nugari solitos graece, nec ponere lucum 'Est nunc Brisaei quem venosus liber Atti, sunt quos Pacuviusque et verrucosa moretur Antiopa, aerumnis cor luctificabile fulta. 70. nugari, v. 56 note. 'Who used to confine themselves to dilettante efforts in Greek.' Hor. I S. 10. 31 tells us how he once tried composing in Greek. ponere artifices, like 'artifex sequi' Prol. II. ponere. Prop. 2. 3. 42 Hic dominam exemplo ponat in arte meam," and Paley's note. Sollers nunc hominem ponere, nunc deum' Hor. 4 Od. 8. 8, which perhaps Persius imitated. ['Pone Tigellinum' Juv. 1. 155.] lucum is one of the commonplaces instanced by Hor. A. P. 16, who evidently intends a description of scenery, not, as Juv. 1. 7, a mythological picture. 71. saturum, 'fertile.' Saturi petito longinque Tarenti' Virg. G. 2. 197. laudare, to eulogize.' Hor. I Od. 7. I 'Laudabunt alii claram Rhodon aut Mitylenen.' corbes, part of the farm furniture -baskets for gathering fruits. Cato R. R. 136. Varro R. R. I. 50. I (Freund). Since Wordsworth, there would be nothing 74. quem-dictatorem. 70 75 incongruous in introducing these details (except perhaps the pigs) into a poem of country life; but though he may have done service in breaking down the rule of conventional description, it does not follow that poets in Persius' time were justified in offending against the taste of their day, as in them it probably argued a want of perception of any kind of propriety in writing, whether great or small. 72. focus. Casaubon refers to Virg. E. 5. 69, 7. 49, to which add G. 2. 528. We may observe that, in E. 7. 49, the only place where sitting round the fire is dwelt on, Virgil implicitly condemns the choice of the subject by putting it into the mouth of Thyrsis, in contrast to Corydon's description of summer and out-door life. fumosa Palilia faeno. Compare Prop. 5. 4. 73-78 Urbi festus erat: dixere Palilia patres: Hic primus coepit moenibus esse dies: Annua pastorum convivia, lusus in urbe, Cum pagana madent fercula deliciis, Cumque super raros faeni flammantis acervos Traiicit immundos ebria turba pedes.' 73. The poet appears to have introduced a reference to the rural glories of Roman history. Remus is introduced partly on account of the 'Palilia,' which were on the anniversary of the foundation of Rome (Prop. 1. c.), partly as having himself led a country life, Hanc olim veteres vitam coluere Sabini, Hanc Remus et frater' Virg. G. 2. 533. This seems better than to understand unde' after these antecedents he comes to write of Remus.' sulcoque terens dentalia. Perhaps imitated from Virg. Aen. 6.844,' vel te sulco, Serrane, serentem.' Compare also G. I. by men who used merely to dabble in Greek, not artists enough to describe a grove or to eulogise the plenty of a country life, with all its details, baskets, and a turf-fire, and pigs, and the smoking hay on Pales' holiday-out of all which comes Remus, and thou, Quintius, wearing thy ploughshare bright in the furrow, when in hot haste thy wife clothed thee dictator in presence of the oxen, and the lictor had to drive the plough home-Bravo, poet! 'I know a man who hangs over that shrivelled volume of the old Bacchanal Attius. Nay, I know more than one who cannot tear themselves from Pacuvius and his Antiope, the lady with the warts, whose dolorific heart is stayed on tribulation. When these 6 For the story of L. Quintius Cincinnatus, see Livy 3. 26. For the change from the third person to the second, comp. Virg. Aen. 7. 684' quos dives Anagnia pascit, Quos, Amasene pater.' 74. cum dictatorem induit the best MSS.; and so Jahn, in his edition of 1843: Quem . . dictaturam,' a number of copies of less weight: 'Quem . . dictatura,' and 'cum dictaturam ' are also found. [Jahn, in his text of 1868, reads, ‘Quem dictatorem.'] Casaubon remarks that cum' is better than quem,' as fixing the time of the investiture, in connexion withterens.' · 75. The contrast is heightened by making the lictor act as a farm-servant. Persius hurries over the particulars, so as to increase the impression of incongruity, and winds up with the 'euge' which the poet expected. 76. [Like Lucilius, Persius dislikes the antique harshness of Pacuvius and Attius. Tristis contorto aliquo ex Pacuviano exordio Lucilius 29. 63.] 'Est quem .. sunt quos' compare Hor. 2 Ep. 2. 182 'Sunt qui non habeant, est qui non curat habere.' Attius, not Labeo, but the old tragedian (coupled with Pacuvius by Hor. 2 Ep. 1. 55 aufert Pacuvius docti famam senis, Attius alti,' and by Mart. 11. 90. 5 'Attonitusque legis terraï frugiferaï, Attius et quicquid Pacuviusque vomunt') is called 'Brisaeus' from Briseus,' a • name of Bacchus, Macrob. Sat. 1. 