[Footnote 501: Than the other.--Ver. 8. 'He alludes to the unequal
lines of the Elegiac measure, which consists of Hexameters and
Pentameters. In personifying Elegy, he might have omitted this remark,
as it does not add to the attractions of a lady, to have one foot longer
than the other; he says, however, that it added to her gracefulness.]
[Footnote 502: The Lydian buskin.--Ver. 14. As Lydia was said to
have sent colonists to Etruria, some Commentators think that the word
'Lydius' here means 'Etrurian and that the first actors at Rome were
Etrurians. But, as the Romans derived their notions of tragedy from the
Greeks, we may conclude that Lydia in Asia Minor is here referred
to; for we learn from Herodotus and other historians, that the Greeks
borrowed largely from the Lydians.]
[Footnote 503: Drunken revels.--Ver. 17. He probably alludes to the
Fourth Elegy of the First, and the Fifth Elegy of the Second Book of the
'Amores.']
[Footnote 505: Mighty inspiration.--Ver. 23. The 'thyrsus' was said to
have been first used by the troops of Bacchus, in his Indian expedition,
when, to deceive the Indians, they concealed the points of their spears
amid leaves of the vine and ivy. Similar weapons were used by his
devotees when worshipping him, which they brandished to and fro. To be
touched with the thyrsus of Bacchus, meant 'to be inspired with poetic
frenzy.' See the Notes to the Metamorphoses, Book iii. 1. 542.]
[Footnote 506: In unequal numbers.--Ver. 37. Some have supposed, that
allusion is made to the Tragedy of Medea, which Ovid had composed, and
that it had been written in Elegiac measure. This, however, does not
seem to be the meaning of the passage. Elegy justly asks Tragedy, why,
if she has such a dislike to Elegiac verses, she has been talking in
them? which she has done, from the 15th line to the 30th.]
[Footnote 507: Myself the patroness.--Ver. 44. She certainly does
not give herself a very high character in giving herself the title of
'lena.']
[Footnote 508: The fastened door.--Ver. 50. He alludes, probably, to
one of the Elegies which he rejected, when he cut down the five books to
three.]
[Footnote 509: In a hose tunic.--Ver. 51. He may possibly allude to the
Fifth Elegy of the First Book, as the words 'tunicâ velata recinctâ,' as
applied to Corinna, are there found. But there he mentions midday as the
time when Corinna came to him, whereas he seems here to allude to the
middle of the night.]
[Footnote 510: Cut in the wood.--Ver. 53. He alludes to the custom of
lovers carving inscriptions on the doors of their obdurate mistresses:
this we learn from Plautus to have been done in Elegiac strains, and
sometimes with charcoal. 'Implentur meæ fores clegiarum carbonibus.' 'My
doors are filled with the coal-black marks of elegies.']
[Footnote 511: On her birthday.--Ver. 57. She is telling Ovid what she
has put up with for his sake; and she reminds him how, when he sent to
his mistress some complimentary lines on her birthday, she tore them
up and threw them in the water. Horace mentions 'the flames, or the
Adriatic sea,' as the end of verses that displeased. Athenseus, Book
xiii. c. 5, relates a somewhat similai story. Diphilus the poet was in
the habit of sending his verses to his mistress Gnathæna. One day she
was mixing him a cup of wine and snow-water, on which he observed, how
cold her well must be; to which she answered, yes, for it was there that
she used to throw his compositions.]
[Footnote 514: From behind.--Ver. 70. It is not known, for certain, to
what he refers in this line. Some think that he refers to the succeeding
Elegies in this Book, which are, in general, longer than the former
ones, while others suppose that he refers to his Metamorphoses, which he
then contemplated writing. Burmann, however, is not satisfied with this
explanation, and thinks that, in his more mature years, he contemplated
the composition of Tragedy, after having devoted his youth to lighter
snbjects; and that he did not compose, or even contemplate the
composition of his Metamorphoses, until many years afterwards.]
[Footnote 515: I am not sitting here.--Ver. 1. He is here alluding to
the Circen-sian games, which were celebrating in the Circus Maximus, or
greatest Circus, at Rome, at different times in the year. Some account
is given of the Circus Maximus in the Note to 1. 392. of the Second Book
of the Fasti. The 'Magni,' or Great Circensian games, took place on the
Fourth of the Ides of April. The buildings of the Circus were burnt in
the conflagration of Rome, in Nero's reign; and it was not restored
till the days of Trajan, who rebuilt it with more than its former
magnificence, and made it capable, according to some authors, of
accommodating 385,000 persons. The Poet says, that he takes no
particular interest himself in the race, but hopes that the horse may
win which is her favourite.]
