THRA. (to GNATHO.) I shall be off. Do you wait for her.

PAR. It is not a proper thing for a general to be walking in the street with a mistress.

THRA. Why should I use many words with you? You are the very ape of your master. (Exit PARMENO.

GNA. (laughing.) Ha, ha, ha!

THRA. What are you laughing at?

GNA. At what you were mentioning just now; that saying, too, about the Rhodian, recurred to my mind. But Thais is coming out.

THRA. You go before; take care that every thing is ready at home.

GNA. Very well. (Exit.

Re-enter THAIS, with PYTHIAS and FEMALE ATTENDANTS.

THAIS. Take care, Pythias, and be sure that if Chremes should happen to come,[73] to beg him to wait; if that is not convenient, then to come again; if he can not do that, bring him to me.

PYTH. I'll do so.

THAIS. Well, what else was I intending to say? O, do you take particular care of that young woman; be sure that you keep at home.

THRA. Let us begone.

THAIS, (to her attendants.) You follow me. (Exeunt THAIS and THRASO, followed by the Attendants. PYTHIAS goes into the house.)

SCENE III.

Enter CHREMES.

CHREM. (to himself.) Why, really, the more and more I think of it, I shouldn't be surprised if this Thais should be doing me {some} great mischief; so cunningly do I perceive myself beset by her. Even on the occasion when she first requested me to be fetched to her (any one might ask me, "What business had you with her?" Really I don't know.) When I came, she found an excuse for me to remain there; she said that she had been offering a sacrifice,[74] and that she was desirous to speak upon some important business with me. Even then I had a suspicion that all these things were being done for her artful purposes. She takes her place beside me; pays every attention to me; seeks an opportunity of conversation. When {the conversation} flagged, she turned off to this point— how long since my father and mother died? I said that it was now a long time ago. Whether I had any country-house at Sunium, and how far from the sea? I suppose that this has taken her fancy, {and} she expects to get it away from me. Then at last, whether any little sister of mine had been lost from there; whether any person was with her; what she had about her when she was lost; whether any one could recognize her. Why should she make these inquiries? Unless, perhaps, she pretends— so great is her assurance— that she herself is the same person that was formerly lost when a little girl. But if she is alive, she is sixteen years old, not older; {whereas} Thais is somewhat older than I am. She has sent to press me earnestly to come. Either let her speak out what she wants, or not be troublesome; I assuredly shall not come a third time (knocking at the door of THAIS). Ho! there, ho! there! Is any one here? It's I, Chremes.

SCENE IV.

Enter PYTHIAS from the house.

PYTH. O most charming, dear creature!

CHREM. (apart.) I said there was a design upon me.

PYTH. Thais entreated you most earnestly to come again to-morrow.

CHREM. I'm going into the country.

PYTH. Do, there's a dear sir.

CHREM. I can not, I tell you.

PYTH. Then stay here at our house till she comes back.

CHREM. Nothing less likely.

PYTH. Why, my dear Chremes? (Taking hold of him.)

CHREM. (shaking her off.) Away to perdition with you!

PYTH. If you are so determined about it, pray do step over to the place where she is.

CHREM. I'll go {there}.

PYTH. (calling at the door.) {Here}, Dorias (DORIAS enters), show this person directly to the Captain's.

(Exit CHREMES with DORIAS, PYTHIAS goes into the house.

SCENE V.

Enter ANTIPHO.

ANT. (to himself.) Yesterday some young fellows of us agreed together at the Piraeus that we were to go shares today in a club-entertainment. We gave Chaerea charge of this matter; our rings were given[75] as {pledges}; the place and time arranged. The time has {now} gone by; at the place appointed there was nothing ready. The fellow himself is nowhere {to be} met with; I neither know what to say nor what to suppose. Now the rest have commissioned me with this business, to look for him. I'll go see, therefore, if he's at home. But who's this, I wonder, coming out of Thais's? Is it he, or is it not? 'Tis the very man! What, sort of being is this? What kind of garb is this? What mischief is going on now? I can not sufficiently wonder or conjecture. But, whatever it is, I should like first at a distance to try and find out. (He stands apart.)

SCENE VI.

Enter CHAEREA from the house of Thais, in the EUNUCH'S dress.

CHAE. (looking around, then aloud to himself.) Is there anybody here? There's no one. Is there any one following me from there? There's not a person. Now am I not at liberty to give vent to these raptures? O supreme Jupiter! now assuredly is the time for me to meet my death,[76] when I can so well endure it; lest my life should sully this ecstasy with some disaster. But is there now no inquisitive person to be intruding upon me, to be following me wherever I go, to be deafening me, worrying me to death, with asking questions; why {thus} transported, or why {so} overjoyed, whither I'm going, whence I'm come, where I got this garb, what is my object, whether I'm in my senses or whether downright mad?

