THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES FROM THE LIBRARY OF ELI SOBEL Classical THE ADELPHOE OF TEKENCE OF TEEENCE WITH INTRODUCTION, NOTES, AND CRITICAL APPENDIX BY SIDNEY G. ASHMOEE, L.H.D. PROFESSOR OF LATIN IN UNION COLLEGE, SCHENECTADY, NEW YORK ILontiott MACMILLAN AND CO. AND NEW YORK 1893 AU rights reserved SRLF URL CONTENTS PAGE INTRODUCTION Latin Comedy ....... ix Greek Comedy ....... xvi Livius Andronicus xxi Cn. Naevius . xxii Plautus ........ xxiii Caecilius . xxviii Terence xxix The Characters of Terence . . . . x xxviii Division into Acts and Scenes .... xxxix The Actors ....... xliii Dramatic Representations at Public Games . xliv Roman Theatres xlv 1ISS. and Text of Terence .... xlix Metres Ivi Characters and Plot of the Adelphoe . . . Ixvi TEXT 1-60 LIST OK METRES 61-63 NOTES 65-188 CKJTICAL APPENDIX . . . . . . 189-199 API'KNDIX II 200 INDEX TO NOTES . 201-208 PREFACE THE text of the present edition of the Adelphoe is substantially that of Dziatzko's edition of the text of the six plays, published at Leipzig in 1884, in the Tauchnitz series. The only de- parture from that edition, aside from a few matters of punctuation, is in verse 56, where, for the sake of the sense, I have substituted audacter for aut audebit, from Dziatzko's edition of the single play, published in 1881. Dziatzko's text is confessedly the best, and the illustrative quotations from the other plays have in all cases been made from it in the notes. A collation (not published) of the Codex Parisinus, made by Prof. E. M. Pease, came to my hands after the text had gone to press. Had I seen it sooner I should have been tempted to use it, in connection with other apparatus, for a fresh revision of the text of the Adelphoe. But the advantage of using a text uniform, as it were, with that of the other plays, and at the same time of such high authority as that of Dziatzko will, I am e 6 vi P. TERENTI ADELPHOE sure, outweigh the possible gain to be derived from an independent recension, especially in the case of a book intended chiefly for college use. On the other hand, I have endeavoured to give an account of all important readings in an appendix, which is in part based on Dziatzko's JCritisch - exegetischer Anhang to the AdelpJioe (1881), and will be found to be, in great mea- sure, a defence of the adopted text. But I have not always been able to agree with the German editor's conclusions, and, in venturing to differ from him, have expressed my opinion accordingly. In making the commentary I have con- sulted various editions of Terence ; but of com- mentaries on the AdelpJioe those of A. Spengel (Berlin, 1879) and of Carl Dziatzko (Leipzig, 1881) have been of greatest service, and I hope that this acknowledgment sufficiently ex- presses my deep sense of obligation to these two scholars. The edition of the Adelphoe by A. Sloman (Oxford, 1886) has also been of very great use, as well as Spengel's Andria (1888) and Dziatzko's Phormio (1885); and I have had at hand the Captivi, Trinummus, and Miles G-loriosiis of Plautus, by the late Dr. Julius Brix. To these should be added the Andria and Adelphoe by E. P. Crowell, the Menaechmi of Plautus by H. N. Fowler, the various editions of single plays of Plautus and Terence in Mac- PREFACE vii millan's Classical Series, the usual grammars and books of reference, and the authors cited below. Tor the Introduction I am indebted to the works already named, but especially to the following : Teuffel's History of Roman Literature (rev. by Schwabe, tr. by Warr) ; Das Lelen der Griechen und Corner, 4th ed. (1876), by Guhl and Koner; The Attic Theatre (1889), by A. E. Haigh ; Sellar's Roman Poets of the Republic, 3rd ed. ; Introduction to the Andria and Heauton timorumcnos, by A. F. West ; Intro- duction to the Pseudolus of Plautus, by E. P. Morris ; the respective Introductions to their editions of Terence by Parry, Wagner, and Umpfenbach ; A Companion to School Classics, 3rd ed., by James Gow ; " Das Biihnenwesen der Griechen und Romer," by G. Oehmichen in I. v. Miiller's Handbuch, v.; and Mommsen's History of Rome. Obligations to works not included in these lists have been duly credited where they belong. Quotations from Plautus are by the lines of the Ritschl edition edited by Loewe,Goetz,and Schoell; but as the Mostellaria and Cistellaria are still wanting hi that edition, references have been made to Ussing for these two plays. Citations from Cicero and Ovid follow the Tauchnitz texts ; those from other ancient writers, generally the Teubner. I "have referred the pupil from time to time viii P. TERENTI ADELPHOE to the Latin Grammars of Allen and Greenongh (A.), Harkness (H.) and Gildersleeve (G.), and in most cases have added parallel references to Eoby and Madvig. The Introduction is intended to supply a brief outline of the history of Eoman comedy, and such other information as may be generally useful. No attempt has been made at exhaustive treatment of any of the topics touched upon ; but if the points presented are sufficient to awaken the interest of the student, the end looked for will have been attained. My thanks are owing to Prof. Whitehorne, of the Greek department of Union College, for many kind suggestions ; to Prof. Mortimer Lamson Earle of Barnard College, New York, who has read the whole book in proof and given it the benefit of his sound scholarship and careful criticism ; and to Mr. A. E. Hamilton, the proof-reader of Messrs. R. & E. Clark of Edinburgh, for the compilation of the index, and for his painstaking efforts to secure typo- graphical accuracy in passing the book through the press. SIDNEY G. ASHMORE. UNION COLLEGE, SCHENECTADY, NEW YORK. June 1893. INTEODUCTION LATIN COMEDY GREEK comedy (/cw/^wSta from /o//,<>8os, and this from KW/IOS and pSeiv) had its origin in the songs and dances of harvest and vintage festivals. It was native to the soil of Greece, and gradually reached its full development through contact with the higher civilisation and more cultivated taste of the cities, notably Athens. Latin comedy also derived its origin from country festivals, but attained its full development through a union of the rude Italian element with the perfected and refined comedy of the Greeks. So important a feature, indeed, was the latter that it is scarcely correct to speak of Roman comedy as Italian. It was rather an adapta- tion of the New Comedy of Athens to Roman requirements and tastes. The drama, so far as its purely Italian element was concerned, was confined to such coarse and crude representations as the uersus Fescennini, the satura, the mimus, and the fabula Atellana. These contained the germs of a drama, but never attained more than a limited literary development. x P. TERENTI ADELPHOE The uersus Fescennini were named from Fescennium, 1 a village in Etruria. They were responsive in form, were generally extemporaneous, and abounded in jokes, gross personalities, and abuse. They reached indeed such an extreme of license that finally they were restrained by law. 2 Livy (7. 2) says there was a pestilence in Rome in the consulship of C. Sulpicius Paeticus and C. Licinius Stolo, that is, in the year 364 B.C., and that ludi scaenici were added to the circi spectaculum and other means adopted to pacify the gods and stay the plague. Accordingly a stage was erected in the Circus, on which Etrurian actors called ludiones performed in pantomime to the sound of the flute, but, as Livy says, sine carmine ullo. The Etruscan mimic dance was after- wards imitated by the Roman youth, and combined with the uersus Fescennini. The latter were somewhat altered 1 For another derivation see Prof. A. S. Wilkins on Hor. Ep. 2. 1. 145. 2 See Hor. Ep. 2. 1. 145-155 : fescennina per hunc inuecta licentia morem Versibus alternis opprobria rustica fudit, Libertasque recurrentes accepta per annos Lusit amabiliter, donee iam saeuus apertam In rdbiem coepit uerti iocus et per honestas Ire domes impune minax. Doluere cruento Dente laccessiti, fuit intactis quoque cura Condicione super communi, quin etiam lex foenaque lata, malo quae nollet carmine quemquam Describi ; nertere modum, formidine fustis Ad bene dicendum delectandumque redacti. Of. also Cic. de Rep. 4. 10. 12 nostrae duodecim tabulae, cum perpaucas res capite sanxissent, in his hanc quoque sanciendam putauerunt, si quis occentauisset sine carmen condidisset, quod in- famiam faceret flagitiumue alteri. INTRODUCTION xi and improved, and out of the combination grew the saturae, which, according to Livy, were inpletae modis, descripto iam ad tibicinem cantv, that is, regularly set to music. The saturae were in fact merry medleys, performed by the country lads of Latium on a stage erected for the purpose. They were without any connected plot, but represented scenes from daily life, and, like the Fescennine verses, were composed in the Saturnian metre. 1 The introduction of a regular play by Livius Andronicus 2 caused them to be neglected and finally driven from the stage ; but they continued for some time to serve as farces, or after-plays, exodia, to the regular dramatic performances, a function subsequently usurped by the fabulae Atellanae, and the mimi. The name satura has been connected in its derivation with lame satura, a dish of mixed fruits offered to the gods, and alludes to the miscellaneous character of the performance. 3 1 On this metre see Wordsworth, Fragments and Specimens of Early Latin, p. 396 ; L. Miiller, Der satumische Vers und seine Denkmaler, Leipzig, 1885. Its original form was made up by combining an iambic and trochaic series : Z+Z-Z+Z | L Z- L Z- L Z Hoc est factum monumentum Maarco Caicflio. Hospe's, gratum st quom apud meas restitistei seedes ; Bene rem geras et ualeas, dormias sine qiira. (C. I. L. 1006 ; Wordsworth, p. 233 ; or Allen, Remnants of Early Latin, 137.) Cf. "The queen was in her parlour, eating bread and honey. " J See Livy, 7. 2 Liuius (Andronicus) post aliquot annos, qui ab saturis ausus est primus argumento fabulam serere, etc. 3 For this and other derivations see Teuffel, Rom. Lit., rev. by Schwabe, Eng. Trans. 6, note 2. Cf. Momms. Hist, of Rome, vol. i. p. 54, Eng. Trans. xii P. TERENTI ADELPHOE When in the time of Ennius (239-169 B.C.) the satura came to be cultivated exclusively as a branch of literature, it still retained its miscellaneous character. "The satura of Ennius was, in form, a mixture or medley of metrical pieces." So was that of Terentius Varro, imitated from Menippus, and the satires of Horace, Persius, and Juvenal, like those of Ennius and Varro, " bear features of strong resemblance " to the dramatic miscellanies called saturae by Livy, 1 but the satirical element in this form of literature is to be referred in its origin to the genius of Lucilius (180-103 B.C.), who has been most correctly styled the father of Roman satire. He it was who first added to the personal and serious elements in the medleys of Ennius that character of invective which, in a more or less modified form, is preserved in the satires of Horace, Persius, and Juvenal, and appears to have been ever since regarded as an essential feature of this particular branch of literary composition. The mimus (a name given to the actor as well as to the piece) was a pantomimic farce, at first not fixed in writing, although at the end of the Republic it had secured a place in literature. The subjects were taken chiefly from the low life of the town, and gradually became more numerous and varied, until under the Empire they included the materials of nearly all the earlier kinds of comedy, even the higher branches of the drama being forced to give place to the more popular 1 See an essay on The Roman Satura, by H. Nettleship, Oxford, 1878. INTRODUCTION xiii mimus. It was frequently employed as an after-play, and was remarkable for its obscene character and general scurrility (Mart. iii. 86 non sunt haec mimts impro- biora ; Ov. Trist. 2. 497 mimos obscena iocantes). Among the various writers of mimes were D. Laberius and Publilius Syrus, whose "poemata " were listened to by Cicero on the occasion of a dramatic contest at the games of Caesar (ad Fam. 12. 18. 2). The former is also mentioned by Horace in Sat. 1. 10. 6. The fabulae Atellanae were an improved kind of saturae, and as early as the time of Sulla had been raised, through literary treatment, to a comparatively high level. They were said to have originated in Atella, 1 a town of the Oscans in Campania, and there the scene of the action was commonly laid. They were from the first more dramatic in form than any previous scenic representations of Italian growth, and after the Latinising of Campania (about 211 B.C.) were transferred to Rome, where they were rendered by amateurs, usually young men of patrician families, who were masked and spoke in Latin. The dialogue at this time was spontaneous, or, if written, was at least not published. But after the introduction of Greek comedy into Rome, through the translations or adaptations of Roman playwrights, the Atellan farces received a definite literary form from the hands of Lucius Pomponius of Bononia, and from Novius. They were then used as exodia, especially after tragedies, like the satyr dramas of the Greeks, and were performed by professional actors. The chief characters 1 On this point cf. Momms. Hist, of Rome, vol. iii. p. 544, note ; Bug. Traus. xiv P. TERENTI ADELPHOE had become conventional at an early date. Among these were the chattering Bucco, the wanton Maccus, the vain but deluded Pappus, and the cunning Dossennus personages in many respects analogous to the clown and harlequin of a modern pantomime, or the equally familiar Punch and Judy. The plot, however, was simple, and the charm of the piece lay chiefly in the treatment of the situation, and the drastic portraiture of particular classes and callings. The incidents were numerous and always grotesque ; the jokes vulgar but telling. The metre of the songs was the Saturnian. But after these farces came to be written, they accommodated themselves to the metres of the Greeks. They never resorted, however, to Greek life for their subjects, except when tragedy was travestied, and were always far more national in their character than the regular Roman comedy. It would seem natural that a national drama should have grown out of such elements as these, just as Attic tragedy and comedy sprang from the choral songs and mimetic dances of ancient Hellas. But during this early period there was little leisure or inclination at Home for the cultivation of poetry and letters. Roman activity was occupied with affairs of state with the passage of laws, the maintenance of armies, the extension of Roman power and influence over Latium and the rest of Italy, the building up of the state on its practical and material side. Moreover, besides the grauitas, or natural stern- ness of the Roman character, and its purely practical drift, the censorship of the laws and of public opinion operated to check the growth of a native drama. Any- thing in the nature of personal satire or criticism of INTRODUCTION xv public men and things, such as Aristophanes indulged in without restraint, would have been summarily punished by the magistrates. In fact a moral stigma rested at Rome on the profession of the actor, which discouraged the composition and performance of plays by native citizens. The Roman stage was chiefly upheld by the literary efforts of freed men and slaves, and even these were compelled to place the scene of the action outside of Rome, and to limit their criticisms to foreign customs and topics. It was natural, therefore, that the Latin drama, whether tragic or comic, should have been, on its more refined and cultivated side at least, an importa- tion ; and such it actually was. After the defeat of Pyrrhus in 274 B.C., and the final conquest of Magna Graecia, Greek civilisation began to make its way towards Rome ; and when, at the close of the first Punic war, Livius Andronicus of Tarentum translated a drama from the Greek, the way was opened for a union between the crude performances of the Roman stage and the master- pieces of the drama of Athens. Both tragedy and comedy at Rome were confessedly derived from Greek sources. Only the tragedies of Seneca survive, but all of these deal with Greek subjects; and a large number of fragments and titles of other and earlier tragedies have been preserved, which indicate that the pieces they represent were either founded on Greek originals or elaborated from legends of Greek poetry and mythology. It is true that the fabiilae praetextae or praetextatae were Roman tragedies, based on historic subjects, and bearing a national character ; but even these are fashioned after Greek models, and the fact that xvi P. TERENTI ADELPHOE they have not been preserved would suggest that their popularity was limited. In fact, though tragedy suited well the national predilection for oratory and rhetoric, and was listened to with applause at Rome for nearly two hundred years, yet it never took root in Italy as comedy did, and was in general of less consequence than the latter in popular estimation. The era of Roman tragedy was also that of Roman comedy. The earliest specimen of the latter was the fdbula palliata, which derived its name from the Greek cloak, pallium (tyaariov), worn by the actors, 1 and bore a similar relation to the comedy of Greece that many of our modern plays bear to that of France. The plays of Plautus and Terence were palliatae, and were founded on the productions of that school of the Attic drama known as the New Comedy. They are, in fact, the only specimens of that school extant. GREEK COMEDY passed through three recognised stages of develop- ment at Athens, and had reached the last of these nearly a century before it was transferred to Rome. These stages have been distinguished as the Old, the Middle, and the New Comedy. The divisions are, of course, arbitrary, and it is difficult to determine accurately the epoch when each species gave place to the succeeding one. The Old Comedy may be considered to 1 The name togatae (fabulae) was subsequently given to comedies which were distinctively Roman in subject and dress, in contra- distinction to the palliatae which were distinctively Greek. INTRODUCTION xvii have lasted from 460 to 375 B.C. 1 It was the comedy of Eupolis, Cratinus, and Aristophanes (Hor. Sat. 1. 4. 1), the last of whom was its greatest representative. It was essentially a state institution, and its most flourishing period was in the time of Pericles, when the political supremacy of Athens was at its height. After Athens had lost her political independence, comedy was shorn of its state authority, and was compelled to abandon its tone of censorship and its unsparing criticisms of political questions and public men. The Middle Comedy was in itself a transition from the Old to the New Comedy. The period of this transi- tion may be roughly marked as beginning with the close of the Peloponnesian war in 404 B.C. and ending about the time of the battle of Chaeronea in 338 B.C., when the liberties of Greece were crushed by Philip of Macedon. During this time the Athenians gradually abandoned their interest in public questions, and comedy, which had been wont to pronounce upon affairs of political significance and importance, passed by degrees from personalities to generalities, and lost its former character and vigour. The most distinguished writers of. this period, besides Aristophanes, were Antiphanes and Alexis. The New Comedy was the natural outcome of all that had gone before it. It drew its materials entirely from private life. Its characters were wholly fictitious, and represented types or classes rather than individuals. The 1 The first date will be earlier if we start with Epicharmus the Sicilian, who was born about 540 B.C., and is styled by Plato (Theaet. 152) the founder of comedy. xviii P. TERENTI ADELPHOE prologue became important, chiefly through the influence of Euripides, some of whose tragedies bordered closely upon the domain of comedy. The chorus, which for some time had proved a burden on the city treasury, and had sunk to a secondary place as early as the year 388 B.C. when the Plutus, the latest of the extant plays of Aristophanes, was produced, was now entirely set aside, and the plot became the feature of chief interest in the play. The most distinguished name among the writers of the New Comedy is Menander. Next in importance are Diphilus and Philemon. Of less note were Philippides, Apollodorus, and Posidippus. They all wrote at a time covering the years from 342 to 250 B.C. Only fragments of their works have survived ; but these are sufficient in number and character to throw a fair light on the general characteristics of this stage of the Greek drama. Besides the depletion of the city treasury after the Peloponnesian war, and the lack of funds, both public and private, sufficient to meet the expenses of the dramatic chorus, another cause operated powerfully to bring about the disuse of the chorus in the New Comedy. The chorus belonged properly to the religious side of the drama a side which tragedy in the very nature of the case was compelled to stand by. But comedy had little respect for religion, and was not tied down by considera- tions such as those which limited the functions of tragedy. The chorus was a distinct hindrance to the development of comedy in the direction of a literal imitation of human passions and private and domestic experiences. Even Euripides found himself sometimes clogged by it in his efforts to humanise tragedy and reduce it to the level INTRODUCTION xix of ordinary life. Consequently when the comedy of Aristophanes began to change its character and to draw on the affairs of everyday life for its materials and plots, the chorus ceased to be any longer essential ; and although there is evidence of the occasional use of the chorus in Menander's time, yet it is quite certain that Menander not only sought but found opportunity to discard it altogether. Thus the chorus, in which both tragedy and comedy had originated, proved eventually to be a stumbling-block to the broadest development of the drama, and was ultimately dispensed with as useless. The plots of the New Comedy differed essentially from those of the Old, and are easily distinguished from them. In the Old Comedy there was a series of scenes not closely connected by cause and effect, but only loosely held together by a central idea, such as " the attractions of peace " in the Acifiamians of Aristophanes. The New Comedy, on the contrary, exhibited a number of scenes following each other in logical order, as in a modern drama. These scenes involved a sustained story, or at least an intrigue, and resulted in a denouement. The central theme was usually the course of true love, and the action depicted the efforts of a youth to obtain possession of his mistress, often in the face of the determined opposition of a parent or guardian, and with the assistance of a tricky slave. The heroine, who at the start was supposed to belong to the class of hetaerae, was eventually discovered to be an Athenian citizen, and her marriage to the hero of the play was the necessary and suitable conclusion. Hence the principle inculcated by Aristotle was concurred in fully by Menander, that the xx P. TERENTI ADELPHOE plot and not the dialogue was the most important part of the play. The characters in the New Comedy were imitated in part from those of Epicharmus the Sicilian. The Sicilian drama ignored politics and drew upon general society for its dramatis personae, and in doing so placed types rather than individuals on the stage. The New Attic Comedy did the same. The harsh father, the prodigal son, the rich heiress, the braggart, the parasite, the slave, the courtesan, were all typical characters of the day ; each had its appropriate mask and make up, and each was recognised at once by the audience at the moment of its appearance on the stage. The old man was known by his white hair. Black hair denoted the youth ; long and shaggy hair the soldier ; red hair the slave. The complexion of the soldier was dark, as if sunburned; that of the lover pale. The rogue was endowed with cheeks of a brilliant red. Hook noses were given to old men and parasites ; flat noses to country youths, and if the ears showed signs of bruises the presence of the prize-fighter was suggested. 1 From what has been said it is evident that the moral life depicted by the New Comedy was on a low plane. Nor was the picture improved in this respect by its transfer to Eoman soil. It should be borne in mind, however, that the types of character selected for representa- tion on the stage would naturally be those best fitted to afford amusement to large and mixed audiences, and that these types would be much exaggerated for that 1 See Pollux, iv. 143-154, and Haigh, The Attic Theatre, p. 237. INTRODUCTION xxi very reason. But whatever their lack of high moral tone, the plays of the New Comedy fell little short of perfection in matters appertaining to literary form and taste. The language in which they were written was capable of expressing the finest shades of thought and of polished wit, and their general mastery of detail and of technique, the result of two centuries of dramatic activity, rendered them particularly useful and attractive as models to the inexperienced playwrights of Rome. LIVIUS ANDRONICUS A great advance was made upon the saturae and Atellan plays already described, when for the first time a Greek drama was translated and brought out at Rome by Livius Andronicus, in the year 240 B.C. Livius was a native of Tarentum in Magna Graecia, and was brought to Rome by M. Livius Salinator, who commanded the Roman forces at the time of the surrender of Tarentum in 272 B.C. Having gained the goodwill of his master, while acting as tutor to his children, he was liberated, and in accordance with Roman custom took his master's name in addition to his own. Livius furnishes an illustration of the route by which Greek comedy made its way to Rome. In the practice of translating or arranging comedies from the Greek he was the pioneer, and his first play in which he acted himself was also the first produced at Rome with a unified plot (see footnote 2, p. xi). Both tragedies and comedies came from his pen, as well as a translation of the Odyssey into Saturnian verse. His plays are slightingly criticised by Cicero (Brut. 18. 71), xxii P. TERENTI ADELPHOE who says they are non satis dignae quod iterum legantur ; but his Odyssey continued to be used as a school-book for more than two centuries after it was written. Only fragments of his writings have come down to us. The time of Livius marks the union of the Italian element of the drama, as seen in the saturae and uersus fcscennini, with the plots, the characters, the witty and philosophical dialogues of the New Comedy of Athens, and the date of the production of his first play may be set down as the birth-year of the comoedia palliata. ON. NAEVIUS Livius Andronicus was followed by a younger con- temporary, On. Naevius, who was a native of Campania, but probably also a Roman citizen. In 235 B.C., according to Aulus Gellius (17. 21. 44), he exhibited plays before the people, and his experience as a soldier in the first Punic war induced him to write an epic poem on the subject in the Saturnian metre. He was an enthusiastic partisan of the plebs, and in some of his comedies he attacked the leading statesmen and members of the aristocracy, much in the spirit and manner of Aristophanes. 1 For this he was thrown into prison, but was released by the tribunes of the people, and on repeat- ing his offence was exiled in 206 or 205 B.C. He died at Utica about 199 B.C. His fate served as a warning to his successors to limit themselves to themes of a non- political character. Few fragments of the poetry of Naevius are extant. Gellius (1. 24. 2) has transmitted 1 Cf. Cic. Cat. Mai. 6. 20 ; Gell. 7. 8. 5. INTRODUCTION xxiii to us his epitaph, which claims for him superiority in the mastery of the Latin tongue, and might have been most trustworthy evidence, says Gellius, if it had not been written by himself : InmtirtaUs mortdles si fortt fas Jldre, Fler&it diuat Cam&iae Naeuium poftam. Itiique p6stquam est 6rchi trdditus thcsatiro, Obliti stint Rtnnat loqui&r lingua Latitut. Cicero, while praising his Punic War, allows that his style is less finished than that of Ennius (cf. Brut. 19. 75). PLAUTUS The popularity of Naevius was thrown into the shade by his younger contemporary Titus Maccius Plautus, 1 the greatest name in Roman comedy. He was born at Sarsina (now Sassina) in Umbria, about 254 B.C. His parents were poor but free, and must have brought him to Rome when a boy. According to Festus, p. 239 Mull., he was called Plotus, afterwards Plautus, on account of the shape of his feet, the surname, which is of Umbrian origin, being frequently applied to people whose feet were broad and flat. It is more than probable, however, that the name was a family one, like Rufus, Scaurus, etc., which had been given to one of his ancestors, accord- ing to Roman custom, because he had broad feet. According to Gellius, from whom the principal facts of 1 The correct name was published by Hitachi (Pnrerya, i. pp. 3-43) from the Milan palimpsest. He was previously called Marcus Accius. xxiv P. TEEENTI ADELPHOE his life are derived, Plautus became engaged quite early in life in opens artificum scaenicorum (Gell. 3. 3. 14), that is, in work connected with the stage. While thus employed he saved money, but afterwards lost his property in foreign trade. He returned to Rome, where he was reduced to the necessity of working for hire in a treadmill a' fact that may possibly account for the breadth of his feet. His first three comedies were written while he was in the service of the miller. The names of two of these, Saturio and Addictus, are given by Gellius, who says that the title of the third has escaped him. From this time, when he could not have been less than thirty years old, until his death in 184 B.C., 1 Plautus devoted himself to the occupation of making Latin versions of Greek comedies. In the time of Gellius one hundred and thirty comedies were accredited to him, 2 though only twenty-five of these were thought by Aelius to be genuine. Twenty plays and fragments of another are extant. These are probably among the twenty-one regarded by Varro as certainly authentic ; the last of Varro's collection, the Vidularia, having been lost during the Middle Ages, though frag- ments of it have been preserved in the Milan palimpsest and the quotations of the grammarians. The influence of Varro caused the plays acknowledged by him to be copied and read more widely than either those (presum- 1 Cic. Brut. 15. 60 Plautus, P. Claudia, L. Porcio . . . consulibus mortuus est, Catone censore. 2 Gell. 3. 3. 11 Feruntur autem sub Plauti nomine comoediae circiter centum atque triginta ; sed eruditissimus L. Aelius quin- que et uiginti eius esse existimauit. INTRODUCTION xxv ably nineteen in number) which he classed as only probably genuine, or those which he regarded as spurious. The extant plays are : Amphitruo, Asinaria, Aulularia, Captivi, Curculio, Casina, Cistellaria, Epidicus, Bac- chides, Mostellaria, Menaechmi, Miles Gloriosus, Mercator, Pseudolus, Poenulus, Persa, Rudens, Stichus, Trinum- mus, and Truculentus. At least half of these may fairly be called good comedies (namely, Amph., Aid., Bacch., Capt., Men., Mil., Most., Pseud., Hud., Trin.), and five of them (AuL, Capt., Bacch., Men., Pseud.} are so excellent in their style, the development of the plot, and in character painting, that they entitle Plautus to a place among the most brilliant and distinguished of Roman writers. All the plays are probably imitations of Greek originals. The Casino, and Kudens are known to have been based on plays of Diphilus ; the Mercator and Trinummus on plays of Philemon; the Asinaria on a play of Demophilus, and the Bacchides most probably on one by Menander. Many of the plays have been imitated in modern times, e.g. the Amphitruo by Moliere and Dryden in plays of the same name, the Aulularia by Moliere in L'Avare, and the Menaechmi by Shakespeare in the Comedy of Errors. That Plautus was not a slavish imitator of his Greek originals is made apparent by reference to his plays. These, while manifestly Greek in their outward con- ditions, their form, and the manner and spirit of their characters, are yet in no slight degree Roman in substance and sentiment. The dialogues abound in Roman formulae, proverbs, puns and plays on words; in alliteration, assonance, and instances of asyndeton all characteristics xxvi P. TERENTI ADELPHOE of early Roman poetry. There are references to places in Rome and Italy, to Roman magistrates and officials, to public business at home and in the colonies, to public games, Roman religion, Roman laws, and recent events in Roman history. These, and many other allusions to modes of life and human occupations, which, if not always exclusively Roman, were at least not wholly Greek, bear witness to his originality, as well as to a free, not to say inartistic, treatment of his acknowledged models. His strength lay, not in constructive skill for this he depended on the Greeks but in the wit and humour and freshness of his details, characteristics which would appeal more directly to a boorish and uncultivated audience such as Plautus endeavoured to please, than a careful handling of the incidents of the plot, or a close adherence to the refinements of the Greek stage. There can be little doubt that Plautus would have preferred to reproduce the Old Comedy rather than the New. The exuberance of his wit and his blunt and open nature would have found an easier and more natural outlet in attacks made upon the authorities, after the method of Aristophanes. Such a course, however, would have subjected him at once to the censure of the magistrates, and his literary career, like that of Naevius, would have been brought to a summary and ignominious end. That he was keenly sensible of this restraint and found it irksome may be inferred from the near approach which he makes in some of his plays to forbidden ground. Another obstacle in his path was the necessity of adapt- ing himself to his audiences. The Romans were a nation of soldiers, without polish, and almost wholly lacking in INTRODUCTION xxvii literary sense. Plautus was compelled to bring dawn, as it were, the fine productions of Menander and Philemon to the level of their clownish and more or less brutal tastes. But he was capable of higher things, and had he lived in a more refined generation would certainly not have provoked the harsh and, under the circumstances, manifestly unjust criticism of Horace. 1 But Horace is alone in his condemnation of Plautus. Both Varro and Cicero speak in his praise ; and it must be remembered that the author of the Epistle to the Pisones was in sympathy only with the elegances and refinements of the court of Augustus and the literary circle of Maecenas, and had little in common with the ancient playwright whose peculiarities of metre and diction belong to the early and formative period of the language and civilisation of Rome. Though Plautus did little to elevate the morals of his hearers, yet his influence, on the whole, was good. His efforts did much to refine the taste of the people, and to improve the language. The latter underwent, at his hands, a process of cultivation and enrichment that carried it far on its way towards its subsequent classical perfection. His epitaph, mentioned by Varro (Gell. 1. 24. 3), testifies to the high estimate of his powers entertained by those who admired his writings : Postquam est mortem aptus Plautus, Comoedia luget, Scaena est deserta, dein Risus, L-iulus, Jocusque Et Numeri innumeri simul omnes conlacrimarunt. 1 See A. P. 270-4 ; Ep. 2. 1. 170 sq. xxviii P. TERENTI ADELPHOE CAKCILIUS The successor of Plautus was Caecilius Statins, a contemporary of the tragedian Pacuvius, and of Ennius, whom he survived by only one year. He was an Insubrian Gaul by birth, but came to Rome, probably as a prisoner of war, between 200 and 194 B.C. There he was liberated by his master, a member of the Caecilian gens, and took his name. When he began to write Plautus was at the height of his reputation and influence. Volcatius Sedigitus (a critic quoted by Gellius, 15. 24) gives Caecilius the first place among Roman comic poets, Plautus coming second, and Terence sixth in a list of ten. Horace (Ep. 2. 1. 59) praises him in the line Vincere Caecilius grauitate, Terentius arte (dicitur), which is supposed to refer to the sententious maxims of Caecilius, while the "art" of Terence is evident in the excellence of his style. The style of Caecilius is censured by Cicero (Brut. 74. 258; ad Att. 7. 3. 