Chapter XII: Act THE FIFTH: Scene I (1)

_Enter THAIS from her house, followed by PYTHIAS._

THAIS. What! do you persist, hussy, in talking ambiguously to me? “I do know;” “I don’t know;” “he has gone off;” “I have heard;” “I wasn’t there.” Don’t you mean to tell me plainly, whatever it is? The girl in tears, with her garments torn, is mute; the Eunuch is off: for what reason? What has happened? Won’t you speak?

PYTH. Wretch that I am, what am I to say to you? They declare that he was not a Eunuch.

THAIS. What was he then?

PYTH. That Chærea.

THAIS. What Chærea?

PYTH. That stripling, the brother of Phædria.

THAIS. What’s that you say, you hag?

PYTH. And I am satisfied of it.

THAIS. Pray, what business had he at my house? What brought him there?

PYTH. I don’t know; unless, as I suppose, he was in love with Pamphila.

THAIS. Alas! to my confusion, unhappy woman that I am, I’m undone, if what you tell me is true. Is it about this that the girl is crying?

PYTH. I believe so.

THAIS. How say you, you arch-jade? Did I not warn you about this very thing, when I was going away from here?

PYTH. What could I do? Just as you ordered, she was intrusted to his care only.

THAIS. Hussy, I’ve been intrusting the sheep to the wolf. I’m quite ashamed to have been imposed upon in this way. What sort of man was he?

PYTH. Hush! hush! mistress, pray; we are all right. Here we have the very man.

THAIS. Where is he?

PYTH. Why there, to the left. Don’t you see?

THAIS. I see.

PYTH. Order him to be seized as quickly as possible.

THAIS. What can we do to him, simpleton?

PYTH. What do to him, do you ask? Pray, do look at him; if his face doesn’t seem an impudent one.

THAIS. Not at all.

PYTH. Besides, what effrontery he has.

SCENE II.

_Enter CHÆREA, in the EUNUCH’S dress, on the other side of the
stage._

CHÆ. (_to himself._) At Antipho’s,[102] both of them, father and mother, just as if on purpose, were at home, so that I couldn’t any way get in, but that they must have seen me. In the mean time, while I was standing before the door, a certain acquaintance {of mine} was coming full upon me. When I espied him, I took to my heels as fast as I could down a narrow unfrequented alley; thence again to another, {and} thence to another; thus have I been most dreadfully harassed with running about, that no one might recognize me. But isn’t this Thais that I see? It is she. I’m at a stand. What shall I do? But what need I care? What can she do to me?

THAIS, (_to PYTHIAS._) Let’s accost him. (_To CHÆREA._) Good Mister Dorus, welcome; tell me, have you been running away?

CHÆ. Madam, I did so.

THAIS. Are you quite pleased with it?

CHÆ. No.

THAIS. Do you fancy that you’ll get off with impunity?

CHÆ. Forgive this one fault; if I’m ever guilty of another, {then} kill me.

THAIS. Were you in fear of my severity?

CHÆ. No.

THAIS. No? What then?

CHÆ. (_pointing at PYTHIAS._) I was afraid of her, lest she might be accusing me to you.

THAIS. What had you done?

CHÆ. A mere trifle.

PYTH. Come now, a trifle, you impudent fellow. Does this appear a trifle to you, to ravish a virgin, a citizen?

CHÆ. I took her for my fellow-servant.

PYTH. Fellow-servant? I can hardly restrain myself from flying at his hair. A miscreant! Even of his own free will he comes to make fun of us.

THAIS, (_to PYTHIAS._) Won’t you begone from here, you mad woman?

PYTH. Why so? Really, I do believe I should be something in this hang-dog’s debt, if I were to do so; especially as he owns that he is your servant.

THAIS. We’ll pass that by. Chærea, you have behaved unworthily of yourself; for if I am deserving in the highest degree of this affront, still it is unbecoming of you to be guilty of it. And, upon my faith, I do not know what method now to adopt about this girl: you have so confounded all my plans, that I can not possibly return her to her friends in such a manner as is befitting and as I had intended; in order that, by this means, I might, Chærea, do a real service to myself.

CHÆ. But now, from henceforth, I hope, Thais, that there will be lasting good-will between us. Many a time, from some affair of this kind and from a bad beginning, great friendships have sprung up. What if some Divinity has willed this?

THAIS. I’faith, for my own part I both take it in that view and wish {to do so}.

CHÆ. Yes, prithee, do so. Be sure of this one thing, that I did not do it for the sake of affronting you, but in consequence of passion.

THAIS. I understand, and, i’faith, for that reason do I now the more readily forgive you. I am not, Chærea, of a disposition so ungentle, or so inexperienced, as not to know what is the power of love.

CHÆ. So may the Deities kindly bless me, Thais; I am now smitten with you as well.

PYTH. Then, i’faith, mistress, I foresee you must have a care of him.

CHÆ. I would not dare--

PYTH. I won’t trust you at all in any thing.

THAIS, (_to PYTHIAS._) Do have done.

CHÆ. Now I entreat you that you will be my assistant in this affair. I intrust and commit myself to your care; I take you, Thais, as my protectress; I implore you; I shall die if I don’t have her for my wife.

THAIS. But if your father {should say} any thing--

CHÆ. Oh, he’ll consent, I’m quite sure of that, if she is only a citizen.

THAIS. If you will wait a little, the brother himself of the young woman will be here presently; he has gone to fetch the nurse, who brought her up when a little child; you yourself, shall be present Chærea, at his recognition of her.

CHÆ. I certainly will stay.

THAIS. In the mean time, until he comes, would you prefer that we should wait for him in the house, rather than here before the door?

CHÆ. Why yes, I should like it much.

PYTH. (_to THAIS._) Prithee, what are you going to do?

THAIS. Why, what’s the matter?

PYTH. Do you ask? Do you think of admitting him after this into your house?

THAIS. Why not?

PYTH. Trust my word for it, he’ll be creating some new disturbance.

THAIS. O dear, prithee, do hold your tongue.

PYTH. You seem to me to be far from sensible of his assurance.

CHÆ. I’ll not do any thing, Pythias.

PYTH. Upon my faith, I don’t believe you, Chærea, except in case you are not trusted.

CHÆ. Nay but, Pythias, do you be my keeper.