18, probably with reference to the Dionysiac beginnings of tragedy, so that the notion intended would be antiquated,' and also perhaps to remind us of Horace's theory (1 Ep. 19) venosus again implies old age. The flesh shrunk and the veins consequently standing out. Heinr. and Jahn compare Tac. Or. 21 (speaking of Asinius Pollio) Pacuvium certe et Attium non solum tragoediis, sed etiam orationibus expressit: adeo durus et siccus est. Oratio autem, sicut corpus hominis, ea demum pulchra est, in qua non eminent venae, nec ossa numerantur, sed temperatus ac bonus sanguis implet membra et exsurgit toris, ipsosque nervos rubor tegit et decor commendat.' liber, of a play. Quint. I. 10. 18 'Aristophanes quoque non uno libro demonstrat.' Prop. 4. 21. 28' Librorumque tuos, docte Menandre, sales.' Jahn. 77. verrucosa, 'warty,' opposed to a smooth clear skin, and hence rugged. The epithet being accommodated to the heroine, who was confined in a loathsome dungeon, as venosus' was to the author. 'Verrucosus' was a nickname of Q. Fabius Maximus Cunctator. Freund. moretur. Hor. A. P. 321 Fabula I Valdius oblectat populum meliusque moratur.' ... 78. Antiopa, imitated from a lost play of Euripides (Ribbeck, Fr. Lat. Tr. pp. 278 foll.) Cic. Fin. 1. 2 asks, 'Quis Ennii Medeam et Pacuvii Antiopam contemnet et reiiciat?' In Pacuv. Fr. 5 (9). ed. Ribbeck, she is described as 'perdita inluvie atque insomnia.' Compare also Prop. 4. 15. 12 foll., where the sufferings hos pueris monitus patres infundere lippos cum videas, quaerisne, unde haec sartago loquendi venerit in linguas, unde istuc dedecus, in quo trossulus exultat tibi per subsellia levis? 'Nilne pudet capiti non posse pericula cano pellere, quin tepidum hoc optes audire decenter? 'Fur es' ait Pedio. Pedius quid? crimina rasis librat in antithetis: doctas posuisse figuras 85. qui crimina. of Antiope are related at some length. [G. A. Simcox, Academy, vol. 3. p. 398, quotes Aeschylus Fragm. 382 (Dindorf) οἵ τε στεναγμοὶ τῶν πόνων ἐρείσματα, which may have suggested 'aerumnis fulta.'] 78. Words seemingly taken or adapted from the tragedy itself. ['Aerumna' is found in the fragments of Pacuvius and Attius, as well as in those of Ennius and Caecilius: it is also put into Caesar's mouth by Sallust (Cat. 51) and used by Lucretius (3.50).] Cicero uses it several times in order to designate by one word the many modifications and shadings of the condition of mental suffering.' Freund. Maeror est aegritudo flebilis: aerumna aegritudo laboriosa: dolor aegritudo crucians' Cic. Tusc. 4.8. 18. It was, however, obsolete in the time of Quintilian, who explains it by 'labor.' [Quintil. 8. 3. 23: but the reading is doubtful.] fulta, pressed on all sides, and so apparently supported. Compare Prop. 1. 8.7 Tu pedibus teneris positas fulcire than pruinas?' where nothing more treading on is meant; and the use of ἐρείδω, as in Aesch. Ag. 64 γόνατος κονίαισιν ἐρειδομένου, which Statius seems to have translated (Theb. 3. 326) stant fulti pulvere crines.' [Lucilius, 26. 31, has two lines, Squalitate summa ac scabie summa in aerumna obrutam, Neque inimicis invidiosam neque amico exoptabilem,' which L. Müller thinks may refer to Antiopa.] 79. When you see purblind fathers recommend these as models of style to their children.' Hos monitus apparently for monitus de his.' Nec dubiis ea signa dedit Tritonia monstris' Virg. Aen. 2. 171Hic nostri nuntius esto,' 4. 237. 80 85 infundere is the same metaphor as Hor. I Ep. 2 67 'Nunc adbibe puro Pectore verba puer.' lippos, as in 2. 72, expressing probably partly physical blindness brought on by excess, partly mental blindness. Hor. 1 S. 1. 120 Crispini scrinia lippi,' also ib. 3. 25. So. sartago, a kettle or frying-pan. Juv. 10. 64 and Mayor's note: called so from the hissing of its contents, according to Isidor. 20. 8. Jahn, who compares Eubul. ap. Athen. 7. p. 229 A λoràs παφλάζει βαρβάρῳ λαλήματι. Not very dissimilar is Horace's (1 S. 10. 20 foll.) ridicule of the practice of interlarding Latin with Greek. 82. trossulus, an old name of the Roman knights, originally a title of honour, afterwards a nickname, as in Varro, compared by Casaubon, 'Sesquiulixes (ap. Non. s. v. 'trossuli,' 'Nunc emunt trossuli nardo nitidi vulgo Attico talento ecum.') Sen. Ep. 87. 9 O quem cuperem illi [Catoni] nunc occurrere aliquem ex his trossulis in via divitibus.' [Trossuli et iuvenes' ib. 76. 2.] Persius probably has both references in view. exsultat, like 'trepidare,' v. 20. Jahn compares Quint. 2. 2. 9' At nunc proni atque succincti ad omnem clausulam non exsurgunt modo verum etiam excur are the lessons which you see purblind papas pouring into their children's ears, can you ask how men come to get this hubblebubble of language into their mouths? What is the source of the scandal, which puts your effeminate grandees, along the benches, into such ecstasies of motion? 