[Footnote 516: The spirited steeds.--Ver. 2. The usual number of
chariots in each race was four. The charioteers were divided into four
companies, or 'fac-tiones,' each distinguished by a colour, representing
the season of the year. These colours were green for the spring, red for
the summer, azure for the autumn, and white for the winter. Originally,
but two chariots started in each race; but Domitian increased the number
to six, appointing two new companies of charioteers, the golden and the
purple; however the number was still, more usually, restricted to four.
The greatest interest was shewn by all classes, and by both sexes, in
the race. Lists of the horses were circulated, with their names and
colours; the names also of the charioteers were given, and bets were
extensively made, (see the Art of Love, Book i. 1. 167, 168,) and
sometimes disputes and violent contests arose.]
[Footnote 517: To be seated by you.--Ver. 3. The men and women sat
together when viewing the contests of the Circus, and not in separate
parts of the building, as at the theatres.]
[Footnote 518: Happy the driver.--Ver. 7. He addresses the charioteer.]
[Footnote 519: The sacred barrier.--Ver. 9. For an account of the
'career,' or 'starting-place,' see the Notes to the Tristia, Book v. El.
ix. 1. 29. It is called 'sacer,' because the whole of the Circus Maximus
was sacred to Consus, who is supposed by some to have been the same
Deity as Neptune. The games commenced with sacrifices to the Deities.]
[Footnote 520: I would give rein.--Ver. 11. The charioteer was wont
to stand within the reins, having them thrown round his back. Leaning
backwards, he thereby threw his full weight against the horses, when
he wished to check them at full speed. This practice, however, was
dangerous, and by it the death of Hippolytus was caused. In the
Fifteenth Book of the Metamorphoses,1. 524, he says, 'I struggled,
with unavailing hand, to guide the bridle covered with white foam, and
throwing myself "backwards, I pulled back the loosened reins.' To avoid
the danger of this practice, the charioteer carried a hooked knife at
his waist, for the purpose of cutting the reins on an emergency.]
[Footnote 521: The turning-place.--Ver. 12. For an account of the
'meta.'see the Tristia, Book iv. El. viii.l. 35. Of course, thpse who
kept as close to the 'meta' as possible, would lose the least distance
in turning round it.]
[Footnote 522: How nearly was Pelops.--Ver. 15. In his race with
Onomaüs, king of Pisa, in Arcadia, for the hand of his daughter,
Hippodamia, when Pelops conquered his adversary by bribing his
charioteer, Myrtilus.]
[Footnote 523: Of his mistress.--Ver. 17. He here seems to imply that
it was Hippodamia who bribed Myrtilus.]
[Footnote 524: Shrink away in vain.--Ver. 19. She shrinks from him, and
seems to think that he is sitting too close, but he tells her that the
'linea' forces them to squeeze. This 'linea' is supposed to have been
either cord, or a groove, drawn across the seats at regular intervals,
so as to mark out room for a certain number of spectators between each
two 'lineæ.']
[Footnote 525: Has this advantage.--Ver. 20. He congratulates himsdf on
the construction of the place, so aptly giving him an excuse for sitting
close to his mistress.]
[Footnote 526: But do you --Ver. 21. He is pretending to be very
anxious for her comfort, and is begging the person on the other side not
to squeeze so close against his mistress.]
[Footnote 527: And you as well.--Ver. 23. As in the theatres, the
seats, which were called 'gradas,' 'sedilia,' or 'subsellia,' were
arranged round the course of the Circus, in ascending tiers; the lowest
being, very probably, almost flush with the ground. There were, perhaps,
no backs to the seats, or, at the best, only a slight railing of wood.
The knees consequently of those in the back row would be level, and in
juxta-position with the backs of those in front. He is here telling the
person who is sitting behind, to be good enough to keep his knees to
himself, and not to hurt the lady's back by pressing against her.]
[Footnote 528: I am taking it up.--Ver. 26. He is here showing off his
politeness, and will not give her the trouble of gathering up her dress.
Even in those days, the ladies seem to have had no objection to their
dresses doing the work of the scavenger's broom.]
