<GetPassage xmlns:tei="http://www.tei-c.org/ns/1.0" xmlns="http://chs.harvard.edu/xmlns/cts">
            <request>
                <requestName>GetPassage</requestName>
                <requestUrn>urn:cts:latinLit:phi0134.phi004.perseus-eng2:subject-766</requestUrn>
            </request>
            <reply>
                <urn>urn:cts:latinLit:phi0134.phi004.perseus-eng2:subject-766</urn>
                <passage>
                    <TEI xmlns="http://www.tei-c.org/ns/1.0"><text xml:lang="en"><body><div xml:lang="eng" type="translation" n="urn:cts:latinLit:phi0134.phi004.perseus-eng2"><div type="textpart" subtype="intro"><div type="textpart" n="subject" subtype="scene"><head>THE SUBJECT.</head><p>CHREMES and DEMIPHO are two aged Athenians, brothers. Nausistrata, the wife of Chremes, is a wealthy woman, possessed of large estates in the island of <placeName key="tgn,7011173">Lemnos</placeName>. Chremes, who goes thither yearly to receive the rents, meets with a poor woman there, whom he secretly marries, and has by her a daughter called Phanium: while engaged in this intrigue, Chremes passes at <placeName key="tgn,7011173">Lemnos</placeName> by the name of Stilpho. By his wife, Nausistrata, at <placeName key="perseus,Athens">Athens</placeName>, Chremes has a son, named Phaedria, and his brother has a son, named Antipho. Phanium having now arrived at her fifteenth year, the two brothers privately agree that she shall be brought to <placeName key="perseus,Athens">Athens</placeName> and married to Antipho. For this purpose, Chremes goes to <placeName key="tgn,7011173">Lemnos</placeName>, while Demipho is obliged to take a journey to <placeName key="tgn,7002470">Cilicia</placeName>. On departing, they leave their sons in the care of Geta, one of Demipho's servants. Shortly afterward, Phaedria falls in love with a Music-girl, but, from want of means, is unable to purchase her from her owner. In the mean time, the Lemnian wife of Chremes, urged by poverty, embarks for <placeName key="perseus,Athens">Athens</placeName>, whither she arrives with her daughter and her nurse. Here they inquire for Stilpho, but in vain, as they can not find any one of that name. Shortly after, the mother dies, and Antipho, seeing Phanium by accident, falls in love with her. Being wishful to marry her, he applies to Phormio, a Parasite, for his advice. The latter hits upon the following scheme: there being a law at <placeName key="perseus,Athens">Athens</placeName>, which obliges the next-of-kin to female orphans, either to marry them or give them a portion, the Parasite pretends that he is a friend of Phanium, and insists that Antipho is her nearest relation, and is consequently bound to marry her. Antipho is summoned before a court of justice, and it being previously arranged, allows judgment to be given against himself, and immediately marries Phanium. Shortly after, the old men return upon the same day, and are much vexed, the one on finding that his son has married a woman without a fortune, the other that he has lost the opportunity of getting his daughter advantageously married. In the mean time, Phaedria being necessitated to raise some money to purchase the Music-girl, Geta and Phormio arrange that the former shall pretend to the old man that Phormio has consented to take back the woman whom Antipho has married, if Demipho will give her a portion of thirty mine. Demipho borrows the money of Chremes, and pays it to Phormio, who hands it over to Phaedria, and Phaedria to Dorio, for his mistress. At this conjuncture, it becomes known who Phanium really is, and the old men are delighted to find that Antipho has married the very person they wished. They attempt, however, to get back the thirty minae from Phormio, and proceed to threats and violence. On this, Phormio, who has accidentally learned the intrigue of Chremes with the woman of <placeName key="tgn,7011173">Lemnos</placeName>, exposes him, and relates the whole story to his wife, Nausistrata; on which she censures her husband for his bad conduct, and the Play concludes with her thanks to Phormio for his information.
</p></div><div type="textpart" n="production" subtype="scene"><head>THE TITLE OF THE PLAY.</head><p>PERFORMED at the Roman Games,<note anchored="true">The Roman Games)—The "ludi Romani," or "Roman Games," were first established by Ancus Marcius, and were celebrated in the month of September.</note> L. Posthumius Albinus and L. Cornelius Merula being Curule Aediles. L. Ambivius Turpio and L. Atilius Praenestinus performed it. Flaccus, the freedman of Claudius, composed the music to a base and a treble flute. It is wholly from the Greek, being the Epidicazomenos of Apollodorus. It was represented four times,<note anchored="true">Four times)—The numerals signifying "four," Donatus takes to mean that this was the fourth Play composed by Terence; it is, however, more generally supposed that the meaning is, that it was acted four times in one year.</note> C. Fannius and M. Valerius being Consuls.<note anchored="true">Being Consuls)—M. Valerius Messala and C. Fannius Strabo were Consuls in the year from the Building of the City 591, and B.C. <date when="-0162">162</date>.</note>
                  </p></div><div type="textpart" n="summary" subtype="scene"><head>THE SUMMARY OF C. SULPITIUS APOLLINARIS.</head><p>DEMIPHO, the brother of Chremes, has gone abroad, his son Antipho being left at <placeName key="perseus,Athens">Athens</placeName>. Chremes has secretly a wife and a daughter at <placeName key="tgn,7011173">Lemnos</placeName>, another wife at <placeName key="perseus,Athens">Athens</placeName>, and an only son, who loves a Music-girl. The mother arrives at <placeName key="perseus,Athens">Athens</placeName> from <placeName key="tgn,7011173">Lemnos</placeName>, and there dies. The girl, her orphan daughter, (Chremes being away,) arranges the funeral. After Antipho has fallen in love with her when seen there, through the aid of the Parasite he receives her as his wife. His father and Chremes, having now returned. begin to be enraged. Afterward they give thirty minae to the Parasite, that he may take her as his own wife. With this money the Music-girl is bought for Phoedria. Antipho then keeps his wife, who has been recognized by his uncle.
</p></div></div><milestone unit="act" n="prologue"/><milestone unit="scene" n="0"/><div type="textpart" n="1" subtype="card"><sp><speaker>THE PROLOGUE.</speaker><p>SINCE the old Poet<milestone n="1" unit="line"/>
                     <note anchored="true"><q>Since the old Poet</q>: He alludes to his old enemy, Luscus Lavinius, who is mentioned in all his Prologues, except those to the Hecyra.</note> can not withdraw our bard from his pursuits and reduce him to indolence, he endeavors, by invectives, to deter him from writing: for he is wont to say to this effect,—that the Plays which he has hitherto composed are poor in their language, and of meagre style; because he has nowhere described a frantic youth as seeing a hind in flight, and the hounds pursuing; while he implores<note anchored="true">While one implored)—Ver. 8. "Et eam plorare, orare ut subveniat sibi." This is probably in allusion to some absurd passage in one of the Plays of Lavinius. It is generally supposed to mean, that the stag implores the young man; but as the youth is mad, the absurdity of the passage is heightened if we suppose that he implores the stag, and, in the moment of its own danger, entreats it to come to his own assistance; as certainly the Latin will admit of that interpretation.—Ovid has a somewhat similar passage in the Pontic Epistles, B. ii. Ep. ii. 1. 39: "The hind that, in its terror, is flying from the savage dogs, hesitates not to trust itself to the neighboring house."</note> and entreated that he would give her aid. But if he had been aware that his Play, when formerly first represented, stood its ground more through the merits of the performers than its own, he would attack with much less boldness than he does. Now, if there is any one who says or thinks to this effect, that if the old Poet had not assailed him first, the young one could have devised no Prologue for him to repeat, without having some one to abuse, let him receive this for an answer: "that the prize is proposed in common to. all who apply to the Dramatic art." He has aimed at driving our Poet from his studies to absolute want; he then has in-tended this for an answer, not an attack. If he had opposed him with fair words, he would have heard himself civilly addressed; what has been given by him, let him consider as now returned. I will make an end of speaking about him, when, of his own accord, he himself makes an end of offending. Now give your attention to what I request. I present you a new Play, which they call "Epidicazomenos,"<milestone n="25" unit="line"/>
                     <note anchored="true"><q>Epidicazomenos</q>: A Play of Apollodorus, so called from that Greek word, signifying "one who demands justice from another," in. allusion to Phormio, who is the complainant in the suit, which is the foundation of the plot.</note> in Greek: in the Latin, he calls it "Phormio;" because the person that acts the principal part is Phormio, a Parasite, through whom, principally, the plot will be' carried on, if your flavor attends the Poet. Lend your attention; in silence give an ear with impartial feelings, that we may not experience a like fortune to what we did, when, through a tumult, our Company was driven from the place;<milestone n="32" unit="line"/>
                     <note anchored="true"><q>Was driven from the place</q>: Alluding, probably, to the disturbances which took place at the first representation of the Hecyra, and which are mentioned in the Prologues to that Play.</note> which place, the merit of the actor, and your good-will and candor seconding it, has since restored unto us.

</p></sp><milestone unit="act" n="1"/><milestone unit="scene" n="1"/><milestone n="1" unit="line"/><milestone n="35" unit="line" ed="tln"/><stage>Enter DAVUS,<note anchored="true">Davus is a protatic character, only introduced for the purpose of opening the story.</note> with a bag of money in his hand.</stage><sp><speaker>DAVUS</speaker><p> Geta, my very good friend and fellow-townsman, came to me yesterday. There had been for some time a trifling balance of money of his in my hands upon a small account; he asked me to make it up. I have done so, and am carrying it to him. But I hear that his master's son has taken a wife; this, I suppose, is scraped together as a present for her. How unfair a custom!—that those who have the least should always be giving something to the more wealthy! That which the poor wretch has with difficulty spared, ounce by ounce, out of his allowance,<milestone n="43" unit="line"/>
                     <note anchored="true"><q>Out of his allowance</q>: Donatus tells us that the slaves received four "modii," or measures of corn, each month, which was called their "demensum."</note> defrauding himself of every indulgence, the whole of it will she carry of, without thinking with how much labor it has been acquired. And then besides, Geta will be struck<milestone n="48" unit="line"/>
                     <note anchored="true"><q>Will be struck</q>: "Ferietur." "To strike" a person for a present was said when it was extorted from him reluctantly. So in the Trinummuns of Plautus, 1. 247, "Ibi illa pendentem ferit." "Then does she strike while he is wavering."</note> for another present<milestone n="48" unit="line"/>
                     <note anchored="true"><q>For another present</q>: Presents were usually made to persons on.their birthday, on the day of their marriage, and on the birth of their children.</note> when his mistress is brought to bed; and then again for another present, when the child's birthday comes; when they initiate him,<milestone n="49" unit="line"/>
                     <note anchored="true"><q>Initiate him</q>: It is not known what initiation is here referred to. Madame Dacier thinks it was an initiation into the great mysteries of <persName>Ceres</persName>, which was commonly performed while children were yet very young; others suggest that it means the period of weaning the child, and initiating it into the use of another kind of diet. Donatus says, that Varro speaks of children being initiated into the mysteries of the Deities Edulia, Potica, and Cuba, the Divinities of Eating, Drinking, and Sleeping.</note> too: all this the mother will carry off; the child will only be the pretext for the present. But don't I see Geta there?
</p></sp></div><milestone unit="scene" n="2"/><div type="textpart" n="51" subtype="card"><stage>Enter GETA, from the house of DEMIPHO.</stage><sp><speaker>GETA</speaker><p><stage>at the door, to those within.</stage> If any red-haired man should inquire for me—</p></sp><sp><speaker>DAVUS</speaker><p><stage>stepping forward.</stage> Here he is, say no more.</p></sp><sp><speaker>GETA</speaker><p><stage>starting.</stage> Oh! Why I was trying to come and meet you, Davus.</p></sp><sp><speaker>DAVUS</speaker><p><stage>giving the money to GETA.</stage> Here, take it; it's all ready counted out;<milestone n="53" unit="line"/>
                     <note anchored="true"><q>Ready counted out</q>: "Lectum," literally "picked out" or "chosen"—the coins being of full weight.</note> the number just amounts to the sum I owed you.'</p></sp><sp><speaker>GETA</speaker><p> I am obliged to you; and I return you thanks for not having forgotten me.</p></sp><sp><speaker>DAVUS</speaker><p> Especially as people's ways are nowadays; things are come to such a pass, if a person repays you any thing, you must be greatly obliged to him. But why are you out of spirits?</p></sp><sp><speaker>GETA</speaker><p> What, I? You little know what terror and peril I am in.</p></sp><sp><speaker>DAVUS</speaker><p> What's the matter?</p></sp><sp><speaker> GETA.</speaker><p> You shall know, if you can only keep it secret.</p></sp><sp><speaker>DAVUS</speaker><p> Out upon you, simpleton; the man, whose trustworthiness you have experienced as to money, are you afraid to intrust with words? In what way have I any interest in deceiving you?</p></sp><sp><speaker>GETA</speaker><p> Well then, listen.</p></sp><sp><speaker>DAVUS</speaker><p> I give you my best attention.</p></sp><sp><speaker>GETA</speaker><p> Davus, do you know Chremes, the elder brother of our old gentleman?</p></sp><sp><speaker>DAVUS</speaker><p> Why should I not?</p></sp><sp><speaker>GETA</speaker><p> Well, and his son Phaedria?</p></sp><sp><speaker>DAVUS</speaker><p> As well as your own self.</p></sp><sp><speaker>GETA</speaker><p> It so happened to both the old gentlemen, just at the same period, that the one had to take a journey to <placeName key="tgn,7011173">Lemnos</placeName>, and our old man to <placeName key="tgn,7002470">Cilicia</placeName>, to see an old acquaintance; he tempted over the old man by letters, promising him all but mountains of gold.
