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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—in +particular, +if the diacritic does not appear directly above the +letter—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> </p> + +<h6>OF</h6> + +<p> </p> + +<h1>A. PERSIUS FLACCUS</h1> + +<p> <br> </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> <br> </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> <br> </p> + +<h5>NEW YORK:</h5> + +<h5>HARPER & 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 & 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 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 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 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—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—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—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.</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 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.</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—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 +<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. 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.</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—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—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 +<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. 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 <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—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—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 <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—A.D. 62—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 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 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. Nisard, who, at the close of his flippant but suggestive chapter +on Persius, asks the question, <i>Y 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. 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.</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—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 +<i>comoedia prisca</i> 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 <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—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 +<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—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—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 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.</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—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, +<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 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.</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 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 +<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—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.</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 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 +<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—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’—if we may borrow the <i>déesse entretenue</i> of Heinrich +Heine.</p> + +<p>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 +<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. 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—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 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—<i>qui s’évertue +comme un écolier qui sort de classe</i>—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. 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 +<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—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—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 +<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 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.</p> + +<p>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 +<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—especially the First and +Fourth—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—generally a multiple of 5—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>—? a, si +fas dicere—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—‘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 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 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 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—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—minimum est quod scire laboro—</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—‘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 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”—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—</p> +<p><a name = "line3_26" id = "line3_26"> </a> +quid metuas?—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 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 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 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. Vitellio coss. decessit VIII kalendas | Decembris P. 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>—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 (<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—the great master +Belly—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—<i>Ille ego</i>—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—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, <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>, 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], 6), and dreamed that he had +seen his great original on Parnassus (<span class = +"smallcaps">Cic.</span>, Ac. Pr., 2, 16, 51).—<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.)—<b>prolui</b>: ‘drenched’ is designedly misused. The figure +is <i>Litotes</i>. (G., 448, R. 2.) The greater the depression, the +greater the rebound. <i>Non prolui labra</i> = <i>ne primoribus quidem +labris attigi</i>. —<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. = +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., 5), or because of the two tall +cliffs (<span class = "smallcaps">Ov.</span>, Met., 1, 316; 2, +221)—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)—between which the +Castalian spring takes its rise.—<b>somniasse</b>: sc. <i>me +somniasse</i> (G., 527, R. 2; M., 401). With <i>memini</i> the +Pres. Inf. is more common of Personal Recollection (G., 277, 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. 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.’—<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., 1). Hermann prefers the epic +form, <i>Heliconiadas</i>.—<b>-que</b>—<b>-que</b>: G., 478; +A., 43, 2, <i>a.</i>—<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>.—<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.—<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. 6. +The ivy, being sacred to Bacchus, formed the wreath of victors in scenic +contests; thence transferred to poets generally.—<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.’—<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 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.’—<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.’—<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, 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>).—<b>artifex sequi:</b> poetic +syntax for <i>a. sequendi</i>. G., 424, R. 4. (comp. 429, R. 4); +A., 57, 8, <i>f</i>, 3. A 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>.—<b>sequi</b> = +<i>sectari</i>.—<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.—<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.—<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’—whereas it lay +unnoticed before.—<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, 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>—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—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 (<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—what glory! (<a href = "#line1_24">24-30</a>). 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! (<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 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—verses without flaw or break, faultless +machine-verses—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 fine <i>olla podrida</i>—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—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 P. (Persius) and +M. (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>).—‘Vanity of vanities!’</p> + +<p>M.—Who will read this stuff of yours?</p> + +<p>P. (<i>wakes up</i>).—Do you mean that for me? Why, no one, of +course.</p> + +<p>M.—No one?</p> + +<p>P.—Next to no one.</p> + +<p>M.—A lame and impotent conclusion!</p> + +<p>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.</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’—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, 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, R.). The sequence is not common in the +classic period, but see G., 512, 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>.—<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—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, 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.—<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.—<b>non accedas—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. 1; +A., 41, 2, <i>e</i>. Comp. <a href = "#line3_73">3, 73</a> and +<a href = "#line5_45">5, 45</a>.—<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.—<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.—<b>trutina</b>: (Gr. <span +class = "greek" title = "trutanê">τρυτάνη</span>, a 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.—<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 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., 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.’—<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—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— 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—aspexi:</b> <i>Cum</i> is equivalent to <i>postquam</i> +here. G., 567; A., 62, 3, <i>e</i>.—<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.—<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. 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.—<b>sed:</b> (I know +you want me to do nothing), ‘but’ (I can’t keep quiet) ‘I am a +laugher born.’—<b>petulante:</b> literally, ‘given to butting,’ +hence ‘saucy’—<b>splene:</b> The seat of +laughter.—<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—ignoscite, +nolo; quid faciam sed sum petulante splene—cachinno</i>, +‘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 <i>tunc, +tunc—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.—<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!—<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>.—<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.—<b>animae praelargus:</b> a stretch of the adjectives of +fulness (G., 373, R. 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!’—<b>haec:</b> The +position is emphatic.—<b>populo:</b> ‘to the public,’ ‘in public.’ +The political force of <i>populus</i> has ceased.—<b>pexus:</b> +‘with hair and beard well dress’d.’ ‘Combed’ hardly conveys the notion: +say ‘shampooed.’—<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—<b>tandem:</b> shows impatience.—<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>.—<b>leges:</b> So Jahn +(1868), despite the MSS. <i>Legens</i> may be explained at a pinch as +<i>lecturus</i>, a 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.—<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>.—<b>plasmate</b>: according to <span class += "smallcaps">Quint.</span>, 1, 8, 2, a technical name for the +professional training of the voice, a 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.’—<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, 2: Go hang yourself, you naughty, mocking +uncle! You bring me to <i>do</i>, and then you flout me +too.—<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. 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. 1, K. 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.—<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, 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, 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.—<b>vetule:</b> ‘you old reprobate,’ ‘you old +sinner.’—<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.—<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.—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.</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, <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.—<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.—<b>o mores:</b> <span class = "smallcaps">Cicero’s</span> +famous ejaculation.—<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 L. Müller (fr. inc., 40, 73): <i>ne dampnum faciam, +scire hoc sibi nesciat is me</i>. A 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>.—<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.—<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.—<b>dicier:</b> On the form, see G., 191, 2; A., 30, 6, +<i>e</i>, 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, 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.—<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.’—<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>.—<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 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.’—<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 L. Müller’s note.—<b>locutus:</b> Perf. Part. where +we should expect a Present. G., 278, 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., 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., 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.