Chapter XXVIII: Act THE FIFTH: Scene I

_Enter PARMENO, moving along with difficulty._

PAR. (_to himself._) Upon my faith, my master does assuredly think my labor of little value; to have sent me for nothing, where I have been sitting the whole day to no purpose, waiting at the citadel for Callidemides, his landlord at Myconos. And so, while sitting there to-day, {like} a fool, as each person came by, I accosted him:-- “Young man, just tell me, pray, are you a Myconian?” “I am not.” “But is your name Callidemides?” “No.” “Have you any {former} guest here {named} Pamphilus?” All said. “No; and I don’t believe that there is any such person.” At last, i’ faith, I was quite ashamed, {and} went away. But how is it I see Bacchis coming out of our neighbor’s? What business can she have there?

SCENE II.

_Enter BACCHIS, from the house of PHIDIPPUS._

BACCH. Parmeno, you make your appearance opportunely; run with all speed[60] to Pamphilus.

PAR. Why thither?

BACCH. Say that I entreat him to come.

PAR. To your house?

BACCH. No; to Philumena.

PAR. What’s the matter?

BACCH. Nothing that concerns you; so cease to make inquiry.

PAR. Am I to say nothing else?

BACCH. Yes; that Myrrhina has recognized that ring as her daughter’s, which he formerly gave me.

PAR. I understand-- is that all?

BACCH. That’s all. He will be here directly he has heard this from you. But do you linger?

PAR. Far from it, indeed; for I’ve not had the opportunity given me to-day; so much with running and walking about have I wasted the whole day. (_Goes into the house of LACHES._)

SCENE III.

_BACCHIS, alone._

BACCH. What great joy have I caused for Pamphilus by my coming to-day! How many blessings have I brought him! and from how many sorrows have I rescued him! A son I save for him, when it was nearly perishing through the agency of these {women} and of himself: a wife, whom he thought that he must cast off forever, I restore {to him}: from the suspicion that he lay under with his father and Phidippus, I have cleared him. This ring, in fact, was the cause of these discoveries being made. For I remember, that about ten months ago, at an early hour of night, he came running home to my house, out of breath, without a companion, and surcharged with wine,[61] with this ring {in his hand}. I felt alarmed immediately: “My Pamphilus,” I said, “prithee, my dear, why thus breathless, or where did you get that ring? --tell me!” He {began} to pretend that he was thinking of something else. When I saw {that}, I began to suspect I know not what, {and} to press him still more to tell me. The fellow confessed that he had ravished {some female}, he knew not whom, in the street; and said, that while she was struggling, he had taken that ring away from her. Myrrhina here recognized it just now, while I had it on my finger. She asked whence it came: I told her all the story. Hence the discovery has been made that it was Philumena ravished by him, and that this new-born child is his. I am overjoyed that this happiness has befallen him through my agency; although other courtesans would not have similar feelings; nor, indeed, is it to our interest that any lover should find pleasure in matrimony. But, i’faith, I never, for the sake of gain, will give my mind to base actions. So long as I had the opportunity, I found him to be kind, easy, and good-natured. This marriage has fallen out unluckily for me,-- that I confess to be the fact. But, upon my word, I do think that I have done nothing for it to befall me deservedly. It is but reasonable to endure inconveniences from one from whom I have received so many benefits.

SCENE IV.

_Enter PAMPHILUS and PARMENO, from the house of LACHES, on the other
side of the stage._

PAM. Once more, take care, will you, my {dear} Parmeno, that you have brought me a faithful and distinct account, so as not to allure me for a short time to indulge in these transient joys.

PAR. I have taken care.

PAM. For certain?

PAR. For certain.

PAM. I am quite a God, if it is so!

PAR. You’ll find it true.

PAM. Just stay, will you; I fear that I’m believing one thing, and you are telling another.

PAR. I am staying.

PAM. I think you said to this effect-- that Myrrhina had discovered that Bacchis has her ring.

PAR. It is the fact.

