Part 11

Great applause in the galleries, and a rippling reduplication of laughter from the muscular humanity of the period (77-87).

A sudden turn, or rather a sudden return to the figure of v. 63. The connection, if there be a connection, seems to be this:

Such men as the centurion are hopelessly lost, have already 'imbodied and imbruted.' Like Natta, they are unconscious of their moral ruin. But there are those who, half-conscious of their condition, consult a physician of the soul, a spiritual director. The state of this class is set forth in a dramatic parable. A man feels sick, goes to see a doctor, follows his advice for a while, gets better, and then, despite all remonstrance, violates the plainest rules of diet and falls dead (88-106).

But before our preacher can make the application, he is interrupted by an impatient hearer, perhaps none other than the yawning youth, whose acquaintance we made in the beginning of the Satire. Whoever he is, he is so literal that he does not understand the drift of the apologue.

'Sick! Who's sick? Not I. No fever in my veins. No chill in hands or feet.'

'But,' says our resolute moralist, 'the sight of money, the meaning smile of a pretty girl, makes your heart beat a devil's tattoo. Coarse flour shows that you are mealy-mouthed, and tough cabbage brings out the ulcer in your throat. Kindle the fire of wrath beneath the cauldron of your blood, and Orestes is sane in comparison' (107-118).

According to Jahn, this Satire is aimed at those that have received a thorough training in ethics, but, owing to the weakness of human nature, fail to follow the true guide of life; and, although well aware of their short-comings, imitate the example of those brutish souls whose sins are excused by their ignorance. In short, the Satire is an expansion of the old theme-- _Video meliora proboque_.

Knickenberg (_De Ratione Stoica in Persii Satiris Apparente_, p. 16 seqq.) maintains that in conformity with Stoic doctrine, it is not so much the weakness of human nature as imperfect knowledge-- the _inscitia debilis_ of v. 99-- that is the source of the vices which the author lashes in the present Satire. According to the Stoic, virtue is knowledge, and the snoring youth, with his half-knowledge, which keeps him from rising to the height of virtue, is the pattern of the false philosophy of the time.

But Persius is not an expounder of the Stoic philosophy, as a system, any more than Seneca is; and commentators have attributed to him a profounder knowledge of philosophy than he had, certainly a profounder knowledge than it would have been artistic to show. Persius repeats the catechism of the sect, expands some of their favorite theses, elaborates some of their pet figures, and finds fault with his fellow students in the lofty tone which he had caught from his teachers. A glaring paradox, such as we find in 5, 119, he is but too happy to reproduce, but the subtle analysis for which the Stoics were famous does not appear in his poems.

The Satire is said by the Scholiast to be imitated from the Fourth Book of Lucilius.

1-24. A young student is roused by one of his companions, who, after meditating on his snoring form (1-4), remonstrates with him against lying abed so long. Yawning and headachy, he attempts to go to work, calls his servants testily, has his writing materials brought, swears at them, and is rebuked by his sage friend for his babyishness, and urged to make use of this golden season of life.

1. #Nempe#: The opening is made very lively by the use of _nempe_, which implies a preceding statement, and thus plunges at once into the thick of the dialogue. 'And so'-- a clear imitation of Hor., Sat., 1, 10, 1. Comp. the English use of 'and' in the first verse of lyrics, and the common stage trick of beginning a scene with conjunctions: Farquhar, Beaux' Stratagem, 2, 2: '_And_ was she the daughter of the house?' Cibber, The Provoked Wife, 5, 4: '_But_ what dost thou think will come of this business?' This effect is lost by bringing in the _comes_ at v. 5, as some do. --#mane#: Substantive, the Abl. of which, _mane_ (_mani_), is in more common use as an Adverb. --#fenestras#: 'windows,' here for 'window-shutters.'

2. #extendit#: 'makes wider,' 'makes seem wider,' a familiar optical effect. --#rimas#: 'chinks' (between the shutters).

3. #stertimus#: Ironical First Person, excluding the speaker. --#indomitum#: 'heady,' 'unmanageable' (Conington). Falernian was a strong wine: _ardens_, Hor., Od., 2, 11, 9; _severum_, Od., 1, 27, 19; _forte_, Sat., 2, 4, 24. Add Lucan, 10, 162: _#Indomitum# Meroe cogens spumare #Falernum#_. --#quod sufficiat#: 'what ought to be enough.' G., 633; A., 65, 2. --#despumare#: 'work off,' 'carry off the fumes of' (Conington). _Despumare_ is a technical term 'skim' (Verg., Georg., 1, 296), like 'rack' in English.

