Chapter I: Preface

If an apology for the following translation cannot be found in the work itself, it would be to little purpose to insert it in the Preface. I have attempted to present to the public the most celebrated dramatist of ancient Rome, in such a dress as may enable the English reader, learned and unlearned equally, to relish, in his own language, the beauties of this great poet. Though the original is composed in verse, I have employed prose in this translation, because the verse of Terence approaches so very nearly to prose, that in prose only is it possible to adhere faithfully to the words, and particularly to the style of our author; as we have in our language no measure of verse at all corresponding with that used by Terence.

To the learned reader, the number of the subjoined Notes may, perhaps, seem excessive; and the minuteness of description which characterizes many of them, may appear unnecessary; but, though this work was not written professedly for the schools, yet the Notes were not composed entirely without a view to the instruction of the young student; and, as translations are supposed to be made chiefly for the use of the unlearned, who cannot be expected to be much acquainted with the manners and customs of the ancients; I thought it better, if I erred at all, to err on the safe side, and to repeat to some of my readers something that they knew before, rather than run the risk of permitting any one of them to remain unacquainted with it altogether. A French translator of Terence, the learned and indefatigable Madame Dacier, has judged a still greater number of Notes than I have subjoined in this work, necessary to elucidate various passages in her translation of the play of the Andrian, and of Suetonius’s Life of our author. One remark may be added on this subject; it must be considered that many of the explanatory Notes affixed to the play of the Andrian, tend to the general elucidation of the various passages in the remaining five plays of Terence; and I think I may venture to hope, that the Notes in general, will, in many instances, be found useful in the exposition of many passages in the Latin and Greek classics.

I am induced to publish this play singly, with a view of ascertaining whether a translation of Terence’s comedies on this plan may meet with sufficient approbation to encourage the appearance of the remaining five plays: as I propose to give a complete translation of the works of this celebrated author, if the present attempt should be honoured with a favourable reception. I may say, in the words of Terence himself,

“Favete, adeste æquo animo, et rem cognoscite,
Ut pernoscatis, ecquid spei sit reliquum,
Posthac quas faciet de integro comœdias,
Spectandæ, an exigendæ sint vobis priùs.”

And now deign to favour the play with your attention, and
give it an impartial hearing, that you may know what is
in future to be expected from the poet, and whether the
comedies that he may write hereafter, will be worthy to
be accepted, or to be rejected by you.――_Prologue to the
Andrian._

These lines contain very strong presumptive proof that the Andrian was Terence’s first production; and, for that reason, it has been selected for this essay, and not on account of its being supposed to be superior to his other plays: for so great, so steady was the equality of this poet’s genius, that no critic of eminence, ancient or modern, could ever yet venture to assign to any one of his plays a claim of superiority to the rest. The celebrated Scaliger has asserted that there were not more than _three_ faults in the _six_ plays of Terence.

The ancients seem to have been least partial to the Step-mother: Volcatius says,

“Sumetur Hecyra sexta ex his fabula.”

The Step-mother is reckoned the last of the six. This was the only piece written by our author, in which the plot was single; and the want of a double plot, which the Romans then preferred, was, doubtless, the reason of its being postponed to Terence’s other productions.

The force of custom has given authority to an erroneous disposition of these comedies, which are usually printed in the following order:

The Andrian,
The Eunuch,
The Self-tormentor,
The Brothers,
The Step-mother,
The Phormio.

They were written and represented at Rome as follows:

Year of Rome.
The Andrian 587
The Step-mother 588
The Self-tormentor 590
The Eunuch 592
The Phormio 592
The Brothers 593

The original cause of the order of these plays being changed by the ancient transcribers is not known; though it is conjectured that they classed them thus, that the four plays taken from Menander might be placed together. This leads me to mention Terence’s close imitation of the Greek dramatists, amounting, in fact, to a partial translation of them; and it is necessary to bear this in mind during a perusal of his writings, lest, under the impression that this author wrote originally in _Latin_, the reader should forget that the scene is always laid in Greece; that the persons of the drama are not Romans but Greeks; and that, consequently, the manners, customs, names, and things, there mentioned, are almost uniformly Grecian.

