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life, and who, when his time is sped, will quit life in contentment, like a guest who has had his fill.a

120 Well, 'tis enough. Not a word more will I add, or you will think I have rifled the rolls of bleareyed Crispinus.

The scrinia were the cylindrical boxes in which rolls of manuscript were kept. Crispinus, according to the scholiasts, was an aretalogus, one who babbled about virtue. He wrote, we are told, in verse.



Men seldom keep the golden mean, but run from one extreme to another. Especially may this be illustrated by victims of sensual indulgence and by people guilty of adultery, a vice which has become a shocking feature of the age.

This immature and forbidding sketch, coarse and sensational in tone, and doubtless one of Horace's earliest efforts, is closely associated with the Lucilian. type of satire. It abounds in personalities, freely handled, and Horace himself (in Sat. i. 4. 92) cites it later as an illustration of the kind of writing which had aroused enmity against the author. Even Maecenas, if we are to believe the scholiasts, is thinly disguised in the Maltinus of 1. 25.

In his introduction to this Satire, Lejay has shown how dependent it ultimately is “ upon the erotic literature of the Hellenistic period as expressed in the popular Cynic philosophy, in the New Comedy, and in the Anthology" (Fiske, p. 251). There is a striking parallel between it and a poem on love in the Oxyrhynchus Papyri by the Cynic Cercidas of Megalopolis, who lived in the latter part of the third century B.C. See Chapter I. of Powell and Barber's New Chapters in the History of Greek Literature (Oxford, 1921).



Ambubaiarum collegia, pharmacopolae, mendici, mimae, balatrones, hoc genus omne maestum ac sollicitum est cantoris morte Tigelli : quippe benignus erat. contra hic, ne prodigus esse dicatur metuens, inopi dare nolit amico, frigus quo duramque famem propellerel possit. hunc si perconteris, avi cur atque parentis praeclaram ingrata stringat malus ingluvie rem, omnia conductis coemens obsonia nummis : sordidus atque animi quod parvi nolit haberi, 10 respondet. laudatur ab his, culpatur ab illis. Fufidius vappae famam timet ac nebulonis, dives agris, dives positis in faenore nummis : quinas hic capiti mercedes exsecat,3 atque quanto perditior quisque est, tanto acrius urget; nomina sectatur modo sumpta veste virili sub patribus duris tironum. “maxime ” quis non

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The flute-girls' guilds, the drug-quacks, beggars, actresses, buffoons, and all that breed, are in grief and mourning at the death of the singer Tigellius. He was, they say, so generous. On the other hand, here's one who, fearing to be called a prodigal, would grudge a poor friend the wherewithal to banish cold and hunger's pangs. Should you ask another why, in his thankless gluttony, he recklessly strips the noble estate of his sire and grandsire, buying up every dainty with borrowed money, he answers that it is because he would not like to be thought mean and of poor spirit. He is praised by some, blamed by others. Fufidius, rich in lands, rich in moneys laid out at usury, fears the repute of a worthless prodigal; five times the interest he slices away from the principal,a and the nearer a man is to ruin, the harder he presses him ; he aims to get notes-of-hand from youths who have just donned the toga of manhood, and have stern fathers. Great Jove ! ” who does not cry as soon as he hears it? but surely he spends on himself in proportion to his gains ?” You would hardly believe cent a year, but Fufidius charged five times that rate, and took it in advance as in discounting, so that the sum actually received by the borrower was only forty per cent of the amount borrowed.

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