PAM. The one I formerly gave to her; and she has desired you to tell me this: is such the fact?

PAR. Such is so, I tell you.

PAM. Who is there happier than I, and, in fact, more full of joyousness? What am I to present you for these tidings? What? --what? I know not.

PAR. But I know.

PAM. What?

PAR. Why, nothing; for neither in the tidings nor in myself do I know of there being any advantage to you.

PAM. What! am I to suffer you, who have caused me, when dead, to be restored from the shades to life-- to leave me unrewarded? Oh, you deem me too thankless! But look-- I see Bacchis standing before the door; she’s waiting for me, I suppose; I’ll accost her.

BACCH. Save you, Pamphilus!

PAM. Oh Bacchis! Oh my Bacchis-- my preserver!

BACCH. {It is} a fortunate thing, and gives me great delight.

PAM. By your actions, you give me reason to believe you, and so much do you retain your former charming qualities, that wherever you go, the meeting with you, your company, your conversation, always give pleasure.

BACCH. And you, upon my word, possess your former manners and disposition; so much so that not a single man living is more engaging than you.

PAM. (_laughing._) Ha, ha, ha! do you {tell} me so?

BACCH. You had reason, Pamphilus, for being so fond of your wife. For never before to-day did I set eyes upon her, so as to know her: she seems a very gentle person.

PAM. Tell the truth.

BACCH. So may the Gods bless me, Pamphilus!

PAM. Tell me, have you as yet told any of these matters to my father?

BACCH. Not a word.

PAM. Nor is there need, in fact; therefore keep it a secret: I don’t wish it to be the case here as it is in the Comedies,[62] where every thing is known to every body. Here, those who ought to know, know already; but those who ought not to know, shall neither hear of it nor know it.

BACCH. Nay more, I will give you a {proof} why you may suppose that this may be the more easily concealed. Myrrhina has told Phidippus to this effect-- that she has given credit to my oath, and that, in consequence, in her eyes you are exculpated.

PAM. Most excellent; and I trust that this matter will turn out according to our wishes.

PAR. Master, may I not be allowed to know from you what is the good that I have done to-day, or what it is you are talking about?

PAM. You may not.

PAR. Still I suspect. “I {restore} him, when dead, from the shades below.”[63] In what way?

PAM. You don’t know, Parmeno, how much you have benefited me to-day, and from what troubles you have extricated me.

PAR. Nay, but indeed I do know: and I did not do it without design.

PAM. I know that well enough (_ironically_).

BACCH. Could Parmeno, from negligence, omit any thing that ought to be done?

PAM. Follow me in, Parmeno.

PAR. I’ll follow; for my part, I have done more good to-day, without knowing it, than ever {I did}, knowingly, in all my life. (_Coming forward._) Grant us your applause.[64]

FOOTNOTES

[Footnote 1: See the Dramatis Personæ of the Eunuchus.]

[Footnote 2: From φειδὼ, “parsimony,” and ἱππὸς “a horse.”]

[Footnote 3: See the Dramatis Personæ of the Andria.]

[Footnote 4: See the Dramatis Personæ of the Andria.]

[Footnote 5: See the Dramatis Personæ of the Eunuchus.]

[Footnote 6: See the Dramatis Personæ of the Heautontimorumenos.]

[Footnote 7: From μυῤῥινὴ “a myrtle.”]

[Footnote 8: See the Dramatis Personæ of the Heautontimorumenos.]

[Footnote 9: From φιλοτὴς “friendship.”]

[Footnote 10: From Syria, her native country.]

[Footnote 11: _Menander_)--According to some, this Play was
borrowed from the Greek of Apollodorus, a Comic Poet and
contemporary of Menander, who wrote forty-seven Plays.]

[Footnote 12: _Being Consuls_)--Cneius Octavius Nepos and T.
Manlius Torquatus were Consuls in the year from the building of
the City 587, and B.C. 166.]

[Footnote 13: _It was then approved of_)--“Placuit.” This is
placed at the end, in consequence of the inauspicious reception
which had been given to it on the two first representations. See
the account given in the Prologues.]

