KORITTO: What didn't I do, Metro dear'? And what didn't I do to persuade him'? I kissed him, I patted his bald head, I poured out some sweet wine for him to drink, I fondled him, the only thing I didn't do was to give him my body. METRO: But you should have given him that too, if he asked it. KORITTO: Yes, and I would have, but Bitas slave girl commenced grinding in the court, just at the wrong moment; she has reduced our hand mill nearly to powder by grinding day and night for fear she might have four obols to pay for having her own sharpened. METRO: But how did he happen to come to your house, Koritto dear? You'll tell me the truth won't you, now? KORITTO: Artemis the daughter of Kandas directed him to me by pointing out the roof of the tanner's house as a landmark. METRO: That Artemis is always discovering something new to help her make capital out of her skill as a go-between. But anyhow, when you couldn't buy them both you should have asked who ordered the other one. KORITTO: I begged him to tell me but he swore he wouldn't, that's how much he thought of me, Metro dear. METRO: You mean that I must go and find Artemis now to learn who the Kerdon is--good-bye KORITTO. He (my husband) is hungry by now, so it's time I was going. KORITTO: (To the slave girl) Close the doors, there, chicken keeper, and count the chickens to see if they're all there; throw them some grain, too, for the chicken thieves will steal them out of one's very lap. THE CORDAX. A lascivious dance of the old Greek comedy. Any person who performed this dance except upon the stage was considered drunk or dissolute. That the dance underwent changes for the worse is manifest from the representation of it found on a marble tazza in the Vatican (Visconti, Mus. Pio-Clem. iv, 29), where it is performed by ten figures, five Finns and five Bacchanals, but their movements, though extremely lively and energetic, are not marked by any particular indelicacy. Many ancient authors and scholiasts have commented upon the looseness and sex appeal of this dance. Meursius, Orchest., article Kordax, has collected the majority of passages in the classical writers, bearing upon this subject, but from this disorderly collection it is impossible to arrive at any definite description of the cordax. The article in Coelius Rhodiginus. Var. Lect. lib. iv, is conventional. The cordax was probably not unlike the French "chalhut," danced in the wayside inns, and it has been preserved in the Spanish "bolero" and the Neapolitan "tarantella." When the Romans adopted the Greek customs, they did not neglect the dances and it is very likely that the Roman Nuptial Dance, which portrayed the most secret actions of marriage had its origin in the Greek cordax. The craze for dancing became so menacing under Tiberius that the Senate was compelled to run the dancers and dancing masters out of Rome but the evil had become so deep rooted that the very precautions by which society was