SYR. What is your design?

CHREM. I am not at all angry either with you (to SYRUS), or with you (to CLITIPHO); nor is it fair that you {should be so} with me for what I am doing. (He goes into his house.)

SYR. He's gone. I wish I had asked him——

CLIT. What, Syrus?

SYR. Where I am to get my subsistence; he has so utterly cast us adrift. You are to have it, for the present, at your sister's, I find.

CLIT. Has it then come to this pass, Syrus— that I am to be in danger even of starving?

SYR. So we only live, there's hope——

CLIT. What {hope}?

SYR. That we shall be hungry enough.

CLIT. Do you jest in a matter so serious, and not give me any assistance with your advice?

SYR. On the contrary, I'm both now thinking of that, and have been about it all the time your father was speaking just now; and so far as I can perceive——

CLIT. What?

SYR. It will not be wanting long. (He meditates.)

CLIT. What is it, then?

SYR. It is this— I think that you are not their {son}.

CLIT. How's that, Syrus? Are you quite in your senses?

SYR. I'll tell you what's {come} into my mind; be you the judge. While they had you alone, while they had no other source of joy more nearly to affect them, they indulged you, they lavished upon you. Now a daughter has been found, a pretense has been found in fact on which to turn you adrift.

CLIT. It's very probable.

SYR. Do you suppose that he is so angry on account of this fault?

CLIT. I do not think {so}.

SYR. Now consider another thing. All mothers are wont to be advocates for their sons when in fault, {and} to aid them against a father's severity; 'tis not so {here}.

CLIT. You say true; what then shall I now do, Syrus?

SYR. Question them on this suspicion; mention the matter without reserve; either, if it is not true, you'll soon bring them both to compassion, or else you'll {soon} find out whose son you are.

CLIT. You give good advice; I'll do so. (He goes into the home of CHREMES.)

SYR. (to himself.) Most fortunately did this come into my mind. For the less hope the young man entertains, the greater the difficulty with which he'll bring his father to his own terms. I'm not sure even, that he may not take a wife, and {then} no thanks for Syrus. But what is this? The old man's coming out of doors; I'll be off. What has so far happened, I am surprised at, that he didn't order me to be carried off from here: now I'll away to Menedemus here, I'll secure him as my intercessor; I can put no trust in our old man. (Goes into the house of MENEDEMUS.)

SCENE III.

Enter CHREMES and SOSTRATA from the house.

SOS. Really, sir, if you don't take care, you'll be causing some mischief to your son; and indeed I do wonder at it, my husband, how any thing so foolish could ever come into your head.

CHREM. Oh, you persist in being the woman? Did I ever wish for any one thing in {all} my life, Sostrata, but that you were my contradicter on that occasion? And yet if I were now to ask you what it is that I have done amiss, or why you act thus, you would not know in what point you are now so obstinately opposing me in your folly.

SOS. I, not know?

CHREM. Yes, rather, {I should have said} you do know; inasmuch as either expression amounts to the same thing.[101]

SOS. Alas! you are unreasonable to expect me to be silent in a matter of such importance.

CHREM. I don't expect it; talk on then, I shall still do it not a bit the less.

SOS. Will you do it?

CHREM. Certainly.

SOS. Don't you see how much evil you will be causing by that course? —He suspects himself {to be} a foundling.

CHREM. Do you say {so}?

SOS. Assuredly it will be so.

CHREM. Admit it.

SOS. Hold {now}— prithee, let that be for our enemies. Am I to admit that he is not my son who {really} is?

CHREM. What! are you afraid that you can not prove that he is yours, whenever you please?

SOS. Because my daughter has been found?[102]

CHREM. No; but for {a reason} why it should be much sooner believed— because he is just like you in disposition, you will easily prove that he is your child; for he is exactly like you; why, he has not a single vice left him but you have just the same. Then, besides, no woman could have been the mother of such a son but yourself. But he's coming out of doors, {and} how demure! When you understand the matter, you may form your own conclusions.

SCENE IV.

Enter CLITIPHO from the house of CHREMES.

CLIT. If there ever was any time, mother, when I caused you pleasure, being called your son by your own desire, I beseech you to remember it, and now to take compassion on me in my distress. A thing I beg and request— do discover to me my parents.

SOS. I conjure you, my son, not to entertain that {notion} in your mind, that you are another person's child.

CLIT. I am.

SOS. Wretch that I am! (Turning to CHREMES.) Was it this that you wanted, pray? (To CLITIPHO.) So may you be the survivor of me and of him, you are my son and his; and henceforth, if you love me, take care that I never hear that speech from you {again}.

CHREM. But I {say}, if you fear me, take care how I find these propensities existing in you.

CLIT. What {propensities}?

CHREM. If you wish to know, I'll tell you; being a trifler, an idler, a cheat, a glutton, a debauchee, a spendthrift— Believe me, and believe that you are our {son}.

CLIT. This is not the language of a parent.

CHREM. If you had been born from my head, Clitipho, just as they say Minerva was from Jove's, none the more on that account would I suffer myself to be disgraced by your profligacy.[103]

SOS. May the Gods forbid it.

CHREM. I don't know as to the Gods;[104] so far as I shall be enabled, {I will} carefully {prevent it}. You are seeking that which you possess— parents; that which you are in want of you don't seek— in what way to pay obedience to a father, and to preserve what he acquired by {his} industry. That you by trickery should bring before my eyes— I am ashamed to mention the unseemly word in her presence (pointing to SOSTRATA), but you were not in any degree ashamed to act thus.

CLIT. (aside.) Alas! how thoroughly displeased I now am with myself! How much ashamed! nor do I know how to make a beginning to pacify him.

SCENE V.

Enter MENEDEMUS from his house.

MEN. (to himself.) Why really, Chremes is treating his son too harshly and too unkindly. I'm come out, therefore, to make peace {between them}. Most opportunely I see them {both}.

CHREM. Well, Menedemus, why don't you order my daughter to be sent for, and close with the offer[105] of the portion that I mentioned?

SOS. My husband, I entreat you not to do it.

CLIT. Father, I entreat you to forgive me.

MEN. Forgive him, Chremes; do let them prevail upon you.

CHREM. Am I knowingly to make my property a present to Bacchis? I'll not do {it}.

MEN. Why, we would not suffer {it}.

CLIT. If you desire me to live, father, do forgive me.

SOS. Do, my {dear} Chremes.

MEN. Come, Chremes, pray, don't be so obdurate.

CHREM. What {am I to do} here? I see I am not allowed to carry this through, as I had intended.

MEN. You are acting as becomes you.

CHREM. On this condition, then, I'll do it; if he does that which I think it right he {should do}.

CLIT. Father, I'll do any thing; command me.

CHREM. You must take a wife.

CLIT. Father——

CHREM. I'll hear nothing.

MEN. I'll take it upon myself; he shall do so.

CHREM. I don't hear any thing from {him} as yet.

CLIT. (aside.) I'm undone!

SOS. Do you hesitate, Clitipho?

CHREM. Nay, just as he likes.

MEN. He'll do it all.

SOS. This course, while you are making a beginning, is disagreeable, and while you are unacquainted with it. When you have become acquainted with it, {it will become} easy.

CLIT. I'll do it, father.

SOS. My son, upon my honor I'll give you that charming girl, whom you may soon become attached to, the daughter of our neighbor Phanocrata.

CLIT. What! that red-haired girl, with cat's eyes, freckled face,[106] {and} hooked nose? I can not, father.

CHREM. Heyday! how nice he is! You would fancy he had set his mind upon it.

SOS. I'll name another.

CLIT. Why no— since I must marry, I myself have one that I should pretty nearly make choice of.

SOS. Now, son, I commend you.

CLIT. The daughter of Archonides {here}.

SOS. I'm quite agreeable.

CLIT. Father, this now remains.

CHREM. What {is it}?

CLIT. I want you to pardon Syrus for what he has done for my sake.

CHREM. Be it so. (To the Audience.) Fare you well, and grant us your applause.



FOOTNOTES

[Footnote 1: See the Dramatis Personae of the Andria.]

[Footnote 2: From menos, "strength," and demos, "the people."]

[Footnote 3: From klino, "to incline," or from kline, "the marriage-bed."]

[Footnote 4: From kleitos, "illustrious," and phos, "light."]

[Footnote 5: See the Dramatis Personae of the Andria.]

[Footnote 6: From Syria, his native country.]

[Footnote 7: From sozo, "to preserve," or "save."]

[Footnote 8: From anti, "in return," and philo, "to love."]

[Footnote 9: From Bacchus, the God of Wine.]

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

[Footnote 11: Being Consuls)—M. Juventius Thalna and Ti. Sempronius Gracchus were Consuls in the year from the Building of the City 589, and B.C. 164.]

[Footnote 12: Assigned to an old man)—Ver. 1. He refers to the fact that the Prologue was in general spoken by young men, whereas it is here spoken by L. Ambivius Turpio, the leader of the Company, a man stricken in years. The Prologue was generally not recited by a person who performed a character in the opening Scene.]

[Footnote 13: That I will first explain to you)—Ver. 3. His meaning seems to be, that he will first tell them the reason why he, who is to take a part in the opening Scene, speaks the Prologue, which is usually spoken by a young man who does not take part in that Scene; and that he will then proceed to speak in character (eloquor), as Chremes, in the first Scene. His reason for being chosen to speak the Prologue, is that he may be a pleader (orator) for the Poet, a task which would be likely to be better performed by him than by a younger man.]

[Footnote 14: From an entire Greek one)—Ver. 4. In contradistinction to such Plays as the Andria, as to which it was a subject of complaint that it had been formed out of a mixture (contaminatus) of the Andrian and Perinthian of Menander.]

[Footnote 15: Which from a two-fold plot)—Ver. 6. Vollbehr suggests that the meaning of this line is, that though it is but one Play, it has a two-fold plot— the intrigues of two young men with two mistresses, and the follies of two old men. As this Play is supposed to represent the events of two successive days, the night intervening, it has been suggested that the reading is "duplex— ex argumento— simplici;" the Play is "two-fold, with but one plot," as extending to two successive days. The Play derives its name from the Greek words,heauton, "himself," and timoroumenos, "tormenting."]

