'"LIBRARY ^ UNIVERSITY OF CALIFORNIA SAN DIEGO Students' Series at ILatm Classics P. TERENTI PHORMIO WITH NOTES AND INTRODUCTIONS (BASED, IN PART, UPON THE 2D EDITION OF KARL DZIATZKO) BY HERBERT CHARLES ELMER, PH.D. ASSISTANT PBOFBSSOK OP LATIN IN THE CORNELL UNIVBESITT ov v TroXX aXXa TroXu BENJ. H. SANBORN & CO. CHICAGO NEW YORK BOSTON 1916 COPYRIGHT, 1895, HERBERT CHARLES ELMER Nortoooto J. S. Cuehing & Co. Berwick k Smitb Norwood Mass. U.S.A. TO MY FATHER C. J. lEImer IN GRATEFUL REMEMBRANCE OF HIS CONSTANT DEVOTION AND ENCOURAGEMENT PREFACE. THOUGH the Phormio is admittedly one of the best of the plays of Terence, no annotated edition of it suitable for college use has yet been published in America. This fact alone makes it unnecessary, I hope, to apologize for the present volume. While the text of this edition is, in general, based upon that of Dziatzko, I have often ventured to deviate from his readings, prompted sometimes by suggestions that have been made since his edition was published, sometimes by a conviction that the testimony of the manuscripts, unless demonstrably false, is entitled to more consideration than arbitrary alterations. The Appendix is devoted almost exclusively to a defense of these deviations from Dziatzko's text and to the citation of authorities for statements made in the notes In preparing the commentary, I have had before me all important editions of the play and have taken occasional notes from that of Sloman and less frequently from that of Bond and Walpole. I would here express to Professor Karl Dziatzko my grateful appreciation of his courtesy in giving me per- VI PREFACE. mission to use, in any way that might suit my purpose, the very valuable material collected in his own edition of the Phormio, representing as it does a thorough study of all the literature upon Terence and allied subjects that had appeared up to 1884. Much, however, has been done in this field during the last ten years, and the results of such labors have, so far as seemed desirable, been incorporated in the present volume. I have thought it worth while to append below a classified bibliography of the literature especially concerned with Terence that has appeared since the completion of Dziatzko's edition. I feel myself under lasting obligations to Professor E. M. Pease, Editor-in-chief of the series to which this book belongs, to Professor C. E. Bennett of Cornell University, and to Professor H. N. Fowler of the Western Eeserve University, for the searching criticism to which they have subjected all parts of the book. I am further indebted to Professor Pease for his kindness in placing at my service his collation of the Codex Parisinus. H. C. ELMER. ITHACA, 1895. ABBREVIATIONS. A. & G. Allen & Greenough's Latin Grammar. B. Bennett's Latin Grammar. G. Gildersleeve's (Lodge) Latin Grammar. EL Harkness' Latin Grammar. CONTENTS. MM INTRODUCTION . . ix The Origin of the Greek Drama ..... ix The Early Greek Comedy ...... x The Later Greek Comedy xi Roman Comedy . . xiii History of the Text of Terence xxv Dramatic Entertainments, the Actors, the Stage, etc. xxviii Division of Plays into Acts and Scenes . . . xxxii The Metres of Terence xxxiii Adaptability of the Various Metres to Different Moods xxxvi Differences in the Manner of Rendering Various Rhythms ; Musical Accompaniment, etc. . xxxvii Prosody of Terence xxxix Language of Terence xliii The Phormio xlvi TEXT OF THE PHORMIO, WITH STAGE DIRECTIONS . . 1 TABLE OF METRES OF THE PHORMIO 70 NOTES TO THE PHORMIO . . ... .72 APPENDIX .......... J53 V INDEX TO NOTES 167 BIBLIOGRAPHY OF THE LITERATURE ON TERENCE SINCE THE COMPLETION OF DZIATZKO'S EDITION . . . 171 vii INTRODUCTION. The Origin of the Greek Drama. THE Greek drama had its origin in the village festival that was wont to be held each year, at the vintage time, in honor of Dionysus, the god of wine, the bringer of good cheer. Dio- nysus, in the popular fancy, was supposed to have wandered through the world, accompanied by a band of satyrs and nymphs, spreading his worship among men, encountering countless dangers and hardships in his progress, now falling into the hands of pirates and thrown into chains, now aiding the gods in their war with the giants, now being torn to pieces at the command of the jealous Hera, but springing up again with new life, and finally triumphing over all obsta- cles and bringing joy and blessing to all mankind. It was customary among the country folk, when they gathered in the grapes, to celebrate the adventures of this god, whose bounty they were about to enjoy. One member of the company would impersonate the god himself, and the others would act the part of his attendant satyrs; and the story of the god's adventures would thus, in a rude and impromptu fashion, be enacted. Some parts of this story were bright and gay, while others were sad and tragic ; and it was in these rude attempts to represent its different aspects that both comedy and tragedy had their origin. Tragedy, however, was earlier than comedy in reaching maturity. X t INTRODUCTION. The Early Greek Comedy. The word comedy (/cw/AwSt'a) means literally the "song of revelry " (KW/XOS, a8v), or possibly the song of the Ku>p.rj, i.e. "village song." The Dorians, and especially one Susa- rion (about 580 B.C.), seem to deserve the credit of having first dramatized the rude dialogue, in which comedy had its origin, and given it something like a literary form. The prin- cipal representative, however, of that branch of literature, be- I'ore it reached the perfection it attained during the period of Pericles, was Epicharmus, a contemporary of Aeschylus. He was born on the island of Cos about 540 B.C., and from there, at the age of three months, was taken to Megara in Sicily, where he spent most of his life and where he died about 450 B.C. But comedy did not reach any high degree of development until it was taken up by the master artists of Athens in the time of Pericles. The conditions of Greek life at this period were peculiarly favorable for developing this branch of writing. The intellectual activity and the highly developed political life of the times worked together to bring it rapidly to a position of great importance and influence. Cratinus, Eupolis, Phrynichus, are the first to be men- tioned as writers of the old Attic comedy, but these are of little importance in comparison with Aristophanes (fl. 427388 B.C.), who soon appeared upon the scene and became by far the most important representative of this school. It lies, of course, in the nature of comedy to depict the gay and humorous ; and at the time with which we are now dealing, the keen and ab- sorbing interest taken by all classes in politics gave direction to the popular comedy. Public men and affairs formed its material. These were subjected to that keen wit with which the Athenians, above all others, were endowed. With refer- ence to form and technique, it was natural enough that comedy should for the most part be modeled after the outlines marked out by writers of tragedy, which already existed in a highly developed form. From tragedy, too, comedy largely drew its material for parodies. INTRODUCTION. XI The unfortunate result of the Peloponnesian War, which broke the fresh, self-conscious vigor of Athens, forms a turning- point in the history of Attic comedy. With eager participation of the people in public affairs, died out also their interest in them; other and narrower interests above all, material inter- ests began to engross their attention. They had been wont to spare neither pains nor expense in organizing, equipping and training a chorus as an essential feature of every play. But now, while they still continued for a time to furnish the chorus, they no longer felt the old pride in providing it with an elabo- rate outfit, or in training it when equipped ; and their growing indifference ultimately resulted in its being given up altogether. In fact the Plutus of Aristophanes, the latest of the eleven plays of that author which have been preserved to us, shows that a decided change in this respect has already taken place. In lieu of choral parts having an organic connection with the play, is found between the acts a song, borrowed from some other source. The Later Greek Comedy. The new Attic comedy, which does not appear fully developed till the latter part of the fourth century, is almost wholly sev- ered from all connection with public life and shows, in compari son with the old comedy, a lack of variety in the subjects treated, a decline in powers of invention, and lack of the old boldness in handling materials. We have, however, some com- pensation for this loss. As a result of continual painstaking practice, there is greater smoothness, a more artistic finish in language and action, a treatment showing closer attention to detail, and a more polished technique. Comedy now is a tame society play, dealing merely with the manners and customs of family life. Even the materials that chance to be borrowed from other sources, e.g. from mythology, are treated in like man ner. The abuses practiced in public life no longer receive notice even by so much as an allusion. At the same time personal Xii INTRODUCTION. attacks upon individuals have ceased; only typical characters, such as bragging soldiers, sponging parasites, and insolent syco- phants, are held up to ridicule. As compensation for this nar- rower range of subjects, appears invention of new situations and of amusing complications out of which the same ever-re- curring characters have to extricate themselves. In this respect the fruitful, untiring genius of the poets of the new comedy challenges our admiration, though our estimate of them is based upon mere fragments from their plays and upon Latin plays that are modeled after them. With reference to dramatic arrangement and technique, the new comedy as well as the old is modeled after tragedy, and especially after the tragedy of Euripides. It is characterized by the same moralizing tone prevalent in the works of that author. The numerous maxims, however, which lend this color are, in the new comedy, brought into the play only incidentally, while in the old Attic comedy, with its vigorous assaults upon every- thing that was blameworthy, they seemed an organic part of the play itself. Among the poets of the new Attic comedy, of whom there were more than sixty, the most distinguished in the judgment of antiquity was Menander (342-290 B.C.). Next to him, Phile- mon. Diphilus. Philippides, Posidippus, and Apollodorus of Carystus, are to be named as the favorite writers of comedy. Of the original productions of these poets only a few fragments have come down to us. We have, however, Latin adaptations from some of their plays in the two great comic poets of Rome, Plautus and Terence. Of course the transition from the old to the new comedy was a gradual one. It extended over a period of fifty years, from the Plutus of Aristophanes (presented first in 408 and again, this time in a revised form and without chorus and parabasis, in 388) to about the time of the Macedonian sovereignty (338). The best known poets of this period are Aiitiphaiies and Alexis. Whether we should look upon this so-called middle comedy as forming a distinct type by itself may be questioned j INTRODUCTION. Xlll but at any rate the division into the old and the new is an im- portant one, and each of these two classes is marked by well- defined characteristics. The new comedy, in its development, coincides with the political decline of Greece and with the gradual decay of her art. As compared with the old comedy, it shows in many re- pects unmistakable retrogression. As a natural result, how- *rer, of the conditions already indicated, it is free from that distinctly local coloring, which makes even a play of Aris- tophanes often unintelligible to one who is not familiar with the condition of affairs in Athens at the time the play was written ; it has the cosmopolitan character, which becomes, during the fourth and third centuries before Christ, more and more peculiar to Greek life. It was owing to this peculiar cosmo- politan character that the new comedy, about the middle of the third century before Christ, found a welcome in Rome a city highly developed politically, but as yet without a literature. That the comic poets of Rome chose the material for their translations and adaptations exclusively from the new (and the so-called middle) comedy, is not then due wholly to the fact that that kind of writing was still flourishing when Roman litera- ture began. Roman Comedy. The ancient Romans, like the Italians of to-day, had, as one of their notable characteristics, a fondness for the dramatic, and especially for the comic. Vergil, in Georg. II. 385-396 (cf. Hor. Ep. II. 1, 139 ff.), pictures the gaieties of rural festivals, at which improvised jests, in rude verse, were exchanged in animated dialogue. These versus Fescennini, as they are commonly called (after the town of Fescennia), had no liter- ary importance ; but still we see in them germs similar to those from which the Greeks developed their artistic comedy. It is interesting also to note that a process of development seems to have set in on Roman, much as it did on Greek, XIV INTRODUCTION. soil. As a demand was felt for something less rude thait these versus Fescennini, a form of representation arose for which preparation was made beforehand and less was entrusted to improvisation. To add to the interest of the entertainment, the verses were now accompanied by music and dancing, and the whole performance in this improved form took the name of Satura. These performances, if we may accept the com- mon view regarding the meaning of the term saturae, 1 seem to have been devoid of any connected plot, but they demanded a certain amount of care and skill on the part of the per- formers, and accordingly a class of people began to devote special attention to acting as a profession. We must of course look upon these saturae (of which the contents were of a purely local character, and the structure even yet not artistic) as entirely different from the Greek comedies as far as their contents and their structure were concerned. A nearer ap- proach to dramatic form was made in the fabulae Atellanae, so-called because they are said to have originated in the Cam- panian town of Atella. The fabulae Atellanae were broad farces in which figured stock characters analogous to the clown, pan- taloon and harlequin of a modern pantomime. Rude as all these performances were, they nevertheless awakened in the Ro- man public an interest in dramatic representations. Under favorable circumstances they might have developed into an artistic drama that would have been truly Roman in thought and feeling. But there now appeared on the scene an influence that was destined to dominate the whole course of Roman literature. After the war with Pyrrhus, the Romans came into closer con- tact with the Greek cities of southern Italy and Sicily, and had their attention called to the creations of Greek genius. They 1 In an interesting paper on "The Dramatic- Satura and the Old Comedy at Rome" (Am. Journ. Phil., Vol. XV.), Hendrickson further develops the theory of Leo that satnra in Livy (7, 2) is merely the designation of au assumed Roman parallel to the old Greek comedy. INTRODUCTION. XV never recovered from the spell that was thus cast about them, instead of attempting to create a literature of their own along independent lines, they now devoted themselves chiefly to copy- ing the masterpieces of Greece. The first fruits of this new influence were seen in mere translations and adaptations from the Greek. The comedies that were thus translated, or adapted, are called fabulae palliatae, from the Greek cloak (pallium) worn by the actors, to distinguish them from the fabulae togatae in which Roman manners were represented. The first writer to be mentioned in this connection is Livius Andronicus, who was born at Tarentum about 284 B.C. After the capture of his native city in 272 B.C., he became the slave of M. Livius Salinator, who, charmed by the talents of the young man, soon afterwards gave him his freedom. In 240 Livius was engaged to produce, as one of the attractions of the ludi Rmnani, two Latin plays, a tragedy and a comedy, adapted from Greek origi- nals. Such dramatic entertainments had for a long time been regularly given in the original Greek in the towns of southern Italy and so were more or less familiar to the Romans. These performances found such favor at Rome that from this time on they became a regular part of the games. Livius Andronicus must then be looked upon as having introduced a new era for the Roman people. In Livy the historian (7, 2), the existence of a connected plot and the systematic arrangement of the con- tents are designated as the features that distinguished the new drama from the old satura. It was further distinguished by the employment of Greek metres and by differences in the form of representation. Only a few fragments of the plays of Livius have come down to us. We know, however, that he was held in so great esteem at Rome that, in honor of him, the tem- ple of Minerva on the Aventine was appropriated to the use of scribae et histriones, who organized themselves into a sort of poets' guild. Another writer, likewise active in both tragedy and comedy, was Cn. Naevius, a native of Campania, born about 265 B.C. Being a Latin by descent, he took part in the First Punic War, XVI INTRODUCTION. a conflict which he afterward described in Saturnian verse. After 235 B.C., we find him noted at Rome as a fiery and popular poet, especially in the field of comedy. Fragments of thirty of his comedies have come down to us. The violent attacks which he made on the highest families of Rome led ft his imprisonment and later to his banishment. He died in exile in 201 B.C., or, according to some authorities, a little later. T. Maccius Plautus was a writer of comedies only. He was born at Sarsina in Umbria, about 254 B.C. On coming to Rome, he found employment at the hands of certain theatrical mana- gers. What he saved from his earnings here he subsequently lost in foreign speculation, after which he returned penniless to Rome and was compelled to earn his bread at hard labor in a mill, a duty generally reserved for the lowest slaves. His employment in the theatre, however, had interested him in the stage, and he resolved to turn to account the knowledge this experience had given him. He accordingly found time, even amid the unfavorable conditions surrounding him, to write comedies, and in a short time he became the most popular of comic poets. His death came in 184 B.C., but the popularity of his plays remained undiminished ; and when, after the middle of the second century B.C., it became customary, instead of pre- senting new plays, to bring the old again and again upon the stage (see p. xxv), the comedies of Plautus long continued to be among the chief attractions of the theatre. So great indeed was his popularity that plays of other writers were frequently given out under his name, to create a prejudice in their favor. One hundred and thirty plays were at one time ascribed to him. Of these Varro pronounced twenty-one as certainly genuine, nineteen others as probably so. All but one 1 of these twenty- one genuine plays have come down to us, although some are in a more or less fragmentary condition. The Ambrosian palimpsest of Plautus (of the fifth century) originally con- i The Vidularia. INTRODUCTION. XV11 tained also the lost play, as three leaves of this Ms. still bear witness. We hear of a certain M. Plautius, belonging to about the same period, who was also a writer of comedies, but we know nothing very definite about him. The similarity between his name and that of Plautus may easily have brought it about that his plays were ascribed to the better known poet. Q. Eimius is chiefly noted for his epic poem called Annales in which he relates, in eighteen books, the entire history of Rome from the earliest times down to his own for his saturae, and his tragedies. But he also attempted comedy, and so deserves mention here. He was born at Rudiae in Calabria in 239 B.C. He was brought to Rome from Sardinia in 204 by the quaestor M. Porcius Cato, and here he seems to have lived in moderate circumstances as teacher of Greek and as stage poet. In 184 B.C. he received the right of Roman citizenship which he lived to enjoy for fifteen years. None of his come- dies have come down to us not even in fragments of any importance. The next poet worthy of mention in this connection is Statius Caecilius, who enjoyed an enviable reputation among the ancients as a writer of palliatae, and who was an important forerunner of Terence. An Insubrian by birth, he came to Rome about 194 B.C., probably as a captive taken in war. Later, how- ever, he was given his freedom. His first attempt at comedy failed and was not even heard to the end by the impatient audience ; but he toiled on till he won literary fame and a name among comic poets second only, as yet, to that of Plautus. He died soon after Ennius, with whom in life he had been on the most intimate terms. We now come to a poet who calls for a more extended notice, one whose name is always coupled with that of Plautus as one of the two greatest names in Roman comedy, Publius Teren- tius Afer. He was a native of Carthage. His surname, Afer, however, makes it probable that he was not of Phoenician blood, but that his parents belonged to one of the African XV111 INTRODUCTION. tribes subject to the Carthaginians. 1 The date of his birth was about 190 B.C. 2 At an early age, he came to Rome as a slave of the senator Terentius Lucanus, though how this fact should be explained is a disputed question. He can hardly have been taken captive in war, as he was born after the end of the Second Punic War and died before the beginning of the next war with Carthage. Possibly he was carried off by enemies of his native city, in early youth, and later brought to Rome. Be this as it may, his master, struck by the talent and the prepossessing ap- pearance of the boy, not only caused him to be carefully edu- cated, but also gave him his freedom. The associations to which he had been accustomed in the house of his master 1 For the meaning of Afer, see Em. Baehrens (N. Jahrb. f . Phil. 1881, p. 401 f .) . His attempts, however, to show that this is inconsistent with the tradition that Terence was born at Carthage, is far from convinc- ing. There must have been many enslaved Afri (Greek A^Sues) in Carthage, and if we suppose Terence to have been the son of one of these, to have been brought to Rome and to have been named, as was customary in the case of slaves, after the nation to which he belonged, he would naturally have been called Afer (not Poenulus, even though born at Carthage). For parallel instances in the case of soldiers of imperial times, cf. Th. Mommsen, Herm. XIX. 29 ff., especially p. 35 f. 2 The date generally given is 185 B.C., in accordance with Suetonius in his vita Terenti, p. 32 (ed. Ritschl in Reifferscheid, Suet. p. 26 ff. and 481 ff . = Opusc. Ill, 204 ff .) . But H. Sauppe (Nachr. d. Gott. Ges. 1870, p. Ill ff.) has made this seem very improbable. The year of Terence's birth, like that of many other famous men of antiquity, was not definitely known even to the scholars of ancient Rome. In attempting to estab- lish the date they acted on the supposition that Terence was of the same age as P. Scipio Africanus the younger. But we know that Terence brought out his first piece, the Andria, as early as 166 B.C., in view of which fact we are, Sauppe thinks, forced to conclude that he must have been several years older than Scipio. Otherwise the Andria must have been produced when the author was only nineteen years of age, and such a production would have required several years of careful preparation. But it bears every evidence of being the work of mature years. To be sure, Terence does not deny the taunt of his opponent (Heaut. Prol. vs. 23), Repente ad studium hunc (Terentium) se adplicasse musicum. INTRODUCTION. xix made it easy for him to keep up his connections with the nobility of Rome. The same traits of character which had procured for him his freedom assured him the favor of the sons of the highest families ; for one must remember that at that time in Rome it was for the most part the patricians, who, in art and literature as well as in politics, looked beyond the narrow boundaries of fatherland and felt a lively interest in a broader and higher intellectual culture. Among the friends of Terence who were members of the nobility, ancient authorities name Scipio Africanus the younger, C. Laelius, and L. Furius Philus. From the first he seems to have held himself entirely aloof from the narrower circle of the poets of Rome, who, as has already been pointed out (p. xv), had formed themselves into a guild. This at any rate is the simplest explanation of the story that the aged poet Caecilius, to whose approval Terence was obliged to submit his first play, the Andria, before the aediles would allow it to be produced at the games, knew nothing at all of the young poet. The passage already cited from Heaut. Prol. vs. 23 f. harmonizes with this supposition: Repente ad studium hunc se adplicasse musicum, Amicum ingenio /return, hand natura sua. The open jealousy and hatred felt toward Terence by other poets arose largely from his disinclination to affiliate with them. Content with the applause which he won from the ranks of the nobility, he cared little for the approval of others. It was believed by many in antiquity that the distinguished But from this we are to infer merely that he had not made himself known among the poets of Rome long before his first appearance with a drama. Indeed, the statement that he had suddenly, i.e. unexpect- edly, adopted the poet's calling, seems more naturally used of a man who, in his earlier years, had not followed such pursuits, or at least had not let it be known that he did. Lastly, the poet is not, in any of his prologues, obliged to defend himself against the charge of ex- treme youth; on the contrary, he himself (Heaut. Prol. vs. 51) scorn- fully speaks of his opponents among the spectators as adulescentuli. XX INTRODUCTION. friends of Terence, above referred to, aided him in his literary work, and even that large parts of his dramas were written by them. This report originated with those who were jealous of Terence's success, and it probably gained credence from the non-committal words of the poet when referring to that re- port. It can hardly be doubted that Terence actually did receive much encouragement in various ways from his noble friends and even profited at times by their advice, but further than this there is no good reason to suppose that he was de- pendent upon them. His language, to be sure, is that of the highest and most cultured society of his time, but this is to be looked upon as a result of his constant intercourse with that society, and need not cast any suspicion upon the authenticity of his plays. The literary tendency of the times, as well as his own inclina- tion, led the poet to devote his activity to the fabula palliata, although the period of its decline was now near at hand. Ter- ence produced his first comedy, the Andria, at the ludi Mega- lenses, in April, 166 B.C. The aediles, who had charge of the games, had some misgivings about allowing the presentation of a play by an entirely unknown poet. He was accordingly induced to submit his play first to the older poet Caecilius, for approval. Regarding the meeting between these two poets, the following story is told. Terence found Caecilius at dinner, and, as the caller was meanly dressed, he was given a seat on a bench near the couch on which the great author was reclining, and was then given permission to read what he had written. After the first few verses had been read, Caecilius was so capti- vated by the young man's talents that he invited him to a place beside him upon the couch. He then listened attentively and with unbounded admiration to the remainder of the play. 1 1 Hieronymus, in Euseb. Chron. Olymp. CL 2, places the death of Caecilius in the year after that of Eunius (who died 169 B.C.). But the Andria was not produced till 166 B.C. The question arises whether the date of Caecilius' death, as given in Hieronymus, rests upon an INTRODUCTION. XXI The order of presentation of the plays of Terence, during the lifetime of the poet, may be seen from the following table : Andria at the ludi Megalenses, 166 B.C. Hecyrai " " " 165 " Heauton timorumenos ..." " " 163 " Eunuchus " " " 161 " Phormio " " Romani 161 " Hecyra " " 'funerales of Aemilius Paulus, 160 B.c.2 Adelphoe 8 " " funerales of Aerailius Paulus, 160 B.C. Hecyra " " Romani, 160 B.C.