Enter Phidippus, from his house.
Phid. (speaking at the door to Philumena, within.) Upon my faith, I am angry with you too, Philumena, extremely so, for, on my word, you have acted badly; still there is an excuse for you in this matter; your mother forced you to it; but for her there is none.
Lach. (accosting him.) Phidippus, you meet me at a lucky moment, just at the very time.
Phid. What’s the matter?
Pam. (aside.) What answer shall I make them, or in what manner keep this secret?
Lach. (to Phidippus.) Tell your daughter that Sostrata is going into the country, that she may not now be afraid of returning home.
Phid. Alas! your wife has been guilty of no fault in this affair; all this mischief has originated in my wife Myrrhina.
Pam. (aside.) They are changing sides.
Phid. ’Tis she that causes our disturbances, Laches.
Pam. (aside.) So long as I don’t take her back, let her cause as much disturbance as she pleases.
Phid. I, Pamphilus, could really wish, if it were possible, this alliance between us to be lasting; but if you are otherwise inclined, still take the child.55
Pam. (aside.) He has discovered that she has been brought to bed. I’m undone!
Lach. The child! What child?
Phid. We have had a grandson born to us; for my daughter was removed from you in a state of pregnancy, and yet never before this day did I know that she was pregnant.
Lach. So may the Gods prosper me, you bring good tidings, and I am glad a child has been born, and that she is safe: but what kind of woman have you for a wife, or of what sort of a temper, that we should have been kept in ignorance of this so long? I can not sufficiently express how disgraceful this conduct appears to me.
Phid. This conduct does not vex me less than yourself, Laches.
Pam. (aside.) Even if it had just now been a matter of doubt to me, it is so no longer, since the child of another man is to accompany her.
Lach. Pamphilus, there is no room now for deliberation for you in this matter.
Pam. (aside.) I’m undone!
Lach. (to Pamphilus.) We were often longing to see the day on which there should be one to call you father; it has come to pass. I return thanks to the Gods.
Pam. (aside.) I am ruined!
Lach. Take home your wife, and don’t oppose my will.
Pam. Father, if she had wished to have children by me, or to continue to be my wife, I am quite certain she would not have concealed from me what I find she has concealed. Now, as I find that her mind is estranged from me, and think that there would be no agreement between us in future, why should I take her back?
Lach. The young woman has done what her mother persuaded her. Is that to be wondered at? Do you suppose you can find any woman who is free from fault? Or is it that men have no failings?
Phid. Do you yourselves now consider, Laches, and you, Pamphilus, whether it is most advisable for you to leave her or take her back. What your wife may do, is not in my control. Under neither circumstance will you meet with any difficulty from me. But what are we to do with the child?
Lach. You do ask an absurd question; whatever happens, send him back his child of course, that we may bring it up as ours.
Pam. (in a low voice.) A child which the father has abandoned, am I to rear?
Lach. What was it you said? How—not rear it, Pamphilus? Prithee, are we to expose it, in preference? What madness is this? Really, I can not now be silent any longer. For you force me to say in his presence (pointing to Phidippus) what I would rather not. Do you suppose I am in ignorance of the cause of your tears, or what it is on account of which you are perplexed to this degree? In the first place, when you alleged as a reason, that, on account of your mother, you could not have your wife at home, she promised that she would leave the house. Now, since you see this pretext as well taken away from you, because a child has been born without your knowledge, you have got another. You are mistaken if you suppose that I am ignorant of your feelings. That at last you might prevail upon your feelings to take this step, how long a period for loving a mistress did I allow you! With what patience did I bear the expense you were at in keeping her! I remonstrated with you and entreated you to take a wife. I said that it was time: by my persuasion you married. What you then did in obedience to me, you did as became you. Now again you have set your fancy upon a mistress, and, to gratify her, you do an injury to the other as well. For I see plainly that you have once more relapsed into the same course of life.
Pam. What, I?
Lach. Your own self, and you act unjustly therein. You feign false grounds for discord, that you may live with her when you have got rid of this witness of your actions; your wife has perceived it too; for what other reason had she for leaving you?
Phid. (to himself.) It’s clear he guesses right; for that must be it.
Pam. I will give you my oath that none of these is the reason.
Lach. Oh take home your wife, or tell me why you should not.
Pam. It is not the time at present.
Lach. Take the child, for surely that is not in fault; I will consider about the mother afterward.
