Andria

Introduction

THE SUBJECT.

A CERTAIN citizen of Athens had a daughter named Pamphila, and a son called Chremes. The former was stolen while an infant, and sold to a Rhodian merchant, who having made a present of her to a Courtesan of Rhodes, she brought her up with her own daughter Thais, who was somewhat older. In the course of years, Thais following her mother's way of life, removes to Athens. Her mother dying, her property is put up for sale, and Pamphila is purchased as a slave by Thraso, an officer and an admirer of Thais, who happens just then to be visiting Rhodes. During the absence of Thraso, Thais becomes acquainted with Phasdria, an Athenian youth, the son of Laches; she also discovers from Chremes, who lives near Athens, that Pamphila, her former companion, is his sister. Thraso returns, intending to present to her the girl he has bought, but determines not to do so until she has discarded Phaedria. Finding that the girl is no other than Pamphila, Thais is at a loss what to do, as she both loves Phaedria, and is extremely anxious to recover Pamphila. At length, to please the Captain, she excludes Phaedria, but next day sends for him, and explains to him her reasons, at the same time begging of him to allow Thraso the sole right of admission to her house for the next two days, and assuring him that as soon as she shall have gained possession of the girl, she will entirely throw him off. Phaedria consents, and resolves to spend these two days in the country; at the same time he orders Parmeno to take to Thais a Eunuch and an Aethiopian girl, whom he has purchased for her. The Captain also sends Pamphila, who is accidentally seen by Chaerea, the younger brother of Phaedria; he, being smitten with her beauty, prevails upon Parmeno to introduce him into the house of Thais, in the Eunuch's dress. Being admitted there, in the absence of Thais, lie ravishes the damsel. Shortly afterward Thraso quarrels with Thais, and comes with all his attendants to her house to demand the return of Pamphila, but is disappointed. In conclusion, Pamphila is recognized by her brother Chremes, and is promised in marriage to Chaerea; while Thraso becomes reconciled to Phaedria, through the mediation of Gnatho, his Parasite.

THE TITLEColman has the following remark on this Play: "This seems to lave been the most popular of all the Comedies of Terence. Suetonius and Donatus both inform us that it was acted with the greatest applause, and that the Poet received a larger price for it from the Aediles than had ever been paid for any before, namely, 8000 sesterces, which is about equal to 200 crowns, which in those times was a considerable sum." OF THE PLAY.

PERFORMIED at the Megalensian Games; 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 two treble flutes. From the Greek of Menander. It was acted twice,Acted twice This probably means "twice in one day." As it is generally supposed that something is wanting after the figures II, this is presumed to be "die," "in one day," in confirmation of which Suetonius informs us that it really was performed twice in one day. Donatus says it was performed three times, by which he may probably mean, twice on one day and once on another. M. Valerius and C. Fannius being Consuls.Being Consuls M. Valerius Messala and C. Fannius Strabo were Consuls in the year from the building of the City 591, or B.C. 162.

THE SUMMARY OF C. SULPITIUS APOLLINARIS.

THE Captain, Thraso, being ignorant of the same, has brought from abroad a girl who used wrongly to be called the sister of Thais, and presents her to Thais herself: she in reality is a citizen of Attica. To the same woman, Phaedria, an admirer of Thais, orders a Eunuch whom he has purchased, to be taken, and he himself goes away into the country, having been entreated to give up two days to Thraso. A youth, the brother of Phaedria, having fallen in love with the damsel sent to the house of Thais, is dressed up in the clothes of the Eunuch. Parmeno prompts him; he goes in; he ravishes the maiden; but at length her brother being discovered, a citizen of Attica, betroths her who has been ravished, to the youth, and Thraso prevails upon Phaedria by his entreaties.

THE PROLOGUE.

IF there is any one who desires to please as many good men as possible, and to give offense to extremely few, among those does our Poet enroll his name. Next, if there is one who thinks If there is one who thinks: He alludes to his old enemy, Luscus Lavinius, the Comic Poet, who is alluded to in the Prologue to the Andria, and has since continued his attacks upon him. that language too harsh is here applied to him, let him bear this in mind—that it is an answer, not an attack; inasmuch as he has himself been the first aggressor; who, by translating plays verbally, By translating literally: "Bene vertendo, at eosdem scribendo male." This passage has greatly puzzled some of the Commentators. Bentley has, however, it appears, come to the most reasonable conclusion; who supposes that Terence means by "bene vertere," a literal translation, word for word, from the Greek, by which a servile adherence to the idiom of that language was preserved to the neglect of the Latin idiom; in consequence of which the Plays of Luscus Lavinius were, as he remarks, "male scriptae," written in bad Latin. and writing them in bad Latin, has made out of good Greek Plays Latin ones by no means good. Just as of late he has published the Phasma Has published the Phasma: The fasma/, or "Apparition," was a play of Menander, so called, in which a young man looking through a hole in the wall between his father's house and that next door, sees a young woman of marvelous beauty, and is struck with awe at the sight, as though by an apparition; in the Play, the girl's mother is represented as having made this hole in the wall, and having decked it with garlands and branches that it may resemble a consecrated place; where she daily performs her devotions in company with her daughter, who has been privately brought up, and whose existence is unknown to the neighbors. On the youth coming by degrees to the knowledge that the object of his admiration is but a mortal, his passion becomes sdoviolent that it will admit of no cure but marriage, with the celebration of which the Play concludes. Bentley gives us the above information from an ancient Scholiast, whose name is unknown, unless it is Donatus himself, which is doubtful. It would appear that Luscus Lavinius had lately made a translation of this Play, which, from its servile adherence to the language of the original, had been couched in ungrammatical language, and probably not approved of by the Audience. Donatus thinks that this is the meaning of the passage, and that, content with this slight reference to a well-known fact, the author passes it by in contemptuous silence. [the Apparition] of Menander; and in the Thesaurus [the Treasure] has described And in the Thesaurus has described Cook has the following appropriate remark upon this passage: "In the 'Thesaurus,' or 'Treasure' of Luscus Lavinius, a young fellow, having wasted his estate by his extravagance, sends a servant to search his father's monument: but he had before sold the ground on which the monument was, to a covetous old man; to whom the servant applies to help him open the monument; in which they discover a hoard and a letter. The old fellow sees the treasure and keeps it; the young one goes to law with him, and the old man is represented as opening his cause first before the judge, which he begins with these words:— 'Athenienses, bellum cum Rhodiensibus, Quod fuerit, quid ego praedicem?' 'Athenians, why should I relate the war with the Rhodians?' And lie goes on in a manner contrary to the rules of court; which Terence objects to, because the young man, who was the plaintiff, should open his cause first. Thus far Bentley, from the same Scholiast [as referred to in the last Note]. This Note is a clear explanation of the four verses to which it belongs. Hare concurs with Madame Dacier in her opinion 'de Thesauro,' that it is only a part of the Phasma of Menander, and not a distinct Play; but were I not determined by the more learned Bentley, the text itself would not permit me to be of their opinion; for the words 'atque in Thesauro scripsit' seem plainly to me to be a transition to another Play. The subject of the Thesaurus is related by Eugraphius, though not with all the circumstances mentioned in my Note from Bentlev." Colman also remarks here: "Menander and his contemporary Philemon, each of them wrote a Comedy under this title. We have in the above Note the story of Menander's; and we know that of Philemon's from the 'Trinummus' of Plautus, which was a Translation of it." him from whom the gold is demanded, as pleading his cause why it should be deemed his own, before the person who demands it has stated how this treasure belongs to him, or how it came into the tomb of his father. Henceforward, let him not deceive himself, or fancy thus, "I have now done with it; there's nothing that he can say to me." I recommend him not to be mistaken, and to refrain from provoking me. I have many other points, as to which for the present he shall be pardoned, which, however, shall be brought forward hereafter, if he persists in attacking me, as he has begun to do. After the Aediles had purchased the Eunuch of Menander, the Play which we are about to perform, he managed to get an opportunity of viewing it. Opportunity of viewing it Colman thinks that this means something "stronger than merely being present at the representation," and he takes the meaning to be, that having obtained leave to peruse the MS., he furnished himself with objections against the piece, which he threw out when it came to be represented before the magistrates. Cooke thinks that the passage only means, "that he bustled and took pains to be near enough at the representation to see and hear plainly." The truth seems to be that Lavinius managed to obtain admission at the rehearsal or trial of the merits of the piece before the magistrates, and that he then behaved himself in the unseemly manner mentioned in the text. When the magistrates were present it began to be performed. He exclaimed that a thief, no Poet, had produced the piece, but still had not deceived Produced the piece, but still had not deceived him There is a pun here upon the resemblance in meaning of the words "verba dare" and "fabulam dare." The first expression means to "deceive" or "impose upon;" the latter phrase has also the same meaning, but it may signify as well "to represent" or "produce a Play." Thus the exclamation in its ambiguity may mean, "he has produced a Play, and has not succeeded in deceiving us," or "he has deceived us, and yet has not deceived us." This is the interpretation which Donatus puts upon the passage. him; that, in fact, it was the Colax, an old Play of Plautus;Colax, an old Play of Plautus Although Nonius Marcellus professes to quote from the Colax of Plautus (so called from the Greek Κολὺξ, "a flatterer" or "parasite"), some scholars have disbelieved in the existence of any Play of Plautus known by that name. Cooke says: "If Plautus had wrote a Play under the title of 'Colax,' I should think it very unlikely that it should have escaped Terence's eye, considering how soon he flourished after Plautus, his being engaged in the same studies, and his having such opportunities to consult the libraries of the great; for though all learning was then confined to Manuscripts, Terence could have no difficulty in coming at the best copies. The character of the 'Miles Gloriosus' [Braggart Captain] here mentioned, I am inclined to think the same with that which is the hero of Plautus's Comedy, now extant, and called 'Miles Gloriosus,' from which Terence could not take his Thraso. Pyrgopolinices and Thraso are both full of themselves, both boast of their valor and their intimacy with princes, and both fancy themselves beloved by all the women who see them; and they are both played off by their Parasites, but they differ in their manner and their speech: Plautus's Pyrgopolinices is always in the clouds, and talking big, and of blood and wounds—Terence's Thraso never says too little nor much, but is an easy ridiculous character, continually supplying the Audience with mirth without the wild extravagant bluster of Pyrgopolinices; Plautus and Terence both took their soldiers and Parasites from Menander, but gave them different dresses." Upon this Note Colman remarks: "Though there is much good criticism in the above Note, it is certain that Plautus did not take his 'Miles Gloriosus' from the Colax of Menander, as he himself informs us it was translated from a Greek play called Αλάζων, 'the Boaster,' and the Parasite is but a trifling character in that play, never appearing after the first Scene." and that from it were taken the characters of the Parasite and the Captain. If this is a fault, the fault is the ignorance of the Poet; not that he intended to be guilty of theft. That so it is, you will now be enabled to judge. The Colax is a Play of Meander's; in it there is Colax, a Parasite, and a braggart Captain: he does not deny that he has transferred these characters into his Eunuch from the Greek; but assuredly he does deny this, that he was aware that those pieces had been already translated into Latin. But if it is not permitted us to use the same characters as others, how can it any more be allowed to represent hurrying servants, Hurrying servants On the "currentes servi," see the Prologue to the Heautontimorumenos, l. 31. Ovid, in the Amores, B. i., El. 15, l. 17, 18, mentions a very similar combination of the characters of Menander's Comedy: "So long as the deceitful slave, the harsh father, the roguish procuress, and the cozening courtesan shall endure, Menander will exist." to describe virtuous matrons, artful courtesans, the gluttonous parasite, the braggart captain, the infant palmed off, the old man cajoled by the servant, about love, hatred, suspicion? In fine, nothing is said now that has not been said before. Wherefore it is but just that you should know this, and make allowance, if the moderns do what the ancients used to do. Grant me your attention, and give heed in silence, that you may understand what the Eunuch means.