[Footnote 529: The fleet Atalanta.--Ver. 29. Some suppose that the
Arcadian Atalanta, the daughter of Iasius, was beloved by a youth of the
name of Milanion. According to Apollodorus, who evidently confounds
the Arcadian with the Boeotian Atalanta, Milanion was another name of
Hippo-menes, who conquered the latter in the foot race, as mentioned
in the Tenth Book of the Metamorphoses. See the Translation of the
Metamorphoses, p. 375. From this and another passage of Ovid, we have
reason to suppose that Atalanta was, by tradition, famous for the beauty
of her ancles.]
[Footnote 530: The fan may cause.--Ver. 38. Instead of the word
'tabella,' 'flabella' has been suggested here; but as the first syllable
is long, such a reading would occasion a violation of the laws of metre,
and 'tabella' is probably correct. It has, however, the same meaning
here as 'flabella it signifying what we should call 'a fan;' in fact,
the 'flabellum' was a 'tabella,' or thin board, edged with peacocks'
feathers, or those of other birds, and sometimes with variegated pieces
of cloth. These were generally waved by female slaves, who were called
'flabelliferæ'; or else by eunuchs or young boys. They were used to cool
the atmosphere, to drive away gnats and flies, and to promote sleep.
We here see a gentleman offering to fan a lady, as a compliment; and it
must have been especially grateful amid the dust and heat of the Roman
Circus. That which was especially intended for the purpose of driving
away flies, was called 'muscarium.' The use of fans was not confined
to females; as we learn from Suetonius, that the Emperor Augustus had
a slave to fan him during his sleep. The fan was also sometimes made of
linen, extended upon a light frame, and sometimes of the two wings of a
bird, joined back to back, and attached to a handle.]
[Footnote 531: Now the procession.--Ver. 34 All this time they have
been waiting for the ceremony to commence. The 'Pompa,' or procession,
now opens the performance. In this all those who were about to exhibit
in the race took a part. The statues of the Gods were borne on wooden
platforms on the shoulders of men, or on wheels, according as they
were light or heavy. The procession moved from the Capitol, through the
Forum, to the Circus Maximus, and was also attended by the officers of
state. Musicians and dancers preceded the statues of the Gods. See the
Fasti, Book iv. 1. 391, and the Note to the passage.]
[Footnote 532: Victory borne.--Ver. 45. On the wooden platform, which
was called 'ferculum,' or 'thensa,' according as it was small or large.]
[Footnote 533: With expanded wings.--Ver. 45. Victory was always
represented with expanded wings, on account of her inconstancy and
volatility.]
[Footnote 534: Salute Neptune.--Ver. 47. 'Plaudite Neptuno' is
equivalent, in our common parlance, to 'Give a cheer for Neptune.' He
is addressing the sailors who may be present: but he declines to have
anything to do with the sea himself.]
[Footnote 535: Arms I detest.--Ver. 49. Like his contemporary, Horace,
Ovid was no lover of war.]
[Footnote 536: Of the artisan.--Ver. 52. We learn from the Fasti, Book
iii. 1.815, that Minerva was especially venerated as the patroness of
handicrafts.]
[Footnote 537: Let the boxers.--Ver. 54. Boxing was one of the earliest
athletic games practised by the Greeks. Apollo and Hercules, as well as
Pollux, are celebrated by the poets for excelling in this exercise.
It formed a portion of the Olympic contests; while boys fought in the
Nemean and Isthmian games. Concerning the 'cæstus' used by pugilists,
see the Fasti, Book ii. 1. 367, and the Note to the passage. The method
in fighting most practised was to remain on the defensive, and thus to
wear out the opponent by continual efforts. To inflict blows, without
receiving any in return on the body, was the great point of merit. The
right arm was chiefly used for attack, while the office of the left was
to protect the body. Teeth were often knocked out, and the ears were
much disfigured. The boxers, by the rules of the game, were not allowed
to take hold of each other, nor to trip up their antagonist. In Italy
boxing seems to have been practised from early times by the people of
Etruria. It continued to be one of the popular games during the period
of the Republic as well as of the Empire.]
[Footnote 538: In the lattice work.--Ver. 64. The 'cancelli' were
lattice work, which probably fkirted the outer edge of each wide
'præcinctio,' or passage,that ran along in front of the seats, at
certain intervals. As the knees would not there be so cramped, these
seats would be considered the most desirable. It is clear that Ovid and
the lady have had the good fortune to secure front seats, with the feet
resting either on the lowest 'præcinctio', or the 'præcinctio' of a set
of seats higher up. Stools, of course, could not be used, as they would
be in the way of passers-by. He perceives, as the seat is high, that she
has some difficulty in touching the ground with her feet, and naturally
concludes that her legs must ache; on which he tells her, if it will
give her ease, to rest the tips of her feet on the lattice work railing
which was opposite, and which, if they were on an upper 'præcinctio,'
ran along the edge of it: or if they were on the very lowest tier,
skirted the edge of the 'podium' which formed the basis of that tier.
