39. Thus Varro derives facere from facies, because he who makes anything gives to it an appearance, volpes, the fox, after Stilo from volare pedibus as the flying-footed; Gaius Trebatius, a philosophical jurist of this age, derives sacellum from sacra cella, Figulus frater from fere alter and so forth. This practice, which appears not merely in isolated instances but as a main element of the philological literature of this age, presents a very great resemblance to the mode in which till recently comparative philology was prosecuted, before insight into the organism of language put a stop to the occupation of the empirics.

40. V. XII. Grammatical Science.

41. V. XI. Sciences of General Culture at This Period.

42. V. XI. Reform of the Calendar.

43. V. XII. Dramatic Spectacles.

44. Such "Greek entertainment" were very frequent not merely in the Greek cities of Italy, especially in Naples (Cic. pro Arch. 5, 10; Plut. Brut. 21), but even now also in Rome (iv. 192; Cic. Ad Fam. vii. 1, 3; Ad Att. xvi. 5, 1; Sueton. Caes. 39; Plut. Brut. 21). When the well-known epitaph of Licinia Eucharis fourteen years of age, which probably belongs to the end of this period, makes this "girl well instructed and taught in all arts by the Muses themselve", shine as a dancer in the private exhibitions of noble houses and appear first in public on the Greek stage (modo nobilium ludos decoravi choro, et Graeca in scaena prima populo apparui), this doubtless can only mean that she was the first girl that appeared on the public Greek stage in Rome; as generally indeed it was not till this epoch that women began to come forward publicly in Rome (p. 469).

These "Greek entertainment" in Rome seem not to have been properly scenic, but rather to have belonged to the category of composite exhibitions - primarily musical and declamatory - such as were not of rare occurrence in subsequent times also in Greece (Welcker, Griech. Trag., p. 1277). This view is supported by the prominence of flute-playing in Polybius (xxx. 13) and of dancing in the account of Suetonius regarding the armed dances from Asia Minor performed at Caesar's games and in the epitaph of Eucharis; the description also of the citharoedus (Ad Her. iv. 47, 60; comp. Vitruv. v. 5, 7) must have been derived from such "Greek entertainments". The combinations of these representations in Rome with Greek athletic combats is significant (Polyb. l. c.; Liv. xxxix. 22). Dramatic recitations were by no means excluded from these mixed entertainments, since among the players whom Lucius Anicius caused to appear in 587 in Rome, tragedians are expressly mentioned; there was however no exhibition of plays in the strict sense, but either whole dramas, or perhaps still more frequently pieces taken from them, were declaimed or sung to the flute by single artists. This must accordingly have been done also in Rome; but to all appearance for the Roman public the main matter in these Greek games was the music and dancing, and the text probably had little more significance for them than the texts of the Italian opera for the Londoners and Parisians of the present day. Those composite entertainments with their confused medley were far better suited for the Ionian public, and especially for exhibitions in private houses, than proper scenic performances in the Greek language; the view that the latter also took place in Rome cannot be refuted, but can as little be proved.

45. V. XI. Sciences of General Culture at This Period.