ANT. (apart.) I'll accost him, and I'll do him the favor which I see he's wishing for. (Accosting him.) Chaerea, why are you thus transported? What's the object of this garb? Why is it that you're so overjoyed? What is the meaning of this? Are you quite right in your senses? Why do you stare at me? What have you to say?

CHAE. O joyous day! O welcome, my friend! There's not one in all the world whom I would rather wish to see at this moment than yourself.

ANT. Pray, do tell me what all this means.

CHAE. Nay rather, i'faith, I beg of you to listen to me. Do you know the mistress whom my brother is so fond of?

ANT. I know her; I suppose you mean Thais?

CHAE. The very same.

ANT. So far I recollect.

CHAE. To-day a certain damsel was presented to her. Why now should I extol or commend her beauty to you, Antipho, since you yourself know how nice a judge of beauty I am? I have been smitten by her.

ANT. Do you say so?

CHAE. If you saw her, I am sure you would say she's exquisite. What need of many words? I fell in love with her. By good luck there was at our house a certain Eunuch, whom my brother had purchased for Thais, and he had not as yet been sent to her. On this occasion, Parmeno, our servant, made a suggestion to me, which I adopted.

ANT. What was it?

CHAE. {Be} quiet, {and} you shall hear the sooner; to change clothes with him, and order myself to be taken there in his stead.

ANT. What, instead of the Eunuch?

CHAE. The fact.

ANT. To receive what advantage, pray, from this plan?

CHAE. Do you ask? That I might see, hear, and be in company with her whom I loved, Antipho. Is {that} a slight motive, or a poor reason? I was presented to {the} woman. She, as soon as she received me, joyfully took me home to her house and intrusted the damsel—

ANT. To whom? To you?

CHAE. To me.

ANT. (ironically.) In perfect safety, at all events.

CHAE. She gave orders that we male was to come near her, and commanded me not to stir away from her; that I was to remain alone with her in the inner apartments.[77] Looking bashfully on the ground, I nodded assent.

ANT. (ironically.) Poor fellow!

CHAE. (continuing.) "I am going out," said she, "to dinner." She took her maids with her; a few novices of girls[78] remained, to be about her. These immediately made preparations for her to bathe. I urged them to make haste. While preparations were being made, the damsel sat in a room looking up at a certain painting,[79] in which was represented how Jove[80] is said once to have sent a golden shower into the bosom of Danae. I myself began to look at it as well, and as he had in former times played the like game, I felt extremely delighted that a God should change himself into money, and slily come through the tiles of another person's house, to deceive the fair one by means of a shower. But what God was {this}? He who shakes the most lofty temples of heaven with his thunders. Was I, a poor creature of a mortal,[81] not to do the same? Certainly, I was to do it, and without hesitation. While I was thinking over these matters with myself, the damsel meantime was fetched away to bathe; she went, bathed, and came back; after which they laid her on a couch. I stood waiting to see if they gave me any orders. One came up, "Here, Dorus," said she, "take this fan,[82] and let her have a little air in this fashion, while we are bathing; when we have bathed, if you like, you may bathe too." With a demure air I took it.

ANT. Really, I should very much have liked to see that impudent face of yours just then, and what figure a great donkey like you made, holding a fan!

CHAE. (continuing.) Hardly had she said this, when all, in a moment, betook themselves off: away they went to bathe, and chattered aloud;[83] just as the way is when masters are absent. Meanwhile, sleep overtook the damsel; I slily looked askance[84] through the fan;[85] this way (showing how): at the same time I looked round in all directions, to see whether all was quite safe. I saw that it was. I bolted the door.

ANT. What then?

CHAE. Eh? What then, {you} simpleton?

ANT. I own I am.

CHAE. Was I to let slip the opportunity offered me, so excellent, so short-lived,[86] so longed for, so unexpected. In that case, i'faith, I really should have been the person I was pretending to be.

ANT. Troth, you certainly are in the right; but, meantime, what has been arranged about the club-entertainment?

CHAE. All's ready.

ANT. You are a clever band; but where? At your house?

CHAE. No, at Discus's, our freedman.

ANT. That's a long way off.

CHAE. Then let's make so much the greater haste.

ANT. Change your dress.

CHAE. Where am I to change it? I'm at a loss; for at present I'm an exile from home; I'm afraid of my brother, lest he should be in-doors: and then again of my father, lest he should have returned from the country by this.

ANT. Let's go to my house; there is the nearest place for you to change.

CHAE. You say right. Let's be off; besides, I want to take counsel with you about this girl, by what means I may be able to secure the future possession of her.

ANT. Very well. (Exeunt.



ACT THE FOURTH.

SCENE I.

Enter DORIAS, with a casket in her hand.

