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diff --git a/7282-h/7282-h.htm b/7282-h/7282-h.htm new file mode 100644 index 0000000..8ca4bbf --- /dev/null +++ b/7282-h/7282-h.htm @@ -0,0 +1,7839 @@ +<?xml version="1.0" encoding="us-ascii"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + The Captivi and the Mostellaria of Plautus, by Henry Thomas Riley, B. A. + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .75em; margin-bottom: .75em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + .side { float: right; font-size: 75%; width: 25%; padding-left: 0.8em; + border-left: dashed thin; margin-left: 0.8em; text-align: left; + text-indent: 0; font-weight: bold; font-style: italic; + font-weight: bold; color: black; background: #eeeeee; border: solid 1px;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> + + +<pre> + +The Project Gutenberg EBook of The Captiva and The Mostellaria, by Plautus + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Captiva and The Mostellaria + +Author: Plautus + + +Release Date: January, 2005 [EBook #7282] +This file was first posted on April 6, 2003 +Last Updated: May 15, 2013 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE CAPTIVA AND THE MOSTELLARIA *** + + + + +Text file produced by David Starner, Blain Nelson, Ted Garvin and +the Online Distributed Proofreading Team + +HTML file produced by David Widger + + + + +</pre> + + <div style="height: 8em;"> + <br /><br /><br /><br /><br /><br /><br /><br /> + </div> + <h1> + THE CAPTIVI<br /><br /> AND<br /><br /> THE MOSTELLARIA OF PLAUTUS + </h1> + <h3> + Literally Translated <i>with notes</i> + </h3> + <h2> + By Henry Thomas Riley, B. A. + </h2> + <p> + <br /><br /> + </p> + <hr /> + <p> + <br /><br /> + </p> + <p> + <b>CONTENTS</b> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0001"> <b>THE CAPTIVI</b> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> DRAMATIS PERSONAE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0003"> THE ACROSTIC ARGUMENT {1}. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0004"> THE PROLOGUE. </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> <b>ACT I.</b>—SCENE I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0006"> SCENE II.—<i>Enter, from his house, </i>HEGIO + <i>and a</i> SLAVE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0007"> ACT II.—SCENE I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0008"> SCENE II.—<i>Enter</i> HEGIO, <i>from his + house, speaking to those within.</i> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0009"> SCENE III.—<i>Enter</i> PHILOCRATES, <i>from + the house.</i> </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0010"> <b>ACT III.</b>—SCENE I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0011"> SCENE II.—<i>Enter</i> HEGIO <i>and</i> + ARISTOPHONTES. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0012"> SCENE III.—<i>Enter</i> TYNDARUS, <i>from + the house</i>. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0013"> SCENE IV.—<i>Enter</i> HEGIO, + ARISTOPHONTES, <i>and</i> SLAVES, <i>from the house.</i> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0014"> SCENE V.—HEGIO, TYNDARUS, ARISTOPHONTES, + <i>and</i> SLAVES. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0015"> SCENE VI.—HEGIO <i>and</i> ARISTOPHONTUS. + </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0016"> <b>ACT IV.</b>—SCENE I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0017"> SCENE II.—<i>Enter</i> HEGIO, <i>at a + distance.</i> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0018"> SCENE III.—ERGASILUS, <i>alone.</i> </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0019"> <b>ACT V.</b>—SCENE I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0020"> SCENE II.—<i>Enter</i> HEGIO, + PHILOPOLEMUS, PHILOCRATES, <i>and behind them</i>, </a> + </p> + <p class="toc"> + <a href="#link2H_4_0021"> SCENE III.—HEGIO <i>and</i> STALAGMUS. + </a> + </p> + <p class="toc"> + <a href="#link2H_4_0022"> SCENE IV.—<i>Enter</i> PHILOCRATES, <i>from + the house.</i> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0023"> SCENE V.—<i>Enter</i> TYNDARUS, <i>in + chains, led in by the</i> SERVANTS. </a> + </p> + <p> + <br /> <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0024"> <b>MOSTELLARIA OR, THE HAUNTED HOUSE.</b> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0025"> DRAMATIS PERSONAE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0026"> THE ACROSTIC ARGUMENT. </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0027"> <b>ACT I.</b>—SCENE I. <i>Enter, from the + house of</i> THEUROPIDES, GRUMIO, </a> + </p> + <p class="toc"> + <a href="#link2H_4_0028"> SCENE II.—<i>Enter</i> PHILOLACHES, <i>from + the house of</i> THEUROPIDES. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0029"> SCENE III.—<i>Enter</i> PHILEMATIUM <i>and</i> + SCAPHA, <i>with all the requisites</i> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0030"> SCENE IV.—<i>Enter</i> CALLIDAMATES, <i>at + a distance, drunk, and</i> DELPHIUM, </a> + </p> + <p class="toc"> + <a href="#link2H_4_0031"> SCENE V.—<i>Enter</i> TRANIO, <i>at a + distance.</i> </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0032"> <b>ACT II.</b>—SCENE I. </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0033"> <b>ACT III</b>.—SCENE I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0034"> SCENE II.—<i>Enter</i> SIMO, <i>from his + house</i>. </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0035"> <b>ACT IV.</b>—SCENE I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0036"> SCENE II.—<i>Enter</i> TRANIO <i>and</i> + THEUROPIDES, <i>from the house of</i> SIMO. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0037"> SCENE III.—THEUROPIDES, PHANISCUS, <i>and + another</i> SERVANT. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0038"> SCENE IV.—<i>Enter</i> SIMO. </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0039"> <b>ACT V.</b>—SCENE I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0040"> SCENE II.—<i>Enter CALLIDAMATES, at a + distance.</i> </a> + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0001" id="link2H_4_0001"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h1> + THE CAPTIVI + </h1> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + DRAMATIS PERSONAE. + </h2> +<pre xml:space="preserve"> + HEGIO, an Aetolian, father of Philopolemus. + PHILOCRATES, an Elean, captive in Aetolia. + TYNDARUS, his servant. + ARISTOPHONTES, an Elean, captive in Aetolia. + PHILOPOLEMUS, an Aetolian, captive in Elis. + ERGASILUS, a Parasite. + STALAGAMUS, the servant of Hegio. + A SLAVE of Hegio. + A LAD, the same. +</pre> + <p> + <i>Scene</i>.—A place in Aetolia. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0003" id="link2H_4_0003"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE ACROSTIC ARGUMENT {1}. + </h2> + <p> + {Supposed to have been written by Priseian the Grammarian.} <i>One</i> son + of Hegio has been made prisoner (<i>Captus</i>) in battle. A runaway slave + has sold the other (<i>Alium</i>) when four years old. The father (<i>Pater</i>) + traffics in Elean captives, only (<i>Tantum</i>) desirous that he may + recover his son, and (<i>Et</i>) among these he buys his son that was + formerly lost. He (<i>Is</i>), his clothes and his name changed with his + master, causes that (<i>Ut</i>) he is lost <i>to Hegio</i>; <i>and</i> he + himself is punished. And (<i>Et</i>) he brings back the captive and the + runaway together, through whose information (<i>Indicio</i>) he discovers + his other. + </p> + <p> + {Footnote 1: In this Acrostic it will be found that the old form of + "Capteivei" is preserved.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0004" id="link2H_4_0004"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE PROLOGUE. + </h2> + <p> + These two captives (<i>pointing to</i> PHILOCRATES <i>and</i> TYNDARUS), + whom you see standing here, are standing here because—they are both + {1} standing, <i>and</i> are not sitting. That I am saying this truly, you + are my witnesses. The old man, who lives here (<i>pointing to</i> HEGIO's + <i>house</i>), is Hegio—his father (<i>pointing to</i> TYNDARUS). + But under what circumstances he is the slave of his own father, that I + will here explain to you, if you give attention. This old man had two + sons; a slave stole one child when four years old, and flying hence, he + sold him in Elis {2}, to the father of this <i>captive</i> (<i>pointing to</i> + PHILOCRATES). Now, do you understand this? Very good. I' faith, that man + at a distance {3} there (<i>pointing</i>) says, no. Come nearer <i>then</i>. + If there isn't room for you to sit down, there is for you to walk; since + you'd be compelling an actor to bawl like a beggar {4}. I'm not going to + burst myself for your sake, <i>so</i> don't you be mistaken. You who are + enabled by your means to pay your taxes {5}, listen to the rest {6}; I + care not to be in debt to another. This runaway <i>slave</i>, as I said + before, sold his <i>young</i> master, whom, when he fled, he had carried + off, to this one's father. He, after he bought him, gave him as his own + private slave {7} to this son of his, because they were of about the same + age. He is now the slave at home of his own father, nor does his father + know it. Verily, the Gods do treat us men just like footballs {8}. You + hear the manner <i>now</i> how he lost one <i>son</i>. Afterwards, the + Aetolians {9} are waging war with the people of Elis, <i>and</i>, as + happens in warfare, the other son is taken prisoner. The physician + Menarchus buys him there in Elis. <i>On this</i>, this <i>Hegio</i> begins + to traffic in Elean captives, if, <i>perchance</i>, he may be able to find + one to change for that captive <i>son</i> of his. He knows not that this + one who is in his house is his own <i>son</i>. And as he heard yesterday + that an Elean knight of very high rank and very high family was taken + prisoner, he has spared no expense to rescue his son {10}. In order that + he may more easily bring him back home, he buys both of these of the + Quaestors {11} out of the spoil. + </p> + <p> + Now they, between themselves, have contrived this plan, that, by means of + it, the servant may send away hence his master home. And therefore among + themselves they change their garments and their names. He, there (<i>pointing</i>), + is called Philocrates; this one (<i>pointing</i>), Tyndarus; he this day + assumes the character of this one, this one of him. And this one to-day + will cleverly carry out this plot, and cause his master to gain his + liberty; and by the same means he will save his own brother, and without + knowing it, will cause him to return back a free man to his own country to + his father, just as often now, on many occasions, a person has done more + good unknowingly than knowingly. But unconsciously, by their devices, they + have so planned and devised their plot, and have so contrived it by their + design, that this one is living in servitude with his own father. <i>And</i> + thus now, in ignorance, he is the slave of his own father. What poor + creatures are men, when I reflect upon it! This plot will be performed by + us—a play for your <i>entertainment</i>. But there is, besides, a + thing which, in a few words, I would wish to inform you of. Really, it + will be worth your while to give your attention to this play. 'Tis not + composed in the hackneyed style, nor yet like other <i>plays</i>, nor are + there in it any ribald lines {12} unfit for utterance: here is neither the + perjured procurer, nor the artful courtesan, nor yet the braggart captain. + Don't you be afraid because I've said that there's war between the + Aetoliains and the Eleans. There (<i>pointing</i>), at a distance, beyond + the scenes, the battles will be fought. For this were almost impossible + for a Comic establishment{13}, that we should at a moment attempt to be + acting Tragedy. If, therefore, any one is looking for a battle, let him + commence the quarrel; if he shall find an adversary more powerful, I'll + cause him to be the spectator of a battle that isn't pleasant <i>to him</i>, + so that hereafter he shall hate to be a spectator of them all. I <i>now</i> + retire. Fare ye well, at home, most upright judges, and in warfare most + valiant combatants. + </p> + <p> + {Footnote 1: <i>Because—they are both</i>)—Ver. 2. This is + apparently intended as a piece of humour, in catching or baulking the + audience. He begins as though he was going to explain why the captives are + standing there, and ends his explanation with saying that they are + standing because they are not sitting. A similar truism is uttered by + Pamphila, in the Stichus, l. 120.} + </p> + <p> + {Footnote 2: <i>In Elis</i>)—Ver. 9. Elis, or, as it is called by + Plautus, "Alis," was a city of Achaia, in the north-western part of the + Peloponnesus. Near it the Olympic games were celebrated.} + </p> + <p> + {Footnote 3: <i>That man at a distance</i>)—Ver. 11. One of the + audience, probably a plebeian who has no seat, but is standing in a remote + part of the theatre, is supposed to exclaim in a rude manner that he + cannot hear what the actor says. On this the speaker tells him that he had + better come nearer; and if he cannot find a seat, there is room for him to + walk away. Possibly the verb "ambulo" may be intended to signify in this + case either "to walk" or "to stand," in contradistinction to sitting. + Rost, with some reason, suggests "abscedito" "walk out," in place of + "accedito," "come nearer."} + </p> + <p> + {Footnote 4: <i>To bawl like a beggar</i>)—Ver. 13. Commentators + have differed as to the meaning of this passage. Some think that he means + that with the view of pleasing the plebeian part of the audience, he shall + not bawl out like a beggar asking alms; while others suppose that the + meaning is, that he will not run the risk of cracking his voice, after + which he will be hissed off the stage, and so be reduced to beggary.} + </p> + <p> + {Footnote 5: <i>To pay your taxes</i>)—Ver. 15. By this he shows + that the party whom he is addressing, is either one of the lowest + plebeians or a slave. In the assessment or census, which was made by the + Censors, the slaves were not numbered at all, being supposed to have no + "caput," or "civil condition." The lowest century were the "proletarii," + whose only qualification was the being heads of families, or fathers of + children. In addressing those who are reckoned in the census "ope vestra," + "by your means" or "circumstances," he seems to be rebuking the + "proletarii," who had no such standing, and who probably formed the most + noisy part of the audience. As these paid no part of the taxes with which + the theatres were in part supported, of course they would be placed at a + greater distance from the stage, and probably were not accommodated with + seats. It was just about this period that the elder Scipio assigned + different places in the theatres to the various classes of the people.} + </p> + <p> + {Footnote 6: <i>Listen to the rest</i>)—Ver. 16. "Reliquum" was a + term which either signified generally, "what is left," or money borrowed + and still unpaid. He plays upon these different meanings—"Accipite + reliquum," which may either signify "hear the rest" or "take what is due + and owing," and he then makes the observation, parenthetically, "alieno + uti nil moror," "I don't care to be in debt."} + </p> + <p> + {Footnote 7: <i>His own private slave</i>)—Ver. 20. "Peculiaris" + means "for his own private use," or "attached to his person;" being + considered as though bought with his son's "peculium," or out of his own + private purse. The "peculium" was the sum of money which a son in his + minority was allowed by his father to be in possession of. The word also + signified the savings of the slave.} + </p> + <p> + {Footnote 8: <i>Just like footballs</i>)—Ver. 22. "Pilas." Among the + ancients, games with the "pila" were those played with the "pila + trigonalis," so called, probably, from the players standing in a triangle, + and those with the "follis," which was a larger ball, inflated with air + and struck with the hands, or used for a football. "Paganica" was a + similar ball, but harder, being stuffed with feathers, and was used by the + country-people. "Harpastum" was a small ball used by the Greeks, which was + scrambled for as soon as it came to the ground, whence it received its + name. The Greeks had a proverb similar to this expression, {Greek: Theon + paignia anthropoi}, "men are the playthings of the Gods." So Plato called + mankind {Greek: Theon athurmata}, "the sport of the Gods."} + </p> + <p> + {Footnote 9: <i>The Aetolians</i>)—Ver. 24. Aetolia was a country of + Greece, the southern portion of which was bounded by the Corinthian Gulf; + it was opposite to the Elean territory, from which it was divided by the + gulf.} + </p> + <p> + {Footnote 10: <i>To rescue his son</i>)—Ver. 32. "Filio dum + parceret." Literally, "so long as he might spare his son."} + </p> + <p> + {Footnote 11: <i>Of the Quaestors</i>)—Ver. 34. In speaking of these + officers, Plautus, as usual, introduces Roman customs into a Play the + scene of which is in Greece. It has been previously remarked that the + Quaestors had the selling of the spoils taken in war} + </p> + <p> + {Footnote 12: <i>Any ribald lines</i>)—Ver. 56. See the address of + the Company of actors to the Spectators at the end of the Play.} + </p> + <p> + {Footnote 13: <i>A Comic establishment</i>)—Ver. 61. "Comico + choragio." Literally, "for the choragium of Comedy." The "choragium" was + the dress and furniture, or "properties" for the stage, supplied by the + "choragus." or keeper of the theatrical wardrobe.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0005" id="link2H_4_0005"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT I.—SCENE I. + </h2> + <h3> + <i>Enter</i> ERGASILUS. + </h3> + <p> + ERG. The young men have given me the name of "the mistress," for this + reason, because invocated {1} I am wont to attend at the banquet. I know + that buffoons {2} say that this is absurdly said, but I affirm that it is + rightly <i>said</i>. For at the banquet the lover, when he throws the + dice, invokes his mistress.{3} Is she <i>then</i> invocated, or <i>is she</i> + not? She is, most clearly. But, i' faith, we Parasites with better reason + <i>are so called</i>, whom no person ever either invites or invokes, <i>and + who</i>, like mice, are always eating the victuals of another person. When + business is laid aside {4}, when people repair to the country, at that + same moment is business laid aside for our teeth. Just as, when it is hot + weather, snails lie hidden in secret, <i>and</i> live upon their own + juices, if the dew doesn't fall; so, when business is laid aside, do + Parasites lie hidden in retirement, <i>and</i> miserably live upon their + own juices, while in the country the persons are rusticating whom they + sponge upon. When business is laid aside, we Parasites are greyhounds; + when business recommences, <i>like</i> mastiffs {5}, we are annoying-like + and very troublesome-like {6}. + </p> + <p> + And here, indeed, unless, i'faith, any Parasite is able to endure cuffs + with the fist, and pots to be broken {7} about his head, why he may e'en + go with his wallet outside the Trigeminian Gate {8}. That this may prove + my lot, there is some danger. For since my patron {9} has fallen into the + hands of the enemy—(such warfare are the Aetolians now waging with + the Eleans; for this is Aetolia; this Philopolemus has been made captive + in Elis, the son of this old man Hegio who lives here (<i>pointing to the + house</i>)—a house which to me is <i>a house</i> of woe, <i>and</i> + which so oft as I look upon, I weep). Now, for the sake of his son, has he + commenced this dishonorable traffic, very much against his own + inclination. He buys up men that have been made captives, if <i>perchance</i> + he may be able to find some one for whom to gain his son in exchange. An + object which I really do much desire that he may gain, for unless he finds + him, there's nowhere for me to find myself. I have no hopes in the young + men; they are all <i>too</i> fond of themselves. He, in fine, is a youth + with the old-fashioned manners, whose countenance I never rendered + cheerful without a return. His father is worthily matched, as endowed with + like manners. Now I'll go to him;—but his door is opening, <i>the + door</i> from which full oft I've sallied forth drunk with excess of cheer + (<i>He stands aside.</i>) + </p> + <p> + {Footnote 1: <i>Because invocated</i>)—Ver. 70. "Invocatus." The + following Note is extracted from Thornton's Translation of this Play:— + "The reader's indulgence for the coinage of a new term (and perhaps not + quite so much out of character from the mouth of a Parasite) is here + requested in the use of the word 'invocated' in a sense, which it is + owned, there is no authority for, but without it no way occurs to explain + the poet's meaning—which, such as it is, and involved in such a pun, + is all that can be aimed at. The word 'invocatus' means both 'called upon' + and 'not called upon.' Ergasilus here quibbles upon it; for, though at + entertainments be attends, as it is the common character of Parasites to + do, without invitation, that is 'not called upon;' and as mistresses are + 'called upon' that their names so invoked may make their lovers throw the + dice with success; still, according to the double sense of the word, they + may be compared to each other, as they are both, according to the Latin + idiom, 'invocati.'"} + </p> + <p> + {Footnote 2: <i>That buffoons</i>)—Ver. 71. "Derisores," "buffoons." + By this word he means that particular class of Parasites who earned their + dinners by their repartees and bon-mots.} + </p> + <p> + {Footnote 3: <i>Invokes his mistress</i>)—Ver. 73. It was the + Grecian custom, when they threw dice at an entertainment, for the thrower + to call his mistress by name, which invocation was considered to bring + good luck.} + </p> + <p> + {Footnote 4: <i>When business is laid aside</i>)—Ver. 78. "Ubi res + prolatae sunt." Meaning thereby "in vacation-time." In the heat of summer + the courts of justice were closed, and the more wealthy portion of the + Romans retired into the country or to the seaside. Cicero mentions this + vacation as "rerum proliatio." The allusion in the previous line is + probably derived from a saying of the Cynic Diogenes: when he saw mice + creeping under the table, he used to say, "See the Parasites of + Diogenes."} + </p> + <p> + {Footnote 5: <i>Like mastiffs</i>)—Ver. 86. "Molossici." Literally, + "dogs of Molossus," a country of Epirus.} + </p> + <p> + {Footnote 6: <i>Annoying-like and very troublesome-like</i>)—Ver. + 87. "Odiosici—incommodestici." These are two extravagant forms of + the words "odiosi" and "incommodi," coined by the author for the + occasion.} + </p> + <p> + {Footnote 7: <i>Pots to be broken</i>)—Ver. 89. By Meursius we are + informed that these practical jokes were played upon the unfortunate + Parasites with pots filled with cinders, which were sometimes scattered + over their clothes, to the great amusement of their fellow-guests.} + </p> + <p> + {Footnote 8: <i>The Trigeminian Gate</i>)—Ver. 90. The Ostian Gate + was so called because the Horatii left the city by that gate to fight the + Curiatii. The brothers being born at one birth were "trigemini," whence + the gate received its name. The beggars with their wallets were seated + there. See the Trinummus, 1.423, and the Note to the passage.} + </p> + <p> + {Footnote 9: <i>Since my patron</i>)—Ver. 92. Rex; literally, + "king." The Parasites were in the habit of so calling their entertainers.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0006" id="link2H_4_0006"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE II.—<i>Enter, from his house, </i>HEGIO <i>and a</i> SLAVE. + </h2> + <p> + HEG. <i>Now</i>, give attention you, if you please. Those two captives + whom I purchased yesterday of the Quaestors out of the spoil, put upon + them chains of light weight {1}; take of those greater ones with which + they are bound. Permit them to walk, if they wish, out of doors, <i>or</i> + if in-doors, but so that they are watched with the greatest care. A + captive at liberty is like a bird that's wild; if opportunity is once + given for escaping, 'tis enough; after that, you can never catch him. + </p> + <p> + SLAVE. Doubtless we all are free men more willingly than we live the life + of slaves. + </p> + <p> + HEG. You, indeed, don't seem <i>to think</i> so {2}. + </p> + <p> + SLAVE. If I have nothing to give, should you like me to give myself to + flight {3}? + </p> + <p> + HEG. If you do so give <i>yourself</i>, I shall at once have something to + be giving to you. + </p> + <p> + SLAVE. I'll make myself just like the wild bird you were telling of. + </p> + <p> + HEG. 'Tis just as you say; for if you do so, I'll be giving you to the + cage {4} But enough of prating; take you care of what I've ordered, and be + off. (<i>The</i> SLAVE <i>goes into the house.</i>) I'll away to my + brother's, to my other captives; I'll go see whether they've been making + any disturbance last night. From there I shall forthwith betake myself + home again. + </p> + <p> + ERG. (<i>apart</i>). It grieves me that this unhappy old man is following + the trade of a slave-dealer, by reason of the misfortune of his son. But, + if by any means he can be brought back here, I could even endure for him + to become an executioner. + </p> + <p> + HEG. (<i>overhearing him</i>). Who is it that's speaking? + </p> + <p> + ERG. 'Tis I, who am pining at your affliction, growing thin, waxing old, + and shockingly wasting away. Wretched man that I am, I'm <i>but</i> skin + and bone through leanness; nor does anything ever do me good that I eat at + home; even that ever so little which I taste out of doors, the same + refreshes me. + </p> + <p> + HEG. Ergasilus, save you! ERG. (<i>crying</i>). May the Gods kindly bless + you, Hegio! + </p> + <p> + HEG. Don't weep. ERG. Must I not weep for him? Must I not weep for such a + young man? + </p> + <p> + HEG. I've always known you to be a friend to my son, and I have understood + him <i>to be so</i> to you. + </p> + <p> + ERG. Then at last do we men know our blessings, when we have lost those + things which we <i>once</i> had in our power. I, since your son fell into + the power of the enemy, knowing by experience of what value he was, now + feel his loss. + </p> + <p> + HEG. Since you, who are no relation, bear his misfortune so much amiss, + what is it likely that I, a father, should do, whose only <i>son</i> he + is? + </p> + <p> + ERG. I, no relation <i>to him</i>? He, no relation <i>to me</i>? Oh, + Hegio! never do say that, nor come to such a belief. To you he is an only + <i>child</i>, but to me he is even more only than an only one. + </p> + <p> + HEG. I commend you, in that you consider the affliction of your friend + your own affliction. Now be of good heart. + </p> + <p> + ERG. (<i>crying</i>). O dear! HEG. (<i>half-aside</i>). 'Tis this afflicts + him, that the army for guttling is now disbanded. Meanwhile, have you + found no one to command for you the army that you mentioned as disbanded? + </p> + <p> + ERG. What do you think? All to whom it used to fall are in the habit of + declining that province since your son Philopolemus was taken prisoner. + </p> + <p> + HEG. I' faith, 'tisn't to be wondered at, that they are in the habit of + declining that province. You have necessity for numerous troops, and those + of numerous kinds. Well, first you have need of the Bakerians {5}. Of + these Bakerians there are several kinds. You have need of Roll-makerians, + you hare need too of Confectionerians, you have need of Poultererians, you + have need of Beccaficorians; besides all the maritime forces are necessary + for you. + </p> + <p> + ERG. How the greatest geniuses do frequently lie concealed! How great a + general now is <i>this</i> private individual! + </p> + <p> + HEG. Only have good courage; for I trust that in a few days I shall bring + him back home. For see <i>now</i>; there's a captive here, a young man of + Elis, born of a very high family, and of very great wealth; I trust that + it will come to pass that I shall get my son in exchange for him. + </p> + <p> + ERG. May the Gods and Goddesses grant it so! + </p> + <p> + HEG. But are you invited out anywhere to dinner? + </p> + <p> + ERG. Nowhere that I know of. But, pray, why do you ask me? + </p> + <p> + HEG. Because this is my birthday; for that reason I'd like you to be + invited to dinner at my house. + </p> + <p> + ERG. 'Tis kindly said. HEG. But if you can be content to eat a very little— + </p> + <p> + ERG. Aye, even ever so little; for on such fare as that do, I enjoy myself + every day at home. + </p> + <p> + HEG. Come, <i>then</i>, please, set yourself up for sale. + </p> + <p> + ERG. I'll put myself up for purchase, just like a landed estate, unless + any one shall <i>privately</i> make a better offer that pleases myself and + my friends more, <i>and</i> to my own conditions will I bind myself. + </p> + <p> + HEG. You are surely selling me a bottomless pit {6}, <i>and</i> not a + landed estate. But if you are coming, <i>do so</i> in time. + </p> + <p> + ERG. Why, for that matter. I'm at leisure even now. + </p> + <p> + HEG. Go then, <i>and</i> hunt for a hare; at present, <i>in me</i> you + have but a ferret {7}, for my fare is in the way of frequenting a rugged + road. + </p> + <p> + ERG. You'll never repulse me by that, Hegio, so don't attempt it. I'll + come, in spite of it, with teeth well shod. + </p> + <p> + HEG. Really, my viands are <i>but</i> of a rough sort {8}. ERG. Are you in + the habit of eating brambles? + </p> + <p> + HEG. <i>Mine</i> is an earthy dinner. ERG. A pig is an earthy animal. + </p> + <p> + HEG. <i>Earthy</i> from its plenty of vegetables. + </p> + <p> + ERG. Treat your sick people {9} at home <i>with that fare?</i> Do you wish + anything else? + </p> + <p> + HEG. Come in good time. ERG. You are putting in mind one who remembers + quite well. (<i>Exit.</i> + </p> + <p> + HEG. I'll go in-doors, and in the house I'll make the calculation how + little money I have at my banker's; afterwards I'll go to my brother's, + whither I was saying I would go. (<i>Goes into his house.</i>) + </p> + <p> + {Footnote 1: <i>Chains of light weight</i>)—Ver. 112. "Singularias" + This word may admit of three interpretations, and it is impossible to + decide which is the right one. It may mean chains weighting a single + "libra," or pound; it may signify chains for the captives singly, in + contradistiniction to those by which they were fastened to each other; or + it may mean single chains, in opposition to double ones. In the Acts of + the Apostles, ch. 12, v. 6, we read that St. Peter was bound with two + chains; and in ch. 13, v. 33, the chief captain orders St. Paul to be + bound with two chains.