Enter PHAEDRIA and PARMENO.PHAEDRIA

What then, shall I do?What, then, shall I do? Phaedria, on being sent for by Thais, breaks out into these words as he enters, after having deliberated upon his parting with her. Both Horace and Persius have imitated this passage in their Satires. Ought I not to go, not now even, when I am sent for of her own accord? Or ought I rather so to behave myself as not to put up with affronts from Courtesans? She shut her door against me; she now invites me back. Ought I to return? No; though she should implore me.

PARMENO

l'faith, if indeed you only can, there's nothing better or more spirited; but if you begin, and can not hold out stoutly, and if, when you can not endure it, while no one asks you, peace being not made, you come to her of your own accord, showing that you love her, and can not endure it, you are done for; it's all over with you; you are ruined outright. She'll be jilting you, when she finds you overcome. Do you then, while there's time, again and again reflect upon this, master, that a matter, which in itself admits of neither prudence nor moderation, you are unable to manage with prudence. In love there are all these evils; wrongs, suspicions, enmities reconcilements, war, then peace; if you expect to render these things, naturally uncertain, certain by dint of reason, you wouldn't effect it a bit the more than if you were to use your endeavors to be mad with reason. And, what you are now, in anger, meditating to yourself, "What! I to her?What! I to her?)—Ver. 65. Donatus remarks that this is an abrupt manner of speaking familiarly to persons in anger; and that the sentences are thus to be understood, "I, go to her? Her, who has received him! Who has excluded me!"—inasmuch as indignation loves to deal in Ellipsis and Aposiopesis. Who—him! Who—me! Who wouldn't? Only let me alone; I had rather die; she shall find out what sort of a person I am;" these expressions, upon my faith, by a single false tiny tear, which, by rubbing her eyes, poor thing, she can hardly squeeze out perforce, she will put an end to; and she'll be the first to accuse you; and you will be too ready to give satisfaction to her.

PHAEDRIA

O disgraceful conduct! I now perceive, both that she is perfidious, and that I am a wretched man. I am both weary of her, and burn with passion; knowing and fully sensible, alive and seeing it, I am going to ruin; nor do I know what I am to do.

PARMENO

What you are to do? Why, only to redeem yourself, thus captivated, at the smallest price you can; if you can not at a very small, rate, still for as little as you can; and do not afflict yourself.

PHAEDRIA

Do you persuade me to this?

PARMENO

If you are wise. And don't be adding to the troubles which love itself produces; those which it does produce, bear patiently. But see, here she is coming herself, the downfall of our fortunes,The downfall of our fortunes)—Ver. 79. Colman observes, "There is an extreme elegance in this passage in the original; and the figurative expression is beautifully employed." "Calamitas" was originally a word used in husbandry, which signified the destruction of growing corn; because, as Donatus says, "Comminuit calamum et segetem;"—"it strikes down the blades and standing corn."—for that which we ought ourselves to enjoy she intercepts.

Enter THAIS from her house.THAIS

to herself, not seeing them. Ah wretched me! I fear lest Phaedria should take it amiss or otherwise than I intended it, that he was not admitted yesterday.

PHAEDRIA

aside to PARMENO. I'm trembling and shivering all over, Parmeno, at the sight of her.

PARMENO

apart. Be of good heart; only approach this fire,Approach this fire)—Ver. 85. "Ignem" is generally supposed to be used figuratively here, and to mean "the flame of love." Eugraphius, however, would understand the expression literally, observing that courtesans usually had near their doors an altar sacred to Venus, on which they daily sacrificed. you'll soon be warmer than you need.

THAIS

turning round. Who is it that's speaking here? What, are you here, my Phaedria? Why are you standing here? Why didn't you come into the house at once?

PARMENO

whispering to PHAEDRIA. But not a word about shutting you out!

THAIS

Why are you silent?

PHAEDRIA

Of course, it's becauseOf course it's because)—Ver. 89. It must be observed that these words, conmencing with "Sane, quia vero," in the original, are said by Phaedria not in answer to the words of Thais immediately preceding, but to her previous question, "Cur non recta introibas?" "Why didn't you come into the house at once?" and that they are spoken in bitter irony. this door is always open to me, or because I'm the highest in your favor?

THAIS

Pass those matters by.

PHAEDRIA

How pass them by? O Thais, Thais, I wish that I had equal affection with yourself, and that it were in like degree, that either this might distress you in the same way that it distresses me, or that I might be indifferent at this being done by you.

THAIS

Prithee, don't torment yourself, my life, my Phaedria. Upon my faith, I did it, not because I love or esteem any person more than you; but the case was such that it was necessary to be done.

PARMENO

ironically. I suppose that, poor thing, you shut him out of doors, for love, according to the usual practice.

THAIS

Is it thus you act, Parmeno? Well, well. To PHAEDRIA. But listen—the reason for which I desired you to be sent for hither—

PHAEDRIA

Go on.

THAIS

First tell me this; can this fellow possibly hold his tongue? pointing to PARMENO.

PARMENO

What, I? Perfectly well. But, hark you, upon these conditions I pledge my word to you; the truth that I hear, I'm silent upon, and retain it most faithfully; but if I hear what's false and without foundation, it's out at once; I'm full of chinks, and leak in every direction. Therefore, if you wish it to be kept secret, speak the truth.

THAIS

My mother was a Samian; she lived at Rhodes—

PARMENO

That may be kept a secret.

THAIS

There, at that period, a certain merchant made present to my mother of a little girl, who had been stolen away from Attica here.

PARMENO

What, a citizen?

THAIS

I think so; we do not know for certain: she herself used to mention her mother's and her father's name; her country and other tokens she didn't know, nor, by reason of her age, was she able. The merchant added this: that he had heard front the kidnappers that she had been carried off from Sunium. From Sunium: This was a town situate near a lofty Promontory of that name in Attica. It was famous for a fair which was held there. "Sunium's rocky brow" is mentioned by Byron in the song of the Greek Captive in the third Canto of Don Juan. When my mother received her, she began carefully to teach her every thing, and to bring her up, just as though she had been her own daughter. Most persons supposed that she was my sister. Thence I came hither with that stranger, with whom alone at that period I was connected; he left me all which I now possess—

PARMENO

Both these things are false; out it goes.

THAIS

How so?

PARMENO

Because you were neither content with one, nor was he the only one to make you presents; for he likewise pointing to PHAEDRIA brought a pretty considerable share to you.