* Four of these are translations from Menander; two (Hecyra and Phormio), from Apollodorus of Carystus, who flourished between 300 and 260 B.C. It is not to be wondered at that the earliest writers, in adapt- ing the productions of foreign genius to Roman ears, should give them something of a native character, and we accordingly error, or whether the first production of the Andria, in spite of the praise accorded it by Caecilius, was postponed for several years. Dziatzko agrees with Ritschl in the supposition that, in Hieronymus' words: mortuus est (Caecilius) anno post mortem Ennii et iuxta lanic ulum . . . , a numeral has fallen out after Ennii, and that it should read anno ... Ill (tertio) , or, as Dziatzko thinks more probable, IIII or IV (quarto) . 1 This attempted presentation, however, proved a failure; and tradi- tion accordingly assigns the Heaut. to the second place, the Eun. to the third, etc. 2 Second unsuccessful presentation. 3 Pet. Langen (Phil. Eundsch. 1881, p. 1122) claims that Terence called the play Adelphi, and that the ending -oe is due entirely to the composer of the didascalia. But Heaut. Prol. 5, Heauton timoru- menon, and Phorm. Prol. 25, Epidicazomenon, show that, in the titles of fdbulae palliatae at the time of Terence, not only the Greek names, but also the Greek terminations, were retained so far as possible, except where a Greek word had been naturalized in Latin as is the case, for instance, with Eunuchus. * Third and successful presentation. XX11 INTRODUCTION. find that all the plays of Plautus bear Latin titles (Asinaria, Aulularia, Captivi, etc.), except in plays like the Amphitruo and the Epidicus, where the title is taken from the Greek name of a person in the play. The plays of Plautus, too, abound in Roman allusions, although the general coloring, even in Plautus, is of course distinctly Greek. Later, however, as the influence of Greek culture came to be more widespread, there was an ever-increasing tendency to make the Latin plays more nearly like the Greek from which the plots were taken. Indeed, the contemporaries of Terence, among them his chief adversary, Luscius Lanuvinus, made it a point of attack that he departed so far from his Greek original, as to weave into the general plot of his drama such scenes from other Greek comedies as particularly struck his fancy. This was done in the case of the Andria, the Adelphoe, and the Eunuchus; per- haps also in the Hecyra (Rh. Mus. XXI. 80 f.). This process of combining parts of different plays into one was maliciously called contaminatio. Except in this one respect, Terence has followed his Greek originals very closely, and the Roman allu- sions, which are so common in Plautus, are almost entirely wanting in Terence. The taunts of his enemies regarding his habit of combining parts of two plays into one had no effect upon him, except that he was led repeatedly to justify the practice in the prologues of his plays (cf. Andr. Prol. 13-21, Heaut. Prol. 16-21, Ad. Prol. 1-14, Eun. Prol. 31-33). There was still another point with reference to the subject- matter of a play which the critics of that time considered important, viz. that plays must be entirely new, i.e. the Greek original was to be one that had not been reproduced, either as a whole, or in part, by any other Latin poet, and so < one that was entirely unknown to the spectators. 1 This requirement 1 This principle is stated in a humorous connection in Plant. Pseud. 568 if. : nam qui in scaenam prouenit, Nouo modo nouom aliquid inuentum adferre addecet. Si id facere nequeat, det locum UK qui queat. INTRODUCTION. XX111 of respect for the product of another's genius is noteworthy as showing that a play, of which a translation, or an adapta- tion, had been made by a Latin poet, was thenceforth looked upon as his own property. Terence as a rule respected this principle. In several cases, where his enemies accuse him of theft (furtum), he proves his production to be entirely "new" (cf. Ad. Prol. 6-14), or excuses himself on the plea of ignorance of any previous use of it. But it may be doubted, from his words in Eun. Prol. 27 (Si id est peccatum, etc.) and 35 ff., whether he looked upon the use of a Greek drama, or a part of one, by several Latin poets, as a very serious offense. All six plays of Terence met with great applause from the public, though the Hecyra was not received with favor until the third attempt to present it. The greater attraction, formed by other amusements at the time of the first and second attempts to present this piece, made it impossible to act any of it the first time, and only one act of it at the second attempt (cf. Phor. Prol. 31 ff . ; Hec. Prol. I. and II.). The Eunuchus, on the other hand, met with such success that its production was repeated (probably on the same day), and the poet received therefor the unusually large sum of eight thousand sesterces (about three hundred and thirty dollars). After the third production of the Hecyra, in 160 B.C., Terence left Rome for Greece, probably to acquire a more intimate knowledge of the life and customs of the people of that coun- try. In the following year, 159 B.C., the poet died, while on the point of returning to Rome with translations which he had recently made of other comedies. He met his death either by shipwreck off the island of Leucas, or else, after losing his bag- gage and his manuscripts by such a mishap, died at Stymphalus in Arcadia. He left a daughter, who was afterward married to a Roman knight. His property at the time of his death probably consisted of twenty acres of land, though another account rep- resents him as having been reduced to absolute poverty. Regarding the personal appearance of Terence, Suetonius says : Fuisse dicitur mediocri statura, gracili corpore, colore fusco. XXIV - INTRODUCTION. As a poet Terence is especially noted for the artistic finish and refinement of his productions. The plots of his plays are carefully thought out and cleverly managed, the poet at times departing from his Greek original, where he can by so doing better serve his artistic purpose. No less carefully studied is his portrayal of character and of the motives which prompt to action the persons with whom he is dealing. To be sure, for all that is essential and best he was indebted to his Greek originals, but he deserves homage for having successfully re- produced these merits in his own plays. Indeed, in some of the details, he has even ventured to make improvements upon his originals. 1 As to the language of Terence, it is at all times se- lect and pure and may pass as the best example we have of the colloquial language as used by the more refined circles of Ro- man society. Cicero and Caesar, who must surely be looked upon as competent judges, accord him in this respect the highest praise. But the excellences above mentioned are such as de- pend chiefly upon thought and study and painstaking. On the other hand one cannot fail to notice in Terence, as compared with Plautus, a certain lack of vigor, of sparkling, spontaneous wit, of liveliness, of variety in his characters, and of power in depicting passion. Upon the absence of these characteristics, the enemies of Terence based their accusation that his plays were "tenui orations, et scriptura leui" (Phorm. Prol. 5) ; and even Caesar complains that the " lenia scripta " of Terence lack " uis comica." It was probably for this reason, too, that Volcacius Sedigitus (about the end of the second century B.C., author of a treatise de poetis), in naming the ten most noted writers of fabulae palliatae- in the order of their merit, assigned Terence to the sixth place. It is further to be noticed, that no development in the genius of the poet can be discovered in the course of his productions. This is, without doubt, due for the most part to the repression 1 Cf . e.g. Dziatzko's remarks on the marriage of Mieio in his edition of the Adelphoe, p. 4. INTRODUCTION. XXV of the individuality of writers of palliatae in general, and espe- cially at the time of Terence, but it is due in part also to the shortness of the period through which his entire literary activity lasted. At any rate, it is quite impossible for us to designate any one of his six plays as the immature work of his youth. History of the Text. After the death of Terence, the writing of fabulae palliatae almost ceased. 1 In the absence of new productions, the custom now began of presenting again upon the stage the plays of former poets. It was but natural that many changes should be made in these old plays to make them better suited to the altered conditions under which they were to be reproduced, though Terence has suffered but little in this respect as com- pared with Plautus. 2 The plays of Terence, during the first decades following the middle of the second century B.C., were repeatedly brought upon the stage. To this fact the didascaliae bear undisputed testimony (Rh. Mus. XX. 591 ; XXI. 64 ff.). 1 In the prologue to the Casina of Plautus, which was written about 154 B.C., or soon thereafter, we find the following (vs. 9 f .) : Nam nunc nouae quae prodeunt comoediae, Multo sunt nequiores quam nummi noui. Turpilius, the last important writer of palliatae, lived, to he sure, till 103 B.C., but he probably ceased writing at an early date (Ritschl, Par- erga, p. 188, Rem.). Men like Fundanius (Hor. Sat. I. 10, 40 ff.), Ver- gilius Roman us (Plin. Epist. VI. 21), and M. Pomponius Bassulus (of the end of the first century A.D.) translated Greek comedies, but these productions were intended only for reading. 2 There can be no doubt that the comedies of Plautus are preserved to us in the form which they received to fit' them for reproduction long after the time of Plautus. With Terence the case is different. The fact that the prologues to his plays, though appropriate only for the particular occasion for which they were written, have come down to us unchanged, is a clear proof that, at the time when the comedies of XXVI INTRODUCTION. As early as the second half of the second century B.C., schol ars began, in imitation and emulation of the Greek grammari- ans, to turn their attention to the study offabulae palliatae. The texts of the comedians were brought together in suitable form for reading, special care being taken to preserve, as far as pos- sible, different readings wherever such existed. Xotes, too, on the history of the different plays were collected and arranged in a connected manner. Lastly, Roman scholars wrote various treatises on the scenic and linguistic peculiarities of the old comedians and on other topics of interest to the student of literature. Among these were L. Accius (the famous writer of tragedy), Porcius Licinus, Volcacius Sedigitus, L. Aelius Stilo, Aurelius Opilius, Q. Cosconius, Serv. Clodius, and above all M. Terentius Varro, whose works, distinguished as they were for their learning and practical wisdom, formed the chief source of information for the historians of literature. The material for these works was drawn from the actors' copies of the plays, so far as they could be procured, and from the rec- ords of magistrates regarding the productions of plays brought out under their supervision. Consideration for the convenience of the reader led to the practice of indicating at the beginning of each scene the characters who take part in that scene, and of dividing plays into acts (see pp. xxxii f .). Plays still continued to be presented on the stage, but they were -more successful in the provincial towns than at Rome, where the givers of games, pandering to the altered tastes of the crowd, gave them scenic representations of a more stirring character. The plays of Terence, who always continued to be extensively read in antiquity, at length became corrupt through glosses, in- terpolations, and errors in copying. As a perfect understanding of the text in all its details was impossible without aids, full corn- Terence began to be extensively copied, people had the will aiid the means to transmit them to posterity in their original form. Of the prologues of Plautus, on the contrary, not one that was written for any production of the play shows a form that was suitable only for the first production. INTRODUCTION. XXV11 mentaries became very common early in imperial times, and these of course offered a good basis for revisions. Such com- mentaries were prepared by Probus (probably M. Valerius Probus, about the middle of the first century A.D.), Aemilius Asper, Arruntius Celsus (perhaps only to the' Phormio), Helenius Aero, Euanthius, and the somewhat later Aelius Donatus (about the middle of the fourth century A.D.). We have a commentary, bearing the name of the last-mentioned scholar, to five of the plays (that to the Heaut. being lost). This is a confused compilation of extracts from different commentaries (at least two), which themselves contained valuable explanatory comments from older works of a similar nature. In the first half of the second century A.D., a period charac- terized by great zeal in the study of the older Latin literature, metrical arguments to the plays of Terence (periochae), of twelve verses each, were composed by C. Sulpicius Appolli- naris, a native of Carthage, the teacher of A. Gellius and of the emperor Pertinax. In the Mss. these arguments are prefixed to the text of the respective plays. In the course of time, the text of the comedies of Terence had become so corrupt that the necessity was felt of a thorough and comprehensive revision of the text, and such a revision was undertaken by a certain Calliopius. 1 The name of this man is appended to all the known Mss. of Terence, with the single exception of the Bembinus. It will readily be seen that this circumstance renders the Bembinus of special im- 1 See Umpfenbach's critical apparatus. Nothing certain is known regarding the character, or the time, of Calliopius. According to Konr. Braun, Quaest. Ter. (Gottingen, 1877), p. 21, the Calliopian recen- sion dates from the end of the third, or the beginning of the fourth, century ; according to Fr. Leo (Rh. Mus. XXXVIII. p. 331), from the third century, while some scholars differ from these views so far that they assign it to the seventh century. Dziatzko (Commentationes Wolffliniae, Leip. 1891) and Schlee (Scholia Terentiana, Leip. 1893j rep- resent the latest views in assigning it to the fifth century. XXVU1 INTRODUCTION. portance as preserving the older and frequently the better read- ing. See Introd. to App. Dramatic Entertainments, the Actors, the Stage, etc. It should be noted that, for some time after Livius Andro- nicus, dramatic performances in Rome were given only at the ludi Romani or maximi (in September) under the supervision of the curule aediles. Somewhat later they formed a part likewise of the Megalesia (in April), given under the direction of the curule aediles, of the ludi plebei (in November), given by the plebeian aediles, and, after 211 or 212 B.C., of the ludi Apollinares (in July), given by the praetor urbanus. To the officials who conducted the games, a specified sum of money was furnished by the state, for the purpose of defraying the expense attending the occasion. In the course of time, as the games took on a more elaborate character, the sum donated by the state had to be increased repeatedly, and even then those who had them in charge frequently had to make liberal contributions from their own private means. Besides the games that were thus cele- brated on behalf of the state, there were also others given on extraordinary occasions, viz. at ludi funebres (or funerales), in honor of celebrated men, those accompanying dedications and triumphs, and those given as votive offerings. Down to 174 B.C. these dramatic performances took place near the temple of the deity chiefly concerned in the festivi- ties. 1 Permanent theatres of stone, such as were later built on a scale of great grandeur, were as yet unknown. When a play was to be produced, a wooden stage was erected for the purpose and then torn down after the performance. This stage was ordinarily built near the foot of some hill, or slope, so that the rising ground might afford convenient seats i Funeral games (perhaps also the ludi Romani) took place in the forum. That the ludi Apollinares at least, in the beginning, were given in the Circus Maximus, is clear from Liv. 25, 12, 14. INTRODUCTION. XXIX for the spectators, while those in front would not obstruct the view of those in the rear. On such a slope the people as- sembled under the open sky. As no seats were provided for their accommodation, they usually sat, or reclined, upon the ground. The more fastidious sometimes had stools brought for them from their homes, although this was looked upon as a mark of effeminacy and was even forbidden. In 179 B.C., a stage of stone was erected near the temple of Apollo, but this was of small dimensions and was probably intended for use only at the ludi Apollinares. Five years later, arrangements were made, on the part of the state, for the building of a sub- stantial, immovable stage, 1 but this, if it was actually built, seems soon to have disappeared. In 146 B.C., L. Mummius built a complete theatre, provided with rows of seats, but this was of wood, and was torn down after each performance. Finally, in 55 B.C., was dedicated the stone theatre of Cn. Pompeius, the first permanent theatre erected in Rome. It was capable of accommodating forty thousand spectators. The dramatic performances usually took place between pran- dium (about twelve o'clock) and cena (after three o'clock), so that when we consider the other amusements that formed a part of the day's exercises, it seems hardly possible that more than one play could, as a rule, have been presented on any one day. Later, in Cicero's time, the custom of giving these per- formances in the early morning was introduced. When the ludi scaenici were to be given, the fact was an- nounced by a crier (praeco), that the people might assemble at the proper place. Immediately before the performance began, there was a tituli pronuntiatio, an announcement of the subject of the play; but sometimes the prologue itself conveyed to the audience their first information regarding the subject of the play and the name of the poet. The actors were slaves, or, in later times, freedmen, this profession being considered beneath the dignity of free-born men. The dominus, or general man- l Kitschl, Parerg. p. 227. XXX INTRODUCTION. ager of the troupe was a freedman who also took part in the acting and was sometimes called the actor (i.e. par excellence). At first, poets were wont to bring out their plays themselves, hiring slaves and freedmen for the purpose, but this practice ceased at an early date, and, as early as Plautus, the poet him- self was no longer actor also. The Stichus of Plautus, for in- stance, according to the didascalia, was brought out by T. Publilius Pellio, 1 who is severely criticised by the poet himself (Bacch. 214 f.) for the manner in which he put the Epidicus on the stage. To these theatrical managers application was made by those who wished to give dramatic entertainments. The poets had business relations, for the most part, only with the actores, who bought, or rejected, their plays, and these actores accordingly were very influential in determining the fate and encouraging the development of poetic talent. In exceptional cases, how- ever, the givers of the games, as they were men of experience in such matters and naturally felt great interest in the success of the performances, had a voice in the selection of the plays to be presented. All financial risk attending the presentation of a play had to be borne by the theatrical manager (the dominus). As it was of great importance to the givers of the games, that the people should be pleased with the amusements provided for them at such great expense, a reward was offei - ed to the dominus, varying in amount according to the success of the play given by him. 2 This of course was calculated to secure the choice of the best possible play and to assure its presentation in the best pos- sible manner. The dominus on his part was accustomed, after a successful performance, to reward the deserving actors of his company with a banquet. Cf . Plaut. Cist., end ; Rud. 1418 ff. As regards the external equipment necessary for the dra- 1 On the name, see Studemund in Comment, in hon. Momms. p. 800 f . 2 The assertion of Mommsen, Bom. Gesch. I. 8 p. 889, that the poets received their reward only when the play did not prove a failure, has not been substantiated. INTRODUCTION. XXXI matic performances, this was provided by contractors (conduc- tores in Plaut. Asin. Prol. 3), under the supervision of the party who gave the games. 1 Among the Greeks, the number of actors allowed upon the stage at any one time was limited. This was not the case among the Romans, as there could be any number of actors which convenience might dictate. The dominus gregls did not, of course, care to increase the number unnecessarily, on account of the additional expense, preferring rather to produce a play with a few superior actors than with a larger number of in- different ones. The Latin fabula palliata resembled the later period of the new Greek comedy in having no chorus. In ex- ceptional cases, there seems to have been something similar to it, probably in imitation of the Greek original, e.g. the chorus of fishermen in Plaut. Rud. (vs. 290 ff.) ; but this was placed, not in the orchestra, but upon the stage. There is nothing of the kind, however, in Terence. Female characters were, until comparatively late times (cf. Donatus on And. IV. 3, 1), impersonated by male actors in female dress. An exception to this rule must, however, be made in the case of the mimes (mimi), in which the female parts were really taken by women. It is needless to say that these women, like all the other actors in mimes, were in very bad repute. The custom of using masks seems to have been introduced soon after Terence by the theatrical managers, Cincius Faliscus and Minucius Prothymus. Up to that time actors depended for their effects upon wigs and rouge. The plot in the fabula palliata is invariably laid in a Greek town or colony, usually in Athens. When the action was supposed to be taking place in a town, the proscenium repre- 1 The costumes of the actors were provided by the choragus, whom Mommsen (Rom. Gesch. I. p. 886) regards as identical with the domi- nus gregis. See, however, Dziatzko, Inaug.-diss. Thes. VI., and Friedlander, p. 525. XXX11 INTRODUCTION. sen ted an open street in that town. The background was ordinarily formed by three private houses, corresponding to the three entrances to the royal palace as represented on the stage in Greek tragedy ; in place of one of these was sometimes the front of a temple, when the character of the play made such a building necessary. Narrow alleys also opened from the back of the stage into the street (cf. Phorm. 891 f.). Upon the stage stood, according to Donatus, two altars one on the right, dedicated to Liber, another on the left, dedicated to the deity chiefly concerned in the festivities of which the production of the play formed a part. On this point, however, there are differences of opinion. 