} + </p> + <p> + {Footnote 2: <i>Don't seem to think so</i>)—Ver. 120. Hegio means to + say that the slave does not seem to think liberty so very desirable, or he + would try more to please his master and do his duty, which might probably + be the right method for gaining his liberty. As the slave could generally + ransom himself out of his "peculium," or "savings," if they were + sufficient, the slave here either thinks, or pretends to think, that Hegio + is censuring him for not taking those means, and answer, accordingly, that + he has nothing to offer} + </p> + <p> + {Footnote 3: <i>Give myself to flight</i>)—Ver. 121. "Dem in pedes." + Literally, "give myself to my feet," meaning thereby "to run away." He + puns upon this meaning of "dare," and its common signification of "to + give" or "to offer to give."} + </p> + <p> + {Footnote 4: <i>Giving you to the cage</i>)—Ver. 124. "In cavears." + He plays on the word "cavea," which meaning "a cage" for a bird, might + also mean confinement for a prisoner.} + </p> + <p> + {Footnote 5: <i>The Bakerians</i>)—Ver. 162. This and the following + appellations are expressive both of the several trades that contributed to + furnishing entertainments, and, in the Latin, also denoted the names of + inhabitants of several places in Italy or elsewhere. As this meaning could + not be expressed in a literal translation of them, the original words are + here subjoined. In the word "Pistorienses," he alludes to the bakers, and + the natives of Pistorium, a town of Etruria; in the "Panicei," to the + bread or roll bakers, and the natives of Pana, a little town of the + Samnites, mentioned by Strabo; in the "Placentini," to the "confectioners" + or "cake-makers," and the people of Placentia, a city in the North of + Italy; in the "Turdetani," to the "poulterers" or "sellers of thrushes," + and the people of Turdentania, a district of Spain; and in the + "Fiendulae," to the "sellers of beccaficos," a delicate bird, and the + inhabitants of Ficculae, a town near Rome. Of course, these appellations, + as relating to the trades, are only comical words coined for the + occasion.} + </p> + <p> + {Footnote 6: <i>A bottomless pit</i>)—Ver. 183. He plays upon the + resemblance in sound of the word "fundum," "landed property," to + "profundum," "a deep cavity," to which he compares the Parasite's stomach. + "You sell me landed property, indeed; say rather a bottomless pit."} + </p> + <p> + {Footnote 7: <i>Have but a ferret</i>)—Ver. 185. This passage has + much puzzled the Commentators; but allowing for some very far-fetched wit, + which is not uncommon with Plautus, it may admit of some explanation. He + tells the Parasite that he had better look for a nicer dinner, a hare, in + fact; for that in dining with him, he will only get the ferret (with which + the hare was hunted) for his dinner. Then, inasmuch as the ferret was and + for following the bare or rabbit into "scruposae viae," "impervious" or + "rocky places" where they had burrowed, he adds: "For my dinner, + ferret-like, frequents ragged places;" by which he probably means that it + is nothing but a meagre repast of vegetables, of which possibly capers + formed a part, which grow plentifully in Italy, in old ruins and craggy + spots. Some suggest that it was a custom with the huntsmen, if they failed + to catch the hurt, to kill and eat the ferret.} + </p> + <p> + {Footnote 8: <i>Are but of a rough sort</i>)—Ver. 189. The word + "asper" means either "unsavoury" or "prickly," according to the context. + Hegio means to use it in the former sense, but the Parasite, for the sake + of repartee, chooses to take it in the latter.} + </p> + <p> + {Footnote 9: <i>Treat your sick people</i>)—Ver. 191. He means that + such a dinner may suit sick people, but will not be to his taste.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0007" id="link2H_4_0007"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT II.—SCENE I. + </h2> + <p> + <i>Enter, from the house,</i> PHILOCRATES, TYNDARUS, <i>and</i> SLAVES <i>and</i> + CAPTIVES of HEGIO. + </p> + <p> + SLAVE. If the immortal Gods have so willed it that you should undergo this + affliction, it becomes you to endure it with equanimity; if you do so, + your trouble will be lighter {1}. At home you were free men, I suppose; + now if slavery has befallen you, 'tis a becoming way for you to put up + with it, and by your dispositions to render it light, under a master's + rule. Unworthy actions which a master does must be deemed Worthy ones. + </p> + <p> + PHIL. <i>and</i> TYND. Alas! alas! alas! SLAVE. There's no need for + wailing; you cause much injury to your eyes. In adversity, if you use + fortitude of mind, it is of service. + </p> + <p> + PHIL. <i>and</i> TYND. But we are ashamed, because we are in bonds. + </p> + <p> + SLAVE. But in the result it might cause vexation to our master, if he were + to release you from chains, or allow you to be loose, whom he has + purchased with his money. + </p> + <p> + PHIL. <i>and</i> TYND. What does he fear from us? We know our duty, what + it is, if he allows us to be loose. + </p> + <p> + SLAVE. Why, you are meditating escape. I know what it is you are devising. + </p> + <p> + PHIL. <i>and</i> TYND. We, make our escape? Whither should we escape? + </p> + <p> + SLAVE. To your own country. PHIL. <i>and</i> TYND. Out upon you; it would + ill befit us to be following the example of runaways. + </p> + <p> + SLAVE. Why, faith, should there be an opportunity, I don't advise you not. + </p> + <p> + PHIL. <i>and</i> TYND. Do you allow us to make one request. + </p> + <p> + SLAVE. What is it, pray? PHIL. <i>and</i> TYND. That you will give us an + opportunity of conversing, without these and yourselves for overlookers. + </p> + <p> + SLAVE. Be it so; go you away from here, <i>you people</i>. Let's step + here, on one side. (<i>To the other</i> CAPTIVES <i>and</i> SLAVES.) But + commence upon a short conversation <i>only</i>. + </p> + <p> + PHIL. O yes, it was my intention so to do. Step aside this way (<i>to</i> + TYNDARUS). + </p> + <p> + SLAVE (<i>to the other</i> CAPTIVES). Stand apart from them. + </p> + <p> + TYND. (<i>to the</i> SLAVE). "We are Both greatly obliged to you, by + reason of your doing so, since you allow us to obtain what we are desirous + of. + </p> + <p> + PHIL. Step here then, at a distance now, if you think fit, that no + listeners may be enabled to overhear our discourse, and that this plan of + ours mayn't be divulged before them for a stratagem is no stratagem, if + you don't plan it with art but <i>it is</i> a very great misfortune if it + becomes disclosed. For if you are my master, and I represent myself as + your servant, still there's need of foresight, <i>and</i> need of caution, + that this may be carried out discreetly and without overlookers, with + carefulness and with cautious prudence and diligence. So great is the + matter that has been commenced upon; this must not be carried out in any + drowsy fashion. + </p> + <p> + TYND. Just as you shall desire me to be, I will be. + </p> + <p> + PHIL. I trust <i>so</i>. TYND. For now you see that for your precious life + I'm setting at stake my own, <i>as</i> dear <i>to me</i>. + </p> + <p> + PHIL. I know it. TYND. But remember to know it when you shall be enjoying + that which you wish for; for mostly, the greatest part of mankind follow + this fashion; what they wish for, until they obtain it, they are + rightminded; but when they have now got it in their power, from being + rightminded they become most deceitful, and most dishonest; now I do + consider that you are towards me as I wish. What I advise you, I would + advise my own father. + </p> + <p> + PHIL. I' faith, if I could venture, I would call you father; for next to + my own father, you are my nearest father. + </p> + <p> + TYND. I understand. PHIL. And therefore I remind you the more frequently, + that you may remember it. I am not your master, but your servant; now this + one thing I do beseech you. Inasmuch as the immortal Gods hare disclosed + to us their wishes, that they desire me to have <i>once</i> been your + master, and now to be your fellow-captive; what formerly of my right I + used to command you, now with entreaties do I beg of you, by our uncertain + fortunes, and by the kindness of my father towards you, <i>and</i> by our + common captivity, which has befallen us by the hand of the enemy, don't + you pay me any greater respect than <i>I did you</i> when you were my + slave; and don't you forget to remember who you were, and who you now are. + </p> + <p> + TYND. I know, indeed, that I now am you, and that you are I. + </p> + <p> + PHIL. Well, if you are able carefully to remember that, I have <i>some</i> + hope in this scheme <i>of ours</i>. + </p> + <p> + {Footnote 1: <i>Will be lighter</i>)—Ver. 197. The English proverb + corresponds with this: What can't be cured must be endured.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0008" id="link2H_4_0008"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE II.—<i>Enter</i> HEGIO, <i>from his house, speaking to those + within.</i> + </h2> + <p> + HEG. I shall return in-doors just now, when I shall have discovered from + these people what I want <i>to know</i>. (<i>To the</i> SLAVES.) Where are + those persons whom I ordered to be brought out of doors here, before the + house? + </p> + <p> + PHIL. By my faith, I find that you have taken due precaution that we + shouldn't be missed by you, so walled in are we with chains and keepers. + </p> + <p> + HEG. He that takes precaution that he mayn't be deceived, is hardly on his + guard, even while he's taking precaution; even when he has supposed that + he has taken every precaution, full often is this wary man outwitted. Was + there not good reason, indeed, for me to watch you carefully, whom I + purchased with so large a sum of ready money? + </p> + <p> + PHIL. Troth, it isn't fair for us to hold you to blame, because you watch + us <i>closely</i>; nor yet for you us, if we go away hence, should there + be an opportunity. + </p> + <p> + HEG. As you <i>are</i> here, so is my son a captive there among your + people. + </p> + <p> + PHIL. He, a captive? + </p> + <p> + HEG. Even so. + </p> + <p> + PHIL. We, then, have not proved the only cowards {1}. + </p> + <p> + HEG. (to PHILOCRATES, <i>supposing him to be the SERVANT of the other</i>). + Step you aside this way, for there are some things that I wish to enquire + of you in private, on which subjects I would have you not to be untruthful + to me. (<i>They step aside.</i>) + </p> + <p> + PHIL. I will not be, as to that which I shall know; if I shall not know + anything, that which I don't know I'll tell you of. + </p> + <p> + TYND. (<i>aside</i>). Now is the old fellow in the barber's shop; now, at + this very instant, is <i>Philocrates</i> wielding the razor {2}. He hasn't + cared, indeed, to put on the barber's cloth {3}, so as not to soil his + dress. But whether to say that he's going to share him close, or <i>trim + him</i> {4} through the comb {5}, I don't know; but if he's wise, he'll + scrape him right well to the very quick. + </p> + <p> + HEG. (<i>to</i> PHILOCRATES). Which would you? Would you prefer to be a + slave, or a free man?—Tell me. + </p> + <p> + PHIL. That which is the nearest to good, and the furthest off from evil, + do I prefer; although my servitude hasn't proved very grievous <i>to me</i>, + nor has it been otherwise to me than if I had been a son in the family. + </p> + <p> + TYND. (<i>aside</i>). Capital! I wouldn't purchase, at a talent's price <i>even</i>, + Thales the Milesian {6}; for compared with this man's wisdom, he was a + very twaddler. How cleverly has he suited his language to the slave's + condition. + </p> + <p> + HEG. Of what family is this Philocrates born? + </p> + <p> + PHIL. The Polyplusian {7}; which one family is flourishing there, and held + in highest esteem. + </p> + <p> + HEG. What is he himself? In what esteem is he held there? + </p> + <p> + PHIL. In the highest, and <i>that</i> by the very highest men. + </p> + <p> + HEG. Since, then, he is held in such great respect among the Eleans, as + you tell of, what substance has he?—Of large amount? + </p> + <p> + PHIL. <i>Enough for him, even</i>, when an old man, to be melting out the + tallow {8} + </p> + <p> + HEG. What is his father? Is he living? PHIL, When we departed thence, we + left him alive; whether he's living now or not, Orcus, forsooth, must know + that. + </p> + <p> + TYND. (<i>aside</i>). The matter's all right; he's not only lying, <i>but</i> + he's even philosophizing now. + </p> + <p> + HEG. What's his name? PHIL. Thesaurochrysonicocroesides {9}. + </p> + <p> + HEG. That name has been given, I suppose, by reason of his wealth, as it + were. + </p> + <p> + PHIL. Troth, not so, <i>but</i> rather by reason of his avarice and + grasping disposition; for, indeed, he was Theodoromedes originally by + name. + </p> + <p> + HEG. How say you? Is his father covetous? + </p> + <p> + PHIL. Aye, by my faith, he is covetous. Why, that you may even understand + it the better,—when he's sacrificing at any time to his own Genius + {10}, the vessels that are needed for the sacrifice he uses of Samian + ware, lest the Genius himself should steal them; from this, consider how + much he would trust other people. + </p> + <p> + HEG. (<i>addressing</i> TYNDARUS <i>as though</i> PHILOCRATES). Do you + then follow me this way. (<i>Aside.</i>) The things that I desire <i>to + know</i>, I'll enquire of him. (<i>Addressing</i> TYNDARUS.) Philocrates, + this person has done as it becomes an honest man to do. For from him I've + learnt of what family you are sprang; he has confessed it to me. If you + are willing to own these same things (which, however, understand that I <i>already</i> + know from him), you will be doing it for your own advantage. + </p> + <p> + TYND. He did his duty when he confessed the truth to you, although, Hegio, + I wished carefully to conceal both my rank and my wealth; now, inasmuch as + I've lost my country and my liberty, I don't think it right for him to be + dreading me rather than you. The might of warfare has made my fortunes on + a level with himself. I remember <i>the time</i> when he didn't dare <i>to + do it</i> in word; now, in deed, he is at liberty to offend me. But don't + you see? Human fortune moulds and fashions just, as she wills. Myself, who + was a free man she has made a slave, from the very highest the very + lowest. I, who was accustomed to command, now obey the mandates of + another. And indeed, if I meet with a master just such as I proved the + ruler in my own household, I shall not fear that he will rule me harshly + or severely. With this, Hegio, I wished you to be acquainted, unless + perchance you yourself wish it not. + </p> + <p> + HEG. Speak boldly <i>out</i>. TYND. As free a man was I till lately as + your son. As much did a hostile hand deprive me of my liberty as him of + his. As much is he a slave among my people, as am now a slave here with + yourself. There is undoubtedly a God, who both hears and sees the things + which we do. Just as you shall treat me here, in the same degree will he + have a care for him. To the well-deserving will he show favour, to the + ill-deserving will he give a like return. As much as you lament your son, + so much does my father lament me. + </p> + <p> + HEG. That I am aware of. But do you admit the same that he has disclosed + to me? + </p> + <p> + TYND. I confess that my father has very great wealth at home, and that I + am born of a very noble family; but I entreat you, Hegio, let not my + riches make your mind too prone to avarice, lest it should seem to my + father, although I am his only <i>son</i>, more suitable that I should be + a slave in your house, bountifully supplied at your expense and with your + clothing, rather than be living the life of a beggar where 'twould be far + from honorable. + </p> + <p> + HEG. By the favour of the Gods and of my forefathers, I am rich enough. I + don't quite believe that every <i>kind of</i> gain is serviceable to + mankind. I know that gain has already made many a man famous; and yet + there are occasions when it is undoubtedly better to incur loss than <i>to + make</i> gain. Gold I detest: many a one has it persuaded to many an evil + course. Now give your attention to this, that you may know as well what my + wishes are. My son, taken prisoner, is in servitude at Elis there among + your people; if you restore him to me, don't you give me a single coin + besides; both you and him, <i>your servant</i>, I'll send back from here; + on no other terms can you depart <i>hence</i>. + </p> + <p> + TYND. You ask what's very right and very just, and you are the very + kindest person of all mankind. But whether is he in servitude to a private + person or to the public {11}? + </p> + <p> + HEG. In private <i>servitude</i> to Menarchus, a physician. + </p> + <p> + PHIL. By my faith, that person's surely his father's dependant. Why + really, that's down as pat for you, as the shower is when it rains. + </p> + <p> + HEG. Do you <i>then</i> cause this person, <i>my son</i>, to be redeemed. + </p> + <p> + TYND. I'll do <i>so</i>: but this I beg of you, Hegio— + </p> + <p> + HEG. Whatever you wish, so that you request nothing against my interest, + I'll do. + </p> + <p> + TYND. Listen then, <i>and</i> you'll know. I don't ask for myself to be + released, until he has returned. But I beg of you to give me him (<i>pointing + to</i> PHILOCRATES) with a price set {12} upon him, that I may send him to + my father, that this person, <i>your son</i>, may be redeemed there. + </p> + <p> + HEG. Why no; I'd rather send another person hence, when there shall be a + truce, to confer with your father there, <i>and</i> to carry your + injunctions which you shall entrust him with, just as you wish. + </p> + <p> + TYND. But it's of no use to send to him one that he doesn't know; you'd be + losing your labour. Send this person; he'll have it all completed, if he + gets there. And you cannot send any person to him more faithful, nor one + in whom he places more confidence, nor who is more a servant after his own + mind; nor, in fact, one to whom he would more readily entrust your son. + Have no fears; at my own peril I'll make proof of his fidelity, relying + upon his disposition; because he is sensible that I'm kindly disposed + towards him. + </p> + <p> + HEG. Well then, I'll send him with a price set upon him, on the surety of + your promise, if you wish it. + </p> + <p> + TYND. I do wish it; so soon as ever it can, I want this matter to be + brought to completion. + </p> + <p> + HEG. What reason is there, then, that if he doesn't return, you should not + pay me twenty minae for him? + </p> + <p> + TYND. Yes—very good. HEG. (<i>to the</i> SLAVES, <i>who obey</i>). + Release him now forthwith; and, indeed, both of them. (<i>On being + released</i>, PHILOCRATES <i>goes into the house</i>.) + </p> + <p> + TYND. May all the Gods grant you all your desires, since you have deigned + me honor so great, and since you release me from my chains. Really, this + is not <i>so</i> irksome now, since my neck is free from the collar-chain. + </p> + <p> + HEG. The kindnesses that are done to the good, thanks for the same are + pregnant with blessings. Now, if you are about to send him thither, + direct, instruct him, give him the orders which you wish to be carried to + your father. Should you like me to call him to you? + </p> + <p> + TYND. Do call him. (HEGIO <i>goes to the door, and calls</i> PHILOCRATES.) + </p> + <p> + {Footnote 1: <i>The only cowards</i>)—Ver. 267. He alludes to the + notion in the heroic times, that it was the duty of a warrior to conquer + or to die, and that it was disgraceful to be made prisoner.} + </p> + <p> + {Footnote 2: <i>Wielding the razor</i>)—Ver. 271. It is hard to say + whether by the word "cuttros," in this passage, razors or scissors are + meant.} + </p> + <p> + {Footnote 3: <i>To put on the barber's cloth</i>)—Ver. 272. He + probably means by this expression that Philocrates has made no preamble, + and shown no hesitation, in commencing at once to dupe the old man.} + </p> + <p> + {Footnote 4: <i>Or trim him</i>)—Ver. 273. He alludes here to the + two kinds of shaving and trimming the beard used by the barbers among the + ancients. The one was close "strictim," when they shaved to the skin; the + other was, when with a pair of scissors they clipped the hair, with the + interposition of a comb. The former fashion was called by the Greeks + {Greek: <i>skaphion</i>}; the latter method, which was borrowed from the + Persians, {Greek: <i>kaepos</i>}. "Esse in tonstrina," "to be in the + barber's shop," was a proverbial expression to denote "being imposed + upon." Tyndarus is wondering to what extent Philocrates is going to impose + upon Hegio.} + </p> + <p> + {Footnote 5: <i>Through the comb</i>)—Ver. 273. The Greeks and + Romans made their combs of boxwood, much of which was imported from + Paphlagonia. The Egyptians used them made of wood and of ivory, and + toothed on one side only; while those of the Greeks had teeth on both + sides.} + </p> + <p> + {Footnote 6: <i>Thales the Milesian</i>)—Ver. 279. A talent would be + a low price for such a learned slave as Thales the Milesian, who was one + of the seven wise men of Greece. He says, however, that Thales at such a + low price would be nothing in comparison with Philocrates for the same + money.} + </p> + <p> + {Footnote 7: <i>The Polyplusian</i>)—Ver. 282. This word is coined + by Philocrates for the occasion, as being the name of his family, from the + Greek word <i>{Greek: polyplousios}</i>, "very wealthy;" probably with the + idea of raising the expectations of Hegio and making him the more ready to + promote an exchange of his own son for a member of so opulent a family.} + </p> + <p> + {Footnote 8: <i>Melting out the tallow</i>)—Ver. 286. Hegio asks him + if his riches are very abundant, and in doing so uses the word "opimae," + of which the primary meaning was "fat;" the other answers, "Yes, so fat + that he can be melting the tallow out of them even when he is an old man;" + meaning thereby that he is amply provided with means.}. + </p> + <p> + {Footnote 9: <i>Thesaurochrysonicocraesides</i>)—Ver. 290. This is a + name made up of several Greek words, and seems to mean "a son of Croesus, + abounding in treasures of gold," in allusion to Croesus, the wealthy king + of Lydia. The author indulges in similar pleasantry in the Miles + Gloriosus.} + </p> + <p> + {Footnote 10: <i>To his own Genius</i>)—Ver. 295. As the Genius of a + man was not only his guardian Deity through life, but the word was also + used to signify his capacity for enjoyment; the term "to sacrifice to his + Genius," is supposed by some Commentators to mean, "to indulge the + appetite in feasting and good cheer." This, however, seems not to be the + meaning in this instance; and he probably intends to be understood as + alluding, literally, to the domestic sacrifice to the Genius.} + </p> + <p> + {Footnote 11: <i>Or to the public</i>)—Ver. 339. Some captives were + employed in the public service, while others fell into the hands of + private individuals.} + </p> + <p> + {Footnote 12: <i>With a price set</i>)—Ver. 845. "Aestimatus" here + means "entrusted to a person at a fixed value, and at his risk for the due + return of it."} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0009" id="link2H_4_0009"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE III.—<i>Enter</i> PHILOCRATES, <i>from the house.</i> + </h2> + <p> + HEG. May this affair turn out happily for myself and for my son, and for + yourselves. (<i>To</i> PHILOCRATES.) Your new master wishes you to pay + faithful obedience to your former owner in what he wishes. For I have + presented you to him, with the price of twenty minae set upon you: and he + says that he is desirous to send you away hence to his father, that he may + there redeem my son, <i>and</i> that an exchange may be made between me + and him for our <i>respective</i> sons. + </p> + <p> + PHIL. My disposition takes its course straight in either direction, both + to yourself and to him; as a wheel {1} you may make use of me; either this + way or that can I be turned, whichever way you shall command me. + </p> + <p> + HEG. You yourself profit the most from your own disposition, when you + endure slavery just as it ought to be endured. Follow me. (<i>To</i> + TYNDARUS.) See here's <i>your</i> man. + </p> + <p> + TYND. I return you thanks, since you give me this opportunity and + permission to send this messenger to my parents, who may relate all the + matter in its order to my father, what I'm doing here, and what I wish to + be done. (<i>To</i> PHILOCRATES.) Now, Tyndarus, thus is it arranged + between myself and him, that I'm to send you, valued at a fixed price, to + my father in Elis; so that, if you don't return hither, I'm to give twenty + minae for you. + </p> + <p> + PHIL. I think that you've come to a right understanding. For your father + expects either myself or some messenger to come from here to him. + </p> + <p> + TYND. I wish you, then, to mind what message it is I want you to carry + hence to my country to my father. + </p> + <p> + PHIL. Philocrates, as up to this moment I have done, I will take all due + care to endeavour that which may especially conduce to your interest, and + to pursue the same with heart and soul, and with my ears. + </p> + <p> + TYND. You act just as you ought to act; now I wish you to give attention. + In the first place of all, carry my respects to my mother and my father, + and to my relations, and if any one else you see well-disposed <i>towards + me</i>: <i>say</i> that I am in health here, and that I am a slave, in + servitude to this most worthy man, who has ever honored me more and more + with his respect, and does <i>so still</i>. + </p> + <p> + PHIL. Don't you be instructing me as to that; I can, still, easily bear + that in mind. + </p> + <p> + TYND. For, indeed, except that I have a keeper, I deem myself to be a free + man. Tell my father on what terms I have agreed with this party about his + son. + </p> + <p> + PHIL. What I remember, it is sheer delay to be putting me in mind of. + </p> + <p> + TYND. To redeem me, and to send him back here in exchange for both of us. + </p> + <p> + PHIL. I'll remember it. HEG. But as soon as he can that is especially to + the interest of us both. + </p> + <p> + PHIL. You <i>are</i> not more <i>anxious</i> to see your son, than he <i>is + to see</i> his. + </p> + <p> + HEG. My son is dear to myself, <i>and</i> his own to every man. + </p> + <p> + PHIL. (<i>to</i> TYNDARUS). Do you wish any other message to be carried to + your father? + </p> + <p> + TYND. <i>Say</i> that I am well here; and do you boldly tell him, + Tyndarus, that we have been of dispositions for uninterrupted harmony + between ourselves, and that you have neither been deserving of censure, + nor that I have proved your enemy; and that still, amid miseries so great, + you have shown implicit obedience to your master, and that you have never + abandoned me, either in deed or in fidelity, amid my wavering, + unprosperous fortunes. When my father shall know this, Tyndarus, how + well-disposed you have proved towards his son and himself, he will never + be so avaricious but that he'll give you your liberty for nothing. And by + my own endeavours, if I return hence, I'll make him do so the more + readily. For by your aid and kindness, and good disposition and prudence, + you have caused me to be allowed to return to my parents once again, + inasmuch as to <i>Hegio</i> you have confessed both my rank and my wealth; + by means of which, through your wisdom, you have liberated your master + from his chains. + </p> + <p> + PHIL. The things which you mention I have done, and I am pleased that you + remember this. Deservedly have they been done for you by me; for now, + Philocrates, if I, too, were to mention the things that you have kindly + done for me, the night would cut short the day. For, had you been my slave + <i>even</i>, no otherwise were you always obliging to me. + </p> + <p> + HEG. Ye Gods, by our trust in you! <i>behold</i> the kindly disposition of + <i>these</i> persons! How they draw <i>the very</i> tears from me! See how + cordially they love each other, <i>and</i> with what praises the servant + has commended his master. + </p> + <p> + PHIL. I' troth, he hasn't commended me the one hundredth part of what he + himself deserves to be commended in my praises. + </p> + <p> + HEG. (<i>to</i> PHILOCRATES). Since, then, you have acted most becomingly, + now there's an opportunity to add to your good in managing this matter + with fidelity towards him. + </p> + <p> + PHIL. I am not able more to wish it done, than by my endeavours to try to + bring it about. That you may know this, Hegio, with praises do I call + supreme Jove to witness that I will not prove unfaithful to Philocrates + {2}— + </p> + <p> + HEG. You are a worthy fellow. PHIL. And that I will never in anything act + otherwise towards him than towards my own self. + </p> + <p> + TYND. I wish you to put these speeches to the test, both by your deeds and + your actions; and inasmuch as I have said the less about you than I had + wished, I wish you <i>the more</i> to give me your attention, and take you + care not to be angry with me by reason of these words. But, I beseech you, + reflect that you are sent hence home with a price set upon you at my risk, + and that my life is here left as a pledge for you. Do not you forget me + the very moment that you have left my presence, since you will have left + me here behind a captive in captivity for yourself, and <i>don't</i> + consider yourself as free, <i>and</i> forsake your pledge {3}, and not use + your endeavours for you to bring his son home again, in return for me. + Understand that you are sent hence valued at twenty minae. Take care to + prove scrupulously faithful; take care that you show not a wavering + fidelity. For my father, I am sure, will do everything that he ought to + do. Preserve me as a constant friend to you, and find out {4} this person + <i>so lately</i> discovered. These things, by your right hand, holding you + with my <i>own</i> right hand, do I beg of you; do not prove less true to + me than I have proved to you. This matter do you attend to; you are now my + master, you my patron, you my father; to you do I commend my hopes and my + fortunes. + </p> + <p> + PHIL. You have given injunctions enough. Are you satisfied if I bring back + accomplished what you have enjoined? + </p> + <p> + TYND. Satisfied. PHIL. (<i>to</i> HEGIO). According to your wishes, and (<i>to</i> + TYNDARUS) according to yours, will I return, hither provided. Is there + anything else? + </p> + <p> + TYND. For you to return bad as soon as ever you can. + </p> + <p> + PHIL. The business <i>itself</i> reminds <i>me of that</i>. + </p> + <p> + HEG. (<i>to</i> PHILOCRATES). Follow me, that I may give you your expenses + for the journey at my banker's; on the same occasion I'll get a passport + from the Praetor. + </p> + <p> + TYND. What passport {5}? HEG. For him to take with him hence to the army, + that he may be allowed to go home from here. (<i>To</i> TYNDARUS.) You go + in-doors. + </p> + <p> + TYND. Speed you well. PHIL. Right heartily, farewell. (TYNDARUS <i>goes + into the house.