Pam. (apart.) In every way I am wretched, and what to do I know not; with so many troubles is my father now besetting wretched me on every side. I’ll go away from here, since I avail but little by my presence. For without my consent, I do not believe that they will bring up the child, especially as on that point my mother-in-law will second me.
Exit speedily.
Scene VII.
Laches and Phidippus.
Lach. (to Pamphilus.) Do you run away? What, and give me no distinct answer? (To Phidippus.) Does he seem to you to be in his senses? Let him alone. Phidippus, give me the child; I’ll bring it up.
Phid. By all means. No wonder if my wife has taken this amiss: women are resentful; they do not easily put up with such things. Hence that anger of hers, for she herself told me of it; I would not mention this to you in his presence, and at first I did not believe her; but now it is true beyond a doubt; for I see that his feelings are altogether averse to marriage.
Lach. What am I to do, then, Phidippus? What advice do you give?
Phid. What are you to do? I am of opinion that first we ought to go to this mistress of his. Let us use entreaties with her; then let us rebuke her; and at last, let us very seriously threaten her, if she gives him any encouragement in future.
Lach. I will do as you advise. (Turning to an Attendant.) Ho, there, boy! run to the house of Bacchis here, our neighbor; desire her, in my name, to come hither. (Exit Attendant.) And you, I further entreat, to give me your assistance in this affair.
Phid. Well, I have already said, and I now say again to the same effect, Laches, I wish this alliance between us to continue, if by any means it possibly may, which I trust will be the case. But should you like56 me to be with you while you meet her?
Lach. Why yes; but first go and get some one as a nurse for the child.
Exit Phidippus.
Scene VIII.
Enter Bacchis, attended by her Women.
Bacch. (to her Women.) It is not for nothing that Laches now desires to speak with me; and, i’ faith, I am not very far from mistaken in making a guess what it is he wants me for.
Lach. (to himself.) I must take care that I don’t, through anger, miss gaining in this quarter what I otherwise might, and that I don’t do any thing which hereafter it would have been better I had not done. I’ll accost her. (Accosts her.) Bacchis, good-morrow to you!
Bacch. Good-morrow to you, Laches!
Lach. Troth, now, Bacchis, I suppose you somewhat wonder what can be my reason for sending the lad to fetch you out of doors.
Bacch. Upon my faith, I am even in some anxiety as well, when I reflect what I am, lest the name of my calling should be to my prejudice; for my behavior I can easily defend.
Lach. If you speak the truth, you will be in no danger, woman, from me, for I am now of that age that it is not meet for me to receive forgiveness for a fault; for that reason do I the more carefully attend to every particular, that I may not act with rashness; for if you now do, or intend to do, that which is proper for deserving women to do, it would be unjust for me, in my ignorance, to offer an injury to you, when undeserving of it.
Bacch. On my word, great is the gratitude that I ought to feel toward you for such conduct; for he who, after committing an injury, would excuse himself, would profit me but little. But what is the matter?
Lach. You admit my son, Pamphilus, to your house.
Bacch. Ah!
Lach. Just let me speak: before he was married to this woman, I tolerated your amour. Stay! I have not yet said to you what I intended. He has now got a wife: look out for another person more to be depended on, while you have time to deliberate; for neither will he be of this mind all his life, nor, i’ faith, will you be always of your present age.
Bacch. Who is it says this?
Lach. His mother-in-law.
Bacch. What! that I—
Lach. That you do: and she has taken away her daughter; and for that reason, has wished secretly to destroy the child that has been born.
Bacch. Did I know any other means whereby I might be enabled to establish my credit with you, more solemn than an oath, I would, Laches, assure you of this, that I have kept Pamphilus at a distance57 from me ever since he took a wife.
Lach. You are very good. But, pray, do you know what I would prefer that you should do?
Bacch. What? Tell me.
Lach. Go in-doors there (pointing to the house of Phidippus) to the women, and make the same promise, on oath, to them; satisfy their minds, and clear yourself from this charge.
Bacch. I will do so; although, i’faith, if it had been any other woman of this calling, she would not have done so, I am quite sure; present herself before a married woman for such a purpose! But I do not wish your son to be suspected on an unfounded report, nor appear inconstant, undeservedly, to you, to whom he by no means ought; for he has deserved of me, that, so far as I am able, I should do him a service.