Roman literature had emerged from obscurity just previous to the times of Terence: that sun, which was destined to shed its splendour over all future ages, was then scarcely risen from the darkness which shrouded it during the rude infancy of the Roman commonwealth; and even for a long period after Rome assumed the highest rank in the scale of nations. Livius Andronicus, the first poet of eminence, wrote dramatic pieces in the year of Rome 513. He was followed by Nævius, Ennius, Tegula, and Cæcilius; next comes Pacuvius, who excelled in tragedies; then follow Plautus and his cotemporaries Plautius, Aquilius, and Acutius; and, lastly, Terence brought the Latin drama to its highest perfection about the year of Rome 590, eighty years after its first appearance. But, in Greece, dramatic writing had attained the highest pitch of excellence under Menander, more than one hundred years before; and the Latin poets copied most closely from the refined writings of the Greeks. At that time, and for many years after, Greek was almost as much in fashion at Rome, as French has of late years been in fashion in England: it formed a necessary branch of a polite education; and many of the Romans quitted their native city, and resided in Greece a considerable time, for the purpose of perfecting themselves in the Greek language, and enjoying the advantage of associating themselves with the philosophers and other learned men of that country.

Our author, therefore, complied with the taste of the age, and no man succeeded better in making the Greek poets speak Latin. He copied chiefly from Menander: the four entire plays, the Andrian, the Eunuch, the Self-tormentor, and the Brothers, were taken from the writings of that great poet, as were also some parts of the Step-mother and the Phormio.

Terence’s great rival in dramatic fame was Marcus Accius Plautus, who flourished a few years before him; and has left twenty comedies replete with wit and spirit. To draw a comparison at length, between these great poets, would be an undertaking by no means suited to a Preface; and far more arduous than I should at present feel prepared to enter into: the learned Madame Dacier very happily observes, “Il est certain qu’il n’y a rien de plus difficile que cette espèce de critique qui consiste à juger des hommes, et à faire voir les avantages qu’ils ont les uns sur les autres. Il y a tant d’égards à observer; tant de rapports à unir, tant de différences à peser, que c’est une chose presque infinie; et il semble que pour s’en bien acquitter, il faudroit avoir une esprit supérieur à ceux dont on juge, comme il est nécessaire que la main qui se sert d’une balance soit plus forte que les choses quelle veut peser.”――It is certain, that no species of criticism is more difficult than that which consists of judging generally of an author; and in pointing out those excellencies, in which he is superior to other writers. There are so many points to be considered, so many similarities to be compared with each other, so many differences to be weighed against each other, that the task is almost endless; and appears to require talents superior to those of the person whose productions are to be criticised; as the hand which holds the balance ought to possess a power more than equal to the weight of whatever is to be placed in it.

Most of those critics who have undertaken to compare Terence and Plautus with each other, have, on a general estimate of their merits, decided in favour of Terence; though in one or two particular excellencies they allow Plautus to have surpassed him. They judged Plautus to be chiefly recommended by his humour, by the amusing variety of his incidents, by the liveliness and spirit of his action, and by his rich, agreeable, and witty style. Terence they praise for his delicacy of expression, his unequalled skill in the delineation of characters and of manners, and in the construction and management of his plots, for the well-timed introduction of his incidents, and for the evenness, purity, and chasteness of his style.

_Terentio non similem dices quempiam._――AFRANIUS.

_Terence stands unrivalled._

One natural defect the critics have charged Terence with, and only one, _viz_., the want of what the ancients called the _vis comica_, which is usually interpreted _humour_: and, in this requisite, they judged him to have fallen short of Plautus. One fault also is objected against him, being no less than a direct breach of the rules of dramatic writing; which is, that he makes the actors directly address the audience in their assumed characters; as in the fourth scene of the first act of the Andrian, and also in the last scene of the last act. Against the latter charge, no defence can be made, except we urge the authority of custom; but the imputation against our author of a want of humour may, in a great measure, be repelled.