THAIS

Such is the fact; but do allow me to arrive at the point I wish. In the mean time, the Captain, who had begun to take a fancy to me, set out to Caria; Set out for Caria : This was a country of Asia Minor upon the sea-coast, opposite to the island of Rhodes. since when, in the interval, I became acquainted with you. You yourself are aware how very dear I have held you; and how I confess to you all my nearest counsels.

PHAEDRIA

Nor will Parmeno be silent about that.

PARMENO

O, is that a matter of doubt?

THAIS

Attend; I entreat you. My mother died there recently; her brother is somewhat greedy after wealth. When he saw that this damsel was of beauteous form and understood music, hoping for a good price, he forthwith put her up for sale, and sold her. By good fortune this friend of mine was present; he bought her as a gift to me, not knowing or suspecting any thing of all this. He returned; but when he perceived that I had formed a connection with you as well, lie feigned excuses on purpose that he might not give her; he said that if he could feel confidence that he should be preferred to yourself by me, so as not to apprehend that, when I had received her, I should forsake him, then he was ready to give her to me; but that he did fear this. But, so far as I can conjecture, he has set his affections upon the girl.

PHAEDRIA

Any thing beyond that?

THAIS

Nothing; for I have made inquiry. Now, my Phaedria, there are many reasons why I could wish to get her away from him. In the first place, because she was called my sister; moreover, that I may restore and deliver her to her friends. I am a lone woman; I have no one here, neither acquaintance nor relative; wherefore, Phaedria, I am desirous by my good offices to secure friends. Prithee, do aid me in this, in order that it may be the more easily effected. Do allow him for the few next days to have the preference with me. Do you make no answer?

PHAEDRIA

Most vile woman! Can I make you any answer after such behavior as this?

PARMENO

Well done, my master, I commend you; aside he's galled at last. To PHAEDRIA. You show yourself a man.

PHAEDRIA

I was not aware what you were aiming at; "she was carried away from here, when a little child; my mother brought her up as though her own; she was called my sister; I wish to get her away, that I may restore her to her friends." The meaning is, that all these expressions, in fine, now amount to this, that I am shut out, he is admitted. For what reason? Except that you love him more than me: and now you are afraid of her who has been brought hither, lest she should win him, such as he is, from yourself.

THAIS

I, afraid of that?

PHAEDRIA

What else, then, gives you concern? Let me know. Is he the only person who makes presents? Have you found my bounty shut against you? Did I not, when you told me that you wished for a servant-maid from Aethiopia, Servant-maid from Aethiopia: No doubt Aethiopian or negro slaves were much prized by the great, and those courtesans whose object it was to ape their manners. setting all other matters aside, go and seek for one? Then you said that you wanted a Eunuch, because ladies of quality Ladies of quality: "Reginae," literally "queens," here means women of rank and distinction. alone make use of them; I found you one. I yesterday paid twenty minae Paid twenty minoe: The "mina" contained one hundred "drachmae" of about 9¾d. each. for them both. Though slighted by you, I still kept these things in mind; as a reward for so doing, I am despised by you.

THAIS

Phaedria, what does this mean? Although I wish to get her away, and think that by these means it could most probably be effected; still, rather than make an enemy of you, I'll do as you request me.

PHAEDRIA

I only wish that you used that expression from your heart and truthfully, "rather than make an enemy of you." If I could believe that this was said sincerely, I could put up with any thing.

PARMENO

aside. He staggers; how instantaneously is he vanquished by a single expression!

THAIS

I, wretched woman, not speak from my heart? What, pray, did you ever ask of me in jest, but that you carried your point? I am unable to obtain even this of you, that you would grant me only two days.

PHAEDRIA

If, indeed, it is but two days; but don't let these days become twenty.

THAIS

Assuredly not more than two days, or—

PHAEDRIA

"Or?" I won't have it.

THAIS

It shall not be; only do allow me to obtain this of you.

PHAEDRIA

Of course that which you desire must be done.

THAIS

I love you as you deserve; you act obligingly.

PHAEDRIA

to PARMENO. I shall go into the country; there I shall worry myself for the next two days: I'm resolved to do so; Thais must be humored. Do you, Parmeno, take care that they are brought hither.

PARMENO

Certainly.

PHAEDRIA

For the next two days then, Thais, adieu.

THAIS

And the same to you, my Phaedria; do you desire aught else?

PHAEDRIA

What should I desire? That, present with the Captain, you may be as if absent; that night and day you may love me; may feel my absence; may dream of me; may be impatient for me; may think about me; may hope for me; may centre your delight in me; may be all in all with me; in fine, if you will, be my very life, as I am yours. (Exeunt PHAEDRIA and PARMENO.

THAIS

to herself. Ah wretched me! Ah wretched me!: Donatus remarks that the Poet judiciously reserves that part of the plot to betold here, which Thais did not relate to Phaedria in the presence of Parmeno; whom the Poet keeps in ignorance as to the rank of the damsel, that he may with the more probability dare to assist Chaerea in his attempt on her. perhaps now he puts but little faith in me, and forms his estimate of me from the dispositions of other women. From the dispositions of other women: Donatus observes that this is one of the peculiar points of excellence shown by Terence, introducing common characters in a new manner, without departing from custom or nature; since he draws a good Courtesan, and yet engages the attention of the Spectators and amuses them. Colman has the following Note here: "Under the name of Thais, Menander is supposed to have drawn the character of his own mistress, Glycerium, and it seems he introduced a Courtesan of the same name into several of his Comedies. One Comedy was entitled 'Thais,' from which St. Paul took the sentence in his Epistle to the Corinthians, 'Evil communications corrupt good manners.'" Plutarch has preserved four lines of the Prologue to that Comedy, in which the Poet, in a kind of mock-heroic manner, invokes the Muse to teach him to depict the character of his heroine. By my troth, I, who know my own self, am very sure of this, that I have not feigned any thing that's false, and that no person is dearer to my heart than this same Phaedria; and whatever in the present case I have done, for this girl's sake have I done it; for I trust that now I have pretty nearly discovered her brother, a young man of very good family; and he has appointed this day to come to me at my house. I'll go hence in-doors, and wait until he comes. She goes into her house.

Enter PHAEDRIA and PARMENO.PHAEDRIA

Mind that those people are taken there, as I ordered.

PARMENO

I'll do so.

PHAEDRIA

And carefully.

PARMENO

It shall be done.

PHAEDRIA

And with all speed.

PARMENO

It shall be done.

PHAEDRIA

Have you had sufficient instructions?

PARMENO

Dear me! to ask the question, as though it were a matter of difficulty. I wish that you were able, Phaedria, to find any thing as easily as this present will be lost.

PHAEDRIA

Together with it, I myself am lost, which concerns me more nearly. Don't bear this with such a feeling of vexation.

PARMENO

By no means; on the contrary, I'll see it done. But do you order any thing else?

PHAEDRIA

Set off my present with words, as far as you can; and so far as you are able, do drive away that rival of mine from her.

PARMENO

Pshaw! I should have kept that in mind, even if you hadn't reminded me.

PHAEDRIA

I shall go into the country and remain there.

PARMENO

I agree with you. Moves as if going.

PHAEDRIA

But hark you!

PARMENO

What is it you want?

PHAEDRIA

Are you of opinion that I can muster resolution and hold out so as not to come back within the time?

PARMENO

What, you? Upon my faith, I don't think so; for either you'll be returning at once, or by-and-by, at night, want of sleep will be driving you hither.

PHAEDRIA

I'll do some laborious work, that I may be continually fatigued, so as to sleep in spite of myself.

PARMENO

When wearied, you will be keeping awake; by this you will be making it worse.

PHAEDRIA

Oh, you talk to no purpose, Parmeno: this softness of spirit, upon my faith, must be got rid of; I indulge myself too much. Could I not do without her, pray, if there were the necessity, even for a whole three days?

PARMENO

Whew! an entire three days! Take care what you are about.

PHAEDRIA

My mind is made up. (Exit.)

PARMENO

to himself. Good Gods! What a malady is this! That a man should become so changed through love, that you wouldn't know him to be the same person! Not any one was there Not any one was there: —Ver. 226-7. Very nearly the same words as these occur in the Mostellaria of Plautus, 1. 29, 30: "Than whom, hitherto, no one of the youth of all Attica has been considered more temperate or equally frugal." less inclined to folly than he, and no one more discreet or more temperate. But who is it that's coming this way? Heyday! surely this is Gnatho, the Captain's Parasite; he's bringing along with him the damsel as a present to her. Heavens! How beautiful! No wonder if I make but a sorry figure here to-day with this decrepit Eunuch of mine. She surpasses Thais herself. Stands aside.