4. #quint[-a] dum linea tangitur umbr[-a]#: where we should expect _quint[)a] linea umbr[-a]_, by what is called Hypallagé. Conington compares Aeschyl., Ag., 504: +dekatô se phengei tôd' aphikomên etous+. See Schneidewin's note. --#dum#: 'while,' 'whereas,' 'and yet.' Comp. G., 572, R.; A., 72, 1, _c_. --#linea#: of the sun-dial. The fifth hour (about 11 o'clock) was the time of the _prandium_, according to Auson., Ephem. Loc. Ordin. Coqui, 1, 2 (Casaubon): _Sosia, prandendum est, quartam iam totus in horam | sol calet: ad #quintam# flectitur umbra #notam#_. In Horace's time breakfast was after 10 (Sat., 1, 5, 25). The sophist Alciphron implies that 12 was the hour in his day (3, 4, 1).

5. #en quid agis?# Comp. _en quid ago_? Verg., Aen., 4, 534. In lively questions the present is often used as a future, as: _Quoi #dono# lepidum novum libellum?_ Catull., 1, 1. --#siccas#: proleptic or predicative, to be combined with _coquit_. Conington renders 'is baking the crops dry,' but _coquere_ is too common in this sense for such a translation, a criticism which applies to a very large proportion of Conington's picturesque versions. _Coquere_ is the regular word for 'ripen'-- Gr. +pessô+-- Varro, R. R., 1, 7, 4; 54, 1. Tr. 'is ripening hard' (in the broiling sun). --#insana canicula#: 'the mad dog-star' is, of course, the 'mad dog's star' (Conington). Comp. Hor., Od., 3, 29, 18; Ep., 1, 10, 16.

7. #comitum#: _Comes_ is a wide term, embracing fellow-students and tutors. The Greek word is +hoi sunontes+. See Lucian's famous tract, +peri tôn epi misthô #sunontôn#+ (de mercede conductis).

8. #aliquis#: 'somebody,' '+tis+,' of a servant. _Aperite #aliquis# actutum ostium_, Ter., Adelphi, 4, 4, 46. +Hôsper en oikô enioi despotai prostattousi, Itô #tis# eph' hudôr, Xula #tis# schisatô+, Xen., Cyr., 5, 3, 49. --#nemon?# on the rhetorical _-ne_, see 1, 22. --#vitrea bilis#: a medical term, +hualôdês cholê+, according to Casaubon. Comp. _splendida bilis_, Hor., Sat., 2, 3, 141.

9. #findor#: 'I'm splitting,' the exclamation of the impatient youth. The old reading, _finditur_, 'he' or 'it' (_bilis_) 'is splitting,' has little MS. authority. Others read _findimur_. --#Arcadiae pecuria#: The asses of Arcady were famous in antiquity. --#rudere#: with _u_ long only here and Auson., Epigr., 76, 3.

10. #iamque liber#: The distribution of these articles is not without its difficulty. According to some, _liber_ is the author to be explained by the teacher; _chartae_, the papyrus for rough notes; _membrana_, the parchment for a more careful transcript. According to others, '_liber_ is the author out of which the lesson or thesis is to be transcribed, and _membrana_ the parchment wrapper for preserving the loose sheets, as the work progresses' (Pretor). --#bicolor#: used either of the two sides of the skin-- the one from which the hair had been scraped, yellow, the other white (Casaubon), or, more probably, of the custom of coloring the parchment artificially (Jahn). --#capillis#: is commonly taken for _pilis_, a rare use. The hair side of the skin was carefully smoothed with pumice-stone. _Arida modo #pumice# expolitum_, Cat., 1, 2; _cui #pumex# tondeat ante comas_, Tib., 3, 1, 10. The old explanation, according to which _positis capillis = capillis ornatis sive pexis_ (Plum), has found an advocate in Schlüter. The young man is supposed to have dressed his hair before he goes to work.

11. #nodosa harundo# = _calamus_ of the next verse.

12. #querimur#: In his ed. of 1868 Jahn has abandoned _queritur_ (1843) here and in v. 14. Comp. _stertimus_, v. 3. --#calamo#: In prose, _de calamo_.

