stics of each writer, "Vincere Caecilius
gravitate, Terentius arte."]

[Footnote 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.]

[Footnote 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.]

[Footnote 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 Caecilius, of bringing those
forward again which had not given satisfaction at first.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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 AEdiles 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 AEdiles 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 AEdiles had purchased it from the Poet, and
the performers had bought it of the