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                    <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.phi002.perseus-eng2"><div type="textpart" n="242" subtype="card"><stage>Enter SYRUS and DROMO, conversing at a distance.</stage><sp><speaker>SYRUS</speaker><p> Do you say so?</p></sp><sp><speaker>DROMO</speaker><p> 'Tis as I told you,—but in the mean time, while we've been carrying on
                            our discourse, these women have been left behind.</p></sp><sp><speaker>CLITIPHO</speaker><p><stage>apart.</stage> Don't you hear, Clinia? Your mistress is close at
                            hand.</p></sp><sp><speaker>CLINIA</speaker><p><stage>apart.</stage> Why yes, I do hear now at last, and I see and
                            revive, Clitipho.</p></sp><sp><speaker>DROMO</speaker><p> No wonder; they are so encumbered; they are bringing a troop of female
                                attendants<milestone n="245" unit="line"/>
                     <note anchored="true"><q>Troop of female attendants</q>: The
                                train and expenses of a courtesan of high station are admirably
                                depicted in the speech of Lysiteles, in the Trinummus of Plautus, 1.
                                252.</note> with them. </p></sp><sp><speaker>CLINIA</speaker><p><stage>apart.</stage> I'm undone! Whence come these female
                            attendants?</p></sp><sp><speaker>CLITIPHO</speaker><p><stage>apart.</stage> Do you ask me?</p></sp><sp><speaker>SYRUS</speaker><p> We ought not to have left them; what a quantity of things they are
                            bringing!</p></sp><sp><speaker>CLINIA</speaker><p><stage>apart.</stage> Ah me!</p></sp><sp><speaker>SYRUS</speaker><p> Jewels of gold, and clothes; it's growing late too, and they don't know
                            the way. It was very foolish of us to leave them. Just go back, Dromo,
                            and meet them. Make haste—why do you delay? (Exit DROMO.</p></sp><sp><speaker>CLINIA</speaker><p><stage>apart.</stage> Woe unto wretched me!—from what high hopes am I
                            fallen!</p></sp><sp><speaker>CLITIPHO</speaker><p><stage>apart.</stage> What's the matter? Why, what is it that troubles
                            you?</p></sp><sp><speaker>CLINIA</speaker><p><stage>apart.</stage> Do you ask what it is? Why, don't you see?
                            Attendants, jewels of gold, and clothes. her too, whom I left here with
                            only one little servant gil. Whence do you suppose that they come?</p></sp><sp><speaker>CLITIPHO</speaker><p><stage>apart.</stage> Oh! now at last I understand you.</p></sp><sp><speaker>SYRUS</speaker><p><stage>to himself.</stage> Good Gods! what a multitude there is! Our
                            house will hardly hold them, I'm sure. How much they will eat! how much
                            they will drink! what will there be more wretched than our old
                            gentleman? <stage>Catching sight of CLINIA and CLITIPHO.</stage> But
                            look, I espy the persons I Was wanting.</p></sp><sp><speaker>CLINIA</speaker><p><stage>apart.</stage> Oh <persName>Jupiter</persName>! Why, where is fidelity gone? While I,
                            distractedly wandering, have abandoned my country for your sake, you, in
                            the mean time, Antiphila, have been enriching yourself, and have
                            forsaken me in these troubles, you for whose sake I am in extreme
                            disgrace, and have been disobedient to my father; on whose account I am
                            now ashamed and grieved, that he who used to lecture me about the
                            manners of these women, advised me in vain, and was not able to wean me
                            away from her:—which, however, I shall now do; whereas when it might
                            have been advantageous to me to do so, I was unwilling. There is no
                            being more wretched than I.</p></sp><sp><speaker>SYRUS</speaker><p><stage>to himself.</stage> He certainly has been misled by our words
                            which we have been speaking here. <stage>Aloud.</stage> Clinia, you
                            imagine your mistress quite different from what she really is. For both
                            her mode of life is the same, and her disposition toward you is the same
                            as it always was; so far as we could form a judgment from the
                            circumstances themselves.</p></sp><sp><speaker>CLINIA</speaker><p> How so, prithee? For nothing in the world could I rather wish for just
                            now, than that I have suspected this without reason.</p></sp><sp><speaker>SYRUS</speaker><p> This, in the first place, then (that you may not be ignorant of any
                            thing that concerns her); the old woman, who was formerly said to be her
                            mother, was not so.—She is dead: this I overheard by accident from her,
                            as we came along, while she was telling the other one.</p></sp><sp><speaker>CLITIPHO</speaker><p> Pray, who is the other one?</p></sp><sp><speaker>SYRUS</speaker><p> Stay; what I have begun I wish first to relate, Clitipho; I shall come
                            to that afterward.</p></sp><sp><speaker>CLITIPHO</speaker><p> Make haste, then.</p></sp><sp><speaker>SYRUS</speaker><p> First of all then, when we came to the house, Dromo knocked at the door;
                            a certain old woman came out; when she opened the door, he directly
                            rushed in; I followed; the old woman bolted the door, and returned to
                            her wool. On this occasion might be known, Clinia, or else on none, in
                            what pursuits she passed her life during your absence; when we thus came
                            upon a female unexpectedly. For this circumstance then gave us an
                            opportunity of judging of the course of her daily life; a thing which
                            especially discovers what is the disposition of each individual. We
                            found her industriously plying at the web; plainly clad in a mourning
                                dress,<milestone n="286" unit="line"/>
                     <note anchored="true"><q>In a mourning dress</q>: Among the
                                Greeks, in general, mourning for the dead seems to have lasted till
                                the thirtieth day after the funeral, and during that period black
                                dresses were worn. The Romans also wore mourning for the dead, which
                                seems, in the time of the Republic, to have been black or dark blue
                                for either sex. Under the Empire the men continued to wear black,
                                but the women wore white. No jewels or ornaments were worn upon
                                these occasions.</note> on account of this old woman, I suppose, who
                            was lately dead; without golden ornaments, dressed, besides, just like
                            those who only dress for themselves, and patched up with no worthless
                            woman's trumpery.<milestone n="289" unit="line"/>
                     <note anchored="true"><q>With no worthless woman's
                                    trumpery</q>: By "nullâ malâ re
                                muliebri" he clearly means that they did not find her painted up
                                with the cosmetics which some women were in the habit of using. Such
                                preparations for the face as white-lead, wax, antimony, or
                                vermilion, well deserve the name of" mala res." A host of these
                                cosmetics will be found described in <persName>Ovid</persName>'s Fragment "On the Care of the Complexion,"
                                and much information upon this subject is given in various passages
                                in the Art of Love. In the Remedy of Love, l. 351, <persName>Ovid</persName> speaks of these practices in
                                the following terms: "At the moment, too, when she shall be smearing
                                her face with the cosmetics laid up on it, you may come into the
                                presence of your mistress, and don't let shame prevent you. You will
                                find there boxes, and a thousand colors of objects; and you will see
                                'oesypum,' the ointment of the fleece, trickling down and flowing
                                upon her heated bosom. These drugs, Phineus, smell like thy tables;
                                not once alone has sickness been caused by this to my stomach."
                                Lucretius also, in his Fourth Book, l. 1168, speaks of a female who
                                "covers herself with noxious odors, and whom her female attendants
                                fly from to a distance, and chuckle by stealth." See also the
                                Mostellaria of Plautus, Act I., Scene 3, l. 135, where Philematium
                                is introduced making her toilet on the stage.</note> Her hair was
                            loose, long, and thrown back negligently about her temples. <stage>To
                                CLINIA.</stage> Do you hold your peace.<milestone n="291" unit="line"/>
                     <note anchored="true"><q>Do hold
                                    your peace</q>: "Pax," literally "peace!" in the sense of
                                "Hush!" "Be quiet!" See the Notes to the Trinummus of Plautus, ll.
