PAM. Father, may I {say} a few words?

SIM. What can you say to me?

CHREM. But, Simo, do hear him.

SIM. I, hear him? Why should I hear him, Chremes?

CHREM. Still, however, do allow him to speak.

SIM. Well then, let him speak: I allow him.

PAM. I own that I love her; if that is committing a fault, I own that also. To you, father, do I subject myself. Impose on me any injunction you please; command me. Do you wish me to take a wife? Do you wish me to give her up? As well as I can, I will endure it. This only I request of you, not to think that this old gentleman has been suborned by me. Allow me to clear myself, and to bring him here before you.

SIM. To bring him here?

PAM. Do allow me, father.

CHREM. He asks what's reasonable; do give him leave.

PAM. Allow me to obtain thus much of you.

SIM. I allow it. I desire any thing, so long as I find, Chremes, that I have not been deceived by him. (PAMPHILUS goes into the house of GLYCERIUM.)

CHREM. For a great offense, a slight punishment ought to satisfy a father.

SCENE V.

Re-enter PAMPHILUS with CRITO.

CRI. (to PAMPHILUS, as he is coming out.) Forbear entreating. Of these, any one reason prompts me to do it, either your own sake, or the fact that it is the truth, or that I wish well for Glycerium herself.

CHREM. (starting.) Do I see Crito of Andros? Surely it is he.

CRI. Greetings to you, Chremes.

CHREM. How is it that, so contrary to your usage, you are at Athens?

CRI. {So} it has happened. But is this Simo?

CHREM. {It is} he.

CRI. Simo, were you asking for me?

SIM. How now, do you say that Glycerium is a citizen of this place?

CRI. Do you deny it?

SIM. (ironically.) Have you come here so well prepared?

CRI. For what purpose?

SIM. Do you ask? Are you to be acting this way with impunity? Are you to be luring young men into snares here, inexperienced in affairs, and liberally brought up, by tempting them, and to be playing upon their fancies by making promises?

CRI. Are you in your senses?

SIM. And are you to be patching up amours with Courtesans by marriage?

PAM. (aside.) I'm undone! I fear that the stranger will not put up with this.

CHREM. If, Simo, you knew this person well, you would not think thus; he is a worthy man.

SIM. He, a worthy man! To come so opportunely to-day {just} at the very nuptials, {and yet} never to have come before? (Ironically.) Of course, we must believe him, Chremes.

PAM. (aside.) If I didn't dread my father, I have something, which, in this conjuncture, I could opportunely suggest to him.[92]

SIM. (sneeringly, to CHREMES.) A sharper![93]

CRI. (starting.) Hah!

CHREM. It is his way, Crito; do excuse it.

CRI. Let him take heed how he behaves. If he persists in saying to me what he likes, he'll be hearing things that he don't like. Am I meddling with these matters or interesting myself? Can you not endure your troubles with a patient mind? For as to what I say, whether it is true or false what I have heard, can soon be known. A certain man of Attica, a long time ago,[94] his ship being wrecked, was cast ashore at Andros, and this woman together with him, who was {then} a little girl; he, in his destitution, by chance first made application to the father of Chrysis—

SIM. (ironically.) He's beginning his tale.

CHREM. Let him alone.

CRI. Really, is he to be interrupting me in this way?

CHREM. Do you proceed.

CRI. He who received him was a relation of mine. There I heard from him that he was a native of Attica. He died there.

CHREM. His name?

CRI. The name, in such a hurry!

PAM. Phania.

CHREM. (starting.) Hah! I shall die!

CRI. I'faith, I really think it was Phania; this I know for certain, he said that he was a citizen of Rhamnus.[95]

CHREM. O Jupiter!

CRI. Many other persons in Andros have heard the same, Chremes.

CHREM. (aside.) I trust it may turn out as I hope. (To CRITO.) Come now, tell me, what {did} he then {say} about her? Did he say she was his own {daughter}?

CRI. No.

CHREM. Whose then?

CRI. His brother's daughter.

CHREM. She certainly is mine.

CRI. What do you say?

SIM. What is this that you say?

PAM. (aside.) Prick up your ears, Pamphilus.

SIM. Why do you suppose {so}?

CHREM. That Phania was my brother.

SIM. I knew him, and I am aware of it.

CHREM. He, flying from the wars, and following me to Asia, set out from here. At the same time he was afraid to leave her here behind; since then, this is the first time I have heard what became of him.

PAM. (aside.) I am scarcely myself, so much has my mind been agitated by fear, hope, joy, {and} surprise at this so great, so unexpected blessing.

SIM. Really, I am glad for many reasons that she has been discovered to be a citizen.

PAM. I believe it, father.

CHREM. But there yet remains one difficulty[96] with me, which keeps me in suspense.

PAM. (aside.) You deserve to be ——, with your scruples, {you} plague. You are seeking a knot in a bulrush.[97]

CRI. (to CHREMES.) What is that?

CHREM. The names don't agree.

CRI. Troth, she had another when little.

CHREM. What {was it}, Crito? Can you remember it?

CRI. I'm trying to recollect it.

PAM. (aside.) Am I to suffer his memory to stand in the way of my happiness, when I myself can provide my own remedy in this matter? I will not suffer it. (Aloud.) Hark you, Chremes, that which you are trying to recollect {is} "Pasibula."

CHREM. The very same.

CRI. That's it.

PAM. I've heard it from herself a thousand times.

SIM. I suppose, Chremes, that you believe that we all rejoice at this discovery.

CHREM. So may the Gods bless me, I do believe it.

PAM. What remains {to be done}, father?

SIM. The event itself has quite brought me to reconcilement.

PAM. O kind father! With regard to her as a wife, since I have taken possession of her, Chremes will not offer any opposition.

CHREM. The plea is a very good one, unless perchance your father says any thing to the contrary.

PAM. Of course, I agree.

SIM. {Then} be it so.[98]

CHREM. Her portion, Pamphilus, is ten talents.

PAM. I am satisfied.

CHREM. I'll hasten to my daughter. Come now, (beckoning) along with me, Crito; for I suppose that she will not know me. (They go into GLYCERIUM'S house.)

SIM. (To PAMPHILUS.) Why don't you order her to be sent for hither, {to our house}?

PAM. Well thought of; I'll at once give charge of that to Davus.

SIM. He can't {do it}.

PAM. How so?

SIM. Because he has another matter that more nearly concerns himself, and of more importance.

PAM. What, pray?

SIM. He is bound.

PAM. Father, he is not rightly bound.[99]

SIM. But I ordered to that effect.

PAM. Prithee, do order him to be set at liberty.

SIM. Well, be it so.

PAM. But immediately.

SIM. I'm going in.

PAM. O fortunate and happy day! (SIMO goes into his house.)

SCENE VI.

Enter CHARINUS, at a distance.

CHAR. (apart to himself.) I'm come to see what Pamphilus is about; and look, here he is.

PAM. (to himself.) Some one perhaps might imagine that I don't believe this to be true; but now it is clear to me that it really is true. I do think that the life of the Gods is everlasting, for this reason, because their joys are their own.[100] For immortality has been obtained by me, if no sorrow interrupts this delight. But whom in particular could I wish to be now thrown in my way, for me to relate these things to?

CHAR. (apart to himself.) What means this rapture?

PAM. (to himself.) I see Davus. There is no one in the world whom I would choose in preference; for I am sure that he of all people will sincerely rejoice in my happiness.

SCENE VII.

Enter DAVUS.

DAV. (to himself.) Where is Pamphilus, I wonder?

PAM. Here he is, Davus.

DAV. (turning round.) Who's that?

PAM. 'Tis I, Pamphilus; you don't know what has happened to me.

DAV. No really; but I know what has happened to myself.

PAM. And I too.

DAV. It has fallen out just like human affairs in general, that you should know the mishap I have met with, before I the good that has befallen you.

PAM. My Glycerium has discovered her parents.

DAV. O, well done!

CHAR. (apart, in surprise.) Hah!

PAM. Her father is an intimate friend of ours.

DAV. Who?

PAM. Chremes.

DAV. You do tell good news.

PAM. And there's no hinderance to my marrying her at once.

CHAR. (apart.) Is he dreaming the same that he has been wishing for when awake?

PAM. Then about the child, Davus.

DAV. O, say no more; you are the only person whom the Gods favor.

CHAR. (apart.) I'm all right if these things are true. I'll accost them. (Comes forward.)

PAM. Who is this? {Why,} Charinus, you meet me at the very nick of time.

CHAR. That's all right.

PAM. Have you heard—?

CHAR. Every thing; come, in your good fortune do have some regard for me. Chremes is now at your command; I'm sure that he'll do every thing you wish.

PAM. I'll remember you; and because it is tedious for us to wait for him until he comes out, follow me this way; he is now in-doors at the house of Glycerium; do you, Davus, go home; send with all haste to remove her thence. Why are you standing {there}? Why are you delaying?

DAV. I'm going. (PAMPHILUS and CHARINUS go into the house of GLYCERIUM. DAVUS then comes forward and addresses the Audience.) Don't you wait until they come out from there; she will be betrothed within: if there is any thing else that remains, it will be transacted in-doors. Grant us your applause.[101]



FOOTNOTES

[Footnote 1: From simos, "flat-nosed."]

[Footnote 2: From pan, "all," and philos, "a friend."]

[Footnote 3: From sozo, "to save;" saved in war.]

[Footnote 4: From chremptomai, "to spit."]

[Footnote 5: From charis, "grace."]

[Footnote 6: From krites, "a judge."]

[Footnote 7: From Dacia, his native country; the Davi and Daci being the same people.]

[Footnote 8: From dromos, "a race."]

[Footnote 9: From purrhos, "red-haired."]

[Footnote 10: From glukeros, "sweet."]

[Footnote 11: From Mysia, her native country.]