10), but Varro commends his skill in the management of his plots : In argumentis Caecilius poscit palmam (Nonius, p. 374). His creative originality, however, was far below that of Plautus, and his success was neither so pronounced nor so rapid. After the death of Plautus the skill of the actor Ambivius Turpio brought him the popularity which he sought. His treatment of his Greek originals appears to have been at first free and independent like that of Plautus. Later on the increased admiration at Rome for things Greek led him to adhere with greater fidelity to his Attic models, and thus to pave the way for the reception of the still more refined methods INTRODUCTION xxix of Terence. Caecilius is thus conspicuous midway between Plautus and Terence, and it is a subject for regret that only fragments of his plays have been preserved. He died in 168 B.C., and was followed by Luscius Lanuvinus, an older contemporary and rival of Terence, whose writings have not survived. TERENCE Latin literature takes an important step in its develop- ment with the arrival of Terence on the scene. Much as Plautus had done to improve the language and refine the stage, yet, as we have seen, he was hindered in his efforts by the lack of culture in his audiences. Moreover Plautus was in his very nature a man of the people. His associations and sympathies were with the masses, and in the composition of his plays it was more to his purpose to draw upon the abundance of his natural mother-wit, and his wide experience of men and things, than to follow with strictness the text of his originals, or endeavour to impress upon his native speech the ultra- refinement and subtlety of the Greek. It was otherwise with Terence. In the interval of time which separated the two poets, a society of literary men had grown up at Rome, whose tastes were dominated by admiration of Greek literature and culture. It was in this circle that Terence moved and formed his literary aspirations and ideals. It was natural, therefore, that his main purpose should have differed from that of Plautus, and that, instead of aiming to secure the applause of the people, he should have directed his efforts especially toward the attainment of xxx P. TERENTI ADELPHOE elegance arid correctness of expression, and symmetry in the elaboration of his plots. The best way to bring about these results, and the surest method by which to build up a national literature, lay, as he believed, in a faithful reproduction of the works of Greek genius. Accordingly he set himself to the task of Hellenising Roman comedy more completely, and by a close and skilful imitation of his Greek models he succeeded in combining with the better and purer Latin of the culti- vated class much of the flexibility, delicacy, and smooth- ness of Attic idiom. Our knowledge of the life of Publius Terentius Afer is derived chiefly from an extract from Suetonius' work, De Viris Illustribus, preserved by Donatus in the intro- duction to his commentary on Terence (see Suet. p. 291, Roth). Some of the statements contained in the life are confirmed by later writers, and light is thrown on the literary and personal relations of the poet by the pro- logues to the different plays. The date of his birth is uncertain, owing to discrepancies in the MSS. of Suetonius, and the uncertainty is increased by variations between the authorities whom Suetonius quotes. Shortly after the exhibition of the Adelphoe in 160 B.C. he went to Greece. The best MSS. state that he set out in his twenty-fifth year ^post editas comoedias nondum quintum atque uicesimum egressus annum (Suet. p. 293, Roth) ; inferior MSS. say in his thirty-fifth. Suetonius quotes Cornelius Nepos as stating that Terence, Scipio, and Laelius were of the same age quamuis .... Nepos aequales omnes fuisse traded; and Fenestella (an antiquarian of the Augustan period) as making the poet INTRODUCTION xxxi older than the other two contendens utroque maiorem natu fuisse (Suet. p. 292, Roth). Scipio was born in 185 B.C. If Terence was born in the same year he would have been twenty-five years old when he died> since the year of his death is known to have been 159 B.c. On the other hand, his first play, the Andria, was performed in 166 B.C., and it seems highly improbable that an author so finished in style, and so accurate in his delineation of various phases of human nature, should have become conspicuous as a writer for the stage as early as his nineteenth year. It is natural, therefore, that we should incline to the earlier date as the correct one, though the number xxxv. occurs only in inter- polated MSS. 1 Terence is said to have been a native of Carthage, and to have been brought to Rome at an early age, where he was educated like_ajiefiman (liberaliler institntm, Suet. p. 292, Roth) in the home of his master, the senator M. Terentius Lucanus, by whom he was soon set free. Although originally a slave, he cannot have been a prisoner of war, as there was no war between Rome and Carthage between 201 and 149 B.C.; but it has been suggested that he was sold to Lucanus by a slave-dealer, who either caught him or bought him in Africa. His full name is derived from three sources. To his own name Publius he added the gentile name of his master, after the custom of manumitted slaves, and Afer was given him to indicate the place of his nativity. He is said to have been of medium stature, graceful in person, 1 See Ritschl, Opusc. iii. 253. xxxii P. TERENTI ADELPHOE and of dark complexion (Suet. p. 294, Roth). His personal attractions and the fact of his African birth brought him into intimate relations with Africanus the younger, through whom and Caecilius he became intimate also with Gaius Laelius, Furius Philus, and other members of the younger circle of literary men at Rome. Sulpicius Gallus, Q. Fabius Labeo, and M. Popilius, men of consular rank, and distinguished for .their culture and literary attainments, were also among his friends and admirers (Suet. p. 293, Roth). It was men of this class and character, already referred to, that Terence especially endeavoured to please with his comedies. A pretty but apocryphal story is told by Suetonius (p. 292, Roth) in reference to his first play, the Andria. On presenting it to the Aediles for acceptance, he was bidden by them to take it to Caecilius for judgment. He found the latter at dinner, and as he was somewhat meanly clad he was invited to read from a stool placed at the foot of the couch on which the literary veteran was reclining. After reciting a few verses, however, he was summoned by Caecilius to a place on the festal couch, and bidden to share the delicacies of the table. The recitation was then concluded amid much applause. Chronological considerations throw doubt on the truth of this narrative, for Caecilius is said to have died in 168 B.C. But the Eusebian Chronicle gives the substance of the story, and the meeting with Caecilius may easily have taken place two years before the play appeared on the stage. Having gained the support of Caecilius and Scipio, and other members of the literary party, who favoured a strict adherence to Greek models, he was able to repel INTRODUCTION xxxiii the attacks of the opposite party, at the head of which was Luscius Lanuvinus, the maliuolus uetus poeta of Terence's prologues, whose poetical canon was a close imitation of the earlier Latin comedians. By this man he was accused of receiving assistance from his noble friends in the composition of his dramas. Probably the charge, though exaggerated and vicious, was not without foundation. His determination neither to confirm nor refute it seems to support this view, although his reticence may have been wholly due to a desire to avoid giving offence to men whose friendship he could not do without. At any rate the accusation was harmless, for it offended neither party. The truth appears to be that Terence read his compositions in the circle of his literary friends, and availed himself, independently and according to his choice, of their criticisms and suggestions. Such assistance would partly account for the elegance and purity of his style and language qualities which, even considering his advantages and associations, appear to be almost miraculous in view of his immature years and foreign extraction. After producing six comedies, between 166 and 160 B.C., Terence went to Greece, in order, we are told, to escape suspicion of plagiarism, or, what is more credible, to study Greek life and institutions, which it was his purpose to portray in his comedies. Accounts vary as to the place and manner of his death. One story relates that he was lost at sea while on his way back to Italy, and that his translations of one hundred and eight of Menander's comedies perished with him. Another account, which obtained more general credit, represents P. TERENTI ADELPHOE him as having died at Stymphalus in Arcadia (or at Leucadia) from an illness brought on through grief at the loss of his baggage and manuscripts which he had sent on before him to the ship in which he was to sail for Italy. The six comedies written and exhibited at Rome by Terence have been transmitted to us. The following enumeration gives them in the supposed order of their composition, according to the Codex Bembinus. I. The Andria, based on the 'AvSpia and Hepivdta of Menander; first exhibited at the Megalensian games in 166 B.C. II. The Eumtchus, based on the Evvov^os and KoAa of Menander; first performed in 161 B.C. III. The Heauton timorumenos, ' the Self-tormentor,' based on the 'Eavrbi/ TI/WO/DOV/WVOS of Menander ; first performed in 163 B.C. IV. The Phormio (name of the parasite in the play), based on the 'ETriSi/ca^o/wvos of Apollodorus; first performed in 161 B.C. V. The Hecyra, 'the mother-in-law,' based on the 'EKvpd of Apollodorus, and (possibly) the " of Menander; first performed in 165 B.C. VI. The Adelphoe, taken from Menander's ' with one scene added from the beginning of the dvyo-KovTfs of Diphilus ; first performed in 160 B.C., in which year the Hecyra was also twice brought out. The Andria is the most pathetic of these comedies ; the Adelphoe in general more true to human nature than the rest ; the Eunuchus the most varied and lively, with the largest number of interesting characters ; and INTRODUCTION xxxv the Hecyra the one of least merit. All six are remark- able for the art with which the plot is unfolded, through the natural sequence of incidents and play of motives. Striking effects, sharp contrasts and incongruities, which meet us in many of the plays of Plautus, are almost wholly absent. All is smooth, consistent, and moderate, without any of the extravagance or exuberant humour, or even creative fancy, which characterise the writings of the older poet. But Terence, as has already been said, was essentially an imitative artist. His aim was to present to the Roman public, in the purest Latin at his command, a true picture of Greek life and manners as given in the writings of his models; and although the attempt is made at the expense of creative originality, and with a loss to himself of much of the popularity enjoyed by his predecessors, yet if the judgment of succeeding generations of his countrymen, as well as that of more modern critics, is a fair criterion, he must be credited with having fully attained his object. The language which he received from Plautus he improved and rendered more artistic by shaping it carefully to the graceful rhythm and diction of the Greek dramatists, notably Menander. This is his great gift to Roman literature a gift not fully appreciated until the cultiva- tion of letters, and in particular the study of Terence, became fashionable in the time of Cicero. Cicero quotes Terence in his letters and orations, 1 but his most famous comment has been handed down by Suetonius (p. 294, Roth) : 1 Cf. aTima fabula. The chances are, says Teuffel, that such pauses as actually occurred in the Roman comedy were determined, not by the poet, but by the stage-manager ; that these became gradually fixed, and that out of this customary arrangement into divisions grew the conventional five acts which are first mentioned directly by Horace (A. P. 189 sq.), and subsequently came to be regarded as the regular number, both by the grammarians and the scholars of more modern times. 1 The division into acts was assisted by the division of each play into diuerbia (or deuerbia) and cantica. The canticum was a lyrical monologue (/iov^Sia), which was sung to the tune of the tibia, and accompanied by appropriate gestures, or dancing. The metres were irregular and mixed, to correspond to the varying emotions expressed. An instance of this species of canticum occurs at verse 610, where Aeschinus is the victim of considerable mental excitement. A notable example occurs also at the opening of the fourth act of the Andria, in which "the metrical disturbance," says 1 Cicero seems to have known only the division into three acts (cf. ad Q. Fratrem, 1. 1. 16. 46). Three was the rule for tragedy (nam tragoedia in trio, diuiditur, exspectationem, gesta, exitum, Donat. on Ter. Ad. iii. 1), or five if the prologue and epilogue be included. INTRODUCTION xli Prof. West, 1 "is more violent than anywhere else in Terence." But the term canticum was also used in a wider sense, and made to include the scenes in trochaic septenarii, which were declaimed or chanted, with musical accompaniment, like the recitative of a modern opera. The diiierbia (dialogues) were all scenes in iambic senarii. These were simply recited, in a conversational tone, and were not accompanied by music. A third division of a Roman play was the prologus, the original purpose of which was to state, at the outset, both the name of the play, the source from which it was taken, and the argumentum or plot ; and to recommend the play to the goodwill of the audience. This plan is in a measure carried out in the prologues of Plautus. But the pro- logues of Terence are wholly of a different nature. They are simply bits of literary polemic, and resemble in some degree the Trapa/Scwm of the Old Attic Comedy. The poet, speaking in the person of the actor, defends himself against the aspersions of his critics, and justifies his method of dealing with his Greek originals. The division into five acts bears a striking analogy to the choral divisions of the Old Attic Comedy, with which the diuerbia and cantica are doubtless connected, and can be traced to the influence of the critics of Alexandria, who set it down in the first place as a law for tragedy. In the later Attic comedy the place of the choric songs was taken, probably, by the auA^r^s (cf. Plaut. Pseud. 573). But though no positive information has reached us of a division into acts, even Aristotle being silent on the 1 In his ed. of Andr. and Heaut. , in Harper's Class. Series. xlii P. TERENTI ADELPHOE subject (see TeufFel, 16. 7), yet Aristotle discusses (Poet. c. xii.) the several parts of a tragedy, and here the principle of the fivefold division is to be found. The acted parts of a tragedy, he says, were three : the IT/DO Aoyos or introduction, the eireto-oSiov or plot, and the eoSos or denouement. These were separated from one another by choric songs. But the 7rero8iov was subsequently broken into parts, also divided by choric songs, and this division of the eTreio-oStov, which was often a triple one, com- bined with the TT/aoAoyos and eoSos, "gave rise to the tradition of five acts as the proper number for a drama "- a tradition elevated into a canon by the Alexandrians, and regarded as a rule for Latin comedy also before the time of Horace. The principle is plainly exemplified in the five acts of a Terentian comedy. The first act contains the expositio, or statement of the opening situation. This is analogous to the TrpoAoyos of the Greek drama, the pro- logue of the Latin play being without bearing upon the action or the plot. The second, third, and fourth acts present the involutio, that is the intrigue, or plot proper, as it is elaborated through three different states or phases, analogous to the triple division of the ejreicroStov. The fifth act is devoted to the evolutio, or denouement, corresponding to the eo8os of Aristotle. The several acts therefore, like the divisions of the Greek play, correspond to the development of motives, each act being worked out in such a manner that the next follows logically upon that which has gone before. 1 The division into scenes is regularly found in all the 1 See Prof. West's Introd. to the Andr. and Heaut., pp. xxv. xxvi. INTRODUCTION xliii MSS. of Plautus and Terence, the headings prefixed to each scene giving the names of the interlocutors for that scene. There was no necessary interruption of the action at these points, however. If a pause was thought to be convenient the interval might be filled in by the avA/qr^?, as in the Pseudolus cited above. The exit or entrance of a single actor was sufficient to mark a new scene. THE ACTORS While the comedy of Aristophanes seldom employed more than three actors, the regular number for tragedy, the later comedy often exceeded this number, and the palliatae were still less restricted. The Captivi, Epidicus, Mercator and Pseudolus require four performers ; ten other plays of Plautus at least five ; the Poenulus and Rudens not less than six, while Ritschl conjectures seven in the Trinummus. In Terence, five actors are needed in the Heauton timorumenos and Hecyra, six in the Adelphoe and P/iormio, and for the Andria and Eunuchus even this number is not sufficient. See Teuffel, 16. 4. The costumes worn by the actors were Greek, and were always of a certain colour and appearance for a given character, which, accordingly, like the characters in the Greek comedy, was recognised at once by the audience, as soon as it was seen upon the stage. The masks of the Greek comedy were not regularly adopted for the palliatae until after the time of Terence. Their place, however, was abundantly supplied by means of false hair and paint. xliv P. TERENTI ADELPHOE DRAMATIC REPRESENTATIONS AT THE PUBLIC GAMES Greek plays were exhibited in honour of Dionysus, in a theatre dedicated to the god, and the representation, or series of representations, was the principal feature in the public worship of that particular divinity. Roman plays, on the contrary, bore no such important religious significance. They formed only a part, and usually a very small part, of the performances at the public games. The play was in fact a mere side-show at these great festivals, and there was nothing in it suggestive of Dionysus except his altar, which was sometimes placed upon the stage, not far from that of the deity in whose honour the games might have been given. Both in Rome and in Athens plays were exhibited at certain annual festivals, in Rome on certain extra- ordinary occasions also, such as the celebration of a triumph, or of the ludi saeculares, the dedication of a public building, or the funeral of a distinguished man. There were four of these annual festivals at Rome the ludi Megalenses (/xeyaA^), held in April, in honour of the Great Mother (Cybele) ; the ludi Apollinares, given in July ; the ludi Romarii, celebrated in Sep- tember, in honour of Jupiter; and the ludi plebeii which took place in November. Of these the ludi JSomani, also called magni and maximi, were the oldest and the most important, and it was at their celebration that the first regular theatrical exhibitions took place. Of the plays of Terence, the Phormio and the Hecyra (the latter at its second performance) were brought out at the ludi INTRODUCTION xlv Romani ; the Andria, Eunuchus, Heauton timorumenos, and Hecyra first appeared at the ludi Megalenses ; and the Adelphoe was performed at the funeral games of Aemilius Paulus, when the Hecyra was also attempted. It was on this occasion that the performance of the Hecyra was interrupted (as we are told in the prologue to that play) by the greater attractions of a rope-dancer. ROMAN THEATRES The Romans witnessed their plays under difficulties. The state did not look upon theatrical exhibitions with a friendly eye, and placed restrictions upon them. Only the scantiest kind of a wooden plat- form was at first allowed, which, like the later theatre of wood, was taken down after each performance. The place for the spectators was merely enclosed by wooden railings, and was without seats. This state of things existed when Plautus flourished, the only innova- tion in his time being the reservation of a particular place for senators (Liv. 34. 44). A theatre on the Greek plan (ffieatrum et proscaenium, Liv. 40. 51) was erected in 179 B.C. near the temple of Apollo, but was soon afterwards pulled down. Again in 174 B.C. an effort was made to secure the erection of a permanent stage. This was authorised by the censors (Liv. 41. 27) ; but the spectators were compelled as before to stand, and there is reason to believe that the structure was de- molished soon after the conclusion of the performance for which it was built. In 155 B.C. a stone theatre, with seats for the spectators, was begun by C. Cassius Longinus ; but the next year Scipio induced the senate to xlvi P. TERENTI ADELPHOE order its demolition. At the same time the spectators were forbidden even to bring their chairs with them to the public shows. Restrictions such as these were due to a prevailing sentiment that theatrical exhibitions encouraged a taste for Greek luxury, and hastened the corruption of the Roman youth. The prejudice, however, was eventually, though slowly, overcome. In 145 B.C. a theatre of wood was built, complete in all particulars, and although it was destroyed after it had served its immediate purpose, yet it was followed at a comparatively early date by something more stable and lasting. In the year 55 B.C., about a century later, the first permanent and complete stone theatre was erected at Rome by Pompey the Great, and although the stage was once destroyed, it was very soon restored by Augustus. This theatre, according to Pliny (N. H. 36. 115), was capable of seating 40,000 spectators, and is spoken of by Vitruvius as " the stone theatre " par excellence. Two similar theatres were constructed and opened in 13 B.C., one by Augustus, the other by Cornelius Balbus. In the former, which was named by its builder after his nephew Marcellus, there were seats for 20,500 persons; in the latter 11,510 could be accommodated. The theatres of Pompey, Marcellus, and Balbus were the only permanent structures of the kind that Rome possessed. 1 Of the first and third there are found to-day only scanty remains ; but the ruins of the theatre of Marcellus are among the most imposing of the buildings of ancient Rome. 1 See "Das Biihnenwesen der Griechen und Homer," byGustav Oehmichen in I. v. Miiller's Handbuch der klassisdien A Itertums- wissenschaft, v. p. 221 ; Ency. Brit., art. "Theatre." INTRODUCTION xlvii The Roman theatre in its main features was like the Greek. The chief difference lay in the shape of the orchestra, and the use to which it was put in the two oases. The op\i](j-rpa of the Greek theatre of ordinary type was more than a semicircle in shape (in the original Dionysiac theatre at Athens, and the theatre at Epidaurus, it was a complete circle), 1 and served as the place of action for the chorus. The Roman orchestra, on the other hand, was an exact semicircle, 2 and as there was no chorus it was filled with seats which were reserved for senators and distinguished guests of the city. Another important difference was the greater size of the Roman stage, which was both deeper and longer than the Greek, and might be concealed from the audience by a curtain (aulaea, siparium) which was drawn up from below, not lowered as in modern theatres. The Romans also intro- duced the custom of constructing theatres on a level site, an important innovation in theatrical architecture, since it did away with the necessity under which the Hellenes had always laboured, of scooping out the cavea or auditorium from a lofty rock or hill-side. Besides the orchestra there were two other principal parts or sections of an ancient theatre. These were the stage (TT/XHTKV/I/IOV, proscaenium, Xoyelov, oKp/?as, pul- 1 On this subject see Haigh, The Attic Theatre, p. 131 ; Gustav Oehmichen, in I. v. Muller's Handb. d. Id. Alt. v. p. 228 sq. ; Albert Miiller, Lehrbuch der griechischen Biihnenalterthiimer, p. 82 sq., and an article on the Greek theatre by John Pickard in the Amer. Jour. Phil. vol. xiv. 1. Cf. also an article by Edward Capps on Vitruvius and the Greek Stage (Univ. of Chicago, 1893). 2 See I. v. M tiller's Handbuch, as cited above, p. 230 ; cf. Vitruvius, iii. 8 (Greek theatre), and iii. 2-7 (Roman theatre). xlviii P. TERENTI ADELPHOE pitum) 1 on which the actors performed (the fixed scene at the back being called O-/O/VT/, scaena, a term also applied to the stage itself), and the audience-place (dearpov, cavea) composed of receding tiers of steps (anabathra, Juv. 7. 46) rising round the orchestra, and serving as seats for the spectators. These tiers of steps were sometimes inter- rupted by wider intervals which divided the cavea into two or more portions, and facilitated access to single seats. The number of these parallel passages (8ia{w/>iaTa, praecinc- tiones), says Vitruvius, must be in proportion to the height of the theatre. There were also narrow flights of stairs, or cross aisles, which verged like radii toward the centre of the orchestra, and divided the cavea into wedge-shaped partitions called Ke/oKiSes, cunei. The rows of sitting-steps were severally known as gradus. Since the cavea practically included the orchestra, it embraced the whole space in front of the stage, thus making with the latter a double division only for the Roman theatre, instead of the triple arrangement of the Greek. The Romans continued to build theatres in the provincial towns of Italy. These were always designed with the semicircular orchestra, except that occasionally two theatres were constructed close together, one of them having the larger orchestra, and intended for the exhibition of Greek plays only. On the other hand, the theatres built under Roman rule in Hellenic cities, such as Tauromenium, Aspendus, and Myra, were made on the old Greek model. An exception to this rule was the beautiful theatre of Herodes Atticus, a wealthy 1 Seethe article iu A. J. P. cited above, esp. p. 87. INTRODUCTION xlir Greek of the time of Hadrian, which was erected on the western side of the southern slope of the Acropolis at Athens, and had a semicircular orchestra. Extensive remains of this theatre still exist and exhibit a mixture of Greek with Roman architecture. (See Guhl and Koner, Das Leben der Griechen und Homer, pp. 534-5.) MSS. AND TEXT OF TEEENCE The sources from which the text of Terence is derived are the manuscripts, the quotations of ancient writers, the commentaries of grammarians, and the conjectures of modern scholars. The principal manuscripts those considered by Umpfenbach to be worthy of collation are nine in number. Of these the oldest and the best is the Codex Bembinus, so called from its owner, Cardinal Pietro Bembo, who lived from 1470 to 1547 of the Christian era. This MS. came into the possession of Fulvius Ursini, who bequeathed it to the Vatican Library where it now lies, its number being 3226. It dates from the fourth or fifth century and is written in uncial characters. Politian, who corrected and illustrated it, has left a note on one of its leaves (1493 A.D.), which is as follows: "Ego Angelus Politianus homo vetustatis minume incuriosus nullum aeque me vidisse ad hanc diem codicem antiquum fateor." The MS. is not in a good state of preservation. Andria 1-786 is wanting, and verses as far as 888 are obscured by rents. Of Adelphoe 914-997 only a few letters can be accurately deciphered, and of the Phormio, verses 172, 240-2, and 635 are missing. But notwithstanding 1 P. TERENTI ADELPHOE its mutilated condition the Bembine is, in the majority of textual difficulties, our most trustworthy authority ; for, although it shows the hands of two correctors, it is the only MS. certainly free from the arbitrary alterations of the unknown grammarian Calliopius, who made an effort to settle the text of Terence about the fourth century A.D. The MSS. have been separated into three classes. The Codex Bembinus (A) constitutes in itself Class I. The remaining codices have been divided by Umpfenbach into two groups, according to their supposed merit. To the first group, or Class II., belong the Codex Victorianus (D) of the ninth or tenth century, the Codex Decurtatus (G) of the eleventh or twelfth, and Fragmentum Vindo' bonense (V) of the tenth or eleventh century. This is the D family. The second group, or Class III., contains the remaining five MSS., known as the P family. Of these the most important is the. Codex Parisinus (P), which belongs to the ninth or tenth century, and is the most beautiful of the illustrated MSS. On account of its well-preserved condition and fine illustrations it is kept on exhibition in the Salle d'Exposition des Imprimis et des Manuscrits, in the Bibliotheque Rationale at Paris. It is written in minuscules in a rather fine hand. A description of it is given by Umpfenbach in his preface. Closely related to P are the Vaticanus (C) and the Basilicanus (B). The former is copied from the same original as P, and belongs to the ninth or tenth ; century. The latter, which is of the tenth century, is nothing else than a copy of C, excepting a portion which seems to have been taken from D. The other two INTRODUCTION li MSS. of this group are the Codex Ambrosianus (F) of the tenth century, and the Riccardianus (E) of the eleventh. These are less closely united to P than C and B, and E is a poorer MS. than F. This classifica- tion is adhered to by Umpfenbach, and is usually attributed to him inasmuch as he described particularly the value of the three families. The honour, however, of separating A from DG is claimed by Dziatzko; Ritschl, followed by Wagner, having previously placed DG in the same family with A, regarding them as independent of the Calliopian recension. Umpfenbach finds traces in DG of the correcting hand of Calliopius, but prefers this class to the third, because, as he believes, the archetype of Class II. is descended immediately from an edition formed with the help of the commentaries of Servius and Priscian, and in accordance with the com- mentary of Donatus ; and also because marginal references taken from a MS. related to the Bembinus were inserted. The third class, on the contrary, which, he holds, is more strictly representative of the Calliopian recension, re- mained without improvement from Donatus or any early source. But Prof. E. M. Pease of the Leland Stamford Junior University, Cal., in an article on the Relative Value of the MSS. of Terence (Transactions of the American Philological- Association for 1887, vol. xviii.), makes it very clear that, next to the Bembinus, the Parisinus is the most reliable of the MSS. (not the Victorianus and Decurtatus), and that the original form of the Calliopian recension is to be sought in DG and not in PCB. He also shows that PCB represent by their archetype an lii P. TERENTI ADELPHOE edition of the Calliopian recension, worked over, illus- trated, and arranged according to a MS. sprung from the best period ; that they are more closely bound together and have suffered less from errors creeping into the individual MSS. than DG ; that more changes have been made in the archetype of the D family than in the arche- type of the P family, and that Umpfenbach and all other editors of Terence (excepting Spengel) have underrated P and its allied MSS. C and B. In short Prof. Pease, making use of the apparatus afforded by Umpfenbach's critical edition, points out that, after the Codex Bembiuus, the most trustworthy sources for the text of Terence are the MSS. designated as PCB ; that these are far better than DG ; that F is a good MS., ranking next to PCB, and that E lies between D and G. According to this valuation the MSS. are arranged in the following table : Codices of Terence Name. Century. Place of Keeping. Letter of Reference. Bembinus IV. V. Vatican A Parisinus IX. X. Paris P Vaticanus IX. X. Vatican C Basilicanus X. Vatican B Ambrosianus X. Milan F Victorianus IX. X. Vatican D Riccardianus XI. Florence E Decurtatus XI. XII. Vatican G Fragmentum Vindobonense X. XI. Vienna V We have not space to consider the critical value of INTRODUCTION liii the many quotations from Terence by ancient authors. Of the grammarians whose commentaries supplement the evidence of the MSS. the most important is Aelius Donatus, who taught at Rome about the middle of the fourth century A.D., and was the reputed master of St. Jerome. Beside his commentary on Terence, which however is not in the form in which he left it, he com- posed a grammatical treatise, entitled Ars Donati gram- matici urbis Romae, which became a standard text-book in mediaeval schools, and is still extant. He also wrote commentaries on the Aeneid and Georgics of Vergil, large portions of which have come down to us. That part of the Terentian commentary which related to the Heauton timorumenos is lost, but its place is indifferently supplied by J. Calphurnius who wrote in the fifteenth century. The commentary of Eugraphius, who is believed to have lived in the sixth century A.D., survives, but has little value for us. The grammarians Servius (who wrote at Rome in the fourth century A.D.) and Priscianus (who wrote, in Latin, at Constantinople, in the latter part of the fifth or the beginning of the sixth century A.D.) furnish occasional information ; and M. Valerius Probus of Berytus is known to have revised and annotated editions of Lucretius, Vergil, Horace, Pereius, and Terence, in the first century of the Christian era. Other commentators were Aemilius Asper, Helenius Aero, and Euanthius. The periochae of Sulpicius Apollinaris, of the second century A.D., together with the didascaliae, which had been prefixed to the plays of Terence within a century after his death, are not without their value in the determination of the text. liv P. TERENTI ADELPHOE Among modern scholars and editors Gabriel Faernus (Florence, 1565) is well known for his careful examina- tion of the Bembine Codex, and Guyet (1657) for his scholarship, and readiness to condemn as spurious difficult passages in the text. Richard Bentley is famous for the excellence of his critical commentary which he published in connection with that of Faernus, for his boldness in making corrections, and for the attention he gave to the metres. His editions (London, 1726; Amsterdam, 1727) mark an era in Terentian criticism. He was somewhat inclined, however, to over-estimate the testimony of his late MSS., and was often misled in matters of interpretation by his singularly literal turn of mind a peculiarity that rendered him incapable of understanding a joke. He is described by Umpfen- bach (Umpf. p. ii.) as "summus ille Terenti sospitator, inter medendum idem uulnera infligens." Bentley's English MSS. of Terence have been discussed by Prof. Minton Warren in the American Journal of Philology, vol. iii. 9. 1 For more than a century after Bentley no edition of Terence appeared which could be mentioned as presenting a decided improvement of the text. That by E. St. John Parry (Lond. 1857) adheres too closely to the later MSS., and is lacking in critical discernment. But an advance was made by A. Fleckeisen who, in pre- paring his edition of the text for the Teubner series in 1857, made good use of a collation of the Bembine Codex by Petrus Victorius, which is now in the Royal Library at Munich. The critical value of Wagner's 1 See also F. Umpfenbach, Phil. 32. 442. INTRODUCTION Iv edition (Load. 1869) is somewhat impaired by careless- ness and the fact that the writer, as he confesses in his preface, was under the necessity of working and travelling at the same time. The text contains some improve- ments upon that of Fleckeisen, but shows a want of intimacy with the readings of the Bembinus. The edition of Francis Umpfenbach (Berlin, 1870) was greatly in advance of all that had gone before it. His " industry in collecting manuscript materials," and in "making generally accessible the critical apparatus for the study of so important an author " (see the article of Prof. Warren, mentioned above), deserves the gratitude of all students of Terence. His text is based almost exclusively on that of the Codex Bembinus. But the latest and most trustworthy text of the six plays is that of K. Dziatzko (Leipzig, 1884) in the Tauchnitz series, in which edition full recognition is made of the labours of Umpfenbach, and due importance is attached to the readings of the Bembine MS. But possibly even Dziatzko's text should suffer modification in view of the researches of Prof. Pease in respect to the Terentian MSS. Separate editions of the Phormio (1874, revised 1884) and Adelphoe (1881) have also been published by Dziatzko, and the Adelphoe and Andria by A. Spengel (Berlin, 1879 and 1888 respectively) are of considerable critical importance. Other (collective) editions are the Editio Princeps (Strassb. 1470), and those of Muretus (Venet. 1555), F. Lindenbrog (Paris, 1602; Francof. 1623), J. P. Pareus (Neap. 1619), J. H. Boeder (Strassb. 1657), A. Westerhovius (Haag, 1732; reprint by G. Stallbaum, Leipzig, 1830), N. E. Lemaire (Paris, 1827), Ivi P. TERENTI ADELPHOE and R. Klotz (Leipzig, 1838). The editions of Linden- brog and Klotz contain also the commentaries of Donatus and Eugraphius ; those of AVesterhovius and Stallbauin, of Donatus and Calphurnius. METRES [On this subject see Spengel, Introd. to Ter. Andr. ; Dziatzko, Introd. to Ter. Phorm. ; A. F. West, Introd. to Ter. Andr. and Heaut. ; Bentley and Parry in their respective editions of Terence ; Wagner, Introd. to Ter., and to Plant. Aul. ; Brix, Introd. to Plant. Trin. ; E. P. Morris, Introd. to Plaut. Pseud. ; Professors Palmer, Hallidie, and Tyrrell in their respective Introductions to the Ampkitruo, Captivi, and Miles Gloriosus of Plautus; C. F. W. Miiller, Plautinische Prosodie and Nachtrag zur plautinisclien Prosodie; and the Pro- legomena of Ramsay, prefixed to his edition of the Mostellaria.] The earliest form of Italian measure of which we have any remains is the Saturnian. This was more accentual than quantitive, but was a decided advance upon earlier accentual forms. It was not ill suited to narrative poetry, and was used by Livius Andronicus in his translation of the Odyssey, and by Naevius in his poem on the first Punic war. But the dramatic poets felt the need of something less rough and monotonous than the rhythm of the Saturnian verse. They turned therefore to the Greeks to supply their want, and found what they required in the New Comedy, which was more free in its versification than the early lyric and dramatic poetry of Greece. This freedom had been INTRODUCTION Ivii the growth of time ; that is, it was greater in Euripides than in Aeschylus, and had still further increased in the time of the New Comedy. Even the Romans added to it by introducing certain changes and modifications of their own. But though tolerating the frequent exchange of one foot for another in the verse, and repeated resolu- tions of long syllables under the ictus, the Roman dramatists were generally strict in their observance of certain laws, and are not correctly condemned as careless. Latin prosody in the time of Plautus and Terence was not yet fixed, and what would have been violation of metrical law in the Augustan age was often plainly permissible in the earlier period. Metrical variety is far greater in Plautus than in Terence. The metres of the latter may be resolved into two classes, Iambic and Trochaic. More elaborate metres, such as the Dactylic, Cretic, Bacchiac, and Choriambic, occur very seldom in Terence as compared with Plautus, and need but slight notice here. The commonest measure in Latin Comedy is the IAMBIC SENAKIUS (Greek Iambic Trimeter Acatalectic). It is the ordinary metre of the dialogue, and contains at least two-thirds of the iambic verses in Terence's six comedies. The scheme is : j _ I J. _ I _ ij It consists of six iambic feet, of which the sixth is always pure, with syllaba anceps ; but, as Priscian notes in his treatise, De Metris Comicis, the tribrach wviw, spondee - *, anapaest ww-^, and dactyl -^, are admitted as substitutes for the iambus in any place except the Iviii P. TERENTI ADELPHOE last. The proceleusmatic (^w^w) is also allowed in the first place, and the fifth foot must not be an iambic word. This principle of substitution holds good, to a greater or less degree, for all the iambic and trochaic metres of Plautus and Terence. A common substitute in all metres is the spondee. But to introduce into the verse a foot containing a greater number of morae, or units of time (J), than that which properly belongs to the fundamental foot of the measure would seem to violate the theory of equivalents. The violation, however, is more apparent than real, for the spondee, or other substituted foot, was approximately reduced to the time of the iambus or trochee by rapid utterance or slurring of the syllables, and so became the practical equivalent of the principal foot. It was not the full spondee of Vergil. The principle may be illustrated by an example taken from early English poetry : ' ' Her glor [ lous glitterjand light | doth all | mens eyes I amaze." (Spenser, F. Q. I. 4. 16.) Here a dactyl in the second place and a spondee in the fifth are so pronounced as to occupy approximately the same time as an iambus. The regular caesura of the iambic senarius is after the first syllable of the third foot (penthemimeral). The IAMBIC SEPTENAKITTS (Greek Iambic Tetrameter Catalectic) is more rarely used than the senarius. The scheme is as follows : w u I w-^w I w-^w I w^C It consists of seven and a half feet. The regular division INTRODUCTION lix of the verse is after the fourth foot (diaeresis), which permits hiatus and syllaba anceps. The fourth foot is preferably a pure iambus. Otherwise the verse admits all the substitutions of the senarius. The IAMBIC OCTONARIUS (Greek Iambic Tetrameter Acatalectic) is comparatively rare in the comic poets, but occurs most frequently in the cantica. The scheme is : It consists of eight full iambic feet. Diaeresis is regular after the fourth foot, which is pure as in the septenarius. The IAMBIC QUATERNARIUS (Iambic Dimeter Acata- lectic), -*- I w-w-, is found occasionally. It may also be catalectic. Such short verses are generally combined with longer ones of the same kind, and are called clausulae. They may belong either to iambic or trochaic metre. There are two principal trochaic metres. The TROCHAIC SEPTENARIUS (Greek Trochaic Tetrameter Catalectic) runs as follows : ^-w I -^w-v^ I ^w-w It is made up of seven and a half trochaic feet. The customary division (diaeresis) is after the fourth foot, as in the iambic septenarius, and hiatus and syllaba anceps are also admitted there. Substitutions are freely allowed with the exception that in the seventh place the tribrach alone may take the place of the trochee. This metre appears to have been used in dialogue almost as fre- quently as the iambic senarius, and to have been preferred especially in scenes of bustle and excitement. Ix P. TERENTl ADELPHOK It was the chosen metre for tho recitative passages, and occurs regularly at the close of Terence's comedies. The TROCHAIC OCTONARIUS (Greek Trochaic Tetra- meter Acatalectic) was used chiefly at the commencement of scenes, as in Ad. 2. 1. 1. Diaeresis occurs as in the septenarius, and allows hiatus and sylldba anceps. Substitutions are freely admitted, as in the iambic senarius. Besides these the Trochaic Quaternarius Catalectic (Trochaic Dimeter Cat. ), - w - w | - w -, may be mentioned. Instances of its use as a clausula are found in the Adelphoe and elsewhere. The other metres, as already remarked, are unusual in Terence. They are : 1. Choriambic Tetrameter : w w I -^ w w ~ I u\j I w 5 2. Cretic Tetrameter : -iw- I -*w- I -fw- I ^w* 3. Bacchiac Tetrameter : ^-| w Z-J w X-|^i 4. Dactylic Tetrameter : Number 1 occurs twice (611, 612) or, including 613 (see list of metres), three times in the Adelphoe. All examples of the other three are in the Andria. They are: 626-634, cretic; 481-484 and 637, 638, bacchiac; 625, dactylic. It will be observed that in all iambic and trochaic metres a single measure embraces a dipody, a series of two feet, and that while the Greek terms, trimeter, etc., INTRODUCTION Ixi refer to the number of dipodies, the Latin names, senarius, etc., indicate the actual number of feet. Another point to be noticed is the difference between the word -accent and the verse -accent. The former is the ordinary accent of prose and common speech, and is determined by the natural quantity of the syllables without reference to the position of the word in the verse. Bentley (in his SxeSt'aoyia) says that in ordinary pronunciation the word -accent never fell on the last syllable. All dissyllables were therefore paroxytone, as deus, modum. In words of more than two syllables the accent fell on the penult, if it were long ; on the ante- penult, if the penult were short. Thus, amdbunt, but pectoris, aureus (proparoxytone). The verse-accent was the ictus, or metrical beat, which fell at regular intervals in the verse. The syllable receiving it was determined solely by the position of that syllable in the line. The natural word-accent might or might not coincide with it. If the two accents come together there is no difficulty. If they do not the verse-accent should prevail. A line taken from Shakespeare, Ham. 1. 2, will illustrate this : "Tis sweet | and e6m|menda|ble in | your najture Hamlet," in which the natural word-accent of " commendable " is overpowered by the accent of the verse. The accents printed in the Latin text indicate the principal verse- accent in each dipody. Another and lighter verse-accent, not so marked, falls upon the corresponding heavy syllable in the other foot of the dipody. It is a law of language that accent causes the syllable Ixii P. TERENTI ADELPHOE on which it falls to receive strength or weight at the expense of those about it. Accordingly either accent might have the effect of weakening the syllable which immediately preceded or followed it. In the most remote period of the language nearly all suffixes had long vowels, and it is probable that the word-accent was allowed to fall upon other syllables than the penult and antepenult. But the law restricting the word-accent to these syllables was already well in force when Plautus began to write, and did much to increase the natural tendency toward a neglect of final syllables in pronuncia- tion. Thus, many final syllables once long became short, and short syllables were correspondingly obscured, while final consonants were often dropped altogether. Especi- ally was this so in iambic words, or dissyllables with short penult, as in the imperatives rbga, tube, cdue, redt, etc., and in declension, as nouo, lem, her\ uiros, and also in words like dpud, quidem, erat, pdrum, senex, etc., whose final consonant thus fails to make position with an initial consonant in the following word. This tendency was partly checked by Ennius for the literary Latin, so that in authors subsequent to Plautus and Terence we find many final syllables of iambic words restored to their original long quantity. Of course the effect was merely intensified if the two accents coincided. But if the verse- accent fell on the final syllable, the effect was to cause the natural long quantity of that syllable to be retained. This principle held good also for words of three or more syllables, as omnia (Heaut. 