The Amores; or, Amours

FOOTNOTES BOOK THREE:

501 (return)

[ Than the other.—Ver. 8. 'He alludes to the unequal lines of the Elegiac measure, which consists of Hexameters and Pentameters. In personifying Elegy, he might have omitted this remark, as it does not add to the attractions of a lady, to have one foot longer than the other; he says, however, that it added to her gracefulness.]

502 (return)

[ The Lydian buskin.—Ver. 14. As Lydia was said to have sent colonists to Etruria, some Commentators think that the word 'Lydius' here means 'Etrurian and that the first actors at Rome were Etrurians. But, as the Romans derived their notions of tragedy from the Greeks, we may conclude that Lydia in Asia Minor is here referred to; for we learn from Herodotus and other historians, that the Greeks borrowed largely from the Lydians.]

503 (return)

[ Drunken revels.—Ver. 17. He probably alludes to the Fourth Elegy of the First, and the Fifth Elegy of the Second Book of the 'Amores.']

505 (return)

[ Mighty inspiration.—Ver. 23. The 'thyrsus' was said to have been first used by the troops of Bacchus, in his Indian expedition, when, to deceive the Indians, they concealed the points of their spears amid leaves of the vine and ivy. Similar weapons were used by his devotees when worshipping him, which they brandished to and fro. To be touched with the thyrsus of Bacchus, meant 'to be inspired with poetic frenzy.' See the Notes to the Metamorphoses, Book iii. 1. 542.]

506 (return)

[ In unequal numbers.—Ver. 37. Some have supposed, that allusion is made to the Tragedy of Medea, which Ovid had composed, and that it had been written in Elegiac measure. This, however, does not seem to be the meaning of the passage. Elegy justly asks Tragedy, why, if she has such a dislike to Elegiac verses, she has been talking in them? which she has done, from the 15th line to the 30th.]

507 (return)

[ Myself the patroness.—Ver. 44. She certainly does not give herself a very high character in giving herself the title of 'lena.']

508 (return)

[ The fastened door.—Ver. 50. He alludes, probably, to one of the Elegies which he rejected, when he cut down the five books to three.]

509 (return)

[ In a hose tunic.—Ver. 51. He may possibly allude to the Fifth Elegy of the First Book, as the words 'tunicâ velata recinctâ,' as applied to Corinna, are there found. But there he mentions midday as the time when Corinna came to him, whereas he seems here to allude to the middle of the night.]

510 (return)

[ Cut in the wood.—Ver. 53. He alludes to the custom of lovers carving inscriptions on the doors of their obdurate mistresses: this we learn from Plautus to have been done in Elegiac strains, and sometimes with charcoal. 'Implentur meæ fores clegiarum carbonibus.' 'My doors are filled with the coal-black marks of elegies.']

511 (return)

[ On her birthday.—Ver. 57. She is telling Ovid what she has put up with for his sake; and she reminds him how, when he sent to his mistress some complimentary lines on her birthday, she tore them up and threw them in the water. Horace mentions 'the flames, or the Adriatic sea,' as the end of verses that displeased. Athenseus, Book xiii. c. 5, relates a somewhat similai story. Diphilus the poet was in the habit of sending his verses to his mistress Gnathæna. One day she was mixing him a cup of wine and snow-water, on which he observed, how cold her well must be; to which she answered, yes, for it was there that she used to throw his compositions.]

514 (return)

[ From behind.—Ver. 70. It is not known, for certain, to what he refers in this line. Some think that he refers to the succeeding Elegies in this Book, which are, in general, longer than the former ones, while others suppose that he refers to his Metamorphoses, which he then contemplated writing. Burmann, however, is not satisfied with this explanation, and thinks that, in his more mature years, he contemplated the composition of Tragedy, after having devoted his youth to lighter snbjects; and that he did not compose, or even contemplate the composition of his Metamorphoses, until many years afterwards.]