Lach. Your language has rendered me quite friendly and well disposed toward you; but not only did they think so—I too believed it. Now that I have found you quite different from what I had expected, take care that you still continue the same—make use of my friendship as you please; if otherwise——; but I will forbear, that you may not hear any thing unkind from me. But this one thing I recommend you—make trial what sort of a friend I am, or what I can effect as such, rather than what as an enemy.
Scene IX.
Enter Phidippus and a Nurse.
Phid. (to the Nurse.) Nothing at my house will I suffer you to be in want of; but whatever is requisite shall be supplied you in abundance. Still, when you are well fed and well drenched, do take care that the child has enough.
The Nurse goes into his house.
Lach. (to Bacchis.) My son’s father-in-law, I see, is coming; he is bringing a nurse for the child. (Accosting him.) Phidippus, Bacchis swears most solemnly.
Phid. Is this she?
Lach. It is.
Phid. Upon my faith, those women don’t fear the Gods; and I don’t think that the Gods care about them.
Bacch. (pointing to her Attendants.) I will give you up my female servants; with my full permission, examine them with any tortures you please. The business at present is this: I must make his wife return home to Pamphilus; should I effect that, I shall not regret its being reported that I have been the only one to do what other courtesans avoid doing.58
Lach. We find, Phidippus, that our wives have been unjustly suspected59 by us in this matter. Let us now try her still further; for if your wife discovers that she has given credence to a false charge, she will dismiss her resentment; but if my son is also angry, by reason of the circumstance that his wife has been brought to bed without his knowledge, that is a trifle: his anger on that account will speedily subside. Assuredly in this matter, there is nothing so bad as to be deserving of a separation.
Phid. I sincerely wish it may be so.
Lach. Examine her; here she is; she herself will satisfy you.
Phid. Why do you tell me these things? Is it because you have not already heard what my feelings are with regard to this matter, Laches? Do you only satisfy their minds.
Lach. Troth now, Bacchis, I do entreat that what you have promised me you will do.
Bacch. Would you wish me, then, to go in about this business?
Lach. Go, and satisfy their minds, so as to make them believe it.
Bacch. I’ll go: although, upon my word, I am quite sure that my presence will be disagreeable to them, for a married woman is the enemy of a mistress, when she has been separated from her husband.
Lach. But they will be your friends, when they know the reason of your coming.
Phid. And I promise that they shall be your friends, when they know the fact; for you will release them from their mistake, and yourself, at the same time, from suspicion.
Bacch. Wretched me! I’m ashamed to meet Philumena. (To her Attendants.) Do you both follow me into the house.
Goes into the house with Phidippus and her Attendants.
Lach. (to himself.) What is there that I could more wish for, than what I see has happened to this woman? To gain favor without loss to myself, and to benefit myself at the same time. For if now it is the fact that she has really withdrawn from Pamphilus, she knows that by that step she has acquired honor and reputation: she returns the favor to him, and, by the same means, attaches us as friends to herself.
Goes into the house.
ACT THE FIFTH.
Scene I.
Enter Parmeno, moving along with difficulty.
Par. (to himself.) Upon my faith, my master does assuredly think my labor of little value; to have sent me for nothing, where I have been sitting the whole day to no purpose, waiting at the citadel for Callidemides, his landlord at Myconos. And so, while sitting there to-day, like a fool, as each person came by, I accosted him:—“Young man, just tell me, pray, are you a Myconian?” “I am not.” “But is your name Callidemides?” “No.” “Have you any former guest here named Pamphilus?” All said. “No; and I don’t believe that there is any such person.” At last, i’ faith, I was quite ashamed, and went away. But how is it I see Bacchis coming out of our neighbor’s? What business can she have there?
Scene II.
Enter Bacchis, from the house of Phidippus.
Bacch. Parmeno, you make your appearance opportunely; run with all speed60 to Pamphilus.
Par. Why thither?
Bacch. Say that I entreat him to come.
Par. To your house?
Bacch. No; to Philumena.
Par. What’s the matter?
Bacch. Nothing that concerns you; so cease to make inquiry.
Par. Am I to say nothing else?
Bacch. Yes; that Myrrhina has recognized that ring as her daughter’s, which he formerly gave me.
Par. I understand—is that all?
Bacch. That’s all. He will be here directly he has heard this from you. But do you linger?