PYTH. Upon my faith, I would neither venture to give any thing to you to keep, nor to keep you {myself}: away with you!

THAIS. Most opportunely the brother himself is coming.

CHÆ. I’faith, I’m undone. Prithee, let’s be gone in-doors, Thais. I don’t want him to see me in the street with this dress on.

THAIS. For what reason, pray? Because you are ashamed?

CHÆ. Just so.

PYTH. Just so? But the young woman----

THAIS. Go first; I’ll follow. You stay here, Pythias, that you may show Chremes in. (_THAIS and CHÆREA go into the house._)

SCENE III.

_Enter CHREMES and SOPHRONA._

PYTH. (_to herself._) Well! what now can suggest itself to my mind? What, I wonder, in order that I may repay the favor to that villain who palmed this {fellow} off upon us?

CHREM. Really, do bestir yourself more quickly, nurse.

SOPH. I am bestirring.

CHREM. {So} I see; but you don’t stir forward.

PYTH. (_to CHREMES._) Have you yet shown the tokens to the nurse?

CHREM. All of them.

PYTH. Prithee, what does she say? Does she recognize them?

CHREM. Yes, with a full recollection of them.

PYTH. Upon my faith, you do bring good news; for I {really} wish well to this young woman. Go in-doors: my mistress has been for some time expecting you at home. (_CHREMES and SOPHRONA go into THAIS’S house._) But look, yonder I espy {that} worthy fellow, Parmeno, coming: just see, for heaven’s sake, how leisurely he moves along. I hope I have it in my power to torment him after my own fashion. I’ll go in-doors, that I may know for certain about the discovery; afterward I’ll come out, and give this villain a terrible fright. (_Goes into the house._)

SCENE IV.

_Enter PARMENO._

PAR. (_to himself._) I’ve just come back to see what Chærea has been doing here. If he has managed the affair with dexterity, ye Gods, by our trust in you, how great and genuine applause will Parmeno obtain! For not to mention that a passion, full of difficulty and expense, with which he was smitten for a virgin, belonging to an extortionate courtesan, I’ve found means of satisfying for him, without molestation, without outlay, {and} without cost; then, this other point-- that is really a thing that I consider my crowning merit, to have found out the way by which a young man may be enabled to learn the dispositions and manners of courtesans, so that by knowing them betimes, he may detest them ever after. (_PYTHIAS enters from the house unperceived._) For while they are out of doors, nothing seems more cleanly, nothing more neat or more elegant; and when they dine with a gallant, they pick daintily about:[103] to see the filth, the dirtiness, the neediness of these women; how sluttish they are when at home, and how greedy after victuals; in what a fashion they devour the black bread with yesterday’s broth:-- to know all this, is salvation to a young man.

SCENE V.

_Enter PYTHIAS from the house._

PYTH. (_apart, unseen by PARMENO._) Upon my faith, you villain, I’ll take vengeance upon you for these sayings and doings; so that you sha’n’t make sport of us with impunity. (_Aloud, coming forward._) O, by our trust in the Gods, what a disgraceful action! O hapless young man! O wicked Parmeno, to have brought him here!

PAR. What’s the matter?

PYTH. I do pity him; and so that I mightn’t see it, wretched creature that I am, I hurried away out of doors. What a dreadful example they talk of making him!

PAR. O Jupiter! What is this tumult? Am I then undone? I’ll accost her. What’s all this, Pythias? What are you saying? An example made of whom?

PYTH. Do you ask the question, you most audacious fellow? You’ve proved the ruin of the young man whom you brought hither for the Eunuch, while you were trying to put a trick upon us.

PAR. How so, or what has happened? Tell me.

PYTH. I’ll tell you: that young woman who was to-day made a present to Thais, are you aware that she is a citizen of this place, and that her brother is a person of very high rank?

PAR. I didn’t know {that}.

PYTH. But so she has been discovered {to be}; he, unfortunate {youth}, has ravished her. When the brother came to know of this being done, in a most towering rage, {he}----

PAR. Did what, pray?

PYTH. First, bound him in a shocking manner.

PAR. Bound him?

PYTH. And even though Thais entreated him that he wouldn’t do so----

PAR. What is it you tell me?

PYTH. Now he is threatening that he {will} also {do} that which is usually done to ravishers; a thing that I never saw done, nor wish to.

PAR. With what assurance does he dare {perpetrate} a crime so heinous?

PYTH. How “so heinous?”

PAR. Is it not most heinous? Who ever saw any one taken up as a ravisher in a courtesan’s house?

PYTH. I don’t know.

PAR. But that you mayn’t be ignorant of this, Pythias, I tell you, {and} give you notice that he is my master’s son.

PYTH. How! Prithee, is it he?

PAR. Don’t let Thais suffer any violence to be done to him. But why don’t I go in myself?

PYTH. Take care, Parmeno, what you are about, lest you both do him no good and come to harm yourself; for it is their notion, that whatever has happened, has originated in you.

PAR. What then, wretch that I am, shall I do, or how resolve? But look, I see the old gentleman returning from the country; shall I tell him or shall I not? By my troth, I will tell him; although I am certain that a heavy punishment is in readiness for me; but it’s a matter of necessity, in order that he may rescue him.

PYTH. You are wise. I’m going in-doors; do you relate to him every thing exactly as it happened. (_Goes into the house._)

SCENE VI.

_Enter LACHES._

LACH. (_to himself._) I have this advantage[104] from my country-house being so near at hand; no weariness, either of country or of town, ever takes possession of me; when satiety begins to come on, I change my locality. But is not that our Parmeno? Surely it is he. Whom are you waiting for, Parmeno, before the door here?

PAR. (_pretends not to see him._) Who is it? (_Turning round._) Oh, I’m glad that you have returned safe.

LACH. Whom are you waiting for?

PAR. (_aside._) I’m undone: my tongue cleaves {to my mouth} through fright.

LACH. Why, what is it you are trembling about? Is all quite right? Tell me.

PAR. Master, in the first place, I would have you persuaded of what is the fact; whatever has happened in this affair has happened through no fault of mine.

LACH. What {is it}?

PAR. Really you have reason to ask. I ought first to have told you the circumstances. Phædria purchased a certain Eunuch, to make a present of to this woman here.