515 (return)

[ I am not sitting here.—Ver. 1. He is here alluding to the Circen-sian games, which were celebrating in the Circus Maximus, or greatest Circus, at Rome, at different times in the year. Some account is given of the Circus Maximus in the Note to 1. 392. of the Second Book of the Fasti. The 'Magni,' or Great Circensian games, took place on the Fourth of the Ides of April. The buildings of the Circus were burnt in the conflagration of Rome, in Nero's reign; and it was not restored till the days of Trajan, who rebuilt it with more than its former magnificence, and made it capable, according to some authors, of accommodating 385,000 persons. The Poet says, that he takes no particular interest himself in the race, but hopes that the horse may win which is her favourite.]

516 (return)

[ The spirited steeds.—Ver. 2. The usual number of chariots in each race was four. The charioteers were divided into four companies, or 'fac-tiones,' each distinguished by a colour, representing the season of the year. These colours were green for the spring, red for the summer, azure for the autumn, and white for the winter. Originally, but two chariots started in each race; but Domitian increased the number to six, appointing two new companies of charioteers, the golden and the purple; however the number was still, more usually, restricted to four. The greatest interest was shewn by all classes, and by both sexes, in the race. Lists of the horses were circulated, with their names and colours; the names also of the charioteers were given, and bets were extensively made, (see the Art of Love, Book i. 1. 167, 168,) and sometimes disputes and violent contests arose.]

517 (return)

[ To be seated by you.—Ver. 3. The men and women sat together when viewing the contests of the Circus, and not in separate parts of the building, as at the theatres.]

518 (return)

[ Happy the driver.—Ver. 7. He addresses the charioteer.]

519 (return)

[ The sacred barrier.—Ver. 9. For an account of the 'career,' or 'starting-place,' see the Notes to the Tristia, Book v. El. ix. 1. 29. It is called 'sacer,' because the whole of the Circus Maximus was sacred to Consus, who is supposed by some to have been the same Deity as Neptune. The games commenced with sacrifices to the Deities.]

520 (return)

[ I would give rein.—Ver. 11. The charioteer was wont to stand within the reins, having them thrown round his back. Leaning backwards, he thereby threw his full weight against the horses, when he wished to check them at full speed. This practice, however, was dangerous, and by it the death of Hippolytus was caused. In the Fifteenth Book of the Metamorphoses,1. 524, he says, 'I struggled, with unavailing hand, to guide the bridle covered with white foam, and throwing myself "backwards, I pulled back the loosened reins.' To avoid the danger of this practice, the charioteer carried a hooked knife at his waist, for the purpose of cutting the reins on an emergency.]

521 (return)

[ The turning-place.—Ver. 12. For an account of the 'meta.'see the Tristia, Book iv. El. viii.l. 35. Of course, thpse who kept as close to the 'meta' as possible, would lose the least distance in turning round it.]

522 (return)

[ How nearly was Pelops.—Ver. 15. In his race with Onomaüs, king of Pisa, in Arcadia, for the hand of his daughter, Hippodamia, when Pelops conquered his adversary by bribing his charioteer, Myrtilus.]

523 (return)

[ Of his mistress.—Ver. 17. He here seems to imply that it was Hippodamia who bribed Myrtilus.]

524 (return)

[ Shrink away in vain.—Ver. 19. She shrinks from him, and seems to think that he is sitting too close, but he tells her that the 'linea' forces them to squeeze. This 'linea' is supposed to have been either cord, or a groove, drawn across the seats at regular intervals, so as to mark out room for a certain number of spectators between each two 'lineæ.']

525 (return)

[ Has this advantage.—Ver. 20. He congratulates himsdf on the construction of the place, so aptly giving him an excuse for sitting close to his mistress.]

526 (return)

[ But do you —Ver. 21. He is pretending to be very anxious for her comfort, and is begging the person on the other side not to squeeze so close against his mistress.]

527 (return)

[ And you as well.—Ver. 23. As in the theatres, the seats, which were called 'gradas,' 'sedilia,' or 'subsellia,' were arranged round the course of the Circus, in ascending tiers; the lowest being, very probably, almost flush with the ground. There were, perhaps, no backs to the seats, or, at the best, only a slight railing of wood. The knees consequently of those in the back row would be level, and in juxta-position with the backs of those in front. He is here telling the person who is sitting behind, to be good enough to keep his knees to himself, and not to hurt the lady's back by pressing against her.]