</p></sp><sp><speaker>DAVUS</speaker><p> To one who had so much property, that he had more than he could use?</p></sp><sp><speaker>GETA</speaker><p> Do have done; that is his way.</p></sp><sp><speaker>DAVUS</speaker><p> Oh, as for that, I really ought to have been a man of fortune.</p></sp><sp><speaker>GETA</speaker><p> When departing hence, both the old gentlemen left ne as a sort of tutor to their sons.</p></sp><sp><speaker>DAVUS</speaker><p> Ah, Geta, you undertook a hard task there.</p></sp><sp><speaker>GETA</speaker><p> I came to experience it, I know that. I'm quite sure that I was forsaken by my good Genius, who must have been angry with me.<milestone n="74" unit="line"/>
                     <note anchored="true"><q>Have been angry with me</q>: le alludes to the common belief that each person had a Genius or Guardian Deity; and that when misfortune overtook him, he had been abandoned by his Genius.</note> I began to oppose them at first; but what need of talking? As long as I was trusty to the old men, I was paid for it in my shoulder-blades. This, then, occurred to my mind: why, this is folly to kick against the spur.<milestone n="78" unit="line"/>
                     <note anchored="true"><q>Kick against the spur</q>: "To kick against the pricks," or "in spite of the spur," was a common Greek proverb.—The expression occurs in the New Testament, Acts ix. 5. "It is hard for thee to kick against the pricks."</note> I began to do every thing for them that they wished to be humored in.</p></sp><sp><speaker>DAVUS</speaker><p> You knew how to make your market.<milestone n="79" unit="line"/>
                     <note anchored="true"><q>To make your market</q>: This is a metaphorical expression taken from traffic, in which merchants suit themselves to the times, and fix a price on their commodities, according to the course of the market.</note>
                  </p></sp><sp><speaker>GETA</speaker><p> Our young fellow did no mischief whatever at first; that Phaedria at once picked up a certain damsel, a Music-girl, and fell in love with her to distraction. She belonged to a most abominable Procurer; and their fathers had taken good care that they should have nothing to give him.. There remained nothing for him then but to feed his eyes, to follow her about, to escort her to the school,<milestone n="86" unit="line"/>
                     <note anchored="true"><q>To the school</q>: It was the custom for the "lenones," or "procurers," to send their female slaves to music-schools, in order to learn accomplishments. So in the Prologue to the Rudens of Plautus: "This Procurer brought the maiden to <placeName key="tgn,7000639">Cyrene</placeName> hither. A-certain Athenian youth, a citizen of this city, beheld her as she was going home from the music-school."</note> and to escort her back again. We, having nothing to do, lent our aid to Phaedria. Near the school at which she was taught, right opposite the place, there was a certain barber's shop: here we were generally in the habit of waiting for her, until she was coming home again. In the mean time, while one day we were sitting there, there came in a young man in tears;<note anchored="true">Young man in tears)—Ver. 92. In the Play of Apollodorus, it was the barber himself that gave the account how he had just returned from cutting off the young woman's hair, which was one of the usual ceremonies in mourning among the Greeks. Donatus remarks, that Terence altered this circumstance that he might not shock a Roman audience by a reference to manners so different from their own.</note> we were surprised at this. We inquired what was the matter? "Never," said he, "has poverty appeared to me a burden so grievous and so insupportable as just now. I have just seen a certain poor young woman in this neighborhood lamenting her dead mother. She was laid out before her, and not a single friend, acquaintance, or relation was there with her, except one poor old woman, to assist her in the funeral: I pitied her. The girl herself was of surpassing beauty." What need of a long story? She moved us all. At once Antipho exclaims, "Would you like us to go and visit her?" The other said, "I think awe ought—let us go—show us the way, please." We went, and arrived there; we saw her; the girl was beautiful, and that you might say so the more, there was no heightening to her beauty; her hair disheveled, her feet bare, herself neglected, and in tears; her dress:mean, so 'that, had there not been an excess of beauty in her very charms, these circumstances must have extinguished those charms. The one who had lately fallen in love with the Music-girl said: "She is well enough;" but our youth—</p></sp><sp><speaker>DAVUS</speaker><p> I know it already-fell in love with her.</p></sp><sp><speaker>GETA</speaker><p> Can you imagine to what an extent? Observe the consequence. The day after, he goes straight to the old woman; entreats her to let him have her: she, on the other hand, refuses him, and says that he is not acting properly; that,she is a citizen of <placeName key="perseus,Athens">Athens</placeName>, virtuous, and born of honest parents: that if he wishes to make her his wife, he is at liberty to do so according to law; but if otherwise, she gives him a refusal. Our youth was at a loss what to. do. He was both eager to marry her, and he dreaded his absent father.
</p></sp><sp><speaker>DAVUS</speaker><p> Would not his father, if he had returned, have given him leave?</p></sp><sp><speaker>GETA</speaker><p> He let him marry a girl with no fortune, and of obscure birth! He would never do so.</p></sp><sp><speaker>DAVUS</speaker><p> What came of it at last?</p></sp><sp><speaker>GETA</speaker><p> What came of it? There is one Phormio here, a Parasite, a fellow of great assurance; may all the Gods confound him!</p></sp><sp><speaker>DAVUS</speaker><p> What has he done?</p></sp><sp><speaker>GETA</speaker><p> He has given this piece of advice, which I will tell you of. "There is a law, that orphan girls are to marry those who are their next-of-kin; and the same law commands such persons to marry them. I'll say you are the next-of-kin, and take out a summons<milestone n="127" unit="line"/>
                     <note anchored="true"><q>Take out a summons</q>: "Dica" was the writ or summons with which an action at law was commenced.</note> against you; I'll pretend that I am a friend of the girl's father; we will come before the judges: who her father was, who her mother, how she is related to you—all this I'll trump up, just as will be advantageous and suited to my purpose; on your disproving none of these things, I shall prevail, of course. Your father will return; a quarrel will be the consequence; what care I? She will still be ours."</p></sp><sp><speaker>DAVUS</speaker><p> An amusing piece of assurance!</p></sp><sp><speaker>GETA</speaker><p> He was, persuaded to this. It was carried out; they came into court: we were beaten. He has married her.</p></sp><sp><speaker>DAVUS</speaker><p> What is it you tell me?</p></sp><sp><speaker>GETA</speaker><p> Just what you have heard.</p></sp><sp><speaker>DAVUS</speaker><p> 0 Geta, what will become of you?</p></sp><sp><speaker>GETA</speaker><p> Upon my faith, I don't know; this one thing I do know, whatever fortune may bring, I'll bear it with firmness.</p></sp><sp><speaker>DAVUS</speaker><p> You please me; well, that is the duty of a man.</p></sp><sp><speaker>GETA</speaker><p> All my hope is in myself.</p></sp><sp><speaker>DAVUS</speaker><p> I commend you.</p></sp><sp><speaker>GETA</speaker><p> Suppose I have recourse to some one to intercede for me, who will plead for: me in these terms: "Pray, do forgive him this time; but if after this he does any thing, I make no entreaty:" if only he doesn't add, "When I've gone, e'en kill him for my part."</p></sp><sp><speaker>DAVUS</speaker><p> What of the one who was usher to the Music-girl?<note anchored="true">Usher to the Music-girl)—
Ver. 144. This is said satirically of Phaedria, who was in the habit of escorting the girl to the music-school. It was the duty of the "paedagogi," or "tutors," to lead the children to school, who were placed under their care. See the speech of Lydus, the paedagogus of Pistoclerus, in the Bacchides of Plautus, Act iii. Sc. 3, where, enlarging upon his duties, he mentions this among them.</note>
                  </p></sp><sp><speaker>GETA</speaker><p><stage>shrugging his shoulders.</stage> So so, but poorly.</p></sp><sp><speaker>DAVUS</speaker><p> Perhaps he hasn't much to give.</p></sp><sp><speaker>GETA</speaker><p> Why, really, nothing at all, except mere hopes.</p></sp><sp><speaker>DAVUS</speaker><p> Is his father come back or not?</p></sp><sp><speaker>GETA</speaker><p> Not yet.</p></sp><sp><speaker>DAVUS</speaker><p> Well, when do you expect your old man?</p></sp><sp><speaker>GETA</speaker><p> I don't know for certain; but I just now heard that a letter has been brought from him, and has been left with the officers of the customs: I'm going to fetch it.</p></sp><sp><speaker>DAVUS</speaker><p> Is there any thing else that you want with me, Geta?</p></sp><sp><speaker>GETA</speaker><p> Nothing, but that I wish you well. <stage>Exit DAVUS.</stage> Hark you, boy <stage>calling at the door</stage>. Is nobody coming out here? <stage>A LAD comes out.</stage> Take this, and give it to Dorcium. <stage>He gives the purse to the LAD, who carries it into DEMIPHO'S house and exit GETA.</stage>
                  </p></sp></div><milestone unit="scene" n="3"/><div type="textpart" n="153" subtype="card"><stage>Enter ANTIPHO and PHAEDRIA.</stage><sp><speaker>ANTIPHO</speaker><p> That things should have come to such a pass, Phaedria, that I should be in utter dread ,of my father, who wishes me so well, whenever his return comes into my thoughts! Had I not been inconsiderate, I might have waited for him, as I ought to have done.</p></sp><sp><speaker>PHAEDRIA</speaker><p> What's the matter?</p></sp><sp><speaker>ANTIPHO</speaker><p> Do you ask the question? You, who have been my confederate in so bold an adventure? How I do wish it had never entered the mind of Phormio to persuade me to this, or to urge me in the heat of my passion to this step, which is the source of my misfortunes. Then I should not have obtained her; in that case I might have been uneasy for some few days; but still, this perpetual anxiety would not have been tormenting my mind <stage>touching PHAEDRIA</stage>.</p></sp><sp><speaker>PHAEDRIA</speaker><p> I hear you.
</p></sp><sp><speaker>ANTIPHO</speaker><p> While I am every moment expecting his return, who is to sever from me this connection.<note anchored="true">Sever from me this connection)—Ver. 161. By forcing him to divorce her.</note>
                  </p></sp><sp><speaker>PHAEDRIA</speaker><p> Other men feel uneasiness because they can not gain what they love; you complain because you have too much. You are surfeited with love, Antipho. Why, really, upon my faith, this situation of yours is surely one to be coveted and desired. So may the Gods kindly bless me, could I be at liberty to be so long in possession of the object of my love, I could contentedly die. Do you, then, form a judgment as to the rest, what I am now suffering from this privation, and what pleasure you enjoy from the possession of your desires; not to mention how, without any expense, you have obtained a well-born and genteel woman, and have got a wife of unblemished reputation: happy you, were not this one thing wanting, a mind capable of bearing all this with moderation. If you had to deal with that Procurer with whom I have to deal, then you would soon be sensible of it. We are mostly all of us inclined by nature to be dissatisfied with our lot.</p></sp><sp><speaker>ANTIPHO</speaker><p> Still, on the other hand, Phadria, you now seem to me the fortunate man, who still have the liberty, without restraint, of resolving on what pleases you best: whether to keep, to love on, or to give her up. I, unfortunately, have got my-self into that position, that I have neither right<note anchored="true">Neither right)—Ver, 176. No right to get rid of her in consequence of the judgment which, at the suit of Phormio, has been pronounced against him; nor yet, right to keep her, because of his father insisting upon turning her out of doors.</note> to give her up, nor liberty to retain her. But how's this? Is it our Geta I see running this way? 'Tis he himself. Alas! I'm dreadfully afraid what news it is he's now bringing me.</p></sp></div><milestone unit="scene" n="4"/><div type="textpart" n="179" subtype="card"><stage>Enter GETA, running, at the other side of the stage.</stage><sp><speaker>GETA</speaker><p><stage>to himself.</stage> Geta, you are undone, unless you instantly find out some expedient; so suddenly do such mighty evils now threaten me thus unprepared, which I neither know how to shun, nor how to extricate myself therefrom; for this daring step of:ours can not now any longer be kept a secret. If such a result is not adroitly guarded against, these matters will cause the ruin of myself, or of my master.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>to PHAEDRIA.</stage> Why, I wonder, is he coming in such fright?:</p></sp><sp><speaker>GETA</speaker><p><stage>to himself.</stage> Besides, I've but a moment left for this matter—my master's close at hand.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>to PHAEDRIA.</stage> What mischief is this?</p></sp><sp><speaker>GETA</speaker><p><stage>to himself.</stage> When he comes to hear of it, what remedy shall I discover for his anger Am I to speak? I shall irritate him: be silent? I shall provoke him: excuse myself? I should be washing a brickbat.<note anchored="true">Be washing a brickbat)—
Ver. 187. "Laterem lavare," "to wash a brick,"' or "tile," was a proverb signifying labor in vain, probably because (if the brick was previously baked) it was impossible to wash away the red color of it. According to some, the saying alluded to the act of washing a brick which had been only dried in the sun, in which case the party so doing both washed away the brick and soiled his own fingers.</note> Alas! unfortunate me! While I am trembling for myself, this Antipho distracts my mind. I am concerned for him; I'm in dread for him: 'tis he that now keeps me here; for had it not been for him, I should have made due provision for my safety, and have taken vengeance on the old man for his crabbedness; I should have scraped up something, and straightway taken to my heels away from here.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>to PHAEDRIA.</stage> I wonder What running away or theft it is that he's planning.</p></sp><sp><speaker>GETA</speaker><p><stage>to himself.</stage> But where shall I find Antipho, or which way go look for him?</p></sp><sp><speaker>PHAEDRIA</speaker><p><stage>to ANTIPHO.</stage> He's mentioning your name.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>to PHADRIA.</stage> I know not what great misfortune I expect to hear from this messenger.</p></sp><sp><speaker>PHAEDRIA</speaker><p><stage>to ANTIPHO.</stage> Why, are you in your senses?</p></sp><sp><speaker>GETA</speaker><p><stage>to himself.</stage> I'll make my way homeward; he's generally there.</p></sp><sp><speaker>PHAEDRIA</speaker><p><stage>to ANTIPHO.</stage> Let's call the fellow back.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>calling out.</stage> Stop, this instant.</p></sp><sp><speaker>GETA</speaker><p><stage>turning round.</stage> Heyday—with authority enough, whoever you are.</p></sp><sp><speaker>ANTIPHO</speaker><p> Geta!</p></sp><sp><speaker>GETA</speaker><p> The very person I wanted to find.