                                889-891, in Bohn's Translation.</note>
                  </p></sp><sp><speaker>CLINIA</speaker><p> My dear Syrus, do not without cause throw me into ecstasies, I beseech
                            you.</p></sp><sp><speaker>SYRUS</speaker><p> The old woman was spinning the woof:<milestone n="293" unit="line"/>
                     <note anchored="true"><q>The woof</q>: See an
                                interesting passage on the ancient weaving, in the Metamorphoses of
                                Ovid, B. vi., l. 54, et seq. See also the Epistle of Penelope to
                                Ulysses, in the Heroides of Ovid, l. 10, and the Note in Bohn's
                                English Translation.</note> there was one little servant girl
                            besides;—she was weaving<milestone n="294" unit="line"/>
                     <note anchored="true"><q>She was weaving</q>: This
                                line and part of the next are supposed to have been translated
                                almost literally from some lines, the composition of Menander, which
                                are still extant.</note> together with them, covered with patched
                            clothes, slovenly, and dirty with filthiness.</p></sp><sp><speaker>CLITIPHO</speaker><p> If this is true, Clinia, as I believe it is, who is there more fortunate
                            than you? Do you mark this girl whom he speaks of, as dirty and
                            drabbish? This, too, is a strong indication that the mistress is out of
                            harm's way, when her confidant is in such ill plight; for it is a rule
                            with those who wish to gain access to the mistress, first to bribe the
                            maid.</p></sp><sp><speaker>CLINIA</speaker><p><stage>to SYRUS.</stage> Go on, I beseech you; and beware of endeavoring
                            to purchase favor by telling an untruth. What did she say, when you
                            mentioned me?</p></sp><sp><speaker>SYRUS</speaker><p> When we told her that you had returned, and had requested her to come to
                            you, the damsel instantly put away the web, and covered her face all
                            over with tears; so that you might easily perceive that it really was
                            caused by her affection for you.</p></sp><sp><speaker>CLINIA</speaker><p> So may the Deities bless me, I know not where I am for joy! I was so
                            alarmed before.</p></sp><sp><speaker>CLITIPHO</speaker><p> But I was sure that there was no reason, Clinia. Come now, Syrus, tell
                            me, in my turn, who this other lady is.</p></sp><sp><speaker>SYRUS</speaker><p> Your Bacchis, whom we are bringing.<milestone n="310" unit="line"/>
                     <note anchored="true"><q>Your Bacchis, whom we
                                    are bringing</q>: Colman has the following remark: "Here we
                                enter upon the other part of the table, which the Poet has most
                                artfully complicated with the main subject by making Syrus bring
                                Clitipho's mistress along with Antiphila. This part of the story, we
                                know, was not in Menander."</note>
                  </p></sp><sp><speaker>CLITIPHO</speaker><p> Ha! What! Bacchis? How now, you rascal! whither are you bringing
                            her?</p></sp><sp><speaker>SYRUS</speaker><p> Whither am I bringing her? To our house, to be sure.</p></sp><sp><speaker>CLITIPHO</speaker><p> What! to my father's?</p></sp><sp><speaker>SYRUS</speaker><p> To the very same.</p></sp><sp><speaker>CLITIPHO</speaker><p> Oh, the audacious impudence of the fellow!</p></sp><sp><speaker>SYRUS</speaker><p> Hark'ye, no great and memorable action is done without some risk.</p></sp><sp><speaker>CLITIPHO</speaker><p> Look now; are you seeking to gain credit for yourself, at the hazard of
                            my character, you rascal, in a point, where, if you only make the
                            slightest slip, I am ruined? What would you be doing with her?</p></sp><sp><speaker>SYRUS</speaker><p> But still—</p></sp><sp><speaker>CLITIPHO</speaker><p> Why "still?"</p></sp><sp><speaker>SYRUS</speaker><p> If you'll give me leave, I'll tell you.</p></sp><sp><speaker>CLINIA</speaker><p> Do give him leave.</p></sp><sp><speaker>CLITIPHO</speaker><p> I give him leave then.</p></sp><sp><speaker>SYRUS</speaker><p> This affair is now just as though when—</p></sp><sp><speaker>CLITIPHO</speaker><p> Plague on it, what roundabout story is he beginning to tell me?</p></sp><sp><speaker>CLINIA</speaker><p> Syrus, he says what's right—do omit digressions; come to the point.</p></sp><sp><speaker>SYRUS</speaker><p> Really I can not hold my tongue. Clitipho, you are every way unjust, and
                            can not possibly be endured.</p></sp><sp><speaker>CLINIA</speaker><p> Upon my faith, he ought to have a hearing. <stage>To CLITIPHO.</stage>
                            Do be silent.</p></sp><sp><speaker>SYRUS</speaker><p> You wish to indulge in your amours; you wish to possess your mistress;
                            you wish that to be procured where-withal to make her presents; in
                            getting this, you do not wish the risk to be your own. You are not wise
                            to no purpose,—if indeed it is being wise to wish for that which can
                            not happen. Either the one must be had with the other, or the one must
                            be let alone with the other. Now, of these two alternatives, consider
                            which one you would prefer; although this project which I have formed, I
                            know to be both a wise and a safe one. For there is an opportunity for
                            your mistress to be with you at your father's house, without fear of a
                            discovery; besides, by these self-same means, I shall find the money
                            which you have promised her—to effect which, you have already made my
                            ears deaf with entreating me. What would you have more?</p></sp><sp><speaker>CLITIPHO</speaker><p> If, indeed, this could be brought about—</p></sp><sp><speaker>SYRUS</speaker><p> If, indeed? You shall know it by experience.</p></sp><sp><speaker>CLITIPHO</speaker><p> Well, well, disclose this project of yours. What is it?</p></sp><sp><speaker>SYRUS</speaker><p> We will pretend that your mistress is his (pointing to CLINIA).</p></sp><sp><speaker>CLITIPHO</speaker><p> Very fine! Tell me, what is he to do with his own? Is she, too, to be
                            called his, as if one was not a sufficient discredit?</p></sp><sp><speaker>SYRUS</speaker><p> No—she shall be taken to your mother.</p></sp><sp><speaker>CLITIPHO</speaker><p> Why there?</p></sp><sp><speaker>SYRUS</speaker><p> It would be tedious, Clitipho, if I were to tell you why I do so; I have
                            a good reason.</p></sp><sp><speaker>CLITIPHO</speaker><p> Stuff! I see no grounds sufficiently solid why it should be for my
                            advantage to incur this risk.<milestone n="337" unit="line"/>
                     <note anchored="true"><q>Incur this risk</q>: As to
                                his own mistress.</note>
                            <stage>Turning as if going.</stage>
                  </p></sp><sp><speaker>SYRUS</speaker><p> Stay; if there is this risk, I have another project, which you must both
                            confess to be free from danger.</p></sp><sp><speaker>CLITIPHO</speaker><p> Find out something of that description, I beseech you.</p></sp><sp><speaker>SYRUS</speaker><p> By all means; I'll go meet her, and tell her to return home.</p></sp><sp><speaker>CLITIPHO</speaker><p> Ha! what was it you said?</p></sp><sp><speaker>SYRUS</speaker><p> I'll rid you at once of all fears, so that you may sleep at your ease
                            upon either ear.<milestone n="342" unit="line"/>
                     <note anchored="true"><q>Upon either ear</q>: " In aurem
                                utramvis," a proverbial expression, implying an easy and secure
                                repose. It is also used by Plautus, and is found in a fragment of
                                the <foreign xml:lang="grc">Πλοκιὸν,</foreign> or Necklace, a Comedy
                                of Menander.</note>
                        </p></sp><sp><speaker>CLITIPHO</speaker><p> What am I to do now?</p></sp><sp><speaker>CLINIA</speaker><p> What are you to do? The goods that—</p></sp><sp><speaker>CLITIPHO</speaker><p> Only tell me the truth, Syrus.</p></sp><sp><speaker>SYRUS</speaker><p> Dispatch quickly; you'll be wishing just now too late and in vain.