[Footnote 12: From Lesbos, her native country.]

[Footnote 13: The Megalensian Games)—These games were instituted at Rome in honor of the Goddess Cybele, when her statue was brought thither from Pessinum, in Asia Minor, by Scipio Nasica; they were so called from the Greek title Megale Meter, "the Great Mother." They were called Megalesia or Megalensia, indifferently. A very interesting account of the origin of these games will be found in the Fasti of Ovid. B. iv. l. 194, et seq.]

[Footnote 14: Being Curule AEdiles)—Among the other offices of the AEdiles at Rome, it was their duty to preside at the public games, and to provide the necessary dramatic representations for the Theatre, by making contracts with the Poets and Actors.]

[Footnote 15: Ambivius Turpio and Lucius Atilius Praenestinus)—These persons were the heads or managers of the company of actors who performed the Play, and as such it was their province to make the necessary contracts with the Curule AEdiles. They were also actors themselves, and usually took the leading characters. Ambivius Turpio seems to have been a favorite with the Roman public, and to have performed for many years; of L. Atilius Praenestinus nothing is known.]

[Footnote 16: Freedman of Claudius)—According to some, the words, "Flaccus Claudi" mean "the son of Claudius." It is, however, more generally thought that it is thereby meant that he was the freedman or liberated slave of some Roman noble of the family of the Claudii.]

[Footnote 17: Treble flutes and bass flutes)—The history of ancient music, and especially that relative to the "tibiae," "pipes" or "flutes," is replete with obscurity. It is not agreed what are the meanings of the respective terms, but in the present Translation the following theory has been adopted: The words "dextrae" and "sinistrae" denote the kind of flute, the former being {treble}, the latter {bass} flutes, or, as they were sometimes called, "incentivae" or "succentivae;" though it has been thought by some that they were so called because the former held with the right hand, the latter with the left. When two treble flutes or two bass flutes were played upon at the same time, they were called "tibiae pares;" but when one was "dextra" and the other "sinistra," "tibiae impares." Hence the words "paribus dextris et sinistris," would mean alternately with treble flutes and bass flutes. Two "tibiae" were often played upon by one performer at the same time. For a specimen of a Roman "tibicen" or "piper," see the last scene of the Stichus of Plautus. Some curious information relative to the pipers of Rome and the legislative enactments respecting them will be found in the Fasti of Ovid, B. vi. l. 653, et seq.]

[Footnote 18: It is entirety Grecian)—This means that the scene is in Greece, and that it is of the kind called "palliata," as representing the manners of the Greeks, who wore the "pallium," or outer cloak; whereas the Romans wore the "toga." In the Prologue, Terence states that he borrowed it from the Greek of Menander.]

[Footnote 19: Being Consuls)—M. Claudius Marcellus and C. Sulpicius Galba were Consuls in the year from the building of Rome 586, and B.C. 167.]

[Footnote 20: A malevolent old Poet)—Ver. 7. He alludes to Luscus Lanuvinus, or Lavinius, a Comic Poet of his time, but considerably his senior. He is mentioned by Terence in all his Prologues except that to the Hecyra, and seems to have made it the business of his life to run down his productions and discover faults in them.]

[Footnote 21: Composed the Andrian)—Ver. 9. This Play, like that of our author, took its name from the Isle of Andros, one of the Cyclades in the AEgean Sea, where Glycerium is supposed to have been born. Donatus, the Commentator on Terence, informs us that the first Scene of this Play is almost a literal translation from the Perinthian of Menander, in which the old man was represented as discoursing with his wife just as Simo does here with Sosia. In the Andrian of Menander, the old man opened with a soliloquy.]

[Footnote 22: And the Perinthian)—Ver. 9. This Play was so called from Perinthus, a town of Thrace, its heroine being a native of that place.]

[Footnote 23: Naevius, Plautus, and Ennius)—Ver. 18. Ennius was the oldest of these three Poets. Naevius a contemporary of Plautus. See a probable allusion to his misfortunes in the Miles Gloriosus of Plautus, l. 211.]

[Footnote 24: The mystifying carefulness)—Ver. 21. By "obscuram diligentiam" he means that formal degree of precision which is productive of obscurity.]

[Footnote 25: Are to be taken care of, I suppose)—Ver. 30. "Nempe ut curentur recte haec." Colman here remarks; "Madame Dacier will have it that Simo here makes use of a kitchen term in the word 'curentur.' I believe it rather means 'to take care of' any thing generally; and at the conclusion of this very scene, Sosia uses the word again, speaking of things very foreign to cookery, 'Sat est, curabo.'"]

[Footnote 26: To be my freedman)—Ver. 37. "Libertus" was the name given to a slave set at liberty by his master. A "libertinus" was the son of a "libertus."]

[Footnote 27: As it were a censure)—Ver. 43. Among the Greeks (whose manners and sentiments are supposed to be depicted in this Play) it was a maxim that he who did a kindness should forget it, while he who received it should keep it in memory. Sosia consequently feels uneasy, and considers the remark of his master in the light of a reproach.]

[Footnote 28: After he had passed from youthfulness)—Ver. 51. "Ephebus" was the name given to a youth when between the ages of sixteen and twenty.]

[Footnote 29: And a master)—Ver. 54. See the Notes to the Translation of the Bacchides of Plautus, l. 109, where Lydus, a slave, appears as the "paedagogus," or "magister," of Pistoclerus.]

[Footnote 30: Or to the philosophers)—Ver. 57. It was the custom in Greece with all young men of free birth to apply themselves to the study of philosophy, of course with zeal proportioned to the love of learning in each. They each adopted some particular sect, to which they attached themselves. There is something sarcastic here, and indeed not very respectful to the "philosophers," in coupling them as objects of attraction with horses and hounds.]

[Footnote 31: Nothing to excess)—Ver. 61. "Ne quid nimis." This was one of the three sentences which were inscribed in golden letters in the Temple of Apollo at Delphi. The two others were "Know thyself," and "Misery is the consequence of debt and discord." Sosia seems from the short glimpse we have of him to have been a retailer of old saws and proverbs. He is unfortunately only a Protatic or introductory character, as we lose sight of him after this Act.]

[Footnote 32: Meanwhile, three years ago)—Ver. 60. The following remark of Donatus on this passage is quoted by Colman for its curiosity. "The Author has artfully said three years, when he might have given a longer or a shorter period; since it is probable that the woman might have lived modestly one year; set up the trade the next; and died the third. In the first year, therefore, Pamphilus knew nothing of the family of Chrysis; in the second, he became acquainted with Glycerium; and in the third, Glycerium marries Pamphilus, and finds her parents."]

[Footnote 33: He is smitten)—Ver. 78. "Habet," literally "He has it." This was the expression used by the spectators at the moment when a Gladiator was wounded by his antagonist. In the previous line, in the words "captus est," a figurative allusion is made to the "retiarius," a Gladiator who was provided with a net, with which he endeavored to entangle his opponent.]

[Footnote 34: Gave his contribution)—Ver. 88. "Symbolam." The "symbolae," "shot" at picnic or club entertainments, are more than once alluded to in the Notes to the Translation of Plautus.]

[Footnote 35: Even I myself)—Ver. 116. Cooke remarks here: "A complaisant father, to go to the funeral of a courtesan, merely to oblige his son!"]

[Footnote 36: The female attendants)—Ver. 123. "Pedissequae." These "pedissequae," or female attendants, are frequently alluded to in the Plays of Plautus. See the Notes to Bohn's Translation.]

[Footnote 37: To the burying-place)—Ver. 128. "Sepulcrum" strictly means, the tomb or place for burial, but here the funeral pile itself. When the bones were afterward buried on the spot where they were burned, it was called "bustum."]

[Footnote 38: Troubles itself about that)—Ver. 185. He says this contemptuously, as if it was likely that the public should take any such great interest in his son as the father would imply by his remark. By thus saying, he also avoids giving a direct reply.]

[Footnote 39: Davus, not Oedipus)—Ver. 194. Alluding to the circumstance of Oedipus alone being able to solve the riddle of the Sphynx.]

[Footnote 40: To the mill)—Ver. 199. The "pistrinum," or "hand-mill," for grinding corn, was used as a mode of punishment for refractory slaves. See the Notes to the Translation of Plautus.]

[Footnote 41: Those in their dotage, not those who dote in love)—Ver. 218. There is a jingle intended in this line, in the resemblance between "amentium," "mad persons," and "amantium," "lovers."]

[Footnote 42: They have resolved to rear)—Ver. 219. This passage alludes to the custom among the Greeks of laying new-born children on the ground, upon which the father, or other person who undertook the care of the child, lifted it from the ground, "tollebat." In case no one took charge of the child, it was exposed, which was very frequently done in the case of female children. Plato was the first to inveigh against this barbarous practice. It is frequently alluded to in the Plays of Plautus.]

[Footnote 43: Hence to the Forum)—Ver. 226. Colman has the following remark: "The Forum is frequently spoken of in the Comic Authors; and from various passages in which Terence mentions it, it may be collected that it was a public place, serving the several purposes of a market, the seat of the courts of justice, a public walk, and an exchange."]

[Footnote 44: Wine-bibbing)—Ver. 229. The nurses and midwives of antiquity seem to have been famed for their tippling propensities. In some of the Plays of Plautus we do not find them spared.]

[Footnote 45: Rearing some monster)—Ver. 250. "Aliquid monstri alunt." Madame Dacier and some other Commentators give these words the rather far-fetched meaning of "They are hatching some plot." Donatus, with much more probability, supposes him to refer to the daughter of Chremes, whom, as the young women among the Greeks were brought up in great seclusion, we may suppose Pamphilus never to have seen.]