</p></sp><sp><speaker>ANTIPHO</speaker><p> Pray, tell me what news you bring, and dispatch it in one word, if you can.</p></sp><sp><speaker>GETA</speaker><p> I'll do so.</p></sp><sp><speaker>ANTIPHO</speaker><p> Out with it.</p></sp><sp><speaker>GETA</speaker><p> Just now, at the harbor—</p></sp><sp><speaker>ANTIPHO</speaker><p> What, my father?—</p></sp><sp><speaker>GETA</speaker><p> You've hit it.</p></sp><sp><speaker>ANTIPHO</speaker><p>. Ruined outright!</p></sp><sp><speaker>PHAEDRIA</speaker><p> Pshaw!</p></sp><sp><speaker>ANTIPHO</speaker><p> What am I to do?</p></sp><sp><speaker>PHAEDRIA</speaker><p><stage>to GETA.</stage> What is it you say?</p></sp><sp><speaker>GETA</speaker><p> That I have seen his father, your uncle.</p></sp><sp><speaker>ANTIPHO</speaker><p> How am I, wretch that I am, now to find a remedy for this sudden misfortune? But if it should be my fortune, Phanium, to be torn away from you, life would cease to be desirable.</p></sp><sp><speaker>GETA</speaker><p> Therefore, Antipho, since matters are thus, the more need have you to be on your guard; fortune helps the brave.</p></sp><sp><speaker>ANTIPHO</speaker><p> I am not myself.</p></sp><sp><speaker>GETA</speaker><p> But just now it is especially necessary you should be so, Antipho; for if your father perceives that you are alarmed, he will think that you have been guilty of sone fault.</p></sp><sp><speaker>PHAEDRIA</speaker><p> That's true.</p></sp><sp><speaker>ANTIPHO</speaker><p> I can not change.</p></sp><sp><speaker>GETA</speaker><p> What would you do, if now something else still more difficult had to be done by you?</p></sp><sp><speaker>ANTIPHO</speaker><p> As I am not equal to this, I should be still less so to the other.</p></sp><sp><speaker>GETA</speaker><p> This is doing nothing at all, Phaedria, let's be gone; why do we waste our time here to no purpose. I shall be off.</p></sp><sp><speaker>PHAEDRIA</speaker><p> And I too. <stage>They move as if going.</stage>
                  </p></sp><sp><speaker>ANTIPHO</speaker><p> Pray, now, if I assume an air, will that do? <stage>He endeavors to assume another air.</stage>
                  </p></sp><sp><speaker>GETA</speaker><p> You are trifling.</p></sp><sp><speaker>ANTIPHO</speaker><p> Look at my countenance—there's for you. <stage>Assuming a different air.</stage> Will that do?</p></sp><sp><speaker>GETA</speaker><p> No.</p></sp><sp><speaker>ANTIPHO</speaker><p> Well, will this? <stage>Assuming another air.</stage>
                  </p></sp><sp><speaker>GETA</speaker><p> Pretty well.
</p></sp><sp><speaker>ANTIPHO</speaker><p> Well then, this? <stage>Assuming a still bolder air.</stage>
                  </p></sp><sp><speaker>GETA</speaker><p> That's just the thing. There now, keep to that, and answer him word for word, like for like; don't let him, in his anger, disconcert you with his blustering words.</p></sp><sp><speaker>ANTIPHO</speaker><p> I understand.</p></sp><sp><speaker>GETA</speaker><p> Say that you were forced against your will by law, by sentence of the court; do you take me? <stage>Looking earnestly in one direction.</stage> But who is the old man that I see at the end of the street?</p></sp><sp><speaker>ANTIPHO</speaker><p> 'Tis he himself. I can not stand it. <stage>Going.</stage>
                  </p></sp><sp><speaker>GETA</speaker><p> Oh! What are you about? Whither are you going, Antipho? Stop, I tell you.</p></sp><sp><speaker>ANTIPHO</speaker><p> I know my own self and my offense; to your management I trust Phanium and my own existence. <stage>(Exit hastily.)</stage>
                  </p></sp><sp><speaker>PHAEDRIA</speaker><p> Geta, what's to be done now?</p></sp><sp><speaker>GETA</speaker><p> You will just hear some harsh language: I shall be trussed up and trounced, if I am not somewhat mistaken. But what we were just now advising Antipho to do, the same we must do ourselves, Phaedria.</p></sp><sp><speaker>PHAEDRIA</speaker><p> Away with your "musts;" rather do you command me what I am to do.</p></sp><sp><speaker>GETA</speaker><p> DO you remember what were your words formerly on our entering upon this project, with the view of protecting yourselves from ill consequences—that their cause was just, clear, unanswerable, and most righteous?</p></sp><sp><speaker>PHAEDRIA</speaker><p> I remember it.</p></sp><sp><speaker>GETA</speaker><p> Well then, now there's need of that plea, or of one still better and more plausible, if such there can be.</p></sp><sp><speaker>PHAEDRIA</speaker><p> I'll use my best endeavors.</p></sp><sp><speaker>GETA</speaker><p> Do you then accost him first; I'll be here in re-serve,<note anchored="true">Here in reserve)—Ver. 230. "Succenturiatus." The "succenturiati" were, properly, men intrusted to fill up vacancies in the centuries or companies, when thinned by battle.</note> by way of reinforcement, if you give ground at all.</p></sp><sp><speaker>PHAEDRIA</speaker><p> Very well. <stage>They retire to a distance.</stage>
                  </p></sp></div><milestone unit="act" n="2"/><milestone unit="scene" n="1"/><div type="textpart" n="231" subtype="card"><stage>Enter DEMIPHO, at the other side of the stage.</stage><sp><speaker>DEMIPHO</speaker><p><stage>to himself.</stage> And is it possible that Antipho has taken a wife without my consent? and that no authority of mine—but let alone "authority"<note anchored="true"><q>Let alone "authority"</q>  "Ac mitto imperium." Cicero has quoted this passage in his Epistles to Atticus, B. ii. Ep. 19.</note>—no displeasure of mine, at all events, has he been in dread of? To have no sense of shame! O audacious conduct! O Geta, rare adviser!</p></sp><sp><speaker>GETA</speaker><p><stage>apart to PHAEDRIA.</stage> Just brought in at last.</p></sp><sp><speaker>DEMIPHO</speaker><p> What will they say to me, or what excuse will they find? I wonder much.</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> Why, I've found that out already; do think of something else.</p></sp><sp><speaker>DEMIPHO</speaker><p> Will he be saying this to me: "I did it against my will; the law compelled me?" I hear you, and admit it.</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> Well said!</p></sp><sp><speaker>DEMIPHO</speaker><p> But knowingly, in silence, to give up the cause to his adversaries—did the law oblige him to do that as well?</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> That is a hard blow.</p></sp><sp><speaker>PHAEDRIA</speaker><p> I'll clear that up; let me alone for that.</p></sp><sp><speaker>DEMIPHO</speaker><p> It is a matter of doubt what I am to do; for beyond expectation, and quite past all belief, has this befallen me. So enraged am I, that I can not compose my mind to think upon it. Wherefore it is the duty of all persons, when affairs are the most prosperous,<note anchored="true">When affairs are the most prosperous)—Ver. 241. Cicero quotes this passage in the Third Book of his Tusculan Questions, and the maxim here inculcated was a favorite one with the Stoic philosophers.</note> then in especial to reflect within themselves in what way they are to endure adversity. Returning from abroad, let him always picture to himself dangers and losses, either offenses committed by a son, or the death of his wife, or the sickness of a daughter,—that these things are the common lot, so that no one of them may ever come as a surprise upon his feelings. Whatever falls out beyond his hopes, all that he must look upon as so much gain.
</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> O Phaedria, it is incredible how much I surpass my master in wisdom. All my misfortunes have been already calculated upon by me, upon my master coming home. I must grind at the mill, be beaten, wear fetters, be set to work in the fields; not one individual thing of these will happen unexpected by my mind. Whatever falls out beyond my expectations, all that I shall look upon as so much gain. But why do you hesitate to accost him, and soften him at the outset with fair words? <stage>PHAEDRIA goes forward to accost DEMIPHO.</stage>
                  </p></sp><sp><speaker>DEMIPHO</speaker><p><stage>to himself.</stage> I see Phaedria, my brother's son, coming toward me.</p></sp><sp><speaker>PHAEDRIA</speaker><p> My uncle, welcome!</p></sp><sp><speaker>DEMIPHO</speaker><p> Greetings to you; but where is Antipho?</p></sp><sp><speaker>PHAEDRIA</speaker><p> That you have arrived in safety—</p></sp><sp><speaker>DEMIPHO</speaker><p> I believe it; answer my question.</p></sp><sp><speaker>PHAEDRIA</speaker><p> He is well; he's close at hand; but is every thing quite to your wishes?</p></sp><sp><speaker>DEMIPHO</speaker><p> I wish it was so, indeed.</p></sp><sp><speaker>PHAEDRIA</speaker><p> What's the matter?</p></sp><sp><speaker>DEMIPHO</speaker><p> Do you ask me, Phaedria? You people have cooked up a fine marriage in my absence.</p></sp><sp><speaker>PHAEDRIA</speaker><p> What now, are you angry with him for that?</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> What a clever contriver!</p></sp><sp><speaker>DEMIPHO</speaker><p> Have I not reason to be angry with him? I long for him to come into my sight, that he may know that through his faultiness, from being a mild father, I am become a most severe one.</p></sp><sp><speaker>PHAEDRIA</speaker><p> But he has done nothing, uncle, for which you should blame him.</p></sp><sp><speaker>DEMIPHO</speaker><p> Now, do look at that; all alike; all hanging together; when you know one, you know all.</p></sp><sp><speaker>PHAEDRIA</speaker><p> That is not the case.</p></sp><sp><speaker>DEMIPHO</speaker><p> When the one is in fault, the other is at hand to defend him; when it is the other, then he is ready; they just help one another by turns.</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> The old man, without. knowing it, has exactly described their proceedings.</p></sp><sp><speaker>DEMIPHO</speaker><p> For if it had not been so, you would not, Phaedria, have stood up for him.</p></sp><sp><speaker>PHAEDRIA</speaker><p> If, uncle; it is the fact, that Antipho has been guilty of any fault, in consequence of which he has been too regardless of his interest or his reputation, I would not allege any reason why he should not suffer what he deserves. But if some one by chance, relying upon his own artfulness, has laid a snare for our youthful age, and has succeeded, is it our fault or that of the judges, who often, through envy, take away from the rich, or, through compassion, award to the poor?</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> Unless I knew the case, I could fancy he was saying the truth.</p></sp><sp><speaker>DEMIPHO</speaker><p> Is there any judge who can possibly know your rights, when you yourself don't answer a word—as he has done?</p></sp><sp><speaker>PHAEDRIA</speaker><p> He acted the part of an ingenuous young man; after they had come before the judges, he was not able to say what he had intended, so much did his modesty confuse him there through his bashfulness.</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> I commend him: but why do I hesitate at once to accost the old man? <stage>Going forward to DEMIPHO.</stage> Master, welcome to you! I'm glad to see you safe returned.</p></sp><sp><speaker>DEMIPHO</speaker><p><stage>ironically.</stage> Ah, excellent guardian! save you, stay of my family, no doubt, to whom, at my departure, I intrusted my son.</p></sp><sp><speaker>GETA</speaker><p> For some minutes past I've heard you accusing all of us undeservedly; and me the most undeservedly of them all; for what would you have had me do for you in this affair? The laws do not allow a person who is a slave to plead; nor is there any giving evidence<note anchored="true">Any giving evidence)—Ver. 293. Slaves were neither allowed to plead for themselves, nor to give evidence. See the Curculio of Plautus, 1. 621, and the Notes to the <placeName key="tgn,7004109">Andria</placeName>.</note> on his part.</p></sp><sp><speaker>DEMIPHO</speaker><p> I grant all that: I admit this too—the young man, unused to courts, was bashful; I allow it: you, too, are a slave: still, if she was ever so near a relative, it was not necessary for him to marry her, but as the law enjoins, you might have given her a portion;<note anchored="true">Given her a portion)—Ver. 297. By this remark, Donatus observes that Terence artfully prepares us for the imposition of Phormio, who extorts money fiom the old gentleman on this very ground.</note> she could have looked out for another husband. Why, then, in preference, did he bring a pauper home?
