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                <urn>urn:cts:latinLit:phi0134.phi006.perseus-eng2:211-612</urn>
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                    <TEI xmlns="http://www.tei-c.org/ns/1.0"><text xml:lang="en"><body><div xml:lang="eng" type="translation" n="urn:cts:latinLit:phi0134.phi006.perseus-eng2"><div type="textpart" n="211" subtype="card"><stage>Enter SYRUS, from the house of MICIO.</stage><sp><speaker>SYRUS</speaker><p><stage>speaking to AECHINUS within.</stage> Say no more; I myself will arrange with him; I'll make him glad to take the money at once, and say besides that he has been fairly dealt with. <stage>Addressing SANNIO.</stage> Sannio, how is this, that I hear you have been having some dispute or other with my master?</p></sp><sp><speaker>SANNIO</speaker><p> I never saw a dispute on more unequal terms<milestone n="212" unit="line"/>
                     <note anchored="true"><q>On more unequal terms</q>:  "<foreign xml:lang="lat">Certationem comparatam</foreign>." This was a term taken from the combats of gladiators, where it was usual to choose as combatants such as seemed most nearly a match for each other.</note> than the one that has happened to-day between us; I, with being thumped, he, with beating me, were both of us quite tired.</p></sp><sp><speaker>SYRUS</speaker><p> Your own fault.</p></sp><sp><speaker>SANNIO</speaker><p> What could I do?</p></sp><sp><speaker>SYRUS</speaker><p> You ought to have yielded to the young man.</p></sp><sp><speaker>SANNIO</speaker><p> How could I more so, when to-day I have even afforded my face to his blows?</p></sp><sp><speaker>SYRUS</speaker><p> Well—are you aware of what I tell you? To slight money on some occasions is sometimes the surest gain. What!—were you afraid, you greatest simpleton alive, if you had parted with ever so little<milestone n="217" unit="line"/>
                     <note anchored="true"><q>If you had parted with ever so little</q>: This passage is probably alluded to by <persName><surname>Cicero</surname></persName>, in his work, <bibl n="Cic. Off. 2.18"><title xml:lang="lat">De Officiis</title>, B. ii. c. 18</bibl>: "For it is not only liberal sometimes to give up a little of one's rights, but it is also profitable."</note> of your right, and had humored the young man, that he would not repay you with interest?
</p></sp><sp><speaker>SANNIO</speaker><p> I do not pay ready money for hope.</p></sp><sp><speaker>SYRUS</speaker><p> Then you'll never make a fortune. Get out with you, Sannio; you don't know how to take in mankind.</p></sp><sp><speaker>SANNIO</speaker><p> I believe that to be the better plan—but I was never so cunning as not, whenever I was able to get it, to prefer getting ready money.</p></sp><sp><speaker>SYRUS</speaker><p> Come, come, I know your spirit; as if twenty minae were any thing at all to you in comparison to obliging him; besides, they say that you are setting out for <placeName key="tgn,1000112">Cyprus</placeName>—</p></sp><sp><speaker>SANNIO</speaker><p> (aside.) Hah!</p></sp><sp><speaker>SYRUS</speaker><p> That you have been buying up many things to take thither; and that the vessel is hired. This I know, your mind is in suspense; however, when you return thence, I hope you'll settle the matter.</p></sp><sp><speaker>SANNIO</speaker><p> Not a foot do stir: Heavens! I'm undone! <stage>Aside.</stage> It was upon this hope they devised their project.</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> He is alarmed. I've brought the fellow into a fix.</p></sp><sp><speaker>SANNIO</speaker><p><stage>aside.</stage> Oh, what villainy!—Just look at that; how he has nicked me in the very joint.
<milestone n="229" unit="line"/>
                     <note anchored="true"><q>In the very joint</q>: "<foreign xml:lang="lat">Ut in ipso articulo oppressit</foreign>." Colman translates this, "Nick'd me to a hair."</note> Several women have been purchased, and other things as well, for me to take to <placeName key="tgn,1000112">Cyprus</placeName>.
<milestone n="230" unit="line"/>
                     <note anchored="true"><q>To take to <placeName key="tgn,1000112">Cyprus</placeName>
                        </q>: He alludes to a famous slave-market held in the Isle of <placeName key="tgn,1000112">Cyprus</placeName>, whither merchants carried slaves for sale, after buying them up in all parts of <placeName key="tgn,1000074">Greece</placeName>.</note> If I don't get there to the fair, my loss will, be very great. Then if I postpone this business, and settle it when I come back from there, it will be of no use; the matter will be quite forgotten. "Come at last?" they'll say. "Why did you delay it? Where have you been?" So that I had better lose it altogether than either stay here so long, or be suing for it then.</p></sp><sp><speaker>SYRUS</speaker><p> Have you by this reckoned
<milestone n="236" unit="line"/>
                     <note anchored="true"><q>3 Have you by this reckoned</q>: "<foreign xml:lang="lat">Iamne enumerasti id quod ad te rediturum putes?</foreign>" Colman renders this, "Well, have you calculated what's your due?" referring to the value of the Music-girl that has been taken away from him; and thinks that the following conversation between Sannio and Syrus supports that construction. Madame lacier puts another sense on the words, and understands them as alluding to Sannio's calculation of his expected profits at <placeName key="tgn,1000112">Cyprus</placeName>.</note> up what you calculate will be your profits?
</p></sp><sp><speaker>SANNIO</speaker><p> Is this honorable of him? Ought Aeschinus to attempt this? Ought he to endeavor to take her away from me by downright violence?</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> He gives ground. <stage>To SANNIO.</stage> I have this one proposal to make; see if you fully approve of it. Rather than you should run the risk, Sannio, of getting or losing the whole, halve it. He will manage to scrape together ten minae<milestone n="242" unit="line"/>
                     <note anchored="true"><q>Scrape together ten minae</q>: Donatus remarks, that Syrus knows very well that Aeschinus is ready to pay the whole, but offers Sannio half, that he may be glad to take the bare principal, and think himself well off into the bargain.</note> from some quarter or other.</p></sp><sp><speaker>SANNIO</speaker><p> Ah me! unfortunate wretch, I am now in danger of even losing part of the principal. Has he no shame? He has loosened all my teeth; my head, too, is full of bumps with his cuffs; and would he defraud me as well? I shall go nowhere.</p></sp><sp><speaker>SYRUS</speaker><p> Just as you please. Have you any thing more to say before I go?</p></sp><sp><speaker>SANNIO</speaker><p> Why yes, Syrus, i' faith, I have this to request. Whatever the matters that are past, rather than go to law, let what is my own be returned me; at least, Syrus, the sum she cost me. I know that you have not hitherto made trial of my friendship; you will have no occasion to say that I am unmindful or ungrateful.</p></sp><sp><speaker>SYRUS</speaker><p> I'll do the best I can. But I see Ctesipho; he's in high spirits about his mistress.</p></sp><sp><speaker>SANNIO</speaker><p> What about what I was asking you?</p></sp><sp><speaker>SYRUS</speaker><p> Stay a little.</p></sp></div><milestone unit="scene" n="3"/><div type="textpart" n="256" subtype="card"><stage>Enter CTESIPHO, at the other side of the stage.</stage><sp><speaker>CTESIPHO</speaker><p> From any man, when you stand in need of it, you are glad to receive a service; but of a truth it is doubly acceptable, if he does you a kindness who ought to do so. O brother, brother, how can I sufficiently commend you? This I am quite sure of; I can never speak of you in such high terms but that your deserts will surpass it. For I am of opinion that I possess this one thing in especial beyond all others, a brother than whom no individual is more highly endowed with the highest qualities.</p></sp><sp><speaker>SYRUS</speaker><p> O Ctesipho!</p></sp><sp><speaker>CTESIPHO</speaker><p> O Syrus, where is Aeschinus?</p></sp><sp><speaker>SYRUS</speaker><p> Why, look—he's at home, waiting for you.</p></sp><sp><speaker>CTESIPHO</speaker><p><stage>speaking joyously.</stage> Ha!</p></sp><sp><speaker>SYRUS</speaker><p> What's the matter?</p></sp><sp><speaker>CTESIPHO</speaker><p> What's the matter? 'Tis through him, Syrus, that I am now alive—generous creature! Has he not deemed every thing of secondary importance to himself in comparison with my happiness? The reproach, the discredit, my own amour and imprudence, he has taken upon himself. There can be nothing beyond this; but what means that noise at the door?</p></sp><sp><speaker>SYRUS</speaker><p> Stay, stay; 'tis Aeschinus himself coming out.</p></sp></div><milestone unit="scene" n="4"/><div type="textpart" n="267" subtype="card"><stage>Enter AESCHINUS, from the house of MICIO.</stage><sp><speaker>AESCHINUS</speaker><p> Where is that villain?</p></sp><sp><speaker>SANNIO</speaker><p><stage>aside.</stage> He's looking for me.<note anchored="true"><q>He's looking for me</q>: Donatus remarks upon the readiness with which Sannio takes the appellation of "<foreign xml:lang="lat">sacrilegus</foreign>," as adapted to no other person than himself.</note> Is  he bringing any thing with him? Confusion! I don't see any thing.</p></sp><sp><speaker>AESCHINUS</speaker><p><stage>to CTESIPHO.</stage> Ha! well met; you are the very man I was looking for. How goes it, Ctesipho? All is safe: away then with your melancholy.</p></sp><sp><speaker>CTESIPHO</speaker><p> By my troth, I certainly will away with it, when I have such a brother as you. O my dear Aeschinus! O my brother! Alas! I am unwilling to praise you any more to your face, lest you should think I do so rather for flattery than through gratitude.</p></sp><sp><speaker>AESCHINUS</speaker><p> Go to, you simpleton! as though we didn't by this time understand each other, Ctesipho. This grieves me, that we knew of it almost too late, and that the matter had come to such a pass, that if all mankind had wished they could not possibly have assisted you.</p></sp><sp><speaker>CTESIPHO</speaker><p> I felt ashamed.