</i>) + </p> + <p> + HEG. (<i>aside</i>). I' faith, I compassed my design, when I purchased + these men of the Quaestors out of the spoil. I have released my son from + slavery, if <i>so</i> it pleases the Gods; and yet I hesitated a long time + whether I should purchase or should not purchase these persons. Watch that + man indoors, if you please, you servants, that he may nowhere move a foot + without a guard. I shall soon make my appearance at home; now I'm going to + my brother's, to see my other captives; at the same time I'll enquire + whether any one knows this young man. (<i>To</i> PHILOCRATES.) Do you + follow, that I may despatch you. I wish attention first to be paid to that + matter. (<i>Exeunt.</i> + </p> + <p> + {Footnote 1: <i>As a wheel</i>)—Ver. 374. This may either mean the + wheel of a vehicle or a potter's wheel. The wheels used by the ancients + revolved on the axle, as in the carriages of modern times, and were + prevented, by pins inserted, from falling off. They consisted of naves, + spokes, which varied much in number, the felly, or wooden circumference, + made of elastic wood, such as the poplar and wild fig, and composed of + several segments united, and the tire, which was of metal. Some of their + carts and waggons had wheels made of a solid circle of wood, in shape like + a millstone, with the axle running through the middle. Similar wheels are + used in the south of Europe at the present day.} + </p> + <p> + {Footnote 2: <i>Unfaithful to Philocrates</i>)—Ver. 432. Philocrates + might very safely take an oath to Hegio, that he would not prove + unfaithful to himself.} + </p> + <p> + {Footnote 3: <i>Forsake your pledge</i>)—Ver. 441. Alluding to + himself being left behind, and a surety for his speedy return.} + </p> + <p> + {Footnote 4: <i>And find out</i>)—Ver. 446. "Atque hunc inventum + inveni." Some would render this, "And find this person still as you have + found him," making it allude to Hegio; it seems, however, rather to apply + to the son of Hegio, and to mean, "Do you seek out this person whom we + have found out to be in the possession of the physician, Menarchus."} + </p> + <p> + {Footnote 5: <i>What passport?</i>)—Ver. 454. Being conscious of the + trick which they are playing on the worthy old man, Tyndarus shows some + alarm on hearing a passport, or "syngraphus," mentioned. Commentators are + at a loss to know why he should express such alarm. It is difficult to + say, but, probably, as there was in the passport a description of the + bearer, who would be Philocrates under the name of Tyndarus, it suddenly + comes to the recollection of Tyndarus that they were originally made + prisoners under their proper names, and that possibly Philocrates may be + recognised as attempting to pass under an assumed name.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0010" id="link2H_4_0010"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT III.—SCENE I. + </h2> + <h3> + <i>Enter</i> ERGASILUS. + </h3> + <p> + ERG. Wretched is that man who is in search of something to eat, and finds + that with difficulty; but more wretched is he who both seeks with + difficulty, and finds nothing at all; most wretched is he, who, when he + desires to eat, has not that which he may eat. But, by my faith, if I <i>only</i> + could, I'd willingly tear out the eyes of this day;—with such enmity + has it filled all people towards me. One more starved out I never did see, + nor one more filled with hunger {1}, nor one who prospers less in whatever + he begins to do. So much do my stomach and my throat take rest on these + fasting holidays {2}. Away with the profession of a Parasite to very utter + and extreme perdition! so much in these days do the young men drive away + from them the needy drolls. They care nothing now-a-days for <i>these</i> + Laconian men {3} of the lowest benches—these whipping-posts, who + hare their <i>clever</i> sayings without provision and <i>without</i> + money. They <i>now-a-days</i> seek those who, when they've eaten at their + pleasure, may give them a return at their own houses. They go themselves + to market, which formerly was the province of the Parasites. They go + themselves from the Forum to the procurers with face as exposed{4} as <i>the + magistrates</i> in court {5}, with face exposed, condemn those who are + found guilty; nor do they now value buffoons at one farthing {6}; all are + <i>so much</i> in love with themselves. For, when, just now, I went away + from here, I came to some young men in the Forum: "Good morrow," said I; + "whither are we going together to breakfast?" On this, they were silent. + "Who says, 'here, <i>at my house</i>,' or who makes an offer?" said I. + Just like dumb men, they were silent, and didn't smile at me. "Where do we + dine?" said I. On this they declined, said one funny saying out of my best + bon mots, by which I formerly used to get feasting for a month; not an + individual smiled; at once I knew that the matter was arranged by concert. + Not even one was willing to imitate a dog when provoked; if they didn't + laugh, they might, at least, have grinned with their teeth {7}. From them + I went away, after I saw that I was thus made sport of. I went to some + others; <i>then</i> to some others I came; then to some others—the + same the result. All treat the matter in confederacy, just like the + oil-merchants in the Velabrum {8}. Now, I've returned thence, since I see + myself made sport of there. In like manner do other Parasites walk to and + fro, to no purpose, in the Forum. Now, after the foreign fashion {9}, I'm + determined to enforce all my rights. Those who have entered into a + confederacy, by which to deprive us of food and life,—for them I'll + name a day. I'll demand, as the damages, that they shall give me ten + dinners at my own option, when provisions are dear: thus will I do. Now + I'll go hence to the harbour. There, is my only hope of a dinner; if that + shall fail me, I'll return here to the old gentleman, to his unsavoury + dinner. + </p> + <p> + {Footnote 1: <i>Filled with hunger</i>)—Ver. 471. This paradoxical + expression is similar to the one used in the Aulularia, 1. 45, "inaniis + oppletae," "filled with emptiness."} + </p> + <p> + {Footnote 2: <i>Fasting holidays</i>)—Ver. 473. He means to say, + that as on feast days and holidays people abstain from work, so at present + his teeth and stomach have no employment.} + </p> + <p> + {Footnote 3: <i>These Laconian men</i>)—Ver. 476. The Parasites, + when there was not room for them on the "triclinia," or "couches" at + table, were forced to sit on "subsellia," or "benches," at the bottom of + the table. This was like the custom of the Spartans, or Laconians, who, + eschewing the luxury of reclining, always persisted in sitting at meals. + The Spartans, also, endured pain with the greatest firmness; a virtue much + required by Parasites, in order to put up with the indignities which they + had to endure from the guests, who daubed their faces, broke pots about + their heads, and boxed their ears.} + </p> + <p> + {Footnote 4: <i>With face as exposed</i>)—Ver. 480. People, with any + sense of decency, would resort to these places either in masks, or with a + hood thrown over the face.} + </p> + <p> + {Footnote 5: <i>In court</i>)—Ver. 481. "In tribu." He alludes to + the trials which took place before the Roman people in the "Comitia + Tributa," or "assemblies of the tribes," where the Tribunes and Aediles + acted as the accusers. The offences for which persons were summoned before + the tribes, were, bad conduct of a magistrate in performance of his + duties, neglect of duty, mismanagement of a war, embezzlement of the + public money, breaches of the peace, usury, adultery, and some other + crimes. The "Comitia Tributa" were used as courts of appeal, when a person + protested against a fine imposed by a magistrate.} + </p> + <p> + {Footnote 6: <i>At one farthing</i>)—Ver. 482. Literally, "at a + teruncius," which was a small coin among the Romans, containing three + "unciae," "twelfth parts" or one quarter of the "as," which we generally + take as equivalent to a penny.} + </p> + <p> + {Footnote 7: <i>Grinned with their teeth</i>)—Ver. 491. That is, by + showing their teeth and grinning. This is not unlike the expression used + in the Psalms (according to the translation in our Liturgy)—Ps. + lix., ver. 6—"They grin like a dog and run about through the city."} + </p> + <p> + {Footnote 8: <i>In the Velabrum</i>)—Ver. 494. The "Via Nova," or + "New Street," at Rome, led from the interior of the city to the "Velabra." + The greater and the less "Velabrum" lay between the Palatine and the + Capitoline Hills, where fruits and other commodities were sold in booths, + or under awnings, from which ("vela") the streets probably derived their + name. Varro, however, says that they were so called from the verb "veho," + "to carry;" because in early times those spots were traversed in boats, + which mode of carriage was called "velatura." From the present passage, it + appears that the oil-merchants in the "Velabra" acted in confederacy not + to sell their oils under a certain price.} + </p> + <p> + {Footnote 9: <i>After the foreign fashion</i>)—Ver. 497. Some + suppose that "barbarica lege" here means "the foreign" or "Roman law," and + that he refers to the "Lex Vinnia," introduced at Rome by Quintus Vinnius, + which was said to have been passed against those persons who confederated + for the purpose of keeping up the high prices of provisions. It is, + however, somewhat doubtful if there really was such a law; and the better + opinion seems to be that the word "lege" meant "fashion" or "custom;" and + that he refers to the Roman method of trial. He will accuse his former + entertainers of a conspiracy to starve him. He will name a day for trial, + "diem dicet;" he will demand damages or a penalty, "irrogabit muletam;" + and thus will he proceed at law against them, "sic egerit." Rost has + written at great length on the meaning of this passage.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0011" id="link2H_4_0011"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE II.—<i>Enter</i> HEGIO <i>and</i> ARISTOPHONTES. + </h2> + <p> + HEG. (<i>to himself</i>). What is there more delightful than to manage + one's own interests well for the public good {1}, just as I did yesterday, + when I purchased these men. Every person, as they see me, comes to meet + me, and congratulates me on this matter. By thus stopping and detaining + unlucky me, they've made me <i>quite</i> tired. With much ado have I + survived {2} from being congratulated, to my misfortune. At last, to the + Praetor did I get. There, scarcely did I rest myself. I asked for a + passport; it was given me: at once I delivered it to Tyndarus. He started + for home. Thence, straightway, after that was done, I passed by my house; + <i>and</i> I went at once to my brother's, where my other captives are. I + asked about Philocrates from Elis, whether any one of them all knew the + person. This man (<i>pointing to</i> ARISTOPHONTES) called out that he had + been his intimate friend; I told him that he was at my house. At once he + besought and entreated me that I would permit him to see him. Forthwith I + ordered him to be released <i>from chains</i>. Thence have I come. (<i>To</i> + ARISTOPHONTES.) Now, do you follow me, that you may obtain what you have + besought of me, the opportunity of meeting with this person. (<i>They go + into the house</i>.) + </p> + <p> + {Footnote 1: <i>For the public good</i>)—Ver. 504. It is possible + that he may here refer to his purchase of Philocrates, whose high position + among the Eleans would probably tend, on his return to his native country, + to promote peace between it and the people of Aetoiia.} + </p> + <p> + {Footnote 2: <i>With much ado have I survived</i>)—Ver. 513. "Vox—eminebam." + Literally, "I hardly kept myself above" water. He means that he was almost + overpowered by the crowds of people congratulating him.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0012" id="link2H_4_0012"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE III.—<i>Enter</i> TYNDARUS, <i>from the house</i>. + </h2> + <p> + TYND. Now stands the matter so, that I would much rather that I had once + existed, than that I <i>still</i> exist; now do my hopes, my resources, + and my succour, desert me and spurn themselves. This is that day, when, + for my life, no safety can be hoped; nor <i>yet</i> is death my end; nor + hope is there, in fact, to dispel this fear for me; nor cloak have I + anywhere for my deceitful stratagems; nor for my devices or my subterfuges + is there anywhere a screen presented to me. No deprecating <i>is there</i> + for my perfidy; no means of flight for my offences. No refuge is there + anywhere for my trusting; and no escape for my cunning schemes. What was + concealed is <i>now</i> exposed; my plans are <i>now</i> divulged. The + whole matter is now laid open; nor is there any ado about this matter, but + that I must perish outright, and meet with destruction, both on behalf of + my master and myself. This Aristophontes has proved my ruin, who has just + now come into the house. He knows me. He is the intimate friend and + kinsman of Philocrates. Not Salvation <i>herself</i> {1} can save me now, + <i>even</i> if she wishes; nor have I any means <i>of escape</i>, unless, + perchance, I devise some artifice in my mind. (<i>He meditates.</i>) + Plague on it!—how? What can I contrive?—what can I think of? + Some very great folly and trifling I shall have to begin with. I'm quite + at a loss. (<i>He retires aside.</i>) + </p> + <p> + {Footnote 1: <i>Not Salvation herself</i>)—Ver. 535. This was a + proverbial expression among the Romans. "Salus," "Safety" or "Salvation," + was worshipped as a Goddess at Rome. It is well observed, in Thornton's + translation, that the word "Salus" may, without irreverence, be translated + "Salvation," on no less authority than that of Archbishop Tillotson. "If," + says he, "men will continue in their sins, the redemption brought by + Christ will be of no advantage to them; such as obstinately persist in an + impenitent course," "ipsa si velit Salus, servare non potest." "Salvation + itself cannot save them."} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0013" id="link2H_4_0013"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE IV.—<i>Enter</i> HEGIO, ARISTOPHONTES, <i>and</i> SLAVES, <i>from + the house.</i> + </h2> + <p> + HEG. Whither am I to say, now, that that man has betaken himself from the + house out of doors? + </p> + <p> + TYND. (<i>apart</i>). Now, for a very certainty, I'm done for; the enemies + are coming to you, Tyndarus! What shall I say?—what shall I talk of? + What shall I deny, or what confess? All matters are reduced to + uncertainty. How shall I place confidence in my resources? I wish the Gods + had destroyed you, before you were lost to your own country, + Aristophontes, who, from a plot well concerted, are making it + disconcerted. This plan is ruined, outright, unless I find out for myself + some extremely bold device. + </p> + <p> + HEG. (<i>to</i> ARISTOPHONTES). Follow me. See, there is the man; go to + him and address him. + </p> + <p> + TYND. (<i>aside, and turning away</i>). What mortal among mortals is there + more wretched than myself? + </p> + <p> + ARIST. (<i>coming up to him</i>). Why's this, that I'm to say that you are + avoiding my gaze, Tyndarus? And <i>why</i> that you are slighting me as a + stranger, as though you had never known me? Why, I'm as much a slave as + yourself; although at home I was a free man, you, even from your + childhood, have always served in slavery in Elia. + </p> + <p> + HEG. I' faith, I'm very little surprised, if either he does avoid your + gaze, or if he does shun you, who are calling him Tyndarus, instead of + Philocrates. + </p> + <p> + TYND. Hegio, this person was accounted a madman in Elis. Don't you give + ear to what he prates about; for at home he has pursued his father and + mother with spears, and that malady sometimes comes upon him which is spit + out {1}. Do you this instant stand away at a distance from him. + </p> + <p> + HEG. (<i>to</i> the SLAVES). Away with him further off from me. + </p> + <p> + ARIST. Do you say, you whipp'd knave, that I am mad, and do you declare + that I have followed my own father with spears? And that I have that + malady, that it's necessary for me to be spit upon {2}? + </p> + <p> + HEG. Don't be dismayed; that malady afflicts many a person to whom it has + proved wholesome to be spit upon, and has been of service to them. + </p> + <p> + ARIST. Why, what do you say? Do you, too, credit him? + </p> + <p> + HEG. Credit him in what? ARIST. That I am mad? + </p> + <p> + TYND. Do you see him, with what a furious aspect he's looking at you? + 'Twere best to retire, Hegio; it is as I said, his frenzy grows apace; + have a care for yourself. + </p> + <p> + HEG. I thought that he was mad, the moment that he called you Tyndarus. + </p> + <p> + TYND. Why, he's sometimes ignorant of his own name and doesn't know what + it is. + </p> + <p> + HEG. But he even said that you were his intimate friend. + </p> + <p> + TYND. So far from that, I never saw him. Why, really, Alcmaeon, and + Orestes, and Lycurgus {3} besides, are my friends on the same principle + that he is. + </p> + <p> + ARIST. Villain, and do you dare speak ill of me, as well? Do I not know + you? + </p> + <p> + HEG. I' faith, it really is very clear that you don't know him, who are + calling him Tyndarus, instead of Philocrates Him whom you see, you don't + know; you are addressing him as the person whom you don't see. + </p> + <p> + ARIST. On the contrary this fellow's saying that he is the person who he + is not; and he says that he is not the person who he really is. + </p> + <p> + TYND. You've been found, of course, to excel Philocrates in truthfulness. + </p> + <p> + ARIST. By my troth, as I understand the matter, you've been found to + brazen out the truth by lying. But i' faith, prithee, come then, look at + me. + </p> + <p> + TYND. (<i>looking at him</i>). Well! ARIST. Say, now; do you deny that you + are Tyndarus? + </p> + <p> + TYND. I do deny it, I say. + </p> + <p> + ARIST. Do you say that you are Philocrates? + </p> + <p> + TYND. I do say so, I say. + </p> + <p> + ARIST. (<i>to</i> HEGIO). And do you believe him? + </p> + <p> + HEG. More, indeed, than either you or myself. For he, in fact, who you say + that he is (<i>pointing to</i> TYNDARUS), has set out hence to-day for + Elis, to this person's father. + </p> + <p> + ARIST. What father, when he's a slave. {4} + </p> + <p> + TYND. And so are you a slave, and <i>yet</i> you were a free man; and I + trust that so I shall be, if I restore his son here to liberty. + </p> + <p> + ARIST. How say you, villain? Do you say that you were born a free man + {liber}? + </p> + <p> + TYND. I really do not say that I am Liber {5}, but that I am Philocrates. + </p> + <p> + ARIST. How's this? How this scoundrel, Hegio, is making sport of you now. + For he's a slave himself, and never, except his own self, had he a slave. + </p> + <p> + TYND. Because you yourself are destitute in your own country, and haven't + whereon to live at home, you wish all to be found like to yourself; you + don't do anything surprising. 'Tis <i>the nature</i> of the distressed to + be ill-disposed, and to envy the fortunate. + </p> + <p> + ARIST. Hegio, take you care, please, that you don't persist in rashly + placing confidence in this man; for so far as I see, he is certainly now + putting some device in execution, in saying that he is redeeming your son + <i>from captivity</i>; that is by no means satisfactory to me. + </p> + <p> + TYND. I know that you don't wish that to be done; still I shall effect it, + if the Gods assist me. I shall bring him back here, <i>and</i> he <i>will + restore</i> me to my father, in Elis. For that purpose have I sent + Tyndarus hence to my father. + </p> + <p> + ARIST. Why, you yourself are he; nor is there any slave in Elis of that + name, except yourself. + </p> + <p> + TYND. Do you persist in reproaching me with being a slave—a thing + that has befallen me through the fortune of war? + </p> + <p> + ARIST. Really, now, I cannot contain myself. + </p> + <p> + TYND. (<i>to</i> HEGIO). Ha! don't you hear him? Why don't you take to + flight? He'll be pelting us just now with stones there, unless you order + him to be seized. + </p> + <p> + ARIST. I'm distracted. TYND. His eyes strike fire; there's need of a rope, + Hegio. Don't you see how his body is spotted all over with livid spots? + Black bile {6} is disordering the man. + </p> + <p> + ARIST. And, by my faith, if this old gentleman is wise, black pitch {7} + will be disordering you with the executioner, and giving a light to your + head. + </p> + <p> + TYND. He's now talking in his fit of delirium; sprites are in possession + of the man. + </p> + <p> + HEG. By my troth, suppose I order him to be seized? + </p> + <p> + TYND. You would be acting more wisely. + </p> + <p> + ARIST. I'm vexed that I haven't a stone, to knock out the brains of that + whip-scoundrel, who's driving mo to madness by his taunts. + </p> + <p> + TYND. Don't you hear that he's looking for a stone? + </p> + <p> + ARIST. I wish to speak with you alone, separately, Hegio. + </p> + <p> + HEG. Speak from where you are, if you want anything; though at a distance, + I shall hear you. + </p> + <p> + TYND. <i>Yes</i>, for, by my faith, if you approach nearer, he'll to + taking your nose off with his teeth. + </p> + <p> + ARIST. By heavens, Hegio, don't you believe that I am mad, or that I ever + was <i>so</i>, or that I have the malady which that fellow avers. But if + you fear anything from me, order me to be bound: I wish it, so long as + that fellow is bound as well. + </p> + <p> + TYND. Why really, Hegio, rather let him be bound that wishes it. + </p> + <p> + ARIST. Now hold your tongue! I'll make you, <i>you</i> false Philocrates, + to be found out this day <i>to be</i> a real Tyndarus. Why are you making + signs {8} at me? + </p> + <p> + TYND. I, making signs at you? (<i>To</i> HEGIO.) What would he do, if you + were at a greater distance off? + </p> + <p> + HEG. What do you say? What if I approach this madman? + </p> + <p> + TYND. Nonsense; you'll be made a fool of; he'll be prating <i>stuff</i>, + to you, neither the feet nor the head of which will ever be visible. The + dress <i>only</i> {9} is wanting; in seeing this man, you behold Ajax + himself. + </p> + <p> + HEG. I don't care; still I'll approach him. (<i>Advances to</i> + ARISTOPHONTES.) + </p> + <p> + TYND. (<i>aside</i>). Now am I utterly undone; now between the sacrifice + and the stone {10} do I stand, nor know I what to do. + </p> + <p> + HEG. I lend you my attention, Aristophontes, if there is anything that you + would wish with me. + </p> + <p> + ARIST. From me you shall hear <i>that</i> truth, which now you think to be + false, Hegio. But I wish, in the first place, to clear myself from this + with you—that madness does not possess me, and that I have no + malady, except that I am in captivity; and, so may the King of Gods and of + men make me to regain my native land, that fellow there is no more + Philocrates than either I or you. + </p> + <p> + HEG. Come, then, tell me who he is? + </p> + <p> + ARIST. He whom I've told you all along from the beginning. If you shall + find him any other than that person, I show no cause why I shouldn't + suffer the loss with you both of my parents and of my liberty <i>for ever</i>. + </p> + <p> + HEG. (<i>to</i> TYNDARUS). What say you <i>to this</i>? + </p> + <p> + TYND. That I am your slave, and you my master. + </p> + <p> + HEG. I didn't ask that—were you a free man? + </p> + <p> + TYND. I was. ARIST. But he really wasn't; he is deceiving you. + </p> + <p> + TYND. How do you know? Were you, perchance, the midwife of my mother, + since you dare to affirm this so boldly? + </p> + <p> + ARIST. When a boy, I saw yourself, a boy. + </p> + <p> + TYND. But, grown up, I <i>now</i> see you grown up; so, there's for you, + in return. If you did right, you wouldn't be troubling yourself about my + concerns; do I trouble myself about yours? + </p> + <p> + HEG. Was his father <i>called</i> Thesaurochrysonicocroesides? + </p> + <p> + ARIST. He was not; and I never heard that name before this day. + Theodoromedes was the father of Philocrates. + </p> + <p> + TYND. (<i>aside</i>). I'm downright undone. Why don't you be quiet, heart + of mine? Go and be stretched, and hang yourself; you are throbbing <i>so, + that</i> unfortunate I can hardly stand up for <i>my</i> fear. + </p> + <p> + HEG. Is a full assurance given me that this was a slave in Elis, and that + he is not Philocrates? + </p> + <p> + ARIST. So fully, that you will never find this to be otherwise; but where + is he {11} now? + </p> + <p> + HEG. Where I the least, and he the most could wish himself. In + consequence, then, I'm cut asunder, {12} disjointed, to my sorrow, by the + devices of this scoundrel, who has bamboozled me by his tricks just as he + has thought fit. But do, please, have a care <i>that you are right</i>. + </p> + <p> + ARIST. Why, I assure you of this, <i>as</i> an ascertained and established + fact. + </p> + <p> + HEG. For certain? ARIST. Why, nothing, I say, will you find more certain + than this certainty. Philocrates, from when a boy, has ever since that + time been my friend. + </p> + <p> + HEG. But of what appearance is your friend Philocrates? + </p> + <p> + ARIST. I'll tell you: with a thin face, sharp nose, light hair, dark eyes, + somewhat ruddy, with hair rather crisp and curling. + </p> + <p> + HEG. <i>The description</i> is like. TYND. (<i>aside</i>). <i>Aye</i>, so + much so, indeed, that I've this day, much to my sorrow, got into the midst + of this, i' faith. Woe to those unfortunate rods, which this day will be + meeting their end upon my back. + </p> + <p> + HEG. I see that I've been imposed upon. + </p> + <p> + TYND. (<i>aside</i>). Why, fetters, do you delay to run towards me and to + embrace my legs that I may have you in custody? + </p> + <p> + HEG. And have these <i>two</i> rascally captives really deceived me this + day with their tricks? the other one pretended that he was the servant and + this one that he himself was the master. I've lost a kernal; for a + security, I've left the shell. To such a degree have they imposed upon me, + {13} both on this side and that, with their trickeries. Still, this fellow + shall never have the laugh against me. Colaphus, Cordalio, Corax {14} (<i>to + the</i> SLAVES), go you away and bring out the thongs. + </p> + <p> + SLAVE. Are we to be sent to gather faggots {15}? (<i>The</i>SLAVES <i>go + and bring the thongs from the house</i>.) + </p> + <p> + {Footnote 1: <i>Which is spit out</i>)—Ver. 566. Some would render + the words "qui sputatur," "which is spit upon," and fancy that they find + authorities in the ancient writers for thinking that epilepsy was treated + by spitting upon the patient. However, it seems much more probable, that + the notion was that epilepsy was cured by the patient himself spitting out + the noxious saliva; and that the word "sputatur" means, "is spit out," <i>i. + e.</i> "is cured by spitting." Celsus thus describes the "comitialis + morbus," "epilepsy," or "falling sickness: The person seized, suddenly + falls down; foam drops from the mouth; then, after a little time, he comes + to himself, and gets up again without any assistance." Pliny, in his + Natural History, B. 38, c. 4, says: "Despuimus comitiales morbos, hoc est, + contagia regerimus," "We spit out the epilepsy, that is, we avert the + contagion." This is said, probably, in reference to a belief, that on + seeing an epileptic person, if we spit, we shall avoid the contagion; but + it by no means follows that the person so doing must spit upon the + epileptic person. We read in the first Book of Samuel, ch. xxi., ver. 12: + "And David laid up these words in his heart, and was sore afraid of + Achish, the King of Gath. And he changed his behaviour before them, and + feigned himself mad in their hands, and scrabbled on the doors of the + gate, and let his spittle fall down on his beard." He probably pretended + to be attacked with epileptic fits. In fact, after due examination, there + seems little doubt that it was a common notion with the ancients that the + distemper was discharged with the saliva.} + </p> + <p> + {Footnote 2: <i>To be spit upon</i>)—Ver. 569. Aristophontes has + understood the words, "qua spitatur," in the sense of "which is spit + upon," and asks Tyndarus if he affirms that he is afflicted with a disease + which requires such treatment. Hegio, to pacify him, and to show off his + medical knowledge, tells him that it has proved beneficial in some + diseases to be so treated; but he does not go so far as to say what those + diseases were. One malady, called "herpes," or "spreading ulcer," was said + to be highly contagions, but capable of being cured by applications of + saliva. Some Commentators here quote the method which our Saviour adopted + in curing the blind man at Bethsaida: "And he took the blind man by the + hand, and led him out of the town: and when he had spat on his eyes and + put his hands upon him, he asked him if he saw aught." St. Mark, ch. + viii., ver. 23. And again, the account given in the ninth chapter of St. + John, ver. 6: "When he had thus spoken, he spat on the ground, and made + clay of the spittle, and he anointed the eyes of the blind man with the + clay." It may be possible that our Saviour thought fit to adopt these + forms, in imitation of some of the methods of treating diseases in those + times; though, of course, his transcendent power did not require their + agency. Rost, in his Commentaries on Plautus, has very learned + disquisition on the meaning of the present passage.} + </p> + <p> + {Footnote 3: <i>Alcmaeon, and Orestes, and Lycurgus</i>)—Ver. 568. + He alludes to these three persons as being three of the most celebrated + men of antiquity that were attacked with frenzy. Orestes slew his mother, + Clytemnestra; Alcmaeon killed his mother, Eriphyle; and Lycurgus, King of + Thrace, on slighting the worship of Bacchus, was afflicted with madness, + in a fit of which he hewed off his own legs with a hatchet.} + </p> + <p> + {Footnote 4: <i>When he's a slave</i>)—Ver. 580. Slaves were not + considered to have any legal existence; and, therefore, to have neither + parents or relations.} + </p> + <p> + {Footnote 5: <i>That I am Liber</i>)—Ver. 584. Aristophontes asks + him if he means to assert that he was born a free man, "liber." As "Liber" + was also a name of Bacchus, Tyndarus quibbles, and says, "I did not assert + that I am Liber, but that I am Philocrates." In consequence of the idiom + of the Latin language, his answer (non equidem me Liberam, sed Philocratem + esse aio) will admit of another quibble, and may be read as meaning, "I + did not say that I am a free man, but that Philocrates is." This maybe + readily seen by the Latin scholar, but is not so easily explained to the + English reader} + </p> + <p> + {Footnote 6: <i>Black bile</i>)—Ver. 602. A superabundance of the + bile was supposed to be productive of melancholy madness. The word + "melancholy" is from the Greek {Greek: melangcholia}, "black bile."