Par. Far from it, indeed; for I’ve not had the opportunity given me to-day; so much with running and walking about have I wasted the whole day.
Goes into the house of Laches.
Scene III.
Bacchis, alone.
Bacch. What great joy have I caused for Pamphilus by my coming to-day! How many blessings have I brought him! and from how many sorrows have I rescued him! A son I save for him, when it was nearly perishing through the agency of these women and of himself: a wife, whom he thought that he must cast off forever, I restore to him: from the suspicion that he lay under with his father and Phidippus, I have cleared him. This ring, in fact, was the cause of these discoveries being made. For I remember, that about ten months ago, at an early hour of night, he came running home to my house, out of breath, without a companion, and surcharged with wine,61 with this ring in his hand. I felt alarmed immediately: “My Pamphilus,” I said, “prithee, my dear, why thus breathless, or where did you get that ring?—tell me!” He began to pretend that he was thinking of something else. When I saw that, I began to suspect I know not what, and to press him still more to tell me. The fellow confessed that he had ravished some female, he knew not whom, in the street; and said, that while she was struggling, he had taken that ring away from her. Myrrhina here recognized it just now, while I had it on my finger. She asked whence it came: I told her all the story. Hence the discovery has been made that it was Philumena ravished by him, and that this new-born child is his. I am overjoyed that this happiness has befallen him through my agency; although other courtesans would not have similar feelings; nor, indeed, is it to our interest that any lover should find pleasure in matrimony. But, i’faith, I never, for the sake of gain, will give my mind to base actions. So long as I had the opportunity, I found him to be kind, easy, and good-natured. This marriage has fallen out unluckily for me,—that I confess to be the fact. But, upon my word, I do think that I have done nothing for it to befall me deservedly. It is but reasonable to endure inconveniences from one from whom I have received so many benefits.
Scene IV.
Enter Pamphilus and Parmeno, from the house of Laches, on the other side of the stage.
Pam. Once more, take care, will you, my dear Parmeno, that you have brought me a faithful and distinct account, so as not to allure me for a short time to indulge in these transient joys.
Par. I have taken care.
Pam. For certain?
Par. For certain.
Pam. I am quite a God, if it is so!
Par. You’ll find it true.
Pam. Just stay, will you; I fear that I’m believing one thing, and you are telling another.
Par. I am staying.
Pam. I think you said to this effect—that Myrrhina had discovered that Bacchis has her ring.
Par. It is the fact.
Pam. The one I formerly gave to her; and she has desired you to tell me this: is such the fact?
Par. Such is so, I tell you.
Pam. Who is there happier than I, and, in fact, more full of joyousness? What am I to present you for these tidings? What?—what? I know not.
Par. But I know.
Pam. What?
Par. Why, nothing; for neither in the tidings nor in myself do I know of there being any advantage to you.
Pam. What! am I to suffer you, who have caused me, when dead, to be restored from the shades to life—to leave me unrewarded? Oh, you deem me too thankless! But look—I see Bacchis standing before the door; she’s waiting for me, I suppose; I’ll accost her.
Bacch. Save you, Pamphilus!
Pam. Oh Bacchis! Oh my Bacchis—my preserver!
Bacch. It is a fortunate thing, and gives me great delight.
Pam. By your actions, you give me reason to believe you, and so much do you retain your former charming qualities, that wherever you go, the meeting with you, your company, your conversation, always give pleasure.
Bacch. And you, upon my word, possess your former manners and disposition; so much so that not a single man living is more engaging than you.
Pam. (laughing.) Ha, ha, ha! do you tell me so?
Bacch. You had reason, Pamphilus, for being so fond of your wife. For never before to-day did I set eyes upon her, so as to know her: she seems a very gentle person.
Pam. Tell the truth.
Bacch. So may the Gods bless me, Pamphilus!
Pam. Tell me, have you as yet told any of these matters to my father?
Bacch. Not a word.
Pam. Nor is there need, in fact; therefore keep it a secret: I don’t wish it to be the case here as it is in the Comedies,62 where every thing is known to every body. Here, those who ought to know, know already; but those who ought not to know, shall neither hear of it nor know it.
Bacch. Nay more, I will give you a proof why you may suppose that this may be the more easily concealed. Myrrhina has told Phidippus to this effect—that she has given credit to my oath, and that, in consequence, in her eyes you are exculpated.
Pam. Most excellent; and I trust that this matter will turn out according to our wishes.