</p></sp><sp><speaker>GETA</speaker><p> No particular reason; but he hadn't the money.</p></sp><sp><speaker>DEMIPHO</speaker><p> He might have borrowed it from some person or other.</p></sp><sp><speaker>GETA</speaker><p> From some person or other? Nothing more easily said.</p></sp><sp><speaker>DEMIPHO</speaker><p> After all, if on no other terms, on interest.</p></sp><sp><speaker>GETA</speaker><p> Aye, aye, fine talking; as if any one would have trusted him, while you were living.<note anchored="true">While you were living)—Ver. 302. There was a law at <placeName key="perseus,Athens">Athens</placeName> which enacted that persons who lent money to young men in the lifetime of their parents should have no power to recover it. In line 303 of the Pseudolus, Plautus alludes to the Quinavicenarian or Laetorian Law, at <placeName key="perseus,Rome">Rome</placeName>, which forbade credit to be given to persons under the age of twenty-five years, and deprived the creditor of all right to recover his money or goods.</note>
                  </p></sp><sp><speaker>DEMIPHO</speaker><p> No, it shall not be so; it must not be. Ought I to allow her to remain with him as his wife a single day? She merits no indulgence. I should like this fellow to be pointed out to me, or to be shown where he lives.</p></sp><sp><speaker>GETA</speaker><p> Phormio, do you mean?</p></sp><sp><speaker>DEMIPHO</speaker><p> That fellow, the woman's next friend?<note anchored="true">The woman's next friend)—Ver. 307. The "patronus" was the person who undertook to conduct a lawsuit for another.</note>
                  </p></sp><sp><speaker>GETA</speaker><p> I'll have him here immediately.</p></sp><sp><speaker>DEMIPHO</speaker><p> Where is Antipho at present?</p></sp><sp><speaker>GETA</speaker><p> Away from home.</p></sp><sp><speaker>DEMIPHO</speaker><p> Go, Phedria, look for him, and bring him here.</p></sp><sp><speaker>PHAEDRIA</speaker><p> I'Il go straightway to the place.</p></sp><sp><speaker>GETA</speaker><p><stage>aside.</stage> To Pamphila, you mean. (Exeunt PHAEDRIA and GETA.
</p></sp><sp><speaker>DEMIPHO</speaker><p><stage>to himself.</stage> I'll just step home to salute the house-hold Gods.<note anchored="true">Salute the household Gods)—Ver. 311. It was the custom for those returning from a voyage or journey, to give thanks to their household Gods for having protected them in their absence. Thus, in the Amphitryon of Plautus, <persName>Jupiter</persName>, while personating Amphitryon, pretends, in 1. 983, that he is going to offer sacrifice for his safe return.</note> From there, I'll go to the Forum, and summon some of my friends to give me their assistance in this affair; so that I may not be unprepared, when Phormio comes. <stage>Goes into his house.</stage>
                  </p></sp></div><milestone unit="scene" n="2"/><div type="textpart" n="315" subtype="card"><stage>Enter PHORMIO and GETA.</stage><sp><speaker>PHORMIO</speaker><p> And so you say<note anchored="true">And so you say)—Ver. 315. Donatus tells the following story with reference to this passage: "This Play being once rehearsed before Terence and some of his most intimate acquaintances, Ambivius, who acted the part of Phormio, came in drunk, which threw the author into a violent passion; but Ambivius had scarcely repeated a few lines, stammering and scratching his head, before Terence became pacified, declaring that when he was writing these very lines, he had exactly such a Parasite as Ambivius then represented, in his thoughts."</note> that, dreading his father's presence, he has taken himself off?</p></sp><sp><speaker>GETA</speaker><p> Exactly so.</p></sp><sp><speaker>PHORMIO</speaker><p> That Phanium is left alone?</p></sp><sp><speaker>GETA</speaker><p> Just so.</p></sp><sp><speaker>PHORMIO</speaker><p> And that the old man is in a rage?</p></sp><sp><speaker>GETA</speaker><p> Extremely so.</p></sp><sp><speaker>PHORMIO</speaker><p> The whole business, Phormio, rests on yourself alone; you yourself have hashed it up;<note anchored="true">Have hashed it up)—Ver. 318. He is thought to allude here, figuratively, to the composition of a dish called "moretum," (in praise of which Virgil wrote a poem,) which was composed of garlic, onions, cheese, eggs, and other ingredients, beaten up in a mortar. The allusion to eating is appropriately used in an address to a Parasite.</note> it must all be swallowed by yourself, so set about it.</p></sp><sp><speaker>GETA</speaker><p> I entreat you—</p></sp><sp><speaker>PHORMIO</speaker><p><stage>to himself.</stage> If he inquires.</p></sp><sp><speaker>GETA</speaker><p> In you is all our hope.</p></sp><sp><speaker>PHORMIO</speaker><p><stage>to himself.</stage> Look at this, now:—What if he sends her back?</p></sp><sp><speaker>GETA</speaker><p> It was you that urged us.
</p></sp><sp><speaker>PHORMIO</speaker><p><stage>to himself.</stage> I think that will do.</p></sp><sp><speaker>GETA</speaker><p> Do help us.</p></sp><sp><speaker>PHORMIO</speaker><p><stage>with alacrity.</stage> Let the old gentleman come; all my plans are now ready prepared in my mind.</p></sp><sp><speaker>GETA</speaker><p> What will you do?</p></sp><sp><speaker>PHORMIO</speaker><p> What would you have me? But that Phanium may continue with him, and that I may clear Antipho from this charge, and turn upon myself<note anchored="true">Turn upon myself)—Ver. 323. Donatus observes that in this Scene Terence exhibits the lower order of Parasites, who ingratiated themselves by sharping and roguery, as in the Eunuchus he describes Parasites of a higher rank, and of a-newer species, who obtained their ends by flattery.</note> all the wrath of the old gentleman?</p></sp><sp><speaker>GETA</speaker><p> O brave and kind man! But, Phormio, I often dread lest this courage may end in the stocks at last.<note anchored="true">In the stock at last)—Ver. 325. "In nervum; crumpat denique." There are several interpretations suggested for these words. Some think they allude to the drawing of a bow till it breaks; but they are more generally thought to imply termination in corporal punishment. "Nervus" is supposed to have been the name of a kind of stocks used in torturing slaves, and so called from being formed, in part at least, of the sinews of animals.</note>
                  </p></sp><sp><speaker>PHORMIO</speaker><p> Oh, by no means; I've made trial, and have already pondered on the paths for my feet. How many men before to-day do you suppose I have beaten, even to death, strangers as well as citizens: the better I understand it, the oftener I try it. Just tell me, look you, did you ever hear of an action of damages being brought against me?</p></sp><sp><speaker>GETA</speaker><p> How is that?</p></sp><sp><speaker>PHORMIO</speaker><p> Because the net is never spread for the hawk or the kite, that do us the mischief; it is spread for those that do us none: because in the last there is profit, while with the others it is labor lost.- For persons, out of whom any thing can be got, there's risk from others; they know that I've got nothing. You will say: "They will take you,<note anchored="true">They will take you)—Ver. 334. At <placeName key="perseus,Rome">Rome</placeName>, insolvent debtors became the slaves of their creditors till their debts were paid.</note> when sentenced, into their house;" they have no wish to maintain a devouring fellow; and, in my opinion, they are wise, if for an injury they are unwilling to return the highest benefits.
</p></sp><sp><speaker>GETA</speaker><p> It's impossible that sufficient thanks can be returned you by him for your kindness.</p></sp><sp><speaker>PHORMIO</speaker><p> Why no; no person can return thanks sufficient to his patron<note anchored="true">To his patron)—Ver. 338. "Regi." The Parasites were in the habit of calling their patron "Rex," their "King."</note> for his kindness. For you to take your place at table at free cost,<note anchored="true">At free cost)—Ver. 339. "Asymbolum." Without having paid his "symbola," or "club," for the entertainment. Donatus informs us that the whole of this passage is borrowed from one of Ennius, which is still preserved.</note> anointed and just washed at the bath, with your mind at ease, whereas he is devoured with the care and expense: while every thing is being done to give you delight, he is being vexed at heart; you are laughing away, first to drink,<note anchored="true">First to drink)—Ver. 342. To be the first to drink, and to take the higher place on the couch when eating, was the privilege of the most honored guests, who usually bathed, and were then anointed before the repast.</note> take the higher place; a banquet full of doubts<note anchored="true">Banquet full of doubts)—Ver. 342. "Coena dubia." Horace, who borrows many of his phrases from Terence, uses the same expression.</note> is placed before you—</p></sp><sp><speaker>GETA</speaker><p> What is the meaning of that expression?</p></sp><sp><speaker>PHORMIO</speaker><p> When you are in doubt which in especial to par-take of. When you enter upon a consideration how delicious these things are, and how costly they are, the person who provides them, must you not account him a very God—neither more nor less?</p></sp><sp><speaker>GETA</speaker><p> The old man is coming; take care what you are about; the first onset is the fiercest; if you stand that, then, afterward, you may play just as you please. <stage>They retire to a distance.</stage>
                  </p></sp></div><milestone unit="scene" n="3"/><div type="textpart" n="348" subtype="card"><stage>Enter, at a distance, DEMIPHO, HEGIO, CRATINUS, and CRITO, following him.</stage><sp><speaker>DEMIPHO</speaker><p> Well now—did you ever hear of an injury being done to any person in a more affronting manner than this has to me? Assist me, I do beg of you.</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> He's in a passion.
</p></sp><sp><speaker>PHORMIO</speaker><p><stage>apart.</stage> Do you mind your cue; I'll rouse him just now. <stage>Stepping forward and crying aloud.</stage> Oh immortal Gods! does Demipho deny that Phanium here is related to him?</p></sp><sp><speaker>GETA</speaker><p> He does deny it.</p></sp><sp><speaker>DEMIPHO</speaker><p><stage>to his friends.</stage> I believe it is the very man I was speaking about. Follow me. <stage>They all come forward.</stage>
                  </p></sp><sp><speaker>PHORMIO</speaker><p><stage>to GETA.</stage> And that he knows who her father was?</p></sp><sp><speaker>GETA</speaker><p> He does deny it.</p></sp><sp><speaker>PHORMIO</speaker><p> And that he knows who Stilpho was?</p></sp><sp><speaker>GETA</speaker><p> He does deny it.</p></sp><sp><speaker>PHORMIO</speaker><p> Because the poor thing was left destitute, her father is disowned; she herself is slighted: see what avarice does.</p></sp><sp><speaker>GETA</speaker><p><stage>in a loud voice.</stage> If you are going to accuse my: master of avarice, you shall hear what you won't like.</p></sp><sp><speaker>DEMIPHO</speaker><p> Oh, the impudence of the fellow! Does he come on purpose to accuse me?</p></sp><sp><speaker>PHORMIO</speaker><p> For really, I have no reason why I should be offended at the young man, if he did not know him; since that person, when growing aged and poor, and supporting himself by his labor, generally confined himself to the country; there hehad a piece of land from my father to cultivate; full oft, in the mean time, did the old. man tell me that this kinsman of his neglected him: but what a man? The very best I ever saw in all my life.</p></sp><sp><speaker>GETA</speaker><p><stage>in a loud voice.</stage> Look to yourself as well as to him, how you speak.</p></sp><sp><speaker>PHORMIO</speaker><p><stage>with affected indignation.</stage> Away, to utter perdition, with you. For if I had not formed such an opinion of him, I should never have incurred such enmity with your family on her account, whom he now slights in such an ungenerous manner.</p></sp><sp><speaker>GETA</speaker><p><stage>aloud.</stage> What, do you persist in speaking abusively of my master in his absence, you most abominable fellow?</p></sp><sp><speaker>PHORMIO</speaker><p> Why, it's just what he deserves.</p></sp><sp><speaker>GETA</speaker><p><stage>aloud.</stage> Say you so, you jail-bird?</p></sp><sp><speaker>DEMIPHO</speaker><p><stage>calling aloud.</stage> Geta!</p></sp><sp><speaker>GETA</speaker><p><stage>aloud.</stage> A plunderer of people's property—a perverter of the laws!</p></sp><sp><speaker>DEMIPHO</speaker><p><stage>calling aloud.</stage> Geta!