                                <stage>Going.</stage>
                  </p></sp><sp><speaker>CLINIA</speaker><p> The Gods provide, enjoy while yet you may; for you know not—</p></sp><sp><speaker>CLITIPHO</speaker><p><stage>calling.</stage> Syrus, I say!</p></sp><sp><speaker>SYRUS</speaker><p><stage>moving on.</stage> Go on; I shall still do that which 1
                                said.<milestone n="346" unit="line"/>
                     <note anchored="true"><q>Still do that which I said</q>: "Perge porro,
                                tamen istuc ago." Stallbaum observes that the meaning is: "Although
                                I'm going off, I'm still attending to what you're saying." According
                                to Schmieder and others, it means: "Call on just as you please, I
                                shall persist in sending Bacchis away."</note>
                  </p></sp><sp><speaker>CLINIA</speaker><p> Whether you may have another opportunity hereafter or ever again.</p></sp><sp><speaker>CLITIPHO</speaker><p> I'faith, that's true. <stage>Calling.</stage> Syrus, Syrus, I say,
                            harkye, harkye, Syrus!</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> He warms a little. <stage>To CLITIPHO.</stage>
                            What is it you want?</p></sp><sp><speaker>CLITIPHO</speaker><p> Come back, come back.</p></sp><sp><speaker>SYRUS</speaker><p><stage>coming back to him.</stage> Hero I am; tell me what you would
                            have. You'll be presently saying that this, too, doesn't please you.</p></sp><sp><speaker>CLITIPHO</speaker><p> Nay, Syrus, I commit myself, and my love, and my reputation entirely to
                            you: you are the seducer; take care you don't deserve any blame.</p></sp><sp><speaker>SYRUS</speaker><p> It is ridiculous for you to give me that caution, Clitipho, as if my
                            interest was less at stake in this affair than yours. Here, if any ill
                            luck should perchance befall us, words will be in readiness for you, but
                            for this individual blows <stage>pointing to himself</stage>. For that
                            reason, this matter is by no means to be neglected on my part: but do
                            prevail upon him <stage>pointing to CLINIA</stage> to pretend that she
                            is his own mistress.</p></sp><sp><speaker>CLINIA</speaker><p> You may rest assured I'll do so. The matter has now come to that pass,
                            that it is a case of necessity.</p></sp><sp><speaker>CLITIPHO</speaker><p> 'Tis with good reason that I love you, Clinia. </p></sp><sp><speaker>CLINIA</speaker><p> But she mustn't be tripping at all.</p></sp><sp><speaker>SYRUS</speaker><p> She is thoroughly tutored in her part.</p></sp><sp><speaker>CLITIPHO</speaker><p> But this I wonder at, how you could so easily prevail upon her, who is
                            wont to treat such great peoplel<milestone n="363" unit="line"/>
                     <note anchored="true"><q>Such great
                                    people</q>: "Quos," literally, "What persons!"</note> with
                            scorn.</p></sp><sp><speaker>SYRUS</speaker><p> I came to her at the proper moment, which in all things is of the first
                            importance: for there I found a certain wretched captain soliciting her
                            favors: she artfully managed the man, so as to inflame his eager
                            passions by denial; and this, too, that it might be especially pleasing
                            to yourself. But hark you, take care, will you, not to be imprudently
                            impetuous. You know your father, how quick-sighted he is in these
                            matters; and I know you, how unable you are to command yourself. Keep
                            clear of words of double meaning,<milestone n="372" unit="line"/>
                     <note anchored="true"><q>Words of double
                                    meaning</q>: "Inversa verba, eversas cervices tuas."
                                "Inversa verba" clearly means, words with a double meaning, or
                                substituted for others by previous arrangement, like correspondence
                                by cipher. Lucretius uses the words in this sense, B. i., l. 643. A
                                full account of the secret signs and correspondence in use among the
                                ancients will be found in the 16th and 17th Epistles of the Heroides
                                of Ovid, in his Amours, B. i., El. 4, and in various passages of the
                                Art of Love. See also the Asinaria of Plautus, l. 780. It is not
                                known for certain what " eversa cervix" here means; it may mean the
                                turning of the neck in some particular manner by way of a hint or to
                                give a side-long look, or it may allude to the act of snatching a
                                kiss on the sly, which might lead to a discovery.</note> your
                            sidelong looks, sighing, hemming, coughing, tittering.</p></sp><sp><speaker>CLITIPHO</speaker><p> You shall have to commend me.</p></sp><sp><speaker>SYRUS</speaker><p> Take care of that, please.</p></sp><sp><speaker>CLITIPHO</speaker><p> You yourself shall be surprised at me.</p></sp><sp><speaker>SYRUS</speaker><p> But how quickly the ladies have come up with us!</p></sp><sp><speaker>CLITIPHO</speaker><p> Where are they? <stage>SYRUS stands before him.</stage> Why do you hold
                            me back?</p></sp><sp><speaker>SYRUS</speaker><p> For the present she is nothing to you.</p></sp><sp><speaker>CLITIPHO</speaker><p> I know it, before my father; but now in the mean time—</p></sp><sp><speaker>SYRUS</speaker><p> Not a bit the more.</p></sp><sp><speaker>CLITIPHO</speaker><p> Do let me.</p></sp><sp><speaker>SYRUS</speaker><p> I will not let you, I tell you.</p></sp><sp><speaker>CLITIPHO</speaker><p> But only for a moment, pray. </p></sp><sp><speaker>SYRUS</speaker><p> I forbid it.</p></sp><sp><speaker>CLITIPHO</speaker><p> Only to salute her.</p></sp><sp><speaker>SYRUS</speaker><p> If you are wise, get you gone.</p></sp><sp><speaker>CLITIPHO</speaker><p> I'm off. But what's he to do? <stage>Pointing at CLINIA.</stage>
                  </p></sp><sp><speaker>SYRUS</speaker><p> He will stay here.</p></sp><sp><speaker>CLITIPHO</speaker><p> O happy man!</p></sp><sp><speaker>SYRUS</speaker><p> Take yourself off. <stage>(Exit CLITIPHO.)</stage>
                  </p></sp></div><milestone unit="scene" n="4"/><div type="textpart" n="381" subtype="card"><stage>Enter BACCHIS and ANTIPHILA at a distance.</stage><sp><speaker>BACCHIS.</speaker><p> Upon my word, my dear Antiphila, I commend you, and think you fortunate
                            in having made it your study that your manners should be conformable to
                            those good looks of yours: and so may the Gods bless me, I do not at all
                            wonder if every man is in love with you. For your discourse has been a
                            proof to me what kind of disposition you possess. And when now I reflect
                            in my mind upon your way of life, and that of all of you, in fact, who
                            keep the public at a distance from yourselves, it is not surprising both
                            that you are of that disposition, and that we are not; for it is your
                            interest to be virtuous; those, with whom we are acquainted, will not
                            allow us to be so. For our lovers, allured merely by our beauty, court
                            us for that; when that has faded, they transfer their affections
                            elsewhere; and unless we have made provision in the mean time for the
                            future, we live in destitution. Now with you, when you have once
                            resolved to pass your life with one man whose manners are especially
                            kindred to your own, those persons<milestone n="393" unit="line"/>
                     <note anchored="true"><q>A man whose
                                    manners—those persons</q>: "Cujus—hi ;" a change of number
                                by the use of the figure Enallage.</note> become attached to you. By
                            this kindly feeling, you are truly devoted to each other; and no
                            calamity can ever possibly interrupt your love.</p></sp><sp><speaker>ANTIPHILA</speaker><p> I know nothing about other women: I'm sure that I have, indeed, always
                            used every endeavor to derive my own happiness from his happiness.</p></sp><sp><speaker>CLINIA</speaker><p><stage>apart, overhearing ANTIPHILA.</stage> Ah! 'tis for that reason,
                            my Antiphila, that you alone have now caused me to return to my native
                            country; for while I was absent from you, all other hardships which I
                            encountered were light to me, save the being deprived of you.</p></sp><sp><speaker>SYRUS</speaker><p><stage>apart.</stage> I believe it.</p></sp><sp><speaker>CLINIA</speaker><p><stage>apart.</stage> Syrus, I can scarce endure it!<milestone n="400" unit="line"/>
                     <note anchored="true"><q>I can
                                    scarce endure it</q>: Colman has the following remark on
                                this passage: "Madame Dacier, contrary to the authority of all
                                editions and MSS., adopts a conceit of her father's in this place,
                                and places this speech to Clitipho, whom she supposes to have
                                retired to a hiding-place, where he might overhear the conversation,
                                and from whence he peeps out to make this speech to Syrus. This she
                                calls an agreeable jeu de th£eâtre, and doubts
                                not but all lovers of Terence will be obliged to her father for so
                                ingenious a remark; but it is to be feared that critical sagacity
                                will not be so lavish of acknowledgments as filial piety. There does
                                not appear the least foundation for this remark in the Scene, nor
                                has the Poet given us the least room to doubt of Clitipho being
                                actually departed. To me, instead of an agreeable jeu de
                                th£eâtre, it appears a most absurd and
                                ridiculous device; particularly vicious in this place, as it most
                                injudiciously tends to interrupt the course of Clinia's more
                                interesting passion, so admirably delineated in this little
                                Scene."</note> Wretch that I am, that I should not be allowed to
                            possess one of such a disposition at my own discretion!</p></sp><sp><speaker>SYRUS</speaker><p> Nay, so far as I understand your father, he will for a long time yet be
                            giving you a hard task.</p></sp><sp><speaker>BACCHIS.</speaker><p> Why, who is that young man that's looking at us?</p></sp><sp><speaker>ANTIPHILA</speaker><p><stage>seeing CLINIA.</stage> Ah! do support me, I entreat you!</p></sp><sp><speaker>BACCHIS.</speaker><p> Prithee, what is the matter with you?</p></sp><sp><speaker>ANTIPHILA</speaker><p>I shall die, alas! I shall die!</p></sp><sp><speaker>BACCHIS.</speaker><p> Why are you thus surprised, Antiphila?</p></sp><sp><speaker>ANTIPHILA</speaker><p> Is it Clinia that I see, or not?</p></sp><sp><speaker>BACCHIS.</speaker><p> Whom do you see?</p></sp><sp><speaker>CLINIA</speaker><p><stage>running to embrace ANTIPHILA.</stage> Blessings on you, my
                            life!</p></sp><sp><speaker>ANTIPHILA</speaker><p> Oh my long-wished for Clinia, blessings on you!</p></sp><sp><speaker>CLINIA</speaker><p> How fare you, my love?</p></sp><sp><speaker>ANTIPHILA</speaker><p> I'm overjoyed that you have returned safe.</p></sp><sp><speaker>CLINIA</speaker><p> And do I embrace you, Antiphila, so passionately longed for by my
                            soul?</p></sp><sp><speaker>SYRUS</speaker><p> Go in-doors; for the old gentleman has been waiting for us some time.
