put in a requisition
+for,' and _optare_ 'bespeak.' By such devices humor of a certain kind
+might be extracted from elegies, and Vergil be made 'to put in a
+requisition for Quintilius at the Bureau of the Gods,' Hor., Od., 1, 24,
+12.
+
+3. #seu ponatur#: The mood after _seu_-- _seu_ is determined on general
+principles (A., 61, 4, _c_). In practice, however, the Indicative is
+more common (G., 597, R. 4). The Subjunctive is to be explained by G.,
+666 (see last example), and A., 66, 2. --#ponatur# = _proponatur_ (Cic.,
+Tusc. Dis., 1, 4, 7). Comp. +theinai+, +thesis+. Jahn understands it as
+_ponere lucum_, 1, 70, _posuisse figuras_, 1, 86. Perhaps there is a
+play on the different senses of _ponere_. 'Serve up' would not be bad in
+view of vv. 9, 10. --#hianda#: 'To be spouted by some doleful actor.'
+'_Hianda_ has reference to the tragic mask, in which a wide aperture was
+cut for the mouth, to facilitate a distinct enunciation. From the
+appearance presented by the speaker, it soon came to be used of a
+bombastic style of utterance. Comp. _carmen #hiare#_, Prop., 2, 31, 6,
+and _grande Sophocleo carmen bacchamur #hiatu#_, Juv., 6, 636.' Pretor,
+after Jahn.
+
+4. #vulnera Parthi#: Is _Parthi_ object or subject? The passage is a
+reminiscence of Hor., Sat., 2, 1, 15: _aut labentia equo describat
+#vulnera Parthi#_. If _Parthi_ is the object, an interpretation which is
+favored by the Horatian passage and by the propriety of the epic theme--
+for why should a Roman enlarge upon the wounds that the Parthian
+deals?-- _ducentis ab inguine ferrum_ must be rendered 'drawing the dart
+from his groin.' Still _ab_ is not a suitable preposition, nor can it be
+defended by such expressions as _ducere suspiria ab imo pectore_, Ov.,
+Met., 10, 402. Others think of 'trailing the shaft from his groin,' in
+which it had been imbedded. Comp. v. 160: _a collo trahitur pars longa
+catenae_. If _Parthi_ is the subject, translate, 'The Parthian who draws
+the arrow from [the quiver] near his groin.' The Eastern nations wore
+the quiver low, the Greeks upon the shoulder. This line refers to epic
+poetry as the preceding to tragedy.
+
+5-18. Cornutus: What need have you of a hundred mouths? You have no
+foolish tragedy to cram, no big epics to mouth. Your simple satire
+demands a simple style, the talk of every day, only better put. Your
+business is to scourge and pierce, and yet remember that you are a
+gentleman. Let these themes suffice you, and leave to others the
+stage-horrors of cannibalic feasts; yourself content with the pot-luck
+of the Roman cit.
+
+5. #Quorsum haec#: Comp. Hor., Sat., 2, 7, 21. --#aut#: G., 460, R.; A.,
+71, 2. --#robusti carminis offas#: 'dumplings of substantial poetry,'
+'lumps of solid poetry' (Conington). _Offa_ is a dumpling of meal or
+flesh. Comp. Apul., Met., 1, 3, on the chokiness of a certain _polentae
+caseatae #offula# grandior_.
+
+6. #ingeris#: 'cram.' The whole passage is intended to be coarse. 'What
+great gobbets of stuffing song are you cramming yourself with, that you
+require a hundred throats to strain them down?' Others understand:
+_ingeris_ sc. _populo_. See v. 177. --#centeno gutture# = _centum
+gutturibus_. So _centena arbore_, Verg., Aen., 10, 207 (Conington).
+
+7. #grande#: See 1, 14. --#locuturi#: See 1, 100. --#nebulas#: Jahn is
+reminded of Hor., A. P., 230: _nubes et inania captet_. Observe that
+_legunto_ suggests the culinary figure below. The mists represent the
+vegetables, Procne and Thyestes furnish the meat. --#Helicone#: See
+Prologue. Persius is as intensely Roman in poetic practice as he is
+Greek in philosophic theory. --#legunto#: The Imperative, instead of the
+Subjunctive, gives the tone of an edict or of a cookery-book.
+
+8. #Prognes--Thyestae#: See Classical Dictionaries for the familiar
+myths. Observe the balance. Procne served up her son, Thyestes made a
+dinner off his. Both are common tragic themes. See Hor., A. P., 91.
+186-187. --#olla fervebit#: 'Who are going to set Thyestes's pot
+a-boiling' (Conington).
+
+9. #Glyconi#: Glyco was a stupid actor of the day, who could not
+understand a joke. The Neronians have made the most of the fact, as
+reported by the Scholiast, that G. was manumitted by Nero, who paid his
+half-owner Vergilius 300,000 sesterces for his share. So, for instance,
+Lehmann (_De A. Persii Satira Quinta_, p. 17), who has nosed out all
+manner of subtle Neronian flavors in this innocent satire. --#cenanda#:
+Comp. 3, 46.
+
+10. #coquitur dum#: When the action with _dum_, 'while,' is co-extensive
+with the action in the leading clause, the limit may be expressed by
+_until_, 'while it is smelting' = 'until it is smelted' --#massa#: See
+note on 2, 67.
+
+11. #folle#: The wind is squeezed 'with' or 'in' the bellows rather than
+'from' the bellows. The Scholiast notices the Horatian reminiscence,
+Sat., 1, 4, 19: _at tu conclusas hircinis #follibus# auras | usque
+laborantes, dum ferrum molliat ignis | ut mavis, imitare_. Comp. also
+Juv., 7, 111: _tunc immensa cavi spirant mendacia #folles#_. --#nec
+clauso murmure#, etc.: 'Nor with pent-up murmur croak to yourself until
+you are hoarse some solemn nonsense.'
+
+13. #scloppo#: So Jahn (1868), instead of _stloppo_ (1843). This is
+supposed to be a word coined to express the sound (comp. _bombis_, 1,
+99). Conington renders 'plop.' Vanicek records it under SKAR, S. 183,
+and it may well be the 'slap' with which the distended cheeks are
+reduced, and hence the 'plop' which is heard. The childish trick may be
+witnessed wherever there are children. Persius multiplies absurd and
+meaningless noises without any sharp distinction.
+
+14. #verba togae#: 'the language of every-day life.' The _fabula togata_
+is Roman comedy, as opposed to the _fabula praetexta_, or Roman tragedy,
+and to the _f. palliata_, the subjects of which were Greek. Persius
+insists on the connection of the national satire with the national
+comedy, and the scanty remains of the _fabula togata_ deserve close
+comparison. --sequeris = _sectaris_. Prol., 11. --#acri iunctura#: 'nice
+grouping,' 'telling combination.' The words are familiar, but the
+setting is new. Comp. Hor., A. P., 47: _#notum# si callida #verbum# |
+reddiderit #iunctura# novum_; and 242: _tantum #series iunctura#que
+pollet | tantum #de medio sumptis# accedit honoris_. An important
+passage, as showing the intense self-consciousness of the poet's art.
+
+15. #ore teres modico#: Jahn comp. _ore rotundo_, Hor., A. P., 323. The
+mouth stands for the style, and the position of the mouth symbolized the
+utterance (_ore magis quam labris loquendum est_, Quint., 11, 3, 81).
+_Teres_ as in Cic., De Orat., 3, 52, 199: _est [oratio] et plena quaedam
+sed tamen #teres# et tenuis, non sine nervis et viribus._ 'A moderate
+rounding of the cheek' (Conington); but although in view of v. 13 it
+would be desirable to retain the figure, it is hardly possible. 'With
+smooth and compassed tone.' As _teres ore = ore modico_, Hermann
+(_L. P._, II., 46) comp. Ov., Fast., 6, 425: _lucoque obscurus opaco_.
+--#pallentis mores#: The 'spirit of the age' is also the 'body of the
+age.' Hence the figure. 'Pale' with disease and vice (comp. 4, 47),
+'guilty.' --#radere#: Comp. 1, 107.
+
+16. #ingenuo ludo#: 'with high-bred raillery,' 'with raillery that a
+gentleman may speak and hear.' Persius has in mind +eutrapelia+, the
++pepaideumen� hubris+ of Aristotle, Rhet., 2, 12, as Conington suggests.
+--#defigere#: Variously explained. So 'post up,' 'placard' (Casaubon);
+'pin to the ground' (Conington); 'pierce,' like an arrow (Jahn);
+'sting,' like a hornet, as in Ov., Fast., 3, 753: _milia crabronum
+coeunt et vertice nudo, | spicula #defigunt# oraque summa notant_. Comp.
+the use of _figere_, 3, 80.
+
+17. #hinc#: From every-day life. K�nig compares Hor., A. P., 318: _vivas
+#hinc# ducere voces_. --#quae dicis#: So Jahn (1868), after the best
+MSS. In 1843 we find _dicas_, which is more natural, but not necessary.
+--#Mycenis#: Dative, far more forcible than the locative Ablative. Jahn
+comp. Prol., 5: _illis relinquo_, a reading which he afterward
+abandoned. See G., 344, R. 3.
+
+18. #cum capite et pedibus#: served up to Thyestes after he had finished
+his dinner. Comp. Aeschyl., Ag., 1594; Sen., Thyest., 764. --#plebeia
+prandia#: Your theme is 'human nature's daily food,' not the heroic
+suppers of 'raw-head and bloody-bones' that teach us nothing. _Mensa_ is
+contrasted with _prandia_ (comp. Seneca's _sine mensa prandium_, cited
+1, 67) as 'banquet' with 'meal,' '_Tafel_' with '_Tisch_.'
+
+19-29. Persius: You understand my aims. I do not care to swell my page
+with frothy nonsense. And now that we are alone, I desire you to examine
+my heart, that you may see how you are enshrined in it-- a theme for
+which I might well desire a hundred voices.
+
+19. #equidem#: Here in accordance with common usage. See 1, 110.
+--#bullatis nugis#: 'air-blown trifles' (Gifford). _Bullatis:_ so Jahn
+(1868) with Hermann. The reading of the oldest MSS., _pullatis_, 'sad
+colored,' explained now as 'tragic stuff' (because mourners were
+_pullati_); now as stuff for the groundlings (because the common people
+were _pullati_), is scarcely tenable. _Ampullatis_, Jahn's conjecture,
+though defended by Lachmann (Lucret., 6, 1067), is metrically bad; but
+the sense is excellent, and the reference would be to a passage which
+Persius must have had in his mind. Hor., A. P., 97: _proicit #ampullas#
+et sesquipedalia verba_. Even Thyestes is mentioned in the context, l.c.
+91. _Bullatis_, 'bubbly.' Hermann (_L. P._, I., 32) comp. _alata avis_,
+and makes _bullatis_ refer to _tumorem et inanem verborum strepitum_.
+
+20. #dare pondus fumo#: Casaubon comp. Hor., Ep., 1, 19, 42: _nugis
+#addere pondus#_. Horace uses the expression in the sense of 'attaching
+importance.' Persius means that these trifles are fitted to lend
+importance, to give seeming substance to mere vapors. _Fumus_ is a
+synonym for 'humbug.' On _dare idonea_ = _idonea quae det_, see G., 424,
+R. 4; A., 57, 8, _f._
+
+22. #excutienda#: See 1, 49. But the figure changes below, or there is a
+figure within a figure, the heart being compared to a wall, the wall to
+a dress. On the construction, see G., 431; A., 72, 5, _c._
+
+23. #pars animae#: Comp. _te meae partem animae_, Hor., Od., 2, 17, 5;
+_animae dimidium meae_, Od., 1, 3, 8. --#Cornute#: See Introduction, ix.
+
+24. #ostendisse#: once for all. See G., 275, 1; A., 58, 11, _d._
+--#pulsa#: +kroue+. See 3, 21. --#dinoscere cautus#: Hor., Sat., 1, 6,
+51: _cautum adsumere dignos_. Comp. Prol., 11.
+
+25. #solidum crepet#: like _sonat vitium_, 3, 21. G., 331, R. 2; A., 52,
+3, _a._ --#pictae tectoria linguae#: The comparison is taken from a
+stuccoed party-wall painted to look solid. Comp. Afran. ap. Non., 152,
+28, v. 14 (Ribbeck): _fallaci aspectu #paries pictus# putidus_
+(= _puter_). The notion in _pictae_ belongs rather to _tectoria_ than to
+_linguae_-- 'painted tongue-stucco.' The figure will not bear close
+examination any more than the stucco.
+
+26. #his, ut# = _ad haec ut._ Comp. _hoc, ut_, v. 19. Others read _hic_.
+--#centenas# = _centum_. G., 310, R.; A., 18, 2, _d_. --#deposcere#:
+Notice the determination that lies in _deposcere_.
+
+27. #quantum fixi#: This is not conceived as a dependent interrogative,
+as is shown by v. 29, where the antecedent of the parallel clause is
+expressed. G., 469, R. 3. --#sinuoso#: Comp. Plin., H. N., 2, 37: _cor
+prima domicilia intra se animo et sanguini praebet #sinuoso specu#_.
+_Sinuoso pectore_ = _in recessu mentis_, 2, 73.
+
+28. #voce#: carelessly repeated after _voces_. --#pura#: 'honest.'
+
+29. #non enarrabile#: i.e., save by the hundred voices. There is no
+contradiction, and even if there were-- this is supposed to be poetry.
+--#fibra#: 1, 47.
+
+30-51. When first I put away the things of boyhood and encountered the
+temptations of youth, and stood bewildered at the cross-roads of life,
+I threw myself into your sheltering arms, and put myself under your
+guiding hand. Happy the memory of those days and nights, as they brought
+common work and common rest. Surely a common star controls our destinies
+and makes us one.
+
+30. #pavido#: variously interpreted of the fear-- 1. Which an entrance
+on life breeds; 2. Which requires the protection of the _praetexta_; 3.
+Which the rule of tutors and governors inspires. The third view is
+favored by _blandi comites_, as Conington remarks. Comp. Mart., 11, 39,
+2: _et pueri #custos# assiduusque #comes#_ with v. 6: _te dispensator,
+te domus ipsa #pavet#_. --#custos purpura#: 'the guardian purple.'
+_Purpura_ = _praetexta_, the dress of boyhood, which was of itself a
+protection. This was exchanged for the _toga_ when the nonage was over.
+_Per hoc inane #purpurae# decus precor_, Hor., Epod., 5, 7. --#mihi#: If
+_cessit_ is taken absolutely, _mihi_ may depend on the predicative
+notion in _custos_ = _quae mihi custos fuerat_. Casaubon explains, _mihi
+cessit, ut iam annis maiori vel etiam ut hosti_. It seems best to
+combine the two: 'When the purple resigned its dreaded guardianship over
+me.'
+
+31. #bulla#: the well-known 'boss,' which contained amulets and the
+like. Comp. 2, 70. --#succinctis#: 'Like _cinctutis_ (Hor., A. P., 50),
+_incinctos_ (Ov., Fast., 2, 632), in allusion to the _cinctus Gabinus_,
+in which primitive dress they (the Lares) were always represented. It
+was worn over the left shoulder, leaving the right arm free' (Pretor).
+Conington renders _succinctis_, 'quaint.'
+
+32. #blandi#: (_fuerunt_). --#comites#: Jahn considers these _comites_
+the same as those mentioned in 3, 7. See note. The epigram of Mart.,
+cited above, v. 30, makes for this view: the harsh tutors have become
+_blandi comites_. But most commentators prefer to take _comites_ in its
+general sense. --#tota Subura#: On the construction, see G., 386; A.,
+55, 3, _f._ The Subura, as the focus of business life, was the haunt of
+persons who are sufficiently characterized as _Suburanae magistrae_,
+Mart., 11, 78, 11.
+
+33. #permisit sparsisse#: On the Inf., see G., 532, R. 1; A., 70, 3,
+_a._ On the tense, note on 1, 41. With the phraseology, Jahn comp. Val.
+Flacc., 5, 247: _tua nunc terris, tua #lumina# toto | #sparge# mari_.
+_Spargere_ is a happy word for a rapid, roving glance. --#iam#: +�d�+.
+The English idiom often refuses to give the exact force of _iam_. The
+youngster has got a 'sure enough' _candidus umbo_. The contrast in time
+is the former _praetexta_. --#candidus umbo#: '_Umbo_ was the knot into
+which the folds of the toga were gathered after passing the left
+shoulder' (Pretor). Of course the _umbo_ was _candidus_, as the _toga_
+was.
+
+34. #iter ambiguuum#: See 3, 56. --#vitae nescius error#: is
+bewilderment from ignorance of life.
+
+35. #deducit#: So Jahn (1843), a reading which he has strangely forsaken
+(1868) for _diducit_. Schl�ter puts it neatly thus: _homines in compita
+ubi viae #di#ducuntur_, _#de#duci dicuntur_. _Compita_ does not mean the
+roads, but the place where the roads meet-- the crossing (Schol.). _De_
+adds the notion of decision to _ducit_. Comp. _in discrimen #de#ducere_,
+Cic., Fam., 10, 24, 4. The youth is brought to a point where he must
+choose. --#trepidas#: See 1, 74.
+
+36. #supposui#: Almost 'I made you adopt me.' _Supponere_ is used of
+supposititious children. As Persius's own father died while the poet was
+young, there is a tone of orphanage about the expression that appeals to
+our sympathy. 'I threw myself as a son into your arms.' --#suscipis#: is
+the correlative of _supposui_.
+
+37. #Socratico sinu#: The loving care of Socrates is meant, as well as
+his wisdom, as Jahn has observed. --#fallere sollers#: On the
+construction, see G., 424, R. 4; A., 57, 8, _f_, 3; Prol., 11. 'Skilful
+to deceive,' in the sense of the gradual Socratic approach. The rule is
+not rudely applied, but cheats the warped nature into rectitude. Jahn's
+note amounts to this, that a ruler that understands deception,
+understands detection, and hence is a true ruler.
+
+38. #regula#: 'ruler.' See note on 4, 11.
+
+39. #premitur ratione#: Comp. Verg., Aen., 6, 80: _fera corda domans
+fingitque #premendo#_. --#vinci laborat# = _dum vincitur laborat_, _cum
+labore vincitur_. '_Laborat_ shows that the pupil's mind co-operated
+with his teacher' (Conington).
+
+40. #artificem#: Passive, _arte factum_, 'artistic,' 'finished.' The
+figure is of course taken from moulding in wax or clay. --#ducit
+vultum#: Comp. _exigite ut teneros mores ceu pollice #ducat# | ut si
+quis cera vultum facit_, Juv., 7, 237; only there the workman moulds,
+here the material. Transl. 'take on,' 'assume,' as in Ov., Met., 1, 402:
+_saxa #ducere# formam_ (Jahn). --#pollice#: The thumb is largely used in
+moulding. See Juv., l.c., and Ov., Met., 10, 285; Stat., Achill., 1,
+332, quoted by Jahn.
+
+41. #etenim#: +kai gar+. See 3, 48. --#memini consumere#: See Prol., 2.
+--#soles# = _dies_. The antithesis runs throughout. _Soles-- opus--
+seria_ are opposed to _noctes-- requiem-- mensa_.
+
+42. #primas noctes#: 'the early hours of the night.' --#epulis#: 'for
+feasting.' Others, 'from feasting,' i.e., for study, 3, 54; 5, 62.
+--#decerpere#: The expression is a cross between _carpe diem_ (Hor.,
+Od., 1, 11, 8) and _partem solido demere de die_ (Hor., Od., 1, 1, 20).
+_Decerpere_ is to pluck with resolute, eager hand.
+
+43. #unum opus et requiem# = _unum opus et (unam) requiem_ (Jahn).
+Casaubon comp. Verg., Georg., 4, 184.
+
+44. #laxamus seria#: Jahn comp. Verg., Aen., 9, 223: _#laxabant# curas_.
+
+45. #non equidem hoc dubites#: On _equidem_, see note on 1, 110. With
+_non dubites_ comp. _non accedas_, 1, 5. --#foedere certo#: Jahn comp.
+Manil., 2, 475: _iunxit amicitias horum sub #foedere certo#_. _Foedus
+certum_, 'fixed law,' 'fixed principle.'
+
+46. #consentire dies#: On the Inf., instead of the normal _quin_ with
+Subj., see G., 551, R. 4; M., 375 c., Obs. 2. For the thought, comp.
+Hor., Od., 2, 17, 21: _utrumque nostrum incredibili modo | #consentit#
+astrum_. --#ab uno sidere duci#: Astrology was very popular in Persius's
+time, having been brought into vogue by Tiberius. It was the
+aristocratic mode of divination, and is compared by Friedl�nder
+(_Sittengesch._, 1, 347) with the spiritualism and table-turning of the
+present day. Philosophy was not proof against it; indeed, the later
+Stoics always had a leaning to it, and Panaetius was the only one that
+rejected it (Knickenberg, l.c. p. 79). All people of 'culture' talked
+about 'horoscope,' 'nativity,' and 'malign aspect,' just as the same
+class in our time speak of 'the spectroscope,' 'heat a mode of motion,'
+and 'the survival of the fittest.' Horace and Persius, who imitates
+Horace, have caught up some of the current terms, and travel along the
+Zodiac in blissful ignorance of their own stars.
+
+47. #aequali Libra#: So Hor., Od., 2, 17, 17: _seu #Libra# seu me
+Scorpios adspicit_. Comp. the whole passage.
+
+48. #Parca tenax veri#: Comp. _Parca non mendax_, Hor., Od., 2, 16, 39.
+'Fate is represented with scales in her hands, also as marking the
+horoscope on the celestial globe' (Jahn). The _Parca_ of mythology is
+identified with the _Fatum_ of the Stoics. --#seu#: Observe the
+irregularity of _vel-- seu_ instead of _seu-- seu_. --#nata#
+#fidelibus#: 'ordained for faithful friends.' 'The hour of birth is said
+to be born itself, as in Aeschyl., Ag., 107, +xumphutos ai�n+; Soph.,
+O. R., 1082, +sungeneis m�nes+' (Conington).
+
+49. #Geminos#: Casaubon quotes Manil., 2, 628: _magnus erit #Geminis#
+amor et concordia duplex_.
+
+50. #Saturnumque gravem#, etc.: 'We together cross malignant Saturn by
+propitious Jove.' 'Saturnine' and 'jovial' are remnants of astrological
+belief. _Nostro_ is not only 'our,' but 'on our side,' 'propitious.'
+
+51. #nescio quod#: almost = _aliquod_. See v. 12. --#est quod temperat#:
+On the Mood, see G., 634, R. 1; M., 365, Obs. 2. With the expression,
+comp. Hor., Ep., 2, 2, 187: _scit genius, natale comes qui #temperat#
+astrum_, where the parts are reversed. --#me tibi temperat#: The Dative
+is used after the analogy of _miscere_. 'Blends my being with thine.'
+
+52-61. Our aims, our lives are one. But 'many men, many minds.' Each has
+his passion-- the merchant, the man of ease, the lover of sport, the
+gamester, the rake-- but they have to reckon with disease at last, and
+groan over the failure of their lives.
+
+52. #Mille hominum species#: The Schol. quotes Hor., Sat., 2, 1, 27:
+_quot capitum vivunt, totidem studiorum | milia_. Proverbial is Ter.,
+Phorm., 2, 3, 14: _quot homines, tot sententiae: suos cuique mos_.
+--#usus rerum#: 'practice of life,' 'practice.' See 1, 1, note.
+--#discolor#: 'of various hue.'
+
+53. #velle suum cuique est#: Comp. Verg., Ecl., 2, 65: _trahit sua
+quemque voluptas_. On _velle suum_, see 1, 9. --#nec uno vivitur voto#:
+Comp. 2, 7: _aperto vivere voto_. The negative form of a proposition
+following the positive strengthens it. _Nec uno_, 'far different.' With
+the examples that follow, Jahn comp. Hor., Ep., 1, 18, 21 seqq.
+
+54. #mercibus mutat piper#: On the Abl., see G., 404, R.; A., 54, 8. The
+normal construction is _merces mutat pipere_; the other does not occur
+in archaic Latin nor in model prose. Horace is the first to use it,
+e.g., Od., 3, 1, 47; Epod., 9, 27. Livy introduces it into prose, but
+employs it only once (5, 30, 3). So Dr�ger, _Histor. Syntax_, � 235.
+--#sub sole recenti#: The Schol. comp. Hor., Sat., 1, 4, 29: _hic mutat
+merces #surgente a sole# ad eum quo | vespertina tepet regio_.
+
+55. #rugosum piper#: 'wrinkled pepper,' 'shrivelled pepper,' the
+shrivelling being the effect of the hot Eastern sun. None of your
+Italian pepper, but the genuine Eastern article. See note on 3, 75.
+--#pallentis cumini#: like _pallidam Pirenen_, Prol., 4. attribute for
+effect, an imitation and, strange to say, without attempt at
+enhancement, of the _exsangue cuminum_ of Hor., Ep., 1, 19, 18. _Cuminum
+pallorem bibentibus gignit_, Plin., H. N., 20, 14, 57. Cumin was
+considered an indispensable condiment. The large use of it is shown by
+the compounds in Greek (+kuminodoch�-- th�k�, kte+)-- see Seiler ad
+Alciphron., 3, 58-- and it ranks with pepper in Petron., 49; with salt
+in Alexis, fr. 169 (3. 465 Mein.). Add Plutarch, Quaest. Conv., 5, 10.
+
+56. #inriguo somno#: _Inriguo_ is active. Sleep waters him, as it were,
+and increases his fat. Comp. Verg., Aen., 3, 511: _fessos sopor
+#inrigat# artus_. 'Dewy sleep' is almost too sweet for the passage.
+K�nig, a prosaic soul, thinks of the 'sweaty sleep' of a man who is
+gorged with meat and drink.
+
+57. #campo#: The gymnastic exercises of the _campus_, and especially of
+the _campus Martius_ in Rome, are familiar. See Hor., Od., 1, 8, 4; Ep.,
+1, 7, 59; A. P., 162, referred to by Jahn. --#decoquit# = _coquendo
+vires absumit_. The word is employed of a man who has used up, run
+through, his means. So Cic., Phil., 2, 18, 44: _tenesne memoria
+praetextatum te #decoxisse#_? Here it is the man who is used up, who is
+made to go to pot.
+
+58. #putris#: Gr. +takeros+. 'In wanton dalliance melts away' (Gifford).
+--#lapidosa cheragra#: Comp. Hor., Ep., 1, 1, 31: _nodosa #cheragra#_.
+The chalk-stones of gout are compared with hailstones.
+
+59. #fregerit#: Perf. Subj. in a generic sense. G., 569, R. 2 (end).
+Comp. _postquam illi iusta cheragra | #contudit# articulos_, Hor., Sat.,
+2, 7, 15 seqq. --#veteris ramalia fagi#: The comparison is between the
+fingers and the knotty boughs. Comp. Hesiod's +pentozos+, O. et D., 744.
+--#fagi#: _Fagus_, +ph�gos+, and 'beech' (BHAG) are etymologically, but
+not botanically, the same. See Curtius, _Grundz�ge_, No. 160.
+
+60. A forcible passage, on which Conington says: 'The conception here is
+of life passed in a Boeotian atmosphere of thick fogs and pestilential
+vapors, which the sun never penetrates-- probably with especial
+reference to the pleasures of sense, of which Persius has just been
+speaking. So the "vapor, heavy, hueless, formless, cold," in Tennyson's
+"Vision of Sin."' --#crassos dies#: _sub crasso aere_ (Jahn).
+--#transisse#: Heinr. comp. Tib., 1, 4, 33: _vidi iam iuvenem, premeret
+cum serior aetas, | maerentem stultos #praeteriisse# dies_. --#lucem
+palustrem#: 'boggy' = 'foggy light' is 'light choked by fog.' _Crassos
+dies lucemque palustrem_ must be connected closely-- 'gross days in
+foggy light'-- so as to get rid of an awkward Zeugma with _transisse_.
+
+61. #sibi#: with _ingemuere_ (Conington). --#iam seri#: 'too, too late.'
+On _iam_, see v. 33. On _seri_, G., 324, R. 6; A., 47, 6. --#ingemuere#:
+like the Gr. Aorist. Comp. v. 187 and 3, 101. G., 228, R. 2; A., 58, 5,
+_c_. 'Heave a sigh' (Conington). --#relictam#: _anteactam_ (Casaubon).
+_Iam post terga #reliquit# | sexaginta annos_, Juv., 13, 16.
+
+62-65. Contrast of Cornutus's noble mission. His creed the only creed
+for life.
+
+62. #at#: in lively contrast. --#nocturnis#: Comp. 1, 90.
+--#inpallescere#: Comp. 1, 26.
+
+63. #purgatas#: _Purgare_ is an agricultural term like our 'clean,' and
+the metaphor is kept up. The field is the ear. --#inseris#: where we
+should expect _seris_.
+
+64. #fruge Cleanthea#: Cleanthes is selected here on account of his
+strict life and virtuous poverty, in opposition to the luxury and wealth
+of the _Romulidae_, as Knickenberg remarks, l.c. p. 9. --#petite#: Mr.
+Pretor supposes that this is Cornutus's invitation to the world. But if
+Cornutus speaks here, where does Persius come in again?-- unless he
+takes up the cudgels for his master in v. 66.
+
+65. #finem# = +telos+. --#miseris#: 'wretched else.' --#viatica#: Jahn
+quotes Diog. Laert., 1, 5, 80: #+#ephodion# apo neot�tos eis g�ras
+analambane sophian+; and 5, 11, 21: +kalliston #ephodion# t� g�ra h�
+paideia+. --#canis#: G., 195, R. 1.
+
+66-72. 'There is time enough for that,' says an impersonal sinner.
+'To-morrow will do as well.' '"To-morrow, and to-morrow, and to-morrow."
+To-morrow never becomes to-day.'
+
+66. #Cras hoc fiet#, etc.: 'I will do this that you ask of me
+to-morrow.' 'You will do to-morrow just what you are doing to-day.' Jahn
+comp. Ov., R. A., 104: _Cras quoque fiet idem._ Hermann arranges: _Cras
+hoc fiet idem. Cras fiet?_ 'This will, can be done to-morrow as well as
+to-day.' 'To-morrow, you say?' Comp. Petron., 82: _quod hodie non est,
+cras erit_.
+
+67. #nempe diem donas#: 'Well, what of it? Suppose I go on the same way
+to-morrow; it will only be a day-- a great present, forsooth, to be
+haggling about!' On _nempe_, see G., 500, R. 2. --#cum venit--
+consumpsimus#: more lively than _cum venerit-- consumpserimus_ (G.,
+229). One clause is involved in the other. G., 236, R. 4. This seems to
+be better than making _venit_ iterative, and _consumpsimus_ an Aoristic
+Perf.
+
+69. #egerit#: 'unloads,' 'carts off.' _Egerere_ is the opposite of
+_ingerere_ (v. 6). Comp. Sen., Ep., 47, 2: _venter maiore opera omnia
+e#gerit# quam in#gessit#_. Jahn makes _egerit_ = _impulerit_, in order
+to save the figure. Compare _truditur dies die_, Hor., Od., 2, 18, 15,
+and Petron., 45: _dies diem trudit_; and 82: _vita truditur_. But even
+this does not save the figure, and the sudden change of metaphor is in
+Persius's vein. --#paulum erit ultra#: 'To-morrow will always be a
+little further on,' is the common rendering, the figure changing at this
+point.
+
+70. #quamvis--vertentem#: A later construction. G., 611, R.; M., 443,
+Obs. --#cantum#: 'tire.'
+
+72. #cum curras#: 'seeing that you are running.' Here _cum_ is nearly
+equivalent to _si_, as it is thrown by _sectabere_ into the future, and
+is thus made hypothetical. Comp. G., 591, R. 3, and 584.
+
+73-90. What men need is Liberty-- not the freedom of the city, which
+insures a quota of damaged corn; not the freedom of the freedman, which
+gives a slave a name to be free, while he is yet a slave; but the
+liberty wherewith Philosophy sets men free. The freedman demurs to this
+hard doctrine, but a Stoic adept silences him by his 'Short Method.'
+
+73. #hac, ut, quisque#: _Hac_ is the adverb, _ut_ = _qua_, _quisque_ =
+_quicunque_ (comp. _quandoque_ = _quandocumque_, 4, 28), a sad complex
+of harshnesses, which may be rendered thus: 'Liberty is what is wanted;
+not after the prevalent (G., 290, 7) fashion, by which each man that has
+worked his way up to a Publius in the Veline tribe is owner of a ticket
+for a ration of musty spelt.' Other readings, such as _hac quam ut
+quisque_ (Passow), _hac qua quisque_ (Meister), are mere devices to
+relieve the grammatical situation, which is doubtless unnatural in the
+extreme, as _hac_ seems to belong to _libertate_, and _ut quisque_ is a
+familiar combination. Conington makes _non hac_ the beginning of an
+independent sentence, and translates: 'It is not by _this_ freedom that
+every fire-new citizen, who gets his name enrolled in a tribe, is
+privileged to get a pauper's allowance for his ticket.' --#Velina#:
+Comp. Hor., Ep., 1, 6, 52: _hic multum in Fabia valet, ille #Velina#_.
+The Veline was one of the last two tribes instituted (Becker, _Rom.
+Alt._, 2, 1, 170), and is supposed by some to be one of the four city
+tribes to which the _libertini_ were restricted. The name of the tribe
+to which a man belongs is put in the Abl. (as a whence case). So
+_M. Larcius L. f. #Pomptina# Pudens_ (Becker, l.c. 198).
+
+74. #Publius#: Only freemen were entitled to the _praenomen_. Comp.
+Hor., Sat., 2, 5, 32: _#Quinte#, puta, aut #Publi# (gaudent praenomine
+molles | auriculae_). --#emeruit#: literally 'has served his time' (of a
+soldier), 'has worked his way up to be a Publius' (supplying _esse_).
+--#tesserula#: the well-known _tessera frumentaria_, Suet., Aug., 41.
+
+75. #Quiritem#: Rare in the Singular (Schol.).
+
+76. #vertigo#: the 'twirl' of the familiar process of _manumissio per
+vindictam_. 'The lictor touched the slave with the _vindicta_, the
+master turning him round and "dismissing him from his hand" with the
+words _Hunc hominem liberum esse volo_' (Conington). --#facit#: is
+causal as well as _faciat_. G., 627, R.; A., 63. --#Dama#: +D�mas =
+D�m�trios+; according to others for +D�meas+ (Mehlhorn, _Gr. Gr._, 183),
+a common slave's name. --#non tressis#: Jahn comp. _#non semissis#
+homo_, Vatin. ap. Cic., Fam., 5, 10, 1.
+
+77. #vappa#: 'dead wine,' hence 'mean liquor.' --#lippus#: the effect of
+drinking. --#in farragine tenui#: 'in the matter of,' and hence 'for a
+poor feed of corn.'
+
+78. #verterit--exit# = _si verterit-- exit_. G., 257; A., 57, 5. Comp.
+v. 189. The Perf. is aoristic, 'give him a whirl.' --#momento#:
+literally by the 'motion,' 'by virtue,' 'by the act of whirling.' 'By
+dint' would give an ironical turn.
+
+79. #Marcus#: as _Publius_, v. 74. Jahn cites an inscription: M � FVFIVS
+� M � L � DAMA. --#papae#: Ironical admiration. 'Wondrous change! Every
+body will trust this thief, this liar now!' _Papae_ (Gr. +papai,
+babai+). 'Whew!' 'Prodigious!' --#recusas?# Fie on you, if you do! See
+note on 4, 1.
+
+80. #adsigna tabellas#: 'your hand and seal to this document,' 'witness
+this document.'
+
+82. #mera#: 'pure and simple' (ironical). --#pillea#: See 3, 106.
+
+83. #An quisquam-- Bruto#: These words are generally assigned to Dama,
+and it is certainly more humorous to make the promoted stable-boy argue
+in mood and figure than to rake up one of Persius's dead-alive
+spectators, as K�nig does, and after him Pretor. _Quisquam_, because of
+the negative answer expected. See 1, 112, and G., 304; A., 21, 2, _h_.
+
+84. #ut voluit#: The Stoic formula did not differ from the popular
+definition. Certainly it does not sound recondite to say: _libertas est
+potestas vivendi ut velis_, Cic., Parad., 5, 1, 34; or with Arrian,
+Diss., 4, 1, 1: +eleutheros estin ho z�n h�s bouletai+, but the words
+must be understood in their Stoic sense.
+
+85. #Mendose colligis#: +phaul�s sullogizei+. 'Your syllogism is
+faulty.' 'Marcus, thou reasonest ill.'
+
+86. #stoicus hic#: 'our Stoic friend' (Conington). Persius himself.
+--#aurem# --#lotus#: Comp. v. 63 and 1, 126. _Lotus_ may be reflexive.
+G., 332, R. 2; A., 53, 3, _c_, R. --#aceto#: Vinegar was used in cases
+of deafness, Cels., 6, 7, 2, 3 (K�nig).
+
+87. #accipio--tolle#: 'Persius admits the major, but denies the minor;
+denies both that the man has a will (_volo_) and that he is free
+(_licet_) to follow it' (Conington). Mr. Pretor limits the concession to
+_vivere_ (+to z�n+), and explains: 'The mere fact that you are a living
+creature, I admit; the inference contained in _licet_ and _ut volo_,
+I altogether deny.' 'This dissection of the argument word by word' may
+be 'more in keeping with the character of the Stoic'-- the Stoics were
+great choppers of logic-- but it is not in keeping with the style of
+Persius, who is subtle every where except in his arguments.
+
+88. #Vindicta#: the _festuca_, or 'wand,' with which the lictor struck
+the manumittend. See v. 76. --#postquam recessi#: with a causal tone.
+See note on 3, 90. --#meus#: 'my own man,' hence 'my own master' (G.,
+299, R.); _mei iuris_ (Schol.).
+
+90. #Masuri rubrica#: 'The canon of Masurius.' 'Masurius Sabinus, an
+eminent lawyer, lived in the reigns of Tiberius and Nero, and wrote a
+work in three books, entitled _Ius Civile_.' _Rubrica_, 'because the
+titles and first few words of the laws were commonly picked out with
+vermilion. Comp. _perlege #rubras# | maiorum leges_, Juv., 14, 192'
+(Pretor, after Jahn). A low creature like Dama has a soul that is not
+above the statute-book; lofty spirits, like our Stoic, and believers in
+the higher law sneer at the canon and its maker. So Marc. Antonin., ap.
+Front., Ep., 2, 7 (p. 32 Naber), speaks of _deliramenta Masuriana_.
+Comp. Quint., 12, 3, 11. --#vetavit#: for _vetuit_, reminds us of the
+slip of another youthful genius, Kirke White, and his 'rudely blow'd.'
+There is no sufficient warrant for the form.
+
+91-131. A Stoic sermon. Text: Do nothing that you will spoil in the
+doing. You know nothing as you ought to know it, and you can do nothing
+as you ought to do it. You are ignorant of the first principles of
+morals; you have no control over your desires, your appetites. You may
+call yourself free, but you are a slave for all that. For one master
+without, you have a legion of masters within.
+
+91. #Disce#: Comp. 3, 66. --#naso#: the simple Abl. as a whence case.
+Comp. 1, 83. The nose is the familiar seat of anger. Theocr., 1, 18:
++kai hoi aei drimeia chola poti #rhini# kath�tai+. For Biblical
+parallels, see Gesenius or F�rst, s.v. [Hebrew] ++af++. The anger is
+shown by snorting, or, as here, by snarling. --#rugosa#: Comp.
+_#corruget# nares_, Hor., Ep., 1, 5, 23. --#sanna#: 1, 62.
+
+92. #dum revello#: '_while_ I _am_ plucking' = '_until_ I _have_
+plucked.' See note on v. 10. --#veteres avias#: 'old grandmothers,' for
+'inveterate, rooted, grandmotherish notions.' Comp. _patruos sapere_, 1,
+11, and +ho legomenos #gra�n# huthlos+, Plat., Theaet., 176B. --#de
+pulmone#: The lung is the seat of pride in 3, 27 (comp. _suffla_, 4,
+20). Jahn regards it here as the seat of wrath.
+
+93. #erat#: 'as you thought.' G., 224, R. 3; A., 58, 3, _d_. --#tenuia
+rerum officia#: 'mastery of the subtle distinctions of duty.' _Tenuia_,
+a trisyllable, as often. G., 717. _Rerum_, parallel with _vitae_. See
+1, 1.
+
+94. #usum rapidae vitae#: 'the right management of the rapid course of
+life.' The metaphor is taken either from a river (_#rapidus# amnis,
+#rapidi# fluminum lapsus, #rapidum# flumen, #rapidus# Tigris_, Hor.),
+which sweeps away the man who does not understand its current, or from a
+race-course in which there is no stopping, as Conington thinks (3, 67).
+Others understand _rapidae_ simply as 'fleeting.'
+
+95. #sambucam#: The ordinary translation, 'dulcimer,' is not strictly
+correct, though 'dulcimer' suggests the exotic refinement of the
+_sambuca_, a four-stringed instrument of Eastern origin, synonymous with
+cultivated luxury. --#citius aptaveris#: +thatton an harmoseias+;
+written out = _citius aptaveris quam praetor det_, but it is better not
+written out. Notice the Perf. Subj. 'You would sooner _succeed in
+making_ a dulcimer fit, sooner _get_ a dulcimer _to fit_ [the hand of]
+a gawky camp-porter.' --#caloni#: used in its original sense of a
+soldier's hewer of wood and drawer of water. Persius, who has no
+admiration for soldiers themselves, would naturally select a soldier's
+drudge as a type of awkwardness and stupidity. So, in effect, Conington.
+--#alto#: We combine 'tall and gawky;' 'hulking' (Conington). Comp. the
+sneer at the _#ingentis# Titos_, 1, 20, and _Pulfennius #ingens#_, 5,
+190, and the +an�r #triskaidekap�chus#+ of Theocr., 15, 17.
+
+96. #stat contra#: 'confronts,' 'stops the way.' Jahn comp. Mart., 1,
+53, 12: _#stat contra#, dicitque tibi tua pagina: Fur es_, a parallel
+which no conscientious commentator can quote without qualms. Juv., 3,
+290: _#stat contra# starique iubet_. --#ratio#: 'Right reason' here is
+equivalent to _natura_ below, which is itself equivalent to _publica lex
+hominum_. See Knickenberg, l.c. p. 20 seqq. --#secretam#: 'private.'
+--#garrit#: It is hard choosing between _gannit_ and _garrit_. Martial
+has _#garrire# in aurem, in auriculam_, 1, 89, 1; 3, 28, 2, and _aurem
+dum tibi praesto #garrienti#_, 11, 24, 2; Afran., ap. Non., 452, 11 (283
+Ribb.): _#gannire# ad aurem numquam didici dominicam_.
+
+97. #liceat#: with reference to v. 84.
+
+98. #publica lex hominum naturaque#: 'The universal law of human
+nature.' Of course in the peculiar Stoic sense. See note on 3, 67. 'The
+doctrine of a supreme law of Nature, the actual source and ideal
+standard of all particular laws, was characteristic of the Stoics, and
+lay at the bottom of the Roman juristical notion of a _ratio naturalis_
+or _ius gentium_' (Conington).
+
+99. #teneat actus#: As _tenere cursum_ is sometimes used in the sense of
+'check a course,' 'refrain from a course,' so _tenere vetitos actus_
+means to refrain from, or, as Pretor translates, 'hold in abeyance
+forbidden actions.' To this effect K�nig. But as _tenere cursum_ is also
+used in the sense of 'hold a course, keep on a course,' Jahn's version,
+which makes it a law of nature for weak ignorance to pursue forbidden
+actions, is not without justification. In that case _fas est_ = 'it is
+to be expected,' as in _operi longo fas est obrepere somnum_. For the
+thought of the necessity of sin for the ignorant, see v. 119. But the
+immediate context favors the former interpretation. Casaubon's _tenere
+vetitos_ = _habere pro vetitis_ is without warrant in usage.
+
+100-104. Popular illustrations of the doctrine drawn from medicine and
+navigation, and from Hor., Ep., 2, 1, 114: _navem agere ignarus navis
+timet: abrotonum aegro | non audet, nisi qui didicit dare_.
+
+100. #certo conpescere puncto#, etc.: 'although you do not know how to
+check [that is, to bring to the perpendicular and keep there] the tongue
+or index [of the steelyard by putting the equipoise or pea] at a certain
+point.' 'Although you do not know how to use the steelyard' (_statera_).
+On the _examen_, see 1, 6; _punctum_ is one of the points or notches
+(_notae_) on the graduated arm. With _nescius conpescere_ comp.
+_callidus suspendere_, 1, 118, and Prol., 11. --#natura# = _lex_, as
+above.
+
+102. #peronatus#: The _pero_ was a thick boot of raw-hide, _crudus
+pero_, Verg., Aen., 7, 690, and Juv., 14, 186: _quem non pudet alto |
+per glaciem #perone# tegi, qui summovet Euros | pellibus inversis_
+(Jahn). The _peronatus arator_ is a clodhopper, a country bumpkin.
+
+103. #luciferi rudis#: Not a good stroke. Some knowledge of the stars
+was necessary for the ploughman himself, as Casaubon remarks. See Verg.,
+Georg., 1, 204 seqq. So notably of the Pleiades, Hesiod, O. et D., 383.
+615. --#Melicerta#: Portunus, patron of sailors, Verg., Georg., 1, 437.
+--#perisse#: Comp. Hor., Ep., 2, 1, 80: _clament #periisse# pudorem |
+cuncti paene patres_.
+
+104. #frontem#: the seat of modesty for modesty itself. In English,
+'face,' 'front,' and 'forehead' are used for the absence of modesty; but
+'frontless' and 'effrontery' accord with the usage and in Juv., 13, 242:
+_quando recepit | eiectum simul attrita de fronte pudorem?_ --#de
+rebus#: 'from the world,' or omitted. See 1, 1. --#recto talo#: Comp.
+Hor., Ep., 2, 1, 176: _cadat an #recto# stet fabula #talo#_. Jahn comp.
+further Pind., Isthm., 6, 12: +orth� estasas epi sphur�+, and Eur.,
+Hel., 1449: +orth� b�nai podi+. Transl. 'uprightly.'
+
+105. #ars#: Philosophy. [_Philosophus_] _#artem# vitae professus_, Cic.,
+Tusc. Dis., 2, 4, 12; _sapientia #ars# est_, Sen., Ep., 29, 3.
+--#speciem#: Jahn gave up in 1868 the hopeless _specimen_ of 1843, which
+left _qua_ in the next line utterly unprovided for. That this aberration
+of a distinguished scholar should have been followed at all is a sad
+instance of _Nachbeterei_-- a German word, not exclusively a German
+vice.
+
+106. #ne qua#: sc. _species_. _Ne_ because of the general notion of
+apprehension in the sentence, as after _videre_. G., 548, R. 2; A., 70,
+3, _e_. --#subaerato auro#: _Subaeratus_ is a translation of
++hupochalkos. Hupochalkon nomisma+ is literally a coin (of gold or
+silver) with copper underneath. Of course we should say gilt or silvered
+copper coin. _Subaerato auro_, Abl. Abs. --#mendosum tinniat#: With
+_mendosum_ comp. _sonat vitium_, 3, 21; _solidum crepet_, v. 25; with
+_tinniat_, Quint., 11, 3, 31: _sonis homines, ut aera #tinnitu#,
+dinoscimus_. Translate the line: 'that no [seeming truth] give a faulty
+ring, due to the copper underneath the gold.'
+
+107. #forent#: On the sequence, see G., 511, R. 2; A., 58, 10, _a_.
+
+108. #ilia prius creta#, etc.: Comp. Hor., Sat., 2, 3, 246: _sanin
+#creta# an #carbone# notandi_.
+
+109. #modicus voti#: On the Gen., see G., 374, R. 2; A., 50, 3, _c_.
+--#presso lare#: 'Your establishment within your means?' _Pressus_
+opposed to _diffusus_. --#dulcis#: 'indulgent.' Observe the 'sweet
+reasonableness' of the ancient religionist. He, too, was an apostle of
+'sweetness and light.'
+
+110. #iam nunc-- iam nunc#: 'At the very moment,' 'just at the right
+time,' hence 'at one instant, at another.' --#astringas# --#laxes#:
+'shut tight-- open wide.' --#granaria#: 6, 25, Plural of abundance.
+Comp. 2, 33.
+
+111. #inque luto#: It was a favorite trick of the Roman boys to solder a
+piece of money to a stone in the pavement, in order to have a laugh at
+any one who might stoop to pick it up (Scholiast). Similar pranks are
+common enough now. Comp. Hor., Ep., 1, 16, 63: _qui liberior sit avarus
+| in triviis fixum, cum se demittit ob assem | non video_.
+
+112. #glutto#: On the formation, see _cachinno_, 1, 12.
+'Lickerish-mouthed that you are' would give the coarse tone.
+--#salivam#: Doth not our mouth water? --#Mercurialem#: Excited by gain
+and not by food. See 2, 12. 'Water of treasure-trove' (Conington).
+
+113. #haec mea sunt, teneo#: The commentators notice the legal tone.
+--#cum dixeris#: G., 584.
+
+114. #-que ac#: a rare combination. --#praetoribus ac Iove dextro#:
+a kind of Zeugma = _praetoribus [auctoribus] et Iove dextro_, 'by the
+grace of the praetors and Jove.' The Jupiter here meant is the _Iuppiter
+Liberator_ (+Zeus eleutherios+), so famous in connection with the death
+of Persius's friend, Thrasea Paetus, Tac., Ann., 16, 35. See Introd.,
+xiii.
+
+115. #sin#: '(if not) but if,' G., 593; A., 59, 1, _a_; Ribbeck, l.c.
+14. --#cum#: 'whereas,' 'after,' adversative. --#nostrae farinae#: 'one
+of our grain, batch, set,' 'one of our kidney'-- doubtless a proverbial
+expression. The metaphor is taken from the mill or from the bakery. The
+batch referred to is the Stoic school. Of course the statement is
+ironical. 'Whereas (to judge by your bold pretensions to liberty) you
+were a little while ago in our set.'
+
+116-118. The drift of the passage is plain enough. 'A change of fortune
+does not bring with it a change of character. If you possess all that
+you say you possess, then you are free and wise. But if you are, after
+all, the same old man, I take back all that I have granted. You are a
+fool, a slave.' This familiar Stoic thesis is covered over with a mass
+of confused metaphors, at least according to the commentators and
+translators. --#pelliculam veterem retines#: is supposed to be: 1. An
+ass in a lion's skin, after Hor., Sat., 1, 6, 22; or, 2. A snake that
+has not cast its slough (Jahn). --#astutam servas vulpem#: is the fox
+dressed up like a lion, Hor., Sat., 2, 3, 186. --#vapido pectore#:
+contains an allusion to 'dead wine,' _vappa_, v. 77, and is opposed to
+_incoctum generoso pectus honesto_, 2, 74. --#funem reduco#: 1. Of a
+beast that has had rope allowed it and is pulled in; 2. Of a cock-chafer
+that is played at the end of a string (Ar., Nub., 763). --#fronte#
+#politus#: words that do not fit in very satisfactorily with ass, fox,
+flat wine, restiff beast, or buzzing cock-chafer. My admiration of
+Persius is not unqualified, but this medley is almost too wild even for
+his turbid genius; and here, as elsewhere, commentators have been misled
+by looking at mere verbal coincidences with Horace. There is an Aesopic
+fable (149 Halm), the moral of which gives the substance of this
+passage: +ho logos d�loi hoti hoi phauloi t�n anthr�p�n, kan ta
+prosch�mata lamprotera analab�si, t�n goun phusin ou metatithentai+. In
+this fable, which bears a family likeness to +wal� pot' andros+ (Babr.
+32), _La Chatte Metamorphos�e en Femme_ (La Fontaine, 2, 18), Zeus,
+charmed with the cleverness of Reynard, had made him king of the beasts;
+but wishing to try whether fortune had changed his character, he caused
+a beetle to fly before His Majesty's eyes as he was borne by in state.
+The fox could not withstand the temptation, leaped from the litter, and
+tried to catch the game in such unseemly guise that Zeus deposed him.
+The fox is Dama, made Marcus; nay, become a philosopher (_nostrae
+farinae_), and the philosopher is king: _sapiens-- dives | #liber#,
+honoratus, pulcher, #rex# denique regum_, as Horace puts the Stoic
+doctrine (Ep., 1, 1, 107). But if despite his fair seeming, his smooth
+regal brow (_fronte politus_), he retains his old nature (_pelliculam
+veterem_), and the old Reynard-- the old rascal that swindled his master
+for a feed of corn-- is still in his heart (_astutam servas sub pectore
+vulpem_), our _deus ex machina_ takes back all that he has granted; he
+is a slave still.
+
+117. #relego#: So Jahn. Inferior MSS. have _repeto_. _Relego_ evidently
+suggested the new figure, _funem reduco_.
+
+119. #digitum exsere, peccas#: a favorite expression with the Stoics to
+show that the wise man alone understands the conduct of life. Epictet.,
+fr. 53: +h� philosophia ph�sin hoti oude ton daktulon ekteinein eik�
+pros�kei+ (Casaubon).
+
+120. #nullo ture litabis#: Comp. 2, 75. Here _litabis_ = _litando
+impetrabis_.
+
+122. #fossor#: 'a ditcher, a clown, a clodhopper.' _Fossor_ = _in
+cultus_. Comp. 'navvy.' Juvenal (11, 80) speaks of the _squalidus
+fossor_; Catullus (22, 10) combines _fossor_ and _#caprimulgus#_, Eur.
+(El., 252), +skapheus+ and +bouphorbos+.
+
+123. #tris tantum ad numeros moveare#: 'dance three steps in time.'
+_Ad_, as often, of the standard; _numerus_ = +ruthmos+; _moveri_ of the
+dance, as in Hor., Ep., 2, 2, 125, and as _motus_ in Od., 3, 6, 21:
+_#motus# doceri gaudet Ionicos | matura virgo_. --#satyrum#: a kind of
+Cognate Accusative, as in Hor., l.c.: _qui | nunc #satyrum#, nunc
+agrestem Cyclopa movetur_. Persius selects the _satyrus_ in distinct
+opposition to the _agrestis Cyclops_, a more congenial dance for the
+_agrestis fossor_. See the commentators on Horace. --#Bathylli#:
+Bathyllus was a famous dancer in the time of Augustus. More bookishness.
+See Phaedr., 5, 7, 5; Juv., 6, 63.
+
+124. #Liber ego#: The language of Dama. Only Dama is fading out.
+'Persius meets this reassertion of freedom with a new answer. Before he
+had contended that fools had no _rights_; now he shows that they have no
+independent _power_' (Conington). --#Unde datum hoc sentis#: So Hor.,
+Sat., 2, 2, 31: _Unde datum hoc sentis_, only _sentis_ here is
+equivalent to _censes_ (Jahn). On the interrogative with the Participle,
+see 3, 67. _Unde datum_, 'Who allowed you?' _unde_ being = _a quo_.
+Comp. _inde_, 1, 126, and G., 613, R. 1; A., 48, 5. --#tot subdite
+rebus#: Comp. Hor., Sat., 2, 7, 75: _tune mihi dominus rerum imperiis
+hominumque | #tot tantisque# minor_ = +h�ss�n+ = _subditus_.
+
+125. #an#: 'or' (do you mean to say?) 'what?' See 1, 41. --#relaxat#: in
+a general sense. Exit Dama. Enter Impersonal _Tu_.
+
+126. #I puer#: sample order of a sample master. --#strigiles#: A man
+might go to a common bath, but he would not like to use a common scraper
+(_strigilis_, +xustra+). On the _strigilis_, see, if needful, the
+commentators on Juv., 3, 263. --#Crispini#: Perhaps the bath-keeper. The
+name is Horatian, Sat., 1, 2, 120, and elsewhere.
+
+127. #si increpuit#: The slave loiters, the master scolds. --#'cessas
+nugator:'# Much more effective in the mouth of the master than as an
+apodosis to _si increpuit_, as Hermann has it, and Jahn (1868); though
+Schl�ter's remark, _verba_ '_cessas nugator?' dominum, non philosophum
+decent_, does not amount to much, when we consider that the philosopher
+is Persius himself. _Nugator_ is used here of wasting time; but the use
+of _nugari_ and its forms, which were often addressed to slaves, is
+wider, like the English 'fool.' So in Petron., 52, a boy lets a cup
+fall, and Trimalchio cries, _ne sis nugax_. With _cessas_ comp. Hor.,
+Ep., 2, 2, 14: _semel hic cessavit_. 'What do you mean by this
+loitering, you dawdler, you?' --#servitium acre#: 'the goad of bondage,'
+as Conington suggests. _Acre_, from the same radical as _aculeus_.
+
+128. #nihil nec quicquam#: G., 482, R. 3.
+
+129. #nervos#: 'wires.' The figure of the puppet (_sigillarium_, +agalma
+neurospaston+) as a favorite one with the Stoics, to judge by
+M. Antoninus, who uses it very often, e.g., +sigillaria
+neurospastoumena+, 7, 3; +neurospastia+, 6, 28. Comp. Hor., Sat., 2, 7,
+80: _tu mihi qui imperitas alii servis miser atque | duceris ut #nervis#
+alienis mobile lignum_. --#agitet#: 'There is nothing from without to
+set your wires going.' Your masters are within. --#iecore#: See 1, 25.
+
+130. #domini#: An immemorial figure. So Sophocles of Love. _Di meliora,
+inquit, libenter vero istinc sicut a #domino# agresti ac furioso
+profugi_, Cic., Cat. Mai., 14, 47. --#qui#: 'how?' --#exis# = _evadis_.
+See 1, 46; 6, 60.
+
+131. #atque# = _quam_. G., 311, R. 6. --#hic# = _de quo loquimur_. G.,
+290, 3. --#metus erilis# = _metus eri_. G., 360, R. 1; 363, R.; A., 50,
+1, _a_. 'If I be a master, where is _my fear_?' Mal., 1, 6. The
+assumption of Hendiadys, 'fear of the master's whip,' is unnecessary,
+and makes the passage less forcible.
+
+132-191. The remainder of the Satire is taken up with descriptions of
+the ruling passions: Avarice (132-142), Luxury (143-160), Love
+(161-175), Ambition (176-179), Superstition (180-189). The language is
+lively and mimetic, and forcibly recalls the connection between comedy
+and satire.
+
+132-160. Avarice finds you snoring, makes you get up, thrusts a bill of
+lading in your hand, cuts out work for you-- not very honest work
+either-- and chides you till she gets you to the ship. As you are about
+to embark, Luxury takes you aside, remonstrates with you, reminds you of
+the annoyances of a sea voyage. And all for what? The difference between
+five and eleven per cent. Why so greedy? 'Life let us cherish.' Enjoy it
+while you may. And so you are in a strait betwixt two. First you submit
+to one, then to the other master; and when you have once rebelled, you
+must not say, 'I have broken my bonds.' So a struggling hound may wrench
+away the staple, but drags the chain after it.
+
+132. #Mane stertis#: a reminiscence of himself, 3, 3.
+
+134. #saperdam#: Sing. for the Plur. Comp. _mena_, 3, 76. The _saperda_
+(+saperd�s, korakinos+) was a cheap fish for salting. The best came from
+the Palus Maeotis (Sea of Azow, Balik-Denghis, or Fish-sea), where they
+were caught in vast quantities. 'Salt herring.' --#Ponto#: a whence
+case.
+
+135. #castoreum, stuppas, hebenum, tus#: A mere hodge-podge. Comp.
+Menand., fr. 720 (4, 279 Mein.): +stuppeion, elephant', oinon, aulaian,
+muron+. The wares are mainly Eastern. Musk came from Pontus, ebony and
+frankincense from the Far East. --#lubrica Coa#: 'slippery Coans,' may
+be understood of 'oily (or laxative) Coan wines,' Hor., Sat., 2, 4, 29,
+or of 'soft Coan vestments,' which were little more than woven air,
+Hor., Od., 4, 13, 13. The use of _Coa_ for 'Coan robes' is sustained by
+Ov., A. A., 2, 298: _#Coa# decere puta_, even if Hor., Sat., 1, 2, 101,
+be cavilled at, and the effect is droller.
+
+136. #recens primus piper#: _Recens_, 'fresh,' 'just in;' _primus_,
+'forestall the market.' --#ex sitiente camelo#: The thirsty camel brings
+the scene before our eyes-- comp. _ante boves_, 1, 74-- and shows that
+the genuine Indian pepper is meant, the _rugosum piper_ of v. 55. The
+camel must have come a long way to be thirsty (_sitim quadriduo
+tolerat_, Plin., H. N., 8, 18), but Madam Avarice will not let her slave
+wait until the camel has been unloaded and has had its drink.
+
+137. #verte aliquid; iura#: _Verte aliquid_ is said with impatience, and
+_aliquid_ is to be urged. Comp. _frange #aliquid#_, 6, 32; _dest
+#aliquid#_, 6, 64; _fodere aut arare aut #aliquid# ferre_, Ter., Heaut.,
+1, 1, 17. 'Do something or other in the way of trade.' This obviates
+Jahn's objection, who finds the expression tame after the preceding
+list, and prefers to make _vertere_ = _versuram facere_, 'borrow money'
+(to pay debts), and to interpret _iura_ of swearing out of the
+obligation. But the connection in which _iura_ stands shows that it is
+professional, and hence dishonorable; and though _verte aliquid_ is not
+necessarily immoral, observe that in English we add 'honest' to the
+phrase 'turn a penny,' if we wish to prevent a sinister interpretation,
+which is the interpretation here, as K�nig remarks. As for the
+'tameness,' _mercare_ is 'tame' after _vende animam lucro_, 6, 75.
+
+138. #varo#: or _baro_, 'lout.' This obscure word is entered by Vanicek
+(_Etym. W�rterb._, S. 36) under KAR (KVAR)-- comp. _varus_, 'crooked'--
+so that _varo_ would be 'a wrong-headed creature,' 'a perverse
+blockhead.' The verb _obvaro_ occurs in Ennius (Trag., 2 Vahl.), and
+_varo_ (Subst.) would be a formation like _cachinno_ (1, 12) and _palpo_
+(5, 176). --#regustatum digito terebrare salinum#: After the Greek
+proverb: +halian trupan+ (of extreme poverty). Casaubon quotes, and
+every body after him, Apoll. Tyan., Ep., 7: +emoi d' ei� t�n halian
+trupan en Themidos oik�.+ 'To taste and taste until you bore a hole with
+your finger in the salt-cellar.' 'To lick the platter clean.'
+--#salinum#: Only the most advanced philosophers professed to consider
+salt, which even the miser could not well dispense with (4, 30), as a
+luxury. So Thrasycles, in Luc., Tim., 56: +opson de h�diston thumon �
+kardamon � #ei pote truph��n oligon t�n hal�n#+.
+
+139. #perages#: according to Casaubon, an imitation of the Gr.
++diagein+. Warrant for the ellipsis of _vitam_ or _aetatem_ seems to be
+lacking. Some wish to read _perges_ here, and combine it with
+_terebrare_. If so, the word _perges_ must not be translated 'continue'
++trup�n diateleis+, but 'proceed.' See the Dictionaries. There is no
+authority for making _perages_ = _perges_. --#vivere cum Iove#: Madam
+Avarice is blasphemously familiar in her expressions. 'To live on good
+terms with Jupiter.'
+
+140. #pellem#: simply 'a skin,' which might serve as many purposes as a
+modern traveller's shawl. Jahn interprets it as meaning a sort of
+packing cloth (_segestre_), and compares Petron., 102. This is much more
+likely than the _pastoria pellis_ of Ov., Met., 2, 680, the +bait�+ of
+Theocr., 3, 25, elsewhere called +nakos+, 5, 2, 'a peasant's coat of raw
+hide.' --#succinctus#: 'high girt,' hence 'equipped.' --#oenophorum#: 'a
+wine case.' Comp. Hor., Sat., 1, 6, 109: _pueri lasanum portantes
+#oenophorumque#_.
+
+141. #Ocius ad navem#: It matters not who says this: 'Off to the ship
+this instant.' We are on the wharf, where such cries are in the air; but
+if we must assign them to somebody, they are best assigned to the
+master, who hurries the slaves on board. --#quin#: G., 551,1; A., 70, 4,
+_g_. --#trabe vasta#: 'mammoth ship.' The man's greed is indicated by
+the size of the ship, as contrasted with the slenderness of his personal
+equipment. _Vastum Aegaeum_, another reading, would be an epithet
+wasted, a rare extravagance in Persius.
+
+142. #rapias#: 'scour.' Casaubon comp. Stat., Theb., 5, 3: _#rapere#
+campum_. So Verg., Georg., 3, 103: _campum | #corripuere#_. The notion
+is that of devouring. --#sollers#: 'artful' (literally, all-art).
+
+143. #seductum#: Comp. 2, 4; 6, 42. --#quo deinde ruis?# So Verg., Aen.,
+5, 741. _Deinde_, 'next.'
+
+144. #quid tibi vis?# Comp. Hor., Sat., 1, 2, 69. G., 351, R.; A., 51,
+7, _d_. --#calido#: is proleptic. 'Your breast is heated by a rising of
+potent bile.' --#mascula# = _robusta_ (Jahn). _Mascula bilis_ means
+_bilis nigra_, +melancholia+. Conington compares the Greek use of
++ars�n+ as +ktupos ars�n+, Soph., Phil., 1455. See 6, 4.
+
+145. #intumuit#: Comp. 2, 14; 3, 8. --#non exstinxerit#: +ouk an
+sbeseie+. G., 629 (250); A., 60, 2, _b_. --#urna#: nearly three gallons,
+half an amphora. --#cicutae#: the remedy for madness from this cause,
+Hor., Ep., 2, 2, 53.
+
+146. #mare transilias#: G., 251; A., 57, 6. Conington's 'skip across'
+would hardly answer for Horace's _non tangenda rates | #transiliunt#
+vada_, Od., 1, 3, 24. Tr. 'vault over.' --#torta cannabe#: 'Twisted
+hemp' is 'rope,' but Persius probably means a 'coil of rope.' --#fulto#:
+with _tibi_. Jahn quotes Juv., 3, 82: _#fultusque# toro meliore
+recumbet_. A coil of rope will be your cushion and a bench your table.
+
+147. #Veientanumque rubellum#: The _Veientana uva_ (Mart., 2, 53, 4)
+yielded a coarse red wine. _Et Veientani bibitur faex crassa #rubelli#_,
+Mart., 1, 103, 9. Not a happy stroke, as Teuffel has observed. A sea
+voyage does not involve bad wine.
+
+148. #vapida pice#: 'fusty pitch.' Jars were pitched to preserve the
+wine. --#laesum#: 'damaged.' --#sessilis obba#: 'broad-bottomed jorum,'
+'squab jug' (Gifford). _Obba_ is an obsolete word for a large
+drinking-cup. Conington's 'noggin' does not hold enough.
+
+149. #quincunce#: As an _as_ a month is twelve per cent. per annum, so
+5/12 _as_ (_quincunx_) is five per cent., and _deunx_ eleven.
+
+150. #nutrieras#: We use 'nursing' in similar connections, but rather in
+the sense of 'husbanding.' The figure is an extension of the Greek
++tokos+. See Shaksp., M. of V., 1, 3, where the 'breed for barren metal'
+embodies an ancient prejudice. Comp. further Hor., Ep., 1, 18, 35:
+_nummos alienos #pascet#_. --#nummi-- pergant avidos sudare deunces#: So
+Jahn (1843). 'May go on to sweat out a greedy eleven per cent.' Hermann
+edits: _nummos-- peragant avido sudore deunces_, and so Jahn (1868). H.
+(_L. P._, II., 57) refers to _bona peragere_ (6, 22), and says that the
+merchant, dissatisfied with his modest five per cent. which had
+increased his capital, goes in for eleven per cent., which gobbles it
+up, and has his sweat for his pains. On _pergant_, see note on v. 139;
+with _sudare deunces_ comp. Verg., Ecl., 4, 30: _sudabunt roscida
+mella_.
+
+151. #indulge genio#: See note on 2, 3. --#nostrum est quod vivis#:
+Variously interpreted. 'Your real life is mine,' i.e., 'only that part
+of life which you bestow on me is life' (Casaubon, and so, in effect,
+Jahn). 'Your life belongs to me and you (_nostrum_ answering to
+_carpamus dulcia_), not to any one else, such as Avarice, and it is all
+that we have' (Conington). 'It is all in our favor that you are alive'
+(Pretor)-- clearly wrong. There is an evident reminiscence of the
+Horatian _#quod spiro# et placeo, si placeo, #tuum# est_ (Od., 4, 3,
+24), which sustains Casaubon's view.
+
+152. #cinis et manes et fabula fies#: See note on 1, 36. There are
+clearly three stages, as Conington suggests: 'first ashes, then a shade,
+then a name.' With _fabula fies_ comp. Hor., Ep., 1, 13, 9: _fabula
+fias_, and Od., 1, 4, 16: _iam te premet nox #fabulaeque manes#_.
+
+153. #vive memor leti#: So Hor., Sat., 2, 6, 97. --#hoc quod loquor inde
+est#: 'What I am saying-- this speech of mine-- is so much off, so much
+time lost.' Comp. _dum loquimur fugerit invida | aetas_, Hor., Od., 1,
+11, 7.
+
+154. #en quid agis?# See 3, 5. --#duplici hamo#: 'a couple of hooks.' If
+_hamo_ is a fish-hook, _scinderis_ is a metaphor within a metaphor. 'You
+are like a fish distracted by two hooks,' not knowing which to bite at.
+Comp. Hor., Ep., 1, 7, 74: _occultum visus decurrere piscis ad #hamum#_,
+and for _scinderis_, Verg., Aen., 2, 39: _#scinditur# incertum studia in
+contraria vulgus_. The executioner's hook, which others understand, is
+generally _uncus_; Juv., 10, 66: _Seianus ducitur #unco#_.
+
+155. #sequeris#: See note on 3, 5. --#subeas oportet#: G., 535, R. 1;
+A., 70, 3, _f_, R.
+
+156. #oberres#: Gr. +drapeteuein+, 'go at large' (Pretor).
+
+157-158. #nec--dicas# = _neu dicas_. See note on 1, 5.
+
+159. #nam et#: (Don't say so) 'for.' 'Why, there's the dog that, like
+you (_et_), breaks its fastening.' --#luctata#: 'by a wrench.'
+--#nodum#: 'is the knot by which the chain is fastened to the bar of the
+door, (_sera_). Comp. Prop., 4, 11, 25-6: _#Cerberus# et nullas hodie
+petat improbus umbras, | sed iaceat tacita lapsa catena #sera#_'
+(Pretor). --#et tamen#: So Jahn (1868). _At tamen_, the reading of most
+MSS., can not stand, if Madvig is right in maintaining that _at tamen_
+always means 'at least.' Hermann's _ast tamen_ is well supported by
+MSS., and is more vigorous than _et_.
+
+160. #a collo#: G., 388, R. 2; A., 42, 2. --#pars longa catenae#: The
+long chain hampers its flight, and makes it easier to catch. The
+comparison clearly suggests the next picture.
+
+161-175. Persius, knowing little of love or liaison, goes to his Greek
+books for an example, and finds it, where it was not far to seek, in
+Menander's Eunuch. Horace (Sat., 2, 3, 259 seqq.) follows Terence's
+adaptation, Persius seems to have stuck to the original. Hence the
+dialogue is between Chaerestratus (+Chairestratos+), the young master,
+and Davus (+Daos+), the confidential servant, and not between Phaedria
+and Parmeno, as in the Latin dramatist.
+
+Ch. Davus, I'm going to put a stop to this sort of thing. --D. Thank
+Heaven for that! --Ch. But-- I should not like to hurt her feelings. Do
+you think she'll cry? --D. Well, if you talk that way, you had better
+not kick over the traces at all. She will give it to you soundly when
+she gets hold of you again, and she will get hold of you again as soon
+as she calls you. Don't be making suppositions. Go back to her in no
+case.
+
+A man who can make such a resolution and keep it-- here is your free
+man, not the lictor's whirligig.
+
+161. #Dave, cito#: Observe how he jerks out the words between the
+gnawings. --#credas iubeo#: G., 546, R. 3. --#finire dolores#, etc.:
+From Hor., l.c. 263: _an potius mediter #finire dolores#_.
+
+162. #praeteritos#: logically superfluous with _finire_, and yet not bad
+dramatically; 'that I have been having, undergoing.' --#crudum#:
+predicative, 'to the raw,' 'to the quick.' Comp. 1, 106: _demorsos
+unguis_.
+
+163. ##ad#rodens#: more natural than _abrodens_. 'He is in meditation,
+not in despair' (Hermann). --#siccis#: opp. to _madidis_, _ebriis_.
+'What! shall I be a standing disgrace in the way of my sober relations?'
+
+164. #rumore sinistro#: 'What? make myself the talk of all the
+scandal-mongers by squandering my estate?'
+
+165. #limen ad obscenum#: 'at a bawdy-house.' See note on 1, 109. He
+puts the case strongly. Remember that he is shut out. --#frangam#:
+colloquial, 'smash up,' 'make flinders of.' --#Chrysidis#: In Terence
+the lady's name is Thais, not Chrysis. --#udas#: 'dripping.' With what?
+With perfumes (Lucr., 4, 1179), with wine (Hor., Od., 1, 7, 22), with
+tears (Ov., Am., 1, 6, 18), with rain (Hor., Od., 3, 10, 19), with the
+sweat of the commentators of Persius.
+
+166. Comp. Hor., Sat., 1, 4, 51: _#ebrius# et, magnum quod dedecus,
+ambulet ante | noctem #cum facibus#_. --#ante fores canto#: Antique
+erotic literature is full of the caterwaulings of excluded lovers
+(+paraklausithura+).
+
+167. #puer#: 'Davus encourages his master, hence _puer_ instead of
+Terence and Horace's _ere_' (Conington). 'My young master' gives the
+tone here, 'my boy' below. --#sapias#: 'I do hope you are going to show
+your sense.' Rather optative than imperative. --#dis depellentibus#:
+_depulsoribus_ = _dis averruncis_. The Gr. is +apotropaios, ap�sikakos,
+alexikakos+. Comp. +apotropoisi daimosi+, Aesch., Pers., 203 (quoted by
+Pretor).
+
+169. #Nugaris#: 'at your old nonsense, I see.' See v. 127. --#solea#:
+The slipper was and is a matronly instrument of torture (Luc., D. D.,
+11, 1), and hence the fun of its application to grown-up men, as in the
+familiar story of Hercules and Omphal�, Luc., D. D., 13, 2. 'To slipper'
+would be understood as well in a modern nursery as +blautoun+ was in a
+Greek gynaikonitis. _Philtra quibus valeat mentem vexare mariti | et
+#solea# pulsare natis_, Juv., 6, 611-12. --#obiurgabere#: a _terminus
+technicus_. Petron., 34: _colaphis #objurgare# puerum iussit_.
+--#rubra#: A dramatic touch. This 'No Goody Two Shoes' wore the
+fashionable red slippers. Comp. the _talon rouge_ of the last century.
+
+170. #ne trepidare velis# = _noli trepidare_. 'Pray don't undertake to
+be restiff, to be plunging about.' Chaerestratus is a wild beast in the
+toils. This suggests _ferus_, and then the metaphor is dropped, unless
+_exieras_, v. 174, be a remnant of it.
+
+171. The distribution of what follows is not clear. Jahn and Hermann
+make Davus's speech end with _dicas_, so that _haud mora_ is the reply
+which the slave puts into the mouth of his master. 'If she should call
+you, you would say: "Anon, anon, mistress."' Chaerestratus speaks the
+words from _Quidnam_ to _accedam_, and Davus concludes with _si totus--
+nec nunc_. If Jahn's view be adopted, I do not see how we are to reject
+the old conjecture _ne tunc_ or _nec tunc_ for the reading _ne nunc, nec
+nunc_, v. 174. According to Heinrich, followed by Macleane and
+Conington, _haud mora_ is adverbial, and the words _quidnam-- accedam_
+are attributed by Davus to Chaerestratus. 'In Terence,' says Conington,
+'the lover has received a summons before the scene begins, and he
+deliberates whether to obey it. In Persius he is trying to resolve under
+the pressure of disappointment, and even then can not make up his mind;
+so that his servant tells him that if he _should_ be summoned back, he
+is pretty sure to entertain the question.' I have followed Heinrich's
+arrangement. Speech within speech is as characteristic of Persius as
+metaphor within metaphor.
+
+172. #nec nunc#: So Jahn in his ed. of 1868. _Ne nunc_, his former
+reading, for _ne nunc quidem_, condemned by Madvig, has a doubtful
+support in Hor., Sat., 2, 3, 262, a clear support in Petron., 9, 47.
+--#arcessat#: So Jahn for _arcessor_, which is excessively harsh, by
+reason of the double change, person and mood, in _supplicet_.
+
+174. #si exieras#: +ei g' exeb�s+. 'If (as you pretend you did) you got
+away heart-whole and fancy-free, don't go to her even now.' _Si_ with
+Pluperf. Ind. (not iterative) is not common, Cic., N. D., 2, 35, 90.
+Others read _exieris_. --#nec nunc#: sc. _accedas_. --#hic, hic#: The
+Adverb, as appears from _in festuca_. Comp. Hor., Ep., 1, 17, 39: _hic
+est aut nusquam quod quaerimus_.
+
+175. #festuca#: is generally explained as a synonyme for _vindicta_.
+Others refer it to the practice of throwing stubble on the manumitted
+slave, Plut., De Sera Num. Vind., p. 550 (Conington). --#ineptus#: 'as
+if a lictor could make a man truly free!' (Jahn).
+
+176-179. Ambition's Slave.
+
+176. #palpo#: literally 'patter, stroker,' 'softsawder-man,' i.e.,
+electioneerer. Another of the _verba togae_. See note on 1, 12. _Palpo_
+is explained by Io. Sarisberiensis (ap. Jahn) as 'one who feels his way
+with the people;' but this is not so simple nor so much in accordance
+with the use of _palpare_. --#ducit hiantem#: Comp. Hor., Sat., 1, 2,
+88: _emptorem inducat #hiantem#_, where Bentley reads _ducat_ on account
+of this passage. Also Verg., Georg., 2, 508: _hunc plausus #hiantem#-- |
+corripuit_, and Solon, 13, 36 (Bergk), #+#chaskontes# kouphais elpisi
+terpometha+.
+
+177. #cretata# = _candidata_. Togas were chalked then, as belts are
+pipe-clayed now. The candidate naturally put on his best. 'My Lady
+Canvass in holiday attire, in spotless white.' --#vigila#: 'Be up
+early,' in the same sense as our phrase, 'You must get up early to do
+this or that.' There is no special reference to the morning _salutatio_.
+--#cicer#: Comp. Hor., Sat., 2, 3, 182: _in #cicere# atque faba bona tu
+perdasque lupinis, | latus ut in circo spatiere et aeneus ut stes_. The
+vetch was a vulgar vegetable.
+
+178. #nostra#: _nobis aedilibus celebrata_ (Jahn). On the ironical First
+Person, see 3, 3. --#Floralia#: See the Dictionaries.
+
+179. #aprici# = _apricantes_. See 4, 18. 19. To 'love to live i' th'
+sun' (Shaksp.) is common to the feebleness of age and the luxury of
+youth, 4, 33. --#quid pulchrius#: Snatch of the old men's chat
+(Hermann). Ironical comment of Persius (Jahn). The former is more in
+Persius's manner.
+
+#at#: An abrupt transition to the Thraldom of Superstition (180-188).
+Whether the slave of superstition is identical with the slave of
+ambition or not is not certain-- probably not.
+
+180. #Herodis--dies#: Probably Herod's birthday, celebrated by the sect
+of the Herodians. Persius takes Herod as the most familiar Jewish
+personage to indicate Jewish superstition. On the spread of Judaism in
+the Roman Empire, see Friedl�nder, _Sittengesch._, 3, 489. --#uncta
+fenestra#: The 'window' is 'greasy' from the oil-lamps.
+
+181. #lucernae#: Those who wish illustrations for what they can see with
+their own eyes, may consult Friedl�nder, l.c. 1, 292. The lights remind
+one of the Feast of Tabernacles.
+
+182. #violas#: Comp. Juv., 12, 90: _omnis #violae# iactabo colores_. The
+violet may be our violet or the pansy (_viola bicolor_). --#rubrumque
+amplexa catinum#: The tunny is so large that it embraces the dish, and
+is not embraced by it. Comp. Hor., Sat., 2, 4, 77: _angustoque vagos
+piscis urgere #catino#_. _Rubrum_, the common color of pottery.
+
+183. #cauda thynni#: The tunny has a large tail, hence some such
+adjective as 'taily' is desiderated. Comp. note on 6, 10. --#natat#:
+Makes fun of the fish's swimming in the circumstances. --#tumet#:
+'bulges.' The big belly of the jar looks as if it were 'swollen' with
+wine.
+
+184. #labra movet tacitus#: Comp. Hor., Ep., 1, 16, 60: _#labra movet#,
+metuens audiri_ (of a prayer to Laverna). A recondite allusion to the
+secret prayer of the Jews is unlikely. --#recutita sabbata# =
+_recutitorum sabbata_. Comp. Ov., Rem. Am., 219, 220: _nec te peregrina
+morentur | #sabbata#_. --#palles# = _pallidus times_. G., 329, R. 1; A.,
+52, 1, _a_. Comp. our English 'blanch' or 'blench.'
+
+185. #tum#: As soon as the man has got over his Jewish fright he is
+assailed by other superstitions. --#lemures#: 'hobgoblins.' See note on
+2, 3. Comp. Hor., Ep., 2, 2, 208: _somnia, terrores magicos, miracula,
+sagas, | #nocturnos lemures#, portentaque Thessala rides?_ --#ovoque
+pericula rupto#: The Schol. refers these words to the Gr. +�oskopik�+
+(Jahn). 'The priests used to put eggs on the fire, and observe whether
+the moisture came out from the side or the top, the bursting of the egg
+being considered a very dangerous sign.' So Conington, after the
+Scholiast. _Lemures_ and _pericula_ have no strict grammatical
+connection. Some supply _timentur_ out of _palles_, others connect with
+_incussere_ by Zeugma.
+
+186. #grandes galli#: Juvenal's _ingens | semivir_ (6, 512). The
+peculiar worship of Cybel� had long been familiar to the Romans.
+--#sistro#: The +seistron+, or 'timbrel,' was peculiar to the service of
+Isis, which had been imported more recently. On its significance, see
+Plut., De Isid. et Osir., p. 376. The vibratory theory of life, with its
+perpetual sensuous unrest, is no novelty, as some of its eloquent
+advocates seem to think. --#lusca#: Why _lusca_? The priestess is
+supposed to have been struck blind by Isis, who visited offenders in
+that way. Comp. Ov., Ep. ex P., 1, 1, 53, and Juv., 13, 93: _Isis et
+irato feriat mea lumina sistro_. One homely explanation is that the
+priestess, being one-eyed, had betaken herself to religion in despair of
+a husband! (Schol.)
+
+187. #incussere#: Gr. Aorist. Comp. 3, 101. The expression, 'strike the
+gods into you,' after the analogy of _incutere metum, terrorem_, is the
+other side of Vergil's famous _magnum si pectore postit | #excussisse
+deum#_ (Aen., 6, 78). --#inflantis#: 'who have a way of swelling.'
+Compare the use of _depellentibus_ for _depulsoribus_, v. 167. See G.,
+439.
+
+188. #praedictum#: 'prescribed.' --#alli#: The superstitious usage here
+referred to has not yet been paralleled.
+
+189-91. Last scene of all. Horse-laughter of the muscular military.
+
+189. #Dixeris--ridet# = _si dixeris-- ridet_. Comp. v. 78.
+--#varicosos#: Comp. Juv., 6, 397: _#varicosus# fiet haruspex_ (from
+long-standing). Varicose veins would naturally be common with men who
+were as much on their legs as the soldiers of that day. But as
+_varicare_ means to stand or walk, as if one had _varices_, 'to
+straddle' (Quint., 11, 3, 125), and as _v[-a]ricus_ means 'straddling'
+(Ov., A. A., 3, 304), it seems better to translate _varicosos_
+'straddling' here, always remembering the origin. With the change of
+quantity, comp. _v[)a]cillo_ and _v[-a]cillo (vaccillo)_, Lachm.,
+_Lucret._, p. 37. --#centurionum#: See note on 3, 77.
+
+190. #crassum ridet#: Comp. _subrisit molle_, 3, 110. --#Pulfennius#:
+Jahn's last. The name is variously written. Notice a similar trouble
+about a _hircosus centurio_ in Caes., B. G., 5. 44, once Pulfio, now
+Pulio. Heinrich recognizes a fellow-countryman in _Vulfennius_ (Wulfen).
+--#ingens#: Comp. _#torosa# inventus_, 3, 86; _caloni #alto#_, 5, 95.
+
+191. #Graecos#: Comp. _doctores Graios_, 6, 38. --#curto#: 'clipped.'
+--#licetur#: A similar notion is worked out with admirable humor in
+Lucian's Vitarum Auctio.
+
+
+CRITICAL APPENDIX.
+
+SATURA V.
+
+3. #maesto#: moesto, J{a}., H. --8. #Prognes#: Procnes, #H. --9.
+cenanda#: coenanda, J{a}., #H. --13. scloppo#: stloppo, J{a}., #H. --17.
+dicis#: dicas, J{a}., H. --19. #bullatis#: pullatis, J{a}.; ampullatis
+_proposuit_ J. --24. #dinoscere#: dignoscere, J{a}. --35. #deducit#:
+J{a}., H.; diducit, J{w}. --38. #apposita#: J{a}., H.; adpos., J{w}.
+--58. #cheragra#: chiragra, J{a}. --66. #'cras hoc fiet.' Idem cras
+fiet#: cras hoc fiet idem-- Cras fiet? H. --68. #consumpsimus#:
+consumsimus, J{a}. --71. #cantum#: canthum, J{a}., H. --76. #tressis#:
+J{a}., H.; tresis, J{w}. --82. #pillea#: pilea, J{a}., H. --102.
+#navem#: navim, J{a}. --105. #speciem dinoscere#: specimen dignoscere,
+J{a}. --110. #astringas#: adstringas, J{a}. --112. #glutto#: gluto,
+J{a}. --117. #sub#: J{a}., H.; in, J{w}. --119. #exsere#: J{a}., H.;
+exere, J{w}. --122. #cetera#: caetera, J{a}. --123. #tris#: tres, H.
+--#satyrum#: satyri, J{a}. --127. #'cessas nugator:'# J{a}.; cessas
+nugator, J{w}., H. _Vid. Comment._ --131. #erilis#: herilis, J{a}., H.
+--132. #heia#: eia, J{a}. --135. #hebenum#: ebenum, J{a}., H. --136.
+#ex#: e, J{a}. --#camelo#: J{a}., H.; camello, J{w}. --138. #varo#:
+J{a}.; baro, J{w}., H. --142. #ni#: nisi, J{a}., H. --145.
+#exstinxerit#: J{a}., H.; extinxerit, J{w}. --146. #transilias#:
+transsilias, J{a}. --147. #cena#: coena, J{a}., H. --148. #exalet#:
+exhalet, J{a}., H. --149. #nummi#: J{a}.; nummos, J{w}., H. --150.
+#pergant avidos sudare#: J{a}.; peragant avido sudore, J{w}., H. --155.
+#huncine#: hunccine, J{a}., H. --159. #et tamen#: ac tamen, J{a}.; ast
+tamen, H. --163. #adrodens#: abrodens, J{a}. --165. #obscenum#:
+obscoenum, J{a}. --172. #nec nunc#: ne nunc, J{a}. --#arcessat#:
+accersar, H.; arcessor _al_. --174. #exieras#: exieris _al_. --#nec
+nunc#: ne nunc, J{a}. --190. #Pulfennius#: Fulfennius, J{a}.
+
+
+       *       *       *       *       *
+
+
+  SATURA VI.
+
+
+  Admovit iam bruma foco te, Basse, Sabino?
+  iamne lyra et tetrico vivunt tibi pectine chordae?
+  mire opifex numeris veterum primordia vocum
+  atque marem strepitum fidis intendisse Latinae,
+  mox iuvenes agitare iocis et pollice honesto                     5
+  egregius lusisse senes. mihi nunc Ligus ora
+  intepet hibernatque meum mare, qua latus ingens
+  dant scopuli et multa litus se valle receptat.
+  Lunai portum, est operae, cognoscite, cives!
+  cor iubet hoc Enni, postquam destertuit esse                    10
+  Maeonides, Quintus pavone ex Pythagoreo.
+  hic ego securus vulgi et quid praeparet auster
+  infelix pecori, securus et angulus ille
+  vicini nostro quia pinguior, etsi adeo omnes
+  ditescant orti peioribus, usque recusem                         15
+  curvus ob id minui senio aut cenare sine uncto,
+  et signum in vapida naso tetigisse lagoena.
+  discrepet his alius! geminos, horoscope, varo
+  producis genio. solis natalibus est qui
+  tingat holus siccum muria vafer in calice empta,                20
+  ipse sacrum inrorans patinae piper; hic bona dente
+  grandia magnanimus peragit puer. utar ego, utar,
+  nec rhombos ideo libertis ponere lautus,
+  nec tenuis sollers turdarum nosse salivas.
+  messe tenus propria vive et granaria, fas est,                  25
+  emole; quid metuis? occa, et seges altera in herba est.
+  ast vocat officium: trabe rupta Bruttia saxa
+  prendit amicus inops, remque omnem surdaque vota
+  condidit Ionio; iacet ipse in litore et una
+  ingentes de puppe dii, iamque obvia mergis                      30
+  costa ratis lacerae. nunc et de caespite vivo
+  frange aliquid, largire inopi, ne pictus oberret
+  caerulea in tabula. 'Sed cenam funeris heres
+  negleget, iratus quod rem curtaveris; urnae
+  ossa inodora dabit, seu spirent cinnama surdum,                 35
+  seu ceraso peccent casiae, nescire paratus.
+  tune bona incolumis minuas? et Bestius urguet
+  doctores Graios: _Ita fit, postquam sapere urbi_
+  _cum pipere et palmis venit nostrum hoc maris expers;_
+  _fenisecae crasso vitiarunt unguine pultes._'                   40
+  Haec cinere ulterior metuas? At tu, meus heres
+  quisquis eris, paulum a turba seductior audi.
+  o bone, num ignoras? missa est a Caesare laurus
+  insignem ob cladem Germanae pubis, et aris
+  frigidus excutitur cinis, ac iam postibus arma,                 45
+  iam chlamydes regum, iam lutea gausapa captis
+  essedaque ingentesque locat Caesonia Rhenos.
+  dis igitur genioque ducis centum paria ob res
+  egregie gestas induco; quis vetat? aude.
+  vae, nisi conives! oleum artocreasque popello                   50
+  largior; an prohibes? dic clare! 'Non adeo,' inquis
+  'exossatus ager iuxta est.' Age, si mihi nulla
+  iam reliqua ex amitis, patruelis nulla, proneptis
+  nulla manet patrui, sterilis matertera vixit,
+  deque avia nihilum superest, accedo Bovillas                    55
+  clivumque ad Virbi, praesto est mihi Manius heres.
+  'Progenies terrae?' Quaere ex me, quis mihi quartus
+  sit pater: haud prompte, dicam tamen; adde etiam unum,
+  unum etiam: terrae est iam filius, et mihi ritu
+  Manius hic generis prope maior avunculus exit.                  60
+  qui prior es, cur me in decursu lampada poscis?
+  sum tibi Mercurius; venio deus huc ego ut ille
+  pingitur; an renuis? vin tu gaudere relictis?
+  'Dest aliquid summae.' Minui mihi; sed tibi totum est,
+  quidquid id est. ubi sit, fuge quaerere, quod mihi quondam      65
+  legarat Tadius, neu dicta repone paterna:
+  _Faenoris accedat merces; hinc exime sumptus._
+  _quid reliquum est?_ Reliquum? nunc, nunc inpensius ungue,
+  ungue, puer, caules! mihi festa luce coquetur
+  urtica et fissa fumosum sinciput aure,                          70
+  ut tuus iste nepos olim satur anseris extis,
+  cum morosa vago singultiet inguine vena,
+  patriciae inmeiat vulvae? mihi trama figurae
+  sit reliqua, ast illi tremat omento popa venter?
+  vende animam lucro, mercare atque excute sollers                75
+  omne latus mundi, nec sit praestantior alter
+  Cappadocas rigida pinguis plausisse castata:
+  rem duplica. 'Feci; iam triplex, iam mihi quarto,
+  iam deciens redit in rugam: depunge, ubi sistam.'
+  Inventus, Chrysippe, tui finitor acervi.                        80
+
+
+NOTES.
+
+SIXTH SATIRE.
+
+The Sixth Satire is addressed to Caesius Bassus, a friend of Persius.
+The theme of it is the Proper Use of the Goods of this Life, which takes
+the personal form of a vindication of the poet's course in preferring
+moderate enjoyment to mean parsimony or grasping avarice.
+
+
+ARGUMENT.-- Are you by this time snugly ensconced by your Sabine fire?
+And _do_ the chords of your lyre wake to life at your vigorous touch?
+O cunning craftsman! in whose song the noble tongue of our sires is set
+to manly music, while young and old alike feel the play of your sportive
+wit, which in all its sport never forgets the gentleman (1-6).
+
+While you are yonder, I am in my dear Liguria, where the coast is warm,
+the sea is wintry but kindly, the rocks bar out the storm, and the shore
+retreats far inland.
+
+  'Luna's port-- 'tis well worth while, good people, to know it.'
+
+This was a saying of Ennius, as he woke up in his senses from his
+Pythagorean dreams and became plain Quintus, instead of the 'blind old
+man of Scio's rocky isle,' and a wise saying of that hearty old cock it
+was (7-11).
+
+Well, here I am, caring nothing for the rabble rout, caring nothing what
+an ill wind may be getting up for my flock. My neighbor may have a
+better patch of ground, men of lower birth may be growing rich over me.
+I will not fret myself into a crooked old man for that, nor dine without
+a bit of something nice, nor nose out a swindle in the imperfect seal of
+a flagon of flat wine (12-17).
+
+How men differ in such matters! The very same horoscope may bring forth
+rights and lefts. Here is one that even on his birthday allows himself
+only the scantiest and meanest fare. Here is another that eats up, like
+a spirited lad as he is, a vast estate. For my part, 'Enjoyment,
+enjoyment,' is my motto, although I do not intend to treat my freedmen
+to turbots, and do not understand the difference between cock-ortolan
+and hen-ortolan after they are cooked (18-24).
+
+Now this is the way to live, I take it. Up to your harvest, up to the
+last grain of your garners. What are you afraid of? It is a mere matter
+of harrowing, and lo! another crop is there (25, 26).
+
+But you say, Mr. Critic, 'There are claims on one. A friend is
+shipwrecked, the poor fellow is utterly ruined. One must do something
+for him.'
+
+Well and good! Sell a piece of land, give the proceeds to the needy
+friend, and keep him from begging up and down with a pictorial appeal to
+the benevolent (27-33).
+
+Ay, but what of the heir? _He_ will dock the funeral meats, if _you_
+dock the estate. One, sure, would not be stenchful when one's dead, and
+your bones will not be perfumed, or the perfumes will be stale or
+adulterated. One can not expect to diminish one's property without
+paying for it. Why, I heard Bestius say of your Greek teachers, from
+whom you learned this precious wisdom of yours, that ever since this new
+doctrine came to town the very haymakers have been spoiling their good,
+wholesome fare by rancid grease.
+
+Well, what of all this-- the heir's neglect and Bestius's
+fault-finding-- would you fear _them_ beyond the grave? (34-41).
+
+But come, my heir, let us dismiss the critic, and have a quiet chat
+together. Consider the claims on me. Here comes a glorious piece of news
+from the Emperor. The Germans have been defeated with great slaughter.
+A grand triumph is preparing. This is no time to hold back. I am going
+to bring out a hundred pairs of gladiators in honor of the occasion.
+Forbid it, if you dare. If you don't like that, I am going to give
+largess to the people-- none of your vile vetches, but oil and pasties.
+Do you object? Out with it (42-51).
+
+What do you say? 'My farm is hardly worth having after that.' Well, if
+you don't want it, I can get some of the women to take it; and if there
+is none of them left, I can go to the next village, and Hodge will
+accept. 'A son of earth?' you say; 'a nobody?' Pshaw! If you come to
+that, I can just remember who my great-great-grandfather was. Two
+generations further back and I come to a son of earth, a nobody, and
+Hodge is a relation-- a distant relation, but still a relation-- a kind
+of great-great-uncle. Believe me, the Lord No Zoo is father of us all
+(52-60).
+
+You are an impatient heir, I must say. Why can't you wait for my shoes
+until I take them off? I am the God of Fortune to you, just as he is
+painted in the pictures, with a purse in his hand. Will you take what I
+leave, and be glad to get it? It falls short; I know it does. But if I
+have lessened it, it is for myself that I have lessened it, and what is
+left is all yours. Don't stop to ask about that old legacy, and serve up
+a stale dish of fatherly advice. I know how fathers talk. 'Credit
+yourself by the interest. Debit yourself by the expenses. What is the
+remainder?' Remainder? Fudge! Souse the cabbage, boy. Don't spare the
+oil. Am I to dine off cow-heel and turnips on a holiday, that your
+graceless grandson may stuff himself with _p�t� de foie gras_, and
+indulge himself in aristocratic connections? Am I to go through the eye
+of a cambric needle that he may have a priestly paunch? (61-74).
+
+Furthermore, if you are not content with the little that I can leave
+you, sell your life for gain. Try every trade. Try every nook and corner
+of the earth. Go to Cappadocia, for instance, where you can make
+something by dealing in slaves, and become an adept in that dainty
+business. Double your capital. 'I have done so. Nay, I have trebled it,
+quadrupled it, decupled it. Tell me where to draw the line.' Tell you
+where to draw the line? Why, Chrysippus himself could not find the limit
+between wealth and poverty. A dollar more does not make a man rich,
+a dollar less does not make him poor. Where is the turning-point? And
+yet this man talks as if the turning-point had been found! (75-80.)
+
+
+The Sixth Satire is the most obscure and unsatisfactory of the poems of
+Persius, and baffled interpreters have taken refuge in the hypothesis
+that the Satire is incomplete. The roughness of the metre and the
+harshness of the transitions favor this view; but parts are wrought out
+with all the minuteness of detail that is characteristic of our author's
+style, and some of the highest authorities, such as Jahn, consider the
+Satire complete. The close, as Mr. Pretor remarks, is exactly in
+Persius's manner, and we must look elsewhere in the Satire for the
+breaks-- if breaks there be.
+
+
+1-11. Are you spending the winter on your Sabine farm, Bassus, and have
+you resumed your poetry? I am in my Ligurian resort, so praised by
+Ennius.
+
+1. #iam#: in the question implies uncertainty, 'actually?' 'so?'
+--#bruma# = _brevuma_ = _brevissuma_ (_dies_), 'the shortest day,'
+'winter-solstice,' 'midwinter.' --#foco#: contrast between the
+_fireside_ of the land of the Sabines and the open-air _warmth_ of
+Liguria. --#Basse#: 'Caesius Bassus, one of the intimate friends of
+Persius, was deputed by Cornutus to edit his Satires after his death. He
+is classed with Horace, as a lyric poet, by Quintilian (10, 1, 96), who,
+however, thinks him inferior to some of his own contemporaries, and he
+is probably the same with the author of a treatise on Metres, which is
+referred to by various grammarians, and still exists in an interpolated
+epitome, but different from Gabius or Gavius Bassus, who wrote works on
+the origin and signification of words and on the gods. Bassus was
+killed, according to the Scholiast, in the famous eruption of Vesuvius'
+(Conington, after Jahn). See also v. 5. --#Sabino#: The simplicity of
+the Sabines has already been noted (see 1, 20), and Jahn thinks that the
+life about the fireside (Verg., Georg., 2, 532) is an indication of the
+primitive tastes of Bassus and his family. _Sabino_ also prepares the
+way for _tetrico_ (below). Comp. _#tetrica# ac tristis disciplina
+#Sabinorum#_, Liv., 1, 18 (quoted by Jahn).
+
+2. #tetrico#: 'austere.' --#vivunt#: Persius was thinking of Horace's
+_vivuntque commissi calores | Aeoliae fidibus puellae_, Od., 4, 9, 11.
+12. _Iam vivunt_, 'wake to life' (Pretor), where 'wake' represents
+_iam_. See note on 5, 33.
+
+3. #mire#: is an Adjective or an Adverb, according as _opifex_ is a
+Substantive or an Adjective. --#opifex#: Commentators supply _es_, but
+the Nom. can be used in characteristic exclamation. See G., 340, R. 1,
+and comp. 1, 5. With _opifex intendisse_ comp. Prol., 11, and _egregius
+lusispe_ below. For the Perf., see 1, 41, note. --#veterum primordia
+vocum#: Perhaps 'the racy richness of our early tongue.' Lucr. (4, 531)
+uses _primordia vocum_ of the beginnings of articulate sound, as Quint.,
+1, 9, 1, uses _dicendi primordia_ of instruction in the rudimentary
+preparation for rhetoric. Bassus, as the whole context shows, affected
+to belong to the _antiquiores homines_, and imitated the diction of an
+earlier time. Persius belongs to a different school of art, and his
+friendship makes him guarded. Jahn understands a grammatical poem, of
+which Lucilius furnishes a familiar example in his Ninth Book (see L.
+M�ller's _Lucilius_, p. 221), but, as Pretor remarks, _numeris-- marem
+strepitum fidis intendisse Latinae_ indicates lyric poetry.
+
+4. #marem strepitum#: like +arr�n phthongos+. Comp. Hor., A. P., 402:
+_mares animos_. --#fidis Latinae#: Stress is to be laid on _Latinae_.
+Persius himself is intensely Latin in his vocabulary. --#intendisse#:
+'Verg., Aen., 9, 774, speaks of stringing the numbers on the chords;
+Persius goes further [and fares worse], and talks of stringing sounds on
+the numbers' (Conington).
+
+5. #mox#: points to another side of Bassus's poetry, the non-lyrical,
+probably satires, for one _Bassus in satyris_, mentioned by Fulgentius
+(ap. Jahn), is most likely our man, despite Jahn's objections.
+--#iocis#: Heinrich, _ex coni_. The passage is a very difficult one. The
+interpretation turns on the two words, _iocos_ (or _iocis_), _senes_ (or
+_senex_), as the reading _egregios_ for _egregius_ may be discarded.
+
+  (1.) Jahn reads in both editions (1843 and 1868) _iocos_ and _senes_.
+
+  (2.) Hermann's _senex_, the reading of Montepess., was
+    enthusiastically advocated by Hermann himself.
+
+  (3.) Heinrich's _iocis_ has the merit of making a perfectly clear
+    sense, and is accepted by Mr. Pretor.
+
+  (1.) If we read _iocos_ with the MSS., _iuvenes_ must be considered
+    an Adjective, and _iuvenes iocos_ = _iuvenilis iocos_. This almost
+    compels us to make _senes_ an Adjective also, and the following
+    translation may be given: 'Rare genius for carrying on the frolics
+    of youth [in song], and for giving play with virtuous skill to the
+    jests of the aged.'
+
+  (2.) Hermann's reading labors under the difficulty of requiring us to
+    understand _senex_ of Bassus, who was not an old man at the time;
+    but compare the note on _praegrandi sene_, 1, 124. Notice also the
+    want of balance in the absolute _lusisse_. 'Then showing yourself
+    excellent in your old age at wakening young loves and frolicking
+    over the chords with a virtuous touch' (Conington). _Iocus_ is
+    often used of love. Comp. Catull., 8, 6: _ibi illa multa tum
+    #iocosa# fiebant_.
+
+  (3.) Heinrich's _iocis_ gives us, 'Rarely skilled to rally the young
+    with jibe and jest and have a fling at old sinners, but all in
+    high-bred style.' _Pollice honesto_ is the _ingenuo ludo_ of 5, 16.
+    Comp. also 2, 74: _generoso #honesto#_; and the _#honesta# oratio_
+    of Ter., Andr., 1, 1, 114: _quae opponitur #plebeiae#_, as Gesner
+    says, s.v. It is hardly necessary to say that the English language
+    has no synonyme for _honestus_, which embraces the goodly outside
+    as well as the pure heart.
+
+Mr. Conington translates Hermann's text and comments on Jahn's. _Lusisse
+senes_ he understands as _amavisse senili more_, the poet being said to
+do the deed he writes about, Verg., Ecl., 9, 19. It would be far more
+simple to make _iocos senes_ = _amores senilis_, harsh as that would be.
+Old men's philanderings are fair game for the satirist or comic poet to
+have his fling at (_lusisse_). _Turpe senilis amor_, as the master says,
+Ov., Am., 1, 9, 4. Compare the Casina of Plautus. --#pollice#: the
+cithern being played chiefly with the thumb.
+
+6. #lusisse#: Comp. _scit #risisse#_, 1, 132. --#mihi#: The step-father
+of Persius probably had a seat there.
+
+7. #intepet#: The warmth of the coast made it a favorite resort for
+invalids. It is not unlikely that Persius was a man of delicate
+constitution. --#hibernat#: According to some, 'my sea winters,' that
+is, 'rests for the winter,' is not vexed by the keels of ships (Schol.).
+According to others, 'is wintry,' like _hiemat_ (the more common word in
+this sense). A stormy sea was supposed to lash itself warm. Jahn quotes,
+among other passages, Cic., N. D., 2, 10, 26: _maria agitata ventis
+#tepescunt#_. --#meum#: 'my sea,' 'my favorite haunt.' Some have
+inferred falsely from this passage that Luna was the birthplace of
+Persius.
+
+8. #latus dant#: 'present their giant side,' 'interpose a mighty
+barrier' against the winds. Jahn comp. Verg., Aen., 1, 105: _undis #dat
+latus#_. --#valle# = _sinu_. The Abl. of manner may be translated
+locally; 'into a deep bay' (Conington). --#se receptat#: 'retreats,'
+'retires' from the storms. So Horace (Od., 1, 17, 17; Epod., 2, 11)
+speaks of a _reducta vallis_. Jahn refers the frequentative to the
+windings of the bay. 'Keeps retreating,' 'retreats further and further,'
+might very well be said from the traveller's point of view. The
+description of the harbor, now the Gulf of Spezia, is said to be very
+accurate.
+
+9. #Lunai portum#, etc.: Ennius, Ann., v. 16 (Vahl.). Luna, from which
+the harbor took its name, was not on the gulf, but on the eastern side
+of the Macra (Magra), near the modern Sarzana. --#est operae#: Commonly
+explained by the ellipsis of _pretium_. But the Gen. is very elastic.
+--#cognoscite#: is easier in tone, _cognoscere_ is easier for
+translation. #cives#: 'good people all.' Ger. _Leutlein_. Jahn notices
+the _antiqua gramtas_ of _civis_.
+
+10. #cor Enni#: Comp. _re-#cor#-dor_ and _#cor#-datus_, and our 'get _by
+heart_.' So _credidit meum #cor#_, Enn., Ann., 374 (Vahl.). See Mart.,
+3, 26, 4; 11, 84, 17. The expression is little more than _cordatus
+Ennius_, as in the familiar passage, _tergemini #vis# Geryona�_, Lucr.,
+5, 28. So _#corpore# Turni_, Verg., Aen., 7, 650; Greek, +bia, is,
+demas, stoma+ (+Anut�s stoma+, Anthol. P., 9, 26, 3). On the same
+principle are based such combinations as _#mens# provida Reguli_, Hor.,
+Od., 3, 5, 13, and _venit et Crispi iucunda #senectus#_. Juv., 4, 81,
+and _Montani quoque #venter# adest_, l.c. 107. 'Ennius, in his sober
+moments' (Gifford). --#destertuit#: On the Tense, see G., 563; A., 62,
+2, _a_. 'Snored off his being,' i.e., the dream that he was Homer.
+Ennius's dreams are touched up in Prol., 2, where it has been mentioned
+that Ennius dreamed that he had seen Homer. For the further visions, see
+the citations in Vahlen's ed. of Ennius, Ann., v. 15.
+
+11. #Maeonides#: poetic 'flash-name,' like the 'Bard of Avon.'
+--#Quintus#: 'plain Quintus' (Gifford). The Scholiast fancies that
+_quintus_ is a numeral, and gives the following order of
+transmigrations: 1. Pythagoras; 2. A peacock; 3. Euphorbus; 4. Homer.
+Tertullian gives: 1. Euphorbus; 2. Pythagoras; 3. Homer; 4. A peacock.
+The pun would be a wretched one, but that is no objection; more serious
+is the wrong use of the Preposition _ex_ for _ab_. Heinrich combines
+confidently _Maeonides Quintus_, 'Homer with a Roman _praenomen_.'
+Conington follows doubtingly. --#pavone#: _Memini me fiere #pavum#_,
+Enn., Ann., v. 15 (Vahl.). --#Pythagoreo#: 'Since _Pythagoras'_ time
+that I was an Irish rat,' Shaksp.
+
+12-17. Here I am in happy unconcern, caring naught for vulgar herd or
+threatened flock. I do not pine because my neighbor waxes fat. Let who
+will get up in the world; I won't let my hair turn gray for that, nor
+stint myself, nor poke my nose into the wax of every jar of wine I open
+to see whether somebody has not been tampering with the seal.
+
+12. #securus#: with Gen., Verg., Aen., 1, 350; 10, 326. --#quid
+praeparet auster#: Jahn comp. _quid cogitet umidus #auster#_, Verg.,
+Georg., 1, 462; and 444: _arboribusque satisque Notus #pecorique#
+sinister_.
+
+13. #infelix#: with Dat. Verg., Georg., 2, 239: _tellus_-- _#infelix#
+frugibus_, quoted by Conington. --#pecori#: as it were, doubly
+dependent. --#securus et#: The trajection of _et_ (1, 23) gives
+_securus_ a better position. --#angulus#: as in _O si #angulus# ille |
+proximus accedat_, Hor., Sat., 2, 6, 8.
+
+14. #pinguior#: Jahn quotes appositely for the thought, _fertilior seges
+est alienis semper in agris_, Ov., A. A., 1, 349. So Juv., 14, 142:
+_maiorque videtur | et melior vicina seges_. --#adeo omnes#: The
+emphasis of _adeo_ may be given by repetition, _all, ay, all_. The
+supposition is an extreme one, hence the Subjunctive _ditescant_. Notice
+the harsh elision at this point, which is avoided by smoother writers.
+Persius has it fourteen times in all-- eight times in this one Satire--
+which may be interpreted as an indication of its incompleteness.
+
+15. #peioribus#: Comp. Hor., Ep., 1, 6, 22: _#peioribus# ortus_. The
+social sense is the more prominent. --#usque# = _ubi-s-que_, 'no matter
+where or when,' hence 'every where,' and, as here, 'always.'
+
+16. #curvus#: 'bent double.' --#minui#: 'lose flesh' (Conington).
+--#senio#: before my time. Comp. 1, 26. --#uncto#: synonymous with
+'dainty.' Jahn comp. Hor., A. P., 422, and 3, 102; 4, 17.
+
+17. #signum tetigisse#: Only good wines were sealed. The miser not only
+seals up his vile stuff, but, in his anxious scrutiny into the state of
+the seal, butts his nose against it-- perhaps with the additional idea
+of helping the sense of sight with the sense of smell. _Recusem
+tetigisse_ = _nolim tetigisse_. Comp. note on 1, 91.
+
+18-24. Others may not agree with me in these views. Even twins born
+under the same star may be widely different. One gives himself a treat
+only on his birthday, and a poor treat it is. Another devours his
+substance before he comes of age. I am for enjoyment, but not for waste;
+for enjoyment, but not for a subtle discernment of the pleasures of the
+table.
+
+18. #his#: On the Dat., see G., 388, R. 1; A., 51, 2, _g_. _His_ is
+Neuter. 'These views of mine.' --#geminos#: Comp. Hor., Ep., 2, 2, 183
+seqq. --#horoscope#: 'natal star,' 'star of nativity.' Comp. note on 5,
+46. --#varo genio#: 'of diverging temper.' _#Varus#_ is often used of
+distorted, bowed legs, and _varo genio_ is only Persius's way of saying
+that the dispositions of twins often go apart.
+
+19. #producis#: 'bring forth,' 'give birth to,' 'beget,' Plaut., Rud.,
+4, 4, 129; Prop., 5, 1, 89 (Conington). Jahn renders it _in lucem edit
+et educat_, which is more in conformity with general usage and with the
+notion of control in the star of nativity. --#solis natalibus#: This
+picture has been much admired. Every word tells. This high-day comes but
+once a year (_solis_), the cabbage is dry (_sine uncto_), he does not
+souse it with oil, as Persius does (_ungue, puer, caules_, v. 69), but
+moistens it (_tingat_) with fish brine (_muria_), which he has bought--
+sly fox that he is (_vafer_)-- in a cup (a cupful at a time, to prevent
+waste), while, with his own hand (_ipse_)-- for he trusts no other-- he
+dusts (_inrorans_) the platter with the dear, precious pepper, sacred in
+his eyes (_sacrum_).
+
+20. #muria#: was a cheap sauce, 'made of the _thynnus_, and less
+delicate than _garum_, made of the _scomber_' (Macleane); hence the
+point of buying it only as he wanted it-- a small quantity at a time.
+--#empta#: Both Conington and Pretor direct us to combine _empta_ with
+_muria_. It can not be combined with any thing else, as _calice_ is
+rigidly masculine, Neue, _Formenl._, 1, 691.
+
+21. #sacrum#: _Acerbe dictum quia avarus tamquam sacro parcit_ (Jahn).
+Jahn compares +hals theios+, but has not overlooked the real point, as
+Mr. Pretor intimates. --#inrorans#: Comp. _instillat_ in a similar
+description of a miser (Avidienus), in Hor., Sat., 2, 2, 62. --#dente
+peragit#: 'gobbles up' (Conington). _Peragere_, 'go through,' 'run
+through.'
+
+22. #magnanimus#: Ironical, like Hor., Ep., 1, 15, 27: _rebus maternis
+atque paternis | #fortiter# absumptis_. 'High-hearted hero.' --#puer#:
+while a mere lad. 'Gifford notices the rapidity of the metre, and
+contrasts it with the slowness of v. 20.' It would have been more to the
+purpose if he had noticed the mockery of the position, which suspends
+the sense. 'He-- his property-- with nothing but his teeth-- his vast
+estate-- heroic being-- runs through-- while nothing but a boy.'
+
+23. #rhombos#: It suffices to refer to Juv., Sat., 4. --#ponere#: 1, 53.
+For the construction, see Prol., 11.
+
+24. #tenuis--salivas#: 'delicate juices,' 'subtle flavors.' _Saliva_ =
+_sapor_, as in Plin., H. N., 22, 1, 22: _sua cuique vino #saliva#_, by a
+natural transfer from the consumer to the consumed; or, as Conington
+puts it, from effect to cause. See 5, 112. --#sollers nosse#: Prol., 11.
+--#turdarum#: 'thrushes,' 'fieldfares,' a well-known delicacy, Hor.,
+Sat., 2, 5, 10; Ep., 1, 15, 41. The Scholiast tells us that the feminine
+is used for the ordinary masculine, because the Brillat-Savarins of the
+period undertook to tell the sex by the taste. The difference between
+_turdorum_ and _turdarum_ reminds one of 'calipash' and 'calipee.'
+
+25-33. The true course is to live fully up to your income and trust to
+the next crop. 'But suppose an extraordinary demand is made on you.
+Suppose a friend is shipwrecked.' What easier than to sell a piece of
+land and relieve his wants?
+
+25. #tenus#: here 'fully up to.' Jahn makes _tenus_ an Adverb, compares
+Verg., Aen., 1, 737: _summo #tenus# attigit ore_, and explains _messe
+propria vive_ as = _consume fructus agrorum tuorum usque ad finem, quoad
+suppetunt_. --#propria#: 'Is it not lawful for me to do what I will with
+_mine own_?'
+
+26. #emole#: to the last grain. --#occa#: Comp. Hor., Ep., 2, 2, 161:
+_cum segetes #occat# tibi mox frumenta daturas_. --#in herba#: 'in the
+blade.' Ov., Her., 17, 263: _adhuc tua messis in #herba# est_. Have
+something of the farmer's hopeful spirit. Comp. the Gr. proverb: +aei
+ge�rgos eis ne�ta plousios+.
+
+27. #ast#: 2, 39. An impersonal objector speaks. --#officium# = +to
+kath�kon+, which embraces our charity. The Stoics insisted on
++chr�stot�s+, without prejudice to +apatheia+. They wanted
+_benevolentia_ without _misericordia_. See Knickenberg, l.c. p. 90. The
+poet gets the better of the philosopher in Persius. --#trabe rupta#:
+Comp. 1, 89. --#Bruttia saxa#: In the toe of the Italian boot.
+
+28. #prendit#: Casaubon comp. _#prensantemque# uncis manibus capita
+aspera montis_, Verg., Aen., 6, 360 (of Palinurus). --#surdaque vota#:
+_Surdus_ is 'dull of hearing' and 'dull of sound,' 'deaf,' and, as here,
+'unheard,' Comp. +k�phos+, The radical is SVAR, 'heavy;' 'neither his
+ear _heavy_ that it can not hear.'
+
+29. #Ionio#: sc. _sinu_, if we may judge by Juv., 6, 92: _lateque
+#sonantem# pertulit #Ionium#_. Gr. +Ionios #kolpos#+. Comp. Thuc., 1, 24
+with 6, 30. It is used here in a wide sense, as is shown by _Bruttia
+saxa_, v. 27. Comp. Serv. ad Aen., 3, 211: _sciendum #Ionium sinum# esse
+#immensum# ab Ionia usque ad #Siciliam#_. On the translation and
+construction of _Ionio_, see note on Prol., 1. --#ipse#: the master of
+the vessel. G., 297, R. 1.
+
+30. #de puppe dii#: Paintings of the gods. Comp. Verg., Aen., 10, 171:
+_aurato fulgebat #Apolline puppis#_. The gods may have been Castor and
+Pollux, no unlikely 'sign,' Acts, 28, 11. _Ingentes_ implies the size of
+the ship and the magnitude of the loss (Jahn). See note on _trabe
+vasta_, 5, 141. --#obvia mergis#: Jahn comp. Hor., Epod., 10, 21: _opima
+quod si praeda eurvo litore | porrecta #mergos# iuveris_. Any large
+sea-bird will answer, such as 'cormorant.'
+
+31. #lacerae#: Conington comp. Ov., Her., 2, 45: _at #laceras# etiam
+#puppes# furiosa refeci_. --#et#: +kai+, 'if need be.' --#caespite
+vivo#: Comp. Hor., Od., 1, 19, 13; 3, 8, 4; 'live sod,' 'green turf.'
+Here landed property is meant, in contrast to the income, represented by
+the _messis_.
+
+32. #pictus#: See note on 1, 89. 'With his picture' (Conington).
+--#oberret#: 'go up and down the country.' --#tabula caerulea#: 'a
+sea-green board,' as might be expected from the subject.
+
+33-41. 'But,' resumes the interlocutor, 'your heir will object to your
+curtailing your property, and not show you the proper respect when you
+are dead. You can't expect to diminish your property without scath. And,
+in fact, you philosophers are very much spoken against on account of the
+bad example you set, the bad influence you have exerted on the common
+people.' --Well, what of it? Would you care any thing about what was
+done to you or said of you after you are dead?
+
+The connection is much disputed.
+
+33. #cenam funeris#: the _epulum funebre_, the 'funeral baked meats' of
+Hamlet, not the _silicernium_ proper, not the _exigua #feralis cena#
+patella_ of Juv., 5, 85, the scanty meal left at the funeral pile for
+the _dis manibus_.
+
+34. #curtaveris#: G., 542; A., 70, 5, _b_. --#urnae#: Do not efface the
+personal conception (G., 344, R. 3; A., 51, N.) by translating 'put
+into.' The urn receives; hence _dabit_ = 'commit,' 'consign.'
+
+35. #inodora#: Ov., Trist., 3, 3, 69: _atque ea (= ossa) cum foliis et
+#amomi# pulvere misce_; Tib., 3, 2, 23 (Jahn). --#seu spirent#: 5, 3.
+--#cinnama--casiae#: On the Plural, see G., 195, R. 6; A., 14, 1, _a_.
+--#surdum#: 'faint,' a transfer from hearing to smell. On the
+construction, see 5, 25.
+
+36. #ceraso#: This passage is our only authority for the fraudulent
+admixture. Tr., 'whether the cinnamon have lost the fragrance of its
+breath, or cassia be taken in adulteration with cherry-bark.' --#nescire
+puratus#: here 'fully resolved,' rather than as in 1, 132.
+
+37. #tune bona incolumis minuas#: In his ed. of 1868 Jahn has followed
+Sinner's suggestion, and transposed parts of vv. 37 and 41, so as to
+read _Haec cinere ulterior metuas_ here, and _Tune bona incolumis
+minuas_ below, as Hermann had done before him, only Hermann puts the
+words in the mouth, not of the objector, but of Persius. I am unable to
+see how either arrangement helps us out of the difficulties of the
+passage. In his ed. of 1843, Jahn makes _tune bona incolumis minuas?_
+the language of the heir, who asks angrily, 'Do you expect to diminish
+your property without suffering for it?' It is rather the language of
+the objector, who had just told Persius that he would miss a good
+funeral by curtailing his estate, and who goes on to cite Bestius, as
+another opponent of this new-fangled philosophy. Persius dismisses this
+tirade by the single question: 'What would all this be to you or me
+after we are dead?' This gets rid of Bestius as a new speaker. He is
+quoted by the objector. Mr. Pretor translates: 'Do you mean to say,
+Persius, that _you_ would thus break up your property, while hearty and
+strong, instead of waiting to bequeath it by will on your death-bed?'
+--#incolumis#: +chair�n+, _impune_. --#et#: Others besides the heir are
+dissatisfied. --#Bestius#: the _corrector Bestius_ of Hor., Ep., 1, 15,
+37, who is quoted here by the opponent of Persius, as inveighing against
+doctrines that have taught the lower classes to waste their substance on
+condiments and spoil their wholesome fare, after the pattern of such
+gentlemen as Persius. Comp. _usque recusem-- cenare sine uncto_, v. 16,
+and _ungue, puer, caules_, v. 69.
+
+38. #doctores Graios#: Comp. 5, 191. --#Ita fit#: 'That is the way of
+it.' --#sapere nostrum#: 1, 9. --#urbi#: with _venit_. _Venire_ with the
+Dat., like the Greek +elthein+, on account of the personal interest
+involved, 'came' being = 'was brought,' _allatum est_. See K�hner,
+_A. G._, 2, 351, and Weissenborn on Liv., 32, 6, 4.
+
+39. #cum pipere et palmis#: notoriously foreign productions. Comp.
+_advectus Romam quo pruna et cottona vento_, Juv., 3, 83. _Palmis_ =
+'dates.' --#nostrum hoc#: 'this new wisdom of our day.' --#maris
+expers#: Hor., Sat., 2, 8, 15: _Chium #maris expers#_. The explanations
+are by no means convincing. _Maris expers._ (1) Not mixed with salt
+water, which was supposed to be wholesome, as in Horace, l.c. (2)
+_insulum_, Heinr., the most simple, 'foolish philosophy,' 'insipid
+sapience.' (3) Devoid of manliness (Casaubon). Comp. 1, 103, 104, in
+which case _maris_ would be a pun, as there is an evident Horatian
+reminiscence. See Introd., xxiii. But the Horatian passage is itself
+variously interpreted. (4) The rendering, 'innocent of the sea,' i.e.,
+'home-grown,' is in manifest contradiction to the drift of the passage.
+
+40. #fenisecae#: Type of the rustic laborer. Comp. _fossor_, 5, 122.
+_Fenisecae_, the plebeian spelling for _faenisecae_, seems more
+appropriate here. --#crasso unguine#: They can not get a good article,
+but they are determined to imitate their betters, and so they take a
+poor one. With _crasso unguine_ comp. 3, 104: _crassis amomis_.
+--#vitiarunt pultes#: On _vitiarunt_ comp. 2, 65; _puls_ is the national
+porridge, the _farrata olla_ of 4, 31.
+
+41. #cinere ulterior#: 'when you are the other side of the grave' (comp.
+5, 152); +peraiter� kone�s+ (Casaubon).
+
+41-60. Persius turns on his heir: 'Glorious news has come of a great
+victory. I wish to celebrate it by games-- by largess. Will you forbid
+it? If you don't want what is left, let it alone. I can get somebody to
+take it-- some beggar, perhaps, related to me through that son of earth,
+Adam.'
+
+42. #quisquis eris#: does not so much show 'the indifference of Persius
+himself' to his successor as the utter lack of real personality in the
+Satire. See note on 1, 44. --#seductior#: Comp. 2, 4. _Paulum_ with
+_seductior_. Comp. Petron., 13: _#seduxit# me #paululum# a turba_; and
+Plaut., Asin., 5, 2, 75; Ter., Eun., 4, 4, 39. The Accusative with the
+Comparative is rare but sure, Dr�ger, l.c. � 245, _b_; for examples with
+_paulum_, Sil., 15, 21; Stat., Theb., 10, 938 (Freund).
+
+43. #o bone#, etc.: The only passage in Persius that deals with the
+political life of his time, the only passage that has any historic
+force. A keen observer in his narrow sphere, Persius has hit off very
+happily the features of this droll triumph of Caligula's. True, he was
+only seven years old when it took place; but he lost his father when he
+was six, and yet recalls him vividly, and this parade must have made an
+abiding impression, whether he saw it or only heard of it. Caligula's
+German expedition is recounted in Suet., Calig., 43 seqq.: 'He ordered a
+triumph, which was to be unprecedentedly splendid, and cheap in
+proportion, as he had a right to the property of his subjects-- changed
+his mind, forbade any proposal on the subject under capital penalties,
+abused the senate for doing nothing, and finally entered the city in
+ovation on his birthday' (Conington). With _o bone_ comp. _heus bone_,
+3, 94. --#laurus# = _laureata epistola_, the letter bound with bays, in
+which victories were announced.
+
+44. #Germanae pubis#: 'flower of the German army' (Pretor), _pubes_
+being = +h�likia+.
+
+45. #aris | frigidus excutitur cinis#: Of course to make room for new
+sacrifices, but _frigidus_ intimates that the ashes had had time to
+cool; such occasions were rare. Comp. Apul., Met., 4, 83: _arae viduae
+#frigido cinere# foedatae_. _Aris_, Dat. _Excutitur_ denotes haste. 'The
+ashes are hustled off.' --#postibus#: 'for the door-posts' (of temples,
+palaces, the residence of the _triumphator_, and other buildings). With
+the Dative comp. Juv., 6, 51: _necte coronam | #postibus#_.
+
+46. #lutea gausapa#: 'yellow wools.' The coarse fabric known as
+_gausapa_ was used to make yellow wigs for the mock German captives. The
+light hair of the Germans is a familiar characteristic, and a similar
+device is recorded of Domitian by Tacitus, Agr., 39 (Jahn). As the
+captives were actually Gauls, Casaubon understands _gausapa_ of the
+common Gallic costume.
+
+47. #Caesonia#: the mistress, and, after the birth of a daughter and the
+divorce of Lollia, the wife of Caligula, Suet., Cal., 25. --#ingentis
+Rhenos#: Jahn understands statues or pictures of the Rhine, to be
+carried in procession, referring to the Jordan on the Arch of Titus, and
+citing Ov., A. A., 1, 223 seqq., for the Euphrates and Tigris. Conington
+adds Verg., Georg., 3, 28, for the Nile, and considers the Plural
+_Rhenos_ sarcastic. The more common interpretation regards _Rhenos_ as
+_Rhenanos_. Suet., l.c. 47, mentions expressly the fact that Caligula
+picked out the tallest men he could find (_procerissimum quemque_) for
+the procession.
+
+48. #genioque ducis#: On _genio_, see 2, 3. The genius of the Emperor
+was publicly worshipped, Ov., Fast., 5, 145. Caligula punished those who
+did not swear by his genius, Suet., Cal., 27. _Ducis_ is sarcastic. 'So
+Juv., 4, 145; 7, 21, calls Domitian _dux_, with reference to a similar
+exploit, a sham triumph with manufactured slaves' (Conington, after
+Jahn). --#centum paria#: Comp. Hor., Sat., 2, 3, 85: _ni sic fecissent
+#gladiatorum# dare #centum# | damnati populo #paria# atque epulum_. The
+number is absurd for any ordinary fortune, and the extravagance of the
+threat destroys the dramatic effect on the heir.
+
+49. #induco#: The familiar Present for the Future. _Induco, verbum
+harenae_ (Casaubon). --#aude#: We should say, 'I dare you' (Conington).
+
+50. #oleum#: Largesses of oil by Caesar and Nero are recorded by Suet.,
+Caes., 38, Nero, 12 (Jahn). --#artocreas#: +artokreas+ = _visceratio_,
+'bread-meat' for 'bread-and-meat.' Outside of the numerals, such
+copulative compounds (_dvandva_ in Sanskrit) are rare, and chiefly late.
+Comp. _suovetaurilia_, +nuchth�meron+, the famous word of seventy-nine
+syllables in Ar., Eccl., 1169, and Mod. Gr. +androgunon+,
+'man-and-wife.' Some consider _artocreas_ a kind of meat-pasty.
+--#popello#: 4, 15.
+
+51, 52. #dic clare#: It were very much to be wished that he had. The
+context seems to require, on the one hand, a motive for the silence of
+the heir; on the other, a motive for declining the inheritance. The
+interpretation of _non adeo-- iuxta est_ depends on the meaning of
+_exossatus_, which is sometimes rendered 'exhausted,' 'impoverished,'
+'worn out,' as if 'boneless' and 'marrowless' were the same thing here;
+sometimes, and with far more probability, 'cleared of stones.' A poetic
+allusion to the 'bones of Mother Earth,' Ov., Met., 1, 393 seqq.
+(Schol.), would be out of place, and the common culinary sense of
+_exossatus_, 'boned,' is in keeping with the homely character of
+Persius's tropes. _Adeo_ is sometimes considered a Verb, in the sense of
+_adire hereditatem;_ sometimes an Adverb, and connected now with
+_prohibeo_ (from _prohibes_), now with _exossatus_; and, finally, some
+give _exossatus-- est_ to the heir, others to Persius. I subjoin the
+chief distributions and interpretations:
+
+(1.) _Non adeo_, inquis. Exossatus ager iuxta est. Jahn (1843). (Do you
+mean to hinder me? Out with it.) 'Not exactly,' you say. Here is a
+worn-out field hard by. If you won't have it, another will.
+
+(2.) 'Non adeo,' inquis? Exossatus ager iuxta est (Conington). You won't
+accept the inheritance, you say? Here is a field, now, cleared for
+ploughing.
+
+(3.) 'Non adeo,' inquis, 'exossatus ager iuxta est,' Jahn (1868), which
+may be rendered, 'I am sure that your land here is not in such very good
+order' (that you can afford such extravagance). Good order or not, I can
+find some one to take it off my hands, etc.
+
+(4.) Hermann bases his interpretation on the Schol., and understands
+_non adeo exossatus ager_ to be a field that is not wholly cleared of
+stones, to which the heir points as a cogent argument against his making
+a difficulty. He is afraid of a stoning from the people, as above he was
+afraid of doing any thing to disoblige the Emperor (_Lect. Pers._, II.,
+64).
+
+(5.) Teuffel agrees with Hermann's interpretation of _exossatus_, but
+separates _non adeo_, 'Not exactly.' See (1.). 'There is a field hard by
+from which the stones have [just] been dug up,' where they are lying in
+convenient heaps.
+
+(6.) Heinrich takes _adeo_ to be the Verb, _exossatus_ as
+'impoverished,' and _iuxta_ = _paene_.
+
+(7.) _Non adeo_, inquis. _Exossatus ager iuxta est_ is rendered by Mr.
+Pretor, 'I can't quite forbid it; but let me suggest to you that your
+land is impoverished.'
+
+(8.) K�nig understands the heir to say: 'I will not accept. I have a
+well-tilled piece of land of my own hard by.'
+
+I am not ashamed to acknowledge that the only point about which I am
+convinced is the impossibility of making _exossatus_ mean
+'impoverished.'
+
+53. #amitis#: _Amita_ is the aunt by the father's side. See note on 2,
+31. Persius left his property to his mother and sister, and all this
+string of suppositions is in keeping with the impersonal character of
+his heir. Teuffel notices the utter jumble of legal relations.
+--#proneptis patrui#: 'female cousin twice removed.'
+
+54. #sterilis vixit#: 'has lived barren' means 'has died childless,
+without issue.'
+
+55. #nihilum#: 'neither chick nor child.' --#Bovillas#: Bovillae lay
+between Rome and Aricia, and was the first stage on the Appian road,
+hence called 'suburban' by Ov., Fast., 3, 667 (Jahn). Persius had an
+estate in the neighborhood.
+
+56. #clivum ad Virbi#: Martial's _clivus Aricinus_ (2, 19, 3; 12, 32,
+10), a noted station for beggars. Juv., 4, 17: _dignus #Aricinos# qui
+mendicaret ad axes_. Virbius was identified with Hippolytus, and
+worshipped as the hero of Aricia. --#Manius#: a typical beggar's name.
+There was a proverb: _multi #Mani# Ariciae_, Fest., s.v., with the
+explanation, _multos claros viros ibi fuisse_. The 'Arician aristocracy'
+must have become a term of contempt by the time of Persius (+palai pot'
+�san alkimoi Mil�sioi+).
+
+57. #progenies terrae#: is the indignant remonstrance of the heir,
+_progenies terrae_ being = the more familiar _terrae filius_, Cic.,
+Att., 1, 13, 4 al.; our 'groundling' can answer only as a play on the
+word. --#quartus pater# = _abavus_, 'great-great-grandfather.'
+
+58. #haud prompte, dicam tamen#: +molis men, exer� d' hom�s+
+(Conington); +molis men, all' oun exer�+ Comp. [Dem.] 58, 26. --#adde
+etiam unum# = _atavum_, 'one step further back.'
+
+59. #unum etiam# = _tritavum_.
+
+60. #ritu | generis#: 'by regular descent' (Conington). Jahn connects
+_generis_ with _avunculus_. --#maior avunculus#: _avii aut aviae
+avunculus est_ (Jahn), 'great-great-uncle.' Persius qualifies this
+statement by _prope_, 'something like,' but he has not only got the
+degree wrong, but has passed over to the mother's side. The thought of
+this _frigidiuscula ratio_, as Jahn calls it, does not need
+illustration. Still, comp. Juv., 4, 99: _unde fit ut malim fraterculus
+esse gigantum_. --#exit# = _evadit_, 1, 45; 5, 130.
+
+61-74. Persius: 'You are getting impatient. Why not wait for your turn?
+I am Fortune. Wait until I drop my purse into your hand, and then be
+satisfied with what I have left in it. _Tadius bequeathed me some
+money._ I know he did. What is that to you? None of your fatherly advice
+about looking after my balance at the banker's. What do I care about
+"balance?" I will eat a good dinner, and not starve myself for your
+spoilt grandson's sake.'
+
+61. #qui prior es#: In this form of the +lampad�phoria+ 'the course was
+marked out in stations, at each of which a new set of runners stood
+ready to take up the race, and so long as the torch remained alight, and
+the conditions of the race were thus fulfilled, it could not exchange
+hands except at particular stations' (Pretor, after Jahn). Here the man
+in advance is represented as trying to get the torch out of Persius's
+hands before he has reached the station, while Persius is yet running
+(_in decursu_), which Jahn properly emphasizes. The interpretation is
+much disputed. --#poscis#: implies impatience.
+
+62. #Mercurius#: See note on 2, 11.
+
+63. #pingitur#: +Herm�s kerd�os+, 'with money-bag in hand.' Comp. Ar.,
+Ach., 991, 992: +p�s an eme kai se tis Er�s xunagagoi lab�n, | h�sper ho
+#gegrammenos#, ech�n stephanon anthem�n+. --#vin tu gaudere relictis#:
+_Gaudere_ here almost = +agapan+, 'be thankful for whatever I shall
+leave you.' According to the ordinary rules of grammar, _vis_ would be
+the rhetorical, _vin_ the genuine form of the question (G., 455), but
+_ne_ can not be pinned down by strict rules, as has been remarked. See
+note on 1, 22.
+
+64. #dest aliquid summae#: may be an objection of the heir, or an
+anticipated objection. Persius often reminds us of Mrs. Caudle. --#minui
+mihi#: It was mine, and I diminished it to suit myself. It was mine to
+lessen; what is left will be all your own to keep.
+
+65. #fuge quaerere# = _noli quaerere_, as in Hor., Od., 1, 9, 13.
+
+66. #neu#: 3, 51. --#repone#: 'dish up again;' the _paterna dicta_ may
+be considered a _crambe repetita_. Comp. Quint., 2, 4, 29: _cum eadem
+iudiciis pluribus dicunt, fastidium movent velut frigidi et #repo siti#
+cibi_. Persius is nothing if not culinary. Jahn (1868) reads: _oppone_,
+which is clearer but tamer. _Paterna d._ is simply 'the talk one hears
+from fathers,' severe old gentlemen on the stage.
+
+67. #faenoris--reliquum est#: clearly a specimen of fatherly counsel.
+Every Polonius has something to say to his Laertes on this subject
+(Hamlet, 1, 3). Persius's Polonius advises his son to keep an account,
+enter (_accedat_ = _apponatur_, see note on 2, 2) his interest on the
+credit side, charge his expenses to the debit side, and find the
+remainder-- in other words, to live carefully within the income of his
+property. Before the old gentleman gets through, Persius repeats his
+last word mockingly: 'Remainder? Hang the remainder.' This is also
+Conington's view, who compares the commercial arithmetic lesson in Hor.,
+A. P., 327 seqq. --#merces#: Hor. uses _merces_ alone in the same sense
+as _faenoris merces_ here, Sat., 1, 2, 14. 3, 88. --#hinc#: from the
+capital, or from the interest, or from both. I am inclined to refer
+_hinc_ to the side of the account.
+
+69. #ungue caules-- festa luce#: See note on v. 19.
+
+70. #urtica#: Comp. Hor., Ep., 1, 12, 7: _abstemius herbis | vivis et
+#urtica#_; and Sat., 2, 2, 117: _#holus fumosae# cum pede pernae_
+(Jahn). --#sinciput#: 'pig's cheek.' The swine was the common sacrifice
+and the common dish. --#aure#: _Fissa aure_ seems to be nothing more
+than a picturesque detail. The pig's head was bung up in the smoke by a
+slit in its ear.
+
+71. #tuus iste nepos#: Mr. Pretor sees a trace of incompleteness in the
+mention of _tuus iste nepos_, 'whose existence has never before been
+hinted at.' The _nepos_ is hauled up out of the inane like the
+_quisquis_ heir himself. --#anscris extis#: Comp. Juv., 5, 114:
+_#anseris# ante ipsum magni #iecur#_.
+
+73. #patriciae#: implies great expense. This coarse combination of
+sensual pleasures is an argument in favor of the old-fashioned
+interpretation of _Calliroen_, 1, 134. --#trama#: Fr. _trame_, 'woof.'
+Such terms are apt to stick. Others translate falsely 'warp.' '_Trama
+figurae_ is "a thread-paper figure," as _trama_ is the thread of the
+woof, which crosses that of the upright _stamen_ or warp, and when the
+nap is worn off the cloths, these threads are laid bare.' Stocker,
+quoted by Pretor.
+
+74. #tremat#: 'quiver,' like jelly, 'wag.' --#omento#: 'fatty caul,'
+'fat,' 2, 47. --#popa#: used as a Substantive. Comp. Prol., 13.
+'Alderman-belly,' instead of an 'aldermanic belly.' 'They which waited
+at the altar'-- for the _popae_ were the priests' assistants-- 'were
+partakers with the altar' (1 Cor., 9, 13), and waxed fat on the _iunicum
+omenta_. Pretor quotes Prop., 4, 3, 62: _succinctique calent ad nova
+lucra #popae#_.
+
+75-80. Commentators notice the abrupt transition. Jahn says that the
+dialogue is dropped, but who expects invariably close connection between
+two heads of a sermon? In my judgment Persius is still hammering away at
+his impatient heir, and bids him earn money for himself, if he is not
+content to wait for Persius's death, and does not like Persius's mode of
+living. 'Sell your life, ransack the world, drive every trade. Double,
+treble, quadruple, decuple your property. But you will find that there
+is no point where you can stop, where you will be rich enough.'
+
+75. #vende animam lucro#: Casaubon comp. the Greek proverb: +thanatou
+�nion to kerdos+, and Longin., Sublim., 44: +to ek tou pantos kerdainein
+�noumetha t�s psuch�s+. --#excute#: (for the last time of eight)
+'ransack.'
+
+76. #latus mundi#: Hor., Od., 1, 22, 19 (Conington). --#nec# = _neu_.
+See 1, 7.
+
+77. #Cappadocas#: The slaves of Cappadocia were, as a rule, tall and
+well grown (Petron., 63), and good litter-bearers (Mart., 6, 77, 4)
+(Jahn), but in other respects extremely undesirable cattle. --#rigida#:
+'fixed upright.' _#Rigidae# columnae_, Ov., Fast., 3, 529 (Jahn).
+--#plausisse#: So Jahn (1868). In 1843 he edited _pavisse_, and comp.
+_quot pascit servos?_ Juv., 3, 141, and other passages. But _p[-a]visse_
+may have been intended as a Third Conjugation Perf. from _p[)a]vio_, and
+hence = _plausisse_. So Longfellow uses 'dove' for 'dived.' Slaves were
+slapped to try their condition. On the Inf. and the Perfect, see _opifex
+intendisse_, v. 3, note. --#catasta#: 'platform.' The sense of the
+passage, 'Make yourself an expert in slave flesh.'
+
+78. #feci--sistam#: words of the avaricious man. The passage is imitated
+from Hor., Ep., 1, 6, 34: _mille talenta rotundentur, totidem altera,
+porro | tertia succedant et quae pars quadret acervum_. --#quarto#: as
+if he had written _ter_ before.
+
+79. #redit#: the regular word for 'income,' 'revenue.' Comp. _reditus_.
+--#rugam#: _Ruga_ = _sinus_, 'fold in a garment.' The _sinus_ answers to
+our 'pocket,' hence 'purse.' The _ruga_, then, is the _rugosum
+marsupium_ (Heinrich), or the 'yet unfilled bosom' of Juv., 14, 327. 'It
+comes into a purse that wrinkles still.' To bring this out more clearly
+Mr. Paley (ap. Pretor) puts a semicolon after _deciens_. --#depunge#: So
+Jahn (1868) for his previous _depinge_. 'Prick a hole.' --#ubi sistam#:
+G., 469, 623; A., 67, 2, _b_.
+
+80. #inventus#: Ironical. 'So some one has been found, Chrysippus, to
+mark the limit of your heap.' If you can find a man to put a bound to
+greed, you can find a man to solve the _sorites_ of Chrysippus. The
+fallacy called the +s�reit�s+, or +s�rit�s+, Lat. _acervus_, is often
+mentioned; so in Hor., Ep., 2, 1, 47, where it is illustrated by pulling
+hair after hair from the tail of a horse, and taking year after year
+from the age of a poet. See Hamilton's Lectures on Logic, p. 268 (Am.
+ed.).
+
+
+CRITICAL APPENDIX.
+
+SATURA VI.
+
+5. #iocis#: Heinr. _ex coni._; iocos, J., H., Codd. --6. #egregius#:
+egregios _al_. --#senes#: senex, H. --16. #cenare#: coenare, J{a}., H.
+--17. #lagoena#: lagena, J{a}., H. --20. #tingat#: J{a}., H., Bramb.;
+tinguat, J{w}. --#holus#: olus, J{a}., H. --#empta#: emta, J{a}., H.
+--24. #tenuis salivas#: tenuem salivam, J{a}. --30. #dii#: Brambach;
+dei, J., H. --31. #caespite#: Brambach; cespite, J., H. --33. #cenam#:
+coenam, J{a}., H. --34. #negleget#: negliget, J{a}., H. --37. #tune bona
+incolumis minuas#: J{a}.; _haec verba et v. 41 verba_ haec-- metuas
+_transposuit Sinnerus quem secuti sunt_ J{w}. _et_ H. --40. #fenisecae#:
+faenisecae, J{a}.; foenisacae, H. --50. #conives#: connives, J{a}., H.
+--51. #inquis#: inquis. J{a}. --64. #dest#: deest, J{a}., H. --66.
+#Tadius#: Stadius J{a}. --#repone#: J{a}., H.; oppone, J{w}. --67.
+#faenoris#: Brambach; fenoris, J{w}.; foenoris, J{a}., H. --#sumptus#:
+sumtus, J{a}. --69. #ungue#: unge, J{a}. --#coquetur#: coquatur, J{a}.,
+H. --77. #plausisse#: pavisse, J{a}. --79. #depunge#: depinge, J{a}., H.
+
+
+       *       *       *       *       *
+
+    VITA A. PERSII FLACCI
+
+    DE COMMENTARIO PROBI VALERII SUBLATA.
+
+
+       *       *       *       *       *
+
+  [The line divisions and numbers of the original have been retained,
+  although they are not used in any editorial references. Brackets
+  are in the original. Note that the first page break is inconsistent
+  with the following line numbers.]
+
+
+  A. Persius Flaccus natus est pridie nonas Decembris
+  Fabio Persico L. Vitellio coss. decessit VIII kalendas
+  Decembris P. Mario Asinio Gallo coss.                            5
+
+  natus est in Etruria Volaterris, eques Romanus, sanguine
+  et affinitate primi ordinis viris coniunctus. decessit
+  ad octavum miliarium in via Appia in praediis
+  suis.
+
+  pater eum Flaccus pupillum reliquit moriens annorum             10
+  fere sex. Fulvia Sisennia mater nupsit postea
+  Fusio equiti Romano et eum quoque extulit inter
+  paucos annos.
+
+  studuit Flaccus usque ad annum XII aetatis suae
+  Volaterris, inde Romae apud grammaticum Remmium                 15
+  Palaemonem et apud rhetorem Verginium Flavum.
+  cum esset annorum XVI, amicitia coepit uti Annaei
+  Cornuti, ita ut ab eo nusquam discederet. inductus
+  aliquatenus in philosophiam est.
+
+  amicos habuit a prima adulescentia Caesium Bassum               20
+  poetam et Calpurnium Staturam, qui vivo eo iuvenis
+  decessit. coluit ut patrem Servilium Nonianum. cognovit
+  per Cornutum etiam Annaeum Lucanum, aequaevum
+  auditorem Cornuti. [nam Cornutus illo tempore
+    [-- page --]
+  tragicus fuit sectae stoicae. sed] Lucanus adeo mirabatur
+  scripta Flacci, ut vix retineret se recitantem clamore,
+  quin illa [esse] vera poemata diceret, etsi ipse
+  sua ludos faceret. sero cognovit et Senecam, sed non
+  ut caperetur eius ingenio. usus est apud Cornutum
+  duorum convictu virorum et doctissimorum et sanctissimorum,      5
+  acriter tum philosophantium, Claudii Agathemeri,
+  medici, Lacedaemonii, et Petronii Aristocratis,
+  Magnetis, quos unice miratus est et aemulatus, cum aequales
+  essent, Cornuti minores et ipsi.
+
+  idem etiam decem fere annos summe dilectus a Paeto              10
+  Thrasea est, ita ut peregrinaretur quoque cum eo aliquando,
+  cognatam eius Arriam habente uxorem.
+
+  fuit morum lenissimorum, verecundiae virginalis,
+  formae pulchrae, pietatis erga matrem et sororem et
+  amitam exemplo sufficientis.                                    15
+
+  fuit frugi et pudicus.
+
+  reliquit circa HS vicies matri et sorori. scriptis tamen
+  ad matrem codicillis Cornuto rogavit ut daret sestertia,
+  ut quidam, centum, ut alii volunt et argenti facti
+  pondo viginti et libros circa septingentos Chrysippi sive       20
+  bibliothecam suam omnem. verum Cornutus sublatis
+  libris pecuniam [sororibus, quas heredes frater fecerat]
+  reliquit.
+
+  et raro et tarde scripsit. hunc ipsum librum inperfectum
+  reliquit. versus aliqui dempti sunt ultimo libro,               25
+  ut quasi finitus esset. leviter retractavit Cornutus
+  et Caesio Basso petenti, ut ipsi cederet, tradidit
+  edendum.
+
+    [-- page --]
+  scripsit etiam Flaccus in pueritia praetextam [+] vescio
+  et hodoeporicon librum unum et paucos in socrum
+  Thraseae [in Arriae matrem] versus, quae se
+  ante virum occiderat. omnia ea auctor fuit Cornutus
+  matri eius ut aboleret.                                          5
+
+  editum librum continuo mirari et diripere homines
+  coepere.
+
+  decessit autem vitio stomachi anno aetatis XXX.
+
+  sed mox ut a scholis et magistris divertit, lecto libro
+  Lucilii decimo vehementer saturas conponere instituit.          10
+  cuius libri principium imitatus est, sibi primo, mox omnibus
+  detracturus cum tanta recentium poetarum et oratotum
+  insectatione, ut etiam Neronem [illius temporis
+  principem] culpaverit. cuius versus in Neronem cum
+  ita se haberet 'auriculas asini Mida rex habet,' in eum         15
+  modum a Cornuto, Persio iam tum mortuo, est commutatus
+  'auriculas asini quis non habet?' ne hoc Nero in
+  se dictum arbitraretur.
+
+  QUINTILIANUS X, 1, 94 multum et verae gloriae
+  quamvis uno libro Persius meruit.                               20
+
+  MARTIALIS IV, 9, 7
+  Saepius in libro numeratur Persius uno,
+    quam levis in tota Marsus Amazonide.
+
+  IOANNES LYDUS DE MAG. I, 41 +Persios de
+  ton poi�t�n S�phrona mim�sasthai thel�n to Lukophronos          25
+  par�lthen amauron.+
+
+
+       *       *       *       *       *
+
+CRITICAL APPENDIX.
+
+
+The first reading is the reading of this edition, which, in the absence
+of any statement to the contrary, coincides with Jahn's edition of 1868.
+Variations in spelling have been noted where they have been deemed
+instructive.
+
+  J{a}. = Jahn, ed. of 1843.
+  J{w}. =  "       "   1868.
+  J.    =  "    both editions.
+  H.    = Hermann (1854).
+
+  [The remainder of the Critical Appendix has been distributed among
+  the individual Satires.]
+
+
+       *       *       *       *       *
+
+    INDEX.