Par. Master, may I not be allowed to know from you what is the good that I have done to-day, or what it is you are talking about?
Pam. You may not.
Par. Still I suspect. “I restore him, when dead, from the shades below.”63 In what way?
Pam. You don’t know, Parmeno, how much you have benefited me to-day, and from what troubles you have extricated me.
Par. Nay, but indeed I do know: and I did not do it without design.
Pam. I know that well enough (ironically).
Bacch. Could Parmeno, from negligence, omit any thing that ought to be done?
Pam. Follow me in, Parmeno.
Par. I’ll follow; for my part, I have done more good to-day, without knowing it, than ever I did, knowingly, in all my life. (Coming forward.) Grant us your applause.64
FOOTNOTES
1. See the Dramatis Personæ of the Eunuchus.
2. From φειδὼ, “parsimony,” and ἱππὸς “a horse.”
3. See the Dramatis Personæ of the Andria.
4. See the Dramatis Personæ of the Andria.
5. See the Dramatis Personæ of the Eunuchus.
6. See the Dramatis Personæ of the Heautontimorumenos.
7. From μυῤῥινὴ “a myrtle.”
8. See the Dramatis Personæ of the Heautontimorumenos.
9. From φιλοτὴς “friendship.”
10. From Syria, her native country.
11. Menander)—According to some, this Play was borrowed from the Greek of Apollodorus, a Comic Poet and contemporary of Menander, who wrote forty-seven Plays.
12. Being Consuls)—Cneius Octavius Nepos and T. Manlius Torquatus were Consuls in the year from the building of the City 587, and B.C. 166.
13. It was then approved of)—“Placuit.” This is placed at the end, in consequence of the inauspicious reception which had been given to it on the two first representations. See the account given in the Prologues.
14. Hecyra)—Ver. 1. The Greek word Ἕκυρα, a “step-mother,” or “mother-in-law,” Latinized.
15. And calamity)—Ver. 3. “Calamitas.” This word is used in the same sense in the first line of the Eunuch. This is evidently the Prologue spoken on the second attempt to bring forward the piece. On the first occasion it probably had none. “Vitium” was a word used by the Augurs, with whom it implied an unfavorable omen, and thence came to be used for any misfortune or disaster. He seems to mean the depraved taste of the public, that preferred exhibitions of rope-dancers and pugilists to witnessing his Plays.
16. Again to sell it)—Ver. 7. See the last Note to the Second Prologue.
17. Other Plays of his)—Ver. 8. Madame Dacier informs us that Vossius was of opinion that the second representation of this Play did not take place till after that of the Adelphi. In that case, they had already seen the rest of his Plays.
18. Second Prologue)—Eugraphius informs us that this Prologue was spoken by Ambivius Turpio, the head of the company of Actors.
19. Cæcilius)—Ver. 14. Colman has the following Note: “A famous Comic Poet among the Romans. His chief excellences are said to have been, the gravity of his style and the choice of his subjects. The first quality was attributed to him by Horace, Tully, etc., and the last by Varro. ‘In argumentis Cæcilius poscit palmam, in ethesi Terentius.’ ‘In the choice of subjects, Cæcilius demands the preference; in the manners, Terence.’” Madame Dacier, indeed, renders “in argumentis,” “in the disposition of his subjects.” But the words will not bear that construction. “Argumentum,” I believe, is uniformly used for the argument itself, and never implies the conduct of it; as in the Prologue to the Andrian, “non tam dissimili argumento.” Besides, the disposition of the subject was the very art attributed by the critics of those days to Terence, and which Horace mentions in the very same line with the gravity of Cæcilius, distinguishing them as the several characteristics of each writer, “Vincere Cæcilius gravitate, Terentius arte.”
20. Vauntings of boxers)—Ver. 33. Horace probably had this passage in his mind when he penned the First Epistle in his Second Book, l. 185; where he mentions the populace leaving a Play in the midst for the sight of a bear, or an exhibition of boxers.
21. Of a rope-dancer)—Ver. 34. The art of dancing on the tight rope was carried to great perfection among the ancients. Many paintings have been discovered, which show the numerous attitudes which the performers assumed. The figures have their heads enveloped in skins or caps, probably intended as a protection in case of falling. At the conclusion of the performance the dancer ran down the rope. Germanicus and Galba are said to have exhibited elephants dancing on the tight rope.