1 On the right (from the point of view of the spectatoi's) the street was supposed to lead to the forum and the interior of the town; on the left, to the harbor and foreign countries. Division of Plays into Acts and Scenes. A division of dramas into acts was already known in the time of Plautus and Terence, but it does not as a rule seem to have been clearly marked by the writers themselves. It was left rather to the discretion of the theatrical manager to intro- duce intermissions at suitable places in the play. This is per- haps the reason why the manuscripts, at least all the oldest of them, have no divisions into acts. Definite divisions were, how- ever, established by the grammarians and the commentators of antiquity (though these sometimes differ among themselves), and five was settled upon as the proper number of acts for a drama (cf. Horace, A. P. 189 f.). The division into scenes, on the other hand, is very old. It was customary to place before each scene a complete list of all the characters to appear in that particular scene. In the copies which formed the basis of our manuscripts, each character who had anything to say was denoted by a letter of the Greek alpha- 1 See Dziatzko's note, Einleitung, p. 25. INTRODUCTION. XXX111 bet, which letter served also in the text to designate that character. For the division into scenes, two principles seem to have been followed in our manuscripts. According to one of these, a new scene is formed by the exit or the entrance of a single actor, this being the principle followed, for the most part, in the Bembinus. 1 Exceptions to this rule are formed by cases in which a person leaves the stage only for a moment ^cf. Phorni. 446), or in which the persons who remain behind have little to say, and that of no importance, until the entrance of another actor, or other actors, and the opening of a new scene (e.g. Phorm. 219, 778, 816). According to the other prin- ciple, a new scene is indicated only where the change of actors introduces an important turn in the plot. The manuscripts which follow this principle accordingly indicate no new scene at Phorm. 795, 884. The first of these two principles is followed in the present edition. The Metres of Terence. The metres found in Terence are, with rare exceptions, either iambic or trochaic. A peculiarity of an iambic or a trochaic verse is that it is, at least in Greek poetry, measured by dipo- dies, i.e. pairs of feet, instead of by single feet, each dipody having one main and one subordinate ictus. Accordingly, a verse of four feet is called a dimeter (instead of a tetrameter), one of six feet a trimeter (instead of a hexameter), etc. Fre- quently, however, and especially with reference to early Latin poetry, these verses are called quaternarii, senarii, etc., names given them solely with reference to the number of feet con- tained in each, the distinctions between the odd and the even feet having been, for the most part, lost sight of by early Latin poets. We may divide the verses of Terence into the follow- ing varieties : 1 An exception is found, for example, in Phorm. 441, where it indi- cates no new scene. XXXIV INTRODUCTION. Iambic : In all iambic verses, any one of the following feet is allowed as a substitute for the pure iambus, w _. : (a) anapaest, -^^ /_ ; (b) spondee, > /_ ; (c) tribrach, w w w ; (d) dactyl, > 6 w ; (e) proceleusmatic, ^^ 6 w It should be noticed, however, that the last foot of an acatalectic verse is invariably a pure iambus (with the privilege, of course, of the syllaba anceps), and that a proceleusmatic is never used by Terence in the fifth foot. 1 1. Iambic Senarius (Trimeter Acatalectic). This verse, patterned after the Greek trimeter, constitutes fully half of each play of Terence. The caesuras may be classified as follows, in the order of their frequency: (a) the so-called penthemimeral, after the arsis of the third foot, e.g. w w w II w w w i=i ; (b) the hepthe numeral, after the arsis of the fourth foot, e.g. w w w w II _ w w^:, in which case there is often diaeresis after, or a secondary caesura in, the second foot. Not many verses are without one of these caesuras. In connection with this verse, the following peculiarities call for notice : (1) An anapaest is not allowed immediately after a dactyl ; (2) When a proceleusmatic is used, its ictus- syllable nearly always begins a word, and the ictus and word- accent, with rare exceptions, coincide. The proceleusmatic is most common at the beginning of a verse. 2. Iambic Octonarius (Tetrameter Acatalectic). The caesura of this verse falls into two classes : (a) It may be after the fifth arsis, i.e. w \^/ ^> w w II w w w ; (6) it may be at the end of the fourth foot, e.g. ^ w w ^/ w || ^ v> ^ wi^, in which case the fourth foot is treated like the final foot of the verse, i.e. it must be a pure iambus, hiatus is sometimes allowed after it (at least in Plautus), and certain forms, otherwise used in iambic metres only at the end of a verse (e.g. siet, the infinitive in -ier, etc.), are also used here. 1 Dziatzko claims that it is allowed in the fifth foot ; but see Ap- pendix on vs. 598. INTRODUCTION. XXXV 3. Iambic Septenarius (Tetrameter Catalectic), called septenarius because only seven feet are complete, though it really contains seven and a half feet. The caesura is (a) usually after the fourth foot, which then presents the same peculiarities of treatment as in the octonarius under similar conditions ; (6) sometimes after the arsis of the fifth foot. 4. Iambic Quaternarius (Dimeter Acatalectic), rare in Terence, occurring only three times in the Phormio (vss. 163, 183, 196). This verse is usually employed as a clausula (see p. xxxvi) in connection with octonarii and septenarii. Here the proceleusmatic is not found in Terence. Trochaic : Any one of the substitutes allowed in iambic verses for the pure iambus may, except as indicated below, also stand here for the pure trochee, Z. w, the metrical accent being, however, in all cases, upon the first syllable of the foot. The proceleus- matic is found in Plautus, though not in Terence, as a substi- tute for a trochee. 1. Trochaic Octonarius (Tetrameter Acatalectic). This verse is used only in lyric parts of the plays, in connec- tion with other verses, to form special rhythmic systems. In Terence trochaic octonarii are always followed by trochaic sep- tenarii. The caesura is (a) usually after the fourth foot, from which foot- the dactyl is then excluded; (6) sometimes in the fourth or fifth foot. In this verse a tribrach, a spondee, or an ana- paest is allowed even in the eighth foot. 2. Trochaic Septenarius (Tetrameter Catalectic), called septenarius because only seven feet are complete, though it really contains seven and a half feet. This verse in Terence is, in point of frequency, next to the iambic senarius. The caesura may be (a) after the fourth trochee, in place of which a dactyl is not then admissible, or (6) after the fifth arsis, gen- erally with a minor caesura after the fourth thesis or the third arsis. In this verse, as in iambic verse, an anapaest is not used XXXVI INTRODUCTION. immediately after a dactyl. The seventh foot is commonly kept pure, though a tribrach or a dactyl is occasionally found. The last syllable of the verse may, as usual, be either long or short, 3. Trochaic Ternarius (Dimeter Catalectic) occurs in the Phormio only in vss. 191 and 729. Besides the verses above referred to, Bacchic and Cretic Te- trameters are met with in the Andria of Terence. Among the longer verses in lyric parts, and at the end of stichic series (And. 605, Hec. 621, 731), is sometimes thrown in a single, shorter verse called a clausula. A clausula always has the same rhythm as the preceding verse {e.g. Phorm. 163, 183, 191, where it follows iambic quaternarii, and 729, where it fol- lows a trochaic quaternarius) . Metrically, clausulae are handled like the complete verses of the same rhythm. Single words of address, or of exclamation, occasionally stand at the beginning of a lyric part (Phorm. 485). It will be seen from what has been said that the Roman dramatists for this is true not merely of the fabula palliata alone could avoid monotony in their plays by varying -the form of their verse to correspond at each point with the char- acter of the scene. Adaptability of the Various Metres to Different Moods. All the plays of Terence open with iambic senarii. This is the verse of ordinary narrative, or dialogue, sometimes also of soliloquy, and seems the one best adapted for making the audi- ence acquainted with the general situation. Its movement may be illustrated by the following lines: The tempest nears us ; darkly rolls the angry sea ; The thunder mutters ; lightnings leap from cloud to cloud." As the plot develops, the metre changes to suit the varying moods of tb.3 characters. Iambic octonarii are suited to an animated, impassioned mood. Compare: " And furious every charger neighed, to join the dreadful revelry." INTRODUCTION. XXXV11 Trochaic septenarii are suited to a somewhat more quiet, peaceful frame of mind. Compare : " Tell me not in mournful numbers, life is but an empty dream." Iambic septenarii, which in Latin occur only in comic poets, are found chiefly in serio-comic strains. Compare : " A captain bold of Halifax, who lived in country quarters.*' Trochaic octonarii are peculiar to those parts of a scene that are intended to be sung. The movement of this verse may be illustrated by the following : " Beams of noon, like burning lances, through the tree-tops flash and glisten." It will be understood, of course, that most of these metres are sometimes used where the above-mentioned characteristics are not prominent. The moods indicated are, in each case, to be regarded merely as those most frequently associated with the Differences in the Manner of Rendering Various Rhythms ; Musical Accompaniment, etc. A change in the character of the verse was often accompanied also by a corresponding change in the manner of presenting the scene. With reference to the differences in the manner of presentation, the various parts of a play are to be divided into three distinct classes : (1) those composed of ordinary narrative, or dialogue, written in iambic senarii, without musical accompaniment ; (2) those merely recited in a melodramatic manner to the ac- companiment of the flute, written in trochaic or iambic sep- tenarii and in iambic octonarii ; (3) those of a purely lyric nature sung to a set tune with flute accompaniment, written in varying metres [including those XXXV111 INTRODUCTION. under (2) ], but commonly characterized by the presence of tro- chaic octonarii. 1 In the text editions of antiquity, letters were added to the superscriptions of different scenes to indicate the manner in which they were to be rendered, and these marks are still dis- tinguishable in some of the manuscripts of Plautus. These show that the last two kinds of scenes, (2) and (3) above, as they were both accompanied by music, were marked with the letter C., i.e. canticum, song; the first kind (1), with the letters DV., i.e. diuerbium, spoken dialogue. In the editions of Terence, as may be seen from Donatus, scenes of a purely lyric character were marked M.M.C. (perhaps an abbreviation for modi mutati cantici) ; those merely recited with musical accompaniment, simply C. (though this rests upon the opinion of Ritschl, Do- natus giving us no information on this point) ; those consisting of ordinary dialogue, DV.* It was customary to have music also before the beginning of the play (before the prologue) and between the acts. The music for the plays of Plautus and Terence seems to have been composed entirely by slaves, that for all the plays of Terence by Flaccus, the slave of Claudius. The music was given by a single flute-player (tibicen), probably by the composer himself, with a double flute, or, perhaps we might say, clarinet, as the instrument bore a greater resemblance to it than to our flute. It was played by blowing into both tubes at the same time. From the didascaliae we learn of four different kinds of these instruments : tibiae pares in which the two pipes were of equal length ; tibiae impares in which they were of unequal length ; 1 Cf. what is said on p. xxxv regarding the lyric metres. The rules governing the change of verse in these parts have not yet been discov- ered. K. Meissner, in Fleckeisen's Jahrhiicher (1884), attempts to show that they are divided into strophes. See also Schlee, de vers. in cant. Ter. cons. (Berlin, 1879). 2 Indications of this system of marking are preserved in the Phormio before Act. II., Sc. 4 ; see Rh. Mus. XXIX. 54. INTRODUCTION. XXXIX tibiae serranae of which but little is known, though they were probably of equal length l ; and duae dextrae tibiae in which the two tubes were of equal length and identical in key and note. Regarding the last-mentioned tibiae, we are told by Varro that the right tube was foi leading (tibia incentiua), the left for ac- companying (tibia succentiua). We have no further knowledge regarding the difference between the various kinds of these instruments ; but we may be certain that the choice of instru- ment depended upon the character of the play. In the case of the Heauton timorumenos, we know from the didascalia that instruments were changed in the course of the play itself. An important difference between the practices of the ancient and of the modern stage may be inferred from Livy, 7, 2, 8 ff. It is here recorded that, from the time of Livius Andronicus throughout the whole period when Roman comedy was at its height, the lyrical parts were sung by a person especially se- lected for the purpose and stationed near the flute-player, while the actors meanwhile were wont merely to act silently, in a manner suitable to the words thus sung. PROSODY. The prosody and the language of Terence differ far less from those of the later, classical authors, than do those of Plautus, though there were only a few years between the two writers. Peculiarities of this nature will be pointed out in detail in the notes. The more important of these, however, may well find a place in this introduction. 2 1 On the character of the music used in the plays, see, Howard on the Ai)\6s, or Tibia, in the Harvard Studies in Classical Philology, IV. (1893). 2 A number of special forms and certain peculiarities in the metri- cal treatment of some forms, are found only at the close of verses, or half verses with an iambic ending : the full forms of the perfect in -auer-, euer-, otter-, iuer-; the subjunctive siem, etc., and its com- Xl INTRODUCTION. 1. Vowels. The final syllables of words in archaic Latin present a long Jist of vowels long by nature, which were afterward shortened. This was especially the case in Ennius and Plautus. From Ter- ence may be cited stetlt (Phorm. 9), nugeat (Ad. 25). 2. Consonants. In the earliest Latin, no such thing was known as the doubling of consonants in writing. The distinctness with which certain syllables were pronounced was constantly varying. Ennius was the first to introduce the doubling of consonants in writ- ing 1 and thus to put an end to the wavering and uncertainty of the prosody in such cases, though the rules he established did not, nor could it be expected that they would, come at once into general favor. Terence is already under the influence of Ennius in this respect, but the former habits sometimes assert themselves even in him, e.g. ille, esse, eccum quippe, immo, etc. It will further be noticed that, in early Latin, the addition of I, or r, to a mute does not ordinarily make a long syllable, e.g. patrem. In the pronunciation of every-day life, there was a tendency (clearly shown in the inscriptions) to slur over certain consonants, especially when these were at the end of a word. The same tendency is seen in early poetry, certain final consonants being sometimes disregarded to suit the re- quirements of prosody. In the case of m before a following pounds ; the present passive infinitive in -ier; the long quantity of the first syllable in fieri, fier em, etc. ; dissyllabic nihil; short vowels in cases like emerunt (Eun. 20) ; the forms duint, perduint ; usglect of syncope in the declension of dexter and sinister; the forms face, coeperet (Ad. 397), creduas (Phorm. 993), attigas (And. 789), mauolo (Hec. 540), compluria (Phorm. 611). 1 Hinnad occurs in an inscription of 211 B.C. (C, I, L. 1, 530), but this is in mere imitation of the Greek "Evva. See Lindsay, Latin Language (1894), p. 8. INTRODUCTION. xli vowel or before h, this practice continued to be general even in classical times. The same was true, for a long time, of final s after a short vowel ; it could, as late as the boyhood of Cicero, be disregarded before consonants in the arsis (even of the last foot), or in the unaccented syllable of a resolved thesis, e.g. ex omnlbu(s') rebus. Nempe, unde, and inde sometimes have the value of only two morae (instead of three, as one might expect), e.g. Phorm. 307 and 681. This has commonly been explained as due to a shortening of the first syllable, nempe ; but Skutscli (Forsch. zur Lat. Grammatik u. Metrik) makes it seem plausi- ble that the pronunciation of these words in such cases was rather nemp, und, Ind. 3. Influence of Verse-Accent and Word-Accent The most important and far-reaching peculiarity of prosody to be noted in the dramatic poets is the frequent shorten- ing of a long syllable when it is immediately preceded by a short syllable and immediately preceded, or followed, by the verse-ictus. The influence of this " iambic law " (so called because it concerns the combination w ) may, then, change (1) w /_ to ^j \j Z-i e.g. Phorm. 113 enim se'to enim sE; (2) v <(; to w ^ ^, e.g. Phorm. 739 conloquar quts lilc 15- guitur to conloquar quis Me loquitur; (3) 6 to \j \j , e.g. Phorm. 209 quid hlc conterimus to quid hie conterimus ; It is important to note, however, that in such cases the long syllable may be shortened only when the short syllable im- mediately preceding begins a word. The shortening, furtner- more, seems to take place only in the following cases : (1) In a dissyllabic iambic word 1 ; 1 Here the word-accent on the initial syllable aided in the shortening of the final syllable. Compare the shortening of the originally long final syllable in mihi, tibi, sibi, ibi, ubi, nisi, quasi, ego, modo, etc. Xlii INTRODUCTION. (2) In a monosyllabic word (or one that has become such by elision) preceded by a short monosyllable (or a word which has become such by elision) ; (3) In the first syllable of a word of two or more syllables preceded by a short monosyllable (or a word that has become such by elision) ; (4) In the second syllable of a polysyllabic word beginning with a short syllable. In the cases under (3) and (4), the rule holds only for syllables " long by position," but having a short vowel. Another effect of the metrical accent is frequently seen in cases where monosyllabic words ending in a long vowel, or in m, instead of being elided before a following vowel, or h, receive the ictus and are treated as short syllables (e.g. Phorm. 27 qui aget; 419 ne agas; 808 (?) qudm ego). 4. Synizesis and Hiatus. Two vowels coming together within a word, but not forming a diphthong, regularly remain separate in verse, just as in ordinary speech. Such vowels ai'e, however, blended together (synaloepha, or synizesis) when they belong to originally distinct words (e.g. Phorm. 4 antehac; 668 proinde), unless the final vowel of the first word is long and has the ictus, when, in accordance with the rule just given above, it is retained in a short form (e.g. Phorm. 425 prohibebo). Synizesis may occur also in words like ain ( = aisne), aibam, deus, metis, eum, fulsse, cuius, hums, diutius, duas, nescw, reicere, dehortatus, quoad, duo, etc. In many cases, however, it is impossible to decide whether there is synizesis, or a shortening of the final syllable of an iambic word. In words of which the language has both a full and a contracted form (e.g. nihil and nil, prehendo and prendo etc.) the manuscripts of Terence have, almost without excep- tion, the full form, even where the metre requires the short form. INTRODUCTION. xliii Hiatus is allowed within a verse only in the following cases : (1) in the caesura of iambic seplenarii and octonarii (cf. pp. xxxiv and xxxv) ; (2) after interjections (Phorm. 411, 754, 803), in which case these are shortened, if they are long by nature and come in the arsis ; (3) when there is a change of speakers, in which case there is, for the most part, a caesura (cf. Phorm. 146, 542, 963) ; (4) in cases like qul aget, ne agas, qudm ego. LANGUAGE. 1. Vowels. The vowels of the Latin language undergo certain changes, in the course of their development, with considerable regularity. In this respect, Terence frequently represents an earlier stage than the writers of the classical period. Thus, after u, o is reg- ularly found, where another u was later used, as in seruos, tuos, antiquos, relinquont, metuont, ( = seruus, tuus, antiquus, relinquunt, metuunt), etc. Such words were in fact commonly spelled -uos, -quos, -quont, -uont till well into the first century A.D. 1 Again u, as well as e, is found in the gerund and gerundive of the third and fourth conjugations, e.g. faciundus (faciendus) ; u for later i, in lubet and in superlatives, especially after t and s ; e.g. optu- mus, pessumus ; ei, for later I, e.g. deico for dlco, although this ei has been generally changed in our Mss. to conform to the later spelling. Words formed with the suffix -culum appear in early Latin chiefly in a shorter form ; e.g. periclum, saeclum, uinclum- 2. Consonants. Quo- is regularly found in certain words, where the later period 1 Quint. 1, 7, 26 Nostri praeceptores seruum ceruumque V et O litteria scripseront. xliv INTRODUCTION. uses CM-: quoins, quoi, quom, quor, etc. ( = cuius, cut, etc.). The forms ynatus and gnata (when used as substantives), per- haps also gnauiter (Eun. 51), still retain their initial g. Assimilation of consonants does not, as a rule, appear in the written form. This is particularly the case with in, except, apparently, in the very common words imperium, imperare, 1 im- petrare. Ad is assimilated only before ce, ci (accedere, accidere, but adcurrere 2 ), pe (appellere,l>ut adportare, adprobare, etc.) and ti (attinere, attingere). On the whole, the process of assimilation seems to have gone further in the more common words than in those less frequently used. B in ab and ob before s and t has very commonly in the Mss. become p. The Mss. show great wavering between d and t at the end of certain pronouns and particles (e.g. id, it, illud, illut, aliud, aliut, apud, aput), but this variation in spelling was, without doubt, common among the ancients themselves. In this edition the usual orthography has been followed, except where the Mss. are decisive for another. See note on vs. 159. 3. Peculiarities of Declension. (1) Latinized form of Greek words ; e.g. satrapa, lampada, Clinia (first declension), Aescliinus, etc. (2) Genitive usually in -i, less commonly in -uis in words of the fourth declension, e.g. aduenti (Phorm. 154), anuis (Heaut. 287). (3) Dative regularly in -u in words of the fourth declension. (4) Dative (and perhaps the genitive) occasionally in e, in words of the fifth declension. (5) Genitive occasionally in -I in those pronouns and adjec- tives which regularly have ius in that case, e.g. nulli consili (And. 608). 1 In And. 897 the assonance (inpone, impera) favors the spelling inpera. 3 Accuaare forms aii exception. INTRODUCTION. xlv (6) The common use of the particle -ce in the genitive singu- lar, and in the genitive, dative, accusative, and ablative plural of the pronoun hie, e.g. hisce, hasce. Terence commonly uses these forms with ce only before vowels and h. Hisce is used in Eun. 269 as the masculine, and haec regularly as the feminine, form of the nominative plural. (7) Ipsus sometimes for ipse, e.g. Phorm. 178. 4. Peculiarities of Conjugation. (1) Active forms of verbs that were later used only, or chiefly, as deponent; e.g. luctare, altercare, conflictare (= con- tend with). (2) The frequent use of -ibam, -ibo for -iebam, -iam in the singular of the imperfect and future of verbs of the fourth con- jugation. A io is the only verb in Terence which shows the shorter form also in the plural, e.g. And. 534, Phorm. 572. (3) Syncopated forms (so-called *) in the second person singu- lar indicative, and more rarely in the infinitive of the perfect, when s or x precedes the -isti or -isse, e.g. sensti for sensisti, dixti for dixisti, iusse for iussisse, produxe for produxisse. (4) The regular (probably invariable) use of -re instead of -m in the second person singular passive of the tenses formed from the infinitive stem. (5) The ending -ier, as well as -i, in the present passive infinitive, but only at the end of a verse, or a half-verse (before the caesura) which closes with an iambus. See p. xxxix, note 2. (6) The use of stem, etc., for sim, etc., but only at the end of a verse, or a half -verse (before the caesura). See p. xxxix, note 2. 1 Some scholars, e.g. Brugmann, followed by Stolz (Lateinische For- menlehre, 2ded., 112), rejecting the theory that these forms are the result of syncopation, regard them as -reminiscences of an old form. See, however, Lindsay, Latin Language, p. 464. Xlvi INTRODUCTION. (7) The disappearance of the copula es, est, as an indepen- dent syllable, after an s preceded by a short vowel. Thus con- scius es becomes consciu's, conscius est becomes consciust. Est is often blended with a preceding word also when that word ends in a vowel, or in m, e.g. ducendast iudicandumst. THE PHORMIO. The Phormio was first presented on the stage at the ludi Romani^ in 161 B.C. It was modeled after the Epidicazomenos of Apollodorus, a play which took its name from the technical term e7nSiKaeiv, "to adjudge (to some one) property under liti- gation," or, in the middle, " to lay claim to " (in the interest of one's self, or of some one else) with reference either to property itself, or to the hand of an heiress who inherits it. According to Athenian law, the nearest male relative of an orphaned girl was obliged either to marry her, or to furnish her with a marriage portion of 500 drachmae. It is upon this law that Phormio in our play rests his claim that Antipho must marry Phanium. Terence, contrary to his usual custom and to that of all writers of palliatae of his time, instead of retaining in this case the name of the Greek play, chose as the title of his Latin reproduc- tion the name of the character to whom the term 67riSiKao;u,evos would have been applicable, viz. Phormio. The reason for this was, without doubt, fear on the part of Terence that the Greek word, which called for an explanation to all not versed in Athenian law, would not be understood by the Roman public. The action of the play turns upon the cunning artifice by which Phormio, the parasite of the young Antipho, makes it possible for this youth, in the absence of his father, to marry a poor orphan girl from Lemnos. Appealing to the law just referred to, he declares in court that Antipho and his father are the nearest relatives of the girl, and as Antipho does not deny it, he secures a decision of the court, directing that Antipho INTRODUCTION. xlvii must marry her. The marriage accordingly takes place be- fore the arrival of the father. 