Enter GNATHO at a distance, leading PAMPHILA.GNATHO

to himself. Immortal Gods! how much does one man excel another! What a difference there is between a wise person and a fool! This strongly came into my mind from the following circumstance. As I was, coming along to-day, I met a certain person of this place, of my own rank and station, no mean fellow, one who, like myself, had guttled away his paternal estate; I saw him, shabby, dirty, sickly, beset with rags and years;—"What's the meaning of this garb?" said I; he answered, "Because, wretch that I am, I've lost what I possessed: see to what I am reduced,—all my acquaintances and friends forsake me." On this I felt contempt for him in: comparison with myself. "What!" said I, "you pitiful sluggard, have you so managed matters as to have no hope left? Have you lost your wits together with your estate? Don't you see me, who have risen from the same condition? What a complexion I have, how spruce and well dressed, what portliness of person? I have every thing, yet have nothing; and although I possess nothing, still, of nothing am I in want." "But I," said he, "unhappily, can neither be a butt nor submit to blows." Nor submit to blows: It has been remarked in the Notes to the Translation of Plautus that the Parasites had, in consequence of their state of dependence, to endure blows and indignities from their fellow-guests. Their attempts to be "ridiculi" or "drolls" were made in order to give some small return to their entertainers. See especially the character of Gelasimus in the Stichus of Plautus, and the words of Ergasilus in the Captivi, 1. 88, 90. Diderot, as: quoted by Colman, observes: "This is the only Scene in Terence which I remember that can be charged with being superfluous. Thraso has made a present to Thais of a young girl. Gnatho is to convey her. Going along with her, he amuses himself with giving the Spectators a most agreeable eulogium on his profession. But was that the time for it? Let Gnatho pay due attention on the stage to the young woman whom he is charged with, and let him say what he will to himself, I consent to it." "What!" said I, "do you suppose it is managed by those means? You are quite mistaken. Once upon a time, in the early ages, there was a calling for that class; this is a new mode of coney-catching; I, in fact, have been the first to strike into this path. There is a class of men who strive to be the first in every thing, but are not; to these I make my court; I do not present myself to them to be laughed at; but I am the first to laugh with them, and at the same time to admire their parts: whatever they say, I commend; if they contradict that self-same thing, I commend again. Does any one deny? I deny: does he affirm? I affirm: in fine, I have so trained myself as to humor them in every thing. This calling is now by far the most productive."

PARMENO

apart. A clever fellow, upon my faith! From being fools he makes men mad outright.

GNATHO

to himself, continuing. While we were thus talking, in the mean time we arrived at the market-place; overjoyed, all the confectioners ran at once to meet me; fishmongers, Fishmongers: "Cetarii;" strictly speaking, "dealers in large fish." butchers, cooks, Cooks: The "coqui" were in the habit of standing in the market-place for hire by those who required their services. See the Pseudolus, the Aulularia, and the Mercator of Plautus, and the Notes to Bohn's Translation. See also a remark on the knavish character of the sausage-makers in the Truculentus of Plautus, 1. 110. sausage-makers, and fishermen, whom, both when my fortunes were flourishing and when they were ruined, I had served, and often serve still: they complimented me, asked me to dinner, and gave me a hearty welcome. When this poor hungry wretch saw that I was in such great esteem, and that I obtained a living so easily, then the fellow began to entreat me that I would allow him to learn this method of me; I bade him become my follower Become my follower: "Sectari." In allusion to the manners of the ancient Philosophers, who were wont to be followed by a crowd of their disciples, who were styled "sectatores" and "sectae." Gnatho intends to found a new school of Parasites, who shall be called the "Gnathonics," and who, by their artful adulation, shall contrive to be caressed instead of being maltreated. Artotrogus, the Parasite in the Miles Gloriosus of Plautus, seems, however, to have forestalled Gnatho as the founder of this new school. if he could; as the disciples of the Philosophers take their names from the Philosophers themselves, so too, the Parasite; ought to be called Gnathonics.

PARMENO

apart to the Audience. Do you see the effects of ease and feeding at another's cost?

GNATHO

to Iimself, continuing. But why do I delay to take this girl to Thais, and ask her to come to dinner? Aside, on seeing PARMENO. But I see Parmeno, our rival's servant, waiting before the door of Thais with a sorrowful air; all's safe; no doubt these people are finding a cold welcome. I'm resolved to have some sport with this knave.

PARMENO

aside. They fancy that, through this present, Thais is quite their own.

GNATHO

accosting PARMENO. With his very best wishes Gnatho greets Parmeno, his very good friend.—What are you doing?

PARMENO

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

"My honest lads, I will tell you what I am about."

PISTOL.

"Two yards or more."

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

GNATHO

So I perceive. Pray, do you see any thing here that don't please you?

PARMENO

Yourself.

GNATHO

I believe you,—but any thing else, pray?

PARMENO

Why so?

GNATHO

Because you are out of spirits.

PARMENO

Not in the least.

GNATHO

Well, don't be so; but what think you of this slave? pointing to her.

PARMENO

Really, not amiss.

GNATHO

aside. I've galled the fellow.

PARMENO

aside, on overhearing him. How mistaken you are in your notion!

GNATHO

How far do you suppose this gift will prove acceptable to Thais?

PARMENO

It's this you mean to say now, that we are discarded there. Hark you, there are vicissitudes in all things.

GNATHO

For the next six months, Parmeno, I'll set you at ease; you sha'n't have to be running to and fro, or sitting up till daylight. Don't I make you happy?

PARMENO

Me? O prodigiously!

GNATHO

That's my way with my friends.

PARMENO

I commend you.

GNATHO

I'm detaining you; perhaps you were about to go somewhere else.

PARMENO

Nowhere.

GNATHO

In that case then, lend me your services a little; let me be introduced to her.

PARMENO

Very well; GNATHO knocks at the door, which immediately opens now the door is open for you, aside because you are bringing her.

GNATHO

going into the house of THAIS, ironically. Should you like any one to be called out from here? Goes in with PAMPHILA, and shuts the door.

PARMENO

to himself. Only let the next two days go by; you who, at present, in such high favor, are opening the door with one little finger, assuredly I'll cause to be kicking at that door full oft, with your heels, to no purpose. Re-enter GNATHO from the house.

GNATHO

Still standing here, Parmeno? Why now, have you been left on guard here, that no go-between might perchance be secretly running from the Captain to her? (Exit.)

PARMENO

Smartly said; really they ought to be wonderful things to please the Captain. But I see my master's youngest son coming this way; I wonder why he has come away from the Piraeus,From the Piroeus)—Ver. 290. The Piraeus was the chief harbor of Athens, at the mouth of the Cephisus, about three miles from the City. It was joined to the town by two walls, one of which was built by Themistocles, and the other by Pericles. It was the duty of the Athenian youth to watch here in turn by way of precaution against surprise by pirates or the enemy. for he is at present on guard there in the public service. It's not for nothing; he's coming in a hurry, too; I can't imagine why he's looking around in all directions.

Enter CHAEREA on the other side of the stage, in haste.CHAEREA

to himself. I'm utterly undone! The girl is nowhere; nor do I know where I am myself, to have lost sight of her. Where to inquire for her, where to search for her, whom to ask, which way to turn, I'm at a loss. I have only this hope; wherever she is, she can not long be concealed. O what beauteous features! from this moment I banish all other women from my thoughts; I can not endure these every-day beauties.

PARMENO

apart. Why look, here's the other one. He's saying something, I don't know what, about love. O unfortunate old man, their father! This assuredly is a youth, who, if he does begin, you will say that the other one was mere play and pastime, compared with what the madness of this one will cause.

CHAEREA

to himself, aloud. May all the Gods and Goddesses confound that old fellow who detained me to-day, and me as well who stopped for him, and in fact troubled myself a straw about him. But see, here's Parmeno. Addressing him. Good-morrow to you.

PARMENO

Why are you out of spirits, and why in such a hurry? Whence come you?

CHAEREA

What, I? I'faith, I neither know whence I'm come, nor whither I'm going; so utterly have I lost myself.

PARMENO

How, pray?

CHAEREA

I'm in love.

PARMENO

starting. Ha!

CHAEREA

Now, Parmeno, you may show what sort of a man you are. You know that you often promised me to this effect: "Chaerea, do you only find some object to fall in love with; I'll make you sensible of my usefulness in such matters," when I used to be storing up my father's provisions for you on the sly in your little room.In your little room)—Ver. 310. Though "cellulam" seems to be considered by some to mean "cupboard" or "larder," it is more probable that it here signifies the little room which was appropriated to each slave in the family for his own use.

PARMENO

To the point, you simpleton.

CHAEREA

Upon my faith, this is the fact. Now, then, let your promises be made good, if you please, or if indeed the affair is a deserving one for you to exert your energies upon. The girl isn't like our girls, whom their mothers are anxious to have with shoulders kept down, and chests well girthed, Shoulders kept down and chests well girthed: Ovid, in the Art of Love, B. iii., 1. 274, alludes to the "strophium" or "girth" here referred to: "For high shoulders, small pads are suitable; and let the girth encircle the bosom that is too prominent." Becker thinks that the "strophium" was different from the "fascia" or "stomacher," mentioned in the Remedy of Love, 1. 338: "Does a swelling bosom cover all her breast, let no stomacher conceal it." From Martial we learn that the "strophium" was made of leather. that they may be slender. If one is a little inclined to plumpness, they declare that she's training for a boxer, Training for a boxer: "Pugilem." This means "robust as a boxer," or "athlete." These persons were naturally considered as the types of robustness, being dieted for the purpose of increasing their flesh and muscle. and stint her food; although their constitutions are good, by their treatment they make them as slight as bulrushes; and so for that reason they are admired, forsooth.

PARMENO

What sort of a girl is this one of yours?

CHAEREA

A new style of beauty.

PARMENO

ironically. Astounding!