13. #nigra sepia#: 'The blackness of the liquor,' Conington, who says correctly that _nigra_ is emphatic. _Sepia_, 'juice of the cuttle-fish,' used for ink. Comp. Auson., Epist., 4, 76; 7, 54 (Jahn).

14. #fistula# = _harundo_. The nib of the pen was badly slit. Comp. _nec iam #fissipedis# per #calami# vias | grassetur Cnidiae sulcus harundinis_, Auson., Epist., 7, 49-50.

The whole period is very awkward, and is not improved by Jahn's _sed_ for _quod_ in v. 13. Mr. Pretor suspects a _duplex recensio_, and brackets v. 13. In any other author I should suggest _dilutas#que nimis#_ for _dilutas #querimur#_, v. 14 (Mp. _querimus_).

15. #ultra miser# = _miserior_. --#hucine rerum#: _Hucine_ is archaic and colloquial. On _rerum_, see G., 371, R. 4; A., 50, 2, _d_. Comp. 1, 1 for the translation.

16. #tenero columbo#: a pet name for children (Schol.). _Columbus_ is 'the house-pigeon,' _palumbus_ 'the wood-pigeon.' Some of the best MSS. read _palumbo_, which Bentley on Hor., Od., 1, 2, 10, prefers. Notice further that nurses often feed their babies pigeon-fashion. --#regum pueris#: 'aristocratic babies,' 'babies of quality' (Conington). _Regum_ as in 1, 67. --#pappare#: (_papare_, Jahn, 1843) Infin. for Substantive, 'pap.' Such Infinitives are hardly parallel with _vivere triste_ (1, 9), and belong rather to the _verba togae_. They may be called nursery Infinitives. Comp. Titin. (ap. Charisium, 1, p. 99P.), v. 78 Ribb.: _Date illi #biber#, iracunda haec est_. Comp. the Greek +to piein, to phagein+, Theocr., 10, 53; Anthol. Pal., 12, 34, 5. The Scholiast calls _pappare_ and _lullare_ '_voces mutilas_.' --#minutum#: 'chewed fine,' 'minced.'

18. #iratus#: 'in a pet.' --#mammae#: exactly our 'mammy;' depends on _lallare_, not on _iratus_. --#lallare#: like _pappare_, 'lullaby.' 'Pettishly refusing to let mammy sing you to sleep' (Conington)-- 'to go by-bye for mammy.'

19. #studeam#: G., 258; A., 57, 6. The absolute use of _studere_ is post-Augustan. _Desidioso #studere# torqueri est_, Sen., Ep. M., 71, 23. --#Cui verba#: sc. _das_?

20. #succinis#: 'sing to an instrument or second to a person,' hence 'to sing small' (Conington), 'come whimpering, whining with.' --#ambages#: 'beating about the bush,' 'shuffling excuses.' _Quando pauperiem, missis #ambagibus#, horres_, Hor., Sat., 2, 5, 9. --#tibi luditur#: _Tua res agitur_, 'it is your game,' 'your stake,' 'your affair.' --#effluis amens#: with a sudden change of figure. The dissolute young man is compared to a cracked jar, from which all the noble 'wine of life' (Shaksp., Macbeth, 2, 3) is escaping. The passage in Ter., Eun., 1, 2, 25, which is often cited in this connection: _Plenus rimarum sum; huc atque huc #perfluo#_ refers to 'a leaky vessel,' one who can not keep a secret.

21. #contemnere#: A sudden desertion of the metaphor, unless _contemnere_ be a technical term, like +apodokimazein+, 'reject on test.' Cicero combines _conterere et contemnere_, _contemnere et reicere_, _contemnere et pro nihilo putare_. The Scholiast thinks that the word is an unhappy reminiscence of Hor., Sat., 2, 3, 14: _#contemnere# miser_. --#sonat vitium# = _sono indicat vitium_. _Sonat vitium_, like _sapit mare_, 'sounds flawy,' 'has a flawy ring.' The Schol. comp. Verg., Aen., 1, 328: _nec vox #hominem sonat#_. --#maligne#: 'ill-naturedly,' 'grudgingly,' of that which falls short of what was expected. _Maligne respondet_, 'gives a short answer,' 'a dull sound.'

22. #viridi#: = _crudo_, 'untempered.' The material is ill-mixed and the crock ill-baked (_non cocta_).