575), Aeschirms (Ad. 260), uirgine (Ad. 346), dccipit (Eun. 1082), augedt (Ad. 25). In fact the effect of the verse -accent extended to all INTRODUCTION Ixiii iambic combinations, 1 and may be expressed in general as follows : When the first syllable of an iambic sequence (-), or the syllable following it, receives the ictus, the second syllable of the sequence may be shortened. A few examples taken from the Adelphoe are Sed estne (569), Id esse (862), obstetricem erdt missa (618), quod quidem in te (692), for trochaic metre ; Per oppressionem (238), sed ostendere (1 42), for iambic. The cases in which mono- syllables, or words which become monosyllables through elision, receive this shortening are very numerous. Com- pare 692 above, and quod ad te dttinet (186), sed ex fratre (40), quid hie negoti (642), etc. The tendency to shorten long unaccented syllables was assisted by a general inclination to slur over or obscure final consonants, especially d, I, m, n, r, s, t, as illustrated in some of the examples given above. Hence the seeming violation of the law of position, which is so strictly observed in Augustan poetry ; for as one of two consonants might be obscured or wholly dropped the vowel before them was not made long a peculiarity not confined to the last syllables of words. The consonants m, r, , t, d suffer this obscuration most frequently, as Syru(m) fieri (Ad. 960); s6rd(r) dictast (Eun. 157); d6mu(s) sumptuosa (Ad. 760) ; stude(t) pdr (Ad. 73) ; dpu(d) te ut (Andr. 408); era(t) missa (Ad. 618), and even erd(nt) qui (Ad. 332). For final n and I compare tdme(n) uix (Ad. 145), and slmu(l} uereor (Hec. 575). We find n disappearing also in words like i(n)de, u(n)de, i(n)ter, etc., and m failing to make position in nempe, omnis, ambo, and the like. 1 Cf. , however, Hallidie's Introd. to the Capt. p. 53, note. Ixiv /'. TKRKNTI ADELPHOE Indifference to doubled consonants tended to a like result. In fact early Latin had no doubled consonants until the time of Ennius, who was the first to write them. Thus the pronoun ille is often a pyrrhic ( ww ), e.g. Ad. 72, 213, and was probably written He by Terence himself. Compare supellectile (Phorm. 666), and eccum, Opportune, dppressionem, Immo in Ad. 720, 81, 238, and 483 respectively. The frequent occur- rence of a short vowel before x also belongs under this head. Synizesis, or the fusion of two separate successive vowel sounds into one, is to be found often in the comic poets. 1 Thus deus is pronounced dyus, and similarly other forms of this word, and the possessive pronouns. It is the same with the various forms of is and idem, e.g. eos = yds. So fuisse is pronounced fwisse, and in like manner the other perfect forms of esse. Additional examples of this treatment are, dies, dtu, sew, aiebam aibam, aisne = ain, ait = ait, huius (pronounced hiveese), quoins (quoise), amicitia (amitia), mulier (mulyer), sine, nisi, mihi, tibi, sibi, ibi (pronounced as monosyllables), two vowels sounded as one when brought together by composition (as in proin, dehinc, deinde), cave pro- nounced cau, and many more. In cases of syna- loepha, whether the final syllable ends in m or a vowel merely, care must be taken, says Quintilian (9. 4. 40), so to run the syllables into one as not to lose entirely the sound of the first : thus intro~auferte, not intr'aiiferte, and ego~in, not eg'in. 1 When this happens between two words it is more correctly termed synaloepha (ffwaXw^d, Quint. 9. 4. 36). INTRODUCTION Ixv Hiatus is properly the absence of synaloepha, and is of rare occurrence in Terence. 1 It is admitted (1) after an interjection, (2) at a change of speakers, (3) in the caesura or diaeresis of the verse, (4) where there is a decided pause in the sense. Most frequently, however, both in Plautus and Terence, hiatus is found in cases where a monosyllable, ending in a long vowel, or in m preceded by a vowel, forms the first syllable of a resolved arsis, 2 the long vowel then becoming short, e.g. Ill me dd, 215 qui Mdie, 118 diim erit. Compare Muuro's note on Lucretius, ii. 404. The changes and peculiarities described above are in general only varieties of shrinkage or contraction, due in large measure to the necessity of accommodating the popular pronunciation of early Latin to the exigencies of a foreign metre. It is hoped that enough has been said to enable the student to make at least a start in his study of Terentian scansion. Some additional assistance is offered in the notes, and a fuller treatment of the metres is to be found in the works to which the student is referred on page Ivi. 1 See Spengel's Introd. to Andr. p. x xxii. 2 Arsis is used in this edition as it is used by Spengel, Ilallidie, and others, and as it hajTSeen commonly used until recently, since the time of Bentley, to signify the accentuated part of the foot, while thesis signifies the unaccented part. This is contrary, how- ever, to the Greek signification of the words thesis and arsis, and the exact reverse of their correct application. Cf. Allen and Greenough's Lat. Gram. p. 406, and especially Prof. M. W. Humphrey's Introd. to Soph. Antig. p. lv., Harper's Class. Series. Ixvi P. TERENTI ADELPHOE CHARACTERS AND PLOT OF THE ADELPHOK The principal characters of the Adelphoe are two brothers, elderly men, Micio and Demea by name. Second in importance are two young men, Aeechinus and Ctesipho, also brothers, and sons of Demea. Micio has adopted his brother's elder son, Aeschinus, a youth of generous impulses, but wild and reckless. Micio is an easy-going old bachelor, whose theory of education is that kindness and indulgence are more effective with the young than harshness and severity. In his dealings with Aeschinus he carries this theory to the extreme. Demea, on the contrary, is the type of the stern and unyielding father, who keeps his son under strict sur- veillance at home, and fills his mind with moral pre- cepts. Accordingly Ctesipho is, to all appearances, an exemplary youth, and a marked contrast to his brother. But Ctesipho too has his evil tendencies, which, though not evident at first, are subsequently brought to light, and are only strengthened by the undue restraint imposed upon him by his father. Thus the two extremes in education, that of excessive laxity on the one hand, and of harsh control on the other, are shown through the action of the play to lead to the same or equally per- nicious results. The piece therefore has a didactic purpose, which underlies the effort to entertain and amuse. The doctrine involved is that the golden mean should be observed in the training of youth, and it is the skill with which this idea is wrought out, and the comparatively high moral tone of the entire drama, that INTRODUCTION Ixvii have caused the Adelphoe to be ranked as, in general, the best of the Terentian comedies. Minor characters in the play are the slave Syrus, a clever but unscrupulous rogue who encourages the young men in their dissipations and their efforts to deceive their parents ; Geta and Canthara, also slaves, but faithful and honest ; Sostrata, a widow, the matrona of the play, and the mother of Pamphila of whom Aeschinus is enamoured ; Hegio, the elderly and respectable gentle- man of the old school, who is at hand to assist the widow of his old friend in her necessity ; and Sannio, the leno or slave-dealer, from whom Aeschinus, assisted by his body -slave Parmeno, carries off the music -girl, Bacchis, for the benefit of his brother Ctesipho. The plot turns upon the loves of Aeschinus and Ctesipho. The former had been secretly attached to Pamphila nine months before the action of the play begins. Ctesipho also is in love with the psaltria from the start. The play opens with a discussion between Micio and Demea upon parental training, in which Demea, who has heard of the abduction of the music-girl by Aeschinus, reproaches his brother for his laxity in the education of his adopted son. Sostrata, too, is in despair at the apparent unfaithfulness of Aeschinus, who has promised to marry her daughter. Sostrata appeals to Hegio, who in turn makes protest to Micio, and is pro- mised by the latter that all shall be made right. Mean- time Aeschinus, who has not wavered in his attachment to Pamphila, is distracted at finding himself in a false position, and fears to reveal the truth lest he should betray his brother's secret. But Micio, who is informed Ixviii P. TERENTI ADELPHOE of the actual situation, entraps him into making a confession, and promises him that Pamphila shall be his wife. Meantime Ctesipho has been detected by his father in the society of the music-girl. Demea is much enraged and vents his wrath on Micio, in whose house the girl has been sheltered. The action is largely carried on and much enlivened by the pranks of Syrus, who is in the confidence of the young men, and makes it his business to cajole the anxious Demea, and assure him of Ctesipho's exemplary behaviour. When the truth at last comes out, Demea concludes that to indulge his rage is useless, and hits upon an expedient by which to square accounts with Micio, and teach him a lesson. Experience has shown him that his own system of education is as great a failure as that of his brother, and that in addition to this he is disliked and avoided on account of his churlishness and severity. Accordingly he puts on, all at once, the affability of manner and the kindly bearing which had made for Micio so many friends, and carries his newly assumed character to extremes. He flatters Syrus and Geta, greets Aeschinus in affectionate tones, and sanctions his marriage with Pamphila. Finally, with the aid of Aeschinus, he extracts from his brother a promise to marry Sostrata, to present Hegio with a farm, and to give Syrus and his wife their freedom. He even consents to the union of Ctesipho and Bacchis. Micio is overcome with amazement, and Demea amid flattering expressions of gratitude, showered on him by all who have profited by his complaisancy, takes occasion to bring home to Micio the folly of his course, and, in closing the play, to offer some solid counsel and assurances of good will to the young men. P. TERENTI AFRI ADELPHOE DIDASCALIA INCIPIT TERENTI ADELPHOE ACTA LVDIS FVNERALIB. L. AEMELIO PAVLO [QVOS] FECERE Q. FABIVS MAXVMVS P. CORNELIVS AFRICANVS EG/Z 7 L. AMBIVIVS TVRPIO 5 [L. HATILIVS PRAENESTINVS] MODOS FECIT FLACCVS CLAVDI TIBlS SARRANIS TOTA GRAECA MENANDRV FACTA VI. 10 M. CORNELIO CETHEGO L. ANICIO GALLO COS. G. SVLPICI APOLLINARIS PEEIOCHA Du6s cum haberet Demea adulescentulos, Dat Micioni fratri adoptandum Aeschinum, Sed Ctesiphonem retinet hunc citharistriae Lep<5re captum siib duro ac tristi patre Frater celabat Aeschinus ; famam rei, Am6rem in sese transferebat ; denique Fidicinam lenoni eripit. uitiauerat Idem Aeschinus ciuem Atticam pauperculam Fidemque dederat hanc sibi uxorem fore. Demea iurgare, grauiter ferre ; m6x tamen Vt ueritas patefactast, ducit Aeschinus Vitiatam, potitur Ctesipho citharistriam. PEESONAE [PROLOGVS] MICIO SENEX DEMEA SENEX SANNIO LEND AESCHINVS ADVLESCENS (MERETRIX [BACCHIS ?]) (PARMENO SERVOS) SYRVS SERVOS CTESIPHO ADVLESCENS SOSTRATA MATRONA CANTHARA ANVS GETA SERVOS HEGIO SENEX (PAMPHILA VIRGO) DROMO PVER [CANTOR] PROLOGVS Postqudm poeta s6nsit scripturam suam Ab iniquis obserudri et aduorsdrios Rapere in peiorem partem quam acturi sumus * * * * * * . Indicio de se ipse erit, uos eritis iiidices, Laudin an uitio diici id factum op6rteat. Syndpothnescontes Diphili comoediast : Earn C6mmorientis Plautus fecit fabulam. In Graeca adulescens est, qui lenoni 6ripit Meretricem in prima fdbula : eum Plautus locum Reliquit integrum. eum hie locum sumpsit sibi In Adelphos, uerbum de uerbo expressum 6xtulit. Earn n6s acturi sumus nouam : perndscite Furtumne factum existumetis dn locum Reprensum, qui praeteritus neclegentiast. Nam qu6d isti dicunt mdliuoli, homines n6bilis 1 1 iinc adiutare adsfdueque una scribere : Quod illi maledictum uehemens esse exfstumant, Earn laiidem hie ducit mdxumam, quoin illfs placet, Qui u6bis uniuorsis et popul6 placent, Quorum 6pera in bello, in otio, in neg6tio 6 PROLOG VS Sno quisque tempore usust sine superbia. Dehinc ne e*xpectetis drgumentum fabulae : Sene"s qui primi uenient, ei partem dperient, In ag^ndo partem ostendent. facite aequdnimitas ****** as Poetae ad scribendum aiigeat indiistriam. ACTVS I MICIO Stordx ! non rediit hac nocte a cena A^schinus I l Neque seruolorum quisquam, qui aduorsum ierant. Prof 6cto hoc uere dicunt : si absis uspiam Atque ibi si cesses, euenire ea satius est, Quae in te lixor dicit et quae in animo ctfgitat 30 Irata, quam ilia qua6 parentes prdpitii. Vx6r, si cesses, aiit te amare cdgitat fAut t^te amari autf p6tare atque animo 6bsequi. [Et tibi bene esse soli, sibi quom sit male.] Ego qufa non rediit filius quae c6gito ! 3S Quibus niinc sollicitor rebus ! ne aut ille alserit Aut uspiam ceciderit ac praefre"gerit Aliquld. uah, quemquamne h6minem in animo instituere Parare quod sit carius quam ipse 6st sibi ! Atque ex me hie natus n6n est, sed ex fratre 40 est meo. Dissimili is studiost iam inde ab adulescdntia : Ego hanc clementem uitam urbanam atque 6tium 8 P. TERENTI i. i is ft Seciitus sum ct, quod f(3rtunatum istf putant, Vxdrem numquam habui. ille contra haec 6mnia : 45 Ruri agere uitam ; semper parce ac duriter Se habe>e ; uxorem diixit ; nati filii Duo : inde ego hunc mai6rern adoptaui mihi ; Ediixi a paruolo, habui, amaui pro meo ; In e6 me oblecto, s<5lum id est carum mihi. so Ille lit item contra me habeat facio s6dulo : Do, pra6termitto, n6n necesse habeo 6mnia Pro me6 iure agere ;' p6stremo, alii clanculum Patr6s quae faciunt, quae" fert adulesc^ntia, Ea n6. me celet c6nsuefeci filium. 55 Nam qui mentiri aut fallere insuerit patrem, Aiiddcter tanto magis audebit c6teros. Pud6re et liberalitate liberos Retinere satius 6sse credo quam metu. Haec fratri mecum non conueniunt n^que placent. 60 Venit jid me saepe clamans ' quid agis, Micio ? Quor p6rdis adulesc^ntem nobis 1 qu6r amat ? Quor p6tat? quor tu his r^bus sumptum suggeris, Vestitu nimio indulges ? nimium ineptus es.' Nimium ipse est durus praeter aequomque 6t bonum, 65 Et 6rrat longe mea quidem sent^ntia, Qui imperium credat grauius esse aut stabilins, Vi qu6d fit, quam illud qu6d amicitia adiiingitur. Mea sic est ratio et sic animum indued meum : Mal6 coactus qui suom officiiim facit, 7 Dum id rescitum iri credit, tantisper pauet ; Si sp6rat fore clam, rursum ad ingenium redit. Ille qu6m beneficio adiuiigas ex animd facit, I. i 482 14 ADELPHOE 9 Stndet par referre, praesens absensque idem erit. Hoc patriumst, potius crinsuefacere filium Sua sponte recte facere quam alien6 metu : 75 Hoc pater ac dominus interest, hoc qui nequit, Fatedtur nescire iraperare liberis. Sed estne- hie ipsus, de quo agebam ? et c6rte is est. Nescio quid tristem uideo : credo, iam lit solet lurgabit. saluom te aduenire, Demea, 80 Gaudemus. DEMEA MICIO SEMES II DK Ehem, opportune : te ipsum qua^rito. I 2 Ml. Quid tristis es ? DE. Kogas me 1 ubi nobis Aeschinusi 1 Sciet quid tristis ego sim 1 Mi. Dixin h6c fore ? Quid f^cit ? DE. Quid ille fecerit ? quern S' Quicquam nee metuit quemquam neque legem 85 putat Tenure se ullam. nam ilia quae antehac facta sunt Omitto : modo quid dissignauit 1 Mi. Quid nam id est? For&s ecfregit atque in aedis inruit Alienas ; ipsum d6minum atque omnem familiam Mulcauit usque_ad m6rtem ; eripuit miilierem 90 Quam amabat : clamant omnes indignissume Facturn esse. hoc aduenienti quod mi hi, Micio, Dixere ! in orest omni populo. denique, Si c6nferendum exemplumst, no^i fratrem uidet 10 P. TERENTI I. 2 15 44 95 Rei dare operam, ruri esse parcum ac sobrium 1 Nullum hiiius simile factum. haec quom illi, Micio, Dic6, tibi dico : tu ilium corrumpi sinis. Ml. Homine fmperito niimquam quicquam iniiistiust, Qui nisi quod ipse fecjt nil rectum putat ioo DE. Quorsum fstuc ? Ml. Quia tu, Demea, haec male iudicas. Non est flagitium, mihi crede, adulescentulum Scortari, neque potare : non est ; neque fores Ecfringere. haec si neque ego neque tu fecimus, Non siit egestas facere nos. tu niinc tibi 105 Id laiidi ducis, qu6d turn fecisti fnopia ? Iniuriumst ; nam si esset unde id fieret, Faceremus. et tu ilium tuom, si esses homo, Sineres nunc facere, dum per aetatem licet, Potiiis quam, ubi te expectatum eiecisset foras, no Alieniore aetate post faceret tamen. DE. Pro Iiippiter, tu homo adigis me ad insaniam ! Non est flagitium facere haec adulescentulum ? Mi. Ah, Ausciilta, ne me optiindas de hac re saepius : Tuom f ilium dedisti adoptandum mihi ; us Is meus est factus : si quid peccat, Demea, Mihi peccat ; ego illi maxumam partem fero. Obs6nat, potat, diet unguenta : de meo ; Amat : dabitur a me argentum, dum erit c6m- modum ; Vbi n6n erit, fortasse excludetiir foras. 120 Fores ecfregit : restituentur ; discidit Vestem : resarcietur ; et, dis gratia, Est unde haec fiant, et adhuc non molesta sunt. Postremo aut desine aiit cedo quemuis arbitrum : Te plura in hac re peccare ostendam. DE.Ei mihi, 1.24568 ADELPHOE 11 Pater sse disce ab illis, qui uer6 sciunt. 125 Mi. Natiira tu illi pater es, consiliis ego. DE. Tun cdnsiliis quicquam ? Ml. Ah, si pergis, abiero. DE. Sicine agis 1 Ml. An ego t6tiens de eadem re audiam 1 DE. Curae'st mild Mi. Et mihi curaest. uerum, Demea, Cure"mus aequam ute"rque partem : tu alterum, i 30 Ego item alterum; nam arab6s curare pr6pe- modum Rep6scere ilium est que"m dedisti. DE. Ah, Micio ! Mi. Mihi sic uidetur. DE. Quid istic ? si tibi istuc placet, Profundat perdat pe>eat, nil ad me attinet. lam si uerbum ullum p6sthac . . Mi. Rursum, 135 Demea, Irascere 1 DE. An non cr^dis ? repeton qu6m dedi? Aegr^st ; alienus n6n sum ; si obsto . . em, de"sino. Vniim uis curem : euro ; et est dis gratia, Quom ita ut uolo est. iste" tuos ipse s6ntiet Posterius . . nolo in ilium grauius dicere. i 4 o Mi. Nee nil neque omnia ha^c sunt quae dicit tamen : Non nil molesta haec siint mihi, sed oste"ndere Me aegr6 pati illi nolui. nam itast homo : Quom placo, aduorsor s^dulo et deWrreo, Tamen uix humane pdtitur ; uerum si aiigeam MS Aut 6tiam adiutor sim 6ius iracundiae, Insjiniam profecto cum illo. etsi A^schinus Non nullam in hac re n6bis facit iniuriatn. 12 P. TERENTI ADELPHOE i. 2 CD 74 Quam hie n6n amauit m^retricem 1 aut quoi n6n dedit Aliquid 1 postremo nuper (credo iam dmniurn Taed6bat) dixit u6lle uxorem ducere. Sperdbam iam deftiruisse adulesc^ntiam : Gaud6bam. ecce autem de integro ! nisi quid- quid est, Volo scire atque hominem c6nuenire, si dpud forumst. ACTVS II SANNIO AESCHINVS (PARMENO) [BACCHIS?] LENO ADVLESCENS SERVOS (MERETRIX) SA. Obsecro, populates, ferte misero atque innocent! ** * auxilium : Subuenite inopi. AE. Otiose : ruinciam ilico IS 6 hie consiste. Quid respectas 1 nil periclist : numquam, dum ego adero, hie te tanget. SA. go istam inuitis omnibus . . ! AE. Quamquamst scelestus, n6n committet hodie umquam iterum ut uapulet. SA. A6schine, audi, n6 te ignarum fuisse dicas i6 me6rum morum : L6no ego sum. AE. Scio. SA. At ita, ut usquam fuit fide quisquam 6ptuma. Tti quod te post6rius purges, hdnc iniuridm mihi nolle Factam esse, huius non faciam. erode hoc, 6go meum ius p^rsequar, N<5que tu uerbis sdlues umquam, qu6d mihi re male feceris. X6ui ego uostra haec ' n6llem factum : dabitur 165 ius iunindum, indignum 14 P. TERENTI n. i 1228 Te esse iniuria hdc,' indigais quom egomet sim accepti'is modis. AE. Abi prae strenue ac fores aperi. SA. C^tcrum hoc nili facis 1 AE. I intro nuncidm tu. SA. Enim non sinam. AE. Accede illuc, Parmeno ; Nimium istuc abisti : hie propter hunc adsiste : em, sic uolo. 17 Caue nunciam oculos d meis oculis quoquam de- moueas tuos, Ne m6ra sit, si innuerim, quin pugnus continue in mala haereat. SA. Istiic uolo ergo ipsum experiri. AE. Em, serua. omitte mulierem. SA. indignum facinus ! AE. Nisi caues, gemina- bit. SA. Ei misero mihi ! AE. Non innueram ; uerum in istam partem pdtius peccat6 tamen. J7S I nunciam. SA. Quid h6c reist? regnunine, Aeschine, hie tu pdssides ? AE. Si p6ssiderem, ornatus esses 6x tuis uirtuti- bus. SA. Quid tibi rei mecumst 1 AE. Nil. SA. Quid ? nostin qui sim ? AE. Non desidero. SA. Tetigin tui quicquam ? AE. Si attigisses, f 6rres infortunium. SA. Qui tibi magis licet meam habere, pr6 qua ego argentum dedi ? 1 80 Resp6nde. AE. Ante aedis n6n fecisse erit melius hie conuicium ; o Nam si mojestus pergis esse, iam intro abripiere ^" atque ibi Vsque ad necem operiere loris. SA. Loris liber ? AE. Sic erit. n . ! 29 45 ADELPHOE 15 SA. O h6minem inpurum ! hicine libertatein aiunt esse aequam omnibus ? AE. Si satis iam debacchatus es, leno, audi si uis nunciam. SA. Egon debacchatus sum aiitem an tu in me ? 185 AE. Mitte ista atque ad rem redi. SA. Quam rem 1 quo redeam ? AE. lamne me uis dicere id quod ad te attinet ? SA. Cupio, aequi modo aliquid. AE. Vah, leno iniqua me non u6lt loqui. SA. Len6 sum, pernicies communis, fateor, adules- centium, Periiirus, pestis ; tamen tibi a me niilla ortast iniuria. AE. Nam hercle etiam hoc restat. SA. llluc quaeso 190 redi, quo coepisti, Aeschine. AE. Minis uiginti tu illam emisti (quae res tibi uortat male !) : Argenti tantum dabitur. SA. Quid ? si ego tibi illam nolo uendere, Coges me ? AE. Minume. SA. Namque id metui. AE. Neque uendundam censeo, Quae liberast; nam ego liber^li illam adsero causa manu. Nunc uide utrum uis, argentum accipere an 195 causam ineditari Tuam. Delibera hoc, dum ego re"deo, leno. SA. Pr<5 supreme Iiippiter, Minume miror qui insanire occipiunt ex in- iuria. D6mo me eripuit, uerberauit ; me inuito abduxit meam ; Homini misero plus quingentos c6laphos infregit mihL ^ 16 P. TERENTI n. i 462 o 6b malefacta haec tantidem emptam p6stulat sibi tradier. Verum enim quando bene promeruit, fiat : suom ius p6stulat. Age iam cupio, si modo argentum reddat. sed ego hoc hariolor : Vbi me dixer6 dare tanti, testis faciet ilico, Vendidisse me ; de argento somnium : ' mox ; eras redi.' Id quoque possum ferre, modo si reddat, quam- quam iniv'iriumst. Verum cogito id quod res est: quando eum quaestum occeperis, Accipiunda et mussitanda iniuria adulescen- tiumst. Sed nemo dabit : frustra egomet mecum has V rationes puto. SYRVS SANNIO SERVOS LENO II 2 SY. Tace, egomet conueniam ipsum : cupide accipiat faxo atque etiam 210 Bene dicat secum esse actum. quid istuc, San- nio, est, quod te audio ISTescio quid concertasse cum ero ? SA. Niim- quam uidi iniquius Certdtionem c6mparatam, quam hae"c hodie inter n6s fuit : Ego uapulando, ille uerberando, usque ambo defessi sumus. SY. Tua ciilpa. SA. Quid facerem 1 SY. Adules- centi m6rem gestum opdrtuit. n.2724 ADELPHOE 17 SA. Qui potui melius, qui hodie usque os praebui ? SY. Age, scis quid loquar ? Peciiniam in Ioc6 neclegere mdxumum inter- 215 dumst lucrum. hui, Metuisti, si nunc de tuo iure ctfncessisses paulu- lum, Adulescenti esses morigeratus, hdminum homo stultissume, Ne n6n tibi istuc faeneraret. SA. Ego spem pretio n6n emo. SY. Numqudm rem facies : dbi, inescare nescis ho- 220 mines, Sannio. SA. Credo istuc melius esse ; uerum ego numquam adeo astutiis fui, Quin quidquid possem mallem auferre potius in praesentia. SY. Age n6ui tuom animum : quasi iam usquam tibi sint uiginti minae, Dum f huic dbsequare t praeterea autem te aiunt proficisci Cyprum, SA. Hem. SY. Coemisse hinc quae illuc ueheres multa, nduem **s conductam : h6c scio Animus tibi pendet. libi illinc spero redieris tamen, hoc ages. SA. Nusqudm pedem. perii h($rcle : hac illi spe hoc inceperiint. SY. Timet : Inieci scrupulum homini. SA. scelera : illud uide, Vt in ipso articulo opprdssit. emptae mulieres Complures et item hinc dlia quae port6 Cyprum. 2 3 Nisi eo dd mercatum uenio, damnum mdxu- mumst. Nunc si h6c omitto ac turn agam ubi illinc r4- "> *** Te expecto; oppido Opportune te 6btulisti mi 6buiam. fira . . So. Quid est ? quid trepidas ? GE. Ei mi ! CA. Quid festinas, mi Geta 1 Animam recipe. GE. pr6rsus . . So. Quid istuc 4 pr6rsus ' ergost 1 GE. peYiimus. Actumst. So. Eloquere, obsecro te, quid 325 /it? GE. lam . . So. Quid 'iam,' Geta? GE. A6schinus . . So. Quid is e>go ? GE. alienus 6st ab nostra familia. So. Hem, - ^ ro hinc abeo, quando is, quam ob rem hue ueneram, Eus abiit : ilium euro unum, ille ad me attinet : Quando ita uolt frater, de istoc ipse uiderit. in. 3 844 12 ADELPHOE 29 Sed quis illic est, quern uideo procul? estne Hegio Tribulis noster? si satis cerno, is est he"rcle. uah, Homo amicus nobis iam inde a puero : o di 440 boni, Ne illius modi iam n6bis magna ciuium V Peniiriast antiqua uirtute ac fide ! Hand cito mali quid ortum ex hoc sit piiblice. Quam gaiideo ! ubi etiam huius generis r- liqnias Restare uideo, uiuere etiam mine lubet. 4 45 Opperiar hominem hie, ut salutem et c6nloquar. HEGIO DEMEA GETA (PAMPHILA) HE. Pro di inmortales, fdcinus indignum, Geta, III 4 Quod narras ! GE. Sic est factum. HE. Ex illan, familia Tarn inliberale facinus esse ortum ! o A^schine, Pol haud paternum istiic dedisti ! DE. Vide- 450 licet De psaltria hac audiuit : id illi mine dolet Ali6no, pater eius nili pendit. ei mihi, Vtinam hie prope adesset dlicubi atque audiret haec! HE. Nisi facient quae illos aequomst, haud sic aiife- rent. GE. In te spes omnis, Hegio, nobis sitast : 455 Te s6lum habemus, tii es patronus, ti'i pater : 1116 tibi moriens n6s commendauit senex : Si dtfseris tu, periimus. HE. Caue dixeris : 30 P. TERENTI m. 4 133? Neque faciam neque me satis pie posse ar- bitror. 460 DE. Adibo. saluere Hegionem plurimum w j lubeo. HE. 6h, te quaerebam ipsum : salue, ^ Demea. DE. Quid autem ? HE. Maior filius tuos Aeschinus, Quern fratri adoptandum dedisti, n6que boni Neque liberalis functus officiumst uiri. 465 DE. Quid istiic est ? HE. Nostrum amicum noras Si- mulum j Aequalem ? DE. Quid ni ? HE. Filiam eius uir- ginem Vitiauit. DE. Hem. HE. Mane : n6n dum audisti, Demea, Quod est grauissumum. DE. An quicquam est etiam amplius ? HE. Vero amplius ; nam hoc quidem ferundum aliqu6 modost : 47 Persuasit nox am6r uinum adulesc^ntia : Humanumst. ubi scit Mctum, ad matrem uir- ginis Venit ipsus ultro lacrumans orans 6bsecrans Fidem dans, iurans se illam ducturiim domum. Ign6tumst, tacitumst, creditumst.. uirgo ex eo 473 Compressu grauida factast (mensis decumus est) : Ille bdnus uir nobis psaltriam, si dis placet, Parauit, quicum uiuat ; illam deserit. DE. Pro certon tu istaec dicis ] HE. Mater uirginis In mediost, ipsa uirgo, res ipsa, hie Geta 480 Praeterea, ut captus 6st seruorum, ndn malus Neque in^rs : alit illas, solus omnem familiam Sustentat : hunc abdiice, uinci, quaere rem. GE. Immo hercle extorque, nisi ita factumst, De- mea. in. 4 3865 ADELPHOE 31 Postremo non negabit : coram ipsum cedo. DE. Pudet : nee quid agam neque quid huic respon- 485 deam Sci6. (PA.) Miseram me, differor doldribus ! luno Lucina, fer opem ! serua me obsecro ! HE. Hem, Num. nam ilia quaeso parturit? GE. Certe, Hegio. HE. Em, Illaec fidem nunc uostram inplorat, Demea : Quod uos ius cogit, id uoluntate impetret. 490 Haec primum ut fiant de6s quaeso, ut uobis decet. Sin aliter animus u6ster est, ego, Demea, Summa ui defendant hanc atque ilium mortuom. Cognatus mihi erat ; una a pueris paruolis Sumus educti ; una semper militiae et domi 495 Fuimiis ; paupertatem una pertulimiis grauem. Quaprdpter nitar, faciam, experiar, denique Animatn relinquam p6tius quam illas deseram. - Quid mihi respondes 1 DE. Fratrem conueniam, Hegio. HE. Sed, Demea, hoc tujacito cum animo cogites : s Quam uos facillume agitis, quam estis maxume Potentes dites fortunati nobiles, Tarn maxume uos aoquo animo aequa noscere Oportet, si uos u6ltis perhiberi probos. DE. Redfto : fient qua6 fieri aequomst 6mnia. 505 HE. Decet te facere. Geta, due me intro ad S6stra- tam. DE. Non me indicente haec fiunt: utinam hie sit modo Defunctum ! uerum nimia illaec licentia Profecto euadet in aliquod magnum malum. I bo ac requiram frdtrem, ut in cum haec euomam. 510 32 P. TERENT1 ADELPHOE in. 5 i 6 HEGIO SENEX III 5 Bono animo f ac sis, S6strata, et istam quod potes Fac c6nsolere. ego Micionem, si apud forumst, Conueniam atque ut res gestast narrabo ordine : Si est, is facturus ut sit officii'im suom, 315 Facidt ; sin aliter de hac re est eius sent^ntia, Kespdndeat mi, ut quid agam quam primum sciam. ACTVS IV CTESIPHO SYRVS ADVLESCEXS CT. Ain patrem hinc abisse rus ? SY. lam diidum. IV I Or. Die sodes. SY. Apud uillamst : Nunc quom maxume 6peris aliquid facere credo. CT. Vtmam quidem ! Quod ciim salute eius fiat, ita se defetigarit uelim, Vt triduo hoc perp6tuo prorsum e lecto nequeat 520 siirgere. SY. Ita fiat, et istoc si quid potis est rectius. CT. Ita ; nam hiinc diem Misere vX Jiimis cupio, ut co6pi, perpetuom in laetitia d^gere. fit illud rus nulla alia causa tarn male odi, nisi quia propest : Qu6d si abesset longius, Prius nox oj>pressisset illi eum, quam hue reuorti 525 posset iterum. Niinc ubi me illic n6n uidebit, iam hue recurret, sat scio : Rbgitdbit me, ubi f uerim : ' ego hoc te toto non uidi die.' 34 P. TERENTI iv. i 122 2 Quid dicam 1 SY. Nilne in mentemst ? CT. Numquam quicquam. SY. Tanto nequior. Cliens amicus h6spes nemost u6bis ? CT. Sunt : quid p6stea? 53 SY. Hisce 6pera ut data sit 1 CT. Quae" non data sit 1 n6n potest fieri. SY. Potest. CT. Interdius; sed si hie pernocto, caiisae quid dicam, Syre 1 SY. Vah, quam uellem etiam n6ctu amicis dperam mos esset dari ! Quin tu dtiosus esto : ego illius sensum pulchre calleo. Quom feruit maxume, tarn placidum quasi ouem red do. CT. Qu6 modo ? 535 SY. Laudari te lub^nter audit : facio te apud ilium deum : Virtiites narro. CT. Meas ? SY. Tuas : homini ilico lacrumae cadunt Quasi piiero gaudio. em tibi autem ! CT. Quid nam est ? SY. Lupus in fabula. CT. Pater est? SY. Is ipsust. CT. S/re, quid agimus ? SY. Fiige modo intro, ego uidero. CT. Si quid rogabit, nusquam tu me : audistin 1 SY. Potine ut desinas 1 DEMEA CTESIPHO SYRVS 8ENEX ADVLESCENS SERVOS IV 2 DE. Ne ego homo sum infelix : f ratrem nusquam inuenio gentium ; *j* 3 *~ l ~ S4I Pra^terea autem, dum ilium quaero, a uilla mer- cennarium IV . 2 3 19 ADELPHOE 35 Vidi : is filium negat esse riiri. nee quidagam scio. CT. Syre. SY. Quid esU CT. Men quaerit? SY. Verum. CT. Perii. SY. Quin tu anim6 bono es. DE. Quid hoc, malum, infelicitatis 1 nequeo satis de- cernere ; Nisi me credo huic esse natum rei, ferundis S4S miseriis. Primus senti6 mala nostra, primus rescisco omnia ; Primus porro obmintio; aegre s61us, si quid fit, fero. SY. Bideo hunc : primum ait se scire : is s6lus nescit omnia. DE. Nunc redeo : si forte frater redierit uis6. CT. , Syre, Obsecro, uide ne ille hue prorsus se inruat. SY. 550 Etiam taces ? Ego cauebo. CT. Niimquam hercle hodie ego istuc committam tibi ; Nam me iam in cellam aliquam cum ilia c<3n- cludam : id tutissumumst. SY. Age, tameri ego hunc dinouebo. DE. Sed eccum sceleratiim Syrum. SY. N6n hercle hie qui u61t durare quisquam, si sic fit, potest. Scire equidem uol6, quod mihi sint d6mini : 555 quae haec est miseria ! DE. Quid ille gannit? quid uolt? quid ais, bone uir ? est frater dorni ? SY. Quid, malum, ' bone uir ' mihi narras 1 6quidem peril. DE. Quid tibist? SY. liogitas ] Ctesiph6 me pugnis miserum et istam psdltriam 36 P. TEBENTI iv. 2 20 36 Vsque occidit. DE. Hem, quid narras 1 ? SY. Em, uide ut discidit labrum. 560 DE. Quam 6b rem 1 SY. Me inpulsdre hanc emptam esse ait. DE. Non tu eum rus hinc modo Pr6duxe aibas 1 SY. Factum ; uerum unit post insdniens : Nil pepercit. n6n puduisse uerberare homin^m senem ! Quern ego modo puerum tantillum in mdnibus gestaui meis. 4*7*** DE. Laudo : Ctesiph6, patrissas : dbi, uirum te iiidico. 565 SY. Laiidas ? ne ille continebit pdsthac, si sapi^t, manus. DE. Fortiter. SY. Perquam, quia miseram mulierem et me seruolum, Qui referire n6n audebam, uicit : hui, perfdrtiter. DE. Non potuit melius. idem quod ego sentit te esse huic rei caput. Se"d estne frater intus 1 SY. Non est. DE. Vbi ilium inueniam cogito. syo SY. Scio ubi sit, uerum hddie numquam monstrabo. DE. Hem, quid ais ? SY. Ita. DE. Dimminuetur tibi quidem iam cerebrum. SY. At nomen nescio lllius hominis, sed locum noui ubi sit. DE. Die erg6 locum. SY. N6stin porticum apud macellum hac de6rsum ? DE. Quid ni n6uerim 1 SY. Pra6terito hac recta platea siirsus : ubi eo ueneris, 575 Cliuos deorsum u6rsus est : hac [te] praecipitato. pdstea ADELPHOE 37 Est ad hanc manum sacellum : ibi angiportum propter est. DE. Quod nam ? SY. Illi ubi etiam caprificus magna est. DE. Noui. SY. Hac pergito. DE. Id quidem angip6rtum non est peruium. SY. Verum hercle. uah, Censen hominem me esse ? erraui : in p6rticum rursum redi : Sdne hac multo pr6pius ibis et minor est erratic. 5 8o Scin Cratini huius ditis aedis 1 DE. Scio. SY. Vbi eas praeterieris, Ad sinistram hac r^cta platea ; ubi ad Dianae ue"neris, Ito ad dextram. prius quam ad portam uenias, apud ipsum lacum st pisteilla et exaduorsum fdbrica : ibist. DE. Quid ibi facit ? SY. Lectulos in s6le ilignis pedibus faciundds dedit. S 8s DE. Vbi potetis uos : bene sane, sed cesso ad eum pergere 1 SY. I sane : ego te exercebo hodie, ut dignus es, silicernium. _ Aeschmus odi6se cessat : prandium corriimpltuf ; Ctesipho autem in am6rest totus. dgo iam prospiciam mihi : Nam iam adibo atque unum quicquid, qu6d 590 quidem erit bellissumum, Carpam et cyathos s6rbilans paulatim hunc pro- ducain diem. 38 P. TERENTI . iv. 3 i is MICIO HEGIO SENES II IV 3 Ml. Ego in hac re nil reperio, quara ob rem lander tanto opere, Hegio : Meum officium facio : qu6d peccatum a n6bis ortumst cdrrigo. Nisi si me in illo credidisti esse h6minum numero, qui ita putant, 595 Sibi fieri iniuriam ultro, si quam fecere ipsi ex- pdstules, Et ultro accusant. id quia non est a me factum, agis gratias 1 HE. Ah, minume : numquam te aliter atque es 6sse animum induxi meum. Sed quaeso ut una mecum ad matrem uirginis eas, Micio, Atque istaec eadem quae mihi dixti tute dicas mulieri : 600 Suspicionem hanc pr6pter fratrem eius esse et illam psaltriam ***** f / [Mi. Si ita aequom censes aut si ita opus est facto, ' eamus. HE. Bene facis :] - Nam et illi ita animum iam releuabis, quae dolore ac miseria Tabescit, et tuom officium fueris functus. sed si alit6r putas, Egome"t narrabo quae mihi dixti. Ml. Immo ego ibo. HE. Bene facis : 605 Omnes, quibus res sunt minus secundae, magis sunt nescio^qud modo Suspiciosi : ad cdntumeliam 6mnia accipiunt magis: iv. 3 164 u ADELPHOE 39 Propter suam inpotentiam se semper credunt /wdier. ^u^ Quapr6pter te ipsum piirgare ipsi c6ram placa- bilius est. Ml. Et re"cte et uerum dicis. HE. Sequere me e"rgo hac intro. Mi. Maxume. AESCHINVS ADVLESCEN8 Discrucior animi : Hocine de inprouis6 mali mihi dbici tantum, 610 Vt neque quid m6 faciam n^c quid agam certum sit ! Membra metu d^bilia siint ; animus tim6re ^^ Obstipuit ; p^ctore consistere nil c6nsili quit. Vah, qu6 modo hac me exp6diam turba ? tdnta nunc Suspicio de me fncidit ; 615 Neque ea inmerito : S6strata Credit mihi me psaltriam hance emisse ; id anus mi indicium fecit. Nam ut hinc forte ad (Sbstetricem erat missa, ubi earn uidi, ilico Acc^do, rogito, Pamphila quid agdt, iam partus adsiet, Eon obstetricem acce>sat. ilia exclamat ' abi, 6ao abi : iam, A6schine, i/* 1 * Satis dii'i dedisti u6rba : sat adhuc tiia nos frus- tratast fidps.' * ** }^ " Hem, quid istuc obsecro " inquam " est ? " ' ualeas, hdbeas illam quae placet.' 40 P. TERENTI iv. 4 155 2 Sensi ilico id illas siispicari, s6d me reprehend! tamen, Ne quid de fratre garrulae illi dicerem ac fiere"t palam. 623 Ni'mc quid faciam ? dfcam fratris 6sse hanc 1 quod minum^st opus Vsquam ecferri. ac mitto : fieri p6tis est ut ne qua xeat : Id ipsum metuo ut cr6dant. tot conci'irrunt ueri similia : Egomet rapui ipse ; egomet solui argentum ; ad me abductast domum. Haec adeo mea ciilpa fateor fieri, non me hanc rem patri, 630 Vt ut erat gesta, indicasse ! ex6rassem ut earn ducerem. C^ssatura usque adhiic est: nunc porro, Ae'schine, expergiscere ! jj^-^ ? Niinc hoc primumst : ad illas ibo, ut purgem me. accedam ad fores. isf 1 P^rii : horresco semper, ubi pultare hasce occipi6 -c s* ^ miser. * Heus heus : Aeschiniis ego sum. aperite aliquis actutum 6stium. TL,-> yQs Prodit nescio quis : concedam hue. MICIO AESCHINVS. SENEX ADVLESCENS IV 5 Mi. Ita uti dixi, Sostrata, Facite ; ego Aeschinum conueniam, ut quo modo acta haec sint sciat. iv. 5 323 ADELPHOE 41 S6d quis ostium h6c pultauit 1 AE. Pater hercle est : perii. Ml. Aeschine, AE. Quid huic hie negotist ? Mi. tune has pepulistl fores ? Tacet. quor non ludo hunc aliquantisper ? melius est, Quanddquidem hoc numquam ini ipse uoluit 64 dicere. Nil mihi respondes ? AE. N6n equidem istas, qu6d sciam. Ml. Ita ? ndm mirabar, quid hie negoti esse"t tibi. Eriibuit : salua r6s est. AE. Die soda's, pater, Tibi uero quid istic est rei ? Ml. Nil mi quidem. Amicus quidam me a foro abduxit modo 645 Hue aduocatum sibi. AE. Quid? Ml. Ego dicam tibi : Habitant hie quaedam mulieres paup^rculae ; Vt opinor eas non nosse te, et certd scio ; Neque enim diu hue migrarunt. AE. Quid turn p6stea ? Mi. Virgo est cum matre. AE. P^rge. Ml. Haec 650 uirgo orbast patre ; Hie meus amicus illi genere est prtfxumus : Huic leges cogunt niibere hanc. AE. Perii ! Mi. Quid est 1 AE. Nil : r6cte : perge. Ml. Is uenit ut secum duehat : Nam habitat Mileti. AE. Hem, uirginem ut secum auehat? Mi. Sic 6st. AE. Miletum usque 6bsecro ? Ml. Ita. 655 AE. Animo malest. Quid ipsae ? quid aiunt ? Mi. Quid illas censes ? nil enim. Commenta mater est, esse ex ali6 uiro 42 P. TERENTI iv. 5 2448 Nesclo quo puerum natum, neque eum n6minat ; Pri6rem esse ilium, non oportere huic dari. 660 AE. Eho, n6nne haec iusta tibi uidetur p6scere ? Mi. Non. AE. 6bsecro, non ? an illam nine abduc^t, Pater? 7>4( ^ Mi. Quid illam ' ni ' abducat 1 AE. Factum a uobis duriter Inmisericorditerque atque etiam, si e"st, pater, Dic6ndum magis ape"rte, inliberaliter. 665 Mi. Quam ob rem ? AE. Rogas me ] quid illi tandem cr^ditis ^, Fore animi misero, qui illa^onsueuit prior^/ Qui inf6lix baud scio an illam misere mine amet, Quom hanc sibi uidebit pra^sens praesenti 6ripi, Abduci ab oculis ? facinus indignum, pater ! 670 Ml. Qua ratione istuc ? quis despondit 1 quis dedit ? Quoi quando nupsit ? aiictor his rebus quis est ? Quor duxit alienam ? AE. An sedere opdrtuit Domi uirginem tarn grandem, dum cognatus hue Illinc ueniret, expectantem ? haec, mi pater, 675 Te dicere aequom fuit et id defendere. Ml. Ridiculum : aduorsumne ilium causam dicerem, Quoi ueneram aduocatus? sed quid ista, A^schine, Nostra? aut quid nobis cum illis? abeamus. quid est? Quid lacrumas? AE. Pater, 6bsecro, ausculta. Ml. Aeschine, audiui 6mnia 680 Et scio ; nam te amo : quo magis quae agis curae sunt mihi. AE. Ita uelim me prdmerentem ames, dum uiuas, mi pater, Vt me hoc delictum admisisse in me, id mihi uehementer dolet IV . 5 49_ 67 ADELPHOE 43 Et me tui pudet. Ml. Credo hercle ; nam in- genium noui tuom Liberals ; sed uereor ne indiligens nimium sies. In qua ciuitate tandem te arbitrare uiuere ? 68 5 Virginem uitiasti, quam te non ius fuerat tangere. lam id peccatum primum magnum, mdgnum, at humanum tamen : Fecere alii saepe item boni. at pdstquam id euenit, cedo : Num quid circumspexti ? aut num quid tute prospexti tibi, Quid fieret ? qua fieret ? si te mi ipsum puduit 6 9 o proloqui, Qua resciscerem? ha^c dum dubitas, menses abierunt decem. Pr6didisti et te et illam miseram et gndtum, quod quidem in tt fuit. Quid 1 credebas d6rmienti haec tibi confecturds deos ? Et illam sine tua 6pera in cubiculum iri de- ductum domum ? N6lim ceterarum rerum t6 socordemeodem modo. 695 B6no animo es, duces uxorem. AE. Hem. Ml. B6no animo es, inquam. AE. Pater, Obsecro, num ludis [nunc] tu me? Mi. Ego te? quam ob rem ? AE. Nescio : Quia tarn misere hoc esse cupio uerum, eo uere6r magis. Ml. Abi domum ac deos c6nprecare, ut uxorem ac- cersas : abi. AE. Quid? iam uxorem? Mi. lam. AE. lam? Ml. 700 lam quantum potest. AK. Di me, pater, Omnes oderint, ni magis te quam 6culos nunc ego am6 meos. 44 P. TERENTI TV. 5 686 6 Mi. Quid ? quam illam ? AE. Aeque. Ml. Per- benigne. AE. Quid 1 ille ubist Mile'sius 1 Ml. Pe"riit: abiit, nduem ascendit. sed quor cessas 1 } AE. Abi, pater: Tu potius deosc6nprecare ; nam tibieoscerto" scio, 705 Qu6 uir melior multo es quam ego, obt6mpera- tur6s magis. Ml. go eo intro, ut quae opus sunt parentur : tu fac ut dixi, si sapis. - AE. Quid hoc e'st negoti? hoc est patrem esse aut h6c est filium ^sse ? Si frater aut soddlis esset, qui magis morem gereret ? Hie n6n amandus? hicine non gestandus in sinilst ? hem. 710 Itaque ddeo magnam mi inicit sua c6mmoditate curam, Ne inpriidens faciam f 6rte quod nolit : sciens cauebo. Sed cesso ire intro, ne morae meis niiptiis egomet sim? DEMEA SENEX IV 6 I)E. Def essus sum ambulando : ut, Syre, te cum tua Monstratione magnus perdat luppiter ! 715 Perreptaui usque omne 6ppidum : ad portam, ad lacum, Quo n6n ? neque illi fabrica [ulla] erat nee fra- trem homo Vidisse se aibat quisquam. nunc uer6 domi Certum obsidere est usque, donee redierit. Iv . r Iis ADELPHOE 45 MICIO DEMEA SENES II J, V*/ ,**-/ i *"** fl Ml. Ibo, illis dicam niillam esse in nobis moram. IV 7 DE. Sed eccum ipsum. te iam dudumjjuaero, Micio. 720 Ml. Quid nam 1 DE. Fero alia flagitia ad te in- g^ntia Boni illius adulescentis. ML Ecce autem ! DE. Noua, 3 N ^~~^*~-- Capitalia. Ml. Olie iam ! DE. Nescis qui uir sit. Ml. Scio. DE. stulte, tu de psaltria me s^mnias Agere : h6c peccatum in ufrginemst ciuem. Ml. 725 Scio. ,/. *t^-.*"7^ DE. Oho, scfs et patere 1 Ml. Quid ni patiar ? DE. Die mihi, Non clamas ? non insanis ? Mi. Non : malim quidem. DE. Puer natust. Mi. Di bene u6rtant ! DE. Virgo nil habet Mi. Audiui. DE. Et ducenda indotatast. Ml. Scilicet. DE. Quid niinc futurumst ? Mi. Id enim quod res 73 ^ ipsa fert : Illinc hue transferetur uirgo. DE. luppiter, Ist6cine pacto op6rtet ? Mi. Quid faciam dmplius 1 DE. Quid facias ? si non ipsa re tibi istiic dolet, Simujdre certe est h6minis. Mi. Quin iam uir- ginem Despondi ; res comp6sitast ; fiunt miptiae ; 735 Dempsi metum omnem : haec magis sunt hominis. DE. C6terum 46 P. TERENTI iv. V 10 44 Placet tibi factum, Mfcio ? Ml. Non, si queam Mutare. nunc quom n6n queo, animo aequ6 fero. Ita uitast hominum, quasi quom ludas tesseris : 740 Si ilhid quod maxume 6pus est iactu nun cadit, Illiid quod c'ecidit fdrte, id arte ut c6rrigas. DE. Corrector ! nempe tua arte uiginti minae Pro psaltria perie"re : quae quantum potest Aliquo abiciundast, si non pretio, gratiis. 745 Ml. Neque e"st neque illam sane studeo uendere. DE. Quid igitur facies ? Mi. Domi erit. DE. Pro diu6m fidem, Meretrix et mater familias una in domo 1 Ml. Quor n6n? DE. Sanum te credis esse 1 ? Mi. Equidem arbitror. DE. Ita me" di ament, ut uideo ego tuam ineptiam, 75 Facturum credo, ut habeas quicum cantites. Mi. Quor n6n ? DE. Et noua nupta eadem haec discet. Mi. Scilicet. DE. Tu inter eas restim ductans saltabis. Ml. Probe. DE. Probe ? Mi. Et tu nobiscum una, si opus sit. DE. Ei mihi ! Non te haec pudent 1 Ml. lam uero omitte, Demea, 755 Tuam istanc iracundiam, atque ita uti decet Hilarum ac lubentem fac te gnati in niiptiis. Ego h6s conueuio : p6st hue redeo. DE. luppiter, Hancine uitam ! hoscin m6res ! hanc dementiam ! Vx6r sine dote ueniet ; intus psaltriast ; 7 6o Domus sumptuosa ; adulescens luxu pt3rditus ; Senex delirans. ipsa si cupiat Salus, Serudre prorsus non potest hanc familiam. v. i i2 2 ADELPHOE 47 SYRVS DEMEA SY. Edep6l, Syrisce, te curasti m6lliter V 1 Lauteque munus administrastf tuom : , s<* Abi. sed postquam intus sum dmnium rertim 765 satur, Prodeambulare hue lubitumst. DE. Illud sis uide : Exemplum disciplinae ! SY. Ecce autem hie adest Senex n6ster. quid fit ? quid tu es tristis ? DE. Oh scelus ! SY. Ohe iam ! tu uerba f undis hie sapientia ! DE. Tu si meus esses . . SY. Dis quidem esses, De- 770 mea, Ac tuam rem constabilisses. DE. Exemplo omni- bus Curdrem ut esses. SY. Quam 6b rem 1 quid feci? DE. Kogas? In ipsa turba atque in peccato maxumo, Quod uix sedatum satis est, potastf, scelus, Quasi re bene gesta. SY. Sane nollem hue exi- 775 turn, ^c.