LACH. To what woman?

PAR. To Thais.

LACH. Bought? Good heavens, I’m undone! For how much?

PAR. Twenty minæ.

LACH. Done for, quite.

PAR. Then, Chærea is in love with a certain music-girl here. (_Pointing to THAIS’S house._)

LACH. How! What? In love? Does he know already what a courtesan means? Is he come to town? One misfortune close upon another.

PAR. Master, don’t look so at me; he didn’t do these things by my encouragement.

LACH. Leave off talking about yourself. If I live, you hang-dog, I’ll---- But first give me an account of it, whatever it is.

PAR. He was taken to the house of Thais in place of the Eunuch.

LACH. In place of the Eunuch?

PAR. Such is the fact. They have since apprehended him in the house as a ravisher, and bound him.

LACH. Death!

PAR. Mark the assurance of courtesans.

LACH. Is there any other calamity or misfortune besides, that you have not told me of?

PAR. That’s all.

LACH. Do I delay rushing in here? (_Runs into the house of THAIS._)

PAR. (_to himself._) There’s no doubt but that I shall have a heavy punishment for this affair, only that I was obliged to act thus. I’m glad of this, that some mischief will befall these women here through my agency, for the old man has, for a long time, been on the look-out for some occasion[105] to do them a bad turn; at last he has found it.

SCENE VII.

_Enter PYTHIAS from the house of THAIS, laughing._

PYTH. (_to herself, on entering._) Never, upon my faith, for a long time past, has any thing happened to me that I could have better liked to happen, than the old gentleman just now, full of his mistake, coming into our house. I had the joke all to myself, as I knew[106] what it was he feared.

PAR. (_apart_). Why, what’s all this?

PYTH. Now I’m come out to meet with Parmeno. But, prithee, where is he? (_Looking around._)

PAR. (_apart._) She’s looking for me.

PYTH. And there he is, I see; I’ll go up to him.

PAR. What’s the matter, simpleton? What do you mean? What are you laughing about? Still going on?

PYTH. (_laughing._) I’m dying; I’m wretchedly tired with laughing at you.

PAR. Why so?

PYTH. Do you ask? Upon my faith, I never did see, nor shall see, a more silly fellow. Oh dear, I can not well express what amusement you’ve afforded in-doors. And still I formerly took you to be a clever and shrewd person. Why, was there any need for you instantly to believe what I told you? Or were you not content with the crime, which by your advice the young man had been guilty of, without betraying the poor fellow to his father as well? Why, what do you suppose his feelings must have been at the moment when his father saw him clothed in that dress? Well, do you now understand that you are done for? (_Laughing._)

PAR. Hah! what is it you say, you hussy? Have you been telling me lies? What, laughing still? Does it appear so delightful to you, you jade, to be making fools of us?

PYTH. (_laughing._) Very much so.

PAR. Yes, indeed, if you can do it with impunity.

PYTH. Exactly so.

PAR. By heavens, I’ll repay you!

PYTH. I believe you; but, perhaps, that which you are threatening, Parmeno, will need a {future} day; you’ll be trussed up directly, for rendering a silly young man remarkable for disgraceful conduct, and {then} betraying him to his father; they’ll both be making an example of you. (_Laughing._)

PAR. I’m done for!

PYTH. This reward has been found you in return for that present {of yours};[107] I’m off. (_Goes into the house._)

PAR. (_to himself._) Wretch that I am; just like a rat, this day I’ve come to destruction through betrayal of myself.[108]

SCENE VIII.

_Enter THRASO and GNATHO._

GNA. (_to THRASO._) Well now? With what hope, or what design, are we come hither? What do you intend to do, Thraso?

THRA. What, I? To surrender myself to Thais, and do what she bids me.

GNA. What is it you say?

THRA. Why any the less so, than Hercules served Omphale.[109]

GNA. The precedent pleases me. (_Aside._) I only wish I may see your head stroked down with a slipper;[110] but her door makes a noise.

THRA. Confusion! Why, what mischief’s this? I never saw this person before; why, I wonder, is he rushing out in such a hurry? (_They stand aside._)

SCENE IX.

_Enter CHÆREA from the house of THAIS, on the other side of the
stage._

CHÆ. (_to himself, aloud._) O fellow-townsmen, is there any one alive more fortunate than me this day? Not any one, upon my faith: for clearly in me have the Gods manifested all their power, on whom, thus suddenly, so many blessings are bestowed.

PAR. (_apart._) Why is he {thus} overjoyed?

CHÆ. (_seeing PARMENO, and running up to him._) O my {dear} Parmeno, the contriver, the beginner, the perfecter of all my delights, do you know what are my transports? Are you aware that my Pamphila has been discovered to be a citizen?

PAR. I have heard {so}.

CHÆ. Do you know that she is betrothed to me?

PAR. So may the Gods bless me, happily done.

GNA. (_apart to THRASO._) Do you hear what he says?

CHÆ. And then, besides, I am delighted that my brother’s mistress is secured to him; the family is united. Thais has committed herself to the patronage of my father;[111] she has put herself under our care and protection.

PAR. Thais, then, is wholly your brother’s.

CHÆ. Of course.

PAR. Then this is another reason for us to rejoice, that the Captain will be beaten out of doors.

CHÆ. Wherever my brother is, do you take care that he hears this as soon as possible.

PAR. I’ll go look for him at home. (_Goes into the house of LACHES._)

THRA. (_apart to GNATHO._) Do you at all doubt, Gnatho, but that I am now ruined everlastingly?

GNA. (_to THRASO._) Without doubt, I do think so.

CHÆ. (_to himself._) What am I to make mention of first, or commend in especial? Him who gave me the advice to do so, or myself, who ventured to undertake it? Or ought I to extol fortune, who has been my guide, and has so opportunely crowded into a single day events so numerous, so important; or my father’s kindness and indulgence? Oh Jupiter, I entreat you, do preserve these blessings unto us!

SCENE X.

_Enter PHÆDRIA from the house of LACHES._

PHÆD. (_to himself._) Ye Gods, by our trust in you, what incredible things has Parmeno just related to me! But where is my brother?

CHÆ. (_stepping forward._) Here he is.

PHÆD. I’m overjoyed.

