Chapter 19

“O et de Latiâ, O et de gente SabinâPræcipuum matrona decus; dignissima tanti”—And thou, O matron, ornament of Latium,The chiefest glory of the Sabine race,Most worthy consort of so great a hero——

“O et de Latiâ, O et de gente SabinâPræcipuum matrona decus; dignissima tanti”—And thou, O matron, ornament of Latium,The chiefest glory of the Sabine race,Most worthy consort of so great a hero——

“O et de Latiâ, O et de gente SabinâPræcipuum matrona decus; dignissima tanti”—

“O et de Latiâ, O et de gente Sabinâ

Præcipuum matrona decus; dignissima tanti”—

And thou, O matron, ornament of Latium,The chiefest glory of the Sabine race,Most worthy consort of so great a hero——

And thou, O matron, ornament of Latium,

The chiefest glory of the Sabine race,

Most worthy consort of so great a hero——

Nonnius supports Gellius in this opinion.

NOTE 119.All was silent.

Nil tumulti. Terence here compares guests, called together in a hurry, to soldiers raised on any sudden emergency of great importance. As no marriage had been thought of till that day,ifChremeshadinvited any guests, they could have had scarcely an hour’s notice; Davus, therefore, aptly calls such a hasty assemblage tumultus, which word was used to signify a very quick muster of soldiers on any pressing occasion, when all that took arms were called tumultuarii. (VideLiv. I.37, 35.) Numerous allusions of this kind, which abound in the writings of Terence, cannot be happily preserved in a translation.

NOTE 120.

Besides all this, as I was returning, I met Chremes’ servant, who was carrying home some herbs, and as many little fishes for the old man’s supper, as might have cost an obolus.

What a supper for a man of fortune! as we must suppose Chremes to have been, since he could give Glycera and Philumena each a dowry of ten talents. The Athenians were remarkable,even to a proverb, for their extreme frugality. To tell a person that he livedἀττικηρῶςor like an Athenian, was to tell him in other words that he lived penuriously. The food of the common people was very coarse; being such as they could procure at a slight expense.Mάζα, a very common food among them, was a mixture of meal, salt, water, and oil: and another, calledμυττωτὸν, was a composition of garlick, eggs, and milk. Many of those who drank water, drank it warm; as the water of the hot fountains, (of which there are many in Greece,) was reckoned highly restorative. This simple diet, however, soon gave place to greater delicacies, and, in Greece, as in all other countries, refinement and luxury kept pace with each other. For the value of an obolus, see the table of money inNote 208. An obolus worth of food was, probably, as much as would furnish a coarse meal for one person. Plutarch tells us, that the Athenian women were forbidden, by law, to travel with more food than could be purchased with an obolus: this harsh law must have been formed with a view to prevent them from making any long stay abroad.VideNotes71,103.

NOTE 121.

If you do not use all your endeavours to gain the support of the old man’s friends, you will be no nearer your wishes than ever.

Nisi vides, nisi senis amicos oras,ambis.The meaning of ambis in this line is very equivocal; ambire means to solicit, and also to run round. Some commentators give ambis the same sense with oras: but that makes Davus’s speech incomplete. I have seen an attempt to support this reading by making Pamphilus speak the word ambis, with which he breaks in upon Davus. The learned reader will judge what degree of attention ought to be paid to this reading; I have adopted that which seemed to me to be most agreeable to the sense. If frustra had been added, the line would have been more intelligible. Ambit has much the same meaning in the following passage,

“Locum, quo me Dea texerat insciusambit.”—Ovid.

NOTE 122.Glycera, moreover, is destitute and friendless.

Terence here alludes to the Athenian law, which compelled all sojourners in Athens to choose a patron and protector: we must suppose that Glycera had neglected that ceremony after Chrysis’ death. Davus insinuates that it would afford Simo a sufficient pretext to drive her from the city. If a suit at law, calledἀποστασίου δίκη, was instituted against a sojourner in the before-mentioned circumstances: all the offender’s property was confiscated to public use.

NOTE 123.To banish her from the city.

Banishment, among the Athenians, was of three kinds, 1.φυγὴ, temporary exile, the length of which was fixed by the judges. 2.Ὀστρακισμὸς, ten years’ banishment, during which the exile was allowed to receive the proceeds of his estate. 3.ἀειφυγία, perpetual banishment. The last kind was chiefly inflicted on murderers, the second on men, who grew so extremely popular and powerful as to endanger the security of a republican government. Mr. Cooke thinks, with Dr. Bentley, that “the original of this passage should be read,eameiciatoppido,” instead ofeam ejiciatoppido: he supports this reading by the following quotation,

Tityre, pascentes a fluminereicecapellas.—Virgil.

where the measure determines the spelling.