The _vis comica_ of the ancients, though we translate it by the word _humour_, which approaches nearer to its true signification than any other expression in our language, could not have been exactly the same kind of humour with that of our own times; which has been usually considered as peculiar to the English drama, and has not even a name in any other modern language. If we allow the _vis comica_, or comic force, to be divided into two species, namely, the _vis comica_ of the action, and the _vis comica_ of the dialogue, (and is there not a humour of action, as there is of words?) we must also allow, that Terence’s writings, far from being devoid of the humour of action, are replete with it throughout. The Eunuch, particularly, abounds with this kind of humour, especially in the eighth scene of the fourth act, where Thraso forms his line of battle; and, in the fifth, sixth, and seventh scenes of the last act, between Laches, Pythias, and Parmeno, which are specimens of the _vis comica of action_, not inferior to many of the witty Plautus’s attempts to exhibit this species of dramatic manners.

I shall conclude by giving the reader some account of the rise and conduct of dramatic entertainments at Rome: which cannot be so conveniently introduced in the Notes. A knowledge of these things is very necessary to a right understanding of Terence’s plays; as his mode of writing could not be reconciled to the modern method of dramatic representation, which differs very materially from the ancient manner.

About an hundred and twenty years before regular plays were first exhibited at Rome, a sort of entertainment called _ludi scenici_ was introduced there by the Etrurians: it consisted merely of dancing to the sound of a pipe. This simple amusement was soon improved upon, and the dancers began also to speak. They spouted a species of rude satirical verses, in which they threw out rough jests, raillery, and repartee against each other: these were called Saturnian verses, or Satires, from their god Saturn: hence this name was afterwards applied to poetry composed for the purpose of lashing vice or folly. The Saturnian verses, set to music, and accompanied by dancing, continued a favourite diversion, till they were superseded by regular plays about the year of Rome 515. The places where they were represented, (called theatra, theatres, from a Greek word signifying _to see_,) were originally tents, erected in the country, under the shade of some lofty trees: afterwards they performed in temporary buildings formed of wood: one of these is recorded to have been large enough to contain eighty thousand spectators. Pompey the Great erected the first permanent theatre: it was built of stone, and of a size sufficient to accommodate forty thousand persons.

Some critics have objected against Terence, that he is guilty of an impropriety in making one actor speak very frequently without being heard by another; and introducing two or more persons on the stage, who, though they are both of them seen by the spectators, yet do not perceive each other for a considerable space of time. These objections are easily answered when we reflect on the magnificent size of the Roman theatres. An ingenious writer of the last century has given a very clear explanation of this subject: I shall give it in his own words.

“Some make this objection, that in the beginning of many scenes, two actors enter upon the stage, and talk to themselves a considerable time before they see or know one another; which they say is neither probable nor natural. Those that object to this don’t consider the great difference between our little scanty stage and the large magnificent Roman theatres. Their stage was sixty yards wide in the front, their scenes so many streets meeting together, with all by-lanes, rows, and alleys; so that two actors coming down two different streets or lanes, couldn’t be seen by each other, though the spectators might see both; and sometimes, if they did see each other, they couldn’t well distinguish faces at sixty yards’ distance. Besides, upon several accounts, it might well be supposed when an actor enters upon the stage out of some house, he might take a turn or two under the porticoes, cloisters, or the like, (that were usual at that time,) about his door, and take no notice of an actor’s being on the other side of the stage.”

Of course, the extensive size of the Roman theatres made it impossible that the natural voice of the actors should be distinctly heard at the distance they stood from the audience: to remedy this inconvenience, they had recourse to a sort of mask, which covered both the head and the face: it was called _persona_, from two Latin words, signifying to _sound through_: the mouth of this mask was made very large, and with thin plates of brass they contrived to swell the sound of the voice, and, at the same time, to vary its tones, so as to accord with the passions they wished to express. Instructions in the use of these masks formed an essential and important branch of the education of a Roman actor.

The plays represented at Rome were divided into two classes: 1. the palliatæ, 2. the togatæ. In the first, the characters of the piece were entirely Grecian: in the latter, they were entirely Roman. The second class, _viz._, the togatæ, were subdivided into the prætextatæ, when the play was tragedy: the tabernariæ, when the scenes lay in low life: the atellanæ, or farces: and the trabeatæ, when the scene lay in the camp: they had likewise mimes and pantomimes.

The chorus consisted sometimes of one person, though generally of several, who stood on the stage during the representation, at first, without any share in the action of the piece: some suppose that they were there partly in the character of spectators: if this conjecture be correct, Terence may be excused for making the actors address them. Their business seems originally to have been singing between the pauses in the action, and delivering moral reflections on what was represented on the stage: afterwards they were incorporated with the action, as a species of attendants. These theatrical appendages were at last laid aside, because it was thought to appear improbable, that intrigues, which usually are to be kept secret, should be carried on in their presence.