This she might do, if the 'præcinctio' was not more than a yard wide,
and if the 'cancelli' were as much as a foot in height.]
[Footnote 539: Now the Prcetor.--Ver. 65. The course is now clear
of the procession, and the Prætor gives the signal for the start, the
'carceres' being first opened. This was sometimes given by sound of
trumpet, or more frequently by letting fall a napkin; at least, after
the time of Nero, who is said, on one occasion, while taking a meal, to
have heard the shouts of the people who were impatient for the race to
begin, on which he threw down his napkin as the signal.]
[Footnote 540: The even harriers.--Ver. 66. From this description we
should be apt to think that the start was effected at the instant when
the 'carceres' were opened. This was not the case: for after coming out
of the-carceres,' the chariots were ranged abreast before a white line,
which was held by men whose office it was to do, and who were called
'moratores.' When all were ready, and the signal had been given, the
white line was thrown down, and the race commenced, which was seven
times round the course. The 'career' is called 'æquum,' because they
were in a straight line, and each chariot was ranged in front of the
door of its 'career.']
[Footnote 541: Circuit far too wide.--Ver. 69. The charioteer, whom the
lady favours, is going too wide of the 'meta,' or turning-place, and so
loses ground, while the next overtakes him.]
[Footnote 542: To the left.--Ver. 72. He tells him to guide the horses
to the left, so as to keep closer to the 'meta,' and not to lose so much
ground by going wide of it.]
[Footnote 543: Call him back again.--Ver. 73. He, by accident, lets
drop the observation, that they have been interesting themselves for
a blockhead. But he immediately checks himself, and, anxious that the
favourite may yet distinguish himself, trusts that the spectators
will call him back. Crispinus, the Delphin Editor, thinks, that by the
calling back, it is meant that it was a false start, and that the race
was to be run over again. Bur-mann, however, is not of that opinion;
but supposes, that if any chariot did not go well, or the horses seemed
jaded, it was the custom to call the driver back from the present race,
that with new horses he might join in the next race. This, from the
sequel, seems the most rational mode of explanation here.]
[Footnote 544: Waving the garments.--Ver. 74. The signal for stopping
was given by the men rising and shaking and waving their outer garments,
or 'togae,' and probably calling the charioteer by name.]
[Footnote 545: Disarrange your hair.--Ver. 75. He is afraid lest her
neighbours, in their vehemence should discommode her hair, and tells
her, in joke, that she may creep into the bosom of his own 'toga.']
[Footnote 546: And now the barrier.--Ver. 77. The first race we are to
suppose finished, and the second begins similarly to the first. There
were generally twenty-five of these 'missus,' or races in a day.]
[Footnote 547: The variegated throng.--Ver. 78. See the Note to the
second line.]
[Footnote 548: At all events.--Ver. 79. He addresses the favourite, who
has again started in this race.]
[Footnote 549: Bears away the palm.--Ver. 82. The favourite charioteer
is now victorious, and the Poet hopes that he himself may gain the palm
in like manner. The victor descended from his car at the end of the
race, and ascended the 'spina,' where he received his reward, which was
generally a considerable sum of money. For an account of the 'spina,'
see the Metamorphoses, Book x. l. 106, and the Note to the passage.]
[Footnote 550: Her beauty remains.--Ver. 2. She has not been punished
with ugliness, as a judgment for her treachery.]
[Footnote 551: Proved false to me.--Ver. 10. Tibullus has a similar
passage, 'Et si perque suos fallax juravit ocellos 'and if with her eyes
the deceitful damsel is forsworn.']
[Footnote 552: Its divine sway.--Ver. 12. 'Numen' here means a power
equal to that of the Divinities, and which puts it on a level with
them.]
[Footnote 553: Mine felt pain.--Ver. 14. When the damsel swore by them,
his eyes smarted, as though conscious of her perjury.]
[Footnote 554: Forsooth to you.--Ver. 17. He says that surely it was
enough for the Gods to punish Andromeda, the daughter of Cepheus, for
the sins of her mother, without making him to suffer misery for the
perjury of his mistress. Cassiope, the mother of Andromeda, having dared
to compare her own beauty with that of the Nereids, her daughter was, by
the command of Jupiter, exposed to a sea-monster, which was afterwards
slain by Perseus. See the Metamorphoses, Book iv. 1. 670.]