23. 'Persius steps back, as it were, while pursuing the metaphor,' is Conington's droll defence of Persius's +husteron proteron+. Common critics would say that Persius had bungled the figure. --#properandus et fingendus#: not necessarily equivalent to _propere fingendus_. Comp. Juv., 4, 134: _argillam atque rotam citius #properate#_.

24-43. Persius: 'I know what you are going to say. You have a fair estate, you have nothing to dread, you have good connections, you have a good position. Away with these baubles. I know you yourself. You live no higher life than the dullest sensualist, who knows not what he is losing; but the time will come when you will be roused to the consciousness of your loss, and your soul must be tortured with the expectation of impending ruin and the carking of hidden sin.' --#rure paterno#: G., 412, R. 1; A., 55, 3, _c_, R.

25. #far modicum#: _Modicum_ with a sneer. The young man keeps up a show of Stoic moderation. --#salinum--patella#: two articles of plate, to which every respectable family aspired. Compare the apostle-spoons and the candle-cup of the Elizabethan period. The _salinum_ and the _patella_ were exempt, when all other gold and silver plate was called for to meet the necessities of the state. --#purum et sine labe#: literally and metaphorically.

26. #quid metuas#: _ex animo iuvenis_. The young man is supposed to ask _quid metuam?_ See v. 19. 'I have nothing to fear on the score of poverty.' --#cultrix foci#: The _patella_ was used in the worship of the Lares. Conington preserves the possible double sense of 'inhabitant' and 'worshipper,' by rendering 'a dish for fireside service.' --#secura#: 'that knows no fear' (of want).

27. #hoc satis?# This is very well, but is it enough? --#an deceat#: The connection is not very plain, and Jahn thinks that another person is apostrophised. Persius is attacking the same man, now as to his fortune, now as to his family. That this is not clearly brought out, is simply his own fault. --#ventis#: 'with airs' (Pretor). See 4, 20.

28. #stemmate#: Abl. as a whence-case. 'Comp. Juv., 8, 1-6; Suet., Nero, 37. These _stemmata_ were genealogical trees or tables of pedigree, in which the family portraits (_imagines_) were connected by winding lines. Comp. _#stemmata# vero lineis discurrebant ad imagines pictas_, Plin., H. N., 25, 2, and _multae #stemmatum# flexurae_, Sen., de Benef., 3, 28' (Pretor, after Jahn). --#Tusco#: The Etruscans were great sticklers for family, as Persius well knew. Comp. Hor., Od., 3, 29, 1; Sat., 1, 6, 1; Prop., 4, 9, 1. Your aristocratic philosopher can afford to be disdainful of birth. A Stoic commonplace: _si quid est aliud in philosophia boni, hoc est quod #stemma# non inspicit_, Sen., Ep., 44, 1. --#ramum# = _lineam_. --#millesime#: 'a thousand times removed' (Pretor). On the case, 1, 123. Conington recognizes a side-thrust, and compares Savage's 'No _tenth_ transmitter of a foolish face.'

29. #censoremne#: So Casaubon. Jahn (1868) reads _-que_, thus abandoning the reading which is best supported by MSS., but utterly unsupported by grammar, _-ve_. The careless use of _vel_ after _ve_ is one of those slips that are simply incredible, nor can _-ve-- vel_ be successfully defended by connecting the latter closely with _trabeate_. Pretor explains, 'because you have a censor in your family, or are yourself a knight of distinction (sc. _quodve censorem tuum salutas vel quod ipse trabeatus es_)'. Heinr.'s conjecture, _fatuum_, with a reference to the censorship of Claudius, is itself almost fatuous. If we are to resort to conjecture, Heinr.'s other suggestion, _vetulum_, would be mild. Jahn explains this line (after Niebuhr) of the _municipales equites_, 'Because you are a great man in your own provincial town.' Comp. 1, 129. 'In any case the allusion is to the annual _transvectio_ of the _equites_ before the censor, who used to review them (_recognoscere_) as they defiled before him on horseback. If _censorem_ is understood of Rome, _tuum_ will imply that the youth is related to the Emperor, like Juvenal's Rubellius Blandus, 8, 40; otherwise it means "your local censor"' (Conington). --#trabeate#: The _trabea_ is the official dress of the _equites_. Comp. 1, 123.