—<b>supplantat:</b> <span class = "greek" title = +"huposkelizei">ὑποσκελίζει</span> (<span class = +"smallcaps">Lucil.</span>, 29, 50, L. 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—a kind of lolling +utterance.—<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.’—<b>non-?—non-?</b> On the form of the +question, see G., 455; A., 71, 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·).—<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.—<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. 3), without any definite +reference.—<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>.—<b>velle meruisse:</b> See G., +275, 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>.—<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. 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, 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 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. 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—no, not 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>.—<b>si forte quid aptius exit:</b> ‘if I +chance to turn out (off) a 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. 5), or ‘to leave the potter’s +wheel,’ as <i>urceus exit</i>, <span class = "smallcaps">Hor.</span>, +A. 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>.—<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. 1; +M., 376, Obs.—<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>.—<b>fibra:</b> ‘heart.’ See <a href = +"#note5_29">5, 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>—<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, 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., <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>’?—<b>non</b> = <i>nonne</i>. G., 445 +and R.; A., 71, 1.—<b>Atti:</b> See <a href = "#note1_4">v. +4</a>.—<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 strong emetic, which students took ‘to quicken their wits.’ The +modern <i>veratrum</i> is a different drug.—<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>.—<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.’—<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.—<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 traditional distinction.—<b>calidum:</b> ‘hot-and-hot’ +(Pretor).—<b>ponere:</b> 1. ‘serve up;’ 2. ‘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.—<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.—<b>vis dicam:</b> G., 546, R. 3; A., 70, +3, <i>f</i>, R. <i>Vis</i> does not wait for an answer. See <a href += "#note6_63">6, 63</a>.—<b>nugaris:</b> ‘you are a twaddler’ +(Conington).—<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>—<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. 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.—<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, 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.—<b>imitari mobilis</b> = <i>ad +imitandum m.</i> G., 424, R. 4; A., 57, 8, +<i>f.</i>—<b>albas:</b> on account of the white lining. <span +class = "smallcaps">Ov.</span>, Met., 11, 176: <i>aures—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.—<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.—<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. P., 291: <i>vos, o</i> | <i>Pompilius sanguis</i>. The Nom. for +the Vocative in solemn address. G., 194, R. 3; A., 53, +<i>a.</i>—<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>.—<b>posticae:</b> chiefly of the back part +of a building: ‘back-stairs’ (Conington).—<b>occurrite:</b> ‘turn +round and face’ (Conington and Pretor).—<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—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?’</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>—<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.—<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 harsh +expression.—<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. 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>.—<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.’—<b>ac si +derigat:</b> On the sequence, see G., 604; A., 61, 1, 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>.—<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, 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. Q., 4, 13, 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.—<b>sensus:</b> +‘sentiments.’—<b>adferre:</b> ‘parade,’ ‘bring on parade.’ On the +Inf., see <a href = "#note3_64">3, 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 phase of +fashionable education, no more peculiar to Nero than to <span class = +"smallcaps">Horace</span> (Sat. 1, 10, 31).—<b>ponere lucum:</b> +‘put before our eyes,’ ‘paint,’ ‘describe.’ <i>Lucus</i>, +a favorite poetic theme. Jahn thinks of the grove in which Mars and +Rhea Silvia met, <span class = "smallcaps">Juv.</span>, 1, 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>.—<b>rus +saturum:</b> ‘lush, teeming +country.’—<b>corbes—focus—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.—<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.—<b>sulco:</b> ‘<i>with</i>’ +and ‘<i>in</i> the furrow.’ See Prol., v., 1.—<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.—<b>dentalia:</b> +‘share-beams,’ <span class = "smallcaps">Verg.</span>, Georg., 1, 171, +with Conington’s note.—<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. 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.—<b>trepida:</b> +‘flurried.’ See <a href = "#note1_20">v. 20</a>.—<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.—<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.—<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 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.—<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.’—<b>liber:</b> of +a play, <span class = "smallcaps">Quint.</span>, 1, 10, 18; <span class += "smallcaps">Prop.</span>, 4 (3), 21, 28 (Jahn).—<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>.—<b>verrucosa:</b> +‘warty,’ intended to be a climax of ugliness.—<b>moretur:</b> +‘fascinates,’ ‘enthralls.’ <i>Fabula—valdius oblectat populum +meliusque <span class = "gesperrt">moratur</span></i>, <span class = +"smallcaps">Hor.</span>, A. 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>).—<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, 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.—<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>.—<b>exsultat:</b> <span class = "greek" title = +"anapêda">ἀναπηδᾷ</span>, ‘jumps up in delight.’—<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.—<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.’—<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.—<b>cano:</b> See note on <a href = +"#note1_9">v. 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>—<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.—<b>ait:</b> Comp. <a href = "#line1_40">v. +40</a>.—<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.—<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 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.’—<b>posuisse</b> = +<i>quod posuerit</i>. G., 533; A., 70, 5, <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?’—<b>Romule:</b> bitter, like +<i>Titi</i>, <i>Romulidae</i>, <i>trossulus</i>. Comp. <span class = +"smallcaps">Catull.</span>, 29, 5. 9.—<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. P., 102. <i>Moveat</i> sc. +<i>Pedius</i>.—<b>quippe:</b> is often ironical, ‘good +sooth.’—<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?’—<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. 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.—<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.—<b>volet:</b> Observe the +greater exactness of the Latin expression. G., 624; A., 27, +2.—<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. 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!’—‘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—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>.—<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.’—<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>.—<b>Berecyntius +Attis:</b> It suffices to refer to <span class = +"smallcaps">Catull.</span>, 63. Berecyntus, a 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, 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—<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—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.—<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. 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. H., 16, 8, 13: <i>suberi <span class = +"gesperrt">minima arbor</span>—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. 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>.—<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.’—<b>laxa cervice:</b> the attitude of the +<i>mobile guttur</i>, <a href = "#line1_18">v. 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.—<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).—<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.—<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.—<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.—<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>.—<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>—<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—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.—<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.—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 <span class = +"smallcaps">Lucilius</span>—he wielded the lash, he gnawed the +bones of his victims. There was <span class = +"smallcaps">Horace</span>—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!</p> + +<p><a class = "line" name = "note1_107" id = "note1_107" href = +"#line1_107">107.</a> +<b>quid:</b> What case?—<b>radere:</b> ‘rasp.’—<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. 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, 2; A., 78, 2, <i>d</i>.—<b>sis</b> = <i>si vis</i>, to +soften the Imperative, ‘pray do.’—<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.’—<b>canina littera:</b> +‘R is for the dog,’ <span class = "smallcaps">Shaksp.</span>, Romeo +and Jul.; ‘A dog snarling 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 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.—<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 would not have you +doubt.’—<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>.—<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>.—<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.’—<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. 2; A., 57, 7, <i>a</i>. <i>Faxit</i>, a disputed form. G., +191, 5; A., 30, 6, <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.’—<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 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> L. Cornelius Lentulus Lupus Cons. A.U.C. 598, +and P. Mucius Scaevola Cons. A.U.C. 621, <span class = +"smallcaps">Juv.</span>, 1, 154.—<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>.—<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 hoodwinker, a trickster, a cheat, a designing +rascal, a cunning fox, a blackleg, <i>a sly dog</i>.’ The +indirectness of <i>vafer</i> may sometimes be rendered by ‘politic,’ +‘adroit.’ ‘Rogue’ is a tolerable equivalent.—<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).—<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 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, 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 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>.—<b>callidus suspendere:</b> On the +construction, see <a href = "#noteP_11">Prol., +11</a>.—<b>naso:</b> <i>Naso <span class = +"gesperrt">suspendis</span> adunco</i>, <span class = +"smallcaps">Hor.</span>, Sat., 1, 6, 5. Comp. 2, 8, 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>.—<b>nec clam</b>— +<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—nec</i>, G., 444, R. Others supply <i>fas</i>, G., +446, R.—<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.’—<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>.—<b>nulla:</b> G., 304, R. 2.—<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.—<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.—<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. 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>.—<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.—<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—but see L. Müller, <i>Lucilius</i>, p. +288.—<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>.—<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. 1; A., +48, 5), ‘by the study of these,’ dependent on +<i>vaporata</i>.—<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.—<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.—<b>in crepidas:</b> The simple Accusative with +<i>ludere</i> is the regular construction. <i>Crepidae</i>, a 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.—<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.—<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— and a man to—.’ 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.—<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.—<b>Italo:</b> +‘provincial.’—<b>supinus</b> = +<span class = "pagenum">103</span> +<i>superbus</i>. The head is thrown back with the chin in the air, +a 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.—<b>heminas iniquas:</b> +‘short half-pint measures.’ This was the duty of the +aedile.—<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. D., 2, 18, +48), familiar from the story of the murder of +Archimedes.—<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>.—<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>.—<b>vafer:</b> ironical.—<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.—<b>nonaria:</b> so called because women of +that class were not allowed to ply their trade before the ‘ninth +hour’—‘callet,’ ‘trull.’—<b>vellat:</b> because dependent; +otherwise <i>gaudet si vellit</i>. G., 666; A., 66, 2. The Cynic +philosopher and the <i>nonaria</i> (ὁ <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, 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.