1256 (return)
[ On its return home.—Ver. 569. 'In reditu' may certainly mean 'upon its return;' but Burmann thinks that 'reditus' here means 'a source of income,' and that the passage alludes to the man whose only property is his ship.]
1257 (return)
[ In service.—Ver. 571; Those who were old enough to have sons In service, or marriageable daughters, were certainly unworthy of the Poet's sympathy or advice.]
1258 (return)
[ Palinurus.—Ver. 577. The pilot of Æneas, who was drowned off die coast of Italy. See the Æneid of Virgil.]
1259 (return)
[ Triennial.—Ver. 593. See the Metamorphoses, Book vi. 1. 587; and the Fasti, Book i. 1. 394, and the Notes.]
1260 (return)
[ Edoniatu—Ver. 594. See the Tristia, Book iv. El. i. 1. 42, and the Note.]
1261 (return)
[ Your foliage lost.—Ver. 606. He alludes to the story of the woods losing their leaves in their grief for Phyllis.]
1262 (return)
[ Hail!'—Ver. 640. Martial tells us that 'ave' was the morning illutation of the Romans.]
1263 (return)
[ Appian.'—Ver. 660. See the Art of Love, Book iii. 1. 451.]
1264 (return)
[ In the company.—Ver. 663. Heinsius thinks, that by 'aderam,' it is meant that Ovid was acting as the counsel of the youth. The young man had probably summoned his mistress, to restore his property left in her possession. On the two tablets his case was written out.]
1265 (return)
[ Loose folds.—Ver. 680. The Roman fops affected to wear the 'toga, tightened into many creases at the waist, and as open as possible at the breast.]
1266 (return)
[ Not venture.—Ver. 699. He alludes to the abrupt departure of Ulysses from Calypso and Circe.]
1267 (return)
[ Cauldrons of Amyclæ.—Ver. 707. The purple dye of Amyelæ, in Laconia, was of a very fair quality, but could not be compared with that af Tyre.]
1268 (return)
[ Thestius.—Ver. 721. See the Metamorphoses, Book viii. 1. 445.]
1269 (return)
[ Waxen portrait.—Ver. 723. Waxen profiles seem to have been used by the Romans, as likenesses. They are evidently referred to in the Asinaria of Plautus, Aet iv. se. i. 1. 19, a passage which seems to have puzzled the Commentators. See the Epistle of Laodania, 1. 152, and the Note.]
1270 (return)
[ Caphareus.—Ver. 735. Seethe Tristia, Book i. El. i. 1. 83, and the Note.]
1271 (return)
[ Of Nmis.—Ver. 737. He falls into his usual error of confounding the daughter of Nisus with the daughter of Phorcys.]
1272 (return)
[ Acroceraunia.—Ver. 739. These were tremendous rocks on the coast of Epirus.]
1273 (return)
[ Thy descendant.—Ver. 743. He means that the lust of Phædra was engendered by ease and luxury. See the Metamorphoses, Book xv. 1. 498. Neptune was the great grandfather of Hippolytus.]
1274 (return)
[ Gnossian.7—Ver. 745. He refers to the love of Pasiphaë for the bull.]
1275 (return)
[ Hecale.—Ver. 747. Hecale was a poor old woman, wo entertained Theseus with great hospitality.]
1276 (return)
[ Irus—Ver. 747. See the Tristia, Book iii. El. vii. 1. 42, and the Note.]
1277 (return)
[ Being acted.—Ver. 755. See the Tristia, Book il. 1. 519, and the Note.]
1278 (return)
[ Of Cos.—Ver. 760. See the Art of Love, Book iii. 1. 329, and the Note.]
1279 (return)
[ Hermione.—Ver. 772. See the Epistle to Orestes.]
1280 (return)
[ Of Plisthenes.—Ver. 778. Agamemnon was said, by some, to have been the son of Plisthenes, and adopted by his uncle Atreus.]
1281 (return)
[ Without reason.—Ver. 779. Agamemnon declares the contrary of this in the Iliad; Briseïs, in her Epistle to Achilles, does the same.]
1282 (return)
[ He did not think.—Ver. 784. Ovid has no reason or ground for this wretched quibble, but his own imagination. This sceptre of Agamemnon was made by Vulcan, who gave it to Jupiter, he to Mercury, and Mercury to Pelous, who left it to Atreus; by him it was left to Thyestes, who according to Homer, gave it to Agamemnon.]
1283 (return)
[ Lotophagi.—Ver. 789. See the Tristia, Book iv. El. i. 1. 31, and the Note.]
1284 (return)
[ Daunian.—Ver. 797. Daunia was a name of Apulia, in Italy. See the Metamorphoses, Book xiv. 1. 512, and the Note.]
1285 (return)
[ Megara.—Ver. 798. See the Art of Love, Book ii. 1. 422.]
1286 (return)
[ Sharpens the sight.—Ver. 801. Pliny says that painters and sculptors were in the habit of using rue, for the purpose of strengthening the sight.]