1 They are both supported by the slave Geta, whom Demipho, the father of Antipho, at his departure, has left in charge of his son, but who, as the slaves in Greek comedy usually do, humors his young master and seeks at all times to shield him, even at the risk of getting a drubbing himself, against the consequences of his misdeeds. They are also aided by Phaedria, the cousin of Antipho. Phae- dria's father, Chremes, brother of Demipho, is also absent on a journey. In the mean time, Phaedria falls in love with a music girl, the slave of a procurer, but has not sufficient money to pur- chase her. At this point the play opens, just as the two old gentlemen return from their journey. The marriage of Antipho, having already taken place before the opening of the play, the ques- tion now is : How is the news to be broken to the father, and how is he to be reconciled to what has taken place? Phaedria at the same time is reduced to straits by the action of the pro- curer, who, tired of waiting for Phaedria to purchase the music girl, proposes now to sell her to another, to be taken to foreign lands, unless the money be straightway forthcoming. This trouble of Phaedria is very effectively interwoven with the main thread of the play. Phormio, while in reality seeking to assure to Antipho the continued enjoyment of his present re- lations with Phanium, manages to procure from Demipho the money needed by Phaedria, on the pretext of wishing to bring about a dissolution of those relations. The disentanglement of the complications is brought about, ^as is usually the case in fabulae palliatae, purely by external occurrences. It is no change of disposition on the part of 1 In an essay entitled "Le proces du Phormion" (Ann. de 1'assoc. p. 1'enc. d. et gr. en. France XII. 48-62), R. Lallier shows that the in- trigue devised by Phormio and his whole behavior, when one considers the condition of things in Athens at the time, contain nothing in the least improbable. Xlviii INTRODUCTION. Demipho that brings about his reconciliation to the marriage, but this is effected rather by discovery of the identity of the objectionable girl with one whom all were ready to receive with open arms. Phanium, the young wife, is found to be the daughter of Chremes by a secret marriage, which he has entered into in Lemnos, under a fictitious name assumed for fear of dis- covery by his Athenian wife. She is thus found to be in re- ality, what the intriguers merely pretended she was before the court, i.e. one to whom Demipho and Antipho were next of kin. She is, in fact, the very person who had long been selected both by Demipho and Chremes as a wife for Antipho. By disclosure of the secret to Nausistrata, the Athenian wife of Chremes, Phormio, who had, by a happy chance, learned of the whole affair, is enabled at the end to secure to Phaedria also the possession of his sweetheart. The play is characterized by a careful interweaving of the various parts, and the characters are clearly drawn and con- sistently maintained throughout. The two young men, in the nature of things, seem very much alike. On the contrary, the two old men are strongly individualized : Demipho is irritable, impetuous, determined; Chremes, irresolute, timid, submissive. Nausistrata is well aware of this difference and bestows upon Demipho, who, by the way, is a widower (see vs. 422 f.), respect as marked as is the contempt with which she treats her husband (vs. 719 ff., 784 ff., 1011 ff., 1031 ff.). The relation of Chremes to his wife is made all the more unfortunate for him by the fact that all the property belongs to her (cf. vs. 586 f., 680, 788 ff., 940). To one feature of the play, critics may, perhaps, take excep- tion. Why does not Phormio, after having sufficiently bantered the old men and compelled them, by threatening to tell Nau- sistrata of the secret marriage, to give up all claim to the money already paid him, why does not Phormio content him- self with this result ? Why does he, by carrying out his threat, again set at stake what he has won ? He must indeed have foreseen that he would not be able to carry out his plan without INTRODUCTION. exposing the secret of Phaedria. The play might well have come to a rapid close after vs. 947, when all the complications had come to a happy termination. Still, it is quite in harmony with the bold, determined character of Phormio, that he im- proves the opportunity for the spirited scene which follows; and again the demands of justice, as it were, required that Chremes should be made to pay the penalty of his faithlessness and ill-becoming conduct. For Phaedria there was the prospect of winning his mother as an ally in his love-affair, and for Phormio that of becoming a permanent guest in the house of Chremes (cf. vs. 1050 ff.). Whatever may be said regarding this addition from an artistic point of view, it may at any rate be said that the play is thereby enriched by a very effective sc^ne. The Phormio, in addition to the excellences which mark the manner in which the plot is carried out and its portrayal of character, is distinguished also for its spirited and smoothly flowing language. It met with a decided success at its first presentation. The r61e of Phormio was, according to Donatus (Phorm. II. 2, 1), taken by the theatrical director, Ambivius, him- self, to the entire satisfaction of the poet. It is probable from vs. 378 that Phormio is to be thought of as a young man. The production of the Phormio was probably repeated a,t the ludi Megalenses in 141 B.C. under the direction of L. Atilius Praenestinus. Notices to that effect are found in the didascalia of the play. In antiquity it was without doubt one of the best known comedies extant, being a favorite both on the stage and for private reading. It is owing to this fact that Phormio became in antiquity the universal type of a bold and insolent man. 1 A drama (mime?) of the same name was written by iCf. Cic. Phil. II. 6, 15: ... Phormioni alicui; pro Caec. 10,27: . . . argentarius Sex. Clodius, cui cognomen est Phormio, nee minus niger nee minus confident quam ille Terentianus est ; cf. Cic. de nat. deor. III. 29, 73. In Ausou. Epist. XXII. 9 ff., a man is represented as canus, comosus, hispidus, trux, atribux, Terentianus Phormio, etc. 1 INTRODUCTION. Valerius in the time of Cicero, but we know nothing more re- garding it. In modern times, Moliere has taken the material for his comedy, Les fourberies de Scapin (1671 A.D.) from the Phormio of Terence, but has handled it with great freedom. The chief motive of the play has been changed, other material has been introduced, and the purely comic side of the play has been brought into greater prominence. TERENTI PHORMIO. INCIPIT TERENTI PHORMIO ACTA LVDIS ROMANIS L-POSTVMIO ALBINO L-CORNELIO MERVLA AEDILIB CVRVLIB . EG/T L-AMBIVIVS TVRPIO [L-ATILIVS PRAENESTINVS] MODOS FECIT FLACCVS CLAVDI TIBlS INPARIB TOTA GRAECA APOLLODORV EPIDICAZOMENOS FACTA IIII C-FANNIO M. VALERIC cos- G. SVLPICI APOLLINAEIS PERIOCHA. Chremelis frater aberat peregre Dfimipho Relicto Athenis Antiphone filio. Chremfis clam habebat Lemni uxorem et filiam, Athfinis aliam coniugem et amantem linice Gnatum fidicinam. mater e Lemno Muenit 5 Athenas; moritur; uirgo sola (aberat Chremes) Funus procurat. ibi earn uisam Antipho Cum amaret, opera parasiti uxorem accipit. Pater fit Chremes reuersi fremere. dein minas Triginta dant parasito, ut illam coniugem 10 Haberet ipse. argfinto hoc emitur fidicina. Vxorem retinet Antipho a patruo adgnitam. 3 PEKSONAE PROLOGVS. DAVOS, a slave. GETA, slave of Demipho. ANTIPHO, son of Demipho. PHAEDRIA, son of Chremes. DEMIPHO, an old man, citizen of Athens. PHORMIO, a parasite. HEGIO I CRATINVS Y legal advisers to Demipho. CRITO DORIO, a procurer. CHREMES, an old man, brother of Demipho. SOPHRONA, a nurse. NAVSISTRATA, wife of Chremes. CANTOR. 4 PKOLOGVS. Postqu&n poeta uetus poetam ndn potest Retrahere a studio et transdere hominem in dtium, Maledictis deterrere ne scribat parat ; Qui ita dictitat, quas antehac fecit fabulas, Tenui esse oratidne et scriptura leui, 5 Quia niisquam insanum scripsit adulescdntulum Ceruam uidere fugere et sectari canes Et earn plorare, orare ut subueniat sibi. Quod si intellegeret, qudm stetit olim noua, Actdris opera magls stetisse qu'am sua, 10 Minus multo audacter, quam nunc laedit, ladderet. Nunc si quis est, qui hoc dicat aut sic cdgitet : ' Vetus si poeta n6n lacessisset prior, Nullum muenire prdlogum posset nouos/ [Quern diceret, nisi haberet cui male diceret,] 15 Is sibi responsum hoc habeat, in medio dmnibus Palmam esse positam, qui artem tractant miisicam. Ille ad famem hunc a studio studuit reicere : Hie respondere udluit, non lacessere. Benedictis si certasset, audisset bene. 20 Quod ab illo adlatumst, sibi 6sse rellatum putet. De illd iam finem faciam dicundi mihi, Pecca'ndi quom ipse de se finem n<5n facit. Nunc quid uelim animum attendite : adportd nouam Epidicazomenon quam uocant comoediam 25 Graeci, Latini Phdrmionem ndminant, Quia primas partis qui aget, is erit Phdrmio Parasitus, per quern res geretur mtxume, 6 6 TERENTI PHORMIO. Voluntas uostra si ad poetam accesserit. Date 6peram, adeste aequo animo per silentium, 3C Ne simili utamur fortuna atque usi sumus Quom per tumultum ndster grex mottis locost : Quern actoris vdrtus nobis restituit locum Bonitasque uostra adiiitans atque aequanimitas. SCENE : A street in Athens, leading, as usual, on the specta- tors' right, to the interior of the city, and on their left, to the harbor and foreign lands. In the middle of the background stands the house of Demipho, on the left that of Chremes, and on the right that of Dorio. This scene remains unchanged throughout the play. ACTVS I. Sc. 1. Davus has been asked by Geta to settle an account of long standing. He speculates as to the meaning of this urgent dun. The whole of the first act is written in iambic senarii. For the appropriateness of this verse in introducing the audience to the general situation, see Introd., p. xxxvi. [Davus enters from the right, carrying a bag of money, and addresses the audience.] DAVOS Amicus summus me'us et popularis Geta 35 Heri ad me uen.it. erat ei de ratiiincula lam pridem apud me relicuom pauxillulum Nummorum : id ut conf icerem. conf eci : adfero. Nam erilem filium ems duxisse audio Vxdrem. ei credo munus hoc (holding up the bag) con- ra"ditur. 40 Quam inique comparatumst, ei qui minus habent Vt semper aliquid addant ditidribus ! Quod Ille linciatim uix de demens<5 suo 7 8 TERENTI [1. 1. 10- Sudm defrudans genium compersit miser, Id ilia uniuorsum abrfpiet, baud existumans 46 Quanto labore partum. porro autem Geta Ferietur alio miinere, ubi era pepererit ; Porro autem alio, ubi erit puero natalis dies ; Vbi initiabunt. dmne hoc mater aiif eret : Pu6r causa erit mittundi. (Geta comes out of Demipho's house) sed uidedn Getam ? 50 So. 2. Geta tells how utterly futile have been his attempts to manage the two young men who have been left in his charge, how each has become involved in a love affair, and how one of them, Antipho, has even contrived to get married. All parties are now dreading the return of Antipho's father. For the metre, see remarks at the beginning of Sc. 1. GETA DAVOS GE. (not seeing Davus and speaking to some one within) Si quis me quaeret riif us DA. (approaching and tapping Geta on the shoulder) Praestost, desine. GE. (looking around) Oh, At ego dbuiam conabar tibi, Daue. DA. (offering the bag to Geta) Accipe, em: Lectiimst ; conueniet mimerus quantum debui. GE. Amd te ; et non neclexisse habeo gratiam. DA. Praesertim ut nunc sunt mdres. adeo res redit : 55 Si quis quid reddit, magna habendast gratia. Sed quid tu es tristis ? GE. Egone ? nescis quo in metu, Quanto in periclo simus ! DA. Quid Istuc est ? GE. Scies, Modo lit tacere pdssis. DA. Abl sis, insciens ! Quoins tii fidem in peciinia perspexeris, 60 1. 2. 39.] PHORMIO. Verere uerba ei credere ? ubi quid mihi lucrist Te fallere ? GE. Ergo ausciilta. DA. Hanc operam tibi dico. GE. Senls ndstri, Dane, fratrem maiorem Chremem Nostin? DA. Quid ni? GE. Quid? eius gnatum Phaedriam ? DA. Tarn quam te. GE. Euenit senibus ambobus simul 65 Iter illi in Lemnum ut esset, nostro in Ciliciam Ad hdspitem antiquom. is senem per epistulas Pellexit, modo non mdntis auri pdllicens. DA. Quoi tanta erat res et supererat ? GE. Desinas Sic est ingenium. DA. Oh, regem me esse opdrtuit. 70 GE. Abeuntes ambo hie tiim senes me filiis Relmquont quasi magistrum. DA. Geta, proumciam Cepisti duram. GE. (shrugging Ms shoulders) Mi usus uenit, hoc scio : Memini relinqui me deo irat<5 meo. Coepi aduorsari primo quid uerbis opust ? 75 Seni fi delis diim sum, scapulas perdidi. DA. Venere in mentem mi istaec : namque inscitiast, Aduorsum stimulum calces. GE. Coepi eis omnia Facere, obsequi quae uellent. DA. Scisti uti foro. GE. Noster mali nil quicquam primo ; hie Phaedria 80 Continue quandam nactus est puellulam Citharistriam ; hanc am^re coepit perdite. Ea seruiebat lenoni inpurissumo, Neque qu6d daretur quicquam ; id curarant patres. Restabat aliud nil nisi oculos pascere, 85 Sectari, in ludum diicere et rediicere. Nos 6tiosi oper^m dabamus Phaedriae. In quo haec discebat ludo, exaduorsum ilico Tonstrina erat quaedam. hie solebaniiis fere 10 TERENTI [1. 2. 40- Plerumque earn opperiri, dum inde iret domum. 90 Interea dum sedemus illi, interuenit A.dulescens quidam lacrumans. nos mirarier ; Rogamus quid sit. 'numquam aeque' inquit 'acmodo Paupertas mihi onus uisumst et miserum et graue. Modo quandam uidi uirginem hie uiciniae 95 Miseram suam matrem lamentari mdrtuam. Ea sita erat exadudrsum, neque Illi beniuolus Neque ndtus neque cognatus extra unam aniculam Quisquam aderat, qui adiutaret funus. miseritumst. Virgo ipsa facie egregia.' quid uerbis opust ? 100 Commdrat omnis nds. ibi continue Antipho ' Voltisne eamus uisere ? ' alius ' censeo : Eamus : due nos sddes.' imus, uenimus, Videmus. uirgo piilchra et, quo magls diceres, Nil aderat adiuraenti ad pulchritudinem. 105 Capillus passus, niidus pes, ipsa hdrrida, Lacrumae, uestitus turpis ; ut, ni uis boni In ipsa inesset fdrma, haec formam extmguerent. Ille qui illam amabat fidicinam tantuin modo ' Satis ' inquit ' scitast ' ; ndster uero DA. lam scio: 110 Amare coepit. GE. Scin quam ? quo euadat uide. Postridie ad anum recta pergit, dbsecrat Vt sibi eius faciat cdpiam. ilia enlm se negat Neque eum aequom ai't facere, illam ciuem esse Atticam, Bonam bonis prognatam : si uxorem uelit, 115 Lege id licere facere ; sin aliter, negat. Noster quid ageret nescire. et Illam diicere Cupiebat et metuebat absentem patrem. DA. Non, si redisset, ei pater ueniam daret ? GE. Ille indotatam uirginem atque igndbilem 120 1. 2. 95.] PHORMIO. 11 Daret illi ? nuinquam f aceret. DA. Quid fit denique ? GE. Quid fiat ? est parasitus quidam Phdrniio, Homd confidens (with a sudden outburst of passion) qui ilium di omnes perduint ! DA. Quid Is fecit? GE. Hoc consilium quod dicm dedit : 'Lex est ut orbae, qui sint genere prdxumi, 35 Eis nubant, et Illos ducere eadein haec lex iubet Ego te cognatum dicam et tibi scribam dicam j Paternum amicum me adsimulabo uirginis ; Ad iiidices ueniemus ; qui f uerit pater, Quae mater, qui cognata tibi sit, dmnia haec 130 Conf ingam, quod erit mihi bonum atque cdmmodum. Quom tu hdrum nil refelles, uincam scilicet. Pater aderit ; mihi paratae lites ; quid mea ? Ilia quidem nostra erit.' DA. locularem audaciam ! GE. Persuasumst homini ; factumst ; uentumst ; uinci- mur ; 135 Duxit. DA. Quid narras? GE. H6c quod audis. DA. 6 Geta, Quid te futurumst ? GE. Nescio hercle. unum h6c scio, Quod fors feret, feremus aequo animd. DA. Placet. Em, (patting Geta on the back) Istiic uirist officium. GE. In me omnis spes mihist. DA. Laudo. GE. Ad precatorem adeam credo, qui mihi 140 Sic dret : ' nunc amitte quaeso hunc ; ceterum Posthac si quicquam, nil precor.' tantum modo Non addit : ' ubi ego hinc abiero, uel occidito.' DA. Quid paedagogus ille, qui citharistriam (insinuat- ingly)? Quid rei gerit? GE. (shrugging his shoulders) Sic, tenuiter. DA. Non miiltuui habet 145 12 TERENTI [1. 2. 9&- Quod det fortasse ? GE. fmmo nil nisi spem meram. DA. Pater eius rediit an non ? GE. Non dum. DA. Quid? senem Quoad expectatis udstrum ? GE. Non certum scio, Sed epistulam ab eo adlatam esse audiui modo Et ad pdrtitores esse delatam : hanc petam. 150 DA. Num quid, Geta, aliud me uis ? GE. Vt bene sit tibi. (Exit Davus toward the market-place. Geta approaches Demipho's house and calls to slave within.') Puer, heiis ! nemon hoc prodit ? (A slave appears at the door.) Cape, da hoc Ddrcio. (Exit toward tJte harbor, ivhile the slave re-enters the house.) 8. 1. 7.] PHORMIO. 13 ACTVS II. So. 1 [I, 3]. The two young men discuss their unhappy lots. As the interest quickens, the verse shifts rapidly from one metre to another until vs. 164. There Phaedria's tone suddenly changes and there follows a series of iambic octonarii, which continue till Antipho catches sight of Geta in vs. 177. The scene then closes with two iambic septenarii. Throughout the scene the words of the actors are accompanied by appropriate music from the flute. Verses 153-163 are sung. See Introd., p. xxxvi f. [Antipho and Phaedria enter, probably from the house of Cliremes.~\ ANTIPHO PHAEDRIA AN. JLdeon rem redisse ut, qui mi cdnsultum optume uelit esse, Phaedria, patrem ut extimescam, ubi in mentem eius aduenti ueniat ! Qu<5d ni fuissem incdgitans, ita [eum] e"xpectarem, ut pa"r fuit. 156 PH. Quid Istuc est ? AN. Rogitas, qui tarn audacis faci- noris mihi consciu's ? Qudd utinam ne Ph6rmioni id suadere in mentem in- cidisset Neii me cupidum eo inpulisset, qudd mihi principiumst mali! N6n potitus essem : fuisset turn illos mi aegre aliqudd dies, 14 TERENTI [2. 1. 8- At ndn cottidiana cura haec angeret animum, PH. Audio. 160 AN. Dum expecto quam mox ueniat qui adimat hanc mihi consuetudinem. PH. Aliis quia defit quod amant aegrest ; tibi quia super- est dolet. Amdre abundas, Antipho. Nam tiia quidem hercle certo uita haec expetenda optan- daque est. Ita me di bene ament, lit mi liceat tarn diu quod amd frui, 165 lam depecisci mdrte cupio. tu conicito cetera, Quid ego ex hac inopia nunc capiam, et quid tu ex istac cdpia ; Vt ne addam, quod sine sumptu ingenuam, liberalem nactus es, Quod babes, ita ut uoluisti, uxorem sine mala fama" palam, Beatus, ni unum desit, animus qui modeste istaec ferat. 170 Quod si tibi res sit cum e6 lenone qud mihist, turn sentias. Ita plerique omnes sumus ingenio : nostri nosmet paenitet. AN. At tu mihi contra nunc uidere fdrtunatus, Phaedria, Quoi de integro est potestas etiam cdnsulendi, quid uelis : E-etinere an amorem amittere ; ego in eum incidi infelix locum, 175 Vt neque mihi eius sit amittendi nee retinendi cdpia. Sed quid hSc est? uideon ego Getam currentem hue aduenire ? Is 6st ipsus. ei, timed miser, quam hie mihi nunc nuntiet rem. 2. 2. 11.] PHORMIO. 16 Sc. 2 [I, 41. Geta enters in great excitement from the harbor. He has heard of the sudden arrival of Demipho. Antipho tries to muster courage enough to face his father, but it is of no use. He finally takes to his heels, leaving Phaedria to fight his battle for him. Most of this scene also is accompanied by music, to which verses 178- 196(?) are sung. The verse shifts rapidly from one metre to an- other during Geta's soliloquy and the " asides" of Antipho and Phaedria. With the dialogue between Geta and the young men, begins a series of trochaic septenarii, which continue until Antipho's flight at his father's approach (in 216). The music then ceases, and the scene ends with a dialogue in iambic senarii. For the adaptability of the different metres to different moods, see Introd., p. xxxvi f. GETA ANTIPHO PHAEDRIA GE. (to himself, not noticing Antipho and Phaedria) Nullus es, Geta, nisi iam aliquod tibi consilium. celere reperis : Ita nunc inparatum subito tanta te inpendent mala ; 180 Quae neque uti deuitem scio neque qu6 modo me inde extraham ; Nam ndn potest celari nostra diutius iam aud^cia. AN. (aside to Phaedria) Quid illic commotus uenit ? GE. Turn temporis mihi punctum ad hanc rem est: erus adest. AN. (aside to Phaedria) Quid Illuc malist ? GE. Quod quom audierit, qudd 6ius remedium inueniam iraciindiae ? 185 Loquarne ? incendam ; taceam ? instigem ; purgem me ? laterem lauem. He^a me miserum! qudm mihi paueo, turn Antipho me excriiciat animi. Eius me miseret, ei nunc timeo, is mine me retinet ; nam absque eo esset. 16 TERENTI [2- 2. 12- Recte ego mihi uidissem et senis essem ultus iracundiam : Aliquid conuasassem atque hinc me conicerem protinam in pedes. 190 AN. (aside to Phaedrid) Quam nam hie fugam aut furtiim parat ? GE. Sed ubi Antiphonem reperiam? aut qua quaerere insistam uia ? PH. (aside to Antipho) Te n<5minat. AN. (aside to Phae- dria) Nescio quod magnum hoc nuntio expecto ma- lum. PH. (aside to Antipho) Ah ! [Sanun es ?] GE. Dommn ire pergam : ibi pkirimumst. PH. (aside to Antipho) Reuocemus hominem. AN. (peremptorily to Geta~) Sta ilico ! GE. (without turn- ing) Hem, Satis pro imperio, quisquis es. AN. Geta ! GE. (turning at the sound of his name) fpsest quern uolui <5b- uiam. 195 AN. Cedo, quid portas, dbsecro ? atque id, si potes, uerbo expedi. GE. Faciam. AN. Eloquere. GE. M6do apud portum AN. (in dismay at Geta's ominous beginning*) Meumne ? GE. Intellexti. AN. (trembling with fright) 6ccidi. PH. Hem! AN. Quid agam? PH. (turning to Geta) Quid ai's? GE. Huius patrem uidisse me, [et] patrudm tuom. AN. Nam quod ego huic nunc siibito exitio remedium inueniam miser? (Wringing his hands and in imagination addressing Phanium) 200 Qudd si eo meae fortunae redeunt, Phanium, abs te ut distrahar, Nullast mihi uita expetenda. GE. Ergo istaec quom ita sint, Antipho, 2. 2. 38.] PHORMIO. 17 Tanto magls te aduigilare aequomst. (Encouragingly) fdrtis fortuna adiuuat. AN. (iveakly) N(5n sum apud me. GE. Atqui dpus est nunc quoin maxume ut sis, Antipho ; Nam si senserit te timidum pater esse, arbitrabitur 205 Commeruisse ciilpam. PH. Hoc uerumst. AN. Ndn possum inmuta'rier. GE. Quid faceres, si aliiid quid grauius tibi nunc faciun- dum f oret ? AN. Quom hoc non possum, illiid minus possem. GE. Hoc nil est, Phaedria. ilicet. (Losing all patience) Quid hie conterimus dperam f rustra ? quin abeo ? PH. Et quidem ego ? ( They turn to go.} AN. (frightened at the thought of being left alone) 6bsecro, Quid si adsimulo ? (trying to look self-possessed) satinest ? GE. (without turning) Garris. AN. V<51tum contem- plamini : em ! 210 Satine sic est? GE. (looking at him, somewhat indiffer- ently) Non. AN. (assuming a bolder expression) Quid si sic? GE. Prdpemodum. AN. (folding his arms with great dignity) Quid sic? GE. (enthusias- tically) Sat est: Em, istuc serua; et ue'rbum uerbo, par pari ut respdndeas, Ne te iratus suis saeuidicis dictis protelet. AN. Scio. GE. Vi coactum te esse inuitum. PH. Lege, iudicid. GE. Tenes? (Demipho seen approaching from the harbor.} Sed hie quis est senex, quem uideo in ultima platea ? ipsus est. 215 AN. (frantically taking to his heels) Non pdssum adesse. GE. (calling after him) Ah ! quid agis ? quo abis, Antipho ? 18 TERENTI. [2. 2. 39- Mane inquam. AN", (hurriedly, as he leaves the stage) Egomet me ndui et peccatum meum. Vobis commendo Phanium et uitam meam. PH. Geta, quid nunc fiet ? GE. Tii iam litis aiidies ; Ego plectar pendens, nisi quid me fefellerit. 220 Sed quod modo hie nos Antiphonem mdnuimus, Id ndsmet ipsos facere oportet, Phaedria. PH. Auf er mi ' oportet ' : quin tu quid f aciam impera. GE. Meministin, olim ut Merit uostra oratio In re incipiunda ad defendendam ndxiam, 225 lustam illam causam, facilem, uincibilem, dptumam? PH. Memini. GE. Em ! nunc ipsast opus, ea aut, si quid potest, Melidre et callididre. PH. Fiet sedulo. GE. Nunc prior adito tu, ego in insidiis hie ero Subcenturiatus, si quid deficias. PH. Age. (Both retire to an obscure corner to await developments.} 230 Sc. 3 [II, 1]. Demipho returns from his journey, enraged at what he has heard regarding his son's marriage. Phaedria and Geta try to explain matters, but the old man cannot be reconciled. The scene opens with trochaic septenarii and iambic octonarii, accompanied by music, which continues during the soliloquy of Demipho and the "asides" of Geta and Phaedria. With the meeting between Demipho and Phaedria in 253, the music ceases and the rest of the scene is a dialogue in iambic senarii. See Introd. , p. xxxvi f . [Demipho enters from the harbor. ~\ DEMIPHO PHAEDRIA GETA DE. (muttering to himself} Itane tandem uxdrem duxit Antipho iniussu meo ? 2. 3. 20.] PHORM1O. 19 Nec meum imperiuin ac mitto imperium ndn simul- tatem meam Reuereri saltern ! ndn pudere ! o facinus audax, 6 Geta Monitor ! GB. (aside) Vix tandem. DE. (to himself) Quid mini dicent aut quam causam reperient? Demiror. GE. (aside') Atqui reperiam aliudciira. DE. An hoc dicet mihi : 235 'Inuitus feci. lex coegit'? audio, fatedr. GE. (aside) Places. DE. Veriim scientem, taciturn causam tradere aduorsariis, Etiamne id lex coegit ? PH. (aside to Geta) Illud durum. GE. (aside to Phaedria) Ego expediam sine. DE. Incertumst quid agam, quia praeter spem atque mcredibile hoc mi dbtigit. Ita sum inritatus, animum ut nequeam ad cdgitandum instituere. 240 Quam ob rem dmnis, quom seciindae res sunt m^xume, turn maxume Meditari secum opdrtet, quo pacto aduorsam aerumnam f erant : Pericla, damna, exilia peregre rediens semper cdgitet, Aut fili peccatum aut uxoris mdrtern aut morbum filiae ; Commiinia esse haec, fieri posse, ut ne quid animo sit nouom ; 245 Quidquid praeter spem eueniat, omne id deputare esse in lucre. GE. (aside) Phaedria, incredfbile[st] quantum erum ante eo sapientia. Meditata mihi sunt dmnia mea incdmmoda, ems si redierit : MolendumsZ in pistrino, uapulandum, habendae cdmpedes, Opus ruri f aciundum. hdrum nil quicquarn accidet anim6 nouom. 250 20 TERENTI [2- 3. 