P. Terenti Afri Andria;

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lllli; Aliillilil iliill

lUii

SCHOOL OF EDUCATION
LIBRARY

STANFORD X^^^ U N I V E R S I TY
LIBRARIES

ALLYN AND BACON'S COLLEGE LATIN SERIES

UNDER THE GENERAL EDITORSHIP OP
CHARLES E. BENNETT and JOHN C. ROLFE

p. TERENTI AFRI

ANDRIA

WITH INTRODUCTION AND NOTES
BY

H. R. FAIRCLOUGH

PBOFB880B OF LATIN IN
THB LELAND STANFORD JUNIOR UNIYBBSITT

SECOND EDITION

ALLYN AND BACON

COPYRIGHT, 19 01. BY
HENRY RUSHTON FAIRCLOUGH.

lb/.

J. 8. Gushing ft Co. — Berwick ft Smith
Norwood Mass. U.8.A.

OPTIME DE TERENTIO MERITO

MINTON WARREN

HUNC LIBELLUM DEDICAT
EDITOR

PREFACE.

In view of the steady progress made in Plantine and
Terentian studies of recent years, there can be no doubt
that a new edition of the Andriay with English notes, is
very much needed. It was, however, with much diffidence
that I accepted the invitation of the general editors of
this series to undertake such a work, but, having once done
so, I have striven conscientiously to produce an edition
which could be said to represent the present state of
Terentian scholarship.

As is well known, there is more trouble in determining
the text of the Andria than that of any other play of
Terence. The Bembinus (A) is available for less than one
hundred lines, and a text must therefore be based upon
the less important Mss. I believe, however, that an editor
has no right to depart from ancient authority in an arbi-
trary maimer, and I have therefore rejected many of the
conjectural readings adopted by Fleckeisen in his second
edition (1898). What principles have guided me in deter-
mining the relative value of the Mss., I have set forth in
my article on TJie Text of the Andria of Terence in the
Transactions of the American Philological Association, Vol.
XXX, 1899. In the comparatively few cases where no

Ms. or ancient commentator gives a possible reading, it is

ill

iv PREFACE.

clearly necessary to adopt the conjecture which, in har-
mony with general Terentian usage, will best satisfy all
requirements. In this connection I have studied carefully
the numerous contributions to Terentian literature pub-
lished at home or abroad in recent years.

The introduction is somewhat longer than originally
planned. The Andria, however, is often the first Latin
play read by students, and it seemed desirable to give
them the proper historical perspective for the interesting
literary and linguistic problems of Latin comedy.

I beg to acknowledge the kindly interest shown in this
work by my former teacher, Professor Minton Warren of
Harvard University, undoubtedly the best Terentian scholar
in America. I am also deeply indebted to the general
editors, Professors C. E. Bennett and J. C. Eolfe, not only
for their careful reading of the proof-sheets, but also for
many suggestions and searching criticisms, of which I have
taken full advantage. To my friend and colleague. Pro-
fessor E. M. Pease, I am gi-ateful for no little advice and
assistance. To him is due the diagram which I have in-
serted on p. 166, and in many other ways his knowledge of

the Mss. has been of the greatest service to me.

H. R. F.
Stanford University, January, 1901.

In preparing the second edition, I am indebted for help-
ful criticisms to Professor Johnston of the University of
Indiana, and to my colleagues. Professor Elmore and Dr.

Foster.

H. R. F.
March, 1904.

INTKODUCTION.

I.

THE DBVSLOPHENT OF ROMAN COHEDT.
A. The Elements of a Native Drama.

1. Before Greek civilization, with its wonderful literature,
became known to the Eomans, this people- can hardly be
said to have had any literature of its own. History, it is
true, was represented by bald chronicles, oratory found a nurs-
ery in the courts and in political contests, and even verse was
composed for religious ceremonial, as well as for feasts and
funerals; but such scanty specimens as survive from early
times fully support the view that the first impulse toward
genuine literature in Eome came from contact with Greece.^

2. But it must not be supposed that the Eomans had no
natural and original gift for literary creation. No nation
could have produced such splendid results through mere
imitation. Probably it is in the field of prose that the
unaided Eoman genius would have shown the best fruits of
its development, for the Eoman character was essentially
practical and unimaginative. Even without Gre^k guid-
ance, substantial results would undoubtedly have been
achieved in the literary spheres of jurisprudence, oratory,
history, and didactic writing.

3. Of poetical forms, the drama seems to have harmonized
best with the Eoman character, and we find ample evidence
that the necessary elements existed from which an Italian
literary drama — not perhaps of a high type — might have
been evolved without the aid of foreign influence.

1 See Sellar, Boman Poets of the Bepuhlic, Ch. ii.

v

VI INTRODUCTION.

Like the modem Italian, the Eoman was gifted with
quickness of wit, great versatility, and vivid mimetic powers.
In common with other nations, the early Latins celebrated
festivals which were marked by dance and song. It is a
familiar fact that the Greek drama sprang from the songs
and dances which attended the worship of the god Diony-
sus, who in spring-time filled all nature with renewed life.
Similarly, in Latium, besides the great annual festival of
victory, which in time came to be known as the Ludi
Romani, there were frequent celebrations in honor of the
rustic gods, a partial enumeration of which will indicate
how largely they entered into the life of these primitive
people. Thus we have the Ambarvalia, Cerealia, Compitalia,
Consualia, Faunalia, Floralia, Fontinalia, Fomacalia, Libe-
ralia, Lupercalia, Meditrinalia, Opalia, Paganalia, Falilia,
Robigalia, Saturnalia, Terminalia, Vinalia, and Volcanalia.^
4. In what manner these festivals were celebrated may
be gathered from many passages in Latin writers. Thus,
a rustic procession with dance and song is mentioned in
connection with the rites of Ceres : —

Terque novas circum f elix eat hostia fruges,
Omnis quam chorus et socii comitentur ovantes,
Et Cererem clamore vocent in tecta ; neque ante
Falcem matoris quisquam supponat aristis,
Quam Cereri torta redimitus tempora quercu
, Det motus incompositos et carmina dicat.

(Verg. Georg, 1. 346 fE.)

And again, after describing the Attic Dionysia, Vergil teUs
us how the ancient Latins honored Bacchus: —
Versibus incomptis ludunt risuque soluto,
Oraque corticibus sumunt horrenda cavatis,
Et te, Bacche, vocant per carmina laeta, tibique
Oscilla ex alta suspendunt moUia piuu.

{Georg. 2. 386 ff.)

1 See Fowler, The Boman Festivals of the Period of the Bepublio
(Macmillan, 1899).

THE DEVELOPMENT OF ROMAN COMEDY. vii

*' They disport with nide veises and laughter unrestrained, and
put on hideous masks of hollow cork, and call on thee, O Bac-
chus, with joyous songs, and to thee hang waving amulets from
the tall pine."

Here, besides meny songs and jests, we have the dramatic
element of disguise, which is also referred to by TibuUus
(2. 1. 55) in connection with the songs and dances in celebra-
tion of the Ambarvalia: —

Agricola et minio suffusus, Bacche, rubenti.

Among the many passages which tell us of these rustic fes-
tivities, when, as Lucretius (5. 1398) says,

Agrestis enim turn Musa vigebat,

are Horace, Carm. 3. 18 (Faunalia); Ovid, Fasti, 2. 656 ff.
(Terminalia), 3. 523 (festival of Anna Perenna), and 5. 183 fF.
(Floralia).

5. The songs sung in these country festivals were doubt-
less rude, extemporaneous^ effusions, the epithets commonly
applied to them being incompositiy incompti, rudes, and incon-
diti; but a dramatic feature, which was developed at an
early time, was their amoebaean or responsive character.
This is seen in the ancient hymn of the Arval Brethren, ^
the oldest existing specimen of a Latin poem, which was
chanted responsively and accompanied by dancing. The
same characteristic is seen in the rustic singing-matches,
which Vergil idealizes in his third, fifth, and eighth
Edogues: —

Altemis dicetis ; amant altema Camenae (3. 60).

Compare, too, the statement of Horace, who, after describing
a merry harvest-home, when the early farmers, with their
wives and children, made offerings to the gods, adds : —

'^iroiiiimra a^otrx^Sia (Dionys. Halicar. 7. 72).
3 Lindsay, Handbook of Latin Inscriptions, p. 23.

viii INTRODUCTION.

Fescennina per hunc inventa licentia morem
Versibus altemis opprobria rustica fudit.

(Hor. Epi8t. 2. 1. 146.)

** Through this fashion came into vogue the Fescennine license,

which in alternate verse poured forth rustic taunts."

•

6. The Fescennini versus, to which Horace here refers, take
their name either from the town of Fescennium in Etruria,
or, more probably, from the fact that a symbol of life (fasci-
num) was often carried in procession in order to ward off
the evil eye. Such a phallic symbol was in common use
among the Greeks, and it is a well-known fact that, the germ
of Greek comedy is to be found in the rude phallic songs
sung in the Dionysiac festivities.^ The Fescennine verses,
as Horace points out, gradually became charged with per-
sonal abuse and scurrility, so much so that their freedom
was restrained by a law of the Twelve Tables. The term,
however, continued to be used of bantering and abusive
verses of various kinds, such as those shouted by the sol-
diers in triumphal processions, and more especially those
sung in marriage festivities. The latter, and possibly the
former as well, were responsive in character.^

The epithcdamia of Catullus are beautiful specimens of
Fescennines, in artistic form; cf. CatuU. 61. 126, —

Ne diu taceat procax
Fescennina iocatio ;

and, for their amoebaean character, ih, 62. 18, —

Dicere iam incipient, iam respondere decebit.

7. In the year 367 B.C., the chief Koman festival, the Lmdi
Romani, was enlarged, and three years later the first stage
ever set up in Eome was erected in the circus. On this

^A specimen of these songs, set in literary form, may be seen in
Aristophanes, Acharn. 261 ff.

2 See Kuehn, De Priscorum Bomanorum Poesi Populari,

THE DEVELOPMENT OF ROMAN COMEDY. ix

stage Etruscan dancers performed in pantomime to the music
of the flute. According to Livy (7. 2), the Koman youth
improved upon these performances by indulging in respon-
sive and jocular verses. In other words, they combined the
dance and music with the Fescennine verses. This combi-
nation was known as satora, a word which has given rise to
much discussion, but which is probably best explained by
the ana^logous expressions lanx satura and lex satura. As
lanx satura means a dish filled with various kinds of fruit
offered to the gods, and lex satura was a law^ which included
a number of different provisions, so, in the literary sphere,
satura (sc. fabula) was properly a medley or miscellany, and
referred to the varied character of the performance. After
the establishment of regular plays, the dramatic saturae con-
tinued to be employed as farces or after-plays (exodia). The
later Koman satire, the distinguishing feature of which is its
censorious spirit, is fathered upon Lucilius (180-103 b.c); but
even in Horace we find traces of the miscellaneous character
of the early satura, and Juvenal's phrase, nostri farrago libeUi
(1. 86), descriptive of his satire, seems to be a direct refer-
ence to the pot-pourri, which the term originally implied.^

a Forms of dramatic entertainment, which, while not
Latin in origin, are yet independent of the regular Greek
drama, were the popular Mime and Atellan farce. The
Mimus, called in pure Latin planipedia,^ was introduced into
Rome from the Greek colonies in Italy. It was a broad
farcical and mimic representation of low life, and though
performed independently of other plays at the Floralia, it

1 See the excellent article on Satira in Harper's Classical Diction-
ary, I am unable to accept Professor Hendrickson's view that in
describing satura, Livy (7. 2) merely assumes an early Roman parallel
to the Old Comedy of Athens. See The Dramatic Satura and the Old
Comedy at Home, in the Amer. Jour. Phil, vol. XV (1894).

2 From the fact that the actors wore neither the soccus nor the
cothurnus.

X INTRODUCTION.

was, in the best days of Eoman comedy, used chiefly as an
eosodium. Mimes, however, did not receive literary treat-
ment until the later days of the Republic. At that time
their subject-matter was enlarged, and gradually they
absorbed or displaced all other forms of drama, and were
composed down to the latest period of the Empire.

9. The Atellanae (sc. fabvlae), so called from Atella, a
small town in Campania, were brought from their Oscan
surroundings to Rome after the reduction of Campania in
the second Pupic war (211 B.C.). The performers were
generally young patricians, who wore masks and spoke in
Latin. Though the plots were pre-arranged, the dialogue
was largely improvised. The Atellan farce set forth in
burlesque the life of villages, and at an early time the
characters followed fixed types. Maccus, for example, is
a simpleton, or buffoon ; Bucco, a chattering fool ; Pappus,
a vain old man, easily cajoled ; and Dossennus, a sly villain,
dottore. The Atellanae first received literary treatment in
the time of Sulla, at the hands of Pomponius and Novius.
Like the saturae and mimes, they, too, were used as after-
plays, but in the early Empire they became merged in the
pantomime.

10. In all these early dramatic forms, prior to the intro-
duction of Greek literature into Rome, such parts as were
not mere conversation were undoubtedly composed in Satur-
nian verse, a native Italian metre, which was very different
in character from the measures adopted by the cultivated
poets of later days. Livius Andronicus, it is true, used it
in his translation of the Odyssey, as did Naevius in his epic
poem on the first Punic war, but Ennius and succeeding
poets speak of it with contempt.

The precise nature of the Satumian measure was dis-
puted among the Romans themselves. The grammarians,
who were familiar only with quantitative metres, tried to
explain it on the analogy of Greek measures, but only a few

THE DEVELOPMENT OF ROMAN COMEDY. xi

lines could possibly lend color to the theory that Saturnian
verse depended on quantity alone. The opposite view, that
the measure is fundamentally accentual, was apparently
held by Servius, who, in commenting on Vergil, Oeorg.
2. 385, says of the Saturnian metre, qiiod ad rhythmum solum
wlgares componere consiieverunt.

The accentual theory is now generally accepted, and is
certainly more satisfactory as a working principle. As it
has an important bearing on the peculiarities of Plautus
and Terence, it will be well to give it in brief.^

Like the metres of English verse, the Saturnian, instead
of being dependent on the quantity (long or short) of
syllables, was controlled by the accent of words. Each
line consisted of two portions, the first of which regularly
contained three accents and seven syllables, the second, two
accents and six syllables. The initial syllable of every line
was accented. Words of four or more syllables admitted
two accents, primary and secondary. Alliteration was a very
common feature. The common type is illustrated by the
opening line of Livius' Odyssey y —

Yinim mfhi, cam^na, || Insece yerstitum,

or by the well-known line with which the Metelli threatened
Naevius, —

Ddbunt m^lum Met611i || Na^vio po^tae.

11. We have now considered briefly the elements of a
native di'ama, which are to be found in Eome, independent
of the literature imported from Greece. That these easrly
Italian entertainments not only paved the way for the
genuine drama, by developing a taste for scenic art among
the people, but even to a certain extent left their impress,
if not upon aU Eoman comedy, at least upon those plays

1 For a fuller discussion of the question, see Lindsay's papers on
The Saturnian Metre, in the Amer, Jour. Phil, vol. XIV (1893).

xii INTRODUCTION.

which were brought out by Plautus and his contemporaries,
cannot be doubted, especially when we note the striking
contrasts between the art of Plautus and that of the later
Terence, and consider that the original plays which these
two writers professedly reproduced belong to the same
sphere of Attic comedy.

B. The Litebabt Awakening of Eome.

12. Before the war with Pyrrhus, such intercourse as
existed between the Eomans and the Greeks was very
slight. But after the fall of Tarentum (272 b.c), when
many Greeks were taken into slavery, and especially as a
result of the first Punic war (264-241 b.c). In which the
Greek colonies in Sicily had figured so conspicuously, Eome
came into much closer contact with a people whose civiliza-
tion was the highest in the then known world. The Greeks,
through their numerous settlements, which were scattered
over the coasts of the Mediterranean, had so extended the
sphere of their language that it was fast becoming what the
Germans call a WeUspriMhe. Nearly two centuries later,
Cicero could say of Greek, Oraeca leguntur in omnibus fere
gentihus, latina suis finihus exiguis sane continentur (pro
Arch, 10. 23), and even five centuries after Cicero, when the
language of Eome, backed up by a world-wide power, was
heard in every country under Eoman sway, St. Augustine
in one of his letters could still -say of the Greek tongue,
haec lingua maxime excellit in gentibus (Ep, 196. 15 A).

13. Such being the case, it is not strange that all Eoman
citizens who were ambitious to play a leading part in the
extension of the Eoman world and in commercial dealings
with foreign nations, deemed it essential to secure a knowl-
edge of the Greek language and literature. The training
of the young was directed in accordance with these condi-
tions. Greek slaves now appeared in prominent families as

THE DEVELOPMENT OF ROMAN COMEDY. xiii

9rat8aya»yoi ; if they were talented and cultivated, they were
generally set free and lived as libertini. Many freeborn
Greeks, too, were attracted to Eome by the expectation of mak-
ing a livelihood, and taught the young either in the homes
of the citizens or in the private schools which they set up.

14. It was thus that Greek learning made its way into
Rome, and thus, too, that Roman literature found a begin-
ning. For more than a century, we find that the representa-
tives of literature in Rome are almost without exception
non-Romans, men who were familiar with both the Greek
and Latin languages, and who, through translations, adap-
tations, and imitations of the Greek masterpieces, prepared
the ground on which the literature of the classical period
flourished.

This Hellenizing of Rome begins with Livius Andronicus,
a Greek from Tarentum, who was brought to Rome in
275 B.C., and set up a school, in which he taught his pupils
the Odyssey, translated by himself into Saturnian verse. In
the year after the close of the first Punic war, he brought
out his first play (240 B.C.) translated from the Greek,
and from then on Greek plays were regularly exhibited
in Rome. During the second Punic war literary activity
was represented by the dramatists Naevius and Plautus, and
before its close the poets, who had hitherto been despised
as a class,^ were recognized by the state and allowed to form
a collegium (206 b.c). In 204 b.c, Cato, the great opponent
of Hellenism, brought to Rome Ennius, the most conspicu-
ous Hellenizing agent, and therefore there is ample truth in
the well-known epigram of Porcius Licinus, ' as given in
Gelliusl7.21. 45: —

Po^nico bell6 secundo Mtisa pinnat6 gradu
Intulit se b611icosam in Rdmuli gentto feram.

1 Cf. Cato, in Gellius 11. 2. 5, si quia in poetica arte studebat . . •
graasator vocabatur.

xiv INTRODUCTION.

C. A Sketch of Gbeek Comedy.

15. Of the forms of Greek literature which were made
familiar to the Eomans by Livius and his successors, comedy
was far the most popular. This species, which originated
in the revels connected with the nature-god Dionysus, had
passed through various stages of development and evolved
a variety of literary forms. Two main lines of historical
development may be traced, one leading to the various forms
of Doric or Sicilian comedy, the other to the rich field of
Ionic or Attic comedy. The former must have exercised
considerable influence upon the Eoman drama, inasmuch as
it was in Sicily — the scene of military operations during
the first Punic war — that the Romans were first brought
into dose contact with the Greeks, and in Sicily the ruins
of great theatres still testify to the large part played by the
drama in the social and intellectual life of those insular
Greeks. It was Attic comedy, however, upon which the
Roman was mainly built.

la The earliest historical species of Greek comedy known
is the Doric Farce, found in both the Peloponnesus and in
the Sicilian and Italian colonies. This consisted of a num-
ber of burlesque scenes, in which appeared certain stock
characters, not unlike those in the Jtdlanae. From this
was developed the so-called Sicilian comedy, the best expo-
nent of which was Epicharmus (540-450 B.C.). After resid-
ing for some years in Sicilian Megara he went to Syracuse,
where he flourished in the reign of Hiero (478-467 B.C.).
Epicharmus was the first to introduce two characters com-
mon in Plautus, the drunkard and the parasite, and, being
a philosopher, he admitted into his plays many serious
reflections on life and nature, which were not without
influence on Terence's great model, Menander. In some
of his plays, as the Hephaestus and the BusiriSy Epicharmus

THE DEVELOPMENT OF ROMAN COMEDY. xv

caricatured mythological legends, in accordance with the
merry-andrew spirit of the primitive Dionysiac revels,
when rustic performers sang and danced through the vil-
lages, and clothed themselves in the skins of beasts or
stained their faces with pigments, and thus assumed the
part of Satyrs, Fauns, or Sileni, the fabled attendants of
Dionysus.

17. Another type of this Doric or Sicilian comedy was
the so-called mimus, written in prose, in which were depicted
single scenes from daily life. . This form was brought to
perfection by Sophron, who flourished in Syracuse a century
later than Epicharmus, and whose literary work appealed
strongly to Plato. We may form some idea of the attrac-
tive character of Sophron's mimes from the fifteenth idyl of
Theocritus, which is said to be an imitation of Sophron's
IsthmiaziLsae, Metrical mimes, composed by Herodas, an
Alexandrian writer, were discovered a few years ago in
Egypt.

la Still another form of Doric comedy is that which the
Eomans called Rhinthonica, because developed by Rhinthon
of Tarentum (flor. 300 b.c), and which, as being a per-
formance of clowns, was called PMyaces} In the Phlyaces,
the myths of tragedy were travestied, for which reason
Rhinthon's comedy is sometimes called iXap<yrf}ay<fSla, i.e.
trcigicoc(ymoedia. The Amphitruo of Plautus, which has a
mythological plot, is thought by some to show Rhinthon's
influence.*

The various forms of Sicilian comedy, growing out of the
early Doric Farce, were without a chorus, for whatever song
or dance was required by the entertainment was furnished
by the actors themselves.

* <p\6<i^ is a Doric form of 0XiJa/)os, a silly clown.
2 See Palmer's introduction to his edition, p. xiv. Not so Vahlen,
Bhein, Mus, 16. 472.

xvi INTRODUCTION.

19. The germ of Attic Comedy is found in the Dionysiac
comus, the merry procession of mummers, who, to the music
of the flute, sang and danced in honor of the god. The word
comedy signifies the comiLs-songy and was, no doubt, coined at
Athens on the analogy of tragedy ; but comedy proper did
not exist until to the masquerading comus was added an
actor. It is this actor who brings into union the Attic
Comus and the Doric Farce, and offers a satisfactory expla-
nation of the tradition that a Megarian, one Susarion,
invented Attic comedy.^

20. Comedy was first recognized officially at Athens in
465 B.C. ; and as tragedy had been, for years before, a state
function, it is natural that comedy should have been some^
what assimilated in form to tragedy. However, there re-
mained great differences between the two, and the structure
of Old Comedy, as exemplified by its famous representative
Aristophanes, was too unique to serve as a permanent frame-
work for comedy. Besides the chorus, twice as large as in
tragedy, and therefore favorable to a division into rival
semi-choruses, there was regularly an agoriy or contest, in
which the actors engaged as disputants on some subject of
real or fictitious importance. In addition to the agon, there
was the parabasis, which was not unlike the Terentian pro-
logue, and in which the chorus-leader, addressing the audi-
ence in the name of the poet, sets forth his views on literary
questions, or on matters of public interest. As a rule, the
plot comes practically to an end when the parabasis is
reached, and the rest of the play consists of a series of
loosely connected scenes.

21. The most flourishing period of the Old Comedy was
that of the Peloponnesian War (431-404 B.C.). Of the

1 A brief but very scholarly account of early Greek comedy is given
by Barnett in The Gfreek Drama (The Temple Primers, Macmillan,
1899). The illustrations given on p. 61 show that the earliest actors
in Attic comedy resemble the clowns of Bhinthon's farces.

THE DEVELOPMENT OF ROMAN COMEDY. xvii

works of Cratinus and Eupolis, nothing remains beyond
scanty fragments, but the great Aristophanes (444-^88 b.c.)
is represented by eleven extant plays.

In comic power, the genius of Aristophanes has never
been surpassed. His fancy, rioting at will, turns everything
topsy-turvy. His choristers assume the parts of plumaged
birds or fleecy clouds, or chant the croak of frogs about
Charon's leaky boat. His wit embraces not only the states-
men, soldiers, philosophers, and poets of his native land, but
the gods of heaven above and the powers of the world below.
The songs which are interspersed throughout his plays are
among the finest in all Greek literature, and reveal a lyrical
imagination of the highest type. At the same time, his
power of invective is inexhaustible, and inasmuch as sting-
ing personal and political satire is so conspicuous in his
plays, when contrasted with the New Comedy, this is gen-
erally regarded as his main characteristic. But it must not
be supposed that the politics alone of Athens can be found
reflected in Aristophanes ; his plays furnish a perfect pano-
rama of Greek life and institutions, bathed in the light
of humorous caricature. It is better to say that what does
distinguish Aristophanes, and therefore Old Comedy, is
an absolute freedom of speech, which knows no bounds in
respect to persons or things, and is not controlled by con-
siderations either of truth or of decency. This feature,
being possible only under the license allowed by the Diony-
siac festival and also while the Athenian democratic spirit
was at its height, disappears when, at the close of the Pelo-
ponnesian War, the democracy was overthrown and the pride
of Athens laid in the dust.

22. The Middle Comedy extends from the close of the
Peloponnesian War (404 b.c.) to the accession of Alexander
the Great (336 b.c), and includes two plays of Aristophanes,
the Ecdesiazusae and the Plutus. This species serves as a
transition from Old to New Comedy. The chorus is dimin-

xviii INTRODUCTION.

ished by one-half and its functions are limited ; the scenic
accessories are curtailed; the parabasis is thrown out; the
audacity of personal and political satire begins to disappear,
and caricatures of literary, philosophic, and social life become
prominent. Burlesques on mythology show that Middle
Comedy and Epicharmus had much in common. The names
of over forty poets of this school survive, but only scanty
fragments of their work. Of these writers, Alexis and
Antiphanes are the best known, as many as two hundred
and forty-five plays being attributed to the former, and even
more than this number to the latter.

23. The period of New Comedy covers nearly a century,
from 336 b.c. to 250 b.c, — a period when the Athenians had
quite lost their old-time valor and patriotic spirit, though
they were still a shrewd, wide-awake, and intellectual peo-
ple. The love of pleasure was the main principle of life ;
the Epicurean philosophy, so easily misunderstood and mis-
applied, was fashionable; a pagan cynicism and unbelief
were prevalent ; and all of these phases of life are reflected
in the literature of the day.

Comedy has now almost lost the chorus, which comes to
be regarded as an alien element and is practically limited in
its functions to dancing and the singing of interludes. The
prologue, which earlier signified all the play preceding the
entrance of the chorus, now follows the example set by
Euripides, and consists of a speech lying completely out-
side of the dramatic action. The parabasis has entirely
disappeared, and the agon can no longer be clearly recog-
nized. Further, the extravagant and audacious tone of
earlier comedy has given way to refinement of thought
and simplicity of style. Grotesque caricature and broad
farce are no longer in keeping with the dignity of the
art. Above all, instead of the mere succession of loosely
connected scenes, we now find a carefully constructed
plot.

THE DEVELOPMENT OP ROMAN COMEDY. xix

Personal and political satire, though by no means extinct,
have left but few traces in the New Comedy, which is essen-
tially a comedy of manners, taking its characters from every-
day life and mildly caricaturing the follies of mankind in
general. These characters, however, resemble those of
Epicharmus, being generic, not individual, and including
such common types as the stem father, the wayward son,
tiie coaxing meretrix, the learned cook, the hungry parasite,
and Sir Braggadochio, the captain of mercenary soldiers. A
sententious or semi-philosophic air is characteristic of the
works of New Comedy, which therefore contrast strikingly
with the plays of Aristophanes in the ease with which they
lend themselves to quotation.

24. More than sixty poets of this school are known to
us by tradition, but the most famous, as well as the
most important in connection with Eoman comedy, are
Menander, Philemon, Diphilus, Posidippus, ApoUodorus,
and Philippides. Of these, Menander, ''the star of the
New Comedy," as he has been called, deserves some special
attention.

Menander belonged to a literary family, being the nephew
of Alexis, whom we have already mentioned as a poet of
the Middle Comedy. He was an Athenian who was bom
in 342 B.C., and died in his fifty-second year. Theophrastus,
the author of Characters, an extant work on social types, and
a pupil of Plato and Aristotle, was one of his teachers, while
Epicurus, the philosopher, was, from boyhood, his most
intimate friend. The social circle in which Menander lived
was thus extremely favorable for the development of his
literary genius, and his first play was brought out at the
early age of twenty, in the year of Demosthenes' death. The
total number of his plays is said to have been one hundred
and eight, but none of these survive, except in disconnected
fragments. We are told that only eight times did he win
the prize of comedy, being less successful than his rival

XX ISTRODUCnON.

PMBemoin,* probably becanse the latter was a more forcible,
tBuvxugb less refined* writer. Flautusy we know^ preferred
PMHemon as a motiiel* while the more fastidious Terence

tm)k. Wiiosii of bis plavs from Menander.'

It is miiLlfoirtciinate that we do not p06S«ss a complete ecnnedj
of Mentauder s^ a^^d eannot stitdr at &r$t band bis skill in
tha- <fVH!LStrc£<irtion of a plot. Butt that be ev>nsidered this q^

prime impojrtanee we maj gather from the pHairs of bis
imitauor Teieiwre. A stoinr> too*, is iee<iM^led that on one
eea^on be said a <irentain plaj was almost readjr^ inasmuch

a» iue !tad firuslied tbe i>lio^ aad bad notMo^ tw* do but write
Htbo' TejffseSw. Moreover^ Jlenajader bad the ^nwaftes^ rexerence
fojT EujipiUles* wb<Jv in wmi^e^rBson witb tbe o<;ber famous
tea^^ijkEL* of Girwvie* shows jweorbapts; the peatest teifbnieal
skiZ m ube weaTio.^ aoid luauraxvlliug: of ploiis. Tbe plote of
Euj:ipi<Itf«^ abotiad in siurprisieis^ anud ev^zupltcatioccs; and if
tiJ&jese' m^ ah^ji^t^n^w of tbe Tiewatiiaia pliitTS^ it is eMe:fly
(i'ue' to- uUue faet libAt MeaaiKleir ara^^ the o^h.<?jr WTritiejns oi Xew
ConutfdTT Bad. sUuxiited ia tW stfiiov?! of Enxtpid««;. How mueb
tmj(f8«' (irajaatiislis aduLLlrted bis art is wtell illu;>to&1ied bjr one
(di ff1iiLtfmjocL''s tfiLacactitfjnj^ wbs^ sav^ thM W wocild gladly
liake ^ <j>wTi Iif»s. if h* wi^re" siuce tiiat by sa doiu^ be wo^ild
fte bEou;i:iiii faee- Ho- faju'ia in tbe oi5h.er wv^irld with. EuirtpiEd€&.*

JjL ^^nihn>h*ir\ baj3*.ls^ wcuoedY wii^c^Js tbrf aoiuismg: side of
e^erydiLy life;, la h^s '^i^ lib.^ moiral tiutt<^ of AtiBwcsi was
Ib^,. ajui in i» nsolJ suj:pirt;^iii^ ti]i<ifwfoiw>. thiA th^ miSiL^m ©f a

1 Ct i&«il. L7. 4 I, anii >Lia:t;iajL ^.>. 10. ^\ —
iiuHcUa^ Jknandi-o nattpa pr^jaUutni^ tutf*,. Uitt QQmtvmmt tatnat unrnatrnm

Buripiiien) socutiusy 'itumuiuwttk in. i/j^jtrrti di^^r^^ JLnfuumiBr..

THE DEVELOPMENT OF ROMAN COMEDY. xxi

play of the Kew Comedy should often offend our modem
taste. The women who in Athens could live in the public
eye were not the wives and daughters of respectable fami-
lies^ but those who lived outside their pale. The love sen-
timent, therefore, which pervades New Comedy, though
often genuine, is not of a high type. Slave girls and
hetaeraej who are supposed to be aliens, are the commonest
female characters, and the story is generally built up upon
the affection shown for one of these by a young man, whose
father is arranging a matrimonial match between his un-
willing son and the unconsulted daughter of respectable
citizens. Confidential slaves play an important part, and
the dif&culties of the situation are finally solved by the
discovery that the object of the young man's affection is,
after all, a well-bom Athenian maiden, whom the father is
quite willing to have as a daughter-in-law. Ovid thus cata-
logues Menander's characters : —

Dum f allax servus, dnrus pater, improba lena
Vivent, et meretrix blanda, Menandros erit.

{Am. 1. 16. 17.)

As to style, Menander is the most graceful, polished,
and refined of all writers of ancient comedy. Mundus
and scitiLS are the epithets applied to him by Propertius.^
Quintilian (10. 1. 69) commends him enthusiastically as a
master of style: qui (i.e. Menander) vel unus, meo quidem
ivdiciOj diligenter lectus ad cuncta quae praecipimus effidenda
sufficicU : ita omnem vitas imaginem expresaity tanta in eo in-
veniendi copia et eloquendi facuUaa^ ita est omnibus rebus,
personiSy adfectibus accommodaJtus. The modern Goethe, in
admiration of the cultured Athenian, says of him : " He is
thoroughly pure, noble, great, and cheerful, and his grace is

1 Propert. (Mueller) 4. 21. 28 ; 5. 5. 43.

xxii INTRODUCTION.

imattamable." The fragments^ of Menander, to which
recent discoveries in Egypt have made important additions,
are very numerous, and abundantly illustrate the wit and
sentiment of the author, though, being detached from their
context, they can give us little idea of their aptness and
appropriateness to particular situations. "But there is,"
says Mahaffy,* "so much of a calm, gentlemanly morality
about his fragments; he is so excellent a teacher of the
ordinary world-wisdom, — resignation, good temper, modera-
tion, friendliness, — that we can well understand this popu-
larity. He reflected, if not the best, at least the most polite
and refined life of the age ; and he reflected it so accurately
as to draw from an admirer ' the exclamation, " life, O
Menander, which of you has imitated the other?"

D. The Tbansplanting of Gbeek Comedy to Eome.

25. It was only fifty years after Menander's death, and
twenty-three after Philemon's, that the comedy of Athens
was transplanted to Rome. In 240 b.c, the year after the
close of the first Punic war, Livius Andronicus, a freedman,
— originally a Greek slave from Tarentum, — brought out
at the Ludi Romani two plays, a tragedy and a comedy,
written in Latin, but taken from Greek originals. Before
his death in 204 b.c, Livius composed several more trage-
dies and a few comedies, among the latter being the Oladio-

1 The line which St. Paul has made so familiar to us,
^Selpoviriv ijdri XfiV<'^^ 6/u\lai Kaxal^
"Evil communications corrupt good manners,''
though referred by Photius and Jerome to Menander, is with more
probability credited by Socrates (^Hist. Eccl. 3. 16) to Euripides,
though it may have been used by Menander.

* Hist, of Classical Greek Literature^ vol. L p 487.

* Aristophanes of Byzantium : Jl M^vavdpe Kal /3£e, w&repos &p {t/aQv

THE DEVELOPBfENT OF ROlfAN COMEDY, xxiii

Itts and the LiidiuSy of which the originals are imknowiL
Only a few lines of these plays survive, but they are
enough to show that in his dramas Livius employed Greek
iambic, trochaic, and cretic measures. In his earlier work,
a translation of the Odyssey, which was used in the schools
of Rome as late as Horace's boyhood,^ Livius had essayed
the native Satumian measure, but it is evident that he now
regarded this as quite inadequate for his purpose. Cicero*
declares that the plays of Livius are not worthy of a second
reading. The old dramatist, however, should be respected
as the one who paved the way for Ennius and first set
Eoman literature on the path it so long followed. In his
own day he was very highly esteemed. In 207 b.c., he was
commissioned by the state to compose a hymn of interces-
sion to Juno,' and it was due to him that poets (scribae
histrionesque) for the first time received public recognition,
being allowed to form a guild and hold meetings in the
temple of Minerva on the Aventine.

26. The comedies which Roman writers, following the
example of Livius, took from Greek sources, are known
either as comoediae or as falnilae palliatae, from the Greek
pallium worn by the actors.* This species flourished for
nearly a century. - Its earlier representatives treated the
Greek originals with great freedom, and made many con-
cessions to popular taste, while the later writers took pride
in adhering more closely to the models chosen, and in faith-
fully reproducing their refinement of tone, elegance of style,
and artistic consistency.

1 Horace, EpUt, 2. 1. 69. ^ Brutus, 71. « Livy, 27. 37.

* Similarly, comedies in which the scenes and personages were
Roman, were styled togatae, or later tabemariae (from taberna, a
shop), because of their more vulgar tone. The togatae, however,
belong to the century after Livius, and their best representatives
are T. Quinctius Atta and L. Afranius.

xxiv INTRODUCTION.

E. The Principal Wbitebs of Palliatae.

27. Gnaeus Naevius was a close contemporary of Livius^
for he served in the first Punic war, and brought out his
first play in 235 b.c, when he was about thirty years of
age. Unlike Livius, he was of Latin stock, but as Gellius
speaks of the superbia Campana of his epitaph, it is gen-
erally supposed that he was born in Campania. What first
directed his genius toward the drama was probably his
military experience in Sicily, where, as we have seen,^
dxamatic exhibitions formed an important interest in the
life of the Greek population. Naevius was bold of speech,
and in the spirit of Aristophanes undertook to assail in his
plays some of the Roman nobles. Rome, however, was not
like Athens. The Metelli, who especially resented his
attacks, had him thrown into prison (206 b.c) — a circum-
stance to which Plautus alludes in his Miles, 211. He was
released at the instance of the tribunes of the plebs, but,
again offending, was compelled to retire to Utica, where he
died about 204 b.c.

The fame of Naevius rests mainly on his epic poem, the
Bellum Punicum, a work conceived in a thoroughly national
spirit, which afterwards powerfully influenced both Ennius
and Vergil. It was written in the Satumian measure,
doubtless because imported metres were thought to be inap-
propriate to a patriotic poem.

The same strong national temper is seen in the fact that
Naevius invented a new kind of drama, the praetexta, which
dealt with subjects from Roman history, such as his Romvr
lus and his Clastidium, the latter celebrating the victory of
Marcellus over the Gauls in 222 b.c. These, however, took
their form from the Greek.

Naevius wrote many tragedies and comedies. The latter

1 See above, § 15.

THE DEVELOPMENT OF ROMAN COMEDY. XXV

were all pcUliatae, and of these we have thirty-four titles,
half of them Greek and half Latin. They indicate a great
variety of subject-matter, and many of them ring like the
titles of Plautus' plays. The extant fragments^ exhibit
touches of political and personal spirit such as animated
the Old Comedy, of keen satiric wit and shrewd powers of
observation, of vigorous style and idiomatic force, together
with a fondness for alliteration, a very noticeable feature in
the early Latin writers. Some of these qualities, together
with a proud consciousness of his position and worth as a
poet, and with a sarcastic reference to the Graecizing ten-
dencies of the day, may be illustrated by his epitaph, which,
like his epic poem, is written in Satumians : —

InmorUUes mortdles |1 si for^t fas fl^re,
Fl^rent divae Cam^nae It Na^viuin po^tam :
ttaque p5stqa(am) est Oicho || triditus thesatliro
L(5quier lingua Latlna 1| oblitl sunt Rdmae.^

2a T. Maccius Plautus, the chief representative of the
older Roman comedy, was a younger contemporary of
Naevius, but the year of his birth is unknown. Cicero,"
however, states that he was an old man in 191 b.c, when
the Pseuddus was performed, and he died in 184 b.c.

The name Maccius* probably originated in Maccus, the
buffoon of the AteUanae, which was applied to Plautus, the

1 Ribbeck, Com, Frag. pp. 6-31.

3 In regard to the scansion of this epitaph, see Lindsay, Amer,
Jour. Phil. vol. XIV. p. 321. A word like inmortales has two
accents. The combinations si-foret-fas, postquam est, and obliti aunt
are word-groups with one accent each. The last line, as given by
Gellius, will not scan, but Lindsay, by simple transposition of its two
halves, turns it into a good Satumian.

« De Senect. 50.

* Before RitschPs time, Plautus* name was supposed to be M.
Accius, but the Ambrosian Ms. revealed the correct form. Leo, in
Plautinische Forschungen (Berlin, 1896), pp. 71 £E., questions the pos-

xxvi INTRODUCTION.

playright, as a nickname. Very little is known about his
life. Born in the Umbrian town of Sarsina, he went to
Rome, where he worked in some connection with the stage,
and then invested his savings in foreign trade. Returning
penniless to Rome, he was employed as a laborer in a mill,
but found time to write plays, which won for him both fame
and profit.

All the works of Plautus are palliatae. Out of one hun-
dred and thirty plays once assigned to him, the learned Varro
gave twenty-one as belonging to Plautus consensu omnium,
and nineteen more as probably genuine. These twenty-one,
the so-called fabulae Varronianae, are in all probability the
twenty which have come down to us, together with the
Vidvlaria, which was lost in the Middle Ages. They are
the following, given, as in the Mss., in nearly alphabetical
order : —

1. Amphitruo, for which see § 18. It has been imitated by Moli^re

and Dryden.

2. Aainaria, or comedy of the ass, broadly farcical.

3. Aulularia, or comedy of the miser's pot, imitated by Moli^re in

his UAvare.

4. Captivi, devoid of a love plot, but declared by Lessing to be the

best constructed drama ever put upon the stage.

5. Curculio, named from the parasite, the corn-worm,

6. Ccmna, the coarsest of the plays of Plautus.

7. CisteUariay or play of the casket ; only about half is preserved.

8. Epidicits, with a complicated plot.

. 9. Bacchidea, a clever play of intrigue.

10. Mostellaria, or play of the haunted house.

11. Menaechmi, a ** comedy of errors," being the original of Shak-

speare^s play of that name.

12. Miles Gloriosus, the humorous picture of a Sir Braggadochio.

13. Mercator, a play of the merchant.

sibility of the poet having had the triple name T, Maccius Plautus,
and is inclined to regard this as a later coinage, being a combination
of the two alternative names by which the poet was probably known
in his life-time, viz. T. Maccus and T. Plautus,

THE DEVELOPMENT OF ROMAN COMEDT. xxvii

14. Pseudolus, named from the cheat in the play.

15. Poenulusy containmg a Phoenician passage.

16. Persa, a play in which slaves play the leading parts.

17. 5ti<26iw, "a sea-idyll."

18. Stichus, a careless composition.

19. Trinummus^ named from the three pieces of money, for which

a professional impostor is hired.

20. Truculentus^ a broadly humorous play.

These plays show a great variety in subject-matter,
characters, tone of thought, and construction of plot, due to
the natural versatility of the author and the extreme free-
dom with which he handled his models.* These he abridged
or extended as he pleased, and though his characters and
the scenes which form the background of his plays are all
Greek, yet he has introduced such a large Roman element
that the Latin comedies are evidently cast in a very different
mould from his Greek originals. The very titles of his
plays are mainly Latin, and from Latin are taken the names
of certain of his characters, e,g, the parasites Saturio, Peni-
culus, and Curculio. His personages are familiar with
Eome and Italy ; we find allusions to Eoman customs, laws,
institutions, officials, games, colonies, and contemporary
history. His language, too, shows much independence of
his originals. It abounds in distinctly Roman metaphors
and similes, in plays on words, striking alliterations, asso-
nances, and other peculiarly idiomatic expressions, such as
cannot be the result of translation, but must belong to
Plautus alone.^ Plautus, with his fluent style, his wealth
of words, and natural ease of expression, has left us the
greatest storehouse of Latin popular speech, the sermo vul-
garis, as contrasted with the artificial literary style, or
sermo urhanus. At the same time, Plautus delights in re-

1 Called neclegerUia in Ter. Andr, prol. 20.

3 All these points are illustrated by Sellar, Boman Poets of the
Bepublic, p. 178.

XXVIU INTRODUCTION.

producing some of the idiomatic features which he finds in
the language of his originals. He imports bodily Greek
words and phrases, and almost outdoes Aristophanes in
coining extravagant patronymics and other derivatives, as
well as grotesque mouth-filling compounds to which the
Greek readily lends itself.

But assuming that Terence, dimidiaZus Menander,^ mirrors
most faithfully the tone and ensemble effect of the New
Comedy, we cannot suppose, in view of the great difference
which the most superficial reader must detect between him
and Plautus, that the earlier writer strictly confined himself
to any one field. We must, indeed, believe that in the
Plautine plays the author made use of all the dramatic
resources within his reach. His literary activity began
toward the end of the second Punic war, and it was shortly
after 211 b.c, as we have seen,^ that the uiteUanae were
introduced into Eome. It is highly probable that these popu-
lar performances suggested to Plautus much of the broad
farce and audacious roguery which fill his plays. Horace,
who was no admirer of Plautus, calls him a very Dossennus,

Quantos sit Dossennus edacibus in parasitis (^Epist, 2. 1. 173),

and the nomen itself of the author is plausibly derived from
another stock-character in the Atellan farce, viz. Maccus, the
buffoon. The careless haste which Horace criticises in the
same passage —

Quam non adstricto percurrat pulpita socco —

is probably due quite as much to the influence of inartistic
popular entertainments as to the sordid motive which
Horace imputes to Plautus, —

Gestit enim nummum in loculos demittere.

The verb percurrere, which Horace applies in such a depre-
ciative way to Plautus, is curiously similar in meaning to

1 See p. zxxix. 3 gee § .9.

THE DEVELOPMENT OF ROMAN COMEDY. xxix

another, properare, used in a line where the context shows
that the characteristic referred to meets with approval : —

Dicitur . . ,

Plautus ad exemplar Siculi properare Epicharmi. (^Epist 2. 1. 58.)

Here, in his rapidity of movement (the precise force is
doubtful), Plautus is said to have taken Epicharmus as a
model. There is no reason to doubt this statement, but we
may also bear in mind that Epicharmus, with all his refine-
ment, was the representative of a dramatic field — Sicilian
comedy — which was "essentially burlesque,"^ being the
direct outgrowth of the rude Doric farces.^ If we are cor-
rect in assuming the presence of a large native element
in Plautine comedy, it would be but natural that his plays,
quite apart from any conscious imitation, should in certain
respects resemble the comedies of Epicharmus.

One side of Plautus — the coarse, bantering jests, indec-
orous demeanor, and apparent disregard for common moral-
ity which many of his plays exhibit — is best explained by
the merry abandon and unrestrained spirit of revelry which
characterized the rustic festivals of the Romans. We have
already noticed^ the Fescennina licentia, which Horace tells
us was so prominent a feature of these festivals, and^ which
was thought especially appropriate on the occasion of wed-
dings. The introduction of this element was sanctioned — if
any sanction were needed — by the precedent of Aristoph-
anes, in whose plays the Dionysiac revels explain much that
is offensive to modem taste.*

1 Jevons, Hist, of Greek Lit., p. 240. a See § 16. « See § 6.

* See § 21. That Plautus occasionally had some regard for decency
and good morals is seen from the Captivi, in which he takes credit for
composing a play ad pudicos mores facta, ubi boni meliores flant. The
Captivi is remarkable In having no love plot and no female charao-
.ters. The Trinummus resembles it in the latter respect, while its
love element is above reproach. '

XXX INTRODUCTION.

The personal and political abuse, which in the Old Comedy
naturally accompanies its grossness, we need not expect to
find in Plautus. The apparent absence of strong convictions
in politics or anything else on the author's part sufficiently
accounts for this ; but even if it had been otherwise, the fate
of Naevius would probably have deterred his younger con-
temporary from following in his footsteps. Plautus, how-
ever, may show the direct influence of Old Comedy in his
occasional allusions to current events, in the frequent asides
addressed to the audience, and especially in the pardbdsia
which marks the OurcuUo. The tragicocomoedia Amphitruo
probably belongs to the sphere of Sicilian Comedy.^

It is claimed by Sellar that '' in the large place assigned
to the *Cantica,' which were accompanied by music and
gesticulation," the Plautine plays show considerable traces
of the indigenous Saturae, Doubtless, these exerted some
influence, but it is highly probable that the cantica are the sur-
viving form of the old choral songs, which embodied the
original lyric element in Greek comedy. With the loss of
the chorus, this element, instead of being concentrated as
before, becomes more or less scattered through the dialogue.
A large portion of a play of Plautus or Terence was actually
sung, QT at least accompanied by music, and in Plautus the
more reflective passages, especially in soliloquy-form, are
presented in a variety of distinctly lyrical metres. The
labored style, which often characterizes these in contrast
with the easy flow of the dialogue, is probably due to the
difficulty of adapting the thought to the Greek form. Ter-
ence, after one experiment, wisely abandoned the more
elaborate lyrical measures.*

The dialogue of Plautus is rich, full, and spontaneous in

iSee§18.

> Sellar, B<man Poets of the Sep,, p. 166. See, too, Moulton, The
AneiefU Claseieal Drama, p. 897.

THE DEVELOPMENT OF ROMAN COMEDY. xxxi

its diction, proving the author to be a perfect master of the
art of expression. The grammarians and critics of the
republican period, who were in a much better position than
their successors of imperial times to appreciate the difficul-
ties, in respect to language, which confronted the early
writers, speak of the style of Plautus in eiilogistic terms.
Cicero compares it with that of the best Greek poets, in
exhibiting iocandi genus elegans, urhanum^ ingeniosum, face-
turn : ^ and Aelius Stilo, whose opinion used to be quoted by
his pupil, the learned Varro, is said to have declared that
this would have been the style followed by the Muses them-
selves, had they spoken in Latin.*

As to the dramatic art of Plautus, we have already seen
that Horace's judgment was distinctly unfavorable. He
accuses him of being careless and slip-shod,

Secums cadat an recto stet fabula talo (^Epist, 2. 1. 176),

and it would be easy to bring forward evidence in support
of this criticism. At the same time, he is one of the world's
greatest humorists, who besides being immensely popular
in his own day, has exerted a powerful influence on the
literature of modern times. A noble tribute to his genius
is the epitaph, in dactylic hexameters, which Gellius gives
as the composition of Plautus himself : ^ —

Postquam est mortem aptus Plautus, Comoedia luget,
Scaena est deserta ac dein Risus, Ludus locusque,
Et Numeri innumeri simul omnes conlacrumarunt.

29. Q. Ennius (239-169 b.c), the chief agent in establish-
ing Greek literary standards in Rome, was a writer of come-

iDe OJT. 1.29.104.

SQuintilian, 10. 1. 09.

' Gell. 1. 24. 3 : epigramma Plautij quad dtibitMsemus an Plauti
faret, nisi a M, Varrone positum esset in libro de poetis primo,
Bahrens, Frag. Poet Bomanorum, p. 296, assigns it to Varro himself.

XXXli INTRODIJCTION.

dies, bat in this, the least important and least meritorious
sphere of his activity, scarcely a tiace of his work survives.
In a list of ten comic poets of Home, given by Yolcatius Sedi-
gitns (who lived about the beginning of the first century
B.C.), Ennins is assigned the last place, causa antiquitatis,

aa Intermediate between Plautus and Terence stands
Statins Caedliiis, an Insubrian Gaul, who was brought as a
prisoner of war to Home and there liberated. He became
an intimate friend of the poet Ennius, whom he is said to
have survived by only a year. Only fragments of his work
are extant, but ancient critics ranked him high in the order
of merit.^ Yolcatius Sedigitus, indeed, sets him first in his
canon, while in Horace's day Caecilius and Terence were
put on a par, —

YiDcere Caecilius gravitate, Terentius arte {Epist, 2. 1. 59).

As compared with Plautus, Caecilius evidently adhered
more closely to his Greek models. An indication of this is
the fact that of the forty titles of his plays known to us, a
large majority are Greek, in the Terentian manner. Some
titles are given both in Latin and Greek, while only a few,
following the Plautine custom, are Latin only. To the con-
struction of the plot Caecilius paid great attention and with
marked success.' We are told, too, that he worked upon
the feelings with sentimental scenes, and in both of these
respects we find Terence following in his footsteps. The
style of Caecilius, however, unlike that of Terence, was
much criticised by Cicero.'

ai. The purest representative in Latin of the New
Comedy of Athens is P. Terentius Afer. Our knowledge of

1 Cf. etc. de Opt. Gen. Or. 1, licet dicere et Ennium 8ummum epicum
poetam et Pacuvium tragicum et Caecilium fortasse comicum.
* Varro ap. Non. 374, in argumentis Caecilius poacit palmam.
•Ad AU. 7. 3. 10 ; Brut. 268.

THE DEVELOPMENT OF ROMAN COMEDY, xxxiii

his life comes mainly from Donatus, who in his commentary
on Terence gives an extract from the lost work of Suetonius,
De Viris IllvMnbua} The year of his birth is uncertain.
Terence is said to have been in his twenty-fifth year, when,
ittlGO B.C., he set out for Greece. This would make 185 b.c'
the year of his birth, and this accords with the statement
that Scipio, who was also born in that year, was Terence's
aeqiialis. To this date it is-objected that if Caecilius died,
as Jerome tells us, the year after Ennius, %,e, in 168 b.c,
the story of Terence's reading his Andria to the old play-
wright would make Terence out as a marvellously precocious
youth. However, either Jerome's statement may be incor-
rect' or the story of Terence and Caecilius apocryphal.*

A Carthaginian by birth, Terence was taken as a slave* to
Rome, and there educated in the house of Terentius Lucanus,
who gave him his freedom. The source of his praenomen. is
unknown, but his nomen comes, according to the custom,
from his patron's g6ntile name, while his cognomen indicates
his native country. His personal beauty, intellectual gifts,
and probably the interest attaching to his foreign birth,
recommended him to the circle of Scipio Africanus the
Younger, with whom he became very intimate. • Among his
friends were also included older men of literary attainments
and official rank, such as C. Sulpicius Gallus, Q. Fabius
Labeo, and M. Popilius.

The coterie into which Terence was admitted belonged to
the most refined and intellectual society of Rome. In the

1 The life of Terence, edited by Kitschl, is included in Reifferscheid's
Suetonius (Leipzig, 1860), p. 26.

2 On the date of his birth, see Hauler in his edition of Dziatzko's
Phormio^ p. 12, note 2.

^ Ritschl adds iii and Dziatzko iiii to the words anno post mortem
Ennii.

* This is the view of Sellar, Soman Poets of the Bep., p. 209.

* He was probably captured by dealers.

XXXIV INTRODUCTION.

Scipionio circle were to be seen the finest products of that
Hellenic civilization which, by the end of the second Punic
war, had made an almost complete conquest of Eoman
society : —

Graecia capta feram yictorem cepit (Hor. Epist 2. 1. 156).

The Hellenizing of Eome, as Mommsen has graphically
shown,^ carried with it a host of evils ; but it was not those
citizens who were thoroughly steeped in Greek thought, and
who, in their refined tastes, their love of learning, and their
literary pursuits, showed the fairest fruits of Greek culture,
at whose door could be laid the charge of corrupting a
nation. On the contrary, these were the men who set
themselves the task of improving the public taste and
thereby improving the public morals ; and that this result
was actually accomplished is probably illustrated best by
the history of the plays of Terence, which, emanating from
this select group of Hellenists, faithfully reflected the re-
fined thought and elegant style of the most polished Greek
of later days. At first coldly received by the public, they
gradually won their way into popular favor, and, in a quar-
ter of a century after Terence's death, completely supplanted
the plays of the coarser, more farcical, more animated, more
Eoman, but less artistic, Plautus.

The Andria, Terence's earliest play, was exhibited in
166 B.C. In connection with it is told the interesting story
to which we have already referred. The author offered his
play to the aediles, who directed him to take it to Caecilius
for approval. The young poet presented himself to his
censor when the latter was at dinner. Being meanly clad,
he was told to sit down on a bench, but after reading a few
lines was invited to share the couch of Caecilius, who listened
to the rest of the play with profound admiration.

^ HUt, of Borne, Eng. trans., vol. n, chs. 13 and 14.

THE DEVELOPMENT OF ROMAN COMEDY. XXXV

The Hecyra, first produced in 165 b.c, was poorly received,
and did not meet with success until its third presentation,
in 160 B.C. The Heauton Timorumenoa, or Sdf-tormentor,
was first performed in 163 b.c. ; the Eunuckua and Phxyrmio
belong to 161, and the AdeLphoe to 160. In this last year
Terence went to Greece, probably with the intention of
gaining further insight into the Greek life which was
depicted in his plays. In Greece he made translations of
a number of Menander's plays, but in 169 b.c. died, while
on the point of returning home. The cause of his untimely
death is uncertain. Though Porcius Licinus says he died
penniless, yet another account tells us that he left twenty
acres of gardens on the Appian Way, and that his daughter
married a Eoman knight. In appesgrance Terence is said to
have been mediocri statural gracili corpore, colore fusco.

With two exceptions — the Hecyra and the Phormio — the
plays of Terence are based on comedies by Menander. In
adapting these, the Latin dramatist aimed at an artistic
reproduction of the tone and thought of his Greek originals.
The purely Eoman element, which is so prominent in Plau-
tus, but which ill accords with the professedly Greek back-
ground, is to be excluded from a sphere into which, by the
rules of art, it can claim no right of admission. A play of
Terence, therefore, notwithstanding the purity of its Latin
style, is but a Greek play written in Latin. Its title is
Greek, and it portrays the life, not of contemporary Rome,
but of Athens a century and a half earlier. Such reflections
of distinctly Eoman thought and manners as are to be found
occasionally in Terence, are obviously due to an unconscious
departure from his rule.^

Yet it would be unjust to Terence to suppose that his
plays are mere translations. Eather, they are adaptations,
which, while following the general line of thought taken

^ See notes on 771, 891.

XXXvi INTRODUCTION.

by the originals, admitted of considerable freedom both in
verbal rendering ^ ancl in plot-construction. In the develop-
ment of Roman comedy, the tendency since the days of
Naevius and Plautus had been in the direction of a closer
imitation of the Greek originals. In the school of Lanuvinus,
this tendency seems to have reached the extreme antithesis
to the freedom in which Plautus indulged. Lanuvinus, we
are told,^ adhered so literally to his originals that he made
poor Latin plays out of good Greek ones, aud this obscura
dUigentia (Andr. prol. 21) — extreme precision with resulting
obscurity — is seized upon by Terence as the main charac-
teristic of his opponent's school. To those who held with
Lanuvinus that a Greek original should be reproduced in
its integrity, without alterations, the practice adopted by
Terence, even in his earliest comedy, of combining scenes
from different originals, was naturally very offensive, — can-
taminatio they called it in derision. Terence, however, justi-
fies the practice on the ground that it harmonizes with the
freedom indulged in by his famous predecessors.* Doubt-
less Terence's real aim in thus mixing plays was to gain
variety of interest, curtail the lengthy speeches of Greek

1 A comparison of the extant fragments of Menander^s plays and
the parallel passages in Terence shows many differences in the presen-
tation of similar ideas ; see notes on Andr, ^7, 555, 611, 716, 805.
3 Qui b^ne vortendo et edsdem scribendd male
Ex Gra^cis bonis Latlnas fecit n6n bonas.

(Eun, prol. 7 and 8.)
The view that the "poetical canon" of Lanuvinus ** was a close imi-
tation of the earlier Latin comedians" will not bear examination.
Thus Ashmore, Introd. to Adelphoe, p. xxxiii.

> The evidence at our disposal does not enable us to afi&rm that
Naevius and Plautus employed contaminatio in the specific sense in
which the word is used in Terence ; cf. G5tz, Acta Soc. Lips, 6. 310,
815. Plautus, of course, showed neclegentia in reference to his origi-
nals, and, perhaps, all that Terence implies in Andria, prol. 20 and 21,
is that his use of contaminatio was of a piece with this neclegentia.

THE DEVELOPMENT OF ROMAN COMEDY. XXXvii

comedy, and secure greater complexity of plot. It is obvi-
ous, however, that contamincUio could be employed only in
the case of originals with similar plots. Terence admits
that he has employed contamincUio in connection with the
Andria, Eunuchus, and Addphoe, In the case of the Adel-
phoe, the two plays drawn upon are by different poets,
Menander and Diphilus. The Hecyra is perhaps similar, in
having a portion of Menander's *E7rirp€irovT€s engrafted upon
the 'EKvpd of ApoUodorus.*

Our knowledge of Terence's practice of contamincUio is
gained from the prologues to his plays. These prologues
bear considerable resemblance to the parabases of Old
Comedy.' The latter, it is true, found a place in the body
of the play,' while Terence's prologue lies completely out-
side of the play proper. In both cases, however, the speaker
addresses the audience in the name of the poet, just as is
done in the modem prologue. The subject-matter of the old
parabases, as is to be expected, is more varied than that of
the Terentian prologue, for the former deal with topics of
both public and private interest, while Terence limits him-
self to a discussion of hostile criticism, or of circumstances
attending the representation of his plays. The prologues
to the Hecyra explain the previous failures of that play, but
all the other prologues deal mainly with the strong opposi-
tion encountered by the young poet. It is evident that
Terence was looked upon as an innovator, who was dis-
regarding the canons set up by a school* of criticism of
which Luscius Lanuvinus was the chief representative.

The contemporary criticism of Terence's art became more

1 Cf. Dziatzko, Bhein. Mus,, vol. XXI, p. 80 ff.

« See § 20.

« It commonly appears, however, when the plot is practically worked
out See § 20.

* Cf. the plural isti, Andr. prol. 16, and istorum, ib. 21 ; advorsa-
ri08, Ad, prol. 2 ; isti, t6. 16 ; illi, ib. 17.

xxxviii INTRODUCTION.

bitter and personal as fresh plays appeared, and to this
criticism Terence shows himself very sensitive. His ill-
wishers — isti malivoli — claimed that his plays were feeble
in sentiment and style, —

Tenui 6sse oratidne et scripture levi i (^Phorm, 5) ;

that Terence was an upstart in the literary profession, who
was dressed in borrowed plumes, —

Kepdnte ad stadium banc se ^plicasse mt&sicum,
Amlcum ingenio fr^tum, baud naturd sua {Heaut, 23) ;

and finally, that he was guilty of plagiarism {Eun, 23 f.).

In regard to the last count, it is interesting to learn that
this serious charge oifurtum^hzs no reference to the Greek
originals employed, but only to earlier Latin poets. Pro-
fessional etiquette demanded that when a writer had turned
a Greek play into Latin, that play should be considered his
peculiar property. To this charge Terence pleads *not
guilty,' either claiming that he was ignorant of any pre-
vious use of the play, or proving that his own was entirely
new.

The story that Terence's plays were either wholly or
partly composed by some of his noble friends, —

Nam qudd isti dicunt milivoli, bomines ndbilis
Hunc idiutare adsldueque una scrfbere (^Ad, 16), —

was firmly believed by many ancient writers,' mainly, we
may suppose, because it was precisely the kind of story that
Terence could not well refute, inasmuch as it was favorable

1 For tbe meanmg of oratione and 8criptura^ see note on Andr, 12.

« Eun. 28 ; Ad, 13.

8 Cf. Suetonius (Reifferscbeid), p. 30 ; also Cic. ad Att, 7. 3. 10,
Terentium, cuius fahellae propter elegantiam aermonia putabantur a
a Laelio scriU; Quint. 10. 1. 99, licet scripta ad Scipionem Africa-
num referantur.