+
+
+       *       *       *       *       *
+
+  [Transcriber's Note:
+
+  All references are to Satires and line numbers, not to physical
+  pages. Punctuation is German-style, so:
+    Prol., 14; 1, 11. 106; 3, 59. 110; 4, 34
+  may be read as:
+    Prologue line 14
+    Satire 1 lines 11, 106
+    Satire 3 lines 59, 110
+    Satire 4 line 34]
+
+
+  A.
+
+  abaco, 1, 131.
+  abavus, 6, 57 (note).
+  Ablative in [-i], 1, 62. 83.
+    not necessarily locative, Prol., 1; 2, 35; 6, 8.
+  accerso, 2, 45.
+  Acci, 1, 76.
+  accipio, 5, 87.
+  Accusative cognate, Prol., 14; 1, 11. 106; 3, 59. 110; 4, 34;
+      5, 25. 106. 123. 190; 6, 35.
+    for abl., 6, 42.
+  acerra, 2, 5.
+  aceti morientis, 4, 32.
+  aceto lotus, 5, 86.
+  acre despuat, 4, 34.
+  acre servitium, 5, 127.
+  acri iunctura, 5, 14.
+  actus teneat, 5, 99.
+  ad, 5, 123.
+  adductis amicis, 3, 47.
+  adeo, 6, 14. 51.
+  adferre sensus, 1, 69.
+  adflate, 1, 123.
+  Adjective for Subst., 1, 107; 2, 74; 3, 52.
+  admissus, 1, 117.
+  admovere templis, 2, 75.
+  adnuere his, 2, 43.
+  adrodens, 5, 163.
+  adsensere viri, 1, 36.
+  adsigna tabellas, 5, 81.
+  adsonat, 1, 102.
+  adverso, ex adv. dicere, 1, 44.
+  Aegaeum rapere, 5, 142.
+  aegroti veteris, 3, 83.
+  Aegyptus, sons of, 2, 56 (note).
+  aenos fratres, 2, 56.
+  aequali Libra, 5, 47.
+  aera invenci, 3, 39.
+    Saturnia, 2, 59.
+  aerumnis, 1, 78.
+  aerumnosi, 3, 79.
+  agaso, 5, 76.
+  agedum, 2, 22.
+  ager exossatus, 6, 52.
+  agitare iocos (?), 6, 5.
+  Ague, semitertian, 3, 91.
+  ait (indef. person), 1, 40.
+  alba, 1, 110.
+  albata, 2, 40.
+  albo ventre, 3, 98.
+  albus cum sardonyche, 1, 16.
+    timor, 3, 115.
+  Alcibiades, 4, 3 (note).
+  alea, 5, 57.
+  algente catino, 3, 111.
+  alges, 3, 115.
+  aliquid, 3, 60; 5, 137.
+  aliquis, 3, 8.
+  alitus gravis, 3, 89.
+  alli caput, 5, 188.
+  ambages succinis, 3, 20.
+  ambiguum iter, 5, 34.
+  ambitio cretata, 5, 177.
+  amitis, 6, 53.
+  amomis crassis, 3, 104.
+  amplexa catinum, 5, 182.
+  an, 1, 41.
+  anceps, 4, 11; 5, 156.
+  anguis duos, 1, 113.
+  angulus, 6, 13.
+  anhelo, 1, 14; 5, 10.
+  animae pars, 5, 23.
+  animam vende, 6, 75.
+  anne, 3, 39.
+  anseris exta, 6, 71.
+  ante boves, 1, 74.
+  Anticyras, 4, 16.
+  Antiopa, 1, 78.
+  antithetis rasis, 1, 86.
+  anus, 4, 19.
+  Aorist descriptive, 3, 101; 5, 187.
+    gnomic, 2, 5.
+    infinitive, 1, 132; 2, 66; 5, 33; 6, 77.
+  aperto voto, 2, 7.
+  +apotropoisi daimosi+, 5, 167.
+  Appennino, 1, 95.
+  apponit annos, 2, 2.
+  apposita regula, 5, 38.
+  apricatio, 4, 18. 19. 33 (note).
+  aprici senes, 5, 179.
+  aptius, 1, 45.
+  Apula canis, 1, 60.
+  aqualiculus, 1, 57.
+  arator peronatus, 5, 102.
+  aratra, 1, 75.
+  aratro, 4, 41.
+  Arcadiae pecuaria, 3, 9.
+  Arcesilas, 3, 79.
+  arcessat, 5, 172.
+  arcessis, 2, 45.
+  arcum dirigere, 3, 60.
+  argenti creterras, 2, 52.
+    seria, 2, 10.
+  argento modus, 3, 69.
+  Aricia, 6, 56 (note).
+  aris excutere, 6, 44.
+  aristas excutere, 3, 115.
+  Aristophanes, 1, 124 (note).
+  arma virum, 1, 96.
+  Arreti, 1, 130.
+  ars = philosophia, 5, 105.
+  articulos fregerit, 5, 59.
+  artifex ponere, 1, 71.
+    sequi, Prol., 11.
+  artificem vultum, 5, 40.
+  artis magister, Prol., 10.
+  artocreas, 6, 50.
+  asini, 1, 121.
+  asper nummus, 3, 69.
+  ast, 2, 39.
+  astringas, 5, 110.
+  Astrology, 5, 46 (note).
+  astutam vulpem, 5, 117.
+  at, 1, 28; 5, 62.
+  atavus, 6, 58 (note).
+  atque (after compar.), 5, 131.
+  Atti, 1, 50.
+  Attis, 1, 93. 105.
+  Attribute for effect, Prol., 4; 17.
+  audaci Cratino, 1, 123.
+  aude, 6, 49.
+  auratis laquearibus, 3, 40.
+  aure vaporata, 1, 126.
+  aurem lotus, 5, 86.
+  aures bibulas, 4, 50.
+  auriculas albas, 1, 59.
+    asini, 1, 121.
+    emere, 2, 30.
+    radere, 1, 108.
+  auro ovato, 2, 55.
+    pingui, 2, 52.
+    subaerato, 5, 106.
+  auster infelix, 6, 12.
+  aut and an, 5, 5.
+  avaritia, 5, 132.
+  avia, 2, 31.
+  avias veteres, 5, 92.
+  avunculus maior, 6, 60.
+  axe secundo, 5, 72.
+
+
+  B.
+
+  bacam conchae, 2, 66.
+  balanatum, 4, 37.
+  balba nare, 1, 33.
+  balnea, 5, 126.
+  balteus, 4, 44.
+  barba aurea, 2, 58.
+  barbatus magister, 4, 1.
+  Bassaris, 1, 101.
+  Bassus Caesius, 6, 1 (note).
+  Bathylli, 5, 123.
+  Baucis, 4, 21.
+  beatulus, 3, 103.
+  belle, 1, 49.
+  bellum (adj.), 1, 87.
+  bene, 1, 111; 4, 30.
+  Berecyntius, 1, 93.
+  Bestius, 6, 37.
+  beta, 3, 114.
+  bibulas aures, 4, 50.
+  bicipiti Parnaso, Prol., 2.
+  bicolor membrana, 3, 10.
+  bidental, 2, 27.
+  bile acri, 2,14.
+    commota, 4, 6.
+  bilis mascula, 5, 144.
+    vitrea, 3, 8.
+  Birthday, 2, 1.
+  bis terque, 2, 16.
+  Blaesus Pedius, 1, 85 (note).
+  blandi comites, 5, 32.
+  blando popello, 4, 15.
+  bombis, 1, 99.
+  bona mens, 2, 8.
+    pars, 2, 5.
+  bone, 3, 94; 6, 43.
+  +bouthutein+, 2, 44.
+  bove caeso, 2, 44.
+  Bovillas, 6, 55.
+  bracatis Medis, 3, 53.
+  Brisaei, 1, 76.
+  Bruto liberior, 5, 85.
+  bruma, 6, 1.
+  Bruttia saxa, 6, 27.
+  buccas tumidas, 5, 13.
+  bulla donata, 5, 31.
+  bullatis nugis, 5, 19.
+  bullit, 3, 34.
+  buxum torquere, 3, 51.
+
+
+  C.
+
+  caballino fonte, Prol., 1.
+  cachinno, 1, 12.
+  cachinnos ingeminare, 3, 87.
+  caeco occipiti, 1, 62.
+  caecum vulnus, 4, 44.
+  caedimus, 4, 42.
+  caelestium inanes, 2, 61.
+  caerulea tabula, 6, 33.
+  caepe tunicatum, 4, 31.
+  caeso bove, 2, 44.
+  Caesonia, 6, 47.
+  caespite vivo, 6, 31.
+  Calabrum vellus, 2, 65.
+  calamo, 3, 12. 19.
+  calcaverit, 2, 38.
+  calces extendit, 3, 105.
+    gender of, _ib._
+  calet, 3, 108.
+  calice, 6, 20.
+  calidae turbae, 4, 7.
+  calidum sumen, 1, 53.
+    triental, 3, 100.
+  Caligula, 6, 43 (note).
+  callem surgentem, 3, 57.
+  calles, 4, 5.
+  callidus, 5, 14.
+    suspendere naso, 1, 118.
+  Calliroen, 1, 134.
+  caloni, 5, 95.
+  calve, 1, 56.
+  camelo sitiente, 5, 136.
+  Camena hortante, 5, 21.
+  camino coquitur, 5, 10.
+  campo indulgere, 5, 57.
+  candelae, 3, 103.
+  candidus dies, 2, 2.
+    umbo, 5, 33.
+  canem cave, 1, 109 (note).
+  canicula, 3, 5.
+    damnosa, 3, 49.
+  canina littera, 1, 109.
+  canis (capillis), 5, 65.
+  canis Apula, 1, 60.
+  cano capiti, 1, 83.
+  canitiem, 1, 9.
+  cannabe, 5, 146.
+  cantare ocima, 4, 22.
+    nectar, Prol., 14.
+  cantum, 5, 71.
+  capedines, 2, 59 (note).
+  capillis positis, 3, 10.
+  capite et pedibus, 5, 18.
+    induto, 3, 106.
+    obstipo, 3, 80.
+  capiti cano, 1, 83.
+  Cappadocas, 6, 77.
+  caprificus, 1, 25.
+  caput alli, 5, 188.
+    laxum, 3, 58.
+  carbone notare, 5, 108.
+  carere culpa, 3, 33.
+  carmen robustum, 5, 5.
+  carpamus dulcia, 5, 151.
+  casia, 2, 64; 6, 36.
+  casses artos, 5, 170.
+  castigare examen, 1, 7.
+  castoreum, 5, 135.
+  catasta, 6, 77.
+  catenae, 5, 160.
+  catino, 3, 111.
+    catinum rubrum, 5, 182.
+  Catonis morituri, 3, 45.
+  caudam iactare, 4, 15.
+  caules ungue, 6, 69.
+  cansas rerum, 3, 66.
+  cautus dinoscere, 5, 24.
+  cedo, 2, 75.
+  cedro, 1, 42.
+  celsa sede, 1, 17.
+  cena funeris, 6, 33.
+  cenanda, 5, 9.
+  censen, 5, 168.
+  censorem tuum, 3, 29.
+  centenas voces, 5, 26.
+  centeno gutture, 5, 6.
+  centum voces poscere, 5, 1.
+    paria, 6, 48.
+  centuriones, 5, 189.
+  centurionum, 3, 77.
+  centusse curto, 5, 191.
+  ceraso peccent, 6, 36.
+  cerdo, 4, 51.
+  certo puncto, 5, 100.
+  cervice laxa, 1, 98.
+  cervices purpureas, 3, 41.
+  cessas, 5, 127.
+  cesses, 4, 33.
+  cessit pavido, 5, 30.
+  ceves, 1, 87.
+  chaere = +chaire+, Prol., 8.
+  Chaerestratus, 5, 162.
+  chartae, 3, 11.
+  chartis nocturnis, 5, 62.
+  cheragra, 5, 58.
+  Cherry pit, 3, 50.
+  chlamydes, 6, 46.
+  chordae, 6, 2.
+  chrysendeta, 2, 52 (note).
+  Chrysidis, 5, 165.
+  Chrysippus, 6, 80.
+  cicer, 5, 177.
+  ciconia, 1, 58.
+  cicutae, 4, 2; 5, 145.
+  Cincinnatus, 1, 73 (note).
+  cinere ulterior, 6, 41.
+  cinis, 5, 152.
+  cinis frigidus, 6, 45.
+  cippus, 1, 37.
+  cirratorum, 1, 29.
+  citius, 5, 95.
+  citreis lectis, 1, 53.
+  cives, 6, 9.
+  cladem, 6, 44.
+  clamare sese, 2, 23.
+  clauso murmure, 5, 11.
+  Cleanthea fruge, 5, 64.
+  clivum Virbi, 6, 56.
+  cludere versum, 1, 93.
+  Coa lubrica, 5, 135.
+  cocta fidelia, 3, 22.
+  cognatis siccis, 5, 164.
+  colligis = +sullogizei+, 5, 85.
+  collo orcae, 3, 50.
+  collueris, 1, 18.
+  columbo, 3, 16.
+  comitem, 1, 54.
+  comites, 5, 32.
+  comitum, 3, 7.
+  committere, 2, 4.
+  commota bile, 4, 6.
+  conari, Prol., 9.
+  conchae baca, 2, 66.
+  concordia fata, 5, 49.
+  condidit Ionio, 6, 29.
+  conditur uxor, 2, 14.
+  conives, 6, 50.
+  conpage soluta, 3, 68.
+  conpescere examen, 5, 100.
+  conpita, 4, 28; 5, 35.
+  conpositas venas, 3, 91.
+  conpositum ius, 2, 73.
+  conpositus lecto, 3, 104.
+  consentire, 5, 46.
+  consumere cras, 5, 68.
+    soles, 5, 41.
+  contemnere, 3, 21.
+  Copulative compounds, 6, 50.
+  coquere messis, 3, 6.
+    vellus, 2, 65.
+  coquitur massa, 5, 10.
+  cor Enni, 6, 10.
+    luctificabile, 1, 78.
+  corbes, 1, 71.
+  cornea, 1, 47.
+  cornicaris, 5, 12.
+  cornua torva, 1, 99.
+  Cornute, 5, 23. 37.
+  corrupto olivo, 2, 64.
+  cortice pingui, 1, 96.
+  corvos poetas, Prol., 13.
+    corvos sequi, 3, 61.
+  corymbis, 1, 101.
+  costa ratis, 6, 31.
+  costam subduximus, 1, 95.
+  cras hesternum, 5, 68.
+  crassa tucceta, 2, 42.
+  Crassi aedes, 2, 36.
+  crassis amomis, 3, 104.
+  crassos dies, 5, 60.
+  crassum ridere, 5, 190.
+  Craterus, 3, 65.
+  Cratinus, 1, 123.
+  crepet, 2, 11.
+    solidum, 5, 25.
+  crepidas, 1, 127.
+  crepuere dentes, 3, 101.
+  creta notare, 5, 108.
+  cretata ambitio, 5, 177.
+  cribro populi, 3, 112.
+  crispante naso, 3, 87.
+  Crispini balnea, 5, 126.
+  crudi, 1, 51.
+  crudis, 1, 92.
+  crudo pulvere, 2, 67.
+  crudum unguem, 5, 162.
+  crura praebere, 4, 42.
+  cubito tangere, 4, 34.
+  cuinam? cuinam? 2, 19.
+  cuivis, 2, 6.
+  culpa carere, 3, 33.
+  cultor invenum, 5, 63.
+  cultrix foci, 3, 26.
+  cum = postquam, 1, 9.
+  cuminum, 5, 55.
+  cunis exemit, 2, 31.
+  curas hominum, 1, 1.
+  curata cuticula, 4, 18.
+  Curibus, 4, 26.
+  curo, 3, 78.
+  curta supellex, 4, 52.
+  curtare rem, 6, 34.
+  curto centusse, 5, 191.
+  curva, 4, 12.
+  curvae in terris, 2, 61.
+  curvos mores, 3, 52.
+  curvus, 6, 16.
+  custos purpura, 5, 30.
+  cute, in c. figere, 4, 33.
+    in c. novi, 3, 30.
+    perditus, 1, 23.
+  cuticula curata, 4, 18.
+  cutis aegra, 3, 63.
+  Cybele, 5, 186 (note).
+  cynico, 1, 133.
+
+
+  D.
+
+  +daktulodeikteisthai+, 1, 28.
+  Dama, 6, 76. 79.
+  damnosa canicula, 3, 49.
+  Damocles, 3, 39 (note).
+  Danaides, 2, 56 (note).
+  dare verba, 3, 19; 4, 45.
+  Dative case, 1, 116. 126; 6, 34.
+  datum seutire, 5, 124.
+  Davus, 5, 161.
+  decenter, 1, 84.
+  decerpere, 5, 42.
+  decipe nervos, 4, 45.
+  decoctius, 1, 125.
+  decoquit, 5, 57.
+  decor, 1, 92.
+  decorus pelle, 4, 14.
+  decursu, 6, 61.
+  decussa farina, 3, 112.
+  dedecus, 1, 81.
+    obsto, 5, 163.
+  deducit, 5, 35.
+  defigere culpam, 5, 16.
+  deinde, 4, 8; 5, 143.
+  +deisidaim�n+, 2, 31.
+  delphin, 1, 94.
+  delumbe, 1, 104.
+  demersus, 3, 34.
+  demorsos, 1, 106.
+  demum, 1, 64.
+  dentalia terens, 1, 73.
+  dente peragere, 6, 21.
+  dentes refecti, 3, 101.
+  depellentibus dis, 5, 167.
+  deposcere voces, 5, 26.
+  deprendere mores, 3, 52.
+  depunge, 6, 79.
+  deradere limum, 4, 29.
+  derigere, 1, 66.
+  descendere in sese, 4, 23.
+  despuat, 4, 35.
+  despumare, 3, 3.
+  destertuit, 6, 10.
+  detonsa, 3, 54.
+  deunces, 5, 150.
+    dexter senio, 3, 48.
+  dextro Hercule, 2, 12.
+    Iove, 5, 114.
+  dia, 1, 31.
+  Dice, 3, 48.
+  dicenda tacenda, 4, 5.
+  dicier, 1, 28.
+  dictarunt, 1, 52.
+  dictata, 1, 29.
+  dictatorem induit, 1, 74.
+  diducere ramos, 3, 56.
+  dies Herodis, 5, 180.
+  digito infami = medio, 2, 33.
+    monstrari, 1, 28.
+  digitum exsere, 5, 119.
+  digna cedro, 1, 42.
+  dilutas guttas, 3, 14.
+  Dinomaches, 4, 20.
+  dinoscere cautus, 5, 25.
+    speciem, 5, 105.
+  dirimebat, 1, 94.
+  discernere rectum, 4, 11.
+  discincti Nattae, 3, 31.
+  discincto vernae, 4, 22.
+  discolor usus, 5, 52.
+  discrepet, 6, 18.
+  discutitur, 2, 25.
+  dis depellentibus, 5, 167.
+    iratis, 4, 27.
+  disponere, 5, 43.
+  Dissimilation, 1, 72.
+  dissutis malis, 3, 59.
+  ditescant, 6, 15.
+  diversum, in d. scindere, 5, 154.
+  dividere in Geminos, 5, 49.
+  doctas figuras, 1, 86.
+  doctores Graios, 6, 38.
+  dolores finire, 5, 161.
+  dolosi nummi, Prol., 12.
+  domini, 5, 130.
+  domo maiore, 3, 92.
+  +drapeteuein+, 5, 156.
+  ducere bona, 2, 63.
+    ferrum, 5, 4.
+    ramum, 3, 28.
+    vultum, 5, 40.
+  duci ab uno sidere, 5, 46.
+  ducis genio, 6, 48.
+  dum, 3, 4; 5, 10.
+  dum ne, 4, 21.
+  duplici hamo, 5, 154.
+  durum holus, 3, 112.
+
+
+  E.
+
+  ebria, 1, 50.
+  ebulliat, 2, 10.
+  ecce, 1, 30; 2, 31.
+  echo, 1, 102.
+  edictum, 1, 134.
+  effluis, 3, 20.
+  effundat, 1, 65.
+  egerit, 5, 69.
+  egregius lusisse, 6, 6.
+  +eien+, 4, 20.
+  +ekseiein+, 1, 49.
+  elargiri, 3, 71.
+  elegidia, 1, 51.
+  +eleutherios Zeus+, 5, 114.
+  elevet, 1, 6.
+  eliquat, 1, 35.
+  Elision, 4, 14.
+  elixas, 4, 40.
+  Ellipsis, 1, 4; 3, 19; 5, 139; 6, 29.
+  emaci prece, 2, 3.
+  emeruit, 5, 74.
+  emole, 6, 26.
+  +empaista+, 2, 52.
+  empta in calice, 6, 20.
+  emunctae naris, 1, 118.
+  en, 1, 26.
+  enarrabile, 5, 29.
+  enim, 1, 63.
+  Enni cor, 6, 10.
+  Ennius, Prol., 2; 6, 10 (note).
+  ensis, 3, 40.
+  Epithets, general, Prol., 12.
+  epulis, 5, 42.
+  equidem, 1, 110; 5, 19. 45.
+  Ergenna, 2, 26.
+  erilis metus, 5, 131.
+  error, 5, 34.
+  escas, 1, 22.
+  esseda, 6, 47.
+  estne ut, 2, 18.
+  esto, 1, 20.
+  etenim, 3, 48.
+  +� tis � oudeis+, 1, 3.
+  Etruscan rites, 2, 36.
+  Etymology of ast, 2, 39.
+    bidental, 2, 27.
+      conpita, 4, 28.
+    fagus, 5, 59.
+    Palilia, 1, 72.
+    scloppus, 5, 13.
+    sodes, 3, 89.
+    sollers, 5, 142.
+    surdus, 6, 35.
+    usque, 6, 15.
+    varo (baro), 5, 138.
+  euge, 1, 49. 75. 111.
+  euhion, 1, 102.
+  Eupolis, 1, 124.
+  evitandum, 2, 27.
+  exalare, 3, 99; 5, 148.
+  examen, 1, 6; 5, 100.
+  excussit aristas, 3, 115.
+  excusso naso, 1, 118.
+  excute, 1, 49; 6, 75.
+  excutiat guttas, 2, 54.
+  excutienda, 5, 22.
+  excutit e manibus, 3, 101.
+  excutitur cinis, 6, 45.
+  exire, 1, 46; 5, 78. 130. 174; 6, 60.
+  exossatus ager, 6, 52.
+  expedivit, Prol., 7.
+  expers maris, 6, 39.
+  expiare frontem, 2, 34.
+  exporrecto, 3, 82.
+  expungam, 2, 13.
+  exsere digitum, 5, 119.
+  exspes, 2, 50.
+  exstet aqualiculus, 1, 57.
+  exstinxerit, 5, 145.
+  exsultat, 1, 82.
+  exsuperat, 3, 89.
+  extendit calces, 3, 105.
+    mores, 5, 38.
+    rimas, 3, 2.
+  extrinsecus, 5, 128.
+
+
+  F.
+
+  fabula, 5, 3. 152.
+  face exstincta, 5, 166.
+    supposita, 3, 116.
+  facere with inf., 1, 44.
+  faecem pannosam, 4, 32.
+  faeno fumosa, 1, 72.
+  faenoris merces, 6, 67.
+  fagi, 5, 59.
+  Falernum, 3, 3.
+  fallere sollers, 5, 37.
+  fallier, 3, 50.
+  fallit regula, 4, 12.
+  far modicum, 3, 25.
+  farina, 3, 112; 5, 115.
+  farrago, 5, 77.
+  farrata olla, 4, 31.
+  farre litabo, 2, 75.
+  fas, 1, 61; 2, 73; 5, 99.
+  fata, 5, 49.
+  favilla, 1, 39.
+  faxit, 1, 112.
+  fenestra, 5, 180.
+  fenestras, 3, 1.
+  fenisecae, 6, 40.
+  fermentum, 1, 24.
+  ferrum, 5, 4.
+  fert animus, 4, 7.
+  ferto opimo, 2, 48.
+  ferus, 5, 171.
+  ferveat lector, 1, 126.
+  fervebit olla, 5, 9.
+  ferventi veneno, 3, 37.
+  ferventis massae, 2, 67.
+  fervescit sanguis, 3, 116.
+  fervet plebecula, 4, 6.
+  festa luce, 6, 69.
+  festuca, 5, 175.
+  fibra, 1, 47; 2, 26. 45; 3, 32; 5, 29.
+  fictile, 2, 60.
+  fidele senectae, 2, 41.
+  fidelia non cocta, 3, 22.
+    putet, 3, 73.
+    tumet, 5, 183.
+  fidelibus nata, 5, 48.
+  figere iugum, 4, 28.
+    solem, 4, 33.
+    terram, 3, 80.
+  figurae trama, 6, 73.
+  figuras ponere, 1, 86.
+  filix, 4, 41.
+  Final sentence elliptical, 1, 4.
+  findor, 3, 9.
+  fingendus, 3, 24.
+  finire dolores, 5, 161.
+  finis, 1, 48; 5, 65.
+  fissa aure, 6, 70.
+  fistula, 3, 14.
+  fixum mummum, 5, 111.
+    Flaccus, 1, 116.
+  flagellas puteal, 4, 49.
+  flexus metae, 3, 68.
+  Floralia, 5, 178.
+  foci cultrix, 3, 26.
+  foco admovit, 6, 1.
+  focus, 1, 72.
+  foedere certo, 5, 45.
+  folle, 5, 11.
+  fonte caballino, Prol., 1.
+  forcipe, 4, 40.
+  fores udas, 5, 166.
+  fortunare, 2, 45.
+  fossor, 5, 122.
+  fractus, 1, 18.
+  frangere Saturnum, 5, 50.
+    rem patriam, 5, 165.
+  fratres aenos, 2, 56.
+  fretus, 4, 3.
+  frigere, 3, 109.
+  frigescant, 1, 109.
+  frigidus cinis, 6, 45.
+  frontem perisse, 5, 104.
+  fronte politus, 5, 116.
+  fruge Cleanthea, 5, 64.
+  fulta, 1, 78.
+  fulto, 5, 146.
+  fumo dare pondus, 5, 20.
+  fumosa Palilia, 1, 72.
+  fumosum sinciput, 6, 70.
+  fundo imo, 2, 51.
+  funem reduco, 5, 118.
+  funeris cena, 6, 33.
+  funus praeclarum, 2, 10.
+  fur, 1, 85.
+  Future as imperative, 1, 91.
+    gnomic, 2, 5.
+    participle, 1, 100.
+
+
+  G.
+
+  Gabinus cinctus, 5, 31 (note).
+  Galli, 5, 186.
+  garrit, 5, 96.
+  gaudere = +agapan+, 6, 63.
+    paratus, 1, 132.
+  gausape, 4, 37; 6, 46.
+  gemina lance, 4, 10.
+  geminet guttas, 3, 14.
+  Geminos (in G.) dividere, 5, 49.
+    producis, 6, 18.
+  generoso honesto, 2, 74.
+  Genitive of material, 2, 52.
+    free use of, 1, 14.
+  genius, 1, 113; 2, 3; 4, 27; 5, 151; 6, 19. 48.
+  genuinum, 1, 115.
+  glutto, 5, 112.
+  Glyconi, 5, 9.
+  graece nugari, 1, 70.
+  Graiorum, 1, 127.
+  Graios, 6, 38.
+  grana, 5, 55.
+  granaria, 5, 110; 6, 25.
+  grande loqui, 1, 14; 5, 7.
+  grandes Galli, 5, 186.
+    patinae, 2, 42.
+  grandi polenta, 3, 55.
+  grandia, 3, 45.
+  gravis alitus, 3, 89.
+    Saturnus, 5, 50.
+  gurgite, 2, 15.
+  gurgulio, 4, 38.
+  guttas excutere, 2, 54.
+  gutture exalare, 3, 99.
+    niti, 5, 6.
+
+
+  H.
+
+  habita tecum, 4, 52.
+  haeres, 2, 19.
+  hamo duplici, 5, 154.
+  hebenum, 5, 135.
+  hederae, Prol., 6.
+  Helicone, 5, 7.
+  Heliconidas, Prol., 4.
+  Hellebore, 3, 63; 4, 16; 5, 100.
+  heminas, 1, 130.
+  Hendiadys, 2, 52; 5, 131.
+  herba, 6, 26.
+  Hercule dextro, 2, 12.
+  heres proximus, 2, 12.
+  +Herm�s kerd�os+, 6, 51.
+  heroas sensus, 1, 69.
+  Herodis dies, 5, 180.
+  hesterni Quirites, 3, 106.
+  hesternum cras, 5, 68.
+    oscitat, 3, 59.
+  hianda, 5, 3.
+  hiantem ducere, 5, 176.
+  Hiatus, 3, 66.
+  hibernat, 6, 7.
+    hircosa, 3, 77.
+  Historic present, 4, 2.
+  holus durum, 3, 112.
+    siccum, 6, 20.
+  hominum, 1, 1.
+  honesto generoso, 2, 74.
+  horoscope, 6, 18.
+  horridulus, 1, 54.
+  hospes, 2, 8.
+  hucine rerum, 3, 15.
+  humana re, 3, 72.
+  humilis susurros, 2, 6.
+  hyacinthia, 1, 32.
+  Hypallage, 3, 4. 50. 57.
+  Hyperbaton, 1, 23; 6, 13.
+  Hypsipylas, 1, 34.
+
+
+  I.
+
+  iactare caudam, 4, 15.
+    festucam, 5, 175.
+  iam, 5, 33.
+    nunc, 5, 110.
+  Iane, 1, 58.
+  idcirco, 2, 28.
+  idonea dare, 5, 20.
+  iecore, 1, 25.
+    aegro, 5, 129.
+  igitur, 1, 98; 4, 14.
+  ignovisse, 2, 24.
+  ilex, 2, 24.
+  ilia, 4, 43.
+  Ilias Atti, 1, 50. 123.
+  imagines, Prol., 5; 3, 28.
+  Imperfect of a false impression, 5, 93.
+  inane, 1, 1.
+  inanes caelestium, 2, 61.
+  inclusi, 1, 13.
+  incoctum honesto, 2, 74.
+  incolumis, 6, 37.
+  increpuit, 5, 127.
+  increvit fibris, 3, 32.
+  incurvasse, 1, 91.
+  incusa auro, 2, 52.
+  incutere deos, 5, 187.
+  inde, 1, 126; 5, 153.
+  indomitum Falernum, 3, 3.
+  induco, 6, 49.
+  indulge genio, 5, 151.
+  induto capite, 3, 106.
+  inepte cornicari, 5, 12.
+  ineptus lictor, 5, 175.
+  inexpertum deprendere, 3, 52.
+  infami digito, 2, 33.
+  infelix auster, 6, 13.
+  Infinitive, perf. instead of present, Prol., 2; 1, 42. 91. 132;
+      2, 66; 4, 7. 17; 5, 24. 33; 6, 4. 6. 17. 77.
+    for gerund, etc., Prol., 11; 1, 59. 70. 118; 2, 34. 54; 3, 51;
+      4, 16; 5, 20. 24. 37. 100; 6, 3. 24. 36. 77.
+    as a subst. with demonst. and possessive, 1. 9. 27. 123; 5, 53;
+      6, 38.
+    nursery infinitives, 3, 18.
+    in exclamation, 1, 24; 4, 36.
+    passive in -er, 1, 28; 3, 50.
+    for subjunctive, 5, 46.
+  inflantis corpora, 5, 187.
+  infodiam, 1, 120.
+  infundere monitus, 1, 79.
+  infusa lympha, 3, 13.
+  ingemere, 4, 13.
+    vitam, 5, 61.
+  ingeminat, 1, 102; 3, 87.
+  ingeni largitor, Prol., 10.
+  ingenium, 4, 4.
+  ingentis Titos, 1, 20.
+  ingenuo ludo, 5, 16.
+  ingerere, 5, 6. 177.
+  inhibere perita, 2, 34.
+  iniquas heminas, 1, 130.
+  inlita Medis, 3, 53.
+  inmeiat vulvae, 6, 73.
+  inmittere templis, 2, 62.
+  inodora, 6, 35.
+  inpallescere chartis, 5, 62.
+  inpellere, 2, 13. 59; 5, 128.
+    aurem, 2, 21.
+  inpensius, 6, 68.
+  inprobe, 4, 47.
+  inriguo somno, 5, 56.
+  inrorans piper, 6, 21.
+    insana canicula, 3, 5.
+  inscitia debilis, 5, 99.
+  inserere aures, 5, 63.
+  Insolatio, 3, 33. 98; 4, 18; 5, 179.
+  insomnis, 3, 54.
+  inspice, 3, 88.
+  instanti imperio, 5, 157.
+  insulso Glyconi, 5, 9.
+  intabescant, 3, 38.
+  integer, 5, 173.
+  intendisse numeris, 6, 4.
+  intepet ora, 6, 7.
+  Interrogative dependent in Indicative, 3, 67.
+  intima, 1, 21.
+  intortos mores, 5, 38.
+  introrsum, 2, 9.
+  intumuit bilis, 5, 145.
+  intus novi, 3, 30.
+    pallere, 3, 42.
+  i nunc, 4, 19.
+  invigilat, 3, 55.
+  Ionio condere, 6, 29.
+  Iove nostro, 5, 50.
+    dextro, 5, 114.
+  iratis dis, 4, 27.
+  iratum Eupolidem, 1, 124.
+  Ironical 1st Person, 3, 3.
+  Isis, 5, 186 (note).
+  Italo honore, 1, 129.
+  iubeo (construction), 5, 161.
+  iudex potior, 2, 20.
+  iugum figere, 4, 28.
+  iunctura, 1, 65. 92; 5, 14.
+  iura, 5, 137.
+  iure, 3, 48.
+  ius fasque, 2, 73.
+  iustum suspendere, 4, 10.
+
+
+  L.
+
+  labefactent, 4, 40.
+  labella uda, 2, 32.
+  labello exporrecto, 3, 82.
+  labentis annos, 2, 2.
+  Labeo Attius, 1, 4. 50. 123 (note).
+  laborat vinci, 5, 39.
+  laboro scire, 2, 17.
+  labra moves, 5, 184.
+    prolui, Prol., 1.
+  lacerae ratis, 6, 31.
+  lactibus unctis, 2, 30.
+  laena, 1, 32.
+  laetari praetrepidum, 2, 54.
+  laevo pectore, 2, 53.
+  lagoena, 6, 17.
+    sitiente, 3, 92.
+  lallare, 3, 18.
+  lambunt, Prol., 5.
+  +lampad�phoria+, 6, 61.
+  lance gemina, 4, 10.
+    magna, 2, 71.
+  lapidosa cheragra, 5, 58.
+  lapillo meliore, 2, 1.
+  laquearibus auratis, 3, 40.
+  lare presso, 5, 109.
+  largior, 6, 51.
+  largire, 6, 32.
+  largitor, Prol., 10.
+  Laribus donata, 5, 31.
+  larvae, 1, 38 (note).
+  latet ulcus, 3, 113.
+  Latinae fidis, 6, 4.
+  lato auro, 4, 44.
+  latus dare, 6, 8.
+    mundi, 6, 76.
+  lautus ponere, 6, 23.
+  lavatur, 3, 98.
+  Lawyers' fees, 3, 75.
+  laxa cervice, 1, 98.
+  laxamus seria, 5, 44.
+  laxes granaria, 5, 110.
+  laxis labris, 3, 102.
+  laxum caput, 3, 58.
+  lector ferveat, 1, 126.
+  legarat, 6, 66.
+  legere nebulas, 5, 7.
+  leges, 1, 17.
+  lemures, 5, 185.
+  lenia Surrentina, 3, 93.
+  leti memor, 5, 153.
+  +leuk� h�mera+, 2, 2.
+  levis, sit tibi terra, 1, 37 (note).
+  levis trossulus, 1, 82.
+  lex publica, 5, 98.
+  libabit, 2, 5.
+  libelle, 1, 120.
+  liber = play, 1, 76.
+  Liberator Iuppiter, 5, 114 (note).
+  liber pede, 1, 13.
+  libertate, 5, 73.
+    Libonis puteal, 4, 49 (note).
+  Libra aequali, 5, 47.
+  librae ancipitis, 4, 11.
+  librat, 1, 86.
+  licetur Graecos, 5, 191.
+  Licini, 2, 36.
+  lictor, 1, 75.
+    ineptus, 5, 175.
+  Ligus ora, 6, 6.
+  limen obscenum, 5, 165.
+  limina frigescant, 1, 109.
+  limite dextro, 3, 57.
+  limo viridi, 3, 22.
+  limum veterem, 4, 29.
+  linea, 3, 4.
+  lingua, sub l., 2, 9.
+  linguae pictae, 5, 25.
+  lippa propago, 2, 72.
+  lippus, 1, 79; 5, 77.
+  liquescant in flammas, 2, 47.
+  liquido plasmate, 1, 17.
+  litabis, 5, 120.
+  litabo farre, 2, 75.
+  Literary ladies, Prol., 13.
+  Litotes, Prol., 1; 1, 19.
+  littera canina, 1, 110.
+    Pythagorea, 3, 56.
+  litus, 6, 8.
+  locatus, 3, 72.
+  loturo, 3, 93.
+  lotus, 5, 86.
+  lubrica Coa, 5, 135.
+  lucem palustrem, 5, 60.
+  lucernae dispositae, 5, 181.
+  Luciferi rudis, 5, 103.
+  Lucilius, 1, 2. 114.
+  lucis (Abl.), 2, 27.
+  lucro vendere, 6, 75.
+  luctata canis, 5, 159.
+  luctificabile, 1, 78.
+  lucum ponere, 1, 70.
+  luditur tibi, 3, 20.
+  ludo ingenuo, 5, 16.
+  lumbum intrant, 1, 20.
+  lumine figentes, 3, 80.
+  Lunai portus, 6, 9.
+  Lupus, 1, 115.
+  lusca sacerdos, 5, 186.
+  lusce, 1, 128.
+  lusisse, 6, 6.
+  lustralibus, 2, 33.
+  lutatus amomis, 3, 104.
+  lutea gausapa, 6, 46.
+    pellis, 3, 95.
+  luto, in l. fixum, 5, 111.
+  lutum udum, 3, 23.
+  luxum, 1, 67.
+  luxuria sollers, 5, 142.
+  lyncem, 1, 101.
+  lyra, 6, 2.
+
+
+  M.
+
+  macram spem, 2, 35.
+  Macrinus, 2, 1.
+  Maenas, 1, 101. 105.
+  Maeonides, 6, 11.
+  magister artis, Prol., 10.
+  magistrum barbatum, 4, 1.
+  magnanimus puer, 6, 22.
+  maiestate manus, 4, 8.
+  maiorum limina, 1, 108.
+  +makarit�s+, 3, 103.
+  maligne, 3, 21.
+  mammae, 3, 18.
+  mando, 2, 39.
+  mane, 1, 134.
+    clarum, 3, 1.
+  manes, 1, 38; 5, 152.
+    offerings to, 2, 3.
+  manibus quatere, 2, 35.
+  Manius, 6, 56. 60.
+  mansuescit, 4, 41.
+  mantica, 4, 24.
+  marcentis vulvas, 4, 36.
+  Marcus Dama, 5, 79.
+  marem strepitum, 6, 4.
+  maris expers, 6, 39.
+  Marsi clientis, 3, 75.
+  mascula bilis, 5, 144.
+  massa, 5, 10.
+  massae venas, 2, 67.
+  Masuri rubrica, 5, 90.
+  matertera, 2, 31; 6, 54.
+  medendi natura, 5, 101.
+  medico, 3, 90.
+  Medis bracatis, 3, 52.
+  meditari somnia, 3, 83.
+  mefites sulpureas, 3, 99.
+  meite, 1, 114.
+  melior sorbere, 4, 16.
+    membrana bicolor, 3, 10.
+  memini, Prol., 3.
+  memor leti, 5, 153.
+  mena, 3, 76.
+  Menander, 5, 161 (note).
+  mendose colligis, 5, 85.
+  mendosum tinnire, 5, 106.
+  mens bona, 2, 8.
+  mera libertas, 5, 82.
+  meracas, 4, 16.
+  mercare, 6, 75.
+  mercede, 2, 29.
+  merces faenoris, 6, 67.
+  mercibus Italis, 5, 54.
+  Mercurialem salivam, 5, 112.
+  Mercurius, 2, 44.
+    +kerd�os+, 6, 62.
+  mergis obvia, 6, 30.
+  merum fundere, 2, 3.
+  Messalinus, 2, 72.
+  Messalla, 2, 72.
+  messe propria, 6, 25.
+  metae flexus, 3, 68.
+  metas, 1, 131.
+  metuens divum, 2, 31.
+  metuentia scombros, 1, 43.
+  metuo with Inf., 1, 47; 4, 28.
+  meus, 5, 88.
+  Mida rex, 1, 121 (note).
+  mille species, 5, 52.
+  millesime, 3, 28.
+  miluus, 4, 26.
+  Mimalloneis, 1, 99.
+  Mimas, 1, 99 (note).
+  minui, 6, 16.
+  minutum pappare, 3, 17.
+  mirae, bene mirae, 1, 111.
+  mire opifex, 6, 3.
+  mittit, 2, 36.
+  mobile, 1, 18.
+  mobilis imitari, 1, 59.
+  modice sitiente, 3, 92.
+  modico ore, 5, 15.
+  modicus voti, 5, 109.
+  modus, 3, 69.
+  molle subrisit, 3, 110.
+  momento turbinis, 5, 78.
+  monstrari digito, 1, 28.
+  montis promittere, 3, 65.
+  morari Iovem, 2, 43.
+  mordaci aceto, 5, 86.
+    vero, 1, 107.
+  mores pallentis, 5, 15.
+  moretur, 1, 77.
+  morientis aceti, 4, 32.
+  moror, 1, 111.
+  morosa vena, 6, 72.
+  moveare, 5, 123.
+  Mucius, 1, 115.
+  muria, 6, 20.
+  murice vitiato, 2, 65.
+  murmura rodere, 3, 81.
+    tollere, 2, 6.
+  murmure clauso, 5, 11.
+  mutare mercibus, 5, 54.
+  muttire, 1, 119.
+  Mycenis, 5, 17.
+
+
+  N.
+
+  nare balba, 1, 33.
+  naribus uncis, 1, 41.
+  naso cadat ira, 5, 91.
+    crispante, 3, 87.
+    excusso, 1, 118.
+    tangere, 6, 17.
+  nata fidelibus, 5, 48.
+  natalia, 6, 19.
+  natalicia, 1, 16.
+  natat, 5, 182.
+  Natta, 3, 31.
+  natura, 5, 98. 101.
+  naufragus, 1, 88; 6, 33 (note).
+  ne = ne-quidem, 5, 172.
+    omitted, 1, 112.
+  -ne in rhetorical questions, 1, 22.
+  nebulas legere, 5, 7.
+  nectar cantare, Prol., 14.
+  nefas, 1, 119.
+  negatas, Prol., 11.
+  Negative, position of, 1, 45; 2, 3.
+  nempe, 2, 70; 3, 1; 5, 67.
+  nepos, 6, 71.
+  Nerea, 1, 94.
+  Nerius, 2, 14.
+  Nero, supposed allusions to, 1, 56. 75. 121; 4, 49.
+  nervis, 2, 41.
+  nervos agitare, 5, 129.
+    decipere, 4, 45.
+  neu, 3, 51; 6, 66.
+    nigra sepia, 3, 13.
+  nihil de nihilo, 3, 84.
+  niti gutture, 5, 6.
+  nocte paratum, 1, 90.
+  noctem purgare, 2, 16.
+  noctes decerpere, 5, 42.
+  nodosa harundo, 3, 11.
+  nodum abripit, 5, 159.
+  non, position of, 1, 45; 2, 3; 3, 78.
+  non = ne, 1, 5; 5, 45.
+  non = nonne, 1, 50.
+  nonaria, 1, 133.
+  noris, 4, 52.
+  nostin, 4, 25.
+  nostrum, Prol., 7; 5, 151.
+  novimus, 4, 43.
+  nox tertia, 3, 91.
+  nucibus, 1, 10.
+  nugae, 1, 5.
+    bullatae, 5, 19.
+  nugari Graece, 1, 70.
+  nugaris, 1, 56.
+  nugator, 5, 127.
+  Numae aurum, 2, 59.
+  numerare diem, 2, 1.
+  numeris, 6, 3.
+  numeros, 1, 13; 5, 123.
+  nummi dolosi, Prol., 12.
+  nummus asper, 3, 70.
+  nutrici, 2, 39.
+  nutrire nummos, 5, 150.
+
+
+  O.
+
+  obba, 5, 148.
+  oberres, 5, 156.
+  oberret, 6, 32.
+  obiurgabere, 5, 169.
+  obscenum limen, 5, 165.
+  obsequio, 5, 156.
+  obstipo capite, 3, 80.
+  obstiteris, 5, 157.
+  obvia mergis, 6, 30.
+  occa, 6, 26.
+  occipiti, 1, 62.
+  occurrite, 1, 62; 3, 64.
+  ocello patranti, 1, 18.
+  ocima, 4, 22.
+  ocius ad navem, 5, 141.
+  oculos urentis, 2, 34.
+  oenophorum, 5, 140.
+  offas carminis, 5, 5.
+  officium, 5, 94; 6, 27.
+  ohe, 1, 23.
+  oletum, 1, 112.
+  oleum, 6, 50.
+  olivo corrupto, 2, 64.
+    tangere, 3, 44.
+  olla farrata, 4, 31.
+    Prognes, 5, 8.
+  omentum, 2, 47; 6, 74.
+  +�oskopik�+, 5, 185.
+  operae est, 6, 9.
+  opertum, 1, 121.
+  opifex, 6, 3.
+  opimo ferto, 2, 48.
+  opimum pingue, 3, 32.
+  optare linguas centum, 5, 2.
+  orbis pueris, 2, 20.
+  orca, 3, 76.
+  orcae angustae, 3, 50.
+  ordo, 3, 67.
+  ore modico, 5, 15.
+  Orestes, 3, 118.
+  oscitat, 3, 59.
+  o si, 2, 9.
+  os populi, 1, 42.
+  ossa, 1, 37.
+  ostendisse iuvat, 5, 24.
+  ovato auro, 2, 55.
+  ovile, 2, 49.
+  ovo rupto, 5, 185.
+
+
+  P.
+
+  pacto, 4, 43.
+  Pacuvius, 1, 77.
+  pagina, 5, 20.
+  palaestritae, 4, 39.
+  palato, 1, 35.
+  Palilia, 1, 72.
+  pallentis cumini, 5, 55.
+    mores, 5, 15.
+  palles, 1, 124; 3, 94. 96; 4, 47; 5, 80. 184.
+  palliatae, 5, 14 (note).
+  pallidam Pirenen, Prol., 4.
+  pallor, 1, 26.
+  palmis, 6, 39.
+  palpo, 5, 176.
+  palustrem lucem, 5, 60.
+  panis secundus, 3, 112 (note).
+    pannosam, 4, 32.
+  pannucia, 4, 21.
+  papae, 5, 79.
+  pappare minutum, 3, 17.
+  paratum nocte, 1, 90.
+  paratas gaudere, 1, 132.
+    nescire, 6, 36.
+  Parca, 5, 48.
+  paria centum, 6, 48.
+  Parnaso, Prol., 2.
+  Parthi vulnera, 5, 4.
+  Participle in questions, 3, 67; 5, 124.
+  parvus, 3, 44.
+  patella, 3, 26; 4, 17.
+  pater quartus, 6, 58.
+  paterna dicta, 6, 66.
+  paterni testiculi, 1, 103.
+  patinae, 2, 42; 6, 21.
+  patranti ocello, 1, 18.
+  patriciae vulvae, 6, 73.
+  patricius sanguis, 1, 61.
+  patruelis, 6, 53.
+  patrui proneptis, 6, 54.
+  patruus, 1, 11; 2, 10.
+  patula ulmo, 3, 6.
+  pavido mihi, 5, 30.
+  pavisse, 6, 77.
+  pavone, 6, 11.
+  peccas, 5, 119.
+  peccat (pulpa), 2, 68.
+  peccent casiae, 6, 36.
+  pectine, 6, 2.
+  pectore calido, 5, 144.
+    laevo, 2, 53.
+    sinuoso, 5, 27.
+    sub p. vulpum, 5, 117.
+  pecuaria Arcadiae, 3, 9.
+  pede liber, 1, 13.
+  pedes summos, 3, 108.
+  Pedius, 1, 85.
+  Pegaseium, Prol., 14.
+  peioribus orti, 6, 15.
+  pelle summa, 4, 14.
+  pellem aptas, 5, 140.
+  pelliculam, 5, 116.
+  pellis lutea, 3, 95.
+  Penatis, 2, 45.
+  penu locuplete, 3, 74.
+  perages, 5, 139.
+  peragit bona, 6, 22.
+  percussa, 3, 21.
+  percute agnam, 5, 168.
+  perditus cute, 1, 23.
+  perducere facies, 2, 56.
+  Perfect, 2, 32. 43; 5, 95.
+    Inf. See Infinitive.
+  pergant sudare, 5, 150.
+  perge, 3, 97.
+  Pericli, 4, 3.
+  perisse frontem, 5, 102.
+  perita inhibere, 2, 34.
+  permisit sparsisse, 5, 33.
+  pernae, 3, 75.
+  peronatus, 5, 103.
+  pertusa conpita, 4, 28.
+  +petomena di�kein+, 3, 60.
+  petulanti, 1, 12. 133.
+  pexus, 1, 15.
+  Phalaris, 3, 39.
+  phaleras, 3, 30.
+  Phyllidas, 1, 34.
+  picam, Prol., 9.
+  picas, Prol., 13.
+  pictum in trabe, 1, 89.
+  pillea, 5, 82.
+  pilleus, 3, 106 (note).
+  pilos, ante p., 4, 5.
+  pingitur, ut p., 6, 63.
+  pingue opimum, 3, 33.
+  pinguem nebulam, 5, 181.
+  pingui auro, 2, 52.
+  pinguibus Umbris, 3, 74.
+  pinguior angulus, 5, 14.
+  pinsit, 1, 58.
+  piper, 3, 75; 5, 55. 136; 6, 21.
+  Pirenen, Prol., 4.
+  pituita, 2, 57.
+  plantaria, 4, 39.
+  plaudere, w. accus. (?), 4, 31.
+  plausisse, 6, 77.
+  plebeia, 3, 114; 5, 18.
+  plorabile, 1, 34.
+  Plural, Prol., 6; 1, 75; 2, 33; 3, 79. 104; 4, 16; 5, 110.
+  pluteum caedit, 1, 106.
+  poetas corvos, Prol., 13.
+  poetridas, Prol., 13.
+  +poikil� stoa+, 3, 53.
+  polenta, 3, 55.
+    politus fronte, 5, 116.
+  pollice, 5, 40.
+    honesto, 6, 5.
+  Polydamas, 1, 4.
+  pondus dare fumo, 5, 20.
+  ponere, 1, 53. 70; 3, 111; 5, 3; 6, 23.
+  pontifices, 2, 69.
+  Ponto advehe, 5, 134.
+  popa venter, 6, 74.
+  popello, 6, 50.
+    blando, 4, 15.
+  populi rem = rem publicam, 4, 1.
+  porci, 1, 72.
+  porrum sectile, 4, 30 (note).
+  portam, extendit in p., 3, 105.
+  porticus sapiens, 3, 54.
+  postibus, 6, 45.
+  postica sanna, 1, 62.
+  postquam, 3, 90.
+  pote, 1, 56.
+  potis, 4, 13.
+  praebet vellere, 2, 28.
+  praecedenti tergo, 4, 24.
+  praecipites imus, 3, 42.
+  praecordia, 1, 117; 5, 22.
+  praedictum, 5, 188.
+  praefigere theta, 4, 13.
+  praegrandi, 1, 124.
+  praelargus, 1, 14.
+  praeparet auster, 6, 12.
+  praeponere, 2, 18.
+  praestantior, 6, 76.
+  praetegit, 4, 45.
+  praetor, 5, 88. 93.
+  praetrepidum laetari, 2, 54.
+  praetulerint, 1, 5.
+  prandeat, 3, 85.
+  prandia plebeia, 5, 18.
+    post p. Calliroen, 1, 134.
+    regum, 1, 67.
+  premere ratione, 5, 39.
+    ventos, 5, 11.
+  presso Lare, 5, 109.
+  primas noctes, 5, 42.
+  primordia vocum, 6, 3.
+  proceres, 1, 52.
+  procerum, 2, 5.
+  prodirem, Prol., 3.
+  producis, 6, 19.
+  progenies terrae, 6, 57.
+  Prognes olla, 5, 8.
+  pro Iuppiter, 2, 22.
+  Prolepsis, 3, 5.
+  prolui, Prol., 1.
+  promittere montis, 3, 65.
+  promptum, 2, 6.
+  proneptis patrui, 6, 53.
+  properandus, 3, 23.
+  protenso, 1, 57.
+  protinus, 1, 110.
+  protulerim, 1, 89.
+  proxima uxor, 3, 43.
+  prudentia rerum, 4, 4.
+  psittaco, Prol., 8.
+  pubis Germanae, 6, 44.
+  Publius, 5, 74.
+  puer, 5, 167; 6, 22.
+  Pulfennius, 5, 190.
+  pullatis (?), 5, 19.
+  pulmentaria, 3, 102.
+  pulmo praelargus, 1, 14.
+  pulmone, 2, 30.
+  pulmonem rumpere, 3, 27.
+  pulpa, 2, 63.
+  pulsa, 5, 24.
+  pultes, 6, 40.
+  puncto certo, 5, 100.
+  pupae, 2, 70.
+  pupille, 4, 3.
+  pupillum, 2, 12.
+  puppe, in p. dii, 6, 30.
+  Puppets, 5, 128.
+  pura voce, 5, 28.
+  purgare noctem, 2, 16.
+  purgatas aures, 5, 63.
+  purpura custos, 5, 30.
+  purum salinum, 3, 25.
+  puta, 4, 9.
+  puteal, 4, 49.
+  putet, 3, 73.
+  putre ulcus, 3, 114.
+  putris, 5, 58.
+  Pythagoras, 3, 56 (note).
+  Pythagoreo, 6, 11.
+
+
+  Q.
+
+  quaesieris, 4, 25.
+  quamvis, 5, 70.
+  quando, 1, 46.
+    quandoque = quandocumque, 4, 28.
+  Quartan ague, 3, 91.
+  quartus pater, 6, 57.
+  quatere manibus, 2, 35.
+  que-que, Prol., 4.
+  quid agis, 3, 5.
+  quidnam, 2, 29.
+  quin, w. indic., 2, 71; 4, 14.
+    w. subjunct., 1, 84.
+  quincunce modesto, 5, 149.
+  Quinti, 1, 73.
+  Quintus Ennius, Prol., 1; 6, 11.
+  quippe, 1, 88.
+  Quiritem, 5, 75.
+  Quirites, 3, 106; 4, 8.
+  quis = qui, 1, 63. 68.
+       = uter (?), 2, 20.
+  quisquam, 1, 112; 5, 83. 128.
+  quisque = quicumque, 5, 73.
+  quo with Inf., 1, 24.
+  quod si, Prol., 12.
+  quorsum, 5, 5.
+
+
+  R.
+
+  R for L by dissimilation, 1, 72.
+  rabiosa silentia, 3, 81.
+  radere, 1, 107; 3, 114; 5, 15.
+  raderet, 3, 50.
+  ramale, 1, 97.
+  ramalia, 5, 59.
+  ramos Samios, 3, 56.
+  ramosa compita, 5, 35.
+  ramum ducere, 3, 28.
+  rancidulum, 1, 33.
+  rapiant hunc, 2, 38.
+  rapias Aegaeum, 5, 142.
+  rapidae vitae, 5, 94.
+  rara avis, 1, 46.
+  rasis antithetis, 1, 85.
+  rasisse, 2, 68.
+  rastro, 2, 11.
+  ratio, 5, 96. 119.
+  ratione, 3, 36; 5, 39.
+  ratis, 6, 31.
+  rauco murmure, 5, 11.
+  recens piper, 5, 136.
+  recenti sole, 5, 54.
+    toga, 1, 15.
+  receptare se, 6, 8.
+  recessus mentis, 2, 73.
+  recto talo, 5, 104.
+  rectum discernere, 4, 11.
+  recusem minui, 6, 15.
+  recutita sabbata, 5, 184.
+  redire in rugam, 6, 79.
+  reduco funem, 5, 118.
+  refulserit, Prol., 12.
+  regina, 2, 37.
+  regula, 4, 12; 5, 38.
+  regum = procerum, 1, 67; 3, 17.
+  regustatum salinum, 5, 138.
+  Relative w. subjunct., 3, 114.
+  relaxat, 5, 125.
+  relego, 5, 118.
+  relicta (virtute), 3, 38.
+  relictam vitam, 5, 61.
+  rem populi, 4, 1.
+  remitto, Prol., 5.
+  Remus, 1, 73.
+  reparabilis, 1, 102.
+  repone, 6, 66.
+  requiescere, 3, 90.
+  rerum prudentia, 4, 4.
+  resignent, 5, 28.
+  respondere maligne, 3, 22.
+  respue, 4, 51.
+  restas, 3, 97.
+  retecti dentes, 3, 101.
+  revello, 5, 92.
+  rex, 2, 37.
+  Rhenos, 6, 47.
+  Rhetorical question, with -ne, 1, 22.
+  rhombos, 6, 23.
+  ridere crassum, 5, 190.
+    meum, 1, 122.
+  rimas extendere, 3, 2.
+  rite salit, 3, 111.
+  ritu generis, 6, 59.
+  rixanti populo, 5, 178.
+  robusti carminis, 5, 5.
+  rodere casses, 5, 170.
+    murmura, 3, 81.
+  Roma turbida, 1, 5.
+  Romule, 1, 87.
+  Romulidae, 1, 31.
+  rosa fiat, 2, 38.
+  rota acri, 3, 24.
+    curras, 5, 72.
+  rubellum, 5, 147.
+  rubra solea, 5, 169.
+    rubrica, 1, 66; 5, 90.
+  rudere, 3, 9.
+  rudis Luciferi, 5, 103.
+  rugam, in r. redire, 6, 79.
+  rugosum piper, 5, 55.
+  rumore sinistro, 5, 164.
+  rumpere buccas, 5, 13.
+    pulmonem, 3, 27.
+  runcare, 4, 36.
+  rus saturum, 1, 71.
+
+
+  S.
+
+  sabbata recutita, 5, 184.
+  Sabino foco, 6, 1.
+  sacerdos, 5, 186.
+  sacras facies, 2, 55.
+  sacrum piper, 6, 21.
+  salinum purum, 3, 25.
+    terebrare, 5, 138.
+  salit cor, 3, 111.
+  saliva summa, 1, 104.
+  salivam Mercurialem, 5, 112.
+    turdarum, 6, 24.
+  salivis lustralibus, 2, 33.
+  salutas, 3, 29.
+  sambucam, 5, 95.
+  Samios ramos, 3, 56.
+  sancte, 2, 15.
+  sancto, in s., 2, 69.
+  sanctos recessus, 2, 73.
+  sanguis fervescit, 3, 116.
+    patricius, 1, 61.
+  sanna rugosa, 5, 91.
+  sannae posticae, 1, 62.
+  saperdam, 5, 134.
+  sapere deterius, 4, 21.
+    hoc, 6, 38.
+  sapiens porticus, 3, 53.
+  sapimus patruos, 1, 11.
+  sapit, 1, 106.
+  sardonyche, 1, 16.
+  sartago, 1, 80.
+  +sarx+, 2, 63.
+  satur, 5, 56; 6, 71.
+  saturi, 1, 31.
+  Saturnia aera, 2, 59.
+  Saturnum gravem, 5, 50.
+  saturum, 1, 71.
+  satyrum, 5, 123.
+  saxa, 6, 27.
+  scabiosum far, 5, 74.
+  scabiosus, 2, 13.
+  scalpuntur, 1, 21.
+  scelerata pulpa, 2, 63.
+  scilicet, 1, 15; 2, 19; 4, 4.
+  scinderis, 5, 154.
+  scintillant oculi, 3, 117.
+  scire tuum, 1, 27.
+  scis, 1, 53; 4, 10.
+  scloppo, 5, 13.
+  scombros, 1, 42.
+  scopuli, 6, 8.
+  scribimus inclusi, 1, 13.
+  scrobe, 1, 119.
+  scutica, 5, 131.
+  secretam aurem, 5, 96.
+  secreti loquimur, 5, 21.
+  sectabere, 5, 71.
+  secto pulvere, 1, 131.
+  secuit urbem, 1, 114.
+  secundo axe, 5, 72.
+  secura patella, 3, 26.
+  securus vulgi, 6, 12.
+  sede celsa, 1, 17.
+  seductior, 6, 42.
+  seductis divis, 2, 4.
+  seductum, 5, 143.
+  semipaganus, Prol., 6.
+  semuncia recti, 5, 121.
+  sene praegrandi, 1, 124.
+  senes, 6, 6.
+  s[-e]nio dexter, 3, 48.
+  senio minui, 6, 16.
+  senium, 1, 26.
+  sepeli = sepelii, 3, 97.
+  sepia nigra, 3, 13.
+  sequaces, Prol., 6.
+  Sequence of Tenses, 1, 4; 5, 107.
+  sequi = sectari, Prol., 11; 5, 14.
+  seria argenti, 2, 11.
+  seria laxamus, 5, 44.
+  seriolae, 4, 29.
+  Serpent worship, 1, 113.
+  servas vulpem, 5, 117.
+  servitium acre, 5, 127.
+  sesquipede, 1, 57.
+  sessilis obba, 5, 148.
+  severos unguis, 1, 64.
+  si = +eige+, 5, 173.
+  sic, Prol., 3.
+    siccas messes, 3, 5.
+  siccis cognatis, 5, 163.
+  Siculi iuvenci, 3, 39.
+  sidere, ab uno s. duci, 5, 46.
+  signum lagoenae, 6, 17.
+  silentia fecisse, 4, 7.
+    rodere, 3, 81.
+  siliquis pasta, 3, 55.
+  simpuvia, 2, 59 (note).
+  sin, 5, 115.
+  sinciput, 6, 70.
+  singultiet, 6, 72.
+  sinistro genio, 4, 27.
+    rumore, 5, 164.
+  sinu Socratico, 5, 37.
+  sinuoso pectore, 5, 27.
+  sis = sivis, 1, 108.
+  sistro, 5, 186.
+  sitiente camelo, 5, 136.
+    lagoena, 3, 92.
+  sive = vel si, 1, 67.
+  Socrates, 4, 1 (note).
+  Socratico sinu, 5, 37.
+  sodes, 3, 89.
+  sole assiduo, 4, 18.
+    recenti, 5, 54.
+  solea rubra, 5, 169.
+  soles longos, 5, 41.
+  solidum crepet, 5, 25.
+  sollers, 5, 142.
+    fallere, 5, 37.
+    nosse, 6, 24.
+  Solones, 3, 79.
+  somniasse, Prol., 2.
+  somno inriguo, 5, 56.
+  sonare vitium, 3, 21.
+  sorbere melior, 4, 16.
+  sorbet, 4, 32.
+  sorbitio, 4, 2.
+  sordidus, 1, 128.
+  +s�rit�s+, 6, 80.
+  sparsisse oculos, 5, 33.
+  speciem veri, 5, 105.
+  species hominum, 5, 52.
+  spirare surdum, 6, 35.
+  Spleen, the seat of laughter, 1, 12.
+  splene petulanti, 1, 12.
+  spondente, 5, 79.
+  spumosum, 1, 96.
+  Staienus, 2, 19 (note).
+  Staius, 2, 19. 22.
+  stare contra, 5, 96.
+  Steelyard, 5, 100.
+  stemmate Tusco, 3, 28.
+  steriles veri, 5, 75.
+  stertimus, 3, 3.
+  stertis, 3, 58.
+  Stoic catechism, 3, 67; 5, 104.
+  stolidam barbam, 2, 28.
+  strepitum marem, 6, 4.
+  strigiles, 5, 126. 131.
+  stingere venas, 2, 66.
+  struere rem, 2, 44.
+  studere (absol.), 3, 9.
+  stupet vitio, 3, 32.
+  stuppas, 5, 135.
+  subaerato auro, 5, 106.
+  subdite rebus, 5, 124.
+  subduximus, 1, 95.
+  subeas dominos, 5, 155.
+  subere, 1, 97.
+  subiere, 3, 106.
+  subi[-i]t, 2, 55.
+  subit inter curva rectum, 4, 11.
+    tremor, 3, 110.
+  subrisit molle, 3, 110.
+  subsellia, 1, 82.
+  Subura, 5, 32.
+  succinctis Laribus, 5, 31.
+  succinctus, 5, 140.
+  succinis ambages, 3, 20.
+  sudans pater, 3, 47.
+  sudare deunces, 5, 150.
+  sudes, 2, 53.
+  suffla, 4, 20.
+  sulco terens, 1, 73.
+  sulpure sacro, 2, 25.
+  sulpureas mefites, 3, 99.
+  sumen calidum, 1, 53.
+  summa boni, 4, 17.
+  summae dest aliquid, 6, 64.
+  summos pedes, 3, 108.
+  supellex, 4, 52.
+  superbo vitulo, 1, 100.
+  supinus, 1, 129.
+  supplantat, 1, 35.
+  supposita face, 3, 116.
+  supposui, 5, 36.
+  surda vota, 6, 28.
+  surdum spirare, 6, 35.
+    surgentem callem, 3, 57.
+  surgit pellis, 3, 95.
+  Surrentina, 3, 93.
+  suscipis, 5, 36.
+  suspendere lance, 4, 10.
+    naso, 1, 118.
+    tempora, 5, 47.
+
+
+  T.
+
+  tabellas adsigna, 5, 81.
+  tabula caerulea, 6, 33.
+  Tadius, 6, 66.
+  tali (game), 3, 48 (note).
+  talo recto, 5, 104.
+  tandem, 1, 16; 3, 103.
+  tange venas, 3, 107.
+  tantae quantum, 1, 60.
+  tectoria linguae, 5, 25.
+  temone, 5, 70.
+  temperat, 5, 51.
+  tempore, vivis ex t., 3, 62.
+  temptemus fauces, 3, 113.
+  tenax veri, 5, 48.
+  tendere versum, 1, 65.
+  teneat actus, 5, 99.
+  tenero columbo, 3, 16.
+    palato, 1, 35.
+  tenuia (trisyllab.), 5, 94.
+  tenuis salivas, 6, 24.
+  tenus, 6, 25.
+  tepidum, 1, 84.
+  terebrare salinum, 5, 138.
+  terens sulco, 1, 73.
+  teres ore, 5, 15.
+  terrae filius, 6, 59.
+    progenies, 6, 57.
+  tertia nox, 3, 91.
+  tesserula, 5, 74.
+  testaque lutoque, 3, 61.
+  testiculi, 1, 103.
+  tetigisse signum, 6, 17.
+  tetrico pectine, 6, 2.
+  theta nigrum, 4, 13.
+  Thyestae olla, 5, 8.
+  thynni cauda, 5, 183.
+  Tiberino in gurgite, 2, 15.
+  timor albus, 3, 115.
+  tincta veneno, 3, 37.
+  tinniat mendosum, 5, 106.
+  Titos ingentis, 1, 20.
+  toga recenti, 1, 15.
+  togae verba, 5, 14.
+  tollat munera cerdo, 4, 51.
+  tolle piper, 5, 136.
+    ut volo, 5, 87.
+  tollere susurros, 2, 7.
+  tollit = sustulit, 4, 2.
+  torosa iuventus, 3, 86.
+  torquere buxum, 3, 51.
+  torva cornua, 1, 99.
+  trabe fracta, 1, 89.
+    rupta, 6, 27.
+    vasta, 5, 141.
+  trabeate, 3, 29.
+  tragoedo maesto, 5, 3.
+  traham voce, 5, 28.
+  Trajection, 1, 23; 6, 13.
+  trama figurae, 6, 73.
+  transcendere nummum, 5, 111.
+  transilias mare, 5, 146.
+  transisse, 5, 60.
+  transtro, 5, 147.
+  transvectio, 3, 29 (note).
+  tremor subit, 3, 100.
+  tremulos cachinnos, 3, 87.
+  trepida, 1, 74.
+  trepidare, 1, 20; 5, 170.
+  trepidas mentes, 5, 35.
+  trepidat, 3, 88.
+  tressis agaso, 5, 76.
+  triental calidum, 3, 100.
+  triplex, 6, 78.
+  triste bidental, 2, 27.
+  trita lacerna, 1, 54.
+  tritavus, 6, 57 (note).
+  Troiades, 1, 4.
+  trossulus, 1, 82.
+  trutina, 1, 5.
+  trutinari verba, 3, 82.
+  tuba, 3, 103.
+  tucceta crassa, 2, 42.
+  tumebit cutis, 3, 63.
+  tumet bile, 2, 14.
+    fidelia, 5, 183.
+  tunicatum caepe, 4, 30.
+  turbida Roma, 1, 5.
+  turbinis momento, 5, 78.
+  turdarum salivas, 6, 24.
+  ture litabis, 5, 120.
+  turgescat pagina, 5, 20.
+    turgescere somno, 5, 56.
+  turgescit bilis, 3, 8.
+  turgidus, 3, 98.
+  tus, 5, 135.
+  Tusco stemmate, 3, 22.
+  Tuscum fictile, 2, 60.
+  tutor, 3, 96.
+
+
+  U.
+
+  uda labella, 2, 32.
+  udas fores, 5, 165.
+  udo, in udo esse, 1, 105.
+  ulcus putre, 3, 113.
+  ulterior cinere, 6, 41.
+  ultra, 3, 15.
+  umbo candidus, 5, 33.
+  umbra quinta, 3, 4.
+  Umbris pinguibus, 3, 74.
+  uncta fenestra, 5, 180.
+    patella, 4, 17.
+    pulmentaria, 3, 102.
+  uncto, sine uncto cenare, 6, 16.
+  unctus, 4, 33.
+  uncus, 5, 154 (note).
+  unde, 1, 73.
+  undique, 3, 59.
+  ungue caules, 6, 68.
+  unguine crasso, 6, 40.
+  unguis severos, 1, 65.
+  unum opus, 5, 43.
+  +hupadein+, 3, 20.
+  +huposkelizein+, 1, 35.
+  +hupochalkos+, 5, 106.
+  urentis oculos, 2, 34.
+  urnas Vestalis, 2, 60.
+  urtica, 6, 70.
+  usque adeo, 1, 26.
+  usum vitae, 5, 94.
+  usus rerum, 5, 52.
+  ut omitted, 1, 56.
+  uxor proxima, 3, 43.
+
+
+  V.
+
+  vafer, 1, 116. 132; 6, 20.
+  vago inguine, 6, 72.
+  vallis = sinus, 6, 8.
+  vanescere, 3, 13.
+  vapida lagoena, 6,17.
+    pice, 5, 148.
+  vapido pectore, 5, 117.
+  vaporata aure, 1, 126.
+  vappa, 5, 77.
+  varicosos centuriones, 5, 189.
+  varo (baro), 5, 138.
+  varo genio, 6, 18.
+    pede, 4, 12.
+  vatibus, 5, 1.
+  vatum, Prol., 7.
+  ve-, 1, 97.
+  ve or vel redundant (?), 3, 29.
+  vegrandi, 1, 97.
+  Veientanum rubellum, 5, 147.
+  vel duo, vel nemo, 1, 3.
+  Velina, 5, 73.
+  velle suum, 5, 53.
+    with perf. inf., 1, 41. 91.
+  vellere barbam, 1, 133; 2, 28.
+  vellus Calabrum, 2, 65.
+  velox, 4, 4.
+  vena singultiet, 6, 72.
+    testiculi, 1, 103.
+  venas conpositas, 3, 91.
+    stringere, 2, 66.
+    tangere, 3, 107.
+  vendo = vendito, 1, 122.
+  veneno ferventi, 3, 37.
+  Veneri donatae pupae, 2, 70.
+  venire with the dative, 6, 39.
+  venosus, 1, 76.
+  venter, Prol., 11; 3, 98.
+  ventis rumpere, 3, 27.
+  ventos premere, 5, 11.
+  veratro, 1, 51.
+  verba dare, 3, 19; 4, 45.
+    togae, 5, 14.
+  verecunda mensa, 5, 44.
+  veri speciem, 5, 105.
+  vernae discincto, 4, 22.
+  verrucosa, 1, 77.
+  versum cludere, 1, 93.
+    tendere, 1, 65.
+  verte aliquid, 5, 137.
+  verterit, 5, 78.
+  vertigo, 5, 76.
+  verumne, 3, 7.
+  Vestalis urnas, 2, 60.
+  vetare superos, 2, 43.
+  vetavit, 5, 90.
+  veteres avias, 5, 92.
+  vetitos actus, 5, 99.
+    veto faxit, 1, 112.
+  Vettidius, 4, 25.
+  vetule, 1, 22.
+  viatica, 5, 65.
+  vibice, 4, 49.
+  vicinia, 4, 46.
+  vid[)e], 1, 108.
+  vigila, 5, 177.
+  vin and vis, 1, 56; 6, 63.
+  vinci laborat, 5, 39.
+  vindicta, 5, 88. 125.
+  violae, 1, 40.
+  violas, 5, 182.
+  Virbi clivus, 5, 56.
+  viridi limo, 3, 22.
+  vis dicam, 1, 56.
+  visceratio, 6, 50 (note).
+  vitae rapidae, 5, 94.
+  vitiabit agendo, 5, 97.
+  vitiarunt pultes, 6, 40.
+  vitiato murice, 2, 65.
+  vitio praefigere theta, 2, 68.
+    stupet, 3, 32.
+    utitur, 2, 68.
+  vitium sonare, 3, 21.
+  vitrea bilis, 3, 8.
+  vitulo superbo, 1, 100.
+  vivere nostrum, 1, 9.
+  vivitur, 4, 43; 5, 53.
+  vivo caespite, 6, 31.
+  vivunt chordae, 6, 2.
+  vixisse, 4, 17.
+  Vocative in the predicate, 1, 123; 3, 28.
+  voce pura, 5, 28.
+  voces centum, 5, 1.
+  vomere nebulam, 5, 181.
+  voti modicus, 5, 109.
+  voto aperto, 2, 7.
+    in voto esse, 3, 49.
+  vulnera Parthi, 5, 4.
+  vulnus caecum, 4, 44.
+  vulpem astutam, 5, 117.
+  vulvae patriciae, 6, 73.
+  vulvas marcentis, 4, 36.
+
+
+  Z.
+
+  Zeugma, 3, 75; 5, 114. 185.
+
+
+
+
+THE END.
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Errata (Noted by Transcriber)
+
+Quando cerco norme di gusto
+  [text reads "uome": checked against original]
+
+"Neue" in bibliographical references is a personal name.
+
+Notes
+
+  "Note I.7" will be found under I.5 (long sentence).
+
+I.84 Gr. +prepont�s+ [epsilon invisible].
+III.20 '... or second to a person,' hence 'to sing small'
+  [text reads "...to a person,' 'hence to sing..."]
+III.29 trabeatus es_)' [text has close quote inside parenthesis]
+III.34 #rursum non bullit# [printed with line 33]
+III.56 The letter +Y+, or rather its old form [[symbol]]
+  _the first form is Greek capital upsilon, identical in form to Roman
+  "Y"; the second form is a vertical line with bar projecting to the
+  upper left_
+V.38 see note on 4.11 [4.12]
+V.64, 65 [all notes printed with line 63]
+V.65 #viatica#, #miseris# [order of notes transposed]
+V.156 #oberres# [text reads "155", repeated]
+V.157-158 #nec--dicas# [text reads "156"]
+V.162 'to the raw,' 'to the quick.' [second open quote missing]
+VI.5 no synonyme for _honestus_, [spelling unchanged]
+
+Critical Appendix
+
+II.14 #pro# [the nearest occurrence of this word is in line II.22]
+III.93 [text reads III.94]
+IV.20 #suffla# [printed with line 19]
+VI.69 #ungue# [printed with line 67]
+
+Index
+
+  Unambigous punctuation errors were silently corrected.
+
+  Attribute for effect, Prol., 4; 1, 17. [number 1 missing]
+  inflantis corpora, 5, 187
+  lusca sacerdos, 5, 186
+  +drapeteuein+, 5, 156
+    [in all three, book number misprinted as 1]
+
+
+
+
+
+End of the Project Gutenberg EBook of The Satires of A. Persius Flaccus, by 
+A. Persius Flaccus (AKA Persius)
+
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+<pre>
+
+The Project Gutenberg EBook of The Satires of A. Persius Flaccus, by 
+A. Persius Flaccus (AKA Persius)
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Satires of A. Persius Flaccus
+
+Author: A. Persius Flaccus (AKA Persius)
+
+Editor: Basil L. Gildersleeve
+
+Release Date: July 22, 2007 [EBook #22119]
+
+Language: Latin
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SATIRES OF A. PERSIUS FLACCUS ***
+
+
+
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class = "mynote">
+<p>
+This e-text includes characters that will only display in UTF-8
+(Unicode) file encoding, including a number of Greek words:</p>
+
+<p class = "indent">
+<span class = "greek" title = "Sunistanto hoi men hôs touton, hoi d’ hôs ekeinon...">Συνίσταντο οἱ μὲν ὡς τοῦτον, οἱ δ᾽ ὡς ἐκεῖνον....</span></p>
+
+<p class = "indent">
+ă, ĕ; ā, ē, ī, ō (letters with breve or macron)</p>
+
+<p>If any of these characters do not display properly&mdash;in
+particular,
+if the diacritic does not appear directly above the
+letter&mdash;or if the apostrophes and quotation marks in this paragraph
+appear as garbage, you may have an incompatible browser or unavailable
+fonts. First, make sure that the browser’s “character set” or “file
+encoding” is set to Unicode (UTF-8). You may also need to change your
+browser’s default font.</p>
+
+<p>All Greek text has mouse-hover transliterations: <span class =
+"greek" title = "hôs">ὥς</span>.</p>
+
+<p>A few typographical errors have been corrected. They have been
+marked in the text with <ins class = "correction" title =
+"like this">mouse-hover popups</ins>.</p>
+
+</div>
+
+<div class = "titlepage">
+
+<span class = "pagenum">1</span>
+<h3>THE SATIRES</h3>
+
+<p>&nbsp;</p>
+
+<h6>OF</h6>
+
+<p>&nbsp;</p>
+
+<h1>A. PERSIUS FLACCUS</h1>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<h6>EDITED BY</h6>
+
+<h4>BASIL L. GILDERSLEEVE, <span class = "smallcaps">Ph.D.</span> (<span
+class = "smallcaps">Göttingen</span>), LL.D.,</h4>
+
+<h6>PROFESSOR OF GREEK IN THE UNIVERSITY OF VIRGINIA.</h6>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<p class = "illustration">
+<img src = "images/publogo.gif" width = "106" height = "72"
+alt = "publisher's device"
+title = "ΛΑΜΠΑΔΙΑ ΕΧΟΝΤΕΣ ΔΙΑΔΩΣΟΥΣΙΝ ΑΛΛΗΛΟΙΣ (LAMPADIA ECHONTES DIADÔSOUSIN ALLÊLOIS)">
+</p>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<h5>NEW YORK:</h5>
+
+<h5>HARPER &amp; BROTHERS, PUBLISHERS,</h5>
+
+<h6>FRANKLIN SQUARE.</h6>
+
+<h5>1875.</h5>
+
+<hr class = "mid">
+
+<h6>Entered according to Act of Congress, in the year 1875, by</h6>
+
+<h6 class = "smallcaps">Harper &amp; Brothers,</h6>
+
+<h6>In the Office of the Librarian of Congress, at Washington.</h6>
+
+<hr class = "mid">
+
+</div>
+
+<div class = "preface">
+
+<span class = "pagenum">iii</span>
+<h3 class = "chapter"><a name = "preface" id = "preface">
+PREFACE.</a></h3>
+
+<hr class = "tiny">
+
+<p><span class = "smallcaps">The</span> text of this edition of Persius
+is in the main that of Jahn’s last recension (1868). The few changes are
+discussed in the Notes and recorded in the Critical Appendix.</p>
+
+<p>In the preparation of the Notes I have made large use of Jahn’s
+standard edition, without neglecting the commentaries of Casaubon,
+König, and Heinrich, or the later editions by Macleane, Pretor, and
+Conington, or such recent monographs on Persius as I have been able to
+procure. Special obligations have received special acknowledgment.</p>
+
+<p>My personal contributions to the elucidation of Persius are too
+slight to warrant me in following the prevalent fashion and cataloguing
+the merits of my work under the modest guise of aims and endeavors.
+I&nbsp;shall be contenf, if I have succeeded in making Persius less
+distasteful to the general student; more than content, if those who have
+devoted long and patient study to
+<span class = "pagenum">iv</span>
+this difficult author shall accord me the credit of an honest effort to
+make myself acquainted with the poet himself as well as with his chief
+commentators.</p>
+
+<p>In compliance with the wish of the distinguished scholar at whose
+instance I undertook this work, Professor Charles Short, of Columbia
+College, New York, I&nbsp;have inserted references to my Latin Grammar
+and to the Grammar of Allen and Greenough, here and there to Madvig.</p>
+
+<p class = "right smallcaps">B. L. Gildersleeve.</p>
+
+<p><span class = "smallcaps">University of Virginia</span>,
+<i>February</i>, 1875.</p>
+
+
+
+
+<span class = "pagenum">v</span>
+<h3 class = "chapter"><a name = "contents" id = "contents">
+CONTENTS.</a></h3>
+
+<hr class = "tiny">
+
+<table class = "toc" summary = "table of contents">
+<tr>
+<td></td>
+<td class = "number">Page</td>
+</tr>
+<tr>
+<td class = "smallcaps">Introduction</td>
+<td class = "number"><a href = "#intro">vii</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">A. Persii Flacci Saturarum Liber</td>
+<td class = "number"><a href = "#satires">39</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">Vita Persii</td>
+<td class = "number"><a href = "#vita">65</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">Notes</td>
+<td class = "number"><a href = "#notes">71</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">Critical Appendix</td>
+<td class = "number"><a href = "#appendix">207</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">Index</td>
+<td class = "number"><a href = "#index">211</a></td>
+</tr>
+</table>
+
+</div>
+
+
+<span class = "pagenum">vi</span>
+
+<p><i>Quando cerco <ins class = "correction" title = "text reads ‘uome’ (checked against original)">norme</ins> di gusto, vado ad Orazio, il più
+amabile; quando ho bisogno di bile contra le umane ribalderie, visito
+Giovenale, il più splendido; quando mi studio d’esser onesto, vivo con
+<span class = "smallcaps">Persio</span>, il più saggio, e&nbsp;con
+infinito piacere mescolato di vergogna bevo li dettati della ragione su
+le labbra di questo verecondo e santissimo giovanetto.</i>
+<span class = "rightfloat smallcaps">Vincenzo Monti.</span></p>
+
+<hr class = "tiny">
+
+<p><span class = "greek" title = "Sunistanto hoi men hôs touton, hoi d’ hôs ekeinon plên monou tou Iônos; ekeinos de meson heauton ephulatten.">Συνίσταντο οἱ μὲν ὡς τοῦτον, οἱ δ᾽ ὡς ἐκεῖνον πλὴν μόνου
+τοῦ Ἴωνος‧ ἐκεῖνος δὲ μέσον ἑαυτὸν ἐφύλαττεν.</span>
+<span class = "rightfloat greek" title =
+"LOUKIANOU.">ΛΟΥΚΙΑΝΟΥ.</span></p>
+
+<hr class = "tiny">
+
+<p><i><span class = "smallcaps">Persius</span> das rechte Ideal eines
+hoffärtigen und mattherzigen der Poesie beflissenen Jungen.</i>
+<span class = "rightfloat smallcaps">Mommsen.</span></p>
+
+
+<div class = "intro">
+
+<span class = "pagenum">vii</span>
+<h3 class = "chapter"><a name = "intro" id = "intro">
+INTRODUCTION.</a></h3>
+
+<hr class = "tiny">
+
+<p><span class = "smallcaps">An</span> ancient <i>Vita Persii</i>, of
+uncertain authorship, of evident authenticity, gives all that it is
+needful for us to know about our poet&mdash;much more than is vouchsafed
+to us for the rich individuality of Lucilius, much more than we can
+divine for the unsubstantial character of Juvenal.</p>
+
+<p>Aulus Persius Flaccus was born on the day before the nones of
+December, A.U.C. 787, A.D. 34, at Volaterrae, in Etruria. That Luna in
+Liguria was his birthplace is a false inference of some scholars from
+the words <i>meum mare</i> in a passage of the sixth satire, where he
+describes his favorite resort on the Riviera.</p>
+
+<p>The family of Persius belonged to the old Etruscan nobility, and more
+than one Persius appears in inscriptions found at Volaterrae. Other
+circumstances make for his Etruscan origin: the Etruscan form of his
+name, <i>Aules</i>, so written in most MSS. of his Life; the Etruscan
+name of his mother, Sisennia; the familiar spitefulness of his mention
+of Arretium, the allusions to the Tuscan haruspex, to the Tuscan
+pedigree; the sneering mention of the Umbrians&mdash;fat-witted folk,
+who lived across the Tuscan border. Most of these, it is true, are
+minute points, and would be of little weight in the case of an author of
+wider vision, but well-nigh conclusive in a writer like Persius, who
+tried to make up for the narrowness of his personal experience by a
+microscopic attention to details.</p>
+
+<p>Persius belonged to the same sphere of society as Maecenas. Like
+Maecenas an Etruscan, he was, like Maecenas,
+<span class = "pagenum">viii</span>
+an <i>eques Romanus</i>. The social class of which he was a member did
+much for Roman literature; Etruria’s contributions were far less
+valuable, and Mommsen is right when he recognizes in both these men, so
+unlike in life and in principle&mdash;the one a callous wordling, the
+other a callow philosopher&mdash;the stamp of their strange race,
+a&nbsp;race which is a puzzle rather than a mystery. Indeed, the
+would-be mysterious is one of the most salient points in the style of
+Persius as in the religion of the Etruscans, and Persius’s elaborate
+involution of the commonplace is parallel with the secret wisdom of his
+countrymen. The minute detail of the Etruscan ritual has its counterpart
+in the minute detail of Persius’s style, and the want of a due sense of
+proportion and a certain coarseness of language in our author remind us
+of the defects of Etruscan art and the harshness of the Etruscan
+tongue.</p>
+
+<p>Persius was born, if not to great wealth, at least to an ample
+competence. His father died when the poet was but six years old, and his
+education was conducted at Volaterrae under the superintendence of his
+mother and her second husband, Fusius. For the proper appreciation of
+the career of Persius, it is a fact of great significance that he seems
+to have been very much under the influence of the women of his
+household. To this influence he owed the purity of his habits; but
+feminine training is not without its disadvantages for the conduct of
+life. For social refinement there is no better school; but the pet of
+the home circle is apt to make the grossest blunders when he ventures
+into the larger world of no manners, and attempts to use the language of
+outside sinners. And so, when Persius undertakes to rebuke the
+effeminacy of his time, he outbids the worst passages of Horace and
+rivals the most lurid indecencies of Juvenal.</p>
+
+<p>When Persius was twelve years old he went to Rome,
+<span class = "pagenum">ix</span>
+as Horace and Ovid had done before him, for the purpose of a wider and
+higher education, and was put to school with Verginius Flaccus, the
+rhetorician, and Remmius Palaemon, the grammarian. Verginius Flaccus was
+exiled from Rome by Nero, with Musonius Rufus, on account of the
+prominence which he had achieved as a teacher, and Quintilian quotes him
+as an authority in his profession. Remmius Palaemon, the other teacher
+of Persius, a&nbsp;man of high attainments and low principles, was one
+of the most illustrious grammarians of a time when grammarians could be
+illustrious. A&nbsp;freedman, with a freedman’s character, he was
+arrogant and vain, grasping and prodigal&mdash;in short, a&nbsp;Sir
+Epicure Mammon of a professor. But his prodigious memory, his ready flow
+of words, his power of improvising poetry, attracted many pupils during
+his prolonged life, and after his death he was cited with respect by
+other grammarians&mdash;a rare apotheosis among that captious tribe. The
+first satirical efforts of ingenuous youth are usually aimed at their
+preceptors, and the verses which Persius quotes in the First Satire are
+quite as likely to be from the school of Palaemon as from the poems of
+Nero.</p>
+
+<p>But the true teacher of Persius, the man to whom he himself
+attributed whatever progress he made in that ‘divine philosophy’ which
+deals at once with the constitution of the universe and the conduct of
+life&mdash;his ‘spiritual director,’ to use the language of Christian
+ascetics&mdash;was Cornutus. Persius is one of those literary
+celebrities whose title to fame is not beyond dispute; and while some
+maintain his right to high distinction on the ground of intrinsic merit,
+others seek with perhaps too much avidity for the accidents to which he
+is supposed to owe his renown. If it is necessary to excuse, as it were,
+his reputation, the relation of Persius to Cornutus
+<span class = "pagenum">x</span>
+might go far to explain the care which schoolmasters have taken of the
+memory of the poet. No matter how crabbed the teacher may be, how
+austere the critic, the opening of the Fifth Satire, with its warm
+tribute to the guide of his life and the friend of his heart, calls up
+the image of the ideal pupil, and touches into kindred the brazen bowels
+of Didymus.</p>
+
+<p>Lucius Annaeus Cornutus, of Leptis in Africa, was a philosopher,
+grammarian, and rhetorician. It has been conjectured that he was a
+freedman of the literary family of the Annaei; and this is rendered
+probable by the fact that Annaeus Lucanus, the nephew of Annaeus Seneca,
+was his pupil. The year of his life and the year of his death are alike
+unknown. He was banished from Rome by Nero because he had ventured to
+suggest that Nero’s projected epic on Roman history would be too long if
+drawn out to four hundred books, and that the imperial poem would find
+no readers. When one of Nero’s flatterers rejoined that Chrysippus was a
+still more voluminous author, Cornutus had the bad taste to point out
+the practical importance of the writings of Chrysippus in contrast with
+Nero’s unpractical project; and Nero, who had a poet’s temper, if not a
+poet’s gifts, sent him to an island, there to revise his literary
+judgment. Cornutus was not only a man of various learning in philosophy,
+rhetoric, and grammar, but a tragic poet of some note, and perhaps a
+satirist. Whether the jumble that bears the name of Cornutus or
+Phurnutus, <i>De Natura Deorum</i>, is in any measure traceable to our
+Cornutus, is not pertinent to our subject. Of more importance to us than
+his varied attainments is his pure and lofty character, which made him
+worthy of the ardent affection with which Persius clung to his ‘Socratic
+bosom.’ It is recorded to his honor that Persius having bequeathed to
+him his library
+<span class = "pagenum">xi</span>
+and a considerable sum of money, he accepted the books only and
+relinquished the money to the family of Persius. Nor did he cease his
+loving care for his friend after his ashes, but revised his satires, and
+suppressed the less mature performances of the young poet.</p>
+
+<p>The social circle in which Persius moved was not wide. The mark of
+the beast called Coterie, which is upon the foreheads of the most
+plentifully belaurelled Roman poets, is on his brow also. But it must be
+said that the men whom he associated with belonged to the chosen few of
+a corrupt time, albeit they would have been of more service to their
+country if they had not recognized themselves so conspicuously as the
+elect. The Stoic <i>salon</i> in which Persius lived and moved and had
+his being reminds M.&nbsp;Martha of a Puritan household; it reminds us
+of the sequestered Legitimist opposition to the France of yesterday. We
+are so apt to see parallels when we are well acquainted with but one of
+the lines&mdash;or with neither.</p>
+
+<p>Let us pass in review some of the associates and acquaintances of
+Persius.</p>
+
+<p>Among his early friends was Caesius Bassus, to whom the Sixth Satire
+is addressed: an older contemporary, who had studied with the same
+master, next to Horace, by a long remove, among the Roman lyrists. To
+his fellow-pupils belong Calpurnius, who is more than doubtfully
+identified with the author of the Bucolics; and Lucan (Annaeus Lucanus),
+the poet of the Pharsalia, who shared with him the instructions of
+Cornutus, and is said to have shown the most fervent admiration of the
+genius of his school-fellow. We are told that when the First Satire was
+recited, Lucan exclaimed that these were true poems. Whether he
+accompanied this encomium with a disparagement of his own performances,
+or simply had reference to the modest disclaimer of Persius’s Prologue,
+as Jahn is
+<span class = "pagenum">xii</span>
+inclined to think, does not appear. The anecdote is in perfect keeping
+with the perfervid Spanish temper of Lucan and Lucan’s family. But this
+momentary burst of admiration is no indication of any genuine sympathy
+between the effusive and rhetorical Cordovan and the shy, philosophical
+Etruscan. Nominally they belonged to the same school&mdash;the Stoic;
+but Persius was ready to resist unto blood, Lucan’s Stoicism was a mere
+parade.</p>
+
+<p>While this anecdote leaves us in suspense as to the relations between
+Lucan and Persius, we have express evidence that there was no sympathy
+between Persius and Seneca. They met, we are informed, but the poet took
+little pleasure in the society of the essayist. This is not the place to
+attempt a characteristic of this famous writer, who, like Persius,
+leaves few readers indifferent. Once the idol of the moralists&mdash;who
+of all old birds are the most easily caught with chaff&mdash;Seneca has
+fallen into comparative disfavor within the last few decades; yet
+sometimes a vigorous champion starts up to do battle for him, such as
+Farrar in England, and, with more moderation, Constant Martha in France;
+and his cause is by no means hopeless if the advocate can keep his
+hearers from reading Seneca for themselves. It is impossible not to
+admire Seneca in passages; it seems very difficult to retain the
+admiration after reading him continuously. The glittering phrase masks a
+poverty of thought; ‘the belt with its broad gold covers a hidden
+wound.’ To Persius, the youthful Stoic, with his high purpose and his
+transcendental views of life, Seneca the courtier, the time-server, the
+adroit flatterer, must have appeared little better than a hypocrite, or,
+which is worse to an ardent mind, a&nbsp;practical negation of his own
+aspirations. The young convert&mdash;and Persius’s philosophy was
+Persius’s religion&mdash;in the first glow of his enthusiasm, must have
+been repelled by the callousness
+<span class = "pagenum">xiii</span>
+of the older professor of the same faith. And yet so strong was the
+impress of the age that Persius and Seneca are not so far asunder after
+all. To understand Persius we must read Seneca; and the lightning stroke
+of Caligula’s tempestuous brain, <i>harena sine calce</i>, illuminates
+and shivers the one as well as the other.</p>
+
+<p>If the family of the Annaei did not prove congenial, there were
+others to whom Persius might look for sympathy and instruction. Such was
+M.&nbsp;Servilius Nonianus, a&nbsp;man of high position, of rare
+eloquence, of unsullied fame. Such was Plotius Macrinus, to whom the
+Second Satire is addressed, itself a eulogy. Even in his own family
+circle there were persons whose lofty characters have made them
+celebrated in history. His kinswoman Arria, herself destined to become
+famous for her devotion to her husband, was the wife of <a name =
+"intro_thrasea" id = "intro_thrasea">Thrasea Paetus</a>, and the
+daughter of that other Arria, whose supreme cry, <span class =
+"smallcaps">non dolet</span>, when she taught her husband how to meet
+his doom, is one of the most familiar speeches of a period when speech
+was bought with death. Thrasea, the husband of the younger Arria, was
+one of the foremost men of his time, and bore himself with a moderation
+which contrasts strongly with the ostentatious virtue of some of the
+Stoic chiefs. He rebuked the vices of his time unsparingly, but steadily
+observed the respect due to the head of the state; and even when the
+decree was passed which congratulated Nero on the murder of his mother,
+he contented himself with retiring from the senate-house. But Thrasea’s
+silent disapproval of one crime fired Nero to another, and his refusal
+to deprecate the wrath of the emperor was the cause of his ruin&mdash;if
+that could be called ruin which he welcomed as he poured out his blood
+in libation to Jupiter the Liberator.</p>
+
+<p>That the familiar intercourse with such a man should
+<span class = "pagenum">xiv</span>
+have inspired a youth of the education and the disposition of Persius
+with still higher resolves and still higher endeavors is not strange.
+That it sufficed, as some say, to penetrate Persius with the sober
+wisdom of maturer years, and made up to him for the lack of personal
+experience and artistic balance, is attributing more to association than
+association can accomplish.</p>
+
+<p>To Thrasea’s influence Jahn ascribes Persius’s juvenile essays in the
+preparation of <i>praetextae</i>, or tragedies with Roman themes, and it
+is not unlikely that a poetical description of his travels (<span class
+= "greek" title = "hodoiporikôn">ὁδοιπορικῶν</span>) referred to some
+little trip that he took with Thrasea. Thanks to Cornutus, this youthful
+production&mdash;which doubtless was nothing more than a weak imitation
+of Horace, or haply of Lucilius&mdash;was suppressed after the death of
+the author, and with it his <i>praetexta</i>, and a short poem in honor
+of the elder Arria also.</p>
+
+<p>The purity of Persius’s morals, and the love which he bore his
+mother, his sister, his aunt, stand to each other reciprocally as cause
+and effect; and the occasional crudity of his language is, as we have
+already seen, the crudity of a bookish man, who thinks that the sure way
+to do a thing is to overdo it. Persius was a man of handsome person,
+gentle bearing, attractive manners, and added to the charm of his
+society the interest which always gathers about those whom the gods
+love.</p>
+
+<p>He died on his estate at the eighth milestone on the Appian Road,
+<i>vitio stomachi</i>, eight days before the kalends of December, A.U.C.
+815&mdash;A.D. 62&mdash;in the twenty-eighth year of his age.</p>
+
+<p>Cornutus first revised the satires of his friend, and then gave them
+to Caesius Bassus to edit. The only important change that Cornutus made
+was the substitution of <i>quis non</i> for <i>Mida rex</i> (1,121),
+a&nbsp;subject which is discussed
+<span class = "pagenum">xv</span>
+in the Commentary. Other traces of wavering expression and <i>duplex
+recensio</i> are due to the imagination of commentators, who attribute
+to the young poet a logical method and an exactness of development for
+which the style of Persius gives them no warrant. <i>Raro et tarde
+scripsit</i>, the statement of the Life of Persius, explains much.</p>
+
+<p>The poems of Persius were received with applause as soon as they
+appeared, and the old <i>Vita Persii</i> would have us believe that
+people scrambled for the copies as if the pages were so many Sabine
+women. Quintilian, in his famous inventory of Greek and Roman
+literature, says that Persius earned a great deal of glory, and true
+glory, by a single book, and here and there the great scholar does
+Persius homage by imitating him; and Martial holds up Persius with his
+one book of price, as a contrast to the empty bulk of a half-forgotten
+epic. But it would not be worth the while to repeat the list of the
+admirers of Persius in the ages of later Latinity. It suffices to say
+that he was the special favorite of the Latin Fathers. Augustin quotes
+or imitates him often, and Jerome is saturated with the phraseology of
+our poet. Commended to Christian teachers by the elevation of his moral
+tone, by the pithiness of his maxims and reflections, and the energy of
+his figures, he was set up on a high chair, a&nbsp;big school-boy, to
+teach other school-boys, and scarcely a voice was raised in rebellion
+for centuries. But since the time of the Scaligers, who were not to be
+kept back by any consideration for the feelings of the Fathers, there
+has been much unfriendly criticism of Persius; and the world owes him a
+debt of gratitude for provoking an animosity that has opened the way to
+a freer discussion of the literary merits of the authors of antiquity.
+To be subject all one’s life through fear of literary death to the
+bondage of antique dullness, as well as to the thraldom
+<span class = "pagenum">xvi</span>
+of contemporary stupidity, would have been a sad result of the revival
+of letters.</p>
+
+<p>The first and last charge brought against Persius is his obscurity.
+Admitted by all, it is variously interpreted variously excused,
+variously attacked. Now it is accounted for by the political necessities
+of the time. Now it is attributed to the perverse ingenuity of the poet,
+which was fostered by the perverse tendencies of an age when, as
+Quintilian says, <i>Pervasit iam multos ista persuasio ut id iam demum
+eleganter dictum putent quod interpretandum sit</i>. Some simply resolve
+the lack of clearness into the lack of artistic power; others intimate
+that the fault lies more in the reader than in the author, whose
+dramatic liveliness, which puzzles us, presented no difficulties to the
+critics of his own century. But the controversy is not confined to the
+obscurity of the satires, Persius is all debatable ground. Some admire
+the pithy sententiousness of the poet; others sneer at his priggish
+affectation of superiority. Some point to the bookish reminiscences,
+which bewray the mere student; others recall the example of Ben Jonson,
+of Molière, to show that in literature, as in life, the greatest
+borrowers are often the richest men, and bid us observe with what rare
+and vivid power he has painted every scene that he has witnessed with
+his own eyes. To some he is a copyist of copyists; to others his real
+originality asserts itself most conspicuously where the imitation seems
+to be the closest. Julius Scaliger calls him <i>miserrimus auctor</i>;
+Mr. Conington notes his kindred to Carlyle.</p>
+
+<p>No critic has put the problem with more brutal frankness than
+M.&nbsp;Nisard, who, at the close of his flippant but suggestive chapter
+on Persius, asks the question, <i>Y&nbsp;a-t-il profit à lire Perse</i>?
+Though he makes a faint show of balancing the Ayes and Noes, it is very
+plain how he
+<span class = "pagenum">xvii</span>
+himself would vote. The impatient Frenchman is evidently not of a mind
+‘to read prefaces, biographies, memoirs, and commentaries on these
+prefaces, these biographies, these memoirs, and notes on these
+commentaries, in order to form an idea that will haply be very false and
+assuredly very debatable, of a work about which no one will ever talk to
+you, and of a poet about whom you will never find any one to talk to.’
+But the question, which may be an open one to a critic, is not an open
+one to an editor; and editors of Persius are especially prone to value
+their author by the labor which he has cost them, by the material which
+they have gathered about the text. The thoughts are, after all, so
+common that parallels are to be found on every hand; the compass is so
+small that it is an easy matter to carry in the memory every word, every
+phrase; and so-called illustrations suggest themselves even to an
+ordinary scholar in bewildering numbers, while the looseness of the
+connection gives ample scope to speculation. Hence the sarcasm of Joseph
+Scaliger: <i>Non pulchra habet sed in eum pulcherrima possumus
+scribere</i>; and the well-known criticism of the same scholar: <i>Au
+Perse de Casaubon la saulce vaut mieux que le poisson</i>. But this
+artificial love on the part of the editors has not contributed to the
+popularity of the author, and the youthful poet has been overlaid by his
+erudite commentators. Besides this disadvantage, Persius, when he is
+read at all, comes immediately after Juvenal, and, as if to enhance the
+contrast, is generally bound up with him; and the homeliness of his
+tropes, the crabbedness of his dialogue, the roughness of his
+transitions repel the young student, who finds the riddance of the
+historical and archaeological work which Juvenal involves a poor
+compensation for the lack of the large manner and the dazzling rhetoric
+of the great declaimer. On the other
+<span class = "pagenum">xviii</span>
+hand, maturer scholars have been found to reverse the popular verdict,
+and to say, with Mr. Simcox, that ‘the shy, youthful fervor of the
+dutiful boy, combined with the literary honesty which kept Persius from
+writing any thing which was not a part of his permanent consciousness,
+makes him improve upon every reading, which is more than can be said of
+Juvenal, who writes as if he thought and felt little in the intervals of
+writing.’ But while it is easy to get tired of Juvenal, it is not so
+easy to become enamored of Persius; and it must be admitted that the
+pleasure is questionable. Yet, in spite of M.&nbsp;Nisard, there is no
+real question about the utility of the study of the poet, who
+illustrates by what he does not say even more than by what he says the
+character of an age which is of supreme importance to the historian.
+Even if we put the study on lower ground, we must admit that Persius’s
+title to a prominent position in the annals of Roman literature is
+indefeasible. However desirable it may be to get rid of him, an author
+who has left his impress on Rabelais and Ben Jonson, as well as on
+Montaigne and Boileau&mdash;an author whose poems have furnished so many
+quotations to modern letters, can not be dismissed from the necessities
+of a ‘polite education’ with a convenient sneer. Persius deserves our
+attention, if it were only as a problem of literary taste.</p>
+
+<p>To the end of the study of Persius, it is best to look away from the
+conflicting views of the critics, and to abandon the attempt to
+distinguish between the weight of facts and the momentum of rhetoric in
+the balanced antitheses of praise and blame. The position of the poet
+will be most accurately determined by the calculation of the statics of
+his department and his age.</p>
+
+<p>The Satire is the only extant form of Latin poetry that can lay claim
+to a truly national origin; and the error
+<span class = "pagenum">xix</span>
+into which the early historians of classical literature were led by the
+resemblance between the name of the Roman satire and the name of the
+Greek satyr-drama has long been corrected. But the truth which this
+error involves, the connection between the comic drama and the satire,
+remains. The satire goes back to the popular source of comedy, and holds
+in solution all the elements which the Greeks combined into various
+forms of dramatic merriment. As the rhythmical movements, which
+culminate in such perfections as the dactylic hexameter and the iambic
+trimeter, are common to our whole race, and the rude Saturnian verse is
+one with the heroic, so the rustic songs of harvest and vintage are
+common to Greece and Italy; and it is no marvel that, as the satire was
+working itself out to classic proportions, it should have felt its
+kindred to Greek comedy, and should have drawn its materials and its
+methods from that literature on which Roman literature in its other
+departments was more directly dependent. And so the satire, though a
+genuine growth of Italian soil, was none the less subject to Greek
+influences. It was trained into Greek forms, it was permeated by Greek
+thought; and here as elsewhere the retranslation into Greek, of which
+the older commentators were so fond, is often the key to the meaning;
+here as elsewhere our appreciation of the author, as a whole, is
+conditioned by our knowledge of Greek literature.</p>
+
+<p>Horace, the master of Roman satire, has more than once drawn the
+parallel between satire and comedy; and Persius, who follows the
+literary, though not the philosophical creed of his predecessor, aims
+even more distinctly than Horace does at reproducing the mimicry of
+comedy on the narrow stage of the satire. At the close of the First
+Satire he goes so far as to demand of his readers the intense study of
+the Old Attic Comedy as the preparation
+<span class = "pagenum">xx</span>
+for the enjoyment of his poems&mdash;an extraordinary demand, if we do
+not make due allowance for the rhetorical expression of high aims and
+earnest endeavors. A&nbsp;comparison of the triumvirate of the
+<i>comoedia prisca</i> of Attica reveals little trace of direct
+influence, abundant evidence of extreme diversity in expression and
+conception. I&nbsp;say ‘expression,’ not ‘language.’ It is true that the
+language of Persius has a virile tone, but the masculine energy of his
+words is often out of keeping with the scholastic tameness of his
+thoughts. The breezy Pnyx of the Athenian and the stuffy <i>lecticula
+lucubratoria</i> of the Roman are not further apart than Aristophanes
+and Persius.</p>
+
+<p>The New Attic Comedy, the comedy of situation and manners, furnished
+themes that lay nearer to the genius of Persius, although the grace of a
+Menander was much further from his grasp than from Terence, the
+half-Menander of Caesar’s epigram. One passage is all but translated
+from Menander’s Eunuch; and if Persius did not borrow traits for his
+picture of the miser and the spendthrift from the master of the New
+Comedy, it was not for lack of models. Indeed, so unreal is Persius,
+with all the realism of his language, that one of the most striking
+features of his poems&mdash;the opposition to the military&mdash;loses
+somewhat of its significance when we remember that the Macedonian
+period, to which the New Comedy belongs, is crowded with typical
+soldiers of fortune, with their coarse love of sensual
+pleasure&mdash;their coarse contempt of every thing that can not be
+eaten, drunk, or handled. Every line of Persius’s centurion can be
+reproduced from the Greek; and although it would be going too far to say
+that there was no counterpart to his sketch in his own experience,
+although, on the contrary, Persius seems to have verified by actual
+observation whatever he learned from books, the historical value of his
+portrait is
+<span class = "pagenum">xxi</span>
+very much reduced by the existence of the Greek type. As a specimen of a
+kind of clerico-political opposition to an empire which its enemies
+might call an empire of brute force and military mechanism, the
+hostility of Persius to a class whose predominance was making itself
+felt more and more is not without its point and interest, and it is
+unfortunate that we have to leave its reality in suspense.</p>
+
+<p>Yet another form of the comic drama was the Mime, and we have the
+explicit statement of Joannes Lydus that Persius imitated the famous
+mimographer, Sophron; and although the fragments of Sophron are so
+scanty that this statement can not be verified, it is not without its
+intrinsic probability. The mimetic power of Sophron is notorious, and
+Persius might well have taken lessons from the man whom Plato
+acknowledged as his master. The dialogue, thus borrowed from the mime,
+became the artistic form of philosophic composition, and, as Persius’s
+Satires are essentially moral treatises, it is not surprising that he
+should have made large use of the same machinery. Plato himself
+furnished the movement for two of his essays, and we can detect a
+community of models between Persius and some of the later Greek writers.
+Lucian, the mercurial, and Persius, the saturnine, often work on the
+same theme, each in his way; and when the dialogue is dropped, and the
+bustle of the drama is succeeded by the effects of the scene-painter’s
+craft, we are reminded of another group of copyists, and find all the
+picturesque detail for which Persius is so famous in the letters of
+Alkiphron and Aristainetos, themselves far-off echoes of the New
+Comedy.</p>
+
+<p>Surely these are originals enough, the Attic Comedy, the Mime,
+Sophron and Plato, Menander and Philemon. But we find other models
+nearer home, and, passing by the reflections of Greek comedy in Plautus
+and Terence,
+<span class = "pagenum">xxii</span>
+its refractions in Afranius and Pomponius, we come to the satiric
+exemplars of Persius&mdash;Lucilius and Horace. <i>Mox ut a scholis et
+magistris divertit, lecto libro Lucilli decimo, vehementer saturas
+conponere instituit.</i> This statement of the old <i>Vita Persii</i> is
+much more consonant with the character of Persius than his own affected
+mirthfulness. His ‘saucy spleen’ had as little to do with his verse
+writing as righteous indignation with the rhetorical outpouring of
+Juvenal. His laughter was as much a part of the conventionalities of the
+satire as the <i>Camena</i> was of his confidences to Cornutus.
+School-boys all imitate circus-riders; here and there one mimics the
+clown; and Persius, who had not outgrown the tendencies of boyhood,
+straightway began to make copies of verses in the manner of Lucilius. At
+the same time he was too much under the influence of Horace to follow
+Lucilius in his negligences, and too little master of the form to strike
+the mean between slovenly dictation and painful composition. As an
+imitator of Lucilius he boldly lashes men of straw where Lucilius
+flogged Lupus and Mucius, and breaks his milk-teeth on Alkibiades and
+Dama where Lucilius broke his jaw-teeth on living and moving enemies. As
+an imitator of Horace he appropriates the garb of Horatian diction; but
+the easy movement of roguish Flaccus is lost, and the stiff stride of
+the young Stoic betrays him at every turn.</p>
+
+<p>As in the case of the Old Attic Comedy, Persius’s intellectual
+affinity with Lucilius was purely imaginary; and for the purposes of
+this study it is unnecessary to reproduce the lines of Horace’s portrait
+of the ‘great nursling of Aurunca,’ or to attempt to form a mosaic out
+of the chipped chips of Lucian Müller’s recent collection. The wide
+range of theme, the manly carelessness of style, the bold criticism, the
+bright humor, the biting wit&mdash;in short,
+<span class = "pagenum">xxiii</span>
+almost every characteristic of Lucilius that we can distinguish, shows
+how little kindred there must have been between the two men. The dozen
+scattered verses of the Tenth Book of Lucilius, which is said to have
+suggested the theme of the First Satire of Persius, and the fragments of
+the Fourth Book, which is imitated by Persius in his Third Satire,
+though more significant, give us no clew to the manner or the extent of
+his indebtedness. Here and there a verse, a&nbsp;hemistich,
+a&nbsp;jingle may have been taken from Lucilius, and he may have
+enriched his vocabulary here and there from Lucilius’s store of drastic
+words; but his obligations to Lucilius, real and imaginary, are all as
+nothing in comparison with the large drafts which he drew on the
+treasury of Horace.</p>
+
+<p>The obligations of Persius to <a name = "intro_horace" id =
+"intro_horace">Horace</a> have been the theme of all the editors. The
+scholiasts themselves have quoted parallels, and Casaubon has written a
+special treatise on the subject, and commentators, with almost childish
+rivalry, have vied with each other in noting verbal coincidences and
+similar trains of thought. The fact of the imitation is too evident to
+need proof, and it would have been much more profitable to examine the
+causes and significance of this dependence, and to study the
+modifications of the language and the thought as they passed through the
+alembic of Persius’s brain, than to multiply examples of words and
+phrases that are common, not only to Horace and Persius, but to the
+language of every-day life. Indeed, some go so far as to make Persius
+quibble on Horace; and ‘How green you are,’ of the modern street, and
+‘What means that trump?’ of the modern card-table, are as much
+Shakespearian as some of Persius’s ‘borrowings’ are Horatian.</p>
+
+<p>Horace had long been a classic when Persius dodged his school-tasks
+and was a dab at marbles. Indeed, nothing
+<span class = "pagenum">xxiv</span>
+is more remarkable about Roman literature than the rapidity with which
+the images of its Augustan heroes took on the <i>patina</i> of age. The
+half-century that lay between Horace and Persius drew itself out to a
+distant perspective, and Virgil and Horace had all the authority of
+<i>veteres</i>. They not only dictated the forms of poetry, but
+permeated and dominated prose. True, the hostility to Virgil and Horace
+had not ceased; the <i>antiquarii</i> were not dead; but the ground had
+been shifted. The admirers of republican poetry in the time of Horace
+were republicans&mdash;in the time of Persius they were imperialists,
+and the maintenance of the authors of the Augustan age as the true
+classics was a part of the programme of the opposition. The court
+literature of the Neronian period found its models in the earlier epic
+essays of Catullus rather than in the poems of Virgil. Virgil had
+modified the Greek norms to suit the Latin tongue; but these men went
+back of malice aforethought to the Greek standard, and emulated the
+proportions of the Greek versification of the Alexandrian period. They
+were impatient of the classic vocabulary, and found the classic rhythms
+tame, and so they betook themselves to the earlier language and set it
+to more exact harmonies. It was no heresy with this set to consider
+Virgil at once light and rough. The mouth-filling words of the older and
+bolder period, marshaled in serried ranks, no gap, no break, as they
+kept time to a rhythmical cadence that was marked by all the music of
+consonance and assonance&mdash;this was the ideal of the school which
+Persius assailed, just as an admirer of Pope or Goldsmith might assail
+the dominant poetry of our day, with its sensuous melody and its revived
+archaisms. Surely the worshippers of recent poets might pause before
+accepting the narrow literary creed of Persius. But, not to imitate the
+example of Nisard,
+<span class = "pagenum">xxv</span>
+and indulge in dangerous parallelisms, it is sufficient for our purpose
+to note that Persius’s close study of the language of Horace was not
+only a part of a liberal education, but a necessity of the school to
+which he belonged. If he was to write satire at all, he must needs take
+Horace for his model. If he had written an epic, he would have taken
+Virgil.</p>
+
+<p>Besides this, we may boldly say that reminiscence is no robbery. The
+verses, the phrases, the arguments that we know by heart often become so
+wholly ours that they weave themselves unconsciously into the texture of
+our speech. We use them as convenient forms of expression, without the
+least thought of plagiarism. We quote them, thinking that they are as
+familiar to others as they are to ourselves. They constitute, as it
+were, a&nbsp;sympathetic medium between men of culture. And so Persius
+repeated group after group of the words of Horace as innocently as the
+Augustan poets translated their Greek models, and thought no more harm
+than did the Emperor Julian when he Platonized, or Thackeray when he
+transfused the classics that he learned at the Charter House into his
+own matchless English. That he did it to excess is not to be denied. He
+never learned the lesson of Apelles&mdash;what is enough.</p>
+
+<p>Having thus briefly disposed of those turns which are common to the
+Latin tongue, and those which ran freely into the pen of the writer, we
+have now to deal with a considerable number of passages in which the
+memory of Persius must have lingered over the words of Horace, in which
+his painstaking genius has hammered the thoughts of Horace into a more
+compact or a more angular utterance. To the majority of readers his
+condensations and his amplifications will alike appear to be so many
+distortions of the original. So, notably, where he characterizes Horace
+<span class = "pagenum">xxvi</span>
+himself, and substitutes for the simple <i>naso adunco</i> the puzzling
+<i>excusso naso</i>, where ‘the dreams of a sick man’ become the ‘dreams
+of a sick dotard,’ where ‘telling straight from crooked’ is twisted into
+‘discerning the straight line where it makes its way up between crooked
+lines,’ and where he wrings from the natural phrase ‘drink in with the
+ear’ the odd combination ‘bibulous ears.’ In the longer passages the
+wresting is still more pronounced; and those who refuse to take into
+consideration the moral attitude of <a name = "intro_preach" id =
+"intro_preach">Persius</a> may well wonder at the perversity with which
+he distorts the lines and overcharges the colors of the original. But it
+is tolerably evident that, with all Persius’s admiration of Horace as an
+artist, he felt himself immeasurably superior to him morally, and looked
+upon these adaptations and alterations as so much gained for the effect
+of his discourse. The slyness of Horace might have answered well enough
+for his day and for the kind of vices that he reproved, but the depth
+over which Persius stood gave him a more than Stoic stature. Horace
+might have been content with a flute; nothing less resonant than a
+trumpet would have suited the moral elevation of Persius. Horace is a
+consummate artist, and not less an artist in the conduct of his life
+than in the composition of his poems. Persius is the prototype of the
+sensational preacher, and preachers of all centuries, from Augustin and
+Jerome to Macleane and Merivale, have had a weakness for him.</p>
+
+<p>Aside from the moral tone, which is enough to give a different ring
+to the most similar expressions in the two poets, there is an artistic
+difference of great significance in the handling of the dramatic
+element, which they both recognized as fundamental in the satire. The
+dramatic satires of Horace will not bear dislocation without
+destruction.
+<span class = "pagenum">xxvii</span>
+In Persius the characters are always shifting, always fading away into
+an impersonal <i>Tu</i>. This may be partly due to the interval which he
+allowed to elapse between the periods of composition; but it is possible
+that he recognized the limitation of his own powers, that his satires
+were intended to be a knotted thong, and not a smooth horsewhip. This
+piecemeal composition, be it the result of poverty or of economy, makes
+Persius the very author for ‘Elegant Extracts.’ Hence it is not hard to
+defend him, as it is not hard to defend Seneca, and on similar grounds.
+Single verses ring in the ear for months and years. What line, for
+instance, more quoted than</p>
+
+<p class = "poem">
+<i>Tecum habita: noris quam sit tibi curta supellex</i>?</p>
+
+<p>What line sinks deeper than the sombre verse,</p>
+
+<p class = "poem">
+<i>Virtutem videant intabescantque relicta</i>?</p>
+
+<p>Single scenes, whether of dialogue or of description, possess every
+requirement of dramatic vividness. On every page of the commentary we
+call him bookish, and yet his pictures stand out from the canvas with a
+boldness which makes us concede that his books did not keep him from
+seeing, if they did not teach him to see, what was going on around him.
+What is not a little remarkable in so young a man is the honesty of his
+painting. A&nbsp;home-keeping youth, Persius gives us living pictures of
+what he saw at home, whether at Rome, at Volaterrae, or at Luna; in the
+school-room, in the lecture-room, in the court of justice, on the wharf,
+at the country cross-roads. He has watched the carpenter stretching his
+line, the potter whirling his wheel, the physician adjusting his scales.
+He has heard the horse-laugh of the burly centurion, and shivered; has
+heard, with a young Stoic sneer, a&nbsp;cooing and mincing declaimer. He
+knows all about ink and paper and parchment and reeds; he has not
+outlived
+<span class = "pagenum">xxviii</span>
+his knowledge of marbles, and one might fancy that the lustral spittle
+of his aunty was still fresh on his brow. The fact that there is no
+breeziness about his poems, nothing that tells us of the liberal air
+beyond, is another sign of his truthfulness. His life is like his own
+‘ever retreating bay’ of the Sixth Satire, with the cliffs of Stoic
+philosophy between him and the wintry sea without. Arretium he
+knows&mdash;it was not so far from Volaterrae&mdash;and Bovillae, in the
+neighborhood of which he had a farm, and Luna, and the world of Rome;
+but the rest of his geography is in the inane. Horace, on the other
+hand, ambles all over Italy, and treats us every now and then to a
+foreign tour with the air of a man who had run across the sea in his
+time; and even if he who takes us in his sweeping flight from Cadiz to
+Ganges be not the real Juvenal, the undisputed Juvenal has a far wider
+geographical outlook than Persius. This very limitation is one of the
+best signs of the artistic worth of Persius, and justifies the regret
+that he had not made himself the Crabbe of Roman poetry.</p>
+
+<p>We have seen that Persius was not slavishly dependent on Horace,
+assimilated the material that he derived from him, raised the worldly
+wisdom of Horace to the ideal standard of the Stoic, and followed a
+different canon of dramatic art. To this we may add that Persius, with a
+certain aristocratic disdain of conventionalities, goes deeper into the
+current of vulgar diction than the freedman’s son dared. Persius felt
+that he could afford to talk slang, and he talked it; and the
+commentators have found it necessary to hold Petronius in the left hand,
+as well as Horace in the right.</p>
+
+<p>We now proceed to yet another formal element, which is no less
+significant to the close student of antique literature. The Roman
+handling of the hexameter was artificial
+<span class = "pagenum">xxix</span>
+in the extreme. Reasoning backward from the Latin hexameter, scholars
+have been prone to transfer the conscious symbolism of the Roman poets
+to the Greek originals; and if they had stopped, say, at Apollonius
+Rhodius, they might have been justified, for in the later Greek poets
+something of the sort is not to be denied. But the healthier period of
+Greek poetic art was lifted far above such toying adaptations of sound
+to sense as commentators still discover in Homer when they enlarge on
+the symbolism of this or that spondaic verse, the beauty of this or that
+combination of diaeresis and caesura. A&nbsp;recent comparison of Homer
+with his successors has shown that, of all the spondaic verses in Homer,
+scarcely one in a hundred can be traced to any ‘picturesque’ motive, and
+the rapid movement of so many five-dactyl hexameters is simply the
+normal pace of the verse. When we come to Latin metres, however, we must
+take a different standard, and recognize a conscious modification of the
+Greek rule. The Ovidian pentameter of the best period&mdash;to cite a
+familiar instance&mdash;is subject to minute laws, which are
+transgressed at every turn in Greek elegiac poetry, and the different
+ideals of Persius and Horace are distinctly traceable in their treatment
+of the hexameter. Horace, as is well known, broke the lofty movement of
+the hexameter to suit the easy gait of the satire. Persius is more
+rhetorical than Horace, and, although he admits elision with as great
+freedom as his master, his verse has a more mechanical structure than
+the verse of Horace, and many of the conversational peculiarities of the
+Horatian hexameter are much less conspicuous in Persius. Horace weakens
+the caesura, employs a great number of spondaic words, and neglects the
+variety at which the epic aims; and perhaps the trained ear of a
+determined scholar might hear in the jog-trot of his satiric rhythms
+<span class = "pagenum">xxx</span>
+the hoofs of his bob-tailed mule and the lazy flapping of his
+portmanteau. Persius, on the other hand, hammers out his thoughts in a
+far more orthodox cadence. Comparing the first six hundred and fifty
+verses of the first book of the satires of Horace with the six hundred
+and fifty verses of Persius, we find that more than eight per cent. have
+five spondees against less than five per cent. in Persius. The so-called
+third trochee or feminine caesura of the third foot is found in one of
+ten of Horace’s hexameters, and only in one of twenty-six in
+Persius&mdash;a low proportion even for a Latin poet. Still more
+striking is the rare use which Persius makes of the masculine caesura of
+the sixth foot, with its consequent monosyllabic close. Aside from all
+idle symbolism, this arrangement, which is comparatively common in
+Horace, gives the verse a certain familiar roughness, especially where
+the final word forces a union with the following line. These diversities
+can not be accidents, and serve to show that, although Persius might
+weave himself a garment from the dyed threads of Horatian diction, he
+was not bold enough to wear the <i>discincta tunica</i> of Horace’s
+Muse. But we must not forget to be just, and it is only fair to add that
+such a garb would have been as inappropriate to his severe and lofty,
+though narrow spirit, as the Coan vestments of Ovid’s ‘kept
+goddess’&mdash;if we may borrow the <i>déesse entretenue</i> of Heinrich
+Heine.</p>
+
+<p>A comparison of Persius with Juvenal&mdash;a favorite theme with
+editors&mdash;does not enter into the plan of this study. It suffices
+for our present purpose to note that the practiced rhetorician of the
+time of Trajan could not have shared Quintilian’s admiration of his
+youthful predecessor. The parallel passages which have been cited belong
+to the common stock of satirical strokes or to the thesaurus of
+proverbial phrases. Who can believe that
+<span class = "pagenum">xxxi</span>
+Juvenal took <i>usque adeo</i> from Persius, or borrowed from him the
+familiar <i>rara avis</i>? There are three or four touches in the Tenth
+Satire which recall some of the more striking expressions of Persius;
+but Ribbeck’s objections to the genuineness of this sophistic
+declamation, if not convincing, are at least sufficiently well founded
+to make us pause in citing them. In moral earnestness, Persius is as far
+superior to Juvenal as he is inferior to him in the rhetorical treatment
+of his themes; and so long as men will take into consideration this
+moral element, which modern critics are prone to eliminate from works of
+art, so long as they will say <i>pectus est quod satiricum facit</i> as
+well as <i>quod theologum</i>, Persius will command a personal esteem
+which does not attach to the satires of Juvenal. The ingenious theory of
+Boissier, that the great satirist of the Caesars was a snubbed snob,
+brings out in still more striking contrast the figure of Persius as the
+reserved provincial aristocrat, and may be worthy of a more ample
+development than it has yet received. But Juvenal is a dangerous theme.
+As M.&nbsp;Martha has admirably observed, Juvenal is an author whose
+declamatory tone has infected his eulogists; and those who are not
+carried away by an ‘admiration which disfigures while it exalts,’ may
+readily be tempted into the opposite extreme. Let us turn, then, to
+other matters which illustrate more directly the character of our
+author’s compositions. And first a word or two of Stoicism.</p>
+
+<p>With the strong practical tendencies of the Romans, the only systems
+of Greek philosophy that ever found large acceptance at Rome were the
+Epicurean and the Stoic; and in the Stoic school the only doctrines that
+commanded much attention were the ethic. The subtle dialectic of the
+Stoics, of which we have some unjoyous specimens in Cicero’s
+philosophical compilations, was not
+<span class = "pagenum">xxxii</span>
+congenial to the Roman mind; but the Stoic creed was the creed of the
+nobler spirits of the imperial time. Excluded from public life, or, at
+all events, from the satisfactory exercise of public functions, the
+elect few took refuge in Stoic philosophy.*</p>
+
+<p class = "footnote">
+* In this section of the Introduction I follow Zeller’s Essay on Marcus
+Aurelius (<i>Vorträge u. Abhandlungen</i>) so closely that some special
+acknowledgment seems to be necessary.</p>
+
+<p>The object of Stoicism is by means of virtue and knowledge to make
+men independent of all without them, and happy in that independence. It
+is a pantheism: God revealed in every thing; God’s law recognized in
+every thing; God the substance from which every thing proceeds, to which
+every thing returns; the Original Fire, from which every thing is born
+again. God is the all-pervasive Spirit, Fate, Providence. Obedience to
+his eternal laws constitutes virtue and happiness. Good and evil are to
+be measured by this standard. All that brings us toward this is Good;
+all that carries us away from it is Evil. Every thing else is
+indifferent.</p>
+
+<p>In Grace or out of Grace, says the Christian; or, as Calvin expresses
+it in his nervous language, <i>Qui Christum dimidium habere vult, totum
+perdit</i>. In Virtue or out of Virtue, says the Stoic. There is nothing
+between. The wise are perfectly wise; the foolish are totally foolish.
+‘There is not a half-ounce of rectitude in the fool.’ The vicious man is
+as mad as Orestes&mdash;nay, madder.</p>
+
+<p>The difference between human beings is slight. Alkibiades, the
+high-born and the handsome, is no better than shriveled old Baukis, who
+makes her livelihood by selling greens. All external distinctions sink
+into utter insignificance by the side of this great contrast of
+knowledge and ignorance into which virtue and vice are resolved.</p>
+
+<p>All humanity is one people; all the world one state;
+<span class = "pagenum">xxxiii</span>
+its ruler the Deity; its constitution the eternal law of the universe.
+The more unconditionally a man submits to the guidance of this law, the
+more exclusively he seeks his happiness in virtue, the more independent
+he will be of all without him, the more contented in himself, and yet
+the readier to enter into communion with others, and to do his duty to
+the whole of which he is a part.</p>
+
+<p>But it is to be observed that the Stoicism of Persius, like the
+Stoicism of Marcus Antoninus, was of a softer, milder, more religious
+character than that of Zeno and Chrysippus; and when the Stoic
+discourses on the nothingness of all earthly things, the ills of life,
+man’s moral weakness, and his need of help, we hear language that
+reminds us now of the epistles of the New Testament, now of the
+doctrines of Buddha. ‘The philosopher,’ says Zeller, ‘is a physician for
+the soul, a&nbsp;priest and servant of the Deity among men, and this he
+shows by the most unlimited, devoted, unreserved philanthropy.’ And not
+only so, but the Stoic does not disdain to make life brighter in the
+social circle; and the Sixth Satire of our author, which Nisard
+considers to be a youthful escapade of the poet&mdash;<i>qui s’évertue
+comme un écolier qui sort de classe</i>&mdash;is no less truly Stoic
+than the high-strung Third.</p>
+
+<p>In speaking of this subject it is difficult to keep from using the
+word religion, for the emotional element, which is so characteristic of
+religion, is not wanting in a system which is the popular synonym for
+suppression of emotion. This is the thesis which M.&nbsp;Martha has
+brought out into clear relief, and illumined by many apposite
+examples&mdash;a thesis which will not be strange to those who have
+studied with any care the social aspects of the later life of antiquity.