[Footnote 16: To be a Pleader)—Ver. 11. He is to be the pleader and advocate of the Poet, to influence the Audience in his favor, and against his adversaries; and not to explain the plot of the Play. Colman has the following observation: "It is impossible not to regret that there are not above ten lines of the Self-Tormentor preserved among the Fragments of Menander. We are so deeply interested by what we see of that character in Terence, that one can not but be curious to inquire in what manner the Greek Poet sustained it through five Acts. The Roman author, though he has adopted the title of the Greek Play, has so altered the fable, that Menedemus is soon thrown into the background, and Chremes is brought forward as the principal object; or, to vary the allusion a little, the Menedemus of Terence seems to be a drawing in miniature copied from a full length, as large as the life, by Menander."]

[Footnote 17: A malevolent old Poet)—Ver. 22. He alludes to his old enemy, Luscus Lavinius, referred to in the preceding Prologue.]

[Footnote 18: The genius of his friends)—Ver. 24. He alludes to a report which had been spread, that his friends Laelius and Scipio had published their own compositions under his name. Servilius is also mentioned by Eugraphius as another of his patrons respecting whom similar stories were circulated.]

[Footnote 19: As he ran alone in the street)—Ver. 31. He probably does not intend to censure this practice entirely in Comedy, but to remind the Audience that in some recent Play of Luscus Lavinius this had been the sole stirring incident introduced. Plautus introduces Mercury running in the guise of Sosia, in the fourth Scene of the Amphitryon, l. 987, and exclaiming, "For surely, why, faith, should I, a God, be any less allowed to threaten the public, if it doesn't get out of my way, than a slave in the Comedies?" This practice can not, however, be intended to be here censured by Plautus, as he is guilty of it in three other instances. In the Mercator, Acanthio runs to his master Charinus, to tell him that his mistress Pasicompsa has been seen in the ship by his father Demipho; in the Stichus, Pinacium, a slave, runs to inform his mistress Philumena that her husband has arrived in port, on his return from Asia; and in the Mostellaria, Tranio, in haste, brings information of the unexpected arrival of Theuropides. The "currens servus" is also mentioned in the Prologue to the Andria, l. 36. See the soliloquy of Stasimus, in the Trinummus of Plautus, l. 1007.]

[Footnote 20: A quiet Play)—Ver. 36. "Statariam." See the spurious Prologue to the Bacchides of Plautus, l. 10, and the Note to the passage in Bohn's Translation. The Comedy of the Romans was either "stataria", "motoria", or "mixta". "Stataria" was a Comedy which was calm and peaceable, such as the Cistellaria of Plautus; "motoria" was one full of action and disturbance, like his Amphitryon; while the "Comoedia mixta" was a mixture of both, such as the Eunuchus of Terence.]

[Footnote 21: What in each character)—Ver. 47. "In utramque partem ingenium quid possit meum." This line is entirely omitted in Vollbehr's edition; but it appears to be merely a typographical error.]

[Footnote 22: How little work is done here)—Ver. 72. Vollbehr thinks that his meaning is, that he is quite vexed to see so little progress made, in spite of his neighbor's continual vexation and turmoil, and that, as he says in the next line, he is of opinion that if he were to cease working himself, and were to overlook his servants, he would get far more done. It is more generally thought to be an objection which Chremes suggests that Menedemus may possibly make.]

[Footnote 23: I am a man)—Ver. 77. "Homo sum: humani nihil a me alienum puto." St. Augustine says, that at the delivery of this sentiment, the Theatre resounded with applause; and deservedly, indeed, for it is replete with the very essence of benevolence and disregard of self. Cicero quotes the passage in his work De Officiis, B. i., c. 9. The remarks of Sir Richard Steele upon this passage, in the Spectator, No. 502, are worthy to be transcribed at length. "The Play was the Self-Tormentor. It is from the beginning to the end a perfect picture of human life, but I did not observe in the whole one passage that could raise a laugh. How well-disposed must that people be, who could be entertained with satisfaction by so sober and polite mirth! In the first Scene of the Comedy, when one of the old men accuses the other of impertinence for interposing in his affairs, he answers, 'I am a man, and can not help feeling any sorrow that can arrive at man.' It is said this sentence was received with an universal applause. There can not be a greater argument of the general good understanding of a people, than their sudden consent to give their approbation of a sentiment which has no emotion in it. If it were spoken with ever so great skill in the actor, the manner of uttering that sentence could have nothing in it which could strike any but people of the greatest humanity— nay, people elegant and skillful in observation upon it. It is possible that he may have laid his hand on his heart, and with a winning insinuation in his countenance, expressed to his neighbor that he was a man who made his case his own; yet I will engage, a player in Covent Garden might hit such an attitude a thousand times before he would have been regarded."]

[Footnote 24: Take off my shoes)—Ver. 124. As to the "socci," or low shoes of the ancients, see the Notes to the Trinummus of Plautus, l. 720, in Bohn's Translation. It was the especial duty of certain slaves to take off the shoes of their masters.]

[Footnote 25: To spread the couches)—Ver. 125. The "lecti" or "couches" upon which the ancients reclined at meals, have been enlarged upon in the Notes to Plautus, where full reference is also made to the "coena" or "dinner," and other meals of the Romans.]

[Footnote 26: Provide me with dress)—Ver. 130. It was the custom for the mistress and female servants in each family to make the clothes of the master. Thus in the Fasti of Ovid, B. ii., l. 746, Lucretia is found amidst her female servants, making a cloak, or "lacerna," for her husband. Suetonius says that Augustus refused to wear any garments not woven by his female relations. Cooke seems to think that "vestiant" alludes to the very act of putting the clothes upon a person. He says, "The better sort of people had eating-dresses, which are here alluded to. These dresses were light garments, to put on as soon as they had bathed. They commonly bathed before eating, and the chief meal was in the evening." This, however, does not seem to be the meaning of the passage, although Colman has adopted it. We may here remark that the censure here described is not unlike that mentioned in the Prologue to the Mercator of Plautus, as administered by Demaenetus to his son Charinus.]

[Footnote 27: Neither movables)—Ver. 141. "Vas" is here used as a general name for articles of furniture. This line appears to be copied almost literally from one of Menander, which still exists.]

[Footnote 28: To sell my house)—Ver. 145. On the mode of advertising houses to let or be sold among the Romans, see the Trinummus of Plautus, l. 168, and the Note to the passage in Bohn's Translation.]

[Footnote 29: Toward your children)—Ver. 151. The plural "liberos" is here used to signify the one son which Menedemus has. So in the Hecyra, l. 217, the same word is used to signify but one daughter. This was a common mode of expression in the times of the earlier Latin authors.]

[Footnote 30: Festival of Bacchus, "Dionysia")—Ver. 162. It is generally supposed that there were four Festivals called the Dionysia, during the year, at Athens. The first was the Rural, or Lesser Dionysia, kat' agrous, a vintage festival, which was celebrated in the "Demi" or boroughs of Attica, in honor of Bacchus, in the month Poseidon. This was the most ancient of the Festivals, and was held with the greatest merriment and freedom; the slaves then enjoyed the same amount of liberty as they did at the Saturnalia at Rome. The second Festival, which was called the Lensea, from lenus, a wine-press, was celebrated in the month Gamelion, with Scenic contests in Tragedy and Comedy. The third Dionysian Festival was the Anthesteria, or "Spring feast," being celebrated during three days in the month Anthesterion. The first day was called pithoigia, or "the Opening of the casks," as on that day the casks were opened to taste the wine of the preceding year. The second day was called choes, from chous, "a cup," and was probably devoted to drinking. The third day was called chutroi, from chutros, "a pot," as on it persons offered pots with flower-seeds or cooked vegetables to Dionysus or Bacchus. The fourth Attic festival of Dionysius was celebrated in the month Elaphebolion, and was called the Dionysia en astei, Astika, or Megala, the "City" or "great" festival. It was celebrated with great magnificence, processions and dramatic representations forming part of the ceremonial. From Greece, by way of Sicily, the Bacchanalia, or festivals of Bacchus, were introduced into Rome, where they became the scenes of and pretext for every kind of vice and debauchery, until at length they were put down in the year B.C. 187, with a strong hand, by the Consuls Spurius Posthumius Albinus and Q. Marcius Philippus; from which period the words "bacchor" and "bacchator" became synonymous with the practice of every kind of vice and turpitude that could outrage common decency. See a very full account of the Dionysia and the Bacchanalia in Dr. Smith's Dictionary of Greek and Roman Antiquities.]

[Footnote 31: Is of service to him)—Ver. 199. He means that it is to the advantage of Clitipho that Clinia should be seen to stand in awe of his father.]

[Footnote 32: Reasonable men)—Ver. 205. "Homo," "a man," is here put for men in general who are fathers.]

[Footnote 33: Of knowing and of pardoning)—Ver. 218. There is a jingle intended here in the resemblance of the words "cognoscendi," "knowing," and "ignoscendi," "pardoning."]

[Footnote 34: Is— fair words)—Ver. 228. "Recte est." It is supposed that he pauses before uttering these words, which mean "very well," or "very good," implying the giving an assent without making a promise; he tells the reason, in saying that he has scruples or prejudices against confessing that he has got nothing to give her.]

[Footnote 35: Great way from here)—Ver. 239. That is, from the place where they are, in the country, to Athens.]

[Footnote 36: Troop of female attendants)—Ver. 245. The train and expenses of a courtesan of high station are admirably depicted in the speech of Lysiteles, in the Trinummus of Plautus, l. 252.]

[Footnote 37: In a mourning dress)—Ver. 286. Among the Greeks, in general, mourning for the dead seems to have lasted till the thirtieth day after the funeral, and during that period black dresses were worn. The Romans also wore mourning for the dead, which seems, in the time of the Republic, to have been black or dark blue for either sex. Under the Empire the men continued to wear black, but the women wore white. No jewels or ornaments were worn upon these occasions.]

[Footnote 38: With no worthless woman's trumpery)—Ver. 289. By "nulla mala re muliebri" he clearly means that they did not find her painted up with the cosmetics which some women were in the habit of using. Such preparations for the face as white-lead, wax, antimony, or vermilion, well deserve the name of "mala res." A host of these cosmetics will be found described in Ovid's Fragment "On the Care of the Complexion," and much information upon this subject is given in various passages in the Art of Love. In the Remedy of Love, l. 351, Ovid speaks of these practices in the following terms: "At the moment, too, when she shall be smearing her face with the cosmetics laid up on it, you may come into the presence of your mistress, and don't let shame prevent you. You will find there boxes, and a thousand colors of objects; and you will see 'oesypum,' the ointment of the fleece, trickling down and flowing upon her heated bosom. These drugs, Phineus, smell like thy tables; not once alone has sickness been caused by this to my stomach." Lucretius also, in his Fourth Book, l. 1168, speaks of a female who "covers herself with noxious odors, and whom her female attendants fly from to a distance, and chuckle by stealth." See also the Mostellaria of Plautus, Act I., Scene 3, l. 135, where Philematium is introduced making her toilet on the stage.]