THE DEVELOPMENT OF ROMAN COMEDY, xxxix

to his friends and patrons and probably contained a fraction
of truth. The foreign-bom poet, with his limited experience
of the world, was doubtless glad to accept the advice and
suggestions of the cultured and high-bred members of the
Scipionic circle. He wisely contents himself with treating
this charge as one that is highly complimentary to himself,
since it admits that he enjoys the favor of the most emi-
nent and popular citizens of the state : —

Earn latidem hie ducit mixomam, quom illls placet,
Qui ydbis uniydrsis et populd placent,
Quomin 6pera in bello, in 6tio, in neg6tio
Suo quisqae tempore tlsast sine sup^rbia.

{Ad. 18-21.)

The most serious criticism of Terence is that which deals
with the essential qualities of his published work. He was
accused of poverty of thought and shallowness of style.
This view finds some support in the well-known epigram of
Julius Caesar, who, in addition to his other great qualities,
was an excellent literary critic : —

Tu quoque tu in summlB, O dimidiate Menander,
Fonens, et merito, puri sermonis amator.
Lenibus atque utinam scriptis adiuncta f oret vis
Comica, ut aequato virtus poUeret honore
Cum Graecis, neve hac despectus parte iaceres I
Unum hoc maceror ac doleo tibi deesse, Terenti.

In these lines Caesar lays his finger upon the weak point
in Terence's art. He deplores the fact that the dramatist
was deficient in one important respect, the vis comica. Cer-
tainly, when we compare Terence with Plautus, we find that
he lacks the variety and vivacity, the rich drollery and bois-
terous fun, the many improbabilities and startling surprises,
the sportive imagination and exuberant flow of language
which characterize his predecessor.

And yet, unless we are prepared to adopt the view that

Xl INTRODUCTION.

all good comedy must conform to one type, we may claim
for Terence that in the refined comedy of daily life, the
comedy of manners, he possesses certain excellences quite
foreign to Plautus, in some of which no later dramatist has
ever been found superior.

The quality in which Terence mainly excels is his artistic
finish, — the quality recognized by the critics of Horace's
day as his distinguishing feature,^ — which is the more
remarkable when we consider how many years lie between
him and the polished writers of the Augustan age. For
a Koman writer of the second century b.c. to conceive a
high ideal of literary art in connection with a sphere of
popular amusement is remarkable enough; but for such a
writer to realize perfection in artistic form is evidence of
no little genius. The purity of his style commended him
to the most fastidious critics of Rome. Cicero, who often
quotes him in his essays and speeches, and otherwise fur-
nishes plentiful evidence of his influence,* gives happy
expression to his admiration for this virtue, as well as for
his moderation of tone and agreeable charm of diction, in
the following epigram : —

Tu quoque, qui solus lecto sermone, Terenti,
Conversum ezpressumque Latina voce Menandrum
In medium nobis sedatis motibus effers,
Quiddam come loquens atque omnia dulcia dicens.

Caesar speaks of him as pari sermonis amator, and Quintil-
ian, notwithstanding his depreciation of Roman comedy in
general, characterizes his plays as degantisaima,^ The sus-
tained purity and thoroughly idiomatic flavor of his diction
have satisfied the best Latinists of every age. This grace-
ful ease of refined conversational style, which is character-

1 See § 30.

a Cf. notes on Andr. 68, 117, 126, 141, 211, 226, 266, 442, 660, etc.

• Quint. 10. 1. 99.

THE DEVELOPMENT OF ROMAN COMEDY. xli

istic of the prose of Plato and the verse of Menander, Terence
managed to import for the first time into Latin a century
before Cicero wrote any of his extant Epistles,

But excellence of style is not the only artistic feature of
Terence's plays. In the delineation of his characters the
author shows fine • discriipination and taste. To be sure,
they are less vividly outlined than are those of Plautus,
and it is somewhat confusing to find the same names fig-
uring in different plays. But in the analysis of the finer
shades of character, in the blending of motives and in con-
sistency of portrayal, Terence shows the utmost dramatic
skill.

In the construction of Terence's plays the incidents and
scenes follow one another in smooth and harmonious order,
and contribute logically and naturally to the development
of the plots. The latter, though somewhat monotonous,' are
skilfully worked out, and, as compared with those of the
Plautine plays, usually show more complexity, due partly
to the systematic use of contamination. Thus the main
action is regularly attended by an underplot, as in the
Andria the intrigue of Pamphilus and Glycerium is accom-
panied by the love of Charinus for Philumena. Yet the
fundamental dramatic law — the law of unity of action, or
VunM dHnt^r^t, as the French critics call it — is faithfully
observed in every Terentian play.

The subjects of Terence's plots are of course the stock-
subjects of New Comedy, but are more limited in range
than those of Plautus. The principal motif is that which
has ever since held sway in the drama, — the sentiment of
love ; and this, so far as the lower moral tone of Athenian
life allowed, is treated in a manner approaching the mgdern
fashion. The genuine affection of a young man for a girl,
who is dowerless or a social outcast, or even a slave, encoun-
ters paternal opposition, which finally disappears on the
girl's turning out to be free-bom or a long-lost daughter of

xlii INTRODUCTION.

respectable citizens. Such a subject Terence can handle
with perfect proptiety, and invest with considerable roman-
tic glamour, and of this the best illustration is afforded by
the Andria.

32. In addition to those already mentioned, a few other
comic poets are included in the canon of Volcatius Sedigi-
tus,^ but little is known about them. Turpilius, the seventh
on the list,- is represented by thirteen titles, all in Greek.
He composed palliatae only in his earlier life ; for half a
century before his death, in 103 b.c, the production of
pdlliatae had ceased, and such of them as were afterward
exhibited were the stock plays of the old poets.*

Since we possess the works of only two comic poets of
Eome, it is impossible to determine how reasonable is the
verdict of Sedigitus, in whose judgment Terence deserves
only the sixth place of honor: —

Mult(5s incertos c6rtare banc rem vidimus,
Palm^m poetae c6mico cui d^ferant.
Eum me6 iudicio errdrem dissolvdm tibi,
Ut, c6ntra si quis s^ntiat, nil s^ntiat.
Caecflio palmam St^tio do mfmico ;
Plautt!is secundus facile exsuperat c^teros ;
Dein Nafevius, qui f 6rvet, pretio in tfertiost ;
Si erft quod quarto d6tur, dabitur Lfcinio.
Post fnsequi Licfnium facio Atflium ;
In s6xto consequ^tur bos Terfentius ;
Turpilius septimtim, Trabea octavum 6ptinet ;
Non6 loco esse fdcile facio Lt!isciam ;
Decimum dddo causa antfquitatas ^fi^unium.B

1 See § 29.

3 As tbe palliatae lost favor, otber forms of tbe comic art came more
into vogue, sucb as tbe togatae, Atellanae, and tbe mimes,
* Aulus Gellius, 15. 24.

THE PLOT OF THE ANDBIA. xliii

n.

THE PLOT OF THE AHDSIA.

3a The Andria, or Maid of AndroSy takes its name from
the heroine Glycerium, who has had a peculiar history.
She was bom in Athens, but in her in^mcy her father
Chremes, when about to take a journey into Asia, had left
her in charge of her uncle Phania. Some time later, desir-
ing to escape from warfare, Phania set out with his niece
to join the absent Chremes. Their ship was wrecked off
Andros, but Phania and Pasibula, as she was then called,
being rescued, were hospitably received by a citizen of the
island, who, on Phania's death, which occurred shortly
afterward, adopted the child, changed her name to Gly-
cerium, and brought her up with his own daughter Chrysis.
On her father's death, Chrysis went to Athens, accom-
panied by her reputed sister, now a very beautiful young
woman.

In Athens, at the house of Chrysis, Pamphilus, son of
Simo, fell desperately in love with Glycerium. Afraid to
ask his father's consent, he could not marry her, though he
treated her as his wife. In this attitude toward her he was
confirmed, when not long afterward Chrysis, on her death-
bed, solemnly commended Glycerium to his care.

But the course of love was not to run smooth. Chremes
had a second daughter, named Philumena, bom since the
disappearance of Pasibula, and as he was anxious to see
her well settled in life, he arranged with Simo a marriage
between his daughter and Pamphilus, of whom he had
heard nothing but good reports.

A touching scene at the funeral of Chrysis revealed to
Simo and the rest of the world Pamphilus' affection for
Glycerium, whereupon, much to Simo's disappointment,
Chremes broke off the proposed match. It is at this point
that the action of the play begins.

xliv INTRODUCTION.

Simo, pretending that there is no obstacle to the marriage
between his son and Philumena, orders Pamphilus to make
ready for an immediate wedding. His main, object is to
secure a good reason for reproving his son, should the latter
refuse. At the same time, in case Pamphilus should acqui-
esce in his wishes, he hopes to prevail upon Chremes to give
his consent. Pamphilus is, of course, inclined to disobey,
but Davus, discovering that Simo does not seriously con-
template the marriage, persuades Pamphilus to profess obe-
dience to his father's command, assuring him that such a
course is perfectly safe, inasmuch as Chremes will certainly
refuse his daughter's hand.

It so happens that one Charinus is in love with Philumena,
but hears with dismay that she is to marry his friend Pam-
philus. The latter has to assure Charinus that he will do
his best to put off the marriage.

Meanwhile a child is born to Pamphilus and Glycerium.
Simo hears of the event, but is supported by Davus in the
belief that it is all a scheme, devised by Glycerium and her
friends, to prevent Chremes granting his consent. The
latter, however, knowing nothing about the baby, unex-
" pectedly yields to the repeated solicitations of Simo, who,
seeing no further obstacle to the wedding, is highly elated.
On the other hand, Pamphilus, Charinus, and Davus are
plunged into despair. Charinus accuses Pamphilus of base
treachery, and Pamphilus throws the responsibility of their
misfortunes upon Davus, who, as a last resort, devises an
ingenious scheme. Directing Glycerium's maid, Mysis, to
lay the baby at Simo's door, he takes advantage of Chremes'
approach, and cleverly pretending to regard her as the agent
of villanous impostors, makes her declare in the old gen-
tleman's hearing that the baby belongs to Pamphilus.

Chremes is convinced, and by again renouncing the match
draws upon Davus and Pamphilus the full force of Simo's
wrath. Harmony is restored only by the intervention of

THE PLOT OF THE ANDRIA. xlv

an Andrian citizen, Crito, a cousin of Chrysis, who is
familiar with the early history of Glycerium, and leads
Chremes to recognize in her his long-lost daugKter Pasibula
Thus are removed all objections to her marriage with Pam-
philus, who, together with Davus, is restored to Simo's
favor.

34. It will thus be seen that the plot of the Andria is
somewhat intricate. The principal cause of trouble lies in
ignorance as to the parentage of Glycerium, and there is much
dramatic irony in the attitude which her father and Simo
assume toward her before her identity is discovered. Decep-
tion, a rich source of complication, plays a large part in the
action. Pamphilus deceives his father first by carrying on a
secret intrigue, and later by professing a willing obedience
to his wishes. Simo deceives his son by pretending that
a marriage is arranged, when it has really been broken off,
and Davus is driven to his wit's end in inventing schemes
for deceiving Simo and Chremes. The entanglement which
results from the crossing of these several threads is easily
set right, when the fundamental error is corrected, and it
is discovered that Glycerium stands on the same social and
family footing as Philumena.

35. In the course of the development of this plot, there
are many minor features, worthy of special study, to which
attention is called in the notes. The main underplot found
in the Andria, the love of Charinus for Philumena, is appar-
ently original with Terence. Donatus, in speaking of Chari-
nus and his slave Byrria, at the opening of the second act,
says : has personam Terentius addidit fdbula^, nam non sunt
apud Menandrum, This is interesting, showing, as it does,
that Terence felt himself at liberty to enlarge the original
plot by adding not merely scenes from other plays, but also
characters of his own creation. Though Charinus is not
essential to the Andria, yet he appears in no less than six
scenes, and Byrria in two. Donatus thinks that the reason

xlvi INTRODUCTION.

why Terence introduced Charinus was the fear that it would
be too harsh* to leave Philumena without a husband.
More probably, Terence merely wished to increase the com-
plexity of the plot. It is to be observed that he did not
introduce Philumena herself, as a modern dramatist would
certainly have done.

36. As for contaminatio in the Andria, this is practically
confined to the first scene of the play. The Epicurean sen-
timent found in 959 ff. was taken, we are told, from Menan-
der's Eunuch; but the only complete scene which we know
to be due to contaminatio is the opening one. This comes
from Menander's Perinthiay which in the first scene closely
resembled Menander's Andria, The latter, however, opened
with a soliloquy; the Perinthia, with a dialogue between
the old man and his wife. Tor the wife Terence substituted
the freedman Sosia, perhaps because to the Eomans it would
have seemed less natural to discuss with a matron a young
man's amour, Sosia, it will be noticed, never appears again,
being merely what the Greeks called a vpoa-unrov vporarucw,
or introductory character, like Philotis and Syra in the
Hecyra, and Davus in the Phormio, and brought in mainly
to give clearness and variety to the opening narrative.

37. Roman comedies were sometimes classified, according
to the degree of vivacity which distinguished them, into
motoriae, statariae, and mixtae? The motoriae were full of
movement, the statariae were quiet in tone, and the mixtae
partook of both these features. The plays of Plautus are
for the most part motoriae; those of Terence, mixta,e.^

The Andria represents Terence's normal style, and is a
fabvla mixta. Only in two or three scenes is there much
lively action; e,g. Act I, Scene 6, where Pamphilus is in

* Ne rpayiKiirepop Jleret.

* Euanthius, De Com,, p. 7 R.

* The Fhormio, however, is a motoria, and the Heauton a stcOaria,

THE CHARACTERS OF THE ANDRIA. xlvii

great distress of mind; Act II, Scene 2, where Davus rushes
in with the news that no wedding is contemplated; and
especially Act IV, Scene 4, where Davus nearly drives
Mysis into a state of frenzy. The dialogue, however, is
always terse and animated, the narrative at times very pic-
turesque, and the situations exhibit much sentimental pathos.
Simo's story in the first scene is praised by Cicero^ as a
descriptive masterpiece. Other passages of singular vivid-
ness are the charge of Chrysis on her death-bed (282-298),
and Davus' recital of his observations at Chremes' house
(353 ff.). For excellent specimens of refined and sprightly
dialogue, see Act II, Scene 6; Act III, Scene 3; and Act V,
Scene 3.

III.
THB CHASACTSRS OF THB ANDRIA.

38. The characters in the Andria are distinctly and -con-
sistently portrayed. The young man Pamphilus has a com-
panionable and complaisant disposition, which is well
described by Simo in his conversation with Sosia (62-68).
Pamphilus, however, is much more sentimental than Simo
had supposed. He has a genuine respect for his father, and
desires to submit to his will, but his love is strong enough
to make him thoroughly true to the object of his affections.
In no other respect, however, is Pamphilus a strong char-
acter. He shows indecision (264), is afraid to confess his
passion to an indulgent parent, relies upon a slave's judg-
ment rather than his own (336), and, in accordance with the
knave's advice, deceives his father by a lie (420),

Simo, however, is more at fault than the son. He takes
no steps to protect Pamphilus from the temptations to
which he is exposed, but is content to let him " have his
fling," believing that, in accordance with his general char-

1 Cicero, De Oratore 2. 80. 327 ff. See especially Andr. 117-136.

xlviii INTRODUCTION.

acter, he will do nothing in excess. He is an easy-going
man, indulgent to his son, whose welfare he earnestly
desires, and a good master to his slaves (36). Unfilial con-
duct cuts him to the quick (869), and deception he cannot
tolerate (902). For this he bitterly reproaches his son
(872 ff.), and severely punishes his slave (S65), He is no
match for cunning, and though, at one stage, he gets the
better of the wily Davus, yet he is ignorant of the fact, and
with ingenuous candor confesses to the slave his attempt to
take him in. Though usually polite and suave in his deal-
ings with others, yet if his suspicions are aroused he can be
curt and even rude to strangers (908). His prevailing good-
temper (175), however, wins the day, if, notwithstanding
the disobedience of others, happy results are finally secured
(948, 956).

Chremes plays but a small part in the play. He is a
good friend to Simo, and a fairly good father to Philumena,
whom he wishes to see well married. Yet though he recog-
nizes the risk of experimenting with a daughter's happiness,
he consents to her marriage with a man of doubtful char-
acter, in the hope of reforming her husband (572). His
gentle and forgiving disposition is seen in the way that he
pleads with an angry father for an offending son (868, 894,
901, 903).

Charinus, the friend of Pamphilus, figures only as the
lover of Philumena, to secure whom is the sum total of his
ambition (306). Mistrust of his friend is but a temporary
result of apparent treachery (643 ff.). He soon realizes the
true position of Pamphilus, whose unhappiness, he admits,
is equal to his own (702).

Crito is a good, honest soul, who would not wrong Glyce-
rium, even though the law is on his side. His character is
well described in the line (857), —

Trlstls verity inest in y61tu atque in verbis fides.

MODERN ADAPTATIONS OF THE ANDRIA. xlix

Davus, the faUax aervus, is probably the most interesting
character of the Andria. He is a bold and ingenious
schemer, an abettor in an evil course (192), very impertinent
to his master, and ready to do him an ill turn (162), yet not
without many good points. He is brave, and knowingly
runs the risk of severe penalties (210 fP.) ; he displays great
eagerness and activity (355) ; he is devoted to his master's
son, and, when his plans miscarry, he admits his defeat and
proposes the penalty due (621). In his encounters with
Simo he shows much cleverness in repartee, and his ability
to assume an air of injured innocence is very amusing (604).

Sosia, who is a mere foil for Simo in the opening scene,
has been a faithful slave, and is now regarded as a safe con-
fidant. He merely echoes his patron's words, throwing in
an occasional wise saw.

Byrria, the confidential slave of Charinus, has a low mind,
and can be very impudent to his master (316, 428 ff.).
Mysis is a simple, kindly creature, who is as dull of compre-
hension as Davus is clever. She is devoted to her mistress,
and treats her with affectionate regard (6S5). Lesbia is said
to be careless and fond of tippling (229) ; after the fashion
of her kind, she loves to gossip (459), and issues her orders
with a professional air. Glycerium, a modest, beautiful,
and affectionate girl, becomes knpwn to us only through the
descriptions of others.

IV.
MODERN ADAPTATIONS OF THE ANDRIA.

39. The Andriay like most of Terence's plays, has been
adapted to the modern stage. Some of its scenes are repro-
duced in the Foundling, by Edward Moore (1712-1757). It
has also been imitated by the French dramatist, Michel
Baron, in his Andrienne, and by Sir Richard Steele (1672-

1 INTRODUCTION.

1729) in his Conscious Lovers. An interesting and profitable
study, illustrative of the differences between ancient and
modern comedy, may be found in a comparison between the
Andria and the Conscious Lovers,

DRAMATIC SNTERTAINMENTS.

40. At Kome, plays were commonly exhibited at certain
annual festivals, as well as on special occasions, such as the
funeral of a distinguished man, the celebration of a triumph,
or the dedication of a public building. Of the annual festi-
vals, the ludi Romani (called also magni and maximi),
celebrated in September in honor of Jupiter, were the most
important. The Ivdi Megalenses, held in honor of Cybele,
took place in April. These, like the ludi Romani, were
under the direction of the curule aediles. The plebeian
aediles superintended the ludi pkbeiiy given in November,
and the prdetor urbanus had charge of the ludi ApoUinares,
held in July.

It is interesting to note that Terence exhibited his plays
for the first time at the more aristocratic festivals, which
were in the hands of the curule aediles.*

We learn from the didasccUiae and Bonatus that the plays
of Terence were brought out during the life of the poet, as
follows : —

Andria at the ludi Megalenses^ 166 b.c.

ffecyra ♦» «» u 166 b.c.2

Heauton timorumenos ** " ** 163 b.c.

JEunuchus ....**** ** 161 b.c.

^ The didascaliae name the Junii, Julii, Aemilii, Fulyii, Comelii,
Valerii, and Postumii, men who were of the same social set as Afri-
canus, Laelius, etc. See Earsten, Mnemosyne, yol. 22 (1894), p. 181.

^ This presentation was a failure, and the play was withdrawn.

THE DIVISION OF PLAYS. U

Fhormio ... at the ludi JBomanij 161 b.o.

Secyra .... ^^ ludi funerales of AemiliwPaulus^ 160 b,cA

Adelphoe ... " '* ** ** " 160 b.c.

Hecyra .... *^ 2udj JBomani, 160 b.c.^

A careful study of the prologues, however, will show that
not only the Hecyra, but also the Andrm and probably the
Heauton^ Eunuchus, and PhormiOy must have been brought
out more than once in the poet's lifetime. The Andria and
the Hecyra originally had no prologue, and the extant pro-
logues to these plays were written by Terence for a second
or third performance, not for the first.*

VI.

DIVISION OF PLAYS INTO ACTS AND SCENES.

41. !N"o division of plays into acts was recognized by the
writers oifaJbulae paiUatae, Such a system was foreign to
the Greek originals, and very few traces of it are found in

1 Second, but unsuccessful, presentation.
* Third, and successful, presentation.

s After reyiewing all the evidence afforded by the prologues, Karsten
concludes that the following representations took place in Terence^s
lifetime: —

without a prologue, at the ludi Meg,, 166 b.o.
without a prologue, at the ludi Meg,, 165 b.c.
with the first prologue, at the ludi Meg,, 163 b.c.
with the prologue, 162 b.c.
with the prologue, at the ludi Meg., 161 b.o.
with the later prologue, at the ludi Apoll. , 161 b.o.
with the first prologue, at the ludi Bom., 161 b.c
with the prologue, at the ludi fun., 160 b.o.
with the first prologue, at the ludi fun., 160 b.c
with the second prologue, at the ludi Apoll, or
Bom,, 160 B.C.
11. Phormio . with the later prologue, at the ludi Bom, or pleb^
160 B.a

1.

Andria .

2.

Hecyra .

3.

Heauton

4.

Andria .

6.

Eunuchiis

6.

Heauton

7.

Phormio

8.

Adelphoe

9.

Hecyra .

10.

Hecyra .

lii INTRODUCTION.

the Mss. of Plautus and Terence. A performance was regu-
larly continuous ; but as intermissions were occasionally
required for technical reasons, such as an actor's changing
his costume, or resting from his exertions, these pauses in
the action were filled in with flute music, at the discretion
of the manager (cf. Plautus, Pseydolus, 671). The expres-
sion prima actu placeo, in the prologue to the Hecyra (39),
means no more than in prima fabula.

The Latin comedies were first divided into acts by the
editors of the sixteenth century, who doubtless followed the
statements of Donatus, e.g. : haec etiam ut cetera huiuscemodi
poemata quinque actus habeai necesse est choris divisos a
Graecis poetis (praef. Adelph.). The five-act division upon
which Donatus here insists is probably founded on the prin-
ciple laid down by Horace : —

Neve minor neu sit quinto productior actu

Fabula, quae posci vult et spectata reponi. (Are Poet, 189.)

But Horace is dealing only with tragedy, and is following
some rule, possibly of Alexandrian origin, based on the
normal structure of a Greek tragedy, which consisted of
three episodes, separated by choral songs, in addition to pro-
logue and epilogue. Yet some Greek plays have as many
as six episodes.

The word actus is often used by Cicero of the parts of
plays, and as in one passage (Verr, 2. 2. 6. 18) he speaks of
the quartus actus, he probably knew of the five-act diyision.
However, a triple division is more familiar to him, and in
one letter he urges his brother, now in the third and last
year of his office, to follow the example of good poets and
careful actors, who make their third act their very best,
perfectissimus atque omatissimus (ad Q. Fr. 1. 1. 16. 46).
Probably in Cicero's time it was the custom to observe three
regular pauses in the action, and fill these with musical in-

THE ACTORS AND THEIR COSTUMES. liii

terludes.^ The three divisions thus created would include
the expositio or explanation of the situation presented, the
invohitio or development of the plot, and the evolutio or

42. The only division of a play recognized by Plautus and
Terence was into scenes, a new scene occurring regularly on
the exit or entrance of one or more characters. If, however,
after any exit there is a dialogue or soliloquy of but a few
lines, the new scene will not begin before the entrance of
another character. In Terence a new scene may begin in
the middle of a line, the action running on without a break
(cf. Andr, Act III, Scene 4). At the head of each scene,
the Mss. give the names of the characters appearing therein,
even if they already appeared in the previous scene.

VII.
THB ACTORS AND THEIR COSTUMES.

43. In Old Attic Comedy the number of actors was limited
to three.* These three formed a troupe, while the chorus,
which might be regarded as a fourth actor, was an indepen-
dent body. Of course, mute characters were also freely
employed. When the chorus disappeared, the number of
actors was probably increased. Certainly on the Roman
stage the number was usually more than three, for of the
extant comedies, in only two, the Cistellaria and Stichus of
Plautus, would three actors suffice. The Andria probably
required seven, who took the parts respectively of Simo,
Davus, Chremes, Pamphilus, Charinus, Mysis, and Crito.
The remaining parts (those of Sosia, Byrria, Dromo, Gly-

^ The traditional division into acts (as well as scenes) is retained in
the text for the sake of convenience of reference.
« See Haigh's AUic Theatre, p. 253.

liv INTRODUCTION.

cerium, and Lesbia) could easily be distributed among the
seven, the actor who impersonated Pamphilus taking (e,g,)
the part of Sosia.^ The leading role, according to Donatus,
was Simo's; the second, that of Davus; and the third,
Chremes'. In Terence's day, the female characters were im-
personated by men. Women, however, acted in the mimes,
and in the time of Bonatus performed in palliatae as well.

44. The troupe of actors (histriones or actores), who were
usually slaves (for acting was considered beneath the dignity
of U free-born Roman), was under the direction of a f reed-
man, known as the dominus gregis, who, as a rule, played the
leading role. Livius Andronicus was his own manager, act-
ing in his own plays, but it was otherwise with Plautus and
the other dramatists. Terence's theatrical manager was
L. Ambivius Turpio,* of whose acting Cicero (de Senectute,
14. 48) represents Cato as speaking with approbation : Tur-
pione Amhivio magis delectcUur, qui in prima cavea spectcU,
delectatur tamen etiam, qui in ultima.

The manager served as an intermediary between the poet
and the ludorum datores. He bought the plays to be per-'
formed, and assumed the necessary financial risk in connec-
tion with their exhibition. On the other hand, the givers
of the games rewarded the dominus according to the success
of the performance. Doubtless they often nominated the
poet whose plays they desired to have performed. Plays
once presented seem to have become the property of the
dominus, and belonged to his company's repertoire.* The

1 See Hodennann, De Actorum in Fabulis Terentianis Numero et
Ordine, Neue Jahrb. fur Phil 1897, vol. 166, pp. 61-71.

^ The L. Hatilius Praenestinus mentioned in the didascalia of the
Andria belongs to a later date than L. Ambivius Torpio, and was prob-
ably the manager when the play was exhibited some years after Ter-
ence^s death.

> On this subject, see Dziatzko in Hhein, Mus., vol. XLIX (1894),
pp. 66»-676.

THE CONDITIONS OF REPRESENTATION. Iv

costumes and stage-outfit necessary for a performance were
furnished by a purveyor (conductor or choragtts ').

45. In the poUlicUae, the actor's dress consisted mainly of
a tunic and an outer mantle. The former was a short gar-
ment for slaves, but for free-born characters and courtesans
a long one with sleeves. The outer mantle was usually the
long paUium of the Greeks, but certain characters, such as
young men and professional soldiers, wore the short chlamya.
The old were generally attired in white, the young in bright
hues. The mantle of the courtesan was saffron-colored, that
of the leno variegated. Old men carried crooked staves,
travellers commonly wore the petastis or cavsia, — a large
hat with a broad brim, — and soldiers appeared with helmets
and long swords. The soccus, or loose slipper, used in com-
edy, corresponded to the cothurnus, or buskin, of tragedy.

46. That masks were not yet used in the time of Terence
may be inferred from such a passage as Phorm, 210 ff. They
were introduced either by Roscius, the great actor of Cicero's
day, or by Cincius Faliscus, and Minucius Prothymus, the-
atrical managers of uncertain date. Instead of masksi^ the
early actors used wigs of various colors, — white for old
men, black for the young, and red for slaves. Beards, rouge,
and chalk were also employed to produce various effects.

VIII.
THE THEATRE AND CONDITIONS OF REPRESENTATION.

47. For a long time only temporary structures for the-
atrical purposes were permitted in Rome. A wooden stage
(pro8caenium)y closed in the rear by a wooden partition
(scaena)y was built near the foot of a hill, the slope of which
served as the pit (caved) or place for the spectators, who

1 The cJioragus, according to Mommsen, was the same as the domintu
ffreffis (Hist, of Borneo Eng. trans., vol. II, p. 602).

Ivi INTRODUCTION.

had to sit on the bare ground. The level space between
the cavea and the proscaenium was reserved for officials,
senators, and other people of distinction. In 179 B.C., a
small stage of stone was erected near the temple of Apollo,
presumably for use in the ludi Apollinares; but though public
interest in the drama was now increasing, so that in 174 b.c.
the censors allowed the maintenance of a stage to be a
charge on state funds, yet in 155 B.C., shortly after the death
of Terence, we find that the senate, following the advice of
P. Scipio Nasica, prohibited the building of a permanent
stage. But this victory for the old conservative spirit of
Eome was short-lived. In 145 b.c. Mummius, in celebrating
his conquest of Greece, had plays performed in a complete
theatre, provided not only with stage-platform and walls,
but also with seats in the regular auditorium. Even this
structure was made only of wood, and was torn down after
the celebration. The first permanent theatre in Eome was
not erected until nearly a century later, when in 65 b.c. the
stone theatre of Cn. Pompeius was dedicated,* — a building
capable, it is said, of accommodating forty thousand specta-
tors ^ (Pliny, N, H, 36. 115). The famous theatre of Marcel-
lus, of which imposing ruins still remain, was built in 13 b.c.
4a The dramatic scenery in the time of Terence was very
simple. Artistic decorations for the stage were introduced
in the aedileship of Claudius Pulcher (99 b.c), and not
before 79 b.c was there a shifting of the scenes. The scene
in a Terentian play is invariably a street in Athens, show-
ing three houses. In the Andria, the centre house is Simo's,
while on either side are those of Glycerium and Charinus.
The side-walls did not extend as far as the scaena, and so

1 For structural details of a Roman theatre, see Opitz, Das Thea-
tenoesen der Ghiechen und Bomert p. 120 ff. ; Bamett, The Greek
Drama, p. 103 ; Harper's Classical Dictionary,

3 This, however, is a much exaggerated statement. See Lanciani,
The Buins and Excavations of Ancient Borneo p. 450.

PROSODY. Ivii

allowed exits, that on the spectators' right being supposed to
lead to the centre of the city, the opposite one to the harbor
and the country.

49. Dramatic performances were of course confined to
the daytime and were over before the cena, or afternoon
dinner. A crier {praeco) first went through the city inviting
the people to the theatre, and, immediately before the play
was given, its title, the poet's name, and the Greek original
were publicly announced by the dominus gregis}

50. A Eoman audience was coarse, uncultivated, and
exceedingly boisterous, finding little pleasure in literary art,
and ready to show disapprobation if a play was not suffi-
ciently exciting. The prologues of Plautus contain numer-
ous references to the disorderly character of the audience,
and Terence had a sad experience with his Hecyra; for at
the first attempt to exhibit this play, the audience rushed
off to see some boxing and rope-dancing, and on the second
occasion a show of gladiators emptied the theatre. The
citizens, together with their wives and children, were
admitted to the theatre free of charge ; slaves, and probably
foreigners, were excluded.

IX.
PROSODY.

51. The earliest remains of Roman literature are, as we
have seen, composed in the Satumian metre, which proba-
bly rests upon an accentual basis. This native metre was
found to be too rude and monotonous for dramatic verse ;
hence even the earliest writers in this sphere abandoned it
for the quantitative measures used in their Greek originals.
Yet the accentual principle continues to play an important

1 See Fabia, Les Prologues de Terence, p. 115 ff.

Iviii INTRODUCTION.

part in Plautus and Terence, and many of the variations
from classical prosody, found in these writers, are due to the
influence of accent, as contrasted with quantity.

52. Moreover, word-accent and verse-accent, or ictus (beat),
largely coincide in Plautus and Terence, and seldom clash,
as in Vergil, in the important words of a verse. Thus we
never find in Terence an ictus like sequimur or pectdra or
indicium. Indeed, the metrical ictuses of lines in comedy
coincide pretty closely with the ordinary accentuation of
words in everyday speech. Many words, we must remem-
ber, are long enough to admit two accents,* e.g. dicrev4runt,
^xanimdtus, etc. Further, the accent of a word in a sentence
may be different from that which it bears when standing
by itself. Thus the subordinate words in a sentence may
unite with the more important ones to form word-groups,
which then follow the ordinary rules of accentuation,
e.g. potiiis-giuim (21), oMs-dum (29), apvd-me (36). Among
such subordinate words* are: (1) enclitic particles,
as -que^ -ve, enm, etc., e.g. immo enim (823) ; (2) the forms
of the verb esse; (3) the indefinite and relative pronouns,
together with the possessive, personal, demonstrative, and
reflexive pronouns, when unemphatic, e.g. quae s^se (792),
?ia4c quae (794), noscdnt sua (23), uxorhn suo (177), edicd
libi (204), vae miserd mihi (302), irU^r se (220), Attic(am)
4ss(e) hanc (221) ; (4) auxiliary verbs, e.g. missdsfoice (833) ;

(5) unemphatic nouns, e.g homin(i) ddulesc^ulo (828);

(6) prepositions and conjunctions, e.g. in tempore (819),
ut iHheam (741).

sa In words of four syllables, having the first three
short (y \j \j ^), the verse ictus falls upon the first sylla-
ble in Plautus and (with exceptions) in Terence, e.g.
ficUius, mdXivoli (16), r^Hcuam (25), Glycerium^ mMierem.

1 A prim&ry and a seoondaiy.
* See Lindsay, LaL Lang. p. 16d.

PROSODY. lix

All Latin words were once accented on the first syllable,
ajid fdcilius (e.g.) must represent the pronunciation which
still prevailed in the time of Plautus, but which in Ter-
ence's day was giving way to the later facUius, mulierem^
etc. Quadrisyllable words with the scansion — \j\j^ usu-
ally take, in Terence, the ictus upon the second syllable,
e.g. dissimili (11 and 12), but sometimes upon the first, e.g.
c&ndicio (79) ; cf. quandoquidemy Eun. 374, Hec. 492, Ad. 640,
and qudnddquidem, Andr. 487, 608, Heaut. 1064, Ad. 966.

54. Owing to the prominence naturally given to an
accented syllable, adjacent long syllables are often, in dra-
matic poetry, reduced to short ones. Hence the so-called
iambic law^ according to which a long syllable may be
shortened, when it is preceded by a short, and either pre-
ceded or followed by the accent of a word or word-group, or
by the verse-ictus. Thus v^ _ may become v^ \j, and w « ji
may become w w ji. The short syllable preceding the
shortened long must be a monosyllable or begin a word.
The long syllable which is shortened is usually (a) a mono-
syllable, (b) the long syllable of an iambic word, or (c) the
first syllable of a polysyllabic word ; least commonly (d) the
second syllable in a polysyllable. The only illustrations of
(d) f ojind in the Andria are voluptdti (944) and voluptdtes
(960). The following may serve as illustrations of the
other cases : —

(a) et id grdtum, 42; ego in pdrtu, 480; sed hic Pdm-

philusy 462.
(6) dablt n4mo, 396 ; satin sdnus, 749.
(c) «m(e) invidia, 66 ; bon(um) ing^iumy 466.

In the text, all cases of syllables shortened by the iambic
law are markgd w.

1 Called iambic, because the long syllable thus affected naturally
forms an iambus (w — ) with the preceding short.

Ix INTRODUCTION.

55. Up to the time of Cicero,* final 8 was faintly pro-
nounced. In Terence, accordingly, syllables ending in s,
preceded by a short vowel, remain short even before a fol-
lowing consonant. For examples, see 203, 262, 308, 311,
353, 412, 423, 582, 599, 619, 651, 673, 738, etc.

Contrary to the later rule, a syllable ending in a short
vowel before a mute, followed by I or r, is not " common,'^
but remains short, e.g. poire, 252.

56. Even in places where the iambic law does not apply,
the pronoun ille sometimes in Terence shows the apparent
scansion Ille; cf. Phorm, 109, ille qui iUam; Ad, 72, lUe qu4m;
Eun, 343, lUd s^se; but the correct explanation probably is
that the final e ih treated as a silent letter.* Similarly we
may explain the apparent quippe, unde, and iste in Plautus,
and the apparent nempe {Phorm. 307) and Inde (Phorm, 681),
found in Terence as well. Perhaps immo,^ in imm^ v4ro
(Phorm, 936), may also be thus accounted for.

57. In word-combinations of quando, siy tu, te, and me
with quidem,^ Terence shortens the long vowel of the first
element, e.g. siquidem, Andr. 465, and quandoquidem, 487.

5a Accented monosyllables, ending in a long vowel, are
merely shortened before a following short vowel or h ; cf .
qui amant, 191 ; me homo, 744 ; di dment, 947. Similarly,
accented monosyllables ending in m are not elided ; cf . cum
eo, 639.*

1 Cicero disregarded final s in his early poetry. Later, in his
Orator, 48. 161, he speaks of this neglect of « as iam subrusticum,
olim autem polUius.

3 Cf . the omission of e in hie ( = hice) and in the particle -ne as in
viden, etc. See Skutsch, Studien zur Plautinischen Jhrosodie (Leip-
zig, 1892), pp. 30 ff.

* We have immo viro in Andr. 864 and Phorm, 1047.

* See Lindsay, Lett. Lang., p. 216.

* The principle seems to apply also to unaccented monosyllables in
m occurring in the first foot ; cf . idm hulc, Heaut, 640 j qudm hie.

THE METRES AND THE MUSIC. Ixi

59. Aside from the cases just given, hiatus is rare in
Terence. It occurs after interjections; cf. hdmineniy
769 ; dptumey 817 ; and when there is a change of speak-
ers ; cf . Ad. 767 ; Fhorm. 146.

60. SynizesiSy the settling together , or blending, of adjacent
vowels of a word into one, is frequent in Terence, occurring
mainly in certain words in common use ; cf . deos (487, 538),
eorum (576,^2, 960), tubm (685), sua (692), dies (704),
eo (719), quoius (765), ems (799, 878), suos (806, 969),
meb (843), meam (887), huius (888), /tusse (929), mam (932),
tuis (975).

A special case is that of words compounded from simple
ones, originally distinct, as deinde, dein, proinde^ proin,
dehinc, antehac, deorsum, sebrsum, etc.

X.
THE METRES I AND THE MUSICAL ACCOMPANIMENT.

d. The difficulty which students usually find in scan-
ning Terence is due to the fact that the Augustan poets,
with whom, as a rule, they first become acquainted, had
artificial standards of literary form, which were largely
divorced from the popular speech, whereas Terence mod-
elled his verse upon the speech of everyday life. Bearing
in mind, however, the principles already set forth in the
preceding sections, one finds that the scansion of Terence
is based upon rules, which are as easily grasped as those of
Vergilian verse.

Unlike Plautus, who indulges in a great variety of metres,

Fhorm. 191. Instances of the non-elision of a monosyllable in m
before a vowel are found in Lucretius, and even in Horace (^Sat. 2. 2.
28, coetd num ddest).

^ A useful little manual on this subject is Hayley^s An Introduction
to the Verse of Terence, Ginn & Co., Boston, 1897.

Ixii Ili^TRODUCTION.

Terence practically confines himself to tlie iambic and tro-
chaic measures. Only in the Andria, his earliest play, does
he experiment slightly with some of the less common
lyrical metres.^

62. The iambic (w _) and trochaic (_ J), as well as ana-
paestic {\j ^— )j metres of Eoman comedy take their strict
Latin names — e.g. senariusy septenarius, octonariu8 — from
the number of individual feet which each line contains. In
Greek poetry, however, these measures axe based upon units
of dipodies, or combinations of two feet, whence a line of
four feet is known as a dimeter, one of six feet as a trimeter,
and so on. In an iambic dipody (w — v^^) the Greeks
allowed the substitution of a spondee (>— ) or a dactyl
(> \j \j) for an iambus only in the first half, just as in a tro-
chaic dipody (— w — w) the corresponding substitutions of
spondee and anapaest (y^—) were allowed only in the
second half. The disregard of this rule, or the loss of
distinction between odd and even feet, constitutes the main
metrical difference between Latin and Greek comedy. In
Plautus and Terence, substitutions and resolutions are, with
certain exceptions, allowed in any foot.

63. In reading verse, a metrical stress {ictus metricua)
is naturally laid upon particular syllables, in order to
make the rhythm perceptible to the ear. In iambic and
trochaic verse, this stress falls upon the long syllable of
each foot, or upon the first of two short ones substituted
for it. In the latter case, the first of the resolved syllables,
as a rule, either begins a word or is wholly enclosed within
a word ; cf. dni\mum in the first line of the Andria : —

Fo6ta qaom primum dnimum ad scribendum ddpulit

1 The scansion of Ad. 611-618 is very doubtful. These lines are
usually taken as choriambic, but Fleckeisen is probably correct in
regarding them as corrupt, and originally iambic and trochaic.

THE METRES AND THE MUSIC. Ixiii

Since the time of Bentley, it has been customary for
editors to assist the reader by marking the ictus, but only
in the alternate feet in those metres which the Greeks
measured by dipodies. In the line just quoted, there are
really six ictuses, three of which are not marked, viz., on
the syllables qtiom, scri-y and 4U}

1. Iambic.

64. For the iambus, w JLy any of the following feet may be
substituted : (a) tribrach, w v^ w ; (b) spondee, > ^ ; (c) ansr
paest, ws^Z.; (d) dactyl, >C\j\ (e) proceleusmatic, wvy cS ^^.
In an acatalectic verse, however, the final foot must be a
pure iambus, or pyrrhic {y w), the last syllable, of course,
being indifferent (syllaba anceps),

65. Iambic Senarius (Trimeter Acatalectic). — This is the
commonest metre in Terence. All the plays open with it,
and in the Andria it is used in over five hundred verses.
The verse admits caesura, usually the penthemimeral, before
the long syllable or its equivalent in the third foot; less
commonly the hepthemimeral, in a similar position in the
fourth foot. The latter caesura is often accompanied by a
diaeresis after the second foot, or a secondary caesura in that
foot. Many verses, however, have no well-defined caesura.

An anapaest does not immediately follow a dactyl. In
the proceleusmatic, which occurs most commonly in the
first foot, and perhaps never in the fifth, the third syllable,
bearing the ictus, must begin a word; cf. 164 Lines
162-166 are scanned as follows: —

Factl!inim magis id ideo mihi at incdmmodet
Qnam at obseqaator gnito. Qoapropt^r ? Bogas ?

1 Cf. Horace, Jn PoeL 252: —

trimetris aocresceie ioflnt
nomen iambeis, cam aenos redderet ictos
primos ad fy t- i yi nfim ^miliy sibL

Ixiv INTRODUCTION.

Mala rn^ns, malus animus. Qu^m quidem ego si s^nsero
Sed quid opust verbis ? Sin eveniat, qu6d volo,
In F^Unphilo at nil sit morae, restdt Chremes.

>Z.\>\\kjkj\kj6kj\>\\kjkj\>JL\w —
^^1 w-|>Z|>|U|>^| w-

\j^^ I WW \j \j |>||j1| \j \j \j I^-^I \j

>6w i>_:i>iiz.i>wwi>jii w_

66. Iambic Septenarius (Tetrameter Catalectic), containing
seven complete feet, and one that is incomplete. There are
forty-two iambic septenarii in the Andrixx^ the longest sys-
tem occuring at 684-716. There is usually a diaeresis after
the fourth foot, which may be treated as the final foot of an
acatalectic verse. In default of a diaeresis, there is gener-
ally a caesura in the fifth foot. Lines 684-685, are scanned
thus : —

lam ubi tibi erit, invehttim tibi curdbo et mecum adddctum
Tuom Pdmphilum ; modo tu, inime mi, noh te macerdre.

w6w| v^-|>j1| v^-_||>/.|>-_I>j1| v^t:

>/.l w_i ww6w I w-_ii>/.| >_| wjii wt:

67. Iambic Octonarius (Tetrameter Acatalectic) . — About one-
fifth of the Andria is written in this measure. The ordi-
nary place for the caesura is in the fifth foot. Sometimes,
however, the caesura is displaced by a diaeresis at the end
of the fourth foot, which is then treated like the final foot
of a verse. I give the scansion of 175 and 188 : —

Mirdbar, hoc si sfc abiret ; 6t eri semper l^nitas.

Dam tempos ad eam r^m tulit, sivi dnimum ut explergt suom.

>j1| w_|>j1| v^-l wll^v^ |>-.|>Z| W-.
>^jL\kjkjkj\>jL\kj^\\>Okj\kj^\>jL\kj^

THE METRES AND THE MUSIC. Ixv

2. Trochaic.

6a The proceleusmatic is not allowed by Terence as a
substitute for the trochee, ^\j. Otherwise, any of the sub-
stitutes allowed for the iambus in iambic verse may be em-
ployed in trochaic as well, the metrical ictus, however, being
always upon the first syllable of the foot

69. Trochaic Septenarios (Tetrameter Catalectk), contain-
ing seven complete feet, and one that is incomplete. This,
next to the iambic senarius, is the commonest metre in
Terence (212 lines in the A^ndrioL), Diaeresis generally
occurs after the fourth foot, which cannot then be a dactyl.
Sometimes the diaeresis comes at the end of the fifth foot,
accompanied by another after the third, or by a caesura in
the third. The seventh foot is usually a pure trochee, but
is sometimes a tribrach. Lines 259 and 260 are thus
scanned : —

Aliquid f acerem, at hdc ne facerem. SM nunc quid primnm ^xseqnar ?
T5t me inpediunt ctirae, quae meam itnimnm divorsa^ trahunt.

<S w > I v/ w > I Z.> I w w>ll /-> I — > I ^ w I — A

70. Trochaic Octonaritts (Tetrameter Acatalectic). — This
is a rare measure in Terence, only four such lines occurring
in the Anuria, viz. 245, 247, 301, 305. Substitutions are
freely allowed, even in the eighth foot. Diaeresis is usually
found after the fourth foot, which in that case must not
be a dactyl. Sometimes, however, a caesura occurs in the
fourth or fifth foot instead. The verse is employed by
Terence only in alternation with others. The scansion of
245 is as follows : —

Adeon hominem esse Invenustam ant fnfelicem qutoquam, ut ego
sum I

<^ v> I w w > I Jl w I _>ll /-> I — > U ^ I v^ ^ v^

Ixvi INTRODUCTION.

71. CUttsulae. — Interspersed among tlie longer verses in
a lyric passage, and at the end of a series of similar verses
in ordinary dialogue, we sometimes find much shorter lines,
known as daiLSulae, which continue the rhythm of the pre-
ceding verses, and are subject to the same metrical rules.
The only metres used in the Andria in these dausuUie are
the iambic quatemarius (Dimeter Acatalectic), as in 176, 240,
244, 252, 486 (catalectic), 537, 605, 635-638 (638»» catalectic),
and trochaic quatemarius (Dimeter Catalectic) as in 246 and
517.

3. Cketic, Bacchiac, and Dactylic.

72. Examples of these metres are found only in the
Andria. In 626-634, we have nine cretic tetrameters. The
cretic, ji w — , may resolve either (not both) of the long syl-
lables into two short, except before the diaeresis, which
usually occurs after the second foot. In the first and third
feet a long syllable sometimes takes the place of the short.

Four bacchiac tetrameter acatalectic verses are found in
Andr. 481-484. Either of both of the two long syllables in
the bacchius, w Z-_, may be resolved into two shorts, except
at the end of the line or before the principal break. In the
first and third feet, a long syllable may be substituted for
the short.

A single dactylic tetrameter occurs in Terence, viz. : in
Andr. 625: —

j^\j\j\^kj\j\^\j\j\jL\j\J'

73. In one respect a Latin comedy resembled a modern
opera. A large proportion of each play was either sung, or
recited to a musical accompaniment. Scenes which were
merely spoken and involved no musical element were
known as diverbia. These were the scenes composed in
iambic senarii, embracing about one-half of each Terentian
play. Terence, as we have seen, begins all his plays with
senarii, plain speech without music being appropriate to the

THE METRES AND THE MUSIC. Ixvii

opening narrative, in which is set forth the position of affairs
at the outset of the play.

Scenes into which a musical element entered were of two
kinds. They were either (a) declaimed in recitative style,
with flute accompaniment, or (b) they were actually sung to
set tunes. Both of these kinds of scenes were known as
cantica. The former (a) were composed either in iambic
octonarii, or in trochaic or iambic septenarii. The latter
(b) were distinctly lyrical scenes, composed in a variety of
metres, including not only the more unusual ones, such as
the cretic, bacchiac, and trochaic octonarii, but also those
mentioned in connection with (a) the merely recited
cantica.^ Livius Andronicus introduced the custom of
having these lyrical cantica sung by a young slave, who stood
near the flute-player, while the actor merely gesticulated in
a suitable manner. This singer was probably the cantor,
who pronounced the plavdite at the close of the play, and is
referred to in the well-known lines of Horace : —

Si plausoris eges aulaea manentis et usque

Sessuri donee cantor * Vos plaudite ' dicat. (Ars Poet. 164-155. )2

74. The bacchiac verses in the Andria (481-484) have a
weighty air and accord with the professional tone assumed
by Lesbia. The soliloquy of Charinus (625 ff.) opens with
a dactylic line, which suggests a dignified self-restraint, but
this speedily gives way to a passionate outburst of feeling,
well expressed in the broken rhythm of the succeeding
cretics (626-634).

Of iambic lines, senarii are, of course, the most suitable

1 The ancient copies of Terence designated the cantica with the
sign c, and diverbia with dv. The purely lyrical cantica were marked
M.M.C., an abbreviation of mutatis modia cantica. See Hauler-
Dziatzko, ed. of Fhormio, p. 44.

a Cf . Wilkins's note on 155.

Ixviii

INTRODUCTION.

for narrative and exposition; septenarii are used in state-
ments and injunctions of great emphasis (of. 299-300, 506,
575-581, and 684-715) ; octonarii occupy a position midway
between these, being moderately forcible and lively in tone.
Of the trochaic measures, the septenarii are more animated
than the iambic senarii. As the latter open every play of
Terence, so the former are uniformly employed at the close.
Trochaic octonarii are much more impassioned, and occur in
Terence only in alternation with other rhythms. Shorter
iambic and trochaic verses are used only in dausulae (§ 71).
75. A change of metre always implies a change of tone.
Hence, the frequent metrical changes involved in the course
of a play show that both in form and substance a Terentian
comedy exhibits great variety and avoids the defect of
monotony.

7a

1-174 .
176. . .
176. . .
177 .. .
178-179
180-181
182. . .
183-195
196-198
199-214
215-224

227. . .
228-233
234-239
240. . .
241-242

243. . .

244. . .
246. . .

Table of Metres of the Andria.

. iambic senarii.
. iambic octonarius.
. iambic quaternarius.
. iambic octonarius.
. trochaic septenarii.
. iambic octonarii.
. trochaic septenarius.
. iambic octonarii.
. iambic senarii.
. iambic octonarii.
. iambic senarii.
. iambic octonarius.
. iambic senarius.
. iambic octonarius.
. trochaic septenarii.
. iambic octonarii.
. iambic quaternarius.
. trochaic septenarii.
. iambic octonarius.
. iambic quaternarius.
. trochaic octonarius.

246. . . . trochaic quaternarius

catalectic.
247 .... trochaic octonarius.
248-251 . trochaic septenarii.
252 .... isgnbic quaternarius.
253-254 . iambic octonarii.
265-256 . trochaic septenarii.
257 .... iambic octonarius.
258-260 . trochaic septenarii.
261-269 . iambic octonarii.
27(^298 . iambic senarii.
299-300 . iambic septenarii.
301 .... trochaic octonarius.
302 .... trochaic septenarius.
303-304 . iambic octonarii.
305 .... trochaic octonarius.
306 .... trochaic septenarius.
307 ... . trochaic octonarius.
308 .... trochaic septenarius.
309-316 . iambic octonarii.
317 . . . . trochaic septenarius.

THE METRES AND THE MUSIC.

Ixix

318 .... iambic senarius.
319-383 . trochaic septenarii.
384-393 . iambic senarli.
394-403 . iambic octonarii.
404-480 . iambic senarii.
481-484 . bacchiao tetrameters.
486. . . . iambic quatemarius

catalectic.
486 .... iambic senarius.
487-496 . iambic octonarii.
497-498 . iambic senarii.
499-505 . iambic octonarii.
506 .... iambic septenarius.
507-516 . trochaic septenarii.
517. . . . trochaic quatemarius

catalectic.
518-523 . trochaic septenarii.
524-532 . iambic senarii.
533-536 . iambic octonarii.
537 .... iambic quatemarius.
538-574 . iambic senarii.
575-581 . iambic septenarii.
582-604 . iambic octonarii.
605 .... iambic quatemarius.
606 .... trochaic septenarius.
607-608 . trochaic octonarii.
609 .... trochaic septenarius.
610-611 . iambic octonarii.

77. The music for Latin plays was composed, not by the
poet himself, but by musical artists, who seem to have been,
for the most part, slaves. Thus the composer of the music
for Terence's plays was Flaccus, a slave of Claudius. Little
is known of the character of the music, but it was doubtless
similar to that of Greece, of which we now possess some
substantial specimens in the Apollo hymns found at Delphi
in 1893.1

1 One of these hymns, with the ancient music, is published in cheap
form by Novello, Ewer & Co., London. For a popular treatment of

612*^14^ iambic quatemarii.

615 .... iambic octonarius.

616 .... trochaic octonarius.

617 . . . . trochaic septenarius.

618-620 . iambic octonarii.

621-624 . trochaic septenarii.

625 .... dactylic tetrameter.

626-634 . cretic tetrameters.

635-638* . iambic quatemarii.

638*> . . . iambic quatemarius

catalectic.

639-640 . trochaic septenarii.

641-642 . iambic octonarii.

643-649 . trochaic septenarii.

650-654 . iambic octonarii.

655-681 . iambic senarii.

682-683 . iambic octonarii

684-715 . iambic septenarii.

716-819 . iambic senarii.

820-860 . trochaic septenarii.

861-863 . iambic octonarii.

864 .... trochaic septenarius.

865 .... iambic octonarius.

866-895 . iambic senarii.

896-928 . trochaic septenarii.

929-957 . iambic octonarii.

958-981 . trochaic septenarii.

Ixx INTRODUCTION.

7a Only one musician (tibicen) performed, his instrument
being the tibia, a word usually translated as flute, though
the instrument bore a stronger resemblance to the modern
clarinet or oboe, and was also stronger and shriller than our
flute. It was provided with finger-holes, varying from five
to fifteen, had a cylindrical bore, and wasr blown by means
of a mouthpiece at the end.

In the accompaniment of Latin plays, the tibicen always
used two tibiae, or pipes, each with its own mouthpiece. A
bandage (capistrum), passing over the mouth and cheeks of
the performer and provided with holes to receive the mouth-
pieces, relieved the pressure of the pipes, and the musi-
cian was thus enabled to play on both pipes at the same
time. The melody of the music was played on the right-
hand pipe, the accompaniment, which was usually higher
than the melody, on the other.

The double pipes are described as either pares or impares,
i.e. either equal or unequal in length. In the latter case,
the longer pipe, which was held in the left hand, is repre-
sented in art as always curved at the end farthest from the
mouth, and usually as terminating in a bell. The tibiae
impares are frequently called Phrygian, a term which, like
Lydian, applicable to the tibiae pares, has reference to the
Greek musical modes. The tibiae pares were two straight
pipes of equal length. Of these, however, there were some
varieties. Thus, according to Donatus, the Andria was per-
formed tibiis paribus,, dextris et sinistris, while the Mss.
mention the ditae deostrae in connection with the Eunuchus.
The serranae, also pares, were perhaps shorter than the

Greek music, see Naumann's History of Music, edited by Sir F. Gore
Ouseley (Cassell & Co.). A short account will be found in my arti-
cle on Tyrtaetks, Archilochus, etc., in A Library of the World^s
Best Literature, edited by Charles Dudley Warner. For more de-
tails, see the standard work by Chappell, History of Music, London,
1874.

LANGUAGE AND ORTHOGRAPHY. Ixxi

dude dextrae} The duae dextraey we are told, were suitable
to a serious, and the serranae to a jocose style ; the dextra
et sinistra were used where both styles were combined.
The impares allowed greater freedom in the accompaniment,
and with these, therefore, the music was of an animated
character. In the Heauton, a change of instruments was
made in the course of the play, no doubt because of a change
in the character of the music'

79. Before the play opened, a prelude was played on the
pipes, and musical interludes were occasionally given in
the course of the performance.'

XI.
LANGUAGE AND ORTHOGRAPHY.

80. The language of Terence differs far less from that of
classical times than does that of Plautus. The latter writer
was not only earlier than Terence, but, as we have seen,
moved in a different circle of society. He therefore gives
us a much larger proportion of purely popular speech,
while Terence represents the everyday speech of cultivated
Eromans.

There are, however, certain archaic features in the lan-
guage of Terence which it will be worth while to note.

1. Orthogbapht.

8L Thus we have -wo- for the later -ww-; e.g. tuos, servos,
in the nominative singular; tuom, servom, novom, vivonty etc.

1 We never hear of duae sinistrae,

3 The main facts abont these instruments will be found in an article
on the Ai\6s or Tibia, by A. A. Howard, in Harvard Studies in
Classical Philology, vol. IV (1803).

s Thus, at the end of the first act of the Pseudolus of Plautus occur
the words : —

TiMcen vos int^ribi hie delectlJverit (v. B73).

Ixxli INTRODUCTION.

In place of ve- followed by r and s, the original wo- is re-
tained, aa in vaster, vorto, advorsariuSy though ue- was prob-
ably coming in in Terence's time.^ For the later cwms, cui,
cuVy and cum Terence uses quoius, quoi, quor, and quom; and
similarly, for the syllables -cms, -cumy and -^iunty Terence
uses -quoB^ -quom, and -quont, e.g. antiquos, equom, relin-
quorU,

83. In gerunds and gerundives of the third and fourth
conjugations, u is frequently found, as well as e; cf. scri-
bundits (5) as well as scribendum (1). So we have u for later
i in lubety lacruma, and in most superlatives, as optumus,
proxumus (but i after r and 7i, as acerrimus and minimus,
and sometimes after l, eLsfaciUime as well BsfacUlum£y 65),

The substantives gnatus and gnata retain their original g.

83l In words compounded with prepositions, Terence
does not, as a rule, assimilate the final consonant of the
prefix with the initial consonant of the simple word. In
certain consonantal combinations,' however, we find assimi-
lation employed, as well as in certain words in common use,
and in such compounds as are no longer felt as such.
Thus, in the best Mss. we regularly find adpellere (1), ad-
currere (133), adferre (1S9), adfinUas (247), adgredi (670),
adlegare (899), adparare (656), adplicare (193), adportare
(73), odpnme (61), adtemperate (916); but a4xedere (123),
ciccersere (299), accidere (264), accmare (19), apparere (594),
attigere (789), attinere (187). So, too, vUicere (911), irdu'
dere (758), inmutare (275), inm^mor (476), inparcUvs (478),
inpeditu^ (^17'), inpedim^ntum (707), inpellere (524) inperitus
(911), tnpon^e (129), tnpo^ens (879), inprobv^ (192), t/iprv-

^ Scipio Airicanus is said to have first made the change. See Qain-
tUian, 1. 7. 26. Mss. give (0.9.) both vorto and verto.

* Thus, in ad before c, ti (for te) ; in com- before r ; in 06 before
c» gy P» and /; in ex before / (though ecferre occurs, as well as efferre) ; .
and in sub before c, y, p, /, m, and r.

LANGUAGE AND ORTHOGRAPHY. Ixxiii

viso (360), inprudena (642), inpudens (634), inriiaJtus (597) ;
but immortcUitas (960), imperare (484), imperitus (911),
impetrare (313). Coth- (cwm) becomes con- before l, as con-
Idcrumare (109), but is usually unchanged, as in communis
(548), complecti (133), comprobare (824).

8*. The aspirated consonants, cA, p^, and th, were un-
known in Terence's time, when they appeared simply as c,
p, and ty but for the sake of convenience editors retain them
in proper names and in a few other words taken from the
Greek, e.g. Pamphilua, Charinus, Chremes, and epkebtis (51).

2. Declension.

85. Of peculiarities of declension,^ the most important
found in the Andria are the following : —

(1) Greek words are declined according to both Greek and
Latin models; e.g. Chremes, gen, Chremetis or Chremi; ace.
Chremetemy Chremem, or Chremen; voc. Chremes or Chreme
(see note on 247).

(2) Terence uses both deum and deorum as the genitive
plural of deits, the former always in inter jectional phrases,
like pro deumfidem (246).

(3) Pronouns and adjectives which usually have 4us in
the genitive singular, occasionally have 4, as nulli consili
(608).' Similarly, solae and alterae occur as dative feminine
forms in other plays (Eun, 1004 ; Phorm. 928 ; HeaiU. 271).

(4) The dative pred, unknown in classical Latin, is found
in 601 and Phorm. 547.

(5) Nouns of the fourth declension have -uis in the geni-
tive, or 'if after the analogy of the second ; cf . omati, tumulti
(365) ; anuis {Heaut 287).

1 See Engelbrecht, Studia TererUiana,
3 See note on altenus (628).

Ixxiv INTRODUCTION.

(6) In the fifth declension, ^dei (dat.) is dissyllabic, as in
296, but the spelling fde, which is often adopted, is doubt-
ful. So too spei (gen.) as in 25, and rei (dat.) as in 458, both
monosyllabic. On the other hand, rei (gen.) in 457, is a
dissyllable, similar to el (dat. of is) in 443.

(7) The form ipsus is used as well as ipse. Besides iste,
ista, istud, and iUe, ilia, illud, the forms istiCy istaec, istuc, and
iUiCy illaec, illuc, are common. The pronoun hie has a variety
of forms. The nominative plural masculine is either hi or
hisce (Eun. 269). The nominative plural feminine is either
hae or haec, the former only before consonants, the latter
before vowels or consonants. In the genitive singular, the
genitive, dative, and ablative plural, and the accusative
plural, masculine and feminine, forms with or without -c, -ce
are used, the former only before vowels and h, the latter
only before consonants. The interrogative pronoun, quoiusy
-a, -wm, occurs in 763, 772, and 932.

(8) Pote and potis are both in use, the former before con-
sonants only (cf. Phorm, 535), the latter before substantive
verb forms which begin with a vowel. Necesse is used be-
fore vowels, and necessus before consonants (cf. 372).

3. Conjugation.

86. The following peculiarities in conjugation may be
noticed : —

(1) A few verbs which, in later Latin, are regularly de-
ponent, appear in Terence in active forms. Thus, altercare
(653).

(2) Conversely, the deponent forms compladtast (645)
and comperiar (902) are used. In some verbs, both the active
and deponent forms are in use. Thus, conflictare and -ari
(cf . 93 and Phorm. 505), impertire and impertiri {Eun. 271
and Ad. 320), obsonare and obsonari {Andr. 451 and Ad. 117).