[Footnote 14: _Hecyra_)--Ver. 1. The Greek word Ἕκυρα,
a “step-mother,” or “mother-in-law,” Latinized.]

[Footnote 15: _And calamity_)--Ver. 3. “Calamitas.” This word is
used in the same sense in the first line of the Eunuch. This is
evidently the Prologue spoken on the second attempt to bring
forward the piece. On the first occasion it probably had none.
“Vitium” was a word used by the Augurs, with whom it implied an
unfavorable omen, and thence came to be used for any misfortune or
disaster. He seems to mean the depraved taste of the public, that
preferred exhibitions of rope-dancers and pugilists to witnessing
his Plays.]

[Footnote 16: _Again to sell it_)--Ver. 7. See the last Note to
the Second Prologue.]

[Footnote 17: _Other Plays of his_)--Ver. 8. Madame Dacier informs
us that Vossius was of opinion that the second representation of
this Play did not take place till after that of the Adelphi. In
that case, they had already seen the rest of his Plays.]

[Footnote 18: _Second Prologue_)--Eugraphius informs us that this
Prologue was spoken by Ambivius Turpio, the head of the company of
Actors.]

[Footnote 19: _Cæcilius_)--Ver. 14. Colman has the following Note:
“A famous Comic Poet among the Romans. His chief excellences are
said to have been, the gravity of his style and the choice of his
subjects. The first quality was attributed to him by Horace,
Tully, etc., and the last by Varro. ‘In argumentis Cæcilius poscit
palmam, in ethesi Terentius.’ ‘In the choice of subjects, Cæcilius
demands the preference; in the manners, Terence.’” Madame Dacier,
indeed, renders “in argumentis,” “in the disposition of his
subjects.” But the words will not bear that construction.
“Argumentum,” I believe, is uniformly used for the argument
itself, and never implies the conduct of it; as in the Prologue to
the Andrian, “non tam dissimili argumento.” Besides, the
disposition of the subject was the very art attributed by the
critics of those days to Terence, and which Horace mentions in the
very same line with the gravity of Cæcilius, distinguishing them
as the several characteristics of each writer, “Vincere Cæcilius
gravitate, Terentius arte.”]

[Footnote 20: _Vauntings of boxers_)--Ver. 33. Horace probably had
this passage in his mind when he penned the First Epistle in his
Second Book, l. 185; where he mentions the populace leaving a Play
in the midst for the sight of a bear, or an exhibition of boxers.]

[Footnote 21: _Of a rope-dancer_)--Ver. 34. The art of dancing on
the tight rope was carried to great perfection among the ancients.
Many paintings have been discovered, which show the numerous
attitudes which the performers assumed. The figures have their
heads enveloped in skins or caps, probably intended as a
protection in case of falling. At the conclusion of the
performance the dancer ran down the rope. Germanicus and Galba are
said to have exhibited elephants dancing on the tight rope.]

[Footnote 22: _The old custom of mine_)--Ver. 38. He says that on
the second representation he followed the plan which he had
formerly adopted in the Plays of Cæcilius, of bringing those
forward again which had not given satisfaction at first.]

[Footnote 23: _Fight for their places_)--Ver. 41. This was in
consequence of their sitting indiscriminately at the Amphitheatre,
where the gladiators were exhibited; whereas at the Theatres there
were distinct places appropriated to each “ordo” or class.]

[Footnote 24: _Gracing the scenic festival_)--Ver. 45. Madame
Dacier remarks that there is great force and eloquence in the
Actor’s affecting a concern for the sacred festivals, which were
in danger of being deprived of their chief ornaments, if by too
great a severity they discouraged the Poets who undertook to
furnish the Plays during the solemnity.]