[Footnote 39: Do hold your peace)—Ver. 291. "Pax," literally "peace!" in the sense of "Hush!" "Be quiet!" See the Notes to the Trinummus of Plautus, ll. 889-891, in Bohn's Translation.]

[Footnote 40: The woof)—Ver. 293. See an interesting passage on the ancient weaving, in the Metamorphoses of Ovid, B. vi., l. 54, et seq. See also the Epistle of Penelope to Ulysses, in the Heroides of Ovid, l. 10, and the Note in Bohn's English Translation.]

[Footnote 41: She was weaving)—Ver. 294. This line and part of the next are supposed to have been translated almost literally from some lines, the composition of Menander, which are still extant.]

[Footnote 42: Your Bacchis, whom we are bringing)—Ver. 310. Colman has the following remark: "Here we enter upon the other part of the table, which the Poet has most artfully complicated with the main subject by making Syrus bring Clitipho's mistress along with Antiphila. This part of the story, we know, was not in Menander."]

[Footnote 43: Incur this risk)—Ver. 337. As to his own mistress.]

[Footnote 44: Upon either ear)—Ver. 342. "In aurem utramvis," a proverbial expression, implying an easy and secure repose. It is also used by Plautus, and is found in a fragment of the Plokion, or Necklace, a Comedy of Menander.]

[Footnote 45: Still do that which I said)—Ver. 346. "Perge porro, tamen istue ago." Stallbaum observes that the meaning is: "Although I'm going off, I'm still attending to what you're saying." According to Schmieder and others, it means: "Call on just as you please, I shall persist in sending Bacchis away."]

[Footnote 46: Such great people)—Ver. 363. "Quos," literally, "What persons!"]

[Footnote 47: Words of double meaning)—Ver. 372. "Inversa verba, eversas cervices tuas." "Inversa verba" clearly means, words with a double meaning, or substituted for others by previous arrangement, like correspondence by cipher. Lucretius uses the words in this sense, B. i., l. 643. A full account of the secret signs and correspondence in use among the ancients will be found in the 16th and 17th Epistles of the Heroides of Ovid, in his Amours, B. i., El. 4, and in various passages of the Art of Love. See also the Asinaria of Plautus, l. 780. It is not known for certain what "eversa cervix" here means; it may mean the turning of the neck in some particular manner by way of a hint or to give a sidelong look, or it may allude to the act of snatching a kiss on the sly, which might lead to a discovery.]

[Footnote 48: A man whose manners— those persons)—Ver. 393. "Cujus— hi;" a change of number by the use of the figure Enallage.]

[Footnote 49: I can scarce endure it)—Ver. 400. Colman has the following remark on this passage: "Madame Dacier, contrary to the authority of all editions and MSS., adopts a conceit of her father's in this place, and places this speech to Clitipho, whom she supposes to have retired to a hiding-place, where he might overhear the conversation, and from whence he peeps out to make this speech to Syrus. This she calls an agreeable jeu de theatre, and doubts not but all lovers of Terence will be obliged to her father for so ingenious a remark; but it is to be feared that critical sagacity will not be so lavish of acknowledgments as filial piety. There does not appear the least foundation for this remark in the Scene, nor has the Poet given us the least room to doubt of Clitipho being actually departed. To me, instead of an agreeable {jeu de theatre}, it appears a most absurd and ridiculous device; particularly vicious in this place, as it most injudiciously tends to interrupt the course of Clinia's more interesting passion, so admirably delineated in this little Scene."]

[Footnote 50: It is now daybreak)—Ver. 410. Though this is the only Play which includes more than one day in the action, it is not the only one in which the day is represented as breaking. The Amphitryon and the Curculio of Plautus commence before daybreak, and the action is carried on into the middle of the day. Madame Dacier absolutely considers it {as a fact beyond all doubt}, that the Roman Audience went home after the first two Acts of the Play, and returned for the representation of the third the next morning at daybreak. Scaliger was of the same opinion; but it is not generally entertained by Commentators.]

[Footnote 51: How I was affected)—Ver. 436. "Ut essem," literally, "How I was."]

[Footnote 52: If a satrap)—Ver. 452. "Satrapa" was a Persian word signifying "a ruler of a province." The name was considered as synonymous with "possessor of wealth almost inexhaustible."]

[Footnote 53: In tasting only)—Ver. 457. "Pytiso" was the name given to the nasty practice of tasting wine, and then spitting it out; offensive in a man, but infinitely more so in a woman. It seems in those times to have been done by persons who wished to give themselves airs in the houses of private persons; at the present day it is probably confined to wine-vaults and sale-rooms where wine is put up to auction, and even there it is practiced much more than is either necessary or agreeable. Doubtless Bacchis did it to show her exquisite taste in the matter of wines.]

[Footnote 54: Is too acid)—Ver. 458. "Asperum;" meaning that the wine was not old enough for her palate. The great fault of the Greek wines was their tartness, for which reason sea-water was mixed with them all except the Chian, which was the highest class of wine.]

[Footnote 55: Respected sir)—Ver. 459. "Pater," literally "father;" a title by which the young generally addressed aged persons who were strangers to them.]

[Footnote 56: All the casks, all the vessels)—Ver. 460. "Dolia omnia, omnes serias." The finer kinds of wine were drawn off from the "dolia," or large vessels, into the "amphorae," which, like the "dolia," were made of earth, and sometimes of glass. The mouths of the vessels were stopped tight by a plug of wood or cork, which was made impervious to the atmosphere by being rubbed over with a composition of pitch, clay, wax, or gypsum. On the outside, the title of the wine was painted, and among the Romans the date of the vintage was denoted by the names of the Consuls then in office. When the vessels were of glass, small tickets or labels, called "pittacia," were suspended from them, stating to a similar effect. The "seriae" were much the same as the "dolia," perhaps somewhat smaller; they were both long, bell-mouthed vessels of earthen-ware, formed of the best clay, and lined with pitch while hot from the furnace. "Seriae" were also used to contain oil and other liquids; and in the Captivi of Plautus the word is applied to pans used for the purpose of salting meat. "Relino" signifies the act of taking the seal of pitch or wax off the stopper of the wine-vessel.]

[Footnote 57: With that servant of yours)—Ver. 473. Dromo.]

[Footnote 58: What an inlet)—Ver. 482. "Fenestram;" literally, "a window."]

[Footnote 59: This night with my eyes)—Ver. 491. Colman has the following Note here: "Hedelin obstinately contends from this passage, that neither Chremes nor any of his family went to bed the whole night; the contrary of which is evident, as Menage observes, from the two next Scenes. For why should Syrus take notice of his being up so early, if he had never retired to rest? Or would Chremes have reproached Clitipho for his behavior the night before, had the feast never been interrupted? Eugraphius's interpretation of these words is natural and obvious, who explains them to signify that the anxiety of Chremes to restore Clinia to Menedemus broke his rest."]

[Footnote 60: That they may not perceive)—Ver. 511. Madame Dacier observes that Chremes seizes this as a very plausible and necessary pretense to engage Menedemus to return home, and not to his labors in the field, as he had at first intended.]

[Footnote 61: Old age of an eagle)—Ver. 521. This was a proverbial expression, signifying a hale and vigorous old age. It has been suggested, too, that it alludes to the practice of some old men, who drink more than they eat. It was vulgarly said that eagles never die of old age, and that when, by reason of their beaks growing inward, they are unable to feed upon their prey, they live by sucking the blood.]

[Footnote 62: Not like those of former days)—Ver. 524. Syrus, by showing himself an admirer of the good old times, a "laudator temporis acti," is wishful to flatter the vanity of Chremes, as it is a feeling common to old age, perhaps by no means an unamiable one, to think former times better than the present. Aged people feel grateful to those happy hours when their hopes were bright, and every thing was viewed from the sunny side of life.]

[Footnote 63: Can no longer support her expenses)—Ver. 544. He refers to Menedemus and Bacchis.]

[Footnote 64: But in case, none the more)—Ver. 555. "Sed si quid, ne quid." An instance of Aposiopesis, signifying "But if any thing does happen, don't you blame me."]

[Footnote 65: And truly, Chremes)—Ver. 557. Some suppose that this is said in apparent candor by Syrus, in order the more readily to throw Chremes off his guard. Other Commentators, again, fancy these words to be said by Syrus in a low voice, aside, which seems not improbable; it being a just retribution on Chremes for his recommendation, however well intended: in that case, Chremes probably overhears it, if we may judge from his answer.]

[Footnote 66: 'Tis the truth)—Ver. 568. "Factum." "Done for" is anothor translation which this word will here admit of.]

[Footnote 67: That he does the same)—Ver. 577. Clinia.]

[Footnote 68: Of a prudent and discreet person)—Ver. 580. This is said ironically.]

[Footnote 69: Is there but one way)—Ver. 583. And that an immodest one.]

[Footnote 70: With your wife)—Ver. 604. Madame Dacier remarks, that as Antiphila is shortly to be acknowledged as the daughter of Chremes, she is not therefore in company with the other women at the feast, who are Courtesans, but with the wife of Chremes, and consequently free from reproach or scandal.]

[Footnote 71: Would she really be a security)—Ver. 606. The question of Chremes seems directed to the fact whether the girl is of value sufficient to be good security for the thousand drachmae.]

[Footnote 72: You shall soon know)—Ver. 612. Madame Dacier suggests that Chremes is prevented by his wife's coming from making a proposal to advance the money himself, on the supposition that it will be a lucrative speculation. This notion is contradicted by Colman, who adds the following note from Eugraphius: "Syrus pretends to have concerted this plot against Menedemus, in order to trick him out of some money to be given to Clinia's supposed mistress. Chremes, however, does not approve of this: yet it serves to carry on the plot; for when Antiphila proves afterward to be the daughter of Chremes, he necessarily becomes the debtor of Bacchis, and is obliged to lay down the sum for which he imagines his daughter is pledged."]

[Footnote 73: Has gained a loss)—Ver. 628. He alludes to Clitipho, who, by the discovery of his sister, would not come in for such a large share of his father's property, and would consequently, as Syrus observes, gain a loss.]