“In the three manuscript copies of Terence, in the possession of Dr. Mead, two of them haveeiciat; and what is worthy the reader’s notice, that which hasejiciatis written in the manner of prose.”

NOTE 124.

Therefore, do not let the fear of his changing his mind prevent you from following my advice.

——Nec tu ea causa minuerisHæc quæ facis, ne is suam mutet sententiam.

——Nec tu ea causa minuerisHæc quæ facis, ne is suam mutet sententiam.

——Nec tu ea causa minueris

Hæc quæ facis, ne is suam mutet sententiam.

It is impossible to ascertain, beyond a doubt, what Terence meant to express by these lines, and the most ingenious critics have differed entirely respecting their true signification. Some think this sentence should be interpreted thus: Be careful not to discontinue your visits to Glycera, lest Chremes should think you have broken off your connexion with her, and change his mind in consequence, and resolve to give you his daughter. In short,don’t quit your intrigue, and reform, lest Chremes should hear of it, and give you Philumena: among those who read the words in this sense, the most eminent areBernard, Echard, M. Baron, the authors of the old Paris edition of 1671, and of the old English edition with notes. At the head of those who have adopted a contrary interpretation areCooke,Colman, andMadame Dacier, who translate the lines thus,Let not the fear of Chremes’ changing his mind, and resolving to give you his daughter, make you hesitate in doing this, i. e., in telling your father that you’ll marry. I have adopted the latter translation, which seems more pertinent to the subject on which Davus and Pamphilus were conversing. The word hæc, moreover, usually refers to something immediately present, as was the topic of Pamphilus consenting to the marriage to deceive Simo. Terence, I think, if he had intended to allude to the visits, letters,&c., to Glycera, would have used the word isthæc. I conclude this note with the opinion of Madame Dacier respecting this passage, which that learned lady translates asfollows:—

“Car que Chremès ne veuille pas vous donner sa fille, cela est hors de doute. Gardez vous donc bien que la crainte qu’il ne change de sentiment, et ne veuille que vous soyez bon gendre, ne vous fasse changer quelque chose au conseil que je vous ai donné.

This passage is extremely difficult. I have been obliged to take a little latitude to make it clear. I shall explain the words literally:Nec tu ea causa minueris hæc quæ facis, ne is mutet suam sententiam. This is the construction,nec tu minueris hæc quæ facis, ea causa ne is mutet suam sententiam. Change not your intention to do what you are going to do; that is to say, what I advise you to do:ea causa; on this pretext;ne is mutet suam sententiam; that you fear lest Chremes should change his mind:minuere, to diminish, is used for to change, as in the Stepmother,

Sed non minuam meum consilium.But I will not alter my resolution.”Madame Dacier.

Sed non minuam meum consilium.But I will not alter my resolution.”Madame Dacier.

Sed non minuam meum consilium.

But I will not alter my resolution.”

Madame Dacier.

NOTE 125.

As to the hopes you indulge, that no man will give his daughter to you, on account of this imprudent connexion that you have formed; I will soon convince you of their fallacy.

We must not suppose, that the sentiments of Pamphilus were really such as Davus here insinuates: this would be representing him as an unblushing profligate; who, because he was disinclined to marriage, wished his character to be so very black, that no reputable family in Athens would admit him as a son-in-law: for this is the sense of what Davus says, though I have rather softened his expression. Whoever attentively peruses what Simo says of his son, (in ActI.SceneI.) must perceive how inconsistent such a wish must be with the character of Pamphilus. Madame Dacier observes very aptly on a similar expression of Sosia, “les valets prennent toujours tout du mauvais côte, slaves always look on the dark side of every thing. In respect to thebefore-mentioned passage, I am rather inclined to the opinion of a late ingenious commentator, who speaks of it as follows:

“Mr. Davus talks here as if he did not know what to say. In my humble opinion, these four lines are no ornaments to the scene:

Nam quod tu speras, Propulsabo facile: uxorem his moribusDabit nemo: inopem inveniet potius, quam te corrumpi sinat:Sed si te æquo animo ferre accipiet, negligentem feceris;Aliam otiosus quæret: interea aliquid acciderit boni.

Nam quod tu speras, Propulsabo facile: uxorem his moribusDabit nemo: inopem inveniet potius, quam te corrumpi sinat:Sed si te æquo animo ferre accipiet, negligentem feceris;Aliam otiosus quæret: interea aliquid acciderit boni.

Nam quod tu speras, Propulsabo facile: uxorem his moribus

Dabit nemo: inopem inveniet potius, quam te corrumpi sinat:

Sed si te æquo animo ferre accipiet, negligentem feceris;

Aliam otiosus quæret: interea aliquid acciderit boni.

Here arepoorsentiments inpureLatin, which is more than once the case in our poet. The speech closes better withtibi jure irasci non queat.”—Cooke.