[Footnote 25: _At my own expense_)--Ver. 57. It is generally
supposed that “meo pretio” means “a price named as my estimate;”
and that it was the custom for the Ædiles to purchase a Play of a
Poet at a price fixed by the head of the company of actors. It is
also thought that the money was paid to the actor, who handed over
the whole, or a certain part, to the Poet, and if the Play was not
received with favor, the Ædiles had the right to ask back the
money from the actor, who consequently became a loser by the
transaction. Pareus and Meric Casaubon think, however, that in
case of this Play, the Ædiles had purchased it from the Poet, and
the performers had bought it of the Ædiles as a speculation. What
he means at the end of the First Prologue by selling the Play over
again, is not exactly known. Perhaps if the Play had been then
performed throughout and received with no favor, he would have had
to forfeit the money, and lose all right to any future pecuniary
interest in it; but he preferred to cancel the whole transaction,
and to reserve the Play for purchase and representation at a more
favorable period.]

[Footnote 26: _Philotis_)--This is a protatic character, or one
that helps to introduce the subject of the Play, and then appears
no more.]

[Footnote 27: _Don’t say so, Parmeno_)--Ver. 109. She says this
ironically, at the same time intimating that she knows Parmeno too
well, not to be sure that he is as impatient to impart the secret
to her as she is to know it. Donatus remarks, that she pretends
she has no curiosity to hear it, that he may deem her the more
worthy to be intrusted with the secret.]

[Footnote 28: _Imbros_)--Ver. 171. An island in the Ægean Sea, off
the coast of Thrace.]

[Footnote 29: _From her presence_)--Ver. 182. For the purpose, as
will afterward appear, of not letting Sostrata see that she was
pregnant.]

[Footnote 30: _With a certain stranger_)--Ver. 195. Here Philotis
gives a reason, as Donatus observes, why she does not again appear
in the Play. The following is an extract from Colman’s remarks on
this passage: “It were to be wished, for the sake of the credit of
our author’s acknowledged {art} in the Drama, that Philotis had
assigned as good a reason for her appearing at all. Eugraphius
justly says: ‘The Courtesan in this Scene is a character quite
foreign to the fable.’ Donatus also says much the same thing in
his Preface, and in his first Note to this Comedy; but adds that
‘Terence chose this method rather than to relate the argument by
means of a Prologue, or to introduce a God speaking from a
machine. I will venture to say that the Poet might have taken a
much shorter and easier method than either; I mean, to have begun
the Play with the very Scene which now opens the Second Act.’”]

[Footnote 31: _Scene I._)--Colman has the following observations
on this Scene: “Donatus remarks that this Scene opens the
intention of Terence to oppose the generally-received opinion, and
to draw the character of a good step-mother. It would, therefore,
as has been already observed, have been a very proper Scene to
begin the Play, as it carries us immediately into the midst of
things; and we can not fail to be interested when we see the
persons acting so deeply interested themselves. We gather from it
just so much of the story as is necessary for our information at
first setting out. We are told of the abrupt departure of
Philumena, and are witnesses of the confusion in the two families
of Laches and Phidippus. The absence of Laches, which had been in
great measure the occasion of this misunderstanding, is also very
artfully mentioned in the altercation between him and Sostrata.
The character of Laches is very naturally drawn. He has a good
heart, and a testy disposition, and the poor old gentleman is kept
in such constant perplexity that he has perpetual occasion to
exert both those qualities.”]

[Footnote 32: _Intrust their children_)--Ver. 212. The plural
“liberos,” children, is used where only one is being spoken of,
similarly, in the Heautontimorumenos, l. 151.]

[Footnote 33: _If he comes to know_)--Ver. 262. Donatus observes
that the Poet shows his art in here preparing a reason to be
assigned by Pamphilus for his pretended discontent at the
departure of his wife.]

[Footnote 34: _Ha! Sostrata_)--Ver. 271. Colman observes on this
passage: “This is extremely artful. The answer of Philumena, as
related by Phidippus, contains an ample vindication of Pamphilus.
What, then, can we suppose could make the house so disagreeable to
her in his absence, but the behavior of Sostrata? She declares her
innocence; yet appearances are all against her. Supposing this to
be the first Act of the Play, it would be impossible for a Comedy
to open in a more interesting manner.”]

