Seneca ap. Lactant. i. 16. R. These illicit amours were generally, in ancient times, laid to the account of the Gods.

60. These arcades or piazzas' were the fashionable lounge of Roman ladies, where they might see and be seen, without exposure to the weather. (Spectatum veniunt, veniunt spectentur ut ipsæ; Ov. A. A. i. 99.) There were several of these porticoes: tu modo Pompeia lentus spatiare sub umbra ;—nec tibi vitetur, quæ porticus auctoris Livia nomen habet ;-nec fuge linigera Memphitica templa juvence, &c. Ibid. 50 and 67 sqq. PR. M. R.

61. The steps from bench to bench of the amphitheatres, after ascending obliquely to the uppermost row, descended at the same angle of inclination to the lowest; so as to divide the seats into the shape of wedges,' having the points alternately upwards and downwards, like the letter W: see F. LI.

62. Securus without misgivings.' MNS.

Sed tu præcipue curvis venare theatris; illic invenies, quod ames, quodque tenere velis; Ov. A. A. i. 89 sqq. R.

63. Before the time of Augustus, the Romans were acquainted with no intermedial amusements but mimes and farces of the lowest and most desultory kind. Buffoons from Tuscany were the performers in these pieces, which were introduced between the acts of their tragedies and comedies, and consisted of little more than coarse and licentious ribaldry, and the most ridiculous and extravagant antics. In this state the stage was found by Pylades and Bathyllus; the latter of whom was a native of Alexandria, and one of Mæcenas' slaves. He had seen Pylades dance in Cilicia, and spoke of him in such terms to his master, that he sent for him to Rome. Here these two men formed the plan of a new kind of spectacle, which pleased Mæcenas so much, that he gave Bathyllus his freedom, and recommended both him and his friend to Augustus. This new spectacle was a play performed by action alone; it was exhibited on a magnificent theatre raised for the purpose,

and being accompanied by a better orchestra than Rome had yet seen, it astonished and delighted the people so much, that they forsook in some measure their tragic and comic poets, for the more expressive ballets of Pylades and Bathyllus.

To say the truth, these were very extraordinary men. The art which they introduced they carried to the highest pitch of perfection, and however skilful their followers may have been, they do not appear to have added any thing to the magnificence of the scene, or the scientific movements of the first performers. We can form no adequate idea of the attachment of the Romans to these exhibitions: it degenerated into a kind of passion, and occupied their whole souls. Augustus regarded it with complacency, and either from a real love for the art, or from policy, conferred honours and immunities on its professors. By an old law, magistrates were allowed to inflict corporal punishment on mimi and players; pantomimi (such was the expressive name given to these new performers) were exempted from this law; they were besides allowed to aspire to honours from which the former were excluded. Such protection produced its natural effects; insolence in the dancers, and parties among the people. Pylades excelled in tragic and Bathyllus in comic subjects; hence arose disputes on their respective merits, which were conducted with all the warmth of a political question. Augustus flattered himself that he should re-establish tranquillity by banishing the former; but he was mistaken; the people found they had lost one great source of amusement by his absence, and their clamours occasioned his immediate recall. The death of Bathyllus, soon after this event, left Pylades without a rival. He did not bear his faculties meekly; he frequently insulted the spectators for not comprehending him, and they endeavoured in their turn to make him feel the weight of their resentment. He had a favourite pupil named Hylas; this youth they opposed to the veteran, who easily tri

umphed over his adversary, though he could not humble him. We hear no more of Pylades; but Hylas fell under the displeasure of the emperor soon after, and, if I rightly understand Suetonius, was, "contrary to the statute in that case made and provided," publicly whipped at the door of his own house.

It appears from this that Augustus kept the superintendence of these people in his own hands. Tiberius left them to themselves, and the consequence of his indifference was, that the theatres were frequently made a scene of contention and blood, in which numbers of all ranks perished. A variety of regulations, as we learn from Tacitus, were now made to check the evil, which they only served to exasperate; and in conclusion the emperor was obliged to shut up the theatres and banish the performers. In this state were things at the accession of Caligula. His first care was to undo every thing that had been done. Under this profligate madman, the ballets took a licentious turn, and hastened the growing degeneracy of manners. Claudius left them as he found them; but under Nero, the bloody disputes to which they constantly gave birth, reluctantly compelled that prince to banish them once more. He was too fond of the fine arts, however, to suffer so capital a branch of them to languish in neglect, and therefore speedily brought back the exiles. From this time the pantomimi seem to have flourished unmolested, until Paris, the Bathyllus of Domitian's reign, raised the jealousy of that wretched tyrant, who put him, and a young dancer who resembled him, to death, and drove the rest from Rome. They were recalled the instant the emperor was assassinated, and continued through the whole of Nerva's and some part of his successor's reign; but they were now become so vitiated by the shameful indulgence of Caligula and Nero, that, if we may believe Pliny, Trajan finally suppressed them, at the unanimous desire of the people.