[Footnote 46: She is oppressed with grief)—Ver. 268. "Laborat a dolore." Colman has the following remark upon this passage: "Though the word 'laborat' has tempted Donatus and the rest of the Commentators to suppose that this sentence signifies Glycerium being in labor, I can not help concurring with Cooke, that it means simply that she is weighed down with grief. The words immediately subsequent corroborate this interpretation; and at the conclusion of the Scene, when Mysis tells him that she is going for a midwife, Pamphilus hurries her away, as he would naturally have done here had he understood by these words that her mistress was in labor."]

[Footnote 47: By your good Genius)—Ver. 289. "Per Genium tuum." This was a common expression with the Romans, and is used by Horace, Epistles, B. i., Ep. 7:—

"Quod te per Genium dextramque Deosque Penates, Obsecro, et obtestor—"

The word "Genius" signified the tutelary God who was supposed to attend every person from the period of his birth. The signification of the word will be found further referred to in the Notes to the Translation of Plautus.]

[Footnote 48: To fetch the midwife)—Ver. 299. Cooke has the following remark here: "Methinks Mysis has loitered a little too much, considering the business which she was sent about; but perhaps Terence knew that some women were of such a temper as to gossip on the way, though an affair of life or death requires their haste." Colman thus takes him to task for this observation: "This two-edged reflection, glancing at once on Terence and the ladies, is, I think, very ill-founded. The delay of Mysis, on seeing the emotion of Pamphilus, is very natural; and her artful endeavors to interest Pamphilus on behalf of her mistress, are rather marks of her attention than neglect."]

[Footnote 49: Charinus and Byrrhia). We learn from Donatus that the characters of Charinus and Byrrhia were not introduced in the work of Menander, but were added to the Play of Terence, lest Philumena's being left without a husband, on the marriage of Pamphilus to Glycerium, should appear too tragical a circumstance. Diderot is of opinion that Terence did not improve his Play by this addition.]

[Footnote 50: Tell me nothing)—Ver. 336. It has been suggested that this refers to Byrrhia's dissuading his master from addressing Pamphilus, or else to what he has told him concerning the intended marriage. Westerhovius thinks that Byrrhia is just then whispering some trifling nonsense in his master's ear, which he, occupied with more important cares, is unwilling to attend to.]

[Footnote 51: To a high place)—Ver. 356. He probably alludes to some part of the Acropolis, the citadel, or higher part of Athens, which commanded a view of the lower town.]

[Footnote 52: Stillness before the door)—Ver. 362. Madame Dacier observes that this remark is very appropriately made by Davus, as showing that the marriage was clearly not intended by Chremes. The house of the bride on such an occasion would be thronged by her friends, and at the door would be the musicians and those who were to form part of the bridal procession.]

[Footnote 53: No matron at the house)—Ver. 364. By the use of the word "matrona," he probably alludes to the "pronubae" among the Romans, whose duties were somewhat similar to those of our bride's-maids. At the completion of the bridal repast, the bride was conducted to the bridal chamber by matrons who had not had more than one husband.]

[Footnote 54: An obol's worth)—Ver. 369. The "obelus" was the smallest Greek silver coin, and was equal in value to about three halfpence of our money. "Pisciculi minuti," "little fish," were much used for food among the poorer classes; "mena," a fish resembling our pilchard, was a common article of food with the Romans. The larger kinds of fish went under the general name of "cetum."]

[Footnote 55: I have now followed him)—Ver. 414. "Hunc venientem sequor." Cooke has the following remark on this line: "This verse, though in every edition, as Bentley judiciously observes, is certainly spurious; for as Pamphilus has not disappeared since Byrrhia left the stage, he could not say 'nunc {hunc} venientem sequor.' If we suppose the line genuine, we must at the same time suppose Terence guilty of a monstrous absurdity." On these words Colman makes the following just observations: "Other Commentators have also stumbled at this passage; but if in the words 'followed {him} hither,' we suppose {'him'} (hunc) to refer to Simo, the difficulty is removed; and that the pronoun really does signify Simo, is evident from the circumstance of Pamphilus never having left the stage since the disappearance of Byrrhia. Simo is also represented as coming on the stage homeward, so that Byrrhia might easily have followed him along the street; and it is evident that Byrrhia does not allude to Pamphilus from the agreeable surprise which he expresses on seeing him there so opportunely for the purpose."]

[Footnote 56: Inflict evil upon me)—Ver. 431. "Malum;" the usual name by which slaves spoke of the beatings they were in the habit of receiving at the hands or by the order of their irascible masters. Colman has the following remarks: "Donatus observes on this Scene between Byrrhia, Simo, Pamphilus, and Davus, that the dialogue is sustained by four persons, who have little or no intercourse with each other; so that the Scene is not only in direct contradiction to the precept of Horace, excluding a fourth person, but is also otherwise vicious in its construction. Scenes of this kind are, I think, much too frequent in Terence, though, indeed, the form of the ancient Theatre was more adapted to the representation of them than the modern. The multiplicity of speeches {aside} is also the chief error in this dialogue; such speeches, though very common in dramatic writers, ancient and modern, being always more or less unnatural."]

[Footnote 57: What does he say, Davus?)—Ver. 434. "Quid, Dave, narrat?" This reading Vollbehr suggests in place of the old one, "Quid Davus narrat?" and upon good grounds, as it appears. According to the latter reading we are to suppose that Davus is grumbling to himself, on which Simo says, "What does Davus say?" It seems, however, much more likely that Davus accompanies Pamphilus to the door, and speaks to him before he goes in, and then, on his return to Simo, the latter asks him, "What does he say, Davus?"]

[Footnote 58: Just as much as nothing)—Ver. 434. "AEque quidquam nunc quidem." This is a circumlocution for "nothing at all:" somewhat more literally perhaps, it might be rendered "just as much as before." Perizonius supplies the ellipsis with a long string of Latin words, which translated would mean, "Now, indeed, he says equally as much as he says then, when he says nothing at all."]

[Footnote 59: Amount of ten drachmae)—Ver. 451. The Attic drachma was a silver coin worth in value about 93/4d. of English money.]

[Footnote 60: Juno Lucina)—Ver. 473. Juno Lucina had the care of women in childbed. Under this name some suppose Diana to have been worshiped. A similar incident to the present is found in the Adelphi, l. 486; and in the Aulularia of Plautus, l. 646.]

[Footnote 61: Are your scholars forgetful?)—Ver. 477. He alludes under this term to Mysis, Lesbia, and Pamphilus, whom he supposes Davus to have been training to act their parts in the plot against him.]

[Footnote 62: Let her bathe)—Ver. 483. It was the custom for women to bathe immediately after childbirth. See the Amphitryon of Plautus, l. 669, and the Note to the passage in Bohn's Translation.]

[Footnote 63: Be laying the child)—Ver. 507. Colman has the following remark on this line:— "The art of this passage is equal to the pleasantry, for though Davus runs into this detail merely with a view to dupe the old man still further by flattering him on his fancied sagacity, yet it very naturally prepares us for an incident which, by another turn of circumstances, afterward becomes necessary."]

[Footnote 64: Proved to be false)—Ver. 513. That is, according to Simo's own notion, which Davus now thinks proper to humor.]

[Footnote 65: To Bring a child at the same time)—Ver. 515. This is a piece of roguery which has probably been practiced in all ages, and was somewhat commonly perpetrated in Greece. The reader of English history will remember how the unfortunate son of James II was said, in the face of the strongest evidence to the contrary, to have been a supposititious child brought into the queen's chamber in a silver warming-pan.]

[Footnote 66: But I do not think)—Ver. 563-4. "At ego non posse arbitror neque illum hane perpetuo habere." Chremes uses an ambiguous expression here, perhaps purposely. It may mean, "I do not think that he can possibly be constant to her," or, "that she will continue to live with him."]

[Footnote 67: A sure son-in-law)—Ver. 571. By the use of the word "firmum," he means a son-in-law who will not be likely to resort to divorce or separation from his wife.]

[Footnote 68: Why isn't the bride sent for?)—Ver. 582. Among the Greeks the bride was conducted by the bridegroom at nightfall from her father's house, in a chariot drawn by a pair of mules or oxen, and escorted by persons carrying the nuptial torches. Among the Romans she proceeded in the evening to the bridegroom's house; preceded by a boy carrying a torch of white thorn, or, according to some, of pine-wood. To this custom reference is indirectly made in the present passage.]

[Footnote 69: I myself, indeed!)—Ver. 597. No doubt Davus says these words in sorrow and regret; Simo, however, supposes them to be uttered in exultation at the apparent success of his plans. Consequently "vero" is intended by Davus to have the sense here of "too truly."]

[Footnote 70: To a frivolous slave)—Ver. 610. "Servo futili." According to the Scholiast on the Thebais of Statius, B. viii. l. 297, "vas futile" was a kind of vessel with a broad mouth and narrow bottom, used in the rites of Vesta. It was made of that peculiar shape in order that the priest should be obliged to hold it during the sacrifices, and might not set it on the ground, which was considered profane; as, if set there, the contents must necessarily fall out. From this circumstance, men who could not {contain} a secret were sometimes called "futiles."]

[Footnote 71: You scoundrel)—Ver. 619. "Furcifer;" literally, wearer of the "furca," or wooden collar. This method of punishment has been referred to in the Notes to the Translation of Plautus.]

[Footnote 72: What do you deserve?)—Ver. 622. Madame Dacier remarks that this question is taken from the custom of the Athenians, who never condemned a criminal without first asking him what punishment he thought he deserved; and according to the nature of his answer they mitigated or increased his punishment. Tho Commentators quote a similar passage from the Frogs of Aristophanes.]

[Footnote 73: The cross)—Ver. 622. The "cross," "crux," as a punishment for refractory slaves has been remarked upon in the Notes to the Translation of Plautus.]

[Footnote 74: The circumstances)—Ver. 635. "Res." According, however, to Donatus, this word has the meaning here of "malice" or "spitefulness."]