[Footnote 35: _And carry word_)--Ver. 314. It was the custom with
the Greeks and Romans, when returning from abroad, to send a
messenger before them, to inform their wives of their arrival.]

[Footnote 36: _Was in alarm about_)--Ver. 321. “Pavitare.”
Casaubon has a curious suggestion here; he thinks it not
improbable that he had heard the female servants whispering among
themselves that Philumena “paritare,” “was about to be brought to
bed,” which he took for “pavitare,” “was in fear” of something.]

[Footnote 37: _Heavy punishment_)--Ver. 335. Probably meaning that
he will be examined by torture, whether he has not, by drugs or
other means, contributed to Philumena’s illness.]

[Footnote 38: _And thee, Health_)--Ver. 338. She invokes
Æsculapius, the God of Medicine, and “Salus,” or “Health,”
because, in Greece, their statues were always placed near each
other; so that to have offered prayers to one and not to the
other, would have been deemed a high indignity. On the worship of
Æsculapius, see the opening Scene of the Curculio of Plautus.]

[Footnote 39: _An intermitting one_)--Ver. 357. “Quotidiana;”
literally, “daily.”]

[Footnote 40: _All of them change_)--Ver. 369. This must have been
imaginary, as they were not likely to be acquainted with the
reason of Philumena’s apprehensions.]

[Footnote 41: _Since she came to you_)--Ver. 394. There is great
doubt what is the exact meaning of “postquam ad te venit,” here,--
whether it means, “it is now the seventh month since she became
your wife,” or, “it is now the seventh month since she came to
your embraces,” which did not happen for two months after the
marriage. The former is, under the circumstances, the most
probable construction.]

[Footnote 42: _Committed upon her_)--Ver. 401. Colman very justly
observes here: “it is rather extraordinary that Myrrhina’s account
of the injury done to her daughter should not put Pamphilus in
mind of his own adventure, which comes out in the Fifth Act. It is
certain that had the Poet let the Audience into that secret in
this place, they would have immediately concluded that the wife of
Pamphilus and the lady whom he had ravished were one and the same
person.” Playwrights have never, in any age or country, troubled
themselves much about probability in their plots. Besides, his
adventure with Philumena was by no means an uncommon one. We find
similar instances mentioned by Plautus; and violence and
debauchery seem almost to have reigned paramount in the streets at
night.]

[Footnote 43: _Thirty days or more_)--Ver. 421. In his voyage from
Imbros to Athens, namely, which certainly appears to have been
unusually long.]

[Footnote 44: _To the citadel_)--Ver. 431. This was the fort or
citadel that defended the Piræus, and being three miles distant
from the city, was better suited for the design of Pamphilus,
whose object it was to keep Parmeno for some time at a distance.]

[Footnote 45: _He would rupture me_)--Ver. 435. He facetiously
pretends to think that Pamphilus may, during a storm at sea, have
vowed to walk him to death, if he should return home.]

[Footnote 46: _Regardful of a parent_)--Ver. 448. Colman observes
here: “This reflection seems to be rather improper in this place,
for the discovery of Philumena’s labor betrayed to Pamphilus the
real motive of her departure; after which discovery his anxiety
proceeds entirely from the supposed injury offered him, and his
filial piety is from that period made use of merely as a
pretense.”]

[Footnote 47: _He lived well_)--Ver. 461. This is living well in
the sense used by the “Friar of orders gray.” “Who leads a good
life is sure to live well.”]

[Footnote 48: _Brought home nothing more_)--Ver. 462. Colman
remarks that this passage is taken notice of by Donatus as a
particularly happy stroke of character; and indeed the idea of a
covetous old man gaping for a fat legacy, and having his mouth
stopped by a moral precept, is truly comic.]

[Footnote 49: _Pay back her portion_)--Ver. 502. As was
universally done on a separation by agreement.]

