Note 1 — Scene IV.

See the Dramatis Personæ of the Eunuchus.

2. From φειδὼ, “parsimony,” and ἱππὸς “a horse.”

3. See the Dramatis Personæ of the Andria.

4. See the Dramatis Personæ of the Andria.

5. See the Dramatis Personæ of the Eunuchus.

6. See the Dramatis Personæ of the Heautontimorumenos.

7. From μυῤῥινὴ “a myrtle.”

8. See the Dramatis Personæ of the Heautontimorumenos.

9. From φιλοτὴς “friendship.”

10. From Syria, her native country.

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

12. Being Consuls)—Cneius Octavius Nepos and T. Manlius Torquatus were Consuls in the year from the building of the City 587, and B.C. 166.

13. It was then approved of)—“Placuit.” This is placed at the end, in consequence of the inauspicious reception which had been given to it on the two first representations. See the account given in the Prologues.

14. Hecyra)—Ver. 1. The Greek word Ἕκυρα, a “step-mother,” or “mother-in-law,” Latinized.

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

16. Again to sell it)—Ver. 7. See the last Note to the Second Prologue.

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

18. Second Prologue)—Eugraphius informs us that this Prologue was spoken by Ambivius Turpio, the head of the company of Actors.

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

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

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

22. The old custom of mine)—Ver. 38. He says that on the second representation he followed the plan which he had formerly adopted in the Plays of Cæcilius, of bringing those forward again which had not given satisfaction at first.

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

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

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

26. Philotis)—This is a protatic character, or one that helps to introduce the subject of the Play, and then appears no more.

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

28. Imbros)—Ver. 171. An island in the Ægean Sea, off the coast of Thrace.

29. From her presence)—Ver. 182. For the purpose, as will afterward appear, of not letting Sostrata see that she was pregnant.

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

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

32. Intrust their children)—Ver. 212. The plural “liberos,” children, is used where only one is being spoken of, similarly, in the Heautontimorumenos, l. 151.

33. If he comes to know)—Ver. 262. Donatus observes that the Poet shows his art in here preparing a reason to be assigned by Pamphilus for his pretended discontent at the departure of his wife.

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

35. And carry word)—Ver. 314. It was the custom with the Greeks and Romans, when returning from abroad, to send a messenger before them, to inform their wives of their arrival.

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

37. Heavy punishment)—Ver. 335. Probably meaning that he will be examined by torture, whether he has not, by drugs or other means, contributed to Philumena’s illness.

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

39. An intermitting one)—Ver. 357. “Quotidiana;” literally, “daily.”

40. All of them change)—Ver. 369. This must have been imaginary, as they were not likely to be acquainted with the reason of Philumena’s apprehensions.

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

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

43. Thirty days or more)—Ver. 421. In his voyage from Imbros to Athens, namely, which certainly appears to have been unusually long.

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

45. He would rupture me)—Ver. 435. He facetiously pretends to think that Pamphilus may, during a storm at sea, have vowed to walk him to death, if he should return home.

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

47. He lived well)—Ver. 461. This is living well in the sense used by the “Friar of orders gray.” “Who leads a good life is sure to live well.”

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

49. Pay back her portion)—Ver. 502. As was universally done on a separation by agreement.

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

51. A ring which)—Ver. 574. Colman remarks that this preparation for the catastrophe by the mention of the ring, is not so artful as might have been expected from Terence; as in this soliloquy he tells the circumstances directly to the Audience.

52. And festive days)—Ver. 592. “Festos dies.” The days for sacrificing to particular Divinities, when she would have the opportunity of meeting her friends, and making herself merry with them.

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

Midsummer Night’s Dream.

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

55. Still take the child)—Ver. 638. In cases of separation it was customary for the father to have the care of the male children.

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

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

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

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

60. Run with all speed)—Ver. 809. Donatus remarks, that Parmeno is drawn as being of a lazy and inquisitive character; and that Terence, therefore, humorously contrives to keep him always on the move, and in total ignorance of what is going on.

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

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

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

64. Your applause)—Ver. 881. We may here remark, that the Hecyra is the only one of the Plays of Terence with a single plot.