[Footnote 555: Hurls at the groves.--Ver. 35. A place which had been
struck by lightning was called 'bidental,' and was held sacred ever
afterwards. The same veneration was also paid to a place where any
person who had been killed by lightning was buried. Priests collected
the earth that had been torn up by lightning, and everything that had
been scorched, and buried it in the ground with lamentations. The spot
was then consecrated by sacrificing a two-year-old sheep, which being
called 'bidens,' gave its name to the place. An altar was also erected
there, and it was not allowable thenceforth to tread on the spot, or
to touch it, or even look at it. When the altar had fallen to decay, it
might be renovated, but to remove its boundaries was deemed sacrilege.
Madness was supposed to ensue on committing such an offence; and Seneca
mentions a belief, that wine which had been struck by lightning, would
produce death or madness in those who drank it.]
[Footnote 556: Unfortunate Semele.--Ver. 37. See the fate of Semele,
related in the Third Book of the Metamorphoses.]
[Footnote 557: Have some regard.--Ver. 49. Or, in other words. 'Don't
sweat any more by my eyes.']
[Footnote 558: Because she cannot, stilt sews.--Ver. 4. It is not a
little singular that a heathen poet should enunciate the moral doctrine
of the New Testament, that it is the thought, and not the action, that
of necessity constitutes the sin.]
[Footnote 559: A hundred in his neck.--Ver. 18. In the First Book of
the Metamorphoses, he assigns to Argus only one hundred eyes; here,
however, he uses a poet's license, prohably for the sake of filling up
the line.]
[Footnote 560: Its stone and its iron.--Ver. 21. From Pausanias and
Lucian we learn that the chamber of Danaë was under ground, and was
lined with copper and iron.]
[Footnote 561: Nor yet is it legal.--Ver. 33. He tells him that he
ought not to inflict loss of liberty on a free-born woman, a punishment
that was only suited to a slave.]
[Footnote 562: Those two qualities.--Ver. 42. He says, the wish being
probably the father to the thought, that beauty and chastity cannot
possibly exist together.]
[Footnote 563: Many a thing at home.--Ver. 48. He tells him that he
will grow quite rich with the presents which his wife will then receive
from her admirers.]
[Footnote 564: Its bubbling foam..--Ver. 13. He alludes to the noise
which the milk makes at the moment when it touches that in the pail.]
[Footnote 565: Ewe when milked.--Ver. 14. Probably the milk of ewes was
used for making cheese, as is sometimes the case in this country.]
[Footnote 566: Hag of a procuress.--Ver. 40. We have been already
introduced to one amiable specimen of this class in the Eighth Elegy of
the First Book.]
[Footnote 567: River that hast.--Ver. 1. Ciofanus has this interesting
Note:--'This river is that which flows near the walls of Sulmo, and,
which, at the present day we call 'Vella.' In the early spring, when the
snows melt, and sometimes, at the beginning of autumn, it swells to a
wonderful degree with the rains, so that it becomes quite impassable.
Ovid lived not far from the Fountain of Love, at the foot of the
Moronian hill, and had a house there, of which considerable vestiges
still remain, and are called 'la botteghe d'Ovidio.' Wishing to go
thence to the town of Sulmo, where his mistress was living, this river
was an obstruction to his passage.']
[Footnote 568: A hollow boat.--Ver. 4. 'Cymba' was a name given to
small boats used on rivers or lakes. He here alludes to a ferry-boat,
which was not rowed over; but a chain or rope extending from one side of
the stream to the other, the boatman passed across by running his hands
along the rope.]
[Footnote 569: The opposite mountain.--Ver. 7. The mountain of Soracte
was near the Flaminian way, in the territory of the Falisci, and may
possibly be the one here alluded to. Ciofanus says that its name is now
'Majella,-and that it is equal in height to the loftiest mountains of
Italy, and capped with eternal snow. *All one with the day.--Ver. 10.
He means to say that he has risen early in the morning for the purpose
of proceeding on his journey.]
[Footnote 570: The son of Danaë.--Ver. 13. Mercury was said to have
lent to Perseus his winged shoes, 'talaria,' when he slew Medusa with
her viperous locks.]