[Footnote 50: _At the right time_)--Ver. 531. Lemaire observes
that, from this passage, it would appear that the Greeks
considered seven months sufficient for gestation. So it would
appear, if we are to take the time of the Play to be seven, and
not nine, months after the marriage; and, as before observed, the
former seems to be the more reasonable conclusion.]

[Footnote 51: _A ring which_)--Ver. 574. Colman remarks that this
preparation for the catastrophe by the mention of the ring, is not
so artful as might have been expected from Terence; as in this
soliloquy he tells the circumstances directly to the Audience.]

[Footnote 52: _And festive days_)--Ver. 592. “Festos dies.” The
days for sacrificing to particular Divinities, when she would have
the opportunity of meeting her friends, and making herself merry
with them.]

[Footnote 53: _Look forward with impatience to my death_)--Ver.
596. Colman says: “This idea of the long life of a step-mother
being odious to her family, is applied in a very beautiful and
uncommon manner by Shakspeare:--

“Now, fair Hippolyta, our nuptial hour
Draws on apace; for happy days bring in
Another morn; but oh, methinks how slow
This old morn wanes! she lingers my desires
Like to a step-dame, or a dowager,
Long withering out a young man’s revenue.”

_Midsummer Night’s Dream._]

[Footnote 54: _The old man and the old woman_)--Ver. 621. “Senex
atque anus.” In these words he probably refers to the commencement
of many of the stories current in those times, which began: “There
were once upon a time an old man and an old woman.” Indeed, almost
the same words occur in the Stichus of Plautus, l. 540, at the
commencement of a story: “Fuit olim, quasi ego sum, senex,” “There
was upon a time an old man, just like me.”]

[Footnote 55: _Still take the child_)--Ver. 638. In cases of
separation it was customary for the father to have the care of the
male children.]

[Footnote 56: _But should you like_)--Ver. 725. Donatus observes
that Phidippus utters these words with an air of disinclination to
be present at the conference; and, indeed, the characters are well
sustained, as it would not become him coolly to discourse with a
courtesan, whom he supposes to have alienated Pamphilus from his
daughter, although he might very properly advise it, as being
likely to conduce to the peace of both families.]

[Footnote 57: _Kept Pamphilus at a distance_)--Ver. 752. Colman
observes, how are we to reconcile this with the words of Parmeno
at the beginning of the Play, where he says that Pamphilus visited
Bacchis daily; and he inquires whether we are to suppose that
Bacchis, who behaves so candidly in every other instance, wantonly
perjures herself in this, or that the Poet, by a strange
infatuation attending him in this Play, contradicts himself? To
this it may be answered, that as Bacchis appears to be so
scrupulous in other instances, it is credible that,
notwithstanding his visits, she may not have allowed him to share
her embraces.]

[Footnote 58: _Other courtesans avoid doing_)--Ver. 777. Colman
has the following quotation from Donatus: “Terence, by his
uncommon art, has attempted many innovations with great success.
In this Comedy, he introduces, contrary to received prejudices,
a good step-mother and an honest courtesan; but at the same time
he so carefully assigns their motives of action, that by him alone
every thing seems reconcilable to truth and nature; for this is
just the opposite of what he mentions in another place, as the
common privilege of all Poets, ‘to paint good matrons and wicked
courtesans.’” Perhaps the same good feeling prompted Terence, in
showing that a mother-in-law and a courtesan could be capable of
acting with good and disinterested feelings, which caused
Cumberland to write his Play of “The Jew,” to combat the popular
prejudice against that persecuted class, by showing, in the
character of Sheva, that a Jew might possibly be a virtuous man.]

[Footnote 59: _Have been unjustly suspected_)--Ver. 778. The words
here employed are also capable of meaning, if an active sense is
given to “suspectas,” “our wives have entertained wrong
suspicions;” but the sense above given seems preferable, as being
the meaning of the passage.]

[Footnote 60: _Run with all speed_)--Ver. 809. Donatus remarks,
that Parmeno is drawn as being of a lazy and inquisitive
character; and that Terence, therefore, humorously contrives to
keep him always on the move, and in total ignorance of what is
going on.]

