veiled, and the females with their heads bare and hair
dishevelled, contrary to the usual practice of each sex.]

[Footnote 59: _An upper room._--Ver. 752. Anaxarete went to an
upper room, to look out into the street, as the apartments on the
ground floor were rarely lighted with windows. The principal
apartments on the ground floor received their light from above,
and the smaller rooms there, usually derived their light from the
larger ones; while on the other hand, the rooms on the upper floor
were usually lighted with windows. The conduct of Anaxarete
reminds us of that of Marcella, the hardhearted shepherdess, which
so aroused the indignation of the amiable, but unfortunate, Don
Quixotte.]

[Footnote 60: _His youthful form._--Ver. 766-7. 'In juvenem
rediit: et anilia demit Instrumenta sibi.' These words are thus
translated by Clarke: 'He returned into a young fellow, and takes
off his old woman's accoutrements from him.' We hear of the
accoutrements of a cavalry officer much more frequently than we do
those of an old woman.]

[Footnote 61: _Mavors._--Ver. 806. Mavors, which is often used by
the poets as a name of Mars, probably gave rise to the latter name
as a contracted form of it.]

[Footnote 62: _To dissolve itself._--Ver. 826. Not only, as we
have already remarked, was it a notion among the ancients that the
leaden plummet thrown from the sling grew red hot; but they
occasionally went still further, and asserted that, from the
rapidity of the motion, it melted and disappeared altogether. See
note to Book II. l. 727.]

[Footnote 63: _Lofty couches._--Ver. 827. The 'pulvinaria' were
the cushions, or couches, placed in the temples of the Gods, for
the use of the Divinities; which probably their priests (like
their brethren who administered to Bel) did not omit to enjoy. At
the festivals of the 'lectisternia,' the statues of the Gods were
placed upon these cushions. The images of the Deities in the Roman
Circus, were also placed on a 'pulvinar.']

EXPLANATION.

We are not informed that the story of Iphis, hanging himself for
love of Anaxarete, is based upon any actual occurrence, though
probably it was, as Salamis is mentioned as the scene of it. The
transformation of Anaxarete into a stone, seems only to be the usual
metaphor employed by the poets to denote ext