Flutes were played during the whole time of the performance, and the chief musician beating time, directed the actors when they were to raise, and when they were to depress their voices. Sometimes one person recited the words, and another performed the action of the same part. The tibiæ, or flutes, were of various kinds: the best account of the manner in which they were used is given us by Madame Dacier, as follows:

“The performers played on two flutes during the whole of the representation. They stopped the vents of one of them with the right hand: that flute was, therefore, called right handed: the other was stopped with the left, and called a left-handed flute. In the first, there were but a few holes; which occasioned it to give a deep, bass sound: in the other, the holes were very numerous: this flute sounded a sharp shrill note.

“When a comedy was accompanied by two flutes of a different sound, it was said to be played _Tibiis imparibus dextris et sinistris, unequal flutes, right and left handed_. When the flutes were of the same sound, it was said to be played _Tibiis paribus dextris, with equal right-handed flutes_, if they were of a deep sound: and _Tibiis paribus sinistris, with equal left-handed flutes_, when they were of a sharp shrill sound. The right-handed flutes were called Lydian; the left-handed Tyrian; the unequal Phrygian; as were also the crooked flutes.”

The tragic and comic actors were distinguished from each other by the covering of their feet. The tragedians wore a sort of boot, called cothurnus, with a very high heel; which was intended to give them a commanding, majestic appearance. The comedians wore a light shoe, or slipper, called soccus.

The Romans appear to have been very partial to dramatic entertainments. Magistrates were appointed to exhibit them: and the people even devoted to the theatre part of that time which is usually allotted to more weighty concerns: as their plays were usually performed in the day-time. Magnificent theatres were erected at the public expense; and sometimes even by private individuals. A description of one of these buildings is recorded by Pliny. The scenes were divided into three partitions, one above another. The first consisted of one hundred and twenty marble pillars; the second of the same number of pillars, most curiously covered and ornamented with glass: the third of the same number of pillars, covered with gilded tablets. Three thousand brazen statues filled up the spaces between the pillars. This theatre would contain eighty thousand persons. Independently of the ordinary representations, plays were performed on all solemn occasions: at the public feasts and games, and at the funerals of eminent citizens. No opportunity seems to have been neglected to introduce this species of amusement at Rome: no nation, ancient or modern, appears to have cultivated the drama with greater diligence than the Romans; and few have had more success. It is our misfortune, that so few specimens of the excellence of their dramatists have descended to our times. Let us, however, admire and profit by what we have. The writings of Terence and of Plautus present us with an inexhaustible source of pleasure and instruction. As long as virtuous and humane sentiments do not lose their appeal to the heart; as long as purity, delicacy of expression, wit, and spirit, and well-wrought fable continue to satisfy the judgment; so long the names of Terence and of Plautus must remain immortal.

THE

LIFE OF TERENCE,

Translated from the Latin

OF

CAIUS SUETONIUS TRANQUILLUS[1].

Publius Terentius[2], born at Carthage, in Africa, was slave to Terentius Lucanus, a Roman senator: who, justly appreciating his great abilities, gave him not only a polite education, but also his liberty in the earlier part of his life. He is supposed by some to have been made a prisoner of war: but Fenestella[3] refutes this opinion; as [4]Terence was born after the conclusion of the second Punic war, and died before the commencement of the third: neither, if he had been made a captive by the [5]Numidians, or Getulians, could he have fallen into the hands of the Romans, as there was no commerce between the Italians and Africans, before the destruction of Carthage.

Terence lived in the closest intimacy with many of the Roman nobility, but particularly with Scipio Africanus[6] and Caius Lælius[7], who were about his own age[8], though Fenestella makes Terence rather older than either of them. Portius[9] commemorates their friendship in the following verses:

Dum lasciviam nobilium; et fucosas laudes petit:
Dum Africani vocem divinam inhiat avidis auribus:
Dum ad Furium se cœnitare et Lælium pulchrum putat:
Dum se amari ab hisce credit, crebro in Albanum rapi
Ob florem ætatis suæ, ipsus sublatis rebus ad summam
Inopiam redactus est.
Itaque e conspectu omnium abiit in Græciam in terram ultimam.
Mortuus est in Stymphalo Arcadiæ oppido: nihil Publius
Scipio profuit, nihil ei Lælius, nihil Furius;
Tres per idem tempus qui agitabant nobiles facillime,
Eorum ille opera ne domum quidem habuit conductitiam,
Saltem ut esset, quo referret obitum domini servulus.