</p></sp><sp><speaker>AESCHINUS</speaker><p> Pooh! that is folly, not shame; about such a trifling matter to be almost flying the country!
<milestone n="275" unit="line"/>
                     <note anchored="true"><q>Flying the country</q>: Donatus tells us, that in Menander the young man was on the point of killing himself. Terence has here softened it into leaving the country. Colman remarks: "We know that the circumstance of carrying off the Music-girl was borrowed from Diphilus; yet it is plain from Donatus that there was also an intrigue by Ctesipho in the Play of Menander; which gives another proof of the manner in which Terence used the Greek Comedies."</note> 'Tis shocking to be mentioned; I pray the Gods may forbid it!</p></sp><sp><speaker>CTESIPHO</speaker><p> I did wrong.</p></sp><sp><speaker>AESCHINUS</speaker><p><stage>in a lower voice.</stage> What says Sannio to us at last?</p></sp><sp><speaker>SYRUS</speaker><p> He is pacified at last.</p></sp><sp><speaker>AESCHINUS</speaker><p> I'll go to the Forum to pay him off; you, Ctesipho, step in-doors to her.</p></sp><sp><speaker>SANNIO</speaker><p><stage>aside to SYRUS.</stage> Syrus, do urge the matter.</p></sp><sp><speaker>SYRUS</speaker><p><stage>to AESCHINUS.</stage> Let us be off, for he is in haste foe' <placeName key="tgn,1000112">Cyprus</placeName>.
<milestone n="278" unit="line"/>
                     <note anchored="true"><q>He is in haste for <placeName key="tgn,1000112">Cyprus</placeName>
                        </q>: Donatus remarks that this is a piece of malice on the part of Syrus, for the purpose of teasing Sannio.</note>
                  </p></sp><sp><speaker>SANNIO</speaker><p> Not particularly so; although still, I'm stopping here doing nothing at all.</p></sp><sp><speaker>SYRUS</speaker><p> It shall be paid, don't fear.</p></sp><sp><speaker>SANNIO</speaker><p> But he is to pay it all.</p></sp><sp><speaker>SYRUS</speaker><p> He shall pay it all; only hold your tongue and follow us this way.</p></sp><sp><speaker>SANNIO</speaker><p> I'll follow.</p></sp><sp><speaker>CTESIPHO</speaker><p><stage>as SYRUS is going.</stage> Harkye, harkye, Syrus.</p></sp><sp><speaker>SYRUS</speaker><p><stage>turning back.</stage> Well now, what is it?</p></sp><sp><speaker>CTESIPHO</speaker><p><stage>aside.</stage> Pray do discharge that most abominable fellow as soon as possible; for fear, in case he should become more angry, by some means or other this matter should reach my father, and then I should be ruined forever.</p></sp><sp><speaker>SYRUS</speaker><p> That shall not happen, be of good heart; meanwhile enjoy yourself in-doors with her, and order the couches
<milestone n="285" unit="line"/>
                     <note anchored="true"><q>Order the couches</q>: Those used for the purpose of reclining on at the entertainment.</note> to be spread for us, and the other things to be got ready. As soon as this business is settled, I shall come home with the provisions.</p></sp><sp><speaker>CTESIPHO</speaker><p> Pray do so. Since this has turned out so well, let us make a cheerful day of it. <stage>CTESIPHO goes into the house of MICIO; and exeunt AESCHINUS and SYRUS, followed by SANNIO.</stage>
                  </p></sp></div><milestone unit="act" n="3"/><milestone unit="scene" n="1"/><div type="textpart" n="290" subtype="card"><stage>Enter SOSTRATA and CANTHARA, from the house of the former.</stage><sp><speaker>SOSTRATA</speaker><p> Prithee, my dear nurse, how is it like to end?</p></sp><sp><speaker>CANTHARA</speaker><p> Like to end, do you ask? I' troth, right well, I trust.</p></sp><sp><speaker>SOSTRATA</speaker><p> Her pains are just beginning, my dear.</p></sp><sp><speaker>CANTHARA</speaker><p> You are in a flight, now, just as though you had never been present on such an occasion—never been in labor yourself.</p></sp><sp><speaker>SOSTRATA</speaker><p> Unfortunate woman that I am! I have not a person at home; we are quite alone; Geta too is absent. I have no one to go for the midwife, or to fetch Aeschinus.</p></sp><sp><speaker>CANTHARA</speaker><p> I' faith, he'll certainly be here just now, for he never lets a day pass without visiting us.</p></sp><sp><speaker>SOSTRATA</speaker><p> He is my sole comfort in my afflictions.</p></sp><sp><speaker>CANTHARA</speaker><p> Things could not have happened, mistress, more for the advantage of your daughter than they have, seeing that violence was offered her; so far as he is concerned, it is most lucky,—such a person, of such disposition and feelings, a member of so respectable a family.</p></sp><sp><speaker>SOSTRATA</speaker><p> It is indeed as you say; I entreat the Gods that he may be preserved to us. <stage>They stand apart, on seeing GETA.</stage>
                  </p></sp></div><milestone unit="scene" n="2"/><div type="textpart" n="301" subtype="card"><stage>Enter GETA, on the other side of the stage.</stage><sp><speaker>GETA</speaker><p><stage>to himself.</stage> Now such is our condition, that if all were to combine all their counsels, and to seek a remedy for this mischief that has befallen myself, my mistress, and her daughter, they could find no relief. Oh wretched me! so many calamities beset us on a sudden, we can not possibly extricate ourselves. Violence, poverty, oppression, desertion, infamy! What an age is this! O shocking villainy! O accursed race! O impious man!—</p></sp><sp><speaker>SOSTRATA</speaker><p> Unhappy me! How is it that I see Geta hurrying along thus terrified?</p></sp><sp><speaker>GETA</speaker><p><stage>continuing.</stage> Whom neither promises, nor oaths, nor compassion could move or soften; nor yet the fact that the delivery was nigh at hand of the unfortunate woman on whom he had so shamefully committed violence.</p></sp><sp><speaker>SOSTRATA</speaker><p><stage>apart to CANTHARA.</stage> I don't well understand what he is talking about.</p></sp><sp><speaker>CANTHARA</speaker><p> Pray, let us go nearer to him, Sostrata.</p></sp><sp><speaker>GETA</speaker><p><stage>continuing.</stage> Ah wretched me! I am scarcely master of my senses, I am so inflamed with anger. There is nothing that 1 would like better than for all that family to be thrown in my way, that I might give vent to all my wrath upon them while this wound is still fresh. 1 could be content with any punishment, so I might only wreak my vengeance on them. First, I would stop the breath of the old fellow himself who gave being to this monster; then as for his prompter, Syrus, out upon him! How I would tear him piecemeal! I would snatch him by the middle up aloft, and dash him head downward upon the earth, so that with his brains he would bestrew the road: I would pull out the eyes of the young fellow himself, and afterward hurl him headlong over some precipice. The others I would rush upon, drive, drag, crush, and trample them under foot. But why do I delay at once to acquaint my mistress with this calamity? <stage>Moves as if going.</stage>
