[20.] Vauntings of boxers)—Ver. 33. Horace probably had this passage in his mind when he penned the First Epistle in his Second Book, l. 185; where he mentions the populace leaving a Play in the midst for the sight of a bear, or an exhibition of boxers.
[21.] Of a rope-dancer)—Ver. 34. The art of dancing on the tight rope was carried to great perfection among the ancients. Many paintings have been discovered, which show the numerous attitudes which the performers assumed. The figures have their heads enveloped in skins or caps, probably intended as a protection in case of falling. At the conclusion of the performance the dancer ran down the rope. Germanicus and Galba are said to have exhibited elephants dancing on the tight rope.
[22.] The old custom of mine)—Ver. 38. He says that on the second representation he followed the plan which he had formerly adopted in the Plays of Cæcilius, of bringing those forward again which had not given satisfaction at first.
[23.] Fight for their places)—Ver. 41. This was in consequence of their sitting indiscriminately at the Amphitheatre, where the gladiators were exhibited; whereas at the Theatres there were distinct places appropriated to each “ordo” or class.
[24.] Gracing the scenic festival)—Ver. 45. Madame Dacier remarks that there is great force and eloquence in the Actor’s affecting a concern for the sacred festivals, which were in danger of being deprived of their chief ornaments, if by too great a severity they discouraged the Poets who undertook to furnish the Plays during the solemnity.
[25.] At my own expense)—Ver. 57. It is generally supposed that “meo pretio” means “a price named as my estimate;” and that it was the custom for the Ædiles to purchase a Play of a Poet at a price fixed by the head of the company of actors. It is also thought that the money was paid to the actor, who handed over the whole, or a certain part, to the Poet, and if the Play was not received with favor, the Ædiles had the right to ask back the money from the actor, who consequently became a loser by the transaction. Pareus and Meric Casaubon think, however, that in case of this Play, the Ædiles had purchased it from the Poet, and the performers had bought it of the Ædiles as a speculation. What he means at the end of the First Prologue by selling the Play over again, is not exactly known. Perhaps if the Play had been then performed throughout and received with no favor, he would have had to forfeit the money, and lose all right to any future pecuniary interest in it; but he preferred to cancel the whole transaction, and to reserve the Play for purchase and representation at a more favorable period.
[26.] Philotis)—This is a protatic character, or one that helps to introduce the subject of the Play, and then appears no more.
[27.] Don’t say so, Parmeno)—Ver. 109. She says this ironically, at the same time intimating that she knows Parmeno too well, not to be sure that he is as impatient to impart the secret to her as she is to know it. Donatus remarks, that she pretends she has no curiosity to hear it, that he may deem her the more worthy to be intrusted with the secret.
[28.] Imbros)—Ver. 171. An island in the Ægean Sea, off the coast of Thrace.
[29.] From her presence)—Ver. 182. For the purpose, as will afterward appear, of not letting Sostrata see that she was pregnant.