21- Quidquid praeter spem eueniet, omne id deputabo esse in lucro. Sed quid cessas hdminem adire et blande in principio adloqui? (Phaedria hurries forward as though de- lighted at seeing Demipho back again.) DE. (to himself) Phaedriam mei fratris uideo filium mi ire dbuiam. PH. (to Demipho') Mi patrue, salue ! DE. (savagely) Salue ! sed ubist Antipho ? PH. Salu6in uenire DE. (impatient at Phaedria's evasion of his question) Credo ; hoc responde mihi. 255 PH. Valet, hie est ; sed (cheerily) satin dmnia ex sententia ? DE. Vellein quidem. PH. (pretending surprise) Quid Istuc est ? DE. Rogitas, Phaedria ? (With withering sarcasm) Bonas me absente hie cdnfecistis miptias. PH. Eho, an id suscenses mine illi ? GE. (aside, delighted with Phaedria's clever acting) Artificem proburn ! DE. Egon illi non suscenseam ? ipsum gestio 260 Darl mi in conspectum, mine sua culpa ut sciat Lenem patrem ilium factum me esse acerrumum. PH. Atqui nihil fecit, patrue, quod suscenseas. DE. Ecce aiitem similia dmnia ! omnes cdngruont ; Vnum quom noris, dmnis noris. PH. (with an air of in- jured innocence) Haiid itast. 265 DE. Hie In ndxiast, ille ad di'cendam caiisam adest ; Quom illest, hie praestost; tradunt operas mutuas. GE. (aside) Probe hdrum facta inprudens depinxit senex. DE. Nam ni haec ita essent, cum illo hand stares, Phaedria. PH. Si est, patrue, culpam ut Antipho in se admiserit, 270 Ex qua re minus rei fdret aut famae temperans, Non causam dico quin quod meritus sit ferat. 2. 3. 71.] PHORMIO. 21 Sed si quis forte malitia fretiis sua Insidias nostrae fecit adulescentiae Ac uicit, nostran culpa east an iudicum, 275 Qui saepe propter inuidiam adimunt diuiti Aut prdpter misericdrdiam addunt paiiperi ? GE. (aside) Ni ndssem causam, crederem uera hiinc loqui. DE. An quisquam iudex est, qui possit ndscere Tua iusta, ubi tute uerbum non respdndeas, 280 Ita ut ille fecit ? PH. Fiinctus adulescentulist Officium liberalis. postquam ad indices Ventiimst, non potuit cdgitata prdloqui ; Ita eiim turn timidum \llic obstupefecit pudor. GE. (aside) Laudo hiinc. sed cesso adire quam primum senem ? (Hushing up to Demlpho, as though in great trouble and eager to explain how it all happened.) 285 Ere, salue : saluom te aduenisse gaiideo. DE. (in a tone of supreme disgust) Oh ! Bone custos, salue ! cdlumen uero f^miliae, Quoi cdmmendaui filium hinc abiens meum ! GE. lam diidum te omnis nds accusare audio Inmerito, et me horunc omnium inmeritissumo. 290 Nam quid me in hac re facere uoluisti tibi ? Seruom hdminem causam orare leges ndn sinunt, Neque testimoni dictiost. DE. Mitto dmnia. Do istiic ' inprudens timuit adulescens ' ; sino Tu seruo's ' ; uerum si cognatast maxume, 295 Non f uit necesse habere ; sed id quod lex iubet, Dotem daretis, quaereret aliiim uirum. Qua ratione inopem pdtius ducebat domum ? GE. Non ratio, uerum argentum deerat. DE. Sumeret Alicvinde. GE. Alicunde ? nil est dictu facilius. 300 DE. Postremo, si nullo alio pacto, faenore. GE. Hui ! 22 TEKENTI [2. 3. 72- Dixisti pulchre ! s^quidem quisquam crederet Te uiuo. DE. (angrily] Noii, non sic futurumst : ndn potest. Egon illain cuin illo ut patiar nuptam uniim diem ? Nil suaue meritumst. hdminem conmonstrarier 305 Mi istum uolo, aut ubi habitet demonstrarier. GB. NSmpe Phdrmionem ? DE. Istum patronum muli- eris. GE. lam faxo hie aderit. DE. Antipho ubi nunc est ? GE. Foris. DE. Abl, Phaedria, eum require atque hue adduce. PH. Eo: Recta uia quidem illuc. (Exit, with a sly wink cut Geta.) GE. (knowingly, to the audience) Nempe ad Pamphilam. (Exit on the right, chuckling.') 310 DE. Ego deos penatis hinc salutatiim domum Deudrtar ; inde ibo ad forum atque aliqudd mihi Amicos aduocabo, ad hanc rem qui adsient, Vt ne mparatus sim, si ueniat Phdrmio. (Exit into his house.) 3. 1. 9.j PHORMIO. 23 ACTVS III. So. 1 [II, 2]. Greta has now seen Phonnio and informed him of Demipho's return. The two enter from the market-place, still discussing the matter. Phormio expresses himself as eager for the fray. The scene is in trochaic septenarii with musical accompani- nent. See Introd., p. xxxvif. PHORMIO GETA PH. ftane patris ai's aduentum ueritum hinc abiisse ? GE. Admodum. 315 PH. Phanium relictam solam ? GB. Sic. PH. Et iratiim senem ? GE. 6ppido. PH. (thoughtfully, to himself) Ad te siimma solum, Phormio, rerum redit: Tiite hoc intristi ; tibi omnest exedendum ; accmgere. GE. 6bsecro te. PH. (too much absorbed to notice Geta) Si rogabit (finishing his thought in silence.) GE. In te spes est. PH. (a possible difficulty suddenly occur- ring to hitri) ISccere ! Quid si reddet? GE. Tu inpulisti. PH. (confidently to himself, having perfected his plan) Sic, opinor. GE. Siibueni. 320 PH. (to Geta) Cedo senem : iam instriicta sunt mi in cdrde consilia dmnia. GR Quid ages ? PH. Quid uis, nisi uti maneat Pha*nium atque ex crimine hoc Antiphonem eripiam atque in me omnem iram deriuem senis? 24 TERENTI [3. 1. 10- GE. 6, uir fortis atque amicu's. uerum hoc saepe, Phdrmio, Vereor, ne istaec fortitude in neruom erumpat denique. PH. Ah, 325 Ndn itast. factiimst periclum, iam pedum uisast uia. Quod me censes homines iam deuerberasse usque ad necem Hdspites, turn cmis ? quo magls ndui, tanto saepius. Cedo dum, enumquam iniuriarum audisti mihi scriptam dicam ? GE. Qui istuc ? PH. Quia non rete accipitri tennitur neque miluo, 330 Qui male faciunt ndbis ; illis qui nihil faciunt tennitur, Quia enim in iilis friictus est, in illis opera liiditur. Aliis aliunde est periclum, unde aliquid abradi potest ; Mihi sciunt nil esse. dices ' ducent damnatum domum ' : Alere nolunt hdminem edacem, et sapiunt mea senten- tia, 335 Prd maleficio si beneficium siimmum nolunt reddere. GE. Non pot6st satis pro merito ab illo tibi referri gratia. PH. f mmo enim nemo satis pro merito gratiam regi refert. Tene asymboliim uenire unctum atque lautum e balineis, 6tiosum ab animo, quom ille et cura et sumptu absumi- tur! 340 Diim tibi fit quod placeat, ille rmgitur. tu rideas, PriSr bibas, pridr decumbas ; cena dubia adpdnitur GE. Quid Istuc uerbist ? PH. Vbi tu dubites quid sumas potissumum. Haec quom rationem ineas quam sint suauia et quam cara sint, Ea qui praebet, ndn tu hunc habeas plane praesentem deum? 345 8. 2. 10.] PHORMIO. 25 GE. (looking down the street) Sen6x adest ! uidS quid agas : prima cditiost acerruma. Si earn sustinueris, postilla iam, lit lubet, ludas licet. (TJiey step aside to await their opportunity.) So. 2 [II, 3]. Demipho has secured three legal advisers to help him in his present straits. When Demipho gets within hearing, Phormio and Geta, pretending not to see him, indulge in a clever bit of acting for his benefit. Dernipho tries to overawe and corner Phormio by sharp questioning, but he finds his match. He finally offers to compromise, but without avail, and he is left in a furious fit of anger. The music has ceased, and there ensues a dialogue in iambic senarii. See Introd., p. xxxvi. [Demipho enters with three legal advisers from the Forum.'] DEMIPHO HEGIO CRATINVS CRITO PHORMIO GETA DE. (to his advisers) Enumquam quoiquam cdntumelidsius Audistis f actam iniuriam, quam haec est mihi ? Adeste quaeso. GE. (aside to Phormio) Iratus est. PH. (aside to Geta) Quiti tu h<5c age : 350 Iam ego hunc agitabo. (Raising his voice, to Geta, with pretended indignation) prd deum inmortalium ! Negat Phanium esse hanc sibi cognatam Demipho ? Hanc Demipho negat esse cognatam ? GE. Negat. PH. Neque ems patrem se scire qui f uerit ? GE. Negat. DE. (to his advisers, attracted by the loud talking) Ipsum esse opinor de quo agebam. sequimini. 355 [PH. Nee Stilphonem ipsum scire qui fuerit? GE Negat.] PH. Quia egens relictast misera, ignorattir parens, 26 TERENTI [3. 2. 11- Neclegitur ipsa. uide auaritia quid f acit ! GE. (threatening) Si erum insimulabis malitiae, male aiidies. DE. (aside, angrily) audaciam ! etiam me liltro accusatum adusnit. 360 PH. (to Geta) Nam iam adulescenti nihil est quod sus- censeam, Si ilium minus norat ; quippe homo iam grandior, Pauper, quoi in opere uita erat, ruri fere Se cdntinebat ; ibi agrum de nostrd patre Colendum habebat. saepe interea mihi senex 365 Narrabat se hunc neclegere cognatum suom. At quern uirum ! quern ego uiderim in uita optumum. GE. Videas te, atque ilium [ut] narras ! PH. I in malarn crucem ! Nam ni eum esse existumassem, numquam tarn grauis Ob hanc inimicitias caperem in uostram familiam, 370 Quam is aspernatur mine tarn inliberaliter. GE. Pergin ero absenti male loqui, inpurissume ? PH. Dignum autem hoc illost. GE. Ain tamen, career ? DE. Geta! GE. (to Pliormio, pretending not to hear) Bondrum extortor, legum contortdr ! DE. (raising his voice) Geta ! PH. (whispering to Geta) Respdiide. GE. (turning around) Quis homost ? (pretending astonishment) eh6m ! DE. (to Geta) Tace. GE. (to Demipho) Absenti tibi 375 Te indignas seque digiias contumelias Numquam cessaiiit dicere hodie. DE. (to Geta) Desine. (to Phormio) Adulescens, primum abs te hdc bona uenia peto, Si tibi placere pdtis est, mi ut respdndeas : Quern amicum tuom ai's fuisse istum, explana mihi, 380 Et qui cognatum me sibi esse diceret. 3. 2. 56.] PHORMIO. 27 PH. (with curling lip, and swaggering manner) Proinda expiscare quasi non nosses. DB. Ndssem ? PH. Ita. DE. Ego me nego. tu qui ai's redige in memoriam. PH. Eho tu, sobrinum tudm non noras ? DE. Ericas. "Oic ndmen. PH. Nomen ? (hesitating) maxume DE. (with a sneer) Quid mine taces ? 385 PH. (in confusion, to himself) Perii hercle, nomen per- clidi. DE. Quid afs ? PH. (aside) Geta, Si meministi id quod olim dictumst, siibice. (defiantly to Demipho) hem, Non dico. quasi non ndsses, temptatum aduenis. DE. Ego aiitem tempto ? GE. (prompting him) Stilpo. PH. (condescendingly) Atque adeo quid mea ? Stilpdst. DE. Quern dixti ? PH. Stiljponem inquam ndueras. 390 DE. Neque ego Ilium noram neque mi cognatus fuit Quisquam istoc nomine. PH. f tane ? non te horiim pudet ? At si talentum rem reliquisset decem DE. Di tibi malefaciant ! PH. primus esses memoriter Progeniem uostram usque ab auo atque atauo prof erens. 395 DE. Ita ut dicis. ego turn quom aduenissem, qui mihi Cognata ea esset, dicerem : itidem tu face. Oedo qui est cognata? GE. (with pretended satisfaction, to Demipho) Eu, ndster, recte. (Aside to Phormio) heus tu, caue. PH. Dilucide expediui quibus me oportuit ludicibus. turn id si falsum fuerat, filius 400 Quor n6n refellit ? DE. Filium narras mihi ? Quoins de stultitia dici ut dignumst n6n potest. PH. (with mock deference) At tu qui sapiens es magi- stratus adi, 28 TERENTI [3. 2. 57- ludicium de eadem caiisa iterum ut reddant tibi, Quanddquidem solus regnas et soli licet 405 Hie de eadem causa bis iudicium apiscier. DE. Etsi mihi facta iniuriast, ueriim tamen Potiiis quam litis secter aut quam te aiidiam, Itidem ut cognata si sit, id quod lex iubet Dotis dare, abduc hanc, minas quinque accipe. 410 PH. Hahahae, homo suaui's. DE. Quid 6st ? num iniquom pdstulo ? An ne hoc quidem ego adipiscar, quod ius publicumst ? PH. Itan tandem, quaeso, item lit meretricem ubi abusus sis, Mercedem dare lex iiibet ei' atque amittere ? An, tit ne quid turpe ciuis in se admitteret 415 Propter egestatem, prdxumo iussast dari, Vt cum lino aetatem degeret ? quod tu uetas. DE. Ita, proxumo quidem ; at nos unde ? aut quam 6b rem? PH. Ohe, ^Actum' aiunt 6s); Hegio, the leading lawyer (cf. r/7os, porta, a NOTES. 101 way through; experior, go through, test; peritus, one who has gone through, i.e.. experienced, skilled,' periclum, something gone through, i.e. trial (as here), then, becoming specialized in mean- ing, danger. 326. pedum . . . via: an expression suggested by in neruom (325). 327. quod: i.e. quot. See note on 159. 328. SeeApp. 329. dum : used enclitically, as often in the comic poets with imperatives. In later Latin this use of dum is found with the imperative only in agedum, agitedum. It is the same word as the dum which means while, etc., and was probably, in its origin, an ace. expressing duration of time, a moment. With imperatives, it came to be used merely to emphasize the command. enumquam : sometimes written en umquam. En serves to call special attention to the coming question, as one to which the answer no is expected. It commonly manifests emotion on the part of the speaker. 330. qui : see note on 130. tenditur is the reading of the Mss., though most editors write tennitur, after Donatus. 332. enim : indeed, as often, especially in early Latin. See note on 113. in illis ... in illis : colloquial and rare for in his . . . in illis. A. & G. 102 a ; B. 246, 1 ; G. 307, R. ; H. 450, 1 and 2. luditur : is frittered away. Cf . Plaut. Capt. 344 ; Cas. 424 ; Pseud. 357. 334. Notice the alliteration, which Terence employs effectively, though less often than Plautus. See note on 1. If a person did not pay damages that had been legally awarded to his creditor, the creditor was permitted to arrest him and make him his slave. The latter was then styled addictus. 337. potest: the unanimous reading of the Mss. is probably correct, though Dziatzko prefers pote, after Bentley. The omission of est with potis or pote, which Dziatzko assumes, is sufficiently characteristic of Plautus, but it is very rare in Terence. 338. immo is always corrective. It sometimes objects to some- thing as altogether wrong, when it may be translated not at all. 102 PHORMIO. on the contrary ; sometimes, while admitting that an assertion is true, objects to it as not being strong enough, and adds something to make it more forcible, when it may mean yes, but one would rather say, or the like. This explains the apparently contradictory definitions of the dictionaries : no, indeed ; yes, indeed. Both defi- nitions represent the same idea differently applied. regi : patron : often used of any wealthy man. 339. tene: see note on 153 (end). asumbolum (0-u/x/3oX^, quota), scot free (without sharing the expense), alluding to the Greek custom of having feasts at which each guest bore his share of the expense. unc turn atque lautum e balineis: alluding to the custom of anointing and bathing one's person each day before dinner. Notice that the exclamatory infinitive is here and in 884 appar- ently used of something agreeable to the speaker. It commonly expresses indignation, or the like. balineis : the regular form in Plautus. Later, balneum became more common ; and Plautus himself has balneator. 340. ab animo : ab is often used where the English idiom re- quires in, or on. Cf. ab Romanis, on the side of the Romans ; a tergo, in the rear, etc. The Latin phrase is used with reference to the point of view from which an act emanates or a state is pre- sented, the English, in a more subjective sense with reference to the speaker's own point of view. 340. quom . . . absumitur: an adversative clause, where the subj. would be required in classical times. 341. ringitur: undergoes vexations. "Ringi est stomachari taci- turn; est enim translatio a canibus latraturis," says Donatus. placeat : in a characterizing clause, the characteristic, however, being one that is aimed at, or willed. Such clauses may be termed "volitive characterizing clauses." rideas, bibas, etc.: subj. of permission, involving the yielding of somebody's will ; to be carefully distinguished from the poten- tial. 342. dubia : doubtful ; ubi tu dubites (343) : where you are in doubt, etc., implying great variety ; but the choice of words is made chiefly for the sake of the pun. Cf. Hor. Sat. II, 2, 77, and Auson. Mos. 102. NOTES. 103 344, ratlonem ineas: forming a single verbal conception, con- sider, lit., go into a reckoning. The quom really introduces a condition (see note on 280, ubi respondeas), and the subj, is used only because it is addressed to an indefinite person. On the posi- tion of words in this verse, see note on 200 and cf. that on 261. 345. non habeas : in a purely rhetorical question of obligation or propriety, should you not (ought you not to) regard = surely, you ought to regard. See note on 297. Such questions must be carefully distinguished from questions of deliberation, which are in their very nature still unsettled, and ask for directions. Delib- eration involves the will, and expressions of the will take ne as their negative. See, however, note on 827. In expressions of obliga- tion, the negative is always non. See App. 347. postilla : cf. note on 800. iam denotes relative, nunc, absolute, time ; iam contrasts any time, whether in the past, the present, or the future, with a pre- ceding time. ludas licet : the only passage in Terence where licet takes the subj. instead of the inf. ACT IH, SCENE 2 [II, 3]. 348. enumquam : cf . 329 and note. 350. quin age : see note on 223. hoc age, etc.; not to be translated literally. The phrase was originally used by the priest in charge of a sacrifice as an order to the proper official to dispatch the victim. It was accordingly the signal for all to observe a sacred silence. From this, it came to be used merely to invoke attention. Translate just watch me now, Pll stir him up directly. Cf . 435, see here, now ! Eun. 130, pray listen ! 351. deum inmortalium depends upon fidem understood (cf. And. 237, 246 ; Heaut. 61; Eun. 943 ; Hec. 198 ; Ad. 746), the ace. being one of exclamation. Pro is also used with the vocative, e.g. 1008. 352. See note on 200 (miser), and notice how, in expressing his pretended surprise, Phormio takes advantage of the principles there laid down, negat and Demipho (352) standing first and last respectively . Demipho (of all men in the world) , does he have the 104 PHOBMIO. face actually to deny, etc. ? In the next verse, the emphasis is no Conger on Demipho and negat, but on hanc and cognatam. 354. qul for the more common quis; see note on 129. 356. This verse cannot be reconciled with 386-9, and must be explained as a gloss, added by some scribe to explain 354, and later incorporated into the text. 358. quid facit : in early Latin, such apparently indirect ques- tions often take the indicative. The reason for this may be that they are not as yet far removed from parataxis. Three stages may be assumed in such cases : (1) Vide ! Auaritia quid facit 1 (2) Vide auaritia quid facit ! (3) Vide auaritia quid faciat ! 359. malitiae : A. & G. 220 ; B. 208, 1 ; G. 378 ; H. 409, II. male audies : cf. 20. 360. ultro starts with the idea of beyond. According to the application of this idea, it comes to mean gratuitously, voluntarily, actually (as here), i.e. beyond what one would expect. aduenit : the metre shows that this is present rather than per- fect ; see Introd. , p. xxxiv. 361. quod : see note^on 263. 363. pauper : in humble circumstances, not poverty-stricken, which would be egens. quoi : for the use of this form instead of cui, see note on 60. opere : the sing, of opus is often used for work in the fields. Cf. Heaut. 72, 73, 142 ; Eun. 220 ; Ad. 518. 365. interea : during those days. 367. quern . . . uiderim : a classifying clause, restricting optu- mum. Such clauses represent a development of the characterizing clause. See App. A. & G. 320 d ; B. 283, 5 ; G. 627 R. 1. 368. videas te atque ilium narras : jnst look at yourself, as you represent Mm, i.e. in the light of his virtues (ivhat a con- trast!). See App. malam crucem: an expression common in Plautus, but only here in Terence. A senarius is not commonly allowed to end with two iambic words. This apparent exception is to be accounted for by the fact that mala crux was a stereotyped expression, felt as a single word, which in turn could be modified by maxuma, magna, etc. Cf. Plaut. Trin. 598. The crux was originally a pole upon which offenders were impaled ; later, a cross to which they were bound NOTES. 105 or nailed. Hence, t in malam crucem corresponded to the English go and be hanged! 370. hanc : i.e. Phanium. in uostram familiam : in does not here mean against, or toward, but with reference to, the reference being to a reciprocal relation rather than to the inimicitia of Phormio against the familia. Why uostram instead of tuam? Notice the proceleusmaticus ob hanc ini\miciti\as, etc. See Introd., p. xxxiv, and, for the shortening of hanc, p. xli. 371. quam : i.e. Phanium. For this separation of quam from hanc, cf. 535. Such separation produces a surprise, arrests the attention, and thus adds to the impressiveness of the utterance. 372. pergin : pergisne. On the disappearance of the s in such cases, see note on 111. male loqui : felt as a single verbal conception, and so governing the dat. A. & G. 227 ; B. 187, II ; G. 346 ; H. 385. 373. dignum hoc illost : one might have expected dignus hoc illest. illo : the more remote demonstrative (instead of eo), holding as it were the person or thing at a distance, hence often implying contempt. Here, such a man as that. career : implying that Demipho represents all the evil qualities that a prison stands for. 374. bonorum extortor, legum contortor : as no words ex- isted which Geta thought sufficiently suited to the occasion, he apparently manufactures some (extortor, contortor). 377. ho die seems to be often used in early Latin almost as a mere formality, without any more distinctive meaning than our "now" has in certain colloquial expressions, e.g., "He did not say so at all, now," e.g. 626 ; Hec. 788, 873 ; Plaut. Pers. 218. 378. adulescens : this word, when used as here in direct ad- dress, often implies condescension and a certain amount of con- tempt ; cf. the similar use of "young man." aba : a form confined (except in compounds) almost exclu- sively to its combination with te. Even in this combination, it was almost entirely supplanted, in the last years of the Ciceronian period, by a. Later, when used at all, it was in affectation of archaic style. 106 PHOKMIO. 379. potls and pote, with esse, are both used in early Latin indifferently with any gender or number ; potis is here neut. ; on the other hand, pote may be used as masc. or fern. For the drop- ping away of the s, cf. such forms as Cornelia for Cornelias, C.I.L. I, 30. In sat (for satis), the i also disappeared, but in pote it has merely weakened to e. Final s was often slighted even in the early years of Cicero, as his poetry clearly shows. Later he calls such a pronunciation subrusticum (Or. 48, 161). 380. istuni gives to tuom a contemptuous turn. 381. qui : see note on 130. diceret : following the present tense, explana. The law of the sequence of tenses allows some exceptions. See App. A. & G. 287, h; B. 268, 7 ; G. 509, note. 382. expiscare : of attempted action, you are trying to fish it out of me. quasi nosses : as the perfect noui is equivalent to a present, the pluperfect is equivalent to an imperf. For the usual con- struction with quasi see A. & G. 312, Kem. ; B. 307, 2 ; G. 602 ; H. 513, 2. nossem : the tense is to be explained as a repetition of Phormio's nosses, with the necessary change of person. Cf . note on 122. ita: that 1 s what I said. 384. eho: what! non noraa : non (not here equivalent to nonne) is frequently used in questions implying surprise that a thing is not so. That the answer yes is not expected here, is shown by the fact that Demipho had just said he did not know. Phormio replies, you did not know? {strange indeed /) 385. maxume : certainly. 387. subice : prompt, lit. toss it up to (up under) me. 388. dico : where one might expect the future. Cf. our collo- quial idiom, "you don't get a cent from me," for "you will not," etc., "I go (am going) to-morrow," etc. nosses : see note on 382. temptatum : pump. 389. tempto : the subjunctive would be more common in thus repeating Phormio's word. See note on 122. autem : often thus used in repeating an expression which has NOTES. 107 given offense, to indicate the speaker's disapproval of, or opposition to, the sentiment ; see note on 503. adeo : (ad -f- eo) follows rather closely the meanings of its con- stituent parts : to that (such a) point (of space, time, or degree) ; to that point and no further, just, precisely; to that (end), with a view to that ; in addition to that, i.e. moreover, besides. In this last sense, the thing added is sometimes (especially in the phrase, atque adeo) opposed to the preceding context, as here, when it may be translated, still. Cf. And. 532, 977. mea : sc. refert, or interest. Cf . 940 ; Heaut. 793. 390. noueras : see note on 13. 392. non : see note on 384. horum : masc., referring to the bystanders. With the neut. of pronouns, pudet takes the personal construction, e.g. Ad. 754, non te haec pude.nt; Plant. Mil. 626; Ep. 112, etc. For the genitive with pudet in the sense of before, in the presence of, see Plaut. Trin. 912, deum me hercle atque hominum pudet ; Accius in Cic. de div. 1, 31, 66; Ter. Ad. 683, me tut pudet; Liv. 3, 19, 7. 393. talentum : not a contraction of talentorum, but a remi- niscence of the earlier form (-om, -urn") of the gen. plur. of the 2d declension. Terence, in the body of a play, uses this early form only in liberum, deum or diuom, nummum ; but in his prologues the early and shorter form is regularly used, and it is common also in later poets. The longer form in -orum came in later, after the analogy of the pronouns and of the -arum of a-stems. rem : a matter. 394. malefaciant, since a proceleusmatic cannot follow a dactyl, should be read with syncope of the e. esses . . . proferens : approaching proferres in sense, and in- teresting as showing an analytic tendency even in Latin. Cf . And. 508 and 775, ut sis sciens; Cic. Verr. 1, 140, distributum habere 'approaching distribuisse in meaning) ; perhaps also Cic. Att. 6, 12, 10. ea, quae habes instituta, perpolies. 396. quorn aduenissem : differing from si aduenissem only in calling attention more particularly to the temporal element neces- sarily involved, i.e. to the occasion characterized by the assumed 108 PHORMIO. act as well as to the act itself. For quom (cum) introducing con- ditions, see notes on 280 and 344. 397. face : see note on 309. 398. eu : this word and euge are transferred from the Greek e8 and eftye ; they occur frequently in comic poets, e.g. 478, 869. 399. quibus : sc. expedire. The omission of the infinitive in such cases is common ; cf. 113, 383, 447, 683, etc. 400. fuerat : fuisset would have expressed the idea as contrary to fact. Phormio uses an expression that is non-committal, pre- tending that the falsity of the supposition will be so self-evident, that the answer may be safely left to any one. filius : notice the effect of placing filius before the quor, i.e. I have nothing to say to you your son, why didn't he, etc. See note on 200. 401. filium narras : for de filio, just as one might say, "Do you talk my son to me ? " 403. magistratus adi implies an intention of petitioning, hence followed by an wi-clause. 404. Notice the emphatic position of tibi, i.e. it is certain they would do it for no one else. See note on 200. When a case was once settled in an Athenian court, there was as a rule no appeal ; not so, however, at Rome. 405. solus regnas : are sole monarch, a thing abhorred by both Greeks and Komans. This ironical speech of Phormio is calculated to recall Demipho to his senses. Demipho's reply shows that it has had the desired effect. 