+Under the empire morality was more than morality&mdash;it was a
+religion; and all the formulae of certain phases of Christian ascetics
+may be applied to
+<span class = "pagenum">xxxiv</span>
+the ethical side of Stoic philosophy. It is difficult to approach the
+subject without seeming irreverence; but the faith of the Christian must
+be far from robust who can shrink from a parallel that goes no farther
+than the machinery&mdash;that does not involve the motive power. It is
+not the aim of this study to determine whether this parallelism is to be
+recognized as a <i>praeparatio Evangelica</i>, or as the like result of
+similar forces at work in different systems of thought and belief. It is
+enough to present the parallelism, to excuse the phraseology.</p>
+
+<p>Our ancestors, at all events, were not afraid to recognize ‘natural
+Christians’ in such men as Socrates, in such youths as Persius. Why,
+even Seneca figured for a long time as St. Seneca; and Jeremy Taylor was
+following old example when he cited the Stoic as well as the Christian
+code. It is only one step from the recognition of this spiritual kindred
+to the recognition of the practical methods of spiritual work as
+anticipated in the life of antiquity&mdash;practical methods which for
+our purposes are even better described by an unbeliever like Lucian than
+by a believer like Marcus Antoninus. In that age of transition we find
+father confessors, private chaplains, mendicant friars, missions,
+revivals, conversions, ecstasies&mdash;all showing the deep needs of the
+human heart, which refused to be satisfied with the outworn gods of the
+Pantheon, and, in ignorance of the divine Person, who alone can answer a
+personal love, sought solace in the mechanism of morality. In
+characterizing Cornutus, I&nbsp;have already borrowed a phrase from
+M.&nbsp;Martha, and called him, as M.&nbsp;Martha calls Seneca,
+a&nbsp;spiritual director; and I have already ventured to call Persius a
+sensational preacher. His stock of philosophy or theology is not as
+large as some commentators suppose; and all the elaborate attempts to
+show by the satires that Persius
+<span class = "pagenum">xxxv</span>
+was a thoroughly trained and consistent Stoic have failed. The most
+elementary knowledge of Stoic ethics is sufficient for the comprehension
+of Persius. Whatever else he knew he kept back for practical
+considerations. He sticks to the marrow of morality, and reiterates the
+cardinal doctrines of Stoicism with the vehemence of a Poundtext. This
+vehemence, this enthusiasm, may be explained by his youth, his Etruscan
+blood, his profession as a moral reformer. A&nbsp;critic with
+M.&nbsp;Taine’s resources might account for it by the climate of
+Volaterrae; but, however it may be accounted for, certain it is that he
+himself is much impressed with the profundity of the doctrines which he
+professes; that he warms and glows as he imparts to his auditors the
+great secret that they are not free because they are slaves to vice;
+that a man who does not understand his relations to his Maker can not
+move a finger without sinning; that in the flesh there is no good thing;
+and that the anguish of a tortured conscience is the worst of hells. But
+the difficulties of Persius are not due to recondite Stoic thought, and
+can not be cleared up by reference to Stoic philosophy. The trouble lies
+in the slangy expressions, the lack of organic development, the restless
+zeal to force his message home to the heart of every hearer, and the
+consequent shifting of the personages of his dialogue to suit the cases
+as they rose before his mind.</p>
+
+<p>Persius, then, was a preacher of Stoicism&mdash;Stoicism, at once the
+philosophy and the religion of a time when serious and noble natures had
+no city of refuge except in their inmost selves, when the only possible
+activity seemed to be submission to the inevitable. The hydrostatic
+pressure of the imperial time forced all the better elements into this
+mould; and in so far Persius bears the stamp of his period, and the very
+absence of political and personal allusions
+<span class = "pagenum">xxxvi</span>
+shows how imperfect life must have been. But one school of commentators,
+headed by Casaubon, and represented to-day in Germany by Lehmann, in
+England by Pretor, see in Persius much more than a disciple of the Stoa;
+and the satires of our author&mdash;especially the First and
+Fourth&mdash;are supposed to be full of more or less oblique references
+to <a name = "intro_nero" id = "intro_nero">Nero’s</a> person, his
+habits, his literary pretensions, his aristocratic birth. At one time it
+seemed as if this thesis, which was suggested by the scholiast, had been
+abandoned, but the field for historical ingenuity is too tempting; and
+one of the vaguest of all the satires, the Fifth, has been discovered by
+Lehmann to be full of the most stinging allusions to Nero. It is not
+enough to grant to this school that Nero, as the type of his age, may
+have been present to the mind of the author. They scornfully reject this
+concession, and resort to all manner of legerdemain in order to explain
+away the impossibilities of such an attack and the improbabilities of
+its execution. With such scope as these scholars allow themselves we may
+find parallels every where, and covert assaults may be detected in the
+most innocent literary performances. But it would not answer the purpose
+of this Introduction to enter into an elaborate discussion of this
+question, which seems to be destined to an uncomfortable resurrection as
+often as it is laid. Every plausible coincidence has been mentioned in
+the Notes, and it will be sufficient for ingenuous youth to know the
+opinions of distinguished scholars on the subject.</p>
+
+<p>If this essay had not been prolonged beyond the limit proposed, it
+might be well to give some account of the grammatical and rhetorical
+peculiarities of the style of Persius; but the grammar of Persius will
+present few difficulties to those who are at all familiar with the
+poetic syntax of the Latin language; and enough has been
+<span class = "pagenum">xxxvii</span>
+said to prepare the student, in a measure, for coping with the labored
+terseness of our author.</p>
+
+<p>The manuscripts of Persius are remarkable for their age, their
+number, and the stupid bewilderment of the transcribers. The best is the
+<i>Codex Montepessulanus</i>, or Montpellier manuscript, with which the
+<i>Codex Vaticanus</i> closely coincides; but, in the words of Jahn,
+<i>Nullus Persii codex tantae auctoritatis est ut in rebus dubiis eius
+vestigia tuto sequaris sed semper inter complures optio eaque non raro
+incerta datur</i>.</p>
+
+</div>
+
+<hr class = "spacer">
+
+<div class = "sectitle">
+
+<span class = "pagenum">38</span>
+<h4><a name = "satires" id = "satires">A. PERSII FLACCI</a></h4>
+
+<h3>SATURARUM</h3>
+
+<h5>LIBER.</h5>
+
+</div>
+
+<hr class = "spacer">
+
+
+<div class = "satires">
+
+<p class = "mynote">
+Each visible line number&mdash;generally a multiple of&nbsp;5&mdash;is a
+link to the Notes. Words referenced in the Critical Appendix are
+individually marked. All Notes and Appendix entries link back to the
+text. Cross-references within the Notes link either to text lines or to
+Notes on those lines, as appropriate.</p>
+
+<span class = "pagenum">39</span>
+
+<h4 class = "satire">
+<a class = "heading" href = "#notes_prolog">Notes</a>
+<a name = "sat_prolog" id = "sat_prolog">PROLOGUS.</a></h4>
+
+
+<div class = "verse">
+<p><a name = "lineP_1" id = "lineP_1"> </a>
+Nec fonte labra prolui caballino,</p>
+<p><a name = "lineP_2" id = "lineP_2"> </a>
+nec in bicipiti somniasse <a class = "crit" href =
+"#appP_2">Parnaso</a></p>
+<p><a name = "lineP_3" id = "lineP_3"> </a>
+memini, ut repente sic poeta prodirem.</p>
+<p><a name = "lineP_4" id = "lineP_4"> </a>
+<a class = "crit" href = "#appP_4">Heliconidas</a>que pallidamque
+Pirenen</p>
+<a class = "linenum" href = "#noteP_5">5</a>
+<p><a name = "lineP_5" id = "lineP_5"> </a>
+illis <a class = "crit" href = "#appP_5">remitto</a>, quorum imagines
+lambunt</p>
+<p><a name = "lineP_6" id = "lineP_6"> </a>
+hederae sequaces: ipse semipaganus</p>
+<p><a name = "lineP_7" id = "lineP_7"> </a>
+ad sacra vatum carmen <a class = "crit" href = "#appP_7">adfero</a>
+nostrum.</p>
+<p><a name = "lineP_8" id = "lineP_8"> </a>
+quis expedivit psittaco suum <a class = "crit" href =
+"#appP_8">chaere</a></p>
+<p><a name = "lineP_9" id = "lineP_9"> </a>
+<a class = "crit" href = "#appP_9">picam</a>que docuit <a class = "crit"
+href = "#appP_9">nostra verba</a> conari?</p>
+<a class = "linenum" href = "#noteP_10">10</a>
+<p><a name = "lineP_10" id = "lineP_10"> </a>
+magister artis ingenique largitor</p>
+<p><a name = "lineP_11" id = "lineP_11"> </a>
+venter, negatas artifex sequi voces;</p>
+<p><a name = "lineP_12" id = "lineP_12"> </a>
+quod si dolosi spes <a class = "crit" href = "#appP_12">refulserit</a>
+nummi,</p>
+<p><a name = "lineP_13" id = "lineP_13"> </a>
+corvos poetas et poetridas picas</p>
+<p><a name = "lineP_14" id = "lineP_14"> </a>
+cantare credas Pegaseium nectar.</p>
+</div>
+
+
+
+<span class = "pagenum">40</span>
+<h4 class = "satire">
+<a class = "heading" href = "#notes_I">Notes</a>
+<a name = "sat_I" id = "sat_I">SATURA I.</a></h4>
+
+<div class = "verse">
+<p><a name = "line1_1" id = "line1_1"> </a>
+O curas hominum! o quantum est in rebus inane!</p>
+<p><a name = "line1_2" id = "line1_2"> </a>
+‘Quis leget haec?’ Min tu istud ais? nemo hercule! ‘Nemo?’</p>
+<p><a name = "line1_3" id = "line1_3"> </a>
+Vel duo, vel nemo. ‘Turpe et miserabile!’ Quare?</p>
+<p><a name = "line1_4" id = "line1_4"> </a>
+ne mihi Polydamas et Troiades Labeonem</p>
+<a class = "linenum" href = "#note1_5">5</a>
+<p><a name = "line1_5" id = "line1_5"> </a>
+praetulerint? nugae. non, si quid turbida Roma</p>
+<p><a name = "line1_6" id = "line1_6"> </a>
+elevet, accedas <a class = "crit" href = "#app1_6">examenque</a>
+inprobum in illa</p>
+<p><a name = "line1_7" id = "line1_7"> </a>
+castiges trutina, nec te quaesiveris extra.</p>
+<p><a name = "line1_8" id = "line1_8"> </a>
+<a class = "crit" href = "#app1_8">nam Romae quis non</a>&mdash;? a, si
+fas dicere&mdash;sed fas</p>
+<p><a name = "line1_9" id = "line1_9"> </a>
+<a class = "crit" href = "#app1_9">tum</a>, cum ad canitiem et nostrum
+istud vivere triste</p>
+<a class = "linenum" href = "#note1_10">10</a>
+<p><a name = "line1_10" id = "line1_10"> </a>
+aspexi ac nucibus facimus quaecumque relictis,</p>
+<p><a name = "line1_11" id = "line1_11"> </a>
+cum sapimus patruos; <a class = "crit" href = "#app1_11">tunc, tunc,
+ignoscite&mdash;‘Nolo.’</a></p>
+<p><a name = "line1_12" id = "line1_12"> </a>
+Quid faciam? sed sum petulanti <a class = "crit" href =
+"#app1_12">splene cachinno</a>.</p>
+<p class = "indent">
+<a name = "line1_13" id = "line1_13"> </a>
+Scribimus inclusi, numeros ille, his pede liber,</p>
+<p><a name = "line1_14" id = "line1_14"> </a>
+grande aliquid, <a class = "crit" href = "#app1_14">quod</a> pulmo
+animae praelargus anhelet.</p>
+<a class = "linenum" href = "#note1_15">15</a>
+<p><a name = "line1_15" id = "line1_15"> </a>
+scilicet haec populo pexusque togaque recenti</p>
+<p><a name = "line1_16" id = "line1_16"> </a>
+et natalicia tandem cum sardonyche albus</p>
+<p><a name = "line1_17" id = "line1_17"> </a>
+sede <a class = "crit" href = "#app1_17">leges</a> celsa, liquido cum
+plasmate guttur</p>
+<p><a name = "line1_18" id = "line1_18"> </a>
+mobile collueris, patranti fractus ocello.</p>
+<p><a name = "line1_19" id = "line1_19"> </a>
+hic neque more probo videas <a class = "crit" href = "#app1_19">nec</a>
+voce serena</p>
+<a class = "linenum" href = "#note1_20">20</a>
+<p><a name = "line1_20" id = "line1_20"> </a>
+ingentis trepidare Titos, cum carmina lumbum</p>
+<p><a name = "line1_21" id = "line1_21"> </a>
+intrant, et tremulo scalpuntur ubi intima versu.</p>
+<p><a name = "line1_22" id = "line1_22"> </a>
+tun, vetule, auriculis alienis colligis escas?</p>
+<p><a name = "line1_23" id = "line1_23"> </a>
+auriculis, quibus et dicas cute perditus <i>ohe</i>.</p>
+<p><a name = "line1_24" id = "line1_24"> </a>
+‘Quo didicisse, nisi hoc fermentum et quae semel intus</p>
+<span class = "pagenum">41</span>
+<a class = "linenum" href = "#note1_25">25</a>
+<p><a name = "line1_25" id = "line1_25"> </a>
+innata est rupto iecore exierit caprificus?’</p>
+<p><a name = "line1_26" id = "line1_26"> </a>
+En pallor seniumque! o&nbsp;mores! usque adeone</p>
+<p><a name = "line1_27" id = "line1_27"> </a>
+scire tuum nihil est, nisi te scire hoc sciat alter?</p>
+<p><a name = "line1_28" id = "line1_28"> </a>
+‘At pulchrum est digito monstrari et dicier <i>hic est!</i></p>
+<p><a name = "line1_29" id = "line1_29"> </a>
+ten cirratorum centum dictata fuisse</p>
+<a class = "linenum" href = "#note1_30">30</a>
+<p><a name = "line1_30" id = "line1_30"> </a>
+pro nihilo pendas?’ Ecce inter pocula quaerunt</p>
+<p><a name = "line1_31" id = "line1_31"> </a>
+Romulidae saturi, quid dia poemata narrent.</p>
+<p><a name = "line1_32" id = "line1_32"> </a>
+hic aliquis, cui <a class = "crit" href = "#app1_32">circa umeros
+hyacinthia</a> laena est,</p>
+<p><a name = "line1_33" id = "line1_33"> </a>
+rancidulum quiddam balba de nare locutus,</p>
+<p><a name = "line1_34" id = "line1_34"> </a>
+Phyllidas Hypsipylas, vatum et plorabile si quid,</p>
+<a class = "linenum" href = "#note1_35">35</a>
+<p><a name = "line1_35" id = "line1_35"> </a>
+eliquat ac tenero <a class = "crit" href = "#app1_35">supplantat</a>
+verba palato.</p>
+<p><a name = "line1_36" id = "line1_36"> </a>
+<a class = "crit" href = "#app1_36">adsensere</a> viri: nunc non cinis
+ille poetae</p>
+<p><a name = "line1_37" id = "line1_37"> </a>
+felix? non levior cippus nunc inprimit ossa?</p>
+<p><a name = "line1_38" id = "line1_38"> </a>
+laudant convivae: nunc non e manibus illis,</p>
+<p><a name = "line1_39" id = "line1_39"> </a>
+nunc non e tumulo fortunataque favilla</p>
+<a class = "linenum" href = "#note1_40">40</a>
+<p><a name = "line1_40" id = "line1_40"> </a>
+nascentur violae? ‘Rides’ ait ‘et nimis uncis</p>
+<p><a name = "line1_41" id = "line1_41"> </a>
+naribus indulges. an erit qui velle recuset</p>
+<p><a name = "line1_42" id = "line1_42"> </a>
+os populi meruisse et cedro digna locutus</p>
+<p><a name = "line1_43" id = "line1_43"> </a>
+linquere nec scombros metuentia carmina nec tus?’</p>
+<p class = "indent">
+<a name = "line1_44" id = "line1_44"> </a>
+Quisquis es, o, modo quem ex adverso dicere feci,</p>
+<a class = "linenum" href = "#note1_45">45</a>
+<p><a name = "line1_45" id = "line1_45"> </a>
+non ego cum scribo, si forte quid aptius exit,</p>
+<p><a name = "line1_46" id = "line1_46"> </a>
+quando haec rara avis est, si quid tamen aptius exit,</p>
+<p><a name = "line1_47" id = "line1_47"> </a>
+laudari metuam, neque enim mihi cornea fibra est;</p>
+<p><a name = "line1_48" id = "line1_48"> </a>
+sed recti finemque extremumque esse recuso</p>
+<p><a name = "line1_49" id = "line1_49"> </a>
+euge tuum et belle. nam belle hoc excute totum:</p>
+<a class = "linenum" href = "#note1_50">50</a>
+<p><a name = "line1_50" id = "line1_50"> </a>
+quid non intus habet? non hic est Ilias Atti</p>
+<p><a name = "line1_51" id = "line1_51"> </a>
+ebria veratro? non si qua elegidia crudi</p>
+<p><a name = "line1_52" id = "line1_52"> </a>
+dictarunt proceres? non quidquid denique lectis</p>
+<p><a name = "line1_53" id = "line1_53"> </a>
+scribitur in citreis? calidum seis ponere sumen,</p>
+<span class = "pagenum">42</span>
+<a class = "linenum" href = "#note1_54">54</a>
+<p><a name = "line1_54" id = "line1_54"> </a>
+scis comitem horridulum trita donare lacerna,</p>
+<p><a name = "line1_55" id = "line1_55"> </a>
+et ‘verum’ inquis ‘amo: verum mihi dicite de me.’</p>
+<p><a name = "line1_56" id = "line1_56"> </a>
+qui pote? vis dicam? nugaris, cum tibi, calve,</p>
+<p><a name = "line1_57" id = "line1_57"> </a>
+pinguis aqualiculus <a class = "crit" href = "#app1_57">protenso</a>
+sesquipede exstet.</p>
+<p><a name = "line1_58" id = "line1_58"> </a>
+o Iane, a&nbsp;tergo quem nulla ciconia pinsit,</p>
+<p><a name = "line1_59" id = "line1_59"> </a>
+nec manus auriculas imitari mobilis albas,</p>
+<a class = "linenum" href = "#note1_60">60</a>
+<p><a name = "line1_60" id = "line1_60"> </a>
+nec linguae, quantum, sitiat canis <a class = "crit" href =
+"#app1_60">Apula, tantae</a>!</p>
+<p><a name = "line1_61" id = "line1_61"> </a>
+vos, o&nbsp;patricius sanguis, quos vivere fas est</p>
+<p><a name = "line1_62" id = "line1_62"> </a>
+occipiti caeco, posticae occurrite sannae!</p>
+<p class = "indent">
+<a name = "line1_63" id = "line1_63"> </a>
+Quis populi sermo est? quis enim, nisi carmina molli</p>
+<p><a name = "line1_64" id = "line1_64"> </a>
+nunc demum numero fluere, ut per leve severos</p>
+<a class = "linenum" href = "#note1_65">65</a>
+<p><a name = "line1_65" id = "line1_65"> </a>
+effundat iunctura unguis? scit tendere versum</p>
+<p><a name = "line1_66" id = "line1_66"> </a>
+non secus ac si oculo rubricam <a class = "crit" href =
+"#app1_66">derigat</a> uno.</p>
+<p><a name = "line1_67" id = "line1_67"> </a>
+sive opus in mores, in luxum, in prandia regum</p>
+<p><a name = "line1_68" id = "line1_68"> </a>
+dicere, res grandis nostro dat Musa poetae.</p>
+<p><a name = "line1_69" id = "line1_69"> </a>
+ecce modo heroas sensus <a class = "crit" href = "#app1_69">adferre</a>
+videmus</p>
+<a class = "linenum" href = "#note1_70">70</a>
+<p><a name = "line1_70" id = "line1_70"> </a>
+nugari solitos graece, nec ponere lucum</p>
+<p><a name = "line1_71" id = "line1_71"> </a>
+artifices nec rus saturum laudare, ubi corbes</p>
+<p><a name = "line1_72" id = "line1_72"> </a>
+et focus et porci et fumosa Palilia faeno,</p>
+<p><a name = "line1_73" id = "line1_73"> </a>
+unde Remus, sulcoque terens dentalia, Quinti,</p>
+<p><a name = "line1_74" id = "line1_74"> </a>
+<a class = "crit" href = "#app1_74">cum</a> trepida ante boves <a class
+= "crit" href = "#app1_74">dictatorem</a> induit uxor</p>
+<a class = "linenum" href = "#note1_75">75</a>
+<p><a name = "line1_75" id = "line1_75"> </a>
+et tua aratra domum lictor tulit&mdash;euge poeta!</p>
+<p><a name = "line1_76" id = "line1_76"> </a>
+est nunc Brisaei quem venosus liber <a class = "crit" href =
+"#app1_76">Acci</a>,</p>
+<p><a name = "line1_77" id = "line1_77"> </a>
+sunt quos Pacuviusque et verrucosa moretur</p>
+<p><a name = "line1_78" id = "line1_78"> </a>
+Antiopa, aerumnis cor luctificabile <a class = "crit" href =
+"#app1_78">fulta</a>.</p>
+<p><a name = "line1_79" id = "line1_79"> </a>
+hos pueris monitus patres infundere lippos</p>
+<a class = "linenum" href = "#note1_80">80</a>
+<p><a name = "line1_80" id = "line1_80"> </a>
+cum videas, quaerisne, unde haec sartago loquendi</p>
+<p><a name = "line1_81" id = "line1_81"> </a>
+venerit in linguas, unde istuc dedecus, in quo</p>
+<p><a name = "line1_82" id = "line1_82"> </a>
+trossulus <a class = "crit" href = "#app1_82">exsultat</a> tibi per
+subsellia levis?</p>
+<span class = "pagenum">43</span>
+<p><a name = "line1_83" id = "line1_83"> </a>
+nilne pudet capiti non posse pericula cano</p>
+<p><a name = "line1_84" id = "line1_84"> </a>
+pellere, quin tepidum hoc optes audire <i>decenter</i>?</p>
+<a class = "linenum" href = "#note1_85">85</a>
+<p><a name = "line1_85" id = "line1_85"> </a>
+‘Fur es’ ait Pedio. Pedius quid? crimina rasis</p>
+<p><a name = "line1_86" id = "line1_86"> </a>
+librat in antithetis: doctas posuisse figuras</p>
+<p><a name = "line1_87" id = "line1_87"> </a>
+laudatur ‘bellum hoc!’ hoc bellum? an, Romule, ceves?</p>
+<p><a name = "line1_88" id = "line1_88"> </a>
+<a class = "crit" href = "#app1_88">men moveat? quippe et</a>, cantet si
+naufragus, assem</p>
+<p><a name = "line1_89" id = "line1_89"> </a>
+<a class = "crit" href = "#app1_89">protulerim</a>. cantas, cum fracta
+te in trabe pictum</p>
+<a class = "linenum" href = "#note1_90">90</a>
+<p><a name = "line1_90" id = "line1_90"> </a>
+ex umero portes? verum, nec nocte paratum</p>
+<p><a name = "line1_91" id = "line1_91"> </a>
+plorabit, qui me volet incurvasse <a class = "crit" href =
+"#app1_91">querela</a>.</p>
+<p class = "indent">
+<a name = "line1_92" id = "line1_92"> </a>
+‘Sed numeris decor est et iunctura addita crudis.</p>
+<p><a name = "line1_93" id = "line1_93"> </a>
+<a class = "crit" href = "#app1_93">cludere</a> sic versum didicit
+<i>Berecyntius Attis</i></p>
+<p><a name = "line1_94" id = "line1_94"> </a>
+et <i>qui caeruleum dirimebat Nerea delphin</i></p>
+<a class = "linenum" href = "#note1_95">95</a>
+<p><a name = "line1_95" id = "line1_95"> </a>
+sic <i>costam longo subduximus <a class = "crit" href =
+"#app1_95">Appennino</a></i>.</p>
+<p><a name = "line1_96" id = "line1_96"> </a>
+<p><i>Arma virum</i>, nonne hoc spumosum et cortice pingui,</p>
+<p><a name = "line1_97" id = "line1_97"> </a>
+ut ramale vetus <a class = "crit" href = "#app1_97">vegrandi</a> subere
+coctum?’</p>
+<p><a name = "line1_98" id = "line1_98"> </a>
+‘Quidnam igitur tenerum et laxa cervice legendum?</p>
+<p><a name = "line1_99" id = "line1_99"> </a>
+<i>Torva mimalloneis inplerunt cornua bombis,</i></p>
+<a class = "linenum" href = "#note1_100">100</a>
+<p><a name = "line1_100" id = "line1_100"> </a>
+<i>et raptum vitulo caput ablatura superbo</i></p>
+<p><a name = "line1_101" id = "line1_101"> </a>
+<i>Bassaris et lyncem Maenas flexura corymbis</i></p>
+<p><a name = "line1_102" id = "line1_102"> </a>
+<i><a class = "crit" href = "#app1_102">euhion</a> ingeminat,
+reparabilis adsonat echo?’</i></p>
+<p><a name = "line1_103" id = "line1_103"> </a>
+haec fierent, si testiculi vena ulla paterni</p>
+<p><a name = "line1_104" id = "line1_104"> </a>
+viveret in nobis? summa delumbe saliva</p>
+<a class = "linenum" href = "#note1_105">105</a>
+<p><a name = "line1_105" id = "line1_105"> </a>
+hoc natat in labris, et in udo est Maenas et Attis,</p>
+<p><a name = "line1_106" id = "line1_106"> </a>
+nec pluteum caedit, nec demorsos sapit unguis.</p>
+<p class = "indent">
+<a name = "line1_107" id = "line1_107"> </a>
+‘Sed quid opus teneras mordaci radere vero</p>
+<p><a name = "line1_108" id = "line1_108"> </a>
+auriculas? vide sis, ne maiorum tibi forte</p>
+<p><a name = "line1_109" id = "line1_109"> </a>
+limina frigescant: sonat hic de nare canina</p>
+<a class = "linenum" href = "#note1_110">110</a>
+<p><a name = "line1_110" id = "line1_110"> </a>
+littera.’ Per me equidem sint omnia protinus alba;</p>
+<span class = "pagenum">44</span>
+<p><a name = "line1_111" id = "line1_111"> </a>
+nil moror. euge! <a class = "crit" href = "#app1_111">omnes, omnes</a>
+bene mirae eritis res.</p>
+<p><a name = "line1_112" id = "line1_112"> </a>
+hoc iuvat? ‘hic’ inquis ‘veto quisquam faxit oletum.’</p>
+<p><a name = "line1_113" id = "line1_113"> </a>
+pinge duos anguis: pueri, sacer est locus, extra</p>
+<p><a name = "line1_114" id = "line1_114"> </a>
+<a class = "crit" href = "#app1_114">meite</a>! discedo. secuit Lucilius
+urbem,</p>
+<a class = "linenum" href = "#note1_115">115</a>
+<p><a name = "line1_115" id = "line1_115"> </a>
+te Lupe, te Muci, et genuinum fregit in illis;</p>
+<p><a name = "line1_116" id = "line1_116"> </a>
+omne vafer vitium ridenti Flaccus amico</p>
+<p><a name = "line1_117" id = "line1_117"> </a>
+tangit et admissus circum praecordia ludit,</p>
+<p><a name = "line1_118" id = "line1_118"> </a>
+callidus excusso populum suspendere naso:</p>
+<a class = "linenum" href = "#note1_119">119</a>
+<p><a name = "line1_119" id = "line1_119"> </a>
+men muttire nefas? nec clam, <a class = "crit" href = "#app1_119">nec
+cum scrobe? nusquam?</a></p>
+<p><a name = "line1_120" id = "line1_120"> </a>
+hic tamen infodiam. vidi, vidi ipse, libelle:</p>
+<p><a name = "line1_121" id = "line1_121"> </a>
+auriculas asini quis non habet? hoc ego opertum,</p>
+<p><a name = "line1_122" id = "line1_122"> </a>
+hoc ridere meum, tam nil, nulla tibi vendo</p>
+<p><a name = "line1_123" id = "line1_123"> </a>
+Iliade. audaci quicumque adflate Cratino</p>
+<p><a name = "line1_124" id = "line1_124"> </a>
+iratum Eupolidem praegrandi cum sene palles,</p>
+<a class = "linenum" href = "#note1_125">125</a>
+<p><a name = "line1_125" id = "line1_125"> </a>
+aspice et haec, si forte aliquid decoctius audis.</p>
+<p><a name = "line1_126" id = "line1_126"> </a>
+inde vaporata lector mihi ferveat aure:</p>
+<p><a name = "line1_127" id = "line1_127"> </a>
+non hic, qui in crepidas Graiorum ludere gestit</p>
+<p><a name = "line1_128" id = "line1_128"> </a>
+sordidus, et lusco qui possit dicere ‘lusce,’</p>
+<p><a name = "line1_129" id = "line1_129"> </a>
+sese aliquem credens, Italo quod honore supinus</p>
+<a class = "linenum" href = "#note1_130">130</a>
+<p><a name = "line1_130" id = "line1_130"> </a>
+fregerit <a class = "crit" href = "#app1_130">heminas</a> Arreti aedilis
+iniquas;</p>
+<p><a name = "line1_131" id = "line1_131"> </a>
+nec qui abaco numeros et secto in pulvere metas</p>
+<p><a name = "line1_132" id = "line1_132"> </a>
+scit risisse vafer, multum gaudere paratus,</p>
+<p><a name = "line1_133" id = "line1_133"> </a>
+si cynico barbam petulans nonaria vellat.</p>
+<p><a name = "line1_134" id = "line1_134"> </a>
+his mane edictum, post prandia Calliroen do.</p>
+</div>
+
+
+
+<span class = "pagenum">45</span>
+<h4 class = "satire">
+<a class = "heading" href = "#notes_II">Notes</a>
+<a name = "sat_II" id = "sat_II">SATURA II.</a></h4>
+
+<div class = "verse">
+<p><a name = "line2_1" id = "line2_1"> </a>
+Hunc, Macrine, diem numera meliore lapillo</p>
+<p><a name = "line2_2" id = "line2_2"> </a>
+qui tibi labentis apponit candidus annos.</p>
+<p><a name = "line2_3" id = "line2_3"> </a>
+funde merum genio. non tu prece poscis emaci,</p>
+<p><a name = "line2_4" id = "line2_4"> </a>
+quae nisi seductis nequeas committere divis;</p>
+<a class = "linenum" href = "#note2_5">5</a>
+<p><a name = "line2_5" id = "line2_5"> </a>
+at bona pars procerum tacita <a class = "crit" href =
+"#app2_5">libabit</a> acerra.</p>
+<p><a name = "line2_6" id = "line2_6"> </a>
+haud cuivis promptum est murmurque humilisque susurros</p>
+<p><a name = "line2_7" id = "line2_7"> </a>
+tollere de templis et aperto vivere voto.</p>
+<p><a name = "line2_8" id = "line2_8"> </a>
+‘Mens bona, fama, fides’ haec clare et ut audiat hospes;</p>
+<p><a name = "line2_9" id = "line2_9"> </a>
+illa sibi introrsum et sub lingua <a class = "crit" href =
+"#app2_9">murmurat</a> ‘o si</p>
+<a class = "linenum" href = "#note2_10">10</a>
+<p><a name = "line2_10" id = "line2_10"> </a>
+<a class = "crit" href = "#app2_10">ebulliat</a> patruus, praeclarum
+funus?’ et ‘o si</p>
+<p><a name = "line2_11" id = "line2_11"> </a>
+sub rastro crepet argenti mihi seria dextro</p>
+<p><a name = "line2_12" id = "line2_12"> </a>
+Hercule! pupillumve utinam, quem proximus heres</p>
+<p><a name = "line2_13" id = "line2_13"> </a>
+inpello, expungam! namque est scabiosus et acri</p>
+<p><a name = "line2_14" id = "line2_14"> </a>
+bile tumet. Nerio iam tertia <a class = "crit" href =
+"#app2_14">conditur</a> uxor.’</p>
+<a class = "linenum" href = "#note2_15">15</a>
+<p><a name = "line2_15" id = "line2_15"> </a>
+haec sancte ut poscas, Tiberino in gurgite mergis</p>
+<p><a name = "line2_16" id = "line2_16"> </a>
+mane caput bis terque et noctem flumine <a class = "crit" href =
+"#app2_16">purgas?</a></p>
+<p><a name = "line2_17" id = "line2_17"> </a>
+heus age, responde&mdash;minimum est quod scire laboro&mdash;</p>
+<p><a name = "line2_18" id = "line2_18"> </a>
+de Iove quid sentis? estne ut praeponere cures</p>
+<p><a name = "line2_19" id = "line2_19"> </a>
+hunc&mdash;‘cuinam?’ cuinam? vis Staio? an scilicet haeres?</p>
+<a class = "linenum" href = "#note2_20">20</a>
+<p><a name = "line2_20" id = "line2_20"> </a>
+quis potior index, puerisve quis aptior orbis?</p>
+<p><a name = "line2_21" id = "line2_21"> </a>
+hoc igitur, quo tu Iovis aurem inpellere temptas,</p>
+<p><a name = "line2_22" id = "line2_22"> </a>
+dic agedum Staio, ‘pro Iuppiter! o&nbsp;bone’ clamet</p>
+<span class = "pagenum">46</span>
+<p><a name = "line2_23" id = "line2_23"> </a>
+‘Iuppiter!’ at sese non clamet Iuppiter ipse?</p>
+<p><a name = "line2_24" id = "line2_24"> </a>
+ignovisse putas, quia, cum tonat, ocius ilex</p>
+<a class = "linenum" href = "#note2_25">25</a>
+<p><a name = "line2_25" id = "line2_25"> </a>
+<a class = "crit" href = "#app2_25">sulpure</a> discutitur sacro quam
+tuque domusque?</p>
+<p><a name = "line2_26" id = "line2_26"> </a>
+an quia non fibris ovium Ergennaque iubente</p>
+<p><a name = "line2_27" id = "line2_27"> </a>
+triste iaces lucis evitandumque bidental,</p>
+<p><a name = "line2_28" id = "line2_28"> </a>
+idcirco stolidam praebet tibi vellere barbam</p>
+<p><a name = "line2_29" id = "line2_29"> </a>
+Iuppiter? aut quidnam est, qua tu mercede deorum</p>
+<a class = "linenum" href = "#note2_30">30</a>
+<p><a name = "line2_30" id = "line2_30"> </a>
+emeris auriculas? pulmone et lactibus unctis?</p>
+<p class = "indent">
+<a name = "line2_31" id = "line2_31"> </a>
+Ecce avia aut metuens divum matertera cunis</p>
+<p><a name = "line2_32" id = "line2_32"> </a>
+exemit puerum frontemque atque uda labella</p>
+<p><a name = "line2_33" id = "line2_33"> </a>
+infami digito et lustralibus ante salivis</p>
+<p><a name = "line2_34" id = "line2_34"> </a>
+expiat, urentis oculos inhibere perita;</p>
+<a class = "linenum" href = "#note2_35">35</a>
+<p><a name = "line2_35" id = "line2_35"> </a>
+tunc manibus quatit et spem macram supplice voto</p>
+<p><a name = "line2_36" id = "line2_36"> </a>
+nunc Licini in campos, nunc Crassi mittit in aedis</p>
+<p><a name = "line2_37" id = "line2_37"> </a>
+‘hunc <a class = "crit" href = "#app2_37">optet</a> generum rex et
+regina! puellae</p>
+<p><a name = "line2_38" id = "line2_38"> </a>
+hunc rapiant! quidquid calcaverit hic, rosa fiat!’</p>
+<p><a name = "line2_39" id = "line2_39"> </a>
+ast ego nutrici non mando vota: negato,</p>
+<a class = "linenum" href = "#note2_40">40</a>
+<p><a name = "line2_40" id = "line2_40"> </a>
+Iuppiter, haec illi, quamvis te albata rogarit.</p>
+<p><a name = "line2_41" id = "line2_41"> </a>
+Poscis opem nervis corpusque fidele senectae.</p>
+<p><a name = "line2_42" id = "line2_42"> </a>
+esto age; sed <a class = "crit" href = "#app2_42">grandes</a> patinae
+<a class = "crit" href = "#app2_42">tucceta</a>que crassa</p>
+<p><a name = "line2_43" id = "line2_43"> </a>
+<a class = "crit" href = "#app2_43">adnuere</a> his superos vetuere
+Iovemque morantur.</p>
+<p><a name = "line2_44" id = "line2_44"> </a>
+Rem struere exoptas caeso bove Mercuriumque</p>
+<a class = "linenum" href = "#note2_45">45</a>
+<p><a name = "line2_45" id = "line2_45"> </a>
+<a class = "crit" href = "#app2_45">arcessis</a> fibra ‘da fortunare
+Penatis,</p>
+<p><a name = "line2_46" id = "line2_46"> </a>
+da pecus et gregibus fetum!’ quo, pessime, pacto,</p>
+<p><a name = "line2_47" id = "line2_47"> </a>
+tot tibi cum in <a class = "crit" href = "#app2_47">flammas</a> iunicum
+omenta liquescant</p>
+<p><a name = "line2_48" id = "line2_48"> </a>
+<a class = "crit" href = "#app2_48">et tamen</a> hic extis et opimo
+vincere ferto</p>
+<p><a name = "line2_49" id = "line2_49"> </a>
+intendit ‘iam crescit ager, iam crescit ovile,</p>
+<a class = "linenum" href = "#note2_50">50</a>
+<p><a name = "line2_50" id = "line2_50"> </a>
+iam dabitur, iam iam!’ donec deceptus et exspes</p>
+<p><a name = "line2_51" id = "line2_51"> </a>
+nequiquam fundo suspiret nummus in imo.</p>
+<span class = "pagenum">47</span>
+<p class = "indent">
+<a name = "line2_52" id = "line2_52"> </a>
+Si tibi <a class = "crit" href = "#app2_52">creterras</a> argenti
+incusaque pingui</p>
+<p><a name = "line2_53" id = "line2_53"> </a>
+auro dona feram, sudes et pectore laevo</p>
+<p><a name = "line2_54" id = "line2_54"> </a>
+<a class = "crit" href = "#app2_54">excutiat</a> guttas laetari
+praetrepidum cor.</p>
+<a class = "linenum" href = "#note2_55">55</a>
+<p><a name = "line2_55" id = "line2_55"> </a>
+hinc illud subiit, auro sacras quod ovato</p>
+<p><a name = "line2_56" id = "line2_56"> </a>
+perducis facies; nam fratres inter aenos</p>
+<p><a name = "line2_57" id = "line2_57"> </a>
+somnia pituita qui purgatissima mittunt,</p>
+<p><a name = "line2_58" id = "line2_58"> </a>
+praecipui sunto sitque illis aurea barba.</p>
+<p><a name = "line2_59" id = "line2_59"> </a>
+aurum vasa Numae Saturniaque inpulit aera</p>
+<a class = "linenum" href = "#note2_60">60</a>
+<p><a name = "line2_60" id = "line2_60"> </a>
+Vestalisque urnas et Tuscum fictile mutat.</p>
+<p><a name = "line2_61" id = "line2_61"> </a>
+o curvae in <a class = "crit" href = "#app2_61">terris</a> animae et
+<a class = "crit" href = "#app2_61">caelestium inanes</a>!</p>
+<p><a name = "line2_62" id = "line2_62"> </a>
+<a class = "crit" href = "#app2_62">quid iuvat hoc</a>, templis nostros
+inmittere mores</p>
+<p><a name = "line2_63" id = "line2_63"> </a>
+et bona dis ex hac scelerata ducere pulpa?</p>
+<p><a name = "line2_64" id = "line2_64"> </a>
+haec sibi corrupto casiam dissolvit olivo,</p>
+<a class = "linenum" href = "#note2_65">65</a>
+<p><a name = "line2_65" id = "line2_65"> </a>
+haec Calabrum coxit vitiato murice vellus,</p>
+<p><a name = "line2_66" id = "line2_66"> </a>
+haec <a class = "crit" href = "#app2_66">bacam</a> conchae rasisse et
+stringere venas</p>
+<p><a name = "line2_67" id = "line2_67"> </a>
+ferventis massae crudo de pulvere iussit.</p>
+<p><a name = "line2_68" id = "line2_68"> </a>
+peccat et haec, peccat: vitio tamen utitur. at vos</p>
+<p><a name = "line2_69" id = "line2_69"> </a>
+dicite, pontifices, in sancto quid facit aurum?</p>
+<a class = "linenum" href = "#note2_70">70</a>
+<p><a name = "line2_70" id = "line2_70"> </a>
+nempe hoc quod Veneri donatae a virgine pupae.</p>
+<p><a name = "line2_71" id = "line2_71"> </a>
+quin damus id superis, de magna quod dare lance</p>
+<p><a name = "line2_72" id = "line2_72"> </a>
+non possit magni Messallae lippa propago:</p>
+<p><a name = "line2_73" id = "line2_73"> </a>
+conpositum ius fasque <a class = "crit" href = "#app2_73">animo</a>
+sanctosque recessus</p>
+<p><a name = "line2_74" id = "line2_74"> </a>
+mentis et incoctum generoso pectus honesto.</p>
+<a class = "linenum" href = "#note2_75">75</a>
+<p><a name = "line2_75" id = "line2_75"> </a>
+haec cedo ut admoveam templis et farre litabo.</p>
+</div>
+
+
+
+<span class = "pagenum">48</span>
+<h4 class = "satire">
+<a class = "heading" href = "#notes_III">Notes</a>
+<a name = "sat_III" id = "sat_III">SATURA III.</a></h4>
+
+<div class = "verse">
+<p><a name = "line3_1" id = "line3_1"> </a>
+‘Nempe haec adsidue: iam clarum mane fenestras</p>
+<p><a name = "line3_2" id = "line3_2"> </a>
+intrat et angustas extendit lumine rimas:</p>
+<p><a name = "line3_3" id = "line3_3"> </a>
+stertimus indomitum quod despumare Falernum</p>
+<p><a name = "line3_4" id = "line3_4"> </a>
+sufficiat, quinta dum linea tangitur umbra.</p>
+<a class = "linenum" href = "#note3_5">5</a>
+<p><a name = "line3_5" id = "line3_5"> </a>
+en quid agis? siccas insana canicula messis</p>
+<p><a name = "line3_6" id = "line3_6"> </a>
+iam dudum coquit et patula pecus omne sub ulmo est.’</p>
+<p><a name = "line3_7" id = "line3_7"> </a>
+unus ait comitum. “Verumne? itane? ocius adsit</p>
+<p><a name = "line3_8" id = "line3_8"> </a>
+huc aliquis! nemon?” turgescit vitrea bilis:</p>
+<p><a name = "line3_9" id = "line3_9"> </a>
+“findor”&mdash;ut Arcadiae pecuaria rudere dicas.</p>
+<a class = "linenum" href = "#note3_10">10</a>
+<p><a name = "line3_10" id = "line3_10"> </a>
+iam liber et positis bicolor membrana capillis</p>
+<p><a name = "line3_11" id = "line3_11"> </a>
+inque manus chartae nodosaque venit <a class = "crit" href =
+"#app3_11">harundo</a>.</p>
+<p><a name = "line3_12" id = "line3_12"> </a>
+tunc <a class = "crit" href = "#app3_12">querimur</a>, crassus calamo
+quod pendeat <a class = "crit" href = "#app3_12">umor</a>,</p>
+<p><a name = "line3_13" id = "line3_13"> </a>
+nigra <a class = "crit" href = "#app3_13">quod</a> infusa vanescat sepia
+lympha;</p>
+<p><a name = "line3_14" id = "line3_14"> </a>
+dilutas <a class = "crit" href = "#app3_14">querimur</a> geminet quod
+fistula guttas.</p>
+<a class = "linenum" href = "#note3_15">15</a>
+<p><a name = "line3_15" id = "line3_15"> </a>
+o miser inque dies ultra miser, <a class = "crit" href =
+"#app3_15">hucine</a> rerum</p>
+<p><a name = "line3_16" id = "line3_16"> </a>
+venimus? at cur non potius teneroque columbo</p>
+<p><a name = "line3_17" id = "line3_17"> </a>
+et similis regum pueris <a class = "crit" href = "#app3_17">pappare</a>
+minutum</p>
+<p><a name = "line3_18" id = "line3_18"> </a>
+poscis et iratus mammae lallare recusas?</p>
+<p><a name = "line3_19" id = "line3_19"> </a>
+“An tali studeam calamo?” Cui verba? quid istas</p>
+<a class = "linenum" href = "#note3_20">20</a>
+<p><a name = "line3_20" id = "line3_20"> </a>
+succinis ambages? tibi luditur. effluis amens,</p>
+<p><a name = "line3_21" id = "line3_21"> </a>
+contemnere: sonat vitium percussa, maligne</p>
+<p><a name = "line3_22" id = "line3_22"> </a>
+respondet viridi non cocta fidelia limo.</p>
+<p><a name = "line3_23" id = "line3_23"> </a>
+udum et molle lutum es, nunc nunc properandus et acri</p>
+<span class = "pagenum">49</span>
+<p><a name = "line3_24" id = "line3_24"> </a>
+fingendus sine fine rota. sed rure paterno</p>
+<a class = "linenum" href = "#note3_25">25</a>
+<p><a name = "line3_25" id = "line3_25"> </a>
+est tibi far modicum, purum et sine labe salinum&mdash;</p>
+<p><a name = "line3_26" id = "line3_26"> </a>
+quid metuas?&mdash;cultrixque foci secura patella.</p>
+<p><a name = "line3_27" id = "line3_27"> </a>
+hoc satis? an deceat pulmonem rumpere ventis,</p>
+<p><a name = "line3_28" id = "line3_28"> </a>
+stemmate quod Tusco ramum millesime ducis,</p>
+<p><a name = "line3_29" id = "line3_29"> </a>
+<a class = "crit" href = "#app3_29">censoremne</a> tuum vel quod
+trabeate salutas?</p>
+<a class = "linenum" href = "#note3_30">30</a>
+<p><a name = "line3_30" id = "line3_30"> </a>
+ad populum phaleras! ego te intus et in cute novi.</p>
+<p><a name = "line3_31" id = "line3_31"> </a>
+non pudet ad morem discincti vivere <a class = "crit" href =
+"#app3_31">Nattae?</a></p>
+<p><a name = "line3_32" id = "line3_32"> </a>
+sed stupet hic <a class = "crit" href = "#app3_32">vitio et</a> fibris
+increvit opimum</p>
+<p><a name = "line3_33" id = "line3_33"> </a>
+pingue, caret culpa, nescit quid perdat, et alto</p>
+<a class = "linenum" href = "#note3_34">34</a>
+<p><a name = "line3_34" id = "line3_34"> </a>
+demersus summa rursum non bullit in unda.</p>
+<p><a name = "line3_35" id = "line3_35"> </a>
+magne pater divum, saevos punire tyrannos</p>
+<p><a name = "line3_36" id = "line3_36"> </a>
+haud alia ratione velis, cum dira libido</p>
+<p><a name = "line3_37" id = "line3_37"> </a>
+moverit ingenium ferventi tincta veneno:</p>
+<p><a name = "line3_38" id = "line3_38"> </a>
+virtutem videant intabescantque relicta.</p>
+<p><a name = "line3_39" id = "line3_39"> </a>
+anne magis Siculi gemuerunt aera iuvenci,</p>
+<a class = "linenum" href = "#note3_40">40</a>
+<p><a name = "line3_40" id = "line3_40"> </a>
+et magis auratis pendens laquearibus ensis</p>
+<p><a name = "line3_41" id = "line3_41"> </a>
+purpureas subter cervices terruit, ‘imus,</p>
+<p><a name = "line3_42" id = "line3_42"> </a>
+imus praecipites’ quam si sibi dicat et intus</p>
+<p><a name = "line3_43" id = "line3_43"> </a>
+palleat infelix, quod proxima nesciat uxor?</p>
+<p class = "indent">
+<a name = "line3_44" id = "line3_44"> </a>
+Saepe oculos, memini, tangebam parvus olivo,</p>
+<a class = "linenum" href = "#note3_45">45</a>
+<p><a name = "line3_45" id = "line3_45"> </a>
+grandia si nollem morituri verba Catonis</p>
+<p><a name = "line3_46" id = "line3_46"> </a>
+<a class = "crit" href = "#app3_46">discere, non sano</a> multum
+laudanda magistro,</p>
+<p><a name = "line3_47" id = "line3_47"> </a>
+quae pater adductis sudans audiret amicis.</p>
+<p><a name = "line3_48" id = "line3_48"> </a>
+<a class = "crit" href = "#app3_48">iure;</a> etenim id summum, quid
+dexter senio ferret,</p>
+<p><a name = "line3_49" id = "line3_49"> </a>
+scire erat in voto; damnosa canicula quantum</p>
+<a class = "linenum" href = "#note3_50">50</a>
+<p><a name = "line3_50" id = "line3_50"> </a>
+raderet; angustae collo non fallier orcae;</p>
+<p><a name = "line3_51" id = "line3_51"> </a>
+neu quis callidior buxum torquere flagello.</p>
+<p><a name = "line3_52" id = "line3_52"> </a>
+haud tibi inexpertum curvos deprendere mores,</p>
+<span class = "pagenum">50</span>
+<p><a name = "line3_53" id = "line3_53"> </a>
+quaeque docet sapiens <a class = "crit" href = "#app3_53">bracatis</a>
+inlita Medis</p>
+<p><a name = "line3_54" id = "line3_54"> </a>
+porticus, insomnis quibus et detonsa iuventus</p>
+<a class = "linenum" href = "#note3_55">55</a>
+<p><a name = "line3_55" id = "line3_55"> </a>
+invigilat, siliquis et grandi pasta polenta;</p>
+<p><a name = "line3_56" id = "line3_56"> </a>
+et tibi quae Samios <a class = "crit" href = "#app3_56">diduxit</a>
+littera ramos</p>
+<p><a name = "line3_57" id = "line3_57"> </a>
+surgentem dextro monstravit limite callem.</p>
+<p><a name = "line3_58" id = "line3_58"> </a>
+stertis <a class = "crit" href = "#app3_58">adhuc</a>, laxumque caput
+conpage soluta</p>
+<p><a name = "line3_59" id = "line3_59"> </a>
+oscitat hesternum, dissutis undique <a class = "crit" href =
+"#app3_59">malis!</a></p>
+<a class = "linenum" href = "#note3_60">60</a>
+<p><a name = "line3_60" id = "line3_60"> </a>
+est aliquid quo tendis, et <a class = "crit" href = "#app3_60">in
+quod</a> dirigis arcum?</p>
+<p><a name = "line3_61" id = "line3_61"> </a>
+an passim sequeris corvos testaque lutoque,</p>
+<p><a name = "line3_62" id = "line3_62"> </a>
+securus quo pes ferat, atque ex tempore vivis?</p>
+<p><a name = "line3_63" id = "line3_63"> </a>
+helleborum frustra, cum iam cutis aegra tumebit,</p>
+<p><a name = "line3_64" id = "line3_64"> </a>
+poscentis videas: venienti occurrite morbo!</p>
+<a class = "linenum" href = "#note3_65">65</a>
+<p><a name = "line3_65" id = "line3_65"> </a>
+et quid opus Cratero magnos promittere montis?</p>
+<p><a name = "line3_66" id = "line3_66"> </a>
+discite, o&nbsp;miseri, et causas cognoscite rerum:</p>
+<p><a name = "line3_67" id = "line3_67"> </a>
+quid sumus, et quidnam victuri gignimur; ordo</p>
+<p><a name = "line3_68" id = "line3_68"> </a>
+quis datus, aut metae <a class = "crit" href = "#app3_68">qua</a> mollis
+flexus et unde;</p>
+<p><a name = "line3_69" id = "line3_69"> </a>
+quis modus argento, quid fas optare, quid asper</p>
+<a class = "linenum" href = "#note3_70">70</a>
+<p><a name = "line3_70" id = "line3_70"> </a>
+utile nummus habet; patriae carisque propinquis</p>
+<p><a name = "line3_71" id = "line3_71"> </a>
+quantum elargiri deceat; quem te deus esse</p>
+<p><a name = "line3_72" id = "line3_72"> </a>
+iussit, et humana qua parte locatus es in re.</p>
+<p><a name = "line3_73" id = "line3_73"> </a>
+disce, <a class = "crit" href = "#app3_73">nec</a> invideas, quod multa
+fidelia putet</p>
+<p><a name = "line3_74" id = "line3_74"> </a>
+in locuplete penu, defensis pinguibus Umbris,</p>
+<a class = "linenum" href = "#note3_75">75</a>
+<p><a name = "line3_75" id = "line3_75"> </a>
+et piper et pernae, Marsi monumenta clientis,</p>
+<p><a name = "line3_76" id = "line3_76"> </a>
+<a class = "crit" href = "#app3_76">mena</a>que quod prima nondum
+defecerit orca.</p>
+<p class = "indent">
+<a name = "line3_77" id = "line3_77"> </a>
+Hic aliquis de gente hircosa centurionum</p>
+<p><a name = "line3_78" id = "line3_78"> </a>
+dicat ‘<a class = "crit" href = "#app3_78">Quod sapio satis est
+mihi</a>. non ego curo</p>
+<p><a name = "line3_79" id = "line3_79"> </a>
+esse quod Arcesilas aerumnosique Solones,</p>
+<a class = "linenum" href = "#note3_80">80</a>
+<p><a name = "line3_80" id = "line3_80"> </a>
+obstipo capite et figentes lumine terram,</p>
+<p><a name = "line3_81" id = "line3_81"> </a>
+murmura cum secum et rabiosa silentia rodunt</p>
+<span class = "pagenum">51</span>
+<p><a name = "line3_82" id = "line3_82"> </a>
+atque exporrecto trutinantur verba labello,</p>
+<p><a name = "line3_83" id = "line3_83"> </a>
+aegroti veteris meditantes somnia, <i>gigni</i></p>
+<p><a name = "line3_84" id = "line3_84"> </a>
+<i>de nihilo nihilum, in nihilum nil posse reverti.</i></p>
+<a class = "linenum" href = "#note3_85">85</a>
+<p><a name = "line3_85" id = "line3_85"> </a>
+hoc est, quod palles? cur quis non prandeat, hoc est?’</p>
+<p><a name = "line3_86" id = "line3_86"> </a>
+His populus ridet, multumque torosa iuventus</p>
+<p><a name = "line3_87" id = "line3_87"> </a>
+ingeminat tremulos naso crispante cachinnos.</p>
+<p class = "indent">
+<a name = "line3_88" id = "line3_88"> </a>
+‘Inspice; nescio quid trepidat mihi pectus et aegris</p>
+<p><a name = "line3_89" id = "line3_89"> </a>
+faucibus exsuperat gravis <a class = "crit" href =
+"#app3_89">alitus</a>; inspice, sodes!’</p>
+<a class = "linenum" href = "#note3_90">90</a>
+<p><a name = "line3_90" id = "line3_90"> </a>
+qui dicit medico, iussus requiescere, postquam</p>
+<p><a name = "line3_91" id = "line3_91"> </a>
+tertia conpositas vidit nox currere venas,</p>
+<p><a name = "line3_92" id = "line3_92"> </a>
+de maiore domo modice sitiente <a class = "crit" href =
+"#app3_92">lagoena</a></p>
+<p><a name = "line3_93" id = "line3_93"> </a>
+lenia loturo sibi Surrentina <a class = "crit" href =
+"#app3_93">rogabit</a>.</p>
+<p><a name = "line3_94" id = "line3_94"> </a>
+‘Heus, bone, tu palles!’ “Nihil est.” ‘Videas tamen <a class = "crit"
+href = "#app3_94">istuc</a>,</p>
+<a class = "linenum" href = "#note3_95">95</a>
+<p><a name = "line3_95" id = "line3_95"> </a>
+quidquid id est: surgit tacite tibi lutea pellis.’</p>
+<p><a name = "line3_96" id = "line3_96"> </a>
+“At tu deterius palles; ne sis mihi tutor;</p>
+<p><a name = "line3_97" id = "line3_97"> </a>
+iam pridem hunc sepeli: tu restas.” ‘Perge, tacebo.’</p>
+<p><a name = "line3_98" id = "line3_98"> </a>
+turgidus hic epulis atque albo ventre lavatur,</p>
+<p><a name = "line3_99" id = "line3_99"> </a>
+gutture <a class = "crit" href = "#app3_99">sulpureas lente exalante
+mefites</a>;</p>
+<a class = "linenum" href = "#note3_100">100</a>
+<p><a name = "line3_100" id = "line3_100"> </a>
+sed tremor inter vina subit calidumque <a class = "crit" href =
+"#app3_100">triental</a></p>
+<p><a name = "line3_101" id = "line3_101"> </a>
+excutit e manibus, dentes crepuere retecti,</p>
+<p><a name = "line3_102" id = "line3_102"> </a>
+uncta cadunt laxis tunc pulmentaria labris.</p>
+<p><a name = "line3_103" id = "line3_103"> </a>
+hinc tuba, candelae, tandemque beatulus alto</p>
+<p><a name = "line3_104" id = "line3_104"> </a>
+conpositus lecto crassisque lutatus amomis</p>
+<a class = "linenum" href = "#note3_105">105</a>
+<p><a name = "line3_105" id = "line3_105"> </a>
+in portam <a class = "crit" href = "#app3_105">rigidas</a> calces
+extendit: at illum</p>
+<p><a name = "line3_106" id = "line3_106"> </a>
+hesterni capite induto subiere Quirites.</p>
+<p class = "indent">
+<a name = "line3_107" id = "line3_107"> </a>
+‘Tange, miser, venas et pone in pectore dextram.</p>
+<p><a name = "line3_108" id = "line3_108"> </a>
+nil calet hic. summosque pedes attinge manusque.</p>
+<a class = "linenum" href = "#note3_109">109</a>
+<p><a name = "line3_109" id = "line3_109"> </a>
+non frigent.’ Visa est si forte pecunia, sive</p>
+<span class = "pagenum">52</span>
+<p><a name = "line3_110" id = "line3_110"> </a>
+candida vicini subrisit molle puella,</p>
+<p><a name = "line3_111" id = "line3_111"> </a>
+cor tibi rite salit? positum est algente catino</p>
+<p><a name = "line3_112" id = "line3_112"> </a>
+durum <a class = "crit" href = "#app3_112">holus</a> et populi cribro
+decussa farina:</p>
+<p><a name = "line3_113" id = "line3_113"> </a>
+temptemus fauces, tenero latet ulcus in ore</p>
+<p><a name = "line3_114" id = "line3_114"> </a>
+putre, quod haud deceat plebeia radere beta.</p>
+<a class = "linenum" href = "#note3_115">115</a>
+<p><a name = "line3_115" id = "line3_115"> </a>
+alges, cum excussit membris timor albus aristas;</p>
+<p><a name = "line3_116" id = "line3_116"> </a>
+nunc face supposita fervescit sanguis et ira</p>
+<p><a name = "line3_117" id = "line3_117"> </a>
+scintillant oculi, dicisque facisque, quod ipse</p>
+<p><a name = "line3_118" id = "line3_118"> </a>
+non sani esse hominis non sanus iuret Orestes.</p>
+</div>
+
+
+
+<span class = "pagenum">53</span>
+<h4 class = "satire">
+<a class = "heading" href = "#notes_IV">Notes</a>
+<a name = "sat_IV" id = "sat_IV">SATURA IV.</a></h4>
+
+<div class = "verse">
+<p><a name = "line4_1" id = "line4_1"> </a>
+‘Rem populi tractas?’ barbatum haec crede magistrum</p>
+<p><a name = "line4_2" id = "line4_2"> </a>
+dicere, sorbitio tollit quem dira cicutae</p>
+<p><a name = "line4_3" id = "line4_3"> </a>
+‘quo fretus? dic <a class = "crit" href = "#app4_3">hoc</a>, magni
+pupille Pericli.</p>
+<p><a name = "line4_4" id = "line4_4"> </a>
+scilicet ingenium et rerum prudentia velox</p>
+<a class = "linenum" href = "#note4_5">5</a>
+<p><a name = "line4_5" id = "line4_5"> </a>
+ante pilos venit, dicenda tacendaque calles.</p>
+<p><a name = "line4_6" id = "line4_6"> </a>
+ergo ubi commota fervet plebecula bile,</p>
+<p><a name = "line4_7" id = "line4_7"> </a>
+fert animus calidae fecisse silentia turbae</p>
+<p><a name = "line4_8" id = "line4_8"> </a>
+maiestate manus. quid deinde loquere? “Quirites,</p>
+<p><a name = "line4_9" id = "line4_9"> </a>
+<a class = "crit" href = "#app4_9">hoc puta</a> non iustum est, illud
+male, rectius illud.”</p>
+<a class = "linenum" href = "#note4_10">10</a>
+<p><a name = "line4_10" id = "line4_10"> </a>
+scis etenim iustum gemina suspendere lance</p>
+<p><a name = "line4_11" id = "line4_11"> </a>
+ancipitis librae, rectum discernis, ubi inter</p>
+<p><a name = "line4_12" id = "line4_12"> </a>
+curva subit, vel cum fallit pede regula varo,</p>
+<p><a name = "line4_13" id = "line4_13"> </a>
+et potis es nigrum vitio praefigere <a class = "crit" href =
+"#app4_13">theta</a>.</p>
+<p><a name = "line4_14" id = "line4_14"> </a>
+quin tu igitur, summa nequiquam pelle decorus,</p>
+<a class = "linenum" href = "#note4_15">15</a>
+<p><a name = "line4_15" id = "line4_15"> </a>
+ante diem blando caudam iactare popello</p>
+<p><a name = "line4_16" id = "line4_16"> </a>
+desinis, Anticyras melior sorbere meracas!</p>
+<p><a name = "line4_17" id = "line4_17"> </a>
+quae tibi summa boni est? uncta vixisse patella</p>
+<p><a name = "line4_18" id = "line4_18"> </a>
+semper et adsiduo curata cuticula sole?</p>
+<p><a name = "line4_19" id = "line4_19"> </a>
+<a class = "crit" href = "#app4_19">exspecta</a>, haud aliud respondeat
+haec anus. i&nbsp;nunc</p>
+<a class = "linenum" href = "#note4_20">20</a>
+<p><a name = "line4_20" id = "line4_20"> </a>
+“Dinomaches ego sum,” <a class = "crit" href = "#app4_20">suffla</a>
+“sum candidus.” esto;</p>
+<p><a name = "line4_21" id = "line4_21"> </a>
+dum ne deterius sapiat pannucia Baucis,</p>
+<p><a name = "line4_22" id = "line4_22"> </a>
+cum bene discincto cantaverit ocima vernae.’</p>
+<p class = "indent">
+<a name = "line4_23" id = "line4_23"> </a>
+Ut nemo in sese temptat descendere, nemo,</p>
+<p><a name = "line4_24" id = "line4_24"> </a>
+sed praecedenti spectatur mantica tergo!</p>
+<a class = "linenum" href = "#note4_25">25</a>
+<p><a name = "line4_25" id = "line4_25"> </a>
+quaesieris ‘Nostin Vettidi praedia?’ “Cuius?”</p>
+<span class = "pagenum">54</span>
+<p><a name = "line4_26" id = "line4_26"> </a>
+‘Dives arat Curibus quantum non <a class = "crit" href =
+"#app4_26">miluus errat</a>.’</p>
+<p><a name = "line4_27" id = "line4_27"> </a>
+“Hunc ais, hunc dis iratis genioque sinistro,</p>
+<p><a name = "line4_28" id = "line4_28"> </a>
+qui, quandoque iugum pertusa ad compita figit,</p>
+<p><a name = "line4_29" id = "line4_29"> </a>
+seriolae veterem metuens deradere limum</p>
+<a class = "linenum" href = "#note4_30">30</a>
+<p><a name = "line4_30" id = "line4_30"> </a>
+ingemit: <i>hoc bene sit!</i> tunicatum cum sale mordens</p>
+<p><a name = "line4_31" id = "line4_31"> </a>
+caepe et <a class = "crit" href = "#app4_31">farrata pueris plaudentibus
+olla</a></p>
+<p><a name = "line4_32" id = "line4_32"> </a>
+pannosam faecem morientis sorbet aceti?”</p>
+<p><a name = "line4_33" id = "line4_33"> </a>
+at si unctus cesses et figas in cute solem,</p>
+<p><a name = "line4_34" id = "line4_34"> </a>
+est prope te ignotus, cubito qui tangat et acre</p>
+<a class = "linenum" href = "#note4_35">35</a>
+<p><a name = "line4_35" id = "line4_35"> </a>
+despuat ‘<a class = "crit" href = "#app4_35">hi mores</a>! penemque
+arcanaque lumbi</p>
+<p><a name = "line4_36" id = "line4_36"> </a>
+runcantem populo marcentis pandere vulvas!</p>
+<p><a name = "line4_37" id = "line4_37"> </a>
+tu cum maxillis balanatum gausape pectas,</p>
+<p><a name = "line4_38" id = "line4_38"> </a>
+inguinibus quare detonsus gurgulio <a class = "crit" href =
+"#app4_38">exstat</a>?</p>
+<p><a name = "line4_39" id = "line4_39"> </a>
+quinque palaestritae licet haec plantaria vellant</p>
+<p><a name = "line4_40" id = "line4_40"> </a>
+elixasque nates labefactent forcipe adunca,</p>
+<p><a name = "line4_41" id = "line4_41"> </a>
+non tamen ista filix ullo mansuescit aratro.’</p>
+<a class = "linenum" href = "#note4_42">42</a>
+<p><a name = "line4_42" id = "line4_42"> </a>
+caedimus inque vicem praebemus crura sagittis.</p>
+<p><a name = "line4_43" id = "line4_43"> </a>
+vivitur hoc pacto; sic novimus. ilia subter</p>
+<p><a name = "line4_44" id = "line4_44"> </a>
+caecum vulnus habes; sed lato balteus auro</p>
+<a class = "linenum" href = "#note4_45">45</a>
+<p><a name = "line4_45" id = "line4_45"> </a>
+praetegit. ut mavis, da verba et decipe nervos,</p>
+<p><a name = "line4_46" id = "line4_46"> </a>
+si potes. ‘Egregium cum me vicinia dicat,</p>
+<p><a name = "line4_47" id = "line4_47"> </a>
+non credam?’ Viso si palles, inprobe, nummo,</p>
+<p><a name = "line4_48" id = "line4_48"> </a>
+si facis in penem quidquid tibi <a class = "crit" href =
+"#app4_48">venit amarum</a>,</p>
+<p><a name = "line4_49" id = "line4_49"> </a>
+si puteal multa cautus vibice flagellas:</p>
+<a class = "linenum" href = "#note4_50">50</a>
+<p><a name = "line4_50" id = "line4_50"> </a>
+nequiquam populo bibulas donaveris aures.</p>
+<p><a name = "line4_51" id = "line4_51"> </a>
+respue, quod non es; tollat sua munera cerdo;</p>
+<p><a name = "line4_52" id = "line4_52"> </a>
+tecum habita: noris, quam sit tibi curta supellex.</p>
+</div>
+
+
+
+<span class = "pagenum">55</span>
+<h4 class = "satire">
+<a class = "heading" href = "#notes_V">Notes</a>
+<a name = "sat_V" id = "sat_V">SATURA V.</a></h4>
+
+<div class = "verse">
+<p><a name = "line5_1" id = "line5_1"> </a>
+Vatibus hic mos est, centum sibi poscere voces,</p>
+<p><a name = "line5_2" id = "line5_2"> </a>
+centum ora et linguas optare in carmina centum,</p>
+<p><a name = "line5_3" id = "line5_3"> </a>
+fabula seu <a class = "crit" href = "#app5_3">maesto</a> ponatur hianda
+tragoedo,</p>
+<p><a name = "line5_4" id = "line5_4"> </a>
+vulnera seu Parthi ducentis ab inguine ferrum.</p>
+<a class = "linenum" href = "#note5_5">5</a>
+<p><a name = "line5_5" id = "line5_5"> </a>
+‘Quorsum haec? aut quantas robusti carminis offas</p>
+<p><a name = "line5_6" id = "line5_6"> </a>
+ingeris, ut par sit centeno gutture niti?</p>
+<p><a name = "line5_7" id = "line5_7"> </a>
+grande locuturi nebulas Helicone legunto,</p>
+<p><a name = "line5_8" id = "line5_8"> </a>
+si quibus aut <a class = "crit" href = "#app5_8">Prognes</a>, aut si
+quibus olla Thyestae</p>
+<p><a name = "line5_9" id = "line5_9"> </a>
+fervebit, saepe insulso <a class = "crit" href = "#app5_9">cenanda</a>
+Glyconi;</p>
+<a class = "linenum" href = "#note5_10">10</a>
+<p><a name = "line5_10" id = "line5_10"> </a>
+tu neque anhelanti, coquitur dum massa camino,</p>
+<p><a name = "line5_11" id = "line5_11"> </a>
+folle premis ventos, nec clauso murmure raucus</p>
+<p><a name = "line5_12" id = "line5_12"> </a>
+nescio quid tecum grave cornicaris inepte,</p>
+<p><a name = "line5_13" id = "line5_13"> </a>
+nec <a class = "crit" href = "#app5_13">scloppo</a> tumidas intendis
+rumpere buccas.</p>
+<p><a name = "line5_14" id = "line5_14"> </a>
+verba togae sequeris iunctura callidus acri,</p>
+<a class = "linenum" href = "#note5_15">15</a>
+<p><a name = "line5_15" id = "line5_15"> </a>
+ore teres modico, pallentis radere mores</p>
+<p><a name = "line5_16" id = "line5_16"> </a>
+doctus et ingenuo culpam defigere ludo.</p>
+<p><a name = "line5_17" id = "line5_17"> </a>
+hinc trahe quae <a class = "crit" href = "#app5_17">dicis</a>, mensasque
+relinque Mycenis</p>
+<p><a name = "line5_18" id = "line5_18"> </a>
+cum capite et pedibus, plebeiaque prandia noris.’</p>
+<p><a name = "line5_19" id = "line5_19"> </a>
+Non equidem hoc studeo, <a class = "crit" href = "#app5_19">bullatis</a>
+ut mihi nugis</p>
+<a class = "linenum" href = "#note5_20">20</a>
+<p><a name = "line5_20" id = "line5_20"> </a>
+pagina turgescat, dare pondus idonea fumo.</p>
+<p><a name = "line5_21" id = "line5_21"> </a>
+secreti loquimur; tibi nunc hortante Camena</p>
+<p><a name = "line5_22" id = "line5_22"> </a>
+excutienda damus praecordia, quantaque nostrae</p>
+<p><a name = "line5_23" id = "line5_23"> </a>
+pars tua sit, Cornute, animae, tibi, dulcis amice,</p>
+<p><a name = "line5_24" id = "line5_24"> </a>
+ostendisse iuvat: pulsa, <a class = "crit" href =
+"#app5_24">dinoscere</a> cautus,</p>
+<a class = "linenum" href = "#note5_25">25</a>
+<p><a name = "line5_25" id = "line5_25"> </a>
+quid solidum crepet et pictae tectoria linguae.</p>
+<span class = "pagenum">56</span>
+<p><a name = "line5_26" id = "line5_26"> </a>
+his ego centenas ausim deposcere voces,</p>
+<p><a name = "line5_27" id = "line5_27"> </a>
+ut, quantum mihi te sinuoso in pectore fixi,</p>
+<p><a name = "line5_28" id = "line5_28"> </a>
+voce traham pura, totumque hoc verba resignent,</p>
+<p><a name = "line5_29" id = "line5_29"> </a>
+quod latet arcana non enarrabile fibra.</p>
+<p class = "indent">
+<a class = "linenum" href = "#note5_30">30</a>
+<a name = "line5_30" id = "line5_30"> </a>
+Cum primum pavido custos mihi purpura cessit</p>
+<p><a name = "line5_31" id = "line5_31"> </a>
+bullaque succinctis Laribus donata pependit;</p>
+<p><a name = "line5_32" id = "line5_32"> </a>
+cum blandi comites totaque inpune Subura</p>
+<p><a name = "line5_33" id = "line5_33"> </a>
+permisit sparsisse oculos iam candidus umbo;</p>
+<p><a name = "line5_34" id = "line5_34"> </a>
+cumque iter ambiguum est et vitae nescius error</p>
+<a class = "linenum" href = "#note5_35">35</a>
+<p><a name = "line5_35" id = "line5_35"> </a>
+<a class = "crit" href = "#app5_35">deducit</a> trepidas ramosa in
+compita mentes,</p>
+<p><a name = "line5_36" id = "line5_36"> </a>
+me tibi supposui: teneros tu suscipis annos</p>
+<p><a name = "line5_37" id = "line5_37"> </a>
+Socratico, Cornute, sinu; tum fallere sollers</p>
+<p><a name = "line5_38" id = "line5_38"> </a>
+<a class = "crit" href = "#app5_38">apposita</a> intortos extendit
+regula mores,</p>
+<p><a name = "line5_39" id = "line5_39"> </a>
+et premitur ratione animus vincique laborat</p>
+<a class = "linenum" href = "#note5_40">40</a>
+<p><a name = "line5_40" id = "line5_40"> </a>
+artificemque tuo ducit sub pollice vultum.</p>
+<p><a name = "line5_41" id = "line5_41"> </a>
+tecum etenim longos memini consumere soles,</p>
+<p><a name = "line5_42" id = "line5_42"> </a>
+et tecum primas epulis decerpere noctes:</p>
+<p><a name = "line5_43" id = "line5_43"> </a>
+unum opus et requiem pariter disponimus ambo,</p>
+<p><a name = "line5_44" id = "line5_44"> </a>
+atque verecunda laxamus seria mensa.</p>
+<a class = "linenum" href = "#note5_45">45</a>
+<p><a name = "line5_45" id = "line5_45"> </a>
+non equidem hoc dubites, amborum foedere certo</p>
+<p><a name = "line5_46" id = "line5_46"> </a>
+consentire dies et ab uno sidere duci</p>
+<p><a name = "line5_47" id = "line5_47"> </a>
+nostra vel aequali suspendit tempora Libra</p>
+<p><a name = "line5_48" id = "line5_48"> </a>
+Parca tenax veri, seu nata fidelibus hora</p>
+<p><a name = "line5_49" id = "line5_49"> </a>
+dividit in Geminos concordia fata duorum,</p>
+<a class = "linenum" href = "#note5_50">50</a>
+<p><a name = "line5_50" id = "line5_50"> </a>
+Saturnumque gravem nostro Iove frangimus una:</p>
+<p><a name = "line5_51" id = "line5_51"> </a>
+nescio quod, certe est, quod me tibi temperat astrum.</p>
+<p class = "indent">
+<a name = "line5_52" id = "line5_52"> </a>
+Mille hominum species et rerum discolor usus;</p>
+<p><a name = "line5_53" id = "line5_53"> </a>
+velle suum cuique est, nec voto vivitur uno.</p>
+<p><a name = "line5_54" id = "line5_54"> </a>
+mercibus hic Italis mutat sub sole recenti</p>
+<span class = "pagenum">57</span>
+<a class = "linenum" href = "#note5_55">55</a>
+<p><a name = "line5_55" id = "line5_55"> </a>
+rugosum piper et pallentis grana cumini,</p>
+<p><a name = "line5_56" id = "line5_56"> </a>
+hic satur inriguo mavult turgescere somno;</p>
+<p><a name = "line5_57" id = "line5_57"> </a>
+hic campo indulget, hunc alea decoquit, ille</p>
+<p><a name = "line5_58" id = "line5_58"> </a>
+in Venerem putris; sed cum lapidosa <a class = "crit" href =
+"#app5_58">cheragra</a></p>
+<p><a name = "line5_59" id = "line5_59"> </a>
+fregerit articulos, veteris ramalia fagi,</p>
+<a class = "linenum" href = "#note5_60">60</a>
+<p><a name = "line5_60" id = "line5_60"> </a>
+tunc crassos transisse dies lucemque palustrem</p>
+<p><a name = "line5_61" id = "line5_61"> </a>
+et sibi iam seri vitam ingemuere relictam.</p>
+<p><a name = "line5_62" id = "line5_62"> </a>
+at te nocturnis iuvat inpallescere chartis;</p>
+<p><a name = "line5_63" id = "line5_63"> </a>
+cultor enim iuvenum purgatas inseris aures</p>
+<p><a name = "line5_64" id = "line5_64"> </a>
+fruge Cleanthea. petite hinc puerique senesque</p>
+<a class = "linenum" href = "#note5_65">65</a>
+<p><a name = "line5_65" id = "line5_65"> </a>
+finem animo certum miserisque viatica canis!</p>
+<p><a name = "line5_66" id = "line5_66"> </a>
+<a class = "crit" href = "#app5_66">‘Cras hoc fiet.’ Idem cras fiet.</a>
+‘Quid? quasi magnum</p>
+<p><a name = "line5_67" id = "line5_67"> </a>
+nempe diem donas.’ Sed cum lux altera venit,</p>
+<p><a name = "line5_68" id = "line5_68"> </a>
+iam cras hesternum <a class = "crit" href = "#app5_68">consumpsimus</a>:
+ecce aliud cras</p>
+<p><a name = "line5_69" id = "line5_69"> </a>
+egerit hos annos et semper paulum erit ultra.</p>
+<a class = "linenum" href = "#note5_70">70</a>
+<p><a name = "line5_70" id = "line5_70"> </a>
+nam quamvis prope te, quamvis temone sub uno</p>
+<p><a name = "line5_71" id = "line5_71"> </a>
+vertentem sese frustra sectabere <a class = "crit" href =
+"#app5_71">cantum</a>,</p>
+<p><a name = "line5_72" id = "line5_72"> </a>
+cum rota posterior curras et in axe secundo.</p>
+<p class = "indent">
+<a name = "line5_73" id = "line5_73"> </a>
+Libertate opus est, non hac, ut, quisque Velina</p>
+<p><a name = "line5_74" id = "line5_74"> </a>
+Publius emeruit, scabiosum tesserula far</p>
+<a class = "linenum" href = "#note5_75">75</a>
+<p><a name = "line5_75" id = "line5_75"> </a>
+possidet. heu steriles veri, quibus una Quiritem</p>
+<p><a name = "line5_76" id = "line5_76"> </a>
+vertigo facit! hic Dama est non <a class = "crit" href =
+"#app5_76">tressis</a> agaso,</p>
+<p><a name = "line5_77" id = "line5_77"> </a>
+vappa lippus et in tenui farragine mendax:</p>
+<p><a name = "line5_78" id = "line5_78"> </a>
+verterit hunc dominus, momento turbinis exit</p>
+<p><a name = "line5_79" id = "line5_79"> </a>
+Marcus Dama. papae! Marco spondente recusas</p>
+<a class = "linenum" href = "#note5_80">80</a>
+<p><a name = "line5_80" id = "line5_80"> </a>
+credere tu nummos? Marco sub iudice palles?</p>
+<p><a name = "line5_81" id = "line5_81"> </a>
+Marcus dixit: ita est; adsigna, Marce, tabellas.</p>
+<p><a name = "line5_82" id = "line5_82"> </a>
+haec mera libertas; hoc nobis <a class = "crit" href =
+"#app5_82">pillea</a> donant!</p>
+<p><a name = "line5_83" id = "line5_83"> </a>
+‘An quisquam est alius liber, nisi ducere vitam</p>
+<span class = "pagenum">58</span>
+<p><a name = "line5_84" id = "line5_84"> </a>
+cui licet, ut voluit? licet ut volo vivere: non sum</p>
+<a class = "linenum" href = "#note5_85">85</a>
+<p><a name = "line5_85" id = "line5_85"> </a>
+liberior Bruto?’ “Mendose colligis,” inquit</p>
+<p><a name = "line5_86" id = "line5_86"> </a>
+stoicus hic aurem mordaci lotus aceto</p>
+<p><a name = "line5_87" id = "line5_87"> </a>
+“haec reliqua accipio; <i>licet</i> illud et <i>ut volo</i> tolle.”</p>
+<p><a name = "line5_88" id = "line5_88"> </a>
+‘Vindicta postquam meus a praetore recessi,</p>
+<p><a name = "line5_89" id = "line5_89"> </a>
+cur mihi non liceat, iussit quodcumque voluntas,</p>
+<a class = "linenum" href = "#note5_90">90</a>
+<p><a name = "line5_90" id = "line5_90"> </a>
+excepto si quid Masuri rubrica vetavit?’</p>
+<p><a name = "line5_91" id = "line5_91"> </a>
+Disce, sed ira cadat naso rugosaque sanna,</p>
+<p><a name = "line5_92" id = "line5_92"> </a>
+dum veteres avias tibi de pulmone revello.</p>
+<p><a name = "line5_93" id = "line5_93"> </a>
+non praetoris erat stultis dare tenuia rerum</p>
+<p><a name = "line5_94" id = "line5_94"> </a>
+officia atque usum rapidae permittere vitae:</p>
+<a class = "linenum" href = "#note5_95">95</a>
+<p><a name = "line5_95" id = "line5_95"> </a>
+sambucam citius caloni aptaveris alto.</p>
+<p><a name = "line5_96" id = "line5_96"> </a>
+stat contra ratio et secretam garrit in aurem,</p>
+<p><a name = "line5_97" id = "line5_97"> </a>
+ne liceat facere id quod quis vitiabit agendo.</p>
+<p><a name = "line5_98" id = "line5_98"> </a>
+publica lex hominum naturaque continet hoc fas,</p>
+<p><a name = "line5_99" id = "line5_99"> </a>
+ut teneat vetitos inscitia debilis actus.</p>
+<a class = "linenum" href = "#note5_100">100</a>
+<p><a name = "line5_100" id = "line5_100"> </a>
+diluis helleborum, certo conpescere puncto</p>
+<p><a name = "line5_101" id = "line5_101"> </a>
+nescius examen: vetat hoc natura medendi.</p>
+<p><a name = "line5_102" id = "line5_102"> </a>
+<a class = "crit" href = "#app5_102">navem</a> si poscat sibi peronatus
+arator,</p>
+<p><a name = "line5_103" id = "line5_103"> </a>
+luciferi rudis, exclamet Melicerta perisse</p>
+<p><a name = "line5_104" id = "line5_104"> </a>
+frontem de rebus. tibi recto vivere talo</p>
+<a class = "linenum" href = "#note5_105">105</a>
+<p><a name = "line5_105" id = "line5_105"> </a>
+ars dedit, et veri <a class = "crit" href = "#app5_105">speciem
+dinoscere</a> calles,</p>
+<p><a name = "line5_106" id = "line5_106"> </a>
+ne qua subaerato mendosum tinniat anro?</p>
+<p><a name = "line5_107" id = "line5_107"> </a>
+quaeque sequenda forent, quaeque evitanda vicissim,</p>
+<p><a name = "line5_108" id = "line5_108"> </a>
+illa prius creta, mox haec carbone notasti?</p>
+<p><a name = "line5_109" id = "line5_109"> </a>
+es modicus voti? presso lare? dulcis amicis?</p>
+<a class = "linenum" href = "#note5_110">110</a>
+<p><a name = "line5_110" id = "line5_110"> </a>
+iam nunc <a class = "crit" href = "#app5_110">astringas</a>, iam nunc
+granaria laxes,</p>
+<p><a name = "line5_111" id = "line5_111"> </a>
+inque luto fixum possis transcendere nummum,</p>
+<p><a name = "line5_112" id = "line5_112"> </a>
+nec <a class = "crit" href = "#app5_112">glutto</a> sorbere salivam
+Mercurialem?</p>
+<span class = "pagenum">59</span>
+<p><a name = "line5_113" id = "line5_113"> </a>
+‘haec mea sunt, teneo’ cum vere dixeris, esto</p>
+<p><a name = "line5_114" id = "line5_114"> </a>
+liberque ac sapiens praetoribus ac Iove dextro,</p>
+<a class = "linenum" href = "#note5_115">115</a>
+<p><a name = "line5_115" id = "line5_115"> </a>
+sin tu, cum fueris nostrae paulo ante farinae,</p>
+<p><a name = "line5_116" id = "line5_116"> </a>
+pelliculam veterem retines et fronte politus</p>
+<p><a name = "line5_117" id = "line5_117"> </a>
+astutam vapido servas <a class = "crit" href = "#app5_117">sub</a>
+pectore vulpem,</p>
+<p><a name = "line5_118" id = "line5_118"> </a>
+quae dederam supra relego funemque reduco:</p>
+<p><a name = "line5_119" id = "line5_119"> </a>
+nil tibi concessit ratio; digitum <a class = "crit" href =
+"#app5_119">exsere</a>, peccas,</p>
+<a class = "linenum" href = "#note5_120">120</a>
+<p><a name = "line5_120" id = "line5_120"> </a>
+et quid tam parvum est? sed nullo ture litabis,</p>
+<p><a name = "line5_121" id = "line5_121"> </a>
+haereat in stultis brevis ut semuncia recti.</p>
+<p><a name = "line5_122" id = "line5_122"> </a>
+haec miscere nefas; nec, cum sis <a class = "crit" href =
+"#app5_122">cetera</a> fossor,</p>
+<p><a name = "line5_123" id = "line5_123"> </a>
+<a class = "crit" href = "#app5_123">tris</a> tantum ad numeros <a class
+= "crit" href = "#app5_123">satyrum</a> moveare Bathylli.</p>
+<p><a name = "line5_124" id = "line5_124"> </a>
+‘Liber ego.’ Unde datum hoc sentis, tot subdite rebus?</p>
+<a class = "linenum" href = "#note5_125">125</a>
+<p><a name = "line5_125" id = "line5_125"> </a>
+an dominum ignoras, nisi quem vindicta relaxat?</p>
+<p><a name = "line5_126" id = "line5_126"> </a>
+‘I puer et strigiles Crispini ad balnea defer!’</p>
+<p><a name = "line5_127" id = "line5_127"> </a>
+si increpuit, <a class = "crit" href = "#app5_127">‘cessas nugator;’</a>
+servitium acre</p>
+<p><a name = "line5_128" id = "line5_128"> </a>
+te nihil impellit, nec quicquam extrinsecus intrat,</p>
+<p><a name = "line5_129" id = "line5_129"> </a>
+quod nervos agitet; sed si intus et in iecore aegro</p>
+<a class = "linenum" href = "#note5_130">130</a>
+<p><a name = "line5_130" id = "line5_130"> </a>
+nascuntur domini, qui tu inpunitior exis</p>
+<p><a name = "line5_131" id = "line5_131"> </a>
+atque hic, quem ad strigiles scutica et metus egit <a class = "crit"
+href = "#app5_131">erilis</a>?</p>
+<p class = "indent">
+<a name = "line5_132" id = "line5_132"> </a>
+Mane piger stertis. ‘Surge!’ inquit <a class = "crit" href =
+"#app5_132">Avaritia</a> ‘heia</p>
+<p><a name = "line5_133" id = "line5_133"> </a>
+surge!’ Negas; instat ‘Surge!’ inquit. “Non queo.” ‘Surge!’</p>
+<p><a name = "line5_134" id = "line5_134"> </a>
+“Et quid agam?” ‘Rogitas? en saperdam advehe Ponto,</p>
+<a class = "linenum" href = "#note5_135">135</a>
+<p><a name = "line5_135" id = "line5_135"> </a>
+castoreum, stuppas, <a class = "crit" href = "#app5_135">hebenum</a>,
+tus, lubrica Coa;</p>
+<p><a name = "line5_136" id = "line5_136"> </a>
+tolle recens primus piper <a class = "crit" href = "#app5_136">ex</a>
+sitiente <a class = "crit" href = "#app5_136">camelo</a>;</p>
+<p><a name = "line5_137" id = "line5_137"> </a>
+verte aliquid; iura.’ “Sed Iuppiter audiet.” ‘Eheu!</p>
+<p><a name = "line5_138" id = "line5_138"> </a>
+<a class = "crit" href = "#app5_138">varo</a>, regustatum digito
+terebrare salinum</p>
+<span class = "pagenum">60</span>
+<p><a name = "line5_139" id = "line5_139"> </a>
+contentus perages, si vivere cum Iove tendis!’</p>
+<a class = "linenum" href = "#note5_140">140</a>
+<p><a name = "line5_140" id = "line5_140"> </a>
+iam pueris pellem succinctus et oenophorum aptas</p>
+<p><a name = "line5_141" id = "line5_141"> </a>
+‘Ocius ad navem!’ nihil obstat, quin trabe vasta</p>
+<p><a name = "line5_142" id = "line5_142"> </a>
+Aegaeum rapias, <a class = "crit" href = "#app5_142">ni</a> sollers
+Luxuria ante</p>
+<p><a name = "line5_143" id = "line5_143"> </a>
+seductum moneat ‘Quo deinde, insane, ruis? quo?</p>
+<p><a name = "line5_144" id = "line5_144"> </a>
+quid tibi vis? calido sub pectore mascula bilis</p>
+<a class = "linenum" href = "#note5_145">145</a>
+<p><a name = "line5_145" id = "line5_145"> </a>
+intumuit, quod non <a class = "crit" href = "#app5_145">exstinxerit</a>
+urna cicutae?</p>
+<p><a name = "line5_146" id = "line5_146"> </a>
+tu mare <a class = "crit" href = "#app5_146">transilias</a>? tibi torta
+cannabe fulto</p>
+<p><a name = "line5_147" id = "line5_147"> </a>
+<a class = "crit" href = "#app5_147">cena</a> sit in transtro,
+Veientanumque rubellum</p>
+<p><a name = "line5_148" id = "line5_148"> </a>
+<a class = "crit" href = "#app5_148">exalet</a> vapida laesum pice
+sessilis obba?</p>
+<p><a name = "line5_149" id = "line5_149"> </a>
+quid petis? ut <a class = "crit" href = "#app5_149">nummi</a>, quos hic
+quincunce modesto</p>
+<a class = "linenum" href = "#note5_150">150</a>
+<p><a name = "line5_150" id = "line5_150"> </a>
+nutrieras, <a class = "crit" href = "#app5_150">pergant avidos
+sudare</a> deunces?</p>
+<p><a name = "line5_151" id = "line5_151"> </a>
+indulge genio, carpamus dulcia! nostrum est</p>
+<p><a name = "line5_152" id = "line5_152"> </a>
+quod vivis; cinis et manes et fabula fies.</p>
+<p><a name = "line5_153" id = "line5_153"> </a>
+vive memor leti! fugit hora; hoc quod loquor inde est.’</p>
+<p><a name = "line5_154" id = "line5_154"> </a>
+en quid agis? duplici in diversum scinderis hamo.</p>
+<a class = "linenum" href = "#note5_155">155</a>
+<p><a name = "line5_155" id = "line5_155"> </a>
+<a class = "crit" href = "#app5_155">huncine</a>, an hunc sequeris?
+subeas alternus oportet</p>
+<p><a name = "line5_156" id = "line5_156"> </a>
+ancipiti obsequio dominos, alternus oberres.</p>
+<p><a name = "line5_157" id = "line5_157"> </a>
+nec tu, cum obstiteris semel instantique negaris</p>
+<p><a name = "line5_158" id = "line5_158"> </a>
+parere imperio, ‘rupi iam vincula’ dicas;</p>
+<p><a name = "line5_159" id = "line5_159"> </a>
+nam et luctata canis nodum abripit; <a class = "crit" href =
+"#app5_159">et tamen</a> illi,</p>
+<a class = "linenum" href = "#note5_160">160</a>
+<p><a name = "line5_160" id = "line5_160"> </a>
+cum fugit, a&nbsp;collo trahitur pars longa catenae.</p>
+<p><a name = "line5_161" id = "line5_161"> </a>
+‘Dave, cito, hoc credas iubeo, finire dolores</p>
+<p><a name = "line5_162" id = "line5_162"> </a>
+praeteritos meditor.’ crudum Chaerestratus unguem</p>
+<p><a name = "line5_163" id = "line5_163"> </a>
+<a class = "crit" href = "#app5_163">adrodens</a> ait haec ‘an siccis
+dedecus obstem</p>
+<p><a name = "line5_164" id = "line5_164"> </a>
+cognatis? an rem patriam rumore sinistro</p>
+<a class = "linenum" href = "#note5_165">165</a>
+<p><a name = "line5_165" id = "line5_165"> </a>
+limen ad <a class = "crit" href = "#app5_165">obscenum</a> frangam, dum
+Chrysidis udas</p>
+<p><a name = "line5_166" id = "line5_166"> </a>
+ebrius ante fores exstincta cum face canto?’</p>
+<span class = "pagenum">61</span>
+<p><a name = "line5_167" id = "line5_167"> </a>
+“Euge, puer, sapias, dis depellentibus agnam</p>
+<p><a name = "line5_168" id = "line5_168"> </a>
+percute.” ‘Sed censen plorabit, Dave, relicta?’</p>
+<p><a name = "line5_169" id = "line5_169"> </a>
+“Nugaris; solea, puer, obiurgabere rubra.</p>
+<a class = "linenum" href = "#note5_170">170</a>
+<p><a name = "line5_170" id = "line5_170"> </a>
+ne trepidare velis atque artos rodere casses!</p>
+<p><a name = "line5_171" id = "line5_171"> </a>
+nunc ferus et violens; at si vocet, haud mora, dicas:</p>
+<p><a name = "line5_172" id = "line5_172"> </a>
+<i>Quidnam igitur faciam? <a class = "crit" href = "#app5_172">nec
+nunc</a>, cum <a class = "crit" href = "#app5_172">arcessat</a> et
+ultro</i></p>
+<p><a name = "line5_173" id = "line5_173"> </a>
+<i>supplicet, accedam?</i> Si totus et integer illinc</p>
+<p><a name = "line5_174" id = "line5_174"> </a>
+<a class = "crit" href = "#app5_174">exieras, nec nunc</a>.” hic hic,
+quod quaerimus, hic est,</p>
+<a class = "linenum" href = "#note5_175">175</a>
+<p><a name = "line5_175" id = "line5_175"> </a>
+non in festuca, lictor quam iactat ineptus.</p>
+<p><a name = "line5_176" id = "line5_176"> </a>
+ius habet ille sui palpo, quem ducit hiantem</p>
+<p><a name = "line5_177" id = "line5_177"> </a>
+cretata ambitio? vigila et cicer ingere large</p>
+<p><a name = "line5_178" id = "line5_178"> </a>
+rixanti populo, nostra ut Floralia possint</p>
+<p><a name = "line5_179" id = "line5_179"> </a>
+aprici meminisse senes: <i>quid pulchrius?</i> at cum</p>
+<a class = "linenum" href = "#note5_180">180</a>
+<p><a name = "line5_180" id = "line5_180"> </a>
+Herodis venere dies, unctaque fenestra</p>
+<p><a name = "line5_181" id = "line5_181"> </a>
+dispositae pinguem nebulam vomuere lucernae</p>
+<p><a name = "line5_182" id = "line5_182"> </a>
+portantes violas, rubrumque amplexa catinum</p>
+<p><a name = "line5_183" id = "line5_183"> </a>
+cauda natat thynni, tumet alba fidelia vino:</p>
+<p><a name = "line5_184" id = "line5_184"> </a>
+labra moves tacitus recutitaque sabbata palles.</p>
+<a class = "linenum" href = "#note5_185">185</a>
+<p><a name = "line5_185" id = "line5_185"> </a>
+tum nigri lemures ovoque pericula rupto,</p>
+<p><a name = "line5_186" id = "line5_186"> </a>
+tum grandes galli et cum sistro lusca sacerdos</p>
+<p><a name = "line5_187" id = "line5_187"> </a>
+incussere deos inflantis corpora, si non</p>
+<p><a name = "line5_188" id = "line5_188"> </a>
+praedictum ter mane caput gustaveris alli.</p>
+<p class = "indent">
+<a name = "line5_189" id = "line5_189"> </a>
+Dixeris haec inter varicosos centuriones,</p>
+<a class = "linenum" href = "#note5_190">190</a>
+<p><a name = "line5_190" id = "line5_190"> </a>
+continuo crassum ridet <a class = "crit" href =
+"#app5_190">Pulfennius</a> ingens,</p>
+<p><a name = "line5_191" id = "line5_191"> </a>
+et centum Graecos curto centusse licetur.</p>
+</div>
+
+
+
+<span class = "pagenum">62</span>
+<h4 class = "satire">
+<a class = "heading" href = "#notes_VI">Notes</a>
+<a name = "sat_VI" id = "sat_VI">SATURA VI.</a></h4>
+
+<div class = "verse">
+<p><a name = "line6_1" id = "line6_1"> </a>
+Admovit iam bruma foco te, Basse, Sabino?</p>
+<p><a name = "line6_2" id = "line6_2"> </a>
+iamne lyra et tetrico vivunt tibi pectine chordae?</p>
+<p><a name = "line6_3" id = "line6_3"> </a>
+mire opifex numeris veterum primordia vocum</p>
+<p><a name = "line6_4" id = "line6_4"> </a>
+atque marem strepitum fidis intendisse Latinae,</p>
+<a class = "linenum" href = "#note6_5">5</a>
+<p><a name = "line6_5" id = "line6_5"> </a>
+mox iuvenes agitare <a class = "crit" href = "#app6_5">iocis</a> et
+pollice honesto</p>
+<p><a name = "line6_6" id = "line6_6"> </a>
+<a class = "crit" href = "#app6_6">egregius</a> lusisse senes. mihi nunc
+Ligus ora</p>
+<p><a name = "line6_7" id = "line6_7"> </a>
+intepet hibernatque meum mare, qua latus ingens</p>
+<p><a name = "line6_8" id = "line6_8"> </a>
+dant scopuli et multa litus se valle receptat.</p>
+<p><a name = "line6_9" id = "line6_9"> </a>
+Lunai portum, est operae, cognoscite, cives!</p>
+<a class = "linenum" href = "#note6_10">10</a>
+<p><a name = "line6_10" id = "line6_10"> </a>
+cor iubet hoc Enni, postquam destertuit esse</p>
+<p><a name = "line6_11" id = "line6_11"> </a>
+Maeonides, Quintus pavone ex Pythagoreo.</p>
+<p><a name = "line6_12" id = "line6_12"> </a>
+hic ego securus vulgi et quid praeparet auster</p>
+<p><a name = "line6_13" id = "line6_13"> </a>
+infelix pecori, securus et angulus ille</p>
+<p><a name = "line6_14" id = "line6_14"> </a>
+vicini nostro quia pinguior, etsi adeo omnes</p>
+<a class = "linenum" href = "#note6_15">15</a>
+<p><a name = "line6_15" id = "line6_15"> </a>
+ditescant orti peioribus, usque recusem</p>
+<p><a name = "line6_16" id = "line6_16"> </a>
+curvus ob id minui senio aut <a class = "crit" href =
+"#app6_16">cenare</a> sine uncto,</p>
+<p><a name = "line6_17" id = "line6_17"> </a>
+et signum in vapida naso tetigisse <a class = "crit" href =
+"#app6_17">lagoena</a>.</p>
+<p><a name = "line6_18" id = "line6_18"> </a>
+discrepet his alius! geminos, horoscope, varo</p>
+<p><a name = "line6_19" id = "line6_19"> </a>
+producis genio. solis natalibus est qui</p>
+<a class = "linenum" href = "#note6_20">20</a>
+<p><a name = "line6_20" id = "line6_20"> </a>
+<a class = "crit" href = "#app6_20">tingat holus</a> siccum muria vafer
+in calice <a class = "crit" href = "#app6_20">empta</a>,</p>
+<p><a name = "line6_21" id = "line6_21"> </a>
+ipse sacrum inrorans patinae piper; hic bona dente</p>
+<p><a name = "line6_22" id = "line6_22"> </a>
+grandia magnanimus peragit puer. utar ego, utar,</p>
+<p><a name = "line6_23" id = "line6_23"> </a>
+nec rhombos ideo libertis ponere lautus,</p>
+<p><a name = "line6_24" id = "line6_24"> </a>
+nec <a class = "crit" href = "#app6_24">tenuis sollers turdarum nosse
+salivas</a>.</p>
+<a class = "linenum" href = "#note6_25">25</a>
+<p><a name = "line6_25" id = "line6_25"> </a>
+messe tenus propria vive et granaria, fas est,</p>
+<span class = "pagenum">63</span>
+<p><a name = "line6_26" id = "line6_26"> </a>
+emole; quid metuis? occa, et seges altera in herba est.</p>
+<p><a name = "line6_27" id = "line6_27"> </a>
+ast vocat officium: trabe rupta Bruttia saxa</p>
+<p><a name = "line6_28" id = "line6_28"> </a>
+prendit amicus inops, remque omnem surdaque vota</p>
+<p><a name = "line6_29" id = "line6_29"> </a>
+condidit Ionio; iacet ipse in litore et una</p>
+<a class = "linenum" href = "#note6_30">30</a>
+<p><a name = "line6_30" id = "line6_30"> </a>
+ingentes de puppe <a class = "crit" href = "#app6_30">dii</a>, iamque
+obvia mergis</p>
+<p><a name = "line6_31" id = "line6_31"> </a>
+costa ratis lacerae. nunc et de <a class = "crit" href =
+"#app6_31">caespite</a> vivo</p>
+<p><a name = "line6_32" id = "line6_32"> </a>
+frange aliquid, largire inopi, ne pictus oberret</p>
+<p><a name = "line6_33" id = "line6_33"> </a>
+caerulea in tabula. ‘Sed <a class = "crit" href = "#app6_33">cenam</a>
+funeris heres</p>
+<p><a name = "line6_34" id = "line6_34"> </a>
+<a class = "crit" href = "#app6_34">negleget</a>, iratus quod rem
+curtaveris; urnae</p>
+<a class = "linenum" href = "#note6_35">35</a>
+<p><a name = "line6_35" id = "line6_35"> </a>
+ossa inodora dabit, seu spirent cinnama surdum,</p>
+<p><a name = "line6_36" id = "line6_36"> </a>
+seu ceraso peccent casiae, nescire paratus.</p>
+<p><a name = "line6_37" id = "line6_37"> </a>
+<a class = "crit" href = "#app6_37">tune bona incolumis minuas</a>? et
+Bestius urguet</p>
+<p><a name = "line6_38" id = "line6_38"> </a>
+doctores Graios: <i>Ita fit, postquam sapere urbi</i></p>
+<p><a name = "line6_39" id = "line6_39"> </a>
+<i>cum pipere et palmis venit nostrum hoc maris expers;</i></p>
+<a class = "linenum" href = "#note6_40">40</a>
+<p><a name = "line6_40" id = "line6_40"> </a>
+<i><a class = "crit" href = "#app6_40">fenisecae</a> crasso vitiarunt
+unguine pultes.</i>’</p>
+<p><a name = "line6_41" id = "line6_41"> </a>
+Haec cinere ulterior <a class = "crit" href = "#app6_37">metuas</a>? At
+tu, meus heres</p>
+<p><a name = "line6_42" id = "line6_42"> </a>
+quisquis eris, paulum a turba seductior audi.</p>
+<p><a name = "line6_43" id = "line6_43"> </a>
+o bone, num ignoras? missa est a Caesare laurus</p>
+<p><a name = "line6_44" id = "line6_44"> </a>
+insignem ob cladem Germanae pubis, et aris</p>
+<a class = "linenum" href = "#note6_45">45</a>
+<p><a name = "line6_45" id = "line6_45"> </a>
+frigidus excutitur cinis, ac iam postibus arma,</p>
+<p><a name = "line6_46" id = "line6_46"> </a>
+iam chlamydes regum, iam lutea gausapa captis</p>
+<p><a name = "line6_47" id = "line6_47"> </a>
+essedaque ingentesque locat Caesonia Rhenos.</p>
+<p><a name = "line6_48" id = "line6_48"> </a>
+dis igitur genioque ducis centum paria ob res</p>
+<p><a name = "line6_49" id = "line6_49"> </a>
+egregie gestas induco; quis vetat? aude.</p>
+<a class = "linenum" href = "#note6_50">50</a>
+<p><a name = "line6_50" id = "line6_50"> </a>
+vae, nisi <a class = "crit" href = "#app6_50">conives</a>! oleum
+artocreasque popello</p>
+<p><a name = "line6_51" id = "line6_51"> </a>
+largior; an prohibes? dic clare! ‘Non adeo,’ <a class = "crit" href =
+"#app6_51">inquis</a></p>
+<p><a name = "line6_52" id = "line6_52"> </a>
+‘exossatus ager iuxta est.’ Age, si mihi nulla</p>
+<p><a name = "line6_53" id = "line6_53"> </a>
+iam reliqua ex amitis, patruelis nulla, proneptis</p>
+<p><a name = "line6_54" id = "line6_54"> </a>
+nulla manet patrui, sterilis matertera vixit,</p>
+<span class = "pagenum">64</span>
+<a class = "linenum" href = "#note6_55">55</a>
+<p><a name = "line6_55" id = "line6_55"> </a>
+deque avia nihilum superest, accedo Bovillas</p>
+<p><a name = "line6_56" id = "line6_56"> </a>
+clivumque ad Virbi, praesto est mihi Manius heres.</p>
+<p><a name = "line6_57" id = "line6_57"> </a>
+‘Progenies terrae?’ Quaere ex me, quis mihi quartus</p>
+<p><a name = "line6_58" id = "line6_58"> </a>
+sit pater: haud prompte, dicam tamen; adde etiam unum,</p>
+<p><a name = "line6_59" id = "line6_59"> </a>
+unum etiam: terrae est iam filius, et mihi ritu</p>
+<a class = "linenum" href = "#note6_60">60</a>
+<p><a name = "line6_60" id = "line6_60"> </a>
+Manius hic generis prope maior avunculus exit.</p>
+<p><a name = "line6_61" id = "line6_61"> </a>
+qui prior es, cur me in decursu lampada poscis?</p>
+<p><a name = "line6_62" id = "line6_62"> </a>
+sum tibi Mercurius; venio deus huc ego ut ille</p>
+<p><a name = "line6_63" id = "line6_63"> </a>
+pingitur; an renuis? vin tu gaudere relictis?</p>
+<p><a name = "line6_64" id = "line6_64"> </a>
+‘<a class = "crit" href = "#app6_64">Dest</a> aliquid summae.’ Minui
+mihi; sed tibi totum est,</p>
+<a class = "linenum" href = "#note6_65">65</a>
+<p><a name = "line6_65" id = "line6_65"> </a>
+quidquid id est. ubi sit, fuge quaerere, quod mihi quondam</p>
+<p><a name = "line6_66" id = "line6_66"> </a>
+legarat <a class = "crit" href = "#app6_66">Tadius</a>, neu dicta
+<a class = "crit" href = "#app6_66">repone</a> paterna:</p>
+<p><a name = "line6_67" id = "line6_67"> </a>
+<i><a class = "crit" href = "#app6_67">Faenoris</a> accedat merces; hinc
+exime <a class = "crit" href = "#app6_67">sumptus</a>.</i></p>
+<p><a name = "line6_68" id = "line6_68"> </a>
+<i>quid reliquum est?</i> Reliquum? nunc, nunc inpensius ungue,</p>
+<p><a name = "line6_69" id = "line6_69"> </a>
+<a class = "crit" href = "#app6_69">ungue</a>, puer, caules! mihi festa
+luce <a class = "crit" href = "#app6_69">coquetur</a></p>
+<a class = "linenum" href = "#note6_70">70</a>
+<p><a name = "line6_70" id = "line6_70"> </a>
+urtica et fissa fumosum sinciput aure,</p>
+<p><a name = "line6_71" id = "line6_71"> </a>
+ut tuus iste nepos olim satur anseris extis,</p>
+<p><a name = "line6_72" id = "line6_72"> </a>
+cum morosa vago singultiet inguine vena,</p>
+<p><a name = "line6_73" id = "line6_73"> </a>
+patriciae inmeiat vulvae? mihi trama figurae</p>
+<p><a name = "line6_74" id = "line6_74"> </a>
+sit reliqua, ast illi tremat omento popa venter?</p>
+<a class = "linenum" href = "#note6_75">75</a>
+<p><a name = "line6_75" id = "line6_75"> </a>
+vende animam lucro, mercare atque excute sollers</p>
+<p><a name = "line6_76" id = "line6_76"> </a>
+omne latus mundi, nec sit praestantior alter</p>
+<p><a name = "line6_77" id = "line6_77"> </a>
+Cappadocas rigida pinguis <a class = "crit" href =
+"#app6_77">plausisse</a> castata:</p>
+<p><a name = "line6_78" id = "line6_78"> </a>
+rem duplica. ‘Feci; iam triplex, iam mihi quarto,</p>
+<p><a name = "line6_79" id = "line6_79"> </a>
+iam deciens redit in rugam: <a class = "crit" href =
+"#app6_79">depunge</a>, ubi sistam.’</p>
+<a class = "linenum" href = "#note6_80">80</a>
+<p><a name = "line6_80" id = "line6_80"> </a>
+Inventus, Chrysippe, tui finitor acervi.</p>
+</div>
+
+</div> <!--end div satires -->
+
+<div class = "vita">
+
+<span class = "pagenum">65</span>
+
+<p class = "mynote">
+In the <i>Vita Persii</i>, line divisions in the original text are
+marked |. Note that the first page break does not agree with numbering
+of lines on the second page.</p>
+
+
+<h4><a name = "vita" id = "vita">
+VITA A. PERSII FLACCI</a></h4>
+
+<h5>DE COMMENTARIO PROBI VALERII SUBLATA.</h5>
+
+
+<p>A. Persius Flaccus natus est pridie nonas Decembris | Fabio Persico
+L.&nbsp;Vitellio coss. decessit VIII kalendas | Decembris P.&nbsp;Mario
+Asinio Gallo coss. ||
+<span class = "linenum">5</span>
+</p>
+
+<p>natus est in Etruria Volaterris, eques Romanus, sanguine | et
+affinitate primi ordinis viris coniunctus. decessit | ad octavum
+miliarium in via Appia in praediis | suis.</p>
+
+<p>pater eum Flaccus pupillum reliquit moriens annorum ||
+<span class = "linenum">10</span>
+fere sex. Fulvia Sisennia mater nupsit postea | Fusio equiti Romano et
+eum quoque extulit inter | paucos annos.</p>
+
+<p>studuit Flaccus usque ad annum XII aetatis suae | Volaterris, inde
+Romae apud grammaticum Remmium ||
+<span class = "linenum">15</span>
+Palaemonem et apud rhetorem Verginium Flavum. | cum esset annorum XVI,
+amicitia coepit uti Annaei | Cornuti, ita ut ab eo nusquam discederet.
+inductus | aliquatenus in philosophiam est.</p>
+
+<p>amicos habuit a prima adulescentia Caesium Bassum ||
+<span class = "linenum">20</span>
+poetam et Calpurnium Staturam, qui vivo eo iuvenis | decessit. coluit ut
+patrem Servilium Nonianum. cognovit | per Cornutum etiam Annaeum
+Lucanum, aequaevum | auditorem Cornuti. [nam Cornutus illo tempore |||
+<span class = "pagenum">66</span>
+tragicus fuit sectae stoicae. sed] Lucanus adeo mirabatur | scripta
+Flacci, ut vix retineret se recitantem clamore, | quin illa [esse] vera
+poemata diceret, etsi ipse | sua ludos faceret. sero cognovit et
+Senecam, sed non | ut caperetur eius ingenio. usus est apud Cornutum |
+duorum convictu virorum et doctissimorum et sanctissimorum, ||
+<span class = "linenum">5</span>
+acriter tum philosophantium, Claudii Agathemeri, | medici, Lacedaemonii,
+et Petronii Aristocratis, | Magnetis, quos unice miratus est et
+aemulatus, cum aequales | essent, Cornuti minores et ipsi.</p>
+
+<p>idem etiam decem fere annos summe dilectus a Paeto ||
+<span class = "linenum">10</span>
+Thrasea est, ita ut peregrinaretur quoque cum eo aliquando, | cognatam
+eius Arriam habente uxorem.</p>
+
+<p>fuit morum lenissimorum, verecundiae virginalis, | formae pulchrae,
+pietatis erga matrem et sororem et | amitam exemplo sufficientis. ||
+<span class = "linenum">15</span>
+</p>
+
+<p>fuit frugi et pudicus.</p>
+
+<p>reliquit circa HS vicies matri et sorori. scriptis tamen | ad matrem
+codicillis Cornuto rogavit ut daret sestertia, | ut quidam, centum, ut
+alii volunt et argenti facti | pondo viginti et libros circa
+septingentos Chrysippi sive ||
+<span class = "linenum">20</span>
+bibliothecam suam omnem. verum Cornutus sublatis | libris pecuniam
+[sororibus, quas heredes frater fecerat] | reliquit.</p>
+
+<p>et raro et tarde scripsit. hunc ipsum librum inperfectum | reliquit.
+versus aliqui dempti sunt ultimo libro, ||
+<span class = "linenum">25</span>
+ut quasi finitus esset. leviter retractavit Cornutus | et Caesio Basso
+petenti, ut ipsi cederet, tradidit edendum. |||
+<span class = "pagenum">67</span>
+scripsit etiam Flaccus in pueritia praetextam † vescio | et hodoeporicon
+librum unum et paucos in socrum | Thraseae [in Arriae matrem] versus,
+quae se | ante virum occiderat. omnia ea auctor fuit Cornutus | matri
+eius ut aboleret. ||
+<span class = "linenum">5</span>
+</p>
+
+<p>editum librum continuo mirari et diripere homines | coepere.</p>
+
+<p>decessit autem vitio stomachi anno aetatis XXX.</p>
+
+<p>sed mox ut a scholis et magistris divertit, lecto libro | Lucilii
+decimo vehementer saturas conponere instituit. ||
+<span class = "linenum">10</span>
+cuius libri principium imitatus est, sibi primo, mox omnibus |
+detracturus cum tanta recentium poetarum et oratotum | insectatione, ut
+etiam Neronem [illius temporis | principem] culpaverit. cuius versus in
+Neronem cum | ita se haberet ‘auriculas asini Mida rex habet,’ in eum ||
+<span class = "linenum">15</span>
+modum a Cornuto, Persio iam tum mortuo, est commutatus | ‘auriculas
+asini quis non habet?’ ne hoc Nero in | se dictum arbitraretur.</p>
+
+<p>QUINTILIANUS X, 1, 94 multum et verae gloriae | quamvis uno libro
+Persius meruit. ||
+<span class = "linenum">20</span>
+</p>
+
+<p>MARTIALIS IV, 9, 7</p>
+
+<div class = "verse">
+<p>Saepius in libro numeratur Persius uno,</p>
+<p class = "indent">
+quam levis in tota Marsus Amazonide.</p>
+</div>
+
+<p>IOANNES LYDUS DE MAG. I, 41 <span class = "greek" title = "Persios de">Πέρσιος δὲ</span> |
+<span class = "greek" title = "ton poiêtên Sôphrona mimêsasthai thelôn to Lukophronos">τὸν ποιητὴν Σώφρονα μιμήσασθαι θέλων τὸ
+Λυκόφρονος</span> ||
+<span class = "linenum">25</span>
+<span class = "greek" title = "parêlthen amauron.">παρῆλθεν
+ἀμαύρον.</span></p>
+
+<!-- <span class = "pagenum">68</span> -->
+
+</div>
+
+<hr class = "spacer">
+
+<div class = "sectitle">
+
+<span class = "pagenum">69</span>
+
+<h3><a name = "notes" id = "notes">
+NOTES.</a></h3>
+
+
+<!-- <span class = "pagenum">70</span> -->
+</div>
+
+<hr class = "spacer">
+
+<div class = "notes">
+
+<span class = "pagenum">71</span>
+<h5><a name = "notes_prolog" id = "notes_prolog" href = "#sat_prolog">
+PROLOGUE.</a></h5>
+
+<p class = "argument">
+<span class = "smallcaps">Argument.</span>&mdash;I never drank of
+Hippocrene, never dreamed on Parnassus. The maids of Helicon and the
+waters of Pirene are meat and drink for my masters&mdash;the
+acknowledged classics&mdash;not for me, a&nbsp;poor lay-brother, with my
+humble, homely song (<a href = "#lineP_1">1-7</a>). Others succeed: the
+parrot with his Greek, the pie with her Latin. They have not dreamed on
+Parnassus either; but they have a teacher&mdash;the great master
+Belly&mdash;and Sixpence is their Phoebus Apollo. Hark how they troll
+forth their notes! (<a href = "#lineP_8">8-14</a>).</p>
+
+<p class = "argument">
+Alas for me! no golden Muse, no silver sixpence inspires me. <i>Quis
+leget haec?</i></p>
+
+<hr class = "tiny">
+
+<p class = "argument">
+This prologue is a survival of the dramatic element of the satire, as
+Casaubon has remarked. Peculiarly personal, the prologue is found in the
+earlier and in the later stages of art, in ballad literature and in
+reflective poetry. The spurious verses which precede the
+Aeneid&mdash;<i>Ille ego</i>&mdash;were intended to serve as a prologue,
+and prologues in prose and poetry are familiar to the readers of <span
+class = "smallcaps">Martial</span>, <span class =
+"smallcaps">Statius</span>, <span class = "smallcaps">Ausonius</span>,
+and <span class = "smallcaps">Claudian</span>.</p>
+
+<p class = "argument">
+There is no good reason to doubt the genuineness of the prologue, or to
+attribute the authorship to <span class = "smallcaps">Caesius
+Bassus</span>, the Editor of <span class = "smallcaps">Persius</span>,
+as Heinrich has done. Nor is there any sufficient ground for supposing
+that the prologue is fragmentary. The two parts&mdash;of seven verses
+each&mdash;do not hang well together, but the connection of the thought
+is not so remote after all. ‘In the former part, <span class =
+"smallcaps">Persius</span> ridicules the pretended source of the
+poetical inspiration of his time, in the latter he exposes its real
+origin’ (Teuffel).</p>
+
+<p class = "argument">
+More open to debate is the relation of the prologue to the satires. Is
+it an introduction to all, or only to the first? It is true that the
+prologue seems to belong especially to the first. Both furnish us with a
+programme of the poet’s views, with a confession of faith which
+consisted in a want of faith in the age; but as the First Satire itself
+contains a vindication of the poet’s work, and forms an introduction to
+the other five satires, it is safer not to restrict the prologue to the
+narrower office.</p>
+
+<span class = "pagenum">72</span>
+<p class = "argument">
+It is needless to say that these verses have not lacked admirers and
+imitators. The latter half is parodied by Milton (<i>In Salmasii
+Hundredam</i>), and the line <i>magister artis ingenique largitor</i> is
+expanded by Rabelais (4, 59).</p>
+
+<hr class = "tiny">
+<p class = "argument">
+The metre is the <i>scazon</i> or <i>choliambus</i> (G., 755; A., 82, 2,
+<i>a</i>,&nbsp;R), and as the combination of different rhythms is one of
+the peculiarities of the earlier <i>satura</i>, it is not unlikely that
+<span class = "smallcaps">Persius</span> followed an older pattern. In
+<span class = "smallcaps">Petronius</span>, cap. 5, the choliambus is in
+like manner followed by the hexameter, but the analogy is not close. The
+choliambus, the invention of the great lampoonist <span class =
+"smallcaps">Hippōnax</span>, is admirably adapted by its structure for
+the expression of disappointment, vexation, discontent. The march of the
+iambus is suddenly checked in the fifth foot, and the rapid measure
+violently tripped up. It is a mischievous metre, and betrays in its
+malice the Thersitic character of its inventor.</p>
+
+<hr class = "tiny">
+
+<p><a class = "line" name = "noteP_1" id = "noteP_1" href =
+"#lineP_1">1.</a>
+The allusion is to <span class = "smallcaps">Ennius</span>, the <i>alter
+Homerus</i>, who drank of Hippocrene (<span class =
+"smallcaps">Prop.</span>, 3, 2 [4],&nbsp;6), and dreamed that he had
+seen his great original on Parnassus (<span class =
+"smallcaps">Cic.</span>, Ac. Pr., 2, 16, 51).&mdash;<b>fonte:</b>
+‘<i>in</i> the spring.’ The Latin Abl. often has a locative translation,
+when the conception is not necessarily or not distinctly locative. (G.,*
+387.)&mdash;<b>prolui</b>: ‘drenched’ is designedly misused. The figure
+is <i>Litotes</i>. (G., 448, R.&nbsp;2.) The greater the depression, the
+greater the rebound. <i>Non prolui labra</i> = <i>ne primoribus quidem
+labris attigi</i>. &mdash;<b>caballino</b>: <i>Fons caballinus</i>,
+‘hack’s spring,’ is a mock translation of <i>Hippocrene</i> = <span
+class = "greek" title = "hippou krênê">ἵππου κρήνη</span>: the fountain
+opened by Pegasus with his hoof. <i>Caballus</i> is a comic equivalent
+of <i>equus</i>. Comp. <span class = "smallcaps">Juvenal’s</span>
+<i>Gorgonei <span class = "gesperrt">caballi</span></i> (<a href =
+"#line3_118">3, 118</a>).</p>
+
+<p class = "footnote">
+* G. = Gildersleeve’s L. Grammar; A. = Allen and Greenough’s; M.&nbsp;=
+Madvig’s.</p>
+
+<p><a class = "line" name = "noteP_2" id = "noteP_2" href =
+"#lineP_2">2.</a>
+<b>bicipiti</b>: ‘two-peaked.’ Parnassus is called <i>biceps</i>, either
+because it appears to have two peaks from such common points of view as
+the entrance to the Corinthian Gulf (<span class = "greek" title =
+"dikorumbos ho Parnasos">δικόρυμβος ὁ Παρνασός</span>, <span class =
+"smallcaps">Lucian</span>, Char.,&nbsp;5), or because of the two tall
+cliffs (<span class = "smallcaps">Ov.</span>, Met., 1, 316; 2,
+221)&mdash;the <span class = "greek" title =
+"Phaidriades">Φαιδριάδες</span> of <span class =
+"smallcaps">Diodorus</span> (16, 28), the <span class = "greek" title =
+"dilophos petra">δίλοφος πέτρα</span> of <span class =
+"smallcaps">Sophocles</span> (Ant., 1126)&mdash;between which the
+Castalian spring takes its rise.&mdash;<b>somniasse</b>: sc. <i>me
+somniasse</i> (G., 527, R.&nbsp;2; M., 401). With <i>memini</i> the
+Pres. Inf. is more common of Personal Recollection (G., 277,&nbsp;R; A.,
+58, 11, <i>b</i>), but the Perfect is also found when the action is
+distinctly recognized as a by-gone.
+<span class = "pagenum">73</span>
+Comp. <i>saepe velut gemmas eius signumque probarem</i> | <i>per causam
+<span class = "gesperrt">memini</span> me <span class =
+"gesperrt">tetigisse</span> manum</i>, <span class =
+"smallcaps">Tib.</span>, 1, 6, 26. Also <span class =
+"smallcaps">Ov.</span>, Am., 3, 7, 25-6; A.&nbsp;A., 2, 169. The Perfect
+is especially appropriate here, as the balance of the period would seem
+to require <i>nec prolui nec</i> (<i>quod meminerim</i>)
+<i>somniavi</i>; and so Conington with correct instinct translates,
+‘never that <b>I</b> can remember.’</p>
+
+<p><a class = "line" name = "noteP_3" id = "noteP_3" href =
+"#lineP_3">3.</a>
+<b>sic</b>: <span class = "greek" title = "houtôs">οὕτως</span>, ‘just
+so,’ ‘without any warning, any preparation.’&mdash;<b>prodirem:</b>
+‘make my appearance’ (as it were on the stage).</p>
+
+<p><a class = "line" name = "noteP_4" id = "noteP_4" href =
+"#lineP_4">4.</a>
+<b>Heliconidas:</b> The Muses. Comp. <span class =
+"smallcaps">Hesiod</span> (Theog.,&nbsp;1). Hermann prefers the epic
+form, <i>Heliconiadas</i>.&mdash;<b>-que</b>&mdash;<b>-que</b>: G., 478;
+A., 43, 2, <i>a.</i>&mdash;<b>pallidamque Pirenen:</b> Pirene is the
+fountain of Acrocorinthus, where Pegasus was broken in by Bellerophon.
+The poetic virtue of its water was a late discovery. <i>Pallidam</i>,
+attribute for effect. Comp. <i>pallida mors</i>, <span class = "greek"
+title = "chlôron deos">χλωρὸν δέος</span>, and the like. The pallor of
+students and poets needs no illustration.</p>
+
+<p><a class = "line" name = "noteP_5" id = "noteP_5" href =
+"#lineP_5">5.</a>
+<b>remitto:</b> <span class = "greek" title = "aphiêmi">ἀφίημι</span>,
+for the more usual <i>relinquo</i>, which is a common v.l. Kisselius
+(<i>Specimen criticum</i>, p. 51) cites <span class =
+"smallcaps">Cic.</span>, De Orat., 1, 58: <i>tibi <span class =
+"gesperrt">remittunt</span> istam voluptatem et ea se carere
+patiuntur</i>; and <span class = "smallcaps">Tac.</span>, Hist., 4, 11:
+<i>vim principis complecti, nomen remittere</i>.&mdash;<b>imagines:</b>
+‘busts’ (set up in libraries, public and private). Comp. <i>ut dignus
+venias hederis et imagine macra</i>, <span class =
+"smallcaps">Juv.</span>, 7, 29.&mdash;<b>lambunt:</b> more frequently
+used of flames.</p>
+
+<p><a class = "line" name = "noteP_6" id = "noteP_6" href =
+"#lineP_6">6.</a>
+<b>hederae</b>: Notice the plural, ‘ivy wreaths,’ G., 195, R.&nbsp;6.
+The ivy, being sacred to Bacchus, formed the wreath of victors in scenic
+contests; thence transferred to poets generally.&mdash;<b>sequaces:</b>
+‘lissom, pliant.’ <span class = "smallcaps">Persius</span> seldom, if
+ever, uses a merely descriptive epithet, and hence some commentators
+have detected a sneer in these words, ‘lackeying ivy
+belicks.’&mdash;<b>semipaganus:</b> ‘poor half-brother of the guild’
+(Conington). The <i>paganus</i> is admitted to all the <i>sacra pagi</i>
+(<i>paganalia</i>); the <i>semipaganus</i> is a lay-brother. <span class
+= "smallcaps">Persius</span> is not a <i>vates</i>, but a
+<i>semivates</i>. He is not initiated into what <span class =
+"smallcaps">Aristophanes</span> calls the <span class = "greek" title =
+"gennaiôn orgia Mousôn">γενναίων ὄργια Μουσῶν</span>, Ran., 356. Those
+who believe that the Satires of <span class = "smallcaps">Persius</span>
+were aimed at Nero, see in <i>semipaganus</i>, ‘half-educated,’ as well
+as in the last seven verses, a&nbsp;deliberate disguise of the poet’s
+real condition, as a man of culture and of wealth. They overlook the
+sneer at the class which he is not worthy to join.</p>
+
+<span class = "pagenum">74</span>
+<p><a class = "line" name = "noteP_7" id = "noteP_7" href =
+"#lineP_7">7.</a>
+<b>vatum:</b> with the same tone of derision as in the English
+equivalent, ‘bards.’&mdash;<b>nostrum:</b> perhaps not simply =
+<i>meum</i>, but ‘native, home-made.’</p>
+
+<p><a class = "line" name = "noteP_8" id = "noteP_8" href =
+"#lineP_8">8.</a>
+<b>expedivit:</b> <i>Expedire</i> and <i>conari</i> both imply
+difficulty (Jahn), but the difficulty is completely conquered in
+<i>expedire</i>; not so in <i>conari</i>. The parrot, if not a Greek
+(<span class = "greek" title = "psittakos">ψιττακός</span>), is a
+Hellenized Hindoo (<i>bitak</i>), and has learned to utter glibly his
+familiar <i>Bonjour</i>. The magpie is an Italian, and not so deft.
+Others regard this interpretation, which is essentially Jahn’s, as too
+subtle, and make <i>verba nostra</i>, which many prefer to <i>nostra
+verba</i>, simply equivalent to ‘human speech.’&mdash;<b>chaere</b> =
+<span class = "greek" title = "chaire">χαῖρε</span>. Greek was the
+language of small talk, love talk, parrot-talk.</p>
+
+<p><a class = "line" name = "noteP_10" id = "noteP_10" href =
+"#lineP_10">10.</a>
+<b>magister artis ingenique largitor:</b> <i>Magister</i>, of that which
+is taught; <i>largitor</i>, of that which comes from nature’s bounty;
+<i>-que</i> combines the two into an exhaustive unit (G., 478; A., 43,
+3, <i>a</i>). The thought recurs in numberless forms. Comp. <span class
+= "greek" title = "ha penia, Diophante, mona tas technas egeirei">ἁ
+πενία, Διόφαντε, μόνα τὰς τέχνας ἐγείρει</span>, <span class =
+"smallcaps">Theocr.</span>, 21,&nbsp;1; <i>Paupertas omnes artis
+perdocet</i>, <span class = "smallcaps">Plaut.</span>, Stich., 1, 3. 23
+(Jahn). Add <span class = "greek" title = "chreia didaskei, kan bradus tis ê, sophon">χρεία διδάσκει, κἂν βραδύς τις ᾖ, σοφόν</span>, <span
+class = "smallcaps">Eur.</span>, fr. 709 (Nauck), and <span class =
+"smallcaps">Alexis</span>, fr. 205 (3, 479 Mein.), where the <span class
+= "greek" title = "gastêr">γαστήρ</span> is expressly mentioned. Birds,
+it seems, were trained to talk by hunger.</p>
+
+<p><a class = "line" name = "noteP_11" id = "noteP_11" href =
+"#lineP_11">11.</a>
+<b>negatas:</b> (<i>a natura</i>).&mdash;<b>artifex sequi:</b> poetic
+syntax for <i>a. sequendi</i>. G., 424, R. 4. (comp. 429, R.&nbsp;4);
+A., 57, 8, <i>f</i>,&nbsp;3. A&nbsp;so-called Greek construction. See
+<a href = "#line1_59">1, 59</a>. <a href = "#line1_70">70</a>. <a href =
+"#line1_118">118</a>; <a href = "#line5_15">5, 15</a>. <a href =
+"#line5_24">24</a>; <a href = "#line6_6">6, 6</a>. <a href =
+"#line6_24">24</a>.&mdash;<b>sequi</b> =
+<i>sectari</i>.&mdash;<b>voces:</b> (articulate) ‘speech.’</p>
+
+<p><a class = "line" name = "noteP_12" id = "noteP_12" href =
+"#lineP_12">12.</a>
+<b>quod si:</b> ‘Nay, if but.’ Commentators on <span class =
+"smallcaps">Horace</span> still indulge in remarks on the unpoetical
+character of <i>quod si</i>, copying Orelli on Od., 1, 1, 35. If <i>quod
+si</i> is prosaic, <span class = "smallcaps">Propertius</span> is to be
+pitied; he uses it at every turn.&mdash;<b>dolosi:</b> ‘seductive,
+alluring.’ <span class = "smallcaps">Persius</span> does not deal much
+in ‘general epithets;’ hence <span class = "greek" title = "dolion kerdos">δόλιον κέρδος</span> (<span class = "smallcaps">Pind.</span>,
+Pyth., 4, 140) is not a sufficient parallel.&mdash;<b>refulserit:</b>
+better every way than <i>refulgeat</i>, which Jahn accepts in his ed. of
+1868. The Perf. Subj. is more vivid and more correct than the Present.
+<i>Re-</i> must not be overlooked. Like the English ‘again,’ it denotes
+the reversal of a previous condition. <i>Refulgere</i>, ‘to catch the
+eye by its glitter,’ ‘to flash on the sight’&mdash;whereas it lay
+unnoticed before.&mdash;<b>nummi:</b> better translated as a coin. Comp.
+‘The Splendid Shilling,’ ‘The Almighty Dollar;’ perhaps
+<span class = "pagenum">75</span>
+‘The Magic Sixpence.’ Comp. <span class = "smallcaps">Juv.</span>, 7, 8:
+<i>nam si Pieria <span class = "gesperrt">quadrans</span> tibi nullus in
+umbra</i> | <i>ostendatur</i>, etc.</p>
+
+<p><a class = "line" name = "noteP_13" id = "noteP_13" href =
+"#lineP_13">13.</a>
+<b>corvos poetas et poetridas picas:</b> ‘Raven poets and poetess pies,’
+the substantive standing for an epithet, like <i>popa venter</i>, 6, 74.
+Which of the substantives is adjective to the other does not appear. For
+the <i>corvus</i>, Poe and Dickens will answer as well as <span class =
+"smallcaps">Macrob.</span>, Sat. 2,&nbsp;4. The male poet has a female
+counterpart in the magpie (<i>pica</i>). According to <span class =
+"smallcaps">Ov.</span> (Met., 5, 294, foll.), the daughters of Pierus,
+the Macedonian, were changed into magpies because they had challenged
+the Muses to a contest, and reviled the victorious goddesses. There
+seems to be an allusion to the literary ladies of the day, the
+blue-stockings of <span class = "smallcaps">Juvenal’s</span> Satire (6,
+434 foll.). See Friedländer, <i>Sittengeschichte</i>, 1, 481.
+<i>Poetridas</i> after Gr. analogy.</p>
+
+<p><a class = "line" name = "noteP_14" id = "noteP_14" href =
+"#lineP_14">14.</a>
+<b>cantare nectar:</b> a poetic extension of the cognate accusative =
+<i>nectareum carmen cantare</i> (G., 331; A., 52, 1, <i>b</i>).
+<i>Nectar</i> is copied from <span class = "smallcaps">Pind.</span>,
+Ol., 7, 7 (<span class = "greek" title = "nektar chuton, Moisan dosin">νέκταρ χυτόν, Μοισᾶν δόσιν</span>), and when combined with
+<i>Pegaseium</i> is sufficiently grandiloquent to be as absurd as it is
+intended to be. The old reading, <i>melos</i> (<span class = "greek"
+title = "melos">μέλος</span>), with its faulty quantity, rarely finds a
+champion against <i>nectar</i>.</p>
+
+<hr class = "spacer">
+
+<h5><a name = "notes_I" id = "notes_I" href = "#sat_I">
+FIRST SATIRE.</a></h5>
+
+<p class = "argument">
+<span class = "smallcaps">This</span> Satire is an attack on the
+literature of the day as the efflorescence of the corruption of the
+times. The age is personified by a critical friend, but it is not always
+easy to determine when the poet is speaking and when the friend, or when
+the satirist is meeting an imaginary objection from some other imaginary
+quarter. The unreality of the whole dialogue is confessed with more
+candor than art in <a href = "#line1_44">v. 44</a>. Instead of a firm
+outline, we have a floating <i>quisquis es</i>.</p>
+
+<p class = "argument">
+<span class = "smallcaps">Argument.</span>&mdash;The poem opens with a
+line, which <span class = "smallcaps">Persius</span> recites to his man
+of straw, who forthwith urges him to abandon authorship (<a href =
+"#line1_1">1-3</a>). The poet acknowledges that he is at odds with his
+generation and expects no applause at their hands. But little does he
+care for their praise; let them prefer a Labeo to him. Their standard is
+not his standard. He is his own canon. He will not, can not follow the
+advice of his friend. He must obey the impulse of his temper and speak
+out (<a href = "#line1_4">4-12</a>).</p>
+
+<span class = "pagenum">76</span>
+<p class = "argument">
+Whether we write laborious verse or laborious prose&mdash;so the attack
+begins&mdash;it is all one; display and applause are the aim and object
+of both. The style is fustian; the delivery wanton; the theme prurient.
+The bard is little better than a bawd (<a href = "#line1_13">13-23</a>).
+And yet so deeply rooted is this love of praise that learning is loss,
+unless it be minted into golden opinions, and knowledge is naught until
+it be known of men. To be pointed out as a lion, to be used as a school
+classic&mdash;what glory! (<a href = "#line1_24">24-30</a>). Oh, yes!
+A&nbsp;glory shared by the dainty ditties, the mewling elegies of
+lisping, snuffling dandies, for this is what calls forth the approval of
+the after-dinner circle. Such is the praise that is to bless the poet
+even after death! (<a href = "#line1_30">30-40</a>). It is true that
+fame is not to be despised. No poet but feels his heart vibrate to
+praise. But the popular acclaim is not the ultimate standard. Mad epics,
+elegies thrown off in a surfeit, effusions of aristocratic easy-chairs
+are alike lauded. A&nbsp;man feeds the hungry and clothes the naked, and
+then asks for a candid opinion. Mockery of criticism! (<a href =
+"#line1_40">40-62</a>). The taste of the people relishes nothing but
+smooth verses&mdash;verses without flaw or break, faultless
+machine-verses&mdash;which answer any turn, and serve alike for satire,
+for eclogues, for heroic strains (<a href = "#line1_63">63-75</a>).
+Others, again, call themselves passionate pilgrims to the well of Latin
+undefiled, and linger over the obsolete magniloquence of <span class =
+"smallcaps">Pacuvius</span> and <span class = "smallcaps">Accius</span>.
+A&nbsp;fine <i>olla podrida</i>&mdash;this jumble of modern affectation
+and ancient trumpery (<a href = "#line1_76">76-82</a>). Bad as this is
+in literature, how much worse it is to find that the jargon of the
+<i>salon</i> has become the language of the courts, and that the manly
+Roman speech is dead. Even in a matter of life and death, the accused
+thinks more of his rhetorical than of his judicial sentence, and listens
+for a ‘Pretty good,’ as if that were the verdict (<a href =
+"#line1_83">83-91</a>). It will not do to say that great improvements
+have been made in the art of verse. Smooth are the verses and resonant,
+but at the cost of sense, of manly vigor. Once catch the trick, and any
+body can reel off such lines (<a href = "#line1_92">92-106</a>). Ears
+are ticklish, our satirist admits. Truth is an unwelcome rasp, and the
+cold shoulder of great men no toothsome meal. Police regulations are
+stringent. ‘Commit no nuisance’ is posted every where. Ah, well! It was
+otherwise in the time of Lucilius. That was a free world in which he
+craunched Lupus and Mucius. It was otherwise in the time of Horace. That
+was a gay world, in which he tickled while he taught. And is the poet
+not to mutter even? King Midas’s barber told his master’s secret to a
+ditch. Where can a ditch be found? Here in this book (<a href =
+"#line1_107">107-121</a>). Few readers can our author hope or
+desire&mdash;only such as have studied closely the great masters of the
+Attic sock, not such as ignorantly make a mock of Greek attire and Greek
+science, pride themselves on petty local honors, and rise to no higher
+conception of wit or fun than a dog-fight or a jibe at personal
+infirmity (<a href = "#line1_122">122-134</a>).</p>
+
+<p class = "argument">
+It has been well observed that this is the only Satire of <span class =
+"smallcaps">Persius</span> in the
+<span class = "pagenum">77</span>
+strict sense of the term; the other five have rather the character of
+essays on moral themes.</p>
+
+<p class = "argument">
+One of the best commentaries on this poem is the famous 114th Epistle of
+<span class = "smallcaps">Seneca</span>.</p>
+
+<p class = "argument">
+The student of English literature will remember that Gifford’s Baviad is
+an imitation of this piece.</p>
+
+<hr class = "tiny">
+
+<p><b>1-7.</b> At the very outset we encounter a difficulty in the
+distribution of the first lines between&nbsp;P. (Persius) and
+M.&nbsp;(Monitor, as the second interlocutor is usually called). The
+arrangement followed in the text may be explained thus:</p>
+
+<p>P. (<i>is discovered absorbed in contemplation. He recites a line
+from his projected poem</i>).&mdash;‘Vanity of vanities!’</p>
+
+<p>M.&mdash;Who will read this stuff of yours?</p>
+
+<p>P. (<i>wakes up</i>).&mdash;Do you mean that for me? Why, no one, of
+course.</p>
+
+<p>M.&mdash;No one?</p>
+
+<p>P.&mdash;Next to no one.</p>
+
+<p>M.&mdash;A lame and impotent conclusion!</p>
+
+<p>P.&mdash;Why so? Am I to fear that Polydamas and the Trojan dames
+shall make up their minds to give Labeo the preference over me? Stuff!
+Don’t assent, when muddled Rome rejects a thing as light weight, and do
+not trouble yourself to get the faulty tongue of that pair of scales to
+work right, and look not outside of yourself for what you can find only
+within yourself.</p>
+
+<p class = "space">
+<a class = "line" name = "note1_1" id = "note1_1" href =
+"#line1_1">1.</a>
+<b>O curas hominum! O quantum est in rebus inane!</b> <i>Homines</i> and
+<i>res</i> are both used for ‘the world,’ sometimes singly, sometimes
+together. <i>Res</i> is often to be omitted in translation, or another
+turn given. <i>O quantum est in rebus inane</i>, ‘Vanity of
+vanities’&mdash;a suitable Stoic text. There seems to be no allusion to
+<span class = "smallcaps">Lucretius’s</span> common phrase, <i>in rebus
+inane</i>.</p>
+
+<p><a class = "line" name = "note1_2" id = "note1_2" href =
+"#line1_2">2.</a>
+<b>Quis leget haec?</b> a quotation from <span class =
+"smallcaps">Lucilius</span>, according to the scholiast. Jahn follows
+Pinzger in supposing that the quotation begins with <i>O curas
+hominum!</i> See, however,&nbsp;L. Müller, <i>Lucilius</i>, p. 194.</p>
+
+<p><a class = "line" name = "note1_3" id = "note1_3" href =
+"#line1_3">3.</a>
+<b>vel duo vel nemo:</b> is more guarded, and hence (by Litotes)
+stronger than <i>nemo</i>. Comp. Gr. <span class = "greek" title = "ê tis ê oudeis">ἢ τις ἢ οὐδείς</span>.</p>
+
+<p><a class = "line" name = "note1_4" id = "note1_4" href =
+"#line1_4">4.</a>
+<b>ne mihi praetulerint:</b> an elliptical sentence, such as we
+<span class = "pagenum">78</span>
+often find in final relations (A., 70, 3, <i>f</i>), in English as well
+as in Latin (G., 688,&nbsp;R.). The sequence is not common in the
+classic period, but see G., 512,&nbsp;R. Comp. <span class =
+"smallcaps">Plaut.</span>, Aul., 2, 3, 11; <span class =
+"smallcaps">Liv.</span>, 44, 22, and Weissenborn in loc. The Greek would
+be: <span class = "greek" title = "mê protimêsôsi">μὴ
+προτιμήσωσι</span>.&mdash;<b>Polydamas</b>: Some write <i>Pulydamas</i>,
+corresponding with the Homeric form, <span class = "greek" title =
+"Pouludamas">Πουλυδάμας</span>; but <i>Pōlydamas</i> (<span class =
+"greek" title = "Pôludamas">Πωλυδάμας</span>) is the Sicilian Doric,
+like <i>pōlypus</i> (<span class = "greek" title =
+"pôlupos">πωλύπος</span>). The allusion is to a familiar passage in
+<span class = "smallcaps">Hom.</span>, Il., 22, 100. 104. 5: <span class
+= "greek" title = "Pouludamas moi prôtos elencheiên anathêsei--nun d’ epei ôlesa laon atasthaliêsin emêsin">Πουλυδάμας μοι πρῶτος ἐλεγχείην
+ἀναθήσει&mdash;νῦν δ᾽ ἐπεὶ ὤλεσα λαὸν ἀτασθαλίῃσιν ἐμῇσιν</span> | <!--
+a bar? that’s unusual ... oh, and mine’s a pint thanks --> <span class =
+"greek" title = "aideomai Trôas kai Trôadas helkesipeplous">αίδέομαι
+Τρῶας καὶ Τρῳάδας ἑλκεσιπέπλους</span>. These are the words of Hector,
+as he steels his great heart to meet Achilles. Polydamas is the
+counsellor who had urged him (18, 254) to withdraw the Trojans into
+Troy, and Hector is ashamed to turn back and encounter the rebuke of
+Polydamas and the reproaches of his people. <span class =
+"smallcaps">Persius</span> uses Polydamas as the type of the Roman
+critic, and by a familiar satiric stroke leaves out the Trojan men, as
+if they were no men in Rome. Others understand ‘Nero and his effeminate
+court.’ The Homeric passage had been well worn by <span class =
+"smallcaps">Aristotle</span> and <span class = "smallcaps">Cicero</span>
+(Att., 2, 5, 1; 7, 1, 4; 8, 16,&nbsp;2) before it came to <span class =
+"smallcaps">Persius</span>. There is perhaps a side-thrust at the pride
+of the old Roman families in their Trojan descent. Comp. <span class =
+"smallcaps">Juv.</span>, 1, 100: <i>iubet a praecone vocari</i> |
+<i>ipsos <span class = "gesperrt">Troiugenas</span></i>; also 8, 181.
+See Friedländer, <i>Sittengesch</i>., 1, 230.&mdash;<b>Labeonem</b>: the
+<span class = "smallcaps">Attius</span> (<span class =
+"smallcaps">Labeo</span>) of <a href = "#line1_50">v. 50</a>, an
+unfortunate translator of Homer, who stuck close to the letter. The
+scholiast has preserved a line. <span class = "greek" title = "Ômon bebrôthois Priamon Priamoio te paidas">Ὠμὸν βεβρώθοις Πρίαμον Πριάμοιό
+τε παῖδας</span> (Il., 4, 35) is rendered thus: <i>crudum manduces
+Priamum Priamique pisinnos</i>. ‘Raw you’d munch both Priam himself and
+Priam’s papooses.’</p>
+
+<p><a class = "line" name = "note1_5" id = "note1_5" href =
+"#line1_5">5.</a>
+<b>nugae:</b> The accusative is more common. Comp. G., 340, R.
+1.&mdash;<b>non accedas&mdash;nec quaesiveris</b>: <i>Non</i> and
+<i>nec</i>, where <span class = "smallcaps">Quintilian’s</span> rigid
+rule (1, 5, 50) requires <i>ne</i> and <i>neve</i>. G., 266, R.&nbsp;1;
+A., 41, 2,&nbsp;<i>e</i>. Comp. <a href = "#line3_73">3, 73</a> and
+<a href = "#line5_45">5, 45</a>.&mdash;<b>turbida</b>: ‘muddle-headed’
+(Conington). But comp. <i>Alexandrea turbida</i>, <span class =
+"smallcaps">Auson.</span>, Clar. Urb., 3, 4.</p>
+
+<p><a class = "line" name = "note1_6" id = "note1_6" href =
+"#line1_6">6, 7.</a>
+<b>elevet:</b> ‘reject as light.’ The figure is taken from weighing,
+doubtless a common trope in the schools.&mdash;<b>examen</b>: (<i>filum,
+ligula</i>) is the ‘index, tongue, or needle’ which is said to be
+<i>inprobum</i>, ‘faulty,’ ‘wilful,’ ‘untoward,’ because it does not
+move
+<span class = "pagenum">79</span>
+freely or accurately on its pivot.&mdash;<b>trutina</b>: (Gr. <span
+class = "greek" title = "trutanê">τρυτάνη</span>, a&nbsp;word of
+doubtful etymology and loose application, means here ‘a balance,’ ‘a
+pair of scales,’ not, as the scholiast says, the <i>foramen</i>, ‘fork’
+or ‘cheeks,’ in which the <i>examen</i> plays.&mdash;<b>castiges</b> =
+<i>percutias</i> (Schol.) of the tap given to a hitching balance.
+Gesner, s.v., regards <i>castigare</i> here as equivalent to
+<i>conpescere</i> (<a href = "#line5_100">5, 100</a>), a&nbsp;view which
+has a good deal in its favor. The notion is not ‘do not correct the
+popular standard,’ but ‘do not try to get an exact result by the popular
+standard (for your guidance).’ Hermann (<i>Lect. Pers.</i>, II.,&nbsp;9)
+follows those who understand the <i>examen</i> and <i>trutina</i> of
+different instruments: <i>Noli examen tuum in <span class =
+"gesperrt">populi</span> trutina castigare.</i>* So Pretor, who
+translates: ‘Do not try to correct the erring tongue of your delicate
+balance by applying to it a pair of ordinary scales.’&mdash;<b>nec te
+quaesiveris extra</b>: (<i>te</i>) ‘Nor look for yourself (what you can
+find only in yourself) outside of yourself.’ ‘Be your own norm.’ Others
+arrange: <i>nec quaesiveris extra te</i>, ‘Nor ask any opinion but your
+own.’</p>
+
+<p class = "footnote">
+* No satisfactory treatment of this subject is accessible to me. The
+Greek and Latin dictionaries are wildly at variance with one another and
+with the authorities. <i>Examen</i> seems to have been originally the
+strap by which the beam was suspended&mdash;not from <span class =
+"smallroman">AG</span>, but from <span class = "smallroman">AP</span>.
+See <span class = "smallcaps">Isidor.</span>, Orig., 16, 23, and comp.
+<i>amentum</i> (<i>ammentum</i>). Add <span class =
+"smallcaps">Lucil.</span>, 16, 14 (L. Müller). <span class =
+"smallcaps">Eustathius’s</span> <span class = "greek" title = "trutanê epi zogou hê teiromenê tô barei tôn ogkôn">τρυτάνη ἐπὶ ζογοῦ ἡ τειρομένη
+τῷ βάρει τῶν ὄγκων</span> points to the pivot (knife-edge) as the first
+meaning of <i>trutina</i>.</p>
+
+<p><b>8-12.</b> The distribution followed is that of Jahn (1843), which
+gives <i>nolo</i> (<a href = "#line1_11">v. 11</a>) to the interlocutor.
+The jerky, self-interrupting discourse is supposed to be characteristic
+of the <i>petulante splene cachinno</i>. ‘What is the use of consulting
+Rome? Every body there is an&mdash; If I might say what! If I might?
+Surely I may, when I consider how old we are become, how grum we are,
+and all the step-fatherly manner of our lives, since the days of
+“commoneys” and “alley tors.” Indulge me. <i>It can not be.</i> What am
+I to do? Nothing? But I am a man of laughter with a saucy spleen.’</p>
+
+<p><a class = "line" name = "note1_8" id = "note1_8" href =
+"#line1_8">8.</a>
+<b>nam Romae quis non?</b> The suppressed predicate is to be supplied
+from the general scope of the passage. The sentence is not completed in
+<a href = "#line1_131">v. 131</a> (<i>auriculas asini habet</i>), for
+the simple reason that <span class = "smallcaps">Persius</span> did not
+write <i>quis non</i> in that passage, but <i>Mida rex</i>.</p>
+
+<span class = "pagenum">80</span>
+<p><a class = "line" name = "note1_9" id = "note1_9" href =
+"#line1_9">9.</a>
+<b>cum&mdash;aspexi:</b> <i>Cum</i> is equivalent to <i>postquam</i>
+here. G., 567; A., 62, 3, <i>e</i>.&mdash;<b>canitiem:</b> ‘premature
+old age,’ ‘loss of youthful freshness.’ All through this satire the poet
+lashes old age, as commentators have observed. So here, and 22. 26. 56.
+79. The ‘hoary head’ is not a ‘crown of glory,’ but a sign of
+debauchery; the ‘fair, round belly,’ which is not uncomely in the
+elderly justice, is nothing but a swagging paunch; the bald pate is not
+a mirror of honor, but a mirror of dishonor; in short, ‘no fool like an
+old fool.’ Especially severe is <span class = "smallcaps">Persius</span>
+on the ‘used-up’ man; and the affected moralizing of young men, who had
+outlived their youth before they had had time to forget the games of
+boyhood, drove him to satire. On the Neronian hypothesis, <span class =
+"smallcaps">Persius</span> is endeavoring to masquerade as an old
+man.&mdash;<b>nostrum istud vivere triste:</b> ‘sour way of life.’ This
+is a so-called <i>figura Graeca</i>, which out-Greeks the Greeks. Good
+authors are very cautious in adding an attribute to the infinitive, and
+do not go beyond <i>ipsum, hoc ipsum</i>. <i>Scire tuum</i>, <a href =
+"#line1_27">v. 27</a>; <i>ridere meum</i>, <a href = "#line1_122">v.
+122</a>; <i>velle suum</i>, <a href = "#line5_53">5, 53</a>; <i>sapere
+nostrum</i>, 6, 38, can not be rendered literally into the language from
+which they are supposed to be imitated. Nursery infinitives (<a href =
+"#line3_17">3, 17</a>) belong to a different category.</p>
+
+<p><a class = "line" name = "note1_10" id = "note1_10" href =
+"#line1_10">10.</a>
+<b>nucibus:</b> The modern equivalent is ‘marbles.’ The very games
+survive. (See <a href = "#note3_50">3, 50</a>.) It is hardly necessary
+to prove that putting away such childish things means becoming a man.
+<i>Da nuces pueris, iners</i> | <i>concubine: satis diu</i> | <i>lusisti
+nucibus</i>, <span class = "smallcaps">Catull.</span>, 61, 127-9.</p>
+
+<p><a class = "line" name = "note1_11" id = "note1_11" href =
+"#line1_11">11.</a>
+<b>patruos:</b> On the accusative, see G., 329, R.&nbsp;1; A., 52, 1,
+<i>c.</i> The <i>patruorum rigor</i> was proverbial. Owing to the legal
+position of the paternal uncle, who was often the guardian, it is the
+<i>patruus</i>, not the <i>avunculus</i>, who is the type of severity.
+So the cruel uncle of the ballad of the ‘children in the wood’ is the
+father’s brother.</p>
+
+<p><a class = "line" name = "note1_12" id = "note1_12" href =
+"#line1_12">12.</a>
+<b>quid faciam?</b> G., 258; A., 57, 6.&mdash;<b>sed:</b> (I&nbsp;know
+you want me to do nothing), ‘but’ (I&nbsp;can’t keep quiet) ‘I am a
+laugher born.’&mdash;<b>petulante:</b> literally, ‘given to butting,’
+hence ‘saucy’&mdash;<b>splene:</b> The seat of
+laughter.&mdash;<b>cachinno:</b> a substantive, perhaps built by <span
+class = "smallcaps">Persius</span> on the analogy of <i>bibo</i>,
+<i>epulo</i>, <i>erro</i>, etc. Comp. <i>glutto</i>, <a href =
+"#line5_112">5, 112</a>; <i>palpo</i>, <a href = "#line5_176">5,
+176</a>. Hermann, following Heindorf,
+<span class = "pagenum">81</span>
+makes <i>cachinno</i> a verb, and reads: <i>tunc, tunc&mdash;ignoscite,
+nolo; quid faciam sed sum petulante splene&mdash;cachinno</i>,
+‘Then&mdash;then&mdash;excuse me&mdash;I would rather not&mdash;what am
+I to do?&mdash;I can’t help it&mdash;my spleen is too much for
+me&mdash;I must have my laugh.’ Jahn (1868) accepts <i>tunc,
+tunc&mdash;ignoscite, nolo</i>, but goes no further.</p>
+
+<p><b>13-23.</b>
+The battery opens. Verse-wright and writer of prose alike care for
+nothing except applause. Follows a vivid picture of a popular
+recitation.</p>
+
+<p><a class = "line" name = "note1_13" id = "note1_13" href =
+"#line1_13">13.</a>
+<b>Scribimus inclusi:</b> Comp. <i>scribimus indocti</i>, etc. <span
+class = "smallcaps">Hor.</span>, Ep., 2, 1, 117.&mdash;<b>inclusi:</b>
+‘in closet pent’ (Gifford’s Baviad), to show the artificial and labored
+character of the composition in contrast with the beggarly result.
+Markland’s ingenious conjecture, <i>inclusus numeris</i>, is not
+necessary. Heinr. admires Markl., but retains <i>numeros</i> as a Greek
+accusative!&mdash;<b>numeros:</b> ‘poetry;’ <b>pede liber</b> = <i>pede
+libero</i>, ‘foot-loose,’ ‘prose,’ <i>soluta oratio</i>.</p>
+
+<p><a class = "line" name = "note1_14" id = "note1_14" href =
+"#line1_14">14.</a>
+<b>grande:</b> ‘vast,’ ‘grandiose.’ <i>Grandis</i> is always used with
+intention, which our word ‘grand’ sometimes fails to give. See <a href =
+"#note1_68">1, 68</a>; <a href = "#line2_42">2, 42</a>; <a href =
+"#line3_45">3, 45</a>. <a href = "#line3_55">55</a>; <a href =
+"#line5_7">5, 7</a>. <a href = "#line5_186">186</a>; <a href =
+"#line6_22">6, 22</a>.&mdash;<b>quod pulmo:</b> ‘something vast enough
+to make a lung generous of breath pant in the utterance of it.’ Jahn
+(1868) reads <i>quo</i> for <i>quod; quo</i> is not so
+vigorous.&mdash;<b>animae praelargus:</b> a stretch of the adjectives of
+fulness (G., 373, R.&nbsp;6; A., 50, 3, <i>b</i>); <i>praelargus =
+capacissimus.</i></p>
+
+<p><a class = "line" name = "note1_15" id = "note1_15" href =
+"#line1_15">15.</a>
+<b>scilicet:</b> Ironical sympathy, ‘O yes!’&mdash;<b>haec:</b> The
+position is emphatic.&mdash;<b>populo:</b> ‘to the public,’ ‘in public.’
+The political force of <i>populus</i> has ceased.&mdash;<b>pexus:</b>
+‘with hair and beard well dress’d.’ ‘Combed’ hardly conveys the notion:
+say ‘shampooed.’&mdash;<b>togaque recenti:</b> ‘fresh’ (from the
+fuller).</p>
+
+<p><a class = "line" name = "note1_16" id = "note1_16" href =
+"#line1_16">16.</a>
+<b>natalicia sardonyche:</b> Jewelry reserved for great occasions. The
+brilliancy of the sardonyx is a common theme. <i>Rufe vides ilium
+subsellia prima tenentem</i> | <i>cuius et hinc lucet sardonychata
+manus</i>, <span class = "smallcaps">Mart.</span>, 2, 29,
+1-2&mdash;<b>tandem:</b> shows impatience.&mdash;<b>albus</b> =
+<i>albatus</i> (comp. <a href = "#line2_40">2, 40</a>; <span class =
+"smallcaps">Hor.</span>, Sat., 2, 2, 61) on account of the <i>toga
+recens</i>. So <i>niveos ad frena Quirites</i>, <span class =
+"smallcaps">Juv.</span>, 10, 45. Heinr. argues at length in favor of
+‘pale.’</p>
+
+<p><a class = "line" name = "note1_17" id = "note1_17" href =
+"#line1_17">17.</a>
+<b>sede celsa</b> = <i>ex cathedra</i>.&mdash;<b>leges:</b> So Jahn
+(1868), despite the MSS. <i>Legens</i> may be explained at a pinch as
+<i>lecturus</i>, a&nbsp;comma being put after <i>ocello</i>; Hermann
+combines with <i>pulmo</i>, and
+<span class = "pagenum">82</span>
+comp. <span class = "smallcaps">Juv.</span>, 10, 238 sq., where
+<i>os</i> stands for the owner of the same. Add <i>cana gula</i>, Juv.,
+14, 10. But <i>pexus</i> and <i>albus</i> make such a synecdoche
+incredible.&mdash;<b>liquido</b>: <i>quia liquidam vocem efficit.</i>
+Comp. <span class = "smallcaps">Hor.</span>, Od., 1, 24, 3: <i>cui
+liquidam pater</i> | <i>vocem cum cithara dedit</i>. The attribute is
+put for the effect, as in <i>pallidam Pirenen</i>, <a href =
+"#lineP_4">Prol., 4</a>.&mdash;<b>plasmate</b>: according to <span class
+= "smallcaps">Quint.</span>, 1, 8, 2, a&nbsp;technical name for the
+professional training of the voice, a&nbsp;kind of rhetorical
+<i>solfeggio</i>. Others understand the <i>plasma</i> of a gargle to
+clear the throat.</p>
+
+<p><a class = "line" name = "note1_18" id = "note1_18" href =
+"#line1_18">18.</a>
+<b>mobile collueris</b>: <i>Mobile</i> is predicative. Translate: ‘after
+gargling your throat to suppleness by filtering
+modulation.’&mdash;<b>patranti ocello</b>: ‘an eye that would be doing,’
+‘a leering, lustful eye.’ <span class = "smallcaps">Quint.</span> (8, 3,
+44) says of <i>patrare: mala consuetudine in obscenum intellectum sermo
+detortus</i>. Comp. ‘do’ in <span class = "smallcaps">Shaksp.</span>,
+Troil. and Cressida, 4,&nbsp;2: Go hang yourself, you naughty, mocking
+uncle! You bring me to <i>do</i>, and then you flout me
+too.&mdash;<b>fractus</b> = <i>effeminatus</i>, ‘debauched,’
+‘languishing,’ <i><span class = "greek" title =
+"kladaros">κλαδαρός</span>.</i> Conington translates: ‘with a
+languishing roll of your wanton eye.’</p>
+
+<p><a class = "line" name = "note1_19" id = "note1_19" href =
+"#line1_19">19.</a>
+<b>neque more probo nec voce serena:</b> Litotes. see <a href =
+"#noteP_1">Prol., 1</a>.</p>
+
+<p><a class = "line" name = "note1_20" id = "note1_20" href =
+"#line1_20">20.</a>
+<b>ingentis Titos:</b> Comp. <i>celsi Rhamnes</i>, <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 342. Here, however, there is a
+reference to size of body (like <i>ingens Pulfennius</i>, <a href =
+"#line5_190">5, 190</a>; <i>torosa iuventus</i>, <a href =
+"#line3_86">3, 86</a>; <i>caloni alto</i>, <a href = "#line5_95">5,
+95</a>), for which <span class = "smallcaps">Persius</span> seems to
+have had a Stoic contempt. <i>Titi</i>, perhaps another form of
+<i>Tities</i>, the old Sabine nobility (Mommsen, <i>Rom. Gesch.</i>,
+B.&nbsp;1, K.&nbsp;4), of whom much aristocratic virtue might have been
+expected (<i>sanctos licet horrida mores</i> | <i>tradiderit domus ac
+veteres imitata <span class = "gesperrt">Sabinos</span></i>, <span class
+= "smallcaps">Juv.</span>, 10, 298-9). Instead of that we have great,
+hulking debauchees.&mdash;<b>trepidare:</b> ‘quiver.’ The word is used
+indifferently of pleasant and unpleasant agitation. The quavering
+measure thrills them so that they can not sit still. On the infinitive,
+see <a href = "#note3_64">3,&nbsp;64</a>.</p>
+
+<p><a class = "line" name = "note1_21" id = "note1_21" href =
+"#line1_21">21.</a>
+<b>scalpuntur intima:</b> ‘their marrow is tickled.’ <i>Scalpere</i> is
+opposed to <i>radere</i>, <a href = "#line1_107">1, 107</a>. Comp.
+<a href = "#line3_114">3, 114</a>; <a href =
+"#line5_15">5,&nbsp;15</a>.</p>
+
+<p><a class = "line" name = "note1_22" id = "note1_22" href =
+"#line1_22">22.</a>
+<b>tun:</b> <i>-ne</i> is often found in rhetorical
+questions.&mdash;<b>vetule:</b> ‘you old reprobate,’ ‘you old
+sinner.’&mdash;<b>escas:</b> ‘tidbits;’ ‘<i>escas colligere</i>,’
+‘cater.’</p>
+
+<p><a class = "line" name = "note1_23" id = "note1_23" href =
+"#line1_23">23.</a>
+<b>quibus et dicas:</b> <i>Et</i> belongs to <i>cute perditus</i>, which
+is variously explained ‘dropsical,’ ‘unblushing,’ ‘thoroughly diseased.’
+<span class = "pagenum">83</span>
+The context requires a tough subject, and ‘hide-bound’ or
+‘case-hardened’ might answer as a rendering.&mdash;<b>ohe:</b> a
+reminiscence of <span class = "smallcaps">Hor.</span>, Sat. 2, 5, 96:
+<i>importunus amat laudari; donec ‘<span class = "gesperrt">Ohe
+iam</span>’</i> | <i>ad caelum manibus sublatis dixerit, urge,</i> |
+<i>crescentem tumidis infla sermonibus utrem</i>, which last line helps
+us to understand <i>cute perditus</i>. <span class =
+"smallcaps">Persius</span>, as is his wont, tries to improve on <span
+class = "smallcaps">Horace</span>, and makes his man inelastic.</p>
+
+<p><b>24-43.</b>
+M. Study is useless except to show what a man has in him.&mdash;P.
+A&nbsp;low ideal for a student.&mdash;M.&nbsp;Fame is a fine
+thing.&mdash;P. It would be a fine thing if it were not shared by every
+dinner-table poet.&mdash;M.&nbsp;You are too captious. It is a great
+thing to have written poems that are proof against trunk-maker and
+pastry-cook.</p>
+
+<p><a class = "line" name = "note1_24" id = "note1_24" href =
+"#line1_24">24.</a>
+<b>Quo didicisse?</b> The exclamatory infinitive with involved subject.
+G., 534 (340); A., 57, 8,&nbsp;<i>g</i>.</p>
+
+<p><a class = "line" name = "note1_25" id = "note1_25" href =
+"#line1_25">25.</a>
+<b>iecore:</b> the seat of the passions. Here ‘heart’ or ‘breast’ would
+seem to be more appropriate.&mdash;<b>caprificus:</b> the wild fig-tree
+sprouts in the clefts of rocks and cracks of buildings, which it rends
+in its growth. <i>Ad quae</i> | <i>discutienda valent mala robora
+fici</i>, <span class = "smallcaps">Juv.</span>, 10, 145.</p>
+
+<p><a class = "line" name = "note1_26" id = "note1_26" href =
+"#line1_26">26.</a>
+<b>En pallor seniumque:</b> ‘So that’s the meaning of your studious
+pallor (<a href = "#line1_124">v. 124</a>; <a href = "#line3_85">3,
+85</a>; <a href = "#line5_62">5, 62</a>) and your (early) old age.’
+With <i>senium</i> comp. <span class = "smallcaps">Hor.</span>, Ep., 1,
+18, 47: <i>inhumanae <span class = "gesperrt">senium</span> depone
+Camenae</i>. <span class = "smallcaps">Persius</span> mocks at the
+weariness to the flesh which the student has undergone for so paltry a
+result. This is the arrangement of Jahn (1843) and Hermann. Jahn (1868)
+follows Heinr. in giving the line to the remonstrant. <i>En</i>,
+originally an interrogative, is, after the time of <span class =
+"smallcaps">Sallust</span>, confounded with <i>em</i>, and combined with
+the nom. in the sense of <i>em</i>, which properly takes the accus.
+alone. So Ribbeck, <i>Beiträge zur Lehre von den latein. Partikeln</i>,
+S. 35.&mdash;<b>o mores:</b> <span class = "smallcaps">Cicero’s</span>
+famous ejaculation.&mdash;<b>usque adeone:</b> <i>Usque adeone mori
+miserum est</i>, <span class = "smallcaps">Verg.</span>, Aen., 12, 646;
+<i>usque adeo nihil est</i>, <span class = "smallcaps">Juv.</span>, 3,
+84.</p>
+
+<p><a class = "line" name = "note1_27" id = "note1_27" href =
+"#line1_27">27.</a>
+<b>scire tuum nihil est,</b> etc.: ‘And is thy knowledge nothing if not
+known’ (Gifford). These jingles were much admired in antiquity. The
+passage from <span class = "smallcaps">Lucilius</span>, which <span
+class = "smallcaps">Persius</span> is said to have imitated, reads,
+according to&nbsp;L. Müller (fr. inc., 40, 73): <i>ne dampnum faciam,
+scire hoc sibi nesciat is me</i>. A&nbsp;better example in <span class =
+"smallcaps">Lucr.</span>, 4, 470.</p>
+
+<span class = "pagenum">84</span>
+<p><a class = "line" name = "note1_28" id = "note1_28" href =
+"#line1_28">28.</a>
+<b>At:</b> objects. See G., 490; A., 43, 3, <i>b</i>.&mdash;<b>digito
+monstrari:</b> <span class = "greek" title = "daktulô deiknusthai (daktulodeikteisthai)">δακτύλῳ δείκνυσθαι (δακτυλοδεικτεῖσθαι)</span>.
+<i>Quod <span class = "gesperrt">monstror digito</span>
+praetereuntium</i>, <span class = "smallcaps">Hor.</span>, Od., 4, 3,
+22; <i>saepe aliquis <span class = "gesperrt">digito</span> vatem
+designat euntem</i>, <span class = "smallcaps">Ov.</span>, Am., 3, 1.
+19.&mdash;<b>hic est:</b> <span class = "greek" title = "houtos ekeinos">οὗτος ἐκεῖνος</span>, in the well-known story of Demosthenes.
+<span class = "smallcaps">Cic.</span>, Tusc. Dis., 5,
+36.&mdash;<b>dicier:</b> On the form, see G., 191,&nbsp;2; A., 30, 6,
+<i>e</i>,&nbsp;4. So <i>fallier</i>, 3, 50.</p>
+
+<p><a class = "line" name = "note1_29" id = "note1_29" href =
+"#line1_29">29.</a>
+<b>cirratorum:</b> ‘curl-pates.’ Jahn cites <span class =
+"smallcaps">Mart.</span>, 9, 29,&nbsp;7: <i>Matutini <span class =
+"gesperrt">cirrata</span> caterva magistri</i>. School-boys wore their
+hair long, but <span class = "smallcaps">Persius</span> does not waste
+his epithets, and ‘youths of quality’ are doubtless meant. Comp. the
+<i>lautorum pueros</i> of <span class = "smallcaps">Juv.</span>, 7,
+177.&mdash;<b>dictata:</b> ‘Persius takes not only higher schools, but
+higher lessons, <i>dictata</i> being passages from the poets read out by
+the master (for want of books) and repeated by the boys’ (Conington).
+Translate ‘a lesson-book,’ a ‘school classic.’</p>
+
+<p><a class = "line" name = "note1_30" id = "note1_30" href =
+"#line1_30">30.</a>
+<b>Ecce:</b> introduces a satiric sketch of ‘classic poets at
+work.’&mdash;<b>inter pocula:</b> ‘over their cups.’ Poems were read at
+table by an <span class = "greek" title =
+"anagnôstês">ἀναγνώστης</span>, as lives of the saints are still read in
+religious houses.</p>
+
+<p><a class = "line" name = "note1_31" id = "note1_31" href =
+"#line1_31">31.</a>
+<b>Romulidae:</b> Comp. <i>Titos</i>, <a href = "#line1_20">v. 20</a>;
+<i>trossulus</i>, <a href = "#line1_82">v. 82</a>; <i>Romule</i>,
+<a href = "#line1_87">v. 87</a>.&mdash;<b>dia</b>: <span class = "greek"
+title = "theia">θεῖα</span>, an affected word. ‘Let us hear,’ say the
+company, ‘what his charming verses are about’ (Pretor). Conington
+renders: ‘What news from the divine world of poesy?’</p>
+
+<p><a class = "line" name = "note1_32" id = "note1_32" href =
+"#line1_32">32.</a>
+<b>hyacinthia laena:</b> The dandies of the day wore upper garments of
+military cut and gay colors. A&nbsp;similar military dandyism on the
+part of non-military men is observable in the Macedonian period. Comp.