CHÆ. I quite believe you. There is no one, brother, more worthy to be loved than this Thais of yours: so much is she a benefactress to all our family.

PHÆD. Whew! are you commending her {too} to me?

THRA. (_apart._) I’m undone; the less the hope I have, the more I am in love. Prithee, Gnatho, my hope is in you.

GNA. (_apart._) What do you wish me to do?

THRA. (_apart._) Bring this about, by entreaties {or} with money, that I may at least share Thais’s favors in some degree.

GNA. (_apart._) It’s a hard task.

THRA. (_apart._) If you set your mind on any thing, I know you {well}. If you manage this, ask me for any present you like as your reward; you shall have what you ask.

GNA. (_apart._) Is it so?

THRA. (_apart._) It shall be so.

GNA. (_apart._) If I manage this, I ask that your house, whether you are present or absent, may be open to me; that, without invitation, there may always be a place for me.

THRA. (_apart._) I pledge my honor that it shall be {so}.

GNA. (_apart._) I’ll set about it {then}.

PHÆD. Who is it I hear so close at hand? (_Turning round._) O Thraso--

THRA. (_coming forward._) Save you {both}--

PHÆD. Perhaps you are not aware what has taken place here.

THRA. I am quite aware.

PHÆD. Why, then, do I see you in this neighborhood?

THRA. Depending on your {kindness}.

PHÆD. Do you know what sort of dependence you have? Captain, I give you notice, if ever I catch you in this street again, even if you should say to me, “I was looking for another person, I was on my road this way,” you are undone.

GNA. Come, come, that’s not handsome.

PHÆD. I’ve said it.

GNA. I didn’t know you gave yourself such airs.

PHÆD. So it shall be.

GNA. First hear a few words from me; and when I have said the thing, if you approve of it, do it.

PHÆD. Let’s hear.

GNA. Do you step a little that way, Thraso. (_THRASO stands aside._) In the first place, I wish you both implicitly to believe me in this, that whatever I do in this matter, I do it entirely for my own sake; but if the same thing is of advantage to yourselves, it would be folly for you not to do it.

PHÆD. What is it?

GNA. I’m of opinion that the Captain, your rival, should be received {among you}.

PHÆD. (_starting._) Hah!

CHÆ. Be received?

GNA. (_to PHÆDRIA._) Only consider. I’faith, Phaedria, at the free rate you are living with her, and indeed very freely you are living, you have but little to give; and it’s necessary for Thais to receive a good deal. That all this may be supplied for your amour and not at your own expense, there is not an individual better suited or more fitted for your purpose {than the Captain}. In the first place, he both has got enough to give, and no one does give more profusely. He is a fool, a dolt, a blockhead; night and day he snores away; and you need not fear that the lady will fall in love with him; you may easily have him discarded whenever you please.

CHÆ. (_to PHÆDRIA._) What shall we do?

GNA. And this besides, which I deem to be of even greater importance,-- not a single person entertains in better style or more bountifully.

CHÆ. It’s a wonder if this sort of man can not be made use of in some way or other.

PHÆD. I think so too.

GNA. You act properly. One thing I have still to beg of you,-- that you’ll receive me into your fraternity; I’ve been rolling that stone[112] for a considerable time past.

PHÆD. We admit you.

CHÆ. And with all my heart.

GNA. Then I, in return for this, Phaedria, and you, Chaerea, make him over to you[113] to be eaten and drunk to the dregs.

CHÆ. Agreed.

PHÆD. He quite deserves it.[114]

GNA. (_calling to THRASO._) Thraso, whenever you please, step this way.

THRA. Prithee, how goes it?

GNA. How? {Why}, these people didn’t know you; after I had discovered to them your qualities, and had praised you as your actions and your virtues deserved, I prevailed upon them.

THRA. You have managed well; I give you my best thanks. Besides, I never was any where but what all were extremely fond of me.

GNA. (_to PHÆDRIA and CHÆREA._) Didn’t I tell you that he was a master of the Attic elegance?

PHÆD. He is no other than you mentioned. (_Pointing to his FATHER’S house._) Walk this way. (_To the AUDIENCE._) Fare you well, and grant us your applause.

FOOTNOTES

[Footnote 1: From λαγχάνω, “to obtain by lot” or “heirship.”]

[Footnote 2: From φαιδρὸς, “cheerful.”]

[Footnote 3: From χαίρων, “rejoicing.”]

[Footnote 4: From ἀντὶ, “opposite to,” and φῶς, “light,” or φῆμι,
“to speak.”]

[Footnote 5: From χρεμίζω, “to neigh;” delighting in horses.]

[Footnote 6: From θρασὸς, “boldness.”]

[Footnote 7: From γναθὸς, “the jawbone;” a glutton.]

[Footnote 8: From παρὰ, “by,” and μένω, “to remain.”]

[Footnote 9: From Sangia in Phrygia, his native country.]

[Footnote 10: From δόναξ, “a reed.”]

[Footnote 11: From σιμὸς, “flat-nosed.”]

[Footnote 12: From Syria, his country; or from συρίσκος,
“a basket of figs.”]

[Footnote 13: From θεάομαι, “to look at.”]

[Footnote 14: From πυθομένη, “asking questions.”]

[Footnote 15: From Doris, their country, a part of Caria.]

[Footnote 16: From σώφρων, “prudent.”]

[Footnote 17: From πᾶν, “all,” and φιλὸς, “a friend.”]

[Footnote 18: _The Title_)--Colman has the following remark on
this Play: “This seems to have been the most popular of all the
Comedies of Terence. Suetonius and Donatus both inform us that it
was acted with the greatest applause, and that the Poet received a
larger price for it from the Ædiles than had ever been paid for
any before, namely, 8000 sesterces, which is about equal to 200
crowns, which in those times was a considerable sum.”]

[Footnote 19: _Acted twice_)--This probably means “twice in one
day.” As it is generally supposed that something is wanting after
the figures II, this is presumed to be “die,” “in one day,” in
confirmation of which Suetonius informs us that it really was
performed twice in one day. Donatus says it was performed three
times, by which he may probably mean, twice on one day and once on
another.]

[Footnote 20: _Being Consuls_)--M. Valerius Messala and C. Fannius
Strabo were Consuls in the year from the building of the City 591,
or B.C. 162.]