—<b>prandia:</b> See <a href = "#note1_67">v. +67</a>.—<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, 4. +With this gracious permission, Casaubon compares the edict of <span +class = "smallcaps">Hor.</span>, Ep., 1, 19, 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>—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 (<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—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—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 <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.—<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).—<b>meliore:</b> sc. <i>solito</i>. +G., 312, 2; A., 17, 5.—<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. 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.—<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.—<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 <i>larva</i>, or a <i>lemur</i>. Departed +<i>genii</i> were called <i>manes</i>—‘good +fellows’—doubtless with a view to propitiation.—<b>non +tu:</b> Comp. <a href = "#line1_45">1, 45</a>.—<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>.—<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>—<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.—<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.—<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).—<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. 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., 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, 3; Neue, <i>Formenl.</i>, 2, +339).—<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.—<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.’—<b>expungam:</b> ‘get him out’ (of his place in the +will).—<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.’—<b>scabiosus:</b> ‘scrofulous.’—<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.—<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>—progressive bookishness, of which +there are several examples. Comp. Pedius, 1, 85; Craterus, 3, 65; +Bestius, 6, 37.—<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. 1; A., 51, +4, <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. 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.—<b>flumine:</b> 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. <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.—<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.—<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>—<b>vis:</b> Comp. <a href = "#line1_56">1, +56</a>.—<b>Staio:</b> Staius can not be +identified—<i>homuncio nobis ignotus</i> (König)—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.—<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, 1; Fam., 7, 3, 1; <span +class = "smallcaps">Caes.</span>, 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.</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 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.—<b>clamet:</b> <i>Dic—clamet = si +dicas—clamet.</i> G., 594. 4; A., 60, 1, <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—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>.—<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>.—<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.—<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. P., 471.</p> + +<p><a class = "line" name = "note2_28" id = "note2_28" href = +"#line2_28">28.</a> +<b>idcirco:</b> Emphatic resumption.—<b>vellere</b> = +<i>vellendam</i>. G., 424, R. 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, R.; A., 71, +2.—<b>quidnam est, qua mercede</b> = <i>quanam mercede</i>; +unusual. Not dissimilar, <span class = "smallcaps">Caes.</span>, +B. 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.—<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.’—<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’).—<b>metuens divum:</b> <span class = "greek" title = +"deisidaimôn">δεισιδαίμων</span>. G., 374, R. 1; A., 50, 3, +<i>b.</i>—<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.—<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.—<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.—<b>ante:</b> adverbial, ‘first of +all.’—<b>salivis:</b> Spittle has manifold medical and magical +virtues among all nationalities. Comp. <span class = +"smallcaps">Plin.</span>, H. 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).—<b>urentis:</b> ‘blasting,’ ‘withering,’ <span class += "greek" title = "marainontas">μαραίνοντας</span>.—<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.—<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.—<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.’—<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>.—<b>Crassi:</b> a still more +familiar synonym for wealth, <span class = "smallcaps">Cic.</span>, +Att., 1, 4, 3. The two combined in <span class = +"smallcaps">Sen.</span>, Ep., 119, 9: <i>Quorum nomina cum <span +class = "gesperrt">Crasso Licinoque</span> +numerantur</i>.—<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. 1; A., 49, 1, +<i>d.</i>—<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.—<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 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.—<b>nutrici:</b> +<i>Quid voveat dulci <span class = "gesperrt">nutricula</span> maius +alumno</i>, <span class = "smallcaps">Hor.</span>, Ep., 1, 4, 8. +With the sentiment of the passage Casaubon comp. <span class = +"smallcaps">Sen.</span>, Ep., 60, 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. 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.’—<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).—<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>.—<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.’—<b>his</b> = <i>his +precibus, votis</i>.—<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>.—<b>caeso bove:</b> An +expensive sacrifice. Comp. Gr. <span class = "greek" title = +"bouthutein">βουθυτεῖν</span>.—<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.—<b>fibra:</b> See +<a href = "#note2_26">v. 26</a>.—<b>da fortunare</b> = <i>ut +fortunent</i>.—<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).—<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 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, 5). I 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.—<b>suspiret:</b> See G., 574, 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—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 +(<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. 2). See <span class = "smallcaps">Hor.</span>, Od., 3, +18, 7: Sat., 2, 4, 80. Comp. also <i>statera</i> and +<i>panthera</i>. G. Meyer (<i>Beitrage zur Stammbildung</i> in +Curtius, <i>Studien</i>, 5, 72) questions the Accus. +origin.—<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, 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>.—<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).—<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.—<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.—<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.—<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, 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, 5).—<b>subiīt:</b> On the quantity of the +final syllable, see G., 705, Exc. 4; A., 84, <i>g</i>, +5.—<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.—<b>fratres aenos:</b> +‘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, <span class = "smallcaps">Prop.</span>, 2, +31, 1 seqq.; <span class = "smallcaps">Ov.</span>, Trist., 3, 1, 59 +seqq. (Scholiast). 3. 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. 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>.—<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.—<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.—<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. Martha +of Bossuet.—<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.—<b>caelestium +inanes:</b> On the Gen., see G., 373, R. 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>.—<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.’—<b>ducere:</b> ‘infer.’—<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. 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>.—<b>sibi:</b> ‘to suit its +taste.’—<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.—<b>coxit:</b> +here in a bad sense, as we often use ‘cook,’ +‘doctor.’—<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.—<b>rasisse:</b> Perf., +like the Greek Aor. Inf. See <a href = "#note1_42">1, 42</a>.</p> + +<p><a class = "line" name = "note2_67" id = "note2_67" href = +"#line2_67">67.</a> +<b>massae:</b> ‘ore.’—<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.’—<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, 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>.—<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. Valerius Messalla Corvinus. See <span class = +"smallcaps">Tac.</span>, Ann., 6, 7. He was a notorious debauchee +in the reign of Tiberius.—<b>lippa:</b> alludes to the effect of +his excesses. Comp. <a href = "#line5_77">5, 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).—<b>ius fasque:</b> ‘duty to God and man’ +(Conington).—<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.’—<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, 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.—<b>admovere:</b> a +sacrificial word.—<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>—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 +(<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 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 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 (<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 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?’ (<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—<i>chimaera bombinans in vacuo</i>—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 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 (<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—<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—the +<i>inscitia debilis</i> of <a href = "#line3_99">v. 99</a>—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 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’—a clear imitation of +<span class = "smallcaps">Hor.</span>, 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: <span class = +"smallcaps">Farquhar</span>, Beaux’ Stratagem, 2, 2: ‘<i>And</i> +was she the daughter of the house?’ <span class = +"smallcaps">Cibber</span>, The Provoked Wife, 5, 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.—<b>mane:</b> Substantive, the Abl. of which, <i>mane</i> +(<i>mani</i>), is in more common use as an +Adverb.—<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 familiar +optical effect.—<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.—<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>.—<b>quod sufficiat:</b> ‘what ought +to be enough.’ G., 633; A., 65, 2.—<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.—<b>dum:</b> +‘while,’ ‘whereas,’ ‘and yet.’ Comp. G., 572, R.; A., 72, 1, +<i>c</i>.—<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, 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.—<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 criticism which applies to a very large +proportion of Conington’s picturesque versions. <i>Coquere</i> is the +regular word for ‘ripen’—Gr. <span class = "greek" title = +"pessô">πέσσω</span>—<span class = "smallcaps">Varro</span>, +R. R., 1, 7, 4; 54, 1. Tr. ‘is ripening hard’ (in the broiling +sun).—<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.—<b>nemon?</b> on the +rhetorical <i>-ne</i>, see <a href = "#note1_22">1, +22</a>.—<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>.—<b>Arcadiae pecuria:</b> The asses of Arcady were +famous in antiquity.—<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).—<b>bicolor:</b> 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).—<b>capillis:</b> is commonly taken +for <i>pilis</i>, a 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>.—<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>.—<b>hucine rerum:</b> +<i>Hucine</i> is archaic and colloquial. On <i>rerum</i>, see G., 371, +R. 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.—<b>regum +pueris:</b> ‘aristocratic babies,’ ‘babies of quality’ (Conington). +<i>Regum</i> as in <a href = "#line1_67">1, +67</a>.—<b>pappare:</b> (<i>papare</i>, Jahn, 1843) Infin. for +Substantive, ‘pap.’ Such Infinitives are hardly parallel with <i>vivere +triste</i> (1, 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, 5. The Scholiast calls <i>pappare</i> and +<i>lullare</i> ‘<i>voces mutilas</i>.’—<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.’—<b>mammae:</b> exactly our ‘mammy;’ +depends on <i>lallare</i>, not on <i>iratus</i>.—<b>lallare:</b> +like <i>pappare</i>, ‘lullaby.’ ‘Pettishly refusing to let mammy sing +you to sleep’ (Conington)—‘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, 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.—<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.’—<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.—<b>tibi luditur:</b> +<i>Tua res agitur</i>, ‘it is your game,’ ‘your stake,’ ‘your +affair.’—<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, 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>.—<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>.—<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.—<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 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.’—<b>rure +paterno:</b> G., 412, R. 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.—<b>salinum—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.—<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.’—<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 dish for fireside service.’—<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?—<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.—<b>ventis:</b> ‘with airs’ (Pretor). See +<a href = "#note4_20">4, 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. 