528 (return)

[ I am taking it up.—Ver. 26. He is here showing off his politeness, and will not give her the trouble of gathering up her dress. Even in those days, the ladies seem to have had no objection to their dresses doing the work of the scavenger's broom.]

529 (return)

[ The fleet Atalanta.—Ver. 29. Some suppose that the Arcadian Atalanta, the daughter of Iasius, was beloved by a youth of the name of Milanion. According to Apollodorus, who evidently confounds the Arcadian with the Boeotian Atalanta, Milanion was another name of Hippo-menes, who conquered the latter in the foot race, as mentioned in the Tenth Book of the Metamorphoses. See the Translation of the Metamorphoses, p. 375. From this and another passage of Ovid, we have reason to suppose that Atalanta was, by tradition, famous for the beauty of her ancles.]

530 (return)

[ The fan may cause.—Ver. 38. Instead of the word 'tabella,' 'flabella' has been suggested here; but as the first syllable is long, such a reading would occasion a violation of the laws of metre, and 'tabella' is probably correct. It has, however, the same meaning here as 'flabella it signifying what we should call 'a fan;' in fact, the 'flabellum' was a 'tabella,' or thin board, edged with peacocks' feathers, or those of other birds, and sometimes with variegated pieces of cloth. These were generally waved by female slaves, who were called 'flabelliferæ'; or else by eunuchs or young boys. They were used to cool the atmosphere, to drive away gnats and flies, and to promote sleep. We here see a gentleman offering to fan a lady, as a compliment; and it must have been especially grateful amid the dust and heat of the Roman Circus. That which was especially intended for the purpose of driving away flies, was called 'muscarium.' The use of fans was not confined to females; as we learn from Suetonius, that the Emperor Augustus had a slave to fan him during his sleep. The fan was also sometimes made of linen, extended upon a light frame, and sometimes of the two wings of a bird, joined back to back, and attached to a handle.]

531 (return)

[ Now the procession.—Ver. 34 All this time they have been waiting for the ceremony to commence. The 'Pompa,' or procession, now opens the performance. In this all those who were about to exhibit in the race took a part. The statues of the Gods were borne on wooden platforms on the shoulders of men, or on wheels, according as they were light or heavy. The procession moved from the Capitol, through the Forum, to the Circus Maximus, and was also attended by the officers of state. Musicians and dancers preceded the statues of the Gods. See the Fasti, Book iv. 1. 391, and the Note to the passage.]

532 (return)

[ Victory borne.—Ver. 45. On the wooden platform, which was called 'ferculum,' or 'thensa,' according as it was small or large.]

533 (return)

[ With expanded wings.—Ver. 45. Victory was always represented with expanded wings, on account of her inconstancy and volatility.]

534 (return)

[ Salute Neptune.—Ver. 47. 'Plaudite Neptuno' is equivalent, in our common parlance, to 'Give a cheer for Neptune.' He is addressing the sailors who may be present: but he declines to have anything to do with the sea himself.]

535 (return)

[ Arms I detest.—Ver. 49. Like his contemporary, Horace, Ovid was no lover of war.]

536 (return)

[ Of the artisan.—Ver. 52. We learn from the Fasti, Book iii. 1.815, that Minerva was especially venerated as the patroness of handicrafts.]

537 (return)

[ Let the boxers.—Ver. 54. Boxing was one of the earliest athletic games practised by the Greeks. Apollo and Hercules, as well as Pollux, are celebrated by the poets for excelling in this exercise. It formed a portion of the Olympic contests; while boys fought in the Nemean and Isthmian games. Concerning the 'cæstus' used by pugilists, see the Fasti, Book ii. 1. 367, and the Note to the passage. The method in fighting most practised was to remain on the defensive, and thus to wear out the opponent by continual efforts. To inflict blows, without receiving any in return on the body, was the great point of merit. The right arm was chiefly used for attack, while the office of the left was to protect the body. Teeth were often knocked out, and the ears were much disfigured. The boxers, by the rules of the game, were not allowed to take hold of each other, nor to trip up their antagonist. In Italy boxing seems to have been practised from early times by the people of Etruria. It continued to be one of the popular games during the period of the Republic as well as of the Empire.]