NOTE 126.

Pamphilus. But we must take care that he knows nothing of the child, for I have promised to bring it up.

Davus. Is it possible!

An allusion is here made to the exposure of children, for an account of which, seeNote 93.

Pamphilus, in this sentence, sayspollicitus sum: there is very great force in this expression, which cannot be gracefully expressed in English. Pollicitatio, writes a learned commentator,magnarum rerum est promissio, means the promise of something of great consequence. It signifies also something promised over and over again, after great persuasion and entreaty.

NOTE 127.So as I saw the old man coming this way, I followed him.

Id propterea nunchuncvenientem sequor.

Dr. Bentley thinks that this line ought to be omitted as spurious, because the wordhuncrefers to Pamphilus, who had not quitted the stage at all, from the time of Charinus’ departure until that moment: and, therefore, what Byrrhia says about following him thither must be nonsense. This passage is made very clear by Madame Dacier, who shews thatId proptereais the commencement of another sentence, and makeshuncrefer to Simo, instead of Pamphilus. The lines ought to be read thus,

Byrrhia.Herus me, relictis rebus, jussit PamphilumHodiè observare, ut quid ageret de nuptiisScirem. Id propterea nunc hunc venientem sequor.

Byrrhia.Herus me, relictis rebus, jussit PamphilumHodiè observare, ut quid ageret de nuptiisScirem. Id propterea nunc hunc venientem sequor.

Byrrhia.Herus me, relictis rebus, jussit Pamphilum

Hodiè observare, ut quid ageret de nuptiis

Scirem. Id propterea nunc hunc venientem sequor.

NOTE 128.Byrrhia. (aside.) Now, for my master’s sake, I dread to hear his answer.

Some commentators make this speech come from Davus; but it certainly is more natural from Byrrhia: because, by the worddread, he expresses a suspense about what the answer might be, which Davus could not feel, because he and his master had previously agreed upon it.

NOTE 129.Byrrhia. (aside.) Ha! I am struck dumb; what did he say?

Hem! obmutui! quid dixit!

I think this reading seems more consistent than that which is usually printed, where obmutuit comes from Davus: asByrrhiamight well be supposed toexpress surpriseat Pamphilus’s answer, which wasdirectly different from what Pamphilus and Charinus had previously agreed on.

The dialogue of this scene is carried on too unconnectedly, as Mr. Colman observes.

“Donatus remarks on this scene between Byrrhia, Simo, Pamphilus, and Davus, that the dialogue is sustained by four persons, who have little or no intercourse with each other: so that the scene is not only in direct contradiction to the precept of Horace excluding a fourth person, but is also otherwise vicious in its construction. Scenes of this kind are, I think, much too frequent in Terence, though, indeed, the form of the ancient theatre was more adapted to the representation of them than the modern. The multiplicity of speechesasideis also the chief error in his dialogue; such speeches, though very common in dramatic writers, ancient and modern, being always more or less unnatural. Myrtle’s suspicions, grounded on the intelligence drawn from Bevil’s servant, are more artfully imagined by the English poet, than those of Charinus, created by employing his servant as a spy on the actions of Pamphilus.”—Colman.

NOTE 130.

Byrrhia. (aside.) From what I hear, I fancy my master has nothing to do but to provide himself with another mistress as soon as possible.

Herus, quantum audio, uxoreexcidit.

“This expression is extremely elegant;excidere uxoremeans to lose all hope of obtaining the woman he courted,Excidere lite, to lose a cause, is a similar phrase. This mode of expression is in imitation of the Greeks, who usedἐκπιπτεῖνin the same sense.”—Madame Dacier.

Terence, undoubtedly, was extremely happy in the choice of his words; and his expressions are frequently so terse and nervous, that they cannot be translated but by a circumlocution which very much diminishes their grace: the following are words of that description which occur in this play,

“Liberaliter, conflictatur, familiariter, invenustum, indigeas, pollicitus, excidit, lactasses, ingeram, in proclive, produceres, conglutinas, illicis, attentus.”

NOTE 131.

Byrrhia. Well, I’ll carry him an account of what has passed. I suppose I shall receive an abundance of bad language in return for my bad news.

Renunciabo, ut pro hoc malo mihi det malum.