[Footnote 75: Concerned in my own interests)—Ver. 637. Equivalent to our sayings, "Charity begins at home;" "Take care of number one."]

[Footnote 76: They are not ashamed)—Ver. 638. Terence has probably borrowed this remark from the Epidicus of Plautus, l. 165-6: "Generally all men are ashamed when it is of no use; when they ought to be ashamed, then does shame forsake them, when occasion is for them to be ashamed."]

[Footnote 77: Makes a noise)—Ver. 683. The doors with the Romans opened inwardly, while those of the Greeks opened on the outside. It was therefore usual with them, when coming out, to strike the door on the inside with a stick or with the knuckles, that those outside might be warned to get out of the way. Patrick, however, observes with some justice, that the word "concrepuit" may here allude to the creaking of the hinges. See the Curculio of Plautus, l. 160, where the Procuress pours water on the hinges, in order that Cappadox may not hear the opening of the door.]

[Footnote 78: Take some sacred herbs)—Ver. 727. "Verbena" appears to have been a general term applied to any kind of herb used in honor of the Deities, or to the boughs and leaves of any tree gathered from a pure or sacred place. Fresh "verbenae" were placed upon the altars every day. See the Mercator of Plautus, l. 672.]

[Footnote 79: From the altar here)—Ver. 727. It was usual to have altars on the stage; when Comedy was performed, one on the left hand in honor of Apollo, and on the representation of Tragedy, one on the right in honor of Bacchus. It has been suggested that Terence here alludes to the former of these. As, however, at Athens almost every house had its own altar in honor of Apollo Prostaterius just outside of the street door, it is most probable that to one of these altars reference is here made. They are frequently alluded to in the Plays of Plautus.]

[Footnote 80: Which I had first purposed, I now give up)—Ver. 734. His first intention no doubt was to go and inform Simo of the child being laid at the door.]

[Footnote 81: Whenever there's necessity)—Ver. 737. He retires without fully explaining his intention to Mysis; consequently, in the next Scene she gives an answer to Chremes which Davus does not intend.]

[Footnote 82: Stuffed out beneath her clothes)—Ver. 771. "Suffarcinatam." He alludes to the trick already referred to as common among the Greeks, of the nurses and midwives secretly introducing supposititious children; see l. 515 and the Note.]

[Footnote 83: Several free women were present)—Ver. 772. She speaks of "liberae," "free women," because in Greece as well as Italy slaves were not permitted to give evidence. See the Curculio of Plautus, l. 621, and the Note to the passage in Bohn's Translation. See also the remark of Geta in the Phormio, l. 293.]

[Footnote 84: Constrained by the laws)—Ver. 782. He alludes to a law at Athens which compelled a man who had debauched a free-born woman to marry her. This is said by Davus with the view of frightening Chremes from the match.]

[Footnote 85: She ought to be carried off)—Ver. 787. He says this implying that Mysis, who is a slave, ought to be put to the torture to confess the truth; as it was the usual method at Athens to force a confession from slaves by that method. We find in the Hecyra, Bacchis readily offering her slaves to be put to the torture, and in the Adelphi the same custom is alluded to in the scene between Micio, Hegio, and Geta.]

[Footnote 86: Descended to me by law)—Ver. 800. On the supposition that Chrysis died without a will, Crito as her next of kin would be entitled to her effects.]

[Footnote 87: Is Chrysis then——?)—Ver. 804. This is an instance of Aposiopesis; Crito, much affected, is unwilling to name the death of Chrysis. It was deemed of ill omen to mention death, and numerous Euphemisms or circumlocutions were employed in order to avoid the necessity of doing so.]

[Footnote 88: Warn me, a stranger)—Ver. 812. Patrick has the following remarks upon this passage: "Madame Dacier observes that it appears, from Xenophon's Treatise on the policy of the Athenians, that all the inhabitants of cities and islands in alliance with Athens were obliged in all claims to repair thither, and refer their cause to the decision of the people, not being permitted to plead elsewhere. We can not wonder then that Crito is unwilling to engage in a suit so inconvenient from its length, expense, and little prospect of success." She might have added that such was the partiality and corruptness of the Athenian people, that, being a stranger, his chances of success would probably be materially diminished.]

[Footnote 89: You set in motion)—Ver. 865. By the use of the word "Commotus" he seems to allude to the wretched, restless existence of a man tied hand and foot, and continually working at the hand-mill. Westerhovius thinks that Simo uses this word sarcastically, in allusion to the words of Davus, at the beginning of the present Scene, "Animo otioso esse impero;" "I bid you set your minds at ease."]

[Footnote 90: Hands and feet together)—Ver. 866. "Quadrupedem." Literally "as a quadruped" or "all fours." Echard remarks that it was the custom of the Athenians to tie criminals hands and feet together, just like calves.]

[Footnote 91: Without regard to the custom and the law)—Ver. 880. There was a law among the Athenians which forbade citizens to marry strangers, and made the offspring of such alliances illegitimate; the same law also excluded such as were not born of two citizens from all offices of trust and honor.]

[Footnote 92: Could opportunely suggest to him)—Ver. 919. Colman has the following remark on this line: "Madame Dacier and several English Translators make Pamphilus say that he could give Crito a hint or two. What hints he could propose to suggest to Crito, I can not conceive. The Italian translation, printed with the Vatican Terence, seems to understand the words in the same manner that I have translated them, in which sense (the pronoun 'illum' referring to Simo instead of Crito) they seem to be the most natural words of Pamphilus on occasion of his father's anger and the speech immediately preceding."]

[Footnote 93: A sharper)—Ver. 920. "Sycophanta." For some account of the "sycophantae," "swindlers" or "sharpers" of ancient times, see the Notes to the Trinummus of Plautus, Bohn's Translation.]

[Footnote 94: A long time ago)—Ver. 924. The story begins with "Olim," just in the same way that with us nursery tales commence with "There was, a long time ago."]

[Footnote 95: A citizen of Rhamnus)—Ver. 931. Rhamnus was a maritime town of Attica, near which many of the more wealthy Athenians had country-seats. It was famous for the Temple of Nemesis there, the Goddess of Vengeance, who was thence called "Rhamnusia." In this Temple was her statue, carved by Phidias out of the marble which the Persians brought to Greece for the purpose of making a statue of Victory out of it, and which was thus appropriately devoted to the Goddess of Retribution. The statue wore a crown, and had wings, and, holding a spear of ash in the right hand, it was seated on a stag.]

[Footnote 96: One difficulty)—Ver. 941. "Scrupus," or "scrupulus," was properly a stone or small piece of gravel which, getting into the shoe, hurt the foot; hence the word figuratively came to mean a "scruple," "difficulty," or "doubt." We have a similar expression: "to be graveled."]

[Footnote 97: A knot in a bulrush)—Ver. 942. "Nodum in scirpo quaerere" was a proverbial expression implying a desire to create doubts and difficulties where there really were none; there being no knots in the bulrush. The same expression occurs in the Menaechmi of Plautus, l. 247.]

[Footnote 98: Of course——Then be it so)—Ver. 951. "Nempe id. Scilicet." Colman has the following remark on this line: "Donatus, and some others after him, understand these words of Simo and Pamphilus as requiring a fortune of Chremes with his daughter; and one of them says that Simo, in order to explain his meaning, in the representation, should produce a bag of money. This surely is precious refinement, worthy the genius of a true Commentator. Madame Dacier, who entertains a just veneration for Donatus, doubts the authenticity of the observation ascribed to him. The sense I have followed is, I think, the most obvious and natural interpretation of the words of Pamphilus and Simo, which refers to the preceding, not the subsequent, speech of Chremes."]

[Footnote 99: He is not rightly bound)—Ver. 956. "Non recte vinctus;" meaning "it was not well done to bind him." The father pretends to understand him as meaning (which he might equally well by using the same words), "non satis stricte," "he wasn't tightly enough" bound; and answers "I ordered that he should be," referring to his order for Davus to be bound hand and foot. Donatus justly observes that the disposition of the old gentleman to joke is a characteristic mark of his thorough reconciliation.]

[Footnote 100: Their joys are their own)—Ver. 961. Westorhovius remarks that he seems here to be promulgating the doctrine of Epicurus, who taught that the Deities devoted themselves entirely to pleasure and did not trouble themselves about mortals. Donatas observes that these are the doctrines of Epicurus and that the whole sentence is copied from the Eunuch of Menander; to which practice of borrowing from various Plays, allusion is made in the Prologue, where he mentions the mixing of plays; "contaminari fabulas."]

[Footnote 101: Grant us your applause)—Ver. 982. "Plaudite." Colman has the following remark at the conclusion of this Play: "All the old Tragedies and Comedies acted at Rome concluded in this manner. 'Donec cantor vos "Plaudite" dicat,' says Horace. Who the 'cantor' was, is a matter of dispute. Madame Dacier thinks it was the whole chorus; others suppose it to have been a single actor; some the prompter, and some the composer. Before the word 'Plaudite' in all the old copies is an O which has also given rise to several learned conjectures. It is most probable, according to the notion of Madame Dacier, that this O, being the last letter of the Greek alphabet, was nothing more than the mark of the transcriber to signify the end, like the Latin word 'Finis' in modern books; or it might, as Patrick supposes, stand for Odos, 'cantor,' denoting that the following word 'Plaudite' was spoken by him. After 'Plaudite' in all the old copies of Terence stand these two words, 'Calliopius recensui;' which signify, 'I, Calliopius, have revised and corrected this piece.' And this proceeds from the custom of the old critics, who carefully revised all Manuscripts, and when they had read and corrected any work, certified the same by placing their names at the end of it."]

* * * * * * * * *

EUNUCHUS; THE EUNUCH.

DRAMATIS PERSONAE.