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).—<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, 1; Sat., 1, 6, +1; <span class = "smallcaps">Prop.</span>, 4, 9, 1. Your +aristocratic philosopher can afford to be disdainful of birth. +A 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.—<b>ramum</b> = +<i>lineam</i>.—<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—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).—<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.’—<b>intus et in cute:</b> ‘inside and out;’ a rough +equivalent. <i>In cute</i> (Gr. <span class = "greek" title = "en chrô">ἐν χρᾦ</span>) means ‘closely’ (‘to a dot, a 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.—<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.’—<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.’—<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—<span class = "greek" title += "ho mêden eidôs ouden examartanei">ὁ μηδὲν εἰδὼς οὐδὲν +ἐξαμαρτάνει</span>—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.—<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—solent, sic attenuatus amore</i> | +<i>liquitur</i>.—<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>.—<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.—<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. l. Laquearibus</i>, ‘sunken +panels (<i>lacus</i>) between the cross-beams of the ceiling.’ See <span +class = "smallcaps">Verg.</span>, Aen., 1, 726.—<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.—<b>dicat:</b> The subject is loosely +involved.—<b>intus</b> | <b> palleat:</b> This ‘not very +intelligible expression’ (Conington) is paralleled by <span class = +"smallcaps">Shaksp.</span>, Macb., 2, 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. 1; A., 52, 1, +<i>a</i>.—<b>proxima uxor:</b> ‘the wife at his side,’ ‘the wife +of his bosom.’—<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 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.—<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.’—<b>nollem:</b> Iterative conditional. G., 569, R. 2; +A., 59, 5, <i>b</i>.—<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, 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.—<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>.—<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>.—<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.’—<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 3; A., 43, 3, <i>d</i>.—<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. 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, 4. +Fr. <i>à la fossette</i>. Comp. <span class = +"smallcaps">Rabelais</span>, 1, 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. 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>—<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>’—<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>.—<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.—<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.—<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. D., 2, 18, +48.—<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 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).—<b>quibus:</b> Neuter. <i>Quibus et = et quibus.</i> +Trajection, G., 693.—<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.—<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>.—<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 Greek, not a Roman dish +(<span class = "smallcaps">Plin.</span>, H. 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.’—<b>diduxit:</b> as +demanded by the sense against the MSS., which have +<i>deduxit</i>.—<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.—<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.).—<b>undique:</b> ‘from all points of the compass’ +(Conington), ‘an intentional exaggeration for <i>utraque +parte</i>.’—<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. 1; A., 65, 2, <i>a</i>.—<b>quo</b> += <i>in quod</i>. Schlüter combines with <i>tendis +arcum</i>.—<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. N., 25, 5, 22. It was the great +‘purger of melancholy.’—<b>cutis aegra tumebit:</b> Comp. <a href += "#line3_95">vv. 95, 98</a>.—<b>venienti occurrite morbo:</b> +Every one will remember the well-worn Ovidian <i>Principiis obsta</i>, +R. 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. 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>.—<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.—<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.—<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, 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. 1; A., 67, 2, +<i>d</i>.—<b>quidnam</b> = <i>quam vitam</i>. G., 331, R. 2; +A., 52, 3, <i>a</i>, N.—<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.’—<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>.—<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.—<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—metae</i>. <i>Mollis</i>, ‘gradual,’ ‘easy.’ So +<span class = "smallcaps">Caes.</span>, B. 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.—<b>quid fas optare:</b> the argument of the Second +Satire.—<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. 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. Anton.</span>, 11, 13).—<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>.—<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.—<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—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. 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. N., +12, 7, 4; 16, 32, 59) (Meister). <i>Pernae</i>, a 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>.—<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).—<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. 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. 1. +<i>Gente</i>, ‘tribe,’ ‘crew.’—<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>.—<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.—<b>non ego:</b> +‘no—not I.’ See <a href = "#note1_45">1, +45</a>.—<b>curo:</b> ‘care,’ i.e., ‘want.’ See <a href = +"#note2_18">2, 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.—<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.—<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>.—<b>rabiosa:</b> ‘Mad dogs do not +bark.’—<b>silentia:</b> Poetic Plural; very +common.—<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 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 <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. P., 7. As usual, <span class = +"smallcaps">Persius</span> exaggerates, and makes the sick man +(<i>aegroti</i>) a 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.—<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. 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?’—<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>.—<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>.—<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.’—‘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.</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 medical term. Comp. <span class = +"smallcaps">Plaut.</span>, Pers., 2, 5, 15.—<b>nescio quid:</b> +G., 469, R. 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.’—<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>—’</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.—<b>gravis:</b> ‘foul.’ So +<span class = "smallcaps">Ov.</span>, A. A., 3, 277: <i><span class += "gesperrt">gravis</span> oris +<span class = "pagenum">138</span> +odor</i>.—<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.’—<b>postquam vidit:</b> with a +causal shade. See <a href = "#note5_88">5, 88</a>; 6,10, and G., 567; +A., 62, 2, <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>.—<b>modice sitiente lagoena:</b> 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, <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. N., 14, 6, 8; 23, 1, +20.—<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.—<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.’—<b>tacite:</b> +‘insensibly’ (Conington).—<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.—<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 rare +contraction.—<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>.—<b>hic:</b> ‘our man.’—<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.—<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.—<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. 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.—<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.—<b>cadunt</b> = <i>vomuntur</i>, but there is a certain +helplessness in <i>cadunt</i>.—<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.’—<b>tuba:</b> Trumpets announced the +death, and trumpets were sounded at the funeral. See <span class = +"smallcaps">Hor.</span>, Sat., 1, 6, 42.—<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.—<b>tandem:</b> ‘After all +the preliminary performances’ (Macleane).—<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.’—<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>.—<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. 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).—<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.—<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>.—<b>miser:</b> Comp. <a href = +"#line3_15">v. 15</a>. ‘You’re another!’ ‘Poor creature yourself’ +(Conington).—<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 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, 47</a>.</p> + +<p><a class = "line" name = "note3_111" id = "note3_111" href = +"#line3_111">111.</a> +<b>rite:</b> ‘regularly.’—<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).—<b>populi</b> (= <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, 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, R. Comp. <a href = +"#line1_14">1, 14</a>. <i>Haud deceat</i>, ‘it won’t do,’ ‘it won’t +answer.’—<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> +—<b>aristas</b> = <i>pilos</i>. Jahn refers to <span class = +"smallcaps">Varro</span>, L. L., 6, 49.—<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>—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, 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>.—<b>tractas?</b> On the +form of the question, see G., 455; A., 71, 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.—<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—magistros</i>.—<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. M., 78, 25.—<b>tollit</b> = +<i>sustulit</i>. A 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>.—<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., 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.’—<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>.—<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.—<b>venit:</b> On the number, see G., 281, +Exc. 2; A., 49, 1, <i>b.</i>—<b>dicenda tacendaque:</b> Comp. +<span class = "smallcaps">Hor.</span>, Ep., 1, 7, 72—<i>dicenda +tacenda locutus</i>—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, 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.’—<b>fecisse:</b> Comp. <a href = "#line1_91">1, +91</a>.—<b>silentia:</b> Comp. <a href = +"#line3_81">3, 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. 2), ‘by +the imposing action of your hand’ (Conington).—<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.’—<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.—<b>gemina lance</b> = +<i>geminis lancibus</i>. Comp. <span class = "smallcaps">Ov.</span>, +A. 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.’—<b>rectum discernis:</b> ‘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 +<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>.—<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>.—<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>.—<b>igitur:</b> +‘If all this is so, why then—.’ Comp. the indignant <i>igitur</i> +(<span class = "greek" title = "eita">εἶτα</span>) of <a href = +"#line1_98">1, 98</a>.—<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>.—<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.’—<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).—<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. P., +300 (Jahn). The Plural is the familiar poetic +exaggerative.—<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.).—<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>.—<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.—<b>vixisse:</b> The +Perfect with intention. G., 275, 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.—<b>haec:</b> <span class = "greek" title = +"deiktikôs">δεικτικῶς</span>.—<b>i 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. 3; A., +50, 1, <i>b</i>) is rare in the predicate.—<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.—<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, 3. Final sentences are often +elliptical (comp. note on <a href = "#note1_4">1, 4</a>). ‘Only you +must admit that,’ etc.; ‘<i>dum ne neges deterius +sapere</i>.’—<b>pannucia:</b> Here not ‘ragged,’ but ‘shrivelled.’ +Comp. <span class = "smallcaps">Mart.</span>, 11, 46, +3.—<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 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.’—<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>.—<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, 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. 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>.—<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 well, a cellar, a sea. This is not the +<i>recede in te ipsum quantum potes</i> of <span class = +"smallcaps">Sen.</span>, Ep., 7, 8. Comp. <span class = +"smallcaps">M. Anton.</span>, 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.</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, R.; M., 462 +b.—<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.—<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>.