} + </p> + <p> + {Footnote 7: <i>Black pitch</i>)—Ver. 603. He alludes to a frightful + punishment inflicted upon malefactors by the Romans. They were either + smeared over with burning pitch, or were first covered with pitch, which + was then set fire to. This punishment is supposed to have been often + inflicted upon the early Christians. Juvena alludes to it in his First + Satire, I. 155: + </p> +<pre xml:space="preserve"> + Pone Tigellinum, taeda lucebis in illa, + Qua stantes ardent, qui fixo gutture fumant. +</pre> + <p> + Describe Tigellinus {an infamous minister of Nero}, and yon shall give a + light by those torches, in which those stand and burn who send forth smoke + with a stake driven into their throat."} + </p> + <p> + {Footnote 8: <i>Why are you making signs</i>)—Ver. 617. "Abnutas." + The verb "abnuto" means, "to nod to a person that he may desist." Tyndarus + thinks that by this time Aristophontes must surely understand the plan + that has been devised for the escape of Philocrates; and, as he is about + to step aside to speak with Hegio, he makes a sign, requesting him to stop + short in his contradiction of what he has asserted.} + </p> + <p> + {Footnote 9: <i>The dress only</i>)—Ver. 620. By "ornamenta" he + means the dress of Tragedy. The dresses of Comedy were essentially + different from those of Tragedy. He means to say, "the man is mad; if he + had only the Tragic garb on, you might take him for Ajax Telamon in his + frenzy." On being refused the arms of Achilles, Ajax became mad, and + slaughtered a flock of sheep fancying that they were Ulysses and the sons + of Atreus.} + </p> + <p> + {Footnote 10: <i>The sacrifice and the stone</i>)—Ver. 624. We learn + from Livy, that in the most ancient times the animal for sacrifice was + killed by being struck with a stone; to stand between the victim and the + stone, would consequently imply, to be in a position of extreme danger.} + </p> + <p> + {Footnote 11: <i>But where is he</i>)—Ver. 645. Tyndarus has + probably betaken himself to some corner of the stage, and Aristophontes + misses him from his former position.} + </p> + <p> + {Footnote 12: <i>Cut asunder</i>)—Ver. 646. "Deruncinatus" means, + literally, cut asunder with a "runcina," or "saw."} + </p> + <p> + {Footnote 13: <i>Have they imposed upon me</i>)—Ver. 661. "Os + sublevere offuciis." Literally "painted my face with varnish." This + expression is probably derived from the practice of persons concealing + their defects, by painting over spots or freckles in the face for the + purpose of hiding them.} + </p> + <p> + {Footnote 14: <i>Colaphus, Cordalio, Corax</i>)—Ver. 662. These are + the names of slaves. "Colaphus" means, also, "a blow with the fist." + "Corax" was the Greek name for a "crow," and was probably given to a black + slave.} + </p> + <p> + {Footnote 15: <i>To gather faggots</i>)—Ver. 663. He asks this + question because cords, "lora," were necessary for the purpose of binding + up faggots.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0014" id="link2H_4_0014"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE V.—HEGIO, TYNDARUS, ARISTOPHONTES, <i>and</i> SLAVES. + </h2> + <h3> + HEG. (<i>to the</i> SLAVES). Put the manacles on this whipp'd villain. + </h3> + <p> + TYND. (<i>whilst the</i> SLAVES <i>are fastening him</i>). What's the + matter? What have I done wrong? + </p> + <p> + HEG. Do you ask the question? You weeder and sower of villanies, and in + especial their reaper. + </p> + <p> + TYND. Ought you not to have ventured to say the harrower first? For + countrymen always harrow before they weed. + </p> + <p> + HEG. Why, with what assurance he stands before me. + </p> + <p> + TYND. It's proper for a servant, innocent and guiltless, to be full of + confidence, most especially before his master. + </p> + <p> + HEG. (<i>to the</i> SLATES). Bind this fellow's hands tightly, will you. + </p> + <p> + TYND. I am your own—do you command them to be cut off even. But what + is the matter on account of which you blame me? + </p> + <p> + HEG. Because me and my fortunes, so far as in you singly lay, by your + rascally <i>and</i> knavish stratagems you have rent in pieces, and have + districted my affairs and spoiled all my resources and my plans, <i>in + that</i> you've thus robbed me of Philocrates by your devices. I thought + that he was the slave, you the free man. So did you say yourselves, and in + this way did you change names between you. + </p> + <p> + TYND. I confess that all was done so, as you say, and that by a stratagem + he has got away from you, through my aid and cleverness; and prithee, now, + do you blame me for that, i' faith? + </p> + <p> + HEG. Why, it has been done with your extreme torture <i>for the + consequence</i>. + </p> + <p> + TYND. So I don't die by reason of my misdeeds, I care but little. If I do + die here, then he returns not, as he said <i>he would</i>; but when I'm + dead, this act will be remembered to my honor, that I caused my captive + master to return from slavery and the foe, a free man, to his father in + his native land; and that I preferred rather to expose my own life to + peril, than that he should be undone. + </p> + <p> + HEG. Take care, then, to enjoy that fame at Acheron. + </p> + <p> + TYND. He who dies for virtue's sake, still does not perish. + </p> + <p> + HEG. When I've tortured you in the most severe manner, and for your + schemes put you to death, let them say either that you have perished or + that you have died; so long as you do die, I don't think it matters if + they say you live. + </p> + <p> + TYND. I' faith, if you do do so, you'll do it not without retribution, if + he shall return here, as I trust that he will return. + </p> + <p> + ARIST. (<i>aside</i>). O ye immortal Gods! I understand it now; now I know + what the case <i>really</i> is. My friend Philocrates is at liberty with + his father, in his native land. 'Tis well; nor have I any person to whom I + could so readily wish well. But this thing grieves me, that I've done this + person a bad turn, who now on account of me and my talking is in chains. + </p> + <p> + HEG. (<i>to</i> TYNDARUS). Did I not forbid you this day to utter anything + false to me? + </p> + <p> + TYND. You did forbid me. HEG. Why did you dare to tell me lies? + </p> + <p> + TYND. Because the truth would have prejudiced him whom I was serving; now + falsehood has advantaged him. + </p> + <p> + HEG. But it will prejudice yourself. + </p> + <p> + TYND. 'Tis very good. Still, I have saved my master, whom I rejoice at + being saved, to whom my elder master had assigned me as a protector. But + do you think that this was wrongly done? + </p> + <p> + HEG. Most wrongfully. TYND. But I, who disagree with you, say, rightly. + For consider, if any slave of yours had done this for your son, what + thanks you would have given him. Would you have given that slave his + freedom or not? Would not that slave have been in highest esteem with you? + Answer me <i>that.</i> + </p> + <p> + HEG. I think so. TYND. Why, then, are you angry with me? + </p> + <p> + HEG. Because you have proved more faithful to him than to myself. + </p> + <p> + TYND. How now? Did you expect, in a single night and day, for yourself to + teach <i>me</i>—a person just made captive, a recent <i>slave, and</i> + in his noviciate—that I should rather consult your interest than + his, with whom from childhood I have passed my life? + </p> + <p> + HEG. Seek, then, thanks from him for that. (<i>To the</i> SLAVES.) Take + him where he may receive weighty and thick fetters, thence, after that, + you shall go to the quarries for cutting stone. There, while the others + are digging out eight stones, unless you daily do half as much work again, + you shall have the name of the six-hundred-stripe man {1}. + </p> + <p> + ARIST. By Gods and men, I do entreat you, Hegio, not to destroy this man. + </p> + <p> + HEG. He shall be taken all care of {2}. For at night, fastened with + chains, he shall be watched; in the daytime, beneath the ground, he shall + be getting out stone. For many a day will I torture him; I'll not respite + him for a single day. + </p> + <p> + ARIST. Is that settled by you? HEG. Not more settled that I shall die. (<i>To + the</i> SLAVES.) Take him away this instant to Hippolytus, the blacksmith; + bid thick fetters to be rivetted on him. From there let him be led outside + the gate to my freedman, Cordalus, at the stone-quarries. And tell him + that I desire this man so to be treated, that he mayn't be in any respect + worse off than he who is the most severely treated. + </p> + <p> + TYND. Why, since you are unwilling, do I desire myself to survive? At your + own hazard is the risk of my life. After death, no evil have I to + apprehend in death. Though I should live even to extreme age, still, short + is the space for enduring what you threaten me with. Farewell and prosper; + although you are deserving for me to say otherwise. You, Aristophontes, as + you have deserved of me, so fare you; for on your account has this + befallen me. + </p> + <p> + HEG. (<i>to the</i> SLAVES). Carry him off. + </p> + <p> + TYND. But this one thing I beg, that, if Philocrates should come back + here, you will give me an opportunity of meeting him. + </p> + <p> + HEG. (<i>to the</i> SLAVES). At your peril, if you don't this instant + remove him from my sight. (<i>The</i> SLAVES <i>lay hold of</i> TYNDARUS, + <i>and push him along.</i>) + </p> + <p> + TYND. I' troth, this really is violence {3}, to be both dragged and pushed + at the same time. (<i>He is borne off by the</i> SLAVES.) + </p> + <p> + {Footnote 1: <i>Six-hundred-stripe man</i>)—Ver. 731. + "Sexcentoplago." This is a compound word, coined by the author.} + </p> + <p> + {Footnote 2: <i>He shall be taken all care of</i>)—Ver. 733. Struck + with admiration at his fidelity, Aristophontes begs Hegio not to destroy + Tyndarus. As the verb "perduis" might also mean "lose" him, Hegio + ironically takes it in the latter sense, and says that there is no fear of + that, for he shall be well taken care of; or, in other words, strictly + watched.} + </p> + <p> + {Footnote 3: <i>This really is violence</i>)—Ver. 755. According to + Suetonius, Julius Caesar used an exactly similar expression when first + attacked by his murderers in the senate-house. On Tullius Cimber seizing + bold of his garments he exclaimed, "Ita quidem vis est!" "Why, really, + this is violence!"} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0015" id="link2H_4_0015"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE VI.—HEGIO <i>and</i> ARISTOPHONTUS. + </h2> + <p> + HEG. He has been led off straight to prison {1}, as he deserves. Let no + one presume to attempt such an enterprise. Had it not been for you who + discovered this to me, still would they have been leading me by the bridle + with their tricks. Now am I resolved henceforth never to trust any person + in anything. This once I have been deceived enough; I did hope, to my + sorrow, that I had rescued my son from slavery. That hope has forsaken me. + I lost one son, whom, a child in his fourth year, a slave stole from me; + and, indeed, never since have I found either slave or son; the elder one + has fallen in the hands of the enemy. What guilt is this <i>of mine</i>? + As though I had become the father of children for the purpose of being + childless. (<i>To</i> ARISTOPHONTES.) Follow this way. I'll conduct you + back where you were. I'm determined to have pity upon no one, since no one + has pity upon me. + </p> + <p> + ARIST. Forth from my chains with evil omen did I come; now I perceive that + with like ill omen to my bonds I must return. (<i>Exeunt.</i> + </p> + <p> + {Footnote 1: <i>To prison</i>)—Ver. 756. "Phylacam." This is a Greek + word Latinized, meaning "prison" or "confinement."} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0016" id="link2H_4_0016"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT IV.—SCENE I. + </h2> + <h3> + <i>Enter</i> ERGASILUS. {1} + </h3> + <p> + ERG. Supreme Jove! thou dost preserve me, and dost augment my means. + Plenty, extreme and sumptuous, dost thou present to me; celebrity, profit, + enjoyment, mirth, festivity, holidays, sights, provisions, carousings, + abundance, joyousness. And to no man have I now determined with myself to + go a-begging; for I'm able either to profit my friend or to destroy my + enemy, to such extent has this delightful day heaped delights upon me in + its delightfulness. I have lighted upon a most rich inheritance without + incumbrances {2}. Now will I wend my way to this old gentleman Hegio, to + whom I am carrying blessings as great as he himself prays for from the + Gods, and even greater. Now, this is my determination, in the same fashion + that the slaves of Comedy {3} <i>are wont</i>, so will I throw my cloak + around my neck, that from me, the first <i>of all</i>, he may learn this + matter. And I trust that I, by reason of this news, shall find provision + up to the end. + </p> + <p> + {Footnote 1: <i>Ergasilus</i>) He has just come from the harbour, where he + has seen the son of Hegio, together with Philocrates and Stalagmus, + landing from the packet-boat. Now, as he speaks still of his intended + dinner with Hegio, to which he had been invited in the earlier part of the + Play, we must conclude, that since then, Philocrates has taken ship from + the coast of Aetolia, arrived in Elis, procured the liberation of + Philopolemus, and returned with him, all in the space of a few hours. + This, however, although the coast of Elis was only about fifteen miles + from that of Aetolia, is not at all consistent with probability; and the + author has been much censured by some Commentators, especially by Lessing, + on account of his negligence It must, however, be remembered, that Plautus + was writing for a Roman audience, the greater part of whom did not know + whether Elis was one mile or one hundred from the coast of Aetolia. We may + suppose, too, that Philopolemus had already caused Stalagmus, the runaway + slave, to be apprehended before the arrival of Philocrates in Elis.} + </p> + <p> + {Footnote 2: <i>An inheritance without incumbrance</i>)—Ver. 780. + "Sine sacra hereditas." The meaning of this expression has been explained + in the Notes to the Trinummus, 484.} + </p> + <p> + {Footnote 3: <i>Slaves of Comedy</i>)—Ver. 783. This was done that, + when expedition was required, the cloak might not prove an obstruction to + the wearer as he walked. The slaves in Comedies usually wore the + "pallium," and as they were mostly active, bustling fellows, would have it + tucked tightly around them. The "pallium" was usually worn passed over the + left shoulder, then drawn behind the back, and under the left arm, leaving + it bare, and then thrown again over the left shoulder.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0017" id="link2H_4_0017"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE II.—<i>Enter</i> HEGIO, <i>at a distance.</i> + </h2> + <p> + HEG. (<i>to himself</i>). The more that I revolve this matter in my + breast, the more is my uneasiness of mind increased. That I should have + been duped in this fashion to-day! and that I wasn't able to see through + it! When this shall be known, then I shall be laughed at all over the + city. The very moment that I shall have reached the Forum, all will be + saying, "This is that clever old gentleman, who had the trick played him." + But is this Ergasilus, that I see coming at a distance? Surely he has got + his cloak gathered up; what, I wonder, is he going to do? + </p> + <p> + ERG. (<i>advancing, and talking to himself</i>). Throw aside from you all + tardiness, Ergasilus, and speed on this business. I threaten, and I + strictly charge no person to stand in my way, unless any one shall be of + opinion that he has lived long enough. For whoever does come in my way, + shall stop me upon his face. (<i>He runs along, flourishing his arms + about.</i>) + </p> + <p> + HEG. (<i>to himself</i>). This fellow's beginning to box. + </p> + <p> + ERG. (<i>to himself</i>). I'm determined to do it; so that every one may + pursue his own path, let no one be bringing any of his business in this + street; for my fist is a balista, my arm is my catapulta, my shoulder a + battering-ram; then against whomsoever I dart my knee, I shall bring him + to the ground. I'll make all persons to be picking up their teeth {1}, + whomsoever I shall meet with. + </p> + <p> + HEG. (<i>to himself</i>). What threatening is this? For I cannot wonder + enough. + </p> + <p> + ERG. I'll make him always to remember this day and place, and myself <i>as + well</i>. Whoever stops me upon my road, I'll make him put a stop to his + own existence. + </p> + <p> + HEG. (<i>to himself</i>). What great thing is this fellow preparing to do, + with such mighty threats? + </p> + <p> + ERG. I first give notice, that no one, by reason of his own fault, may be + caught—keep yourselves in-doors at home, <i>and</i> guard yourselves + from my attack. + </p> + <p> + HEG. (<i>to himself</i>). By my faith, 'tis strange if he hasn't got this + boldness by means of his stomach. Woe to that wretched man, through whose + cheer this fellow has become quite swaggering. + </p> + <p> + ERG. Then the bakers, that feed swine, that fatten their pigs upon refuse + bran, through the stench of which no one can pass by a baker's shop; if I + see the pig of any one of them in the public <i>way</i>, I'll beat the + bran out of the masters' themselves with my fists. + </p> + <p> + HEG. (<i>to himself</i>). Royal and imperial edicts does he give out. The + fellow is full; he certainly has his boldness from his stomach. + </p> + <p> + ERG. Then the fishmongers, who supply stinking fish to the public—who + are carried about on a gelding, with his galloping galling pace {2}—the + stench of whom drives all the loungers in the Basilica {3} into the Forum, + I'll bang their heads with their bulrush fish-baskets, that they may + understand what annoyance they cause to the noses of other people. And + then the butchers, as well, who render the sheep destitute of their young—who + agree with you about killing lamb {4}, and then offer you lamb at double + the price—who give the name of wether <i>mutton</i> to a ram—if + I should <i>only</i> see that ram in the public way, I'll make both ram + and owner most miserable beings. + </p> + <p> + HEG. (<i>to himself</i>). Well done! He really does give out edicts fit + for an Aedile, and 'tis indeed a surprising thing if the Aetolians haven't + made him inspector of markets {5}. + </p> + <p> + ERG. No Parasite now am I, but a right royal king of kings; so large a + stock of provision for my stomach is there at hand in the harbour. But <i>why</i> + delay to overwhelm this old gentleman Hegio with gladness? With him, not a + person among mankind exists equally fortunate. + </p> + <p> + HEG. (<i>apart</i>). What joy is this, that he, <i>thus</i> joyous, is + going to impart to me? + </p> + <p> + ERG. (<i>knocking at</i>HEGIO'S <i> door</i>). Hallo, hallo!—where + are you? Is any one coming to open this door? + </p> + <p> + HEG. (<i>apart</i>). This fellow's betaking himself to my house to dine. + </p> + <p> + ERG. Open you both these doors {6}, before I shall with knocking cause the + destruction, piecemeal, of the doors. + </p> + <p> + HEG. (<i>apart</i>). I'd like much to address the fellow. (<i>Aloud.</i>) + Ergasilus! + </p> + <p> + ERG. Who's calling Ergasilus? + </p> + <p> + HEG. <i>Turn round, and</i> look at me. + </p> + <p> + ERG. (<i>not seeing who it is</i>). A thing that Fortune does not do for + you, nor <i>ever</i> will do, you bid me <i>to do</i>. But who is it. + </p> + <p> + HEG. Look round at me. 'Tis Hegio. + </p> + <p> + ERG. (<i>turning round</i>). O me! Best of the very best of men, as many + as exist, you have arrived opportunely. + </p> + <p> + HEG. You've met with some one at the harbour to dine with; through that + you are elevated. + </p> + <p> + ERG. Give me your hand. HEG. My hand? + </p> + <p> + ERG. Give me your hand, I say, this instant. + </p> + <p> + HEG. Take it. (<i>Giving him his hand.</i>) + </p> + <p> + ERG. Rejoice. HEG. Why should I rejoice? + </p> + <p> + ERG. Because I bid you; come now, rejoice. + </p> + <p> + HEG. I' faith, my sorrows exceed my rejoicings. + </p> + <p> + ERG. 'Tis not so, <i>as</i> you shall find; I'll at once drive away every + spot of sorrow {7} from your body. Rejoice without restraint. + </p> + <p> + HEG. I do rejoice, although I don't at all know why I should rejoice. + </p> + <p> + ERG. You do rightly; <i>now</i> order—HEG. Order what? + </p> + <p> + ERG. A large fire to be made. + </p> + <p> + HEG. A large fire? ERG. So I say, that a huge one it must be. + </p> + <p> + HEG. What, you vulture, do you suppose that for your sake I'm going to set + my house on fire? + </p> + <p> + ERG. Don't be angry. Will you order, or will you not order, the pots to be + put on, <i>and</i> the saucepans to be washed out, the bacon and the + dainties to be made warm in the heated cooking-stoves, another one, <i>too</i>, + to go purchase the fish? + </p> + <p> + HEG. This fellow's dreaming while awake. + </p> + <p> + ERG. Another to buy pork, and lamb, and pullets. + </p> + <p> + HEG. You understand how to feed well, if you had the means. + </p> + <p> + ERG. Gammons of bacon, <i>too</i>, and lampreys, spring pickled + tunny-fish, mackerel, and sting-ray; large fish, too, and soft cheese. + </p> + <p> + HEG. You will have more opportunity, Ergasilus, here at my house, of + talking about these things than of eating them. + </p> + <p> + ERG. Do you suppose that I'm saying this on my own account? + </p> + <p> + HEG. You will neither be eating nothing here to-day, nor yet much more <i>than + usual, so</i> don't you be mistaken. Do you then bring an appetite to my + house for your every-day fare. + </p> + <p> + ERG. Why, I'll so manage it, that you yourself shall wish to be profuse, + though I myself should desire you not. + </p> + <p> + HEG. What, I? ERG. Yes, you. + </p> + <p> + HEG. Then you are my master. ERG. Yes, <i>and</i> a kindly disposed one. + Do you wish me to make you happy? + </p> + <p> + HEG. Certainly I would, rather than miserable. + </p> + <p> + ERG. Give me your hand. HEG. (<i>extending his hand</i>) Here is my hand. + </p> + <p> + ERG. All the Gods are blessing you. + </p> + <p> + HEG. I don't feel it so. ERG. Why, you are not in a quickset hedge,{8} + therefore you don't feel it; but order the vessels, in a clean state, to + be got for you forthwith in readiness for the sacrifice, and one lamb to + be brought here with all haste, a fat one. + </p> + <p> + HEG. Why? ERG. That you may offer sacrifice. + </p> + <p> + HEG. To which one of the Gods? + </p> + <p> + ERG. To myself, i' faith, for now am I your supreme Jupiter. I likewise am + your salvation, your fortune, your life, your delight, your joy. Do you at + once, then, make this Divinity propitious to you by cramming him. + </p> + <p> + HEU. You seem to me to be hungry. + </p> + <p> + ERG. For myself am I hungry, <i>and</i> not for you. + </p> + <p> + HEG. I readily allow of it at your own good will. + </p> + <p> + ERG. I believe you; from a boy you were in the habit—{9} + </p> + <p> + HEG. May Jupiter and the Gods confound you. + </p> + <p> + ERG. I' troth, 'tis fair that for my news you should return me thanks; + such great happiness do I now bring you from the harbour. + </p> + <p> + HEG. Now you are flattering me. Begone, you simpleton; you have arrived + behind time, too late. + </p> + <p> + ERG. If I had come sooner, then for that reason you might rather have said + that. Now, receive this joyous <i>news</i> of me which I bring <i>you</i>; + for at the harbour I just now saw your son Philopolemus in the common + fly-boat, alive, safe and sound, and likewise there that other young man + together with him, and Stalagmus your slave, who fled from your house, who + stole from you your little son, the child of four years old. + </p> + <p> + HEG. Away with you to utter perdition! You are trifling with me + </p> + <p> + ERG. So may holy Gluttony {10} love me, Hegio, and so may she ever dignify + me with her name, I did see— + </p> + <p> + HEG. My son? ERG. Your son, and my <i>good</i> Genius. + </p> + <p> + HEG. That Elean captive, too? + </p> + <p> + ERG. Yes, by Apollo. {11} + </p> + <p> + HEG. The slave, too? My <i>slave</i> Stalagmus, he that stole my son—? + </p> + <p> + ERG. Yes, by Cora HEG. So long a time ago? + </p> + <p> + ERG. Yes, by Praeneste! HEG. Is he arrived? + </p> + <p> + ERG. Yes, by Signia! HEG. For sure? + </p> + <p> + ERG. Yes, by Phrysinone! HEG. Have a care, if you please. + </p> + <p> + ERG. Yes, by Alatrium! HEG. Why are you swearing by foreign cities? + </p> + <p> + ERG. Why, because they are just as disagreable as you were declaring your + fare to be. + </p> + <p> + HEG. Woe be to you! ERG. Because that you don't believe me at all in what + I say in sober earnestness. But of what country was Stalagmus, at the time + when he departed hence? + </p> + <p> + HEG. A Sicilian. ERG. But now he is not a Sicilian—he is a Boian; he + has got a Boian woman {12}. A wife, I suppose, has been given to him for + the sake of obtaining children. + </p> + <p> + HEG. Tell me, have you said these words to me in good earnest? + </p> + <p> + ERG. In good <i>earnest</i>. HEG. Immortal Gods, I seem to be born again, + if you are telling the truth. + </p> + <p> + ERG. Do you say so? Will you still entertain doubts, when I have solemnly + sworn to you? In fine, Hegio, if you have little confidence in my oath, go + yourself to the harbour and see. + </p> + <p> + HEG. I'm determined to do so. Do you arrange in-doors what's requisite. + Use, ask for, take <i>from my larder</i> what you like; I appoint you + cellarman. + </p> + <p> + ERG. Now, by my troth, if I have not prophesied truly to you, do you comb + me out with a cudgel. + </p> + <p> + HEG. I'll find you in victuals to the end, if you are telling me the + truth. + </p> + <p> + ERG. Whence <i>shall</i> it <i>be</i>? HEG. From myself and from my son. + </p> + <p> + ERG. Do you promise that? HEG. I do promise it. + </p> + <p> + ERG. But I, in return, promise {13} you that your son has arrived. + </p> + <p> + HEG. Manage as well as ever you can. + </p> + <p> + ERG. A happy walk <i>there</i> to you, and <i>a happy</i> walk back. + </p> + <p> + (<i>Exit</i> HEGIO. + </p> + <p> + {Footnote 1: <i>To be picking up their teeth</i>)—Ver. 803. + "Dentilegos." He says that he will knock their teeth out, and so make them + pick them up from the ground. We must suppose that while he is thus + hurrying on, he is walking up one of the long streets which were + represented as emerging on the Roman stage, opposite to the audience.} + </p> + <p> + {Footnote 2: <i>Galling pace</i>)—Ver. 819. "Crucianti" may mean + either "tormenting" the spectator by reason of the slowness of its pace, + or galling to the rider. "Quadrupedanti crucianti cauterio" is a phrase, + both in sound and meaning, much resembling what our song-books call the + "galloping dreary dun."} + </p> + <p> + {Footnote 3: <i>In the Basilica</i>)—Ver. 820. The "Basilica" was a + building which served as a court of law, and a place of meeting for + merchants and men of business. The name was perhaps derived from the Greek + word <i>Basileus</i>, as the title of the second Athenian Archon, who had + his tribunal or court of justice. The building was probably, in its + original form, an insulated portico. The first edifice of this kind at + Rome was erected B.C. 184; probably about the period when this Play was + composed. It was situate in the Forum, and was built by Porcius Cato, from + whom it was called the "Porcian Basilica." Twenty others were afterwards + erected at different periods in the city. The loungers here mentioned, in + the present instance, were probably sauntering about under the porticos of + the Basilica, when their olfactory nerves were offended by the unsavoury + smell of the fishermen's baskets.} + </p> + <p> + {Footnote 4: <i>About killing lamb</i>)—Ver. 824. In these lines he + seems to accuse the butchers of three faults—cruelty, knavery, and + extortion. The general reading is "duplam," but Rost suggests "dupla," "at + double the price." If "duplam" is retained, might it not possibly mean + that the butchers agree to kill lamb for you, and bring to you "duplam + agninam," "double lamb," or, in other words, lamb twice as old as it ought + to be? No doubt there was some particular age at which lamb, in the + estimation of Ergasilus and his brother-epicures, was considered to be in + its greatest perfection.} + </p> + <p> + {Footnote 5: <i>Inspector of markets</i>)—Ver. 829. "Agoranomum." + The Aediles were the inspectors of markets at Rome, while the "Agoranomi" + had a similar office in the Grecian cities.} + </p> + <p> + {Footnote 6: <i>Both these doors</i>)—Ver. 836. The street-doors of + the ancients were generally "bivalve," or "folding-doors."} + </p> + <p> + {Footnote 7: Every spot of sorrow )—Ver. 846. He alludes, + figuratively, to the art of the fuller or scourer, in taking the spots out + of soiled garments.} + </p> + <p> + {Footnote 8: <i>In a quickset hedge</i>)—Ver. 865. Here is a most + wretched attempt at wit, which cannot be expressed in a literal + translation. Hegio says, "Nihil sentio," "I don't feel it." Ergasilus + plays upon the resemblance of the verb "sentio" to "sentis" and + "senticetum," a "bramble-bush" or "quickset hedge;" and says, 'You don't + feel it so," "non sentis," "because you are not in a quickset hedge,' "in + senticeto." } + </p> + <p> + {Footnote 9: <i>From a boy</i>)—Ver. 872. An indelicate allusion is + covertly intended in this line. } + </p> + <p> + {Footnote 10: <i>So may holy Gluttony</i>—Ver. 882. The Parasite + very appropriately deifies Gluttony: as the Goddess of Bellyful would, of + course, merit his constant worship.} + </p> + <p> + {Footnote 11: <i>Yes, by Apollo</i>)—Ver. 885. In the exuberance of + his joy at his prospects of good eating, the Parasite gives this, and his + next five replies, in the Greek language; just as the diner-out, and the + man of bon-mots and repartee, might in our day couch his replies in + French, with the shrug of the shoulder and the becoming grimace. He first + swears by Apollo, and then by Cora, which may mean either a city of + Campania so called, or the Goddess Proserpine, who was called by the + Greeks, {Greek: Korae}, "the maiden." He then swears by four places in + Campania—Praeneste, Signia, Phrysinone, and Alatrium. As the scene + is in Greece, Hegio asks him why he swears by these foreign places; to + which he gives answer merely because they are as disagreable as the + unsavoury dinner of vegetables which he had some time since promised him. + This is, probably, merely an excuse for obtruding a slighting remark upon + these places, which would meet with a ready response from a Roman + audience, as the Campanians had sided with Hannibal against Rome in the + second Punic war. They were probably miserable places on which the more + refined Romans looked with supreme contempt.} + </p> + <p> + {Footnote 12: <i>Got a Boian woman</i>)—Vet. 893. There is an + indelicate meaning in the expression "Buiam terere." The whole line is + intended as a play upon words. "Boia" means either "a collar," which was + placed round a prisoner's neck, or a female of the nation of the Boii in + Gaul. "Boiam terere" may mean either "to have the prisoner's collar on," + or, paraphrastically, "to be coupled with a Boian woman." Ergasilus having + seen Stalagmus in the packet-boat with this collar on, declares that + Stalagmus is a Sicilian no longer, for he has turned Boian, having a Boian + helpmate.