***^ DROMO SYRVS DEMEA DR. Heus Syre, rogat te Ctesipho ut redeas. SY. v 2 Abi. DE. Quid Ctesiphonem liic ndrrat ? SY. Nil. DE. Eho, carnufex, 48 P. TERENTI v. 2 33 n Est Ctesipho intus ? SY. Non est. DE. Quor hie nominat 1 SY. Est alius quidam, parasitaster patilulus : 780 Nostin ? DE. lam scibo. SY. Quid agis 1 quo abis ? DE. Mitte me. SY. Noli inquam. DE. Non manum abstines, masti- gia? An tibi iam mauis cerebrum dispergam hie? SY. Abit. - Edep6l comissatdrem haud sane commodum, Praesertim Ctesiph6ni ! quid ego niinc agam 1 785 Nisi, dum haec sile^cunt turbae, interea in an- gulum Aliquo abeam atque edormiscam hoc uilli: sic agam. MICIO DEMEA V 3 Ml. Parata a nobis siint, ita ut dixi, Sdstrata : Vbi uis . . quis nam a me pepulit tarn grauiter fores 1 DE. Ei mihi, quid faciam ? quid agam -1 quid clamem aiit querar ? 79 caelum, o terra, o maria Neptuni ! Mi. Em tibi : Kesciuit omnem rem : id nunc clamat scilicet. Paratae lites : succurrendumst. DE. Eccumadest Communis corruptela nostrum liberum. Mi. Tandem reprime iracundiam atque ad t^ redi. 795 DE. Repressi, redii, mitto maledicta 6mnia : Rem ipsam putemus. dictum hoc inter nds f uit (Ex te adeo est ortum), ne tu curares meum v. 3 1240 ADELPHOE 49 Neue ego tuom ? responde. Ml. Factumst, n6n nego. DE. Quor niinc apud te potat ? quor recipis meum ? Quor emis ainicam, Micio 1 num qui minus goo Mihi idem ius aequomst esse quod^mecumst tibil Quando ego tuora non ciiro, ne cura meum. Mi. Non aequom dicis. DE. Non? Ml. Nam uetus uerbum hoc quidemst, Commiinia esse amicorum inter se dmnia. DE. Face"te ! nunc demum istaec nata oratiost. 805 Ml. Ausciilta paucis, nisi molestumst, Demea. Principio, si id te m6rdet, sumptum filii Quern faciunt, quaeso hoc iacito tecum cdgites : Tu illds duo olim pro re tollebas tua, Quod satis putabas tua bona ambobiis fore, BIO Et me turn uxorem credidisti scilicet Ducturum. eandem illam rationem antiquam 6btine : Conserua, quaere, pdrce, fac quam plurimum Illis relinquas : gl6riam tu istam obtine. Mea, quae praeter spem euenere, utantur sine. 815 De summa nil decedet : quod hinc accesserit, Id de lucro putato esse omne. haec si uoles In animo uere c6gitare, Demea, Et mi et tibi et illis dempseris molestiam. DE. Mitto rem : consuetudinem amborum . . Ml. 820 Mane : Scio : istuc ibam. miilta in homine, Demea, Signa insunt, ex quibus c6niectura facile fit, Duo quom idem faciunt, saepe ut possis dicere ' Hoc licet inpune fdcere huic, illi n6n licet,' Non quo dissimilis res sit, sed quo is qui facit. 825 Quae ego inesse in illis uideo, ut confidam fore 50 P. TERENTI v. 3 os Ita ut uolumus. uideo eos sapere, intellegere, in loco Vere"ri, inter se amare : seiris liberum Ingenium atque animum : qu6 uis illos tu die 8 3 o Keddiicas. at enim metuas, ne ab re sint tamen Omissiores paulo. o noster Demea, Ad 6mnia alia aetate sapimus rectius ; Solum unum hoc uitium adfert senectus h6mini- bus: Adtentiores sumus ad rem omnes, quam sat est : 835 Quod ill6s sat aetas acuet. DE. Ne nimium modo Bonae tuae istae nos rationes, Micio, Et tiios iste animus aequos subuortat. Ml. Tace: Non fiet. mitte iam istaec ; da te hodi6 mihi : Exp6rge frontem. DE. Scilicet ita tempus f ert : 840 Faciundumst. ceterum ego rus eras cum filio Cum primo luci ibo hinc. Ml. De nocte censeo : Hodie modo hilarum fac te. DE. Et istam psal- triam Vna illuc mecum hinc abstraham. Mi. Pugna- ueris : Eo pacto prorsum illi adligaris f ilium. 845 Modo facito ut illam serues. DE. Ego istuc uidero. Atque ibi fauillae plena, fumi ac p6llinis Coquendo sit faxo et molendo ; praeter haec Meridie ipso fdciam ut stipulam cdlligat : Tarn excoctam reddam atque atram quam car- b6st. Mi. Placet: 850 Nunc mihi uidere sapere. atque equidem filium Turn etidm si nolit c6gam ut cum ilia una cubet. v . 3 6668 ADELPHOE 51 DE. Derides ? fortunatu's, qui isto animo sies. Ego sentio . . Mi. Ah, pergisne ? DE. lam iam d^sino. Mi. I ergo intro, et quoi rei est, ei rei hunc sumamus diem. ACTVS V DEMEA SENEX V 4 Numquam ita quisquam bene subducta ratione ad uitdm fuit, 856 Quin res aetas lisus semper aliquid adportet noui, Aliquid moneat : ut ilia quae te scisse credas nescias, Et quae tibi putaris prima, in experiundo ut re- pudies. Qu6d nunc mi euenit; nam ego uitam duram, quam uixi usque adhuc, 860 Pr6pe iam excurso spatio omitto. id quam 6b rem 1 re ipsa repperi Facilitate nil esse liomini melius neque cle- mentia. Id esse uerum ex me dtque ex fratre quoiuis fa- cilest ndscere. Ille suam egit s6mper uitam in 6tio, in con- uiuiis, Clemens, placidus, nulli laedere 6s, adridere om- nibus ; v. 4 ii27 P. TERENTI ADELPHOE 53 Sibi uixit, sibi sumptum fecit : 6mnes bene 865 dicunt, amant. figo ille agrestis, sae"uos, tristis, parcus, truculen- tiis, tenax Diixi uxorem : quam ibi miseriam uidi ! nati filii : Alia cura. heia aiitem, dum studeo illis ut quam plurimum Facerem, contriui in quaerundo uitam atque aetate"m meam : Niinc exacta aetate hoc fructi pr6 labore ab eis 8 7 o fero, Odium ; ille alter sine labore patria potitur com- moda. Ilium amant, me f ligitant ; illi credunt consilia 6mnia, Ilium diligiint, apud ilium sunt ambo, ego deser- tus sum ; Ilium ut uiuat optant, meam autem m6rtem ex- pectant scilicet. Ita eos meo Iab6re eductos mdxumo hie fecit 875 suos Paulo sumptu : miseriam omnem ego capio, hie potituj gaudia. Age age nunciam cxperiamur c6ntra, ecquid ego pdssiem Blande dicere aut benigne facere, quando hoc prouocat. figo quoque a meis me amari et magni fieri pdstulo : Si id fit dando atque obsequendo, n6n posteriores 880 feram. De"erit: id mea minume re fert, qui sum natu maxumus. 54 P. TERENTI v. 5 i 10 SYRVS DEMEA SERVOS SENEX V 5 SY. Heus Demea, orat frater ne abeas I6ngius. DE. Quis homo ? 6 Syre noster, salue : quid fit 1 quid agitur 1 SY. Recte. DE. Optumest. iam nunc haec tria primum addidi 885 Praeter naturam : ' o noster, quid fit ? quid agitur ? ' Seruom baud inliberalem praebes te, e"t tibi Lubens bene faxim. SY. Gratiam habeo. DE. Atqui, Syre, Hoc u^rumst et ipsa re experiere pr6pediem. GETA DEMEA V 6 GE. Era, ego hue ad hos prouiso, quam mox uir- ginem 890 Accersant. sed eccum Demeam. salu6s sies. DE. qui uocare 1 GE. Geta. DE. Geta, hominem maxumi Preti te esse hodie iudicaui animd meo ; Nam is mihi profectost s^ruos spectatiis satis, Quoi d6minus curaest, ita uti tibi sensi, Geta, 895 Et tibi ob earn rem, si quid usus u^nerit, Lubens bene faxim. m&litor esse adfabilis, Et bene procedit. GE. Bonus es, quom haec exlstumas. DE. Paulatim plebem primulum faci6 meam. v. 7 122 ADELPHOE 55 AESCHINVS DEMEA SYRVS GETA ADVLESCENS SENEX SERVI II AE. Occidunt me quidem, dum nimis sanctas nuptias V 7 Student facere : in adparando consumunt diem. 900 DE. Quid agitur, Aeschine ? AE. Ehem, pater mi, tu hie eras? DE. Tuos hercle uero et animo et natura pater, Qui te amat plus quam hosce 6culos. sed quor n6n domum Vx6rem accersis 1 AE. Cupio ; uerum hoc mihi moraest, Tibicina et hymenaeum qui cant^nt. DE. Eho, 905 Vin tu huic seni auscultare 1 AE. Quid 1 DE. Missa haec face, Hymenaeum turbas lampadas tibicinas, Atque hdnc in horto maceriam iube dirui Quantum potest : hac transfer; unam fac domnm ; Traduce et matrem et familiam omnem ad n6s. 910 AE. Placet, Pater lepidissume. DE. Euge, iam lepidus uocor. Fratri aedes fient peruiae, turbam domum Adducet, sumptu amittet multa : quid mea ? Ego lepidus ineo gratiam. iube nunciam Dinumeret ille Babylo uiginti minas. 915 Syre, cessas ire ac facere 1 SY. Quid ego ? DE. Dirue. Tu illas abi et traduce. GE. Di tibi, Demea, Bene faciant, quom te uideo nostrae familiae Tarn ex animo factum uelle. DE. Dignos arbi- tror. Quid tu ais ? AE. Sic opinor. DE. Multo 9 2 rectiust 56 P. TERENTI v. r 23 s u Quam ill.im puerperam hue mine duci per uiam Aegnttam. AE. Nil enim nidi melius, mi pater. DE. Sic soleo. sed eccum Micio egreditur foras. MICIO DEMEA AESCHINVS SENES II ADVLESCENS ^ 8 Mi. lubet f rater 1 ? ubi is est 1 ? tun iubes hoc, Demea ? 925 DE. Ego uero iubeo et hac re et aliis dmnibus Quam maxume unam facere nos hanc familiam, Colere adiuuare adiiingere. AE. Ita quaeso, pater. Mi. Haud aliter censeo. DE. Irnmo hercle ita nobis decet. Primutn huius uxorist mater. Ml. Est. quid p6stea 1 930 DE. Proba et modesta. Mi. Ita aiunt. DE. Natu graudior. Ml. Scio. DE. Parere iam diu haec per annos non potest ; Nee qui earn respiciat quisquam est : solast. Ml. Quam hie rem agit? DE. Hanc te aequomst ducere, et te operam tit fiat dare. Ml. Me ducere autem ? DE. Te. Mi. Me ? DE. Te inquam. Mi. Ineptis. DE. Si tu sis homo, 935 Hie faciat. AE. Mi pat6r ! Mi. Quid tu autem huic, asine, auscultas 1 DE. Nil agis : Fieri aliter non potest. Mi. Deliras. AE. Sine te exorem, mi pater. Mi. Insanis : aufer. DE. Age, da ueniam filio. Mi. Satin sdnus es ? v. 8 issi ADELPHOE 57 Ego n6uos maritus anno demum quinto et sexa- gensumo Fiam atque anum decrepitam ducam 1 idne estis auctores mihi ? AE. Fac : promisi ego illis. Ml. Pr6misti autem ? de 9 o te Iargit6r, puer. DE. Age, quid si quid te maius oret 1 Mi. Quasi non hoc sit maxumum. DE. Da ueniam. AE. Ne grau^re. DE. Fac, pro- mitte. Mi. Non omittitis? '** ^~*! AE. Non, nisi te exorem. Mi. Vis est haec quidem. DE. Age prolixe, Micio. Mi. Etsi h6c mihi prauora ine"ptum absurdum atque alienum a uita mea Vid^tur : si uos tanto opere istuc udltis, fiat. 945 AE. Bene facis. DE. Merit6 te amo. uerum . . Mi. Quid 1 DE. Ego dicam, hoc quom cowfit qu6d uolo. Ml. Quid niinc quod restat 1 DE. H6gio est hie hfs cognatus pr6xumus, Adfinis nobis, pauper : bene nos aliquid facere illi decet. Mi. Quid facere ? DE. Agellist hie sub urbe paulum quod locitas foras : Huic demus qui fruatur. Ml. Paulum id 95 aiitemst ? DE. Si multiimst, tamen Faciiindumst : pro patre huic est, bonus est, noster est, rect6 datur. Postre"mo nunc meum illud uerbum fdcio, quod tu, Mfcio, Bene 6t sapienter dixti dudum : ' uitium com- mune 6mniumst, a Quod nimium ad rem in senecta attend sumus/: hanc maculam n6s decet 58 P. TERENTI v. 8 82 9 12 955 Ecfugere. et dictumst u6re et re ipsa fieri oporCet. AE. Mi pater ! Ml. Quidistic? dabitur quandoquidem hie uolt. AE. Gaudeo. DE. _ y ^ _ i ^ nunc tu mi es germanus pariter animo et c6rpore. Su6 sibi gladio hunc iugulo. SYRVS DEMEA Micro AESCHINVS SERVOS SENES II ADVLESCENS 9 SY. Factumst qu6d iussisti, Demea. DE. Frugi homo's, ergo 6depol hodie mea quidem sententia 9 6o Iiidico Syrum fieri esse aequom liberum. Ml. Istunc liberum ? Qu6d nam ob factum ? DE. Miilta. SY. noster D6mea, edepol uir bonu's ! figo istos uobis usque a pueris curaui ambos s6dulo : D6cui, monui, bene praecepi semper quae potui omnia. DE. R6s apparet. et quidem porro haec, obsonare cum fide, 965 Sc6rtum adducere, adparare de die conuiuium : N6n mediocris hdminis haec sunt 6fficia. SY. lepidum caput ! DE. Postremo hodie in psaltria ista emunda hie adiut6r fuit, Hie curauit : pr6desse aequomst : alii meliore's erunt. D6nique hie uolt fieri. Mi. Vin tu hoc fieri ? AE. Cupio. Mi. Si quidem v. 9 1329 ADELPHOE 59 Tu uis : Syre, eho accede hue ad me : liber esto. 970 SY. Bene facis. (5mnibus gratiam habeo, et seorsum tibi prae- terea, Demea. DE. Gaiideo. AE. Et ego. SY. Credo, utinam hoc perpetuom fiat gaudium, Phrygian! ut uxorem meam una mecum uideam liberam ! DE. Optumam quidem mulierem. SY. Et quidem tu6 nepoti huius filio H6die prima mammam dedit haec. DE. Hercle 975 uero serio, Siquidem prima dedit, baud dubiumst quin emitti aequ6m siet. Ml. 6b earn rem ? DE. Ob earn. p6stremo a me argentum quantist sumito. SY. Di tibi, Demea, 6mnes semper 6mnia optata 6fferant ! Mi. Syre, processisti hodie pulchre. DE. Siquidem porro, Micio, Tii tuom officium facies, atque huic aliquid pau- 980 lum prae maim Dederis, unde utdtur : reddet tibi cito. Ml. Istoc uilius. AE. Frugi homost. SY. Reddam hercle, da modo. AE. Age, pater ! Mi. Post c6nsulam. DE. Faciet. SY. uir 6ptume ! AE. O pater mi festiuissume ! Mi. Quid istuc ] quae res tarn repente m6res mutauit tuos? Quod prolubium ? quae istaec subitast Lirgitas ? 985 DE. Dicam tibi : Vt id ostenderem, quod te isti facilem et festiu6m putant, 60 P. TERENTI ADELPHOE v. o so 40 Id non fieri ex uera uita neque adeo ex aequo et bono, Se"d ex adsentando, indulgendo et largiendo, Micio. Nunc adeo si ob earn rem uobis mea uita inuisa, A^schine, est, 990 Quia non iusta iniusta prorsus omnia omnino 6bsequor, Missa facio : ecfundite, emite, facite quod uobis lubet. S^d si id uoltis pdtius, quae uos pr6pter adules- ctintiam Minus uidetis, magis inpense cupitis, consulitis parum, Ha6c reprehendere 6t corrigere me 6t secundare in loco : I>. -Act IV. I Sc. 4 and LIST OF METRES 63 1 Act IV. | Sc. 6-10 713-854 iambic Senarius }- (IV. Sc. 6 | and7;V. J Sc. 1-3). ^ Act V. 855-881 trochaic Septenarius } Sc. 1 (V. J Sc. 4). 882-933 iambic Senarius 1 g c 2-6 934-955 iambic Octonarius fry g c 956-997 trochaic Septenarius l J _^ 1 The metre of 956-958 is uncertain. NOTES DIDASCALI A. The didascaliae (5iSa6poi. This form is retained in the didascalia. So Menandru = hlti>dvdpov > infra. 2. acta ludis funeralibus, etc., 'acted at the funeral games given in honour of Lucius Aemilius Paulus ' ; funeralibus occurs only here and in the didascalia to the Hecyra. It is the reading of the Codex Bembinus. Other MSS. have funebribus Amlfuneribus. 3. L. Aemelio Paulo : the conqueror of Perseus at Pydna, in 168 B.C., and accordingly surnamed Macedonicus. His death occurred in 160 B.C., anil this play was performed, probably for the first time, at his funeral. quos : the Codex Bembinus has modos, possibly an error due to the influence of the notice of the musical composer in 1. 7. 4. Quintus Fabius Maximus and Publius Cornelius Afri canus were curule aediles when the play was brought out. The official prerogatives of these magistrates included the super- F 66 P. TERENTI ADELPHOE intendence of public games and the licensing of all theatrical representations connected with them. Fabius was the son of L. Aemilius Paulus, but had entered by adoption into the family of Q. Fabius Maximus Cunctator. Cornelius, who was also the son of Aemilius Paulus, had been adopted by the son of the great Scipio who defeated Hannibal at Zama in 202 B.C. He became known in history as P. Cornelius Scipio Africanus Minor. 5. egit : the reading of the Cod. Bemb. wherever else this notice occurs in the didascaliae, and for that reason preferred by Dziatzko to cyere, which all the MSS. have in this place. L. Ambiuius Turpio : the most famous actor and stage- manager at Rome previous to Roscius. His grex, or company, brought out all the six comedies of Terence. Cicero says of his acting that it delighted even those who sat in the most distant seats in the theatre (Cat. Mai. 14. 48). 6. L. Hatilius Praenestinus : an actor whose name is coupled with that of Ambiuius Turpio in all the didascaliae except that of the Hecyra (and Cod. A of Heaut. ) He belonged, prob- ably, to a later period than Ambiuius, and the association of the two names may have been due to accident or carelessness. The mention of two actors has reference, in Dziatzko's opinion, to two different performances. 7. modes, 'music,' lit. 'measures.' The music of all the plays of Terence was composed by Flaccus, a slave of Claudius. Claudi : sc. seruos. 8. tibia Sarranis tota, ' on Tyrian flutes throughout ' ; i.e. whenever there was a musical accompaniment the instrument employed was the flute. The flute was double. It consisted of two pipes (hence the plur. tibis = tibiis), divergent, and uniting in one mouth-piece. The two might be of equal length, pares, as in the Andria and Hecyra, and both pitched treble ; or they might be of unequal length, inpares, one treble, and one playing a second to the treble, as in the Heauton timorumenos and the Phormio. Sarranus, later also Serranw (a, um), from Sarra (Hebrew Zor), old Latin name for Tyre, seems to have been applied to a special kind of tibiae pares. With tota understand acta est. 9. Graeca : equivalent to palliata, as opposed to togata. In thefabulae palliatae the scenes and characters were Greek : in ihefabulae togatae they were Roman, or at all events Italian. Menandru : Greek genitive, formed, on the analogy of NOTES 67 tS.4vav8pos, -on, from a nominative Menandrus. The Greek form was preferred by the learned composers of the didascaliae. Cf. Apollodoru = 'AjroXAoSiipou in the didascaliae of the Phormio and Hecyra. On the other hand Diphili (not Diphilu) occurs in Ad. Prol. 6. 10. facta VI : i.e. sixth in order of composition. The Cod. Bemb. alone regularly marks the succession of the plays. The other MSS. only three times insert notices of the order, but in so doing correspond with the Bemb. See Teuffel's History of Roman Lit. (Warr's translation), 109. 5. 11. M. Cornelius Cethegus and L. Anicius Callus were consuls for the year in which the first performance of the Adelphoe took place 160 B.C. PERIOCHA. Summaries of the plots of the different plays are found in the MSS., which in the Cod. Bemb. are called periochae (ireptoxo-i), in the other MSS. argumenta. These periochae have, each, twelve verses, and are composed in the metre known as the iambic Senarius. They were written by C. Sulpicius Apollinaris who died about 160 of the Christian era, and are not inappropriately prefixed to dramas whose prologues are concerned, not with giving to the audience an outline of the plot, but with matters personal to the poet himself. Apollinaris attempted to revive interest in the language and style of the comic poets, and the periochae, both in their prosody and diction, are in evident imitation of the style of Terence. The prosody, however, is loose, and the latinity often not Terentian, sometimes not even classical. Apollinaris was a copyist, but without genius, and his efforts at composition are an illustration of the truth that imitation without genius is futile. 2. Aeschinum : that this was the elder son appears from verses 47 and 462 of the play. 4. duro : Demea is called dunis by Micio in 64. He appears as tristis in 79, 82, etc., and calls himself so in 866. 5. famam rel, amorem : both the asyndeton and form of expression are copied from 263. 6. amorem: i.e. the credit of being engaged in an intrigne with the cilltarislria. Aeschinus was not enamoured of the latter, but carried her off on Ctesipho's account, and in that way diverted suspicion from his brother to himself. The periocha is not explicit on this point. 68 P. TERENTI ADELPHOE 7. fidicinam : the same as cilharistria (Periocha, 3 and 12) and psaltria in 388 and 405. 8. pauperculam : taken from 647. 9. fidem dederat : cf. 306 and 332 sq. 10. Demea : the author of the verse is responsible for the quantity of the final syllable. The Latin comic writers them- selves never shorten final a of the nominative in Greek names of more than two syllables. See on 343. 11. ueritas : this should be uerum in good Latin. ducit : sc. uxorem, often omitted in the comic poets. 12. potitur : for the construction with the accusative, and the quantity of the middle syllable, see on 871. For the fact see 996 sq. PERSONAE. Persona, the word for a character in a play, was first applied to the actor's mask, which had a resonant mouth-piece through which the voice reached the ears of the audience (per, sonare), greatly increased in volume. The lists of personae prefixed to the plays are not found in the M3S., but are compiled from the headings to the different scenes. In the text of most MSS. the personae are distinguished by the initial letters of their names, but in the Codd. Bembinus and Victorianus (in part) they are indicated by letters of the Greek alphabet. Cf. n. on cantor, 997. The order of the names in these lists corresponds to the order in which the characters came upon the stage. In modern dramas the relative import- ance of the characters determines the arrangement. The number of principal or speaking actors allowed to appear in any one scene was ordinarily not more .than three. This was a venerated tradition inherited from the Greek tragic drama of the time of Sophocles. Cf. Hor. A. P. 192. In the Adelphoe, Bacchis the music-girl, and Parmeno the slave, do not speak. Pamphila has something to say, but only behind the scenes. PROLOGVS. Plautus and the Greek comedians made the prologue explain the plot. Terence used it mainly as a weapon, offensive and defensive, against his detractors and unfriendly critics. Among the latter the poet Luscius Lanuuinus or Lauinius (see Dziatzko on Phorm. Prol. 1, Appendix) seems to have been particularly prominent ; cf. maliuolus uetus poeta, Heaut. 22 ; poeta ueius, etc. , Phorm. Prol. 1 sq. ; maliuoli ueteris poetae, etc., Andr. Prol. 7. NOTES 69 Except the prologue to the Trinummus, the authenticity of which is doubtful, the prologues of Plautus (twelve in number) are spurious. Those of Terence are all genuine. The delivery of the prologue was assigned to a member of the grex, probably one of the younger actors ; see Heaut. Prol. 1-2. In 1-14 a word is said in justification of the practice of con- taminatio (cf. Heaut. Prol. 8 [17]), the technical term for the blending of two or more plots into one. In 15-21 reply is made to the charge that in the composition of his plays Terence availed himself of the assistance of certain persons of noble lineage, who are known to have been members of the Scipionic circle of litterati (see however on 15). The charge is not denied, but rather greeted as a distinction and a sign of merit (cf. Heaut. Prol. 9 sq. [18 sq.]). In 22-24 we are told not to look for the argument in the prologue the earlier dramatists, as has been remarked, were accustomed to give it there but in the development of the play itself. Finally the audience is petitioned to give strict attention to the piece, and encourage- ment to the poet. 1. postquam, 'since'; cf. 765. poeta : Terence. scripturam : the ' poem ' or ' play ' itself, as in Hec. Prol. of Ambiuius, 5, ne cum poeta scriptura euanesceret. In Phorm. Prol. 5, it is the ' style ' of the composition, fabulas tenui . . . oratione et scriptura leui. Note the alliteration in this verse. The early Latin writers, notably Ennius, Plautus, and Lucretius, were extremely fond of alliteration and assonance. See Munro's Lucretius, In trod, to Notes II. p. 311. Cf. n. on 57. See on 299. 2. iniquis . . . et aduorsarios : Luscius Lanuuinus and his party ; see note on Prol., p. 68. obseruari, 'criticised' ; the word suggests the lying in wait of an adversary to discover the weak points of his opponent. Donatus explains, captari. 3. rapere in peiorem partem, 'depreciate,' 'misrepresent'; cf. Eun. 632. quam : i.e. eamfabulam quam. See App. 4. indicio de se ipae erit, ' he will give evidence about him- self,' as in a court of law ; cf. Heaut. 384 fuit indicio oratio. For the dative of service see A. 233. a ; H. 390. I and note 2 ; G. 350 ; Roby 1158, 1160 ; Madvig 249. See App. 70 P. TERENTI ADELPHOE 5. id factum : the practice he is about to describe, of amalgamating parts of two plays into one. This was called contaminatio, and is defended in the prologues to the Andria, Eunnchus, and Heauton timorumenos. His enemies made it a special ground for criticism. See note on Prol. , p. 68. 6. Synapothnescontes = '2vvairo6i>yffKoi>Tes, ' comrades in death." The iota is well attested, and given now by all good editors of Greek texts. See Meisterhaus, Orammatik der attiscJien Inschriftcn, 2nd ed. p. 141 ; and G. Meyer, Gricch. Gram. p. 451. Diphili : a poet of the New Attic Comedy, contemporary with Philemon and Menander. He was a native of Sinope, and famous for his humour. The titles of about fifty of his plays, as well as some fragments, are extant. Of the existing comedies of Plautus, the Rudens and Casina (KX^potf/xej'oi ; see Gas. Prol. 31 sq. ) are modelled on plays of Diphilos. 7. earn : a monosyllable. See on 10. Commorientis : in predicative apposition with cam fabulam. The Latin play and its original are both lost. Of the former a fragment has been preserved by Priscian, vi. p. 280 H. (Vol. II. Keil), saliam in puteum praecipes. The latter may have been a burlesque of the "Iphigenia at Tauris" of Euripides, whom the writers of the New Comedy delighted to imitate. 8. Graeca : sc.fabula, i.e. the 2vi>airoOvr]ffKoi>Tes of Diphilos. 9. in prima fabula, 'in the beginning of the play," though not necessarily in the first scene. eum : a monosyllable. See on 10. 10. integru.ni, 'untouched'; Plautus did not transfer that scene to his play. eum : scan inttgr(um) ^(um) hie. The dissyllabic forms of the pronoun is may become monosyllabic by synizesis ; cf. n. on 7 and 9 ; Introd. p. Ixiv. Those ending in a vowel or m may then be elided before a syllable beginning with a vowel, as in the present instance. Cf. n. on 407. See App. hie : the poet himself, as usually in the prologues ; cf. 18. locum, 'scene.' See App. 11. uerbum de uerbo expressum, 'translated word for word ' ; the prologue mentions this as creditable to the poet. The expression, however, is not to be too closely pressed. It applies rather to the thought than the words. Similarly Cicero NOTES 71 (Fin. 1. 2. 4) speaks of fabellas Latinos ad uerbum e Graecis expressas, and cites among examples the Medea of Ennius. But the fragments of this Roman tragedy which have reached us are in accord only in a general way with the Greek original, and Cicero himself says (Acad. post. I. c. 3. 10) an quia delectat Ennius, Pacuuius, Accius, multi alii qui non utrba sed uim Graecorum expresserunt poeiarum ? extulit, 'wrought out"; not quite the same as transtulit, which refers to simple translation, as in Andr. Prol. 14. The difference is explained by Donatus, mire non dixit 'transtulit,' sed ' extulit,' ut ornasse Graeca uideatur Latino stilo. But ex- tulit may have been employed here merely to accommodate the verse and to secure alliteration. 12. earn: sc.fabulam; cf. Eun. Prol. 32 in Eunuchum suam. 13. furtumne, etc. : cf. the censure in Eun. Prol. 23 ex- clamatfurem, non poetam fabulam dedisse. factum : cssc is often omitted in early Latin in the passive voice (i.e. with the perf. pass, part., and the gerundive) ; cf. 193, 225, 250, 337, 359 : likewise regularly with the fut. act. part. ; cf. 236, 332, 333, 473, 693, 705, 750, 812. 14. reprensum. ' restored to notice,' 'retrieved'; cf. n. on 13. neclegentia, 'by accident'; the scene in question was simply passed over, unheeded, by Plautus in his translation, (nec- legere. ) 15. nam : elliptical and causal. The connection of ideas is : Herewith all objections to the play are disposed of, ' for as to what those ill-natured persons say, etc.,' this, so far from being a reproach to the poet, is even a credit to him. See on 168 (enim). quod Isti : see on 40. isti : Luscius Lanuuinus, and the rest of the poet's enemies and detractors ; for this use of isti cf. n. on 43. See on 2. homines nobilis : Scipio Africanns, C. Laelius Sapiens, Furius Philus. (Donatus.) But these persons were mere youths at this time, to whom verse 20 would scarcely be applicable. There is some probability therefore in the sugges- tion of Santra the grammarian, that not they but others are meant, viz. Q. Fabius Labeo, M. Popillius, both poets and men of consular rank, and C. Sulpicius Gall us, consul in 166 72 P. TERENTI ADELPHOE n.o. and celebrated for his learning uiri quorum operam et in bdlo et in otio et in ncgotio populus cst expertus (Suet. Fit. Ter. p. 293 Roth). 16. See App. una : sc. cum eo. 18. earn : for id; attracted into the feminine by laudem. hie : see on 10. quom illis placet, ' that ho is in favour with those ' ; an instance of the non-temporal explicative use of quom, which in Plautus is equivalent to, and interchangeable with, quod or quia a quom meaning ' that ' in contradistinction to a quom meaning 'when.' See Prof. W. G. Hale on the Cum- Con- structions, Part II. pp. 79-80. This use of quom corresponds with the substantive use of the causal quod clause of the grammars. See A. 333 ; H. 516. I. examp. 2 ; G. 542 ; Roby 1701 ; Madvig 398 b. See also A. 326. note 3 and a, with R.; H. 517. 1 ; G. 567 and 587. R. ; Roby 1725 ; Madvig 358. obs. 2 fin. In general the indicative after quom causal (whether = 'that,' or 'since,' ' because ') is common in early Latin, especially after laudo, gratulor, or any equivalent expressions of feeling. It is not usual after the time of Cicero, and occurs in Cic. only with laudo, gratulor, etc. Cf. 139, 738, 897, 918, 946 ; Andr. 488, 623, 771 ; Phorm. 208 ; Plaut. True. 381, 511 ; Capt. 151 after laudo, 374 after gratias habeo ; Cic. Fam. 9. 14 gratulor tibi quom tantum uales. 19. qui . . . placent : these men had been raised to posts of honour and responsibility through the votes of the people. uobis uniuorsis, ' you all,' the spectators. populo : the public in general. Note the alliteration. The recurrence of the o-sound in this and the next verse seems to be intentional. 20-21. ' Of whose services in war, in peace, and in public business, each one of you, when his convenience demands it, disdains not to avail himself.' According to Donatus, bello, olio, and negolio allude to Scipio Africanus, Furius Philus, and Laelius Sapiens respectively, but see on 15. The three nouns are undoubtedly intended to be a general compendium of the relations of life. Bine superbia : with quisque. 22. dehinc : always monosyllabic in the comic writers. NOTES 73 argumentum, 'plot.' See note on Prol., p. 68. With this verse and the next cf. Plant. Trin. Prol. 16 std de argumcnto ne exspeddis fabulae : senes, qui hue uenient, i rem uobis aperient. 23. partem aperient : sc. narrando. 24. ostendent : sc. adores, not senes, for the reference is to scenes in some of which (e.g. II. 3 ; III. 1) the old men do not appear. We might have expected pars ostendetur, but the active is preferred for the sake of uniformity. aequanimitas : sc. itostra, ' your goodwill ' ; cf. Andr. Prol. '24, Heaut. Prol. 35 adeste aequo animo, Phorm. Prol. 30 adeste aequo animo per silentium. See App. 25. augeat : the final syllables at, et, it, of words of three or more syllables, preserve their original long quantity in the comic poets (and sometimes also in Augustan writers), when they receive the accent. See Ritschl, Proleg. in Trin. 180 sq., and C. F. W. Miiller, Plant. Pro*, p. 60 sq. Cf. Palmer on Hor. Sat. 1. 5. 90. See App. Cf. Introd. p. Ixii. ACT I. Sc. 1 Scene. A public street (uia) in Athens. Three doors face upon this street. The large door near the centre of the stage and the smaller one to the right (of the spectators) belong to the house of Micio. The door to the left belongs to the house of Sostrata, and corresponds in size to the door on the right. The street leads, on the left (but sec App. II.), to the Piraeus, the harbour of Athens ; on the right to the forum (market- place, dyopd). A narrow lane, angijxrrtum, also on the right, leads back from the uia towards the country. There is also a lane on the left. In the middle of the stage is an altar. The scene remains the same throughout the play. Micio enters from the front door of his house, and calls as he comes out for Storax. Micio has adopted his nephew Aeschinus, and is much concerned because the young man has spent the entire night away from home. Storax is a slave who had been sent the evening before to escort Aeschinus home from the house of a friend, where he had been supping. The failure of Storax to appear when summoned is proof that Aeschinus has not returned. Micio proceeds, accordingly, to 74 /'. TERENTI ADELPHOE moralise on his son's absence, a parent's troubles, and his own and his brother Demea's methods of education. As he delivers his soliloquy, he may be supposed to pace to and fro before the door of his house. 26. Storax : Latin for a, a shrub or tree yielding a sweet-smelling gum or resin out of which a kind of incense was made. The name was given to pet slaves of pleasing appear- ance, who were scented with it (piter ab odorc Storax, Donatus), and employed in attendance on the persons of young Athenians of wealth. One of the duties of such slaves was to accompany their masters home after a banquet or a debauch, if necessary with torches in their hands to light the way. See A pp. 27. Beruolorum . . . qui aduorsum ierant : young slaves were employed for this purpose ; hence the diminutive here and in Andr. 83. Donatus on this passage says they were called aduorsitores, a word nowhere found in use. Among the dramatis personae of the Mostellaria of Plautus, Phaniscus aduorsitor occurs ; but the word is nowhere used in the play itself. For aduorsum cf. Plaut. Mostell. 920 Callidamati nostro aduorsum ucnimus ; ibid. 928 ei aduorsum uenimus. Ierant: this form, like audleras, Phorm. 573, and audlerit, Hec. 813, is transitional between the full form in lul and that with u dropped and the stem vowel shortened, as ablero, 127, and lit, Eun. 892 and Phorm. 706. 28. hoc uere dicunt, ' this is a true saying.' 29. ibi : i.e. uspiam. satius = melius ; often in the comic poets. Cf. 58. 30. dicit . . . cogitat : these words need not be taken as a case of hysteron-proteron, but as indicating that in her vexation she thinks much more than she expresses. in animo cogitat : cf. n. on 500. 81. propitii, ' loving' ; more frequently of deities, as Phorm. 636, but cf. Plaut. Merc. 956 tarn propitiam reddam (sc. matrem tuam patri), quam quom propitiast luno loui. It is opposed to iraia. 32. cesses, 'delay.' 33. animo obsequi, 'are indulging yourself; similar .ex- pressions are animum cxplere, Andr. 188 ; animo morem gercre, ibid. 641. animus denotes the disposition in men to self- indulgence ; cf. Plaut. Mil. 677 es, bibe, animo obscquerc mecum atque oncra tc hilaritudine. See A pp. NOTES 75 34. sit male : because she is obliged to remain at home. For the expressions bcne est and male est, cf. Phorm. 151 itt bene sit tibi, Plant. Mostell. 49 quia mihi bene est ct tibi male est, Cure. 164, Cas. 255. See App. 35. ego: as one of i\\& parentes propitii. 6g6 quia : a proceleusmatic is not infrequently the first foot of an iambic Senarius ; cf. 118, 459, 476, 786 ; Introd. p. Iviii. 36. alserit, ' may have taken cold ' ; cf. Plaut. Mostell. 188 nisi ego illam anum interfecero sitifamequc alque algu. 37. ceciderit : through intoxication. See App. praefregerit : prae-, because the reference is to the arm of the leg. In Plaut. Mil. 719-722 similar language is employed. Such fears were a stock subject of alarm. 38. uah : a favourite interjection with Terence, often expressing surprise ; cf. 439. In 187 it is ironical and con- temptuous. It frequently denotes anger or vexation, as here (cf. 315, 532, 578) ; sometimes disdain (Heaut. 765, 901), despair (614, Andr. 688), admiration (439, Andr. 589). quemquamne . . . instituere, ' to think that any man should take it into his head'; for the infinitive with subject accusative in exclamations, see A. 274 ; H. 539. Ill ; G. 534 ; Roby 1358 ; Madvig 399. -ne is frequently added in view of the interrogative nature of the sentence, especially if the expression is reproachful ; cf. 237 and note, 390, 408, 449, 610. Cf. u. on 304. Micio is thinking of himself. in animo : the ablative, not the accusative, is the reading of the best MSS., and is constructed as with locare, or the like ; Livy, 34. 2. 4, has statuere apud animum. 39. parare (sibi) = ut sibi paret, depends on in animo instituere. The pronoun is omitted as in Eun. 149 cupio aliquvs parere (tibi) amicos beneficio meo. 40. atque : adversative, ' and yet ' ; cf. 362, Andr. 225, 525 (where, as Shuckburgh says [on Heaut. 25], atque is probably the true reading, not atqui), and Cic. Acad. 2. 40. 126 ne . . . quidem . . . existimo, atque haud scio an ita sit. se'd 6x : a monosyllable, or an initial syllable, long by nature or position, if preceded by a short monosyllable or a word rendered monosyllabic through elision of the final vowel, may be shortened, and the two may constitute the arsis or 76 /'. TERENTI ADELPHOE thesis of the foot ; if the arsis, then the accented syllable precedes, otherwise follows the shortened syllable. Cf. In trod, p. Ixiii. 41. is: i.e. f rater meus, Demea. 42. clementem, ' mild,' ' easy-going ' ; cf. Andr. 36 clemens eruitus. 43. quod, etc. : i.e. uxorcm habere. isti : those whose views are opposed to mine ; cf. n. on Prol. 15. Sloman takes quod as = uxorem non habere, and isti to mean ' those who are not like me, ' ' my married friends. ' This, however, does not suit so well the corresponding words of Menander, cited by Donatus, TO fia.K6.piov 5' atirutv, yvitcuK' ov \a.fj.pdi>u. See Dziatzko, Rhein. Mus. xxxi. 372 sq. 44. ille contra haec omnia : sc. agit ; contra is adverb, as in 50, and is best taken so in Phorm. 521 nunc contra omnia haec. See App. 45. agere . . . habere . . . duxit : the historic infinitive is common in Terence. Note the change to the hist. perf. The first two verbs are descriptive ; the last expresses merely a single act or incident. parce ac duriter : similar collocation in Andr. 74 parce ac duriter agebat. 47. inde=ex cis ; cf. Eun. 114 e pracdonibus, unde emerat, sc audisse abreptam e Sunio, where unde = e quibus, lumc : Aeschinus. 48. eduxi = cducaui ; this is usual in Plautus and Terence. The latter has educare only in Phorm. 943. Cf. 495, 875, Andr. 274. pro meo : with habui as well as amaui. 49. in eo, ' therein ' ; i.e. in my affection for Aeschinus. eo is neuter as solum id shows. 50. contra : construe ut me item (carum) contra habeat, and cf. n. on 44. facio sedulo. ' I make every effort,' ' I do all I can ' ; cf. 251, 413, Eun. 362, Heaut. 126 ; Livy, 34. 14 ego sedulo ne esset fed. 51. do: sc. pecuniam ; cf. 118. praetermitto : sc. delida. (Donatus. ) NOTES 77 52. pro meo iure, ' by my authority ' ; this refers to ihepatria potestas accorded by the law ; of. Hec. 243 etsi scio ego, Philu- mena, meum ius esse, ut te cogam quae ego imperem facere, ego tamen patrio animo uictus faciam, ut iibi concedam. agere : sc. ettm. The omission of the pronominal subject of the infinitive is characteristic of the style of Terence ; cf. 151, 162, 193, 270, 359, 401, 415, 429, 750, 826, Andr. 145, 358, 394, 401, 470, etc. Cf. n. on 77. alii : i.e. filii, adulescentes. clanculum : a comic adverb elsewhere ; here a preposition with the accusative. It is a diminutive from clam. 53. fert, 'prompts,' 'suggests' ; cf. 839 and n. on 730. 55. nam : elliptical and causal, ' (and I am right in doing so) for.' See on 168 (enim). insuerit = insueuerit, 'has made it his practice.' 56. audacter : see App. audebit : sc. fallere, from the preceding clause ; cf. 125 and 454. 57. liberalitate, ' through their sense of honour,' due to their position as freemen, not 'through liberal treatment,' bonitate, on the part of the father, as Donatus understands it ; c 634, 449, 828, Andr. 38 seruibas liberaliter. liberoa : freeborn children as opposed to serui. Note the assonance caused by the juxtaposition of two words etymo- logically related. Instances of this are numerous, as e.g. 11, 20, 211-212, 218, 283, 299, 322, 384, 668, 990 ; cf. n. on 1. Assonance is perhaps to be distinguished from agnominatio or paronomasia, which is the bringing together two or more words similar in sound, but wholly different in sense and etymology, as e.g. Andr. 218 inceptio est amentium, haud amantium. See Lewis and Short, s. v. For the sentiment cf. the following fragment of a comedy of Menander (Meineke, Fragm. Com. Grace, iv. p. 69), . . . ov \vwovvra Stl \ ircu- oa.pi.ov opOovv, dXXd. Kal TrfiOovra. n, and Ben Jonson in Every Man in his Humour : There is a way of winning more by love, And urging of the modesty, than fear : Force works on servile natures, not the free. 58. retinere, 'to keep one's hold on,' ' to keep in check.' satiuB : see on 29. 78 P. TERENTI ADELPHOE 61. quor : from qua re, afterwards softened to cur. (Corssen.) nobis : ethical dative ; see A. 236 ; H. 389 ; G. 351 ; Roby 1150 ; MadTig 248. Cf. 276, 476. 63. uestitu : dative ; cf. Heaut. 357 where neglcctu = iieglcctui. This form of the dative is found also in Plautus, Lucretius, Cicero, Sallust, Vergil, and Caesar. nimio. 'too much,' i.e. more than what is right or proper. On the use of nimis, nimius, nimium, nimio in Plautus and* Terence see Ramsay's Mostell. Excurs. xii. 64. njnmim : see on 63. aequomque et bonum : the combination -quc et is not un - common in Terence, who is fond of polysyndeton ; cf. Eun. 876 accipioque et uolo, Phorm. 1051 faciamque et dicam, Andr. 676 nodisque et dies, and Ad. 301 where -que is thrice repeated. aequus and bonus are often united ; cf. 987, Phorm. 637, Heaut. 788. 66. qui . . . credat, 'since he believes,' 'in assuming'; see A. 320. e ; H. 517 ; G. 636 ; Roby 718 ; Madvig 366. 68. ratio, 'plan,' 'system,' 'method.' 69. malo. ' by punishment ' ; used especially of the punish- ment of slaves, as in Andr. 179, 431. Cf. Sail. lug. 100 Maritis . . . pudore magis quam malo exercitum coercebat ; Cic. Verr. 2. 3. 23 nam ui, malo, plagis adductus est ut fru- menti daret non quantum deberet, sed quantum cogeretur. 70. id : not ojficium ; but, as Donatus says, quod facit scilicet. tantisper dum, 'only so long as'; cf. Heaut. 106, 147. dum is omitted in 378. 71 . fore clam, ' that it will escape notice ' ; clttm here is an indeclinable adjective = ' secret.' So palam, in 624, = ' evident,' 'open.' Hence facere aliquid palam signifies, not 'to do some- thing openly,' but 'to make something evident,' as in Plaut. Poen. Prol. 126 quod restat, restant alii q id faciant palam, i.e. ' who will disclose ' or ' make clear. ' Commonly, however, clam and palam are adverbs = ' secretly,' and ' openly.' clam is often a preposition. See Ramsay's Mostell. pp. 150, 151. ad ingenium, 'to his peculiar bent'; cf. Hec. 113 ad in- genium redis. 72. Ille : the first syllable is short, as often when the word occurs in the thesis of the foot : e.g. at the beginning of a line, NOTES 79 395, 476 ; in the middle of a verse, 213. Cf. Introd. p. Ixiv., and n. on 192. The second foot is a tribrach, as beneficio is shortened to benficio, by syncope of the second e, and final o is elided ; cf. 254. The forms bcnficium malficium benfado belong to the semno cottidianus, and are restored by Ritschl (Optisc. II. p. 716 sq.) to many places in Plautus and Terence, on the analogy of such forms as benuentod, benmeritus, mal- dictum preserved in inscriptions. adiungas : the second person singular of the subjunctive in a conditional relative clause ; the apodosis has the indicative of a general truth. See A. 316. a. 1. ex animo, 'from the heart,' 'sincerely' ; opposed to de in- dustrial, Audr. 795. 73. studet par : the shortening of a vowel long by position occurs when a word composed of a short and such long syllable is followed by a syllable having the verse accent ; cf. 118 amat ddbitur, 639 tacZt quor, 924 iubSt /rater, 900 studZnt fclccre. Cf. Introd. p. Ixiii. sq. par referre, ' to return like for like ' ; more fully given in Euu. 445 par pro pari referto, quod earn mordeat. 74. patriumst : patrius is 'like a father,' 'becoming to a father'; patcrnus 'worthy of (one's descent from) a (certain) father.' Cf. n. on 450. 