cf. Harper's lexicon, s. v. nox. — 16. a catena: G. 401, R. 1.- cani: A. & G. 226, b. 18. alligant me interdiu: cf. Cato, De Agr. 124, Canes interdiu clausos esse oportet, ut noctu acriores et vigilantiores sint. -22. iactant: for the use of the plural cf. A. & G. 205, c. 1. familia: the slaves.-27. regnare: to be king. - mihi: dative of reference (A. & G. 235). 4. This story of the shipwreck and subsequent adventures of Simonides is found only in Phaedrus. As the same tale, with slight variations, is told by Galen, Protrept. ad Artes, c. 2, and by Vitruvius, De Architectura, Introd. to Bk. vI., about the Socratic philosopher Aristippus, it is perhaps mythical, and one of the popular stories of which various persons were at different times the hero. Cf. note on vs. 14. 2. Simonides: the famous lyric poet of Ceos. See Smith, Dict. of Biography. -5. mercede accepta: Simonides was, according to Suidas, the first to write poems for hire, and was looked down upon by the other poets, notably by Pindar, for this practice, which seems, however, soon to have become general: cf. Pliny, Ep. 3. 21. 3, Fuit moris antiqui eos qui vel singulorum laudes vel urbium scripserant aut honoribus aut pecunia ornare.· laudem victorum: èπivíkia, songs of victory. -7. pelagio: a word borrowed from the Greek for the pure Latin marinus. —11. zonas: money belts.-14. mecum mea sunt cuncta: these words illustrate what was said, in the introduction to this fable, about popular stories. According to Cicero, Paradoxa 1. 8, when the philosopher Bias was fleeing from his fatherland, which had been captured by the enemy, and was advised to save some of his property, he replied: Omnia mecum porto mea; according to Valerius Maximus 7. 2 Ext. 3, his words were: Bona omnia mea mecum porto. According to Plutarch, De Trang. 17, and Seneca, Dial. 2. 5. 6 (cf. Ep. 1. 9. 18), the philosopher was Stilpo, and his words were: omnia mea mecum sunt. — 17. nudos: not to be taken literally, stripped of their possessions. -21. absentis: though he had never met him. — 23. familia: cf. note on 3. 22.-24. tabulam portant: shipwrecked persons are often described as carrying about a tablet or board with a picture of the wreck, to excite the pity and generosity of those from whom they begged food or money. Juvenal 14. 301, mersa rate naufragus assem | dum rogat et picta se tempestate tuetur. So also in Persius 1.89 and 6. 32, while in Martial 12. 57. 12, the sufferer seems to exhibit a piece of the wreckage bound with ribbons. On the practice of dedicating such pictures in temples, see note on Hor. 2. 13. 5. Cicero, De Oratore, ii. 352, Dicunt enim, cum cenaret Crannone in Thessalia Simonides apud Scopam, fortunatum hominem et nobilem, cecinissetque id carmen quod in eum scripsisset, in quo multa ornandi causa poetarum more in Castorem scripta et Pollucem fuissent, nimis illum sordide Simonidi dixisse se dimidium eius ei, quod pactus esset, pro illo carmine daturum; reliquum a suis Tyndaridis, quos aeque laudasset, peteret, si ei videretur. Paulo post esse ferunt nuntiatum Simonidi, ut prodiret; iuvenes stare ad ianuam duo quosdam, qui eum magno opere evocarent; surrexisse illum, prodisse, vidisse neminem; hoc interim spatio conclave illud, ubi epularetur Scopas, concidisse; ea ruina ipsum cum cognatis oppressum interisse. This same story is told by Quintilian xi. 2. 11, Valerius Maximus 1. 8. ext. 7, and by Aristides, Orat. iv. p. 584. It was the source of La Fontaine 1. 14, Simonide préservé par les dieux. ... 2. superius: in the preceding fable.-5. pyсtаe: Túктηs, a boxer. 6. secretum petit: there are many references in ancient writers to the necessity of quiet and privacy for literary work, e. g. Quintilian x. 3. 22, Denique ut semel quod est potentissimum dicam, secretum atque liberum arbitris locum et quam altissimum silentium scribentibus maxime convenire nemo dubitaverit; cf. § 27, for the best form of privacy: est tamen lucubratio (night work), quotiens ad eam integri ac refecti venimus, optimum secreti genus.-8. poetae more: the regular practice of poets who wrote émivínia was to insert some legend containing, if possible, an account of similar victories won by gods or heroes.-9. gemina Ledae pignera: Castor and Pollux, the latter famous as a boxer, cf. Hor. 1. 12. 26, superare pugnis nobilem, and therefore introduced here with especial appropriateness. -10. auctoritatem, etc.: adding the weight of their like deeds of fame.— 11. tertiam partem: note that Cicero says: the half.—13. duae: sc. partes.— 18. gratiam corrumperet: forfeit his friendship, cf. Ovid, Ibis, 40, where gratia rupta is used with the same meaning. — 19. recubuit: the ancients reclined on couches at their meals.