To one nurtured on the pure and sustaining milk of Cicero and the Augustans, with an occasional dash of Tacitus and Juvenal for medicinal purposes, the writings of Apuleius come with something of the force of a knock-me-down. The very words are unfamiliar. Barrio is onomatopoeic enough to be guessed, but what does vispellio mean to anyone outside the legal profession? What of cambio? His is a strange language, highly artificial, with its borrowings from the Greek—myoparo, schedium, and naulum, which Juvenal took before him, for instance; with its echoes of Plautus—tuburdnor, scitulus, atticisso, capero, ientaculum, agaso, lurco, pollinctor, cincinnus, and examussim are all Plautine; with its diminutives, always a sign of artifice, as it was the sign of the Graecis-santes of Cicero's day—mellitula, tenella, centunculus, sdtulus spring to the mind; with comparatively unfamiliar literary words—tesca and blatero are both Horatian, but are very rare; and with his own occasional extensions of usage, as when he describes his horse as vector meus, or speaks of a kiss being given pressule, or seemingly coins subterlabere for ‘to slight’. But with this mannered artificiality goes the easy conversational idiom of the professional popular writer, evinced by his repeated use of commodum in the Metamorphoses to carry on the flow of ideas. Fuscis avibus or sinistro pede for ‘without luck’ are as artificial as the rest, but minimo minus for ‘almost’, or dicam an with the indicative for immo vero are surely conversational.
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page 68 note 8 Ibid. i. 1.
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page 69 note 2 Ibid. ii. 32–iii. 18.
page 69 note 3 Ibid. iii. 21–26.
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page 73 note 4 Ibid. vii. 13.
page 73 note 5 Ibid. ix. 14.
page 73 note 6 Ibid. xi. 13, 20, 27.
page 73 note 7 Ibid. iii. 25.
page 73 note 8 Ibid. xi. 15.
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page 73 note 10 Ibid. 17.
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