[327] A verse in which the word in italics is substituted for cunctando, quoted from Ennius, who applied it to Fabius Maximus.
[328] Iliad, B. x. Diomede is speaking of Ulysses, where he asks that he may accompany him as a spy into the Trojan camp.
[329] Tiberius had adopted Germanicus. See before, c. xv. See also CALIGULA, c. i.
[330] In this he imitated Augustus. See c. liii. of his life.
[331] Si hanc fenestram aperueritis, if you open that window, equivalent to our phrase, "if you open the door."
[332] Princeps, principatus, are the terms generally used by Suetonius to describe the supreme authority vested in the Caesars, as before at the beginning of chap. xxiv., distinguished from any terms which conveyed of kingly power, the forms of the republic, as we have lately seen, still subsisting.
[333] Strenas; the French etrennes.
[334] "Tiberius pulled down the temple of Isis, caused her image to be thrown into the Tiber, and crucified her priests."—Joseph. Ant. Jud. xviii. 4.
[335] Similia sectantes. We are strongly inclined to think that the words might be rendered "similar sects," conveying an allusion to the small and obscure body of Christians, who were at this period generally confounded with the Jews, and supposed only to differ from them in some peculiarities of their institutions, which Roman historians and magistrates did not trouble themselves to distinguish. How little even the well-informed Suetonius knew of the real facts, we shall find in the only direct notice of the Christians contained in his works (CLAUDIUS c. xxv., NERO, c. xvi.); but that little confirms our conjecture. All the commentators, however, give the passage the turn retained in the text. Josephus informs us of the particular occurrence which led to the expulsion of the Jews from Rome by Tiberius.—Ant. xviii. 5.
[336] Varro tells us that the Roman people "were more actively employed (manus movere) in the theatre and circus, than in the corn-fields and vineyards."—De Re Rustic. ii. And Juvenal, in his satires, frequently alludes to their passion for public spectacles, particularly in the well- known lines—