[Footnote 21: _If there is one who thinks_)--Ver. 4. He alludes to
his old enemy, Luscus Lavinius, the Comic Poet, who is alluded to
in the Prologue to the Andria, and has since continued his attacks
upon him.]

[Footnote 22: _By translating literally_)--Ver. 7. “Bene vertendo,
at eosdem scribendo male.” This passage has greatly puzzled some
of the Commentators. Bentley has, however, it appears, come to the
most reasonable conclusion; who supposes that Terence means by
“bene vertere,” a literal translation, word for word, from the
Greek, by which a servile adherence to the idiom of that language
was preserved to the neglect of the Latin idiom; in consequence of
which the Plays of Luscus Lavinius were, as he remarks, “male
scriptæ,” written in bad Latin.]

[Footnote 23: _Has published the Phasma_)--Ver. 9. The “Φασμά,” or
“Apparition,” was a play of Menander, so called, in which a young
man looking through a hole in the wall between his father’s house
and that next door, sees a young woman of marvelous beauty, and is
struck with awe at the sight, as though by an apparition; in the
Play, the girl’s mother is represented as having made this hole in
the wall, and having decked it with garlands and branches that it
may resemble a consecrated place; where she daily performs her
devotions in company with her daughter, who has been privately
brought up, and whose existence is unknown to the neighbors. On
the youth coming by degrees to the knowledge that the object of
his admiration is but a mortal, his passion becomes so violent
that it will admit of no cure but marriage, with the celebration
of which the Play concludes. Bentley gives us the above
information from an ancient Scholiast, whose name is unknown,
unless it is Donatus himself, which is doubtful. It would appear
that Luscus Lavinius had lately made a translation of this Play,
which, from its servile adherence to the language of the original,
had been couched in ungrammatical language, and probably not
approved of by the Audience. Donatus thinks that this is the
meaning of the passage, and that, content with this slight
reference to a well-known fact, the author passes it by in
contemptuous silence.]

[Footnote 24: _And in the Thesaurus has described_)--Ver. 10. Cook
has the following appropriate remark upon this passage: “In the
‘Thesaurus,’ or ‘Treasure’ of Luscus Lavinius, a young fellow,
having wasted his estate by his extravagance, sends a servant to
search his father’s monument: but he had before sold the ground on
which the monument was, to a covetous old man; to whom the servant
applies to help him open the monument; in which they discover a
hoard and a letter. The old fellow sees the treasure and keeps it;
the young one goes to law with him, and the old man is represented
as opening his cause first before the judge, which he begins with
these words:--

‘Athenienses, bellum cum Rhodiensibus,
Quod fuerit, quid ego prædicem?’

‘Athenians, why should I relate the war with the Rhodians?’ And he
goes on in a manner contrary to the rules of court; which Terence
objects to, because the young man, who was the plaintiff, should
open his cause first. Thus far Bentley, from the same Scholiast
[as referred to in the last Note]. This Note is a clear
explanation of the four verses to which it belongs. Hare concurs
with Madame Dacier in her opinion ‘de Thesauro,’ that it is only a
part of the Phasma of Menander, and not a distinct Play; but were
I not determined by the more learned Bentley, the text itself
would not permit me to be of their opinion; for the words ‘atque
in Thesauro scripsit’ seem plainly to me to be a transition to
another Play. The subject of the Thesaurus is related by
Eugraphius, though not with all the circumstances mentioned in my
Note from Bentley.” Colman also remarks here; “Menander and his
contemporary Philemon, each of them wrote a Comedy under this
title. We have in the above Note the story of Menander’s; and we
know that of Philemon’s from the ‘Trinummus’ of Plautus, which was
a Translation of it.”]

[Footnote 25: _Opportunity of viewing it_)--Ver. 21. Colman thinks
that this means something “stronger than merely being present at
the representation,” and he takes the meaning to be, that having
obtained leave to peruse the MS., he furnished himself with
objections against the piece, which he threw out when it came to
be represented before the magistrates. Cooke thinks that the
passage only means, “that he bustled and took pains to be near
enough at the representation to see and hear plainly.” The truth
seems to be that Lavinius managed to obtain admission at the
rehearsal or trial of the merits of the piece before the
magistrates, and that he then behaved himself in the unseemly
manner mentioned in the text.]

[Footnote 26: _Produced the piece, but still had not deceived
him_)--Ver. 24. There is a pun here upon the resemblance in
meaning of the words “verba dare” and “fabulam dare.” The first
expression means to “deceive” or “impose upon;” the latter phrase
has also the same meaning, but it may signify as well “to
represent” or “produce a Play.” Thus the exclamation in its
ambiguity may mean, “he has produced a Play, and has not succeeded
in deceiving us,” or “he has deceived us, and yet has not deceived
us.” This is the interpretation which Donatus puts upon the
passage.]

[Footnote 27: _Colax, an old Play of Plautus_)--Ver. 25. Although
Nonius Marcellus professes to quote from the Colax of Plautus (so
called from the Greek Κολὰξ, “a flatterer” or “parasite”), some
scholars have disbelieved in the existence of any Play of Plautus
known by that name. Cooke says: “If Plautus had wrote a Play under
the title of ‘Colax,’ I should think it very unlikely that it
should have escaped Terence’s eye, considering how soon he
flourished after Plautus, his being engaged in the same studies,
and his having such opportunities to consult the libraries of the
great; for though all learning was then confined to Manuscripts,
Terence could have no difficulty in coming at the best copies. The
character of the ‘Miles Gloriosus’ [Braggart Captain] here
mentioned, I am inclined to think the same with that which is the
hero of Plautus’s Comedy, now extant, and called ‘Miles
Gloriosus,’ from which Terence could not take his Thraso.
Pyrgopolinices and Thraso are both full of themselves, both boast
of their valor and their intimacy with princes, and both fancy
themselves beloved by all the women who see them; and they are
both played off by their Parasites, but they differ in their
manner and their speech: Plautus’s Pyrgopolinices is always in the
clouds, and talking big, and of blood and wounds-- Terence’s
Thraso never says too little nor much, but is an easy ridiculous
character, continually supplying the Audience with mirth without
the wild extravagant bluster of Pyrgopolinices; Plautus and
Terence both took their soldiers and Parasites from Menander, but
gave them different dresses.” Upon this Note Colman remarks:
“Though there is much good criticism in the above Note, it is
certain that Plautus did not take his ‘Miles Gloriosus’ from the
Colax of Menander, as he himself informs us it was translated from
a Greek play called Ἀλάζων, ‘the Boaster,’ and the Parasite is but
a trifling character in that play, never appearing after the first
Scene.”]