407. uerum tamen sometimes written together as a single word. 410. abduc hanc, minas quinque accipe : one might expect quinque minas tibi dabo, si hanc abduxeris. The use of imperatives betrays greater emotion, as does also the position of abduc hanc an idea which in Demipho's mind crowds to the front and asserts itself before its time. abduc : see note on 309. mina : Greek /xra. The Latins often thus inserted a vowel to facilitate the pronunciation of words borrowed from the Greek, e.g. Alcumena ('AA*/^?;), Aesculapius ('Aer/cX^Trtis). Minae quin- que would be somewhat more than $ 90. Demipho prefers the NOTES. 109 alternative, permitted by the law, of giving dowry. See note on 125. On the reading'of this verse, see App. 411. suaui's: see note on 295. 413. meretricem . . . abusus sis : for the ace., see note on 281 f. The iambic senarius seldom admits a monosyllable in the last foot unless it is joined by elision to the preceding word ; but this rule does not apply to monosyllabic forms of esse. CL 448. See App. 414. amittere : see note on 141. 415. in se admitteret refers to a giving up of one's principles ; committere is used in a more aggressive sense of offenses against society. 418. nos unde: sc. proxumi sumus. For the meaning of this position of nos, see note on jilius, 400. one denotes impatient deprecation. 419. actum ne agas : don't kill a dead dog ; more literally, don't try a suit that's already tried, a proverb originating in the custom in Athenian courts of allowing no appeal. See note on 404. This "etymological figure" is extremely common in Plautus, but comparatively rare in Terence. non agam : a rhetorical question of obligation or propriety. There is no such thing in Latin as a negative question of delibera- tion, corresponding to /ti} with the subjunctive in Greek. Questions with non which have been so classed (the few introduced by ne are all dependent} are always rhetorical questions, the answer to which is regarded by the speaker as settled. There is, then, no idea of deliberation involved. See note and App. on 345. One might ex- pect here ne agam f depending upon a verb of ordering, understood. See App. 420. modo : only, just. Cf. 496. 423. iam ducendi aetas : see App. 425. ipsum : commonly used in apposition with something for the purpose of contrasting it with something else. Here the con- trast is with uxor. 426. te : person regarded as means. The English starts with the same conception, as the use of "with" shows ("do with your- self"). See note on 137. feceris : a true fut. pf., rather than one used, like fecero in 882, 110 PHORMIO. to emphasize the promptness and certainty of the future accomplish, ment of an act. The feeling is, it will be better for you, if you shall have done, etc. See note on 808. 427. aduorsum : post-positive, as often in early Latin, rarely in later writers. 428. infelix : cf. the English use of wretch (meaning scamp), which started with the idea of wretched, e.g. Shakespeare, Comedy oj Errors, V, 1, 27: Fie on thee, wretch ! 'tis pity that thou livest To walk where any honest men resort. 429. bene habent : se is commonly expressed ; cf. e.g. 820, ut meae res sese habent. 430. feceris : see note on 426. 431. tuam has an emphatic position. B. 350, 5 c; G. 676, R. 1. expetam : repeating the thought of Phormio ; like nossem, 382, except that the latter repeats also the word. 432. te uisum . . . uelim: cf. "I want nothing said about it," " I want a person called,' 11 etc. uelim : for the subjunctive, see note on expetam, 431. 435. hoc age : see 350, note. 437. dixi : a technical term for ending a speech ; cf. Cic. Verr. I, 1, end. Here it implies that he means what he says. 438. Phormio models his reply after the words of Demipho. dignum: first means worthy, proper in conduct or character, then, as here, proper in the widest sense. 439. dicam : not dicam. A play upon dixi is probably intended. 440. quid : subject ; opus : predicate nominative. A. & G. 243 e, R. ; B. 218, 2 ; G. 406 ; H. 414, note 4. domo me : a business-like order, in which the speaker's manner and gesture would supply the verb. On the question of scene-division at this point, see App. ACT III, SCENE 3 [II, 4]. 442. hisce: see Introd., p. xlv. 446. eo : see note on dico, 388. 447. quid ago : such uses of the indicative in deliberative NOTES. Ill questions are very common in early Latin, and occur occasionally later, e.g. in Catullus, Vergil, and the Letters of Cicero. Cratinum censeo and mene uis, 448 : see note on 399. 448. For the monosyllabic ending, see note and App. on 413. 449 ff. Notice how, in the midst of the deference ,shown by the lawyers for each other's opinion, the ego and the tnihi keep cropping out in what they say. rem : interest. The word res, non-committal as it is in meaning, should always be translated to suit the context. 450. te absente : usurping the place normally occupied by the subject, receives the emphasis, showing that in the opinion of Cratinus the whole case turns upon this one point. 451. in integrum : lit. to an untouched (in, tango) condition, i.e. the marriage should be considered null and void. 453. itast : looking forward to quod homines, etc. 457. amplius : were it not that Terence seldom makes an allu- sion to anything purely Roman, one would think he had in mind here the technical term for adjourning a case for the purpose of collecting further evidence, viz. ampliatio. 458. num quid nos uis : see note on 151. 459. dudum: before; referring sometimes to the immediate, sometimes to the distant, past. 460. negant redisse : this omission of the subject of redisse violates common Ciceronian usage. A. & G. 336 a, 1; B. 314, 5 ; G. 527, 3. 461. is : emphasized by its position. The lawyers having failed, he is the last resort. See note on 200. 462. quoad se recipiat: representing the fut. ind. of direct discourse. On this use of quoad, see note on 148. 464. eccum : i.e. ecce eum; earn, eos, eas, ea, ilium, etc., are similarly combined into eccam, eccos, etc. The ace. seems to be due to the general objective feeling involved in ecce, which, with its ace., is often used without reference to the construction of the rest of the sentence, e.g. 484, eccum ab sua palaestra exit foras; Plaut. Mil. 1281, nescio quis eccum incedit. recipere : for recipientem. See note on 7. 112 PHORMIO. ACT III, SCENE 4 [HI, 1]. 465. enim uero : generally written as a single word. Enimuero, which commonly stands first in its sentence, is a reminiscence pre- served by classical Latin of the time when enim could begin a sentence. multimodis ; i.e. multis modis. 466. itane: for this use of -ne, see note on 153. uitam : synonymous, to Antipho's mind, with Phanium. aliis serves both as a "dative of agent" with tutandam and as the indirect object of dedisse. Some authors, e.g. Horace, are especially fond of these double constructions. 468. ut ut, sometimes written utut, is used almost exclusively with forms of esse or its equivalents, e.g. se habere. consuleres : statement of obligation or propriety in the past. See note and App. on 297. 469. quid . . . poteretur : the ace. with potior is mostly ante- and post-classical. Terence uses the ace. three times with this verb, the abl. only once (830). The genitive is rare. The forms poteretur and potltur are preferred by Terence to those of the fourth conjugation. tuam : objective. 470. miserae : probably dat. 471. et quidem : introducing, as often, a confirmation of a statement just made. iam dudum . . . incusamus : when an act has begun in the past and is still going on, the English idiom refers especially to the part of it that is past, e.g. we have long been censuring ; the Latin, especially to the part that is present, e.g. we are censuring already long. One is as logical and natural as the other. qui abieris : A. & G. 320 e ; B. 283, 3 a ; G. 633 ; H. 517. 474. subolet: lit. it emits (or there is) an odor, a colloquial expression like our "smell a rat," but it is used only impersonally, or with a neuter pronoun as subject. In Heaut. 899, subolat is formed according to the 3d conjugation. 475. nisi : akin in meaning to nisi quod (except that"), modifying, or making an exception to, the general assertion just made in nescio. Cf. 952 f. ; And. 663 f. ; Eun. 826 f. ; Heaut. 541 f. KOTBS. 113 476. ut aliis : for ut in aliis. See note on 171. strenuom hominem praebuit ; with the omission (rare with praebere) of se, cf . "he showed the coward," for, " showed him- self to be a coward." Apul. Met. X, 28, talem parentem praebuit qualem exhibuerat uxorem. 477. confutauit: cooled down. 478. ego quod potui porro : he modestly omits the remaining words (fed in the principal, facere in the subordinate, clause) necessary to complete the sense, condensing the mention of his own services into the smallest possible compass. 480. quid eum: the ace. is probably the object of mansurus est understood, why him? It might, however, be explained as due to the general objective feeling which prompts the question. Cf. e.g. 755. ut aibat sese uelle : where we should expect uolebat, ut aibat, facere, etc. The position of ut aibat at the beginning makes the subordination of the rest of the sentence seem not unnatural. Cf. Ad. 648, ut opinor eas'non nosse te, for eas, ut opinor, non nouisti tu. aibat : in early Latin and in poetry, verbs of the 4th con- jugation frequently have -ibam for -iebam; cf. 572, 582, 624, etc. 482. metuist : i.e. metuis est. See note on 154. uidere : quantum metuist mihi quantum metuo, and takes the infinitive for the same reason, e.g. in Plaut. Pseud. 305, metuont credere omnes; Catull. 64, 146 ; Livy, 34, 27, 10. patruom : subject of uenire understood. 484. palaestra : humorously applied to the house where Pam- phila lives. ACT III, SCENE 5 [2]. 486. non audio : see note on 388. 488. quod lubenter audias: a "predicating characterizing" (see App.) clause of the original type, something which you would gladly hear, the subjunctive still having the same force as in an independent, paratactical clause. Notice the following sorts of characterizing clauses, all expressed in Latin by the same mech- anism : 114 PHORMIO. 1. Predicating: (a) He is a man who would cheat (original type). Cf. 554. (b) He is a man who cheats (developed type). 2. Potential : There is no plan by which it can (may) be done (nihil est undefiat). Cf. 597, 1030. 3. Volitive (purpose): Men are trying to make machines which shall fly ; here the character of the machines is what the men pur- pose to bring about. Cf. 341. Besides these, there is the characterizing clause of obligation or propriety : I see nothing on account of which you should (ought to be) glad (nihil ego uideo quod gaudeas). Such clauses are com- monly classed as developed from the volitive idea, but see Am. Journ. of Philology, Vol. XV. (Latin Prohibitive, Part II.). 489. hoc : the next, this pronoun referring always to something near the speaker in thought or in actual location. 491. suo suat capiti (lest he) be fixing up something (i.e. trouble) for his own head. Geta, interrupting, gives this sudden turn to a sentence which Antipho intended to finish with an expres- sion indicating danger to Phaedria. uereor : such a thing would really afford him pleasure. He uses the word uereor merely to preserve the parallelism with Antipho's metuo, well knowing that he will be understood. 492. hatiolare : the fact that this word has come to be used of senseless prating shows into what disrepute the calling of the harioli had already fallen. fabulae (/an) first meant talk about something, a story ; then, a special kind of story, viz. a drama ; sometimes as here mere talk, i.e. nonsense. 493. faeneratum : commonly deponent, but not always ; cf . Ad. 219, faenerat. logi : \67v uruv ex u r ^ v MKOV OVT' jf%etc OVT' Atfreivai dvva/juu. 507. See App. 116 PHORMIO. 508. heia, ne . . . sies : this ne clause must be regarded as dependent, careful now, lest, etc. With very rare exceptions (and these are easily accounted for), prohibitions only of the mildest sort are expressed by ne with the present subjunctive. If this were a prohibition, we should expect ne . . . fueris. B. 276 ; G. 272, 2, R. parum : adverbs are not infrequently thus used with substantives which characterize, i.e. which are in effect adjectival. Cf. Plaut. Mil. 11, tarn bellatorem; Pers. 683, sat leno. 610. ain : what ! as often. mutet : break. 513. dum . . . aufero : while ... 7 am getting. 514. ne oppertus sies : the perf ., instead of the pres. subj. or the imperat., betrays the emotion of the speaker. As regards the relative vigor of the two tenses, the difference between them is similar to that between " be gone ! " and " go ! " See notes on 501 and 516. 516. idem: in English one would say too; a common use of idem where an additional statement is emphatically made regard- ing the same person. fueris : for eris. Fui, fuero, etc. for SMTO, ero, etc., in compound tenses are especially common in early Latin in deponent verbs. conduplicauerit : a future perf. is often used in Latin as a vig- orous means of emphasizing the promptness and certainty of a future act. It will be so prompt and certain that it is indicated by a tense that lays stress upon its actual accomplishment. Cf. "Utter one word, and you are a dead man,' 1 ' 1 ''Have done with such talk I (if you do not, you'll repent it)," expressions prompted by a similar feeling. This use of the fut. perf. must be carefully distinguished from the true fut. perf., on the one hand, and the simple fut., on the other. See notes 501 and 514. 518. horunc : for the gender, see A. & G. 187 b ; B. 235 ; G. 286, 1, and 290; H. 439. 519. neque ego neque tu : probably without any definite verb understood. The lack of a verb would be supplied by an impatient gesture. Dziatzko understands potero pati ; but the idea called for seems to be, neither you nor I need bother about that that's his own business. 619. See App. NOTES. 117 quod ea dignus: sc. accipere. See note on 399. Cf. Plaut. Pseud. 941, quantum dignus es, tantum dent. duint : see note on 123. 520. ego te : notice the usual juxtaposition of the two pronouns, here indicating impatience and disgust: i have put up with YOU, etc. Where no special emphasis is intended, ego is commonly omitted. 521. contra: this prepositional use of contra is rare in early Latin. Cf. Plaut. Pseud. 155 (rejected by some); Pers. 13; Trag. Rel. 476 (Ribbeck); Ter. Ad. 44. 523. tibi quidem : see note on 164. dies is commonly fern, in the sense of appointed time, masc. in other senses ; but there are numerous exceptions to this rule, espe- cially in poetry. 524. quam ad : see note on 148. dares: a volitive subjunctive, expressing permission, thrown back into the past. factum : see note on 238. 526. uanitatis : lack of principle, opposed to grauitas, solidity of character ; the former means lit. emptiness, the latter, heavi- ness. dum: provided. ob rem : like in rem, 449. 528. decipis : with long final syllable. . Notice the contrasting position of the pronouns in this and the following lines : hie me hie me ego hunc iste me ego isti. 529. scibat : see note on 480. 532. dare: for a similar violation of the rule for tenses, see And. 379, 411, 613, etc.; and for a corresponding use of the tenses of the indicative, 486, non audio; 669, nil do; 893, non eo j 963, haereo, etc. ACT III, SCENE 6 [3]. 535. quod: sc. argentum. 535-536. hie . . . triduom: when verbs, which (like exorare) in the active voice take two accusatives, are used passively, one of the accusatives becomes the subject of the verb, and the other remains unchanged. If the active voice were here used, the clause would run, hunc si pote fuissem exorare triduom hoc. In the present 118 PHORMIO. passage, the hunc has become the subject nominative, and triduom hoc remains unchanged. quod . . . promissum fuerat : an ellipsis must here be under- stood as the apodosis of the si-clause : which had been promised (and would have been forthcoming), if, etc. pote : see note on 379. 537. qui . . . adiuerit: an adversative (sometimes called "concessive") clause ; adiuerit (commonly u, here w), instead of adiuucrit. 539. equidem : used by Terence and Cicero only with the 1st pers.; most writers, both early and late, use it also with other persons, e.g. Plaut. Epid. 601, adulescentem equidem dicebant emisse. 542. For the hiatus after itane, see Introd., p. xliii. etiam tu hinc abis : do YOU then thus leave me to face the danger alone? Cf. Antipho's solus (539). The common interpre- tation, out tvith you ! leaves the emphatic tu without meaning. Eun. 799, non tu hinc abis, cited in support of the latter inter- pretation, is of very different character. It is introduced by non, and the tu is very emphatic, as may be seen again in the sentence following it, scin TU ut TIBI res se habeat? Expres- sions of this sort which really mean out with you ! have no pro- noun expressed except when strong contrast with another person is intended. 543. non triumpho . . . : implies no real deliberation, i.e. shall I, or shall I not? am I not to? etc. The feeling is, / am now rejoicing over my escape from one trouble. Can it be that I am not doing so without being subject to further orders? etc. That the idea of triumpho belongs distinctly to the present, without reference to its continuance in the future, is shown by the following etiam nunc (even now, in the midst of my rejoicing). 544. in malo . . . crucem: the crux symbolizes the greatest possible trouble. See note on 368. ni iubeas: without your ordering. This subjunctive clause seems to be developed from a so-called "less vivid fut." (" ideal ") condition, but it drifted away from this meaning, and came to be used with an indicative apodosis, referring to present time. Cf . 546, parumne est quod . . . succenset senex, ni instigemus etiam? etc. NOTES. 119 Plaut. Merc. 692 f. (685) , parumne hoc est quod amat Demipho, ni sumptuosus insuper etiam siet? 546. parumne : the m being but slightly pronounced. 547. ni instigemus : see note on 544. 551. certumst: it is my fixed purpose. 552. quod agas: the subjunctive is due to the volitive feeling in iiortant, this feeling extending through the gwod-clause : do what you will may the gods prosper it. pedetemptim tamen: sc. agas, 554. quod . . . pigeat: a " predicating characterizing " clause of the original type. See note on 488. 555. noli metuere : a form of prohibition comparatively rare in early Latin, but by far the most common of all forms in classical times. It is the one most deferential in tone. 556. bona mala : asyndeton is especially common in expressions complementary of each other. 557. quantum opus est . . . loquere : a paratactical form of expression. See note on 358. solae : in English one would use an adverb. 558. hui : equivalent in effect to a whistle. The price of slaves varied according to circumstances. Xenophon (Mem. 2, 5, 2) says that some are hardly worth half a mina, while others sell for as much as ten or, in rare cases, even more. The knowledge of any art increased the value of a slave, music girls especially commanding high prices. 559. inuentas reddam : a more vigorous expression for in- ueniam, laying stress upon the idea that the act will be an accom- plished thing in the future. See note on 516. aufer te hinc : an injunction repeated in different words in 566. Geta thinks the neighborhood not a good place for discussing their plans. iam : right aicay. 561. ei feret: see App. 562. amico amicus : a proverbial expression, solus being an e "aggeration : to such a degree that there is no one like him. 566. quod faciam : see note on 488. 120 PHORMIO. ACT IV, SCENE 1. 567. Chremes : on the vocative lorm of this word, see App. 569-570. postquam uidet (historical present) = postqnam uidit. The act is here conceived of as prior to that of profectam esse, though no stress is laid upon the idea of priority by the tense. In manebat the imperfect tense is used because it is conceived of as still in progress at the time of profectam esse. The present uidet might equally well have been uidebat, with a corresponding change of conception. A. & G. 234 ; B. 287 ; G. 561 and 562 ; H. 518. 572. profectam esse aibant : strict logic would require profecta est, ut aibant. illi : see note on 91. 573. audieras : with the long i, cf. Hec. 813, audierit, and Ad. 27, let ant, both confirmed by all the Mss., and the latter also by the testimony of Donatus. 574. pol : hang it ! Chremes does not propose to be too closely questioned about his doings in Lemnos. He may have been at his old tricks again. 578. quod : a relative referring to the occurrence just mentioned. 679. condicionem (con + dicere} : agreement,' then, in a spe- cialized matrimonial sense, match, coming at last to be applied also as here to one of the persons who formed it. The English word, "match," is also used in both senses, e.g. "They made a match," and " He is a desirable match." extrario : outsider is an etymological equivalent. 682. adfiiiem : referring to relationship by marriage; consan- guineus, to relationship by blood. 583. familiaritas : the relation existing between the members of afamilia; then, any relation similar to it, e.g. intimacy, etc. 584. opus est scito : the neut. of the perf . pass, partic. is often thus used in the comic poets with opus est and usus est. It may be translated as though it were a gerund, though it differs from the gerund in substantivizing the conception of the verb in a perfected passive form, rather than in a progressing, active form. Cf. the English expression "There is no need of its being known," in NOTES. 121 which the use of "its" shows that "being known" is practically felt as a substantive. 585. aliqua : somehoio. 586. me excutiam atque egredior domo : shell out, and clear out. Cf. Plaut. Aul. 646, excute pallium. Another colloquial use of excutere is seen in Hor. Od. 3, 9, 19, excutitur Chloe, with which may be compared the slang phrase, " shook her lover," i.e. jilted him. nam, etc.: giving the reason for having to "shell put" before leaving. ACT IV, SCENE 2. 591. neminem : probably not to be regarded here as exactly equivalent to nullum, but as a substantive, taking up again the hominem in negative form : a cleverer man none have I seen. Nemo in a purely adjectival sense is extremely rare, but undoubted instances seem to occur, e.g. Eun. 548, nemo homost. 593. argentum opus ease : opus is here used as a predicate noun. quo facto fieret : representing a deliberative question of direct discourse. fieret : this quantity of the i is found only at the end of an iambic verse or half- verse. See Introd., p. xxxix, note 2. 594. iatellexerat : plupf. instead of the perf. to emphasize the promptness of the act. Cf. the similar use of the fut. perf. instead of the fut. (e.g. 516), the perf. instead of the pres. (e.g. 501). 595 f. Notice the force of the imperfects, proceeded to, etc. 696. dari : notice that this gives the cause of gratias agebat. The infinitive, however, depends upon the idea of thinking or saying implied in the expression of thanks. 597. ubi . . . ostenderet: a "potential characterizing" clause. See note on 488. Phaedriae . . . Antiphoni : notice the contrasted positions. The crowding in of Phaedria's name thus early in the sentence shows that he, above all others, was now the object of their thoughts. 598. ad forum : see App. ulterior : further away, i.e. behind. 122 PHORMIO. 600. attat: by George f Cf. 963, etc. 601. pertimui : i.e. just a moment ago. autem : see note on 503. belua : ass that I was, belua here implying stupidity, rather than monstrosity. 603. commodius esse, etc. Translate by the equivalent Eng- lish proverb. Commodus (cum + modus), measuring with, of full measure, of proper measure, suitable; then, as here, serviceable, advantageous. Cf. note on 614. 604. a primo : for this use of a, see note on 340. 605. hospitem : new-comer. ACT IV, SCENE 3. 606. quam mox recipiat : depending upon the idea of " to see," implied in expecto. 608. quo impellat : an indirect question asking about a future fact. This should be carefully distinguished from questions like quo pacto fieret in 593. The direct form of the latter is a question about what shall occur, and takes the pres. subjunctive ; the direct form of quo inpellat is a question about what will occur, and takes the fut. ind. They both imply doubt, but only the former implies deliberation. Unfortunately, many grammars use the terms "du- bitative" and "deliberative" indiscriminately. 609. noster: implying both familiarity and esteem. Cf. Ad. 883 ff., where a master, commonly harsh and severe, is trying to reform, and be civil to everybody : O Sure noster, salue : quid fit? quid agitur? After thus addressing Syrus, he reflects as follows upon the success of his effort : iam nunc haec tria primum addidi praeter naturam : "0 noster! quid fit? quid agitur ?" 610. uolup : an ante-class, adverb (opp. to aegre), common in Plautus, but occurring in Terence only here and Hec. 857. quid agitur : how goes it? 611. compluria : very many, used here as a stronger term than the preceding multa, though it is often used in a weak sense. Compluria for complura is common in early Latin. Cf. the i in the regular gen. complurium. See App. 613. drxeras : a true plupf., referring to time prior to the last NOTES. 123 utterance of Chremes, just as one often says in reply to someone's suggestion, "I hadn't thought of that" i.e. had not, a moment ago. 614. circumiri : colloquial, to be got around, i.e. imposed upon. For such uses of the inf., see notes on 92 and 153. 614. commodum : as a temporal adverb, is colloquial. The steps in its development may be represented thus : measuring with, having proper measure, exactly corresponding with; then, as an adverb with the idea of exactness predominating, precisely ; then applied to a time, as here, just now. Cf. modo, used in the same sense. The English word "just" ("I was just discussing," etc.) had a similar development starting with the idea of ius, what is right and proper. 615. id quidem : cf. note on 164. 617. tit obuiam : see note on 52. 618. qui istanc : a suitable verb is easily supplied. 619. uisumst: seemed proper. 