} + </p> + <p> + {Footnote 13: <i>I, in return, promise</i>)—Ver. 904. Ergasilus + says, "Do you really promise me this fine entertainment?" To which, Hegio + answers, "Spondeo," "I do promise." On this, Ergasilus replies, "that your + son really has returned, I answer you," "respondeo," or, as he intends it + to be meant, "I promise you once again," or "in return for your promise."} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0018" id="link2H_4_0018"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE III.—ERGASILUS, <i>alone.</i> + </h2> + <p> + ERG. He has gone away from here, <i>and</i> has entrusted to me the most + important concern of catering. Immortal Gods! how I shall now be slicing + necks off of sides; how vast a downfall will befall the gammon {1}; how + vast a belabouring the bacon! How great a using-up of udders, how vast a + bewailing for the brawn! How great a bestirring for the butchers, how + great a <i>preparation</i> for the pork-sellers! But if I were to + enumerate the rest of the things which minister to the supply of the + stomach, 'twould be <i>sheer</i> delay. Now will I go off to my + government, to give laws to the bacon, and, those gammons that are hanging + uncondemned, {2} to give aid to them. (<i>Goes into the house.</i>) + </p> + <p> + {Footnote 1: <i>Befall the gammon</i>)—Ver. 908. An alliteration is + employed in these two lines, which cannot be well kept up in a literal + translation. As, however, in the translation an attempt is made to give + the spirit of the passage, the literal meaning may be here stated. "Pernis + pestis," "a plague to the gammons;" "labes larido," "a fall for the + bacon;" "sumini absumedo," "a consumption of udder;" "callo calamitas," + "destruction to the brawn;" and "laniis lassitudo," "weariness to the + butchers." Sows' udder, with the milk in it, first dried, and then cooked + in some peculiar manner, was considered a great delicacy by the Roman + epicures.} + </p> + <p> + {Footnote 2: <i>Hanging uncondemned</i>)—Ver. 913. He'll commute the + punishment of the gammons and hams, for they shall hang no longer.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0019" id="link2H_4_0019"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT V.—SCENE I. + </h2> + <h3> + <i>Enter a</i> LAD, <i>a servant of</i> HEGIO. + </h3> + <p> + LAD. May Jupiter and the Deities confound you, Ergasilus, and your + stomach, and all Parasites, and <i>every one</i> who henceforth shall give + a dinner to Parasites. Destruction and devastation <i>and</i> ruin have + just now entered our house. I was afraid that he would be making an attack + on me, as though he had been an hungry wolf. And very dreadfully, upon my + faith, was I frightened at him; he made such a gnashing with his teeth. On + his arrival, the whole larder, with the meat, he turned upside down. He + seized a knife, and first cut off the kernels of the neck {1} from three + sides. All the pots and cups he broke, except those that held a couple of + gallons {2}; of the cook he made enquiry whether the salting pans could <i>be + set on the fire</i> to be made hot. All the cellars in the house he has + broken into, and has laid the store-closet {3} open. (<i>At the door.</i>) + Watch him, servants, if you please; I'll go to meet the old gentleman. + I'll tell him to get ready some provisions for his own self, if, indeed, + he wishes himself to make use of any. For in this place, as this man, + indeed, is managing, either there's nothing already, or very soon there + will be nothing. (<i>Exit.</i> + </p> + <p> + {Footnote 1: <i>The kernels of the neck</i>)—Ver. 920. The "glandia" + were the kernels or tonsils of the throat, situate just below the root of + the tongue. These portions of the dead pig seem to have been much prized + as delicate eating. Judging from the present passage, the whole side of + the pig, including the half-head, was salted and dried in one piece: The + first thing that the Parasite does, is to cut the kernels from off of + three sides, which he has relieved from the punishment of hanging.} + </p> + <p> + {Footnote 2: <i>A couple of gallons</i>)—Ver. 921. "Modiales." + Literally, containing a "modius," which contained sixteen sextarii, + something more than a peck of dry-measure English.} + </p> + <p> + {Footnote 3: <i>The store-closet</i>)—Ver. 923. "Armarium" was to + called because it was originally a place for keeping arms. It afterwards + came to signify a cupboard in a wall, in which clothes, books, money, and + other articles of value, were placed. It was generally in the "atrium," or + principal room of the house. In this instance it evidently means the + store-closet, distinguished from the larder and the} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0020" id="link2H_4_0020"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE II.—<i>Enter</i> HEGIO, PHILOPOLEMUS, PHILOCRATES, <i>and + behind them</i>, + </h2> + <h3> + STALAGMUS. + </h3> + <p> + HEG. To Jove and to the Deities I return with reason hearty thanks, + inasmuch as they have restored you to your father, and inasmuch as they + have delivered me from very many afflictions, which, while I was obliged + to be here without you, I was enduring, and inasmuch as I see that that <i>fellow</i> + (<i>pointing to</i> STALAGMUS) is in my power, and inasmuch as his word (<i>pointing + to</i> PHILOCRATES) has been found true to me. + </p> + <p> + PHILOP. Enough now have I grieved from my very soul, and enough with care + and tears have I disquieted myself. Enough now have I heard of your woes, + which at the harbour you told me of. Let us now to this business. + </p> + <p> + PHIL. What now, since I've kept my word with you, and have caused him to + be restored back again to freedom? + </p> + <p> + HEG. Philocrates, you have acted so that I can never return you thanks + enough, in the degree that you merit from myself and my son. + </p> + <p> + PHILOP. Nay, but you can, father, and you will be able, and I shall be + able; and the Divinities will give the means for you to return the + kindness he merits to one who deserves so highly of us; as, my father, you + are able to do to this person who so especially deserves it. + </p> + <p> + HEG. What need is there of words? I have no tongue with which to deny + whatever you may ask <i>of me</i>. + </p> + <p> + PHIL. I ask of you to restore to me that servant whom I left here as a + surety for myself; who has always proved more faithful to me than to + himself; in order that for his services I may be enabled to give him a + reward. + </p> + <p> + HEG. Because you have acted <i>thus</i> kindly, the favour shall be + returned, the thing that you ask; both that and anything else that you + shall ask of me, you shall obtain. And I would not have you blame me, + because in my anger I have treated him harshly. + </p> + <p> + PHIL. What have you done? HEG. I confined him in fetters at the + stone-quarries, when I found out that I had been imposed upon. + </p> + <p> + PHIL. Ah wretched me! That for my safety misfortunes should have happened + to that best of men. + </p> + <p> + HEG. Now, on this account, you need not give me even <i>one</i> groat of + silver {1} for him. Receive him of me without cost that he may be free. + </p> + <p> + PHIL. On my word, Hegio, you act with kindness; but I entreat that you + will order <i>this</i> man to be sent for. + </p> + <p> + HEG. Certainly. (<i>To the attendants, who immediately obey.</i>) Where + are you? Go this instant, <i>and</i> bring Tyndarus here. (To PHILOPOLEMUS + and PHILOCRATES.) Do you go in-doors; in the meantime, I wish to enquire + of this statue for whipping {2}, what was done with my younger son. Do you + go bathe in the meantime. + </p> + <p> + PHILOP. Philocrates, follow me this way in-doors. + </p> + <p> + PHIL. I follow you. (<i>They go into the house.</i>) + </p> + <p> + {Footnote 1: <i>One groat of silver</i>)—Ver. 952. "Libella" was the + name of the smallest silver coin with the Romans, being the tenth part of + a denarius. Hegio seems to make something of a favour of this, and to give + his liberty to Tyndarus in consideration of his punishment; whereas he had + originally agreed with Philocrates that, if Philopolemus was liberated, + both he and Tyndarus should be set at liberty.} + </p> + <p> + {Footnote 2: <i>This statue for whipping</i>)—Ver. 956. The same + expression occurs in the Pseudolus, I. 911.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0021" id="link2H_4_0021"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE III.—HEGIO <i>and</i> STALAGMUS. + </h2> + <h3> + HEG. Come you, step this way, you worthy fellow, my fine slave. + </h3> + <p> + STAL. What is fitting for me to do, when you, such a man as you are, are + speaking false? I was never a handsome <i>or</i> a fine, <i>or</i> a good + person, <i>or</i> an honest one, nor shall I ever be; assuredly, don't you + be forming any hopes that I shall be honest. + </p> + <p> + HEG. You easily understand pretty well in what situation your fortunes + are. If you shall prove truth-telling, you'll make your lot from bad + somewhat better. Speak out, <i>then</i>, correctly and truthfully; but + never yet truthfully or correctly have you acted. + </p> + <p> + STAL. Do you think that I'm ashamed to own it, when you affirm it? + </p> + <p> + HEG. But I'll make you to be ashamed; for I'll cause you to be blushes all + over {1}. + </p> + <p> + STAL. Heyday—you're threatening stripes, I suppose, to me, <i>quite</i> + unaccustomed to them! Away with them, I beg. Tell me what you bring, that + you may carry off hence what you are in want of. + </p> + <p> + HEG. Very fluent <i>indeed</i>. But now I wish this prating to be cut + short. + </p> + <p> + STAL. As you desire, so be it done. + </p> + <p> + HEG. (<i>to the</i> AUDIENCE). As a boy he was very obedient {2}; now that + suits him not. Let's to this business; now give your attention, and inform + me upon what I ask. If you tell the truth, you'll make your fortunes + somewhat better. + </p> + <p> + STAL. That's <i>mere</i> trifling. Don't you think that I know what I'm + deserving of? + </p> + <p> + HEG. Still, it is in your power to escape a small portion of it, if not + the whole. + </p> + <p> + STAL. A small portion I shall escape, I know; but much will befall me, and + with my deserving it, because I both ran away, and stole your son and sold + him. + </p> + <p> + HEG. To what person? STAL. To Theodoromedes the Polyplusian, in Elis, for + six minae. + </p> + <p> + HEG. O ye immortal Gods! He surely is the father of this person, + Philocrates. + </p> + <p> + STAL. Why, I know him better than yourself, and have seen him more times. + </p> + <p> + HEG. Supreme Jove, preserve both myself and my son for me. (<i>He goes to + the door, and calls aloud.</i>) Philocrates, by your <i>good</i> Genius, I + do entreat you, come out, I want you. + </p> + <p> + {Footnote 1: <i>Be blushes all over</i>)—Ver. 967. He means that he + will have him flogged until he is red all over.} + </p> + <p> + {Footnote 2: <i>Was very obedient</i>)—Ver. 971. An indelicate + remark is covertly intended in this passage.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0022" id="link2H_4_0022"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE IV.—<i>Enter</i> PHILOCRATES, <i>from the house.</i> + </h2> + <h3> + PHIL. Hegio, here am I; if you want anything of me, command me. + </h3> + <p> + HEG. He (<i>pointing to</i> STALAGMUS) declares that he sold my son to + your father, in Elis, for six minae. + </p> + <p> + PHIL. (to STALAGMUS). How long since did that happen? + </p> + <p> + STAL. This is the twentieth year, commencing <i>from it</i>. + </p> + <p> + PHIL. He is speaking falsely. STAL. Either I or you <i>do</i>. Why, your + father gave you the little child, of four years old, to be your own slave. + </p> + <p> + PHIL. What was his name? If you are speaking the truth, tell me that, + then. + </p> + <p> + STAL. Paegnium, he used to be called; afterwards, you gave him the name of + Tyndarus. + </p> + <p> + PHIL. Why don't I recollect you? STAL. Because it's the fashion for + persons to forget, and not to know him whose favour is esteemed as worth + nothing. + </p> + <p> + PHIL. Tell me, was he the person whom you sold to my father, who was given + me for my private service? + </p> + <p> + STAL. <i>It was</i> his son (<i>pointing to</i> HEGIO). + </p> + <p> + HEG. Is this person now living? STAL. I received the money. I cared + nothing about the rest. + </p> + <p> + HEG. (<i>to</i> PHILOCRATES). What do you say? + </p> + <p> + PHIL. Why, this very Tyndarus is your son, according, indeed, to the + proofs that he mentions. For, a boy <i>himself</i> together with me from + boyhood was he brought up, virtuously and modestly, even to manhood. + </p> + <p> + HEG. I am both unhappy and happy, if you are telling the truth. Unhappy + for this reason, because, if he is my son, I have badly treated him. Alas! + why have I done both more and less than was his due. That I have ill + treated him I am grieved; would that it only could be undone. But see, + he's coming here, in a guise not according to his deserts. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0023" id="link2H_4_0023"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE V.—<i>Enter</i> TYNDARUS, <i>in chains, led in by the</i> + SERVANTS. + </h2> + <p> + TYND. (<i>to himself</i>). I have seen many of the torments which take + place at Acheron {1} often represented in paintings {2}; but most + certainly there is no Acheron equal to where I have been in the + stone-quarries. There, in fine, is the place where real lassitude must be + undergone by the body in laboriousness. For when I came there, just as + either jackdaws, or ducks, or quails, are given to Patrician children {3}, + for them to play with, so in like fashion, when I arrived, a crow was + given {4} me with which to amuse myself. But see, my master's before the + door; and lo! my other master has returned from Elis. + </p> + <p> + HEG. Hail to you, my much wished-for son. + </p> + <p> + TYND. Ha! how—my son? Aye, aye, I know why you pretend yourself to + be the father, and me to be the son; <i>it is</i> because, just as parents + do, you give me the means of seeing the light{5}. + </p> + <p> + PHIL. Hail to you, Tyndarus. TYND. And to you, for whose sake I am + enduring these miseries. + </p> + <p> + PHIL. But now I'll make you in freedom come to wealth. For (<i>pointing to</i> + HEGIO) this is your father; (<i>pointing to</i> STALAGMUS) that is the + slave who stole you away from here when four years old, <i>and</i> sold + you to my father for six minae. He gave you, when a little child, to me a + little child, for my own service. He (<i>pointing to</i> STALAGMUS). has + made a confession, for we have brought him back from Elis. + </p> + <p> + TYND. How, where's <i>Hegio's</i> son? PHIL. Look <i>now</i>; in-doors is + your own brother. + </p> + <p> + TYND. How do you say? Have you brought that captive son of his? + </p> + <p> + PHIL. Why, he's in-doors, I say. + </p> + <p> + TYND. By my faith, you're done both well and happily. + </p> + <p> + PHIL. (<i>pointing to</i> HEGIO). Now this is your own father; (<i>pointing + to</i> STALAGMUS) this is the thief who stole you when a little child. + </p> + <p> + TYND. But now, grown up, I shall give him grown up to the executioner for + his thieving. + </p> + <p> + PHIL. He deserves it. TYND. I' faith, I'll deservedly give him the reward + that he deserves. (<i>To</i> HEGIO.) But tell me I pray you, are you my + father? + </p> + <p> + HEG, I am he, my son. TYND. Now, at length, I bring it to my recollection, + when I reconsider with myself: troth, I do now at last recall to memory + that I had heard, as though through a mist, that my father was called + Hegio. + </p> + <p> + HEG. I am he. PHIL. I pray that your son may be lightened of these + fetters, and this slave be loaded with them. + </p> + <p> + HEG. I'm resolved that that shall be the first thing attended to. Let's go + in-doors, that the blacksmith may be sent for, in order that I may remove + those fetters from you, and give them to him. (<i>They go into the house.</i>) + </p> + <p> + STAL. To one who has no savings <i>of his own</i>, you'll be rightly doing + so {6}. + </p> + <p> + <i>The</i> COMPANY <i>of</i> PLAYERS <i>coming forward.</i> + </p> + <p> + Spectators, this play is founded on chaste manners. No wenching is there + in this, and no intriguing, no exposure of a child, no cheating out of + money; and no young man in love here make his mistress free without his + father's knowledge. The Poets find but few Comedies {7} of this kind, + where good men might become better. Now, if it pleases you, and if we have + pleased you, and have not been tedious, do you give this sign <i>of it</i>: + you who wish that chaste manners should have their reward, give <i>us</i> + your applause. + </p> + <p> + {Footnote 1: <i>At Acheron</i>)—Ver. 1003. He here speaks of + Acheron, not as one of the rivers of hell, but as the infernal regions + themselves.} + </p> + <p> + {Footnote 2: <i>Represented in paintings</i>)—Ver. 1003 Meursius + thinks that the torments of the infernal regions were frequently + represented in pictures, for the purpose of deterring men from evil + actions, by keeping in view the certain consequences of their bad + conduct.} + </p> + <p> + {Footnote 3: <i>To Patrician children</i>)—Ver. 1007. This passage + is confirmed by what Pliny the Younger tells us in his Second Epistle. He + says, that on the death of the son of Regulus, his father, in his grief, + caused his favourite ponies and dogs, with his nightingales, parrots, and + jackdaws, to be consumed on the funeral pile. It would certainly have been + a greater compliment to his son's memory had he preserved them, and + treated them kindly; but probably he intended to despatch them as + playthings for the child in the other world.} + </p> + <p> + {Footnote 4: <i>A crow was given</i>)—Ver. 1009. "Upupa." He puns + upon the twofold meaning of this word, which signified either "a mattock" + or a bird called a "hoopoe," according to the context. To preserve the + spirit of the pun, a somewhat different translation has been given.} + </p> + <p> + {Footnote 5: <i>Of seeing the light</i>)—Ver. 1013. He says, "You + can only resemble a parent in the fact that you have given me the + opportunity of seeing the light of day, by taking me out of the dark + stone-quarries."} + </p> + <p> + {Footnote 6: <i>Be rightly doing so</i>)—Ver. 1033. Stalagmus + chooses to take the word "dem" "may give," used by Hegio in its literal + sense, and surlily replies, "I have nothing of my own by way of savings, + 'peculium,' so I am the very person to whom you ought to give."} + </p> + <p> + {Footnote 7: <i>Find but few Comedies</i>)—Ver. 1038. He here + confesses that he does not pretend to frame the plots of his Plays + himself, but that he goes to Greek sources for them; and forgetting that + "beggars most not be choosers," he complains that so very few of the Greek + Comedies are founded upon chaste manners. Indeed, this Play is justly + deemed the most pure and innocent of all the Plays of Plautus; and the + Company are quite justified in the commendations which, in their Epilogue, + they bestow on it, as the author has carried out the premise which he made + in the Prologue (with only four slight exceptions), of presenting them + with an immaculate Play.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0024" id="link2H_4_0024"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + MOSTELLARIA OR, THE HAUNTED HOUSE. + </h2> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0025" id="link2H_4_0025"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + DRAMATIS PERSONAE. + </h2> +<pre xml:space="preserve"> + THEUROPIDES, a merchant of Athens. + SIMO, an aged Athenian, his neighbour. + PHILOLACHES, son of Theuropides. + CALLIDAMATES, a young Athenian, friend of Philolaches. + TRANIO, servant of Philolaches. + GRUMIO, servant of Theuropides. + PHANISCUS, servant of Callidamates. + ANOTHER SERVANT of Callidamates. + A BANKER. + A BOY. + PHILEMATIUM, a music-girl, mistress of Philolaches. + SCAPHA, her attendant. + DELPHIUM, mistress of Callidamates. +</pre> + <p> + <i>Scene</i>—Athens: before the houses of THEUROPIDES and SIMO. + </p> + <h3> + MOSTELLARIA {1} OR, THE HAUNTED HOUSE. + </h3> + <p> + {Footnote 1: <i>Mottellaria</i>) This is a word probably derived from + "mostellum," the diminutive of "monstrum," a "spectre" or "prodigy." It + was probably coined by Plautus to serve as the title of this Play, which + is called by several of the ancient Commentators by the name of "Phasma," + "the Apparition."} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0026" id="link2H_4_0026"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE ACROSTIC ARGUMENT. + </h2> + <h3> + {Supposed to have been written by Priscian the Grammarian.} + </h3> + <p> + PHILOLACHES has given liberty to (<i>Manumisit</i>) his mistress who has + been bought <i>by him</i>, and he consumes all (<i>Omnem</i>) his + substance in the absence of his father. When he returns, Tranio deceives + the old man (<i>Senem</i>); he says that frightful (<i>Terrifica</i>) + apparitions have been seen in the house, and (<i>Et</i>) that at once they + had removed from it. A Usurer, greedy of gain (<i>Lucripeta</i>), comes up + in the meantime, asking for the interest <i>of some money</i>, and again + the old man is made sport of (<i>Lusus</i>) for the <i>servant</i> says + that a deposit for a house which has been bought has been taken up (<i>Acceptum</i>) + on loan. <i>The old man</i> enquires (<i>Requirit</i>) which it is; he + says that of the neighbour next door. He then looks over (<i>Inspectat</i>) + it. Afterwards he is vexed that he has been laughed at; still by (<i>Ab</i>) + the companion of his son he is <i>finally</i> appeased. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0027" id="link2H_4_0027"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT I.—SCENE I. <i>Enter, from the house of</i> THEUROPIDES, GRUMIO, + </h2> + <p> + <i>pushing out</i> TRANIO. + </p> + <p> + GRU. Get out of the kitchen, will you; out of it, <i>you</i> + whip-scoundrel, who are giving me your cavilling talk amid the platters; + march out of the house, you ruin of your master. Upon my faith, if I <i>only</i> + live, I'll be soundly revenged upon you in the country. Get out, I say, + you steam of the kitchen. Why are you skulking <i>thus</i>? + </p> + <p> + TRA. Why the plague are you making <i>this</i> noise here before the + house? Do you fancy yourself to be in the country{1}? Get out of the + house; be off into the country. Go and hang yourself. Get away from the + door. (<i>Striking him</i>.) There now, was it that you wanted? + </p> + <p> + GRU. (<i>running away</i>). I'm undone! Why are you beating me? TRA. + Because you want it. + </p> + <p> + GRU. I must endure it. Only let the old gentleman return <i>home</i>; only + let him come safe <i>home</i>, whom you are devouring in his absence. + </p> + <p> + TRA. You don't say what's either likely or true, you blockhead, as to any + one devouring a person in his absence. + </p> + <p> + GRU. Indeed, you town wit, you minion of the mob, do you throw the country + in my teeth? Really, Tranio, I do believe that you feel sure that before + long you'll be handed over to the mill. Within a short period, i' faith, + Tranio, you'll full soon be adding to the iron-bound race {2} in the + country. While you choose to, and have the opportunity, drink on, squander + his property, corrupt my master's son, a most worthy young man, drink + night and day, live like Greeks {3}, make purchase of mistresses, give + them their freedom, feed parasites, feast yourselves sumptuously. Was it + thus that the old gentleman enjoined you when he went hence abroad? Is it + after this fashion that he will find his property well husbanded? Do you + suppose that this is the duty of a good servant, to be ruining both the + estate and the son of his master? For I do consider him as ruined, when he + devotes himself to these goings on. <i>A person</i>, with whom not one of + all the young men of Attica was before deemed equally frugal or more + steady, the same is now carrying off the palm in the opposite direction. + Through your management and your tutoring has that been done. + </p> + <p> + TRA. What the plague business have you with me or with, what I do? + Prithee, haven't you got <i>your</i> cattle in the country for you to look + to? I choose to drink, to intrigue, to keep my wenches; this I do at the + peril of my own back, <i>and</i> not of yours. + </p> + <p> + GRU. Then with what assurance he does talk! (<i>Turning away in disgust.</i>) + Faugh! + </p> + <p> + TRA. But may Jupiter and all the Deities confound you; you stink of + garlick, you filth unmistakeable, you clod, you he-goat, you pig-sty, you + mixture of dog and she-goat. + </p> + <p> + GRU. What would you have to be done? It isn't all that can smell of + foreign perfumes, if you smell of them; or that can take their places at + table above their master, or live on such exquisite dainties as you live + upon. Do you keep to yourself those turtle-doves, <i>that</i> fish, <i>and</i> + poultry; let me enjoy my lot upon garlick diet. You are fortunate; I + unlucky. It must be endured. Let my good fortune be awaiting me, your bad + yourself. + </p> + <p> + TRA. You seem, Grumio, as though you envied me, because I enjoy myself and + you are wretched. It is quite my due. It's proper for me to make love, and + for you to feed the cattle; for me to fare handsomely, you in a miserable + way. + </p> + <p> + GRU. O riddle for the executioner {4}, as I guess it will turn out; + they'll be so pinking you with goads, as you carry your gibbet {5} along + the streets one day, as soon as ever the old gentleman returns here. + </p> + <p> + TERA. How do you know whether that mayn't happen to yourself sooner than + to me? GRU. Because I have never deserved it; you have deserved it, and + you now deserve it. + </p> + <p> + TRA. Do cut short the trouble of your talking, unless you wish a heavy + mischance to befall you. + </p> + <p> + GRU. Are you going to give me the tares for me to take for the cattle? If + you are not, give me the money. Go on, still persist in the way in which + you've commenced! Drink, live like Greeks, eat, stuff yourselves, + slaughter your fatlings! + </p> + <p> + TRA. Hold your tongue, and be off into the country; I intend to go to the + Piraeus to get me some fish for the evening. To-morrow I'll make some one + bring you the tares to the farm. What's the matter? Why now are you + staring at me, gallows-bird? + </p> + <p> + GRU. I' faith, I've an idea that will be your own title before long. + </p> + <p> + TRA. So long as it is as it is, in the meantime I'll put up with that + "before long." + </p> + <p> + GRU. That's the way; and understand this one thing, that that which is + disagreable comes much more speedily than that which you wish for. + </p> + <p> + TRA. Don't you be annoying; now then, away with you into the country, and + betake yourself off. Don't you deceive yourself, henceforth you shan't be + causing me <i>any</i> impediment. (<i>Exit.</i> + </p> + <p> + GRU. (<i>to himself</i>). Is he really gone? Not to care one straw for + what I've said! O immortal Gods, I do implore your aid, do cause this old + gentleman of ours, who has now been three years absent from here, to + return hither as soon as possible, before everything is gone, both house + and land. Unless he does return here, remnants to last for a few months <i>only</i> + are left. Now I'll be off to the country; but look! I see my master's son, + one who has been corrupted from having been a most excellent young man. (<i>Exit.</i> + </p> + <p> + {Footnote 1: In the country)—Ver. 7. Grumio appears to have been + cook and herdsman combined, and perhaps generally employed at the country + farm of Thenropides. On this occasion he seems to have been summoned to + town to cook for the entertainment which Philolaches is giving to his + friends.} + </p> + <p> + {Footnote 2: <i>The iron-bound race</i>)—Ver. 18. The gang of + slaves, who, for their malpractices, are working in the country in + chains.} + </p> + <p> + {Footnote 3: <i>Live like Greeks</i>)—Ver. 21. "Pergraescamini." + Though the Scene is at Athens, Plautus consults the taste of a Roman + Audience, as on many other occasions, in making the Greeks the patterns of + riotous livers. Asconius Pedianus says that at these entertainments the + Greeks drank off a cup of wine every time they named a Divinity or + mentioned a friend.} + </p> + <p> + {Footnote 4: <i>Riddle for the executioner</i>)—Ver. 52. Riddled + with holes by the scourge of the executioner.} + </p> + <p> + {Footnote 5: <i>You carry your gibbet</i>—Ver. 53. Bearing his own + cross; a refinement of torture which was too often employed upon + malefactors.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0028" id="link2H_4_0028"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE II.