22. The old custom of mine)—Ver. 38. He says that on the second representation he followed the plan which he had formerly adopted in the Plays of Cæcilius, of bringing those forward again which had not given satisfaction at first.
23. Fight for their places)—Ver. 41. This was in consequence of their sitting indiscriminately at the Amphitheatre, where the gladiators were exhibited; whereas at the Theatres there were distinct places appropriated to each “ordo” or class.
24. Gracing the scenic festival)—Ver. 45. Madame Dacier remarks that there is great force and eloquence in the Actor’s affecting a concern for the sacred festivals, which were in danger of being deprived of their chief ornaments, if by too great a severity they discouraged the Poets who undertook to furnish the Plays during the solemnity.
25. At my own expense)—Ver. 57. It is generally supposed that “meo pretio” means “a price named as my estimate;” and that it was the custom for the Ædiles to purchase a Play of a Poet at a price fixed by the head of the company of actors. It is also thought that the money was paid to the actor, who handed over the whole, or a certain part, to the Poet, and if the Play was not received with favor, the Ædiles had the right to ask back the money from the actor, who consequently became a loser by the transaction. Pareus and Meric Casaubon think, however, that in case of this Play, the Ædiles had purchased it from the Poet, and the performers had bought it of the Ædiles as a speculation. What he means at the end of the First Prologue by selling the Play over again, is not exactly known. Perhaps if the Play had been then performed throughout and received with no favor, he would have had to forfeit the money, and lose all right to any future pecuniary interest in it; but he preferred to cancel the whole transaction, and to reserve the Play for purchase and representation at a more favorable period.
26. Philotis)—This is a protatic character, or one that helps to introduce the subject of the Play, and then appears no more.
27. Don’t say so, Parmeno)—Ver. 109. She says this ironically, at the same time intimating that she knows Parmeno too well, not to be sure that he is as impatient to impart the secret to her as she is to know it. Donatus remarks, that she pretends she has no curiosity to hear it, that he may deem her the more worthy to be intrusted with the secret.
28. Imbros)—Ver. 171. An island in the Ægean Sea, off the coast of Thrace.
29. From her presence)—Ver. 182. For the purpose, as will afterward appear, of not letting Sostrata see that she was pregnant.
30. With a certain stranger)—Ver. 195. Here Philotis gives a reason, as Donatus observes, why she does not again appear in the Play. The following is an extract from Colman’s remarks on this passage: “It were to be wished, for the sake of the credit of our author’s acknowledged art in the Drama, that Philotis had assigned as good a reason for her appearing at all. Eugraphius justly says: ‘The Courtesan in this Scene is a character quite foreign to the fable.’ Donatus also says much the same thing in his Preface, and in his first Note to this Comedy; but adds that ‘Terence chose this method rather than to relate the argument by means of a Prologue, or to introduce a God speaking from a machine. I will venture to say that the Poet might have taken a much shorter and easier method than either; I mean, to have begun the Play with the very Scene which now opens the Second Act.’”
31. Scene I.)—Colman has the following observations on this Scene: “Donatus remarks that this Scene opens the intention of Terence to oppose the generally-received opinion, and to draw the character of a good step-mother. It would, therefore, as has been already observed, have been a very proper Scene to begin the Play, as it carries us immediately into the midst of things; and we can not fail to be interested when we see the persons acting so deeply interested themselves. We gather from it just so much of the story as is necessary for our information at first setting out. We are told of the abrupt departure of Philumena, and are witnesses of the confusion in the two families of Laches and Phidippus. The absence of Laches, which had been in great measure the occasion of this misunderstanding, is also very artfully mentioned in the altercation between him and Sostrata. The character of Laches is very naturally drawn. He has a good heart, and a testy disposition, and the poor old gentleman is kept in such constant perplexity that he has perpetual occasion to exert both those qualities.”
32. Intrust their children)—Ver. 212. The plural “liberos,” children, is used where only one is being spoken of, similarly, in the Heautontimorumenos, l. 151.
33. If he comes to know)—Ver. 262. Donatus observes that the Poet shows his art in here preparing a reason to be assigned by Pamphilus for his pretended discontent at the departure of his wife.