[Footnote 61: _Surcharged with wine_)--Ver. 824. Cooke has this
remark here: “I suppose that this is the best excuse the Poet
could make for the young gentleman’s being guilty of felony and
rape at the same time. In this speech, the incident is related on
which the catastrophe of the Play turns, which incident is a very
barbarous one, and attended with more than one absurdity, though
it is the occasion of an agreeable discovery.”]

[Footnote 62: _In the Comedies_)--Ver. 867.-- Madame Dacier
observes on this passage: “Terence here, with reason, endeavors to
make the most of a circumstance peculiar to his Play. In other
Comedies, every body, Actors as well as Spectators, are at last
equally acquainted with the whole intrigue and catastrophe, and it
would even be a defect in the plot were there any obscurity
remaining. But Terence, like a true genius, makes himself superior
to rules, and adds new beauties to his piece by forsaking them.
His reasons for concealing from part of the personages of the
Drama the principal incident of the plot, are so plausible and
natural, that he could not have followed the beaten track without
offending against manners and decency. This bold and uncommon turn
is one of the chief graces of the Play.”]

[Footnote 63: _From the shades below_)--Ver. 876. Parmeno says
this, while pondering upon the meaning of all that is going on,
and thereby expresses his impatience to become acquainted with it.
He therefore repeats what Pamphilus has before said in the twelfth
line of the present Act, about his having been restored from death
to life by his agency.]

[Footnote 64: _Your applause_)--Ver. 881. We may here remark, that
the Hecyra is the only one of the Plays of Terence with a single
plot.]

* * * * *
* * * *

PHORMIO; OR, THE SCHEMING PARASITE

DRAMATIS PERSONÆ.

DEMIPHO,[1] } Aged Athenians, brothers.
CHREMES,[2] }
ANTIPHO,[3] son of Demipho.
PHÆDRIA,[4] son of Chremes.
PHORMIO,[5] a Parasite.
GETA,[6] servant of Demipho.
DAVUS,[7] a servant.
HEGIO,[8] }
CRATINUS,[9] } Advocates.
CRITO,[10] }
DORIO,[11] a Procurer.
NAUSISTRATA,[12] the wife of Chremes.
SOPHRONA,[13] the nurse of Phanium.

_Scene._--Athens; before the houses of DEMIPHO, CHREMES, and DORIO.

THE SUBJECT.

CHREMES and DEMIPHO are two aged Athenians, brothers. Nausistrata, the wife of Chremes, is a wealthy woman, possessed of large estates in the island of Lemnos. Chremes, who goes thither yearly to receive the rents, meets with a poor woman there, whom he secretly marries, and has by her a daughter called Phanium: while engaged in this intrigue, Chremes passes at Lemnos by the name of Stilpho. By his wife, Nausistrata, at Athens, Chremes has a son, named Phædria, and his brother has a son, named Antipho. Phanium having now arrived at her fifteenth year, the two brothers privately agree that she shall be brought to Athens and married to Antipho. For this purpose, Chremes goes to Lemnos, while Demipho is obliged to take a journey to Cilicia. On departing, they leave their sons in the care of Geta, one of Demipho’s servants. Shortly afterward, Phædria falls in love with a Music-girl, but, from want of means, is unable to purchase her from her owner. In the mean time, the Lemnian wife of Chremes, urged by poverty, embarks for Athens, whither she arrives with her daughter and her nurse. Here they inquire for Stilpho, but in vain, as they can not find any one of that name. Shortly after, the mother dies, and Antipho, seeing Phanium by accident, falls in love with her. Being wishful to marry her, he applies to Phormio, a Parasite, for his advice. The latter hits upon the following scheme: there being a law at Athens, which obliges the next-of-kin to female orphans, either to marry them or give them a portion, the Parasite pretends that he is a friend of Phanium, and insists that Antipho is her nearest relation, and is consequently bound to marry her. Antipho is summoned before a court of justice, and it being previously arranged, allows judgment to be given against himself, and immediately marries Phanium. Shortly after, the old men return upon the same day, and are much vexed, the one on finding that his son has married a woman without a fortune, the other that he has lost the opportunity of getting his daughter advantageously married. In the mean time, Phædria being necessitated to raise some money to purchase the Music-girl, Geta and Phormio arrange that the former shall pretend to the old man that Phormio has consented to take back the woman whom Antipho has married, if Demipho will give her a portion of thirty minae. Demipho borrows the money of Chremes, and pays it to Phormio, who hands it over to Phædria, and Phædria to Dorio, for his mistress. At this conjuncture, it becomes known who Phanium really is, and the old men are delighted to find that Antipho has married the very person they wished. They attempt, however, to get back the thirty minae from Phormio, and proceed to threats and violence. On this, Phormio, who has accidentally learned the intrigue of Chremes with the woman of Lemnos, exposes him, and relates the whole story to his wife, Nausistrata; on which she censures her husband for his bad conduct, and the Play concludes with her thanks to Phormio for his information.