There is a jest in the Latin, which it is impossible to preserve in a translation: it turns on the wordmalum, which was used at Rome to signify the punishment inflicted on a slave, who played his part badly on the stage: as the inferior characters in a Roman play were personated by slaves. Thus, Byrrhia means to say, I shall rehearse my part so little to my master’s satisfaction, that I am sure to be punished. The writings of Terence abound with allusions of different kinds. It is not improbable that Terence acquired a taste for dramatic writing, by frequenting the stage in his youth, before he obtained his liberty: as slaves were employed in the theatres in considerable numbers. It is remarkable that several very eminent Latin and Greek writers were originally slaves; Terence, Cæcilius, Æsop, Diocles, Rhianus, Epictetus, Tyrannion, and (as some say) Plautus, were all elevated from a servile station. A celebrated writer remarks on this subject asfollows:—

“Of the politest and best writers of antiquity, several were slaves, or the immediate descendants of slaves. But all the difficulties occasioned by their low birth, mean fortune, want of friends, and defective education, were surmounted by theirlove of letters, and that generous spirit, which incites,

Ἀὲν ἀριστεύειν καὶ ὑπείροχον ἔμμεναι ἄλλων.Still to be first, and rise above the rest.Stimulos dedit æmula virtus:Nec quemquam jam ferre potest Cæsarve prioremPompeiusve parem.—Lucan.’Twas emulative virtue spurred them on;Cæsar no longer a superior brooks,And Pompey scorns an equal.”—Knox.

Ἀὲν ἀριστεύειν καὶ ὑπείροχον ἔμμεναι ἄλλων.Still to be first, and rise above the rest.Stimulos dedit æmula virtus:Nec quemquam jam ferre potest Cæsarve prioremPompeiusve parem.—Lucan.’Twas emulative virtue spurred them on;Cæsar no longer a superior brooks,And Pompey scorns an equal.”—Knox.

Ἀὲν ἀριστεύειν καὶ ὑπείροχον ἔμμεναι ἄλλων.

Still to be first, and rise above the rest.

Stimulos dedit æmula virtus:

Nec quemquam jam ferre potest Cæsarve priorem

Pompeiusve parem.—Lucan.

’Twas emulative virtue spurred them on;

Cæsar no longer a superior brooks,

And Pompey scorns an equal.”—Knox.

Byrrhia’s whole speech, from which the before-mentioned line was taken, has been thus altered by the learned French writer mentioned inNotes 72and112.VideNote 133.

“Ego illam vidi virginem: formâ bonâMemini videre, quo æquior sum Pamphilo,Si se illam uxorem quam illum habere maluit.Renunciabo, ut pro hoc malo mihi det malum.”

“Ego illam vidi virginem: formâ bonâMemini videre, quo æquior sum Pamphilo,Si se illam uxorem quam illum habere maluit.Renunciabo, ut pro hoc malo mihi det malum.”

“Ego illam vidi virginem: formâ bonâ

Memini videre, quo æquior sum Pamphilo,

Si se illam uxorem quam illum habere maluit.

Renunciabo, ut pro hoc malo mihi det malum.”

The original lines are as follows,

“Ego illam vidi virginem: formâ bonâMemini videre; quo æquior sum Pamphilo,Si se illam in somnis, quàm illum, amplecti maluit.Renunciabo, ut pro hoc malo mihi det malum.”

“Ego illam vidi virginem: formâ bonâMemini videre; quo æquior sum Pamphilo,Si se illam in somnis, quàm illum, amplecti maluit.Renunciabo, ut pro hoc malo mihi det malum.”

“Ego illam vidi virginem: formâ bonâ

Memini videre; quo æquior sum Pamphilo,

Si se illam in somnis, quàm illum, amplecti maluit.

Renunciabo, ut pro hoc malo mihi det malum.”

NOTE 132.Davus. (aside.) He has missed his aim! I see this nettles him to the quick.

M. Baron has lengthened this scene considerably: and makes a trial of repartee between Simo and Davus: one passage in which I think the ancient is surpassed by the modern, particularly deserves to be recorded.

“Puis-je espérer qu’aujourd’hui sans contrainteLa vérité pourra, sans recevoir d’atteinte,Une fois seulement de ta bouche sortir.”Andrienne,A. II. S. VII.Tell me, slave,Is’t possible that truth can pass thy lips,And be for once unsullied in its passage.

“Puis-je espérer qu’aujourd’hui sans contrainteLa vérité pourra, sans recevoir d’atteinte,Une fois seulement de ta bouche sortir.”Andrienne,A. II. S. VII.Tell me, slave,Is’t possible that truth can pass thy lips,And be for once unsullied in its passage.

“Puis-je espérer qu’aujourd’hui sans contrainte

La vérité pourra, sans recevoir d’atteinte,

Une fois seulement de ta bouche sortir.”

Andrienne,A. II. S. VII.

Tell me, slave,

Is’t possible that truth can pass thy lips,

And be for once unsullied in its passage.

NOTE 133.Davus. While circumstances allowed him, and while his youth, in some measure, excused him, I confess he did.

This is the last passage in this play that has been altered by the learned French writer, whom I have already cited several times. He has varied the lines as follows,

“Dum licitum est illi, dumque ætas tulit,Si vixit liberius, at cavit ne id sibiInfamiæ esset, ut virum fortem decet.”