+<span class = "greek" title = "chlamudêphoroi andres">χλαμυδηφόροι
+ἄνδρες</span>, <span class = "smallcaps">Theocr.</span>, 15, 6, with the
+commentators.</p>
+
+<p><a class = "line" name = "note1_33" id = "note1_33" href =
+"#line1_33">33.</a>
+<b>rancidulum quiddam:</b> ‘affected stuff,’ ‘namby-pamby
+trash.’&mdash;<b>balba de nare</b> = <i>de nare balbutiens</i>, ‘with a
+nasal lisp,’ ‘with a snuffle and a lisp’ (Conington). <i>Balbus</i> is
+especially used of the introduction of an aspirate, and ‘lisp,’ which
+involves a spirant, is only approximate. Comp. <span class = "greek"
+title = "thauma mega">θαῦμα μέγα</span>, <i>inquid <span class =
+"gesperrt">balba</span></i>, <span class = "smallcaps">Lucil.</span>, 6,
+20, with&nbsp;L. Müller’s note.&mdash;<b>locutus:</b> Perf. Part. where
+we should expect a Present. G., 278,&nbsp;R.</p>
+
+<p><a class = "line" name = "note1_34" id = "note1_34" href =
+"#line1_34">34.</a>
+<b>Phyllidas Hypsipylas:</b> Phyllis, fearing that she had been deserted
+by her lover, Demophon, hanged herself, and was changed into an
+almond-tree (<span class = "smallcaps">Ov.</span>, Her.,&nbsp;2).
+Hypsipyle of Lemnos,
+<span class = "pagenum">85</span>
+after bearing two children to Jason, was forsaken by him (<span class =
+"smallcaps">Ov.</span>, Her.,&nbsp;6). These doleful themes
+(<i>plorabilia</i>) were popular in <span class =
+"smallcaps">Persius’s</span> time. The plural is contemptuous in Latin
+as in English.</p>
+
+<p><a class = "line" name = "note1_35" id = "note1_35" href =
+"#line1_35">35.</a>
+<b>eliquat:</b> ‘filters.’ Every rough particle is strained out so as to
+make the voice ‘liquid.’ The passage from <span class =
+"smallcaps">Apul.</span>, Flor., p. 351, Elm., cited by Jahn,
+<i>canticum videtur ore tereti semihiantibus in conatu labellis <span
+class = "gesperrt">eliquare</span></i>, indicates a cooing position of
+the lips, in which the mouth simulates a
+colander.&mdash;<b>supplantat:</b> <span class = "greek" title =
+"huposkelizei">ὑποσκελίζει</span> (<span class =
+"smallcaps">Lucil.</span>, 29, 50, L.&nbsp;M.), ‘trips up.’ To judge by
+<span class = "smallcaps">Hor.</span>, Sat., 2, 3, 274, <i>balba <span
+class = "gesperrt">feris</span> annoso verba palato</i>, of which the
+language of <span class = "smallcaps">Persius</span> seems to be an
+exaggeration, the sounds impinge upon the roof of the mouth instead of
+coming out boldly&mdash;a kind of lolling
+utterance.&mdash;<b>tenero:</b> adds another shade: the tripping is
+light, for the roof is sensitive; ‘minces his words as though his mouth
+were sore’ (Pretor).</p>
+
+<p><a class = "line" name = "note1_36" id = "note1_36" href =
+"#line1_36">36.</a>
+<b>adsensere viri:</b> Observe the Epic vein. <i>Adsensere omnes</i>,
+<span class = "smallcaps">Verg.</span>, Aen., 2, 130; <i>adsensere
+dii</i>, <span class = "smallcaps">Ov.</span>, Met., 9, 259 (Jahn).
+<i>Viri</i>, ‘heroes.’&mdash;<b>non-?&mdash;non-?</b> On the form of the
+question, see G., 455; A., 71,&nbsp;1, R.</p>
+
+<p><a class = "line" name = "note1_37" id = "note1_37" href =
+"#line1_37">37.</a>
+<b>levior cippus:</b> Sufficiently familiar is the old wish, SIT · TIBI
+· TERRA · LEVIS, which, like the modern R·I·P·, was promoted to the
+dignity of initials (S·T·T·L·).&mdash;<b>ossa:</b> <i>Patrono meo <span
+class = "gesperrt">ossa</span> bene quiescant</i>, <span class =
+"smallcaps">Petron.</span>, 39.</p>
+
+<p><a class = "line" name = "note1_38" id = "note1_38" href =
+"#line1_38">38.</a>
+<b>manibus</b> = <i>cineribus</i>, ‘remains’ (Conington). On this
+‘materialism,’ see Tylor, <i>Primitive Culture</i>, 2, 24 foll.</p>
+
+<p><a class = "line" name = "note1_40" id = "note1_40" href =
+"#line1_40">40.</a>
+<b>nascentur violae:</b> ‘Lay her i’ the earth | and from her fair and
+unpolluted flesh | may <i>violets spring</i>.’ <span class =
+"smallcaps">Shaksp.</span>, Hamlet, 5, 1.&mdash;<b>‘Rides’ ait:</b> As
+in <span class = "smallcaps">Hor.</span>, Ep., 1, 19, 43. <i>Ait</i> is
+used like <i>inquit</i> (G., 199, R.&nbsp;3), without any definite
+reference.&mdash;<b>nimis uncis</b> | <b> naribus indulges:</b> ‘you are
+too much given to hooking, curling your nose.’ <i>Naribus uti</i>, <span
+class = "smallcaps">Hor.</span>, Ep., 1, 19, 45; <i>naso adunco</i>,
+<span class = "smallcaps">Hor.</span>, Sat., 1, 6, 5.</p>
+
+<p><a class = "line" name = "note1_41" id = "note1_41" href =
+"#line1_41">41.</a>
+<b>an:</b> when used alone is more or less rhetorical, and is intended
+to force a conclusion involved in the foregoing; ‘What?’ ‘So then?’ G.,
+459; A., 71, 2, <i>b</i>. <span class = "smallcaps">Persius’s</span> use
+of it is instructive:
+<a href = "#line1_87">v. 87</a>; <a href = "#line2_19">2, 19</a>.
+<a href = "#line2_26">26</a>; <a href = "#line3_19">3, 19</a>.
+<a href = "#line3_27">27</a>. <a href = "#line3_61">61</a>;
+<a href = "#line5_83">5, 83</a>. <a href = "#line5_125">125</a>.
+<a href = "#line5_163">163</a>. <a href = "#line5_164">164</a>;
+<a href = "#line6_51">6, 51</a>.
+<a href = "#line6_63">63</a>.&mdash;<b>velle meruisse:</b> See G.,
+275,&nbsp;2; A., 53, 11, <i>d</i>, for the tense of
+<span class = "pagenum">86</span>
+<i>meruisse</i>. The Perf. after <i>velle</i> is legal rather than
+Greek. Comp. <a href = "#line1_91">v. 91</a>, <i>qui me volet <span
+class = "gesperrt">incurvasse</span> querela</i>. So <span class =
+"smallcaps">Hor.</span> (Sat. 2, 3, 187), mimicking the legal tone:
+<i>ne quis <span class = "gesperrt">humasse velit</span> Aiacem, Atrida,
+vetas? cur?</i> Other Perf. Infinitives with varying motives are found:
+<a href = "#line1_132">1, 132</a>; <a href = "#line2_66">2, 66</a>;
+<a href = "#line4_7">4, 7</a>. <a href = "#line4_17">17</a>; <a href =
+"#line5_24">5, 24</a>. <a href = "#line5_33">33</a>; <a href =
+"#line6_4">6, 4</a>. <a href = "#line6_6">6</a>. <a href =
+"#line6_17">17</a>. <a href = "#line6_77">77</a>.</p>
+
+<p><a class = "line" name = "note1_42" id = "note1_42" href =
+"#line1_42">42.</a>
+<b>os populi:</b> ‘popular applause,’ ‘a place in the mouths of men’
+(Conington). Comp. the phrase <i>in ore esse</i>.&mdash;<b>cedro
+digna</b>: Cedar oil was used to preserve manuscripts. <i>Speramus
+carmina fingi</i> | <i>posse linenda cedro</i>, <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 331-2.</p>
+
+<p><a class = "line" name = "note1_43" id = "note1_43" href =
+"#line1_43">43.</a>
+<b>nec scombros nec tus:</b> The fear of the mackerel is a stroke of
+<span class = "smallcaps">Catullus</span>, 95, 8, which Milton imitates,
+Ep., 10: <i>gaudete scombri</i>. Comp. <span class =
+"smallcaps">Mart.</span>, 4, 86,&nbsp;8. For <i>tus</i>, comp. <span
+class = "smallcaps">Hor.</span>, Ep., 2, 1, 269: <i>deferar in vicum
+vendentem <span class = "gesperrt">tus</span> et odores</i> | <i>et
+piper et quicquid chartis amicitur ineptis</i>. The modern equivalent is
+the grocer or the pastry-cook.</p>
+
+<p><b>44-62.</b>
+The poet gives up his dramatizing and speaks in his own person. ‘I am
+not indifferent to fame, but I reject a standard which approves such
+stuff as Labeo’s, such ditties as “persons of quality” dictate after
+dinner, a&nbsp;standard which makes a hot dish the test of poetic
+fervor, and covers a multitude of poetic sins with a cast-off cloak. If
+you had eyes in the back of your head, you would see that all this
+praise is for value received.’</p>
+
+<p><a class = "line" name = "note1_44" id = "note1_44" href =
+"#line1_44">44.</a>
+<b>dicere feci:</b> G., 527, R.&nbsp;1; A., 70, 2.</p>
+
+<p><a class = "line" name = "note1_45" id = "note1_45" href =
+"#line1_45">45.</a>
+<b>non ego:</b> ‘I do not decline your praise&mdash;no, not&nbsp;I.’ G.,
+447; A., 76, 3, <i>d</i>. Comp. <a href = "#line2_3">2, 3</a>; <a href =
+"#line3_78">3, 78</a>; and <span class = "smallcaps">Hor.</span>, Ep.,
+1, 19, 37, <i><span class = "gesperrt">non ego</span> ventosae plebis
+suffragia venor</i>.&mdash;<b>si forte quid aptius exit:</b> ‘if I
+chance to turn out (off) a&nbsp;rather neat piece of work.’ <i>Exit</i>
+may mean ‘to leave the shop’ (<i>ex officina exire</i>, <span class =
+"smallcaps">Cic.</span>, Parad., pr.&nbsp;5), or ‘to leave the potter’s
+wheel,’ as <i>urceus exit</i>, <span class = "smallcaps">Hor.</span>,
+A.&nbsp;P., 22 (Jahn). Conington translates ‘hatch’ on account of
+<i>rara avis</i>. <span class = "greek" title = "Kakon ôon">Κακὸν
+ᾠόν</span>. The passage is imitated by <span class =
+"smallcaps">Quint.</span>, 12, 10, 26.</p>
+
+<p><a class = "line" name = "note1_46" id = "note1_46" href =
+"#line1_46">46.</a>
+<b>quando:</b> gives the reason for his saying <i>si forte</i>. There is
+no necessity of writing <i>quanquam</i>, but the translation ‘although’
+is not unnatural, as causative particles are often adversative. Comp.
+<i>cum</i> and Gr. <span class = "greek" title =
+"epei">ἐπεί</span>.&mdash;<b>rara avis:</b> proverbial as in the famous
+line of <span class = "smallcaps">Juv.</span>, 6, 165.</p>
+
+<p><a class = "line" name = "note1_47" id = "note1_47" href =
+"#line1_47">47.</a>
+<b>laudari metuam:</b> So <span class = "smallcaps">Hor.</span>,
+<i>metuens audiri</i>, Ep., 1, 16, 60;
+<span class = "pagenum">87</span>
+<i>metuit tangi</i>, Od., 3, 11, 10. In prose the construction is less
+common with <i>metuo</i> than with <i>vereor</i>. G., 552, R.&nbsp;1;
+M., 376, Obs.&mdash;<b>cornea:</b> ‘of horn.’ The metaphorical use seems
+to be novel. Comp. <span class = "smallcaps">Hom.</span>, Od., 19, 211:
+<span class = "greek" title = "ophthalmoi d’ hôs ei #kera# hestasan êe sidêros">ὀφθαλμοὶ δ᾽ ὡς εἰ <span class = "gesperrt">κέρα</span> ἔστασαν
+ἠὲ σίδηρος</span>.&mdash;<b>fibra:</b> ‘heart.’ See <a href =
+"#note5_29">5,&nbsp;29</a>.</p>
+
+<p><a class = "line" name = "note1_48" id = "note1_48" href =
+"#line1_48">48.</a>
+<b>recti finemque extremumque:</b> ‘the ultimate standard.’ Conington
+renders ‘be-all and end-all.’</p>
+
+<p><a class = "line" name = "note1_49" id = "note1_49" href =
+"#line1_49">49.</a>
+<b>euge, belle:</b> like <i>decenter</i> (<a href = "#line1_84">v.
+84</a>), are current expressions of approbation at public readings.
+<i>Euge</i>, ‘bravo!’ <i>belle</i>, ‘well said!’ <i>decenter</i>,
+‘pretty fair!’ <span class = "smallcaps">Martial</span> gives us a list
+of popular comments (2, 27, 3-4): <i>Effecte! graviter! st! nequiter!
+euge! beate!</i> | <i>hoc volui!</i>&mdash;<b>excute:</b> a favorite
+word with <span class = "smallcaps">Persius</span> as with <span class =
+"smallcaps">Seneca</span>, Ep., 13, 8; 16, 7; 22, 10; 26,&nbsp;3; De
+Ira, 3, 36 (Jahn). The metaphor is taken from shaking clothes in order
+to get out any thing that may be concealed in them&mdash;Gr., <span
+class = "greek" title = "ekseiein">ἐκσείειν</span>. We should say
+‘analyze.’</p>
+
+<p><a class = "line" name = "note1_50" id = "note1_50" href =
+"#line1_50">50.</a>
+<b>quid non intus habet:</b> The figure is kept up. ‘What is not covered
+up in that beggarly rag of a <i><span class =
+"gesperrt">belle</span></i>’?&mdash;<b>non</b> = <i>nonne</i>. G., 445
+and&nbsp;R.; A., 71, 1.&mdash;<b>Atti:</b> See <a href = "#note1_4">v.
+4</a>.&mdash;<b>Ilias ebria:</b> Comp. <i>ebrius sermo</i>, <span class
+= "smallcaps">Sen.</span>, Ep., 19, 9.</p>
+
+<p><a class = "line" name = "note1_51" id = "note1_51" href =
+"#line1_51">51.</a>
+<b>veratro:</b> white hellebore (<i>album multum terribilius nigro</i>,
+<span class = "smallcaps">Plin.</span>, II. N., 25, 5, 21),
+a&nbsp;strong emetic, which students took ‘to quicken their wits.’ The
+modern <i>veratrum</i> is a different drug.&mdash;<b>elegidia:</b>
+contemptuous, ‘bits of elegies’ on such themes as Phyllis and Hypsipyle.
+<i>E.</i> a Greek word not in Greek lexicons, like <i>poetridas</i>,
+<a href = "#lineP_13">Prol., 13</a>.&mdash;<b>crudi:</b> with their dinners
+undigested and their brains muddled.</p>
+
+<p><a class = "line" name = "note1_52" id = "note1_52" href =
+"#line1_52">52.</a>
+<b>dictarunt:</b> ‘extemporize.’&mdash;<b>lectis:</b> ‘sofas.’ The
+ancients wrote in a recumbent posture far more frequently than we
+do.</p>
+
+<p><a class = "line" name = "note1_53" id = "note1_53" href =
+"#line1_53">53.</a>
+<b>citreis:</b> ‘of citron wood,’ ‘wood of the thyia’ (<i>Thyia
+articulata</i>, African Arbor Vitae, <span class =
+"smallcaps">Plin.</span>, 15, 29). The fabulous cost of tables of this
+material is well known. <span class = "smallcaps">Cic.</span>, Verr., 4,
+17, 37.&mdash;<b>scis:</b> ‘you know how.’ <i>Scire</i> in this sense is
+related to <i>posse</i>, as Fr. <i>savoir</i> to <i>pouvoir</i>,
+a&nbsp;traditional distinction.&mdash;<b>calidum:</b> ‘hot-and-hot’
+(Pretor).&mdash;<b>ponere:</b> 1.&nbsp;‘serve up;’ 2.&nbsp;‘cause to
+serve up,’ ‘treat to.’ <i>Heri non tam bonum <span class =
+"gesperrt">posui</span> et multo honestiores cenabant</i>, <span class =
+"smallcaps">Petron.</span>, 34.&mdash;<b>sumen:</b> a dainty dish in the
+eyes of Greek and Roman. Comp. <i>vulva nil pulchrius ampla</i>, <span
+class = "smallcaps">Hor.</span>, Ep., 1, 15,
+<span class = "pagenum">88</span>
+41; <span class = "smallcaps">Plut.</span>, Sanit. Praec., 124F; <span
+class = "smallcaps">Alciphr.</span>, Ep., 1, 20; and the joke in <span
+class = "smallcaps">Alexis</span>, fr. 188 (3, 473 Mein.).</p>
+
+<p><a class = "line" name = "note1_54" id = "note1_54" href =
+"#line1_54">54.</a>
+<b>comitem horridulum trita donare lacerna:</b> This is the kind of
+patronage that galled <span class = "smallcaps">Lucian</span> (De
+Merced. Cond., 37), who mentions the paltry present of an <span class =
+"greek" title = "ephestridion athlion hê chitônion huposathron">ἐφεστρίδιον ἄθλιον ἢ χιτώνιον ὑπόσαθρον</span>. On the word
+<i>comitem</i>, see <a href = "#line3_7">3, 7</a>. <i>Horridulum
+comitem</i>, ‘shivering beggar of a companion,’ ‘poor devil in your
+suite.’ For the custom, comp. <span class = "smallcaps">Hor.</span>,
+Ep., 1, 19, 37: <i>Non ego ventosae plebis suffragia venor</i> |
+<i>impensis <span class = "gesperrt">cenarum</span> et <span class =
+"gesperrt">tritae</span> munere <span class =
+"gesperrt">vestis</span></i>.</p>
+
+<p><a class = "line" name = "note1_56" id = "note1_56" href =
+"#line1_56">56.</a>
+<b>qui pote?</b> <i>Pote</i> is an archaism for <i>potis</i>. Both
+<i>potis</i> and <i>pote</i> are used as predicates without regard to
+number and gender.&mdash;<b>vis dicam:</b> G., 546, R.&nbsp;3; A., 70,
+3, <i>f</i>,&nbsp;R. <i>Vis</i> does not wait for an answer. See <a href
+= "#note6_63">6, 63</a>.&mdash;<b>nugaris:</b> ‘you are a twaddler’
+(Conington).&mdash;<b>calve:</b> <span class =
+"smallcaps">Persius</span> calls up his <i>vetulus</i> (<a href =
+"#line1_22">v. 22</a>) again, and gives him a huge ‘bombard’ of a belly.
+Nero had a <i>venter proiectus</i>, and some editors fancy that Nero’s
+person is aimed at here, and Nero’s poetry in the verses that follow.
+See Introd., <a href = "#intro_nero">xxxvi</a>.</p>
+
+<p><a class = "line" name = "note1_57" id = "note1_57" href =
+"#line1_57">57.</a>
+<b>aqualiculus:</b> (said properly to mean ‘a pig’s stomach’) ‘paunch,’
+‘cloak-bag of guts,’ <span class =
+"smallcaps">Shaksp.</span>&mdash;<b>protenso sesquipede:</b> Comp. the
+Greek proverb: <span class = "greek" title = "pacheia gastêr lepton ou tiktei noon">παχεῖα γαστὴρ λεπτὸν οὐ τίκτει νόον</span>. Even
+M.&nbsp;Martha is forced to say: <i>Le trait n’est ni spirituel ni
+poli</i> (<i>Moralistes Romains</i>, p. 147). For the justification, see
+<a href = "#note1_128">v. 128</a>. Jahn (1843) reads
+<i>propenso</i>.</p>
+
+<p><a class = "line" name = "note1_58" id = "note1_58" href =
+"#line1_58">58.</a>
+<b>Iane:</b> Janus, who sees both ways, is secure from being laughed at
+behind his back.&mdash;<b>ciconia pinsit</b> = <i>pinsendo ludit</i>.
+The fingers of the mocker imitate the clapping of the stork’s bill.
+<i>Pinsit</i>, ‘pounds,’ because the <i>ciconia levat ac deprimit
+rostrum dum clangit</i>, <span class = "smallcaps">Isidor.</span>,
+Orig., 20, 15,&nbsp;3. ‘Pecks at’ is not correct; ‘claps’ is nearer.
+What seems to be meant is mock applause.</p>
+
+<p><a class = "line" name = "note1_59" id = "note1_59" href =
+"#line1_59">59.</a>
+<b>auriculas:</b> The imitation of ass’s ears by the hands belongs to
+universal culture.&mdash;<b>imitari mobilis</b> = <i>ad
+imitandum&nbsp;m.</i> G., 424, R.&nbsp;4; A., 57, 8,
+<i>f.</i>&mdash;<b>albas:</b> on account of the white lining. <span
+class = "smallcaps">Ov.</span>, Met., 11, 176: <i>aures&mdash;villis
+<span class = "gesperrt">albentibus</span> implet</i>.</p>
+
+<p><a class = "line" name = "note1_60" id = "note1_60" href =
+"#line1_60">60.</a>
+<b>linguae:</b> The thrusting out of the tongue in derision is as common
+now as it was then.&mdash;<b>canis Apula:</b> Apulia was the <span class
+= "greek" title = "dipsion Argos">δίψιον Ἄργος</span> of Italy.
+<i>Siticulosae Apuliae</i>, <span class = "smallcaps">Hor.</span>,
+Epod., 3, 16.&mdash;<b>tantae:</b> So Jahn and Herm. ‘Tongues big enough
+to represent
+<span class = "pagenum">89</span>
+the thirst of an Apulian hound’ (Pretor). Jahn compares for the
+construction, <span class = "smallcaps">Luc.</span>, 1, 259: <i>quantum
+rura silent, tanta quies</i>. Conington considers <i>tantum</i> ‘much
+neater,’ and makes <i>quantum sitiat = quantum sitiens protendat</i>, ‘a
+length of tongue protruded like an Apulian dog in the dog-days.’</p>
+
+<p><a class = "line" name = "note1_61" id = "note1_61" href =
+"#line1_61">61.</a>
+<b>vos, o patricius sanguis:</b> <span class = "smallcaps">Hor.</span>,
+A.&nbsp;P., 291: <i>vos, o</i> | <i>Pompilius sanguis</i>. The Nom. for
+the Vocative in solemn address. G., 194, R.&nbsp;3; A., 53,
+<i>a.</i>&mdash;<b>fas est</b> = <i>fatum est</i>, ‘it is ordained.’</p>
+
+<p><a class = "line" name = "note1_62" id = "note1_62" href =
+"#line1_62">62.</a>
+<b>occipiti:</b> Notice the exceptional Abl. in <i>i</i>. Comp. <span
+class = "smallcaps">Auson.</span>, Epigr., 12, 8: <i><span class =
+"gesperrt">occipiti</span> calvo es</i>, and <i>capiti</i>, <a href =
+"#line1_83">v. 83</a>.&mdash;<b>posticae:</b> chiefly of the back part
+of a building: ‘back-stairs’ (Conington).&mdash;<b>occurrite:</b> ‘turn
+round and face’ (Conington and Pretor).&mdash;<b>sannae:</b> ‘flout,’
+‘gibe,’ ‘fleer,’ <span class = "greek" title = "môkos">μῶκος</span>.</p>
+
+<p><b>63-82.</b>
+<span class = "smallcaps">Persius</span> takes up the thread which Janus
+had rudely snapt: ‘We have heard the bounden praise of dependants. What
+does the town say? Why, they admire the smooth flow of the verse, the
+grand style. If they find these requisites, little do they care about
+theme or order of development; the ’prentice hand that bungles an
+eclogue, undertakes an epic&mdash;nay, jumbles eclogue and
+epic&mdash;Bravo, poet! all the same. Another mania is the passion for
+the old poets, a&nbsp;Pacuvian revival. What is to be expected when all
+this bubble-and-squeak language is the daily food of our children and
+the dear delight of lecture-halls?’</p>
+
+<p><a class = "line" name = "note1_63" id = "note1_63" href =
+"#line1_63">63.</a>
+<b>Quis</b> = <i>qui</i>. G., 105; A., 21, 1, <i>a.</i>&mdash;<b>quis
+enim:</b> <i>Enim</i>, like <span class = "greek" title =
+"gar">γὰρ</span>; ‘why, what else?’ ‘of course.’ G., 500; A., 43, 3,
+<i>d.</i></p>
+
+<p><a class = "line" name = "note1_64" id = "note1_64" href =
+"#line1_64">64.</a>
+<b>nunc demum:</b> as if something marvellous had been
+accomplished.&mdash;<b>severos:</b> ‘captious, critical.’</p>
+
+<p><a class = "line" name = "note1_65" id = "note1_65" href =
+"#line1_65">65.</a>
+<b>effundat:</b> ‘suffers to glide smoothly,’ a&nbsp;harsh
+expression.&mdash;<b>iunctura:</b> The image is that of the joining of
+pieces of marble, as in an <i>opus tessellatum</i>. Comp. <span class =
+"smallcaps">Lucil.</span>, fr. inc., 10, 33 (L.&nbsp;M.): <i>quam lepide
+<span class = "greek" title = "lexeis">λέξεις</span> conpostae, ut
+tesserulae, omnes</i> | <i>arte pavimenti atque emblemati’
+vermiculati</i>. The poet is compared with an artisan, not with an
+artist. He knows how to fit the pieces together so perfectly as to
+present a continuous smooth surface to the pressure of the most exacting
+nail. Comp. <a href = "#line1_92">v. 92</a>.&mdash;<b>tendere
+versum:</b> ‘to lay off a verse,’ as a carpenter lays off his work. The
+propriety of the word <i>tendere</i> is heightened, if we remember that
+the hexameter was called the <i>versus longus</i>.</p>
+
+<span class = "pagenum">90</span>
+<p><a class = "line" name = "note1_66" id = "note1_66" href =
+"#line1_66">66.</a>
+Carpenter-like, the versewright stretches his ruddled line
+(<i>rubrica</i>), sights it (<i>oculo derigit uno</i>), and springs it.
+The modern carpenter uses chalk instead of ruddle, but the red pencil
+may be regarded as a survival of color. For references, see Rost’s
+Passow, s.v. <span class = "greek" title = "stathmê">στάθμη</span>. For
+the spelling <i>derigat</i>, remember that <i>dirigere</i> is ‘to point
+in different directions;’ <i>derigere</i> ‘in one.’&mdash;<b>ac si
+derigat:</b> On the sequence, see G., 604; A.,&nbsp;61, 1,&nbsp;R.</p>
+
+<p><a class = "line" name = "note1_67" id = "note1_67" href =
+"#line1_67">67.</a>
+<b>sive:</b> seldom used alone; here for <i>vel si</i>.&mdash;<b>in
+mores, in luxum, in prandia regum:</b> a kind of anticlimax. <i>In</i>
+does not necessarily, though it does naturally, denote hostility. The
+<i>prandium</i> was originally a very simple meal. The Stoic model is
+set up in <span class = "smallcaps">Seneca</span>, Ep. 83,&nbsp;6:
+<i>Panis deinde siccus et sine mensa prandium, post quod non sunt
+lavandae manus.</i> The <i>manger sur le pouce</i> became in time the
+<i>déjeuner à la fourchette</i> (<i>calidum prandium</i>, <span class =
+"smallcaps">Plaut.</span>, Poen., 3, 5, 14), and then the <i>déjeuner
+dinatoire</i> (<i>prandia cenis ingesta</i>, <span class =
+"smallcaps">Sen.</span>, N.&nbsp;Q., 4, 13,&nbsp;6). <i>Regum</i>,
+‘grandees,’ ‘nabobs,’ belongs to <i>prandia</i> alone.</p>
+
+<p><a class = "line" name = "note1_68" id = "note1_68" href =
+"#line1_68">68.</a>
+<b>res grandis:</b> ‘sublimities.’</p>
+
+<p><a class = "line" name = "note1_69" id = "note1_69" href =
+"#line1_69">69.</a>
+<b>heroas:</b> used as an adjective.&mdash;<b>sensus:</b>
+‘sentiments.’&mdash;<b>adferre:</b> ‘parade,’ ‘bring on parade.’ On the
+Inf., see <a href = "#note3_64">3,&nbsp;64</a>.</p>
+
+<p><a class = "line" name = "note1_70" id = "note1_70" href =
+"#line1_70">70.</a>
+<b>nugari graece:</b> ‘dabble in Greek verses,’ a&nbsp;phase of
+fashionable education, no more peculiar to Nero than to <span class =
+"smallcaps">Horace</span> (Sat. 1, 10, 31).&mdash;<b>ponere lucum:</b>
+‘put before our eyes,’ ‘paint,’ ‘describe.’ <i>Lucus</i>,
+a&nbsp;favorite poetic theme. Jahn thinks of the grove in which Mars and
+Rhea Silvia met, <span class = "smallcaps">Juv.</span>, 1,&nbsp;7.
+Perhaps young poets tried their skill on groves, as young draughtsmen on
+trees.</p>
+
+<p><a class = "line" name = "note1_71" id = "note1_71" href =
+"#line1_71">71.</a>
+<b>artifices:</b> With <i>artifices ponere</i> comp. <i>artifex
+sequi</i>, <a href = "#lineP_11">Prol., 11</a>.&mdash;<b>rus
+saturum:</b> ‘lush, teeming
+country.’&mdash;<b>corbes&mdash;focus&mdash;porci:</b> all ‘properties’
+of country life.</p>
+
+<p><a class = "line" name = "note1_72" id = "note1_72" href =
+"#line1_72">72.</a>
+<b>fumosa Palilia faeno:</b> The festival called <i>Palilia</i>, in
+honor of Pales (from the same radical as <i>pa-sco</i>), was celebrated
+on the anniversary of the founding of Rome, April 21st. It was a day
+reeking (<i>fumosa</i>) with bonfires of hay (<i>faenum</i>), over which
+the peasants leaped, doubtless ‘to appease the evil spirit by a
+pretended sacrifice’ (Pretor). The dictionaries will furnish the <i>loci
+classici</i>. The other form, <i>Parilia</i>, is due to ‘dissimilation.’
+Comp. <i>meridies</i> for <i>medidies</i>.</p>
+
+<span class = "pagenum">91</span>
+<p><a class = "line" name = "note1_73" id = "note1_73" href =
+"#line1_73">73.</a>
+<b>unde:</b> ‘the source of;’ loosely used to show
+connection.&mdash;<b>Remus:</b> not unfrequently takes the place of his
+longer brother, whose oblique cases do not fit well into dactylic verse.
+So <i>turba Remi</i>, <span class = "smallcaps">Juv.</span>, 10, 73;
+<i>reddat signa Remi</i>, <span class = "smallcaps">Prop.</span>, 4, 6,
+80; and the other examples in Freund.&mdash;<b>sulco:</b> ‘<i>with</i>’
+and ‘<i>in</i> the furrow.’ See Prol., v., 1.&mdash;<b>terens:</b>
+‘wearing bright’ (Conington), ‘furbishing.’ König compares: <i><span
+class = "gesperrt">sulco attritus</span> splendescere vomer</i>, <span
+class = "smallcaps">Verg.</span>, Georg., 1, 46.&mdash;<b>dentalia:</b>
+‘share-beams,’ <span class = "smallcaps">Verg.</span>, Georg., 1, 171,
+with Conington’s note.&mdash;<b>Quinti:</b> Cincinnatus, <span class =
+"smallcaps">Liv.</span>, 3, 26.</p>
+
+<p><a class = "line" name = "note1_74" id = "note1_74" href =
+"#line1_74">74.</a>
+<b>cum dictatorem induit:</b> So Jahn (1843). Decidedly the easiest
+reading, but the best in connection with <i>terens</i>. In his ed. of
+1868, Jahn reads <i>quem dictatorem</i>. Hermann objects to the
+expression, and insists on <i>dictaturam</i>, appealing in his preface
+to <span class = "smallcaps">Plin.</span>, H.&nbsp;N., 18, 3, 20, for
+<i>dictaturam</i> in the sense of <i>vestem dictatoriam</i>. Surely, to
+‘robe dictator’ and to ‘robe with the dictatorship’ are not far apart,
+and the former is the more striking expression.&mdash;<b>trepida:</b>
+‘flurried.’ See <a href = "#note1_20">v. 20</a>.&mdash;<b>ante
+boves:</b> is supposed to give local coloring, and to bring before us
+the ‘slow, bovine gaze’ of the astonished cattle.</p>
+
+<p><a class = "line" name = "note1_75" id = "note1_75" href =
+"#line1_75">75.</a>
+<b>tua aratra:</b> Poetic plural.&mdash;<b>euge poeta:</b> Here the
+applause comes in. Mr. Pretor considers the words from <i>corbes</i> to
+<i>tulit</i> ‘a quotation, perhaps from one of Nero’s poems.’</p>
+
+<p><a class = "line" name = "note1_76" id = "note1_76" href =
+"#line1_76">76.</a>
+<b>est nunc:</b> <span class = "smallcaps">Persius</span> attacks the
+<i>antiquarii</i> in imitation of Horace. The older Latin poets have
+long been restored to their rights. <span class =
+"smallcaps">Accius</span> and <span class = "smallcaps">Pacuvius</span>
+hardly need defenders. Hermann makes the sentence
+interrogative.&mdash;<b>Brisaei:</b> ‘Bacchic.’ <i>Brisaeus</i> was an
+epithet of Bacchus, transferred to the poet of Bacchus, who was perhaps
+too devoted a worshipper of the god. There was a famous saying of <span
+class = "smallcaps">Cratinus</span>, who was in like manner called <span
+class = "greek" title = "taurophagos">ταυροφαγος</span>, a&nbsp;surname
+of Bacchus: <span class = "greek" title = "hudôr de pinôn ouden an tekoi sophon">ὕδωρ δὲ πίνων οὐδὲν ἂν τέκοι σοφόν</span>, fr. 186 (2, 119
+Mein.). Comp. <span class = "smallcaps">Hor.</span>, Ep., 1, 19,
+1.&mdash;<b>venosus:</b> For the figure, comp. <span class =
+"smallcaps">Tac.</span>, Dial. 21. The ‘standing out of the veins’
+refers not so much to the ‘shrinking of the flesh in old age’
+(Conington), as to the scrawniness of the person. So <span class =
+"smallcaps">Tacit.</span> uses <i>durus et siccus</i> of <span class =
+"smallcaps">Asinius Pollio</span> (l.c.), Gr. <span class = "greek"
+title = "ischnos">ἰσχνός</span>. ‘Angular,’ ‘hard-lined,’ is about what
+is meant. Others prefer ‘thick-veined,’ ‘turgid.’&mdash;<b>liber:</b> of
+a play, <span class = "smallcaps">Quint.</span>, 1, 10, 18; <span class
+= "smallcaps">Prop.</span>, 4 (3), 21, 28 (Jahn).&mdash;<b>Acci:</b>
+also written <i>Atti</i> (584-650? A.U.C.).
+<span class = "pagenum">92</span>
+<span class = "smallcaps">Cicero</span> calls him <i>gravis et
+ingeniosus poeta, summus poeta</i> (pr. Planc., 24, 59; Sest., 56, 120);
+<span class = "smallcaps">Hor.</span>, <i>altus</i> (Ep., 2, 1, 56);
+<span class = "smallcaps">Ov.</span>, <i>animosi oris</i> (Am., 1, 15,
+19). <span class = "smallcaps">Pacuvius</span> said that the
+compositions of <span class = "smallcaps">Accius</span> were <i>sonora
+quidem et grandia sed duriora paulum et acerbiora</i>.</p>
+
+<p><a class = "line" name = "note1_77" id = "note1_77" href =
+"#line1_77">77.</a>
+<b>Pacuvius:</b> nephew of Ennius (534-622 A.U.C.). His great model was
+<span class = "smallcaps">Sophocles</span>.&mdash;<b>verrucosa:</b>
+‘warty,’ intended to be a climax of ugliness.&mdash;<b>moretur:</b>
+‘fascinates,’ ‘enthralls.’ <i>Fabula&mdash;valdius oblectat populum
+meliusque <span class = "gesperrt">moratur</span></i>, <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 321.</p>
+
+<p><a class = "line" name = "note1_78" id = "note1_78" href =
+"#line1_78">78.</a>
+<b>Antiopa:</b> imitated from a lost play of <span class =
+"smallcaps">Euripides</span>. The fragments have been collected by
+Ribbeck, <i>Tr. Lat. Reliq.</i>, p. 62; comp. p. 278. Antiope, as the
+mother of Amphion and Zethus, and the victim of Dirce, is famous in
+literature and in art (the <i>Toro Farnese</i>).&mdash;<b>aerumnis cor
+luctificabile fulta:</b> ‘who props her dolorific heart on teen’
+(Gifford). Jahn defends the conception as truly poetical, apart from the
+obsolete language. ‘The only stay of her sad heart is sorrow.’ The words
+are doubtless taken from the play itself, of course in different order.
+<i>Aerumna</i> was out of date as early as the time of <span class =
+"smallcaps">Quintilian</span> (8, 3, 26), who protests against the use
+of it. As to <i>luctificabile</i>, if we go by the fragments, it is
+<span class = "smallcaps">Accius</span>, rather than <span class =
+"smallcaps">Pacuvius</span>, that indulges in such formations as
+<i>horrificabilis</i>, <i>aspernabilis</i>, <i>tabificabilis</i>,
+<i>execrabilis</i>, <i>evocabilis</i>.</p>
+
+<p><a class = "line" name = "note1_79" id = "note1_79" href =
+"#line1_79">79.</a>
+<b>lippos:</b> of the eyes of the mind. Comp. <a href =
+"#line2_72">2,&nbsp;72</a>.</p>
+
+<p><a class = "line" name = "note1_80" id = "note1_80" href =
+"#line1_80">80.</a>
+<b>sartago:</b> literally ‘a frying-pan,’ ‘hubble-bubble’ (Conington),
+‘gallimaufry,’ ‘galimatias,’ ‘olio’ (Gifford), ‘olla podrida.’</p>
+
+<p><a class = "line" name = "note1_81" id = "note1_81" href =
+"#line1_81">81.</a>
+<b>dedecus:</b> The language is disgraced and degraded by this mixture
+of old and new. <span class = "smallcaps">Persius</span> would not have
+enjoyed Tennyson’s resuscitations. See Introd., xxiv.&mdash;<b>in
+quo:</b> ‘at which.’</p>
+
+<p><a class = "line" name = "note1_82" id = "note1_82" href =
+"#line1_82">82.</a>
+<b>trossulus:</b> an old name of the Roman knights, of disputed origin.
+It was afterward used in derision. Jahn compares the German
+<i>Junker</i>.&mdash;<b>exsultat:</b> <span class = "greek" title =
+"anapêda">ἀναπηδᾷ</span>, ‘jumps up in delight.’&mdash;<b>per
+subsellia:</b> Jahn understands the ‘benches’ or ‘forms’ in court;
+others, perhaps more correctly, the seats in the lecture-hall. There is
+a climax. First, private teaching; next, public lectures; thirdly,
+practical life, to which we come in the following
+<span class = "pagenum">93</span>
+verse.&mdash;<b>levis:</b> the position is emphatic, ‘the smug, womanish
+creature.’ <i>Levis</i> is <i>levigatus</i>. Ancient literature is full
+of allusions to this effeminate <span class = "greek" title =
+"paratilsis">παρατιλσις</span>.</p>
+
+<p><a class = "line" name = "note1_83" id = "note1_83" href =
+"#line1_83">83.</a>
+<b>nilne:</b> stronger than <i>nonne</i>, ‘not a blush of
+shame.’&mdash;<b>capiti:</b> rarer Ablative in <i>i</i>. Neue gives
+examples (<i>Formenlehre</i>, 1, 242). The simple Abl. is found with
+<i>pellere</i>, even in prose, and the Dative, which some prefer, would
+be forced.&mdash;<b>cano:</b> See note on <a href =
+"#note1_9">v.&nbsp;9</a>.</p>
+
+<p><a class = "line" name = "note1_84" id = "note1_84" href =
+"#line1_84">84.</a>
+<b>quin optes:</b> G., 551; A., 65, 1, <i>b.</i>&mdash;<b>tepidum:</b>
+‘lukewarm,’ <i>decenter</i> being faint praise. ‘In good taste’
+(Conington). Gr. <span class = "greek" title = "pr{e}pontôs">π<ins class
+= "correction" title = "‘ε’ invisible">ρεπ</ins>όντως</span>.</p>
+
+<p><a class = "line" name = "note1_85" id = "note1_85" href =
+"#line1_85">85.</a>
+<b>‘Fur es:’</b>
+The accuser puts his point plainly enough; in three letters, as the
+Romans would say.&mdash;<b>ait:</b> Comp. <a href = "#line1_40">v.
+40</a>.&mdash;<b>Pedio:</b> Jahn thinks it likely that this Pedius is
+not <span class = "smallcaps">Horace’s</span> man (Sat., 1, 10, 28), but
+one Pedius Blaesus, condemned under Nero, <span class =
+"smallcaps">Tac.</span>, Ann., 14, 18; Hist., 1, 77. <span class =
+"smallcaps">Persius</span> knew more about <span class =
+"smallcaps">Horace</span> than about the <i>causes célèbres</i> of his
+own day.&mdash;<b>rasis antithetis:</b> commonly rendered ‘polished
+antitheses.’ With <i>radere</i> comp. the Gr. <span class = "greek"
+title = "diesmileumenai phrontides">διεσμιλευμέναι φροντίδες</span>,
+<span class = "smallcaps">Alexis</span>, fr. 215 (3, 483 Mein.). But the
+figure may possibly be taken from the careful removal of overweight in
+either scale of the balance. The antitheses are scraped down to an exact
+equipoise.</p>
+
+<p><a class = "line" name = "note1_86" id = "note1_86" href =
+"#line1_86">86.</a>
+<b>doctas figuras:</b> <i>Doctus</i>, Scaliger’s correction, which
+requires, moreover, a&nbsp;period at <i>figuras</i>, is unnecessary.
+<i>Doctas figuras</i>, like <i>artes doctae</i>, <i>dicta docta</i>,
+<i>doli docti</i>. <i>Figurae</i>, <span class = "greek" title =
+"schêmata">σχήματα</span>, embraces ‘tropes.’&mdash;<b>posuisse</b> =
+<i>quod posuerit</i>. G., 533; A., 70, 5,&nbsp;<i>b.</i></p>
+
+<p><a class = "line" name = "note1_87" id = "note1_87" href =
+"#line1_87">87.</a>
+<b>an:</b> ‘what?’ ‘can it be that?’&mdash;<b>Romule:</b> bitter, like
+<i>Titi</i>, <i>Romulidae</i>, <i>trossulus</i>. Comp. <span class =
+"smallcaps">Catull.</span>, 29, 5. 9.&mdash;<b>ceves:</b> ‘Wag the tail’
+keeps within bounds of possible translation.</p>
+
+<p><a class = "line" name = "note1_88" id = "note1_88" href =
+"#line1_88">88.</a>
+<b>men moveat?</b> So <i><span class = "gesperrt">men moveat</span>
+cimex Pantilius</i>, <span class = "smallcaps">Hor.</span>, Sat., 1, 10,
+78. The sentiment is that of the well-worn <i>si vis me flere, dolendum
+est</i> | <i>primum ipsi tibi</i>, <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 102. <i>Moveat</i> sc.
+<i>Pedius</i>.&mdash;<b>quippe:</b> is often ironical, ‘good
+sooth.’&mdash;<b>protulerim:</b> The Perf. Subj. in a sentence involving
+total negation.</p>
+
+<p><a class = "line" name = "note1_89" id = "note1_89" href =
+"#line1_89">89.</a>
+<b>cantas?</b> ‘you sing, do you?’&mdash;<b>fracta te in trabe
+pictum:</b> Shipwrecked men appealed to charity by carrying about
+pictures of the disaster which had overtaken them. Comp. <a href =
+"#line6_32">6, 32</a>. <i>Si <span class = "gesperrt">fractis</span>
+enatat exspes</i> | <i>navibus, aere dato qui pingitur</i>, <span class
+= "smallcaps">Hor.</span>, A.&nbsp;P.,
+<span class = "pagenum">94</span>
+20, and <span class = "smallcaps">Juv.</span>, 14, 302. <i>Trabe</i> is
+the wrecked vessel as it appears in the picture, although it is possible
+that the painting may have been put on a broken plank of the ship, in
+order to heighten the pathos. So Jahn.</p>
+
+<p><a class = "line" name = "note1_90" id = "note1_90" href =
+"#line1_90">90.</a>
+<b>ex umero:</b> We say ‘on the shoulder,’ from a different point of
+view. G., 388, R. 2.&mdash;<b>nocte paratum:</b> ‘got up overnight.’</p>
+
+<p><a class = "line" name = "note1_91" id = "note1_91" href =
+"#line1_91">91.</a>
+<b>plorabit:</b> an imperative future.&mdash;<b>volet:</b> Observe the
+greater exactness of the Latin expression. G., 624; A., 27,
+2.&mdash;<b>incurvasse:</b> See <a href = "#note1_42">v. 42</a>, and add
+<span class = "smallcaps">Liv.</span>, 28, 41, 5; 30, 14, 6; 40, 10, 5,
+and the <i>S.&nbsp;C. de Bacanalibus</i> (passim).</p>
+
+<p><b>92-106.</b>
+‘But,’ rejoins the impersonal personage, whom <span class =
+"smallcaps">Persius</span> always has at hand, ‘we have made great
+advances in art. Contrast this verse and that verse with the roughness
+of the Aeneid!’&mdash;‘The Aeneid rough? Well, what is smooth? [<i>He
+gives a specimen of fashionable poetry.</i>] If we had an inch of our
+sires’ backbone, such drivel would be impossible. And as for
+art&mdash;it is as easy as spitting.’</p>
+
+<p>I have followed the distribution as presented in Hermann. Jahn gives
+vv. 96, 97 to <span class = "smallcaps">Persius</span>, 98-102 to the
+interlocutor, the rest to <span class = "smallcaps">Persius</span>. It
+is impossible to discuss all the arrangements that have been suggested
+for this passage.</p>
+
+<p><a class = "line" name = "note1_92" id = "note1_92" href =
+"#line1_92">92.</a>
+<b>decor:</b> Gr. <span class = "greek" title =
+"charis">χάρις</span>.&mdash;<b>iunctura:</b> is used as in <a href =
+"#line1_64">v. 64</a>, of ‘smoothness,’ ‘harmonious sequence,’ the even
+surface without a break. See <span class = "smallcaps">Quint.</span>, 9,
+4, 33. All the specimen verses that follow avoid mechanically the
+offences against <i>iunctura</i> that <span class =
+"smallcaps">Quintilian</span> enumerates, and do not avail themselves of
+the license which he accords to a <i>grata neglegentia</i>. There is no
+elision, no synaloepha, in any of them. As these fashionable verses have
+been held up to derision by the satirist, commentators have been busy in
+hunting out defects, and translators have vied with each other in absurd
+renderings. But Jahn has wisely warned us against an over-curious search
+into the supposed faults of these verses, which Vossius pronounced
+superior to any thing in the compositions of the critic himself. It is
+enough for us to know that to the ear of <span class =
+"smallcaps">Persius</span> the lines lacked masculine vigor. The
+multiplication of diaereses, the length of the words, the careful
+avoidance of elision, the dainty half-rhyme of <i>bombis</i> and
+<i>corymbis</i>, the
+<span class = "pagenum">95</span>
+jingle of <i>ablatura</i> and <i>flexura</i>, may be cited as
+confirmations of the view of <span class = "smallcaps">Persius</span>,
+but, with the exception of the desperate <a href = "#line1_95">verse
+95</a>, the diction is in keeping with the theme. If <i>adsonat Echo</i>
+is not ridiculous in <span class = "smallcaps">Ovid</span> (Met., 3,
+505), it is not ridiculous here; and one surely needs to be told that
+<i>reparabilis</i> is not a happy adjective for Echo, who is always
+‘paying back’ and making good.</p>
+
+<p><a class = "line" name = "note1_93" id = "note1_93" href =
+"#line1_93">93.</a>
+<b>cludere versum:</b> like <i>concludere versum</i> (<span class =
+"smallcaps">Hor.</span>, Sat., 1, 4, 40), is ‘round a verse’
+(Conington), rather than ‘close a line.’&mdash;<b>didicit:</b> What is
+the subject? ‘Our man,’ ‘our poet,’ the lover of <i>decor et
+iunctura</i>? So most commentators. Heinr. makes <i>Attis</i> the
+subject. The personification of <i>iunctura</i> would not be too harsh
+for <span class = "smallcaps">Persius</span>.&mdash;<b>Berecyntius
+Attis:</b> It suffices to refer to <span class =
+"smallcaps">Catull.</span>, 63. Berecyntus, a&nbsp;mountain in
+Phrygia.</p>
+
+<p><a class = "line" name = "note1_94" id = "note1_94" href =
+"#line1_94">94.</a>
+<b>Nerea:</b> god of the sea, the water. In modern Gr. <span class =
+"greek" title = "neron">νερόν</span> is ‘water.’ The use, which
+Conington calls ‘grotesque,’ is almost as ‘grotesque’ as <i>Vulcanus</i>
+for ‘fire.’ The scholiast thinks of Arion’s dolphin. Bacchus’s dolphin
+is as likely.</p>
+
+<p><a class = "line" name = "note1_95" id = "note1_95" href =
+"#line1_95">95.</a>
+<b>sic costam longo subduximus Appennino:</b> With the close of the
+verse, comp. <span class = "smallcaps">Ov.</span>, 2, 226: <i>Aeriaeque
+Alpes et nubifer Appenninus</i>; and Haupt’s note. ‘We filched a rib
+from the long Apennine.’ The interpretations are all unsatisfactory. The
+scholiast sees in the removal of the rib from the mountain a metaphor
+for the removal of a syllable from the hexameter. The only point worthy
+of notice in this remark is the emphasis laid on the spondaic verse. The
+<i>Graece nugari soliti</i> doubtless used spondaic verses more freely
+than the model Latin poets (comp. <span class =
+"smallcaps">Catull.</span>, 64). Some understand the words to refer to a
+forced march (<i>putavi tam pauca milia <span class =
+"gesperrt">subripi</span> posse</i>, <span class =
+"smallcaps">Sen.</span>, Ep., 53,&nbsp;1); others to the device
+attributed to Hannibal in crossing the Alps (<i>montem rumpit aceto</i>,
+<span class = "smallcaps">Juv.</span>, 10, 153). It is all idle
+guess-work, without a context; but, guess for guess, the expression
+would suit a ‘Titanomachia,’ and the rib might answer for a weapon, as
+once a jaw-bone did. The jingle of the verse is like <span class =
+"smallcaps">Verg.</span>, Aen., 3, 549: <i>cornua <span class =
+"gesperrt">velatarum</span> obvertimus <span class =
+"gesperrt">antennarum</span></i>, quoted by the scholiast.</p>
+
+<p><a class = "line" name = "note1_96" id = "note1_96" href =
+"#line1_96">96.</a>
+<b>Arma virum!</b> ‘Compare with these elegant verses <i>Arma virum</i>;
+what a rough affair!’ Not only were the opening words
+<span class = "pagenum">96</span>
+of a poem used to indicate the poem itself&mdash;<span class = "greek"
+title = "Mênin aeide">Μῆνιν ἄειδε</span> the Iliad, <span class =
+"greek" title = "Andra moi ennepe">Ἄνδρα μοι ἔννεπε</span> the Odyssey,
+<i>Arma virum</i> the Aeneid&mdash;but the first verses were considered
+peculiarly significant. So the metrical structure of the first verse of
+the Iliad is very different from that of the first verse of the Odyssey.
+<i>Arma virum</i>, etc., with its short words and its frequent caesurae,
+was harsh to the ear of the interlocutor, and is compared with the
+rough, cracked bark of the cork-tree.&mdash;<b>spumosum et cortice
+pingui:</b> ‘frothy and fluffy’ (Conington). As usual, <span class =
+"smallcaps">Persius</span> works out his comparison into minute
+details.</p>
+
+<p><a class = "line" name = "note1_97" id = "note1_97" href =
+"#line1_97">97.</a>
+<b>vegrandi subere:</b> So Jahn, instead of <i>praegrandi subere</i>. Do
+not translate ‘huge, overgrown bark’ (Conington), but ‘dwarfed, stunted
+cork-tree.’ See Ribbeck (<i>Beiträge zur Lehre von den lateinischen
+Partikeln</i>, S.&nbsp;9), who has discussed <i>ve</i> and this verse at
+some length. Both Conington and Pretor admire the metaphysics of Jahn,
+who has ‘explained, after <span class = "smallcaps">Festus</span> and
+<span class = "smallcaps">Nonius</span>, <i>vegrandis</i> as <i>male
+grandis</i>, so as to include the two senses attributed to it by <span
+class = "smallcaps">Gell.</span>, 5, 12; 16, 5, of <i>too small</i> and
+<i>too large</i>.’ But <i>ve-</i> means separation (Vaniček, <i>Etym.
+Wb.</i>, S. 166); <i>ve-cor-s</i>, ‘out of one’s mind;’
+<i>ve-sanu-s</i>, ‘out of one’s sound senses;’ <i>ve-grandi-s</i>,
+‘shrunken,’ ‘dwarfed,’ ‘undergrown’ (if the word is admissible). For the
+growth of the cork-tree, R. refers to <span class =
+"smallcaps">Plin.</span>, N.&nbsp;H., 16, 8, 13: <i>suberi <span class =
+"gesperrt">minima arbor</span>&mdash;cortex tantum in fructu,
+praecrassus ac renascens atque etiam in denos pedes undique
+explanatus</i>. Some of the best commentators give these two verses (96
+and 97) to <span class = "smallcaps">Persius</span>, and consider
+<i>Arma virum</i> as an invocation of the shades of <span class =
+"smallcaps">Vergil</span>, ‘as <span class = "smallcaps">Horace</span>,
+A.&nbsp;P., 141, contrasts the opening of the Odyssey with <i>Fortunam
+Priami cantabo</i>.’ <i>Hoc</i> is supposed to refer to the specimen
+verses. Ribbeck also (l.c.) regards the swollen, light bark of the low
+cork-tree as the image of the <i>genus tumidum et leve</i>, as opposed
+to the <i>grande et grave</i>.&mdash;<b>coctum:</b> ‘thoroughly
+dried.’</p>
+
+<p><a class = "line" name = "note1_98" id = "note1_98" href =
+"#line1_98">98.</a>
+<b>Quidnam igitur:</b> <i>Igitur</i> is not unfrequently used in
+questions, as our ‘then.’ So <i>quidnam igitur censes?</i> <span class =
+"smallcaps">Juv.</span>, 4, 130. But, unless the question is a
+rejoinder, it is not very appropriate. ‘If the Aeneid is rough, give us
+something really soft,’ would be a fit reply to <i>Arma virum</i>, etc.,
+in the mouth of the objector. Conington, who gives 96-98 to <span class
+= "smallcaps">Persius</span>, connects thus: ‘If these
+<span class = "pagenum">97</span>
+are your specimens of finished versification, give us something
+peculiarly languishing.’&mdash;<b>laxa cervice:</b> the attitude of the
+<i>mobile guttur</i>, <a href = "#line1_18">v.&nbsp;18</a>.</p>
+
+<p><a class = "line" name = "note1_99" id = "note1_99" href =
+"#line1_99">99.</a>
+<b>Torva mimalloneis:</b> <span class = "smallcaps">Persius</span> can
+not wait for a specimen, and gives one himself. This is much more
+dramatic than the arrangement, which makes the respondent cite the
+verses. The verses are attributed to Nero by the scholiast, and in fact
+Nero is said to have composed a poem on the Bacchae, <span class =
+"smallcaps">Dio.</span>, 61, 20. The theme is so common that no
+conclusion is to be drawn from that statement. Mr. Pretor, who
+understands by <i>iunctura</i> ‘a resetting of old verses,’ regards
+99-102 as a weak <i>réchauffé</i> of <span class =
+"smallcaps">Catull.</span>, 64, 257 seqq., and compares <span class =
+"smallcaps">Tac.</span>, Ann., 14, 16.&mdash;<b>Torva:</b> ‘grim.’ So
+<i><span class = "gesperrt">torvum</span>que repente</i> |
+<i>clamat</i>, <span class = "smallcaps">Verg.</span>, Aen., 7, 399 (of
+Bacchanalian madness).&mdash;<b>mimalloneis:</b> from Mimas, on the
+coast opposite Chios. With the whole verse comp. <i>multis raucisonos
+efflabant cornua bombos</i>, <span class = "smallcaps">Catull.</span>,
+64, 264, and <span class = "smallcaps">Lucr.</span>, 4, 544.</p>
+
+<p><a class = "line" name = "note1_100" id = "note1_100" href =
+"#line1_100">100.</a>
+<b>vitulo superbo:</b> variously caricatured as ‘the haughty, the
+scornful calf.’ No such effect could have been produced by the original.
+Comp. <span class = "greek" title = "tauroi hubristai">ταῦροι
+ὑβρισταί</span>, <span class = "smallcaps">Eur.</span>, Bacch., 743
+(Jahn); <span class = "greek" title = "gaurotera moschô">γαυροτέρα
+μόσχω</span>, <span class = "smallcaps">Theocr.</span>, 11, 21; <i>equae
+superbiunt</i>, <span class = "smallcaps">Plin.</span>, 10, 63. The
+Bacchanal rending of animals is familiar.&mdash;<b>ablatura:</b> On this
+free use of the future participle, see G., 672; A., 72, 4.</p>
+
+<p><a class = "line" name = "note1_101" id = "note1_101" href =
+"#line1_101">101.</a>
+<b>Bassaris:</b> a Bacchante. Jahn cites a Greek epigram (<span class =
+"smallcaps">Anth. Pal.</span>, 6, 74), which shows how close a
+resemblance may be due simply to community of
+theme.&mdash;<b>lyncem:</b> ‘The lynx was sacred to Bacchus as the
+conqueror of India.’</p>
+
+<p><a class = "line" name = "note1_102" id = "note1_102" href =
+"#line1_102">102.</a>
+<b>euhion:</b> Gr. <span class = "greek" title = "euion">εὔιον</span>,
+Accus. of <span class = "greek" title = "euios">εὔιος</span> (commonly
+but falsely spelled <i>Evius</i>), <i>Euhius</i>,
+Bacchus.&mdash;<b>reparabilis:</b> Actively, as <span class =
+"smallcaps">Horace’s</span> <i>dissociabilis</i>, Od., 1, 3, 22;
+‘renewing,’ ‘restoring,’ ‘reawakening.’ So <span class =
+"smallcaps">Ov.</span>, Met., 1, 11, of the moon: <i><span class =
+"gesperrt">reparat</span> nova cornua</i>.&mdash;<b>adsonat:</b> ‘chimes
+in.’</p>
+
+<p><a class = "line" name = "note1_103" id = "note1_103" href =
+"#line1_103">103.</a>
+<b>testiculi vena ulla paterni:</b> ‘<i>Honestius expressit</i>, <span
+class = "smallcaps">Ov.</span>, Her., 16, 291: <i>si sint vires in
+semine avorum</i>.’ ‘If we had one spark of our fathers’ manhood alive
+in us’ (Conington).</p>
+
+<p><a class = "line" name = "note1_104" id = "note1_104" href =
+"#line1_104">104.</a>
+<b>delumbe:</b> ‘backboneless,’ ‘marrowless.’ Comp. <span class =
+"greek" title =
+"ischiorrôgikos">ἰσχιορρωγικός</span>&mdash;<b>saliva:</b> Spittle is
+‘foolish rheum’ as well as tears.</p>
+
+<p><a class = "line" name = "note1_105" id = "note1_105" href =
+"#line1_105">105.</a>
+<b>in udo est Maenas et Attis:</b> ‘Your Maenas and your Attis&mdash;it
+drivels away.’</p>
+
+<span class = "pagenum">98</span>
+<p><a class = "line" name = "note1_106" id = "note1_106" href =
+"#line1_106">106.</a>
+<b>nec pluteum caedit</b>, etc.: <i>Pluteus</i>, which is commonly
+rendered ‘desk,’ is, ‘according to the scholiast, the back-board of the
+<i>lecticula lucubratoria</i>,’ or studying-sofa, such as Augustus
+indulged in, <span class = "smallcaps">Suet.</span>, Aug., 78; comp.
+<a href = "#line1_53">v. 53</a>. ‘The man lies on his couch after his meal,
+listlessly drivelling out his verses, without any physical exertion or
+even motion of impatience’ (Conington). <span class =
+"smallcaps">Persius</span> underrates the artistic finish, as he has
+overdrawn the moral conclusion.&mdash;<b>demorsos:</b> ‘bitten down to
+the quick.’ <i>Et in versu faciendo</i> | <i>saepe caput scaberet vivos
+et roderet ungues</i>, <span class = "smallcaps">Hor.</span>, Sat., 1,
+10, 70.</p>
+
+<p><b>107-121.</b>
+M. But what is the use of offending people? We must not tell the truth
+at all times. You will have a cool reception at certain great houses.
+Nay, the dog will be set on you.&mdash;P. Well! I&nbsp;make no struggle.
+Every thing is lovely. No nuisance, you say. All right. Boys, let us go
+somewhere else. But there was <span class =
+"smallcaps">Lucilius</span>&mdash;he wielded the lash, he gnawed the
+bones of his victims. There was <span class =
+"smallcaps">Horace</span>&mdash;he probed his friend’s heart and punched
+him in the ribs, and had the town dangling from the gibbet of his
+tip-tilted nose. And I am not to say&mdash;Bo! Not all to myself? Not
+with a ditch for my confidant? Nowhere? Nowhere, you say? But I will.
+I&nbsp;have found a place&mdash;a ditch. It is my book. Here, book, is
+my great secret: ‘All the world’s an ass.’ What a relief!</p>
+
+<p><a class = "line" name = "note1_107" id = "note1_107" href =
+"#line1_107">107.</a>
+<b>quid:</b> What case?&mdash;<b>radere:</b> ‘rasp.’&mdash;<b>mordaci
+vero:</b> <i>Verum</i> is so completely a substantive that there is no
+difficulty about <i>mordaci vero</i> (comp. G., 428, R.&nbsp;2). Much
+bolder is <i>generoso honesto</i>, <a href = "#line2_74">2, 74</a>;
+<i>opimum pingue</i>, <a href = "#line3_32">3, 32</a>.</p>
+
+<p><a class = "line" name = "note1_108" id = "note1_108" href =
+"#line1_108">108.</a>
+<b>vidĕ:</b> like <i>cavĕ</i>, and other iambic Imperatives. G.,
+704,&nbsp;2; A., 78, 2, <i>d</i>.&mdash;<b>sis</b> = <i>si vis</i>, to
+soften the Imperative, ‘pray do.’&mdash;<b>maiorum tibi forte:</b> <span
+class = "smallcaps">Hor.</span>, Sat., 2, 1, 60: <i>O puer ut sis</i> |
+<i>vitalis metuo et maiorum ne quis amicus</i> | <i><span class =
+"gesperrt">frigore</span> te feriat.</i> <i>Maiores</i> =
+‘grandees.’</p>
+
+<p><a class = "line" name = "note1_109" id = "note1_109" href =
+"#line1_109">109.</a>
+<b>limina frigescant:</b> like the modern slang, ‘leave one out in the
+cold.’ <i>Limen</i> is used in many Latin turns where ‘threshold’ would
+be too stately in English. Mrs. Gamp would render: ‘the great man’s cold
+doorsteps will settle on your lungs.’&mdash;<b>canina littera:</b>
+‘R&nbsp;is for the dog,’ <span class = "smallcaps">Shaksp.</span>, Romeo
+and Jul.; ‘A&nbsp;dog snarling&nbsp;R,’ <span class = "smallcaps">Ben
+Jonson</span>. See Dictionaries, s.v. <i>hirrire</i>. Gr.
+<span class = "pagenum">99</span>
+<span class = "greek" title = "ararizein">ἀραρίζειν</span>. An allusion
+to the familiar <i>cave canem</i>. ‘The snarl is that of the great man’
+(Scholiast). Conington compares <i>ira cadat naso</i>, <a href =
+"#line5_91">5, 91</a>. The obvious interpretation is the right one.
+‘There is a sound of snarling in the air,’ refers simply to the great
+man’s dog, which will be set on the unwelcome satirist.</p>
+
+<p><a class = "line" name = "note1_110" id = "note1_110" href =
+"#line1_110">110.</a>
+<b>per me:</b> ‘for all I care,’ <span class = "greek" title = "emou g’ heneka">ἐμοῦ γ᾽ ἕνεκα</span>, a&nbsp;familiar use of the preposition
+<i>per: <span class = "gesperrt">per me</span> habeat licet</i>, <span
+class = "smallcaps">Plaut.</span>, Mercat., 5, 4,
+29.&mdash;<b>equidem:</b> Not for <i>ego quidem</i>, although this
+opinion affected the practice of <span class =
+"smallcaps">Cicero</span>, <span class = "smallcaps">Horace</span>,
+<span class = "smallcaps">Vergil</span>, <span class =
+"smallcaps">Quintilian</span>, the younger <span class =
+"smallcaps">Pliny</span>. <span class = "smallcaps">Sallust</span>, like
+<span class = "smallcaps">Varro</span>, combines <i>equidem</i> with
+every person. So Ribbeck (l.c. S. 36), who derives <i>equidem</i> from
+<i>e</i> interj. and <i>quidem</i>. Conington tries to save the rule
+here by making the expression equivalent to <i>equidem concedo</i>.
+Another exception is found <a href = "#line5_45">5, 45</a>, where C.
+goes through the same legerdemain: <i>non <span class =
+"gesperrt">equidem</span> dubites</i>, ‘I&nbsp;would not have you
+doubt.’&mdash;<b>alba:</b> ‘lovely,’ ‘whitewash them as much as you
+please.’</p>
+
+<p><a class = "line" name = "note1_111" id = "note1_111" href =
+"#line1_111">111.</a>
+<b>nil moror</b>, etc.: The whole line, indeed the whole passage, is
+strongly conversational in its tone. <i>Nil moror</i>, ‘I don’t wish to
+be in your way, to spoil sport.’ Comp. <span class =
+"smallcaps">Ter.</span>, Eun., 3, 2, 7, and Gesner, s.v.
+<i>moror</i>.&mdash;<b>bene:</b> Comp. <span class =
+"smallcaps">Cic.</span>, Fam., 7, 22: <i>bene potus.</i> See also note
+on <a href = "#note4_22">4, 22</a>.&mdash;<b>mirae res:</b> ‘wonders of
+the world’ (Conington), ‘miracles of perfection.’</p>
+
+<p><a class = "line" name = "note1_112" id = "note1_112" href =
+"#line1_112">112.</a>
+<b>hoc iuvat?</b> ‘I hope that is satisfactory.’&mdash;<b>veto quisquam
+faxit oletum:</b> ‘commit no nuisance.’ Observe the legal tone.
+<i>Quisquam</i>, on account of the negative idea. The negative <i>ne</i>
+is omitted after <i>veto</i> as often after <i>caveo</i>. G. 548,
+R.&nbsp;2; A., 57, 7, <i>a</i>. <i>Faxit</i>, a&nbsp;disputed form. G.,
+191,&nbsp;5; A., 30, 6,&nbsp;<i>e</i>.</p>
+
+<p><a class = "line" name = "note1_113" id = "note1_113" href =
+"#line1_113">113.</a>
+<b>pinge duos anguis:</b> ‘a sign of dedication rather than of
+prohibition’ (Pretor). The dedication involves the prohibition. This is
+one of the innumerable phases of serpent-worship. For the serpent, as
+the symbol of the <i>genius loci</i>, which is Greek as well as Latin,
+see <span class = "smallcaps">Verg.</span>, Aen., 5, 95, and the
+commentators. The reading <i>pinguedo sanguis</i> of some of the best
+MSS. may be mentioned, <i>animi causa</i>.</p>
+
+<p><a class = "line" name = "note1_114" id = "note1_114" href =
+"#line1_114">114.</a>
+<b>secuit:</b> ‘cut to the bone.’&mdash;<b>Lucilius:</b> The <i>loci
+classici</i> are <span class = "smallcaps">Hor.</span>, Sat., 1, 4, 6;
+1, 10, 1; 2, 1, 62; <span class = "smallcaps">Juv.</span>, 1, 19, 165.
+The <i>testimonia de Lucilio</i> have been collected and annotated
+by&nbsp;L. Müller, <span class = "smallcaps">Lucil.</span>, p. 170
+seqq.; p. 288 seqq.</p>
+
+<span class = "pagenum">100</span>
+<p><a class = "line" name = "note1_115" id = "note1_115" href =
+"#line1_115">115.</a>
+<b>Lupe, Muci:</b>&nbsp;L. Cornelius Lentulus Lupus Cons. A.U.C. 598,
+and&nbsp;P. Mucius Scaevola Cons. A.U.C. 621, <span class =
+"smallcaps">Juv.</span>, 1, 154.&mdash;<b>genuinum:</b> ‘Breaking the
+back-tooth’ shows the eagerness with which the satirist gnawed the bones
+of his victims. Comp. <span class = "smallcaps">Petron.</span>, 58:
+<i>venies sub <span class = "gesperrt">dentem</span></i>, ‘you will be
+“chawed” up.’</p>
+
+<p><a class = "line" name = "note1_116" id = "note1_116" href =
+"#line1_116">116.</a>
+A deservedly admired characteristic of <span class =
+"smallcaps">Horace</span>.&mdash;<b>vafer:</b> a hard word to catch.
+<i>Vafer</i> crowns the formidable list of synonyms in the well-known
+passage of <span class = "smallcaps">Cic.</span>, Off., 3, 13, 57:
+<i>versuti, obscuri, astuti, fallacis, malitiosi, callidi, veteratoris,
+<span class = "gesperrt">vafri</span></i>, ‘a shuffler,
+a&nbsp;hoodwinker, a&nbsp;trickster, a&nbsp;cheat, a&nbsp;designing
+rascal, a&nbsp;cunning fox, a&nbsp;blackleg, <i>a sly dog</i>.’ The
+indirectness of <i>vafer</i> may sometimes be rendered by ‘politic,’
+‘adroit.’ ‘Rogue’ is a tolerable equivalent.&mdash;<b>amico:</b> is much
+happier than <i>amici</i> would be; it makes the friend a party to the
+game. <i>Horatius qui ridendo verum dicit</i> (Sat., 1, 1, 24) <i>tam
+leniter vitia tangit, ut ipse, quem tangit, amicus rideat et poetam, qui
+dum ludere videtur intima aggreditur, lubens admittat et excipiat</i>
+(Jahn, after Teuffel).&mdash;<b>admissus:</b> ‘gets himself let in,’
+‘gains his entrance’ (Conington, after Gifford).</p>
+
+<p><a class = "line" name = "note1_117" id = "note1_117" href =
+"#line1_117">117.</a>
+<b>praecordia:</b> ‘heartstrings.’</p>
+
+<p><a class = "line" name = "note1_118" id = "note1_118" href =
+"#line1_118">118.</a>
+<b>excusso:</b> <span class = "smallcaps">Persius</span> would not be
+<span class = "smallcaps">Persius</span>, if he did not give us a
+problem even in his best passages. <i>Excusso naso</i> stronger than
+<i>emunctae naris</i>, <span class = "smallcaps">Hor.</span>, Sat., 1,
+4, 8 (Jahn). According to Heinr., <i>excusso = sursum iactato</i>, like
+<i>excussa brachia</i>, <span class = "smallcaps">Ov.</span>, Met., 5,
+596, which seems to suit <i>suspendere</i>. Conington renders, ‘with a
+sly talent for tossing up his nose and catching the public on it,’
+doubtless with reference to ‘tossing in a blanket,’ a&nbsp;pastime not
+unknown to the ancients: <i>Ibis ab <span class =
+"gesperrt">excusso</span> missus in astra sago</i>, <span class =
+"smallcaps">Mart.</span>, 1, 3,&nbsp;8. Comp. <span class =
+"smallcaps">Suet.</span>, Otho, 2; <span class =
+"smallcaps">Cervantes</span>, Don Quijote, 1, 17; and on the
+<i>sagatio</i>, see Friedländer, <i>Sittengesch.</i>, 1, 25. As the
+blanket is drawn tight in order to effect the elevation of the person
+tossed, we may combine with this figure the old version of an
+‘unwrinkled nose,’ a&nbsp;nose that is ‘kept straight’
+(<i>exporrectus</i>) by the owner to disguise his merriment (<i>ac si
+nihil tule ageret</i>). But this is over-interpretation, the besetting
+sin of the editors of <span class =
+"smallcaps">Persius</span>.&mdash;<b>callidus suspendere:</b> On the
+construction, see <a href = "#noteP_11">Prol.,
+11</a>.&mdash;<b>naso:</b> <i>Naso <span class =
+"gesperrt">suspendis</span> adunco</i>, <span class =
+"smallcaps">Hor.</span>, Sat., 1, 6,&nbsp;5. Comp. 2, 8,&nbsp;64.</p>
+
+<p><a class = "line" name = "note1_119" id = "note1_119" href =
+"#line1_119">119.</a>
+<b>men:</b> On <i>ne</i> in rhetorical questions, see <a href =
+"#note1_22">v. 22</a>.&mdash;<b>nec clam</b>&mdash;
+<span class = "pagenum">101</span>
+<b>nec cum scrobe:</b> ‘neither to myself nor with a hole in the ground
+for my listener.’ The negative in <i>nefas</i> is subdivided by
+<i>nec&mdash;nec</i>, G., 444,&nbsp;R. Others supply <i>fas</i>, G.,
+446, R.&mdash;<b>nusquam:</b> The answer of the critic, Jahn (1843). In
+the ed. of 1868 he writes with Hermann, <i>nusquam?</i> as a part of
+<span class = "smallcaps">Persius’s</span> question. The arrangement in
+the text seems to be more in accordance with <span class =
+"smallcaps">Persius’s</span> fashion of anticipating an answer (<span
+class = "greek" title = "anthupophora">ἀνθυποφορά</span>). ‘Nowhere? you
+say.’&mdash;<b>scrobe:</b> Allusion to the story of Midas and his
+barber, for which no reader will need to be referred to <span class =
+"smallcaps">Ov.</span>, Met., 11, 180 seqq.</p>
+
+<p><a class = "line" name = "note1_121" id = "note1_121" href =
+"#line1_121">121.</a>
+<b>quis non habet?</b> According to the <i>Vita Persii</i>, the poet had
+written <i>Mida rex habet</i>, intended for King Populus. Cornutus,
+afraid that Nero would take the fling to himself, changed the words to
+<i>quis non habet?</i> The story is not very consistent with the theory
+that <span class = "smallcaps">Persius</span> went so far as to ridicule
+Nero’s poetry.</p>
+
+<p><a class = "line" name = "note1_122" id = "note1_122" href =
+"#line1_122">122.</a>
+<b>ridere meum:</b> See <a href = "#note1_9">v.
+9</a>.&mdash;<b>nulla:</b> G., 304, R. 2.&mdash;<b>vendo:</b> ‘I am
+going to sell;’ familiar present for future; hence = <i>vendito</i>.</p>
+
+<p><a class = "line" name = "note1_123" id = "note1_123" href =
+"#line1_123">123.</a>
+<b>Iliade:</b> Probably the Iliad of Labeo. Homer’s Iliad would be too
+extravagant.&mdash;<b>audaci quicumque,</b> etc.: The poet distinctly
+points to the mordant Old Attic Comedy as his model; yet there is little
+trace of direct imitation of the worthies whom he cites, and the
+interval of conception is abysmal.&mdash;<b>adflate:</b> <span class =
+"smallcaps">Persius</span>, like some other Roman poets, goes beyond
+reasonable bounds in the use of the Vocative as a predicate. G., 324,
+R.&nbsp;1; A., 35, <i>b</i>. The Greeks were cautious, and in <span
+class = "smallcaps">Vergil</span> the Vocative can be detached and felt
+as such, but not here, nor in <a href = "#line3_28">3,
+28</a>.&mdash;<b>Cratino:</b> the oldest of the famous comic
+triumvirate: <i>Eupolis atque <span class = "gesperrt">Cratinus</span>
+Aristophanesque poetae</i>, <span class = "smallcaps">Hor.</span>, Sat.,
+1, 4, 1. <span class = "smallcaps">Cratinus</span> was the Archilochus
+of the Attic stage, hence <i>audax</i>. See the famous characteristic in
+<span class = "smallcaps">Aristophanes</span>, Eq., 527.</p>
+
+<p><a class = "line" name = "note1_124" id = "note1_124" href =
+"#line1_124">124.</a>
+<b>iratum Eupolidem:</b> The epithet is borne out by the
+fragments.&mdash;<b>praegrandi cum sene:</b> <span class =
+"smallcaps">Aristophanes</span>. The adjective refers to his greatness:
+‘the old giant.’ <i>Sene</i> is not to be pressed. Men who come before
+the public early are often called old before their time. Hannibal calls
+himself an old man when he was only in his forty-fourth year, <span
+class = "smallcaps">Liv.</span>, 30, 30. Others understand <i>sene</i>
+as a compliment to an ‘ancient’ author. Instead of <span class =
+"smallcaps">Aristophanes</span>, Heinrich and others suppose that <span
+class = "smallcaps">Lucilius</span> is
+<span class = "pagenum">102</span>
+meant. Comp. <span class = "smallcaps">Hor.</span>, Sat., 2, 1, 34:
+<i>vita <span class = "gesperrt">senis</span></i>, although <span class
+= "smallcaps">Lucilius</span> was only about forty-five at the time of
+his death&mdash;but see&nbsp;L. Müller, <i>Lucilius</i>, p.
+288.&mdash;<b>palles:</b> ‘study yourself pale over.’ The combination
+with the Accusative is bold, but not bolder than other cognate
+Accusatives. ‘Gain a Eupolidean pallor’ = ‘a pallor due to Eupolis.’ For
+different phases of <i>pallere</i> with Accus., see <a href =
+"#note3_43">3, 43</a>. 85; <a href = "#line5_184">5, 184</a>.</p>
+
+<p><a class = "line" name = "note1_125" id = "note1_125" href =
+"#line1_125">125.</a>
+<b>decoctius:</b> The figure is from wine that is ‘boiled down,’ ‘well
+refined.’ Not ‘opposed to the <i>spumosus</i> of <a href =
+"#line1_96">v. 96</a>’ (Conington), as is shown by <i>coctum</i>,
+<a href = "#line1_97">v. 97</a>.&mdash;<b>audis:</b> ‘have an ear for’
+(Conington).</p>
+
+<p><a class = "line" name = "note1_126" id = "note1_126" href =
+"#line1_126">126.</a>
+<b>inde</b> = <i>ab iis</i>, ‘by these’ (G., 613, R.&nbsp;1; A.,
+48,&nbsp;5), ‘by the study of these,’ dependent on
+<i>vaporata</i>.&mdash;<b>vaporata:</b> ‘steamed,’ hence ‘cleansed,’
+‘refined’ (Jahn). Comp. <i><span class = "gesperrt">purgatas</span>
+aures</i>, 5, 63; <i>aurem mordaci <span class = "gesperrt">lotus</span>
+aceto</i>, 5, 86.&mdash;<b>lector mihi ferveat:</b> <i>Mihi</i> really
+depends on <i>ferveat</i>, though it may be conveniently translated by
+‘my’ with <i>lector</i>. ‘Let my reader be one who comes to me with his
+ears aglow from the pure effluence of such poetry.’</p>
+
+<p><a class = "line" name = "note1_127" id = "note1_127" href =
+"#line1_127">127.</a>
+<b>non hic:</b> <i>Hic</i> is different in tone from <i>is</i>, more
+distinctly demonstrative, and hence more distinctly
+contemptuous.&mdash;<b>in crepidas:</b> The simple Accusative with
+<i>ludere</i> is the regular construction. <i>Crepidae</i>, a&nbsp;part
+of the Greek national dress. Comp. <span class =
+"smallcaps">Suet.</span>, Tib., 13: <i>redegit se</i> [<i>Tiberius</i>],
+<i>deposito patrio habitu, ad pallium et <span class =
+"gesperrt">crepidas</span></i>. Hence <i>fabulae crepidatae</i> of
+tragedies with Greek plots.&mdash;<b>Graiorum:</b> the rarer and more
+stilted form for <i>Graecorum</i>, perhaps by way of rebuking the
+impertinence of this stolid would-be wag.</p>
+
+<p><a class = "line" name = "note1_128" id = "note1_128" href =
+"#line1_128">128.</a>
+<b>sordidus:</b> ‘low creature,’ ‘dirty dog.’ Himself vulgar, he can not
+understand refinement of manners or attire.&mdash;<b>qui possit:</b>
+Casaubon reads <i>poscit</i> to match <i>gestit</i>. But Indicative and
+Subjunctive may well be combined, the former of a fact, the latter of a
+characteristic: ‘a man who&mdash; and a man to&mdash;.’ So in the famous
+line: <i>sunt qui non habeant, est qui non curat habere</i>, <span class
+= "smallcaps">Hor.</span>, Ep., 2, 2, 182.&mdash;<b>lusce:</b> ‘Old
+One-eye’ (Conington). The lowness of the wit is evident. In <a href =
+"#line1_56">v. 56</a> the poet appears to break his own rule, but
+baldness and corpulence are in his eyes badges of vice, not simple
+misfortunes.</p>
+
+<p><a class = "line" name = "note1_129" id = "note1_129" href =
+"#line1_129">129.</a>
+<b>aliquem:</b> G., 301.&mdash;<b>Italo:</b>
+‘provincial.’&mdash;<b>supinus</b> =
+<span class = "pagenum">103</span>
+<i>superbus</i>. The head is thrown back with the chin in the air,
+a&nbsp;familiar stage attitude. Others render ‘lolling at his ease.’</p>
+
+<p><a class = "line" name = "note1_130" id = "note1_130" href =
+"#line1_130">130.</a>
+<b>fregerit:</b> G., 541; A., 63, 2.&mdash;<b>heminas iniquas:</b>
+‘short half-pint measures.’ This was the duty of the
+aedile.&mdash;<b>Arreti:</b> Arretium in Etruria. So <span class =
+"smallcaps">Juvenal</span> takes Ulubrae as the type of a small
+provincial town: <i>vasa minora</i> | <i>frangere pannosus vacuis
+aedilis <span class = "gesperrt">Ulubris</span></i>, 10, 102.</p>
+
+<p><a class = "line" name = "note1_131" id = "note1_131" href =
+"#line1_131">131.</a>
+<b>abaco:</b> The <i>abacus</i> was a slab of marble or other material
+which was covered with sand (<i>pulvis</i>), for the purpose of drawing
+mathematical figures or making calculations (Jahn). Or <i>pulvere</i>
+may be dissociated from <i>abaco</i>, and then <i>abacus</i> would be a
+counting-board, <i>pulvis</i>, the sand on the ground (<i>eruditus
+pulvis</i>, <span class = "smallcaps">Cic.</span>, N.&nbsp;D., 2, 18,
+48), familiar from the story of the murder of
+Archimedes.&mdash;<b>metas:</b> ‘cones.’</p>
+
+<p><a class = "line" name = "note1_132" id = "note1_132" href =
+"#line1_132">132.</a>
+<b>scit:</b> as if this were a feat. Comp. <a href = "#line1_53">v.
+53</a>.&mdash;<b>risisse:</b> <span class = "greek" title =
+"gelasai">γελάσαι</span>, ‘to have his laugh at,’ one of the Perfect
+Infinitives mentioned in note on <a href = "#note1_41">v.
+41</a>.&mdash;<b>vafer:</b> ironical.&mdash;<b>gaudere paratus:</b>
+<i>Paratus</i>, as a Participle from <i>parare</i>, takes the Infinitive
+with ease. The grammars generally treat it as an exceptional Adjective.
+Here <i>paratus</i> is <span class = "greek" title =
+"hoios">οἷος</span>; ‘Just your man to have a fit of glee.’ Comp. <span
+class = "smallcaps">Petron.</span>, 43: <i><span class =
+"gesperrt">paratus</span> fuit quadrantem de stercore mordicus
+tollere</i>.</p>
+
+<p><a class = "line" name = "note1_133" id = "note1_133" href =
+"#line1_133">133.</a>
+<b>Cynico barbam:</b> ‘a Cynic’s beard for him.’ G., 343, R. 2. <i><span
+class = "gesperrt">Vellunt</span> tibi <span class =
+"gesperrt">barbam</span></i> | <i>lascivi pueri</i>, <span class =
+"smallcaps">Hor.</span>, Sat., 1, 3, 133 (of a Stoic). The beard was the
+badge of a philosopher.&mdash;<b>nonaria:</b> so called because women of
+that class were not allowed to ply their trade before the ‘ninth
+hour’&mdash;‘callet,’ ‘trull.’&mdash;<b>vellat:</b> because dependent;
+otherwise <i>gaudet si vellit</i>. G., 666; A., 66,&nbsp;2. The Cynic
+philosopher and the <i>nonaria</i> (ὁ&nbsp;<span class = "greek" title =
+"ho kai hê kuôn">καὶ ἡ κύων</span>) belong to each other by elective
+affinity, <span class = "smallcaps">Alciphron</span>, 3, 55,&nbsp;9. See
+an amusing parallel between philosopher and courtesan in the same
+sophist, 1, 34; and on the worst specimens of the ‘Capuchins of
+antiquity,’ as the Cynics have been called, comp. Friedländer,
+<i>Sittengesch.</i>, 3, 572.</p>
+
+<p><a class = "line" name = "note1_134" id = "note1_134" href =
+"#line1_134">134.</a>
+<b>edictum:</b> ‘play-bill,’ after <span class =
+"smallcaps">Sen.</span>, Ep., 117, 30. Others, ‘the business of the
+courts,’ the praetor’s court being a favorite
+lounging-place.&mdash;<b>prandia:</b> See <a href = "#note1_67">v.
+67</a>.&mdash;<b>Calliroen:</b> possibly one of the <i>elegidia
+procerum</i> (<a href = "#line1_51">v. 51</a>), after the order of
+Phyllis and Hypsipyle (<a href = "#line1_34">v. 34</a>). Comp. <span
+class = "smallcaps">Ov.</span>, Met., 9, 407, Rem. Am., 455-6.
+<span class = "pagenum">104</span>
+Others suppose that <span class = "smallcaps">Persius</span> meant a
+<i>nonaria</i>. See note on <a href = "#note6_73">6, 73</a>, and comp.
+<span class = "smallcaps">Plutarch</span>, Quaest. Conv., 3, 6,&nbsp;4.
+With this gracious permission, Casaubon compares the edict of <span
+class = "smallcaps">Hor.</span>, Ep., 1, 19,&nbsp;8: <i>Forum putealque
+Libonis</i> | <i>mandabo siccis, adimam cantare severis</i>.</p>
+
+<hr class = "spacer">
+
+<h5><a name = "notes_II" id = "notes_II" href = "#sat_II">
+SECOND SATIRE.</a></h5>
+
+<p class = "argument">
+<span class = "smallcaps">The</span> theme of this Satire is the
+Wickedness and Folly of Popular Prayers. The true philosopher is the
+only man that knows how to pray aright, and the Stoic is your only true
+philosopher. Compare, on the subject of prayer, the Second Alcibiades
+ascribed to <span class = "smallcaps">Plato</span>.</p>
+
+<p class = "argument">
+<span class = "smallcaps">Argument.</span>&mdash;Macrinus, you may well
+salute your returning birthday. Your wishes on that day of wishes are
+pure, whereas most of our magnates pray for what they dare not utter
+aloud. Any one can hear their requests for sound mind and good report,
+but the petitions for the death of an uncle, a&nbsp;ward, a&nbsp;wife,
+the prayer for sudden gain, are mere whispers (<a href =
+"#line2_1">1-15</a>). Strange that, in order to prepare for such
+impieties as these, men should go through all manner of lustral
+services, and trust to the ear of Jove what they would not breathe to
+any mortal (<a href = "#line2_15">15-23</a>). Strange that men should
+fancy because Jove is not swift to strike the sinner dead that he may be
+insulted with safety, or easily bought off by a lot of greasy
+chitterlings (<a href = "#line2_24">24-30</a>).</p>
+
+<p class = "argument">
+Pass from wicked to foolish prayers. Grandam and aunt would have skinny
+Master Hopeful a wealthy nabob, would have him make a great match. Girls
+are to scramble for him, and roses spring up beneath his feet. Silly
+petitions! Refuse them, Jupiter (<a href = "#line2_31">31-40</a>). Nor
+less silly are those prayers whose fulfilment the suppliant himself
+defeats&mdash;prayers for a hale old age, despite rich made-dishes
+(<a href = "#line2_41">41-43</a>); prayers for wealth, while the worshipper
+expends his whole substance in sacrifice (<a href =
+"#line2_44">44-51</a>).</p>
+
+<p class = "argument">
+The trouble lies in this, that men judge the gods by themselves. Because
+gold brings a joyous flutter to their hearts, they think to sway the
+gods by gold, and change to gold the vessels of the sanctuary. The gods
+are measured by our ‘accursed blubber,’ that flesh which corrupts all
+that it handles. Yet the flesh tastes what it touches, and enjoys the
+ruin which it has wrought. But what can a pure god do with our gold? To
+him it is a spent toy, an idle offering. Let us give the gods honest and
+upright hearts, and a handful of meal will suffice to gain their
+blessing (<a href = "#line2_32">32-75</a>).</p>
+
+<hr class = "tiny">
+
+<p class = "argument">
+Although the colors of the piece pale before the rhetorical glare of
+<span class = "pagenum">105</span>
+Juvenal’s Tenth Satire, which treats of a kindred theme&mdash;the
+‘Vanity of Human Wishes’&mdash;the philosophical commonplace is handled
+with considerable vigor, and with all the picturesque detail of the
+author’s style. And Montaigne, who, as a moralist, quotes <span class =
+"smallcaps">Persius</span> very often, has garnished the 56th essay of
+his First Book with copious extracts from this Satire.</p>
+
+
+<p class = "space">
+<b>1-15.</b> Macrinus, your prayers are pure, you need no private
+audience of the gods. Not so the petitions of many of our foremost men.
+Far different is what they say and what they whisper, when they come
+before the gods in prayer.</p>
+
+<p><a class = "line" name = "note2_1" id = "note2_1" href =
+"#line2_1">1.</a>
+<b>Hunc diem:</b> The birthday was always a high-day in Rome, as
+elsewhere. In French, <i>fête</i> is a synonym of
+birthday.&mdash;<b>Macrine:</b> ‘Plotius Macrinus, the scholiast says,
+was a learned man, who loved <span class = "smallcaps">Persius</span> as
+his son, having studied in the house of the same preceptor, Servilius.
+He had sold some property to <span class = "smallcaps">Persius</span> at
+a reduced rate’ (Conington).&mdash;<b>meliore:</b> sc. <i>solito</i>.
+G., 312,&nbsp;2; A., 17, 5.&mdash;<b>lapillo:</b> The Scythians used to
+drop into a quiver a stone for every day, white for the good and black
+for the bad, and when life was over the stones were counted. There is a
+similar story of the Thracians, <span class = "smallcaps">Plin.</span>,
+H.&nbsp;N., 7, 40, 41 (Jahn). The phrase ‘white stone’ is so common that
+one passage will suffice as a parallel: <i>Felix utraque lux diesque
+nobis</i> | <i>signandi <span class = "gesperrt">melioribus
+lapillis</span></i>, <span class = "smallcaps">Mart.</span>, 9, 52,
+4.</p>
+
+<p><a class = "line" name = "note2_2" id = "note2_2" href =
+"#line2_2">2.</a>
+<b>labentis:</b> not simply an <i>epitheton ornans</i>, ‘the gliding
+years,’ but ‘the years as they glide away.’ <i>Eheu, fugaces, Postume,
+Postume</i> | <i><span class = "gesperrt">labuntur anni</span></i>,
+<span class = "smallcaps">Hor.</span>., Od., 2, 14,
+1.&mdash;<b>apponit:</b> ‘puts to your account.’ Comp. <i>quem fors
+dierum cumque dabit lucro</i> | <i><span class =
+"gesperrt">appone</span></i>, <span class = "smallcaps">Hor.</span>,
+Od., 1, 9, 15. Each day lived may be a day gained or a day lost. Comp.
+also <span class = "smallcaps">Hor.</span>, Od., 2, 5,
+15.&mdash;<b>candidus:</b> <span class = "greek" title = "leukê hêmera, leukon euameron phaos">λευκὴ ἡμέρα, λευκὸν εὐάμερον φάος</span>, <span
+class = "smallcaps">Soph.</span>, Ai., 709. Comp. <span class =
+"smallcaps">Catull.</span>, 8, 3: <i>fulsere vere <span class =
+"gesperrt">candidi</span> tibi soles</i>.</p>
+
+<p><a class = "line" name = "note2_3" id = "note2_3" href =
+"#line2_3">3.</a>
+<b>genio:</b> ‘The tutelary Deity, or “guardian angel,” who was supposed
+to attend on every individual from the cradle to the grave. Its cultus
+was strictly materialistic, and should be compared with the offerings of
+meat, drink, and clothes which were made to the <i>manes</i> of the
+dead. Comp. <span class = "smallcaps">Censorin.</span>, De Die Nat., 3;
+<span class = "smallcaps">Serv.</span> ad <span class =
+"smallcaps">Verg.</span>, Georg., 1, 302; <span class =
+"smallcaps">Hor.</span>, Ep., 2, 2, 187: <i>scit <span class =
+"gesperrt">Genius</span>, natale comes qui temperat astrum</i> |
+<i>naturae deus humanae,
+<span class = "pagenum">106</span>
+mortalis in unum</i> | <i>quodque caput, vultu mutabilis albus et
+ater</i>. In character it was the reflex of the man (comp. Sat. <a href
+= "#line6_48">6, 48</a>, where it represents the <i>felicitas</i> of the
+emperor); it might be humored and appeased by proper attention, more
+especially by sacrifice (comp. <a href = "#line5_151">5, 151</a>), or
+irritated and made baneful by neglect (comp. <a href = "#line4_27">4,
+27</a>; <span class = "smallcaps">Juv.</span>, 10, 129). From these
+latter passages it would appear to represent the <i>alter homo</i>, or
+second self.’ So Pretor. The <i>genius</i> is the divine element which
+is born with a man, and when he dies becomes a <i>lar</i>, if he is
+good; if he is wicked, a&nbsp;<i>larva</i>, or a <i>lemur</i>. Departed
+<i>genii</i> were called <i>manes</i>&mdash;‘good
+fellows’&mdash;doubtless with a view to propitiation.&mdash;<b>non
+tu:</b> Comp. <a href = "#line1_45">1, 45</a>.&mdash;<b>emaci:</b>
+‘chaffering, haggling.’ Prayer was often conceived as bargain and sale.
+See <a href = "#note2_29">v. 29</a>, and <span class =
+"smallcaps">Plato</span>, Euthyphro, 14E (Jahn). By the <i>prece
+emaci</i> is meant the <i>votum</i>, or vow, the <span class = "greek"
+title = "euchê">εὐχή</span>, and not the <span class = "greek" title =
+"proseuchê">προσευχή</span>, as <span class = "smallcaps">Gregory</span>
+of Nyssa puts it (De Orat., Ed. Paris. a. 1638, Tom. 1, p. 724D).
+Casaubon compares <span class = "smallcaps">Hor.</span>, Od., 3, 29, 59:
+<i>ad miseras preces</i> | <i>decurrere et <span class =
+"gesperrt">votis pacisci</span></i>.</p>
+
+<p><a class = "line" name = "note2_4" id = "note2_4" href =
+"#line2_4">4.</a>
+<b>seductis:</b> Comp. <i>paulum a turba <span class =
+"gesperrt">seductior</span> audi</i>, <a href = "#line6_42">6,
+42</a>.&mdash;<b>nequeas:</b> G., 633; A., 65, 2.</p>
+
+<p><a class = "line" name = "note2_5" id = "note2_5" href =
+"#line2_5">5.</a>
+<b>at bona pars:</b> Comp. <span class = "smallcaps">Hor.</span>, Sat.,
+1, 1, 61: <i>at <span class = "gesperrt">bona pars</span>
+hominum.</i>&mdash;<b>libabit:</b> Gnomic or sententious future. See
+<a href = "#note3_93">3, 93</a>. Jahn comp. <span class =
+"smallcaps">Juv.</span>, 8, 182: <i>quae</i> | <i>turpia cerdoni Volesos
+Brutumque decebunt</i>. ‘That which is done is that which shall be
+done.’ The other reading, <i>libavit</i> (gnomic Perfect), is not so
+good. See G., 228, R. 2, and Dräger, <i>Histor. Synt. der lat.
+Sprache</i>, § 127.</p>
+
+<p><a class = "line" name = "note2_6" id = "note2_6" href =
+"#line2_6">6.</a>
+<b>haud cuivis:</b> Comp. <i>non <span class = "gesperrt">cuivis</span>
+homini contingit</i>, <span class = "smallcaps">Hor.</span>, Ep., 1, 17,
+36.&mdash;<b>humilis:</b> ‘that keep near the ground,’ ‘groundling,’
+hence ‘low.’ <span class = "smallcaps">Persius</span> delights in rare
+epithets.</p>
+
+<p><a class = "line" name = "note2_7" id = "note2_7" href =
+"#line2_7">7.</a>
+<b>aperto vivere voto:</b> Comp. <span class = "smallcaps">Mart.</span>,
+1, 39, 6: <i>si quis erit recti custos, mirator honesti</i> | <i>et
+<span class = "gesperrt">nihil arcano qui roget ore deos</span></i>.</p>
+
+<p><a class = "line" name = "note2_8" id = "note2_8" href =
+"#line2_8">8.</a>
+<b>Mens bona:</b> Comp. <span class = "smallcaps">Hor.</span>, Ep., 1,
+16, 59.&mdash;<b>Mens bona, fama, fides:</b> are commonly considered to
+be the things prayed for. They are possibly persons prayed to. ‘Such
+notions as Welfare (<i>salus</i>), Honesty (<i>fides</i>), Harmony
+(<i>concordia</i>), belong to the oldest and holiest Roman divinities’
+(Mommsen).&mdash;<b>hospes:</b> ‘a stranger,’ ‘any body.’</p>
+
+<p><a class = "line" name = "note2_9" id = "note2_9" href =
+"#line2_9">9.</a>
+<b>o si:</b> On this form of the wish, see G., 254, R.&nbsp;1; A., 57,
+4, <i>b.</i> <i>O si</i> may be considered an elliptical conditional
+sentence,
+<span class = "pagenum">107</span>
+but as the ellipsis is emotional it must not be supplied. Such an
+apodosis as scholars are prone to understand for the Greek (<span class
+= "greek" title = "kalôs an echoi">καλῶς ἂν ἔχοι</span>) <i>bene
+sit</i>, would change the <i>wish</i> into a <i>thought</i>. In this
+passage the apodosis, which is involved in <i>praeclarum funus</i>,
+comes limping in as an afterthought.</p>
+
+<p><a class = "line" name = "note2_10" id = "note2_10" href =
+"#line2_10">10.</a>
+<b>ebulliat:</b> is slang. Comp. <i>tam bonus Chrysanthus animam <span
+class = "gesperrt">ebulliit</span></i>, <span class =
+"smallcaps">Petron.</span>, 42 (<i>nos non pluris sumus quam <span class
+= "gesperrt">bullae</span></i>, ibid.); <span class =
+"smallcaps">Sen.</span>, Apocolocynt.,&nbsp;4. Conington renders ‘go
+off.’ ‘Kick the bucket’ would be worthy of <span class =
+"smallcaps">Persius</span>. <i>Ebulliat</i> must be read <i>ebulljat</i>
+(G., 717). The best MSS. have <i>ebullit</i>, but such a Subjunctive
+would be more than doubtful (G., 191,&nbsp;3; Neue, <i>Formenl.</i>, 2,
+339).&mdash;<b>praeclarum funus:</b> Either ‘that would be a grand
+funeral,’ or ‘that would be a corpse worth seeing.’ In the former case
+the man of prayer tries to salve his conscience by promising his uncle
+(comp. <a href = "#line1_11">1, 11</a>) a ‘first-class funeral.’ Comp.
+<i><span class = "gesperrt">funus</span> egregie factum laudet
+vicinia</i>, <span class = "smallcaps">Hor.</span>, Sat., 2, 5, 105. In
+the latter, he is welcoming the death of the crabbed old man. For
+<i>funus</i>, in this connection, Jahn compares <span class =
+"smallcaps">Prop.</span>, 1, 17, 8: <i>haecine parva meum <span class =
+"gesperrt">funus</span> harena teget?</i> The half-light of the passage
+is well suited to the paltering knavery of the prayer.</p>
+
+<p><a class = "line" name = "note2_11" id = "note2_11" href =
+"#line2_11">11.</a>
+<b>sub rastro,</b> etc.: <span class = "smallcaps">Hor.</span>, Sat., 2,
+6, 10: <i>O si urnam argenti fors quae mihi monstret, ut illi</i> |
+<i>thesauro invento, qui mercennarius agrum</i> | <i>illum ipsum
+mercatus aravit, dives amico</i> | <i>Hercule</i>.</p>
+
+<p><a class = "line" name = "note2_12" id = "note2_12" href =
+"#line2_12">12.</a>
+<b>Hercule:</b> This is Hercules <span class = "greek" title =
+"ploutodotês">πλουτοδότης</span>, to whom the Romans consecrated a tithe
+of their gains. Mommsen and others dissociate this Hercules from the
+Greek <span class = "greek" title = "Hêraklês">Ἡρακλῆς</span>. According
+to Casaubon and the schol. (<a href = "#line2_44">v. 44</a>), Hermes
+(Mercury) is the bestower of windfalls found on the way, Hercules the
+patron of sought treasures.&mdash;<b>pupillum:</b> ‘The Twelve Tables
+provided that where no guardian was appointed by will, the next of kin
+would be guardian, and he would of course be heir’ (Conington, after
+Jahn).</p>
+
+<p><a class = "line" name = "note2_13" id = "note2_13" href =
+"#line2_13">13.</a>
+<b>inpello:</b> ‘whose kibe I gall,’ ‘whom I tread hard
+upon.’&mdash;<b>expungam:</b> ‘get him out’ (of his place in the
+will).&mdash;<b>namque:</b> gives an explanation, which serves at once
+to heighten and to excuse the hope. ‘You see he is in a bad way already.
+He is going to die at any rate, and death would really be a relief to
+all parties.’&mdash;<b>scabiosus:</b> ‘scrofulous.’&mdash;<b>acri</b> |
+<b>bile:</b> <span class = "greek" title = "drimeia cholê">δριμεῖα
+χολή</span>, Casaubon,
+<span class = "pagenum">108</span>
+who compares <span class = "smallcaps">Juv.</span>, 6, 565: <i>consulit
+<span class = "gesperrt">ictericae</span> lento de funere
+matris</i>.</p>
+
+<p><a class = "line" name = "note2_14" id = "note2_14" href =
+"#line2_14">14.</a>
+<b>tumet:</b> Comp. <i>turgescit vitrea bilis</i>, 3, 8; <i>mascula
+bilis</i> | <i>intumuit</i>, 5, 145.&mdash;<b>Nerio:</b> Nerius is the
+usurer in <span class = "smallcaps">Horace</span>, Sat., 2, 3, 69. <span
+class = "smallcaps">Persius</span> borrows his names from <span class =
+"smallcaps">Horace</span>, as <span class = "smallcaps">Horace</span>
+borrows his from <span class =
+"smallcaps">Lucilius</span>&mdash;progressive bookishness, of which
+there are several examples. Comp. Pedius, 1, 85; Craterus, 3, 65;
+Bestius, 6, 37.&mdash;<b>conditur:</b> So Jahn (1868) and Hermann. Jahn
+(1843) reads <i>ducitur</i> with many MSS. <i>Ducitur</i> is not to be
+explained of ‘being carried out to burial’ (<span class =
+"smallcaps">Servius</span> ad <span class = "smallcaps">Verg.</span>,
+Georg., 4, 256), but in its ordinary sense of ‘being married.’ Nerius
+has got rid of two wives, and ‘is actually marrying a third.’
+<i>Conditur</i> is best supported by MS. authority, and gives a
+sufficiently good sense. Hermann quotes, in support of <i><span class =
+"gesperrt">conditur</span></i>, <span class = "smallcaps">Mart.</span>,
+5, 37, where a man survives the loss of a rich wife, and <span class =
+"greek" title = "gunaika thaptein kreitton estin ê gamein">γυναῖκα
+θάπτειν κρεῖττόν ἐστιν ἢ γαμεῖν</span>, <span class =
+"smallcaps">Chaeremon</span>, ap. <span class =
+"smallcaps">Stobaeum</span>, Sermon., 88, 22. Among the wishes in <span
+class = "smallcaps">Lucian’s</span> Icaromen., 25, we find <span class =
+"greek" title = "ô theoi, ton patera moi tacheôs apothanein">ὦ θεοί, τὸν
+πατέρα μοι ταχέως ἀποθανεῖν</span> (comp. <a href = "#line2_10">v.
+10</a>), and <span class = "greek" title = "eithe klêronomêsaimi tês gunaikos">εἴθε κληρονομήσαιμι τῆς γυναικός</span>, which is the key of
+this verse. On the use of the Dative, see G., 352, R.&nbsp;1; A., 51,
+4,&nbsp;<i>c</i>.</p>
+
+<p><b>15, 16.</b>
+These are the impious prayers that must be prefaced by pious
+observances.</p>
+
+<p><a class = "line" name = "note2_15" id = "note2_15" href =
+"#line2_15">15.</a>
+<b>in gurgite mergis:</b> G., 384, R.&nbsp;1; A., 56, 1, <i>c</i>,
+R.</p>
+
+<p><a class = "line" name = "note2_16" id = "note2_16" href =
+"#line2_16">16.</a>
+<b>bis terque:</b> <span class = "greek" title = "dis kai tris">δὶς καὶ
+τρίς</span>. G., 497.&mdash;<b>flumine:</b> Prol.,&nbsp;1. The lustral
+use of the bath, the pollution of the night, the peculiar virtue of
+running water, are common to Scriptural and classical antiquity. Lev.,
+chap. 15. <i>Illo</i> | <i>mane die, quo tu indicis ieiunia nudus</i> |
+<i>in <span class = "gesperrt">Tiberi</span> stabit</i>, <span class =
+"smallcaps">Hor.</span>, Sat., 2, 3, 290; <i>Ter matutino <span class =
+"gesperrt">Tiberi</span> mergetur et ipsis</i> | <i>verticibus timidum
+<span class = "gesperrt">caput abluet</span></i>, <span class =
+"smallcaps">Juv.</span>, 6, 523; <i>Ac primum pura <span class =
+"gesperrt">somnum</span> tibi <span class = "gesperrt">discute</span>
+lympha</i>, <span class = "smallcaps">Prop.</span>, 4, 10, 13. For
+parallels, see Tylor, <i>Primitive Culture</i>, 2, 388.</p>
+
+<p><b>17-30.</b>
+With a sudden dramatic turn, <span class = "smallcaps">Persius</span>
+pins his omnipresent Second Person to the wall by an ironical question
+touching his conception of the divine character. ‘What do you think of
+God? What can you think of God when you confide to him wishes that you
+would conceal from a Staius? Are you so bold because God is so slow? Are
+you so bold because God’s favor is so cheaply bought?’</p>
+
+<span class = "pagenum">109</span>
+<p><a class = "line" name = "note2_17" id = "note2_17" href =
+"#line2_17">17.</a>
+<b>minimum est,</b> etc.: Ironical.&mdash;<b>scire laboro:</b> So <span
+class = "smallcaps">Hor.</span>, Ep., 1, 3, 2, and <i>nosse laboro</i>,
+Sat., 2, 8, 19.</p>
+
+<p><a class = "line" name = "note2_18" id = "note2_18" href =
+"#line2_18">18.</a>
+<b>estne ut:</b> On this periphrasis, see G., 558; A., 70, 4, <i>a</i>.
+<i>Si <span class = "gesperrt">est</span>, patrue, culpam <span class =
+"gesperrt">ut</span> Antipho in se admiserit</i>, <span class =
+"smallcaps">Ter.</span>, Phormio, 2, 1, 40. Comp. Hec., 3, 5, 51; 4, 1,
+43; Adelph., 3, 5, 4; <span class = "smallcaps">Hor.</span>, Od., 3, 1,
+9.&mdash;<b>cures:</b> <i>Curare</i>, with Inf. usually has a negative
+(<a href = "#line3_78">3, 78</a>) or equivalent, as here.</p>
+
+<p><a class = "line" name = "note2_19" id = "note2_19" href =
+"#line2_19">19.</a> <b>‘cuinam?’ cuinam?</b>
+The first <i>cuinam</i> is the question of the other man, the second the
+echo of <span class = "smallcaps">Persius</span>. Comp. <span class =
+"smallcaps">Ar.</span>, Ach., 594: <span class = "greek" title = "alla #tis# gar ei? D. #hostis?# politês chrêstos.">ἀλλὰ <span class =
+"gesperrt">τίς</span> γὰρ εἶ; Δ. <span class = "gesperrt">ὅστις;</span>
+πολίτης χρηστός.</span>&mdash;<b>vis:</b> Comp. <a href = "#line1_56">1,
+56</a>.&mdash;<b>Staio:</b> Staius can not be
+identified&mdash;<i>homuncio nobis ignotus</i> (König)&mdash;and, as
+Jahn admirably remarks, it makes no difference who he was, whether
+Staienus, as the scholiast says (<span class = "smallcaps">Cic.</span>,
+Verr., 2, 32, 79; pro Cluentio, 7, 24, 65), or an average Philistine, or
+a typical scoundrel. The name was a common one. Jones is measured with
+Jupiter.&mdash;<b>an scilicet haeres:</b> ‘what? are we to suppose that
+you are hesitating?’</p>
+
+<p><a class = "line" name = "note2_20" id = "note2_20" href =
+"#line2_20">20.</a>
+<b>quis:</b> may be for <i>uter</i>. Comp. <span class =
+"smallcaps">Cic.</span>, Att., 16, 14,&nbsp;1; Fam., 7, 3, 1; <span
+class = "smallcaps">Caes.</span>, B.&nbsp;G., 5, 44. ‘Which of the two
+is the better judge?’ And this is the more satisfactory rendering if
+Staius is a neutral character. If he is a villain, ‘who would be a
+better judge’ or ‘better as a judge,’ is more suitable.</p>
+
+<p><a class = "line" name = "note2_21" id = "note2_21" href =
+"#line2_21">21.</a>
+<b>inpellere:</b> ‘smite’ (<span class = "smallcaps">Verg.</span>,
+Georg., 4, 349; Aen., 12, 618), a&nbsp;rather strong word for <i>humilis
+susurros</i>. Pretor renders ‘quicken;’ Conington, ‘have an effect on.’
+‘Reach’ is about what is meant. With the thought of the passage, comp.
+<span class = "smallcaps">Sen.</span>, Ep., 10, 5, cited by Casaubon:
+<i>Nunc quanta dementia est hominum? Turpissima vota diis insusurrant:
+si quis admoverit aurem, conticescent; et quod hominem scire nolunt, deo
+narrant.</i></p>
+
+<p><a class = "line" name = "note2_22" id = "note2_22" href =
+"#line2_22">22.</a>
+<b>agedum:</b> <i><span class = "gesperrt">Agedum</span> hoc mi expedi
+primum</i>, <span class = "smallcaps">Ter.</span>, Eun., 4, 4, 27.
+<i>Dum</i> shows impatience. ‘Be at it,’ or ‘be done with it,’ as the
+case may be.&mdash;<b>clamet:</b> <i>Dic&mdash;clamet = si
+dicas&mdash;clamet.</i> G., 594.&nbsp;4; A., 60, 1,&nbsp;<i>b</i>.</p>
+
+<p><a class = "line" name = "note2_23" id = "note2_23" href =
+"#line2_23">23.</a>
+<b>sese non clamet:</b> <i>Iovem</i> would make the joke clearer, but
+<span class = "smallcaps">Persius</span> would have had to pound his
+desk and bite his nails to get <i>Iovem</i> in. ‘Because he could swear
+by no greater, he sware by himself,’ Hebr., 6, 13. König compares <span
+class = "smallcaps">Hor.</span>, Sat., 1, 2, 17: <i>Maxime, quis
+non,</i> | <i>Juppiter, exclamat simul atque audivit?</i></p>
+
+<span class = "pagenum">110</span>
+<p><a class = "line" name = "note2_24" id = "note2_24" href =
+"#line2_24">24.</a>
+‘The guilty worshipper is in a grove (<i>lucis</i>, <a href =
+"#line2_27">v. 27</a>) during a thunderstorm; the lightning strikes not
+him but one of the sacred trees, and he congratulates himself on his
+escape&mdash;without reason, as <span class = "smallcaps">Persius</span>
+tells him. The circumstances are precisely those used by <span class =
+"smallcaps">Lucretius</span> to enforce his skeptical argument, 6, 390
+and 416’ (Conington).</p>
+
+<p><a class = "line" name = "note2_25" id = "note2_25" href =
+"#line2_25">25.</a>
+<b>sulpure sacro:</b> ‘lightning.’ Comp. the Greek <span class = "greek"
+title = "theion">θεῖον</span>, once innocently derived from the
+Adjective <span class = "greek" title =
+"theios">θεῖος</span>.&mdash;<b>tuque domusque:</b> Comp. <span class =
+"smallcaps">Juv.</span>, 13, 206: <i>cum prole domoque</i>. The editors
+cite the oracle in <span class = "smallcaps">Herod.</span>, 6, 86, 3:
+<span class = "greek" title = "pasan | summarpsas olesei #geneên# kai #oikon# hapanta">πᾶσαν | συμμάρψας ὀλέσει <span class =
+"gesperrt">γενεὴν</span> καὶ <span class = "gesperrt">οἶκον</span>
+ἅπαντα</span>.</p>
+
+<p><a class = "line" name = "note2_26" id = "note2_26" href =
+"#line2_26">26.</a>
+<b>fibris:</b> the extremities of the liver, <span class = "greek" title
+= "loboi">λόβοι</span>.&mdash;<b>Ergenna:</b> an Etruscan name. The
+Etruscans were great bowel-searchers (<i>haruspices</i>) and
+lightning-doctors.</p>
+
+<p><a class = "line" name = "note2_27" id = "note2_27" href =
+"#line2_27">27.</a>
+<b>lucis:</b> local Abl. and poetic Plural.&mdash;<b>bidental:</b>
+According to a law of Numa, whosoever was struck dead by lightning was
+buried where he fell, and the spot was inclosed. The place was called
+<i>puteal</i>, from the resemblance of the inclosure to a well-curb, or
+<i>bidental</i>, because of the <i>oves bidentes</i> (sheep with upper
+and lower teeth, hence ‘full grown’) sacrificed in the consecration of
+the spot, which was invested with a holy horror (<i>triste</i>), and
+might not even be looked at (<i>evitandum</i>). Here <i>bidental</i> is
+transferred from the place to the person: ‘a trophy of vengeance’
+(Conington), ‘a monument of wrath’ (Gifford). <i>Triste bidental</i>,
+<span class = "smallcaps">Hor.</span>, A.&nbsp;P., 471.</p>
+
+<p><a class = "line" name = "note2_28" id = "note2_28" href =
+"#line2_28">28.</a>
+<b>idcirco:</b> Emphatic resumption.&mdash;<b>vellere</b> =
+<i>vellendam</i>. G., 424, R.&nbsp;4; A., 57, 8, <i>f.</i> On the phrase
+<i>vellere barbam</i>, comp. <a href = "#line1_133">1, 133</a>. Jupiter
+was always represented as bearded, <span class = "greek" title =
+"geneiêtês">γενειήτης</span>, <span class = "smallcaps">Lucian</span>,
+Sacrif., 11. ‘Jove, will nothing wake thee? | Must vile Sejanus <i>pull
+thee by the beard</i> | ere thou wilt open thy black-lidded eyes | and
+look him dead?’ <span class = "smallcaps">Ben Jonson</span>, Sejan., 4,
+5.</p>
+
+<p><a class = "line" name = "note2_29" id = "note2_29" href =
+"#line2_29">29.</a>
+<b>aut:</b> Another (negatived) case. See G., 460,&nbsp;R.; A., 71,
+2.&mdash;<b>quidnam est, qua mercede</b> = <i>quanam mercede</i>;
+unusual. Not dissimilar, <span class = "smallcaps">Caes.</span>,
+B.&nbsp;G., 5, 31: <i><span class = "gesperrt">Omnia</span> excogitantur
+<span class = "gesperrt">quare</span> nec sine periculo maneatur et
+languore militum et vigiliis periculum augeatur.</i></p>
+
+<p><a class = "line" name = "note2_30" id = "note2_30" href =
+"#line2_30">30.</a>
+<b>emeris:</b> Jahn compares <i>praebere</i> and <i>dare aurem</i>, to
+which Conington adds <i>commodare</i>, <span class =
+"smallcaps">Hor.</span>, Ep., 1, 1, 40.&mdash;<b>pulmone:</b> for
+<span class = "pagenum">111</span>
+the larger, <i>lactibus</i> for the smaller intestines <span class =
+"greek" title = "galaktides">γαλακτίδες</span>. ‘The details are
+mentioned contemptuously’ (Conington). Comp. <span class =
+"smallcaps">Juv.</span>, 6, 540; 10, 354; 13, 115.</p>
+
+<p><b>31-40.</b>
+Thus far we have had wicked prayers; now we have specimens of silly
+prayers, of old wives’ wishes.</p>
+
+<p><a class = "line" name = "note2_31" id = "note2_31" href =
+"#line2_31">31.</a>
+<b>Ecce:</b> <i>transitioni servit</i> (Casaubon). See <a href =
+"#note1_30">1, 30</a>. The showman puts in a new slide, and says ‘Look
+here.’&mdash;<b>avia aut matertera:</b> The doting fondness of
+grandmothers, aunts, and nurses is proverbial. Their affection is not
+tempered by responsibility; hence their indiscretion. <i>Matertera</i>
+is the mother’s sister, as <i>amita</i> (whence ‘aunt’) the father’s;
+but, significantly enough, there is not the same moral distinction as
+between <i>patruus</i> and <i>avunculus</i> (whence
+‘uncle’).&mdash;<b>metuens divum:</b> <span class = "greek" title =
+"deisidaimôn">δεισιδαίμων</span>. G., 374, R.&nbsp;1; A., 50, 3,
+<i>b.</i>&mdash;<b>cunis:</b> Dat. is more picturesque than Abl.</p>
+
+<p><a class = "line" name = "note2_32" id = "note2_32" href =
+"#line2_32">32.</a>
+<b>exemit:</b> The Perf. brings the scene before us, and makes it
+particular instead of generic.&mdash;<b>uda:</b> ‘slobbering.’</p>
+
+<p><a class = "line" name = "note2_33" id = "note2_33" href =
+"#line2_33">33.</a>
+<b>infami digito:</b> The middle finger (<span class =
+"smallcaps">Juv.</span>, 10, 53) being used in mocking and indecent
+gesture, was considered on that very account to have more power against
+fascination. The notion still survives, and is embodied in coral
+‘amulets’ or ‘charms’ (<i>breloques</i>) manufactured at
+Genoa.&mdash;<b>lustralibus:</b> The lustral day for a girl was the
+eighth, for a boy the ninth. Such a day would be the day for vows and
+prayers. On the corresponding Gr. <span class = "greek" title =
+"amphidromia">ἀμφιδρόμια</span>, see the Classical
+Dictionaries.&mdash;<b>ante:</b> adverbial, ‘first of
+all.’&mdash;<b>salivis:</b> Spittle has manifold medical and magical
+virtues among all nationalities. Comp. <span class =
+"smallcaps">Plin.</span>, H.&nbsp;N., 28, 4, 22; <span class =
+"smallcaps">Juv.</span>, 8, 112; <span class =
+"smallcaps">Petron.</span>, 131. The Plural is poetical, perhaps
+intimating abundance.</p>
+
+<p><a class = "line" name = "note2_34" id = "note2_34" href =
+"#line2_34">34.</a>
+<b>expiat:</b> ‘charms against mischief’
+(Conington).&mdash;<b>urentis:</b> ‘blasting,’ ‘withering,’ <span class
+= "greek" title = "marainontas">μαραίνοντας</span>.&mdash;<b>oculos:</b>
+If the belief in the ‘evil eye’ is not too well known and too widely
+spread to need illustration, comp. <span class =
+"smallcaps">Verg.</span>, Ecl., 3, 103; <span class =
+"smallcaps">Hor.</span>, Ep., 1, 14, 37. On the philosophy of the evil
+eye, see <span class = "smallcaps">Plutarch</span>, Quaest. Conv., 5,
+7.&mdash;<b>inhibere perita:</b> On the construction, see <a href =
+"#noteP_11">Prol., 11</a>.</p>
+
+<p><a class = "line" name = "note2_35" id = "note2_35" href =
+"#line2_35">35.</a>
+<b>manibus:</b> We say ‘in,’ <a href = "#lineP_1">Prol., 1</a>.
+Translate ‘arms,’ as often.&mdash;<b>quatit:</b> Il., 6, 474: <span
+class = "greek" title = "autar ho g’ hon philon huion epei kuse #pêle# te chersin, | eipen epeuxamenos Dii t’ alloisin te theoisin">αὐτὰρ ὅ γ᾽
+ὃν φίλον υἱὸν ἐπεὶ κύσε <span class = "gesperrt">πῆλέ</span> τε χερσιν,
+| εἶπεν ἐπευξάμενος Διί τ᾽ ἄλλοισιν τε θεοῖσιν</span>. ‘Dances,’
+‘dandles.’&mdash;<b>spem macram:</b> ‘the skinny hope.’</p>
+
+<span class = "pagenum">112</span>
+<p><a class = "line" name = "note2_36" id = "note2_36" href =
+"#line2_36">36.</a>
+<b>Licini:</b> Licinus, originally slave and steward of Caesar, then set
+free and made procurator of Gaul, where he acquired immense wealth by
+extortion. Comp. <span class = "smallcaps">Juv.</span>, 1, 109: <i>Ego
+possideo plus</i> | <i>Pallante et <span class =
+"gesperrt">Licinis</span></i>.&mdash;<b>Crassi:</b> a still more
+familiar synonym for wealth, <span class = "smallcaps">Cic.</span>,
+Att., 1, 4,&nbsp;3. The two combined in <span class =
+"smallcaps">Sen.</span>, Ep., 119,&nbsp;9: <i>Quorum nomina cum <span
+class = "gesperrt">Crasso Licinoque</span>
+numerantur</i>.&mdash;<b>mittit:</b> ‘transports,’ ‘wafts’ (Pretor);
+‘packs off’ (Conington), is not in keeping with the mock-lyrical tone of
+the passage.</p>
+
+<p><a class = "line" name = "note2_37" id = "note2_37" href =
+"#line2_37">37.</a>
+<b>hunc:</b> <span class = "greek" title = "deiktikôs">δεικτικῶς</span>
+König comp. <span class = "smallcaps">Catullus</span>, 62, 42: <i>Multi
+illum pueri, multae <span class = "gesperrt">optavere</span>
+puellae</i>. On <i>optet</i>, comp. G., 281, Exc.&nbsp;1; A., 49, 1,
+<i>d.</i>&mdash;<b>rex et regina:</b> Comp. <a href = "#line1_67">1,
+67</a>. ‘My lord and [my] lady’ (Conington). As the prayer is
+extravagant, Pretor thinks that the words are to be taken literally, and
+Conington inclines to the same opinion. But there is no objection to
+<i>regina</i> for <i>domina</i> in itself, <span class =
+"smallcaps">Mart.</span>, 10, 64.</p>
+
+<p><a class = "line" name = "note2_38" id = "note2_38" href =
+"#line2_38">38.</a>
+<b>rapiant</b> = <i>diripiant</i>, <span class = "greek" title =
+"harpazoien">ἁρπάζοιεν</span>. ‘May the girls have a scramble for him.’
+The sexes are to be reversed in his honor. Casaubon comp.: <i>Editum
+librum continuo mirari homines et <span class =
+"gesperrt">diripere</span> coeperunt</i>, Vita Persii.&mdash;<b>rosa
+fiat:</b> Casaubon comp. <span class = "smallcaps">Claud.</span>,
+Seren., 1, 89: <i>Quocumque per herbam</i> | <i>reptares, fluxere <span
+class = "gesperrt">rosae</span></i>. A&nbsp;fairy-tale wish. Comp. <span
+class = "smallcaps">Theocr.</span>, 8, 41; <span class =
+"smallcaps">Verg.</span>, Ecl., 7, 59.</p>
+
+<p><a class = "line" name = "note2_39" id = "note2_39" href =
+"#line2_39">39.</a>
+<b>ast</b> = <i>at</i> + <i>set</i>. G., 490; R.&mdash;<b>nutrici:</b>
+<i>Quid voveat dulci <span class = "gesperrt">nutricula</span> maius
+alumno</i>, <span class = "smallcaps">Hor.</span>, Ep., 1, 4,&nbsp;8.
+With the sentiment of the passage Casaubon comp. <span class =
+"smallcaps">Sen.</span>, Ep., 60,&nbsp;1: <i>Etiamnum optas quod tibi
+<span class = "gesperrt">optavit nutrix</span> aut paedagogus aut mater?
+Nondum intellegis quantum mali optaverint?</i></p>
+
+<p><a class = "line" name = "note2_40" id = "note2_40" href =
+"#line2_40">40.</a>
+<b>albata:</b> ‘clad in white,’ the proper attire of worshippers, <span
+class = "smallcaps">Tibull.</span>, 2, 1, 13; <span class =
+"smallcaps">Plaut.</span>, Rud., 1, 5, 12 (Jahn). Hence ‘though she ask
+it with every requisite form’ (Conington). See <a href =
+"#note2_15">v.&nbsp;15</a>.</p>
+
+<p><b>41-51.</b>
+From wicked wishes we have passed to silly wishes, from silly we now
+pass to insane. Men pray for health and pray for wealth, and all the
+while are doing their utmost to break down their health and squander
+their wealth.</p>
+
+<p><a class = "line" name = "note2_41" id = "note2_41" href =
+"#line2_41">41.</a>
+<b>nervis:</b> ‘thews,’ ‘sinews.’&mdash;<b>senectae:</b> may depend on
+<i>poscis opem</i> or on <i>fidele</i> (Casaubon’s view), ‘to stand you
+in stead in old age’ (Conington), or ‘to stand your old age in stead.’
+The latter is the more forcible.</p>
+
+<p><a class = "line" name = "note2_42" id = "note2_42" href =
+"#line2_42">42.</a>
+<b>esto:</b> ‘so far, so good’ (Conington).&mdash;<b>grandes
+patinae,</b>
+<span class = "pagenum">113</span>
+etc.: Comp. <span class = "smallcaps">Hor.</span>, Sat., 2, 2, 95:
+<i><span class = "gesperrt">Grandes</span> rhombi <span class =
+"gesperrt">patinaeque</span></i> | <i>grande ferunt una cum damno
+dedecus.</i> Jahn (1868) reads <i>pingues</i>.&mdash;<b>tuccetaque
+crassa:</b> According to the Schol., ‘beef steeped in a thick gravy,
+which enables it to keep a year.’ ‘Rich gravies’ (Conington); ‘rich
+forced meats’ (Pretor). ‘Rich potted meats.’&mdash;<b>his</b> = <i>his
+precibus, votis</i>.&mdash;<b>vetuere:</b> Perf. to show that ‘the
+mischief is already done’ (Pretor). It is not a general Perfect. Comp.
+<a href = "#line2_32">32</a>.</p>
+
+<p><a class = "line" name = "note2_44" id = "note2_44" href =
+"#line2_44">44.</a>
+<b>rem struere:</b> The Biblical ‘heap up riches.’ <span class =
+"smallcaps">Hor.</span>, Sat., 1, 1, 35: <i>acervo</i> | <i>quem <span
+class = "gesperrt">struit</span></i>.&mdash;<b>caeso bove:</b> An
+expensive sacrifice. Comp. Gr. <span class = "greek" title =
+"bouthutein">βουθυτεῖν</span>.&mdash;<b>Mercurium:</b> See note on
+<a href = "#note2_11">v. 11</a>. An allusion to Mercury, or rather Hermes,
+as the God of Flocks and father of Pan, is barely possible.</p>
+
+<p><a class = "line" name = "note2_45" id = "note2_45" href =
+"#line2_45">45.</a>
+<b>arcessis</b> = <i>in auxilium vocas</i> (Jahn). Conington’s ‘serve a
+summons on’ is a caricature. Comp. <span class = "smallcaps">Ov.</span>,
+Fast., 4, 263, and <span class = "smallcaps">Petron.</span>, 122.
+<i>Accerso</i> is a rarer form than <i>arcesso</i>, and to be reserved
+for state occasions, according to Brambach.&mdash;<b>fibra:</b> See
+<a href = "#note2_26">v. 26</a>.&mdash;<b>da fortunare</b> = <i>ut
+fortunent</i>.&mdash;<b>fortunare:</b> used absolutely, as in <span
+class = "smallcaps">Afranius</span>, v. 84 (Ribbeck). <i>Fortuno</i> a
+<i>vox sollemnis</i> in prayers (Jahn).&mdash;<b>Penatis:</b> Gods of
+the Basket and Store.</p>
+
+<p><a class = "line" name = "note2_46" id = "note2_46" href =
+"#line2_46">46.</a>
+<b>quo, pessime, pacto:</b> <span class = "smallcaps">Hor.</span>, Sat.,
+2, 7, 22: <i>quo pacto, pessime?</i></p>
+
+<p><a class = "line" name = "note2_47" id = "note2_47" href =
+"#line2_47">47.</a>
+<b>iunicum</b> = <i>iuvencarum</i>. Observe the extravagance of the
+sacrifice, and compare with the expression <span class =
+"smallcaps">Catull.</span>, 90, 6: <i>omentum in flamma pingue <span
+class = "gesperrt">liquefaciens</span></i>.</p>
+
+<p><a class = "line" name = "note2_48" id = "note2_48" href =
+"#line2_48">48.</a>
+<b>extis et ferto:</b> Comp. <a href = "#line2_30">vv. 30</a>, <a href =
+"#line2_45">45</a>. <i>Fertum</i> (<i>a ferendo</i>), a&nbsp;kind of
+sacrificial cake or pudding, <i>libi genus, quod crebrius ad sacra
+obmovebatur</i> (Jahn).</p>
+
+<p><a class = "line" name = "note2_49" id = "note2_49" href =
+"#line2_49">49.</a>
+<b>et tamen:</b> <i>at tamen</i> (Hermann), on which see <a href =
+"#note5_159">5, 159</a>.</p>
+
+<p><a class = "line" name = "note2_50" id = "note2_50" href =
+"#line2_50">50-51.</a>
+Casaubon sees in this passage an imitation of <span class =
+"smallcaps">Hesiod</span>, O. et D., 369: <span class = "greek" title =
+"deilê d’ eni puthmeni pheidô">δειλὴ δ᾽ ἐνὶ πυθμένι φειδώ</span>
+(<i>sera parsimonia in fundo est</i>, <span class =
+"smallcaps">Sen.</span>, Ep., 1,&nbsp;5). I&nbsp;have followed the old
+reading, which makes <i>nummus</i> the subject. The personification is
+in <span class = "smallcaps">Persius’s</span> vein, as Schlüter
+correctly remarks. Comp. <i>tacita acerra</i>, <a href = "#line2_5">v.
+5</a>; <i>gemuerunt aera</i>, <a href = "#line3_39">3, 39</a>;
+<i>sapiens porticus</i>, <a href = "#line3_53">3, 53</a>; <i>modice
+sitiente lagoena</i>, <a href = "#line3_92">3, 92</a>. <i>Nummi</i> are
+nursed as children, <a href = "#line5_149">5, 149</a>; there is a kind
+of personification in <i>dolosi nummi</i>, <a href = "#lineP_12">Prol.,
+12</a>, and literature is full of personified coins, of ‘nimble
+sixpences,’ ‘slow shillings,’
+<span class = "pagenum">114</span>
+‘adventurous guineas.’ Add: <i>ac velut exhausta redivivus pullulet
+arca</i> | <i><span class = "gesperrt">nummus</span></i>, <span class =
+"smallcaps">Juv.</span>, 6, 363. Paley (ap. Pretor) suggests that
+<i>nequiquam</i> may be considered the exclamation of the <i><span class
+= "gesperrt">nummus</span></i>. This gives so happy a turn that I am
+almost tempted to put it in the text. It is the familiar story of ‘the
+bottom dime,’ set to the familiar tune of the ‘Last Rose of Summer.’
+Jahn makes the numbskull, not the <i>nummus</i>, the subject, and reads
+in his ed. of 1843:</p>
+
+<p class = "poem">
+<i>Nequiquam fundo</i>, suspiret, <i>nummus in imo</i>!</p>
+
+<p>In his ed. of 1868 he follows Hermann, who reads:</p>
+
+<p class = "poem">
+Nequiquam <i>fundo</i>, suspiret, <i>nummus in imo</i>!</p>
+
+<p>Pretor prints:</p>
+
+<p class = "poem">
+<i>Nequiquam: fundo</i>, suspiret, <i>nummus in imo</i>!</p>
+
+<p>The scholiast hesitates. All much more prosaic and much less
+satisfactory.&mdash;<b>suspiret:</b> See G., 574,&nbsp;R.; A., 62, 2,
+<i>d.</i></p>
+
+<p><b>52-75.</b>
+With a sudden start <span class = "smallcaps">Persius</span> strikes at
+the root of the matter&mdash;the false conception of the divine
+character. ‘Thou thoughtest,’ saith God, ‘that I was altogether such a
+one as thyself,’ Ps. 50, 21. Because you love gold, you fancy that God
+loves gold, and judge of His Holiness by your corruption. God demands a
+pure heart, and not ‘thousands of rams.’ This is a plane on which the
+highest expressions of the most various religions meet, so that Hebrew,
+Greek, and Christian hold almost identical discourse. M.&nbsp;Martha
+(<i>Moralistes Romains</i>, p. 134) recognizes ‘a progress’ in thoughts,
+which are immemorial in their antiquity.</p>
+
+<p><a class = "line" name = "note2_52" id = "note2_52" href =
+"#line2_52">52.</a>
+<b>creterras:</b> preferred by Jahn (1868) and Hermann to
+<i>crateras</i>, in which the Acc. Sing. of the Greek word <span class =
+"greek" title = "kratêr">κρατήρ</span> seems to be taken as the stem
+(G., 72, R.&nbsp;2). See <span class = "smallcaps">Hor.</span>, Od., 3,
+18,&nbsp;7: Sat., 2, 4, 80. Comp. also <i>statera</i> and
+<i>panthera</i>.&nbsp;G. Meyer (<i>Beitrage zur Stammbildung</i> in
+Curtius, <i>Studien</i>, 5, 72) questions the Accus.
+origin.&mdash;<b>argenti:</b> The context indicates the material, which
+in prose would be <i>ex argento</i> or <i>argentea</i> (G., 396; A.,
+54,&nbsp;2). The Genitive should give us the contents as in <a href =
+"#line2_11">v. 11</a>, <i>argenti seria</i>. Comp. <span class =
+"smallcaps">Juv.</span>, 9, 141: <i><span class =
+"gesperrt">argenti</span> vascula puri</i>.&mdash;<b>incusa:</b> ‘is a
+translation of <span class = "greek" title = "empaista">ἐμπαιστά</span>
+(Casaubon), <span class = "greek" title = "empaistikê technê">ἐμπαιστικη
+τέχνη</span> being the art of embossing silver or some other material
+with golden ornaments
+<span class = "pagenum">115</span>
+(<i>crustae</i> or <i>emblemata</i>). Hence <i>crateras argenti
+incusaque dona</i> is probably a hendiadys’ (Conington).
+<i>Chrysendeta</i>, or parcel-gilt plate (Pretor).&mdash;<b>pingui:</b>
+‘thick,’ not a generic epithet.</p>
+
+<p><a class = "line" name = "note2_53" id = "note2_53" href =
+"#line2_53">53.</a>
+<b>dona:</b> Predicate.&mdash;<b>pectore laevo:</b> Jahn strangely
+follows Casaubon in understanding <i>pectore laevo</i> as <i>mente
+laeva</i>. Comp. <span class = "smallcaps">Verg.</span>, Ecl., 1, 16:
+<i>si mens non <span class = "gesperrt">laeva</span> fuisset</i>. The
+side of the heart is meant. König comp. <i><span class =
+"gesperrt">laeva</span> parte mamillae</i> | <i>nil salit Arcadico
+iuveni</i>, <span class = "smallcaps">Juv.</span>, 7, 159.</p>
+
+<p><a class = "line" name = "note2_54" id = "note2_54" href =
+"#line2_54">54.</a>
+<b>excutiat:</b> In his ed. of 1868 Jahn has abandoned the harsh
+<i>excutias</i> of 1843, which leaves <i>laetari praetrepidum cor</i> to
+take care of itself, with <i>laetari</i> as an histor. Inf. of habit.
+Comp. <span class = "smallcaps">Verg.</span>, Georg., 1, 200; 4, 134;
+Aen., 4, 422; 7, 15.&mdash;<b>guttas:</b> ‘Your heart in an eager
+flutter of excited joy would drive the life-drops from your left
+breast.’ So Pretor, who adds that <span class =
+"smallcaps">Persius</span> alludes to the faintness produced by any
+violent excitement. Comp. <span class = "smallcaps">Verg.</span>,
+Georg., 3, 105: <i>cum spes arrectae iuvenum exsultantiaque haurit</i> |
+<i>corda pavor pulsans</i>. With <i>guttas</i> comp. ‘As dear to me as
+are the ruddy <i>drops</i> that visit this sad heart,’ <span class =
+"smallcaps">Shaksp.</span> Jahn understands ‘tears,’ Heinrich ‘sweat’
+(comp. <span class = "smallcaps">Juv.</span>, 1, 167: <i>tacita <span
+class = "gesperrt">sudant</span> praecordia culpa</i>). In the latter
+case we should expect <i>ut</i>, as Schlüter observes.&mdash;<b>laetari
+praetrepidum:</b> ‘over-hasty to rejoice’ (Conington). For the
+construction, comp. <a href = "#lineP_11">Prol., 11</a>, and <span class
+= "smallcaps">Hor.</span>, Od., 2, 4, 24: <i>cuius octavum <span class =
+"gesperrt">trepidavit</span> aetas</i> | <i>claudere lustrum</i>. On the
+meaning of <i>trepidum</i>, see <a href =
+"#note1_20">1,&nbsp;20</a>.</p>
+
+<p><a class = "line" name = "note2_55" id = "note2_55" href =
+"#line2_55">55.</a>
+<b>illud, quod:</b> ‘that strange fashion that,’ instead of the
+impersonal construction with the Inf. with a different shade of meaning
+(G., 525; A., 70,&nbsp;5).&mdash;<b>subiīt:</b> On the quantity of the
+final syllable, see G., 705, Exc.&nbsp;4; A., 84, <i>g</i>,
+5.&mdash;<b>auro ovato:</b> Comp. <i>triumphato auro</i>, <span class =
+"smallcaps">Ov.</span>, Ep. ex Ponto, 2, 1, 41 (Jahn). An allusion to
+the ‘unjust acquisition of the gold offered to Heaven’ seems to be too
+modern, despite <span class = "smallcaps">Juv.</span>, 8, 106.</p>
+
+<p><a class = "line" name = "note2_56" id = "note2_56" href =
+"#line2_56">56.</a>
+<b>nam:</b> ‘for instance.’ G., 500, R. 1.&mdash;<b>fratres aenos:</b>
+‘brazen brotherhood’ (Gifford). There are various interpretations:
+1.&nbsp;The gods generally (Jahn). 2.&nbsp;The fifty sons of Aegyptus,
+whose statues stood in the portico of the Palatine Apollo over against
+those of the fifty Danaides, <span class = "smallcaps">Prop.</span>, 2,
+31, 1 seqq.; <span class = "smallcaps">Ov.</span>, Trist., 3, 1, 59
+seqq. (Scholiast). 3.&nbsp;The Dioscuri. The first explanation is the
+best. All the gods might appear in vision, but
+<span class = "pagenum">116</span>
+some were more famous for such appearances than others. The very
+existence of the statues of the sons of Aegyptus is problematical, and
+their connection with dreams inexplicable (Jahn). As for the Dioscuri,
+they were notoriously beardless youths, apart from the fact that <i>qui
+mittunt</i> points to more than two (Casaubon).</p>
+
+<p><a class = "line" name = "note2_57" id = "note2_57" href =
+"#line2_57">57.</a>
+<b>pituita:</b> trisyllabic, as in <span class =
+"smallcaps">Hor.</span>, Sat., 2, 2, 76; Ep., 1, 1, 108. <i>Pituita</i>,
+‘phlegm,’ ‘gross humor.’ ‘That <i>pituita</i> was supposed to mark a
+heavy, cloudy intellect, is clear from the meaning of the opposite
+expression, <i>emunctae naris</i>’ (Pretor). See also the commentators
+on <span class = "smallcaps">Hor.</span>, ll.cc.</p>
+
+<p><a class = "line" name = "note2_58" id = "note2_58" href =
+"#line2_58">58.</a>
+<b>aurea barba:</b> <span class = "smallcaps">Cic.</span>, N.&nbsp;D.,
+3, 34, 83: <i>Aesculapii Epidaurii <span class = "gesperrt">barbam
+auream</span> demi iussit [Dionysius], neque enim convenire barbatum
+esse filium cum in omnibus fanis pater imberbis esset.</i></p>
+
+<p><a class = "line" name = "note2_59" id = "note2_59" href =
+"#line2_59">59.</a>
+<b>vasa Numae:</b> called <i>capedines</i> and
+<i>simpuvia</i>.&mdash;<b>Saturnia aera:</b> Old coinage, according to
+Schol., Casaubon, and Jahn. The earliest coinage is said to have been
+stamped on one side with the head of Janus, the coiner, on the other
+with a ship, in honor of Saturn’s arrival in Italy. It is best to
+translate loosely by ‘brass’ or ‘bronze,’ as the explanation is far from
+certain.&mdash;<b>inpulit:</b> ‘kicked out.’</p>
+
+<p><a class = "line" name = "note2_60" id = "note2_60" href =
+"#line2_60">60.</a>
+<b>Vestalis urnas:</b> always of earthenware.&mdash;<b>Tuscum
+fictile:</b> ‘Etruscan pottery.’ ‘Etruscan’ both by reason of its origin
+and its use in Etruscan ritual.</p>
+
+<p><a class = "line" name = "note2_61" id = "note2_61" href =
+"#line2_61">61.</a>
+<b>O curvae:</b> A passionate apostrophe, which reminds M.&nbsp;Martha
+of Bossuet.&mdash;<b>in terris:</b> So Jahn and Hermann. We should
+expect <i>in terras</i>, but the Abl. is more forcible as denoting the
+fixity rather than the tendency of the position.&mdash;<b>caelestium
+inanes:</b> On the Gen., see G., 373, R.&nbsp;6; A., 50, 3, <i>c</i>.
+Jahn quotes <span class = "smallcaps">Hor.</span>, Od., 3, 11, 23:
+<i><span class = "gesperrt">inane</span> lymphae</i> | <i>dolium fundo
+pereuntis imo</i>.</p>
+
+<p><a class = "line" name = "note2_62" id = "note2_62" href =
+"#line2_62">62.</a>
+<b>quid iuvat hoc:</b> So Jahn. <i>Hos</i>, Hermann’s reading, is not
+necessary, though natural. <i>Hoc</i> often anticipates the contents of
+a dependent clause, as here with the Inf., <a href = "#line5_45">5,
+45</a>; <i>ut</i> with Subj., <a href = "#line5_19">5,
+19</a>.&mdash;<b>templis inmittere mores:</b> is more than ‘the opposite
+to <a href = "#line2_7">v. 7</a>: <i>tollere de templis</i>.’
+<i>Inmittere</i>, ‘turn loose upon,’ like so many <i>hostes</i>,
+<i>sicarii</i>, etc. <i>Mores</i>, ‘courses of life.’</p>
+
+<p><a class = "line" name = "note2_63" id = "note2_63" href =
+"#line2_63">63.</a>
+<b>bona dis:</b> Brachylogy. ‘What is good in the eyes of the
+gods.’&mdash;<b>ducere:</b> ‘infer.’&mdash;<b>scelerata pulpa:</b>
+‘sinful, pampered
+<span class = "pagenum">117</span>
+flesh’ (Conington). <i>Pulpa</i> is the Stoic <span class = "greek"
+title = "sarx, sarkidion">σάρξ, σαρκίδιον</span>, in a stronger form.
+M.&nbsp;Martha (l.c. p. 133, note) says that the Christian <span class =
+"greek" title = "sarx">σάρξ</span> (<i>caro</i>) is borrowed from the
+language of philosophy. Others only note the coincidence. <i>Pulpa</i>
+may be rendered ‘blubber.’</p>
+
+<p><a class = "line" name = "note2_64" id = "note2_64" href =
+"#line2_64">64.</a>
+<b>haec:</b> sc. <i>pulpa</i>.&mdash;<b>sibi:</b> ‘to suit its
+taste.’&mdash;<b>corrupto:</b> The oil is spoiled by the spice, <span
+class = "smallcaps">Verg.</span>, Georg., 2, 465: <i>Alba nec Assyrio
+fucatur lana veneno</i> | <i>nec <span class = "gesperrt">casia</span>
+liquidi <span class = "gesperrt">corrumpitur</span> usus <span class =
+"gesperrt">olivi</span>.</i></p>
+
+<p><a class = "line" name = "note2_65" id = "note2_65" href =
+"#line2_65">65.</a>
+<b>Calabrum:</b> ‘The beauty of the Calabrian fleece consisted in its
+perfect whiteness,’ which is destroyed by the dye.&mdash;<b>coxit:</b>
+here in a bad sense, as we often use ‘cook,’
+‘doctor.’&mdash;<b>vitiato:</b> The <i>murex</i> is spoiled as well as
+the <i>vellus</i>; both have violence done to their natures. Comp. <span
+class = "smallcaps">Juv.</span>, 3, 20: <i>ingenuum <span class =
+"gesperrt">violarent</span> marmora tofum</i>. On the hard treatment of
+the <i>murex</i>, or <span class = "greek" title =
+"kalchê">κάλχη</span>, see St. John, <i>Manners and Customs of Ancient
+Greece</i>, 3, 225 foll.</p>
+
+<p><a class = "line" name = "note2_66" id = "note2_66" href =
+"#line2_66">66.</a>
+<b>bacam:</b> ‘pearl,’ literally ‘berry.’ The transfer is explained by
+<span class = "smallcaps">Auson.</span>, Mos., 70: <i>albentes concharum
+germina <span class = "gesperrt">bacas</span>. Diluit insignem <span
+class = "gesperrt">bacam</span></i>, <span class =
+"smallcaps">Hor.</span>, Sat., 2, 3, 241.&mdash;<b>rasisse:</b> Perf.,
+like the Greek Aor. Inf. See <a href = "#note1_42">1,&nbsp;42</a>.</p>
+
+<p><a class = "line" name = "note2_67" id = "note2_67" href =
+"#line2_67">67.</a>
+<b>massae:</b> ‘ore.’&mdash;<b>crudo de pulvere:</b> ‘from their
+primitive slag’ (Conington).</p>
+
+<p><a class = "line" name = "note2_68" id = "note2_68" href =
+"#line2_68">68.</a>
+<b>vitio utitur:</b> ‘gets some good out of its
+sin.’&mdash;<b>nempe:</b> G., 500, R. 2.</p>
+
+<p><a class = "line" name = "note2_70" id = "note2_70" href =
+"#line2_70">70.</a>
+<b>pupae:</b> The ancients dedicated to the gods what they had done
+with. So when the girl was ripe for marriage, she hung up her dolls. The
+sailor hangs up his clothes, <span class = "smallcaps">Hor.</span>, Od.,
+1, 5, 16; the lover his harp, Od., 3, 26,&nbsp;3. The Sixth Book of the
+Greek Anthology is full of examples. An ingenious friend suggests that
+the practice of publishing a list of commentators in editions of the
+classics is a survival of this usage.</p>
+
+<p><a class = "line" name = "note2_71" id = "note2_71" href =
+"#line2_71">71.</a>
+<b>quin damus:</b> See G., 268; A., 57, 7, <i>d</i>.&mdash;<b>lance:</b>
+‘sacrificial plate,’ ‘paten.’ <span class = "smallcaps">Ov.</span>, Ep.
+ex P., 4, 8, 39: <i>nec quae de parva dis pauper libat acerra</i> |
+<i>tura minus grandi quam data <span class = "gesperrt">lance</span>
+valet</i> (Jahn).</p>
+
+<p><a class = "line" name = "note2_72" id = "note2_72" href =
+"#line2_72">72.</a>
+<b>Messallae propago:</b> Lucius Aurelius Cotta Messalinus (Schol.), an
+unworthy son of M.&nbsp;Valerius Messalla Corvinus. See <span class =
+"smallcaps">Tac.</span>, Ann., 6,&nbsp;7. He was a notorious debauchee
+in the reign of Tiberius.&mdash;<b>lippa:</b> alludes to the effect of
+his excesses. Comp. <a href = "#line5_77">5,&nbsp;77</a>.</p>
+
+<span class = "pagenum">118</span>
+<p><a class = "line" name = "note2_73" id = "note2_73" href =
+"#line2_73">73.</a>
+<b>conpositum:</b> ‘in just balance,’ ‘well blended’
+(Conington).&mdash;<b>ius fasque:</b> ‘duty to God and man’
+(Conington).&mdash;<b>recessus mentis:</b> <span class = "greek" title =
+"phrenôn muchos">φρενῶν μυχός</span> <span class =
+"smallcaps">Theocr.</span>, 29, 3 (Jahn).</p>
+
+<p><a class = "line" name = "note2_74" id = "note2_74" href =
+"#line2_74">74.</a>
+<b>incoctum:</b> ‘thoroughly imbued.’&mdash;<b>generoso honesto:</b>
+‘with the honor of a gentleman.’ See note on <i>mordaci vero</i>,
+<a href = "#note1_107">1, 107</a>.</p>
+
+<p><a class = "line" name = "note2_75" id = "note2_75" href =
+"#line2_75">75.</a>
+<b>cedo:</b> Notice the quantity. G., 190,&nbsp;4; A., 38, 2, <i>f</i>.
+<i>Cĕdo</i>, ‘give here,’ ‘let.’ For the construction: <i>cedo ut
+bibam</i>, <span class = "smallcaps">Plaut.</span>, Most., 2, 1, 26;
+<i>cedo ut inspiciam</i>, Curc., 5, 2, 54.&mdash;<b>admovere:</b> a
+sacrificial word.&mdash;<b>farre litabo:</b> Comp. <span class =
+"smallcaps">Hor.</span>, Od., 3, 23, 19: <i>mollivit aversos Penatis</i>
+| <i><span class = "gesperrt">farre</span> pio et saliente mica</i>.