DORIAS (to herself.) So may the Gods bless me, but from what I have seen, I'm terribly afraid that this mad fellow will be guilty of some disturbance to-day or of some violence to Thais. For when this young man, the brother of the damsel, arrived, she begged the Captain to order him to be admitted; he immediately began to get into a passion, and yet didn't dare refuse; Thais still insisted that he would invite the man in. This she did for the sake of detaining him; because there was no opportunity {just then} of telling him what she wanted to disclose about her sister. He was invited in, and took his seat. Then she entered into discourse with him. But the Captain, fancying it was a rival brought before his {very} eyes, wanted in his turn to mortify her: "Hark you, boy," said he, "go fetch Pamphila, that she may amuse us here." She exclaimed, "At a banquet! Certainly not." The Captain still persisted to a downright quarrel. Meanwhile my mistress secretly took off her golden {jewels},[87] and gave them to me to take away: this is a sign, I'm sure, that she'll betake herself from there as soon as she possibly can.

(Goes into the house.)

SCENE II.

Enter PHAEDRIA.

PHAED. (to himself.) While I was going[88] into the country, I began on the road, as it mostly happens when there is any anxiety on the mind, to reflect with myself upon one thing after another, and upon every thing in the worst light. What need of words? While I was musing thus, inadvertently I passed my country-house. I had already got some distance from it, when I perceived this; I returned again, really feeling quite uneasy; when I came to the very turning that leads to {the house}, I came to a stop, {and} began to reason with myself; "What! must I stay here alone for two days without her? Well, and what then? It's nothing at all. What? Nothing at all? Well now, if I haven't the privilege of touching her, am I not even to have that of seeing her? If I may not do the one, at least I may the other. Surely to love at a distance[89] {even}, is better than nothing at all." I purposely passed the house. But how's this, that Pythias is suddenly hurrying out in such a fright? (Stands apart.)

SCENE III.

Enter PYTHIAS and DORIAS in haste from the house of THAIS.

PYTH. (aloud.) Where, wretch that I am, shall I find this wicked and impious fellow? Or where look for him? That he should dare to commit so audacious a crime as this! I'm ruined outright!

PHAED. (apart.) I dread what this may be.

PYTH. Besides, too, the villain, after he had abused the girl, rent all the poor thing's clothes, and tore her hair as well.

PHAED. (apart, in surprise.) Ha!

PYTH. If he were just now in my reach, how eagerly would I fly at that villain's eyes with my nails!

PHAED. (apart.) Really I can't imagine what disturbance has happened to us at home in my absence. I'll accost them. (Going up to them.) What's the matter? Why in such haste? Or whom are you looking for, Pythias?

PYTH. Why, Phaedria, whom should I be looking for? Away with you, as you deserve, with such fine presents of yours.

PHAED. What is the matter?

PYTH. What, do you ask? The Eunuch you gave us, what confusion he has caused. He has ravished the girl whom the Captain made present of to my mistress.

PHAED. What is it you say?

PYTH. I'm ruined outright!

PHAED. You are drunk.

PYTH. I wish that they were so, who wish ill to me.

DORIAS. Oh, prithee, my {dear} Pythias, what a monstrous thing this is!

PHAED. You are out of your senses. How could a Eunuch possibly do this?

PYTH. I know nothing about him: as to what he has done, the thing speaks for itself. The girl is in tears; and when you ask her what's the matter, she does not dare tell. But he, a precious fellow, is nowhere to be seen. To my sorrow I suspect too, that when he took himself off he carried something away from the house.

PHAED. I can not enough wonder, whither this varlet can possibly have betaken himself to any distance from here; unless perhaps he has returned home to our house.

PYTH. Pray, go and see whether he is there.

PHAED. I'll let you know immediately. (Goes into the house of LACHES.)

DORIAS. Ruined outright! Prithee, my dear, I never did so much as hear of a deed so abominable!

PYTH. Why, faith, I had heard that they were extremely fond of the women, but were incapable; unfortunately {what has happened} never came into my mind; otherwise I should have shut him up somewhere, and not have intrusted the girl to him.

SCENE IV.

Enter PHAEDRIA from the house of LACHES, with DORUS in CHAEREA'S clothes.

PHAED. (dragging him out.) Come out, you villain! What, do you lag behind, you runaway? Out with you, you sorry bargain!

DORUS (crying out.) Mercy, I do entreat you!

PHAED. Oh, do look at that! How the villain distorts his face. What means your coming back hither? Why this change of dress? What have you to say? If I had delayed a moment, Pythias, I shouldn't have found him at home: he had just prepared, in this fashion, for flight. (Pointing at his dress.)

PYTH. Have you caught the fellow, pray?

PHAED. Caught him, why not?

PYTH. O well done!

DORIAS. Upon my faith that really is capital!

PYTH. Where is he?

PHAED. Do you ask the question? Don't you see him? (Pointing to the EUNUCH.)

PYTH. (staring about.) See whom, pray?

PHAED. This fellow, to be sure (pointing).

PYTH. What person is this?

PHAED. The same that was brought to your house to-day.

PYTH. Not one of our people has ever beheld this person with her eyes, Phaedria.