</p></sp><sp><speaker>PHORMIO</speaker><p><stage>apart, in a low voice.</stage> Answer him.</p></sp><sp><speaker>GETA</speaker><p> Who is it? <stage>Looking round.</stage> Oh!—</p></sp><sp><speaker>DEMIPHO</speaker><p> Hold your peace.</p></sp><sp><speaker>GETA</speaker><p> He has never left off uttering abuse against you behind your back, unworthy of you, and just befitting himself.</p></sp><sp><speaker>DEMIPHO</speaker><p> Well now, have done. <stage>Addressing PHORMIO.</stage> Young man, in the first place, with your good leave, I ask you this, if you may possibly be pleased to give me an answer: explain to me who this friend of yours was, that you speak of, and how he said that he was related to me.</p></sp><sp><speaker>PHORMIO</speaker><p><stage>sneeringly.</stage> You are fishing it out, just as if you didn't know.</p></sp><sp><speaker>DEMIPHO</speaker><p> I, know?</p></sp><sp><speaker>PEM.</speaker><p> Yes.</p></sp><sp><speaker>DEMIPHO</speaker><p> I say I do not; you, Who affirm it, recall it to my recollection.</p></sp><sp><speaker>PHORMIO</speaker><p> Come now, didn't you know your own cousin-ger-man?</p></sp><sp><speaker>DEMIPHO</speaker><p> You torture me to death; tell me his name.</p></sp><sp><speaker>PHORMIO</speaker><p> His name?</p></sp><sp><speaker>DEMIPHO</speaker><p> Of course. <stage>PHORMIO hesitates.</stage> Why are you silent now?</p></sp><sp><speaker>PHORMIO</speaker><p><stage>aside.</stage> Heavens, I'm undone; I've forgot the name.</p></sp><sp><speaker>DEMIPHO</speaker><p> Well, what do you say?</p></sp><sp><speaker>PHORMIO</speaker><p><stage>aside, to GETA.</stage> Geta, if you recollect the name I told you a short time since, prompt me. <stage>Aloud, to DEMIPHO.</stage> Well then, I sha'n't tell you; as if you didn't know, you come to pump me.</p></sp><sp><speaker>DEMIPHO</speaker><p> I, come to pump you, indeed?</p></sp><sp><speaker>GETA</speaker><p><stage>whispering to PHORMIO.</stage> Stilpho.</p></sp><sp><speaker>PHORMIO</speaker><p> But, after all, what matters that to me? It is Stilpho.</p></sp><sp><speaker>DEMIPHO</speaker><p> Whom did you say?</p></sp><sp><speaker>PHORMIO</speaker><p> Stilpho, I tell you; you knew him.</p></sp><sp><speaker>DEMIPHO</speaker><p> I neither know him, nor had I ever any relation of that name.</p></sp><sp><speaker>PHORMIO</speaker><p> Say you so? Are you not ashamed of this? But if he had left you ten talents—</p></sp><sp><speaker>DEMIPHO</speaker><p> May the Gods confound you!</p></sp><sp><speaker>PHORMIO</speaker><p> You'd have been the first, from memory, to trace your line of kindred, even as far back as from grandfather and great-grandfather.</p></sp><sp><speaker>DEMIPHO</speaker><p> Very likely what you say. In that case, when I had undertaken it, I should have shown how she was related to me; do you do the same: tell me, how is she related to me?</p></sp><sp><speaker>GETA</speaker><p> Well done, my master, that's right! <stage>Threateningly to PHORMIO.</stage> Hark you, take you care.</p></sp><sp><speaker>PHORMIO</speaker><p> I've already made the matter quite plain where I ought, before the judges; besides, if it was untrue, why didn't your son disprove it?</p></sp><sp><speaker>DEMIPHO</speaker><p> Do you talk about my son to me? Of whose folly there is no speaking in the language it deserves.</p></sp><sp><speaker>PHORMIO</speaker><p> Then do you, who are so wise, go to the magistrates, that for you they may give a second decision in the same cause, since you reign alone<note anchored="true">Since you reign alone)—Ver. 605. This is a remark well put into the mouth of an Athenian, as the public were very jealous of any person becoming paramount to the laws, and to prevent it, were frequently guilty of the most odious oppression.</note> here, and are the only man allowed to get a second trial in the same cause.</p></sp><sp><speaker>DEMIPHO</speaker><p> Although wrong has been done me, still, however, rather than engage in litigation, or listen to you, just as though she had been my relation, as the law orders one to find her a portion, rid me of her, and take five minae.</p></sp><sp><speaker>PHORMIO</speaker><p> laughing.) Ha, ha, ha! a pleasant individual!</p></sp><sp><speaker>DEMIPHO</speaker><p> Well! am I asking any thing unfair? Or am I not to obtain even this, which is my right at common law?</p></sp><sp><speaker>PHORMIO</speaker><p> Pray, really is it so, that when you have abused-her like a courtesan, the law orders you to pay her hire and pack her off? Or is it the fact, that in order that a citizen may bring no disgrace upon herself through poverty, she has been ordered to be given to her nearest relative, to pass her life with him alone? A thing which you mean to prevent.</p></sp><sp><speaker>DEMIPHO</speaker><p> Yes, to her nearest.relative, indeed; but why to us, or on what ground?</p></sp><sp><speaker>PHORMIO</speaker><p> Well, well, a thing tried, they say, you can't try over again.</p></sp><sp><speaker>DEMIPHO</speaker><p> Not try it? On the contrary, I shall not desist until I have gone through with it.</p></sp><sp><speaker>PHORMIO</speaker><p> You are trifling.
</p></sp><sp><speaker>DEMIPHO</speaker><p> Only let me alone for that.</p></sp><sp><speaker>PHORMIO</speaker><p> In short, Demipho, I have nothing to do with you; your son has been cast, and not you; for your time of life for marrying has now gone by.</p></sp><sp><speaker>DEMIPHO</speaker><p> Consider that it is he that says to you all I now say, or else assuredly, together with this wife of his, I'll be forbidding him the house.</p></sp><sp><speaker>GETA</speaker><p><stage>aside.</stage> He's in a passion.</p></sp><sp><speaker>PHORMIO</speaker><p> You'll be acting more considerately.</p></sp><sp><speaker>DEMIPHO</speaker><p> Are you so resolved, you unlucky fellow, to do me all the mischief you can?</p></sp><sp><speaker>PHORMIO</speaker><p><stage>aside, to GETA.</stage> He's afraid of us, although he's so careful to conceal it.</p></sp><sp><speaker>GETA</speaker><p><stage>aside, to PHORMIO.</stage> Your beginning has turned out well.</p></sp><sp><speaker>PHORMIO</speaker><p> But if, on the contrary, you endure what must be endured, you'll be doing what's worthy of you, so that we may be on friendly terms.</p></sp><sp><speaker>DEMIPHO</speaker><p><stage>indignantly.</stage> What, I seek your friendship, or have any wish to see or hear you?</p></sp><sp><speaker>PHORMIO</speaker><p> If you can agree with her, you will have some one to cheer up your old age; just consider your time of life.</p></sp><sp><speaker>DEMIPHO</speaker><p> Let her cheer up yourself; keep her to yourself.</p></sp><sp><speaker>PHORMIO</speaker><p> Really, do moderate your passion.</p></sp><sp><speaker>DEMIPHO</speaker><p> Mark what I say. There have been words enough already; if you don't make haste to fetch away the woman, I shall turn her out: I have said it, Phormio.</p></sp><sp><speaker>PHORMIO</speaker><p> If you use her in any other manner than is befitting a free-born woman, I shall be bringing a swinging action against you: I have said it, Demipho. <stage>To GETA.</stage> Hark you, if there should be any occasion for me, I shall be at home.</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> I understand you.  <stage>(Exit PHORMIO.)</stage>
                  </p></sp></div><milestone unit="scene" n="4"/><div type="textpart" n="441" subtype="card"><stage>DEMIPHO, HEGIO, CRATINUS, CRITO, and GETA.</stage><sp><speaker>DEMIPHO</speaker><p> What care and anxiety my son does bring upon me, by entangling himself and me in this same marriage! And he doesn't so much as come into my sight, that at least I might know what he says about this matter. or what his sentiments are. <stage>To GETA.</stage> Be off, go see whether he has returned home or not by this.</p></sp><sp><speaker>GETA</speaker><p> I will. <stage>Goes into the house.</stage>
                  </p></sp><sp><speaker>DEMIPHO</speaker><p><stage>to the ASSISTANTS.</stage> You see how the case stands. What am I to do? Tell me, Hegio.</p></sp><sp><speaker>HEGIO</speaker><p> What, I? I think Cratinus ought, if it seems good to you.</p></sp><sp><speaker>DEMIPHO</speaker><p> Tell me, Cratinus.</p></sp><sp><speaker>CRATINUS</speaker><p> What, do you wish me to speak? I should like you to do what is most for your advantage; it is my opinion, that what this son of yours has done in your absence, in law and justice ought to be annulled; and that you'll obtain redress. That's my opinion.</p></sp><sp><speaker>DEMIPHO</speaker><p> Say now, Hegio.</p></sp><sp><speaker>HEGIO</speaker><p> I believe that he has spoken with due deliberation; but it is the fact, "as many men, so many minds;"<note anchored="true">So many minds)—Ver. 454. "Quot homines, tot sententiae." This is a famous adage. One similar to the succeeding one is found in the Second Eclogue of Virgil, 1. 65: "Trahit sua quemque voluptas," exactly equivalent to our saying, "Every man to his taste."</note> every, one his own way. It doesn't appear to me that what has been done by law can be revoked; and it is wrong to attempt it.</p></sp><sp><speaker>DEMIPHO</speaker><p> Speak, Crito.</p></sp><sp><speaker>CRITO</speaker><p> I am of opinion that we must deliberate further;<note anchored="true">Must deliberate further)—Ver. 457. "Amplius deliberandum." This is probably a satirical allusion to the judicial system of procrastination, which, by the Romans, was called "ampliatio." When the judges could not come to a satisfactory conclusion about a cause, they signified it by the letters N. L. (for "non liquet," "it is not clear"), and put off the suit for a rehearing.</note> it is a, matter of importance.</p></sp><sp><speaker>HEGIO</speaker><p> Do you want any thing further with us?</p></sp><sp><speaker>DEMIPHO</speaker><p> You have done very well. <stage>Exeunt ASSISTANTS.</stage> I am much more at a loss<note anchored="true">Much more at a loss)—Ver. 459. See the Poenulus of Plautus, where advocates or assistants are introduced among the Dramatic Personae. Colman has the following remarks on this quaint passage: "I believe there is no Scene in Comedy more highly seasoned with the ridiculous than this before us. The idea is truly comic, and it is worked up with all that simplicity and chastity so peculiar to the manner of Terence. An ordinary writer would have indulged himself in twenty little conceits on this occasion; but the dry gravity of Terence infinitely surpasses, as true humor, all the drolleries which, perhaps, even those great masters of Comedy, Plautus or Molière, might have been tempted to throw out. It is the highest art of a Dramatic Author, on some occasions, to leave a good deal to the Actor; and it has been remarked by Heinsius and others, that Terence was particularly attentive to this circumstance."</note> than before.

<stage>Re-enter GETA, from the house.</stage>
                  </p></sp><sp><speaker>GETA</speaker><p> They say that he has not come back.</p></sp><sp><speaker>DEMIPHO</speaker><p> I must wait for my brother. The advice that he gives me about this matter, I shall follow. I'll go make inquiry at the harbor, when he is to come back. <stage>(Exit.)</stage>
                  </p></sp><sp><speaker>GETA</speaker><p> And I'll go look for Antipho, that he may learn what has passed here. But look, I see him coming this way, just in the very nick of time.
</p></sp></div><milestone unit="act" n="3"/><milestone unit="scene" n="1"/><div type="textpart" n="465" subtype="card"><stage>Enter ANTIPHO, at a distance.</stage><sp><speaker>ANTIPHO</speaker><p><stage>to himself.</stage> Indeed, Antipho, in many ways you are to be blamed for these feelings; to have thus run away, and intrusted your existence to the protection of other people. Did you suppose that others would give more attention to your interests than your own self? For, however other matters stood, certainly you should have thought of her whom you have now at home, that she might not suffer- any harm in consequence of her confiding in you, whose hopes and resources, poor thing, are all now centred in yourself alone.</p></sp><sp><speaker>GETA</speaker><p><stage>coming forward.</stage> Why really, master, we have for some time been censuring you here in your absence, for having thus gone away.</p></sp><sp><speaker>ANTIPHO</speaker><p> You are the very person I was looking for.</p></sp><sp><speaker>GETA</speaker><p> But still, we were not a bit the more remiss on that account.</p></sp><sp><speaker>ANTIPHO</speaker><p> Tell me, I beg of you, in what posture are my interests and fortunes. Has my father any suspicion?</p></sp><sp><speaker>GETA</speaker><p> Not any at present.</p></sp><sp><speaker>ANTIPHO</speaker><p> Is there still any hope?</p></sp><sp><speaker>GETA</speaker><p> I don't know.</p></sp><sp><speaker>ANTIPHO</speaker><p> Alas!
</p></sp><sp><speaker>GETA</speaker><p> But Phaedria has not neglected to use his endeavors in your behalf.</p></sp><sp><speaker>ANTIPHO</speaker><p> He did nothing new.</p></sp><sp><speaker>GETA</speaker><p> Then Phormio, too; in this matter, just as in every thing else, showed himself a man of energy.</p></sp><sp><speaker>ANTIPHO</speaker><p> What did he do?</p></sp><sp><speaker>GETA</speaker><p> With his words he silenced the old man, who was very angry.</p></sp><sp><speaker>ANTIPHO</speaker><p> Well done, Phormio!</p></sp><sp><speaker>GETA</speaker><p> I, too, did all I could.</p></sp><sp><speaker>ANTIPHO</speaker><p> My dear Geta, I love you all.</p></sp><sp><speaker>GETA</speaker><p> The commencement is just in this position, as I tell you: matters, at present; are going on smoothly, and your father intends to wait for your uncle till he arrives.</p></sp><sp><speaker>ANTIPHO</speaker><p> Why him?</p></sp><sp><speaker>GETA</speaker><p> He said he was wishful to act by his advice, in all that relates to this business.</p></sp><sp><speaker>ANTIPHO</speaker><p> How greatly now, Geta, I do dread my uncle's safe arrival! For, according to his single sentence, from what I hear, I am to live or die.</p></sp><sp><speaker>GETA</speaker><p> Here comes Phaedria.</p></sp><sp><speaker>ANTIPHO</speaker><p> Where is he, pray?</p></sp><sp><speaker>GETA</speaker><p> See, he's coming from his place of exercise.<milestone n="484" unit="line"/>
                     <note anchored="true"><q>From his place of exercise</q>:  "Palaestra." He alludes to the Procurer's house under this name.</note>
                  </p></sp></div><milestone unit="scene" n="2"/><div type="textpart" n="485" subtype="card"><stage>Enter from DORIO'S house, DORIO, followed by PHAEDRIA.</stage><sp><speaker>PHAEDRIA</speaker><p> Prithee, hear me, Dorio.</p></sp><sp><speaker>DORIO</speaker><p> I'll not hear you.</p></sp><sp><speaker>PHAEDRIA</speaker><p> Only a moment.</p></sp><sp><speaker>DORIO</speaker><p> Let me alone.</p></sp><sp><speaker>PHAEDRIA</speaker><p> Do hear what I have to say.</p></sp><sp><speaker>DORIO</speaker><p> Why really I am tired of hearing the same thing a thousand times over.</p></sp><sp><speaker>PHAEDRIA</speaker><p> But now, I have something to tell you that you'll hear with pleasure.</p></sp><sp><speaker>DORIO</speaker><p> Speak then; I'm listening.