-24. humanam supra formam: the ancients always represented gods and heroes as being taller than ordinary men; servulo is perhaps used to make the contrast more prominent. -28. triclinio: the Latin name for dining-room, from the three couches which were the conspicuous furniture of the room. 6. This fable is an old Greek tale explaining the origin of a proverb, eû μèv, ảλλ' oùdèv πρòs Thν Пapμévovтos v. Cf. Plutarch, Sympos. v. 1 (Goodwin's translation)," It is reported, that Parmeno, being very famous for imitating the grunting of a pig, some endeavored to rival and outdo him. And when the hearers, being prejudiced, cried out, Very well indeed, but nothing comparable to Parmeno's sow,' one took a pig under his arm and came upon the stage. And when, though they heard the very pig, they still continued, 'This is nothing comparable to Parmeno's sow,' he threw his pig amongst them, to show that they judged according to opinion and not truth." As another version of the story makes Parmeno an artist who painted a famous picture of a pig, we are evidently dealing with such a popular tale as formed the basis of 4. 1. pravo favore: prepossession, prejudice. — labi . . . dum stant: a curious mixture of metaphor, so apparent, however, that it must have been intentional. -2. pro iudicio, etc: while they are contending for their false opinion. —3. rebus manifestis: the disclosure of the truth. -- 4. ludos: here means an entertainment given by a private citizen.-8. scurra: a wag, jester.— urbano sale: polished wit; the ancients often distinguish between the refinement of the city and that of the country, always to the disadvantage of the latter; cf. Quintilian vi. 3, 17, qua (urbanitate) quidem significari video sermonem praeferentem in verbis et sono et usu proprium quendam gustum urbis et sumptam ex conversatione doctorum tacitam eruditionem, denique cui contraria sit rusticitas.-12. loca: the seats in the theatre. 18. pallio: this word, meaning originally a Greek mantle, had now become thoroughly romanized. — 19. simul:= simul ac. 26. derisuri non spec taturi: A. & G. 293 b.—27. degrunnit: the de implies that he puts forth his best efforts.-31. latens: unnoticed.—32. quem: the antecedent is not aurem, cf. A. & G. 199. b.-37. aperto pignore: showing the proof. 7. This story of a conceited virtuoso is doubtless based upon an actual occurrence at Rome. A pipe-player named Prince, on first appearing in the theatre after recovery from a broken leg, hears the chorus sing, Hail to the Prince, and imagines that the greeting, really intended for the emperor, is meant for him. The pipe-players, from very early times, seem to have formed a guild at Rome, and as early as 311 B. C., on account of a slight encroachment by the censors on their privileges, they quit work and went to Tibur, leaving the city with no musicians to assist at the public sacrifices. After being brought back to Rome by trickery, they were granted especial privileges by the state, and from that time on must have regarded themselves as persons of considerable importance. Cf. Livy ix. 30, 5 fg. ... 1. aura popularity, more commonly, aura popularis or aura favoris.—4. notior paullo: rather famous.—5. Bathyllo: a celebrated pantomime, the freedman and favorite of Maecenas, see Smith, Dict. of Biog. s. v. 7. pegma: see Smith, D. A. s. v. 8-9. sinistram tibiam duas dextras: a pun on the double meaning of tibia, shin-bone and pipe, one variety of the latter, consisting of two straight pipes of equal length, being called duae dextrae. — 17. ingredi : to go about, take the air.-23. aulaeo misso: the curtain in the Roman theatre was not raised as in the modern theatre, but was lowered into an opening at the front of the stage.-24. more translaticio: in the stock fashion. The subjects of the pantomimes (ballets) were largely taken from Mythology, and the introductory words of the gods and heroes which preceded the dancing were probably set phrases, much the same for all pieces. Cf. Dickens, Nicholas Nickleby, chap. 24. — 25. ignotum modo reducto: the canticum had been produced while Princeps was confined at home, and therefore was unknown to him. 27. laetare, etc., probably the opening words of a song written to celebrate the recovery of the emperor from some illness. Suetonius, Cal. 6, says that, when a false report of the recovery of Germanicus was spread abroad, the streets were filled with people singing, Salva Roma, salva patria, salvus est Germanicus. 32. pulpito: the stage. -35. cuneis: lit. the wedge-shaped sections of seats in the theatre, the first fourteen rows of which were reserved for the equites. The word is here used to denote the common people who sat in the cunei, but behind the equites. 38. divinae domus: the imperial house, divinus being often used in this sense. -39. capite: abl. of manner,= praeceps. Metrical translation of all the Tragedies in the publications of the Spenser Society, Nos. 43-44, a reprint (fac-simile) of the edition of 1581. 