part of the solemnity, until the next year; that he might have more
frequent opportunities of performing. But that being too long, he could
not refrain from often appearing as a public performer during the
interval. He made no scruple of exhibiting on the stage, even in the
spectacles presented to the people by private persons, and was offered by
one of the praetors, no less than a million of sesterces for his
services. He likewise sang tragedies in a mask; the visors of the heroes
and gods, as also of the heroines and goddesses, being formed into a
resemblance of his own face, and that of any woman he was in love with.
Amongst the rest, he sung "Canace in Labour," [586] "Orestes the Murderer
of his Mother," "Oedipus (352) Blinded," and "Hercules Mad." In the last
tragedy, it is said that a young sentinel, posted at the entrance of the
stage, seeing him in a prison dress and bound with fetters, as the fable
of the play required, ran to his assistance.

XXII. He had from his childhood an extravagant passion for horses; and
his constant talk was of the Circensian races, notwithstanding it was
prohibited him. Lamenting once, among his fellow-pupils, the case of a
charioteer of the green party, who was dragged round the circus at the
tail of his chariot, and being reprimanded by his tutor for it, he
pretended that he was talking of Hector. In the beginning of his reign,
he used to amuse himself daily with chariots drawn by four horses, made
of ivory, upon a table. He attended at all the lesser exhibitions in the
circus, at first privately, but at last openly; so that nobody ever
doubted of his presence on any particular day. Nor did he conceal his
desire to have the number of the prizes doubled; so that the races being
increased accordingly, the diversion continued until a late hour; the
leaders of parties refusing now to bring out their companies for any time
less than the whole day. Upon this, he took a fancy for driving the
chariot himself, and that even publicly. Having made his first