34. Ha! Sostrata)—Ver. 271. Colman observes on this passage: “This is extremely artful. The answer of Philumena, as related by Phidippus, contains an ample vindication of Pamphilus. What, then, can we suppose could make the house so disagreeable to her in his absence, but the behavior of Sostrata? She declares her innocence; yet appearances are all against her. Supposing this to be the first Act of the Play, it would be impossible for a Comedy to open in a more interesting manner.”
35. And carry word)—Ver. 314. It was the custom with the Greeks and Romans, when returning from abroad, to send a messenger before them, to inform their wives of their arrival.
36. Was in alarm about)—Ver. 321. “Pavitare.” Casaubon has a curious suggestion here; he thinks it not improbable that he had heard the female servants whispering among themselves that Philumena “paritare,” “was about to be brought to bed,” which he took for “pavitare,” “was in fear” of something.
37. Heavy punishment)—Ver. 335. Probably meaning that he will be examined by torture, whether he has not, by drugs or other means, contributed to Philumena’s illness.
38. And thee, Health)—Ver. 338. She invokes Æsculapius, the God of Medicine, and “Salus,” or “Health,” because, in Greece, their statues were always placed near each other; so that to have offered prayers to one and not to the other, would have been deemed a high indignity. On the worship of Æsculapius, see the opening Scene of the Curculio of Plautus.
39. An intermitting one)—Ver. 357. “Quotidiana;” literally, “daily.”
40. All of them change)—Ver. 369. This must have been imaginary, as they were not likely to be acquainted with the reason of Philumena’s apprehensions.
41. Since she came to you)—Ver. 394. There is great doubt what is the exact meaning of “postquam ad te venit,” here,—whether it means, “it is now the seventh month since she became your wife,” or, “it is now the seventh month since she came to your embraces,” which did not happen for two months after the marriage. The former is, under the circumstances, the most probable construction.
42. Committed upon her)—Ver. 401. Colman very justly observes here: “it is rather extraordinary that Myrrhina’s account of the injury done to her daughter should not put Pamphilus in mind of his own adventure, which comes out in the Fifth Act. It is certain that had the Poet let the Audience into that secret in this place, they would have immediately concluded that the wife of Pamphilus and the lady whom he had ravished were one and the same person.” Playwrights have never, in any age or country, troubled themselves much about probability in their plots. Besides, his adventure with Philumena was by no means an uncommon one. We find similar instances mentioned by Plautus; and violence and debauchery seem almost to have reigned paramount in the streets at night.
43. Thirty days or more)—Ver. 421. In his voyage from Imbros to Athens, namely, which certainly appears to have been unusually long.
44. To the citadel)—Ver. 431. This was the fort or citadel that defended the Piræus, and being three miles distant from the city, was better suited for the design of Pamphilus, whose object it was to keep Parmeno for some time at a distance.
45. He would rupture me)—Ver. 435. He facetiously pretends to think that Pamphilus may, during a storm at sea, have vowed to walk him to death, if he should return home.
46. Regardful of a parent)—Ver. 448. Colman observes here: “This reflection seems to be rather improper in this place, for the discovery of Philumena’s labor betrayed to Pamphilus the real motive of her departure; after which discovery his anxiety proceeds entirely from the supposed injury offered him, and his filial piety is from that period made use of merely as a pretense.”
47. He lived well)—Ver. 461. This is living well in the sense used by the “Friar of orders gray.” “Who leads a good life is sure to live well.”
48. Brought home nothing more)—Ver. 462. Colman remarks that this passage is taken notice of by Donatus as a particularly happy stroke of character; and indeed the idea of a covetous old man gaping for a fat legacy, and having his mouth stopped by a moral precept, is truly comic.
49. Pay back her portion)—Ver. 502. As was universally done on a separation by agreement.
50. At the right time)—Ver. 531. Lemaire observes that, from this passage, it would appear that the Greeks considered seven months sufficient for gestation. So it would appear, if we are to take the time of the Play to be seven, and not nine, months after the marriage; and, as before observed, the former seems to be the more reasonable conclusion.
51. A ring which)—Ver. 574. Colman remarks that this preparation for the catastrophe by the mention of the ring, is not so artful as might have been expected from Terence; as in this soliloquy he tells the circumstances directly to the Audience.
52. And festive days)—Ver. 592. “Festos dies.” The days for sacrificing to particular Divinities, when she would have the opportunity of meeting her friends, and making herself merry with them.