—<i>Enter</i> PHILOLACHES, <i>from the house of</i> + THEUROPIDES. + </h2> + <p> + PHIL. (<i>to himself</i>). I've often thought and long reflected on it, + and in my breast have held many a debate, and in my heart (if any heart I + have) have revolved this matter, and long discussed it, to what thing I'm + to consider man as like, and what form he has when he is born? I've now + discovered this likeness. I think a man is like unto a new house when he + is born. I'll give my proofs of this fact. (<i>To the</i> AUDIENCE.) And + does not this seem to you like the truth? But so I'll manage that you + shall think it is so. Beyond a doubt I'll convince you that it is true + what I say. And this yourselves, I'm sure, when you have heard my words, + will say is no otherwise than just as I now affirm that it is. Listen + while I repeat my proofs of this fact; I want you to be equally knowing + with myself upon this matter. As soon as ever a house is built up, nicely + polished off {1}, carefully erected, <i>and</i> according to rule, people + praise the architect and approve of the house, they take from it each one + a model for himself. Each one <i>has</i> something similar, quite at his + own expense; they do not spare their pains. But when a worthless, lazy, + dirty, negligent fellow betakes himself thither with an idle family, then + is it imputed as a fault to the house, while a good <i>house</i> is being + kept in bad repair. And this is often the case; a storm comes on and + breaks the tiles and gutters; then a careless owner takes no heed to put + up others. A shower comes on <i>and</i> streams down the walls; the + rafters admit the rain; the weather rots the labours of the builder; then + the utility of the house becomes diminished; and yet this is not the fault + of the builder. But a great part <i>of mankind</i> have contracted this <i>habit + of</i> delay; if anything can be repaired by means of money, they are + always still putting it off, and don't * * * do it until the walls come + tumbling down {2}; <i>then</i> the whole house has to be built anew. These + instances from buildings I've mentioned; and now I wish to inform you how + you are to suppose that men are like houses. In the first place then, the + parents are the builders-up of the children, and lay the foundation for + the children; they raise them up, they carefully train them to strength, + and that they may be good both for service and for view before the public. + They spare not either their own pains or their cost, nor do they deem + expense in that to be an expense. They refine them, teach them literature, + the ordinances, the laws; at their own cost and labour they struggle, that + others may wish for their own <i>children</i> to be like to them. When + they repair to the army, they then find them some relation {3} of theirs + as a protector. At that moment they pass out of the builder's hands. One + year's pay has <i>now</i> been earned; at that period, then, a sample is + on view how the building will turn out. But I was always discreet and + virtuous, just as long as I was under the management of the builder. After + I had left him to follow the bent of my own inclinations, at once I + entirely spoiled the labours of the builders. Idleness came on; that was + my storm; on its arrival, upon me it brought down hail <i>and</i> showers, + which overthrew my modesty and the bounds of virtue, and untiled them for + me in an instant. After that I was neglectful to cover in <i>again</i>; at + once passion like a torrent entered my heart; it flowed down even unto my + breast, <i>and</i> soaked through my heart. Now both property, credit, + fair fame, virtue, <i>and</i> honor have forsaken <i>me</i>; by usage have + I become much worse, and, i' faith (so rotten are these rafters of <i>mine</i> + with moisture), I do not seem to myself to be able possibly to patch up my + house to <i>prevent it</i> from falling down totally once for all, from + perishing from the foundation, <i>and</i> from no one being able to assist + me. My heart pains me, when I reflect how I now am and how I <i>once</i> + was, than whom in youthful age not one there was more active in the arts + of exercise {4}, with the quoit, the javelin, the ball, racing, arms, <i>and</i> + horses. I <i>then</i> lived a joyous life {5}; in frugality and hardihood + I was an example to others; all, even the most deserving, took a lesson + from me for themselves. Now that I'm become worthless, to that, indeed, + have I hastened through the bent of my inclinations. (<i>He stands apart.</i>) + </p> + <p> + {Footnote 1: <i>Polished off</i>)—Ver. 98. From this passage it + would seem that pains were taken to give the houses a smooth and polished + appearance on the outside.} + </p> + <p> + {Footnote 2: <i>Walls come tumbling down</i>)—Ver. 114. Warner + remarks that a sentiment not unlike this is found in Scripture, + Ecclesiastes, x. 18: "By much slothfulness, the building decayeth; and + through idleness of the hands the house droppeth through." It may be also + observed that the passage is very similar to the words of the parable of + the foolish man who built his house upon sand, St. Matthew, vii. 26: "And + the rain descended, and the floods came, and the winds blew and beat upon + that house, and it fell; and great was the fall thereof."} + </p> + <p> + {Footnote 3: <i>Find them some relation</i>)—Ver. 127. In the first + year of military service the Roman youths were placed under the tutelage + of some relation or friend.} + </p> + <p> + {Footnote 4: <i>In the arts of exercise</i>)—Ver. 147. "Arte + gymnastica." Literally, "in the gymnastic art."} + </p> + <p> + {Footnote 5: <i>Lived a joyous life</i>)—Ver. 148. "Victitabam + volup." Lambinus suggests that the true reading here is "hand volup," "not + voluptuously."} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0029" id="link2H_4_0029"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE III.—<i>Enter</i> PHILEMATIUM <i>and</i> SCAPHA, <i>with all + the requisites </i> + </h2> + <p> + for a toilet. + </p> + <p> + PHILE. On my word, for this long time I've not bathed in cold water with + more delight <i>than just now</i>; nor do I think that I ever was, my <i>dear</i> + Scapha, more thoroughly cleansed <i>than now</i>. + </p> + <p> + SCA. May the upshot of everything be <i>unto you</i> like a plenteous + year's harvest. + </p> + <p> + PHILE. What has this harvest got to do with my bathing? + </p> + <p> + SCA. Not a bit more than your bathing <i>has to do</i> with the harvest. + </p> + <p> + PHILO. (<i>apart</i>). O beauteous Venus, this is that storm of mine which + stripped off all the modesty with which I was roofed; through which Desire + and Cupid poured their shower into my breast; and never since have I been + able to roof it in. Now are my walls soaking in my heart; this building is + utterly undone. + </p> + <p> + PHILE. Do look, my Scapha, there's a dear, whether this dress quite + becomes me. I wish to please Philolaches my protector, the apple of my + eye. + </p> + <p> + SCA. Nay but, you set yourself off to advantage with pleasing manners, + inasmuch as you yourself are pleasing. The lover isn't in love with a + woman's dress, but with that which stuffs out {1}the dress. + </p> + <p> + PHILO. (<i>apart</i>). So may the Gods bless me, Scapha is waggish; the + hussy's quite knowing. How cleverly she understands all matters, the + maxims of lovers too! + </p> + <p> + PHILE. Well now? SCA. What is it? + </p> + <p> + PHILE. Why look at me and examine, how this becomes me. + </p> + <p> + SCA. Thanks to your good looks, it happens that whatever you put on + becomes you. + </p> + <p> + PHILO. (<i>apart</i>). Now then, for that expression, Scapha, I'll make + you some present or other to-day, and I won't allow you to have praised + her for nothing who is so pleasing to me. + </p> + <p> + PHILE. I don't want you to flatter me. + </p> + <p> + SCA. Really you are a very simple woman. Come now, would you rather be + censured undeservedly, than be praised with truth? Upon thy faith, for my + own part, even though undeservedly, I'd much rather be praised than be + found fault with with reason, or that other people should laugh at my + appearance. + </p> + <p> + PHILE. I love the truth; I wish the truth to be told me; I detest a liar. + </p> + <p> + SCA. So may you love me, <i>and</i> so may your Philolaches love you, how + charming you are. + </p> + <p> + PHILO. (<i>apart</i>). How say you, you hussy? In what words did you + adjure? "So may I love her?" Why wasn't "So may she <i>love</i> me" added + as well? I revoke the present. What I just now promised you is done for; + you have lost the present. + </p> + <p> + SCA. Troth, for my part I am surprised that you, a person so knowing, so + clever, and <i>so</i> well educated, are not aware that you are acting + foolishly. + </p> + <p> + PHILE. Then give me your advice, I beg, if I have done wrong in anything. + </p> + <p> + SCA. I' faith, you certainly do wrong, in setting your mind upon him + alone, in fact, and humouring him in particular in this way and slighting + other men. It's the part of a married woman, <i>and</i> not of courtesans, + to be devoted to a single lover. + </p> + <p> + PHILO. (<i>apart</i>). O Jupiter! Why, what pest is this that has befallen + my house? May all the Gods and Goddesses destroy me in the worst of + fashions, if I don't kill this old hag with thirst, and hunger, and cold. + </p> + <p> + PHILE. I don't want you, Scapha, to be giving me bad advice. + </p> + <p> + SCA. You are clearly a simpleton, in thinking that he'll for everlasting + be your friend and well-wisher. I warn you <i>of that</i>; he'll forsake + you by reason of age and satiety. + </p> + <p> + PHILE. I hope not. + </p> + <p> + SCA. Things which you don't hope happen more frequently than things which + you do hope. In fine, if you cannot be persuaded by words to believe this + to be the truth, judge of my words from facts; consider <i>this</i> + instance, who I <i>now</i> am, and who I <i>once</i> was. No less than you + <i>are</i> now, was I <i>once</i> beloved, and I devoted myself to one, + who, faith, when with age this head changed its hue, forsook and deserted + me. Depend on it, the same will happen to yourself. + </p> + <p> + PHILO. (<i>apart</i>). I can scarcely withhold myself from flying at the + eyes of this mischief-maker. + </p> + <p> + PHILE. I am of opinion that I ought to keep myself alone devoted to him, + since to myself alone has he given freedom for himself alone. + </p> + <p> + PHILO. (<i>apart</i>). O ye immortal Gods! what a charming woman, and of a + disposition how chaste! By heaven, 'tis excellently done, and I'm rejoiced + at it, that it is for her sake I've got nothing <i>left</i>. + </p> + <p> + SCA. On my word you really are silly. + </p> + <p> + PHILE. For what reason? + </p> + <p> + SCA. Because you care for this, whether he loves you. + </p> + <p> + PHILE. Prithee, why should I not care for it? + </p> + <p> + SCA. You now are free. You've now got what you wanted; if he didn't still + love you, as much money as he gave for your liberty, he'd lose. + </p> + <p> + PHILO. (<i>apart</i>). Heavens, I'm a dead man if I don't torture her to + death after the most shocking fashion. That evil-persuading enticer to + vice is corrupting this damsel. + </p> + <p> + PHILE. Scapha, I can never return him <i>sufficient</i> thanks for what he + deserves of me; don't you be persuading me to esteem him less. + </p> + <p> + SCA. But take care and reflect upon this one thing, if you devote yourself + to him alone, while now you are at this youthful age, you'll be + complaining to no purpose in your aged years. + </p> + <p> + PHILO. (<i>apart</i>). I could wish myself this instant changed into a + quinsy, that I might seize the throat of that old witch, and put an end to + the wicked mischief-maker. + </p> + <p> + PHILE. It befits me now to have the same grateful feelings since I + obtained it, as formerly before I acquired it, when I used to lavish + caresses upon him. + </p> + <p> + PHILO. (<i>apart</i>). May the Gods do towards me what they please, if for + that speech I don't make you free over again, and if I don't torture + Scapha to death. + </p> + <p> + SCA. If you are quite assured that you will have a provision to the end, + and that this lover will be your own for life, I think that you ought to + devote yourself to him alone, and assume the character of a wife {2}. + </p> + <p> + PHILE. Just as a person's character is, he's in the habit of finding means + accordingly; if I keep a good character for myself I shall be rich enough. + </p> + <p> + PHILO. (<i>apart</i>). By my troth, since selling there must be, my father + shall be sold much sooner than, while I'm alive, I'll ever permit you to + be in want or go a-begging. + </p> + <p> + SCA. What's to become of the rest of those who are in love with you? + </p> + <p> + PHILE. They'll love me the more when they see me displaying gratitude to + one who has done me services. + </p> + <p> + PHILO. (<i>apart</i>). I do wish that news were brought me now that my + father's dead, that I might disinherit myself of my property, and that she + might be my heir. + </p> + <p> + SCA. This property <i>of his</i> will certainly soon be at an end; day and + night there's eating <i>and</i> drinking, and no one displays thriftiness; + 'tis downright cramming {3}. + </p> + <p> + PHILO. (<i>apart</i>). I' faith, I'm determined to make trial on yourself + for the first to be thrifty; for you shall neither eat nor drink anything + at my house for the next ten days. + </p> + <p> + PHILE. If you choose to say anything good about him, you shall be at + liberty to say it; if you speak otherwise than well, on my word you shall + have a beating instantly. + </p> + <p> + PHILO. (<i>apart</i>). Upon my faith, if I had paid sacrifice to supreme + Jove with that money which I gave for her liberty, never could I have so + well employed it. Do see, how, from her very heart's core, she loves me! + Oh, I'm a fortunate man; I've liberated <i>in her</i> a patron to plead my + cause for me. + </p> + <p> + SCA. I see that, compared with Philolaches, you disregard <i>all</i> other + men; now, that on his account I mayn't get a beating, I'll agree with you + in preference, if you are quite satisfied that he will always prove a + friend to you. + </p> + <p> + PHILE. Give me the mirror {4}, and the casket with my trinkets, directly, + Scapha, that I may be <i>quite</i> dressed when Philolaches, my delight, + comes here. + </p> + <p> + SCA. A woman who neglects herself and her <i>youthful</i> age has occasion + for a mirror; what need of a mirror have you, who yourself are in especial + a mirror for a mirror. + </p> + <p> + PHILO. (<i>apart</i>). For that expression, Scapha, that you mayn't have + said anything so pretty in vain, I'll to-day give something for your + savings—to you, my Philematium. + </p> + <p> + PHILE. (<i>while</i> SCAPHA <i>is dressing her hair</i>). Will you see + that each hair is nicely arranged in its own place? + </p> + <p> + SCA. When you <i>yourself</i> are <i>so</i> nice, do believe that your + hair must be nice. + </p> + <p> + PHILO. (<i>apart</i>). Out upon it! what worse thing can possibly be + spoken of than this woman? Now the jade's a flatterer, just now she was + all contradictory. + </p> + <p> + PHILE. Hand me the ceruse {5}. + </p> + <p> + SCA. Why, what need of ceruse <i>have you</i>? + </p> + <p> + PHILE. To paint my cheeks with it. + </p> + <p> + SCA. On the same principle, you would want to be making ivory white with + ink. + </p> + <p> + PHILO. (<i>apart</i>). Cleverly said that, about the ink and the ivory! + Bravo! I applaud you, Scapha. + </p> + <p> + PHILE. Well then, do you give me the rouge. + </p> + <p> + SCA. I shan't give it. You really are a clever one. Do you wish to patch + up a most clever piece with new daubing? It's not right that any paint + should touch that person, neither ceruse, nor quince-ointment, nor any + other wash. Take the mirror, then. (<i>Hands her the glass.</i>) + </p> + <p> + PHILO. (<i>apart.</i>) Ah wretched me!—she gave the glass a kiss. I + could much wish for a stone, with which to break the head of that glass. + </p> + <p> + SCA. Take the towel and wipe your hands. + </p> + <p> + PHILE. Why so, prithee? + </p> + <p> + SCA. As you've been holding the mirror, I'm afraid that your hands may + smell of silver; lest Philolaches should suspect you've been receiving + silver somewhere. + </p> + <p> + PHILO. (<i>apart</i>). I don't think that I ever did see anyone procuress + more cunning. How cleverly and artfully did it occur to the jade's + imagination about the mirror! + </p> + <p> + PHILE. Do you think I ought to be perfumed with unguents as well? + </p> + <p> + SCA. By no means do so. PHILE. For what reason? + </p> + <p> + SCA. Because, i' faith, a woman smells best {6} when she smells of nothing + at all. For those old women who are in the habit of anointing themselves + with unguents, vampt up <i>creatures</i>, old hags, <i>and</i> toothless, + who hide the blemishes of the person with paint, when the sweat has + blended itself with the unguents, forthwith they stink just like when a + cook has poured together a variety of broths; what they smell of, you + don't know, except this only, that you understand that badly they do + smell. + </p> + <p> + PHILO. (<i>apart</i>). How very cleverly she does understand everything! + There's nothing more knowing than this knowing woman! (<i>To the</i> + AUDIENCE.) This is the truth, and a very great portion, in fact, of you + know it, who have old women for wives at home who purchased you with their + portions. + </p> + <p> + PHILE. Come now; examine my golden trinkets and my mantle; does this quite + become me, Scapha? + </p> + <p> + SCA. It befits not me to concern myself about that. + </p> + <p> + PHILE. Whom then, prithee? + </p> + <p> + SCA. I'll tell you; Philolaches; so that he may not buy anything except + that which he fancies will please you. For a lover buys the favours of a + mistress for himself with gold and purple garments. What need is there for + that which he doesn't want as his own, to be shown him still? Age is to be + enveloped in purple; gold ornaments are unsuitable for a woman. A + beautiful woman will be more beautiful naked than drest in purple. + Besides, it's in vain she's well-drest if she's ill-conducted; ill-conduct + soils fine ornaments worse than dirt. But if she's beauteous, she's + sufficiently adorned. + </p> + <p> + PHILO. (<i>apart</i>). Too long have I withheld my hand. (<i>Coming + forward.</i>) What are you about here? + </p> + <p> + PHILE. I'm decking myself out to please you. + </p> + <p> + PHILO. You are dressed enough. (<i>To</i> SCAPHA.) Go you hence indoors, + and take away this finery. (SCAPHA <i>goes into the house.</i>) But, my + delight, my Philematium, I have a mind to regale together with you. + </p> + <p> + PHILE. And, i' faith, so I have with you; for what you have a mind to, the + same have I a mind to, my delight. + </p> + <p> + PHILO. Ha! at twenty minae that expression were cheap. + </p> + <p> + PHILE. Give me ten, there's a dear; I wish to let you have that expression + bought a bargain. + </p> + <p> + PHILO. You've already got ten minae with you; or reckon up the account: + thirty minae I gave for your freedom— + </p> + <p> + PHILE. Why reproach me <i>with that</i>? + </p> + <p> + PHILO. What, I reproach you with it? Why, I had rather that I myself were + reproached with it; no money whatever for this long time have I ever laid + out equally well. + </p> + <p> + PHILE. Surely, in loving you, I never could have better employed my pains. + </p> + <p> + PHILO. The account, then, of receipts and expenditure fully tallies + between ourselves; you love me, I love you. Each thinks that it is so + deservedly. Those who rejoice at this, may they ever rejoice at the + continuance of their own happiness. Those who envy, let not any one + henceforth be ever envious of their blessings. + </p> + <p> + PHILE. (<i>pointing to a couch on the stage</i>). Come, take your place, + then. (<i>At the door, to a</i> SERVANT, <i>who obeys.</i>) Boy, bring + some water for the hands; put a little table here. See where are the dice. + Would you like some perfumes? (<i>They recline on the couch.</i>) + </p> + <p> + PHILO. What need is there? Along with myrrh I am reclining. But isn't this + my friend who's coming hither with his mistress? 'Tis he; it's + Callidamates; look, he's coming. Capital! my sweet one, see, our comrades + are approaching; they're coming to share the spoil. + </p> + <p> + {Footnote 1: <i>That which stuffs out</i>)—Ver. 164. That is, the + body.} + </p> + <p> + {Footnote 2: <i>Assume the character of a wife</i>)—Ver. 220. + "Capiundos crines." Literally, "the hair mast be assumed." Festus says + that it was usual on the occasion of the marriage ceremony, to add six + rows of curls to the hair of the bride, in imitation of the Vestal + virgins, who were patterns of purity, and were dressed in that manner. + Hence the term "capere crines" came to signify "to become a wife."} + </p> + <p> + {Footnote 3: <i>'Tis downright cramming</i>)—Ver. 230. "Sagina plane + est." "Sagina" was the term applied to the fattening or cramming of + animals for the purpose of killing. The use of the term implies Scapha'a + notion of the bestial kind of life that Philolaches was leading.} + </p> + <p> + {Footnote 4: <i>Give me the mirror</i>)—Ver. 242. Probably a mirror + with a handle, such as the servants usually held for their mistresses. + There is something comical in the notion of a female coming out into the + street to make her toilet.} + </p> + <p> + {Footnote 5: <i>Hand me the ceruse</i>)—Ver. 252. White lead, or + "cerussa," was used by the Roman women for the purpose of whitening the + complexion. Ovid mentions it in his Treatise on the Care of the + Complexion, L 73.} + </p> + <p> + {Footnote 6: <i>A woman smells best</i>)—Ver. 267. Cicero and + Martial have a similar sentiment; their opinion has been followed by many + modern writers, and other persons as well.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0030" id="link2H_4_0030"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE IV.—<i>Enter</i> CALLIDAMATES, <i>at a distance, drunk, and</i> + DELPHIUM, + </h2> + <p> + <i>followed by a</i> SERVANT. + </p> + <p> + CALL. (<i>to his</i> SERVANT). I want you to come for me {1} in good time + to the house of Philolaches; listen you; well then! those are your orders. + (<i>Exit</i> SERVANT.) For from the place where I was, thence did I betake + myself off; so confoundedly tired was I there with the entertainment and + the discourse. Now I'll go to Philolaches to have a bout; there he'll + receive us with jovial feelings and handsomely. Do I seem to you to be + fairly drenched, my bubsy? + </p> + <p> + DEL. You ought always to live pursuing this course of life. + </p> + <p> + CALL. Should you like, <i>then</i>, for me to hug you, and you me? DEL. If + you've a mind to do so, of course. + </p> + <p> + CALL. You are a charming one. (<i>He stumbles.</i>) Do hold me up, there's + a dear. + </p> + <p> + DEL. (<i>holding him by the arm</i>). Take care you don't fall. Stand up. + </p> + <p> + CALL. O! you are the apple of my eye. I'm your fosterling, my honey. (<i>He + stumbles.</i>) + </p> + <p> + DEL. (<i>still holding him up</i>). Only do take care that you don't + recline in the street, before we get to a place where a couch is ready + laid. + </p> + <p> + CALL. Do let me fall. + </p> + <p> + DEL. <i>Well</i>, I'll let you. (<i>Lets go.</i>) + </p> + <p> + CALL. (<i>dragging her as he falls</i>). But that as well which I've got + hold of in my hand. + </p> + <p> + DEL. If you fall, you shan't fall without me falling with you. Then some + one shall pick us both up as we lie. (<i>Aside.</i>) The man's quite + drenched. + </p> + <p> + CALL. (<i>overhearing</i>). Do you say that I am drenched, my bubsy? + </p> + <p> + DEL. Give me your hand; I really do not want you hurt. + </p> + <p> + CALL. (<i>giving his hand</i>). There now, take it. + </p> + <p> + DEL. Come, move on with me. + </p> + <p> + CALL. Where am I going, do you know? + </p> + <p> + DEL. I know. + </p> + <p> + CALL. It has just come into my head: why, of course I'm going home for a + booze. + </p> + <p> + DEL. Why yes, really now I do remember that. + </p> + <p> + PHILO. Won't you let me go to find them, my life? Of all persons I wish + well to him especially. I'll return just now. (<i>Goes forward towards the + door.</i>) + </p> + <p> + PHILE. That "just now" is a long time to me. + </p> + <p> + CALL. (<i>going to the door and knocking</i>). Is there any person here? + </p> + <p> + PHILO. 'Tis he. + </p> + <p> + CALL. (<i>turning round</i>). Bravo! Philolaches, good day to you, most + friendly to me of all men. + </p> + <p> + PHILO. May the Gods bless you. (<i>Pointing to a couch.</i>) Take your + place, Callidamates. (<i>He takes his place.</i>) Whence are you betaking + yourself? + </p> + <p> + CALL. Whence a drunken man <i>does</i>. + </p> + <p> + PHILO. Well said. But, my Delphium, do take your place, there's a dear. (<i>She + takes her place on a couch.</i>) + </p> + <p> + CALL. Give her something to drink. I shall go to sleep directly. (<i>Nods + and goes to sleep.</i>) + </p> + <p> + PHILO. He doesn't do anything wonderful or strange. What shall I do with + him then, my dear? + </p> + <p> + DEL. Let him alone just as he is. + </p> + <p> + PHILO. Come, you <i>boy</i>. Meanwhile, speedily pass the goblet round, + beginning with Delphium. + </p> + <p> + {Footnote 1: <i>You to come for me</i>)—Ver. 306. Though none of the + Editions say so, it is not improbable that this is said to Phaniscus, who, + in the sequel, comes to fetch Callidamates home. The duties of the + "adversitor" have been alluded to in a previous Note.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0031" id="link2H_4_0031"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE V.—<i>Enter</i> TRANIO, <i>at a distance.</i> + </h2> + <p> + TRA. (<i>to himself</i>). Supreme Jove, with all his might and resources, + is seeking for me and Philolaches, my master's son, to be undone. Our + hopes are destroyed; nowhere is there any hold for courage; not <i>even</i> + Salvation {1} <i>now</i> could save us if she wished. Such an immense + mountain of woe have I just now seen at the harbour: my master has arrived + from abroad; Tranio is undone! (<i>To the</i> AUDIENCE.) Is there any + person who'd like to make gain of a little money, who could this day + endure to take my place in being tortured? Where are those fellows + hardened to a flogging, the wearers-out of iron chains, or those, who, for + the consideration of three didrachms, would get beneath besieging towers + {2}, where some are in the way of having their bodies pierced with fifteen + spears? I'll give a talent to that man who shall be the first to run to + the cross <i>for me</i>; but on condition that twice his feet, twice his + arms {3} are fastened there. When that shall have been done, then ask the + money down of me. But am I not a wretched fellow, not at full speed to be + running home? + </p> + <p> + PHILO. Here come the provisions; see, here's Tranio; he's come back from + the harbour. + </p> + <p> + TRA. (<i>running</i>). Philolaches! + </p> + <p> + PHILO. What's the matter? TRA. Both I and you— + </p> + <p> + PHILO. What about "Both I and you?" + </p> + <p> + TRA. Are undone! + </p> + <p> + PHILO. Why so? TRA. Your father's here. + </p> + <p> + PHILO. What is it I hear of you? + </p> + <p> + TRA. We are finished up. Your father's come, I say. + </p> + <p> + PHILO. (<i>starting up.</i>) Where is he, I do entreat you? + </p> + <p> + TRA. He's coming. + </p> + <p> + PHILO. Coming? Who says so? Who has seen him? + </p> + <p> + TRA. I saw him myself, I tell you. + </p> + <p> + PHILO. Woe unto me! what am I about? + </p> + <p> + TRA. Why the plague now do you ask me, what you are about? Taking your + place at table, <i>of course</i>. + </p> + <p> + PHILO. Did you see him? TRA. I my own self, I tell you. + </p> + <p> + PHILO. For certain? TRA. For certain, I tell you. + </p> + <p> + PHILO. I'm undone, if you are telling the truth. + </p> + <p> + TRA. What good could it be to me if I told a lie? + </p> + <p> + PHILO. What shall I do now? + </p> + <p> + TRA. (<i>pointing to the table and couches</i>). Order all these things to + be removed from here. (<i>Pointing.</i>) Who's that asleep there? + </p> + <p> + PHILO. Callidamates. TRA. Arouse him, Delphium. + </p> + <p> + DEL. (<i>bawling out in his ear</i>). Callidamates! Callidamates! awake! + CALL. (<i>raising himself a little</i>). I am awake; give me something to + drink. + </p> + <p> + DEL. Awake; the father of Philolaches has arrived from abroad. CALL. I <i>hope</i> + his father's well. + </p> + <p> + PHILO. He is well indeed; but I am utterly undone. + </p> + <p> + CALL. You, utterly undone? How can that be? + </p> + <p> + PHILO. By heavens! do get up, I beg of you; my father has arrived. + </p> + <p> + CALL. Your father has come? Bid him go back again. What business had he to + come back here so soon? + </p> + <p> + PHILO. What am I to do? My father will, just now, be coming and + unfortunately finding me amid drunken carousals, <i>and</i> the house full + of revellers and women. It's a shocking bad job, to be digging a well at + the last moment, just when thirst has gained possession of your throat; + just as I, on the arrival of my father, wretch that I am, am now enquiring + what I am to do. + </p> + <p> + TRA. (<i>pointing at</i> CALLIDAMATES). Why look, he has laid down his + head and gone to sleep. Do arouse him. + </p> + <p> + PHILO. (<i>shaking him</i>). Will you awake now? My father, I tell you, + will be here this instant. + </p> + <p> + CALL. How say you? Your father? Give me my shoes, that I may take up arms. + On my word, I'll kill your father this instant. + </p> + <p> + PHILO. (<i>seizing hold of him</i>). You're spoiling the <i>whole</i> + business; do hold your tongue. (<i>To</i> DELPHIUM.) Prithee, do carry him + off in your arms into the house. + </p> + <p> + CALL. (<i>To</i> DELPHIUM, <i>who is lifting him up</i>). Upon my faith, + I'll be making an utensil of you just now, if you don't find me one. (<i>He + is led off into the house.</i>) + </p> + <p> + PHILO. I'm undone! + </p> + <p> + TRA. Be of good courage; I'll cleverly find a remedy for this alarm. + PHILO. I'm utterly ruined! + </p> + <p> + TRA. Do hold your tongue; I'll think of something by means of which to + alleviate this for you. Are you satisfied, if on his arrival I shall so + manage your father, not only that he shall not enter, but even that he + shall run away to a distance from the house? Do you only be off from here + in-doors, and remove these things from here with all haste. + </p> + <p> + PHILO. Where am I to be? TRA. Where you especially desire: with her (<i>pointing + to</i> PHILEMATIUM); with this girl, <i>too</i>, you'll be. (<i>Pointing + to</i> DELPHIUM.) + </p> + <p> + DEL. How then? Are we to go away from here? + </p> + <p> + TRA. Not far from here, Delphium. For carouse away in the house not a bit + the less on account of this. + </p> + <p> + PHILO. Ah me! I'm in a sweat with fear as to how these fine words are to + end! TRA. Can you not be tranquil in your mind, and do as I bid you? + </p> + <p> + PHILO. I can be. TRA. In the first place of all, Philematium, do you go + in-doors; and you, Delphium. + </p> + <p> + DEL. We'll both be obedient to you. (<i>They go into the house.</i>) + </p> + <p> + TRA. May Jupiter grant it so! Now then, do you give attention as to what + I'd have attended to. In the first place, then, before anything, cause the + house to be shut up at once. Take care and don't let any one whisper a + word in-doors. + </p> + <p> + PHILO. Care shall be taken. TRA. Just as though no living being were + dwelling within the house. + </p> + <p> + PHILO. Very well. TRA. And let no one answer, when the old gentleman + knocks at the door. + </p> + <p> + PHILO. Anything else? + </p> + <p> + TRA. Order the master-key {4} of the house to be brought me at once from + within; this house I'll lock here on the outside. + </p> + <p> + PHILO. To your charge I commit myself, Tranio, and my hopes. (<i>He goes + into the house, and the things are removed from the stage.</i>) + </p> + <p> + TRA. (<i>to himself</i>). It matters not a feather whether a patron or a + dependant is the nearest at hand for that man who has got no courage in + his breast. For to every man, whether very good or very bad, even at a + moment's notice, it is easy to act with craft; but this must be looked to, + this is the duty of a prudent man, that what has been planned and done in + craftiness, may all come about smoothly and without mishap; so that he may + not have to put up with anything by reason of which he might be loth to + live; just as I shall manage, that, from the confusion which we shall here + create, all shall really go on smoothly and tranquilly, and not produce us + any inconvenience in the results. (<i>Enter a</i> BOY, <i>from the house.</i>) + But, why have you come out? I'm undone! (<i>The</i> BOY <i>shows him the + key.