LANGUAGE AND ORTHOGRAPHY. Ixxv

(3) Verbs of the fourth conjugation, including aio, have
'ibam as well as -iebam in the imperfect indicative, and -ibo
(-ibor), as well as -iam (-tar), in the future ; cf . servibaa (38),
comperiebam (90), aibat (932), aiebcU (930), aibant (534). In
the Andriay Terence always employs the regular future forms,
but scibo {sdbiSj scibit) and servibo, opperibor, and experibere,
all occur in other plays.

(4) Syncopated forms are common in the second person
singular perfect indicative, e.g. dixti (518, 593, 621, 852; in
459 dixisH is probably correct), indiixti (572, 883), intellexti
(201, 500, 506), sensti (SS2), praescnpsti (151). In the per-
fect infinitive, syncopated forms are rare, the only instances
being produxe, Ad, 561 ; decease, Heaut 32 ; iusse, Heaut
1001.

(5) The imperative face is found only at the end of a
verse, e.g. 680, 821, 833 (see critical note on 712) ; else-
where fac. Duce occurs only in compounds, e.g. traduce^
Ad. 917.

(6) The following infinitives in 4er occur in the Andria
always at the end of a verse, deludier (203), inmutarier (275),
ddipisder (332), claudier (573).

(7) The forms siem, siet, sient, for sim, sit, sint, occur
frequently, but only at the end of a verse or a half-verse,
before the caesura ; cf . 234, 288, 390, etc. Similarly possiet
(874).

(8) Present subjunctive forms in 4m belong only to the
end of a verse. So duint (666).

(9) The forms faxo for fecero, and faxim for feceHm are
common ; cf . 753, 854. With this exception, only two per-
fect subjunctive forms in -sim are Terentian, viz. excessis
(760), and appellassis (Phorm, 742). This is in marked con-
trast with Plautus, who uses a large number of both futures
and subjunctives of this kind.

(10) In Terence, as in Plautus, es, the second person
singular indicative of esse, is always a long syllable. Both

Ixxvi INTRODUCTION.

es and est^ in the enclitic forms '5 and 'sty frequently coalesce
with preceding words, especially adjectives and participles ;
cf . mdestumst (43), locutus = locuZus es (202).

(11) Besides potest^ Terence uses potis est (437, 691). Be-
sides tuli (as in 142, 178, 188, 443), Terence uses the older
tetuli (808, 832). The latter is. always used by Plautus. In
789, at the end of the verse, we find attigas for the regular
cUtingas, The perfect of pono in Terence is poslvi; cf . 729,
742, 763.

. 4. Adverbs.

87. Of adverbs in -ter from adjectives in -ws, Terence has
only duriter (74). The form poste, corresponding to ante, is
to be read in 483, 509, and 936. Hau for hand is common ;
cf . 205, 460, etc.

6. Peculiarities Due to Metre.

8a It is to be noticed that many peculiarities in declension
and conjugation are found only at the close of a verse or its
equivalent, and are therefore due to metrical reasons. Thus,
in the case of perfect tenses which are commonly contracted,
the full forms are used regularly only at the close of a line ;
cf. resciverim (494), but decrercU (238). See note on 10.
The same principle is observed in the case of stem, etc., as
compared with sim, etc. ; the present subjunctive forms in
4m; the infinitive form in -ier; the imperative /ace; in /ten
(792) as compared with fieri; periculum beside peridum
(131) ; and dextera (734, 751) beside dextra (289).

6. Syntax.

89. Certain features in the syntax of Terence deserve
special notice.

(1) The partitive genitive with neuter pronouns is very
common, as id negoti (4), illud gaudi (963).

LANGUAGE AND ORTHOGRAPHY. Ixxvii

(2) The verbs fungor and ahutor take the accusative ; see
note on operam abutitur (5).

(3) The use of the terminal accusative, illustrated by
domum and rws, is further exemplified by viciniam (70).

(4) The ablative with a gerundive is used as an ablative
of circumstance ; cf. mirando bono (938).

(5) Verbal nouns in -tio may take the construction of a
verb, as well as of a noun. Thus exprobratix> (44) governs a
dative ; itione (202) is modified by an adverb ; and cautiost
(400) is equivalent to cavendum est,

(6) The subject accusative is often omitted with an in-
finitive ; cf . fateUtr transtulisse (14), comperisse (145), etc.

(7) Questions usually subordinate are often treated as
independent, and therefore retain their original mood; cf.
die, quid est ? (45) ; diceret, quid feci f (138).

(8) The indicative is often used instead of a deliberative
subjunctive, as adeon(e) ad eum f (315). We also find the
indicative in a dwwirclause, expressive of anticipation or
design, as in dum projiciscor (329) ; dum exeo (714). In a
qiLom (cum) causal clause, Terence generally has the indica-
tive, but occasionally the subjunctive ; cf . 488, 623, 944.

(9) The imperative subjunctive is freely used in the pres-
ent tense, even with a definite subject ; cf. qui^cas (598),
habeas (649).

(10) In prohibitions, ne with the present imperative is
common. See note on ne nega (384).

(11) Conditions contrary to fact are often treated as con-
tingent. Hence the present instead of a past tense of the
subjunctive, as in tu si hie sis (310) ; cf. 914, 918.

(12) In regard to tenses, we find the present often used
instead of the future, to express speedy movement ; cf . re-
vartor (485) ; renuntio (594). It is also used for vividness,
as in^ (244), facis (322), adeo (315). For the same reason,
the historical present is very common ; cf . 128, 133, 148,
etc.

Ixxviii INTRODUCTION.

(13) The future perfect tense is often used, where the
simple future might be employed. In nearly every case,
however, we find that the perfect tense gives additional
force or precision. Thus ceperit (213), in the apodosis, gives
an air of assurance to the statement of future action. So
with videro (456). Invenerit (381) is expressive of instanta-
neous action. In fuero and gessero (641), and restitueris
(570), the tense denotes a future resulting state.

(14) The perfect infinitive is sometimes found in subordi-
nation, instead of the present, being attracted to the past
tense of the main verb. Thus oportuit praesdsae and com-
municatum (esse) (239).

(15) The historical infinitive is a favorite Terentian con-
struction; cf. perferre acpati (62), negare (147).

(16) The negative pleonasm neqiie hau (205) is probably
a translation of ov fi-q,

(17) In 699, ut ne is found for ut non in a consecutive
clause.

7. Colloquial Features.

90. As we have already seen, the language of Terence
represents the speech current in the daily life of the best
society of $^ome. This is the sermo cotidianus or familiaris,
which a century later is embodied in the Epistles of Cicero,
and later still in the Satires, and, less conspicuously, in the
Epistles of Horace. It is to be contrasted, on the one hand,
with the sermo urbanus, the elevated and polished diction
of more serious forms of literature, and, on the other, with
the sermo rusticus or plebeiicSy the vulgar Latin of the com-
mon people. In early Latin these varieties of the language
approximate to one another, but as time goes on they differ-
entiate more and more. The language of Plautus, for
example, reflects much more faithfully the speech of the
common people than does that of Terence. Yet in Terence
we cannot but recognize the presence of a very large coUo-

LANGUAGE AND ORTHOGRAPHY. Ixxix

quial element, which would seldom or never find a place in
more formal literature.

91. As illustrations of colloquial style and diction in the
Andria, we may mention the following : —

(1) The frequent use of diminutives, e.g. adulescentvli
(55) ; cf . 82, 84, 710, 828, 910.

(2) Pleonasm, e.g. pmescisse ante (239); cf. 369, 756, 839,
910.

(3) Numerous cases of ellipsis and consequent brevity,
e.g. quemne (768). Even the subjunctive mood is sometimes
omitted, as ut nequid nimis (61), utinam ! (807). The apodo-
sis in a conditional sentence is sometimes omitted, as in 373.
Aposiopesis is frequent, as in 149, 300, 344, 533, 752, 790,
872. Common verbs of saying or doing are omitted, as in
82, 88, 226, 336, 347, 361, 500, 635, 663, 729, 804, 893, 907,
928.

(4) The tendency to use strong forms of expression.
Thus, oaths and inter jectional phrases are numerous; cf.
716, 744. Strong forms of the pronoun abound, as egomet
(82), tute (727, 752), iUic (741), nullus = non (370), nil quic-
quam (90). The ethical dative is prominent, as tibi (726).

(5) Prolepsis, as in fac istam ut lavet (483) ; cf . 378, 977.

(6) The parenthetic use of verbs is common, as spero
(SU),faxo (854).

(7) Sudden changes of construction, as convent . . . ferre
(368-369) ; cf . the change in mood, ni metuam patrem, habeo
(918). See 536, 568-569, 649-650, etc.

(8) Certain uses of the adverb are distinctly colloquial.
Thus the substitution of adverbs for adjectives with esse;
cf. sic est hie (919). Colloquial, too, is the use of etiam with
imperatives or interrogations, as etiam tu hoc responde (848).
The same is true of quam, when directly modifying a verb,
as quam timeo (127).

(9) Many of the peculiarities of form and syntax already

Ixxx INTRODUCTION.

noticed in Terence should doubtless be mentioned as charac-
teristic of colloquial Latin ; but for an author as early as
Terence it is often hard to draw the line between what is
colloquial and. what is merely archaic. Early forms and
expressions are often preserved in later literature only in
colloquial style, — a fact which is well illustrated in the
Epistles of Cicero and his correspondents.

Where, however, we find alternatiye forms in Terence,
those which are generally used are, no doubt, the familiar
forms of conversation, while the others, being less colloquial,
are employed only for metrical reasons. In Cicero's Epistles,
for example, the syncopated forms of tenses in the perfect
system of verbs are far more frequent than in more formal
Latin. Similarly, verbal substantives in -tio, nomina agentis
' in 'tor and -trix (cf. 232), and adjectives in -arius (cf. iocur
lariv^, 782) are characteristic of colloquial diction. So, too,
in syntax, the use of the indicative in subordinate .clauses
in indirect discourse and in deliberative questions is found
in the epistolary style, as is also the second person of the
imperative subjunctive in positive commands. The pro-
nominal subject of an infinitive is often omitted in Cicero's
Epistles.

(10) The use of hie for ego, as in 310, is similar to Horace's
colloquial employment of noster in the Satires (2. 6. 48).
Other expressions which we may regard as distinctly collo-
quial are such verbal periphrases as missum face (680, 833)
and effectum reddam (703, 864); the form accersere for
arcessere; the use of the affirmative particle -ne (245), for
which we may compare Horace, Sat 1. 10. 21 ; and the fre-
quent use of audin (299), satin (749), ain (875 ; cf . Cic. dd
Fam, 9. 21), and other forms compounded with the inter-
rogative particle -we.

(11) Playing upon words is a colloquial feature sparingly
used by Terence, as in amentium hand amantium (218) ; cf .
42, 338.

LANGUAGE AND ORTHOGRAPHY. Ixxxi

(12) Proverbial sayings are characteristic of the sermo
cotidianuSy as nodum in adrpo quaeris (941) ; cf . dictum ac
factum (381). Except in his Epistles, Cicero commonly
accompanies these with a parenthetic clause, as ut aiunt.

(13) Alliteration is a very common characteristic of every-
day speech, and is illustrated in English by such expressions
as kith and kin, time and tide, bom and bred, weeping and
wailing. The early Latin writers are extremely fond of
this device, but in classical prose and poetry it is used only
for special effect. As compared with Plautus, Terence
indulges in alliteration quite sparingly, yet the popular ten-
dency is abundantly illustrated ; cf . 164, 426, 630, 671, 738,
798, 855, 888, 903, etc.

A N D R I A

p. TERENTI AFRI

INCEPrr ANDRIA TERENTI

ACTA LVDIS MEGALENSIBVS

MFVLVIO M'GLABRIONE AEDILIB • CVRVLIB •

EGERE LAMBIVIVS TVRPIO LHATILIVS PRAENESTINVS

MODOS FECIT FLACCVS CLAVDI

TIBiS PARIBVS TOTA

GRAECA MENANDRV

FACTA PRIMA

MMARCELLO C • SVLPICIO COS-

G. SVLPICI APOLLINARIS PERIOCHA.

Sor6rem f&lso cr^tam meretrfculae

Genere Andriae, Glyc^rium, uitiat Pdmphilus

Grauiddque facta ddt fidem, uxorto sibi

Fore hinc ; namque aliam p^ter ei desp<5nderat,

Gnat&m Chremetis, itque ut amorem c(5mperit,

Simulit futaras ntiptias, cupi^ns suus

Quid hab^ret animi fflius cogn6scere.

Dauf su&su n6n repugnat Pdmphilus.

Sed ^x Glycerio n^tum ut uidit ptierulum

Chrein^, recusat niiptias, generum ibdicat. 10

Mox filiam Glyc^riuin insperato ddgnitam

Hanc Pdinphilo, aliam d^t Charino c6niugem.

PERSONAE.
Pkologvs.
SiMO Sbnbx.

SOSIA LiBBBTYS.

Davos Sbbtos (Simonis).

Mtsis Ancilla (Glyceri).

Pamphilts Advlescens (Simonis filius).

Chabints Adtlescbns.

Btbbia Sebtos (Charini).

Lbsbia Obstetbix.

Glycebiym Mylieb.

Chbemes Sbnbx.

Cbito Sbnbx.

Dbomo Lobabiys.

2

ANDRIA P. TERENTI AFRI.

PROLOGVS.

Po^ta quom primum ^imum ad scribendum ^pulit.
Id sibi negoti cr^didit solum dari,
Populo lit placerent qu^ f ecisset f ^ulas.
Verum ^ter euenire multo intfllegit :
Nam in prdlogis scribundis operam abiititur, 5

Nqii qui drgumentum n^lrret, sed qui m^iuoli
Veteris poetae mffledictis respdndeat. .
Nunc, qu^m rem uitio d^nt, quaeso animum adudrtite.
Men^nder fecit -indriam et Perinthiam.
Qui utr^muis recte ndrit, ambas nduerit : lO

Non ita dissimili sunt argumento, 6t tamen
Disslmili oratidne sunt f actae ^ stilo.
Quae cdnuenere, in Andriam ex Permthia
Fat^tur transtulisse atque usum pr6 suis.
Id Isti uituperant f^tum atque in eo disputant 15

Cont^inari ndn decere fdbulas.
Faciuntne intelleg^ndo, ut nihil intellegant ?
Qui quom htinc accusant, Na^iiium Plautum ifinnium
Accusant, quos hie n6ster auctor^s habet.
Quorum a^mulari exdptat necleg^ntiam, 20

Potius quam istorum obsctiram dilig^ntiam.
Dehinc tit quiescant p<5rro moneo et d^sinant
Maledicere, malef^ta ne nosc^nt sua.
Faudte, adeste aequo dnimo et rem cogndsoite,
Vt p^moscatis, ^cquid spei sit r^icuom, 25

Posth^ quas f aciet de mtegro comoddias,
Spect^ndae an exig^ndae sint nobis prius.

8

TEItE^NTI [1. 1. 1-13

ACT I.

Scene (unchanged throughout the play), a street in Athens: in the
middle, the house of Simo ; on one side, that of Glycerium ; on
the other, that of Charinus.

Scene 1.

SiMO. SOSIA.

Si. [To his slaves'] Vos istaec Intro auf^rte; abite. —
[_Tu'i'ning to his freedmari] Sdsia,

Ad^sdum ; paucis t^ nolo.
So. Dictum puta :

Nempe ut curentur r^te haec ?
Si. Immo aliud.

So. Quid est 30

Quod tibi mea ars efPicere hoc possit ^mplius ?
5 Si. Nil istac opus est ^rte ad hanc rem qudm paro

Sed eis quas semper in te intellexi sitas,

Fide ^t taciturnit^te.
So. Expecto quid uelis.

Si. Ego p<5stquam te emi, a p^uolo ut semper tibi 36

Apud me iusta et cl^mens fuerit s^ruitus,
10 Scis. Feci ex seruo ut dsses libertus mihi,

Propt^rea quod seruibas liber^iter.

Quod hibui summum pr^tium persolui tibi.
So. In m^moria habeo.
Si. Haud muto factum.

So, Gaudeo, 40

1.1.14-43] ANDRIA. 5

Si tibi quid feci aut f ^io quod placedt, Simo,
15 Et Id grdtum fuisse adudrsum te habeo gr^tiam-.

Sed hOc mihi molestumst ; nam istaec commemor^tio

Quasi ^xprobrati6st inmemori b^nefici.

Quin tu uno uerbo dfc, quid est quod m^ uelis. 45

Si. Ita f ^iam. Hoc primum in h^ re praedic6 tibi :
20 Quas cr^dis esse has, ndn sunt uerae nuptiae.

So. Quor simulas igitur ?

Si, Eem dmnem a principio audies :

Eo p^to et gnati ultam et consilium meum
Cogndsces, et quid f^ere in hac re t6 uelim. 60

25 Nam is pdstquam excessit ^x ephebis (nam ^tea
Qui scire posses aut ingenium ndscere,
Dum aet£[s metus magister prohibektnt ?

So. Itast).

Si, Quod pl^rique omnes f^iunt adulesc^ntuli, 55

Vt dnimum ad aliquod stiidium adiungant^ aut equos
80 Alere aut canes ad u^nandum, aut ad philosophos,
Hortim nihil ille egr^gie praeter cetera
Stud^at, et tamen 6mnia haec mediocriter.
Gaud^bam.

So, Non iniuria ; nam id ^rbitror 60

Adprime in uita esse utile, ut nequid nimis.
86 Si, Sic ufta erat ; facile 6mnis perferre ^ pati,

Cum quibus erat quomque una, eis sese d^dere
Eorum dbsequi studiis, advorsus n^mini
Numqufoi praeponens se illis, ita tit facillume 65
Sine Inuidia laudem inuenias et amicds pares.
40 So, Sapi^nter uitam instituit ; namque hoc tempore
Obs^quium amicos, u^ritas odiiim parit.

Si, Int^rea mulier qua^dam abhinc triennium

Ex Andro commigr^uit hue uicmiam, 70

6 TERENTI [1. 1. 44-71

Indpia et cognatdrum neclegdntia
45 Co^ta, egregia f drma atque aetate Integra.
So, [^Aside] Ei, udreor nequid -indria adportdt mali.
SL Primo hade pudiee uitam parce ae diiriter

Agdbat^ lana ac tdla uietum quadritans ; 75

Sed pdstquam amans acedssit pretium pdllicens
60 Vntis* et item alter, ita ut ingeniumst dmnium
Hominum ^b labore prdcliue ad lubidinem,
Accdpit condicidnem, dehinc quaestum dccipit.
Qui turn illam amabant, f drte, ita ut fit, f ilium 80
Perdtixere illuc, sdcum ut una essdt, meum.
66 Egomdt continue mdcum : ' certe c^ptus est ;
Habet.' 6bseruabam m^ne illorum sdruolos
Venidntis aut abetintis. Kogitabam ' heus puer,
Die sddes, quis heri Chr^sidem habuit?' Nam
Andriae 85

lUi id erat nomen.
So. Tdneo.

SL Phaedrum aut Clmiam

60 Diedbant aut Nicdratum ; nam hi tres turn simul

Am^bant. < Eho, quid P^philus ? ' ^Quid? s^-

bolam
Dedit, eenauit.' Gaudebam. Item alid die
Quaerdbam ; comperidbam nil ad P^mphilum 90

Quicquam ^ttinere. Enim udro spectatiim satis
66 Put^bam et magnum exdmplum contindntiae.
Nam qui cum ingeniis cdnflictatur ems modi
Neque cdmmouetur Animus in ea rd tamen,
Scias pdsse habere iam ipsum suae uitad modum. 95
Quom id mfhi placebat, tum uno ore omnes dmnia
TO Bona dicere et laud^re fortune meas,

Qui gn£[tum haberem t^li ingenio pradditum.

L 1. 72-96] ANDRIA. 7

Quid u^rbis opus est ? Kio fama inpulsus Chremes

Yltro M me uenit, unicam gnat^ suam lOO

Cum ddte summa filio uxorem tit daret.
76 Placuit ; despondi ; hie nuptiis dictust dies.
So. Quid dbstat, quor non v^rae fiant ?
Si, Audies.

Fere m diebus paucis^ quibus haec ^ta sunt^

Chrysis uicina haec mdritur.
So.. factum bene ! 105

Be^ti ; metui a Chr^side.
Si. Ibi turn f ilius

80 Cum illis, qui amarant Chr^sidem, una ader^t fre-
quens ;

Cur^bat ima funus ; tristis interim,

Non numquam conlacrum^bat. Placuit tum id mihi.

Sic c6gitabam : ^ hie p^uae consuetudinis no

Causa huius mortem t^ f ert f amilidiriter.
86 Quid si ipse amasset ? Quid hlc mihi f aci^t patri ? '

Haec 6go putabam esse dmnia humani fngeni

Mansu^tique animi officia. Quid multis moror ?

Egomet quoque eius causa in funus prddeo, lis

Nil suspicans eti^ mali.
So. Hem, quid ^st ?

Si. Scies.

90 Ecf^rtur. Imus. Interea inter mulieres.

Quae- ibi ^erant, forte unam dspicio adulesc^ntulam,

Form^ . . .
So. Bona f ort^se ?

Si. . . . et uoltu, Sdsia,

Ade6 modesto, aded uenusto, ut nil supra. 120

Quia trim mihi lament^ri praeter c^te^as
96 Vis^t, et quia erat f 6rma praeter c^teras

8 TERENTI [1. 1. 96-122

Honesta ac liberal!, accedo ad p^disequas,
Quae sit rogo. Sordrem esse aiunt Chrysidis.
Perctissit ilico ^imum. Attat hoc illud est, 125

Hinc illae lacrumae, haec illast misericdrdia.

100 So. Quam tuneo, quorsuin eu^das !

Si. Funus interim

Procddit. Sequimur ; ^d sepulcrum udnimus ;
In ignem inpositast ; fldtur. Interea haec soror,
Quam dixi, ad flammam accdssit inpruddntius, 130
Satis cum periclo. Ibi tum dxanimatus P^mphilus

105 Bene dissimulatum amdrem et celatum mdicat.
Accurrit ; mediam mulierem compldctitur ;
^ Mea Gl;f cerium ' inquit * quid agis ? Quor te is

pdrditum ? '
Tum ilia, tit consuetum f^ile amorem cdrneres, 135
Eei^cit se in eum flens quam famili^riter.

110 So. Quid ais ?

Si, Redeo inde irdtus atque aegrd ferens.

Nee s^tis ad obiurg^dum causae. Diceret
' Quid fdci ? Quid commdrui aut peccaui, pater ?
Quae s^se in ignem inicere uoluit, prdhibui ; 140

Seru^ui.' Honesta ordtiost.
So. Recte putas ;

115 Nam si ilium obiurges, uitae qui auxilitim tulit,
Quid facias illi, qui dederit damnum aut malum ?
Si. Venit Chremes postridie ad me cl^mitans :

Indignum facinus ! cdmperisse, P^mphilum 145

Pro uxdre habere banc peregrinam. Ego illud s6-
dulo

120 Negdre factum. lUe mstat factum. D^nique
Ita tum discedo ab illo, ut qui se f iliam
Neg^t daturum.

I. 1. 123-144] ANDRIA. 9

So. !N"6n tu ibi gnatum . . . ?

Si, Ne haec quidem

Satis u^emens causa ad dbiurgandum.
So. Qui? Cedo. 150

Si. ' Tute ipse his rebus f mem praescripsti, pater.
125 Prope ad^st, quom alieno mdre uiuendumst mihi :

Sine nunc meo me uiuere intered modo/
So. Qui igitur relictus ^st obiurgandi locus ?
Si. Si prdpter amorem uxdrem nolit ducere, 155

Ea primum ab illo animum dduortenda iniuriast.
180 Et nunc id operam do, ut per falsas nuptias

Vera dbiurgandi causa sit, si d^neget ;

Simul sceleratus D^uos siquid cdnsili

Habet, ut consumat nunc, quom nihil obsint doli. 160

Quern ego credo manibus p^dibusque obnixe dmnia
186 Facturum ; magis id adeo, mihi ut incdmmodet

Quam ut dbsequatur gn^to.
So. Quapropt^r ?

Si. Kogas ?

Mala mdns, malus animus. Qu^m quidem ego si
sensero . . ! [^Shakes his fist threateningly.']

Sed quid opust uerbis ? Sin eueniat, qu6d uolo, 165

In P^philo ut nil sit morae, restat Chremes,
140 Qui mi dxorandus ^st; et spero cdnfore.

Nunc tudmst officium, has b^ne ut adsimules nuptias,

Perterrefacias D^uom, obserues filium,

Quid ag^t, quid cum illo cdnsiH capt^t.
So. Sat est : 170

Cur^bo ; eamus nunciam intro.
Si. I pra^, sequar.

lExit Sosia into Simons house.]

10 TERENTI [1.2.1-13

Scene 2.

SiMO. Davos.

[Simo lingei'8 behind, reflecting upon the sittuUion, When
about to go inrdoors, he is surprised by the appearance of
Davus, and takes the opportunity to teach the latter a
lesson."]

Si, Non dubiumst, quin uxdrem nolit f ilius ;
Ita Dduom modo timbre sensi, ubi ntiptias
Futuras esse audiuit. Sed Ipse exit f oras.

\_Davus, entering without seeing Simo, soliloquizes.']

Da. Mir£[bar, hoc si sic abiret ; ^t eri semper l^nitas 175
6 Ver^bar quorsum eu^deret.

Qui pdstquam audierat ndn datum iri filio uxor^m

suo,
Numquam quoiquam ndstrum uerbum f ^cit neque id
aegr^ tulit.
Si. [Aside] -it nunc faciet, n^que, ut opinor, sine tuo

magnd malo.
Da. Id udluit, nos sic n^copinantis duci falso gatidio, 180
10 Sper^tis, iam amotd metu interdscitantis dpprimi,

Ke dsset spatium cdgitandi ad disturbandas nuptias ;
Astute!
Si. [Aside] Carnuf dx quae loquitur ?

Da. [Seeing Simo] i^rus est, neque prouideram.

Si. Daue.

Da. 116m ! — quid est ?

Si. Ehodum M me !

Da. [Aside] Quid hic uolt ?

Si. Quid ais ?

1. 2. 14-28] ANDRIA. 11

Da, ^ Quader^?

81 Rogas ?

Meum gn^tum rumor dst amare.
Da. Id pdpulus curat scilicet. 186

15 Si. Hocfne agis an non ?
Da. !figo uero istuc.

Si. S^d nunc ea me exquirere,

Infqui patris est ; n^ quod antehac f ^cit, nihil ad

me ^ttinet.
Dum t^mpus ad cam r^m tulit, siui ^nimum ut ex-

pler^t suom.
Nunc hie dies alidm uitam adfert, ' dlios mores

pdstulat.
Dehinc pdstulo, siue a^quomst, te oro, D^ue, ut re-
deat iam in uiam. 190

20 Hoc quid sit ? Omnes, quf amant, grauiter sibi dari
uxor^m ferunt.
Da. Ita £[iunt.

Si. Tum si quis magistrum c^pit ad cam rem

mprobum,
Ipsum ^imum aegrotum ad d^teriorem partem ple-
rumque ^dplicat.
Da. Non hercle intellegd.
Si. Non? hem!

Da. Non ; D^uos sum, non Oedipus.

Si. Nempe ergo aperte uis quae restant m^ loqui ?
Da. San^ quidem. 195

25 Si. Si s^nsero hodie quicquam in his te nuptiis
Fall^iae condri, quo fidnt minus,
Aut u^Ue in ea re ost^ndi, quam sis c^Uidus :
Verb^ribus caesum te in pistrinum, D^ue, dedam
usque dd necem,

12 TERENTI [1. 2. 29-34, 3. 1-7

Ea I6ge atque omine, ut, si te inde ex^merim, ego
pro te molam. 200

80 Quid? ]i5c intellextin, ^n nondum etiam ne h6c
quidem?
Da. Immo collide :

Ita aperte ipsam rem mddo locutus, nil circum itione
usus es.
Si. Vbiuis facilius p^stls sim quam in h^ re me de-

ludier.
Da. Bona u^rba, quaeso.

Si. Inrides ? nil me Mlis. Edicd tibi,

Ne t^mere facias. Neque tu hau dices tibi non

praedicttim. Caue! lExit SimOy shaking his

stick at DaviLS.'] 205

Scene 3.

Davos.

Da. Enim u^ro, Dane, nil locist segnitiae neque socdr-

diae,
Quantum intellexi mddo senis sent^ntiam de nuptiis.
Quae si non astu prduidentur, me aut erum pessum

dabunt.
Nee quid agam certumst ; P^philumne adiutem an

auscultem seni.
i Si ilium relinquo, eius uitae timeo; sin opitulor,

hums minas, 210

Quoi u^rba dare difficilest. Primum i^m de amore

hoc cdmperit ;
Me inf^nsus seruat^ n^ quam faciam nuptiis fall^

ciam.

L 8. 8-22, 4. 1-2] ANDRIA. 13

Si s^nserit^ peril; aut si lubitum fuerit^ causam

c^perit,
Quo lure, quaque iniuria praecipitem in pistrinum
dabit.
10 Ad ha^c mala hoc mi acc^dit etiam : haec Andria, 215
Si ista uxor siue amicast, grauida e P^mphilost.
Audireque eorumst dperae pretium aud^iam ;
Nam inc^ptiost am^ntium, haud amdntium.
Quidqufd peperisset, d^creuerunt tdllere,
15 Et fingunt quandam int^r se nunc f all^iam, 220
Ciuem Atticam esse hanc. 'Fuit olim hinc quid^

senex
MercdtOT ; nauem is f r^git apud Andrum Insulam ;
Is dbiit mortem.' ^bi tum h^c eiectam Chr^sidis
Patr^m recepisse drbam, paruam. Fibulae !
20 Mihi qufdem hgrcle non fit u^ri simile. Atque ipsis
commentum placet. 225

* [-4 maid appears at the door of Glycerium's horise,']

Sed M;f8is ab ea egr^ditur. At ego hinc me M

forum,
Conueniam Pamphilum, ne de hac re p^ter inpru-

dentem dpprimat. ^Eadt Davus to the righf]

Scene 4.

Mtsis.

[Before My sis steps forward, she calls back to an older woman

within.']

My, Audiui, Archylfs, iam dudum : L^sbiam adduci iubes.
S^e pol Ilia t^mulentast mulier et temer^ria

14 TERENTI [1. 4. 3-8, 6. 1-^

N^o satis digna, quoi committas primo partu mu-

lierem. 230

T^en earn adducam ? [After a moment's pause,

addressing the audience^ Inportunit^tem spectate

dniculae;
6 Quia compotrix ^ius est. Di, d^te f acilitatem, dbsecro,
Hufc pariundi atque illi in aliis pdtius peccandi

locum!

[^Tumsy and sees PampMlus approaching']

Sed quidnam Pamphilum ^xanimatum uideo? Ve-

reor quid siet.
Oppdriar, ut sci^ numquidnam haec turba tristitiae

^ferat. _ 235

Scene 5.

Pamfhilvs. Mtsis.

[^PampMluSy much agitated, enters from the forum, Mysis
stays in the ho/ckground,']

Pa. HScinest humanum Mctum aut inceptum ? HScinest

officium patris ?
My, [Aside] Quid lllud est ?

Pa. Pro deum fid6m ! quid est, si hdc non

contum^liast ?
Vxdrem decrerit dare sese mi hddie. Nonne op6r-

tuit
Praescfsse me ante? Ndnne prius coramunicatum
opdrtuit ?
fi My. [Aside] Miserdm me, quod uerbum audio ! 240

Pa, Quid ? Ghremes, qui d^negarat s^ commissurtim mihi

L 6. 7-23] ANDRIA. 16

Gn^tam suam uxorem^ fd mutauit; qu6m me inmu-

tatdm uidet ?
Itane dbstinate d^t operam^ ut me a Gl^cerio mi-
serum ^bstrahat !
Quod sf fit, pereo funditus.
10 Adeon hominem esse muenustum aut inf elicem qu^m-

quam, ut ego sum ! 245

Pr6 deum atque hominum fidem !
Nullon ego Chrem^tis pacto adfmitatem effugere

potero ?
Qu6t modis cont^mptus, spretus! F^ta, transacta

dmnia. Hem,
R^pudiatus r^petor. Quam ob rem ? Nisi si id est,

quod suspicor :
16 Aliquid monstri alunt; ea quoniam n^mini optrudi

potest, 260

Itur ad me.
My. [Aside] Ordtio haec me miseram exanimauit

metu.
Pa. Nam quid ego dieam d^ patre ? Ah,

Tant^ne rem tam n^clegenter ^gere ! Praeteri^ns

modo
Mihi dptld forum 'uxor tfbi ducendast, Pdmphile,

hodie ' inquit, * para ;
20 Abl domum.' Id mihi uisust dicere * ^bl cito ac sus-

p^nde te.' 266

6bstipui. Cens^n me uerbum p<5tuisse ullum pr6-

loqui
Aut ullam causam in^ptam saltem f ^Isam iniquam ?

Obmtitui.
Qu6d si ego scissem id pritis, quid facerem, si quis

nunc me int^rroget,

1. 6. 42-65] ANDRIA. 17

My, Haud uereor, si m te sit sold situm ;

Sed uim ut queas f erre.
Pa. Adeon me ignaudm putas,

Adedn porro ingratum aut inhumanum aut f erum,
Vt n^que me consuetudo neque amor n^que pudor
46 Commdueat neque commdneat, ut senium fidem ? 280
My. Vnum hdc scio, esse mdritam, ut memor ess^s sui.
Pa. Memor dssem ? Mysis, M^sis, etiam nunc mihi
Scripta ilia dicta sunt in animo Chrysidis
De Gl^cerio. lam f ^rme moriens m^ uocat.
eo Accdssi ; uos semdtae. Nos soli ; incipit 285

' Mi P^mphile, huius f drmam atque aetat^m uides,
Nee cMm te est, quam illi nunc utraeque inutiles
Et iA pudicitiam ^t £ld rem tutand^m sient.
Quod p^r ego te dextram h^nc oro et genium tuom,
66 Per tu^m fidem perque huius solitudinem 290

Te opt^stor, ne abs te banc s^greges neu d^seras.
Si te in germani frtois dilexi loco
Sine haec te solum semper fecit m^umi
Sen tibi morigera fiiit in rebus dmnibus,
flo Te isti uirum do, amicum tutorem patrem ; 295

Bona ndstra haec tibi permitto et tuae mandd fidei/
Hanc mi in manum dat ; mdrs continuo ipsam dccu-

pat.
Acc^pi ; acceptam s^ruabo.
My. Ita sperd quidem.

Pa. Sed qudr tu abis ab Ilia ?
My. 6bstetricem accdrso.

Pa. Propera. Atque audin ?

66 Verbum unum caue de nuptiis, ne ad mdrbum hoc
etiam. . . .
My. Tdneo. [Exmnt.'] 300

IS TERENTI [H. 1. 1-«

ACT II,

SCEKE 1.

CUA»1NV8. PaMPHILYS. BtBBIA.

[ .Wt'^ (*Aur«HU3 and his slave Byrria, engaged in
conversation.']

V \ I iaUmiiiheil and diarmed'] Quid ais, Byrri^ ? dattirne

iltu I'llmphilo hodie niiptum?
Uh [With an air of indifference] Sic est.

*<^. Ap(\il fiU'i'iin modo 6 Dauo audmi.

i '^ Vae miserd mihi !

Vt uiiiiuuM ill ape atque in timore usque ^ntehac
t^viUnUuH fuit»

U(^i (»OMli|\uuu adempta sp^s est^ lassus cura confec-

< fKs Vv^uuOMii oilo|K>l, (-harfue^ quoniam n6n potest id fieri

K\\\{^{{ uIMi 906

t v» Nil uolo Aiud nisi Philumenam.

.\v Ah,

^^UiUUu MHtiuMt tt» (il dai*e operam, qui Istum amorem

i^^iuuu U( Uujuli i|Uo lu^gls lubido frustra incendatur

I A iiiUlU^ ouuu% quoin ual^mus^ recta c<5nsilia aegrotis

n. 1. 10-23] ANDRIAu 19

10 Tu si hfc sis, aliter s6ntias.
By, Age, age, tit lubet

Ch, \^Looking down the street] Sed P^philum 310

Video. Omnia experiri certain st pritis quam pereo.
By, [^«ide] Quid hie agit ?

Ch, Ipsum hunc orabo, huic supplicabo, am6rem huie
narrabd meiim.
Credo impetrabo, ut ^quot saltern nuptiis prod^t dies.
Int^rea fiet liquid, spero.
By. [Asids] Id 'liquid' nihil est.

Ch. B^ia,

16 Quid tibi uidetur ? ^eon ad eum ?
By. ' Quid ni ? si nil impetres, 316

Vt te ^bitretur sibi paratum mo^chum, si illam
duxerit.
Ch, Abln hinc in mal^m rem cum suspicione istdc, scelus ?
Pa. Charinum uideo. S£[lue.

\^Pamphilu8 enters from the right."]

Ch. Oh, salue, P^phile ;

Xd te aduenio sp^m salutem auxHium consilium ^x-
petens.
80 Pa. N^que pol consiU locum habeo n^que ad auxilium
cdpiam. 320

SM Istuc quidnamst ?
Ch, H6die uxorem ducis ?

Pa, Aiunt.

Ch, P^phile,

Si Id facis, hodi^ postremum m^ uides.
Pa. Quidita?

Ch. El mihi,

V^reor dicere ; hufc die quaeso, B^rria.

^1 TBRENn [IL 1. M-37

^v Ego dic^ ?

fV. Quid est?

^> ^IH^unain hio tuam amat

t\k N^istehaudmecnmsdntit. Ehodnmdicinilii:

# N Uu^quidnam amplius tibi cum ilia fdit, Charine ?
i "4. Ah, Pdmphile^ 325

Nil,
t\^> Quam uellem !
( "4. N^no te per amicitiam et per amorem dbsecro^

l^'inciplo ut ne ducas.
t\k. Dabo equidem dperam.

( %. Sed si id ndn potest

A\U tibi nuptiae ha^ sunt cordi . . .
/\i, [^Indignantly^ G6rdi!

{% ... saltern aliqudt dies

l^iH^fer, dum proficfscor aliquo, n^ uideam.
t\^, Audi nunciam.

^\K ftgo, Charine, ne utiquam officium liberi esse ho-
miuls puto, 330

ijuoiu ia nil mereat, pdstulare id gr^tiae apponi sibi.

Nuptiaa efFdgere ego istas m^o quam tu adipiscier.
{ W Ht^dUidlstl animdm.
t\i Nuno siquid p6tes aut tu aut hie B^rria,

ViU\\i^ fiugite fnuenite efEfcite qui detur tibi.

Itl^o lit agam, mihi qui ne detur.
( h Sit habeo.

i\i Dauom dptume 336

N'ivlmij quoiua oonsflio fretus sum.
\ H ['Ihiming to Byrria] At tu hercle baud quio-

quto^ wihi,

N ittl m qnaa wil rfptta aunt soiri. Ftigln hinc ?
lij Ifigo wero Af^ lubens. [Exit Byrria.']

n. 2. 1-10] ANDRIA. 21

Scene 2. ^"^L

Datos. Charinys. Pamfhilts.

{Enter Danmsfrom the right. In his excitement, lie fails to see
Charinas and Pamphilus,']

Da. Df boni^ boni quid porto ! s^ ubi inueniam P^phi-
lum,
Vt metum in quo nunc est adimam atque ^xpleam
animum gaudio ?
Ch. {Apart to PamphUiLs'\ Laetus est nescfo quid.
Pa. {Apart to CJiarinus] Nihil est : n6ndum haec

resciuit mala. • 340

Da. Quern ^go nunc credo, si iam audierit sibi paratas
ntiptias . . .
5 Ch. {Apart to PamphiliLs'] Audin tu ilium ?
Da. . . . t<5to me oppido ^xanimatum qua^rere.

S6d ubi quaeram? Qu6 nunc primum int^ndam ?
Oh. {Apart to PamphUiis'] Cessas ^oqui ?

Da, {To himself as he moves on"] H^beo.
Pa. Dane, ad^s, resiste.

Do. Quis homost, qui me . . ? {turning round]

Ptophile,
Te ipsum quaero. Euge 6 Charine I ambo dpportune ;
u6s nolo. 345

Pa. D&ae, peril.

Da. Quia tu hoc audi.

Pa. Int^rii.

Da. Quid timers scio*.

10 Ch. M^a quidem hercle c^rto in dubio uftast.
Da. [To Charinus"] Et quid tu, scio.

22 TERENTI [11. 2. 11-24

Pa, Nuptiae mi. . . •
DcL Etsi scio ?

Pa. . . . hodie . . .

Da, ^Interrupting impatiently] Optundis, tarn

etsi int^Uego ?
. [To PamphiltLs]^ fd paues, ne ducas tu illam; [to
Cliariniis'] tu autem, ut ducas.
Ch. R6m tenes.

Pa, f stuc ipsum.

Da, Atque istuc ipsum nfl periclist; m^ uide. 350

Pa. 6bsecro te, qu^ primum hoc me libera miserum

metu.
Da, Em,

16 Libero ; uxor^m tibi non dat i^ Chremes.
Pa, Qui scis ?

Da, Scio.

Tu6s pater modo m^ prehendit ; ait tibi uxor^m dare
Hddie, item alia mtilta, quae nunc n6n est narrandi

locus.
C6ntinuo ad te pr6perans percurro id forum, ut
dic£[m tibi haec. 365

Vbi te non inu^nio, ibi ascendo in quendam excel-
sum locum.
20 Circumspicio ; ntisquam. Forte ibi huius uideo B^r-
riam [pointing to ChariniLs'] ;
B6g0. Negat uidisse. Mihi mol^stum. Quid agam

c6gito.
E^deunti interea ^x ipsa re mi incidit suspicio ^ hem,
Paululum obsoni ; ipsus tristis; de fnprouiso ntiptiae ;
N6n cohaerent.'
Pa, Qudrsum nam istuc ?

Da, !£go me continuo iA Chremen. 361

II. 2. 26-37] ANDRIA. 23

26 Quom illo aduenio^ s61itudo ante 6stiuin; iam id
gaudeo.
Ch, RAjte dicis.
Pa, P^rge.

Da, Maneo ; int^rea intro ire n^minem

Video, exire n^minem ; matrdnam nullam in a^dibus,
Nil ornati, nil tumulti ; acc^ssi ; intro aspexi.
Pa. Scio, 365

Mdgnum signuxn.
Da, Num uidentur cdnuenire haec nuptiis ?

80 Pa, N6n opinor, D^ue.
Da, * Opinor ' n^rras ? non recte ^cipis.

C^rta res est. £tiam puerum inde ^biens conueni

Chremi ;
Hdlera et piscicul6s minutos f^rre obolo in cendiin
seni.
Ch, Liberatus sum li6die, Dane, ttia opera.
Da, Ac nuUus quidem. 370

Ch, Quid ita? Nempe huic ^^pointirig to Pamphilus]

pr6rsus illam n6n dat.
Da, Ridiculum caput,

85 Qu^i necessus sit, si huic non dat, t^ Illam uxorem
ducere :
Nisi uides, nisi s^nis amicos 6ras, ambis.
Ch. B^ne mones ;

fbo, etsi hercle sa^pe iam me sp^s haec f rustrat^st.
Vale. [^Exit Charinus.']

24 tebenti [il s. 1-12

Scene 3.

Pamphilys. Dayos.

Pa, Quf d igitur sibi u61t pater ? quor sunulat ?
Da, Ego dic^ tibi. 375

Si fd suscense^t nunc^ quia non d^t tibi uxor^m

Cbremes,
fpsus sibi esse iniurius uide£[tur, neque id initiria,
Prftis quam tuom tit sese Mbeat aTiinmm ad nuptias
persp^xerit.
6 S^d si tu neg^s ducere, ibi culpam in te ti4nsf eret ;
Turn Illae turbae f lent.
Pa, Quiduis p^tiar.

Da, Pater est, P^phile ; 380

Dffficilest. Turn haec s61ast mulier ; dictum ac fac-
tum, inu^nerit
Aliquam causam, quam 6b rem eiciat 6ppido.
Pa, IHornfied'] Eicitft ?

Da, Cito.

Pa, C^do igitur, quid f^iam, Daue ?
Da, Die te ducturum.

Pa, [Startled'] H^m !

Da, Quid est ?

10 Pa, Eg6n dicam ?
Da, Quor non ?

Pa, Numquam faciam.

Da, 'S6 nega.

Pa. Suad^re noli.

Da, Ex e£[ re quid fi^t, uide. 386

Pa, Vt ab flla excludar [pointing to Olycerium*8 hov^e'],

hdc concludar [pointing doum the street].

II. 8. 13-29] ANDRIA. 25

Da, N6n itast.

Nempe h6c sic esse opiaor ; dictunim patrem
* Duc^ uolo hodie uxdrem ' ; tu * ducam ' mquies :
15 Cedo quid iurgabit t^um hie ? Eeddes 6iiinia

Quae nunc sunt certa ei c6nsilia incerta tit sient, 390
Sine 6mnf periclo; nam h6c hand dubiumst, qum

Chremes
Tibi ndn det gnatam. N^c tu ea causa minueris
fiaec qua^ facis, ne is mutet suam sent^ntiam.
80 Patri die uelle, ut, qu6m uelit, tibi iure irasci ndn
queat.
Nam qudd tu speres 'prdpulsabo f^ile uxorem his
mdribus, 385

Dabit n^mo ' ; inueniet inopem potius, qudm te cor-

rumpi sinat.
Sed si te aequo animo f^rre accipiet^ n^clegentem

f ^ceris ;
Alia dtiosus qua^ret, interea liquid acciderit boni.
85 Pa. Itto cr^dis ?
Da. Hau dubium fd quidemst.

Pa. Vide qu6 me inducas.

Da. Quin taces ?

Pa. Dic^. Fuerum autem n^ resciscat mihi 6sse ex ilia
catitiost ; 400

Nam pdllicitus sum suscepturum.
Da. O f^inus audax !

Pa. H^nc fidem

Sibi me dbsecrauit^ qui se sciret ndn deserturum^ ut
darem.
Da. Cur^bitur. Sed p^ter adest. Cau6 te ^sse tristem
s^ntiat.

26 TERENTI [n. 4. 1-8, 5. 1-6

Scene 4.

SiMO. Dayos. Pamphilys.

[Enter Simo from the right, vMhout seeing Davus and Pam-

philiLS.']

Si, Keufso quid agant aut quid captent cdnsili.
Da. [Apart to PamphUiLs'] Hie nunc non dubitat^ quin te
ducturum neges. 405

Venft meditatus ^licunde ex sold loco;

Or^tionem sp^rat inuenisse se,
6 Qui differat te ; proin tu f ac apud t^ sies.
Pa, [Apart to Davus^ Modo tit pdssim, Dane.
Da, [Aparf] Cr^de, inquam, hoc mihi, F£[mphile^

Numquam hddie tecum cdmmutaturum patrem 410

Vnum ^sse uerbum, si te dices ducere.

Scene 5.

Btbbia. Simo. Dayos. Pamphilys.

[Enter Byrria from the house of Charinus, He remains in
the background unobserved.']

By* [Aside] Ertis m^ relictis r^us iussit Pdmphilum
Hodie tfbseruare, ut quid ageret de ntiptiis
Soirem ; fd propterea nunc hunc [pointing to Simo]

uenient^m sequor.
Ipsum ^eo praesto ufdeo cum Dauo ; hdc agam. 415
ft Si [Aside] Vtnimque adesse nfdeo.
Ihi, [Apart to PamphUus] Em, serua!

.Si\ P^phile !

IL 5. 6-20, 6. 1-3] ANDRIA. 27

Da. \^Aside\ Quasi de inprouiso r^spice ad eiim.
Pa, Eh^m, pater !

Da: \^Aside\ Probe.

SL H6die uxorem ducas, ut dixi, uolo.

By. \^As1de\ Nunc n6strae timeo p^rti, quid hlc respon-
deat.
Pa. Neque Istic neque alibi tfbi erit usquam in m^ mora.
By. \_Aaide] Hem ? 420

10 Da. \_Asfide] Obmtituit.
By. lAside] Quid dixit ?

Si. Facis ut t^ decet^

Quom istuc quod postulo impetro cum gratia.
Da. [Aside] Sum u^rus ?

By. [Aside] Erus, quantum audio, uxore ^xcidit.

Si. I niinciam intro, ne in mora, quom optis sit, sies.
Pa. E6. [Eodt into Simo's house.]

By. [Aside] NuUane in re ^sse quoiquam homini

fidem ! 425

16 Verum illud uerbumst, udlgo quod dici solet,
Omnis sibi malle melius esse quam ^teri.
Ego illam uidi ; uirginem f orm^L bona
Memini uidere. Quo aOquior sura P^mphilo,
Si s^ Illam in somnis quam ilium amplecti m^uit. 430
20 Henuntiabo, ut pro hdc malo mihi d^t malum.

[Eodt Byrria.]

Scene 6.

DAYOd. SiMO.

Da. [Aside] Hie nunc me credit ^Lliquam sibi fall^iam

Port^re et ea me hie r^stitisse grjltia.
Si. [In a polite tone] Quid D^uos narrat?

28 TERENTI [n. 6. 4-23

Da. N^queo quicquam nunc quidem.

8L NUne? H^m?
Da, Nil prorsus.

SL Atqui exspectab^m quidem. 435

6 Da. [^Aside] Praetor spem euenit^ s^ntio. Hoc male
hab^t uirum.
Si. Potin ^s mihi uerum dicere ?
Da. Nil f^ilius.

Si. Num ill! molestae qufdpiam haec sunt nuptiae ?
Da. Num prdpter consuetudinem huiusce li6spitae ?

Nihil h^rcle ; aut, si adeo^ biduist aut tridui 440

10 Haec s611icitudo; n6sti? deinde d^sinet;

Etenim ipsus secum e^ rem reputauft uia.
Si. Laud6.
Da. Dum licitumst ^i dumque aet^ tulit,

Amiuit ; turn id clam; c^uit ne umquam infimiae

Ea r^s sibi esset, ut uirum fort^m decet. 445

15 Nunc uxore opus est ; ^imum ad uxorem Mpulit.
Si. Subtristis uisus ^st esse aliquantum mihi.
Da. Nil pr6pter hanc rem, s^d fist quod suscens^t tibi.
Si. Quid id &t?
Da. Puerilest

Si. Quidnamst ?

Da. Nil.

Si. Quin dfc, quid est ?

Da. Ait nfmium parce f ^ere sumptum.
Si. M^ne?

Da. Te. 460

20 ' Vix ' mquit ' drachumis ^st obsonatus decern ;

Non filio uid^tur uxorem dare.

Quem' inquit 'uocabo ad c^nam meorum aequ^ium

Potissumum nunc ? ' ^t, quod dicendum hf c siet,

II. 6. 24-27] ANDRIA. 29

Tu qudque perparce nfmium. Non laud6.
Si. Tace. 466

26 Da, [-48tde] Comm6ui.
Si. Ego istaec r^cte ut fiant uidero.

[^Aside] Quidnam hdc est rei ? Quid hic uolt uetera-

tdr sibi ?
Nam si hic malist quicquam, ^m Illic est huic ref
caput.

30 TERENTI [III. 1. 1^

ACT III.

Scene 1.

Mtsis. Simo. Datos. Lebbia. Gltcbbiym.

[^Enter from the right Mysis, with the midwife Leshia, They
do not see Simo and Davua.^

My, Ita p61 quidgm res est, ut dixisti, L^sbia :

Fid^lem hau ferme mulieri inueni^ uirum. 460

Si. lAside to Davus] Ab Andriast ancilla haec ?

Da, lAside to Simo] Quid narr^s ?

Si, lAside] Itast.

My, Sed hie P^mphilus . . .

Si, [Aside'] Quid dicit?

My, , , , firmauit fidem.

Si, [Aside] Hem!

6 Da, [Aside] Vtinam aut hie surdus aut haec muta f ^ta
sit!

My, Nam qu6d peperisset, iussit toUi.

Si, [Aside] O luppiter,

Quid ego audio ? Actumst, siquidem haec uera pra^

dicat. 466

Le, Bonum Ing^nium narras Mulescentis.

My, 6ptumum.

Sed s^quere me intro, ne m mora illi sis.

Le, Sequor.

[Mysis and Lesbia go into Glycerium's house,]

ni. 1. 10-22, S. 1-4] ANDRIA. 81

10 Da, {Aside] Quod r^medium nunc huic malo inuenifci ?
8i. lAside] Quid hoc ?

Adedn est demens? i^x peregrina? I^ scio : ah,
Vix t^dem sensi st61idus.
Da. {Aside] Quid hlc sensisse ait ? 470

Si. {Aside'] Haec prunum adfertur i^ mi ab hoc falldr
cia;
Hanc simulant parere, qu6 Chremetem abst^rreant.
15 Ql. {Inside the house] lund Lucina, f ^r opem, serua me,
6bsecro.
Si. {Addressing Davus]^Vii,ti,mdLto? Eidiculum. Post-
quam ante 6stium
Me audiuit stare, adprdperat. Non sat c6mmode 475
Diuisa sunt temp6ribus tibi, Dane, ha^c.
Da. Mihin ?

Si. Num inm^mores discipuli ?

Da. ifigo quid narres n^scio.

20 Si. {Aside] Hicme me si inparatum in ueris nuptiis
Addrtus esset, qu6s mihi ludos r^dderet !
Nunc huius pericio fit, ego In portu n^uigo. 480

Scene 2.

Lesbia. Simo. Datos.

[Re-enter Lesbia from Gly cerium^ s house. She does not s
Simo or DavuSy and calls to a maid-servant within.]

Le. Adhuc, Archylis, quae adsolent quaeque opdrtent
Signa esse ad saltitem, omnia huic esse uideo.
Nunc primum f ac istam ut lau^t ; poste deinde.
Quod itissi ei dari bibere et quantum imper^ui.

32 TERENTI [HI. 2. 5-20

5 Date ; mdx ego hue reu6rtor. 485

[To herself] Per (6c^tor!) scitus ptier est natus

P^philo.
Deos qua^so ut sit sup^rstes, quandoquidem ipsest

ingenid bono,
Quomque huic est ueritus dptumae adulesc^nti f acere
iniuriam. {^Eosit Leshia,]

Si. [In an angry tone] Vel h6c qufs non credat, qui te

norit, £Lbs te esse ortum ?

Da. [With pretended oMonishment'] Quidnam id

est?

Id Si. Non unperabat c6ram, quid opus f^to esset pu^r-

perae 490

Sed p6stquam egressast, fllis quae sunt mtus clamat

dd uia.
D^ue, itan cont^mnor abs te ? Aut itane tandem

iddneus
Tibi uideor esse, qu^m tarn aperte fdllere incipi^

dolis ?
Saltern diccurate, ut m^tui uidear c^rte, si resci-
uerim.
16 Da. [Aside"] Certe hercle hie ipsus s^ nunc f allit, baud
ego.
Si. Edixin tibi, 496

Int^rminatus sum, ne faceres? Num ueritus? Quid

r^tulit?
Creddn tibi hoc nunc, p^perisse banc e P^philo ?
Da. [Aside] Tene6 quid erret, ^t quid agam habeo.
Si. Quidtaces?

Da. Quid cr^das ? Quasi non smt tibi renuntiata haec sfc
fore.
20 Si, Mihin quisquam ?

III. 8. 21-36] ANDKIA. 33 j(_

Da, [Ironically] Eho! an tute fntellexti hoc ^dsi-

mulari ?
8L Inrideor. 600

Da, Eenuntiatum^t ; n^ qui tibi Istaec fncidit suspicio ?
8i. Qui ? Quia te noram.

Da, Qu^i tu dicas, f ^tum id consilid meo.

8i, Certe ^nlm scio.

Da, Kon s^tls me pernosti ^tiam, qualis sun^ Simo.

Si, Eg6n t^?

Da, Sed si quid tibi narrare occ^pi, contiuud dari

26 Tibi u^rba censes.
Si, F^so !

Da, Itaque hercle nil iam muttire audeo. 505

8i, Hoc ^go scio unum, n^minem peperisse hie [^ pointing

to OlyceriunCs house\.
Da, Intell^xti.

Nihilo setius mox puerum hue deferent ante dstium.
[Assuming a very serious tone] Id ego iam nunc tibi,

ere, nunti6 futurum, ut sis sciens,
N^ tu hoc poste dicas Daui factum consilio aut
dolis.
80 Pr6rsus a me opmionem hanc ttiam 6sse ego amot^
uolo. 510

8i, Vnde id scis ?

Da, Audiui et credo ; multa concurrunt simul,

Qu{ coniecturam h^nc nunc faciam. I^m prius haec

se e Pdimphilo
Gr^uidam dixit ^sse; inuentumst Msum. Nunc,

postqu^m uidet
Nuptias domi dipparari, missast ancilla ilico
86 6bstetricem acc^rsitum ad earn et puerum ut adf err^t
simul. 515

-t»«»un

♦^txiian^

in. 8. 2-25] ANDRIA. 86

Ch, Aliqudt me adierunt^ ^x te auditum qui afbant, hodie
filiam
Meam nubere tuo gn^to; id uiso, tun an illi ins^
niant. 535

8L [Earnestly] Ausculta pauca ; et quf d ego te uelim ^t
tu quod quaeris scies.
6 Ch. Ausculto ; loquere quid uelis.
Si, Per t^ deos oro et ndstram amicitiim, Chremes,
Quae inc^pta a paruis cum a^tate adcreuit simul,
Ferque unicam gnat^ tuam et gnatum meum, 540
Quoius tibi potestas summa seruandi datur^
10 Vt me ^uues in hiic re, atque ita uti niiptiae
Fuerfnt futurae, f lant.
Ch, Ah, ne me dbsecra ;

Quasi h6c te orando a me impetrare op<5rteat.
Alium ^sse censes nunc me atque olim qudm dabam ?
Si in r^mst utrique ut fiant, accersi iube. 546

15 Sed si ^x ea re plus malist quam cdmmodi
Vtrique, id oro te in commune ut cdnsulas,
Quasi ilia tua sit Pdimphilique ego sun pater.
8L Immo ita nolo itaque p<5stulo ut Mt, Chreme ; 660

Keque p<5stulem abs te, ni ipsa res monedit.
Ch, Quid est ?

20 8t Ira^ sunt inter Gl^cerium et gnatum.

Ch, [^Impatiently] Audio.

Si, Ita m^gnae, ut sperem pdsse auelli.

Ch, Fibulae I

Si, Prof ^cto sic est.

Ch, Sfc hercle ut dic^ tibi ;

AmiCntium irae am6ris integr^tiost. 555

Si. Em, id te 6ro ut ante e^mus, dum tempus datur,
25 Dumque ems lubido occlusast contum^liis.

86 TERENTI [in. 8. 26-48

Prius quam h^bnim scelera et l^rumae confictae dolls
Redducimt animiim aegrdtum ad misericdrdiam,
Vxdrem demus. Sp^ro consuetudine, 560

Coniugio liberal deuinctum, Chremes,
80 Dein f^ile ex illis sdse emersurum malis.
Ch. Tibi ita h6c uidetur ; i,t ego non posse djbitror,

Neque Ilium h^c perpetuo habere neque me perpeti.
8i. Qui scis ergo istuc, nisi periclum f deeris ? 665

Ch, At Istuc periclum in filia fieri grauest.
85 8i. Nempe incommoditas ddnique hue omnis redit,
Si eudniat, quod di prdhibeant, discdssio.
At si corrigitur, qu6t commoditatds uide !
Principio amico filium restitueris, 670

Tibi gdnerum firmum et f iliae inuenids uirum.
40 C%. [ Yielding reluctantly'] Quid Istic ? Si ita istuc dni-
mum induxti esse utile^
Nold tibi ullum cdmmodum in me claudier.
8L Meritd te semper m^xumi feci, Chreme.
Ch, Sedquidais?

Si, Quid? ■

Ch, Qui scls eos nunc discordare intdr se ? 676

8%, Ipsus mihi Dauos, qui intumust eorum consiliis, dixit ;

45 Et is mihi suadet nuptias quantum queam ut matti-

rem.

Kum cdnses faceret, filium nisi sciret eadem haec

udUe?
Tute Meo iam eius uerba audies. [^CaXli'ng through
the door of his hx)U8e'] Heus, duocate hue D^uom.
Atque dccum uideo ipsum foras exire.

nL 4. 1-11] ANDRIA. 87

Scene 4.

Dayos. Simo. Chbembs.

[^Enter Davusfrom Simons house. He does not see Chremes,']

Da. \_To Simo] Ad te ibam.

8L Quidnam est ? 580

Da, Quor uxor non acc^rsitur ? lam adu^sperascit.

8i, \_Apart to CJiremes] Atidin ?

[To Davus] Ego dudum non nil u^ritfls sum, Dane,
^s te, ne facer^s idem,

Quod u61gus seruorum solet, dolis ut me deluderes,
6 Propt^rea quod amat filius.
Da. Egon istuc f acerem ?

Si. Cr^didi,

Idque ^eo metuens u6s celaui, qu6d nimc dicam.
Da. Quid?

Si. Scies ; 585

Kam prdpemodum habeo i^m fidem.
Da. Tandem cognosti qui siem ?

Si. Non fuerant nuptial futurae.
Da. [^Pretending to be amazed'] Quid ? non ?

Si. Sed ea gratia

Simul^ui, uos ut p^rtemptarem.
Da. Quid ais ?

Si. Sic res ^st.

Da. Vide !

10 Numquam fstuc quiui ego intellegere. V^, con-
silium c^lidum !
Si. Hoc audi : ut hinc te intro ire iussi, oppdrtune Mc
[pointing to Ghremes] fit mi dbuiam.

88 TERENTI [III. 4. 12-26

Da, [^Asidef with genuine alarrri] Hem, 690

Kumn^ perimus ?
Si. Kdjro huic, quae tu dudum narrastf miliL

Da. lAside"] Quidnam audiam ?
Si, Gnatam ut det oro, uixque id exoro.

Da, ^Aside'] 6ccidi !

Si. \_Having overheard Daws] Hem,

Quid dixti ?
Da. Optume mquam factum.

Si. Nunc per hunc nulMst mora..

16 (Jh. Domum modo ibo, ut ^pparetur dicam, atque hue
renuntio. [^Eosit Chremes to the righf]
Si, Kunc te dro, Daue, qudniam solus mi ^ffecisti has
nuptias ... 6d5

Da, [^Aside with bitterness] Ego u^ro solus !
Si, . . . cdrrigi mihi gn^tum porro enitere.

Da. Faciam h^rcle sedul6.

Si, Potes nunc, dum Animus inrit^tus est.

Da, Qui^scas.

Si, Age igitur, ubi nunc est ipsus ?

Da, Mirum ni domist

20 Si, Ibo iA eum atque eadem haec, qua^ tibi dixi dicam

idem illi. \_Exit Simo into his house.]

Da, [^Soliloquizing] Nulllis sum !