The Chironomon here mentioned, was a ballet of action founded on the wellknown amour of Leda, in which some favourite dancer (probably Paris) was the principal performer. Whether he

played the Swan or the Lady cannot now be told; but in a story so wantonly framed, and in an age, where so little restraint was imposed on an actor, enough might be done in either, to interest and inflame the coldest spectator. G.

As the successors of Pylades, in the tragic ballet, were called by his name, so the successors of Bathyllus, in the comic ballet, were honoured with the name of that eminent dancer. SA. In like manner the name of Roscius has been often applied to distinguished actors.

64. The exhibition of these ballets is attended with danger even to the purest minds. They would excite improper emotions even in the immaculate Vestal's breast, and will fill the head of the innocent country girl with unchaste ideas.' Segnius irritant animos demissa per aurem, quam quæ sunt oculis subjecta fidelibus, et que ipsa sibi tradit spectatrix; Hor. A. P. 180 sqq.

Tuccia was a Vestal, who, when her character was impeached, cleared it by the ordeal of drawing water in a sieve. V. Max. VIII. i. 5. Plin. xxviii. 2. 8. To this story there seems an oblique allusion. cf. i. 39. xi. 161. LU. HŃ. R.

The modest Apulian brunette loses, for the time, all sense of decency.' LU. pudica mulier, Sabina qualis, aut perusta solibus pernicis uxor Appuli; Hor. Ep. ii. 39 sq. cf. x. 298 sq. R.

Whines.' LU. Apul. Met. ii. p. 119, 8. principio tremulis gannitibus aera pulsat, verbaque lascivos meretricum imitantia cœtus vibrat; Auson. Ep. cviii. 4 sqq. R.

65. Amplexu; Sil. xi. 399. R.

Subitum, Miserabile, Longum, according to J.Pollux, were the technical names of certain movements: LU. (cf. Pers. i. 33 sqq. Anhelat verbisque sonat plorabile quiddam ultra nequitiam fractis; Claud. Eutr. i. 259 sqq. R.) corresponding perhaps to the terms presto, adagio, &c. in modern music.

Et is wanting before longum. The omission of the conjunction is common in Juvenal, and is sometimes awkward, as in 118. 604. viii. 27. adde et bascaudas, et mille escaria, multum cœlati; xii. 46 sq. and particularly here. R.

66. Is all attention to.' PR. Marius impigre prudenterque suorum et hostium res pariter attendere; Sall. B. J. 93. The most adroit figurante on the stage was once but a simple country lass; but she like others caught the infection, and to such a degree that she now executes to admiration the gestures and attitudes which once astonished her weak mind.' saltantes Satyros imitabitur Alphesibaus; Virg. E. v. 73.

Discit becomes knowing,' LU. takes a lesson.' in theatris admonetur omnis ætas, fieri posse quod factum est? exempla fiunt, quæ jam esse facinora destiterunt. adulterium discitur dum videtur; et lenocinante ad vitia publicæ auctoritatis malo, quæ pudica fortasse ad spectaculum accesserat, inde revertitur impudica. movet sensus, mulcet affectus, expugnat boni pectoris conscientiam fortiorem; Cyprian Ep. ii. 2. Lact. i. 20. Tertull. de Spect. 17. Sen. Ep. 17. Colum. pr. PR, Ř.

67. When the theatrical season was over, the curtains were packed away.' By 'the curtains' we may understand all the stage property.' LU. M. According to Isidore hangings' were called aulaea (Hor. A. P. 154.) from being first used in the hall of Attalus king of Pergamus. PR. cf. Lucr. iv. 73. Virg. G. iii. 24 sq. Ov. M. iii. 111 sqq. R.

68. Even then " Cœlebs in search of a wife" would have known where to have looked for one: et for a conveniunt (quis credere possit!) amori; flammaque in arguto sape reperta foro: &c. Ov. A. A. 79 sqq.

69. From the 5th of April to the 15th of November was an interval quite long enough to exercise the patience of the ladies. G. Understand distant. LU.

Megalensibus fieri celebrarique voluerunt: qui sunt more institutisque maxime casti, solemnes, religiosi: qui uni ludi ue verbo quidem appellantur Latino, ut vocabulo ipso et appetita religio externa, et Matris Magna (ñs μegáans unrgòs) nomine suscepta declaretur: servorum Megalesia fuerunt! Cic. Har. Resp. 12. PR. cf. Ov. F. iv. 179 sqq. 357. Liv. xxix. 14. xxxiv. 54. R. During the above interval, only the greater scenic games were suspended. ACH. The Circensian Games in honor of Ceres were a patrician festival. cf. Ov. F. iv. 353. Gell. ii. 24. xviii. 2. H.

Tristes victims of ennui.'

