103. Now St. Arpino.
104. Cic. Ep. ad Pap.
105. Juv. Sat. iii. 172.
106. V. Schlegel, lect. viii.
107. B. C. 364; A. U. C. 390.
108. Livy, vii. 2.
109. Lect. R. H. lxx.
110. Lib. xxvii. 34: xxiv. 20.
111. Liv. i. 9, 35.
112. Ibid. i. 35.
113. Elem. Doctr. Metr. iii. 9.
115. Ep. II. i. 69.
116. Liv. vii. 2.
117. Brut. 72.
118. B. C. 240.
119. Noct. Att. See also Quinct. I. O. x. 2, 7.
120. See Bothe, Poetæ Scen. Roman. Trag.
121. For the slight differences between a Greek and Roman theatre, the reader is referred to Smith’s Dictionary of Antiquities, sub voce.
122. Ep. ad Fam. vii. 1.
123. Roman critics divide comedy into Comœdia Palliata, in which the characters, and therefore the costume, were Greek; and Togata, in which they were Roman. Comœdia Togata was again subdivided into Trabeata, or genteel comedy, and Tabernaria, or low comedy. The Fabulæ Prætextatæ were historical plays, like those of Shakspeare.
124. Klussman, Frag. Næv.
125. Cic. Cat. 14.
126. Noct. Att. i. 24; xvii. 21.
127. A. U. C. 519.
128. A. U. C. 550; B. C. 204.
129. B. C. 367.
130. B. C. 300.
131. B. C. 312.
132. Cic. Verres, i. 10.
133. See Arnold’s Rome, l. 289.
134. Miles Glorios. II., ii. 56.
135. A. Gell. iii. 3.
136. B. C. 204. See Cic. Brut. 15.
137. Ep. ii. 153; Brutus, 19.
138. Pierron, Hist. de la R. 42.
139. Lib. i. 198.
140. Cic. Brut. 19; Macr. vi. 2.
141. Brutus, 76.
142. Meyer’s Anthol. Lat.
143. Meyer’s Anthol. Lat.
144. II. Epist. i. 49.
145. Horace, 1 Serm. iv. 10.
146. A. U. C. 515.
147. Claudian, xxiii. 7.
148. Silius It.
149. B. C. 204.
150. B. C. 198.
151. B. C. 189.
152. Meyer, Anthol. Vet. Rom. No. 19.
153. Meyer, No. 16.
154. Smith’s Dict. of Biograph. s. v. Ennius.
155. Ep. ii. 50.
156. Meyer, Anthol. 515–585.
157. Cic. Brut. 76.
158. Andromache.
159. A. Gellius.
160. Pierron, Rom. Lit. p. 74.
161. B. C. 280.
162. B. C. 214.
163. De Nat. Deor. i. 42.
164. See Lecture vii. of A. W. V. Schlegel.
165. Ep. ad Pison. 202.
166. From Tzur, צוֹר.
167. Colman illustrates the preface to his translation of Terence with an engraving from a bas-relief in the Farnese Palace, in which these flutes are introduced. The original represents a scene in the Andria, and contains Simo, Davus, Chremes, and Dromo, with a knotted cord.
168. I. O. ii. 10.
169. Donatus says, “Diverbia (the dialogues) histriones pronuntiabant; cantica (the soliloquies) vero temperabantur modis non a poetâ sed a perito artis musicæ factis.”
170. Cic. de Orat. iii. 45.
171. Ibid. 41.
172. Phorm. Prol. 18; Ecl. iii. 96.
173. A. U. C. 527; B. C. 227.
174. A. U. C. 570; B. C. 184. See Cic. Brut. 15.
175. Lect. lxx.
176. A. Gell. iii. 3.
177. See Smith’s Biog. Dict. s. v.
178. Lect. on Rom. Hist. lxx.
179. Quint. x. 1, 99.
180. De Off. i. 29.
181. Lib. i. 24.
182. Quint. x. 1, 90.
183. Hor. Ep. ii. 1, 58.
184. Bacch. ii. 2.
185. The plot of the Phasma of Menander is as follows:—A woman who has married a second husband has a daughter concealed in the next house, with whom she has secret interviews by means of a communication through the party-wall. In order the better to carry on her clandestine plan, she pretends that she has intercourse with a supernatural being, who visits her in answer to her invocations. Her step-son by accident sees the maiden, and is at first awe-struck, thinking that he had beheld a goddess; but, discovering the truth, he is captivated with her beauty. A happy marriage, with the consent of all parties, concludes the play.