Quid catisaest, quin hinc in pistrinum r^ta proficis-

c^r uia ? 600

Nihil ^st preci loci relictum. Km perturbaui 6m-

nia:
Erum f ef elli ; in nuptias coni^ci erilem f ilium ;
Feci h6die ut fierent insperante hoc ^tque inuito Pim-
philo. Em
86 Astutias ! quodsi quiessem, nihil eueniss^t mali.

in. 4. 26-27, 5. 1-10] ANDRIA. 39

[^Seeing Pamphilua at the door of Simons house] Sed
^cum uideo ipsmn. 6ccidi ! 605

Vtinam mi esset liquid hie, quo nunc me praecipi-
t^m darem ! [Stands aside,']

Scene 5.

Pamphilvs. Davos.

[Enter Pamphilus in hastey not seeing Davus,]

Pa, Vbi lUe est seeltis, qui p^rdidit me ?
Da, \_AMe] Perii !

Pa, Atque hoc conf iteor iure

Mi dptigisse, quindoquidem tam in^rs, tarn nulli

cdnsili sum.
S^ruon fortune meas me cdmmisisse fdttili !
Ego pr^tium ob stultiti^ fero, sed numquam inul-
tum id auf eret. 6io

5 Da, [Aside] Posthdic me incolumem s^t scio fore, nunc si
deuito h(5c malum.
Pa, Kam quid ego nunc dic^ patri ? 612*

Kegdbon uelle m^, modo 612**

Qui sum poUicitus ducere ? 613»

Qua f dicie f acere id audeam ? 613**

Kec quid me nunc faci^ scio. 614*

Da, [Aside] Kec quid6m me atque id ago s^dulo. 6i4*»
Dicam liquid me inuenturum, ut huic malo ^iquam
product moram.
Pa, [Catching sight of Davus] Oh I 616

10 Da, [Aside] Visus sum.
Pa, [Sneeringly] Ehodum, b<5ne uir, quid ais?

uid6n me tuis consiliis miserum

40 TERENTI [in. 5. 11-18

Inpeditum esse ?
Da. [^Coming foruuard^ At iam expediam.
Pa. Exp^dies ?

Da. Certe, P^phile.

Pa. Kempe tit modo.
Da. Immo mflius spero.

Pa, Oh, tibi ego ut credam, furcif er ?

Tu rem Inpeditam et p^rditam restltuas ? Em quo

fr^ttis sim,
Qui me hddie ex tranquillissuma re cdniecisti in
ntiptias ! 620

15 An non dixi esse h6c f uturum ?
Da. Dixti.

Pa. Quid meritus ?

Da. Crucem.

S^d sine paululum dd me redeam ; iam liquid dispi-
eiam.
Pa. * El mihi,

Qudm non habeo sp^tium, ut de te sumam suppli-

cium, ut uolo !
K^mque hoc tempus pra^auere mihi me, hau. te»
uleiscf sinit.

IV. 1. 1-16] ANDRIA. 41

ACT IV.

Scene 1.

Chabinvs. Famphilys. Dayos.

[Enter Charinus in great agitation. He fails to observe
PamphUus and Davus, who have drawn to one side,']

Ch. [To himsdf] II6cin6st cr^dibile aiit memor^bile, 625
T^ta uec6rdia inn^ta quoiquam ut siet,
Vt malis gaiideant ^tque ex incdmmodis
-ilterius sua ut c6mparent cdmmoda ? Ah,
6 fdnest uerum?' fmmo id est p^ssumum hominum

genus,
ta negandd modo quis pudor paulum adest; 630

P6st ubist tempus promissa iam p^rfici.
Turn coacti necessdirio se ^periunt :
!fit timent d^negare ^t tamen res premit.
10 fbi turn eorum mpudentissuma or^tiost

* Quis tu's ? Quis mi's ? Quor me^m tibi ? 635

Heus, prdxumus sum egomet mihi.'
At t^en * ubi fidfis ? ' si roges,
Nil pudet Me ubi opust ; illi ubi 638»

Nil 6pus est, ibi uer^ntur. 638b

16 S^d quid agam ? Adeamne M eum et cum eo iniu-

riam banc exp6stulem ?
Ingeram mala multa? Atque aliquis dicat ^nil

promdueris.' 640

42 TERENTI [IV. 1. 17-^3

Multum! molestus c^rte ei fuero atque ^imo
morem g^ssero. [_T}um8 to go into Simons
house, but meets PamphUus.']
Pa. [Coming forwai'd'] Charfne, et me et te inprudens,

nisi quid di respiciunt, p^rdidi.
Gh, [Bitterly^ itdkiiQ inprudens*? Tandem inuentast
causa. Soluisti fidem !
80 Pa. Quid 'tandem'?

Ch, Etiam nunc me ducere istis dictis p<5stulas ?

Pa, Quid Istuc est ?

C%. Postqu^m me amare dixi, complacit^st tibi. 646

Heu me miserum, qui tuom animum ex ^imo spec-
taui meo I
Pa. F^lsus.

C%. Nonne tibi sat esse hoc uisum solidumst gatidium,
Nisi me lactass^s amantem et f^sa spe produceres ?
26 Habeas.
Pa, Habeam ? Ah, niseis quantis in malis uors^r

miser,
Quant^sque hie [pointing to Davus"] suis consiliis
mihi confl^uit soUicitudines, 660

Metis c^mufex.
Ch. [SarcasticaUy'] Quid Istuc tarn mirumst, d^ te

si exemplum capit ?
Pa, Hand istuc dicas, si cognoris u^l me uel amor^m

meum.
Ch. [Ironically'] Scio ; cum patre alterc&ti dudum, et is
nunc proptered tibi
80 Susc^nset nee te quiuit hodie c6gere illam ut duceres.
Pa, Immo ^tiam, quo tu minus scis aerumnas meas, 666
Haec miptiae non ^pparabantur mihi,
Nee pdstulabat nunc quisquam uxor^m dare.

IV. 1. 34-56] ANDRIA. 48

Ch. Scio; tu coactus tu^ uolimta»te ^s. {Tuma away.']

Pa. Mane ;

85 Nondum scis . . .

Ch. Scio equidem illam ducturum ^sse te.

Pa. Quor me ^nicas ? Hoc audL \^Pointing to Davibs]
Numquam d^stitit 660

Instdire, ut dicer^m me ducturum patri,
Suad^re, orare usque Meo donee p^rpulit.

Ch. Quis homo istuc ?

Pa. Dauos.

Ch. D^uos ? Quam ob rem ?

Pa. N^scio,

40 Nisi mi deos f uisse ir^tos, qui auscuMuerim.

Ch. Factum ^st hoc, Dane ?

Da. F^tum est.

Ch. {^Amazed'] Hem, quid ais, scelus ? 666

At tibi di dignum f^tis exitium duint.
Eho, die mihi, si omnes hunc coniectum in ntiptias
Inimici uellent, qudd nisi h6c consilium darent ?
45 Da. Dec^ptus sum, at non d^f etigatiis.

Oh. [Ironically] Scio.

Da. Hac ndn successit, ^lia adgrediemur uia : 670

Nisi id putas, quia primo processit parum,
Non pdsse iam ad salutem conuorti hdc malum.

Pa. Immo ^tiam ; nam satis cr^do, si aduigildueris,
60 Ex linis geminas mihi conficies niiptias.

Da. Ego, P^mphile, hoc tibi pr6 seruitio d^eo, 676

Con^ri mariibus p^dibus noctisque ^t dies.
Capitis periclum adire, dum prosim tibi.
Tuomst, siquid praeter spem ^uenit, mi igndscere.
66 Parum succedit qudd ago ; at f acio s^dulo.

Vel melius tute r^peri, me missiim face. 680

44 TEKENn [IV. 1. 67-60, 8. 1-8

Pa. Cupid; restitae qnem ^ me accepisti locum.

Da. Faciam.

Pa. At iam hoc opust

Da. Hem ! — s^ mang^ concrepuit ab istac dstinm.

Pa. NiMl iA te.

Da. [With a thoughtful air] Quaero.

Pa. llronicaUy'] Hem, nuncin demum?

Da. At iam hdc tibi inuentum dabo.

Scene 2.

Mt8I8. Pamphilys. Charinys. Davos.

[Enter Mysia from OlyceriuriCs house.']

My. \_To Olycerium wiihin] Iam ubi ubi erit, inuentum

tibi cur^bo et mecum adductum

Tuom P^mphilum ; modo tu, ^biime mi, noli te ma-

cerdre. 685

Pa. My sis!

My. [Turning around] Quis est? Eh6m P^-

pbile, optumd mihi te offers.
Pa. Quid id est?

My. Or^re iussit, si sS ames, era, i^ ut ad sese udnias :
6 Viddre ait te ctipere.
Pa. [Aside] Vah, perii ! h6c malum integr^cit.

[To Davus] Sicme me atque illam oper^ tua nunc

miseros soUicitdiri !
Nam idclrco accersor, nuptias quod mi ^pparari
sdnsit. G90

Ch, Quibfis qufdSm quam facile p<5tis erat quidsci, si hie
[pointing to Davus] quidsset !

IV. 8. 9^22] ANDRIA. 46

Da, [IronicaRy] Age, si hfc uou insanit satis sua spdnte,

instiga.
My. [To PamphUiis] Atque ^depol

10 Ea r^s est, propteredique nunc misera in maerorest.
Pa. \With deep emotion] M^sis,

Per 5miifs tibi adiur6 deos, numquam e^ me deser-

turum,
Non, si capiundos mflii sciam esse inimicos omnis
hdmines. 695

Hanc mi ^xpetiui; cdntigit. Conu^niunt mores.

V^eant
Qui int^r nos discidium uolunt. Hanc nisi mors mi
adimet n^mo.
16 Gi, Resipisco.
Pa. Non Ap<511inis magis u^rum atque hoc

resp6nsumst.
Si p6terit fieri, ut n^ pater per m^ stetisse cr^dat.
Quo minus haec fierent nuptiae, uol6. Sed si id non
p6terit, 700

Id f^iam, in procliuf quod est, per m^ stetisse ut

cr^dat.
Quis uideor ?
Ch. Miser, aeque ditque ego.

Da. Consilium quaero.

Gh, Fdrtis!

20 Pa, [^IronicaUy] Scio, qufd conere.
Da, Hoc ^go tibi prof^cto effectum r^ddam.

Pa, lam hoc dpus est.
Da, Quin iam habe6.

Gh, Quid est?

Da. Huic, n6n tibi habeo, ne ^rres.

Ch. Sath^beo.

46 TERENn [lY. 8. 23^32

PcL Qoidfaci^? oedo!

DcL Dies hie mi at satis sit n^ieor 706

Ad ag^ndnm; ne uociuom nmic me esse id narran-
dnm cr^das.

Proinde hinc oos amolfmini; nam mi inpedimento

» Ph. Ego hAnc msam. [ExU into GlyoeriunCs Aotue.]
DcL [To Charinus] Quid ta ? quo hmc te agis?
Ch. Verum nis dicam ?

Da, Immo etiam ;

[Ande] Narrdtionis mcipit mi initimiL
Ch. Quidmefiet?

DcL Eho ta inpadens, non sitis habes, qaod tibi die-
calam ^do, no

Qoantam haic promoaeo naptias?
Ch. Daae^ dt tamen . . .

Da. Qaid^rgo?

Ch, VtdacaoL
Da. Eidicolam.

Ch. [Pointing to his house'] Hac fac ad me a^nias,

siqaid p<5teris.
90 Da. Quid u^niam ? Nil habeo.

Ch. JLt tamen siquid.

Da. Age, ueniam.

Ch. Siquid,

Domi ^ro. [ExU Charinus.]

Da. TvLf Mysis, dam ^xeo, parumper opperire hie.

My. Quapr6pter?
Da. Ita f actdst opus.

My. Matura.

Da. lam, inquam, hie ^ero. 715

[Exit into Glycerium^s house.]

IV. 8. 1-17] ' ANDBIA. 47

Scene 8.

Mt8I8. Davos.

My.]^To herself] Kilne ^sse proprium quoiquam! di
uostr^ Mem!
Summum bonum esse era^ putavi hune PdmpMlum,
Amicum, amator^m, uirum in quouis loco
Par^tum; uerum ex ed nunc misera qu^m capit
6 Lab6rem ! Facile hie plus malist quam illic boni. 720
[^Enter Davua from Olycerium's house, carrying the
ba^y'] Sed D^uos exit. Mi homo, quid Istuc
dbsecroest?
Quo p<5rtas puerum ?
Da, [ Very seriously'] M^sis, nunc opus ^st tua

Mihi ad h^c rem exprompta m^itia atque astutia.
My. Quidnam mcepturus ?

Da. \_Holding out the baby] Accipe a me hunc 6cius

10 Atque djite nostram i^uam appone.
My. 6bsecro, 726

Humme?
Da. Ex ara bine sume uerben^s tibi

Atque e^s substerne.
My. Quam db rem id tute n6n f acis ?

Da. Quia, si forte optls sit, M erum iurandumst mihi

Kon ^pposisse, . . . ut liquido possim.
My. Int^llego ;

16 [^Ironicaily] Nona nunc religio in te istaec incessit.
Cedo ! 730

Da. Moue 6cius te, ut quid agam porro int^Uegas ^Mysis
lays the child ai Simons door].
Pro luppiter I

48 terenh ' pv. s. 18-24, 4. i-«

My. Quid Sst?

Da. Spdnsae pater int^ruenit.

Bepudio qnod consflimn primmn int^nderam.
My. Nescio quid narres.

Do. !]Sgo quoque hinc ab d^xtera

99 Venire me adsinml^Lbo ; ta ut subs^mias 735

Or^tioniy utqadmqae optls sit, uerbis aide.
My. Ego quid agas nihil intellego; sed siqoid est.

Quod m^ opera opHs sit udbis, ut tu plus uides,

ManebOy nequod udstrum remorer c6mmodum.

\^Davu8 wWidraws to the rigJU.']

Scene 4.

Chremes. Mtsis. Davos.

[Enter Chremes from the lefi."^

Ch. [To himsetf^ Reudrtor, postquam quae dpus fuere

ad nuptias 740

Gnata^ paraui, ut iubeam accersi. [Seeing the haiby'\

S^d quid hoc ?
Puer hardest. [Addressing Mysis"] Mulier, tu ^dpo-
sisti hunc ?
My. [Aside'] Vbi Illic est ?

Ch. Non mihi respondes ?

My. [Aside] Nusquam est. Vae misera^^ mihi !

5 EeUquit m@ homo atque ^biit.
Da, [Entering hastily from the right and solilo-

quizing'] Di nostrum fidem,
Quid turbaest apud forum ! Quid illi hominum liti-
gantl 746

IV. 4. 7-23] ANDRIA. 49

Turn anndiia carast. [^.^ide] Quid dicam aliud,
n^scio.
My, [To Davua] Quor tu dbsecro hie me sdlam ?
Da, [Pretending to be surprised cU seeing the hdby\

Hem^ quae haec est fibula ?
Eho M^sis, puer hio undest? Quisue hue ^ttulit?
10 My, Satin s^u's, qui me id rdgites ?
Da, Quern ego igitur rogem^

Qui hie n^minem alium ufdeam ?
Ch. [Aside"] Miror, unde sit. 750

Da, [In a loud voice"] Dietura es quod rogo ?
My. Au!

Da, [In low tone] Concede ad d^xteram.

[They go to the right.]
My. Delfras ; non tute (pse . . . ?

Da. [In a low voice] Verbum si mihi

Vnum praeter quam qu6d te rog6 f axis, caue !
lb My. Male dfcis?
Da. [In a loud voice] Undest ? [In a low voice] Die clare.
My. A nobis.

Da. Hahae I

Mirum uero, inpud^nter mulier si faeit 705

Meretrlx I
Ch. [Aside] Ab Andri^t haec, quantum int^llego.

Da. Adedn uidemur udbis esse iddnei,

In quibus sie inluditis ?
Ch. [Aside] Veni in tempore,

ao Da. Propera ^eo puerum tdllere hine ab i^ua :

[In a loiv voice] Man^ ! cau6 quoquam ex fstoe ex-
eessis loco ! 760

My. [Aside] Di te ^radicent ! fta me miseram tdrritas.
Da. Tibi ^go dico an non ?

60 TERENTI [IV. 4. 24-41

My, Quid uis ?

Da, At eti^m rogas ?

Cedo, quofum puerum hie ^dposisti ? Die mihi.
26 My, Tu niseis ?
Da, [/n a low voice'] Mitte id qu6d seio ; [aloud]

die qu6d rogo.
My, Vostri.

Da, Quoins nostri ?

My, P^phili.

Ch, \_A8ide] Hem !

Da, [Very loudly] Quid? Pdimphili ? 766

My. Eho, an ndn est ?

Ch, [Aside] Eecte ego semper fugi has ntiptias.

Da, f^inns animum adndrtendum !
My. Quid cMmitas ?

2>a. Qnejnne ^go heri nidi ad n6s adf erri u^speri ?
80 My. hdminem audaeem !
Da. V^mm ; nidi C^tharam

Suff^reinatam.
My, Dis pol habeo grdltias, 770

Quom in p^rinndo aliquot ^f uernnt liberae.
Da. Ne ilia fllnm hand nouit, quoia eansa haee fneipit :

^Chrem^s si pnerum pdsitum ante aedis uiderit,
85 Suam gnditam non \labit ' : tanto herele m^gls dabit.
Ch. [Aside] Non herele faciet.
Da, Nnne adeo, nt tu sis sciens, 77,"

Nisi puemm tollis, i^m ego hnnc in medi^ uiam

Proudlnam teqne ibidem peruoluam in Into.
My. Tn p61, homo, non es sdbrius.
Da, Fall^ia

40 Alia dlliam trudit. I^ snsurrari audio,

Cinem Xtticam esse hane.

IV. 4. 42-66] ANDRIA. 61

Ch. [^ide]H^m!

Da. • * Coactus l^gibus 780

Earn tLxdrem ducet.'
My, ]lSho 6bsecro, an non ciuis est ?

Ch. \_Aside] locul^rmm in malum insciens paene fncidi.
Da. ^Turning arourui] Quis hic Idquitur? Chrem^,
per tempus ^uenis.
46 Ausctilta.

Ch. Audiui iam dmnia.

Da. \_With feigned surprise'] Ain tu? haec dmnia?

Ch. Audiui, inquam, a principio.

Da. Audistin, dbsecro ? Em 785

Scelera! Hanc [^pointing to Mysis'] iam oportet in

cruciatum hinc dbripi.
[To Mysis'] Hic 6st file, ne te cr^das Dauom ludere.
My. Me miseram ! Nil pol f^si dixi, mi senex.
60 Ch. Noui 6mnem rem. Est Simo intus?
Da. Est. \^Exit Chremes into Simons house.]

My. [ To Davus, who joyfully embraces her] Ne me ^ttigas,
Scel^ste ! si pol Glycerio non dmnia haec ... 790
Da. Eho in^pta, nescis quid sit actum ?
My. * Quf sciam ?

Da. Hic sdcer est. Alio p^cto baud poterat fieri,

Vt sciret haec quae udluimus.
My. Praediceres.

56 Da. Paulum interesse censes, ex animo 6mnia,

Vt f^rt uatura, f ^ias an de industria ? 796

62 TERENn PV. 6. 1-18

SCKNE 5.

Cbito. Mtsis. Datos.

[ErUerfrom the left Onto, gaaing abotU.']

Or. \_To himsdf] In h^ habitasse pl^tea dictumst Chrf-
sidem,
Quae s^se inhoneste opt^uit parere hie ditias
Potius quam in patria hon^ste pauper uiueret.
Eius mdrte ea ad me l^ge redierunt bona. 799

5 [^Seeirtg the others] Sed qu6s percenter uideo. Sal-
uete.
My. [Much excited"] 6bsecro,

Quern uideo ? Estne hie Critd sobrinus Cbr^sidis ?
Is ^st.
Or. O Mysis, sdlue.

My. Saluos sis, Crito.

Or. Itan Chr^sis, hem ?

My. [WeepiThg] Nos quid6m pol miseras p^rdidit.

Or. Quid uds ? Quo pacto hie ? S^tine recte ?
My. Ndsne? sie;

10 Vt qufmus, aiunt, qudlndo ut uolumus n6n licet. 805
Or. Quid Gl^cerium ? lam hie suds parentis rdpperit ?
My. Vtinam !

Or. in nondum etiam ? Hand auspicate hue me ittuli ;
Kam p61, si id seissem, ntimquam hue tetulissdm

pedem.
Semper enim dictast ^sse haec atque habitdist soror :
IB Quae ilHus fuerunt, p<5ssidet : nunc me hdspitem 810
Litfs sequi, quam hie mihi sit facile atque utile,
Alidrum exempla cdmmonent. Simul irbitror
lam aliquem ^sse amicum et ddf ensorem ei ; n^ fere

IV. 6. 1^24] ANDRIA. 68

Orandicula iam prof ^ctast iUinc. Cldmitent
20 Me s^cophantam^ herdditatem p^rsequi 815

Mendicum: turn ipsam d^spoliare ndn licet.
Da, dptume hospes !

My, P61, Crito, antiquom dptines.

Gr. Due me Ai earn, quando hue u^ni, ut uideam.
My. M^ume. [Exewnt into Glycerium^s hou8e,1

Da. [To himself] Sequar hds; me nolo in tempore hoc
uideit senex. [Exit Davus into Olycerium^s
Jiotise."]

54 TERENn [V. 1. 1-13

ACT V.
Scene 1.

Chrbmbs. Simo.

\Enter Chremes and Simo from the tatter's Jiouse."]

Ch. S^tls, iam satis, Simd, spectata erg^ te amiciti^t mea;
S^tls pencil inc^pi adire ; or^ndi iam finem face. 821
Dum studeo obsequi tibi, paene inlusi uitam filiae.
8L ^mo enlm nunc quom m^ume abs te p<Sstulo atque
ord, Chremes,
5 ' Vt beneficium u^rbis initum dudum nunc re cdm-
probes.
Ch. Vide quam iniquos sis prae studio. Dum id efficias
qu6d cupis, 825

N^que modum benignitatis ndque quid me ores

cdgitas;
"Ndm si cogit^s, remittas i^m me onerare initiriis.
Si. Quibus?

Qi. [^Indignantly'} At rogitas ? P^rpulisti me, ut homini
adulescentulo
10 fn alio occupdlto amore, abhdrrenti ab re uxdria,

Filiam ut darem m seditionem ^tque in Incertas

nuptias, 830

Eius labore atque elus dolore gn^to ut medicar^r tuo.

fmpetrasti; inc^pi, dum res tetulit. Nunc non f^rt;

feras.

V. 1. 14-22, 8. 1-4] ANDRIA. 66

Illam hinc ciuem esse £unt; puer est ndtus; nos
missds face.
15 Si. P^r ego te deos 6ro, ut ne illis dlnimum inducas credere,
Quibus id maxume utilest, ilium ^sse quam det^r-
rumam. 836

Nuptiarum gratia haec sunt f icta atque incepta dmnia.
Ybi ea causa, quam 6b rem haec f aciunt, ^rit adempta
his, d^sinent.
Ch, £rras ; cum Dauo ^gomet uidi iurgantem ancilMm.
Si. [_Sneeringly'] Scio.

20 Ch. Y6to uoltu, quom ibi me adesse neuter tum prae-
s^nserat.
Si. Cr^do, et id f acturas Dauos dudum praedixit mihi ;
!fit nescio qui id tibi sum oblitus hddie, ac uolui,
dicere. 841

Scene 2.

-Dayos. Chremes. Simo. Dromo.

[^Enter Davus from Olycerium^s house. He does not see
Chremes and Simo, who draw aside.'\

Da. [Calling to Glycerium within'] Xnimo nunciam dtioso

esse fmpero.
Ch. [Apart to Simo] Em Dau6m tibi !

Si. [Apart to Chremes] Vnde egreditur ?
Da. [To himself] Med praesidio atque hdspitis.

Si. [Apart] Quid lUud malist ?

Da. [To himself] ^go commodiorem hdminem aduentum

t^mpus non uidi.
Si. [Apart] Scelus,

Qu^mnam hie laudat ?

66 TERENTI [V. 2. 6-14

Da. \_To AmseZ/] 6miiis res est iam In uado.

8L [^Aparf] Cesso ^oqui ? 846

6jDa. \_To himself, catching sight of Simo'] ifirus est; quid
agam?
Si. [^Sneeringly'} s^ue, bone uir!

Da. [ With feigned surprise'} !6h6m Simo I

nost^r Chremes !
6mnia appar^ta iam sunt Intus.
Si. [^Sneeringly"] Curasti probe.

Da. Vbi uoles, acc^rse.

Si. Bene sane ; [ironically] id enim uero hinc nunc

abest.
[With severity'] ifitiam tu hoc respdnde^ quid Istio tibi
negotist ?
Da. Mfhin ?

Si. Ita.

Da. Mfliln ?
Si. Tibi ergo.

Da. M6do htlc ii intro.

Si. Qu^i ego quam dudum rogem. 860

10 Da. Cum tuo gnato una.
Si. inne est intus Pdlmphilus ? [Amde'] Crucidr

miser!
[To Daws] l^ho, non tu dixti ^sse inter eos fnimi-
citias, cdlmuf ex ?
Da. Sunt.

Si. Quor igitur hic est ?
Ch. Quid Ilium censes? [^IronicaMy] Cum ilia

litigat.
Da. Immo uero indfgnum, ChremSs, iam fdicinus faxo ex
me audies.
N^scio quis sen^x modo uenit, ^um ! confid^ns, catus ;

V. 8. 16-25] ANDRIA. 57

16 Qu6m f aciem uide^, uidetur ^sse qu^ntiuis preti ; 866
Tristis uerit^ inest in udltu atque in uerbis fides.
Su Quidnam adportas ?

Da. Nfl eqnidem, nisi qudd Ilium audiui dicere.

Si, Quid ait tandem ?

Da. Gl^cerium se scire ciuem esse Atticam.

Si. ' Hem!

[^Shouting before his door'] Dr6m6, Dromo I
Da. Quid est ?

Si. Dromo !

Da. Audi.

Si. [ With threatening motion] V^rbum si addi-

derfs . . . Dromo ! 860

20 Da. Audi dbsecro ! [_Enter Dromo.]
Dr. ' Quidufs?

Si. Sublimem hunc intro rape, quantum potest.

Dr. Quem?
Si. D^uom.

Da. Quam ob rem ?

Si. Quia lubet. Eape inquam.

Da. Quid feci?

Si. Rape.

Da. [/w Dromons grasp] Si quicquam inuenies m^ menti-

tum, occidito.
Si. Nihil audio:

£go iam te commdtum reddam.
Da. T^en etsi hoc uerumst ?

Si. Tamen.

[To Dromo] Cura ^dseruandum uinctum. Atque
audin ? Qu^rupedem constringito. 865

26 Age nunciam ! \_Dromo carries Davus off.] Ego pol

h6die, si uiu6, tibi

68 TERENTI [V. 2. 26-30, 8. 1-12

Ost^ndam, emm quid sit pericli f^lere,
Et llli patrem [pointing to Olycerium^s house].
Ch. Ahy ne sa^ui tanto opere.

Si, 6, Chreme,

Piet^tem gnati ! Ndnne te miser^t mei ?
Tantum laborem c^pere ob talem f ilium ! 870

80 [^OcfUing at the door of Glycerium's house.'] Age, P^-
phile^ exi ! Pdmpliile ! Ecquid t^ pudet ?

Scene 3.

Pamphilys. Simo. Chremes.

[Enter Pamphilus hastily from Glycerium's house.']

Fa. Quis m^ uolt ? [^Aside.] Perii, piter est.

Si. Quid aiS; dmnium . . . ?

Ch. Ah,

Bern p6tius ipsam die ae mitte m^e loqui.
Si. Quasi quicquam in hunc iain gr^uius dici pdssiet!

Ain t^dem, ciuis Glyceriumst ?
Pa. Ita pra^dicant. 875

6 Si. [Sneeringly'] ^ Ita pra^dicant ' ? [Angrily] ing^ntem
confid^ntiam !
Num edgitat quid dicat ? Num fact! piget ?
Vid6, num ^ius color puddris signum usquam mdicat ?
Adeo inpotenti esse ^imo, .ut praeter ciuium
Morem dtque legem et sui uoluntat^m patris 880

10 Tamen h^c habere cupiat cum summd probro !
Fa. Me miserum !

Si. [In gentler tone] Hem, modone id d^mum sensti,

P^mphile ?
Olim istuc, olim, quom ita animum induxti tuom.

V. 8. 13-30] ANDRIA. 69

Quod cuperes aliquo p&to efficiundum tibi,
Eod^m die istuc u^rbum uere in te ^cidit. 886

15 ^Turning away"] Sed quid ego ? Quor me excrucio ?

Quor me mdxjero ?
Quor me^m senectutem huius soUicito amentia ?
An tit pro huius peccatis 4go supplicium sufferam ?
Immo Mbeaty ualeat, uiuat cum ilia.
Fa. Ml pater I

Si. Quid ' mi pater ' ? Quasi tu huius indige^ paths ! 890
80 Domus, uxor, liberi inuenti inuitd patre ;

Adducti qui illam hinc ciuem dicant : uiceris.
Fa. Pat^r, licetne pauca ?
Si^ Quid dic^s mihi ?

Ck. Tam^n, Simo, audi.
Si. Ego audiam ? Quid ego audiam,

Cbrem^s ?
Ch. At tandem dicat.

Si. Age dicit, sino. 895

26 Fa. !lSgo me amare banc f ^teor ; si id peccdlrest, f ateor

id quoque.

Tibi, pater, me d^do. Quiduis dneris inpone, impera.

Vis me uxorem ducere? Hanc amittere? Vt po-

terd, feram.
Hdc modo te obsecro, ut ne credas d me adlegatum

btinc senem.
Sine me expurgem atque ilium hue coram adducam.
Si. Adducas ?

Fa. Sme, pater. 900

80 Ch. Adquom postuMt ; da ueniam.
Fa. ' Sine te hoc exordm I

Si. Sino.

[^Exit Famphilus into Qlycerium/s Jiotise.']

60 TBBBNn [V. 8. 31^2, 4. 1-11

Qufdiiis cupio, dum ne ab hoc me f ^i compen^y
Ghremes.
Oh, Pr6 peccato migno paulum sdpplici satis dst patrL

SCEKB 4.

Crito. Chrsmbb. Simo. Pamphiltb.

[Enter Crito, followed by FamphUtis.']

Or. [To PamphUtLS^ Mltte orare. Vna h^Lruin quaeuis
causa me ut faci^ monet,
Y&. tu nel quod u^nimst uel quod f psi cupio JGrl^cerio.
Oh, [Much astonished] Andrium ego Critdnem liideo?

C^rte is fist.
Or. Saluos sis, Chremes ! 906

Oh. Quid tu Athenas Insolens ?

Cr. Eudnit. Sed hicin^st Simo?

6Ch. Hfc.
Cr, Simo, men qua^ris ?

Si. [Bvddy'} Eho tu, Gl^cerium hinc ciuem ^sse ais ?

Cr. Tunegas?

Si. Itane hue paratus ^uenis ?

Or. Quard?

Si. [Furious] Eogas ?

Tune inpune haec f ^ias ? Tune hie homines adu-
lescdntulos 9io

Imperitos r^rum, eductos libere, in fraudem mlicis
Sdllicitando, et pdllicitando eorum ^imos lactas ?
Cr. S^un es ?

10 Si. Ac meretricids amores nuptiis congMtinas ?
Fa. [Aside] Pdrii, metuo ut stibstet hospes.
Oh. Si, Simo, hunc norfs satis,

V. 4. 12-26] ANDBIA. 61

Ndn ita arbitr^re ; bonus est hfc uir.
Si, [^Sneeringly'] Hie uir sft bonus ? 915

f tane adtemper^te euenit, liddie in ipsis nuptiis
Vt ueniret, ^te numquam ? ^Ironically'] Est u^ro
huic credundum^ Chremes.
16 Pa. lAside] Ni metuam patrem, Mbeo pro ilia re fllum
quod mone^m probe.
Si. [To Cnto] S;^coplianta!
Or. [^Indignantly'] Hem I

Oh. Sic, Crito, est hie : mftte.

Or. Videat quf siet:

Si mihi perget qua^ uolt dicere, ^a quae non uolt
audiet. d20

^go Istaee moueo aut euro ? Non tu tu6m malum

aequo animd f eras ?
Nam 4go quae dieo, u^ra an falsa audierim, iam seiri
potest,
flo Xtticus quidam 61im naui fr^ta ad Andrum
ei^tus est
£t Istaee una p^rua uirgo. Tum Ille egens forte

^plieat
Pnmum ad Chrysidfs patrem se.
Si. [^Sneeringly] F^bulam ineeptdit.

Oh. Sine. 925

Or. f tane uero opturbat ?
Oh. Perge.

Or. Tum f s mihi eognatus f uit, '

Qui eum recepit. Ibi ego audiui ex fllo sese esse
Xtticum.
26 fs ibi mortudst.

Oh. lEagerly'] Eius nomen ?

Or.. Ndmen tam eito ?

62 TERENTI [V. 4. 26^36

Pa. \_Aside to Crito] Ph^nia.

Hi. [Turning indignantly to PamphUus] Hem ?

Pa. [Aside] Veni\

Cr, Verum hercle opmor fuisse Ph^Lniam. Hoc

cert<5 scio,
Bhamnusium se ai^at esse.
Ch. [Aside, much excited'] O Inppiter !

Or. Eadem ha^y Chremes, 930

Multi &\\\ in Andro audfuere.
Ch. [Astde] Vtinam id sft, quod spero! [To

Crito'] Eho, die mihi,
Quid e^ turn ? Suamne esse aibat ?
Cr. Non.

Ch. Quoiam igitur?

Cr. Fratris filiam.

80 Ch. Cert^ meast.
Cr. Quid afs ?

Si. Quidttiais?

Pa. [Asid/e] Arrige auris, P^phile.

Si. Qui id cr^dis ?

Ch. Phauia fllic frater m^tis fuit.

SL Noram ^t scio.

Ch. Is b^Uum hinc fugiens m^que in Asiam pdrsequens

proficiscitur. 935

Turn ilMm relinquere hie est ueritus. P6ste nunc

primum audio
Quid 1116 sit factum.
Pa. [Aside] Vix sum apud me ; ita Animus com-

motust metu
85 Spe gaiidio, mirdndo tanto tdlm repentino hdc bono.
Si. Ne ist^m multimodis tuam inueniri gatideo.
Ch. Credd.

V. 4. 37-48] ANDRIA. 63

Pa. Pater!

Ch, At mi unus scrapulus ^tiam restat, qui me male habet.
Pa, [ulside] Dignus es ; 940

Cum tui religione, 6dium, nodum in scirpo quaeris.
Or. [To Chremes] Quid Istud est ?

Ch. Nom^n non conuenit.
Or. , Fuit hercle huic fliud paruae.

Oh. Qu6d, Crito?

40 Numquid meministi ?
Or. Id qua^ro.

Pa. \AsiiM\ Eg5n huius m^moriam pati^ meae

Voltiptdti obstare, qu6m ego possim in h^ re medi-
cari mihi ?

[-4Zoitd] Heus, Chr^mfis, qu6d quaeris, Pisibtilast.
Oh. P^sibula ? Ips&t.

Or. East. 945

Pa. Ex ipsa audiui miliens.
Si. Omnis nos gaudere h(5c, Chremes,

Te cr^do credere.
Oh. Ita me dl ament, cr^do.

Pa. Quod restdt, pater, . . .

45 Si. lam dudum res redduxit me ipsa in gratiam.
Pa. [^Embracing his father'] lepidum patrem !

De uxdre, ita ut possMi, nihil mut^t Chremes ?
Oh. Causa dptumast.

Nisi quid pater ait ^iud.
Pa. [To SimOf coaxingly'] Nempe id ?

Si. Scflicet.

Oh. Dos, P^phile, est 960

Dec^m talenta.
Pa. Accipio.

Oh. Propero ad f iliam. Eho mectim, Crito I

64 TERENTI [V. 4. 49-63, 5. 1-4

Nam ill^ me credo baud ndsse. [Exeunt Chremes
and Crito into Gly cerium^ s house,']

Si. [To PamphiliLs'] Quor non illam hue transferri

iubes ?
50 Fa. Eecte ^tdmones. Dauo 6go Istuc dedam iam negoti.

Si. Ndn potest.

Pa. Qui?

Si. Quia habet aliud mdgis ex sese et m^us.

Pa. Quidnam ?

Si. Vinctus est.

Pa. Pat^r, non recte umctust.

Si. Haud ita iussi.

. Pa. lube solui, dbsecro. 956

Si. Age fiat.

Pa. At matura !

Si. Eo intro. [_Exit Simo into his hovse.]

Pa. [To himself] faustum et felic^in diem !

Scene 5.

Charinys. Pamphilys.

[Enter Charinvs, unseen by PamphUtbs.]

Ch. {_To himself] Prouiso quid agat Pdmphilus. Atque

^ecum.
Pa. [To himself] Me aliquis f(5rs putet

Ndn putare hoc u^rum; at mihi nunc sic esse hoc

uertim lubet.
£go deorum ultam eapropter s^mpiternam esse

irbitror,
Qu6d uoltiptates edrum propriae sunt; nam mi
immortalitas 960

V. 5. 6-8, e. 1-6] ANDRIA. 66

5 P^tast, si nulla a^gritudo huic gaudio interc^sserit.
S^d quern ego miM potissumum optem, quoi nunc
haec narr^m, dari ?
Ch. [To ^imseZ/] Quid niudgaudist?
Pa, [To himself^ Dduom uideo. N^most, quern

mallem 6mnium ;
Nam hunc scio mea sdlide solum g^uisurum gaudia.

Scene 6.

Davos. Pamphilvs. Chasinfs.

\Erder Davus, from Simons horise.']

Da, [To himaelf] P^philus ubi nam hie ^st?

Fa, Daue.

Da. [^Turning round'] Quis homost ?

Pa, Ego sum.

Da, Ptophile. 966

Pa, [Joyfully] Niseis quid mi optigerit.*

Da, [Skotving signs of suffering] Certe ; s^d quid

mi optigent scio.
Pa, ]fit quidem ego.

Da. More hdminum euenit, tit quod sim nanctus mali
Pritis resciscer^s tu, quam ego lllud qu6d tibi euenit
boni.
5 Pa. Gl^cerium mea su(5s parentis r^pperit.
Da, Factum bene !

Ch, [Aside] Keml

Pa, P^ter amicus stimmus nobis.
Da, Quis ?

Pa, Chremes.

Da, Narris probe. 970

66 TSRESn ANDBIA. [V. «L 7-17

PcL N^ mora nllast, qain iam oxorem ducam.
Ch. [^Aside] Num Ule sdnmiat

^ qiiae uigilans tuSliiit ?

Pa. Tnm de poero, Daae

Da, Ahdesina

Sdlos est qnem dfligant dL
Ch, {^Andel S^nos sum, si haec n^ra sunt.

Cdnloqiiar. [Advances.']
10 Pa, Quis homdst ? Cbarine, in tempore ipso mi

^uenis.
Ch, B^ne factum !
Pa, Audisti ?

Ch, 6mnia. Age, me in tuis secundis r^spice. 975

Ttios est nunc Ghremes; lacturum qua^ uoles scio
esse 6mnia.
Pa, M^mini ; atque adeo Itfngumst ilium me ^zspectaie
dum ^xeat.
S^uere hac tu me ; intus apud Gljceriumst nunc.
Tu, Daue, ^bl domum,
15 Prdpera, accerse hinc qui auf erant eam. Quid stas ?
Quid cess^ ?
Da, Eo.

[^Exeunt Pamphilus and Charinus into Olyce-

rium^s house, Davus comes forward and

addresses the audience,']

Ne ^xspectetis dum ^xeant hue; fntus despond^

bitur. 960

Intus transig^tur, siquid ^st quod restet. [^Exit

Davus into Simons hoiLse,]

w [The Cantor addressing the audience] Plaudite.

TBBBNTI ANDBIA FINITA.

NOTES.

A. & G. » Allen and Greeuoagh*s Latin Grammar.
B. = Beonett*8 Latin Grammar.
G. = Gildersleeye-Lodge Latin Grammar.
H. = Harkness* Latin Grammar, Complete £dltion.

Andrla Terenti : this, according to Donatus, was the title of
the play as publicly announced. The poet being yet unknown,
his name was given second place. The later plays, however, were
entitled, e.g., Terenti Fhormio.

DIDASCALIA.

The introductory notice, known as a didascalia (dida<rKa\la), was a
concise preface concerning the origin and first performance of a Latin
play. The word is derived from a special use of the verb diddaKcip,
which, from being applied to the Greek dramatic poets who taught the
actors their parts, came to denote the general work of preparing for
the public performance of a piece. Didascaliae were regularly pre-
pared by Roman grammarians, such as the famous M. Terentius Varro
(116-27 B.C.), who wrote much about the stage. It is not probable that
they were inserted in the Mss. of Terence before the Augustan age.

2. Ludis MegalenslbuB : see Introd. § 40. These games were
held in honor of Cybele, ij fieyd\7i fiifiTrip, whose worship was brought
from Fhrygia to Rome in 204 b.c. The games, first held in 103 b.c,
were celebrated in April (4th to 10th). The representation of plays
came, at an early time, to be one of th^r prominent features.

3. Aedilib • Corulib : the aediles (furules superintended the public
g£unes.

4. egere: brought out, exhibited; used of the stage manager, the
actor par eTicellence. L. Hatilius Fraenestinus : although named
in connection with Ambivius, it seems certain that he was of later date.

5. modoB fecit : the music was composed by, Flaccus Claudi :
sc. seruos, not fllius, as Donatus gives it. This slave wrote the music
for all the plays of Terence. On the music, see Introd. §§ 77-79.

67

68 NOTES. (Tags 1

6. libfl«iMHtastota:i9i^pi|ieso/e9iialn2elAroifjrAo«<tt«|il<qF.
TSBlBi a contracted fonn (^=tibiis). The flate-accompanimentB
meniloned in the commentaries and didascaliae are these : UbiaepareSj
tihiae imparest tibiae serranae, duae dextrae. The pares^ two straight
pipes of eqnal length, might be of yarioos kinds, differing in jntch. The
ierratuu and duae dextrae were both pares, the former being, it is
thonght, shorter than the latter. In the impares, the left pipe was
longer than the right and curved at the end. Tota is explained by
contrast with the accompaniment for the HeatUon : primum imparibus^
deinde duahu$ deztrU. (Thus A. A. Howard, on the A£X6t or Tibia,
Harvard 8tudie$ in Class. Phil, vol. IV, 1893.) See Introd. § 78.

7. Ckaeoa: i.e. it is Skpalliata. See Introd. § 26. Menandm :
i*e. HtpdpdpoVf the genitive. So, too, Apollodoru in the didascaliae of
the Phormio and Hecyra. On Menander, see Introd. § 24.

8. faota prima : first in order of production. See Introd. § 40.

9. COS = consuUbus: pronounced c&svlihus, with nasalized o.
So in inscriptions, cosol, cesos. Marcellus and Snlplcins were
eoDsnls in 166 b.c.

G. SULPICI APOLLINARIS PERIOCHA.

Snlpicins ApoUinaris was a representative of the learning current in
the days of the Antonines (second century a.d.). He was a native
of Carthage, the teacher of the Emperor Pertmax, and of Gellius, who
often eulogizes him (e.g. 4. 17. 11, virum praestanti litterarum scientia;
13. 18. 2, hominem memoriae nostrae doctissimum), a commentator on
Vergil; and the author of metrical summaries of the books of the
Aeneid and the plays of Terence. The Bembine Ms. styles these
summaries periochae (ireptoxa/) ; other Mss. call them argumenta.
Each Terentian periocha consists of twelve iambic senarii, written
in imitation of the language and metrical usages of the dramatist
himself.

1. meretiloalae : this particular form, though used by Plautus, is
not found in Terence.

2. Olyotfiium : Terence always has the ictus on the first syllable of
this word, not on the second, as here.

8. aiilUu : in making this a trisyllable, Sulpicius follows usage as
exemplified by Lucretius, not by Terence. So suddent in Lucr, 4.
1167 (where see Munro).

12. aliam = alteram : a use not found in Plautus or Terence out-
side of the argumenta or periochae.

Pagib 3] PROLOGUE. 69

PERSONAE.

No Terentian Ms. contains lists of the dramatis personae for the
yarious plays, but these are gathered from the headings to the different
scenes. Some Mss., however, depict at the beginning of each play the
masks to be used in the representation, the number in the Andria
being thirteen, including the prologue. The arrangement adopted by
editors follows the order of entrance of the characters upon the stage,
not, as in modem plays, their relative importance. On the masks, see
Introd. § 46.

One of the characters in the Andria, viz. Glycerium, is heard only
from behind the scenes.

The character names are all Greek, and while some are etymologi>
cally indicative of the parts played by their owners, others probably
have a merely traditional significance, derived from frequent use in the
New Comedy. Charinus (x<^P«)» Pamphilus (iras, 0tX^w), and Glyce-
rium (yXvKiis) are all, certainly, appropriate as the names of lovers ;
Crito {Kplveip) naturally settles the point at issue ; but it is less easy
to find any special significance in Simo, even if ^ifiMv comes from
&iti6sj flat-nosed, or in Chremes, for we have no reason to suppose that
that polite old gentleman indulges in unpleasant hawking (xp^Mirrojuat)
or neighs like a horse (xp«A*€T£fw). Moreover, the former name is
used by Plautus in the Mostellaria and Pseudolus, while the latter is
found in no fewer than four plays of Terence {Andria, Eunuchus,
Heauton, Phormio), and in one {Eunuchus) belongs to a youth. Not
including the Prologus, the names Sosia, Davus, Pamphilus, Chremes,
Crito, and Dromo are found in other Terentian plays, and all of these,
except Crito, are also Plautine. Dromo (the runner) and Byrria
(red-haired) are characteristic slave-names ; Sosia (ad)i!eip) is a freed-
man or slave of good repute, while Davus, like Mysis (the Mysian) and
Lesbia (the Lesbian) has an ethnic name (from Aaoi, the Dacians);
cf . Syrus, Geta, Dorus, Phrygia, all slave-names in other plays.

PROLOGUE.

The prologues of Terence are devoted, not to an exposition of the
plot, but mainly to a defence against hostile criticism. They, there-
fore, lie completely outside of the dramatic action. In the prologue,
the poet sub persona sua, besides replying to the attacks of critics,
appeals to the audience for a fair hearing. The reciter of the prologue
was usually a young man, though in the case of the Heauton and the

70 NOTES. [Pagb 3

Hecyra, we learn that the duty was assigned to an old man, probably
in both cases Ambivius Turpio. •

Since the Andria was the first play which Terence exhibited, and
since this prologue implies a knowledge of the play on the part of the
critic, it follows either that this prologue was not written for the first
performance, or that the uetiLS poeta (line 7) had some means of be-
coming acquainted with the play before its public presentation. It
is possible, of course, that the critic derived his knowledge from the
recitation before Caecilius (see Introd. § 31), or from the preliminary
rehearsal before the curule aediles ; but Karsten (in his article Teren-
tiani Prologi^) gives several reasons for believing that the Andria
originally had no prologue, and that the extant one belongs to a second
performance. Lines 1-7, 24-28, could hardly have been written by a
hitherto unknown playwright, unless we are prepared to admit that
the young and modest Terence could speak with surprising confidence
of his own future work, as well as with unbecoming irony (line 17) of
an older and well-known poet. The uetus poeta knew the Andria^
had definite knowledge of the contaminatio, and must have attacked
Terence first (lines 7, 15). Would he have done this before the
Andria was presented in public ? The p\\iTaA, prologis (line 5), points
to the same conclusion, and the last line finds its easiest explanation
in the Hecyra^s failure (165 b.c). Karsten assigns this second per-
formance of the Andria to 162 b.c, the year after the HeaiUon was
successfully produced. ^ See Introd. § 40. note 3.

1. poeta quom adpulit . . . credidit : this is the normal order
in a Latin sentence, when the subject of the main and subordinate
clauses is the same, whereas in English we say, *^when the poet ap-
plied , . . he believed" ; cf. (e.g.) Livy 21. 53, Hannibal, cum quid
optimum foret hosti cerneret, vix ullam spem habebat, B. 361. 2.
poeta : used always by Terence instead of his own name. quom :
i.e. cum. Quom, the original form, is the orthography which pre-
vailed till about the end of the Republic ; quum belongs to the latest
period of Latin, and ought to disappear from all classical texts.
•crlbendum : this consisted chiefiy of the work of translating from
the Greek originals. In the prologue to the Adelphoe, scriptura is
similarly used. adpulit : adpellere is literally, to drive, or bring
to, and in Cicero is used only as a nautical term, with or without
navem or a similar word.

1 Mnemosyne f vol. 22 (1894), p. 175.

3 For the abundant literature on this subject, see Karsten's article, p. 175.

Page 3] PROLOGUE. 71

2. id . . . dari : thought that the only task imposed upon him was
this. negoti : a partitive genitive with id. Such expressions are
very common in Terence ; cf. 521, 963, 963. So in Cicero, of time,
id temporis, Mil 10. 28; Verr. 2. 2. 39. 96; id aetatis, de OraL 1.
47. 207 ; Verr, 2. 2. 14. 37 and 37. 91 ; pro ClueiUio, 51. 141 ; cf; istuc
aetatis, Heaut. 110.

3. popnlo . . . fabnlas : note the double alliteration. This fea-
ture is exceedingly common in Flautus and the early poets generally ;
less so in the later. The Incorporation of the antecedent is a natural
one, that whatever plays he composed should please ; cf. 26. For /ca«-
set, see A. & G. 337. 3; B. 319. a; G. 666. 3 (iii); H. 644. 2. As
placerent is to placebunt, so is fecisset to feeero.

4. multo : in this position, multo strengthens aliter emphatically
— turns out otherwise — very much so,

5. prdlogis: but in Greek irpo-. The o is doubtless due to the
Latin pro ; cf . vpoirlvia and the occasional quantity, propino^ A. & G.
364. (? ; B. 363. 4 ; G. 715. 4 ; H. 719. 1. scrlbundla : but sen-
bendum, line 1. Thus the Mss. Of these endings, neither can be said
to be the earlier, though -undo- was in later Latin confined to legal
and archaic language, e.g. res repetundae. (Lindsay, Lat, Lang, p.
544.) operam abutitur: abutor always takes the accusative in
Flautus and Terence, but utor generally the ablative ; fruor always
the ablative except Heaut, 401 ; fungor always the accusative, except
in Adelphoe^ 603, where, however, Wagner, Dziatzko, and Fleckeisen
read the accusative. abutitur: uses up^ the ■ invariable meaning
for Flautus and Terence. Indeed, very seldom in Latin literature
is the secondary meaning, misuse^ abuse, necessary for this word.
See Long on Cic. Verr, 2. 5. 43. 114. In Cic. Cat. 1. 1, Quous-
que tandem abutere patientia nostra should be rendered by u«e up,
consume,

6. qui : in early Latin a common instrumental (or perhaps loca-
tive) form of the relative, interrogative, or indefinite pronoun. Hence
a variety of uses. Here qui is a final particle; cf. 307, 334, 408.
argumentum narret : set forth the plot. Terence^s practice is to tell
the plot, not in the prologue, but in the play itself. Cf . Ad. prol. 22 : —

Dehinc ne ^xpectetis drgumentum fdbulae :
Sen^ qui primi v6nient, ei partem Aperient,
In agendo partem ost^ndent.

maliuoli : this was the spelling in the Republican period, not maleuo-
lus, which was due to re-composition.

72 NOTES. [Pagb 3

7. The uetus poeta was Luscius Lanuvlnus, a rival playwright,
who did all in his power to injure Terence. He attacked the latter
chiefly because of his practice of cofttaminatio. See line 16.

8. uitio dent: sc. poetae (dative). The subject is the critics.
For the final dative, see A. & G. 233 ; B. 191 ; G. 366 ; H. 433 ; Roby,
pref. Bk. II. p. zxv. quaeso: often used parenthetically. It is
from an earlier form, quaeaaoj connected with quaero (^quaiso), as
incesso with incedo.

9. The Andria was so called because of the girl from Andros, one
of the Cyclades. Similarly in the Perinthia^ one of the female char-
acters came from Perinthos in Thrace.

10. norlt . . . nouerit : future-perfect forms. The line illustrates
Terence^s use of the full and contracted forms in the perfect tenses, as
(e.g.) -oueram and -oram^ -alteram and -aram^ -eueram and -eram,
"iueram and -ieram. The full forms he uses regularly at the close
of a line (cf. 494, 664, 673); the contracted forms only in the
middle (cf. 238, 341, 379, 620, 662, 914, 922, 934). With mono-
syllabic stems, however, the full form may stand in the middle of
the line. So ^reueritt Phorm. 684; noueram^ Eun. 778; lauerit,
Heaut, 618.

11. non ita : note this common use with an adjective, as in Cic.
Brut. 69. 244, non Ua multos. In Cicero, non ita valde, when a verb
follows ; cf . de Nat. Deor. 1. 31. 86, non ita valde moventur.

12. oratione ac stllo: according to Donatus, oratio ad res
refertur, stilus ad verba; oratio in sensu, stilus in verbis. ArgMn
mentum is the main story, or plot ; oratio embraces the sentiments
founded upon it ; stilus is the tone or style. Cf. Phorm. prol. 6 ;
tenui esse oratione et scriptura levi, where scriptura corresponds to
stilus here. In Flautus, stilus is always used literally of the pen — an
illustration of the much more extended use of metaphor in Terence as
compared with Flautus.

14. fatetur : sc. poeta. transtaliBse : sc. se. This omission
is frequent in Terence ; cf . 145 ; and see B. 314. 6 ; G. 627. 3. The
whole of the first scene, according to Donatus, is based on the Perin-
thia. One criticism of Terence's art is that there is too much simi-
larity in his plots, and indeed in the very names of his characters.
See Sellar, Soman Poets of the Bepublic, p. 216.

15. id Istl: for the scansion, see Introd. § 64. Istl: i.e. the
-poet's critics ; cf. istorum, 21. in eo : herein, or in this connection^
more commonly in ea re, as in 94 ; cf. 46. disputant : maintain,
originally calculate.

Paob 8] PROLOGUE. 73

16. cantmnlnaii : mixed, cf. Heaut. prol. 16-19: —

Nam qu(5d ramores dfstalerant m^yoli
Mult^ contamin^isse Graecas, dtim facit
Fauc^ Latinas : f ^tam hie ^sse id n<5n negat
Neque s^ pigere et delnde factumm atitumat.

The word means literally bring together^ mix, but mioeing is often
synonymous with ^oiling, polluting, and this is the usual significa-
tiou of the word. In Terence, the word involves a double meaning,
for, as used by his critics, it obviously implies ^oiling, but since
Terence would hardly admit the charge that he spoiled many Greek
plays (Heaut. 17), it is clear that he accepts the word in its neutral
sense. So contagium and contagio are used by Lucretius (3. 346, 740)
and Cicero (de Fato, 3. 5, etc.) in the neutral sense. A comedy that
was turned into Latin without admixture with another was called
integra (Heaut. 4), the opposite, therefore, of contaminata.

17. facinntne . . . intellegant : is not the net result of their
knowingness this, that they know nothing f A good instance of oxy-
moron, -ne often in Plautus and Terence for nonne ; cf . the frequent
estne hie, as in 801. A. & G. 210. d ; B. 162. 2. c ; G. 454. note 5.
nibil : the forms nihil and nil are interchangeable. There was a
constant tendency to drop initial or medial h, which had little pho-
netic, value; cf. prendo, uemens. In Plautus, nihil is always a
monosyllable.

18. accosant : for the indicative, cf . B. 290. 1 ; G. 682. Nae-
uium, etQ. : see Introd. §§ 27-29.

19. hie noster : this poet of ours, the writer keeping up the method
of speaking of himself in the third person : cf. Hor. Sat. 2. 6. 47, sub-
iectior in diem et horam invidiae noster. auctores : guides, models.
These writers, especially Plautus, took many liberties with their origi-
nals. Hence, perhaps, Horace's criticism of Plautus, securus cadat an
recto stetfabula talo (Epist. 2. 1. 176).

20. neclegentiam : careless freedom ; necl- is the correct spelling
for Terence. The authors named may or may not have practised
contaminatio, but they did show much freedom in dealing with their
originals. Terence claims that his own practice of contaminatio,
which is so severely denounced by the critics, is but in accord with
this freedom.

21. obscuram diligentiam : unintelligible accuracy. By dUi-
gentia is meant such an extreme precision in reproducing the original,
in its form, manner, and composition, as to forbid originality and tend

74 NOTES. [Page 3

to obBCurity and pedantry. Terence, as compared with Flautus, ad-
hered closely to his originals, but not so closely as to become unin-
telligible and pedantic. Somewhat analogous, perhaps, is the faulty
accuracy which led Browning to transfer, not translate, Greek idioms
into English. ^^But there really are also a great many lines (i.e. in
the Agamemnon) where I can only construe and comprehend Mr.
.Browning's rugged verse, when I have the Greek before me to inter-
pret it" (W. C. Lawton in American Journal of Philology, vol. XVII,
p. 214). See App.

22. dehinc: a monosyllable, as always in Plautus and Terence.
So deinde is a dissyllable. dehinc porro : from now on,

23. ne noscant: i.e. through me.

24. fauete : sc. Unguis, favor me with silence. So before the per-
formance of mysteries, the priest enjoined silence on the spectators ;
cf. Hor. Carm. 3. 1. 2, favete Unguis; Verg. Aen. 5. 71, ore favete
omnes; Tibull. 2. 2. 1; Aristophanes, Banae, 363, e^ri/jLeiv xp^ k.t.\.
A request for silence is found in the prologues of the Heauton,
Eunuchus, Hecyra, and Phormio. A Roman audience was appar-
ently very noisy during the recital of the prologue ; cf. Plant. CapU
12 f ., and Ter. Heaut. 37-40. adeste aequo azumo : he attentive
and fair-minded, Cf . Phorm, 30, —

Date 6peram, adeste aequo ^nimo per sil^ntium.

rem cognoscite : i.e. as you would do if you were judges in a lawsuit,
cognoscere being used commonly of judicial investigation.

25. spei : a monosyllable. relicuom : sc. nobis. l\e word is
tetrasyllable in Plautus and Terence. Not found in Vergil or Horace.

26. de integro : afresh, anew, as opposed to the Andria, co-
moedias : see note on 3.

27. spectandae . . . Bint : whether they will he worth seeing. We
might expect a clause with the infinitive, dependent on the expres-
sion of hope. As it is, we have a double question, parallel to ecquid
spei sit, and like it dependent on pernoscatis. ezigendae : when
the Hecyra was first exhibited, the company was actually hissed from
the stage. See Phorm, prol. 32, Quompkr tumultum ndster grex mof&s
locost. priuB : probably in its usual sense. The plays are to be
hissed hefore they are seen. Commentators generally give it the
meaning of potius, rather.

Pagb 4] ACT I. SCENE 1. 76

ACT I. SCENE 1.

Simo api>ears with his freedman Sosia, followed by two slaves, who
are carrying the provisions bought in the market. The old Mss. illus-
trations show fish, fowl, vegetables, and cooking-utensils. On this
opening scene, see Introd. § 36.

28. istaec : the supplies just purchased.

29. ad^sdum: come here now. The ictus corresponds with the
word-accent, as here dum is no^ a separate word, but an enclitic. This
dww, originally temporal in force (= ** a while," **a bit"), being an
accusative singular neuter from a nominal or pronominal stem, and
identical with the conjunction dwm, is used freely with imperatives in
early Latin, and survives in later Latin in agedum, agitedumy as well
as nondum, nedum^ etc. See Lindsay, LaU Lang. p. 609. paucis
te uolo : for the ablative pauciSy cf. Eun. 1067, audite paucis^ etc.
Here the ablative modifies a verb understood, e.g. appellare (cf . Plant.
Aul, 199, paucis te volo appellare) or conloqui (cf. Plant. Men. 431,
hunc volo conloqui). dictum puta: regard it as said; equivalent
to teneoy I understand, you need say no more.

30. nempe ut : sc. vis. curentur : looked after, i.e. cooked, =
coquantur (Don.).

31. ars : cookery took high rank as an art in the degenerate days
of the Middle and New Attic comedy. ^* It was no mere trade, but a
natural gift, a special art, a school of higher philosophy " (MahafEy,
Social Life in Greece, p. 299).

32. Istac : as demonstrative of the second person, corresponds to
mea of the previous line.

33. eis : sc. artibtts, in the sense of virtues. So used by Plautus,
Cicero, Horace, etc.; cf. Hor. Carm. 4. 15. 12.

35. For ego to open a narrative, cf. 330, 682, 676. It makes an
emphatic beginning (gravis inceptio orationis, Don.). a paruolo:
from boyhood. So aparvulis, Caes. B. O. 6. 21 ; aparvis, Andr. 639 ;
a pueris parvolis, Adel. 494 ; ez pueins excessit, Cic. pro Archia, 3. 4.
The Latin idiom is frequently concrete where the English is abstract ;
cf. ex seruo, 37. ut . . . iusta et clemens faerlt : how equitable
and easy it has been. To secure the assistance of Sosia, Simo reminds
him of the favors conferred upon him.

36. aptid me: note the ictus. The personal pronouns, unless
emphatic, are unaccented. Apud me makes a word group, a sort of
compound word. So in Plautus always vae miserd mihi. See Introd.
§62.

76 NOTES. [Page 4

38. aemibas : Plautus and Terence use both -ibam and -iebam in
the imperfect of fourth conjugation verbs. The shorter form is also
used occasionally by later poets, metri out antiquitatis causa, Ube-
raliter : with a free spirit, suggested probably by Menander'.s iXevBi/ws
8o6\€V€f 8ov\os odK ^<rec.

39. pretium: =praemium, reward, this being freedom; of. 610.

40. haud muto factum : Sosia has shown by the tone of his in
memoria habeo that he is inclined to take offence. In this remark
Simo hastens to remove any wrong impressions. It was apparently
possible for a freedman to be reduced again to slavery, e.g. if he was
found to be guilty of gross ingratitude toward his patron.

41. SImo : note the quantity as contrasted with Zt/uav, and see
note on Personae, p. 69.

42. gratom . . . gratiam : these plays on words are very common
in the language of comedy^ especially in Plautus ; that this has been
pleasing in your eyes gives me pleasure. aduorsom te : literally,
**in your presence, ^^ before you. For the scansion of the line, see
Introd. § 54.

43. moXestumst : est (in this case an enclitic form ^st) commonly
unites thus in Terence with preceding adjectives and participles. B.
App. § 202. 3.

44. exprobratiost inmemori : the use of verbal nouns in -tio,
often with verbal constructions, as here the dative, is frequent in com-
edy, especially in Plautus.

