5.  II.  IX.  Ballad-Singers

6.  The later rule, by which the freedman necessarily bore the -praenomen- of his patron, was not yet applied in republican Rome.

7.  II.  VII.  Capture of Tarentum

8.  III.  Vi.  Battle of Sena

9.  One of the tragedies of Livius presented the line—­

-Quem ego nefrendem alui Iacteam immulgens opem.-

The verses of Homer (Odyssey, xii. 16): 

—­oud ara Kirken ex Aideo elthontes elethomen, alla mal oka elth entunamene ama d amphipoloi pheron aute siton kai krea polla kai aithopa oinon eruthron.—­

are thus interpreted: 

-Topper citi ad aedis—­venimus Circae
Simul duona coram(?)—­portant ad navis,
Milia dlia in isdem—­inserinuntur.-

The most remarkable feature is not so much the barbarism as the thoughtlessness of the translator, who, instead of sending Circe to Ulysses, sends Ulysses to Circe.  Another still more ridiculous mistake is the translation of —­aidoioisin edoka—­ (Odyss. xv. 373) by -lusi- (Festus, Ep. v. affatim, p. ii, Muller).  Such traits are not in a historical point of view matters of difference; we recognize in them the stage of intellectual culture which irked these earliest Roman verse-making schoolmasters, and we at the same time perceive that, although Andronicus was born in Tarentum, Greek cannot have been properly his mother-tongue.

10.  Such a building was, no doubt, constructed for the Apollinarian games in the Flaminian circus in 575 (Liv. xl. 51; Becker, Top. p. 605); but it was probably soon afterwards pulled down again (Tertull. de Spect. 10).

11.  In 599 there were still no seats in the theatre (Ritschl, Parerg. i. p. xviii. xx. 214; comp.  Ribbeck, Trag. p. 285); but, as not only the authors of the Plautine prologues, but Plautus himself on various occasions, make allusions to a sitting audience (Mil.  Glor. 82, 83; Aulul. iv. 9, 6; Triicul. ap. fin.; Epid. ap. fin.), most of the spectators must have brought stools with them or have seated themselves on the ground.

12.  III.  XI.  Separation of Orders in the Theatre

13.  Women and children appear to have been at all times admitted to the Roman theatre (Val.  Max. vi. 3, 12; Plutarch., Quaest.  Rom. 14; Cicero, de Har.  Resp. 12, 24; Vitruv. v. 3, i; Suetonius, Aug. 44,&c.); but slaves were -de jure- excluded (Cicero, de Har.  Resp. 12, 26; Ritschl.  Parerg. i. p. xix. 223), and the same must doubtless have been the case with foreigners, excepting of course the guests of the community, who took their places among or by the side of the senators (Varro, v. 155; Justin, xliii. 5. 10; Sueton.  Aug. 44).

14.  III.  XII.  Moneyed Aristocracy

15.  II.  IX.  Censure of Art

16.  It is not necessary to infer from the prologues of Plautus (Cas. 17; Amph. 65) that there was a distribution of prizes (Ritschl, Parerg. i. 229); even the passage Trin. 706, may very well belong to the Greek original, not to the translator; and the total silence of the -didascaliae- and prologues, as well as of all tradition, on the point of prize tribunals and prizes is decisive.