LACHES,[1] an aged Athenian. PHAEDRIA,[2] } his sons. CHAEREA,[3] } ANTIPHO,[4] a young man, friend of Chaerea. CHREMES,[5] a young man, brother of Pamphila. THRASO,[6] a boastful Captain. GNATHO,[7] a Parasite. PARMENO,[8] servant of Phaedria. SANGA,[9] cook to Thraso. DONAX,[10] } SIMALIO,[11] } servants of Thraso. SYRISCUS,[12] } DORUS,[15] a Eunuch slave. THAIS,[13] a Courtesan. PYTHIAS,[14] } her attendants. DORIAS,[15] } SOPHRONA,[16] a nurse. PAMPHILA,[17] a female slave.

Scene.—Athens; before the houses of LACHES and THAIS.



THE SUBJECT.

A certain citizen of Athens had a daughter named Pamphila, and a son called Chremes. The former was stolen while an infant, and sold to a Rhodian merchant, who having made a present of her to a Courtesan of Rhodes, she brought her up with her own daughter Thais, who was somewhat older. In the course of years, Thais following her mother's way of life, removes to Athens. Her mother dying, her property is put up for sale, and Pamphila is purchased as a slave by Thraso, an officer and an admirer of Thais, who happens just then to be visiting Rhodes. During the absence of Thraso, Thais becomes acquainted with Phaedria, an Athenian youth, the son of Laches; she also discovers from Chremes, who lives near Athens, that Pamphila, her former companion, is his sister. Thraso returns, intending to present to her the girl he has bought, but determines not to do so until she has discarded Phaedria. Finding that the girl is no other than Pamphila, Thais is at a loss what to do, as she both loves Phaedria, and is extremely anxious to recover Pamphila. At length, to please the Captain, she excludes Phaedria, but next day sends for him, and explains to him her reasons, at the same time begging of him to allow Thraso the sole right of admission to her house for the next two days, and assuring him that as soon as she shall have gained possession of the girl, she will entirely throw him off. Phaedria consents, and resolves to spend these two days in the country; at the same time he orders Parmeno to take to Thais a Eunuch and an AEthiopian girl, whom he has purchased for her. The Captain also sends Pamphila, who is accidentally seen by Chaerea, the younger brother of Phaedria; he, being smitten with her beauty, prevails upon Parmeno to introduce him into the house of Thais, in the Eunuch's dress. Being admitted there, in the absence of Thais, he ravishes the damsel. Shortly afterward Thraso quarrels with Thais, and comes with all his attendants to her house to demand the return of Pamphila, but is disappointed. In conclusion, Pamphila is recognized by her brother Chremes, and is promised in marriage to Chremes; while Thraso becomes reconciled to Phaedria, through the mediation of Gnatho, his Parasite.

THE TITLE[18] OF THE PLAY.

Performed at the Megalensian Games; L. Posthumius Albinus and L. Cornelius Merula being Curule AEdiles. L. Ambivius Turpio and L. Atilius Praesnestinus performed it. Flaccus, the freedman of Claudius, composed the music to two treble flutes. From the Greek of Menander. It was acted twice,[19] M. Valerius and C. Fannius being Consuls.[20]

EUNUCHUS; THE EUNUCH.

THE SUMMARY OF C. SULPITIUS APOLLINARIS.

The Captain, Thraso, being ignorant of the same, has brought {from abroad} a girl who used wrongly to be called the sister of Thais, and presents her to {Thais} herself: she {in reality} is a citizen of Attica. To the same woman, Phaedria, an admirer of Thais, orders a Eunuch whom he has purchased, to be taken, and he himself goes away into the country, having been entreated to give up two days to Thraso. A youth, the brother of Phaedria, having fallen in love with the damsel sent to the house of Thais, is dressed up in the clothes of the Eunuch. Parmeno prompts him; he goes in; he ravishes the maiden; but {at length} her brother being discovered, a citizen of Attica, betroths her who has been ravished, to the youth, {and} Thraso prevails upon Phaedria by his entreaties.



THE PROLOGUE.

If there is any one who desires to please as many good men as possible, and to give offense to extremely few, among those does our Poet enroll his name. Next, if there is one who thinks[21] that language too harsh, is {here} applied to him, let him bear this in mind— that it is an answer, not an attack; inasmuch as he has himself been the first aggressor; who, by translating {plays} verbally,[22] and writing them in bad {Latin}, has made out of good Greek {Plays} Latin ones by no means good. Just as of late he has published the Phasma[23] [the Apparition] of Menander; and in the Thesaurus [the Treasure] has described[24] him from whom the gold is demanded, as pleading his cause why it should be deemed his own, before the person who demands it {has stated} how this treasure belongs to him, or how it came into the tomb of his father. Henceforward, let him not deceive himself, or fancy thus, "I have now done with it; there's nothing that he can say to me." I recommend him not to be mistaken, and to refrain from provoking me. I have many other points, as to which for the present he shall be pardoned, which, {however}, shall be brought forward hereafter, if he persists in attacking me, as he has begun to do. After the AEdiles had purchased the Eunuch of Menander, {the Play} which we are about to perform, he managed to get an opportunity of viewing it.[25] When the magistrates were present it began to be performed. He exclaimed that a thief, no Poet, had produced the piece, but still had not deceived[26] {him}; that, in fact, it was the Colax, an old Play of Plautus;[27] {and} that from it were taken the characters of the Parasite and the Captain. If this is a fault, the fault is the ignorance of the Poet; not that he intended to be guilty of theft. That so it is, you will now be enabled to judge. The Colax is {a Play} of Menander's; in it there is Colax, a Parasite, and a braggart Captain: he does not deny that he has transferred these characters into his Eunuch from the Greek; but assuredly he does deny this, that he was aware that those pieces had been already translated into Latin. But if it is not permitted {us} to use the same characters as others, how can it any more be allowed to represent hurrying servants,[28] to describe virtuous matrons, artful courtesans, the gluttonous parasite, the braggart captain, the infant palmed off, the old man cajoled by the servant, about love, hatred, suspicion? In fine, nothing is said now that has not been said before. Wherefore it is but just that you should know this, and make allowance, if the moderns do what the ancients used to do. Grant me your attention, and give heed in silence, that you may understand what the Eunuch means.



ACT THE FIRST.

SCENE I.

Enter PHAEDRIA and PARMENO.

PHAED. What, then, shall I do?[29] Ought I not to go, not now even, when I am sent for of her own accord? Or ought I rather so to behave myself as not to put up with affronts from Courtesans? She shut her door against me; she {now} invites me back. Ought I to return? No; though she should implore me.

PAR. I'faith, if indeed you {only} can, there's nothing better or more spirited; but if you begin, and can not hold out stoutly, and if, when you can not endure it, while no one asks you, peace being not made, you come to her of your own accord, showing that you love her, and can not endure it, you are done for; it's all over {with you}; you are ruined outright. She'll be jilting you, when she finds you overcome. Do you then, while there's time, again and again reflect upon this, master, that a matter, which in itself admits of neither prudence nor moderation, you are unable to manage with prudence. In love there are all these evils; wrongs, suspicions, enmities, reconcilements, war, then peace; if you expect to render these things, {naturally} uncertain, certain by dint of reason, you wouldn't effect it a bit the more than if you were to use your endeavors to be mad with reason. And, what you are now, in anger, meditating to yourself, "What! I to her?[30] Who— him! Who— me! Who wouldn't? Only let me alone; I had rather die; she shall find out what sort of a person I am;" these expressions, upon my faith, by a single false tiny tear, which, by rubbing her eyes, poor thing, she can hardly squeeze out perforce, she will put an end to; and she'll be the first to accuse you; and you will be too ready to give satisfaction to her.

PHAED. O disgraceful conduct! I now perceive, both that she is perfidious, and that I am a wretched man. I am both weary of her, and burn with passion; knowing {and} fully sensible, alive and seeing it, I am going to ruin; nor do I know what I am to do.

PAR. What you are to do? Why, only to redeem yourself, {thus} captivated, at the smallest price you can; if you can not at a very small rate, still for as little as you can; and do not afflict yourself.

PHAED. Do you persuade me to this?

PAR. If you are wise. And don't be adding to the troubles which love itself produces; those which it does produce, bear patiently. But see, here she is coming herself, the downfall of our fortunes,[31]— for that which we ought ourselves to enjoy she intercepts.

SCENE II.

Enter THAIS from her house.

THAIS (to herself, not seeing them.) Ah wretched me! I fear lest Phaedria should take it amiss or otherwise than I intended it, that he was not admitted yesterday.

PHAED. (aside to PARMENO.) I'm trembling and shivering all over, Parmeno, at the sight of her.

PAR. (apart.) Be of good heart; {only} approach this fire,[32] you'll soon be warmer than you need.

THAIS (turning round.) Who is it that's speaking here? What, are you here, my Phaedria? Why are you standing here! Why didn't you come into the house at once?

PAR. (whispering to PHAEDRIA.) But not a word about shutting you out!

THAIS. Why are you silent?

PHAED. Of course, it's because[33] this door is always open to me, or because I'm the highest in your favor?

THAIS. Pass those matters by.

PHAED. How pass them by? O Thais, Thais, I wish that I had equal affection with yourself, and that it were in like degree, that either this, might distress you in the same way that it distresses me, or that I might be indifferent at this being done by you.

THAIS. Prithee, don't torment yourself, my life, my Phaedria. Upon my faith, I did it, not because I love or esteem any person more {than you}; but the case was such {that} it was necessary to be done.

PAR. (ironically.) I suppose that, poor thing, you shut him out of doors, for love, according to the usual practice.

THAIS. Is it thus you act, Parmeno? Well, well. (To PHAEDRIA.) But listen— the reason for which I desired you to be sent for hither—

PHAED. Go on.

THAIS. First tell me this; can this fellow possibly hold his tongue? (pointing to PARMENO.)

