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Some from Seleucus take the power to sing,
Some, at high rates, slip the comedian's ring,
Some the tragedian's; some...but thou art mov'd;
Heavens! didst thou think Quintilian would be lov'd?

nished fewer instances of "prodigality in want," I should have taken her to be the person mentioned in another part of this Satire, by the name of Ogulnia.

VER. 111. Some, at high rates, slip the comedian's ring, &c.] "Il s'agit," says Dusaulx, "d'une opération pratiquée par les anciens pour conserver aux jeunes gens la santé, aux gladiateurs la force, aux acteurs la voix : elle s'appelloit infibulation, son objet étoit d'empecher ceux que l'on boucloit (car l'infibulation n'étoit rien autre chose) d'avoir commerce avec les femmes," i. e. the object of the fibula (or, as I have translated it, ring) was to prevent a favourite comedian or tragedian from having any connection with women. A useless precaution, it appears, for the public, though sufficiently profitable for the actors.

Among many pleasant epigrams by Martial on this subject, there is one so truly humorous, and at the same time so void of offence, that I think I may venture to quote it,

"

Menophili penem tam grandis fibula vestit,

"Ut sit comœdis omnibus una satis.

"Hunc ego credideram (nam sæpe lavamur in uno)

"Sollicitum voci parcere, Flacce, suæ:

"Dum ludit mediâ populo spectante palæstrâ,

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Delapsa est misero fibula; verpus erat!" Lib. v11. Ep. lxxxii.

Holyday has two engravings of these fibula, which being, as he truly says, "without any immodestie," I would have copied, had I thought them, as he did, curiosities.

It is not unamusing to see how sedulously the early Christian writers accommodated their language to the habits and manners of the people whom they wished to convert. Thus when Tertullian, in conformity to the precepts of the Gospel, injoins the "mortifying of our lusts," he expresses himself by an "infibulation of the flesh,"-fibulam carni imponere.

Hie then, fond Lentulus, and instant wed,
That the chaste partner of thy loving bed,
May single, from this piping, fiddling race,
Some Glaphyrus, thy honour'd brows to grace:
Yes, hie...before thy gates huge scaffolds raise,
And crown thy threshold with triumphant bays;
That the proud heir of thy illustrious name
In every feature, may, at once, proclaim

From what sword-player, sweet innocent! he came.

VER. 113.

Quintilian-] Juvenal always speaks with great respect of this most learned and excellent man, whom he is fond of introducing, and whose name he uses in this place, as the representative of all that is wise and good. Some of the commentators say that our author studied rhetoric under him, but I know not on what authority. See more respecting him in the next Satire.

VER. 114, Hie then fond Lentulus, &c.] In the name which Juvenal here gives his friend Posthumus, he had in view a very curious anecdote, which is handed down to us by Valerius Maximus, and which Grangeus, I believe, was the first to notice. Lentulus and Metellus (Consuls A. U. C. DCV11.) were observed by all the spectators at a play, to be extremely like a second, and third rate actor, then on the stage! Lib. 1x. c. 14. Sec. iv. The reader now sees the malicious archness of the allusion. Madan's idea, (which indeed is that of most of the commentators except Owen,) that Lentulus was a famous fencer of those days, is too absurd for notice. Did he not know that Lentulus was the name of one of the noblest families of Rome?

VER. 117. Some Glaphyrus, &c.] We learn from Martial that Glaphyrus was a popular performer upon some musical instrument. This poet has taken up Juvenal's idea, and formed a very laughable epigram on it. It is too long to be inserted here, but is worth turning to. Vide Lib. vi. Epist. xxxix.

Hippia, who shar'd a rich patrician's bed,

To Egypt, with a gladiator, fled,

VER. 123. Hippia, who shar'd a rich patrician's bed,

To Egypt, &c.] It is not clear when this elopement took place, but it could not be much later than the middle of Domitian's reign; about which time, too, this Satire must have been composed. Paris, who is mentioned in it, was put to death not long after; and the pantomimic performers, here spoken of as the minions of the ladies, ignominiously driven from the city.

Veiento (her husband) has been mentioned twice before. (See Sat III. v. 280, and iv. v. 161,) He survived his disgrace many years, though he was not young when it happened. He talked of himself as a very old man in a succeeding reign, when, upon being prevented from speaking in a cause which concerned himself, and his friend Certus, by the clamours of the senate; he exclaimed in the words of Tydides to Nestor,

Ω γερον, ή μαλα δη σε νεοι τειρεσι μαχηται.

The critics will not allow Hippia to be the real name of his precious moiety Juvenal calls her so, they say, for two reasons: first, for her lustful disposition, (in allusion to that passage of Virgil, Scilicet ante omnes, &c.) and secondly, for the sake of concealing her real name, out of respect to her noble family. The first may be right for aught I know; but the second is absurd enough. To give a woman a fictitious name, and then to bring forward her husband, and relate at length the most remarkable occurrences of her life, with an idea of concealing her, seems just such another happy contrivance as that of Bottom's comrade; who, after being dressed out at all points like a lion, was to thrust his head through the animal's neck, "and tell the audience plainly that he was Snug the joiner!"

Nothing can be more full of bitterness than the remark which follows, that even Canopus was disgusted at the profligacy of the Roman ladies,—et mores urbis damnante Canopo,-since that town, as I before observed, (p. 10,) surpassed in dissoluteness of manners, every part of Egypt, and, perhaps, of the Empire.

Where rank Canopus eyed, with strong disgust,
This ranker specimen of Roman lust.

Without one pang the profligate resign'd

Her husband, sister, sire; gave to the wind
Her weeping children: tore herself away,

(O, passing strange!) from PARIS, and the PLAY. And though, to affluence born, a parent's cares Nurs'd in the lap of ease, her infant years,

She brav'd the deep, (she long had brav'd her fame, But that's a trifle to the courtly dame ;)

And with undaunted breast, the tossing bore

Of the rude billows, and their deaf'ning roar.

Have they a call, an honest call, to bear

These hardships? they are struck with sudden fear;

Cold shiverings on their listless members seize,

And slowly they advance on knocking knees:

But set illicit pleasure in their

eye,

Onward they rush, and every toil defy.

Had Hippia been requested by her lord,

Alas! she'd cry, how can I get aboard?
Then the sink's noisome, then the ship's unsound,
And her head's dizzy, and the sky turns round!
With her gallant, no idle qualms she knows,
Strong, and more strong her stomach hourly grows;

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But with her husband-O, how chang'd the case! "Sick! sick!' she cries, and vomits in his face.

But with what form was Hippia so inspir'd,

With what gay stripling was her bosom fir'd,
What youth, what beauty; that she calmly bore
The title of a gladiator's whore?

O, the sweet Sergy...note it, prithee note-
Had long begun to scrub his bristly throat,
And hope a quick dismission from the stage,
Due to his wounds, and his declining age;
Add, that his face was batter'd, and decay'd;
The helmet on his brow huge galls had made,
A wen deform'd his nose of monstrous size,
And sharp rheum trickled from his blood-shot eyes.
But then he was a swordsman! that alone

Made every charm, and every grace his own;
That made him dearer than her father's house,
Dearer than country, sister, children, spouse.—
'Tis blood they love: let Sergius quit the sword,
And he'll appear at once so like her lord!

Start'st thou at wrongs that touch a private name,
At Hippia's lewdness, and Veiento's shame?
Turn to the rivals of the Immortal Powers,
And mark how like their fortunes are to ours.

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