[3] On this subject the reader may be referred to Merivale's excellent remarks in the last chapter of his History of the Romans under the Empire.
[4] It is probable that there were two kinds of Greek drama satyrikon; the tragic, of which we have an example in the Cyclops of Euripides, which represented the gods in a ludicrous light, and was abundantly furnished with Sileni, Satyrs, &c.; and the comic, which was cultivated at Alexandria, and certainly represented the follies and vices of contemporary life under the dramatic guise of heroic incident. But it is the non-dramatic character of Roman Satire that at once distinguishes it from these forms.
[5] See Hor. S. i. iv. 1-6.
[6] These were of a somewhat different type, and will not be further discussed here. See p. 144. Cf. Quint, x. 1, 95.
[7] Not invariably, however, by Lucilius himself. He now and then employed the trochaic or iambic metres.
[8] Sat. i. iv. 39, and more to the same effect in the later part of the satire.
[9] "In hora saepe ducentos ut multum versus dictabat stans pede in uno." Sat. 1, iv. 9.
[10] Posthumous Works, vol. ii. on the Study of Latin.
[11] iii. p. 481, P. (Teuffel).