“Dum licitum est illi, dumque ætas tulit,Si vixit liberius, at cavit ne id sibiInfamiæ esset, ut virum fortem decet.”

“Dum licitum est illi, dumque ætas tulit,

Si vixit liberius, at cavit ne id sibi

Infamiæ esset, ut virum fortem decet.”

Altered from the following,

“Dum licitum est illi, dumque ætas tulit,Amavit: tum id clam. Cavit ne unquam infamiæEa res sibi esset, ut virum fortem decet.”

“Dum licitum est illi, dumque ætas tulit,Amavit: tum id clam. Cavit ne unquam infamiæEa res sibi esset, ut virum fortem decet.”

“Dum licitum est illi, dumque ætas tulit,

Amavit: tum id clam. Cavit ne unquam infamiæ

Ea res sibi esset, ut virum fortem decet.”

I have now completed my extracts of the alterations made by this very learned and judicious writer, of various passages in our author, which might sound somewhat harsh to a delicate ear. I cannot but think that these alterations are worthy of the attention of the editors of Latin classics, who might adopt them with advantage in those editions of Terence, which are intended to be introduced into schools. It is impossible to be too cautious respecting those writings which are placed in the hands of youth: that work, perhaps, has the greatest merit, which can be submitted to their perusal most unreservedly.

“Virtutem doctrina paret.”—Horace.

I shall conclude this subject with an extract from that inestimable Tractate of Education, addressed by Milton to Mr. Samuel Hartlib: after various instructions to those who superintend the studies of youth, he observes, “Either now, or before this, they may have easily learnt, at any odd hour, theItaliantongue; and soon after, but withwariness and good antidote, it would be wholesome enough to let them taste some choice comedies,Greek,Latin, orItalian. Those tragedies, also, that treat of household matters, asTrachiniæ,Alcestis, and the like.”

NOTE 134.He was cautious as a gentleman should be.Cavit——utvirum fortemdecet.

The words virum fortem in this passage do not mean a brave man, but a noble, well-bred, or honourable man. Latin authors sometimes used fortis in that sense. Thus, Ovid, speaking of Polyxena, says,

“Rapta sinu matris, quam jam propè sola fovebat,Fortis, et infelix, et plusquam fœmina, virgoDucitur ad tumulum; diroque fit hostia busto.”The noble maid, her mother’s only hope,Torn from her fostering arms by barbarous force,Was led a victim to Achilles’ tomb:Where, to appease the hero’s angry shade,They offered up the life of her he loved.

“Rapta sinu matris, quam jam propè sola fovebat,Fortis, et infelix, et plusquam fœmina, virgoDucitur ad tumulum; diroque fit hostia busto.”The noble maid, her mother’s only hope,Torn from her fostering arms by barbarous force,Was led a victim to Achilles’ tomb:Where, to appease the hero’s angry shade,They offered up the life of her he loved.

“Rapta sinu matris, quam jam propè sola fovebat,Fortis, et infelix, et plusquam fœmina, virgoDucitur ad tumulum; diroque fit hostia busto.”

“Rapta sinu matris, quam jam propè sola fovebat,

Fortis, et infelix, et plusquam fœmina, virgo

Ducitur ad tumulum; diroque fit hostia busto.”

The noble maid, her mother’s only hope,Torn from her fostering arms by barbarous force,Was led a victim to Achilles’ tomb:Where, to appease the hero’s angry shade,They offered up the life of her he loved.

The noble maid, her mother’s only hope,

Torn from her fostering arms by barbarous force,

Was led a victim to Achilles’ tomb:

Where, to appease the hero’s angry shade,

They offered up the life of her he loved.

The Romans used virtus also in a similar manner to signify virtue, bravery, and nobleness. The Greek wordκαλὸςwas of the same signification with the Latin fortis: it meant sometimes a brave, sometimes a virtuous man. Menander employsτα καλαin this sense,

“Ἐν μυρίοις τα καλα γιγνεται πονοι.”Menander.A man, ere he deserves the name of great,Must overcome ten thousand difficulties.

“Ἐν μυρίοις τα καλα γιγνεται πονοι.”Menander.A man, ere he deserves the name of great,Must overcome ten thousand difficulties.

“Ἐν μυρίοις τα καλα γιγνεται πονοι.”

Menander.

A man, ere he deserves the name of great,

Must overcome ten thousand difficulties.

NOTE 135.Simo. Yet he appeared to me to be somewhat melancholy.