“While Terence joins in the pleasures of the nobles, and seeks their empty praise; while he listens with delight to the divine voice of Africanus; and thinks himself most happy to sup with Lælius and with Furius[10]; while he believes them to be his true friends; while he is frequently carried to the [11]Albanian villa; his property is spent, and he himself reduced to the greatest poverty: on which account he goes, avoiding all mankind, to the most distant parts of Greece, and dies at Stymphalus[12], a town in Arcadia: his three great friends Scipio, Lælius, and Furius, give him no assistance; nor even enable him to hire a house; that there might, at least, be a place where his slave might announce to Rome his master’s death.”

He wrote six comedies: when the first of them, the Andrian, was presented to the Ædiles[13]; he was desired to read it to Cærius[14]; he accordingly repaired to his house, and found him at supper; and, being meanly dressed, was seated on a stool near the couch of Cærius[15], where he commenced the reading of his play; but Cærius had no sooner heard the first few lines than he invited the poet to sup with him; after which, the play was read, to the great admiration of Cærius, who betowed on the author the most unbounded applause. The other five comedies met with equal commendation from the Romans, though Volcatius[16], in his enumeration of them, says,

Sumetur Hecyra sexta ex his fabula.

The Step-mother is reckoned the last of the six.

The Eunuch was acted twice in one day[17]; and the author received for it a higher price than was ever paid for any comedy before that time, viz., eight thousand sesterces[18]: on account of the magnitude of the sum, it is mentioned in the title of that play. Varro[19] even prefers the opening scenes of the Brothers of Terence to the same part in Menander. The report that Terence was indebted to Scipio and Lælius, with whom he was so intimate, for parts of his comedies, is well known; and he himself scarcely seems to have discouraged the assertion, as he never seriously denies it: witness the Prologue to the Brothers:

Nam quod isti dicunt malevoli, homines nobiles
Eum adjutare, assidueque una scribere:
Quod illi maledictum vehemens existimant,
Eam laudem hic ducit maximam, cum illis placet
Qui vobis universis, et populo placent:
Quorum opera in bello, in otio, in negotio
Suo quisque tempore usus est sine superbia.

“And as for what those malicious railers say[20], who assert that certain noble persons assist the poet, and very frequently write with him, what they think a reproach, he considers as the highest praise; that he should be thought to please those who please you, and all Rome; those who have assisted every one in war, and peace, and even in their private affairs, with the greatest services; and yet have been always free from arrogance.” It is likely, that he might wish, in some measure, to encourage this idea, because he knew that it would not be displeasing to Scipio and Lælius: however, the opinion has gained ground, and is strongly entertained even to the present day. Quintus Memmius[21], in an oration in his own defence, says,

Publius Africanus, qui a Terentio personam mutuatus, quæ domi
luserat ipse, nomine illius in scenam detulit.――――

“Publius Africanus, who borrowed the name of Terence for those
plays which he composed at home for his diversion.――――”

Cornelius Nepos[22] asserts, that he has it from the very first authority, that Caius Lælius being at his country-house at [23]Puteoli, on the first of March[24], and being called to supper by his wife at an earlier hour than usual, requested that he might not be interrupted; and afterwards coming to table very late, he declared that he had scarcely ever succeeded better in composition than at that time; and, being asked to repeat the verses, he read the following from the Self-tormentor, Act IV, Scene III.

Satis pol proterve me Syri promissa huc induxerunt
Decem minas quas mihi dare pollicitus est, quod si is nunc me
Deceperit, sæpe obsecrans me, ut veniam, frustra veniet:
Aut, cum venturam dixero, et constituero, cum is certe
Renunciârit; Clitiphon cum in spe pendebit animi
Decipiam, ac non veniam; Syrus mihi tergo pænas pendet.