                  </p></sp><sp><speaker>SOSTRATA</speaker><p><stage>to CANTHARA.</stage> Let us call him Lack. Geta—</p></sp><sp><speaker>GETA</speaker><p> Well—leave me alone,
<milestone n="321" unit="line"/>
                     <note anchored="true"><q>Leave me alone</q>: Quoting from Madame Dacier, Colman has this remark here: "Geta's reply is founded on a frolicsome but ill-natured custom which prevailed in <placeName key="tgn,1000074">Greece</placeName>—to stop the slaves in the streets, and designedly keep them in chat, so that they might be lashed when they came home for staying out so long."</note> whoever you are.</p></sp><sp><speaker>SOSTRATA</speaker><p> 'Tis I,—Sostrata.</p></sp><sp><speaker>GETA</speaker><p><stage>turning round.</stage> Why, where are you? You are the very person I am looking for. I was in quest of you; it's very fortunate you have met me.</p></sp><sp><speaker>SOSTRATA</speaker><p> What's the matter? Why are you trembling?
</p></sp><sp><speaker>GETA</speaker><p> Alas! alas!</p></sp><sp><speaker>SOSTRATA</speaker><p> My dear Geta, why in such haste? Do take breath.</p></sp><sp><speaker>GETA</speaker><p> Quite—<stage>pauses.</stage>
                  </p></sp><sp><speaker>SOSTRATA</speaker><p> Why, what means this "quite"?</p></sp><sp><speaker>GETA</speaker><p> Undone—It's all over with us.</p></sp><sp><speaker>SOSTRATA</speaker><p> Say, then, I entreat you, what is the matter.</p></sp><sp><speaker>GETA</speaker><p> Now—</p></sp><sp><speaker>SOSTRATA</speaker><p> What "now," Geta?</p></sp><sp><speaker>GETA</speaker><p> Aeschinus—</p></sp><sp><speaker>SOSTRATA</speaker><p> What about him?</p></sp><sp><speaker>GETA</speaker><p> Has abandoned our family.</p></sp><sp><speaker>SOSTRATA</speaker><p> Then I am undone! Why so?</p></sp><sp><speaker>GETA</speaker><p> He has attached himself to another woman.</p></sp><sp><speaker>SOSTRATA</speaker><p> Woe unto wretched me!</p></sp><sp><speaker>GETA</speaker><p> And he makes no secret of it; he himself has carried her off openly from a procurer.</p></sp><sp><speaker>SOSTRATA</speaker><p> Are you quite sure of this?</p></sp><sp><speaker>GETA</speaker><p> Quite sure; I saw it myself, Sostrata, with these same eyes.</p></sp><sp><speaker>SOSTRATA</speaker><p> Ah wretched me! What is one now to believe, or whom believe? Our own Aeschinus, the very life of us all, in whom all our hopes and comforts were centred! Who used to swear he could never live a single day without her! Who used to say, that he would place the infant on his father's knees,
<milestone n="333" unit="line"/>
                     <note anchored="true"><q>On his father's knees</q>: It was a prevalent custom with the Greeks to place the newly-born child upon the knee of its grandfather.</note> and thus entreat that he might be allowed to make her his wife!</p></sp><sp><speaker>GETA</speaker><p> Dear mistress, forbear weeping, and rather consider what must be done for the future in this matter. Shall we submit to it, or shall we tell it to any person?</p></sp><sp><speaker>CANTHARA</speaker><p> Pooh, pooh! Are you in your senses, my good man? Does this seem to you a business to be made known to any one?</p></sp><sp><speaker>GETA</speaker><p> I, indeed, have no wish for it. In the first place, then, that his feelings are estranged from us, the thing itself declares. Now, if we make this known, he'll deny it, I'm quite sure; your reputation and your daughter's character will then be in danger. On the other hand, if he were fully to confess it, as he is in love with another woman, it would not be to her advantage to be given to him. Therefore, under either circumstance, there is need of silence.</p></sp><sp><speaker>SOSTRATA</speaker><p> Oh! by no means in the world! I'll not do it.</p></sp><sp><speaker>GETA</speaker><p> What is it you say?</p></sp><sp><speaker>SOSTRATA</speaker><p> I'll make it known.</p></sp><sp><speaker>GETA</speaker><p> Ha, my dear Sostrata, take care what you do!</p></sp><sp><speaker>SOSTRATA</speaker><p> The matter can not possibly be in a worse position than it is at present. In the first place, she has no portion; then, besides, that which was as good as a portion, her honor, is lost: she can not be given in marriage as a virgin. This resource is left; if he should deny it, I have a ring which he lost as evidence of the truth. In fine, Geta, as I am fully conscious that no blame attaches to me, and that neither interest nor any consideration unworthy of her or of myself has had a share in this matter, I will make trial—</p></sp><sp><speaker>GETA</speaker><p> What am I to say to this? I agree, as you speak for the best.</p></sp><sp><speaker>SOSTRATA</speaker><p> You be off as fast as possible, and relate all the matter just as it has happened to her kinsman Hegio; for he was the best friend of our lamented Simulus, and has shown especial regard for us.</p></sp><sp><speaker>GETA</speaker><p><stage>aside.</stage> Aye, faith, because nobody else takes any notice of us.</p></sp><sp><speaker>SOSTRATA</speaker><p> Do you, my dear Canthara, run with all haste, and  fetch the midwife, so that, when she is wanted, we may not have to wait for her. <stage>SOSTRATA goes into the house, and exit GETA and CANTHARA.</stage>
                  </p></sp></div><milestone unit="scene" n="3"/><div type="textpart" n="357" subtype="card"><stage>Enter DEMEA.</stage><sp><speaker>DEMEA</speaker><p><stage>to himself.</stage> Utterly undone! I hear that Ctesipho was with Aeschinus at the carrying off of this girl. This sorrow still remains for unhappy me, should Aeschinus be able to seduce him, even him, who promises so fair, to a course of debauchery. Where am I to inquire for him? I doubt he has been carried off to some bad house; that profligate has persuaded him, I'm quite sure. But look—I see Syrus coming this way, I shall now know from him where he is. But, i 'faith, he is one of the gang; if he perceives that I am looking for him, the rascal will never tell me. I'll not let him know what I want.