+<i>Litare</i> is the Greek <span class = "greek" title =
+"kallierein">καλλιερεῖν</span>, ‘offer acceptably.’ The sentiment may be
+illustrated without end. Comp. <span class = "greek" title = "thusia megistê tô theô to g’ eusebein">θυσία μεγίστη τῷ θεῷ τό γ᾽
+εὐσεβεῖν</span>, <span class = "smallcaps">Men.</span>, Mon., 246, and
+<span class = "smallcaps">Eur.</span>, fr. 329 and 940 (Nauck).</p>
+
+<hr class = "spacer">
+
+<h5><a name = "notes_III" id = "notes_III" href = "#sat_III">
+THIRD SATIRE.</a></h5>
+
+<p class = "argument">
+<span class = "smallcaps">Argument.</span>&mdash;The Satire opens
+dramatically. A&nbsp;young Roman of the upper classes is discovered
+asleep, snoring off the effects of yesterday’s debauch. To him one of
+his familiars, half companion, half tutor, who rouses him by telling him
+that the sun is already high in the heavens, and it is time to be up.
+The young fellow bawls for his servants, brays for them, and makes a
+show of going to work. But nothing suits him. He curses the ink because
+it is too thick, then he curses it because it is too thin, and finally
+swears at pen and ink both. ‘You big baby,’ exclaims the monitor. ‘Do
+you expect me to study with such a pen?’ asks the young man with a
+whine. ‘Don’t come to me with your puling nonsense, you dab of
+untempered mortar, you unformed lump of clay. You are lazing away the
+time, when every minute is of moment, when the potter’s wheel should fly
+faster and faster, and deft hands should mould the vessel of your life
+(<a href = "#line3_1">1-24</a>). But I see you think that you have
+already attained perfection. You are satisfied with your position in
+life, move in a good circle. Tell that to the profane vulgar.
+I&nbsp;know you, every inch of you. Shame on you, that you, with your
+training, should live like a brutish creature, who does not know what a
+rich jewel he is flinging away, who sinks without a struggle in the
+slough of vice, whose soul dies and makes no sign. But you, who know
+better, will have a dire fate. No worse doom could Jove himself bring
+down on cruel tyrants than the vain yearning for lost virtue, which they
+can never hope to regain. Nay, worse than the brazen bull of Phalaris
+and
+<span class = "pagenum">119</span>
+the pendent sword of Damocles is the consciousness of sin, the pallor
+that blanches not the cheek only, but the very heart (<a href =
+"#line3_25">25-43</a>). You are past the age of childhood, and have not
+the excuse of tender years. If you were a child, I&nbsp;could understand
+your behavior. I&nbsp;remember my own childhood, how hateful and
+unprofitable task-work alternated with frivolous play, how I dodged the
+learning of the piece I had to speak, how I had no thought for any thing
+save dice and marbles and tops (<a href = "#line3_44">44-51</a>). But
+you have reached a higher level. You know the great norms of life, the
+doctrines of the Porch; you understand the distinctions of Right and
+Wrong. Pshaw! As I live, you are snoring still. Wake up, I&nbsp;say, and
+tell me&mdash;have you any aim in life? Or are you nothing better than a
+boy following sparrows with a pinch of salt?’ (<a href =
+"#line3_52">52-62</a>).</p>
+
+<p class = "argument">
+Here the poet drops the dramatic form, deserts the individuality of the
+student, and makes his exhortation general, reserving, of course, the
+right to pick out at will any member of his congregation for rebuke. He
+mounts the pulpit and begins to preach. His text is:</p>
+
+<p class = "argument">
+‘Be wise to-day; ’tis madness to defer.’ Go back to the first principles
+of all true philosophy, the constitution of the universe, the position
+of man in that universe, the great laws of Ethic as derived from the
+great laws of Physic. In brief, study your Stoic catechism. Do not allow
+yourself to be diverted from higher study by success in the lower ranges
+of life. You lawyer there, for instance, do not let hams and sprats, the
+gifts of thankful clients, seduce you from the ambrosia of true
+philosophy (<a href = "#line3_63">63-76</a>).</p>
+
+<p class = "argument">
+But hark! some one is talking out in church. It is the voice of the
+unsavory centurion.</p>
+
+<p class = "argument">
+‘I have got all the sense I want. I would not be for all the world one
+of your painful philosophers, with head tucked down, eyes riveted on the
+ground, mumbling and muttering a lot of metaphysic
+trash&mdash;<i>chimaera bombinans in vacuo</i>&mdash;and the rest of the
+scholastic stuff. What! get pale for that? What! miss my breakfast for
+that!’</p>
+
+<p class = "argument">
+Great applause in the galleries, and a rippling reduplication of
+laughter from the muscular humanity of the period (<a href =
+"#line3_77">77-87</a>).</p>
+
+<p class = "argument">
+A sudden turn, or rather a sudden return to the figure of <a href =
+"#line3_63">v. 63</a>. The connection, if there be a connection, seems
+to be this:</p>
+
+<p class = "argument">
+Such men as the centurion are hopelessly lost, have already ‘imbodied
+and imbruted.’ Like Natta, they are unconscious of their moral ruin. But
+there are those who, half-conscious of their condition, consult a
+physician of the soul, a&nbsp;spiritual director. The state of this
+class is set forth in a dramatic parable. A&nbsp;man feels sick, goes to
+see a doctor, follows his advice for a while, gets better, and then,
+despite all remonstrance, violates the plainest rules of diet and falls
+dead (<a href = "#line3_88">88-106</a>).</p>
+
+<p class = "argument">
+But before our preacher can make the application, he is interrupted by
+an impatient hearer, perhaps none other than the yawning youth,
+<span class = "pagenum">120</span>
+whose acquaintance we made in the beginning of the Satire. Whoever he
+is, he is so literal that he does not understand the drift of the
+apologue.</p>
+
+<p class = "argument">
+‘Sick! Who’s sick? Not I. No fever in my veins. No chill in hands or
+feet.’</p>
+
+<p class = "argument">
+‘But,’ says our resolute moralist, ‘the sight of money, the meaning
+smile of a pretty girl, makes your heart beat a devil’s tattoo. Coarse
+flour shows that you are mealy-mouthed, and tough cabbage brings out the
+ulcer in your throat. Kindle the fire of wrath beneath the cauldron of
+your blood, and Orestes is sane in comparison’ (<a href =
+"#line3_107">107-118</a>).</p>
+
+<hr class = "tiny">
+
+<p class = "argument">
+According to Jahn, this Satire is aimed at those that have received a
+thorough training in ethics, but, owing to the weakness of human nature,
+fail to follow the true guide of life; and, although well aware of their
+short-comings, imitate the example of those brutish souls whose sins are
+excused by their ignorance. In short, the Satire is an expansion of the
+old theme&mdash;<i>Video meliora proboque</i>.</p>
+
+<p class = "argument">
+Knickenberg (<i>De Ratione Stoica in Persii Satiris Apparente</i>, p. 16
+seqq.) maintains that in conformity with Stoic doctrine, it is not so
+much the weakness of human nature as imperfect knowledge&mdash;the
+<i>inscitia debilis</i> of <a href = "#line3_99">v. 99</a>&mdash;that is
+the source of the vices which the author lashes in the present Satire.
+According to the Stoic, virtue is knowledge, and the snoring youth, with
+his half-knowledge, which keeps him from rising to the height of virtue,
+is the pattern of the false philosophy of the time.</p>
+
+<p class = "argument">
+But <span class = "smallcaps">Persius</span> is not an expounder of the
+Stoic philosophy, as a system, any more than <span class =
+"smallcaps">Seneca</span> is; and commentators have attributed to him a
+profounder knowledge of philosophy than he had, certainly a profounder
+knowledge than it would have been artistic to show. <span class =
+"smallcaps">Persius</span> repeats the catechism of the sect, expands
+some of their favorite theses, elaborates some of their pet figures, and
+finds fault with his fellow students in the lofty tone which he had
+caught from his teachers. A&nbsp;glaring paradox, such as we find in
+<a href = "#line5_119">5, 119</a>, he is but too happy to reproduce, but
+the subtle analysis for which the Stoics were famous does not appear in
+his poems.</p>
+
+<hr class = "tiny">
+
+<p class = "argument">
+The Satire is said by the Scholiast to be imitated from the Fourth Book
+of <span class = "smallcaps">Lucilius</span>.</p>
+
+<p class = "space">
+<b>1-24.</b> A young student is roused by one of his companions, who,
+after meditating on his snoring form (<a href = "#line4_1">1-4</a>),
+remonstrates with him against lying abed so long. Yawning and headachy,
+he attempts to go to work, calls his servants testily, has his writing
+materials brought, swears at them, and is rebuked by his
+<span class = "pagenum">121</span>
+sage friend for his babyishness, and urged to make use of this golden
+season of life.</p>
+
+<p><a class = "line" name = "note3_1" id = "note3_1" href =
+"#line3_1">1.</a>
+<b>Nempe:</b> The opening is made very lively by the use of
+<i>nempe</i>, which implies a preceding statement, and thus plunges at
+once into the thick of the dialogue. ‘And so’&mdash;a clear imitation of
+<span class = "smallcaps">Hor.</span>, Sat., 1, 10,&nbsp;1. Comp. the
+English use of ‘and’ in the first verse of lyrics, and the common stage
+trick of beginning a scene with conjunctions: <span class =
+"smallcaps">Farquhar</span>, Beaux’ Stratagem, 2,&nbsp;2: ‘<i>And</i>
+was she the daughter of the house?’ <span class =
+"smallcaps">Cibber</span>, The Provoked Wife, 5,&nbsp;4: ‘<i>But</i>
+what dost thou think will come of this business?’ This effect is lost by
+bringing in the <i>comes</i> at <a href = "#line3_5">v. 5</a>, as some
+do.&mdash;<b>mane:</b> Substantive, the Abl. of which, <i>mane</i>
+(<i>mani</i>), is in more common use as an
+Adverb.&mdash;<b>fenestras:</b> ‘windows,’ here for
+‘window-shutters.’</p>
+
+<p><a class = "line" name = "note3_2" id = "note3_2" href =
+"#line3_2">2.</a>
+<b>extendit:</b> ‘makes wider,’ ‘makes seem wider,’ a&nbsp;familiar
+optical effect.&mdash;<b>rimas:</b> ‘chinks’ (between the shutters).</p>
+
+<p><a class = "line" name = "note3_3" id = "note3_3" href =
+"#line3_3">3.</a>
+<b>stertimus:</b> Ironical First Person, excluding the
+speaker.&mdash;<b>indomitum:</b> ‘heady,’ ‘unmanageable’ (Conington).
+Falernian was a strong wine: <i>ardens</i>, <span class =
+"smallcaps">Hor.</span>, Od., 2, 11, 9; <i>severum</i>, Od., 1, 27, 19;
+<i>forte</i>, Sat., 2, 4, 24. Add <span class =
+"smallcaps">Lucan</span>, 10, 162: <i><span class =
+"gesperrt">Indomitum</span> Meroe cogens spumare <span class =
+"gesperrt">Falernum</span></i>.&mdash;<b>quod sufficiat:</b> ‘what ought
+to be enough.’ G., 633; A., 65, 2.&mdash;<b>despumare:</b> ‘work off,’
+‘carry off the fumes of’ (Conington). <i>Despumare</i> is a technical
+term ‘skim’ (<span class = "smallcaps">Verg.</span>, Georg., 1, 296),
+like ‘rack’ in English.</p>
+
+<p><a class = "line" name = "note3_4" id = "note3_4" href =
+"#line3_4">4.</a>
+<b>quintā dum linea tangitur umbrā:</b> where we should expect <i>quintă
+linea umbrā</i>, by what is called Hypallagé. Conington compares <span
+class = "smallcaps">Aeschyl.</span>, Ag., 504: <span class = "greek"
+title = "dekatô se phengei tôd’ aphikomên etous">δεκάτῳ σε φέγγει τῷδ᾽
+ἀφικόμην ἔτους</span>. See Schneidewin’s note.&mdash;<b>dum:</b>
+‘while,’ ‘whereas,’ ‘and yet.’ Comp. G., 572,&nbsp;R.; A., 72, 1,
+<i>c</i>.&mdash;<b>linea:</b> of the sun-dial. The fifth hour (about 11
+o’clock) was the time of the <i>prandium</i>, according to <span class =
+"smallcaps">Auson.</span>, Ephem. Loc. Ordin. Coqui, 1, 2 (Casaubon):
+<i>Sosia, prandendum est, quartam iam totus in horam</i> | <i>sol calet:
+ad <span class = "gesperrt">quintam</span> flectitur umbra <span class =
+"gesperrt">notam</span></i>. In <span class =
+"smallcaps">Horace’s</span> time breakfast was after 10 (Sat., 1, 5,
+25). The sophist <span class = "smallcaps">Alciphron</span> implies that
+12 was the hour in his day (3, 4,&nbsp;1).</p>
+
+<p><a class = "line" name = "note3_5" id = "note3_5" href =
+"#line3_5">5.</a>
+<b>en quid agis?</b> Comp. <i>en quid ago</i>? <span class =
+"smallcaps">Verg.</span>, Aen., 4, 534. In lively questions the present
+is often used as a future, as: <i>Quoi <span class =
+"gesperrt">dono</span> lepidum novum libellum?</i> <span class =
+"smallcaps">Catull.</span>, 1, 1.&mdash;<b>siccas:</b> proleptic
+<span class = "pagenum">122</span>
+or predicative, to be combined with <i>coquit</i>. Conington renders ‘is
+baking the crops dry,’ but <i>coquere</i> is too common in this sense
+for such a translation, a&nbsp;criticism which applies to a very large
+proportion of Conington’s picturesque versions. <i>Coquere</i> is the
+regular word for ‘ripen’&mdash;Gr. <span class = "greek" title =
+"pessô">πέσσω</span>&mdash;<span class = "smallcaps">Varro</span>,
+R.&nbsp;R., 1, 7, 4; 54,&nbsp;1. Tr. ‘is ripening hard’ (in the broiling
+sun).&mdash;<b>insana canicula:</b> ‘the mad dog-star’ is, of course,
+the ‘mad dog’s star’ (Conington). Comp. <span class =
+"smallcaps">Hor.</span>, Od., 3, 29, 18; Ep., 1, 10, 16.</p>
+
+<p><a class = "line" name = "note3_7" id = "note3_7" href =
+"#line3_7">7.</a>
+<b>comitum:</b> <i>Comes</i> is a wide term, embracing fellow-students
+and tutors. The Greek word is <span class = "greek" title = "hoi sunontes">οἱ συνοντες</span>. See <span class =
+"smallcaps">Lucian’s</span> famous tract, <span class = "greek" title =
+"peri tôn epi misthô #sunontôn#">περὶ τῶν ἐπὶ μισθῷ <span class =
+"gesperrt">συνόντων</span></span> (de mercede conductis).</p>
+
+<p><a class = "line" name = "note3_8" id = "note3_8" href =
+"#line3_8">8.</a>
+<b>aliquis:</b> ‘somebody,’ ‘<span class = "greek" title =
+"tis">τις</span>,’ of a servant. <i>Aperite <span class =
+"gesperrt">aliquis</span> actutum ostium</i>, <span class =
+"smallcaps">Ter.</span>, Adelphi, 4, 4, 46. <span class = "greek" title
+= "Hôsper en oikô enioi despotai prostattousi, Itô #tis# eph’ hudôr, Xula #tis# schisatô">Ὥσπερ ἐν οἴκῳ ἔνιοι δεσπόται προστάττουσι, Ἴτω
+<span class = "gesperrt">τις</span> ἐφ᾽ ὕδωρ, Ξύλα <span class =
+"gesperrt">τις</span> σχισάτω</span>, <span class =
+"smallcaps">Xen.</span>, Cyr., 5, 3, 49.&mdash;<b>nemon?</b> on the
+rhetorical <i>-ne</i>, see <a href = "#note1_22">1,
+22</a>.&mdash;<b>vitrea bilis:</b> a medical term, <span class = "greek"
+title = "hualôdês cholê">ὑαλώδης χολή</span>, according to Casaubon.
+Comp. <i>splendida bilis</i>, <span class = "smallcaps">Hor.</span>,
+Sat., 2, 3, 141.</p>
+
+<p><a class = "line" name = "note3_9" id = "note3_9" href =
+"#line3_9">9.</a>
+<b>findor:</b> ‘I’m splitting,’ the exclamation of the impatient youth.
+The old reading, <i>finditur</i>, ‘he’ or ‘it’ (<i>bilis</i>) ‘is
+splitting,’ has little MS. authority. Others read
+<i>findimur</i>.&mdash;<b>Arcadiae pecuria:</b> The asses of Arcady were
+famous in antiquity.&mdash;<b>rudere:</b> with <i>u</i> long only here
+and <span class = "smallcaps">Auson.</span>, Epigr., 76, 3.</p>
+
+<p><a class = "line" name = "note3_10" id = "note3_10" href =
+"#line3_10">10.</a>
+<b>iamque liber:</b> The distribution of these articles is not without
+its difficulty. According to some, <i>liber</i> is the author to be
+explained by the teacher; <i>chartae</i>, the papyrus for rough notes;
+<i>membrana</i>, the parchment for a more careful transcript. According
+to others, ‘<i>liber</i> is the author out of which the lesson or thesis
+is to be transcribed, and <i>membrana</i> the parchment wrapper for
+preserving the loose sheets, as the work progresses’
+(Pretor).&mdash;<b>bicolor:</b> used either of the two sides of the
+skin&mdash;the one from which the hair had been scraped, yellow, the
+other white (Casaubon), or, more probably, of the custom of coloring the
+parchment artificially (Jahn).&mdash;<b>capillis:</b> is commonly taken
+for <i>pilis</i>, a&nbsp;rare use. The hair side of the skin was
+carefully smoothed with pumice-stone. <i>Arida modo <span class =
+"gesperrt">pumice</span> expolitum</i>, <span class =
+"smallcaps">Cat.</span>, 1, 2; <i>cui <span class =
+"gesperrt">pumex</span> tondeat ante comas</i>, <span class =
+"smallcaps">Tib.</span>, 3, 1, 10. The old explanation, according to
+which <i>positis capillis = capillis ornatis sive pexis</i> (Plum), has
+found an advocate in Schlüter. The young
+<span class = "pagenum">123</span>
+man is supposed to have dressed his hair before he goes to work.</p>
+
+<p><a class = "line" name = "note3_11" id = "note3_11" href =
+"#line3_11">11.</a>
+<b>nodosa harundo</b> = <i>calamus</i> of the next verse.</p>
+
+<p><a class = "line" name = "note3_12" id = "note3_12" href =
+"#line3_12">12.</a>
+<b>querimur:</b> In his ed. of 1868 Jahn has abandoned <i>queritur</i>
+(1843) here and in <a href = "#line3_14">v. 14</a>. Comp.
+<i>stertimus</i>, <a href = "#line3_3">v. 3</a>.&mdash;<b>calamo:</b> In
+prose, <i>de calamo</i>.</p>
+
+<p><a class = "line" name = "note3_13" id = "note3_13" href =
+"#line3_13">13.</a>
+<b>nigra sepia:</b> ‘The blackness of the liquor,’ Conington, who says
+correctly that <i>nigra</i> is emphatic. <i>Sepia</i>, ‘juice of the
+cuttle-fish,’ used for ink. Comp. <span class =
+"smallcaps">Auson.</span>, Epist., 4, 76; 7, 54 (Jahn).</p>
+
+<p><a class = "line" name = "note3_14" id = "note3_14" href =
+"#line3_14">14.</a>
+<b>fistula</b> = <i>harundo</i>. The nib of the pen was badly slit.
+Comp. <i>nec iam <span class = "gesperrt">fissipedis</span> per <span
+class = "gesperrt">calami</span> vias</i> | <i>grassetur Cnidiae sulcus
+harundinis</i>, <span class = "smallcaps">Auson.</span>, Epist., 7,
+49-50.</p>
+
+<p>The whole period is very awkward, and is not improved by Jahn’s
+<i>sed</i> for <i>quod</i> in <a href = "#line3_13">v. 13</a>. Mr.
+Pretor suspects a <i>duplex recensio</i>, and brackets <a href =
+"#line3_13">v. 13</a>. In any other author I should suggest
+<i>dilutas<span class = "gesperrt">que nimis</span></i> for <i>dilutas
+<span class = "gesperrt">querimur</span></i>, <a href = "#line3_14">v.
+14</a> (Mp. <i>querimus</i>).</p>
+
+<p><a class = "line" name = "note3_15" id = "note3_15" href =
+"#line3_15">15.</a>
+<b>ultra miser</b> = <i>miserior</i>.&mdash;<b>hucine rerum:</b>
+<i>Hucine</i> is archaic and colloquial. On <i>rerum</i>, see G., 371,
+R.&nbsp;4; A., 50, 2, <i>d</i>. Comp. <a href = "#note1_1">1, 1</a> for
+the translation.</p>
+
+<p><a class = "line" name = "note3_16" id = "note3_16" href =
+"#line3_16">16.</a>
+<b>tenero columbo:</b> a pet name for children (Schol.). <i>Columbus</i>
+is ‘the house-pigeon,’ <i>palumbus</i> ‘the wood-pigeon.’ Some of the
+best MSS. read <i>palumbo</i>, which Bentley on <span class =
+"smallcaps">Hor.</span>, Od., 1, 2, 10, prefers. Notice further that
+nurses often feed their babies pigeon-fashion.&mdash;<b>regum
+pueris:</b> ‘aristocratic babies,’ ‘babies of quality’ (Conington).
+<i>Regum</i> as in <a href = "#line1_67">1,
+67</a>.&mdash;<b>pappare:</b> (<i>papare</i>, Jahn, 1843) Infin. for
+Substantive, ‘pap.’ Such Infinitives are hardly parallel with <i>vivere
+triste</i> (1,&nbsp;9), and belong rather to the <i>verba togae</i>.
+They may be called nursery Infinitives. Comp. <span class =
+"smallcaps">Titin.</span> (ap. <span class =
+"smallcaps">Charisium</span>, 1, p. 99P.), <a href = "#line3_78">v.
+78</a> Ribb.: <i>Date illi <span class = "gesperrt">biber</span>,
+iracunda haec est</i>. Comp. the Greek <span class = "greek" title = "to piein, to phagein">τὸ πιεῖν, τὸ φαγεῖν</span>, <span class =
+"smallcaps">Theocr.</span>, 10, 53; <span class = "smallcaps">Anthol.
+Pal.</span>, 12, 34,&nbsp;5. The Scholiast calls <i>pappare</i> and
+<i>lullare</i> ‘<i>voces mutilas</i>.’&mdash;<b>minutum:</b> ‘chewed
+fine,’ ‘minced.’</p>
+
+<p><a class = "line" name = "note3_18" id = "note3_18" href =
+"#line3_18">18.</a>
+<b>iratus:</b> ‘in a pet.’&mdash;<b>mammae:</b> exactly our ‘mammy;’
+depends on <i>lallare</i>, not on <i>iratus</i>.&mdash;<b>lallare:</b>
+like <i>pappare</i>, ‘lullaby.’ ‘Pettishly refusing to let mammy sing
+you to sleep’ (Conington)&mdash;‘to go by-bye for mammy.’</p>
+
+<p><a class = "line" name = "note3_19" id = "note3_19" href =
+"#line3_19">19.</a>
+<b>studeam:</b> G., 258; A., 57,&nbsp;6. The absolute use of
+<i>studere</i>
+<span class = "pagenum">124</span>
+is post-Augustan. <i>Desidioso <span class = "gesperrt">studere</span>
+torqueri est</i>, <span class = "smallcaps">Sen.</span>, Ep. M., 71,
+23.&mdash;<b>Cui verba:</b> sc. <i>das</i>?</p>
+
+<p><a class = "line" name = "note3_20" id = "note3_20" href =
+"#line3_20">20.</a>
+<b>succinis:</b> ‘sing to an instrument or second to a person,’ <ins
+class = "correction" title = "open quote printed before ‘hence’">hence
+‘</ins>to sing small’ (Conington), ‘come whimpering, whining
+with.’&mdash;<b>ambages:</b> ‘beating about the bush,’ ‘shuffling
+excuses.’ <i>Quando pauperiem, missis <span class =
+"gesperrt">ambagibus</span>, horres</i>, <span class =
+"smallcaps">Hor.</span>, Sat., 2, 5, 9.&mdash;<b>tibi luditur:</b>
+<i>Tua res agitur</i>, ‘it is your game,’ ‘your stake,’ ‘your
+affair.’&mdash;<b>effluis amens:</b> with a sudden change of figure. The
+dissolute young man is compared to a cracked jar, from which all the
+noble ‘wine of life’ (<span class = "smallcaps">Shaksp.</span>, Macbeth,
+2,&nbsp;3) is escaping. The passage in <span class =
+"smallcaps">Ter.</span>, Eun., 1, 2, 25, which is often cited in this
+connection: <i>Plenus rimarum sum; huc atque huc <span class =
+"gesperrt">perfluo</span></i> refers to ‘a leaky vessel,’ one who can
+not keep a secret.</p>
+
+<p><a class = "line" name = "note3_21" id = "note3_21" href =
+"#line3_21">21.</a>
+<b>contemnere:</b> A sudden desertion of the metaphor, unless
+<i>contemnere</i> be a technical term, like <span class = "greek" title
+= "apodokimazein">ἀποδοκιμάζειν</span>, ‘reject on test.’ <span class =
+"smallcaps">Cicero</span> combines <i>conterere et contemnere</i>,
+<i>contemnere et reicere</i>, <i>contemnere et pro nihilo putare</i>.
+The Scholiast thinks that the word is an unhappy reminiscence of <span
+class = "smallcaps">Hor.</span>, Sat., 2, 3, 14: <i><span class =
+"gesperrt">contemnere</span> miser</i>.&mdash;<b>sonat vitium</b> =
+<i>sono indicat vitium</i>. <i>Sonat vitium</i>, like <i>sapit mare</i>,
+‘sounds flawy,’ ‘has a flawy ring.’ The Schol. comp. <span class =
+"smallcaps">Verg.</span>, Aen., 1, 328: <i>nec vox <span class =
+"gesperrt">hominem sonat</span></i>.&mdash;<b>maligne:</b>
+‘ill-naturedly,’ ‘grudgingly,’ of that which falls short of what was
+expected. <i>Maligne respondet</i>, ‘gives a short answer,’ ‘a dull
+sound.’</p>
+
+<p><a class = "line" name = "note3_22" id = "note3_22" href =
+"#line3_22">22.</a>
+<b>viridi:</b> = <i>crudo</i>, ‘untempered.’ The material is ill-mixed
+and the crock ill-baked (<i>non cocta</i>).</p>
+
+<p><a class = "line" name = "note3_23" id = "note3_23" href =
+"#line3_23">23.</a>
+‘Persius steps back, as it were, while pursuing the metaphor,’ is
+Conington’s droll defence of <span class = "smallcaps">Persius’s</span>
+<span class = "greek" title = "husteron proteron">ὕστερον
+πρότερον</span>. Common critics would say that <span class =
+"smallcaps">Persius</span> had bungled the figure.&mdash;<b>properandus
+et fingendus:</b> not necessarily equivalent to <i>propere
+fingendus</i>. Comp. <span class = "smallcaps">Juv.</span>, 4, 134:
+<i>argillam atque rotam citius <span class =
+"gesperrt">properate</span></i>.</p>
+
+<p><b>24-43.</b>
+<span class = "smallcaps">Persius</span>: ‘I know what you are going to
+say. You have a fair estate, you have nothing to dread, you have good
+connections, you have a good position. Away with these baubles.
+I&nbsp;know you yourself. You live no higher life than the dullest
+sensualist, who knows not what he is losing; but the time will come when
+you will be roused to the consciousness of
+<span class = "pagenum">125</span>
+your loss, and your soul must be tortured with the expectation of
+impending ruin and the carking of hidden sin.’&mdash;<b>rure
+paterno:</b> G., 412, R.&nbsp;1; A., 55, 3, <i>c</i>, R.</p>
+
+<p><a class = "line" name = "note3_25" id = "note3_25" href =
+"#line3_25">25.</a>
+<b>far modicum:</b> <i>Modicum</i> with a sneer. The young man keeps up
+a show of Stoic moderation.&mdash;<b>salinum&mdash;patella:</b> two
+articles of plate, to which every respectable family aspired. Compare
+the apostle-spoons and the candle-cup of the Elizabethan period. The
+<i>salinum</i> and the <i>patella</i> were exempt, when all other gold
+and silver plate was called for to meet the necessities of the
+state.&mdash;<b>purum et sine labe:</b> literally and
+metaphorically.</p>
+
+<p><a class = "line" name = "note3_26" id = "note3_26" href =
+"#line3_26">26.</a>
+<b>quid metuas:</b> <i>ex animo iuvenis</i>. The young man is supposed
+to ask <i>quid metuam?</i> See <a href = "#note3_19">v. 19</a>. ‘I have
+nothing to fear on the score of poverty.’&mdash;<b>cultrix foci:</b> The
+<i>patella</i> was used in the worship of the Lares. Conington preserves
+the possible double sense of ‘inhabitant’ and ‘worshipper,’ by rendering
+‘a&nbsp;dish for fireside service.’&mdash;<b>secura:</b> ‘that knows no
+fear’ (of want).</p>
+
+<p><a class = "line" name = "note3_27" id = "note3_27" href =
+"#line3_27">27.</a>
+<b>hoc satis?</b> This is very well, but is it enough?&mdash;<b>an
+deceat:</b> The connection is not very plain, and Jahn thinks that
+another person is apostrophised. <span class =
+"smallcaps">Persius</span> is attacking the same man, now as to his
+fortune, now as to his family. That this is not clearly brought out, is
+simply his own fault.&mdash;<b>ventis:</b> ‘with airs’ (Pretor). See
+<a href = "#note4_20">4,&nbsp;20</a>.</p>
+
+<p><a class = "line" name = "note3_28" id = "note3_28" href =
+"#line3_28">28.</a>
+<b>stemmate:</b> Abl. as a whence-case. ‘Comp. <span class =
+"smallcaps">Juv.</span>, 8, 1-6; <span class = "smallcaps">Suet.</span>,
+Nero, 37. These <i>stemmata</i> were genealogical trees or tables of
+pedigree, in which the family portraits (<i>imagines</i>) were connected
+by winding lines. Comp. <i><span class = "gesperrt">stemmata</span> vero
+lineis discurrebant ad imagines pictas</i>, <span class =
+"smallcaps">Plin.</span>, H.&nbsp;N., 25, 2, and <i>multae <span class =
+"gesperrt">stemmatum</span> flexurae</i>, <span class =
+"smallcaps">Sen.</span>, de Benef., 3, 28’ (Pretor, after
+Jahn).&mdash;<b>Tusco:</b> The Etruscans were great sticklers for
+family, as <span class = "smallcaps">Persius</span> well knew. Comp.
+<span class = "smallcaps">Hor.</span>, Od., 3, 29,&nbsp;1; Sat., 1, 6,
+1; <span class = "smallcaps">Prop.</span>, 4, 9,&nbsp;1. Your
+aristocratic philosopher can afford to be disdainful of birth.
+A&nbsp;Stoic commonplace: <i>si quid est aliud in philosophia boni, hoc
+est quod <span class = "gesperrt">stemma</span> non inspicit</i>, <span
+class = "smallcaps">Sen.</span>, Ep., 44, 1.&mdash;<b>ramum</b> =
+<i>lineam</i>.&mdash;<b>millesime:</b> ‘a thousand times removed’
+(Pretor). On the case, <a href = "#note1_123">1, 123</a>. Conington
+recognizes a side-thrust, and compares Savage’s ‘No <i>tenth</i>
+transmitter of a foolish face.’</p>
+
+<p><a class = "line" name = "note3_29" id = "note3_29" href =
+"#line3_29">29.</a>
+<b>censorem<span class = "gesperrt">ne</span>:</b> So Casaubon. Jahn
+(1868) reads <i>-que</i>, thus
+<span class = "pagenum">126</span>
+abandoning the reading which is best supported by MSS., but utterly
+unsupported by grammar, <i>-ve</i>. The careless use of <i>vel</i> after
+<i>ve</i> is one of those slips that are simply incredible, nor can
+<i>-ve&mdash;vel</i> be successfully defended by connecting the latter
+closely with <i>trabeate</i>. Pretor explains, ‘because you have a
+censor in your family, or are yourself a knight of distinction (sc.
+<i>quodve censorem tuum salutas vel quod ipse trabeatus es</i><ins class
+= "correction" title = "close quote printed before parenthesis">)’.</ins> Heinr.’s conjecture, <i>fatuum</i>, with a
+reference to the censorship of Claudius, is itself almost fatuous. If we
+are to resort to conjecture, Heinr.’s other suggestion, <i>vetulum</i>,
+would be mild. Jahn explains this line (after Niebuhr) of the
+<i>municipales equites</i>, ‘Because you are a great man in your own
+provincial town.’ Comp. <a href = "#line1_129">1, 129</a>. ‘In any case
+the allusion is to the annual <i>transvectio</i> of the <i>equites</i>
+before the censor, who used to review them (<i>recognoscere</i>) as they
+defiled before him on horseback. If <i>censorem</i> is understood of
+Rome, <i>tuum</i> will imply that the youth is related to the Emperor,
+like <span class = "smallcaps">Juvenal’s</span> Rubellius Blandus, 8,
+40; otherwise it means “your local censor”’
+(Conington).&mdash;<b>trabeate:</b> The <i>trabea</i> is the official
+dress of the <i>equites</i>. Comp. <a href = "#line1_123">1,
+123</a>.</p>
+
+<p><a class = "line" name = "note3_30" id = "note3_30" href =
+"#line3_30">30.</a>
+<b>ad populum phaleras:</b> ‘The <i>phalerae</i> included all the
+trappings of the horse and rider. They were on occasion much ornamented
+with metal, and <span class = "smallcaps">Polybius</span> (6, 23) says
+that they were given as rewards of merit to cavalry soldiers’ (Pretor,
+after Jahn). ‘To the mob with your trappings, your stars and
+garters.’&mdash;<b>intus et in cute:</b> ‘inside and out;’ a&nbsp;rough
+equivalent. <i>In cute</i> (Gr. <span class = "greek" title = "en chrô">ἐν χρᾦ</span>) means ‘closely’ (‘to a dot, a&nbsp;T’). See Lexx.
+s.v. <span class = "greek" title = "chrôs">χρῶς</span>.</p>
+
+<p><a class = "line" name = "note3_31" id = "note3_31" href =
+"#line3_31">31.</a>
+<b>non pudet:</b> ‘You are not ashamed?’ (you ought to be). See G.,
+455.&mdash;<b>discincti:</b> Comp. <i><span class =
+"gesperrt">discinctus</span> aut perdam <span class =
+"gesperrt">nepos</span></i>, <span class = "smallcaps">Hor.</span>,
+Epod., 1, 34 (Schol.). The <i>discinctus</i> is ‘a man of loose
+habits.’&mdash;<b>Nattae:</b> taken at random from <span class =
+"smallcaps">Hor.</span>, Sat., 1, 6, 124.</p>
+
+<p><a class = "line" name = "note3_32" id = "note3_32" href =
+"#line3_32">32.</a>
+<b>stupet:</b> <span class = "greek" title =
+"anaisthêtei">ἀναισθητεῖ</span> (Casaubon). He is ‘past feeling,’ his
+conscience is benumbed, is ‘seared with a hot iron.’&mdash;<b>fibris
+increvit opimum pingue:</b> ‘his heart is overgrown with thick collops
+of fat’ (Conington). The Scriptural parallels are familiar: Psa., 119,
+70; Matt., 13, 15; John, 12, 40. The Delphin ed. comp. <span class =
+"smallcaps">Tertull.</span>, de Anima, 20: <i><span class =
+"gesperrt">Opimitas</span> impedit sapientiam.</i> On <i>opimum
+pingue</i>, comp. <a href = "#line1_107">1, 107</a>.</p>
+
+<p><a class = "line" name = "note3_33" id = "note3_33" href =
+"#line3_33">33.</a>
+<b>caret culpa:</b> Perhaps because the Stoic would not hold
+<span class = "pagenum">127</span>
+him responsible, <span class = "smallcaps">Epictet.</span>, Diss., 1,
+18. Conington well remarks that Casaubon’s quotation from <span class =
+"smallcaps">Menand.</span>, Mon., 430&mdash;<span class = "greek" title
+= "ho mêden eidôs ouden examartanei">ὁ μηδὲν εἰδὼς οὐδὲν
+ἐξαμαρτάνει</span>&mdash;does not meet the case. In <span class =
+"smallcaps">Menander</span> we have to do with ‘a sin of ignorance’
+against others. Here the sin is against the man’s own nature. Possibly
+<i>culpa</i> is = <i>conscientia culpae</i>.</p>
+
+<p><b>34-43.</b>
+The terrors of remorse.</p>
+
+<p><ins class = "correction" title = "printed with line 33"><a class =
+"line" name = "note3_34" id = "note3_34" href =
+"#line3_34">34.</a></ins>
+<b>rursum non bullit:</b> ‘he makes no bubbles,’ ‘makes no further
+struggles,’ ‘he is down among the dead men.’</p>
+
+<p><a class = "line" name = "note3_36" id = "note3_36" href =
+"#line3_36">36.</a>
+<b>velis:</b> ‘deign.’ <i>Velle</i> gives a reverential turn to the
+wish.</p>
+
+<p><a class = "line" name = "note3_37" id = "note3_37" href =
+"#line3_37">37.</a>
+<b>moverit:</b> Perf. Subj. Attraction of mood. G., 666; A., 66,
+2.&mdash;<b>ferventi tincta veneno:</b> The <i>gelidum venenum</i>
+chills, this poison fires the blood. Comp. <span class =
+"smallcaps">Alciphr.</span>, 1, 37, 3: <span class = "greek" title =
+"thermoteron pharmakon">θερμότερον φάρμακον</span>, of a love potion.
+<i>Occultum inspires <span class = "gesperrt">ignem</span> fallasque
+<span class = "gesperrt">veneno</span></i>, <span class =
+"smallcaps">Verg.</span>, Aen., 1, 688. <i>Tincta</i> is a reminiscence
+of the shirt of Nessus and the bridal-gift of Medea to Glaucé.</p>
+
+<p><a class = "line" name = "note3_38" id = "note3_38" href =
+"#line3_38">38.</a>
+<b>intabescant:</b> belongs to the same sphere of comparison.
+<i>Intabescere</i>, <span class = "greek" title =
+"katatêkesthai">κατατήκεσθαι</span>, is hopeless pining for a lost love.
+Comp. <span class = "smallcaps">Theocr.</span>, 1, 66; 11, 14. For the
+figure, see <span class = "smallcaps">Ov.</span>, Met., 3, 487: <i>ut
+<span class = "gesperrt">intabescere</span> flavae</i> | <i>igne levi
+cerae&mdash;solent, sic attenuatus amore</i> |
+<i>liquitur</i>.&mdash;<b>relicta:</b> sc. <i>virtute</i>. Conington
+comp. <span class = "smallcaps">Verg</span>., Aen., 4, 692: <i>quaesivit
+caelo lucem ingemuitque <span class = "gesperrt">reperta</span></i>.
+<i>Relicta</i> = <i>quod religuerint</i>.</p>
+
+<p><a class = "line" name = "note3_39" id = "note3_39" href =
+"#line3_39">39.</a>
+<b>anne</b> = <i>an</i>.&mdash;<b>Siculi iuvenci:</b> Every one has
+heard of the brazen bull made by Perillus for Phalaris of Agrigentum,
+<span class = "smallcaps">Cic.</span>, Off., 2, 7, 26, and the sword of
+Damocles, in the next verse, is a proverb in English. Comp. <span class
+= "smallcaps">Hor.</span>, Od., 3, 1, 17; <span class =
+"smallcaps">Cic.</span>, Tusc. Dis., 5, 21, 61.&mdash;<b>aera:</b> poet.
+Plur. Vivid personification and identification.</p>
+
+<p><a class = "line" name = "note3_40" id = "note3_40" href =
+"#line3_40">40.</a>
+<b>auratis laquearibus</b> = <i>de a.&nbsp;l. Laquearibus</i>, ‘sunken
+panels (<i>lacus</i>) between the cross-beams of the ceiling.’ See <span
+class = "smallcaps">Verg.</span>, Aen., 1, 726.&mdash;<b>ensis:</b> a
+poetic word, ‘glaive,’ ‘brand.’</p>
+
+<p><a class = "line" name = "note3_41" id = "note3_41" href =
+"#line3_41">41.</a>
+<b>purpureas cervices:</b> Damocles was arrayed in royal purple; hence
+<i>purpureas</i> (Casaubon). Others apply the expression to tyrants
+generally. Comp. <span class = "smallcaps">Hor.</span>, Od., 1, 35, 12:
+<i>purpurei tyranni</i>.</p>
+
+<p><a class = "line" name = "note3_42" id = "note3_42" href =
+"#line3_42">42.</a>
+<b>imus:</b> Better to have a sword hanging by a hair over your neck
+than yourself to be hanging above an abyss of misery. The commentators
+refer to Tiberius’s letter to the senate (<span class =
+"smallcaps">Tac.</span>, Ann., 6, 6; <span class =
+"smallcaps">Suet.</span>, Tib., 67), by way of illustrating the
+shuddering perplexity
+<span class = "pagenum">128</span>
+of the sinful tyrant.&mdash;<b>dicat:</b> The subject is loosely
+involved.&mdash;<b>intus</b> | <b> palleat:</b> This ‘not very
+intelligible expression’ (Conington) is paralleled by <span class =
+"smallcaps">Shaksp.</span>, Macb., 2,&nbsp;2: ‘My hands are of your
+color, but I shame | to wear a heart so <i>white</i>.’</p>
+
+<p><a class = "line" name = "note3_43" id = "note3_43" href =
+"#line3_43">43.</a>
+<b>quod:</b> dependent on the notion of fear contained in
+<i>pallere</i>. G., 329, R.&nbsp;1; A., 52, 1,
+<i>a</i>.&mdash;<b>proxima uxor:</b> ‘the wife at his side,’ ‘the wife
+of his bosom.’&mdash;<b>nesciat:</b> ‘is not to know.’</p>
+
+<p><b>44-51.</b>
+You have not the excuse of an unenlightened conscience, nor have you the
+plea of the ignorance of boyhood. Boys will be boys. I&nbsp;was a boy
+myself, played boyish tricks, loved boyish sports. My training was bad,
+my behavior only to be justified by my training.</p>
+
+<p><a class = "line" name = "note3_44" id = "note3_44" href =
+"#line3_44">44.</a>
+<b>parvus:</b> ‘as a small boy:’ <i>Memini quae plagosum <span class =
+"gesperrt">mihi parvo</span></i> | <i>Orbilium dictare</i>, <span class
+= "smallcaps">Hor.</span>, Ep., 2, 1, 70.&mdash;<i>olivo:</i> The boy
+would tip (<i>tangere</i>) his eyes with oil, in order to make believe,
+by the use of the remedy, that he was suffering from the disease. For
+the anointing of sore eyes, see <span class = "smallcaps">Hor.</span>,
+Sat., 1, 8, 25; Ep., 1, 1, 29.</p>
+
+<p><a class = "line" name = "note3_45" id = "note3_45" href =
+"#line3_45">45.</a>
+<b>grandia:</b> ‘sublime.’ <i>Grandia verba</i> is the American ‘tall
+talk.’&mdash;<b>nollem:</b> Iterative conditional. G., 569, R.&nbsp;2;
+A., 59, 5, <i>b</i>.&mdash;<b>morituri Catonis:</b> Such compositions
+were very much in vogue as rhetorical exercises. Comp. <span class =
+"smallcaps">Juv.</span>, 1, 16 (oration to Sulla, advising a withdrawal
+from public life); 7, 161 (speech made for Hannibal). <span class =
+"smallcaps">Seneca</span> (Ep., 24,&nbsp;6) does not seem to regard the
+theme of Cato’s death as threadbare.</p>
+
+<p><a class = "line" name = "note3_46" id = "note3_46" href =
+"#line3_46">46.</a>
+<b>discere:</b> better than <i>dicere</i>. The boy shirks the learning
+rather than the speaking, and the sore eyes would be a better excuse for
+the one than for the other.&mdash;<b>non sano:</b> Comp. <span class =
+"smallcaps">Petron.</span>, cap. 1; <span class =
+"smallcaps">Tac.</span>, Or., 35, on this system of training. Hermann
+reads <i>et insano</i>.&mdash;<b>laudanda</b> = <i>quae laudaret</i>,
+the free adjective use of the Gerundive, which is more common in later
+times.</p>
+
+<p><a class = "line" name = "note3_47" id = "note3_47" href =
+"#line3_47">47.</a>
+<b>quae pater audiret:</b> <span class = "smallcaps">Juv.</span>, 7,
+166: <i>ut totiens illum <span class = "gesperrt">pater
+audiat</span></i>.&mdash;<b>sudans:</b> from excitement; hardly ‘in a
+glow of perspiring ecstasy’ (Conington). <i>Sudans</i> is thrown in
+maliciously as a comment.</p>
+
+<p><a class = "line" name = "note3_48" id = "note3_48" href =
+"#line3_48">48.</a>
+<b>iure:</b> <span class = "greek" title = "eikotôs">εἰκότως</span>,
+‘and well I might.’&mdash;<b>etenim:</b> is <span class = "greek" title
+= "kai gar">καὶ γάρ</span>. Theoretically the predicate of the preceding
+sentence is to be repeated with the <i>et</i>. Practically it is often
+best to leave <i>et</i> untranslated.
+<span class = "pagenum">129</span>
+G., 500, R. 2 and&nbsp;3; A., 43, 3, <i>d</i>.&mdash;<b>senio</b>, etc.:
+‘The game was played with four <i>tali</i>, which, unlike the
+<i>tesserae</i>, were rounded on two sides, while the other four faces
+were marked with one, three, four, or six pips, and called respectively
+<i>unio</i>, <i>ternio</i>, <i>quaternio</i>, <i>senio</i>. The
+<i>canis</i> was the worst throw, when all four <i>tali</i> showed
+single pips (<span class = "smallcaps">Ov.</span>, A.&nbsp;A., 2, 206;
+Trist., 2, 474; <span class = "smallcaps">Mart.</span>, 13, 1, 6; <span
+class = "smallcaps">Prop.</span>, 4, 8, 46), and the <i>Venus</i> the
+best, when all the faces turned up were different (<span class =
+"smallcaps">Lucian</span>, Amor., p. 415); or else, for it varied upon
+occasion, when all showed sices. The ace was a losing throw and the sice
+a winning one, when the pips were counted’ (Pretor, after Jahn). <span
+class = "smallcaps">Persius</span> wanted to know the value of each
+throw, what one brought in (<i>ferret</i>) another swept off
+(<i>raderet</i>).</p>
+
+<p><a class = "line" name = "note3_49" id = "note3_49" href =
+"#line3_49">49.</a>
+<b>scire erat in voto:</b> <i>Hoc <span class = "gesperrt">erat in
+votis</span></i>, <span class = "smallcaps">Hor.</span>, Sat., 2, 6,
+1.</p>
+
+<p><a class = "line" name = "note3_50" id = "note3_50" href =
+"#line3_50">50.</a>
+<b>angustae collo non fallier orcae:</b> The allusion is to a game at
+<i>nuces</i>, called <span class = "greek" title = "tropa">τρόπα</span>
+or ‘cherry-pit.’ ‘’Tis not for gravity to play at <i>cherry-pit</i> with
+Satan,’ <span class = "smallcaps">Shaksp.</span>, Twelfth N., 3,&nbsp;4.
+Fr. <i>à la fossette</i>. Comp. <span class =
+"smallcaps">Rabelais</span>, 1,&nbsp;2. The modern equivalent of
+<i>nuces</i> is marbles, and the modern <span class = "greek" title =
+"tropa">τρόπα</span> is ‘pitch-in-the-hole,’ or ‘knucks.’ Instead of the
+hole in the ground (<span class = "greek" title =
+"bothros">βόθρος</span>), the ancients used a small jar (<i>orca</i>),
+and to enhance the difficulty of getting in, the neck of this jar was
+made narrow (<i>collo angustae orcae = angusto collo orcae</i>, by
+Hypallagé, v.&nbsp;4). So the modern hole admits but one marble. Comp.
+[<span class = "smallcaps">Ov.</span>] Nux, 85, 86: <i>Vas quoque saepe
+cavum spatio distante locatur,</i> | <i>in quod missa levi nux cadat
+<span class = "gesperrt">una</span> manu.</i>&mdash;<b>fallier:</b> like
+<i>dicier</i>, 1, 28.</p>
+
+<p><a class = "line" name = "note3_51" id = "note3_51" href =
+"#line3_51">51.</a>
+<b>neu quis</b> = <i>et ne quis</i>. G., 546. ‘<i>Et [erat in voto] ne
+quis callidior [esset].</i>’&mdash;<b>buxum:</b> ‘top,’ because made of
+‘boxwood.’ Comp. <span class = "smallcaps">Verg.</span>, Aen., 7, 382:
+<i>volubile <span class =
+"gesperrt">buxum</span></i>.&mdash;<b>torquere:</b> see <a href =
+"#noteP_11">Prol., 11</a>, and <a href = "#line1_118">1, 118</a>.</p>
+
+<p><a class = "line" name = "note3_52" id = "note3_52" href =
+"#line3_52">52.</a>
+You have had a better training. You have reached years of discretion.
+You know Right from Wrong.&mdash;<b>curvos</b> = <i>pravos</i>. Comp.
+<i>scilicet ut possem <span class = "gesperrt">curvo</span> dinoscere
+rectum</i>, <span class = "smallcaps">Hor.</span>, Ep., 2, 2, 44, and
+<span class = "smallcaps">Persius</span>, 4, 12; 5, 38.</p>
+
+<p><a class = "line" name = "note3_53" id = "note3_53" href =
+"#line3_53">53.</a>
+<b>quaeque docet:</b> <i>Quae</i> depends by Zeugma on some notion
+involved in <i>deprendere</i>, such as <i>tenere</i>. G., 690; M., 478,
+Obs. 4.&mdash;<b>sapiens porticus:</b> Comp. <i>sapientem barbam</i>,
+<span class = "smallcaps">Hor.</span>, Sat., 2, 3, 35; <i>eruditus
+pulvis</i>, <span class = "smallcaps">Cic.</span>, N.&nbsp;D., 2, 18,
+48.&mdash;<b>bracatis inlita Medis:</b> The
+<span class = "pagenum">130</span>
+<span class = "greek" title = "stoa poikilê">στοὰ ποικίλη</span>, the
+resort of Zeno and his school, was adorned with paintings by Polygnotus
+and others. One of these paintings represented the battle of Marathon,
+hence ‘the wise Porch bepainted with the trouser’d Medes.’ <i>Inlita</i>
+perhaps contemptuous, not necessarily ‘frescoed.’ The <i>bracae</i>
+<span class = "greek" title = "anaxurides, thulakoi">ἀναξυρίδες,
+θύλακοι</span>, a&nbsp;mark of barbaric luxury and display. Comp. <span
+class = "smallcaps">Prop.</span>, 4, 3, 17: <i>Tela fugacis equi et
+<span class = "gesperrt">bracati militis</span> arcus</i> and <i>Persica
+braca</i>, <span class = "smallcaps">Ov.</span>, Tr., 5, 10, 34
+(Freund).&mdash;<b>quibus:</b> Neuter. <i>Quibus et = et quibus.</i>
+Trajection, G., 693.&mdash;<b>detonsa:</b> ‘close-cropped,’ for so the
+Stoics wore their hair, although they let their beard grow long <span
+class = "greek" title = "en chrô kouriai">ἐν χρῷ κουρίαι</span>, <span
+class = "smallcaps">Luc.</span>, Hermot., 18; Vit. Auct., 20. Comp.
+<span class = "smallcaps">Juv.</span>, 2, 15: <i>supercilio brevior
+coma</i>.</p>
+
+<p><a class = "line" name = "note3_55" id = "note3_55" href =
+"#line3_55">55.</a>
+<b>invigilat:</b> ‘rather tautological after <i>insomnis</i>. <i>Nec
+capiat somnos <span class = "gesperrt">invigiletque</span> malis</i>,
+<span class = "smallcaps">Ov.</span>, Fast., 4, 530’ (Conington).
+Positive and negative sides of an action are more frequently combined in
+Latin and Greek than in English, and ‘sleepless vigil’ would not be
+strange even in English.&mdash;<b>siliquis:</b> ‘pulse.’ <span class =
+"smallcaps">Hor.</span>, Ep., 2, 1, 123: <i>vivit [vates] <span class =
+"gesperrt">siliquis</span> et pane secundo</i>.&mdash;<b>grandi
+polenta:</b> ‘mighty messes of porridge;’ coarse, thick stuff
+(Macleane). ‘<i>Polenta</i>, <span class = "greek" title =
+"alphita">ἄλφιτα</span>, “pearl barley,” a&nbsp;Greek, not a Roman dish
+(<span class = "smallcaps">Plin.</span>, H.&nbsp;N., 18, 19, 28),
+mentioned as a simple article of diet by Attalus, <span class =
+"smallcaps">Seneca’s</span> preceptor (Ep., 110, 18)’ (Conington, after
+Jahn).</p>
+
+<p><a class = "line" name = "note3_56" id = "note3_56" href =
+"#line3_56">56.</a>
+<b>Samios</b> = Pythagorean, from Pythagoras of Samos. ‘And the letter,
+which is disparted into Samian branches, has pointed out to you the
+steep path whose track is on the right.’&mdash;<b>diduxit:</b> as
+demanded by the sense against the MSS., which have
+<i>deduxit</i>.&mdash;<b>littera:</b> The letter <span class =
+"sans">Y</span>, or rather its old form <img src =
+"images/old_upsilon.gif" width = "9" height = "16" alt = "different form of Y">, was selected by Pythagoras to embody the immemorial image of the
+two paths (<span class = "smallcaps">Hesiod</span>, O. et D., 287-292),
+so familiar in the apologue of Hercules at the cross-roads (<span class
+= "smallcaps">Xen.</span>, Comm., 2, 1, 20), and alluded to again by our
+author, <a href = "#line5_34">5, 34</a>. Hence this letter was called
+the Pythagorean; <span class = "smallcaps">Auson.</span>, Id., 12, de
+litt. monos., 9: <i><span class = "gesperrt">Pythagorae</span> bivium
+ramis patet ambiguis</i> Υ (comp. also Id., 15, 1: <i>quod vitae
+sectabor iter?</i>) Hence the <i>rami Samii</i> above. ‘The stem stands
+for the unconscious life of infancy and childhood, the diverging
+branches for the alternative offered to the youth, virtue or vice’
+(Conington).</p>
+
+<p><a class = "line" name = "note3_57" id = "note3_57" href =
+"#line3_57">57.</a>
+<b>surgentem:</b> The path to the right is the <i>surgens callis</i> of
+<span class = "pagenum">131</span>
+<span class = "smallcaps">Persius</span>, the <span class = "greek"
+title = "orthios oimos">ὄρθιος οἶμος</span> of <span class =
+"smallcaps">Hesiod</span>. The character itself points upward, and the
+right-hand path is a clear-cut line (<i>limes</i>), so that there is no
+mistaking the road, unless you are bent on following Shakspeare’s
+‘primrose path of dalliance,’ instead of ‘the steep and thorny path to
+heaven.’</p>
+
+<p><a class = "line" name = "note3_58" id = "note3_58" href =
+"#line3_58">58.</a>
+<b>stertis adhuc:</b> The preacher finds his audience still snoring,
+despite his eloquence. As <i>stertis</i> can not be divorced from what
+follows, it is better to take it as an exclamation than as a rhetorical
+question.&mdash;<b>laxumque caput</b>, etc.: ‘Your head a-lolling with
+its coupling loose, yawns a yawn of yesterday with jaws unhinged at
+every point.’ The head is <i>laxum</i> on account of its weight. Comp.
+<span class = "greek" title = "karêbarein">καρηβαρεῖν</span> <span class
+= "smallcaps">Alciphr.</span>, 3, 32, and <span class =
+"smallcaps">Menand.</span>, fr. 67 (4, 88 Mein.).</p>
+
+<p><a class = "line" name = "note3_59" id = "note3_59" href =
+"#line3_59">59.</a>
+<b>oscitat hesternum:</b> ‘Yawning off yesterday’ (Conington); the yawn
+is yesterday’s yawn, because it comes from yesterday’s debauch, <span
+class = "smallcaps">Alexis</span>, fr. 277 (3, 515
+Mein.).&mdash;<b>undique:</b> ‘from all points of the compass’
+(Conington), ‘an intentional exaggeration for <i>utraque
+parte</i>.’&mdash;<b>malis:</b> Jahn’s <i>malis?</i> (1843) is not good.
+The description is too minute for the interrogative form.</p>
+
+<p><a class = "line" name = "note3_60" id = "note3_60" href =
+"#line3_60">60.</a>
+<b>est aliquid:</b> Ironical; hence the expectation of a negative answer
+is suppressed. G., 634, R.&nbsp;1; A., 65, 2, <i>a</i>.&mdash;<b>quo</b>
+= <i>in quod</i>. Schlüter combines with <i>tendis
+arcum</i>.&mdash;<b>in quod:</b> The other reading, <i>in quo</i>, is
+unsatisfactorily defended by Hermann and Pretor.</p>
+
+<p><a class = "line" name = "note3_61" id = "note3_61" href =
+"#line3_61">61.</a>
+‘A wild-goose chase’ is the corresponding English expression for the
+Latin <i>corvos sequi</i>, the Greek <span class = "greek" title = "ta petomena diôkein">τὰ πετόμενα διώκειν</span>. ‘Each word is carefully
+selected. Thus the chase is a random one (<i>passim</i>), the object
+worthless (<i>corvos</i>), the missile any thing that comes first to
+hand’ (Pretor, after Jahn). Jahn refers further to <span class =
+"smallcaps">Aeschyl.</span>, Ag., 394 (Dind.): <span class = "greek"
+title = "diôkei pais potanon ornin">διώκει παῖς ποτανὸν ὄρνιν</span>.
+Familiar is <span class = "smallcaps">Eurip.</span>: <span class =
+"greek" title = "ptênas diôkeis, ô teknon, tas elpidas">πτηνὰς διώκεις,
+ὦ τέκνον, τὰς ἐλπίδας</span>.</p>
+
+<p><a class = "line" name = "note3_62" id = "note3_62" href =
+"#line3_62">62.</a>
+<b>ex tempore:</b> ‘for the moment,’ ‘at the beck of the moment,’ ‘by
+the rule of the moment’ (Conington).</p>
+
+<p><b>63-76.</b>
+A general preachment begins. Wake up, you snorer. Wake up, all you
+snorers. You are all sick, or all threatened with sickness. Do not
+postpone the remedy until it is too late. That remedy is to be found in
+the principles of true wisdom; in other words, in the doctrines of the
+Stoic creed. Before the sermon is finished, the preacher notices an
+unfriendly stir in his
+<span class = "pagenum">132</span>
+audience, and is punching a member of his congregation when he is
+interrupted.</p>
+
+<p><a class = "line" name = "note3_63" id = "note3_63" href =
+"#line3_63">63.</a>
+<b>helleborum:</b> The black hellebore this time (<a href =
+"#line1_51">1, 51</a>). The black was good for dropsy, <span class =
+"smallcaps">Plin.</span>, H.&nbsp;N., 25, 5, 22. It was the great
+‘purger of melancholy.’&mdash;<b>cutis aegra tumebit:</b> Comp. <a href
+= "#line3_95">vv. 95, 98</a>.&mdash;<b>venienti occurrite morbo:</b>
+Every one will remember the well-worn Ovidian <i>Principiis obsta</i>,
+R.&nbsp;A., 91. The comparison of moral with physical disease was a
+favorite topic with the Stoics, who overdid it, according to <span class
+= "smallcaps">Cic.</span>, Tusc. Dis., 4, 10, 23.</p>
+
+<p><a class = "line" name = "note3_64" id = "note3_64" href =
+"#line3_64">64.</a>
+<b>poscentis:</b> Elsewhere <span class = "smallcaps">Persius</span>
+uses after <i>video</i> the less vivid Infinitive, <a href =
+"#line1_19">1, 19</a>. <a href = "#line1_69">69</a>; <a href =
+"#line3_91">3, 91</a>. On the difference, see G., 527, R.&nbsp;1; A.,
+72, 3, <i>d</i>. So after <i>facio</i>, 1, 44.</p>
+
+<p><a class = "line" name = "note3_65" id = "note3_65" href =
+"#line3_65">65.</a>
+<b>quid opus:</b> G., 390, R.; A., 52, 3,
+<i>a</i>.&mdash;<b>Cratero:</b> More bookishness. Craterus was a famous
+physician of the time of <span class = "smallcaps">Cicero</span>. <span
+class = "smallcaps">Hor.</span>, Sat., 2, 3, 161.&mdash;<b>magnos
+promittere montis:</b> A proverbial phrase, which survives in several
+modern languages: Fr. <i>monts et merveilles</i>; Germ. <i>goldene Berge
+versprechen</i>. Jahn compares <span class = "smallcaps">Ter.</span>,
+Phormio, 1, 2, 18: <i>modo non <span class = "gesperrt">montis</span>
+auri pollicens</i>; Heinr., <span class = "smallcaps">Sall.</span>, Cat.
+23: <i>maria <span class = "gesperrt">montis</span>que polliceri
+coepit</i>.</p>
+
+<p><a class = "line" name = "note3_66" id = "note3_66" href =
+"#line3_66">66.</a>
+<b>discite o:</b> To remove the hiatus, Barth suggested <i>io</i>, Guyet
+<i>vos</i>. <span class = "smallcaps">Hor.</span>, Od., 3, 14, 11:
+<i>male ominatis</i>, is not a parallel for the hiatus, even if the
+reading be correct, and the parallel in <span class =
+"smallcaps">Catull.</span>, 3, 16, is conjectural.&mdash;<b>causas
+cognoscite rerum:</b> Comp. <span class = "smallcaps">Verg.</span>,
+Georg., 2, 490: <i>Felix qui potuit <span class = "gesperrt">rerum
+cognoscere causas</span></i>, and <i>sapientia est rerum divinarum et
+humanarum <span class = "gesperrt">causarumque scientia</span></i>,
+<span class = "smallcaps">Cic.</span>, Off., 2, 2,&nbsp;5. On the
+connection of the different articles of this catechism, see Knickenberg,
+l.c. p. 35 seqq. <i>Discite</i> is the exhortation to the study of
+philosophy. <i>Causas cognoscite rerum</i> bids us pursue what the
+Stoics called Physic, for without a knowledge of nature there can be no
+knowledge of duty. Ethic is based on Physic; <span class = "greek" title
+= "telos esti to homologoumenôs tê phusei zên">τέλος ἐστὶ τὸ
+ὁμολογουμένως τῇ φύσει ζῆν</span> (<span class =
+"smallcaps">Stob.</span>, Ecl., 2, 132). See Long’s <i>Antoninus</i>, p.
+56. The constitution of nature once understood, we shall know what we
+owe to God, what to ourselves, what to mankind, what things are good,
+what evil. <i>Quid fas optare</i> refers to our duty to God, <i>quem te
+deus esse iussit</i> to our duty to ourselves, <i>patriae carisque
+propinquis</i> to our duty to our neighbors. But nothing is more evident
+than the absence of any logical development. Comp. with the
+<span class = "pagenum">133</span>
+whole passage, <span class = "smallcaps">Sen.</span>, Ep., 82, 6:
+<i>sciat quo iturus sit, unde ortus, quod illi bonum, quod malum sit,
+quid petat, quid evitet, quae sit illa ratio quae appetenda ac fugienda
+discernat, qua cupiditatum mansuescit insania, timorum saevitia
+conpescitur</i>.</p>
+
+<p><a class = "line" name = "note3_67" id = "note3_67" href =
+"#line3_67">67.</a>
+<b>quid sumus:</b> The independent form with the Indicative is more
+lively; the regular dependent form with the Subjunctive comes in below,
+<a href = "#line3_71">v. 71</a>. G., 469, R.&nbsp;1; A., 67, 2,
+<i>d</i>.&mdash;<b>quidnam</b> = <i>quam vitam</i>. G., 331, R.&nbsp;2;
+A., 52, 3, <i>a</i>, N.&mdash;<b>victuri:</b> The use of the Participle
+in an interrogative clause is unnatural in English (G., 471). The future
+Participle of purpose is late or poetical (G., 673; A., 72, 4,
+<i>a</i>). ‘And what the life that we are born to
+lead.’&mdash;<b>ordo:</b> According to Heinr. and Jahn <i>ordo</i> is
+used with reference to the position in the chariot-race, so that the
+comparison begins here, and not at <i>metae</i>. <span class =
+"smallcaps">Soph.</span>, El., 710: <span class = "greek" title =
+"stantes d’ hin’ autous hoi tetagmenoi brabeis | klêrois epêlan kai katestêsan diphrous">στάντες δ᾽ ἵν᾽ αὐτοὺς οἱ τεταγμένοι βραβεῖς |
+κλήροις ἔπηλαν καὶ κατέστησαν διφρους</span>. But as <span class =
+"greek" title = "taxis">τάξις</span> (<i>ordo</i>) is a Stoic term, it
+is not unlikely that the use of the word suggested the figure, which
+came in as an after-thought. The Stoic preacher, as well as the
+Christian, finds it necessary to repeat himself in slightly different
+forms, and we must not look for a sharp distinction between <i>ordo quis
+datus</i> and <i>humana qua parte locatus es in re</i>, between
+<i>quidnam victuri gignimur</i> and <i>quem te deus esse iussit</i>.</p>
+
+<p><a class = "line" name = "note3_68" id = "note3_68" href =
+"#line3_68">68.</a>
+<b>quis</b> = <i>qui</i>. So <a href = "#line1_63">1, 63</a>. G., 105;
+A., 21, 1, <i>a</i>.&mdash;<b>qua et unde:</b> where (how) it lies and
+from what point to begin, ‘where to take it’ (Conington). Herm.’s
+<i>quam</i> is not so good.&mdash;<b>metae flexus:</b> ‘turn round the
+goal.’ The difficulty of rounding the goal in a chariot-race is
+notorious. See Il., 23, 306 foll.; <span class =
+"smallcaps">Soph.</span>, El., 720 foll., and the commentators on <span
+class = "smallcaps">Plato</span>, Io, 537. With the expression <i>metae
+flexus</i> Jahn comp. <span class = "smallcaps">Stat.</span>, Theb., 6,
+433: <i>flexae&mdash;metae</i>. <i>Mollis</i>, ‘gradual,’ ‘easy.’ So
+<span class = "smallcaps">Caes.</span>, B.&nbsp;G., 5, 9: <i><span class
+= "gesperrt">molle</span> litus</i>, of a gently sloping shore.</p>
+
+<p><a class = "line" name = "note3_69" id = "note3_69" href =
+"#line3_69">69.</a>
+<b>quis modus argento:</b> The Sixth Satire deals with a similar
+theme.&mdash;<b>quid fas optare:</b> the argument of the Second
+Satire.&mdash;<b>asper nummus:</b> ‘coin fresh from the mint,’ ‘rough
+from the die,’ <span class = "smallcaps">Suet.</span>, Nero, 44. So
+Jahn. Others consider this distinction too subtle, and make
+<i>a.&nbsp;n.</i> simply equivalent to ‘coined silver,’ as opposed to
+‘silver plate,’ <i>argentum</i>. Conington suggests the meaning, ‘What
+is the use of money hoarded up and not
+<span class = "pagenum">134</span>
+circulated (<i>tritus</i>)?’ Comp. <span class =
+"smallcaps">Hor.</span>, Sat., 1, 1, 41 foll., 73: <i>nescis quo valeat
+nummus? quem praebeat usum?</i></p>
+
+<p><a class = "line" name = "note3_70" id = "note3_70" href =
+"#line3_70">70.</a>
+<b>carisque propinquis:</b> <span class = "smallcaps">Hor.</span>, Sat.,
+1, 1, 83.</p>
+
+<p><a class = "line" name = "note3_72" id = "note3_72" href =
+"#line3_72">72.</a>
+<b>locatus:</b> ‘posted,’ <span class = "greek" title =
+"tetagmenos">τεταγμένος</span>, ‘a military metaphor’ (<span class =
+"smallcaps">Arrian</span>, Diss., 1, 9, 16; <span class =
+"smallcaps">M.&nbsp;Anton.</span>, 11, 13).&mdash;<b>humana re:</b>
+‘humanity,’ <i>inter homines</i>.</p>
+
+<p><a class = "line" name = "note3_73" id = "note3_73" href =
+"#line3_73">73.</a>
+<b>disce, nec invideas:</b> sc. <i>discere</i>, according to Jahn.
+<i>His te quoque iungere, Caesar</i> | <i><span class =
+"gesperrt">invideo</span></i>, <span class = "smallcaps">Lucan.</span>,
+2, 550, like <span class = "greek" title = "phthonein: mê #phthonei# moi apokrinasthai touto">φθονεῖν: μὴ <span class = "gesperrt">φθόνει</span>
+μοι ἀποκρίνασθαι τοῦτο</span>, <span class = "smallcaps">Plat.</span>,
+Gorg., 489A. <span class = "smallcaps">Persius</span> singles out one of
+his audience, who is tempted away from philosophy by his gains as an
+advocate. Others, less satisfactorily, suppose that the lawyer is
+outside of the congregation. On <i><span class = "gesperrt">nec</span>
+invideas</i>, see <a href = "#note1_5">1, 7</a>.&mdash;<b>multa fidelia
+putet:</b> ‘Many a jar of good things is spoiling;’ ‘The details are
+contemptuous. There is a coarseness in fees paid in kind’ (Conington).
+Comp. <span class = "smallcaps">Juv.</span>, 7, 119.&mdash;<b>pinguibus
+Umbris:</b> ‘fat’ in every sense, in figure, in fortune, and in wit. In
+<span class = "smallcaps">Mart.</span>, 7, 53, an Umbrian sends by eight
+huge Syrian slaves a miscellaneous lot of presents, value 30
+nummi&mdash;a proceeding due as much to stupidity as to stinginess
+(<i>parcus Umber</i>, <span class = "smallcaps">Cat.</span>, 39, 11).
+The appearance of the Umbrians was not prepossessing, if we may judge by
+<span class = "smallcaps">Ovid’s</span> portrait of an Umbrian dame
+(A.&nbsp;A., 3, 303-4).</p>
+
+<p><a class = "line" name = "note3_75" id = "note3_75" href =
+"#line3_75">75.</a>
+<b>et piper et pernae:</b> The <i>piper</i> is not the Indian, but the
+inferior Italian (<span class = "smallcaps">Plin.</span>, H.&nbsp;N.,
+12, 7, 4; 16, 32, 59) (Meister). <i>Pernae</i>, a&nbsp;stock present.
+Comp. <i>siccus <span class = "gesperrt">petasunculus</span> et vas</i>
+| <i>pelamydum</i>, <span class = "smallcaps">Juv.</span>, 7, 119. To
+supply <i>putet</i> with <i>piper</i> is not satisfactory, and we must
+take refuge in Zeugma. Pretor is for dropping <a href = "#line3_75">v.
+75</a>, and sees in <span class = "smallcaps">Persius’s</span>
+awkwardness traces of a <i>duplex recensio</i>, as in <a href =
+"#line3_12">vv. 12-14</a>.&mdash;<b>Marsi:</b> For the simplicity of the
+Marsians, Jahn compares <span class = "smallcaps">Juv.</span>, 3, 169;
+14, 180.</p>
+
+<p><a class = "line" name = "note3_76" id = "note3_76" href =
+"#line3_76">76.</a>
+<b>mena:</b> ‘sprat,’ cheap sea-fish of some sort. ‘You have not yet
+come to the last sprat of the first barrel’
+(Conington).&mdash;<b>defecerit:</b> As <i>non quod</i> more commonly
+takes the Subjunctive, the shifting to the Subjunctive from the
+Indicative, after <i>nec invideas</i>, is not strange. G., 541,
+R.&nbsp;1; A., 66, 1, <i>d</i>, R.</p>
+
+<p><b>77-85.</b>
+The discourse is cut short by a military man, who, with the dogmatism of
+his class (<i>vieux soldat, vieille bête</i>), sets down all
+philosophers as a pack of noodles. The lines of the picture
+<span class = "pagenum">135</span>
+which he draws are familiar to every student of manners. ‘<span class =
+"smallcaps">Persius</span> hates the military cordially (comp. 5,
+189-191) as the most perfect specimens of developed animalism, and
+consequently most antipathetic to a philosopher. See Nisard, <i>Études
+sur les Poetes Latins</i> [1, 3<sup>e</sup> éd. 273-277; Martha,
+<i>Moralistes Romains</i>, p. 141]. <span class =
+"smallcaps">Horace</span> merely glances at the education their sons
+received, as contrasted with that given him by his father, in spite of
+narrow means, Sat., 1, 6, 72. <span class = "smallcaps">Juvenal</span>
+has an entire satire on them (16), in which he complains of their
+growing power and exclusive privileges, but without any personal
+jealousy’ (Conington). <span class = "smallcaps">Persius</span> is so
+bookish that I suspect Greek influence. Comp. <span class = "greek"
+title = "kompsos stratiôtês, oud’ ean plattê theos, | oudeis genoit’ an">κομψὸς στρατιώτης, οὐδ᾽ ἐὰν πλάττῃ θεός, | οὐδεὶς γένοιτ᾽ ἂν</span>,
+<span class = "smallcaps">Menand.</span>, fr. 711 (4, 277 Mein.). See
+Introd., xx.</p>
+
+<p><a class = "line" name = "note3_77" id = "note3_77" href =
+"#line3_77">77.</a>
+<b>de gente:</b> G., 371, R. 5; A., 50, 2, <i>e</i>, R.&nbsp;1.
+<i>Gente</i>, ‘tribe,’ ‘crew.’&mdash;<b>hircosa:</b> ‘Rammish’ is not
+too strong, opposed to <i>unguentatus</i> in a fragment of <span class =
+"smallcaps">Sen.</span>, ap. <span class = "smallcaps">Gell.</span>, 12,
+2, 11 (cited by Jahn). The unsavory soldier and the perfumed dandy are
+alike foes to the simplicity of the Stoic school. Your old soldier
+prided himself on his stench, as would appear from the dainty anecdote
+in <span class = "smallcaps">Plutarch</span>, Mor., 180C: <span class =
+"greek" title = "ô basileu, tharrei kai mê phobou to plêthos tôn polemiôn, auton gar hêmôn #ton grason# ouch hupomenousi">ὦ βασιλεῦ,
+θάρρει καὶ μὴ φοβοῦ τὸ πλῆθος τῶν πολεμίων, αὐτὸν γὰρ ἡμῶν <span class =
+"gesperrt">τὸν γράσον</span> οὐχ
+ὑπομενοῦσι</span>.&mdash;<b>centurionum:</b> The rank is higher, but the
+intellectual level is that of the typical German
+<i>Wachtmeister</i>.</p>
+
+<p><a class = "line" name = "note3_78" id = "note3_78" href =
+"#line3_78">78.</a>
+<b>Quod sapio satis est mihi:</b> Jahn (1868); <i>Quod satis est sapio
+mihi</i>, Jahn (1843), Herm. With the latter reading the words <i>quod
+satis est = satis</i> must be taken together, and a little more stress
+is laid on <i>mihi</i>. The general sense is the same. Comp. <span class
+= "smallcaps">Plato</span>, Phaedr., 242C: <span class = "greek" title =
+"hôsper hoi ta grammata phauloi #hoson emautô monon# hikanos">ὥσπερ οἱ
+τὰ γράμματα φαῦλοι <span class = "gesperrt">ὅσον ἐμαυτῷ μόνον</span>
+ἱκανός</span>, with a very different tone.&mdash;<b>non ego:</b>
+‘no&mdash;not&nbsp;I.’ See <a href = "#note1_45">1,
+45</a>.&mdash;<b>curo:</b> ‘care,’ i.e., ‘want.’ See <a href =
+"#note2_18">2,&nbsp;18</a>.</p>
+
+<p><a class = "line" name = "note3_79" id = "note3_79" href =
+"#line3_79">79.</a>
+<b>Arcesilas:</b> Arcesilaus, the founder of the New Academy, flourished
+about 300 B.C. His great advance on Socrates was his knowing that he did
+not even know that he knew nothing, <span class =
+"smallcaps">Cic.</span>, Acad., 1, 12, 45. Solon flourished about 600
+B.C. Our hircose friend is made to jumble his
+samples.&mdash;<b>aerumnosi Solones:</b> Notice the contemptuous use of
+the Plural. <i>Aerumnosus</i>, <span class = "greek" title =
+"kakodaimôn">κακοδαίμων</span>, ‘God-forsaken,’ ‘poor devil,’ is a
+strange epithet for Solon, but we have to do with an ignoramus and a
+jolter-head.</p>
+
+<span class = "pagenum">136</span>
+<p><a class = "line" name = "note3_80" id = "note3_80" href =
+"#line3_80">80.</a>
+<b>obstipo capite:</b> ‘with stooped head,’ ‘bent forward,’ <span class
+= "greek" title = "kekuphotes">κεκυφότες</span>. <span class =
+"smallcaps">Hor.</span>, Sat., 2, 5, 92: <i>Davus sis comicus atque</i>
+| <i>stes capite <span class = "gesperrt">obstipo</span>, multum similis
+metuenti.</i> Comp. the description of Ulysses in Il., 3, 217
+foll.&mdash;<b>figentes lumine terram:</b> Jahn quotes a parallel from
+<span class = "smallcaps">Stat.</span>, Silv., 5, 1, 140. More common
+forms are <i>figere lumina terra, in humo, in terram</i>. ‘They bore the
+ground with their eyes,’ ‘look at it as if they would look through it.’
+Casaubon comp. <span class = "smallcaps">Plat.</span>, Alcib. II., 138A.
+Add <span class = "smallcaps">Lucian</span>, Vit. Auct., 7; <span class
+= "smallcaps">Aristaenet.</span>, 1, 15.</p>
+
+<p><a class = "line" name = "note3_81" id = "note3_81" href =
+"#line3_81">81.</a>
+<b>murmura:</b> Imitated by <span class = "smallcaps">Auson.</span>,
+Id., 17, 24: <i>murmure concluso rabiosa silentia
+rodunt</i>.&mdash;<b>rabiosa:</b> ‘Mad dogs do not
+bark.’&mdash;<b>silentia:</b> Poetic Plural; very
+common.&mdash;<b>rodunt:</b> ‘biting the lips and grinding the teeth.’
+‘Whether <i>murmura</i> and <i>silentia</i> are Accusatives of the
+object, or cognates, is not clear’ (Conington). ‘Chewing the cud of
+mumbled words and mad-dog silence’ is very much in the vein of <span
+class = "smallcaps">Persius</span>. Comp. <i>rarus sermo illis et magna
+libido tacendi</i>, <span class = "smallcaps">Juv.</span>, 2, 14.</p>
+
+<p><a class = "line" name = "note3_82" id = "note3_82" href =
+"#line3_82">82.</a>
+<b>exporrecto trutinantur:</b> The lips are thrust out (a&nbsp;sign of
+deep thought) and quiver like a balance; hence they are said ‘to poise
+their words upon the quivering balance of a thrust-out lip’&mdash;a
+caricature of the simple figure <i>ponderare verba</i>. Jahn compares
+<span class = "smallcaps">Luc.</span>, Hermot., 1, 1: <span class =
+"greek" title = "kai #ta cheilê diesaleues# êrema hupotonthoruzôn">καὶ
+<span class = "gesperrt">τὰ χείλη διεσάλευες</span> ἠρέμα
+ὑποτονθορύζων</span>; and Casaubon, <span class =
+"smallcaps">Aristaen.</span>, 2, 3: <span class = "greek" title = "êrema #tô cheilê kinei# kai atta dêpou pros heauton psithurizei">ἠρέμα <span
+class = "gesperrt">τῷ χείλη κινεῖ</span> καὶ ἄττα δήπου πρὸς ἑαυτὸν
+ψιθυρίζει</span>.</p>
+
+<p><a class = "line" name = "note3_83" id = "note3_83" href =
+"#line3_83">83.</a>
+<b>aegroti veteris:</b> The <i>aegri somnia</i> of <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P.,&nbsp;7. As usual, <span class =
+"smallcaps">Persius</span> exaggerates, and makes the sick man
+(<i>aegroti</i>) a&nbsp;dotard to boot (<i>veteris</i>). Jahn
+understands, ‘a confirmed invalid.’ Comp. <span class =
+"smallcaps">Juv.</span>, 9, 16: <i><span class = "gesperrt">aegri
+veteris</span> quem tempore longo</i> | <i>torret quarta dies</i>,
+etc.&mdash;<b>gigni</b> | <b>de nihilo nihilum:</b> The cardinal
+doctrine of Epicurus (<span class = "smallcaps">Lucr.</span>, 1, 150),
+but not confined to him.</p>
+
+<p><a class = "line" name = "note3_85" id = "note3_85" href =
+"#line3_85">85.</a>
+<b>hoc est quod palles:</b> G., 331, R.&nbsp;2; A., 52, 1, <i>b</i>.
+Comp. <a href = "#line1_124">1, 124</a>. The Cognate Accusative is
+susceptible of a great variety of translations. ‘Is this the stuff that
+you get pale on?’ (Pretor). ‘Is this what makes you
+pale?’&mdash;<b>prandeat:</b> The <i>prandium</i>, originally a military
+meal, was dear to the military stomach. Comp. <i><span class =
+"gesperrt">impransi</span> correptus voce magistri</i>, <span class =
+"smallcaps">Hor.</span>, Sat., 2, 3, 257.</p>
+
+<p><a class = "line" name = "note3_86" id = "note3_86" href =
+"#line3_86">86.</a>
+<b>his:</b> Abl. Conington makes it a Dative, and cites an evident Abl.
+to prove it, <span class = "smallcaps">Verg.</span>, Aen., 4, 128. Jahn
+comp. <span class = "smallcaps">Hor.</span>,
+<span class = "pagenum">137</span>
+Sat., 2, 8, 83: <i>ridetur fictis rerum</i>.&mdash;<b>multum:</b> with
+<i>torosa</i>, according to Jahn.</p>
+
+<p><a class = "line" name = "note3_87" id = "note3_87" href =
+"#line3_87">87.</a>
+Conington notices the grandiloquence of the line. ‘Cloth of frize’ is
+often ‘matched’ with ‘cloth of gold’ in <span class =
+"smallcaps">Persius</span>.&mdash;<b>naso crispante:</b> ‘curling
+nostrils.’ The mob laughs, the soldiers snicker. The listening rabble is
+frankly amused. The crew to which the centurion belongs sneer too much
+to laugh out. Or perhaps the poet makes the distinction between the
+general <i>ridere</i> (<span class = "greek" title =
+"gelan">γελᾶν</span>) and the mocking laughter of <i>cachinnare</i>
+(<span class = "greek" title = "kanchazein">καγχάζειν</span>).</p>
+
+<p><b>88-106.</b>
+It is strange, as Pretor observes, that the sudden change introduced by
+this line should not have been noticed by the commentators. With a more
+mature artist there would be a suspicion of dislocation. As it is, the
+unity of the Satire would gain by omitting 66-87. <span class =
+"smallcaps">Persius</span> composed slowly, and we find here as
+elsewhere traces of piecemeal work.</p>
+
+<p>The preacher takes up his parable. A man feels sick, consults a
+physician, lies by; is more comfortable, takes a fancy to a bath and a
+draught of wine. He meets a friend, perhaps his medical friend, on the
+way. ‘My dear fellow, you are pale as a
+ghost.’&mdash;‘Pshaw!’&mdash;‘Look out! You are yellow as saffron, and
+bless me! if you are not swelling.’&mdash;‘Pale? Why, you are paler than
+I am. Don’t come the guardian over me. My guardian has been dead a year
+and a day.’&mdash;‘Go ahead, I’m mum.’&mdash;He goes ahead, stuffs
+himself, takes his bath. While he is drinking a chill strikes him, and
+he is a dead man. No expense spared on the funeral. ‘You can’t mean that
+for me,’ says a literalist. ‘If I’m sick, you are another. I&nbsp;have
+no fever, no ague.’ Nay, but you are subject to the worst of
+diseases&mdash;to the fever of covetousness, the fever of lust, to
+daintiness with its sore mouth, to fear with its cold chill, and, worse
+than all, to the raging delirium of anger.</p>
+
+<p><a class = "line" name = "note3_88" id = "note3_88" href =
+"#line3_88">88.</a>
+<b>inspice:</b> <span class = "greek" title =
+"episkepsai">ἐπίσκεψαι</span>, a&nbsp;medical term. Comp. <span class =
+"smallcaps">Plaut.</span>, Pers., 2, 5, 15.&mdash;<b>nescio quid:</b>
+G., 469, R.&nbsp;2; A., 67, 2, <i>e</i>. <i>Quid</i> is the Accusative
+of the Inner Object. ‘I have a strange fluttering at my
+heart.’&mdash;<b>aegris:</b> ‘out of order.’ As <i>aegris</i> is
+emphatic, co-ordinate in English. There is ‘something wrong about my
+throat <i>and</i>&mdash;’</p>
+
+<p><a class = "line" name = "note3_89" id = "note3_89" href =
+"#line3_89">89.</a>
+<b>exsuperat:</b> Neuter. Comp. <i><span class =
+"gesperrt">exsuperant</span> flammae</i>, <span class =
+"smallcaps">Verg.</span>, Aen., 2, 759.&mdash;<b>gravis:</b> ‘foul.’ So
+<span class = "smallcaps">Ov.</span>, A.&nbsp;A., 3, 277: <i><span class
+= "gesperrt">gravis</span> oris
+<span class = "pagenum">138</span>
+odor</i>.&mdash;<b>sodes:</b> The original form is commonly supposed to
+be <i>si audes</i> (<i>saudes</i>), <span class =
+"smallcaps">Plaut.</span>, Trin., 2, 1, 18; from <i>audeo</i> (comp.
+<i>avidus</i>), ‘if you have the heart,’ ‘an thou wilt,’ A., 35, 2,
+<i>a</i>. Others put <i>sodes</i> under <span class =
+"smallroman">SA</span> (pron.), as akin to <i>sodalis</i>, and comp.
+<span class = "greek" title = "êtheios">ἠθεῖος</span>, ‘own dear
+friend,’ ‘<i>mon cher</i>.’ See Vaniček, <i>Lat. Etym. Wb.</i>, S. 165.
+<i>Sodes</i> = <i>socius</i> is an old tradition.</p>
+
+<p><a class = "line" name = "note3_90" id = "note3_90" href =
+"#line3_90">90.</a>
+<b>requiescere:</b> ‘keep quiet.’&mdash;<b>postquam vidit:</b> with a
+causal shade. See <a href = "#note5_88">5, 88</a>; 6,10, and G., 567;
+A., 62, 2,&nbsp;<i>e</i>.</p>
+
+<p><a class = "line" name = "note3_91" id = "note3_91" href =
+"#line3_91">91.</a>
+<b>tertia nox:</b> The patient thinks that he has the more common
+semitertian, whereas he has the quartan. When the third night comes
+without a chill, he fancies that he is safe.</p>
+
+<p><a class = "line" name = "note3_92" id = "note3_92" href =
+"#line3_92">92.</a>
+<b>de maiore domo:</b> The ‘great house’ is clearly that of a rich
+friend, rather than that of a large dealer. Casaubon compares <span
+class = "smallcaps">Juv.</span>, 5, 32: <i>cardiaco numquam cyathum,
+missurus amico</i>.&mdash;<b>modice sitiente lagoena:</b> Thirst and
+capacity are near akin; a&nbsp;flagon of moderate thirst is a flagon ‘of
+moderate swallow,’ as Conington renders it. The personification of the
+flagon is old and not uncommon. See the humorous epigram, <span class =
+"smallcaps">Anthol. Pal.</span>, 5, 135.</p>
+
+<p><a class = "line" name = "note3_93" id = "note3_93" href =
+"#line3_93">93.</a>
+<b>lenia Surrentina:</b> <i>Lenia</i> is either ‘mild’ or ‘mellow.’ The
+Surrentine was a light wine often recommended to invalids, <span class =
+"smallcaps">Plin.</span>, H.&nbsp;N., 14, 6, 8; 23, 1,
+20.&mdash;<b>loturo:</b> He asks <i>before</i> bathing; he drinks
+<i>after</i> bathing. For the custom Jahn compares <span class =
+"smallcaps">Sen.</span>, Ep., 122, 6.&mdash;<b>rogabit:</b> So Jahn
+(1868) and Hermann. Jahn (1843) reads <i>rogavit</i>, like the Greek
+Aorist in descriptions. The Future makes it more distinctly a supposed
+case.</p>
+
+<p><a class = "line" name = "note3_94" id = "note3_94" href =
+"#line3_94">94.</a>
+<b>videas:</b> rather optative than imperative in its tone.</p>
+
+<p><a class = "line" name = "note3_95" id = "note3_95" href =
+"#line3_95">95.</a>
+<b>surgit:</b> ‘is swelling,’ ‘getting bloated.’&mdash;<b>tacite:</b>
+‘insensibly’ (Conington).&mdash;<b>pellis:</b> ‘hide.’ Comp. <span class
+= "smallcaps">Juv.</span>, 10, 192: <i>deformem pro cute <span class =
+"gesperrt">pellem</span></i>.</p>
+
+<p><a class = "line" name = "note3_96" id = "note3_96" href =
+"#line3_96">96.</a>
+<b>At tu deterius:</b> <i>Le trait est comique. Ce serait de la gaieté,
+si Perse savait rire</i>, Nisard.&mdash;<b>ne sis mihi tutor</b>, etc.:
+Proverbial. So <span class = "smallcaps">Hor.</span>, Sat., 2, 3, 88:
+<i>ne sis patruus mihi</i>.</p>
+
+<p><a class = "line" name = "note3_97" id = "note3_97" href =
+"#line3_97">97.</a>
+<b>iam pridem sepeli:</b> Comp. <i>Omnes composui. Felices! Nunc ego
+resto</i>, <span class = "smallcaps">Hor.</span>, Sat., 1, 9, 28.
+<i>Sepeli</i> for <i>sepelii</i> (<i>sepelivi</i>), a&nbsp;rare
+contraction.&mdash;<b>turgidus his epulis:</b> <span class =
+"smallcaps">Hor.</span>, Ep., 1, 6, 61: <i>crudi <span class =
+"gesperrt">tumidique</span> lavemur</i>, and comp. <span class =
+"smallcaps">Juv.</span>, 1, 142 seqq: <i>paena tamen praesens, cum tu
+deponis amictus</i> | <i><span class = "gesperrt">turgidus</span> et
+crudum pavonem in
+<span class = "pagenum">139</span>
+balnea portas</i> | <i>hinc subitae mortes atque intestata
+senectus</i>.&mdash;<b>hic:</b> ‘our man.’&mdash;<b>albo ventre:</b>
+<i>Turgidus epulis</i> is one feature, <i>albo ventre</i> another.
+<i>Ventre</i> does not depend on <i>turgidus</i>. The color (<span class
+= "greek" title = "leukos">λευκός</span>) is a sign of weakness and
+sickness. The swollen belly makes a ghastly show.&mdash;<b>lavatur:</b>
+‘takes his bath.’ Comp. G., 209; A., 39, <i>c</i>, <span class =
+"smallroman">N</span>.</p>
+
+<p><a class = "line" name = "note3_99" id = "note3_99" href =
+"#line3_99">99.</a>
+<b>sulpureas mefites:</b> <i>Mefitis</i> is originally the vapor from
+sulphur-water; hence the propriety of the epithet <i>sulpureas</i>.</p>
+
+<p><a class = "line" name = "note3_100" id = "note3_100" href =
+"#line3_100">100.</a>
+<b>calidum triental:</b> The wine was heated to bring out the sweat.
+<i>Bibere et sudare vita cardiaci est</i>, <span class =
+"smallcaps">Sen.</span>, Ep., 15, 3.&mdash;<b>triental:</b> restored by
+Jahn (1843) for <i>trientem</i>, to which he returned in 1868.
+<i>Triens</i> is the measure, ⅓ sextarius, <i>triental</i> would be the
+vessel. Comp. with this passage <span class = "smallcaps">Lucil.</span>,
+28, 39-40 (L.&nbsp;M.): <i>ad cui? quem febris una atque una <span class
+= "greek" title = "apepsia">ἀπεψια</span></i> | <i>vini inquam <span
+class = "gesperrt">cyathus</span> unus potuit tollere</i>.</p>
+
+<p><a class = "line" name = "note3_101" id = "note3_101" href =
+"#line3_101">101.</a>
+<b>crepuere:</b> Vivid Aorist, not a simple return to the narrative
+form. Comp. <a href = "#line5_187">5, 187</a>. For the Greek, which
+<span class = "smallcaps">Persius</span> imitates, see Kühner, <i>Ausf.
+Gramm.</i> (<i>2te Ausg.</i>), 2, 138.&mdash;<b>retecti:</b> He shows
+his teeth when he chatters.</p>
+
+<p><a class = "line" name = "note3_102" id = "note3_102" href =
+"#line3_102">102.</a>
+<b>uncta:</b> Remember the large use of oil in Italian
+cookery.&mdash;<b>cadunt</b> = <i>vomuntur</i>, but there is a certain
+helplessness in <i>cadunt</i>.&mdash;<b>pulmentaria:</b> originally
+<span class = "greek" title = "opson">ὄψον</span>, ‘relish,’ afterward
+‘dainties.’ See the Dictionaries.</p>
+
+<p><a class = "line" name = "note3_103" id = "note3_103" href =
+"#line3_103">103.</a>
+<b>hinc:</b> ‘hereupon.’&mdash;<b>tuba:</b> Trumpets announced the
+death, and trumpets were sounded at the funeral. See <span class =
+"smallcaps">Hor.</span>, Sat., 1, 6, 42.&mdash;<b>candelae</b> =
+<i>cerei</i>, ‘wax lights,’ supposed by Jahn and others to have been
+used chiefly when the death was sudden, on the basis of <span class =
+"smallcaps">Sen.</span>, Tranq., 11, 7.&mdash;<b>tandem:</b> ‘After all
+the preliminary performances’ (Macleane).&mdash;<b>beatulus:</b> <span
+class = "greek" title = "makaritês">μακαρίτης</span>. Jahn cites <span
+class = "smallcaps">Amm. Marcell.</span>, 25, 3: <i>quem cum <span class
+= "gesperrt">beatum</span> fuisse Sallustius respondisset praefectus,
+intellexit occisum</i>. ‘The dear departed’ (Conington). ‘Our sainted
+friend.’&mdash;<b>alto:</b> A mark of a first-class funeral.</p>
+
+<p><a class = "line" name = "note3_104" id = "note3_104" href =
+"#line3_104">104.</a>
+<b>conpositus:</b> ‘laid out.’ ‘By foreign hands thy decent limbs
+<i>composed</i>,’ <span class =
+"smallcaps">Pope</span>.&mdash;<b>crassis lutatus amomis:</b> Every word
+is contemptuous: ‘bedaubed with lots of coarse ointments.’ The Plural
+<i>amoma</i> indicates the cheap display. With <i>crassis</i>, comp.
+<span class = "smallcaps">Hor.</span>, A.&nbsp;P., 375: <i><span class =
+"gesperrt">crassum</span> unguentum</i>; with <i>amomis</i>, <span class
+= "smallcaps">Juv.</span>, 4, 108: <i><span class =
+"gesperrt">amomo</span></i> | <i>quantum vix redolent duo
+funera</i>.</p>
+
+<span class = "pagenum">140</span>
+<p><a class = "line" name = "note3_105" id = "note3_105" href =
+"#line3_105">105.</a>
+<b>in portam:</b> A custom at least as old as <span class =
+"smallcaps">Homer</span>, Il., 19, 212. <i>Porta</i> here =
+<i>ianua</i>, <i>fores</i>, but ‘nowhere else’
+(Macleane).&mdash;<b>rigidas:</b> The gender of <i>calx</i> is unsteady.
+See Neue, <i>Formenlehre</i>, 1, 694.</p>
+
+<p><a class = "line" name = "note3_106" id = "note3_106" href =
+"#line3_106">106.</a>
+<b>hesterni Quirites:</b> ‘Citizens of twenty-four hours’ standing’
+(Conington); slaves left free by him. Hence <i>capite induto</i>, with
+the <i>pilleus</i> ‘cap of liberty’ on. The winding up of the man
+reminds one of <span class = "smallcaps">Petron.</span>, 42: <i>bene
+elatus est, planctus est optime, manumisit aliquot</i>.</p>
+
+<p><a class = "line" name = "note3_107" id = "note3_107" href =
+"#line3_107">107.</a>
+<span class = "smallcaps">Persius</span> hauls out his man-of-straw, his
+<i>souffre-douleur</i>, and makes him talk.&mdash;<b>Tange venas:</b>
+‘Feel my pulse,’ the regular expression, as in <span class =
+"smallcaps">Sen.</span>, Ep., 22, 1: <i>vena <span class =
+"gesperrt">tangenda</span> est</i>.&mdash;<b>miser:</b> Comp. <a href =
+"#line3_15">v. 15</a>. ‘You’re another!’ ‘Poor creature yourself’
+(Conington).&mdash;<b>pone in pectore dextram:</b> If you are not
+satisfied with my pulse, put your hand on my heart.</p>
+
+<p><a class = "line" name = "note3_108" id = "note3_108" href =
+"#line3_108">108.</a>
+<b>nil calet hic:</b> After some hesitation, I&nbsp;have given the whole
+passage from <i>Tange miser</i> to <i>non frigent</i> to one person, who
+anticipates the verdict of the monitor by <i>nil calet hic</i> and
+<i>non frigent</i>. ‘You must admit that my heart is not hot nor my feet
+cold.’ At the same time the very clearness is an objection.</p>
+
+<p><a class = "line" name = "note3_109" id = "note3_109" href =
+"#line3_109">109.</a>
+<b>Visa est si forte:</b> On the form of the conditional, see G., 569;
+A., 59, 2, <i>b</i>. On the obvious thought, see <a href =
+"#note2_52">2, 52</a> foll.; <a href = "#line4_47">4,&nbsp;47</a>.</p>
+
+<p><a class = "line" name = "note3_111" id = "note3_111" href =
+"#line3_111">111.</a>
+<b>rite:</b> ‘regularly.’&mdash;<b>positum est:</b> ‘served up.’</p>
+
+<p><a class = "line" name = "note3_112" id = "note3_112" href =
+"#line3_112">112.</a>
+<b>durum holus:</b> ‘tough cabbage,’ ‘half boiled’
+(Pretor).&mdash;<b>populi</b> (=&nbsp;<i>plebis</i>) <b>cribro:</b> ‘A
+coarse, common sieve.’ Hence <i>p. c. decussa farina</i>, ‘coarse-bolted
+flour,’ the <i>panis secundus</i> of <span class =
+"smallcaps">Horace</span>, Ep., 2, 1, 123, the ‘seconds’ of the modern
+miller. The ancients were very dainty in this article. The parasite in
+<span class = "smallcaps">Alciphron</span> (1, 21,&nbsp;2) expresses his
+disgust at the <span class = "greek" title = "artos ho ex agoras">ἀρτος
+ὁ ἐξ ἀγορας</span>.</p>
+
+<p><a class = "line" name = "note3_114" id = "note3_114" href =
+"#line3_114">114.</a>
+<b>putre quod haud deceat:</b> The Relative with the Subjunctive is
+parallel with the Adjective. G., 439,&nbsp;R. Comp. <a href =
+"#line1_14">1, 14</a>. <i>Haud deceat</i>, ‘it won’t do,’ ‘it won’t
+answer.’&mdash;<b>plebeia beta:</b> The beet is a vulgar vegetable,
+<span class = "smallcaps">Mart.</span>, 13, 13 (Jahn). The irony is
+evident, as the beet is proverbially tender. See Dictionaries, s.v.
+<i>betizare</i>.</p>
+
+<p><a class = "line" name = "note3_115" id = "note3_115" href =
+"#line3_115">115.</a>
+<b>excussit:</b> <i>Excutere aristas</i> seems to be a vulgar
+expression, like the English ‘raise a goose-skin, goose-flesh,
+duck-flesh.’
+<span class = "pagenum">141</span>
+&mdash;<b>aristas</b> = <i>pilos</i>. Jahn refers to <span class =
+"smallcaps">Varro</span>, L.&nbsp;L., 6, 49.&mdash;<b>timor albus:</b>
+See note on <a href = "#noteP_4">Prol., 4</a>.</p>
+
+<p><a class = "line" name = "note3_116" id = "note3_116" href =
+"#line3_116">116.</a>
+<b>face supposita:</b> The heart is the caldron and passion the
+fire-brand.</p>
+
+<p><a class = "line" name = "note3_118" id = "note3_118" href =
+"#line3_118">118.</a>
+<b>Orestes:</b> the typical madman.</p>
+
+<hr class = "spacer">
+
+<h5><a name = "notes_IV" id = "notes_IV" href = "#sat_IV">
+FOURTH SATIRE.</a></h5>
+
+<p class = "argument">
+<span class = "smallcaps">The</span> theme of this Satire is contained
+in the closing verses. It is the Apollinic <span class = "greek" title =
+"gnôthi sauton">γνῶθι σαυτόν</span>. Want of self-knowledge is the fault
+which is scourged. The basis is furnished by the Platonic dialogue,
+known as the First Alcibiades, and the characters are the same. The
+person lectured under the mask of Alcibiades is a young Roman noble, in
+whom commentators of a certain school have recognized the familiar
+features of Nero.</p>
+
+<p class = "argument">
+<span class = "smallcaps">Argument.</span>&mdash;Socrates is supposed to
+be addressing Alcibiades. You undertake to engage in politics? You rely
+on your genius, do you? What do you know of the norms of right and
+wrong, you callow youngster? What do you know of the subtle distinctions
+of casuistry, that you undertake to say what is just and what is unjust?
+You have a goodly outside, but that is all, and you are fitter for a
+course of hellebore than for a career of statesmanship. What is your end
+and aim in life? Dainty dishes and basking in the sunshine? The first
+old crone you meet has the same exalted ideal. Or do you boast of your
+descent? You praise your lineage, you trumpet forth your beauty, just as
+yon market-woman cries up her greens (<a href =
+"#line4_1">1-22</a>).</p>
+
+<p class = "argument">
+You do not know yourself. Who knows himself? Every one sees his
+neighbor’s faults, no one his own. You sneer at the curmudgeon who
+groans out a health over the sour stuff he gives his laborers on a
+holiday (<a href = "#line4_23">23-32</a>). And while you make mock at
+him, some fellow, who is standing at your side, nudges you with his
+elbow, and tells you that you are as bad as he, though in another way
+(<a href = "#line4_33">33-41</a>). And so we give and take punishment.
+This is our plan of life. We hide our faults from ourselves. We get
+testimonials from our neighbors to impose on our own consciences. Awake
+to righteousness! Put your goodness to the test! If you yield to the
+temptation of covetousness, of lust, in vain will you drink in the
+praises of the rabble. Reject what you are not. Let Rag, Tag, and
+Bobtail take away their tributes. Live with yourself, and you will find
+out how scanty is your moral furniture (<a href =
+"#line4_42">42-52</a>).</p>
+
+<hr class = "tiny">
+
+<p class = "argument">
+Jahn regards this Satire as the earliest of the six, and it certainly
+shows even greater immaturity than the others. The well-known
+individuality
+<span class = "pagenum">142</span>
+of Socrates is coarsely handled, the irony lacks the subtle play, the
+mischievous good-nature of the great Athenian; and though the glaring
+anachronisms may be defended by such exemplars as <span class =
+"smallcaps">Horace</span> (notably in Sat., 2,&nbsp;5), there is all the
+difference in the world between the sly humor of the older poet, who
+peeps from behind the Greek mask and winks at the Roman audience, and
+the grim contortions of the beardless representative of the bearded
+master.</p>
+
+<p class = "argument">
+The indecency of a part of the Satire is considered by Teuffel a valid
+objection to the view taken by Jahn, but the imagination of early youth
+and the experience of corrupt old age often meet in disgusting detail,
+and the obscenities of bookish men are among the worst in literature.
+Add to this the peculiar views of the Stoic school as to the corruption
+of the flesh (<a href = "#line2_63">2, 63</a>), and the consequent Stoic
+tendency to degrade the body by the most contemptuous representations of
+physical functions, and we can the more readily understand how <span
+class = "smallcaps">Marcus Antoninus</span>, the purest character of his
+time, should have besmirched his Meditations with passages which lack a
+parallel for their crudity; and why <span class =
+"smallcaps">Persius</span>, the poet of virginal life, should have
+outdone the <i>praegrandis senex</i> of Attic comedy in the coarseness
+of his expressions.</p>
+
+<p class = "space">
+<b>1-22.</b> Socrates exposes the incompetence of Alcibiades for affairs
+of state, his lack of ethical training, his need of a just balance, his
+grovelling views of life, his puerile pride in his ancient family and in
+his handsome face. Socrates and Alcibiades were contrasts so tempting
+that dialogues between them were favorite philosophical exercises.</p>
+
+<p><a class = "line" name = "note4_1" id = "note4_1" href =
+"#line4_1">1.</a>
+<b>rem populi</b> = <i>rem publicam</i>.&mdash;<b>tractas?</b> On the
+form of the question, see G., 455; A., 71,&nbsp;1, R. Comp. <span class
+= "smallcaps">Plato</span>, Alc. I., p. 106C: <span class = "greek"
+title = "dianoei gar parienai sumbouleusôn Athênaiois entos ou pollou chronou">διανοεῖ γὰρ παριέναι συμβουλεύσων Ἀθηναίοις ἐντὸς οὐ πολλοῦ
+χρόνου</span>, and further, p. 118B, and Conv., p.
+216A.&mdash;<b>barbatum:</b> The beard was the conventional mark of the
+philosopher in the time of <span class = "smallcaps">Persius</span>; it
+is an anachronism in the case of Socrates, who lived before shaving was
+the rule and the beard a badge. However, the custom was old in <span
+class = "smallcaps">Persius’s</span> day, and the slip is slight. So
+Plato’s long beard is noticed by <span class =
+"smallcaps">Ephippus</span> ap. <span class = "smallcaps">Athen.</span>,
+11, p. 509C (3, 332 Mein.). Comp. <span class = "smallcaps">Juv.</span>,
+14, 12: <i>barbatos&mdash;magistros</i>.&mdash;<b>crede:</b> advertises
+a want of art.</p>
+
+<p><a class = "line" name = "note4_2" id = "note4_2" href =
+"#line4_2">2.</a>
+<b>sorbitio:</b> ‘draught,’ ‘dose.’ So <span class =
+"smallcaps">Sen.</span>, E.&nbsp;M., 78, 25.&mdash;<b>tollit</b> =
+<i>sustulit</i>. A&nbsp;solitary Historical Present with a relative is
+harsh to us for all the examples and all the commentators.</p>
+
+<p><a class = "line" name = "note4_3" id = "note4_3" href =
+"#line4_3">3.</a>
+<b>quo fretus?</b> See <a href = "#note3_67">3, 67</a>. Comp. <span
+class = "smallcaps">Plato</span>, Alc. I., p. 123E: <span class =
+"pagenum">143</span>
+<span class = "greek" title = "ti oun pot’ estin hotô #pisteuei# to meirakion">τὶ οὖν ποτ᾽ ἔστιν ὅτῳ <span class =
+"gesperrt">πιστεύει</span> τὸ μειράκιον</span>.&mdash;<b>magni pupille
+Pericli:</b> Because Alcibiades owed his start in life to his guardian
+and kinsman Pericles. See <span class = "smallcaps">Plat.</span>, l.c.
+p. 104B. For the form <i>Pericli</i>, see G., 72; A., 11,
+I.,&nbsp;4.</p>
+
+<p><a class = "line" name = "note4_4" id = "note4_4" href =
+"#line4_4">4.</a>
+<b>scilicet:</b> Ironical, <a href = "#line1_15">1, 15</a>; <a href =
+"#line2_19">2, 19</a>. ‘Of course.’ Comp. the old ‘God
+wot.’&mdash;<b>ingenium et rerum prudentia:</b> ‘wit and wisdom.’
+<i>Prudentia</i> may be translated ‘knowledge,’ and <i>rerum</i>
+‘world,’ ‘life,’ but not necessarily. See <a href = "#note1_1">1,
+1</a>.&mdash;<b>velox:</b> Predicative (Schol.), ‘have been quick in
+coming’ (Conington).</p>
+
+<p><a class = "line" name = "note4_5" id = "note4_5" href =
+"#line4_5">5.</a>
+<b>ante pilos:</b> ‘before your beard.’ ‘A contrast with <i>barbatum
+magistrum</i>’ (Conington), but <i>b.</i> can hardly be used in the same
+breath as the mark of mature years and as the ensign of a
+philosopher.&mdash;<b>venit:</b> On the number, see G., 281,
+Exc.&nbsp;2; A., 49, 1, <i>b.</i>&mdash;<b>dicenda tacendaque:</b> Comp.
+<span class = "smallcaps">Hor.</span>, Ep., 1, 7, 72&mdash;<i>dicenda
+tacenda locutus</i>&mdash;for the expression. For the sense, Conington
+comp. <span class = "smallcaps">Aeschylus</span>, Cho., 582: <span class
+= "greek" title = "sigan hopou dei kai legein ta kairia">σιγᾶν ὅπου δεῖ
+καὶ λέγειν τὰ καίρια</span>. In <span class = "smallcaps">Horace</span>
+it means ‘all sorts of things;’ here, ‘what you must say, what leave
+unsaid.’</p>
+
+<p><a class = "line" name = "note4_6" id = "note4_6" href =
+"#line4_6">6.</a>
+<b>commota fervet bile:</b> Comp. <span class = "smallcaps">Hor.</span>,
+Od., 1, 13, 4: <i>fervens difficili <span class = "gesperrt">bile</span>
+tumet iecur</i>.</p>
+
+<p><a class = "line" name = "note4_7" id = "note4_7" href =
+"#line4_7">7.</a>
+<b>fert animus:</b> Well-known phrase of <span class =
+"smallcaps">Ov.</span>, Met., 1,&nbsp;1. So in Greek, <span class =
+"greek" title = "pherei ho nous, hê gnômê, hê phrên">φέρει ὁ νοῦς, ἡ
+γνώμη, ἡ φρήν</span>. The verse has a stately irony, and should have a
+stately translation. ‘The spirit moves you’ (Pretor) is degraded to
+slang. ‘Your bosom’s lord biddeth you wave a hush
+profound.’&mdash;<b>fecisse:</b> Comp. <a href = "#line1_91">1,
+91</a>.&mdash;<b>silentia:</b> Comp. <a href =
+"#line3_81">3,&nbsp;81</a>.</p>
+
+<p><a class = "line" name = "note4_8" id = "note4_8" href =
+"#line4_8">8.</a>
+<b>maiestate manus:</b> ‘with majestic hand’. (G., 357, R.&nbsp;2), ‘by
+the imposing action of your hand’ (Conington).&mdash;<b>quid deinde
+loquere?</b> The orator has not considered his speech. ‘Now that you
+have got your silence, what have you got to say.’&mdash;<b>Quirites:</b>
+<span class = "smallcaps">Persius</span> drops his Greek. Alcibiades is
+a mere quintain.</p>
+
+<p><a class = "line" name = "note4_9" id = "note4_9" href =
+"#line4_9">9.</a>
+<b>puta:</b> ‘put case,’ ‘say,’ ‘for instance,’ is an iambic Imperative,
+with the ultimate shortened, like <i>cavē̆</i>, <i>vidē̆</i>, etc., 1,
+108. Hermann gives it to Socrates, which is favored by the sense; Jahn
+and others to Alcibiades, as caricatured by Socrates, which is favored
+by the position. Heinrich reads <i>puto</i>.</p>
+
+<p><a class = "line" name = "note4_10" id = "note4_10" href =
+"#line4_10">10.</a>
+<b>scis etenim</b>, etc.: <i>and</i> (well you may) <i>for you know
+how</i>,
+<span class = "pagenum">144</span>
+etc. On <i>scis</i>, see <a href = "#note1_53">1, 53</a>; on
+<i>etenim</i>, 3, 48. Comp. <span class = "smallcaps">Plato</span>, l.c.
+110C: <span class = "greek" title = "ôou ara epistasthai kai pais ôn, hôs eoike, ta dikaia kai ta adika">ᾤου ἄρα ἐπίστασθαι καὶ παῖς ὤν, ὡς
+ἔοικε, τὰ δίκαια καὶ τὰ ἄδικα</span>. It may be necessary to observe
+that all this is sarcasm. Conington takes it literally, and considers
+these statements as so many concessions.&mdash;<b>gemina lance</b> =
+<i>geminis lancibus</i>. Comp. <span class = "smallcaps">Ov.</span>,
+A.&nbsp;A., 2, 644: <i>geminus pes</i>.</p>
+
+<p><a class = "line" name = "note4_11" id = "note4_11" href =
+"#line4_11">11.</a>
+<b>ancipitis:</b> ‘wavering.’&mdash;<b>rectum discernis:</b> ‘You can
+distinguish the straight line when it runs among crooked lines on either
+hand&mdash;ay, even when your square with twisted leg is but a faulty
+guide.’ The straight line is virtue, the crooked lines are vices. The
+difficulty of picking out the right course is much enhanced when the
+rule by which we go is itself warped&mdash;that is, ‘as Casaubon
+explains it, when justice has to be corrected by equity.’ The
+<i>regula</i> here is not the <i>regula</i> of <a href = "#line5_38">5,
+38</a>, but the <i>norma</i>, or carpenter’s square.</p>
+
+<p><a class = "line" name = "note4_13" id = "note4_13" href =
+"#line4_13">13.</a>
+<b>potis es:</b> See <a href = "#note1_56">1,
+56</a>.&mdash;<b>theta:</b> Θ, the initial of <span class = "greek"
+title = "thanatos">θάνατος</span>, was the mark of condemnation used in
+the time of <span class = "smallcaps">Persius</span>, instead of the
+older C (<i>condemno</i>). It was also employed in epitaphs, in army
+lists, and the like, for ‘deceased.’ Translate ‘black mark.’</p>
+
+<p><a class = "line" name = "note4_14" id = "note4_14" href =
+"#line4_14">14.</a>
+<b>quin desinis:</b> See <a href = "#note2_71">2,
+71</a>.&mdash;<b>tu:</b> The elision of the monosyllable is harsh
+(Jahn). See <a href = "#line1_51">1, 51</a>. <a href =
+"#line1_66">66</a>. <a href = "#line1_131">131</a>.&mdash;<b>igitur:</b>
+‘If all this is so, why then&mdash;.’ Comp. the indignant <i>igitur</i>
+(<span class = "greek" title = "eita">εἶτα</span>) of <a href =
+"#line1_98">1, 98</a>.&mdash;<b>summa pelle decorus:</b> <span class =
+"smallcaps">Hor.</span> Ep., 1, 16, 45: <i>Introrsus turpem, speciosum
+<span class = "gesperrt">pelle
+decora</span></i>.&mdash;<b>nequiquam:</b> ‘because you can not impose
+on me.’ Comp. <a href = "#line3_30">3, 30</a> (Conington).</p>
+
+<p><a class = "line" name = "note4_15" id = "note4_15" href =
+"#line4_15">15.</a>
+<b>ante diem:</b> ‘before your time.’&mdash;<b>blando caudam iactare
+popello:</b> Casaubon thinks that a peacock is meant, Jahn suggests a
+horse. The Scholiast says that the image is that of a (pet) dog.
+<i>Pelle decorus</i> would not apply to the peacock, nor very well to
+the horse. It does apply to Alcibiades as the lion’s whelp of <span
+class = "smallcaps">Aristoph.</span>, Ran., 1431. Comp. the famous
+description in <span class = "smallcaps">Aeschyl.</span>, Agam., 725
+(Dindorf). The comparison of politicians with lions is found also in
+<span class = "smallcaps">Plato</span>, Gorg., 483E. The only difficulty
+lies in <i>blando popello</i>, but petting implies <i>blanditiae</i> on
+both sides. ‘The dog fawns on those who caress him’
+(Conington).&mdash;<b>popello:</b> contemptuously, 6, 50; <span class =
+"smallcaps">Hor.</span>, Ep., 1, 7, 65.</p>
+
+<p><a class = "line" name = "note4_16" id = "note4_16" href =
+"#line4_16">16.</a>
+<b>Anticyras:</b> There were two towns of that name, one on the Maliac
+Gulf, the other in Phocis; both famous for their hellebore,
+<span class = "pagenum">145</span>
+but especially the latter. The town for its product, after the pattern
+of <span class = "smallcaps">Hor.</span>, Sat., 2, 3, 83; A.&nbsp;P.,
+300 (Jahn). The Plural is the familiar poetic
+exaggerative.&mdash;<b>meracas:</b> ‘undiluted,’ ‘without a drop of
+water.’<span class = "smallcaps">Hor.</span>, Ep., 2, 2, 137: <i>expulit
+helleboro morbum bilemque <span class = "gesperrt">meraco</span></i>. On
+the use of hellebore as a preparative for philosophy, comp. the
+well-known experience of Chrysippus: <span class = "greek" title = "ou themis genesthai sophon, ên mê tris ephexês tou elleborou piês">οὐ θέμις
+γενέσθαι σοφόν, ἢν μὴ τρὶς ἐφεξῆς τοῦ ἐλλεβόρου πιῃς</span>, <span class
+= "smallcaps">Lucian</span>, Vit. Auct., 23 (1, 564 R.).&mdash;<b>melior
+sorbere</b> = <i>qui melius sorberes</i> (comp. <i>quo graves Persae
+<span class = "gesperrt">melius</span> perirent</i>, <span class =
+"smallcaps">Hor.</span>, Od., 1, 2, 22).</p>
+
+<p><a class = "line" name = "note4_17" id = "note4_17" href =
+"#line4_17">17.</a>
+<b>summa boni</b> = <i>summum bonum</i>.&mdash;<b>uncta patella:</b>
+‘rich dishes.’ Comp. <a href = "#line3_102">3, 102</a>. The reference to
+a sacrificial dish (<a href = "#line3_26">3, 26</a>) is less likely. As
+the character of Alcibiades is not kept up with any care by <span class
+= "smallcaps">Persius</span>, it is hardly worth while to note that he
+was a most sensitive <i>gourmet</i>, as is shown by the curious
+anecdote, <span class = "smallcaps">Teles</span> ap. <span class =
+"smallcaps">Stob.</span>, Flor., 5, 67.&mdash;<b>vixisse:</b> The
+Perfect with intention. G., 275,&nbsp;1; A., 58, 11, <i>e.</i> ‘To have
+the satisfaction of <i>having lived</i> on the daintiest fare,’ so that
+you may say when you come to die, <i>vixi dum vixi bene</i>. Comp. <span
+class = "smallcaps">Sen.</span>, Ep., 23, 10: <i>Id agendum est ut satis
+<span class = "gesperrt">vixerimus</span></i>.</p>
+
+<p><a class = "line" name = "note4_18" id = "note4_18" href =
+"#line4_18">18.</a>
+<b>curata cuticula sole:</b> with reference to the <i>apricatio</i> or
+<i>insolatio</i>. Comp. <span class = "smallcaps">Juv.</span>, 11, 203:
+<i>nostra bibat vernum contracta <span class = "gesperrt">cuticula
+solem</span></i>. What was a matter of hygiene became a matter of
+luxury. The sun-cure has been revived of late years. <i>Curare
+cuticulam</i>, <i>cutem</i>, <i>pelliculam</i> is commonly used of ‘good
+living’ generally, ‘taking very good care of one’s dear little self.’
+See <span class = "smallcaps">Hor.</span>, Ep., 1, 2, 29. 4, 15; Sat.,
+2, 5, 38; <span class = "smallcaps">Juv.</span>, 2,
+105.&mdash;<b>haec:</b> <span class = "greek" title =
+"deiktikôs">δεικτικῶς</span>.&mdash;<b>i&nbsp;nunc:</b> ‘<i>Irridentis
+vel exprobrantis formula</i>,’ Jahn, who gives an overwhelming list of
+examples (comp. <span class = "smallcaps">Hor.</span>, Ep., 1, 6, 17; 2,
+3, 76). The usage requires it to be connected with <i>suffla</i>. ‘Go
+on, then, and blow as you have been blowing.’ <i>Suffla</i> in this
+sense is quite as ‘low’ as our Americanism. <span class =
+"smallcaps">Persius</span> has the aristocrat’s contempt for superfine
+language, and by a natural reaction falls, not unfrequently, into slang.
+Jahn compares <a href = "#line5_13">5, 13</a> and <a href =
+"#line3_27">3, 27</a>, and the Greek proverbial expression <span class =
+"greek" title = "phusa gar ou smikroisin auliskois epi">φυσᾷ γὰρ οὐ
+σμικροῖσιν αὐλίσκοις ἔπι</span>. Add <span class =
+"smallcaps">Menand.</span>, fr. 296 (4, 157 Mein.): <span class =
+"greek" title = "hoioi laloumen ontes hoi trisathlioi | hapantes #hoi phusôntes eph’ heautois mega#">οἷοι λαλοῦμεν ὄντες οἱ τρισάθλιοι |
+ἅπαντες <span class = "gesperrt">οἱ φυσῶντες ἐφ᾽ ἑαυτοῖς
+μέγα</span></span>. ‘Mouth it out’ (Conington), ‘spout it out’
+(Macleane).</p>
+
+<p><a class = "line" name = "note4_20" id = "note4_20" href =
+"#line4_20">20.</a>
+<b>Dinomaches:</b> The mother of Alcibiades came of the great
+<span class = "pagenum">146</span>
+house of the Alcmaeonidae, and it was to her that he owed his connection
+with Pericles. The Gen. without <i>filius</i> (G., 360, R.&nbsp;3; A.,
+50, 1, <i>b</i>) is rare in the predicate.&mdash;<b>candidus</b> =
+<i>pulcher</i>. Comp. <a href = "#line3_110">3, 110</a>. The beauty of
+Alcibiades is well known, <span class = "smallcaps">Plat.</span>, l.c.
+p. 104A.&mdash;<b>esto:</b> <span class = "greek" title =
+"eien">εἶεν</span>; an ironical concession.</p>
+
+<p><a class = "line" name = "note4_21" id = "note4_21" href =
+"#line4_21">21.</a>
+<b>dum ne:</b> Comp. G., 575; A., 61,&nbsp;3. Final sentences are often
+elliptical (comp. note on <a href = "#note1_4">1,&nbsp;4</a>). ‘Only you
+must admit that,’ etc.; ‘<i>dum ne neges deterius
+sapere</i>.’&mdash;<b>pannucia:</b> Here not ‘ragged,’ but ‘shrivelled.’
+Comp. <span class = "smallcaps">Mart.</span>, 11, 46,
+3.&mdash;<b>Baucis:</b> The name is copied from the Baucis of <span
+class = "smallcaps">Ovid</span>, Met., 8, 640, the wife of Philemon, the
+Joan of the antique Darby; a&nbsp;poor woman, who had a patch of
+vegetables. The <i>anicula quae agreste holus vendebat</i>, in <span
+class = "smallcaps">Petron.</span>, 6, is a similar figure.</p>
+
+<p><a class = "line" name = "note4_22" id = "note4_22" href =
+"#line4_22">22.</a>
+<b>bene:</b> with <i>discincto</i>, according to Jahn, who compares
+<i>bene mirae</i>, <a href = "#line1_111">1, 111</a>. Mr. Pretor says
+that if thus combined, ‘<i>bene</i> is weak and adds nothing to the
+picture.’ He forgets that there is such a thing as being <i>male
+discinctus</i>. Comp. <span class = "smallcaps">Hor.</span>, Sat., 1, 2,
+132: <i><span class = "gesperrt">discincta</span> tunica fugiendum est
+ac pede nudo</i>. If <i>bene</i> is combined with <i>cantaverit</i>, it
+must be used in its mercantile sense with <i>vendere</i>, <i>cantare</i>
+being equivalent to <i>cantando vendere</i>. ‘When she has cried off her
+herbs at a good figure.’&mdash;<b>discincto vernae:</b> <i>Verna</i>, of
+itself a synonym for all that is saucy and pert, is heightened by
+<i>discinctus</i>, for which see <a href = "#note3_31">3,
+31</a>.&mdash;<b>ocima:</b> ‘basil,’ ‘water-cress,’ or what not, stands
+for ‘greens’ generally. Jahn thinks that it was an aphrodisiac,
+referring to <span class = "smallcaps">Eubul.</span>, fr. 53 (3, 229
+Mein.). <span class = "smallcaps">Persius</span>, as we have seen,
+delights in picturesque detail, and his comparisons must not be pressed.
+Alcibiades cries his wares, just as the herb-seller cries hers. So the
+‘apple-woman’ or ‘orange-girl’ in modern times might be selected as the
+standard of a rising politician, hawking his wares from hustings to
+hustings, from stump to stump. The far-fetched interpretation that
+<i>ocima cantare</i> = <i>convicia ingerere</i>, because, as <span class
+= "smallcaps">Pliny</span> tells us (19,&nbsp;7), ‘basil is to be sown
+with curses,’ may be mentioned as a specimen of the way in which the
+text of our author has been smothered by learning.</p>
+
+<p><b>23-41.</b>
+The satire becomes more general. No one tries to know his own faults;
+each has his eyes fixed on his neighbor’s short-comings. Take some rich
+skinflint, and, as soon as he is
+<span class = "pagenum">147</span>
+mentioned, the details of his meanness will be spread before us. And yet
+you are as great a sinner in a different direction. Comp. <span class =
+"smallcaps">M.&nbsp;Anton.</span>, 7, 71: <span class = "greek" title =
+"geloion esti tên men idian kakian mê pheugein ho kai dunaton esti, tên de tôn allôn pheugein hoper adunaton">γελοῖόν ἐστι τὴν μὲν ἰδίαν κακίαν
+μὴ φεύγειν ὃ καὶ δυνατόν ἐστι, τὴν δὲ τῶν ἄλλων φεύγειν ὅπερ
+ἀδύνατον</span>.</p>
+
+<p><a class = "line" name = "note4_23" id = "note4_23" href =
+"#line4_23">23.</a>
+<b>Ut:</b> <i>how</i>.&mdash;<b>in sese descendere:</b> ‘go down into
+his own heart.’ The thought is simply <i>noscere se ipsum</i>. The heart
+is a depth, a&nbsp;well, a&nbsp;cellar, a&nbsp;sea. This is not the
+<i>recede in te ipsum quantum potes</i> of <span class =
+"smallcaps">Sen.</span>, Ep., 7,&nbsp;8. Comp. <span class =
+"smallcaps">M.&nbsp;Anton.</span>, 4,&nbsp;3. Still less is it Mr.
+Pretor’s ‘enter the lists against yourself,’ which would make ‘self’ at
+once the arena and the antagonist.</p>
+
+<p><a class = "line" name = "note4_24" id = "note4_24" href =
+"#line4_24">24.</a>
+<b>spectatur:</b> The positive (<i>quisque</i>) must be supplied from
+the preceding negative. Comp. G., 446,&nbsp;R.; M., 462
+b.&mdash;<b>mantica:</b> According to the familiar fable of Aesop (<span
+class = "smallcaps">Phaedr.</span>, 4, 10), each man carries two
+wallets. The one which holds his own faults is carried on his back; the
+other, which contains his neighbor’s, hangs down over his breast. Comp.
+<span class = "smallcaps">Catull.</span>, 22, 21: <i>sed non videmus
+<span class = "gesperrt">manticae</span> quod in tergo est</i>. <span
+class = "smallcaps">Persius</span> reduces the two wallets to one. Each
+man’s knapsack of faults is open to the inspection of all save
+himself.</p>
+
+<p><a class = "line" name = "note4_25" id = "note4_25" href =
+"#line4_25">25.</a>
+<b>quaesieris:</b> G., 250; A., 60, 2, <i>b</i>; <span class = "greek"
+title = "eroit’ an tis">ἔροιτ᾽ ἄν τις</span>. <span class =
+"smallcaps">Persius</span> gets away from Socrates and Alcibiades into a
+land of shadowy second persons. One of these is supposed to ask another
+whether he knows a certain estate. The casual question leads to a
+caustic characteristic of the owner, which is interrupted by another
+indefinite character, who quotes an <i>ignotus aliquis</i>, and the
+general impression at the close is that every body is violently preached
+at except the son of Dinomache, with whom we
+started.&mdash;<b>Vettidi:</b> With the characteristic of Vettidius,
+comp. <span class = "smallcaps">Horace’s</span> Avidienus (<i>cui canis
+cognomen</i>, Sat., 2, 2, 55), and the <span class = "greek" title =
+"aneleutheros">ἀνελεύθερος</span> and the <span class = "greek" title =
+"mikrologos">μικρολόγος</span> of <span class =
+"smallcaps">Theophrastus</span>.</p>
+
+<p><a class = "line" name = "note4_26" id = "note4_26" href =
+"#line4_26">26.</a>
+<b>Curibus:</b> in the land of the Sabines, the land of frugal habits.
+Comp. <a href = "#line6_1">6, 1</a>.&mdash;<b>miluus errat:</b> So Jahn
+(1868). <i>Miluus</i> is trisyllabic, as in <span class =
+"smallcaps">Hor.</span>, Epod., 16, 31. Hermann, <i>oberrat</i>; Jahn
+(1843), <i>oberret</i>. The expression is proverbial: <i>quantum <span
+class = "gesperrt">milvi</span> volant</i>, <span class =
+"smallcaps">Petron.</span>, 37. Comp. <span class =
+"smallcaps">Juv.</span>, 9, 55.</p>
+
+<p><a class = "line" name = "note4_27" id = "note4_27" href =
+"#line4_27">27.</a>
+<b>dis iratis genioque sinistro:</b> Comp. <span class =
+"smallcaps">Hor.</span>, Sat., 2, 3, 8: <i><span class =
+"gesperrt">iratis</span> natus paries <span class =
+"gesperrt">dis</span> atque poetis</i>. A&nbsp;substantive expression of
+quality without a common noun is rare in Latin as in English (M.,
+<span class = "pagenum">148</span>
+287, Obs.&nbsp;3), but not limited in time. See Dräger, <i>Histor.
+Syntax</i>, § 226. ‘The aversion of the gods and at war with his
+genius,’ his ‘second self,’ who ‘delights in good living,’ <i>quia
+genius laute vivendo gaudere putabatur</i> (Jahn).</p>
+
+<p><a class = "line" name = "note4_28" id = "note4_28" href =
+"#line4_28">28.</a>
+<b>quandoque</b> = <i>quandocumque</i>, as <span class =
+"smallcaps">Hor.</span>, Od., 4, 1, 17, 2, 34.&mdash;<b>pertusa</b> =
+<i>pervia</i>, according to Jahn; ‘roads and thoroughfares’ (Conington);
+= <i>calcata</i>, <i>trita</i>, Heinr., which seems more
+natural.&mdash;<b>compita:</b> ‘The <i>compitalia</i> is meant. Comp.
+<span class = "smallcaps">Cato</span>, R.&nbsp;R., 5,&nbsp;4: <i>Rem
+divinam nisi <span class = "gesperrt">compital</span>ibus in <span class
+= "gesperrt">compito</span> [vilicus] ne faciat.</i> It was one of the
+<i>feriae conceptivae</i>, held in honor of the <i>Lares compitales</i>
+on or about the 2d of January. It is said to have been instituted by
+Servius Tullius, and restored by Augustus (<span class =
+"smallcaps">Suet.</span>, Aug., 31), and was observed with feasting.
+Comp. <span class = "smallcaps">Cato</span>, R.&nbsp;R., 5, 7, and
+<i>uncta compitalia</i>. <span class = "smallcaps">Anthol. Lat.</span>,
+2, 246, 27B. n. 105, 27M.’ So Pretor, after Jahn. With <i>com-pit-a</i>
+comp. Greek <span class = "greek" title = "pat-os">πάτ-ος</span>,
+<i>path</i>.&mdash;<b>figit:</b> The suspension of the yoke symbolizes
+the suspension of labor. The yoke stands for the plough as well, <span
+class = "smallcaps">Tibull.</span>, 2, 1, 5.</p>
+
+<p><a class = "line" name = "note4_29" id = "note4_29" href =
+"#line4_29">29.</a>
+<b>metuens deradere:</b> See <a href = "#note1_47">1, 47</a>. Comp.
+<span class = "smallcaps">Hor.</span>, Sat., 2, 4, 80: <i><span class =
+"gesperrt">metuentis reddere</span> soldum</i>.&mdash;<b>limum:</b> ‘the
+dirt’ on the jar. Comp. <i>sive gravis veteri craterae <span class =
+"gesperrt">limus</span> adhaesit</i>, <span class =
+"smallcaps">Hor.</span>, Sat., 2, 4, 80. The Scholiast understands ‘the
+seal.’</p>
+
+<p><a class = "line" name = "note4_30" id = "note4_30" href =
+"#line4_30">30.</a>
+<b><span class = "gesperrt">hoc bene sit</span>:</b> The formula in
+drinking a health. Comp. <span class = "smallcaps">Plaut.</span>, Pers.,
+5, 1, 20. Here used also as a kind of grace.&mdash;<b>tunicatum</b> |
+<b>caepe:</b> <span class = "greek" title = "polulopon krommuon">πολύλοπον κρόμμυον</span> (Casaubon). <i><span class =
+"gesperrt">Tunicatum</span> caepe</i>, ‘bulbous or coated onion,’ as
+opposed to the <i>sectile <span class = "gesperrt">porrum</span></i>, or
+‘chives’ (Pretor). It may be going too far to exclude <i>epitheta
+ornantia</i> from <span class = "smallcaps">Persius</span>, but he
+certainly uses them sparingly. <i>Tunicatum</i> is commonly understood
+to mean ‘skin and all,’ as we say of a potato, ‘jacket and all.’ Comp.
+<span class = "smallcaps">Juv.</span>, 14, 153: <i><span class =
+"gesperrt">tunicam</span> mihi malo lupini</i>. But as the skin of an
+onion is not very ‘filling,’ and as <i>tunica</i> may be used in the
+sense of ‘coat’ or ‘layer,’ the slight change to
+<i>tunicatim</i>&mdash;‘layer by layer’&mdash;has suggested itself to
+me. It is not a whit more exaggerated than <span class =
+"smallcaps">Juvenal’s</span> <i>filaque sectivi numerata includere
+porri</i> (14, 133).</p>
+
+<p><a class = "line" name = "note4_31" id = "note4_31" href =
+"#line4_31">31.</a>
+<b>farrata olla:</b> ‘porridge pot of spelt,’ an every-day meal with
+others, holiday fare with these unfortunates, hence <i>plaudentibus</i>.
+The Abl. of Cause. <i>Farratam ollam</i> (Jahn [1843] and
+<span class = "pagenum">149</span>
+Hermann) may be defended by <span class = "smallcaps">Stat.</span>,
+Silv., 5, 3, 140 (cited by Jahn): <i><span class = "gesperrt">fratrem
+plausere</span> Therapnae</i>, but there is danger of the miser’s eating
+it.</p>
+
+<p><a class = "line" name = "note4_32" id = "note4_32" href =
+"#line4_32">32.</a>
+<b>pannosam:</b> ‘mothery.’ Every word tells. It is not wine, but
+vinegar; it is not even good vinegar, but vinegar that is getting flat;
+it is not even clear vinegar, but the lees of vinegar; and not even
+honest lees, but mothery lees.&mdash;<b>morientis:</b> ‘Dying vinegar’
+is not so familiar to us as ‘dead wines.’ Comp. <span class =
+"smallcaps">Mart.</span>, 1, 18, 8.&mdash;<b>aceti:</b> Comp. <i>faece
+rubentis <span class = "gesperrt">aceti</span></i>, <span class =
+"smallcaps">Mart.</span>, 11, 56, 7.</p>
+
+<p><a class = "line" name = "note4_33" id = "note4_33" href =
+"#line4_33">33.</a>
+Picture of a sensualist.&mdash;<b>figas in cute solem:</b> <span class =
+"greek" title = "eilêtherein">εἰληθερεῖν</span>, ‘fix the sun in your
+skin,’ ‘let the sun’s rays pierce your skin,’ instead of <i>bibere</i>,
+<i>combibere solem</i>, <span class = "smallcaps">Juv.</span>, 11, 203
+(quoted above, <a href = "#line4_18">v. 18</a>), and <span class =
+"smallcaps">Mart.</span>, 10, 12, 7; or the more prosaic <i>sole
+uti</i>, <span class = "smallcaps">Mart.</span>, 1, 77, 4.</p>
+
+<p><a class = "line" name = "note4_34" id = "note4_34" href =
+"#line4_34">34.</a>
+<b>cubito tangat:</b> an immemorial familiarity. Examples range from
+<span class = "smallcaps">Homer</span>, Od., 14, 485 to <span class =
+"smallcaps">Aristaen.</span>, 1, 19, 27. <span class =
+"smallcaps">Persius</span> has in mind <span class =
+"smallcaps">Hor.</span>, Sat., 2, 5, 42: <i>nonne vides (aliquis <span
+class = "gesperrt">cubito</span> stantem prope <span class =
+"gesperrt">tangens</span>) inquiet</i>, etc.</p>
+
+<p><a class = "line" name = "note4_35" id = "note4_35" href =
+"#line4_35">35.</a>
+<b>acre</b> | <b> despuat:</b> ‘empty acrid spittle,’ sc. on you. Others
+read <i>in mores</i> with Jahn (1843). Jahn (1868) reads with Hermann,
+<i>Hi mores</i>. Of course it is impossible to analyze this spittle,
+which flows to the end of <a href = "#line4_41">v. 41</a>. See the
+Introduction to the Satire. ‘<i>Persium</i>,’ as <span class =
+"smallcaps">Quintilian</span> says of <span class =
+"smallcaps">Horace</span>, <i>in quibusdam nolim interpretari</i> (1,
+8,&nbsp;6). This is one of the passages that called down on our author
+the rebuke of that verecund gentleman Pierre Bayle: <i>Les Satires de
+Perse sont dévergondées</i>.</p>
+
+<p><b>42-52.</b>
+Such is life. We hit and are hit in turn. We disguise our
+faults&mdash;our <i>vulnera vitae</i>&mdash;even from ourselves, and
+appeal to that common jade, common fame, for a certificate of health.
+But temptation reveals the corruption within. You are guilty of avarice,
+lust, swindling, and the praises of the mob are of no moment. Be
+yourself. Examine yourself, and know how scantily furnished you are.</p>
+
+<p><a class = "line" name = "note4_42" id = "note4_42" href =
+"#line4_42">42.</a>
+<b>caedimus</b>, etc.: <span class = "smallcaps">Hor.</span>, Ep., 2, 2,
+97: <i><span class = "gesperrt">caedimur</span> et totidem plagis
+consumimus hostem</i> (Casaubon). The resemblance here, as often
+elsewhere, is merely verbal, as in <span class =
+"smallcaps">Horace</span> ‘the passage of arms is a passage of
+compliments’ (Conington).&mdash;<b>praebemus:</b> ‘expose,’
+‘present.’</p>
+
+<span class = "pagenum">150</span>
+<p><a class = "line" name = "note4_43" id = "note4_43" href =
+"#line4_43">43.</a>
+<b>vivitur hoc pacto:</b> Negatively expressed <i>non aliter
+vivitur</i>. In other words: <i>haec est condicio vivendi</i>, <span
+class = "smallcaps">Hor.</span>, Sat., 2, 8, 65, which Casaubon
+compares. ‘These are the terms, this the rule of life.’&mdash;<b>sic
+novimus</b> = <i>notum est</i> (Jahn). ‘So we have learned it.’ ‘This is
+its lesson.’&mdash;<b>ilia subter:</b> G., 414, R.&nbsp;3. The danger of
+the wound is well known.</p>
+
+<p><a class = "line" name = "note4_44" id = "note4_44" href =
+"#line4_44">44.</a>
+<b>caecum:</b> ‘hidden.’&mdash;<b>lato balteus auro:</b> The baldric
+covered the groin, and was often ornamented with bosses of gold. Comp.
+<span class = "smallcaps">Verg.</span>, Aen., 5, 312: <i><span class =
+"gesperrt">lato</span> quam circumplectitur <span class =
+"gesperrt">auro</span></i> | <i><span class =
+"gesperrt">balteus</span></i>. This broad gold belt is the symbol of
+wealth and rank.</p>
+
+<p><a class = "line" name = "note4_45" id = "note4_45" href =
+"#line4_45">45.</a>
+<b>ut mavis:</b> Ironical. <span class = "smallcaps">Hor.</span>, Sat.,
+1, 4, 21.&mdash;<b>da verba:</b> Comp. <a href = "#line3_19">3,
+19</a>.&mdash;<b>decipe nervos:</b> ‘cheat your muscle,’ ‘cheat yourself
+into the belief that you are sound;’ and certainly self-deception seems
+to be required by the context. Otherwise <i>decipe nervos</i> might be
+considered as equivalent to <i>mentire robur</i>, <i>pro sano te
+iacta</i>, <i>sanum te finge</i>.</p>
+
+<p><a class = "line" name = "note4_47" id = "note4_47" href =
+"#line4_47">47.</a>
+<b>non credam?</b> G., 455; A., 71,&nbsp;1, R.&mdash;<b>inprobe:</b> The
+<i>inprobus</i> is hard-headed as well as hard-hearted. Comp.
+<i>plorantesque <span class = "gesperrt">inproba</span>
+natos&mdash;reliquit</i>, <span class = "smallcaps">Juv.</span>, 6,
+86.</p>
+
+<p><a class = "line" name = "note4_48" id = "note4_48" href =
+"#line4_48">48.</a>
+<b>amarum:</b> Jahn reads <i>amorum</i> in his ed. of 1843, but was
+sorry for it. In 1868 he reads <i>amarum</i>, and punctuates so as to
+throw it into the grave of the next line.</p>
+
+<p><a class = "line" name = "note4_49" id = "note4_49" href =
+"#line4_49">49.</a>
+<b>si puteal:</b> A <i>versus conclamatus</i> (Jahn). The old
+explanation makes this passage refer to exorbitant usury. The
+<i>puteal</i> here meant is supposed to be the one mentioned by <span
+class = "smallcaps">Hor.</span>, Sat., 2, 6, 13&mdash;the <i>puteal
+Libonis</i>, situated near the praetor’s tribunal, and on that account a
+favorite haunt of usurers, who would naturally have frequent occasion to
+appear in court. Comp. the poplar-tree, which was the rendezvous of a
+certain ‘ring’ of contractors in Athens, <span class =
+"smallcaps">Andoc.</span>, 1, 133. Local allusions of this kind are the
+despair of commentators; the <i>puteal</i> is, after all, as mysterious
+as a ‘corner’ to the uninitiated, and we can only gather that <i>puteal
+flagellare</i> is slang for some recondite swindling process, which
+required a certain amount of knowingness (hence <i>cautus</i>).
+Conington renders, ‘flog the exchange with many a stripe.’ We may
+Americanize by ‘clean out, thrash out Wall Street.’ The Neronians,
+Casaubon at their head, understand the passage as referring to Nero’s
+habit of going out at night in disguise
+<span class = "pagenum">151</span>
+and maltreating people in the street&mdash;see <span class =
+"smallcaps">Tac.</span>, Ann., 13, 25; <span class =
+"smallcaps">Suet.</span>, Nero, 26&mdash;and <i>cautus</i> is supposed
+to allude to the measures which he took for his personal safety.</p>
+
+<p><a class = "line" name = "note4_50" id = "note4_50" href =
+"#line4_50">50.</a>
+<b>bibulas donaveris aures:</b> The student is by this time familiar
+with <span class = "smallcaps">Persius’s</span> way of hammering a
+familiar figure into odd shapes. If ears drink in, then ears are
+thirsty; if they are thirsty, then they tipple; and if you can give ear,
+you can bestow ears. ‘In vain would you have given up your thirsty ears
+to be drenched by the praises of the mob.’ <i>Donaveris</i>, Perf.
+Subj., <span class = "greek" title = "matên pareschêkôs an eiês ta ôta">μάτην παρεσχηκὼς ἂν εἴης τὰ ὦτα</span>. Future ascertainment of a
+completed action. G., 271, 2.</p>
+
+<p><a class = "line" name = "note4_51" id = "note4_51" href =
+"#line4_51">51.</a>
+<b>cerdo:</b> <span class = "greek" title = "Kerdôn">Κέρδων</span>,
+a&nbsp;plebeian proper name. Conington translates by the ‘Hob and Dick’
+of <span class = "smallcaps">Shakspeare’s</span> Coriolanus. The common
+rendering, ‘cobbler,’ is a false inference from <span class =
+"smallcaps">Mart.</span>, 3, 59, 1; 99, 1.</p>
+
+<p><a class = "line" name = "note4_52" id = "note4_52" href =
+"#line4_52">52.</a>
+<b>tecum habita:</b> Comp. <a href = "#line1_7">1,
+7</a>.&mdash;<b>noris:</b> The punctuation of all the editors makes
+<i>noris</i> an Imperative Subjunctive. Still a kind of condition is
+involved = <i>si habites, noris</i>. G., 594,&nbsp;4; A., 60, 1,
+<i>b</i>. One of the most threadbare quotations from Latin poetry.</p>
+
+<hr class = "spacer">
+
+<h5><a name = "notes_V" id = "notes_V" href = "#sat_V">
+FIFTH SATIRE.</a></h5>
+
+<p class = "argument">
+<span class = "smallcaps">The</span> theme of the Fifth Satire is the
+Stoic doctrine of True Liberty. All men are slaves except the
+philosopher, and <span class = "smallcaps">Persius</span> has learned to
+be a philosopher&mdash;thanks to Cornutus, to whom the Satire is
+addressed. Compare and contrast <span class =
+"smallcaps">Horace’s</span> handling of a like subject in Sat.,
+2,&nbsp;3. In Teuffel’s commentary on his translation of this Satire,
+the matter is briefly summed up in these words: <span class =
+"smallcaps">Horace</span> is an artist, <span class =
+"smallcaps">Persius</span> a Preacher. See Introd., <a href =
+"#intro_preach">xxvi</a>. Comp. also <span class =
+"smallcaps">Hor.</span>, Sat., 2, 7, 46 seqq.</p>
+
+<p class = "argument">
+<span class = "smallcaps">Argument.</span>&mdash;<span class =
+"smallcaps">Persius</span> speaks: Poets have a way of asking for a
+hundred mouths, a&nbsp;hundred tongues, whether the theme be tragedy or
+epic.&mdash;<span class = "smallcaps">Cornutus</span>: A&nbsp;hundred
+mouths, a&nbsp;hundred tongues! What do you want with them? Or, for that
+matter, with a hundred gullets either, to worry down the tragic diet
+which other poets affect. You do not pant like a bellows, nor croak like
+a jackdaw, nor strain your cheeks to bursting in the high epic fashion.
+Your language is to be the language of every-day life, to which you are
+to give an edge by skilful combination. Your utterance is modest, and
+your art is shown in rasping the unhealthy body of the age, and in
+impaling its faults with high-bred
+<span class = "pagenum">152</span>
+raillery. Be such your theme. Let others sup full with tragic horrors,
+if they will. Do you know nothing beyond the frugal luncheon of our
+daily food (<a href = "#line5_1">1-18</a>).</p>
+
+<p class = "argument">
+<span class = "smallcaps">Persius:</span> It is not my aim to have my
+pages swollen with ‘Bubbles from the Brunnen of Poesy.’ We are alone,
+far from the madding crowd, and I may throw open my heart to you, for I
+would have you know how great a part of my soul you are. Knock at the
+walls of my heart, for you are skilful to distinguish the solid from the
+hollow, to tell the painted stucco of the tongue from the strong masonry
+of the soul. To this end I fain would ask&mdash;and ask until I
+get&mdash;a hundred voices, to show how deeply I have planted you in my
+heart of hearts; to tell you all that is past telling in my inmost being
+(<a href = "#line5_19">19-29</a>). When first the purple garb of boyhood
+withdrew its guardianship, and the amulet&mdash;no longer
+potent&mdash;was hung up, an offering to the old-fashioned household
+gods, when all about me humored me, and when the dress of manhood
+permitted my eyes to rove at will through the Subura with all its wares
+and wiles, what time the youth’s path is doubtful, and bewilderment,
+ignorant of life, brings the excited mind to the spot where the great
+choice of roads is to be made&mdash;in that decisive hour I made myself
+son to you, and you took me, Cornutus, to your Socratic heart. Where my
+character was warped, the quiet application of the rule of right
+straightened what in me was crooked. My mind was constrained by reason,
+wrestled with its conqueror, and took on new features under your forming
+hand. How I remember the long days I spent with you, the first-fruits of
+the festal nights I plucked with you. Our work, our rest we ordered both
+alike, and the strain of study was eased by the pleasures of a modest
+table (<a href = "#line5_30">30-44</a>). Nay, never doubt that there is
+a harmony between our stars. Our constellation is the Balance or the
+Twins. The same aspect rules our nativities. Some star, be that star
+what it may, blends my fate with yours (<a href =
+"#line5_45">45-51</a>).</p>
+
+<p class = "argument">
+We are attuned each to other; but look abroad, and see how different men
+are from us and from each other. Each has his own aims in life. One is
+bent on active merchandise, one is given up to sluggish sleep, another
+is fond of athletic sports. One is drained dry by dicing, another by
+chambering and wantonness; but when the chalk-stones of gout rattle
+among their fingers and toes, they awake to the choke-damp and the foggy
+light in which they have spent their days, and mourn too late their
+wasted life (<a href = "#line5_52">52-61</a>).</p>
+
+<p class = "argument">
+But you delight to wax pale over nightly studies. A&nbsp;tiller of the
+human soul, you prepare the soil, and sow the field of the ear with the
+pure grain of Stoic wisdom. Hence seek, young and old, an aim for your
+higher being, provision for your hoary head (<a href =
+"#line5_62">62-65</a>).</p>
+
+<p class = "argument">
+‘Hoary head, you say?’ interposes an objector. ‘That can be provided for
+as well to-morrow.’ To-morrow! ‘Next day the fatal precedent
+<span class = "pagenum">153</span>
+will plead.’ Another to-morrow comes, and we have used up yesterday’s
+to-morrow, and so our days are emptied one by one. To-morrow! It is
+always ahead of us, as the hind wheel can never overtake the front
+wheel, though both be in the self-same chariot (<a href =
+"#line5_66">66-72</a>).</p>
+
+<p class = "argument">
+The remedy for this and all the other ills of life is True
+Liberty&mdash;not such as gives a dole of musty meal, a&nbsp;soup-house
+ticket to the new-made citizen; not such as makes a tipsy slave free in
+the twinkling of an eye. Now Dama is a worthless groom, and would sell
+himself for a handful of provender. Anon he is set free, as you call
+it&mdash;becomes Marcus Dama. Excellent surety! Most excellent judge! If
+Marcus says it is so, it is so. Your sign and seal here, good Marcus.