CHAEREA

Her complexion genuine, Complexion genuine: "Color verus." The same expression is used by Ovid, in the Art of Love, B. iii., 1. 164: "Et melior vero quaeritur arte color:" "And by art a color is sought superior to the genuine one." her flesh firm and full of juiciness. Full of juiciness: "Succi plenum." A similar expression occurs in the Miles Gloriosus of Plautus, 1. 787, where Periplecoimenus wishes inquiry to be made for a woman who is "siccam, at succidam," "sober, but full of juice:" i. e. replete with the plumpness and activity of youth.

PARMENO

Her age?

CHAEREA

Her age Sixteen.

PARMENO

The very flower of youth.The very flower of youth)—Ver. 319. Ovid makes mention of the "flos" or "bloom" of youth, Art of Love, B. ii., 1. 663: "And don't you inquire what year she is now passing, nor under what Consulship she was born; a privilege which the rigid Censor possesses. And this, especially, if she has passed the bloom of youth, and her best years are fled, and she now pulls out the whitening hairs."

CHAEREA

Do you make, it your care to obtain her for me either by force, stealth, or entreaty; so that I only gain her, it matters not how to me.

PARMENO

Well, but to whom does the damsel belong?

CHAEREA

That, i'faith, I don't know.

PARMENO

Whence did she come?

CHAEREA

That, just as much.

PARMENO

Where does she live?

CHAEREA

Nor yet do I know that.

PARMENO

Where did you see her?

CHAEREA

In the street.

PARMENO

How did you come to lose her?

CHAEREA

Why, that's what I was just now fretting myself about; and I do not believe that there is one individual to whom all good luck is a greater stranger than to myself. What ill fortune this is! I'm utterly undone!

PARMENO

What's the matter?

CHAEREA

Do you ask me? Do you know Archidemides, my father's kinsman and years'-mate?

PARMENO

Why not?

CHAEREA

He, while I was in full pursuit of her, met me.

PARMENO

Unseasonably, upon my faith.

CHAEREA

Aye, unhappily, rather; for other ordinary matters are to be called "unseasonable," Parmeno. It would be safe for me to make oath that I have not seen him for fully these six or seven months, until just now, when I least wanted, and there was the least occasion. Come now! isn't this like a fatality? What do you say?

PARMENO

Extremely so.

CHAEREA

At once he came running up to me, from a considerable distance, stooping, palsied, hanging his lip, and wheezing. "Halloo, Chaerea! halloo!" said he; "I've something to say to you." I stopped. "Do you know what it is I want with you?" said he. "Say on," said I. "To-morrow my cause comes on," said he. "What then?" "Be sure and tell your father to remember and be my advocateBe my advocate)—Ver. 340. "Advocatus." It must be remembered that this word did not among the Romans bear the same sense as the-word "advocate" does with us. The "advocati" were the friends of a man who accompanied him when his cause was pleaded, and often performed the part of witnesses; those who assisted a person in a dispute or difficulty were also his "advocati," and in this respect distantly resembled the "second" or "friend" of a party in the modern duel. In the Phormio, Hegio, Cratinus, and Crito are introduced as the "advocati" of Demipho. See also the Paenulus of Plautus, and the Notes to that Play in Bohn's Translation. in the morning." In talking of this, an hour elapsed.An hour elapsed)—Ver. 341. "Hora" is here used to signify the long time, that, in his impatience, it appeared to him to be. I inquired if he wanted any thing else. "That's all," said he. I left him. When I looked in this direction for the damsel, she had that very instant turned this way down this street of ours.

PARMENO

aside. It's a wonder if he doesn't mean her who has just now been made a present of to Thais here.

CHAEREA

When I got here, she was nowhere to be seen.

PARMENO

Some attendants, I suppose, were accompanying the girl?

CHAEREA

Yes; a Parasite, and a female servant.

PARMENO

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

CHAEREA

You are thinking about something else.

PARMENO

Indeed I'm thinking of this same matter.

CHAEREA

Pray, tell me, do you know her, or did you see her?

PARMENO

I did see, and I do know her, I am aware to what house she has been taken.

CHAEREA

What, my dear Parmeno, do you know her, and are you aware where she is?

PARMENO

She has been brought here pointing to the house of Thais the Courtesan.Thais the Courtesan)—Ver. 352. Cooke remarks here, somewhat hypercritically as it would seem: "Thais is not called 'meretrix' here opprobriously, but to distinguish her from other ladies of the same name, who were not of the same profession." She has been made a present to her.

CHAEREA

What opulent person is it, to be presenting a gift so precious as this?

PARMENO

The Captain Thraso, Phaedria's rival.

CHAEREA

An unpleasant business for my brother, it should seem.

PARMENO

Aye, and if you did but know what present he is pitting against this present, you would say so still more.

CHAEREA

Troth now, what is it, pray?

PARMENO

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

CHAEREA

What! that unsightly creature, pray, that he purchased yesterday, an old woman?

PARMENO

That very same.

CHAEREA

To a certainty, the gentleman will be bundled out of doors, together with his present; but I wasn't aware that this Thais is our neighbor.

PARMENO

It isn't long since she came.

CHAEREA

Unhappy wretch that I am! never to have seen her, even. Come now, just tell me, is she as handsome as she is reported to be?As she is reported to be)—Ver. 361. Donatus remarks this as an instance of the art of Terence, in preserving the probability of Chaerea's being received for the Eunuch. He shows hereby that he is so entirely a stranger to the family that he does not even know the person of Thais. It is also added that she has not been long in the neighborhood, and he lias been on duty at the Piraeus. The meaning of his regret is, that, not knowing Thais, he will not have an opportunity of seeing the girl.

PARMENO

Quite.

CHAEREA

But nothing in comparison with this damsel of mine?

PARMENO

Another thing altogether.

CHAEREA

Troth now, Parmeno, prithee do contrive for me to gain possession of her.

PARMENO

I'll do my best, and use all my endeavors; I'll lend you my assistance. Going. Do you want any thing else with me?

CHAEREA

Where are you going now?

PARMENO

Home; to take those slaves to Thais, as your brother ordered me.

CHAEREA

Oh, lucky Eunuch that! really, to be sent as a present to that house!

PARMENO

Why so?

CHAEREA

Do you ask? He will always see at home a fellow-servant of consummate beauty, and be conversing with her; he will be in the same house with her; sometimes he will take his meals with her; sometimes sleep near her.

PARMENO

What now, if you yourself were to be this fortunate person?

CHAEREA

By what means, Parmeno? Tell me.

PARMENO

Do you assume his dress.

CHAEREA

His dress! Well, what then?

PARMENO

I'll take you there instead of him.

CHAEREA

musing. I hear you.

PARMENO

I'll say that you are he.

CHAEREA

I understand you.

PARMENO

You may enjoy those advantages which you just now said lie would enjoy; you may take your meals together with her, be in company with her, touch her, dally with her, and sleep by her side; as not one of these women is acquainted with you, nor yet knows who you are. Besides, you are of an age and figure that you may easily pass for a eunuch.

CHAEREA

You speak to the purpose; I never knew better counsel given. Well, let's go in at once; dress me up, take me away, lead me to her, as fast as you can.

PARMENO

What do you mean? Really, I was only joking.

CHAEREA

You talk nonsense.

PARMENO

I'm undone! Wretch that I am! what have I done? CHAEREA pushes him along. Whither are you pushing me? You'll throw me down presently. I entreat you, be quiet.

CHAEREA

Let's be off. Pushes him.

PARMENO

Do you still persist?

CHAEREA

I am resolved upon it.

PARMENO

Only take care that this isn't too rash a project.

CHAEREA

Certainly it isn't; let me alone for that.

PARMENO

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

CHAEREA

Pshaw!

PARMENO

We shall be guilty of a disgraceful action.

CHAEREA

What, is it disgracefulIs it disqraceful)—Ver. 382. Donatus remarks that here Terence obliquely defends the subject of the Play. to be taken to the house of a Courtesan, and to return the compliment upon those tormentors who treat us and our youthful age so scornfully, and who are always tormenting us in every way;—to dupe them just as we are duped by them? Or is it right and proper that in preference my father should be wheedled out of his money by deceitful pretexts? Those who knew of this would blame me; while all would think the other a meritorious act.

PARMENO

What's to be done in such case? If you are determined to do it, you must do it: but don't you by-and-by be throwing the blame upon me.

CHAEREA

I shall not do so.

PARMENO

Do you order me, then?

CHAEREA

I order, charge, and command you; I will never disavow my authorizing you.

PARMENO

Follow me; may the Gods prosper it! They go into the house of LACHES.

Enter THRASO and GNATHO.THRASO

Did Thais really return me many thanks?

GNATHO

Exceeding thanks.

THRASO

Was she delighted, say you?

GNATHO

Not so much, indeed, at the present itself, as because it was given by you; really, in right earnest, she does exult at that. Enter PARMIENO unseen, from LACHES' house.

PARMENO

apart. I've come here to be on the look-out, that when there is an opportunity I may take the presents. But see, here's the Captain.

THRASO

Undoubtedly it is the case with me, that every thing I do is a cause for thankfulness.

GNATHO

Upon my faith, I've observed it.

