ing of
the City 587, and B.C. 166.]

[Footnote 13: _It was then approved of_)--"Placuit." This is
placed at the end, in consequence of the inauspicious reception
which had been given to it on the two first representations. See
the account given in the Prologues.]

[Footnote 14: _Hecyra_)--Ver. 1. The Greek word +Hekura+,
a "step-mother," or "mother-in-law," Latinized.]

[Footnote 15: _And calamity_)--Ver. 3. "Calamitas." This word is
used in the same sense in the first line of the Eunuch. This is
evidently the Prologue spoken on the second attempt to bring
forward the piece. On the first occasion it probably had none.
"Vitium" was a word used by the Augurs, with whom it implied an
unfavorable omen, and thence came to be used for any misfortune or
disaster. He seems to mean the depraved taste of the public, that
preferred exhibitions of rope-dancers and pugilists to witnessing
his Plays.]

[Footnote 16: _Again to sell it_)--Ver. 7. See the last Note to
the Second Prologue.]

[Footnote 17: _Other Plays of his_)--Ver. 8. Madame Dacier informs
us that Vossius was of opinion that the second representation of
this Play did not take place till after that of the Adelphi. In
that case, they had already seen the rest of his Plays.]

[Footnote 18: _Second Prologue_)--Eugraphius informs us that this
Prologue was spoken by Ambivius Turpio, the head of the company of
Actors.]

[Footnote 19: _Caecilius_)--Ver. 14. Colman has the following Note:
"A famous Comic Poet among the Romans. His chief excellences are
said to have been, the gravity of his style and the choice of his
subjects. The first quality was attributed to him by Horace,
Tully, etc., and the last by Varro. 'In argumentis Caecilius poscit
palmam, in ethesi Terentius.' 'In the choice of subjects, Caecilius
demands the preference; in the manners, Terence.'" Madame Dacier,
indeed, renders "in argumentis," "in the disposition of his
subjects." But the words will not bear that construction.
"Argumentum," I believe, is uniformly used for the argument
itself, and never implies the conduct of it; as in the Prologue to
the Andrian, "non tam dissimili argumento." Besides, the
disposition of the subject was the very art attributed by the
critics of those days to Terence, and which Horace mentions in the
very same line with the gravity of Caecilius, distinguishing them
as the several characteri