45. quin, why not f is used with both the indicative and the
imperative, in the latter case by constructio ad sensum, for quin dicis
is equivalent to an imperative. A. & G. 269. /. ; B. 281. 3 ; G. 269 ; H.
694. 1. quid est : in comedy, questions which in classical Latin
would be treated as subordinate are often regarded as independent of
the verb of saying ; cf. the difference between ^* Tell me what it is,*'
and ^^Tell me, what is it?'* quod me uelis: for the mood, see
A. & G. 320. a; B. 283. 2; G. 631. 2; H. 691. me: similar to te
in 29, though in view of the frequency of such expressions as (e.g.)
quis me uolt f (873), the feeling for an omitted verb was probably lost.
In any case, this is an instance of the double accusative construction.

46. ita faciam : Simo is too garrulous a man to keep this promise.

47. quae . . . has . . . nuptiae : for the attraction, cf . 3.

48. qu5r = cur. So fur (thief) comes from a form *fdr (Greek
(piip), rem omnem : the rest of the scene is devoted to an explana-
tion of the story, so that the first scene is a sort of prologue to the play
(cf. Donatus on argumentum narret, prol. 6 : quod verum prologi est

Page 5] ACT I. SCENE 1. 77

offldum). The narrative, as line 49 indicates, is to be divided into
three parts, corresponding to Cicero's divisio tripartita of a speech (de
Invent. 1. 23. 33), and thus we have the gnati uitam, 51-166 ; con-
siUum meum, 167-167 ; quid uelim, 168-170.

50. ' cognosces : for variations of construction with the one verb,
cf. 210, 277, 616, 826.

51. nam : this use of a causal particle in beginning a narrative is
possibly due to a ydp in the Greek original. Translate by now or well
then. Cicero, de Orat. 2. 80. 326, gives this passage as an instance of
lucid, even if lengthy, narrative. ezcesslt ez ephebis : cf . note
on line 36. The same expression occurs in Plautus, Merc. 61. When
eighteen years old, the Athenian youth was admitted among the ephehi
(mature youths), with whom he remained till he was twenty. During
theae two years he served in the militia as a irep/iroXos, but at the end
of this time he entered upon the ordinary occupations of manhood.
Here, however, the word ephehi may be used in a more general sense,
similar to adulescentes. So Horace, Epiat. 2. 1. 171. nam antea:
this nam gives the reason why Simo does not begin the narrative with
an earlier period ; antea only here in Terence, and nowhere in Plautus,
who uses ante, antehac, and antidhac. On this line, see App.

53. qui = quo modo ; cf . 6 and note. posses : deliberative sub-
junctive.

54. dum : here and in Eun. 728 with the imperfect of past con-
temporaneous action. The perfect is the common tense of past time
in a duOT-clause in comedy. The historical present does not occur
before Sallust. 6. 669. note 1. magister : i.e. the vM^aytaybt,
or slave who attended the boy to school. It is interesting to contrast
the present use of school-master and pedagogue. Note the effective
asyndeton in enumeration.

55. plerlque omnes : almost all ; cf . Heaut. 830, dixi pleraque
omnia ; Phorm. 172. That the expression was regarded as archaic in
the time of Gellius, is seen from the heading of one of his lost chapters
(Vin. 12), Quid significet inveterum libris scriptum ^^plerique ownes."
adulescentoli : our young fellows ; diminutive forms, both for sub-
stantives and adjectives, are very characteristic of colloquial Latin.
So, too, they are very common in modem Italian.

56. ut . . . adiungant: explanatory; A. & G. 332. /; B. 297.
3 ; G. 667 ; H. 671. 4. anliimm adiimgere ; used again in Hec.
683, and read by some in Hec. 690, devote attention to some favorite
pursuit. Terence also uses animum adpellere (Andr. prol. 1; 446);
animum adplicare (Andr, 193); animum adducere (Hec. 836).

78 NOTES. [Pagb 5

57. alere: used in apposition with seudium. ad philosophos :
with animum adiungant The change of construction is due to con-
versational freedom. So, too, horum (68) notwithstanding the singu-
lar quod. The leisure time of young men of means is here described
as devoted either to horsemanship and the chase or to study in the
schools of philosophy. They would thus, according to their tastes,
continue to follow one or the other of the two main lines of Athenian
education, yviivaariK'fi and /uouo-iici}, the latter being a much wider term
than our *• music * ; cf. Plato, Bep, 3, especially § 412. a and 6. The
passage here is very like one in Isocrates, Areopagiticus, § 45, **The
Areopagites compelled citizens of ample means to engage in horseman-
ship, gymnastics, hunting, and philosophy." Evidently, then, no joke
is intended in the juxtaposition of hunting dogs and philosophers.

58. horum = harum rerum; A. & G. 188. b ; B. 236. 2 ; G. 204. 4.
nihil : the accusative with atudere occurs with neuter pronouns and
adjectives. Otherwise the dative is usual. Cf. illud ipsum quod
studet (Cic. Fin. 5. 2. 6). For the thought, cf. Steele, The Conscious
Lovers, Act I. 2, ** You have not been particular . . . you have done
nothing but lived in the general."

60. gaudebam: cf. 89. An expressive close. It is character-
istically Greek that Simo should be glad that his son followed no
pursuit, however innocent, to excess ; firjS^p ikyav applies to philosophy
as well as to sport. non iniuria : not without reason. Iniuria is
the opposite of iure.

61. adpxlme : gives a superlative sense to the adjective ; it is used
only in ante- and post-classical Latin. at : sc. agas (Don.). See
note on 56. The omission of a subjunctive mood is uncommon in
classical Latin ; cf . 120. nequid nimis : a translation of the pro-
verbial fiifSkp Hyav,

62. Bic : this use of sic in the sense of talis, with esse and other
neuter verbs, is especially common in colloquial Latin ; cf . Fhorm, 70,
sic est ingenium ; Cic. Fam. 9. 9, rectissime sunt omnia, perieire :
the historical infinitive is a favorite construction with Terence.

63. quomque : for the tmesis, cf. 263. In Hor. Carm. 1. 32. 15,
mihi cumque salve rite vocanti, cumque stands independent of any
relative pronoun, but it is generally regarded as a corruption. In
Lucretius 2. 114, cumque follows cum, but Munro (on 5. 313) is in-
clined to suspect the reading. aese dedere : devoted himself,

64. eorum obsequi studlia : acquiesced in their pursuits. The
redundancy here is due partly to Simo*s garrulity and partly to the
author^s desire to emphasize the complaisant character of Famphilus.

Page 6] ACT L SCENE 1. 79

65. Ita at : Terence frequently uses ita with the comparative ut ;
cf. 77 and 80. The ut clause here is not one of result, but ita ut = eo
modOj quo. For ita tit fa-, see Introd. § 54.

66. iDueniBLB, one would Jind. The subject is indefinite.

67. hoc tempore : nowadays.

68. obsequium . . . parit : quoted by Cicero, de Amicitia, 24. 89,
and by Quintilian, 8. 6. 4. Sosia has a weakness for proverbial say-
ings ; cf. 61. Donatus criticises the sentiment, sententia magis theatro
apta, quam officio, but obsequium merely echoes obsequi (64), which
Simo uses in praise of his son.

69. abblnc : note the difference between it and dehinc (22).

70. Andro : Andros, one of the most barren islands of the Cyc-
lades, was the fitting home for a poor woman. According to the
well-known story in Herodotus (8. Ill), when Themistocles, after
repelling the forces of Xerxes, demanded a money contribution from
the Andrians, telling them that on his side were Persuasion and
Necessity, they retorted that they could give no money, for Poverty
and Need never forsook their island. hue uiciniam : to this
neighborhood; cf. escende hue meam navem (Caecilius, 33 R.). The
accusative as limit of motion in apposition to hue corresponds to hie
viciniae (locative), Phorm. 95 (cf. Plant. Bacch. 205), and to prox-
uma vicinia (abl. whence), Plant. Most. 1063, or hinc a vicino sene,
Plant. Mil. 154 ; cf. domum, domi, and domo.

71. cognatomm : in the broad sense of kindred, not limited to
contrast with agnati. At Athens, according to a law of Solon's, the
nearest of kin had to marry an orphan girl or provide her with a
dowry ; cf. Phorm. 125 : —

Lex ^t ut orbae, qui sint genere prdxumi,

Eis ntibant, et illos dtlcere eadem haec l^x iubet.

We may suppose that no such law was in force in Andros ; cf. Huth,
iii. 12 and 13.

73. el : interjection — hei.

74. pudice : defined by parce ac duriter. Hence the absence of a
connective after pudice. She lived a pure life, being thrifty and self-
denying ; cf. Ad. 45, semper parce ac duriter se habere. duxiter :
adverbs in -ter from adjectives in -us are archaic and colloquial.
Plautus has eleven instances, but Terence only this duriter; for
uiolenter must be referred to uiolens. Cicero has very few in-
stances outside of the Epistles, which are charactei^zed by sermo
familiaris.

80 NOTES. [Paob 6

77-78. ita nt . . . ad Inbidiiiein : as all the world is prone to
descend from toil to pleasure. Thus the refined Terence speaks
euphemistically of the terribly down-hill course of vice. Our author
is fond of the unnecessary ita; cf. 65 and 80.

79. condicionem : a compact^ their terms. dehlnc : see note
on 22. 'Eov'dehinc with the historical present, cf. Verg. Aen. 1. 131,
Eurum ad se Zephyrumque vocat, dehinc talia fatur; Aen. 3. 464,
dona dehinc . . . imperat ferri. qnaestnm : the word is used of
a money-making employment, especially of a disreputable kind.

81. esset = ederet. This is the preferable explanation. The
houses of the hetaerae were frequently used for dinner parties; cf.
Plaut. Men. 209, where Menaechmus directs Erotium to provide a meal
for three. Donatus, however, shows that there was doubt in his day
as to the interpretation. Yet esset from sum seems vague and makes
the clause an idle addition.

82. egomet: used in accordance with the tendency in colloquial
language to employ stronger expressions than are necessary. So, too,
the omission of common verbs of saying or doing is characteristic of
familiar style ; cf . 88. See A. & G. 206. c ; G. 209. note 6. captus
est : like habet, this is probably an expression that belongs to gladia-
torial combats. Note the alliteration.

83. habet: Tie has it, he is struck; cf. Verg. Aen. 12. 396, hoc
habet, used of one who has his death-blow. So the wounded Mercutio
in Homeo and Juliet HI. 1, "I have it! and soundly, too." ser-
uoloB : see note on 55.

84. rogltabam : frequentatives, as well as diminutives, are most
frequent in popular speech. See notes on 55 and 82. Bogitare is
rare outside of comedy.

86. teneo : / understand. So 300, 498.

88. symbolam dedit: paid his scot. For this Greek word,
symbola, Cicero coins collecta (de Orat. 2. 57. 233). The holding
of club dinners, to which each guest contributed his share in money
or provisions, was a common Greek custom. A man who attended
such a dinner without contributing was called asymbolus (immunis);
cf . Phorm. 339.

90. qoaerebam ; comperlebam : Such repetitions of closing
syllables (6/uocor Aevra) are common in Terence. nil . . . quic-
qiiam : a frequent pleonasm in colloquial language ; cf . Phorm. 80,
250, etc.

91. enim nero : indeed, to be sure, commonly written as one
word. Note that enim in early Latin could stand at the beginning of

Page 7] ACT I. SCENE 1. 81

a sentence. In later Latin this is allowable only when enim is used in
the compound enimuero. Bpectatnm : approved. The same ex-
pression is used by Horace (^Epist, 1. 1. 2) of the gladiator who has won
distinction ; cl notes on 82. 83.

93. nam qui, etc.: for when a man is brought into contact with
such characters as these^ and yet his disposition is not affected thereby,
ingenila : characters. The change from the abstract to the concrete
is illustrated by the English ** genius,'* as well as by ^* character.**
oonflictatur : the figure of a combat is still in the speaker's mind.
See notes on 82, 83, and 91. eiuB : a monosyllable. See Introd. § 60.

94. neque commouetar : there is a change of subject. anl-
rnuB : sc. cuius = qui animo, tamen = d/uus, and due to the con-
cessive idea implied in in ea re.

95. Bcias, etc. : one may be sure that by this time unaided (ipsum)
he can exercise control over his life. For sdas, see A. & G. 311. a ;
B. 280 and 366. 3 ; 6. 257 ; H. 552. Both scias and suae are here
made monosyllabic by synizesis.

96. cum . . . tnm : not only , . .but also. See A. & G. 156. ^ and
208. d; B. 290. 2 ; G. 588. 2 ; H. 657. 4. note 1. omnes omnia :
a common collocation in Terence for emphasis ; cf . Ad. 299. 978.

97. dicere et laudare : see note on perferrcj 62. bona : favor-
able, and so bona (sc. mihi) dicere is congratulate. fortunaa: flne
fortune. Plural for emphasis, according to Don. It is difficult, how-
ever, to see any emphasis in 609, Phorm. 201. 473, or Heaut. 463.

98. qui : finds its antecedent in meas = mei.

99. fama : Famphilus enjoyed an excellent reputation, and the best
proof of this is that Chremes was anxious to secure him as his son-in-
law.

100. ultro: of his own accord; mentioned because tt was usual
for the young man's father to make the first advances.

101. dote : the settlement of the dowry was a veiy important
question in a Roman marriage. See 950.

102. placuit; despdndi: for the asyndeton, cf. lines 89, 90.
despondi: sc. eum (not earn, as Lewis & Short under despondeo).
The betrothal was a verbal contract, or stipulatio, i.e. one made in a
prescribed form of solemn words. Under the old civil law of Rome,
the contract was valid only when one of the parties put the question,
spondee f and the other replied, spondeo. Note that neither the son of
Simo, nor, apparently, the daughter of Chremes had been consulted
on the marriage question. This was fully in accord with the customs
of Rome. A man could not marry without the consent of the head of

o

82 NOTES. [Page 7

the family, whether this was father or grandfather. A good account
of the s^cient pcUria potestaa is given in Maine^s Ancient Law, ch. 5.

103. quor (cur) non = quominus, quin or ne. B. 296. 3 and 7 ;
A. & G. 331. 2 ; 332. ^ ; G. 548. 649. 666 ; H. 596.

104. fere . . . acta aunt : in the course of some few days after this
was settled^ haec being the betrothal. The ablative quibus expresses
time after which and = post quam; so Caes. B, G. 3. 23, paucis diebus^
quibus eo ventum erat; B. O, 4. 18, diebus decern^ quibvA materia
coepta erat comportari; Cic. pro Bosc. Am. 7. 20, quadriduo quo
haec gesta sunt^ res ad Chrysogonum defertur; in Verr. 2. 2. 15. 37,
diebus triginta quibus scHpta esset ; Sueton. Tiber, 60, in paucis die-
bus quam Capreas attigit. The relative pronoun appears to be due to
a species of attraction.

105. O faotmn bene : How fortunate ! cf . 969. The converse is
male factum^ as in Phorm. 761.

106. beaati: you delight me. Except in the form beatu^^ this
verb belongs to comedy and poetry. It is a favorite with Horace.
Ibi turn : a pleonastic expression, for which we also find tum ibi (as
in Plant. Curculio, 648). Ibi is temporal ; cf. 131, 223, 356, 379, 634 ;
Cic. pro Caec. 10. 27.

107. frequens: used instead of the adverb flrequenter, as often
in later Latin ; cf. Cic. de Senect, 11. 88, venio in senatum fre-
quens,

109. oonlacmmabat : wept freely. This is better than ** wept
with them,'* because the father is touched by this evidence of emotion
on the part of his son in particular ; cf. congemo, conlaudo, conclamo,
etc. The prefix is peculiarly common in colloquial Latin. For the
short, abrupt sentences cf. lines 89 and 90, 102, 117, 123-129, 285, 602.

110. odnsaetadlniB : intimacy; cf. consuetum amorem, 135.

111. oatiBa : because of, i.e. by cause of,

112. mihl: the original quantity preserved under the ictus; cf.
684, 703, where tibl closes the first half of an iambic septenarius.

113. humaoi: kindly.

114. manaaeti animi : gentle disposition.

115. eiiiB oauaa : for his sake.

116. etiam, like ^n, has here a temporal meaning, as in 940. Nil
etiam = nondum quicquam ; cf. Cic. CaZ, 1.1, quamdiu etiam furor iste
tutu nos eludet f So nondum etiam, 201 ; and non , . . etiam, 503.

117. imna : of the funeral procession. Cic. de Orat. 2. 80. 327,
says (see note on 51), hoc ipsum '^ecfertur, imus^^ concisum est ita ut
non brevitati servitum sit, sed magis venustati.

Pagb 8] ACT I. SCENE 1. 83

118. nnam : equivalent to our indefinite article, or to quidam.

120. at nil supra : colloquial brevity, sc. e88e possU ; cf . Ad. 264,
Eun, 427. In Cic. Ep. 14. 1. 4, and ad AU. 13. 19. 3, the verb ia ex-
pressed. Donatus styles the idiom ellipsis Terentiana, and states that
it did not meet with general approval. Note the art with which the
father is made to acknowledge the beauty of Glycerium. After such
a confession, we do not expect very active opposition to his son's de-
sire to marry her.

121. quia . . . praeter ceteras : the repetition of these words in
122 is in keeping with the emphatic style of Simons narrative. The
second clause, too, repeating his former remark about the girPs beauty,
illustrates the impression made upon Simo*s mind, and also increases
our interest in Glycerium.

123. honesta ao liberali : comely and genteel. So coniugio libe-
rali, 561. pedisequas : waiting-women. Chrysis had become well
enough off to keep a number of servants ; see 797. In Athens it was
only the very poorest citizens who had no slaves.

125. perouaait ilico anlmum : at once a thought flashed through
my mind, Percussit is practically impersonal. The subject is latent
in the following words. ilico : literally, on the spot, i.e. immedi-
(Uely. The distinctly local meaning is also found in Terence ; cf.
Phorm. 194. attat . . . est : Ah I there we have it ! Note the
quantity attdt, hoc illud= tout iKeivo (Aristophanes, Banae, 1342) ;
cf. Verg. Aen. 4. 675, Hoc illud, germana, fuit f More numerous are
the cases where the idea in view is more fully defined, as Cic. de
Senect. 20. 72, Jwc illud est quod Pisistrato tyranno a Solone respon-
sum est. Thus, similar to haec illast misericordia, is Verg. Aen.
3. 568, Nimirum haec ilia Charyhdis,

126. hinc illae lacrumae : this expression, here used literally,
became proverbial in the more general sense of hoc illud est. Thus
Cicero, who is fond of synonyms, follows up the phrase, in pro Gael,
25. 61, with et haec cau^a est omnium scelerum ; cf. Hor. Epist. 1. 19.
41, where the poet explains why some critics decry him.

127. quam timeo : quam alone with verbs is commonest in con-
versational style. Cicero employs it not only in his letters (as Att.
14. 15. 3, quam velim, and Att. 12. 20. 1), but occasionally in his
speeches, as Phil. 2. 8. 20, quam id te non decehat I

128. procedit : the tense variations in the verbs between procedit
and reiecit (136) are simply metri causa. sepulcrum : here of the
place, not of the burial, but of the burning of the body ; cf . the similar
use of sepelio. Note the force secured by brevity and asyndeton.

84 NOTES. [Paob 8

129. in ignem inposlta : this is the usual construction ; of. Caes.
BelL Civ, III. 14 and 103, in naves imponere, fletur : impersonal.
It is used here of the spontaneous weeping of the bystanders, rather
than of the lament of the professional mourners, prct^ficae.

130. inpnideattaa : too incautiously, i.Q. hysterically. Her grief-
robbed her of self-<;ontrol. B. 240. 1 ; H. 498.

131. Batis oum perlolo: running no little danger. Periclum is
an earlier form than periculum, which exhibits a paranoic vowel. The
ending in this word as in v€hic(u)lum, poc{u)lum, cubic(u)lum, etc.,
is not diminutive, but signifies the instrument. The longer form
periculum, is used metri causa at the end of a line or half -line ; the
shorter is the normal form. ibi turn : see note on line 106. ex-
animatus : in breathless horror,

132. indicat: betrays.

133. mtilierem : note where the word-accent in such words prob-
ably fell in Terence^s time, not mullerem; cf. bknefici, 44. G. 15.
note; H. 19; B. Appendix. § 55; Lindsay Lot. Lang., pp. 158, 160.
See Introd. § 53.

134. is perditmn : cf. Heaut. 315, laudem is quaesitum. The
supine is very common in early Latin. G. 435. 2.

135. oonsuetum amorem: see note on 110. oemeres: a past
potential subjunctive in a result clause, the subject being the indefinite
second person. A. & G. 311. a ; B. 280. 3 ; G. 258 ; H. 555.

136. qiiam familiariter : literally, how confidingly ! i.e. as affec-
tionately as possible. Quam is exclamatory, like uts, which it probably
translates, and here differs in use from the same word in (e.g.) quam
maximum, which omits some form of possum.

137. quid ais : what say you f or really ! Donatus explains thus :
non interrogantis sed mirantis est, which is correct. Often the words
are equivalent to die mihi, and refer to what follows ; cf . 184, 872.

138. nee = nee tamen : cf. Verg. Aen. 2. 314, nee sat rationis in
armis. ad obiurgandum causae: cf. 150 and 158. diceret:
sc. si obiurgarem. Terence frequently uses the imperfect subjunctive
where classical prose would demand the pluperfect.

139. quid commerui : what offence have I committed f Comme-
reo is used in a bad sense, promereo in a good one, and mereo in either.

141. honesta oratioBt : it is a specious plea. These words are
quoted by Cicero (de Off. 2. 20. 69) in reference to the commonly
expressed view that in rendering services one considers the man, not
his position or circumstances, — a fine principle to advance, but not
the one on which men generally act

Page 9] ACT I. SCENE 1. 85

143. illi : besides the dative of person, Terence uses with facio both
the ablative (as in 614) and de with ablative (cf . Ad, 906) . damniim
aut malum : lo8s or injury, the former of one^s property, e.g. fines ;
the latter of one^s person, e.g. punishment; cf. the legal actio in rem
and actio in personam.

145. indignmn : shocking, indignum facinus being used as an
exclamation. See App. faoinoa: in neutral sense, deed, act;
usually in the special sense, bad deed. oomperiase : sc. se. See
note on 14.

146. sedulo : with negare, though sedulo facio is common. See
597 ; Ad. 60. 251. 413.

147. faotom -. sc. esse.

148. dlacedo ab illo : Chremes came to Simo (144), so that the
expression here is due to the careless ease of conversational style.
ita . . . at : on the understanding that. This special stipulative force
of ut' and n^-clauses is common in comedy, and occurs more or less
frequently at all periods of the language. qui : see note on 6. Qui
is here not a nominative case, but an instrumental form of the indefi-
nite pronoun, in any way, commonly used by Plautus and Terence
with hercle, edepol, pol, ecastor, quippe and ut. It survives in the
classical atqui.

149. non tu : sc. obiurgasti, an instance of the figure aposiopesis
or reticentia. G. 691; H. 751. note 1. ibi: then. This temporal
sense is common in Livy. See note on ibi turn, 106.

150. uehememi : it is a question whether we should spell thus or
as uemens. The form uehemens was obsolete in Gellius' day (second
century a.d.). qui : how so f See notes on 6 and 148. cedo :
tell me, or pray. An old imperative, common in Terence, from root
of dare with, ce, which is probably identical with the demonstrative
enclitic in hie, ttmc, sic, etc.

15^. tute ipse : such an emphatic strengthening of the personal
pronoun (cf. 82) shows that the argumentum ad hominem strikes
home. hia rebua: this conduct, i.e. the affair with Glycerium.
praeacrlpati : such syncopated forms in perfects in si are frequent
in poetry, especially the earlier, but in the prose of the classical period
are limited to sermo familiaris. Cicero has dixti, intellexti, and re-
scripsti in his letters. A. & G. 128. & ; B. 116. 4 ; G. 131. 4 ; Roby, 663 ;
Lindsay, Lat. Lang., p. 508.

152. prope adeat quom : near at hand is the time when. Cf . Ad.
299, nunc illud est quom. alieno more : i.e. agreeably to the views
of a wife.

86 NOTES. [Pagb 9

153. sine . . / modo : on the principle that —

** Young blood must have its course, lad,
And every dog his day/' — Kingsley.

Simo, with the easy morality of the age, apparently acquiesces in this
mode of reasoning.

154. obiurgandi locna : before Livy the genitive is more common
than the dative in such expressions. G. 356. note 2. We have preci
in 601 and Phorm. 647, and the genitive of a gerund here, and in 233,
354. In 206, the case of segnitiae is doubtful.

' 155. nolit ducere : See App. Hie lines 155-170 should be un-
derstood thoroughly, as they explain the difficulties in the plot which
follow.

156. ea . . . iniuxiast : here at once is found a wrong on his part
demanding punishment. For ea, see A. & G. 195. d; B. 246. 5 ; G.
211. 5 ; H. 396. 2. The tendency toward attraction is sometimes
resisted; cf. hoc, 237 ; Tacitus, Ag. 21, idque humanitas vocahatur.

157. id operam do : I am making this my aim ; cf . 307. Id is
best taken as direct object of the verbal idea ; operam do = ago.

159. BceleratuB : rascal. This epithet fittingly introduces to us
the slave who plays so prominent a part in the plot.

160. consumat = abutor (prol. 5), exhaust, use up.

161. manibuB pedibusque : with might and main, a phrase re-
peated without -que in 676. Cf. x^P^^^ ^^ vofflv re, Horn. II. 20. 361.
obnize : strenuously ; a synonym for the previous expression. Note
the asyndeton.

162. magis id adeo : even more so on just this account. The
accusative id, explained by Don. as = propterea, expresses the end of
the action, and is a species of inner object, as in 414, id propterea nunc
hunc sequor. See G. 3.33. 1, Rem. 2; Lane, § 1144. Id', not adeo, is
correlative with ut; adeo is used as an intensive particle with pro-
nouns as well as with other parts of speech. See 415, 579, 585, 775 ;
cf. Cicero, Verr. 2. 4. 64. 143, id adeo ex ipso senatus consulto cogno-
scite.

164. mala mens, mains animus : note the alliteration. The ex-
pression is probably proverbial. Commentators compare Aristophanes,
Pax, 1068, <Sv ddXtai yj/vxai, S6\iai <f>piv€s. quem . . . sensero: a
good instance of aposiopesis; cf.- 149. Stage-action helps out the
omission. For quidem similarly used to emphasize an accusative pre-
ceding a conditional clause, cf. Heaut. 950 : —

S^ Syrum quidem ^gone si vivo &deo exomattim dabo.

Pagb 10] ACT I. SCENE 2. 87

166. in Pamphilo at nil cdt morae : that there be no opposition
on the part of Pamphilns; cf. 420, 424, 467, and 693.

167. oonlore : it will succeed ; impersonal. Besides confore, the
only form of coiMum used is confuturum (as in Plant. Mil. 941).
Complementary forms are supplied by confio.

170. sat est : very well, an expression fairly common in Plautus.

171. niinciam : This redundant expression is used by Livy (7. 32.
14), while iam nunc, iam iam are Ciceronian as well. 1 prae:
always in this order. In its literal sense, as an adverb, prae is ante-
classical, seqnar : Simo, however, does not go within immediately.
See next note.

ACT I. SCENE 2.

We must suppose that instead of following Sosia immediately, Simo
lingers behind to reflect upon the situation. He remembers the dismay
shown by Davus on hearing of the approaching wedding, and suspects
that the slave, working in the interests of Pamphilus, will do his best to
prevent it. At this moment Davus himself appears. In the following
dialogue Simo threatens the slave with severe penalties if he tries to
put any obstacles in his way.

173. ita : retrospective, referring back to non duhiumst, etc., like
a causal particle. modo : i.e. just before the opening of the play,
when the household was informed of the intended wedding ; cf. 47.

175. mirabar, hoc, etc. : that there is considerable mental excite-
ment at this point is indicated by the metrical variation in the scene.
The iambic senarii make way in line 176 for iambic lines of either
greater or less length, interspersed with a few trochaic ones. Senarii,
however, are also found in lines 196-198. mirabar si: for miror
si, cf. Phorm, 490, mirabar si tu mihi quicquam adferres novi. So
Cicero, Lael. 16. 54, miror si quemquam amicum habere potuit. Com-
mon is mirum ni. See A. & G. 333. Rem. ; G. 542. notes 1 and 2. The
s^clause is not a subordinate question, but a real conditional clause.
Mirabar = mirum erat, and is therefore similar to such frequent ex-
pressions as longum erat, difficile erat, par erat, etc., where the English
idiom requires the subjunctive. See B. 271. 1. 6 ; A. & G. 311. c ; G.
254. 1. The Latin, in fact, is a mixture of two ideas : " I was wondering
{mirabar) if matters would turn out thus," and ** I should have been
surprised if matters had turned out thus {abirety* The English trans-
lation must choose between the two. et eri semper, etc. : and from
first to last I feared the outcome of my master^ s indifference. Davus
feared that this indifference was only apparent, not real. See App.

88 NOTES. [Paob 10

177. poBtquam andlerat : this is the only instance in Terence (or
Plautus) of the pluperfect with postquam, though this usage is common
enough in Livy and Tacitus. A. & G. 324. a ; B. 287. 3 ; G. 563. note 3.

178. numqoam, etc.: note not only the change to the trochaic
system, but the coincidence of words and individual feet. Thus special
emphasis is thrown upon the statement here made, and this emphasis
is mockingly echoed by Simo.

179. at niino, etc. : an aside. Note the use of the third person.
Simo remains in the background for the moment For malo, see note
on 143.

180. noB: i.e. Pamphilus and the speaker. neoopinantiB: ex-
plains the sic; nee in this word has the sense of non, as in neglego,
negotium, res nee mancipi, etc. duel : led on, beguiled. So diicere
dictis, Phomi. 500.

181. interoscitantlB opprimi : caught open-mouthed, or in open-
mouthed astonishment. Cf. Cic. de Nat. Deor. 1. 26. 72, quae Epicu-
rus oscitans halucinatus e»t, the thoughts of the open-mouthed dreamer
Epicurus. Divested of metaphor, the meaning is the same as inpru-
dentem opprimi, 227. The compound is not yet recognized by the
dictionaries, which follow the ordinary reading, interea oscitantis.
See App. The force of inter- in the verb is "from time to time," as
in intermittere, interuisere.

182. cogltandi ad : for ad, cf. Cic. ad Att. 9. 6. 7, ad haec igitur
cogita, vel potius eoocogita. Note the trochaic line in the midst of an
iambic system. See note on 175.

183. astute : sc. factum. oamufez quae loquitur : as Simo
comes forward, he asks a question, which the slave is expected to hear,
though he is not addressed in the second person. oamufez : this
abusive term, properly applied to an executioner, whose business was
held in abhorrence, is very frequent in comedy. neque = nee
tamen; cf. 138.

184. hem : Halloo ! Davus pretends to be surprised ; cf . Phorm.
682, An. Geta ! Gb. Hem ! See App. quid est : perhaps an aside,
like quid hie uolt. ebodom : eho is always used in an eager ques-
tion or with an imperative, expressed or understood. See 324, 710,
008. For -dum, see note on 29. quid aia: as the next question
indicates, these words mean, not what are you saying f but what have
you to say to this? or tell me; cf. Phorm. 833; Ad. 556. See 137
and note.

185. gnatum = natum. The g is original, and is seen (e.g.) in the
compound eognatus (for ^con-ufnatus). rumor eat : Simo naturally

Page 11] ACT I. SCENE 2. 89

does not tell Davus from whom he learnt this fact. See 144. amare :
is in love ; absolute use. id populua curat aoilloet : that interests
the public^ no doubt, Davus is ironical and impertinent, and the next
question implies that the speaker feels irritated.

186. hodne agls : will you attend to me f Hoc^ the demonstrative
of the first person, corresponds to istuc (= what you say), the demon-
strative of the second. Hodne = hoce-ne, as undique = undeque.
As in agis, the present is often used for the future in colloquial Latin.
nero : yes, ea : explained by quod antehac fecit (187), his previous
conduct, me : subject of exquirere,

188. tempuB = tempus aetatis (443), i.e. youth. ad earn rem
tulit: vjos suited to such conduct; literally, bore upon. The same
intransitive use is seen, 443, 832 ; cf. Cic. pro Cluent, 16. 46, ut mea
fert opinio; pro Caec, 27. 75, si tempus ferret. aiui animnm
ut : Terence has ut after sino in Hec. 690, haud fades neque sinam ut
. . . dicat, and so here, / allowed him to indulge his feelings. G. 532.
note 1. As this construction of sinere ut is unknown in Plautus, some
editors here punctuate after siui, and take ut expleret as a final clause.
On the form siui, see App.

189. hie dies: i.e. the wedding day. aliam . . . alios: differ-
ent ; cf. alieno more, 152, a line which explains this. See App.

190. debino : see note on 22. siue aequomst : or if it is fit-
ting; added, because it is strange for a taiaster to entreat his slave
thus. in uiam : to the right path ; so uia, 442, aright,

191. hoc quid ait : Davus looks astonished, and Simo anticipates
his question, Quid est? which in indirect form becomes Quid sit?
Quaeris may be supplied. qui : see Introd. § 58. dari uzorem :
sc. aliam feminam,

192. turn: moreover, like turn autem, turn etiam, etc.; cf. 381.

193. ipsum animum, etc. : his heart, itself sick with love, he sets
upon the poorer course. Ipsum must be taken closely with aegrotum.
The man himself is, in a sense, diseased, and therefore, even without
a bad teacher, is prone to pursue an evil course. He cannot see his
error, unlike Medea, who, when in love with Jason, exclaims : —

video meliora proboque,
Deteriora sequor. (Ovid, Met. 7. 21.)

adpllcat: properly, attach to. Cf. 924; Plant. Men, 342, postilla
extemplo se adplicanti adglutinant.

194. hem : serves to echo the non. No f you donH, eh ! Oedi-
pus : a reference to the Sphinx and the famous riddle, which Oedipus

90 NOTES. [Page 11

had to guess on pain of being devoured by the monster. Davus pre-
tends that Simo*s language is enigmatical.

196. cd sensero : note the change from tetrameters to trimeters,
to accord with the change in tone. Simo, whose previous remarks
have been some'what general in form (e.g. omnes, 191; si quis^ 192),
is so provoked by the effrontery of Davus that he bursts into an angry
threat As this gains emphasis from the change to the trimeter, so
by a return to tetrameters further emphasis is given to the threat of
punishment. bodie : used colloquially with no temporal iorce, but
to give emphasis, especially in threats and curses ; cf . what Donatus
says on Ad, 215, **Aodic," non tempus significat, sed iracundam elo-
quentiam ac stomachum ; cf . 866. It is more frequent with negatives,
e.g. numquam cessavit dicere kodiCj Phorm, 377 ; cf. Phorm. 805, 1009 ;
Plant. Men, 218. So, too, Hor. Sat. 2. 7. 21 ; Verg. Eel. 3. 49, Aen, 2.
670. Translate here as now.

197. quo . . . minuB = ne, in 'a final clause. The preceding verb
involves the idea of hindering. A. & G. 317. &. note 1 ; B. 282. 1. a ;
G. 549. note 2 ; H. 568. 7 and 8.

198. OBtendi : the subject of the infinitive is the clause quam sis cal-
lidtis^ your cleverness. 199. piBtrlnum : the mill-house was often
used as a place of punishment for slaves. Ancient mills were worked
sometimes by water, but generally by cattle or slaves, the manual
labor requisite in the last case being excessively hard and exhausting.
Com was ground by means of two stones, the lower of which, called
meta^ was shaped like a cone. The lower part of the upper stone
(jcoitillus) fitted the meta like a cap. The hollow upper part received
the com, which, passing through a small hole above the meta^ was
ground on the sides of the latter. usque ad neoem : as Spengel
says, necem implies a violent death, hence till you are done to death.

200. ea lege atque omine: with this condition and warning.
Online, because the threat is an omen, or indication of what win follow.
at . . . molam : this ti^clause has the same stipulative force as in 148.

201. intellextin: see note on praescripsti, 151. nondum
etiam : etiam is a colloquial pleonasm ; cf. 807. See note on 116.
immo oalllde : nay, perfectly; collide ^ probe. The reply of Davus
implies a sans souci attitude.

202. ipsam rem : the simple fadt, looutoB : i.e. locuZus es.
So in Plautus we have dignus = dignus es, iratas = irata es, etc. See
note on 43. oiroum itione : two words, -urn being elided in scan-
sion, and the adverb circum being due to the strong verbal force of the
noun. If we had here a single word, we should have circuitiotie (six

Pagb 12] ACT I. SCENE 3. 91

syllables); cf. circ(um) agitur (Lucr. 4. 316), and drcumagi (Hor. SaU
1. 9. 17).

203. faoilina: this is not the normal pronunciation either for
Terence or Plautus. Thus we have fdcilius in Andr, 637 ; Eun, 160;
Heaut, 803, 914; Phorm. 300. See note on mulierem, 133, and on
uituperant, prol. 15 (App.). In Plautus, the exceptions to fdcilius
are probably due to a corrupt text ; in Terence, while fdcilius still pre-
vails, we have evidence in exceptional cases like this that the pronun-
ciation was changing to what afterwards became the invariable rule.
pa88a(B) cdm : see Introd. § 55. Potential subjunctive ; B. 280. 2 ;
G. 267, / should he more ready to let myself be deceived ; cf . Hor. Sat,
1. 5. 44, nil ego contulerim iucundo sanus amico, deludier: this
old infinitive ending occurs in Terence only at the end of a line. To
this there is one exception {Hec. 827), where suspectarier ends a half-
line before diaeresis. Laudarier {Ad. 535) is corrupt.

204. bona uerba ; avert the omen. Davus, pretending to be shocked
at his master* s words, uses a religious formula. So €^</>iifj£i in Greek;
cf . Ovid, Fasti 2. 638, —

Dicite suffuso ter bona verba mero.

Note that bona uerba (which, however, Cic. de Orat. 1. 12. 51, uses of
elegant diction) differs from bona dicta, '^ bon-mots.'^ nil me fallis:
I see through you ; inner and outer objects combined. B. 178 ; G. 339.

205. neque ta haa(d) : a negative pleonasm, more common in
Plautus. ''''Neque haud may fairly be supposed to be a translation of
oibk idi in the Greek original. If it is, it shows that the Roman poet
understood oi fii/i with the subjunctive or the future indicative as a
simple expression of denial." (Goodwin in Harvard Studies, vol. I,
1890, p. 72.) Exit Simo, to reappear at 404.

ACT I. SCENE 3.

Davus, left alone, soliloquizes upon the situation. Between his
loyalty to Pamphilus and his fear of Simo he is in a quandary. The
story, too, invented about Glycerium's citizenship, is too audacious to
win credit, and can only cause trouble.

206. enim aero : see note on 91 . Dane : this mode of addressing
oneself is common in Terence. So Syrus (Ad. 763), edepol, Syrisce, te
curasti molliter ; cf . Ad. 631 . segnltiae : for the case, cf . 1 54. Segni-
tia refers to physical inactivity, socordia to mental. So Donatus.

207. quantum : so far as.

92- NOTES. [Paob 12

208. asta : this word, common in ante-classical and silver Latin,
is not used by Cicero, who employs only astutia, prooidentur : i.e.
cauentur; cf. Cic. ad Alt 10. 16. 2, quae consilio provideri poterunt,
cavebuntur, erum: Pamphilus. pesBum dare : for pessum, cf.
the use of the supine in -urn (the accusative singular of a verbal noun)
after verbs of motion, e.g. ire sessum, nuptum dare,

209. oeitxnnBt : BC. mihi, I have decided. A common expression,
for which Terence also uses certa res est. See 368 ; cf . Plaut. Trin. 270.

210. uitae timeo : i.e. lest he commit suicide. For eias and
huitiB as monosyllables, see Introd. § 60.

211. nerba dare: to give words instead of deeds, i.e. to deceive, a
frequent colloquialism, used by Cicero, ad Att. 15. 16.

212. me inlensas seruat : sc. deinde, to correspond with primum.
ne qiiam, etc. : lest I devise some scheme against the marriage. For
the dative, cf. Plaut. Mil. 164, legi fraudem facere; Cic. pro Mil.
9. 23, quaerere debetis uter utri insidias fecerit; Tac. Hist 2. 70,
perniciem ipsis fecere.

213. ai senaeilt, etc. : if he finds me out, Pm done for ; or if he takes
the whim, heHl seize a pretext, and rightly or vjrongly mil pack me off
to the mill. There is a contrast between clear conviction of guilt and
mere suspicion of knavery. peril does not necessarily imply death ;
cf. Plaut. Men. 402; Ter. Ad. 324, 327; Eun. 378, etc. oeperit:
future perfect in the apodosis. See G. 244. 4, and note 1 ; Lane, 1627.

214. quo lure, quaque iniarla : and rightly or wrongly ; literally,
and by reason of this right and ( = or) this wrong. praeolpitem
. . . dabit: sc. me ; cf. 606.

215. ad baeo mala, etc. : note that the return to trimeters coin-
cides with the introduction of a fresh argument. See note on 196.

217. operae pretium : sc. est, it is worth while.

218. amentiom, band amantium : the most striking instance in
Terence of a play upon words, a feature which is very characteristic
of Plautus. The effect here may be preserved by some such expres-
sion as *^soft in head, not soft in heart. ^*

219. quidquid : i.e. boy or girl, weak or strong. peperiaaet :
for tense and mood, see note on fecisset, 3. toilers : acknowledge,
because the formal way in which a father declared that he would pro-
vide for a new-bom child was to lift it up in his arms. If the child was
deformed, it could be exposed or put to death. The same was true
of Greece. Such infanticide is practised even to-day in China, as it
was in India till put down by the British government. deoreue-
nmt: an apparent exception to the rule laid down in the note on

Page 14] ACT I. SCENE 4. 93

line 10.^ Engelbrecht thinks that the word 'of four long syllables is
here used for special emphasis.

220. int^r se : thus accented always in Plautus and Terence, the
personal pronouns, if unemphatic, being enclitics. Eicactly similar is
€U4v fxe or irp6s at in Greek. See In trod. § 52. As the sequel shows,
Davus, in disbelieving the story, deceives himself.

221. fuit olim : a common way of beginning stories. The mixture
of direct and indirect narration is frequent in Greek, and may here be
due to the original.

222. mercator : we learn in 932 that this was the girPs uncle, not
her father. Glycerium has cherished the hope of finding her parents
in Athens.

223. Ib : the repetition of the unemphatic pronoun is has a familiar
air, like our **said I,*' **said he,'' etc. For the short sentences, see
notes on 109, 128. ibl turn : see note on 106.

224. orbam, paruam : for the asyndeton, cf. lines 89 and 90, 102.
fabulae: fine tales! from fari; cf. 653 and 925.

225. mlhl quidem, etc. : for the change to the tetrameter, cf. notes
On 196, 215. atque : and further, and to he sure. The word is
frequently used in comedy, where we should expect an adversative
particle. Editors commonly change it to atqui, but see App.

226. ab ea : from her house ; ea = Glycerio. For the compressed
expression, cf . a fratre, from my brother's (house), Phorm, 732. me :
sc. dabo or confe^^am. Such ellipses, especially of verbs of motion, are
common in colloquial style ; cf . Cic. ad Q. Fr. 2. 32, Pompeius domum.
Neque ego tamen in senatum,

227. pater Inprudentem opprlmat: cf. 181, and Livy, 37. 4, eo
ipso quod nihil tale timerent, opprimi incautos posse. Note the repe-
tition of similar sounds in these closing words of the scene ; cf . Shake-
speare's use of rhyme at the end of scenes.

ACT I. SCENE 4.

Mysis_ enters from the house of her mistress Glycerium, and con-
tinues a conversation with an older woman, Archylis, who has followed
her to the door, but does not appear upon the stage.

229. pol : the favorite oath of women in Terence. It is also used
by men, especially in the form edepol. On the other hand, hercle is
limited to men, ecastor mainly to women.

231. adducam : we may suppose that Archylis, having repeated
her request, now goes within. In the next words, Mysis addresses

94 NOTES. [Page 14

the audience. Inportmiitatein : stubborn folly. She insists upon
what is inopportune. anlcnlae: see note on adulescentuli, 65.
Here the diminutive has a contemptuous force.

232. compotriz: not found again in literature until we reach
Sidonius (fifth century a.d.). Nouns in -tor and •4riz are peculiarly
common in colloquial language. See In trod. § 90 (9).

233. 1111: i.e. Lesbia. alUe: sc. mtUieribus.

234. Bed quldnam, etc.: for the metre, see notes on 175, 196, 216,
226. ezanlmatmn : beside himself; cf . 131. slet : on this older
form of sitf originally an optative, see B. App. § 218. Forms like siet,
possietj etc., occur in Terence only at the close of an iambic line or a
half-line before diaeresis.

235. nmnquldnam, which governs tristitiae, is more common in
direct questions, as in 326. For -nam, see previous line. turba :
agitation ; cf. note on 227.

ACT I. SCENE 6.

Pamphilus, who now enters, has seen his father in the forum, and
received the order to make ready for an immediate marriage with
Chremes' daughter. Mysis is not noticed by him until 267.

For the metrical changes,, see note on 176.

236. hodneet: see note on 186. Note the variation in ictus,
hocinest . . . hdcinest (other examples in App. on 189). huma-
ntun = hominis, corresponding to patris.

237. pro deum fidem : there is no need to supply imploro or a
similar verb. Fidem is an accusative of exclamation. hoc : attrac-
tion to the gender of the predicate noun is sometimes resisted. So in
Greek tout oix ^Pp^^ i c^* ^ote on 156.

236. decrerat : this tense, because the decision was made some time
before. eeee : the pronoun, which is grammatically unnecessary,
emphasizes the fact that father and son do not think alike ; cf. 797.
nonne : though comparatively rare in Terence, nonne is generally ac-
cepted by editors in twelve passages, including Andr, 238, 239, 647, 869.

239. praeBclBse : normal usage would have praescire^ as well aS
communicari for communicatum {esse). The past tense of the infini-
tive is due, by a kind of attraction, to the past tense of the main verb.
Analogous is the use of laudatus fui for laudatus sum. ante : pleo-
nasm is natural in colloquial style. nonne oportnlt : the repeti-
tion emphasizes the speaker's indignation. communlcatnm {esse) :
used impersonally.

Paob 16] ACT I. SCENE 5. 95

242. id: hi8 intention, Inmutatam : unchanged. Pampbi-
lus has never wavered in his devotion to Gly cerium. To suppose
that Chremes is revengeful, and therefore determined to force his
daughter upon Pamphiius, merely illustrates, of course, a lover's
logic.

244. fit, perao : for the tenses, see note on agia^ 186.

245. adeon homlnem esse : for the exclamatory infinitive with
subject accusative, see A. & G. 274 ; B. 334 ; G. 534 ; H. 616. 3. The
-n(2) is an affirmative particle (= in sooth, in truth), as in Verg. Aen.

1. 37, mene desistere victam, on which Servius says that -ne signifies
ergo. So uero is often given as a gloss on -ne. innenuBtom : un-
blest by Venus, joyless. Donatus explains by sine Venere, id est, sine
gratia. The opposite idea occurs in Sec. 848, quis me estfortunatiorf
venustcUisne adeo pleniorf

247. ChremetiB: the word is thus declined in Terence: Nom.
Chremes; Gen. Chremetis or Chremi (368); Dat. Chremeti {Phorm.
1026); Ace. Chremetem (472, 633), Chremem (Phorm. 63, 865), or
Chremen (361, 627); Voc. Chremes (638) or Chreme (660).

246. quot modia: besides rejecting Pamphiius as a son-in-law,
Chremes has probably snubbed and slighted him on various occasions.
For the short, pointed sentences, see note on 109 ; and for the asyn-
deton, cf. 89, 90, 102, etc.

249. nisi si: cf. e^ m^ «'• This pleonasm is fairly common in
Plautus. It is occasionally found in classical prose, as Cic. de Inv.

2. 57. 171 ; Tac. Ag. 32. 2 ; Qerm. 2. 2. See B. 306. 5 ; G. 691. (6).
Rem. 2.

250. monetri: cf. note on negoti, 2, alnnt: used of beasts;
cf. equos alere, 66. Pamphiius, evidently, has never seen Chremes*
daughter. nemini: sc. alii.

252. nam : the reasoning is : I have tried to explain the conduct of
Chremes, for it is impossible to explain my father's. For nam, cf . 395.
612. Exactly similar is its use in Cicero, e.g. Verr. 2. 5. 61. 168, nam
quid ego de P. Gavio dicam, iudices f

253. agere : for the infinitive, see note on 245. neclegenter :
as Donatus points out, the following words give four illustrations of
Simo's cavalier treatment of' his son : —

(1) proxiXTienA. The meeting was not pre-arranged.

(2) modo. It should have occurred long before.

(3) apud forum. A more private place would have been fitting.

(4) The abruptness of the commands was objectionable.

96 NOTES. [Page 15

257. canaam: plea^ excuse. saltern: the question implies a
negative, and a negative with saltern is equivalent to n« . . . quidem.
Non , . . saltern, however, is not found before Livy.

258-259. quod si ego, etc. : now if I had discovered this before,
what should I have donef If any one novo were to ask me that, (rd
say) ^^ I should have done something to avoid doing this.''* The main
protasis is si irUerrogety the apodosis to which (dicam or re^Mndeam)
is understood before aliquid facerem. Quod si, as in 604 ; Fhorm.
201, etc. Spengel notes that this use of quod (common enough in
Cicero) is not found in Flautus.

259. at hoc ne facerem : for utne = ne, of. 827.

260. dinorsae trahimt : cf. Yerg. Aen. 12. 487 : —

divorsaeque trahunt animum in contrarla curae.

261. amor, etc. : for the asyndeton, see note on 64. hnine :
i.e. Gly cerium.

263. quomque : see note on 63. elne ego ut adnoraer :

can I oppose him f The subjunctive in this exclamatory question is
deliberative. The ut is explained by some as due to an ellipse, such
as fieri potest ; but as such questions often occur without ut, its use is
probably similar to that of ut in ut ilium di deaeque perdant (Eun.
302) and of utinam in wishes, where the particle is either an exclama-
tory or indefinite adverb. A. & 6. 332. c ; B. App. § 368. 1 ; G. 568.
note and 261. note 1 ; H. 659. 5.

265. peropUBt: & semel dictum. Terence is very fond of strength-
ing adjectives, adverbs, and verbs by means of per. In this, as in
other respects, he is the forerunner of Cicero. aduoreum hunc
= coram hoc : cf. note on 42.

266. paulo momento : so paulo sumptu (Ad. 876). This adjec-
tival use of paulus is scarcely found elsewhere. The word is almost
confined to the substantival and adverbial forms paulum and paulo.

267. quia hlc loquitur: Mysis has unintentionally revealed
herself. Her exclamation 0, when addressed by Pamphilus, is hypo-
critical, implying, as it does, that she has been unaware of his presence.
So fiem I 184. quid agit : how is she f Sc. Glycerium.

266. ez : in consequence of It is with fine dramatic instinct that
Terence represents Glycerium in this state of distress. She knew that
Chremes had vnthdrawn his consent to the marriage of his daughter
to Pamphilus, and had heard nothing about the recent developments,
and yet she regards this day with horror, because of the feais she no

Page 17] ACT I. SCENE 6. 97

longer has cause to entertain. Of coarse, had she known all, she would
have suffered even greater distress.

270. queam : cf. note on 263.

272. quae mihi, etc.: when she has entrusted to me her heart —
yea, her whole life f When, dear to my soul above all else, I have
looked upon her as my wife, shall I, etc. Note the use of indicative
and subjunctive in these parallel relative clauses. '* The difference
between the indicative and the subjunctive in such clauses seems to
be that the indicative calls to mind the fact without special reference
to its logical relation to the principal clause, while the subjunctive
brings this relation into prominence.*' (B. App, 400. 3.)

274. doctum atque eductum : taught and trained,

275. ingenlnm : character, Inmutarler : see note on deludier,
203.

277. at (sc. uereor) = ne nan. Tou may be unable to withstand
compulsion,

278. porro : moreover. The word indicates that the three adjec-
tives in this line are grouped together, apart from ignauom. To
these adjectives, according to Donatus, correspond in chiastic order
the three nouns of 279. The ungrateful man feels no shame (pudor) ;
the churlish and inhuman man has no love for his fellows (amor);
the brutish man is not even affected by association with others
(consuetudo). More probably, however, the correspondence is less
artificial than this, being merely due to the fertility of expression
natural in an animated and eloquent passage. Cicero, for instance,
is fond of the triple arrangement of synonyms ; cf. Phil. 2. 6. 11,
Quid enim ego constitui, quid gessi, quid egi nisi ex huius ordinis
consilio, auctoritate, sententia f

280. commoaeat neqae commoneat : see note on 218.

262. OBBem : repeating esses,

283. Bant: with scripta,

285. accoBBl, etc.: see note on 109. aoB : i.e. you and the
other women.

267. nee clam te eBt : i.e. nee te fugit, Te is doubtless accusa-
tive, for no certain case of the ablative with clam occurs before
Lucretius, and it is at all times very rare. Clam patrem, Jilium, etc.,
are common in Plautus. atraeqae: the singular would be more
normal.

288. rem: i.e. her property, rem /amt'h'arem.

269. qaod : wherefore. See note on quod si, 268. Originally,
perhaps, an accusative of respect, as to which, quod serves as a par-

H

98 NOTES. [Page 17

tide of transition, especially in adjurations. Cf. Verg. Aen. 2. 141 ;
6. 363 ; also Hor. Epist. 1. 7. 04 : —

Quod te per genium dextramque deosque Penatis
Obsecro et obtestor, vitae me redde priori,

in which passage Horace probably had Terence in mind. per ego
te dea±ram : this is the usual order ; cf. 638, 834. So Plant Men,
092, per ego vobis deos . . . dice; cf. the Greek, rp^ ae $€Qy.
genium : cf. Preller, Mdm, Myth. p. 667, quoted by Wilkins on Hor.
Epist, 1. 7. 04. *^ The genius as such is always good, and the source of
the good gifts and hours which brighten the life of the individual man,
and also the source of his physical and mental health, in a word, his
good spirit : hence the oaths and conjurings by one*s own genius or
that of another, in which latter case, along with the genius of a friend,
his right hand, i.e. his honor, his eyes, i.e. the light of his body, or
his Penates, i.e. the sanctities of his house and home, are often
named.'*

294. morigera fuit: i.e. morem gessit (cf. 641), the expression
which Cicero would probably have used here, do the vrill of, comply
with the wishes of.

295. ulnim : husband. In this effective climax (cf. 718) the three
last nouns define uirum. It will be well to bear in mind the legal
position of the Roman wife under the earlier forms of marriage.
With reference to his authority over her, her husband was more
than tutor or guardian ; he was virtually her pater, for she was
regarded as ftliae loco, in the place of a daughter, and after his death
was kept in tutelage by the guardian whom he had appointed by will.

297. hanc mi in manum dat: i.e. according to Spengel, she
put Glycerium's hand in mine. This was probably doue, but the
words of the text mean, literally, she puts her ** in manum " to me,
manus being the legal power which the Roman husband had over his
wife (see note on 296). Pamphilus means that the act had all the
solemnity of a formal marriage. To be legally binding, however, the
consent of Simo as paterfamilias would be necessary.

299. andin: i.e. audisnef won't you listen f a colloquial equiva-
lent for an imperative. For s dropped before n, cf. uiden for uidesne,
pono for *posno, canus for * casnus, etc. B. App. § 89.

300. oane : sc. faxis (cf. 763) by aposiopesis (G. 691). hoc :
sc. accidat. teneo : see 86.

Page 19] ACT II. SCENE 1. 99

ACT II. SCENE 1.

Chaiinus, a friend of Pamphilas, is in love with Chremes^ daughter
PhilmiQena, the girl whom Pamphilus, according to report, is about to
marry. Donatus informs us that the characters Charinus and Byrria
were not in Menander's play. Their introduction leads to more com-
plexity of plot. See Introd. § 36.

301. quid alB : cf . note on 137. The words convey the impres-
sion that Charinus and Byrria are continuing a conversation begun
behind the scenes. This is a common dramatic device ; cf. the
opening of Othello, or of Act II., King Bichard III. Byrria : on
the name, see p. 69. Terence makes final a long in proper names of
more than two syllables. So Chaered in Eun, 668. dattime : for
the scansion, see Introd. § 64. nuptum : supine.

302. qui : how f See note on 6. apiid forum : on the scan-
sion here and in mod{p) e, see Introd. § 64.

303. adtentua: under a strain. Note how in this line Charinus
passes from the trochaic to the less lively iambic metre, the change
being in harmony with the mental collapse here described.

304. cura coniectua : in translation we may partly transfer the
alliteration to lassus, weary and worn. The alliteration, however,
shows that cura belongs in syntax to confectus,

306. id uelia : Byrria begs his master to submit to fate and look
for somebody else as wife. Philumenam : in the original the form
was indistinguishable from the present participle passive of 4>i\d<a, and
so could be rendered, the one I love.

307. id dare operam : see note on 167. qui : cf. 6 and 302.

309. facile omnea, etc. : a proverbial saying ; cf. Aeschylus,
Prometheus, 263, thus translated by Mrs. Browning : —

" It is in truth
An easy thing to stand aloof from pain,
And lavish exhortation and advice
On one vexed sorely by it."

So, too, Euripides, Alcestis, 1078 : —

^q,ov irapaivetv rj iraBbvra Kaprepetv,

310. tu si hie Bia : a condition contrary to fact is here treated as
contingent or, as some >call it, ideal. It is, therefore, equivalent to
** suppose you were to put yourself in my place " ; cf. 914, 918.
A. & 6. 308. e ; G. 696. Rem. 1 ; H. 676. 2. hie : i.e. ego, like the

100 NOTES. [Paob 19

.Greek o8€ ; cf. huius, 800. age age, nt Inbet : Byrria sees that it
is hopeless to argue with his master. '

311. certnmst : sc. mihi, I am determined. priva qnam pe-
reo : see A. & 6. 327 ; B. 291 ; G. 575 ; H. 605. The indicativiB im-
plies the certainty of the fact, and priiM quam^ like rplv with the
infinitive, denotes mere priority of time.

312. hunc, . . . huic, . . . huic : note the prominence of the pro-
noun. Pamphilus is the only person who can give Charinus relief.

313. credo : parenthetic ; cf . spero^ 314. aliquot prodat diea :
i.e. aliquot dierum producat moram, delay the wedding for a few days ;
cf. 329. 615.

315. adeon: am I to go f The present is freely used in comedy,
instead of the future, and the indicative instead of the deliberative sub-
junctive. See A. & G. 276. c ; G. 228. and 254. note 2. quid ni : sc.
adeas. The mood with quid ni is always the subjunctive.

316. duzerit : sc. domum.

317. abln: i.e. dbisne^ wonH you go to perdition? So audin
(299), rtdcn, fugin (337), and in \- isne, Phorm. 930). See note
on 299.

320. ad aiudlium coplam: i.e. auxili copiam. Note the .chias-
mus in 319 and 320.

321. iatuc : the demonstrative of the second person, what you ask.

322. si id facia: the present tense, instead of the future, for
vividness ; cf . flt^ 244, renuntio, 594. poatremum : for the last
time ; cf . Cic. de Orat. 3. 2. 6, ut vestigium illud ipsum, in quo ille
postremum institisset, contueremur.

324. ne : truly; cf. 772. 939. This particle is always followed by
a pronominal word. ehodum : see note on 184.

325. numquidnam : cf . 235.

326. quam uellem : see note on 127.

327. principio : in the first place, = irpOrop fUv, to which corre-
sponds sed si non (= €l 8i iiif). ut ne : as in 259 ; cf. Cic. Phil.
2. 13. 32, Scribam ad illos ut . . . ne cui negent. poteat : pote est.
This use of potest (impersonal or with a neuter pronoun) is very rare
in classical prose, but occurs (e.g.) in Cic. ad Att. 6. 13. 1.

328. nuptiae hae aunt : the net result of the discussion as to the
form of the nominative plural feminine of hie in Terence is this, that
before vowels or h only haec (=^a€-C€) is used, but before conso-
nants either hae or haec. Here all the Mss. give hae. Plautus appar-
ently knew only the form haec. cordi: near to your heart; cf.
Phomi. 800, uterque utriqu^t cordi. The idiom is used by Cicero,

Page 21] ACT H. SCENE 2. ' lOl

Horace, and Livy. For the construction, see A. & G. 233 ; B. 191. 2 ;
6. 356 ; H. 433. dlee : direct object of profer; cf. 313.

329. dtun proiiciBCor: till I set out; cf. 714,. dum exeo. The
indicative is used precisely as in Verg. Ec. 9. 23, Tityre; dum redeo,
paace capellas. In such cases, where an act is anticipated, the sub-
junctive is usual in classical prose ; see 6. 671. note 2.

330. ne utiqaam : in the comic writers always as two words, e
being elided before u, and the first syllable remaining short. The
diphthong eu in this word first appears in Augustan Latin, through
Greek influence. For ne = non, cf . nescio. liberi homiiiiB : a
gentleman; cf. liberalis (Phorm, 168).

331. la : the least definite demonstrative is here used instead of
the indefinite quispiam or aliquis, because the subject, though indefi-
nite, has been described in liberi hominia. id : what he does,

*' It is, I think, scarce honesty in him
To look for thanks, who means no favor." — Colman.

gratiae apponl slbl : cf. Hor. Carm. 1. 9. 14, lucro appone.

332. quam tu adipiscier : sc. uis from malo (magis nolo), ^

334. facite . . . efficite : note the earnest tone and effective climax,
^fflcite repeating /acife with additional force. qui: see note on 6.

335. Bat habeo : / am content ; cf . 705.

336. at tu herole, etc. : in these words Charinus, pleased with
what Pamphilus has just told him, reproves Byrria for his helplessness
and ignorance of the situation, as revealed (e.g.) by the slaveys con-
temptuous truisms (305, 314). tu : sc. dicis,

337. fagin : i.e. fugisne, which is equivalent to an imperative ; see
notes on 299 and 317.

ACT 11. SCENE 2.

Davus enters in hot haste, anxious to assure Pamphilus that the
wedding will not come off.

338. boni, bonl : this immediate repetition of the same word with a
change of syntax has an effect similar to a play upon words (paronomch
sia, cf. 218) ; cf. 947, te credo credere. It is a common device in Plau-
tus ; cf. Capt, 770, Ita hie me amoenitate amoena amoenus oneravit dies.
So Hor. Sat. 2, 2. 39, magno magnum ; Epist. 1. 18. 5, vitio vitium, etc.

340. neacio quid : adverbial accusative ; cf. Ad. 79, nescio quid
tristem video; A. & G. 240 ; B. 176. 3 ; G. 338 ; H. 416. 2. In combi-
nation with forms of quis, the verb nescio is always a dissyllable.
Dibil eat : it means nothing , i.e. his joy is not warranted.

102 *'" NOTES. [Paob 21

342. audln tu ilium : i.e. you were wrong in sapposlng that Davus
had ne^ er heard of haec mala.