[Footnote 74: That she might not be without)—Ver. 652. Madame Dacier observes upon this passage, that the ancients thought themselves guilty of a heinous offense if they suffered their children to die without having bestowed on them some of their property; it was consequently the custom of the women, before exposing children, to attach to them some jewel or trinket among their clothes, hoping thereby to avoid incurring the guilt above mentioned, and to ease their consciences.]

[Footnote 75: Saving of yourself and her)—Ver. 653. Madame Dacier says that the meaning of this passage is this: Chremes tells his wife that by having given this ring, she has done two good acts instead of one— she has both cleared her conscience and saved the child; for had there been no ring or token exposed with the infant, the finder would not have been at the trouble of taking care of it, but might have left it to perish, never suspecting it would be inquired after, or himself liberally rewarded for having preserved it.]

[Footnote 76: I see more hopes)—Ver. 659. Syrus is now alarmed that Antiphila should so soon be acknowledged as the daughter of Chremes, lest he may lose the opportunity of obtaining the money, and be punished as well, in case the imposition is detected, and Bacchis discovered to be the mistress of Clitipho and not of Clinia.]

[Footnote 77: A man can not be)—Ver. 666. This he says by way of palliating the cruelty he was guilty of in his orders to have the child put to death.]

[Footnote 78: Unless my fancy deceives me)—Ver. 668. "Nisi me animus fallit." He comically repeats the very same words with which Sostrata commenced in the last Scene.]

[Footnote 79: Retribution)—Ver. 668. "Infortunium!" was the name by which the slaves commonly denoted a beating. Colman has the following remark here: "Madame Dacier, and most of the later critics who have implicitly followed her, tell us that in the interval between the third and fourth Acts, Syrus has been present at the interview between Chremes and Antiphila within. The only difficulty in this doctrine is how to reconcile it to the apparent ignorance of Syrus, which he discovers at the entrance of Clinia. But this objection, says she, is easily answered. Syrus having partly heard Antiphila's story, and finding things likely to take an unfavorable turn, retires to consider what is best to be done. But surely this is a most unnatural impatience at so critical a conjuncture; and, after all, would it not be better to take up the matter just where Terence has left it, and to suppose that Syrus knew nothing more of the affair than what might be collected from the late conversation between Chremes and Sostrata, at which we know he was present? This at once accounts for his apprehensions, which he betrayed even during that Scene, as well as for his imperfect knowledge of the real state of the case, till apprised of the whole by Clinia."]

[Footnote 80: With my sides covered)—Ver. 673. He most probably alludes to the custom of tying up the slaves by their hands, after stripping them naked, when of course their "latera" or "sides" would be exposed, and come in for a share of the lashes.]

[Footnote 81: Runaway money)—Ver. 678. "Fugitivum argentum." Madame Dacier suggests that this is a bad translation of the words of Menander, which were "apostrepsein ton drapetan chruson" where "chrusos" signified both "gold" and the name of a slave.]

[Footnote 82: If the sky were to fall)—Ver. 719. He means those who create unnecessary difficulties in their imagination. Colman quotes the following remark from Patrick: "There is a remarkable passage in Arrian's Account of Alexander, lib. iv., where he tells us that some embassadors from the Celtic, being asked by Alexander what in the world they dreaded most, answered, 'That they feared lest the sky should fall [upon them].' Alexander, who expected to hear himself named, was surprised at an answer which signified that they thought themselves beyond the reach of all human power, plainly implying that nothing could hurt them, unless he would suppose impossibilities, or a total destruction of nature." Aristotle, in his Physics, B. iv., informs us that it was the early notion of ignorant nations that the sky was supported on the shoulders of Atlas, and that when he let go of it, it would fall.]

[Footnote 83: To a very fine purpose)—Ver. 723. "Satis pol proterve," &c. C. Laelius was said to have assisted Terence in the composition of his Plays, and in confirmation of this, the following story is told by Cornelius Nepos: "C. Laelius, happening to pass the Matronalia [a Festival on the first of March, when the husband, for once in the year, was bound to obey the wife] at his villa near Puteoli, was told that dinner was waiting, but still neglected the summons. At last, when he made his appearance, he excused himself by saying that he had been in a particular vein of composition, and quoted certain lines which occur in the Heautontimorumenos, namely, those beginning 'Satis pol proterve me Syri promissa huc induxerunt.'"]

[Footnote 84: They're asleep)—Ver. 730. "Dormiunt." This is clearly used figuratively, though Hedelin interprets it literally.]

[Footnote 85: Farm here on the right-hand side)—Ver. 732. Cooke suggests that the Poet makes Bacchis call the house of Charinus "villa," and that of Chremes "fundus" (which signifies "a farm-house," or "farm"), for the purpose of exalting the one and depreciating the other in the hearing of Syrus.]

[Footnote 86: The feast of Bacchus)—Ver. 733. This passage goes far to prove that the Dionysia here mentioned as being celebrated, were those kat' agrous, or the "rural Dionysia."]

[Footnote 87: Let's be going)—Ver. 742. Colman here remarks to the following effect: "There is some difficulty in this and the next speech in the original, and the Commentators have been puzzled to make sense of them. It seems to me that the Poet's intention is no more than this: Bacchis expresses some reluctance to act under the direction of Syrus, but is at length prevailed on, finding that he can by those means contrive to pay her the money which he has promised her."]

[Footnote 88: Rigorous law)—Ver. 796. Cicero mentions the same proverb in his work De Officiis, B. i., ch. 10, substituting the word "injuria" for "malitia." "'Extreme law, extreme injustice,' is now become a stale proverb in discourse." The same sentiment is found in the Fragments of Menander.]

[Footnote 89: Are sanctioned by custom)—Ver. 839. He inveighs, perhaps justly, against the tyranny of custom; but in selecting this occasion for doing so, he does not manifest any great affection for his newly-found daughter.]

[Footnote 90: Assistant, prompter, and director)—Ver. 875. The three terms here used are borrowed from the stage. "Adjutor" was the person who assisted the performers either by voice or gesture; "monitor" was the prompter; and "praemonstrator" was the person who in the rehearsal trained the actor in his part.]

[Footnote 91: Dolt, post, ass)—Ver. 877. There is a similar passage in the Bacchides of Plautus, l. 1087. "Whoever there are in any place whatsoever, whoever have been, and whoever shall be in time to come, fools, blockheads, idiots, dolts, sots, oafs, lubbers, I singly by far exceed them all in folly and absurd ways."]

[Footnote 92: Mould the countenances of people)—Ver. 887. He means that Syrus not only lays his plots well, but teaches the performers to put on countenances suitable to the several parts they are to act.]

[Footnote 93: Has moulded your son)—Ver. 898. "Mire finxit." He sarcastically uses the same word, "fingo," which Chremes himself employed in l. 887.]

[Footnote 94: Substance to suffice for ten days)—Ver. 909. "Familia" here means "property," as producing sustenance. Colman, however, has translated the passage: "Mine is scarce a ten-days' family."]

[Footnote 95: His she-friend rather)—Ver. 911. Menedemus speaks of "amico," a male friend, which Chremes plays upon by saying "amicae," which literally meant a she-friend, and was the usual name by which decent people called a mistress.]

[Footnote 96: And forsake you)—Ver. 924. Madame Dacier observes here, that one of the great beauties of this Scene consists in Chremes retorting on Menedemus the very advice given by himself at the beginning of the Play.]

[Footnote 97: Which he has done to me)—Ver. 954. Colman has the following Note: "The departure of Menedemus here is very abrupt, seeming to be in the midst of a conversation; and his re-entrance with Clitipho, already supposed to be apprised of what has passed between the two old gentlemen, is equally precipitate. Menage imagines that some verses are lost here. Madame Dacier strains hard to defend the Poet, and fills up the void of time by her old expedient of making the Audience wait to see Chremes walk impatiently to and fro, till a sufficient time is elapsed for Menedemus to have given Clitipho a summary account of the cause of his father's anger. The truth is, that a too strict observance of the unity of place will necessarily produce such absurdities; and there are several other instances of the like nature in Terence."]

[Footnote 98: Intrusted every thing)—Ver. 966. This is an early instance of a trusteeship and a guardianship.]

[Footnote 99: It's all over)—Ver. 974. "Ilicet," literally, "you may go away." This was the formal word with which funeral ceremonies and trials at law were concluded.]

[Footnote 100: Look out for an altar)—Ver. 975. He alludes to the practice of slaves taking refuge at altars when they had committed any fault, and then suing for pardon through a "precator" or "mediator." See the Mostellaria of Plautus, l. 1074, where Tranio takes refuge at the altar from the vengeance of his master, Theuropides.]

[Footnote 101: Amounts to the same thing)—Ver. 1010. "Quam quidem redit ad integrum eadem oratio;" meaning, "it amounts to one and the same thing," or, "it is all the same thing," whether you do or whether you don't know.]

[Footnote 102: Because my daughter has been found)—Ver. 1018. This sentence has given much trouble to the Commentators. Colman has the following just remarks upon it: "Madame Dacier, as well as all the rest of the Commentators, has stuck at these words. Most of them imagine she means to say, that the discovery of Antiphila is a plain proof that she is not barren. Madame Dacier supposes that she intimates such a proof to be easy, because Clitipho and Antiphila were extremely alike; which sense she thinks immediately confirmed by the answer of Chremes. I can not agree with any of them, and think that the whole difficulty of the passage here, as in many other places, is entirely of their own making. Sostrata could not refer to the reply of Chremes, because she could not possibly tell what it would be; but her own speech is intended as an answer to his preceding one, which she takes as a sneer on her late wonderful discovery of a daughter; imagining that he means to insinuate that she could at any time with equal ease make out the proofs of the birth of her son. The elliptical mode of expression so usual with Terence, together with the refinements of Commentators, seem to have created all the obscurity."]

[Footnote 103: By your profligacy)—Ver. 1036. It is probably this ebullition of Comic anger which is referred to by Horace, in his Art of Poetry:

"Interdum tamen et vocem Comoedia tollit, Iratusque Chremes tumido delitigat ore:"

"Yet sometimes Comedy as well raises her voice, and enraged Chremes censures in swelling phrase."]

[Footnote 104: I don't know as to the Gods)—Ver. 1037. "Deos nescio." The Critic Lambinis, in his letter to Charles the Ninth of France, accuses Terence of impiety in this passage. Madame Dacier has, however, well observed, that the meaning is not "I care not for the Gods," but "I know not what the Gods will do."]

[Footnote 105: And close with the offer)—Ver. 1048. "Firmas." This ratification or affirmation would be made by Menedemus using the formal word "Accipio," "I accept."]