</p></sp><sp><speaker>PHAEDRIA</speaker><p> Can I not prevail on you to wait for only three days? Whither are you going now?</p></sp><sp><speaker>DORIO</speaker><p> I was wondering if you had any thing new to offer.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>apart, to GETA.</stage> I'm afraid for this Procurer, lest—</p></sp><sp><speaker>GETA</speaker><p><stage>apart, to ANTIPHO.</stage> Something may befall his own safety.<note anchored="true">Befall his own safety)—Ver. 490. Overhearing Phedria earnest and determined, and the Procurer obstinate and inflexible, Antipho and Geta join in -apprehending that the brutality of the latter may provoke Phaedria to some act of violence.</note>
                  </p></sp><sp><speaker>PHAEDRIA</speaker><p> You don't believe me?</p></sp><sp><speaker>DORIO</speaker><p> You guess right.</p></sp><sp><speaker>PHAEDRIA</speaker><p> But if I pledge my word.</p></sp><sp><speaker>DORIO</speaker><p> Nonsense!</p></sp><sp><speaker>PHAEDRIA</speaker><p> You will have reason to say that this kindness was well laid out by you on interest.</p></sp><sp><speaker>DORIO</speaker><p> Stuff!</p></sp><sp><speaker>PHAEDRIA</speaker><p> Believe me, you will be glad you did so; upon my faith, it is the truth.</p></sp><sp><speaker>DORIO</speaker><p> Mere dreams!</p></sp><sp><speaker>PHAEDRIA</speaker><p> Do but try; the time is not long.</p></sp><sp><speaker>DORIO</speaker><p> The same story over again.</p></sp><sp><speaker>PHAEDRIA</speaker><p> You will be my kinsman, my father, my friend; you—</p></sp><sp><speaker>DORIO</speaker><p> Now, do prate on.</p></sp><sp><speaker>PHAEDRIA</speaker><p> For you to be of a disposition so harsh and inexorable, that neither by pity nor by entreaties can you be softened!</p></sp><sp><speaker>DORIO</speaker><p> For you to be of a disposition so unreasonable and so unconscionable, Phadria, that you can be talking me over with fine words,<note anchored="true">With fine words)—Ver. 499. "Phaleratis dictis." "Phalerae" were, properly, the silver ornaments with which horses were decked out, and being only for show, and not for use, gave rise to this saying. "Ductes" was an obscene Word, and not likely to be used by any but such characters as Dorio.</note> and be for amusing yourself with what's my property for nothing!</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>apart, to GETA.</stage> I am sorry for him.</p></sp><sp><speaker>PHAEDRIA</speaker><p><stage>aside.</stage> Alas! I feel it to be too true.</p></sp><sp><speaker>GETA</speaker><p><stage>apart, to ANTIPHO.</stage> How well each keeps up to his character!
</p></sp><sp><speaker>PHAEDRIA</speaker><p><stage>to himself.</stage> And would that this misfortune had not befallen me at a time when Antipho was occupied with other cares as well.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>coming forward.</stage> Ah Phaedria, why, what is the matter?</p></sp><sp><speaker>PHAEDRIA</speaker><p> O most fortunate Antipho!</p></sp><sp><speaker>ANTIPHO</speaker><p> What, I?</p></sp><sp><speaker>PHAEDRIA</speaker><p> To have in your possession the object of your love, and have no occasion to encounter such a nuisance as this.</p></sp><sp><speaker>ANTIPHO</speaker><p> What I, in my possession? Why yes, as the saying is, I've got a wolf by the ears;<milestone n="505" unit="line"/>
                     <note anchored="true"><q>A wolf by the ears</q>: A proverbial expression which, according to Suetonius, was frequently in the mouth of Tiberius Caesar.</note> for I neither know how to get rid of her, nor yet how to keep her.</p></sp><sp><speaker>DORIO</speaker><p> That's just my case with regard to him <stage>pointing to PHAEDRIA</stage>.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>to DORIO.</stage> Aye, aye, don't you show too little of the Procurer. <stage>To PHAEDRIA.</stage> What has he been doing?</p></sp><sp><speaker>PHAEDRIA</speaker><p> What, he? Acting the part of a most inhuman fellow; been and sold my Pamphila.</p></sp><sp><speaker>GETA</speaker><p> What! Sold her?</p></sp><sp><speaker>ANTIPHO</speaker><p> Sold her, say you?</p></sp><sp><speaker>PHAEDRIA</speaker><p> Sold her.</p></sp><sp><speaker>DORIO</speaker><p><stage>ironically.</stage> What a shocking crime—a wench bought with one's own money!</p></sp><sp><speaker>PHAEDRIA</speaker><p> I can not prevail upon him to wait for me the next three days, and so far break off the bargain with the person, while I get the money from my friends, which has been promised me; if I don't give it him then, let him not wait a single hour longer.</p></sp><sp><speaker>DORIO</speaker><p> Very good.</p></sp><sp><speaker>ANTIPHO</speaker><p> It's not a long time that he asks, Dorio; do let him prevail upon you; he'll pay you two-fold for having acted to him thus obligingly.</p></sp><sp><speaker>DORIO</speaker><p> Mere words!</p></sp><sp><speaker>ANTIPHO</speaker><p> Will you allow Pamphila to be carried away from this place? And then, besides, can you possibly allow their love to be severed asunder?</p></sp><sp><speaker>DORIO</speaker><p> Neither I nor you cause that.
</p></sp><sp><speaker>GETA</speaker><p> May all the Gods grant you what you are deserving of!</p></sp><sp><speaker>DORIO</speaker><p> I have borne with you for several months quite against my inclination; promising and whimpering, and yet bringing nothing; now, on the other hand, I have found one to pay, and not be sniveling; give place to your betters.</p></sp><sp><speaker>ANTIPHO</speaker><p> I' faith, there surely was a day named, if I remember right, for you to pay him.</p></sp><sp><speaker>PHAEDRIA</speaker><p> It is the fact.</p></sp><sp><speaker>DORIO</speaker><p> Do I deny it?</p></sp><sp><speaker>ANTIPHO</speaker><p> Is that day past, then?</p></sp><sp><speaker>DORIO</speaker><p> No; but this one has come before it.</p></sp><sp><speaker>ANTIPHO</speaker><p> Are you not ashamed of your perfidy?</p></sp><sp><speaker>DORIO</speaker><p> Not at all, so long as it is for my interest.</p></sp><sp><speaker>GETA</speaker><p> Dunghill!</p></sp><sp><speaker>PHAEDRIA</speaker><p> Dorio, is it right, pray, for you to act thus?</p></sp><sp><speaker>DORIO</speaker><p> It is my way; if I suit you, make use of me.</p></sp><sp><speaker>ANTIPHO</speaker><p> Do you try to trifle with him <stage>pointing to PHAEDRIA</stage> in this manner?</p></sp><sp><speaker>DORIO</speaker><p> Why really, on the contrary, Antipho, it's he trifling with me, for he knew me to be a person of this sort; I supposed him to be quite a different man; he has deceived me; I'm not a bit different to him from what I was before. But however that may be, I'll yet do this; the captain has said, that to-morrow morning he will pay me the money; if you bring it me before that, Phaedria, I'll follow my rule, that he is the first served who is the first to pay. Farewell! <stage>Goes into his house.</stage>
                  </p></sp></div><milestone unit="scene" n="3"/><div type="textpart" n="534" subtype="card"><stage>PHAEDRIA, ANTIPHO, and GETA.</stage><sp><speaker>PHAEDRIA</speaker><p> What am I to do? Wretch that I am! where am I now in this emergency to raise the money for him, I, who am worse than nothing? If it had been possible for these three days to be obtained of him, it was promised me by then.</p></sp><sp><speaker>ANTIPHO</speaker><p> Geta, shall we suffer him to continue thus wretched, when he so lately assisted me in the kind way you were mentioning? On the contrary, why not, as there's need of it try to do him a kindness in return?
</p></sp><sp><speaker>GETA</speaker><p> For my part, I'm sure it is but fair.</p></sp><sp><speaker>ANTIPHO</speaker><p> Come then, you are the only man able to serve him.</p></sp><sp><speaker>GETA</speaker><p> What can I do?</p></sp><sp><speaker>ANTIPHO</speaker><p> Procure the money.</p></sp><sp><speaker>GETA</speaker><p> I wish I could; but where it is to come from—tell me that.</p></sp><sp><speaker>ANTIPHO</speaker><p> My father has come home.</p></sp><sp><speaker>GETA</speaker><p> I know; but what of that?</p></sp><sp><speaker>ANTIPHO</speaker><p> Oh, a word to the wise<milestone n="540" unit="line"/>
                     <note anchored="true"><q>A word to the wise</q>: "Dictum sapienti sat est." The same proverb is found in the Persa of Plautus, 1. 736.</note> is quite enough.</p></sp><sp><speaker>GETA</speaker><p> Is that it, then?</p></sp><sp><speaker>ANTIPHO</speaker><p> Just so.</p></sp><sp><speaker>GETA</speaker><p> Upon my faith, you really do give me fine advice; out upon you! Ought I not to be heartily glad, if I meet with no mishap through your marriage, but what, in addition to that, you must now bid me, for his sake, to be seeking risk upon risk?</p></sp><sp><speaker>ANTIPHO</speaker><p> 'Tis true what he says.</p></sp><sp><speaker>PHAEDRIA</speaker><p> What! am I a stranger to you, Geta?</p></sp><sp><speaker>GETA</speaker><p> I don't consider you so. But is it so trifling a matter that the old gentleman is now vexed with us all, that we must provoke him still more, and leave no room for entreaty?</p></sp><sp><speaker>PHAEDRIA</speaker><p> Is another man to take her away from before my eyes to some unknown spot? Alas! speak to me then, Antipho, and look upon me while you have the opportunity, and while I'm present.</p></sp><sp><speaker>ANTIPHO</speaker><p> Why so, or what are you going to do? Pray, tell me.</p></sp><sp><speaker>PHAEDRIA</speaker><p> To whatever part of the world she is borne away, I'm determined to follow her or to perish.</p></sp><sp><speaker>GETA</speaker><p> May the Gods prosper your design! Cautiously's the word, however.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>to GETA.</stage> Do see if you can give him any assistance at all.</p></sp><sp><speaker>GETA</speaker><p> Any at all—how?</p></sp><sp><speaker>ANTIPHO</speaker><p> Pray, do try, that he mayn't be doing something that we may afterward be more or less sorry for, Geta.</p></sp><sp><speaker>GETA</speaker><p> I'm considering, <stage>He pauses.</stage> He's all safe, so far as I can guess: but still, I'm afraid of mischief.