                                <stage>They go into the house of CHREMES.</stage>
                        </p></sp></div><milestone unit="act" n="3"/><milestone unit="scene" n="1"/><div type="textpart" n="410" subtype="card"><stage>Enter CHREMES from his house.</stage><sp><speaker>CHREMES</speaker><p><stage>to himself.</stage> It is now daybreak.<milestone n="410" unit="line"/>
                     <note anchored="true"><q>It is now
                                    daybreak</q>: Though this is the only Play which includes
                                more than one day in the action, it is not the only one in which the
                                day is represented as breaking. The Amphitryon and the Curculio of
                                Plautts commence before daybreak, and the action is carried on into
                                the middle of the day. Madame Dacier absolutely considers it as a
                                fact beyond all doubt, that the Roman Audience went home after the
                                first two Acts of the Play, and returned for the representation of
                                the third the next morning at daybreak. Scaliger was of the same
                                opinion; but it is not generally entertained by Commentators.</note>
                            Why do I delay to knock at my neighbor's door, that he may learn from me
                            the first that his son has returned? Although I am aware that the youth
                            would not prefer this. But when I see him tormenting himself so
                            miserably about his absence, can I conceal a joy so unhoped for,
                            especially when there can be no danger to him from the discovery? I will
                            not do so; but as far as I can I will assist the old man. As I see my
                            son aiding his friend and year's-mate, and acting as his confidant in
                            his concerns, it is but right that we old men as well should assist each
                            other. <stage>Enter MENEDEMUS from his house.</stage>
                  </p></sp><sp><speaker>MENEDEMUS</speaker><p><stage>to himself</stage> Assuredly I was either born with a disposition
                            peculiarly suited for misery, or else that saying which I hear commonly
                            repeated, that "time assuages human sorrow," is false. For really my
                            sorrow about my son increases daily; and the longer he is away from me,
                            the more anxiously do I wish for him, and the more I miss him.</p></sp><sp><speaker>CHREMES</speaker><p><stage>apart.</stage> But I see him coming out of his house; I'll go
                            speak to him. <stage>Aloud.</stage> Menedemus, good-morrow; I bring you
                            news, which you would especially desire to be imparted.</p></sp><sp><speaker>MENEDEMUS</speaker><p> Pray, have you heard any thing about my son, Chremes?</p></sp><sp><speaker>CHREMES</speaker><p> He's alive, and well.</p></sp><sp><speaker>MENEDEMUS</speaker><p> Why, where is he, pray? </p></sp><sp><speaker>CHREMES</speaker><p> Here, at my house, at home.</p></sp><sp><speaker>MENEDEMUS</speaker><p> My son?</p></sp><sp><speaker>CHREMES</speaker><p> Such is the fact.</p></sp><sp><speaker>MENEDEMUS</speaker><p> Come home?</p></sp><sp><speaker>CHREMES</speaker><p> Certainly.</p></sp><sp><speaker>MENEDEMUS</speaker><p> My son, Clinia, come home?</p></sp><sp><speaker>CHREMES</speaker><p> I say so.</p></sp><sp><speaker>MENEDEMUS</speaker><p> Let us go. Lead me to him, I beg of you.</p></sp><sp><speaker>CHREMES</speaker><p> He does not wish you yet to know of his return, and he shuns your
                            presence; he's afraid that, on account of that fault, your former
                            severity may even be increased.</p></sp><sp><speaker>MENEDEMUS</speaker><p> Did you not tell him how I was affected?<milestone n="436" unit="line"/>
                     <note anchored="true"><q>How I was
                                    affected</q>: "Ut essem," literally, "How I was."</note>
                  </p></sp><sp><speaker>CHREMES</speaker><p> No—</p></sp><sp><speaker>MENEDEMUS</speaker><p> For what reason, Chremes?</p></sp><sp><speaker>CHREMES</speaker><p> Because there you would judge extremely ill both for yourself and for
                            him, if you were to show yourself of a spirit so weak and
                            irresolute.</p></sp><sp><speaker>MENEDEMUS</speaker><p>I can not help it: enough already, enough, have I proved a rigorous
                            father.</p></sp><sp><speaker>CHREMES</speaker><p> Ah Menedemus! you are too precipitate in either extreme, either with
                            profuseness or with parsimony too great. Into the same error will you
                            fall from the one side as from the other. In the first place, formerly,
                            rather than allow your son to visit a young woman, who was then content
                            with a very little, and to whom any thing was acceptable, you frightened
                            him away from here. After that, she began, quite against her
                            inclination, to seek a subsistence upon the town. Now, when she can not
                            be supported without a great expense, you are ready to give any thing.
                            For, that you may know how perfectly she is trained to extravagance, in
                            the first place, she has already brought with her more than ten female
                            attendants, all laden with clothes and jewels of gold; if a
                                satrap<milestone n="452" unit="line"/>
                     <note anchored="true"><q>If a satrap</q>: "Satrapa" was a
                                Persian word signifying "a ruler of a province." The name was
                                considered as synonymous with "possessor of wealth almost
                                inexhaustible."</note> had been her admirer, he never could support
                            her expenses, much less can you.</p></sp><sp><speaker>MENEDEMUS</speaker><p> Is she at your house ?</p></sp><sp><speaker>CHREMES</speaker><p> Is she, do you ask? I have felt it; for 1 have given her and her retinue
                            one dinner; had I to give them another such, it would be all over with
                            me; for, to pass by other matters, what a quantity of wine she did
                            consume for me in tasting only,<milestone n="457" unit="line"/>
                     <note anchored="true"><q>In tasting only</q>: "
                                Pytiso" was the name given to the nasty practice of tasting wine,
                                and then spitting it out; offensive in a man, but infinitely more so
                                in a woman. It seems in those times to have been done by persons who
                                wished to give themselves airs in the houses of private persons; at
                                the present day it is probably confined to wine-vaults and
                                sale-rooms where wine is put up to auction, and even there it is
                                practiced much more than is either necessary or agreeable. Doubtless
                                Bacchis did it to show her exquisite taste in the matter of
                                wines.</note> saying thus, "This wine is too acid,<milestone n="458" unit="line"/>
                     <note anchored="true"><q>Is too
                                    acid</q>: "Asperum;" meaning that the wine was not old
                                enough for her palate. The great fault of the Greek wines was their
                                tartness, for which reason sea-water was mixed with them all except
                                the Chian, which was the highest class of wine.</note> respected
                                sir,<milestone n="459" unit="line"/>
                     <note anchored="true"><q>Respected sir</q>: "Pater," literally
                                "father;" a title by which the young generally addressed aged
                                persons who were strangers to them.</note> do please look for
                            something more mellow." I opened all the casks, all the
                                vessels<milestone n="460" unit="line"/>
                     <note anchored="true"><q>All the casks, all the vessels</q>:
                                "Dolia omnia, omnes serias." The finer kinds of wine were drawn off
                                from the " dolia," or large vessels, into the "amphorae," which,
                                like the "dolia," were made of earth, and sometimes of glass. The
                                mouths of the vessels were stopped tight by a plug of wood or cork,
                                which was made impervious to the atmosphere by being rubbed over
                                with a composition of pitch, clay, wax, or gypsum. On the outside,
                                the title of the wine was painted, and among the Romans the date of
                                the vintage was denoted by the names of the Consuls then in office.