<stage>Enter SYRUS, at the other side of the stage.</stage>
                  </p></sp><sp><speaker>SYRUS</speaker><p><stage>to himself.</stage> We just now told the old gentleman the whole affair just as it happened; I never did see any one more delighted.</p></sp><sp><speaker>DEMEA</speaker><p><stage>apart.</stage> O <persName>Jupiter</persName>! the folly of the man!</p></sp><sp><speaker>SYRUS</speaker><p><stage>continuing.</stage> He commended his son. To me, who put them upon this project, he gave thanks—</p></sp><sp><speaker>DEMEA</speaker><p><stage>apart.</stage> I shall burst asunder.</p></sp><sp><speaker>SYRUS</speaker><p><stage>continuing.</stage> He told down the money instantly, and gave me half a mina besides to spend. That was laid out quite to my liking.</p></sp><sp><speaker>DEMEA</speaker><p><stage>apart.</stage> Very fine—if you would wish a thing to be nicely managed, intrust it to this fellow.</p></sp><sp><speaker>SYRUS</speaker><p><stage>overhearing him.</stage> Ha, Demea! I didn't see you; how goes it?</p></sp><sp><speaker>DEMEA</speaker><p> How should it go? I can not enough wonder at your mode of living here.</p></sp><sp><speaker>SYRUS</speaker><p> Why, really silly enough, and, to speak without disguise, altogether absurd. <stage>Calls at the door of MICIO'S house.</stage> Dromo, clean the: rest of the fish; let the largest conger-eel play a little in the water; when I come back it shall, be boned;
<milestone n="378" unit="line"/>
                     <note anchored="true"><q>It shall be boned</q>: The operation of boning conger-eels is often mentioned in Plautus, from whom we learn that they were best when eaten in that state, and cold.</note> not before.</p></sp><sp><speaker>DEMEA</speaker><p> Is profligacy like this—</p></sp><sp><speaker>SYRUS</speaker><p> As for myself, it isn't to my taste, and I often exclaim against it. <stage>Calls; at the door.</stage> Stephanio, take care that the salt fish is well soaked.</p></sp><sp><speaker>DEMEA</speaker><p> Ye Gods, by our trust in you! Is he doing this for any purpose of his own, or does he think it creditable to ruin his son? Wretch that I am! methinks I already see the day when Aeschinus will be running away for want, to serve somewhere or other as a soldier.
<milestone n="385" unit="line"/>
                     <note anchored="true"><q>Serve somewhere or other as a soldier</q>: See a similar passage in the Trinummus of Plautus, <bibl n="Pl. Trin. 3.2">l. 722</bibl>, whence it appears that it was the practice for young men of ruined fortunes to go and offer their services as mercenaries to some of the neighboring potentates. Many of the ten thousand who fought for the younger Cyrus at the battle of <placeName key="tgn,6001621">Cunaxa</placeName>, and were led back under the command of Xenophon (as described in his <title>Anabasis</title>, were, doubtless, of this class.</note>
                  </p></sp><sp><speaker>SYRUS</speaker><p> O Demea ! That is wisdom indeed, not only to look at the present moment, but also to look forward to what's to come.</p></sp><sp><speaker>DEMEA</speaker><p> Well—is this Music-girl still with you?</p></sp><sp><speaker>SYRUS</speaker><p> Why, yes, she's in-doors.</p></sp><sp><speaker>DEMEA</speaker><p> How now—is he going to keep her at home?</p></sp><sp><speaker>SYRUS</speaker><p> I believe so; such is his madness!</p></sp><sp><speaker>DEMEA</speaker><p> Is it possible?</p></sp><sp><speaker>SYRUS</speaker><p> An imprudent lenity in his father, and a vicious inlulgence.</p></sp><sp><speaker>DEMEA</speaker><p> Really, I am ashamed and grieved at my brother.</p></sp><sp><speaker>SYRUS</speaker><p> Demea! Between you there is a great—I do not say it because you are here present—a too great difference. You are, every bit of you, nothing but wisdom; he a mere dreamer. Would you indeed have suffered that son of yours to act thus?</p></sp><sp><speaker>DEMEA</speaker><p> I, suffer him? Would I not have smelt it out six months before he attempted it?</p></sp><sp><speaker>SYRUS</speaker><p> Need I be told by you of your foresight?</p></sp><sp><speaker>DEMEA</speaker><p> I pray he may only continue the same he is at present!</p></sp><sp><speaker>SYRUS</speaker><p> Just as each person wishes his son to be, so he turns out.</p></sp><sp><speaker>DEMEA</speaker><p> What news of him? Have you seen him to-day?</p></sp><sp><speaker>SYRUS</speaker><p> What, your son? <stage>Aside.</stage> I'll pack him off into the country. <stage>To DEMEA.</stage> I fancy he's busy at the farm long before this.</p></sp><sp><speaker>DEMEA</speaker><p> Are you quite sure he is there?</p></sp><sp><speaker>SYRUS</speaker><p> What!—when I saw him part of the way myself—</p></sp><sp><speaker>DEMEA</speaker><p> Very good. I was afraid he might be loitering here.</p></sp><sp><speaker>SYRUS</speaker><p> And extremely angry too.</p></sp><sp><speaker>DEMEA</speaker><p> Why so?</p></sp><sp><speaker>SYRUS</speaker><p> He attacked his brother in the Forum with strong language about this Music-girl.</p></sp><sp><speaker>DEMEA</speaker><p> Do you really say so?</p></sp><sp><speaker>SYRUS</speaker><p> Oh dear, he didn't at all mince the matter; for just as the money was being counted out, the gentleman came upon us by chance, and began exclaiming, "Oh Aeschinus, that you should perpetrate these enormities! that you should be guilty of actions so disgraceful to our family!"</p></sp><sp><speaker>DEMEA</speaker><p> Oh, I shall weep for joy.</p></sp><sp><speaker>SYRUS</speaker><p> "By this you are not squandering your money only, but your reputation."</p></sp><sp><speaker>DEMEA</speaker><p> May he be preserved to me! I trust he will be like his forefathers. <stage>Weeping.</stage>
                  </p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> Heyday!</p></sp><sp><speaker>DEMEA</speaker><p> Syrus, he is full of these maxims.</p></sp><sp><speaker>SYRUS</speaker><p><stage>aside.</stage> Strange, indeed! He had the means at home of learning them.</p></sp><sp><speaker>DEMEA</speaker><p> I do every thing I can; I spare no pains; I train him up to it: in fine, I bid him look into the lives of men, as though into a mirror, and from others to take an example for himself. Do this, I say—</p></sp><sp><speaker>SYRUS</speaker><p> Quite right.</p></sp><sp><speaker>DEMEA</speaker><p> Avoid that—</p></sp><sp><speaker>SYRUS</speaker><p> Very shrewd.</p></sp><sp><speaker>DEMEA</speaker><p> This is praiseworthy—</p></sp><sp><speaker>SYRUS</speaker><p> That's the thing.</p></sp><sp><speaker>DEMEA</speaker><p> That is considered blamable—</p></sp><sp><speaker>SYRUS</speaker><p> Extremely good.</p></sp><sp><speaker>DEMEA</speaker><p> And then, moreover—</p></sp><sp><speaker>SYRUS</speaker><p> Upon my honor, I have not the leisure to listen to you just at present: I have got some fish just to my taste, and must take care they are not spoiled; for that would be as much a crime in me, as for you, Demea, not to observe those maxims which you have just been mentioning; and so far as I can, I lay down precepts for my fellow-servants on the very same plan; "this is too salt, that is quite burned up, this is not washed enough, that is very well done; remember and do so another time." I carefully instruct them so far as I can to the best of my capacity. In short, Demea, I bid them look into their sauce-pans as though into a mirror,
<milestone n="428" unit="line"/>
                     <note anchored="true"><q>As though into a mirror</q>: He parodies the words of Demea in l. 415, where he speaks of looking into the lives of men as into a mirror.</note> and suggest to them what they ought to do. I am sensible these things are trifling which we do; but what is one to do? According as the man is, so must you humor him. Do you wish any thing else?</p></sp><sp><speaker>DEMEA</speaker><p> That more wisdom may be granted you.</p></sp><sp><speaker>SYRUS</speaker><p> You will be going off into the country, I suppose?</p></sp><sp><speaker>DEMEA</speaker><p> Directly.</p></sp><sp><speaker>SYRUS</speaker><p> For what should you do here, where, if you do give any good precepts, no one will regard them? <stage>Goes into MICIO'S house.</stage>
                  </p></sp><sp><speaker>DEMEA</speaker><p><stage>to himself.</stage> I certainly will be off, as he on whose account I came hither has gone into the country. I have a care for him: that alone is my own concern, since my brother will have it so; let him look to the other himself. But who is it I see yonder at a distance? Isn't it Hegio of our tribes?