</p></sp><sp><speaker>ANTIPHO</speaker><p> Don't be afraid: together with you, we'll share good and bad.</p></sp><sp><speaker>GETA</speaker><p><stage>to PHAEDRIA.</stage> How much money do you want? Tell me.</p></sp><sp><speaker>PHAEDRIA</speaker><p> Only thirty mince.</p></sp><sp><speaker>GETA</speaker><p> Thirty? Heyday! she's monstrous dear, Phaedria.</p></sp><sp><speaker>PHAEDRIA</speaker><p> Indeed, she's very cheap.</p></sp><sp><speaker>GETA</speaker><p> Well, well, I'll get them for you.</p></sp><sp><speaker>PHAEDRIA</speaker><p> Oh the dear man! <stage>They both fall to hugging GETA.</stage>
                  </p></sp><sp><speaker>GETA</speaker><p> Take yourselves off. <stage>Shakes them of.</stage>
                  </p></sp><sp><speaker>PHAEDRIA</speaker><p> There's need for them directly.</p></sp><sp><speaker>GETA</speaker><p> You shall have them directly; but I must have Phormio for my assistant in this business.</p></sp><sp><speaker>ANTIPHO</speaker><p> He's quite ready; right boldly lay on him any load you like, he'll bear it: he, in especial, is a friend to his friend.</p></sp><sp><speaker>GETA</speaker><p> Let's go to him at once then.</p></sp><sp><speaker>ANTIPHO</speaker><p> Will you have any occasion for my assistance?</p></sp><sp><speaker>GETA</speaker><p> None; but be off home, and comfort that poor thing, who I am sure is now in-doors almost dead with fear. Do you linger?</p></sp><sp><speaker>ANTIPHO</speaker><p> There's nothing I could do with so much pleasure. <stage>Goes into the house of DEMIPHO.</stage>
                  </p></sp><sp><speaker>PHAEDRIA</speaker><p> What way will you manage this?</p></sp><sp><speaker>GETA</speaker><p> I'll tell you on the road; first thing, betake yourself off. <stage>(Exeunt.)</stage>

                  </p></sp></div><milestone unit="act" n="4"/><milestone unit="scene" n="1"/><div type="textpart" n="567" subtype="card"><stage>Enter DEMIPHO and CHREMES.</stage><sp><speaker>DEMIPHO</speaker><p> Well, have you brought your daughter with you, Chremes, for whom you went to <placeName key="tgn,7011173">Lemnos</placeName>?</p></sp><sp><speaker>CHREMES</speaker><p> No.</p></sp><sp><speaker>DEMIPHO</speaker><p> Why not?</p></sp><sp><speaker>CHREMES</speaker><p> When her mother found that I staid here longer than usual, and at the same time the age of the girl did not suit with my delays, they told me that she, with all her family, set out in search of me.</p></sp><sp><speaker>DEMIPHO</speaker><p> Pray, then, why did you stay there so long, when you had heard of this?</p></sp><sp><speaker>CHREMES</speaker><p> Why, faith, a malady detained me.</p></sp><sp><speaker>DEMIPHO</speaker><p> From what cause? Or what was it?</p></sp><sp><speaker>CHREMES</speaker><p> Do you ask me? Old age itself is a malady. However, I heard that they had arrived safe, from the caps tain who brought them.</p></sp><sp><speaker>DEMIPHO</speaker><p> Have you heard, Chremes, what has happened to my son in my absence?</p></sp><sp><speaker>CHREMES</speaker><p> 'Tis that, in fact, that has embarrassed me in my plans. For if I offer my daughter in marriage to any person that's a stranger, it must all be told how and by whom I had her. You I knew to be fully as faithful to me as I am to myself; if a stranger shall think fit to be connected with me by marriage, he will hold his tongue, just as long as good terms exist between us: but if he takes a dislike to me, he'll be knowing more than it's proper he should know. I am afraid, too, lest my wife should, by some means, come to know of it; if that is the case, it only remains for me to shake myself<milestone n="585" unit="line"/>
                     <note anchored="true"><q>To shake myself</q>: "Me excutiam." In reference to the custom of the Greeks, and the Eastern nations, of shaking their clothes at the door of any house which they were going to leave.</note> and leave the house; for I'm the only one I can rely on at home.<milestone n="586" unit="line"/>
                     <note anchored="true"><q>Rely on at home</q>: "Nam ego meorum solus sum meus." He means that he is the only person in his house friendly to himself, inasmuch as his wife, from her wealth, has supreme power over the domestics, in whom he himself can place no trust.</note>
                  </p></sp><sp><speaker>DEMIPHO</speaker><p> I know it is so, and that circumstance is a cause of anxiety to me; and I shall never cease trying, until I've made good what I promised you.</p></sp></div><milestone unit="scene" n="2"/><div type="textpart" n="591" subtype="card"><stage>Enter GETA, on the other side of the stage, not seeing DEMIPHO or CHREMES.</stage><sp><speaker>GETA</speaker><p><stage>to himself.</stage> I never saw a more cunning fellow than this Phormio. I came to the fellow to tell him that money was needed, and by what means it might be procured. Hardly had I said one half, when he understood me; he was quite delighted; complimented me; asked where the old man was; gave thanks to the Gods that an opportunity was afforded him for showing himself no less a friend to Phaedria than to Antipho: I bade the fellow wait for me at the Forum; whither I would bring the old gentlemanly. But see, here's the very man <stage>catching sight of the Old Man</stage>. Who is the further one? Heyday, Phaedria's father has got back! still, brute beast that I am, what was I afraid of? Is it because two are presented instead of one for me to dupe? I deem it preferable to enjoy a two-fold hope. I'll try for it from him from whom I first intended: if he gives it me, well and good; if I can make nothing of him, then I'll attack this new-comer.</p></sp><milestone unit="scene" n="3"/><milestone n="1" unit="line"/><milestone n="606" unit="line" ed="line"/><stage>Enter ANTIPHO from the house, behind at a distance.</stage><sp><speaker>ANTIPHO</speaker><p><stage>to himself.</stage> I'm expecting every moment that Geta will be here. But I see my uncle standing close by, with my father. Ah me! how much I fear what influence his return may have upon my father!</p></sp><sp><speaker>GETA</speaker><p><stage>to himself</stage> I'll accost them. <stage>Goes up to them.</stage> O welcome to you, our neighbor Chremes.</p></sp><sp><speaker>CHREMES</speaker><p> Save you, Geta.</p></sp><sp><speaker>GETA</speaker><p> I'm delighted to see you safe returned.</p></sp><sp><speaker>CHREMES</speaker><p> I believe you.</p></sp><sp><speaker>GETA</speaker><p> How go matters?</p></sp><sp><speaker>CHREMES</speaker><p> Many changes here upon my arrival, as usually the case.</p></sp><sp><speaker>GETA</speaker><p> True; have you heard what has happened to Antipho?</p></sp><sp><speaker>CHREMES</speaker><p> All.</p></sp><sp><speaker>GETA</speaker><p><stage>to DEMIPHO.</stage> What, have you told him? Disgraceful conduct, Chremes, thus to be imposed on.</p></sp><sp><speaker>DEMIPHO</speaker><p> It was about that I was talking to him just now.</p></sp><sp><speaker>GETA</speaker><p> But really, on carefully reflecting upon this matter I think I have found a remedy.
</p></sp><sp><speaker>DEMIPHO</speaker><p> What is the remedy?</p></sp><sp><speaker>GETA</speaker><p> When I left you, by accident Phormio met me.</p></sp><sp><speaker>CHREMES</speaker><p> Who is Phormio?</p></sp><sp><speaker>GETA</speaker><p> He who patronized her.</p></sp><sp><speaker>CHREMES</speaker><p> I understand.</p></sp><sp><speaker>GETA</speaker><p> It seemed to me that I might first sound him; I took the fellow aside: "Phormio," said I, "why don't we try to settle these matters between us rather with a good grace than with a bad one? My master's a generous man, and one who hates litigation; but really, upon my faith, all his friends were just now advising him with one voice to turn her instantly out of doors."</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>apart.</stage> What is he about? Or where is this to end at last?</p></sp><sp><speaker>GETA</speaker><p><stage>continuing the supposed conversation.</stage> "He'll have to give satisfaction at law, you say, if he turns her out? That has been already inquired into: aye, aye, you'll have enough to do, if you engage with him; he is so eloquent. But suppose he's beaten; still, however, it's not his life, but his money that's at stake." After I found that the fellow was influenced by these words, I said: "We are now by ourselves here; come now, what should you like to be given you, money down, to drop this suit with my master, so that she may betake herself off, and you annoy us no more?"</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>apart.</stage> Are the Gods quite on good terms with him?<milestone n="635" unit="line"/>
                     <note anchored="true"><q>Good terms with him</q>: Meaning, "Is he in his senses or not?"</note>
                  </p></sp><sp><speaker>GETA</speaker><p><stage>continuing the conversation.</stage> "For I'm quite sure, if you were to mention any thing that's fair and reasonable, as he is a reasonable man, you'll not have to bandy three words with him."</p></sp><sp><speaker>DEMIPHO</speaker><p> Who ordered you to say so?</p></sp><sp><speaker>CHREMES</speaker><p> Nay, he could not have more happily contrived to bring about what we want.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>apart.</stage> Undone!</p></sp><sp><speaker>CHREMES</speaker><p> Go on with your story.</p></sp><sp><speaker>GETA</speaker><p> At first the fellow raved.</p></sp><sp><speaker>DEMIPHO</speaker><p> Say, what did he ask?</p></sp><sp><speaker>GETA</speaker><p> What? A great deal too much.
</p></sp><sp><speaker>CHREMES</speaker><p> How much? Tell me.</p></sp><sp><speaker>GETA</speaker><p> Suppose he were to give a great talent.</p></sp><sp><speaker>DEMIPHO</speaker><p> Aye, faith, perdition to him rather; has he no shame?</p></sp><sp><speaker>GETA</speaker><p> Just what I said to him: "Pray," said I, "suppose he was portioning an only daughter of his own. It has been of little benefit that he hasn't one of his own, when another has been found to be demanding a fortune." To be brief, and to pass over his impertinences, this at last was his final answer: "I," said he," from the very first, have been desirous to marry the daughter of my friend, as was fit I should; for I was aware of the ill results of this, a poor wife being married into a rich family, and becoming a slave. But, as I am now conversing with you unreservedly, I was in want of a wife to bring me a little money with which to pay off my debts; and even yet, if Demipho is willing to give as much as I am to receive with her to whom I am engaged, there is no one whom I should better like for a wife."</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>apart.</stage> Whether to say he's doing this through folly or mischief, through stupidity or design, I'm in doubt.</p></sp><sp><speaker>DEMIPHO</speaker><p> What if he's in debt to the amount of his life?<milestone n="660" unit="line"/>
                     <note anchored="true"><q>Amount of his life</q>: "Quid si animam debet?" Erasmus tells us that this was a proverb among the Greeks applied to those who ran so deeply in debt, that their persons, and consequently, in one sense, their very existence, came into the power of their creditors.</note>
                  </p></sp><sp><speaker>GETA</speaker><p> His land is mortgaged,—for ten minae he said.</p></sp><sp><speaker>DEMIPHO</speaker><p> Well, well, let him take her then; I'll give it.</p></sp><sp><speaker>GETA</speaker><p> He has a house besides, mortgaged for another ten.</p></sp><sp><speaker>DEMIPHO</speaker><p> Huy, huy! that's too much.</p></sp><sp><speaker>CHREMES</speaker><p> Don't be crying out; you may have those ten of me.</p></sp><sp><speaker>GETA</speaker><p> A lady's maid must be brought for his wife; and then too, a little more is wanted for some furniture, and some is wanted for the wedding expenses. " Well then," said he, "for these items, put down ten more."</p></sp><sp><speaker>DEMIPHO</speaker><p> Then let him at once bring six hundred actions<milestone n="667" unit="line"/>
                     <note anchored="true"><q>Six hundred actions</q>: "Sescentos;" literally, "six hundred." The Romans used this term as we do the words "ten thousand," to signify a large, but indefinite number.</note> against me; I shall give nothing at all; is this dirty fellow to be laughing at me as well?
</p></sp><sp><speaker>CHREMES</speaker><p> Pray do be quiet; I'll give it: do you only bring your son to marry the woman we want him to have.</p></sp><sp><speaker>ANTIPHO</speaker><p><stage>apart.</stage> Ah me! Geta, you have ruined me by your treachery.</p></sp><sp><speaker>CHREMES</speaker><p> 'Tis on my account she's turned off; it's right that I should bear the loss.</p></sp><sp><speaker>GETA</speaker><p> " Take care and let me know," said he, "as soon as possible, if they are going to let me have her, that I may get rid of the other, so that I mayn't be in doubt; for the others have agreed to.pay me down the portion directly."</p></sp><sp><speaker>CHREMES</speaker><p> Let him have her at once; let him give notice to them that he breaks off the match with the other, and let him marry this woman.</p></sp><sp><speaker>DEMIPHO</speaker><p> Yes, and little joy to him of the bargain!</p></sp><sp><speaker>CHREMES</speaker><p> Luckily, too, I've now brought home some money with me, the rents which my wife's farms at <placeName key="tgn,7011173">Lemnos</placeName> produce. I'll take it out of that, and tell my wife that you had occasion for it. <stage>They go into the house of CHREMES.</stage>
                  </p></sp></div><milestone unit="scene" n="4"/><div type="textpart" n="682" subtype="card"><stage>ANTIPHO and GETA.</stage><sp><speaker>ANTIPHO</speaker><p><stage>coming forward.</stage> Geta.</p></sp><sp><speaker>GETA</speaker><p> Well.</p></sp><sp><speaker>ANTIPHO</speaker><p> What have you been doing?</p></sp><sp><speaker>GETA</speaker><p> Diddling the old fellows out of their money.</p></sp><sp><speaker>ANTIPHO</speaker><p> Is that quite the thing?</p></sp><sp><speaker>GETA</speaker><p> I' faith, I don't know: it's just what I was told to do.</p></sp><sp><speaker>ANTIPHO</speaker><p> How now, whip-scoundrel, do you give me an answer to what I don't ask you? <stage>Kicks him.</stage>
                  </p></sp><sp><speaker>GETA</speaker><p> What was it then that you did ask?</p></sp><sp><speaker>ANTIPHO</speaker><p> What was it I did ask? Through your agency, matters have most undoubtedly come to the pass that I may go hang myself. May then all the Gods, Goddesses, Deities above and below, with every evil confound you! Look now, if you wish any thing to succeed, intrust it to him who may bring you from smooth water on to a rock. What was there less advantageous than to touch upon this sore, or to name my wife? Hopes have been excited in my father that she may possibly be got rid of. Pray now, tell me, suppose Phormio receives the portion, she must be taken home by him as his wife: what's to become of me?</p></sp><sp><speaker>GETA</speaker><p> But he's not going to marry her.</p></sp><sp><speaker>ANTIPHO</speaker><p> I know that. But <stage>ironically</stage> when they demand the money back, of course, for our sake, he'll prefer going to prison.</p></sp><sp><speaker>GETA</speaker><p> There is nothing, Antipho, but what it may be made worse by being badly told: you leave out what is good, and you mention the bad. Now then, hear the other side: if he receives the money, she must be taken as his wife, you say; I grant you; still, some time at least will be allowed for preparing for the nuptials, for inviting, and for sacrificing. In the mean time, Phoedria's friends will advance what they have promised; out of that he will repay it.</p></sp><sp><speaker>ANTIPHO</speaker><p> On what grounds? Or what will he say?</p></sp><sp><speaker>GETA</speaker><p> Do you ask the question? "How many circumstances, since then, have befallen me as prodigies? A strange black dog<milestone n="705" unit="line"/>
                     <note anchored="true"><q>A strange black dog</q>: This omen, Plautus calls, in the Casina, 1. 937, "canina scaeva."</note> entered the house; a snake came down from the tiles through the sky-light;<milestone n="706" unit="line"/>
                     <note anchored="true"><q>Through the sky-light</q>: So in the Amphitryon of Plautus, l. 1108, two great snakes come down through the "impluvium," or "sky-light." On the subject of the "impluvium," see the Notes to the Miles Gloriosus of Plautus, 1. 159.</note> a hen crowed;<milestone n="707" unit="line"/>
                     <note anchored="true"><q>A hen crowed</q>: Donatus tells us that it was a saying, that in the house where a hen crowed, the wife had the upper hand.</note> the soothsayer forbade it; the diviner<milestone n="708" unit="line"/>
                     <note anchored="true"><q>The soothsayer—the diviner</q>: According to some accounts there was this difference between the "hariolus" and the " arus-pex," that the former foretold human events, the latter those relating to the Deities. Donatus has remarked on these passages, that Terence seems to sneer at the superstitions referred to.</note> warned me not: besides, before winter there is no sufficient reason for me to commence upon any new undertaking." This will be the case.</p></sp><sp><speaker>ANTIPHO</speaker><p> I only wish it may be the case.</p></sp><sp><speaker>GETA</speaker><p> It shall be the case; trust me for that. Your father's coming out; go tell Phaedria that the money is found.