30. #ad populum phaleras#: 'The _phalerae_ included all the trappings of the horse and rider. They were on occasion much ornamented with metal, and Polybius (6, 23) says that they were given as rewards of merit to cavalry soldiers' (Pretor, after Jahn). 'To the mob with your trappings, your stars and garters.' --#intus et in cute#: 'inside and out;' a rough equivalent. _In cute_ (Gr. +en chrô+) means 'closely' ('to a dot, a T'). See Lexx. s.v. +chrôs+.

31. #non pudet#: 'You are not ashamed?' (you ought to be). See G., 455. --#discincti#: Comp. _#discinctus# aut perdam #nepos#_, Hor., Epod., 1, 34 (Schol.). The _discinctus_ is 'a man of loose habits.' --#Nattae#: taken at random from Hor., Sat., 1, 6, 124.

32. #stupet#: +anaisthêtei+ (Casaubon). He is 'past feeling,' his conscience is benumbed, is 'seared with a hot iron.' --#fibris increvit opimum pingue#: 'his heart is overgrown with thick collops of fat' (Conington). The Scriptural parallels are familiar: Psa., 119, 70; Matt., 13, 15; John, 12, 40. The Delphin ed. comp. Tertull., de Anima, 20: _#Opimitas# impedit sapientiam._ On _opimum pingue_, comp. 1, 107.

33. #caret culpa#: Perhaps because the Stoic would not hold him responsible, Epictet., Diss., 1, 18. Conington well remarks that Casaubon's quotation from Menand., Mon., 430-- +ho mêden eidôs ouden examartanei+-- does not meet the case. In Menander we have to do with 'a sin of ignorance' against others. Here the sin is against the man's own nature. Possibly _culpa_ is = _conscientia culpae_.

34-43. The terrors of remorse.

34. #rursum non bullit#: 'he makes no bubbles,' 'makes no further struggles,' 'he is down among the dead men.'

36. #velis#: 'deign.' _Velle_ gives a reverential turn to the wish.

37. #moverit#: Perf. Subj. Attraction of mood. G., 666; A., 66, 2. --#ferventi tincta veneno#: The _gelidum venenum_ chills, this poison fires the blood. Comp. Alciphr., 1, 37, 3: +thermoteron pharmakon+, of a love potion. _Occultum inspires #ignem# fallasque #veneno#_, Verg., Aen., 1, 688. _Tincta_ is a reminiscence of the shirt of Nessus and the bridal-gift of Medea to Glaucé.

38. #intabescant#: belongs to the same sphere of comparison. _Intabescere_, +katatêkesthai+, is hopeless pining for a lost love. Comp. Theocr., 1, 66; 11, 14. For the figure, see Ov., Met., 3, 487: _ut #intabescere# flavae_ | _igne levi cerae-- solent, sic attenuatus amore_ | _liquitur_. --#relicta#: sc. _virtute_. Conington comp. Verg., Aen., 4, 692: _quaesivit caelo lucem ingemuitque #reperta#_. _Relicta_ = _quod religuerint_.

39. #anne# = _an_. --#Siculi iuvenci#: Every one has heard of the brazen bull made by Perillus for Phalaris of Agrigentum, Cic., Off., 2, 7, 26, and the sword of Damocles, in the next verse, is a proverb in English. Comp. Hor., Od., 3, 1, 17; Cic., Tusc. Dis., 5, 21, 61. --#aera#: poet. Plur. Vivid personification and identification.

40. #auratis laquearibus# = _de a. l. Laquearibus_, 'sunken panels (_lacus_) between the cross-beams of the ceiling.' See Verg., Aen., 1, 726. --#ensis#: a poetic word, 'glaive,' 'brand.'

41. #purpureas cervices#: Damocles was arrayed in royal purple; hence _purpureas_ (Casaubon). Others apply the expression to tyrants generally. Comp. Hor., Od., 1, 35, 12: _purpurei tyranni_.

42. #imus#: Better to have a sword hanging by a hair over your neck than yourself to be hanging above an abyss of misery. The commentators refer to Tiberius's letter to the senate (Tac., Ann., 6, 6; Suet., Tib., 67), by way of illustrating the shuddering perplexity of the sinful tyrant. --#dicat#: The subject is loosely involved. --#intus | palleat#: This 'not very intelligible expression' (Conington) is paralleled by Shaksp., Macb., 2, 2: 'My hands are of your color, but I shame | to wear a heart so _white_.'