343. intiandam : bend my steps. cesaae adloqui : i.e. tohy
don^t you speak to him f

344. habeo : Donatus explains by inueni (= lyupiyjta). Davus ex-
pects to find Pamphilus at Gly cerium^ s house. The Mss. have aheo,
adee : come ; cf . 29. resiete : stop,

345. ambo : sc. adestis; the verb is commonly omitted in conver-
sational style ; cf . 226, and note. uob nolo : see note on me, 45.

346. quin : see note on 46.

347. quidem hercle certo : note the redundancy in the use of
emphatic particles. This combination is used in Phorm, 164, and Plant.
Men. 314 ; but we have certe hercle in Andr. 495, Phorm. 523, etc.

348. optundis: the metaphor is probably from forging iron.

349. tenee: cf. 86 and 300.

350. me uide : look to me, leave it to me ; so Phorm. 711.

352. non dat lam : no longer means to give.

353. prehendit : button-holed. Elsewhere in Terence the verb is
^ dissyllable, prendo, as in Phorm. 620. 863. dare : cf. note on 14.

356. ezcelBum locum : perhaps the hill near the Athenian dyopA
(forum) called KoXuvbt dyopalos, where the artisans assembled. ibl :
then. This temporal sense is chiefly an early or poetical use, but is
common in Livy. In the next line, ibi is local. See note on ibi tum,
106.

357. circumBpicio, etc. : for the style, cf. 89 and 90, 102, 123 f.,
248. huiuB : i.e. Charini, he being the master of the slave.

358. mihl moleatum : this troubles me.

359. redeunti : i.e. to Simo's house. ez ipsa re : in view of
the circumstances themselves.

360. paululum obeoni : a paltry marketing, considering that a
cena nuptialis is expected to be held at Simo's house. Paululum is
used either as an adjective, a substantive, or an adverb ; cf. Phorm.
791, spatium paululum; and Eun. 706, concede istuc paululum.
ipeua = a^6s, the master, as in ipse dixit. The forms ipsus and ipse
are used indiscriminately by Terence, the latter being more common.
trlBtia : for Simo to be ill-humored on his son's wedding day is un-
natural. For tristis in this sense, cf . Ad. 79, nescio quid tristem video,
and Plant. Men. 607, quid tu mihi tristis es f de inproulBO : so
sudden.

361. non cohaerent : it is inconsistent, explained best by Davus'
question in 366. quoraum nam latuo : vohat in the world is the

Page 23] ACT II. SCENE 2. 103

point of this f sc. euadit or accidit; cf. 127, quorsum euadas, and 264,
quorsum accidat. Pamphilus is annoyed at the slave's garrulity.
ego me : sc. confero ; cf . 226. Davus now wishes to see what is
going on at the home of the bride. Chremen : see note on 247.

362. illo : to that place. solltudo : not a soul, id gandeo :
id is an inner object, giving the ground of the emotion. A. & G.
238. 6. and note ; B. 176 ; G. 333. 1. note 1 ; H. 409. For an account
of a Greek wedding, see Becker's Charities^ p. 209; of a Roman,
Becker's Gallus, p. 160.

363. recte dide : you are right, differing from narrasprobe, 970,
which is thafs good news; cf. recte putas, 141.

364. matronam : a married woman, called pronuba, acted as a
bridesmaid and dressed the bride.

365. nil oxnati : no decorations, it being usual to decorate the
bride's house on the wedding morning. In Plautus and Terence
nouns of the fourth declension have -i and -uis for the genitive
ending, never -us. See App. Thus we have adventi (Phorm, 164),
quaesti (Hec, 836), fructi (Ad, 870), domi {Eun, 815); anuis (Heaut,
287), quaestuis (Hec, 735), mettds (Phorm, 482). The form senati
is found in Cicero, Sallust, and Livy. access! : Davus probably
sees a look of incredulity on the face of Pamphilus, who in his
interruption (^scio, magnum signum) is ironical.

367. non opinor : / suppose not, Pamphilus is really indif-
ferent, being fully convinced that his father means to have a wedding,
whether preparations are being made or not. narrae : in colloquial
style, narro is often used for dico, even in reference to a single word,
as here; cf. Heaut. 619, nil nimis, '*iVtr' narrasf accipie :
i.e. tenes, understand,

366. certa res est: see note on 209. paerum: i.e. a young
slave ; cf . 84. coniieni : as a transitive verb, conuenire is not often
used, as here, of an accidental meeting, for which in Cicero and Caesar
we have in aliquem incidere, Chremi : see note on 247.

369. holera : the spelling (not olera) rightly shows the aspirate,
representing an original guttural. Holus (dialectic form folus) is to
xX<(i7 as hiems to x^^f-<^f ^Q^ humus to x^/Aa^. pisciculoB mimitos :
the force of the diminutive ending is repeated in the attribute. Such
redundance is common in colloquial style ; cf. from Plautus : pupilla
bellula (Cas. 848), seruoli sordiduli (Poen, 270), muliercula exorna-
tula (Cist, 306). So Cicero (Epistles) has cerulae miniatulae (ad Att,
16. 11. 1); and Catullus, 16. 4, molliculi versiculi, etc. ferre : an
historical infinitive. The change of construction is doubtless due to

104 NOTES. [Page 23

the colloquial style, as is also the free use with ferre of the ablative of
price (pbolo). obolo : the Attic obol, a coin originally of silver,
but later of bronze, was worth about three cents. The drachma, or
chief silver coin in use among the Athenians, was equal to six obols.
In cenam : in with the accusative here expresses the end in view, like
hrl in Greek. senl : in emphatic position. It was Chremes himself
who was to have this frugal meal.

370. liberatcui: Charinus feels like an emancipated slave.
nnlluB: as thus used, the word is a strengthened non (=mt'nim6),
and is commonly employed in conversational style ; cf . 699 ; also Eun.
216, nullus moneaa ; Hec, 79, nullus dixeris. In Cicero^s Lett^s it is
found in this way with verbs of motion, as nullus venit (ad AU. 11.
24. 4).

371. proraus : at all, strengthening the negative ; literally, for-
wards, straightway, hence entirely, absolutely. ridlculum caput :
silly fellow. So festiuom caput (Ad. 261), o capUulum lepidissimum !
(Eun. 531); cf. our blockhead and the Grerman Dummkopf The
precise meaning of caput in Roman law will throw light upon some of
the apparently peculiar uses of the word in Latin literature. Caput
was the sum of a person's legal capacities. A slave, having no legal
rights, had no caput. When the status of a Roman citizen was
impaired, he suffered capitis deminutio. Thus exile was a form of
capital punishment.

372. quasi necessiiB sit : as if it must follow, Necessus is the
form used by Terence before consonants, necesse before vowels. si
. . . dat: a simple condition, assuming that he does not give; cf.
next line.

373. uides: in the sense of the compound, provides, i.e. take
measures. ambia: solicit; cf. the meanings of ambitus. After
ambis there is an ellipsis of something like nil ejfflcis, due to conver-
sational style; cf. 728. Note the asyndeton and see note on 248.

ACT II. SCENE 3.

Unhappily for Pamphilus, Davus induces him to disarm his father's
criticism by professing obedience to his wish in reference to the
marriage question. In any case, pleads Davus, Chremes will withhold
his consent, so that Pamphilus, while humoring his father, will yet be
saved from the union which he abhors.

375. igitnr : i.e. if the wedding is not being provided for. sibi
nolt: means.

Page 24] ACT II. SCENE 3. 105

376. id : see note on 362. suBoenseat : this is the correct
spelling, sus-, as in 8U8-tuli, sus-tinere^ coming from the original subs-,
just as aspello, asporto, come from abspellOj absporto, det : for the
subjunctive, see A. & G. 321 ; B. 286. 1 ; G. 641 ; H. 688. II.

377. inluriuB . . . inluxia: the effect of this association of similar
words is like that of boniy boni, 338, where see nqte. neqne id
iniurla : and that not wrongly; cf. 60.

376. tuoin . . . anifnnin : a case of prolepsis, common in Greek
and characteristic of popular speech ; B. 374. 6 ; G. 468.

379. ducere : for tense, cf. 14 and 363. ibi : temporal, as in
366. Si . , . ibi is a cross between si — aicand ubi — ibi,

360. iUae turbae : that storm of wrath, with which experience
has made us familiar.

361. difflcileet: sc. resistere (Donatus). tarn: as in 192.
Bola : lonely, without a protector. See 290. dictum ac factum :
no sooner said than done ; cf . the German gesagt gethan ; Bath und
That, For the syntax, supply est, which is coordinate with inue-
nerit. The comma therefore is needed after factum, Ac, and also,
may be omitted in the phrase ; so Heaut. 004. The Greek equivar-
lent is given in Herodotus 3. 136, &/m iiroi re Kal tpyov iroitt.
inuenerit: the future perfect is often found in comedy for the
simple future; cf. ceperit, 213. The two tenses are sometimes
combined; cf. 670 and 671. Here the tense expresses rapidity of
action. See Introd. § 89 (13).

382. cauBam quam ob rem : a common idiom in Terence ; cf.
837, and Hec, 462, multae sunt causae quam ob rem. In Ad. 436,
is quam ob rem = is propter quem. oppido : i.e. Athens.

363. cede : see note on 149. die te ducturum : Davus comes
out bluntly with his advice, quasi rem facilem (Donatus). hem :
Pamphilus is astounded, hence Davus* Quid est f what is the matter f

384. The trochaic metre is continued until the interest culminates
in Davus* startling announcement. Now that Pamphilus proceeds to
discuss seriously the advice just given, the iambic system is resumed.
ne nega : cf. 643, 868, 980. Ne with the present imperative, which,
though common in Terence, Donatus (on 643) regards as a Graecism,
occurs only once in classical Latin prose, viz. Livy 3. 2. 9, ne timete ;
A, & G. 269. note ; B. 281. 2 ; G. 270 ; H. 661.

386. ilia : i.e. Glycerium. ezcludar, concludar : barred out,
barred in. The former verb is used in a natural sense, but the latter
implies a metaphor from caging a wild beast, as in Phorm, 744, con-
dusam hie habeo uxorem saeuam, hoc : a by-form of hue; cf. illoo

106 NOTES. [Pagb 26

and illuc. The word here refers to the house of Chremes, to whose
family Pamphilus will be bound by the chains of matrimony.

389. hlc : hereupon. For the temporal sense, Meissner compares
Plaut. Most. 104, hie iam. Some prefer to take hie here as a pro-
noun = pater, reddes : i.e. fades. The u^-clause is more idiomatic
with facio than with reddo, with which incerta alone would as a rule
be quite sufficient.

391. sine omni : outside of Plautus and Terence, the phrase is
usually sine ullo,

392. nee . . . facts : and as for you, do not on that account depart
from your present line of conduct, i.e. from your devotion to Glyce-
rium. The danger was that if Chremes saw an improvement in the
conduct of Pamphilus, he might withdraw his refusal. Nee = neue,
and for minueris, see A. & G. 269. a ; B. 276 ; G. 263. 2. (6) ; H.
561. 2.

394. uelle : sc. te. See note on 14.

395. nam quod tu eperes, etc. : the sense is not very clear. Nam
is elliptical, the connection being : Even if you refuse to marry Phi-
lumena, your love for Glycerium must come to an end ; your father
will at once find some other wife for you, for, as to the hope which you
possibly entertain, ^^ I will easily rout a wife through this dissolute
character of mine, no father will give one to n»e," (be assured that) he
will find some penniless girl rather than allow you to go to ruin,
quod speres : an explanatory substantive clause, on which see A. &
G. 333. a ; B. 290. 2 ; G. 624 and 626 ; H. 688. 3. The subjunctive
is potential. So 454, quod dicendum hie siet ; cf . Ad. 162, quod purges,
huius non faciam ; Eun, 785 and 1064 j Plaut. Mil, Glor, 162 (Brix's
note). propulBabo : a strong military expression. His enemy is
the uxor, his weapon his own bad character (hi mores), Donatus took
the verb in the unparalleled sense of refute, quash, in which case we
must punctuate after /aci7e, and take moribus as a dative with dabit,
equivalent to uiro his moribus praedito. But this usage, while partly
supported by ingeniis (93), befits Tacitus rather than Terence.

396. inueniet : we may supply mihi crede or some similar expres-
sion, inopem : if Simo were willing to let his son wed a girl with-
out a dowry (dos), he would take this step only as the lesser of two
evilB, for & dowry was considered almost absolutely essential for
constituting an honorable legal marriage. In Plautus' Trinummus,
Lesbi:nucus ib ;^111ing to sacrifice everything in order to procure his
sister a dowry ; otherwise she would pass, he says, in concubinatum,
t,#xt j« 'inalrimonium {Trin, 690). comimpi : the disgrace of the

Paqb 26] ACT n. SCENE 4. 107

connection with Glycerium lay in the fact that she was a peregrina and
not a citizen.

397. ferre : sc. the marriage with Philomena. leceriB : for the
tense, cf. ceperit, 213, and see In trod. § 89 (13). Here the future per-
fect is very forcible.

396. alia . . . qnaeret : he toill turn to other things, aoci-
aerit : cf. intereaflet aliquid, 3U. The tense of acciderit is more pre-
cise than that of* fiet. See In trod. § 89 (13).

399. quin tacee : do be quiet ! See note on 45.

400. dicam: sc. me ducturum esse. Translate ^^very well!^^
cautioBt : we must be cautious, = cauendum est. This use of the
verbal substantive, instead of the gerundive, is more common in Plau-
tus, where it often retains the government of the verb from which it
comes, as in Poen. 1308, quid tibi hanc digito tactio est f The use
belongs to popular style.

401. BUBceptunim : sc. me. See note on transtulisse, 14, and for
the meaning see note on 219. fidem : promise. Construe with
darem,

402. qui : a final particle = qua or ut ea. See note on 6.
deBertumm : sc. m6, as in 401.

403. trlBtem : as in 360.

ACT n. SCENE 4.

Simo, who had gone away (206), now returns and enters without see-
ing the other two. Donatus remarks here : Haec scaena nodum inicit
fabulae et periculum comicum, Facit etiam ezecutionem consiliorum.

404. reulso : i.e. redeo ut uideam (Donatus) ; cf. proviso, 957.
quid . . . consili : cf. 170, where Simo urges Sosia to do the same thing.

405. hie : with a touch of contempt.

406. meditatuB: having learned his part; cf. Ad, 195, causam
meditari tuam, con over your case, and Plautus, Trin. 817, eumque
meditatum probe mittam, well primed, of an impostor. This verb is
used either of composing or of learning by rote ; cf. Verg. Eel. 1. 2,
silvestrem tenui Musam meditaris avena; Hor. Sat, 1. 9. 2, nesclo
quid meditans nugarum, totus in illis, solo loco : retired spot,

407. Bperat : believes ; cf. Cic. ad Fam, 2. 2, spero nostram ami-
citiam non egere testibus.

406. qui: see note on 6. differat: literally, rend asunder;
cf. Ad. 486, differor doloribus, proin: a monosyllable. See
Introd. § 60. apnd te siea : have your wits about you ; cf . 937 ;

110 NOTES. [Paob 27

432. hlc : see note on 405. This and the next line are an aside.

433. ea . . . gratia: i.e. ea causa.

434. quid DavoB narrat ? what has Davus to say f By the use
of the third person, instead of the second, Simo, according to Donatus,
uidetur illi blandius locutus esse. The question does not refer to the
previous words, but as the context (especially atqui exspectabam)
shows, to the explanation which Davus may be expected to give.
nequeo quicquam : sc. tibi narrate. See App. The wily slave is
not as polite in tone as Simo. He knows that Simo is on the qui
Vive to hear his explanation, but he affects indifference and pretends
that he has nothing to tell.

436. male habet: worries; used again in 940. So Hec. 606.
uinim : the gentleman. Slightly ironical.

437. potin ea : i.e. potisne es. In early Latin potis and pote are
used in any gender and in either number. dicere : like the syllaba
anceps at the end of a line, the final e is here treated as long, owing
to the change of speakers.

438. quidpiam : at all. haec : see 328 and note.

439. num . . . hoapitae : consuetudo and hospita are less offensive
terms than amor and meretrix would have been. huiuace : of this
demonstrative, the genitive singular, the genitive, dative, and ablative
plural, and the accusative plural masculine and feminine, have double
forms with or without c, ce. The former are found in Plautus and
Terence only before vowels and h ; the latter, only before consonants.

440. Bi adeo : if indeed it is so. See note on 415.

441. noBti : parenthetic ; i.e. you know how young men behave.

442. ipauB: see 360 and note. uia: aright. Explained by
Donatus as consilio, ratione, and so used by Cicero, Brut. 46, via et
arte dicere; cf. 190.

443. dum licitomBt, etc.: an echo of Simo's own words in 188.
ei : here a dissyllable, the e being long.

445. uimm fortem : an honorable man; cf. Plant. Trin. 1133,
eum sororem despondisse in tarn fortem familiam^ where /or^cm means
aristocratic. Fortis came to be used of excellence in general (cf.
Eun. 50, nil prius neque fortius)^ just as brave is often used in Eng-
lish, as in "O that's a brave man " {As You Like It, III. 4).

446. nuno nzore opuB eat : equivalent to a quom (cum) clause.
Note the strength secured by the use of parataxis. Conversational
style has its own peculiar vigor.

447. aliquantom : repeats the force of sub in subtristis; cf. Plant
Capt. 648, subrvfus aliquantum.

Page 30] ACT III. SCENE 1. Ill

448. est quod BUBCenaet: see notes on 362 and 376. For the
mood, see G. 626. 1. note 2.

451. drachumlB: the Attic drachma, like the Roman denarius,
was a silver coin, equal to six obols (see 369), and worth about twenty
cents of our money. Greek words, involving such combinations of
consonants as chm, cm, chuj en, cl, and mn, suffered the insertion of a
vowel, when first introduced into Latin. So dpaxM-'^ and drachuma,
'ATsjcfA'^vri and Alcumena^ rix^ and techina^ 6x^ and acinus, *A<rK\rf-
rt6s and Aesculapius, ftva and mina, etc. est obBonatus : cf ., for
the deponent, Plant Aul. 293, quid f hie non poterat de suo senex
obsonari filiai nupUis f and Stieh. 681.

454. potisBumum : Spengel takes this woid as emphasizing quern
and is supported by Donatus, who makes it an adjective, referring to
rank {dignitate), as contrasted with aeqvulium, which refers to age
(aetate). But Meissner more naturally makes it modify its neighbor
nunc, particularly to-day, my wedding-day, when I ought to invite all
my friends. quod dioendum hlc aiet : so far as I ought to speak
entre nous. The relative quod is here equivalent to quoad; hie, here,
between ourselves, in the absence of Pamphilus ; siet, a potential sub-
junctive in a restrictive relative clause, as in quod sciam, A. & G.
320. d ; B. 283. 6 ; G. 627. Rem. 1 ; H. 691. 3.

455. perparoe nimium: very sparingly, too much so. Some
editors take this as a tmesis tor pernimium parce, but such a tmesis
seems to be confined to cases where an enclitic or ejaculation (e.g.
mihi, hercle) intervenes between per and the adverb. See 486.
non laudo : a parody on Simo's laudo (443).

456. commoui: a home-4hru8t I uidero: see notes on inue-
nerit, 381 ; feceris, 397 ; and accident, 398. Davus thinks this an
opportune time to withdraw.

457. rei: a dissyllable; cf. ei, 443. ueterator: old rogue;
vetus in astutia (Don.).

458. lllic : i.e. ille, Davus. caput : source, or as we say, ^^at
the bottom ^* ; cf. Ad. 568, sentit te esse huic rei caput.

ACT III. SCENE 1.

Mysis reappears with the midwife Lesbia, for whom she had been
sent (299). Their conversation is overheard by Simo, who imagines
it is part of a scheme to prevent the marriage of Pamphilus and
Phllumena.

^59. pol quidem : see note on 347.

112 KOTE& [Pagk 30

460. hail famie: noi commonif. Hau for Kavd before conso-
nants is often found in Mss., even for Tacitus. Cicero uses non
ferme. innanlas: A. ft G. 311. 1 ; B. 280; 6. 267; H. 662.

461. ab Andxlaat ancflla haac ? It is best to make this a qaes-
tion. Davus pretends Uiat he does not understand, and Simo answers
for himself in Uast,

462. quid dloit? Simo is naturally startled at hearing his own
son named by these people. Hzmauit fidem : made good his word
of Jionor. The expression, besides being alliteratiye, implies more
than dedit fidem. Plautus, in Mil, 463, combines the two verbs, te
nusquam mittam^ nisi das firmatam fidem.

464. quod peperlsset, etc. : see note on 219.

465. aotnmst : all is over, originally used of closing a lawsuit.
Blquidam : note the scansion, due to accentuation (Lindsay, Lat.
Lang, p. 216). To preserve «I, Spengel gives si equidem. nera :
predicative, if what she says is true. So honum in next line.

466. bonum : predicative in force. See previous note.

467. In mora . . . sis : cf. 166, 420, 424. ill! : i.e. Glycerium.

468. quod remedium: a remedium is found immediately in a
most unexpected and comical manner. Simo in his suspiciousness
overreaches himself.

469. aac peregiiaa : if the mother was a foreigner, an Athenian's
child had only the standing of an alien.

470. uix tandam : barely now, or only just now ; cf . Phorm. 234.

471. primum : Simo thinks that this is only the beginning of the
deceptions attempted by Davus.

473. luno Lnclna . . . obsecro : a stock formula in comedy.
The situation was common in Menander's plays ; cf. Oellius, 2. 23,
and Scholiast on Theocritus, 2. 66. Artemis was the goddess invoked
thus by the Greeks.

474. clt6 : the length of the final syllable is due to the pause fol-
lowing. In a continuous sentence (as Ad. 443) Terence has cito. *

475-476. non sat commoda . . . haec : you have not distrib-
uted these incidents skilfully enough in point of time. Davus had not
shown the ars celandi artcm. He ought to have made his play seem
less artificial. Here and in num inmemores discipuli (477) the meta-
phors are drawn from the stage.

477. diaoipnli: i.e. the women within, though the masculine is
used. See 192, where Simo applies the term magister to Davus.

478. hioina: an example of the strengthening non-interrogative
particle -ne, which existed in early X^atin. In many ancient grosses

Paob 31] ACT in. SCENE 2. 113

•ne is interpreted as vero^ ergo, enim, and etiam. For a good illustra-
tion see Plant. Mil. 439, where, in answer to the question, Egone f Is
it If we have Tune; Yes, you. Inparatnm : Simo flatters himself
upon his shrewdness. in ueris naptiiB : in = in the case of; cf . 566.

479. adortuB asset: a military metaphor. ludos redderet:
ludos reddere is the same as ludos facere, with dative or accusative
(Plautus), or lud^cari.

480. huius: a monosyllable. in porta nanigo: proverbial,
like the Greek iy \ifUyi r\4ta ; cf. 846. Figurative expressions from
the sea are much more common in Greek than in Latin literature.
**The poetry of Aeschylus alone, apart from other evidence, would
suffice to prove that the Athenians lived half their life upon the ocean
wave." (Fairclough, Tfie Attitude of the Greek Tragedians tovoard
Nature, p. 11.)

ACT III. SCENE 2.

Lesbia comes out of Glycerium*s house, and, as she is leaving, calls
out to the maid-servant within some directions, which are, of course,
overheard by Simo. The latter is more than ever convinced that a
trick is being played upon him. For the metre, see In trod. §§72 and 74.

481. sidaoleat = adesse solent (Wagner). oportent: for the
personal use, which is archaic, cf. Ad. 754, non te haecpudent f

482. signa ... ad salutem : favorable symptoms ; cf . 320.

483. Istam: i.e. Gly cerium. It is a proleptic accusative. See
critical note in App. A. & G. 334. c ; B. 374. 5 j G. 468. lauet :
where we might expect lauetur. See critical note. The same idiom
prevails in English ; cf. the use of bathe, wash, dress, etc. Menander
here had Xo^aare airr^v rdxurra. poste: this old form of post
(derived from *posti, seen in postid; cf. ante, antid- in antid-ea, and
Uie Oscan ant), is used by Plautus and Ennius, as in the line, —

poste recumbite, vestraque pectora pellite tonsis (Enn. Annates, 244. M),

and has been restored to Eun. 493, —

simul fmperabo ; p6ste hue continuo ^xeo.
See App.

484. daxl blbere : this use of the infinitive (bibere) is colloquial
and common in old Latin. It is sporadic in Cicero {Tusc. 1. 26. 65)
and Livy (40. 47. 5) ; cf, St. John iv. 10, ** Give me to drink." Lesbia
gives her directions like a physician. Donatus comments thus: Vide,
ut auctoritatem et iactantiam medicorum imitetur dicendo.

•• " •'•''•• ** ./*•*' '^ ^T-.tf .Ham i'<iueo9, Jjrstnti
^<^ 1^- * "» •"'■^fi ^riAw^ ' lOt • :ie • 'UivPEsaiioii "thicil cIobbb. ia.

*."' ■'■■* ""* •• ."•'nrt w vr» 'ijiiilv-s. ^iniO S 47? — i^t>' '.Tin ^f jifani-'T

i^ 'jO' ^ ' /»«^ /^■>rvtii.nMfi ''imo "^ ^iTJ '1 iTrnrnaTirr 17^ 7~^ •

f..-"! ',i»i> , .^ni.ir.ar '-iOT;**, niia i L "»■■«"«< '0000088. HIT

/ •' ' ,»v.*/r / //»*;»>/» ," •r.ntJnu*^* >inio, - 'FT^o fwici .of .^afONM*

> f t .-^''■•i -fnf -Jfh 'f)tt >»" sbv *3tr "His ^ unmac "hft >niy'

,, • -,♦■♦- ^ , •'» mj. '>>*. rp'T-.o«Ttie»n ''/)."? i.-inseti. ^ :« took: its piaae-

•♦ '^'' ^ ''■'f* f<*r;rhiu»5.n ,*»r:»»<f. rumsiL -S >ccais' i < iniiiii liTy

, •' " - '^ "", ')"•,» J •,* •'r.in'a#»', /ptjunefi .ai*ompo8*raDiL'vniL''erbat

/>//', 1 .e» , ^'y^.u-f^ty if^Xo-' hft jTilatiTe >f 'he pBEtEet paaBETBr

;^.^' ':-,»^ * nA 'f>f*,*-j,r •r-natrnjotjon V^r-k >«/)'« ^«r LZL •301BBeLT'. ^
.*>■* ". .'"^ -'vv'^'*^ .a .^^R ^nmnfton.; ;if. _itL 740. fn« •:?«* iocea.

^'rJ^ ;*4t» , , ftxm^: .>otp^ '1»<» -►ha.nj^ if Ictna, ^mmait when &

,^/»-T«( '^f^m A. f ^r. VjO f. ; R. 282. a . <>. HSL L ; R. a9L 7.

4^i ><il+Atn ;t*^^iiy5it^: .ai#». m«» faUfim dphehaa. The (amii a iiL
h '-'^ ', ///>/■///♦ .m'l ^/"/"t^f^u ^KtHftthf and stkUfHihjj (fetaxmines tite
f ./ ♦ ' >f ffi-Ht'f/fU t« ^n ^47ArH, *nH nr>t ^an StailbaiiizLr Wagnee^ami
o 1.' r-' "^V-^ it/ «^ '/^rK ,n 'hA >m)>*'r*f.i7'^ mode.

^'vi' Mti^tTY- f^rr /*''/*>, j^i^A [ifK^, 17 *nd note,

4<r^ ffrf A/mfrr«rf.rr# ^»fWtt : iM/fpM iffUh thre.r(U^ a I requ aut fwb in

IfthiUf ^fh ht* f\i^fTfiifrmhf'.f1 ittftn TfiUHtUi from ri/ero) is the true
iu-ffr.f<f t,f ir'h'H. (Ui ihPi mffitt, im A,k0.fSZi;B. 211. 4 ; 6. 381 ;
ii iUl fittt^ fmfh

i^i Mhf\hn HW hhh 1 nmttt) UlUve you in this f The indica-
llvf fq \\ii('(\ \^•(^f»^h «<l»'Hhi*mtltft«<ibJiUH!tlve would be employed in later
f.'iHll j ^f. Mln. //m^ Im cnhiprnptuouu ; cf. /iic in 406, 482.

Paob 34] ACT in. SCENE 2. 116

498: teneo : cf. 86. The line is an aside, hence Simons question,
Quid taces f Note the variety of syntax in the use of quid.

499. quid credas ? why believe it f This is the reply to credon^
etc. (497). It is practically a subordinate question, sc. rogasne f
See note on 191.

500. quiaquam: sc. renuntiavit. eho! an: cf. 766; Phorm.
269, E?io ! an id suscenses nunc illi f tute : very emphatic. Did
you find out for yourself f intellezti : see note oiipraescripati^ 151.

501. qui ? how f See note on 6.

502. noram : cf . note on 10.

503. enim : an emphatic particle. See note on 91. non . . .
atiam: see note on 116. me : prolepsis, as in 378.

504. egon te : sc. pemoui. dari uerba : see note on 211.

505. falBO : ironical, meaning of course I am wrong.

506. unum : i.e. if nothing else. intellezti : said with a sneer.
This catalectic line is introduced by way of transition to the trochaic
system. The irregularity serves also to throw peculiar force upon
Davus* ironical intellexti.

507. nihilo aetiuB = tamen, Davus falls in with Simons delusion,
and skilfully wins his confidence by pretending to conjecture what
will be the sequel.

508. ut flia BCienB : colloquial periphrasis for ut scias, used again
in 776 ; cf. Plautus, Poen. 1038.

509. ne . . . dicaa: final clause with ntintt'o. poate: see note
on poste, 483.

510. pronma: utterly.

511. nnde id aoia ? Davus has at last made an impression on
Simo.

512. qui = quibus. See note on 6.

513. inuentum : a substantive ; cf. ffeaut, 811, cum istoc invento
cumque incepto. poatquam uidet: the historical present is fre-
quent in comedy after postquam; cf. Phorm. 632, postquam sentio.

514. ilico : see note on 125.

515. accendtom : accerso is found twenty-six times in Terence.
It is distinctly colloquial, and is formed from arcesso by metathesis.
puemm : the obstetrix is supposed to lend an infant for the occasion.

516. hoc nisi fit, etc. : unless it is arranged to have you see the
child, the marriage is not at all disturbed, i.e. takes place. Davus
gives the reasoning of the women, from their own point of view. For
moueo in this sense, cf. 921, ego istaec moueo f So Cic. Phil. 1. 7. 17,
ea non muto, non moueo.

116 NOTES. [Pagb 34

517. quid aia I See note on 137. quom Intelleaceraa : A. &
G. 325. a; B. 288 ; G. 680 ; H. 601.

518. capera : bc. ea«. See note on 14.

519. Igitur: with an affected tone of irritation. Davns grows
bolder in his lies. Compare the statement he now makes with the
contradictory one made a few moments before (440-442).

520. miaere : desperately. Frequent in comedy.

521. id . . . negotl : this matter, i.e. the scheme of Glycerium
and her friends. See note on 2. ta idem : you as before ; ideniy
masculine, is idiomatic, but tautological, in view of ita ut facts.

523. parato : see note on 490.

524. non inpnlit me, etc. : note the change to senarii, when Simo
is left alone to meditate. bninino at crederem : put absolute faith
in, omnino being wJiolly and corresponding to omnia in the next line.

525. atque : see note on atque, 225. hanaclo an : perhaps, or
/ am inclined to think that. After Cicero the phrase inclines to a
negative meaning, *^ I am inclined to think that not.**

526. Bed parui pendo, etc. : note the double alliteration in the
line.

527. quod : for the ^uod-clause here, see A. & G. 333 ; B. 299. 1. a ;
G. 526. 1 ; H. 688. 3.

528. gnato: dativus commodi ; cf. Plant. Trin, 611, —

dtque quidem ipsus tUtro yenit Fhflto oratum filio.

A. & G. 236 ; B. 188 ; G. 360. 2 ; H. 425. 2.

529. alias : at another time, contrasted with ?^odie ; cf . Hec. 80, —

alids ut uti pdssim causa hac fntegra.

530. quod : see note on 527 for grammatical references.

531. nolit : sc. facere.

532. atque adeo : and indeed, like Kal . . , yk. So again in 977.
See note on 416. Sometimes, as in Pf^rm. 389, atque adeo quid mea f
there is an adversative sense, and yet, implied, on which see 226 and
626. in ipso tempore = iv xaipQ, at the nick of time. eccum :
i.e. ecce + hum (whence hunc). Similar forms are eccam, eceos, eecas,
eceillum, eccistum, also ellum and ellam from em. Here eccum is fol-
lowed by an accusative, due to the latent verbal force ; cf. Plant. Mil.
1216, eccum praesto militem. At times a finite verb is added in ex-
planation, as in Plant. Amph. 1006, sed eccum Amphitruonem : ad-
venit. Most commonly, however, eccum is a pure interjection, without
influence on the construction, as in 680.

Pagb 36] ACT IIL SCENE 3. • 117

ACT ni. SCENE 3.

Chremes, who has been told that Pamphilus expects to wed Philu-
mena, and on that very day, arrives to find out the meaning of this
gossip. Simo tries to win his consent to the match.

533. lubeo Chramatem : sc. saluere ; cf . Ad. 460, saluere Hegio-
nem plurimum iubeo. On the form Chremetem, see note on 247.
optato : adverb, = ez uoto (Servius on Verg. Aen, 10. 406), in origin
the ablative neater of a perfect participle nsed as an impersonal abla-
tive absolute ; cf. auspicctto, 807, consulto, compoaito, etc.

535. id : explained by the clause tun an illi insaniant, uiso :
I come to see; of. reuiso, 404.

536. uelim . . . quaeris : Terence is inclined to vary the mood
when either subjunctive or indicative is possible ; cf . 272-273, 649-
660, 967-968.

538. per te daoB oro : see note on 289. Chremes : see note
on 247. Most editors always read Chretnes for the vocative, but
Donatus recognized both forms, and Eugraphius gives Chreme as a
vocativita Oraecus,

539. a parulB: see note on 36. cum aetata adcreuit: cf.
Cic. de Senect. 14. 60, atudia doctrinae cum (tetate crescunt.

541. quoitiB . . . datur : to save whom lies wholly in your power.
quoluB: a monosyllable. This form, coming from ^quo-eius, is
probably a compound from a relative and a demonstrative stem and
corresponds to the old dative form quoiei.

542. Ita uti : see notes on 66 and 77.

543. faerant faturae : were to have been. See lines 99-102. Note
the effective alliteration with Jiant. ne obsecra : see note on 384.

544. quaai hoc . . . oporteat : a mild reproof, on which Dona-
tus has an excellent note : Quod amicus ab amico petit, iustum esse
debet; nee pro eo, quod non est iustum, supplicare oportet.

545. alimn . . . atque : other than. Atque is thus used by
Cicero not only with alius and aliter, but also with contra and contra-
riusy disfFimile and secus. olim quom : cf. 883. An example of
the demonstriitive use of olim (from olus, ollus = ille) = illo tempore ;
cf. Phorm. 912, olim quom honeste potuit, turn non est data. Vergil
shows this use in Oeor. 2. 403, Aen. 6. 126 (olim ubi), and Aen. 8. 391.
dabam : offered to give ; cf. daret, 101.

546. In rem : to the advantage, like ex re ; cf . Phorm. 449 ; Hec.
102, 649. fiant: sc. nuptiae. accerai: sc. earn; cf. 681, 741,
848. This verb is the word generally used of bringing the bride

118 . NOTES. [Page 35

from her father^s house to that of the bridegroom. The bridad proces-
sion was accompanied by music and torches. On the relation between
aeeerso and arcesso, see note on 616.

548. utrique : in emphatic position. In commune : for our
common good. The expression includes more than tUrique, which of
course applies only to Pamphilus and Philumena.

550. itaqne : the grammarians' role that it<iquej when it means
and ... 80, is accented itdque, is not observed here.

551. moneat : point out, suggest.

552. irae: a quarrel; cf. Verg. Ed. 2. 14, tristis Amaryllidis
iras. audio : a pretty tale I ■ The expression implies incredulous
impatience.

553. fabnlae : cf . 224.

555. amantium irae amoria integratioat : the best known line
in this play, rendered by the old poet, Richard Edwards (1523-1566) : —

" The falling out of faithful friends renewing is of love."

It is a development of Menander^s dpyii <f>tKoi&ffT<ay fUKp6v la-x^^i xp^^^
(Kock, 797).

556. id : explained by the u^-clause, precisely as in 548. ante
eamoB : prevent, sc. amoris integrationem,

557. occluaa: checked.

558. hanun : i.e. the women, Glycerium, Mysis, and Archylis.

559. redducunt : redducere, which is preserved by the Bembine
Ms. in 948 and Hec. 606, 616, 617, is clearly the correct spelling for
Terence, and is supported by the fact that in Plautus and Lucretius
the first syllable must often be long. aegrotum : cf. 193. '

560. consuetudine : cf. 110.

561. coniugio liberali : marriage with a lady, or, an honorable
match. So serviles nuptiae (Plant. Cas, Prol. 68 and 73) of a disrepu-
table connection ; cf. 123.

562. deln: a monosyllable. It recalls the participle with em-
phasis, like the Greek eira. emersunun : transitive, with sese as
object. This is the original use of the word. More commonly, the
verb is used intransitively, as a deponent (^emersus), or in the active
form, as Eun. 556, unde emergam.

563. posse : sc. eum se emergere.

564. neque ilium banc perpetuo habere : nor yet can he con-
tinue to keep this woman ; i.e. if he marries my daughter. Hanc is
contemptuous, and is used of Glycerium, not of Philumena. Sup-
ply posse, and cf . 146. neque me perpeti : nor can I tolerate

Pagb 36] ACT III. SCENE 3. 119

such conduct. Note the intentional assonance in p«7p6tuo . . . perpeti,
making the statement more impressive.

565. periclum feceris : make the experiment. The expression =
reipav iroteiaOai.

566. in : in the case of; cf . 478.

567. nempe InoommoditaB, etc. : Simo tries to minimize the
objection made. Nempe is ironical, but polite. The possible disaster
is called an incommoditas, inconvenience, and its unhappy result is
styled, not a diuortium, but merely a discessio, separation. denl-
que hue . . . redit : at the worst comes to this.

568. fli euenlat : the subjunctive, in the case of an improbable
contingency. On the other hand, si corrigitur (669) of what Simo
deems probable. discesaio : force is secured here by the omission
of the apodosis, and in the next line by the exclamatory turn.

570. restitueriB : on the tense, see notes on inuenerit, 381 ;
feceris, 397 ; and acciderit, 398 ; also Introd. § 89 (13).

571. tlbi genenim : supply deinde to correspond to principio; cf.
212 and note. flrmum : steady.

572. quid istic : have your way ; literally, what in that case is
one to say ? Supply dicere oportet. It is a common formula, where
one party in a dispute yields to his opponent. Istic is an adverb.
induzti : see note on praescripsti, 151.

573. nolo . . . claudier : / would not have you debarred from
any advantage through me. dandier : see note on 203.

575. quid ais : see notes on 137, 184.

576. comdliis : dative ; see A. & 6. 234 ; B. 192 • 6. 359 ; H. 434.
The dative with intimus is usually that of a person. The statement
here made is based upon Davus' remarks (442-446) and his indignant
question (519), Quis igitur eum ah ilia abstraxit nisi ego f Simo,
who (624) was not quite convinced of Davus' veracity, is ready,
under pressure, to put forward the slave's testimony as reliable.

578. cenaoB : parenthetic ; cf. credo, 313.

579. tute adeo : see note on 162.

580. atqne eccum : see notes on 625 and 532. For the adversa-
tive force often implied, as here, in atque, cf. sed eccum, 605, and Ad.
923 ; also attat eccum, Hec. 449. ezire : both the infinitive and
participial constructions are used with uideo in comedy.

120 NOTES. [Paob 37

ACT ra. SCENE 4.

A new scene begins here in the middle of a line, the action going
on without a break. This never occurs in Plautus.

Davus pretends to be busily concerned with the arrangements for
the wedding, which, of course, he supposes will never come off.
Presently, however, he learns to his horror that Simo and Chremes
have come to an understanding, and that the marriage is to pro-
ceed.

581. accerflitor: see note on 546. aduesperascit : the wed-
ding procession usually took place in the evening. The famous epi-
thalamium of Catullus (62) begins : —

Vesper adest, iuvenes, consurgite.

582. ego: see note on 36. dudum: lately; cf . 824.

583. uolgUB aemomm: slaves in general^ cf. ttolgus mulierum
(ffec. 600). This statement well illusti*ates one side of slavery.
Meissner refers to Seneca, Ep. 47. 3, proverbium iactatur: totidem
hostes esse, quot servos.

584. facerem: repeating /ac«re8, 682 ; cf . 282.

585. adeo : see note on 162.

586. habeo . . . fldem : sc. tihi, I believe in you ; cf . Plant. As.
468, si sciat noster senex, fidem non esse huic hahitam tandem. Davus,
the arch-hypocrite, reproaches Simo for his former attitude toward
him ; cf . 602 f .

587. faerant faturae : see 643. quid ? non ? Davus cleverly
dissimulates. ea gratia : see on 433. In this scene the interweav-
ing of comic threads is very clever and amusing. With ingenuous
candor, Simo makes confession to the rascally Davus of his attempt to
take him in, not knowing how well he really succeeded. Not till 690
does Davus begin to see how completely his own scheme of saving
Pamphilus has been foiled.

588. uide : fanqf that t

589. numquam : as often, merely an emphatic non ; cf . Ad. 628,
numquam quicquam, nothing whatever; Ad. 670, hodie numquam
monstrabo.

590. hie : up to this moment Davus has not seen Chremes. Here
Simo points to him, and in him Davus sees ruin.

591. nunmam perimna : surely we are not on the road to ruin,
after all f Perimus is a present tense, as is always the simple
imus, as in 117 and Phorm. 103 ; cf. redit, 667. The perfect tense

Page 38] ACT m. SCENE 4. 121

should appear as periimus. Davus settles the point in occidi (692).
dudum : as in 682.

592. audlam: probably sabjonctive, corresponding to Menander*s
d,Ko6<r<a. See App.

593. optume : the word resembles occidi in length and quantity,
as well as in the initial letter. West translates by undone and well
done.

594. modo : this use of modo of future time is rare. at appa-
retur dicam : / will order preparations to he made, rennntlo : cf .
reuiso^ 404. On the tense variations, see 128. The present, however,
may here be used to denote quickness of movement; cf. reuortor, 486.

596. ego aero solas : a bitter self-reproach for the mischief he has
caused. corrlgi : cf. 669. The infinitive construction with enitor
is ante- and post-classical for ut with the subjunctive.

598. qulescas: he easy ahout thai; cf. quiesce, Phorm, 713. On
the mood, see A. & G. 266. a ; B. 276. 2 ; G. 263. 2 ; H. 660. 1. With
a definite subject of the second person, the imperative subjunctive is
frequent in early Latin. In Cicero it is common in the Letters.
Otherwise in classical Latin it is confined to poetry and poetical prose.
mirum ni: doubtless; literally, it's a wonder if , , , not, a colloquial-
ism ; cf . note on 176. The expression mirum quin, used by Plautus,
is more ironical ; literally, one wonders why not; cf. Trin. 496 : —

minim quin tu illo t^cum divitids feras.

599. idem : cf . 621. nullus sum : Pm done for ! a colloquial
use, employed, however, by Verg. Aen, 7. 61, where nulla fuit means
was no more,

600. quid causaest, quin . . . proficiscar : why do I not set
out? cf. Hor. Sat 1. 1. 20. This is said in accordance with Simo's
threat in 196-200. recta uia : as a rule, uia is not expressed ;
cf. Ad, 433, Eun, 87, Hec, 372, Phorm, 869.

601. preci : the dative singular of prex is found only in Terence
(here and Phorm. 647). The ablative is the only case of the singular
in good use in classical authors.

602. in nuptias conieci: an expressive variation on in uincula
conicere, Pamphilus might as well be cast into prison as marry Philu-
mena. The phrase occurs again in 620 and 667. erilem filium :
i.e. eri filium. For the vigorous style of these lines, see note on 109.

603-604. hoc: i.e. Simone. em astutias: Oh, my cunning
intrigues ! Davus reproaches himself bitterly. quodai : see note
on 268.

122 NOTES. [Page 39

605. Bed eccum : see note on 580. The iambic dimeter, inter-
rupting the system of tetrameters, indicates increased emotion, and
forms a transition to the trochaic system. See Introd. § 71.

606. aliquid : Davos is running up and down, looking for some-
thing on which he may dash himself. quo is an adverb, = tohitJierf
and corresponds to in pistrinum in 214.

ACT in. SCENE 6.

Pamphilus now enters, furious because he believes that Davus has
ruined him. Simo has told him the result of the interview with Chre-
mes. He does not see Davus before 616.

607. BceluB : the scoundrel, qui : for the gender according to
sense, cf. Eun. 302, ilium . . . senium, qui; Ad. 261, festivom caput,
qui. atque: again an adversative thought is implied. See notes
on 225 and 525.

608. quandoquidem : see Introd. § 57. tarn ineiB : such a
clod. nulli : a genitive. The form is due to analogy with ordinary
adjectives in -us; cf. solae (dat.), Eun. 1004, etc.; alterae (dat.),
Phorm. 928; Heaut. 271. In using nulli consili {pro Bosc. Com.
16. 48), Cicero is probably quoting Terence.

609. me commlBiBBe : for the construction, see note on 245.
fattili : worthless. The adjective receives special emphasis from its
position and its separation from seruo.

610. pretium: as in 39, reward, which here is punishment.
Inoltum id auferet: get off with impunity; literally, carry it off,
the id referring in a general way to the result brought about by
Davus. This is expressed by a more emphatic pronoun in Heaut.
918, illud haud inultum ferent. In Ad. 454, haud sic auferent, the
pronoun is omitted. Note the intentional paronomasia in fero . . .
auferet.

611. poBthac . . . malnni : the original line in Menander ran
thus, according to Dziatzko (Kock, CorMcorum Atticorum Fragmenta,
44), MMt ataSels oiiK tv droXolfitip irori, if rescued from this plight,
I shall never die, i.e. only an immortal, a god, could possibly extri-
cate himself from it. The Greek is more forcible than Terence's line.

613. duoera : for the tense, cf. 379, 411.

614. quid me faciam : what to do with myself. Jlfe is an ablative
of instrument. The idiom belongs chiefly to colloquial style ; cf. 709 ;
Ad. 611 ; Heaut. 188 ; Phorm. 137 ; Cicero, ad Fam. 14. 4. 3, Quid Tut-
liola mea fiet ; Verr. 2. 1. 16. 41, Quid hoc homine faciatis f Terence

Page 41] ACT IV. SCENE 1. 123

also uses de me {Ad, 996) and the dative, as in 143. sedolo : cf.
146, 697.

615. producam moram : see 313, with note.

616. bone uir : very ironical ; cf . 846.

617. inpeditum . . . ezpediam : a good illustration of the literal
meaning of these verbs.

618. tlbl: emphatic position. at credam: see note on 263.
farcifer : scoundrelly slave. The note on the word by Donatus is
worthy of insertion; ^'^ Furciferi dicebantur, qui ob leve delictum
cogebantur a dominis ignominiae magis quam supplicii causa circa
vicinos furcam in coUo ferre, subligatis ad eam manibus, et prae-
dicare peccatum suum, simulque monere ceteros, ne quid simile
admittant/*

619. ta . . . roBtltuaB : you set right this entanglement and ruin !
For the mood, see A. & G. 268 ; B. 277 ; G. 265 ; H. 569. 4. em
quo fretas sim : see on whom I have relied — on you who, etc. The
interrogative tone should be continued. Sim is subjunctive in a char-
acteristic clause.

620. coniecisti in nuptlas : see note on 602. For the return to
the indicative mood, see a converse case in 272-273, credidit . . .
habuerim, where see note.

621. an non dizl : the reference is to 386 and 399, uide quo me
inducas* dlxti : see note on 151. meritos = meritus es. See
note on locutus, 202. cmcem : in thus pleading guilty and acknowl-
edging without argument that his offence deserves the severest punish-
ment possible, Davus makes plena satisfaction and tends to weaken
Pamphilus* desire for vengeance. For the punishment meted out to
slaves, see Becker^s Oallus (English translation), pp. 220-224.

622. Bine: cf. the constructions here and in 624. ad me
redeam : he myself again ; cf . Ad, 794, and see note on 408.

623. quom non habeo : see note on 422, and cf . 488.

624. praecauere : governed grammatically by sinit, which, how-
ever, by zeugma, implies monet or cogit, te nloiBci : take ven-
geance on you. So Phorm, 963, Eun. 762, Hec, 72.

ACT IV. SCENE 1.

Charinus, having heard from Byrria (431) of the apparent treach-
ery of Famphilus, enters in great distress of mind. Famphilus has
much difficulty in convincing him of his loyalty, and Davus undertakes
to find a remedy for the evil done.

124 NOTES. [Page 41

625. hodnest cradiblla ant memorabila : can this be believed
or described f For hocine^ see note on 186.

626. uecordia : heartlesmess. at aiet : a consecutive clause,
explanatory of hoc. A. & G. 332. /; B. 297. 3 ; G. 667 ; H. 671. 4.

627. gaudeant : the plural after quiaquam^ quisque^ and similar
words is a frequent colloquialism ; cf . aperite aliquis^ Ad. 634. ex
inc(Hnmodl8, etc. : cf. Heaut. 397, ut ex illius commodo meum com-
pararem commodum.

628. alterlus: with t. This quantity suits the cretic measure,
and is found in a fragment of Ennius and two passages in Terentianus
Maurus (a writer on metres, belonging to the end of the second cen-
tury A.D.). Elsewhere the long i finds little support. Brix gives
altrius for Plant. Capt. 306 (trochaic measure), but the Mss. have
alteriua. In. dactylic verse alterius alone is used, altentut being
impossible. So nulHua in Lucr. and Hor.

629. uerum = iustum ; cf. Caesar, B. G, 4. 8, neque verum esse fines
alienos occupare; Hor. Epist. 1. 1. 11, gwi'd verum cOque decens euro.
Immo : indeed, or better, yes indeed. Tmmo is a strengthening par-
ticle, but whether it is positive or negative depends on the context.

630. In negando . . . adest : who feel some little shame only in
saying no, i.e. if asked to grant a favor they comply, because they
have not the moral courage to decline. modo : only. So Donatus,
modo pro tantummodo. West regards it as temporal, ** at the time."
qulB = quibus. pudor patilum : note the alliteration. Paulum
(an adverb) adds a touch to the irony. What shame they have is
slight.

632. BO aperlnnt : betray themselves, disclose their real nature.

633. et timent, etc. : on this line, see App.

634. Ibl torn : see note on 106.

635. qulB tu^B ? quia mi's : as Donatus says, these collbquial
questions mollia sunt dictu, sed animo .aspera. The first refers to
rank, the second to relationship. So to a man who was too pushing,
Cicero said (ad Fam. 7. 16), oro te, quis tu es f quor meam
tibl : sc. tradam, why give up my bride to you f For the ellipsis,
see note on 82.

636. hana: look you! or, Vll have you know. prozuxnuB
Bum agomat mlhi : cf. Plant. Trin. 1164, tunica propior palliost,
which is like the Scotch saying, **Near's my sark, but nearer my
skin."

637. ubl fideB ? a proverbial expression ; cf. ffeaut. 266 ; Cic.
Verr. 2. 6. 40, 104; Ovid, Seroid. 6. 41.

Page 42] ACT IV. SCENE 1. 125

638. hie . . . Uli : both words are adverbial. uerentur : are
scrupulous.

639. expoBtulem : complain of; cf. Ad. 695, si quam (sc. iniu-
n'awi) fecere ipsi expostules.

640. mala : taunts ; quasi tela (Donatus). The phrase is frequent
in Plautus ; cf. Hor. Sat, 1. 6. 11, convicia ingerere. atque : see notes
on 225, 525, 607. nil promoueris : see note on inuenerit, 381.

641. multom : sc. promouero. Note the forcible brevity. mo-
leatiiB certe ei fuero : cf. Euripides, HippoL 1297 : —

Kalroi vpoKbyj/ia y o^dh, dXyvvQ Si <r4.

animo: much the same as mihi; cf. Heaut. 947, gerere mihi morem.
See morigera fuit, 294, and note.

642. Charine, et me et to . . . perdidi : Pamphilus, who has
hitherto been in the background, unseen by Charinus, now comes
forward and interrupts the soliloquy. His frank confession blunts
the edge of Charinus' anger, and in this respect is to be compared
with 621, where see note. quid . . . respiciunt : sc. nos^ have some
regard for us.

643. itane : cf . itan credis, 399. causa : cf. 257.

644. ducere : as in 180. postulas = uis ; cf . 422, and see note
on 418.

645. complacitast : a deponent form ; ct Heaut 773, complaci-
tam form^m. For the prefix con-^ see note on 109. complaceo is
confined to early and late writers. See Introd. § 86 (2).

646. spectaui : judged.

647. falBUB : see notes on meritus, 621 , and locutus, 202. nomie :
see note on 238. solidum gaudium : complete or perfect joy; qf.
solide gaudere, 964.

648. nisi me lactasses: unless you deluded me. The mood
and tense are due to partial oratio obliqua, the condition being a
future one from a past point of view. A. & G. 341. c and 337. 3 ;
B. 319 and 323; G. 656. 3 and 663. 2 (6); H. 652. For lactare, cf.
912, and see note on 84. produceres: like ducere, 644.; cf. Cic.
pro Quint. 8. 30, condicionibus hunc producit.

649. habeas : iussive subjunctive with permissive force. For the
definite 2d singular, see note on quiescas, 598. habeam: cf. essem,
282.

650. cq^flauit : properly, fanned into flame ; cf . Eun. 874 : —

mal6 principio mdgna familidritas
confldtast.

126 NOTES. [Page 42

It is a favorite word with Cicero, as in the expressions invidiam, iniU"
riawi, accusationem conflare.

651. camufez : see note on 183. de te si ezemplom capit :
cf . Ad. 416, ex aliis aumere eonemplum,

653. altercasti : this is the only instance known of the active
form of altercor, with the exception of one in Pacuvius (Ribbeck,
210). dudum : cf. 682. et Is : note the parataxis, which is
common in colloquial speech.

655. Immo etiam: nay indeed; cf. 673, and see note on 629.
quo tu minus scis : literally, by reason of which you do not know, i.e.
and from this it is evident that you do not know. The clause is par-
enthetic ; cf . Ad. 680, quo magis quae agis curae sunt mihi, and there-
fore your conduct gives me the more anxiety ; Plaut. Capt. 430, et quo
minus dixi quam volui de te, animum advortas volo, and — from which
(it is evident) I have said less than I desired about you — / want you
to observe. In the Plautus passage Brix and Elmer would supply eo
magis with the main clause.

656. haec nuptiae .* see note on 328. On haec here Donatus says,
sic enim veteres dixerunt. Even Cicero sometimes uses this form of
the feminine plural.

657. poBtulabat: i.e. volebat; cf. 644, and see note on 418.
nunc = hodie, with dare.

658. tua uoluntate = uolens, forming with coactus an oxymoron.
mane .* Charinus is on the point of withdrawing.

660. enicas : plague to death. Strong expressions are natural in
colloquial style.

662. Buadere, orare : best taken as historical infinitives ; cf . 62, 07.

663. quia homo istuc: Pamphilus has already (650, 661) re-
ferred to Davus as the cause of his ruin, but his former remark left
no impression.

664. nisi . . . iratos : sc. scio. deos fulsse iratos : an ex-
pression often used, both seriously and humorously, to imply that a
person is unfortunate, unsound of mind, or barren of thought; cf.
Phorm. 74, memini relinqui me deo irato meo ; and 636, satin illi di
sunt propitii f So Horace, Sat. 2. 3. 7, of the poor wall, which is
thumped by the desperate poet : —

inmeritusque laborat
iratis natus paries dis atque poetis.

666. at : frequent in curses, and contrasting the punishment with
the offence ; cf . Eun. 431 ; Hec. 134 ; Verg. Aen. 2. 636, aX tibi pro

Page 44] ACT IV. SCENE 1. 127

scelere . . , di persolvant; Catull. 3. 13 ; Hor. Epod. 6. 1. dnlnt :
on this old form, originally an optative, see Introd. § 86 (8). Note
the alliteration.

667. coniectmn : cf . 602 (with note) and 620.

669. deceptuB . . . defettgatuB : the heavy rhythm of the line is
very appropriate, seeing that Davus has barely a fighting chance (see
611). The metaphor comes from the arena. bcIo : of course ! cf.
653, 658.

670. BuccoBsit: impersonal.

671. primo proceBBlt pamm : note the expressive alliteration.
673. immo etiam : ironical here ; cf . 655. BatiB credo : / am

pretty sure.

675. ego : see note on 35. pro Beruitlo : as your slave; liter-
ally, in virtue of my slavery.

676. manibuB pediboB: cf. 161. Note the absence of a connec-
tive, not only within the phrase manihu^ pedibu^, but also before the
next one, since -que apparently corresponds to the following et; cf.
Ad, 64, praeter aequomque et bonum ; Eun, 876, accipioque et uolo ;
Phorm. 1051, quod uoles faciamque et dicam. noctlBqae et dieB :
cf. Eun, 193, dies noctisque,

677. dam: if only,

679. Bedulo : earnestly y honestly ; cf. 146, 597, 614.

680. uel : even ; used in view of the imperative. Properly, if you
like. This use is frequent in comedy ; cf . Phorm. 143, vel occidito, on
which Elmer well says : ** Notice how easily an expression of command
passes into one of mere permission.*' me mlBBum face : more ex-
pressive of the result than me mitte (= omitte). Almost our ** let me
be dismissed.'* In Terence the form face is limited to the end of a
verse ; cf. 821, 833. Duce occurs twice in compounds (Ad. 482, 917);
otherwise we find die, due, fac, fer. See Introd. § 91 (10).

681. reBtltue . . . locum : i.e. put me in the position wherein you
found me before I followed your foolish advice.

682. iam : the emphatic word. concrepuit : this word (Greek
^o0€t) is used of the noise which accompanied the opening of a door,
indicating that somebody was coming out. The door in question is
not the street door, which was always open by day, but a door which
opened on a passage leading to the street door. The doors of the
ancients were often hung on wooden pivots (cardines), which made
much noise when the doors were opened. (See Tyrrell on Plant.
Miles, 154.) The word used of knocking was pultare (Kbirreiv).

128 NOTES. [Page 44

683. nihil ad to : sc (Minet. qnaero : sc. consilium, I am
thinking; cf. 702. zmnciii demum: only now beginning to
think ? Ironical. tauentam dabo : cf . missum face, 680 ; effec-
tum reddam, 703 ; Rectum dabo, Fhorm. 974.

ACT IV. SCENE 2.

Mysis, who now steps out of Glycerium's house, receives the assur-
ance of Pamphilus that he is loyal to her mistress.

684. ubi ubi = ubicumque; cf. Hun. 1042; Plaut. Bud. 1210;
Livy, 42. 57. 12. inuentum curabo : see note on previous line.

685. anime mi : my sweetheart!

686. optoxne mihi to offers : a lucky meeting !

688. integrascit: is opening again, like a wound; cf. Statins,
Theb. 6. 29, immania vulnera, rector, integrare iubes. The word
occurs only here.

689. Bicine .- Le. sice-ne; cf. undique and unde, and see note on
186. Sice is the old form of sic.

691. qoibus . . . quiesset : as to that, how easily could we have
had peace, if he had held his peace ! quibus (sc. nuptiis) : the
ablative with quiesci, used impersonally, on the analogy of uacare
and similar verbs. The play on words and the alliteration accentu-
ate the speaker's bitterness. hie : i.e. Davus ; cf. use of hie in 660.

692. age, si hie . . . instiga : Davus replies with like bitterness.
Note the striking assibilation ; hie here refers to Pamphilus. atque
edepol, etc.: Mysis refers to the last remark of Pamphilus (690).
Charinus and Davus have had a little side-play of their own.

695. non, si = etiamsi; cf. Fun. 49 ; Heaut. 1035. capiimdoB:
for capere used thus, cf. 192, magistrum cepit; Fun. 887, inimicum
capere ; Phorm. 370, inimicitias capere. omnis homines : maluit
dicere , . . quam aperte dicere patrem (Donatus).

696. contigit : used impersonally, success befell me. Thlls Donsr
tus seems to have taken it : quod vix evenit, contigisse dicitur. So
Meissner, but most editors make it personal, understanding haec.
This, however, is less natural. ualeant qui : away with those who.
A euphemism for pereanty the plural also being used moderate, cum sig-
nificaret patrem (Donatus).

697. nemo : for nihil, because throughout Pamphilus has his father
in mind.

698. atque = qxiam. After comparatives in negative sentences
this use of atque or ac is not uncommon. Horace, as in 8at. 1. 6.

Page 46] ACT IV. SCENE 2. 129

130, also uses it in positive sentences. The idiom is foand mainly in
poetry ; cf. Verg. Aen. 3. 661, Jwiud minus ac iuasi faciunt; Catull.
61. 172; Hor. Sat. 2. 7. 96; etc.

699. at ne : this use in a final clause (ut ne = ne) is found at all
periods (cf. 259), but ut ne = ut non (as here) in a consecutive clause
is confined to early Latin ; cf. Ad, 626, fieri potis est ut ne qua exeat.
BtetlBae : i.e. esse (Donatus) ; per aliquem stetisse quominus is com-
mon in Livy, less so in Caesar.

700. nolo : well and good.

701. in ptocilivd: easy ; UteTdAlj, on the down-hill grade. See 78,
and cf. Flaut. Capt. 336, tarn hoc quidem tibi in procliuist, quam imber
est, quando pluit.

702. quia uideor : sc. tibi^ what do you think of me f Pamphilus
has made a brave resolve, but his courage needs support, which he
seeks by this question. The answer, however, is very different from
what he expected. fortia : Charinus is ready to encourage Davus.

703. Bclo, quid conere : / know what youWe after ; ironical, as
Pamphilus has little faith now in Davus. effectum reddam : cf . 683.

704. lam : at once, as in G82. qnln : usually followed by etiam,
but thus Ad. 734, Heaut. 737, Davus has recovered his self-confi-
dence and assurance. huic : i.e. Pamphilus. Davus takes little
interest in the fortunes of Charinus. ne erres : a final clause,
though rendered well by make no mistake. It implies an ellipsis, such
as id quod tibi dico ; cf . Plant. Men. prol. 47 : —

ne mdz erretis, idm nunc praedic6 prius,

and Trin. prol. 4, nequis erret uostrum, pattcis in viam deducam.

705. sat habeo: cf. 335. Charinus takes his snubbing philo-
sophically, cedo : see note on 149. at : A. & G. 331. f . ; B. 296.
2 ; G. 560. 2 ; H. 567. 1.

706. ne . . . credas: lest you suppose, i.e. ^^ this I say lest you
suppose," a case similar to ne erres, 704. The words are introduced
as a dramatic device to keep the audience on the alert. nociuom :
= the later form vacuum. In early Latin uacare was pronounced as
uocare, which allows Plautus ( Cas. 527) to pun upon the words :
Fac habeant linguam tuae aedes. Quid ita f Quom ueniam, uocent.