This is admirably contrived by our author. Pamphilus is a youth of so open and ingenuous a disposition, that he cannot attempt to practise the slightest deceit upon his father, without a visible uneasiness and sadness in his demeanour. Terence conducts this affair in a manner infinitely more natural than does Sir R. Steele; who makes young Bevil counterfeit an eagerness to attend the lady his father designs for him, that is rather inconsistent with strict ingenuousness. But Terence has shewn wonderful art in his portraiture of Pamphilus’s behaviour in this scene: he asks his father no questions; he is silent and spiritless; and sedulously avoids mentioning any thing connected with his marriage, or his intended bride, and, as Mr. Colman ingeniously suggests, Pamphilus’s dissimulation may find some palliations in the artful instigations of Davus.

NOTE 136.Ten drachms for the wedding supper.

Instead of referring the reader to the Table of Money inNote 208, for the value of the drachma, I purpose to enter more at large, in this place, into a subject that has so much occupied the attention of the learned. The drachma, (δραχμὴ,) it is generally agreed, was equal to three scruples, six oboli, (ὀβολὸς,) and eighteen siliqua, (κέρατιον). Pliny, Valerius Maximus, and Strabo, believed the Attic drachma and the Roman denarius to be equivalent. But, if we admit of the correctness of this estimation, it affords us no certain information, as authors can agree as little on the value of the denarius, as on that of the drachma. Kennett computes the Roman denarius at 7d.2qrs.; Greaves, Arbuthnot, and Adams, at 7d.3q.; Tillemont at 11d., and, in the Philosophical Transactions, (Vol. LXI., PartII.,Art.48.) they estimate the denarius at 8d.1½q.

Mr. Raper makes the Attic drachm worth 9d.286⁄1000. Greaves reckons it equal to 67 grains, which, supposing silver to be sold at 5s.per ounce, fixes the drachm at 8d.1½qr.Dr. Arbuthnot computes it 6d.3qr.1368⁄4704. Others fix the Attic talent at 187l.10s., and the drachm at 7d.2qrs., or the eighth part of an ounce of silver. If we take the mean of these computations, we may suppose the Attic drachm to have been equal to 8d.; the Eginean to 13d.3qrs.; the insular to 16d.; and the drachm of Antioch, to 48d.The learned Madame Dacier speaks of the Attic drachm thus:“la drachme Attique valait à peu prèscinq sols.”No person, I think I may venture to assert, was ever more habitually correct than Madame D.

NOTE 137.Indeed, Sir, I think you are too frugal; it is not well timed.Tuquoqueperparce nimium. Non laudo.

Donatus thinks, that the force ofquoquein this line is as follows:He (Pamphilus) is much to blame for his childish petulance in taking offence at so trifling a circumstance: and you (Simo)ALSOare to blame for having made so sparing a provision for your son’s wedding supper. Terence has managed the whole circumstance very artfully: Simo intending to deceive Pamphilus and Davus, had provided to the amount of ten drachms, which was sixty times more than the expense of Chremes’ supper, which cost but an obolus, (videNote 120,) and accounts for what he said to Sosia, ActI.SceneI.(videNote 60.) But we are meant to suppose, that his frugality would not allow him to support the deceit by purchasing a plentiful wedding supper, which, among the Athenian citizens of rank, was a most expensive entertainment. (VideHerodot. B. 1. C.133. Arrian,B. 7. C.26.)

NOTE 138.Davus. (aside.) I’ve ruffled him now.

Simo is supposed to overhear this speech of Davus.VideNote 210.

The whole of the second act (as well as the first) has been preserved in Baron’s Andrienne, without alteration.

In the Conscious Lovers, the second act varies considerably. Instead of the scene between Davus and his master, Indiana and Isabella are introduced, and afterwards Indiana and Bevil: but both these scenes are entirely barren of incident. Bevil protects Indiana, as Pamphilus protects Glycera; but the former is on the footing of aprotector only, and remains an undeclared lover until the fifth act.

Terence has wrought up the second act of this play with the utmost art and caution: a particular beauty in the pieces written by this great poet appears in the judicious disposition of his incidents, and in his so industriously concealing his catastrophe until the proper time for its appearance. This is a circumstance of great importance in dramatic writing, to which some authors pay too little attention. An ingenious critic of the last age has pointed out a very extraordinary instance of a total deficiency of art in this respect, where both theplotand thecatastropheare completelyrevealed in the very title. This piece isVenice Preserved, or the Plot Discovered, which is, in other respects, a very fine production. How much such a title as this must deaden the interest that an audience would otherwise feel from their suspense! This is a point which admits of no argument.

“Vestibulum ante ipsum, primoque in limineFINISScribitur.”——

NOTE 139.Lesbia.