                                When the vessels were of glass, small tickets or labels, called
                                "pittacia," were suspended from them, stating to a similar effect.
                                The "seriae" were much the same as the "dolia," perhaps somewhat
                                smaller; they were both long, bell-mouthed vessels of earthen-ware,
                                formed of the best clay, and lined with pitch while hot from the
                                furnace. "Seriae" were also used to contain oil and other liquids;
                                and in the Captivi of Plautus the word is applied to pans used for
                                the purpose of salting meat. "Relino" signifies the act of taking
                                the seal of pitch or Wax off the stopper of the
                            wine-vessel.</note>; she kept all on the stir: and this but a single
                            night. What do you suppose will become of you when they are constantly
                            preying upon you? So may the Gods prosper me, Menedemus, I do pity your
                            lot.</p></sp><sp><speaker>MENEDEMUS</speaker><p> Let him do what he will; let him take, waste, and squander; I'm
                            determined to endure it, so long as I only have him with me. </p></sp><sp><speaker>CHREMES</speaker><p> If it is your determination thus to act, I hold it to be of very great
                            foment that he should not be aware that with a full knowledge you grant
                            him this.</p></sp><sp><speaker>MENEDEMUS</speaker><p> What shall I do ?</p></sp><sp><speaker>CHREMES</speaker><p> Any thing, rather than what you are thinking of; supply him with money
                            through some other person; suffer yourself to be imposed upon by the
                            artifices of his servant: although I have smelt out this too, that they
                            are about that, and are secretly planning it among them. Syrus is always
                            whispering with that servant of yours;<milestone n="473" unit="line"/>
                     <note anchored="true"><q>With that servant of
                                    yours</q>: Dromo.</note> they impart their plans to the
                            young men; and it were better for you to lose a talent this way, than a
                            mina the other. The money is not the question now, but this—in what way
                            we can supply it to the young man with the least danger. For if he once
                            knows the state of your feelings, that you would sooner part with your
                            life, and sooner with all your money, than allow your son to leave you;
                            whew ! what an inlet<milestone n="482" unit="line"/>
                     <note anchored="true"><q>What an inlet</q>:
                                "Fenestram ;" literally, "a window."</note> will you be opening for
                            his debauchery! aye, and so much so, that henceforth to live can not be
                            desirable to you. For we all become worse through indulgence. Whatever
                            comes into his head, he'll be wishing for; nor will he reflect whether
                            that which he desires is right or wrong. You will not be able to endure
                            your estate and him going to ruin. You will refuse to supply him: he
                            will immediately have recourse to the means by which he finds that he
                            has the greatest hold upon you, and threaten that he will immediately
                            leave you.</p></sp><sp><speaker>MENEDEMUS</speaker><p> You seem to speak the truth, and just what is the fact.</p></sp><sp><speaker>CHREMES</speaker><p> I'faith, I have not been sensible of sleep this night with my
                                eyes,<milestone n="491" unit="line"/>
                     <note anchored="true"><q>This night with my eyes</q>: Colman has the
                                following Note here: "Hedelin obstinately contends from this
                                passage, that neither Chremes nor any of his family went to bed the
                                whole night; the contrary of which is evident, as Menage observes,
                                from the two next Scenes. For why should Syrus take notice of his
                                being up so early, if he had never retired to rest? Or would Chremes
                                have reproached Clitipho for his behavior the night before, had the
                                feast never been interrupted? Eugraphius's interpretation of these
                                words is natural and obvious, who explains them to signify that the
                                anxiety of Chremes to restore Clinia to Menedemus broke his
                                rest."</note> for thinking of this—how to restore your son to you.
                        </p></sp><sp><speaker>MENEDEMUS</speaker><p><stage>taking his hand.</stage> Give me your right hand. I request that
                            you will still act in a like manner, Chremes.</p></sp><sp><speaker>CHREMES</speaker><p> I am ready to serve you.</p></sp><sp><speaker>MENEDEMUS</speaker><p> Do you know what it is I now want you to do?</p></sp><sp><speaker>CHREMES</speaker><p> Tell me.</p></sp><sp><speaker>MENEDEMUS</speaker><p> As you have perceived that they are laying a plan to deceive me, that
                            they may hasten to complete it. I long to give him whatever he wants: I
                            am now longing to behold him.</p></sp><sp><speaker>CHREMES</speaker><p> I'll lend my endeavors. This little business is in my way. Our neighbors
                            Simus and Crito are disputing here about boundaries; they have chosen me
                            for arbitrator. I'll go and tell them that I can not possibly give them
                            my attention to-day as I had stated I would. I'll be here immediately.
                                <stage>(Exit.)</stage>
                  </p></sp><sp><speaker>MENEDEMUS</speaker><p> Pray do. <stage>To himself.</stage> Ye Gods, by our trust in you! That
                            the nature of all men should be so constituted, that they can see and
                            judge of other men's affairs better than their own! Is it because in our
                            own concerns we are biased either with joy or grief in too great a
                            degree How much wiser now is he for me, than I have been for myself!
                                <stage>Re-enter CHREMES.</stage>
                  </p></sp><sp><speaker>CHREMES</speaker><p> I have disengaged myself, that I might lend you my services at my
                            leisure. Syrus must be found and instructed by me in this business. Some
                            one, I know not who, is coming out of my house: do you step hence home,
                            that they may not perceive<milestone n="511" unit="line"/>
                     <note anchored="true"><q>That they may not
                                    perceive</q>: Madame Dacier observes that Chremes seizes
                                this as a very plausible and necessary pretense to engage Menedemus
                                to return home, and not to his labors in the field, as he had at
                                first intended.</note> that we are conferring together.
                                <stage>MENEDEMUS goes into his house.</stage>
                  </p></sp></div><milestone unit="scene" n="2"/><div type="textpart" n="512" subtype="card"><stage>Enter SYRUS from the house of CHREMES.</stage><sp><speaker>SYRUS</speaker><p><stage>aloud to himself.</stage> Run to and fro in every direction;
                            still, money, you must be found: a trap must be laid for the old man.