PHAED. Not beheld him?

PYTH. Prithee, did you fancy that this was he who was brought to our house?

PHAED. Why, I had no other.

PYTH. O dear! this one really isn't to be compared with the other. He was of a handsome and genteel appearance.

PHAED. He seemed {so}, just then, because he was decked out in party-colored clothes:[90] now he appears ugly, for this reason— because he hasn't got them on.

PYTH. Prithee, do hold your tongue; as though indeed the difference was so trifling. A young man was brought to our house to-day, whom, really, Phaedria, you would have liked to look upon. This is a withered, antiquated, lethargic, old fellow, with a speckled complexion.[91]

PHAED. (starting.) Hah! What tale is this? You'll so be-fool me that I sha'n't know what I bought. (To DORUS.) How now, sirrah, did I not buy you?

DORUS. You did buy {me}.

PYTH. Bid him answer me in my turn.

PHAED. Question {him}.

PYTH. (to DORUS.) Did you come here to-day to our house? (DORUS shakes his head.) He says, no. But it was the other one that came, about sixteen years of age; whom Parmeno brought with him.

PHAED. (to DORUS.) Well now, in the first place tell me this, where did you get that dress that you have on? What, are you silent? Monster of a fellow, are you not going to speak (Shakes him.)

DORUS. Chaerea came.

PHAED. What, my brother?

DORUS. Yes.

PHAED. When?

DORUS. To-day.

PHAED. How long since?

DORUS. Just now.

PHAED. With whom?

DORUS. With Parmeno.

PHAED. Did you know him before?

DORUS. No.

PHAED. How did you know he was my brother?

DORUS. Parmeno said he was. He gave me these clothes.

PHAED. I'm undone!

DORUS. He himself put on mine; afterward, they both went out together.

PYTH. Now are you quite satisfied that I am sober, and that we have told you no falsehood? Is it now sufficiently evident that the girl has been ravished?

PHAED. Avaunt, you beast, do you believe what he says?

PYTH. What is there to believe? The thing speaks for itself.

PHAED. (apart to DORUS.) Step aside a little this way. Do you hear? (DORUS steps aside.) A little further still. That will do. Now tell me this once more; did Chaerea take your clothes off you?

DORUS. He did.

PHAED. And did he put them on?

DORUS. He did.

PHAED. And was he brought here instead of you?

DORUS. Yes.

PHAED. Great Jupiter! O wicked and audacious fellow!

PYTH. Woe unto me! Now at last will you believe that we have been insulted in a disgraceful manner?

PHAED. It is no wonder that you believe what the fellow says. (Aside.) What I'm to do I know not. (Aside to DORUS.) Hark you, deny {it all} again. (Aloud.) Can I not this day extract the truth from you? Did you {really} see my brother Chaerea?

DORUS. No.

PHAED. He can't be brought to confess without being punished, I see: follow me this way. At one moment he affirms, at another denies. (Aside.) Ask pardon of me.

DORUS. Indeed, I do entreat you, Phaedria.

PHAED. (kicking him.) Be off in-doors.

DORUS. Oh! oh!

PHAED. (aside.) How in any other fashion to get decently out of this I don't know; for really it's all up {with me}. (Aloud, with pretended indignation.) Will you be trifling with me even here, you knave? (Follows DORUS into the house.)

SCENE V.

PYTHIAS and DORIAS.

PYTH. I'm as certain that this is the contrivance of Parmeno as that I'm alive.

DORIAS. So it is, {no doubt}.

PYTH. I'faith, I'll find out a method to-day to be even with him. But now, what do you think ought to be done, Dorias?

DORIAS. Do you mean with regard to this girl?

PYTH. Yes; whether I ought to mention it or be silent?

DORIAS. Upon my word, if you are prudent, you won't know what you do know, either about the Eunuch or the girl's misfortune. By this method you'll both rid yourself of all perplexity, and have done a service to her.[92] Say this only, that Dorus has run away.

PYTH. I'll do so.

DORIAS. But don't I see Chremes? Thais will be here just now.

PYTH. Why so?

DORIAS. Because when I came away from there, a quarrel had just commenced between them.

PYTH. Take in these golden {trinkets}; I shall learn from him what's the matter. (DORIAS takes the casket into the house.)

SCENE VI.

Enter CHREMES, somewhat drunk.

CHREM. Heyday! upon my faith, I've been bamboozled: the wine that I've drunk has got the upper hand. But, so long as I was reclining, how extremely sober I did seem to myself to be; when I got up, neither feet nor senses were quite equal to their duty.

PYTH. Chremes!

CHREM. (turning round.) Who's that? What, Pythias; dear me, how much more charming you now seem to me than a short time since!

PYTH. Troth now, you are much more merry, that's certain.

CHREM. Upon my faith, it is a true saying, that "Venus grows cold without Ceres and Bacchus." But has Thais got here long before me?

PYTH. Has she already come away from the Captain's?