“Truly this Syrus has coaxed me hither, impertinently enough, with his fine promises that I should receive ten minæ; but, if he deceives me this time, ’twill be to no purpose to ask me to come again; or, if I promise, and appoint to come, I’ll take good care to disappoint him. Clitipho, who will be full of eager hope to see me, will I deceive, and will not come; and Syrus’ back shall pay the penalty.”

Santra[25] thinks, that if Terence had required any assistance in his comedies; he would not have requested it from Scipio and Lælius, who were then extremely young[26]; but from [27]Caius Sulpicius Gallus, a man of great learning, who also was the first person who procured[28] the representation of comedies at the consular games or from [29]Quintus Fabius Labeo; or from[30] Marcus Popilius Lænas, two eminent poets, and persons[31] of consular dignity: and Terence himself, speaking of those who were reported to have assisted him, does not mention them as young men, but as persons of weight and experience, who had served the Romans in peace, in war, and in private business.

After the publication of his six comedies, he quitted Rome, in the thirty-fifth year of his age, and returned no more. Some suppose that he undertook this journey with a view to silence the reports of his receiving assistance from others in the composition of his plays: others, that he went with a design to inform himself more perfectly of the manners and customs of Greece.

Volcatius speaks of his death as follows:

Sed ut Afer sex populo edidit comœdias
Iter hinc in Asiam fecit: navim cum semel
Conscendit, visus nunquam est. Sic vita vacat.

“Terence, after having written six comedies, embarked for Asia, and was seen no more. He perished at sea.”

Quintus Consentius[32] writes, that he died at sea, as he was returning from Greece, with one hundred and eight plays, translated from Menander[33]. Other writers affirm, that he died at Stymphalus, a town in Arcadia, or in Leucadia[34], in the consulate of[35] Cneus Cornelius Dolabella and Marcus Fulvius Nobilior, and that his end was hastened by extreme grief for the loss of the comedies which he had translated, and some others which he had composed himself, and sent before him in a vessel which was afterwards wrecked.

He is said to have been of a middle stature, well-shaped, and of a dark complexion. He left one daughter, who was afterwards married to [36]a Roman knight, and bequeathed to her a garden of [37]XX jugera, near the Appian Way, and close to the [38]Villa Martis: it is therefore surprising that Portius should write thus:

――――nihil Publius
Scipio profuit, nihil ei Lælius, nihil Furius:
Tres per idem tempus qui agitabant nobiles facillime,
Eorum ille opera ne domum quidem habuit conductitiam:
Saltem ut esset, quo referret obitum domini servulus.

“His three great friends, Scipio, Lælius, and Furius, give him no assistance, nor even enable him to hire a house, that there might at least be a place where his slave might announce to Rome his master’s death.”

Afranius[39] prefers Terence to all the comic poets, saying, in his Compitalia[40].

Terentio non similem dices quempiam.

“Terence is without an equal.”

But Volcatius places him not only after [41]Nævius, [42]Plautus, and [43]Cæcilius, but even after [44]Licinius. [45]Cicero, in his ΛΕΙΜΩΝ, writes of Terence thus,

Tu quoque qui solus lecto sermone, Terenti,
Conversum, expressumque Latina voce Menandrum
In medio populi sedatis vocibus effers,
Quicquid come loquens, ac omnia dulcia dicens.

“And thou, also, O Terence, whose pure style alone could make Menander speak the Latin tongue, thou, with the sweetest harmony and grace, hast given him to Rome.”

Also Caius Julius Cæsar[46],

Tu quoque tu in Summis, O dimidiate Menander,
Poneris et merito, puri sermonis amator,
Lenibus atque utinam scriptis adjuncta foret vis
Comica ut æquato virtus polleret honore,
Cum Græcis neque in hac despectus parte jaceres,
Unum hoc maceror, et doleo tibi deesse Terenti.

“And thou, also, O thou half Menander, art justly placed among the most divine poets, for the purity of thy style. O would that humour had kept pace with ease in all thy writings; then thou wouldest not have been compelled to yield even to the Greeks; nor could a single defect have been objected to thee. But, as it is, thou hast this great defect, and this, O Terence, I lament.”