<milestone n="439" unit="line"/>
                     <note anchored="true"><q>Of our tribe</q>: Solon divided the Athenians into ten tribes, which he named after ten of the ancient heroes: Erectheis, Aegeis, Pandionis, Leontis, Acamantis, OEneis, Cecrops, Hippothoontis, Aeantis, and Antiochis. These tribes were each divided into ten Demi.</note> If I see right, i' faith, it is he. Ah, a man I have been friendly with from a child! Good Gods! we certainly have a great dearth of citizens of that stamp nowadays, with the old-fashioned virtue and honesty. Not in a hurry will any misfortune accrue to the public from him. How glad I am to find some remnants of this race even still remaining; now I feel some pleasure in living. I'll wait here for him, to ask him how he is, and have some conversation with him.</p></sp></div><milestone unit="scene" n="4"/><div type="textpart" n="449" subtype="card"><stage>Enter HEGIO and GETA, conversing, at a distance.</stage><sp><speaker>HEGIO</speaker><p> Oh immortal Gods! a disgraceful action, Geta! What is it you tell me?</p></sp><sp><speaker>GETA</speaker><p> Such is the fact.
</p></sp><sp><speaker>HEGIO</speaker><p> That so ignoble a deed should come from that family! Oh Aeschinus, assuredly you haven't taken after your father in that !</p></sp><sp><speaker>DEMEA</speaker><p><stage>apart.</stage> Why surely, he has heard this about the Music-girl; that gives him concern, though a stranger; this father of his thinks nothing of it. Ah me! I wish he were somewhere close at hand to overhear this.</p></sp><sp><speaker>HEGIO</speaker><p> Unless they do as they ought to do, they shall not come off so easily.</p></sp><sp><speaker>GETA</speaker><p> All our hopes, Hegio, are centred in you; you we have for our only friend; you are our protector, our father. The old man, Simulus, when dying, recommended us to you; if you forsake us, we are undone.</p></sp><sp><speaker>HEGIO</speaker><p> Beware how you mention that; I neither will do it, nor do I think that, with due regard to the ties of relationship, I could.</p></sp><sp><speaker>DEMEA</speaker><p><stage>apart.</stage> I'll accost him. <stage>Approaches HEGIO.</stage> Hegio, I bid you welcome right heartily;</p></sp><sp><speaker>HEGIO</speaker><p><stage>starting.</stage> Oh! you are the very man I was looking for. Greetings to you, Demea.</p></sp><sp><speaker>DEMEA</speaker><p> Why, what's the matter?</p></sp><sp><speaker>HEGIO</speaker><p> Your eldest son Aeschinus, whom you gave to your brother to adopt, has been acting the part of neither an honest man nor a gentleman.</p></sp><sp><speaker>DEMEA</speaker><p> What has he been doing?</p></sp><sp><speaker>HEGIO</speaker><p> You knew my friend and year's-mate, Simulus?</p></sp><sp><speaker>DEMEA</speaker><p> Why not?</p></sp><sp><speaker>HEGIO</speaker><p> He has debauched his daughter, a virgin.</p></sp><sp><speaker>DEMEA</speaker><p> Hah!</p></sp><sp><speaker>HEGIO</speaker><p> Stay, Demea. You have not yet heard the worst.</p></sp><sp><speaker>DEMEA</speaker><p> Is there any thing still worse?</p></sp><sp><speaker>HEGIO</speaker><p> Worse, by far: for this indeed might in some measure have been borne with. The hour of night prompted him; passion, wine, young blood; 'tis human nature. When he was sensible of what he had done, he came voluntarily to the girl's mother, weeping, praying, entreating, pledging his honor, vowing that he would take her home.
<milestone n="473" unit="line"/>
                     <note anchored="true"><q>Would take her home</q>: As his wife.</note> The affair was pardoned, hushed up, his word taken. The girl from that intercourse became pregnant: this is the tenth month. He, worthy fellow, has provided himself, if it please the Gods, with a Music-girl to live with; the other he has cast off.</p></sp><sp><speaker>DEMEA</speaker><p> Do you say this for certain?</p></sp><sp><speaker>HEGIO</speaker><p> The mother of the young woman is among us,
<milestone n="479" unit="line"/>
                     <note anchored="true"><q>Is among us</q>: "<foreign xml:lang="lat">In medio</foreign>," "is alive," or "in the midst of us." </note> the young woman too; the fact speaks for itself; this Geta, besides, according to the common run of servants, not a bad one or of idle habits; he supports them; alone, maintains the whole family; take him, bind him,
<milestone n="482" unit="line"/>
                     <note anchored="true"><q>Take him, bind him.</q>: In allusion to the method of examining slaves, by binding and torturing them.</note> examine him upon the matter.</p></sp><sp><speaker>GETA</speaker><p> Aye, faith, put me to the torture, Demea, if such is not the fact: besides, he will not deny it. Confront me with him.</p></sp><sp><speaker>DEMEA</speaker><p><stage>aside.</stage> I am ashamed; and what to do, or how to answer him, I don't know.</p></sp><sp><speaker>PAMPHILA</speaker><p><stage>crying out within the house of SOSTRATA.</stage> Ah me! I am racked with pains! Juno Lucina,
<milestone n="487" unit="line"/>
                     <note anchored="true"><q>Juno Lucina</q>: So in the <title>Andria</title>, <bibl n="Ter. An. 3.1">l. 473</bibl>, where Glycerium is overtaken with the pains of labor, she calls upon Juno Lucina.</note> bring aid, save me, I beseech thee.</p></sp><sp><speaker>HEGIO</speaker><p> Hold; is she in labor, pray?</p></sp><sp><speaker>GETA</speaker><p> No doubt of it, Hegio.</p></sp><sp><speaker>HEGIO</speaker><p> Ah! she is now imploring your protection, Demea; let her obtain from you spontaneously what the power of the law compels you to give. I do entreat the Gods that what befits you may at once be clone. But if your sentiments are otherwise, Demea, I will defend both them and him who is dead to the utmost of my power. He was my kinsman:
<milestone n="494" unit="line"/>
                     <note anchored="true"><q>He was my kinsman</q>: In the Play of Menander, Hegio was the brother of Sostrata.</note> we were brought up together from children, we were companions in the wars and at home, together we experienced the hardships of poverty. I will therefore exert myself, strive, use all methods, in fine lay down my life, rather than forsake these women. What answer do you give me?</p></sp><sp><speaker>DEMEA</speaker><p> I'll go find my brother, Hegio: the advice he gives me upon this matter I'll follow.