THRASO

The most mighty King, The most mighty King: It has been suggested that Darius III. is here alluded to, who was a contemporary of Menander. As however Pyrrhus, king of Epirus, is mentioned in this Play, there is no necessity to go out of the way to make Terence guilty of an anachronism. Madame Dacier suggests that Seleucus, king of part of Asia Minor, is meant; and as Thraso is called "a stranger" or "foreigner" toward the end of the Play, he probably was intended to be represented as a native of Asia and a subject of Seleucus. One of the Seleuci was also favored with the services of Pyrgopolinices, the "Braggart Captain" of Plautus, in the Miles Gloriosus. See 1. 75 in that Play: "For King Seleucus entreated me with most earnest suit that I would raise and enlist recruits for him." even, always used to give me especial thanks for whatever I did; but not so to others.

GNATHO

He who has the wit that you have, often by his words appropriates to himself the glory that has been achieved by the labor of others.

THRASO

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

GNATHO

The king, then, kept you in his eye.In his eye)—Ver. 401. "In oculis" is generally supposed to mean "as dearly in his eyes." As, however, the Satraps of the East were called "the king's eyes," those who suppose that Darius is alluded to, might with some ground consider the passage as meaning that the king ranked him in the number of his nobles. See the Paenulus of Plautus, 1. 693, and the Note in Bohn's Translation.

THRASO

Just so.

GNATHO

To enjoy your society.

THRASO

True; he intrusted to? me all his army, all his state secrets.

GNATHO

Astonishing!

THRASO

Then if, on any occasion, a surfeit of society, or a dislike of business, came upon him, when he was desirous to take some recreation; just as though—you understand? You understand: He says this at the very moment when lie is at a loss what to say next; the Parasite obligingly steps in to help him out with the difficulty.

GNATHO

I know; just as though on occasion he would rid his mind of those anxieties.

THRASO

You have it. Then he used to take me aside as his only boon companion.

GNATHO

Whew! You are telling of a King of refined taste.

THRASO

Aye, he is a person of that sort; a man of but very few acquaintanceships.

GNATHO

aside. Indeed, of none, Indeed, of none: "Immo, nullorum arbitror, si tecum vivit." This expression which is used "aside," has two meanings, neither of which is complimentary to the Captain. It may mean, "he has no society if he associates with you," making the Captain equivalent to nobody; or it may signify, "if he associates with you he'll be sure to drive all his other acquaintances away." I fancy, if he's on intimate terms with you.

THRASO

All the people envied me, and attacked me privately. I don't care one straw. They envied me dreadfully; but one in particular, whom the King had appointed over the Indian elephants. Over the Indian elephants: Here he shows his lofty position to perfection; he dares to take down the pride of one who commanded even the royal elephants. The Braggart Captain of Plautus comes into collision with the elephants themselves: l. 26. Artotrogus says to him, "In what a fashion it was you broke the fore-leg of even an elephant in India with your fist!" Once, when he became particularly troublesome, "Prithee, Strato," said I, "are you so fierce because you hold command over the wild beasts?"

GNATHO

Cleverly said, upon my faith, and shrewdly. Astounding! You did give the fellow a home thrust. What said he?

THRASO

Dumfounded, instantaneously.

GNATHO

How could he be otherwise?

PARMENO

apart. Ye Gods, by our trust in you! a lost and miserable fellow the one, and the other a scoundrel.

THRASO

Well then, about that: matter, Gnatho, the way in which I touched up the Rhodian at a banquet—did I never tell you?

GNATHO

Never; but pray, do tell me. Aside. I've heard it more than a thousand times already.

THRASO

There was in my company at a banquet, this young man of Rhodes, whom I'm speaking of. By chance I had a mistress there; he began to toy with her, and to annoy me. "What are you doing, sir impudence?" said I to the fellow; "a hare yourself, and looking out for game?" Lookinq out for game?: "Pulmentum," more strictly speaking, "A nice bit." Patrick has the following Note on this passage: "'Lepus tute es, et pulmentum quaeris?' A proverbial expression in use at that time: the proper meaning of it, stripped of its figure, is, 'You are little more than a woman yourself, and do you want a mistress?'" We learn from Donatus and Vopiscus, that Livius Andronicus had used this proverb in his Plays before Terence. Commentators who enter into a minute explanation of it offer many conjectures rather curious than solid, and of a nature not fit to be mentioned here. Donatus seems to think that allusion is made to a story prevalent among the ancient naturalists that the hare was in the habit of changing its sex.

GNATHO

pretending to laugh very heartily. Ha, ha, ha!

THRASO

What's the matter?

GNATHO

How apt, how smart, how clever; nothing could be more excellent. Prithee, was this a saying of yours? I fancied it was an old one.

THRASO

Did you ever hear it before?

GNATHO

Many a time; and it is mentioned among the first-rate ones.

THRASO

It's my own.

GNATHO

I'm sorry though that it was said to a thoughtless young man, and one of respectability.

PARMENO

apart. May the Gods confound you!

GNATHO

Pray, what did he do?

THRASO

. Quite disconcerted. All who were present were dying with laughter; in short, they were all quite afraid of me.

GNATHO

[Not without reason.

THRASO

But hark you, had I best clear myself of this to Thais, as to her suspicion that I'm fond of this girl?

GNATHO

By no means: on the contrary, rather increase her jealousy.

THRASO

Why so?

GNATHO

Do you ask me? Don't you see, if on any occasion she makes mention of Phaedria or commends him, to provoke you—

THRASO

I understand.

GNATHO

That such may not be the case, this method is the only remedy. When she speaks of Phaedria, do you instantly mention Pamphila. If at any time she says, "Let's invite Phaedria to make one," do you say, "Let's ask Pamphila to sing." If she praises his good looks, do you, on the other hand, praise hers. In short, do you return like for like, which will mortify her.

THRASO

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

GNATHO

Since she is impatient for and loves that which you give her, she already loves you; as it is, then, it is an easy matter for her to feel vexed. She will be always afraid lest the presents which she herself is now getting, you may on some occasion be taking elsewhere.

THRASO

Well said; that never came into my mind.

GNATHO

Nonsense. You never thought about it; else how much more readily would you yourself have hit upon it, Thraso!

Enter THAIS from her house, attended by PYTHIAS.THAIS

as she comes out. I thought I just now heard the Captain's voice. And look, here he is. Welcome, my dear Thraso.

THRASO

O my Thais, my sweet one, how are you? How much do you love me in return for that music girl?

PARMENO

apart. How polite! What a beginning he has made on meeting her!

THAIS

Very much, as you deserve.

GNATHO

Let's go to dinner then. (To THRASO.) What do you stand here for?

PARMENO

apart. Then there's the other one: you would declare that he was born for his belly's sake.

THRASO

When you please; I sha'n't delay.

PARMENO

apart. I'll accost them, and pretend as though I had just come out. He comes forward. Are you going any where, Thais?

THAIS

Ha! Parmeno; well done; just going out for the day.

PARMENO

Where?

THAIS

aside, pointing at THRASO. Why! don't you see him?

PARMENO

aside. I see him, and I'm sorry for it. Aloud. Phaedria's presents are ready for you when you please.

THRASO

impatiently. Why are we to stand here? Why don't we be off?

PARMENO

to THRASO. Troth now, pray, do let us, with your leave, present to her the things we intend, and accost and speak to her.

THRASO

ironically. Very fine presents, I suppose, or at least equal to mine.

PARMENO

The fact will prove itself. Goes to the door of LACHES' house and calls. Ho there! bid those people come out of doors at once, as I ordered. Enter from the house a BLACK GIRL.

PARMENO

Do you step forward this way. To THAIS. She comes all the way from Aethiopia.

THRASO

contemptuously. Here are some three minae in value.

GNATHO

Hardly so much.

PARMENO

Where are you, Dorus? Step this way. Enter CHAEREA from the house, dressed like the EUNUCH.

PARMENO

There's a Eunuch for you—of what a genteel appearance! of what a prime age!

THAIS

God bless me, he's handsome.

PARMENO

What say you, Gnatho? Do you see any thing to find fault with? And what say you, Thraso? Aside. They hold their tongues; they praise him sufficiently thereby. To THAIS. Make trial of him in literature, try him in exercises, In exercises: Reference will be found made to the "palaestrae," or "places of exercise," in the Notes to the Translation of Plautus. and in music; I'll warrant him well skilled in what it becomes a gentleman to know.

THRASO

That Eunuch, if occasion served, If occasion served: The Aposiopesis in this line is very aptly introduced, on account of the presence of the female; but it admirably illustrates the abominable turpitude of the speaker, and perhaps in a somewhat more decent manner than that in which Plautus attributes a similar tendency to his Braggart Captain, l. 1111. even in my sober senses, I—

PARMENO

And he who has sent these things makes no request that you will live for him alone, and that for his own sake others may be excluded; he neither tells of battles nor shows his scars, nor does he restrict you as looking at THRASO a certain person does; but when it is not inconvenient, whenever you think fit, whenever you have the time, he is satisfied to be admitted.

THRASO

to GNATHO, contemptuously. It appears that this is the servant of some beggarly, wretched master.

GNATHO

Why, faith, no person, I'm quite sure of that, could possibly put up with him, who had the means to get another.