                        </p></sp><sp><speaker>CHREMES</speaker><p><stage>apart, overhearing him.</stage> Was I deceived in saying that
                            they were planning this? That servant of Clinia's is somewhat dull;
                            therefore that province has been assigned to this one of ours.</p></sp><sp><speaker>SYRUS</speaker><p><stage>in a low voice.</stage> Who's that speaking? <stage>Catches sight
                                of CGREMES.</stage> I'm undone! Did he hear it, I wonder?</p></sp><sp><speaker>CHREMES</speaker><p> Syrus.</p></sp><sp><speaker>SYRUS</speaker><p> Well—</p></sp><sp><speaker>CHREMES</speaker><p> What are you doing here ?</p></sp><sp><speaker>SYRUS</speaker><p> All right. Really, I am quite surprised at you, Chremes, up so early,
                            after drinking so much yesterday.</p></sp><sp><speaker>CHREMES</speaker><p> Not too much.</p></sp><sp><speaker>SYRUS</speaker><p> Not too much, say you? Really, you've seen the old age of an
                                eagle,<milestone n="521" unit="line"/>
                     <note anchored="true"><q>Old age of an eagle</q>: This was a
                                proverbial expression, signifying a hale and vigorous old age. It
                                has been suggested, too, that it alludes to the practice of some old
                                men, who drink more than they eat. It was vulgarly said that eagles
                                never die of old age, and that when, by reason of their beaks
                                growing inward, they are unable to feed upon their prey, they live
                                by sucking the blood.</note> as the saying is.</p></sp><sp><speaker>CHREMES</speaker><p> Pooh, pooh!</p></sp><sp><speaker>SYRUS</speaker><p> A pleasant and agreeable woman this Courtesan.</p></sp><sp><speaker>CHREMES</speaker><p> Why, so she seemed to me, in fact.</p></sp><sp><speaker>SYRUS</speaker><p> And really of handsome appearance.</p></sp><sp><speaker>CHREMES</speaker><p> Well enough.</p></sp><sp><speaker>SYRUS</speaker><p> Not like those of former days,<milestone n="524" unit="line"/>
                     <note anchored="true"><q>Not like those of former
                                    days</q>: Syrus, by showing himself an admirer of the good
                                old times, a " laudator temporis acti," is wishful to flatter the
                                vanity of Chremes, as it is a feeling common to old age, perhaps by
                                no means an unamiable one, to think former times better than the
                                present. Aged people feel grateful to those happy hours when their
                                hopes were bright, and every thing was viewed from the sunny side of
                                life.</note> but as times are now, very passable: nor do I in the
                            least wonder that Clinia doats upon her. But he has a father—a certain
                            covetous, miserable, and niggardly person—this neighbor of ours
                                <stage>pointing to the house</stage>. Do you know him ? Yet, as if
                            he was not abounding in wealth, his son ran away through want. Are you
                            aware that it is the fact, as I am saying ?</p></sp><sp><speaker>CHREMES</speaker><p> How should I not be aware? A fellow that deserves the mill.</p></sp><sp><speaker>SYRUS</speaker><p> Who? </p></sp><sp><speaker>CHREMES</speaker><p> That servant of the young gentleman, I mean.</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> Syrus! I was sadly afraid for you.</p></sp><sp><speaker>CHREMES</speaker><p> To suffer it to come to this!</p></sp><sp><speaker>SYRUS</speaker><p> What was he to do?</p></sp><sp><speaker>CHREMES</speaker><p> Do you ask the question? He ought to have found some expedient,
                            contrived some stratagem, by means of which there might have been
                            something for the young man to give to his mistress, and thus have saved
                            this crabbed old fellow in spite of himself.</p></sp><sp><speaker>SYRUS</speaker><p> You are surely joking.</p></sp><sp><speaker>CHREMES</speaker><p> This ought to have been done by him, Syrus.</p></sp><sp><speaker>SYRUS</speaker><p> How now—pray, do you commend servants, who deceive their masters?</p></sp><sp><speaker>CHREMES</speaker><p> Upon occasion—I certainly do commend them.</p></sp><sp><speaker>SYRUS</speaker><p> Quite right.</p></sp><sp><speaker>CHREMES</speaker><p> Inasmuch as it often is the remedy for great disturbances. Then would
                            this man's only son have staid at home.</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> Whether he says this in jest or in earnest, I
                            don't know; only, in fact, that he gives me additional zest for longing
                            still more to trick him.</p></sp><sp><speaker>CHREMES</speaker><p> And what is he now waiting for, Syrus? Is it until his father drives him
                            away from here a second time, when he can no longer support her
                                expenses?<milestone n="544" unit="line"/>
                     <note anchored="true"><q>Can no longer support her
                                expenses</q>: He refers to Menedemus and Bacchis.</note> Has he
                            no plot on foot against the old gentleman?</p></sp><sp><speaker>SYRUS</speaker><p> He is a stupid fellow.</p></sp><sp><speaker>CHREMES</speaker><p> Then you ought to assist him—for the sake of the young man.</p></sp><sp><speaker>SYRUS</speaker><p> For my part, I can do so easily, if you command me; for I know well in
                            what fashion it is usually done.</p></sp><sp><speaker>CHREMES</speaker><p> So much the better, i' faith.</p></sp><sp><speaker>SYRUS</speaker><p> 'Tis not my way to tell an untruth.</p></sp><sp><speaker>CHREMES</speaker><p> Do it then.</p></sp><sp><speaker>SYRUS</speaker><p> But hark you! Just take care and remember this, in case any thing of
                            this sort should perchance happen at a future time, such are human
                            affairs!—your son might do the same.</p></sp><sp><speaker>CHREMES</speaker><p> The necessity will not arise, I trust.</p></sp><sp><speaker>SYRUS</speaker><p> I' faith, and I trust so too: nor do I say so now, because I have
                            suspected him in any way; but in case, none the more<milestone n="555" unit="line"/>
                     <note anchored="true"><q>But in
                                    case, none the more</q>: " Sed si quid, ne quid." An
                                instance of Aposiopesis, signifying "But if any thing does happen,
                                don't you blame me."</note>—You see what his age is;
                                <stage>aside</stage> and truly, Chremes,<milestone n="557" unit="line"/>
                     <note anchored="true"><q>And
                                    truly, Chremes</q>: Some suppose that this is said in
                                apparent candor by Syrus, in order the more readily to throw Chremes
                                off his guard. Other Commentators, again, fancy these words to be
                                said by Syrus in a low voice, aside, which seems not improbable; it
                                being a just retribution on Chremes for his recommendation, however
                                well intended: in that case, Chremes probably overhears it, if we
                                may judge from his answer.</note> if an occasion does happen, I may
                            be able to handle you right handsomely.</p></sp><sp><speaker>CHREMES</speaker><p> As to that, we'll consider what is requisite when the occasion does
                            happen. At present do you set about this matter. <stage>Goes into his
                                house.</stage>
                  </p></sp><sp><speaker>SYRUS</speaker><p><stage>to himself.</stage> Never on any occasion did I hear my master
                            talk more to the purpose; nor at any time could I believe that I was
                            authorized to play the rogue with greater impunity. I wonder who it is
                            coming out of our house? <stage>Stands aside.</stage>
                  </p></sp></div><milestone unit="scene" n="3"/><div type="textpart" n="562" subtype="card"><stage>Enter CHREMES and CLITIPHO from the house of the former.</stage><sp><speaker>CHREMES</speaker><p> Pray, what does this mean? What behavior is this, Clitipho? Is this
                            acting as becomes you?</p></sp><sp><speaker>CLITIPHO</speaker><p> What have I done;</p></sp><sp><speaker>CHREMES</speaker><p> Did I not see you just now putting your hand into this Courtesan's bosom
                            ?</p></sp><sp><speaker>SYRUS</speaker><p><stage>apart.</stage> It's all up with us—I'm utterly undone!</p></sp><sp><speaker>CLITIPHO</speaker><p> What, I?</p></sp><sp><speaker>CHREMES</speaker><p> With these self-same eyes I saw it—don't deny it. Besides, you wrong
                            him unworthily in not keeping your hands off: for indeed it is a gross
                            affront to entertain a person, your friend, at your house, and to take
                            liberties with his mistress. Yesterday, for instance, at wine, how rude
                            you were—</p></sp><sp><speaker>SYRUS</speaker><p><stage>apart.</stage> 'Tis the truth<milestone n="568" unit="line"/>
                     <note anchored="true"><q>'Tis the truth</q>:
                                "Factum." "Done for" is another translation which this word will
                                here admit of.</note>
                        </p></sp><sp><speaker>CHREMES</speaker><p> How annoying you were So much so, that for my part, as the Gods may
                            prosper me, I dreaded what in the end might be the consequence. I
                            understand lovers. They resent highly things that you would not
                            imagine.</p></sp><sp><speaker>CLITIPHO</speaker><p> But he has full confidence in me, father, that I would not do any thing
                            of that kind.</p></sp><sp><speaker>CHREMES</speaker><p> Be it so; still, at least, you ought to go somewhere for a little time
                            away from their presence. Passion prompts to many a thing; your presence
                            acts as a restraint upon doing them. I form a judgment from myself.