620. prendo . . . solum : button-hole. 621. quor non uides . . . ut: see to it that. Compare the com- mon use of uide (to which quor non uides is practically equivalent) with ut and ne, e.g. 803, uide ne pecces' Hec. 484; Plaut. True. 701, uide tu tuom efficias, etc. sic : i.e. in the way I am about to suggest. 623. liberalis : a person of fine sensibilities. See note on 168. fugitans : shy of; felt as an adj. A. & G. 218 b ; B. 204, 1 a ; G. 375 and notes ; H. 399, II. 624. nam : introducing an explanation of what is only implied in the preceding line : (one might otherwise expect him to resort to harsh measures) for, etc. What Geta says in 624 and 625 would have especial weight with Demipho, as it would remind him that his lawyers really advised nothing of the sort, but regarded the issue of a lawsuit as doubtful (cf. 446 f.). modo : see note on 614. 625. auctores fuere ut : urged him to, lit. were suggesters (oj the plan) that. 626. hodie : see note on 377. 628. iaru id exploratumst : that point has been already looked into. . 124 PHORMIO. sudabis satis: you'll find it hot enough. 629. inceptas : the Germans use anfangen in exactly the same sense. ea eloquentia may be the subject of est, or an abl. character- izing Demipho. Ea here is equivalent to talis (or tali). 630. pono : granted that ; lit. Hay (it) down (as an hypothesis). tandem : at length, at last, then as here after all. 631. capitis : referring, as often, to personal liberty and civic rights. If Phormio were beaten in the suit and the court should find damages against him, he would have no money with which to pay them. He would accordingly become Demipho's slave, thus losing his caput. Demipho on the other hand, if beaten, would be able to pay whatever damage the, court might impose. His caput was not in danger. 633. die quid uis: see note on 358. 634. in manum : cash down. 635. facessat: hinc sefaciat, id est, abeat, says Donatus. 636. di sunt propitii : mental derangement of any sort was supposed to be due to the ill will of the gods ; sagacity and wisdom, to their favor. Cf. e.g. Plaut. Mil. 700, di tibi propitii sunt, you are level-headed. 638. ut est ille bonus uir : so good a man is he. commutabitis : bandy. 640. non potuit melius peruenirier eo : we could not better accomplish the purpose, etc., lit. it could not better be come through to that, etc. 643. nimium quantum : an amount that is altogether too much. si ... daret: a so-called " less vivid future " ("ideal") con- dition, from a past point of view. 644. talentum magnum : referring to the Attic silver talent, called magnum to distinguish it from other talenta of less weight and value. This Attic talent was the one most extensively recog- nized. immo malum hercle : great Scott! Pll give him a big thrash- ing, rather (than his l big talent" 1 }, dabo being understood from the preceding daret. 645. adeo : precisely, just. See note on 389. In this sense it is chiefly used in connection with a pronoun. NOTES. 125 ei : with long e as in 972, 1030 ; Hec. 573. 646. locaret: sc. in matrimonium. panii : A. & G. 222 ; B. 210, 4 ; G. 381 and 382 ; H. 408, III. 647. non suscepisse : did not undertake to rear, lit. did not take up (from the (/round). A father could, if he chose, have a new-born child put to death. If he was willing to bring up the child, it was customary for him to indicate the fact by lifting it from the ground. The penurious Demipho, to avoid the extra expense of providing a dowry for her, had not reared a daughter of his own, but a worse calamity had overtaken him he must now provide a dowry for an entire stranger. The dowries mentioned in Terence vary all the way from 5 minae (about $90) to 10 talents (about 11,000). Cf. Heaut. 838, 940 ; And. 950 f. quae . . . petat : a " predicating characterizing " clause of the developed type. See note on 488. 648. ut ad pauca redeam : to put it in a nutshell, lit. to return (to the beginning and reduce all) to a few words. illius : to be read either as Illius, or illius. 651. frier at : viewed as prior to the time of uolui. It would seem more natural to say fuit, with reference merely to the speak- er's past. Gf. Ad. 686, uirginem uitiasti, quam te non ius fuerat tangere. 652. uenibat : observe the force of the imperfect. For the form, see note on 480. 653. in seruitutem ... ad ditem. Notice the means em- ployed to heighten the pathos, in seruitutem instead of in matri- monium, and ad ditem (ad expressing mere motion toward, delivery at the house of, like so much merchandise) instead of diti, which would cover the "for" idea, as well as the "to" idea, and call attention to the interest felt in the proceeding and to the advan- tage it would bring. pauperem : a wife who had brought only a small dowry to her husband occupied a comparatively humble position in the family. 654. erSt: cf. decipls, 528. 655. quae adferret: a "predicating characterizing" clause of the original type, thrown into the past. See note on 488. qul dissoluerem : a clause of purpose ; qui, whereby. See 130. note. 126 PHORMIO. 656. si uolt Demipho, etc. : notice the emphatic position ot uolt, if Demipho is only icilling. This implies that Phormio appreciates the excessive character of his demands, but neverthe- less wishes it understood that all depends upon Demipho's yielding. 660. inprudentem (in +pro + uidens, not fore-seeing): i.e. with- out realizing the consequences of it all. 661. animam : an exaggeration for an enormous amount. oppositus pignori ob : mortgaged /or, lit. presented (put up againsfy for a pledge in consideration of. 663. oie'l : whew ! though it will not always bear this translation. 664. ne clama : ne with the present imperative is strictly poetical at all periods, occurring in prose only in Livy, 3, 2, 9, ne timete. 665. Notice the affected modesty of the diminutives : aediculae (663), ancillula, pluscula. With pluscula, a diminutive formed from the nom. and ace. neut. form of the comparative, cf. plu- sculum (Plaut. Amph. 282 ; Pers. 21 ; Cic. de or. 2, 24, 99), com- plusculos (Ter. Hec. 177), maiuscula (Eun. 527), meliuscula (Hec. 354), tardiuscula (Heaut. 515). 667. sane : if you will ,- colloquially used with imperatives. 668. sescentas : the most common word for an indefinite large sum, where the Greeks said pvpias, and we say "a thousand." scribito : notice that this, while a command in form, expresses hardly more than a permission, he may if he choose. The two ideas, one representing an urging, the other a yielding of the will, readily pass into each other. Cf. " you may march yourself straight home," where "may march," an expression of permission, has the force of an imperative. 669. nil do : see note on 388. inpuratus me ille ut etiam inrideat : for the significance of the position of the first three words, see note on 200 ; and for the construction of ut . . . inrideat, see note on 304. 670. filium : logically the subject of ducat, grammatically the object of fac. This is a common phenomenon with fac in colloquial Latin, when the logical subject of the verb of the wi-clause precedes the ut. 673. eicitur : sc. Phanium. 674. quantum potest : quantum in this phrase seems akin t the ace. of extent and is to be translated, according to the context, NOTES. 127 by to what extent, so far as, or, when the reference is to degree of rapidity or promptness, by as quickly as, as soon as. potest: i.e. fieri potest. Cf . 897 ; Ad. 909. 676. illi : the relatives of the girl to whom he claimed to be betrothed. iam : at once, modifies the whole conception, constituerunt dare ; hence its position before the entire phrase, instead of immediately before dare. The dowry was commonly given shortly before the wedding. 677. repudium renuntiet : break off the engagement, lit. give notice of the separation. Cf. 928, repudium remittere. The re- (in renuntiare and remittere) emphasizes the idea of restoration to a previous condition. 678. quae quidem illi res : the expression quae res . . bene uortat was a common formula for invoking a blessing upon any transaction. His having the usual formula in mind accounts for the contrasting quidem : and may this piece of work not, as is the usual prayer, prosper (bene uortat) but uortat male. 679. adeo : very, lit. to that degree, to such a degree, so, then very. Cf. "I am so glad to see you," i.e. very glad. See note on 389. 680. Lemni : see note on 66. 681. dixero : not a true fut. perf. See English parallels cited in note on conduplicauerit, 516. ACT IV, SCENE 4. 682. hem : hello ! indicating his surprise at finding Antipho here. emunxi : cleaned out. 683. satin est id : an expression intended by Antipho to mean, Is that all you have done? i.e. you know you have betrayed me besides. Geta, trifling, pretends to understand it as referring to the amount of money, and replies : hanged if I know (whether it is enough, or not) : it is all I was told to get. See note on 399. 684. eho : take that I uerbero : you whipping-post (uerberare, to flog). 685. narras : i.e. mean (by the above question). narrem : merely echoing the preceding narras. See note on 122 Cf. 382, 389. 128 PHORMIO. 686. mihi quidem : the quidem contrasting mihi with others in whose fortunes Geta was truly interested ; it conveys complaint at Geta's supposed faithlessness to the speaker. Contrast is also intended with the te quidem of the next line. redit = rediit, as often. Cf . 55. The verse is probably to be read as follows : ad res\tim mihi \ quidem res \ redit \ etc. planissume : in translating, reproduce the force of the position of this word by a phrase of corresponding emphasis. 687. ut = utinam: cf. 711, 773. di deae, super! infer! : asyndeton seems especially common in hurried or emotional expressions. This is due to a general ten- dency to omit, under excitement, what may easily be supplied. 688. exemplum: example, then (as here) specialized in mean- ing, punishment, which makes a person an example to others. em = en, to be carefully distinguished from hem. si ... uelis : for the subjunctive, see A. & G. 309 a ; B. 302, 2 ; G. 595 K. 3 ; H. 508, 5, 2. 689. qui . . . auferat : who would, etc. ad scopulum : ad first meant toward, then by implication all the way to, and finally, this last idea becoming specialized as here, against. 690. utibile = ut He, common in Plautus, but only here in Terence. 694. enim : indeed. See note on 332. noul : i.e. I dare say I 695-696. As Phormio would not be able to pay back the money, he would have to choose one of two courses : he could stand by his agreement to marry Phanium, or else suffer the legal penalty for breach of contract. 697. quin . . . possit : A. & G. 319 d; B. 283, 4 ; G. 632 ; H. 504. 699. iam si argentum acceperit : if he receives the money, the conclusion at once (icwi) follows that he must marry her. Iam strictly modifies neither acceperit nor ducendast, but rather the mental act of deciding what the logical conclusion of the condition would ultimately be. See App. 701. tandem : after all. Cf . Lucr. 5, 137. 702. uocandi : sc. amicos. Cf . 453. sacruficandi : a wedding was preceded by sacrifices offered to the deities of marriage, especially to Hera. NOTES. 129 paululum : notice the very emphatic position, at least some little, etc. This word is variously used as an adverb, an adjective, and a substantive. 704. iste : your man. 705. quod: i.e. quot. See note on. 169. 706. ater canis: a common object of superstition. It will be remembered that Goethe represents the devil as appearing to Faust in the form of a black poodle. 707. inpluuium commonly refers to a basin set in the floor of the house, into which fell the water from the roof through an opening directly above. This opening was called the compluuium. Occa- sionally, however, either one of these terms is used to denote the entire uncovered space including both the opening in the roof and the basin in the floor. Cf. Cic. Verr. I, 1, 23, 61 ; Serv. Verg. Aen. 2, 5, 12 ; Plaut. Mil. 159, 287, etc. 708. gallina cecinit : Donatus says this was an indication that the wife would survive the husband. 708-709. interdixit hariolus ; haruspex uetuit, etc. It was customary, when anything of importance was to be done, to learn the will of the gods regarding it by consulting their interpreters. 709. ante bramam : before the winter solstice, Dec. 21, as Chremes had just returned from Lemnos with the income of his wife's estate (679 f. ). It must then have been after harvest time. As he was later than usual in going thither (569), and remained there unexpectedly long (572-3), we may suppose the time to be about the first of November. 711. iustissima, superlative and emphatic by its position, is a sarcastic thrust at the utterances of the soothsayers. See note on hariolare, 492. 712. ut utinam. me uide : look to me (for that). Cf. And. 350; Plaut. Trin. 808. ACT IV, SCENE 5. 713. quid uerbonim duit : give us any of his nonsense ; uerba dare, to give words (and nothing but words'), i.e. to practise deceit. 714. hoc : he is holding fast to his money-bag, amittam : let get away, lit. send away. 130 PHOBMIO. ego a me : notice the juxtaposition (see note on 520) of the pro- nouns, both in a very emphatic position. There is an important, swaggering air about the whole speech. quin . . . adhibeam : A. & G. 319 d ; B. 283, 4 ; G. 566 ; H. 504. 715. ut cautus est: this differs from quam cautus est, in that ut is an adverb of manner, and quam an adverb of degree. 716. opusfactost: see note on 584. 718. rem ipsam: the very thing (that is going to happen), referring to reiciat. 720. nuptum : the supine was originally the ace. of a verbal noun used to express limit of motion, which fact explains why the construction is used only with verbs expressing or implying motion. Here dare Phormioni implies motion. 723. malum : the deuce. A parenthetical ace. of exclamation, that became a mere interjection. Cf. 948, 976 ; Ad. 544 ; and Donatus' note on Eun. 4, 7, 10. tua . . . refert : A. & G. 222 ; B. 211, 4 ; G. 381 ; H. 408, I, 2. magni : A. & G. 822 ; B. 211, 4 ; G. 382 ; H. 408, III. ACT IV, SCENE 6 [V, 1]. 728. quo : = ad quern? referam : a technical term found in such expressions as rem ad senatum referre, to lay a matter before the senate. 730. The position of era shows that her mistress was uppermost in her mind. The word, like the thought, comes first. See note on 200. suasum : she had advised the marriage with Antipho. 732. nam quis: often in colloquial Latin for quisnam. This use of nam must not be confused with the inferential nam; it merely emphasizes the question and commonly implies wonder, surprise, etc. a fratre : from my brother's. The position of exanimata a fratre, coming as it does before the quae, indicates the astonishment of the speaker. See note on 200. 733. quod : referring in a general way to the part she had taken in bringing about the marriage. NOTES. 131 quom scirem : on the subjunctive in adversative clauses in early Latin, see note on 22. infirmas : divorce was easy, and the extent of Demipho's influ- ence upon his son was an unknown quantity. 734. id consulerem : consulo sometimes means duly consider, and in this sense takes an ace. of direct object. Cf. Plaut. Most. 1088 ; Pers. 840, etc. interea : i.e. until they should find Phanium's father. 736. quid ago : see note on 447. 737. adeo an maneo : see note on 447. duni . . . cognosco : see note on 513. 741. nine, away from here, shows that they were both standing near Chremes' house ; istorsum (isto + uorsuni), (further along) in your direction, shows that Sophrona was, however, further from it than was Chremes. This is natural, as she had just come from Demipho's house. 741. sodes: see note on 103. 742. ne . . . appellassis : for the form, see note on 308 ; for the force of the perfect in prohibitions, see that on 514. 743. st counts in the verse for a long syllable. 744. saeuam : notice the force of the position, who is a perfect terror. 746. aliqua : see note on 585. 747. istoc : causal ablative in emphatic position, it was on that account. 749. illae: the reference would be readily understood by So- phrona. 750. aegritudine : not used of bodily ills until after the Augustan period. 751. male factum: too bad! a mild expression for such an occasion, but not surprising coming as it does from Chremes. Est is regularly omitted with male factum and bene factum. See note on factum, 524. quae . . . essem : causal. 752. nuptum : cf . 645 and 720. 754. au : an exclamation confined to women, mercy on me ! Elision does not commonly occur in monosyllabic interjections. See Introd., p. xliii. 132 PHORMIO. duasne uxores habet : there is much human nature in Chremes' astonishment that anyone else could have been guilty of such a thing. Chremes does not appreciate the humor of the question, but his audience would. 755. illam alteram : see note on 480. ergo : here merely an emphasizing particle. 756. posset : subjunctive expressing purpose. It might be felt as an indirect question, by an agreement as to how he could, etc. 757. sine dote : a dowry was ordinarily thought necessary, in order that a clear distinction might be made between a wife and a mere concubine. uostram fidem : an ace. of exclamation, to be accounted for as the object toward which the speaker's emotion is directed. No definite verb need be supplied. uostram : objective, in you. temere : a less general term than fort e, implying specifically ab- sence of design or thought. 759. ut uolebam : referring in a general way to his satisfaction with all the circumstances of the present arrangement. 760. ambo implies concerted action on the part of the two brothers, with a common purpose ; uterque would imply inde- pendent action. opere maxumo : magno opere was commonly felt as a mere adverb and was often written magnopere. Occasionally, and es- pecially in early Latin, the two parts were felt as sufficiently dis- tinct to admit of a comparison of the magno. fieret is commonly fleret at the end of an iambic verse ; cf . 593, and see Introd., p. xxxix, note 2. 761. hie solus: i.e. Antipho. 762. opus facto : see note on 584. 763. oppido : cf. 317. 765. scibit: see Introd., p. xlv, 2. ACT V, SCENE 1 [2]. 766. nostrapte : this -pte is common only with the abl. sing, of possessive pronouns. It emphasizes the possessive idea, nostrapte meaning our own. Cf. Heaut. 388, expedit bonas esse uobis. NOTES. 133 767. bonos, instead of boni, shows that nos is probably the ace. case. 768. ita fugias ne praeter casam : (in running away} so run that, in addition to your hut (you do not lose your head); probably a proverbial expression, from which the rest of the ne-clause (caput quoque amittas, or the like, is omitted. Proverbs are often quoted in an incomplete form, e.g. Cic. de orat. II, 64, 258 agas asellum; de finibus III, 4, 16 fortuna fortis ; Arist. Vesp. 1422, 5pot TIS (to be filled out with ^v ?KCImptly gets impatient at his brother's strange conduct. 4uid tu : the emphatic tu makes the expression very different in tone from a mere quid, or quid ais, to which it has sometimes been said to be equivalent. It practically amounts to, what is the matter with YOU ? With tu, probably no particular verb was felt to be omitted ; it merely stands in a general way as the subject of action. 800. nostra : sc. refert. Cf. 723. 136 PHORMIO, magni : sc. refert. Cf . 723. praeterhac : a form common in Plautus, but occurring in Ter- ence only here, and possibly Ad. 847. Praeterhac differs from praeterea in meaning, as haec differs from ea. See note on 347. 801. sic erit gives assurance of future confirmation. Cf. Heaut. 1014 ; Ad. 182, etc. 802. satin = satisne. 803. au : see note on 754. 805. Chremes has been making signs to Demipho throughout the scene, and now begins to get desperate at his failure to make him understand. 806. nil : i.e. nonsense. quid siet : what, it's all about. perdis : cf . 856, where enicas is similarly used. 807. equidem hercle nescio : IUI be hanged if I know! ita . . . ut : as truly as. at : often used, as here, in introducing imprecations and occa- sionally also in friendly prayers. See Harper's Diet. B, 3, c and d. The at denotes a sort of opposition to the general situation. 808. uostram fidem : see note on 757. 809. ipsam : contrasted with Chremes. aut scire aut nescire: i.e. to know the truth or falsity of. ah : an exclamation caused by Demipho's una omnis, which would include Nausistrata. 810. apud: with personal object, commonly calls attention to the characteristics or the vocation of its object. If you are a banker, apud te means at your bank ; if a merchant, at your store ; if an author, in your works; if merely thought of as a private individual, at your house, in your make-up as a man, i.e. in your heart, in your eyes, or the like. 811. uin satis quaesitum mi istuc esse: do you wish me to have done with my questions? lit. do you wish that matter to have been inquired about enough by me? ilia tilia : see note on 137. 812. amici nostri : said with a significant look, as a safe way of referring, in the presence of Nausistrata, to the daughter of Chremes himself. mittimus ; see note on 447. NOTES. 137 hanc : i.e. Nausistrata, not Phanium. Cf. 813, ire igitur tibi licet, Nausistrata. 813. quid ni : see note on 64. ilia : while in reality referring to the same person as ilia filia above (811), viz. to Phanium, is not so understood by Demipho. By ilia jilia, he means the daughter of Chremes ; by ilia maneat, Antipho's present wife, whom he supposes to be another person. 814. sic : anticipating manere hanc, 815. 815. perliberalis : very lady-like. See note on 623. 817. respiciunt originally meant look back at; then, as this act would imply interest in the thing looked at, it developed the meaning take interest in, care for. Cf . the English derivative from it, "respect." 818. potuit : cf. note on 303. See App. 819. heus : mind you I ACT V, SCENE 4. 820. ut : however. Sloman's interpretation, considering that, would require an adverb with sese habent. fratri: used here for fratri patrueli, cousin, as in Cic. Clu. 24, 60 ; ad Att. 1, 5, 1 ; Cat. 66, 22. 821. scitum : from scisco. 822. quas : perhaps the only instance (excepting one or two in late Latin) of the ace. with medeor; medicor, however, occurs with the ace. in Verg. Aen. 7, 756. quom . . . sient : a general condition in which we should expect the indicative, were it not colored by the verbs (mederi possis) of the clause in which it stands. paulo : with little, i.e. easily. Paulum is common as a substan- tive hi early Latin ; e.g. Plaut. Cure. 125, de paulo; Ter. Ad. 949 ; And. 903 ; Heaut. 498, etc. quas possis : a predicating characterizing clause (see note on 488) ; the potential idea that is felt lies in the meaning of the verb itself, not in the mood. 825. si ... celetur: referring " less vividly " to the future as a more remote possibility. sin patefit : the change of mood seems to indicate a greater 138 PHORMIO. probability of the actual coming-to-pass of this condition. The present tense, treating the act as one that is possibly already in progress, is perhaps due to the same feeling. When facio is compounded with prepositions, it forms its pas- sive regularly, e.g. inficior ; when compounded with other parts of speech, it follows its own conjugation, e.g.patefio, commonefio, etc. 827. ubi . . .possim: where could I (if I should try}, possim being really the conclusion of a "less vivid future" ("ideal") condition. One should be careful not to confuse this subjunctive with such deliberative subjunctives as that in quid agam, what shall I do? which expects some expression of the will in reply. It would be possible to extend the term "deliberative" to cover such questions as this, but, if that were done, we should have to make several distinct classes of deliberative questions, e.g. (1) those in- volving the will, e.g. quid agam, what shall I do? (2) those with the "potential" (sometimes so-called) subjunctive, never in any way connected with the will, e.g. quid sit optimum, what would be best? (3) such uses of the indicative as in quid est optimum, what is best? quid erit optimum, what will be best? etc. ACT V, SCENE 5. 830. Phaedria : for the quantity of the final a, see note on Geta, 179. propria : as his own. For the construction and the form of po- teretur, see note on 469. emissast manu : i.e. released from the manus, or power of her master. This giving up of all claim to a slave was symbolized by a ceremony in which the master first took hold of the slave, as still his own, turned him about, and then released him from his grasp, a free man. 832. aliquod : see note on 159. sumam : take, appropriate. Cf. Ad. 287, 854. 833. quid ais ? an expression used merely to attract attention, like " Say ! " "0 say ! " "I say ! " 834. satietatem amoris . . . absumere : take his fill of love. 835. partis tuas acturus est reminds one of Demipho's former words (267), tradunt operas mutuas. NOTES. 139 837. Sunium : a town on the southern coast of Attica, near the promontory of the same name. It was evidently famous as a slave market. ire : see note on dare in 532. 838. dudum : viz. in 665. 840. ostium concrepuit : the doors of Greek houses often opened outward. They were frequently (regularly, in the case of families who could not afford to keep an ostiarius to tend the door) kept bolted on the inside (cf. Heaut. 275 ff.; Ad. 634). The expres- sion ostium concrepuit seems to refer to the noise attendant upon drawing the bolt and starting the door, all of which would indicate that some one was about to come out. It is commonly explained, chiefly on the authority of Plutarch (Poplic. 20), as referring to a knock by which a person about to come out is supposed to have warned passers-by against the danger of being hit by the door. But such extreme precaution would in any case seem absurd and unnecessary, especially so when we know that other noises accom- panied the opening of a locked door, in ancient, as well as in modern, times. Another serious objection is the fact that concre- pare refers to a rattling, creaking, or grating sound, not at all to anything like a knock, which is indicated by pulsare, pultare, pellere, words never used of persons about to come out of a house. Plutarch's remarks are professedly based upon expressions of this sort found in the comic poets, and are probably due to a misunderstanding. The tense of concrepuit is to be explained as referring to the instant before, just as we upon hearing a knock may say, "some one knocked," as well as "some one is knocking." ACT V, SCENE 6. 841. Fortuna and Fora Fortuna : the words uostra and onerastis in the next verse show that the conception here is of two distinct deities. 