43. #quod#: dependent on the notion of fear contained in _pallere_. G., 329, R. 1; A., 52, 1, _a_. --#proxima uxor#: 'the wife at his side,' 'the wife of his bosom.' --#nesciat#: 'is not to know.'

44-51. You have not the excuse of an unenlightened conscience, nor have you the plea of the ignorance of boyhood. Boys will be boys. I was a boy myself, played boyish tricks, loved boyish sports. My training was bad, my behavior only to be justified by my training.

44. #parvus#: 'as a small boy:' _Memini quae plagosum #mihi parvo#_ | _Orbilium dictare_, Hor., Ep., 2, 1, 70. --_olivo:_ The boy would tip (_tangere_) his eyes with oil, in order to make believe, by the use of the remedy, that he was suffering from the disease. For the anointing of sore eyes, see Hor., Sat., 1, 8, 25; Ep., 1, 1, 29.

45. #grandia#: 'sublime.' _Grandia verba_ is the American 'tall talk.' --#nollem#: Iterative conditional. G., 569, R. 2; A., 59, 5, _b_. --#morituri Catonis#: Such compositions were very much in vogue as rhetorical exercises. Comp. Juv., 1, 16 (oration to Sulla, advising a withdrawal from public life); 7, 161 (speech made for Hannibal). Seneca (Ep., 24, 6) does not seem to regard the theme of Cato's death as threadbare.

46. #discere#: better than _dicere_. The boy shirks the learning rather than the speaking, and the sore eyes would be a better excuse for the one than for the other. --#non sano#: Comp. Petron., cap. 1; Tac., Or., 35, on this system of training. Hermann reads _et insano_. --#laudanda# = _quae laudaret_, the free adjective use of the Gerundive, which is more common in later times.

47. #quae pater audiret#: Juv., 7, 166: _ut totiens illum #pater audiat#_. --#sudans#: from excitement; hardly 'in a glow of perspiring ecstasy' (Conington). _Sudans_ is thrown in maliciously as a comment.

48. #iure#: +eikotôs+, 'and well I might.' --#etenim#: is +kai gar+. Theoretically the predicate of the preceding sentence is to be repeated with the _et_. Practically it is often best to leave _et_ untranslated. G., 500, R. 2 and 3; A., 43, 3, _d_. --#senio#, etc.: 'The game was played with four _tali_, which, unlike the _tesserae_, were rounded on two sides, while the other four faces were marked with one, three, four, or six pips, and called respectively _unio_, _ternio_, _quaternio_, _senio_. The _canis_ was the worst throw, when all four _tali_ showed single pips (Ov., A. A., 2, 206; Trist., 2, 474; Mart., 13, 1, 6; Prop., 4, 8, 46), and the _Venus_ the best, when all the faces turned up were different (Lucian, Amor., p. 415); or else, for it varied upon occasion, when all showed sices. The ace was a losing throw and the sice a winning one, when the pips were counted' (Pretor, after Jahn). Persius wanted to know the value of each throw, what one brought in (_ferret_) another swept off (_raderet_).

49. #scire erat in voto#: _Hoc #erat in votis#_, Hor., Sat., 2, 6, 1.

50. #angustae collo non fallier orcae#: The allusion is to a game at _nuces_, called +tropa+ or 'cherry-pit.' ''Tis not for gravity to play at _cherry-pit_ with Satan,' Shaksp., Twelfth N., 3, 4. Fr. _à la fossette_. Comp. Rabelais, 1, 2. The modern equivalent of _nuces_ is marbles, and the modern +tropa+ is 'pitch-in-the-hole,' or 'knucks.' Instead of the hole in the ground (+bothros+), the ancients used a small jar (_orca_), and to enhance the difficulty of getting in, the neck of this jar was made narrow (_collo angustae orcae = angusto collo orcae_, by Hypallagé, v. 4). So the modern hole admits but one marble. Comp. [Ov.] Nux, 85, 86: _Vas quoque saepe cavum spatio distante locatur, | in quod missa levi nux cadat #una# manu._ --#fallier#: like _dicier_, 1, 28.

51. #neu quis# = _et ne quis_. G., 546. '_Et [erat in voto] ne quis callidior [esset]._' --#buxum#: 'top,' because made of 'boxwood.' Comp. Verg., Aen., 7, 382: _volubile #buxum#_. --#torquere#: See Prol., 11, and 1, 118.