53. Look forward with impatience to my death)—Ver. 596. Colman says: “This idea of the long life of a step-mother being odious to her family, is applied in a very beautiful and uncommon manner by Shakspeare:—
“Now, fair Hippolyta, our nuptial hour
Draws on apace; for happy days bring in
Another morn; but oh, methinks how slow
This old morn wanes! she lingers my desires
Like to a step-dame, or a dowager,
Long withering out a young man’s revenue.”
Midsummer Night’s Dream.
54. The old man and the old woman)—Ver. 621. “Senex atque anus.” In these words he probably refers to the commencement of many of the stories current in those times, which began: “There were once upon a time an old man and an old woman.” Indeed, almost the same words occur in the Stichus of Plautus, l. 540, at the commencement of a story: “Fuit olim, quasi ego sum, senex,” “There was upon a time an old man, just like me.”
55. Still take the child)—Ver. 638. In cases of separation it was customary for the father to have the care of the male children.
56. But should you like)—Ver. 725. Donatus observes that Phidippus utters these words with an air of disinclination to be present at the conference; and, indeed, the characters are well sustained, as it would not become him coolly to discourse with a courtesan, whom he supposes to have alienated Pamphilus from his daughter, although he might very properly advise it, as being likely to conduce to the peace of both families.
57. Kept Pamphilus at a distance)—Ver. 752. Colman observes, how are we to reconcile this with the words of Parmeno at the beginning of the Play, where he says that Pamphilus visited Bacchis daily; and he inquires whether we are to suppose that Bacchis, who behaves so candidly in every other instance, wantonly perjures herself in this, or that the Poet, by a strange infatuation attending him in this Play, contradicts himself? To this it may be answered, that as Bacchis appears to be so scrupulous in other instances, it is credible that, notwithstanding his visits, she may not have allowed him to share her embraces.
58. Other courtesans avoid doing)—Ver. 777. Colman has the following quotation from Donatus: “Terence, by his uncommon art, has attempted many innovations with great success. In this Comedy, he introduces, contrary to received prejudices, a good step-mother and an honest courtesan; but at the same time he so carefully assigns their motives of action, that by him alone every thing seems reconcilable to truth and nature; for this is just the opposite of what he mentions in another place, as the common privilege of all Poets, ‘to paint good matrons and wicked courtesans.’” Perhaps the same good feeling prompted Terence, in showing that a mother-in-law and a courtesan could be capable of acting with good and disinterested feelings, which caused Cumberland to write his Play of “The Jew,” to combat the popular prejudice against that persecuted class, by showing, in the character of Sheva, that a Jew might possibly be a virtuous man.
59. Have been unjustly suspected)—Ver. 778. The words here employed are also capable of meaning, if an active sense is given to “suspectas,” “our wives have entertained wrong suspicions;” but the sense above given seems preferable, as being the meaning of the passage.
60. Run with all speed)—Ver. 809. Donatus remarks, that Parmeno is drawn as being of a lazy and inquisitive character; and that Terence, therefore, humorously contrives to keep him always on the move, and in total ignorance of what is going on.
61. Surcharged with wine)—Ver. 824. Cooke has this remark here: “I suppose that this is the best excuse the Poet could make for the young gentleman’s being guilty of felony and rape at the same time. In this speech, the incident is related on which the catastrophe of the Play turns, which incident is a very barbarous one, and attended with more than one absurdity, though it is the occasion of an agreeable discovery.”
62. In the Comedies)—Ver. 867.—Madame Dacier observes on this passage: “Terence here, with reason, endeavors to make the most of a circumstance peculiar to his Play. In other Comedies, every body, Actors as well as Spectators, are at last equally acquainted with the whole intrigue and catastrophe, and it would even be a defect in the plot were there any obscurity remaining. But Terence, like a true genius, makes himself superior to rules, and adds new beauties to his piece by forsaking them. His reasons for concealing from part of the personages of the Drama the principal incident of the plot, are so plausible and natural, that he could not have followed the beaten track without offending against manners and decency. This bold and uncommon turn is one of the chief graces of the Play.”
63. From the shades below)—Ver. 876. Parmeno says this, while pondering upon the meaning of all that is going on, and thereby expresses his impatience to become acquainted with it. He therefore repeats what Pamphilus has before said in the twelfth line of the present Act, about his having been restored from death to life by his agency.
64. Your applause)—Ver. 881. We may here remark, that the Hecyra is the only one of the Plays of Terence with a single plot.