PARMENO

You hold your tongue—a fellow whom I consider beneath all men of the very lowest grade: for when you can bring yourself to flatter that fellow pointing at THRASO, I do believe you could pick your victuals out of the very flames. Out of the very flames: This was a proverb expressive of the lowest degree of meanness and infamy. When they burned the bodies of the dead, it was the custom of the ancients to throw meat and various articles of food upon the funeral pile, and it was considered the greatest possible affront to tell a person that he was capable of snatching these things out of the flames.

THRASO

Are we to go now?

THAIS

I'll take these in-doors first pointing to CHAEREA and the AETHIOPIAN, and at the same time I'll order what I wish; after that I'll return immediately. Goes into the house with PYTHIAS, CHAEREA, and the SLAVE.

THRASO

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

PARMENO

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

THRASO

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

GNATHO

laughing. Ha, ha, ha!

THRASO

What are you laughing at?

GNATHO

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

THRASO

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

GNATHO

Very well. (Exit.) Re-enter THAIS, with PYTHIAS and FEMALE ATTENDANTS.

THAIS

Take care, Pythias, and be sure that if Chremes should happen to come, If Chremes should happen to come: This is the first allusion to the arrangement which ultimately causes the quarrel between Thais and the Captain. to beg him to wait; if that is not convenient, then to come again; if he can not do that, bring him to me.

PYTHIAS

I'll do so.

THAIS

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

THRASO

Let us begone.

THAIS

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

Enter CHREMES.CHREMES

to himself. Why, really, the more and more I think of it, I shouldn't be surprised if this Thais should be doing me some great mischief; so cunningly do I perceive myself beset by her. Even on the occasion when she first requested me to be fetched to her (any one might ask me, "What business had you with her?" Really I don't know.) When I came, she found an excuse for me to remain there; she said that she had been offering a sacrifice, Had been offering a sacrifice: It was the custom to sacrifice before entering on affairs of importance. Thus, too, Jupiter, in the Amphitryon of Plautus, l. 938, speaks of offering sacrifice on his safe return. and that she was desirous to speak upon some important business with me. Even then I had a suspicion that all these things were being done for her artful purposes. She takes her place beside me; pays every attention to me; seeks and opportunity of conversation. When the conversation flagged, she turned off to this point—how long since my father and mother died? I said that it was now a long time ago. Whether I had any country-house at Sunium, and how far from the sea? I suppose that this has taken her fancy, and she expects to get it away from me. Then at last, whether any little sister of mine had been lost from there; whether any person was with her; what she had about her when she was lost; whether any one could recognize her. Why should she make these inquiries? Unless, perhaps, she pretends—so great is her assurance—that she herself is the same person that was formerly lost when a little girl. But if she is alive, she is sixteen years old, not older; whereas Thais is somewhat older than I am. She has sent to press me earnestly to come. Either let her speak out what she wants, or not be troublesome; I assuredly shall not come a third time knocking at the door of THAIS. Ho! there, ho! there! Is any one here? It's I, Chremes. Enter PYTHIAS from the house.

PYTHIAS

O most charming, dear creature!

CHREMES

apart. I said there was a design upon me.

PYTHIAS

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

CHREMES

I'm going into the country.

PYTHIAS

Do, there's a dear sir.

CHREMES

I can not, I tell you.

PYTHIAS

Then stay here at our house till she comes back.

CHREMES

Nothing less likely.

PYTHIAS

Why, my dear Chremes? Taking hold of him.

CHREMES

shaking her off. Away to perdition with you!

PYTHIAS

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

CHREMES

I'll go there.

PYTHIAS

calling at the door. Here, Dorias DORIAS enters, show this person directly to the Captain's. (Exit CHREMES with DORIAS, PYTHIAS goes into the house.)

Enter ANTIPHO.ANTIPHO

to himself. Yesterday some young fellows of us agreed together at the Piraeus that we were to go shares today in a club-entertainment. We gave Chaerea charge of this matter; our rings were given Our rings were given: It was the custom of parties who agreed to join in a "symbola," or "club" or "picnic" entertainment, to give their rings as pledges to the "rex convivii," or "getter up the feast." Stakes were also deposited on making bets at races. See Ovid's Art of Love, B. i., l. 168. as pledges; the place and time arranged. The time has now gone by; at the place appointed there was nothing ready. The fellow himself is nowhere to be met with; I neither know what to say nor what to suppose. Now the rest have commissioned me with his business, to look for him. I'll go see, therefore, if he's at home. But who's this, I wonder, coming out of Thais's? Is it he, or is it not? 'Tis the very man! What sort of being is this? What kind of garb is this? What mischief is going on now? I can not sufficiently wonder or conjecture. But, whatever it is, I should like first at a distance to try and find out. He stands apart.

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

looking around, then aloud to himself. Is there any body here? There's no one. Is there any one following me from there? There's not a person. Now am I not at liberty to give vent to these raptures? O supreme Jupiter! now assuredly is the time for me to meet my death, To meet my death: There is a passage in the Othello of Shakspeare extremely similar to this: —"If I were now to die,I were now to be most happy; for, I fear,My soul hath her content so absolute,That not another comfort, like to this,Succeeds in unknown fate."(act II, scene i) when I can so well endure it; lest my life should sully this ecstasy with some disaster. But is there now no inquisitive person to be intruding upon me, to be following me wherever I do, to be deafening me, worrying me to death, with asking questions; why thus transported, or why so overjoyed, whither I'm going, whence I'm come, where I got this garb, what is my object, whether I'm in my senses or whether downright mad?

ANTIPHO

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

CHAEREA

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

ANTIPHO

Pray, do tell me what all this means.

CHAEREA

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

ANTIPHO

I know her; I suppose you mean Thais?

CHAEREA

The very same.

ANTIPHO

So far I recollect.

CHAEREA

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

ANTIPHO

Do you say so?

CHAEREA

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

ANTIPHO

What was it?

CHAEREA

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

ANTIPHO

What, instead of the Eunuch?

CHAEREA

The fact.

ANTIPHO

To receive what advantage, pray, from this plan?

CHAEREA

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

ANTIPHO

To whom? To you?

CHAEREA

To me.

ANTIPHO

ironically. In perfect safety, at all events.

CHAEREA

She gave orders that no male was to come near her, and commanded me not to stir away from her; that I was to remain alone with her in the inner apartments. In the inner apartments: The "Gynecaea," or women's apartments, among the Greeks, always occupied the interior part of the house, which was most distant from the street, and there they were kept in great seclusion. Looking bashfully on the ground, I nodded assent.

ANTIPHO

ironically. Poor fellow!

CHAEREA

continuing. "I am going out," said she, "to dinner." She took her maids with her; a few novices of girls A few novices of girls: These "noviciae" were young slaves recently bought, and intended to be trained to the calling of a Courtesan. remained, to be about her. These immediately made preparations for her to bathe. I urged them to make haste. While preparations were being made, the damsel sat in a room looking up at a certain painting, At a certain painting: See the story of Jupiter and Danaë, the daughter of Acrisius, king of Argos, in the Metamorphoses of Ovid, B. iv., l. 610. Pictures of Venus and Adonis, and of Jupiter and Ganymede, are mentioned in the Menaechmi of Plautus; l. 144, and paintings on the walls are also mentioned in the Mostellaria of Plautus, l. 821, where Tranio tries to impose upon Theuropides by pretending to point out a picture of a crow between two vultures. in which was represented how Jove How Jove: Donatus remarks here that this was "a very proper piece of furniture for the house of a Courtesan, giving an example of loose and mercenary Love, calculated to excite wanton thoughts, and at the same time hinting to the young lover that he must make his way to the bosom of his mistress, like Jupiter to Danaë, in a shower of gold. Oh the avarice of harlots!" is said once to have sent a golden shower into the bosom of Danaë. I myself began to look at it as well, and as he had in former times played the like game, I felt extremely delighted that a God should change himself into money, and slily come through the tiles of another person's house, to deceive the fair one by means of a shower. But what God was this? He who shakes the most lofty temples of heaven with his thunders. Was I, a poor creature of a mortal, A poor creature of a mortal: "Homuncio." He uses this word the better to contrast his abject nature as a poor mortal with the majesty of Jupiter. St. Augustin refers to this passage. The preceding line is said by Donatus to be a parody on a passage by Ennius. not to do the same? Certainly, I was to do it, and without hesitation. While I was thinking over these matters with myself, the damsel meantime was fetched away to bathe; she went, bathed, and came back; after which they laid her on a couch. I stood waiting to see if they gave me any orders. One came up, "Here, Dorus," said she, "take this fan, Take this fan: As to the fans of the ancients, see the Trinummus of Plautus, l. 252, and the Note to the passage in Bohn's Translation. See also the Amours of Ovid, B. iii., El. 2, l. 38. and let her have a little air in this fashion, while we are bathing; when we have bathed, if you like, you may bathe too." With a demure air I took it.