CHREM. A long time ago; an age since. There has been a most violent quarrel between them.

PYTH. Did she say nothing about you following her?

CHREM. Nothing at all; only, on going away, she gave me a nod.

PYTH. Well now, wasn't that enough?

CHREM. Why, I didn't know that she meant that, until the Captain gave me an explanation, because I was dull of comprehension; for he bundled me out of the house. But look, here she is; I wonder how it was I got here before her.

SCENE VII.

Enter THAIS.

THAIS. (to herself.) I really do believe that he'll be here presently, to force her away from me. Let him come; but if he touches her with a single finger, that instant his eyes shall be torn out. I can put up with his impertinences and his high-sounding words, as long as they remain words: but if they are turned into realities, he shall get a drubbing.

CHREM. Thais, I've been here some time.

THAIS. O my {dear} Chremes, you are the very person I was wanting. Are you aware that this quarrel took place on your account, and that the whole of this affair, in fact, bore reference to yourself?

CHREM. To me? How so, pray?

THAIS. Because, while I've been doing my best to recover and restore your sister to you, this and a great deal more like it I've had to put up with.

CHREM. Where is she?

THAIS. At home, at my house.

CHREM. (starting.) Hah!

THAIS. What's the matter? She has been brought up in a manner worthy of yourself and of her.

CHREM. What is it you say?

THAIS. That which is the fact. Her I present to you, nor do I ask of you any return for her.

CHREM. Thanks are both felt and shall be returned in such way, Thais, as you deserve.

THAIS. But still, take care, Chremes, that you don't lose her, before you receive her from me; for it is she, whom the Captain is now coming to take away from me by force. Do you go, Pythias, and bring out of the house the casket with the tokens.[93]

CHREM. (looking down the side Scene.) Don't you see him, Thais?

PYTH. (to THAIS.) Where is it put?

THAIS. In the clothes' chest. Tiresome {creature}, why do you delay? (PYTHIAS goes into the house.)

CHREM. What a large body of troops the Captain is bringing with him against you. Bless me!

THAIS. Prithee, are you frightened, my {dear} sir?

CHREM. Get out with you. What, I frightened? There's not a man alive less so.

THAIS. Then now is the time to prove it.

CHREM. Why, I wonder what sort of a man you take me to be.

THAIS. Nay, and consider this too; the person that you have to deal with is a foreigner;[94] of less influence than you, less known, and one that has fewer friends here.

CHREM. I'm aware of that; but it's foolish to run the risk of what you are able to avoid. I had rather we should prevent it, than, having received an injury, avenge ourselves upon him. Do you go in and fasten the door, while I run across hence to the Forum; I should like us to have the aid of some legal adviser in this disturbance. (Moves, as if going.)

THAIS. (holding him.) Stay.

CHREM. Let me go, I'll be here presently.

THAIS. There's no occasion, Chremes. Only say that she is your sister, and that you lost her {when} a little girl, {and} have now recognized her; {then} show the tokens.

Re-enter PYTHIAS from the house, with the trinkets.

PYTH. (giving them to THAIS.) Here they are.

THAIS. (giving them to CHREMES.) Take them. If he offers any violence, summon the fellow to justice; do you understand me?

CHREM. Perfectly.

THAIS. Take care and say this with presence of mind.

CHREM. I'll take care.

THAIS. Gather up your cloak. (Aside.) Undone! the very person whom I've provided as a champion, wants one himself. (They all go into the house.)

SCENE VIII.

Enter THRASO, followed by GNATHO, SANGA, and other Attendants.

THRA. Am I to submit, Gnatho, to such a glaring affront as this being put upon me? I'd die sooner. Simalio, Donax, Syriscus, follow me! First, I'll storm the house.

GNA. Quite right.

THRA. I'll carry off the girl.

GNA. Very good.

THRA. I'll give her own self a mauling.

GNA. Very proper.

THRA. (arranging the men.) Advance hither to the main body, Donax, with your crowbar; you, Simalio, to the left wing; you, Syriscus, to the right. Bring up the rest; where's the centurion Sanga, and his maniple[95] of rogues?

SAN. (coming forward.) See, here he is.

THRA. What, you booby, do you think of fighting with a dish-clout,[96] to be bringing that here?

SAN. What, I? I knew the valor of the general, and the prowess of the soldiers; {and} that this could not possibly go on without bloodshed; how was I to wipe the wounds?

THRA. Where are the others?

SAN. Plague on you, what others? Sannio is the only one left on guard at home.

THRA. (to GNATHO.) Do you draw up your men in battle order; I'll be behind the second rank;[97] from that position I'll give the word to all. (Takes his place behind the second rank.)

GNA. (aside.) That's showing prudence; as soon as he has drawn them up, he secures a retreat for himself.

THRA. (pointing to the arrangements.) This is just the way Pyrrhus used to proceed.[98]

CHREMES and THAIS appear above at a window.