75. alieno metu, dXXorpfy ^6/3^ ; the adjective serves the purpose of an objective genitive, aliorum, alterius. The thought is similar to that in 58. Micio airs his pedagogic principles with an easy diffuse ness suited to his time of life. 76. hoc : ablative, ' in this regard. ' interest : constructed personally, as in Eun. 232 stulto intcllegens quid interest ? The more usual form would be hoc interest inter patrem ac dominum. nequit : sc. facere. 77. nescire : for the omission of ne see on 52. A similar omission is not infrequently observable in other poets, and in Livy. 78. ipsus : for this older form of the pronoun, see Hec. 343, 344, 4f>5, Eun. 974, etc. It is used by Terence to avoid hiatus, as in Phorm. 178 is est ipsus. ei, or for euphony. 79. nescio quid, 'somewhat'; an adverbial nccusative quali- fying tristem ; see A. 202. a ; 334. c ; 240. a ; H. 455. 2 ; 378. 80 P. TERENTI ADELPHOE 2 ; 378. footnote 4 ; G. 469. R. 2 ; 331. R. 3. In 211 nescio quid is the cognate accusative ; see A. 238. b ; H. 371. II. ; G. 331. It. 2. But in reality the line between the adverbial and cognate accusative cannot be distinctly drawn ; cf. tibi nil pammt auxiliarirr, 273. nescio quid may be scanned as three syllables, by synizesis of -to. tristem, 'out of sorts,' 'angry,' as in Plaut. Men. 607 quid tu mihi tristis es? The omission of the pronoun (eum) is characteristic of the sermo cottidianus ; for examples see Dziatzko's critical note on this passage (ed. 1881). credo . . . iurgabit, ' he will scold, I suppose ' ; the common speech preferred co-ordination to subordination. So 226 spero, 339 sat scio, etc. 80. saluom te aduenire gaudemus : the usual formula of greeting addressed to a person coming from abroad, or from the country, to the city ; cf. Eun. 976 saluom te aduenire, ere, gaudeo. Micio gives the greeting in the name of his whole house. Demea's abode is in the country ; see 45. ACT I. Sc. 2 Demea, who has learned that Aeschinus has forcibly carried off a music-girl from the house of her master, comes in passion- ate haste to Micio to inform him of the fact, and to reproach him for his excessive leniency and indifferent example. His style of dress, contrasted with that of Micio, is careless and countrified. In his hand he holds a stick, such as might have been borne by a person on a long journey. InT-his displeasure, and contrary to the usual custom on such occasions, he allows the greeting of his brother to pass unnoticed. On this point Donatus says, melius quam Menander, cum hie [Terentius] ilium ad iurgium promptiorcm quam ad rcsalutandum faciat. Micio gets the best of the dispute, but gives expression to his real anxiety after his brother has left him. 81. Terence often commences a new scene within the limits of a verse, Plautus never ; cf. 635, 958. ehem, ' ah !' ; an interjection expressive of surprise ; cf. 373, 901, Hec. 340, Heaut. 622. See on 373. opportune: sc. ades ; the verb is omitted as in 266 and Andr. 345 ; it is added in Heaut. 179 pater, opportune aduenis. NOTES 81 quaerito : see on 321. 83. sciet, etc. : said aside ; the subject is Micio. See App. dixin hoc fore, 'did I not say this would be so ? ' Said aside, and with reference to 79. -ne = nonnc. Spengel and others give these words to Demea, against the MSS. 84. quid ille fecerit : sc. rogas ; so 373 quid agitur t D. quid ayatur. Cf. 261. pudet : the subject is quicquam ; cf. A. 221. d; H. 410. IV ; G. 376. R. ; Roby 1329 ; Madvig 218. a. obs. 2. See on 754. 85. metuit : the subject is qui understood from quern. If in each of several co-ordinate relative clauses the relative would be in a different case, it is inserted only in the first clause ; in the rest it is either omitted, or replaced by the demonstrative pronoun ; cf. Plaut. Hud. 291 quibus nee quaestus est nee didicere artem unquam ullam. See Holtze, Synt. Pr. Scr. Lot. I. 389 ; Draeger, H. Synt. II. 482 sq. legem tenere se : cf. Cic. Philipp. 11. 5. 11 leges eum non tenent. 86. nam : elliptical and corroborative, ' (and there is good evidence of this) for.' See on 168 (enim). antehac : always pronounced as two syllables in Terence, as dekinc and proin always as one. 87. modo quid dissignauit, 'what act of violence has he lately perpetrated?' dissignare means 'to break the seal," then ' to violate,' and so, to commit any violent, strange, or surprising act. In support of this interpretation Nettleship cites Nonius p. 96 ' dissignare ' cum nota et ignominia aliquid facere, and the passage in the text, with Donatus' note, ' dissignare ' est rem nouam facere in utramque partcm, et bonam et malam. He also quotes Hor. Ep. 1. 5. 16 quid non ebrietas dissignat ? which lie renders ' of what miracle is intoxication not capable?' Cf. Plaut. Most. 404. That dissignare therefore, and not designare, is the right form here, and in the places indicated in Horace and Plautus, appears to have good support. See Nettleship, Contributions to Latin Lexicography, p. 441 ; Wilkius on Hor. Ep. 1. 5. 16. See App. nam : see on 537, and cf. n. on 168 (enim). 89. familiam, ' household ' ; particularly the slaves. G 82 P. TERENTI ADELPHOE 90. mulcauit : through his slaves ; not with his own hand. See on 172. usque ad mortem, 'almost to death ' ; cf. Andr. 199 ; Plant. Mil. 163 dintpcristis, ni usque ad mortem male mulcassitis. 91. omnes: the citizens. 92. hoc : accusative, with dixere. Donatus remarks that it may be taken with aduenienti, as archaic for hue. quod : the Cod. Bemb. reads quod for quot, and aliquod for aliquot, regularly. 93. in orest : the subject is hoc understood from what pre- cedes ; or possibly Aeschinus ; cf. Cic. Lael. 1. 2 qui turn fere omnibus crat in ore. 94. coufereudum : sc. cum co. non = ?(onne; cf. 727, 751, 781, 942. -lie and non were used indifferently by Plautns and Terence, with the force of uonne ; cf. n. on 83. 95. rei : i.e. rei familiari, ' the property. ' 96. huius (i.e. Ctesipho) : to be taken with fadum, 'he (Ctesipho) was never guilty of such a deed ' ; more lit. ' no like deed on his part (was ever committed).' huius may also be regarded as neuter and governed by simile, ' no deed like this (conduct of Aeschinus) (was ever committed by Ctesipho).' For the genitive with similis see on 411. nullum factum : an absolute nominative. Terence is fond of such brief sentences with omission of the verb sum; cf. Andr. 126 hinc illae lacrumae, 138 nee satis causae ; Phorm. 104 uirgo pulchra, 133 mihi paratae lites ; Ad. 121 d is gratia, 264 nil potc supra. Likewise Cicero frequently nthis letters. illi, ' to his discredit. ' 97. tu Ilium : hiatus (with a shortening of the vowel) is allowed when a monosyllable ending in a long vowel or m stands before a word beginning with a vowel, and has the verse accent. See Ritschl, Prol. in Trin. 200 sq. Cf. Ill, 118, 168, 202, 211, 336, 341, 397 ; Introd. p. Ixv. 98. imperito, ' without experience. ' numquam : used instead of non for emphasis, like the English "never"; cf. 528, 551, 570; Plaut. Capt. 542 quasi me numquam noueris ; cf. also Heaut. 559 numquam umquam ' never did I ever ' (West). NOTES 83 100. quorsum istuc, ' what do you mean by that remark ?' With ellipse, says Donatus, of pertinet or diets. Plautus has the full expression : tenes quorsum haec tendant quae loquor, Pseud. 217 (Ussing). The number of cases of verbal ellipse in Terence, whether of a verb of general meaning or of one to be supplied from the context, is very great. In the Ad. alone, the following instances may be noted, 44, 81, 127, 133, 153, 156, 158, 204, 227, 266, 275, 326, 518, 539, 566 sq., 677 sq., 752, 781, 805, 860, 916. 101. flagitium : a very strong word, 'burning shame,' 'deep disgrace.' 104. dHt=siuit. The perfect sii is sustained by the Latin grammarian Diomedes (I. p. 374 Keil) by reference to this passage and to another in Varro. 106. esset . . . faceremus: with the force of fuissct . . . fecissemus, but the action may be imagined as continued or repeated in the past ; cf. n. on 178, and see A. 308. a ; H. 510. note 2 ; G. 599. R. 1 ; Roby 1530 (c) ; Madvig 247. obs. 2 Jin. unde id fieret : cf. n. on 122 ; A. 320 and a ; H. 503. note 2 ; G. 634. fieret : the first syllable of fieri, fierem, etc. , is sometimes long, sometimes short in Plautus and Terence. 107. homo, 'a true man,' 'a man of sense'; cf. 934, 579, 734, 736. 109. te expectatum, 'after waiting in hope of your death' ; cf. 874 ; Plant. Mostell. 433-5. eiecisset foras. 'had tumbled you out for burial' ; the verb denotes haste and indifference to ceremony, and is purposely substituted for extulisset, the word for a decent funeral. The adverb foras is an accusative of motion to, from the obsolete noun fora ; foris is the locative of the same. 110. quam . . . faceret : for a clause of result, following quam, see A. 332. b ; H. 502. 2 ; G. 647. R, 4 ; Roby 1672-8 ; Madvig 360. obs. 4. Cf. n. on 240 and 248. tamen : often added, in colloquial language, to bring out the idea of concession here, as if Terence had written quam- quam alieniore aetate ; cf. 174, 226. It gives strength to the sentence as &tun does ; c Andr. 94, Heaut. 1012 nilo minus ego hocfaciam tamen. 111. tu homo : with sarcastic reference to 107. 84 P. TERENTI ADELPHOE 113. ne me optundas : clause of purpose ; not a prohibition. The metaphor is from the forge ; cf. Heaut. 879 datiste inquam deos . . . obtundcre ; Plaut. Cist. 116 auris grauiter optundo ttuis. 116. illi = i'Wic; i.e. ibi ubi illc pcccat. (Donatus.) For illi as adverb cf. 525, 577, 716, 844, Phorm. 91. 117. obaonat, etc. : protasis to de meo. olet : with accusative, as in Plaut. Asin. 929 murrain olet ; Hor. Ep. 1. 19. 5 uina . . . oliierunt . . . Camenae. de meo, 'out of my means'; so Plaut. Men. 149 de tiw, ibid. 291 de mcapccunia. Similarly de te in 940. 118. aniat dabitur : see on 73. dum erit commodum. ' so long as it shall suit me.' 119. non erit : sc. commodum, not argentum. excludetur : i.e. ameretricc; cf. Eun. 49 exclusit; reuocat: redcam ? non, si me obsecret. 120. discidit uestem : an inference on Micio's part, not mentioned in 88-91. Cicero cites this verse and half of the next as characteristic of a gentle and indulgent father (pro M. Caelio 16, 38). For discidit cf. n. ou 559. 121. dis : never diis in Plaut. and Ter. ; cf. 138. 122. est unde haec fiant : Prof. W. G. Hale (CWi- Con- structions, Part II. p. 107) quotes this passage as an instance of the pure potential (subjunctive), which, he says, has an occasional use in hypotaxis, in qualitative clauses expressing capacity, though in parataxis it has nearly died out. 123. c8d6 : an archaic imperative corrupted by contraction from cc-dato = hocce data, 'give it here' ; that is 'appoint any judge you please to decide between us.' The plural cctte is only found in old Latin, but the singular is used by Cicero. 124. ostendam : in the presence of the arbiter. ei mini: i.e. 'ah me," to what nonsense am I forced to listen ! 125. sciunt : sc. patres esse. 126. natura . . . consiliis : for the antithesis cf. 902 et animo et natura pater, 957 animo et corpore. oonsiliis is four syllables. NOTES 85 127. si pergis, abiero, ' if you are going on like this, I shall be off' ; the fut. perf. denotes that the action will be surely and quickly carried out ; so 538, 819, 845, Hec. 701, Andr. 456. Observe that the English uses the simple future. For abiero see on 27. 128. sicine agis, ' is it thus you act ? ' i.e. go away without listening to me ; cf. Eun. 99 sicine agis, Parmcno ? sicine : made from sic [sice] ne, and therefore with one c. See Ritschl, Opusc. II. p. 556. 129. curaest mihi : sc. Aeschinus, or perhaps ea res. 131. ambos curare : the omission of tc gives to the reproach a general application. 132. ah, Micio : in a tone of protestation ; i.e. do you think I would take back what I have given ? 133. quid istic : sc. dicendum or agendum cst ; Donatus says, deest ' loquor ' aut 'resisto.' istic is an adverb. The expression is one of concession after a dispute, and may be rendered 'well then,' 'enough' ; cf. 350, 956, Andr. 572, Eun. 171, 388, Heaut. 1053, Plaut. Epid. 143 quid istic? uerba facimus. 134. For the alliteration cf. n. on 1 ; cf. also 3, 7, 11, 13, 19, 21, etc. 135. For the aposiopesis see A. 386 ; H. 637. xi. 3 ; G. 691. Cf. 137, 140, Andr. 164 ; Verg. Aen. 1. 135. 136. an non credis. ' what ! do you not believe me ? ' For an see A. 211. b ; H. 353, note 4 ; G. 459. The first member of the disjunctive question is suppressed. 137. aegrest, 'it is very hard,' 'annoying.' alienus, ' a stranger. ' em : see on 169. 138. dis : see on 121. 139. quom . . . eat, 'because he (Ctesipho) is'; for the indicative see on 18. iste tuos : with a reference to 115 is metis est foetus. sentiet, ' will appreciate,' i.e. in how much better case his sober-minded brother is. 140. Demea departs. He has had his say with Micio (see 81), and must attend to other matters of importance for which 86 P. TERENTI ADELPHOE he came to town. Micio remains behind and speaks his opinion freely. 141. ' Neither without foundation, nor yet .altogether right, are the things he says' ; cf. Eun. 641 haud nil est, and "Though what he says be not entirely true, There's something in it." Caiman. 142. nil, 'in no wise,' 'in no respect'; this adverbial accusative is sometimes put with verbs, and rarely with adjectives, in place of non, for emphasis. Cf. 273 nil auxili- aricr. See Madvig 455. obs. 4. Cf. n. on 79. haec : the doings and tricks of Aeschinus, of which Demea has just been speaking. mihl : the final syllable in mihi, tibi, sibi, ibi and ubi, is long when it occurs in the arsis of the foot, i.e. when it has the verse accent. See lutrod. p. Ixv, footnote 2. Cstendere : the first syllable is shortened, because it follows a short monosyllabic word and is followed by a syllable having the verse accent, the two syllables before the accented one being in the thesis of the foot ; cf. 238 pZr Spprfationem, Andr. 66 sine inuidia. See on 40. 143. aegre pati : the object is easily supplied from the previous line ; cf. aegre fercns, likewise used absolutely, Andr. 137. homo : no more than ' he ' ; so 407, 536, Phorm. 774, Eun. 408. 144. qnom, etc., 'though I try to pacify him, I assiduously oppose and repel him ' ; the indicative with qnom concessive is regular in early Latin, when facts are dealt with. See A. 326. note 3 ; H. 515. III. note 4 ; Roby 1731. Cf. n. on 18. 145. tamen uix : see on 73. uix humane patitur, ' he scarcely bears it as a man should,' i.e. the evil conduct of Aeschinus. On patitur cf. n. on 143. augeam : sc. eius iracundiam. 147. cum illo, 'as much as he.' etsi, 'and yet' ; cf. nisi, 153. 150. omnium : sc. mcrctricum. 151. dixit uelle : for the omission of se see on 52 and 77. NOTES 87 152. deferuisse, 'had cooled down' ; cf. Cic. pro Gael. 18. 43 cum adulescentiae cupiditates deferbuissent. de in composi- tion often conveys the idea of completion, cessation. Cf. the similar use of CLTTO. See on 184, 519. 153. de integro, ' the same thing repeated ! ' There is an ellipse of amat or peccat, or the like. nisi: adversative, 'yet,' 'but'; cf. 545, 785, Eun. 548 nisi, quidquid cst, jirocul hitic lubet prius quid sit sciscitari. 154. hominem : Aeschinus. apud forum : in the sense of inforo ; similarly apud uillam, apud portum, etc. The expression belongs to the language of everyday life. Micio now leaves the stage to go to the forum (i.e. he goes off to the right of the spectators ; see introd. to Act I. Sc. 1, and App. II.), where he expects to extract the truth from Aeschinus in person. The forum (market-place) was the customary meeting-place of the citizens, especially in the morn- ing hours. Accordingly comedy represents young men, who are known to be away from home, as being sought for there. ACT II. Sc. 1 Aeschinus has forcibly carried off the music-girl from Sannio's house, and brings her now to his own home where he places her in his brother's hands. He is followed by Sannio who endeavours to prevent him from taking her to Micio's house, and calls in vain for help. The slave Panneno is directed by Aeschinus to watch Sannio and cuff him if he lays hands on the music-girl. Parmeno is evidently one of the semoli, mentioned in 27, who are now returning home with their master. The abduction is spoken of by Demea, in 93, as already of public notoriety, while here it would seem to have only just occurred. The apparent chronological difficulty disappears when we consider that Sannio's residence was a considerable distance from that of Micio, and that the slave-dealer, by resisting the attempt to rob him of his property, would have caused delay all along the route. This is the scene taken from the 'Svi>a.iro0vyffKovrfs of Diphilos, mentioned in the prologue, 6-11. 88 P. TERENTI ADELPHOE 155. Sannio enters the stage hastily from the direction of the forum, followed by Aeschinus with Bacchis, and the slaves Parmeno, Storax, etc. The trochaic metre is expressive of strong excitement. obsecro, populares : an appeal to the citizens for assistance in a case of open violence, as in Plant. Rud. 615 sq. pro Cyrenenses populares, uostram ego inploro fidem . . . forte opem inopiac . . . uindicatc, ne inpiorum potior sit pollentia quam innocentum, etc. Cf. Men. 999 sq. 156. otiose, ' calmly ' ; cf. 533, Andr. 842, Phorm. 340. nuuciam : an emphatic ' now ' ; three syllables in the comedians. ilico (in-loco) here denotes place, as in Plaut. Bacch. ilico ambae manete ; but see on 536. hie : i.e. before the door of Micio's house. This verse and the next are said, by way of encouragement, to Bacchis, who casts fearful glances at the leno, and is generally disturbed by the whole proceeding. 158. istam : sc. tangam. inuitis omnibus =etsi omncs inuiti sint. 159. scelestus. 'a villain'; one of a large number of terms of abuse, common in Plautus and Terence, for which see Ramsay's Mostell. excurs. xvii., and pp. 125-6. This epithet is in the list of those heaped upon a leno in Plaut. Pseud. 359 sq. non committet . . . uapulet, 'he will not under any circumstances run the chance of a second beating..' hodie umquam : see on 551. iterum : the first was at his own house, when Aeschinus abducted the music-girl ; see 89 sq. For the construction cf. Plaut. Trin. 704 id me wnmissurum ut patiar fieri, ne animum induxeris. 1 60. ne . . . dicas : to be taken with leno ego sum, rather than audi ; but the proposition on which the clause of purpose really depends is understood, as ' I wish to inform you, ' or the like. See A. 317. c ; H. 499. 2. note ; Madvig 440. obs. 6. Cf. Cic. Cat. Mai. 16. 55 senectus est natura loquacior, ne ab omnibus earn uitiis uulear uindicare, i.e. ' (which I mention) that I may not appear,' etc. NOTES 89 te ignarum fuisse : i.e. when the case conies into court where Sanuio's strict integrity is to be established. meorum morum, ' of my character.' meorum and fuisse are dissyllabic ; so fuit is a monosyllable in the corresponding metrical position in 161. Cf. Introd. p. Ixiv. For the alliter- ation see on Prol. 1. 161. leno, 'slave-merchant,' a word that for Aeschiuus includes all that is bad (see Plaut. Rud. 651) ; hence he answers ironically, scio ' no doubt.' But Sannio's point is that though a slave-dealer he is an honest one, a fact that would secure him a fair hearing in the courts. Begarding this word, Mr. R. G. Moulton, in his work on the Ancient Classical Drama, p. 421, writes as follows : " The accepted translations seem to me to give an unnecessary air of looseness to some plays by using terms of modern immorality, like ' procurer. ' It is obvious that the institution of slavery, involving concubinage as distinct from marriage, makes a great difference at all events to the grossness of such life ; and if the term 'slave-merchant' be substituted for 'procurer,' etc., a great deal of Plautus [and Terence, he might have added] may be read by modern readers without offence. Of course this does not apply to such plays as the Bacchides, which are im- moral in the modern sense." fide optuma : all. of qual. ; see on 442 The sentence is virtually a universal negative, ' no man was ever, etc.' ; hence quisquam, for which see A. 202. b ; H. 457 ; G. 304 ; Roby 2278 ; Madvig 494. fidS : the original long vowel preserved ; so uirgine, 346. See Introd. p. Ixii. 162. tu quod . . . purges, 'as to the excuse you may make later ' ; the clause has the construction of an accusative of specification (A. 333. a ; H. 516. II. 2. note ; G. 525. R. 2 ; Roby 1748 ; Madvig 398. b. obs. 2). So Andr. 395 nam quod tu sj)eres 'propulsabo ' etc. Cf. n. on 305, and 296. 163. huius : a genitive denoting indefinite value (A. 252. a and b ; H. 404. note 2 ; G. 378 and 379), said BttKTiKwt (with a gesture) ; cf. Plaut. Merc. 15 quos edepol ego credo humanas querimonias non tantifacere. faciam : future indicative. ius persequar : in a court of law. 164. re, 'in actual fact' ; opposed to iifrbis, 'mere words.' 90 P. TERENTI ADELPHOE 165. nollem factum : sc. ease, ' I wish it hadn't happened ' ; of. 775, 919, 1(52, Phorm. 796 nollem datum a common form in Plautus and Terence. The omission of the copula is regular. dabitur ius iurandum . . . te esse : the construction is similar in Plaut. Amph. 931 ius iurandum dabo me ... arbitrarier, 166. acceptus, 'treated' ; cf. Plant. Aul. 630 tc . . . miseris iam accipiam modis. Cf. 176 ornatus. 167. abi prae : said to Parmeno who forthwith opens the door of Micio's house. These words are always in this order in Plautus and Terence ; cf. Andr. 171 ; Eun. 499, 908 ; Plaut. Amph. 543 ; Cure. 487 ; Cist. 606 ; Pseud. 170, 241. hoc : i.e. these protestations of mine, nili : see on 163. 168. nunciam : see on 156. Without noticing Sannio's question, Aeschinus directs the girl to enter the house. But Sannio with a quick movement plants himself before the door, and laying his hands on Bacchis prevents her from entering. enim : originally a corroborative particle, coniunctio affirma- tiua (Priscian xvi. p. 103 sq., H. ; Vol. III. Keil), capable of standing first in the sentence, as here and in Hec. 238, Phorm. 983, Plant. Trin. 1134, Capt. 592. In Plautus it is always corroborative ; in Terence it is sometimes causal (e.g. 649, Hec. 834) ; see Langen, Beitrage, pp. 261-271, but cf. Palmer on Plaut. Amph. 2. 2. 26. nam likewise is sometimes causal, sometimes corroborative in Plautus and Terence ; cf. n. on 190, 193, and see Hallidie's analytical note on nam (namque).m his ed. of the Captivi, 464. Cf. also n. on 537 infra. On "both enim and nam, both of which may nearly always be regarded as elliptical, see Ramsay's Mostell. Excurs. vi. enim non : see on 145. 169. nimium abisti, ' you have gone too far.' For instances of nimium as an adverb in Plautus and Terence, see Ramsay's Mostell. Excurs. xii. p. 234 ; cf. 684, 835, 954, 393 pernimium. istuc, 'that way,' i.e. in the direction of the place where you now stand. propter hunc. 'close by him,' i.e. Sannio. For this local sense of propter cf. 576; Plaut. Mil. 9 stat propter uirum; Cicero and Vergil. NOTES 91 em, sic uolo, ' there, that's as I would have it ' ; addressed to Parmeno after he has taken his position by Sannio's side. em = en (ace. of clem. pron. is) is a common interjection in Plautus and Terence, and quite different from hem, though the two are often confused in the MSS. See on 172, 537. Cf. n. on hem, 224. 170. caue . . . demoueas : see on 458. 171. pugnus : it was usual to strike with the fist, not the open hand ; see Plant. Asin. 371 pugno malamsi tibi percussero. For the situation cf. Plaut. Rud. 731, where the slaves, having been placed by the side of the leno Labrax, are addressed by Daemones in the words, uos adeo, ubi ego inmiero uobis, ni ei caput exoculassitis . . . uirgis circumuinciam. 172. ergo gives emphasis, ' I should like to see him try that very thing.' So 324, 326, 572. em, serua. ' there, take that ' ; em not hem should be read with imperatives like uide, specta, tene, accipe, serua. Cf. Tyrrell's note on Plaut. Mil. 365. See on 169. The words are addressed to Sannio at the instant when Parrneno, in obedience to a sign from Aeschinus, has given Sannio a stout blow on the cheek. Aeschinus does not give the blow himself. This would have been beneath the dignity of a freeborn Athenian youth. For em serua used of striking a blow cf. Plaut. Pers. 809 hoc letio tibi. D. Pcrii, perculit me prope. P. Em, serua rusum. 173. geminabit, ' he shall repeat the blow'; Parmeno mis- takes this for an order to strike again. 174. in istam partem. 'in that direction,' i.e. of excess, in which Parmeno has already erred by striking Sannio twice. tamen : i.e. quamquam non innueram ; see on 110. 175. i nunciam: said to the girl, who released from the leno's grasp hurries into the house. reist : see on 644. regnum : cf. Sail. lug. 31 impune quaelibct facere, id est rcycm ('Tyrant') csse. hie: Donatus says, bene 'hie,' id est ' Athenis,' ubi grauius crimen est dominari uelle. 176. ornatus esses, 'you would have been dressed'; ironical. Cf. n. on 166 ; cf. also Heaut. 950 adeo exornalum 92 P. TERENTI ADELPHOE dnbo, adco dcpexum, ut dum uiuat meminerit semper mei ; Plant. Rud. 730, Capt. 997. ex, ' according to. ' uirtutibus : ironical. 177. rei, 'business.' qui aim : in reference to liis character as given in tetigin tui quicquam ? of the next verse. 178. ferres : imperfect for pluperfect, a usage especially common in colloquial Latin ; see on 106. For the meaning cf. Andr. 610 prelium fero, Eun. 1057 optatum auferes, Phorm. 272 quod meritus sitferat. infortunium : cf. Plant. Amph. 286 inuenies infortunium. Translate/.;., 'you would have come badly off.' 179. qui, 'how ' ; an old form of the ablative ; cf. Hor. Sat. 1. 1. 1 qui fit Maecenas? Cf. n. on 254 (quiuis). magis : i. e. quam mihi licet tui quicquam tangere. ineani : sc. ancillam or mulicrem, i. e. ' my property. ' 180. conuicium, ' a disturbance ' ; the collective idea, and therefore the singular. The original meaning was a ' noise of many voices.' Horace has the plural (Sat. 1. 5. 11), turn pueri mantis, pueris conuicia nautae ingerere ; ibid. 7. 29. For the orthography (conuicium, not conuitium) see Brambach, Rhein. Mus. xxiv. 538. erit melius, ' it will be best for you,' ' I advise you.' 182. operiere : Plautus and Terence prefer the second pers. sing. pass, in -re to that in -ris, except when thejnetre demands the latter. loris : i.e. plagis ; the instrument for the blow dealt with it. lora (plur. of lorum, ' thong ') was a cat made of strips of ox-hide. The subject of slave-punishments is exhaustively dealt with by Ramsay (Mostell. Excurs. xv.) liber : lenones belonged to the lowest class, but were never- theless free. Only slaves could legally be whipped. 183. o hominem : hiatus is admitted in Terence after an interjection ; cf. 304, 336 ; Phorm. 754, 803 ; Eun. 656 ; Introd. p. Ixv. inpurum, 'infamous'; cf. 281, 360; Phorm. 83. NOTES 93 hicine : here in Athens. libertatem : Athenian citizens made boast of their freedom and equality before the law. 184. si ... debacchatus es, ' if you have quite raved your fill now,' i.e. 'have ceased raving' ; cf. Hor. Od. 3. 3. 55 qua partc dcbaccfientur ignes, 'revel to the end,' i.e. till they have had enough of it the only other place where the verb is found. For the intensive de in composition with verbs cf. 152 deferuisse and n. ; 519 defetigare, ' utterly to weary out' ; Heaut. 362 de- mirari, ' to wonder greatly.' But the use is a rare one. si uis : usually contracted into sis, as in Heaut. 369 ; see on 766. 185. autem : an emphatic particle, especially used with pronouns, and generally in questions ; cf. 404, 462, 537, 934, 935, 940, 950, Hec. 100 ; Verg. Aen. 2. 101. 186. ad te : see on 40. 187. aequi modo aliquid : sc. dicas, ' provided you say something fair.' uah, leno, ' ah ! a leno ' ; see on 38. 188. pernicies, etc. : both Icnoncs and mcrctriccs in the comic writers were wont to admit the unworthy nature of their avocations. Cf. Herodas II. vv. 74 sq., Biicheler. 190. nam . . . restat : ironical, nam is elliptical and cor- roborative, '(not yet) for that is to come hereafter.' See on 168 (enim). For restat cf. n. on 357. iliac . . . coepisti : refers to 185 s^. quo is not for unde, but ' whither,' ' to the place where,' as in Hec. 194 pergam quo coepi hoc iter. 191. minis uiginti : about 75, or nearly $375. See on 370. The price paid for female slaves varied. Usually it was twenty or thirty silver minae ; but it rose in some cases to sixty or more. See Ramsay's Mostell. p. 136. quae res tibi uortat male : the opposite of the usual quae res bene uortat ; cf. Phorm. 678 quae quidem illi res uortat male ! 192. 6g6 tibi Illam : proceleusmatic. The pronouns iste, ipsc, ille shorten the first syllable when that syllable occurs in the second place of a resolved arsis, if in the first place there stands a word of one syllable or a word rendered monosyllabic by elision of the final vowel ; e.g. Andr. 174 se"d Ipse, 501 tibi Istaec, 607 ubi lllc, 645 quid Istuc. A similar shortening takes place 94 P. TERENTI ADELPHOE when the syllable referred to is the second in a dissyllabic thesis, if the verse accent falls on the first syllable after the weakened one ; e.g. Andr. 15 Id Istl, 266 uel tthic, 299 ab Hid. Moreover llU may occur in thesis ; e.g. Ad. 72 HIS quern, 395, \lle sdmnium, 476 lUe bdnus uir, 213 llle uerberando (see on 72) : also in arsis ; e.g. Eun. 618 illc continue (the sixth arsis of a trochaic Octonarius). But no case of the shortening of the initial vowel of iste or ipse in the lirst place of a dissyllabic thesis or arsis (e.g. Iste qui ; iste qui) is found in Terence. See Introd. to Spengel's Andria, pp. xxv. xxvi. 193. namque : elliptical and causal, ' (I asked you the ques- tion) for' ; see on 168. uendundam : this form of the gerundive is found also in Augustan writers (Caes., Cic. , Liv. ), especially in legal or political phrases such as iure dicundo, res repetundae. Sallust was fond of it, as of other archaisms. For the omission of earn, see on 52 ; of essc, on 13. 194. If it should be proved in court that the girl was a free- born citizen the leno would be compelled not only to release her, without compensation for his loss, but to pay a considerable fine besides. It is probable that in the play of Diphilos she turned out to be an Athenian citizen. Otherwise Aeschinus would scarcely have dared to treat Sannio as he did (see 198). But Terence evidently intended that she should not be repre- sented as freeborn, as he never alludes to the matter again, and the discrepancy may be accounted for, in this case as in others, as due to the "contamination," which would lead to the neglect of many matters of detail. ego . . . manu, 'I formally maintain that she is freeborn.' adserere manu is a legal phrase signifying to assert the freedom of a person by symbolically laying one's hands oil him. causa liberalis was an action at law to recover liberty, d0ai/>es. The Latin form was nlnpa (nom. sing.) ; for the omission of the initial c cf. lamcntnm with clnmarc, laena with -x^aiva., rudus with crudus, nidor with Kvlffd. Koby 110, 3. infregit: illisit, inflixU. (Donatus.) Cf. Plin. H. N. 8. 36. 130 colapho infracto cxanimantur. 200. tantidem emptam, 'at cost price.' tradier : the archaic form in -icr of the pres. inf. pass, is most frequently found at the end of the line in Plantus and Terence, or at the close of the h'rst half of an asynartete verse. The form is a favourite with the poets. Cf. 273. 201. The entire verse is ironical. uerum enim : enim is often combined with other particles, as e.g. enim ucro, nil enim, non enim, at enim, quia enim, eerie enim, enim iam. See on 168. promeru.it : used only in a good sense ; commereo only in a bad ; mereo in either. Cf. 681, Phorm. 516, Andr. 139. 202. cupio, 'I am willing,' 'ready.' modo arg. : see on 40. reddat, ' pay ' : so 205, 279, 280. hoc refers to the payment of the money ; cognate accusative. Cf. u. on 253. hariolor, 'I am dreaming,''! talk like a fool'; from harioliis, and connected by Tyrrell with hirae, ' entrails. ' Cf. Phorm. 492. In Plautus this verb always diuinare. 203. dare : for daturum esse ; frequent . in Terence after verbs of promising. The pres. inf. marks the immediate fulfil- ment of the promise, as in Caes. B. G. 4. 21 qui polliceantur obsides dare atque imperio populi Romani obtemperare. See on 224. testis faciet, ' he will call witnesses ' ; Plaut. Cure. 565 nc facias testis. 204. uendidisse me : if Sannio agrees to sell the girl he will thereby invalidate his suit for damages, for Aeschinus will summon witnesses to testify to the compact, although he will take his time about the payment of the purchase-money. somnium, 'mere fancy,' 'moonshine'; cf. 395, Phorm. 874. NOTES 97 mox ; eras redi : the words of Aeschinus, as Sannio foresees them ; cf. 233 sq., Plant. Mostell. 568 redito hue circiter meridiem. 205. id : i.e. postponement of payment. 206. res, ' the fact,' 'the truth.' quaestum, 'business,' i.e. of aleno. occeperis : cf. Andr. 79 accepit condicionem, dein quaestum occipit. See on 197. See App. 207. accipiunda=jxi#M7ufa; cf. Eun. 771, 762, Phorm. 769. mussitanda : mussitarc is employed by both Plautus and Terence, and is generally equivalent to reticere. Thus Plaut. Pseud. 501 quom ea mussitabas= ' when you maintained silence with regard to these matters,' True. 311 egone Jutec mussitem = ' can I keep silence on these matters ? ' For a discussion of mutire, mussare, mussitare, see Ramsay's Mostell. p. 142. Translate a. et m. cst, 'must be borne in silence.' 208. frustra . . . puto, 'in vain do I make these calcula- tions' ; cf. the proverbs "to reckon without one's host," "to number the chickens before they are hatched." Cf. u. on 796. ACT II. Sc. 2 Aeschinus has informed his slave Syrus of the state of the case, and the latter promises to coax Sannio into giving up the music -girl at cost price. Syrus takes advantage of certain complications in Sannio 's affairs, which will not brook delay. Had Sannio been in a position to await the issue of a law-suit it might have gone hard with Aeschinus. 209. As Syrus enters the stage from Micio's house he turns and speaks to Aeschiuus within. The latter is partly visible behind the door. tace : with the idea ' rest assured ' connoted. ipsum : Sannio. accipiat faxo : faxo is constructed with the subjunctive in Terence, only when the verb precedes it ; otherwise it is followed by the future indicative, four times, Eun. 285, 663, Phorm. 308, 1055. In Plautus there is no well-authenticated instance of the fut. ind. The Augustan writers are consistent in the use of the subjunctive. B 98 P. TERENTI ADELPHOE faxo : in the older language there was a future indicative in -so and subjunctive in -aim, formed from the stem, as foxo (foc-so), foxim (foc-sim) ; cf. 7rpdw (wpay-ffu). In the first and second conjugations the s was doubled, as Icuasso (from leuare), prohibesso (from prohibere). Many of these forms are found in Plautus. Vergil, Livy, Ovid, Horace, and even Cicero, occasionally employ them. Terence uses only faxo, faxis, aiisim, aiisis, cxcessis, appellasis. See A. 128. e. 3 ; H. 240. 4 ; G. 191. 5 ; Roby 619-625 and 1486 ; Madvig 115 sq. According to Victor Henry (Comp. Gram, of Gfr. aiid Lot. p. 115, Eng. Transl.) faxo was a subjunctive of the sigmatic aorist. If so, it was nearly equivalent to the fut. in meaning. Cf. King and Cookson, p. 463 ; Stolz, Lat. Gram, in I. v. Muller's Handb. d. Mass. Altertumsvnss. II. p. 233. 210. bene : with esse actum. quod : conjunction, ' that ' ; see on 305. 211. te . . . ero, ' that you have had something of a set-to with my master.' nescio quid generalises and therefore weakens. See on 79. i 211-2. numquam . . . comparatam, 'I never saw a contest more unfairly matched ' ; certatio comparata is an expression borrowed from the gladiatorial combats. 213. I11S ue"rberando : see on 72. usque, ' quite ' ; the limit to which iisque reaches is in- dicated by defessi: they contend even to the point of utter weariness. Cf. Juvenal, 3. 289 si rixa est ubi tu pulsas, ego uapulo tantum. 214. tua culpa : ablative. The idea is expressed in full in Hec. 228 non mea opera neque pol culpa euenit ; Eun. 980 culpa nonfactumst mea. quid facerem. 'what was I to do?' Deliberative sub- junctive ; see A. 268 ; H. 484. V. ; G. 468. adulescenti . . . oportuit, 'you ought to have humoured the young man ' ; see on 218 ; cf. n. on 431 ; cf. also 708, Andr. 641. gestum. With oportuit, decuit, conuenit, debueram, oportu- erat, etc., when used for the purpose of telling what ought to have been done, the perfect infinitive is often employed in the active, commonly in the passive, and in the latter usually without esse. Madvig 407. obs. 1. The construction in full NOTES 99 would be morem a te gestum esse oportuit ; cf. Heaut. 536 haec facta ab illo oportebat ; ibid. 247, 635 ; Andr. 239 nonne prius communicatum oportuit ? 215. The first qui is an interrogative adverb (see on 179), the second the relative pronoun ; ' how could I have humoured him more, (I) who already have gone to the extent of presenting my mouth (to his blows) ? ' hodie, ' this very day,' ' already,' merely adds emphasis. Donatus on this passage (see Brix on Plaut. Men. 1. 3. 36) says, ' hodie ' non tempus significat, sed iracundiam, eloouentiam, ac stomachum. See on 551. loquar : subjunctive, because the question is regarded as actually dependent ; see on 195. Syrus now comes to the matter he has in hand. 216. in loco, ' at the right time ' ; cf. 827, 994, Heaut. 537. lucrum : the idea, somewhat elevated in tone, occurs in Plaut. Capt. 327 est etiam ubi profecto damnum praestet facere quam lucrum. hui : ironical, as in Eun. 223, Andr. 474 ; cf. 411 infra. 218. adulescenti esses morigeratus, ' if you had given in to the young man ' ; cf. n. on 214 and 431. si in 217 belongs to this clause also. The asyndeton is in harmony with Terence's style, morigeror (or -o) alicui=gerere morem alicui, 'to adapt one's ways to another,' 'to please'; usually with dat. of the person, as here, but also with dat. of the thing, as in Plaut. Capt. 198 nunc seruitus si euenit, ei uos morigerari mos bonust, and Cic. Orat. 48 uoluptati aurium morigerari debct oratio. 219. ne non tibi istuc faeneraret, ' that it would not pay,' ' would not bring in interest ' ; faenero generally means ' to lend on interest.' The deponent faeneror is preferred by Augustan writers. 220. rem: i.e. pecuniam, lucrum; cf. 95, Andr. 288. abi : 'be gone,' 'get out'; the meaning varies somewhat with the context. Cf. 564, 620, 699, 703, 765, 776. Here the tone of the ejaculation is contemptuous ; cf. Plaut. Mil. 291, 324. It is sometimes complimentary, sometimes threatening, sometimes expressive of contentment and satisfac- tion. See on 564 and 765. 221. istuc : your opinion, way of looking at the matter. 100 P. TERENTI ADELPHOE nuinquam adeo, etc., 'I never attained to such a pitch of cunning as to refrain, etc.' Ramsay, Mostell. Excurs. i. p. 183. 222. mallem potius : the doubling of the comparative is for emphasis ; cf. Andr. 427 omnis sibi tnalle mclius cssc quam altcri. 223. Syrus now attacks Sannio from another quarter. He says flatteringly ' Come now, I know your mind : as if twenty ininae were oi any account to you, provided you oblige him (i. c. my master). Besides, the report is current that you arc oil the eve of your departure for Cyprus.' quasi : note the double ellipse, ' [you speak] as [you would speak] if ; cf. 271, 941 ; Plaut. Capt. 763 quasi in orbitatcm liber os produxcrim. iam usquam : ironical, =in ulla aestimationc ; cf. Eun. 293 neque uirgost usquam neque ego, and the Greek rovrov ou8a./j.ov \tyu ' I account him nowhere,' i.e. 'as naught ' (Soph. Ant. 183). See App. 224. proficisci: the present infinitive for the'future, frequent in the scrmo cottidianus ; cf. u. on 203 ; Andr. 411, Euii. 520 sperat se a me auellere. hem : an emotional ejaculation, here expressive of surprise, ' what ? ' In reality it is the sound made in clearing the tjiroat. It is common in Plautus and Terence, and is sometimes written em in the MSS. ; cf. n. on em, 169. Sannio did not suspect that Syrus was possessed of this information. 225. coemisse : coem is one syllable, as in coemptionalem, Plaut. Bacch. 976. hoc : ablative of cause with pendet, ' on this account, I know, your mind hangs in the balance/ i.e. you are doubtful whether to go or stay. Some editors take hoc as an ace. after scio, ' so much I know.' 226. spero : parenthetical ; see on 79 (credo). hoc ages : freely, ' there will be time enough for you to attend to this bit of business.' 227. nusquam pedem : sc. feram ; cf. Plaut. Men. 381 j)cdem . . . tctulit, 554 fer pedem, 630 tetuli pedem. Having repulsed Syrus with this remark, Sannio steps to one side and talks to himself. timet, etc. : said aside as far as 235. NOTES 101 228. scrupulum : lit. 'asharpbitof stone' ; hence figuratively, 'uneasiness,' 'difficulty,' 'doubt.' Cf. Andr. 940, Phonn. 1019 ; Cic. pro Cluent. 28. 76 hie turn iniectus est hominibus scrupulus et quaedam dubitatio. o scelera : accusative ; see on 304. 229. ut . . . oppressit : sc. me ; for the indicative see on 195. in ipso articulo : sc. temporis, ' at the very nick of time ' ; cf. Cic. pro P. Quinct. 5. 19 ut eum . . . in ipso arliculo temporis astringent. emptae : sc. sunt. 232. hoc : the transaction with Aeschinus. agam : with thought of 226 hoc ages. 233. refrixerit res, ' the matter will have grown cold' ; i.e. it will be useless to pursue it. Cf. "strike while the iron is hot." Cf. also Cic. ad Att. 1. 19. 4 sed hoec tola, res interpellata bello refrixerat. nunc . . . eras : what Aeschinus and his friends will say ; cf. n. on 204. 234. quor passus es, 'why did you allow it? ' i.e. allow the girl to be taken from you and to remain so long in the young man's possession. ubi eras, ' where have you been meanwhile ? ' perdere, ' to bear the loss.' 235. persequi : sc. cmisam, or ius ; cf. 163, 248 litissequar. 236. 'Have you now counted up that which you reckon will accrue to you?" i.e. from your voyage to Cyprus. For redire in this sense cf. Plant. Trin. 530 tribus tantis illi minus redit quam opseueris. ad te : see on 40. rediturum putes : i.e. rcditurum sit. pules is pleonastic. So dicere and similar words frequently in Plautus and Terence. 237. hocine incipere Aeschinum : see on 38 ; cf. 629, Andr. 245 adcon hominem esse inuenustum aut infelicem qucmquam, ut ego sum ! 238. per oppressionem : the opprexn'o consists in his choos- ing just this time, so fraught with risk of loss to Sannio, in which to secure possession of the music-girl. For pfir Oppress, see on 142. 102 P. TERENTI ADELPHOE postulet = uelit ; frequent in the comic writers. 239. labascit : snicl aside, unuin hoc habeo : i.e. to propose. 240. uenias : for the subjunctive see on 110 ; cf. n. on 248 ; Eun. 174 potius quam te inimicum habeam, faciam ut iusscris. 