<milestone n="500" unit="line"/>
                     <note anchored="true"><q>Upon this matter I'll follow</q>: "<foreign xml:lang="lat">Is, quod mihi de hac re dederat consilium, id sequar</foreign>." Colman has the following Noto on this passage: "Madame Dacier rejects this line, because it is also: to be found in the Phormio. But it is no uncommon thing with our author to use the same expression or verse for different places, especially on familiar occasions. There is no impropriety in it here, and the foregoing hemistich is rather lame without it. The propriety of consulting Micio, or Demea's present ill-humor with him, are of no consequence. The old man is surprised at Hegio's story, does not know what to do or say, and means to evade giving a positive answer, by saying that he would consult his brother."</note>
                  </p></sp><sp><speaker>HEGIO</speaker><p> But, Demea, take you care and reflect upon this: the more easy you are in your circumstances, the more powerful, wealthy, affluent, and noble you are, so much the more ought you with equanimity to observe the dictates of justice, if you would have yourselves esteemed as men of probity.</p></sp><sp><speaker>DEMEA</speaker><p> Go back now;
<milestone n="506" unit="line"/>
                     <note anchored="true"><q>Go back now</q>: "<foreign xml:lang="lat">Redite</foreign>." Demea most probably uses this word, because Hegio has come back to him to repeat the last words for the sake of greater emphasis.</note> every thing shall be done that is proper to be done.</p></sp><sp><speaker>HEGIO</speaker><p> It becomes you to act thus. Geta, show me in to Sostrata. <stage>Follows GETA into SOSTRATA'S house.</stage>
                  </p></sp><sp><speaker>DEMEA</speaker><p><stage>to himself.</stage> Not without warning on my part have these things happened: I only wish it may end here; but this immoderate indulgence will undoubtedly lead to some great misfortune. I'll go find my brother, and vent these feelings upon him. <stage>(Exit.)</stage>
                  </p></sp></div><milestone unit="scene" n="7"/><div type="textpart" n="513" subtype="card"><stage>Enter HEGIO, from SOSTRATA'S house, and speaking to her within.</stage><sp><speaker>HEGIO</speaker><p> Be of good heart,<note anchored="true"><q>Be of good heart</q>: Colman has the following Note here: "Donatus tells us, that in some old copies this whole Scene was wanting. Guyetus therefore entirely rejects it. I have not ventured to take that liberty; but must confess that it appears to me, if not supposititious, at least cold and superfluous, and the substance of it had better been supposed to have passed between Hegio and Sostrata within."</note> Sostrata, and take care and console her as far as you can. I'll go find Micio, if he is at the Forum, and acquaint him with the whole circumstances in their order; if so it is that he will do his duty by you, let him do so; but if his sentiments are otherwise about this matter, let him give me his answer, that I may know at once what I am to do. <stage>(Exit.)</stage>

                  </p></sp></div><milestone unit="act" n="4"/><milestone unit="scene" n="1"/><div type="textpart" n="519" subtype="card"><stage>Enter CTESIPHO and SYRUS from the house of MICIO.</stage><sp><speaker>CTESIPHO</speaker><p> My father gone into the country, say you?</p></sp><sp><speaker>SYRUS</speaker><p><stage>with a careless air.</stage> Some time since.</p></sp><sp><speaker>CTESIPHO</speaker><p> Do tell me, I beseech you.</p></sp><sp><speaker>SYRUS</speaker><p> He is at the farm at this very moment,
<milestone n="519" unit="line"/>
                     <note anchored="true"><q>At this very moment</q>: It is very doubtful whether the words "<foreign xml:lang="lat">cum maxime</foreign>" mean to signify exactly "at this moment," or are intended to signify the intensity with which Demea is laboring.</note> I warrant—hard at some work or other.</p></sp><sp><speaker>CTESIPHO</speaker><p> I really wish, provided it be done with no prejudice to his health, I wish that he may so effectually tire himself, that, for the next three days together, he may be unable to arise from his bed.</p></sp><sp><speaker>SYRUS</speaker><p> So be it, and any thing still better than that,
<milestone n="522" unit="line"/>
                     <note anchored="true"><q>Any thing still better than that</q>: Lemaire suggests that by these words Syrus intends to imply that he should not care if Demea were never to arise from his bed, but were to die there. Ctesipho, only taking him heartily to second his own wishes for the old man's absence, answers affirmatively "ita," "by all means," "exactly so."</note> if possible.</p></sp><sp><speaker>CTESIPHO</speaker><p> Just so; for I do most confoundedly wish to pass this whole day in merry-making as I have begun it; and for no reason do I detest that farm so heartily as for its being so near town. If it were at a greater distance, night would overtake him there before he could return hither again. Now, when he doesn't find me there, he'll come running back here, I'm quite sure; he'll be asking me where I have been, that I have not seen him all this day: what am I to say?</p></sp><sp><speaker>SYRUS</speaker><p> Does nothing suggest itself to your mind?</p></sp><sp><speaker>CTESIPHO</speaker><p> Nothing whatever.</p></sp><sp><speaker>SYRUS</speaker><p> So much the worse
<milestone n="529" unit="line"/>
                     <note anchored="true"><q>So much the worse</q>: Schmieder observes that "<foreign xml:lang="lat">tanto nequior</foreign>" might have two meanings,—"so much the worse for us," or, as the spectators might understand it, "so much the more worthless you."</note>—have you no client, friend, or guest?
</p></sp><sp><speaker>CTESIPHO</speaker><p> I have; what then?</p></sp><sp><speaker>SYRUS</speaker><p> You have been engaged with them.</p></sp><sp><speaker>CTESIPHO</speaker><p> When I have not been engaged? That can never do.</p></sp><sp><speaker>SYRUS</speaker><p> It may.</p></sp><sp><speaker>CTESIPHO</speaker><p> During the daytime; but if I pass the night here, what excuse can I make, Syrus?</p></sp><sp><speaker>SYRUS</speaker><p> Dear me, how much I do wish it was the custom for one to be engaged with friends at night as well! But you be easy; I know his humor perfectly well. When he raves the most violently, I can make him as gentle as a lamb.</p></sp><sp><speaker>CTESIPHO</speaker><p> In what way?</p></sp><sp><speaker>SYRUS</speaker><p> He loves to hear you praised: I make a god of you to him, and recount your virtues.</p></sp><sp><speaker>CTESIPHO</speaker><p> What, mine</p></sp><sp><speaker>SYRUS</speaker><p> Yours; immediately the tears fall from him as from a child, for very joy. <stage>Starting.</stage> Hah take care—</p></sp><sp><speaker>CTESIPHO</speaker><p> Why, what's the matter?</p></sp><sp><speaker>SYRUS</speaker><p> The wolf in the fable
<milestone n="538" unit="line"/>
                     <note anchored="true"><q>The wolf in the fable</q>: This was a proverbial expression, tantamount to our saying, "Talk of the devil, he's sure to appear." Servius, in his Commentary on the Ninth Eclogue of Virgil, says that the saying arose from the common belief that the person whom a wolf sets his eyes, upon is deprived of his voice, and thence came to be applied to a person who, coming, upon others in the act of talking about him, necessarily put a stop to their conversation. Cooke says, in reference to this passage, "This certainly alludes to a Fable of Aesop's, of the Wolf, the Fox, and the Ape: which is translated by Phaedrus, and is the tenth of his First Book." It is much more certain that Cooke is mistaken here, and that the fable of the arbitration of the Ape between the Wolf and the Fox has nothing to do with this passage. If it alludes to any fable (which from the expression itself is riot at all unlikely), it is more likely to be that where the Nurse threatens that the wolf shall take the naughty Child, on which he makes his appearance, but is disappointed in his expectations, or else that of the Shepherd-boy and the Wolf. See the Stichus of Plautus, 1. 57, where the same. expression occurs.</note>—</p></sp><sp><speaker>CTESIPHO</speaker><p> What! my father?</p></sp><sp><speaker>SYRUS</speaker><p> His own self.</p></sp><sp><speaker>CTESIPHO</speaker><p> What shall we do, Syrus?</p></sp><sp><speaker>SYRUS</speaker><p> You only be off in-doors, I'll see to that.