[Footnote 106: Freckled face)—Ver. 1060. Many take "sparso ore" here to mean "wide-mouthed." Lemonnier thinks that must be the meaning, as he has analyzed the other features of her countenance. There is, however, no reason why he should not speak of her complexion; and it seems, not improbably, to have the same meaning as the phrase "os lentiginosum," "a freckled face."]

* * * * * * * * *

ADELPHI; THE BROTHERS,

DRAMATIS PERSONAE.

DEMEA,[1] Brother, aged Athenian. MICIO,[2] Brother, aged Athenian. HEGIO,[3] an aged Athenian, kinsman of Sostrata. AESCHINUS,[4] son of Demea, adopted by Micio. CTESIPHO,[5] another son of Demea. SANNIO,[6] a Procurer. GETA,[7] servant of Sostrata. PARMENO,[8] servant of Micio. SYRUS,[9] servant of Micio. DROMO,[10] servant of Micio. PAMPHILA,[11] a young woman beloved by AEschinus. SOSTRATA,[12] a widow, mother of Pamphila. CANTHARA,[13] a Nurse. A Music-girl.

Scene.—Athens; before the houses of MICIO and SOSTRATA.



THE SUBJECT.

MICIO and DEMEA are two brothers of dissimilar tempers. Demea is married, and lives a country life, while his brother remains single, and resides in Athens. Demea has two sons, the elder of whom, AEschinus, has been adopted by Micio. Being allowed by his indulgent uncle to gratify his inclinations without restraint, AEschinus has debauched Pamphila, the daughter of a widow named Sostrata. Having, however, promised to marry the young woman, he has been pardoned for the offense, and it has been kept strictly secret. Ctesipho, who lives in the country with his father under great restraint, on visiting the city, falls in love with a certain Music-girl, who belongs to the Procurer Sannio. To screen his brother, AEschinus takes the responsibility of the affair on himself, and succeeds in carrying off the girl for him. Demea, upon hearing of this, censures Micio for his ill-timed indulgence, the bad effects of which are thus exemplified in AEschinus; and at the same time lauds the steady conduct and frugality of Ctesipho, who has been brought up under his own supervision. Shortly after this, Sostrata hears the story about the Music-girl, at the very time that her daughter Pamphila is in labor. She naturally supposes that AEschinus has deserted her daughter for another, and hastens to acquaint Hegio, her kinsman, with the fact. Meantime Demea learns that Ctesipho has taken part in carrying off the Music-girl, whereon Syrus invents a story, and screens Ctesipho for the moment. Demea is next informed by Hegio of the conduct of AEschinus toward Pamphila. Wishing to find his brother, he is purposely sent on a fruitless errand by Syrus, on which he wanders all over the city to no purpose. Micio having now been informed by Hegio, and knowing that the intentions of AEschinus toward Pamphila are not changed, accompanies him to the house of Sostrata, whom he consoles by his promise that AEschinus shall marry her daughter. Demea then returns from his search, and, rushing into Micio's house, finds his son Ctesipho there carousing; on which he exclaims vehemently against Micio, who uses his best endeavors to soothe him, and finally with success. He now determines to become kind and considerate for the future. At his request, Pamphila is brought to Micio's house; and the nuptials are celebrated. Micio, at the earnest request of Demea and AEschinus, marries Sostrata; Hegio has a competency allowed him; and Syrus and his wife Phrygia are made free. The Play concludes with a serious warning from Demea, who advises his relatives not to squander their means in riotous living; but, on the contrary, to bear admonition and to submit to restraint in a spirit of moderation and thankfulness.

THE TITLE OF THE PLAY.

Performed at the Funeral Games of AEmilius Paulus,[14] which were celebrated by Q. Fabius Maximus and P. Cornelius Africanus. L. Atilius Praenestinus and Minutius Prothimus performed it. Flaccus, the freedman of Claudius, composed the music for Sarranian flutes.[15] Taken from the Greek of Menander, L. Anicius and M. Cornelius being Consuls.[16]

ADELPHI; THE BROTHERS.

THE SUMMARY OF C. SULPITIUS APOLLINARIS.

As Demea has two {sons}, young men, he gives AEschinus to his brother Micio to be adopted {by him}; but he retains Ctesipho: him, captivated with the charms of a Music-girl, {and} under a harsh and strict father, his brother AEschinus screens; the scandal of the affair and the amour he takes upon himself; at last, he carries the Music-girl away from the Procurer. This same AEschinus has {previously} debauched a poor woman, a citizen of Athens, and has given his word that she shall be his wife. Demea upbraids him, {and} is greatly vexed; afterward, however, when the truth is discovered, AEschinus marries {the girl} who has been debauched; {and}, his harsh father Demea {now} softened, Ctesipho retains the Music-girl.



THE PROLOGUE.

Since the Poet has found that his writings are carped at by unfair {critics}, and that his adversaries represent in a bad light {the Play} that we are about to perform, he shall give information about himself; you shall be the judges whether this ought to be esteemed to his praise or to his discredit. The Synapothnescontes[17] is a Comedy of Diphilus;[18] Plautus made it into a Play {called} the "Commorientes." In the Greek, there is a young man, who, at the early part of the Play, carries off a Courtesan from a Procurer; that part Plautus has entirely left out. This portion he has adopted in the Adelphi, {and} has transferred it, translated word for word. This new {Play} we are about to perform; determine {then} whether you think a theft has been committed, or a passage has been restored to notice which has been passed over in neglect. For as to what these malevolent persons say, that men of noble rank assist him, and are always writing in conjunction with him— that which they deem to be a heavy crimination, he takes to be the highest praise; since he pleases those who please you all and the public; the aid of whom in war, in peace, in private business,[19] each one has availed himself of, on his own occasion, without {any} haughtiness {on their part}. Now then, do not expect the plot of the Play; the old men[20] who come first will disclose it in part; a part in the representation they will make known. Do you cause your impartial attention to increase the industry of the Poet in writing.



ACT THE FIRST.

SCENE I.

Enter MICIO, calling to a servant within.

MIC. Storax! AEschinus has not returned {home} from the entertainment last night, nor any of the servants who went to fetch him.[21] (To himself.) Really, they say it with reason, if you are absent any where, or if you stay abroad at any time, 'twere better for that to happen which {your} wife says against you, and which in her passion she imagines in her mind, than the things which fond parents {fancy}. A wife, if you stay long abroad, either imagines that you are in love or are beloved, or that you are drinking and indulging your inclination, and that you only are taking your pleasure, while she herself is miserable. As for myself, in consequence of my son not having returned home, what do I imagine? In what ways am I not disturbed? For fear lest he may either have taken cold,[22] or have fallen down somewhere, or have broken some {limb}. Oh dear! that any man should take it into his head, or find out what is dearer {to him} than he is to himself! And yet he is not my son, but my brother's. He is quite different in disposition. I, from my very youth upward, have lived a comfortable town life, and {taken} my ease; and, what they esteem a piece of luck, I have never had a wife. He, on the contrary to all this, has spent his life in the country, {and} has always lived laboriously and penuriously. He married a wife, {and} has two sons. This one, the elder of them, I have adopted. I have brought him up from an infant, {and} considered {and} loved him as my own. In him I centre my delight; this {object} alone is dear to me. On the other hand, I take all due care that he may hold me equally dear. I give— I overlook; I do not judge it necessary to exert my authority in every thing; in fine, the things that youth prompts to, {and} that others do unknown to their fathers, I have used my son not to conceal from me. For he, who, as the practice is, will dare to tell a lie to or to deceive his father, will still more dare {to do so} to others. I think it better to restrain children through a sense of shame and liberal treatment, than through fear. On these points my brother does not agree with me, nor do they please him. He often comes to me exclaiming, "What are you about, Micio? Why do you ruin for us this youth? Why does he intrigue? Why does he drink? Why do you supply him with the means for these goings on? You indulge him with too much dress; you are very inconsiderate." He himself is too strict, beyond what is just and reasonable; and he is very much mistaken, in my opinion, at all events, who thinks that an authority is more firm or more lasting which is established by force, than that which is founded on affection. Such is my mode of reasoning; and thus do I persuade myself. He, who, compelled by harsh treatment, does his duty, so long as he thinks it will be known, is on his guard: if he hopes that it will be concealed, he again returns to his natural bent. He whom you have secured by kindness, acts from inclination; he is anxious to return like for like; present and absent, he will be the same. This is the duty of a parent, to accustom a son to do what is right rather of his own choice, than through fear of another. In this the father differs from the master: he who can not do this, let him confess that he does not know how to govern children. But is not this the very man of whom I was speaking? Surely it is he. I don't know why it is I see him out of spirits; I suppose he'll now be scolding as usual. Demea, I am glad to see you well.[23]

SCENE II.

Enter DEMEA.

DEM. Oh,— opportunely met; you are the very man I was looking for.[24]

MIC. Why are you out of spirits?

DEM. Do you ask me, when we have {such a son as} AEschinus,[25] why I'm out of spirits?

MIC. (aside.) Did I not say it would be so? (To DEMEA.) What has he been doing?

DEM. What has he been doing? He, who is ashamed of nothing, and fears no one, nor thinks that any law can control him. But I pass by what has been previously done: what a thing he has just perpetrated!

MIC. Why, what is it?

DEM. He has broken open a door,[26] and forced his way into another person's house, beaten to death the master himself, and all the household, {and} carried off a wench whom he had a fancy for. All people are exclaiming that it was a most disgraceful proceeding. How many, Micio, told me of this as I was coming here? It is in every body's mouth. In fine, if an example must be cited, does he not see his brother giving his attention to business, {and} living frugally and soberly in the country? No action of his {is} like this. When I say this to him, Micio, I say it to you. You allow him to be corrupted.

MIC. Never is there any thing more unreasonable than a man who wants experience, who thinks nothing right except what he himself has done.

DEM. What is the meaning of that?

MIC. Because, Demea, you misjudge these matters. It is no heinous crime, believe me, for a young man to intrigue or to drink; it is not; nor yet for him to break open a door. If neither I nor you did so, it was poverty that did not allow us to do {so}. Do you now claim that as a merit to yourself, which you then did from necessity? That is unfair; for if we had had the means to do so, we should have done {the same}. And, if you were a man, you would now suffer that {other son} of yours to act {thus} now, while his age will excuse it, rather than, when he has got you, after long wishing it, out of the way, he should still do {so}, at a future day, {and} at an age more unsuited.

