Greek. Here the
Epicurean word [Greek: gargalismos] is referred to; it is often in Cic.
represented by _titillatio_; cf. N.D. 1, 113; Fin. 1, 39; Tusc. 3, 47. --
BENE: _sc. dixit_. -- AFFECTO AETATE: 'wrought on by age'. Cf. De Or. 1,
200 _in eius infirmissima valetudine affectaque iam aetate_. -- UTERETURNE
etc.: 'whether he still took pleasure in love'; _uti = frui_. Cf. Ovid,
Met. 4, 259 _dementer amoribus uti_ with Cic. Tusc. 4, 68 _venereis
voluptatibus frui_. -- DI MELIORA: _sc. duint_; this archaic form usually
occurs when the phrase is given in full. The story of Sophocles is taken by
Cicero from Plato (Rep. 329 B) who has [Greek: euphemei]. -- ISTINC etc.:
cf. the passage in Plato, Rep. 1, 329 C. For _istinc_ used otherwise than
of place cf. _unde_ in 12 with n. -- AGRESTI: 'boorish'; _rusticus_ denotes
simply an ordinary countryman. -- QUAMQUAM ... ERGO: these words may be
scanned as a hexameter line, but the pause before _ergo_ would prevent them
from being taken as a verse. -- HOC NON DESIDERARE: 'this absence of
regret'; the words form the subject of _est_. So _hoc non dolere_ in Fin.
2, 18. For the pronoun in agreement with the infinitive treated as noun cf.
Persius 1, 9 _istud vivere_; 1, 122 _hoc ridere meum_. H. 538, 3.

48. SI: 'even if', 'granting that'. -- BONA AETAS: 'the good time of life',
_i.e._ youth. Tischer qu. Varro de Re Rustica 2, 6, 2 _mares feminaeque
bona aetate_ = 'young'. For _bona aetas = homines bona aetate_ cf. n. on 26
_senectus_. -- UT DIXIMUS: not expressly, but the opinion is implied in 44,
45. -- TURPIONE AMBIVIO: L. Ambivius Turpio was the most famous actor of
Cato's time, and appeared especially in Terence's plays. In old Latin
commonly, occasionally in the Latin of the best period, and often in
Tacitus, the _cognomen_ is placed before the _nomen_ when the _praenomen_
is not mentioned. Cf. Att. 11, 12, 1 _Balbo Cornelio_. The usage is more
common in Cicero's writings than in those of his contemporaries. -- PRIMA
CAVEA: 'the lower tier'. The later Roman theatres consisted of semicircular
or elliptic galleries, with rising tiers of seats; the level space
partially enclosed by the curve was the _orchestra_, which was bounded by
the stage in front. There can be little doubt that Cicero is guilty of an
anachronism here; his words do not suit the circumstances of Cato's time.
Till nearly the end of the Republic the theatres were rude structures of
wood, put up temporarily; it is even