CHREM. Do you see, Thais, what plan he is upon? Assuredly, that advice of mine about closing the door was good.

THAIS. He who now seems to you to be a hero, is in reality a mere vaporer; don't be alarmed.

THRA. (to GNATHO.) What seems {best to you}?

GNA. I could very much[99] like a sling to be given you just now, that you might pelt them from here on the sly at a distance; they would be taking to flight.

THRA. (to GNATHO.) But look (pointing), I see Thais there herself.

GNA. How soon are we to fall to?

THRA. Hold (holding him back); it behooves a prudent person to make trial of every thing before arms. How do you know but that she may do what I bid her without compulsion?

GNA. Ye Gods, by our trust in you, what a thing it is to be wise! I never come near you but what I go away from you the wiser.

THRA. Thais, in the first place, answer me this. When I presented you that girl, did you not say that you would give yourself up to me alone for some days to come?

THAIS. Well, what then?

THRA. Do you ask the question? You, who have been and brought your lover under my very eyes? What business had you with him? With him, too, you clandestinely betook yourself away from me.

THAIS. I chose {to do so}.

THRA. Then give me back Pamphila; unless you had rather she were taken away by force.

CHREM. Give her back to you, or you lay hands upon her? Of all the—

GNA. Ha! What are you about? Hold your tongue.

THRA. What do you mean? Am I not to touch my own?

CHREM. Your own, indeed, {you} gallows-bird![100]

GNA. (to CHREMES.) Have a care, if you please. You don't know what kind of man you are abusing now.

CHREM. (to GNATHO.) Won't you be off from here? Do you know how matters stand with you? If you cause any disturbance here to-day, I'll make you remember the place, and day, and me too, for the rest of your life.

GNA. I pity you, who are making so great a man as this your enemy.

CHREM. I'll break your head this instant if you are not off.

GNA. Do you really say so, puppy? Is it that you are at?

THRA. (to CHREMES.) What fellow are you? What do you mean? What business have you with her?

CHREM. I'll let you know: in the first place, I assert that she is a freeborn woman.

THRA. (starting.) Ha!

CHREM. A citizen of Attica.

THRA. Whew!

CHREM. My own sister.

THRA. Brazen face!

CHREM. Now, therefore, Captain, I give you warning; don't you use any violence toward her. Thais, I'm going to Sophrona, the nurse, that I may bring her here and show her these tokens.

THRA. What! Are you to prevent me from touching what's my own?

CHREM. I will prevent it, I tell you.

GNA. (to THRASO.) Do you hear him? He is convicting himself of theft. Is not that enough for you?

THRA. Do you say the same, Thais?

THAIS. Go, find some one to answer you. (She and CHREMES go away from the window.)

THRA. (to GNATHO.) What are we to do now?

GNA. Why, go back again: she'll soon be with you, of her own accord, to entreat forgiveness.

THRA. Do you think so?

GNA. Certainly, yes. I know the disposition of women: when you will, they won't; when you won't, they set their hearts upon you of their own inclination.

THRA. You judge right.

GNA. Shall I dismiss the army then?

THRA. Whenever you like.

GNA. Sanga, as befits gallant soldiers,[101] take care in your turn to remember your homes and hearths.

SAN. My thoughts have been for some time among the sauce-pans.

GNA. You are a worthy fellow.

THRA. (putting himself at their head.) You follow me this way.

(Exeunt omnes.



ACT THE FIFTH.

SCENE I.

Enter THAIS from her house, followed by PYTHIAS.

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

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

THAIS. What was he then?

PYTH. That Chaerea.

THAIS. What Chaerea?

PYTH. That stripling, the brother of Phaedria.

THAIS. What's that you say, you hag?

PYTH. And I am satisfied of it.

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

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

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

PYTH. I believe so.

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

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

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

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

THAIS. Where is he?

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

THAIS. I see.

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

THAIS. What can we do to him, simpleton?

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

THAIS. Not at all.

PYTH. Besides, what effrontery he has.

SCENE II.

Enter CHAEREA, in the EUNUCH'S dress, on the other side of the stage.

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

THAIS, (to PYTHIAS.) Let's accost him. (To CHAEREA.) Good Mister Dorus, welcome; tell me, have you been running away?

CHAE. Madam, I did so.

THAIS. Are you quite pleased with it?

CHAE. No.

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

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

THAIS. Were you in fear of my severity?

CHAE. No.

THAIS. No? What then?

CHAE. (pointing at PYTHIAS.) I was afraid of her, lest she might be accusing me to you.

THAIS. What had you done?

CHAE. A mere trifle.

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

CHAE. I took her for my fellow-servant.

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

THAIS, (to PYTHIAS.) Won't you begone from here, you mad woman?

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

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

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

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

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

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

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

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

CHAE. I would not dare—

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

THAIS, (to PYTHIAS.) Do have done.

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

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

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

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

CHAE. I certainly will stay.