</i>) O very well, you've obeyed my orders most opportunely. + </p> + <p> + BOY. He bade me most earnestly to entreat you some way or other to scare + away his father, that he may not enter the house. + </p> + <p> + TRA. Even more, tell him this, that I'll cause that he shan't venture even + to look at the house, <i>and</i> to take to flight, covering up his head + {5} with the greatest alarm. Give me the key (<i>taking it</i>), and be + off in-doors, and shut to the door, and I'll lock it on this side. (<i>The</i> + BOY <i>goes into the house, and</i> TRANIO <i>locks the door.</i>) Bid him + now come forthwith. For the old gentleman here while still alive this day + will I institute games {6} in his presence, such as I fancy there will + never be for him when he's dead. (<i>Moving away.</i>) I'll go away from + the door to this spot; hence, I'll look out afar in which direction to lay + the burden on the old fellow on his arrival. (<i>Exit to a little + distance.</i>) + </p> + <p> + {Footnote 1: <i>Not even Salvation</i>)—Ver. 342. See the Captivi, + 1. 535, and the Note to the passage.} + </p> + <p> + {Footnote 2: <i>Beneath besieging towers</i>)—Ver 348. "Falae" were + wooden towers, placed on the top of walls or fortified places; of course + the attack of these would imply extreme danger to those who attempted it.} + </p> + <p> + {Footnote 3: <i>Twice his feet, twice his arms</i>)—Ver. 351. Some + suppose that by "bis pedes, bis brachia," he means that two nails were to + be driven into each leg and foot. It seems more probable that he means two + for the feet and two for the hands.} + </p> + <p> + {Footnote 4: <i>Order the master-key</i>)—Ver. 395. "Clavem—Laconicam;" + literally, "the Laconian key." This was a kind of key originally invented + by the Spartans, by means of which a door could be locked from the + outside, but not from within. According to some, this key was called + "Laconica," from its rough appearance, in allusion to the inelegant + exterior of the Spartans. In his Thesmophoriazusae, Aristophanes informs + us that these keys had three wards.} + </p> + <p> + {Footnote 5: <i>Covering up his head</i>)—Ver. 414. With the + ancients, when either ashamed or alarmed at anything, it was the custom to + throw a part of the dress over the head, as a hood.} + </p> + <p> + {Footnote 6: <i>Will I institute games</i>)—Ver. 417. He plays on + the double meaning of "ludes," which means either "tricks," or "funeral + games" in honor of the dead, according to the context.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0032" id="link2H_4_0032"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT II.—SCENE I. + </h2> + <h3> + <i>Enter</i> THEUROPIDES, <i>followed by</i> ATTENDANTS. + </h3> + <p> + THEU. (<i>to himself</i>). Neptune, I do return extreme thanks to thee + that thou hast just dismissed me from thee, <i>though</i> scarce alive. + But if, from this time forward, thou shalt only know that I have stirred a + foot upon the main, there is no reason why, that instant, thou shouldst + not do with me that which thou hast now wished to do. Away with you, away + with you from me henceforth for ever after to-day; what I was to entrust + to thee, all of it have I <i>now</i> entrusted. + </p> + <p> + <i>Enter</i> TRANIO, <i>overhearing him.</i> + </p> + <p> + TRA. (<i>apart</i>). By my troth, Neptune, you've been much to blame, to + have lost this opportunity so fair. + </p> + <p> + THEU. After three years, I've arrived home from Aegypt. I shall come a + welcome <i>guest</i> to my household, I suppose. + </p> + <p> + TRA. (<i>apart</i>). Upon my faith, he might have come a much more welcome + one, who had brought the tidings you were dead. + </p> + <p> + THEU. (<i>looking at the door</i>). But what means this? Is the door shut + in the daytime? I'll knock. (<i>Knocks at the door.</i>) Hallo, there! is + any one going to open this door for me? + </p> + <p> + TRA. (<i>coming forward, and speaking aloud</i>). What person is it that + has come <i>so</i> near to our house? + </p> + <p> + THEU. Surely this is my servant Tranio. + </p> + <p> + TRA. O Theuropides, my master, welcome; I'm glad that you've arrived in + safety. Have you been well all along? + </p> + <p> + THEU. All along, as you see. + </p> + <p> + TRA. That's very good. + </p> + <p> + THEU. What about yourselves? Are you <i>all</i> mad? + </p> + <p> + TRA. Why so? + </p> + <p> + THEU. For this reason; because you are walking about outside; not a born + person is keeping watch in the house, either to open or to give an answer. + With kicking with my feet I've almost broken in the panels? + </p> + <p> + TRA. How now? Have you been touching this house? + </p> + <p> + THEU. Why shouldn't I touch it? Why, with kicking it, I tell you, I've + almost broken down the door. + </p> + <p> + TRA. What, you touched it? + </p> + <p> + THEU. I touched it, I tell you, and knocked at it. + </p> + <p> + TRA. Out upon you! THEU. Why so? + </p> + <p> + TRA. By heavens! 'twas ill done. + </p> + <p> + THEU. What is the matter? TRA. It cannot be expressed, how shocking and + dreadful a mischief you've been guilty of. + </p> + <p> + THEU. How so? + </p> + <p> + TRA. Take to flight, I beseech you, and get away from the house. Fly in + this direction, fly closer to me. (<i>He runs towards</i> TRANIO.) What, + did you touch the door? + </p> + <p> + THEU. How could I knock, if I didn't touch it? + </p> + <p> + TRA. By all that's holy, you've been the death— + </p> + <p> + THEU. Of what person? TRA. Of all your family. + </p> + <p> + THEU. May the Gods and Goddesses confound you with that omen. + </p> + <p> + TRA. I'm afraid that you can't make satisfaction for yourself and them. + </p> + <p> + THEU. For what reason, or what new affair is this that you <i>thus</i> + suddenly bring me <i>news of</i>? + </p> + <p> + TRA. And (<i>whispering</i>) hark you, prithee, do bid those people to + move away from here. (<i>Pointing to the</i> ATTENDANTS <i>of</i> + THEUROPIDES.) + </p> + <p> + THEU. (<i>to the</i> ATTENDANTS). More away from here. + </p> + <p> + TRA. Don't you touch the house. Touch you the ground {1} + </p> + <p> + as well. (<i>Exeunt the</i> ATTENDANTS. + </p> + <p> + THEU. I' faith, prithee, do speak out now. + </p> + <p> + TRA. Because it is now seven months that not a person has set foot within + this house, <i>and</i> since we once for all left it. + </p> + <p> + THEU. Tell me, why so? + </p> + <p> + TRA. Just look around, whether there's any person to overhear our + discourse. + </p> + <p> + THEU. (<i>looking around</i>). All's quite safe. + </p> + <p> + TRA. Look around once more. + </p> + <p> + THEU. (<i>looking around</i>). There's nobody; now then, speak out. TRA. (<i>in + a loud whisper</i>). The house has been guilty of a capital offence {2}. + </p> + <p> + THEU. I don't understand <i>you</i>. TRA. A crime, tell you, has been + committed <i>there</i>, a long while ago, one of olden time and ancient + date. + </p> + <p> + THEU. Of ancient date? + </p> + <p> + TRA. 'Tis but recently, in fact, that we've discovered this deed. + </p> + <p> + THEU. What is this crime, or who committed it? Tell me. + </p> + <p> + TRA. A host slew his guest, seized with his hand: he, I fancy, who sold + you the house. + </p> + <p> + THEU. Slew <i>him</i>? + </p> + <p> + TRA. And robbed this guest of his gold, and buried this guest there in the + house, on the spot. + </p> + <p> + THEU. For what reason do you suspect that this took place? + </p> + <p> + TRA. I'll tell <i>you</i>; listen. <i>One day</i>, when your son had dined + away from home, after he returned home from dining; we all went to bed, <i>and</i> + fell asleep. By accident, I had forgotten to put out my lamp; and he, all + of a sudden, called out aloud— + </p> + <p> + THEU. What person? My son? + </p> + <p> + TRA. Hist! hold your peace: just listen. He said that a dead man came to + him in his sleep— + </p> + <p> + THEU. In his dreams, then, you mean? + </p> + <p> + TRA. Just so. But only listen. He said that he had met with his death by + these means— + </p> + <p> + THEU. <i>What</i>, in his sleep? + </p> + <p> + TRA. It would have been surprising if he had told him awake, who had been + murdered sixty years ago. On some occasions you are absurdly simple. But + look what he said: "I am the guest of Diapontius, from beyond the seas; + here do I dwell; this has been assigned me as my abode; for Oreus would + not receive me in Acheron, because prematurely I lost my life. Through + confiding was I deceived: my entertainer slew me here, and that villain + secretly laid me in the ground without funereal rites, in this house, on + the spot, for the sake of gold. Now do you depart from here; this house is + accursed, <i>this</i> dwelling is defiled." The wonders that here take + place, hardly in a year could I recount them. Hush, hush! (<i>He starts.</i>) + </p> + <p> + THEU. Troth now, what has happened, prithee? + </p> + <p> + TRA. The door made a noise. Was it he that was knocking? + </p> + <p> + THEU. (<i>turning pale</i>). I have not <i>one</i> drop of blood! Dead men + are come to fetch me to Acheron, while alive! + </p> + <p> + TRA. (<i>aside</i>). I'm undone! those people there will mar my plot. (<i>A + noise is heard from within.</i>) How much I dread, lest he should catch me + in the fact. + </p> + <p> + THEU. What are you talking about to yourself? (<i>Goes near the door.</i>) + </p> + <p> + TRA. Do get away from the door. By heavens, fly, I do beseech you. + </p> + <p> + THEU. Fly where? Fly yourself, as well. + </p> + <p> + TRA. I am not afraid: I am at peace with the dead. + </p> + <p> + A VOICE (<i>from within</i>). Hallo! Tranio {3}. + </p> + <p> + TRA. (<i>in a low voice, near the door</i>). You won't be calling me, if + you are wise. (<i>Aloud, as if speaking to the</i> APPARITION.) 'Tis not I + that's guilty; I did not knock at the door. + </p> + <p> + THEU. Pray, what is it that's wrong? What matter is agitating you, Tranio? + To whom are you saying these things? + </p> + <p> + TRA. Prithee, was it you that called me? So may the Gods bless me, I + fancied it was this dead man expostulating because you had knocked at the + door. But are you still standing there, and not doing what I advise you? + </p> + <p> + THEU. What am I to do? TRA. Take care not to look back. Fly; cover up your + head! + </p> + <p> + THEU. Why don't you fly? + </p> + <p> + TRA. I am at peace with the dead. + </p> + <p> + THEU. I recollect. Why then were you so dreadfully alarmed just now? + </p> + <p> + TREA. Have no care for me, I tell you; I'll see to myself. You, as you + have begun <i>to do</i>, fly as quick as ever you can; Hercules, too {4}, + you will invoke. + </p> + <p> + THEU. Hercules, I do invoke thee! (<i>Runs off.</i>) + </p> + <p> + TRA. (<i>to himself.</i>) And I, as well, old fellow, that this day he'll + send some heavy mishap upon you. O ye immortal Gods, I do implore your + aid. Plague on it! what a mess I have got into to-day. (<i>Exit.</i> + </p> + <p> + {Footnote 1: <i>Touch you the ground</i>)—Ver. 457. The ancients + were in the habit of reverentially touching the earth, when engaged in any + affairs that related to the dead or the infernal Deities.} + </p> + <p> + {Footnote 2: <i>Guilty of a capital offence</i>)—Ver. 464. + "Capitalis aedes facta est;" meaning that a murder had been committed in + it.} + </p> + <p> + {Footnote 3: <i>Hallo! Tranio</i>)—Ver. 502. Weise's Edition gives + these words to Theuropides. Rost, no doubt rightly, suggests that these + words are spoken by Philolaches from inside (perhaps in a low voice, to + ask Tranio how matters are going on). On this, Tranio turns it to good + account, by pretending that the Ghost is calling out to him for his + supposed impiety in daring to knock at the door.} + </p> + <p> + {Footnote 4: <i>Hercules, too</i>)—Ver. 514. Hercules having slain + so many monsters, was naturally regarded as a Deity likely to give aid in + extreme danger.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0033" id="link2H_4_0033"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT III.—SCENE I. + </h2> + <h3> + <i>Enter a</i> BANKER, <i>at the end of the stage.</i> + </h3> + <p> + BAN. (<i>to himself</i>). I never knew any year worse for money upon + interest, than this year has turned out to me. From morning even until + night, I spend my time in the Forum; I cannot lend out a coin of silver to + any one. + </p> + <p> + <i>Enter</i> TRANIO. + </p> + <p> + TRA. (<i>apart</i>). Now, faith, I am clearly undone in an everlasting + way! The Banker's here who found the money with which his mistress was + bought. The matter's all out, unless I meet him a bit beforehand, so that + the old man may not at present come to know of this. I'll go meet him. But + (<i>seeing</i> THEUROPIDES) I wonder why he has so soon betaken himself + homeward <i>again</i>. I'm afraid that he has heard something about this + affair. I'll meet him, and accost him. But how dreadfully frightened I am! + Nothing is more wretched than the mind of a man with a <i>guilty</i> + conscience, such as possesses myself. But however this matter turns out, + I'll proceed to perplex it still further: so does this affair require. + </p> + <p> + <i>Enter</i> THEUROPIDES. + </p> + <p> + TRA. (<i>accosting him</i>). Whence come you? + </p> + <p> + THEU. I met that person from whom I bought this house. + </p> + <p> + TRA. Did you tell him anything about that which I was telling you? + </p> + <p> + THEU. I' faith, I certainly told him everything. + </p> + <p> + TRA. (<i>aside</i>). Woe to unfortunate me! I'm afraid that my schemes are + everlastingly undone! + </p> + <p> + THEU. What is it you are saying to yourself? + </p> + <p> + TRA. Why nothing. But tell me, prithee, did you <i>really</i> tell him? + </p> + <p> + THEU. I told him everything in its order, I tell you. + </p> + <p> + TRA. Does he, then, confess about the guest? + </p> + <p> + THEU. Why no; he utterly denies it. + </p> + <p> + TRA. Does he deny it? + </p> + <p> + THEU. Do you ask me again? I should tell you if he had confessed it. What + now are you of opinion ought to be done? + </p> + <p> + TRA. What is my opinion? By my troth, I beg of you, appoint an arbitrator + together with him; but take you care that you appoint one who will believe + me; you'll overcome him as easily as a fox eats a pear {1} + </p> + <p> + BAN. (<i>to himself</i>). But see, here's Tranio, the servant of + Philolaches, <i>people</i> who pay me neither interest nor principal on my + money. (<i>Goes towards</i> TRANIO, <i>who steps forward to meet him.</i>) + </p> + <p> + THEU. (<i>to</i> TRANIO). Whither are you betaking yourself? + </p> + <p> + TRA. I'm going no whither. (<i>Aside.</i>) For sure, I am a wretch, a + rascal, one born with all the Gods my foes! He'll now be accosting me in + the old man's presence. Assuredly, I am a wretched man; in such a fashion + both this way and that do they find business for me. But I'll make haste + and accost him. (<i>Moves towards the</i> BANKER.) + </p> + <p> + BAN. (<i>apart</i>). He's coming towards me. I'm all right; I've some + hopes of my money; he's smiling. + </p> + <p> + TRA. (<i>to himself</i>). The fellow's deceived. (<i>To the</i> BANKER.) I + heartily bid you hail, my <i>friend</i> Saturides {2}. + </p> + <p> + BAN. And hail to you. What about the money? + </p> + <p> + TRA. Be off with you, will you, you brute. Directly you come, you commence + the attack {3} against me. + </p> + <p> + BAN. (<i>apart</i>). This fellow's empty-handed. + </p> + <p> + TRA. (<i>overhearing him</i>). This fellow's surely a conjurer. + </p> + <p> + BAN. But why don't you put an end to this trifling? + </p> + <p> + TRA. Tell me, then, what it is you want. + </p> + <p> + BAN. Where is Philolaches? + </p> + <p> + TRA. You never could have met me more opportunely than you have met me. + BAN. How's that? + </p> + <p> + TRA. (<i>taking him aside</i>). Step this way. + </p> + <p> + BAN. (<i>aloud</i>). Why isn't the money repaid me? + </p> + <p> + TRA. I know that you have a good voice; don't bawl out so loud. BAN. (<i>aloud</i>). + I' faith, I certainly shall bawl out. + </p> + <p> + TRA. O, do humour me <i>now</i>. + </p> + <p> + BAN. What do you want me to humour you in? + </p> + <p> + TRA. Prithee, be off hence home. + </p> + <p> + BAN. Be off? TRA. Return here about mid-day. + </p> + <p> + BAN. Will the interest be paid then? + </p> + <p> + TRA. It will be paid. Be off. + </p> + <p> + BAN. Why should I run to and fro here, or use or waste my pains? What if I + remain here until mid-day in preference? + </p> + <p> + TRA. Why no; be off home. On my word, I'm telling the truth. Only do be + off. + </p> + <p> + BAN. (<i>aloud</i>). Then do you pay me my interest. Why do you trifle <i>with + me</i> this way? + </p> + <p> + TRA. Bravo! faith. Really now, do be off; do attend to me. + </p> + <p> + BAN. (<i>aloud</i>). I' faith, I'll call him now by name. + </p> + <p> + TRA. Bravo! stoutly done! Really you are <i>quite</i> rich now when you + bawl out. + </p> + <p> + BAN. (<i>aloud</i>). I'm asking for my own. In this way you've been + disappointing me for these many days past. If I'm troublesome, give me + back the money; I'll go away <i>then</i>: That expression {4} puts an end + to all replies. + </p> + <p> + TRA. (<i>pretending to offer it him</i>). <i>Then</i>, take the principal + {5}. + </p> + <p> + BAN. (<i>aloud</i>). Why no, the interest; I want that first. + </p> + <p> + TRA. What? Have you, you fellow most foul of all fellows, come here to + burst yourself? Do what lies in your power. He's not going to pay you; he + doesn't owe it. + </p> + <p> + BAN. Not owe it? + </p> + <p> + TRA. Not a tittle, indeed, can you get from here. Would you prefer for him + to go abroad, <i>and</i> leave the city in exile, driven hence for your + sake? Why then, in preference let him pay the {6} principal. + </p> + <p> + BAN. But I don't ask for it. + </p> + <p> + THEU. (<i>calling out to</i> TRANIO, <i>from a distance</i>). Hark you! + you whip-knave, come back to me. + </p> + <p> + TRA. (<i>to</i> THEUROPIDES). I'll be there just now. (<i>To the</i> + BANKER.) Don't you be troublesome: no one's going to pay you; do what you + please. You are the only person, I suppose, that lends money upon + interest. (<i>Moves towards</i> THEUROPIDES.) + </p> + <p> + BAN. (<i>bawling aloud</i>). Give me my interest! pay me my interest! you + pay my interest! Are you going to give me my interest this instant? Give + me my interest! + </p> + <p> + TRA. Interest here, interest there! The old rogue knows how to talk about + nothing but interest. I do not think that ever I saw any beast more vile + than you. + </p> + <p> + BAN. Upon my faith, you don't alarm me now with those expressions. This is + of a hot nature; although it is at a distance off, it scorches badly {7}. + </p> + <p> + TRA. Don't you be troublesome; no one's going to pay you; do what you + please. You are the only person, I suppose, that lends money upon + interest. + </p> + <p> + THEU. (<i>to</i> TRANIO). Pray, what interest is this that he is asking + for? + </p> + <p> + TRA. (<i>in a low voice, to the</i> BANKER). Look now; his father has + arrived from abroad, not long since; he'll pay you both, interest and + principal; don't you then attempt any further to make us your enemies. See + whether he puts you off. + </p> + <p> + BAN. Nay but, I'll take it, if anything's offered. + </p> + <p> + THEU. (<i>to</i> TRANIO, <i>coming towards him</i>). What do you say, <i>then</i>—? + TRA. What is it you mean? + </p> + <p> + THEU. Who is this? What is he asking for? Why is he thus rudely speaking + of my son Philolaches in this way, and giving you abuse to your face? + What's owing him? + </p> + <p> + TRA. (<i>to</i> THEUROPIDES). I beg of you, do order the money to be + thrown in the face of this dirty brute. + </p> + <p> + THEU. I, order it? + </p> + <p> + TRA. Order the fellow's face to be pelted with money. + </p> + <p> + BAN. (<i>coming nearer</i>). I could very well put up with a pelting with + money. + </p> + <p> + THEU. (<i>to</i> TRANIO). What money's this? + </p> + <p> + TRA. Philolaches owes this person a little. + </p> + <p> + THEU. How much? + </p> + <p> + TRA. About forty minae. + </p> + <p> + BAN. (<i>to</i> THEUROPIDES). Really, don't think much of that; it's a + trifle, in fact. + </p> + <p> + TRA. Don't you hear him? Troth now, prithee, doesn't he seem just suited + to be a Banker—a generation that's most roguish? + </p> + <p> + THEU. I don't care, just now, for that, who he is <i>or</i> whence he is; + this I want to be told me, this I very much wish to know—I heard + from him that there was interest owing on the money as well. + </p> + <p> + TRA. Forty-four minae are due to him. Say that you'll pay it, that he may + be off. + </p> + <p> + THEU. I, say that I'll pay it? + </p> + <p> + TRA. Do say so. + </p> + <p> + THEU. What, I? + </p> + <p> + TRA. You yourself. Do only say so. Do be guided by me. Do promise. Come + now, I say; I beg of you. + </p> + <p> + THEU. Answer me; what has been done with this money? + </p> + <p> + TRA. It's safe. + </p> + <p> + THEU. Pay it yourselves then, if it's safe. + </p> + <p> + TRA. Your son has bought a house. + </p> + <p> + THEU. A house? + </p> + <p> + TRA. A house. + </p> + <p> + THEU. Bravo! Philolaches is taking after his father! The fellow now turns + to merchandize. A house, say you? + </p> + <p> + TRA. A house, I tell you. But do you know of what sort? + </p> + <p> + THEU. How can I know? + </p> + <p> + TRA. Out with you! + </p> + <p> + THEU. What's the matter? + </p> + <p> + TRA. Don't ask me <i>that</i>. + </p> + <p> + THEU. But why so? + </p> + <p> + TRA. Bright as a mirror, pure brilliancy <i>itself</i>. + </p> + <p> + THEU. Excellently done, upon my faith! Well, how much did he agree to give + for it? + </p> + <p> + TRA. As many great talents as you and I <i>put together</i> make; but + these forty minae he paid by way of earnest. (<i>Pointing to the</i> + BANKER.) From him he received what we paid the other man. Do you quite + understand? {8} For after this house was in such a state as I mentioned to + you, he at once purchased another house for himself. + </p> + <p> + THEU. Excellently done, upon my faith! + </p> + <p> + BAN. (<i>touching</i> TRANIO). Hark <i>you</i>. Mid-day is now close at + hand. + </p> + <p> + TRA. Prithee, do dismiss this puking fellow, that he mayn't worry us to + death. Forty-four minae are due to him, both principal and interest. + </p> + <p> + BAN. 'Tis just that much; I ask for nothing more. + </p> + <p> + TRA. Upon my faith, I really could have wished that you had asked more, <i>if + only</i> by a single coin. + </p> + <p> + THEU. (<i>to the</i> BANKER). Young man, transact the business with me. + </p> + <p> + BAN. I'm to ask it of you, you mean? + </p> + <p> + THEU. Come for it to-morrow. + </p> + <p> + BAN. I'll be off, <i>then</i>; I'm quite satisfied if I get it tomorrow. + </p> + <p> + (<i>Exit</i> + </p> + <p> + TRA. (<i>aside</i>). A plague may all the Gods and Goddesses send upon + him! so utterly has he disarranged my plans. On my word, no class of men + is there more disgusting, or less <i>acquainted</i> with fair dealing than + the banking <i>race</i>. + </p> + <p> + THEU. In what neighbourhood did my son buy this house? + </p> + <p> + TRA. (<i>aside</i>). Just see that, now! I'm undone! + </p> + <p> + THEU. Are you going to tell me that which I ask you? + </p> + <p> + TRA. I'll tell you; but I'm thinking what was the name of the owner. (<i>Pretends + to think.</i>) + </p> + <p> + THEU. Well, call it to mind, then. + </p> + <p> + TRA. (<i>aside</i>). What am I to do now, except <i>put</i> the lie upon + this neighbour of ours next door? I'll say that his son has bought that + house. I' faith, I've heard say that a lie piping-hot is the best <i>lie</i>; + this is piping-hot; although it is at a distance off, it scorches badly. + Whatever the Gods dictate, that am I determined to say. + </p> + <p> + THEU. Well now? Have you recollected it by this? + </p> + <p> + TRA. (<i>aside</i>). May the Gods confound that fellow!—no, this <i>other</i> + fellow, rather. (<i>To</i> THEUROPIDES.) Your son has bought the house of + this next-door neighbour <i>of yours</i>. + </p> + <p> + THEU. In real truth? + </p> + <p> + TRA. If, indeed, you are going to pay down the money, then in real <i>truth</i>; + if you are not going to pay it, in real truth he has not bought it. + </p> + <p> + THEU. He hasn't bought it in a very good situation. + </p> + <p> + TRA. Why yes, in a very good one. + </p> + <p> + THEU. I' faith, I should like to look over this house; just knock at the + door, and call some one to you from within, Tranio. + </p> + <p> + TRA. (<i>aside</i>). Why just look now, again I don't know what I'm to + say. Once more, now, are the surges bearing me upon the self-same rock. + What now? I' faith, I can't discover what I am now to do; I'm caught in + the fact. + </p> + <p> + THEU. Just call some one out of doors; ask him to show us round. + </p> + <p> + TRA. (<i>going to the door of</i> SIMO's <i>house</i>). Hallo there, you! + (<i>Turning round</i>.) But there are ladies here; we must first see + whether they are willing or unwilling. + </p> + <p> + THEU. You say what's good and proper; just make enquiry, and ask. I'll + wait here outside until you come out. + </p> + <p> + TRA. (<i>aside</i>). May all the Gods and Goddesses utterly confound you, + old gentleman! in such a fashion are you thwarting my artful plans in + every way. Bravo! very good! Look, Simo himself, the owner of the house, + is coming out of doors. I'll step aside here, until I have convened the + senate of council in my mind. Then, when I've discovered what I am to do, + I'll join him. (THEUROPIDES <i>and</i> TRANIO <i>stand at a distance from</i> + SIMO's <i>house, in opposite directions</i>, THEUROPIDES <i>being out of + sight</i>.) + </p> + <p> + {Footnote 1: <i>As a fox eats a pear</i>)—Ver. 543. This may either + mean, very easily indeed, or not at all. It is not clear that a fox will + eat a pear; but if does, his teeth will go through it with the greatest + ease. Not improbably, Tranio uses the expression for its ambiguity.} + </p> + <p> + {Footnote 2: <i>Friend Saturides</i>)—Ver. 552. A nickname coined by + the author, from "satur," "brimful," of money, probably.} + </p> + <p> + {Footnote 3: <i>Commence the attack</i>)—Ver. 564. "Pilum + injecisti." Literally, "you have thrown the dart." "To throw the dart" was + a common expression, signifying to make the first attack;" as the darts + were thrown before recourse was had to the sword.} + </p> + <p> + {Footnote 4: <i>That expression</i>)—Ver. 574. By "hoc verbum" he + probably alludes to the expression, "reddite argentum," "down with the + money."} + </p> + <p> + {Footnote 5: <i>Take the principal</i>)—Ver. 575. He finds he must + say something, so he says this, although he has no money with him. He + knows, however, that the usurer will first insist on the interest being + paid, because if he takes the principal, it will be a legal waver of his + right to claim the interest.} + </p> + <p> + {Footnote 6: <i>Let him pay the</i>)—Ver. 581. "Quin sortem potius + dare licet?" is the reading here, in Weise's Edition; but the line seems + hopelessly incorrect.} + </p> + <p> + {Footnote 7: <i>It scorches badly</i>)—Ver. 592. This line is given + by Gruter to Theuropides, by Acidalius to Tranio, and by Lambinus to the + Banker. The latter seems the most appropriate owner of it; and he probably + alludes, aside, to the effects of his pressing in a loud voice for the + money. Tranio is introduced as using the same expression, in l.650; but + there can be no doubt that the line, as there inserted, is spurious.} + </p> + <p> + {Footnote 8: <i>Do you quite understand</i>)—Ver. 629. Warner + suggests, that by using this expression before the Banker, he intends to + make a secret of the house being haunted, and that he keeps up the mystery + in the succeeding line.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0034" id="link2H_4_0034"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE II.—<i>Enter</i> SIMO, <i>from his house</i>. + </h2> + <p> + SIM. (<i>to himself</i>). I've not enjoyed myself better at home this year + <i>than I have to-day</i>, nor has at any time any meal pleased me better. + My wife provided a very nice breakfast for me; now she bids me go take a + nap. By no means! It instantly struck me that <i>it didn't so happen</i> + by chance. She provided a better breakfast than is her wont; <i>and then</i>, + the old lady wanted to draw me away to my chamber. Sleep is not good {1} + after breakfast—out upon it! I secretly stole away from the house, + out of doors. My wife, I'm sure, is now quite bursting <i>with rage</i> at + home. + </p> + <p> + TRA. (<i>apart</i>). A sore mischance is provided for this old fellow by + the evening; for he must both dine and go to bed in-doors in sorry + fashion. + </p> + <p> + SIM. (<i>continuing</i>). The more I reflect upon it in my mind: if any + person has a dowried <i>wife</i>, sleep has no charms for him. I detest + going to take a nap. It's a settled matter with me to be off to the Forum + from here, rather than nap it at home. And, i' faith (<i>to the</i> + AUDIENCE), I don't know how your <i>wives</i> are in their behaviour; this + <i>wife of mine</i>, I know right well how badly she treats me, <i>and</i> + that she will prove more annoying to me hereafter than she has been. + </p> + <p> + TRA. (<i>apart</i>). If your escape, old gentleman, turns out amiss, + there'll be no reason for you to be accusing any one of the Gods; by very + good right, you may justly lay the blame upon yourself. It's time now for + me to accost this old fellow. 