THE TITLE OF THE PLAY.

Performed at the Roman Games,[14] L. Posthumius Albinus and L. Cornelius Merula being Curule Ædiles. L. mbivius Turpio and L. Atilius Prænestinus performed it. Flaccus, the freedman of Claudius, composed the music to a base and a treble flute. It is wholly from the Greek, {being} the Epidicazomenos of Apollodorus. It was represented four times,[15] C. Fannius and M. Valerius being Consuls.[16]

PHORMIO; OR, THE SCHEMING PARASITE.

THE SUMMARY OF C. SULPITIUS APOLLINARIS.

Demipho, the brother of Chremes, has gone abroad, his son Antipho being left at Athens. Chremes has secretly a wife and a daughter at Lemnos, another wife at Athens, and an only son, who loves a Music-girl. The mother arrives at Athens from Lemnos, {and there} dies. The girl, her orphan daughter, (Chemes being away,) arranges the funeral. After Antipho has fallen in love with her when seen there, through the aid of the Parasite he receives her as his wife. His father and Chremes, having {now} returned, {begin} to be enraged. Afterward they give thirty minæ to the Parasite, that he may take her {as his own} wife. With this money the Music-girl is bought {for Phædria}. Antipho {then} keeps his wife, who has been recognized by his uncle.

THE PROLOGUE.

Since the old Poet[17] can not withdraw {our} bard from his pursuits and reduce him to indolence, he endeavors, by invectives, to deter him from writing: for he is wont to say to this effect,-- that the Plays which he has hitherto composed are poor in their language, and of meagre style: because he has nowhere described a frantic youth as seeing a hind in flight, and the hounds pursuing; while he implores[18] {and} entreated that he would give her aid. But if he had been aware that {his Play}, when formerly first represented, stood its ground more through the merits of the performers than its own, he would attack with much less boldness than he does. Now, if there is any one who says or thinks to this effect, that if the old Poet had not assailed him first, the young one could have devised no Prologue for him to repeat, without having some one to abuse, let him receive this for an answer: “that the prize is proposed in common to all who apply to the Dramatic art.” He has aimed at driving our Poet from his studies to {absolute} want; he {then} has intended this for an answer, not an attack. If he had opposed him with fair words, he would have heard himself civilly addressed; what has been given by him, let him consider as {now} returned. I will make an end of speaking about him, when, of his own accord, he himself makes an end of offending. Now give your attention to what I request. I present you a new play, which they call “Epidicazomenos,”[19] in Greek: in the Latin, he calls it “Phormio;” because the person that acts the principal part is Phormio, a Parasite, through whom, principally, the plot will be carried on, if your favor attends the Poet. Lend your attention; in silence give an ear with impartial feelings, that we may not experience a like fortune to what we did, when, through a tumult, our Company was driven from the place;[20] which place, the merit of the actor, and your good-will and candor seconding it, has {since} restored unto us.