DEM. O Jupiter! You, sir, are driving me to distraction. Is it not a heinous thing for a young man to do these things?

MIC. Oh! do listen to me, and do not everlastingly din me upon this subject. You gave me your son to adopt; he became mine; if he offends in any thing, Demea, he offends against me: in that case I shall bear the greater part {of the inconvenience}. Does he feast,[27] does he drink, does he smell of perfumes,[28]— it is at my cost. Does he intrigue, money shall be found by me, so long as it suits me; when it shall be no {longer convenient}, probably he'll be shut out of doors.[29] Has he broken open a door— it shall be replaced; has he torn any one's clothes— they shall be mended. Thanks to the Gods, I both have means for doing this, and {these things} are not as yet an annoyance. In fine, either desist, or else find some arbitrator {between us}: I will show that in this matter you are the most to blame.

DEM. Ah me! Learn to be a father from those who are really so.

MIC. You are his father by nature, I by my anxiety.

DEM. You, feel any anxiety?

MIC. Oh dear,— if you persist, I'll leave you.

DEM. Is it thus you act?

MIC. Am I so often to hear about the same thing?

DEM. I have some concern {for my son}.

MIC. I have some concern {for him} too; but, Demea, let us each be concerned for his own share— you for the one, and I for the other. For, to concern yourself about both is almost the same thing as to demand him back again, whom you intrusted to me.

DEM. Alas, Micio!

MIC. So it seems to me.

DEM. What {am I to say} to this? If it pleases you, {henceforth}— let him spend, squander, {and} destroy; it's nothing to me. If I {say} one word after this——

MIC. Again angry, Demea?

DEM. Won't you believe me? Do I demand him back whom I have intrusted? I am concerned for him; I am not a stranger in blood; if I do interpose— well, well, I have done. You desire me to concern myself for one {of them},— I do concern myself; and I give thanks to the Gods, he is just as I would have him; that fellow of yours will find it out at a future day: I don't wish to say any thing more harsh against him. (Exit.

SCENE III.

MICIO alone.

MIC. These things are[30] not nothing at all, nor yet all just as he says; still they do give me some uneasiness; but I was unwilling to show him that I took them amiss, for he is such a man; when I would pacify him, I steadily oppose and resist {him}; {and} in spite of it he hardly puts up with it like other men; but if I were to inflame, or even to humor his anger, I should certainly be as mad as himself. And yet AEschinus has done me some injustice in this affair. What courtesan has he not intrigued with? Or to which {of them} has he not made some present? At last, he recently told me that he wished to take a wife,[31] I suppose he was just then tired of them all. I was in hopes that the warmth of youth had now subsided; I was delighted. But look {now}, he is at it again; however, I am determined to know it, whatever it is, and to go meet the fellow, if he is at the Forum. (Exit.



ACT THE SECOND.

SCENE I.

Enter AESCHINUS and PARMENO with the MUSIC-GIRL, followed by SANNIO and a crowd of people.

SAN. I beseech you, fellow-citizens, do give aid to a miserable and innocent man; do assist the distressed.

AESCH. (to the GIRL.) Be quiet, and now then stand here just where you are. Why do you look back? There's no danger; he shall never touch you while I am here.

SAN. I'll {have} her, in spite of all.

AESCH. Though he is a villain, he'll not risk, to-day, getting a second beating.

SAN. Hear me, Aeschinus, that you may not say that you were in ignorance of my calling; I am a Procurer.[32]

AESCH. I know it.

SAN. And of as high a character as any one ever was. When you shall be excusing yourself by-and-by, how that you wish this injury had not been done me, I shall not value it this (snapping his fingers). Depend upon it, I'll prosecute my rights; and you shall never pay with words for the evil that you have done me in deed. I know those {ways} of yours: "I wish it hadn't happened; I'll take my oath that you did not deserve this injustice;" while I myself have been treated in a disgraceful manner.

AESCH. (to PARMENO.) Go first with all dispatch and open the door. (PARMENO opens the door.)

SAN. But you will avail nothing by this.

AESCH. (To the GIRL.) Now then, step in.

SAN. (coming between.) But I'll not let her.

AESCH. Step this way, Parmeno; you are gone too far that way; here (pointing), stand close by him; there, that's what I want. Now then, take care you don't move your eyes in any direction from mine, that there may be no delay if I give you the sign, to your fist being instantly planted in his jaws.

SAN. I'd have him then try that.

AESCH. (to PARMENO.) Now then, observe me.

PAR. (to SANNIO.) Let go the woman. (Strikes him.)

SAN. Oh! scandalous deed!

AESCH. He shall repeat it, if you don't take care. (PARMENO strikes him again.)

SAN. Oh shocking!

AESCH. (to PARMENO.) I didn't give the sign; but still make your mistakes on that side in preference. Now then, go. (PARMENO goes with the MUSIC-GIRL into MICIO'S house.)

SAN. What is the meaning of this? Have you the sway here, Aeschinus?

AESCH. If I had it, you should be exalted for your deserts.

SAN. What business have you with me?

AESCH. None.

SAN. How then, do you know who I am?

AESCH. I don't want to.

SAN. Have I touched any thing of yours?

AESCH. If you had touched it, you'd have got a drubbing.

SAN. What greater right then have you to take my {property}, for which I paid {my} money? Answer me that.

AESCH. It were better for you not to be making a disturbance here before the house; for if you persist in being impertinent, you shall be dragged in at once, and there you shall be lashed to death with whips.

SAN. A free man, with whips?

AESCH. So it shall be.

SAN. Oh, you shameless fellow! Is this the place where they say there is equal liberty for all?

AESCH. If you have now raved enough, Procurer, now then listen, if you please.

SAN. Why, is it I that have been raving, or you against me?

AESCH. Leave alone {all} that, and come to the point.

SAN. What point? Where am I to come to?

AESCH. Are you willing now that I should say something that concerns you?

SAN. With all my heart, only so it be something that's fair.

AESCH. Very fine! a Procurer wishing me not to say what's unfair.

SAN. I am a Procurer,[33] I confess it— the common bane of youth— a perjurer, a {public} nuisance; still, no injury has befallen you from me.

AESCH. Why, faith, that remains to come——

SAN. Pray, AEschinus, do come back to the point at which you set out.

AESCH. You bought her for twenty minae; and may your bargain never thrive! That sum shall be given {for her}.

SAN. What if I don't choose to sell her to you? Will you compel me?

AESCH. By no means.

SAN. I was afraid you would.

AESCH. Neither do I think that a woman can be sold who is free; for I claim her by action of freedom.[34] Now consider which you choose; take the money, or prepare yourself for the action. Think of it, Procurer, till I return.[35] (He goes into the house of MICIO.)

SCENE II.

SANNIO alone.

SAN. (to himself.) O supreme Jupiter! I do by no means wonder that men run mad through ill usage. He has dragged me out of my house, beaten me, taken my {property} away against my will, {and} has given me, unfortunate wretch, more than five hundred blows. In return for all this ill usage he demands {the girl} to be made over to him for just the same price at which she was bought. But however, since he has {so well} deserved {of me}, be it so: he demands what is his due. Very well, I consent then, provided he only gives the money. But I suspect this; when I have said that I will sell her for so much, he'll be getting witnesses forthwith that I have sold her.[36] As to getting the money, it's all a dream. {Call again} by and by; come back to-morrow. I could bear with that too, hard as it is, if he would only pay it. But I consider this to be the fact; when you take up this trade, you must brook and bear in silence the affronts of {these} young fellows. However, no one will pay me; it's in vain for me to be reckoning upon that.

SCENE III.

Enter SYRUS, from the house of MICIO.

SYR. (speaking to AESCHINUS within.) Say no more; I myself will arrange with him; I'll make him glad to take the money at once, and say besides that he has been fairly dealt with. (Addressing SANNIO.) Sannio, how is this, that I hear you have been having some dispute or other with my master?

SAN. I never saw a dispute on more unequal terms[37] than the one that has happened to-day between us; I, with being thumped, he, with beating me, were both of us quite tired.

SYR. Your own fault.

SAN. What could I do?

SYR. You ought to have yielded to the young man.

SAN. How could I more so, when to-day I have even afforded my face to his blows?

SYR. Well— are you aware of what I tell you? To slight money on some occasions is sometimes the surest gain. What! —were you afraid, you greatest simpleton alive, if you had parted with ever so little[38] of your right, and had humored the young man, that he would not repay you with interest?

SAN. I do not pay ready money for hope.

SYR. {Then} you'll never make a fortune. Get out with you, Sannio; you don't know how to take in mankind.

SAN. I believe that to be the better {plan}— but I was never so cunning as not, whenever I was able to get it, to prefer getting ready money.

SYR. Come, come, I know your spirit; as if twenty minae were any thing at all to you in comparison to obliging him; besides, they say that you are setting out for Cyprus——

SAN. (aside.) Hah!

SYR. That you have been buying up many things to take thither; {and} that the vessel is hired. This I know, your mind is in suspense; however, when you return thence, I hope you'll settle the matter.

SAN. Not a foot {do I stir}: Heavens! I'm undone! (Aside.) It was upon this hope they devised their project.

SYR. (aside.) He is alarmed. I've brought the fellow into a fix.

SAN. (aside.) Oh, what villainy! —Just look at that; how he has nicked me in the very joint.[39] Several women have been purchased, and other things as well, for me to take to Cyprus.[40] If I don't get there to the fair, my loss will be very great. Then if I postpone this {business}, and settle it when I come back from there, it will be of no use; the matter will be quite forgotten. "Come at last?" {they'll say}. "Why did you delay it? Where have you been?" So that I had better lose it altogether than either stay here so long, or be suing for it then.

SYR. Have you by this reckoned[41] up what you calculate will be your profits?

SAN. Is this honorable of him? Ought AEschinus to attempt this? Ought he to endeavor to take her away from me by downright violence?

SYR. (aside.) He gives ground. (To SANNIO.) I have this one {proposal to make}; see if you fully approve of it. Rather than you should run the risk, Sannio, of getting or losing the whole, halve it. He will manage to scrape together ten minae[42] from some quarter or other.

SAN. Ah me! unfortunate wretch, I am now in danger of even losing part of the principal. Has he no shame? He has loosened all my teeth; my head, too, is full of bumps with his cuffs; and would he defraud me as well? I shall go nowhere.

SYR. Just as you please. Have you any thing more to say before I go?