The circumstance of a female officiating as a medical attendant is of some importance. Caius Hyginus, a learned Spaniard, and the freedman of Augustus Cæsar, mentions in his “Mythological Fables” an ancient Athenian law, prohibiting women from the practice of physic: this prohibition was productive of great inconvenience inmany cases, and afterwards repealed; whenfree womenwere suffered to practise midwifery. To ascertain the date of this repeal, would afford us some guide to fix onthe times, when the scenes described in this play were supposed to happen, and themannersof which both Menander and Terence meant to portray.

NOTE 140.Glycera.

I have taken the liberty of following the example of Bernard, Echard, and most of the French translators, in softening the word Glycerium, which, to an English ear, sounds masculine enough for the name of Cæsar or of Alexander. But, for a female’s name,

——“Why, it is harder, Sirs, than Gordon,Colkitto, or Macdonnel, or Galasp?Those rugged names to our like mouths grow sleek,That would have madeQuintilianstare and gasp.”Milton.

——“Why, it is harder, Sirs, than Gordon,Colkitto, or Macdonnel, or Galasp?Those rugged names to our like mouths grow sleek,That would have madeQuintilianstare and gasp.”Milton.

——“Why, it is harder, Sirs, than Gordon,

Colkitto, or Macdonnel, or Galasp?

Those rugged names to our like mouths grow sleek,

That would have madeQuintilianstare and gasp.”

Milton.

NOTE 141.Mysis.—For, girl or boy, he has given orders, that the child shall be brought up.

Nam quod peperissetjussittolli.

VideNotes93,126. When circumstances would not allow the father of an infant to take it up from the ground himself, if he intended to preserve it, he commissioned some friend to perform the ceremony for him. This is the meaning ofjussit tolliin this passage.VidePitisDict., Art.Expositio, and Athenæ.B.10.

NOTE 142.

Simo.—O Jupiter! what do I hear? it is all over if what she says be truth!—is he so mad? a foreigner too!

I imagine that in this passage, Terence meant Simo to call Glycera aforeignermerely, and not a woman of light character, whichperegrinasometimes means, (videNote 82.) Madame Dacier translates the words ex peregrina by“quoi d’une étrangère? c’est à dire d’une courtisane, car comme je l’ai remarqué ailleurs, on donnoit le nom d’étrangères à toutes les femmes debauchées: et je crois qu’ils avoient pris cela des Orientaux; car on trouve étrangère en ce sens là dans les livres duVieux Testament.”But peregrina will hardly bear this interpretation in this particular passage, because we must suppose that Simo had not that opinion of Glycera’s character; for he himself (ActI.SceneI.) says, that her appearance was “so modest and so charming, that nothing could surpass it.” Simo, however, had sufficient reason for exclamation; supposing that he considered Glycera merely as a person who was not a native of Athens. The Athenian laws were rigorously strict in prohibiting a citizen from contracting a marriage with any woman who was not a citizen: if such a marriage was contracted, and the parties impeached and convicted, the husband was fined very heavily, in proportion to his property; the wife sold for a slave; and any person who was proved to have used any species of deceit to induce the Athenian to form this forbidden connexion, was punished with the worst kind of infamy, which included the loss of his liberty and of his estate. The first of these punishments was calledζημία, the secondδουλεία, and the thirdἀτιμία. If Simo, therefore, supposed that Glycera was not a citizen, and believed Pamphilus to be her husband, his apprehensions appear very natural.

NOTE 143.Glycera.—O Juno, Lucina, help! save me, I beseech thee.

Though Juno was sometimes called Lucina, Diana is the goddess here called Juno Lucina. Diana received the appellation of Juno, (as I apprehend,) because she was considered by the ancients as presiding over women in child-birth: and might, therefore, very properly be termedJuno, the guardiangeniusof women; as Junones was the usual name for those spirits who were supposed to be the protectors of women, as the genii were thought to be the guardians of men: (videNote 106.)Catullusaddressing Diana, calls her expressly by the names Juno Lucina:

“TuLucinadolentibusJunodicta puerperis.”And thou, Juno Lucina calledBy women who implore thy aid.

“TuLucinadolentibusJunodicta puerperis.”And thou, Juno Lucina calledBy women who implore thy aid.

“TuLucinadolentibusJunodicta puerperis.”

“TuLucinadolentibus

Junodicta puerperis.”

And thou, Juno Lucina calledBy women who implore thy aid.

And thou, Juno Lucina called

By women who implore thy aid.

Ciceroalso confirms the assertion of Catullus,“Ut apud Græcos Dianam eamque Luciferam, sic apud nostrosJunonem Lucinaminvocant.”As the Greeks call upon Diana Lucifera, so we call upon the same goddess by the names of Juno Lucina. Diana was almost universally worshipped in Greece, where many magnificent temples were erected in her honour: amongst which, was that of Ephesus, reckoned one of the wonders of the world. Of this magnificent structure, the ruins may now be seen near Ajasalouc in Natolia. The temple was purposely burned by Eratorastus, who adopted this mode of perpetuating his name. The Greek festivals celebrated in honour of their imaginary deities were almost innumerable: and those dedicated to Diana, shew the high estimation in which she was held. A surprising number of festivals were celebrated in honour of this goddess, in various parts of Greece. The following are the names of the chief of those held in Athens,

Τεσσαρακοστὸν, Μουνυχία, Θαργήλια, Λιμνατίδια, Ἀρτεμίσια, Βραυρώνια, Ἐλαφηβόλια.VideAthen., Δειπνοσο, B. 14.