PAR. What, I? Perfectly well. But, hark you, upon these conditions I pledge my word to you; the truth that I hear, I'm silent upon, and retain it most faithfully; but if I hear what's false and without foundation, it's out at once; I'm full of chinks, and leak in every direction. Therefore, if you wish it to be kept secret, speak the truth.

THAIS. My mother was a Samian; she lived at Rhodes—

PAR. That may be kept a secret.

THAIS. There, at that period, a certain merchant made present to my mother of a little girl, who had been stolen away from Attica here.

PAR. What, a citizen?

THAIS. I think {so}; we do not know for certain: she herself used to mention her mother's and her father's name; her country and other tokens she didn't know, nor, by reason of her age, was she able. The merchant added this: that he had heard from the kidnappers that she had been carried off from Sunium.[34] When my mother received her, she began carefully to teach her every thing, {and} to bring her up, just as though she had been her own daughter. Most persons supposed that she was my sister. Thence I came hither with that stranger, with whom alone at that period I was connected; he left me all which I {now} possess—

PAR. Both these things are false; out it goes.

THAIS. How so?

PAR. Because you were neither content with one, nor was he the only one to make you presents; for he likewise (pointing to PHAEDRIA) brought a pretty considerable share to you.

THAIS. Such is the fact; but do allow me to arrive at the point I wish. In the mean time, the Captain, who had begun to take a fancy to me, set out to Caria;[35] since when, in the interval, I became acquainted with you. You yourself are aware how very dear I have held you; and how I confess to you all my nearest counsels.

PHAED. Nor will Parmeno be silent about that.

PAR. O, is that a matter of doubt?

THAIS. Attend; I entreat you. My mother died there recently; her brother is somewhat greedy after wealth. When he saw that this damsel was of beauteous form and understood music, hoping for a good price, he forthwith put her up for sale, {and} sold her. By good fortune this friend of mine was present; he bought her as a gift to me, not knowing or suspecting any thing of all this. He returned; but when he perceived that I had formed a connection with you as well, he feigned excuses on purpose that he might not give her; he said that if he could feel confidence that he should be preferred to yourself by me, so as not to apprehend that, when I had received her, I should forsake him, {then} he was ready to give her to me; but that he did fear this. But, so far as I can conjecture, he has set his affections upon the girl.

PHAED. Any thing beyond that?

THAIS. Nothing; for I have made inquiry. Now, my Phaedria, there are many reasons why I could wish to get her away from him. In the first place, because she was called my sister; moreover, that I may restore and deliver her to her friends. I am a lone woman; I have no one here, neither acquaintance nor relative; wherefore, Phaedria, I am desirous by my good offices to secure friends. Prithee, do aid me in this, in order that it may be the more easily effected. Do allow him for the few next days to have the preference with me. Do you make no answer?

PHAED. Most vile woman! Can I make you any answer after such behavior as this?

PAR. Well done, my {master}, I commend you; (aside) he's galled at last. (To PHAEDRIA.) You show yourself a man.

PHAED. I was not aware what you were aiming at; "she was carried away from here, {when} a little child; my mother brought her up as though her own; she was called my sister; I wish to get her away, that I may restore her to her friends." The meaning is, that all these expressions, in fine, now amount to this, {that} I am shut out, he is admitted. For what reason? Except that you love him more than me: and now you are afraid of her who has been brought {hither}, lest she should win him, such as he is, from yourself.

THAIS. I, afraid of that?

PHAED. What else, then, gives you concern? Let me know. Is he the only person who makes presents? Have you found my bounty shut against you? Did I not, when you told me that you wished for a servant-maid from AEthiopia,[36] setting all other matters aside, go and seek for one? Then you said that you wanted a Eunuch, because ladies of quality[37] alone make use of them; I found {you one}. I yesterday paid twenty minae[38] for them both. Though slighted by you, I {still} kept these things in mind; as a reward for so doing, I am despised by you.

THAIS. Phaedria, what does this mean? Although I wish to get her away, and think that by these means it could most probably be effected; still, rather than make an enemy of you, I'll do as you request me.

PHAED. I {only} wish that you used that expression from your heart and truthfully, "rather than make an enemy of you." If I could believe that this was said sincerely, I could put up with any thing.

PAR. (aside.) He staggers; how instantaneously is he vanquished by a single expression!

THAIS. I, wretched woman, not speak from my heart? What, pray, did you ever ask of me in jest, but that you carried your point? I am unable to obtain {even} this of you, that you would grant {me} only two days.

PHAED. If, indeed, {it is but} two days; but don't let these days become twenty.

THAIS. Assuredly not more than two days, or—

PHAED. "Or?" I won't have it.

THAIS. It shall not be; only do allow me to obtain this of you.

PHAED. Of course that which you desire must be done.

THAIS. I love you as you deserve; you act obligingly.

PHAED. (to PARMENO.) I shall go into the country; there I shall worry myself for the {next} two days: I'm resolved to do so; Thais must be humored. Do you, Parmeno, take care that they are brought hither.

PAR. Certainly.

PHAED. For the next two days {then}, Thais, adieu.

THAIS. And the same to you, my Phaedria; do you desire aught else?

PHAED. What should I desire? That, present with the Captain, you may be as if absent; that night and day you may love me; may feel my absence; may dream of me; may be impatient for me; may think about me; may hope for me; may centre your delight in me; may be all in all with me; in fine, if you will, be my {very} life, as I am yours.

(Exeunt PHAEDRIA and PARMENO.

SCENE III.

THAIS alone.

THAIS, (to herself.) Ah wretched me![39] perhaps now he puts but little faith in me, and forms his estimate of me from the dispositions of other women.[40] By my troth, I, who know my own self, am very sure of this, that I have not feigned any thing that's false, and that no person is dearer to my heart than this {same} Phaedria; and whatever in the present case I have done, for {this} girl's sake have I done it; for I trust that now I have pretty nearly discovered her brother, a young man of very good family; and he has appointed this day to come to me at my house. I'll go hence in-doors, and wait until he comes. (She goes into her house.)



ACT THE SECOND.

SCENE I.

Enter PHAEDRIA and PARMENO.

PHAED. Mind that those people are taken {there}, as I ordered.

PAR. I'll do {so}.

PHAED. And carefully.

PAR. It shall be done.

PHAED. And with all speed.

PAR. It shall be done.

PHAED. Have you had sufficient instructions?

PAR. Dear me! to ask the question, as though it were a matter of difficulty. I wish that you were able, Phaedria, to find any thing as easily as this present will be lost.

PHAED. Together with it, I {myself} am lost, which concerns me more nearly. Don't bear this with such a feeling of vexation.

PAR. By no means; on the contrary, I'll see it done. But do you order any thing else?

PHAED. Set off my present with words, as far as you can; and so far as you are able, do drive away that rival {of mine} from her.

PAR. Pshaw! I should have kept that in mind, even if you hadn't reminded me.

PHAED. I shall go into the country and remain there.

PAR. I agree with you. (Moves as if going.)

PHAED. But hark you!

PAR. What is it you want?

PHAED. Are you of opinion that I can muster resolution and hold out so as not to come back within the time?

PAR. What, you? Upon my faith, I don't think {so}; for either you'll be returning at once, or by-and-by, at night, want of sleep will be driving you hither.

PHAED. I'll do some {laborious} work, that I may be continually fatigued, so as to sleep in spite of myself.

PAR. When wearied, you will be keeping awake; by this you will be making it worse.

PHAED. Oh, you talk to no purpose, Parmeno: this softness of spirit, upon my faith, must be got rid of; I indulge myself too much. Could I not do without her, pray, if there were the necessity, even for a whole three days?

PAR. Whew! an entire three days! Take care what you are about.

PHAED. My mind is made up. (Exit.

SCENE II.

PARMENO alone.

PAR. (to himself.) Good Gods! What a malady is this! That a man should become so changed through love, that you wouldn't know him to be the same person! Not any one was there[41] less inclined to folly than he, and no one more discreet {or} more temperate. But who is it that's coming this way? Heyday! surely this is Gnatho, the Captain's Parasite; he's bringing along with him the damsel as a present to her. Heavens! How beautiful! No wonder if I make but a sorry figure here to-day with this decrepit Eunuch of mine. She surpasses Thais herself. (Stands aside.)

SCENE III.

Enter GNATHO at a distance, leading PAMPHILA.

GNA. (to himself.) Immortal Gods! how much does one man excel another! What a difference there is between a wise person and a fool! This strongly came into my mind from the following circumstance. As I was coming along to-day, I met a certain person of this place, of my own rank and station, no mean fellow, one who, like myself, had guttled away his paternal estate; I saw him, shabby, dirty, sickly, beset with rags and years; —"What's the meaning of this garb?" said I; {he answered}, "Because, wretch that I am, I've lost what I possessed: see to what I am reduced,— all my acquaintances and friends forsake me." On this I felt contempt for him in comparison with myself. "What!" said I, "you pitiful sluggard, have you so managed matters as to have no hope left? Have you lost your wits together with your estate? Don't you see me, who have risen from the same condition? What a complexion I have, how spruce and well dressed, what portliness of person? I have every thing, {yet} have nothing; and although I possess nothing, still, of nothing am I in want." "But I," {said he}, "unhappily, can neither be a butt nor submit to blows."[42] "What!" {said I}, "do you suppose it is managed by those means? You are quite mistaken. Once upon a time, in the early ages, there was a calling for that class; this is a new mode of coney-catching; I, in fact, have been the first to strike into this path. There is a class of men who strive to be the first in every thing, but are not; to these I make my court; I do not present myself to them to be laughed at; but I am the first to laugh with them, and at the same time to admire their parts: whatever they say, I commend; if they contradict that self-same thing, I commend again. Does any one deny? I deny: does he affirm? I affirm: in fine, I have {so} trained myself as to humor them in every thing. This calling is now by far the most productive."