[Footnote 571: Wish for the chariot.--Ver. 15. Ceres was said to have
sent Trip-tolemus in her chariot, drawn by winged dragons, to introduce
agriculture among mankind. See the Fourth Book of the Fasti, 1. 558.]
[Footnote 572: Inachus.--Ver. 25. Inachus was a river of Argolis, in
Peloponnesus.]
[Footnote 573: Love for Melie.--Ver. 25. Melie was a Nymph beloved by
Neptune, to whom she bore Amycus, king of Bebrycia, or Bithynia, in Asia
Minor, whence her present appellation.]
[Footnote 574: Alpheus.--Ver 29. See the story of Alpheus and Arethusa,
in the Fifth Book of the Metamorphoses, 1. 576.]
[Footnote 575: Creüsa.--Ver. 31. Creüsa was a Naïad, the mother of
Hypseas, king of the Lapithae, by Peneus, a river of Thessaly. Xanthus
was a rivulet near Troy. Of Creüsa being promised to Xanthus nothing
whatever is known.]
[Footnote 576: The be beloved by Mars.--Ver. 33. Pindar, in his Sixth
Olympic Ode, says that Metope, the daughter of Ladon, was the mother of
live daughters, by Asopus, a river of Boeotia. Their names were Corcyra,
Ægina, Salamis, Thebe, and Harpinna. Ovid, in calling her Thebe,
probably follows some other writer. She is called 'Martia,' because she
was beloved by Mars, to whom she bore Evadne.]
[Footnote 577: Hand of Hercules.--Ver. 36. For the contest of Hercules
and Achelous for the hand of Deianira, see the beginning of the Ninth
Book of the Metamorphoses.]
[Footnote 578: Calydon.--Ver. 37. Aeneus, the father of Meleager and
Dei'anira, reigned over Ætolia, of which Calydon was the chief city.]
[Footnote 579: The native spot.--Ver. 40; He alludes to the fact of the
source or native country of the Nile being then, as it probably still
is, quite unknown.]
[Footnote 580: Daughter of Asopus.--Ver. 41. Evadne is called
'Asopide,' from her mother being the wife of Asopus. See the Note on
line 33 above.]
[Footnote 581: Enipeus dried up.--Ver. 43. Probably the true reading
here is 'fictus,' 'the false Enipeus.' Tyro was the daughter of
Salmoneus, king of Pisa, in Elis. She being much enamoured of the river
Enipeus, Neptune is said to have assumed his form, and to have been, by
her, the father of Pelias and Neleus.']
[Footnote 582: Argive Tibur,--Ver. 46. Tibur was a town beautifully
situate in the neighbourhood of Home; it was said to have been founded
by three Argive brothers, Tyburtus, Catillus, and Coras.]
[Footnote 583: Whom Ilia.--Ver. 47. Ilia was said to have been buried
alive, by the orders of Amulius, on the banks of the river Tiber; or,
according to some, to have been thrown into that river, on which she is
said to have become the wife of the river, and was deified. Acron, an
ancient historian, wrote to the effect that her ashes were interred on
the banks of the Anio; and that river overflowing, carried them to
the bed of the Tiber, whence arose the story of her nuptials with the
latter. According to one account, she was not put to death, but was
imprisoned, having been spared by Amulius at the entreaty of his
daughter, who was of the same age as herself, and at length regained her
liberty.]
[Footnote 584: Descendant of Laomedon.--Ver. 54. She was supposed to
be descended from Laomedon, through Ascanius, the son of Creüsa, the
granddaughter of Laomedon.]
[Footnote 585: No white fillet.--Ver. 56. The fillet with which the
Vestals bound their hair.]
[Footnote 586: Am I courted.--Ver. 75. The Vestais were released from
their duties, and were allowed to marry if they chose, after they had
served for thirty years. The first ten years were passed in learning
their duties, the next ten in performing them, and the last ten in
instructing the novices.]
[Footnote 587: Did she throw herself.--Ver. 80. The Poet follows the
account which represented her as drowning herself.]
[Footnote 588: To some fixed rule.--Ver. 89. 'Legitimum' means
'according to fixed laws so that it might be depended upon, 'in a steady
manner.']
[Footnote 589: Injurious to the flocks.--Ver. 99. It would be
'damnosus' in many ways, especially from its sweeping away the cattle
and the produce of the land. Its waters, too, being turbid, would be
unpalatable to the thirsty traveller, and unwholesome from the melted
snow, which would be likely to produce goitre, or swellings in the
throat.]