707. uoB amolimini : pack yourselves off. Davus becomes quite
impudent As Spengel remarks, the weighty rhythm heightens the
comic effect.

708. quid tu ? Charinus lingers behind, hoping to get some more
encouragement from Davus. uerum uia dicam ? do you want me

130 NOTES. [Paqb 46

to tell you the truth f Immo etlam : yea^ to he sure, said ironically ;
cf. 673.

709. quid me flet ? See note on 614.

710. diecolam : this diminutive is used by Cicero in the colloquial
style of his letters (a(2 Att, 6. 21. 16). See note on adulescentuli, 66.

711. quantum : in so far as = 6<rov, Davus will give Charinus
no comfort ; cf . 329. promoueo : i.e. profero, differo,

712. ut ducam : sc. fac or cura. hue : the house of Charinus
is seen on the stage. poteris : sc. efflcere.

713. age : very well !

714. domi ero : Charinus now withdraws. Mysis is still left on
the stage. dum ezeo : i.e. from Glycerium^s house. See note
on 329.

ACT IV. SCENE 3.

Mysis soliloquizes until Davus reappears.

716. nilne esse : for the construction see note on 246. pro-
prium : one'^s own, hence constant, assured; cf. 960 ; Hor. Epist, 2. 2.
172, tamquam sitproprium quicquam.

The idea is common in Greek ; cf . Euripides, Frag. 1069 (Nauck) : —

B^/3ata 5' oidels e^vx« Ovrirbs 7eyc6$.

di uostram iidem : admirantis adverbium cum exdamatione (Dona-
tus). There is no need to supply imploro or obsecro, though a verb
is sometimes found, as in Plant. Amph, 1130. See note on 237.

718. amicum, amatorem, ulrum: note the climax; cf. 296.
loco : occasion.

720. laborem : trouble, as in 831, 870. facile : easily proven,
i.e. surely, certainly ; cf . facile princeps. hie . . . iUic : in our
present and prospective circumstances, i.e. the evil in our present dis-
tress outweighs the good that we may enjoy if Pamphilus marries
Glycerium. Donatus is right in glossing illic with in amico, amatore
et viro. Editors generally take illic as referring to the beginning of
the connection between Pamphilus and Glycerium.

721. mi homo : my good sir, Haec scena actuosa est (Donatus).

723. eacprompta : not merely attributive to malitia, but, accord-
ing to the idiom vnth opus est, used predicatively, being brought into
play ; cf. Plant. Cas, 602, uicino conventost opiis, the neighbor must be
called on. malitia .* shrewdness. Memoria is an early variant,
which was read by Donatus.

724. ooiuB : at once; cf. 731.

Pagb 48] ACT IV. SCENE 3. 131

726. hmnine : Mysis' womanly instincts are shocked, when she is
asked to put an infant (represented in the ancient illustrations as
naked) on the bare ground. ara : i.e. the altar of Apollo, which in
other comedies (cf. Plant. Merc. 67&) is mentioned as standing before
the house. Apollo was the god of ways and streets ('AYviei^s).
uerbenas : the word is used in Latin with both a general and a
special application. It is given by Verg. Oeorg, 2. 131, in a list of
garden produce. More commonly it is applied, as here, in a generic
way to leaves and boughs, such as myrtle, laurel, and olive, used to
decorate an altar. In the Greek original, according to Donatus,
Menander spoke of the myrtle here. tlbl : dative of advantage with
sume, help yourself to.

727. tute: cf. 600.

728-729. quia, Bi forte opus ait, etc. : because^ if need be, I
must swear that I did not place it here, and this I wish to do with a
clear conscience. Before ut we must suppose there is an ellipsis, some-
what similar to that in the case of ne erres 704, and of ne credas 706.
The full expression would be, et ita ego agamy ut liquido possim iurare.
appoalsse : posivi, the Plautine perfect of pono, is probably correct
for Terence, and is found in Catullus 34. 8 and Cic. Tusc. 6. 29. 83.
liquido : for this sense and connection, cf . Ovid. Pont. 3. 3. 49, ut
liquido iuratus dicere possis.

730. religio : scruple. Mysis does not expect such scrupulousness
in a man of Davus^ type. cedo : cf. 149. Mysis now takes the child
and proceeds to lay it at Simo's door.

731. ociuB : cf . 724. porro : with agam.

732. aponsae pater : Davus does not say Chremes, because Mysis,
not knowing who Chremes was, would naturally ask for further ex-
planation, and time is precious. interuenit: is coming upon us,
i.e. unexpectedly. Chremes is returning to Simo's house, in accord-
ance with 694, atque hue renuntio.

733. primum : what the original plan was we can only conjecture.
Probably Davus meant to inform Simo that a baby had been laid at
his door. intenderam : the metaphor, according to Donatus, is
from spreading nets in hunting. Davus, then, meant to decoy Simo
and Chremes.

734. n^rrea : cf. 461, 477. ego quoque : Chremes is approach-
ing from the right, and Davus determines to do the same, going round
from the left, and making his appearance after the other has encoun-
tered Mysis and the infant.

735. aubaeruiaa: second.

182 NOTES. [Page 48

736. oration! : the story, which Davus will invent. uerbis :
your words, ablative of means with suhservicis, not with opus sit.

738. quod : the same as quod in 448 ; cf . note on id, 362. opera
opuB : note the alliteration ; opera is nominative, corresponding to
quae in 740. ut tu plus uides: as you see further; vides = sapis
or intellegis (Donatus) ; cf. Cic. Phil. 2. 15. 39, cum me vidisse plus
fateretur, se speramsse meliora ; pro Lege Man. 64 ; de Amicit. 99, etc.

ACT IV. SCENE 4.

The most ludicrous scene in the play. Davus proves himself a
thorough master in the art of duping others.

740. reuortor: cf. 694.

741. accerai : see note on the word, 546. quid hoc : sc. est.

742. lllio : i.e. Davus, who has promised (735) to appear, but who
does not do so soon enough to please the distracted woman. ad-
poaistl : see note on apposisse 729.

744. di uoBtram iidem : see note on 716. Davus pretends to be
coming from the forum. He talks to himself, with the intention, of
course, of being overheard by Chremes.

745. quid hominum: i.e. quot homines, but more forcible by
reason of the repetition of quid with the partitive genitive. lUi:
the adverb. litigant : the plural with a collective singular subject.

746. turn : moreover, as in 816, 926. annona carast : prices
are high ; a specimen of Athenian ^* small talk/^

747. quor tu . . . me solam : sc. reliquisti f Davus cuts her
short before she can let the cat out of the bag. fabula : farce, ex-
plained by the next line. It does not refer to her unfinished question.

749. satin sanu^s : can you he in your senses f satin = satisne, so
that literally the expression is, ** are you sufficiently sane ? " So Heaut.
707, satin sanus es et sobnus f and Ad. 329. In Flautus satin often
supplies the place of nonne, but in Terence it is used more like num ;
cf. with the above examples Plant. Trin. 926 : —

sAtin inter labra Atque dentis Idtuit vir minunif preti ?

TVtn. 1013, Capt' 653, Mil. 393, etc. quern, etc. : Davus takes care
to keep his back to Chremes, who must be convinced that tJtiis encoun-
ter with Mysis is accidental.

751. au : mercy ! an exclamation used only by women. Davus
treats Mysis roughly, pushing her to the right. concede ad dez-
tmram : certainly said in an undertone, though Spengel thinks not

Pao» 60] ACT IV. SCENE 4. 188

r

Dayus wishes to be sufSciently far away from Chromes to make it
possible to converse in whispers.

752. non tute ipsa . . . : Davus interrupts before she can say
turn mihi dedisti; cf. 747.

753. fazis : i.e. feceris. Similar forms found in this play are
exceasis 760 and faxo 854. On these forms see B. App. 205. 3 and 219 ;
Lmdsay, Lat. Lang, pp. 463-465 ; 6. 131. 4. b.

754. die Clare : speak out. It is important that both the question
undest f and the answer a nobis should be heard by Chremes. Evi-
dently, then, some of the preceding remarks were not intended for
Chremes^ ears. See note on 751.

755-756. minun aero : ironical and therefore equivalent to no
wonder, mailer meretriz : Davus has no scruples in saying hard
things about Glycerium, if he can attain his end. For the redundancy
cf. 828, 910 ; servos homo, Phorm, 292 ; Cic. ad Fam, 12. 22, homo
gladiator. Such redundancy is common in colloquial language, as in
Tennyson's Northern Farmer, **But I knaw'd a Quaaker feller."

757-758. idonei, in quibas : cf. note on idoneus quern, 492. in
qoibas inladatie : this construction is found only here. Elsewhere
in Terence in aliquem (Fun, 942) or aliquem alone, 822, Phorm, 915,
Heaut. 741. Later writers have also the dative construction. aenl
in tempore : see App. Chremes remains in the background till 784.

759. adeo : emphasizing the imperative, do make haste. See
notes on 162 and 415.

760. mane! caae, etc.: Donatus rightly took this line as an
aside. See note on 754. In mane, the e is due to the pause follow-
ing; cf. cave, qaoqaam: one step, ezcessiB: i.e. excesseris.
See note on 753.

761. eradicent : a vulgar word, which never became classical.

762. at : implies indignation ; cf. 666, where see note.

763. qaolom : this interrogative adjective is found only in famil-
iar style; cf. 772, 932, and Verg. Eel, 3. 1 : —

Die mihi, Damoeta, cuium pecus ? an Mellboei ?

adpoaisti : see note on apposisse, 729.

765. Quid? Pamphili? Davus is determined to impress the
name on Chremes.

766. eho, an: cf. 500. semper: not in accord with 100,
Chremes ultro ad me venit, Chremes deceives himself, sua people will
often do.

767. animnm adaortendom : cf . 156.

134 NOTES. [Pagb 60

768. quemne : i.e. eumne diets (pueruni) quern f Do you mean
the child that . . , f Quern is of course a relative. Precisely similar
is Plaut. itfi7. 13: —

Quemne 6go servavi in cdmpis CurcuUdniis ?

of. Plaut. Bud. 272, 1019, 1231. In Phorm. 923, the antecedent is
given in the words immediately preceding : —

Arg^ntum rursum itibe rescribi, Phdrmio.
Quodne 6go discripsi p6rro illis quibus d6bui ?

769. O hominem : for the hiatus see Introd. § 59. uenim : yes,

770. Biiffarcinatam : with a bundle under her dress.

771. quom : see note on 422. aliquot adfuerunt liberae : as

Donatus remarks, Terence here follows the Roman custom, according
to which at least five free-bom women had -to be present at the birth
of a child to establish its legitimacy. The evidence of slaves was of no
value. See Phorm. 292 : —

servom hdminem causam ordre leges n6n sinunt,
neque t^timoni dfctio est.

772. ne : see note on 324. Ulum : i.e. Chremes. quoia : see
App. and note on 763.

773. Chremes si puenim, etc. : Davus here expresses the sup-
posed thought of Gly cerium. His own comment on the supposition
begins at tanto.

775. non hercle faciet : for the third person, cf. 179. Davus'
scheme is successful. nunc adeo : this very moment, cf. 415.
sis Bciena : cf . 508.

776. tollis : present for future. See note on 815. iam : as in
682, 704.

777. prouoluam . . . peruoluam : tumble out . . . tumble about.
The threat is made more effective by the play of words. Donatus
styles this play of verbs paromoeon, a similar play of nouns being
paronomasia.

778-779. fallacia alia aliam trudit: one piece of knavery is
followed by another. It is a proverbial expression. Trudit, treads
on the heels of; cf . Hor. Carm. 2. 18. 15, truditur dies die.

780. ciuem Atticam: cf. 221. coactus legibus: Davus
passes into direct speech. See note on 221. It is the Athenian law
that is referred to.

781. eho . . . an : cf. 500, 766.

Page 61] ACT IV. SCENE 4. 135

782. iocttlarlum in malum : into a laughable scrape. Adjectives
in -arius belong chiefly to colloquial Latin. See Introd. § 91 (9).
inBciemi : the form inscius is not found in Plautus or Terence.

783. O Chrome : Davus now can well afford to notice the pres-
ence of Chremes. He pretends that he sees him for the first time.
per tempuB : i.e. in tempore or tempestive.

784. ain tu? say you so? Cf. Eur, 392 ; Plant. Asin. 486, 722 ;
AuL 538 (Goetz); Cic. ad Att, 4. 6. 1.

785. audistin : Davus repeats his question, in order to convince
Chremes thoroughly of his own sincerity in this encounter with
Mysis.

786. Bcelera : accusative ; cf . em oMutias 603. banc : with
contemptuous force.

787. hie est ille : this is the gentleman, i.e. of whom we have
been speaking ; cf . ilium 772 ; Plant. Capt. 783, hie illest senex doo-
tus; Cic. Tusc, 6. 36. 103, hie est ille Demosthenes. So olros iKcTvoSy
Herod. 1. 32 ; tovt^ t<rr^ iKetvo, Aristoph. Banae, 318. ne te
credas : the ne is final ; cf . 706 and note on ne credas.

788. mi senez : said in a coaxing tone. The simple sincerity of
Mysis is most effective. Chremes does not linger for further evidence,
but without more ado goes to find Simo.

789. ne me attigas : the moment Chremes turns his back, Bavus
gives vent to his pent-up feelings of joy. Mysis, however, still in the
dark, repels his friendly advances, attigere = attingere, occurs only in
early writers, and indeed only in the subjunctive form in prohibitions.

790. si pol, etc. : a case of aposiopesis ; so. narrabo, peream.

791. inepta : said in a kindly way ; cf. Ad. 271, age inepte.

792. Bocer : used by anticipation. fieri : this quantity is found
only at the end of a verse ; elsewhere, fieri. See Introd. § 88.

793. praediceres: i.e. praedicere mihi oportebat; cf. Phorm.

297: —

dot^m daretis ; qua^reret aMm virum.

The mood expresses a past unfulfilled duty ; cf . Verg. Aen, 4. 604 : —

Faces in castra tulissem,
Implessemque foros flammis, natumque patremque
Cum genere ezstinxem, memet super ipsa dedissem.

A. & G. 266. e ; B. App. 362 ; G. 272. 3 ; H. 569. 6.

794. ez animo : in sincerity ^ explained by ut fert natura.
omnia : we should say simply things or a thing.

136 NOTES. [Paob 51

795. de induBtrla : with premeditation. According to Donatus,
the original in Menander was not expressed interrogatively.

Davus here states the principle of his modus operandi in the recent
scene, and then probably steps aside with Mysis to explain it more
fully. The two, we must suppose, engage in too earnest a conversa-
tion to notice the entrance of Crito. Hence the dramatist here dis-
penses with the usual formulae, elsewhere used in announcing a new
character. See 226, 294, 310, 335, 403, etc.

ACT rV. SCENE 5.

Crito, a relative of Chrysis, now arrives from Andros to claim
the property of his deceased kinswoman. The spectators would
know from his appearance that he had come from abroad. See
Introd. § 45.

7d6. platSa = xXareta, an instance of the shortening of syllables,
due to a change of accent, which sometimes attended the introduction
of a Greek word into Latin. So, baliieum and fiaKavehp, graphlum
and 7pa0€(ov, chorSa and xop^^*

797. sesa : see note on 238. Here there is a similar contrast
between the views of Chrysis and Crito. In 71, which is probably the
account given by Chrysis herself, we are told that her relatives had
neglected her in her poverty.

798. in patria : i.e. Andros. uiueret : cf. Ad, 108-110. A. &
G. 332. 6 ; B. 284. 4 ; G. 644. Rem. 3. a and 6 ; H. 570. 1.

799. eius morte . . . redlenint bona : Solon had decreed that
in cases of intestacy property should pass to the nearest of kin ; cf .
Aristoph. Aves 1665. On redierunt Donatus says : Hie ius tractavit
dicendo redierunt; quia in familiam redeunt, si non est heres de
proximo, aut ex testamento. See the interesting chapters (VI and
VII) in Maine's Ancient Law.

800. obsecro : Good Heavens ! cf . Eun. 962, Hem, ohsecro, an is
est?

801. estsie : i.e. nonne est f cf . 17 and note. sobrinuB : Dona-
tus has this note: Sohrini sunt consobrinorum filii, nam sic dicit
Menander ; verum ut alii putant, de sororibus nati, ut sint sohrini^
quasi sororini. According to modem philology, this explanation is
substantially correct, so6nntt« being for *«o«(o)nww« (soror =*80sor);
original sr in Latin regularly becomes hr. See B. App. 108. 3. Accord-
ing to Justinian, Institutes 3. 6. 4, consohrini are properly the children
of sisters; the children of brothers 9xq patrueles ; amitini are the

Page 62] ACT IV. SCENE 6. 137

children of a brother and of a sister. Consobriniy however, was also
used in a more general sense of any cousins.

803. itan Chrysis, hem ? And so is Chrysis, eh . , , ? Crito is
loth to add periit or mortua est. Hem is added to a question in 194
and 435. nos perdidit : a crushing blow for %ls, like dxc^Xeer^y /m
(Eurip. Alces. 1002).

804. quid HOB : sc. agitis, hie : the adverb, sc. vivitis.
■atine recto : sc. valetis; saline = satisne ; cf. 749. sic: so so.
Est significatio languoris cuiusdam et lentitudinis (Donatus) ; cf.
Fhorm. 146. Quid rei gerit f Sic^ tenuiter.

805. aiunt : as the saying is. The word is used in introducing a
proverb ; cf. Phorm. 606 id quod aiunt, auribus teneo lupum, and 768.
The line was perhaps introduced here as a compliment to Caecilius
(see Introd. § 30), in whom it ran thus : —

VivAs ut possis, qudndo nee (= non) quis tit velis,

but the proverb was known to Menander,

l;'Qfi£P y^p odx ct)s 0i\ofJL£v, dW us SvpdfieOa (Kock 60),

and before him to Plato, ToiaOra rd iffUrcpd iariVj o^x °'^^ poCKeral rtf,
dXX' ota Siivarai. {Hipp. Maior, 301 c.) Cf. 306-306.

806. 8U08 parentis : see note on 222.

807. utinam : for similar instances of ellipsis with utinam see
Cic. de Oral. 2., 88. 361, habetis semionem bene longum hominis, utinam
non impudentis! So ad Att. 7. 11. 7; 13. 22. 4. auspicato : cf.
note on optato, 633. attuli : cf. Plant. Amph. 989, nunc hue me
adfero.

808. tetuliBsem : this archaic reduplicated form is found in Ter-
ence only here and in 832, but is very common in Plautus. Lucretius
employs it once (6, 672), and Catullus three times (63. 47 and 62 ;
66. 36). Neue (Vol. 2, p. 463) shows that the form is found as late
afl the third century a.d. The ordinary perfect rettuli = retetuli.

809. Boror: cf. 124.

810. poBsidet : Chrysis when dying put both Glycerium and her
property undei: the charge of Pamphilus. hoBpitem : i.e. pere-
grinum; cf. 439.

811. litis sequi : cf. Ad. 248 and Phorm. 408, litis secter. It is
the Greek dUriv ditbKeiv. quam . . . facile : ironical. hie : in
such a place as Athens, where people were notoriously shrewd and
much given to litigation. This is the fundamental idea in the Wasps
pf Aristoph£|,nes,

138 NOTES. [Pagb 52

813-814. fere grandictila : almost grown up. Orandicula occurs
in Plaut. Poen, 481, and is formed like dulciculus, Poen. 390 ; mollU
cuius, Cos, 492 ; pauperculus, Pers. 345. See App. illlnc : from
Andros. clamltent : with indefinite subject.

815. Byoophantam : swindler. hereditatem perseqiii: i.e.
by process of law ; cf. ius persequar, Ad. 163.

816. turn : cf . 746. non lioet : / must not. Crito's conscience
or generous nature would not allow this.

817. O optome : for the hiatus, see Introd. § 59. antiquom
optiii08: you cling to your old-time honesty. Antiquom is neuter,
as in Plaut. Most. 789, antiquom optines hoc tuom ; cf. Eun. 1066, non
cognosco vostrum tarn superbum. In Hec. 860, a more specific expres-
sion is used, morem antiquom atque ingenium optines.

818. maxume : by all means ; the opposite of minime ; cf . Eun.
189.

819. nolo . . . uldeat: A. & G. 331. b\ B. 296. 1. a; 6. 546.
R. 2 ; H. 565. 2. aanez : i.e. Simo.

ACT V. SCENE 1.

Chremes and Simo are engaged in earnest discussion, as they come
from the latter^s house. In the light of recent developments, Chremes
resolutely refuses to adhere to his agreement to give Philumena in
marriage to Pamphilus.

820. aatlB, iam satts, Simo, spectata: note the assibilation ;
cf. 692. apectata : cf. 91 with note.

821. incepi adlre: I was on the point of meeting. face: see
note on /ace, 680.

822. Inliisi: in metaphorical sense, gambled away. See note on
758.

823. Immo enim : so in Phorm. 338 and Eun. 355 (most Mss.).
The enim is corroborative, indeed; cf. note on 91. nunc quom
maxume: now especially; cf. Ad. 518, Phorm. 204, Bee. 115.
It is elliptical for nunc postulo ita ut eo tempore quom nxaxume
postulo. ,

824. nerbis ... re: the same contrast as in \&Y(fi . . . ^pyvi
cf. Ad. 164, Eun. 742. For the promise referred to, see 572-573.
dudmn : cf . 582.

825. prae studio : from your eager desire.

826. modum : limit. For the change of construction in the line,
cf . 50 and note.

Page 66] ACT V. SCENE 2. 139

827. remittas : cease; cf. Hor. Carm. 2. 11. 8, remittas quaerere.
So mitte loqui, 873 ; mitte orare, 904. iniuriis : unjust demands.

828. at: used in remonstrances. See note on 666. homixii
adtileBcentalo : see note on mulier meretrix, 766. The diminutive
is here contemptuous.

829. reuzorla: matrimony,

830. ut : here repeated for clearness. Use / say in rendering it ;
cf. Phorm. 163, adeon rem redisse ut . . , patrem ut extimescam !
seditlonem: discord. Incertas: ir^ecure^ because if Glycerium
is a citizen, Pamphilus would be obliged to get a divorce from Philu-
mena.

831. eluB labore atque elus dolore : the repetition and assonance
add impressiveness. For labore cf . 720 medicarer : the son was
troubled with an animum aegrotum, 193.

832. incepl: I took the matter in hand, res tetulit : see notes
on 188 and 808. fert ; feraa : note the play on words ; feras = be
content. Donatus calls attention to the almost tragic tone of this

833. mlsBOB face : see note on me missumface, 680.

834. per ego te deoa oro : cf . 289, 638. at ne : cf . 269, 327.
mis : i.e. Glycerium and her household.

835. ilium : i.e. Pamphilus.

836. nuptlanim gratia: i.e. to hinder the marriage. ficta
atque incepta : invented and set on foot; Jingo used as in 220, et
fingunt quandam inUrse nunc falldciam.

837. ea causa, quam ob rem : cf . 382 and note.

838. BCio : cf. audio, 662 and note.

839. tum : redundant in the temporal clause. '

840. praedixlt : see 607.

841. nescio qui : somehow. ac uolui : as I wanted to tell
you ; literally, and I wanted. It is a slight case of hysteron proteron,
or inversion, uolui logically preceding sum oblittis.

ACT V. SCENE 2.

Davus now comes out of Glycerium's house. For the moment he
fails to see Simo or Chremes.

842. animo . . . otiloao esse impero : for the construction, cf.
Eun. 262, imperavi . . . adsentari. The infinitive with impero is found
even in Cicero and Caesar and is not uncommon in post-Augustan
writers, otiose : calm, em Dauom tibi ! There is your Davus !

140 NOTES. [Paok 56

Davos has just been quoted by Simo, hence the ironical tibi. For
the case, see A. & G. 236 ; B. 188. 2. 6 ; G. 361 ; H. 432.

843. unde egreditur? An exclamation in interrogative form.
" What does he mean by coming out of that woman's house ? " is the
thought. meo praesidio : ablative of cause with esse (842).
hospitia : for the genitive corresponding to meo, see A. & G. 184. d ;
B. 243. 3. a ; G. 364 ; H. 393. 6.

844. Bcelua = sceleste; cf. 317.

845. in uado : i.e. in tuto, shallow water being near land.

846. bone uir : cf . 616. ehem Simo I Davus makes his last
fight He pretends to be glad to see the old men and assures them
that he has complied with the orders given in 623.

847. intuB : he refers, of course, to Simo's house, assuming as he
does that the others did not observe where he came from. curaati
probe : ironical. Probe, for bene, is colloquial ; ct Cic. ad Att. 6. 1. 2,
de Annio Saturnino curasti probe,

848. accerae : see note on 646. bene aane : very fine ! cf .
Ad, 686. id enim vero hinc nunc abest : that, to be sure, is now the
only thing wanting in this matter, Simo is very ironical, and in his
next words comes at once to the point. For enim vero, cf. 206.
abeat = deest ; cf . Heaut, 1039, Quaeris id quod habes, parentis ;
quod abest non quaeris,

849. etlam reaponde: for etiam, denoting impatience, cf. Ad.
660, etiam taces ? Phorm, 642, etiam aUs f Heaut, 236, etiam caves f
Etiam with the indicative is practically an imperative, and here the
imperative replaces the indicative, just as quin die is used for quin
dicis, 45 ; cf . Plant. Most, 474, circumspice etiam, iatic : i.e. in
Glycerium's house. ita : yes; cf. Eun. 708.

850. tibi ergo : yes, you ; ergo = quidem ; cf. Phorm, 766, ha^c
ergost. ii : the full perfect forms (ivi, etc.) of ire and compounds
are never found in Terence.

851. cum tuo gnato mia : servi excusatio filii accusatio (Dona-
tus).

852. dizti : see note on praescripsti, 161. 853. quid ilium
oenaea? sc. facere, Chremes refers sneeringly to his former con*
yersation with Simo. See 662.

854. immo uero : i.e. it is something much worse than a quarrel
(litigat). For the moment Davus is glad to turn to Chremes, for
Simo is in a towering passion. indignum facinua : cf. 146.

fazo : ril warrant. For the form (^=fecero), see note on 763. The
word is parenthetic. Terence has four other instances of the future

Page 67] ACT V. SCENE 2. 141

following /oxo (Phorm. 308, 1066 ; Eun, 285, 663), and two instances
of the subjunctive preceding it (Ad. 209, 847). In Plautus the future
with faxo greatly predominates. See Ussing on Amph. 355, Briz on
Trin. 62.

855. ellum: i.e. em ilhitn. According to Spengel, ellum and
ellam are used of persons out of sight or at a distance ; eccum, eccam,
and em of those near at hand. contidena : brazen-faced; in a bad
sense, as almost always in Latin. catas : canny. The word had
an alien ring in Latin, so that Cicero adds to it ut ita dicam. See
de Leg. 1. l§. 46, prudentem et, ut ita dicam, catum. Note the
alliteration.

856. uideaa: for the mood, see A. & G. 309. a ; B. 302. 2 ; G.
595. 3 ; H. 678. 2. quantiuls preti : of ever so much consequence;
cf . Plaut. Epid. 410, seruom graphicum et quantiuis pi'eti.

857. trlatia ueritaa : earnestness of truth. Tristis is used here
ad laudem (Donatus) ; cf . Cic. in Verr. 1. 10. 30, index tristis et in-
teger.

860. Drom5, Dromd : the change of quantity is similar to the
case of Mane ! cave, 760, where see note. Spengel compares Plaut.
Fers. 691, Tdce, tace. Dromo is Simo's lorarius or slave-flogger.
The same name is found in the Ad. and Heaut. See p. 69, above.

861. aublimem hunc Intro rape : up with him and away in-
doors, i.e. carry him off on your shoulders ; cf. Ad. 316, sublimem
medium arriperem. The phrase is common in Plautus. See App.
quantum poteat: sc. fieri, as soon as possible. In this phrase
potest is used impersonally. See note on potest, 327.

862. quia lubet : fairly in accord with Davus* prophecy, 213.
863^. nihil audio: the colloquial and vivid use of present for

future ; cf. facis, 322 ; adeon, 315.

864. commotom reddam : Pll give you a shaking ; cf. effectum
reddam, 703, and see note on me missum face, 680. tamen etai :
cf . the later tametsi.

865. audin : shouted as Dromo begins to carry out Simons orders ;
cf. 299. quadnipedem conatringito : bind him all fours, as
Melanthius the goat-herd was treated in the Odyssey (22. 173),
dTTOffTpirf/avTe Tr6Sas xal x^tpas wrepOey, ^^ twisting back his feet and
upper limbs."

866. age nunciam, etc. : note the effective change of metre. The
punishment is dealt out, and the storm of anger begins to subside.
ai uiuo : as I live; cf. Eun. 990, Heaut. 918, 950 ; Plaut. Men. 903,
etc.

142 NOTES. [Page 68

868. illl : i.e. Pamphilo, corresponding to tibi (860). ne aaeui :
see note on ne nega, 384.

869. nonne : see note on this word, 238.

870. capere: sc. me. For the syntax see note on 245. la-
borem : cf. 720, 831.

ACT V. SCENE 3.

Pamphilus appears and faces his father's indignation.

872. quia me uolt? See note on me, 45. quid ala : compare
notes on the expression, 137 and 184. omnium : effective aposi-
opesis, cum pro dignitate peccati non inveniat convicium (Donatus).

873. mitte male loqui : spare your abuse. See note on remittas,
827.

874. grauiua : too severe. posaiet : see note on siety 234.

875. ain tandem : do you mean to say f Tandem denotes in-
dignant incredulity. The phrase occurs in Phorm. 373 ; Plaut. Aul.
296 ; Cic. ad Fam. 9. 21. 1, Ain tandem f insanire tibi videris f

876. contidentiam : cf. confidens, 855.

877. num cogitat : note the expressive change from the second
to the third person, the words being charged with emotion. Simo is
soliloquizing, rather than addressing Chremes ; cf . 886. For a Shake-
spearian example, see the dialogue between Malcolm and Macduff
{Macbeth, Act IV, Scene 3) : —

Mai. If such a one be fit to govern, speak :

I am as I have spoken. '
Macd. Fit to govern I

No, not to live — O nation miserable.

When Shalt thou see thy wholesome days again,
Since that the truest issue of thy throne
By his own interdiction stands accursed,
And does blaspheme his breed ?

878. eius color : cf. Ad. 643, Erubuit; salva res est; Menander,
iras ipvdpiQv -xfifiiTThi etval iioi Sokci (Kock, 361).

879. adeo Inpotenti esse animo : to think that he has so com^
pletely lost control of himself; cf . 245.

880. morem, etc.: mos, lex, Bud voluntas patris, are here men-
tioned in climax and from the true Roman point of view. What
shocks Simo most of all is his son^s disregard of the paternal author-
ity ; cf. 891.

Page 59] ACT V. SCENE 3. 143

881. tamen : cf . 04.

882. me misemm : Pamphilus is genuinely sofry for the mischief
he has caused. His utterance leads Simo to address him again.
modo . . . demum : just now at last. id : that, viz., te miserum
esse. BeiiBti : see note on praescripstiy 161.

883. olim, quom : see note on 546. ita : explained by the in-
finitive construction ^fflciundum (esse) in the next line.

884. aliquo paoto : at any cost, by hook or by crook ; aliquis is
here used for quivis or quilibet.

885. eodem die: repeating olim with more precision, in the
same way as istuc verbum repeats the more general istuc of 883.
uerbum uere: note the alliteration. in te accidit: b^t you.
Similar is the connection in English between come and become.

886. quid ego ? sc. doleo.

887. huiuB : Simo again, in his emotion, turns away from his son
and uses the third person.

888-889. an ut, etc. : note the alliteration and assonance, stylis-
tic features which are commonest in impassioned lines; cf. 891.
The father's last words imply a deep-seated love for his son, whose
affectionate cry, mi pater! paves the way to their reconciliation.

890. huiUB . . . patriB : i.e. mei. See note on hie, 310.

891. liberi : not necessarily implying more than one ; cf. the legal
definition in the Digest (1. 16. 148), nee est sine liberis, cui vel unus
filius unane filia est. inuenti inuito : see note on 888-889.
inuito patre : see note on 880. Donatus tells us that this line
is not derived from Menander, but is original with Terence. The
Latin poet naturally lays greater stress on the authority of the
paterfamilias, which has been so deliberately set at naught by a
filius.

892. adducti : sc. a te. uiceris : the future perfect is thus used
at times practically as a substitute for an imperative. The speaker
angrily concedes that Pamphilus will win his point, so that it is,
properly, ** it will be found that you have gained the day,'' or in short,
have your ovon way. So, too, the sense of Ad. 437, de istoc ipse viderit,
may be paraphrased thus, ** I shall be forced to put up with his having
looked after that one," i.e. let him look after him; cf. Verg. Aen. 10.
743, de me divom pater . . . viderit; and Cic. Phil. 2. 46. 118, sed de
te tu videris, ego de me ipse profitebor. See Roby's Lat. Or., 1485,
1693, and Preface to Part II, p. cvi ; G. 246. It is a question, how-
ever, whether in (e.g.) videris and viderit we may not be dealing with
jussive subjunctive forms.

144 NOTES. [Paqb 69

893. paoca : sc. dicere. quid dices mihi ? What can you say
to met •

894. quid : why f

896. ego me amare, etc. : Pamphilus speaks with great feeling.
Hence the change of metre. See Introd. § 75.

897. me dedo . . . impera: figurative language drawn from
military life.

898. amittere = (7imi»6r6 ; cf. Phorm. 141,176,414. leram:
Pamphilus behaves with wisdom. He first disarms his father^s hostil-
ity by a full submission to his will, then, before asking for any favors,
seeks permission to prove that he has not been guilty of underhand
scheming.

899. at ne : cf . 699. adlegatom : i.e. subornatum ; acUegare
is thus used in Plant. Pers. 136 and Poen. 1099. So of the swindler
in the Trinummua (1142) meo adlegatu veniU

'900. adduoas: subjunctive in a ^* repudiating question." H.
669. 6.

901. ueniam : permission^ not pardon, te hoc : two accusa-
tives. Blno : here Pamphilus hurries off to fetch Crito.

902. oomperlar: the deponent form (for comperire) is compara-
tively rare. It occurs only here in Terence. On this line the com-
ment of Donatus is noteworthy : paterna pietas ! ipse accusator est
et redargui se cupit. Simo desires his son to be at least truthful and
honorable.

903. pro peocato, etc. : the double alliteration and broken rhythm
of this line suggest that it is proverbial. Otherwise it is not very apt,
for no punishment whatever is meted out to Pamphilus unless, as
Donatus says, it consists in the accusation itself. In any case patri
is the emphatic word. A father is not disposed to punish with severity
an offending son.

ACT V. SCENE 4.

Pamphilus reappears with Crito. Chremes at once recognizes in
the latter an old acquaintance, but Simo in a rather surly fashion
more than suspects him of being a swindler.

904. mitte orare : cf. 827 and 873. ut faclam : i.e. do what
you wish, tell what I know about Glycerium. monet : prompts.

905. cupio : wish well to ; cf. Caes. B. O. 1. 18, favere et cupere
Helvetiis.

906. Crltonem uldeo : Donatus rightly praises the poet for this
immediate recognition of Crito. To delay it, when the end was so

Pagb ei] ACT V. SCENE 4. 145

near at hand, would have complicated matters quite unnecessarily.
The recognition at once brings credit to Crito's narrative.

907. Atbeiuui : sc. venisti. See note on me, 226. insolens :
in its original sense = ifMuetu^. eoiBxdt: U so chanced. An evasive
reply. Pudet fateri propter hereditatem venisse (Donatus) ; cf. 814-
816.

906. hino: i.e. of Athens. eho tn: Simo does not deign a
reply to the previous question, but rather rudely brings Crito to the
point.

909. tn negas? The speaker is offended at the tone of the
previous question. paratus: primed to play a part; cf. medi-
tatus, 406. «

910-912. tune Inpone, etc. : note the emphatic repetition (tune
. . . tune), the asyndeton (911) and the assonance (912) which com-
bine to give an eloquent style to Simons abuse. eductoa libera :
cf. 274, and see note on 561. lactaa : cf. 648. aannn : i.e.

sanusne, cf . 299.

913. oongltitiiiaa : a favorite word with Cicero.

914. aubatet : stand firm. Pamphilus fears that Crito may go
away in disgust, without convincing Simo of his error. ai norla :
for the form of the conditional sentence, see 310 and note.

915. hlo nir ait bonua : cf . adducas, 900. The case of hoc quid
sit<, 191, is different. See note on that passage.

916. adtemperate i well-timed, an adverb used elsewhere only in
Seneca, Ep. 30, and in Vitruvius, 10. 7. 2. euenit: a sarcastic
reference to Crito's word (907). in : at the moment of.

917. nero: of course, ironical.

918. ni metnam : for the conditional clause, see 310 and note.
The change to the indicative (habeo) in the apodosis is due to col-
loquial freedom and brevity. Pamphilus, if not afraid, could make
a suggestion, for he really has one to make. He would like to assure
Simo that Crito^s coming at such a time was purely accidental.
probe : cf. 847 and note.

919. aycophanta: the accusation feared (815) by Crito comes
sooner than was expected. aic eat hie : th^aVs his manner, i.e.
such anger is natural to him. Menander's words were ourws a&r6i iffrip
(Donatus). For sic, see 62 and note. mitte: take no notice.
nideat qui aiet : let him beware of his manner. Though qui refers
back to sic, yet it is pronominal, not adverbial, sic being a colloquial
substitute for talis, while qui, as often, = qualis; cf. Cic. ad Fam. 7.
23. 1, fac, qui ego sum, esse te. ,

L

146 NOTES. [Paob 61

920. ai mibl perget, etc. : qf . Homer, 77. 20. 250, —
6inrot6v «' etr-QtrSa tiros, roUv ic' ^iraicot^aif,

Hesiod, Works and Days, 721, —

el S^ KaKbv etrots, rdxa jc' airds fut^ov dicot^euf,
and, still more closely, Alcaeus, —

at K^ etr-QS rd ^Aets , (a^bs) dKo^acus K€ rd ic' o6 OiXois,

921. ego Ifltaeo moueo ant euro 7 Do I interfere with or con-
cern myself in these affairs ? , moueo = perturbo (Donatus) ; c£. 616.
ta taom : note the emphasis given to the person.

922. quae dico : my story, which is told in the following lines.
atidierim : explained by audivi ex illo, 927.

923. olim : see note on 221.

924. una : an adverb. adplicat : see note on 193.

925. fabulam Inceptat': see note on fabulae, 224, which is a
comment on the same story ; cf. 747.

926. optvahat: interrupt rudely,=interstrepit(ponatuB), turn:
moreover; cf. 746, 816.

927. illo : i.e. Chrysidis patre, sese : i.e. Phaniam, the Atticus
quidam ; se, not eum, because the father of Chrysis reported Phania^s
story. Hence, too, esse, not fuisse.

928-929. Pa. Phania. 8i. Hem? Pa. Peril! Pamphilus, who
must have often heard Phania's name from Glycerium, eagerly
prompts the hesitating Crito, whereupon the suspicious Simo turns
angrily upon his son, who sees that he has made a mistake. See
App.

930. Rhamnusium : Rhamnus ('Pa/upoCs), an Attic deme, some
seven miles northeast of Marathon on the coast. aiebat: both
aiebat and aibat (932) were used by Terence. See note on servi-
bas, 38.

932. quid earn turn ? sc. aiebat esse. quoiam : cf. 763.

933. quid tu ais? tuas opposed to Crito. arrige auris : trans-
latio a pecudibus (Donatus) ; cf. Verg. Aen. 1. 152, arrecpis auribus
adstant.

934. qui : i.e. quo modo. noram et acio : / knew (him) and
am aware of the fact, viz. that he was your brother.

935. hinc : with proflciscitur.

936. poBte : cf. 483, 609, and see App.

Page 63] ACT V. SCENE 4. 147

937-938. quid Ulo ait faotmn : see note on 014. nix sum
apud me : cf. 408 and note. metu spe gaudio : note the asynde-
ton and cf. Verg. Aen, 6. 733, hinc metuunt cupiuntqusj dolent
gaudentque. mirando : i.e. dum miror (Donatus) ; an ablative of
circiunstance, though combined with causal ablatives. A. & G. 256 ;
B. 221 ; G. 409, note ; H. 489.

939. ne : cf . 324. pater I Simo congratulates Chremes on the
recovery of his daughter. Famphilus is thus encouraged to ask his
father's consent, but Chremes interrupts with his doubt.

940. BcrapuluB: a slight obstacle^ literally **a small pebble'' ;
cf . inieci scrupulum, Fhorm, 964 and Ad. 228. etiam = adhuc ;
cf. 116. Note the proceleusmatic (v.^^ v^ v^) in the third foot.
me male habet: causes me worry; cf. 436. dignus ea: you
deserve it, i.e. worry. The sense could be made complete with qui
male habearis (Donatus).

941. onm toa religione : the ablative of accompaniment is here
used to express cause; cf. Phorm. 466, cum istoc animo es vUuperan-
dus; Eun, 153, cum istisfactis. For religio cf. 730. odium: voca-
tive, used as a term of abuse, like scelus 317, 607. nodum in
acirpo quaeria : seeking a knot on a bulrush, a proverb used of people
who trouble themselves about purely imaginary difficulties, a bulrush
being naturally smooth and straight ; cf . Plant. Men. 248 ; Ennius,
Annates, 677. M. "You are sweeping the horizon for a cloud,"
approximates to the meaning.

943. id quaero : it is evidently a weakness of Crito's to forget
names; cf. 928.

944. uoluptati : joy; cf. Cic. Fin. 1. 11. 37, omne id, quo gaude-
mus, voluptas est. For the scansion, see Introd. § 54.

945. Paaibnia: i.e. UaffiPoi6\ri. Ipaaat. Eaat: note the im-
mediate recognition.

946. ipaa : ostendit Famphilus quam sua sit Gly cerium (Donatus).
gandere hoc : Aoc is probably an inner object (cf. 964), though it
may be a causal ablative.

947. te credo credere : see note on 338, and cf . putet non putare,
957. qnod reatat : for the rest, i.e. Simo's consent to the wedding.
It is a case of aposiopesis.

948. rea . . . ipaa : the simple truth. reddujdt : see note on
669.

949. ita nt poaaedi : Famphilus uses legal terms. He was the
possessor, but not the domintis (proprietor) of Glycerium. Fossession,
however, could be converted into ownership, and this is what Fam-

148 NOTES. [Page 68

philus wishes Chremes to sanction. nihil mutat: cf. 40. The
present is used for the fature, as in 694 and often. causa

optomaat : Chremes replies in legal terms.

950. nempe id : / suppose this — sc. probas — meets with your ap-
proval. There is no real ellipsis, as a gesture would take the place of
a verb. Donatus supposed that the dowry was alluded to, but it
seems more natural to refer the words to what precedes. scilicet :
certainly. doB : the settlement of the dowry was a very important
question in a Roman marriage.

951. decern talenta : this is described in 101 sus dos summa. An
Attic talent (60 minae) was worth a little less than $1200. accipio :
here used in the technical way, for as Donatus says : Ille nisi dixisset
" accipio,^* dos non esset.

953. iatuc . . . negoti : cf. note on 2. non potest : sc. Davos.

954. magis ez sese et mains : which touches him more closely
and is weightier; ex as in ex re, ex sententia, etc. Simo is
jocular.

955. non recte uinctust : Pamphilus means by non recte, non
iuste or iniuria, but Simo pretends that he means non diligenter. So
far from ordering Davus to be bound improperly ^ he had given instruc-
tions for him quadrupedem constringi (866). By his jesting Simo
shows quam propitius sit Pamphilo et quam facile veniam Davo im-
petrare possit.

956. O fanstum et felicem diem : note the alliteration at the
end of the scene ; cf. 227. Pamphilus is left on the stage alone.

ACT V. SCENE 6.

Charinus is anxious to hear how matters stand. Donatus remarks
that this scene gives Chremes a second son-in-law and makes proper
provision for Philumena.

957. proiilso : I am coming out to see ; cf . reviso, 404. Pam-
philus : the Unal syllable is long at the end of the half-line. See
Introd. § 67. fors putet : see App. The subjunctive is potential.
putet non putare : cf . 947 and see note on 338.

958. at mihi . . . lubet : the sense is this : some people would
say these things were too good to be true, and yet I can rejoice in the
fact that they really are true.

959. eapropter = propterea^ used by Lucretius 4. 313. The Epi-
curean sentiment contained in these lines is taken, according to Dona-
tus, from the Eunuchus of Menander, being an illustration, therefore,

Page 06] ACT V. SCENE 6. 149

of contaminatio. (See 16 and note.) The gods, according to Epicuros,
dwelt in perfect happiness, untroubled by care, and

** far aloof
From envy, hate and pity, and spite and scorn,
Live the great life which all our greatest fain
Would follow, centred in eternal calm."

— Tennyson's Lucretius.

960. propriae : unending. See note on proprium, 716. nam
mi immortalitas partast : cf. Heaut. 603, deorum vitam apti sumus;
Hec. 843, deu8 sum si hoc itast.

961. aegritudo : sc. animi^ sorrow.

962. potissomum : above all. True to life, Pamphilus cannot
keep his joy to himself. See Tennyson's treatment of this theme in
the song in Maud, ** GrO not, happy day."

963. quid Olud gaudiBt? cf. 2 and note. maUem : . sbotdd
have preferred ; see App.

964. Bolide : cf. solidum gaudium, 647. gaudia: cognate
accusative. This line is a striking instance of double alliteration at
the end of a scene ; cf . 227 and 956.

ACT V. SCENE 6.

Davus, released from chains, reappears, looking for Pamphilus,
who explains to him the happy condition of affairs. Pamphilus
promises to assist Charinus in winning Philumena, and when the two
have left the stage Davus announces to the audience that the betrothal
will take place indoors and that the play is over.

965. O Pamphile : Davus is still smarting from his ill-treatment.

966. noBcifl . . . Bcio : note the chiastic order. Pamphilus men-
tions his own good fortune first.

967. et quidem = etiam. more hominum : as is the toay of
the world. sim : see App.

969. factum bene : cf . 105.

970. pater: i.e. Glycerium^s. BmnmuB: greatest; cf. Phorm.
35, 1049, and, without amicus, Ad. 352, Eun. 271. narras probe :
see notes on 367 and 847.

971. num ille Bomniat, etc. : a proverbial expression ; cf. Verg.
Eel. 8.109: —

Credimus ? an, qui amant, ii)si sibi somnia fingunt ?

150 NOTES. [Page 66

and Publilius Syms : —

amd,n8 quae suspicdtur vigilans sdmniat.

972. ah deaine: it is natural that at the end of the play the
youngest member of the family should not be forgotten, but Davus,
having regard for the feelings of the audience, wisely prevents the
father from enlarging on the subject.

973. aoluB est quern dillgant di : Davus thus sums up all that a
gushing father might have said in praise of his child ; cf . Phorm, 854 : —

Ndm sine controv^rsia ab dis sdlus diligere, Antipho.

A Greek proverb ran, 6v ol Beol ipi\ov<ny, dToOv^ffKci vios, whom the
gods love dies young, but Davus is not thinking of it. See App.

974. in tempore ipso : cf. 632. mi: dativus commodi; A. &
G. 235. note ; B. 188 ; G. 350. 2 ; H. 425. 2.

975. bene factum ! my congratulations ! cf. 105, 969. in tuis
Becundia : in your good fortune ; with the neuter secunda, cf. omnia
mea occulta, Heaut, 575 ; tua iusta, Phorm. 280.

976. tuoB: in your hands (Wagner), explained by the next
word.

977. memini: I^m not forgetting that, atque adeo : see note
on 532. ilium anticipates the subject of exeat. The withdrawal of
Pamphilus and Charinus at this point is well-timed. The love affair
of Charinus is very secondary to that of Pamphilus, and therefore the
poet, who could hardly have enlarged upon the episode without tire-
some repetition, deems it sufficient to assure the audience that all will
go well within. The remark of Donatus is worth noting: Audacter
et artificiose hinos amores et hinas nuptias in una fabula machinatus
est : et id extra praescriptum Menandri, cuius comoediam transferebat ;
idcirco aliud in proscaenio, aliud post scaenam rettulit, ne vel iusto
longior Jieret, vel in eandem [^ KaTa<rTpo4>iiv bini amores"} propter rerum
similitudinem cogerentur.

978. aequere hac tu me : tu is addressed to Charinus. intua :
see App. apud Glyceriumat : sc. Chremes.

980. deapondebitur : used impersonally. See note on 102.

981. aiquid eat quod reatet : for the subjunctive restet, see A. &
G. 320 a ; B. 283. 2 ; G. 631. 2 ; H. 591. Meissner, following Donatus,
is probably right in referring this remark to the disposal of the prop-
erty which led to Crito's visit to Athens (799), which would now fall

1 Added by Bitschl.

Page 66] ACT V. SCENE 6. 151

to him without question (806 ff.) This, however, was too small a
matter to be dwelt upon.

w Plaudite : in all the Mss., u represents the person who appears
last and closes the play. This person, according to Horace (Ars, Poet.
155), donee cantor ^^vos plaudite ^^ dicat, was the cantor y on whom
see Introd. § 73. All the plays of Terence are closed by the cantor.
In Plautus, this u is found only in the Trinummus. The single word
plaudite occurs at the close of the Andria, Hecyra, and Adelphoe, In
the Phormio, Eunuchus, and Heauton^ it is enlarged into vos valete
et plaudite. In Plautus there is much more variety, and ifl a few plays
(e.g. the Captivi and Aainaria), the "whole troupe of actors (grex or
caterva) come forward to deliver an epilogue. In the Epidicus, this
was spoken by the poeta himself.

For another, but spurious, ending to this play, see App.

APPENDIX.

This appendix is devoted chiefly to a discussion of disputed read-
ings and interpretations, prefixed by an account of the manuscripts
and the question of their relative importance.

For convenience, the following contractions will generally be used
in speaking of commentators and editors : Bent == Bentley ; Don. =
Donatus ; Eugr. = Eugraphius ; Dz. = Dziatzko ; Fleck. = Fleckeisen ;
Meis. = Meissner ; Kit. = Ritter ; Spen. = Spengel ; Umpf. = Ump-
f enbach ; Wag. = Wagner. When no work is specified in connection
with Schlee, the one referred to is his Scholia Terentiana, Leipsic,
1893.

Manuscsifts.

The principal Mss. of Terence are the following : —

A. BembinuSj now in the Vatican library in Rome. It is of the
fourth or fifth century, and is written in rustic capitals. Though
the oldest and most important of the Mss. , it is available for less than
one hundred lines of the Andria, viz. 888 to end. Only a few letters
survive to represent lines 787-887. The earlier part of the play is
completely lost. The order of the plays is Andr,, Eun.f Heaut.,
Phorm., See., Ad.

The remaining Mss. are written in minuscule characters and may
be divided into three groups, those which show close kinship to one
another being classed together under y or 5. The third, or mixed
group (/a), includes those which cannot be classified so easily.

Group y,

P. ParisinuSy now in the Biblioth^que Nationale in Paris. It is of
the ninth or tenth century, is finely illustrated, and preserves the
metres. The order of the plays is mainly chronological, yiz: Andr.,
Eun.j Heaut., Ad.j Sec, Phorm, See Introd. p. li, note 3. Lines
804-853 of the Andria were originally omitted, but have been supplied
by a different hand.

153

154 APPENDIX.

C. VcUicanus, in the Vatican library, of the ninth or tenth century.
A less faithful copy of the same original as P.

B^ Bcmlicanusy now in the library of the Vatican Basilica^ of the
tenth century. A mere reproduction of C.

O. DunelmensiSj in the Bodleian library, Oxford. It is probably
of the twelfth centory.i Illustrated.

Group 8.

D. Victorianus, in the Laurentian library in Florence. It is of the
tenth century. Certain of its folia ^ belong to a later century, and are
inferior to the rest. These include Andr. 98-179, 384-463, and 846-
903. Except in some of the prologues, it has not preserved the metres.
The order of plays is alphabetical, rather than chronological, viz.
Andr., Ad., Eun., Phorm.,^ Heaut., Hec,

G. Decurtatus, in the Vatican library, of the eleventh century.
Several of its folia are lost. The order of plays is the same as in D.

V. Fragmentum Vindobonense, in Vienna, of the tenth century.
A mere fragment. Of the Andria it contams only lines 912-981.

Gkoup ft.

F. Ambrosianus, in Milan, of the tenth century. Illustrated. The
Andria is whoUy lost. The other plays are given in the same order
as in P, C, and O.

E. Biccardianus, in Florence, of the eleventh century. It lacks
Andr. 1-39. The plays are in the same order as in F.

Under fi should be mentioned the Lipsiensis (L, of the tenth cen-
tury, lacking Andr, 74-376) and the Regit codices employed by Bentley,
especially R (15 A XII), the Begius par excellence, and Ch. (^Char-
taceiM), the Begius 16 A XL*

To all the Mas., with the single exception of the Bembinus, is

1 For an account of this, the veterrimus or vetustissim-us of Bentley, see
the article by Charles Hoeing in the Amer. Jour, of Archseology^ vol. iv
(1900), pp. 310 flf.

2 See Schlee in Wiener Studi&n, vol. 46 (1891), pp. 147-160; also my
paper on The Text of the Andria of Terence, in Transactions of the
Amer. Phil. Assoc, vol. XXX (1899), p. 8.

^ In some earlier Ms. from which D is descended, Phormio was spelled
Formic. See Leo, in Rhein. Museum, vol. XXXVIII (1883), p. 319.

* See Warren, On Bentley*s English Mss. of Terence, in Am^r. Jour, of
Phil., voL m, p. 69.

APPENDIX. 155

appended the name of a certain Calliopius. Who Calliopias was, and
when he lived, are vexed questions ; hut it is now agreed that all our
Mas. except A are descended from a common ancestor, which gave
the text of Terence, as revised by Calliopius.

It is commonly believed that the Mas. of the 7 group are the purest
representatives of the Calliopian recension, while those of the d family,
though betraying the hand of Calliopius, are descended from a Ms.
prepared with the additional help of the commentaries of Donatus,
Servius, and Priscian. Aelius Donatus, whose valuable commentary
on Terence is extant, lived in the middle of the f ouiih century. Servius,
who is best known to us as a commentator on Vergil, belongs to the
end of the same century ; and Priscian, the great grammarian, flour-
ished in the beginning of the sixth century. The grammarian Eugra-
phius, whose commentary on Terence is still extant, was, it would
seem, a younger contemporary of Priscian. It is probable that Callio-
pius was earlier than any of the commentators just mentioned. Leo^
places him in the third century, and Konrad Braun ^ in the end of the
third or the beginning of the fourth. Dziatzko,^ Schlee, and others,
however, assign him to the fifth century, and therefore suppose him to
be later than Donatus.

Scholars have generally assumed that the 3 group possesses a de-
cided superiority over the 7 family. Indeed, Spengel is the only
editor of Terence who consistently gives the preference to P. The
traditional and generally accepted view was ably combated by Pro-
fessor Pease, in a paper On the Belative Value of the Mss. of Terence,
published in the Ti^ansactions of the American Philological Associa-
tion for 1887, vol. XVIII. Basing his arguments on the apparatus
criticus furnished by Umpfenbach, Professor Pease proved, by care-
fully comparing the Mss. and counting the variants, that the impor-
tance of the 7 family had been seriously underrated, that A more often
agrees with it than with the 5 family, and that far fewer errors had
crept into the archetype of the former than into that of the latter.

Even those editors who believe that more weight should be given
to the 5 than to the 7 family do not live up to their theory. In my
paper on The Text of the Andria of Terence * I have proved, I believe,
that not only Spengel, but also Dziatzko and Fleckeisen actually accept

1 Rhein, Museum, vol. XXXVIII, pp. 321 ft,

2 Quaestiones Terentianae, GKittingen, 1877.

8 Commentationes WOlfflinianae, Leipsic, 1891.

< Transactions of the Amer. Phil, Assoc, vol. XXX (1899).

156

APPENDIX.

P*8 readings more frequently than D*s, — in other words, allow that
P is more anthoritatiye than D. It is also to be noted that in the
eighty-five lines of the Andria (lines 903-912 are lost) wherein we can
compare A*s readings with conflicting ones in D and P, A agrees with
P nearly twice as often as with D. This being the case, it seems to
me a fair inference that, when in the Andria P and D conflict,
and yet neither reading is intrinsically objectionable, we should
accept the evidence of the Parisinus in preference to that of the
Victarianus.^

To illustrate what I conceive to be the probable connection between
the principal Mas. I append a diagram : —

In this diagram, X indicates the archetype from which both A and
the Calliopian Mss. are derived. The contractions CaL and Don. de-
note the place occupied by Calliopius and Donatus in the history of the
text. Y indicates a very early Ms. from which were derived the illus-
trations found in P C F. Whether the archetype of 7, viz. Z, derived
any of its text from Y is uncertain, but probably some of the excel-

1 mnstrations are given in my paper, referred to above.

APPENDIX. 157

lence of P may thus be accounted for. The dotted cross-lines indicate
the more decided crossing of influences between the several groups.
F, however, is more akin to 7 than to 5. The order of plays in X was
chronological, but in the archetype of 3 alphabetical. ^ The line of
descent to which D belongs probably involved more frequent copying
than that in which P occurs, and *» frequent copying, however well
done, corrupts the text." ^

Umpfenbach's edition (Berlin, 1870) furnishes the apparatus criticua
upon which every editor of Terence must, for the present,* base his
work. That this apparatus is by no means perfect, has been shown
by Warren, Hauler, and Schlee. Warren offers some corrections of
Umpfenbach in the American Journal of Philology, vol. Ill, pp. 69 ff.,
and I have availed myself both of these and of others very kindly
furnished me by that well-known scholar in a private letter. The
corrections which he has made in the collation of the Parisinus do not
materially affect the conclusions either of Professor Pease or myself
as to the value of P, 'if, indeed, they do not lend them additional
support.*

Besides Umpfenbach' s work, there are many valuable editions of
Terence, which an editor must carefully study. Of the older ones,
by far the most important is that of the English Bentley (Cambridge,
1726 ; Amsterdam, 1727). This edition, rightly described by Schanz
as epocTiemachend, is still a most valuable work, and no one, perhaps,
is in a better position to appreciate the marvellous learning and critical
acumen of Richard Bentley than is the editor of Terence. The edition
by Westerhovius(The Hague, 1726 ; reprint by Stallbaum, Leipsic, 1830)
is valuable, mainly because it contains the commentary of Donatus,
but both this and the scholia of Eugraphius are given in the edition by
Klotz (Leipsic, 1838-1839). Fleckeisen's Terence was first published
in 1857, in the Teubner series (Leipsic). A second edition appeared
forty-one years later, in 1898. A comparison of the two editions
shows a remarkable number of textual differences. Very valuable is
Dziatzko's edition (Leipsic, 1884), with its adnotatio critica. Of the
special editions of the Andria, the best are those by Klotz (Leipsic,

^On this question, see Leo in Rhein. Museum, vol. XXXVIII (1883),
pp. 320 ff.

aPease, p. 30.

» Another is in preparation. See Kauer, Wiener Studien, 1898, p. 267.

* Professor Pease has himself collated the Parisinus for the last five
plays of Terence.

168 APPENDIX.

1865), MeiaBner (Bernbui^, 1876), and Spengel (2d, Berlin, 1888).
The last named is particnlarly important, as the frequent references to
it in these notes will indicate. Other editions will be referred to from
time to time, as occasion may demand.

Many of the difficulties in the text and interpretation of Terence
are discussed in the numerous philological journals of Europe and
America. References will be given in the notes.

DiDASCALIA.

The didascalia is compiled from the argumentum of Donatus, and
assimilated to the didascaliae of other plays.

4. Hatllitts : Elmer (ed. of Phorm.^ p. 154) argues for the spell-
ing Atilitts^ but the aspirate is given by A in the didascaliae of the
Eun, and Ad., and Hauler compares C.I.L. X, 8067, 11, L. HatUius

Felix,

Pebiocha.

4. namque aliam: most Mss. have nam aliam, an impossible
hiatus. Namque is read by Umpf. Meis. and now Fleck. So Cod.
Harleianus, 2563.

11. adgnitam .• so P C. So in FTiorm., per. 12 A C D and also P.
(Umpf. incorrect here.)

Prologue.

6. maliuoli : on recomposition, see B. App. § 87.
8. adriortite : see Spengel, in Anhang.

10. On Terence's use of full and contracted verb-forms, see
Conradt, Hermes, vol. X, p. 106 ; Engelbrecht, Wiener Studien, voL
VI (1884), pp. 225 ff.

12. stilo : on the metaphor in Plautus and Terence, see Langen,
Neue Jahrh.fur Philologie, vol. CXXV (1882), pp. 673 and 753.

15. uituperant : in view of the ictus, Lindsay, in Philologus, vol. LI,
pp. 364 ff., suggests the omission of atque (after D), so as to allow uitu-
perant. However, we have indpia (71), facilius (203), and inltium
(700), together with other more or less certain cases of the abnormal
pronunciation in Terence. See Introd. § 53.

16. contaminari : according to Professor F. D. Allen (Proceedings
of the American Philological Association, vol. XIX, p. xxv), Terence
uses the word only in its ordinary signification of spoiling. He spoiled
for subsequent use a number of Greek plays ; they could no longer be
done into Latin.

21. The proposal to take istorum ohscuram diligentiam in the

APPENDIX. 159

sense of istorum obscurorum diligentiam I have rejected, as foreign to
the simple style of Terence. Diligentiam^ too, seems to need defini-
tion, and the defining adjective should refer to style.

Text.

35. a paruolo : for many similar examples, see Rolfe in Wolfllin's
Archiv, vol. X, pp. 602-603.
51, 52. Mss. have : —

Nam is p<5stqaam excessit ^x ephebis, S6sia,
Liberius uiuendi fuit potestas, nam antea.

Umpf. and Meis. read Sosia, et on the authority of Don. The words
Sosia . . . potestas are rejected by C. F. Hermann (^Ehein. Museum,
vol. VI, p. 444) and Dz.

The passage has caused much trouble. The second line will not
scan, notwithstanding the attempts at making either liberius a trisyl-
lable (Faemus, Rit. Klotz, Wag. Umpf.) or uiuendi a dissyllable
(Meis.). Equally impossible is Bentley's libera or SpengePs conjec-
ture of ubi (accepted by Fleck.) or of ut — in each case without a
verb — ioT fuit, and very harsh is Spengel's suggestion of est As
Weise points out, liberius . . . potestas forms an apodosis which
clashes with the real apodosis in 65-60. M or ac (Guyet and Bent.)
at the end of a line is out of the question (Conradt, Hermes, vol. X,
pp. 106 ff.). In origin, the words are probably a prose gloss on the
preceding line.

58. horum nihil ille: thus Fleck., but horum ille nihil, Mss. See
Schmidt, in Hermes, vol. VIII (1874), p. 478.

64. The rhythm is faulty, but in view of Mss. evidence and Don.
we must retain the traditional text ; cf. App. 154. Fleck, resorts to
transposition : —

adudrsus nemini, edrum studiis 6bsequi.