                            There's not one of my friends this day to whom I would venture,
                            Clitipho, to disclose all my secrets. With one, his station forbids it;
                            with another, I am ashamed of the action itself, lest I may appear a
                            fool or devoid of shame; do you rest assured that he does the
                                same.<milestone n="577" unit="line"/>
                     <note anchored="true"><q>That he does the sane</q>: Clinia.</note> But
                            it is our part to be sensible of this; and, when and where it is
                            requisite, to show due complaisance.</p></sp><sp><speaker>SYRUS</speaker><p><stage>coming forward and whispering to CLITIPHO.</stage> What is it he
                            is saying ?</p></sp><sp><speaker>CLITIPHO</speaker><p><stage>aside, to SYRUS.</stage> I'm utterly undone!</p></sp><sp><speaker>SYRUS</speaker><p> Clitipho, these same injunctions I gave you. You have acted the part of
                            a prudent and discreet person.<milestone n="580" unit="line"/>
                     <note anchored="true"><q>Of a prudent and discreet
                                    person</q>: This is said ironically.</note>
                  </p></sp><sp><speaker>CLITIPHO</speaker><p> Hold your tongue, I beg.</p></sp><sp><speaker>SYRUS</speaker><p> Very good.</p></sp><sp><speaker>CHREMES</speaker><p><stage>approaching them.</stage> Syrus, I am ashamed of him.</p></sp><sp><speaker>SYRUS</speaker><p> I believe it; and not without reason. Why, he vexes myself even.</p></sp><sp><speaker>CLITIPHO</speaker><p><stage>to SYRUS.</stage> Do you persist, then ?</p></sp><sp><speaker>SYRUS</speaker><p> I' faith, I'm saying the truth, as it appears to me.</p></sp><sp><speaker>CLITIPHO</speaker><p> May I not go near them?</p></sp><sp><speaker>CHREMES</speaker><p> How now—pray, is there but one way<milestone n="583" unit="line"/>
                     <note anchored="true"><q>Is there but one
                                    way</q>: And that an immodest one.</note> of going near them
                            ?</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> Confusion! He'll be betraying himself before I've
                            got the money. <stage>Aloud.</stage> Chremes, will you give attention to
                            me, who am but a silly person?</p></sp><sp><speaker>CHREMES</speaker><p> What am I to do?</p></sp><sp><speaker>SYRUS</speaker><p> Bid him go somewhere out of the way. </p></sp><sp><speaker>CLITIPHO</speaker><p> Where am I to go ?</p></sp><sp><speaker>SYRUS</speaker><p> Where you please; leave the place to them; be off and take a walk.</p></sp><sp><speaker>CLITIPHO</speaker><p> Take a walk! where ?</p></sp><sp><speaker>SYRUS</speaker><p> Pshaw! Just as if there was no place to walk in. Why, then, go this way,
                            that way, where you will.</p></sp><sp><speaker>CHREMES</speaker><p> He says right, I'm of his opinion.</p></sp><sp><speaker>CLITIPHO</speaker><p> May the Gods extirpate you, Syrus, for thrusting me away from here.</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside to CLITIPHO.</stage> Then do you for the future keep those
                            hands of yours within bounds. <stage>Exit CLITIPHO.</stage> Really now
                                <stage>to CHREMES</stage>, what do you think? What do you imagine
                            will become of him next, unless, so far as the Gods afford you the
                            means, you watch him, correct and admonish him ?</p></sp><sp><speaker>CHREMES</speaker><p> I'll take care of that.</p></sp><sp><speaker>SYRUS</speaker><p> But now, master, he must be looked after by you.</p></sp><sp><speaker>CHREMES</speaker><p> It shall be done.</p></sp><sp><speaker>SYRUS</speaker><p> If you are wise,—for now he minds me less and less every day.</p></sp><sp><speaker>CHREMES</speaker><p> What say you? What have you done, Syrus, about that matter which I was
                            mentioning to you a short time since? Have you any plan that suits you,
                            or not yet even ?</p></sp><sp><speaker>SYRUS</speaker><p> You mean the design upon Menedemus? I have; I have just hit upon
                            one.</p></sp><sp><speaker>CHREMES</speaker><p> You are a clever fellow; what is it? Tell me.</p></sp><sp><speaker>SYRUS</speaker><p> I'll tell you; but, as one matter arises out of another—</p></sp><sp><speaker>CHREMES</speaker><p> Why, what. is it, Syrus?</p></sp><sp><speaker>SYRUS</speaker><p> This Courtesan is a very bad woman.</p></sp><sp><speaker>CHREMES</speaker><p> So she seems.</p></sp><sp><speaker>SYRUS</speaker><p> Aye, if you did but know. O shocking! just see what she is hatching.
                            There was a certain old woman here from <placeName key="perseus,Corinth">Corinth</placeName>,—this Bacchis lent her a thousand silver
                            drachmae.</p></sp><sp><speaker>CHREMES</speaker><p> What then?</p></sp><sp><speaker>SYRUS</speaker><p> She is now dead: she has left a daughter, a young girl. She has been
                            left with this Bacchis as a pledge for that sum.</p></sp><sp><speaker>CHREMES</speaker><p> I understand you. </p></sp><sp><speaker>SYRUS</speaker><p> She has brought her hither along with her, her I mean who is now with
                            your wife.<milestone n="604" unit="line"/>
                     <note anchored="true"><q>With your wife</q>: Madame Dacier
                                remarks, that as Anitiphila is shortly to be acknowledged as the
                                daughter of Chremes, she is not therefore in company with the other
                                women at the feast, who arc Courtesans, but with the wife of
                                Chremes, and consequently free from reproach or scandal.</note>
                  </p></sp><sp><speaker>CHREMES</speaker><p> What then ?</p></sp><sp><speaker>SYRUS</speaker><p> She is soliciting Clinia at once to advance her this money; she says,
                            however, that this girl is to be a security, that, at a future time, she
                            will repay the thousand pieces of money.</p></sp><sp><speaker>CHREMES</speaker><p> And would she really be a security ?<milestone n="606" unit="line"/>
                     <note anchored="true"><q>Would she really be a
                                    security</q>: The question of Chremes seems directed to the
                                fact whether the girl is of value sufficient to be good security for
                                the thousand drachmae.</note>
                  </p></sp><sp><speaker>SYRUS</speaker><p> Dear me, is it to be doubted ? I think so.</p></sp><sp><speaker>CHREMES</speaker><p> What then do you intend doing?</p></sp><sp><speaker>SYRUS</speaker><p> What, I? I shall go to Menedemus; I'll tell him she is a captive from
                                <placeName key="tgn,7002358">Caria</placeName>, rich, and of noble
                            family; if he redeems her, there will be a considerable profit in this
                            transaction.</p></sp><sp><speaker>CHREMES</speaker><p> You are in an error.</p></sp><sp><speaker>SYRUS</speaker><p> Why so ?</p></sp><sp><speaker>CHREMES</speaker><p> I'll now answer you for Menedemus—I will not purchase her.</p></sp><sp><speaker>SYRUS</speaker><p> What is it you say? Do speak more agreeably to our wishes.</p></sp><sp><speaker>CHREMES</speaker><p> But there is no occasion.</p></sp><sp><speaker>SYRUS</speaker><p> No occasion?</p></sp><sp><speaker>CHREMES</speaker><p> Certainly not, i' faith.</p></sp><sp><speaker>SYRUS</speaker><p> How so, I wonder?</p></sp><sp><speaker>CHREMES</speaker><p> You shall soon know.<milestone n="612" unit="line"/>
                     <note anchored="true"><q>You shall soon know</q>:
                                Madame Dacier suggests that Chremes is prevented by his wife's
                                coming from making a proposal to advance the money himself, on the
                                supposition that it will be a lucrative speculation. This notion is
                                contradicted by Colman, who adds the following note from Eugraphius:
                                "Syrus pretends to have concerted this plot against Menedemus, in
                                order to trick him out of some money to be given to Clinia's
                                supposed mistress. Chremes, however, does not approve of this: yet
                                it serves to carry on the plot; for when Antiphila proves afterward
                                to be the daughter of Chremes, he necessarily becomes the debtor of
                                Bacchis, and is obliged to lay down the sum for which he imagines
                                his daughter is pledged."</note>
                        </p></sp><sp><speaker>SYRUS</speaker><p> Stop, stop; what is the reason that there is such a great noise at our
                            door ? <stage>They retire out of sight.</stage>
                        </p></sp></div><milestone unit="act" n="4"/><milestone unit="scene" n="1"/><div type="textpart" n="614" subtype="card"><p>Enter SOSTRATA and a NURSE in haste from the house of CHREMES, and CHREMES
                        and SYRUS on the other side of the stage unperceived.</p><p>Sos. <stage>holding up a ring and examining it.</stage> Unless my fancy
                        deceives me, surely this is the ring which I suspect it to be, the same with
                        which my daughter was exposed.</p><sp><speaker>CHREMES</speaker><p><stage>apart.</stage> Syrus, what is the meaning of these expressions
                            ?</p></sp><sp><speaker>SOSTRATA</speaker><p> Nurse, how is it? Does it not seem to you the same?</p></sp><sp><speaker>NUR.</speaker><p> As for me, I said it was the same the very instant that you showed it
                            me.</p></sp><sp><speaker>SOSTRATA</speaker><p> But have you now examined it thoroughly, my dear nurse?</p></sp><sp><speaker>NUR.</speaker><p> Thoroughly.</p></sp><sp><speaker>SOSTRATA</speaker><p> Then go in-doors at once, and if she has now done bathing, bring me