</p></sp><sp><speaker>CTESIPHO</speaker><p> If he makes any inquiries, you have seen me no-where; do you hear?</p></sp><sp><speaker>SYRUS</speaker><p> Can you not be quiet? <stage>They retreat to the door of MICIO'S house, and CTESIPHO stands in the doorway.</stage>
                  </p></sp></div><milestone unit="scene" n="2"/><div type="textpart" n="543" subtype="card"><stage>Enter DEMEA, on the other side of the stage.</stage><sp><speaker>DEMEA</speaker><p><stage>to himself.</stage> I certainly am an unfortunate man. In the first place, I can find my brother nowhere; and then, in the next place, while looking for him, I met a day-laborer<note anchored="true"><q>Met a day-laborer</q>: Donatus remarks that the Poet artfully contrives to detain Demea in town, his presence being necessary in the latter part of the Play.</note> from the farm; he says that my son is not in the country, and what to do I know not—</p></sp><sp><speaker>CTESIPHO</speaker><p><stage>apart.</stage> Syrus!</p></sp><sp><speaker>SYRUS</speaker><p><stage>apart.</stage> What's the matter?</p></sp><sp><speaker>CTESIPHO</speaker><p><stage>apart.</stage> Is he looking for me?</p></sp><sp><speaker>SYRUS</speaker><p><stage>apart.</stage> Yes.</p></sp><sp><speaker>CTESIPHO</speaker><p><stage>apart.</stage> Undone!</p></sp><sp><speaker>SYRUS</speaker><p><stage>apart.</stage> Nay, do be of good heart.</p></sp><sp><speaker>DEMEA</speaker><p><stage>to himself.</stage> Plague on it! what ill luck is this? I can not really account for it, unless I suppose myself only born for the purpose of enduring misery. I am the first to feel our misfortunes; the first to know of them all; then the first to carry the news; I am the only one, if any thing does go wrong, to take it to heart.</p></sp><sp><speaker>SYRUS</speaker><p><stage>apart.</stage> I'm amused at him; he says that he is the first to know of every thing, while he is the only one ignorant of every thing.</p></sp><sp><speaker>DEMEA</speaker><p><stage>to himself.</stage> I've now come back; and I'll go see whether perchance my brother has yet returned.</p></sp><sp><speaker>CTESIPHO</speaker><p><stage>apart.</stage> Syrus, pray do take care that he doesn't suddenly rush in upon us here.</p></sp><sp><speaker>SYRUS</speaker><p><stage>apart.</stage> Now will you hold your tongue? I'll take care.</p></sp><sp><speaker>CTESIPHO</speaker><p><stage>apart.</stage> Never this day will I depend on your management for that, upon my faith; for I'll shut myself up with her in some cupboard
<milestone n="553" unit="line"/>
                     <note anchored="true"><q>With her in some cupboard</q>: Donatus observes that the young man was silly in this, for if discovered to be there he would be sure to be-caught. His object, however, for going there would be that he might not be discovered.</note>—that's the safest. <stage>Goes into the house.</stage>
                  </p></sp><sp><speaker>SYRUS</speaker><p><stage>apart.</stage> Do so, still I'll get rid of him.</p></sp><sp><speaker>DEMEA</speaker><p><stage>seeing SYRUS.</stage> But see! there's that rascal, Syrus.</p></sp><sp><speaker>SYRUS</speaker><p><stage>aloud, pretending not to see DEMEA.</stage> Really, upon my faith, no person can stay here, if this is to be the case! ]For my part, I should like to know how many masters I have—what a cursed condition this is</p></sp><sp><speaker>DEMEA</speaker><p> What's he whining about? What does he mean? How say you, good sir, is my brother at home?</p></sp><sp><speaker>SYRUS</speaker><p> What the plague do you talk to me about, "good sir"? I'm quite distracted!</p></sp><sp><speaker>DEMEA</speaker><p> What's the matter with you?</p></sp><sp><speaker>SYRUS</speaker><p> Do you ask the question Ctesipho has been beating me, poor wretch, and that Music-girl, almost to death.</p></sp><sp><speaker>DEMEA</speaker><p> Ha! what is it you tell me?</p></sp><sp><speaker>SYRUS</speaker><p> Aye, see how he has cut my lip. <stage>Pretends to point to it.</stage>
                  </p></sp><sp><speaker>DEMEA</speaker><p> For what reason?</p></sp><sp><speaker>SYRUS</speaker><p> He says that she was bought by my advice.</p></sp><sp><speaker>DEMEA</speaker><p> Did not you tell me, a short time since, that you had seen him on his way into the country?</p></sp><sp><speaker>SYRUS</speaker><p> I did; but he afterward came back, raving like a madman; he spared nobody—ought he not to have been ashamed to beat an old man? Him whom, only the other day, I used to carry about in my arms when thus high? <stage>Showing.</stage>
                  </p></sp><sp><speaker>DEMEA</speaker><p> I commend him; O Ctesipho, you take after your father. Well, I do pronounce you a man.</p></sp><sp><speaker>SYRUS</speaker><p> Commend him? Assuredly he will keep his hands to himself in future, if he's wise.</p></sp><sp><speaker>DEMEA</speaker><p> 'Twas done with spirit.</p></sp><sp><speaker>SYRUS</speaker><p> Very much so, to be beating a poor woman, and me, a slave, who didn't dare strike him in return; heyday! very spirited indeed!</p></sp><sp><speaker>DEMEA</speaker><p> He could not have done better; he thought the same as I did, that you were the principal in this affair. But is my brother within?
</p></sp><sp><speaker>SYRUS</speaker><p> He is not.</p></sp><sp><speaker>DEMEA</speaker><p> I'm thinking where to look for him.</p></sp><sp><speaker>SYRUS</speaker><p> I know where he is—but I shall not tell you at present.</p></sp><sp><speaker>DEMEA</speaker><p> Ha! what's that you say?</p></sp><sp><speaker>SYRUS</speaker><p> I do say so.</p></sp><sp><speaker>DEMEA</speaker><p> Then I'll break your head for you this instant.</p></sp><sp><speaker>SYRUS</speaker><p> I can't tell the person's name he's gone to, but I know the place where he lives.</p></sp><sp><speaker>DEMEA</speaker><p> Tell me the place then.</p></sp><sp><speaker>SYRUS</speaker><p> Do you know the portico down this way, just by the shambles? <stage>Pointing in the direction.</stage>
                  </p></sp><sp><speaker>DEMEA</speaker><p> How should I but know it?</p></sp><sp><speaker>SYRUS</speaker><p> Go straight along, right up that street; when you come there, there is a descent right opposite that goes down-ward, go straight down that; afterward, on this side <stage>extending one hand</stage>, there is a chapel: close by it is a narrow lane, where there's also a great wild fig-tree.</p></sp><sp><speaker>DEMEA</speaker><p> I know it.</p></sp><sp><speaker>SYRUS</speaker><p> Go through that—</p></sp><sp><speaker>DEMEA</speaker><p> But that lane is not a thoroughfare.</p></sp><sp><speaker>SYRUS</speaker><p> I' faith, that's true; dear, dear, would you take me to be in my senses?