—<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 substantive expression of +quality without a common noun is rare in Latin as in English (M., +<span class = "pagenum">148</span> +287, Obs. 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.—<b>pertusa</b> = +<i>pervia</i>, according to Jahn; ‘roads and thoroughfares’ (Conington); += <i>calcata</i>, <i>trita</i>, Heinr., which seems more +natural.—<b>compita:</b> ‘The <i>compitalia</i> is meant. Comp. +<span class = "smallcaps">Cato</span>, R. R., 5, 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. 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>.—<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>.—<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.—<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>—‘layer by layer’—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.—<b>morientis:</b> ‘Dying vinegar’ +is not so familiar to us as ‘dead wines.’ Comp. <span class = +"smallcaps">Mart.</span>, 1, 18, 8.—<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.—<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, 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—our <i>vulnera vitae</i>—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).—<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.’—<b>sic +novimus</b> = <i>notum est</i> (Jahn). ‘So we have learned it.’ ‘This is +its lesson.’—<b>ilia subter:</b> G., 414, R. 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.’—<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.—<b>da verba:</b> Comp. <a href = "#line3_19">3, +19</a>.—<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, 1, R.—<b>inprobe:</b> The +<i>inprobus</i> is hard-headed as well as hard-hearted. Comp. +<i>plorantesque <span class = "gesperrt">inproba</span> +natos—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—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—see <span class = +"smallcaps">Tac.</span>, Ann., 13, 25; <span class = +"smallcaps">Suet.</span>, Nero, 26—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 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>.—<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, 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—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, 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>—<span class = +"smallcaps">Persius</span> speaks: Poets have a way of asking for a +hundred mouths, a hundred tongues, whether the theme be tragedy or +epic.—<span class = "smallcaps">Cornutus</span>: 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 +<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—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 +(<a href = "#line5_19">19-29</a>). 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 (<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 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—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. <i>Argal</i> 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?’ (<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 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’ (<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 hear the horse-laugh of Pulfennius, as he +bids a clipped dollar for a hundred Greek philosophers—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 hundred mouths, a 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>.—<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>—<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. 4). The Subjunctive is to be +explained by G., 666 (see last example), and A., 66, +2.—<b>ponatur</b> = <i>proponatur</i> (<span class = +"smallcaps">Cic.</span>, Tusc. Dis., 1, 4, 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>.—<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—for why should a Roman enlarge upon the wounds that the +Parthian deals?—<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.—<b>aut:</b> G., 460, R.; A., 71, +2.—<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>.—<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>.—<b>locuturi:</b> See <a href = "#note1_100">1, +100</a>.—<b>nebulas:</b> Jahn is reminded of <span class = +"smallcaps">Hor.</span>, A. 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.—<b>Helicone:</b> See Prologue. <span class = +"smallcaps">Persius</span> is as intensely Roman in poetic practice as +he is Greek in philosophic theory.—<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—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. P., 91. 186-187.—<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 A. Persii Satira Quinta</i>, p. 17), who has nosed +out all manner of subtle Neronian flavors in this innocent +satire.—<b>cenanda:</b> Comp. <a href = +"#line3_46">3, 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’—<b>massa:</b> See note on <a href = +"#note2_67">2, 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>.—<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.—sequeris = <i>sectaris</i>. <a href = +"#lineP_11">Prol., 11</a>.—<b>acri iunctura:</b> ‘nice grouping,’ +‘telling combination.’ The words are familiar, but the setting is new. +Comp. <span class = "smallcaps">Hor.</span>, A. 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. 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. P.</i>, II., 46) comp. Ov., Fast., 6, 425: <i>lucoque +obscurus opaco</i>.—<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.’—<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.—<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. P., 318: <i>vivas <span class = +"gesperrt">hinc</span> ducere voces</i>.—<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.—<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 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.—<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 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.</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>.—<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. 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. 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. 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.—<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, 1; A., 58, 11, +<i>d.</i>—<b>pulsa:</b> <span class = "greek" title = +"kroue">κροῦε</span>. See <a href = "#note3_21">3, +21</a>.—<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. 2; A., 52, 3, <i>a.</i>—<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> (= <i>puter</i>). The notion in +<i>pictae</i> belongs rather to <i>tectoria</i> than to +<i>linguae</i>—‘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>.—<b>centenas</b> = +<i>centum</i>. G., 310, R.; A., 18, 2, +<i>d</i>.—<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.—<b>sinuoso:</b> +Comp. <span class = "smallcaps">Plin.</span>, H. 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>.—<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—this is supposed to be +poetry.—<b>fibra:</b> <a href = "#line1_47">1, 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 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—1. Which an +entrance on life breeds; 2. Which requires the protection of the +<i>praetexta</i>; 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>.—<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.—<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>.—<b>succinctis:</b> +‘Like <i>cinctutis</i> (<span class = "smallcaps">Hor.</span>, +A. 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>).—<b>comites:</b> Jahn considers +these <i>comites</i> the same as those mentioned in <a href = +"#line3_7">3, 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.—<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. 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.—<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>.— +<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>.—<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 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—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, 4. The youth is brought to a +point where he must choose.—<b>trepidas:</b> See <a href = +"#note1_74">1, 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.’—<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.—<b>fallere sollers:</b> On the +construction, see G., 424, R. 4; A., 57, 8, <i>f</i>, 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, <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>.—<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.—<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).—<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>.—<b>memini consumere:</b> See +<span class = "pagenum">162</span> +<a href = "#noteP_2">Prol., 2</a>.—<b>soles</b> = <i>dies</i>. The +antithesis runs throughout. <i>Soles—opus—seria</i> are +opposed to <i>noctes—requiem—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.’—<b>epulis:</b> ‘for feasting.’ Others, ‘from feasting,’ +i.e., for study, 3, 54; 5, 62.—<b>decerpere:</b> The expression is +a cross between <i>carpe diem</i> (<span class = +"smallcaps">Hor.</span>, Od., 1, 11, 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>.—<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. 4; M., 375 c., Obs. 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>.—<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.—<b>seu:</b> Observe the irregularity +of <i>vel—seu</i> instead of +<i>seu—seu</i>.—<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. 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>.—<b>est quod temperat:</b> On the Mood, see +G., 634, R. 1; M., 365, Obs. 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.—<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—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.</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>.—<b>usus rerum:</b> ‘practice of +life,’ ‘practice.’ See <a href = "#note1_1">1, 1</a>, +note.—<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>.—<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, R.; A., +54, 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, 3). So Dräger, <i>Histor. +Syntax</i>, § 235.—<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>.—<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. N., 20, 14, 57. Cumin was considered +an indispensable condiment. The large use of it is shown by the +compounds in Greek (κυμινοδόχη—<span class = "greek" title = +"kuminodochê—thêkê, kte">θήκη, κτέ</span>)—see Seiler ad +<span class = "smallcaps">Alciphron.</span>, 3, 58—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 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, 4; Ep., 1, 7, 59; +A. P., 162, referred to by Jahn.—<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).—<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.—<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.—<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— +<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.”’—<b>crassos dies:</b> <i>sub crasso aere</i> +(Jahn).—<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>.—<b>lucem palustrem:</b> +‘boggy’ = ‘foggy light’ is ‘light choked by fog.’ <i>Crassos dies +lucemque palustrem</i> must be connected closely—‘gross days in +foggy light’—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).—<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. 6; A., 47, 6.—<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. 2; A., 58, 5, <i>c</i>. ‘Heave +a sigh’ (Conington).—<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.—<b>nocturnis:</b> Comp. <a href = +"#line1_90">1, 90</a>.—<b>inpallescere:</b> Comp. <a href = +"#line1_26">1, 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.—<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.—<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?—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>.—<ins class = "correction" title = +"transposed with following note (‘viatica’)"><b>miseris:</b></ins> +‘wretched else.’—<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>.—<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. 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—a great present, forsooth, to be +haggling about!’ On <i>nempe</i>, see G., 500, R. 2.—<b>cum +venit—consumpsimus:</b> more lively than <i>cum +venerit—consumpserimus</i> (G., 229). One clause is involved in +the other. G., 236, R. 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. 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.—<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—vertentem:</b> A later construction. G., 611, R.; +M., 443, Obs.—<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—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 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 <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.’—<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. Larcius +L. 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>).—<b>emeruit:</b> literally ‘has served his time’ +(of a soldier), ‘has worked his way up to be a Publius’ (supplying +<i>esse</i>).—<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).—<b>facit:</b> is causal as well as <i>faciat</i>. G., +627, R.; A., 63.—<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 common slave’s name.—<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, 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.’—<b>lippus:</b> the +effect of drinking.—<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—exit</b> = <i>si verterit—exit</i>. G., 257; A., +57, 5. Comp. <a href = "#line5_189">v. 189</a>. The Perf. is +aoristic, ‘give him a whirl.’—<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.—<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!’—<b>recusas?</b> Fie on you, +if you do! See note on <a href = "#note4_1">4, 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).—<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—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, <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.—<b>aurem</b>—<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. 2; A., 53, 3, <i>c</i>, +R.