[Footnote 28: _Hurrying servants_)--Ver. 35. On the “currentes
servi,” see the Prologue to the Heautontimorumenos, l. 31. Ovid,
in the Amores, B. i., El. 15, l. 17, 18, mentions a very similar
combination of the characters of Menander’s Comedy: “So long as
the deceitful slave, the harsh father, the roguish procuress, and
the cozening courtesan shall endure, Menander will exist.”]

[Footnote 29: _What, then, shall I do?_)--Ver. 46. Phædria, on
being sent for by Thais, breaks out into those words as he enters,
after having deliberated upon his parting with her. Both Horace
and Persius have imitated this passage in their Satires.]

[Footnote 30: _What! I to her?_)--Ver. 65. Donatus remarks that
this is an abrupt manner of speaking familiarly to persons in
anger; and that the sentences are thus to be understood, “I, go to
her? Her, who has received him! Who has excluded me!”-- inasmuch
as indignation loves to deal in Ellipsis and Aposiopesis.]

[Footnote 31: _The downfall of our fortunes_)--Ver. 79. Colman
observes, “There is an extreme elegance in this passage in the
original; and the figurative expression is beautifully employed.”
“Calamitas” was originally a word used in husbandry, which
signified the destruction of growing corn; because, as Donatus
says, “Comminuit {calamum} et segetem;”-- “it strikes down the
blades and standing corn.”]

[Footnote 32: _Approach this fire_)--Ver. 85. “Ignem” is generally
supposed to be used figuratively here, and to mean “the flame of
love.” Eugraphius, however, would understand the expression
literally, observing that courtesans usually had near their doors
an altar sacred to Venus, on which they daily sacrificed.]

[Footnote 33: _Of course it’s because_)--Ver. 89. It must be
observed that these words, commencing with “Sane, quia vero,” in
the original, are said by Phædria not in answer to the words of
Thais immediately preceding, but to her previous question, “Cur
non recta introibas?” “Why didn’t you come into the house at
once?” and that they are spoken in bitter irony.]

[Footnote 34: _From Sunium_)--Ver. 115. This was a town situate
near a lofty Promontory of that name in Attica. It was famous for
a fair which was held there. “Sunium’s rocky brow” is mentioned by
Byron in the song of the Greek Captive in the third Canto of Don
Juan.]

[Footnote 35: _Set out for Caria_)--Ver. 126. This was a country
of Asia Minor upon the sea-coast, opposite to the island of
Rhodes.]

[Footnote 36: _Servant-maid from Æthiopia_)--Ver. 165. No doubt
Æthiopian or negro slaves were much prized by the great, and those
courtesans whose object it was to ape their manners.]

[Footnote 37: _Ladies of quality_)--Ver. 168. “Reginæ,” literally
“queens,” here means women of rank and distinction.]

[Footnote 38: _Paid twenty minæ_)--Ver. 169. The “minæ” contained
one hundred “drachmæ” of about 9¾_d._ each.]

[Footnote 39: _Ah wretched me!_)--Ver. 197. Donatus remarks that
the Poet judiciously reserves that part of the plot to be told
here, which Thais did not relate to Phædria in the presence of
Parmeno; whom the Poet keeps in ignorance as to the rank of the
damsel, that he may with the more probability dare to assist
Chærea in his attempt on her.]

[Footnote 40: _From the dispositions of other women_)--Ver. 198.
Donatus observes that this is one of the peculiar points of
excellence shown by Terence, introducing common characters in a
new manner, without departing from custom or nature; since he
draws a good Courtesan, and yet engages the attention of the
Spectators and amuses them. Colman has the following Note here:
“Under the name of Thais, Menander is supposed to have drawn the
character of his own mistress, Glycerium, and it seems he
introduced a Courtesan of the same name into several of his
Comedies. One Comedy was entitled ‘Thais,’ from which St. Paul
took the sentence in his Epistle to the Corinthians, ‘Evil
communications corrupt good manners.’” Plutarch has preserved four
lines of the Prologue to that Comedy, in which the Poet, in a kind
of mock-heroic manner, invokes the Muse to teach him to depict the
character of his heroine.]

[Footnote 41: _Not any one was there_)--Ver. 226-7. Very nearly
the same words as these occur in the Mostellaria of Plautus,
l. 29, 30: “Than whom, hitherto, no one of the youth of all Attica
has been considered more temperate or equally frugal.”]

[Footnote 42: _Nor submit to blows_)--Ver. 244. It has been
remarked in the Notes to the Translation of Plautus that the
Parasites had, in consequence of their state of dependence, to
endure blows and indignities from their fellow-guests. Their
attempts to be “ridiculi” or “drolls” were made in order to give
some small return to their entertainers. See especially the
character of Gelasimus in the Stichus of Plautus, and the words of
Ergasilus in the Captivi, l. 88, 90. Diderot, as quoted by Colman,
observes: “This is the only Scene in Terence which I remember that
can be charged with being superfluous. Thraso has made a present
to Thais of a young girl. Gnatho is to convey her. Going along
with her, he amuses himself with giving the Spectators a most
agreeable eulogium on his profession. But was that the time for
it? Let Gnatho pay due attention on the stage to the young woman
whom he is charged with, and let him say what he will to himself,
I consent to it.”]

[Footnote 43: _Fishmongers_)--Ver. 257. “Cetarii;” strictly
speaking, “dealers in large fish.”]

[Footnote 44: _Cooks_)--Ver. 257. The “coqui” were in the habit of
standing in the market-place for hire by those who required their
services. See the Pseudolus, the Aulularia, and the Mercator of
Plautus, and the Notes to Bohn’s Translation. See also a remark on
the knavish character of the sausage-makers in the Truculentus of
Plautus, l. 110]

[Footnote 45: _Become my follower_)--Ver. 262. “Sectari.” In
allusion to the manners of the ancient Philosophers, who were wont
to be followed by a crowd of their disciples, who were styled
“sectatores” and “sectæ.” Gnatho intends to found a new school of
Parasites, who shall be called the “Gnathonics,” and who, by their
artful adulation, shall contrive to be caressed instead of being
maltreated. Artotrogus, the Parasite in the Miles Gloriosus of
Plautus, seems, however, to have forestalled Gnatho as the founder
of this new school.]