[Footnote 590: Could I speak of the rivers.--Ver. 103. He apologizes to
the Acheloüs, Inachus, and Nile, for presuming to mention their names,
in addressing such a turbid, contemptible stream.]
[Footnote 591: After my poems.--Ver. 5. He refers to his lighter works;
such, perhaps, as the previous books of his Amores. This explains
the nature of the 'libelli,' which he refers to in his address to his
mistress, in the Second Book of the Amores, El. xi. 1. 31.]
[Footnote 592: His wealth acquired.--Ver. 9. 'Censu.' For the
explanation of this word, see the Fasti, B. i. 1. 217, and the Note to
the passage.]
[Footnote 593: Through his wounds.--Ver. 9. In battle, either by giving
wounds, or receiving them.]
[Footnote 594: Which thus late.--Ver. 15. By 4 serum,'he means that
his position, as a man of respectable station, has only been recently
acquired, and has not descended to him through a long line of
ancestors.]
[Footnote 595: Was it acquired.--Ver. 20. This was really much to
the merit of his rival; but most of the higher classes of the Romans
affected to despise anything like gain by means of bodily exertion; and
the Poet has extended this feeling even to the rewards of merit as a
soldier.]
[Footnote 596: Hold sway over.--Ver. 27. He here plays upon the two
meanings of the word 'deducere.' 'Deducere carmen' is 'to compose
poetry'; 'deducere primum pilum' means 'to form' or 'command the first
troop of the Triarii.' These were the veteran soldiers of the Roman
army, and the 'Primipilus' (which office is here alluded to) being the
first Centurion of the first maniple of them, was the chief Centurion of
the legion, holding an office somewhat similar to our senior captains.
Under the Empire this office was very lucrative. See the Note to the
49th line of the Seventh Epistle, in the-Fourth Book of the Pontic
Epistles.]
[Footnote 597: The ravished damsel.--Ver. 30. He alludes to Danaë.]
[Footnote 598: Resorted to presents.--Ver. 33. He seems to allude to
the real meaning of the story of Danaë, which, no doubt, had reference
to the corrupting influence of money.]
[Footnote 599: With no boundaries.--Ver. 42. The 'limes' was a line
or boundary, between pieces of land belonging to different persons, and
consisted of a path, or ditch, or a row of stones. The 'ager limitatus'
was the public land marked out by 'limites,' for the purposes of
allotment to the citizens. On apportioning the land, a line, which was
called 'limes,' was drawn through a given point from East to West, which
was called 'decumanus,' and another line was drawn from North to South.
The distance at which the 'limites' were to be drawn depended on the
magnitude of the squares or 'centuriæ,' as they were called, into which
it was purposed to divide the tract.]
[Footnote 601: Then was the shore.--Ver. 44. Because they had not as
yet learnt the art of navigation.]
[Footnote 602: Turreted fortifications.--Ver. 47. Among the ancients
the fortifications of cities were strengthened by towers, which were
placed at intervals on the walls; they were also generally used at the
gates of towns.]
[Footnote 603: Why not seek the heavens.--Ver. 50. With what indignation
would he not have spoken of a balloon, as being nothing less than a
downright attempt to scale the 'tertia régna!']
[Footnote 604: Ciesar but recently.--Ver. 52. See the end of the
Fifteenth Book of the Metamorphoses, and the Fasti, Book iii. 1. 704.]
[Footnote 605: The Senate-house.--Ver. 55. 'Curia'was the name of the
place where the Senate held its meetings, such as the 'curia Hostilia,'
* Julia,' Marcelli,' and others. Hence arose the custom of calling the
Senate itself, in the various Roman towns, by the name of 'curia,' but
not the Senate of Rome. He here means to say, that poverty excluded a
man from the Senate-house, and that wealth alone was the qualification
for the honours of the state.]
[Footnote 606: Wealth alone confers honours --Ver. 55. The same
expression occurs in the Fasti, Book i. 1. '217, where a similar
complaint is made on the worldly-mindedness of the age.]
[Footnote 607: The Field of Mars.--Ver. 57. The 'comitia,' or meetings
for the elections of the magistrates, were held on the 'Campus Martius'
or field of Mars. See the Notes to the Fasti, Book i. 1. 53.]