SAN. Why yes, Syrus, i' faith, I have this to request. Whatever the matters that are past, rather than go to law, let what is my own be returned me; at least, Syrus, the sum she cost me. I know that you have not hitherto made trial of my friendship; you will have no occasion to say that I am unmindful or ungrateful.

SYR. I'll do the best I can. But I see Ctesipho; he's in high spirits about his mistress.

SAN. What about what I was asking you?

SYR. Stay a little.

SCENE IV.

Enter CTESIPHO, at the other side of the stage.

CTES. From any man, when you stand in need of it, you are glad to receive a service; but of a truth it is doubly acceptable, if he does you a kindness who ought to do so. O brother, brother, how can I sufficiently commend you? This I am quite sure of; I can never speak of you in such high terms but that your deserts will surpass it. For I am of opinion that I possess this one thing in especial beyond all others, a brother than whom no individual is more highly endowed with the highest qualities.

SYR. O Ctesipho!

CTES. O Syrus, where is AEschinus?

SYR. Why, look— he's at home, waiting for you.

CTES. (speaking joyously.) Ha!

SYR. What's the matter?

CTES. What's the matter? 'Tis through him, Syrus, that I am now alive— generous creature! Has he not deemed every thing of secondary importance to himself in comparison with my happiness? The reproach, the discredit, my own amour and imprudence, he has taken upon himself. There can be nothing beyond this; but what means that noise at the door?

SYR. Stay, stay; 'tis {AEschinus} himself coming out.

SCENE V.

Enter AESCHINUS, from the house of MICIO.

AESCH. Where is that villain?

SAN. (aside.) He's looking for me.[43] Is he bringing any thing {with him}? Confusion! I don't see any thing.

AESCH. (to CTESIPHO.) Ha! well met; you are the very man I was looking for. How goes it, Ctesipho? All is safe: away then with your melancholy.

CTES. By my troth, I certainly will away with it, when I have such a brother as you. O my {dear} AEschinus! O my brother! Alas! I am unwilling to praise you any more to your face, lest you should think I do so rather for flattery than through gratitude.

AESCH. Go to, you simpleton! as though we didn't by this time understand each other, Ctesipho. This grieves me, that we knew of it almost too late, and that the matter had come to such a pass, that if all mankind had wished they could not possibly have assisted you.

CTES. I felt ashamed.

AESCH. Pooh! that is folly, not shame; about such a trifling matter {to be} almost {flying} the country![44] 'Tis shocking to be mentioned; I pray the Gods may forbid it!

CTES. I did wrong.

AESCH. (in a lower voice.) What says Sannio to us at last?

SYR. He is pacified at last.

AESCH. I'll go to the Forum to pay him off; you, Ctesipho, {step} in-doors to her.

SAN. (aside to SYRUS.) Syrus, do urge {the matter}.

SYR. (to AESCHINUS.) Let us be off, for he is in haste for Cyprus.[45]

SAN. Not particularly so; although still, I'm stopping here doing nothing at all.

SYR. It shall be paid, don't fear.

SAN. But he is to pay it all.

SYR. He shall pay it all; only hold your tongue and follow {us} this way.

SAN. I'll follow.

CTES. (as SYRUS is going.) Harkye, harkye, Syrus.

SYR. (turning back.) Well now, what is it?

CTES. (aside.) Pray do discharge that most abominable fellow as soon as possible; for fear, in case he should become more angry, by some means or other this matter should reach my father, and then I should be ruined forever.

SYR. That shall not happen, be of good heart; meanwhile enjoy yourself in-doors with her, and onder the couches[46] to be spread for us, and the other things to be got ready. As soon as {this} business is settled, I shall come home with the provisions.

CTES. Pray {do} so. Since this has turned out so well, let us make a cheerful day of it. (CTESIPHO goes into the house of MICIO; and exeunt AESCHINUS and SYRUS, followed by SANNIO.)



ACT THE THIRD.

SCENE I.

Enter SOSTRATA and CANTHARA, from the house of the former.

SOS. Prithee, my {dear} nurse, how is it like to end?

CAN. Like to end, do you ask? I'troth, right well, I trust.

SOS. Her pains are just beginning, my dear.

CAN. You are in a fright now, just as though you had never been present {on such an occasion}— never been in labor yourself.

SOS. Unfortunate woman that I am! I have not a person {at home}; we are quite alone; Geta too is absent. I have no one to go for the midwife, or to fetch AEschinus.

CAN. I'faith, he'll certainly be here just now, for he never lets a day pass without visiting us.

SOS. He is my sole comfort in my afflictions.

CAN. Things could not have happened, mistress, more for the advantage of your daughter than they have, seeing that violence was offered her; so far as he is concerned, it is most lucky,— such a person, of such disposition and feelings, a member of so respectable a family.

SOS. It is indeed as you say; I entreat the Gods that he may be preserved to us. (They stand apart, on seeing GETA.)

SCENE II.

Enter GETA, on the other side of the stage.

GETA (to himself.) Now such is {our condition}, that if all were to combine all their counsels, and to seek a remedy for this mischief that has befallen myself, my mistress, and her daughter, they could find no relief. Oh wretched me! so many calamities beset us on a sudden, we can not possibly extricate ourselves. Violence, poverty, oppression, desertion, infamy! What an age is this! O {shocking} villainy! O accursed race! O impious man!—

SOS. Unhappy me! How is it that I see Geta hurrying along thus terrified?

GETA (continuing.) Whom neither promises, nor oaths, nor compassion could move or soften; nor yet the fact that the delivery was nigh at hand of the unfortunate woman on whom he had so shamefully committed violence.

SOS. (apart to CANTHARA.) I don't well understand what he is talking about.

CAN. Pray, let us go nearer to him, Sostrata.

GETA (continuing.) Ah wretched me! I am scarcely master of my senses, I am so inflamed with anger. There is nothing that I would like better than for all that family to be thrown in my way, that I might give vent to all {my} wrath upon them while this wound is still fresh. I could be content with any punishment, so I might only wreak my vengeance on them. First, I would stop the breath of the old fellow himself who gave being to this monster; then as for his prompter, Syrus, out upon him! how I would tear him piecemeal! I would snatch him by the middle up aloft, and dash him head downward upon the earth, so that with his brains he would bestrew the road: I would pull out the eyes of the young fellow himself, {and} afterward hurl him headlong {over some precipice}. The others I would rush upon, drive, drag, crush, and trample them {under foot}. But why do I delay at once to acquaint my mistress with this calamity? (Moves as if going.)

SOS. (to CANTHARA.) Let us call him back. Geta——

GETA. Well— leave me alone,[47] whoever you are.

SOS. 'Tis I,— Sostrata.

GETA (turning round.) Why, where are you? You are the very person I am looking for. I was in quest of you; it's very fortunate you have met me.

SOS. What's the matter? Why are you trembling?

GETA. Alas! Alas!

SOS. My {dear} Geta, why in such haste? Do take breath.

GETA. Quite— (pauses.)

SOS. Why, what means this "quite"?

GETA. Undone— It's all over with us.

SOS. Say, then, I entreat you, what is the matter.

GETA. Now——

SOS. What "now," Geta?

GETA. AEschinus——

SOS. What about him?

GETA. Has abandoned our family.

SOS. Then I am undone! Why so?

GETA. He has attached himself to another woman.

SOS. Woe unto wretched me!

GETA. And he makes no secret of it; he himself has carried her off openly from a procurer.

SOS. Are you quite sure of this?

GETA. Quite sure; I saw it myself, Sostrata, with these same eyes.

SOS. Ah wretched me! What is one now to believe, or whom believe? Our own AEschinus, the {very} life of us all, in whom all our hopes and comforts were centred! Who used to swear he could never live a single day without her! Who used to say, that he would place the infant on his father's knees,[48] {and} thus entreat that he might be allowed to make her his wife!

GETA. {Dear} mistress, forbear weeping, and rather consider what must be done for the future in this matter. Shall we submit to it, or shall we tell it to any person?

CAN. Pooh, pooh! are you in your senses, my {good} man? Does this seem to you a business to be made known to any one?

GETA. I, indeed, have no wish for it. In the first place, then, that his feelings are estranged from us, the thing itself declares. Now, if we make this known, he'll deny it, I'm quite sure; your reputation and your daughter's character will {then} be in danger. On the other hand, if he were fully to confess it, as he is in love with another woman, it would not be to her advantage to be given to him. Therefore, under either circumstance, there is need of silence.

SOS. Oh! by no means in the world! I'll not do it.

GETA. What is it you say?

SOS. I'll make it known.

GETA. Ha, my {dear} Sostrata, take care what you do!

SOS. The matter can not possibly be in a worse position than it is at present. In the first place, she has no portion; then, besides, that which was as good as a portion, {her honor}, is lost: she can not be given in marriage as a virgin. This {resource} is left; if he should deny it, I have a ring which he lost as evidence {of the truth}. In fine, Geta, as I am fully conscious that no blame attaches to me, and that neither interest nor any consideration unworthy of her or of myself has had a share in this matter, I will make trial——

GETA. What am I to say to this? I agree, as you speak for the best.

SOS. You be off as fast as possible, and relate all the matter just as it has happened to her kinsman Hegio; for he was the best friend of our {lamented} Simulus, and has shown especial regard for us.

GETA. (aside.) Aye, faith, because nobody else takes any notice {of us}.

SOS. Do you, my {dear} Canthara, run with all haste, {and} fetch the midwife, so that, when she is wanted, we may not have to wait for her. (SOSTRATA goes into the house, and exit GETA and CANTHARA.)

SCENE III.

Enter DEMEA.

DEM. (to himself.) Utterly undone! I hear that Ctesipho was with AEschinus at the carrying off {of this girl}. This sorrow {still} remains for unhappy me, should {AEschinus} be able to seduce him, even him, who promises so fair, to a course of debauchery. Where am I to inquire for him? I doubt he has been carried off to some bad house; that profligate has persuaded him, I'm quite sure. But look— I see Syrus coming {this way}, I shall now know from him where he is. But, i'faith, he is one of the gang; if he perceives that I am looking for him, the rascal will never tell me. I'll not let him know what I want.

SCENE IV.

Enter SYRUS, at the other side of the stage.

SYR. (to himself.) We just now told the old gentleman the whole affair just as it happened; I never did see any one more delighted.

DEM. (apart.) O Jupiter! the folly of the man!

SYR. (continuing.) He commended his son. To me, who put them upon this project, he gave thanks——

DEM. (apart) I shall burst asunder.