<milestone n="580" unit="line"/>
                     <note anchored="true"><q>Take me to be in my senses</q>: "<foreign xml:lang="lat">Censen hominem me esse?</foreign>" literally, "Do you take me to be a human being?" meaning, "Do you take me to be a person in my common senses?"</note> I made a mistake. Return to the portico; indeed that will be a much nearer way, and there is less going round about you know the house of Cratinus, the rich man?</p></sp><sp><speaker>DEMEA</speaker><p> I know it.</p></sp><sp><speaker>SYRUS</speaker><p> When you have passed that, keep straight along that street on the left hand;
<milestone n="583" unit="line"/>
                     <note anchored="true"><q>Street on the left hand</q>: Theobald, in his edition of Shakspeare, observes that the direction given by Lancelot in the <title>Merchant of Venice</title> seems to be copied from that given here by Syrus: <cit><quote xml:lang="eng">"Turn up on your right hand at the next turning, but at the next turning of all on your left; marry, at the very next turning of no hand, but turn down indirectly to the Jew's house."</quote><bibl n="Shak. MV 2.2">(2.2)</bibl></cit>
                     </note> when you come to the Temple of Diana, turn to the right; before you come to the city gate,<milestone n="584" unit="line"/>
                     <note anchored="true"><q>Come to the city gate</q>: From this we discover that Demea is being sent to the very extremity of the town, as Donatus informs us that ponds of water were always close to the gates of towns, for the purpose of watering the beasts. of burden, and of having a supply at hand in case the enemy should set fire to the city gates.</note> just by that pond, there is a baker's shop, and opposite to it a joiner's; there he is.
</p></sp><sp><speaker>DEMEA</speaker><p> What is he doing there?</p></sp><sp><speaker>SYRUS</speaker><p> He has given some couches to be made, with oaken legs, for use in the open air.
<milestone n="586" unit="line"/>
                     <note anchored="true"><q>The open air</q>: Donatus remarks that it was usual for the Greeks to sit and drink in the sun; and that Syrus being suddenly asked this question shows his presence of mind by giving this circumstantial answer, that he may the better impose upon Demea. The couches used on such occasions may be presumed to have required stout legs, and to be made of hard wood, such as oak, to prevent them from splitting. Two instances of couches being used for carousing in the open air will be found in the last Scenes of the Asinaria and Stichus of Plautus.</note>
                  </p></sp><sp><speaker>DEMEA</speaker><p> For you to carouse upon! Very fine ! But why do I delay going to him? <stage>(Exit.)</stage>
                  </p></sp><sp><speaker>SYRUS</speaker><p> Go, by all means. I'll work you to day, you skeleton,
<milestone n="588" unit="line"/>
                     <note anchored="true"><q>You skeleton</q>: "<foreign xml:lang="lat">Silicernium</foreign>." This was said to be the name of a funeral entertainment or dish of meats offered up to the "<foreign xml:lang="lat">umbras</foreign>" or "<foreign xml:lang="lat">manes</foreign>," in silence. The word is also said to have been applied to an old man from his stooping postures, "<foreign xml:lang="lat">silices cernit</foreign>," "he looks at the stones."</note> as you deserve. Aeschinus loiters intolerably; the breakfast's spoiling; arid as for Ctesipho, he's head and ears in love.
<milestone n="590" unit="line"/>
                     <note anchored="true"><q>Head and ears in love</q>: "<foreign xml:lang="lat">Totus</foreign>," literally, "quite" or "altogether."</note> I shall now think of myself, for I'll be off at once, and pick out the very nicest bit, and, leisurely sipping my cups,
<milestone n="592" unit="line"/>
                     <note anchored="true"><q>Sipping my cups</q>: As to the "<foreign xml:lang="lat">cyathi</foreign>" and cups of the ancients, see the last Scene of the Stichus of Plautus, which is a perfect specimen of a carousal among the lower classes in ancient times. See also the last Scene of the Asinaria. The slaves generally appear to have taken part in the entertainments with their young masters.</note> I'll lengthen out the day. <stage>Goes into the house.</stage>
                  </p></sp></div><milestone unit="scene" n="3"/><div type="textpart" n="594" subtype="card"><stage>Enter MICIO and HEGIO.</stage><sp><speaker>MICIO</speaker><p> I can see no reason here, Hegio, that I should be so greatly commended. I do my duty; the wrong that has originated with us I redress. Unless, perhaps, you thought me one of that class of men who think that an injury is purposely done them if you expostulate about any thing they have done; and yet are themselves the first to accuse. Because I have not acted thus, do you return me thanks?</p></sp><sp><speaker>HEGIO</speaker><p> Oh, far from it; I never led myself to believe you to be otherwise than you are; but I beg, Micio, that you will go with me to the mother of the young woman, and repeat to her the same; what you have told me, do you yourself tell the woman, that this suspicion of Aeschinus's fidelity was incurred on his brother's account, and that this Music-girl was for him.</p></sp><sp><speaker>MICIO</speaker><p> If you think I ought, or if there is a necessity for doing so, let us go.</p></sp><sp><speaker>HEGIO</speaker><p> You act with kindness; for you'll then both have relieved her mind who is now languishing in sorrow and affliction, and have discharged your duty. But if you think otherwise, I will tell her myself what you have been saying to me.</p></sp><sp><speaker>MICIO</speaker><p> Nay, I'll go as well.</p></sp><sp><speaker>HEGIO</speaker><p> You act with kindness; all who are in distressed circumstances are suspicious,
<milestone n="606" unit="line"/>
                     <note anchored="true"><q>Are suspicious</q>: These lines are supposed to be founded on some verses of Menander which are still extant.</note> to I know not what degree; they take every thing too readily as an affront; they fancy themselves trifled with on account of their helpless condition; therefore it will be more satisfactory for you to justify him to them yourself. <stage>They go into the house of SOSTRATA.</stage>
                  </p></sp></div><milestone unit="scene" n="4"/><div type="textpart" n="612" subtype="card"><stage>Enter AESCHINUS.</stage><p>I am quite distracted in mind! for this misfortune so unexpectedly to befall me, that I neither know what to do with myself, or how to act! My limbs are enfeebled through fear, my faculties bewildered with apprehension; no counsel is able to find a place within my breast. Alas! how to extricate myself from this perplexity I know not; so strong a suspicion has taken possession of them about me; not without some reason too: Sostrata believes that I have purchased this Music-girl for myself: the old woman informed me of that. For by accident, when she was sent for the midwife, I saw her, and at once went up to her. "How is Pamphila?" I inquired; "is her delivery at hand? Is it for that she is sending for the midwife?" "Away, away, Aeschinus," cries she; "you have deceived us long enough; already have your promises disappointed us sufficiently." "Ha !" said I; "pray what is the meaning of this?" "Farewell," she cries; "keep to her who is your choice." I instantly guessed what it was they suspected, but still I checked myself, that I might not be telling that gossip any thing about my brother, whereby it might be divulged. Now what am I to do? Shall I say she is for my brother, a thing that ought:by no means to be repeated any where? However, let that pass. It is possible it might go no further. I am afraid they would not believe it, so many probabilities concur against it; 'twas I myself carried her off; 'twas I, my own self, that paid the money for her; 'twas my own house she was carried to. This I confess has been entirely my own fault. Ought I not to have disclosed this affair, just as it happened, to my father? I might have obtained his consent to marry her. I have been too negligent hitherto; henceforth, then, arouse yourself, Aeschinus. This then is the first thing; to go to them and clear myself. I'll approach the door. <stage>Advances to the door of SOSTRATA'S house.</stage> Confusion! I always tremble most dreadfully when I go to knock at that door. <stage>Knocking and calling to them within.</stage> Ho there, ho there! it is Aeschinus; open the door immediately, some one. <stage>The door opens.</stage> Some person, I know not who, is coming out; I'll step aside here. <stage>He stands apart.</stage>
               </p></div></div></body></text></TEI>
                </passage>
            </reply>
            </GetPassage>