241. seruesne, etc., depends onpericlum. diuiduom face, ' split the difference '; cf. Plaut. Hud. 1408 diuiduom talentum faciam. The older forms face, dice, duce (not fere) occur often in Plautus and Terence, though less frequently than the shortened fac, die, due. Cf. 482 abducc, 910 and '917 traduce, Andr. 680 and 833 face, Hec. 803 dice (doubtful). 242. Syrus takes advantage of the signs of weakness shown by Sannio in 237-8, and goes so far as to hint that one-half the cost price of the slave-girl will be enough for him. He does this that Sannio may be not merely willing but glad to part with her for twenty minae ; cf. 209-210. minas decem : about 37: 5s. or nearly $187.50 ; see on 370. Cf. n. on 191. conradet, 'he will scrape together* ; cf. Phorm. 40, Heaut. 141 conrasi omnia. 243. sorte, ' the principal ' ; the twenty minae which Sannio had himself paid for the girl. Cf. Plaut. Mostell. 550 qui mihi neque faenus neque sortem argenti danunt ; Shak. Mer. of Ven. iv. 1, "Shall I not barely have my principal?" Sors is opposed to such words as fructus, faenus, usura, ' interest. ' 245. col aphis : see on 199. 246. etiam insuper : for such pleonasms cf. 224, 255, 259, 268, 293-4, 366, 525, 541, 785. defraudat : because Aeschinus has already offered (192) the full price of twenty minae. nusquam abeo : like nusquam pedcm, 227. 247. Syrus turns as if to depart, in order, if possible, to obtain Sannio 's consent to his proposal by a show of indifference. num quid uis quin abeam, ' you don't want anything, do you, before I go away?' A conventional form of leave-taking, sometimes abbreviated to num quid uis? as in 432 ; Hec. 272 ; Plaut. Trin. 193 ; Hor. Sat. 1. 9. 6, and this was the most usual NOTES 103 form of the expression. Other forms were Phorm. 458 num quid nos uis ? Eun. 191 num quid uis aliud ? ibid. 213 num quid aliud imperast Phorm. 151 num quid aliud me uis? Eun. 363 num quid me aliud? Cf. also Phorm. 563 num quid est quod opera mea uobis opus sit ? immo, etc., 'yes (on the contrary, I do want something), I have to beg of you, etc." immo may be translated ' yes,' when used in reply to a negative proposition, or when ' yes ' is in reality equivalent to 'on the contrary.' Ramsay's Mostell. Excurs. iv. p. 201. 248. potius quam litis sequar : see on 110 and 240. Cf. 498; Phorm. 407 etsi mihifocta iniuriast, ucrum tamen potius quam litis secter . . . abduc hanc, minas quinque accipe. Syrus has now accomplished that which he promised Aeschinus to do for him, in 209 sq. 249. meum, ' my bare due ' ; so Heaut. 742 tuom tibi reddo, ' only your due. ' 251. memorem . . . gratum : i.e. if you intercede for me with your master, 'you shall say, etc.' 252. sed . . . arnica : Syrus says this aside, and at the same time turns from Sannio toward Ctesipho whom he sees coming from the forum. Sannio, thinking Syrus is about to enter the house, reminds him of his request in the words quid quod te oro? But Syrus bids him wait a moment. Ctesiphonem : Terence always so declines Greek names in -wv, -WITOJ ; cf. Clitiphon, onis, Heaut. 697, 703 (KXetroQuv, WVTOS) ; Antiphon, onis, Phorm. 463, 753 ( 'AvTtui>, uWos) ; Demiphon, onis, Phorm. 899 (Ai}fj.>v, oWos). 253. quid quod : quod is a cognate ace. , really an adverbial use (see on 79). Cf. n. on 305. Translate, ' what about my request ? ' ACT II. Sc. 3 Ctesipho, who has heard that his brother has rescued the music-girl for him, comes to express his joy and gratitude. It Iis distinctly implied in this scene that Ctesipho had no hand in the abduction of the girl, whereas in 355-6 the contrary is affirmed. The discre]iney may be owing to the " contamina- tion." 104 P. TERENTI ADELPHOE 254. Ctesipho enters from the right, soliloquising. i aba : in Terence only before te, though used originally, instead of ab, before words beginning with c, q, t. quiuis = quouis ; qui is an old abl. form referring to any gender, singular or plural ; cf. 477, 750, Plaut. Capt. 1003 quicttm lusiient. See Ramsay's Mostell. Excurs. vii. Cf. n. on 179. beneficium : see on 72. gaudeas, ' one is glad ' ; the subjunctive is often used in the second pers. sing, to denote the act of an indefinite subject. So Andr. 460 fidelem haud ferme mulieri inuenias uirum ( 'one finds'); Plant. Capt. 420 uidcas 'one sees.' See A. 311. a and 309. a ; H. 485. note 3 and 508. 5. 2) ; G. 252. R. ; 598 ; Roby 1544 ; Madvig 370. 255. uerum enhn uero : see on 246. id demum iuuat. ' that especially is delightful.' quern aequomst : i.e. persons who through kinship or the like stand near to one, as Aeschinus to his brother Ctesipho. 256. o frater frater : cf. Andr. 282 o Mysis Mysis, Eun. 91 o Thais Thais, Hec. 856 o Bacehis, o mea Bacchis. The re- petition indicates that Ctesipho is at a loss for words in whicli to express his affection for his brother. 257. uirtus, 'merit,' 'generosity,' 'magnanimity.' 258. rem . . . praecipuam, 'advantage.' 259. No one has a better brother than I. homini nemini : a pleonasm of the sermo cottidianus, em- ployed to strengthen the statement : cf. "PTrerm. 591 ego hominem callidiorem uidi neminem. artiwD.=morum, 'qualities'; cf. Plaut. Trin. 72 artes antiquac tuae. For the genitive of the thing with principem cf. Cic. in Verr. 5. 1. 4 flagitiorum omnium uitiorumque princeps. 260. o Ctesipho : o with the vocative always expresses good feeling, or affection. Scan Aeschinus \ ublst (Hum. The last syllable of the first half of an iambic Octonarius is regarded as at the end of a verse (syllaba anceps). See also on 73. ellum, ' there he is ' ; Syrus points towards the house of Aeschinus ; cf. ellam intus, 389. ellum (em, ilium) and cllam NOTES 105 (em, illam) are used either as here and in 389, to designate the place where an absentee may be found, if desired (cf. Andr. 855), or to point out the person in question while at a distance from, though visible to, the speaker (cf. Plaut. Cure. 278, Ussing). eccum, eccam, and em usually point to some person in the speaker's immediate vicinity (cf. 361, 553, 720, 890, 923) ; sometimes to an absent person, as in Plaut. Capt. 169, Amph. 120. See on 361. hem here denotes joy ; more often grief, anger, alarm, surprise. See on 224. 261. quid sit : see on 84. illius : scanned as two syllables. festiuom, 'dear,' 'delightful' ; cf. 983, 986, Eun. 1048 mei patris festiuitatem et facilitatem. caput : by synecdoche for the whole person, especially in familiar address, ' fellow ' ; cf. the Greek /ce0a\jj. So in 966 ; Plant. Mil. 725 o lepidum caput; Ter. Andr. 371 ridiculum caput, Eun. 531 o capitulum lepidissumum. 262. quom, etc. : this clause ends with commodo. See App. posfc, ' of secondary importance ' ; to be taken with esse, not putauit. For the opposite construction cf. Hec. 483 quom te postputasse omnis res prae parentc intellego. 263. famam, 'discredit.' laborem, 'trouble,' 'misery,' 'distress.' See App. peccatum : always of a single act ; here the forcible ab- duction of the uiusic-girl. 264. pote : shortened from potis, and, Yikcpotis, a nominative and indeclinable. The omission of the copula (est) is common in lively speech. See on 344. See App. supra : cf. Andr. 120 ut nil supra, Eun. 427 nil supra, Cic. ad Att. 13. 9. 3 sed ita, accurate, ut nihil posset supra. quid nam, ' why, pray ' ; see on 537. foris : the singular of the third declension, especially in this expression ; cf. Plaut. Mil. 154 sed foris ccmcrepuit, A ill. 665 attat fwis crepuit, Bacch. 234 sed foris concrcpuit nostra ; but in Terence not elsewhere so. Cf. n. on 109. crepuit, 'rattled,' 'creaked,' indicates the noise made by the bolt as it was pushed back, or, more probably, the creaking of the door in opening, for ancient doors were hung on wooden ?, 106 P. TERENTI ADELPHOE pivots (eardines) which made considerable noise when moved. See Marquardt, Privatleben der Homer, 2nd ed., i. p. 230. The door was said creparc, concrepare, *j/o(J>eiv, when an inmate made his exit from the house, while pultare, nbwrtiv, denoted the knocking of a person seeking admission ; cf. 633, 637. To explain crepare, ^otiv, of a tapping from within to warn passers in the street that the doors opened outwards is a mistake. See Tyrrell's note on Plant. Mil. 154 ; Becker, Char. p. 44, note 32 (Metealfe's transl. ) 5 Ramsay's Mostell. pp. 144-6. mane, mane: cf. 620 abi, obi; 877 age, age; Heaut. 349 redi, redL It was Ctesipho's intention to enter the house, but Syrus detains him with the information that it is his brother who is coming out. ACT II. So. 4 Aeschinus now returns, as he promised in 196, to settle the dispute with the slave-merchant, and to see his brother as well (see 266). Ctesipho is anxious to keep the matter as much in the dark as possible. Sannio is willing to part with the music- girl at cost price, and receives definite assurance that the money will be paid. 265. sacrilegus, 'rascal,' 'wretch'; frequent in Terence. Cf. 304, Eun. 829, 911, 922. See on 159. me quaerit : Sannio recognises himself at once as the sacrilegus, & comic touch, like that in Plaut. Pseud. 974, where the leno, overhearing the sj'cophanta exclaim hominem ego hie quaero inalum, legirupam, impurum; periiurum atque impium, remarks me quaeritat : nam ilia mea sunt cognomcnta. quid : any money. Sannio's words are said aside. nam : see on 537 ; cf. n. on 264. 266. opportune : see on 81. Aeschinus at this instant sees his brother. quid fit, ' how goes it ? ' like quid agitur ? 883, 373, 901 ; Plaut. Merc. 283 Euge : et tu, Demipho, salueto. quid fit ? quid agis ? 267. omitte uero, ' pray lay aside. ' = tristitiam ; the archaic form is preserved only in the Codex Bembiuus. So ncquitiem in 358, and Heaut. 481. NOTES 107 Other nouns, whose case endings fluctuate (either throughout the singular or in a single case) between the first and fifth declensions, are mollities, mundities, luxuries, segnities, durities. 268. qui . . . habeam, ' since I have ' ; see on 66. Cf. 368. 269. in oa : cf. Gr. KO.TO. ffrbfta ; Fr. au nez. amplius, 'further.' 270. adsentandi : sc. causa. The genitive of the gerund expressing purpose, not uncommon in the writers of the Silver age, notably Tacitus, is rare in the early Latin, and may be explained in this case as due to imitation of the Greek infinitive with roD. Cf. Liv. 9. 45 iit . . . Frentani mitterent Romam oratores pads petendae amicitiaeque ; Tac. Ann. 2. 59 Germani- cus Aeyyptum proficiscitur cognoscendae antiquitatis. quam quo : i.e. quam quod ; cf. 825 non quo . . . sed quo. habeam : the subjunctive, because of the mental conception ; see A. 321. a ; H. 516. II and 2 ; G. 541. gratum, ' acceptable ' ; as in Eun. 275 quam hoc munus gratum Thaldi arbitrare esse? Cic. Tusc. Disp. 5. 15. 45 id gratum acceptumque habendum (est). facere : sc. me ; see on 52. 271. age inepte, 'come, come, you foolish fellow' ; cf. 553, 941, Eun. 311. quasi : see on 223. nunc : in contrast to an earlier time when education had rendered their aims in life widely different. norImu8=7u>Mrt'mMs. The original long quantity of the in the ending of the perfect subjunctive is retained here and elsewhere in Plautus and Terence ; cf. Phorm. 772 gesserlmus ; Plaut. Bacch. 1132 uenerimus, Mil. 862 dixerltis. nos inter nou : so Heaut. 511 ne nos inter nos congmere illi sentiant. 272. hoc mihi dolet : see on 733. rescisse. ' learned of the matter,' ' found out about it.' in eum locum redisse. ut, ' had been reduced to such a pass that ' ; cf. Heaut. 359 in cum iam res rediit locum, ut sit See A pp. 108 P. TERENTI ADELPHOE 273. nil possent auxiliarier : i.e. if Ctesipho had left the country (see 275), or Sannio had taken the girl to the slave- market at Cyprus and sold her there. nil : see on 142 and 79. auxiliarier : see on 200. 274. pudebat, ' I was ashamed,' i.e. to acknowledge it. 275. paene e patria : sc. fugcre ; cbrotnwTnjcns eu^ij/xKr/uoD Xp.uv ; strictly a messenger boy. The bearers of this name play only insignificant parts in Plautus and Terence. A similar situation is depicted in Plaut. Aul. 398 sq. Dromo, desquama piscis, etc. 377. gongrum (not congrum) is the reading of the Codd. Bembinus and Victorianus ; Greek 7677/50?. NOTES 123 378. tantisper, ' for just a little while ' ; said SeiK-m-ws. rediero : to the house, which, strictly speaking, he has not yet reached. Syrus does not mean that he is going away. 379. haecine flagitia : for the case see on 304. 380. clamo, ' I protest against them ' ; cf. 60, 407, 727, 789. salsamentum was pickled fish or meat of any kind. See App. 381. macerentur, 'soaked,' 'steeped.' di uostram fidem : sc. imploro ; so also in the expression pro deum fidem in which pro is without influence on the case. This appears from such expressions as Plaut. Amph. 1130 di, obsecro uostram fidem, and Caecil. Stat. Synepheb. Fr. 3 (Ribbeck) pro deum . . . inploro fidem. See 746. Occasionally fidem is omitted after pro, as in Phorm. 351 pro deum inmorlalium. Sometimes pro is followed by the vocative, as in 111, 196, 447, Plaut. Poen. 1 1 22 pro supreme luppiter. 382. utrum studione ... an :-//' is redundant, though not uncommonly employed in early Latin in addition to utrum, in the first member of a disjunctive question. The original meaning of utrum (' which of the two is the case?') is thus exemplified, since -ne is used to introduce the first, as an the second, of the two interrogative clauses indicated by the utrum. Cf. Eun. 721 utrum praedicemne an taceam? Translate, ' which is it ? does he (Micio) do it on purpose (to spite me), or does he think it will be to his credit ? ' 383. perdiderit : perf. subjunct. 385. militatum : it was not an unusual practice with young Athenians who had become bankrupt, or had fallen out with their relatives at home, to leave their country and to enlist in the army of some foreign chief, usually one of the numerous Asiatic princes who were always at war with one another. Cf. Plaut. Trin. 598-9. See on 275. 386. istuc est sapere, ' that is what I call wisdom ' ; istuc is explained by the following infinitives, like ita in 694, and the whole is expressive of ironical assent to Demea's previous remarks. The second syllable of istuc is long, as in Heaut. 110 ego istuc aetatis. Cf. 465. quod ante pedes . . . eat, ' what is just before you ' ; cf. Soph. Oed. Tyr. 130 rb irp6s vool oKoveiv ; Cic. do Or. 3. 40. 124 P. TERENTI ADELPHOE 160 id acciderc credo, ucl quod ingenii specimen cst quoddam, transilire ante pcdes posita et alia longe repctila sumere. 388. penes uos, 'in your house' ; cf. the French "chez vous" ; Plaut. Trin. 733 quoin cius rem penes me habeam domi. 389. ellam : see on 260. habiturus : sc. Aeschinus psaltriam. ut est dementia, ' such is his madness ' ; cf. Eun. 525 ut est audacia. The noun is in the nom. case. 390. haecin fieri : see on 38. See App. lenitas and facilitas are nominatives absolute a construc- tion to which Terence inclines. > / t*tr .. i,r- ^tt-.g. I 392. pudet pigetque : 'pudet' quod turpe est; 'piget' quod dolet. (Donatus.) Cf. Plaut. Capt. 203, Ty. at nos pudet quia cum catenis sumus. Lo. at pigeat postea nostrum erum si suos eximat uinculis aut solutos sinat quos argento emerit. 393. pernimium : found in this passage only, and in the Digest. XLVIII. iii. 2, sed haec interpretatio perdura et per- nimium seuera est in eo, etc., cited by Ramsay (Mostell. foot of p. 234). Terence is even more fond than Plautus of prefixing per (intensive) to adjectives, adverbs and verbs, as percarus, pergrauis, perfortiter, permultum, percupio, etc. ; cf. 566, 567, 702, Andr. 265 peropus. Moreover per may be separated from the word thus strengthened, by another intensive particle, or by a pronoun, as in Andr. 486 per ecastor scitus, Plaut. Cas. 370 per pol saepe peccas, Cic. de Or. 2. 67. 271 per mihi scitum uidetur. 394. quantus quanta's, 'every inch of you,' 'through and through.' quantus doubled = quantuscumque. Cf. quisquis quicumque; Phorm. QQiheus, quanta quanta hae,cmeapaupertas e$t, tamen, etc. See A. 105. b ; H. 187. 3 and footnote 3 ; G. 108. 2. nisi : see on 142. 395. somnium, ' a mere dotard, ' ' fool ' ; opposed to sapientia, and hence = stultitia. 1116 somnium : see on 72. 396. aut sometimes introduces a correction of or improve- ment on the previous idea ; ' or rather.' 397. olfecissem, ' would have got wind of it. ' coeperet : archaic imperfect subjunctive, cited from this place by Priscian. The corresponding infinitive coepere is NOTES 125 found in Plaut. Pers. 121 ; the pres. subjunct coepiat in True. 232 ; the pres. indie, coepio in Men. 960. The fut. coepiam also is preserved. For the subjunctive see Madvig 360. obs. 4. 398. mini : i.e. who know it so well, siet : sc. Ctesipho. 399. ut . . . itast, ' a man's own are what he makes them ' ; it is the training that determines the character. For the sentiment cf. Prov. xxii. 6. These words may also be regarded as said aside, and rendered ' a man's own are what he wishes them to be,' i.e. in his own eyes. " Geese are swans to those who own them." 400. quid eum, ' what about him ? ' The case of eum is determined by the following uidistin ; cf. 656 quid ipsae? quid aiunt ? 401. abigam hunc rus : said aside. hunc : Demea. 402. satin scis, ' are you quite sure ? ' See on 339. oh ... produxi, ' oh, 'twas I myself who conducted him on his way ' ; cf. 560 sq. 403. iratum : in agreement with the object (eum) of produxi. 404. quid autem, 'why (angry), pray?' See on 185. 405. istac, 'the one you inquire about.' ain uero, ' really ? ' So Eun. 567 ain tu ? Andr. 875 ain tandem? Phorm. 510 ain? 406. nam : elliptical and corroborative, ' (and well may I say so) for.' See on 168 (cnim). ut . . . forte, ' just as it happened that, etc. ' ; cf. Tvyx.avu with a participle ; Eun. 424. numerabatur : see on 369. 407. homo : see on 143. clamare o Aesch. : the interjection is absorbed by the first syllable of Aeschine, and the final vowel of clamare is elided ; cf. 449, Eun. 943 fofdum o infdicem, ibid. 70. Cf. n. on 10 and 593. 408. haecine . . . te : see on 38. 411. saluos sit: a common formula of blessing, to which spc.ro is added parenthetically. 126 P. TERENTI ADELPHOE similis maiorum : according to Ritsclil (Opusc. II. 570, 579) the genitive is the only case found with similis in Plautus and Terence. The dative appears a few times in the MSS. (cf. Hallidie on Capt. 582), and in later Latin became common. See A. 234. d. 2 ; H. 391. II. 4 ; G. 356. 11. 1 ; Madvig 247. obs. 2. suom : contracted from suorum ; cf. de-Am, diu6m, and 793 nostrum liber&m. hui expresses ironical assent. So phy in the next verse. Both are "asides." Cf. n. on 216. 412. istorum : those which you know about ; e.g. that mentioned in 410. 413. unde = a<7o; cf. 361 hinc=exhoc. fit sedulo : sc. a me ut discat. See on 50. 415-6. Ctesipho shall observe the lives of others and draw thence examples of upright conduct upon which to model his own behaviour. Cf. the teachings of Horace's father (Sat. 1. 4. 105 sq.) 418. istaec res est, 'that's the thing.' 420. ex sententia : see on 371. 421. mihi : with cautiost as well as corrumpantur. cautio eat=cauendum est; the use of the verbal substantive in -io instead of the gerundive belongs especially to the sermo cottidianus. It is more frequent in Plautus than Terence, and in the former retains the government of the original verb, while in Terence it is usually followed by a genitive, as in Phorm. 293 neque testimoni dictiost ; or by a separate clause, as here and in Andr. 400 puerum autem ne rcsciscat mi essc ex ilia, cautiost. Cf. Plant. True. 622 quid tibi hue uentiost? quid tibi hanc aditiost ? quid tibi hanc notiost, inquam, amicam meam? Syrus must be supposed to parody Demea's manner and gestures as well as his words. 422. id: sc. nonfacere; i.e. omit proper precautions. tarn flagitiumst quam, ' is an outrage as shameful as ' : cf. 379. 423. non facere : i.e. omittere. quod queo, ' as far as I can ' ; see on 296. NOTES 127 425. Notice the repetition of hoc in imitation of 417 sq. lautum, ' washed clean ' ; the literal meaning is rare. It may also be rendered ' nice ' ; cf. 764 ; Eun. 427 facete, lepide, laute ; Plaut. Mil. 1161 militem lepide et facete et laute ludi- ficarier uolo. 426. illud recte : sc. fecisti. sic : sc. facere. sedulo : with allusion to 413. 427. sapientia, 'taste' ; notice the play on the two mean- ings of sapere, ' to taste ' and ' to know. ' 428. With ironical reference to Demea's words in 415. 429. quid facto usus sit : this construction may be referred to note on 335, but it should be added that, as in 335 qiiod opus eat is completed by ad and the accusative, so here the ablative of a perfect participle passive is employed to fill out the mean- ing ; cf. Andr. 490. But quid may be taken as an adverbial accusative ('in what respect ') and the construction regarded as the regular impersonal use of iisus (opus) est, with the ablative of the thing needed. Probably there is a mixture of the two constructions, the personal and the impersonal. Cf. A. 243. e, and 292. b with note. 431. quid facias, ' what are you to do ? ' at . . . geras, ' as a man is, so must you humour him ' ; the slave is thinking of his master. See on 218. 432. num quid uis : see on 247. mentem . . . dari depends on uolo understood from uis. Demea churlishly takes uis literally, ' I wish you better sense." The appropriate reply would be ualcas. 433. tu . . . ibis : Syrus is anxious that Demea should return to the country, and asks the question to make sure of the fact. recta : sc. uia ; cf. 574. nam : elliptical and causal '(you do right) for" ; see on 168 (enim). After 434 Syrus goes into the kitchen. Demea is about to start for his farm in the country, when he sees Hegio with Geta, coming from the forum, and determines to wait and speak to him (446). 128 P. TERENTI ADELPHOE 435. ego uero hinc abeo, ' yes, I will be off from here ' ; the present tense used of the immediate future is common in early Latin. Cf. n. on 549. is quam ob rem = is propter qiicm ; cf. Andr. 382 causam nun in ob rcm, Eun. 145 multac sunt causae quam ob rem. 486-7. Cf. 130 and 138. 437. frater : Micio. istoc : A i'sch in us. uiderit, 'let him look to that fellow himself.' The future perfect of uidere is used of a thing which is abandoned to another person's care or consideration. It thus becomes a virtual imperative. See Madvig 340. obs. 4. 439. tribulis noster, ' of our tribe ' ; cf. Gr. v\4r^. The Athenians were divided into ten tribes by Clisthenes (Aristotle, Pol. Ath. ch. 21). si satis cerno, ' if my sight is true.' is fist : see on 40. uah : see on 38. 440. homo : in apposition with is. 441. ne = vat, trf ; an asseverative particle, placed generally before the word or words it qualifies, and in the best writers always joined to pronouns or their adverbs ; cf. 540, 565. It is sometimes written nae. illius : see on 261. 442. antiqua uirtute ac fide : abl. of quality or description, defining illius modi. See A. 251 ; H. 419. II. ; G. 402 ; Roby 1232 ; Madvig 272. antiqua is a term of praise here, as in Plaut. Capt. 105 ille demum antiquis est adulescens moribus. Demea was a specimen of the laudator temporis acti (Hor. A. P. 173). 443. baud ciio=fuiud facile ; so also in Cicero and Livy. quid : occasionally thus used as an indefinite pronoun, even when not placed in a relative sentence, or preceded by cum ('when'), si, ne ('lest'), num or quo ('the . . .') ; cf. Plaut. Pseud. 29 an, opsecro hercle, habent quas gallinae manus? Bacch. 274 etiamnest quidporro? See A. 105. d ; H. 455. 1 ; G. 302. ortum sit : i.e. oriatur. Translate, ' not readily would any trouble to the state find its origin in him.' NOTES 129 ACT III. Sc. 4 Hegio, to whom Geta has told his story (cf. 351), enters the stage in conversation with the latter, and directs his steps towards the house of Sostrata (see 506), where he hopes to find Demea (461). Detnea overhears a part of the conversation, which he imagines to have reference to the music-girl. Meet- ing Hegio, lie is informed of the truth and urged to do justice to Pamphila. He seeks to depart without committing himself (499), but Hegio detains him. 447. pro : see on 381. 448. familia : see on 297. Cf. 502. 449. inliberale, ' ignoble ' ; cf. 664, 886, 464, 57 and note. For the construction see on 38. ortum o Aesch. : see on 407. 450. ' Surely this was not acting in a way worthy of your father,' i.e. of Demea. See on 74. dedisti =frcisti (nearly) ; cf. Enn. 457 quod dedit principium adueniens ! 899 dabit hie pugnam aliquam dcnuo. uidelicet, etc. : said aside. 451. id ... dolet : see on 733. 452. alieno, ' though a stranger ' ; cf. 137. pater : his adoptive father, Micio. eius : a monosyllable. 453. hie: adverb. adesset : sc. pater, 454. illos : sc.facere; i.e. Aeschinus and his family. Hegio means that Aeschinus must marry Pamphila. baud sic auferent : sc. hanc rem, ' they shall not carry it off thus,' i.e. without paying a penalty. Cf. Andr. 610 sed inultum numquam id auferet ; Heaut. 918 illud haud inultum . . . ferent; Plaut. Pers. VJSeoistvAmalediduminpune auferes; Shak. Rom. and Jul. Act III. Sc. 1 "Alia stoccatti carries it away." K 130 P. TERENTI ADELPHOE 456. Cf. Plaut. Capt. 444 tu mihi erus mine es, tupatronus, fK paler ; Ter. Andr. 295 te isti uirum do, amicum tutor em patrem. 457. ille ... senez : Simulus, the father of Painphila. For a similar situation cf. Andr. 281 sq. 458. caue dixeriu, 'don't mention it,' i.e. the word deseris. eaue with the pres. or perf. subjunct. (without tic) is a common circumlocution, in the sermo cottidianus, for the negative imperative. Cf. 170. See A. 269. a. 3 ; H. 489. 2) ; G. 264. II. 459. satis pie, ' with due regard to the ties of kinship ' ; cf. 494. 461. Notice that Hegio expresses his satisfaction at meeting Demea, before he pays him the customary salute. This is an indication of the agitated state of his feelings. 462. quid autem : a reply to te quaerebam ipsum. For autem see on 185, and cf. Phorm. 503 quid istuc est autem? Cf. 404. 463. boni refers to innate goodness of heart. 464. liberalis, 'honourable,' refers to education, bringing up. See on 57. Cf. 684, n. on 449. functus offlciumst : fungor governs the accusative in early Latin always in Plautus, and in Terence with one exception, Ad. 603, where the ablative is the reading of the MSS., but there also some editors prefer the accusative. See App. The ace. occurs even in Lucretius, as e.g. 3. 956. For potior see on 871, forfruor on 950, for utor on 815. See also A. 249. b ; H. 421. III. note 4 ; G. 405. R. ; Roby 1223 ; Madvig 265. obs. 2. For the form of expression cf. Phorm. 281 functus adulescentulist officium liberalis. 465. nostrum : i.e. of Hegio and his family. noras = noueras. 466. aequalem, 'con temporary,' i.e. with Hegio. The word suggests companionship as well ; cf. Heaut. 417 filium meum amico atque aequali suo uideo inseruire et socium esse in negotiis. quid ni : sc. nouerim t ' of course ' ; cf. 573, 662, n. on 543. 467. mane, 'stop a moment'; i.e. omit what you were going to say, and listen to me for a minute. Cf. 820, Heaut. 273. 468. an : see on 136. NOTES 131 469. ferundum : -undus, etc. , is the regular gerundive ending, in Plautus and Terence, for verbs of the third and fourth conjugations, whose stems do not terminate in u or v. The form is common in inscriptions to the end of the seventh century, u.c., and in Sallust, and is frequent (after i and in ferundus and gerundus) in the MSS. of Caesar, Cicero, and Livy. It is probably for a still earlier -ondus. 470. A similar apology is made in Phorm. 1017. Cf. Ovid, Amor. 1. 6. 59 nax et amor uinumque nihil moderabile suadent. For similar thoughts in the Greek drama see Meiueke, Frag. Com. Grace, iv. p. 694 sq. 471. humanumst, 'it is human nature.' scit : sc. Aeschinus. He was not originally acquainted with the maiden. 472. ipsus : see on 328. ultro, ' of his own accord ' ; cf. 595, 596. 473. mam, etc. : cf. 334. 476. 1116 bonus : a proceleusmatic ; see on 192 and 72. bonus : ironical, as in 556, 722, Andr. 616, 846. nobis : ethical dat., ' that fine gentleman of ours.' si dis placet : with bitter irony, ' please God ' ; a formula used only of past or present, never of future events. It has the force of a strong affirmative particle ('actually,' 'ab- solutely,' 'who could have believed it?'), and is used when mention is made of matters of an astonishing or unexpected nature. Cf. Eun. 919. 477. quicum = quacum ; see on 254. 479. in mediost, 'is at hand,' iv fday Kftrai ; cf. Phorm. Prol. 16. The opposite, e media excederc, occurs in Hec. 620, Phorm. 967, and e media abire'in Phorm. 1019. res ipsa : the impending birth of a child. 480. ut captus est seruorum, 'as slaves go'; captus= 'capacity,' 'character.' So in Caes. B. G. 4. 3. 3 ciuitas ampfa atque fiorens, ut est captus Oermanorum ; Cic. Tusc. 2. 27. 65 ut est captus hominum. 482. abduce : see on 241. quaere rem, ' examine into the truth ' ; the Attic and Roman law admitted slaves as witnesses only under torture. 132 P. TERENTI ADELPHOE 483. immo, 'nay, more"; i.e. take stronger measures still, than those denoted by uinci. See Kamsay's Mostell. Excurs. iv. p. 199. See on 928. extorque, ' wrack it out of him.' 484. negabit : sc. Aeschinus. coram ipsum cedo, ' let me have him face to face ' ; coram is always an adverb in early Latin. 486. The cries of Pamphila from behind the scenes (in Sostrata's house) render any further inquiry on Demea's part unnecessary. 487. The same words are uttered by Glycerium in Andr. 473. Cf. Plaut. Aul. 692. The Greeks called on Artemis. obsecro : see on 550. 488. Hegio addresses Geta. 4S9. illaec : Pamphila. 490. The marriage of Aeschinus and Pamphila is meant. uoluntate : sc. uostra. 491. ut uobis decet : for the dative with dccet in archaic Latin cf. 928, Heaut. 965, Plaut. Amph. 820 nostro gcneri non decet. The accusative is less frequent, and is generally accompanied by an infinitive expressed or implied ; cf. 506, 948, 954-5, Andr. 421/ocis ut te dccet (sc.facere). The ace. is the rule in Augustan Latin ; but the dat. reappears in the Silver age. 493. summa ui : i.e. by legal proceedings. ilium mortuom : see on 457. 495. e&ucti=educati ; see on 48. 497. faciam=cra&o, studcbo, just as foe, facito (ut) = cura ut in 500, 511, 512, 750, 808, 845 ; Plaut. ' Capt. 337 fac citissume ut redimatur, 439 fac fi delis sis fideli, Trin. 485 semper tu hoc facito, Lesbonice, cogites, and elsewhere. experiar : see on 350. 498. deseram : see on 248. 500. hoc tu facito cum animo cogites, ' see that you reflect on this matter' ; the same as 808 hoc facito tecum cogites. Cf. 30, 818 ; Eun. 64, 636 ; Plaut. Mostell. 689 quom magis cogito cum meo animo; Horn. Od. 15. 202 "flj dro' Neo-ropi'S^s 5' &p f ffvnpdfj.dfa), Eun. 442. abi : commendatory, 'you may go now,' 'that will do'; see on 220. 565. ne : see on 441. 566. perquam, ' oh very ! ' See on 393 ; cf. 567 perfortiter. seruolum : the diminutive expresses inferiority and helpless- ness, ' a poor slave.' 567. hui : see on 411. 568. melius : sc. facere quam fecit. caput : i.e. auctorem ; cf. Andr. 458, Plaut. Asin. 728. Translate, ' that you are at the bottom of all this. ' 142 P. TERENTI ADELPHOE 569. sed fistne : see on 40. ubi . . . cogito, ' I am considering where, etc." ; said more to himself than to Syrus. 570. hodie numquam : see on 551 and 98. Syrus pretends to be anxious to prevent a meeting between Demea and Micio, in Aeschinus' interest. This makes Demea all the more determined to find his brother, and renders him an easy victim to the machinations of the slave. quid als, ' what's that you say ? ' Not quite the same as in 556, but like quid tu ais? in Plaut. Capt. 289 and 1015 ; see Hallidie on Capt. 289 and 613. It is an exclamation of anger at the slave's bold remark. als is dissyllabic, and the i is long, as it is a contraction of the stem vowel i, with i of the personal ending is. 571. dimminuetur : the double m is well attested by Priscian I. p. 32 ; H. (Vol. II. Keil). We may suppose that Demea, when he makes this threat, raises the stick which it was the custom for old men to carry in comedy. 572. illius : see on 261. ergo : see on 172. 573. hac deorsum, 'down this way'; hac = hac uia ; cf. 574, 575, 577, 580, 582. deorsum is dissyllabic ; cf. u. on 86. quid ni nouerhu : see on 466. 574. 'Pass this way straight up the street.' "With the directions given by Syrus to Demea, cf. those of Launcelot to Gobbo, Mer. of Ven. 2. 2 " Turn up on your right hand at the next turning, but at the next turning of all, on your left ; marry at the very next turning, turn of no hand, but turn down indirectly to the Jew's house." platfia : ^ 7rXore?a 656$. The penult has been shortened, as in Hor. Ep. 2. 2. 71. So 582 ; Andr. 796 ; Eun. 344, 1064 ; Phorm. 215 ; Plaut. Trin. 840. Cf. balinZum (pa\a.veioi>), chorda, gynacZum, etc. See Wilkins on Hor. Ep. 2. 2. 71. sursus : it is probable that Terence wrote sursus, not sursum, here to avoid the hiatus, although deorstim occurs in both 573 and 575. Lucretius used both forms (2. 188 and 189), the former before words beginning with a vowel (sursus enim), the latter before words beginning with a consonant (sursum nitidae). Similarly Plautus and Terence employ both prorsum and prorsus, NOTES 143 rursum and rursus, deorsum and deorsus, uorsum and versus, aduorsum and aduorsus. eo, 'thither,' i.e. to the end of the street, as indicated by sursus. 575. cliuos . . . est, 'there is a slope looking straight downwards. ' deorsum uorsus : for the pleonasm cf. Aul. Cell. 9. 1. 1 nam neutrum potest deorsum uersum recte mitti. hac te praecipitato, ' make the best of your way down this road. ' 576. ad hanc manum : accompanied by an appropriate wave of the hand to the right or the left. ibi . . . est, ' there, there is an alley hard by ' ; for the neuter form angiportum cf. Eun. 845. The masc. angiportus (fourth decl.) occurs in Hor. Od. 1. 25. 10 in solo . . . angiportu. The word was applied to narrow passages or alley-ways separat- ing two adjacent houses or blocks of building (insulae), and opening into the broad plateae or uiae. These passages were not always thoroughfares ; cf. 578. The derivation may be angustus portus. According to Festus (p. 232. Mull. ) portus was anciently used as synonymous with domus, and Donatus on this passage explains, "... quod inter portus sit locus angus- tus, hoc est inter domos. Nam 'domes,' uel 'porttis' uel 'insulas' ueteres dixerunt." Cf. Varro, L. L. v. 145 (ed. Mull.) ' Angiportum' siiie quod id angustum, sine ab agenda [nisi leg. angendo] et portu. The derivation from agere is of course erroneous. Cf. Ramsay's Mostell. p. 171. 577. nam : see on 537. illi, 'there'; cf. n. on 116. 578. uerum, ' true ' ; see on 543. uah : see on 38. 579. censen hominem me ease, ' do you imagine me to be in my senses?'; hominem=& person with the intelligence of a man; see on 107. Sloman renders 'what an ass I am!' Another view takes the passage to mean ' don't you count mo to be a man (and therefore fallible)?' -ne sometimes has the force ofnonnc; see A. 210. d ; G. 456. R. ; Madvig 451. a. 580. erratic, ' chance of going wrong. ' 581. Cratini : Donatus says, congrue nomen inuenit diuiti. ' Cratinus ' dirb TOV Kpdrovi, id est a potentia. 144 P. TERENTI ADELPHOE hums. ' there ' ; Syrus points in the direction of the man's residence, huius is monosyllabic. 582. ad ... platea, ' go this way right along the street to the left ' ; cf. n. on 574. Dianae : sc. templum. For this common ellipse cf. Hor. Sat. 1. 9. 35 uentum erat ad Vestae ; the Greek eft '\ir6\\uvos ; the English "to St. John's." 583. In cum, ' pool. ' Pools of water were constructed near the gates of a city, for the use of beasts of burden going out or coming in, and in case of an attempt by an enemy to fire the city. (Donatus.) 584. pistrilla : a diminutive ( =pistrinula, sc. taberiui ; from pistrinum) ; ' a small pounding- mill, 1 for crashing corn, usually attached to a bakery. ibist : sc. Micio. 585. lectulos in sole, 'open-air seats.' The ancients were fond of basking in the sun. The place for this was a terrace or balcony or flat house-top, called solarium. ilignis, ' of holm-oak ' ; a durable wood suitable for benches that were to be exposed to the sun and the weather. f aciundos dedit, ' he has given orders for. ' 586. ubi = in quibus. potetis, 'carouse.' bene sane : ironical. Demea departs by the lane on the left. 587. te exercebo, ' I will work you.' silicernium, ' old dry bones ' ; more lit. ' a funeral feast,' i.e. fit to die and furnish an occasion for one. i^u^ < 588. Aeschiniis odiose cessat, ' Aeschinus is intolerably late.' For the final syllable of Aeschinus see on 260. *,! prandium : cf. 376 sq. cena and prandium were frequently confused. Translate, ' dinner's spoiling. ' 589. in amorest totus, ' is absorbed in his love ' ; cf. Hor. Sat. 1. 9. 2 nescio quid meditans nugarum, totus in illis ; id. Ep. 1. 1. 11 omnis in hoe sum. 590. adibo : sc. prandium. unum quicquid : for unum quidque as in Plaut. Trin. 881 NOTES 145 si unum quidquid singillatim et placide percontabere ; frequently in early Latin, and occasionally in Cicero. See Brix on Plaut. Trin. 881. bellissumum, 'nicest,' 'sweetest,' suggests bellaria (from the same root) = ' dessert,' 'dainties,' 'sweets,' etc. Columella (12. 19. 2) has uinum bellissumum. The word is common in Plautus and the sermo cottidianus. 591. carpam, ' I will pick out.' cyathos sorbilans. ' sipping my cups. ' The cyathus was one twelfth of a sextarius, i.e. about the size of a modern wine- glass ; it was ordinarily used for transferring the wine from the crater, ' mixing-bowl,' to the pocula, ' drinking-cups,' and must have been a species of ladle. Cf. Hor. Od. 3. 19. 12 tribus aut nouem miscentur cyathis pocula commodis ; id. Sat. 1. 6. 117 lapis albus pocula cum cyatho duo sustinet. paulatim, 'comfortably,' 'cosily.' producam diem, ' spin out the day ' ; so Mart. 2. 89 quod nimio gaudes noctem producers uino, ignosco ; Hor. Sat. 1. 5. 70 prorsus iucunde cenam producimus illam. Syrus withdraws into the house. ACT IV. Sc. 3 Hegio, who had gone to the forum at the close of the third act to look for Micio (512), now returns in conversation with him. He has told Micio the whole story about Aeschinus and Pamphila, and secures from him promises of redress. Hegio's commendations of Micio for his fair-mindedness are modestly deprecated by the latter. 592. lauder makes clear the general character of the previous conversation. 593. meum officium : in scanning take meum as a mono- syllable, by synizesis, and then elide it. Cf. n. on 10 and 407. 594. nisi si ... credidisti, ' you must have imagined ' ; of. Andr. 249 nisi si id est, quod suspicor ; Eun. 524, 662. nisi si occurs not infrequently in Plautus, and is found in Caesar, Cicero, and Livy. ita anticipates the following accusative with infinitive, as isluc an infinitive in 386, and hoc a substantive in 870, 904. L 146 P. TERENTI ADELPHOE 595. sibi . . . ultro, ' that a wanton injury is done them ' ; see on 472. expostules, ' complain of ' ; so Andr. 639. The construction is si cam (iniuriani) expostules quam ipsifecere. . 597. aliter atque es, 'other than you are.' animum : both animum and in animum are found with inducere in Terence. 598. uirginis : final syllable lengthened in the arsis of the foot. eas : monosyllabic, as in Hec. 754, and Phorm. 562 eamus (dissyllabic). 599. dixti : see on 561. mulieri : Sostrata. 600. This verse is epexegetic of istaec eadem, and is a very brief recapitulation by Hegio of what, it is to be supposed, he has told Micio while walking with him from the forum. Fleckeisen and Dziatzko have but slight ground for assuming that a verse has dropped out after this line. See App. fratrem : Ctesipho. eius : Aeschinus. 601. opus est facto : see on 342. bene facis, ' thank you ' ; an expression of gratitude rather than of opinion. Donatus on Eun. 186. Cf. 970. See App. 602. nam : elliptical and causal, ' (I am right in commend- ing you) for, etc.' See on 168 (enim), illi : Pamphila. releuabis : the change from the simple future to the future perfect (fueris functus, 603) need not be objected to ; cf. 980-1, Eun. 723, Hec. 599, Andr. 570. See App. 603. officium . . . functus : see on 464. 604. mini: see on 142. Otherwise hiatus occurs at dixti, rendered possible by the change of speaker. See Introd. p. Ixv. inimo ego ibo, 'no, I will go in person.' immo (or imo) frequently = plain 'no,' more or less forcible according to circumstances. See Ramsay's Mostell. Excurs. iv. 605. nescio : dissyllabic. 606. ad contumeliam, ' in the light of an affront.' NOTES 147 accipiunt magis, 'they are inclined to take (regard).' magis = ' rather, ' i.e. than in a complimentary light. 607. inpotentiam, ' helplessness ' ; with the idea of poverty connoted. Cf. 502. ludier : see App. 608. te ipsum : subject of purgare, ' that you make the explanation yourself ' regarding the recent conduct of Aeschinus. quaefacta sint may be supplied. ipsi, 'to her,' Sostrata; cf. 598. coram, ' in an interview ' ; see on 484. placabilius est, ' is the better way to appease them. ' Verbal adjectives in -bilis often have an active signification in early Latin, as in Phorm. 961, Heaut. 205 tolerabilis = 'tolerant.' So also Hor. Od. 1. 3. 22 Oceano dissociabili ('causing estrange- ment '). 609. et recte et uerum dicis : cf. Plato, Phaedo 79 D, KaXcSs a\t]0rj \^7s, Protagoras 352 D, /caXws -ye, ttf>T)i> fyd, l 0X77077. Hegio and Micio go into Sostrata's house. ACT IV. So. 4 Aeschinus now returns from the forum (see 277), and turns over in his mind the critical character of the situation. It is evident that Sostrata and Pamphila believe him to be false ; yet he cannot explain without disclosing his brother's secret. 610. discrucior : see on 355. animi, ' at heart,' ' in spirit ' ; a locative, used with certain expressions of feeling, such as doubt, anxiety, etc. See A. 223. c ; H. 410. V. 2 ; G. 374. E. 3 ; Roby 1168, 1321 ; Madvig 296. b. obs. 3. Cf. Phorm. 187, Eun. 274, Hec. 121, Heaut. 727 pendebit animi with Shuckburgh's note. obici : the first syllable is long by position, since only in the way it is written does it differ from obiici. (Spengel. ) Take hocine tantum mali together. For the construction hociiie obici see on 38. 148 P. TERENTI ADELPHOE 611. quid me faciam, ' what I shall do with myself.' facere, fieri, and esse are thus constructed with the simple instrumental ablative, where a preposition might be expected, de is rarely used ; sometimes the dative. Cf. Heaut. 188 incertumst etiam quid se facial, Hec. 668 quid faciemus puero 1 Andr. 709 quid mefict? Phorm. 137 quid te futurumst ? Ad. 996 sed de fratre quid fat 1 Andr. 143 quid facias illi, etc. ? Cf. n. on 996. quid agam : more general in meaning than quid faciam. 613. pectore : cvnsistere with the simple abl. occurs also in classic prose ; e.g. Cic. Cat. Mai. 20. 74 mortem . . . inpen- dentem timens qui poterit animo consistere f 614. uah : see on 38. turba : 'confusion,' 'embarrassment.' 