70. hue uiciniam : see Spen. and cf. Schlee, p. 70 (on Phorm. 1.
2. 46).

79. dehinc : thus P 0. See Warren, Amer, Jour, of Phil,, vol. Ill,
p. 60.

87. Niceratum: so Mss. For the e, notwithstanding Nt/ci}paTos, cf.
^imo and lAyMv. Spengel's suggestion that Niceratus is due to anal-
ogy with *lStp6.T(av, 'Epardwfios, etc., is plausible. Fleck. 's conjecture of
Mcaretnm (generally accepted) is rejected in his last edition.

160 APPENDIX

90. eomperiebam: Fleck., who reads camperiham here and aibctt^
030, follows Engelbrecht {Wiener Studien, vol. VI, 1884, pp. 216 H).
Herd the longer form may be due to the desire for 6/iotor Aevror. See
Hauler, TererUianay p. 21.

103. Either igUur (omitted by P C B) or uerae (uere D G E)
before ^rU must be rejected. But 47 seems to necessitate uerae here.
* This is only a pretence of a wedding,^ Simo has said. * Why is not
a real one celebrated ? * now asks Sosia.

As to igitur, Wolfflin {Archiv, yoL in, pp. 660-^1) has shown that
it is commoner in Terence's earliest plays {Andr. and Eun., five
times each), but is never found in the Ad., and only once in the Hec.
Peihaps the number in the earlier plays should be reduced. See
Quintilian, 1. 5. 39.

104. The substance of the note on quibtM = post quam, is due to
Professor Bennett.

107. amarant: thus Bent and Muretus, followed by Meis. Dz.
Fleck. The Mss. amahant is probably due to amahant, 88.

112. On mihl, tihi, etc., see F. Cramer in Neue Jahrh.fur Phil-
ologie, voL CLV (1897), p. 101.

116. Birt in Rhein. Museum, vol. LI (1896), p. 70, derives etiam
from eti (= trC) and iam, so that the temporal sense is original. See,
too. Kirk in Amer, Jour, of Phil. , vol. XVIII (1897), p. 26.

quid est 9 Dz. Spen. Fleck, accept the quid id est of D E, but
Schlee, who in Wolfflin's Archiv, vol. Ill (1886), p. 556, advocated id,
now rejects it ( Wiener Studien, vol. XL VI, 1891, p. 147) because of
the little weight of D here.

118. On unam, see Maimer in Wiener Studien, vol. X (1888),
p. 318.

120. On this ellipsis Terentiana, see Schoell in Bhein, Museum,
vol. XLIV (1889), p. 284.

145. indignum f acinus : although in 854 these words are governed
by audies, yet here it is more dramatic if we regard the expression as
an exclamation of Simo's. So Bent. Umpf. Klotz, Meis. Dz. ; cf.
JEun. 70, Phorm. 613, and Quintilian, 6. 12. 12.

154. The line is metrically faulty ; cf . 64. Fleck, secures a cae-
sura by inserting tibi before locus and reading relictust. We have the
same difficulty in 167 and 447.

155. It is decidedly preferable (with Bent, and Klotz) to make this
line the protasis to 156, for in the following lines (157, 158), in which
Simo expresses his purpose, the protasis and apodosis are practically
repeated, uera obiurgandi causa sit being the equivalent of animum

APPENDIX. 161

aduortenda iniuriastj igid si deneget reproducing si nolit. Editors
generally punctuate with a full stop or a colon after nolit ducere.

156. animum aduortenda : in view of the Mss. inconsistencies and
uncertainties in the spelling of uortere (uertere) and derivatives in
Terence, it seems well to adhere throughout to the older form uort-.
See the Hauler-Dziatzko PhormiOj p. 58 ; Lindsay, Lat. Lang,^ p. 467.

167. See App. 164. An easy emendation would be, —

Qui mi ^orandust ; £t ego spero c6nfore.

171. sequar: if, as seems probable, Simo remains on the stage,
aequar is better than aequor. The latter is used in Eun, 908, i prae,
sequor, but there the speaker follows immediately. G and O give sequar.

173. modo: it is not necessary for Simo to go within after the
first scene to inform the household, for his words in 47 imply that this
had been done before, and lines 159 ff. show that Davus had already
excited his master^s suspicions. Modo then refers back to a moment
just before the opening, not of sc. 2, but of sc. 1. So Don. and Bent.

175. semper lenitas : several editors (including Klotz, Wag. Meis.)
take semper in an attributive sense with lenitas, but such a use, rare
at all times, is quite uncertain for Terence. The nearest parallel is
Heaut 53, Quamquam haec inter nos nuper notitia admodumst, where,
however, est is equivalent to facta est. The case is different with
(e.g.) circum itione, 202, where the noun has a strong verbal force.

181. interoscitantis : Conradt^s conjecture, accepted by Dz. and
Fleck., is supported by a lemma in M (Schlee, pp. 17, 34).

184. For hem Fleck, now reads em, which is certainly less appro-
priate here. The difference between the two interjections is well put
by Kohler, in Wolfflin's Archiv, vol. VI (1889), Die Partikel en (em),
thus : em accompanies the action, hem accompanies the succeeding
impression. A good illustration is Ad. 559 : Db. Hem, quid narras f
St. Em, uide ut discidit labrum. So here hem implies that the speaker
has just noticed Simo. Em is originally the accusative of a demon-
strative pronoun. (For another derivation, see Lindsay, Lat, Lang.,
p. 617.) The Mss. here show no disagreement, but Edhler (footnote,
p. 29) points out that P C^ with A are very trustworthy in preserving
the distinction between hem and em.

189. alidm . . . dlios : on the change of ictus, cf. hocinest . . .
hddnest, 236 ; itdn . . . itane, 492 ; ipso . . . ipsum, 532 ; Drdmo
. . . Dromd, 859 ; uSrum . . . uerUm, 958.

190. dehinc, in ordinary temporal sense, not * hence,' * accord-
ingly,' as given in Lewis' Latin Lexicon.

H

162 APPENDIX.

202. circum itione : this reading of Bentley's is confirmed by K
(16 A XII), *» as far as I know the only Ms. which offers circum
itione ^^ (Warren, in Amer. Jour, of Phil., vol. Ill, p. 67). It is
given, however, in the Glossarium Terentianum, 106 (Groetz), and M
has drcummitione (Schlee).

ustM es: Don. mentions a variant usor es, on which see Schdll
(Weiflflin's Archiv, vol. II, p. 210).

203. Spengel is incorrect in making /acfZi'ti« the normal pronuncia-
tion for Terence. See Lindsay in Philology^, vol. LI, pp. 364 ff.

205. neque tu hati(d) : the authority of Don. must be regarded as
more weighty than that of the Mss. The latter (Bent's R — 15 A
XII — shows haud as a correction for hoc) have neque tu hoc, but Don.
has haud, thus yielding for Terence an illustration of the negative pleo-
nasm, so common in Plautus. See Briz on Men. 371, neque id haud
inmerito tuo, where, as here, there are three negatives altogether.
The explanation of Don., that the three negatives are equivalent to
one, is of course incorrect, but indicating as it does (if the reading of
Don. is correct), that the usage was not understood in his day, is an
additional argument against hoc. As is the case here, Plautus always
has a pronoun between neque and haud.

On the spelling hau before consonants (adopted by Fleck.), see
Lindsay, Lat. Lang., pp. 120, 122; also Lionel Horton-Smith on The
Origin of Latin haud and Greek o(t, in Amer. Jour, of Phil., vol.
XVIII (1897), pp. 43 ff. According to Horton-Smith, haud and oit are
identical, h being due to the tendency to aspiration, and d to false
analogy with sed, aided perhaps by extension of the ablatival d.

210. opitulor : Lindsay in Philologus, vol. LI, pp. 364 ff . , is inclined
to regard this as a case of ^* later treatment " to avoid the archaic -dr.'
He suggests si 6pituldr, But see App. on 15, and note on 203.

212. nuptiis : see Schlee, p. 35.

213. Conjectural emendations for this line are quite unnecessary.
219. decreuerunt: see Engelbrecht in Wiener Studien, vol. YI

(1884), pp. 216 ff.

221. olim hinc quidam. Both rhythm and sense are improved by
inserting hinc with Bent. Without hinc, a spondaic word, olim,
would fill the fourth foot in a senarius. (See Draheim in Hermes,
vol. XV, p. 239.) Moreover, to prove that the girl was a ciuis Attica^
it is necessary to state that the mercator came from Athens.

225. atque ipsis : Mss. If atque is to give place to atqui, wherever
an adversative idea is involved, Mss. evidence must be set aside in
many passages in Plautus and Terence. Cf. 525, Ad. 40 and 362, Trin.

APPENDIX. 163

746 and 1164, Capt. 479 and 481. Dz. and Fleck., who read atqui here
or in 526, are inconsistent, for both retain atqiie in Ad. 40, and Dz.
retains it in Ad, 362.

226-227. forum ut : Mss. Dz. and Fleck, rightly reject ut at the
end of the line. Monosyllables of all kinds are rare at the end of
senarii, and rarest of all are those which are not closely connected
with the preceding word. Three-fourths of the cases found are forms
of €896, Besides these we have, in the Andria, 460, 468, 741, 804 (see
Fabia, in Bevue de Philologie, vol. XVII, 1893, pp. 29-32 ; Meissner,
Neue Jahrb. fur Philologies 1884, pp. 289 ff. ; and Conradt in Hermes^
voL X, pp. 106 ff.).

229. pol : We assume that the word is abridged from Pollux, A
very different explanation oipol is given by Stowasser (Zeitschrift fur
die dsterreichischen Gymnasien, vol. XL, 1889, pp. 606 ff.), viz. that it
is the adverbially used positive of plusj hence. po^, plus, plurimum =
xoXiJ, 7r\4op, TrXeurrov. Edepol, again, is e-de^mypol, like e-qui^d)-
dem, of three elements. This explanation rests upon a slight founda-
tion. Priscian, II, 74, 20 (K), ranks semel, pol, edepol together as
adverbs, like /acwZ, difflcuL

237. Spen. makes the line trochaic, but in most cases in Terence,
where pro is followed by an accusative, the ictus comes on pro. So in
246, Ad. 746, Heaut. 61, Fun. 943. Also in pr6 deum immortdlium,
Phorm. 361. Exceptional is Hec. 198, pro deum dtque hominum
fldem.

hoc : besides the Ms. of Corpus Christi College used by Bent. , M
preserved this reading (Schlee, p. 34). Thus Bent. Umpf. Meis.
Others read haec.

238. Fleck, transposes decrerat to the end of the clause, for the
sake of the ictus. Conradt, however (De Versuum Terent. sti'ucturay
p. 21), gives several examples similar to uxdrem decrerdt; cf. (e.g.)
Eun. 1036, inuSntor incept&r.

nonne: see Morris, On the Sentence Question in Plautus and
Terence, in Amer. Jour, of Phil, vol. XI, p. 16.

245. On -ne, see Warren, Amer. Jour, of Phil., vol. II, p. 75.

247. On the declension of Chremes, see Hauler, Quaestiones Teren-
tianae, p. 11.

248. quot modis : Dz. reads quod, as aliquod in Phorm. 159 ; but
see Hauler on the latter passage (in Anhang).

258. resdssem : Mss. There seems no good reason why Terence
should here depart from his rule of using the full perfect forms of
such verbs only at the end of a line, and therefore resciuissem (Meis.

164 APPENDIX.

Spen. Fleck.) is excluded. See note on 10. On the other hand,
qudd 8i ego resdssem (Dz.) is impossible. Mss. also have nunc
me roget (nunc is omitted by Don. and Eugr.) ; Spen. omits me.
Fleck, nunc. Hauler approves of the scansion siquis, on the analogy
of siquidem (Hauler-Dz., Phorm.f p. 55). The best way to deal with
the difficulties of the line seems to be to return to Bentley's conjecture,
viz.: —

Qu6d si ego scissem id pilus, quid f acerem, si quis nunc me inttooget.

Interroget comes from Eugr.

265. aut aliquid de ilia me aduorsum huncloqui : Mss. According
to most editors, either aliquid or de ilia must go. Spen. retains ali-
quid, but, as Bent, says , ^^de ilia ** profecto hie necessarium est; nisi
enim de Olycerio loqueretur, quid ad remf Fleck., however, by
transposing aliquid and de ilia, is able to keep both. He also trans-
poses nunc and peropust, which is unnecessary.

268. die : Pi C O D. So Dz. and Spen. Diem (die, P*) is preferred
by Bent. Umpf. Meis. Fleck., notwithstanding its unusual position.

270. Mss. except G give hem before egone, Dz. and Fleck,
reject it. Even if retained, its metrical effect is practically lost

276. uereor: so P (Warren), D^ B and M (Schlee, p. 18) ; uerear
(Di O) is read by editors generally. Warren now thinks that -or in
P was in rasura.

in te sit solo situm, G and R (Bent's 15 A XII), but solo sit situm,
relh codices. Umpf. and Spen. take the latter, but more monotonous
reading. See Brix in Anhang on Plant. Mil. 206.

281. scio, esse meritam: thus Bentley, omitting hanc, which a
maid would hardly use in speaking of her absent mistress. It is
omitted in 7, but all Mss. have the order meritam esse.

289. In view of Mss. uncertainty here, almost every editor has his
own corrections to offer. A study of parallel passages (see note) will
show that those of Dz., with

quod p^r ego te hanc nunc d^xtram oro et genitim tuom,

and of Fleck, (after Bein and followed in the text) are best.

296. fidei : so the Mss. and now Fleck. See Introd. § 85 (6).

299. accerso : both forms, arcesso and accerso, were used by Plautus
(so in puns accersunt Acceruntem, Most. 509, and arcessis Arcilinem,
True. 180). In Eun. 610, P and C have accers-, D and G arcess-; in
Eun. 592, D G alone have arcess- ; in Ad. 854, A Pi D G E have accers-,
P2 C F arcess-; in Ad. 904, all Mss. give accers-. In Andr. 516,

APPENDIX. 165

though P has arcess- , O has accerg-. The Mss* evidence is therefore
in favor of accers- in Terence.

303. adtentus : this is the spelling of the Bembine in Ad. 834.

317. Reading aU \ hinc, Th. Birt makes the line iambic {Bhein,
Museum, vol. LIV, 1899, p. 216). But dbi is nowhere found in Ter-
ence ; cf . 255.

332. adipisder : thus the Mss. See SpengePs note. Hauler now
gives this form in Phorm, 406, where Dz. had apiscier,

343. Most editors retain aut after quaeram. But sex ex nostris
meliores fion agnoscunt illud **att<" (Bent).

345. euge o Charine : Fleck, introduced the o from old editions.
So Meis. and Dz. Bentley took the e of euge as long, notwithstand-
ing €dy€. Thus too Spengel.

347. certo: Mss. here give certe (so Umpf. and Fleck.), but in
Phorm, 164 A has certo with certe as a later correction. There D had
certe originally. See Schlee, Scholia Terent., p. 36. It seems best
to keep certo in this combination and order, as in Plautus, e.g. Men.
314, but certe hercle as in Andr, 49b,'Phorm, 523, etc.

365. omati : Leo reads lectus in Plaut. Amph. 513, but the Mss.
have lectt

368. Chremi : so Fleck. Meis. Dz. Spen. after Don. sic Chremi, ut
Ulixi^ ut Achilli. Mss. give Chremis and so Umpf. In Heaut, 1065,
where A has Ardionidi, the rest give Archonidis.

372. necessus : the Mss. here show necesse, but A has neces-
sus in Eun. 008 and Heaut. 360. See Lachmann on Lucretius, 6.
815.

375. Umpf. and Spen. follow the Mss. in not beginning a new
scene here. Donatus, however, recognizes the division, and so Meis.
Dz. and Fleck.

377-378. ipsus sihi . . . perspexerit: the order of the lines is
due to colloquial freedom. Bothej however, transposed them, and so
Dz. Spen. and Fleck. In 378 the Mss. show uncertainty. D G have
tuum ut habeat sese animum, but P C B E tuum animum ut sese
haheat. The latter order is kept by Spen. and Fleck., habeat being
changed to habet^ but it is better to avoid the change of mood by
supposing that animum in P C is out of place.

386. hoc : see Engelbrecht, Studia Terent , p. 70. P have hoc
(Hoeing). On hoc and hue in Cicero, Caesar, and contemporaries, see
WSlfllin, Archiv, vol. VII, p. 332.

395. Nencini, in Bivista di jUologia, 1892-1893, p. 475, proposes
the punctuation propulsabo facile uocorem, his moribus dabit nemo,

166 APPENDIX.

taking his morihus as equivalent to his moribus praedito (so Don.) and
comparing cum moribus notis communicare, Liv. 10. 22. 3.

398. cUia : Don. read aliam, and so Bentley (whose English Mss.
however had aha), followed by Umpf. and Dz., but alia seems decid-
edly preferable.

408. aptid te ut sies, Mss., but ut is rightly omitted by Fleck, in
accordance with Don. and Glossarium Terentianum, 29 (Goetz, p. iv).

414. hunc: so Mss. Bent, pronounced this line spurious on the
ground that hunc refers to Pamphilus, who, however, has not left the
stage since his colloquy with Charinus. But hunc must refer to Simo.
Following Bentley *s suggestion, Fleck, gives hue for hunc, but the
contrast which ipsum (415) implies is in favor of hunc,

434. nequeo quicquam nunc quidem: so Fleck., who in substitut-
ing nequeo for aeque (Mss.) follows the plausible conjecture of Von
Winterfeld {Hermes, vol. XXXIII, p. 168). The words aeque quic-
quam nunc quidem which Spen. and Dz. give as a question to Simo
cannot be explained satisfactorily ; quicquam demands a negative.

439. num propter consuetudihem huiusce hospitae : the Mss. have
propter huiusce hospitae consuetudinem. Most editors follow the con-
jecture of Erasmus, huiusce propter consuetudinem hospitae, which
violates the rule that in Plautus and Terence the forms of hie in -c and
-ce occur only before vowels and h, Spengel conjectures propter (ne)
consuetudinem huiusce hospitae, given to Davus. Th. Birt {Bhein. Mu-
seum, vol. LIV, 1899, p. 216), proposes propter huiusne cons, hospitae.
The best correction (followed by Fleck.) is that of H. Sauppe, which
I adopt. Num has been lost because of num in the previous line.
Dz.'s conjecture of eius before propter is objectionable, because no
, pronoun is needed in view of the preceding illi,

441. nosti: Fleck, reads nostin after D, but the evidence of M
goes to prove that nosti was the original reading of the D family (see
Schlee, p. 36). With the exception of Spen., editors place a mark
of interrogation after nosti.

442. e&m rem reputauit uia : before reputauit several Mss. have
recta, which is certainly a gloss on uia. It is omitted by P^ C^ 0,
and was not in the text of Donatus (see note). Fleck., however,
now retains it, reading id for eam rem. Draheim (^Hermes, vol. XV,
p. 239) shows that in the third foot of the senarius an iambic word is
permissible. So in this play erae (717), forum (745), dabit (774),
Chreme (783), Crito (801). In all these cases except dabit (774)
Fleck, proposes a change. In 640 we have a spondaic word (^gnatam)
taking this place.

APPENDIX. 167

447. aliquantum : aliquantulum is given in D E and Don. Hence
Bent, aliquantulum^ to which Fleck, now returns, reading uisusU The
double diminutive is used by Plautus, but occurs nowhere in Terence.

449. quid id eat, etc. : Bentley's 15 A XII gives the order adopted
in the text. So Fleck, and Schlee (Wblfflin's Archiv, vol. Ill, p. 656)
in view of the climax. The line is commonly given

Quidnimst? Puerilest. Quid id est ? Nil. Quin die, quid est ?

451. ohsonatua: on the deponent form see Engelbrecht, Studia
Terent., p. 49. Most of the editors follow Bent., who adhered to
ohsonatum. Not so Klotz, Ritter, Wag., and now Fleck.

459. dixisti: all Mas. except two of Bentley's have dixti (so
Spen.). Donatus knew of the variant dixisti, which is given by
Bent. Umpf. Dz. and is preferred by Engelbrecht (^Studia Terent.y
p. 59).

478. hicine me : this is undoubtedly the correct reading, but -ne
is not interrogative, as Spen. would have it. (See Warren's article
On the Enclitic -ne in Early Latin, in Amer. Jour, of Phil., vol. II,
1881, p. 50.)

483. fac istam ut lauet ; poste deinde : most editors give ista ut, as
in P and O. Engelbrecht (^Wiener Studien, vol. VI, p. 217) proves
that i8tam is correct, used proleptically. Don. knew the reading istam
as object of lauet, and his attempt to read ista in the same construc-
tion, ista quae ex puerperio sordehant, points to the same original.
The Bembine Schol. on Ad. 3. 4. 36, gives face illam ut lauet.

Fleck. 's poste for post is necessary, as deinde is always a dissylla-
ble in Terence. See Skutsch in Herm. vol. XXXII, p. 94. Umpf. and
Meis. accept poste. Engelbrecht {Studia Terent, p. 73) argues
against poste, but in Wiener Studien, vol. V, p. 218, he is also dissat-
isfied with deinde as a trisyllable, and therefore proposes
nunc prlmum fac Istam ut lau^tur, post deinde.

488. est ueritus: Mss. give ueritus est, but most editors follow
Bentley in reversing the order. Meis. prefers huice ueritust. See
Fleck, in Neue Jahrh. fur Philologie, 1891, p. 670.

490. quid opus facto esset : so Mss. Fleck, gives quid facto easet
opus, Eugr. having facto opus esset. Draheim {Hermes, vol. XV,
p. 240) approves of Fleck. 's conjecture.

499. non sint tihi renuntiata : the common reading is non tihi r.
sint, which produces an octonarius with neither diaeresis nor the fifth
foot caesura. The Mss. show uncertainty, and Dz. and Fleck, are
warranted in changing the position of sint.

168 APPENDIX.

507-9. Here the preceding catalectic verse suggests a metrical
change, but the lines have caused much trouble. Editors generally
take them as iambic. Dz. (e.g.) gives them thus : —

Sed nllo setit!is mox puerum hue deferent ante 6stium
Id ^go iam nunc tibi, ^re, renunti6 futurum, ut sis sciens,
Ne tu h6c posterius dlcas Daui fictum consilio atit dolis.

It happens that our sources show not a little uncertainty here and
there. In 507 Mss. have puerum deferent huCj but Eugr. deferent hue
puerum, and mox is found only in Don. and in one of the two read-
ings in B E. sed (set) would be an easy insertion, perhaps influenced
by setius, and Fleck, is probably right in reading the trochaic line,

nihilo setii!is mox puerum hue deferent ante dstium.

In 508 the erere nunti(o) of C (here nuntio, B) suggests that the
compound renuntio may be due to dittography, helped by renuntia-
tumst (501). D G, 15 A XII, and Don. have the order renuntio ere,
but since Bentley most editors give ere renuntio, which order is neces-
sary if the line is taken as iambic. Spengel gives the line thus,, but
with iam nunc after renuntio — an uncalled-for change. If nuntio is
considered too uncertain, the reading to be adopted is that given by
Fleck.: —

id ego iam nunc tlbi .renuntio, ^re, futurum, ut sis sciens.

This is the reading of the Delphin edition and Stallbaum, but in these
editions the line was treated as iambic (tibi).

For 509 Mss. have ne tu hoc mihi (mihi hoc, D G) posterius dicas
Daui, etc. It is clear that both mihi and Daui cannot stand. Bent-
ley, who has been generally followed, struck out mihi. The allitera-
tion involved is certainly in favor of dicas Daui. Fleck., therefore,
omitting tu as well as mihi, gives the trochaic line : —

ne h6c posterius dlcas Daui fdctum consilio atit dolis.

But Skutsch (Hermes, vol. XXXII, 1897, pp. 93-94) shows that this is
one of the passages in Terence where the form poste should be restored.
Skutsch, however, fails to see that the line should be trochaic, and
therefore keeps mihi, which he claims is an important word. With
this I cannot agree. We satisfy all necessary conditions if we read : —

n6 tu hoc poste dlcas Daui fdctum consilio atit dolis.

The broken rhythm accords with the satirical and hypocritical tone
of Davus.

APPENDIX. 169

527. ipse ; so P C B O D^ E and read by Bentley. Ipsus (D^ G B)
is read by most editors. Yet ipse gnatus is given by all Mss., includ-
ing A, in Heaut. 894. The forms are discussed by Engelbrecht {Studia
Terent., p. 35).

532. See Trans, of the Amer. Phil. Assoc, yoI. XXX (1899), p. 11.

536. auscuUa pauca ; et quid ego te uelim, etc. : most Mss. gave
paucis et quid ego te, and most editors retain paucis, and either trans-
pose ego and te, thou^ this is the usual order, or omit the first et (so
Spen. Dz. and Fleck.). But P and C give paucas, which points to
an earlier patica (as in B). Don. recognizes both paucis and pauca,
and Priscian read the accus. here.

549. quasi: thus most Mss. and editors. Spen. and Fleck, give
quasi si in accordance with D and Don. So, too, Bentley's 16 A XII
(Warren).

559. redducufU: so most of the Mss. The evidence of M is in
favor of the indicative (Schlee, p. 36). Fleck, reads redducant after
C2 B2 E and Don. On the spelling redd-, see Munro on Lucr. 1. 228,
and Dz. on Phorm. 86.

560-561. The Mss. give et after consuetudine. See Appendix on
61. Fleck, now adopts Wagner's conjecture, coniugi eum liberalis, etc.

576. ipsus: so all Mss. (not ipse), no doubt because of the ictu>s
(ipsiis).

581. audin : the Mss. add tu ilium. Among recent editors only
Spengel has ventured to disregard Bentley's proud spondeo posthac
quietum fore by retaining these words, thus recognizing a hypercata-
lectic tetrameter. Bitter and Klotz (after Erasmus) kept tu ilium, but
struck out uxor.

586. habeo iam fidem : all the Mss. except C^ and P (Warren
in Amer. Jour, of Phil., vol. Ill, p. 60) show tibi.

591. On the forms of the perfect tense of ire for Terence, see
Engelbrecht in Wiener Studien, vol. VI (1884), pp. 216 ft.

592. audiam : Mss. have audio, but Don. gives audiam as a variant,
following Menander's rL S'/j tot dKoi&<r(a ; Bentley read audiam, and so
Fleck, in last edition.

593. dixti: so all Mss., and therefore Engelbrecht (Studia Terent.,
p. 69) gives hem to this line, suggesting, however, an hiatus at the
change of speakers. I accept the alternative. Most editors read
Mem I Quid dixisti f See Introd. § 59.

594. apparetur : all editors, except Spengel, accept this conjecture
of Bentley's for the Mss. apparentur. In Eun. 683, apparatur is
similarly used.

170 APPENDIX.

596. corrigi mihi gnatum: this correction by Spen. of the Mss.
corrigere is now accepted by Fleck., whose former preference for the
transposition gncUum mihi corrigere was accepted by Umpf. Meis.
and Dz.

603. em : the old editions and Bentley placed em at the end of this
line. So Spengel ; cf . 785. In most modem editions it begins the next
line.

605-6. eceum uideo ipsum : so old editions, as well as Bent. Klotz,
Dz. and Meis. The Mss. order is eccum ipsum uideo, to which Umpf.
and Spen. vainly try to adhere, the former taking the -line as iambic,
the latter as trochaic. Fleck, unites the two lines in one, dropping
uideo and occidi and transposing mi and esseU Dz. and Spen. rightly
take line 606 as trochaic. See note on 605.

607. uhi ille est scelus, qui perdidit me : Mss. have illic for ille
and the order me perdidit, while many of Bentley's. codices showed
hodie before perdidit. Hence, qui me hodie . . . (aposiopesis) Bent.
Umpf. Wag. Meis. Rejecting hodie, Spengel reads qui me perdit;
Dz. (after Podiaski), qui perdidit me, with ille for illic, and Fleck., by
means of several small changes, makes lines 607-609 iambic. I have
followed Dz., whose reading involves the least deviation from the
Mss.

611. nunc si : the nunc of the Mss. is necessary' in view of the
contrast with posthac. It is omitted, however, by Meis. Dz. and
Spen. The retention of nunc demands that me be transposed from
after fore to before incolumem (so Fleck.). Otherwise we should
have, as in Umpf.'s text, a dactyl in the fourth foot before the
diaeresis.

612-4. These lines I have given, with Spengel, as iambic dimeters.
In any case, ducere (613) must be scanned as if at the end of a line,
with syllaba anceps.

613. qua facie facere id audeam: this conjecture of Professor
Palmer's {Hermathena, vol. VIII, p. 160) for qua flducia (Mss. and
Don.) is decidedly superior to Fleck. 's qua audacia, which is accepted
by all important editors except Klotz. With facie we can keep the
order facere id of P C E O. All editors reject D's order, pollicitus sum,
in the same line.

614. nee quidem me: such is the order of C B O and P (nee
quid nil me), also G and M (Schlee, p. 19). So old editions and
Spengel.

615-7. These lines are arranged as Dz. and Spen. have them,
following P and Schlee. Others give o^ / to 616, and miserum to 617,

APPENDIX. 171

transposing to consiliis tuis. Fleck., leaving oh! with 615, makes
616 iambic by reading sum uisus.

618. ut credam: following Don., Spengel omits tU, All others
retain it.

619. em: thus Fleck., after Glossarium Terentianumj 231 ; others
hem.

625. hocinest^ etc. : no emendation of this line is necessary. See
Klotz, Altrdmieche Metrik, pp. 61, 78. The dactylic line is introduc-
tory to the cretic system. See In trod. § 74.

630. in negando: Mss. and Don. have in denegando (D inde
negando). SpengePs mode of correcting is the simplest, and we
accept his in negando. So Fleck., now. The compound denegare is
due to 633, or is a reminiscence of 158. Most editors have denegandi
modo, due to Klette.

633. et timent, etc. : the thought is a repetition of 630 and 632,
and the line is therefore bracketed by most editors. However, it natu-
rally sums up the previous reflections.

635-639. I give the lines, as arranged by Spengel (so Klotz,
AUromische Metrik, p. 407, and Fleck.).

647. nonne: Spengel, though retaining nonne in 238, rejects it
here. So Fleck, and Meis. In the rest of the line both Dz. and
Spen. (with sat for satis) follow P C as I have given it.

650. coT^/lauit : Don. has preserved the reading, the Mss. all giving
confecit, which Spen. retains. The former is the more picturesque
word, for which confecit, due perhaps to 674, is a prosaic substitute.

661. me esse ducturum : Mss. , but me ducturum, Don., and so most
editors. Spen. omitting me has esse ducturum. The form without
esse is most frequent in Terence. See Postgate, Indog. Forsch^ vol.
IV, p. 263.

663-4. quis homo istuc, etc. : all Mss. show interturbat before
quam ob rem^ and satis scio before fuisse (after iratos D G). These
tetrameters, however, are inserted in the trimeter system without suf-
ficient reason, and Bentley rightly rejected satis scio with the gloss
interturbat. Spengel further rejects mi,

665. factum est hoc : this, which is Bentley's reading (ex nostris
antiquiores omnes), is also the reading of P (Warren). Other Mss.
have factum hoc est, which is generally followed. For the repetition
Bentley also g&Ye factum est after the Peterhouse Codex. This makes
it unnecessary to insert o before scelus, as do Spen. Dz. Fleck.

681. quem a me accepisti locum : thus Eugr. and all Mss. (includ-
ing Bentley's vetustiores) except G, which ha? in quem me accepisti.

1T2 APPEIffDIX.

The latter is found also in. BC and Don. But as Faemna argues, tbs
explanation in Don. (omnia mihi Integra et aalva redde, qaaiia tibi
tradidi eonsulturo) would indicate that his reading was really restitme
locum. Schlee (p. 4) maintains that G gives the original reading,
which was altered by the auctor librorum P C, and afberwanfe etiam
in anZiquigaimum D irrepnt. This is very improbable. AH that G
can mean is, ^restore the position into which yon recoved me/ whidi
is really the oppoAte of what is intended, viz. ^restore me to my
former position, which yon altered.^ Fleck, reads reatitne me in qvam
actepitti locum, bnt a comparison of Fhorm. 3Sy nobia reatitiiU lecwm^
confirms onr choice.

602. Mm. give facUsm. At iam hoc opua esL Hemy aed ma»€r
conerepuit a Glycerio ottium. In G a Glyeerio is wanting. B&xL.
drops hem and mane and inserts hine after verb. So Dz.^ thon^
retaining hem. Umpf. drops conr- (so Meis.), Fleck, both aed and coa-.
Spen. cuts the line down to a trimeter by dropping aptta eat and
a Glycerio, Wagner reads ab iatac, treating Glycerio as a glossw This
is the easiest emendation. Mem and mane are both given by Don.
Ostium conerepuit or forea crepuerunt is the regular expression, and
ab with a pronoun is commonly added ; cL Sun. 1029, I%orvL, 840,
BeaiU. 173, Bee, 521.

666. ehem: so Bent, for Diss, hem, and accepted by Meia. Bz.
Fleck.

quid id eat : the id omitted by Mss. Fleck, now reads qwdnam eai,
Schlee (Wolfflin's Archiv, toL III, p. 555) retains quid eaty ^taking
the line as an octonarins and scanning miAI.

691. potia erat : I have adopted Engelbrecfat^s conjecture (<Shi4foa
Terent.j p. 28) for the Mas. potuerat. In Eun, 113, where all Mss.
including A hAYe potuerca, Bentley'a conjecture potia erat is generally
accepted.

712. hue fac ad: the Mss. show face and so Umpf. Meis. Spen.,
but elsewhere face is found only at the end of a verse. Fae occurs
^teen times before vowels; d 406, 483. Here, therefore, Engel-
brecht is right in restoring fae with Schubert.

me uenias : so P C and *•'' duo ex noatria vetuatiasimi^^ (Bent.). So
Bent, and Spen. ; other Mss» and editors ut ueniaa,

713. Da. Age, ueniam, Ch. aiquid: so Mss. Spengel (so Dz.
and Fleck.) prefers to give ai quid to Davus, who thus mocks Charinus.
However, the repetition in the mouth of Charinus is also effective, and
I therefore adhere to the traditional reading.

728. iurandumat: almost all editors accept Bentley^s conjecture

APPENDIX. 178

iur€Uo for the impossible iusiurandum of the Mss. Don. read iuran-
dum, which, however, he fails to explain satisfactorily. I would punc-
tuate after opus sit, which is thus used without a complement, as in
736, and read iurandumst. The ellipsis is due to the colloquial style,
and is certainly much easier than the awkward and indeed impossible
combination quia ut possim. For a precisely similar verse-ending, see
line 152.

apposisse : on posivi as the perfect of pono see Engelbrecht, Studia
Terent, p. 47.

742. tu adposisti: see previous note. Spen. adheret to tun
posuisti of y,

753. «... /axis: for uerbum facere, cf. 178. So Dz. Spen.
and now Fleck. Other editors follow Don. in taking faxis cave
together.

754. Mt. male dicis f Da. undest f As early as Don. it was
debated whether Davus does not speak throughout from uerhum to
dare. There is little to choose between the two ways, but in such a
lively scene the more dialogue there is, the better. I follow the Mss.
and Eugr. Thus, too, Meis.

756. meretrix : the Mss. have both meretrix and ancilla haec. One
of the two nouns must be a gloss. Klotz, Spen. and Fleck, reject
meretrix, others ancilla. In view of the sneer, I prefer the alliteration
in mulier meretrix rather than in Andria ancilla. There is no special
force in the latter word.

772. quoia causa : Mss. have cuius (quoius). As this is the only
instance in fourteen cases where the genitive of qui is a dissyllable,
Brandt very plausibly conjectured quoia, which is accepted by Fleck.
See Engelbrecht, Studia Terent, p. 41.

783. This line is commonly read : —

Quis hie loquitur ? O Chrem^s per tempus dduenis.

Brugmann, in a dissertation, ** Quemadmodum in iambico senario Bo-
mani veteres verborum accentus cum numeris consociaverint^'' (Bonn,
1874), struck out Chremes and proposed : —

Quis hie Wquitur ? 0, per tempus mihi tu hie dduenis.

Fleck., comparing 345, plausibly conjectures euge before O Chremes.
Chreme is the reading here of all Mss. and Don. As for the metrical
difficulties, see App. on 164 and 442.

784. ain tu? haec omnia? : so Fleck. The Mss. and Don. show
much uncertainty On an and ain, see Terrell on Cic. ad Att, 4. 6i 1.

174 APPENDIX.

787. ne te credos: Fleck., in Neue Jahrb, fur Philologie, 1889,
p. 844, rightly regards non (Mss.) for ne as a solecism, and accepts
ne as given by Priscian (Keil, vol. II, p. 206).

Here the Bembinus (A) first shows traces of the text, which, how-
ever, is almost illegible until we reach line 888.

793. uoluimtis : our Mss. have uolumiis^ and, with the exception
of PCD, hem before praediceres. Umpf. Dz. and Fleck, read ac-
cordingly. But Bent, gave uoluimus after a codex 900 annorum, nunc
inter Academicos; so, too, omitting Aem, Meis. and Spen.

807. attuli : Mss. Don. and Eugr. give appuli. So Umpf. Klotz,
and Spen. This use of appellere with a personal pronoun cannot be
paralleled. In giving attuli Bent, followed one of his codices and
Priscian. Thus Meis. Wag. Dz. and Fleck.

809. enim: D and Bentley's 15 A XII have eius. So, too,
Eugr. and Don. on Ad. 48. Bent, corrected to ei, which Fleck, now
follows.

811. quam hie mihi: thus most Mss. and Don. on Hec. 645. So
Umpf. Meis. Wag. Other editors read quam id mihi according to
Don. (here) and D in ras. So, too, O.

814. grandicula: Fleck, 's conjecture is confirmed by iheGlossarium
Terentianum (Goetz, p. iv) ; grandiuscula (Mss.) involves an unusual
synizesis, and occurs again only in St. Augustine. Terence is loath to
introduce strange forms. See, too, Warren, On the Distinctio Versuum
in Terence, in Amer, Jour, of Archaeology, Second Series, vol. IV
(1900), p. 103.

illinc : Fleck, now reads illim.

816. non licet: so 7, Don. and Eugr. Thus Spen. and West;
lubet (libet), the reading of 8, is generally accepted, but licet seems
decidedly preferable. See note.

819. me nolo : so Fleck., followed by Dz. and Spen. The Mss.
nolo me is impossible, because thus a spondaic word would fill the
second place in an iambic senarius (Draheim, De lambis et Trochaeis
Terentii, in Hermes, vol. XV, p. 238).

830. in incertas : the preposition is omitted by B 0. So Fleck.

836. See Transactions of the Amer, Phil. Assoc, \o\. XXX (1899),
p. 12. O E have ficta.

841. nescio qui id : Mss. and Don. have nescio quid (so Klotz) ;
hence nescio qui id, Bothe and Fleck. Others read nescio qui tibi, etc.

849. responde: Mss. and Servius (on Aen. 11. 373). So Bent.
Dz. Fleck, and Meis. (who conjectures sed iam for etiam). Umpf.
Wag. Spen. follow Don. in reading respondes.

APPENDIX. 175

850. Da. Mihinf Si. Tihi ergo. Da. M6do hue ii intro.
Si. Qu&si ego quam dudum rogem: Mas. have ergo modo introii
(introi C). D has ego (underscored) before modo, and most editors
regard it as necessary in the reconstruction. However, as Spengel
says, in D it is probably a mere repetition of ergo, Dz. deletes ego
after quasi, and before modo scans ego as an iambus, which cannot
be allowed. Bentley introduced iui (accepted by Umpf. Wag. Meis.
Spen. and formerly Fleck.), but the full forms of ire, as is shown by
Engelbrecht (^Wiener Studien, vol. VI. p. 232), are nowhere found in
Terence, and very rarely in Plautus. The line proposed by Engel-
brecht himself, viz.: —

Mfliin ? Tibi ergo. Eg6 modo ii intro. Qudsi ego quam dudiim rogem,

fails to give modo the emphasis here required by the context, but is
otherwise satisfactory enough. Probably, however, the best reading
is that now given by Fleck., who rejects the intruder ego, gives modo
its proper place under the ictus, and supposes that hue, which corre-
sponds well with istie (849), has fallen out before ii.

857. tristis ueritas: has ueritas; other Mss. seueritas, but in P
this appears as ueritas (Warren, Amer, Jour, of Phil., vol. Ill, p. 60),
and in C as /^ ueritas; seueritas is also given by Servius (on Verg. Aen,
10. 612; Geor. 3. 37). In Neue JahrK fur Philologie (1890), p. 295,
Fleck, brings forward a number of passages from Cicero, Tacitus,
Petronius, etc. , to illustrate the combination of tristis and seuerus, or
of tristitia and seueritas; cf. (e.g.) Cic. de Or at. 2. § 289, voltus seve-
rior et tristior. On the other hand, the very frequency of such com-
binations may account for ueritas being supplanted by seueritas. If
seueritas is accepted, we must either allow a sudden change to the
iambic metre, for tristis se- is not permissible, or we must read with
Fleck., tristis est seueritas in uoltu. Furthermore, ueritas was read
here by Nonius (p. 409, 20) ; tristis ueritas, * earnestness of truth,' is
a striking and appropriate expression ; and, lastly, we here need a
word which will be parallel in meaning, not to tristis, but to Jides.
The reading ueritas is accepted by Klotz. Wag. Dz. Spen.

858. equidem : Spen. gives quidem, contrary to the Mss.

861. sublimem : Fleck. (1857) introduced the form sublimen into
this passage, as well as Ad. 316, in accordance with the conclu-
sions of Kitschl, Bhein, Museum, 1850, p. 556 ; cf. O. Ribbeck, Jahrh.,
1858, p. 184. Klotz stood out unsuccessfully against sublimen,
which is generally accepted in these two Terentian passages and in
(e.g.) Plant. Men. 994, 997, 1004, 1052. Ribbeck substituted it for

176 APPENDIX

the adjective even in such a passage as Yerg. Geor, I. 242, Hie vertex
nobis semper sublimis, or Aen. 2. 259 ; 11. 67. This view, so com-
monly held by scholars, is overthrown by W. Heraeus in a convincing
article in Philologus, vol. LV (1896), pp. 197-212. We can now safely
return to the reading sublimemf retaining the traditional order subli-
mem hunc intro rape.

864. ego iam te commdtum reddam : Dz. makes the verse iambic
by scanning ego. This cannot be admitted. Schlee suggests rape
before ego. Fleck, (see Neue Jahrb. fur Philologie, 1890, p. 296)
makes a violent change to ego U continuo miitum reddam. We must
accept the verse as a trochaic septenarius.

868. O: thus P (Warren).

888. Prom here to the end of the play, with the exception of
903-912, the Bembinus (A) is available.

892. hinc ciuem : the order of A and D. Other Mss. give ciuem
hinc ; so Klotz and Spen. Curiously enough in v. 908 hinc ciuem is
read by 7, while ciuem hinc is there given by 5 (including Bentley's
16 A XII).

894. ego audiam f quid ego audiam : the second ego is original
in P C G E, and a correction in A and D. It is retained by Fleck.,
but rejected by most editors.

895. age dicat, sino : this is the punctuation of Bent. Dz. Spen.
Others give age, dicat sino.

898. hanc amittere: Mss. have hanc uis amittere (amictere, D).
Most editors retain uis, and read mittere. Fleck, drops uis, and re-
tains amittere. It is easy to account for uis as an unnecessary repe-
tition, and amittere (=dimittere) is very common in Terence; cf.
Phorm. 141, 176, 414.

908. Ch. Hie. Ck. Simo men quaeris f Si. Eho tu, etc. : #Ms8.
are uncertain as to the distribution of the parts in this line. D E G
(so Klotz and Meis.) make Simo begin with men quaeris f but it seems
decidedly better to give this question to Crito, who has come out to
satisfy Simons doubts. I therefore follow C, which is the most satis-
factory, and is accepted by Bent. Wag. Dz. Spen. In his second
edition Fleck, reads : Ch. Hie Simost. Cb. Men quaeris f

909. qua re : so 0. Fleck, alone gives qua de re of other Mss.

(P C thus, qua re.)

917. ante: A (Umpf.'s addenda et corrigenda, p. Ixxxii). So
Skutsch in Hermes, vol. XXXII (1897), pp. 93-94. The common
reading is antehac.

APPENDIX. 177

921. feras : thus A, followed by Dz. and now Fleck. Other Mas.
and editors give /«•««.

922. dico . . . audterim : A, followed generally. Spen. follows the
other Mss. in giving dixi and audieria (also A as corrected).

928. Cr. Nomen tarn cito f Pa. Phania, Si. Hem f Pa. Perii 1
With the reading adopted in the text, contrast the one generally
accepted: Cr. Nomen tarn cito tibif Pa. Hem^ perii, (So Umpf.
Klotz, Dz. Spen.) The explanation given is that Crito is supposed to
hesitate, and Pamphilus, afraid that he has forgotten the name, thinks
that this means ruin for himself. But even Pamphilus does not know
how much significance lies in the name, and therefore is not likely to
cry out perii because of a slight forgetfulness on Crito^s part. We
may well believe, too, that Pamphilus himself could easily supply the
name, if it were essential, for he must often have heard it from
Glycerium.

Now Don. and all the Mss. (inol. A) have Phania after Crito's
question, and two of Bentley^s codices omit tihi^ while a third has it
by second hand, where something (possibly Pam,) has been erased.
A assigns hem perii to Crito, but, as corrected, to Simo. The rest
give hem perii to Chremes, and so Bent. Meis. and now Fleck. Such
an arrangement occurred, it is true, to Donatus, who asks: An
Chremis est dolentis vel ad eius mentionem vel quod in filiam paene
peccarat f But this is improbable, for the next utterances of Chremes
are those of joy : cf. 930-931.

The clew to the proper explanation of the passage is found in Don.,
who says : Phania : Hoc ita dicit Grito^ ut nemo audiret, scilicet adhuc
dubitans, an ipse sit ; and again : Hem : sunt qui putant Simonem
dicere, irascentem Jilio, Critonem submonenti. As Bent, points out,
if no one could hear what Crito said, the hem perii would be absurd.
But if, as the next note suggests, Pamphilus prompted Crito, we can
see why Simo should turn angrily upon his son, and why then Pam-
philus, covered with confusion, should cry perii, on which word Don.
remarks : Hoc Pamphilus post iracundiam patris. Note that it is
Pamphilus who, in his impatience, again jogs Crito' s memory in 943.

930. aiebat : both aiebam and aibam were used by Terence : cf . 932.
See Engelbrecht, Studia Terent, p. 57. Fleck, here reads aibat.

931. audiuere: Mss. show turn before the verb (audiere D G V),
but Bent, rejected it on the evidence of his Peterhouse Codex. Fleck,
now returns to tum^ reading audire.

934. qui id credis : so Fleck, for qui credis. A has quid credis,
936. poste: this is F. Skutsch's conjecture for postilla (Mss.) in

N

178 APPENDIX.

Hermes, vol. XXXII (1897), pp. 93-94 ; cf. notes in App. on 483, 609,
917. So in Eun. 493, where A has post continuo and the other Mss.
show posthuc or postea, Fleckeisen's poste is satisfactory, and has been
confirmed by the Olossarium Terentianum (Goetz), 606. (See Dz. in
Wolfflin's Archiv, vol. II, p. 139.) Here Spen. and Dz. read postid;
Umpf. Wag. and Meis. follow Lachmann with post ibi; while Fleck,
makes a violent change to turn ueritust meam relUiquere hie postilla
nunc primum audio,

939. Si. ne istamy etc. : I follow the Mss. in assigning the con-
gratulation to Simo. Spen. and Fleck., without sufficient reason, give
it to Crito. More natural, however, is it to give (as they do) credo to
Chremes, and pater to Pamphilus, to whom the Mss. give both credo
and pater.

940. at mi unus scrupulus etiam restat: Mss. and most editors.
This gives a proceleusmatic in the third foot. Spen. reads scruplusj
and Fleck, alters to at scrupulus mi etiam unus restat.

941. istud: see Schlee, Scholia Terent., p. 20.

945. heus, Chremes, etc. : Spengel retains non patiar at the
beginning of this line. These words are not given by A, though
found in the other Mss. The repetition of the name Pasibula is
due to Luchs, who is followed by Meis. Dz. and now Fleck.
Formerly Fleck accepted the form Pasiphila (conjectured by Bezzen-
berger and Keil), but with the rejection of non patiar he returns to
Pasibula.

946. audiui miliens : Fleck, accepts the proposal of Conradt (De
Versuum Terentianorum Structura, p. 23) to invert the Mss. order
miliens audiui. This slight change improves the line greatly.

951. mecum: to avoid this ictus Fleck, inserts the imperative i
after mecum.

957. me aliquisfors putet : a troublesome line. Mss. liave aliquis
forsitan me putet, A C and P (Warren) showing forsitam, and V
omitting me. Umpf. Wag. Meis. follow G. Hermann in reading
aliquis me forsitan with putet beginning the next line. Both here
and in Eun. 197, Bentley read forsan for Mss. forsitan, but Haupt
(Hermes, vol. V, p. 176) shows that we cannot claim the iormforsan
for any writer earlier than Lucretius. In Heaut. 715, Bentley's read-
ing fors for Mss. fortasse is required by the metre, hence Spengel
(followed by Dz.) read here aliquis fors me putet. Fleck., who now
adopts /or« in all of the above mentioned passages, as well as Phorm.
717, objects to aliquis constituting an independent foot with this ictus,
as contrary to the usage of Plautus and Terence. He therefore accepts

APPENDIX. 179

me dliquis^ proposed by Podiaski (Quomodo Terentius in Tetrametris
lambids et Trochaicis Verborum Accentus cum Numeris Consociaverit,
p. 14). Pleck. also transposes prouiso from its place at the beginning
of the line to that after Pamphilus, thus making the line trochaic. In
this we need not follow him.

959. eapropter : so Servius here (on Verg. Eel, 7. 81). By adopt-
ing it for propfcrea (Mas.) Bentley brought harmony out of discord.
Umpf . preferred to keep propterea and change deorum into deum, but
the latter form is used by Terence only in such formulae as (e.g.) pro
deumjidem. So Engelbrecht, Studia Terent., p. 18.

963. mallem: thus A, accepted by Bent. Umpf. and Fleck. All
others give malim. The imperfect seems preferable, in view of optem.
The latter is used while Pamphilus is still pondering on the matter.
Davus appears before he has made up his mind, and mallem, therefore,
has reference to what migfU have been,

965. There is no new scene indicated here in A or the Mss. of the
y group. Probably the omission is originally due to the necessity of
economizing space, as the play draws to a close.

O Dane : Fleck, greatly improves the line by inserting the interjec-
tion, which thus throws the ictus of the second foot on the first sylla-
ble of ubi. These interjections are commonly omitted or inserted in
the Mss. In this verse (e.g.) o is omitted hj^y before Pamphile,
while in 974 all Mss. wrongly insert it before Charine.

967, aim: Mss. and Don. So Bent. Umpf. Spen. Dz. West.
Other editors, including Fleck., read sum, I keep the subjunctive,
which involves a slight reproach to Pamphilus, who fails to realize
Davus' misfortune as vividly as his own good luck.

969. Gl^cerium mea : thus A, and rightly preferred by most editors
to the mea Gly cerium of the other Mss. Note the ictus.

971. See Trans, of the Amer, Phil. Assoc, vol. XXX (1899), p. 12.

973. solus est: Mss., followed by Umpf, and Wag. The second
person, es, is read by Bent. Qduo ex nostris cum veter, ed.), also Meis.
Spen. Dz. and now Fleck. There is not sufficient reason for depart-
ing from the reading of the Mss. It is true that a Greek proverb ran :
"whom the gods love, dies young " ; but to be loved of the gods did
not always imply such a fate. Otherwise, Antipho, when felicitated
by Geta, ab dis solus deligere, Antipho {Phorm, 864), would have
received a doubtful compliment. The fitness of proverbs depends on
the point of view of the speaker. ** Happy is the wooing that's not
long a-doing" is in a sense contradictory of *' Marry in haste and
repent at leisure."

180 APPENDIX.

978. iequere hoc tu me; intus apud Glyceriumst nunc : this Is the
xeadiog suggested by Dz. {adnoUUio crUica), and seems the best, in
view of the Mss. evidence and the necessities of the case. A reads
tequere hoc me iatua a Olycerium nunc (with aput, a correction for a) ;
the rest have apud, with est after nunc. Two facts to guide us in
reconstructing the line are : that intus cannot possibly accompany
sequere^ which would require intro, and that the word Olycerium is
to be accented on the first syllable. Hence, our choice seems to lie
between Dz.*s suggestion, which I accept, and SpengePs, which Dz.
has given in his text, viz : —

S^uere hac me intro : inttis apud Glyceritimst nunc.

This latter, however, is redundant in thought, while the former
really departs from A only in the introduction of tu, a slight but
effective addition, in view of the contrast it makes with tu Daue,

981. restet : so most editors, following A and y. Spengel strangely
follows the S group and Don., in reading restal.

In several minor Mss. of Terence there is found an additional scene
at the end of this play, the -subject of which is the betrothal of
Charinus. Don. and Eugr. both refer to this scene, but both are inclined
to regard it as spurious. It is very corrupt in a few lines, and, unlike
any other final scene in Terence or Plautus, with the exception of the
latter^s Poenulus, which is similar to the Andria in having a second
ending, closes in iambic trimeters. According to Greif eld, De Andriae
Terentianae Gemino Exitu (Diss. Halle, 1886), it is to be assigned to
the last century of the Republic, when some of the Plautine prologues
were composed. It is probably the work of some grammarian who
thought Charinus was disposed of in too summary a fashion. I
append the lines as given by Dz.

Pamphilvs. Charinvs. Chremes. Davos.

Pa. Te ^xpectabam : est d6 tua re, qu6d agere ego tecum nolo.
6peram dedi, ne me 6sse oblitum dicas tuae gnatae &lterae ;
Tibi me opinor fnuenisse dignum te atque ill& uirum.
Cha. P^rii, Dane : d6 meo amore ac uita nunc sors tollitur.
Chr. N6n noua istaec mihi condiciost, si uoluissem, P&mphile.
Cha. 6ccidi, Dane. Da. Ah mane. Cha. Perii. Chr. Id quam
6b rem non uolui, ^loquar.
N6n idcirco, qu6d eum omnino adflnem mihi nollem, Cha,
H6m. Da. Tace.

APPENDIX. 181

Chr. Sed amicitia ndstra, quae est a p&tribus nostris tridita,
Non aliquam partem, sed studui adatictam tradi liberis.
Ntinc quom copia &c f ortuna utrique at obsequer^r dedit,
D^tur. Pa. Bene factum. Da. Adi atque age homini gr&tiaa.

Cha. Saln6, Chremes,
Me6ram amicorum 6mniuin mi aegtiiasume.
Quid mUlta uerhaf mlhi non minus est gaudio,
Me r^pperisse, ut h&bitus antehac fui tibi,
Quam mi iuenire ntinc id quod ego abs te 6xpeto.

Chb. Animtim, Charine, qu6cunque adplic&ueris,
Studium 6xinde ut erit, t6te existim^ueris.

Pa. Id ita ^sse facere c6niecturam ex m6 licet.

Cha. AJi^uus abs te, t&men qui esses n6ueram.

Chr. Ita r6s est. Gnatam tibi meam Philtimenam
Yxdrem et dotis s6z talenta sp6ndeo.

INDEX TO NOTES.

[The figures refer to the line of text on which comment is made.]

ablative, of accompaniment, 041 ;

of circumstance, 038 ; of time

after which, 104.
abs, 489.
abuti, 5.

accersere, 515, 646.
accusative : inner object, 162, 204,

362, 414,946 ; limit of motion, 70.
adeo, 162.
adprime, 61.
adverbs, in -^er, 74 ; with esse, etc.,

62.
aediles curules, note on Diddscalia,

3.
agere, note on Didaacalia, A,
ain, 784.

alius = alter, note on Periocha^ 12,
alliteration, 3, 82, 164, 227, 304,

426, 427, 526, 630, 671, 691, 856,

886, 888, 903, 956, 964.
altercare, 653.
alterius (gen.), 628.
aposiopesis, 149, 164, 300, 790,

872, 947.
archaisms, 66, 74, 208.
argumentum, 12.
^ars, 31.
assonance, 888, 912.
asyndeton, 64, 102, 128, 161, 224,

248, 676, 911, 938.
atque, 225, 632, 680, 698.

Attic money, 369, 461, 961.
attigas, 789.

attraction, 3, 26, 47, 166, 239.
att, 751.

beare, 106.
bona verba, 204.
Byrria, 301.

Caecilius, 806.

caput, 371.

carnufex, 183.

catus, 866.

chiasmus, 278, 320, 966.

Chremes, declension of, 247.

Cicero, familiar with Terence, 126,

141, 660.
climax, 295, 334, 718.
colloquialisms, 74, 82, 90, 109, 120,

127, 161, 186, 201, 211, 223,226,

232, 299, 367, 369, 370, 400, 446,

484, 608, 598, 614, 627, 636, 660,

710, 782, 828, 919.
comperiri, 902.
complaceri, 646.
con-, in verbal compounds, 109.
concrepare, 682.
concrete expression for abstract,

36.
conditional sentences, 176, 258,

310, 914, 918.

183

184

confwt^ 167.

coiUaminarty 16.

contracted forms in perfect tenses,

10, 151.
cowoenirt^ 368.

deUnc, 22, 79.

diminutive forms, 55, 83, 84, 231,

369, 814, 828.
disputare, 15.
di uostram Jidem, 716.
do8, 396, 951.
-dum, enclitic, 29, 184.
dwm, conjunction, 54, 329.

eccum, 532.

ego, 35.

ellipsis, 704, 706, 729. See, also,

* omission.'
ellipsis Terentiana, 120.
-endO' and -undo- in gerundive

forms, 5.
eni'w, 91.
ephebi, 51.

Epicurean sentiment, 959.
es and est in enclitic form -s, -st,

43, 202.
etiamj 116, 849.
Euripides, 427, 641, 716.

facere, with dat., 143 ; with abl.,

614.
facilius, 203.
favete, 24.
faxis, 753.
fazo, 854.
^ert, 792.
fortis, 445.
frequens, 107.
frequentative forms, 84.
furcifer, 618.

INDEX TO NOTES.

future-perfect, 381, 397, 398, 570,

genitive case, fourth declension,

365; partitive, 2.
geniusy 289.

Glycerium, note on Periochay 2.
grandiculiLs, 814.
Greek customs and characteristics,

60, 71, 123, 153, 219, 221, 431,

480, 746, 799, 811.
Greek words, 88, 369, 451.

hau, 460.

hiatus, 769, 817.

hie, its forms, 328, 439 ; = ego, 310.

hinc illae lacrumae^ 126.

hoc = hue, 386.

hoc illud, 125.

hocine, 186.

hodie, 196.

-t'ftam and -iebam, 38.

i6i, 106, 149, 356.

ictus, 29, 36, 133, 203, 220, 236,
492.

ilico, 125.

infinitive, exclamatory, 245 ; his-
torical, 62, 97, 369 ; in -ler, 203 ;
of purpose, 484.

inter, in composition, 181.

ipse and ipsus, 360.

ire, 850.

istic, 32.

ita, retrospective, 173.

ita ut, 65, 77, 148.

ludi Megalenses, note on Didasca-
lia, 2.

malivolus, 6.
nmnus, 297.

INDEX TO NOTES.

185

Menander, 427, 611, 919, 959.
metaphors, 82, 88, 91, 93, 181, 193,

348, 386, 395, 465, 475, 479, 480,

617, 650, 664, 669, 688, 701, 733,

822, 897.
metrical variations, 175, 196, 215,

303, 384, 524, 866.
mihlj 112.

mills, of the ancients, 198.
modos fecit, note on DidctscaUa, 5.
modo ut, 409.
mood, in deliberative clauses, 315,

497 ; in relative clauses, 272,

536, 620; with quom causal,

422.

nam, 51, 252.

narrare, 367.

-ne, 17, 245, 478.

ne = truly, 324.

ne, with present imperative, 384.

nee = non, 180.

necessus, 372.

neclegentia, 20.

neque haiid, 205.

nescio, 340.

ne utiquam, 330.

nihil and nil, 17.

nisi 8i, 249.

non ita, 11.

nonne, 238.

nullus = non, 370 ; declension, 608.

olim quom, 545.

omission, of apodosis, 258, 373,
568 ; of common verbs, 82, 226,
345, 361, 635; of subjunctive
mood, 61, 120.

ifiotoriXevTa, 90.

oportere, 481.

opus est, 728, 738, 740.

oratione ac stilo, 12.
oxymoron, 17.

parataxis, 446, 653.

paucis, 29.

paululum, 360.

per in composition, 265.

periclum, 131.

personae, p. 69.

platea, 796.

plaudite, 981.

plays on words, 42, 218, 280, 338,

691, 777, 832.
pleonasm, 64, 90, 106, 171, 201,

205, 347, 369, 766.
pol, 229.

ponere, perfect tense, 729.
porro, 278.
poste, 483.
postquam, 177, 513.
potest, impersonal, 327.
potis, 437.
prehendere, 353.
probe, 847.

prolepsis, 378, 483, 503.
prologue, 5.
proprius, 716. *
proverbial sayings, 68, 126, 164,

309, 381, 636, 637, 778, 941, 971,

973.

quaeso, 8.

quam, with adverbs, 136 ; with

verbs, 127.
quandoquidem, 608.
questions, indirect, 45.
qui, 6, 53.
quid ais, 137, 184.
quin, 45.

quod = wherefore, 289, 738.
quod 81, 258.

186

INDEX TO NOTES.

quoiusj adjective, 763.

quom, 1.

quor, 48.

quor non = quominus, 103.

redducere, 550.
relicuonij 25.

Koman law and customs, 102, 143,
296, 297, 371, 771, 880, 891, 949.

saltern, 257.

satin, 749.

siet, 234.

SimOy 41.

sinere,ut, 188.

siquidem, 465.

slavery, 583, 621, 771.

sobrinuSy 801.

stilus, 12.

subjunctive mood, deliberative, 53,
263; imperfect for pluperfect,
138 ; jussive, 598, 649, 793 ; po-
tential, 135 ; present for imper-
fect, 310 ; repudiating, 900.

suhlimis, 861.

supine, 134.

synizesis, 22, 25, 93, 95.

talent, 951.

tense, future-perfect for future,
381, 397, 398, 570, 571, 892;
present for future, 186, 244, 315,
322, 594 ; perfect for present,
239 ; variations of, 128, 138.

tetuli, 808.

te uelle, 29, 45.

tibiae, note on Didascalia, 6.

'tio, substantives in, 44, 202, 400.

tmesis, 63, 263, 455, 486.

uelle, 29, 45.

uerbenae, 726.

uitio dare, 8.

uodvos, 706.

-undo- in gerundive forms, 5.

unus, 118.

ut, explanatory, 56, 61 ; in a de-
liberative subjunctive clause,
263 ; stipulative, 148, 200.

ut ne = ut non, 699.

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