70. The tragic mask' was the invention of Eschylus. Hor. A. P. 278. PR. iii. 175. R.

'The spear wreathed with vine-leaves' was one of the insignia borne by the votaries of Bacchus; to whom the drama was originally sacred. PR. Hor. A. P. 277. R.

Thisgirdle' was a pair of short drawers (igilaμa), which merely went round the hips, and left the thighs bare. FA. scenicorum mos tantam habet a vetere disciplina verecundiam, ut in scenam sine subligaculo prodeat nemo; Cic. Off. i. 35. PR.

Accius was the name of a tragic poet and annalist, who flourished about A. U. 600: but here it is probably some pantomimic actor who is meant. PR. R.

71. Urbicus is either the name or appellation of some buffoon engaged perhaps to amuse the ladies at their private theatricals during the recess. PE. cf. Mart. 1. xxxii. 11. R.

Erodium; iii. 174 sq. PE. Suet. Tib. 45. PR. The name is perhaps derived from its immediately following the godes, which is the last part of a tragedy; Arist. Poet. VO.

The Atellan Play' (cf. note on i. 3.) had its name from Atella, a town of the Osci in Campania between Capua and Naples, now 'Aversa.' It resembled the Satyric Drama of the Greeks. Ju

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ventus histrionibus fabellarum actu relicto, ipsa inter se more antiquo ridicula intexta versibus jactitare cœpit; qua inde exodia postea appellata consertaque fabellis potissimum Atellanis sunt. quod genus ludorum ab Oscis acceptum tenuit juventus, nec ab histrionibus pollui passa est. eo institutum manet, ut actores Atellanarum nec tribu moveantur, et stipendia tamquam expertes artis ludicræ faciant; Liv. vii. 2. PR. It was somewhat of the same nature as the modern burletta of Midas.

72. Autonoe was one of the unfortunate daughters of Cadmus and Hermione, and the mother of Actæon. LU. This was probably a burlesque of some serious ballet on the same subject; as there was little that was laughable in the tragic history of Autonoe, G. any more than in the loves of Pyramus and Thisbe; which notwithstanding become laughter-stirring in the hands of Bottom and his company.

Elia was a lady sprung from a very poor though respectable family. V. Max. iv. iv. 8. LU. PR. Liv. xxxii. 7. R. The object of her affections not being a vocal performer did not wear a buckle, and therefore was to be obtained at a cheaper rate. FE.

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73. "Il s'agit d'une opération pratiquée par les anciens pour conserver aux acteurs la voix: elle s'appelloit infibulation, son objet étoit d'empêcher ceux que l'on houcloit d'avoir commerce avec les femmes;" DX. Tertullian, when he says that we ought to mortify our lusts,' expresses it by the words fibulam carni imponere. G. cf. Cels. vii. 25. LU. Mart. VII. lxxxi. PR. v. 378. M.

With magno understand pretio. LU. By his more wealthy ladies are signified. LU.

74. Chrysogonus was a singer, who lost his voice owing to his debaucheries.

LU. vii. 176. cf. Ath. xii. 9. R. Hispulla; xii. 11. LU. Her niece married the younger Pliny; Ep. iv. 19.

75. 'Quintilian' was a very virtuous as well as learned man, whom Juvenal always mentions with respect. Some say that he took lessons of him in rhetoric; see next satire. G. The name here denotes a man of genuine worth and talent.' LU. cf. 280. Postumus was probably a man of genius. R.

Exspectas; 239. xiv. 25. Ov. A. A. iii. 749. R.

76. De qua by whom.' GR. Mart. VI. xxxix. R.

77. The choral flute-player.' LU.

Glaphyrus was a celebrated performer on the flute in the Augustan age. Mart. IV. v. Antip. Ep. 28 sq. in Brunck's An. t. ii. p. 116. R. See Mart. VI. xxxix. G.

78. All these grand preparations are made; and for what end? Why, that thy chaste and exemplary wife may present thee with a fac-simile of some prizefighter.'

Made narrow by the crowds of spectators, LU. as well as by the scaffolding erected along them, (note on 52.) from which poets recited epithalamia.' VL.

79. With the entire tree:' recto proceras stipite laurus; Cat. lxiv. 290. GR. cf. xii. 91. R.

80. Under the canopy of a bedstead inlaid with tortoiseshell.' xwwwwstov is ‘a fine meshed (vii. 40.) net to keep off gnats,' a musquito net.' Hor. Ep. ix. 16. cf. 89 and xi. 94 sq. VS. LU. M. Mart. IX. lx. 9. XII. lxxvii. 5. XIV. lxxxvii. Anthol. iv. 32. Plut. Ant. p. 927. Varr. R. R. II. x. 8. Prop. III. xi. 45. R.

Juvenal, when he gave his friend the name of Lentulus, had in view the following curious anecdote. The consuls