186. De Sen. 50.
187. Act v. scene i.
188. See Plaut. Ed. Var. pp. 1320 and 2095.
189. See Prol. 18.
190. See act iv. scene ii.
191. De Opt. Gen. Dic. i.
192. Noct. Att. ii. 33.
193. Varro.
194. Horace.
195. Varro.
196. De Opt. Gen. Orat. i.
197. Brut. 258.
198. Lib. vii. 3.
199. Ep. ii. 1.
200. B. C. 193.
201. See Life of Ter. in Ed. Varior.
202. See Smith’s Dict. of Ant. s. v.
203. B. C. 166; A. U. C. 588.
204. Valerius Paterc.
205. Phorm. v. viii.
206. Andr. v. ii.
207. Eunuchus, v. iv.
208. Fr. Incert. 6.
209. Satis pol, &c., iv. 4, 1.
210. Hier. Chron. Ol. clv. 3.
211. B. C. 166.
212. De Orat. ii. 81.
213. Act i. scene i.
214. Act v. scene iii. 25.
215. A. U. C. 592; B. C. 167.
216. In Vita Ter.
217. Act v. scene ix.
218. Act ii. scene iii.
219. A. U. C. 590; B. C. 163.
220. Spect. No. 502.
221. Prol. 46.
222. Prol. 27.
223. A. U. C. 592; B. C. 161.
224. See Prol. i.
225. B. C. 165; A. U. C. 588.
226. See Prol. ii.
227. A. U. C. 593; B. C. 161.
228. Warton, in the Adventurer.
229. Cic. Brut. 167.
230. Quint. x. i. 100
231. Lib. xiv. 20.
232. Lib. i. 2.
233. Lib. iv. ii.
234. De Fin. ii. 4; Tusc. Dis. iv. 31.
235. Dict. Univ. s. v.
236. See Smith’s Dict. of Antiq. s. v.
237. See on this subject Lange, Vind. Trag. Rom. Leips. 1823.
238. Hor. Serm. i. 9, 23; Ep. Pis. 55; Mart. Ep. viii. 18.
239. Juv. Sat. x. 80.
240. Liv. xxii. 49.
241. Cic. Att. xvi. 2, 5.
242. Cic. Fam. x. 32.
243. See Cic. de Off. ii. 16; Plin. H. N. 36, 3, &c.
244. Arist. Poet.
245. Epist. II. i. 182.
246. Asinius Pollio is said by Seneca (Controv. iv. Præf.) to have introduced the practice of poets reading their works to a circle of friends.
247. Ecl. iii. 86.
248. Math. Hist. of Class. Lit.; Bernhardy, Grund. 366.
249. Hier. in Eus. Chron. Ol. 156, 3.
250. Cic. Brut. 64.
251. Plin. N. H. xxxv. 1, 4.
252. N. A. i. 24; Meyer, Anth. xxiv.
253. Cic. de Am. 7.
254. Pers. Sat. i. 77.
255. Hor. Ep. II. i. 55.
256. Ad Heren. iv. 4 and 11, 23.
257. Varro ap. Gel. vii. 14.
258. Cic. de Div. i. 14; Orat. iii. 39.
259. See Smith’s Dict.
260. De Pac. Dul. A. Steigl. Leips. 1826.
261. Pierron, p. 162.
262. Cic. de Am. vii.
263. Diom. iii.
264. Cic. Brut. 64.
265. Lib. iii. 7, 11.
266. Cic. Brut. 64; Gell. xiii. 2; Brut. 28.
267. Cic. de Leg. ii. 21; Pro Arch. ii.
268. Bernhardy, 367; Hor. Ep. II. i. 56; Quint, x. i. 97.
269. De Divin. i. 22; Bothe, Poet. Scen. fr. p. 191.
270. Bothe, p. 246.
271. Tusc. Disp. ii. 10; Bothe, p. 239.
272. Bothe, p. 238.
273. Ibid. p. 231.
274. Hor. Ep. II. i. 55.
275. See Nieb. Lect. 88.
276. B. C. 279.
277. The etymology of σίλλοι is unknown. Casaubon derived the word from σιλλαίνειν, to scoff. The probability, however, is that the substantive is the root of the verb. The invention of the Silli has been ascribed by some to Xenophanes, the philosopher of Colophon. He was the author of a didactic poem, and his invectives were directed against the absurd and erroneous doctrines of his predecessors. Timon, a skeptical philosopher, who lived in the reign of Ptolemy Philadelphus, was undoubtedly the author of Silli. Some of these are dialogues, in which one of the persons is Xenophanes, whence perhaps he was erroneously considered the inventor of this kind of poetry. All the Silli of Timon are epic parodies, and their subject a ludicrous and skeptical attack on philosophy of every kind. Fragments of Silli are preserved by Diogenes, Lucilius, and Chrysostom.—Ad. Alex. Orat. See also Brunck’s Analecta, and Suidas s. vv. σιλλαίνειν, Τίμων.
278. Hor. Sat. i. 4, 10.
279. Cic. Tusc. i. 2.
280. Aurelius Victor states (De Vit. Illust. xlvii.) that Cato took lessons in Greek from Ennius.
281. Juv. Sat. i. 20.
282. Hieron. Chron. Euseb.
283. In defence of the chronology of Lucilius’ life, see Smith’s Dictionary of Biography, s. v. Lucilius.
284. Vell. Paterc. ii. 9.
285. See Sat. I. iv.; I. x.; I. i. 29, &c.
286. De Orat. ii. 6; De Fin. i. 3.
287. Inst. Or. x. i.
288. Inst. Div. vi. 5.
289. Hor. Sat. I. x. 46.
290. Nieb. Lect. lxxxviii.
291. Lib. ii. 24; xix. 9.
292. See Nieb. Lect. lxxix. and Schol. in Cic. Orell. ii. p. 283.
293. Suet. de Clar. Rhet. iii.
294. The fragments of the ancient Roman historians have been collected by Augustus Krause, and published at Berlin in 1833.
295. De Orat. ii. 12.
296. Pro Arch. x.
297. Dion. xvi. 6; Nieb. H. R. iii. 356.
298. Lib. i. 44, 45; ii. 40; viii. 30, &c.
299. Lib. xxii. 7.
300. Pol. i. 14.
301. Lect. R. H. iii. xxvi.
302. Lib. ii. 12.
303. Liv. xxii. 7.
304. Lib. xxiii. ii.; B. C. 216; A. U. C. 538.
305. A. U. C. 544; B. C. 210.
306. Liv. xxvi. 23.