                            word. I'll wait here in the mean time for my husband.</p></sp><sp><speaker>SYRUS</speaker><p><stage>apart.</stage> She wants you, see what it is she wants; she is in
                            a serious mood, I don't know why; it is not without a cause—I fear
                            what it may be.</p></sp><sp><speaker>CHREMES</speaker><p> What it may be? I' faith, she'll now surely be announcing some important
                            trifle, with a great parade.</p></sp><sp><speaker>SOSTRATA</speaker><p><stage>turning round.</stage> Ha! my husband!</p></sp><sp><speaker>CHREMES</speaker><p> Ha! my wife !</p></sp><sp><speaker>SOSTRATA</speaker><p> I was looking for you.</p></sp><sp><speaker>CHREMES</speaker><p> Tell me what you want.</p></sp><sp><speaker>SOSTRATA</speaker><p> In the first place, this I beg of you, not to believe that I have
                            ventured to do any thing contrary to your commands.</p></sp><sp><speaker>CHREMES</speaker><p> Would you have me believe you in this, although so incredible? Well, I
                            will believe you. </p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> This excuse portends I know not what offense.</p></sp><sp><speaker>SOSTRATA</speaker><p> Do you remember me being pregnant, and yourself declaring to me, most
                            peremptorily, that if I should bring forth a girl, you would not have it
                            brought up.</p></sp><sp><speaker>CHREMES</speaker><p> I know what you have done, you have brought it up.</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> Such is the fact, I'm sure: my young master has
                            gained a loss<milestone n="628" unit="line"/>
                     <note anchored="true"><q>Has gained a loss</q>: He alludes to
                                Clitipho, who, by the discovery of his sister, would not come in for
                                such a large share of his father's property, and would consequently,
                                as Syrus observes, gain a loss.</note> in consequence.</p></sp><sp><speaker>SOSTRATA</speaker><p> Not at all; but there was here an elderly woman of <placeName key="perseus,Corinth">Corinth</placeName>, of no indifferent character;
                            to her I gave it to be exposed.</p></sp><sp><speaker>CHREMES</speaker><p> O <persName>Jupiter</persName>! that there should be
                            such extreme folly in a person's mind.</p></sp><sp><speaker>SOSTRATA</speaker><p> Alas! what have I done ?</p></sp><sp><speaker>CHREMES</speaker><p> And do you ask the question?</p></sp><sp><speaker>SOSTRATA</speaker><p> If I have acted wrong, my dear Chremes, I have done so in ignorance.</p></sp><sp><speaker>CHREMES</speaker><p> This, indeed, I know for certain, even if you were to deny it, that in
                            every thing you both speak and act ignorantly and foolishly: how many
                            blunders you disclose in this single affair! For, in the first place,
                            then, if you had been disposed to obey my orders, the child ought to
                            have been dispatched; you ought not in words to have feigned her death,
                            and in reality to have left hopes of her surviving. But that I pass
                            over; compassion, maternal affection, I allow it. But how finely you did
                            provide for the future! What was your meaning ? Do reflect. It's clear,
                            beyond a doubt, that your daughter was betrayed by you to this old
                            woman, either that through you she might make a living by her, or that
                            she might be sold in open market as a slave. I suppose you reasoned
                            thus: " any thing is enough, if only her life is saved :" what are you
                            to do with those who understand neither law, nor right and justice? Be
                            it for better or for worse, be it for them or against them, they see
                            nothing except just what they please.</p></sp><sp><speaker>SOSTRATA</speaker><p> My dear Chremes, I have done wrong, I own ; I am convinced. Now this I
                            beg of you; inasmuch as you are more advanced in years than I, be so
                            much the more ready to forgive; so that your justice may be some
                            protection for my weakness.</p></sp><sp><speaker>CHREMES</speaker><p> I'll readily forgive you doing this, of course; but, Sostrata, my easy
                            temper prompts you to do amiss. But, whatever this circumstance is, by
                            reason of which this was begun upon, proceed to tell it.</p></sp><sp><speaker>SOSTRATA</speaker><p> As we women are all foolishly and wretchedly superstitious, when I
                            delivered the child to her to be exposed, I drew a ring from off my
                            finger, and ordered her to expose it, together with the child; that if
                            she should die, she might not be without<note anchored="true">That she
                                might not be without)—Ver 652. Madame Dacier observes upon this
                                passage, that the ancients thought themselves guilty of a heinous
                                offense if they suffered their children to die without having
                                bestowed on them some of their property; it was consequently the
                                custom of the women, before exposing children, to attach to them
                                some jewel or trinket among their clothes, hoping thereby to avoid
                                incurring the guilt above mentioned, and to ease their
                                consciences.</note> some portion of our possessions.</p></sp><sp><speaker>CHREMES</speaker><p> That was right; thereby you proved the saving of yourself and
                                her.<milestone n="653" unit="line"/>
                     <note anchored="true"><q>Saving of yourself and her</q>: Madame Dacier
                                says that the meaning of this passage is this: Chremes tells his
                                wife that by having given this ring, she has done two good acts
                                instead of one—she has both cleared her conscience and saved the
                                child; for had there been no ring or token exposed with the infant,
                                the finder would not have been at the trouble of taking care of it,
                                but might have left it to perish, never suspecting it would be
                                inquired after, or himself liberally rewarded for having preserved
                                it.</note>
                  </p></sp><sp><speaker>SOSTRATA</speaker><p><stage>holding out the ring.</stage> This is that ring.</p></sp><sp><speaker>CHREMES</speaker><p> Whence did you get it?</p></sp><sp><speaker>SOSTRATA</speaker><p> From the young woman whom Bacchis brought here with her.</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> Ha!</p></sp><sp><speaker>CHREMES</speaker><p> What does she say?</p></sp><sp><speaker>SOSTRATA</speaker><p> She gave it me to keep for her, while she went to bathe. At first I paid
                            no attention to it; but after I looked at it, I at once recognized it,
                            and came running to you.</p></sp><sp><speaker>CHREMES</speaker><p> What do you suspect now, or have you discovered, relative to her ?</p></sp><sp><speaker>SOSTRATA</speaker><p> I don't know; unless you inquire of herself whence she got it, if that
                            can possibly be discovered. </p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> I'm undone! I see more hopes<milestone n="659" unit="line"/>
                     <note anchored="true"><q>I see
                                    more hopes</q>: Syrus is now alarmed that Antiphila should
                                so soon be acknowledged as the daughter of Chremes, lest he may lose
                                the opportunity of obtaining the money, and be punished as well, in
                                case the imposition is detected, and Bacchis discovered to be the
                                mistress of Clitipho and not of Clinia.</note> from this incident
                            than I desire. If it is so, she certainly must be ours.</p></sp><sp><speaker>CHREMES</speaker><p> Is this woman living to whom you delivered the child?</p></sp><sp><speaker>SOSTRATA</speaker><p> I don't know.</p></sp><sp><speaker>CHREMES</speaker><p> What account did she bring you at the time?</p></sp><sp><speaker>SOSTRATA</speaker><p> That she had done as I had ordered her.</p></sp><sp><speaker>CHREMES</speaker><p> Tell me what is the woman's name, that she may be inquired after.</p></sp><sp><speaker>SOSTRATA</speaker><p> Philtere.</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> 'Tis the very same. It's a wonder if she isn't
                            found, and I lost.</p></sp><sp><speaker>CHREMES</speaker><p> Sostrata, follow me this way in-doors.</p></sp><sp><speaker>SOSTRATA</speaker><p> How much beyond my hopes has this matter turned out! How dreadfully
                            afraid I was, Chremes, that you would now be of feelings as unrelenting
                            as formerly you were on exposing the child.</p></sp><sp><speaker>CHREMES</speaker><p> Many a time a man can not be<milestone n="666" unit="line"/>
                     <note anchored="true"><q>A man can not be</q>: This
                                he says by way of palliating the cruelty he was guilty of in his
                                orders to have the child put to death.</note> such as he would be,
                            if circumstances do not admit of it. Time has now so brought it about,
                            that I should be glad of a daughter; formerly I wished for nothing less.
                                <stage>CHREMES and SOSTRATA go into the house.)</stage>
                  </p></sp></div></div></body></text></TEI>
                </passage>
            </reply>
            </GetPassage>