NOTE 144.Why, Davus, your incidents are not well timed at all, man.

“Non sat commodeDivisa sunt temporibus tibi, Dave, hæc.”

“Non sat commodeDivisa sunt temporibus tibi, Dave, hæc.”

“Non sat commode

Divisa sunt temporibus tibi, Dave, hæc.”

Another allusion to the drama: Simo compares Davus’s supposed plot to a comedy, and Davus the contriver of it he callsmagister, which was the title of the person who instructed the actors in their parts, or perhaps the title of the author. Simo accuses Davus of bringing forward his catastrophe too soon, and asks him whether the actors in his piece (discipuli) had forgotten their parts.

Ancient dramatic writers were very strict in adhering to their rules of composition.

According to Vossius, the ancients divided a comedy into three parts: 1.protasis, 2.epitasis, 3.catastrophe. Theprotasisoccupied ActI., and was devoted to the explanation of the argument. Theepitasistook up ActII.III.IV., contained the incidents, and wrought up the mind to a degree of interest, taking care to leave itin doubt; which brought on the catastrophe, which unravelled and cleared up the whole; and is defined byScaligerthus, “conversio negotii exagitati in tranquillitatem non expectatam:”a sudden changing of the hurry and bustle of action into unexpected tranquillity. The same learned critic adds a fourth part to the before-mentioned three, which he callscatastasis, and places immediately before the catastrophe: he defines the catastasis as follows, “vigor ac status fabulæ, in qua res miscetur in ea fortunæ tempestate, in quam subducta est:”that liveliness and issue of the plot, in which the various incidents are mixed up in such a commotion of fortune as to be in a proper state to be brought down to the catastrophe.

NOTE 145.What a laughing-stock would this rascal have made of me.Quos mihiludosredderet.

This is an allusion to the games which were exhibited among the ancients with a view to entertain the people; and also to create in them a spirit of emulation in glorious actions. Games, both in Greece and Rome, constituted a part of religious worship; they were divided into three classes, 1. what the Romans calledludi equestres, or horse, and chariot-races; 2.ludi agonales, or combats of gladiators and others, and also of beasts; 3.ludi scenici et musici, or dramatic exhibitions of all kinds, music, dancing,&c.The chief games among the Greeks were, 1. theOlympic, dedicated to Jupiter; 2. thePythian, to Apollo; 3. theNemæan, to Hercules; 4. theIsthmian, to Neptune; 5. the games celebrated at the observation of theEleusinianmysteries, in honour of Ceres and Proserpine: 6.the great Panathenæa, dedicated to Minerva. Those who obtained the victory in these games, were universally distinguished; and their success reflected glory on their family, and even on the cities from whence they came; part of the wall of which was thrown down to admit them in triumph on their return. Those Athenians who were conquerors in the Olympic games, were afterwards (at their own option,) maintained at the public charge, and enjoyed various extraordinary privileges. Among the Romans, the principal games were, 1.the Ludi Romani, dedicated to Jupiter, Juno, and Minerva; 2.the Sæculares, to the deities and the fates; 3.the Consuales, to Neptunus Equestris; 4.the Capitolini, to Jupiter Capitolinus. The Romans celebrated their games chiefly in the Circus Maximus; which, as a place of entertainment, was magnificently extensive. Pliny asserts that it would containone quarter of a millionof spectators; and more modern authors have augmented that number to 380,000.

NOTE 146.Now, first, let her be bathed.Nunc primumfac——ut lavet.

Though I have followed the common reading in this passage, as it is not a point of any importance, I think it doubtful whether Terence meant Lesbia to speak of the mother or the child, when she said the wordsfac ut lavet, as the Greeks practised a remarkable ceremony on new-born infants, in order to strengthen them. A mixture of water, oil, and wine, was made in a vessel kept for the purpose, which they calledλουτρὸνandχύτλος, and, with this liquid, theywashedthe children; as some think, they wished to try the strength of the infant’s constitution, which, if weak, yielded to the powerful fumes of the wine, and the children fell into fits. I imagine that this was done, when it was the question if an infant should be exposed, as puny, sickly children sometimes were. (VideNote 93.)

NOTE 147.Davus.—Truly, at this rate, I shall hardly dare open my mouth.

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