+Pah! This is the liberty that manumission gives. Up speaks Marcus:
+‘Well! Who is free except the man that can do as he pleases? I&nbsp;can
+do as I please. <i>Argal</i> I am free as air.’&mdash;‘Not so,’ says
+your learned Stoic. ‘Your logic is at fault. I&nbsp;grant the rest, but
+I demur to the clause “as you please.”’&mdash;‘The praetor’s wand made
+me my own man. May I not do what I please, if I offend not against the
+statute-book?’ (<a href = "#line5_73">73-90</a>).</p>
+
+<p class = "argument">
+‘Do what you please!’ cries <span class = "smallcaps">Persius</span>,
+who identifies himself with the Stoic philosopher. ‘Stop just there and
+learn of me; but first cease to be scornful, and let me get these old
+wives’ notions out of your head. The praetor could not teach you any
+thing about the conduct of life with all its perplexities. As well
+expect a man to teach an elephant to dance the tight-rope. Reason bars
+the way, and whispers, “You must not do what you will spoil in the
+doing.” This is nature’s law, the law of common-sense. You mix medicine,
+and know nothing of scales and weights? You, a&nbsp;clodhopper, and
+undertake to pilot a ship? Absurd, you say; and yet what do you know of
+life? How can you walk upright without philosophy? How can you tell the
+ring of the genuine metal, and detect the faulty sound of the base
+alloy? Do you know what to seek, what to avoid, what to mark with white,
+what with black? Can you control your wishes, moderate your expenses, be
+indulgent to your friends? Do you know how to save and how to spend? Can
+you keep your month from watering at the sight of money, from burning at
+the taste of ginger? When you can say in truth, “All this is mine,” then
+you are truly free. But if you retain the old man under the new title,
+I&nbsp;take back all that I have granted. You can do nothing that is
+right. Every action is a fault. Put forth your finger&mdash;you sin.
+There is not a half-ounce of virtue in your silly carcass. You must be
+all right or all wrong. Man is one. You can not be virtuous by halves.
+You can not be at once a ditcher and a dancer. You are a slave still,
+though the praetor’s wand may have waved away your bonds. You do not
+tremble at a master’s voice, ‘tis true, but there are other masters than
+those whom the law recognizes. The wires that move you do not jerk you
+from without, but masters grow up within your bosom’ (<a href =
+"#line5_91">91-131</a>).</p>
+
+<span class = "pagenum">154</span>
+<p class = "argument">
+Here the dialogue is dropped. We leave Dama, whose personality has been
+getting fainter all the time, and are treated to a series of more or
+less dramatic scenes in illustration of the Ruling Passions.</p>
+
+<p class = "argument">
+So Avarice and Luxury dispute about the body and soul of an un-Stoic
+slave (<a href = "#line5_132">132-160</a>).</p>
+
+<p class = "argument">
+A Lover tries to break the chain that binds him to an unworthy mistress
+(<a href = "#line5_161">161-175</a>).</p>
+
+<p class = "argument">
+Another is led captive by Ambition at her will (<a href =
+"#line5_176">176-179</a>).</p>
+
+<p class = "argument">
+Yet another is under the dominion of Superstition (<a href =
+"#line5_180">180-188</a>).</p>
+
+<p class = "argument">
+But why discourse thus? Imagine what the military would say to such a
+screed of doctrine. I&nbsp;hear the horse-laugh of Pulfennius, as he
+bids a clipped dollar for a hundred Greek philosophers&mdash;a cent
+apiece (<a href = "#line5_189">189-191</a>).</p>
+
+<hr class = "tiny">
+
+<p class = "argument">
+This Satire is justly considered by many critics the best of all the
+productions of <span class = "smallcaps">Persius</span>, as it is the
+least obscure. The warm tribute to his master Cornutus may have had its
+share in commending the poem to teachers, who, of all men, are most
+grateful for gratitude. But apart from this revelation of a pure and
+loving heart, the peculiar talent of <span class =
+"smallcaps">Persius</span>, which consists in vivid portraiture of
+character and situation, appears to great advantage in this composition.
+True, the introduction is not wrought into the poem, and the poet’s
+discourse is too distinctly a Stoic school exercise, and reminiscence
+crowds on reminiscence, but there is a certain movement in the Satire,
+or Epistle, as it were better called, which carries us on over the
+occasional rough places, without the perpetual jolt which we feel every
+where else on the ‘corduroy road’ of <span class =
+"smallcaps">Persius’s</span> <i>Gradus ad Parnassum</i>.</p>
+
+<p class = "space">
+<b>1-4.</b> <span class = "smallcaps">Persius</span>: Oh for a hundred
+voices, a&nbsp;hundred mouths, a&nbsp;hundred tongues!</p>
+
+<p><a class = "line" name = "note5_1" id = "note5_1" href =
+"#line5_1">1.</a>
+<b>Vatibus hic mos est:</b> Comp. <span class = "smallcaps">Hor.</span>,
+Sat., 1, 2, 86: <i><span class = "gesperrt">regibus hic mos</span>
+est.</i> <i>Vatibus</i>, with a sneer. see <a href = "#noteP_7">Prol.,
+7</a>.&mdash;<b>centum sibi poscere voces:</b> Examples might be
+multiplied indefinitely from <span class = "smallcaps">Homer</span> to
+Charles Wesley. Comp. Il., 2, 489: <span class = "greek" title = "oud’ ei moi deka men glôssai, deka de stomat’ eien">οὐδ᾽ εἴ μοι δέκα μὲν
+γλῶσσαι, δέκα δὲ στόματ᾽ εἶεν</span>; and <span class =
+"smallcaps">Verg.</span>, Aen., 6, 625: <i>non mihi si linguae centum
+sint oraque centum</i>; also Georg., 2, 43; <span class =
+"smallcaps">Ov.</span>, Met., 8, 532. Conington burlesques the passage
+by translating <i>poscere</i> ‘put in a requisition for,’ and
+<i>optare</i> ‘bespeak.’ By such devices humor of a certain kind might
+be extracted from elegies, and <span class = "smallcaps">Vergil</span>
+be made ‘to put in a requisition for Quintilius at the Bureau of the
+Gods,’ <span class = "smallcaps">Hor.</span>, Od., 1, 24, 12.</p>
+
+<p><a class = "line" name = "note5_3" id = "note5_3" href =
+"#line5_3">3.</a>
+<b>seu ponatur:</b> The mood after <i>seu</i>&mdash;<i>seu</i> is
+determined on
+<span class = "pagenum">155</span>
+general principles (A., 61, 4, <i>c</i>). In practice, however, the
+Indicative is more common (G., 597, R.&nbsp;4). The Subjunctive is to be
+explained by G., 666 (see last example), and A., 66,
+2.&mdash;<b>ponatur</b> = <i>proponatur</i> (<span class =
+"smallcaps">Cic.</span>, Tusc. Dis., 1, 4,&nbsp;7). Comp. <span class =
+"greek" title = "theinai">θεῖναι</span>, <span class = "greek" title =
+"thesis">θέσις</span>. Jahn understands it as <i>ponere lucum</i>, 1,
+70, <i>posuisse figuras</i>, 1, 86. Perhaps there is a play on the
+different senses of <i>ponere</i>. ‘Serve up’ would not be bad in view
+of <a href = "#line5_9">vv. 9, 10</a>.&mdash;<b>hianda:</b> ‘To be
+spouted by some doleful actor.’ ‘<i>Hianda</i> has reference to the
+tragic mask, in which a wide aperture was cut for the mouth, to
+facilitate a distinct enunciation. From the appearance presented by the
+speaker, it soon came to be used of a bombastic style of utterance.
+Comp. <i>carmen <span class = "gesperrt">hiare</span></i>, <span class =
+"smallcaps">Prop.</span>, 2, 31, 6, and <i>grande Sophocleo carmen
+bacchamur <span class = "gesperrt">hiatu</span></i>, <span class =
+"smallcaps">Juv.</span>, 6, 636.’ Pretor, after Jahn.</p>
+
+<p><a class = "line" name = "note5_4" id = "note5_4" href =
+"#line5_4">4.</a>
+<b>vulnera Parthi:</b> Is <i>Parthi</i> object or subject? The passage
+is a reminiscence of <span class = "smallcaps">Hor.</span>, Sat., 2, 1,
+15: <i>aut labentia equo describat <span class = "gesperrt">vulnera
+Parthi</span></i>. If <i>Parthi</i> is the object, an interpretation
+which is favored by the Horatian passage and by the propriety of the
+epic theme&mdash;for why should a Roman enlarge upon the wounds that the
+Parthian deals?&mdash;<i>ducentis ab inguine ferrum</i> must be rendered
+‘drawing the dart from his groin.’ Still <i>ab</i> is not a suitable
+preposition, nor can it be defended by such expressions as <i>ducere
+suspiria ab imo pectore</i>, <span class = "smallcaps">Ov.</span>, Met.,
+10, 402. Others think of ‘trailing the shaft from his groin,’ in which
+it had been imbedded. Comp. <a href = "#line5_160">v. 160</a>: <i>a
+collo trahitur pars longa catenae</i>. If <i>Parthi</i> is the subject,
+translate, ‘The Parthian who draws the arrow from [the quiver] near his
+groin.’ The Eastern nations wore the quiver low, the Greeks upon the
+shoulder. This line refers to epic poetry as the preceding to
+tragedy.</p>
+
+<p><b>5-18.</b>
+<span class = "smallcaps">Cornutus</span>: What need have you of a
+hundred mouths? You have no foolish tragedy to cram, no big epics to
+mouth. Your simple satire demands a simple style, the talk of every day,
+only better put. Your business is to scourge and pierce, and yet
+remember that you are a gentleman. Let these themes suffice you, and
+leave to others the stage-horrors of cannibalic feasts; yourself content
+with the pot-luck of the Roman cit.</p>
+
+<p><a class = "line" name = "note5_5" id = "note5_5" href =
+"#line5_5">5.</a>
+<b>Quorsum haec:</b> Comp. <span class = "smallcaps">Hor.</span>, Sat.,
+2, 7, 21.&mdash;<b>aut:</b> G., 460,&nbsp;R.; A., 71,
+2.&mdash;<b>robusti carminis offas:</b> ‘dumplings of substantial
+poetry,’ ‘lumps of solid poetry’ (Conington). <i>Offa</i> is a
+<span class = "pagenum">156</span>
+dumpling of meal or flesh. Comp. <span class = "smallcaps">Apul.</span>,
+Met., 1, 3, on the chokiness of a certain <i>polentae caseatae <span
+class = "gesperrt">offula</span> grandior</i>.</p>
+
+<p><a class = "line" name = "note5_6" id = "note5_6" href =
+"#line5_6">6.</a>
+<b>ingeris:</b> ‘cram.’ The whole passage is intended to be coarse.
+‘What great gobbets of stuffing song are you cramming yourself with,
+that you require a hundred throats to strain them down?’ Others
+understand: <i>ingeris</i> sc. <i>populo</i>. See <a href =
+"#note5_177">v. 177</a>.&mdash;<b>centeno gutture</b> = <i>centum
+gutturibus</i>. So <i>centena arbore</i>, <span class =
+"smallcaps">Verg.</span>, Aen., 10, 207 (Conington).</p>
+
+<p><a class = "line" name = "note5_7" id = "note5_7" href =
+"#line5_7">7.</a>
+<b>grande:</b> See <a href = "#note1_14">1,
+14</a>.&mdash;<b>locuturi:</b> See <a href = "#note1_100">1,
+100</a>.&mdash;<b>nebulas:</b> Jahn is reminded of <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 230: <i>nubes et inania captet</i>.
+Observe that <i>legunto</i> suggests the culinary figure below. The
+mists represent the vegetables, Procne and Thyestes furnish the
+meat.&mdash;<b>Helicone:</b> See Prologue. <span class =
+"smallcaps">Persius</span> is as intensely Roman in poetic practice as
+he is Greek in philosophic theory.&mdash;<b>legunto:</b> The Imperative,
+instead of the Subjunctive, gives the tone of an edict or of a
+cookery-book.</p>
+
+<p><a class = "line" name = "note5_8" id = "note5_8" href =
+"#line5_8">8.</a>
+<b>Prognes&mdash;Thyestae:</b> See Classical Dictionaries for the
+familiar myths. Observe the balance. Procne served up her son, Thyestes
+made a dinner off his. Both are common tragic themes. See <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 91. 186-187.&mdash;<b>olla
+fervebit:</b> ‘Who are going to set Thyestes’s pot a-boiling’
+(Conington).</p>
+
+<p><a class = "line" name = "note5_9" id = "note5_9" href =
+"#line5_9">9.</a>
+<b>Glyconi:</b> Glyco was a stupid actor of the day, who could not
+understand a joke. The Neronians have made the most of the fact, as
+reported by the Scholiast, that G. was manumitted by Nero, who paid his
+half-owner Vergilius 300,000 sesterces for his share. So, for instance,
+Lehmann (<i>De&nbsp;A. Persii Satira Quinta</i>, p. 17), who has nosed
+out all manner of subtle Neronian flavors in this innocent
+satire.&mdash;<b>cenanda:</b> Comp. <a href =
+"#line3_46">3,&nbsp;46</a>.</p>
+
+<p><a class = "line" name = "note5_10" id = "note5_10" href =
+"#line5_10">10.</a>
+<b>coquitur dum:</b> When the action with <i>dum</i>, ‘while,’ is
+co-extensive with the action in the leading clause, the limit may be
+expressed by <i>until</i>, ‘while it is smelting’ = ‘until it is
+smelted’&mdash;<b>massa:</b> See note on <a href =
+"#note2_67">2,&nbsp;67</a>.</p>
+
+<p><a class = "line" name = "note5_11" id = "note5_11" href =
+"#line5_11">11.</a>
+<b>folle:</b> The wind is squeezed ‘with’ or ‘in’ the bellows rather
+than ‘from’ the bellows. The Scholiast notices the Horatian
+reminiscence, Sat., 1, 4, 19: <i>at tu conclusas hircinis <span class =
+"gesperrt">follibus</span> auras</i> | <i>usque laborantes, dum ferrum
+molliat ignis</i> | <i>ut mavis, imitare</i>. Comp. also <span class =
+"smallcaps">Juv.</span>, 7, 111: <i>tunc immensa cavi spirant mendacia
+<span class = "gesperrt">folles</span></i>.&mdash;<b>nec clauso
+murmure,</b> etc.: ‘Nor with pent-up murmur
+<span class = "pagenum">157</span>
+croak to yourself until you are hoarse some solemn nonsense.’</p>
+
+<p><a class = "line" name = "note5_13" id = "note5_13" href =
+"#line5_13">13.</a>
+<b>scloppo:</b> So Jahn (1868), instead of <i>stloppo</i> (1843). This
+is supposed to be a word coined to express the sound (comp.
+<i>bombis</i>, 1, 99). Conington renders ‘plop.’ Vaniček records it
+under <span class = "smallroman">SKAR</span>, S. 183, and it may well be
+the ‘slap’ with which the distended cheeks are reduced, and hence the
+‘plop’ which is heard. The childish trick may be witnessed wherever
+there are children. <span class = "smallcaps">Persius</span> multiplies
+absurd and meaningless noises without any sharp distinction.</p>
+
+<p><a class = "line" name = "note5_14" id = "note5_14" href =
+"#line5_14">14.</a>
+<b>verba togae:</b> ‘the language of every-day life.’ The <i>fabula
+togata</i> is Roman comedy, as opposed to the <i>fabula praetexta</i>,
+or Roman tragedy, and to the <i>f. palliata</i>, the subjects of which
+were Greek. <span class = "smallcaps">Persius</span> insists on the
+connection of the national satire with the national comedy, and the
+scanty remains of the <i>fabula togata</i> deserve close
+comparison.&mdash;sequeris = <i>sectaris</i>. <a href =
+"#lineP_11">Prol., 11</a>.&mdash;<b>acri iunctura:</b> ‘nice grouping,’
+‘telling combination.’ The words are familiar, but the setting is new.
+Comp. <span class = "smallcaps">Hor.</span>, A.&nbsp;P., 47: <i><span
+class = "gesperrt">notum</span> si callida <span class =
+"gesperrt">verbum</span></i> | <i>reddiderit <span class =
+"gesperrt">iunctura</span> novum</i>; and 242: <i>tantum <span class =
+"gesperrt">series iunctura</span>que pollet</i> | <i>tantum <span class
+= "gesperrt">de medio sumptis</span> accedit honoris</i>. An important
+passage, as showing the intense self-consciousness of the poet’s
+art.</p>
+
+<p><a class = "line" name = "note5_15" id = "note5_15" href =
+"#line5_15">15.</a>
+<b>ore teres modico:</b> Jahn comp. <i>ore rotundo</i>, <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 323. The mouth stands for the
+style, and the position of the mouth symbolized the utterance (<i>ore
+magis quam labris loquendum est</i>, <span class =
+"smallcaps">Quint.</span>, 11, 3, 81). <i>Teres</i> as in <span class =
+"smallcaps">Cic.</span>, De Orat., 3, 52, 199: <i>est [oratio] et plena
+quaedam sed tamen <span class = "gesperrt">teres</span> et tenuis, non
+sine nervis et viribus.</i> ‘A moderate rounding of the cheek’
+(Conington); but although in view of <a href = "#line5_13">v. 13</a> it
+would be desirable to retain the figure, it is hardly possible. ‘With
+smooth and compassed tone.’ As <i>teres ore = ore modico</i>, Hermann
+(<i>L.&nbsp;P.</i>, II., 46) comp. Ov., Fast., 6, 425: <i>lucoque
+obscurus opaco</i>.&mdash;<b>pallentis mores:</b> The ‘spirit of the
+age’ is also the ‘body of the age.’ Hence the figure. ‘Pale’ with
+disease and vice (comp. <a href = "#line4_47">4, 47</a>),
+‘guilty.’&mdash;<b>radere:</b> Comp. <a href = "#line1_107">1,
+107</a>.</p>
+
+<p><a class = "line" name = "note5_16" id = "note5_16" href =
+"#line5_16">16.</a>
+<b>ingenuo ludo:</b> ‘with high-bred raillery,’ ‘with raillery that a
+gentleman may speak and hear.’ <span class = "smallcaps">Persius</span>
+has in mind <span class = "greek" title =
+"eutrapelia">εὐτραπελία</span>, the <span class = "greek" title =
+"pepaideumenê hubris">πεπαιδευμένη ὕβρις</span> of <span class =
+"smallcaps">Aristotle</span>, Rhet., 2, 12, as
+<span class = "pagenum">158</span>
+Conington suggests.&mdash;<b>defigere:</b> Variously explained. So ‘post
+up,’ ‘placard’ (Casaubon); ‘pin to the ground’ (Conington); ‘pierce,’
+like an arrow (Jahn); ‘sting,’ like a hornet, as in <span class =
+"smallcaps">Ov.</span>, Fast., 3, 753: <i>milia crabronum coeunt et
+vertice nudo,</i> | <i>spicula <span class = "gesperrt">defigunt</span>
+oraque summa notant</i>. Comp. the use of <i>figere</i>, 3, 80.</p>
+
+<p><a class = "line" name = "note5_17" id = "note5_17" href =
+"#line5_17">17.</a>
+<b>hinc:</b> From every-day life. König compares <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 318: <i>vivas <span class =
+"gesperrt">hinc</span> ducere voces</i>.&mdash;<b>quae dicis:</b> So
+Jahn (1868), after the best MSS. In 1843 we find <i>dicas</i>, which is
+more natural, but not necessary.&mdash;<b>Mycenis:</b> Dative, far more
+forcible than the locative Ablative. Jahn comp. <a href =
+"#lineP_5">Prol., 5</a>: <i>illis relinquo</i>, a&nbsp;reading which he
+afterward abandoned. See G., 344, R. 3.</p>
+
+<p><a class = "line" name = "note5_18" id = "note5_18" href =
+"#line5_18">18.</a>
+<b>cum capite et pedibus:</b> served up to Thyestes after he had
+finished his dinner. Comp. <span class = "smallcaps">Aeschyl.</span>,
+Ag., 1594; <span class = "smallcaps">Sen.</span>, Thyest.,
+764.&mdash;<b>plebeia prandia:</b> Your theme is ‘human nature’s daily
+food,’ not the heroic suppers of ‘raw-head and bloody-bones’ that teach
+us nothing. <i>Mensa</i> is contrasted with <i>prandia</i> (comp. <span
+class = "smallcaps">Seneca’s</span> <i>sine mensa prandium</i>, cited
+<a href = "#line1_67">1, 67</a>) as ‘banquet’ with ‘meal,’ ‘<i>Tafel</i>’
+with ‘<i>Tisch</i>.’</p>
+
+<p><b>19-29.</b>
+<span class = "smallcaps">Persius</span>: You understand my aims.
+I&nbsp;do not care to swell my page with frothy nonsense. And now that
+we are alone, I&nbsp;desire you to examine my heart, that you may see
+how you are enshrined in it&mdash;a theme for which I might well desire
+a hundred voices.</p>
+
+<p><a class = "line" name = "note5_19" id = "note5_19" href =
+"#line5_19">19.</a>
+<b>equidem:</b> Here in accordance with common usage. See <a href =
+"#note1_110">1, 110</a>.&mdash;<b>bullatis nugis:</b> ‘air-blown
+trifles’ (Gifford). <i>Bullatis:</i> so Jahn (1868) with Hermann. The
+reading of the oldest MSS., <i>pullatis</i>, ‘sad colored,’ explained
+now as ‘tragic stuff’ (because mourners were <i>pullati</i>); now as
+stuff for the groundlings (because the common people were
+<i>pullati</i>), is scarcely tenable. <i>Ampullatis</i>, Jahn’s
+conjecture, though defended by Lachmann (<span class =
+"smallcaps">Lucret.</span>, 6, 1067), is metrically bad; but the sense
+is excellent, and the reference would be to a passage which <span class
+= "smallcaps">Persius</span> must have had in his mind. <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 97: <i>proicit <span class =
+"gesperrt">ampullas</span> et sesquipedalia verba</i>. Even Thyestes is
+mentioned in the context, l.c. 91. <i>Bullatis</i>, ‘bubbly.’ Hermann
+(<i>L.&nbsp;P.</i>, I., 32) comp. <i>alata avis</i>, and makes
+<i>bullatis</i> refer to <i>tumorem et inanem verborum
+strepitum</i>.</p>
+
+<p><a class = "line" name = "note5_20" id = "note5_20" href =
+"#line5_20">20.</a>
+<b>dare pondus fumo:</b> Casaubon comp. <span class =
+"smallcaps">Hor.</span>, Ep., 1, 19, 42:
+<span class = "pagenum">159</span>
+<i>nugis <span class = "gesperrt">addere pondus</span></i>. <span class
+= "smallcaps">Horace</span> uses the expression in the sense of
+‘attaching importance.’ <span class = "smallcaps">Persius</span> means
+that these trifles are fitted to lend importance, to give seeming
+substance to mere vapors. <i>Fumus</i> is a synonym for ‘humbug.’ On
+<i>dare idonea</i> = <i>idonea quae det</i>, see G., 424, R.&nbsp;4; A.,
+57, 8, <i>f.</i></p>
+
+<p><a class = "line" name = "note5_22" id = "note5_22" href =
+"#line5_22">22.</a>
+<b>excutienda:</b> See <a href = "#note1_49">1, 49</a>. But the figure
+changes below, or there is a figure within a figure, the heart being
+compared to a wall, the wall to a dress. On the construction, see G.,
+431; A., 72, 5, <i>c.</i></p>
+
+<p><a class = "line" name = "note5_23" id = "note5_23" href =
+"#line5_23">23.</a>
+<b>pars animae:</b> Comp. <i>te meae partem animae</i>, <span class =
+"smallcaps">Hor.</span>, Od., 2, 17, 5; <i>animae dimidium meae</i>,
+Od., 1, 3, 8.&mdash;<b>Cornute:</b> See Introduction, ix.</p>
+
+<p><a class = "line" name = "note5_24" id = "note5_24" href =
+"#line5_24">24.</a>
+<b>ostendisse:</b> once for all. See G., 275,&nbsp;1; A., 58, 11,
+<i>d.</i>&mdash;<b>pulsa:</b> <span class = "greek" title =
+"kroue">κροῦε</span>. See <a href = "#note3_21">3,
+21</a>.&mdash;<b>dinoscere cautus:</b> <span class =
+"smallcaps">Hor.</span>, Sat., 1, 6, 51: <i>cautum adsumere dignos</i>.
+Comp. <a href = "#lineP_11">Prol., 11</a>.</p>
+
+<p><a class = "line" name = "note5_25" id = "note5_25" href =
+"#line5_25">25.</a>
+<b>solidum crepet:</b> like <i>sonat vitium</i>, 3, 21. G., 331,
+R.&nbsp;2; A., 52, 3, <i>a.</i>&mdash;<b>pictae tectoria linguae:</b>
+The comparison is taken from a stuccoed party-wall painted to look
+solid. Comp. <span class = "smallcaps">Afran.</span> ap. <span class =
+"smallcaps">Non.</span>, 152, 28, <a href = "#line5_14">v. 14</a>
+(Ribbeck): <i>fallaci aspectu <span class = "gesperrt">paries
+pictus</span> putidus</i> (=&nbsp;<i>puter</i>). The notion in
+<i>pictae</i> belongs rather to <i>tectoria</i> than to
+<i>linguae</i>&mdash;‘painted tongue-stucco.’ The figure will not bear
+close examination any more than the stucco.</p>
+
+<p><a class = "line" name = "note5_26" id = "note5_26" href =
+"#line5_26">26.</a>
+<b>his, ut</b> = <i>ad haec ut.</i> Comp. <i>hoc, ut</i>, <a href =
+"#line5_19">v. 19</a>. Others read <i>hic</i>.&mdash;<b>centenas</b> =
+<i>centum</i>. G., 310,&nbsp;R.; A., 18, 2,
+<i>d</i>.&mdash;<b>deposcere:</b> Notice the determination that lies in
+<i>deposcere</i>.</p>
+
+<p><a class = "line" name = "note5_27" id = "note5_27" href =
+"#line5_27">27.</a>
+<b>quantum fixi:</b> This is not conceived as a dependent interrogative,
+as is shown by <a href = "#line5_29">v. 29</a>, where the antecedent of
+the parallel clause is expressed. G., 469, R. 3.&mdash;<b>sinuoso:</b>
+Comp. <span class = "smallcaps">Plin.</span>, H.&nbsp;N., 2, 37: <i>cor
+prima domicilia intra se animo et sanguini praebet <span class =
+"gesperrt">sinuoso specu</span></i>. <i>Sinuoso pectore</i> = <i>in
+recessu mentis</i>, 2, 73.</p>
+
+<p><a class = "line" name = "note5_28" id = "note5_28" href =
+"#line5_28">28.</a>
+<b>voce:</b> carelessly repeated after <i>voces</i>.&mdash;<b>pura:</b>
+‘honest.’</p>
+
+<p><a class = "line" name = "note5_29" id = "note5_29" href =
+"#line5_29">29.</a>
+<b>non enarrabile:</b> i.e., save by the hundred voices. There is no
+contradiction, and even if there were&mdash;this is supposed to be
+poetry.&mdash;<b>fibra:</b> <a href = "#line1_47">1,&nbsp;47</a>.</p>
+
+<p><b>30-51.</b>
+When first I put away the things of boyhood and encountered the
+temptations of youth, and stood bewildered at the cross-roads of life,
+I&nbsp;threw myself into your sheltering arms, and put myself under your
+guiding hand. Happy the memory of
+<span class = "pagenum">160</span>
+those days and nights, as they brought common work and common rest.
+Surely a common star controls our destinies and makes us one.</p>
+
+<p><a class = "line" name = "note5_30" id = "note5_30" href =
+"#line5_30">30.</a>
+<b>pavido:</b> variously interpreted of the fear&mdash;1. Which an
+entrance on life breeds;&nbsp;2. Which requires the protection of the
+<i>praetexta</i>;&nbsp;3. Which the rule of tutors and governors
+inspires. The third view is favored by <i>blandi comites</i>, as
+Conington remarks. Comp. <span class = "smallcaps">Mart.</span>, 11, 39,
+2: <i>et pueri <span class = "gesperrt">custos</span> assiduusque <span
+class = "gesperrt">comes</span></i> with <a href = "#line5_6">v. 6</a>:
+<i>te dispensator, te domus ipsa <span class =
+"gesperrt">pavet</span></i>.&mdash;<b>custos purpura:</b> ‘the guardian
+purple.’ <i>Purpura</i> = <i>praetexta</i>, the dress of boyhood, which
+was of itself a protection. This was exchanged for the <i>toga</i> when
+the nonage was over. <i>Per hoc inane <span class =
+"gesperrt">purpurae</span> decus precor</i>, <span class =
+"smallcaps">Hor.</span>, Epod., 5, 7.&mdash;<b>mihi:</b> If
+<i>cessit</i> is taken absolutely, <i>mihi</i> may depend on the
+predicative notion in <i>custos</i> = <i>quae mihi custos fuerat</i>.
+Casaubon explains, <i>mihi cessit, ut iam annis maiori vel etiam ut
+hosti</i>. It seems best to combine the two: ‘When the purple resigned
+its dreaded guardianship over me.’</p>
+
+<p><a class = "line" name = "note5_31" id = "note5_31" href =
+"#line5_31">31.</a>
+<b>bulla:</b> the well-known ‘boss,’ which contained amulets and the
+like. Comp. <a href = "#line2_70">2, 70</a>.&mdash;<b>succinctis:</b>
+‘Like <i>cinctutis</i> (<span class = "smallcaps">Hor.</span>,
+A.&nbsp;P., 50), <i>incinctos</i> (<span class = "smallcaps">Ov.</span>,
+Fast., 2, 632), in allusion to the <i>cinctus Gabinus</i>, in which
+primitive dress they (the Lares) were always represented. It was worn
+over the left shoulder, leaving the right arm free’ (Pretor). Conington
+renders <i>succinctis</i>, ‘quaint.’</p>
+
+<p><a class = "line" name = "note5_32" id = "note5_32" href =
+"#line5_32">32.</a>
+<b>blandi:</b> (<i>fuerunt</i>).&mdash;<b>comites:</b> Jahn considers
+these <i>comites</i> the same as those mentioned in <a href =
+"#line3_7">3,&nbsp;7</a>. See note. The epigram of <span class =
+"smallcaps">Mart.</span>, cited above, <a href = "#line5_30">v. 30</a>,
+makes for this view: the harsh tutors have become <i>blandi comites</i>.
+But most commentators prefer to take <i>comites</i> in its general
+sense.&mdash;<b>tota Subura:</b> On the construction, see G., 386; A.,
+55, 3, <i>f.</i> The Subura, as the focus of business life, was the
+haunt of persons who are sufficiently characterized as <i>Suburanae
+magistrae</i>, <span class = "smallcaps">Mart.</span>, 11, 78, 11.</p>
+
+<p><a class = "line" name = "note5_33" id = "note5_33" href =
+"#line5_33">33.</a>
+<b>permisit sparsisse:</b> On the Inf., see G., 532, R.&nbsp;1; A., 70,
+3, <i>a.</i> On the tense, note on <a href = "#note1_41">1, 41</a>. With
+the phraseology, Jahn comp. <span class = "smallcaps">Val.
+Flacc.</span>, 5, 247: <i>tua nunc terris, tua <span class =
+"gesperrt">lumina</span> toto</i> | <i><span class =
+"gesperrt">sparge</span> mari</i>. <i>Spargere</i> is a happy word for a
+rapid, roving glance.&mdash;<b>iam:</b> <span class = "greek" title =
+"êdê">ἤδη</span>. The English idiom often refuses to give the exact
+force of <i>iam</i>. The youngster has got a ‘sure enough’ <i>candidus
+umbo</i>. The contrast in time is the former <i>praetexta</i>.&mdash;
+<span class = "pagenum">161</span>
+<b>candidus umbo:</b> ‘<i>Umbo</i> was the knot into which the folds of
+the toga were gathered after passing the left shoulder’ (Pretor). Of
+course the <i>umbo</i> was <i>candidus</i>, as the <i>toga</i> was.</p>
+
+<p><a class = "line" name = "note5_34" id = "note5_34" href =
+"#line5_34">34.</a>
+<b>iter ambiguuum:</b> See <a href = "#note3_56">3,
+56</a>.&mdash;<b>vitae nescius error:</b> is bewilderment from ignorance
+of life.</p>
+
+<p><a class = "line" name = "note5_35" id = "note5_35" href =
+"#line5_35">35.</a>
+<b>deducit:</b> So Jahn (1843), a&nbsp;reading which he has strangely
+forsaken (1868) for <i>diducit</i>. Schlüter puts it neatly thus:
+<i>homines in compita ubi viae <span class =
+"gesperrt">di</span>ducuntur</i>, <i><span class =
+"gesperrt">de</span>duci dicuntur</i>. <i>Compita</i> does not mean the
+roads, but the place where the roads meet&mdash;the crossing (Schol.).
+<i>De</i> adds the notion of decision to <i>ducit</i>. Comp. <i>in
+discrimen <span class = "gesperrt">de</span>ducere</i>, <span class =
+"smallcaps">Cic.</span>, Fam., 10, 24,&nbsp;4. The youth is brought to a
+point where he must choose.&mdash;<b>trepidas:</b> See <a href =
+"#note1_74">1,&nbsp;74</a>.</p>
+
+<p><a class = "line" name = "note5_36" id = "note5_36" href =
+"#line5_36">36.</a>
+<b>supposui:</b> Almost ‘I made you adopt me.’ <i>Supponere</i> is used
+of supposititious children. As <span class =
+"smallcaps">Persius’s</span> own father died while the poet was young,
+there is a tone of orphanage about the expression that appeals to our
+sympathy. ‘I threw myself as a son into your
+arms.’&mdash;<b>suscipis:</b> is the correlative of <i>supposui</i>.</p>
+
+<p><a class = "line" name = "note5_37" id = "note5_37" href =
+"#line5_37">37.</a>
+<b>Socratico sinu:</b> The loving care of Socrates is meant, as well as
+his wisdom, as Jahn has observed.&mdash;<b>fallere sollers:</b> On the
+construction, see G., 424, R.&nbsp;4; A., 57, 8, <i>f</i>,&nbsp;3;
+<a href = "#lineP_11">Prol., 11</a>. ‘Skilful to deceive,’ in the sense of
+the gradual Socratic approach. The rule is not rudely applied, but
+cheats the warped nature into rectitude. Jahn’s note amounts to this,
+that a ruler that understands deception, understands detection, and
+hence is a true ruler.</p>
+
+<p><a class = "line" name = "note5_38" id = "note5_38" href =
+"#line5_38">38.</a>
+<b>regula:</b> ‘ruler.’ See note on <a href =
+"#note4_11">4,&nbsp;<ins class = "correction" title = "text reads ‘12’">11</ins></a>.</p>
+
+<p><a class = "line" name = "note5_39" id = "note5_39" href =
+"#line5_39">39.</a>
+<b>premitur ratione:</b> Comp. <span class = "smallcaps">Verg.</span>,
+Aen., 6, 80: <i>fera corda domans fingitque <span class =
+"gesperrt">premendo</span></i>.&mdash;<b>vinci laborat</b> = <i>dum
+vincitur laborat</i>, <i>cum labore vincitur</i>. ‘<i>Laborat</i> shows
+that the pupil’s mind co-operated with his teacher’ (Conington).</p>
+
+<p><a class = "line" name = "note5_40" id = "note5_40" href =
+"#line5_40">40.</a>
+<b>artificem:</b> Passive, <i>arte factum</i>, ‘artistic,’ ‘finished.’
+The figure is of course taken from moulding in wax or
+clay.&mdash;<b>ducit vultum:</b> Comp. <i>exigite ut teneros mores ceu
+pollice <span class = "gesperrt">ducat</span></i> | <i>ut si quis cera
+vultum facit</i>, <span class = "smallcaps">Juv.</span>, 7, 237; only
+there the workman moulds, here the material. Transl. ‘take on,’
+‘assume,’ as in <span class = "smallcaps">Ov.</span>, Met., 1, 402:
+<i>saxa <span class = "gesperrt">ducere</span> formam</i>
+(Jahn).&mdash;<b>pollice:</b> The thumb is largely used in moulding. See
+<span class = "smallcaps">Juv.</span>, l.c., and <span class =
+"smallcaps">Ov.</span>, Met., 10, 285; <span class =
+"smallcaps">Stat.</span>, Achill., 1, 332, quoted by Jahn.</p>
+
+<p><a class = "line" name = "note5_41" id = "note5_41" href =
+"#line5_41">41.</a>
+<b>etenim:</b> <span class = "greek" title = "kai gar">καὶ γὰρ</span>.
+See <a href = "#note3_48">3, 48</a>.&mdash;<b>memini consumere:</b> See
+<span class = "pagenum">162</span>
+<a href = "#noteP_2">Prol., 2</a>.&mdash;<b>soles</b> = <i>dies</i>. The
+antithesis runs throughout. <i>Soles&mdash;opus&mdash;seria</i> are
+opposed to <i>noctes&mdash;requiem&mdash;mensa</i>.</p>
+
+<p><a class = "line" name = "note5_42" id = "note5_42" href =
+"#line5_42">42.</a>
+<b>primas noctes:</b> ‘the early hours of the
+night.’&mdash;<b>epulis:</b> ‘for feasting.’ Others, ‘from feasting,’
+i.e., for study, 3, 54; 5, 62.&mdash;<b>decerpere:</b> The expression is
+a cross between <i>carpe diem</i> (<span class =
+"smallcaps">Hor.</span>, Od., 1, 11,&nbsp;8) and <i>partem solido demere
+de die</i> (<span class = "smallcaps">Hor.</span>, Od., 1, 1, 20).
+<i>Decerpere</i> is to pluck with resolute, eager hand.</p>
+
+<p><a class = "line" name = "note5_43" id = "note5_43" href =
+"#line5_43">43.</a>
+<b>unum opus et requiem</b> = <i>unum opus et (unam) requiem</i> (Jahn).
+Casaubon comp. <span class = "smallcaps">Verg.</span>, Georg., 4,
+184.</p>
+
+<p><a class = "line" name = "note5_44" id = "note5_44" href =
+"#line5_44">44.</a>
+<b>laxamus seria:</b> Jahn comp. <span class = "smallcaps">Verg.</span>,
+Aen., 9, 223: <i><span class = "gesperrt">laxabant</span> curas</i>.</p>
+
+<p><a class = "line" name = "note5_45" id = "note5_45" href =
+"#line5_45">45.</a>
+<b>non equidem hoc dubites:</b> On <i>equidem</i>, see note on <a href =
+"#note1_110">1, 110</a>. With <i>non dubites</i> comp. <i>non
+accedas</i>, <a href = "#line1_5">1, 5</a>.&mdash;<b>foedere certo:</b>
+Jahn comp. <span class = "smallcaps">Manil.</span>, 2, 475: <i>iunxit
+amicitias horum sub <span class = "gesperrt">foedere certo</span></i>.
+<i>Foedus certum</i>, ‘fixed law,’ ‘fixed principle.’</p>
+
+<p><a class = "line" name = "note5_46" id = "note5_46" href =
+"#line5_46">46.</a>
+<b>consentire dies:</b> On the Inf., instead of the normal <i>quin</i>
+with Subj., see G., 551, R.&nbsp;4; M., 375&nbsp;c., Obs.&nbsp;2. For
+the thought, comp. <span class = "smallcaps">Hor.</span>, Od., 2, 17,
+21: <i>utrumque nostrum incredibili modo</i> | <i><span class =
+"gesperrt">consentit</span> astrum</i>.&mdash;<b>ab uno sidere duci:</b>
+Astrology was very popular in <span class = "smallcaps">Persius’s</span>
+time, having been brought into vogue by Tiberius. It was the
+aristocratic mode of divination, and is compared by Friedländer
+(<i>Sittengesch.</i>, 1, 347) with the spiritualism and table-turning of
+the present day. Philosophy was not proof against it; indeed, the later
+Stoics always had a leaning to it, and Panaetius was the only one that
+rejected it (Knickenberg, l.c. p. 79). All people of ‘culture’ talked
+about ‘horoscope,’ ‘nativity,’ and ‘malign aspect,’ just as the same
+class in our time speak of ‘the spectroscope,’ ‘heat a mode of motion,’
+and ‘the survival of the fittest.’ <span class =
+"smallcaps">Horace</span> and <span class = "smallcaps">Persius</span>,
+who imitates <span class = "smallcaps">Horace</span>, have caught up
+some of the current terms, and travel along the Zodiac in blissful
+ignorance of their own stars.</p>
+
+<p><a class = "line" name = "note5_47" id = "note5_47" href =
+"#line5_47">47.</a>
+<b>aequali Libra:</b> So <span class = "smallcaps">Hor.</span>, Od., 2,
+17, 17: <i>seu <span class = "gesperrt">Libra</span> seu me Scorpios
+adspicit</i>. Comp. the whole passage.</p>
+
+<p><a class = "line" name = "note5_48" id = "note5_48" href =
+"#line5_48">48.</a>
+<b>Parca tenax veri:</b> Comp. <i>Parca non mendax</i>, <span class =
+"smallcaps">Hor.</span>, Od., 2, 16, 39. ‘Fate is represented with
+scales in her hands, also as marking the horoscope on the celestial
+globe’ (Jahn). The <i>Parca</i> of mythology is identified with the
+<i>Fatum</i> of the Stoics.&mdash;<b>seu:</b> Observe the irregularity
+of <i>vel&mdash;seu</i> instead of
+<i>seu&mdash;seu</i>.&mdash;<b>nata</b>
+<span class = "pagenum">163</span>
+<b>fidelibus:</b> ‘ordained for faithful friends.’ ‘The hour of birth is
+said to be born itself, as in <span class = "smallcaps">Aeschyl.</span>,
+Ag., 107, <span class = "greek" title = "xumphutos aiôn">ξύμφυτος
+αἰών</span>; <span class = "smallcaps">Soph.</span>, O.&nbsp;R., 1082,
+<span class = "greek" title = "sungeneis mênes">συγγενεῖς μῆνες</span>’
+(Conington).</p>
+
+<p><a class = "line" name = "note5_49" id = "note5_49" href =
+"#line5_49">49.</a>
+<b>Geminos:</b> Casaubon quotes <span class = "smallcaps">Manil.</span>,
+2, 628: <i>magnus erit <span class = "gesperrt">Geminis</span> amor et
+concordia duplex</i>.</p>
+
+<p><a class = "line" name = "note5_50" id = "note5_50" href =
+"#line5_50">50.</a>
+<b>Saturnumque gravem,</b> etc.: ‘We together cross malignant Saturn by
+propitious Jove.’ ‘Saturnine’ and ‘jovial’ are remnants of astrological
+belief. <i>Nostro</i> is not only ‘our,’ but ‘on our side,’
+‘propitious.’</p>
+
+<p><a class = "line" name = "note5_51" id = "note5_51" href =
+"#line5_51">51.</a>
+<b>nescio quod:</b> almost = <i>aliquod</i>. See <a href =
+"#line5_12">v. 12</a>.&mdash;<b>est quod temperat:</b> On the Mood, see
+G., 634, R.&nbsp;1; M., 365, Obs.&nbsp;2. With the expression, comp.
+<span class = "smallcaps">Hor.</span>, Ep., 2, 2, 187: <i>scit genius,
+natale comes qui <span class = "gesperrt">temperat</span> astrum</i>,
+where the parts are reversed.&mdash;<b>me tibi temperat:</b> The Dative
+is used after the analogy of <i>miscere</i>. ‘Blends my being with
+thine.’</p>
+
+<p><b>52-61.</b>
+Our aims, our lives are one. But ‘many men, many minds.’ Each has his
+passion&mdash;the merchant, the man of ease, the lover of sport, the
+gamester, the rake&mdash;but they have to reckon with disease at last,
+and groan over the failure of their lives.</p>
+
+<p><a class = "line" name = "note5_52" id = "note5_52" href =
+"#line5_52">52.</a>
+<b>Mille hominum species:</b> The Schol. quotes <span class =
+"smallcaps">Hor.</span>, Sat., 2, 1, 27: <i>quot capitum vivunt, totidem
+studiorum</i> | <i>milia</i>. Proverbial is <span class =
+"smallcaps">Ter.</span>, Phorm., 2, 3, 14: <i>quot homines, tot
+sententiae: suos cuique mos</i>.&mdash;<b>usus rerum:</b> ‘practice of
+life,’ ‘practice.’ See <a href = "#note1_1">1, 1</a>,
+note.&mdash;<b>discolor:</b> ‘of various hue.’</p>
+
+<p><a class = "line" name = "note5_53" id = "note5_53" href =
+"#line5_53">53.</a>
+<b>velle suum cuique est:</b> Comp. <span class =
+"smallcaps">Verg.</span>, Ecl., 2, 65: <i>trahit sua quemque
+voluptas</i>. On <i>velle suum</i>, see <a href = "#note1_9">1,
+9</a>.&mdash;<b>nec uno vivitur voto:</b> Comp. <a href = "#line2_7">2,
+7</a>: <i>aperto vivere voto</i>. The negative form of a proposition
+following the positive strengthens it. <i>Nec uno</i>, ‘far different.’
+With the examples that follow, Jahn comp. <span class =
+"smallcaps">Hor.</span>, Ep., 1, 18, 21 seqq.</p>
+
+<p><a class = "line" name = "note5_54" id = "note5_54" href =
+"#line5_54">54.</a>
+<b>mercibus mutat piper:</b> On the Abl., see G., 404,&nbsp;R.; A.,
+54,&nbsp;8. The normal construction is <i>merces mutat pipere</i>; the
+other does not occur in archaic Latin nor in model prose. <span class =
+"smallcaps">Horace</span> is the first to use it, e.g., Od., 3, 1, 47;
+Epod., 9, 27. <span class = "smallcaps">Livy</span> introduces it into
+prose, but employs it only once (5, 30,&nbsp;3). So Dräger, <i>Histor.
+Syntax</i>, § 235.&mdash;<b>sub sole recenti:</b> The Schol. comp. <span
+class = "smallcaps">Hor.</span>, Sat., 1, 4, 29: <i>hic mutat merces
+<span class = "gesperrt">surgente a sole</span> ad eum quo</i> |
+<i>vespertina tepet regio</i>.</p>
+
+<span class = "pagenum">164</span>
+<p><a class = "line" name = "note5_55" id = "note5_55" href =
+"#line5_55">55.</a>
+<b>rugosum piper:</b> ‘wrinkled pepper,’ ‘shrivelled pepper,’ the
+shrivelling being the effect of the hot Eastern sun. None of your
+Italian pepper, but the genuine Eastern article. See note on <a href =
+"#note3_75">3, 75</a>.&mdash;<b>pallentis cumini:</b> like <i>pallidam
+Pirenen</i>, <a href = "#lineP_4">Prol., 4</a>. attribute for effect, an
+imitation and, strange to say, without attempt at enhancement, of the
+<i>exsangue cuminum</i> of <span class = "smallcaps">Hor.</span>, Ep.,
+1, 19, 18. <i>Cuminum pallorem bibentibus gignit</i>, <span class =
+"smallcaps">Plin.</span>, H.&nbsp;N., 20, 14, 57. Cumin was considered
+an indispensable condiment. The large use of it is shown by the
+compounds in Greek (κυμινοδόχη&mdash;<span class = "greek" title =
+"kuminodochê&mdash;thêkê, kte">θήκη, κτέ</span>)&mdash;see Seiler ad
+<span class = "smallcaps">Alciphron.</span>, 3, 58&mdash;and it ranks
+with pepper in <span class = "smallcaps">Petron.</span>, 49; with salt
+in <span class = "smallcaps">Alexis</span>, fr. 169 (3. 465 Mein.). Add
+<span class = "smallcaps">Plutarch</span>, Quaest. Conv., 5, 10.</p>
+
+<p><a class = "line" name = "note5_56" id = "note5_56" href =
+"#line5_56">56.</a>
+<b>inriguo somno:</b> <i>Inriguo</i> is active. Sleep waters him, as it
+were, and increases his fat. Comp. <span class =
+"smallcaps">Verg.</span>, Aen., 3, 511: <i>fessos sopor <span class =
+"gesperrt">inrigat</span> artus</i>. ‘Dewy sleep’ is almost too sweet
+for the passage. König, a&nbsp;prosaic soul, thinks of the ‘sweaty
+sleep’ of a man who is gorged with meat and drink.</p>
+
+<p><a class = "line" name = "note5_57" id = "note5_57" href =
+"#line5_57">57.</a>
+<b>campo:</b> The gymnastic exercises of the <i>campus</i>, and
+especially of the <i>campus Martius</i> in Rome, are familiar. See <span
+class = "smallcaps">Hor.</span>, Od., 1, 8,&nbsp;4; Ep., 1, 7, 59;
+A.&nbsp;P., 162, referred to by Jahn.&mdash;<b>decoquit</b> =
+<i>coquendo vires absumit</i>. The word is employed of a man who has
+used up, run through, his means. So <span class =
+"smallcaps">Cic.</span>, Phil., 2, 18, 44: <i>tenesne memoria
+praetextatum te <span class = "gesperrt">decoxisse</span></i>? Here it
+is the man who is used up, who is made to go to pot.</p>
+
+<p><a class = "line" name = "note5_58" id = "note5_58" href =
+"#line5_58">58.</a>
+<b>putris:</b> Gr. <span class = "greek" title =
+"takeros">τακερός</span>. ‘In wanton dalliance melts away’
+(Gifford).&mdash;<b>lapidosa cheragra:</b> Comp. <span class =
+"smallcaps">Hor</span>., Ep., 1, 1, 31: <i>nodosa <span class =
+"gesperrt">cheragra</span></i>. The chalk-stones of gout are compared
+with hailstones.</p>
+
+<p><a class = "line" name = "note5_59" id = "note5_59" href =
+"#line5_59">59.</a>
+<b>fregerit:</b> Perf. Subj. in a generic sense. G., 569, R. 2 (end).
+Comp. <i>postquam illi iusta cheragra</i> | <i><span class =
+"gesperrt">contudit</span> articulos</i>, <span class =
+"smallcaps">Hor.</span>, Sat., 2, 7, 15 seqq.&mdash;<b>veteris ramalia
+fagi:</b> The comparison is between the fingers and the knotty boughs.
+Comp. <span class = "smallcaps">Hesiod’s</span> <span class = "greek"
+title = "pentozos">πέντοζος</span>, O. et D., 744.&mdash;<b>fagi:</b>
+<i>Fagus</i>, <span class = "greek" title = "phêgos">φηγός</span>, and
+‘beech’ (<span class = "smallroman">BHAG</span>) are etymologically, but
+not botanically, the same. See Curtius, <i>Grundzüge</i>, No. 160.</p>
+
+<p><a class = "line" name = "note5_60" id = "note5_60" href =
+"#line5_60">60.</a>
+A forcible passage, on which Conington says: ‘The conception here is of
+life passed in a Boeotian atmosphere of thick fogs and pestilential
+vapors, which the sun never penetrates&mdash;
+<span class = "pagenum">165</span>
+probably with especial reference to the pleasures of sense, of which
+<span class = "smallcaps">Persius</span> has just been speaking. So the
+“vapor, heavy, hueless, formless, cold,” in Tennyson’s “Vision of
+Sin.”’&mdash;<b>crassos dies:</b> <i>sub crasso aere</i>
+(Jahn).&mdash;<b>transisse:</b> Heinr. comp. <span class =
+"smallcaps">Tib.</span>, 1, 4, 33: <i>vidi iam iuvenem, premeret cum
+serior aetas,</i> | <i>maerentem stultos <span class =
+"gesperrt">praeteriisse</span> dies</i>.&mdash;<b>lucem palustrem:</b>
+‘boggy’ = ‘foggy light’ is ‘light choked by fog.’ <i>Crassos dies
+lucemque palustrem</i> must be connected closely&mdash;‘gross days in
+foggy light’&mdash;so as to get rid of an awkward Zeugma with
+<i>transisse</i>.</p>
+
+<p><a class = "line" name = "note5_61" id = "note5_61" href =
+"#line5_61">61.</a>
+<b>sibi:</b> with <i>ingemuere</i> (Conington).&mdash;<b>iam seri:</b>
+‘too, too late.’ On <i>iam</i>, see <a href = "#note5_33">v. 33</a>. On
+<i>seri</i>, G., 324, R.&nbsp;6; A., 47, 6.&mdash;<b>ingemuere:</b> like
+the Gr. Aorist. Comp. <a href = "#line5_187">v. 187</a> and <a href =
+"#line3_101">3, 101</a>. G., 228, R.&nbsp;2; A., 58, 5, <i>c</i>. ‘Heave
+a sigh’ (Conington).&mdash;<b>relictam:</b> <i>anteactam</i> (Casaubon).
+<i>Iam post terga <span class = "gesperrt">reliquit</span></i> |
+<i>sexaginta annos</i>, <span class = "smallcaps">Juv.</span>, 13,
+16.</p>
+
+<p><b>62-65.</b>
+Contrast of Cornutus’s noble mission. His creed the only creed for
+life.</p>
+
+<p><a class = "line" name = "note5_62" id = "note5_62" href =
+"#line5_62">62.</a>
+<b>at:</b> in lively contrast.&mdash;<b>nocturnis:</b> Comp. <a href =
+"#line1_90">1, 90</a>.&mdash;<b>inpallescere:</b> Comp. <a href =
+"#line1_26">1,&nbsp;26</a>.</p>
+
+<p><a class = "line" name = "note5_63" id = "note5_63" href =
+"#line5_63">63.</a>
+<b>purgatas:</b> <i>Purgare</i> is an agricultural term like our
+‘clean,’ and the metaphor is kept up. The field is the
+ear.&mdash;<b>inseris:</b> where we should expect <i>seris</i>.</p>
+
+<p><ins class = "correction" title = "printed with line 63"><a class =
+"line" name = "note5_64" id = "note5_64" href =
+"#line5_64">64.</a></ins>
+<b>fruge Cleanthea:</b> Cleanthes is selected here on account of his
+strict life and virtuous poverty, in opposition to the luxury and wealth
+of the <i>Romulidae</i>, as Knickenberg remarks, l.c. p.
+9.&mdash;<b>petite:</b> Mr. Pretor supposes that this is Cornutus’s
+invitation to the world. But if Cornutus speaks here, where does <span
+class = "smallcaps">Persius</span> come in again?&mdash;unless he takes
+up the cudgels for his master in <a href = "#line5_66">v. 66</a>.</p>
+
+<p><ins class = "correction" title = "printed with line 63"><a class =
+"line" name = "note5_65" id = "note5_65" href =
+"#line5_65">65.</a></ins>
+<b>finem</b> = <span class = "greek" title =
+"telos">τέλος</span>.&mdash;<ins class = "correction" title =
+"transposed with following note (‘viatica’)"><b>miseris:</b></ins>
+‘wretched else.’&mdash;<b>viatica:</b> Jahn quotes <span class =
+"smallcaps">Diog. Laert.</span>, 1, 5, 80: <span class = "greek" title =
+"#ephodion# apo neotêtos eis gêras analambane sophian"><span class =
+"gesperrt">ἐφόδιον</span> ἀπὸ νεότητος εἰς γῆρας ἀναλάμβανε
+σοφιαν</span>; and <a href = "#line5_11">5, 11</a>, 21: <span class =
+"greek" title = "kalliston #ephodion# tô gêra hê paideia">κάλλιστον
+<span class = "gesperrt">ἐφόδιον</span> τῷ γήρᾳ ἡ
+παιδεία</span>.&mdash;<b>canis:</b> G., 195, R. 1.</p>
+
+<p><b>66-72.</b>
+‘There is time enough for that,’ says an impersonal sinner. ‘To-morrow
+will do as well.’ ‘“To-morrow, and to-morrow, and to-morrow.” To-morrow
+never becomes to-day.’</p>
+
+<p><a class = "line" name = "note5_66" id = "note5_66" href =
+"#line5_66">66.</a>
+<b>Cras hoc fiet,</b> etc.: ‘I will do this that you ask of me
+to-morrow.’ ‘You will do to-morrow just what you are doing to-day.’ Jahn
+comp. <span class = "smallcaps">Ov.</span>, R.&nbsp;A., 104: <i>Cras
+quoque fiet idem.</i> Hermann arranges: <i>Cras hoc fiet idem. Cras
+fiet?</i> ‘This will, can be
+<span class = "pagenum">166</span>
+done to-morrow as well as to-day.’ ‘To-morrow, you say?’ Comp. <span
+class = "smallcaps">Petron.</span>, 82: <i>quod hodie non est, cras
+erit</i>.</p>
+
+<p><a class = "line" name = "note5_67" id = "note5_67" href =
+"#line5_67">67.</a>
+<b>nempe diem donas:</b> ‘Well, what of it? Suppose I go on the same way
+to-morrow; it will only be a day&mdash;a great present, forsooth, to be
+haggling about!’ On <i>nempe</i>, see G., 500, R. 2.&mdash;<b>cum
+venit&mdash;consumpsimus:</b> more lively than <i>cum
+venerit&mdash;consumpserimus</i> (G., 229). One clause is involved in
+the other. G., 236, R.&nbsp;4. This seems to be better than making
+<i>venit</i> iterative, and <i>consumpsimus</i> an Aoristic Perf.</p>
+
+<p><a class = "line" name = "note5_69" id = "note5_69" href =
+"#line5_69">69.</a>
+<b>egerit:</b> ‘unloads,’ ‘carts off.’ <i>Egerere</i> is the opposite of
+<i>ingerere</i> (v.&nbsp;6). Comp. <span class =
+"smallcaps">Sen.</span>, Ep., 47, 2: <i>venter maiore opera omnia e<span
+class = "gesperrt">gerit</span> quam in<span class =
+"gesperrt">gessit</span></i>. Jahn makes <i>egerit</i> =
+<i>impulerit</i>, in order to save the figure. Compare <i>truditur dies
+die</i>, <span class = "smallcaps">Hor.</span>, Od., 2, 18, 15, and
+<span class = "smallcaps">Petron.</span>, 45: <i>dies diem trudit</i>;
+and 82: <i>vita truditur</i>. But even this does not save the figure,
+and the sudden change of metaphor is in <span class =
+"smallcaps">Persius’s</span> vein.&mdash;<b>paulum erit ultra:</b>
+‘To-morrow will always be a little further on,’ is the common rendering,
+the figure changing at this point.</p>
+
+<p><a class = "line" name = "note5_70" id = "note5_70" href =
+"#line5_70">70.</a>
+<b>quamvis&mdash;vertentem:</b> A later construction. G., 611,&nbsp;R.;
+M., 443, Obs.&mdash;<b>cantum:</b> ‘tire.’</p>
+
+<p><a class = "line" name = "note5_72" id = "note5_72" href =
+"#line5_72">72.</a>
+<b>cum curras:</b> ‘seeing that you are running.’ Here <i>cum</i> is
+nearly equivalent to <i>si</i>, as it is thrown by <i>sectabere</i> into
+the future, and is thus made hypothetical. Comp. G., 591, R. 3, and
+584.</p>
+
+<p><b>73-90.</b>
+What men need is Liberty&mdash;not the freedom of the city, which
+insures a quota of damaged corn; not the freedom of the freedman, which
+gives a slave a name to be free, while he is yet a slave; but the
+liberty wherewith Philosophy sets men free. The freedman demurs to this
+hard doctrine, but a Stoic adept silences him by his ‘Short Method.’</p>
+
+<p><a class = "line" name = "note5_73" id = "note5_73" href =
+"#line5_73">73.</a>
+<b>hac, ut, quisque:</b> <i>Hac</i> is the adverb, <i>ut</i> =
+<i>qua</i>, <i>quisque</i> = <i>quicunque</i> (comp. <i>quandoque</i> =
+<i>quandocumque</i>, 4, 28), a&nbsp;sad complex of harshnesses, which
+may be rendered thus: ‘Liberty is what is wanted; not after the
+prevalent (G., 290,&nbsp;7) fashion, by which each man that has worked
+his way up to a Publius in the Veline tribe is owner of a ticket for a
+ration of musty spelt.’ Other readings, such as <i>hac quam ut
+quisque</i> (Passow), <i>hac qua quisque</i> (Meister), are mere devices
+to relieve the grammatical situation, which
+<span class = "pagenum">167</span>
+is doubtless unnatural in the extreme, as <i>hac</i> seems to belong to
+<i>libertate</i>, and <i>ut quisque</i> is a familiar combination.
+Conington makes <i>non hac</i> the beginning of an independent sentence,
+and translates: ‘It is not by <i>this</i> freedom that every fire-new
+citizen, who gets his name enrolled in a tribe, is privileged to get a
+pauper’s allowance for his ticket.’&mdash;<b>Velina:</b> Comp. <span
+class = "smallcaps">Hor</span>., Ep., 1, 6, 52: <i>hic multum in Fabia
+valet, ille <span class = "gesperrt">Velina</span></i>. The Veline was
+one of the last two tribes instituted (Becker, <i>Rom. Alt.</i>, 2, 1,
+170), and is supposed by some to be one of the four city tribes to which
+the <i>libertini</i> were restricted. The name of the tribe to which a
+man belongs is put in the Abl. (as a whence case). So <i>M.&nbsp;Larcius
+L.&nbsp;f. <span class = "gesperrt">Pomptina</span> Pudens</i> (Becker,
+l.c. 198).</p>
+
+<p><a class = "line" name = "note5_74" id = "note5_74" href =
+"#line5_74">74.</a>
+<b>Publius:</b> Only freemen were entitled to the <i>praenomen</i>.
+Comp. <span class = "smallcaps">Hor</span>., Sat., 2, 5, 32: <i><span
+class = "gesperrt">Quinte</span>, puta, aut <span class =
+"gesperrt">Publi</span> (gaudent praenomine molles</i> |
+<i>auriculae</i>).&mdash;<b>emeruit:</b> literally ‘has served his time’
+(of a soldier), ‘has worked his way up to be a Publius’ (supplying
+<i>esse</i>).&mdash;<b>tesserula:</b> the well-known <i>tessera
+frumentaria</i>, <span class = "smallcaps">Suet</span>., Aug., 41.</p>
+
+<p><a class = "line" name = "note5_75" id = "note5_75" href =
+"#line5_75">75.</a>
+<b>Quiritem:</b> Rare in the Singular (Schol.).</p>
+
+<p><a class = "line" name = "note5_76" id = "note5_76" href =
+"#line5_76">76.</a>
+<b>vertigo:</b> the ‘twirl’ of the familiar process of <i>manumissio per
+vindictam</i>. ‘The lictor touched the slave with the <i>vindicta</i>,
+the master turning him round and “dismissing him from his hand” with the
+words <i>Hunc hominem liberum esse volo</i>’
+(Conington).&mdash;<b>facit:</b> is causal as well as <i>faciat</i>. G.,
+627,&nbsp;R.; A., 63.&mdash;<b>Dama:</b> <span class = "greek" title =
+"Dêmas = Dêmêtrios">Δημᾶς = Δημήτριος</span>; according to others for
+<span class = "greek" title = "Dêmeas">Δημέας</span> (Mehlhorn, <i>Gr.
+Gr.</i>, 183), a&nbsp;common slave’s name.&mdash;<b>non tressis:</b>
+Jahn comp. <i><span class = "gesperrt">non semissis</span> homo</i>,
+<span class = "smallcaps">Vatin</span>. ap. <span class =
+"smallcaps">Cic</span>., Fam., 5, 10,&nbsp;1.</p>
+
+<p><a class = "line" name = "note5_77" id = "note5_77" href =
+"#line5_77">77.</a>
+<b>vappa:</b> ‘dead wine,’ hence ‘mean liquor.’&mdash;<b>lippus:</b> the
+effect of drinking.&mdash;<b>in farragine tenui:</b> ‘in the matter of,’
+and hence ‘for a poor feed of corn.’</p>
+
+<p><a class = "line" name = "note5_78" id = "note5_78" href =
+"#line5_78">78.</a>
+<b>verterit&mdash;exit</b> = <i>si verterit&mdash;exit</i>. G., 257; A.,
+57,&nbsp;5. Comp. <a href = "#line5_189">v. 189</a>. The Perf. is
+aoristic, ‘give him a whirl.’&mdash;<b>momento:</b> literally by the
+‘motion,’ ‘by virtue,’ ‘by the act of whirling.’ ‘By dint’ would give an
+ironical turn.</p>
+
+<p><a class = "line" name = "note5_79" id = "note5_79" href =
+"#line5_79">79.</a>
+<b>Marcus:</b> as <i>Publius</i>, <a href = "#line5_74">v. 74</a>. Jahn
+cites an inscription: M · FVFIVS · M · L · DAMA.&mdash;<b>papae:</b>
+Ironical admiration.
+<span class = "pagenum">168</span>
+‘Wondrous change! Every body will trust this thief, this liar now!’
+<i>Papae</i> (Gr. <span class = "greek" title = "papai, babai">παπαῖ,
+βαβαί</span>). ‘Whew!’ ‘Prodigious!’&mdash;<b>recusas?</b> Fie on you,
+if you do! See note on <a href = "#note4_1">4,&nbsp;1</a>.</p>
+
+<p><a class = "line" name = "note5_80" id = "note5_80" href =
+"#line5_80">80.</a>
+<b>adsigna tabellas:</b> ‘your hand and seal to this document,’ ‘witness
+this document.’</p>
+
+<p><a class = "line" name = "note5_82" id = "note5_82" href =
+"#line5_82">82.</a>
+<b>mera:</b> ‘pure and simple’ (ironical).&mdash;<b>pillea:</b> See
+<a href = "#note3_106">3, 106</a>.</p>
+
+<p><a class = "line" name = "note5_83" id = "note5_83" href =
+"#line5_83">83.</a>
+<b>An quisquam&mdash;Bruto:</b> These words are generally assigned to
+Dama, and it is certainly more humorous to make the promoted stable-boy
+argue in mood and figure than to rake up one of <span class =
+"smallcaps">Persius’s</span> dead-alive spectators, as König does, and
+after him Pretor. <i>Quisquam</i>, because of the negative answer
+expected. See <a href = "#note1_112">1, 112</a>, and G., 304; A., 21,
+2,&nbsp;<i>h</i>.</p>
+
+<p><a class = "line" name = "note5_84" id = "note5_84" href =
+"#line5_84">84.</a>
+<b>ut voluit:</b> The Stoic formula did not differ from the popular
+definition. Certainly it does not sound recondite to say: <i>libertas
+est potestas vivendi ut velis</i>, <span class =
+"smallcaps">Cic.</span>, Parad., 5, 1, 34; or with <span class =
+"smallcaps">Arrian</span>, Diss., 4, 1, 1: <span class = "greek" title =
+"eleutheros estin ho zôn hôs bouletai">ἐλεύθερός ἐστιν ὁ ζῶν ὡς
+βούλεται</span>, but the words must be understood in their Stoic
+sense.</p>
+
+<p><a class = "line" name = "note5_85" id = "note5_85" href =
+"#line5_85">85.</a>
+<b>Mendose colligis:</b> <span class = "greek" title = "phaulôs sullogizei">φαύλως συλλογίζει</span>. ‘Your syllogism is faulty.’
+‘Marcus, thou reasonest ill.’</p>
+
+<p><a class = "line" name = "note5_86" id = "note5_86" href =
+"#line5_86">86.</a>
+<b>stoicus hic:</b> ‘our Stoic friend’ (Conington). <span class =
+"smallcaps">Persius</span>
+himself.&mdash;<b>aurem</b>&mdash;<b>lotus:</b> Comp. <a href =
+"#line5_63">v. 63</a> and <a href = "#line1_126">1, 126</a>.
+<i>Lotus</i> may be reflexive. G., 332, R.&nbsp;2; A., 53, 3, <i>c</i>,
+R.&mdash;<b>aceto:</b> Vinegar was used in cases of deafness, <span
+class = "smallcaps">Cels.</span>, 6, 7, 2, 3 (König).</p>
+
+<p><a class = "line" name = "note5_87" id = "note5_87" href =
+"#line5_87">87.</a>
+<b>accipio&mdash;tolle:</b> ‘<span class = "smallcaps">Persius</span>
+admits the major, but denies the minor; denies both that the man has a
+will (<i>volo</i>) and that he is free (<i>licet</i>) to follow it’
+(Conington). Mr. Pretor limits the concession to <i>vivere</i> (<span
+class = "greek" title = "to zên">τὸ ζῆν</span>), and explains: ‘The mere
+fact that you are a living creature, I&nbsp;admit; the inference
+contained in <i>licet</i> and <i>ut volo</i>, I&nbsp;altogether deny.’
+‘This dissection of the argument word by word’ may be ‘more in keeping
+with the character of the Stoic’&mdash;the Stoics were great choppers of
+logic&mdash;but it is not in keeping with the style of <span class =
+"smallcaps">Persius</span>, who is subtle every where except in his
+arguments.</p>
+
+<p><a class = "line" name = "note5_88" id = "note5_88" href =
+"#line5_88">88.</a>
+<b>Vindicta:</b> the <i>festuca</i>, or ‘wand,’ with which the lictor
+struck the manumittend. See <a href = "#note5_76">v.
+76</a>.&mdash;<b>postquam recessi:</b> with a causal tone. See note on
+<a href = "#note3_90">3, 90</a>.&mdash;<b>meus:</b> ‘my own man,’ hence
+‘my own master’ (G., 299, R.); <i>mei iuris</i> (Schol.).</p>
+
+<p><a class = "line" name = "note5_90" id = "note5_90" href =
+"#line5_90">90.</a>
+<b>Masuri rubrica:</b> ‘The canon of Masurius.’ ‘Masurius Sabinus,
+<span class = "pagenum">169</span>
+an eminent lawyer, lived in the reigns of Tiberius and Nero, and wrote a
+work in three books, entitled <i>Ius Civile</i>.’ <i>Rubrica</i>,
+‘because the titles and first few words of the laws were commonly picked
+out with vermilion. Comp. <i>perlege <span class =
+"gesperrt">rubras</span></i> | <i>maiorum leges</i>, <span class =
+"smallcaps">Juv.</span>, 14, 192’ (Pretor, after Jahn). A&nbsp;low
+creature like Dama has a soul that is not above the statute-book; lofty
+spirits, like our Stoic, and believers in the higher law sneer at the
+canon and its maker. So <span class = "smallcaps">Marc. Antonin.</span>,
+ap. <span class = "smallcaps">Front.</span>, Ep., 2, 7 (p. 32 Naber),
+speaks of <i>deliramenta Masuriana</i>. Comp. <span class =
+"smallcaps">Quint.</span>, 12, 3, 11.&mdash;<b>vetavit:</b> for
+<i>vetuit</i>, reminds us of the slip of another youthful genius, Kirke
+White, and his ‘rudely blow’d.’ There is no sufficient warrant for the
+form.</p>
+
+<p><b>91-131.</b>
+A Stoic sermon. Text: Do nothing that you will spoil in the doing. You
+know nothing as you ought to know it, and you can do nothing as you
+ought to do it. You are ignorant of the first principles of morals; you
+have no control over your desires, your appetites. You may call yourself
+free, but you are a slave for all that. For one master without, you have
+a legion of masters within.</p>
+
+<p><a class = "line" name = "note5_91" id = "note5_91" href =
+"#line5_91">91.</a>
+<b>Disce:</b> Comp. <a href = "#line3_66">3, 66</a>.&mdash;<b>naso:</b>
+the simple Abl. as a whence case. Comp. <a href = "#line1_83">1, 83</a>.
+The nose is the familiar seat of anger. <span class =
+"smallcaps">Theocr.</span>, 1, 18: <span class = "greek" title = "kai hoi aei drimeia chola poti #rhini# kathêtai">καί οἱ ἀεὶ δριμεῖα χολὰ
+ποτὶ <span class = "gesperrt">ῥινὶ</span> κάθηται</span>. For Biblical
+parallels, see Gesenius or Fürst, s.v.<span class = "greek" title =
+"[Hebrew] af"> אַף </span>. The anger is shown by snorting, or, as here,
+by snarling.&mdash;<b>rugosa:</b> Comp. <i><span class =
+"gesperrt">corruget</span> nares</i>, <span class =
+"smallcaps">Hor.</span>, Ep., 1, 5, 23.&mdash;<b>sanna:</b> <a href =
+"#line1_62">1,&nbsp;62</a>.</p>
+
+<p><a class = "line" name = "note5_92" id = "note5_92" href =
+"#line5_92">92.</a>
+<b>dum revello:</b> ‘<i>while</i> I <i>am</i> plucking’ = ‘<i>until</i>
+I <i>have</i> plucked.’ See note on <a href = "#note5_10">v.
+10</a>.&mdash;<b>veteres avias:</b> ‘old grandmothers,’ for ‘inveterate,
+rooted, grandmotherish notions.’ Comp. <i>patruos sapere</i>, 1, 11, and
+<span class = "greek" title = "ho legomenos #graôn# huthlos">ὁ λεγόμενος
+<span class = "gesperrt">γραῶν</span> ὕθλος</span>, <span class =
+"smallcaps">Plat.</span>, Theaet., 176B.&mdash;<b>de pulmone:</b> The
+lung is the seat of pride in <a href = "#line3_27">3, 27</a> (comp.
+<i>suffla</i>, 4, 20). Jahn regards it here as the seat of wrath.</p>
+
+<p><a class = "line" name = "note5_93" id = "note5_93" href =
+"#line5_93">93.</a>
+<b>erat:</b> ‘as you thought.’ G., 224, R.&nbsp;3; A., 58, 3,
+<i>d</i>.&mdash;<b>tenuia rerum officia:</b> ‘mastery of the subtle
+distinctions of duty.’ <i>Tenuia</i>, a&nbsp;trisyllable, as often. G.,
+717. <i>Rerum</i>, parallel with <i>vitae</i>. See <a href =
+"#note1_1">1,&nbsp;1</a>.</p>
+
+<p><a class = "line" name = "note5_94" id = "note5_94" href =
+"#line5_94">94.</a>
+<b>usum rapidae vitae:</b> ‘the right management of the rapid course of
+life.’ The metaphor is taken either from a river (<i><span class =
+"gesperrt">rapidus</span> amnis, <span class = "gesperrt">rapidi</span>
+fluminum lapsus, <span class = "gesperrt">rapidum</span> flumen, <span
+class = "gesperrt">rapidus</span>
+<span class = "pagenum">170</span>
+Tigris</i>, <span class = "smallcaps">Hor.</span>), which sweeps away
+the man who does not understand its current, or from a race-course in
+which there is no stopping, as Conington thinks (3, 67). Others
+understand <i>rapidae</i> simply as ‘fleeting.’</p>
+
+<p><a class = "line" name = "note5_95" id = "note5_95" href =
+"#line5_95">95.</a>
+<b>sambucam:</b> The ordinary translation, ‘dulcimer,’ is not strictly
+correct, though ‘dulcimer’ suggests the exotic refinement of the
+<i>sambuca</i>, a&nbsp;four-stringed instrument of Eastern origin,
+synonymous with cultivated luxury.&mdash;<b>citius aptaveris:</b> <span
+class = "greek" title = "thatton an harmoseias">θᾶττον ἂν
+ἁρμόσειας</span>; written out = <i>citius aptaveris quam praetor
+det</i>, but it is better not written out. Notice the Perf. Subj. ‘You
+would sooner <i>succeed in making</i> a dulcimer fit, sooner <i>get</i>
+a dulcimer <i>to fit</i> [the hand of] a&nbsp;gawky
+camp-porter.’&mdash;<b>caloni:</b> used in its original sense of a
+soldier’s hewer of wood and drawer of water. <span class =
+"smallcaps">Persius</span>, who has no admiration for soldiers
+themselves, would naturally select a soldier’s drudge as a type of
+awkwardness and stupidity. So, in effect, Conington.&mdash;<b>alto:</b>
+We combine ‘tall and gawky;’ ‘hulking’ (Conington). Comp. the sneer at
+the <i><span class = "gesperrt">ingentis</span> Titos</i>, <a href =
+"#line1_20">1, 20</a>, and <i>Pulfennius <span class =
+"gesperrt">ingens</span></i>, <a href = "#line5_190">5, 190</a>, and the
+<span class = "greek" title = "anêr #triskaidekapêchus#">ἀνὴρ <span
+class = "gesperrt">τρισκαιδεκάπηχυς</span></span> of <span class =
+"smallcaps">Theocr.</span>, 15, 17.</p>
+
+<p><a class = "line" name = "note5_96" id = "note5_96" href =
+"#line5_96">96.</a>
+<b>stat contra:</b> ‘confronts,’ ‘stops the way.’ Jahn comp. <span class
+= "smallcaps">Mart</span>., 1, 53, 12: <i><span class = "gesperrt">stat
+contra</span>, dicitque tibi tua pagina: Fur es</i>, a&nbsp;parallel
+which no conscientious commentator can quote without qualms. <span class
+= "smallcaps">Juv.</span>, 3, 290: <i><span class = "gesperrt">stat
+contra</span> starique iubet</i>.&mdash;<b>ratio:</b> ‘Right reason’
+here is equivalent to <i>natura</i> below, which is itself equivalent to
+<i>publica lex hominum</i>. See Knickenberg, l.c. p. 20
+seqq.&mdash;<b>secretam:</b> ‘private.’&mdash;<b>garrit:</b> It is hard
+choosing between <i>gannit</i> and <i>garrit</i>. <span class =
+"smallcaps">Martial</span> has <i><span class =
+"gesperrt">garrire</span> in aurem, in auriculam</i>, 1, 89, 1; <a href
+= "#line3_28">3, 28</a>, 2, and <i>aurem dum tibi praesto <span class =
+"gesperrt">garrienti</span></i>, 11, 24, 2; <span class =
+"smallcaps">Afran.</span>, ap. <span class = "smallcaps">Non.</span>,
+452, 11 (283 Ribb.): <i><span class = "gesperrt">gannire</span> ad aurem
+numquam didici dominicam</i>.</p>
+
+<p><a class = "line" name = "note5_97" id = "note5_97" href =
+"#line5_97">97.</a>
+<b>liceat:</b> with reference to <a href =
+"#line5_84">v.&nbsp;84</a>.</p>
+
+<p><a class = "line" name = "note5_98" id = "note5_98" href =
+"#line5_98">98.</a>
+<b>publica lex hominum naturaque:</b> ‘The universal law of human
+nature.’ Of course in the peculiar Stoic sense. See note on <a href =
+"#note3_67">3, 67</a>. ‘The doctrine of a supreme law of Nature, the
+actual source and ideal standard of all particular laws, was
+characteristic of the Stoics, and lay at the bottom of the Roman
+juristical notion of a <i>ratio naturalis</i> or <i>ius gentium</i>’
+(Conington).</p>
+
+<p><a class = "line" name = "note5_99" id = "note5_99" href =
+"#line5_99">99.</a>
+<b>teneat actus:</b> As <i>tenere cursum</i> is sometimes used in the
+<span class = "pagenum">171</span>
+sense of ‘check a course,’ ‘refrain from a course,’ so <i>tenere vetitos
+actus</i> means to refrain from, or, as Pretor translates, ‘hold in
+abeyance forbidden actions.’ To this effect König. But as <i>tenere
+cursum</i> is also used in the sense of ‘hold a course, keep on a
+course,’ Jahn’s version, which makes it a law of nature for weak
+ignorance to pursue forbidden actions, is not without justification. In
+that case <i>fas est</i> = ‘it is to be expected,’ as in <i>operi longo
+fas est obrepere somnum</i>. For the thought of the necessity of sin for
+the ignorant, see <a href = "#note5_119">v. 119</a>. But the immediate
+context favors the former interpretation. Casaubon’s <i>tenere
+vetitos</i> = <i>habere pro vetitis</i> is without warrant in usage.</p>
+
+<p><b>100-104.</b>
+Popular illustrations of the doctrine drawn from medicine and
+navigation, and from <span class = "smallcaps">Hor.</span>, Ep., 2, 1,
+114: <i>navem agere ignarus navis timet: abrotonum aegro</i> | <i>non
+audet, nisi qui didicit dare</i>.</p>
+
+<p><a class = "line" name = "note5_100" id = "note5_100" href =
+"#line5_100">100.</a>
+<b>certo conpescere puncto,</b> etc.: ‘although you do not know how to
+check [that is, to bring to the perpendicular and keep there] the tongue
+or index [of the steelyard by putting the equipoise or pea] at a certain
+point.’ ‘Although you do not know how to use the steelyard’
+(<i>statera</i>). On the <i>examen</i>, see <a href = "#note1_6">1,
+6</a>; <i>punctum</i> is one of the points or notches (<i>notae</i>) on
+the graduated arm. With <i>nescius conpescere</i> comp. <i>callidus
+suspendere</i>, <a href = "#line1_118">1, 118</a>, and <a href =
+"#lineP_11">Prol., 11</a>.&mdash;<b>natura</b> = <i>lex</i>, as
+above.</p>
+
+<p><a class = "line" name = "note5_102" id = "note5_102" href =
+"#line5_102">102.</a>
+<b>peronatus:</b> The <i>pero</i> was a thick boot of raw-hide,
+<i>crudus pero</i>, <span class = "smallcaps">Verg.</span>, Aen., 7,
+690, and <span class = "smallcaps">Juv.</span>, 14, 186: <i>quem non
+pudet alto</i> | <i>per glaciem <span class = "gesperrt">perone</span>
+tegi, qui summovet Euros</i> | <i>pellibus inversis</i> (Jahn). The
+<i>peronatus arator</i> is a clodhopper, a&nbsp;country bumpkin.</p>
+
+<p><a class = "line" name = "note5_103" id = "note5_103" href =
+"#line5_103">103.</a>
+<b>luciferi rudis:</b> Not a good stroke. Some knowledge of the stars
+was necessary for the ploughman himself, as Casaubon remarks. See <span
+class = "smallcaps">Verg.</span>, Georg., 1, 204 seqq. So notably of the
+Pleiades, <span class = "smallcaps">Hesiod</span>, O. et D., 383.
+615.&mdash;<b>Melicerta:</b> Portunus, patron of sailors, <span class =
+"smallcaps">Verg.</span>, Georg., 1, 437.&mdash;<b>perisse:</b> Comp.
+<span class = "smallcaps">Hor.</span>, Ep., 2, 1, 80: <i>clament <span
+class = "gesperrt">periisse</span> pudorem</i> | <i>cuncti paene
+patres</i>.</p>
+
+<p><a class = "line" name = "note5_104" id = "note5_104" href =
+"#line5_104">104.</a>
+<b>frontem:</b> the seat of modesty for modesty itself. In English,
+‘face,’ ‘front,’ and ‘forehead’ are used for the absence of modesty; but
+‘frontless’ and ‘effrontery’ accord with the usage and in <span class =
+"smallcaps">Juv.</span>, 13, 242: <i>quando recepit</i> | <i>eiectum
+simul attrita
+<span class = "pagenum">172</span>
+de fronte pudorem?</i>&mdash;<b>de rebus:</b> ‘from the world,’ or
+omitted. See <a href = "#note1_1">1, 1</a>.&mdash;<b>recto talo:</b>
+Comp. <span class = "smallcaps">Hor.</span>, Ep., 2, 1, 176: <i>cadat an
+<span class = "gesperrt">recto</span> stet fabula <span class =
+"gesperrt">talo</span></i>. Jahn comp. further <span class =
+"smallcaps">Pind.</span>, Isthm., 6, 12: <span class = "greek" title =
+"orthô estasas epi sphurô">ὀρθῷ ἔστασας ἐπὶ σφυρῷ</span>, and <span
+class = "smallcaps">Eur.</span>, Hel., 1449: <span class = "greek" title
+= "orthô bênai podi">ὀρθῷ βῆναι ποδί</span>. Transl. ‘uprightly.’</p>
+
+<p><a class = "line" name = "note5_105" id = "note5_105" href =
+"#line5_105">105.</a>
+<b>ars:</b> Philosophy. [<i>Philosophus</i>] <i><span class =
+"gesperrt">artem</span> vitae professus</i>, <span class =
+"smallcaps">Cic.</span>, Tusc. Dis., 2, 4, 12; <i>sapientia <span class
+= "gesperrt">ars</span> est</i>, <span class = "smallcaps">Sen.</span>,
+Ep., 29, 3.&mdash;<b>speciem:</b> Jahn gave up in 1868 the hopeless
+<i>specimen</i> of 1843, which left <i>qua</i> in the next line utterly
+unprovided for. That this aberration of a distinguished scholar should
+have been followed at all is a sad instance of
+<i>Nachbeterei</i>&mdash;a German word, not exclusively a German
+vice.</p>
+
+<p><a class = "line" name = "note5_106" id = "note5_106" href =
+"#line5_106">106.</a>
+<b>ne qua:</b> sc. <i>species</i>. <i>Ne</i> because of the general
+notion of apprehension in the sentence, as after <i>videre</i>. G., 548,
+R.&nbsp;2; A., 70, 3, <i>e</i>.&mdash;<b>subaerato auro:</b>
+<i>Subaeratus</i> is a translation of <span class = "greek" title =
+"hupochalkos. Hupochalkon nomisma">ὑπόχαλκος. Ὑπόχαλκον νόμισμα</span>
+is literally a coin (of gold or silver) with copper underneath. Of
+course we should say gilt or silvered copper coin. <i>Subaerato
+auro</i>, Abl. Abs.&mdash;<b>mendosum tinniat:</b> With <i>mendosum</i>
+comp. <i>sonat vitium</i>, 3, 21; <i>solidum crepet</i>, <a href =
+"#line5_25">v. 25</a>; with <i>tinniat</i>, <span class =
+"smallcaps">Quint.</span>, 11, 3, 31: <i>sonis homines, ut aera <span
+class = "gesperrt">tinnitu</span>, dinoscimus</i>. Translate the line:
+‘that no [seeming truth] give a faulty ring, due to the copper
+underneath the gold.’</p>
+
+<p><a class = "line" name = "note5_107" id = "note5_107" href =
+"#line5_107">107.</a>
+<b>forent:</b> On the sequence, see G., 511, R.&nbsp;2; A., 58,
+10,&nbsp;<i>a</i>.</p>
+
+<p><a class = "line" name = "note5_108" id = "note5_108" href =
+"#line5_108">108.</a>
+<b>ilia prius creta,</b> etc.: Comp. <span class =
+"smallcaps">Hor.</span>, Sat., 2, 3, 246: <i>sanin <span class =
+"gesperrt">creta</span> an <span class = "gesperrt">carbone</span>
+notandi</i>.</p>
+
+<p><a class = "line" name = "note5_109" id = "note5_109" href =
+"#line5_109">109.</a>
+<b>modicus voti:</b> On the Gen., see G., 374, R.&nbsp;2; A., 50, 3,
+<i>c</i>.&mdash;<b>presso lare:</b> ‘Your establishment within your
+means?’ <i>Pressus</i> opposed to <i>diffusus</i>.&mdash;<b>dulcis:</b>
+‘indulgent.’ Observe the ‘sweet reasonableness’ of the ancient
+religionist. He, too, was an apostle of ‘sweetness and light.’</p>
+
+<p><a class = "line" name = "note5_110" id = "note5_110" href =
+"#line5_110">110.</a>
+<b>iam nunc&mdash;iam nunc:</b> ‘At the very moment,’ ‘just at the right
+time,’ hence ‘at one instant, at
+another.’&mdash;<b>astringas</b>&mdash;<b>laxes:</b> ‘shut
+tight&mdash;open wide.’&mdash;<b>granaria:</b> <a href = "#line6_25">6,
+25</a>, Plural of abundance. Comp. <a href =
+"#line2_33">2,&nbsp;33</a>.</p>
+
+<p><a class = "line" name = "note5_111" id = "note5_111" href =
+"#line5_111">111.</a>
+<b>inque luto:</b> It was a favorite trick of the Roman boys to solder a
+piece of money to a stone in the pavement, in order to have a laugh at
+any one who might stoop to pick it up (Scholiast). Similar pranks are
+common enough now. Comp. <span class = "smallcaps">Hor.</span>,
+<span class = "pagenum">173</span>
+Ep., 1, 16, 63: <i>qui liberior sit avarus</i> | <i>in triviis fixum,
+cum se demittit ob assem</i> | <i>non video</i>.</p>
+
+<p><a class = "line" name = "note5_112" id = "note5_112" href =
+"#line5_112">112.</a>
+<b>glutto:</b> On the formation, see <i>cachinno</i>, 1, 12.
+‘Lickerish-mouthed that you are’ would give the coarse
+tone.&mdash;<b>salivam:</b> Doth not our mouth
+water?&mdash;<b>Mercurialem:</b> Excited by gain and not by food. See
+<a href = "#note2_12">2, 12</a>. ‘Water of treasure-trove’ (Conington).</p>
+
+<p><a class = "line" name = "note5_113" id = "note5_113" href =
+"#line5_113">113.</a>
+<b>haec mea sunt, teneo:</b> The commentators notice the legal
+tone.&mdash;<b>cum dixeris:</b> G., 584.</p>
+
+<p><a class = "line" name = "note5_114" id = "note5_114" href =
+"#line5_114">114.</a>
+<b>-que ac:</b> a rare combination.&mdash;<b>praetoribus ac Iove
+dextro:</b> a kind of Zeugma = <i>praetoribus [auctoribus] et Iove
+dextro</i>, ‘by the grace of the praetors and Jove.’ The Jupiter here
+meant is the <i>Iuppiter Liberator</i> (<span class = "greek" title =
+"Zeus eleutherios">Ζεὺς ἐλευθέριος</span>), so famous in connection with
+the death of <span class = "smallcaps">Persius’s</span> friend, Thrasea
+Paetus, <span class = "smallcaps">Tac.</span>, Ann., 16, 35. See
+Introd., <a href = "#intro_thrasea">xiii</a>.</p>
+
+<p><a class = "line" name = "note5_115" id = "note5_115" href =
+"#line5_115">115.</a>
+<b>sin:</b> ‘(if not) but if,’ G., 593; A., 59, 1, <i>a</i>; Ribbeck,
+l.c. 14.&mdash;<b>cum:</b> ‘whereas,’ ‘after,’
+adversative.&mdash;<b>nostrae farinae:</b> ‘one of our grain, batch,
+set,’ ‘one of our kidney’&mdash;doubtless a proverbial expression. The
+metaphor is taken from the mill or from the bakery. The batch referred
+to is the Stoic school. Of course the statement is ironical. ‘Whereas
+(to judge by your bold pretensions to liberty) you were a little while
+ago in our set.’</p>
+
+<p><b>116-118.</b>
+The drift of the passage is plain enough. ‘A change of fortune does not
+bring with it a change of character. If you possess all that you say you
+possess, then you are free and wise. But if you are, after all, the same
+old man, I&nbsp;take back all that I have granted. You are a fool,
+a&nbsp;slave.’ This familiar Stoic thesis is covered over with a mass of
+confused metaphors, at least according to the commentators and
+translators.&mdash;<b>pelliculam veterem retines:</b> is supposed to
+be:1.&nbsp;An ass in a lion’s skin, after <span class =
+"smallcaps">Hor</span>., Sat., 1, 6, 22; or, 2.&nbsp;A&nbsp;snake that
+has not cast its slough (Jahn).&mdash;<b>astutam servas vulpem:</b> is
+the fox dressed up like a lion, <span class = "smallcaps">Hor.</span>,
+Sat., 2, 3, 186.&mdash;<b>vapido pectore:</b> contains an allusion to
+‘dead wine,’ <i>vappa</i>, <a href = "#line5_77">v. 77</a>, and is
+opposed to <i>incoctum generoso pectus honesto</i>, 2,
+74.&mdash;<b>funem reduco:</b> 1.&nbsp;Of a beast that has had rope
+allowed it and is pulled in; 2.&nbsp;Of a cock-chafer that is played at
+the end of a string (<span class = "smallcaps">Ar.</span>, Nub.,
+763).&mdash;<b>fronte</b>
+<span class = "pagenum">174</span>
+<b>politus:</b> words that do not fit in very satisfactorily with ass,
+fox, flat wine, restiff beast, or buzzing cock-chafer. My admiration of
+<span class = "smallcaps">Persius</span> is not unqualified, but this
+medley is almost too wild even for his turbid genius; and here, as
+elsewhere, commentators have been misled by looking at mere verbal
+coincidences with <span class = "smallcaps">Horace</span>. There is an
+Aesopic fable (149 Halm), the moral of which gives the substance of this
+passage: <span class = "greek" title = "ho logos dêloi hoti hoi phauloi tôn anthrôpôn, kan ta proschêmata lamprotera analabôsi, tên goun phusin ou metatithentai">ὁ λόγος δηλοῖ ὅτι οἱ φαῦλοι τῶν ἀνθρώπων, κἂν τὰ
+προσχήματα λαμπρότερα ἀναλάβωσι, τὴν γοῦν φύσιν οὐ μετατίθενται</span>.
+In this fable, which bears a family likeness to <span class = "greek"
+title = "walê pot’ andros">ϝαλῆ ποτ᾽ ἀνδρός</span> (<span class =
+"smallcaps">Babr.</span> 32), <i>La Chatte Metamorphosée en Femme</i>
+(<span class = "smallcaps">La Fontaine</span>, 2, 18), Zeus, charmed
+with the cleverness of Reynard, had made him king of the beasts; but
+wishing to try whether fortune had changed his character, he caused a
+beetle to fly before His Majesty’s eyes as he was borne by in state. The
+fox could not withstand the temptation, leaped from the litter, and
+tried to catch the game in such unseemly guise that Zeus deposed him.
+The fox is Dama, made Marcus; nay, become a philosopher (<i>nostrae
+farinae</i>), and the philosopher is king: <i>sapiens&mdash;dives</i> |
+<i><span class = "gesperrt">liber</span>, honoratus, pulcher, <span
+class = "gesperrt">rex</span> denique regum</i>, as <span class =
+"smallcaps">Horace</span> puts the Stoic doctrine (Ep., 1, 1, 107). But
+if despite his fair seeming, his smooth regal brow (<i>fronte
+politus</i>), he retains his old nature (<i>pelliculam veterem</i>), and
+the old Reynard&mdash;the old rascal that swindled his master for a feed
+of corn&mdash;is still in his heart (<i>astutam servas sub pectore
+vulpem</i>), our <i>deus ex machina</i> takes back all that he has
+granted; he is a slave still.</p>
+
+<p><a class = "line" name = "note5_117" id = "note5_117" href =
+"#line5_117">117.</a>
+<b>relego:</b> So Jahn. Inferior MSS. have <i>repeto</i>. <i>Relego</i>
+evidently suggested the new figure, <i>funem reduco</i>.</p>
+
+<p><a class = "line" name = "note5_119" id = "note5_119" href =
+"#line5_119">119.</a>
+<b>digitum exsere, peccas:</b> a favorite expression with the Stoics to
+show that the wise man alone understands the conduct of life. <span
+class = "smallcaps">Epictet.</span>, fr. 53: <span class = "greek" title
+= "hê philosophia phêsin hoti oude ton daktulon ekteinein eikê prosêkei">ἡ φιλοσοφία φησὶν ὅτι οὐδὲ τὸν δάκτυλον ἐκτείνειν εἰκῆ
+προσήκει</span> (Casaubon).</p>
+
+<p><a class = "line" name = "note5_120" id = "note5_120" href =
+"#line5_120">120.</a>
+<b>nullo ture litabis:</b> Comp. <a href = "#line2_75">2, 75</a>. Here
+<i>litabis</i> = <i>litando impetrabis</i>.</p>
+
+<p><a class = "line" name = "note5_122" id = "note5_122" href =
+"#line5_122">122.</a>
+<b>fossor:</b> ‘a ditcher, a clown, a&nbsp;clodhopper.’ <i>Fossor</i> =
+<i>in cultus</i>. Comp. ‘navvy.’ <span class =
+"smallcaps">Juvenal</span> (11, 80) speaks of the <i>squalidus
+fossor</i>; <span class = "smallcaps">Catullus</span> (22, 10) combines
+<i>fossor</i> and <i><span class = "gesperrt">caprimulgus</span></i>,
+<span class = "smallcaps">Eur.</span> (El., 252), <span class = "greek"
+title = "skapheus">σκαφεύς</span> and <span class = "greek" title =
+"bouphorbos">βουφορβός</span>.</p>
+
+<p><a class = "line" name = "note5_123" id = "note5_123" href =
+"#line5_123">123.</a>
+<b>tris tantum ad numeros moveare:</b> ‘dance three steps in
+<span class = "pagenum">175</span>
+time.’ <i>Ad</i>, as often, of the standard; <i>numerus</i> = <span
+class = "greek" title = "ruthmos">ῥυθμός</span>; <i>moveri</i> of the
+dance, as in <span class = "smallcaps">Hor.</span>, Ep., 2, 2, 125, and
+as <i>motus</i> in Od., 3, 6, 21: <i><span class =
+"gesperrt">motus</span> doceri gaudet Ionicos</i> | <i>matura
+virgo</i>.&mdash;<b>satyrum:</b> a kind of Cognate Accusative, as in
+<span class = "smallcaps">Hor.</span>, l.c.: <i>qui</i> | <i>nunc <span
+class = "gesperrt">satyrum</span>, nunc agrestem Cyclopa movetur</i>.
+<span class = "smallcaps">Persius</span> selects the <i>satyrus</i> in
+distinct opposition to the <i>agrestis Cyclops</i>, a&nbsp;more
+congenial dance for the <i>agrestis fossor</i>. See the commentators on
+<span class = "smallcaps">Horace</span>.&mdash;<b>Bathylli:</b>
+Bathyllus was a famous dancer in the time of Augustus. More bookishness.
+See <span class = "smallcaps">Phaedr.</span>, 5, 7, 5; <span class =
+"smallcaps">Juv.</span>, 6, 63.</p>
+
+<p><a class = "line" name = "note5_124" id = "note5_124" href =
+"#line5_124">124.</a>
+<b>Liber ego:</b> The language of Dama. Only Dama is fading out. ‘<span
+class = "smallcaps">Persius</span> meets this reassertion of freedom
+with a new answer. Before he had contended that fools had no
+<i>rights</i>; now he shows that they have no independent <i>power</i>’
+(Conington).&mdash;<b>Unde datum hoc sentis:</b> So <span class =
+"smallcaps">Hor.</span>, Sat., 2, 2, 31: <i>Unde datum hoc sentis</i>,
+only <i>sentis</i> here is equivalent to <i>censes</i> (Jahn). On the
+interrogative with the Participle, see <a href = "#note3_67">3, 67</a>.
+<i>Unde datum</i>, ‘Who allowed you?’ <i>unde</i> being = <i>a quo</i>.
+Comp. <i>inde</i>, 1, 126, and G., 613, R.&nbsp;1; A., 48,
+5.&mdash;<b>tot subdite rebus:</b> Comp. <span class =
+"smallcaps">Hor.</span>, Sat., 2, 7, 75: <i>tune mihi dominus rerum
+imperiis hominumque</i> | <i><span class = "gesperrt">tot
+tantisque</span> minor</i> = <span class = "greek" title =
+"hêssôn">ἥσσων</span> = <i>subditus</i>.</p>
+
+<p><a class = "line" name = "note5_125" id = "note5_125" href =
+"#line5_125">125.</a>
+<b>an:</b> ‘or’ (do you mean to say?) ‘what?’ See <a href =
+"#note1_41">1, 41</a>.&mdash;<b>relaxat:</b> in a general sense. Exit
+Dama. Enter Impersonal <i>Tu</i>.</p>
+
+<p><a class = "line" name = "note5_126" id = "note5_126" href =
+"#line5_126">126.</a>
+<b>I puer:</b> sample order of a sample master.&mdash;<b>strigiles:</b>
+A man might go to a common bath, but he would not like to use a common
+scraper (<i>strigilis</i>, <span class = "greek" title =
+"xustra">ξύστρα</span>). On the <i>strigilis</i>, see, if needful, the
+commentators on <span class = "smallcaps">Juv.</span>, 3,
+263.&mdash;<b>Crispini:</b> Perhaps the bath-keeper. The name is
+Horatian, Sat., 1, 2, 120, and elsewhere.</p>
+
+<p><a class = "line" name = "note5_127" id = "note5_127" href =
+"#line5_127">127.</a>
+<b>si increpuit:</b> The slave loiters, the master
+scolds.&mdash;<b>‘cessas nugator:’</b> Much more effective in the mouth
+of the master than as an apodosis to <i>si increpuit</i>, as Hermann has
+it, and Jahn (1868); though Schlüter’s remark, <i>verba</i> ‘<i>cessas
+nugator?’ dominum, non philosophum decent</i>, does not amount to much,
+when we consider that the philosopher is <span class =
+"smallcaps">Persius</span> himself. <i>Nugator</i> is used here of
+wasting time; but the use of <i>nugari</i> and its forms, which were
+often addressed to slaves, is wider, like the English ‘fool.’ So in
+<span class = "smallcaps">Petron.</span>, 52, a&nbsp;boy lets a cup
+fall, and Trimalchio cries, <i>ne sis nugax</i>. With <i>cessas</i>
+comp. <span class = "smallcaps">Hor.</span>, Ep., 2, 2, 14: <i>semel</i>
+<span class = "pagenum">176</span>
+<i>hic cessavit</i>. ‘What do you mean by this loitering, you dawdler,
+you?’&mdash;<b>servitium acre:</b> ‘the goad of bondage,’ as Conington
+suggests. <i>Acre</i>, from the same radical as <i>aculeus</i>.</p>
+
+<p><a class = "line" name = "note5_128" id = "note5_128" href =
+"#line5_128">128.</a>
+<b>nihil nec quicquam:</b> G., 482, R. 3.</p>
+
+<p><a class = "line" name = "note5_129" id = "note5_129" href =
+"#line5_129">129.</a>
+<b>nervos:</b> ‘wires.’ The figure of the puppet (<i>sigillarium</i>,
+<span class = "greek" title = "agalma neurospaston">ἄγαλμα
+νευρόσπαστον</span>) as a favorite one with the Stoics, to judge by
+<span class = "smallcaps">M.&nbsp;Antoninus</span>, who uses it very
+often, e.g., <span class = "greek" title = "sigillaria neurospastoumena">σιγιλλάρια νευροσπαστούμενα</span>, 7, 3; <span class
+= "greek" title = "neurospastia">νευροσπαστια</span>, 6, 28. Comp. <span
+class = "smallcaps">Hor.</span>, Sat., 2, 7, 80: <i>tu mihi qui
+imperitas alii servis miser atque</i> | <i>duceris ut <span class =
+"gesperrt">nervis</span> alienis mobile lignum</i>.&mdash;<b>agitet:</b>
+‘There is nothing from without to set your wires going.’ Your masters
+are within.&mdash;<b>iecore:</b> See <a href =
+"#note1_25">1,&nbsp;25</a>.</p>
+
+<p><a class = "line" name = "note5_130" id = "note5_130" href =
+"#line5_130">130.</a>
+<b>domini:</b> An immemorial figure. So <span class =
+"smallcaps">Sophocles</span> of Love. <i>Di meliora, inquit, libenter
+vero istinc sicut a <span class = "gesperrt">domino</span> agresti ac
+furioso profugi</i>, <span class = "smallcaps">Cic.</span>, Cat. Mai.,
+14, 47.&mdash;<b>qui:</b> ‘how?’&mdash;<b>exis</b> = <i>evadis</i>. See
+<a href = "#note1_46">1, 46</a>; 6, 60.</p>
+
+<p><a class = "line" name = "note5_131" id = "note5_131" href =
+"#line5_131">131.</a>
+<b>atque</b> = <i>quam</i>. G., 311, R. 6.&mdash;<b>hic</b> = <i>de quo
+loquimur</i>. G., 290, 3.&mdash;<b>metus erilis</b> = <i>metus eri</i>.
+G., 360, R. 1; 363,&nbsp;R.; A., 50, 1, <i>a</i>. ‘If I be a master,
+where is <i>my fear</i>?’ Mal., 1,&nbsp;6. The assumption of Hendiadys,
+‘fear of the master’s whip,’ is unnecessary, and makes the passage less
+forcible.</p>
+
+<p><b>132-191.</b>
+The remainder of the Satire is taken up with descriptions of the ruling
+passions: Avarice (<a href = "#line5_132">132-142</a>), Luxury (<a href
+= "#line5_143">143-160</a>), Love (<a href = "#line5_161">161-175</a>),
+Ambition (<a href = "#line5_176">176-179</a>), Superstition (<a href =
+"#line5_180">180-189</a>). The language is lively and mimetic, and
+forcibly recalls the connection between comedy and satire.</p>
+
+<p><b>132-160.</b>
+Avarice finds you snoring, makes you get up, thrusts a bill of lading in
+your hand, cuts out work for you&mdash;not very honest work
+either&mdash;and chides you till she gets you to the ship. As you are
+about to embark, Luxury takes you aside, remonstrates with you, reminds
+you of the annoyances of a sea voyage. And all for what? The difference
+between five and eleven per cent. Why so greedy? ‘Life let us cherish.’
+Enjoy it while you may. And so you are in a strait betwixt two. First
+you submit to one, then to the other master; and when you have once
+rebelled, you must not say, ‘I have broken my bonds.’ So a struggling
+hound may wrench away the staple, but drags the chain after it.</p>
+
+<p><a class = "line" name = "note5_132" id = "note5_132" href =
+"#line5_132">132.</a>
+<b>Mane stertis:</b> a reminiscence of himself, <a href = "#line3_3">3,
+3</a>.</p>
+
+<span class = "pagenum">177</span>
+<p><a class = "line" name = "note5_134" id = "note5_134" href =
+"#line5_134">134.</a>
+<b>saperdam:</b> Sing. for the Plur. Comp. <i>mena</i>, <a href =
+"#line3_76">3, 76</a>. The <i>saperda</i> (<span class = "greek" title =
+"saperdês, korakinos">σαπέρδης, κορακῖνος</span>) was a cheap fish for
+salting. The best came from the Palus Maeotis (Sea of Azow,
+Balik-Denghis, or Fish-sea), where they were caught in vast quantities.
+‘Salt herring.’&mdash;<b>Ponto:</b> a whence case.</p>
+
+<p><a class = "line" name = "note5_135" id = "note5_135" href =
+"#line5_135">135.</a>
+<b>castoreum, stuppas, hebenum, tus:</b> A mere hodge-podge. Comp. <span
+class = "smallcaps">Menand.</span>, fr. 720 (4, 279 Mein.): <span class
+= "greek" title = "stuppeion, elephant’, oinon, aulaian, muron">στυππεῖον, ἐλέφαντ᾽, οἶνον, αὐλαίαν, μύρον</span>. The wares are
+mainly Eastern. Musk came from Pontus, ebony and frankincense from the
+Far East.&mdash;<b>lubrica Coa:</b> ‘slippery Coans,’ may be understood
+of ‘oily (or laxative) Coan wines,’ <span class =
+"smallcaps">Hor.</span>, Sat., 2, 4, 29, or of ‘soft Coan vestments,’
+which were little more than woven air, <span class =
+"smallcaps">Hor.</span>, Od., 4, 13, 13. The use of <i>Coa</i> for ‘Coan
+robes’ is sustained by <span class = "smallcaps">Ov.</span>, A.&nbsp;A.,
+2, 298: <i><span class = "gesperrt">Coa</span> decere puta</i>, even if
+<span class = "smallcaps">Hor.</span>, Sat., 1, 2, 101, be cavilled at,
+and the effect is droller.</p>
+
+<p><a class = "line" name = "note5_136" id = "note5_136" href =
+"#line5_136">136.</a>
+<b>recens primus piper:</b> <i>Recens</i>, ‘fresh,’ ‘just in;’
+<i>primus</i>, ‘forestall the market.’&mdash;<b>ex sitiente camelo:</b>
+The thirsty camel brings the scene before our eyes&mdash;comp. <i>ante
+boves</i>, <a href = "#line1_74">1, 74</a>&mdash;and shows that the
+genuine Indian pepper is meant, the <i>rugosum piper</i> of <a href =
+"#line5_55">v. 55</a>. The camel must have come a long way to be thirsty
+(<i>sitim quadriduo tolerat</i>, <span class = "smallcaps">Plin.</span>,
+H.&nbsp;N., 8, 18), but Madam Avarice will not let her slave wait until
+the camel has been unloaded and has had its drink.</p>
+
+<p><a class = "line" name = "note5_137" id = "note5_137" href =
+"#line5_137">137.</a>
+<b>verte aliquid; iura:</b> <i>Verte aliquid</i> is said with
+impatience, and <i>aliquid</i> is to be urged. Comp. <i>frange <span
+class = "gesperrt">aliquid</span></i>, <a href = "#line6_32">6, 32</a>;
+<i>dest <span class = "gesperrt">aliquid</span></i>, <a href =
+"#line6_64">6, 64</a>; <i>fodere aut arare aut <span class =
+"gesperrt">aliquid</span> ferre</i>, <span class =
+"smallcaps">Ter.</span>, Heaut., 1, 1, 17. ‘Do something or other in the
+way of trade.’ This obviates Jahn’s objection, who finds the expression
+tame after the preceding list, and prefers to make <i>vertere</i> =
+<i>versuram facere</i>, ‘borrow money’ (to pay debts), and to interpret
+<i>iura</i> of swearing out of the obligation. But the connection in
+which <i>iura</i> stands shows that it is professional, and hence
+dishonorable; and though <i>verte aliquid</i> is not necessarily
+immoral, observe that in English we add ‘honest’ to the phrase ‘turn a
+penny,’ if we wish to prevent a sinister interpretation, which is the
+interpretation here, as König remarks. As for the ‘tameness,’
+<i>mercare</i> is ‘tame’ after <i>vende animam lucro</i>, <a href =
+"#line6_75">6, 75</a>.</p>
+
+<p><a class = "line" name = "note5_138" id = "note5_138" href =
+"#line5_138">138.</a>
+<b>varo:</b> or <i>baro</i>, ‘lout.’ This obscure word is entered by
+<span class = "pagenum">178</span>
+Vaniček (<i>Etym. Wörterb.</i>, S. 36) under <span class =
+"smallroman">KAR</span> (<span class =
+"smallroman">KVAR</span>)&mdash;comp. <i>varus</i>, ‘crooked’&mdash;so
+that <i>varo</i> would be ‘a wrong-headed creature,’ ‘a perverse
+blockhead.’ The verb <i>obvaro</i> occurs in <span class =
+"smallcaps">Ennius</span> (Trag., 2 Vahl.), and <i>varo</i> (Subst.)
+would be a formation like <i>cachinno</i> (<a href = "#line1_12">1,
+12</a>) and <i>palpo</i> (<a href = "#line5_176">5,
+176</a>).&mdash;<b>regustatum digito terebrare salinum:</b> After the
+Greek proverb: <span class = "greek" title = "halian trupan">ἁλίαν
+τρυπᾶν</span> (of extreme poverty). Casaubon quotes, and every body
+after him, <span class = "smallcaps">Apoll. Tyan.</span>, Ep., 7: <span
+class = "greek" title = "emoi d’ eiê tên halian trupan en Themidos oikô.">ἐμοὶ δ᾽ εἴη τὴν ἁλιαν τρυπᾶν ἐν Θέμιδος οἴκῳ.</span> ‘To taste
+and taste until you bore a hole with your finger in the salt-cellar.’
+‘To lick the platter clean.’&mdash;<b>salinum:</b> Only the most
+advanced philosophers professed to consider salt, which even the miser
+could not well dispense with (<a href = "#line4_30">4, 30</a>), as a
+luxury. So Thrasycles, in <span class = "smallcaps">Luc.</span>, Tim.,
+56: <span class = "greek" title = "opson de hêdiston thumon ê kardamon ê #ei pote truphôên oligon tôn halôn#">ὄψον δὲ ἥδιστον θύμον ἢ κάρδαμον ἢ
+<span class = "gesperrt">εἴ ποτε τρυφῴην ὀλίγον τῶν
+ἁλῶν</span></span>.</p>
+
+<p><a class = "line" name = "note5_139" id = "note5_139" href =
+"#line5_139">139.</a>
+<b>perages:</b> according to Casaubon, an imitation of the Gr. <span
+class = "greek" title = "diagein">διάγειν</span>. Warrant for the
+ellipsis of <i>vitam</i> or <i>aetatem</i> seems to be lacking. Some
+wish to read <i>perges</i> here, and combine it with <i>terebrare</i>.
+If so, the word <i>perges</i> must not be translated ‘continue’ <span
+class = "greek" title = "trupôn diateleis">τρυπῶν διατελεῖς</span>, but
+‘proceed.’ See the Dictionaries. There is no authority for making
+<i>perages</i> = <i>perges</i>.&mdash;<b>vivere cum Iove:</b> Madam
+Avarice is blasphemously familiar in her expressions. ‘To live on good
+terms with Jupiter.’</p>
+
+<p><a class = "line" name = "note5_140" id = "note5_140" href =
+"#line5_140">140.</a>
+<b>pellem:</b> simply ‘a skin,’ which might serve as many purposes as a
+modern traveller’s shawl. Jahn interprets it as meaning a sort of
+packing cloth (<i>segestre</i>), and compares <span class =
+"smallcaps">Petron.</span>, 102. This is much more likely than the
+<i>pastoria pellis</i> of <span class = "smallcaps">Ov.</span>, Met., 2,
+680, the <span class = "greek" title = "baitê">βαίτη</span> of <span
+class = "smallcaps">Theocr.</span>, 3, 25, elsewhere called <span class
+= "greek" title = "nakos">νάκος</span>, 5, 2, ‘a peasant’s coat of raw
+hide.’&mdash;<b>succinctus:</b> ‘high girt,’ hence
+‘equipped.’&mdash;<b>oenophorum:</b> ‘a wine case.’ Comp. <span class =
+"smallcaps">Hor.</span>, Sat., 1, 6, 109: <i>pueri lasanum portantes
+<span class = "gesperrt">oenophorumque</span></i>.</p>
+
+<p><a class = "line" name = "note5_141" id = "note5_141" href =
+"#line5_141">141.</a>
+<b>Ocius ad navem:</b> It matters not who says this: ‘Off to the ship
+this instant.’ We are on the wharf, where such cries are in the air; but
+if we must assign them to somebody, they are best assigned to the
+master, who hurries the slaves on board.&mdash;<b>quin:</b> G., 551,1;
+A., 70, 4, <i>g</i>.&mdash;<b>trabe vasta:</b> ‘mammoth ship.’ The man’s
+greed is indicated by the size of the ship, as contrasted with the
+slenderness of his personal equipment. <i>Vastum Aegaeum</i>,
+<span class = "pagenum">179</span>
+another reading, would be an epithet wasted, a&nbsp;rare extravagance in
+<span class = "smallcaps">Persius</span>.</p>
+
+<p><a class = "line" name = "note5_142" id = "note5_142" href =
+"#line5_142">142.</a>
+<b>rapias:</b> ‘scour.’ Casaubon comp. <span class =
+"smallcaps">Stat.</span>, Theb., 5, 3: <i><span class =
+"gesperrt">rapere</span> campum</i>. So <span class =
+"smallcaps">Verg.</span>, Georg., 3, 103: <i>campum</i> | <i><span class
+= "gesperrt">corripuere</span></i>. The notion is that of
+devouring.&mdash;<b>sollers:</b> ‘artful’ (literally, all-art).</p>
+
+<p><a class = "line" name = "note5_143" id = "note5_143" href =
+"#line5_143">143.</a>
+<b>seductum</b>: Comp. <a href = "#line2_4">2, 4</a>; <a href =
+"#line6_42">6, 42</a>.&mdash;<b>quo deinde ruis?</b> So <span class =
+"smallcaps">Verg.</span>, Aen., 5, 741. <i>Deinde</i>, ‘next.’</p>
+
+<p><a class = "line" name = "note5_144" id = "note5_144" href =
+"#line5_144">144.</a>
+<b>quid tibi vis?</b> Comp. <span class = "smallcaps">Hor.</span>, Sat.,
+1, 2, 69. G., 351,&nbsp;R.; A., 51, 7, <i>d</i>.&mdash;<b>calido:</b> is
+proleptic. ‘Your breast is heated by a rising of potent
+bile.’&mdash;<b>mascula</b> = <i>robusta</i> (Jahn). <i>Mascula
+bilis</i> means <i>bilis nigra</i>, <span class = "greek" title =
+"melancholia">μελαγχολία</span>. Conington compares the Greek use of
+<span class = "greek" title = "arsên">ἀρσην</span> as <span class =
+"greek" title = "ktupos arsên">κτύπος ἄρσην</span>, <span class =
+"smallcaps">Soph.</span>, Phil., 1455. See <a href =
+"#note6_4">6,&nbsp;4</a>.</p>
+
+<p><a class = "line" name = "note5_145" id = "note5_145" href =
+"#line5_145">145.</a>
+<b>intumuit:</b> Comp. <a href = "#line2_14">2, 14</a>; <a href =
+"#line3_8">3, 8</a>.&mdash;<b>non exstinxerit:</b> <span class = "greek"
+title = "ouk an sbeseie">οὐκ ἂν σβέσειε</span>. G., 629 (250); A., 60,
+2, <i>b</i>.&mdash;<b>urna:</b> nearly three gallons, half an
+amphora.&mdash;<b>cicutae:</b> the remedy for madness from this cause,
+<span class = "smallcaps">Hor.</span>, Ep., 2, 2, 53.</p>
+
+<p><a class = "line" name = "note5_146" id = "note5_146" href =
+"#line5_146">146.</a>
+<b>mare transilias:</b> G., 251; A., 57,&nbsp;6. Conington’s ‘skip
+across’ would hardly answer for <span class =
+"smallcaps">Horace’s</span> <i>non tangenda rates</i> | <i><span class =
+"gesperrt">transiliunt</span> vada</i>, Od., 1, 3, 24. Tr. ‘vault
+over.’&mdash;<b>torta cannabe:</b> ‘Twisted hemp’ is ‘rope,’ but <span
+class = "smallcaps">Persius</span> probably means a ‘coil of
+rope.’&mdash;<b>fulto:</b> with <i>tibi</i>. Jahn quotes <span class =
+"smallcaps">Juv.</span>, 3, 82: <i><span class =
+"gesperrt">fultusque</span> toro meliore recumbet</i>. A&nbsp;coil of
+rope will be your cushion and a bench your table.</p>
+
+<p><a class = "line" name = "note5_147" id = "note5_147" href =
+"#line5_147">147.</a>
+<b>Veientanumque rubellum:</b> The <i>Veientana uva</i> (<span class =
+"smallcaps">Mart.</span>, 2, 53,&nbsp;4) yielded a coarse red wine.
+<i>Et Veientani bibitur faex crassa <span class =
+"gesperrt">rubelli</span></i>, <span class = "smallcaps">Mart.</span>,
+1, 103,&nbsp;9. Not a happy stroke, as Teuffel has observed. A&nbsp;sea
+voyage does not involve bad wine.</p>
+
+<p><a class = "line" name = "note5_148" id = "note5_148" href =
+"#line5_148">148.</a>
+<b>vapida pice:</b> ‘fusty pitch.’ Jars were pitched to preserve the
+wine.&mdash;<b>laesum:</b> ‘damaged.’&mdash;<b>sessilis obba:</b>
+‘broad-bottomed jorum,’ ‘squab jug’ (Gifford). <i>Obba</i> is an
+obsolete word for a large drinking-cup. Conington’s ‘noggin’ does not
+hold enough.</p>
+
+<p><a class = "line" name = "note5_149" id = "note5_149" href =
+"#line5_149">149.</a>
+<b>quincunce:</b> As an <i>as</i> a month is twelve per cent. per annum,
+so 5/12 <i>as</i> (<i>quincunx</i>) is five per cent., and <i>deunx</i>
+eleven.</p>
+
+<p><a class = "line" name = "note5_150" id = "note5_150" href =
+"#line5_150">150.</a>
+<b>nutrieras:</b> We use ‘nursing’ in similar connections, but rather in
+the sense of ‘husbanding.’ The figure is an extension of the Greek <span
+class = "greek" title = "tokos">τόκος</span>. See <span class =
+"smallcaps">Shaksp.</span>, M.&nbsp;of V., 1, 3, where the ‘breed
+<span class = "pagenum">180</span>
+for barren metal’ embodies an ancient prejudice. Comp. further <span
+class = "smallcaps">Hor.</span>, Ep., 1, 18, 35: <i>nummos alienos <span
+class = "gesperrt">pascet</span></i>.&mdash;<b>nummi&mdash;pergant
+avidos sudare deunces:</b> So Jahn (1843). ‘May go on to sweat out a
+greedy eleven per cent.’ Hermann edits: <i>nummos&mdash;peragant avido
+sudore deunces</i>, and so Jahn (1868). H.&nbsp;(<i>L.&nbsp;P.</i>, II.,
+57) refers to <i>bona peragere</i> (<a href = "#line6_22">6, 22</a>),
+and says that the merchant, dissatisfied with his modest five per cent.
+which had increased his capital, goes in for eleven per cent., which
+gobbles it up, and has his sweat for his pains. On <i>pergant</i>, see
+note on <a href = "#note5_139">v. 139</a>; with <i>sudare deunces</i>
+comp. <span class = "smallcaps">Verg.</span>, Ecl., 4, 30: <i>sudabunt
+roscida mella</i>.</p>
+
+<p><a class = "line" name = "note5_151" id = "note5_151" href =
+"#line5_151">151.</a>
+<b>indulge genio:</b> See note on <a href = "#note2_3">2,
+3</a>.&mdash;<b>nostrum est quod vivis:</b> Variously interpreted. ‘Your
+real life is mine,’ i.e., ‘only that part of life which you bestow on me
+is life’ (Casaubon, and so, in effect, Jahn). ‘Your life belongs to me
+and you (<i>nostrum</i> answering to <i>carpamus dulcia</i>), not to any
+one else, such as Avarice, and it is all that we have’ (Conington). ‘It
+is all in our favor that you are alive’ (Pretor)&mdash;clearly wrong.
+There is an evident reminiscence of the Horatian <i><span class =
+"gesperrt">quod spiro</span> et placeo, si placeo, <span class =
+"gesperrt">tuum</span> est</i> (Od., 4, 3, 24), which sustains
+Casaubon’s view.</p>
+
+<p><a class = "line" name = "note5_152" id = "note5_152" href =
+"#line5_152">152.</a>
+<b>cinis et manes et fabula fies:</b> See note on <a href =
+"#note1_36">1, 36</a>. There are clearly three stages, as Conington
+suggests: ‘first ashes, then a shade, then a name.’ With <i>fabula
+fies</i> comp. <span class = "smallcaps">Hor.</span>, Ep., 1, 13, 9:
+<i>fabula fias</i>, and Od., 1, 4, 16: <i>iam te premet nox <span class
+= "gesperrt">fabulaeque manes</span></i>.</p>
+
+<p><a class = "line" name = "note5_153" id = "note5_153" href =
+"#line5_153">153.</a>
+<b>vive memor leti:</b> So <span class = "smallcaps">Hor.</span>, Sat.,
+2, 6, 97.&mdash;<b>hoc quod loquor inde est:</b> ‘What I am
+saying&mdash;this speech of mine&mdash;is so much off, so much time
+lost.’ Comp. <i>dum loquimur fugerit invida</i> | <i>aetas</i>, <span
+class = "smallcaps">Hor.</span>, Od., 1, 11,&nbsp;7.</p>
+
+<p><a class = "line" name = "note5_154" id = "note5_154" href =
+"#line5_154">154.</a>
+<b>en quid agis?</b> See <a href = "#note3_5">3, 5</a>.&mdash;<b>duplici
+hamo:</b> ‘a couple of hooks.’ If <i>hamo</i> is a fish-hook,
+<i>scinderis</i> is a metaphor within a metaphor. ‘You are like a fish
+distracted by two hooks,’ not knowing which to bite at. Comp. <span
+class = "smallcaps">Hor.</span>, Ep., 1, 7, 74: <i>occultum visus
+decurrere piscis ad <span class = "gesperrt">hamum</span></i>, and for
+<i>scinderis</i>, <span class = "smallcaps">Verg.</span>, Aen., 2, 39:
+<i><span class = "gesperrt">scinditur</span> incertum studia in
+contraria vulgus</i>. The executioner’s hook, which others understand,
+is generally <i>uncus</i>; <span class = "smallcaps">Juv.</span>, 10,
+66: <i>Seianus ducitur <span class = "gesperrt">unco</span></i>.</p>
+
+<p><a class = "line" name = "note5_155" id = "note5_155" href =
+"#line5_155">155.</a>
+<b>sequeris:</b> See note on <a href = "#note3_5">3,
+5</a>.&mdash;<b>subeas oportet:</b> G., 535, R.&nbsp;1; A., 70, 3,
+<i>f</i>, R.</p>
+
+<span class = "pagenum">181</span>
+<p><ins class = "correction" title = "text reads ‘155’
+(repeated)"><a class = "line" name = "note5_156" id = "note5_156" href =
+"#line5_156">156.</a></ins>
+<b>oberres:</b> Gr. <span class = "greek" title =
+"drapeteuein">δραπετεύειν</span>, ‘go at large’ (Pretor).</p>
+
+<p><ins class = "correction" title = "text reads ‘156’"><a class =
+"line" name = "note5_157" id = "note5_157" href =
+"#line5_157">157-158.</a></ins>
+<b>nec&mdash;dicas</b> = <i>neu dicas</i>. See note on <a href =
+"#note1_5">1,&nbsp;5</a>.</p>
+
+<p><a class = "line" name = "note5_159" id = "note5_159" href =
+"#line5_159">159.</a>
+<b>nam et:</b> (Don’t say so) ‘for.’ ‘Why, there’s the dog that, like
+you (<i>et</i>), breaks its fastening.’&mdash;<b>luctata:</b> ‘by a
+wrench.’&mdash;<b>nodum:</b> ‘is the knot by which the chain is fastened
+to the bar of the door, (<i>sera</i>). Comp. <span class =
+"smallcaps">Prop.</span>, 4, 11, 25-6: <i><span class =
+"gesperrt">Cerberus</span> et nullas hodie petat improbus umbras,</i> |
+<i>sed iaceat tacita lapsa catena <span class =
+"gesperrt">sera</span></i>’ (Pretor).&mdash;<b>et tamen:</b> So Jahn
+(1868). <i>At tamen</i>, the reading of most MSS., can not stand, if
+Madvig is right in maintaining that <i>at tamen</i> always means ‘at
+least.’ Hermann’s <i>ast tamen</i> is well supported by MSS., and is
+more vigorous than <i>et</i>.</p>
+
+<p><a class = "line" name = "note5_160" id = "note5_160" href =
+"#line5_160">160.</a>
+<b>a collo:</b> G., 388, R. 2; A., 42, 2.&mdash;<b>pars longa
+catenae:</b> The long chain hampers its flight, and makes it easier to
+catch. The comparison clearly suggests the next picture.</p>
+
+<p><b>161-175.</b>
+<span class = "smallcaps">Persius</span>, knowing little of love or
+liaison, goes to his Greek books for an example, and finds it, where it
+was not far to seek, in <span class = "smallcaps">Menander’s</span>
+Eunuch. <span class = "smallcaps">Horace</span> (Sat., 2, 3, 259 seqq.)
+follows <span class = "smallcaps">Terence’s</span> adaptation, <span
+class = "smallcaps">Persius</span> seems to have stuck to the original.
+Hence the dialogue is between Chaerestratus (<span class = "greek" title
+= "Chairestratos">Χαιρέστρατος</span>), the young master, and Davus
+(<span class = "greek" title = "Daos">Δᾶος</span>), the confidential
+servant, and not between Phaedria and Parmeno, as in the Latin
+dramatist.</p>
+
+<p><span class = "smallcaps">Ch.</span> Davus, I’m going to put a stop
+to this sort of thing.&mdash;D. Thank Heaven for that!&mdash;Ch.
+But&mdash;I should not like to hurt her feelings. Do you think she’ll
+cry?&mdash;D. Well, if you talk that way, you had better not kick over
+the traces at all. She will give it to you soundly when she gets hold of
+you again, and she will get hold of you again as soon as she calls you.
+Don’t be making suppositions. Go back to her in no case.</p>
+
+<p>A man who can make such a resolution and keep it&mdash;here is your
+free man, not the lictor’s whirligig.</p>
+
+<p><a class = "line" name = "note5_161" id = "note5_161" href =
+"#line5_161">161.</a>
+<b>Dave, cito:</b> Observe how he jerks out the words between the
+gnawings.&mdash;<b>credas iubeo:</b> G., 546, R. 3.&mdash;<b>finire
+dolores,</b> etc.: From <span class = "smallcaps">Hor.</span>, l.c. 263:
+<i>an potius mediter <span class = "gesperrt">finire
+dolores</span></i>.</p>
+
+<p><a class = "line" name = "note5_162" id = "note5_162" href =
+"#line5_162">162.</a>
+<b>praeteritos:</b> logically superfluous with <i>finire</i>, and yet
+not bad dramatically; ‘that I have been having,
+undergoing.’&mdash;<b>crudum:</b> predicative, ‘to the raw,’<ins class =
+"correction" title = "open quote missing"> ‘</ins>to the quick.’ Comp.
+<a href = "#line1_106">1, 106</a>: <i>demorsos unguis</i>.</p>
+
+<span class = "pagenum">182</span>
+<p><a class = "line" name = "note5_163" id = "note5_163" href =
+"#line5_163">163.</a>
+<b><span class = "gesperrt">ad</span>rodens:</b> more natural than
+<i>abrodens</i>. ‘He is in meditation, not in despair’
+(Hermann).&mdash;<b>siccis:</b> opp. to <i>madidis</i>, <i>ebriis</i>.
+‘What! shall I be a standing disgrace in the way of my sober
+relations?’</p>
+
+<p><a class = "line" name = "note5_164" id = "note5_164" href =
+"#line5_164">164.</a>
+<b>rumore sinistro:</b> ‘What? make myself the talk of all the
+scandal-mongers by squandering my estate?’</p>
+
+<p><a class = "line" name = "note5_165" id = "note5_165" href =
+"#line5_165">165.</a>
+<b>limen ad obscenum:</b> ‘at a bawdy-house.’ See note on <a href =
+"#note1_109">1, 109</a>. He puts the case strongly. Remember that he is
+shut out.&mdash;<b>frangam:</b> colloquial, ‘smash up,’ ‘make flinders
+of.’&mdash;<b>Chrysidis:</b> In <span class = "smallcaps">Terence</span>
+the lady’s name is Thais, not Chrysis.&mdash;<b>udas:</b> ‘dripping.’
+With what? With perfumes (<span class = "smallcaps">Lucr.</span>, 4,
+1179), with wine (<span class = "smallcaps">Hor.</span>, Od., 1, 7, 22),
+with tears (<span class = "smallcaps">Ov.</span>, Am., 1, 6, 18), with
+rain (<span class = "smallcaps">Hor.</span>, Od., 3, 10, 19), with the
+sweat of the commentators of <span class =
+"smallcaps">Persius</span>.</p>
+
+<p><a class = "line" name = "note5_166" id = "note5_166" href =
+"#line5_166">166.</a>
+Comp. <span class = "smallcaps">Hor.</span>, Sat., 1, 4, 51: <i><span
+class = "gesperrt">ebrius</span> et, magnum quod dedecus, ambulet
+ante</i> | <i>noctem <span class = "gesperrt">cum
+facibus</span></i>.&mdash;<b>ante fores canto:</b> Antique erotic
+literature is full of the caterwaulings of excluded lovers (<span class
+= "greek" title = "paraklausithura">παρακλαυσίθυρα</span>).</p>
+
+<p><a class = "line" name = "note5_167" id = "note5_167" href =
+"#line5_167">167.</a>
+<b>puer:</b> ‘Davus encourages his master, hence <i>puer</i> instead of
+<span class = "smallcaps">Terence</span> and <span class =
+"smallcaps">Horace’s</span> <i>ere</i>’ (Conington). ‘My young master’
+gives the tone here, ‘my boy’ below.&mdash;<b>sapias:</b> ‘I do hope you
+are going to show your sense.’ Rather optative than
+imperative.&mdash;<b>dis depellentibus:</b> <i>depulsoribus</i> = <i>dis
+averruncis</i>. The Gr. is <span class = "greek" title = "apotropaios, apôsikakos, alexikakos">ἀποτρόπαιος, ἀπωσίκακος, ἀλεξίκακος</span>.
+Comp. <span class = "greek" title = "apotropoisi daimosi">ἀποτρόποισι
+δαίμοσι</span>, <span class = "smallcaps">Aesch.</span>, Pers., 203
+(quoted by Pretor).</p>
+
+<p><a class = "line" name = "note5_169" id = "note5_169" href =
+"#line5_169">169.</a>
+<b>Nugaris:</b> ‘at your old nonsense, I&nbsp;see.’ See <a href =
+"#note5_127">v. 127</a>.&mdash;<b>solea:</b> The slipper was and is a
+matronly instrument of torture (<span class = "smallcaps">Luc.</span>,
+D.&nbsp;D., 11,&nbsp;1), and hence the fun of its application to
+grown-up men, as in the familiar story of Hercules and Omphalé, <span
+class = "smallcaps">Luc.</span>, D.&nbsp;D., 13,&nbsp;2. ‘To slipper’
+would be understood as well in a modern nursery as <span class = "greek"
+title = "blautoun">βλαυτοῦν</span> was in a Greek gynaikonitis.
+<i>Philtra quibus valeat mentem vexare mariti</i> | <i>et <span class =
+"gesperrt">solea</span> pulsare natis</i>, <span class =
+"smallcaps">Juv.,</span> 6, 611-12.&mdash;<b>obiurgabere:</b> a
+<i>terminus technicus</i>. <span class = "smallcaps">Petron.</span>, 34:
+<i>colaphis <span class = "gesperrt">objurgare</span> puerum
+iussit</i>.&mdash;<b>rubra:</b> A dramatic touch. This ‘No Goody Two
+Shoes’ wore the fashionable red slippers. Comp. the <i>talon rouge</i>
+of the last century.</p>
+
+<p><a class = "line" name = "note5_170" id = "note5_170" href =
+"#line5_170">170.</a>
+<b>ne trepidare velis</b> = <i>noli trepidare</i>. ‘Pray don’t undertake
+to be restiff, to be plunging about.’ Chaerestratus is a wild
+<span class = "pagenum">183</span>
+beast in the toils. This suggests <i>ferus</i>, and then the metaphor is
+dropped, unless <i>exieras</i>, <a href = "#line5_174">v. 174</a>, be a
+remnant of it.</p>
+
+<p><a class = "line" name = "note5_171" id = "note5_171" href =
+"#line5_171">171.</a>
+The distribution of what follows is not clear. Jahn and Hermann make
+Davus’s speech end with <i>dicas</i>, so that <i>haud mora</i> is the
+reply which the slave puts into the mouth of his master. ‘If she should
+call you, you would say: “Anon, anon, mistress.”’ Chaerestratus speaks
+the words from <i>Quidnam</i> to <i>accedam</i>, and Davus concludes
+with <i>si totus&mdash;nec nunc</i>. If Jahn’s view be adopted,
+I&nbsp;do not see how we are to reject the old conjecture <i>ne tunc</i>
+or <i>nec tunc</i> for the reading <i>ne nunc, nec nunc</i>, <a href =
+"#line5_174">v. 174</a>. According to Heinrich, followed by Macleane and
+Conington, <i>haud mora</i> is adverbial, and the words
+<i>quidnam&mdash;accedam</i> are attributed by Davus to Chaerestratus.
+‘In <span class = "smallcaps">Terence</span>,’ says Conington, ‘the
+lover has received a summons before the scene begins, and he deliberates
+whether to obey it. In <span class = "smallcaps">Persius</span> he is
+trying to resolve under the pressure of disappointment, and even then
+can not make up his mind; so that his servant tells him that if he
+<i>should</i> be summoned back, he is pretty sure to entertain the
+question.’ I&nbsp;have followed Heinrich’s arrangement. Speech within
+speech is as characteristic of <span class = "smallcaps">Persius</span>
+as metaphor within metaphor.</p>
+
+<p><a class = "line" name = "note5_172" id = "note5_172" href =
+"#line5_172">172.</a>
+<b>nec nunc:</b> So Jahn in his ed. of 1868. <i>Ne nunc</i>, his former
+reading, for <i>ne nunc quidem</i>, condemned by Madvig, has a doubtful
+support in <span class = "smallcaps">Hor.</span>, Sat., 2, 3, 262,
+a&nbsp;clear support in <span class = "smallcaps">Petron.</span>, 9,
+47.&mdash;<b>arcessat:</b> So Jahn for <i>arcessor</i>, which is
+excessively harsh, by reason of the double change, person and mood, in
+<i>supplicet</i>.</p>
+
+<p><a class = "line" name = "note5_174" id = "note5_174" href =
+"#line5_174">174.</a>
+<b>si exieras:</b> <span class = "greek" title = "ei g’ exebês">εἴ γ᾽
+ἐξέβης</span>. ‘If (as you pretend you did) you got away heart-whole and
+fancy-free, don’t go to her even now.’ <i>Si</i> with Pluperf. Ind. (not
+iterative) is not common, <span class = "smallcaps">Cic.</span>,
+N.&nbsp;D., 2, 35, 90. Others read <i>exieris</i>.&mdash;<b>nec
+nunc:</b> sc. <i>accedas</i>.&mdash;<b>hic, hic:</b> The Adverb, as
+appears from <i>in festuca</i>. Comp. <span class =
+"smallcaps">Hor.</span>, Ep., 1, 17, 39: <i>hic est aut nusquam quod
+quaerimus</i>.</p>
+
+<p><a class = "line" name = "note5_175" id = "note5_175" href =
+"#line5_175">175.</a>
+<b>festuca:</b> is generally explained as a synonyme for
+<i>vindicta</i>. Others refer it to the practice of throwing stubble on
+the manumitted slave, <span class = "smallcaps">Plut.</span>, De Sera
+Num. Vind., p. 550 (Conington).&mdash;<b>ineptus:</b> ‘as if a lictor
+could make a man truly free!’ (Jahn).</p>
+
+<p><b>176-179.</b>
+Ambition’s Slave.</p>
+
+<p><a class = "line" name = "note5_176" id = "note5_176" href =
+"#line5_176">176.</a>
+<b>palpo:</b> literally ‘patter, stroker,’ ‘softsawder-man,’ i.e.,
+electioneerer. Another of the <i>verba togae</i>. See note on <a href =
+"#note1_12">1, 12</a>.
+<span class = "pagenum">184</span>
+<i>Palpo</i> is explained by Io. Sarisberiensis (ap. Jahn) as ‘one who
+feels his way with the people;’ but this is not so simple nor so much in
+accordance with the use of <i>palpare</i>.&mdash;<b>ducit hiantem:</b>
+Comp. <span class = "smallcaps">Hor.</span>, Sat., 1, 2, 88: <i>emptorem
+inducat <span class = "gesperrt">hiantem</span></i>, where Bentley reads
+<i>ducat</i> on account of this passage. Also <span class =
+"smallcaps">Verg.</span>, Georg., 2, 508: <i>hunc plausus <span class =
+"gesperrt">hiantem</span>&mdash;</i> | <i>corripuit</i>, and <span class
+= "smallcaps">Solon</span>, 13, 36 (Bergk), <span class = "greek" title
+= "#chaskontes# kouphais elpisi terpometha"><span class =
+"gesperrt">χάσκοντες</span> κούφαις ἐλπίσι τερπόμεθα</span>.</p>
+
+<p><a class = "line" name = "note5_177" id = "note5_177" href =
+"#line5_177">177.</a>
+<b>cretata</b> = <i>candidata</i>. Togas were chalked then, as belts are
+pipe-clayed now. The candidate naturally put on his best. ‘My Lady
+Canvass in holiday attire, in spotless white.’&mdash;<b>vigila:</b> ‘Be
+up early,’ in the same sense as our phrase, ‘You must get up early to do
+this or that.’ There is no special reference to the morning
+<i>salutatio</i>.&mdash;<b>cicer:</b> Comp. <span class =
+"smallcaps">Hor.</span>, Sat., 2, 3, 182: <i>in <span class =
+"gesperrt">cicere</span> atque faba bona tu perdasque lupinis,</i> |
+<i>latus ut in circo spatiere et aeneus ut stes</i>. The vetch was a
+vulgar vegetable.</p>
+
+<p><a class = "line" name = "note5_178" id = "note5_178" href =
+"#line5_178">178.</a>
+<b>nostra:</b> <i>nobis aedilibus celebrata</i> (Jahn). On the ironical
+First Person, see <a href = "#note3_3">3, 3</a>.&mdash;<b>Floralia:</b>
+See the Dictionaries.</p>
+
+<p><a class = "line" name = "note5_179" id = "note5_179" href =
+"#line5_179">179.</a>
+<b>aprici</b> = <i>apricantes</i>. See <a href = "#note4_18">4, 18.
+19</a>. To ‘love to live i’ th’ sun’ (<span class =
+"smallcaps">Shaksp.</span>) is common to the feebleness of age and the
+luxury of youth, 4, 33.&mdash;<b>quid pulchrius:</b> Snatch of the old
+men’s chat (Hermann). Ironical comment of <span class =
+"smallcaps">Persius</span> (Jahn). The former is more in <span class =
+"smallcaps">Persius’s</span> manner.</p>
+
+<p><a class = "line" href = "#line5_179">at:</a>
+An abrupt transition to the Thraldom of Superstition (180-188). Whether
+the slave of superstition is identical with the slave of ambition or not
+is not certain&mdash;probably not.</p>
+
+<p><a class = "line" name = "note5_180" id = "note5_180" href =
+"#line5_180">180.</a>
+<b>Herodis&mdash;dies:</b> Probably Herod’s birthday, celebrated by the
+sect of the Herodians. <span class = "smallcaps">Persius</span> takes
+Herod as the most familiar Jewish personage to indicate Jewish
+superstition. On the spread of Judaism in the Roman Empire, see
+Friedländer, <i>Sittengesch.</i>, 3, 489.&mdash;<b>uncta fenestra:</b>
+The ‘window’ is ‘greasy’ from the oil-lamps.</p>
+
+<p><a class = "line" name = "note5_181" id = "note5_181" href =
+"#line5_181">181.</a>
+<b>lucernae:</b> Those who wish illustrations for what they can see with
+their own eyes, may consult Friedländer, l.c. 1, 292. The lights remind
+one of the Feast of Tabernacles.</p>
+
+<p><a class = "line" name = "note5_182" id = "note5_182" href =
+"#line5_182">182.</a>
+<b>violas:</b> Comp. <span class = "smallcaps">Juv.</span>, 12, 90:
+<i>omnis <span class = "gesperrt">violae</span> iactabo colores</i>. The
+violet may be our violet or the pansy (<i>viola
+bicolor</i>).&mdash;<b>rubrumque amplexa catinum:</b> The tunny is so
+large that it embraces the dish, and is not embraced by it. Comp. <span
+class = "smallcaps">Hor.</span>, Sat., 2,
+<span class = "pagenum">185</span>
+4, 77: <i>angustoque vagos piscis urgere <span class =
+"gesperrt">catino</span></i>. <i>Rubrum</i>, the common color of
+pottery.</p>
+
+<p><a class = "line" name = "note5_183" id = "note5_183" href =
+"#line5_183">183.</a>
+<b>cauda thynni:</b> The tunny has a large tail, hence some such
+adjective as ‘taily’ is desiderated. Comp. note on <a href =
+"#note6_10">6, 10</a>.&mdash;<b>natat:</b> Makes fun of the fish’s
+swimming in the circumstances.&mdash;<b>tumet:</b> ‘bulges.’ The big
+belly of the jar looks as if it were ‘swollen’ with wine.</p>
+
+<p><a class = "line" name = "note5_184" id = "note5_184" href =
+"#line5_184">184.</a>
+<b>labra movet tacitus:</b> Comp. <span class = "smallcaps">Hor.</span>,
+Ep., 1, 16, 60: <i><span class = "gesperrt">labra movet</span>, metuens
+audiri</i> (of a prayer to Laverna). A&nbsp;recondite allusion to the
+secret prayer of the Jews is unlikely.&mdash;<b>recutita sabbata</b> =
+<i>recutitorum sabbata</i>. Comp. <span class = "smallcaps">Ov.</span>,
+Rem. Am., 219, 220: <i>nec te peregrina morentur</i> | <i><span class =
+"gesperrt">sabbata</span></i>.&mdash;<b>palles</b> = <i>pallidus
+times</i>. G., 329, R.&nbsp;1; A., 52, 1, <i>a</i>. Comp. our English
+‘blanch’ or ‘blench.’</p>
+
+<p><a class = "line" name = "note5_185" id = "note5_185" href =
+"#line5_185">185.</a>
+<b>tum:</b> As soon as the man has got over his Jewish fright he is
+assailed by other superstitions.&mdash;<b>lemures:</b> ‘hobgoblins.’ See
+note on <a href = "#note2_3">2,&nbsp;3</a>. Comp. <span class =
+"smallcaps">Hor.</span>, Ep., 2, 2, 208: <i>somnia, terrores magicos,
+miracula, sagas,</i> | <i><span class = "gesperrt">nocturnos
+lemures</span>, portentaque Thessala rides?</i>&mdash;<b>ovoque pericula
+rupto:</b> The Schol. refers these words to the Gr. <span class =
+"greek" title = "ôoskopikê">ᾠοσκοπική</span> (Jahn). ‘The priests used
+to put eggs on the fire, and observe whether the moisture came out from
+the side or the top, the bursting of the egg being considered a very
+dangerous sign.’ So Conington, after the Scholiast. <i>Lemures</i> and
+<i>pericula</i> have no strict grammatical connection. Some supply
+<i>timentur</i> out of <i>palles</i>, others connect with
+<i>incussere</i> by Zeugma.</p>
+
+<p><a class = "line" name = "note5_186" id = "note5_186" href =
+"#line5_186">186.</a>
+<b>grandes galli:</b> <span class = "smallcaps">Juvenal’s</span>
+<i>ingens</i> | <i>semivir</i> (6, 512). The peculiar worship of Cybelé
+had long been familiar to the Romans.&mdash;<b>sistro:</b> The <span
+class = "greek" title = "seistron">σεῖστρον</span>, or ‘timbrel,’ was
+peculiar to the service of Isis, which had been imported more recently.
+On its significance, see <span class = "smallcaps">Plut.</span>, De
+Isid. et Osir., p. 376. The vibratory theory of life, with its perpetual
+sensuous unrest, is no novelty, as some of its eloquent advocates seem
+to think.&mdash;<b>lusca:</b> Why <i>lusca</i>? The priestess is
+supposed to have been struck blind by Isis, who visited offenders in
+that way. Comp. <span class = "smallcaps">Ov.</span>, Ep. ex P., 1, 1,
+53, and <span class = "smallcaps">Juv.</span>, 13, 93: <i>Isis et irato
+feriat mea lumina sistro</i>. One homely explanation is that the
+priestess, being one-eyed, had betaken herself to religion in despair of
+a husband! (Schol.)</p>
+
+<p><a class = "line" name = "note5_187" id = "note5_187" href =
+"#line5_187">187.</a>
+<b>incussere:</b> Gr. Aorist. Comp. <a href = "#line3_101">3, 101</a>.
+The expression,
+<span class = "pagenum">186</span>
+‘strike the gods into you,’ after the analogy of <i>incutere metum,
+terrorem</i>, is the other side of <span class =
+"smallcaps">Vergil’s</span> famous <i>magnum si pectore postit</i> |
+<i><span class = "gesperrt">excussisse deum</span></i> (Aen., 6,
+78).&mdash;<b>inflantis:</b> ‘who have a way of swelling.’ Compare the
+use of <i>depellentibus</i> for <i>depulsoribus</i>, <a href =
+"#line5_167">v. 167</a>. See G., 439.</p>
+
+<p><a class = "line" name = "note5_188" id = "note5_188" href =
+"#line5_188">188.</a>
+<b>praedictum:</b> ‘prescribed.’&mdash;<b>alli:</b> The superstitious
+usage here referred to has not yet been paralleled.</p>
+
+<p><b>189-91.</b>
+Last scene of all. Horse-laughter of the muscular military.</p>
+
+<p><a class = "line" name = "note5_189" id = "note5_189" href =
+"#line5_189">189.</a>
+<b>Dixeris&mdash;ridet</b> = <i>si dixeris&mdash;ridet</i>. Comp.
+<a href = "#line5_78">v. 78</a>.&mdash;<b>varicosos:</b> Comp. <span class
+= "smallcaps">Juv.</span>, 6, 397: <i><span class =
+"gesperrt">varicosus</span> fiet haruspex</i> (from long-standing).
+Varicose veins would naturally be common with men who were as much on
+their legs as the soldiers of that day. But as <i>varicare</i> means to
+stand or walk, as if one had <i>varices</i>, ‘to straddle’ (<span class
+= "smallcaps">Quint.</span>, 11, 3, 125), and as <i>vāricus</i> means
+‘straddling’ (<span class = "smallcaps">Ov.</span>, A.&nbsp;A., 3, 304),
+it seems better to translate <i>varicosos</i> ‘straddling’ here, always
+remembering the origin. With the change of quantity, comp.
+<i>văcillo</i> and <i>vācillo (vaccillo)</i>, Lachm., <i>Lucret.</i>, p.
+37.&mdash;<b>centurionum:</b> See note on <a href =
+"#note3_77">3,&nbsp;77</a>.</p>
+
+<p><a class = "line" name = "note5_190" id = "note5_190" href =
+"#line5_190">190.</a>
+<b>crassum ridet:</b> Comp. <i>subrisit molle</i>, <a href =
+"#line3_110">3, 110</a>.&mdash;<b>Pulfennius:</b> Jahn’s last. The name
+is variously written. Notice a similar trouble about a <i>hircosus
+centurio</i> in <span class = "smallcaps">Caes.</span>, B.&nbsp;G., 5.