SYR. (continuing.) He told down the money instantly, {and} gave me half a mina besides to spend. That was laid out quite to my liking.

DEM. (apart.) Very fine— if you would wish a thing to be nicely managed, intrust it to this {fellow}.

SYR. (overhearing him.) Ha, Demea! I didn't see you; how goes it?

DEM. How should it go? I can not enough wonder at your mode of living {here}.

SYR. Why, really silly enough, and, to speak without disguise, {altogether} absurd. (Calls at the door of MICIO'S house.) Dromo, clean the rest of the fish; let the largest conger-eel play a little in the water; when I come {back} it shall be boned;[49] not before.

DEM. Is profligacy like this——

SYR. As for myself, it isn't to my taste, and I often exclaim {against it}. (Calls at the door.) Stephanio, take care that the salt fish is well soaked.

DEM. Ye Gods, by our trust in you! is he doing this for any purpose of his own, or does he think it creditable to ruin {his} son? Wretch that I am! methinks I already see the day when {AEschinus} will be running away for want, to serve somewhere or other as a soldier.[50]

SYR. O Demea! that is wisdom {indeed},— not only to look at the present moment, but also to look forward to what's to come.

DEM. Well— is this Music-girl still with you?

SYR. Why, yes, she's in-doors.

DEM. How now— is he going to keep her at home?

SYR. I believe so; such is his madness!

DEM. Is it possible?

SYR. An imprudent lenity in his father, and a vicious indulgence.

DEM. Really, I am ashamed and grieved at my brother.

SYR. Demea! between you there is a great— I do not say it because you are here present— a too great difference. You are, every bit of you, nothing but wisdom; he a {mere} dreamer. Would you indeed have suffered that son of yours to act thus?

DEM. I, suffer him? Would I not have smelt it out six months before he attempted it?

SYR. Need I be told by you of your foresight?

DEM. I pray he may only continue the same he is at present!

SYR. Just as each person wishes his son to be, so he turns out.

DEM. What news of him? Have you seen him to-day?

SYR. What, your son? (Aside.) I'll pack him off into the country. (To DEMEA.) I fancy he's busy at the farm long before this.

DEM. Are you quite sure he is there?

SYR. What! —when I saw him part of the way {myself}——

DEM. Very good. I was afraid he might be loitering here.

SYR. And extremely angry too.

DEM. Why so?

SYR. He attacked his brother in the Forum with strong language about this Music-girl.

DEM. Do you really say so?

SYR. Oh dear, he didn't at all mince the matter; for just as the money was being counted out, the gentleman came upon us by chance, {and} began exclaiming, "Oh AEschinus, that you should perpetrate these enormities! that you should be guilty of actions {so} disgraceful to our family!"

DEM. Oh, I shall weep for joy.

SYR. "By this you are not squandering your money {only}, but your reputation."

DEM. May he be preserved to me! I trust he will be like his forefathers. (Weeping.)

SYR. (aside.) Heyday!

DEM. Syrus, he is full of these maxims.

SYR. (aside.) Strange, indeed! He had the means at home of learning them.

DEM. I do every thing I can; I spare no pains; I train him up to it: in fine, I bid him look into the lives of men, as though into a mirror, and from others to take an example for himself. Do this, {I say}——

SYR. Quite right.

DEM. Avoid that——

SYR. Very shrewd.

DEM. This is praiseworthy——

SYR. That's the thing.

DEM. That is considered blamable——

SYR. Extremely good.

DEM. And then, moreover——

SYR. Upon my honor, I have not the leisure to listen to you just at present: I have got some fish just to my taste, {and} must take care they are not spoiled; for that would be as much a crime in me, as for you, Demea, not to observe those maxims which you have just been mentioning; and so far as I can, I lay down precepts for my fellow-servants on the very same plan; "this is {too} salt, that is quite burned up, this is not washed enough, that is {very} well done; remember {and do} so another time." I carefully instruct them so far as I can to the best of my capacity. In short, Demea, I bid them look into their sauce-pans as though into a mirror,[51] and suggest to them what they ought to do. I am sensible these things are trifling which we do; but what is one to do? According as the man is, so must you humor him. Do you wish any thing else?

DEM. That more wisdom may be granted you.

SYR. You will be going off into the country, {I suppose}?

DEM. Directly.

SYR. For what should you do here, where, if you do give any good precepts, no one will regard them? (Goes into MICIO'S house.)

SCENE V.

DEMEA, alone.

DEM. (to himself.) I certainly will be off, as he on whose account I came hither has gone into the country. I have a care for him: that alone is my own concern, since my brother will have it so; let him look to the other himself. But who is it I see yonder at a distance? Isn't it Hegio of our tribe?[52] If I see right, i'faith, it is he. Ah, a man I have been friendly with from a child! Good Gods! we certainly have a great dearth of citizens of that stamp nowadays, with the old-fashioned virtue and honesty. Not in a hurry will any misfortune accrue to the public from him. How glad I am to find some remnants of this race even still remaining; now I feel some pleasure in living. I'll wait here for him, to ask him how he is, and have some conversation with him.

SCENE VI.

Enter HEGIO and GETA, conversing, at a distance.

HEG. Oh immortal Gods! a disgraceful action, Geta! What is it you tell me?

GETA. Such is the fact.

HEG. That so ignoble a deed should come from that family! Oh AEschinus, assuredly you haven't taken after your father in that!

DEM. (apart.) Why surely, he has heard this about the Music-girl; that gives him concern, {though} a stranger; this father {of his} thinks nothing of it. Ah me! I wish he were somewhere close at hand to overhear this.

HEG. Unless they do as they ought to do, they shall not come off so easily.

GETA. All our hopes, Hegio, are centred in you; you we have for {our} only {friend}; you are our protector, our father. The old man, {Simulus}, when dying, recommended us to you; if you forsake us, we are undone.

HEG. Beware how you mention {that}; I neither will do it, nor do I think thaat; with due regard to the ties of relationship, I could.

DEM. (apart.) I'll accost him. (Approaches HEGIO.) Hegio, I bid you welcome right heartily.

HEG. (starting.) Oh! I you are the very man I was looking for. Greetings to you, Demea.

DEM. Why, what's the matter?

HEG. Your eldest son AEschinus, whom you gave to your brother to adopt, has been acting the part of neither an honest man nor a gentleman.

DEM. What has he been doing?

HEG. You knew my friend and year's-mate, Simulus?

DEM. Why not?

HEG. He has debauched his daughter, a virgin.

DEM. Hah!

HEG. Stay, Demea. You have not yet heard the worst.

DEM. Is there any thing still worse?

HEG. Worse, by far: for this indeed might in some measure have been borne with. The hour of night prompted him; passion, wine, young blood; 'tis human nature. When he was sensible of what he had done, he came voluntarily to the girl's mother, weeping, praying, entreating, pledging his honor, vowing that he would take her home.[53] {The affair} was pardoned, hushed, up, his word taken. The girl from that intercourse became pregnant: {this} is the tenth month. He, worthy fellow, has provided himself, if it please the Gods, with a Music-girl to live with; the other he has cast off.

DEM. Do you say this for certain?

HEG. The mother of the young woman is among us,[54] the young woman too; the fact {speaks for} itself; this Geta, besides, according to the common run of servants, not a bad one or of idle habits; he supports them; alone, maintains the whole family; take him, bind him,[55] examine him upon the matter.

GETA. Aye, faith, put me to the torture, Demea, if such is not the fact: besides, he will not deny it. Confront me with him.

DEM. (aside.) I am ashamed; and what to do, or how to answer him, I don't know.

PAM. (crying out within the house of SOSTRATA.) Ah me! I am racked with pains! Juno Lucina,[56] bring aid, save me, I beseech thee!

HEG. Hold; is she in labor, pray?

GETA. No doubt of it, Hegio.

HEG. Ah! she is now imploring your protection, Demea; let her obtain from you spontaneously what the power {of the law} compels you to give. I do entreat the Gods that what befits you may at once be done. But if your sentiments are otherwise, Demea, I will defend both them and him who is dead to the utmost of my power. He was my kinsman:[57] we were brought up together from children, we were companions in the wars and at home, together we experienced the hardships of poverty. I will therefore exert myself, strive, use all methods, in fine lay down my life, rather than forsake these women. What answer do you give me?

DEM. I'll go find my brother, Hegio: the advice he gives me upon this matter I'll follow.[58]

HEG. But, Demea, take you care and reflect upon this: the more easy you are in your circumstances, the more powerful, wealthy, affluent, {and} noble you are, so much the more ought you with equanimity to observe {the dictates of} justice, if you would have yourselves esteemed as men of probity.

DEM. Go back {now};[59] every thing shall be done that is proper to be done.

HEG. It becomes you to act {thus}. Geta, show me in to Sostrata. (Follows GETA into SOSTRATA'S house.)

DEM. (to himself.) Not without warning on my part have these things happened: I only wish it may end here; but this immoderate indulgence will undoubtedly lead to some great misfortune. I'll go find my brother, and vent these feelings upon him. (Exit.

SCENE VII.

Enter HEGIO, from SOSTRATA'S house, and speaking to her within.

HEG. Be of good heart,[60] Sostrata, and take care and console her as far as you can. I'll go find Micio, if he is at the Forum, and acquaint him with the whole circumstances in their order; if so it is that he will do his duty {by you}, let him do so; but if his sentiments are otherwise about this matter, let him give me his answer, that I may know at once what I am to do. (Exit.



ACT THE FOURTH.

SCENE I.

Enter CTESIPHO and SYRUS from the house of MICIO.

CTES. My father gone into the country, say you?

SYR. (with a careless air.) Some time since.

CTES. Do tell me, I beseech you.

SYR. He is at the farm at this very moment,[61] I warrant— hard at some work or other.

CTES. I really wish, provided it be done with no prejudice to his health, I wish that he may so effectually tire himself, that, for the next three days together, he may be unable to arise from his bed.

SYR. So be it, and any thing still better than that,[62] if possible.

CTES. Just so; for I do most confoundedly wish to pass this whole day in merry-making as I have begun it; and for no reason do I detest that farm so heartily as for its being so near {town}. If it were at a greater distance, night would overtake him there before he could return hither again. Now, when he doesn't find me there, he'll come running back here, I'm quite sure; he'll be asking me where I have been, that I have not seen him all this day: what am I to say?

SYR. Does nothing suggest itself to your mind?

CTES. Nothing whatever.

SYR. So much the worse[63]— have you no client, friend, or guest?

CTES. I have; what then?

SYR. You have been engaged with them.