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

CHAE. Why yes, I should like it much.

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

THAIS. Why, what's the matter?

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

THAIS. Why not?

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

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

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

CHAE. I'll not do any thing, Pythias.

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

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

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

THAIS. Most opportunely the brother himself is coming.

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

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

CHAE. Just so.

PYTH. Just so? But the young woman——

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

SCENE III.

Enter CHREMES and SOPHRONA.

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

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

SOPH. I am bestirring.

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

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

CHREM. All of them.

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

CHREM. Yes, with a full recollection of them.

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

SCENE IV.

Enter PARMENO.

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

SCENE V.

Enter PYTHIAS from the house.

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

PAR. What's the matter?

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

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

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

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

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

PAR. I didn't know {that}.

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

PAR. Did what, pray?

PYTH. First, bound him in a shocking manner.

PAR. Bound him?

PYTH. And even though Thais entreated him that he wouldn't do so——

PAR. What is it you tell me?

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

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

PYTH. How "so heinous?"

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

PYTH. I don't know.

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

PYTH. How! Prithee, is it he?

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

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

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

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

SCENE VI.

Enter LACHES.

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

PAR. (pretends not to see him.) Who is it? (Turning round.) Oh, I'm glad that you have returned safe.

LACH. Whom are you waiting for?

PAR. (aside.) I'm undone: my tongue cleaves {to my mouth} through fright.

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

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

LACH. What {is it}?

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

LACH. To what woman?

PAR. To Thais.

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

PAR. Twenty minae.

LACH. Done for, quite.

PAR. Then, Chaerea is in love with a certain music-girl here. (Pointing to THAIS'S house.)

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

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

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

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

LACH. In place of the Eunuch?

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

LACH. Death!

PAR. Mark the assurance of courtesans.

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

PAR. That's all.

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

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

SCENE VII.

Enter PYTHIAS from the house of THAIS, laughing.

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

PAR. (apart). Why, what's all this?

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

PAR. (apart.) She's looking for me.

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

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

PYTH. (laughing.) I'm dying; I'm wretchedly tired with laughing at you.

PAR. Why so?

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

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

PYTH. (laughing.) Very much so.

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

PYTH. Exactly so.

PAR. By heavens, I'll repay you!

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

PAR. I'm done for!

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

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

SCENE VIII.

Enter THRASO and GNATHO.

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

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

GNA. What is it you say?

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

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

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

SCENE IX.

Enter CHAEREA from the house of THAIS, on the other side of the stage.

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

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

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

PAR. I have heard {so}.

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

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

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

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

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

CHAE. Of course.

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

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

PAR. I'll go look for him at home. (Goes into the house of LACHES.)

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

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

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

SCENE X.

Enter PHAEDRIA from the house of LACHES.

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

CHAE. (stepping forward.) Here he is.

PHAED. I'm overjoyed.

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

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

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

GNA. (apart.) What do you wish me to do?

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

GNA. (apart.) It's a hard task.

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

GNA. (apart.) Is it so?

THRA. (apart.) It shall be so.

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

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

GNA. (apart.) I'll set about it {then}.

PHAED. Who is it I hear so close at hand? (Turning round.) O Thraso—

THRA. (coming forward.) Save you {both}—

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

THRA. I am quite aware.

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

THRA. Depending on your {kindness}.

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

GNA. Come, come, that's not handsome.

PHAED. I've said it.

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

PHAED. So it shall be.

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

PHAED. Let's hear.

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

PHAED. What is it?

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

PHAED. (starting.) Hah!

CHAE. Be received?

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

CHAE. (to PHAEDRIA.) What shall we do?

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

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

PHAED. I think so too.

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

PHAED. We admit you.

CHAE. And with all my heart.

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

CHAE. Agreed.

PHAED. He quite deserves it.[114]

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

THRA. Prithee, how goes it?

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

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

GNA. (to PHAEDRIA and CHAEREA.) Didn't I tell you that he was a master of the Attic elegance?

PHAED. He is no other than you mentioned. (Pointing to his FATHER'S house.) Walk this way. (To the AUDIENCE.) Fare you well, and grant us your applause.



FOOTNOTES

[Footnote 1: From lanchano, "to obtain by lot" or "heirship."]

[Footnote 2: From phaidros, "cheerful."]

[Footnote 3: From chairon, "rejoicing."]

[Footnote 4: From anti, "opposite to," and phos, "light," or phemi, "to speak."]

[Footnote 5: From chremizo, "to neigh;" delighting in horses.]

[Footnote 6: From thrasos, "boldness."]

[Footnote 7: From gnathos, "the jawbone;" a glutton.]

[Footnote 8: From para, "by," and meno, "to remain."]

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

[Footnote 10: From donax, "a reed."]

[Footnote 11: From simos, "flat-nosed."]

[Footnote 12: From Syria, his country; or from suriskos, "a basket of figs."]