—<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—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 admit; the inference +contained in <i>licet</i> and <i>ut volo</i>, 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 <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>.—<b>postquam recessi:</b> with a causal tone. See note on +<a href = "#note3_90">3, 90</a>.—<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 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.—<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>.—<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.—<b>rugosa:</b> Comp. <i><span class = +"gesperrt">corruget</span> nares</i>, <span class = +"smallcaps">Hor.</span>, Ep., 1, 5, 23.—<b>sanna:</b> <a href = +"#line1_62">1, 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>.—<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.—<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. 3; A., 58, 3, +<i>d</i>.—<b>tenuia rerum officia:</b> ‘mastery of the subtle +distinctions of duty.’ <i>Tenuia</i>, a trisyllable, as often. G., +717. <i>Rerum</i>, parallel with <i>vitae</i>. See <a href = +"#note1_1">1, 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 four-stringed instrument of Eastern origin, +synonymous with cultivated luxury.—<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 gawky +camp-porter.’—<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.—<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 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>.—<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.—<b>secretam:</b> ‘private.’—<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. 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>.—<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 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.—<b>Melicerta:</b> Portunus, patron of sailors, <span class = +"smallcaps">Verg.</span>, Georg., 1, 437.—<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>—<b>de rebus:</b> ‘from the world,’ or +omitted. See <a href = "#note1_1">1, 1</a>.—<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.—<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>—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. 2; A., 70, 3, <i>e</i>.—<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.—<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. 2; A., 58, +10, <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. 2; A., 50, 3, +<i>c</i>.—<b>presso lare:</b> ‘Your establishment within your +means?’ <i>Pressus</i> opposed to <i>diffusus</i>.—<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—iam nunc:</b> ‘At the very moment,’ ‘just at the right +time,’ hence ‘at one instant, at +another.’—<b>astringas</b>—<b>laxes:</b> ‘shut +tight—open wide.’—<b>granaria:</b> <a href = "#line6_25">6, +25</a>, Plural of abundance. Comp. <a href = +"#line2_33">2, 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.—<b>salivam:</b> Doth not our mouth +water?—<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.—<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.—<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.—<b>cum:</b> ‘whereas,’ ‘after,’ +adversative.—<b>nostrae farinae:</b> ‘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.’</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 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.—<b>pelliculam veterem retines:</b> is supposed to +be:1. An ass in a lion’s skin, after <span class = +"smallcaps">Hor</span>., Sat., 1, 6, 22; or, 2. A snake that +has not cast its slough (Jahn).—<b>astutam servas vulpem:</b> is +the fox dressed up like a lion, <span class = "smallcaps">Hor.</span>, +Sat., 2, 3, 186.—<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.—<b>funem reduco:</b> 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 (<span class = "smallcaps">Ar.</span>, Nub., +763).—<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—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—the old rascal that swindled his master for a feed +of corn—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 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>.—<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 more +congenial dance for the <i>agrestis fossor</i>. See the commentators on +<span class = "smallcaps">Horace</span>.—<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).—<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. 1; A., 48, +5.—<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>.—<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.—<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.—<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.—<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 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?’—<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. 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>.—<b>agitet:</b> +‘There is nothing from without to set your wires going.’ Your masters +are within.—<b>iecore:</b> See <a href = +"#note1_25">1, 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.—<b>qui:</b> ‘how?’—<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.—<b>hic</b> = <i>de quo +loquimur</i>. G., 290, 3.—<b>metus erilis</b> = <i>metus eri</i>. +G., 360, R. 1; 363, R.; A., 50, 1, <i>a</i>. ‘If I be a master, +where is <i>my fear</i>?’ Mal., 1, 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—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.</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.’—<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.—<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. 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.’—<b>ex sitiente camelo:</b> +The thirsty camel brings the scene before our eyes—comp. <i>ante +boves</i>, <a href = "#line1_74">1, 74</a>—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. 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>)—comp. <i>varus</i>, ‘crooked’—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>).—<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.’—<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>.—<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.’—<b>succinctus:</b> ‘high girt,’ hence +‘equipped.’—<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.—<b>quin:</b> G., 551,1; +A., 70, 4, <i>g</i>.—<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 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.—<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>.—<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, R.; A., 51, 7, <i>d</i>.—<b>calido:</b> is +proleptic. ‘Your breast is heated by a rising of potent +bile.’—<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, 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>.—<b>non exstinxerit:</b> <span class = "greek" +title = "ouk an sbeseie">οὐκ ἂν σβέσειε</span>. G., 629 (250); A., 60, +2, <i>b</i>.—<b>urna:</b> nearly three gallons, half an +amphora.—<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, 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.’—<b>torta cannabe:</b> ‘Twisted hemp’ is ‘rope,’ but <span +class = "smallcaps">Persius</span> probably means a ‘coil of +rope.’—<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 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, 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, 9. Not a happy stroke, as Teuffel has observed. A 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.—<b>laesum:</b> ‘damaged.’—<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. 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>.—<b>nummi—pergant +avidos sudare deunces:</b> So Jahn (1843). ‘May go on to sweat out a +greedy eleven per cent.’ Hermann edits: <i>nummos—peragant avido +sudore deunces</i>, and so Jahn (1868). H. (<i>L. 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>.—<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)—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.—<b>hoc quod loquor inde est:</b> ‘What I am +saying—this speech of mine—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, 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>.—<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>.—<b>subeas oportet:</b> G., 535, R. 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—dicas</b> = <i>neu dicas</i>. See note on <a href = +"#note1_5">1, 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.’—<b>luctata:</b> ‘by a +wrench.’—<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).—<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.—<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.—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.</p> + +<p>A man who can make such a resolution and keep it—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.—<b>credas iubeo:</b> G., 546, R. 3.—<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.’—<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).—<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.—<b>frangam:</b> colloquial, ‘smash up,’ ‘make flinders +of.’—<b>Chrysidis:</b> In <span class = "smallcaps">Terence</span> +the lady’s name is Thais, not Chrysis.—<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>.—<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.—<b>sapias:</b> ‘I do hope you +are going to show your sense.’ Rather optative than +imperative.—<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 see.’ See <a href = +"#note5_127">v. 127</a>.—<b>solea:</b> The slipper was and is a +matronly instrument of torture (<span class = "smallcaps">Luc.</span>, +D. D., 11, 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. D., 13, 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.—<b>obiurgabere:</b> a +<i>terminus technicus</i>. <span class = "smallcaps">Petron.</span>, 34: +<i>colaphis <span class = "gesperrt">objurgare</span> puerum +iussit</i>.—<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—nec nunc</i>. If Jahn’s view be adopted, +I 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—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 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 clear support in <span class = "smallcaps">Petron.</span>, 9, +47.—<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. D., 2, 35, 90. Others read <i>exieris</i>.—<b>nec +nunc:</b> sc. <i>accedas</i>.—<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).—<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>.—<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>—</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.’—<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>.—<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>.—<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.—<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—probably not.</p> + +<p><a class = "line" name = "note5_180" id = "note5_180" href = +"#line5_180">180.</a> +<b>Herodis—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.—<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>).—<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>.—<b>natat:</b> Makes fun of the fish’s +swimming in the circumstances.—<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 recondite allusion to the +secret prayer of the Jews is unlikely.—<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>.—<b>palles</b> = <i>pallidus +times</i>. G., 329, R. 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.—<b>lemures:</b> ‘hobgoblins.’ See +note on <a href = "#note2_3">2, 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>—<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.—<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.—<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).—<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.’—<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—ridet</b> = <i>si dixeris—ridet</i>. Comp. +<a href = "#line5_78">v. 78</a>.—<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. 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.—<b>centurionum:</b> See note on <a href = +"#note3_77">3, 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>.—<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. G., 5. +44, once Pulfio, now Pulio. Heinrich recognizes a fellow-countryman in +<i>Vulfennius</i> (Wulfen).—<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>.—<b>curto:</b> ‘clipped.’—<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 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>—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 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—’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 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 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 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 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—the heir’s neglect and Bestius’s +fault-finding—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 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 (<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 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 (<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 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 <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 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! (<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—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 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?’—<b>bruma</b> = <i>brevuma</i> = <i>brevissuma</i> +(<i>dies</i>), ‘the shortest day,’ ‘winter-solstice,’ +‘midwinter.’—<b>foco:</b> contrast between the <i>fireside</i> of +the land of the Sabines and the open-air <i>warmth</i> of +Liguria.—<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>.—<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.’—<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, 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.—<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, 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.