'Are you not ashamed not to be able to plead against perils threatening your gray hairs, but you must needs be ambitious of hearing mawkish compliments to your 'good taste?' The accuser tells Pedius point blank, You are a thief. What does Pedius do? Oh, he balances the charges in polished antitheses-he is deservedly praised for the artfulness of his tropes. Monstrous fine runt, et cum indecora exsultatione conclamant,' as Casaubon had already compared Plut. de Aud. 5 τὰς κραυγὰς καὶ τοὺς θορύβους καὶ τὰ πηδήματα τῶν παρόντων. Compare also ἀναπηδῶν τῶν opxησтâν μâλλov. Dion. Chrys. p. 378 (680) (πρός Αλεξανδρείς) quoted by Sewell, Plato p. 336. as subsellia, benches occupied during a recitation. Juv. 7. 45, 86; not, as Jahn thinks, the seats in court, nothing is said about a trial till the next paragraph, though such a hybrid style may very likely have crept into oratory. Compare Tac. Or. 21 above cited. levis levigatus'opposed to the 'hispida membra' of the old Romans: so that trossulus levis' may be a kind of oxymoron. 83-91. Persius continues, 'This miserable affectation of fine writing besets even our criminal courts-even trials for life and death. The defendant studies the requirements of rhetoric, and lays traps for applause which he gets. We shall have starving beggars turning rhetoricians next.' 83. [With this criticism of the style prevalent in the law-courts comp. Tac. de Or. 26.] 3. 31 'Non pudet?' capiti more probably the dative, whether explained as an ethical dative, or as originally convertible with the abl., than a rare form of the abl., for which Jahn compares Catull. 68. 123, Tibull. 1. 1. 72. [See Neue, Formenlehre d. Lat. Sprache, I. § 57.] Jahn cites Virg. E. 7. 47' Solstitium pecori defendite.' 'Caput canum are frequently found together. See Freund. cano, v. 9 note. 84. tepidum nearly='frigidum.' Gr. ψυχρόν. 'Ceteros eiusdem lentitudinis ac teporis libros' Tac. Or. 21. decenter, like ' euge and belle.' 'What admirable taste!' 85. Fur es is put as plainly as possible, to contrast with the elaboration of the reply. Pedius seems to be a mixture of the advocate named by Hor. I S. 10. 28, seemingly in connexion with the trial of Petillius for furtum' and 'Pedius Blaesus,' who was tried and condemned under Nero for extortion from the Cyrenians two years before Persius' death. Persius probably refers to the passage in Horace, the gist of which is an appeal to the apes of Lucilius, who interlarded their poetry with Greek. Would you do so if you had to plead in a criminal trial for a great criminal, with the famous Pedius against you, putting out all the powers of his mother tongue?' So here Persius may mean, Even the eloquence of the bar, to which Horace would point as a genuine unaffected thing, has caught the tainteven our Pediuses talk like schoolboys or pedants.' laudatur bellum hoc!' hoc bellum? an, Romule, ceves? Sed numeris decor est et iunctura addita crudis. 95 87. bellum hoc bellum est. 90. uerum s eras. inter r et u. 95. Si. 86. figura, Gr. oxĥua. Cic. de Or. 3. 53, Or. 39, Quint. 9. 1. Freund. 87. bellum hoc bellum the best MSS., whence Jahn reads, 'bellum hoc! hoc bellum?' · Romule, like Titi,' 'Romulidae,' 'Trossulus.' ceves, like 'trepidare,'' exsultare,' but with a further notion of moral debasement. 88. men' moveat cimex Pantilius?' Hor. I S. 10. 78. The sentiment is the same as Hor. A. P. 102 Si vis me flere, dolendum est Primum ipsi tibi,' compared by Lubin. Compare also Hor. I S. 10. 25 Cum versus facias, te ipsum percontor, an et cum Dura tibi peragenda rei sit causa Petilli?' which forms part of the context of the passage referred to on v. 85, as being in Persius' mind. The subject of moveat' here is 'naufragus.' From this we may infer that the custom of beggars singing ballads was not unknown at Rome. 89. Draws out the image of the shipwrecked sailor. Si fractis enatat exspes Navibus aere dato qui pingitur' Hor. A. P. 20. Compare 6. 32 'ne pictus oberret Caerulea in tabula,' and Juv. 14. 302. plank?' Jahn thinks from Martial 12. 57. 12 fasciato naufragus loquax trunco,' that the painting may be actually on the plank. Two MSS. omit in. 90. verum.. paratum are neuters, but the constructions that of a cognate acc. nocte paratum may be illustrated by a beautiful passage in Lucr. I. 140 Sed tua me virtus tamen, et sperata voluptas Suavis amicitiae, quemvis sufferre laborem Suadet, et inducit noctes vigilare serenas.' So Juv. 7. 27 'vigilataque proelia dele.' Compare the use of 'lucu |