[Footnote 13: From theaomai, "to look at."]

[Footnote 14: From puthomene, "asking questions."]

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

[Footnote 16: From sophron, "prudent."]

[Footnote 17: From pan, "all," and philos, "a friend."]

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

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

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

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

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

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

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

'Athenienses, bellum cum Rhodiensibus, Quod fuerit, quid ego praedicem?'

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

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

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

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

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

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

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

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

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

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

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

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

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

[Footnote 37: Ladies of quality)—Ver. 168. "Reginae," literally "queens," here means women of rank and distinction.]

[Footnote 38: Paid twenty minae)—Ver. 169. The "minae" contained one hundred "drachmae" of about 93/4d. each.]

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

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

[Footnote 41: Not any one was there)—Ver. 226-7. Very nearly the same words as these occur in the Mostellaria of Plautus, l. 29, 30: "Than whom, hitherto, no one of the youth of all Attica has been considered more temperate or equally frugal."]

[Footnote 42: Nor submit to blows)—Ver. 244. It has been remarked in the Notes to the Translation of Plautus that the Parasites had, in consequence of their state of dependence, to endure blows and indignities from their fellow-guests. Their attempts to be "ridiculi" or "drolls" were made in order to give some small return to their entertainers. See especially the character of Gelasimus in the Stichus of Plautus, and the words of Ergasilus in the Captivi, l. 88, 90. Diderot, as quoted by Colman, observes: "This is the only Scene in Terence which I remember that can be charged with being superfluous. Thraso has made a present to Thais of a young girl. Gnatho is to convey her. Going along with her, he amuses himself with giving the Spectators a most agreeable eulogium on his profession. But was that the time for it? Let Gnatho pay due attention on the stage to the young woman whom he is charged with, and let him say what he will to himself, I consent to it."]

[Footnote 43: Fishmongers)—Ver. 257. "Cetarii;" strictly speaking, "dealers in large fish."]

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

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

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

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

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

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

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

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

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

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

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

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

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

[Footnote 55: An hour elapsed)—Ver. 341. "Hora" is here used to signify the long time, that, in his impatience, it appeared to him to be.]

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

[Footnote 57: Thais the Courtesan)—Ver. 352. Cooke remarks here, somewhat hypercritically as it would seem: "Thais is not called 'meretrix' here opprobriously, but to distinguish her from other ladies of the same name, who were not of the same profession."]

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

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

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

[Footnote 61: Is it disgraceful)—Ver. 382. Donatus remarks that here Terence obliquely defends the subject of the Play.]

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

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

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

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

[Footnote 66: Indeed, of none)—Ver. 410. "Immo, nullorum arbitror, si tecum vivit." This expression which is used "aside," has two meanings, neither of which is complimentary to the Captain. It may mean, "he has no society if he associates with you," making the Captain equivalent to nobody; or it may signify, "if he associates with you he'll be sure to drive all his other acquaintances away."]

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

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

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

[Footnote 70: In exercises)—Ver. 477. Reference will be found made to the "palaestrae," or "places of exercise," in the Notes to the Translation of Plautus.]

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

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

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

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

[Footnote 75: Our rings were given)—Ver. 541. It was the custom of parties who agreed to join in a "symbola," or "club" or "picnic" entertainment, to give their rings as pledges to the "rex convivii," or "getter up the feast." Stakes were also deposited on making bets at races. See Ovid's Art of Love, B. i., l. 168.]

[Footnote 76: To meet my death)—Ver. 550. There is a passage in the Othello of Shakspeare extremely similar to this:

—"If I were now to die, I were now to be most happy; for, I fear, My soul hath her content so absolute, That not another comfort, like to this, Succeeds in unknown fate."]

[Footnote 77: In the inner apartments)—Ver. 579. The "Gynecaea," or women's apartments, among the Greeks, always occupied the interior part of the house, which was most distant from the street, and there they were kept in great seclusion.]

[Footnote 78: A few novices of girls)—Ver. 582. These "noviciae" were young slaves recently bought, and intended to be trained to the calling of a Courtesan.]

[Footnote 79: At a certain painting)—Ver. 584. See the story of Jupiter and Danae, the daughter of Acrisius, king of Argos, in the Metamorphoses of Ovid, B. iv., l. 610. Pictures of Venus and Adonis, and of Jupiter and Ganymede, are mentioned in the Menaechmi of Plautus; l. 144, and paintings on the walls are also mentioned in the Mostellaria of Plantus, l. 821, where Tranio tries to impose upon Theuropides by pretending to point out a picture of a crow between two vultures.]

[Footnote 80: How Jove)—Ver. 584. Donatus remarks here that this was "a very proper piece of furniture for the house of a Courtesan, giving an example of loose and mercenary love, calculated to excite wanton thoughts, and at the same time hinting to the young lover that he must make his way to the bosom of his mistress, like Jupiter to Danae, in a shower of gold. Oh the avarice of harlots!"]