[Footnote 608: And the Forum. --Ver. 57. The 'Fora' were of two kinds
at Rome; some being market-places, where all kinds of goods were exposed
for sale, while others were solely courts of justice. Among the latter
is the one here mentioned, which was simply called 'Forum,' so long as
it was the only one of its kind existing at Rome, and, indeed, after
that period, as in the present instance. At a later period of the
Republic, and under the Empire, when other 'fora,' for judicial
purposes, were erected, this Forum' was distinguished by the epithets
'vetus,' 'old,' or 'magnum, 'great.' It was situate between the
Capitoline and Palatine hills, and was originally a swamp or marsh,
which was filled up hy Romulus or Tatius. It was chiefly used for
judicial proceedings, and is supposed to have been surrounded with
the hankers' shops or offices, 'argentaria.' Gladiatorial games were
occasionally held there, and sometimes prisoners of war, and faithless
legionary soldiers, were there put to death. A second 'Forum,' for
judicial purposes, was erected hy Julius Caesar, and was called hy his
name. It was adorned with a splendid temple of Venus Genitrix. A third
was built hy Augustus, and was called 'Forum Augusts' It was adorned
with a temple of Mars, and the statues of the most distinguished men
of the republic. Having suffered severely from fire, this Forum was
restored by the Emperor Hadrian. It is mentioned in the Fourth Book of
the Pontic Epistles, Ep. xv. 1. 16. See the Fasti, Book iii. 1. 704.]
[Footnote 609: With regard to me.--Ver. 63. He says that because he is
poor she makes excuses, and pretends that she is afraid of her husband
and those whom he has set to watch her.]
[Footnote 610: Of thy own inspiration.--Ver. 5. Burmann remarks, that
the word 'opus' is especially applied to the sacred rites of the Gods;
literally 'the priest of thy rites.']
[Footnote 611: The erected pile--Ver. 6. Among the Romans the corpse
was burnt on a pile of wood, which was called 'pyra,' or 'rogus.'
According to Servius, it was called by the former name before, and hy
the latter after, it was lighted, but this distinction is not observed
by the Latin writers.]
It was in the form of an altar with four equal sides, but it varied in
height and the mode of decoration, according to the circumstances of the
deceased. On the pile the body was placed with the couch on which it had
been carried; and frankincense, ointments, locks of hair, and garlands,
were thrown upon it. Even ornaments, clothes, and dishes of food were
sometimes used for the same purpose. This was done not only by the
family of the deceased, but by such persons as joined the funeral
procession.]
[Footnote 612: The cruel boar.--Ver. 16. He alludes to the death of
Adonis, by the tusk of a boar, which pierced his thigh. See the Tenth
Book of the Metamorphoses, l. 716.]
[Footnote 613: We possess inspiration.--Ver. 17. In the Sixth Book of
the Fasti, 1. 6, he says. 'There is a Deity within us (Poets): under
his guidance we glow with inspiration; this poetic fervour contains the
impregnating. particles of the mind of the Divinity.']
[Footnote 614: She lays her.--Ver. 20. It must be remembered that,
whereas we personify Death as of the masculine gender; the Romans
represented the grim tyrant as being a female. It is a curious fact
that we find Death very rarely represented as a skeleton on the Roman
monuments. The skeleton of a child has, in one instance, been found
represented on one of the tombs of Pompeii. The head of a horse was
one of the most common modes of representing death, as it signified
departure.]
[Footnote 615: Ismarian Orpheus.--Ver. 21. Apollo and the Muse Calliope
were the parents of Orpheus, who met with a cruel death. See the
beginning of the Eleventh Book of the Metamorphoses.]
[Footnote 616: Linus! Alas!--Ver. 23. 'Ælinon' was said to have been
the exclamation of Apollo, on the death of his son, the poet Linus. The
word is derived from the Greek, 'di Aivôç,' 'Alas! Linus.' A certain
poetic measure was called by this name; but we learn from Athenaeus,
that it was not always confined to pathetic subjects. There appear to
have been two persons of the name of Linus. One was a Theban, the son of
Apollo, and the instructor of Orpheus and Hercules, while the other was
the son of an Argive princess, by Apollo, who, according to Statius, was
torn to pieces in his infancy by dogs.]
[Footnote 617: The son of Mæon. --Ver. 25. See the Note to the ninth
line of the Fifteenth Elegy of the First Book of the Amores.]
[Footnote 618: Slow web woven.--Ver. 30. The web of Penelope.]
[Footnote 619: Nemesis, so Delia.--Ver. 31. Nemesis and Delia were the
names of damsels whose charms were celebrated by Tibullus.]
[Footnote 620: Sacrifice avail thee.--Ver. 33. He alludes to two lines
in the]