1. According to the version of the story followed by Seneca, after the fall of Troy, and while the Greeks were prevented by unfavorable winds from setting sail, Achilles appearing, in a dream, to Talthybius demands that Polyxena, daughter of Priam, be sacrificed upon his tomb. Agamemnon opposes the sacrifice; Pyrrhus, son of Achilles, insists upon its performance. Calchas, called upon to settle the dispute, decides that not only must Polyxena be sacrificed, but that Astyanax, son of Hector, must be hurled down from the battlements. This decision leads the chorus of Trojan women to reflect on the nature of death, their conclusion being that it is the end of all things. Cf. vs. 27, post mortem nihil est ipsaque mors nihil. Metre: Lesser Asclepiadean (see p. 2, § 10). 2. conditis: buried, laid to rest. -3. oculis imposuit manum: it was customary, both in Greece and at Rome, for the nearest relative present to close the eyes of the dying. For the Roman custom, cf. Pliny, H. N. 11. 150, morientibus illos (oculos) operire rursusque in rogo patefacere Quiritium magno ritu sacrum est. —6. animam tradere funeri: it was the ancient belief that, unless the prescribed funeral rites were performed, the soul of the deceased could not be admitted to Hades. Cf. Verg. Aen. 6. 325 f. Haec omnis, quam cernis, inops inhumataque turba est; transportare prius, quam sedibus ossa quierunt. Centum errant annos volitantque haec litora circum; tum demum admissi stagna exoptata revisunt. -8. toti: body and soul. —9. nostri: the more common form of the part. genitive is nostrum, cf. A. & G. 99. b and c.—11. fax: the torch used to light the funeral pyre.14. bis veniens et fugiens: a reference to the tides. 15. Pegaseo:= veloci, cf. Catullus 55. 24, non si Pegaseo ferar volatu. — 16. bis sena sidera: the signs of the zodiac, a poetic expression meaning years. 18. astrorum dominus: the sun, cf. Sen. Thyestes, 835 f. non aeternae | facis exortu dux astrorum | saecula ducens dabit aestatis | brumaeque notas. — 19. Hecate: the moon, cf. Sen. Phaedra, 409 f. O magna silvas inter et lucos dea | clarumque caeli sidus et noctis decus, | cuius relucet mundus alterna vice, | Hecate triformis. — 20. hoc sc. turbine, cursu, modo; antecedent of quo in vss. 16-18.-21. iuratos superis lacus: the river Styx, oaths sworn by which the gods themselves must observe.-27. This view of death is diametrically opposed to several utterances of Seneca in his philosophical writings, cf. Ep. 36. 10, mors, quam pertimescimus ac recusamus, intermittit vitam, non eripit: veniet iterum qui nos in lucem reponat dies. Ep. 102, 2, iuvabat de aeternitate animarum quaerere, immo mehercules credere. 28. meta novissima: the last goal, a figure drawn from the race-course.-31. individua: indivisible: the sense in which this is true is explained in the two clauses which follow. — 32. Taenara: usually Taenarus or Taenarum. — aspero domino: Dis or Pluto.—37-38. for the sentiment cf. Eurip. Troades, 636, тò μǹ yevéolai tậ θανεῖν ἴσον λέγω. 2. The chorus invokes the blessing of the gods on the marriage of Jason and Creusa (vss. 1-19), praises the beauty of wife and husband (vss. 20–51), and invites the youths to begin the epithalamium or wedding song (vss. 52–60). On the whole the wedding details here mentioned are more in accordance with Roman usage than with Greek, although there is very little material on which to base a decisive opinion. Cf. Smith, D. A., vol. 2. pp. 136 and 142 f. Metre: vss. 1-19 and 38-54, Lesser Asclepiadean (see p. 2, § 10). vss. 55-60, Dactylic Hexameter. 3. rite faventibus: observing a reverent silence. At sacrifices and other religious observances it was customary to bid the spectators favere linguis, to refrain from words of ill omen, a virtual order to be silent. 4. sceptriferis Tonantibus: Jupiter and Juno.-6. Lucinam: the goddess of child-birth, often called Juno Lucina.- femina: a heifer.—8. quae cohibet, etc.: the goddess Pax or Concordia. She is regularly represented with the horn of plenty, as in vs. 10.-II. mitior: sc. ut sit. 12. tu: Hymenaeus, god of marriage, cf. Smith, Dict. of Biog. He is represented holding a torch, and so noctem discutiens, vs. 13.— facibus: by metonymy for marriage, nuptiis; so frequently in poetry. - 15. roseo: in Catullus the garland is of marjoram, cf. 61. 6, Cinge tempora floribus | suave olentis amaraci. 16. tu: Venus, or more accurately Vesper, the evening star, identified with Venus. At nightfall the bride was escorted to her new home, and hence the connection of this star with marriage, cf. Catullus 62. 1. Vesper adest: iuvenes, consurgite: vesper Olympo Surgere iam tempus, iam pinguis linquere mensas: Cf. Sappho 93 (Hiller). — gemini praevia temporis: herald of light and darkness, i. e., as morning and as evening star alternately, cf. Sen. Phaedra, 749, talis est, primas referens tenebras, | nuntius noctis, modo lotus undis | Hesperus, pulsis iterum tenebris Lucifer idem.- -22. Cecropias: Athenian. - 24. muris quod caret oppidum: Sparta, which was not regularly fortified with wall and moat until 195 B. C. Even after this period there were long intervals during which it was without walls.—25. Aonius latex: the Boeotian spring, probably Aganippe, though there were other famous springs in the country. A poetical expression meaning all Boeotia.-26. Alpheos, etc.: Elis.-29. proles fulminis: Bacchus. Cf. the |