—<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 L. Müller’s +<i>Lucilius</i>, p. 221), but, as Pretor remarks, <i>numeris—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. P., 402: <i>mares +animos</i>.—<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.—<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.—<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, 4. +Compare the Casina of <span class = +"smallcaps">Plautus</span>.—<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>.—<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.—<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 stormy sea was supposed to +lash itself warm. Jahn quotes, among other passages, <span class = +"smallcaps">Cic.</span>, N. D., 2, 10, 26: <i>maria agitata ventis +<span class = "gesperrt">tepescunt</span></i>.—<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>.—<b>valle</b> = +<i>sinu</i>. The Abl. of manner may be translated locally; ‘into a deep +bay’ (Conington).—<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.—<b>est operae:</b> +Commonly explained by the ellipsis of <i>pretium</i>. But the Gen. is +very elastic.—<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, 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).—<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. 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.’—<b>Quintus:</b> ‘plain Quintus’ (Gifford). The Scholiast +fancies that <i>quintus</i> is a numeral, and gives the following order +of transmigrations: 1. Pythagoras; 2. A peacock; +3. Euphorbus; 4. Homer. <span class = +"smallcaps">Tertullian</span> 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 <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.—<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.).—<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 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.</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.—<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>—<i><span class = +"gesperrt">infelix</span> frugibus</i>, quoted by +Conington.—<b>pecori:</b> as it were, doubly +dependent.—<b>securus et:</b> The trajection of <i>et</i> (<a href += "#line1_23">1, 23</a>) gives <i>securus</i> a better +position.—<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. A., 1, 349. So <span class = +"smallcaps">Juv.</span>, 14, 142: <i>maiorque videtur</i> | <i>et melior +vicina seges</i>.—<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—eight +times in this one Satire—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.—<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.’—<b>minui:</b> ‘lose flesh’ +(Conington).—<b>senio:</b> before my time. Comp. <a href = +"#line1_26">1, 26</a>.—<b>uncto:</b> synonymous with ‘dainty.’ +Jahn comp. <span class = "smallcaps">Hor.</span>, A. 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—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, 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 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. 1; A., 51, 2, <i>g</i>. +<i>His</i> is Neuter. ‘These views of mine.’—<b>geminos:</b> Comp. +<span class = "smallcaps">Hor.</span>, Ep., 2, 2, 183 +seqq.—<b>horoscope:</b> ‘natal star,’ ‘star of nativity.’ Comp. +note on <a href = "#note5_46">5, 46</a>.—<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.—<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—sly fox that he is +(<i>vafer</i>)—in a cup (a cupful at a time, to prevent +waste), while, with his own hand (<i>ipse</i>)—for he trusts no +other—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—a small quantity +at a time.—<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.—<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.—<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.’—<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—his property—with nothing but his teeth—his vast +estate—heroic being—runs through—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.—<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—salivas:</b> ‘delicate juices,’ ‘subtle flavors.’ +<i>Saliva</i> = <i>sapor</i>, as in <span class = +"smallcaps">Plin</span>., H. 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>.—<b>sollers +nosse:</b> <a href = "#lineP_11">Prol., 11</a>.—<b>turdarum:</b> +‘thrushes,’ ‘fieldfares,’ a 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>.—<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.—<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>.—<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.—<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>—<b>trabe rupta:</b> Comp. <a href = +"#line1_89">1, 89</a>.—<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).—<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>.—<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>.—<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>.—<b>et:</b> +<span class = "greek" title = "kai">καί</span>, ‘if need +be.’—<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).—<b>oberret:</b> ‘go up and down the +country.’—<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.’—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>.—<b>urnae:</b> Do +not efface the personal conception (G., 344, R. 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 (= ossa) cum foliis et <span class = +"gesperrt">amomi</span> pulvere misce</i>; <span class = +"smallcaps">Tib.</span>, 3, 2, 23 (Jahn).—<b>seu spirent:</b> +<a href = "#line5_3">5, 3</a>.—<b>cinnama—casiae:</b> On the +Plural, see G., 195, R. 6; A., 14, 1, +<i>a</i>.—<b>surdum:</b> ‘faint,’ a transfer from hearing to +smell. On the construction, see <a href = +"#note5_25">5, 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.’—<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 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?’—<b>incolumis:</b> <span class = "greek" title = +"chairôn">χαίρων</span>, <i>impune</i>.—<b>et:</b> Others besides +the heir are dissatisfied.—<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—cenare +sine uncto</i>, <a href = "#line6_16">v. 16</a>, and <i>ungue, puer, +caules</i>, <a href = "#line6_69">v. 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>.—<b>Ita fit:</b> ‘That is the way of it.’—<b>sapere +nostrum:</b> <a href = "#line1_9">1, 9</a>.—<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. 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.’—<b>nostrum hoc:</b> ‘this new wisdom of our +day.’—<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) Not mixed with salt water, which was supposed to be +wholesome, as in <span class = "smallcaps">Horace</span>, l.c. +(2) <i>insulum</i>, Heinr., the most simple, ‘foolish philosophy,’ +‘insipid sapience.’ (3) 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) 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.—<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>.—<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, 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 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.’</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>.—<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 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—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>.—<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.’—<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.—<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. 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 sham triumph with manufactured +slaves’ (Conington, after Jahn).—<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).—<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).—<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.—<b>popello:</b> <a href = +"#line4_15">4, 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 motive for the silence +of the heir; on the other, a motive for declining the inheritance. +The interpretation of <i>non adeo—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 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—est</i> to the heir, others to <span class = +"smallcaps">Persius</span>. I 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 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 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.—<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.’—<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 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.—<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.—<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.—<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>.—<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>.—<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 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 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.—<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, 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>.—<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, 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.—<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>.—<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—reliquum est:</b> clearly a specimen of fatherly +counsel. Every Polonius has something to say to his Laertes on this +subject (Hamlet, 1, 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—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. P., 327 seqq.—<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.—<b>hinc:</b> from the capital, or from the interest, or from +both. I 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—festa luce:</b> See note on <a href = +"#note6_19">v. 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).—<b>sinciput:</b> ‘pig’s cheek.’ The swine was the common +sacrifice and the common dish.—<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.—<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>.—<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.’—<b>omento:</b> ‘fatty +caul,’ ‘fat,’ <a href = "#line2_47">2, 47</a>.—<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’—for the <i>popae</i> were the priests’ +assistants—‘were partakers with the altar’ (1 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>.—<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).—<b>nec</b> = <i>neu</i>. See <a href = +"#note1_5">1, 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, 4) +(Jahn), but in other respects extremely undesirable +cattle.—<b>rigida:</b> ‘fixed upright.’ <i><span class = +"gesperrt">Rigidae</span> columnae</i>, <span class = +"smallcaps">Ov.</span>, Fast., 3, 529 (Jahn).—<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.—<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—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>.—<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>.—<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>.—<b>depunge:</b> So Jahn (1868) for his previous +<i>depinge</i>. ‘Prick a hole.’—<b>ubi sistam:</b> G., 469, 623; +A., 67, 2, <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. =<span class = "gap">”</span>both editions.<br> +H. = 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. +—<a class = "line" name = "appP_4" id = "appP_4" href = +"#lineP_4">4.</a> +<b>Heliconidas:</b> Heliconiadas, J<sup>α</sup>., H. +—<a class = "line" name = "appP_5" id = "appP_5" href = +"#lineP_5">5.</a> +<b>remitto:</b> relinquo, J<sup>α</sup>. +—<a class = "line" name = "appP_7" id = "appP_7" href = +"#lineP_7">7.</a> +<b>adfero:</b> affero, J<sup>α</sup>., H. +—<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. +—<a class = "line" name = "appP_9" id = "appP_9" href = +"#lineP_9">9.</a> +<b>picam:</b> picas, J<sup>α</sup>.—<b>nostra verba:</b> verba +nostra, H. +—<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. +—<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> +—a: ac, J<sup>α</sup>.; ah, H. +—<a class = "line" name = "app1_9" id = "app1_9" href = +"#line1_9">9.</a> +<b>tum:</b> tunc, J<sup>α</sup>., H. +—<a class = "line" name = "app1_11" id = "app1_11" href = +"#line1_11">11.</a> +<b>tunc, tunc, ignoscite +—‘Nolo:’</b> J<sup>α</sup>.; tunc, tunc +—ignoscite, nolo, J<sup>ω</sup>., H. +—<a class = "line" name = "app1_12" id = "app1_12" href = +"#line1_12">12.</a> +<b>splene cachinno:</b> splene +—cachinno, H. +—<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>. +—<a class = "line" name = "app1_17" id = "app1_17" href = +"#line1_17">17.</a> +<b>leges:</b> legens, J<sup>α</sup>., H. +—<a class = "line" name = "app1_19" id = "app1_19" href = +"#line1_19">19.</a> +<b>nec:</b> neque, J<sup>α</sup>. +—<a class = "line" name = "app1_32" id = "app1_32" href = +"#line1_32">32.</a> +<b>circa:</b> circum, J<sup>α</sup>. +—<b>umeros:</b> humeros, J<sup>ω</sup>., H. +—<b>hyacinthia:</b> hyacinthina, J<sup>α</sup>., H. +—<a class = "line" name = "app1_35" id = "app1_35" href = +"#line1_35">35.</a> +<b>supplantat:</b> subplantat, J<sup>ω</sup>. +—<a class = "line" name = "app1_36" id = "app1_36" href = +"#line1_36">36.</a> +<b>adsensere:</b> assensere, J<sup>α</sup>., H. +—<a class = "line" name = "app1_57" id = "app1_57" href = +"#line1_57">57.</a> +<b>protenso:</b> propenso, J<sup>α</sup>. +—<a class = "line" name = "app1_60" id = "app1_60" href = +"#line1_60">60.</a> +<b>Apula:</b> Appula, H. +—<b>tantae:</b> tantum, Heinrich, Conington. +—<a class = "line" name = "app1_66" id = "app1_66" href = +"#line1_66">66.</a> +<b>derigat:</b> dirigat, J<sup>α</sup>., H. +—<a class = "line" name = "app1_69" id = "app1_69" href = +"#line1_69">69.</a> +<b>adferre:</b> afferre, J<sup>α</sup>., H. +—<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. +—<b>dictatorem:</b> dictaturam, H. +—<a class = "line" name = "app1_76" id = "app1_76" href = +"#line1_76">76.</a> +<b>Acci:</b> Atti, J<sup>α</sup>. +—<a class = "line" name = "app1_78" id = "app1_78" href = +"#line1_78">78.</a> +<b>fulta:</b> fulta? H. +—<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>. +—<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. +—<a class = "line" name = "app1_89" id = "app1_89" href = +"#line1_89">89.