+44, once Pulfio, now Pulio. Heinrich recognizes a fellow-countryman in
+<i>Vulfennius</i> (Wulfen).&mdash;<b>ingens:</b> Comp. <i><span class =
+"gesperrt">torosa</span> inventus</i>, <a href = "#line3_86">3, 86</a>;
+<i>caloni <span class = "gesperrt">alto</span></i>, <a href =
+"#line5_95">5, 95</a>.</p>
+
+<p><a class = "line" name = "note5_191" id = "note5_191" href =
+"#line5_191">191.</a>
+<b>Graecos:</b> Comp. <i>doctores Graios</i>, <a href = "#line6_38">6,
+38</a>.&mdash;<b>curto:</b> ‘clipped.’&mdash;<b>licetur:</b> A similar
+notion is worked out with admirable humor in <span class =
+"smallcaps">Lucian’s</span> Vitarum Auctio.</p>
+
+<hr class = "spacer">
+
+<h5><a name = "notes_VI" id = "notes_VI" href = "#sat_VI">
+SIXTH SATIRE.</a></h5>
+
+<p class = "argument">
+<span class = "smallcaps">The</span> Sixth Satire is addressed to
+Caesius Bassus, a&nbsp;friend of <span class =
+"smallcaps">Persius</span>. The theme of it is the Proper Use of the
+Goods of this Life, which takes the personal form of a vindication of
+the poet’s course in preferring moderate enjoyment to mean parsimony or
+grasping avarice.</p>
+
+<p class = "argument">
+<span class = "smallcaps">Argument.</span>&mdash;Are you by this time
+snugly ensconced by your Sabine fire? And <i>do</i> the chords of your
+lyre wake to life at your vigorous touch? O&nbsp;cunning craftsman! in
+whose song the noble tongue of our
+<span class = "pagenum">187</span>
+sires is set to manly music, while young and old alike feel the play of
+your sportive wit, which in all its sport never forgets the gentleman
+(<a href = "#line6_1">1-6</a>).</p>
+
+<p class = "argument">
+While you are yonder, I am in my dear Liguria, where the coast is warm,
+the sea is wintry but kindly, the rocks bar out the storm, and the shore
+retreats far inland.</p>
+
+<p class = "poem">
+‘Luna’s port&mdash;’tis well worth while, good people, to know it.’</p>
+
+<p class = "argument">
+This was a saying of Ennius, as he woke up in his senses from his
+Pythagorean dreams and became plain Quintus, instead of the ‘blind old
+man of Scio’s rocky isle,’ and a wise saying of that hearty old cock it
+was (<a href = "#line6_7">7-11</a>).</p>
+
+<p class = "argument">
+Well, here I am, caring nothing for the rabble rout, caring nothing what
+an ill wind may be getting up for my flock. My neighbor may have a
+better patch of ground, men of lower birth may be growing rich over me.
+I&nbsp;will not fret myself into a crooked old man for that, nor dine
+without a bit of something nice, nor nose out a swindle in the imperfect
+seal of a flagon of flat wine (<a href = "#line6_12">12-17</a>).</p>
+
+<p class = "argument">
+How men differ in such matters! The very same horoscope may bring forth
+rights and lefts. Here is one that even on his birthday allows himself
+only the scantiest and meanest fare. Here is another that eats up, like
+a spirited lad as he is, a&nbsp;vast estate. For my part, ‘Enjoyment,
+enjoyment,’ is my motto, although I do not intend to treat my freedmen
+to turbots, and do not understand the difference between cock-ortolan
+and hen-ortolan after they are cooked (<a href =
+"#line6_18">18-24</a>).</p>
+
+<p class = "argument">
+Now this is the way to live, I take it. Up to your harvest, up to the
+last grain of your garners. What are you afraid of? It is a mere matter
+of harrowing, and lo! another crop is there (<a href = "#line6_25">25,
+26</a>).</p>
+
+<p class = "argument">
+But you say, Mr. Critic, ‘There are claims on one. A&nbsp;friend is
+shipwrecked, the poor fellow is utterly ruined. One must do something
+for him.’</p>
+
+<p class = "argument">
+Well and good! Sell a piece of land, give the proceeds to the needy
+friend, and keep him from begging up and down with a pictorial appeal to
+the benevolent (<a href = "#line6_27">27-33</a>).</p>
+
+<p class = "argument">
+Ay, but what of the heir? <i>He</i> will dock the funeral meats, if
+<i>you</i> dock the estate. One, sure, would not be stenchful when one’s
+dead, and your bones will not be perfumed, or the perfumes will be stale
+or adulterated. One can not expect to diminish one’s property without
+paying for it. Why, I&nbsp;heard Bestius say of your Greek teachers,
+from whom you learned this precious wisdom of yours, that ever since
+this new doctrine came to town the very haymakers have been spoiling
+their good, wholesome fare by rancid grease.</p>
+
+<p class = "argument">
+Well, what of all this&mdash;the heir’s neglect and Bestius’s
+fault-finding&mdash;would you fear <i>them</i> beyond the grave?
+(<a href = "#line6_34">34-41</a>).</p>
+
+<p class = "argument">
+But come, my heir, let us dismiss the critic, and have a quiet chat
+together.
+<span class = "pagenum">188</span>
+Consider the claims on me. Here comes a glorious piece of news from the
+Emperor. The Germans have been defeated with great slaughter.
+A&nbsp;grand triumph is preparing. This is no time to hold back.
+I&nbsp;am going to bring out a hundred pairs of gladiators in honor of
+the occasion. Forbid it, if you dare. If you don’t like that, I&nbsp;am
+going to give largess to the people&mdash;none of your vile vetches, but
+oil and pasties. Do you object? Out with it (<a href =
+"#line6_42">42-51</a>).</p>
+
+<p class = "argument">
+What do you say? ‘My farm is hardly worth having after that.’ Well, if
+you don’t want it, I&nbsp;can get some of the women to take it; and if
+there is none of them left, I&nbsp;can go to the next village, and Hodge
+will accept. ‘A son of earth?’ you say; ‘a nobody?’ Pshaw! If you come
+to that, I&nbsp;can just remember who my great-great-grandfather was.
+Two generations further back and I come to a son of earth,
+a&nbsp;nobody, and Hodge is a relation&mdash;a distant relation, but
+still a relation&mdash;a kind of great-great-uncle. Believe me, the Lord
+No Zoo is father of us all (<a href = "#line6_52">52-60</a>).</p>
+
+<p class = "argument">
+You are an impatient heir, I must say. Why can’t you wait for my shoes
+until I take them off? I&nbsp;am the God of Fortune to you, just as he
+is painted in the pictures, with a purse in his hand. Will you take what
+I leave, and be glad to get it? It falls short; I&nbsp;know it does. But
+if I have lessened it, it is for myself that I have lessened it, and
+what is left is all yours. Don’t stop to ask about that old legacy, and
+serve up a stale dish of fatherly advice. I&nbsp;know how fathers talk.
+‘Credit yourself by the interest. Debit yourself by the expenses. What
+is the remainder?’ Remainder? Fudge! Souse the cabbage, boy. Don’t spare
+the oil. Am I to dine off cow-heel and turnips on a holiday, that your
+graceless grandson may stuff himself with <i>pâté de foie gras</i>, and
+indulge himself in aristocratic connections? Am I to go through the eye
+of a cambric needle that he may have a priestly paunch? (<a href =
+"#line6_61">61-74</a>).</p>
+
+<p class = "argument">
+Furthermore, if you are not content with the little that I can leave
+you, sell your life for gain. Try every trade. Try every nook and corner
+of the earth. Go to Cappadocia, for instance, where you can make
+something by dealing in slaves, and become an adept in that dainty
+business. Double your capital. ‘I have done so. Nay, I&nbsp;have trebled
+it, quadrupled it, decupled it. Tell me where to draw the line.’ Tell
+you where to draw the line? Why, Chrysippus himself could not find the
+limit between wealth and poverty. A&nbsp;dollar more does not make a man
+rich, a&nbsp;dollar less does not make him poor. Where is the
+turning-point? And yet this man talks as if the turning-point had been
+found! (<a href = "#line6_75">75-80</a>.)</p>
+
+<hr class = "tiny">
+
+<p class = "argument">
+The Sixth Satire is the most obscure and unsatisfactory of the poems of
+<span class = "smallcaps">Persius</span>, and baffled interpreters have
+taken refuge in the hypothesis that the Satire is incomplete. The
+roughness of the metre and the harshness of the transitions favor this
+view; but parts are wrought
+<span class = "pagenum">189</span>
+out with all the minuteness of detail that is characteristic of our
+author’s style, and some of the highest authorities, such as Jahn,
+consider the Satire complete. The close, as Mr. Pretor remarks, is
+exactly in <span class = "smallcaps">Persius’s</span> manner, and we
+must look elsewhere in the Satire for the breaks&mdash;if breaks there
+be.</p>
+
+
+<p class = "space">
+<b>1-11.</b> Are you spending the winter on your Sabine farm, Bassus,
+and have you resumed your poetry? I&nbsp;am in my Ligurian resort, so
+praised by Ennius.</p>
+
+<p><a class = "line" name = "note6_1" id = "note6_1" href =
+"#line6_1">1.</a>
+<b>iam:</b> in the question implies uncertainty, ‘actually?’
+‘so?’&mdash;<b>bruma</b> = <i>brevuma</i> = <i>brevissuma</i>
+(<i>dies</i>), ‘the shortest day,’ ‘winter-solstice,’
+‘midwinter.’&mdash;<b>foco:</b> contrast between the <i>fireside</i> of
+the land of the Sabines and the open-air <i>warmth</i> of
+Liguria.&mdash;<b>Basse:</b> ‘Caesius Bassus, one of the intimate
+friends of <span class = "smallcaps">Persius</span>, was deputed by
+Cornutus to edit his Satires after his death. He is classed with <span
+class = "smallcaps">Horace</span>, as a lyric poet, by <span class =
+"smallcaps">Quintilian</span> (10, 1, 96), who, however, thinks him
+inferior to some of his own contemporaries, and he is probably the same
+with the author of a treatise on Metres, which is referred to by various
+grammarians, and still exists in an interpolated epitome, but different
+from Gabius or Gavius Bassus, who wrote works on the origin and
+signification of words and on the gods. Bassus was killed, according to
+the Scholiast, in the famous eruption of Vesuvius’ (Conington, after
+Jahn). See also <a href = "#line6_5">v. 5</a>.&mdash;<b>Sabino:</b> The
+simplicity of the Sabines has already been noted (see <a href =
+"#note1_20">1, 20</a>), and Jahn thinks that the life about the fireside
+(<span class = "smallcaps">Verg.</span>, Georg., 2, 532) is an
+indication of the primitive tastes of Bassus and his family.
+<i>Sabino</i> also prepares the way for <i>tetrico</i> (below). Comp.
+<i><span class = "gesperrt">tetrica</span> ac tristis disciplina <span
+class = "gesperrt">Sabinorum</span></i>, <span class =
+"smallcaps">Liv.</span>, 1, 18 (quoted by Jahn).</p>
+
+<p><a class = "line" name = "note6_2" id = "note6_2" href =
+"#line6_2">2.</a>
+<b>tetrico:</b> ‘austere.’&mdash;<b>vivunt:</b> <span class =
+"smallcaps">Persius</span> was thinking of <span class =
+"smallcaps">Horace’s</span> <i>vivuntque commissi calores</i> |
+<i>Aeoliae fidibus puellae</i>, Od., 4, 9, 11. 12. <i>Iam vivunt</i>,
+‘wake to life’ (Pretor), where ‘wake’ represents <i>iam</i>. See note on
+<a href = "#note5_33">5,&nbsp;33</a>.</p>
+
+<p><a class = "line" name = "note6_3" id = "note6_3" href =
+"#line6_3">3.</a>
+<b>mire:</b> is an Adjective or an Adverb, according as <i>opifex</i> is
+a Substantive or an Adjective.&mdash;<b>opifex:</b> Commentators supply
+<i>es</i>, but the Nom. can be used in characteristic exclamation. See
+G., 340, R. 1, and comp. 1,&nbsp;5. With <i>opifex intendisse</i> comp.
+<a href = "#lineP_11">Prol., 11</a>, and <i>egregius lusispe</i> below.
+For the Perf., see <a href = "#note1_41">1, 41</a>,
+note.&mdash;<b>veterum primordia vocum:</b> Perhaps ‘the racy richness
+of our early
+<span class = "pagenum">190</span>
+tongue.’ <span class = "smallcaps">Lucr.</span> (4, 531) uses
+<i>primordia vocum</i> of the beginnings of articulate sound, as <span
+class = "smallcaps">Quint.</span>, 1, 9, 1, uses <i>dicendi
+primordia</i> of instruction in the rudimentary preparation for
+rhetoric. Bassus, as the whole context shows, affected to belong to the
+<i>antiquiores homines</i>, and imitated the diction of an earlier time.
+<span class = "smallcaps">Persius</span> belongs to a different school
+of art, and his friendship makes him guarded. Jahn understands a
+grammatical poem, of which <span class = "smallcaps">Lucilius</span>
+furnishes a familiar example in his Ninth Book (see&nbsp;L. Müller’s
+<i>Lucilius</i>, p. 221), but, as Pretor remarks, <i>numeris&mdash;marem
+strepitum fidis intendisse Latinae</i> indicates lyric poetry.</p>
+
+<p><a class = "line" name = "note6_4" id = "note6_4" href =
+"#line6_4">4.</a>
+<b>marem strepitum:</b> like <span class = "greek" title = "arrên phthongos">ἄρρην φθόγγος</span>. Comp. <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 402: <i>mares
+animos</i>.&mdash;<b>fidis Latinae:</b> Stress is to be laid on
+<i>Latinae</i>. <span class = "smallcaps">Persius</span> himself is
+intensely Latin in his vocabulary.&mdash;<b>intendisse:</b> ‘<span class
+= "smallcaps">Verg.</span>, Aen., 9, 774, speaks of stringing the
+numbers on the chords; <span class = "smallcaps">Persius</span> goes
+further [and fares worse], and talks of stringing sounds on the numbers’
+(Conington).</p>
+
+<p><a class = "line" name = "note6_5" id = "note6_5" href =
+"#line6_5">5.</a>
+<b>mox:</b> points to another side of Bassus’s poetry, the non-lyrical,
+probably satires, for one <i>Bassus in satyris</i>, mentioned by <span
+class = "smallcaps">Fulgentius</span> (ap. Jahn), is most likely our
+man, despite Jahn’s objections.&mdash;<b>iocis:</b> Heinrich, <i>ex
+coni</i>. The passage is a very difficult one. The interpretation turns
+on the two words, <i>iocos</i> (or <i>iocis</i>), <i>senes</i> (or
+<i>senex</i>), as the reading <i>egregios</i> for <i>egregius</i> may be
+discarded.</p>
+
+<p class = "hanging">
+(1.) Jahn reads in both editions (1843 and 1868) <i>iocos</i> and
+<i>senes</i>.</p>
+
+<p class = "hanging">
+(2.) Hermann’s <i>senex</i>, the reading of Montepess., was
+enthusiastically advocated by Hermann himself.</p>
+
+<p class = "hanging">
+(3.) Heinrich’s <i>iocis</i> has the merit of making a perfectly clear
+sense, and is accepted by Mr. Pretor.</p>
+
+<p class = "hanging">
+(1.) If we read <i>iocos</i> with the MSS., <i>iuvenes</i> must be
+considered an Adjective, and <i>iuvenes iocos</i> = <i>iuvenilis
+iocos</i>. This almost compels us to make <i>senes</i> an Adjective
+also, and the following translation may be given: ‘Rare genius for
+carrying on the frolics of youth [in song], and for giving play with
+virtuous skill to the jests of the aged.’</p>
+
+<p class = "hanging">
+(2.) Hermann’s reading labors under the difficulty of requiring us to
+understand <i>senex</i> of Bassus, who was not an old man at the time;
+but compare the note on <i>praegrandi sene</i>,
+<span class = "pagenum">191</span>
+<a href = "#line1_124">1, 124</a>. Notice also the want of balance in
+the absolute <i>lusisse</i>. ‘Then showing yourself excellent in your
+old age at wakening young loves and frolicking over the chords with a
+virtuous touch’ (Conington). <i>Iocus</i> is often used of love. Comp.
+<span class = "smallcaps">Catull.</span>, 8, 6: <i>ibi illa multa tum
+<span class = "gesperrt">iocosa</span> fiebant</i>.</p>
+
+<p class = "hanging">
+(3.) Heinrich’s <i>iocis</i> gives us, ‘Rarely skilled to rally the
+young with jibe and jest and have a fling at old sinners, but all in
+high-bred style.’ <i>Pollice honesto</i> is the <i>ingenuo ludo</i> of
+<a href = "#line5_16">5, 16</a>. Comp. also <a href = "#line2_74">2,
+74</a>: <i>generoso <span class = "gesperrt">honesto</span></i>; and the
+<i><span class = "gesperrt">honesta</span> oratio</i> of <span class =
+"smallcaps">Ter.</span>, Andr., 1, 1, 114: <i>quae opponitur <span class
+= "gesperrt">plebeiae</span></i>, as Gesner says, s.v. It is hardly
+necessary to say that the English language has no synonyme for
+<i>honestus</i>, which embraces the goodly outside as well as the pure
+heart.</p>
+
+<p>Mr. Conington translates Hermann’s text and comments on Jahn’s.
+<i>Lusisse senes</i> he understands as <i>amavisse senili more</i>, the
+poet being said to do the deed he writes about, <span class =
+"smallcaps">Verg.</span>, Ecl., 9, 19. It would be far more simple to
+make <i>iocos senes</i> = <i>amores senilis</i>, harsh as that would be.
+Old men’s philanderings are fair game for the satirist or comic poet to
+have his fling at (<i>lusisse</i>). <i>Turpe senilis amor</i>, as the
+master says, <span class = "smallcaps">Ov.</span>, Am., 1, 9,&nbsp;4.
+Compare the Casina of <span class =
+"smallcaps">Plautus</span>.&mdash;<b>pollice:</b> the cithern being
+played chiefly with the thumb.</p>
+
+<p><a class = "line" name = "note6_6" id = "note6_6" href =
+"#line6_6">6.</a>
+<b>lusisse:</b> Comp. <i>scit <span class =
+"gesperrt">risisse</span></i>, <a href = "#line1_132">1,
+132</a>.&mdash;<b>mihi:</b> The step-father of <span class =
+"smallcaps">Persius</span> probably had a seat there.</p>
+
+<p><a class = "line" name = "note6_7" id = "note6_7" href =
+"#line6_7">7.</a>
+<b>intepet:</b> The warmth of the coast made it a favorite resort for
+invalids. It is not unlikely that <span class =
+"smallcaps">Persius</span> was a man of delicate
+constitution.&mdash;<b>hibernat:</b> According to some, ‘my sea
+winters,’ that is, ‘rests for the winter,’ is not vexed by the keels of
+ships (Schol.). According to others, ‘is wintry,’ like <i>hiemat</i>
+(the more common word in this sense). A&nbsp;stormy sea was supposed to
+lash itself warm. Jahn quotes, among other passages, <span class =
+"smallcaps">Cic.</span>, N.&nbsp;D., 2, 10, 26: <i>maria agitata ventis
+<span class = "gesperrt">tepescunt</span></i>.&mdash;<b>meum:</b> ‘my
+sea,’ ‘my favorite haunt.’ Some have inferred falsely from this passage
+that Luna was the birthplace of <span class =
+"smallcaps">Persius</span>.</p>
+
+<p><a class = "line" name = "note6_8" id = "note6_8" href =
+"#line6_8">8.</a>
+<b>latus dant:</b> ‘present their giant side,’ ‘interpose a mighty
+barrier’ against the winds. Jahn comp. <span class =
+"smallcaps">Verg.</span>, Aen., 1, 105: <i>undis
+<span class = "pagenum">192</span>
+<span class = "gesperrt">dat latus</span></i>.&mdash;<b>valle</b> =
+<i>sinu</i>. The Abl. of manner may be translated locally; ‘into a deep
+bay’ (Conington).&mdash;<b>se receptat:</b> ‘retreats,’ ‘retires’ from
+the storms. So <span class = "smallcaps">Horace</span> (Od., 1, 17, 17;
+Epod., 2, 11) speaks of a <i>reducta vallis</i>. Jahn refers the
+frequentative to the windings of the bay. ‘Keeps retreating,’ ‘retreats
+further and further,’ might very well be said from the traveller’s point
+of view. The description of the harbor, now the Gulf of Spezia, is said
+to be very accurate.</p>
+
+<p><a class = "line" name = "note6_9" id = "note6_9" href =
+"#line6_9">9.</a>
+<b>Lunai portum</b>, etc.: <span class = "smallcaps">Ennius</span>,
+Ann., <a href = "#line6_16">v. 16</a> (Vahl.). Luna, from which the
+harbor took its name, was not on the gulf, but on the eastern side of
+the Macra (Magra), near the modern Sarzana.&mdash;<b>est operae:</b>
+Commonly explained by the ellipsis of <i>pretium</i>. But the Gen. is
+very elastic.&mdash;<b>cognoscite:</b> is easier in tone,
+<i>cognoscere</i> is easier for translation. <b>cives:</b> ‘good people
+all.’ Ger. <i>Leutlein</i>. Jahn notices the <i>antiqua gramtas</i> of
+<i>civis</i>.</p>
+
+<p><a class = "line" name = "note6_10" id = "note6_10" href =
+"#line6_10">10.</a>
+<b>cor Enni:</b> Comp. <i>re-<span class = "gesperrt">cor</span>-dor</i>
+and <i><span class = "gesperrt">cor</span>-datus</i>, and our ‘get <i>by
+heart</i>.’ So <i>credidit meum <span class = "gesperrt">cor</span></i>,
+<span class = "smallcaps">Enn.</span>, Ann., 374 (Vahl.). See <span
+class = "smallcaps">Mart.</span>, 3, 26, 4; 11, 84, 17. The expression
+is little more than <i>cordatus Ennius</i>, as in the familiar passage,
+<i>tergemini <span class = "gesperrt">vis</span> Geryonaï</i>, <span
+class = "smallcaps">Lucr.</span>, 5, 28. So <i><span class =
+"gesperrt">corpore</span> Turni</i>, <span class =
+"smallcaps">Verg.</span>, Aen., 7, 650; Greek, <span class = "greek"
+title = "bia, is, demas, stoma">βία, ἴς, δέμας, στόμα</span> (<span
+class = "greek" title = "Anutês stoma">Ἀνύτης στόμα</span>, <span class
+= "smallcaps">Anthol. P.</span>, 9, 26,&nbsp;3). On the same principle
+are based such combinations as <i><span class = "gesperrt">mens</span>
+provida Reguli</i>, <span class = "smallcaps">Hor.</span>, Od., 3, 5,
+13, and <i>venit et Crispi iucunda <span class =
+"gesperrt">senectus</span></i>. <span class = "smallcaps">Juv.</span>,
+4, 81, and <i>Montani quoque <span class = "gesperrt">venter</span>
+adest</i>, l.c. 107. ‘Ennius, in his sober moments’
+(Gifford).&mdash;<b>destertuit:</b> On the Tense, see G., 563; A., 62,
+2, <i>a</i>. ‘Snored off his being,’ i.e., the dream that he was Homer.
+Ennius’s dreams are touched up in <a href = "#lineP_2">Prol., 2</a>,
+where it has been mentioned that Ennius dreamed that he had seen Homer.
+For the further visions, see the citations in Vahlen’s ed. of <span
+class = "smallcaps">Ennius</span>, Ann., <a href =
+"#line6_15">v.&nbsp;15</a>.</p>
+
+<p><a class = "line" name = "note6_11" id = "note6_11" href =
+"#line6_11">11.</a>
+<b>Maeonides:</b> poetic ‘flash-name,’ like the ‘Bard of
+Avon.’&mdash;<b>Quintus:</b> ‘plain Quintus’ (Gifford). The Scholiast
+fancies that <i>quintus</i> is a numeral, and gives the following order
+of transmigrations: 1.&nbsp;Pythagoras; 2.&nbsp;A&nbsp;peacock;
+3.&nbsp;Euphorbus; 4.&nbsp;Homer. <span class =
+"smallcaps">Tertullian</span> gives: 1.&nbsp;Euphorbus;
+2.&nbsp;Pythagoras; 3.&nbsp;Homer; 4.&nbsp;A&nbsp;peacock. The pun would
+be a wretched one, but that is no objection; more serious is the wrong
+use of the Preposition <i>ex</i> for <i>ab</i>. Heinrich combines
+confidently <i>Maeonides
+<span class = "pagenum">193</span>
+Quintus</i>, ‘Homer with a Roman <i>praenomen</i>.’ Conington follows
+doubtingly.&mdash;<b>pavone:</b> <i>Memini me fiere <span class =
+"gesperrt">pavum</span></i>, <span class = "smallcaps">Enn.</span>,
+Ann., <a href = "#line6_15">v. 15</a> (Vahl.).&mdash;<b>Pythagoreo:</b>
+‘Since <i>Pythagoras’</i> time that I was an Irish rat,’ <span class =
+"smallcaps">Shaksp.</span></p>
+
+<p><b>12-17.</b>
+Here I am in happy unconcern, caring naught for vulgar herd or
+threatened flock. I&nbsp;do not pine because my neighbor waxes fat. Let
+who will get up in the world; I&nbsp;won’t let my hair turn gray for
+that, nor stint myself, nor poke my nose into the wax of every jar of
+wine I open to see whether somebody has not been tampering with the
+seal.</p>
+
+<p><a class = "line" name = "note6_12" id = "note6_12" href =
+"#line6_12">12.</a>
+<b>securus:</b> with Gen., <span class = "smallcaps">Verg.</span>, Aen.,
+1, 350; 10, 326.&mdash;<b>quid praeparet auster:</b> Jahn comp. <i>quid
+cogitet umidus <span class = "gesperrt">auster</span></i>, <span class =
+"smallcaps">Verg.</span>, Georg., 1, 462; and 444: <i>arboribusque
+satisque Notus <span class = "gesperrt">pecorique</span>
+sinister</i>.</p>
+
+<p><a class = "line" name = "note6_13" id = "note6_13" href =
+"#line6_13">13.</a>
+<b>infelix:</b> with Dat. <span class = "smallcaps">Verg.</span>,
+Georg., 2, 239: <i>tellus</i>&mdash;<i><span class =
+"gesperrt">infelix</span> frugibus</i>, quoted by
+Conington.&mdash;<b>pecori:</b> as it were, doubly
+dependent.&mdash;<b>securus et:</b> The trajection of <i>et</i> (<a href
+= "#line1_23">1, 23</a>) gives <i>securus</i> a better
+position.&mdash;<b>angulus:</b> as in <i>O si <span class =
+"gesperrt">angulus</span> ille</i> | <i>proximus accedat</i>, <span
+class = "smallcaps">Hor.</span>, Sat., 2, 6, 8.</p>
+
+<p><a class = "line" name = "note6_14" id = "note6_14" href =
+"#line6_14">14.</a>
+<b>pinguior:</b> Jahn quotes appositely for the thought, <i>fertilior
+seges est alienis semper in agris</i>, <span class =
+"smallcaps">Ov.</span>, A.&nbsp;A., 1, 349. So <span class =
+"smallcaps">Juv.</span>, 14, 142: <i>maiorque videtur</i> | <i>et melior
+vicina seges</i>.&mdash;<b>adeo omnes:</b> The emphasis of <i>adeo</i>
+may be given by repetition, <i>all, ay, all</i>. The supposition is an
+extreme one, hence the Subjunctive <i>ditescant</i>. Notice the harsh
+elision at this point, which is avoided by smoother writers. <span class
+= "smallcaps">Persius</span> has it fourteen times in all&mdash;eight
+times in this one Satire&mdash;which may be interpreted as an indication
+of its incompleteness.</p>
+
+<p><a class = "line" name = "note6_15" id = "note6_15" href =
+"#line6_15">15.</a>
+<b>peioribus:</b> Comp. <span class = "smallcaps">Hor.</span>, Ep., 1,
+6, 22: <i><span class = "gesperrt">peioribus</span> ortus</i>. The
+social sense is the more prominent.&mdash;<b>usque</b> =
+<i>ubi-s-que</i>, ‘no matter where or when,’ hence ‘every where,’ and,
+as here, ‘always.’</p>
+
+<p><a class = "line" name = "note6_16" id = "note6_16" href =
+"#line6_16">16.</a>
+<b>curvus:</b> ‘bent double.’&mdash;<b>minui:</b> ‘lose flesh’
+(Conington).&mdash;<b>senio:</b> before my time. Comp. <a href =
+"#line1_26">1, 26</a>.&mdash;<b>uncto:</b> synonymous with ‘dainty.’
+Jahn comp. <span class = "smallcaps">Hor.</span>, A.&nbsp;P., 422, and
+<a href = "#line3_102">3, 102</a>; <a href = "#line4_17">4, 17</a>.</p>
+
+<p><a class = "line" name = "note6_17" id = "note6_17" href =
+"#line6_17">17.</a>
+<b>signum tetigisse:</b> Only good wines were sealed. The miser not only
+seals up his vile stuff, but, in his anxious scrutiny into the state of
+the seal, butts his nose against it&mdash;perhaps with
+<span class = "pagenum">194</span>
+the additional idea of helping the sense of sight with the sense of
+smell. <i>Recusem tetigisse</i> = <i>nolim tetigisse</i>. Comp. note on
+<a href = "#note1_91">1,&nbsp;91</a>.</p>
+
+<p><b>18-24.</b>
+Others may not agree with me in these views. Even twins born under the
+same star may be widely different. One gives himself a treat only on his
+birthday, and a poor treat it is. Another devours his substance before
+he comes of age. I&nbsp;am for enjoyment, but not for waste; for
+enjoyment, but not for a subtle discernment of the pleasures of the
+table.</p>
+
+<p><a class = "line" name = "note6_18" id = "note6_18" href =
+"#line6_18">18.</a>
+<b>his:</b> On the Dat., see G., 388, R.&nbsp;1; A., 51, 2, <i>g</i>.
+<i>His</i> is Neuter. ‘These views of mine.’&mdash;<b>geminos:</b> Comp.
+<span class = "smallcaps">Hor.</span>, Ep., 2, 2, 183
+seqq.&mdash;<b>horoscope:</b> ‘natal star,’ ‘star of nativity.’ Comp.
+note on <a href = "#note5_46">5, 46</a>.&mdash;<b>varo genio:</b> ‘of
+diverging temper.’ <i><span class = "gesperrt">Varus</span></i> is often
+used of distorted, bowed legs, and <i>varo genio</i> is only <span class
+= "smallcaps">Persius’s</span> way of saying that the dispositions of
+twins often go apart.</p>
+
+<p><a class = "line" name = "note6_19" id = "note6_19" href =
+"#line6_19">19.</a>
+<b>producis:</b> ‘bring forth,’ ‘give birth to,’ ‘beget,’ <span class =
+"smallcaps">Plaut.</span>, Rud., 4, 4, 129; <span class =
+"smallcaps">Prop.</span>, 5, 1, 89 (Conington). Jahn renders it <i>in
+lucem edit et educat</i>, which is more in conformity with general usage
+and with the notion of control in the star of nativity.&mdash;<b>solis
+natalibus:</b> This picture has been much admired. Every word tells.
+This high-day comes but once a year (<i>solis</i>), the cabbage is dry
+(<i>sine uncto</i>), he does not souse it with oil, as <span class =
+"smallcaps">Persius</span> does (<i>ungue, puer, caules</i>, <a href =
+"#line6_69">v. 69</a>), but moistens it (<i>tingat</i>) with fish brine
+(<i>muria</i>), which he has bought&mdash;sly fox that he is
+(<i>vafer</i>)&mdash;in a cup (a&nbsp;cupful at a time, to prevent
+waste), while, with his own hand (<i>ipse</i>)&mdash;for he trusts no
+other&mdash;he dusts (<i>inrorans</i>) the platter with the dear,
+precious pepper, sacred in his eyes (<i>sacrum</i>).</p>
+
+<p><a class = "line" name = "note6_20" id = "note6_20" href =
+"#line6_20">20.</a>
+<b>muria:</b> was a cheap sauce, ‘made of the <i>thynnus</i>, and less
+delicate than <i>garum</i>, made of the <i>scomber</i>’ (Macleane);
+hence the point of buying it only as he wanted it&mdash;a small quantity
+at a time.&mdash;<b>empta:</b> Both Conington and Pretor direct us to
+combine <i>empta</i> with <i>muria</i>. It can not be combined with any
+thing else, as <i>calice</i> is rigidly masculine, Neue,
+<i>Formenl.</i>, 1, 691.</p>
+
+<p><a class = "line" name = "note6_21" id = "note6_21" href =
+"#line6_21">21.</a>
+<b>sacrum:</b> <i>Acerbe dictum quia avarus tamquam sacro parcit</i>
+(Jahn). Jahn compares <span class = "greek" title = "hals theios">ἅλς
+θεῖος</span>, but has not overlooked the real point, as Mr. Pretor
+intimates.&mdash;<b>inrorans:</b> Comp. <i>instillat</i> in a similar
+description of a miser (Avidienus), in <span class =
+"smallcaps">Hor.</span>, Sat., 2, 2, 62.&mdash;<b>dente peragit:</b>
+‘gobbles up’ (Conington). <i>Peragere</i>, ‘go through,’ ‘run
+through.’</p>
+
+<span class = "pagenum">195</span>
+<p><a class = "line" name = "note6_22" id = "note6_22" href =
+"#line6_22">22.</a>
+<b>magnanimus:</b> Ironical, like <span class = "smallcaps">Hor.</span>,
+Ep., 1, 15, 27: <i>rebus maternis atque paternis</i> | <i><span class =
+"gesperrt">fortiter</span> absumptis</i>. ‘High-hearted
+hero.’&mdash;<b>puer:</b> while a mere lad. ‘Gifford notices the
+rapidity of the metre, and contrasts it with the slowness of <a href =
+"#line6_20">v. 20</a>.’ It would have been more to the purpose if he had
+noticed the mockery of the position, which suspends the sense.
+‘He&mdash;his property&mdash;with nothing but his teeth&mdash;his vast
+estate&mdash;heroic being&mdash;runs through&mdash;while nothing but a
+boy.’</p>
+
+<p><a class = "line" name = "note6_23" id = "note6_23" href =
+"#line6_23">23.</a>
+<b>rhombos:</b> It suffices to refer to <span class =
+"smallcaps">Juv.</span>, Sat., 4.&mdash;<b>ponere:</b> <a href =
+"#line1_53">1, 53</a>. For the construction, see <a href =
+"#noteP_11">Prol., 11</a>.</p>
+
+<p><a class = "line" name = "note6_24" id = "note6_24" href =
+"#line6_24">24.</a>
+<b>tenuis&mdash;salivas:</b> ‘delicate juices,’ ‘subtle flavors.’
+<i>Saliva</i> = <i>sapor</i>, as in <span class =
+"smallcaps">Plin</span>., H.&nbsp;N., 22, 1, 22: <i>sua cuique vino
+<span class = "gesperrt">saliva</span></i>, by a natural transfer from
+the consumer to the consumed; or, as Conington puts it, from effect to
+cause. See <a href = "#note5_112">5, 112</a>.&mdash;<b>sollers
+nosse:</b> <a href = "#lineP_11">Prol., 11</a>.&mdash;<b>turdarum:</b>
+‘thrushes,’ ‘fieldfares,’ a&nbsp;well-known delicacy, <span class =
+"smallcaps">Hor.</span>, Sat., 2, 5, 10; Ep., 1, 15, 41. The Scholiast
+tells us that the feminine is used for the ordinary masculine, because
+the Brillat-Savarins of the period undertook to tell the sex by the
+taste. The difference between <i>turdorum</i> and <i>turdarum</i>
+reminds one of ‘calipash’ and ‘calipee.’</p>
+
+<p><b>25-33.</b>
+The true course is to live fully up to your income and trust to the next
+crop. ‘But suppose an extraordinary demand is made on you. Suppose a
+friend is shipwrecked.’ What easier than to sell a piece of land and
+relieve his wants?</p>
+
+<p><a class = "line" name = "note6_25" id = "note6_25" href =
+"#line6_25">25.</a>
+<b>tenus:</b> here ‘fully up to.’ Jahn makes <i>tenus</i> an Adverb,
+compares <span class = "smallcaps">Verg.</span>, Aen., 1, 737: <i>summo
+<span class = "gesperrt">tenus</span> attigit ore</i>, and explains
+<i>messe propria vive</i> as = <i>consume fructus agrorum tuorum usque
+ad finem, quoad suppetunt</i>.&mdash;<b>propria:</b> ‘Is it not lawful
+for me to do what I will with <i>mine own</i>?’</p>
+
+<p><a class = "line" name = "note6_26" id = "note6_26" href =
+"#line6_26">26.</a>
+<b>emole:</b> to the last grain.&mdash;<b>occa:</b> Comp. <span class =
+"smallcaps">Hor.</span>, Ep., 2, 2, 161: <i>cum segetes <span class =
+"gesperrt">occat</span> tibi mox frumenta daturas</i>.&mdash;<b>in
+herba:</b> ‘in the blade.’ <span class = "smallcaps">Ov</span>., Her.,
+17, 263: <i>adhuc tua messis in <span class = "gesperrt">herba</span>
+est</i>. Have something of the farmer’s hopeful spirit. Comp. the Gr.
+proverb: <span class = "greek" title = "aei geôrgos eis neôta plousios">ἀεὶ γεωργὸς εἰς νέωτα πλούσιος</span>.</p>
+
+<p><a class = "line" name = "note6_27" id = "note6_27" href =
+"#line6_27">27.</a>
+<b>ast:</b> <a href = "#line2_39">2, 39</a>. An impersonal objector
+speaks.&mdash;<b>officium</b> = <span class = "greek" title = "to kathêkon">τὸ καθῆκον</span>, which embraces our charity. The Stoics
+insisted on <span class = "greek" title = "chrêstotês">χρηστότης</span>,
+without prejudice to <span class = "greek" title =
+"apatheia">ἀπάθεια</span>. They wanted <i>benevolentia</i> without
+<i>misericordia</i>. See Knickenberg, l.c. p. 90. The poet
+<span class = "pagenum">196</span>
+gets the better of the philosopher in <span class =
+"smallcaps">Persius.</span>&mdash;<b>trabe rupta:</b> Comp. <a href =
+"#line1_89">1, 89</a>.&mdash;<b>Bruttia saxa:</b> In the toe of the
+Italian boot.</p>
+
+<p><a class = "line" name = "note6_28" id = "note6_28" href =
+"#line6_28">28.</a>
+<b>prendit:</b> Casaubon comp. <i><span class =
+"gesperrt">prensantemque</span> uncis manibus capita aspera montis</i>,
+<span class = "smallcaps">Verg.</span>, Aen., 6, 360 (of
+Palinurus).&mdash;<b>surdaque vota:</b> <i>Surdus</i> is ‘dull of
+hearing’ and ‘dull of sound,’ ‘deaf,’ and, as here, ‘unheard,’ Comp.
+<span class = "greek" title = "kôphos">κωφός</span>, The radical is
+<span class = "smallroman">SVAR</span>, ‘heavy;’ ‘neither his ear
+<i>heavy</i> that it can not hear.’</p>
+
+<p><a class = "line" name = "note6_29" id = "note6_29" href =
+"#line6_29">29.</a>
+<b>Ionio:</b> sc. <i>sinu</i>, if we may judge by <span class =
+"smallcaps">Juv.</span>, 6, 92: <i>lateque <span class =
+"gesperrt">sonantem</span> pertulit <span class =
+"gesperrt">Ionium</span></i>. Gr. <span class = "greek" title = "Ionios #kolpos#">Ἰόνιος <span class = "gesperrt">κόλπος</span></span>. Comp.
+<span class = "smallcaps">Thuc.</span>, 1, 24 with <a href =
+"#line6_30">6, 30</a>. It is used here in a wide sense, as is shown by
+<i>Bruttia saxa</i>, <a href = "#line6_27">v. 27</a>. Comp. <span class
+= "smallcaps">Serv.</span> ad Aen., 3, 211: <i>sciendum <span class =
+"gesperrt">Ionium sinum</span> esse <span class =
+"gesperrt">immensum</span> ab Ionia usque ad <span class =
+"gesperrt">Siciliam</span></i>. On the translation and construction of
+<i>Ionio</i>, see note on <a href = "#noteP_1">Prol.,
+1</a>.&mdash;<b>ipse:</b> the master of the vessel. G., 297, R. 1.</p>
+
+<p><a class = "line" name = "note6_30" id = "note6_30" href =
+"#line6_30">30.</a>
+<b>de puppe dii:</b> Paintings of the gods. Comp. <span class =
+"smallcaps">Verg.</span>, Aen., 10, 171: <i>aurato fulgebat <span class
+= "gesperrt">Apolline puppis</span></i>. The gods may have been Castor
+and Pollux, no unlikely ‘sign,’ Acts, 28, 11. <i>Ingentes</i> implies
+the size of the ship and the magnitude of the loss (Jahn). See note on
+<i>trabe vasta</i>, <a href = "#note5_141">5, 141</a>.&mdash;<b>obvia
+mergis:</b> Jahn comp. <span class = "smallcaps">Hor.</span>, Epod., 10,
+21: <i>opima quod si praeda eurvo litore</i> | <i>porrecta <span class =
+"gesperrt">mergos</span> iuveris</i>. Any large sea-bird will answer,
+such as ‘cormorant.’</p>
+
+<p><a class = "line" name = "note6_31" id = "note6_31" href =
+"#line6_31">31.</a>
+<b>lacerae:</b> Conington comp. <span class = "smallcaps">Ov.</span>,
+Her., 2, 45: <i>at <span class = "gesperrt">laceras</span> etiam <span
+class = "gesperrt">puppes</span> furiosa refeci</i>.&mdash;<b>et:</b>
+<span class = "greek" title = "kai">καί</span>, ‘if need
+be.’&mdash;<b>caespite vivo:</b> Comp. <span class =
+"smallcaps">Hor.</span>, Od., 1, 19, 13; 3, 8, 4; ‘live sod,’ ‘green
+turf.’ Here landed property is meant, in contrast to the income,
+represented by the <i>messis</i>.</p>
+
+<p><a class = "line" name = "note6_32" id = "note6_32" href =
+"#line6_32">32.</a>
+<b>pictus:</b> See note on <a href = "#note1_89">1, 89</a>. ‘With his
+picture’ (Conington).&mdash;<b>oberret:</b> ‘go up and down the
+country.’&mdash;<b>tabula caerulea:</b> ‘a sea-green board,’ as might be
+expected from the subject.</p>
+
+<p><b>33-41.</b>
+‘But,’ resumes the interlocutor, ‘your heir will object to your
+curtailing your property, and not show you the proper respect when you
+are dead. You can’t expect to diminish your property without scath. And,
+in fact, you philosophers are very much spoken against on account of the
+bad example you set, the bad influence you have exerted on the common
+people.’&mdash;Well, what of it? Would you care any thing about what was
+done to you or said of you after you are dead?</p>
+
+<p>The connection is much disputed.</p>
+
+<span class = "pagenum">197</span>
+<p><a class = "line" name = "note6_33" id = "note6_33" href =
+"#line6_33">33.</a>
+<b>cenam funeris:</b> the <i>epulum funebre</i>, the ‘funeral baked
+meats’ of Hamlet, not the <i>silicernium</i> proper, not the <i>exigua
+<span class = "gesperrt">feralis cena</span> patella</i> of <span class
+= "smallcaps">Juv.</span>, 5, 85, the scanty meal left at the funeral
+pile for the <i>dis manibus</i>.</p>
+
+<p><a class = "line" name = "note6_34" id = "note6_34" href =
+"#line6_34">34.</a>
+<b>curtaveris:</b> G., 542; A., 70, 5, <i>b</i>.&mdash;<b>urnae:</b> Do
+not efface the personal conception (G., 344, R.&nbsp;3; A., 51, <span
+class = "smallroman">N.</span>) by translating ‘put into.’ The urn
+receives; hence <i>dabit</i> = ‘commit,’ ‘consign.’</p>
+
+<p><a class = "line" name = "note6_35" id = "note6_35" href =
+"#line6_35">35.</a>
+<b>inodora:</b> <span class = "smallcaps">Ov.</span>, Trist., 3, 3, 69:
+<i>atque ea (=&nbsp;ossa) cum foliis et <span class =
+"gesperrt">amomi</span> pulvere misce</i>; <span class =
+"smallcaps">Tib.</span>, 3, 2, 23 (Jahn).&mdash;<b>seu spirent:</b>
+<a href = "#line5_3">5, 3</a>.&mdash;<b>cinnama&mdash;casiae:</b> On the
+Plural, see G., 195, R.&nbsp;6; A., 14, 1,
+<i>a</i>.&mdash;<b>surdum:</b> ‘faint,’ a&nbsp;transfer from hearing to
+smell. On the construction, see <a href =
+"#note5_25">5,&nbsp;25</a>.</p>
+
+<p><a class = "line" name = "note6_36" id = "note6_36" href =
+"#line6_36">36.</a>
+<b>ceraso:</b> This passage is our only authority for the fraudulent
+admixture. Tr., ‘whether the cinnamon have lost the fragrance of its
+breath, or cassia be taken in adulteration with
+cherry-bark.’&mdash;<b>nescire puratus:</b> here ‘fully resolved,’
+rather than as in <a href = "#line1_132">1, 132</a>.</p>
+
+<p><a class = "line" name = "note6_37" id = "note6_37" href =
+"#line6_37">37.</a>
+<b>tune bona incolumis minuas:</b> In his ed. of 1868 Jahn has followed
+Sinner’s suggestion, and transposed parts of <a href = "#line6_37">vv.
+37 and 41</a>, so as to read <i>Haec cinere ulterior metuas</i> here,
+and <i>Tune bona incolumis minuas</i> below, as Hermann had done before
+him, only Hermann puts the words in the mouth, not of the objector, but
+of <span class = "smallcaps">Persius</span>. I&nbsp;am unable to see how
+either arrangement helps us out of the difficulties of the passage. In
+his ed. of 1843, Jahn makes <i>tune bona incolumis minuas?</i> the
+language of the heir, who asks angrily, ‘Do you expect to diminish your
+property without suffering for it?’ It is rather the language of the
+objector, who had just told <span class = "smallcaps">Persius</span>
+that he would miss a good funeral by curtailing his estate, and who goes
+on to cite Bestius, as another opponent of this new-fangled philosophy.
+<span class = "smallcaps">Persius</span> dismisses this tirade by the
+single question: ‘What would all this be to you or me after we are
+dead?’ This gets rid of Bestius as a new speaker. He is quoted by the
+objector. Mr. Pretor translates: ‘Do you mean to say, Persius, that
+<i>you</i> would thus break up your property, while hearty and strong,
+instead of waiting to bequeath it by will on your
+death-bed?’&mdash;<b>incolumis:</b> <span class = "greek" title =
+"chairôn">χαίρων</span>, <i>impune</i>.&mdash;<b>et:</b> Others besides
+the heir are dissatisfied.&mdash;<b>Bestius:</b> the <i>corrector
+<span class = "pagenum">198</span>
+Bestius</i> of <span class = "smallcaps">Hor.</span>, Ep., 1, 15, 37,
+who is quoted here by the opponent of <span class =
+"smallcaps">Persius</span>, as inveighing against doctrines that have
+taught the lower classes to waste their substance on condiments and
+spoil their wholesome fare, after the pattern of such gentlemen as <span
+class = "smallcaps">Persius</span>. Comp. <i>usque recusem&mdash;cenare
+sine uncto</i>, <a href = "#line6_16">v. 16</a>, and <i>ungue, puer,
+caules</i>, <a href = "#line6_69">v.&nbsp;69</a>.</p>
+
+<p><a class = "line" name = "note6_38" id = "note6_38" href =
+"#line6_38">38.</a>
+<b>doctores Graios:</b> Comp. <a href = "#line5_191">5,
+191</a>.&mdash;<b>Ita fit:</b> ‘That is the way of it.’&mdash;<b>sapere
+nostrum:</b> <a href = "#line1_9">1, 9</a>.&mdash;<b>urbi:</b> with
+<i>venit</i>. <i>Venire</i> with the Dat., like the Greek <span class =
+"greek" title = "elthein">ἐλθεῖν</span>, on account of the personal
+interest involved, ‘came’ being = ‘was brought,’ <i>allatum est</i>. See
+Kühner, <i>A.&nbsp;G.</i>, 2, 351, and Weissenborn on <span class =
+"smallcaps">Liv.</span>, 32, 6, 4.</p>
+
+<p><a class = "line" name = "note6_39" id = "note6_39" href =
+"#line6_39">39.</a>
+<b>cum pipere et palmis:</b> notoriously foreign productions. Comp.
+<i>advectus Romam quo pruna et cottona vento</i>, <span class =
+"smallcaps">Juv.</span>, 3, 83. <i>Palmis</i> =
+‘dates.’&mdash;<b>nostrum hoc:</b> ‘this new wisdom of our
+day.’&mdash;<b>maris expers:</b> <span class = "smallcaps">Hor.</span>,
+Sat., 2, 8, 15: <i>Chium <span class = "gesperrt">maris
+expers</span></i>. The explanations are by no means convincing. <i>Maris
+expers.</i> (1)&nbsp;Not mixed with salt water, which was supposed to be
+wholesome, as in <span class = "smallcaps">Horace</span>, l.c.
+(2)&nbsp;<i>insulum</i>, Heinr., the most simple, ‘foolish philosophy,’
+‘insipid sapience.’ (3)&nbsp;Devoid of manliness (Casaubon). Comp.
+<a href = "#line1_103">1, 103, 104</a>, in which case <i>maris</i> would be
+a pun, as there is an evident Horatian reminiscence. See Introd.,
+<a href ="#intro_horace">xxiii</a>. But the Horatian passage is itself
+variously interpreted. (4)&nbsp;The rendering, ‘innocent of the sea,’
+i.e., ‘home-grown,’ is in manifest contradiction to the drift of the
+passage.</p>
+
+<p><a class = "line" name = "note6_40" id = "note6_40" href =
+"#line6_40">40.</a>
+<b>fenisecae:</b> Type of the rustic laborer. Comp. <i>fossor</i>, 5,
+122. <i>Fenisecae</i>, the plebeian spelling for <i>faenisecae</i>,
+seems more appropriate here.&mdash;<b>crasso unguine:</b> They can not
+get a good article, but they are determined to imitate their betters,
+and so they take a poor one. With <i>crasso unguine</i> comp. <a href =
+"#line3_104">3, 104</a>: <i>crassis amomis</i>.&mdash;<b>vitiarunt
+pultes:</b> On <i>vitiarunt</i> comp. <a href = "#line2_65">2, 65</a>;
+<i>puls</i> is the national porridge, the <i>farrata olla</i> of <a href
+= "#line4_31">4,&nbsp;31</a>.</p>
+
+<p><a class = "line" name = "note6_41" id = "note6_41" href =
+"#line6_41">41.</a>
+<b>cinere ulterior:</b> ‘when you are the other side of the grave’
+(comp. <a href = "#line5_152">5, 152</a>); <span class = "greek" title =
+"peraiterô koneôs">περαιτέρω κόνεως</span> (Casaubon).</p>
+
+<p><b>41-60.</b>
+<span class = "smallcaps">Persius</span> turns on his heir: ‘Glorious
+news has come of a great victory. I&nbsp;wish to celebrate it by
+games&mdash;by largess. Will you forbid it? If you don’t want what is
+left, let it alone. I&nbsp;can get somebody to take it&mdash;some
+beggar, perhaps, related to me through that son of earth, Adam.’</p>
+
+<span class = "pagenum">199</span>
+<p><a class = "line" name = "note6_42" id = "note6_42" href =
+"#line6_42">42.</a>
+<b>quisquis eris:</b> does not so much show ‘the indifference of <span
+class = "smallcaps">Persius</span> himself’ to his successor as the
+utter lack of real personality in the Satire. See note on <a href =
+"#note1_44">1, 44</a>.&mdash;<b>seductior:</b> Comp. <a href =
+"#line2_4">2, 4</a>. <i>Paulum</i> with <i>seductior</i>. Comp. <span
+class = "smallcaps">Petron.</span>, 13: <i><span class =
+"gesperrt">seduxit</span> me <span class = "gesperrt">paululum</span> a
+turba</i>; and <span class = "smallcaps">Plaut.</span>, Asin., 5, 2, 75;
+<span class = "smallcaps">Ter.</span>, Eun., 4, 4, 39. The Accusative
+with the Comparative is rare but sure, Dräger, l.c. § 245, <i>b</i>; for
+examples with <i>paulum</i>, <span class = "smallcaps">Sil.</span>, 15,
+21; <span class = "smallcaps">Stat.</span>, Theb., 10, 938 (Freund).</p>
+
+<p><a class = "line" name = "note6_43" id = "note6_43" href =
+"#line6_43">43.</a>
+<b>o bone</b>, etc.: The only passage in <span class =
+"smallcaps">Persius</span> that deals with the political life of his
+time, the only passage that has any historic force. A&nbsp;keen observer
+in his narrow sphere, <span class = "smallcaps">Persius</span> has hit
+off very happily the features of this droll triumph of Caligula’s. True,
+he was only seven years old when it took place; but he lost his father
+when he was six, and yet recalls him vividly, and this parade must have
+made an abiding impression, whether he saw it or only heard of it.
+Caligula’s German expedition is recounted in <span class =
+"smallcaps">Suet.</span>, Calig., 43 seqq.: ‘He ordered a triumph, which
+was to be unprecedentedly splendid, and cheap in proportion, as he had a
+right to the property of his subjects&mdash;changed his mind, forbade
+any proposal on the subject under capital penalties, abused the senate
+for doing nothing, and finally entered the city in ovation on his
+birthday’ (Conington). With <i>o bone</i> comp. <i>heus bone</i>,
+<a href = "#line3_94">3, 94</a>.&mdash;<b>laurus</b> = <i>laureata
+epistola</i>, the letter bound with bays, in which victories were
+announced.</p>
+
+<p><a class = "line" name = "note6_44" id = "note6_44" href =
+"#line6_44">44.</a>
+<b>Germanae pubis:</b> ‘flower of the German army’ (Pretor),
+<i>pubes</i> being = <span class = "greek" title =
+"hêlikia">ἡλικία</span>.</p>
+
+<p><a class = "line" name = "note6_45" id = "note6_45" href =
+"#line6_45">45.</a>
+<b>aris</b> | <b> frigidus excutitur cinis:</b> Of course to make room
+for new sacrifices, but <i>frigidus</i> intimates that the ashes had had
+time to cool; such occasions were rare. Comp. <span class =
+"smallcaps">Apul.</span>, Met., 4, 83: <i>arae viduae <span class =
+"gesperrt">frigido cinere</span> foedatae</i>. <i>Aris</i>, Dat.
+<i>Excutitur</i> denotes haste. ‘The ashes are hustled
+off.’&mdash;<b>postibus:</b> ‘for the door-posts’ (of temples, palaces,
+the residence of the <i>triumphator</i>, and other buildings). With the
+Dative comp. <span class = "smallcaps">Juv.</span>, 6, 51: <i>necte
+coronam</i> | <i><span class = "gesperrt">postibus</span></i>.</p>
+
+<p><a class = "line" name = "note6_46" id = "note6_46" href =
+"#line6_46">46.</a>
+<b>lutea gausapa:</b> ‘yellow wools.’ The coarse fabric known as
+<i>gausapa</i> was used to make yellow wigs for the mock German
+captives. The light hair of the Germans is a familiar characteristic,
+and a similar device is recorded of Domitian by <span class =
+"smallcaps">Tacitus</span>, Agr.,
+<span class = "pagenum">200</span>
+39 (Jahn). As the captives were actually Gauls, Casaubon understands
+<i>gausapa</i> of the common Gallic costume.</p>
+
+<p><a class = "line" name = "note6_47" id = "note6_47" href =
+"#line6_47">47.</a>
+<b>Caesonia:</b> the mistress, and, after the birth of a daughter and
+the divorce of Lollia, the wife of Caligula, <span class =
+"smallcaps">Suet.</span>, Cal., 25.&mdash;<b>ingentis Rhenos:</b> Jahn
+understands statues or pictures of the Rhine, to be carried in
+procession, referring to the Jordan on the Arch of Titus, and citing
+<span class = "smallcaps">Ov.</span>, A.&nbsp;A., 1, 223 seqq., for the
+Euphrates and Tigris. Conington adds <span class =
+"smallcaps">Verg.</span>, Georg., 3, 28, for the Nile, and considers the
+Plural <i>Rhenos</i> sarcastic. The more common interpretation regards
+<i>Rhenos</i> as <i>Rhenanos</i>. <span class =
+"smallcaps">Suet.</span>, l.c. 47, mentions expressly the fact that
+Caligula picked out the tallest men he could find (<i>procerissimum
+quemque</i>) for the procession.</p>
+
+<p><a class = "line" name = "note6_48" id = "note6_48" href =
+"#line6_48">48.</a>
+<b>genioque ducis:</b> On <i>genio</i>, see <a href = "#note2_3">2,
+3</a>. The genius of the Emperor was publicly worshipped, <span class =
+"smallcaps">Ov.</span>, Fast., 5, 145. Caligula punished those who did
+not swear by his genius, <span class = "smallcaps">Suet.</span>, Cal.,
+27. <i>Ducis</i> is sarcastic. ‘So <span class =
+"smallcaps">Juv.</span>, 4, 145; 7, 21, calls Domitian <i>dux</i>, with
+reference to a similar exploit, a&nbsp;sham triumph with manufactured
+slaves’ (Conington, after Jahn).&mdash;<b>centum paria:</b> Comp. <span
+class = "smallcaps">Hor.</span>, Sat., 2, 3, 85: <i>ni sic fecissent
+<span class = "gesperrt">gladiatorum</span> dare <span class =
+"gesperrt">centum</span></i> | <i>damnati populo <span class =
+"gesperrt">paria</span> atque epulum</i>. The number is absurd for any
+ordinary fortune, and the extravagance of the threat destroys the
+dramatic effect on the heir.</p>
+
+<p><a class = "line" name = "note6_49" id = "note6_49" href =
+"#line6_49">49.</a>
+<b>induco:</b> The familiar Present for the Future. <i>Induco, verbum
+harenae</i> (Casaubon).&mdash;<b>aude:</b> We should say, ‘I dare you’
+(Conington).</p>
+
+<p><a class = "line" name = "note6_50" id = "note6_50" href =
+"#line6_50">50.</a>
+<b>oleum:</b> Largesses of oil by Caesar and Nero are recorded by <span
+class = "smallcaps">Suet.</span>, Caes., 38, Nero, 12
+(Jahn).&mdash;<b>artocreas:</b> <span class = "greek" title =
+"artokreas">ἀρτόκρεας</span> = <i>visceratio</i>, ‘bread-meat’ for
+‘bread-and-meat.’ Outside of the numerals, such copulative compounds
+(<i>dvandva</i> in Sanskrit) are rare, and chiefly late. Comp.
+<i>suovetaurilia</i>, <span class = "greek" title =
+"nuchthêmeron">νυχθήμερον</span>, the famous word of seventy-nine
+syllables in <span class = "smallcaps">Ar.</span>, Eccl., 1169, and Mod.
+Gr. <span class = "greek" title = "androgunon">ἀνδρόγυνον</span>,
+‘man-and-wife.’ Some consider <i>artocreas</i> a kind of
+meat-pasty.&mdash;<b>popello:</b> <a href =
+"#line4_15">4,&nbsp;15</a>.</p>
+
+<p><a class = "line" name = "note6_51" id = "note6_51" href =
+"#line6_51">51, 52.</a>
+<b>dic clare:</b> It were very much to be wished that he had. The
+context seems to require, on the one hand, a&nbsp;motive for the silence
+of the heir; on the other, a&nbsp;motive for declining the inheritance.
+The interpretation of <i>non adeo&mdash;iuxta est</i> depends on
+<span class = "pagenum">201</span>
+the meaning of <i>exossatus</i>, which is sometimes rendered
+‘exhausted,’ ‘impoverished,’ ‘worn out,’ as if ‘boneless’ and
+‘marrowless’ were the same thing here; sometimes, and with far more
+probability, ‘cleared of stones.’ A&nbsp;poetic allusion to the ‘bones
+of Mother Earth,’ <span class = "smallcaps">Ov.</span>, Met., 1, 393
+seqq. (Schol.), would be out of place, and the common culinary sense of
+<i>exossatus</i>, ‘boned,’ is in keeping with the homely character of
+<span class = "smallcaps">Persius’s</span> tropes. <i>Adeo</i> is
+sometimes considered a Verb, in the sense of <i>adire hereditatem;</i>
+sometimes an Adverb, and connected now with <i>prohibeo</i> (from
+<i>prohibes</i>), now with <i>exossatus</i>; and, finally, some give
+<i>exossatus&mdash;est</i> to the heir, others to <span class =
+"smallcaps">Persius</span>. I&nbsp;subjoin the chief distributions and
+interpretations:</p>
+
+<p class = "hanging">
+(1.) <i>Non adeo</i>, inquis. Exossatus ager iuxta est. Jahn (1843). (Do
+you mean to hinder me? Out with it.) ‘Not exactly,’ you say. Here is a
+worn-out field hard by. If you won’t have it, another will.</p>
+
+<p class = "hanging">
+(2.) ‘Non adeo,’ inquis? Exossatus ager iuxta est (Conington). You won’t
+accept the inheritance, you say? Here is a field, now, cleared for
+ploughing.</p>
+
+<p class = "hanging">
+(3.) ‘Non adeo,’ inquis, ‘exossatus ager iuxta est,’ Jahn (1868), which
+may be rendered, ‘I am sure that your land here is not in such very good
+order’ (that you can afford such extravagance). Good order or not,
+I&nbsp;can find some one to take it off my hands, etc.</p>
+
+<p class = "hanging">
+(4.) Hermann bases his interpretation on the Schol., and understands
+<i>non adeo exossatus ager</i> to be a field that is not wholly cleared
+of stones, to which the heir points as a cogent argument against his
+making a difficulty. He is afraid of a stoning from the people, as above
+he was afraid of doing any thing to disoblige the Emperor (<i>Lect.
+Pers.</i>, II., 64).</p>
+
+<p class = "hanging">
+(5.) Teuffel agrees with Hermann’s interpretation of <i>exossatus</i>,
+but separates <i>non adeo</i>, ‘Not exactly.’ See (1.). ‘There is a
+field hard by from which the stones have [just] been dug up,’ where they
+are lying in convenient heaps.</p>
+
+<p class = "hanging">
+(6.) Heinrich takes <i>adeo</i> to be the Verb, <i>exossatus</i> as
+‘impoverished,’ and <i>iuxta</i> = <i>paene</i>.</p>
+
+<p class = "hanging">
+(7.) <i>Non adeo</i>, inquis. <i>Exossatus ager iuxta est</i> is
+rendered by
+<span class = "pagenum">202</span>
+Mr. Pretor, ‘I can’t quite forbid it; but let me suggest to you that
+your land is impoverished.’</p>
+
+<p class = "hanging">
+(8.) König understands the heir to say: ‘I will not accept. I&nbsp;have
+a well-tilled piece of land of my own hard by.’</p>
+
+<p>I am not ashamed to acknowledge that the only point about which I am
+convinced is the impossibility of making <i>exossatus</i> mean
+‘impoverished.’</p>
+
+<p><a class = "line" name = "note6_53" id = "note6_53" href =
+"#line6_53">53.</a>
+<b>amitis:</b> <i>Amita</i> is the aunt by the father’s side. See note
+on <a href = "#note2_31">2, 31</a>. <span class =
+"smallcaps">Persius</span> left his property to his mother and sister,
+and all this string of suppositions is in keeping with the impersonal
+character of his heir. Teuffel notices the utter jumble of legal
+relations.&mdash;<b>proneptis patrui:</b> ‘female cousin twice
+removed.’</p>
+
+<p><a class = "line" name = "note6_54" id = "note6_54" href =
+"#line6_54">54.</a>
+<b>sterilis vixit:</b> ‘has lived barren’ means ‘has died childless,
+without issue.’</p>
+
+<p><a class = "line" name = "note6_55" id = "note6_55" href =
+"#line6_55">55.</a>
+<b>nihilum:</b> ‘neither chick nor child.’&mdash;<b>Bovillas:</b>
+Bovillae lay between Rome and Aricia, and was the first stage on the
+Appian road, hence called ‘suburban’ by <span class =
+"smallcaps">Ov.</span>, Fast., 3, 667 (Jahn). <span class =
+"smallcaps">Persius</span> had an estate in the neighborhood.</p>
+
+<p><a class = "line" name = "note6_56" id = "note6_56" href =
+"#line6_56">56.</a>
+<b>clivum ad Virbi:</b> <span class = "smallcaps">Martial’s</span>
+<i>clivus Aricinus</i> (2, 19, 3; 12, 32, 10), a&nbsp;noted station for
+beggars. <span class = "smallcaps">Juv</span>., 4, 17: <i>dignus <span
+class = "gesperrt">Aricinos</span> qui mendicaret ad axes</i>. Virbius
+was identified with Hippolytus, and worshipped as the hero of
+Aricia.&mdash;<b>Manius:</b> a typical beggar’s name. There was a
+proverb: <i>multi <span class = "gesperrt">Mani</span> Ariciae</i>,
+<span class = "smallcaps">Fest.</span>, s.v., with the explanation,
+<i>multos claros viros ibi fuisse</i>. The ‘Arician aristocracy’ must
+have become a term of contempt by the time of <span class =
+"smallcaps">Persius</span> (<span class = "greek" title = "palai pot’ êsan alkimoi Milêsioi">πάλαι ποτ᾽ ἦσαν ἄλκιμοι Μιλήσιοι</span>).</p>
+
+<p><a class = "line" name = "note6_57" id = "note6_57" href =
+"#line6_57">57.</a>
+<b>progenies terrae:</b> is the indignant remonstrance of the heir,
+<i>progenies terrae</i> being = the more familiar <i>terrae filius</i>,
+<span class = "smallcaps">Cic.</span>, Att., 1, 13, 4 al.; our
+‘groundling’ can answer only as a play on the word.&mdash;<b>quartus
+pater</b> = <i>abavus</i>, ‘great-great-grandfather.’</p>
+
+<p><a class = "line" name = "note6_58" id = "note6_58" href =
+"#line6_58">58.</a>
+<b>haud prompte, dicam tamen:</b> <span class = "greek" title = "molis men, exerô d’ homôs">μόλις μὲν, ἐξερῶ δ᾽ ὅμως</span> (Conington); <span
+class = "greek" title = "molis men, all’ oun exerô">μόλις μὲν, ἀλλ᾽ οὖν
+ἐξερῶ</span> Comp. [<span class = "smallcaps">Dem.</span>] 58,
+26.&mdash;<b>adde etiam unum</b> = <i>atavum</i>, ‘one step further
+back.’</p>
+
+<p><a class = "line" name = "note6_59" id = "note6_59" href =
+"#line6_59">59.</a>
+<b>unum etiam</b> = <i>tritavum</i>.</p>
+
+<p><a class = "line" name = "note6_60" id = "note6_60" href =
+"#line6_60">60.</a>
+<b>ritu</b> | <b> generis:</b> ‘by regular descent’ (Conington). Jahn
+connects <i>generis</i> with <i>avunculus</i>.&mdash;<b>maior
+avunculus:</b> <i>avii aut aviae
+<span class = "pagenum">203</span>
+avunculus est</i> (Jahn), ‘great-great-uncle.’ <span class =
+"smallcaps">Persius</span> qualifies this statement by <i>prope</i>,
+‘something like,’ but he has not only got the degree wrong, but has
+passed over to the mother’s side. The thought of this <i>frigidiuscula
+ratio</i>, as Jahn calls it, does not need illustration. Still, comp.
+<span class = "smallcaps">Juv.</span>, 4, 99: <i>unde fit ut malim
+fraterculus esse gigantum</i>.&mdash;<b>exit</b> = <i>evadit</i>,
+<a href = "#line1_45">1, 45</a>; <a href = "#line5_130">5, 130</a>.</p>
+
+<p><b>61-74.</b>
+<span class = "smallcaps">Persius</span>: ‘You are getting impatient.
+Why not wait for your turn? I&nbsp;am Fortune. Wait until I drop my
+purse into your hand, and then be satisfied with what I have left in it.
+<i>Tadius bequeathed me some money.</i> I know he did. What is that to
+you? None of your fatherly advice about looking after my balance at the
+banker’s. What do I care about “balance?” I&nbsp;will eat a good dinner,
+and not starve myself for your spoilt grandson’s sake.’</p>
+
+<p><a class = "line" name = "note6_61" id = "note6_61" href =
+"#line6_61">61.</a>
+<b>qui prior es:</b> In this form of the <span class = "greek" title =
+"lampadêphoria">λαμπαδηφορία</span> ‘the course was marked out in
+stations, at each of which a new set of runners stood ready to take up
+the race, and so long as the torch remained alight, and the conditions
+of the race were thus fulfilled, it could not exchange hands except at
+particular stations’ (Pretor, after Jahn). Here the man in advance is
+represented as trying to get the torch out of <span class =
+"smallcaps">Persius’s</span> hands before he has reached the station,
+while <span class = "smallcaps">Persius</span> is yet running (<i>in
+decursu</i>), which Jahn properly emphasizes. The interpretation is much
+disputed.&mdash;<b>poscis:</b> implies impatience.</p>
+
+<p><a class = "line" name = "note6_62" id = "note6_62" href =
+"#line6_62">62.</a>
+<b>Mercurius:</b> See note on <a href = "#note2_11">2,&nbsp;11</a>.</p>
+
+<p><a class = "line" name = "note6_63" id = "note6_63" href =
+"#line6_63">63.</a>
+<b>pingitur:</b> <span class = "greek" title = "Hermês kerdôos">Ἑρμῆς
+κερδῷος</span>, ‘with money-bag in hand.’ Comp. <span class =
+"smallcaps">Ar.</span>, Ach., 991, 992: <span class = "greek" title =
+"pôs an eme kai se tis Erôs xunagagoi labôn, | hôsper ho #gegrammenos#, echôn stephanon anthemôn">πῶς ἂν ἐμὲ καὶ σέ τις Ἔρως ξυναγάγοι λαβών, |
+ὥσπερ ὁ <span class = "gesperrt">γεγραμμένος</span>, ἔχων στέφανον
+ἀνθέμων</span>.&mdash;<b>vin tu gaudere relictis:</b> <i>Gaudere</i>
+here almost = <span class = "greek" title = "agapan">ἀγαπᾶν</span>, ‘be
+thankful for whatever I shall leave you.’ According to the ordinary
+rules of grammar, <i>vis</i> would be the rhetorical, <i>vin</i> the
+genuine form of the question (G., 455), but <i>ne</i> can not be pinned
+down by strict rules, as has been remarked. See note on <a href =
+"#note1_22">1,&nbsp;22</a>.</p>
+
+<p><a class = "line" name = "note6_64" id = "note6_64" href =
+"#line6_64">64.</a>
+<b>dest aliquid summae:</b> may be an objection of the heir, or an
+anticipated objection. <span class = "smallcaps">Persius</span> often
+reminds us of Mrs. Caudle.&mdash;<b>minui mihi:</b> It was mine, and I
+diminished it to suit myself. It was mine to lessen; what is left will
+be all your own to keep.</p>
+
+<span class = "pagenum">204</span>
+<p><a class = "line" name = "note6_65" id = "note6_65" href =
+"#line6_65">65.</a>
+<b>fuge quaerere</b> = <i>noli quaerere</i>, as in <span class =
+"smallcaps">Hor.</span>, Od., 1, 9, 13.</p>
+
+<p><a class = "line" name = "note6_66" id = "note6_66" href =
+"#line6_66">66.</a>
+<b>neu:</b> <a href = "#line3_51">3, 51</a>.&mdash;<b>repone:</b> ‘dish
+up again;’ the <i>paterna dicta</i> may be considered a <i>crambe
+repetita</i>. Comp. <span class = "smallcaps">Quint.</span>, 2, 4, 29:
+<i>cum eadem iudiciis pluribus dicunt, fastidium movent velut frigidi et
+<span class = "gesperrt">repo siti</span> cibi</i>. <span class =
+"smallcaps">Persius</span> is nothing if not culinary. Jahn (1868)
+reads: <i>oppone</i>, which is clearer but tamer. <i>Paterna d.</i> is
+simply ‘the talk one hears from fathers,’ severe old gentlemen on the
+stage.</p>
+
+<p><a class = "line" name = "note6_67" id = "note6_67" href =
+"#line6_67">67.</a>
+<b>faenoris&mdash;reliquum est:</b> clearly a specimen of fatherly
+counsel. Every Polonius has something to say to his Laertes on this
+subject (Hamlet, 1,&nbsp;3). <span class = "smallcaps">Persius’s</span>
+Polonius advises his son to keep an account, enter (<i>accedat</i> =
+<i>apponatur</i>, see note on <a href = "#note2_2">2, 2</a>) his
+interest on the credit side, charge his expenses to the debit side, and
+find the remainder&mdash;in other words, to live carefully within the
+income of his property. Before the old gentleman gets through, <span
+class = "smallcaps">Persius</span> repeats his last word mockingly:
+‘Remainder? Hang the remainder.’ This is also Conington’s view, who
+compares the commercial arithmetic lesson in <span class =
+"smallcaps">Hor.</span>, A.&nbsp;P., 327 seqq.&mdash;<b>merces:</b>
+<span class = "smallcaps">Hor.</span> uses <i>merces</i> alone in the
+same sense as <i>faenoris merces</i> here, Sat., 1, 2, 14. 3,
+88.&mdash;<b>hinc:</b> from the capital, or from the interest, or from
+both. I&nbsp;am inclined to refer <i>hinc</i> to the side of the
+account.</p>
+
+<p><a class = "line" name = "note6_69" id = "note6_69" href =
+"#line6_69">69.</a>
+<b>ungue caules&mdash;festa luce:</b> See note on <a href =
+"#note6_19">v.&nbsp;19</a>.</p>
+
+<p><a class = "line" name = "note6_70" id = "note6_70" href =
+"#line6_70">70.</a>
+<b>urtica:</b> Comp. <span class = "smallcaps">Hor.</span>, Ep., 1, 12,
+7: <i>abstemius herbis</i> | <i>vivis et <span class =
+"gesperrt">urtica</span></i>; and Sat., 2, 2, 117: <i><span class =
+"gesperrt">holus fumosae</span> cum pede pernae</i>
+(Jahn).&mdash;<b>sinciput:</b> ‘pig’s cheek.’ The swine was the common
+sacrifice and the common dish.&mdash;<b>aure:</b> <i>Fissa aure</i>
+seems to be nothing more than a picturesque detail. The pig’s head was
+bung up in the smoke by a slit in its ear.</p>
+
+<p><a class = "line" name = "note6_71" id = "note6_71" href =
+"#line6_71">71.</a>
+<b>tuus iste nepos:</b> Mr. Pretor sees a trace of incompleteness in the
+mention of <i>tuus iste nepos</i>, ‘whose existence has never before
+been hinted at.’ The <i>nepos</i> is hauled up out of the inane like the
+<i>quisquis</i> heir himself.&mdash;<b>anscris extis:</b> Comp. <span
+class = "smallcaps">Juv.</span>, 5, 114: <i><span class =
+"gesperrt">anseris</span> ante ipsum magni <span class =
+"gesperrt">iecur</span></i>.</p>
+
+<p><a class = "line" name = "note6_73" id = "note6_73" href =
+"#line6_73">73.</a>
+<b>patriciae:</b> implies great expense. This coarse combination of
+sensual pleasures is an argument in favor of the old-fashioned
+interpretation of <i>Calliroen</i>, <a href = "#line1_134">1,
+134</a>.&mdash;<b>trama:</b> Fr. <i>trame</i>, ‘woof.’ Such terms are
+apt to stick. Others translate falsely ‘warp.’
+<span class = "pagenum">205</span>
+‘<i>Trama figurae</i> is “a thread-paper figure,” as <i>trama</i> is the
+thread of the woof, which crosses that of the upright <i>stamen</i> or
+warp, and when the nap is worn off the cloths, these threads are laid
+bare.’ Stocker, quoted by Pretor.</p>
+
+<p><a class = "line" name = "note6_74" id = "note6_74" href =
+"#line6_74">74.</a>
+<b>tremat:</b> ‘quiver,’ like jelly, ‘wag.’&mdash;<b>omento:</b> ‘fatty
+caul,’ ‘fat,’ <a href = "#line2_47">2, 47</a>.&mdash;<b>popa:</b> used
+as a Substantive. Comp. <a href = "#lineP_13">Prol., 13</a>.
+‘Alderman-belly,’ instead of an ‘aldermanic belly.’ ‘They which waited
+at the altar’&mdash;for the <i>popae</i> were the priests’
+assistants&mdash;‘were partakers with the altar’ (1&nbsp;Cor., 9, 13),
+and waxed fat on the <i>iunicum omenta</i>. Pretor quotes <span class =
+"smallcaps">Prop.</span>, 4, 3, 62: <i>succinctique calent ad nova lucra
+<span class = "gesperrt">popae</span></i>.</p>
+
+<p><b>75-80.</b>
+Commentators notice the abrupt transition. Jahn says that the dialogue
+is dropped, but who expects invariably close connection between two
+heads of a sermon? In my judgment <span class =
+"smallcaps">Persius</span> is still hammering away at his impatient
+heir, and bids him earn money for himself, if he is not content to wait
+for <span class = "smallcaps">Persius’s</span> death, and does not like
+<span class = "smallcaps">Persius’s</span> mode of living. ‘Sell your
+life, ransack the world, drive every trade. Double, treble, quadruple,
+decuple your property. But you will find that there is no point where
+you can stop, where you will be rich enough.’</p>
+
+<p><a class = "line" name = "note6_75" id = "note6_75" href =
+"#line6_75">75.</a>
+<b>vende animam lucro:</b> Casaubon comp. the Greek proverb: <span class
+= "greek" title = "thanatou ônion to kerdos">θανάτου ὤνιον τὸ
+κέρδος</span>, and <span class = "smallcaps">Longin.</span>, Sublim.,
+44: <span class = "greek" title = "to ek tou pantos kerdainein ônoumetha tês psuchês">τὸ ἐκ τοῦ παντὸς κερδαίνειν ὠνούμεθα τῆς
+ψυχῆς</span>.&mdash;<b>excute:</b> (for the last time of eight)
+‘ransack.’</p>
+
+<p><a class = "line" name = "note6_76" id = "note6_76" href =
+"#line6_76">76.</a>
+<b>latus mundi:</b> <span class = "smallcaps">Hor.</span>, Od., 1, 22,
+19 (Conington).&mdash;<b>nec</b> = <i>neu</i>. See <a href =
+"#note1_5">1,&nbsp;7</a>.</p>
+
+<p><a class = "line" name = "note6_77" id = "note6_77" href =
+"#line6_77">77.</a>
+<b>Cappadocas:</b> The slaves of Cappadocia were, as a rule, tall and
+well grown (<span class = "smallcaps">Petron.</span>, 63), and good
+litter-bearers (<span class = "smallcaps">Mart.</span>, 6, 77,&nbsp;4)
+(Jahn), but in other respects extremely undesirable
+cattle.&mdash;<b>rigida:</b> ‘fixed upright.’ <i><span class =
+"gesperrt">Rigidae</span> columnae</i>, <span class =
+"smallcaps">Ov.</span>, Fast., 3, 529 (Jahn).&mdash;<b>plausisse:</b> So
+Jahn (1868). In 1843 he edited <i>pavisse</i>, and comp. <i>quot pascit
+servos?</i> <span class = "smallcaps">Juv.</span>, 3, 141, and other
+passages. But <i>pāvisse</i> may have been intended as a Third
+Conjugation Perf. from <i>păvio</i>, and hence = <i>plausisse</i>. So
+Longfellow uses ‘dove’ for ‘dived.’ Slaves were slapped to try their
+condition. On the Inf. and the Perfect, see <i>opifex intendisse</i>,
+<a href = "#line6_3">v. 3</a>, note.&mdash;<b>catasta:</b> ‘platform.’ The
+sense of the passage, ‘Make yourself an expert in slave flesh.’</p>
+
+<span class = "pagenum">206</span>
+<p><a class = "line" name = "note6_78" id = "note6_78" href =
+"#line6_78">78.</a>
+<b>feci&mdash;sistam:</b> words of the avaricious man. The passage is
+imitated from <span class = "smallcaps">Hor.</span>, Ep., 1, 6, 34:
+<i>mille talenta rotundentur, totidem altera, porro</i> | <i>tertia
+succedant et quae pars quadret acervum</i>.&mdash;<b>quarto:</b> as if
+he had written <i>ter</i> before.</p>
+
+<p><a class = "line" name = "note6_79" id = "note6_79" href =
+"#line6_79">79.</a>
+<b>redit:</b> the regular word for ‘income,’ ‘revenue.’ Comp.
+<i>reditus</i>.&mdash;<b>rugam:</b> <i>Ruga</i> = <i>sinus</i>, ‘fold in
+a garment.’ The <i>sinus</i> answers to our ‘pocket,’ hence ‘purse.’ The
+<i>ruga</i>, then, is the <i>rugosum marsupium</i> (Heinrich), or the
+‘yet unfilled bosom’ of <span class = "smallcaps">Juv.</span>, 14, 327.
+‘It comes into a purse that wrinkles still.’ To bring this out more
+clearly Mr. Paley (ap. Pretor) puts a semicolon after
+<i>deciens</i>.&mdash;<b>depunge:</b> So Jahn (1868) for his previous
+<i>depinge</i>. ‘Prick a hole.’&mdash;<b>ubi sistam:</b> G., 469, 623;
+A., 67, 2,&nbsp;<i>b</i>.</p>
+
+<p><a class = "line" name = "note6_80" id = "note6_80" href =
+"#line6_80">80.</a>
+<b>inventus:</b> Ironical. ‘So some one has been found, Chrysippus, to
+mark the limit of your heap.’ If you can find a man to put a bound to
+greed, you can find a man to solve the <i>sorites</i> of Chrysippus. The
+fallacy called the <span class = "greek" title =
+"sôreitês">σωρείτης</span>, or <span class = "greek" title =
+"sôritês">σωριτης</span>, Lat. <i>acervus</i>, is often mentioned; so in
+<span class = "smallcaps">Hor.</span>, Ep., 2, 1, 47, where it is
+illustrated by pulling hair after hair from the tail of a horse, and
+taking year after year from the age of a poet. See Hamilton’s Lectures
+on Logic, p. 268 (Am. ed.).</p>
+
+</div>
+
+<hr class = "spacer">
+
+<div class = "appendix">
+
+<span class = "pagenum">207</span>
+
+<h3><a name = "appendix" id = "appendix">
+CRITICAL APPENDIX.</a></h3>
+
+<hr class = "tiny">
+
+<p>The first reading is the reading of this edition, which, in the
+absence of any statement to the contrary, coincides with Jahn’s edition
+of 1868. Variations in spelling have been noted where they have been
+deemed instructive.</p>
+
+<p class = "indent">
+J<sup>α</sup>. = Jahn, ed. of 1843.<br>
+J<sup>ω</sup>. =<span class = "gap">” ”</span>1868.<br>
+J. &nbsp; =<span class = "gap">”</span>both editions.<br>
+H.&nbsp; = Hermann (1854).</p>
+
+
+<h5><a name = "app_prolog" id = "app_prolog">
+PROLOGUS.</a></h5>
+
+<p><a class = "line" name = "appP_2" id = "appP_2" href =
+"#lineP_2">2.</a>
+<b>Parnaso:</b> Parnasso, H.
+&mdash;<a class = "line" name = "appP_4" id = "appP_4" href =
+"#lineP_4">4.</a>
+<b>Heliconidas:</b> Heliconiadas, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "appP_5" id = "appP_5" href =
+"#lineP_5">5.</a>
+<b>remitto:</b> relinquo, J<sup>α</sup>.
+&mdash;<a class = "line" name = "appP_7" id = "appP_7" href =
+"#lineP_7">7.</a>
+<b>adfero:</b> affero, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "appP_8" id = "appP_8" href =
+"#lineP_8">8.</a>
+<b>chaere:</b> <span class = "greek" title = "chaire">χαῖρε</span>,
+J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "appP_9" id = "appP_9" href =
+"#lineP_9">9.</a>
+<b>picam:</b> picas, J<sup>α</sup>.&mdash;<b>nostra verba:</b> verba
+nostra, H.
+&mdash;<a class = "line" name = "appP_12" id = "appP_12" href =
+"#lineP_12">12.</a>
+<b>refulserit:</b> J<sup>α</sup>.; refulgeat, J<sup>ω</sup>., H.</p>
+
+
+<h5><a name = "app_I" id = "app_I">
+SATURA I.</a></h5>
+
+<p>
+<a class = "line" name = "app1_6" id = "app1_6" href = "#line1_6">6.</a>
+<b>examenque:</b> examenve, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_8" id = "app1_8" href =
+"#line1_8">8.</a>
+<b>nam Romae quis non:</b> nam Romae est quis non, J<sup>α</sup>
+&mdash;a: ac, J<sup>α</sup>.; ah, H.
+&mdash;<a class = "line" name = "app1_9" id = "app1_9" href =
+"#line1_9">9.</a>
+<b>tum:</b> tunc, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_11" id = "app1_11" href =
+"#line1_11">11.</a>
+<b>tunc, tunc, ignoscite
+&mdash;‘Nolo:’</b> J<sup>α</sup>.; tunc, tunc
+&mdash;ignoscite, nolo, J<sup>ω</sup>., H.
+&mdash;<a class = "line" name = "app1_12" id = "app1_12" href =
+"#line1_12">12.</a>
+<b>splene cachinno:</b> splene
+&mdash;cachinno, H.
+&mdash;<a class = "line" name = "app1_14" id = "app1_14" href =
+"#line1_14">14.</a>
+<b>quod:</b> J<sup>α</sup>., H.; quo, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app1_17" id = "app1_17" href =
+"#line1_17">17.</a>
+<b>leges:</b> legens, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_19" id = "app1_19" href =
+"#line1_19">19.</a>
+<b>nec:</b> neque, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app1_32" id = "app1_32" href =
+"#line1_32">32.</a>
+<b>circa:</b> circum, J<sup>α</sup>.
+&mdash;<b>umeros:</b> humeros, J<sup>ω</sup>., H.
+&mdash;<b>hyacinthia:</b> hyacinthina, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_35" id = "app1_35" href =
+"#line1_35">35.</a>
+<b>supplantat:</b> subplantat, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app1_36" id = "app1_36" href =
+"#line1_36">36.</a>
+<b>adsensere:</b> assensere, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_57" id = "app1_57" href =
+"#line1_57">57.</a>
+<b>protenso:</b> propenso, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app1_60" id = "app1_60" href =
+"#line1_60">60.</a>
+<b>Apula:</b> Appula, H.
+&mdash;<b>tantae:</b> tantum, Heinrich, Conington.
+&mdash;<a class = "line" name = "app1_66" id = "app1_66" href =
+"#line1_66">66.</a>
+<b>derigat:</b> dirigat, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_69" id = "app1_69" href =
+"#line1_69">69.</a>
+<b>adferre:</b> afferre, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_74" id = "app1_74" href =
+"#line1_74">74.</a>
+<b>cum:</b> J<sup>α</sup>.; quem, J<sup>ω</sup>., H.
+&mdash;<b>dictatorem:</b> dictaturam, H.
+&mdash;<a class = "line" name = "app1_76" id = "app1_76" href =
+"#line1_76">76.</a>
+<b>Acci:</b> Atti, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app1_78" id = "app1_78" href =
+"#line1_78">78.</a>
+<b>fulta:</b> fulta? H.
+&mdash;<a class = "line" name = "app1_82" id = "app1_82" href =
+"#line1_82">82.</a>
+<b>exsultat:</b> J<sup>α</sup>., H.; exultat, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app1_88" id = "app1_88" href =
+"#line1_88">88.</a>
+<b>men moveat? quippe et:</b>
+<span class = "pagenum">208</span>
+men moveat quippe et, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_89" id = "app1_89" href =
+"#line1_89">89.</a>
+<b>protulerim:</b> protulerim? J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_91" id = "app1_91" href =
+"#line1_91">91.</a>
+<b>querela:</b> J<sup>α</sup>., Brambach; querella, J<sup>ω</sup>., H.
+&mdash;<a class = "line" name = "app1_93" id = "app1_93" href =
+"#line1_93">93.</a>
+<b>cludere:</b> claudere, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_95" id = "app1_95" href =
+"#line1_95">95.</a>
+<b>Appennino:</b> Apennino, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app1_97" id = "app1_97" href =
+"#line1_97">97.</a>
+<b>vegrandi:</b> praegrandi, H.
+&mdash;<a class = "line" name = "app1_102" id = "app1_102" href =
+"#line1_102">102.</a>
+<b>euhion:</b> evion, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app1_111" id = "app1_111" href =
+"#line1_111">111.</a>
+<b>omnes, omnes:</b> omnes etenim, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app1_114" id = "app1_114" href =
+"#line1_114">114.</a>
+<b>meite:</b> meiite, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app1_119" id = "app1_119" href =
+"#line1_119">119.</a>
+<b>nec cum scrobe? nusquam?</b> nec cum scrobe, nusquam? J<sup>ω</sup>.,
+H.; nec cum scrobe? ‘nusquam.’ J<sup>α</sup>.
+&mdash;<a class = "line" name = "app1_130" id = "app1_130" href =
+"#line1_130">130.</a>
+<b>heminas:</b> J<sup>α</sup>., H.; eminas, J<sup>ω</sup>.</p>
+
+
+<h5><a name = "app_II" id = "app_II">
+SATURA II.</a></h5>
+
+<p>
+<a class = "line" name = "app2_5" id = "app2_5" href = "#line2_5">5.</a>
+<b>libabit:</b> libavit <i>al</i>.
+&mdash;<a class = "line" name = "app2_9" id = "app2_9" href =
+"#line2_9">9.</a>
+<b>murmurat:</b> immurmurat, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app2_10" id = "app2_10" href =
+"#line2_9">10.</a>
+<b>ebulliat:</b> ebullit <i>Cod. Montepessulanus</i>.
+&mdash;<a class = "line" name = "app2_14" id = "app2_14" href =
+"#line2_14">14.</a>
+<b>conditur:</b> ducitur, J<sup>α</sup>.
+&mdash;<ins class = "correction" title = "the nearest occurrence of this word is in line II.22"><b>pro:</b></ins> proh, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app2_16" id = "app2_16" href =
+"#line2_16">16.</a>
+<b>purgas?</b> purgas. J<sup>α</sup>.
+&mdash;<a class = "line" name = "app2_25" id = "app2_25" href =
+"#line2_25">25.</a>
+<b>sulpure:</b> sulfure, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app2_37" id = "app2_37" href =
+"#line2_37">37.</a>
+<b>optet:</b> optent <i>al</i>.
+&mdash;<a class = "line" name = "app2_42" id = "app2_42" href =
+"#line2_42">42.</a>
+<b>grandes:</b> J<sup>α</sup>., H.; pingues, J<sup>ω</sup>.
+&mdash;<b>tucceta:</b> tuceta, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app2_43" id = "app2_43" href =
+"#line2_43">43.</a>
+<b>adnuere:</b> annuere, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app2_45" id = "app2_45" href =
+"#line2_45">45.</a>
+<b>arcessis:</b> accersis, H.
+&mdash;<a class = "line" name = "app2_47" id = "app2_47" href =
+"#line2_47">47.</a>
+<b>flammas:</b> flamma, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app2_48" id = "app2_48" href =
+"#line2_48">48.</a>
+<b>et tamen:</b> ac tamen, J<sup>α</sup>.; at tamen, H.
+&mdash;<a class = "line" name = "app2_52" id = "app2_52" href =
+"#line2_52">52.</a>
+<b>creterras:</b> crateras. J<sup>α</sup>.
+&mdash;<a class = "line" name = "app2_54" id = "app2_54" href =
+"#line2_54">54.</a>
+<b>excutiat:</b> excutias, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app2_61" id = "app2_61" href =
+"#line2_61">61.</a>
+<b>terris:</b> terras <i>al</i>.
+&mdash;<b>caelestium:</b> coelestium, J<sup>α</sup>., H.
+&mdash;<b>inanes:</b> J<sup>α</sup>., H.; inanis, J<sup>ω</sup>. <i>At
+vid. Ritschel. Prolegg. Trinum.</i>, xc.; <i>Neue, Formenl.</i>, 1, 257.
+&mdash;<a class = "line" name = "app2_62" id = "app2_62" href =
+"#line2_62">62.</a>
+<b>quid iuvat hoc:</b> quid iuvat, hos, H.
+&mdash;<a class = "line" name = "app2_66" id = "app2_66" href =
+"#line2_66">66.</a>
+<b>bacam:</b> baccam, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app2_73" id = "app2_73" href =
+"#line2_73">73.</a>
+<b>animo:</b> animi, H.</p>
+
+
+<h5><a name = "app_III" id = "app_III">
+SATURA III.</a></h5>
+
+<p>
+<a class = "line" name = "app3_11" id = "app3_11" href =
+"#line3_11">11.</a>
+<b>harundo:</b> arundo, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app3_12" id = "app3_12" href =
+"#line3_12">12.</a>
+<b>querimur:</b> queritur, J<sup>α</sup>.
+&mdash;<b>umor:</b> humor, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app3_13" id = "app3_13" href =
+"#line3_13">13.</a>
+<b>quod:</b> J<sup>α</sup>., H.; sed, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app3_14" id = "app3_14" href =
+"#line3_14">14.</a>
+<b>querimur:</b> queritur, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app3_15" id = "app3_15" href =
+"#line3_15">15.</a>
+<b>hucine:</b> huccine, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app3_17" id = "app3_17" href =
+"#line3_17">17.</a>
+<b>pappare:</b> papare, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app3_29" id = "app3_29" href =
+"#line3_29">29.</a>
+<b>censoremne:</b> Casaubon.; censoremque, J<sup>ω</sup>.; censoremve,
+J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app3_31" id = "app3_31" href =
+"#line3_31">31.</a>
+<b>Nattae?</b> J<sup>α</sup>.,&nbsp;H.; Nattae. J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app3_32" id = "app3_32" href =
+"#line3_32">32.</a>
+<b>vitio et:</b> <i>om.</i> et H.
+&mdash;<a class = "line" name = "app3_46" id = "app3_46" href =
+"#line3_46">46.</a>
+<b>discere non sano:</b> dicere et insano, H.
+&mdash;<a class = "line" name = "app3_48" id = "app3_48" href =
+"#line3_48">48.</a>
+<b>iure: (;):</b> J<sup>α</sup>., H.; iure etenim, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app3_53" id = "app3_53" href =
+"#line3_53">53.</a>
+<b>bracatis:</b> braccatis, H.
+&mdash;<a class = "line" name = "app3_56" id = "app3_56" href =
+"#line3_56">56.</a>
+<b>diduxit:</b> deduxit, H.
+&mdash;<a class = "line" name = "app3_58" id = "app3_58" href =
+"#line3_58">58.</a>
+<b>adhuc:</b> adhuc? J<sup>α</sup>.
+&mdash;<a class = "line" name = "app3_59" id = "app3_59" href =
+"#line3_59">59.</a>
+<b>malis!:</b> malis? J<sup>α</sup>.
+&mdash;<a class = "line" name = "app3_60" id = "app3_60" href =
+"#line3_60">60.</a>
+<b>in quod:</b> in quo, H.
+&mdash;<a class = "line" name = "app3_68" id = "app3_68" href =
+"#line3_68">68.</a>
+<b>qua:</b> quam, H.
+&mdash;<a class = "line" name = "app3_73" id = "app3_73" href =
+"#line3_73">73.</a>
+<b>nec:</b> neque, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app3_76" id = "app3_76" href =
+"#line3_76">76.</a>
+<b>mena:</b> maena, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app3_78" id = "app3_78" href =
+"#line3_78">78.</a>
+<b>quod sapio satis est mihi:</b> quod satis est sapio mihi,
+J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app3_89" id = "app3_89" href =
+"#line3_89">89.</a>
+<b>alitus:</b> halitus, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app3_92" id = "app3_92" href =
+"#line3_92">92.</a>
+<b>lagoena:</b> lagena, J<sup>α</sup>., H.
+&mdash;<ins class = "correction" title = "text reads ‘94’"><a class =
+"line" name = "app3_93" id = "app3_93" href = "#line3_93">93.</a></ins>
+<b>rogabit:</b> rogavit, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app3_94" id = "app3_94" href =
+"#line3_94">94.</a>
+<b>istuc:</b> istud, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app3_99" id = "app3_99" href =
+"#line3_99">99.</a>
+<b>sulpureas exalante:</b> sulfureas exhalante, J<sup>α</sup>., H.
+&mdash;<b>mefites:</b> mephites, J<sup>α</sup>.
+<span class = "pagenum">209</span>
+&mdash;<a class = "line" name = "app3_100" id = "app3_100" href =
+"#line3_100">100.</a>
+<b>triental:</b> J<sup>α</sup>.; trientem, J<sup>ω</sup>., H.
+&mdash;<a class = "line" name = "app3_105" id = "app3_105" href =
+"#line3_105">105.</a>
+<b>rigidas:</b> rigidos, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app3_112" id = "app3_112" href =
+"#line3_112">112.</a>
+<b>holus:</b> olus, J<sup>α</sup>., H.</p>
+
+
+<h5><a name = "app_IV" id = "app_IV">
+SATURA IV.</a></h5>
+
+<p>
+<a class = "line" name = "app4_3" id = "app4_3" href = "#line4_3">3.</a>
+<b>hoc:</b> o, H.
+&mdash;<a class = "line" name = "app4_9" id = "app4_9" href =
+"#line4_9">9.</a>
+<b>hoc puta:</b> <i>hoc</i>, puta, H.; puto, Heinr.
+&mdash;<a class = "line" name = "app4_13" id = "app4_13" href =
+"#line4_13">13.</a>
+<b>theta:</b> theta? H.
+&mdash;<a class = "line" name = "app4_19" id = "app4_19" href =
+"#line4_19">19.</a>
+<b>exspecta:</b> expecta, J<sup>ω</sup>.
+&mdash;<ins class = "correction" title = "printed with line 19"><a class
+= "line" name = "app4_20" id = "app4_20" href =
+"#line4_20">20.</a></ins>
+&mdash;<b>suffla:</b> sufla, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app4_26" id = "app4_26" href =
+"#line4_26">26.</a>
+<b>miluus errat:</b> milvus oberret, J<sup>α</sup>.; milvus oberrat, H.
+&mdash;<a class = "line" name = "app4_31" id = "app4_31" href =
+"#line4_31">31.</a>
+<b>farrata olla:</b> farratam ollam, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app4_35" id = "app4_35" href =
+"#line4_35">35.</a>
+<b>hi mores:</b> in mores, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app4_38" id = "app4_38" href =
+"#line4_38">38.</a>
+<b>exstat:</b> extat, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app4_48" id = "app4_48" href =
+"#line4_48">48.</a>
+<b>venit amarum:</b> H.; venit, amarum, J<sup>ω</sup>.; venit amorum,
+J<sup>α</sup>.
+&mdash;<i>sed mox paenituit</i>. <i>Vid. Prolegg.</i>, 193, 1.</p>
+
+
+<h5><a name = "app_V" id = "app_V">
+SATURA V.</a></h5>
+
+<p>
+<a class = "line" name = "app5_3" id = "app5_3" href = "#line5_3">3.</a>
+<b>maesto:</b> moesto, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_8" id = "app5_8" href =
+"#line5_8">8.</a>
+<b>Prognes:</b> Procnes, H.
+&mdash;<a class = "line" name = "app5_9" id = "app5_9" href =
+"#line5_9">9.</a>
+<b>cenanda:</b> coenanda, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_13" id = "app5_13" href =
+"#line5_13">13.</a>
+<b>scloppo:</b> stloppo, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_17" id = "app5_17" href =
+"#line5_17">17.</a>
+<b>dicis:</b> dicas, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_19" id = "app5_19" href =
+"#line5_19">19.</a>
+<b>bullatis:</b> pullatis, J<sup>α</sup>.; ampullatis <i>proposuit</i>
+J.
+&mdash;<a class = "line" name = "app5_24" id = "app5_24" href =
+"#line5_24">24.</a>
+<b>dinoscere:</b> dignoscere, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_35" id = "app5_35" href =
+"#line5_35">35.</a>
+<b>deducit:</b> J<sup>α</sup>., H.; diducit, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app5_38" id = "app5_38" href =
+"#line5_38">38.</a>
+<b>apposita:</b> J<sup>α</sup>., H.; adpos., J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app5_58" id = "app5_58" href =
+"#line5_58">58.</a>
+<b>cheragra:</b> chiragra, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_66" id = "app5_66" href =
+"#line5_66">66.</a>
+<b>‘cras hoc fiet.’ Idem cras fiet:</b> cras hoc fiet idem
+&mdash;Cras fiet? H.
+&mdash;<a class = "line" name = "app5_68" id = "app5_68" href =
+"#line5_68">68.</a>
+<b>consumpsimus:</b> consumsimus, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_71" id = "app5_71" href =
+"#line5_71">71.</a>
+<b>cantum:</b> canthum, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_76" id = "app5_76" href =
+"#line5_76">76.</a>
+<b>tressis:</b> J<sup>α</sup>., H.; tresis, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app5_82" id = "app5_82" href =
+"#line5_82">82.</a>
+<b>pillea:</b> pilea, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_102" id = "app5_102" href =
+"#line5_102">102.</a>
+<b>navem:</b> navim, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_105" id = "app5_105" href =
+"#line5_105">105.</a>
+<b>speciem dinoscere:</b> specimen dignoscere, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_110" id = "app5_110" href =
+"#line5_110">110.</a>
+<b>astringas:</b> adstringas, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_112" id = "app5_112" href =
+"#line5_112">112.</a>
+<b>glutto:</b> gluto, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_117" id = "app5_117" href =
+"#line5_117">117.</a>
+<b>sub:</b> J<sup>α</sup>., H.; in, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app5_119" id = "app5_119" href =
+"#line5_119">119.</a>
+<b>exsere:</b> J<sup>α</sup>., H.; exere, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app5_122" id = "app5_122" href =
+"#line5_122">122.</a>
+<b>cetera:</b> caetera, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_123" id = "app5_123" href =
+"#line5_123">123.</a>
+<b>tris:</b> tres, H.
+&mdash;<b>satyrum:</b> satyri, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_127" id = "app5_127" href =
+"#line5_127">127.</a>
+<b>‘cessas nugator:’</b> J<sup>α</sup>.; cessas nugator,
+J<sup>ω</sup>.,&nbsp;H. <i>Vid. <a href = "#note5_27">Comment</a>.</i>
+&mdash;<a class = "line" name = "app5_131" id = "app5_131" href =
+"#line5_131">131.</a>
+<b>erilis:</b> herilis, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_132" id = "app5_132" href =
+"#line5_132">132.</a>
+<b>heia:</b> eia, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_135" id = "app5_135" href =
+"#line5_135">135.</a>
+<b>hebenum:</b> ebenum, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_136" id = "app5_136" href =
+"#line5_136">136.</a>
+<b>ex:</b>&nbsp;e, J<sup>α</sup>.
+&mdash;<b>camelo:</b> J<sup>α</sup>., H.; camello, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app5_138" id = "app5_138" href =
+"#line5_138">138.</a>
+<b>varo:</b> J<sup>α</sup>.; baro, J<sup>ω</sup>., H.
+&mdash;<a class = "line" name = "app5_142" id = "app5_142" href =
+"#line5_142">142.</a>
+<b>ni:</b> nisi, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_145" id = "app5_145" href =
+"#line5_145">145.</a>
+<b>exstinxerit:</b> J<sup>α</sup>., H.; extinxerit, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app5_146" id = "app5_146" href =
+"#line5_146">146.</a>
+<b>transilias:</b> transsilias, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_147" id = "app5_147" href =
+"#line5_147">147.</a>
+<b>cena:</b> coena, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_148" id = "app5_148" href =
+"#line5_148">148.</a>
+<b>exalet:</b> exhalet, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_149" id = "app5_149" href =
+"#line5_149">149.</a>
+<b>nummi:</b> J<sup>α</sup>.; nummos, J<sup>ω</sup>., H.
+&mdash;<a class = "line" name = "app5_150" id = "app5_150" href =
+"#line5_150">150.</a>
+<b>pergant avidos sudare:</b> J<sup>α</sup>.; peragant avido sudore,
+J<sup>ω</sup>., H.
+&mdash;<a class = "line" name = "app5_155" id = "app5_155" href =
+"#line5_155">155.</a>
+<b>huncine:</b> hunccine, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app5_159" id = "app5_159" href =
+"#line5_159">159.</a>
+<b>et tamen:</b> ac tamen, J<sup>α</sup>.; ast tamen, H.
+&mdash;<a class = "line" name = "app5_163" id = "app5_163" href =
+"#line5_163">163.</a>
+<b>adrodens:</b> abrodens, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_165" id = "app5_165" href =
+"#line5_165">165.</a>
+<b>obscenum:</b> obscoenum, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_172" id = "app5_172" href =
+"#line5_172">172.</a>
+<b>nec nunc:</b> ne nunc, J<sup>α</sup>.
+&mdash;<b>arcessat:</b> accersar, H.; arcessor <i>al</i>.
+&mdash;<a class = "line" name = "app5_174" id = "app5_174" href =
+"#line5_174">174.</a>
+<b>exieras:</b> exieris <i>al</i>.
+&mdash;<b>nec nunc:</b> ne nunc, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app5_190" id = "app5_190" href =
+"#line5_190">190.</a>
+<b>Pulfennius:</b> Fulfennius, J<sup>α</sup>.</p>
+
+
+<span class = "pagenum">210</span>
+<h5><a name = "app_VI" id = "app_VI">
+SATURA VI.</a></h5>
+
+<p>
+<a class = "line" name = "app6_5" id = "app6_5" href = "#line6_5">5.</a>
+<b>iocis:</b> Heinr. <i>ex coni.</i>; iocos,&nbsp;J., H., Codd.
+&mdash;<a class = "line" name = "app6_6" id = "app6_6" href =
+"#line6_6">6.</a>
+<b>egregius:</b> egregios <i>al</i>.
+&mdash;<b>senes:</b> senex, H.
+&mdash;<a class = "line" name = "app6_16" id = "app6_16" href =
+"#line6_16">16.</a>
+<b>cenare:</b> coenare, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app6_17" id = "app6_17" href =
+"#line6_17">17.</a>
+<b>lagoena:</b> lagena, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app6_20" id = "app6_20" href =
+"#line6_20">20.</a>
+<b>tingat:</b> J<sup>α</sup>.,&nbsp;H., Bramb.; tinguat, J<sup>ω</sup>.
+&mdash;<b>holus:</b> olus, J<sup>α</sup>., H.
+&mdash;<b>empta:</b> emta, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app6_24" id = "app6_24" href =
+"#line6_24">24.</a>
+<b>tenuis salivas:</b> tenuem salivam, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app6_30" id = "app6_30" href =
+"#line6_30">30.</a>
+<b>dii:</b> Brambach; dei,&nbsp;J., H.
+&mdash;<a class = "line" name = "app6_31" id = "app6_31" href =
+"#line6_31">31.</a>
+<b>caespite:</b> Brambach; cespite,&nbsp;J., H.
+&mdash;<a class = "line" name = "app6_33" id = "app6_33" href =
+"#line6_33">33.</a>
+<b>cenam:</b> coenam, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app6_34" id = "app6_34" href =
+"#line6_34">34.</a>
+<b>negleget:</b> negliget, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app6_37" id = "app6_37" href =
+"#line6_37">37.</a>
+<b>tune bona incolumis minuas:</b> J<sup>α</sup>.; <i>haec verba et v.
+41 verba</i> <a href = "#line6_41">haec
+&mdash;metuas</a> <i>transposuit Sinnerus quem secuti sunt</i>
+J<sup>ω</sup>. <i>et</i> H.
+&mdash;<a class = "line" name = "app6_40" id = "app6_40" href =
+"#line6_40">40.</a>
+<b>fenisecae:</b> faenisecae, J<sup>α</sup>.; foenisacae, H.
+&mdash;<a class = "line" name = "app6_50" id = "app6_50" href =
+"#line6_50">50.</a>
+<b>conives:</b> connives, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app6_51" id = "app6_51" href =
+"#line6_51">51.</a>
+<b>inquis:</b> inquis. J<sup>α</sup>.
+&mdash;<a class = "line" name = "app6_64" id = "app6_64" href =
+"#line6_64">64.</a>
+<b>dest:</b> deest, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app6_66" id = "app6_66" href =
+"#line6_66">66.</a>
+<b>Tadius:</b> Stadius J<sup>α</sup>.
+&mdash;<b>repone:</b> J<sup>α</sup>., H.; oppone, J<sup>ω</sup>.
+&mdash;<a class = "line" name = "app6_67" id = "app6_67" href =
+"#line6_67">67.</a>
+<b>faenoris:</b> Brambach; fenoris, J<sup>ω</sup>.; foenoris,
+J<sup>α</sup>., H.
+&mdash;<b>sumptus:</b> sumtus, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app6_69" id = "app6_69" href =
+"#line6_69">69.</a>
+<ins class = "correction" title = "printed with line 67"><b>ungue:</b></ins> unge, J<sup>α</sup>.
+&mdash;<b>coquetur:</b> coquatur, J<sup>α</sup>., H.
+&mdash;<a class = "line" name = "app6_77" id = "app6_77" href =
+"#line6_77">77.</a>
+<b>plausisse:</b> pavisse, J<sup>α</sup>.
+&mdash;<a class = "line" name = "app6_79" id = "app6_79" href =
+"#line6_79">79.</a>
+<b>depunge:</b> depinge, J<sup>α</sup>., H.</p>
+
+</div>
+
+<hr class = "spacer">
+
+<div class = "index">
+
+<span class = "pagenum">211a</span>
+<h3><a name = "index" id = "index">
+INDEX.</a></h3>
+
+<hr class = "tiny">
+
+<table class = "index" summary = "index in two columns">
+<col width = "50%">
+<col>
+
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_A" id = "index_A">A.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>abaco,
+<a href = "#line1_131">1, 131</a>.</p>
+
+<p>abavus,
+<a href = "#note6_57">6, 57</a> (note).</p>
+
+<p>Ablative in ī,
+<a href = "#line1_62">1, 62</a>.
+<a href = "#line1_83">83</a>.</p>
+<p class = "indent">
+not necessarily locative,
+<a href = "#lineP_1">Prol., 1</a>;
+<a href = "#line2_35">2, 35</a>;
+<a href = "#line6_8">6, 8</a>.</p>
+
+<p>accerso,
+<a href = "#line2_45">2, 45</a>.</p>
+
+<p>Acci,
+<a href = "#line1_76">1, 76</a>.</p>
+
+<p>accipio,
+<a href = "#line5_87">5, 87</a>.</p>
+
+<p>Accusative cognate,
+<a href = "#lineP_14">Prol., 14</a>;
+<a href = "#line1_11">1, 11</a>.
+<a href = "#line1_106">106</a>;
+<a href = "#line3_59">3, 59</a>.
+<a href = "#line3_110">110</a>;
+<a href = "#line4_34">4, 34</a>;
+<a href = "#line5_25">5, 25</a>.
+<a href = "#line5_106">106</a>.
+<a href = "#line5_123">123</a>.
+<a href = "#line5_190">190</a>;
+<a href = "#line6_35">6, 35</a>.</p>
+<p class = "indent">
+for abl.,
+<a href = "#line6_42">6, 42</a>.</p>
+
+<p>acerra,
+<a href = "#line2_5">2, 5</a>.</p>
+
+<p>aceti morientis,
+<a href = "#line4_32">4, 32</a>.</p>
+
+<p>aceto lotus,
+<a href = "#line5_86">5, 86</a>.</p>
+
+<p>acre despuat,
+<a href = "#line4_34">4, 34</a>.</p>
+
+<p>acre servitium,
+<a href = "#line5_127">5, 127</a>.</p>
+
+<p>acri iunctura,
+<a href = "#line5_14">5, 14</a>.</p>
+
+<p>actus teneat,
+<a href = "#line5_99">5, 99</a>.</p>
+
+<p>ad,
+<a href = "#line5_123">5, 123</a>.</p>
+
+<p>adductis amicis,
+<a href = "#line3_47">3, 47</a>.</p>
+
+<p>adeo,
+<a href = "#line6_14">6, 14</a>.
+<a href = "#line6_51">51</a>.</p>
+
+<p>adferre sensus,
+<a href = "#line1_69">1, 69</a>.</p>
+
+<p>adflate,
+<a href = "#line1_123">1, 123</a>.</p>
+
+<p>Adjective for Subst.,
+<a href = "#line1_107">1, 107</a>;
+<a href = "#line2_74">2, 74</a>;
+<a href = "#line3_52">3, 52</a>.</p>
+
+<p>admissus,
+<a href = "#line1_117">1, 117</a>.</p>
+
+<p>admovere templis,
+<a href = "#line2_75">2, 75</a>.</p>
+
+<p>adnuere his,
+<a href = "#line2_43">2, 43</a>.</p>
+
+<p>adrodens,
+<a href = "#line5_163">5, 163</a>.</p>
+
+<p>adsensere viri,
+<a href = "#line1_36">1, 36</a>.</p>
+
+<p>adsigna tabellas,
+<a href = "#line5_81">5, 81</a>.</p>
+
+<p>adsonat,
+<a href = "#line1_102">1, 102</a>.</p>
+
+<p>adverso, ex adv. dicere,
+<a href = "#line1_44">1, 44</a>.</p>
+
+<p>Aegaeum rapere,
+<a href = "#line5_142">5, 142</a>.</p>
+
+<p>aegroti veteris,
+<a href = "#line3_83">3, 83</a>.</p>
+
+<span class = "pagenum left">211b</span>
+
+<p>Aegyptus, sons of,
+<a href = "#note2_56">2, 56</a> (note).</p>
+
+<p>aenos fratres,
+<a href = "#line2_56">2, 56</a>.</p>
+
+<p>aequali Libra,
+<a href = "#line5_47">5, 47</a>.</p>
+
+<p>aera invenci,
+<a href = "#line3_39">3, 39</a>.</p>
+<p class = "indent">
+Saturnia,
+<a href = "#line2_59">2, 59</a>.</p>
+
+<p>aerumnis,
+<a href = "#line1_78">1, 78</a>.</p>
+
+<p>aerumnosi,
+<a href = "#line3_79">3, 79</a>.</p>
+
+<p>agaso,
+<a href = "#line5_76">5, 76</a>.</p>
+
+<p>agedum,
+<a href = "#line2_22">2, 22</a>.</p>
+
+<p>ager exossatus,
+<a href = "#line6_52">6, 52</a>.</p>
+
+<p>agitare iocos (?),
+<a href = "#line6_5">6, 5</a>.</p>
+
+<p>Ague, semitertian,
+<a href = "#line3_91">3, 91</a>.</p>
+
+<p>ait (indef. person),
+<a href = "#line1_40">1, 40</a>.</p>
+
+<p>alba,
+<a href = "#line1_110">1, 110</a>.</p>
+
+<p>albata,
+<a href = "#line2_40">2, 40</a>.</p>
+
+<p>albo ventre,
+<a href = "#line3_98">3, 98</a>.</p>
+
+<p>albus cum sardonyche,
+<a href = "#line1_16">1, 16</a>.</p>
+<p class = "indent">
+timor,
+<a href = "#line3_115">3, 115</a>.</p>
+
+<p>Alcibiades,
+<a href = "#note4_3">4, 3</a> (note).</p>
+
+<p>alea,
+<a href = "#line5_57">5, 57</a>.</p>
+
+<p>algente catino,
+<a href = "#line3_111">3, 111</a>.</p>
+
+<p>alges,
+<a href = "#line3_115">3, 115</a>.</p>
+
+<p>aliquid,
+<a href = "#line3_60">3, 60</a>;
+<a href = "#line5_137">5, 137</a>.</p>
+
+<p>aliquis,
+<a href = "#line3_8">3, 8</a>.</p>
+
+<p>alitus gravis,
+<a href = "#line3_89">3, 89</a>.</p>
+
+<p>alli caput,
+<a href = "#line5_188">5, 188</a>.</p>
+
+<p>ambages succinis,
+<a href = "#line3_20">3, 20</a>.</p>
+
+<p>ambiguum iter,
+<a href = "#line5_34">5, 34</a>.</p>
+
+<p>ambitio cretata,
+<a href = "#line5_177">5, 177</a>.</p>
+
+<p>amitis,
+<a href = "#line6_53">6, 53</a>.</p>
+
+<p>amomis crassis,
+<a href = "#line3_104">3, 104</a>.</p>
+
+<p>amplexa catinum,
+<a href = "#line5_182">5, 182</a>.</p>
+
+<p>an,
+<a href = "#line1_41">1, 41</a>.</p>
+
+<p>anceps,
+<a href = "#line4_11">4, 11</a>;
+<a href = "#line5_156">5, 156</a>.</p>
+
+<p>anguis duos,
+<a href = "#line1_113">1, 113</a>.</p>
+
+<p>angulus,
+<a href = "#line6_13">6, 13</a>.</p>
+
+<p>anhelo,
+<a href = "#line1_14">1, 14</a>;
+<a href = "#line5_10">5, 10</a>.</p>
+
+<p>animae pars,
+<a href = "#line5_23">5, 23</a>.</p>
+
+<p>animam vende,
+<a href = "#line6_75">6, 75</a>.</p>
+
+<span class = "pagenum left">212a</span>
+<p>anne,
+<a href = "#line3_39">3, 39</a>.</p>
+
+<p>anseris exta,
+<a href = "#line6_71">6, 71</a>.</p>
+
+<p>ante boves,
+<a href = "#line1_74">1, 74</a>.</p>
+
+<p>Anticyras,
+<a href = "#line4_16">4, 16</a>.</p>
+
+<p>Antiopa,
+<a href = "#line1_78">1, 78</a>.</p>
+
+<p>antithetis rasis,
+<a href = "#line1_86">1, 86</a>.</p>
+
+<p>anus,
+<a href = "#line4_19">4, 19</a>.</p>
+</td>
+<td>
+
+<p>Aorist descriptive,
+<a href = "#line3_101">3, 101</a>;
+<a href = "#line5_187">5, 187</a>.</p>
+<p class = "indent">
+gnomic,
+<a href = "#line2_5">2, 5</a>.</p>
+<p class = "indent">
+infinitive,
+<a href = "#line1_132">1, 132</a>;
+<a href = "#line2_66">2, 66</a>;
+<a href = "#line5_33">5, 33</a>;
+<a href = "#line6_77">6, 77</a>.</p>
+
+<p>aperto voto,
+<a href = "#line2_7">2, 7</a>.</p>
+
+<p><span class = "greek" title = "apotropoisi daimosi">ἀποτρόποισι
+δαίμοσι</span>,
+<a href = "#line5_167">5, 167</a>.</p>
+
+<p>Appennino,
+<a href = "#line1_95">1, 95</a>.</p>
+
+<p>apponit annos,
+<a href = "#line2_2">2, 2</a>.</p>
+
+<p>apposita regula,
+<a href = "#line5_38">5, 38</a>.</p>
+
+<p>apricatio,
+<a href = "#line4_18">4, 18</a>.
+<a href = "#line4_19">19</a>.
+<a href = "#line4_33">33</a> (note).</p>
+
+<p>aprici senes,
+<a href = "#line5_179">5, 179</a>.</p>
+
+<p>aptius,
+<a href = "#line1_45">1, 45</a>.</p>
+
+<p>Apula canis,
+<a href = "#line1_60">1, 60</a>.</p>
+
+<p>aqualiculus,
+<a href = "#line1_57">1, 57</a>.</p>
+
+<p>arator peronatus,
+<a href = "#line5_102">5, 102</a>.</p>
+
+<p>aratra,
+<a href = "#line1_75">1, 75</a>.</p>
+
+<p>aratro,
+<a href = "#line4_41">4, 41</a>.</p>
+
+<p>Arcadiae pecuaria,
+<a href = "#line3_9">3, 9</a>.</p>
+
+<p>Arcesilas,
+<a href = "#line3_79">3, 79</a>.</p>
+
+<p>arcessat,
+<a href = "#line5_172">5, 172</a>.</p>
+
+<p>arcessis,
+<a href = "#line2_45">2, 45</a>.</p>
+
+<p>arcum dirigere,
+<a href = "#line3_60">3, 60</a>.</p>
+
+<p>argenti creterras,
+<a href = "#line2_52">2, 52</a>.</p>
+<p class = "indent">
+seria,
+<a href = "#line2_10">2, 10</a>.</p>
+
+<p>argento modus,
+<a href = "#line3_69">3, 69</a>.</p>
+
+<p>Aricia,
+<a href = "#note6_56">6, 56</a> (note).</p>
+
+<p>aris excutere,
+<a href = "#line6_44">6, 44</a>.</p>
+
+<p>aristas excutere,
+<a href = "#line3_115">3, 115</a>.</p>
+
+<p>Aristophanes,
+<a href = "#note1_124">1, 124</a> (note).</p>
+
+<p>arma virum,
+<a href = "#line1_96">1, 96</a>.</p>
+
+<p>Arreti,
+<a href = "#line1_130">1, 130</a>.</p>
+
+<p>ars = philosophia,
+<a href = "#line5_105">5, 105</a>.</p>
+
+<p>articulos fregerit,
+<a href = "#line5_59">5, 59</a>.</p>
+
+<p>artifex ponere,
+<a href = "#line1_71">1, 71</a>.</p>
+<p class = "indent">
+sequi,
+<a href = "#lineP_11">Prol., 11</a>.</p>
+
+<p>artificem vultum,
+<a href = "#line5_40">5, 40</a>.</p>
+
+<p>artis magister,
+<a href = "#lineP_10">Prol., 10</a>.</p>
+
+<p>artocreas,
+<a href = "#line6_50">6, 50</a>.</p>
+
+<p>asini,
+<a href = "#line1_121">1, 121</a>.</p>
+
+<p>asper nummus,
+<a href = "#line3_69">3, 69</a>.</p>
+
+<p>ast,
+<a href = "#line2_39">2, 39</a>.</p>
+
+<p>astringas,
+<a href = "#line5_110">5, 110</a>.</p>
+
+<p>Astrology,
+<a href = "#note5_46">5, 46</a> (note).</p>
+
+<span class = "pagenum">212b</span>
+
+<p>astutam vulpem,
+<a href = "#line5_117">5, 117</a>.</p>
+
+<p>at,
+<a href = "#line1_28">1, 28</a>;
+<a href = "#line5_62">5, 62</a>.</p>
+
+<p>atavus,
+<a href = "#note6_58">6, 58</a> (note).</p>
+
+<p>atque (after compar.),
+<a href = "#line5_131">5, 131</a>.</p>
+
+<p>Atti,
+<a href = "#line1_50">1, 50</a>.</p>
+
+<p>Attis,
+<a href = "#line1_93">1, 93</a>.
+<a href = "#line1_105">105</a>.</p>
+
+<p>Attribute for effect,
+<a href = "#lineP_4">Prol., 4</a>;
+<ins class = "correction" title = "satire number missing">
+<a href = "#line1_17">1, 17</a></ins>.</p>
+
+<p>audaci Cratino,
+<a href = "#line1_123">1, 123</a>.</p>
+
+<p>aude,
+<a href = "#line6_49">6, 49</a>.</p>
+
+<p>auratis laquearibus,
+<a href = "#line3_40">3, 40</a>.</p>
+
+<p>aure vaporata,
+<a href = "#line1_126">1, 126</a>.</p>
+
+<p>aurem lotus,
+<a href = "#line5_86">5, 86</a>.</p>
+
+<p>aures bibulas,
+<a href = "#line4_50">4, 50</a>.</p>
+
+<p>auriculas albas,
+<a href = "#line1_59">1, 59</a>.</p>
+<p class = "indent">
+asini,
+<a href = "#line1_121">1, 121</a>.</p>
+<p class = "indent">
+emere,
+<a href = "#line2_30">2, 30</a>.</p>
+<p class = "indent">
+radere,
+<a href = "#line1_108">1, 108</a>.</p>
+
+<p>auro ovato,
+<a href = "#line2_55">2, 55</a>.</p>
+<p class = "indent">
+pingui,
+<a href = "#line2_52">2, 52</a>.</p>
+<p class = "indent">
+subaerato,
+<a href = "#line5_106">5, 106</a>.</p>
+
+<p>auster infelix,
+<a href = "#line6_12">6, 12</a>.</p>
+
+<p>aut and an,
+<a href = "#line5_5">5, 5</a>.</p>
+
+<p>avaritia,
+<a href = "#line5_132">5, 132</a>.</p>
+
+<p>avia,
+<a href = "#line2_31">2, 31</a>.</p>
+
+<p>avias veteres,
+<a href = "#line5_92">5, 92</a>.</p>
+
+<p>avunculus maior,
+<a href = "#line6_60">6, 60</a>.</p>
+
+<p>axe secundo,
+<a href = "#line5_72">5, 72</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_B" id = "index_B">B.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>bacam conchae,
+<a href = "#line2_66">2, 66</a>.</p>
+
+<p>balanatum,
+<a href = "#line4_37">4, 37</a>.</p>
+
+<p>balba nare,
+<a href = "#line1_33">1, 33</a>.</p>
+
+<p>balnea,
+<a href = "#line5_126">5, 126</a>.</p>
+
+<p>balteus,
+<a href = "#line4_44">4, 44</a>.</p>
+
+<p>barba aurea,
+<a href = "#line2_58">2, 58</a>.</p>
+
+<p>barbatus magister,
+<a href = "#line4_1">4, 1</a>.</p>
+
+<p>Bassaris,
+<a href = "#line1_101">1, 101</a>.</p>
+
+<p>Bassus Caesius,
+<a href = "#note6_1">6, 1</a> (note).</p>
+
+<p>Bathylli,
+<a href = "#line5_123">5, 123</a>.</p>
+
+<p>Baucis,
+<a href = "#line4_21">4, 21</a>.</p>
+
+<p>beatulus,
+<a href = "#line3_103">3, 103</a>.</p>
+
+<p>belle,
+<a href = "#line1_49">1, 49</a>.</p>
+
+<p>bellum (adj.),
+<a href = "#line1_87">1, 87</a>.</p>
+
+<p>bene,
+<a href = "#line1_111">1, 111</a>;
+<a href = "#line4_30">4, 30</a>.</p>
+
+<p>Berecyntius,
+<a href = "#line1_93">1, 93</a>.</p>
+
+<p>Bestius,
+<a href = "#line6_37">6, 37</a>.</p>
+
+<p>beta,
+<a href = "#line3_114">3, 114</a>.</p>
+
+<p>bibulas aures,
+<a href = "#line4_50">4, 50</a>.</p>
+
+<p>bicipiti Parnaso,
+<a href = "#lineP_2">Prol., 2</a>.</p>
+
+<span class = "pagenum left">213a</span>
+<p>bicolor membrana,
+<a href = "#line3_10">3, 10</a>.</p>
+
+<p>bidental,
+<a href = "#line2_27">2, 27</a>.</p>
+
+<p>bile acri, 2,14.</p>
+<p class = "indent">
+commota,
+<a href = "#line4_6">4, 6</a>.</p>
+
+<p>bilis mascula,
+<a href = "#line5_144">5, 144</a>.</p>
+<p class = "indent">
+vitrea,
+<a href = "#line3_8">3, 8</a>.</p>
+
+<p>Birthday,
+<a href = "#line2_1">2, 1</a>.</p>
+
+<p>bis terque,
+<a href = "#line2_16">2, 16</a>.</p>
+</td>
+<td>
+
+<p>Blaesus Pedius,
+<a href = "#note1_85">1, 85</a> (note).</p>
+
+<p>blandi comites,
+<a href = "#line5_32">5, 32</a>.</p>
+
+<p>blando popello,
+<a href = "#line4_15">4, 15</a>.</p>
+
+<p>bombis,
+<a href = "#line1_99">1, 99</a>.</p>
+
+<p>bona mens,
+<a href = "#line2_8">2, 8</a>.</p>
+<p class = "indent">
+pars,
+<a href = "#line2_5">2, 5</a>.</p>
+
+<p>bone,
+<a href = "#line3_94">3, 94</a>;
+<a href = "#line6_43">6, 43</a>.</p>
+
+<p><span class = "greek" title = "bouthutein">βουθυτεῖν</span>,
+<a href = "#line2_44">2, 44</a>.</p>
+
+<p>bove caeso,
+<a href = "#line2_44">2, 44</a>.</p>
+
+<p>Bovillas,
+<a href = "#line6_55">6, 55</a>.</p>
+
+<p>bracatis Medis,
+<a href = "#line3_53">3, 53</a>.</p>
+
+<p>Brisaei,
+<a href = "#line1_76">1, 76</a>.</p>
+
+<p>Bruto liberior,
+<a href = "#line5_85">5, 85</a>.</p>
+
+<p>bruma,
+<a href = "#line6_1">6, 1</a>.</p>
+
+<p>Bruttia saxa,
+<a href = "#line6_27">6, 27</a>.</p>
+
+<p>buccas tumidas,
+<a href = "#line5_13">5, 13</a>.</p>
+
+<p>bulla donata,
+<a href = "#line5_31">5, 31</a>.</p>
+
+<p>bullatis nugis,
+<a href = "#line5_19">5, 19</a>.</p>
+
+<p>bullit,
+<a href = "#line3_34">3, 34</a>.</p>
+
+<p>buxum torquere,
+<a href = "#line3_51">3, 51</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_C" id = "index_C">C.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>caballino fonte,
+<a href = "#lineP_1">Prol., 1</a>.</p>
+
+<p>cachinno,
+<a href = "#line1_12">1, 12</a>.</p>
+
+<p>cachinnos ingeminare,
+<a href = "#line3_87">3, 87</a>.</p>
+
+<p>caeco occipiti,
+<a href = "#line1_62">1, 62</a>.</p>
+
+<p>caecum vulnus,
+<a href = "#line4_44">4, 44</a>.</p>
+
+<p>caedimus,
+<a href = "#line4_42">4, 42</a>.</p>
+
+<p>caelestium inanes,
+<a href = "#line2_61">2, 61</a>.</p>
+
+<p>caerulea tabula,
+<a href = "#line6_33">6, 33</a>.</p>
+
+<p>caepe tunicatum,
+<a href = "#line4_31">4, 31</a>.</p>
+
+<p>caeso bove,
+<a href = "#line2_44">2, 44</a>.</p>
+
+<p>Caesonia,
+<a href = "#line6_47">6, 47</a>.</p>
+
+<p>caespite vivo,
+<a href = "#line6_31">6, 31</a>.</p>
+
+<p>Calabrum vellus,
+<a href = "#line2_65">2, 65</a>.</p>
+
+<p>calamo,
+<a href = "#line3_12">3, 12</a>.
+<a href = "#line3_19">19</a>.</p>
+
+<p>calcaverit,
+<a href = "#line2_38">2, 38</a>.</p>
+
+<p>calces extendit,
+<a href = "#line3_105">3, 105</a>.</p>
+<p class = "indent">
+gender of, <i>ib.</i></p>
+
+<p>calet,
+<a href = "#line3_108">3, 108</a>.</p>
+
+<p>calice,
+<a href = "#line6_20">6, 20</a>.</p>
+
+<p>calidae turbae,
+<a href = "#line4_7">4, 7</a>.</p>
+
+<span class = "pagenum left">213b</span>
+
+<p>calidum sumen,
+<a href = "#line1_53">1, 53</a>.</p>
+<p class = "indent">
+triental,
+<a href = "#line3_100">3, 100</a>.</p>
+
+<p>Caligula,
+<a href = "#note6_43">6, 43</a> (note).</p>
+
+<p>callem surgentem,
+<a href = "#line3_57">3, 57</a>.</p>
+
+<p>calles,
+<a href = "#line4_5">4, 5</a>.</p>
+
+<p>callidus,
+<a href = "#line5_14">5, 14</a>.</p>
+<p class = "indent">
+suspendere naso,
+<a href = "#line1_118">1, 118</a>.</p>
+
+<p>Calliroen,
+<a href = "#line1_134">1, 134</a>.</p>
+
+<p>caloni,
+<a href = "#line5_95">5, 95</a>.</p>
+
+<p>calve,
+<a href = "#line1_56">1, 56</a>.</p>
+
+<p>camelo sitiente,
+<a href = "#line5_136">5, 136</a>.</p>
+
+<p>Camena hortante,
+<a href = "#line5_21">5, 21</a>.</p>
+
+<p>camino coquitur,
+<a href = "#line5_10">5, 10</a>.</p>
+
+<p>campo indulgere,
+<a href = "#line5_57">5, 57</a>.</p>
+
+<p>candelae,
+<a href = "#line3_103">3, 103</a>.</p>
+
+<p>candidus dies,
+<a href = "#line2_2">2, 2</a>.</p>
+<p class = "indent">
+umbo,
+<a href = "#line5_33">5, 33</a>.</p>
+
+<p>canem cave,
+<a href = "#note1_109">1, 109</a> (note).</p>
+
+<p>canicula,
+<a href = "#line3_5">3, 5</a>.</p>
+<p class = "indent">
+damnosa,
+<a href = "#line3_49">3, 49</a>.</p>
+
+<p>canina littera,
+<a href = "#line1_109">1, 109</a>.</p>
+
+<p>canis (capillis),
+<a href = "#line5_65">5, 65</a>.</p>
+
+<p>canis Apula,
+<a href = "#line1_60">1, 60</a>.</p>
+
+<p>cano capiti,
+<a href = "#line1_83">1, 83</a>.</p>
+
+<p>canitiem,
+<a href = "#line1_9">1, 9</a>.</p>
+
+<p>cannabe,
+<a href = "#line5_146">5, 146</a>.</p>
+
+<p>cantare ocima,
+<a href = "#line4_22">4, 22</a>.</p>
+<p class = "indent">
+nectar,
+<a href = "#lineP_14">Prol., 14</a>.</p>
+
+<p>cantum,
+<a href = "#line5_71">5, 71</a>.</p>
+
+<p>capedines,
+<a href = "#note2_59">2, 59</a> (note).</p>
+
+<p>capillis positis,
+<a href = "#line3_10">3, 10</a>.</p>
+
+<p>capite et pedibus,
+<a href = "#line5_18">5, 18</a>.</p>
+<p class = "indent">
+induto,
+<a href = "#line3_106">3, 106</a>.</p>
+<p class = "indent">
+obstipo,
+<a href = "#line3_80">3, 80</a>.</p>
+
+<p>capiti cano,
+<a href = "#line1_83">1, 83</a>.</p>
+
+<p>Cappadocas,
+<a href = "#line6_77">6, 77</a>.</p>
+
+<p>caprificus,
+<a href = "#line1_25">1, 25</a>.</p>
+
+<p>caput alli,
+<a href = "#line5_188">5, 188</a>.</p>
+<p class = "indent">
+laxum,
+<a href = "#line3_58">3, 58</a>.</p>
+
+<p>carbone notare,
+<a href = "#line5_108">5, 108</a>.</p>
+
+<p>carere culpa,
+<a href = "#line3_33">3, 33</a>.</p>
+
+<p>carmen robustum,
+<a href = "#line5_5">5, 5</a>.</p>
+
+<p>carpamus dulcia,
+<a href = "#line5_151">5, 151</a>.</p>
+
+<p>casia,
+<a href = "#line2_64">2, 64</a>;
+<a href = "#line6_36">6, 36</a>.</p>
+
+<p>casses artos,
+<a href = "#line5_170">5, 170</a>.</p>
+
+<p>castigare examen,
+<a href = "#line1_7">1, 7</a>.</p>
+
+<p>castoreum,
+<a href = "#line5_135">5, 135</a>.</p>
+
+<p>catasta,
+<a href = "#line6_77">6, 77</a>.</p>
+
+<p>catenae,
+<a href = "#line5_160">5, 160</a>.</p>
+
+<p>catino,
+<a href = "#line3_111">3, 111</a>.</p>
+
+<span class = "pagenum left">214a</span>
+<p>catinum rubrum,
+<a href = "#line5_182">5, 182</a>.</p>
+
+<p>Catonis morituri,
+<a href = "#line3_45">3, 45</a>.</p>
+
+<p>caudam iactare,
+<a href = "#line4_15">4, 15</a>.</p>
+
+<p>caules ungue,
+<a href = "#line6_69">6, 69</a>.</p>
+
+<p>cansas rerum,
+<a href = "#line3_66">3, 66</a>.</p>
+
+<p>cautus dinoscere,
+<a href = "#line5_24">5, 24</a>.</p>
+
+<p>cedo,
+<a href = "#line2_75">2, 75</a>.</p>
+
+<p>cedro,
+<a href = "#line1_42">1, 42</a>.</p>
+
+<p>celsa sede,
+<a href = "#line1_17">1, 17</a>.</p>
+
+<p>cena funeris,
+<a href = "#line6_33">6, 33</a>.</p>
+
+<p>cenanda,
+<a href = "#line5_9">5, 9</a>.</p>
+
+<p>censen,
+<a href = "#line5_168">5, 168</a>.</p>
+
+<p>censorem tuum,
+<a href = "#line3_29">3, 29</a>.</p>
+
+<p>centenas voces,
+<a href = "#line5_26">5, 26</a>.</p>
+
+<p>centeno gutture,
+<a href = "#line5_6">5, 6</a>.</p>
+
+<p>centum voces poscere,
+<a href = "#line5_1">5, 1</a>.</p>
+<p class = "indent">
+paria,
+<a href = "#line6_48">6, 48</a>.</p>
+
+<p>centuriones,
+<a href = "#line5_189">5, 189</a>.</p>
+
+<p>centurionum,
+<a href = "#line3_77">3, 77</a>.</p>
+
+<p>centusse curto,
+<a href = "#line5_191">5, 191</a>.</p>
+
+<p>ceraso peccent,
+<a href = "#line6_36">6, 36</a>.</p>
+
+<p>cerdo,
+<a href = "#line4_51">4, 51</a>.</p>
+
+<p>certo puncto,
+<a href = "#line5_100">5, 100</a>.</p>
+
+<p>cervice laxa,
+<a href = "#line1_98">1, 98</a>.</p>
+
+<p>cervices purpureas,
+<a href = "#line3_41">3, 41</a>.</p>
+
+<p>cessas,
+<a href = "#line5_127">5, 127</a>.</p>
+
+<p>cesses,
+<a href = "#line4_33">4, 33</a>.</p>
+
+<p>cessit pavido,
+<a href = "#line5_30">5, 30</a>.</p>
+
+<p>ceves,
+<a href = "#line1_87">1, 87</a>.</p>
+
+<p>chaere = <span class = "greek" title = "chaire">χαῖρε</span>,
+<a href = "#lineP_8">Prol., 8</a>.</p>
+
+<p>Chaerestratus,
+<a href = "#line5_162">5, 162</a>.</p>
+
+<p>chartae,
+<a href = "#line3_11">3, 11</a>.</p>
+
+<p>chartis nocturnis,
+<a href = "#line5_62">5, 62</a>.</p>
+
+<p>cheragra,
+<a href = "#line5_58">5, 58</a>.</p>
+
+<p>Cherry pit,
+<a href = "#line3_50">3, 50</a>.</p>
+
+<p>chlamydes,
+<a href = "#line6_46">6, 46</a>.</p>
+
+<p>chordae,
+<a href = "#line6_2">6, 2</a>.</p>
+
+<p>chrysendeta,
+<a href = "#note2_52">2, 52</a> (note).</p>
+
+<p>Chrysidis,
+<a href = "#line5_165">5, 165</a>.</p>
+</td>
+<td>
+
+<p>Chrysippus,
+<a href = "#line6_80">6, 80</a>.</p>
+
+<p>cicer,
+<a href = "#line5_177">5, 177</a>.</p>
+
+<p>ciconia,
+<a href = "#line1_58">1, 58</a>.</p>
+
+<p>cicutae,
+<a href = "#line4_2">4, 2</a>;
+<a href = "#line5_145">5, 145</a>.</p>
+
+<p>Cincinnatus,
+<a href = "#note1_73">1, 73</a> (note).</p>
+
+<p>cinere ulterior,
+<a href = "#line6_41">6, 41</a>.</p>
+
+<p>cinis,
+<a href = "#line5_152">5, 152</a>.</p>
+
+<p>cinis frigidus,
+<a href = "#line6_45">6, 45</a>.</p>
+
+<p>cippus,
+<a href = "#line1_37">1, 37</a>.</p>
+
+<p>cirratorum,
+<a href = "#line1_29">1, 29</a>.</p>
+
+<p>citius,
+<a href = "#line5_95">5, 95</a>.</p>
+
+<span class = "pagenum">214b</span>
+
+<p>citreis lectis,
+<a href = "#line1_53">1, 53</a>.</p>
+
+<p>cives,
+<a href = "#line6_9">6, 9</a>.</p>
+
+<p>cladem,
+<a href = "#line6_44">6, 44</a>.</p>
+
+<p>clamare sese,
+<a href = "#line2_23">2, 23</a>.</p>
+
+<p>clauso murmure,
+<a href = "#line5_11">5, 11</a>.</p>
+
+<p>Cleanthea fruge,
+<a href = "#line5_64">5, 64</a>.</p>
+
+<p>clivum Virbi,
+<a href = "#line6_56">6, 56</a>.</p>
+
+<p>cludere versum,
+<a href = "#line1_93">1, 93</a>.</p>
+
+<p>Coa lubrica,
+<a href = "#line5_135">5, 135</a>.</p>
+
+<p>cocta fidelia,
+<a href = "#line3_22">3, 22</a>.</p>
+
+<p>cognatis siccis,
+<a href = "#line5_164">5, 164</a>.</p>
+
+<p>colligis = <span class = "greek" title =
+"sullogizei">συλλογίζει</span>,
+<a href = "#line5_85">5, 85</a>.</p>
+
+<p>collo orcae,
+<a href = "#line3_50">3, 50</a>.</p>
+
+<p>collueris,
+<a href = "#line1_18">1, 18</a>.</p>
+
+<p>columbo,
+<a href = "#line3_16">3, 16</a>.</p>
+
+<p>comitem,
+<a href = "#line1_54">1, 54</a>.</p>
+
+<p>comites,
+<a href = "#line5_32">5, 32</a>.</p>
+
+<p>comitum,
+<a href = "#line3_7">3, 7</a>.</p>
+
+<p>committere,
+<a href = "#line2_4">2, 4</a>.</p>
+
+<p>commota bile,
+<a href = "#line4_6">4, 6</a>.</p>
+
+<p>conari,
+<a href = "#lineP_9">Prol., 9</a>.</p>
+
+<p>conchae baca,
+<a href = "#line2_66">2, 66</a>.</p>
+
+<p>concordia fata,
+<a href = "#line5_49">5, 49</a>.</p>
+
+<p>condidit Ionio,
+<a href = "#line6_29">6, 29</a>.</p>
+
+<p>conditur uxor,
+<a href = "#line2_14">2, 14</a>.</p>
+
+<p>conives,
+<a href = "#line6_50">6, 50</a>.</p>
+
+<p>conpage soluta,
+<a href = "#line3_68">3, 68</a>.</p>
+
+<p>conpescere examen,
+<a href = "#line5_100">5, 100</a>.</p>
+
+<p>conpita,
+<a href = "#line4_28">4, 28</a>;
+<a href = "#line5_35">5, 35</a>.</p>
+
+<p>conpositas venas,
+<a href = "#line3_91">3, 91</a>.</p>
+
+<p>conpositum ius,
+<a href = "#line2_73">2, 73</a>.</p>
+
+<p>conpositus lecto,
+<a href = "#line3_104">3, 104</a>.</p>
+
+<p>consentire,
+<a href = "#line5_46">5, 46</a>.</p>
+
+<p>consumere cras,
+<a href = "#line5_68">5, 68</a>.</p>
+<p class = "indent">
+soles,
+<a href = "#line5_41">5, 41</a>.</p>
+
+<p>contemnere,
+<a href = "#line3_21">3, 21</a>.</p>
+
+<p>Copulative compounds,
+<a href = "#line6_50">6, 50</a>.</p>
+
+<p>coquere messis,
+<a href = "#line3_6">3, 6</a>.</p>
+<p class = "indent">
+vellus,
+<a href = "#line2_65">2, 65</a>.</p>
+
+<p>coquitur massa,
+<a href = "#line5_10">5, 10</a>.</p>
+
+<p>cor Enni,
+<a href = "#line6_10">6, 10</a>.</p>
+<p class = "indent">
+luctificabile,
+<a href = "#line1_78">1, 78</a>.</p>
+
+<p>corbes,
+<a href = "#line1_71">1, 71</a>.</p>
+
+<p>cornea,
+<a href = "#line1_47">1, 47</a>.</p>
+
+<p>cornicaris,
+<a href = "#line5_12">5, 12</a>.</p>
+
+<p>cornua torva,
+<a href = "#line1_99">1, 99</a>.</p>
+
+<p>Cornute,
+<a href = "#line5_23">5, 23</a>.
+<a href = "#line5_37">37</a>.</p>
+
+<p>corrupto olivo,
+<a href = "#line2_64">2, 64</a>.</p>
+
+<p>cortice pingui,
+<a href = "#line1_96">1, 96</a>.</p>
+
+<p>corvos poetas,
+<a href = "#lineP_13">Prol., 13</a>.</p>
+
+<span class = "pagenum">215a</span>
+<p>corvos sequi,
+<a href = "#line3_61">3, 61</a>.</p>
+
+<p>corymbis,
+<a href = "#line1_101">1, 101</a>.</p>
+
+<p>costa ratis,
+<a href = "#line6_31">6, 31</a>.</p>
+
+<p>costam subduximus,
+<a href = "#line1_95">1, 95</a>.</p>
+
+<p>cras hesternum,
+<a href = "#line5_68">5, 68</a>.</p>
+
+<p>crassa tucceta,
+<a href = "#line2_42">2, 42</a>.</p>
+
+<p>Crassi aedes,
+<a href = "#line2_36">2, 36</a>.</p>
+
+<p>crassis amomis,
+<a href = "#line3_104">3, 104</a>.</p>
+
+<p>crassos dies,
+<a href = "#line5_60">5, 60</a>.</p>
+
+<p>crassum ridere,
+<a href = "#line5_190">5, 190</a>.</p>
+
+<p>Craterus,
+<a href = "#line3_65">3, 65</a>.</p>
+
+<p>Cratinus,
+<a href = "#line1_123">1, 123</a>.</p>
+
+<p>crepet,
+<a href = "#line2_11">2, 11</a>.</p>
+<p class = "indent">
+solidum,
+<a href = "#line5_25">5, 25</a>.</p>
+
+<p>crepidas,
+<a href = "#line1_127">1, 127</a>.</p>
+
+<p>crepuere dentes,
+<a href = "#line3_101">3, 101</a>.</p>
+
+<p>creta notare,
+<a href = "#line5_108">5, 108</a>.</p>
+
+<p>cretata ambitio,
+<a href = "#line5_177">5, 177</a>.</p>
+
+<p>cribro populi,
+<a href = "#line3_112">3, 112</a>.</p>
+
+<p>crispante naso,
+<a href = "#line3_87">3, 87</a>.</p>
+
+<p>Crispini balnea,
+<a href = "#line5_126">5, 126</a>.</p>
+
+<p>crudi,
+<a href = "#line1_51">1, 51</a>.</p>
+
+<p>crudis,
+<a href = "#line1_92">1, 92</a>.</p>
+
+<p>crudo pulvere,
+<a href = "#line2_67">2, 67</a>.</p>
+
+<p>crudum unguem,
+<a href = "#line5_162">5, 162</a>.</p>
+
+<p>crura praebere,
+<a href = "#line4_42">4, 42</a>.</p>
+
+<p>cubito tangere,
+<a href = "#line4_34">4, 34</a>.</p>
+
+<p>cuinam? cuinam?
+<a href = "#line2_19">2, 19</a>.</p>
+
+<p>cuivis,
+<a href = "#line2_6">2, 6</a>.</p>
+
+<p>culpa carere,
+<a href = "#line3_33">3, 33</a>.</p>
+
+<p>cultor invenum,
+<a href = "#line5_63">5, 63</a>.</p>
+
+<p>cultrix foci,
+<a href = "#line3_26">3, 26</a>.</p>
+
+<p>cum = postquam,
+<a href = "#line1_9">1, 9</a>.</p>
+
+<p>cuminum,
+<a href = "#line5_55">5, 55</a>.</p>
+
+<p>cunis exemit,
+<a href = "#line2_31">2, 31</a>.</p>
+
+<p>curas hominum,
+<a href = "#line1_1">1, 1</a>.</p>
+
+<p>curata cuticula,
+<a href = "#line4_18">4, 18</a>.</p>
+
+<p>Curibus,
+<a href = "#line4_26">4, 26</a>.</p>
+
+<p>curo,
+<a href = "#line3_78">3, 78</a>.</p>
+
+<p>curta supellex,
+<a href = "#line4_52">4, 52</a>.</p>
+
+<p>curtare rem,
+<a href = "#line6_34">6, 34</a>.</p>
+
+<p>curto centusse,
+<a href = "#line5_191">5, 191</a>.</p>
+
+<p>curva,
+<a href = "#line4_12">4, 12</a>.</p>
+
+<p>curvae in terris,
+<a href = "#line2_61">2, 61</a>.</p>
+
+<p>curvos mores,
+<a href = "#line3_52">3, 52</a>.</p>
+
+<p>curvus,
+<a href = "#line6_16">6, 16</a>.</p>
+
+<p>custos purpura,
+<a href = "#line5_30">5, 30</a>.</p>
+
+<p>cute, in c. figere,
+<a href = "#line4_33">4, 33</a>.</p>
+<p class = "indent">
+in c. novi,
+<a href = "#line3_30">3, 30</a>.</p>
+<p class = "indent">
+perditus,
+<a href = "#line1_23">1, 23</a>.</p>
+
+<span class = "pagenum">215b</span>
+
+<p>cuticula curata,
+<a href = "#line4_18">4, 18</a>.</p>
+
+<p>cutis aegra,
+<a href = "#line3_63">3, 63</a>.</p>
+
+<p>Cybele,
+<a href = "#note5_186">5, 186</a> (note).</p>
+
+<p>cynico,
+<a href = "#line1_133">1, 133</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_D" id = "index_D">D.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p><span class = "greek" title =
+"daktulodeikteisthai">δακτυλοδεικτεῖσθαι</span>,
+<a href = "#line1_28">1, 28</a>.</p>
+
+<p>Dama,
+<a href = "#line6_76">6, 76</a>.
+<a href = "#line6_79">79</a>.</p>
+
+<p>damnosa canicula,
+<a href = "#line3_49">3, 49</a>.</p>
+
+<p>Damocles,
+<a href = "#note3_39">3, 39</a> (note).</p>
+
+<p>Danaides,
+<a href = "#note2_56">2, 56</a> (note).</p>
+
+<p>dare verba,
+<a href = "#line3_19">3, 19</a>;
+<a href = "#line4_45">4, 45</a>.</p>
+
+<p>Dative case,
+<a href = "#line1_116">1, 116</a>.