ANTIPHO

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

CHAEREA

continuing. Hardly had she said this, when all, in a moment, betook themselves off: away they went to bathe, and chattered aloud; Chattered aloud: This line bears a strong resemblance to two lines found in Anstey's new Bath Guide: "And how the young ladies all set up their clacks,All the while an old woman was rubbing their backs." just as the way is when masters are absent. Meanwhile, sleep overtook the damsel; I slily looked askance I slily looked askance: This way of looking aside, "limis," is mentioned in the Miles Gloriosus of Plautus, where Milphidippa tells Acroteleutium to look at the Captain sideways, "Aspicito limis," l. 1217; also in the Bacchides, l. 1131. Those familiar with the works of Hogarth will readily call to mind the picture of Bedlam in the Rake's Progress, where the young woman is looking askance through her fan at the madman in his cell. through the fan; Through the fan: This shows that the fan was probably one made of thin boards, and not of feathers. this way showing how: at the same time I looked round in all directions, to see whether all was quite safe. I saw that it was. I bolted the door.

ANTIPHO

What then?

CHAEREA

Eh? What then, you simpleton?

ANTIPHO

I own I am.

CHAEREA

Was I to let slip the opportunity offered me, so excellent, so short-lived, So short-lived: Colman has the following Note here: "Short indeed, considering the number of incidents, which, according to Chaerea's relation, are crowded into it. All the time allowed for this adventure is the short space between the departure of Thais and Thraso and the entrance of Chaerea; so that all this variety of business of sleeping, bathing, ravishing, &c., is dispatched during the two soliloquies of Antipho and Chaerea, and the short Scene between Chremes and Pythias. The truth is, that a very close adherence to the unities often drives the Poet into as great absurdities as the perfect violation of them." so longed for, so unexpected. In that case, i'faith, I really should have been the person I was pretending to be.

ANTIPHO

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

CHAEREA

All's ready.

ANTIPHO

You are a clever hand; but where? At your house?

CHAEREA

No, at Discus's, our freedman.

ANTIPHO

That's a long way off.

CHAEREA

Then let's make so much the greater haste.

ANTIPHO

Change your dress.

CHAEREA

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

ANTIPHO

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

CHAEREA

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

ANTIPHO

Very well. (Exeunt.)

Enter DORIAS, with a casket in her hand.DORIAS

to herself. So may the Gods bless me, but from what I have seen, I'm terribly afraid that this mad fellow will be guilty of some disturbance to-day or of some violence to Thais. For when this young man, the brother of the damsel, arrived, she begged the Captain to order him to be admitted; he immediately began to get into a passion, and yet didn't dare refuse; Thais still insisted that he would invite the man in. This she did for the sake of detaining him; because there was no opportunity just then of telling him what she wanted to disclose about her sister. He was invited in, and took his seat. Then she entered into discourse with him. But the Captain, fancying it was a rival brought before his very eyes, wanted in his turn to mortify her: "Hark you, boy," said he, "go fetch Pamphila, that she may amuse us here." She exclaimed, "At a banquet! Certainly not." The Captain still persisted to a downright quarrel. Meanwhile my mistress secretly took off her golden jewels, Took off her golden jewels: This was probably because it was contrary to the laws of Athens for a Courtesan to appear with gold or jewels in the street. Madame Dacier suggests another reason, in which there is some force, although it is ridiculed by Cooke. Thais may have supposed that the Captain, when irritated, might not have scrupled to take them away from her. Indeed, nothing would be more probable, than that he would be ready to take them by way of security for the return of the slave, whom he had thus, to no purpose, presented to her. In reference to the preceding line, we may remark that it was not customary among the Greeks for females of good character to appear at table with strangers. and gave them to me to take away: this is a sign, I'm sure, that she'll betake herself from there as soon as she possibly can. Goes into the house.

Enter PHAEDRIA.PHAEDRIA

to himself. While I was going While I was going: Donatus remarks that here the Poet artfully finds a reason to bring Phaedria back again; as he at first with equal art sent him out of the way, to give probability to those incidents necessary to happen in his absence. into the country, I began on the road, as it mostly happens when there is any anxiety on the mind, to reflect with myself upon one thing after another, and upon every thing in the worst light. What need of words? While I was musing thus, inadvertently I passed my country-house. I had already got some distance from it, when I perceived this; I returned again, really feeling quite uneasy; when I came to the very turning that leads to the house, I came to a stop, and began to reason with myself; "What! must I stay here alone for two days without her? Well, and what then? It's nothing at all. What? Nothing at all? Well now, if I haven;t the privilege of touching her, am I not even to have that of seeing her? If I may not do the one, at least I may the other. Surely to love at a distance At a distance: "Extremâ lineâ." There have been many suggestions offered for the origin of this figurative expression. Some suggest that it alludes to the last or lowest stage of the supposed ladder of love; others that it refers to the first or elementary line traced by the student, when beginning to learn the art of painting. It is however more generally thought to be a metaphor taken from the chariotraces in the Circus, where, in going round the turning-place, he who was nearest was said "currere in primâ lineâ;" the next, "in secundâ;" and so on to the last, who took the widest range, and was said to run "in extremâ lineâ." even, is better than nothing at all." I purposely passed the house. But how's this, that Pythias is suddenly hurrying out in such a fright? Stands apart.

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

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

PHAEDRIA

apart. I dread what this may be.

PYTHIAS

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

PHAEDRIA

apart, in surprise. Ha!

PYTHIAS

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

PHAEDRIA

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

PYTHIAS

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

PHAEDRIA

What is the matter?

PYTHIAS

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

PHAEDRIA

What is it you say?

PYTHIAS

I'm ruined outright!

PHAEDRIA

You are drunk.

PYTHIAS

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

DORIAS

Oh, prithee, my dear Pythias, what a monstrous thing this is!

PHAEDRIA

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

PYTHIAS

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

PHAEDRIA

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

PYTHIAS

Pray, go and see whether he is there.

PHAEDRIA

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

DORIAS

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

PYTHIAS

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

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

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

DORUS

crying out. Mercy, I do entreat you!

PHAEDRIA

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

PYTHIAS

Have you caught the fellow, pray?

PHAEDRIA

Caught him, why not?

PYTHIAS

O well done!

DORIAS

Upon my faith that really is capital!

PYTHIAS

Where is he?

PHAEDRIA

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

PYTHIAS

staring about. See whom, pray?

PHAEDRIA

This fellow, to be sure pointing.

PYTHIAS

What person is this?

PHAEDRIA

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

PYTHIAS

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

PHAEDRIA

Not beheld him?

PYTHIAS

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

PHAEDRIA

Why, I had no other.

PYTHIAS

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

PHAEDRIA

He seemed so, just then, because he was decked out in party-colored clothes: In party-colored clothes: It was the custom to dress Eunuchs in party-colored clothes of bright hue. Most probably it was from them that the "motley" descended to the fools and buffoons of the Middle Ages. now he appears ugly, for this reason—because he hasn't got them on.

PYTHIAS

Prithee, do hold your tongue; as though indeed the difference was so trifling. A young man was brought to our house to-day, whom, really, Phaedria, you would have liked to look upon. This is a withered, antiquated, lethargic, old fellow, with a speckled complexion. With a speckled complexion: "Colore stellionino;" probably having spots or freckles on his face like a "stellio" or "lizard."

PHAEDRIA

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

DORUS

You did buy me.

PYTHIAS

Bid him answer me in my turn.

PHAEDRIA

Question him.

PYTHIAS

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

PHAEDRIA

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

DORUS

Chaerea came.

PHAEDRIA

What, my brother?

DORUS

Yes.

PHAEDRIA

When?

DORUS

To-day.

PHAEDRIA

How long since?

DORUS

Just now.

PHAEDRIA

With whom?

DORUS

With Parmeno.

PHAEDRIA

Did you know him before?

DORUS

No.

PHAEDRIA

How did you know he was my brother?

DORUS

Parmeno said he was. He gave me these clothes.

PHAEDRIA

I'm undone!

DORUS

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

PYTHIAS

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

PHAEDRIA

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

PYTHIAS

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

PHAEDRIA

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

DORUS

He did.

PHAEDRIA

And did he put them on?

DORUS

He did.

PHAEDRIA

And was he brought here instead of you?

DORUS

Yes.

PHAEDRIA

Great Jupiter! O wicked and audacious fellow!

PYTHIAS

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

PHAEDRIA

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

DORUS

No.

PHAEDRIA

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

DORUS

Indeed, I do entreat you, Phaedria.

PHAEDRIA

kicking him. Be off in-doors.

DORUS

Oh! oh!

PHAEDRIA

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

PYTHIAS

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

DORIAS

So it is, no doubt.

PYTHIAS

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

DORIAS

Do you mean with regard to this girl?

PYTHIAS

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

DORIAS

Upon my word, if you are prudent, you won't know what you do know, either about the Eunuch or the girl's misfortune. By this method you'll both rid yourself of all perplexity, and have done a service to her. Have done a service to her: Though some would have "illi" here to refer to the damsel, and others again to Phaedria, it is pretty clear that Madame Dacier is right in suggesting that Thais is the person meant. Say this only, that Dorus has run away.

PYTHIAS

I'll do so.

DORIAS

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

PYTHIAS

Why so?

DORIAS

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

PYTHIAS

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

Enter CHREMES, somewhat drunk.CHREMES

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

PYTHIAS

Chremes!

CHREMES

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

PYTHIAS

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

CHREMES

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

PYTHIAS

Has she already come away from the Captain's?

CHREMES

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

PYTHIAS

Did she say nothing about you following her?

CHREMES

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

PYTHIAS

Well now, wasn't that enough?

CHREMES

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