538 (return)

[ In the lattice work.—Ver. 64. The 'cancelli' were lattice work, which probably fkirted the outer edge of each wide 'præcinctio,' or passage,that ran along in front of the seats, at certain intervals. As the knees would not there be so cramped, these seats would be considered the most desirable. It is clear that Ovid and the lady have had the good fortune to secure front seats, with the feet resting either on the lowest 'præcinctio', or the 'præcinctio' of a set of seats higher up. Stools, of course, could not be used, as they would be in the way of passers-by. He perceives, as the seat is high, that she has some difficulty in touching the ground with her feet, and naturally concludes that her legs must ache; on which he tells her, if it will give her ease, to rest the tips of her feet on the lattice work railing which was opposite, and which, if they were on an upper 'præcinctio,' ran along the edge of it: or if they were on the very lowest tier, skirted the edge of the 'podium' which formed the basis of that tier. This she might do, if the 'præcinctio' was not more than a yard wide, and if the 'cancelli' were as much as a foot in height.]

539 (return)

[ Now the Prcetor.—Ver. 65. The course is now clear of the procession, and the Prætor gives the signal for the start, the 'carceres' being first opened. This was sometimes given by sound of trumpet, or more frequently by letting fall a napkin; at least, after the time of Nero, who is said, on one occasion, while taking a meal, to have heard the shouts of the people who were impatient for the race to begin, on which he threw down his napkin as the signal.]

540 (return)

[ The even harriers.—Ver. 66. From this description we should be apt to think that the start was effected at the instant when the 'carceres' were opened. This was not the case: for after coming out of the-carceres,' the chariots were ranged abreast before a white line, which was held by men whose office it was to do, and who were called 'moratores.' When all were ready, and the signal had been given, the white line was thrown down, and the race commenced, which was seven times round the course. The 'career' is called 'æquum,' because they were in a straight line, and each chariot was ranged in front of the door of its 'career.']

541 (return)

[ Circuit far too wide.—Ver. 69. The charioteer, whom the lady favours, is going too wide of the 'meta,' or turning-place, and so loses ground, while the next overtakes him.]

542 (return)

[ To the left.—Ver. 72. He tells him to guide the horses to the left, so as to keep closer to the 'meta,' and not to lose so much ground by going wide of it.]

543 (return)

[ Call him back again.—Ver. 73. He, by accident, lets drop the observation, that they have been interesting themselves for a blockhead. But he immediately checks himself, and, anxious that the favourite may yet distinguish himself, trusts that the spectators will call him back. Crispinus, the Delphin Editor, thinks, that by the calling back, it is meant that it was a false start, and that the race was to be run over again. Bur-mann, however, is not of that opinion; but supposes, that if any chariot did not go well, or the horses seemed jaded, it was the custom to call the driver back from the present race, that with new horses he might join in the next race. This, from the sequel, seems the most rational mode of explanation here.]

544 (return)

[ Waving the garments.—Ver. 74. The signal for stopping was given by the men rising and shaking and waving their outer garments, or 'togae,' and probably calling the charioteer by name.]

545 (return)

[ Disarrange your hair.—Ver. 75. He is afraid lest her neighbours, in their vehemence should discommode her hair, and tells her, in joke, that she may creep into the bosom of his own 'toga.']

546 (return)

[ And now the barrier.—Ver. 77. The first race we are to suppose finished, and the second begins similarly to the first. There were generally twenty-five of these 'missus,' or races in a day.]

547 (return)

[ The variegated throng.—Ver. 78. See the Note to the second line.]

548 (return)

[ At all events.—Ver. 79. He addresses the favourite, who has again started in this race.]

549 (return)

[ Bears away the palm.—Ver. 82. The favourite charioteer is now victorious, and the Poet hopes that he himself may gain the palm in like manner. The victor descended from his car at the end of the race, and ascended the 'spina,' where he received his reward, which was generally a considerable sum of money. For an account of the 'spina,' see the Metamorphoses, Book x. l. 106, and the Note to the passage.]

550 (return)

[ Her beauty remains.—Ver. 2. She has not been punished with ugliness, as a judgment for her treachery.]