+<a href = "#line1_126">126</a>;
+<a href = "#line6_34">6, 34</a>.</p>
+
+<p>datum seutire,
+<a href = "#line5_124">5, 124</a>.</p>
+
+<p>Davus,
+<a href = "#line5_161">5, 161</a>.</p>
+
+<p>decenter,
+<a href = "#line1_84">1, 84</a>.</p>
+
+<p>decerpere,
+<a href = "#line5_42">5, 42</a>.</p>
+
+<p>decipe nervos,
+<a href = "#line4_45">4, 45</a>.</p>
+
+<p>decoctius,
+<a href = "#line1_125">1, 125</a>.</p>
+
+<p>decoquit,
+<a href = "#line5_57">5, 57</a>.</p>
+
+<p>decor,
+<a href = "#line1_92">1, 92</a>.</p>
+
+<p>decorus pelle,
+<a href = "#line4_14">4, 14</a>.</p>
+
+<p>decursu,
+<a href = "#line6_61">6, 61</a>.</p>
+
+<p>decussa farina,
+<a href = "#line3_112">3, 112</a>.</p>
+
+<p>dedecus,
+<a href = "#line1_81">1, 81</a>.</p>
+<p class = "indent">
+obsto,
+<a href = "#line5_163">5, 163</a>.</p>
+
+<p>deducit,
+<a href = "#line5_35">5, 35</a>.</p>
+
+<p>defigere culpam,
+<a href = "#line5_16">5, 16</a>.</p>
+
+<p>deinde,
+<a href = "#line4_8">4, 8</a>;
+<a href = "#line5_143">5, 143</a>.</p>
+
+<p><span class = "greek" title = "deisidaimôn">δεισιδαιμων</span>,
+<a href = "#line2_31">2, 31</a>.</p>
+
+<p>delphin,
+<a href = "#line1_94">1, 94</a>.</p>
+
+<p>delumbe,
+<a href = "#line1_104">1, 104</a>.</p>
+
+<p>demersus,
+<a href = "#line3_34">3, 34</a>.</p>
+
+<p>demorsos,
+<a href = "#line1_106">1, 106</a>.</p>
+
+<p>demum,
+<a href = "#line1_64">1, 64</a>.</p>
+
+<p>dentalia terens,
+<a href = "#line1_73">1, 73</a>.</p>
+
+<p>dente peragere,
+<a href = "#line6_21">6, 21</a>.</p>
+
+<p>dentes refecti,
+<a href = "#line3_101">3, 101</a>.</p>
+
+<p>depellentibus dis,
+<a href = "#line5_167">5, 167</a>.</p>
+
+<p>deposcere voces,
+<a href = "#line5_26">5, 26</a>.</p>
+
+<p>deprendere mores,
+<a href = "#line3_52">3, 52</a>.</p>
+
+<p>depunge,
+<a href = "#line6_79">6, 79</a>.</p>
+
+<p>deradere limum,
+<a href = "#line4_29">4, 29</a>.</p>
+
+<p>derigere,
+<a href = "#line1_66">1, 66</a>.</p>
+
+<p>descendere in sese,
+<a href = "#line4_23">4, 23</a>.</p>
+
+<p>despuat,
+<a href = "#line4_35">4, 35</a>.</p>
+
+<p>despumare,
+<a href = "#line3_3">3, 3</a>.</p>
+
+<p>destertuit,
+<a href = "#line6_10">6, 10</a>.</p>
+
+<p>detonsa,
+<a href = "#line3_54">3, 54</a>.</p>
+
+<p>deunces,
+<a href = "#line5_150">5, 150</a>.</p>
+
+<span class = "pagenum left">216a</span>
+<p>dexter senio,
+<a href = "#line3_48">3, 48</a>.</p>
+
+<p>dextro Hercule,
+<a href = "#line2_12">2, 12</a>.</p>
+<p class = "indent">
+Iove,
+<a href = "#line5_114">5, 114</a>.</p>
+</td>
+<td>
+
+<p>dia,
+<a href = "#line1_31">1, 31</a>.</p>
+
+<p>Dice,
+<a href = "#line3_48">3, 48</a>.</p>
+
+<p>dicenda tacenda,
+<a href = "#line4_5">4, 5</a>.</p>
+
+<p>dicier,
+<a href = "#line1_28">1, 28</a>.</p>
+
+<p>dictarunt,
+<a href = "#line1_52">1, 52</a>.</p>
+
+<p>dictata,
+<a href = "#line1_29">1, 29</a>.</p>
+
+<p>dictatorem induit,
+<a href = "#line1_74">1, 74</a>.</p>
+
+<p>diducere ramos,
+<a href = "#line3_56">3, 56</a>.</p>
+
+<p>dies Herodis,
+<a href = "#line5_180">5, 180</a>.</p>
+
+<p>digito infami = medio,
+<a href = "#line2_33">2, 33</a>.</p>
+<p class = "indent">
+monstrari,
+<a href = "#line1_28">1, 28</a>.</p>
+
+<p>digitum exsere,
+<a href = "#line5_119">5, 119</a>.</p>
+
+<p>digna cedro,
+<a href = "#line1_42">1, 42</a>.</p>
+
+<p>dilutas guttas,
+<a href = "#line3_14">3, 14</a>.</p>
+
+<p>Dinomaches,
+<a href = "#line4_20">4, 20</a>.</p>
+
+<p>dinoscere cautus,
+<a href = "#line5_25">5, 25</a>.</p>
+<p class = "indent">
+speciem,
+<a href = "#line5_105">5, 105</a>.</p>
+
+<p>dirimebat,
+<a href = "#line1_94">1, 94</a>.</p>
+
+<p>discernere rectum,
+<a href = "#line4_11">4, 11</a>.</p>
+
+<p>discincti Nattae,
+<a href = "#line3_31">3, 31</a>.</p>
+
+<p>discincto vernae,
+<a href = "#line4_22">4, 22</a>.</p>
+
+<p>discolor usus,
+<a href = "#line5_52">5, 52</a>.</p>
+
+<p>discrepet,
+<a href = "#line6_18">6, 18</a>.</p>
+
+<p>discutitur,
+<a href = "#line2_25">2, 25</a>.</p>
+
+<p>dis depellentibus,
+<a href = "#line5_167">5, 167</a>.</p>
+<p class = "indent">
+iratis,
+<a href = "#line4_27">4, 27</a>.</p>
+
+<p>disponere,
+<a href = "#line5_43">5, 43</a>.</p>
+
+<p>Dissimilation,
+<a href = "#line1_72">1, 72</a>.</p>
+
+<p>dissutis malis,
+<a href = "#line3_59">3, 59</a>.</p>
+
+<p>ditescant,
+<a href = "#line6_15">6, 15</a>.</p>
+
+<p>diversum, in d. scindere,
+<a href = "#line5_154">5, 154</a>.</p>
+
+<p>dividere in Geminos,
+<a href = "#line5_49">5, 49</a>.</p>
+
+<p>doctas figuras,
+<a href = "#line1_86">1, 86</a>.</p>
+
+<p>doctores Graios,
+<a href = "#line6_38">6, 38</a>.</p>
+
+<p>dolores finire,
+<a href = "#line5_161">5, 161</a>.</p>
+
+<p>dolosi nummi,
+<a href = "#lineP_12">Prol., 12</a>.</p>
+
+<p>domini,
+<a href = "#line5_130">5, 130</a>.</p>
+
+<p>domo maiore,
+<a href = "#line3_92">3, 92</a>.</p>
+
+<p><span class = "greek" title = "drapeteuein">δραπετεύειν</span>,
+<a href = "#line5_156"><ins class = "correction"
+title = "text reads ‘1’">5,</ins> 156</a>.</p>
+
+<p>ducere bona,
+<a href = "#line2_63">2, 63</a>.</p>
+<p class = "indent">
+ferrum,
+<a href = "#line5_4">5, 4</a>.</p>
+<p class = "indent">
+ramum,
+<a href = "#line3_28">3, 28</a>.</p>
+<p class = "indent">
+vultum,
+<a href = "#line5_40">5, 40</a>.</p>
+
+<p>duci ab uno sidere,
+<a href = "#line5_46">5, 46</a>.</p>
+
+<p>ducis genio,
+<a href = "#line6_48">6, 48</a>.</p>
+
+<p>dum,
+<a href = "#line3_4">3, 4</a>;
+<a href = "#line5_10">5, 10</a>.</p>
+
+<p>dum ne,
+<a href = "#line4_21">4, 21</a>.</p>
+
+<span class = "pagenum">216b</span>
+
+<p>duplici hamo,
+<a href = "#line5_154">5, 154</a>.</p>
+
+<p>durum holus,
+<a href = "#line3_112">3, 112</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_E" id = "index_E">E.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>ebria,
+<a href = "#line1_50">1, 50</a>.</p>
+
+<p>ebulliat,
+<a href = "#line2_10">2, 10</a>.</p>
+
+<p>ecce,
+<a href = "#line1_30">1, 30</a>;
+<a href = "#line2_31">2, 31</a>.</p>
+
+<p>echo,
+<a href = "#line1_102">1, 102</a>.</p>
+
+<p>edictum,
+<a href = "#line1_134">1, 134</a>.</p>
+
+<p>effluis,
+<a href = "#line3_20">3, 20</a>.</p>
+
+<p>effundat,
+<a href = "#line1_65">1, 65</a>.</p>
+
+<p>egerit,
+<a href = "#line5_69">5, 69</a>.</p>
+
+<p>egregius lusisse,
+<a href = "#line6_6">6, 6</a>.</p>
+
+<p><span class = "greek" title = "eien">εἶεν</span>,
+<a href = "#line4_20">4, 20</a>.</p>
+
+<p><span class = "greek" title = "ekseiein">ἐκσειειν</span>,
+<a href = "#line1_49">1, 49</a>.</p>
+
+<p>elargiri,
+<a href = "#line3_71">3, 71</a>.</p>
+
+<p>elegidia,
+<a href = "#line1_51">1, 51</a>.</p>
+
+<p><span class = "greek" title = "eleutherios Zeus">ἐλευθέριος
+Ζεύς</span>,
+<a href = "#line5_114">5, 114</a>.</p>
+
+<p>elevet,
+<a href = "#line1_6">1, 6</a>.</p>
+
+<p>eliquat,
+<a href = "#line1_35">1, 35</a>.</p>
+
+<p>Elision,
+<a href = "#line4_14">4, 14</a>.</p>
+
+<p>elixas,
+<a href = "#line4_40">4, 40</a>.</p>
+
+<p>Ellipsis,
+<a href = "#line1_4">1, 4</a>;
+<a href = "#line3_19">3, 19</a>;
+<a href = "#line5_139">5, 139</a>;
+<a href = "#line6_29">6, 29</a>.</p>
+
+<p>emaci prece,
+<a href = "#line2_3">2, 3</a>.</p>
+
+<p>emeruit,
+<a href = "#line5_74">5, 74</a>.</p>
+
+<p>emole,
+<a href = "#line6_26">6, 26</a>.</p>
+
+<p><span class = "greek" title = "empaista">ἐμπαιστά</span>,
+<a href = "#line2_52">2, 52</a>.</p>
+
+<p>empta in calice,
+<a href = "#line6_20">6, 20</a>.</p>
+
+<p>emunctae naris,
+<a href = "#line1_118">1, 118</a>.</p>
+
+<p>en,
+<a href = "#line1_26">1, 26</a>.</p>
+
+<p>enarrabile,
+<a href = "#line5_29">5, 29</a>.</p>
+
+<p>enim,
+<a href = "#line1_63">1, 63</a>.</p>
+
+<p>Enni cor,
+<a href = "#line6_10">6, 10</a>.</p>
+
+<p>Ennius,
+<a href = "#lineP_2">Prol., 2</a>;
+<a href = "#note6_10">6, 10</a> (note).</p>
+
+<p>ensis,
+<a href = "#line3_40">3, 40</a>.</p>
+
+<p>Epithets, general,
+<a href = "#lineP_12">Prol., 12</a>.</p>
+
+<p>epulis,
+<a href = "#line5_42">5, 42</a>.</p>
+
+<p>equidem,
+<a href = "#line1_110">1, 110</a>;
+<a href = "#line5_19">5, 19</a>.
+<a href = "#line5_45">45</a>.</p>
+
+<p>Ergenna,
+<a href = "#line2_26">2, 26</a>.</p>
+
+<p>erilis metus,
+<a href = "#line5_131">5, 131</a>.</p>
+
+<p>error,
+<a href = "#line5_34">5, 34</a>.</p>
+
+<p>escas,
+<a href = "#line1_22">1, 22</a>.</p>
+
+<p>esseda,
+<a href = "#line6_47">6, 47</a>.</p>
+
+<p>estne ut,
+<a href = "#line2_18">2, 18</a>.</p>
+
+<p>esto,
+<a href = "#line1_20">1, 20</a>.</p>
+
+<p>etenim,
+<a href = "#line3_48">3, 48</a>.</p>
+
+<p><span class = "greek" title = "ê tis ê oudeis">ἤ τις ἢ οὐδείς</span>,
+<a href = "#line1_3">1, 3</a>.</p>
+</td>
+<td>
+
+<p>Etruscan rites,
+<a href = "#line2_36">2, 36</a>.</p>
+
+<p>Etymology of ast,
+<a href = "#line2_39">2, 39</a>.</p>
+<p class = "indent">
+bidental,
+<a href = "#line2_27">2, 27</a>.</p>
+<span class = "pagenum">217a</span>
+<p class = "indent">
+conpita,
+<a href = "#line4_28">4, 28</a>.</p>
+<p class = "indent">
+fagus,
+<a href = "#line5_59">5, 59</a>.</p>
+<p class = "indent">
+Palilia,
+<a href = "#line1_72">1, 72</a>.</p>
+<p class = "indent">
+scloppus,
+<a href = "#line5_13">5, 13</a>.</p>
+<p class = "indent">
+sodes,
+<a href = "#line3_89">3, 89</a>.</p>
+<p class = "indent">
+sollers,
+<a href = "#line5_142">5, 142</a>.</p>
+<p class = "indent">
+surdus,
+<a href = "#line6_35">6, 35</a>.</p>
+<p class = "indent">
+usque,
+<a href = "#line6_15">6, 15</a>.</p>
+<p class = "indent">
+varo (baro),
+<a href = "#line5_138">5, 138</a>.</p>
+
+<p>euge,
+<a href = "#line1_49">1, 49</a>.
+<a href = "#line1_75">75</a>.
+<a href = "#line1_111">111</a>.</p>
+
+<p>euhion,
+<a href = "#line1_102">1, 102</a>.</p>
+
+<p>Eupolis,
+<a href = "#line1_124">1, 124</a>.</p>
+
+<p>evitandum,
+<a href = "#line2_27">2, 27</a>.</p>
+
+<p>exalare,
+<a href = "#line3_99">3, 99</a>;
+<a href = "#line5_148">5, 148</a>.</p>
+
+<p>examen,
+<a href = "#line1_6">1, 6</a>;
+<a href = "#line5_100">5, 100</a>.</p>
+
+<p>excussit aristas,
+<a href = "#line3_115">3, 115</a>.</p>
+
+<p>excusso naso,
+<a href = "#line1_118">1, 118</a>.</p>
+
+<p>excute,
+<a href = "#line1_49">1, 49</a>;
+<a href = "#line6_75">6, 75</a>.</p>
+
+<p>excutiat guttas,
+<a href = "#line2_54">2, 54</a>.</p>
+
+<p>excutienda,
+<a href = "#line5_22">5, 22</a>.</p>
+
+<p>excutit e manibus,
+<a href = "#line3_101">3, 101</a>.</p>
+
+<p>excutitur cinis,
+<a href = "#line6_45">6, 45</a>.</p>
+
+<p>exire,
+<a href = "#line1_46">1, 46</a>;
+<a href = "#line5_78">5, 78</a>.
+<a href = "#line5_130">130</a>.
+<a href = "#line5_174">174</a>;
+<a href = "#line6_60">6, 60</a>.</p>
+
+<p>exossatus ager,
+<a href = "#line6_52">6, 52</a>.</p>
+
+<p>expedivit,
+<a href = "#lineP_7">Prol., 7</a>.</p>
+
+<p>expers maris,
+<a href = "#line6_39">6, 39</a>.</p>
+
+<p>expiare frontem,
+<a href = "#line2_34">2, 34</a>.</p>
+
+<p>exporrecto,
+<a href = "#line3_82">3, 82</a>.</p>
+
+<p>expungam,
+<a href = "#line2_13">2, 13</a>.</p>
+
+<p>exsere digitum,
+<a href = "#line5_119">5, 119</a>.</p>
+
+<p>exspes,
+<a href = "#line2_50">2, 50</a>.</p>
+
+<p>exstet aqualiculus,
+<a href = "#line1_57">1, 57</a>.</p>
+
+<p>exstinxerit,
+<a href = "#line5_145">5, 145</a>.</p>
+
+<p>exsultat,
+<a href = "#line1_82">1, 82</a>.</p>
+
+<p>exsuperat,
+<a href = "#line3_89">3, 89</a>.</p>
+
+<p>extendit calces,
+<a href = "#line3_105">3, 105</a>.</p>
+<p class = "indent">
+mores,
+<a href = "#line5_38">5, 38</a>.</p>
+<p class = "indent">
+rimas,
+<a href = "#line3_2">3, 2</a>.</p>
+
+<p>extrinsecus,
+<a href = "#line5_128">5, 128</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_F" id = "index_F">F.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>fabula,
+<a href = "#line5_3">5, 3</a>.
+<a href = "#line5_152">152</a>.</p>
+
+<p>face exstincta,
+<a href = "#line5_166">5, 166</a>.</p>
+<p class = "indent">
+supposita,
+<a href = "#line3_116">3, 116</a>.</p>
+
+<p>facere with inf.,
+<a href = "#line1_44">1, 44</a>.</p>
+
+<p>faecem pannosam,
+<a href = "#line4_32">4, 32</a>.</p>
+
+<p>faeno fumosa,
+<a href = "#line1_72">1, 72</a>.</p>
+
+<p>faenoris merces,
+<a href = "#line6_67">6, 67</a>.</p>
+
+<p>fagi,
+<a href = "#line5_59">5, 59</a>.</p>
+
+<p>Falernum,
+<a href = "#line3_3">3, 3</a>.</p>
+
+<span class = "pagenum left">217b</span>
+
+<p>fallere sollers,
+<a href = "#line5_37">5, 37</a>.</p>
+
+<p>fallier,
+<a href = "#line3_50">3, 50</a>.</p>
+
+<p>fallit regula,
+<a href = "#line4_12">4, 12</a>.</p>
+
+<p>far modicum,
+<a href = "#line3_25">3, 25</a>.</p>
+
+<p>farina,
+<a href = "#line3_112">3, 112</a>;
+<a href = "#line5_115">5, 115</a>.</p>
+
+<p>farrago,
+<a href = "#line5_77">5, 77</a>.</p>
+
+<p>farrata olla,
+<a href = "#line4_31">4, 31</a>.</p>
+
+<p>farre litabo,
+<a href = "#line2_75">2, 75</a>.</p>
+
+<p>fas,
+<a href = "#line1_61">1, 61</a>;
+<a href = "#line2_73">2, 73</a>;
+<a href = "#line5_99">5, 99</a>.</p>
+
+<p>fata,
+<a href = "#line5_49">5, 49</a>.</p>
+
+<p>favilla,
+<a href = "#line1_39">1, 39</a>.</p>
+
+<p>faxit,
+<a href = "#line1_112">1, 112</a>.</p>
+
+<p>fenestra,
+<a href = "#line5_180">5, 180</a>.</p>
+
+<p>fenestras,
+<a href = "#line3_1">3, 1</a>.</p>
+
+<p>fenisecae,
+<a href = "#line6_40">6, 40</a>.</p>
+
+<p>fermentum,
+<a href = "#line1_24">1, 24</a>.</p>
+
+<p>ferrum,
+<a href = "#line5_4">5, 4</a>.</p>
+
+<p>fert animus,
+<a href = "#line4_7">4, 7</a>.</p>
+
+<p>ferto opimo,
+<a href = "#line2_48">2, 48</a>.</p>
+
+<p>ferus,
+<a href = "#line5_171">5, 171</a>.</p>
+
+<p>ferveat lector,
+<a href = "#line1_126">1, 126</a>.</p>
+
+<p>fervebit olla,
+<a href = "#line5_9">5, 9</a>.</p>
+
+<p>ferventi veneno,
+<a href = "#line3_37">3, 37</a>.</p>
+
+<p>ferventis massae,
+<a href = "#line2_67">2, 67</a>.</p>
+
+<p>fervescit sanguis,
+<a href = "#line3_116">3, 116</a>.</p>
+
+<p>fervet plebecula,
+<a href = "#line4_6">4, 6</a>.</p>
+
+<p>festa luce,
+<a href = "#line6_69">6, 69</a>.</p>
+
+<p>festuca,
+<a href = "#line5_175">5, 175</a>.</p>
+
+<p>fibra,
+<a href = "#line1_47">1, 47</a>;
+<a href = "#line2_26">2, 26</a>.
+<a href = "#line2_45">45</a>;
+<a href = "#line3_32">3, 32</a>;
+<a href = "#line5_29">5, 29</a>.</p>
+
+<p>fictile,
+<a href = "#line2_60">2, 60</a>.</p>
+
+<p>fidele senectae,
+<a href = "#line2_41">2, 41</a>.</p>
+
+<p>fidelia non cocta,
+<a href = "#line3_22">3, 22</a>.</p>
+<p class = "indent">
+putet,
+<a href = "#line3_73">3, 73</a>.</p>
+<p class = "indent">
+tumet,
+<a href = "#line5_183">5, 183</a>.</p>
+
+<p>fidelibus nata,
+<a href = "#line5_48">5, 48</a>.</p>
+
+<p>figere iugum,
+<a href = "#line4_28">4, 28</a>.</p>
+<p class = "indent">
+solem,
+<a href = "#line4_33">4, 33</a>.</p>
+<p class = "indent">
+terram,
+<a href = "#line3_80">3, 80</a>.</p>
+
+<p>figurae trama,
+<a href = "#line6_73">6, 73</a>.</p>
+
+<p>figuras ponere,
+<a href = "#line1_86">1, 86</a>.</p>
+</td>
+<td>
+
+<p>filix,
+<a href = "#line4_41">4, 41</a>.</p>
+
+<p>Final sentence elliptical,
+<a href = "#line1_4">1, 4</a>.</p>
+
+<p>findor,
+<a href = "#line3_9">3, 9</a>.</p>
+
+<p>fingendus,
+<a href = "#line3_24">3, 24</a>.</p>
+
+<p>finire dolores,
+<a href = "#line5_161">5, 161</a>.</p>
+
+<p>finis,
+<a href = "#line1_48">1, 48</a>;
+<a href = "#line5_65">5, 65</a>.</p>
+
+<p>fissa aure,
+<a href = "#line6_70">6, 70</a>.</p>
+
+<p>fistula,
+<a href = "#line3_14">3, 14</a>.</p>
+
+<p>fixum mummum,
+<a href = "#line5_111">5, 111</a>.</p>
+
+<span class = "pagenum">218a</span>
+<p>Flaccus,
+<a href = "#line1_116">1, 116</a>.</p>
+
+<p>flagellas puteal,
+<a href = "#line4_49">4, 49</a>.</p>
+
+<p>flexus metae,
+<a href = "#line3_68">3, 68</a>.</p>
+
+<p>Floralia,
+<a href = "#line5_178">5, 178</a>.</p>
+
+<p>foci cultrix,
+<a href = "#line3_26">3, 26</a>.</p>
+
+<p>foco admovit,
+<a href = "#line6_1">6, 1</a>.</p>
+
+<p>focus,
+<a href = "#line1_72">1, 72</a>.</p>
+
+<p>foedere certo,
+<a href = "#line5_45">5, 45</a>.</p>
+
+<p>folle,
+<a href = "#line5_11">5, 11</a>.</p>
+
+<p>fonte caballino,
+<a href = "#lineP_1">Prol., 1</a>.</p>
+
+<p>forcipe,
+<a href = "#line4_40">4, 40</a>.</p>
+
+<p>fores udas,
+<a href = "#line5_166">5, 166</a>.</p>
+
+<p>fortunare,
+<a href = "#line2_45">2, 45</a>.</p>
+
+<p>fossor,
+<a href = "#line5_122">5, 122</a>.</p>
+
+<p>fractus,
+<a href = "#line1_18">1, 18</a>.</p>
+
+<p>frangere Saturnum,
+<a href = "#line5_50">5, 50</a>.</p>
+<p class = "indent">
+rem patriam,
+<a href = "#line5_165">5, 165</a>.</p>
+
+<p>fratres aenos,
+<a href = "#line2_56">2, 56</a>.</p>
+
+<p>fretus,
+<a href = "#line4_3">4, 3</a>.</p>
+
+<p>frigere,
+<a href = "#line3_109">3, 109</a>.</p>
+
+<p>frigescant,
+<a href = "#line1_109">1, 109</a>.</p>
+
+<p>frigidus cinis,
+<a href = "#line6_45">6, 45</a>.</p>
+
+<p>frontem perisse,
+<a href = "#line5_104">5, 104</a>.</p>
+
+<p>fronte politus,
+<a href = "#line5_116">5, 116</a>.</p>
+
+<p>fruge Cleanthea,
+<a href = "#line5_64">5, 64</a>.</p>
+
+<p>fulta,
+<a href = "#line1_78">1, 78</a>.</p>
+
+<p>fulto,
+<a href = "#line5_146">5, 146</a>.</p>
+
+<p>fumo dare pondus,
+<a href = "#line5_20">5, 20</a>.</p>
+
+<p>fumosa Palilia,
+<a href = "#line1_72">1, 72</a>.</p>
+
+<p>fumosum sinciput,
+<a href = "#line6_70">6, 70</a>.</p>
+
+<p>fundo imo,
+<a href = "#line2_51">2, 51</a>.</p>
+
+<p>funem reduco,
+<a href = "#line5_118">5, 118</a>.</p>
+
+<p>funeris cena,
+<a href = "#line6_33">6, 33</a>.</p>
+
+<p>funus praeclarum,
+<a href = "#line2_10">2, 10</a>.</p>
+
+<p>fur,
+<a href = "#line1_85">1, 85</a>.</p>
+
+<p>Future as imperative,
+<a href = "#line1_91">1, 91</a>.</p>
+<p class = "indent">
+gnomic,
+<a href = "#line2_5">2, 5</a>.</p>
+<p class = "indent">
+participle,
+<a href = "#line1_100">1, 100</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_G" id = "index_G">G.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>Gabinus cinctus,
+<a href = "#note5_31">5, 31</a> (note).</p>
+
+<p>Galli,
+<a href = "#line5_186">5, 186</a>.</p>
+
+<p>garrit,
+<a href = "#line5_96">5, 96</a>.</p>
+
+<p>gaudere = <span class = "greek" title = "agapan">ἀγαπᾶν</span>,
+<a href = "#line6_63">6, 63</a>.</p>
+<p class = "indent">
+paratus,
+<a href = "#line1_132">1, 132</a>.</p>
+
+<p>gausape,
+<a href = "#line4_37">4, 37</a>;
+<a href = "#line6_46">6, 46</a>.</p>
+
+<p>gemina lance,
+<a href = "#line4_10">4, 10</a>.</p>
+
+<p>geminet guttas,
+<a href = "#line3_14">3, 14</a>.</p>
+
+<p>Geminos (in G.) dividere,
+<a href = "#line5_49">5, 49</a>.</p>
+<p class = "indent">
+producis,
+<a href = "#line6_18">6, 18</a>.</p>
+
+<span class = "pagenum left">218b</span>
+
+<p>generoso honesto,
+<a href = "#line2_74">2, 74</a>.</p>
+
+<p>Genitive of material,
+<a href = "#line2_52">2, 52</a>.</p>
+<p class = "indent">
+free use of,
+<a href = "#line1_14">1, 14</a>.</p>
+
+<p>genius,
+<a href = "#line1_113">1, 113</a>;
+<a href = "#line2_3">2, 3</a>;
+<a href = "#line4_27">4, 27</a>;
+<a href = "#line5_151">5, 151</a>;
+<a href = "#line6_19">6, 19</a>.
+<a href = "#line6_48">48</a>.</p>
+
+<p>genuinum,
+<a href = "#line1_115">1, 115</a>.</p>
+</td>
+<td>
+
+<p>glutto,
+<a href = "#line5_112">5, 112</a>.</p>
+
+<p>Glyconi,
+<a href = "#line5_9">5, 9</a>.</p>
+
+<p>graece nugari,
+<a href = "#line1_70">1, 70</a>.</p>
+
+<p>Graiorum,
+<a href = "#line1_127">1, 127</a>.</p>
+
+<p>Graios,
+<a href = "#line6_38">6, 38</a>.</p>
+
+<p>grana,
+<a href = "#line5_55">5, 55</a>.</p>
+
+<p>granaria,
+<a href = "#line5_110">5, 110</a>;
+<a href = "#line6_25">6, 25</a>.</p>
+
+<p>grande loqui,
+<a href = "#line1_14">1, 14</a>;
+<a href = "#line5_7">5, 7</a>.</p>
+
+<p>grandes Galli,
+<a href = "#line5_186">5, 186</a>.</p>
+<p class = "indent">
+patinae,
+<a href = "#line2_42">2, 42</a>.</p>
+
+<p>grandi polenta,
+<a href = "#line3_55">3, 55</a>.</p>
+
+<p>grandia,
+<a href = "#line3_45">3, 45</a>.</p>
+
+<p>gravis alitus,
+<a href = "#line3_89">3, 89</a>.</p>
+<p class = "indent">
+Saturnus,
+<a href = "#line5_50">5, 50</a>.</p>
+
+<p>gurgite,
+<a href = "#line2_15">2, 15</a>.</p>
+
+<p>gurgulio,
+<a href = "#line4_38">4, 38</a>.</p>
+
+<p>guttas excutere,
+<a href = "#line2_54">2, 54</a>.</p>
+
+<p>gutture exalare,
+<a href = "#line3_99">3, 99</a>.</p>
+<p class = "indent">
+niti,
+<a href = "#line5_6">5, 6</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_H" id = "index_H">H.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>habita tecum,
+<a href = "#line4_52">4, 52</a>.</p>
+
+<p>haeres,
+<a href = "#line2_19">2, 19</a>.</p>
+
+<p>hamo duplici,
+<a href = "#line5_154">5, 154</a>.</p>
+
+<p>hebenum,
+<a href = "#line5_135">5, 135</a>.</p>
+
+<p>hederae,
+<a href = "#lineP_6">Prol., 6</a>.</p>
+
+<p>Helicone,
+<a href = "#line5_7">5, 7</a>.</p>
+
+<p>Heliconidas,
+<a href = "#lineP_4">Prol., 4</a>.</p>
+
+<p>Hellebore,
+<a href = "#line3_63">3, 63</a>;
+<a href = "#line4_16">4, 16</a>;
+<a href = "#line5_100">5, 100</a>.</p>
+
+<p>heminas,
+<a href = "#line1_130">1, 130</a>.</p>
+
+<p>Hendiadys,
+<a href = "#line2_52">2, 52</a>;
+<a href = "#line5_131">5, 131</a>.</p>
+
+<p>herba,
+<a href = "#line6_26">6, 26</a>.</p>
+
+<p>Hercule dextro,
+<a href = "#line2_12">2, 12</a>.</p>
+
+<p>heres proximus,
+<a href = "#line2_12">2, 12</a>.</p>
+
+<p><span class = "greek" title = "Hermês kerdôos">Ἑρμῆς κερδῷος</span>,
+<a href = "#line6_51">6, 51</a>.</p>
+
+<p>heroas sensus,
+<a href = "#line1_69">1, 69</a>.</p>
+
+<p>Herodis dies,
+<a href = "#line5_180">5, 180</a>.</p>
+
+<p>hesterni Quirites,
+<a href = "#line3_106">3, 106</a>.</p>
+
+<p>hesternum cras,
+<a href = "#line5_68">5, 68</a>.</p>
+<p class = "indent">
+oscitat,
+<a href = "#line3_59">3, 59</a>.</p>
+</td>
+<td>
+
+<p>hianda,
+<a href = "#line5_3">5, 3</a>.</p>
+
+<p>hiantem ducere,
+<a href = "#line5_176">5, 176</a>.</p>
+
+<p>Hiatus,
+<a href = "#line3_66">3, 66</a>.</p>
+
+<p>hibernat,
+<a href = "#line6_7">6, 7</a>.</p>
+
+<span class = "pagenum">219a</span>
+<p>hircosa,
+<a href = "#line3_77">3, 77</a>.</p>
+
+<p>Historic present,
+<a href = "#line4_2">4, 2</a>.</p>
+
+<p>holus durum,
+<a href = "#line3_112">3, 112</a>.</p>
+<p class = "indent">
+siccum,
+<a href = "#line6_20">6, 20</a>.</p>
+
+<p>hominum,
+<a href = "#line1_1">1, 1</a>.</p>
+
+<p>honesto generoso,
+<a href = "#line2_74">2, 74</a>.</p>
+
+<p>horoscope,
+<a href = "#line6_18">6, 18</a>.</p>
+
+<p>horridulus,
+<a href = "#line1_54">1, 54</a>.</p>
+
+<p>hospes,
+<a href = "#line2_8">2, 8</a>.</p>
+
+<p>hucine rerum,
+<a href = "#line3_15">3, 15</a>.</p>
+
+<p>humana re,
+<a href = "#line3_72">3, 72</a>.</p>
+
+<p>humilis susurros,
+<a href = "#line2_6">2, 6</a>.</p>
+
+<p>hyacinthia,
+<a href = "#line1_32">1, 32</a>.</p>
+
+<p>Hypallage,
+<a href = "#line3_4">3, 4</a>.
+<a href = "#line3_50">50</a>.
+<a href = "#line3_57">57</a>.</p>
+
+<p>Hyperbaton,
+<a href = "#line1_23">1, 23</a>;
+<a href = "#line6_13">6, 13</a>.</p>
+
+<p>Hypsipylas,
+<a href = "#line1_34">1, 34</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_I" id = "index_I">I.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>iactare caudam,
+<a href = "#line4_15">4, 15</a>.</p>
+<p class = "indent">
+festucam,
+<a href = "#line5_175">5, 175</a>.</p>
+
+<p>iam,
+<a href = "#line5_33">5, 33</a>.</p>
+<p class = "indent">
+nunc,
+<a href = "#line5_110">5, 110</a>.</p>
+
+<p>Iane,
+<a href = "#line1_58">1, 58</a>.</p>
+
+<p>idcirco,
+<a href = "#line2_28">2, 28</a>.</p>
+
+<p>idonea dare,
+<a href = "#line5_20">5, 20</a>.</p>
+
+<p>iecore,
+<a href = "#line1_25">1, 25</a>.</p>
+<p class = "indent">
+aegro,
+<a href = "#line5_129">5, 129</a>.</p>
+
+<p>igitur,
+<a href = "#line1_98">1, 98</a>;
+<a href = "#line4_14">4, 14</a>.</p>
+
+<p>ignovisse,
+<a href = "#line2_24">2, 24</a>.</p>
+
+<p>ilex,
+<a href = "#line2_24">2, 24</a>.</p>
+
+<p>ilia,
+<a href = "#line4_43">4, 43</a>.</p>
+
+<p>Ilias Atti,
+<a href = "#line1_50">1, 50</a>.
+<a href = "#line1_123">123</a>.</p>
+
+<p>imagines,
+<a href = "#lineP_5">Prol., 5</a>;
+<a href = "#line3_28">3, 28</a>.</p>
+
+<p>Imperfect of a false impression,
+<a href = "#line5_93">5, 93</a>.</p>
+
+<p>inane,
+<a href = "#line1_1">1, 1</a>.</p>
+
+<p>inanes caelestium,
+<a href = "#line2_61">2, 61</a>.</p>
+
+<p>inclusi,
+<a href = "#line1_13">1, 13</a>.</p>
+
+<p>incoctum honesto,
+<a href = "#line2_74">2, 74</a>.</p>
+
+<p>incolumis,
+<a href = "#line6_37">6, 37</a>.</p>
+
+<p>increpuit,
+<a href = "#line5_127">5, 127</a>.</p>
+
+<p>increvit fibris,
+<a href = "#line3_32">3, 32</a>.</p>
+
+<p>incurvasse,
+<a href = "#line1_91">1, 91</a>.</p>
+
+<p>incusa auro,
+<a href = "#line2_52">2, 52</a>.</p>
+
+<p>incutere deos,
+<a href = "#line5_187">5, 187</a>.</p>
+
+<p>inde,
+<a href = "#line1_126">1, 126</a>;
+<a href = "#line5_153">5, 153</a>.</p>
+
+<p>indomitum Falernum,
+<a href = "#line3_3">3, 3</a>.</p>
+
+<p>induco,
+<a href = "#line6_49">6, 49</a>.</p>
+
+<p>indulge genio,
+<a href = "#line5_151">5, 151</a>.</p>
+
+<p>induto capite,
+<a href = "#line3_106">3, 106</a>.</p>
+
+<span class = "pagenum left">219b</span>
+
+<p>inepte cornicari,
+<a href = "#line5_12">5, 12</a>.</p>
+
+<p>ineptus lictor,
+<a href = "#line5_175">5, 175</a>.</p>
+
+<p>inexpertum deprendere,
+<a href = "#line3_52">3, 52</a>.</p>
+
+<p>infami digito,
+<a href = "#line2_33">2, 33</a>.</p>
+
+<p>infelix auster,
+<a href = "#line6_13">6, 13</a>.</p>
+
+<p>Infinitive, perf. instead of present,
+<a href = "#lineP_2">Prol., 2</a>;
+<a href = "#line1_42">1, 42</a>.
+<a href = "#line1_91">91</a>.
+<a href = "#line1_132">132</a>;
+<a href = "#line2_66">2, 66</a>;
+<a href = "#line4_7">4, 7</a>.
+<a href = "#line4_17">17</a>;
+<a href = "#line5_24">5, 24</a>.
+<a href = "#line5_33">33</a>;
+<a href = "#line6_4">6, 4</a>.
+<a href = "#line6_6">6</a>.
+<a href = "#line6_17">17</a>.
+<a href = "#line6_77">77</a>.</p>
+<p class = "indent">
+for gerund, etc.,
+<a href = "#lineP_11">Prol., 11</a>;
+<a href = "#line1_59">1, 59</a>.
+<a href = "#line1_70">70</a>.
+<a href = "#line1_118">118</a>;
+<a href = "#line2_34">2, 34</a>.
+<a href = "#line2_54">54</a>;
+<a href = "#line3_51">3, 51</a>;
+<a href = "#line4_16">4, 16</a>;
+<a href = "#line5_20">5, 20</a>.
+<a href = "#line5_24">24</a>.
+<a href = "#line5_37">37</a>.
+<a href = "#line5_100">100</a>;
+<a href = "#line6_3">6, 3</a>.
+<a href = "#line6_24">24</a>.
+<a href = "#line6_36">36</a>.
+<a href = "#line6_77">77</a>.</p>
+<p class = "indent">
+as a subst. with demonst. and possessive, 1. 9. 27. 123;
+<a href = "#line5_53">5, 53</a>;
+<a href = "#line6_38">6, 38</a>.</p>
+<p class = "indent">
+nursery infinitives,
+<a href = "#line3_18">3, 18</a>.</p>
+<p class = "indent">
+in exclamation,
+<a href = "#line1_24">1, 24</a>;
+<a href = "#line4_36">4, 36</a>.</p>
+<p class = "indent">
+passive in -er,
+<a href = "#line1_28">1, 28</a>;
+<a href = "#line3_50">3, 50</a>.</p>
+<p class = "indent">
+for subjunctive,
+<a href = "#line5_46">5, 46</a>.</p>
+
+<p>inflantis corpora,
+<a href = "#line5_187"><ins class = "correction"
+title = "text reads ‘1’">5,</ins> 187</a>.</p>
+
+<p>infodiam,
+<a href = "#line1_120">1, 120</a>.</p>
+
+<p>infundere monitus,
+<a href = "#line1_79">1, 79</a>.</p>
+
+<p>infusa lympha,
+<a href = "#line3_13">3, 13</a>.</p>
+</td>
+<td>
+
+<p>ingemere,
+<a href = "#line4_13">4, 13</a>.</p>
+<p class = "indent">
+vitam,
+<a href = "#line5_61">5, 61</a>.</p>
+
+<p>ingeminat,
+<a href = "#line1_102">1, 102</a>;
+<a href = "#line3_87">3, 87</a>.</p>
+
+<p>ingeni largitor,
+<a href = "#lineP_10">Prol., 10</a>.</p>
+
+<p>ingenium,
+<a href = "#line4_4">4, 4</a>.</p>
+
+<p>ingentis Titos,
+<a href = "#line1_20">1, 20</a>.</p>
+
+<p>ingenuo ludo,
+<a href = "#line5_16">5, 16</a>.</p>
+
+<p>ingerere,
+<a href = "#line5_6">5, 6</a>.
+<a href = "#line5_177">177</a>.</p>
+
+<p>inhibere perita,
+<a href = "#line2_34">2, 34</a>.</p>
+
+<p>iniquas heminas,
+<a href = "#line1_130">1, 130</a>.</p>
+
+<p>inlita Medis,
+<a href = "#line3_53">3, 53</a>.</p>
+
+<p>inmeiat vulvae,
+<a href = "#line6_73">6, 73</a>.</p>
+
+<p>inmittere templis,
+<a href = "#line2_62">2, 62</a>.</p>
+
+<p>inodora,
+<a href = "#line6_35">6, 35</a>.</p>
+
+<p>inpallescere chartis,
+<a href = "#line5_62">5, 62</a>.</p>
+
+<p>inpellere,
+<a href = "#line2_13">2, 13</a>.
+<a href = "#line2_59">59</a>;
+<a href = "#line5_128">5, 128</a>.</p>
+<p class = "indent">
+aurem,
+<a href = "#line2_21">2, 21</a>.</p>
+
+<p>inpensius,
+<a href = "#line6_68">6, 68</a>.</p>
+
+<p>inprobe,
+<a href = "#line4_47">4, 47</a>.</p>
+
+<p>inriguo somno,
+<a href = "#line5_56">5, 56</a>.</p>
+
+<p>inrorans piper,
+<a href = "#line6_21">6, 21</a>.</p>
+
+<span class = "pagenum">220a</span>
+<p>insana canicula,
+<a href = "#line3_5">3, 5</a>.</p>
+
+<p>inscitia debilis,
+<a href = "#line5_99">5, 99</a>.</p>
+
+<p>inserere aures,
+<a href = "#line5_63">5, 63</a>.</p>
+
+<p>Insolatio,
+<a href = "#line3_33">3, 33</a>.
+<a href = "#line3_98">98</a>;
+<a href = "#line4_18">4, 18</a>;
+<a href = "#line5_179">5, 179</a>.</p>
+
+<p>insomnis,
+<a href = "#line3_54">3, 54</a>.</p>
+
+<p>inspice,
+<a href = "#line3_88">3, 88</a>.</p>
+
+<p>instanti imperio,
+<a href = "#line5_157">5, 157</a>.</p>
+
+<p>insulso Glyconi,
+<a href = "#line5_9">5, 9</a>.</p>
+
+<p>intabescant,
+<a href = "#line3_38">3, 38</a>.</p>
+
+<p>integer,
+<a href = "#line5_173">5, 173</a>.</p>
+
+<p>intendisse numeris,
+<a href = "#line6_4">6, 4</a>.</p>
+
+<p>intepet ora,
+<a href = "#line6_7">6, 7</a>.</p>
+
+<p>Interrogative dependent in Indicative,
+<a href = "#line3_67">3, 67</a>.</p>
+
+<p>intima,
+<a href = "#line1_21">1, 21</a>.</p>
+
+<p>intortos mores,
+<a href = "#line5_38">5, 38</a>.</p>
+
+<p>introrsum,
+<a href = "#line2_9">2, 9</a>.</p>
+
+<p>intumuit bilis,
+<a href = "#line5_145">5, 145</a>.</p>
+
+<p>intus novi,
+<a href = "#line3_30">3, 30</a>.</p>
+<p class = "indent">
+pallere,
+<a href = "#line3_42">3, 42</a>.</p>
+
+<p>i nunc,
+<a href = "#line4_19">4, 19</a>.</p>
+
+<p>invigilat,
+<a href = "#line3_55">3, 55</a>.</p>
+
+<p>Ionio condere,
+<a href = "#line6_29">6, 29</a>.</p>
+
+<p>Iove nostro,
+<a href = "#line5_50">5, 50</a>.</p>
+<p class = "indent">
+dextro,
+<a href = "#line5_114">5, 114</a>.</p>
+
+<p>iratis dis,
+<a href = "#line4_27">4, 27</a>.</p>
+
+<p>iratum Eupolidem,
+<a href = "#line1_124">1, 124</a>.</p>
+
+<p>Ironical 1st Person,
+<a href = "#line3_3">3, 3</a>.</p>
+
+<p>Isis,
+<a href = "#note5_186">5, 186</a> (note).</p>
+
+<p>Italo honore,
+<a href = "#line1_129">1, 129</a>.</p>
+
+<p>iubeo (construction),
+<a href = "#line5_161">5, 161</a>.</p>
+
+<p>iudex potior,
+<a href = "#line2_20">2, 20</a>.</p>
+
+<p>iugum figere,
+<a href = "#line4_28">4, 28</a>.</p>
+
+<p>iunctura,
+<a href = "#line1_65">1, 65</a>.
+<a href = "#line1_92">92</a>;
+<a href = "#line5_14">5, 14</a>.</p>
+
+<p>iura,
+<a href = "#line5_137">5, 137</a>.</p>
+
+<p>iure,
+<a href = "#line3_48">3, 48</a>.</p>
+
+<p>ius fasque,
+<a href = "#line2_73">2, 73</a>.</p>
+
+<p>iustum suspendere,
+<a href = "#line4_10">4, 10</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_L" id = "index_L">L.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>labefactent,
+<a href = "#line4_40">4, 40</a>.</p>
+
+<p>labella uda,
+<a href = "#line2_32">2, 32</a>.</p>
+
+<p>labello exporrecto,
+<a href = "#line3_82">3, 82</a>.</p>
+
+<p>labentis annos,
+<a href = "#line2_2">2, 2</a>.</p>
+
+<p>Labeo Attius,
+<a href = "#line1_4">1, 4</a>.
+<a href = "#line1_50">50</a>.
+<a href = "#line1_123">123</a> (note).</p>
+
+<p>laborat vinci,
+<a href = "#line5_39">5, 39</a>.</p>
+
+<p>laboro scire,
+<a href = "#line2_17">2, 17</a>.</p>
+
+<p>labra moves,
+<a href = "#line5_184">5, 184</a>.</p>
+<p class = "indent">
+prolui,
+<a href = "#lineP_1">Prol., 1</a>.</p>
+
+<p>lacerae ratis,
+<a href = "#line6_31">6, 31</a>.</p>
+
+<span class = "pagenum left">220b</span>
+
+<p>lactibus unctis,
+<a href = "#line2_30">2, 30</a>.</p>
+
+<p>laena,
+<a href = "#line1_32">1, 32</a>.</p>
+
+<p>laetari praetrepidum,
+<a href = "#line2_54">2, 54</a>.</p>
+
+<p>laevo pectore,
+<a href = "#line2_53">2, 53</a>.</p>
+
+<p>lagoena,
+<a href = "#line6_17">6, 17</a>.</p>
+<p class = "indent">
+sitiente,
+<a href = "#line3_92">3, 92</a>.</p>
+
+<p>lallare,
+<a href = "#line3_18">3, 18</a>.</p>
+
+<p>lambunt,
+<a href = "#lineP_5">Prol., 5</a>.</p>
+
+<p><span class = "greek" title = "lampadêphoria">λαμπαδηφορία</span>,
+<a href = "#line6_61">6, 61</a>.</p>
+
+<p>lance gemina,
+<a href = "#line4_10">4, 10</a>.</p>
+<p class = "indent">
+magna,
+<a href = "#line2_71">2, 71</a>.</p>
+
+<p>lapidosa cheragra,
+<a href = "#line5_58">5, 58</a>.</p>
+
+<p>lapillo meliore,
+<a href = "#line2_1">2, 1</a>.</p>
+
+<p>laquearibus auratis,
+<a href = "#line3_40">3, 40</a>.</p>
+
+<p>lare presso,
+<a href = "#line5_109">5, 109</a>.</p>
+
+<p>largior,
+<a href = "#line6_51">6, 51</a>.</p>
+
+<p>largire,
+<a href = "#line6_32">6, 32</a>.</p>
+
+<p>largitor,
+<a href = "#lineP_10">Prol., 10</a>.</p>
+
+<p>Laribus donata,
+<a href = "#line5_31">5, 31</a>.</p>
+
+<p>larvae,
+<a href = "#note1_38">1, 38</a> (note).</p>
+
+<p>latet ulcus,
+<a href = "#line3_113">3, 113</a>.</p>
+
+<p>Latinae fidis,
+<a href = "#line6_4">6, 4</a>.</p>
+
+<p>lato auro,
+<a href = "#line4_44">4, 44</a>.</p>
+
+<p>latus dare,
+<a href = "#line6_8">6, 8</a>.</p>
+<p class = "indent">
+mundi,
+<a href = "#line6_76">6, 76</a>.</p>
+
+<p>lautus ponere,
+<a href = "#line6_23">6, 23</a>.</p>
+
+<p>lavatur,
+<a href = "#line3_98">3, 98</a>.</p>
+
+<p>Lawyers’ fees,
+<a href = "#line3_75">3, 75</a>.</p>
+
+<p>laxa cervice,
+<a href = "#line1_98">1, 98</a>.</p>
+
+<p>laxamus seria,
+<a href = "#line5_44">5, 44</a>.</p>
+
+<p>laxes granaria,
+<a href = "#line5_110">5, 110</a>.</p>
+
+<p>laxis labris,
+<a href = "#line3_102">3, 102</a>.</p>
+
+<p>laxum caput,
+<a href = "#line3_58">3, 58</a>.</p>
+
+<p>lector ferveat,
+<a href = "#line1_126">1, 126</a>.</p>
+
+<p>legarat,
+<a href = "#line6_66">6, 66</a>.</p>
+
+<p>legere nebulas,
+<a href = "#line5_7">5, 7</a>.</p>
+
+<p>leges,
+<a href = "#line1_17">1, 17</a>.</p>
+
+<p>lemures,
+<a href = "#line5_185">5, 185</a>.</p>
+
+<p>lenia Surrentina,
+<a href = "#line3_93">3, 93</a>.</p>
+
+<p>leti memor,
+<a href = "#line5_153">5, 153</a>.</p>
+
+<p><span class = "greek" title = "leukê hêmera">λευκὴ ἡμέρα</span>,
+<a href = "#line2_2">2, 2</a>.</p>
+
+<p>levis, sit tibi terra,
+<a href = "#note1_37">1, 37</a> (note).</p>
+
+<p>levis trossulus,
+<a href = "#line1_82">1, 82</a>.</p>
+
+<p>lex publica,
+<a href = "#line5_98">5, 98</a>.</p>
+
+<p>libabit,
+<a href = "#line2_5">2, 5</a>.</p>
+
+<p>libelle,
+<a href = "#line1_120">1, 120</a>.</p>
+
+<p>liber = play,
+<a href = "#line1_76">1, 76</a>.</p>
+
+<p>Liberator Iuppiter,
+<a href = "#note5_114">5, 114</a> (note).</p>
+
+<p>liber pede,
+<a href = "#line1_13">1, 13</a>.</p>
+
+<p>libertate,
+<a href = "#line5_73">5, 73</a>.</p>
+
+<span class = "pagenum left">221a</span>
+<p>Libonis puteal,
+<a href = "#note4_49">4, 49</a> (note).</p>
+
+<p>Libra aequali,
+<a href = "#line5_47">5, 47</a>.</p>
+
+<p>librae ancipitis,
+<a href = "#line4_11">4, 11</a>.</p>
+
+<p>librat,
+<a href = "#line1_86">1, 86</a>.</p>
+</td>
+<td>
+
+<p>licetur Graecos,
+<a href = "#line5_191">5, 191</a>.</p>
+
+<p>Licini,
+<a href = "#line2_36">2, 36</a>.</p>
+
+<p>lictor,
+<a href = "#line1_75">1, 75</a>.</p>
+<p class = "indent">
+ineptus,
+<a href = "#line5_175">5, 175</a>.</p>
+
+<p>Ligus ora,
+<a href = "#line6_6">6, 6</a>.</p>
+
+<p>limen obscenum,
+<a href = "#line5_165">5, 165</a>.</p>
+
+<p>limina frigescant,
+<a href = "#line1_109">1, 109</a>.</p>
+
+<p>limite dextro,
+<a href = "#line3_57">3, 57</a>.</p>
+
+<p>limo viridi,
+<a href = "#line3_22">3, 22</a>.</p>
+
+<p>limum veterem,
+<a href = "#line4_29">4, 29</a>.</p>
+
+<p>linea,
+<a href = "#line3_4">3, 4</a>.</p>
+
+<p>lingua, sub l.,
+<a href = "#line2_9">2, 9</a>.</p>
+
+<p>linguae pictae,
+<a href = "#line5_25">5, 25</a>.</p>
+
+<p>lippa propago,
+<a href = "#line2_72">2, 72</a>.</p>
+
+<p>lippus,
+<a href = "#line1_79">1, 79</a>;
+<a href = "#line5_77">5, 77</a>.</p>
+
+<p>liquescant in flammas,
+<a href = "#line2_47">2, 47</a>.</p>
+
+<p>liquido plasmate,
+<a href = "#line1_17">1, 17</a>.</p>
+
+<p>litabis,
+<a href = "#line5_120">5, 120</a>.</p>
+
+<p>litabo farre,
+<a href = "#line2_75">2, 75</a>.</p>
+
+<p>Literary ladies,
+<a href = "#lineP_13">Prol., 13</a>.</p>
+
+<p>Litotes,
+<a href = "#lineP_1">Prol., 1</a>;
+<a href = "#line1_19">1, 19</a>.</p>
+
+<p>littera canina,
+<a href = "#line1_110">1, 110</a>.</p>
+<p class = "indent">
+Pythagorea,
+<a href = "#line3_56">3, 56</a>.</p>
+
+<p>litus,
+<a href = "#line6_8">6, 8</a>.</p>
+
+<p>locatus,
+<a href = "#line3_72">3, 72</a>.</p>
+
+<p>loturo,
+<a href = "#line3_93">3, 93</a>.</p>
+
+<p>lotus,
+<a href = "#line5_86">5, 86</a>.</p>
+
+<p>lubrica Coa,
+<a href = "#line5_135">5, 135</a>.</p>
+
+<p>lucem palustrem,
+<a href = "#line5_60">5, 60</a>.</p>
+
+<p>lucernae dispositae,
+<a href = "#line5_181">5, 181</a>.</p>
+
+<p>Luciferi rudis,
+<a href = "#line5_103">5, 103</a>.</p>
+
+<p>Lucilius,
+<a href = "#line1_2">1, 2</a>.
+<a href = "#line1_114">114</a>.</p>
+
+<p>lucis (Abl.),
+<a href = "#line2_27">2, 27</a>.</p>
+
+<p>lucro vendere,
+<a href = "#line6_75">6, 75</a>.</p>
+
+<p>luctata canis,
+<a href = "#line5_159">5, 159</a>.</p>
+
+<p>luctificabile,
+<a href = "#line1_78">1, 78</a>.</p>
+
+<p>lucum ponere,
+<a href = "#line1_70">1, 70</a>.</p>
+
+<p>luditur tibi,
+<a href = "#line3_20">3, 20</a>.</p>
+
+<p>ludo ingenuo,
+<a href = "#line5_16">5, 16</a>.</p>
+
+<p>lumbum intrant,
+<a href = "#line1_20">1, 20</a>.</p>
+
+<p>lumine figentes,
+<a href = "#line3_80">3, 80</a>.</p>
+
+<p>Lunai portus,
+<a href = "#line6_9">6, 9</a>.</p>
+
+<p>Lupus,
+<a href = "#line1_115">1, 115</a>.</p>
+
+<p>lusca sacerdos,
+<a href = "#line5_186"><ins class = "correction"
+title = "text reads ‘1’">5,</ins> 186</a>.</p>
+
+<p>lusce,
+<a href = "#line1_128">1, 128</a>.</p>
+
+<p>lusisse,
+<a href = "#line6_6">6, 6</a>.</p>
+
+<span class = "pagenum">221b</span>
+
+<p>lustralibus,
+<a href = "#line2_33">2, 33</a>.</p>
+
+<p>lutatus amomis,
+<a href = "#line3_104">3, 104</a>.</p>
+
+<p>lutea gausapa,
+<a href = "#line6_46">6, 46</a>.</p>
+<p class = "indent">
+pellis,
+<a href = "#line3_95">3, 95</a>.</p>
+
+<p>luto, in l. fixum,
+<a href = "#line5_111">5, 111</a>.</p>
+
+<p>lutum udum,
+<a href = "#line3_23">3, 23</a>.</p>
+
+<p>luxum,
+<a href = "#line1_67">1, 67</a>.</p>
+
+<p>luxuria sollers,
+<a href = "#line5_142">5, 142</a>.</p>
+
+<p>lyncem,
+<a href = "#line1_101">1, 101</a>.</p>
+
+<p>lyra,
+<a href = "#line6_2">6, 2</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_M" id = "index_M">M.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>macram spem,
+<a href = "#line2_35">2, 35</a>.</p>
+
+<p>Macrinus,
+<a href = "#line2_1">2, 1</a>.</p>
+
+<p>Maenas,
+<a href = "#line1_101">1, 101</a>.
+<a href = "#line1_105">105</a>.</p>
+
+<p>Maeonides,
+<a href = "#line6_11">6, 11</a>.</p>
+
+<p>magister artis,
+<a href = "#lineP_10">Prol., 10</a>.</p>
+
+<p>magistrum barbatum,
+<a href = "#line4_1">4, 1</a>.</p>
+
+<p>magnanimus puer,
+<a href = "#line6_22">6, 22</a>.</p>
+
+<p>maiestate manus,
+<a href = "#line4_8">4, 8</a>.</p>
+
+<p>maiorum limina,
+<a href = "#line1_108">1, 108</a>.</p>
+
+<p><span class = "greek" title = "makaritês">μακαρίτης</span>,
+<a href = "#line3_103">3, 103</a>.</p>
+
+<p>maligne,
+<a href = "#line3_21">3, 21</a>.</p>
+
+<p>mammae,
+<a href = "#line3_18">3, 18</a>.</p>
+
+<p>mando,
+<a href = "#line2_39">2, 39</a>.</p>
+
+<p>mane,
+<a href = "#line1_134">1, 134</a>.</p>
+<p class = "indent">
+clarum,
+<a href = "#line3_1">3, 1</a>.</p>
+
+<p>manes,
+<a href = "#line1_38">1, 38</a>;
+<a href = "#line5_152">5, 152</a>.</p>
+<p class = "indent">
+offerings to,
+<a href = "#line2_3">2, 3</a>.</p>
+
+<p>manibus quatere,
+<a href = "#line2_35">2, 35</a>.</p>
+
+<p>Manius,
+<a href = "#line6_56">6, 56</a>.
+<a href = "#line6_60">60</a>.</p>
+
+<p>mansuescit,
+<a href = "#line4_41">4, 41</a>.</p>
+
+<p>mantica,
+<a href = "#line4_24">4, 24</a>.</p>
+
+<p>marcentis vulvas,
+<a href = "#line4_36">4, 36</a>.</p>
+
+<p>Marcus Dama,
+<a href = "#line5_79">5, 79</a>.</p>
+
+<p>marem strepitum,
+<a href = "#line6_4">6, 4</a>.</p>
+
+<p>maris expers,
+<a href = "#line6_39">6, 39</a>.</p>
+
+<p>Marsi clientis,
+<a href = "#line3_75">3, 75</a>.</p>
+
+<p>mascula bilis,
+<a href = "#line5_144">5, 144</a>.</p>
+
+<p>massa,
+<a href = "#line5_10">5, 10</a>.</p>
+
+<p>massae venas,
+<a href = "#line2_67">2, 67</a>.</p>
+
+<p>Masuri rubrica,
+<a href = "#line5_90">5, 90</a>.</p>
+
+<p>matertera,
+<a href = "#line2_31">2, 31</a>;
+<a href = "#line6_54">6, 54</a>.</p>
+
+<p>medendi natura,
+<a href = "#line5_101">5, 101</a>.</p>
+
+<p>medico,
+<a href = "#line3_90">3, 90</a>.</p>
+
+<p>Medis bracatis,
+<a href = "#line3_52">3, 52</a>.</p>
+
+<p>meditari somnia,
+<a href = "#line3_83">3, 83</a>.</p>
+
+<p>mefites sulpureas,
+<a href = "#line3_99">3, 99</a>.</p>
+
+<p>meite,
+<a href = "#line1_114">1, 114</a>.</p>
+
+<p>melior sorbere,
+<a href = "#line4_16">4, 16</a>.</p>
+
+<span class = "pagenum left">222a</span>
+<p>membrana bicolor,
+<a href = "#line3_10">3, 10</a>.</p>
+
+<p>memini,
+<a href = "#lineP_3">Prol., 3</a>.</p>
+
+<p>memor leti,
+<a href = "#line5_153">5, 153</a>.</p>
+
+<p>mena,
+<a href = "#line3_76">3, 76</a>.</p>
+
+<p>Menander,
+<a href = "#note5_161">5, 161</a> (note).</p>
+
+<p>mendose colligis,
+<a href = "#line5_85">5, 85</a>.</p>
+
+<p>mendosum tinnire,
+<a href = "#line5_106">5, 106</a>.</p>
+
+<p>mens bona,
+<a href = "#line2_8">2, 8</a>.</p>
+
+<p>mera libertas,
+<a href = "#line5_82">5, 82</a>.</p>
+
+<p>meracas,
+<a href = "#line4_16">4, 16</a>.</p>
+
+<p>mercare,
+<a href = "#line6_75">6, 75</a>.</p>
+
+<p>mercede,
+<a href = "#line2_29">2, 29</a>.</p>
+
+<p>merces faenoris,
+<a href = "#line6_67">6, 67</a>.</p>
+
+<p>mercibus Italis,
+<a href = "#line5_54">5, 54</a>.</p>
+
+<p>Mercurialem salivam,
+<a href = "#line5_112">5, 112</a>.</p>
+
+<p>Mercurius,
+<a href = "#line2_44">2, 44</a>.</p>
+<p class = "indent">
+<span class = "greek" title = "kerdôos">κερδῷος</span>,
+<a href = "#line6_62">6, 62</a>.</p>
+</td>
+<td>
+
+<p>mergis obvia,
+<a href = "#line6_30">6, 30</a>.</p>
+
+<p>merum fundere,
+<a href = "#line2_3">2, 3</a>.</p>
+
+<p>Messalinus,
+<a href = "#line2_72">2, 72</a>.</p>
+
+<p>Messalla,
+<a href = "#line2_72">2, 72</a>.</p>
+
+<p>messe propria,
+<a href = "#line6_25">6, 25</a>.</p>
+
+<p>metae flexus,
+<a href = "#line3_68">3, 68</a>.</p>
+
+<p>metas,
+<a href = "#line1_131">1, 131</a>.</p>
+
+<p>metuens divum,
+<a href = "#line2_31">2, 31</a>.</p>
+
+<p>metuentia scombros,
+<a href = "#line1_43">1, 43</a>.</p>
+
+<p>metuo with Inf.,
+<a href = "#line1_47">1, 47</a>;
+<a href = "#line4_28">4, 28</a>.</p>
+
+<p>meus,
+<a href = "#line5_88">5, 88</a>.</p>
+
+<p>Mida rex,
+<a href = "#note1_121">1, 121</a> (note).</p>
+
+<p>mille species,
+<a href = "#line5_52">5, 52</a>.</p>
+
+<p>millesime,
+<a href = "#line3_28">3, 28</a>.</p>
+
+<p>miluus,
+<a href = "#line4_26">4, 26</a>.</p>
+
+<p>Mimalloneis,
+<a href = "#line1_99">1, 99</a>.</p>
+
+<p>Mimas,
+<a href = "#note1_99">1, 99</a> (note).</p>
+
+<p>minui,
+<a href = "#line6_16">6, 16</a>.</p>
+
+<p>minutum pappare,
+<a href = "#line3_17">3, 17</a>.</p>
+
+<p>mirae, bene mirae,
+<a href = "#line1_111">1, 111</a>.</p>
+
+<p>mire opifex,
+<a href = "#line6_3">6, 3</a>.</p>
+
+<p>mittit,
+<a href = "#line2_36">2, 36</a>.</p>
+
+<p>mobile,
+<a href = "#line1_18">1, 18</a>.</p>
+
+<p>mobilis imitari,
+<a href = "#line1_59">1, 59</a>.</p>
+
+<p>modice sitiente,
+<a href = "#line3_92">3, 92</a>.</p>
+
+<p>modico ore,
+<a href = "#line5_15">5, 15</a>.</p>
+
+<p>modicus voti,
+<a href = "#line5_109">5, 109</a>.</p>
+
+<p>modus,
+<a href = "#line3_69">3, 69</a>.</p>
+
+<p>molle subrisit,
+<a href = "#line3_110">3, 110</a>.</p>
+
+<p>momento turbinis,
+<a href = "#line5_78">5, 78</a>.</p>
+
+<p>monstrari digito,
+<a href = "#line1_28">1, 28</a>.</p>
+
+<p>montis promittere,
+<a href = "#line3_65">3, 65</a>.</p>
+
+<p>morari Iovem,
+<a href = "#line2_43">2, 43</a>.</p>
+
+<span class = "pagenum">222b</span>
+
+<p>mordaci aceto,
+<a href = "#line5_86">5, 86</a>.</p>
+<p class = "indent">
+vero,
+<a href = "#line1_107">1, 107</a>.</p>
+
+<p>mores pallentis,
+<a href = "#line5_15">5, 15</a>.</p>
+
+<p>moretur,
+<a href = "#line1_77">1, 77</a>.</p>
+
+<p>morientis aceti,
+<a href = "#line4_32">4, 32</a>.</p>
+
+<p>moror,
+<a href = "#line1_111">1, 111</a>.</p>
+
+<p>morosa vena,
+<a href = "#line6_72">6, 72</a>.</p>
+
+<p>moveare,
+<a href = "#line5_123">5, 123</a>.</p>
+
+<p>Mucius,
+<a href = "#line1_115">1, 115</a>.</p>
+
+<p>muria,
+<a href = "#line6_20">6, 20</a>.</p>
+
+<p>murice vitiato,
+<a href = "#line2_65">2, 65</a>.</p>
+
+<p>murmura rodere,
+<a href = "#line3_81">3, 81</a>.</p>
+<p class = "indent">
+tollere,
+<a href = "#line2_6">2, 6</a>.</p>
+
+<p>murmure clauso,
+<a href = "#line5_11">5, 11</a>.</p>
+
+<p>mutare mercibus,
+<a href = "#line5_54">5, 54</a>.</p>
+
+<p>muttire,
+<a href = "#line1_119">1, 119</a>.</p>
+
+<p>Mycenis,
+<a href = "#line5_17">5, 17</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_N" id = "index_N">N.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>nare balba,
+<a href = "#line1_33">1, 33</a>.</p>
+
+<p>naribus uncis,
+<a href = "#line1_41">1, 41</a>.</p>
+
+<p>naso cadat ira,
+<a href = "#line5_91">5, 91</a>.</p>
+<p class = "indent">
+crispante,
+<a href = "#line3_87">3, 87</a>.</p>
+<p class = "indent">
+excusso,
+<a href = "#line1_118">1, 118</a>.</p>
+<p class = "indent">
+tangere,
+<a href = "#line6_17">6, 17</a>.</p>
+
+<p>nata fidelibus,
+<a href = "#line5_48">5, 48</a>.</p>
+
+<p>natalia,
+<a href = "#line6_19">6, 19</a>.</p>
+
+<p>natalicia,
+<a href = "#line1_16">1, 16</a>.</p>
+
+<p>natat,
+<a href = "#line5_182">5, 182</a>.</p>
+
+<p>Natta,
+<a href = "#line3_31">3, 31</a>.</p>
+
+<p>natura,
+<a href = "#line5_98">5, 98</a>.
+<a href = "#line5_101">101</a>.</p>
+
+<p>naufragus,
+<a href = "#line1_88">1, 88</a>;
+<a href = "#note6_33">6, 33</a> (note).</p>
+
+<p>ne = ne-quidem,
+<a href = "#line5_172">5, 172</a>.</p>
+<p class = "indent">
+omitted,
+<a href = "#line1_112">1, 112</a>.</p>
+
+<p>-ne in rhetorical questions,
+<a href = "#line1_22">1, 22</a>.</p>
+
+<p>nebulas legere,
+<a href = "#line5_7">5, 7</a>.</p>
+
+<p>nectar cantare,
+<a href = "#lineP_14">Prol., 14</a>.</p>
+
+<p>nefas,
+<a href = "#line1_119">1, 119</a>.</p>
+
+<p>negatas,
+<a href = "#lineP_11">Prol., 11</a>.</p>
+
+<p>Negative, position of,
+<a href = "#line1_45">1, 45</a>;
+<a href = "#line2_3">2, 3</a>.</p>
+
+<p>nempe,
+<a href = "#line2_70">2, 70</a>;
+<a href = "#line3_1">3, 1</a>;
+<a href = "#line5_67">5, 67</a>.</p>
+
+<p>nepos,
+<a href = "#line6_71">6, 71</a>.</p>
+
+<p>Nerea,
+<a href = "#line1_94">1, 94</a>.</p>
+
+<p>Nerius,
+<a href = "#line2_14">2, 14</a>.</p>
+
+<p>Nero, supposed allusions to,
+<a href = "#line1_56">1, 56</a>.
+<a href = "#line1_75">75</a>.
+<a href = "#line1_121">121</a>;
+<a href = "#line4_49">4, 49</a>.</p>
+
+<p>nervis,
+<a href = "#line2_41">2, 41</a>.</p>
+
+<p>nervos agitare,
+<a href = "#line5_129">5, 129</a>.</p>
+<p class = "indent">
+decipere,
+<a href = "#line4_45">4, 45</a>.</p>
+
+<p>neu,
+<a href = "#line3_51">3, 51</a>;
+<a href = "#line6_66">6, 66</a>.</p>
+</td>
+<td>
+
+<span class = "pagenum">223a</span>
+<p>nigra sepia,
+<a href = "#line3_13">3, 13</a>.</p>
+
+<p>nihil de nihilo,
+<a href = "#line3_84">3, 84</a>.</p>
+
+<p>niti gutture,
+<a href = "#line5_6">5, 6</a>.</p>
+
+<p>nocte paratum,
+<a href = "#line1_90">1, 90</a>.</p>
+
+<p>noctem purgare,
+<a href = "#line2_16">2, 16</a>.</p>
+
+<p>noctes decerpere,
+<a href = "#line5_42">5, 42</a>.</p>
+
+<p>nodosa harundo,
+<a href = "#line3_11">3, 11</a>.</p>
+
+<p>nodum abripit,
+<a href = "#line5_159">5, 159</a>.</p>
+
+<p>non, position of,
+<a href = "#line1_45">1, 45</a>;
+<a href = "#line2_3">2, 3</a>;
+<a href = "#line3_78">3, 78</a>.</p>
+
+<p>non = ne,
+<a href = "#line1_5">1, 5</a>;
+<a href = "#line5_45">5, 45</a>.</p>
+
+<p>non = nonne,
+<a href = "#line1_50">1, 50</a>.</p>
+
+<p>nonaria,
+<a href = "#line1_133">1, 133</a>.</p>
+
+<p>noris,
+<a href = "#line4_52">4, 52</a>.</p>
+
+<p>nostin,
+<a href = "#line4_25">4, 25</a>.</p>
+
+<p>nostrum,
+<a href = "#lineP_7">Prol., 7</a>;
+<a href = "#line5_151">5, 151</a>.</p>
+
+<p>novimus,
+<a href = "#line4_43">4, 43</a>.</p>
+
+<p>nox tertia,
+<a href = "#line3_91">3, 91</a>.</p>
+
+<p>nucibus,
+<a href = "#line1_10">1, 10</a>.</p>
+
+<p>nugae,
+<a href = "#line1_5">1, 5</a>.</p>
+<p class = "indent">
+bullatae,
+<a href = "#line5_19">5, 19</a>.</p>
+
+<p>nugari Graece,
+<a href = "#line1_70">1, 70</a>.</p>
+
+<p>nugaris,
+<a href = "#line1_56">1, 56</a>.</p>
+
+<p>nugator,
+<a href = "#line5_127">5, 127</a>.</p>
+
+<p>Numae aurum,
+<a href = "#line2_59">2, 59</a>.</p>
+
+<p>numerare diem,
+<a href = "#line2_1">2, 1</a>.</p>
+
+<p>numeris,
+<a href = "#line6_3">6, 3</a>.</p>
+
+<p>numeros,
+<a href = "#line1_13">1, 13</a>;
+<a href = "#line5_123">5, 123</a>.</p>
+
+<p>nummi dolosi,
+<a href = "#lineP_12">Prol., 12</a>.</p>
+
+<p>nummus asper,
+<a href = "#line3_70">3, 70</a>.</p>
+
+<p>nutrici,
+<a href = "#line2_39">2, 39</a>.</p>
+
+<p>nutrire nummos,
+<a href = "#line5_150">5, 150</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_O" id = "index_O">O.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>obba,
+<a href = "#line5_148">5, 148</a>.</p>
+
+<p>oberres,
+<a href = "#line5_156">5, 156</a>.</p>
+
+<p>oberret,
+<a href = "#line6_32">6, 32</a>.</p>
+
+<p>obiurgabere,
+<a href = "#line5_169">5, 169</a>.</p>
+
+<p>obscenum limen,
+<a href = "#line5_165">5, 165</a>.</p>
+
+<p>obsequio,
+<a href = "#line5_156">5, 156</a>.</p>
+
+<p>obstipo capite,
+<a href = "#line3_80">3, 80</a>.</p>
+
+<p>obstiteris,
+<a href = "#line5_157">5, 157</a>.</p>
+
+<p>obvia mergis,
+<a href = "#line6_30">6, 30</a>.</p>
+
+<p>occa,
+<a href = "#line6_26">6, 26</a>.</p>
+
+<p>occipiti,
+<a href = "#line1_62">1, 62</a>.</p>
+
+<p>occurrite,
+<a href = "#line1_62">1, 62</a>;
+<a href = "#line3_64">3, 64</a>.</p>
+
+<p>ocello patranti,
+<a href = "#line1_18">1, 18</a>.</p>
+
+<p>ocima,
+<a href = "#line4_22">4, 22</a>.</p>
+
+<p>ocius ad navem,
+<a href = "#line5_141">5, 141</a>.</p>
+
+<p>oculos urentis,
+<a href = "#line2_34">2, 34</a>.</p>
+
+<p>oenophorum,
+<a href = "#line5_140">5, 140</a>.</p>
+
+<span class = "pagenum left">223b</span>
+
+<p>offas carminis,
+<a href = "#line5_5">5, 5</a>.</p>
+
+<p>officium,
+<a href = "#line5_94">5, 94</a>;
+<a href = "#line6_27">6, 27</a>.</p>
+
+<p>ohe,
+<a href = "#line1_23">1, 23</a>.</p>
+
+<p>oletum,
+<a href = "#line1_112">1, 112</a>.</p>
+
+<p>oleum,
+<a href = "#line6_50">6, 50</a>.</p>
+
+<p>olivo corrupto,
+<a href = "#line2_64">2, 64</a>.</p>
+<p class = "indent">
+tangere,
+<a href = "#line3_44">3, 44</a>.</p>
+
+<p>olla farrata,
+<a href = "#line4_31">4, 31</a>.</p>
+<p class = "indent">
+Prognes,
+<a href = "#line5_8">5, 8</a>.</p>
+</td>
+<td>
+
+<p>omentum,
+<a href = "#line2_47">2, 47</a>;
+<a href = "#line6_74">6, 74</a>.</p>
+
+<p><span class = "greek" title = "ôoskopikê">ᾠοσκοπική</span>,
+<a href = "#line5_185">5, 185</a>.</p>
+
+<p>operae est,
+<a href = "#line6_9">6, 9</a>.</p>
+
+<p>opertum,
+<a href = "#line1_121">1, 121</a>.</p>
+
+<p>opifex,
+<a href = "#line6_3">6, 3</a>.</p>
+
+<p>opimo ferto,
+<a href = "#line2_48">2, 48</a>.</p>
+
+<p>opimum pingue,
+<a href = "#line3_32">3, 32</a>.</p>
+
+<p>optare linguas centum,
+<a href = "#line5_2">5, 2</a>.</p>
+
+<p>orbis pueris,
+<a href = "#line2_20">2, 20</a>.</p>
+
+<p>orca,
+<a href = "#line3_76">3, 76</a>.</p>
+
+<p>orcae angustae,
+<a href = "#line3_50">3, 50</a>.</p>
+
+<p>ordo,
+<a href = "#line3_67">3, 67</a>.</p>
+
+<p>ore modico,
+<a href = "#line5_15">5, 15</a>.</p>
+
+<p>Orestes,
+<a href = "#line3_118">3, 118</a>.</p>
+
+<p>oscitat,
+<a href = "#line3_59">3, 59</a>.</p>
+
+<p>o si,
+<a href = "#line2_9">2, 9</a>.</p>
+
+<p>os populi,
+<a href = "#line1_42">1, 42</a>.</p>
+
+<p>ossa,
+<a href = "#line1_37">1, 37</a>.</p>
+
+<p>ostendisse iuvat,
+<a href = "#line5_24">5, 24</a>.</p>
+
+<p>ovato auro,
+<a href = "#line2_55">2, 55</a>.</p>
+
+<p>ovile,
+<a href = "#line2_49">2, 49</a>.</p>
+
+<p>ovo rupto,
+<a href = "#line5_185">5, 185</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_P" id = "index_P">P.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>pacto,
+<a href = "#line4_43">4, 43</a>.</p>
+
+<p>Pacuvius,
+<a href = "#line1_77">1, 77</a>.</p>
+
+<p>pagina,
+<a href = "#line5_20">5, 20</a>.</p>
+
+<p>palaestritae,
+<a href = "#line4_39">4, 39</a>.</p>
+
+<p>palato,
+<a href = "#line1_35">1, 35</a>.</p>
+
+<p>Palilia,
+<a href = "#line1_72">1, 72</a>.</p>
+
+<p>pallentis cumini,
+<a href = "#line5_55">5, 55</a>.</p>
+<p class = "indent">
+mores,
+<a href = "#line5_15">5, 15</a>.</p>
+
+<p>palles,
+<a href = "#line1_124">1, 124</a>;
+<a href = "#line3_94">3, 94</a>.
+<a href = "#line3_96">96</a>;
+<a href = "#line4_47">4, 47</a>;
+<a href = "#line5_80">5, 80</a>.
+<a href = "#line5_184">184</a>.</p>
+
+<p>palliatae,
+<a href = "#note5_14">5, 14</a> (note).</p>
+
+<p>pallidam Pirenen,
+<a href = "#lineP_4">Prol., 4</a>.</p>
+
+<p>pallor,
+<a href = "#line1_26">1, 26</a>.</p>
+
+<p>palmis,
+<a href = "#line6_39">6, 39</a>.</p>
+
+<p>palpo,
+<a href = "#line5_176">5, 176</a>.</p>
+
+<p>palustrem lucem,
+<a href = "#line5_60">5, 60</a>.</p>
+
+<p>panis secundus,
+<a href = "#note3_112">3, 112</a> (note).</p>
+
+<span class = "pagenum left">224a</span>
+<p>pannosam,
+<a href = "#line4_32">4, 32</a>.</p>
+
+<p>pannucia,
+<a href = "#line4_21">4, 21</a>.</p>
+
+<p>papae,
+<a href = "#line5_79">5, 79</a>.</p>
+
+<p>pappare minutum,
+<a href = "#line3_17">3, 17</a>.</p>
+
+<p>paratum nocte,
+<a href = "#line1_90">1, 90</a>.</p>
+
+<p>paratas gaudere,
+<a href = "#line1_132">1, 132</a>.</p>
+<p class = "indent">
+nescire,
+<a href = "#line6_36">6, 36</a>.</p>
+
+<p>Parca,
+<a href = "#line5_48">5, 48</a>.</p>
+
+<p>paria centum,
+<a href = "#line6_48">6, 48</a>.</p>
+
+<p>Parnaso,
+<a href = "#lineP_2">Prol., 2</a>.</p>
+
+<p>Parthi vulnera,
+<a href = "#line5_4">5, 4</a>.</p>
+
+<p>Participle in questions,
+<a href = "#line3_67">3, 67</a>;
+<a href = "#line5_124">5, 124</a>.</p>
+
+<p>parvus,
+<a href = "#line3_44">3, 44</a>.</p>
+
+<p>patella,
+<a href = "#line3_26">3, 26</a>;
+<a href = "#line4_17">4, 17</a>.</p>
+
+<p>pater quartus,
+<a href = "#line6_58">6, 58</a>.</p>
+
+<p>paterna dicta,
+<a href = "#line6_66">6, 66</a>.</p>
+
+<p>paterni testiculi,
+<a href = "#line1_103">1, 103</a>.</p>
+
+<p>patinae,
+<a href = "#line2_42">2, 42</a>;
+<a href = "#line6_21">6, 21</a>.</p>
+
+<p>patranti ocello,
+<a href = "#line1_18">1, 18</a>.</p>
+
+<p>patriciae vulvae,
+<a href = "#line6_73">6, 73</a>.</p>
+
+<p>patricius sanguis,
+<a href = "#line1_61">1, 61</a>.</p>
+
+<p>patruelis,
+<a href = "#line6_53">6, 53</a>.</p>
+
+<p>patrui proneptis,
+<a href = "#line6_54">6, 54</a>.</p>
+
+<p>patruus,
+<a href = "#line1_11">1, 11</a>;
+<a href = "#line2_10">2, 10</a>.</p>
+
+<p>patula ulmo,
+<a href = "#line3_6">3, 6</a>.</p>
+
+<p>pavido mihi,
+<a href = "#line5_30">5, 30</a>.</p>
+
+<p>pavisse,
+<a href = "#line6_77">6, 77</a>.</p>
+
+<p>pavone,
+<a href = "#line6_11">6, 11</a>.</p>
+
+<p>peccas,
+<a href = "#line5_119">5, 119</a>.</p>
+
+<p>peccat (pulpa),
+<a href = "#line2_68">2, 68</a>.</p>
+
+<p>peccent casiae,
+<a href = "#line6_36">6, 36</a>.</p>
+
+<p>pectine,
+<a href = "#line6_2">6, 2</a>.</p>
+
+<p>pectore calido,
+<a href = "#line5_144">5, 144</a>.</p>
+<p class = "indent">
+laevo,
+<a href = "#line2_53">2, 53</a>.</p>
+<p class = "indent">
+sinuoso,
+<a href = "#line5_27">5, 27</a>.</p>
+<p class = "indent">
+sub p. vulpum,
+<a href = "#line5_117">5, 117</a>.</p>
+
+<p>pecuaria Arcadiae,
+<a href = "#line3_9">3, 9</a>.</p>
+
+<p>pede liber,
+<a href = "#line1_13">1, 13</a>.</p>
+
+<p>pedes summos,
+<a href = "#line3_108">3, 108</a>.</p>
+
+<p>Pedius,
+<a href = "#line1_85">1, 85</a>.</p>
+
+<p>Pegaseium,
+<a href = "#lineP_14">Prol., 14</a>.</p>
+
+<p>peioribus orti,
+<a href = "#line6_15">6, 15</a>.</p>
+
+<p>pelle summa,
+<a href = "#line4_14">4, 14</a>.</p>
+
+<p>pellem aptas,
+<a href = "#line5_140">5, 140</a>.</p>
+
+<p>pelliculam,
+<a href = "#line5_116">5, 116</a>.</p>
+
+<p>pellis lutea,
+<a href = "#line3_95">3, 95</a>.</p>
+
+<p>Penatis,
+<a href = "#line2_45">2, 45</a>.</p>
+
+<p>penu locuplete,
+<a href = "#line3_74">3, 74</a>.</p>
+
+<p>perages,
+<a href = "#line5_139">5, 139</a>.</p>
+
+<span class = "pagenum left">224b</span>
+
+<p>peragit bona,
+<a href = "#line6_22">6, 22</a>.</p>
+
+<p>percussa,
+<a href = "#line3_21">3, 21</a>.</p>
+
+<p>percute agnam,
+<a href = "#line5_168">5, 168</a>.</p>
+
+<p>perditus cute,
+<a href = "#line1_23">1, 23</a>.</p>
+
+<p>perducere facies,
+<a href = "#line2_56">2, 56</a>.</p>
+
+<p>Perfect,
+<a href = "#line2_32">2, 32</a>.
+<a href = "#line2_43">43</a>;
+<a href = "#line5_95">5, 95</a>.</p>
+<p class = "indent">
+Inf. See <span class = "smallcaps">Infinitive</span>.</p>
+
+<p>pergant sudare,
+<a href = "#line5_150">5, 150</a>.</p>
+
+<p>perge,
+<a href = "#line3_97">3, 97</a>.</p>
+
+<p>Pericli,
+<a href = "#line4_3">4, 3</a>.</p>
+
+<p>perisse frontem,
+<a href = "#line5_102">5, 102</a>.</p>
+
+<p>perita inhibere,
+<a href = "#line2_34">2, 34</a>.</p>
+
+<p>permisit sparsisse,
+<a href = "#line5_33">5, 33</a>.</p>
+
+<p>pernae,
+<a href = "#line3_75">3, 75</a>.</p>
+
+<p>peronatus,
+<a href = "#line5_103">5, 103</a>.</p>
+
+<p>pertusa conpita,
+<a href = "#line4_28">4, 28</a>.</p>
+
+<p><span class = "greek" title = "petomena diôkein">πετόμενα
+διώκειν</span>,
+<a href = "#line3_60">3, 60</a>.</p>
+
+<p>petulanti,
+<a href = "#line1_12">1, 12</a>.
+<a href = "#line1_133">133</a>.</p>
+
+<p>pexus,
+<a href = "#line1_15">1, 15</a>.</p>
+
+<p>Phalaris,
+<a href = "#line3_39">3, 39</a>.</p>
+
+<p>phaleras,
+<a href = "#line3_30">3, 30</a>.</p>
+
+<p>Phyllidas,
+<a href = "#line1_34">1, 34</a>.</p>
+
+<p>picam,
+<a href = "#lineP_9">Prol., 9</a>.</p>
+
+<p>picas,
+<a href = "#lineP_13">Prol., 13</a>.</p>
+
+<p>pictum in trabe,
+<a href = "#line1_89">1, 89</a>.</p>
+
+<p>pillea,
+<a href = "#line5_82">5, 82</a>.</p>
+
+<p>pilleus,
+<a href = "#note3_106">3, 106</a> (note).</p>
+
+<p>pilos, ante p.,
+<a href = "#line4_5">4, 5</a>.</p>
+
+<p>pingitur, ut p.,
+<a href = "#line6_63">6, 63</a>.</p>
+
+<p>pingue opimum,
+<a href = "#line3_33">3, 33</a>.</p>
+
+<p>pinguem nebulam,
+<a href = "#line5_181">5, 181</a>.</p>
+
+<p>pingui auro,
+<a href = "#line2_52">2, 52</a>.</p>
+
+<p>pinguibus Umbris,
+<a href = "#line3_74">3, 74</a>.</p>
+
+<p>pinguior angulus,
+<a href = "#line5_14">5, 14</a>.</p>
+
+<p>pinsit,
+<a href = "#line1_58">1, 58</a>.</p>
+
+<p>piper,
+<a href = "#line3_75">3, 75</a>;
+<a href = "#line5_55">5, 55</a>.
+<a href = "#line5_136">136</a>;
+<a href = "#line6_21">6, 21</a>.</p>
+
+<p>Pirenen,
+<a href = "#lineP_4">Prol., 4</a>.</p>
+
+<p>pituita,
+<a href = "#line2_57">2, 57</a>.</p>
+</td>
+<td>
+
+<p>plantaria,
+<a href = "#line4_39">4, 39</a>.</p>
+
+<p>plaudere, w. accus. (?),
+<a href = "#line4_31">4, 31</a>.</p>
+
+<p>plausisse,
+<a href = "#line6_77">6, 77</a>.</p>
+
+<p>plebeia,
+<a href = "#line3_114">3, 114</a>;
+<a href = "#line5_18">5, 18</a>.</p>
+
+<p>plorabile,
+<a href = "#line1_34">1, 34</a>.</p>
+
+<p>Plural,
+<a href = "#lineP_6">Prol., 6</a>;
+<a href = "#line1_75">1, 75</a>;
+<a href = "#line2_33">2, 33</a>;
+<a href = "#line3_79">3, 79</a>.
+<a href = "#line3_104">104</a>;
+<a href = "#line4_16">4, 16</a>;
+<a href = "#line5_110">5, 110</a>.</p>
+
+<p>pluteum caedit,
+<a href = "#line1_106">1, 106</a>.</p>
+
+<p>poetas corvos,
+<a href = "#lineP_13">Prol., 13</a>.</p>
+
+<p>poetridas,
+<a href = "#lineP_13">Prol., 13</a>.</p>
+
+<p><span class = "greek" title = "poikilê stoa">ποικίλη στοά</span>,
+<a href = "#line3_53">3, 53</a>.</p>
+
+<p>polenta,
+<a href = "#line3_55">3, 55</a>.</p>
+
+<span class = "pagenum">225a</span>
+<p>politus fronte,
+<a href = "#line5_116">5, 116</a>.</p>
+
+<p>pollice,
+<a href = "#line5_40">5, 40</a>.</p>
+<p class = "indent">
+honesto,
+<a href = "#line6_5">6, 5</a>.</p>
+
+<p>Polydamas,
+<a href = "#line1_4">1, 4</a>.</p>
+
+<p>pondus dare fumo,
+<a href = "#line5_20">5, 20</a>.</p>
+
+<p>ponere,
+<a href = "#line1_53">1, 53</a>.
+<a href = "#line1_70">70</a>;
+<a href = "#line3_111">3, 111</a>;
+<a href = "#line5_3">5, 3</a>;
+<a href = "#line6_23">6, 23</a>.</p>
+
+<p>pontifices,
+<a href = "#line2_69">2, 69</a>.</p>
+
+<p>Ponto advehe,
+<a href = "#line5_134">5, 134</a>.</p>
+
+<p>popa venter,
+<a href = "#line6_74">6, 74</a>.</p>
+
+<p>popello,
+<a href = "#line6_50">6, 50</a>.</p>
+<p class = "indent">
+blando,
+<a href = "#line4_15">4, 15</a>.</p>
+
+<p>populi rem = rem publicam,
+<a href = "#line4_1">4, 1</a>.</p>
+
+<p>porci,
+<a href = "#line1_72">1, 72</a>.</p>
+
+<p>porrum sectile,
+<a href = "#note4_30">4, 30</a> (note).</p>
+
+<p>portam, extendit in p.,
+<a href = "#line3_105">3, 105</a>.</p>
+
+<p>porticus sapiens,
+<a href = "#line3_54">3, 54</a>.</p>
+
+<p>postibus,
+<a href = "#line6_45">6, 45</a>.</p>
+
+<p>postica sanna,
+<a href = "#line1_62">1, 62</a>.</p>
+
+<p>postquam,
+<a href = "#line3_90">3, 90</a>.</p>
+
+<p>pote,
+<a href = "#line1_56">1, 56</a>.</p>
+
+<p>potis,
+<a href = "#line4_13">4, 13</a>.</p>
+
+<p>praebet vellere,
+<a href = "#line2_28">2, 28</a>.</p>
+
+<p>praecedenti tergo,
+<a href = "#line4_24">4, 24</a>.</p>
+
+<p>praecipites imus,
+<a href = "#line3_42">3, 42</a>.</p>
+
+<p>praecordia,
+<a href = "#line1_117">1, 117</a>;
+<a href = "#line5_22">5, 22</a>.</p>
+
+<p>praedictum,
+<a href = "#line5_188">5, 188</a>.</p>
+
+<p>praefigere theta,
+<a href = "#line4_13">4, 13</a>.</p>
+
+<p>praegrandi,
+<a href = "#line1_124">1, 124</a>.</p>
+
+<p>praelargus,
+<a href = "#line1_14">1, 14</a>.</p>
+
+<p>praeparet auster,
+<a href = "#line6_12">6, 12</a>.</p>
+
+<p>praeponere,
+<a href = "#line2_18">2, 18</a>.</p>
+
+<p>praestantior,
+<a href = "#line6_76">6, 76</a>.</p>
+
+<p>praetegit,
+<a href = "#line4_45">4, 45</a>.</p>
+
+<p>praetor,
+<a href = "#line5_88">5, 88</a>.
+<a href = "#line5_93">93</a>.</p>
+
+<p>praetrepidum laetari,
+<a href = "#line2_54">2, 54</a>.</p>
+
+<p>praetulerint,
+<a href = "#line1_5">1, 5</a>.</p>
+
+<p>prandeat,
+<a href = "#line3_85">3, 85</a>.</p>
+
+<p>prandia plebeia,
+<a href = "#line5_18">5, 18</a>.</p>
+<p class = "indent">
+post p. Calliroen,
+<a href = "#line1_134">1, 134</a>.</p>
+<p class = "indent">
+regum,
+<a href = "#line1_67">1, 67</a>.</p>
+
+<p>premere ratione,
+<a href = "#line5_39">5, 39</a>.</p>
+<p class = "indent">
+ventos,
+<a href = "#line5_11">5, 11</a>.</p>
+
+<p>presso Lare,
+<a href = "#line5_109">5, 109</a>.</p>
+
+<p>primas noctes,
+<a href = "#line5_42">5, 42</a>.</p>
+
+<p>primordia vocum,
+<a href = "#line6_3">6, 3</a>.</p>
+
+<p>proceres,
+<a href = "#line1_52">1, 52</a>.</p>
+
+<p>procerum,
+<a href = "#line2_5">2, 5</a>.</p>
+
+<p>prodirem,
+<a href = "#lineP_3">Prol., 3</a>.</p>
+
+<p>producis,
+<a href = "#line6_19">6, 19</a>.</p>
+
+<span class = "pagenum">225b</span>
+
+<p>progenies terrae,
+<a href = "#line6_57">6, 57</a>.</p>
+
+<p>Prognes olla,
+<a href = "#line5_8">5, 8</a>.</p>
+
+<p>pro Iuppiter,
+<a href = "#line2_22">2, 22</a>.</p>
+
+<p>Prolepsis,
+<a href = "#line3_5">3, 5</a>.</p>
+
+<p>prolui,
+<a href = "#lineP_1">Prol., 1</a>.</p>
+
+<p>promittere montis,
+<a href = "#line3_65">3, 65</a>.</p>
+
+<p>promptum,
+<a href = "#line2_6">2, 6</a>.</p>
+
+<p>proneptis patrui,
+<a href = "#line6_53">6, 53</a>.</p>
+
+<p>properandus,
+<a href = "#line3_23">3, 23</a>.</p>
+
+<p>protenso,
+<a href = "#line1_57">1, 57</a>.</p>
+
+<p>protinus,
+<a href = "#line1_110">1, 110</a>.</p>
+
+<p>protulerim,
+<a href = "#line1_89">1, 89</a>.</p>
+
+<p>proxima uxor,
+<a href = "#line3_43">3, 43</a>.</p>
+
+<p>prudentia rerum,
+<a href = "#line4_4">4, 4</a>.</p>
+
+<p>psittaco,
+<a href = "#lineP_8">Prol., 8</a>.</p>
+
+<p>pubis Germanae,
+<a href = "#line6_44">6, 44</a>.</p>
+
+<p>Publius,
+<a href = "#line5_74">5, 74</a>.</p>
+
+<p>puer,
+<a href = "#line5_167">5, 167</a>;
+<a href = "#line6_22">6, 22</a>.</p>
+
+<p>Pulfennius,
+<a href = "#line5_190">5, 190</a>.</p>
+
+<p>pullatis (?),
+<a href = "#line5_19">5, 19</a>.</p>
+
+<p>pulmentaria,
+<a href = "#line3_102">3, 102</a>.</p>
+
+<p>pulmo praelargus,
+<a href = "#line1_14">1, 14</a>.</p>
+
+<p>pulmone,
+<a href = "#line2_30">2, 30</a>.</p>
+
+<p>pulmonem rumpere,
+<a href = "#line3_27">3, 27</a>.</p>
+
+<p>pulpa,
+<a href = "#line2_63">2, 63</a>.</p>
+
+<p>pulsa,
+<a href = "#line5_24">5, 24</a>.</p>
+
+<p>pultes,
+<a href = "#line6_40">6, 40</a>.</p>
+
+<p>puncto certo,
+<a href = "#line5_100">5, 100</a>.</p>
+
+<p>pupae,
+<a href = "#line2_70">2, 70</a>.</p>
+
+<p>pupille,
+<a href = "#line4_3">4, 3</a>.</p>
+
+<p>pupillum,
+<a href = "#line2_12">2, 12</a>.</p>
+
+<p>puppe, in p. dii,
+<a href = "#line6_30">6, 30</a>.</p>
+
+<p>Puppets,
+<a href = "#line5_128">5, 128</a>.</p>
+
+<p>pura voce,
+<a href = "#line5_28">5, 28</a>.</p>
+
+<p>purgare noctem,
+<a href = "#line2_16">2, 16</a>.</p>
+
+<p>purgatas aures,
+<a href = "#line5_63">5, 63</a>.</p>
+
+<p>purpura custos,
+<a href = "#line5_30">5, 30</a>.</p>
+
+<p>purum salinum,
+<a href = "#line3_25">3, 25</a>.</p>
+
+<p>puta,
+<a href = "#line4_9">4, 9</a>.</p>
+
+<p>puteal,
+<a href = "#line4_49">4, 49</a>.</p>
+
+<p>putet,
+<a href = "#line3_73">3, 73</a>.</p>
+
+<p>putre ulcus,
+<a href = "#line3_114">3, 114</a>.</p>
+
+<p>putris,
+<a href = "#line5_58">5, 58</a>.</p>
+
+<p>Pythagoras,
+<a href = "#note3_56">3, 56</a> (note).</p>
+
+<p>Pythagoreo,
+<a href = "#line6_11">6, 11</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_Q" id = "index_Q">Q.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>quaesieris,
+<a href = "#line4_25">4, 25</a>.</p>
+
+<p>quamvis,
+<a href = "#line5_70">5, 70</a>.</p>
+
+<p>quando,
+<a href = "#line1_46">1, 46</a>.</p>
+
+<span class = "pagenum left">226a</span>
+<p>quandoque = quandocumque,
+<a href = "#line4_28">4, 28</a>.</p>
+
+<p>Quartan ague,
+<a href = "#line3_91">3, 91</a>.</p>
+
+<p>quartus pater,
+<a href = "#line6_57">6, 57</a>.</p>
+
+<p>quatere manibus,
+<a href = "#line2_35">2, 35</a>.</p>
+
+<p>que-que,
+<a href = "#lineP_4">Prol., 4</a>.</p>
+
+<p>quid agis,
+<a href = "#line3_5">3, 5</a>.</p>
+
+<p>quidnam,
+<a href = "#line2_29">2, 29</a>.</p>
+
+<p>quin, w. indic.,
+<a href = "#line2_71">2, 71</a>;
+<a href = "#line4_14">4, 14</a>.</p>
+<p class = "indent">
+w. subjunct.,
+<a href = "#line1_84">1, 84</a>.</p>
+
+<p>quincunce modesto,
+<a href = "#line5_149">5, 149</a>.</p>
+</td>
+<td>
+
+<p>Quinti,
+<a href = "#line1_73">1, 73</a>.</p>
+
+<p>Quintus Ennius,
+<a href = "#lineP_1">Prol., 1</a>;
+<a href = "#line6_11">6, 11</a>.</p>
+
+<p>quippe,
+<a href = "#line1_88">1, 88</a>.</p>
+
+<p>Quiritem,
+<a href = "#line5_75">5, 75</a>.</p>
+
+<p>Quirites,
+<a href = "#line3_106">3, 106</a>;
+<a href = "#line4_8">4, 8</a>.</p>
+
+<p>quis = qui,
+<a href = "#line1_63">1, 63</a>.
+<a href = "#line1_68">68</a>.</p>
+<p class = "indent">
+= uter (?),
+<a href = "#line2_20">2, 20</a>.</p>
+
+<p>quisquam,
+<a href = "#line1_112">1, 112</a>;
+<a href = "#line5_83">5, 83</a>.
+<a href = "#line5_128">128</a>.</p>
+
+<p>quisque = quicumque,
+<a href = "#line5_73">5, 73</a>.</p>
+
+<p>quo with Inf.,
+<a href = "#line1_24">1, 24</a>.</p>
+
+<p>quod si,
+<a href = "#lineP_12">Prol., 12</a>.</p>
+
+<p>quorsum,
+<a href = "#line5_5">5, 5</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_R" id = "index_R">R.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>R for L by dissimilation,
+<a href = "#line1_72">1, 72</a>.</p>
+
+<p>rabiosa silentia,
+<a href = "#line3_81">3, 81</a>.</p>
+
+<p>radere,
+<a href = "#line1_107">1, 107</a>;
+<a href = "#line3_114">3, 114</a>;
+<a href = "#line5_15">5, 15</a>.</p>
+
+<p>raderet,
+<a href = "#line3_50">3, 50</a>.</p>
+
+<p>ramale,
+<a href = "#line1_97">1, 97</a>.</p>
+
+<p>ramalia,
+<a href = "#line5_59">5, 59</a>.</p>
+
+<p>ramos Samios,
+<a href = "#line3_56">3, 56</a>.</p>
+
+<p>ramosa compita,
+<a href = "#line5_35">5, 35</a>.</p>
+
+<p>ramum ducere,
+<a href = "#line3_28">3, 28</a>.</p>
+
+<p>rancidulum,
+<a href = "#line1_33">1, 33</a>.</p>
+
+<p>rapiant hunc,
+<a href = "#line2_38">2, 38</a>.</p>
+
+<p>rapias Aegaeum,
+<a href = "#line5_142">5, 142</a>.</p>
+
+<p>rapidae vitae,
+<a href = "#line5_94">5, 94</a>.</p>
+
+<p>rara avis,
+<a href = "#line1_46">1, 46</a>.</p>
+
+<p>rasis antithetis,
+<a href = "#line1_85">1, 85</a>.</p>
+
+<p>rasisse,
+<a href = "#line2_68">2, 68</a>.</p>
+
+<p>rastro,
+<a href = "#line2_11">2, 11</a>.</p>
+
+<p>ratio,
+<a href = "#line5_96">5, 96</a>.
+<a href = "#line5_119">119</a>.</p>
+
+<p>ratione,
+<a href = "#line3_36">3, 36</a>;
+<a href = "#line5_39">5, 39</a>.</p>
+
+<p>ratis,
+<a href = "#line6_31">6, 31</a>.</p>
+
+<p>rauco murmure,
+<a href = "#line5_11">5, 11</a>.</p>
+
+<p>recens piper,
+<a href = "#line5_136">5, 136</a>.</p>
+
+<p>recenti sole,
+<a href = "#line5_54">5, 54</a>.</p>
+<p class = "indent">
+toga,
+<a href = "#line1_15">1, 15</a>.</p>
+
+<p>receptare se,
+<a href = "#line6_8">6, 8</a>.</p>
+
+<p>recessus mentis,
+<a href = "#line2_73">2, 73</a>.</p>
+
+<span class = "pagenum left">226b</span>
+
+<p>recto talo,
+<a href = "#line5_104">5, 104</a>.</p>
+
+<p>rectum discernere,
+<a href = "#line4_11">4, 11</a>.</p>
+
+<p>recusem minui,
+<a href = "#line6_15">6, 15</a>.</p>
+
+<p>recutita sabbata,
+<a href = "#line5_184">5, 184</a>.</p>
+
+<p>redire in rugam,
+<a href = "#line6_79">6, 79</a>.</p>
+
+<p>reduco funem,
+<a href = "#line5_118">5, 118</a>.</p>
+
+<p>refulserit,
+<a href = "#lineP_12">Prol., 12</a>.</p>
+
+<p>regina,
+<a href = "#line2_37">2, 37</a>.</p>
+
+<p>regula,
+<a href = "#line4_12">4, 12</a>;
+<a href = "#line5_38">5, 38</a>.</p>
+
+<p>regum = procerum,
+<a href = "#line1_67">1, 67</a>;
+<a href = "#line3_17">3, 17</a>.</p>
+
+<p>regustatum salinum,
+<a href = "#line5_138">5, 138</a>.</p>
+
+<p>Relative w. subjunct.,
+<a href = "#line3_114">3, 114</a>.</p>
+
+<p>relaxat,
+<a href = "#line5_125">5, 125</a>.</p>
+
+<p>relego,
+<a href = "#line5_118">5, 118</a>.</p>
+
+<p>relicta (virtute),
+<a href = "#line3_38">3, 38</a>.</p>
+
+<p>relictam vitam,
+<a href = "#line5_61">5, 61</a>.</p>
+
+<p>rem populi,
+<a href = "#line4_1">4, 1</a>.</p>
+
+<p>remitto,
+<a href = "#lineP_5">Prol., 5</a>.</p>
+
+<p>Remus,
+<a href = "#line1_73">1, 73</a>.</p>
+</td>
+<td>
+
+<p>reparabilis,
+<a href = "#line1_102">1, 102</a>.</p>
+
+<p>repone,
+<a href = "#line6_66">6, 66</a>.</p>
+
+<p>requiescere,
+<a href = "#line3_90">3, 90</a>.</p>
+
+<p>rerum prudentia,
+<a href = "#line4_4">4, 4</a>.</p>
+
+<p>resignent,
+<a href = "#line5_28">5, 28</a>.</p>
+
+<p>respondere maligne,
+<a href = "#line3_22">3, 22</a>.</p>
+
+<p>respue,
+<a href = "#line4_51">4, 51</a>.</p>
+
+<p>restas,
+<a href = "#line3_97">3, 97</a>.</p>
+
+<p>retecti dentes,
+<a href = "#line3_101">3, 101</a>.</p>
+
+<p>revello,
+<a href = "#line5_92">5, 92</a>.</p>
+
+<p>rex,
+<a href = "#line2_37">2, 37</a>.</p>
+
+<p>Rhenos,
+<a href = "#line6_47">6, 47</a>.</p>
+
+<p>Rhetorical question, with -ne,
+<a href = "#line1_22">1, 22</a>.</p>
+
+<p>rhombos,
+<a href = "#line6_23">6, 23</a>.</p>
+
+<p>ridere crassum,
+<a href = "#line5_190">5, 190</a>.</p>
+<p class = "indent">
+meum,
+<a href = "#line1_122">1, 122</a>.</p>
+
+<p>rimas extendere,
+<a href = "#line3_2">3, 2</a>.</p>
+
+<p>rite salit,
+<a href = "#line3_111">3, 111</a>.</p>
+
+<p>ritu generis,
+<a href = "#line6_59">6, 59</a>.</p>
+
+<p>rixanti populo,
+<a href = "#line5_178">5, 178</a>.</p>
+
+<p>robusti carminis,
+<a href = "#line5_5">5, 5</a>.</p>
+
+<p>rodere casses,
+<a href = "#line5_170">5, 170</a>.</p>
+<p class = "indent">
+murmura,
+<a href = "#line3_81">3, 81</a>.</p>
+
+<p>Roma turbida,
+<a href = "#line1_5">1, 5</a>.</p>
+
+<p>Romule,
+<a href = "#line1_87">1, 87</a>.</p>
+
+<p>Romulidae,
+<a href = "#line1_31">1, 31</a>.</p>
+
+<p>rosa fiat,
+<a href = "#line2_38">2, 38</a>.</p>
+
+<p>rota acri,
+<a href = "#line3_24">3, 24</a>.</p>
+<p class = "indent">
+curras,
+<a href = "#line5_72">5, 72</a>.</p>
+
+<p>rubellum,
+<a href = "#line5_147">5, 147</a>.</p>
+
+<p>rubra solea,
+<a href = "#line5_169">5, 169</a>.</p>
+
+<span class = "pagenum">227a</span>
+<p>rubrica,
+<a href = "#line1_66">1, 66</a>;
+<a href = "#line5_90">5, 90</a>.</p>
+
+<p>rudere,
+<a href = "#line3_9">3, 9</a>.</p>
+
+<p>rudis Luciferi,
+<a href = "#line5_103">5, 103</a>.</p>
+
+<p>rugam, in r. redire,
+<a href = "#line6_79">6, 79</a>.</p>
+
+<p>rugosum piper,
+<a href = "#line5_55">5, 55</a>.</p>
+
+<p>rumore sinistro,
+<a href = "#line5_164">5, 164</a>.</p>
+
+<p>rumpere buccas,
+<a href = "#line5_13">5, 13</a>.</p>
+<p class = "indent">
+pulmonem,
+<a href = "#line3_27">3, 27</a>.</p>
+
+<p>runcare,
+<a href = "#line4_36">4, 36</a>.</p>
+
+<p>rus saturum,
+<a href = "#line1_71">1, 71</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_S" id = "index_S">S.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>sabbata recutita,
+<a href = "#line5_184">5, 184</a>.</p>
+
+<p>Sabino foco,
+<a href = "#line6_1">6, 1</a>.</p>
+
+<p>sacerdos,
+<a href = "#line5_186">5, 186</a>.</p>
+
+<p>sacras facies,
+<a href = "#line2_55">2, 55</a>.</p>
+
+<p>sacrum piper,
+<a href = "#line6_21">6, 21</a>.</p>
+
+<p>salinum purum,
+<a href = "#line3_25">3, 25</a>.</p>
+<p class = "indent">
+terebrare,
+<a href = "#line5_138">5, 138</a>.</p>
+
+<p>salit cor,
+<a href = "#line3_111">3, 111</a>.</p>
+
+<p>saliva summa,
+<a href = "#line1_104">1, 104</a>.</p>
+
+<p>salivam Mercurialem,
+<a href = "#line5_112">5, 112</a>.</p>
+<p class = "indent">
+turdarum,
+<a href = "#line6_24">6, 24</a>.</p>
+
+<p>salivis lustralibus,
+<a href = "#line2_33">2, 33</a>.</p>
+
+<p>salutas,
+<a href = "#line3_29">3, 29</a>.</p>
+
+<p>sambucam,
+<a href = "#line5_95">5, 95</a>.</p>
+
+<p>Samios ramos,
+<a href = "#line3_56">3, 56</a>.</p>
+
+<p>sancte,
+<a href = "#line2_15">2, 15</a>.</p>
+
+<p>sancto, in s.,
+<a href = "#line2_69">2, 69</a>.</p>
+
+<p>sanctos recessus,
+<a href = "#line2_73">2, 73</a>.</p>
+
+<p>sanguis fervescit,
+<a href = "#line3_116">3, 116</a>.</p>
+<p class = "indent">
+patricius,
+<a href = "#line1_61">1, 61</a>.</p>
+
+<p>sanna rugosa,
+<a href = "#line5_91">5, 91</a>.</p>
+
+<p>sannae posticae,
+<a href = "#line1_62">1, 62</a>.</p>
+
+<p>saperdam,
+<a href = "#line5_134">5, 134</a>.</p>
+
+<p>sapere deterius,
+<a href = "#line4_21">4, 21</a>.</p>
+<p class = "indent">
+hoc,
+<a href = "#line6_38">6, 38</a>.</p>
+
+<p>sapiens porticus,
+<a href = "#line3_53">3, 53</a>.</p>
+
+<p>sapimus patruos,
+<a href = "#line1_11">1, 11</a>.</p>
+
+<p>sapit,
+<a href = "#line1_106">1, 106</a>.</p>
+
+<p>sardonyche,
+<a href = "#line1_16">1, 16</a>.</p>
+
+<p>sartago,
+<a href = "#line1_80">1, 80</a>.</p>
+
+<p><span class = "greek" title = "sarx">σάρξ</span>,
+<a href = "#line2_63">2, 63</a>.</p>
+
+<p>satur,
+<a href = "#line5_56">5, 56</a>;
+<a href = "#line6_71">6, 71</a>.</p>
+
+<p>saturi,
+<a href = "#line1_31">1, 31</a>.</p>
+
+<p>Saturnia aera,
+<a href = "#line2_59">2, 59</a>.</p>
+
+<p>Saturnum gravem,
+<a href = "#line5_50">5, 50</a>.</p>
+
+<p>saturum,
+<a href = "#line1_71">1, 71</a>.</p>
+
+<p>satyrum,
+<a href = "#line5_123">5, 123</a>.</p>
+
+<p>saxa,
+<a href = "#line6_27">6, 27</a>.</p>
+
+<span class = "pagenum left">227b</span>
+
+<p>scabiosum far,
+<a href = "#line5_74">5, 74</a>.</p>
+
+<p>scabiosus,
+<a href = "#line2_13">2, 13</a>.</p>
+
+<p>scalpuntur,
+<a href = "#line1_21">1, 21</a>.</p>
+
+<p>scelerata pulpa,
+<a href = "#line2_63">2, 63</a>.</p>
+
+<p>scilicet,
+<a href = "#line1_15">1, 15</a>;
+<a href = "#line2_19">2, 19</a>;
+<a href = "#line4_4">4, 4</a>.</p>
+
+<p>scinderis,
+<a href = "#line5_154">5, 154</a>.</p>
+
+<p>scintillant oculi,
+<a href = "#line3_117">3, 117</a>.</p>
+
+<p>scire tuum,
+<a href = "#line1_27">1, 27</a>.</p>
+
+<p>scis,
+<a href = "#line1_53">1, 53</a>;
+<a href = "#line4_10">4, 10</a>.</p>
+
+<p>scloppo,
+<a href = "#line5_13">5, 13</a>.</p>
+
+<p>scombros,
+<a href = "#line1_42">1, 42</a>.</p>
+
+<p>scopuli,
+<a href = "#line6_8">6, 8</a>.</p>
+
+<p>scribimus inclusi,
+<a href = "#line1_13">1, 13</a>.</p>
+
+<p>scrobe,
+<a href = "#line1_119">1, 119</a>.</p>
+
+<p>scutica,
+<a href = "#line5_131">5, 131</a>.</p>
+
+<p>secretam aurem,
+<a href = "#line5_96">5, 96</a>.</p>
+
+<p>secreti loquimur,
+<a href = "#line5_21">5, 21</a>.</p>
+
+<p>sectabere,
+<a href = "#line5_71">5, 71</a>.</p>
+
+<p>secto pulvere,
+<a href = "#line1_131">1, 131</a>.</p>
+
+<p>secuit urbem,
+<a href = "#line1_114">1, 114</a>.</p>
+
+<p>secundo axe,
+<a href = "#line5_72">5, 72</a>.</p>
+
+<p>secura patella,
+<a href = "#line3_26">3, 26</a>.</p>
+
+<p>securus vulgi,
+<a href = "#line6_12">6, 12</a>.</p>
+
+<p>sede celsa,
+<a href = "#line1_17">1, 17</a>.</p>
+
+<p>seductior,
+<a href = "#line6_42">6, 42</a>.</p>
+
+<p>seductis divis,
+<a href = "#line2_4">2, 4</a>.</p>
+
+<p>seductum,
+<a href = "#line5_143">5, 143</a>.</p>
+
+<p>semipaganus,
+<a href = "#lineP_6">Prol., 6</a>.</p>
+
+<p>semuncia recti,
+<a href = "#line5_121">5, 121</a>.</p>
+
+<p>sene praegrandi,
+<a href = "#line1_124">1, 124</a>.</p>
+
+<p>senes,
+<a href = "#line6_6">6, 6</a>.</p>
+
+<p>sēnio dexter,
+<a href = "#line3_48">3, 48</a>.</p>
+
+<p>senio minui,
+<a href = "#line6_16">6, 16</a>.</p>
+
+<p>senium,
+<a href = "#line1_26">1, 26</a>.</p>
+
+<p>sepeli = sepelii,
+<a href = "#line3_97">3, 97</a>.</p>
+
+<p>sepia nigra,
+<a href = "#line3_13">3, 13</a>.</p>
+
+<p>sequaces,
+<a href = "#lineP_6">Prol., 6</a>.</p>
+
+<p>Sequence of Tenses,
+<a href = "#line1_4">1, 4</a>;
+<a href = "#line5_107">5, 107</a>.</p>
+
+<p>sequi = sectari,
+<a href = "#lineP_11">Prol., 11</a>;
+<a href = "#line5_14">5, 14</a>.</p>
+
+<p>seria argenti,
+<a href = "#line2_11">2, 11</a>.</p>
+
+<p>seria laxamus,
+<a href = "#line5_44">5, 44</a>.</p>
+
+<p>seriolae,
+<a href = "#line4_29">4, 29</a>.</p>
+
+<p>Serpent worship,
+<a href = "#line1_113">1, 113</a>.</p>
+
+<p>servas vulpem,
+<a href = "#line5_117">5, 117</a>.</p>
+
+<p>servitium acre,
+<a href = "#line5_127">5, 127</a>.</p>
+
+<p>sesquipede,
+<a href = "#line1_57">1, 57</a>.</p>
+
+<p>sessilis obba,
+<a href = "#line5_148">5, 148</a>.</p>
+
+<p>severos unguis,
+<a href = "#line1_64">1, 64</a>.</p>
+
+<p>si = <span class = "greek" title = "eige">εἴγε</span>,
+<a href = "#line5_173">5, 173</a>.</p>
+
+<p>sic,
+<a href = "#lineP_3">Prol., 3</a>.</p>
+
+<span class = "pagenum left">228a</span>
+<p>siccas messes,
+<a href = "#line3_5">3, 5</a>.</p>
+
+<p>siccis cognatis,
+<a href = "#line5_163">5, 163</a>.</p>
+
+<p>Siculi iuvenci,
+<a href = "#line3_39">3, 39</a>.</p>
+
+<p>sidere, ab uno s. duci,
+<a href = "#line5_46">5, 46</a>.</p>
+
+<p>signum lagoenae,
+<a href = "#line6_17">6, 17</a>.</p>
+
+<p>silentia fecisse,
+<a href = "#line4_7">4, 7</a>.</p>
+<p class = "indent">
+rodere,
+<a href = "#line3_81">3, 81</a>.</p>
+
+<p>siliquis pasta,
+<a href = "#line3_55">3, 55</a>.</p>
+</td>
+<td>
+
+<p>simpuvia,
+<a href = "#note2_59">2, 59</a> (note).</p>
+
+<p>sin,
+<a href = "#line5_115">5, 115</a>.</p>
+
+<p>sinciput,
+<a href = "#line6_70">6, 70</a>.</p>
+
+<p>singultiet,
+<a href = "#line6_72">6, 72</a>.</p>
+
+<p>sinistro genio,
+<a href = "#line4_27">4, 27</a>.</p>
+<p class = "indent">
+rumore,
+<a href = "#line5_164">5, 164</a>.</p>
+
+<p>sinu Socratico,
+<a href = "#line5_37">5, 37</a>.</p>
+
+<p>sinuoso pectore,
+<a href = "#line5_27">5, 27</a>.</p>
+
+<p>sis = sivis,
+<a href = "#line1_108">1, 108</a>.</p>
+
+<p>sistro,
+<a href = "#line5_186">5, 186</a>.</p>
+
+<p>sitiente camelo,
+<a href = "#line5_136">5, 136</a>.</p>
+<p class = "indent">
+lagoena,
+<a href = "#line3_92">3, 92</a>.</p>
+
+<p>sive = vel si,
+<a href = "#line1_67">1, 67</a>.</p>
+
+<p>Socrates,
+<a href = "#note4_1">4, 1</a> (note).</p>
+
+<p>Socratico sinu,
+<a href = "#line5_37">5, 37</a>.</p>
+
+<p>sodes,
+<a href = "#line3_89">3, 89</a>.</p>
+
+<p>sole assiduo,
+<a href = "#line4_18">4, 18</a>.</p>
+<p class = "indent">
+recenti,
+<a href = "#line5_54">5, 54</a>.</p>
+
+<p>solea rubra,
+<a href = "#line5_169">5, 169</a>.</p>
+
+<p>soles longos,
+<a href = "#line5_41">5, 41</a>.</p>
+
+<p>solidum crepet,
+<a href = "#line5_25">5, 25</a>.</p>
+
+<p>sollers,
+<a href = "#line5_142">5, 142</a>.</p>
+<p class = "indent">
+fallere,
+<a href = "#line5_37">5, 37</a>.</p>
+<p class = "indent">
+nosse,
+<a href = "#line6_24">6, 24</a>.</p>
+
+<p>Solones,
+<a href = "#line3_79">3, 79</a>.</p>
+
+<p>somniasse,
+<a href = "#lineP_2">Prol., 2</a>.</p>
+
+<p>somno inriguo,
+<a href = "#line5_56">5, 56</a>.</p>
+
+<p>sonare vitium,
+<a href = "#line3_21">3, 21</a>.</p>
+
+<p>sorbere melior,
+<a href = "#line4_16">4, 16</a>.</p>
+
+<p>sorbet,
+<a href = "#line4_32">4, 32</a>.</p>
+
+<p>sorbitio,
+<a href = "#line4_2">4, 2</a>.</p>
+
+<p>sordidus,
+<a href = "#line1_128">1, 128</a>.</p>
+
+<p><span class = "greek" title = "sôritês">σωρίτης</span>,
+<a href = "#line6_80">6, 80</a>.</p>
+
+<p>sparsisse oculos,
+<a href = "#line5_33">5, 33</a>.</p>
+
+<p>speciem veri,
+<a href = "#line5_105">5, 105</a>.</p>
+
+<p>species hominum,
+<a href = "#line5_52">5, 52</a>.</p>
+
+<p>spirare surdum,
+<a href = "#line6_35">6, 35</a>.</p>
+
+<p>Spleen, the seat of laughter,
+<a href = "#line1_12">1, 12</a>.</p>
+
+<p>splene petulanti,
+<a href = "#line1_12">1, 12</a>.</p>
+
+<p>spondente,
+<a href = "#line5_79">5, 79</a>.</p>
+
+<p>spumosum,
+<a href = "#line1_96">1, 96</a>.</p>
+
+<p>Staienus,
+<a href = "#note2_19">2, 19</a> (note).</p>
+
+<span class = "pagenum">228b</span>
+
+<p>Staius,
+<a href = "#line2_19">2, 19</a>.
+<a href = "#line2_22">22</a>.</p>
+
+<p>stare contra,
+<a href = "#line5_96">5, 96</a>.</p>
+
+<p>Steelyard,
+<a href = "#line5_100">5, 100</a>.</p>
+
+<p>stemmate Tusco,
+<a href = "#line3_28">3, 28</a>.</p>
+
+<p>steriles veri,
+<a href = "#line5_75">5, 75</a>.</p>
+
+<p>stertimus,
+<a href = "#line3_3">3, 3</a>.</p>
+
+<p>stertis,
+<a href = "#line3_58">3, 58</a>.</p>
+
+<p>Stoic catechism,
+<a href = "#line3_67">3, 67</a>;
+<a href = "#line5_104">5, 104</a>.</p>
+
+<p>stolidam barbam,
+<a href = "#line2_28">2, 28</a>.</p>
+
+<p>strepitum marem,
+<a href = "#line6_4">6, 4</a>.</p>
+
+<p>strigiles,
+<a href = "#line5_126">5, 126</a>.
+<a href = "#line5_131">131</a>.</p>
+
+<p>stingere venas,
+<a href = "#line2_66">2, 66</a>.</p>
+
+<p>struere rem,
+<a href = "#line2_44">2, 44</a>.</p>
+
+<p>studere (absol.),
+<a href = "#line3_9">3, 9</a>.</p>
+
+<p>stupet vitio,
+<a href = "#line3_32">3, 32</a>.</p>
+
+<p>stuppas,
+<a href = "#line5_135">5, 135</a>.</p>
+
+<p>subaerato auro,
+<a href = "#line5_106">5, 106</a>.</p>
+
+<p>subdite rebus,
+<a href = "#line5_124">5, 124</a>.</p>
+
+<p>subduximus,
+<a href = "#line1_95">1, 95</a>.</p>
+
+<p>subeas dominos,
+<a href = "#line5_155">5, 155</a>.</p>
+
+<p>subere,
+<a href = "#line1_97">1, 97</a>.</p>
+
+<p>subiere,
+<a href = "#line3_106">3, 106</a>.</p>
+
+<p>subiīt,
+<a href = "#line2_55">2, 55</a>.</p>
+
+<p>subit inter curva rectum,
+<a href = "#line4_11">4, 11</a>.</p>
+<p class = "indent">
+tremor,
+<a href = "#line3_110">3, 110</a>.</p>
+
+<p>subrisit molle,
+<a href = "#line3_110">3, 110</a>.</p>
+
+<p>subsellia,
+<a href = "#line1_82">1, 82</a>.</p>
+
+<p>Subura,
+<a href = "#line5_32">5, 32</a>.</p>
+
+<p>succinctis Laribus,
+<a href = "#line5_31">5, 31</a>.</p>
+
+<p>succinctus,
+<a href = "#line5_140">5, 140</a>.</p>
+
+<p>succinis ambages,
+<a href = "#line3_20">3, 20</a>.</p>
+
+<p>sudans pater,
+<a href = "#line3_47">3, 47</a>.</p>
+
+<p>sudare deunces,
+<a href = "#line5_150">5, 150</a>.</p>
+
+<p>sudes,
+<a href = "#line2_53">2, 53</a>.</p>
+
+<p>suffla,
+<a href = "#line4_20">4, 20</a>.</p>
+
+<p>sulco terens,
+<a href = "#line1_73">1, 73</a>.</p>
+
+<p>sulpure sacro,
+<a href = "#line2_25">2, 25</a>.</p>
+
+<p>sulpureas mefites,
+<a href = "#line3_99">3, 99</a>.</p>
+
+<p>sumen calidum,
+<a href = "#line1_53">1, 53</a>.</p>
+
+<p>summa boni,
+<a href = "#line4_17">4, 17</a>.</p>
+
+<p>summae dest aliquid,
+<a href = "#line6_64">6, 64</a>.</p>
+
+<p>summos pedes,
+<a href = "#line3_108">3, 108</a>.</p>
+
+<p>supellex,
+<a href = "#line4_52">4, 52</a>.</p>
+
+<p>superbo vitulo,
+<a href = "#line1_100">1, 100</a>.</p>
+
+<p>supinus,
+<a href = "#line1_129">1, 129</a>.</p>
+
+<p>supplantat,
+<a href = "#line1_35">1, 35</a>.</p>
+
+<p>supposita face,
+<a href = "#line3_116">3, 116</a>.</p>
+
+<p>supposui,
+<a href = "#line5_36">5, 36</a>.</p>
+
+<p>surda vota,
+<a href = "#line6_28">6, 28</a>.</p>
+
+<p>surdum spirare,
+<a href = "#line6_35">6, 35</a>.</p>
+
+<span class = "pagenum">229a</span>
+<p>surgentem callem,
+<a href = "#line3_57">3, 57</a>.</p>
+
+<p>surgit pellis,
+<a href = "#line3_95">3, 95</a>.</p>
+
+<p>Surrentina,
+<a href = "#line3_93">3, 93</a>.</p>
+
+<p>suscipis,
+<a href = "#line5_36">5, 36</a>.</p>
+
+<p>suspendere lance,
+<a href = "#line4_10">4, 10</a>.</p>
+<p class = "indent">
+naso,
+<a href = "#line1_118">1, 118</a>.</p>
+<p class = "indent">
+tempora,
+<a href = "#line5_47">5, 47</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_T" id = "index_T">T.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>tabellas adsigna,
+<a href = "#line5_81">5, 81</a>.</p>
+
+<p>tabula caerulea,
+<a href = "#line6_33">6, 33</a>.</p>
+
+<p>Tadius,
+<a href = "#line6_66">6, 66</a>.</p>
+
+<p>tali (game),
+<a href = "#note3_48">3, 48</a> (note).</p>
+
+<p>talo recto,
+<a href = "#line5_104">5, 104</a>.</p>
+
+<p>tandem,
+<a href = "#line1_16">1, 16</a>;
+<a href = "#line3_103">3, 103</a>.</p>
+
+<p>tange venas,
+<a href = "#line3_107">3, 107</a>.</p>
+
+<p>tantae quantum,
+<a href = "#line1_60">1, 60</a>.</p>
+
+<p>tectoria linguae,
+<a href = "#line5_25">5, 25</a>.</p>
+
+<p>temone,
+<a href = "#line5_70">5, 70</a>.</p>
+
+<p>temperat,
+<a href = "#line5_51">5, 51</a>.</p>
+
+<p>tempore, vivis ex t.,
+<a href = "#line3_62">3, 62</a>.</p>
+
+<p>temptemus fauces,
+<a href = "#line3_113">3, 113</a>.</p>
+
+<p>tenax veri,
+<a href = "#line5_48">5, 48</a>.</p>
+
+<p>tendere versum,
+<a href = "#line1_65">1, 65</a>.</p>
+
+<p>teneat actus,
+<a href = "#line5_99">5, 99</a>.</p>
+
+<p>tenero columbo,
+<a href = "#line3_16">3, 16</a>.</p>
+<p class = "indent">
+palato,
+<a href = "#line1_35">1, 35</a>.</p>
+
+<p>tenuia (trisyllab.),
+<a href = "#line5_94">5, 94</a>.</p>
+
+<p>tenuis salivas,
+<a href = "#line6_24">6, 24</a>.</p>
+
+<p>tenus,
+<a href = "#line6_25">6, 25</a>.</p>
+
+<p>tepidum,
+<a href = "#line1_84">1, 84</a>.</p>
+
+<p>terebrare salinum,
+<a href = "#line5_138">5, 138</a>.</p>
+
+<p>terens sulco,
+<a href = "#line1_73">1, 73</a>.</p>
+
+<p>teres ore,
+<a href = "#line5_15">5, 15</a>.</p>
+
+<p>terrae filius,
+<a href = "#line6_59">6, 59</a>.</p>
+<p class = "indent">
+progenies,
+<a href = "#line6_57">6, 57</a>.</p>
+
+<p>tertia nox,
+<a href = "#line3_91">3, 91</a>.</p>
+
+<p>tesserula,
+<a href = "#line5_74">5, 74</a>.</p>
+
+<p>testaque lutoque,
+<a href = "#line3_61">3, 61</a>.</p>
+
+<p>testiculi,
+<a href = "#line1_103">1, 103</a>.</p>
+
+<p>tetigisse signum,
+<a href = "#line6_17">6, 17</a>.</p>
+
+<p>tetrico pectine,
+<a href = "#line6_2">6, 2</a>.</p>
+
+<p>theta nigrum,
+<a href = "#line4_13">4, 13</a>.</p>
+
+<p>Thyestae olla,
+<a href = "#line5_8">5, 8</a>.</p>
+
+<p>thynni cauda,
+<a href = "#line5_183">5, 183</a>.</p>
+
+<p>Tiberino in gurgite,
+<a href = "#line2_15">2, 15</a>.</p>
+
+<p>timor albus,
+<a href = "#line3_115">3, 115</a>.</p>
+
+<p>tincta veneno,
+<a href = "#line3_37">3, 37</a>.</p>
+
+<p>tinniat mendosum,
+<a href = "#line5_106">5, 106</a>.</p>
+
+<p>Titos ingentis,
+<a href = "#line1_20">1, 20</a>.</p>
+
+<span class = "pagenum left">229b</span>
+
+<p>toga recenti,
+<a href = "#line1_15">1, 15</a>.</p>
+
+<p>togae verba,
+<a href = "#line5_14">5, 14</a>.</p>
+
+<p>tollat munera cerdo,
+<a href = "#line4_51">4, 51</a>.</p>
+
+<p>tolle piper,
+<a href = "#line5_136">5, 136</a>.</p>
+<p class = "indent">
+ut volo,
+<a href = "#line5_87">5, 87</a>.</p>
+
+<p>tollere susurros,
+<a href = "#line2_7">2, 7</a>.</p>
+
+<p>tollit = sustulit,
+<a href = "#line4_2">4, 2</a>.</p>
+
+<p>torosa iuventus,
+<a href = "#line3_86">3, 86</a>.</p>
+
+<p>torquere buxum,
+<a href = "#line3_51">3, 51</a>.</p>
+
+<p>torva cornua,
+<a href = "#line1_99">1, 99</a>.</p>
+</td>
+<td>
+
+<p>trabe fracta,
+<a href = "#line1_89">1, 89</a>.</p>
+<p class = "indent">
+rupta,
+<a href = "#line6_27">6, 27</a>.</p>
+<p class = "indent">
+vasta,
+<a href = "#line5_141">5, 141</a>.</p>
+
+<p>trabeate,
+<a href = "#line3_29">3, 29</a>.</p>
+
+<p>tragoedo maesto,
+<a href = "#line5_3">5, 3</a>.</p>
+
+<p>traham voce,
+<a href = "#line5_28">5, 28</a>.</p>
+
+<p>Trajection,
+<a href = "#line1_23">1, 23</a>;
+<a href = "#line6_13">6, 13</a>.</p>
+
+<p>trama figurae,
+<a href = "#line6_73">6, 73</a>.</p>
+
+<p>transcendere nummum,
+<a href = "#line5_111">5, 111</a>.</p>
+
+<p>transilias mare,
+<a href = "#line5_146">5, 146</a>.</p>
+
+<p>transisse,
+<a href = "#line5_60">5, 60</a>.</p>
+
+<p>transtro,
+<a href = "#line5_147">5, 147</a>.</p>
+
+<p>transvectio,
+<a href = "#note3_29">3, 29</a> (note).</p>
+
+<p>tremor subit,
+<a href = "#line3_100">3, 100</a>.</p>
+
+<p>tremulos cachinnos,
+<a href = "#line3_87">3, 87</a>.</p>
+
+<p>trepida,
+<a href = "#line1_74">1, 74</a>.</p>
+
+<p>trepidare,
+<a href = "#line1_20">1, 20</a>;
+<a href = "#line5_170">5, 170</a>.</p>
+
+<p>trepidas mentes,
+<a href = "#line5_35">5, 35</a>.</p>
+
+<p>trepidat,
+<a href = "#line3_88">3, 88</a>.</p>
+
+<p>tressis agaso,
+<a href = "#line5_76">5, 76</a>.</p>
+
+<p>triental calidum,
+<a href = "#line3_100">3, 100</a>.</p>
+
+<p>triplex,
+<a href = "#line6_78">6, 78</a>.</p>
+
+<p>triste bidental,
+<a href = "#line2_27">2, 27</a>.</p>
+
+<p>trita lacerna,
+<a href = "#line1_54">1, 54</a>.</p>
+
+<p>tritavus,
+<a href = "#note6_57">6, 57</a> (note).</p>
+
+<p>Troiades,
+<a href = "#line1_4">1, 4</a>.</p>
+
+<p>trossulus,
+<a href = "#line1_82">1, 82</a>.</p>
+
+<p>trutina,
+<a href = "#line1_5">1, 5</a>.</p>
+
+<p>trutinari verba,
+<a href = "#line3_82">3, 82</a>.</p>
+
+<p>tuba,
+<a href = "#line3_103">3, 103</a>.</p>
+
+<p>tucceta crassa,
+<a href = "#line2_42">2, 42</a>.</p>
+
+<p>tumebit cutis,
+<a href = "#line3_63">3, 63</a>.</p>
+
+<p>tumet bile,
+<a href = "#line2_14">2, 14</a>.</p>
+<p class = "indent">
+fidelia,
+<a href = "#line5_183">5, 183</a>.</p>
+
+<p>tunicatum caepe,
+<a href = "#line4_30">4, 30</a>.</p>
+
+<p>turbida Roma,
+<a href = "#line1_5">1, 5</a>.</p>
+
+<p>turbinis momento,
+<a href = "#line5_78">5, 78</a>.</p>
+
+<p>turdarum salivas,
+<a href = "#line6_24">6, 24</a>.</p>
+
+<p>ture litabis,
+<a href = "#line5_120">5, 120</a>.</p>
+
+<p>turgescat pagina,
+<a href = "#line5_20">5, 20</a>.</p>
+
+<span class = "pagenum">230a</span>
+<p>turgescere somno,
+<a href = "#line5_56">5, 56</a>.</p>
+
+<p>turgescit bilis,
+<a href = "#line3_8">3, 8</a>.</p>
+
+<p>turgidus,
+<a href = "#line3_98">3, 98</a>.</p>
+
+<p>tus,
+<a href = "#line5_135">5, 135</a>.</p>
+
+<p>Tusco stemmate,
+<a href = "#line3_22">3, 22</a>.</p>
+
+<p>Tuscum fictile,
+<a href = "#line2_60">2, 60</a>.</p>
+
+<p>tutor,
+<a href = "#line3_96">3, 96</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_U" id = "index_U">U.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>uda labella,
+<a href = "#line2_32">2, 32</a>.</p>
+
+<p>udas fores,
+<a href = "#line5_165">5, 165</a>.</p>
+
+<p>udo, in udo esse,
+<a href = "#line1_105">1, 105</a>.</p>
+
+<p>ulcus putre,
+<a href = "#line3_113">3, 113</a>.</p>
+
+<p>ulterior cinere,
+<a href = "#line6_41">6, 41</a>.</p>
+
+<p>ultra,
+<a href = "#line3_15">3, 15</a>.</p>
+
+<p>umbo candidus,
+<a href = "#line5_33">5, 33</a>.</p>
+
+<p>umbra quinta,
+<a href = "#line3_4">3, 4</a>.</p>
+
+<p>Umbris pinguibus,
+<a href = "#line3_74">3, 74</a>.</p>
+
+<p>uncta fenestra,
+<a href = "#line5_180">5, 180</a>.</p>
+<p class = "indent">
+patella,
+<a href = "#line4_17">4, 17</a>.</p>
+<p class = "indent">
+pulmentaria,
+<a href = "#line3_102">3, 102</a>.</p>
+
+<p>uncto, sine uncto cenare,
+<a href = "#line6_16">6, 16</a>.</p>
+
+<p>unctus,
+<a href = "#line4_33">4, 33</a>.</p>
+
+<p>uncus,
+<a href = "#note5_154">5, 154</a> (note).</p>
+</td>
+<td>
+
+<p>unde,
+<a href = "#line1_73">1, 73</a>.</p>
+
+<p>undique,
+<a href = "#line3_59">3, 59</a>.</p>
+
+<p>ungue caules,
+<a href = "#line6_68">6, 68</a>.</p>
+
+<p>unguine crasso,
+<a href = "#line6_40">6, 40</a>.</p>
+
+<p>unguis severos,
+<a href = "#line1_65">1, 65</a>.</p>
+
+<p>unum opus,
+<a href = "#line5_43">5, 43</a>.</p>
+
+<p><span class = "greek" title = "hupadein">ὑπᾴδειν</span>,
+<a href = "#line3_20">3, 20</a>.</p>
+
+<p><span class = "greek" title = "huposkelizein">ὑποσκελίζειν</span>,
+<a href = "#line1_35">1, 35</a>.</p>
+
+<p><span class = "greek" title = "hupochalkos">ὑπόχαλκος</span>,
+<a href = "#line5_106">5, 106</a>.</p>
+
+<p>urentis oculos,
+<a href = "#line2_34">2, 34</a>.</p>
+
+<p>urnas Vestalis,
+<a href = "#line2_60">2, 60</a>.</p>
+
+<p>urtica,
+<a href = "#line6_70">6, 70</a>.</p>
+
+<p>usque adeo,
+<a href = "#line1_26">1, 26</a>.</p>
+
+<p>usum vitae,
+<a href = "#line5_94">5, 94</a>.</p>
+
+<p>usus rerum,
+<a href = "#line5_52">5, 52</a>.</p>
+
+<p>ut omitted,
+<a href = "#line1_56">1, 56</a>.</p>
+
+<p>uxor proxima,
+<a href = "#line3_43">3, 43</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_V" id = "index_V">V.</a>
+</td>
+</tr>
+<tr>
+<td>
+
+<p>vafer,
+<a href = "#line1_116">1, 116</a>.
+<a href = "#line1_132">132</a>;
+<a href = "#line6_20">6, 20</a>.</p>
+
+<p>vago inguine,
+<a href = "#line6_72">6, 72</a>.</p>
+
+<p>vallis = sinus,
+<a href = "#line6_8">6, 8</a>.</p>
+
+<p>vanescere,
+<a href = "#line3_13">3, 13</a>.</p>
+
+<p>vapida lagoena, 6,17.</p>
+<p class = "indent">
+pice,
+<a href = "#line5_148">5, 148</a>.</p>
+
+<p>vapido pectore,
+<a href = "#line5_117">5, 117</a>.</p>
+
+<span class = "pagenum left">230b</span>
+
+<p>vaporata aure,
+<a href = "#line1_126">1, 126</a>.</p>
+
+<p>vappa,
+<a href = "#line5_77">5, 77</a>.</p>
+
+<p>varicosos centuriones,
+<a href = "#line5_189">5, 189</a>.</p>
+
+<p>varo (baro),
+<a href = "#line5_138">5, 138</a>.</p>
+
+<p>varo genio,
+<a href = "#line6_18">6, 18</a>.</p>
+<p class = "indent">
+pede,
+<a href = "#line4_12">4, 12</a>.</p>
+
+<p>vatibus,
+<a href = "#line5_1">5, 1</a>.</p>
+
+<p>vatum,
+<a href = "#lineP_7">Prol., 7</a>.</p>
+
+<p>ve-,
+<a href = "#line1_97">1, 97</a>.</p>
+
+<p>ve or vel redundant (?),
+<a href = "#line3_29">3, 29</a>.</p>
+
+<p>vegrandi,
+<a href = "#line1_97">1, 97</a>.</p>
+
+<p>Veientanum rubellum,
+<a href = "#line5_147">5, 147</a>.</p>
+
+<p>vel duo, vel nemo,
+<a href = "#line1_3">1, 3</a>.</p>
+
+<p>Velina,
+<a href = "#line5_73">5, 73</a>.</p>
+
+<p>velle suum,
+<a href = "#line5_53">5, 53</a>.</p>
+<p class = "indent">
+with perf. inf.,
+<a href = "#line1_41">1, 41</a>.
+<a href = "#line1_91">91</a>.</p>
+
+<p>vellere barbam,
+<a href = "#line1_133">1, 133</a>;
+<a href = "#line2_28">2, 28</a>.</p>
+
+<p>vellus Calabrum,
+<a href = "#line2_65">2, 65</a>.</p>
+
+<p>velox,
+<a href = "#line4_4">4, 4</a>.</p>
+
+<p>vena singultiet,
+<a href = "#line6_72">6, 72</a>.</p>
+<p class = "indent">
+testiculi,
+<a href = "#line1_103">1, 103</a>.</p>
+
+<p>venas conpositas,
+<a href = "#line3_91">3, 91</a>.</p>
+<p class = "indent">
+stringere,
+<a href = "#line2_66">2, 66</a>.</p>
+<p class = "indent">
+tangere,
+<a href = "#line3_107">3, 107</a>.</p>
+
+<p>vendo = vendito,
+<a href = "#line1_122">1, 122</a>.</p>
+
+<p>veneno ferventi,
+<a href = "#line3_37">3, 37</a>.</p>
+
+<p>Veneri donatae pupae,
+<a href = "#line2_70">2, 70</a>.</p>
+
+<p>venire with the dative,
+<a href = "#line6_39">6, 39</a>.</p>
+
+<p>venosus,
+<a href = "#line1_76">1, 76</a>.</p>
+
+<p>venter,
+<a href = "#lineP_11">Prol., 11</a>;
+<a href = "#line3_98">3, 98</a>.</p>
+
+<p>ventis rumpere,
+<a href = "#line3_27">3, 27</a>.</p>
+
+<p>ventos premere,
+<a href = "#line5_11">5, 11</a>.</p>
+
+<p>veratro,
+<a href = "#line1_51">1, 51</a>.</p>
+
+<p>verba dare,
+<a href = "#line3_19">3, 19</a>;
+<a href = "#line4_45">4, 45</a>.</p>
+<p class = "indent">
+togae,
+<a href = "#line5_14">5, 14</a>.</p>
+
+<p>verecunda mensa,
+<a href = "#line5_44">5, 44</a>.</p>
+
+<p>veri speciem,
+<a href = "#line5_105">5, 105</a>.</p>
+
+<p>vernae discincto,
+<a href = "#line4_22">4, 22</a>.</p>
+
+<p>verrucosa,
+<a href = "#line1_77">1, 77</a>.</p>
+
+<p>versum cludere,
+<a href = "#line1_93">1, 93</a>.</p>
+<p class = "indent">
+tendere,
+<a href = "#line1_65">1, 65</a>.</p>
+
+<p>verte aliquid,
+<a href = "#line5_137">5, 137</a>.</p>
+
+<p>verterit,
+<a href = "#line5_78">5, 78</a>.</p>
+
+<p>vertigo,
+<a href = "#line5_76">5, 76</a>.</p>
+
+<p>verumne,
+<a href = "#line3_7">3, 7</a>.</p>
+
+<p>Vestalis urnas,
+<a href = "#line2_60">2, 60</a>.</p>
+</td>
+<td>
+
+<p>vetare superos,
+<a href = "#line2_43">2, 43</a>.</p>
+
+<p>vetavit,
+<a href = "#line5_90">5, 90</a>.</p>
+
+<p>veteres avias,
+<a href = "#line5_92">5, 92</a>.</p>
+
+<p>vetitos actus,
+<a href = "#line5_99">5, 99</a>.</p>
+
+<span class = "pagenum">231a</span>
+<p>veto faxit,
+<a href = "#line1_112">1, 112</a>.</p>
+
+<p>Vettidius,
+<a href = "#line4_25">4, 25</a>.</p>
+
+<p>vetule,
+<a href = "#line1_22">1, 22</a>.</p>
+
+<p>viatica,
+<a href = "#line5_65">5, 65</a>.</p>
+
+<p>vibice,
+<a href = "#line4_49">4, 49</a>.</p>
+
+<p>vicinia,
+<a href = "#line4_46">4, 46</a>.</p>
+
+<p>vidĕ,
+<a href = "#line1_108">1, 108</a>.</p>
+
+<p>vigila,
+<a href = "#line5_177">5, 177</a>.</p>
+
+<p>vin and vis,
+<a href = "#line1_56">1, 56</a>;
+<a href = "#line6_63">6, 63</a>.</p>
+
+<p>vinci laborat,
+<a href = "#line5_39">5, 39</a>.</p>
+
+<p>vindicta,
+<a href = "#line5_88">5, 88</a>.
+<a href = "#line5_125">125</a>.</p>
+
+<p>violae,
+<a href = "#line1_40">1, 40</a>.</p>
+
+<p>violas,
+<a href = "#line5_182">5, 182</a>.</p>
+
+<p>Virbi clivus,
+<a href = "#line5_56">5, 56</a>.</p>
+
+<p>viridi limo,
+<a href = "#line3_22">3, 22</a>.</p>
+
+<p>vis dicam,
+<a href = "#line1_56">1, 56</a>.</p>
+
+<p>visceratio,
+<a href = "#note6_50">6, 50</a> (note).</p>
+
+<p>vitae rapidae,
+<a href = "#line5_94">5, 94</a>.</p>
+
+<p>vitiabit agendo,
+<a href = "#line5_97">5, 97</a>.</p>
+
+<p>vitiarunt pultes,
+<a href = "#line6_40">6, 40</a>.</p>
+
+<p>vitiato murice,
+<a href = "#line2_65">2, 65</a>.</p>
+
+<p>vitio praefigere theta,
+<a href = "#line2_68">2, 68</a>.</p>
+<p class = "indent">
+stupet,
+<a href = "#line3_32">3, 32</a>.</p>
+<p class = "indent">
+utitur,
+<a href = "#line2_68">2, 68</a>.</p>
+
+<span class = "pagenum">231b</span>
+
+<p>vitium sonare,
+<a href = "#line3_21">3, 21</a>.</p>
+
+<p>vitrea bilis,
+<a href = "#line3_8">3, 8</a>.</p>
+
+<p>vitulo superbo,
+<a href = "#line1_100">1, 100</a>.</p>
+
+<p>vivere nostrum,
+<a href = "#line1_9">1, 9</a>.</p>
+
+<p>vivitur,
+<a href = "#line4_43">4, 43</a>;
+<a href = "#line5_53">5, 53</a>.</p>
+
+<p>vivo caespite,
+<a href = "#line6_31">6, 31</a>.</p>
+
+<p>vivunt chordae,
+<a href = "#line6_2">6, 2</a>.</p>
+
+<p>vixisse,
+<a href = "#line4_17">4, 17</a>.</p>
+
+<p>Vocative in the predicate,
+<a href = "#line1_123">1, 123</a>;
+<a href = "#line3_28">3, 28</a>.</p>
+
+<p>voce pura,
+<a href = "#line5_28">5, 28</a>.</p>
+
+<p>voces centum,
+<a href = "#line5_1">5, 1</a>.</p>
+
+<p>vomere nebulam,
+<a href = "#line5_181">5, 181</a>.</p>
+
+<p>voti modicus,
+<a href = "#line5_109">5, 109</a>.</p>
+
+<p>voto aperto,
+<a href = "#line2_7">2, 7</a>.</p>
+<p class = "indent">
+in voto esse,
+<a href = "#line3_49">3, 49</a>.</p>
+
+<p>vulnera Parthi,
+<a href = "#line5_4">5, 4</a>.</p>
+
+<p>vulnus caecum,
+<a href = "#line4_44">4, 44</a>.</p>
+
+<p>vulpem astutam,
+<a href = "#line5_117">5, 117</a>.</p>
+
+<p>vulvae patriciae,
+<a href = "#line6_73">6, 73</a>.</p>
+
+<p>vulvas marcentis,
+<a href = "#line4_36">4, 36</a>.</p>
+
+</td>
+</tr>
+<tr>
+<td class = "letterhead" colspan = "2">
+<a name = "index_Z" id = "index_Z">Z.</a>
+</td>
+</tr>
+<tr>
+<td colspan = "2">
+
+<p>Zeugma,
+<a href = "#line3_75">3, 75</a>;
+<a href = "#line5_114">5, 114</a>.
+<a href = "#line5_185">185</a>.</p>
+</td>
+</tr>
+
+</table>
+
+</div>
+
+<h3 class = "chapter">THE END.</h3>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Satires of A. Persius Flaccus, by 
+A. Persius Flaccus (AKA Persius)
+
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diff --git a/LICENSE.txt b/LICENSE.txt
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@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
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@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #22119 (https://www.gutenberg.org/ebooks/22119)
author	Roger Frank <rfrank@pglaf.org>	2025-10-15 01:47:13 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-15 01:47:13 -0700
commit	f02ca936240d3c88c1be3937419994344de8a321 (patch)
tree	9bfdac0a89dfbf73ed5616947ef830fa9c4bc220