[2.] Doomed to die.]—Ver. 26. The Romans were wont to exhibit shows of hunting in the amphitheatre in the morning; and at mid-day the gladiatorial spectacles commenced. The ‘arena’ was the name given to the central open space, which derived its name from the sand with which it was covered, chiefly for the purpose of absorbing the blood of the wild beasts and of the combatants. Caligula, Nero, and Carus showed their extravagant disposition by using cinnabar and borax instead of sand. In the earlier amphitheatres there were ditches, called ‘Euripi,’ between the open space, or arena, and the seats, to defend the spectators from the animals. They were introduced by Julius Cæsar, but were filled up by Nero, to gain space for the spectators. Those who fought with the beasts (as it will be remembered St. Paul did at Ephesus) were either condemned criminals or captives, or persons who did so for pay, being trained for the purpose. Lucius Metellus was the first that we read of who introduced wild beasts in the theatre for the amusement of the public. He exhibited in the Circus one hundred and forty-two elephants, which he brought from Sicily, after his victory over the Carthaginians, and which are said to have been slain, more because the Romans did not know what to do with them, than for the amusement of the public. Lions and panthers were first exhibited by M. Fulvius, after the Ætolian war. In the Circensian games, exhibited by the Curule Ædiles, P. Cornelius Scipio Nasica, and P. Lentulus, B.C. 168, there were sixty-three African panthers and forty bears and elephants. These latter animals were sometimes introduced to fight with bulls. Sylla, when Prætor, exhibited one hundred lions, which were pierced with javelins. We also read of hippopotami and crocodiles being introduced for the same purpose, while cameleopards were also hunted in the games given by Julius Caesar in his third consulship. He also introduced bull fights, and Augustus first exhibited the rhinoceros, and a serpent, fifty cubits in length. When Titus constructed his great amphitheatre, five thousand wild beasts and four thousand tame animals were slain; while in the games celebrated by Trajan, after his victories over the Dacians, eleven thousand animals are said to have been killed. For further information on this subject, the reader is referred to the article ‘Venatio,’ in Smith’s Dictionary of Greek and Roman Antiquities, which valuable work contains a large quantity of interesting matter on this barbarous practice of the Romans.
[3.] Into the breezes.]—Ver. 43. ‘In ventos anima exhalata recessit’ is rendered by Clarke— ‘his life breathed out, marches off into the wind.’
[4.] Limbs lie scattered.]—Ver. 50. The limbs of Orpheus were collected by the Muses, and, according to Pausanias, were buried by them in Dium in Macedonia, while his head was carried to Lesbos.
[5.] Methymnæan Lesbos.]—Ver. 55. Methymna was a town in the isle of Lesbos, famed for its wines.
[6.] Side by side.]—Ver. 64. ‘Conjunctis passibus’ means ‘at an equal pace, and side by side.’
[7.] Springing forward.]—Ver. 78. ‘Exsultantem’ is rendered by Clarke, ‘bouncing hard to get away.’
[8.] Eumolpus.]—Ver. 93. There were three celebrated persons of antiquity named Eumolpus. The first was a Thracian, the son of Neptune and Chione, who lived in the time of Erectheus, king of Athens, against whom he led the people of Eleusis, and who established the Eleusinian mysteries. Some of his posterity settling at Athens, the Eumolpus here named was born there. He was the son of Musæus and the disciple of Orpheus. The third Eumolpus is supposed to have lived between the times of the two already named.
[9.] Berecynthian hero.]—Ver. 106. Midas is so called from mount Berecynthus in Phrygia.
[10.] Sardis.]—Ver. 137. The city of Sardis was the capital of Lydia, where Crœsus had his palace. The river Pactolus flowed through it.
[11.] Obtuse understanding.]—Ver. 148. ‘Pingue sed ingenium mansit,’ is rendered by Clarke, ‘but he continued a blockhead still.’