843. quid sibi uolt : what does he mean ? 844. mihi: A. & G. 236; B. 188, 2 b; G. 351; H. 389. Cf. Plaut. Epid. 344, mihi cesso, quom sto. umerum huiic onero pallio : the pallium (after which the fabu- 140 PHOKMIO. lae palliatae took their name) was worn out of doors, even by slaves. When there was need of haste, the lower folds of the garment were drawn up (and here thrown over the shoulder) , so as not to impede one's progress. 845. adque : i.e. atque ; see Introd., p. xliv. quae . . , contigerint: the subjunctive is probably due to the influence of sciat ; but it would be possible in such familiar speech to regard the quae as interrogative instead of relative, that he may know of all this, viz. what has happened. 847. em tibi : see that, will you? For tibi, see on mihi above, 844. 848. reuocari, cursum quoni institeris : probably alluding to some practical joke that was wont to be practised on slaves, similar to that practised by boys nowadays in calling to a person on the street, and then asking him how far he would have been if he had not stopped. institeris : subj. of indefinite 2d person. 849. pergit hercle : he is deucedly persistent. tu : emphatic and contemptuous, a nuisance like you. odio tuo : your odious conduct. Cf. Hor. Sat. 1, 7, 6, odio qui posset uincere regem. 850. uapula : you be hanged! lit. be flogged! uerbero : see note on 684. 851. familiariorem : pretty intimately connected with me. 852. ipsust: see note on 178. 853. O is here elided, thus forming an exception to the rule. See note on au, 754. quantum est : an expression of quantity, where we should ex- pect an expression of number. It would seem still more natural to omit the phrase altogether. 854. solus : i.e. to a very exceptional degree. diligere : not an infinitive. 856. delibutum . . . reddo : see note on 559. delibutum gaudio : steeped in joy, lit. besmeared with joy. enicas : see note on 806. 858. aderas: in English one would be likely to use the perf., have you been here all the time? but the imperfect is quite intelli- gible, referring to the immediate past. NOTES. 141 859. apud forum : Terence never says in foro. though that phrase is common in Plautus. See And. 254, 302, 745; Ad. 154, 404, 572. 861. omitto proloqui : it is merely for the sake of convenience In explaining what happened, that Terence represents Geta as sent to Phanium. That occurrence is accordingly briefly dismissed. 862. gunaeceum: there were two distinct parts to a Greek house, the andronitis, or men's apartments, and the gynaeconitis, or women's apartments, also called the gynaeceum. The Greek women were kept in close seclusion in the back part of the house. 866. Notice the readiness with which the Latin at all times falls into indirect discourse. 867. suspense gradu : translate by the corresponding English idiom. ire perrexi : practically equivalent to ibam, the idea of progres- sive action being expressed by a separate word, instead of being left to the less definite imperfect tense. This, too, makes it possible to leave the series of perfects unbroken, and thus heighten the rhetorical effect. astiti : not from asto. 868. animum commonly refers to the thinking, feeling part of a man, mind, soul ; animani, merely to that which he shares with all living things, the life principle, or, as in this line, the breath. animum . . . attendere : to listen, lit. to stretch the mind toward. 869. hoc modo : like this. He puts his hand to his ear and leans forward, to show how it was done. This interpretation of hoc modo is more in harmony with the liveliness of the narration than to take it as referring tamely to what he has previously said. modo : not to be confused with modo. 869. captans : the frequentative calls attention to the eagerness with which the act was performed. 870. paene is, with verbs, commonly used only with a perfect tense ; it is not found with the imperfect, because in its very. * nature it has reference to failure of accomplishment, rather than of progress. It is rarely found with the subjunctive. 871. mirincissumum : for the more common classical form. 872. uxori: the dat. of reference where one might expect a gen. Cf. " servant to the queen." Such a dat. is common in the 142 PHOBMIO. predicate with est, but instances like uxori, where the dat. de- pends upon the substantive, are rare. Cf. Plaut. Mil. 1431, PY. Quis erat igitur? Sc. Philocomasio amator. The dat. differs from the gen. in such cases, in calling attention to the idea of interest involved. 873. in Lemno : see note on 66. 874. utin . . . ignoraret : see note on 304. credito : the present imperative would be expected. A. & G. 269, d ; B. 281, 1 ; G. 268 ; H. 487. 876. ipsi emphasizes the idea of secrecy. 877. inaudiui : have had an inkling of. This word perhaps belongs to an obsolete, inchoative form (inaudisco') , which meant to begin to hear, though indaudiat is found in a fragment of Afranius. Antipho had of course heard something from Sophrona and from Phanium herself about the latter's origin. Cf. also 389, where the name assumed by Chremes in Lemnos, viz. Stilpo, is shown to have been mentioned in court. 880. adhibendae -, for a similar use of habendae, cf. 827. fecero : see notes on 308 and 516 (conduplicauerit} . 883. ita me di ament : for this use of t'ta, cf. "so" in the for- mula, "so help me God ! " Cf. 165, 954. bene factum : gone well. ACT V, SCENE 7. 884. tantam fortunam . . . ease datam : for the force of the infinitive, see note on 153. This passage forms an exception to the rule, since the inf. of exclamation is commonly used only of thoughts of an unpleasant character. But see App. 886. adimere : notice the change of construction. The gerund would be more regular, but occasio sometimes takes the inf. in early Latin, e.g. Plaut. Capt. 422 ; Cure. 59 ; Pers. 722, etc. 889. datum erit : it will stay given, erit alone being the verb. re ipsa : i.e. the turn things have taken. 890. For the bearing of this verse upon the question as to whether masks were worn by actors in the time of Terence, see note on 210. 893. non eo : see notes on 388 and 446. NOTES. 143 ACT V, SCENE 8. 894. gratias : the regular phrases are gratiam habere, to feel grateful, lit. to have gratitude (in one's heart), and gratias agere, to express gratitude, lit. drive it (ont). The plural is here used because it has to serve as the object of ago as well as habeo. 896. On the position of this verse, see App. 897. quantum potest : see note on 674. 900. at sometimes introduces an expression of surprise, surprise involving an adversative relation opposition to what was ex- pected. nos ad te: note the contrast produced by the juxtaposition (see note on 520) of pronouns. We were going to you, and here you have come to us. 902. uerebamini, etc. : see App. 904. heus : mind you ! see here I 906. id adeo : precisely this. For the use of adeo, see note on 389. 909. tanto opere : tantopere. 910. dehortatus : trisyllabic. See Introd., p. xlii. 913. earn mine : see App. 914. quae . . . coram me incusaueras : which you had com- plained of in my presence (viz. in 413 ff.), coram probably being a preposition instead of an adverb, as it is commonly taken. 915. inluditis : play against, poke fun at, originally construed with the dat.; but it early came to be used with the ace., in the general sense of ridicule. 917. quo redibo ore: the fut. indie, should probably be dis- tinguished here from the present subjunctive. Quo redeam ore would imply deliberation as to what expression of countenance it would be best to wear : i.e. shall I go back looking penitent, arrogant, or how ? Quo redibo ore on the other hand is a purely rhetorical question ; the real meaning is, how shame-faced I shall look, to go back under such circumstances! The indicative, however, is fre- quently used in Plautus and Terence in questions of deliberation. quam contempserim : a causal-adversative clause ; causal, if un- derstood as giving the reason for asking the question ; adversative 144 PHORMIO. in its relation to the act of redibo itself. It is often impossible to determine which of the two ideas is uppermost in such clauses. 918. ad forum: i.e. where the bankers and money-changers were located. 922. rursum rescribi : to be re-transferred. When Demipho appeared with the money for Phormio, he avowed (714 ff.) that he would never pay over the money without having witnesses of the whole transaction. It seems, accordingly, that he first deposited the money with his banker, and then had him transfer the credit to the account of Phormio. He now wants Phormio to order it re-transferred. 925. sin est ut uelis : a circumlocution for sin uis, calling at- tention more particularly to the state of things involved in the wish, rather than to the wish itself. Cf. "if you wish" and "if it is true that you wish." 928. quom ... remiserim: a causal-adversative clause. Causal, if understood as giving the reason for the whole assertion ; adversa- tive, in its relation to decipi. See notes on 23, 208, and 917 (end). uostri honoris causa : Demipho and Chremes would feel dis- graced at having a poor daughter-in-law in the family. alterae : archaic for alteri. repudium . . . remittere : to break a marriage engagement, lit. to send back, let loose, a separation. 929. dabat : the imperf. is used because the dowry had been agreed upon, but not yet paid. All the arrangements relative to the marriage are conceived of as being in progress in the past. in = isne (from eo). Cf. audin, uiden, etc., for audisne, uidesne, etc. For this use of the pres. ind., see note on 388. 930. istac magniticentia : that ridiculous bombast of yours. 931. fugitiue: here merely a term of abuse. Cf. the English word "scamp," which originally meant " one who scampers.'' 1 932. adeo : to such an extent, viz. as is implied in the air you assume. See note on 389. irritor: be careful not to understand this as though it were irritatus sum. 933. ut filius . . . habitet : in apposition with the following hoc: that my son may live with her at your house, that has been (and still is) your plan. NOTES. 145 935. quin . . . cedo : see notes on 223 and 197. 936. immo uero : in this combination with wero, both sylla- bles of immo seem to be regularly short at the beginning of iambic verses. Cf. Hec. 726 ; also immo quod in Hec. 437. in ius ambula : any one who had a grievance against another could thus summon him into court. If the latter would not go peaceably, the plaintiff had a right to carry him there by force. 938-940. indotatis and dotatis : for the substantive use of fern, adjectives, see note on 298. dotatis : a hint to Chremes that it may be for his interest to drop further proceedings. Phormio knows the perfidy of Chremes and threatens by this hint to reveal it to his wife ; but Chremes is so confident that his secret has been well kept, that, as shown by quid id nostra, Phormio's insinuation does not disturb him. quid id nostra : see note on 800. nihil: dissyllabic. 942. nullus sum : see 179. 943. educat : Terence commonly uses educere in this sense. sepultus sum : nullus sum above (942) implied I'm dead. Phor- mio turns the screw again, and draws from Chremes this still more despairing groan, (yes) and buried too. 944. adeo : see notes on 389 and 906. illi : a still more pointed allusion than that previously made in dotatis, and this time Chremes understands. Phormio has said enough to open his eyes. denarrabo : i.e. from beginning to end, the de being intensive. 945. eras and es may be used indifferently in such cases, accord- ing to the conception. Cf. 858, tu quoque aderas? ludos facit : cf . the expression make game of any one. 946. missum te facimus : cf. inuentas reddam in 558. quid uis tibi : see 843. 947. argentum . . . condonamus te represents a fusing to- gether of two constructions. Donare takes either aliquid alicui, to give something to some one, or aliquem aliqua re, to present some one with something. The feeling accordingly grew up, that the ace. of the person and the ace. of the thing were both allowable with such verbs, and to this feeling is due such a use as found in the present sentence. Cf. similar instances in Eun. 17 ; Hec. 849, 146 PHORMIO. etc. This double ace. with verbs of giving is not found in the classical period. 948. malum : see note on 723. 949. sententia : see App. 950. Notice how the metrical accent, without regard to the word- accent, shifts from one syllable to another in a repetition of the same words. 951. ratum : thought out (reor), then (as here) settled. 952. hie haec : when different cases ot the same pronoun are used, the nom. regularly precedes any other case, and the ace. precedes any other than the nom. 953. nisi : see note on 475. 954. ita me di ament : bless me ! For this use of ita, see note on 165. inieci scrupulum : an expression borrowed perhaps from the inconvenience caused by a pebble in one's shoe. From this, scru- pulus came to be used of anything that causes uneasiness, e.g. anxiety, doubt, scruple, etc. 955. hicine ut : see note on 304. The second i in hicine is merely the e of ce (ftt'ce), weakened. 956. emori: the e being intensive = outright, though its force is often imperceptible. satius : satis means enough, sufficient ; then, satisfactory ; then, hi a more general sense, according to one's wishes, desirable, or, in the comparative, more desirable, better. 957. praesenti: present, ever ready to act, resolute. Cf. Eun. 769. 959. id celare . . . uxorem. A. & G. 239 d ; B. 178 e ; G. 339 ; H. 374,2. 963. For the hiatus after ulcisci, see 146 and note. attat : see 600. haereo : Pm in for it. Cf. the more complete expression in 780, in Into haesitas. Notice the loose use of tenses in this line, unusual in Latin, but common in English. Here the present is more vivid and forcible the emergency is referred to as already upon him. 964. gladiatoiio animo : such purely Roman allusions are very rare iu Terence, though common in Plautus. NOTES. 147 966-967. hoc tretua . . . quoin . . . excessit : quom is here equivalent to an explicative quod, the fact that, or in that. This use was entirely distinct in both origin and development, from the temporal or causal quom (cum), and was always used with the indicative. It is very common in early Latin and is not infrequent even in classical times, especially after such expressions as gratulor, gratias ago, etc. The passage eo . . . cum . . . consecutus est in Cic. de sen. 19, 68 has been corrupted by some editors, owing to a failure to recognize this use. See App. 967. unde = a qua. 969. ex re : see note on 449. istius : dissyllabic. 970. ain tu : merely a formula expressive of indignation, won- der, or the like. The tu is commonly added only when strongly marked contrast with others is intended. Here Phormio has just addressed Demipho. He now turns to Chremes with and what do you mean? lubitum fuerit lubitum sit. See note on 516. This subjunc- tive takes its modal coloring from feceris, which in turn expresses an adversative relation to the main clause. 971. feminae: uereor occasionally in early Latin, and once in Cicero's Letters, takes a genitive after the analogy of the gen. with piget, etc. Translate show respect for, feel fear because of. 972. quin : following the idea of prevention implied in what has preceded. nouo modo : it is noteworthy that the fault of which Chremes had been guilty is here set down as a very unusual thing for those times. 974. dabo: render, as in And. 683, Heaut. 950, Eun. 212, etc. 974-975. ita . . . incensam . . . ut ne restinguas : so enraged that you SHALL not. The ne shows that this w-clause is an expres- sion of determination involving the will, and it must accordingly be translated by shall not, instead of will not. The negative of the latter expression would be non. See App. 976. malum : the mischief! serving also as the antecedent of quod. This verse is identical with Plaut. Most. 655. duint : see note on 1 23. 977. tantane adfectum ease: for the use of the inf. with -ne, see note on 153. 148 PHORMIO. 978. scelus, strictly referring to the deed, here as often in vul- gar speech designates the person guilty of it, viz. scoundrel. 979. publicitus . . . asportarier: i.e. as a public nuisance, a menace to society. 980. prorsum (pro + uorswni) : lit. turned forwards; then, straight ahead, not swerving in any direction ; then, exactly, pre- cisely, or, as here, absolutely, utterly. 981. in iua eamus : see note on 936. hue : Phorrnio proposes that Nausistrata shall act as judge this time. 982. dum: while. 983. enim : this position of enim is un-Ciceronian ; see notes on 113 and 465. una iniuria : one case of assault against Demipho, who had already laid hold of him. Chremes next takes hold, drawing from Phormio the further threat alterast, etc. (984.) 984. agito : bring action. 985. enim uero : see note on 465. 988. taceam : an echo, as it were, of the preceding faces. See notes on 122, 382, etc. oculum : an eye, his eye. For the singular, cf. "black a man's eye," "black his eye for him." Dziatzko, strangely enough, con- cludes from this that Phormio must have had only one eye. 989. eat ubi : taken together, like eo-rtc 8re, as an adverb mean- ing sometime. probe : in fine style. Notice the emphatic position. ACT V, SCENE 9. 990. qui = quis. See note on 129. 991. obstipuisti : the form obstipesco is, for Terence, a better attested spelling than obstupesco, etc. Cf. And. 256 ; Ad. 613. 992. hicine ut, etc. : see note on 304. 993. creduas : see Introd., p. xxxix, note 2. 998. non . . . temerest quod : it is not without reason, that, etc., the 614 ' commonstrarier, 305. compluria, 611. contra, 521. oo ram, 914. creduas, 993. cum aliquo stare, 269. defendo, 225. defungier, 1021. denarrabo, 944. dies, 523. diminutives, 36. discedo, 773. distaedet, 1011. di suntpro pitii, 636. dixisti, 302. doleo with ace., 1052. ductare, 500. duint, 123. dum, 329, 737. ecastor, 1050. eccere, 319. eccum, 464. educare, 943. em, 52, 688. enicas, 856. enim, 113, 332. enimuero, 465. enumquara, 329. Epidicazomenos, Prol. 25. equidem, 539. esses proferens, 394. est ubi, 989. etiam tu hinc abis, 542. et quidem, 471. exsequias ire, 1026. extra, 98. fabula, 492. face, 397. factum uolo, 787. faeneratum, 493. familiaritas, 583. faxo, 308. ferietur alio munere, 47. Flaccus, note on didascalia, p. 73. forma, 108. Fors, Fors Fortuna, 841. fratri, 820. fui, fueris in compound tenses, 516. fungor, 281. gallina cecinit, 708. gaudeam with ace., 1052. genius, 44, 74. gratias agere, habere, 894. hariolus, 492, 708, 711. baud scio an, 774. Hecyra, 31. heus, 152. hiatus, 146. hoc actumst, 1009. hoc age, 350. hodie, 377. iam, 347. iam dudum with present, 471. iam recte, 798. id consulerem, 734. id suscenses, 259. ilicet, 208. ilico, 88. illi, illic, 91. illo, 512. immo, 338, 1047. immo uero, 936. imperative expressing permission, 143, 668. imperium, 232. inaudiui, 877. indicative in oral, obliq., 9, 17. indotatis, 938. in diem, 781. infinitive, force of, 92, 102, 153. initiabunt, 49. in ius ambula, 936. inludere, 916. in malo crucem, 544. inpendent with ace., 180. in pistrino, 249. inpluuium, 707. inpr udentem , 660. in se admittere, 415. interea, 734. PARTIAL INDEX. 169 muentas reddam, 559. ipsura, 425. ipsus, 178, 260. istaec, 77, 170. ita fugias ne praeter casam, 768. ita me di ament, 165, 883. ita ut ne restinguas, 974-975. juxtaposition of pronouns, 520, 900. laterem lauem, 186. lectumst, 53. logi, 493. Ludi Romani, note on didascalia, p. 72. ludus, 86. Luscius Lanuuinus, 1. inalain crucem, 368. male factum, 751. malum, 723. medeor with ace., 822. meditata, 248. memini with inf., 74. meritumst, 305. modo ut, 59, 773. nam, 200. namquis = quisnam, 732. natalis dies, 48. -ne, 153, 177, 497. ne clama, 664. nempe, 307. nescio quod, 193. ni iubeas, 544. nil quicquam, 80. nimium quantum, 643. nisi, 475. noli with inf., 555. nollem datum, 796. non in questions, 384. noris, 265. nossem, 278. numquid aliud me uis, 151. noui, nosses, 382. nuptum dare, 720. obstipuisti, 991. obstupefecit, 284. occasio with inf., 886. odio tuo, 849. omission of indicative, 80 of in- terrogative particle, 120 of object, 115 of subject of inf., 54, 1014 of subjunctive, 46. opere maxumo, 760. oppido, 317. opus est scito, 584. order of words, 52, 200, 261, 270, 304, 344, 400, 410, 431, 669, 730, 732, 744, 747. -os, -om, etc., 14. ostium concrepuit, 840. paedagogus, 144. paene, 870. pallium, 844. parasitns, 28. patefit, 825. pater uxori tuae, 872. paulo, 822. peregre, 243. periclum, 326. phaleratis, 500. plerique omnes, 172. popularis, 35. portitores, 150. pote, 379. potior, 469. praeterhac, 800. prepositions with names of islands, 66. present subj. in conditions, 170. proceleusmatic, 394. prologus, 12, 14. prorsum, 980. npoawtrov irporaTiKov, 35. punishment of slaves, 76. quae quidem res uortat male, 678. quantum est, 853. quantum potest, 674. -que et, 1051. questions, deliberative, 543, 593, 608, 736, 737, 827, till indirect, 117, 122, 247, 358, 462, 557 of obligation or propriety, 419. qui, 123, 130, 381. 170 PARTIAL INDEX. qui, quis, 129,354,618. quid ais, 833. quid eum, 480. quid ni, 813. quid tu, 798. quin, 223, 272. quin sit ignoscenda, 1015. quo = ad quern, 728. quoad, 148. quod = quot, 705. quod es dignus, 519. quod suscenseas, 263. quoius, quoi, 60. quom = quod, 966. quom, cum, quum, 9, 23. quom aduenissem, 396. quom maxume, 204. ratum, 951. -refer -ris in 2d pers. sing. pass, of verbs, 61, 173. reducere, 86. rellatum, 21. repudium remittere, 928. repudium renuntiet, 677. respiciunt, 817. rex, 339. Roman allusions, 303, 964. sane, 667. satietatem amoris absumere, 834. satin, 802. satins, 956. scelus, 978. scribam dicam, 127. scrupulus, 954. sepultus sum, 943. seruom hominem, 292. seruo's (seruos es), 295. sescentas, 668. scibat, 529. similis, 501. sine dote, 757. sin est ut uelis, 925. slaves, in court, 292 manumis- sion of, 830 prices of, 558. sodes, 103. solus, 854. statim, 790. stetit, 9. streuuom hominem praebuit, 476. subjunctive of obligation or pro- priety, 297, 468. subolet, 474. Sulpicius Apollinaris, Per. 8. Sunium, 837. syncopated forms, 13, 101. talentum, 393, 644. tarn with verbs, 111, 998. tantam fortunam esse datam, 884. te idem feceris, 426. temere, 757. tense, fut. perf. for fut., 308, 516, 1028 imperf. for pluperf., 108 perf. of date, 9 perf. in pro- hibition, 514, 742 perf. for pres., 501 perf. with paene, 870 pluperf. for perf., 594 pres. for fut., 849, 963. testimoni dictio est, 293. tonstrina, 89. ualete et plaudite, 1055. uerba dare, 713. uerba fiunt mortuo, 1015. uerbero, 684, 850. uereor, with gen., 971. uetus, 1. uiciniae, 95. uidere, with inf. or participle, 1. uincibilem, 226. unctum atque lautum, 339. uolup, 610. uorsuram soluere, 780. uostram fidem, 757. ut cautus est, 715. uti foro, 79. ut = utinam, 687. ut with subj. in questions, 304. utibile, 690. Varro, M. Terentius, note on the didascalia, p. 72. wigs, 51. BIBLIOGRAPHY OF THE LITERATURE ON TERENCE THAT HAS APPEARED SINCE THE COMPLETION OF DZIATZKO'S EDITION IN 1884. [N.B. This bibliography does not, as a rule, include publications that comprehend Latin usage in general, or those that are concerned with Terence only incidentally. Most of the literature that appeared in the year 18&4 is omitted.] EDITIONS, (a) TEXT. Cotes, K. : The Andria and the Phormio. With examination ques- tions. Oxford, 1886. Preble, H. : Adelphoe. Text with stage directions. Boston, 1887. Hinstin, G. : See under Translations. 1889. Materne, A. : See under Translations. 1890. Nicolson, F. W. : Phormio. Text with stage directions. Boston, 1890. Rolfe, J. C. : Heauton timorumenos. Text with stage directions. Boston, 1891. Morgan and Greenough : See under Translations. 1894. (6) ANNOTATED. Cesari, A. : See under Translations. 1885. Freeman, C. E., and Sloman, S. : Andria. With Notes and Intro- ductions. Oxford, 1885. Materne, A. : See under Translations. 1886. Sloman, A. : Adelphi. With Notes and Introductions, etc. Lon- don, 1886. 171 172 BIBLIOGRAPHY. Boue, A. : Les Adelphes. Texte latin, public" avec la notation m& trique, des notes, etc. Paris, 1887. Psichari, J. : Les Adelphes. Texte latin, public" avec une intro- duction, des notes, les fragments des Adelphes de Me'nandre, les imitations de Moliere, etc., sous la direction de E. Benoist. Paris, 1887. Shuckburgh, E. S. : Hauton timorumenos. With Introduction and Notes. 1887. Sloman, A. : Phormio. With Notes and Introductions. London, 1887. Thomas, P. : Hecyra. Texte latin, avec un commentaire. Paris, 1887. Pepe, L. : See under Translations. 1888. Pessonneaux, R. A. : Les Adelphes. Revue sur les textes les plus regents, avec une preface et des notes en fran^ais. Paris, 1888. Spengel, A. : Komodien. I. Andria. Zweite Aufl. Berlin, 1888. West, A. F. : Andria ; Hauton timorumenos. With Introduction and Notes. New York, 1888. Parry, E. J. : Comoediae. London, 1889. Psichari, J. : Les Adelphes. Texte latin avec des notes, les frag- ments des Adelphes de Me'nandre, les imitations de Moliere, sous la direction de E. Benoist. Paris, 1889. Jacquinet, G. : Les Adelphes. Avec des notes, etc. Paris, 1890. Broughton, R. : See under Translations. 1891. Hawkins, E. L. : See under Translations. 1891. Psichari, J. : Les Adelphes . . . sous la direction de E. Benoist, 5 tirage. Paris, 1890. 6 tirage. Paris, 1891. Stampini, E. : Gli Adelphoe, con note. Torino, 1891. Boue, A. : Les Adelphes. Texte latin, public" avec des notes. Paris, 1892. Fabia, Ph. : Adelphoe. Texte avec une introduction, des notes critiques et un commentaire explicatif . Paris, 1892. Stewart, A. : See under Translations. 1892. Ashmore, S. G. : Adelphi. With Introduction and Notes. Lon- don and New York, 1893. Geoffrey, J. : Adelphi. Edition classique, avec notes. Paris, 1893. BIBLIOGRAPHY. 173 Linderstrom-Lang, C. F. : Phormio (Commentar). Kobenhavn, 1893. Hoekstra, P. : Blijspelen. Met inleidung en anteekeningen, etc. I. Andria ; Heauton tiinorumenos. II. Phormio ; Adelphoe. Haarlem, 1894. Materne, A. : See under Translations. 1894. Sloman, A. : Phormio. With Notes and Introduction. 2d ed. Oxford, 1894. Gray, J. H. : Hauton Timorumenos. With an Introduction and Notes. Cambridge, 1895. TKANSLATIONS. Betolaud, V. : Les Comedies de Terence, traduction nouvelle. Paris, 1885. Caesari, A. : Le Commedie, volgarizzate, etc. , con note di G. Rigu- tini. Milan, 1885. Lasso, A. : Comedias, traducidad en verso. Madrid, 1885. Materne, A. : Les Adelphes. Expliques litteralement, traduits en fran