[Footnote 46: _I’m standing_)--Ver. 271. “Quid agitur?” “Statur.”
The same joke occurs in the Pseudolus of Plautus, l. 457. “Quid
agitur? Statur hic ad hunc modum?” “What is going on?” or “What
are you about?” “About standing here in this fashion;” assuming an
attitude. Colman observes that there is much the same kind of
conceit in the “Merry Wives of Windsor.”

FALSTAFF. “My honest lads, I will tell you what I am about.”
PISTOL. “Two yards or more.”

Cooke has the following note: “‘Quid agitur’ is to be supposed to
have a single meaning as spoken by Gnatho, but Parmeno archly
renders it ambiguous by his answer. Our two first English
translations, that by Bernard and that by Hoole, make nothing of
it, nor indeed any other part of their author. Echard follows
Madame Dacier, and perceives a joke; but he does not render ‘quid,
agitur’ as the question ought to be translated. ‘Quid agitur’
sometimes means, ‘What are you doing?’ Sometimes, ‘How do you do?’
‘How are you?’ or ‘How goes the world with you?’”]

[Footnote 47: _From the Piraeus_)--Ver. 290. The Piraeus was the
chief harbor of Athens, at the mouth of the Cephisus, about three
miles from the City. It was joined to the town by two walls, one
of which was built by Themistocles, and the other by Pericles. It
was the duty of the Athenian youth to watch here in turn by way of
precaution against surprise by pirates or the enemy.]

[Footnote 48: _In your little room_)--Ver. 310. Though “cellulam”
seems to be considered by some to mean “cupboard” or “larder,” it
is more probable that it here signifies the little room which was
appropriated to each slave in the family for his own use.]

[Footnote 49: _Shoulders kept down and chests well girthed_)--Ver.
314. Ovid, in the Art of Love, B. iii., l. 274, alludes to the
“strophium” or “girth” here referred to: “For high shoulders,
small pads are suitable; and let the girth encircle the bosom that
is too prominent.” Becker thinks that the “strophium” was
different from the “fascia” or “stomacher,” mentioned in the
Remedy of Love, l. 338: “Does a swelling bosom cover all her
breast, let no stomacher conceal it.” From Martial we learn that
the “strophium” was made of leather.]

[Footnote 50: _Training for a boxer_)--Ver. 315. “Pugilem.” This
means “robust as a boxer,” or “athlete.” These persons were
naturally considered as the types of robustness, being dieted for
the purpose of increasing their flesh and muscle.]

[Footnote 51: _Complexion genuine_)--Ver. 318. “Color verns.” The
same expression is used by Ovid, in the Art of Love, B. iii.,
l. 164: “Et melior vero quæritur arte color:” “And by art a color is
sought superior to the genuine one.”]

[Footnote 52: _Full of juiciness_)--Ver. 318. “Succi plenum.”
A similar expression occurs in the Miles Gloriosus of Plautus,
l. 787, where Periplecomenus wishes inquiry to be made for a woman
who is “siccam, at sucedam,” “sober, but full of juice:” _i.e._
replete with the plumpness and activity of youth.]

[Footnote 53: _The very flower of youth_)--Ver. 319. Ovid makes
mention of the “flos” or “bloom” of youth, Art of Love, B. ii.,
l. 663: “And don’t you inquire what year she is now passing, nor
under what Consulship she was born; a privilege which the rigid
Censor possesses. And this, especially, if she has passed the
bloom of youth, and her best years are fled, and she now pulls out
the whitening hairs.”]

[Footnote 54: _Be my advocate_)--Ver. 340. “Advocatus.” It must be
remembered that this word did not among the Romans bear the same
sense as the word “advocate” does with us. The “advocati” were the
friends of a man who accompanied him when his cause was pleaded,
and often performed the part of witnesses; those who assisted a
person in a dispute or difficulty were also his “advocati,” and in
this respect distantly resembled the “second” or “friend” of a
party in the modern duel. In the Phormio, Hegio, Cratinus, and
Crito are introduced as the “advocati” of Demipho. See also the
Pænulus of Plautus, and the Notes to that Play in Bohn’s
Translation.]

[Footnote 55: _An hour elapsed_)--Ver. 341. “Hora” is here used to
signify the long time, that, in his impatience, it appeared to him
to be.]

[Footnote 56: _It’s all over with you,-- you’ve said your
last_)--Ver. 347. “Ilicet” and “conclamatnm est,” are words of
mournful import, which were used with regard to the funeral rites
of the Romans. “Ilicet,” “you may begone,” was said aloud when the
funeral was concluded. “Conclamare,” implied the ceremony of
calling upon the dead person by name, before light was act to the
funeral pile; on no answer being given, he was concluded to be
really dead, and the pile was set fire to amid the cries of those
present: “conclamatum est” would consequently signify that all
hope has gone.]

[Footnote 57: _Thais the Courtesan_)--Ver. 352. Cooke remarks
here, somewhat hypercritically as it would seem: “Thais is not
called ‘meretrix’ here opprobriously, but to distinguish her from
other ladies of the same name, who were not of the same
profession.”]

[Footnote 58: _A Eunuch_)--Ver. 356. Eunuchs formed part of the
establishment of wealthy persons, who, in imitation of the Eastern
nobles, confided the charge of their wives, daughters, or
mistresses to them. Though Thais would have no such necessity for
his services, her wish to imitate the “reginæ,” or “great ladies,”
would make him a not unacceptable present. See the Addresses of
Ovid to the Eunuch Bagoüs in the Amours, B. ii., El. 2, 3.]

[Footnote 59: _as she is reported to be_)--Ver. 361. Donatus
remarks this as an instance of the art of Terence, in preserving
the probability of Chærea’s being received for the Eunuch. He
shows hereby that he is so entirely a stranger to the family that
he does not even know the person of Thais. It is also added that
she has not been long in the neighborhood, and he has been on duty
at the Piraeus. The meaning of his regret is, that, not knowing
Thais, he will not have an opportunity of seeing the girl.]