</p></sp></div><milestone unit="scene" n="5"/><div type="textpart" n="713" subtype="card"><stage>Enter DEMIPHO and CHREMES, from the house of the latter, the former with a purse of money.</stage><sp><speaker>DEMIPHO</speaker><p> Do be quiet, I tell you; I'll take care he shall not be playing any tricks upon us. I'll not rashly part with this without having my witnesses; I'll have it stated to whom I pay it, and for what purpose I pay it.</p></sp><sp><speaker>GETA</speaker><p><stage>apart.</stage> How cautious he is, when there's no need for it!</p></sp><sp><speaker>CHREMES</speaker><p> Why yes, you had need do so, and with all haste, while the fit is upon him; for if this other woman shall prove more pressing, perhaps he may throw us over.</p></sp><sp><speaker>GETA</speaker><p> You've hit upon the very thing.</p></sp><sp><speaker>DEMIPHO</speaker><p> Lead me to him then.</p></sp><sp><speaker>GETA</speaker><p> I won't delay.</p></sp><sp><speaker>CHREMES</speaker><p><stage>to DEMIPHO.</stage> When you've done so, go over to my wife, that she may call upon her before she goes away. She must tell her that we are going to give her in marriage to Phormio, that she may not be angry with us; and that he is a fitter match for her, as knowing more of her; that we have in no way departed from our duty; that as much has been given for a portion as he asked for.</p></sp><sp><speaker>DEMIPHO</speaker><p> What the plague does that matter to you?</p></sp><sp><speaker>CHREMES</speaker><p> A great deal, Demipho. It is not enough for you to do your duty, if common report does not approve of it; I wish all this to be done with her own sanction as well, that she mayn't be saying that she has been turned out of doors.</p></sp><sp><speaker>DEMIPHO</speaker><p> I can do all that myself.</p></sp><sp><speaker>CHREMES</speaker><p> It will come better from one woman to another.</p></sp><sp><speaker>DEMIPHO</speaker><p> I'll ask her. <stage>Goes into the house of CHREMES; and exit GETA.</stage>
                  </p></sp><sp><speaker>CHREMES</speaker><p><stage>to himself.</stage> I'm thinking where I can find them now.<milestone n="726" unit="line"/>
                     <note anchored="true"><q>Can find them now</q>: His Lemnian wife and daughter. Colman remarks: " This is intended as a transition to the next Scene; but I think it would have been better if it had followed without this kind of introduction. The Scene itself is admirable, and is, in many places, both affecting and comic, and the discovery of the real character of Phanium is made at a very proper time."</note>
                  </p></sp></div><milestone unit="act" n="5"/><milestone unit="scene" n="1"/><div type="textpart" n="728" subtype="card"><stage>Enter SOPHRONA from the house of DEMIPHO, at a distance.</stage><sp><speaker>SOPHRONA</speaker><p><stage>to herself.</stage> What am I to do? What friend, in my distress, shall I find, to whom to disclose these plans; and where shall I look for relief? For I'm afraid that my mistress, in consequence of my advice, may undeservingly sustain some injury, so extremely ill do I hear that the young man's father takes what has happened.</p></sp><sp><speaker>CHREMES</speaker><p><stage>apart, to himself.</stage> But what old woman's this, that has come out of my brother's house, half dead with fright?</p></sp><sp><speaker>SOPHRONA</speaker><p><stage>to herself, continuing</stage> It was distress that compelled me to this step, though I knew that the match was not likely to hold good; my object was, that in the mean time life might be supported.</p></sp><sp><speaker>CHREMES</speaker><p><stage>apart, to himself.</stage> Upon my faith, surely, unless my recollection deceives me, or my sight's not very good, I espy my daughter's nurse.<milestone n="735" unit="line"/>
                     <note anchored="true"><q>My daughter's nurse</q>: Among the ancients, it was the custom for nurses who had brought up children to remain with them in after-life.</note>
                  </p></sp><sp><speaker>SOPHRONA</speaker><p><stage>to herself.</stage> And we are not able to find—</p></sp><sp><speaker>CHREMES</speaker><p><stage>apart.</stage> What must I do?</p></sp><sp><speaker>SOPHRONA</speaker><p><stage>to herself.</stage> Her father.</p></sp><sp><speaker>CHREMES</speaker><p><stage>to himself, apart.</stage> Shall I accost her, or shall I wait to learn more distinctly what it is she's saying?</p></sp><sp><speaker>SOPHRONA</speaker><p><stage>to herself</stage> If now I could find him, there's nothing that I should be in fear of.</p></sp><sp><speaker>CHREMES</speaker><p><stage>apart, to himself, aloud.</stage> 'Tis the very woman. I'll address her.</p></sp><sp><speaker>SOPHRONA</speaker><p><stage>turning round.</stage> Who's that speaking here?</p></sp><sp><speaker>CHREMES</speaker><p><stage>coming forward.</stage> Sophrona.</p></sp><sp><speaker>SOPHRONA</speaker><p> Mentioning my name, too?</p></sp><sp><speaker>CHREMES</speaker><p> Look round at me.</p></sp><sp><speaker>SOPHRONA</speaker><p><stage>seeing him.</stage> Ye Gods, I do beseech you, isn't this Stilpho?</p></sp><sp><speaker>CHREMES</speaker><p> No.
</p></sp><sp><speaker>SOPHRONA</speaker><p> Do you deny it?</p></sp><sp><speaker>CHREMES</speaker><p><stage>in a low voice.</stage> Step a little this way from that door, Sophrona, if you please <stage>pointing</stage>. Don't you, henceforth, be calling me by that name.</p></sp><sp><speaker>SOPHRONA</speaker><p> Why? Pray, are you not the person you always used to say you were?</p></sp><sp><speaker>CHREMES</speaker><p> Hush! <stage>pointing to his own house.</stage>
                  </p></sp><sp><speaker>SOPHRONA</speaker><p> Why are you afraid about that door?</p></sp><sp><speaker>CHREMES</speaker><p><stage>in a low voice.</stage> I have got a shrew of a wife shut up there. For by that name I formerly falsely called myself, in order that you might not chance indiscreetly to blab it out of doors, and then my wife, by some means or other, might come to know of it.</p></sp><sp><speaker>SOPHRONA</speaker><p> I' faith, that's the very reason why we, wretched creatures, have never been able to find you out here.</p></sp><sp><speaker>CHREMES</speaker><p> Well, but tell me, what business have you with that family from whose house you were coming out? Where are the ladies?<milestone n="748" unit="line"/>
                     <note anchored="true"><q>Where are the ladies?</q>: "Ubi illae?" literally, "Where are these women?"</note>
                  </p></sp><sp><speaker>SOPHRONA</speaker><p> Ah, wretched me!</p></sp><sp><speaker>CHREMES</speaker><p> Hah! What's the matter? Are they still alive?</p></sp><sp><speaker>SOPHRONA</speaker><p> Your daughter is alive. Her poor mother died of grief.</p></sp><sp><speaker>CHREMES</speaker><p> An unfortunate thing!</p></sp><sp><speaker>SOPHRONA</speaker><p> As for me, being a lone old woman, in want, and unknown, I contrived, as well as I could, to get the young woman married to the young man who is master of this house <stage>pointing</stage>.</p></sp><sp><speaker>CHREMES</speaker><p> What! to Antipho?</p></sp><sp><speaker>SOPHRONA</speaker><p> The very same, I say.</p></sp><sp><speaker>CHREMES</speaker><p> What? Has he got two wives?</p></sp><sp><speaker>SOPHRONA</speaker><p> Dear no, prithee, he has only got this one.</p></sp><sp><speaker>CHREMES</speaker><p> What about the other one that's called his relative?</p></sp><sp><speaker>SOPHRONA</speaker><p> Why, this is she.</p></sp><sp><speaker>CHREMES</speaker><p> What is it you say?</p></sp><sp><speaker>SOPHRONA</speaker><p> It was done on purpose, in order that her lover might be enabled to marry her without a portion.</p></sp><sp><speaker>CHREMES</speaker><p> Ye Gods, by our trust in you! How often do those things come about through accident, which you couldn't dare to hope for? On my return, I have found my daughter matched with the very person I wished, and just as I wanted; a thing that we were both using our endeavors, with the greatest earnestness, to bring about. Without any very great management on our part, by her own management, she has by herself brought this about.</p></sp><sp><speaker>SOPHRONA</speaker><p> Now consider what's to be done. The young man's father has returned, and they say that he bears this with feelings highly offended.</p></sp><sp><speaker>CHREMES</speaker><p> There's no danger of that. But, by Gods and men, do take care that no one comes to know that she's my daughter.</p></sp><sp><speaker>SOPHRONA</speaker><p> No one shall know it from me.</p></sp><sp><speaker>CHREMES</speaker><p> Follow me; in-doors we'll hear the rest. <stage>He goes into DEMIPHO'S house, followed by SOPHRONA.</stage>
                  </p></sp></div><milestone unit="scene" n="2"/><div type="textpart" n="766" subtype="card"><stage>Enter DEMIPHO and GETA.</stage><sp><speaker>DEMIPHO</speaker><p> 'Tis caused by our own fault, that it is advantageous to be dishonest; while we wish ourselves to be styled very honest and generous. "So run away as not to run beyond the house,"<milestone n="767" unit="line"/>
                     <note anchored="true"><q>Run beyond the house</q>: "Fugias ne printer casam." This passage, has given much trouble to the Commentators; but it is pretty clear that the explanation of Donatus is the correct one: "Don't abandon your own home," that being the safest place. Stallbaum agrees with Gronovius in thinking that it was first applied as a piece of advice to runaway slaves, as being likely to become worse off by the change; probably much in the same spirit as we say, "Out of the frying-pan into the fire."</note> as the saying is. Was it not enough to receive an injury from him, but money must be voluntarily offered him as well, that he may have something on which to subsist while he plans some other piece of roguery?
</p></sp><sp><speaker>GETA</speaker><p> Most clearly so.</p></sp><sp><speaker>DEMIPHO</speaker><p> They now get rewarded for it, who confound right with wrong.</p></sp><sp><speaker>GETA</speaker><p> Most undoubtedly.</p></sp><sp><speaker>DEMIPHO</speaker><p> How very foolishly, in fact, we have managed the affair with him!</p></sp><sp><speaker>GETA</speaker><p> If by these means we can only manage for him to marry her.</p></sp><sp><speaker>DEMIPHO</speaker><p> Is that, then, a matter of doubt?</p></sp><sp><speaker>GETA</speaker><p> I' faith, judging from what the fellow is, I don't know whether he mightn't change his mind.</p></sp><sp><speaker>DEMIPHO</speaker><p> How! change it indeed?</p></sp><sp><speaker>GETA</speaker><p> I don't know: but "if perhaps," I say.</p></sp><sp><speaker>DEMIPHO</speaker><p> I'll do as my brother advised me, bring hither his wife, to talk with her. Do you, Geta, go before; tell her that Nausistrata is about to visit her. <stage>DEMIPHO goes into the house of CHREMES.</stage>
                  </p></sp><sp><speaker>GETA</speaker><p> The money's been got for Phaedria; it's all hushed about the lawsuit; due care has been taken that she's not to leave for the present. What next, then? What's to be done? You are still sticking in the mud. You are paying by borrowing;<milestone n="779" unit="line"/>
                     <note anchored="true"><q>Paying by borrowing</q>: "Versura solvere," was "to pay a debt by borrowing money," and consequently to be no better off than before. Geta having, by the money he has procured, freed Phaedria from all danger of losing his mistress, but at the same time having brought Antipho into still greater danger of losing his wife.</note> the evil that was at hand, has been put off for a day. The toils are increasing upon you, if you don't look out. Now I'll away home, and tell Phanium not to be afraid of Nausistrata, or his talking.<milestone n="782" unit="line"/>
                     <note anchored="true"><q>Or his talking</q>: "Ejus" here alludes, not to Nausistrata but to Phormio. Madame Dacier suggests that it should be "hujus."</note> 
                     <stage>Goes into the house of DEMIPHO.</stage>
                  </p></sp></div></div></body></text></TEI>
                </passage>
            </reply>
            </GetPassage>