PAR. (apart.) A clever fellow, upon my faith! From being fools he makes men mad outright.

GNA. (to himself, continuing.) While we were thus talking, in the mean time we arrived at the market-place; overjoyed, all the confectioners ran at once to meet me; fishmongers,[43] butchers, cooks,[44] sausage-makers, {and} fishermen, whom, both when my fortunes were flourishing and when they were ruined, I had served, and often serve {still}: they complimented me, asked me to dinner, {and} gave me a hearty welcome. When this poor hungry wretch saw that I was in such great esteem, and that I obtained a living so easily, then the fellow began to entreat me that I would allow him to learn this {method} of me; I bade him become my follower[45] if he could; as the disciples of the Philosophers take their names from {the Philosophers} themselves, so too, the Parasites ought to be called Gnathonics.

PAR. (apart to the Audience.) Do you see the effects of ease and feeding at another's cost?

GNA. (to himself, continuing.) But why do I delay to take this girl to Thais, and ask her to come to dinner? (Aside, on seeing PARMENO.) But I see Parmeno, our rival's servant, waiting before the door of Thais with a sorrowful air; all's safe; no doubt these people are finding a cold welcome. I'm resolved to have some sport with this knave.

PAR. (aside.) They fancy that, through this present, Thais is {quite} their own.

GNA. (accosting PARMENO.) With his very best wishes Gnatho greets Parmeno, his very good friend. —What are you doing?

PAR. I'm standing.[46]

GNA. {So} I perceive. Pray, do you see any thing here that don't please you?

PAR. Yourself.

GNA. I believe {you},— but any thing else, pray?

PAR. Why so?

GNA. Because you are out of spirits.

PAR. Not in the least.

GNA. {Well}, don't be {so}; but what think you of this slave? (pointing to her.)

PAR. Really, not amiss.

GNA. (aside.) I've galled the fellow.

PAR. (aside, on overhearing him.) How mistaken you are in your notion!

GNA. How far do you suppose this gift will prove acceptable to Thais?

PAR. It's this you mean to say now, that we are discarded there. Hark you, there are vicissitudes in all things.

GNA. For the next six months, Parmeno, I'll set you at ease; you sha'n't have to be running to and fro, or sitting up till daylight. Don't I make you happy?

PAR. Me? O prodigiously!

GNA. That's my way with my friends.

PAR. I commend {you}.

GNA. I'm detaining you; perhaps you were about to go somewhere else.

PAR. Nowhere.

GNA. In that case then, lend me your services a little; let me be introduced to her.

PAR. Very well; (GNATHO knocks at the door, which immediately opens) now the door is open for you, (aside) because you are bringing her.

GNA. (going into the house of THAIS, ironically.) Should you like any one to be called out from here? (Goes in with PAMPHILA, and shuts the door.)

SCENE IV.

PARMENO, alone.

PAR. (to himself.) {Only} let the next two days go by; you who, at present, in such high favor, are opening the door with one little finger, assuredly I'll cause to be kicking at that {door} full oft, with your heels, to no purpose.

Re-enter GNATHO from the house.

GNA. Still standing here, Parmeno? Why now, have you been left on guard here, that no go-between might perchance be secretly running from the Captain to her? (Exit.

PAR. Smartly said; really {they ought to be} wonderful things to please the Captain. But I see my master's youngest son coming this way; I wonder why he has come away from the Piraeus,[47] for he is at present on guard there in the public service. It's not for nothing; he's coming in a hurry, too; I can't imagine why he's looking around in all directions.

SCENE V.

Enter CHAEREA on the other side of the stage, in haste.

CHAE. (to himself.) I'm utterly undone! The girl is nowhere; nor do I know where I am myself, to have lost sight of her. Where to inquire for her, where to search for her, whom to ask, which way to turn, I'm at a loss. I have only this hope; wherever she is, she can not long be concealed. O what beauteous features! from this moment I banish all other women from my thoughts; I can not endure these every-day beauties.

PAR. (apart.) Why look, here's the other one. He's saying something, I don't know what, about love. O unfortunate old man, {their father!} This assuredly is a youth, who, if he does begin, you will say that the other one was mere play and pastime, compared with what the madness of this one will cause.

CHAE. (to himself, aloud.) May all the Gods and Goddesses confound that old fellow who detained me to-day, and me as well who stopped for him, and in fact troubled myself a straw about him. But see, here's Parmeno. (Addressing him.) Good-morrow to you.

PAR. Why are you out of spirits, and why in {such} a hurry? Whence come you?

CHAE. What, I? I'faith, I neither know whence I'm come, nor whither I'm going; so utterly have I lost myself.

PAR. How, pray?

CHAE. I'm in love.

PAR. (starting.) Ha!

CHAE. Now, Parmeno, you may show what sort of a man you are. You know that you often promised me {to this effect}: "Chaerea, do you only find some {object} to fall in love with; I'll make you sensible of my usefulness in such matters," when I used to be storing up my father's provisions for you on the sly in your little room.[48]

PAR. To the point, {you} simpleton.

CHAE. Upon my faith, this is the fact. Now, then, let your promises be made good, if you please, or if indeed the affair is a deserving one for you to exert your energies upon. The girl isn't like our girls, whom their mothers are anxious to have with shoulders kept down, {and} chests well girthed,[49] that they may be slender. If one is a little inclined to plumpness, they declare that she's training for a boxer,[50] {and} stint her food; although their constitutions are good, by their treatment they make them as slight as bulrushes; and so for that reason they are admired, {forsooth}.

PAR. What sort of a girl is this one of yours?

CHAE. A new style of beauty.

PAR. (ironically.) Astounding!

CHAE. Her complexion genuine,[51] her flesh firm and full of juiciness.[52]

PAR. Her age?

CHAE. Her age? Sixteen.

PAR. The very flower of youth.[53]

CHAE. Do you make it your care to obtain her for me either by force, stealth, or entreaty; so that I only gain her, it matters not how to me.

PAR. Well, but to whom does the damsel belong?

CHAE. {That}, i'faith, I don't know.

PAR. Whence did she come?

CHAE. {That}, just as much.

PAR. Where does she live?

CHAE. Nor yet do I know that.

PAR. Where did you see her?

CHAE. In the street.

PAR. How did you come to lose her?

CHAE. Why, that's what I was just now fretting myself about; and I do not believe that there is one individual to whom all good luck is a greater stranger than to myself. What ill fortune this is! I'm utterly undone!

PAR. What's the matter?

CHAE. Do you ask me? Do you know Archidemides, my father's kinsman and years'-mate?

PAR. Why not?

CHAE. He, while I was in full pursuit of her, met me.

PAR. Unseasonably, upon my faith.

CHAE. Aye, unhappily, rather; for other {ordinary} matters are to be called "unseasonable," Parmeno. It would be safe for me to make oath that I have not seen him for fully these six or seven months, until just now, when I least wanted, and there was the least occasion. Come now! isn't this like a fatality? What do you say?

PAR. Extremely {so}.

CHAE. At once he came running up to me, from a considerable distance, stooping, palsied, hanging his lip, {and} wheezing. "Halloo, Chaerea! halloo!" said he; "I've something to say to you." I stopped. "Do you know what {it is} I want with you?" {said he}. "Say on," {said I}. "To-morrow my cause comes on," {said he}. "What then?" "Be sure and tell your father to remember and be my advocate[54] in the morning." In talking of this, an hour elapsed.[55] I inquired if he wanted any thing {else}. "That's all," said he. I left him. When I looked in this direction for the damsel, she had that very instant turned thia way down this street of ours.

PAR. (aside.) It's a wonder if he doesn't mean her who has just now been made a present of to {Thais here}.

CHAE. When I got here, she was nowhere to be seen.

PAR. Some attendants, I suppose, were accompanying the girl?

CHAE. Yes; a Parasite, and a female servant.

PAR. (apart.) It's the very same. (To CHAEREA.) It's all over with you; make an end of it; you've said your last.[56]

CHAE. You are thinking about something else.

PAR. Indeed I'm thinking of this same matter.

CHAE. Pray, tell me, do you know her, or did you see her?

PAR. I did see, {and} I do know her; I am aware to what house she has been taken.

CHAE. What, my {dear} Parmeno, do you know her, and are you aware where she is?

PAR. She has been brought here (pointing) to the house of Thais the Courtesan.[57] She has been made a present to her.

CHAE. What opulent person is it, to be presenting a gift so precious as this?

PAR. The Captain Thraso, Phaedria's rival.

CHAE. An unpleasant business for my brother, it should seem.

PAR. Aye, and if you did but know what present he is pitting against this present, you would say so still more.

CHAE. Troth now, what is it, pray?

PAR. A Eunuch.[58]

CHAE. What! that unsightly creature, pray, that he purchased yesterday, an old woman?

PAR. That very same.

CHAE. To a certainty, the gentleman will be bundled out of doors, together with his present; but I wasn't aware that this Thais is our neighbor.

PAR. It isn't long {since she came}.

CHAE. Unhappy wretch that I am! never to have seen her, even. Come now, just tell me, is she as handsome as she is reported to be?[59]

PAR. Quite.

CHAE. But nothing in comparison with this damsel of mine?

PAR. Another thing altogether.

CHAE. Troth now, Parmeno, prithee do contrive for me to gain possession of her.

PAR. I'll do my best, and use all my endeavors; I'll lend you my assistance. (Going.) Do you want any thing else with me?

CHAE. Where are you going now?

PAR. Home; to take those slaves to Thais, as your brother ordered me.

CHAE. Oh, lucky Eunuch that! really, to be sent as a present to that house! PAR. Why so?

CHAE. Do you ask? Ho will always see at home a fellow-servant of consummate beauty, {and} he conversing with her; he will be in the same house with her; sometimes he will take his meals with her; sometimes sleep near her.

