Book i
. line 51, and the Note. The temple of Isis, at Rome, was in the Campus Martius, or Field of Mars, near the sheep market. It was noted for the intrigues and assignations of which it was the scene.]
[Footnote 310: He turns the house.--Ver. 29. As the Delphin Editor says, 'Il peut renverser la maison,' 'he can turn the house upside down.']
[Footnote 311: The masters approve..--Ver. 30. He means to say that the eunuch and his mistress will be able to do just as they please.]
[Footnote 312: An executioner.--Ver. 36. To blind the husband, by pretending harshness on the part of Bagous.]
[Footnote 313: Of the truth.--Ver. 38 This line is corrupt, and there are about ten various readings. The meaning, however, is clear; he is, by making false charges, to lead the husband away from a suspicion of the truth; and to put him, as we say, in common parlance, on the wrong scent.]
[Footnote 314: Your limited savings.--Ver. 39. 'Peculium,' here means the stock of money which a slave, with the consent of his master, laid up for his own, 'his savings.' The slaves of the Romans being not only employed in domestic offices and the labours of the field, but as agents or factors for their masters, in the management of business, and as mechanics and artisans in various trades, great profits were made through them. As they were often entrusted with a large amount of property, and considerable temptations were presented to their honesty, it became the practice to allow the slave to consider a part of his gains, perhaps a per centage, as his own; this was termed his 'peculium.' According to the strict letter of the law, the 'peculium' was the property of the master, but, by usage, it was looked upon as the property of the slave. It was sometimes agreed upon between the master and slave, that the latter should purchase his liberty with his 'peculium,' when it amounted to a certain sum. If the slave was manumitted by the owner in his lifetime, his 'peculium' was considered to be given him, with his liberty, unless it was expressly retained.]
[Footnote 315: Necks of informers.--Ver. 41. He probably alludes to informers who have given false evidence. He warns Bagous of their fate, intending to imply that both his mistress and himself will deny all, if he should attempt to criminate them.]
[Footnote 325: Tongue caused this.--Ver. 44. According to one account, his punishment was inflicted for revealing the secrets of the Gods.]
[Footnote 326: Appointed by Juno.--Ver. 45. This was Argus, whose fate is related at the end of the First Book of the Metamorphoses.]
[Footnote 327: Alas! that.--Ver. 1. He is again addressing Bagous, and begins in a strain of sympathy, since his last letter has proved of no avail with the obdurate eunuch.]
[Footnote 328: Mutilate Joys --Ver. 3. According to most accounts, Semiramis was the first who put in practice this abominable custom.]
[Footnote 329: Standard be borne.--Ver. 10. He means, that he is bound, with his mistress to follow the standard of Cupid, and not of Mars.]
[Footnote 330: Favours to advantage.--Ver. 13. 'Ponere' here means, literally, 'to put out at interest.' He tells the eunuch that he has now the opportunity of conferring obligations, which will bring him in à good interest by way of return.]
[Footnote 332: Sabine dames.--Ver. 15. Juvenal, in his Tenth Satire, 1. 293, mentions the Sabine women as examples of prudence and chastity.]
[Footnote 333: In her stateliness.--Ver. 16. Burmann would have 'ex alto' to mean 'ex alto pectore,' 'from the depths of her breast.' In such case the phrase will correspond with our expression, 'to dissemble deeply,' 'to be a deep dissembler.']
[Footnote 334: Modulates her voice.--Ver. 25. Perhaps 'flectere vocem' means what we technically call, in the musical art, 'to quaver.']
[Footnote 335: Her arms to time.--Ver. 29. Dancing was, in general, discouraged among the Romans. That here referred to was probably the pantomimic dance, in which, while all parts of the body were called into
## action, the gestures of the arms and hands were especially used, whence
the expressions 'manus loquacissimi,' 'digiti clamosi,' 'expressive hands,' or 'fingers.' During the Republic, and the earlier periods of the Empire, women never appeared on the stage, but they frequently acted at the parties of the great. As it was deemed disgraceful for a free man to dance, the practice at Rome was probably confined to slaves, and the lowest class of the citizens. See the Fasti,