THE ANDRIAN,

A Comedy,

ACTED AT

THE MEGALESIAN GAMES[47];

IN THE [48]CURULE ÆDILATE OF [49]MARCUS FULVIUS AND
MARCUS GLABRIO[50]; BY THE COMPANY[51] OF LUCIUS
AMBIVIUS TURPIO, AND LUCIUS ATTILIUS[52],
OF PRÆNESTE.

FLACCUS, the Freedman of Claudius, composed the Music for
[53]equal Flutes, right and left handed.

[54]It is taken from the Greek, and was published during the
Consulate of Marcus Claudius Marcellus, and Cneus Sulpicius
Galba[55].

Year of Rome 587
Before Our Saviour 162
Author’s Age 27

THE ARGUMENT.

There were in Athens two brothers, CHREMES and PHANIA. The
former making a voyage to Asia, left his infant daughter,
named PASIBULA, under the protection of PHANIA; who, to
avoid the dangers of a war which shortly after convulsed
the GRECIAN States, quitted Athens, and embarked also for
ASIA with the infant PASIBULA, designing to rejoin his
brother CHREMES. His vessel being wrecked off Andros, he
was received and hospitably entertained by an inhabitant
of the island, where he died, bequeathing his niece to his
host, who generously educated her with his own daughter
CHRYSIS; changing her name from PASIBULA to GLYCERA. After
some years he also died, and his daughter CHRYSIS, finding
herself reduced to poverty, and avoided by her relations,
removed to Athens, accompanied by her adopted sister
GLYCERA, or PASIBULA. Here, supported by her industry, she
lived for some months in a virtuous seclusion; but after
that period became acquainted with several young Athenians
of good family, whose visits she admitted, hoping perhaps
to accomplish an advantageous marriage either for GLYCERA
or for herself. She was seduced by pleasure, and her
conduct from that time became very far from irreproachable.
Meanwhile a young man, named PAMPHILUS, is accidently
introduced at her house, sees GLYCERA, is enamoured of
her; she returns his affections, and they are privately
betrothed; a short time previous to the death of CHRYSIS,
which happens about three years after her removal to
Athens. CHREMES, whom we left in Asia, returned to Athens,
and became the father of another daughter, who was called
PHILUMENA; he had long before formed a friendship with
SIMO, the father of PAMPHILUS. PAMPHILUS being a youth of
great worth and high reputation, CHREMES wishes to bestow
on him the hand of his daughter PHILUMENA. Here the play
opens. A report of the connexion between PAMPHILUS and
GLYCERA reaching the ears of CHREMES, he breaks off the
marriage. SIMO conceals this, and to try the truth of the
rumour, proposes PHILUMENA again to his son, and desires
him to wed her instantly. Apprized by his servant DAVUS
of his father’s artful stratagem, PAMPHILUS professes
his willingness to marry, thinking by this measure to
disappoint it; but he defeats himself, for from his ready
consent, CHREMES concludes the rumour false, and renews the
treaty to the great embarrassment of PAMPHILUS, which, with
the artifices DAVUS employs to extricate him, form the most
diverting scenes of the play. However, when the affairs of
PAMPHILUS and DAVUS are reduced to extremity, and a breach
between father and son appears inevitable on account of the
marriage with GLYCERA, and the refusal to accept PHILUMENA,
a stranger called CRITO, most opportunely arrives from
Andros, and discovers GLYCERA to be PASIBULA, the daughter
of CHREMES, who willingly confirms her the wife of
PAMPHILUS, and bestows PHILUMENA, his other daughter, on
CHARINUS, a friend of PAMPHILUS, to the great satisfaction
of all parties.

DRAMATIS PERSONÆ.

SIMO, an old man, the father of Pamphilus.
SOSIA, the freedman of Simo.
PAMPHILUS, the son of Simo.
DAVUS, servant to Pamphilus.
CHARINUS, a young man, the friend of Pamphilus.
BYRRHIA, servant to Charinus.
CHREMES, an old man, the friend of Simo.
CRITO, a stranger, from the island of Andros.
DROMO, a servant.
GLYCERA, the Andrian.
MYSIS, her maid.
LESBIA, a midwife.

MUTES.

ARCHILLIS, Glycera’s nurse.
SERVANTS belonging to Simo.

* * * * *

The Scene lies in ATHENS, in a street between the
houses of Simo and Glycera.

The TIME is about nine hours.