PAR. What now, if you yourself were to be this fortunate person?

CHAE. By what means, Parmeno? Tell me.

PAR. Do you assume his dress.

CHAE. His dress! Well, what then?

PAR. I'll take you there instead of him.

CHAE. (musing.) I hear {you}.

PAR. I'll say that you are he.

CHAE. I understand {you}.

PAR. You may enjoy those advantages which you just now said he {would enjoy}; you may take your meals together with her, be in company with her, touch her, dally with her, {and} sleep by her side; as not one of these women is acquainted with you, nor yet knows who you are. Besides, you are of an age and figure that you may easily pass for a eunuch.

CHAE. You speak to the purpose; I never knew better counsel given. Well, let's go in at once; dress me up, take me away, lead me to her, as fast as you can.

PAR. What do you mean? Really, I was only joking.

CHAE. You talk nonsense.

PAR. I'm undone! Wretch that I am! what have I done? (CHAEREA pushes him along.) Whither are you pushing me? You'll throw me down presently. I entreat you, be quiet.

CHAE. Let's be off. (Pushes him.)

PAR. Do you still persist?

CHAE. I am resolved upon it.

PAR. Only take care that this isn't too rash a project.

CHAE. Certainly it isn't; let me alone for that.

PAR. Aye, but I shall have to pay the penalty[60] for this?

CHAE. Pshaw!

PAR. We shall be guilty of a disgraceful action.

CHAE. What, is it disgraceful[61] to be taken to the house of a Courtesan, and to return the compliment upon those tormentors who treat us and our youthful age so scornfully, and who are always tormenting us in every way;— to dupe them just as we are duped by them? Or is it right and proper that in preference my father should be wheedled {out of his money} by deceitful pretexts? Those who knew of this would blame me; while all would think the other a meritorious act.

PAR. What's to be done in such case? If you are determined to do it, you must do it: but don't you by-and-by be throwing the blame upon me.

CHAEE. I shall not do so.

PAR. Do you order me, {then}?

CHAE. I order, charge, and command you; I will never disavow my authorizing you.

PAR. Follow me; may the Gods prosper it! (They go into the house of LACHES.)



ACT THE THIRD.

SCENE I.

Enter THRASO and GNATHO.

THRA. Did Thais really return me many thanks?

GNA. Exceeding {thanks}.

THRA. Was she delighted, say you?

GNA. Not so much, indeed, at the present itself, as because it was given by you; really, in right earnest, she does exult at that.

Enter PARMENO unseen, from LACHES' house.

PAR. (apart.) I've come here to be on the look-out, that when there is an opportunity I may take {the presents}. But see, here's the Captain.

THRA. Undoubtedly it is the case with me, that every thing I do is a cause for thankfulness.

GNA. Upon my faith, I've observed it.

THRA. The most mighty King,[62] even, always used to give me especial thanks for whatever I did; but not so to others.

GNA. He who has the wit that you have, often by his words appropriates to himself the glory that has been achieved by the labor of others.

THRA. You've just hit it.[63]

GNA. The king, then, kept you in his eye.[64]

THRA. Just so.

GNA. To enjoy your society.

THRA. True; he intrusted {to me} all his army, all his state secrets.

GNA. Astonishing!

THRA. Then if, on any occasion, a surfeit of society, or a dislike of business, came upon him, when he was desirous to take some recreation; just as though— you understand?[65]

GNA. I know; just as though on occasion he would rid his mind of those anxieties.

THRA. You have it. Then he used to take me aside as his only boon companion.

GNA. Whew! You are telling of a King of refined taste.

THRA. Aye, he is a person of that sort; a man of but very few acquaintanceships.

GNA. (aside.) Indeed, of none,[66] I fancy, if he's on intimate terms with you.

THRA. All the people envied me, and attacked me privately. I don't care one straw. They envied me dreadfully; but one in particular, whom {the King} had appointed over the Indian elephants.[67] Once, when he became particularly troublesome, "Prithee, Strato," said I, "are you so fierce because you hold command over the wild beasts?"

GNA. Cleverly said, upon my faith, and shrewdly. Astounding! You did give the fellow a home thrust. What said he?

THRA. Dumfounded, instantaneously.

GNA. How could he be otherwise?

PAR. (apart.) Ye Gods, by our trust in you! a lost and miserable fellow the one, and the other a scoundrel.

THRA. Well then, about that matter, Gnatho, the way in which I touched up the Rhodian at a banquet— did I never tell you?

GNA. Never; but pray, do tell me. (Aside.) I've heard it more than a thousand times already.

THRA. There was in my company at a banquet, this young man of Rhodes, whom I'm speaking of. By chance I had a mistress there; he began to toy with her, and to annoy me. "What are you doing, sir impudence?" said I to the fellow; "a hare yourself, and looking out for game?"[68]

GNA. (pretending to laugh very heartily.) Ha, ha, ha!

THRA. What's the matter?

GNA. How apt, how smart, how clever; nothing {could be} more excellent. Prithee, was this a saying of yours? I fancied it was an old one.

THRA. Did you ever hear it before?

GNA. Many a time; and it is mentioned among the first-rate ones.

THRA. It's my own.

GNA. I'm sorry {though} that it was said to a thoughtless young man, and one of respectability.

PAR. (apart.) May the Gods confound you!

GNA. Pray, what {did} he {do}?

THRA. Quite disconcerted. All who were present were dying with laughter; in short, they were all quite afraid of me.

GNA. Not without reason.

THRA. But hark you, had I best clear myself of this to Thais, as to her suspicion that I'm fond of this girl?

GNA. By no means: on the contrary, rather increase her jealousy.

THRA. Why so?

GNA. Do you ask me? Don't you see, if on any occasion she makes mention of Phaedria or commends him, to provoke you——

THRA. I understand.

GNA. That such may not be the case, this method is the only remedy. When she speaks of Phaedria, do you instantly {mention} Pamphila. If at any time she says, "Let's invite Phaedria to make one," {do} you {say}, "Let's {ask} Pamphila to sing." If she praises his good looks, do you, on the other hand, praise hers. In short, do you return like for like, which will mortify her.

THRA. If, indeed, she loved me,[69] this might be of some use, Gnatho.

GNA. Since she is impatient for and loves that which you give her, she already loves you; as it is, {then}, it is an easy matter for her to feel vexed. She will be always afraid lest the presents which she herself is now getting, you may on some occasion be taking elsewhere.

THRA. Well said; that never came into my mind.

GNA. Nonsense. You never thought about it; else how much more readily would you yourself have hit upon it, Thraso!

SCENE II.

Enter THAIS from her house, attended by PYTHIAS.

THAIS, (as she comes out.) I thought I just now heard the Captain's voice. And look, here he is. Welcome, my {dear} Thraso.

THRA. O my Thais, my sweet one, how are you? How much do you love me in return for that music girl?

PAR. (apart.) How polite! What a beginning he has made on meeting her!

THAIS. Very much, as you deserve.

GNA. Let's go to dinner then. (To THRASO.) What do you stand {here} for?

PAR. (apart.) Then there's the other one: you would declare that he was born for his belly's sake.

THRA. When you please; I sha'n't delay.

PAR. (apart.) I'll accost them, and pretend as though I had just come out. (He comes forward.) Are you going any where, Thais?

THAIS. Ha! Parmeno; well done; {just} going out for the day.

PAR. Where?

THAIS, (aside, pointing at THRASO.) Why! don't you see him?

PAR. (aside.) I see him, and I'm sorry for it. (Aloud.) Phaedria's presents are ready for you when you please.

THRA. (impatiently.) Why are we to stand {here}? Why don't we be off?

PAR. (to THRASO.) Troth now, pray, do let us, with your leave, present to her the things we intend, {and} accost and speak to her.

THRA. (ironically.) Very fine presents, I suppose, or {at least} equal to mine.

PAR. The fact will prove itself. (Goes to the door of LACHES' house and calls.) Ho there! bid those people come out of doors at once, as I ordered.

Enter from the house a BLACK GIRL.

PAR. Do you step forward this way, (To THAIS.) She comes all the way from AEthiopia.

THRA. (contemptuously.) Here are some three minae in value.

GNA. Hardly so much.

PAR. Where are you, Dorus? Step this way.

Enter CHAEREA from the house, dressed like the EUNUCH.

PAR. There's a Eunuch for you— of what a genteel appearance! of what a prime age!

THAIS. God bless me, he's handsome.

PAR. What say you, Gnatho? Do you see any thing to find fault with? And what {say} you, Thraso? (Aside.) They hold their tongues; they praise him sufficiently {thereby}. (To THAIS.) Make trial of him in literature, try him in exercises,[70] and in music; I'll warrant him well skilled in what it becomes a gentleman to know.

THRA. That Eunuch, if occasion served,[71] even in my sober senses, I—

PAR. And he who has sent these things makes no request that you will live for him alone, and that for his own sake others may be excluded; he neither tells of battles nor shows his scars, nor does he restrict you as (looking at THRASO) a certain person does; but when it is not inconvenient, whenever you think fit, whenever you have the time, he is satisfied to be admitted.

THRA. (to GNATHO, contemptuously.) It appears that this is the servant of some beggarly, wretched master.

GNA. Why, faith, no person, I'm quite sure of that, could possibly put up with him, who had the means to get another.

PAR. You hold your tongue— a fellow whom I consider beneath all men of the very lowest grade: for when you can bring yourself to flatter that fellow (pointing at THRASO), I do believe you could pick your victuals out of the {very} flames.[72]

THRA. Are we to go now?

THAIS. I'll take these in-doors first (pointing to CHAEREA and the AETHIOPIAN), and at the same time I'll order what I wish; after that I'll return immediately. (Goes into the house with PYTHIAS, CHAEREA, and the SLAVE.)