615. incidit : i.e. orta est. 617. anus : Canthara, the nurse, anus is usually an elderly woman of inferior rank or condition, matrona an elderly lady. The latter can be called anus only in a slighting way, as in 939 ; Hec. 231, 621. id ... indicium fecit =id indicauit; cf. Hec. 546 id nunc res indicium haecfacit ; Ad. 939 idne estis auctores mihi ? 619. Scan Pdmphila \ quid agdt, not Pdmphila quid \ agdt. (Spengel.) iam partus adsiet : the omission of the interrogative particle in an indirect question is very rare. Dziatzko, con- sequently, conjectures partusne or partun; Spengel ian ( = iamne). 620. eoneonf., 'whether for that reason.' abi : scornful, ' be gone ! ' ' avaunt ! ' See on 220. 621. diu : monosyllabic, as in Eun. 295, etc. dedisti uerba, ' have deceived us. ' Cf. Donatus (on Eun. Frol. 24), ' uerba dare ' decipere est, quia qui ' rem ' exspectat et nihil praeter ' uerba ' inuenit, deceptus est. 622. ualeas : repellent, like x aL P e ' lv X^V". So Andr. 696 ualeant qui ititer nos discidium iu>lunt. habeas . . . placet, ' keep the one you like. ' 623. id alludes to the statement in 617. NOTES 149 me reprehend!, 'I checked myself; cf. Ov. Her. 11. 53 contineo gemitus elapsaque uerba reprendo, 624. fieret palam : i. e. the secret. See on 71. The sudden change of subject is a colloquialism. 625-6. quod. . . ecferri, 'a matter which ought by no means to get abroad ' ; the ace. with infin. in place of an abl. See on 342, and Madvig 266. obs. 626. ac mitto, 'well, I'll let that pass. ' potis est : see on 344 and 539. ut ne usually expresses negative purpose ; e.g. Andr. 259, Cic. in Verr. 2. 4. 28. Here ut nc = ut nan, as in Plaut. Epid. 63 potin ut molestus ne sics? Cf. Pers. 175 cited on 539. qua, 'in any quarter.' exeat : in meaning the same as ecferri, and so used by Cicero, Nepos, Suetonius, and Aulus Gellius. The subject is the same as that of fieret (624). 627. The idea is : if I were to confess that I carried off the music-girl in order to give her to my brother, I fear I should not be believed by Sostrata and Pamphila, so greatly are appearances against me. id ipsum : object of credant. 629. adeo : often merely an intensive particle ; cf. 797, 987, 989. me . . . indicasse : see on 38. hanc rem : his relations with Pamphila ; not the abduction of the music-girl. 630. ut ut erat gesta, ' bad as it was,' lit. ' in whatever way it was done.' On ut ut see A. 105. b ; G. 108. 2 ; cf. Heaut. 200 ut ut erat, mansum tamen oportuit. 631. cessatum usque adhuc est, ' procrastinating have I been up to this moment.' nunc, etc., 'now, from this instant, Aeschinus, rouso your- self ; for the metaphor cf. 693 dormienti. Syrus addresses himself in 763. 633. peril, ' ah me ! ' horresco semper, ' I am always of a shiver.' pultare : see on 264 (crepuii). hasce : see on 530. 150 P. TERENTI ADELPHOE 634. heus, heus : the interjection repeated (cf. Eun. 337, Heaut. 348, etc.) and the use of actutum ('forthwith ') help to picture his uncertainty and hesitation. Aeschiniis : see on 598 ; cf. 588. aperite aliquis, ' open some one ! ' aliquis with a plural verb, because used distributively. So in Plaut. Men. 674 aperite atque Erotium aliquis euocate ante ostium, Merc. 908 aliquis actutum hucforas exite. 635. hue, ' to one side. ' The scene closes within the first half of the verse. See on 81. ACT IV. Sc. 5 Micio, who in company with Hegio had gone into Sostrata's house (609), says a few words to Sostrata as he comes out. She is visible within the doorway. Aeschinus has retired to one side. 636. facite : Donatus explains, iiibet ut uel securae sint uel adornent nuptias. haec : matters which have been the subject of conversation between Sostrata and Micio. sint : so the Bemb. ; other MSS. sunt. The subjunctive may be due to the influence of sciat. 637. quis . . . pultauit : said aside. It is true that Aeschinus has just called aloud his own name (634). We are to suppose, however, that Micio, being in conversation with Sostrata, failed to catch his words. 637-8. Aeschinus speaks aside. quid huic hie : see on 40. pepulisti : much the same aspultare (633) ; cf. 788. 639. melius est : i.e. than to do the opposite. This verse and the next are said aside. 640. With the thought, cf. 54. 641. respondes : see on 737. equidem : see on 555. NOTES 151 istas : sc. pepuli ; cf. 633 hasce. Aeschinus endeavours, in his embarrassment, to shield himself by a falsehood. quod sciam, ' so far as I know ' ; for the subjunctive see A. 320. d ; H. 503. note 1 ; G. 629. R. ; Roby 1694 ; Madvig 364. obs. 2. But restrictive clauses with attinet, posse, and esse, as well as other verbs, more often take the indicative ; see on 296, and cf. Cic. Brut. 17. 65 Catoncmuero quis nostrorum oratorum, qui quidem nunc sunt, legit ? 642. ita, ' so ? ' ' really ? ' ' yes ? ' See on 287, 543. nam : elliptical and causal, ' (I asked) because I wondered.' See on 168 (enim). quid . . . tibi, ' what business you had here ' ; a common expression in the comic poets ; cf. Andr. 849, etc. 643. erubuit : salua res eat, ' he blushes ; 'tis all right ' ; an "aside." Micio's doubts as to his son's honourable in- tentions are now dispelled. He is moreover assured of the young man's shame at having concealed from him the story of his love-affair. Cf. 827 in loco uereri ; Andr. 878 uide num eius color pudoris signum iisquam indicat, and Menander (Frag. Inc. 173) *0s 8' o&r IpvOpiav otSev oCre deSdvat, TA irp&ra. irdfrj^ TTJS avcudtias x e <> an( l Menander in the 'OnoTrdrpioi- "Aira* tpvOpiCiv xpyffTfa dvai /not SoKft Of course a blush could not be seen on the stage, whether the actor wore a mask or not. It could be indicated only by statement. die sodes. ' tell me, I entreat you ' ; said with considerable earnestness. 644. rel : dissyllabic here, as in Hec. 810 quid rel est ? But in 175 supra reist is only one syllable. 646. aduocatum : a person who advised another in the management of a cause ; not necessarily the pleader. The pro- ceeding which Micio supposes for the purpose of testing his son's feelings was in strict accordance with law. Muio there- fore ici tlia legal term, ' advwate.' 647. pauperculae, ' in poor circumstances ' ; so Heaut. 96 est e Corintfw hie aduena anus paupercula. 648. ut opinor eas non nosse te : a mixture of two con- structions (ut opinor, eas non nosti, and opinor eas non nosse te}, quite common in the sermo cottidianus. Cf. Pliorm. 480 ut aibat de eius consilio sese uellefacere quod ad hanc rem attinet. et, ' or rather. ' 152 P. TERENTI ADELPHOE 649. enim : see on 168. quid turn postea : see on 529. 652. leges : the Attic law, in the case of a maiden who was an orphan and portionless, compelled her nearest male relative (d7X" rTe ^) either to endow her according to his means, or to marry her. A recital of the law, as it stood in the time of the New Comedy, is given in Phorm. 125 lex est ut orbae, qui sint genere proxumi, eis nubant, et illos ducere eadem haec lex iubet. See Diod. Sic. xii. 18, 2. 3. The law had more particular reference, however, to the M/cXr/poi, i.e. only-daughters and heiresses. Cf. Numbers, xxxvi. 8. See Dziatzko on this verse, and on Phorm. 125. 653. recte : perge, 'quite right: goon.' 654. Mileti : an Ionian colony in Caria in Asia Minor. An Athenian citizen might reside in a colony and still be subject to Athenian law. 655. Miletum usque = usque Miletum ; cf. Eun. 471 ex Aethiopiast usque haec. ita : see on 287. ammo malest, ' I shall lose m^jnind ' ; said aside. In Plaut. Amph. 1058 animo mdtest^aquam uelim, there is evidently a reference to fainting, animo is dative. 656. illaa : sc. dicere ; cf. Andr. 853 quid ilium censes 1 nil enim, 'nothing, of course'; i.e. they agreed to it eventually, though an objection was made at first (657 sq.) For enim. (corroborative) see on 168, and cf. 730. 658. neque : adversative, 'but not.' Cf. similar use of ov5. 659. priorem esse ilium, 'that he has the prior claim.' 660. nonne : Terence usually prefers non or -ne ; see on 83 and 94. haec : ace. plur. neut. (or nom. sing. fern, agreeing with mater understood). poscere : see App. 661. an : see on 136. 662. quid . . . ni : separated, as in Plaut. Amph. 434 quid ego ni negem ? Cf. n. on 466. 664. inliberaliter, ' ungenerously ' ; cf. n. on 57, 449. NOTES 153 665-6. quid, etc., 'what, pray, do you suppose will be the feelings of that wretched man who was the first to consort with her?' tandem : see on 685. animi : partitive genitive, with quid; cf. Eun. 1015 quid illi credis turn animifuisse 1 ilia, governed by the preposition in consueuit, is without parallel ; it is the reading of the Cod. Bembinus. cum ilia of the other MSS. is against the metre. Cf. Hec. 555 quacum . . . consuesset, Phorm. 873 cum eius consueuit olim matre. 667. baud scio an, 'perhaps.' an is used to introduce an indirect question after nescio, hand scio, dubium est, etc., in the ~*^ sense of 'whether not perhaps,' inclining to an affirmative. ** The whole expression then acquires the signification of ' I almost ***- think,' 'perhaps.' See H. 529. II. 3. note 2; G. 459. R. ; ^ addressed to Olympic. Syrus speaks to himself in self-congratulatory terms, and may be supposed to exhibit other indications of the effect of the wine he has taken. The slave's way of calling himself by name is paralleled by Davus in Andr. 206, by Libanus in Plaut. Asin. 249, and by Acanthio in Merc. 112. Cf. 631 supra. Syrus soliloquises without seeing Demea. 764. laute, 'finely,' 'nicely'; see on 425. munus. ' duty,' with reference to eating and drinking. 765. abi expresses satisfaction, 'go to,' i.e. 'good,' 'all right ' ; see on 220, 766. prodeambulare : i.e. pro-de-ambulare ; &Tra%\ey6fj.ft>ov. NOTES 163 deambulare suggests an easy, comfortable gait ; cf. Heaut. 587, 806 uel me hace deambulatio, quam non laboriosa, ad languorem dedit. For this use of two prepositions in composition Donatus compares Verg. Georg. 3. 256 pcde prosubigit terrain. Some editors prefer prodambulare, in which pro assumes its original form prod, as in prodire, prodesse. See App. sis ( = si MJS) expresses anger and impatience. Sis is generally subjoined to an imperative, though sometimes placed before ir, as here, and may express feelings of a varied description, accord- ing to circumstances and the tone in which it is uttered. So in English the words " if you please " may express a request, a command, anger, scorn, etc. The uncontracted form occurs in 184. See Ramsay's Mostell. Excurs. xiii. p. 237. 767. exemplum disciplinae, ' a specimen of good discipline. ' The hiatus after d. is allowable on account of the pause, the change of speaker, and perhaps the fact that there is no actual dialogue in progress. Cf. Introd. p. Ixv. ecce . . . noster : a part of Syrus' soliloquy. hie : adverb. 768. quid fit : see on 266. scelus, 'you rascal,' 'villain'; common in Plautus, who also has scelus uiri, scelus pueri, flagitium, flagitium pueri, and the like. The abstract is very strong and implies that the whole man is the very impersonation of wickedness. Demea is think- ing of the trick by which Syrus sent him hunting throughout the town for his brother. 769. ohe iam : see on 723 ; satis cst is omitted also in Hor. Sat 2. 5. 96. uerba fundis hie, ' you are wasting words here ' ; cf. 434. sapientia, ' old wiseacre ' ; abstract for concrete ; cf. n. on scelus supra. Some editors take it as an adjective in agreement with uerba. 770. 61a = diues. 771. tuam rem constabilissea, ' you would have established your fortune' ; cf. Plaut. Capt. 452 sq. cdepolrem meam consta- biliui qnom illos cini de praeda a quaesloribus. 773. peccato : Aeschinus' intrigue with Pamphija. 774. sedatum : through the betrothal of Aeschinus to Pain- phila. 164 P. TERENTI ADELPHOE 775. nollem hue exitum : sc. esse a me, ' would I had not come out hither'; said aside. See on 165. exitum, being intransitive, is impersonal. Syrus is irritated at being thus disturbed by Demea, while he is still enjoying the effect of the wine and good living which his master lias provided (370). He is also anxious lest Demea should enter the house and discover Ctesipho there. ACT IV. Sc. 9. [ACT V. Sc. 2] Ctesipho sends a slave to summon Syrus into the house. Demea catches his son's name, and so discovers whore Ctesipho is keeping himself. He rushes into the house in spite of Syrus' earnest opposition. 776. Dromo calls in a low voice to Syrus from the door of Micio's house. abi, ' do be gone ' ; said threateningly, but in an undertone. See on 220. Droino disappears. 777. narrat, 'say of,' 'tell of.' carnufex : see on 363. 779. parasitaster : a Greek diminutive of contempt, 'a miserable hanger-on ' ; &ira^ \ey6/j.fvov. paululus : used of stature ; cf. Liv. 35. 11. 7 equi hominesque paululi et graciles. The parasite would therefore be most un- like Ctesipho who was well grown. 780. nostin, ' don't you know him ? ' Said with an air of innocence. iatn scibo, Til soon find out,' i.e. whether you speak the truth; see on 361. Demea ignores Syrus' question as irrelevant, and walks rapidly toward the door of Micio's house. Syrus makes frantic efforts to detain him. mitte me, ' let me go ! ' ' hands off ! ' 781. noli: sc. abire, i.e. 'don't go away.' mastigia = /j-aa-riylas (^d. 785. dam : see on 196. haec : archaic for hoe. interea : pleonastic. in angulum : of the house. For the thought cf. Plant. Mil. 582 nam iam aliquo aufugiam et me occultabo aliquot dies, dum hacc consilescunt turbae atque irae leniunt. 786. hoc uilli, ' this little sup of wine ' ; uillum is contracted from uinulum, a diminutive of uinum. For the genitive cf. 870 hoc fructi, Plaut. Amph. 462 hoc operis = ' this piece of work.' This use of the partitive genitive, whereby all genders are joined with hoc, is common in Plautus. uilli is fi?ra sic again, 'yes, that's what I'll do.' Syrus goes into Micio's house. ACT IV. Sc. 10. [ACT V. Sc. 3] Micio enters from Sostrata's house, into which he had gone (757) to inform the inmates that the preparations for the wedding were completed (see 719). At the same instant Demea appears from the house of Micio, much distracted at the dis- covery that it is Ctesipho who is in love with the music-girl. Micio speaks to Sostrata as he comes out. The latter is partly visible behind the door. 787. parata . . . aunt, 'the necessary preparations have been completed.' 788. ubi uia, 'whenever you wish'; the sentence is in- terrupted by the noise made by Demea as he comes out. Understand transferri poterit mulicr, or an equivalent. 166 P. TERENTI ADELPHOE quis nam : see on 537. a me : i.e. a (ex) aedibus mcis, 'at (lit. 'from') my house.' Cf. Heaut. 510 a me nescio quis exit, Phorm. 732 a fratre quae egressast meo, Eun. 545 ab Thaide exit. pepulit : see on 638 ; rarely used of a person coming out of a house ; see on 264 (crepuit). Demea has seen Ctesipho feast- ing within, in company with the music-girl, and the noise he makes is largely due to anger. 789. Demea's volubility is indicative of the state of his feelings. 790. Cf. Plant. Trin. 1070 mare, terra, caelum, di, uostram fidcm ; Ov. Trist. 2. 53 per marc, per terras, per tertia numina iuro. Demea does not see Micio. em tibi, ' there you have him,' ' there he is for you ' ; see on 537. Micio is speaking either to himself, or to Sostrata within. For the former hypothesis cf. Phorm. 847, where Geta says em tibi to himself in reference to an unpleasant surprise. In the latter case we must assume that Micio has informed Sostrata of his brother's peculiar temper. 792. paratae : sc. sunt Ctesiphoni ; cf. Phorm. 133 mihi paratae lites. lites, ' a quarrel, ' ' row ' ; in this sense usually in the plural. succurrendumst. ' I must to the rescue.' 793. nostrum liberum : genitive plural; cf. 411 suom = suorum. 794. ad te redi, ' return to your senses,' ' be yourself again ' ; cf. Andr. 622 ad me redeam, Heaut. 921 non sum apiid me; Hor. Sat. 2. 3. 273 penes tees? Shakespeare, Titus Andronicus, 1. 1. 368 "he is not with himself; let us withdraw." 795. Demea assumes a forced repose of manner. His trembling, however, betrays the strength of his feelings. 796. rem ipsam putemus, 'let us take into account the actual state of the case ' ; putare = ' to make computations, ' and then 'to investigate." Cf. n. on 208 ; Phorm. 718 rem ipsam putasti. 797. ex ... ortum, ' it was from you in fact that the suggestion came ' ; see 130. For adeo see on 629. 799. quor recipis meum, ' why do you harbour my boy ? ' NOTES 167 800. num qui minus . . . aequomst, 'is it in any way unfair ? ' qui : an old form of the abl., as in 179 and 254, but here in- definite ; cf. Plaut. Rud. 736 numqui minus hasce esse oportet liberas ? 801. mihi : sc. tecum. 802. ne cura : see on 279 (ne time). 803. uerbum, \byos, ' proverb,' ' saying ' ; cf. Eun. 732 uerbum hercle hoc uerum erit 'sine Cerere et Liberofriget Venus,' Andr. 426 uerum illud uerbumst . . . omnis sibi malic melius esse quam alien. 804. Donatus says of this verse, inter Pythagoreos ortum dicitur. Cicero quotes it (de Off. 1. 16. 51), ut in Graecorum prouerbio est, ' amicorum esse communia omnia. ' The Greek Koa>a. TO. T&V i\ui> occurs three times in Aristotle, and is quoted by Martial (2. 43. 1 and 16). 805. facete : ironical. none . . . oratiost, ' now for the first time has this sentiment of yours come to light ' ; i.e. you thought very differently a short time ago. See 130 sq., where Micio advises a distinction of rights and duties. 806. ausculta paucis : sc. uerbis. Perhaps paucis is djiiixe here and in Andr. 536, Hec. 510 audi paucis, Eun. 1067 audite paucis. It is certainly ablative in the expression paucis te uolo, Andr. 29 (cf. Plaut. Mil. 375 paucis uerbis te uolo, Trin. 963 te tribus uerbis uolo). This is rendered more certain by examples such as Plaut. Aul. 199 paucis . . . te uolo . . . appellare, Capt. Prol. 53 paucis uos . . . monitos uoluerim, Men. 779 loquere . . . paucis. 807. principle, ' in the first place ' ; the second reason follows in 821 sq. id : explained by the clause sumptum filii quern faciunt, as if Terence had written id, quod tantum sumptum faciunt. mordet, 'vexes,' 'grieves.' sumptum : attracted out of the nominative into the accusa- tive by the following quem. See Roby 1067 ; Madvig 319. obs. Cf. A. 200. b ; H. 445. 9 ; G. 619. R. 2. 808. facito . . . cogites : see on 497. 809. pro re tollebas tua, 'you were bringing up according to your means.' It was customary among the Greeks and 168 P. TERENTI ADELPHOE Romans to place a new-born infant at the feet of its father, who raised it from the ground if he wished to acknowledge and rear it. Otherwise it was either put to death or abandoned, in some exposed place, to the inercy of strangers. The custom originated in the ancient view of the supremacy of the state, in accord an ct; with which only those persons were worthy to live who were likely to be its supporters and defenders. Accord- ingly weak and crippled children, as well as female infants, so far as the latter were counted in excess of a given number, were in this way effectually cut off from participation in the life and privileges of a community to which they could make no return. Hence tollere = ' to acknowledge a child,' and so 'to bring it up.' Cf. Andr. 219 quidquid peperisset, decreuerunt tollere. 811. turn : with credidisti. uxorem : Micio's money, had he married, would have gone to his own children. scilicet, ' naturally ' ; cf. n. on 729. 812. eandem . . . obtine, ' keep to that same plan of former days' ; i.e. a plan in accordance with which Demea's property should prove a sufficient inheritance for his two sons, and Micio's should not come into the count at all. antiquam : cf. 442. 813. conserua, quaere, parce, 'hoard, scrape, and save.' (Sloman.) 814. gloriam tu istam obtine, ' maintain your credit for that plan of action. ' . . 815. xnea . . . utantur: utor is constructed with the ablative elsewhere in Terence. Observe that here it is used with a neuter pronoun, and that the latter is at a distance from its verb. The ace. may be due to attraction (see on 807). abutor always takes the ace. in Terence. See on 464. praeter spem : because Micio did not marry. 816. sumina : sc. reituae, 'your estate,' 'capital.' quod hinc accesserit, ' whatever shall have been added to it from my funds.' hinc is said SeiK-rt/cws. 817. de lucre: i.e. lucrum, 'as clear gain.' The con- struction varies ; e.g. Phorm. 246 quidquid praeter spem cueniat, omne id deputare esse in lucre ; Hor. Od. 1. 9. 14 qucm Fors dierum cumque dabit, lucro adponc. NOTES 169 818. in animo cogitare : cf. n. on 500. 819. dempseris : see on 127. 820. mitto rem : sc. familiarem, ' I do not care about the money.' consuetudinem amborum . . ., 'it is their mode of life (character, morals) that . . .' Understand euro, or loquor. See on 135. See App. mane : see on 467. 821. istuc ibam, ' I was coming to that' ; cf. 190 illuc redi, Heaut. 274 istuc ueniam ; Hor. Sat. 1. 1. 108 illuc unde dbii redeo. 822. signa : i.e. such characteristics as are mentioned in 827-9, and their opposites. 822-4. coniectura facile fit ... ut possis dicere ' hoc licet, etc. ' : a longer way of saying coniectura facile fit hoc licere, etc. ut is consecutive. 825. sed quo : so the best MSS. instead of sed quod ; cf. 270 quam quo, and note. is qui facit : sc. dissimilis est ; i.e. (dissimiles inter se) ei quifaciunt. 826. quae : sc. signa. fore : sc. eos. The idea is that the innate disposition of the two young men is such as to preclude the possibility of permanent harm accru- ing from their present extravagances, whereas with youths naturally bad the reverse would be the case. 827. in loco : see on 216. 828. seiris (for siris) = siueris ; potential perf. subjunct. Perhaps a fut. perf. indie. See App. liberum : see on 57. 830. redducas : sc. ad officium ; potential subjunct. But if seiris be a fut. perf. , then to be taken as a softened imperative, which is in effect a simple future, seiris . . . redducas will then be analogous to Heaut. 487 dare denegaris : ibit ad illud ilico, etc. The double d in redduccre often appears in MSS., is supported by the lengthening of the e in Plautus and Lucretius, and was undoubtedly the correct spelling in early Latin. Cf. Muuro on Lucr. 1. 228. 170 P. TERENTI ADELPHOE enim : see on 168. metuas : potential. ab re . . . omissiores paulo, ' somcwliat too careless as to money matters.' omissiores is the opposite of adtentiorcs, 834 ; hence ab re and ad rcm. 831. noster : with a vocative, 'dear,' 'my dear'; cf. 883, 961, Audr. 846 o noster Chremes. 832. alia : with omnia. aetate, ' with age. ' rectius : i.e. than in youth. 834. Demea meets this argument in 953 sq. adtentiores ... ad rem : cf. 953. For the dative cf. Hor Sat. 2. 6. 82 attentus quaesitis ; for in and abl. cf. Cic. in Verr 2. 1. 126 in re aducnticia atque hcreditaria . . . attentus; foi 1 the gen. cf. id. pro P. Quinct. 3. 11 ccterarum rerum . . . attentus. With the sentiment cf. Cic. Cat. Mai. 18. 66 auaritia uero senilis quid sibi uelit, non intellcgo ; potest enim quicquam csse absurdius quam, quo uiae minus restet, eo plus uiatici quacrere ? 835. quod, 'as to which,' refers to the whole preceding thought. ne . . . modo, 'only take care lest.' The positive, modo ut, occurs in Andr. 409, Phorm. 59. nimium : with bonae, ' those very fine arguments of yours ' ; see on 169. 836. istae emphasises tuae, and strengthens the irony of the sentence. 837. tuos . . . aequos : nominative. subuortat : in number agreeing with the second subject only. 838. istaec, ' those fears. ' date hodie mini, 'yield yourself for the day to my guid- ance' ; cf. Eun. 516 mihi scse dare. 839. exporge, 'smooth out,' 'unruffle'; syncopated form of exporrige. Cf. Plaut. Cas. 281 primum ego te porrectiore fronte uolo mecum loqui. The opposite occurs in Plaut. Amph. 52 quid contraxistisfrontem? scilicet : see on 729. NOTES 171 tempus, 'the occasion,' ''circumstances.' Demea accommodates himself to a situation that he cannot change, and contents himself with the idea that for the future he will remove his son Ctesipho as far as possible from Micio's influence. fert : see on 730. 841. luci (not luce) is the old form of the locative, with temporal meaning, and, like mane (mani) and uesperi, is used as an indeclinable neuter substantive, being often combined with neuter adjectives. The ancient grammarians inferred from such combinations as primo luci, luci claro, an original mascu- line form, perhaps lucus. Cf. H. Usener in N. Jahrb. 1878, p. 76 sq. de nocte censeo, ' nay, to-night, for aught I care ' ; so Hor. Ep. 1. 2. 32 ut iugulent hominem surgunt de nocte latrones, i.e. ' ere night is gone ' (Wilkins). Cf. 965 de die, and note. 842. hilarum : see on 756. 843. abstraham : stronger than abducam. Demea wishes to take the music-girl away to the country that he may have an opportunity to vent his spite upon her. pugnaueris : pregnant, ' you will have fought (and con- quered),' 'you will have won the day'; explained by Donatus as = magnam rem feceris. Cf. Plaut. Epid. 493 euge ! euge ! Epidice I frugfs : pugnasti bene. 844. prorsum, 'certainly.' illi : see on 116 ; i.e. at your country-seat. 845. facito ut : see on 497. ego istuc uidero, ' I'll see to that,' ' trust me to look out for that ' ; see on 127, 538. 847. faxo : see on 209. For a fuller account of a female slave's occupations, cf. Plaut. Merc. 396 sq. The severity exercised by brutal masters towards their slaves was not con- fined to those of the male sex. Witness the terms in which Callicles addresses his ancillae in Plant. True. 775 sq., and the cruelty of Roman ladies to their attendants as depicted by Juvenal in his sixth satire. 848. meridie : not, as Donatus explains, because work of this kind had to be done at noon ; but that her complexion might in this way be exposed to the injurious effects of the sun's rays. 172 P. TERENTI ADELPHOE 849. excoctam : sc. earn. The perf. part. pass, is used as a secondary predicate, after verbs of causation and desire, to denote impatience of anything except entire fulfilment. G. 537. Cf. A. 292. d ; Roby 1402 ; n. on 906. placet denotes assent, 'good,' 'you are right.' So 910, etc. 850. equidem : see on 555. 851. cogam, ' I would compel,' i.e. if I were in your place ; the subjunet. (not fut. indie.) 852. derides, ' you are bantering me ?' 'joking?' fortunatu's : Demea congratulates Micio on being able to trifle about a matter so serious. qui . . . sies : causal relative, 'since you are.' 853. ego sentio . . . , 'I feel . . .' The idea is 'I feel it to be a serious matter.' See on 135. 854. intro : i.e. into the house of Micio, where the wedding ceremonies had already commenced, and whither Pamphila was to be transported from Sostrata's house. quoi, etc. , ' let us devote this day to that matter to which it is dedicated,' i.e. to the nuptials of Aeschinus and Pamphila. See on 358 and 287 (sumamus). Micio goes in, followed by Demea. ACT V. Sc. 1 [4] Demea enters from Micio's house. After taking counsel with himself concerning the practical resiilts of his brother's mode of living and his own, he resolves to imitate Micio. By adopting an extreme course he demonstrates that his brother's complaisant and easy-going behaviour is in excess of true liberality, and therefore an error. 855. The change in the metre from iambics to trocliaics antici- pates the sudden transformation from grave to light in Demea's attitude and manner. numquam, etc., 'never did any one make such good reckon- ing with regard to his life.' subducta ratione : predicative abl. of quality, siibducere rationemto cast up an account by subtracting the debit from NOTES 173 the credit ; cf. Plaut. Cure. 371 subduxi ratiunculam ; Cic. ad Att. 5. 21. 11 subducamus summam ; ib. 13 hoc quid intersit . . . certe habes subductum, 856. res, 'circumstances.' usus, 'experience.' 857. ut, etc. : this clause of result depends, not on moneat, but on the whole of the preceding thought. scisse, ' know thoroughly ' ; the perfect tense denotes com- pleteness. 858. prima, ' most desirable. ' ut repudies : constructed like ut nescias (857). 859. nam : elliptical and corroborative, '(I must be correct in thinking so) for.' nam here gives the reason why Demea thinks that the principle is illustrated in his own case ; it is scarcely to be distinguished from causal nam. See on 168. 8GO. prope iam excurso spatio, ' when at last my course is almost run' ; a metaphor from the race-course. 861. facilitate, 'goodnature,' 'affability.' dementia, ' moderation ' ; cf. n. on 42. 864. nulli laedere os, ' to offend no one to his face. ' The opposite of os laedere occurs in 269. Both the infinitives in this verse depend on an attributive idea such as 'willing,' 'accustomed,' or the like, suggested by what precedes. 866. tristte, 'sullen.' truculentus, ' stern ' ; the title of one of the plays of Plautus. tenax : sc. rei familiaris, ' close.' The original of this verse is among the fragments of Menander (Meineke, Frag. Com. iv. p. 72), 'Eyu 5' &ypoiKos, ^/xydrTjs, ffKvffptn, iriKp 867. ibi, 'thereby,' i.e. in ihatrimonio. Similar reflexions upon married life are frequent in Menander, and became a stock source of amusement on the Roman stage. Cf. 28-34, and the character of Nausistrata in the Phormio. uidi, ' I experienced ' ; cf. Verg. Aen. 2. 5 quacque ipse miserrima uidi. 808. alia cura, 'an additional care.' heia, ' heigh-ho ' ; an interjection denoting weariness here, but also used to express surprise, joy, ironical doubt, etc. Demea uses it to introduce the third and strongest proof of the 174 P. TEEENTI ADELPHOE tendency of man's aims in life to result in failure and dis- appointment. 869. facerem, ' earn ' ; cf. Liv. 1. 9, 3 magnas opes sibi mag- numque nomen facere. 870. exacta aetate, 'at the close of my life.' hoc anticipates odium (871). See on 594 (ita). fructi : see on 786. Substantives of the fourth declension with gen. in -i occur side by side with those in -us, in Plautus, Terence, Lucretius, and Ennius. The gen. of this declension ended originally in -uis which was contracted into -MS, or into I, the s, which was lightly pronounced, being dropped. Cf. Eun. 237 ornati, Hec. 836 quaesti, Phorm. 154 aducnti ; Plaut. Capt. 855 uicti, Aul. 722 gemiti, and similarly in other writers until the time of Caesar, when the form in -us became regular. eis : dissyllabic. 871. patria potitur commoda, 'enjoys all a father's com- forts ' ; see on 74. Terence writes potior with the ace. here, in 876, and in Phorm. 469 ; with the abl. in Phorm. 830 : Plautus with the ace., abl., or gen. Cf. n. on 464. potitur : the i is generally short in early Latin ; cf. 876 and Periocha. 12. 872. credunt : Demea did not know that Aeschinus had concealed his love-affair from Micio. 873. desertu(s) sum : final s is dropped in the scansion. 874. ilium ut uiuat optant = M ille uiuat optant. We might have looked for uiuum optant after ilium. In the scansion, md(am) autem is more probable than m(eam) autem. expectant : cf. n. on 109. scilicet, ' doubtless ' ; cf. n. on 729. 875. eductos : see on 495. 876. paulo sumptu, ' at slight expense.' potitur gaudia : see on 871. 877. age age : cf. Andr. 310 age age ut lulet ; 264 and 620 supra. nunciam : see on 156. possiem =possim. 878. benigne facere, ' act liberally.' NOTES 175 hoc = hue, ' thereto. ' prouocat : i.e. Micio. 879. magni fieri, ' to be made much of.' See App. 880. posteriores : sc. paries ; a metaphor from the stage ; cf. Eun. 151 sine ilium priores partis hosce aliquod dies apud me habere. For the ellipse of paries, cf. Hor. Sat. 1. 9. 46 magnam adiutorem, posset qui ferre secundas ; Cic. Brut. 49 ex his Gotta et Sulpicius cum meo iudicio turn omnium facile primas tulerunt. The expression was used primarily of the Seireparyawo-nfc. Translate, ' I will not be behindhand,' ' I will not play second fiddle.' 881. deerit : sc. pecunia, or res familiaris, ' suppose the estate fail.' The word may have been uttered with an accom- panying shrug of the shoulder. It has the force of a condi- tional clause to which what follows is the conclusion. id mea minume re fert, ' that is of least consequence to me.' natu maxumus, ' already so old, ' ' well stricken in years. ' He means that the money is sufficient to last at least as long as his time. Cf. Plant. Trin. 319 mihi quidem aetas actast fermc, tua istuc refert maxume. ACT V. Sc. 2 [5] Syrus, who had gone into the house (786) to sleep off the effects of the wine he had taken, is sent by Micio with a message to Demea. The latter proceeds at once to practise upon Syrus his newly assumed affability. We may even imagine that he shakes the slave heartily by the hand, and that Syrus expresses by gesture and attitude his astonishment at the change in Demea's speech and manner. 882. longius, 'too far' ; cf. Heaut. 212 ne quo hiiic abeas longius. 883. quis homo : sc. est, ' who is that ? ' noster : see on 831. quid fit? quid agitur? The twofold interrogation expresses the very great interest he appears to feel in Syrus' welfare. See on 266. 176 P. TERENTI ADELPHOE 884. recte. ' well ' ; understand ualeo. So Andr. 804 satinc recte (ualetis) ? Cf. Plant. Bacch. 188 nempe recte ualet? optumest, ' I am delighted.' iam, etc. : said aside. 885. The word salue (883) was also added praeter naturam. Under other circumstances Demea would have met the slave with a simple ' Syre.' 886. seruom baud inliberalem, 'a very respectable slave,' suggests that Syrus is deserving of freedom ; cf. Andr. 37 fed ex seruo lit esses liberties mihi, propterea quod scruibas liberaliter. Cf. n. on 57. 887. tibi lubens bene faxim, ' I should be delighted to do you a favour. ' faxim : see on 209. gratiam habeo : in a tone of astonishment and incredulity ; hence Demea's asseveration atqui hoc uerumst. In the next scene Syrus either remains on the stage, in which event he gives expression through gestures and mimicry to his astonishment at the change in Demea's attitude toward him, or he retires, after delivering his message, into Micio's house. In the latter case he appears again at verse 899 in company with Aeschinus. The MSS. fail to give Syrus' name in the titular heading of the scene. ACT V. So. 3 [6] Geta, leaving Sostrata's house with the intention of entering Micio's, is accosted by Demea in the same clumsy style of compliment. 889. Geta addresses Sostrata as he comes out. hue ad bos prouiso, ' I am going to our neighbours out here to see.' He points as he speaks. Cf. Andr. 957 prouiso quid agat Pamphilus. Cf. n. on 549. prouiso prodeo + uiso (uideo), as reuiso (Andr. 4Q4) = redeo + uiso. The word is used in comedy only by people entering the stage from a house. 890. eccum : with an ace. alone ; see on 361. 891. qui uocare = 5'Mo nomine u., ' what's your name ?' See NOTES 177 on 179. Otherwise quis would be expected, as in Andr. 702 quis uideor ? Geta : the repetition of the slave's name is an indication of a desire to please. 893. nam : elliptical and causal, ' (I say so) because ' ; but here, as in 859, it is difficult to distinguish between nam causal and nam corroborative. See on 168. seruos spectatus satis, 'a slave well tried (tested)'; a metaphor from the assay of_jnetals. Cf. Andr. 91 spectatum satis putabam. Notlc? the alliteration. 894. quoi . . . curaest : so Geta proved himself in the matter of Pamphila, etc. ; cf. 479-484. 895. si quid usus uenerit, ' if any opportunity shall feere quid : adv. accusative. 896. lubens bene faxim : the same as in 887, to indicate Demea's poverty of polite language, as well as to heighten the comic effect by making the idea conspicuous through repetition. meditor esse adfabilis. 'I am practising affability.' These words and the three that follow are said aside. 897. procedit, ' it succeeds ' ; cf. n. on 979 ; Andr. 671 quia primo processit parum. quom . . . existumas : for the indie, see on 18. 898. primulum : see on 289. Alliteration. meam : hoc est, mihi fauentcm. (Donatus.) ACT V. Sc. 4 [7] Aeschinus, who had gone into Micio's house (712), now appears again, and gets his share of his father's new-found complaisancy. 899. This verse and the next are said aside. occidunt me, ' they weary me to death ' ; cf. Plaut. Pseud. 931 occidis me, quom istuc rogitas. dum, ' while,' with the force of ' in consequence of,' 'because* ; cf. Andr. 822 dum sludeo obsequi tibi, paene inlusi uttamfiliae. Sec Ramsay's Mostell. Excurs. ii. p. 186. N 178 P. TERENTI ADELPHOE sanctas, ' formal,' 'ceremonious' ; explained in 905, 907. For the whole subject of marriage see Smith's Dictionary of Greek and Roman Antiquities, third edition, s.v. matri- tnonium. 901. ehem : see on 81. tu hie eras : the imperfect of Surprise, 'you here ?' See A. 277. d ; G. 224. R. 3. 902. Notice the rhetorical effect produced by the position of tuos and pater, at the beginning and end of the verse. et animo et natura : see on 126. 903. quam . . . oculos : see on 701. hosce : see on 530. 904. hoc anticipates tibicina, etc. ; cf. n. on 594 (ita). 905. 'A female flute-player, and some to sing the nuptial song ' ; these were to accompany the bridal procession from the house of the bride to that of the bridegroom. Cf. Plaut. Gas. 798 age, libicen, dum illam educunt hue nouam nuptam foras, siMui cantu concelebra omnem hanc plateam. hymen hymeiiace, io. See Becker's Gallus, p. 161 (Met.); Charicles, p. 356 (Met.) Cf. Catull. 61 and 62 passim. 906. ain.=uisne ; cf. 969. huic seni : i.e. mihi. Cf. Andr. 310 tu si hie sis, aliter sentias, where hie = ego ; Hor. Sat. 1. 9. 47 hunc homiiicm uclles si tradere, where the ace. = me. missa haec face, 'abandon these things (for good and all).' See on 849 ; cf. n. on 991. For face see on 241. 907. turbas, 'wedding processions'; the idea is strengthened by the plural. lampadas, ' torches ' ; these were of thorn or pine-wood, and were carried in the procession, which did not start on its way till night had set in. The house also was illuminated. Cf. Ov. Her. 12. 137 ut subito nostras Hymen caiitatus ad aures uenit, et aceenso lampadcs igne micant, libiaquc cffundit socialia carmina uobis. 908. maceriam : a fence-wall dividing the gardens of Micio and Sostrata, who, as it appears from this verse, occupied con- V tiguous dwellings. 909. quantum potest : see on 350. hac : sc. uia ; i.e. through the garden, not the street. Thus NOTES 179 publicity would be avoided, and the formality of a wedding procession rendered unnecessary. 910. traduce : see on 241. matrem : Sostrata. familiam omnem : the whole complement of slaves, which in this instance consisted merely of Geta and Canthara. placet : see on 849. 911. lepidissume, 'most enchanting'; cf. 966; Andr. 948 o Icpidum patrmn ! Demea's remarks, as far as end of 915, are said aside. euge : e&ye, ' bravo. ' 912. peruiae : through the pulling down of the wall. Translate, ' my brother's house will become a thoroughfare.' turbam, 'a whole crowd,' 'a whole multitude' ; in all, four persons. 913. sumptu, 'in consequence of his (increased) expenses.' quid mea : sc. refert, ' what care I ? ' Cf. Hec. 510 abiit. quid mca? Eun. 849 quid mea autem ? 914-5. iube, etc., 'bid that Croesus (nabob) pay down twenty minae this very instant.' iube dinumeret = dinumerato. For inhere with the sub- junctive cf. Eun. 691, Heaut 737 ; Plant. Rud. 708 iube. mado accedat prope. Bentley and others consider iube as = age. ille Babylo : Micio. The Babylonians were proverbially luxurious, and Demea is alluding to his brother's" extravagance and prodigality. Similarly Persicus is employed to designate a rich man, in Juvenal 3. 221. uiginti minas : the price of the music-girl (cf. 191, 369, 742), which Micio had already paid (369), and Demea has knowledge of the payment (406). But Demea has reached a point where he is quite ready to encourage his sjiendthrift brother to dis- burse a like sum for the expenses of the wedding, if by such methods he can win for himself the gratitude of his son and others. 916. dime: sc. maceriam ; see on 908. Syrus hurries into Micio's house, and goes about the task committed to him. 917. illaa abi et traduce : for abi et illas traduce. Similarly Plant. Aul. 270 jmre propcra atque elite, for propera atqiie pure elue. Hyperbaton. 180 P. TERENTI ADELPHOE 918. quom . . . uideo : see on 897. 918-9. te . . . tarn ex animo factum uelle, ' that you are so kindly disposed (toward),' lit. 'that you wish it done in accordance with (our) desires.' factum uelle is idiomatic, = ' to wish well' ; cf. n. on 165 ; Phonn. 787. dignos : sc. uos ; i.e. yourself and the rest of your family. Geta goes into Sostrata's house. Both he and Syrus have now retired from the stage, for it is proper that the conversation which takes place in the next scene should not be overheard by gossip-loving slaves. 920. tu : Aeschinus. sic opinor, ' I think as you do.' 921. per uiam, ' through the street.' 922. enim : corroborative ; see on 168. 923. sic soleo : 'such is my wont, 'i.e. to be as kind and considerate as possible. The infinitive is usually omitted ; cf. Eun. 279 sic soleo amicos ; Plaut. Cure. 604 PL. nugas garris. CV. soleo. eccum : with a nom. and verb ; see on 361. Cf. n. on 260 (ellum). ACT V. Sc. 5 [8] Micio having learned from Syrus of Demea's order to pull down the garden wall, comes out to find his brother, and to ascertain what it all means. He is quite overcome by Demea's suddenly enlarged views, and airy manner. Demea proposes that Micio shall marry Sostrata, and make a present of a small farm to Hegio as a relation of Sostrata and Pamphila. Micio's consent to these plans is ultimately secured by Demea who is aided in enforcing his exhortations by the persistent entreaties of Aeschinus. 924. iubet frater, ' does my brother order it ? ' Said to Syrus within, who may be supposed to follow Micio as far as the door, or to come out upon the stage, and again withdraw at 928. 926. unam facere= coniungere cum nostra (familia). NOTES 181 928. 'My sentiments are the same. Nay, indeed, the following is our duty. ' immo is often thus used to correct or improve some preceding word or expression. ita refers to what follows, nobis decet : see on 491. 929. huius : Aeschinus. Scanned as a monosyllable ; cf. n. on 261 (illius). uxori : Pamphila, quid postea : see on 529. 930. natu grandior, ' somewhat elderly ' ; cf. n. on 673. 931. scio : a monosyllable (or sclS). parere . . . non potest : accordingly there could be no fear of children who would have to be educated, or of heirs who would divide the property with Aeschinus. 932. solast : i.e. she is without a protector. qaam hie rem agit, ' what is he driving at ? ' Said aside. 933. ducere, ' marry ' ; frequent in the comic poets without either uxorem, or in matrimonium, or domum (473). The first te refers to Micio, the second to Aeschinus. 934. autem expresses astonishment ; see on 185. ineptis, ' you are trifling,' ' you talk like a fool ' ; so in Phorm. 420. si tu sis homo, hie faciat, ' if you were anything of a man, he would do it at once,' i.e. you would persuade him ; said to Aeschinus to secure his co-operation. See on 107. 