</a> +<b>protulerim:</b> protulerim? J<sup>α</sup>., H. +—<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. +—<a class = "line" name = "app1_93" id = "app1_93" href = +"#line1_93">93.</a> +<b>cludere:</b> claudere, J<sup>α</sup>., H. +—<a class = "line" name = "app1_95" id = "app1_95" href = +"#line1_95">95.</a> +<b>Appennino:</b> Apennino, J<sup>α</sup>. +—<a class = "line" name = "app1_97" id = "app1_97" href = +"#line1_97">97.</a> +<b>vegrandi:</b> praegrandi, H. +—<a class = "line" name = "app1_102" id = "app1_102" href = +"#line1_102">102.</a> +<b>euhion:</b> evion, J<sup>α</sup>. +—<a class = "line" name = "app1_111" id = "app1_111" href = +"#line1_111">111.</a> +<b>omnes, omnes:</b> omnes etenim, J<sup>α</sup>. +—<a class = "line" name = "app1_114" id = "app1_114" href = +"#line1_114">114.</a> +<b>meite:</b> meiite, J<sup>α</sup>., H. +—<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>. +—<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>. +—<a class = "line" name = "app2_9" id = "app2_9" href = +"#line2_9">9.</a> +<b>murmurat:</b> immurmurat, J<sup>α</sup>. +—<a class = "line" name = "app2_10" id = "app2_10" href = +"#line2_9">10.</a> +<b>ebulliat:</b> ebullit <i>Cod. Montepessulanus</i>. +—<a class = "line" name = "app2_14" id = "app2_14" href = +"#line2_14">14.</a> +<b>conditur:</b> ducitur, J<sup>α</sup>. +—<ins class = "correction" title = "the nearest occurrence of this word is in line II.22"><b>pro:</b></ins> proh, J<sup>α</sup>. +—<a class = "line" name = "app2_16" id = "app2_16" href = +"#line2_16">16.</a> +<b>purgas?</b> purgas. J<sup>α</sup>. +—<a class = "line" name = "app2_25" id = "app2_25" href = +"#line2_25">25.</a> +<b>sulpure:</b> sulfure, J<sup>α</sup>., H. +—<a class = "line" name = "app2_37" id = "app2_37" href = +"#line2_37">37.</a> +<b>optet:</b> optent <i>al</i>. +—<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>. +—<b>tucceta:</b> tuceta, J<sup>α</sup>. +—<a class = "line" name = "app2_43" id = "app2_43" href = +"#line2_43">43.</a> +<b>adnuere:</b> annuere, J<sup>α</sup>. +—<a class = "line" name = "app2_45" id = "app2_45" href = +"#line2_45">45.</a> +<b>arcessis:</b> accersis, H. +—<a class = "line" name = "app2_47" id = "app2_47" href = +"#line2_47">47.</a> +<b>flammas:</b> flamma, J<sup>α</sup>. +—<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. +—<a class = "line" name = "app2_52" id = "app2_52" href = +"#line2_52">52.</a> +<b>creterras:</b> crateras. J<sup>α</sup>. +—<a class = "line" name = "app2_54" id = "app2_54" href = +"#line2_54">54.</a> +<b>excutiat:</b> excutias, J<sup>α</sup>., H. +—<a class = "line" name = "app2_61" id = "app2_61" href = +"#line2_61">61.</a> +<b>terris:</b> terras <i>al</i>. +—<b>caelestium:</b> coelestium, J<sup>α</sup>., H. +—<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. +—<a class = "line" name = "app2_62" id = "app2_62" href = +"#line2_62">62.</a> +<b>quid iuvat hoc:</b> quid iuvat, hos, H. +—<a class = "line" name = "app2_66" id = "app2_66" href = +"#line2_66">66.</a> +<b>bacam:</b> baccam, J<sup>α</sup>., H. +—<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. +—<a class = "line" name = "app3_12" id = "app3_12" href = +"#line3_12">12.</a> +<b>querimur:</b> queritur, J<sup>α</sup>. +—<b>umor:</b> humor, J<sup>α</sup>., H. +—<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>. +—<a class = "line" name = "app3_14" id = "app3_14" href = +"#line3_14">14.</a> +<b>querimur:</b> queritur, J<sup>α</sup>. +—<a class = "line" name = "app3_15" id = "app3_15" href = +"#line3_15">15.</a> +<b>hucine:</b> huccine, J<sup>α</sup>., H. +—<a class = "line" name = "app3_17" id = "app3_17" href = +"#line3_17">17.</a> +<b>pappare:</b> papare, J<sup>α</sup>. +—<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. +—<a class = "line" name = "app3_31" id = "app3_31" href = +"#line3_31">31.</a> +<b>Nattae?</b> J<sup>α</sup>., H.; Nattae. J<sup>ω</sup>. +—<a class = "line" name = "app3_32" id = "app3_32" href = +"#line3_32">32.</a> +<b>vitio et:</b> <i>om.</i> et H. +—<a class = "line" name = "app3_46" id = "app3_46" href = +"#line3_46">46.</a> +<b>discere non sano:</b> dicere et insano, H. +—<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>. +—<a class = "line" name = "app3_53" id = "app3_53" href = +"#line3_53">53.</a> +<b>bracatis:</b> braccatis, H. +—<a class = "line" name = "app3_56" id = "app3_56" href = +"#line3_56">56.</a> +<b>diduxit:</b> deduxit, H. +—<a class = "line" name = "app3_58" id = "app3_58" href = +"#line3_58">58.</a> +<b>adhuc:</b> adhuc? J<sup>α</sup>. +—<a class = "line" name = "app3_59" id = "app3_59" href = +"#line3_59">59.</a> +<b>malis!:</b> malis? J<sup>α</sup>. +—<a class = "line" name = "app3_60" id = "app3_60" href = +"#line3_60">60.</a> +<b>in quod:</b> in quo, H. +—<a class = "line" name = "app3_68" id = "app3_68" href = +"#line3_68">68.</a> +<b>qua:</b> quam, H. +—<a class = "line" name = "app3_73" id = "app3_73" href = +"#line3_73">73.</a> +<b>nec:</b> neque, J<sup>α</sup>. +—<a class = "line" name = "app3_76" id = "app3_76" href = +"#line3_76">76.</a> +<b>mena:</b> maena, J<sup>α</sup>. +—<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. +—<a class = "line" name = "app3_89" id = "app3_89" href = +"#line3_89">89.</a> +<b>alitus:</b> halitus, J<sup>α</sup>., H. +—<a class = "line" name = "app3_92" id = "app3_92" href = +"#line3_92">92.</a> +<b>lagoena:</b> lagena, J<sup>α</sup>., H. +—<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>. +—<a class = "line" name = "app3_94" id = "app3_94" href = +"#line3_94">94.</a> +<b>istuc:</b> istud, J<sup>α</sup>., H. +—<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. +—<b>mefites:</b> mephites, J<sup>α</sup>. +<span class = "pagenum">209</span> +—<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. +—<a class = "line" name = "app3_105" id = "app3_105" href = +"#line3_105">105.</a> +<b>rigidas:</b> rigidos, J<sup>α</sup>. +—<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. +—<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. +—<a class = "line" name = "app4_13" id = "app4_13" href = +"#line4_13">13.</a> +<b>theta:</b> theta? H. +—<a class = "line" name = "app4_19" id = "app4_19" href = +"#line4_19">19.</a> +<b>exspecta:</b> expecta, J<sup>ω</sup>. +—<ins class = "correction" title = "printed with line 19"><a class += "line" name = "app4_20" id = "app4_20" href = +"#line4_20">20.</a></ins> +—<b>suffla:</b> sufla, J<sup>ω</sup>. +—<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. +—<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. +—<a class = "line" name = "app4_35" id = "app4_35" href = +"#line4_35">35.</a> +<b>hi mores:</b> in mores, J<sup>α</sup>. +—<a class = "line" name = "app4_38" id = "app4_38" href = +"#line4_38">38.</a> +<b>exstat:</b> extat, J<sup>ω</sup>. +—<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>. +—<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. +—<a class = "line" name = "app5_8" id = "app5_8" href = +"#line5_8">8.</a> +<b>Prognes:</b> Procnes, H. +—<a class = "line" name = "app5_9" id = "app5_9" href = +"#line5_9">9.</a> +<b>cenanda:</b> coenanda, J<sup>α</sup>., H. +—<a class = "line" name = "app5_13" id = "app5_13" href = +"#line5_13">13.</a> +<b>scloppo:</b> stloppo, J<sup>α</sup>., H. +—<a class = "line" name = "app5_17" id = "app5_17" href = +"#line5_17">17.</a> +<b>dicis:</b> dicas, J<sup>α</sup>., H. +—<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. +—<a class = "line" name = "app5_24" id = "app5_24" href = +"#line5_24">24.</a> +<b>dinoscere:</b> dignoscere, J<sup>α</sup>. +—<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>. +—<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>. +—<a class = "line" name = "app5_58" id = "app5_58" href = +"#line5_58">58.</a> +<b>cheragra:</b> chiragra, J<sup>α</sup>. +—<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 +—Cras fiet? H. +—<a class = "line" name = "app5_68" id = "app5_68" href = +"#line5_68">68.</a> +<b>consumpsimus:</b> consumsimus, J<sup>α</sup>. +—<a class = "line" name = "app5_71" id = "app5_71" href = +"#line5_71">71.</a> +<b>cantum:</b> canthum, J<sup>α</sup>., H. +—<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>. +—<a class = "line" name = "app5_82" id = "app5_82" href = +"#line5_82">82.</a> +<b>pillea:</b> pilea, J<sup>α</sup>., H. +—<a class = "line" name = "app5_102" id = "app5_102" href = +"#line5_102">102.</a> +<b>navem:</b> navim, J<sup>α</sup>. +—<a class = "line" name = "app5_105" id = "app5_105" href = +"#line5_105">105.</a> +<b>speciem dinoscere:</b> specimen dignoscere, J<sup>α</sup>. +—<a class = "line" name = "app5_110" id = "app5_110" href = +"#line5_110">110.</a> +<b>astringas:</b> adstringas, J<sup>α</sup>. +—<a class = "line" name = "app5_112" id = "app5_112" href = +"#line5_112">112.</a> +<b>glutto:</b> gluto, J<sup>α</sup>. +—<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>. +—<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>. +—<a class = "line" name = "app5_122" id = "app5_122" href = +"#line5_122">122.</a> +<b>cetera:</b> caetera, J<sup>α</sup>. +—<a class = "line" name = "app5_123" id = "app5_123" href = +"#line5_123">123.</a> +<b>tris:</b> tres, H. +—<b>satyrum:</b> satyri, J<sup>α</sup>. +—<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>., H. <i>Vid. <a href = "#note5_27">Comment</a>.</i> +—<a class = "line" name = "app5_131" id = "app5_131" href = +"#line5_131">131.</a> +<b>erilis:</b> herilis, J<sup>α</sup>., H. +—<a class = "line" name = "app5_132" id = "app5_132" href = +"#line5_132">132.</a> +<b>heia:</b> eia, J<sup>α</sup>. +—<a class = "line" name = "app5_135" id = "app5_135" href = +"#line5_135">135.</a> +<b>hebenum:</b> ebenum, J<sup>α</sup>., H. +—<a class = "line" name = "app5_136" id = "app5_136" href = +"#line5_136">136.</a> +<b>ex:</b> e, J<sup>α</sup>. +—<b>camelo:</b> J<sup>α</sup>., H.; camello, J<sup>ω</sup>. +—<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. +—<a class = "line" name = "app5_142" id = "app5_142" href = +"#line5_142">142.</a> +<b>ni:</b> nisi, J<sup>α</sup>., H. +—<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>. +—<a class = "line" name = "app5_146" id = "app5_146" href = +"#line5_146">146.</a> +<b>transilias:</b> transsilias, J<sup>α</sup>. +—<a class = "line" name = "app5_147" id = "app5_147" href = +"#line5_147">147.</a> +<b>cena:</b> coena, J<sup>α</sup>., H. +—<a class = "line" name = "app5_148" id = "app5_148" href = +"#line5_148">148.</a> +<b>exalet:</b> exhalet, J<sup>α</sup>., H. +—<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. +—<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. +—<a class = "line" name = "app5_155" id = "app5_155" href = +"#line5_155">155.</a> +<b>huncine:</b> hunccine, J<sup>α</sup>., H. +—<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. +—<a class = "line" name = "app5_163" id = "app5_163" href = +"#line5_163">163.</a> +<b>adrodens:</b> abrodens, J<sup>α</sup>. +—<a class = "line" name = "app5_165" id = "app5_165" href = +"#line5_165">165.</a> +<b>obscenum:</b> obscoenum, J<sup>α</sup>. +—<a class = "line" name = "app5_172" id = "app5_172" href = +"#line5_172">172.</a> +<b>nec nunc:</b> ne nunc, J<sup>α</sup>. +—<b>arcessat:</b> accersar, H.; arcessor <i>al</i>. +—<a class = "line" name = "app5_174" id = "app5_174" href = +"#line5_174">174.</a> +<b>exieras:</b> exieris <i>al</i>. +—<b>nec nunc:</b> ne nunc, J<sup>α</sup>. +—<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, J., H., Codd. +—<a class = "line" name = "app6_6" id = "app6_6" href = +"#line6_6">6.</a> +<b>egregius:</b> egregios <i>al</i>. +—<b>senes:</b> senex, H. +—<a class = "line" name = "app6_16" id = "app6_16" href = +"#line6_16">16.</a> +<b>cenare:</b> coenare, J<sup>α</sup>., H. +—<a class = "line" name = "app6_17" id = "app6_17" href = +"#line6_17">17.</a> +<b>lagoena:</b> lagena, J<sup>α</sup>., H. +—<a class = "line" name = "app6_20" id = "app6_20" href = +"#line6_20">20.</a> +<b>tingat:</b> J<sup>α</sup>., H., Bramb.; tinguat, J<sup>ω</sup>. +—<b>holus:</b> olus, J<sup>α</sup>., H. +—<b>empta:</b> emta, J<sup>α</sup>., H. +—<a class = "line" name = "app6_24" id = "app6_24" href = +"#line6_24">24.</a> +<b>tenuis salivas:</b> tenuem salivam, J<sup>α</sup>. +—<a class = "line" name = "app6_30" id = "app6_30" href = +"#line6_30">30.</a> +<b>dii:</b> Brambach; dei, J., H. +—<a class = "line" name = "app6_31" id = "app6_31" href = +"#line6_31">31.</a> +<b>caespite:</b> Brambach; cespite, J., H. +—<a class = "line" name = "app6_33" id = "app6_33" href = +"#line6_33">33.</a> +<b>cenam:</b> coenam, J<sup>α</sup>., H. +—<a class = "line" name = "app6_34" id = "app6_34" href = +"#line6_34">34.</a> +<b>negleget:</b> negliget, J<sup>α</sup>., H. +—<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 +—metuas</a> <i>transposuit Sinnerus quem secuti sunt</i> +J<sup>ω</sup>. <i>et</i> H. +—<a class = "line" name = "app6_40" id = "app6_40" href = +"#line6_40">40.</a> +<b>fenisecae:</b> faenisecae, J<sup>α</sup>.; foenisacae, H. +—<a class = "line" name = "app6_50" id = "app6_50" href = +"#line6_50">50.</a> +<b>conives:</b> connives, J<sup>α</sup>., H. +—<a class = "line" name = "app6_51" id = "app6_51" href = +"#line6_51">51.</a> +<b>inquis:</b> inquis. J<sup>α</sup>. +—<a class = "line" name = "app6_64" id = "app6_64" href = +"#line6_64">64.</a> +<b>dest:</b> deest, J<sup>α</sup>., H. +—<a class = "line" name = "app6_66" id = "app6_66" href = +"#line6_66">66.</a> +<b>Tadius:</b> Stadius J<sup>α</sup>. +—<b>repone:</b> J<sup>α</sup>., H.; oppone, J<sup>ω</sup>. +—<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. +—<b>sumptus:</b> sumtus, J<sup>α</sup>. +—<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>. +—<b>coquetur:</b> coquatur, J<sup>α</sup>., H. +—<a class = "line" name = "app6_77" id = "app6_77" href = +"#line6_77">77.</a> +<b>plausisse:</b> pavisse, J<sup>α</sup>. +—<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) + +*** END OF THIS PROJECT GUTENBERG EBOOK THE SATIRES OF A. PERSIUS FLACCUS *** + +***** This file should be named 22119-h.htm or 22119-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/2/1/1/22119/ + +Produced by Louise Hope, David Starner and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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