[Footnote 60: _Have to pay the penalty_)--Ver. 381. “In me cadetur
faba,” literally, “the bean will be struck” or “laid about me;”
meaning, “I shall have to smart for it.” There is considerable
doubt what is the origin of this expression, and this doubt
existed as early as the time of Donatus. He says that it was a
proverb either taken from the threshing of beans with a flail by
the countrymen; or else from the circumstance of the cooks who
have dressed the beans, but have not moistened them sufficiently,
being sure to have them thrown at their heads, as though for the
purpose of softening them. Neither of these solutions seems so
probable as that suggested by Madame Dacier, that dried beans were
inserted in the thongs of the “scuticæ,” or “whips,” with which
the slaves were beaten. According to others the knots in the whips
were only called “fabæ,” from their resemblance to beans.]

[Footnote 61: _Is it disgraceful_)--Ver. 382. Donatus remarks that
here Terence obliquely defends the subject of the Play.]

[Footnote 62: _The most mighty King_)--Ver. 397. It has been
suggested that Darius III. is here alluded to, who was a
contemporary of Menander. As however Pyrrhus, king of Epirus, is
mentioned in this Play, there is no necessity to go out of the way
to make Terence guilty of an anachronism. Madame Dacier suggests
that Seleucus, king of part of Asia Minor, is meant; and as Thraso
is called “a stranger” or “foreigner” toward the end of the Play,
he probably was intended to be represented as a native of Asia and
a subject of Seleucus. One of the Seleuci was also favored with
the services of Pyrgopolinices, the “Braggart Captain” of Plantus,
in the Miles Gloriosus. See l. 75 in that Play: “For King Seleucus
entreated me with most earnest suit that I would raise and enlist
recruits for him.”]

[Footnote 63: _You’ve just hit it_)--Ver. 401. Colman here
remarks, quoting the following passage from Shakspeare’s “Love’s
Labor Lost,” “That that Poet was familiarly acquainted with this
Comedy is evident from the passage, ‘Holofernes says, _Novi
hominem tanquam te_. His humor is lofty, his discourse peremptory,
his tongue filed, his eye ambitious, his gait majestical, and his
general behavior vain, ridiculous, and Thrasonical.’” We may
remark that the previous words of Gnatho, though spoken with
reference to the King, contain a reproach against the Captain’s
boastfulness, though his vanity will not let him perceive it.]

[Footnote 64: _In his eye_)--Ver. 401. “In oculis” is generally
supposed to mean “as dearly in his eyes.” As, however, the Satraps
of the East were called “the king’s eyes,” those who suppose that
Darius is alluded to, might with some ground consider the passage
as meaning that the king ranked him in the number of his nobles.
See the Pænulus of Plautus, l. 693, and the Note in Bohn’s
Translation.]

[Footnote 65: _You understand_)--Ver. 405. He says this at the
very moment when he is at a loss what to say next; the Parasite
obligingly steps in to help him out with the difficulty.]

[Footnote 66: _Indeed, of none_)--Ver. 410. “Immo, nullorum
arbitror, si tecum vivit.” This expression which is used “aside,”
has two meanings, neither of which is complimentary to the
Captain. It may mean, “he has no society if he associates with
you,” making the Captain equivalent to nobody; or it may signify,
“if he associates with you he’ll be sure to drive all his other
acquaintances away.”]

[Footnote 67: _Over the Indian elephants_)--Ver. 413. Here he
shows his lofty position to perfection; he dares to take down the
pride of one who commanded even the royal elephants. The Braggart
Captain of Plautus comes into collision with the elephants
themselves: l. 26. Artotrogus says to him, “In what a fashion it
was you broke the fore-leg of even an elephant in India with your
fist!”]

[Footnote 68: _Looking out for game?_)--Ver. 426. “Pulmentum,”
more strictly speaking, “A nice bit.” Patrick has the following
Note on this passage: “‘Lepus tute es, et pulmentum quæris?’
A proverbial expression in use at that time: the proper meaning of
it, stripped of its figure, is, ‘You are little more than a woman
yourself, and do you want a mistress?’” We learn from Donatus and
Vopiscus, that Livius Andronicus had used this proverb in his
Plays before Terence. Commentators who enter into a minute
explanation of it offer many conjectures rather curious than
solid, and of a nature not fit to be mentioned here. Donatus seems
to think that allusion is made to a story prevalent among the
ancient naturalists that the hare was in the habit of changing its
sex.]

[Footnote 69: _If, indeed, she loved me_)--Ver. 446. Colman has
the following Note upon this passage: “I am at a loss to determine
whether it was in order to show the absurdity of the Captain or
from inadvertence in the Poet, that Terence here makes Thraso and
Gnatho speak in contradiction to the idea of Thais’s wonderful
veneration for Thraso, with which they opened the Scene.”]

[Footnote 70: _In exercises_)--Ver. 477. Reference will be found
made to the “palæstræ,” or “places of exercise,” in the Notes to
the Translation of Plautus.]

[Footnote 71: _If occasion served_)--Ver. 479. The Aposiopesis in
this line is very aptly introduced, on account of the presence of
the female; but it admirably illustrates the abominable turpitude
of the speaker, and perhaps in a somewhat more decent manner than
that in which Plautus attributes a similar tendency to his
Braggart Captain, l. 1111.]

[Footnote 72: _Out of the very flames_)--Ver. 491. This was a
proverb expressive of the lowest degree of meanness and infamy.
When they burned the bodies of the dead, it was the custom of the
ancients to throw meat and various articles of food upon the
funeral pile, and it was considered the greatest possible affront
to tell a person that he was capable of snatching these things out
of the flames.]

[Footnote 73: _If Chremes should happen to come_)--Ver. 513. This
is the first allusion to the arrangement which ultimately causes
the quarrel between Thais and the Captain.]

[Footnote 74: _Had been offering a sacrifice_)--Ver. 513. It was
the custom to sacrifice before entering on affairs of importance.
Thus, too, Jupiter, in the Amphitryon of Plautus, l. 938, speaks
of offering sacrifice on his safe return.]