935. mi pater : Aeschinus is pleading with his adoptive father ; so in 936, 955. asine, ' you donkey ' ; used as a term of reproach also in Heaut. 877, Eun. 598. nil agis, ' there is no use in your opposing it.' 937. aufer, ' away with your entreaties ' ; cf. Phorm. 223 aufer mi ' oporlet,' 857 quin tu hinc pollicitationes aufer. Donatus would supply manum ('hands ofl' '), or te (' away with you '). aufer manum is not found elsewhere, although potin ut abstineas manum occurs in Plaut. Amph. 903. For aufer te cf. Plaut. Rud. 1031, Asin. 469 te aufer domum. da ueniam filio, 'grant your son this favour'; cf. 942, Andr. 901, Hec. 605 da ueniam Jianc mihi. 182 P. TERENTI ADELPHOE 938. nouos, ' inexperienced ' ; cf. 751 noua nupta ; Liv. 36. 17 (of Antiochus) nmtus maritus, uclut saginatus nuptialibus ccnis, ad pugnam processit. 939. ducam : see on 933. idne estis auctores=icfoie suadetis; cf. Plaut. Mil. 1094 quid nunc mi's auclor ut faciam, etc. ? Stich. 128 mi auctores ita sunt amid, ut uos hinc abducam domum. Cf. n. on 617. 940. promisi ego illis : we must imagine that Aeschinus, when in conversation with Sostrata and Pamphila, had let fall a promise that he would seek to arrange a marriage between Micio and the widow, so soon as his own union with the daughter had been brought about. The verse is of doubtful authenticity. promisti : for the form see on 561. autem : see on 934. de te : irapa O-O.VTOV ; more literal and therefore more forcible than de tuo, since Aeschinus might give himself, but not another man, in marriage. Translate, ' be liberal of what's your own (i.e. 'of yourself"), my boy.' Cf. n. on 117. 941. age : cf. n. on 271. quid si quid : the first pronoun is interrogative, the second indefinite. quasi : see on 223. 942. ne grauere, 'do not refuse.' non omittitis, ' won't you let me alone ? ' i. e. cease your demands ? Perhaps Demea and Aeschinus have laid their hands on Micio in order to press their suit. .For non see on 94. 943. uis est haec quidem, ' this is downright violence ' ; a form of protest used by the Romans when suddenly attacked, or taken by surprise ; cf. Plaut. Capt. 750 uis liacc quidem herdest et trahi et trudi simul ; Suet. lul. 82 ista quidem uis est! said by Caesar under the blows of his assassins. age prolixe, ' come, be liberal ' : sc . fac, or promitte. Cf. Euii. 1082 accipit homo nemo melius prorsus neque prolixius, i.e. 'entertains more liberally'; Cic. ad Fam. 3. 8. 8 tna prolixa beneficaque natura. 944. For the asyndeton cf. 988 ; for atque see on 319 (et). NOTES 183 945. bene facis : see on 601. 946. merito te amo, ' I have good reason now to Iove_jp.u ' ; cf. Eun. 186 merito te amo, bene facts; Heaut. 360. +~x? Jb ^ . quom, 'since' ; see on 918. confit, 'is being brought about' ; cf. Andr. 167 et spero con- fore. The fulfilment of his first wish gives Demea courage to ask a second favour. See App. 947. quid nunc quod restat : understand est after quid, and take nunc with the relative clause. \ 948. adfinis : through the marriage of Pamphila and Aeschinns, and of Sostrata and Micio. nos . . . decet : see on 491. 949. agelli . . . paulum, 'a little bit of land.' locitas : frequentative, 'you are in the habit of letting.' foras, 'out,' i.e. 'to a tenant.' For this extension of the use of foras cf. Plant. Stich. 219 foras necessumst, quidquid habeo, iiendere, i.e. 'to sell off.' See Ramsay's Mostell. pp. 91-92. 950. qai=quo; see on 254. ' Let us give him the use of it.' Hegio was to have merely the usufructus of the land ; the ownership would remain with Micio. fruatur : Terence joins this verb with the abl. , except in Heaut. 401, where ingenium frui is the reading of the Cod. Bemb. ; but as all other MSS. have ingenio the reading is doubtful. See on 464. autem : see on 934. 951. huic : Pamphila. noster est, ' he belongs nowto us,' as a friend and connection by marriage. 952. none . . . facio, ' I now appropriate that saying.' meum : predicative. 953. dirti : i.e. in 833-4. For the form see on 561. 954. nimium : see on 169. senecta, the usual form of the abl. in early Latin, occurs only once in Terence, often in Plautus, and generally with the 184 P. TERENTI ADELPHOE addition of aeiate, as in Aul. 253, Cas. 240. Cf. the later poetical form iuuenta. It is not improbable that Demea's somewhat free quotation of Micio's little saying is intended to go as far as ecfugere, 955. dictumst uere : the intentional repetition, for em- phasis, of the idea contained in bcnc et sapieider dixti (953). fieri : sc. iierum; i.e. Jianc maculam nos ecfugere. mi pater : see on 935. 956. quid istic : see on 133. hie : Aeschinus. See App. 957. animo et corpore : see on 126. 958. ' I turn his weapons against himself. ' suo sibi : sibi is an ethical dat. and intensifies suo, 'his own particular.' Cf. Plaut. Capt. 5 seruiat suo sibipatri, 50 ignorans suo sibi seruit patri, 81 suo sibi suco uiuont. The phrase is a colloquialism, more frequent in the comic writers than else- where. For sibi=ei see Brix on Plaut. Trin. 156. This verse is said aside. ACT V. Sc. 6 [9] Syrus enters again from the house, having discharged Demea's order to demolish the garden wall. Demea, in this last scene, carries his new theory to extremes by prevailing on Micio to give Syrus and his wife Phrygia their freedom, and some money also to make a start with. Micio's discomfiture is complete. He appeals to Demea for an explanation of his peculiar conduct. The latter shows that he has been prompted by a desire to illustrate the ease with which popularity may be won by indiscriminate compliance with the wishes and fancies of others. Having pointed the moral of the play he offers to be henceforth a friendly adviser to his sons. His offer is accepted, and the play ends. 958. For a scene beginning with a broken line see on 81. 959. frugi homo's, 'you're a worthy fellow.' frugi, origin- ally a dat. of service (from the obsolete nom. frux), and in Plautus often so constructed with sum as to be regarded as a NOTES 185 real dative, must in most cases be taken as indeclinable. It is used here attributively, as an indeclinable adjective. See A. 233. a. note ; H. 159. I ; Roby, Pref. to Vol. ii. p. xliv. ; Ramsay's Mostell. Excurs. x. The word was often used in addressing slaves. Cf. 982, Heaut. 597. 961. nam : see on 537. noster : see on 831. 962. istos : Aeschinus and Ctesipho. curaui : i.e. as iraiSaywyos. 963. quae potui : see on 423. 964. haec : nominative ; explained by the following infini- tives, and repeated in 966. Demea is intensely ironical here. obsonare, etc., 'to cater with fidelity.' 965. de die, 'in full day,' i.e. before the afternoon has well advanced, dies is the day proper, the working time of day (cf. Hor. Od. 1. 1. 20), which closed when the hour for dinner (cena) arrived. This, according to .Martial 4. 8. 6, was about 3 P.M. To get ready a banquet earlier than this was a sign of dissipation, and an offence against good custom. Hence de die means ' while part of the working day yet remains.' Cf. n. on 841 (de node). See Ellis on Catul. 47. 6 (2nd ed.) 966. o lepidum caput : see on 911, 261. There is nothing facetious or jocular in the expression, any more than in the Greek u> i\i) ice^aXij, and the like. 967. adiutor refers to the part played by Syrus in Act II. Sc. 2. 968. prodesse, ' to do him a good turn.' alii meliores erunt : i.e. other slaves will be the better for seeing good service so rewarded. 969. hie : Aeschinus. Notice the sarcastic reference to 956. uin : see on 906. cupio : stronger than uolo. 969-70. si . . . uia : addressed to Aeschinus. liber esto : the ceremony of manumission among the Romans was a simple one. The owner struck the slave with the uindida or liberating-rod, in the presence of the praetor, turned him about, and let him go with the words hunc hominem libcrum esse uolo, or briefly, as here, liber esto. A less 186 P. TERENTI ADELPHOE formal method, known as manumissio inter amicos, dispensed with the praetor and uindicta, as in the present instance. Cf. Plaut. Men. 1148. 971. ' Je vous remercie tons en general, et vous en particulier, Monsieur.' (Madame Dacier.) seorsum : lit. ' separately,' ' apart, 'and then 'in 'particular,' 'especially.' Pronounced as a dissyllable; cf. n. on 86 (anlehac). 972. gaudeo, ' I congratulate you ' ; the formal reply to this was credo; cf. Andr. 939, 946 sq., Eun. 1051. perpetuom, ' uninterrupted,' ' complete ' ; cf. Hor. Ep. 2. 2. 175 perpctuus nulli datur usiis. 973. Phrygiam : slaves, both male and female, were named according to their nationality, as e.g. Syrus, Geta, and Phrygia, the last being also the name of the ancilla in the Heauton timorumenos. 974. huius : Aeschinus. 976. emitti : sc. manu, ' that she be made free ' ; cf. Phonn. 830 emissast manu. 977. quantist = quanti cmpta est ; Demea offers to make good to Micio the money value of the slave. 978. Assonance and alliteration ; see on 1, 57, 299. Cf. 990 ; Plaut. Capt. 355 di tibi omnes omnia optata offerant. 979. processisti hodie pulchre, ' you have got on splendidly to-day ' ; see on 897. porro, 'furthermore,' 'in addition' ; to be taken with fades, etc. , ' if you will continue in the performance of your duty. ' See Ramsay's Mostell. pp. 108, 109. 980. tuom officium : hoc est patroni, ut libertum non deseras sed ut alas manumissum, says Donatus who cites Plaut. Cure. 547. fads sapientius quam latronum pars libertos qui habent ct eos deserunt. aliquid paulum, ' a little something,' i.e. some little money. prae manu, 'in hand,' i.e. as a loan merely. Cf. Plaut. Bacch. 622 qui patri reddidi omne aurum amens modo, quodfmt prae manu. 981. unde utatur, 'to live upon.' istoc uilius : sc. reddet, 'less than that,' said NOTES 187 Micio means to express doubt of Syrus' intention to refund the loan. See App. He may mean, however, that Syrus will have nothing to pay back, since he (Micio) will give nothing. 982. frugi, see on 959. post consulam, 'I will consider it later.' Notice that Micio shows the first signs of yielding when Aeschinus speaks. 983. festiuissume : see on 261. 985. ' What means this ready kindness of yours, this sudden generosity ? ' prolubium : quod Graeci irpoBvfjdav, id est promptus animus ad largicndum. (Donatus.) Nonius cites the word from Accius, (Attius), Naevius, Laberius, Caecilius ; but it is not found in any author strictly classical. Cf. Aul. Cell. 5. 10. 12 and 16. 19. 13. See App. 986. ut id ostenderem depends on an idea, such as tarn repente mores mutaui, or tarn largiter egi, suggested by Micio's questions. quod . . . putant, ' as to the fact that those boys of yours think you good-natured and jovial,' explains the following id which, with its infin. fieri, is epexegetic of the first id, in 986. Cf. n. on 162. 987. ex uera uita, 'from a well-regulated life.' uems in the sense of rcctus is common, especially in Livy, as e.g. 2. 48. 2 ; 3. 40. 11 ; 32. 33. 4 ; 39. 27. 3. adeo : see on 629. ex aequo et bono : i.e. in your conduct. ' 988. ' But from a tendency to flatter, to be indulgent and to be unduly bountilul." et : see on 319. 989. Addressed to Aeschinus, but meant also for Ctesipho. 990. ' Because I do not humour you in every particular precisely, right or wrong.' iusta iniusta : proucrbialcs sunt huiusmodi elocutiones 'faiula nefanda,' ' digna indigna,' ' uclis nolis.' (Donatus.) omnia : ace. of specification, iiobis being understood with obscquor ; cf. Plaut. AMU. 76 id ego pcrcupio obscqui gnato mco. See on 978. 991. missa facio, 'I have done with it all,' 'I wash my 188 P. TERENTI ADELPHOE hands of it,' i.e. I shall not interfere with your evil ways. See on 906 and 849. Cf. Andr. 833 nos missosfacc, Eun. 90 missa istaccface. 992. id anticipates the infinitives in 994. 993. magis : preferred to nimis, for the sake of contrast with minus. inpense, 'eagerly,' 'passionately'; cf. Eun. 413 inpense inuidere. 994. reprehendere, 'reprove.' secundare in loco, ' favour at the proper times ' ; see App. 995. ecce me, qui id faciam uobis, 'behold me, at your service ' ; cf. Plaut. Mil. 663 opusne erit tibi aduocato tristi, iractindo ? ecce me. 996. plus, 'better.' quid facto opus sit : a mixture of quid opus sit fieri and quo facto opus sit ; see on 335, 342 ; A. 292. b. note. de fratre quid net, ' what will be done with (happen to) my brother ? ' The abl. without de, in this construction, is more usual ; cf. Plaut. Capt. 952 uolo erogitare, meo minore quid sit factum filio ; Cic. ad Fam. 14. 4. 3 quid Tulliola mea fiet ? The dat. is employed if the person is regarded as the indirect object, as in Bacch. 360 quid mihi fiet postea ? Hor. Sat. 1. 1. 63 quid facias illi? See on 611. 997. habeat : sc. psaltriam. in istac finem faciat : i.e. she shall be the last. Demea's threat (842 sq.) is not carried out. Cantor : a singer who sang certain lyrical pieces called cantica. See Introd. p. xl. sq. The cantor was attended by a tibicen who played the music, while the actor merely rendered the character iu pantomime. At the close of the play the cantor came forward and said plaudite ; cf. Hor. A. P. 155 donee cantor ( uos plaudite ' dicat. In all of Terence's plays the best MSS. mark the Cantor by O, that is the person who speaks last. The other actors also were often denoted, not by initial letters, but by Greek capitals, as e.g. in the Bembine MS. throughout. See Wilkins' note on Hor. A. P. 155 ; Dziatzko, Introd. to Phorm. p. 31, and note on 1055. CEITICAL APPENDIX THE texts of the Didascalia and Periocha, and the list of Personae, are taken without alteration from Dziatzko's edition of the text of Terence (1884) and are discussed in the Notes. 3. That a verse has fallen out after 3 has been shown by Umpfenbach. Dziatzko suggests Clamantes suppilasse eum ueterem fabulam. 4. The reading of the MSS., Bentley, Wagner. To avoid erlt Ritschl (after Bothe) substitutes et, but Fleckeisen omits eritis and reads sesc for se, 10. Ritschl (In Vit. Ter. Com. 505 adn.) is offended by the fact that eum, which he regards as repeated for emphasis, is all but lost through the scansion. Accordingly he proposes to read eum locum hie, or eum nunc hie (cf. Opusc. ii. 685). Wagner reads hie eum sumpsit sibi. On the other hand cf. the undoubtedly genuine verse, Ad. 742. 16. Hunc: Ritschl (In VU. Ter. Com. 30. 505), Wagner, in place of Eum of the MSS. The Prologue elsewhere uses hie to designate the poet, and the verse is cited with hunc in the Vita Terenti of Suetonius. 24. Bentley suspected a lacuna after 24, and suggested Bonitasque uostra adiutrix nostrae induslriae. Wagner thinks it not quite impossible that poetae is a gloss of an original uostra huius or huic. 25. augeat : see note. The instance is somewhat uncertain, for in the preceding lacuna there may have been a second subject, which would render the plural augeant necessary. If, however, aequanimitas was followed by a synonym in the singular, Terence may have used the singular in the predicate. Cf. 340 ; 190 P. TERENTI ADELPHOE Hec. 43 otium ft silcntiumst ; on the contrary, Hcaut. 37 ne semper seruos currcns, iratus senex, edax parasitus . . . agendi sint mihi. 26. I have followed Dziatzko in assuming that Storax is an aduorsitor of Aeschiuus, and that lie does not appear when called. Spengel and others take Storax to be an attendant of Micio, present on the stage, though silent, and not one of the aduorsitores. The name does not appear in the titular heading prefixed to the scene in the MSS. 29. Kitschl (Ojmsc. iii. 797 sq.), followed by Fleckeisen, considers the first half of this verse and the second half of the next to be interpolations, and reads si absis uspiam, Quae in te uxor dicit, euenire ea satius est, Irata. All the MSS. however have the words. 33. Dziatzko objects to the passage Aut tete amari as inter- polated, and suggests Aut cum conuiuis potare atque animo obsequi, as the way the verse may have read originally. 34. Wanting in the Bemb. The verse savours of repetition somewhat after 33, and Fleckeisen brackets it as not genuine. Its omission from A may be due to accident, however, since its first letter, E, is also the letter with which the following verse begins. 37. The reading of the MSS., except ac for which they have aut. uspiam : weak, and apparently taken from 28, to fill a gap existing at a very early date. Dziatzko proposes to substitute per tenebras, which he places after ceciderit in his edition of 1881. This makes good sense. Kitschl (Prolcg. 120), followed by Fleckeisen, emends as follows : Aut ceciderit aliqua atque aliquid praefregerit. Vdh ! quemquamne hominem in animum instituere aut sibi Parare, e.q.s. 40. The reading of the Bemb. All other MSS. give (essen- tially) sed exfralre. is adeo \ . Wagner claims, however, that fratre is here a spondee according to the original prosody of the abl. sing, in the third declension (see his Introd. p. xxiv., and Rhein. Mus. xxii. 117). Dziatzko, not allowing this, has inserted est before meo. Guyet, Fleckeisen, and Spengel transpose, fratre ex meo, which is open to the objection that ex should not follow its case. See Ritschl, Opusc. iii. 296 ; ii. 446. 44. Wagner and Spengel punctuate as in the text, on the ground that contra is always an adverb in Terence. Not so CRITICAL APPENDIX 191 Fleckeisen, who fails to punctuate at omnia, and it may be remarked that contra occurs as an undoubted preposition in Plant. Pseud. 156 and Pers. 13. 56. Audacter : a conjecture of Otto Schubert, Si/mb. ad Ter. emend. (Weimar 1878 p. 7 sq.), approved by Spengel, and adopted by Dziatzko (1881). MSS. aut audebit, which Dziatzko (1884) retains between two daggers. Ritschl's emendation Fraudare (Proleg. 120) is adopted by Fleckeisen and Wagner. I have inserted Audacter in preference to the reading of the MSS. , for the sake of the sense. 60. damans : Guyet, Bentley, for clamitans of the MSS., Donatus, Cic. de Inu. 1. 19. 27 (where this passage is quoted), which is against the metre. Wagner and Spengel retain clamitans, but strike out agis. 82-3. The MSS. have Rogas me, ubi nobis Aeschinus Sict, quid etc., which Sloman adopts, rendering ubi, 'since,' for which he compares Plant. Amph. 439 ubi ego Sosia nolim essc, tu esto sane Sosia. But, as Wagner says, siet can never stand at the commencement of a line in Terence. Ritschl's excellent conjecture (Proleg. 120) has been adopted by many editors, including Dziatzko, except that, in place of Scin iam, the latter has accepted Sciet, a conjecture of Conradt (Hcrm. x. 102 sq. ). Dziatzko (1881) Sties. 87. dissignauit : MSS. (except A and E), Nonius, Donatus (probably). A has designauit. See note. 135. ullum : some MSS., Fleckeisen. I prefer unum with Umpfenbach, Wagner, Spengel, Dziatzko (1881). The latter is the reading of the Bemb. and other good MSS., and is supported by Andr. 300 ucrbum unum caue de nupliis. 165. The MSS. (i.e. AFP) have iusiurandum dabitur te esse Jndignum iniuria hoc. This makes 165 a trochaic Octonarius, and 166 an iambic Octonarius. As this arrangement of metres is in violation of the laws of rhythmical change noted here by Bentley and confirmed by Frid. Schlee, De vers. in cant. Tcr. consecutions (Berlin 1879) p. 34 sq., Dziatzko adopts Fleckeisen's transposition, recommended by Richter and accepted by Wagner. 168. The Bemb. omits tu. The other MSS. have iam nunc tu (DG : nunc tu iam). Sa. At enim. The metre requires either tu or at. At was omitted by Donatus and Priscian. Dziatzko (1881) iam nunc tu. Sa. Enim. The text is supported by Umpfeubach and Spengel. 192 r. TERENTI ADELPHOE 173. indignum facinus : Fleckeisen, Spengel. The Bemb. has facinus indignum ; the other MSS. miscrum facinus. Nisi caues, gemiiiabit : Fleckeisen's transposition. MSS. Geminabit nisi caues, which does not scan without the assump- tion of a monosyllabic pronunciation for caues = cans. 188. fateor stands before pernicics in the MSS. The text gives Fleckeisen's arrangement whereby the metrical irregularity of a choriainbus at the close of the first half of the verse is avoided. 206. occeperis : Donatus. MSS. inceperis. Tncipio is in- transitive elsewhere in Terence, or is followed only by an ace. of a neut. pron. (Dz.) occeperis is supported by the parallel passage, Andr. 79 ; see note. 218. The MSS. have atque at the end of 217. Fleckeisen places Atque at the beginning of 218 and writes adulescenti morigerasses. Dziatzko (1881) adopts this emendation, but now returns to the reading of the MSS., omitting atque, how- ever, with Wagner, Spengel, and others. 223-4. quasi . . . obsequare. The generally accepted ex- planation of these words, given in the notes, is not admitted by Bentley or Bothe. This has led Dziatzko to interpret them differently, and to suspect the genuineness of obsequare. According to Dz., animum is Sannio's mind as expressed in 222 ; quasi iam usquam, etc., means '(you talk) as if already you had twenty minae guaranteed to yon somewhere,' i.e. as if you were sure of your money, and obsequare is probably a gloss for which obnitare, or some other verb suggestive of Sannio's opposition to the conduct of Aeschinus and Syrus, may well be substituted. The whole would then signify : I am acquainted with yoiir view of the matter, viz. , that you prefer to have the sum in hand, whatever the apparent gain to be derived from humouring the young man (Aeschinus) may be, but you act as if the money were already in your possession, in contending with him as you do. Cf. n. on 223. 249. reddatur : the Bemb. Other MSS. reddat. Cf. 279. 262. Qui quom omnia. The Bemb. has QV1IGNOMINIA, from which Quin omnia was made, the reading of C, P, and Donatus, and adopted by Bentley and many other editors. Other MSS. Qui omnia (according to Umpfenbach). Fleckeisen, Wagner, Umpfenbach, Qui ignominias. But ignominias is too CRITICAL APPENDIX 193 strong, in the judgment of Dziatzko, whose conjecture (the reading of the text) perhaps comes nearest the reading of A 1 . putauit. MSS. putarit. 263. laborem. MSS. amorem, supported by Periocha, 6. But laborem is given by Nonius p. 305, and by a Leipzig MS. (Brugman, Jahrb. 1876, p. 420), and is adopted by Fleckeisen, Umpfenbach, Spengel. 264. pote : Donatus, Umpfenbach ; cf. Phorm. 535. Fleckeisen and Wagner potis. The "Bemb. potest. 272. MSS. nos paenc sero scisse et patne in eum locum Redisse ; accepted by Spengel and Slomau. The first paene, however, has little meaning, and its genuineness may be questioned (with Guyet, "Wagner, Dziatzko). rescisse : after Fleckeisen. rem (Bentley) obviates the necessity of making Bedisse impersonal. It is inserted by Bentley and Fleckeisen before locum. 278-9. Non tarn quidem, Quam uis : Madvig's conjecture (Adversaria Grit. ii. 20) for Ne tarn quidem : Quamuis of the MSS. , which is commonly explained as said Sei/rri/cws = ' not even so much,' i.e. 'not at all,' while Quamuis is wholly unsatisfactory. Donatus appears to have read Quam uis, since he explains, in quantum tiis. 287. hilarem : MSS. Dziatzko (1881) has hilare (adv. from hilarus). Terence nowhere else uses hilaris. 289. Most MSS. (not A) assign modo . . . primulum to Sostrata. So Dziatzko (1881) ana most other commentators ; the asyndeton favours this distribution. On the other hand, the words express too little apprehension to suit an anxious mother, but are appropriately uttered by the nurse. 297. ingenio : Bentley's conjecture for genere of the MSS., adopted by Fleckeisen, Wagner, and others, on the ground that Terence would not have written genere in such close proximity iofamilia. Spengel and Sloman retain genere. 309. loquitur : the Bemb. Other MSS. loqualur. See note. 313. Interpolated ; so Guyet followed by Dziatzko. Fleck- eisen and others have added mco before modo, for the sake of the metre (iambic Octonarius). Wagner projwses modo, probe, taking modo with dum. The verse is unsatisfactory in meaning 194 /'. TERENTI ADELPHOE as it stands, and can only be forced with difficulty into corre- spondence with what precedes and follows. 316. aublimen. The MSS. here and in Andr. 861 (cf. Spengel's note) have sublimem, but sublimen is better authen- ticated in Plautus, and is thought by Ritschl to be the only correct form. See Ritschl, Rhein. Mus. 1850, p. 556 ; Opiisc. ii. 462 sq. ; 0. Ribbeck, Jahrb. 1858, p. 184 sq. R. Klotz, in his Excurs. on Andr. 861, is alone in defence of sublimem. 325. fit: Dziatzko (for 'sit of the MSS. and editions), to avoid the subjunctive after Eloquerc an unnecessary alteration, I think. 334. sibi : Conradt (Metr. Comp. p. 119). See Dziatzko's Adn. Grit. (1884). Cf. note. 350. cedo : Bentley, for accedo of the MSS. , which is against the metre. dicis : Dziatzko, from Priscian (ii. 85 H.), as preferable to dicas of the MSS., after cedo ut. Wagner believes Terence wrote cedo ut melius dicis, though he retains dicas in his text. Cf. Andr. 738 ut tu plus uides. potest : Donatus, Fleckeisen, Umpfenbach, Spengel. The MSS. vary, in this expression, between potest and potes, but the third person is generally to be preferred. See note. 353. Propere : Bentley, Fleckeisen. MSS. Propcra which Wagner and Spengel retain rightly, I think. 375. The MSS. have atque at the end of this verse (A has it at the beginning of 376). It is probably a gloss and is gener- ally omitted. Cf. crit. n. on 218. 380. The name Stephanio is omitted from the scene-heading in the MSS. , although it has as much right there as that of Dromo (376), whose name is added to those of Demea and Syrus in the Cod. Bemb. . 390. Haecin : Fleckeisen, Wagner, Spengel, for haccine of the MSS. The comic writers, says Dziatzko, avoid the use of a dactylic word with dactylic verse accent. See Lachmann in Lucr. ii. 719. 395. num : inserted by Fleckeisen and Wagner, with Klette (Exerc. Tereiit. [Bonn 1855] p. 20 sq.). MSS. (except A) tu ; in DG after ucro, in the rest after ilium. Spengel thinks tu cannot well be spared. So he places it before sinercs, and com- pares 107. CRITICAL APPENDIX 195 421. ei : Fleckeisen. Older editions and Umpfenbach hi. 448. Quod narras : Fleckeisen. MSS., Wagner, Umpfen- bach, Spengel Quid narras; so also Donatus who explains, mirantis esl, non interrogantis. But Quid narras should follow immediately upon the close of the preceding narrative (whether that be real or imaginary) ; cf. Andr. 461, Phorm. 136. 468. An quicquam : MSS., Donatus. The Bemb. has ANQVID, with quam added by a later hand. Accordingly Fleckeisen reads An quid est. But the syntax requires quis- quam not aliquis. Cf. Heaut. 81 ; Phorm. 279, 1009 ; Hec. 209, 293. 490. HOB ius : MSS., except ACD which give uos uis (sc. legum. Donatus). The latter is adopted by Umpfenbach, Spengel, Sloman, and Dziatzko (1881) rightly, I think. 514. is : Fleckeisen, Umpfenbach. Guyet and Bentley, followed by Wagner and others, si [ita] est. Spengel sic. The line requires to be filled up. 525. eum : inserted by Dziatzko, to help out the reference to pater (Demea) unnecessarily, it would seem. 527. hoc te : Fleckeisen, Wagner, Umpfenbach, with Eranss (Rhein. Mus. viii. 559). The MSS. (except A) read quern ego hodie, but to pass from indirect to direct speech when the clauses are connected by a relative is clearly wrong. The Bemb. has EGOKODIETOTO, whence ego hodie toto (Spengel and others) which is satisfactory, though uidi lacks an object a want which the emendation of Erauss supplies. 535. MSS. Laudarier te audit lubcnter. Conradt (Herm. x. 104) points out that this old form of the infinitive can stand only at the end of, or before a definite pause in, the verse. Accordingly he proposes Audit laudari te lubentcr. He suggests also (Metr. Comp. p. 112) Laudari te lubcnter audit which Dziatzko adopts. Spengel's conjecture Laudari per te audit lubentcr has the merit of keeping closest to the MSS., while per ... lubentcr (tmesis) may be supported by many parallels. See n. on 393. 538. Is: not in the MSS., but inserted by Bentley and Fleckeisen on metrical grounds. 540. The MSS. have primum before fratrem. Dziatzko, following G. Hermann (Philol. iii. 465), takes it to be a gloss 196 P. TERENTI ADELPHOE (perhaps from 345), and omits it for the sake of the metre, with Umpfenbach. 573. bac : found only in D, as a correction, but rightly adopted in place of hanc of the other MSS. and Donatus. See Dziatzko's crit. note. 575. The Bemb. has hoc praedpitato, but omits te, which is found in the other MSS. Usener accordingly proposes hacc (Jahrb. 1873, p. 398), on the ground that praedpitare is in- transitive in early Latin, te is retained by Fleckeisen, Wagner, Spengel, and others, but Donatus appears to have omitted it. 590. adibo : Fleckeisen, Wagner, Spengel ; but Dziatzko (1881), Umpfenbach with AD 2 G, abibo rightly, I think ; cf. 678 abeamiis. 597. ease : Madvig (Adv. Crit. ii. 21) in place of in of the MSS. 600. Bentley writes Suspicionem hanc proptcr fratrem esse : eius esse illam psaltriam. Fleckeisen assumes a gap after this verse, to fill which Wagner proposes Ab Aeschino raptam esse, fratrem quo adiuuaret danculum. See note. 601. Dziatzko regards this verse as interpolated, on account of the repetition of Bene fads in 604. But, as Sloman says, the repetition may have been a mere oversight. 602-4. Dziatzko thinks that these three verses (or at least 602-3 as far asfunctw) were already suspected in ancient times. They are substantially repeated in 605-9, and defects in them are not lacking. The MSS. have tuo qffido, the only instance in Terence of the abl. with fungor, for which Fleckeisen and Wagner substitute tuom qffttium; and the change of tense from the simple fut. releuoMs in 602 to the fut. perf. fueris functus in 603 led Bentley (and Fleckeisen) to read releuaris (=releva,ueris), an alteration thought by Dziatzko to be un- necessary. See note. 607. ludier : Bentley's conjecture for dandier of the Bemb. Other MSS. neglegi, which is clearly an interpolation. Dziatzko says claudier is against the sense, and perhaps an intrusion from Andr. 573 ; but Sloman seems to me to be right in supporting it as= ' hindered,' ' baulked of one's rights.' 660. uidetur : the Bemb., Umpfenbach. Other MSS., Fleckeisen, Spengel uidentur. poscere : Bothe, for postea (post ea] of the MSS. and Donatus. CRITICAL APPENDIX 197 Dziatzko suggests poscier, if uidentur be adopted, as nearer than poseere to postea, 668. praesenti: MSS., Umpfenbach, Spengel. Bentley praesentem, followed by most of the later commentators. See note. 673. hue : MSS. But Donatus has hinc, and so Bentley, Fleckeisen, Wagner, Spengel, and others. Prouerbialiter ' hinc it line,' says Don., but hinc here would lead us to expect aliquis cognatus or the plur. cognati. 696. Dziatzko feels the want of a definite reference to Pamphila. But to retain hanc, of the MSS., after uxorem is to render necessary a change of order, =Bono, inquam, animo es (so Fleckeisen, Wagner, and others). 703. The order of the Bemb. Five Calliopian MSS. read abiit, periit, nauem ascendit. DG Nauem ascendit, abiit, periit. 711. BCFP Ne inpntdens forte. Other MSS. Ne forte inprudens. Bentley placed forte after faciam, an arrangement defended by Conradt (Metr. Comp. p. 25). 712. aim : Guyet, Bentley, for siem of the MSS. The verse thus becomes iambic Septenarius, like the previous one. But siem should be retained, I think. It is attested by Arusianus Messius p. 247, aud an iambic Octonarius here helps the transition to the following iambic Senarii. 716. MSS. illic fabrica ulla. Fleckeisen omits ulla. Umpfenbach fabrica illi ulla. Wagner (after Klette) illi ulla fabrica,. 722. Nona: assigned to Micio ( = Ecce autemnouaf), against the MSS., by Bothe, and after him by Fleckeisen, Wagner, Spengel, and others, on the ground that in Demea's mouth the word sounds weak after so strong an expression as alia flagitia . . . ingentia. But Dziatzko rightly finds in Nona, Capitalia only a suitable variation upon this expression. 749. The Bemb. has Ita me di bene ament, and, with DG, ego tuam (other MSS. tuam ego). Most recent editors omit bene which might be retained if ego were dropped. 766. prodeambulare. Wagner writes prodambulare (i.e. pro + aiiibulare) which Spengel adopts (cf. Langen, Beitr. z. Kr. d. Plaut. , 206). This appears forced, however, for ambulare fails to describe the easy, comfortable gait (see 713 ; Hec. 435, 815 ; Phorm. 936) which is appropriate under the circumstances. See note. 198 /'. TERENTI ADELPHOE 771. Exemplo : Bentley's conjecture for exempla of the Bemb. Other MSS. exemplum. 791. scilicet: Fleckeisen, Wagner with some MS. authority. ilicet is the reading of the Bemb., Donatus, Servius on Aen. 2. 424. The latter was a formula of dismissal ( ire licet; cf. Eun. 347, Heaut. 974, Phorm. 208, etc.), and this use renders it, in Dziatzko's judgment, unsuited to this passage. But ilicet was used as an interjection expressive of sudden despair or dismay (= 'all is lost,' ' the game is up,' ' the devil is loose,' etc.) as Spengel shows, and thus is well suited to the context, if separated by a period or colon from clamat. 820. amborum : the Bemb. , Wagner, Spengel. Other MSS. , Fleckeisen, Umpfenbach, Dziatzko (1881) ipsorum, which is undoubtedly more forcible as it emphasises the contrast be- tween the property of the young men and their moral training. Yet this consideration alone seems scarcely sufficient to justify a departure from the certain reading of the Bembine Codex. 827. eos : MSS. (except A), Fleckeisen, Wagner, Umpfenbach. The pronoun contributes not a little, says Wagner, to the clearness of the sentence, and may have been overlooked by the scribe, since the same combination of letters occurs also in VIDEOSAPERE. 828. seiris. The MSS. have scire est (the Bemb. et instead of est) which Spengel explains as = f(m yvuvcu. To avoid the Graecism Dziatzko adopts siris, the conjecture of Madvig (Adv. Crit. ii. 22), changing it to seiris which approaches the MSS. more closely. See note. See also Lachmann in Lucr. 5. 533. The latter shows that scire est does not belong to early Latin, and that here and in Heaut. 192 the true readings are scires and crederes respectively. Dziatzko objects to scires on the ground that the imperfect tense does not suit the passage ; but Fleckeisen, Wagner, and Umpfenbach are right, I think, in adopting it. 857. scisse : the Bemb., Umpfenbach, Spengel; cf. Andr. 239. Other MSS., Fleckeisen, Wagner scire. 879. fieri : the Bemb., Umpfenbach, Spengel (with Klette). Other MSS., Donatus, Fleckeisen, Wagner pendi. 914. The last verse now legible in the Codex Bembinus. 946. The text follows the MSS. closely. But confit, for which all MSS. have fit, rests on the authority of Donatus, and is required by the metre. For the distribution of the words CRITICAL APPENDIX 199 among the speakers, in this and the verse following, see Dziatzko's critical note. 947. hie is due to Bentley, who places it before cst. MSS. Hegio est his (BC is) cognatus, which presents an impossible hiatus. The metre is satisfied through the transposition = He-gio cognatus his est ; so Fleckeisen, Wagner, Spengel, Dziatzko (1881). 955. et before dictumst is taken from DG, the best MSS. for this part of the Adelphoe. See crit. note on 914. 956. istic. MSS. istuc ; but quid istic? is a common ex- pression. Dziatzko (Adn. Crit. 1884) proposes to write Et ego, Micio at the end of this verse, and Frater at the beginning of 957. 981. reddet, not dabo, is understood after uilitis, for the following remarks of Aeschinus and Syrus show that Micio entertains a doubt of the slave's trustworthiness. Moreover reddet is the word that has just been used. Cf. note. 985. prolubium : supported (against the very early variant proluuium ' extravagance ' ) by a passage in Caecilius, from which this verse is believed to be adapted, Quod prolubium, quae uoluptas, quae te lactat largitas ? (Seen. Rom, Poes. Frag. t-d. Ribbeck 2 , p. 42 ; Caecil. v. 91). 994. secundare: Donatus, Umpfenbach, Spengel. The MSS. have obsecundare, and so Bothe, Fleckeisen, Wagner, who omit me with Bentley. The omission strengthens the climax Ecce me, but leaves the infinitives without a subject when one seems to be needed. Moreover secundare ('aid,' 'prosper') gives better sense here than obsecundare ('humour'), for the latter has already been suggested in 991. Cf. note. APPENDIX II I HAVE followed Dziatzko in the scene-setting (Introd. to Act I. Sc. 1). See his Einleitung to this play, pp. 12-13. But Dziatzko here departs somewhat from the best authenticated arrangement of the Greek stage, in accordance with which both the harbour and the city (forum) lay to the right, the country to the left, of the spectators. Cf. Pollux 4. 126 rj p.lv 3ei 6j3(f> 75 Ambiuius Turpio, p. 66 an 136, 667 angiportum, p. 73 ; 576 animi (locative) 610 animo malest 655 animo obsequi 33 ante pedes 386 antehac 86 antiqua 442 anus 617 dalptffis (h f\tv0epiav 194 Aposiopesis 135, 275, 539 apud forum 154 Archaisms 18, 78, 123, 179, 193, 200, 209, 241, 267, 279, 282, 344, 361, 397, 435, 464, 484, 491, 528, 531, 534, 739, 744, 785 asine 935 Assonance 1, 57, 978 202 P. TKRENTI ADELPHOE dffTpdyaXoi 739 Asyndeton, p. 67 ; 218, 319 atque (adversative) 40 Attic law as to marriage of orphans 652 Attraction 807 au336 auctor 671, 939 aufer 937 auferent 454 ausculta paucis 80G aut 396 an tern 185, 934 Babylo 915 bellissumum 590 bene facis 601 -bilis, Verbal Adjs. in, 608 Bridal Procession 905 Cantor 997 capitalia 723 captus 480 caput 568 carnufex 363 caue clixeris 458 causa liberalis 194 cautio est 421 cedo 123, 688 certatio comparata 212 cesso ire ? 712 )(a.ipetv \tyu 622 Change from fielative to Demon- strative 306 clam 71 clanculum 52 Claiise of purpose (parenthetical) 160, 986 coeperet 397 cogitare (cum animo, etc. ) 500 colaphos 199 comissatorem 783 Commorientis 7 compos animi 310 Contamination 5, 194, 198, 356 contra (adverb) 44, 50 conuicium 180 Co-ordination, see Parataxis coram (adverb) 484 Cornelius Africanus, p. 65 crepare 264 cyathus 591 Dative of service 4, (959) m-u (UhDecl.) 63 de (in composition) 152, 184 de die 965 de fratre quid net 996 de lucro 817 de meo 117 de nocte 841 de te 940 debacchatus 184 decet (with Dative) 491 dedisti 450 deerit 881 deferuisse 152 defuuctum sit 508 dehinc 22 Deliberative Subjunct. 214, 431, (691), 708 deorsum 573 dfVTepaywviffTris 880 di uostram fidem 381 Dianae (sc. templum) 582 Dice 739 Didascalia, p. 65. dimminuetur 571 Diphilos 6 dis( = diis) 121 dis (=diues) 770 discidit 559 discidit 120, 559 disperii 355 disrumpor 369 dissignauit 87 diuiduom face 241 dolet 733 Dromo 376 INDEX TO THE NOTES 203 ducere ( ' marry ') 933 dum 196, 899 e re nata 295 ecce autem 722 eccum (-am) 260, 361 edepol etc. 289 cduxi 48 ehem 81, 373 eiecisset foras 109 e/j 'Air6\\wos 582 Elision 10, 72, 407, 593 Ellipse 24, 44, 51, 52, 76, 77, 81, 100, 133, 153, 223, 227, 275, 330, 518, 539, 582, 806, 880, 881, 916, 976 ellum (-am) 260 cm 169, 172, 260, 537, 790 emergi 302 Emphatic particles 172, 185, 550, 629 enarramus 365 cnim 168, 201, 921 tiriK\r]poi 652 e([iiidem 555 ergo 172 erus 301 esse (icith Dative) 358 (omitted in Per/. Passive etc.) 13, 165, 214 est, es (omitted in cxclam. ex- pressions) 528, 543, 561, 676 Ethical Dative 61, 537, 958 etiam taces 550 efrye 911 ex ( = ' according to ') 371 ex animo 72 excurso spatio 860 exporge 839 expressum 11 cxtulit 11 Fabius Maximum, p. 65 face, dice, etc. 241 facere etc. (with Instrwm. All. etc.) 611, 996 faciam ( = curabo) 497 factum ( = 'Yes') 560 factum uelle 919 faeneraret 219 familiam 89, 910 faxo 209 faxo (with Siibjnnct.) 209 fert 53, 328, 730 feruit 534 ferundum 469 festiuom caput 261 fide 161 fieret 106 foras 109, 949 forls 109 foris 264 forum, p. 73 fructi 870 frugi 959 fruor (? with Ace. ) 950 fungor (with Ace.) 464 Future Indie, in -so 209 Perfect ( = Eng. Simple Future) 127 ; ( Imperative) 437 ganeum 359 raudeo 972 Genitive contracted 411, 793 of nouns in -ius 300 in -i (Uh Decl.) 870 of Gerund expressing pur- pose 270 of specification 695 ofindef. value 163 with similis 96, 411 Gerundive in -undus 193, 207, 469 gnatae 340 gongrum 377 gratiis 744 Greek names in -a, p. 68 ; 343 -Gn>. -WVTOJ 252 204 P. TERENTI ADELPHOE hao deorsum 573 liac ( = hac uia) 573 haec ( = hae) 785 hariolor 202 Hatilius Praenestinus, p. 66 heia 868 hem 169, 224, 260, 709 lieus 281, 634 Hiatus 97, 183, 304, 336, 527, 574, 604, 767 hie (of absent person) 332 hie ( = ego) 906 hilarem (-um) 287 hinc ( = ex hoc) 361 hisce etc. 530 hoc ( = huc) 878 hodie 215, 551 homo 107, 143, 579, 734, 934 hui 216, 411 hymenaeum 905 Hypcrbaton 917 Terant 27 ilico 156, 536 ilia consueuit 666 illam 192 immo 247, 604, 928 Imperfect ( = Pluperf.) 106, 178 - of surprise 901 in- (negative prefix) 507 in ipso articulo 229 in loco 216, 994 in mediost 479 in mentemst 528 inde ( = ex eis) 47 Indicative (after quom) 18, 139 - (in dep. questions) 195 indicio . . . erit 4 ineptis 934 Infinitive (in -ier) 200 - (in exclamations) 38, 237 - (historic) 46 - (omission ofpronom. subj. of) 52 Infin. (Pres. for Put. after verbs of promising etc.) 203, 224 in lit ins ibit 339 inliberalis 449, 886 inpares (tibiae), p. 66 inpotentiam 607 interdius 531 ipsus 78, 328 istocine 732 istuc ibam 821 ita(='Yes')287 iubere (with Subjunct.) 914 iusta iniusta 990 /caXuJj teal a\ri6f) 609 Koiva ra rCiv L\uv 804 K&TTTflf 264 KiS/3oi 739 lacum 583 lampadas 907 lautum 425 lectulos 285, 585 leno 161 liber esto 970 liberalis 464 liberalitate 57 liberos 57 lites 792 locitas 949 \6-xos 803 loris 182 luci 841 lupus in fabula 537 Luscius Lanuuinus, n. on Pro- logus, p. 68 maceriam 908 male (intensive) 523 mallem potius 222 malo 69 malum (interjectional) 544 mane 467 Manumission 970 mastigia 781 INDEX TO THE NOTES 205 mea tu 289 medium 316 Menander quoted 43, 57, 643, 866 Menandru ( = TAtvavopov) p. 66 mercennarium 541 mi homo 336 rnihl 142 Mina (Attic) 370 minume gentium 342 missa facere 906, 991 modo 289 Money 370 morigerari 218 mussitare 207 nam 15, 55, 86, 168, 190, 193, 406, 433, 537, 602, 642, 680, 704, 859, 893 natu grandior 930 -ne, non = nonne 83, 94, 579 -ne 38, 304, 382 ne (=t>al, rn) 441 ne time 279 nemo quisquam 366 nescio quid 79, 211 nil ( = non) 142 nil quicquam 366 nimium (adverb.) 169 nisi 153 nisi si 594 Nominative absolute 96, 390 non ( = nonne) 94 uonne 660 norimus 271 noscere 503 nouos 938 num quid uis 247 numquam ( = nbn) 98 numquam hodie 551 nunc quom maxume 518 nunciam 156 o (with Vocative) 260 obici 610 obnuntio 547 obsecro 550 obseruari 2 obsonio 286 occidunt me 899 ohe iam 723 omnia omnes 299 operiere (for -ris) 182 oppido 322 o\j/uviov 286 optundas 113 opus est 342, 429, 740, 996 (personal use) 335 ov /UTJ fftwirrifffi 550 ovda.fj.ov yijs 540 palam 71, 624 palliata, p. 66 irapa, travrov 940 parasitaster 779 Parataxis or Go-ordination 79, 195 pares (tibiae), p. 66 Partitive Genitive 342, 540, 666, 786 paternus \ - . patrius J patrissas 564 paululus 779 penes uos 388 pepulit 788 per (intensive prefix) 393 perbenigne 702 Perf. Part, as secondary prcd. 849 perhiberi 504 reriocha, p. 67 pernimium 393 l>erpetuo 283, 520 perreptaui 715 persona, p. 68