'Tis down upon him. {2} I've hit upon a plan + whereby to cajole the old fellow, by means of which to drive grief {3} + away from me. I'll accost him. (<i>Accosting him</i>.) May the Gods, Simo, + send on you many blessings! (<i>Takes him by the hand</i>.) + </p> + <p> + SIM. Save you, Tranio! TRA. How fare you? + </p> + <p> + SIM. Not amiss. What are you about? + </p> + <p> + TRA. Holding <i>by the hand</i> a very worthy man. + </p> + <p> + SIM. You act in a friendly way, in speaking well of me. + </p> + <p> + TRA. It certainly is your due. + </p> + <p> + SIM. But, i' faith, in you I don't hold a good servant <i>by the hand</i>. + </p> + <p> + THEU. (<i>calling from a distance, where he is not perceived by</i> SIMO). + Hark you! you whip-knave, come back to me. + </p> + <p> + TRA. (<i>turning round</i>). I'll be there just now. + </p> + <p> + SIM. Well now, how soon—? + </p> + <p> + TRA. What is it? SIM. The usual goings-on. + </p> + <p> + TRA. Tell me then, these usual goings-on, what are they? + </p> + <p> + SIM. The way that you <i>yourselves</i> proceed. But, Tranio, to say the + truth, according as men are, it so befits you to humour them; reflecting, + at the same time, how short life is. + </p> + <p> + TRA. What <i>of all this</i>? Dear me, at last, after some difficulty, + </p> + <p> + I perceive that you are talking about these goings-on of ours. + </p> + <p> + SIM. I' faith, you <i>people</i> are living a merry life, just as befits + you: on wine, good cheer, nice dainty fish, you enjoy life. + </p> + <p> + TRA. Why yes, so it was in time past, indeed; <i>but</i> now these things + have come to an end all at once. SIM. How so? + </p> + <p> + TRA. So utterly, Simo, are we all undone! + </p> + <p> + SIM. Won't you hold your tongue? Everything has gone on prosperously with + you hitherto. + </p> + <p> + TEA. I don't deny that it has been as you say; undoubtedly, we have lived + heartily, just as we pleased; but, Simo, in such a way has the breeze now + forsaken our ship— + </p> + <p> + SIM. What's the matter? In what way? + </p> + <p> + TRA. In a most shocking <i>way</i>. + </p> + <p> + SIM. What, wasn't it hauled ashore {4} in safety? + </p> + <p> + TRA. Ah me! SIM. What's the matter? + </p> + <p> + TRA. Ah wretched me! I'm utterly undone! + </p> + <p> + SIM. How so? TRA. Because a ship has come, to smash the hull of our ship. + </p> + <p> + SIM. I would wish as you would wish, Tranio, <i>for your own sake</i>. But + what is the matter? Do inform me. + </p> + <p> + TRA. I will inform you. My master has arrived from abroad. + </p> + <p> + SIM. In that case, the cord will be stretched for you; thence to the place + where iron fetters clink; after that, straight to the cross. + </p> + <p> + TRA. Now, by your knees, I do implore you, don't give information to my + master. + </p> + <p> + SIM. Don't you fear; he shall know nothing from me. + </p> + <p> + TRA. Blessings on you, my patron. + </p> + <p> + SIM. I don't care for clients of this description for myself. + </p> + <p> + TRA. Now as to this about which our old gentleman has sent me. + </p> + <p> + SIM. First answer me this that I ask you. As yet, has your old gentleman + discovered anything of these matters? + </p> + <p> + TRA. Nothing whatever. + </p> + <p> + SIM. Has he censured his son at all? + </p> + <p> + TRA. He is as calm as the calm weather is wont to be. Now he has requested + me most earnestly to beg this of you, that leave may be given him to see + over this house of yours. + </p> + <p> + SIM. It's not for sale. TRA. I know that indeed; but the old gentleman + wishes to build a woman's apartment {5} here in his own house, baths, too, + and a piazza, and a porch. + </p> + <p> + SIM. What has he been dreaming of? + </p> + <p> + TRA. I'll tell you. He wishes to give his son a wife as soon as he can; + for that purpose he wants a new apartment for the women. But he says that + some builder, I don't know who, has been praising up to him this <i>house + of yours</i>, as being remarkably well built; now he's desirous to take a + model from it, if you don't make any objection— + </p> + <p> + SIM. Indeed, he is really choosing a plan for himself from a piece of poor + workmanship. + </p> + <p> + TRA. <i>It was</i> because he heard that here the summer heat was much + modified; that this house was wont to be inhabited each day all day long. + </p> + <p> + SIM. Why really, upon my faith, on the contrary, while there's shade in + every direction, in spite of it, the sun is always here from morning till + night: he stands, like a dun, continually at the door; and I have no shade + anywhere, unless, perhaps, there may be some in the well. + </p> + <p> + TRA. Well now, have you one from Sarsina, if you have no woman of Umbria + {6}? + </p> + <p> + SIM. Don't be impertinent. It is just as I tell you. + </p> + <p> + TRA. Still, he wishes to look over it. + </p> + <p> + SIM. He may look over it, if he likes. If there is anything that takes his + fancy, let him build after my plan. + </p> + <p> + TRA. Am I to go and call <i>this</i> person hither? + </p> + <p> + SIM. Go <i>and</i> call him. + </p> + <p> + TRA. (<i>to himself, as he goes to the other side of the stage to call</i> + THEUROPIDES). They say that Alexander the Great and Agathocles {7} + achieved two very great exploits; what shall be the lot of myself, a + third, who, unaided, am achieving deeds imperishable? This old fellow is + carrying his pack-saddle, the other one, as well. I've hit upon a novel + trade for myself, not a bad one; whereas muleteers have mules to carry + pack-saddles; I've got men to carry the pack-saddles. They are able to + carry heavy burdens; whatever you put upon them, they carry. Now, I don't + know whether I am to address him. I'll accost him, <i>however</i>. (<i>Calling + aloud.</i>) Hark you, Theuropides! + </p> + <p> + THEU. (<i>coming forward</i>). Well; who's calling me? + </p> + <p> + TRA. A servant most attached to his master. Where you sent me, I got it + all agreed to. + </p> + <p> + THEU. Prithee, why did you stay there so long? + </p> + <p> + TRA. The old gentleman hadn't leisure; I was waiting until then. + </p> + <p> + THEU. You keep up that old way of yours, of being tardy. + </p> + <p> + TRA. Hark you! if you please reflect upon this proverb: to blow and + swallow {8} at the same moment isn't easy to be done; I couldn't be here + and there at the same time. + </p> + <p> + THEU. What now? + </p> + <p> + TRA. Come and look, and inspect it at your own pleasure. + </p> + <p> + THEU. Very well, you go before me. + </p> + <p> + TRA. Am I delaying <i>to do so?</i> THEU. I'll follow after you. + </p> + <p> + TEA. (<i>as they advance</i>). Look, the old gentleman himself is awaiting + you before the door, but he is concerned that he has sold this <i>house</i>. + </p> + <p> + THEU. Why so? + </p> + <p> + TRA. He begs me to persuade Philolaches to let him off. + </p> + <p> + THEU. I don't think <i>he will</i>. Each man reaps on his own farm {9}. If + it had been bought dear, we shouldn't have had permission to return it on + his hands. Whatever profit there is, it's proper to bring it home. It + don't, now-a-days, befit men to be showing compassion. + </p> + <p> + TRA. I' faith, you are losing time while you are talking. Follow <i>me</i>. + </p> + <p> + THEU. Be it so. TRA. (<i>to</i> THEUROPIDES). I'll give you my services. (<i>Pointing.</i>) + There's the old gentleman. (<i>To</i> SIMO.) Well now, I've brought you <i>this</i> + person. + </p> + <p> + SIM. I'm glad that you've arrived safely from abroad, Theuropides. THEU. + May the Gods bless you. + </p> + <p> + SIM. Your servant was telling me that you were desirous to look over this + house. + </p> + <p> + THEU. Unless it's inconvenient to you. + </p> + <p> + SIM. Oh no; <i>quite</i> convenient. Do step in-doors and look over it. + THEU. (<i>pausing</i>). But yet—the ladies— + </p> + <p> + SIM. Take you care not to trouble yourself a straw about any lady. Walk in + every direction, wherever you like, all over the house, just as though it + were your own. + </p> + <p> + THEU. (<i>apart to</i> TRANIO). "Just as though—?" + </p> + <p> + TRA. (<i>whispering</i>). Oh, take care that you don't throw it in his + teeth now in his concern, that you have bought it. Don't you see him, how + sad a countenance the old gentleman has? + </p> + <p> + THEU. (<i>apart</i>). I see. TRA. (<i>apart</i>). Then don't seem to + exult, and to be overmuch delighted; <i>in fact</i>, don't make mention + that you've bought it. + </p> + <p> + THEU. (<i>apart</i>). I understand; and I think you've given good advice, + and that it shows a humane disposition. (<i>Turning to</i> SIMO.) What + now? + </p> + <p> + SIM. Won't you go in? Look over it at your leisure, just as you like. + </p> + <p> + THEU. I consider that you are acting civilly and kindly. + </p> + <p> + SIM. Troth, I wish to do so. Should you like some one to show you over. + </p> + <p> + THEU. Away with any one to show {10} me over. I don't want him. SIM. Why? + What's the matter? + </p> + <p> + THEU. I'll go wrong, rather than any one should show me over. + </p> + <p> + TRA. (<i>pointing</i>). Don't you see, this vestibule before the house, + and the piazza, of what a compass it is? + </p> + <p> + THEU. Troth, really handsome! + </p> + <p> + TRA. Well, look <i>now</i>, what pillars there are, with what strength + they are built, and of what a thickness. + </p> + <p> + THEU. I don't think that I <i>ever</i> saw handsomer pillars. + </p> + <p> + SIM. I' faith, they were some time since bought by me at such a price! + </p> + <p> + TRA. (<i>aside, whispering</i>). Don't you hear—"They were <i>once"?</i> + He seems hardly able to refrain from tears. + </p> + <p> + THEU. At what price did you purchase them? + </p> + <p> + SIM. I gave three minae for the two, besides the carriage. (<i>He retires + to some distance.</i>) + </p> + <p> + THEU. (<i>after looking close at them, to</i> TRANIO). Why, upon my word, + they are much more unsound than I thought them at first. + </p> + <p> + TRA. Why so? THEU. Because, i' faith, the woodworm has split them both + from the bottom. + </p> + <p> + TRA. I think they were cut at an improper season; that fault damages them; + but even as it is, they are quite good enough, if they are covered with + pitch. But it was no foreign pulse-eating artisan {11} did this work. + Don't you see the joints in the door? (<i>Pointing.</i>) + </p> + <p> + THEU. I see them. TRA. Look, how close together they are sleeping. + </p> + <p> + THEU. Sleeping? TRA. That is, how they wink, I intended to say. Are you + satisfied? + </p> + <p> + THEU. The more I look at each particular, the more it pleases me. + </p> + <p> + TRA. (<i>pointing</i>). Don't you see the painting, where one crow {12} is + baffling two vultures? The crow stands there; it's pecking at them both in + turn. This way, look, prithee, towards me {13}, that you may be able to + see the crow. (THEUROPIDES <i>turns towards him.</i>) Now do you see it? + </p> + <p> + THEU. (<i>looking about</i>). For my part, I really see no crow there. + </p> + <p> + TRA. But do you look in that direction, towards yourselves, since you + cannot discover the crow, if perchance you may be able to espy the + vultures. (THEUROPIDES <i>turns towards</i> SIMO.) Now do you see <i>them</i>? + </p> + <p> + THEU. Upon my faith, I don't see them. + </p> + <p> + TRA. But I <i>can see</i> two vultures. + </p> + <p> + THEU. To make an end of it with you, I don't see any bird at all painted + here. + </p> + <p> + TRA. Well then, I give it up. I excuse you; it is through age you cannot + see. + </p> + <p> + THEU. These things which I can <i>see</i>, really they do all please me + mightily. + </p> + <p> + SIM. (<i>coming forward</i>). Now, at length, it's worth your while to + move further on. THEU. Troth, you give good advice. + </p> + <p> + SIM. (<i>calling at the door</i>). Ho there, boy! take <i>this person</i> + round this house and the apartments. But I myself would have shown you + round, if I hadn't had business at the Forum. + </p> + <p> + THEU. Away with any one to show me over. I don't want to be shown over. + Whatever it is, I'd rather go wrong than any one should show me over. + </p> + <p> + SIM. The house I'm speaking of. + </p> + <p> + THEU. Then I'll go in without any one to show me over. + </p> + <p> + SIM. Go, by all means. + </p> + <p> + THEU. I'll go in-doors, then. + </p> + <p> + TRA. (<i>holding him back</i>). Stop, please; let me see whether the dog—THEU. + Very well then, look. (TRANIO <i>looks into the passage.</i>) + </p> + <p> + TRA. There is one. THEU. (<i>looking in</i>). Where is it? + </p> + <p> + TRA. (<i>to the dog</i>). Be off and be hanged! 'St, won't you be off to + utter perdition with you? What, do you still linger? 'St, away with you + from here! + </p> + <p> + SIM. (<i>coming nearer to the door</i>). There's no danger. You only move + on. It's as gentle {14} as a woman in childbed. You may boldly step + in-doors wherever you like. I'm going hence to the Forum. + </p> + <p> + THEU. You've acted obligingly. Good speed to you! (<i>Exit</i> SIMO.) + Tranio, come, make that dog move away from the door inside, although it + isn't to be feared. + </p> + <p> + TRA. Nay but (<i>pointing</i>), you look at it, how gently it lies. Unless + you'd like yourself to appear troublesome and cowardly— + </p> + <p> + THEU. Very well, just as you like. + </p> + <p> + TRA. Follow me this way then. + </p> + <p> + THEU. For my part, I shall not move in any direction from your feet. (<i>They + go into the house</i>.) + </p> + <p> + {Footnote 1: <i>Sleep is not good</i>)—Ver. 681. It was a custom + with the Romans to take a nap at noon, after the "prandium." The modern + Italians have the same practice, and call it the "siesta." Simo has his + private reasons for thinking that this nap is not wholesome in his own + case.} + </p> + <p> + {Footnote 2: <i>Down upon him)</i>—Ver. 698. "Hoc habet." Literally, + "he has it;" a term used by the Spectators, when a gladiator received a + wound at the gladiatoral games.} + </p> + <p> + {Footnote 3: <i>By means of which to drive grief)</i>—Ver. 699. He + plays upon the resemblance of the words "dolo" and "dolorem."} + </p> + <p> + {Footnote 4: <i>Wasn't it hauled ashore</i>)—Vet. 723. It was the + custom, when ships were not in use, especially in the winter time, to draw + them up on chore, by means of rollers placed beneath them.} + </p> + <p> + {Footnote 5: <i>A woman's apartment</i>)—Ver. 741. "Gynaeceum." This + was a name borrowed from the Greeks, for the apartments in the house which + were especially devoted to the use of the females.} + </p> + <p> + {Footnote 6: <i>No woman of Umbria</i>)—Ver. 756. This is a poor pun + upon the different acceptations of the word "umbra," which may signify, + according to the context, "shade," or "a woman of Umbria." Simo means it + in the former, while Tranio chooses to take it in the latter sense. Simo + does not like this attempt at wit, and tells him not to be impertinent. We + may here observe, that Plautus was born at Sarsina, a town of Umbria.} + </p> + <p> + {Footnote 7: <i>Agathocles</i>)—Ver. 761. Agathocles rose from the + station of a potter to be king of Sicily.} + </p> + <p> + {Footnote 8: <i>To blow and swallow</i>)—Ver. 777. Or "exhale and + inhale." A proverbial expression, very similar to that in use with us, + that "a person cannot blow hot and cold at the same time."} + </p> + <p> + {Footnote 9: <i>Reaps on his own farm</i>)—Ver. 785. A country + proverb, meaning "every one for himself."} + </p> + <p> + {Footnote 10: <i>Away with any one to show</i>)—Ver. 804. He says + this, not liking the mention of the word "perductor," which, beside + meaning an "attendant" or "one to escort," signifies a "pander" or + "procurer." So in the next line, "perducto" means "to show over" or "to + act the procurer."} + </p> + <p> + {Footnote 11: <i> Foreign pulse-eating artisan</i>)—Ver. 817. From + the use of the word "pultiphagus," he probably alludes to Carthaginian + workmen, who were very skilful at working in wood. In the Poenulus, Hanno + the Carthaginian is called "patruus pultiphagonides," "the pulse-eating + kinsman." If this is the meaning, it is pretty clear that he is not + speaking in praise of the workmanship. Some, however, think that as, in + early times, the lower classes at Rome lived upon "puls," "pap" or + "pottage," the Scene being at Athens, Roman workmen are alluded to; if so, + he may mean to speak in praise of the work, and to say that no bungling + artists made the doors. See the Note in p. 355. The joints are said to + wink, from the close conjunction of the eyelids in the act of winking.} + </p> + <p> + {Footnote 12: <i>Where one crow</i>)—Ver. 821. By the "crow," he + means himself; and by the "vultures," the two old men. Simo is probably + standing at some distance off; and knowing that his master's sight is not + good, he feels that he may deride him with impunity.} + </p> + <p> + {Footnote 13: <i>Towards me</i>)—Ver. 822. "Ad me." Theuropides + thinks he means, "in my direction;" whereas Tranio really means, "look 'at + me,' and you will see the crow;" though he does not intend that his master + shall take it in that sense.} + </p> + <p> + {Footnote 14: <i>It's as gentle</i>)—Ver. 840. This, probably, is + intended to refer to the statue of a dog lying down in the vestibule, and + not a real one. Pictures of dogs, with "cave canem" written beneath, were + sometimes painted on the wall near the door.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0035" id="link2H_4_0035"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT IV.—SCENE I. + </h2> + <h3> + <i>Enter</i> PHANISCUS. + </h3> + <p> + PHA. (<i>to himself</i>). Servants who, though they are free from fault, + still stand in awe of punishment, those same are wont to be serviceable to + their masters. But those who fear nothing, after they have merited + punishment, hit upon foolish plans for themselves: they exercise + themselves in running; they take to flight. But, if they are caught, they + acquire from punishment a hoard, which by good means they cannot. They + increase from a very little, <i>and</i> from that they lay by a treasure. + The resolution that's in my mind is to be determined to be on my guard + against punishment, before my back comes to lose its state of soundness. + As hitherto it has been, so does it become my hide <i>still</i> to be, + without a bruise, and such that I should decline its being beaten. If I + have any control over it, I shall keep it well covered up {1}. When + punishment is being showered down on others, don't let it be showered down + on me. But as servants wish their master to be, such is he wont to be. He + is good to the good, bad to the bad. But now at our house at home there do + live so many rogues, lavish of their property {2}, bearers of stripes. + When they are called to go fetch their master, "I shan't go; don't be + plaguing <i>me</i>; I know where you are hurrying off to," <i>is the reply</i>. + "Now, faith, you mule, you're longing to go to pasturage out of doors + {3}." With better deserts, this advantage have I reaped from them, <i>and</i>, + in consequence, I have come from home. I alone, out of <i>so</i> many + servants, am going to fetch my master. When, to-morrow, my master comes to + know this, in the morning he will chastise them with bull's-hide spoils. + In fine, I care less for their backs than for my own. Much rather shall + they be bull's-hide-scourged than I be rope-scourged {4}. (<i>Moves on.</i>) + </p> + <p> + <i>Enter another</i> SERVANT. + </p> + <p> + SER. Hold you and stop this instant. Phaniscus! look round, I say! + </p> + <p> + PHA. (<i>not turning round</i>). Don't be annoying to me. + </p> + <p> + SER. Do see how scornful the monkey is! + </p> + <p> + PHA. I am so for myself; I choose to be. Why do you trouble yourself about + it? (<i>Walking on.</i>) + </p> + <p> + SER. Are you going to stop this instant, you dirty parasite? PHA. (<i>turning + round</i>). How am I a parasite? + </p> + <p> + SER. Why, I'll tell you: you can be drawn anywhere by victuals. Do you + give yourself airs, because your master's so fond <i>of you</i>? + </p> + <p> + PHA. (<i>rubbing his eyes</i>). O dear, my eyes do ache {5}. + </p> + <p> + SER. Why so? + </p> + <p> + PHA. Because the smoke's <i>so</i> troublesome. + </p> + <p> + SER. Hold your tongue, will you, <i>you clever</i> workman, who are in the + habit of coining money out of lead {6}. + </p> + <p> + PHA. You cannot compel me to be abusive to you. My master knows me. + </p> + <p> + SER. Why, really, his own pillow {7} he ought to know, <i>for resting on + when drunk</i>. + </p> + <p> + PHA. If you were sober, you wouldn't be abusive. + </p> + <p> + SER. Am I to give heed to you, when you won't to me? + </p> + <p> + PHA. But, you rascal, you come along with me to fetch him. + </p> + <p> + SER. Troth now, Phaniscus, prithee, do leave off talking about these + matters. + </p> + <p> + PHA. I'll do so, and knock at the door. (<i>Knocks at the door of the + house of</i> THEUROPIDES.) Hallo there! is there any person here to + protect this door from a most serious injury? (<i>Knocking again.</i>) Is + any one, is any one, I say, coming out here and going to open it? Why, + really, no one comes out here. Just as befits <i>such</i> worthless + fellows, so they are. But on that account, I've the more need to be + cautious that no one may come out and use me ill. (<i>They stand aside.</i>) + </p> + <p> + {Footnote 1: <i>Well covered up</i>)—Ver. 865. He alludes to the + practice of stripping disobedient slaves, for the purpose of flogging + them.} + </p> + <p> + {Footnote 2: <i>Lavish of their property</i>)—Ver. 870. That is, of + their backs.} + </p> + <p> + {Footnote 3: <i>To pasturage out of doors</i>)—Ver. 876. This was + probably a proverbial phrase for going to the "thermopolium," the "hot + liquor-shop" or "tippling-house," so much frequented by the slaves. See + the Trinummus, 1. 1013, and the Note to the passage.} + </p> + <p> + {Footnote 4: <i>bull's-hide-scourged—rope-scourged</i>)—Ver. + 882. "Bucaedae—restio." The latter word properly signifies "a + ropemaker." The former is probably coined by Plautus.} + </p> + <p> + {Footnote 5: <i>My eyes do ache</i>)—Ver. 890. Phaniscus probably + means to say, that the sight of him is as annoying to his eyes as smoke + can be.} + </p> + <p> + {Footnote 6: <i>Money out of lead</i>)—Ver. 892. According to + Erasmus, (Adagia Chil. v. Cent. 1,) this was a proverbial expression among + the Romans, signifying the ability to put on a specious appearance.} + </p> + <p> + {Footnote 7: <i>His own pillow</i>)—Ver. 894. There is an indelicate + allusion in this line; and another turn has been given to it in the + Translation.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0036" id="link2H_4_0036"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE II.—<i>Enter</i> TRANIO <i>and</i> THEUROPIDES, <i>from the + house of</i> SIMO. + </h2> + <h3> + TRA. What's your opinion of this bargain? + </h3> + <p> + THEU. I am quite delighted. + </p> + <p> + TRA. Does it seem to you to have been bought too dear? + </p> + <p> + THEU. I' faith, I'm sure that I never anywhere saw a house thrown away, + this one only excepted. + </p> + <p> + TRA. Does it please you, <i>then</i>? + </p> + <p> + THEU. Does it please me, do you ask me? Why yes, upon my faith, it really + does please me very much. + </p> + <p> + TRA. What a fine set of rooms for the women! What a porch! + </p> + <p> + THEU. Exceedingly fine. For my part, I don't think that there is any <i>porch</i> + larger than this in the public buildings. + </p> + <p> + TRA. Why, I myself and Philolaches have taken the measure of all the + porches in the public buildings. + </p> + <p> + THEU. <i>Well</i>, what then? + </p> + <p> + TRA. <i>This</i> is far larger than all of them. + </p> + <p> + THEU. Immortal Gods—a splendid bargain! On my word, if he were now + to offer six great talents of silver, ready money, for it, I would never + take it. + </p> + <p> + TRA. Upon my faith, if you were inclined to take it, I would never let + you. + </p> + <p> + THEU. My money has been well invested upon this purchase. + </p> + <p> + TRA. Boldly confess that by my advice and prompting it was done, who urged + him to take up the money of the Banker upon interest, which we paid this + person by way of deposit. + </p> + <p> + THEU. You've saved the whole ship. Eighty minae {1}, you say, are owing + for it? + </p> + <p> + TRA. Not a coin more. THEU. He may have it to-day. + </p> + <p> + TRA. By all means so, that there may be no dispute arising; or else pay + them over to me, I'll then pay them over to him. + </p> + <p> + THEU. But still, don't let there be any taking me in, if I do give them to + you. + </p> + <p> + TRA. Could I venture to deceive you in deed or word even in jest only? + </p> + <p> + THEU. Could I venture not to be on my guard against you, so as not to + trust anything to you? + </p> + <p> + TRA. Why, have I ever imposed upon you in anything, since I was your <i>servant</i>? + </p> + <p> + THEU. But I've taken good care <i>of that</i>; I owe thanks to myself and + my own judgment for that. If I'm only on my guard against you solely, I'm + quite wise enough. + </p> + <p> + TRA. (<i>aside</i>). I agree with you. + </p> + <p> + THEU. Now be off into the country; tell my son that I've arrived. + </p> + <p> + TRA. I'll do as you wish. + </p> + <p> + THEIU. Run with all speed; bid him come to the city at once together with + you. + </p> + <p> + TRA. Very well. (<i>Aside.</i>) Now I'll betake myself this way by the + back-door to my boon-companions; I'll tell them that things are quiet + here, and how I have kept him away from here. (<i>Exit.</i> + </p> + <p> + {Footnote 1: <i>Eighty minae</i>)—Ver. 919. Forty having been + already paid (according to his story) as a deposit, and there being 120 + minae in two talents.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0037" id="link2H_4_0037"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE III.—THEUROPIDES, PHANISCUS, <i>and another</i> SERVANT. + </h2> + <p> + PHA. (<i>coming forward</i>). Really, I don't hear either the sound of + revellers here, as once it was, nor yet the music-girl singing, nor any + one else. (<i>Goes towards the door.</i>) + </p> + <p> + THEU. What's the matter here? What are these people seeking at my house? + What do they want? What are they peeping in for? + </p> + <p> + PHA. I shall proceed to knock at the door. (<i>Knocks.</i>) + </p> + <p> + Hallo there, unlock <i>the door</i>! Hallo, Tranio! are you going to open + it, I say? + </p> + <p> + THEU. (<i>advancing</i>). What story's this, <i>I wonder</i>? + </p> + <p> + PHA. (<i>aloud</i>). Are you going to open it, I say? I've come to fetch + my master Callidamates. + </p> + <p> + THEU. Harkye, you lads! what are you doing there? Why are you breaking + down that door? + </p> + <p> + PHA. Our master's at a drinking-party here. + </p> + <p> + THEU. Your master at a drinking-party here? + </p> + <p> + PHA. I say so. + </p> + <p> + THEU. You're carrying the joke too far <i>my</i> lad. + </p> + <p> + PHA. We've come to fetch him. + </p> + <p> + THEU. What person? PHA. Our master. Prithee, how often must I tell you? + </p> + <p> + THEU. There's no one living here <i>my</i> lad; for I do think that you + are a decent lad. + </p> + <p> + PHA. Doesn't a young gentleman <i>called</i> Philolaches live in this + house? + </p> + <p> + SER. (<i>aside</i>). This old fellow's crack-brained, surely. + </p> + <p> + PHA. You are entirely mistaken, respected sir {1}; for unless he moved + from here to-day or yesterday, I know for certain that he's living here. + </p> + <p> + THEU. Why, no one has been living here for these six months past. + </p> + <p> + SER. You are dreaming. THEU. What, I? + </p> + <p> + SER. You. THEU. Don't you be impertinent. Let me speak to the lad. (<i>Pointing + to</i> PHANISCUS.) + </p> + <p> + PHA. No one lives <i>there</i>? O dear— + </p> + <p> + THEU. It's the fact. + </p> + <p> + PHA. Really! why, yesterday and the day before, four, five, six days ago, + all along, <i>in fact</i>, since his father went abroad from here, eating + and drinking have never ceased for a single three days here. + </p> + <p> + THEU. What is it you say? + </p> + <p> + PHA. That eating and drinking have never stopped for a single three days + here, bringing in wenches, living like Greeks, hiring harpists <i>and</i> + music-girls. + </p> + <p> + THEU. Who was it did this? + </p> + <p> + PHA. Philolaches. THEU. What Philolaches? + </p> + <p> + PHA. He whose father I take to be Theuropides. + </p> + <p> + THEU. (<i>apart</i>). O dear, O dear! I'm utterly undone, if he says the + truth in this. I'll continue to question him still. Do you say that this + Philolaches, whoever he is, has been in the habit of drinking here + together with your master? + </p> + <p> + PHA. Here, I tell you. + </p> + <p> + THEU. <i>My</i> lad, contrary to your appearance, you are a fool. See now, + please, that you've not perchance been dropping in somewhere for an + afternoon's whet {2}, and have been drinking there a little more than was + enough. + </p> + <p> + PHA. What do you mean? THEU. Just what I say; don't be going by mistake to + other persons' houses. + </p> + <p> + PHA. I know where I ought to go, and the place to which I was to come. + Philolaches lives here, whose father is Theuropides; and who, after his + father went away to trade, made free a music-girl here. + </p> + <p> + THEU. Philolaches, say you? PHA. Just so; Philematium, I mean. + </p> + <p> + THEU. For how much? SER. For thirty talents. + </p> + <p> + PHA. <i>No</i>, by Apollo {3}; you mean minae. + </p> + <p> + THEU. Do you say that a mistress was purchased for Philolaches for thirty + minae? + </p> + <p> + PHA. I do say so. THEU. And that he gave her her freedom? + </p> + <p> + PHA. I do say so. THEU. And that after his father had departed hence + abroad, he has been carousing here continually with your master? + </p> + <p> + PHA. I do say <i>so</i>. THEU. Well, has he made purchase of the house + next door here? + </p> + <p> + PHA. I don't say <i>so</i>. THEU. Has he given forty minae, too, to this + person, to be as a deposit? + </p> + <p> + PHA. Nor yet do I say <i>so</i>. + </p> + <p> + THEU. Ah me! you've proved my ruin! + </p> + <p> + PHA. Aye, and he has proved the ruin of his father. + </p> + <p> + THEU. You prophesy the truth! I could wish it false! + </p> + <p> + PHA. A friend of his father, I suppose? + </p> + <p> + THEU. Ah me! Upon my faith, you do pronounce him <i>to be</i> a wretched + father. + </p> + <p> + PHA. Why really, this is nothing at all—thirty minae, in comparison + with the other expenses he has incurred in good living. He has ruined his + father. There's one servant there, a very great scoundrel, Tranio <i>by + name</i>; he could even waste the revenue of a Hercules {4}. On my word, + I'm sadly distrest for his father; for when he comes to know that things + have gone on thus, a hot coal will be scorching his breast, poor man. + </p> + <p> + THEU. If, indeed, this is the truth. + </p> + <p> + PHA. What am I to gain, that I should tell a lie? (<i>Knocks again at the + door.</i>) Hallo, you! is any one coming to open this <i>door</i>? + </p> + <p> + SER. Why do you knock in this way, when there's no one in the house? + </p> + <p> + PHA. I fancy that he's gone elsewhere to carouse. Now then, let's begone. + (<i>They move as if going.</i>) + </p> + <p> + THEU. What, <i>my</i> lad, are you off then? Liberty's the overcoat for + your back {5}. + </p> + <p> + PHA. Nothing have I with which to cover my back, except to pay respect and + service to my master. + </p> + <p> + (<i>Exeunt</i> PHANISCUS and SERVANT. + </p> + <p> + THEU. (<i>to himself</i>). By my troth, I am undone! What need is there of + talking? According to the words I have heard, I surely haven't lately + voyaged hence to Aegypt, but even to some desolate land and the most + remote shores have I been borne about, so much am I at a loss to know + where I now am. But I shall soon know; for see, here's the person of whom + my son bought the house. + </p> + <p> + {Footnote 1: <i>Respected sir</i>)—Ver. 944. "Pater," Literally, + "father."} + </p> + <p> + {Footnote 2: <i>An afternoon's whet</i>)—Ver. 958. "Merendam." + According to some, this meal was the same as the "prandium," or + "breakfast;" while others take it to have been a slight meal or luncheon, + taken at about four or five in the afternoon.} + </p> + <p> + {Footnote 3: <i>No, by Apollo</i>)—Ver. 965. {Greek: Ma ton Apollo}. + He uses a Greek adjuration.} + </p> + <p> + {Footnote 4: <i>The revenue of a Hercules</i>)—Ver. 976. It was the + custom with many to devote to Hercules the tenth part of their + possessions. Consequently, the revenues belonging to the Temples of this + Deity would be especially large.} + </p> + <p> + {Footnote 5: <i>The overcoat for your back</i>)—Ver. 982. Schmieder + thinks this is said insultingly to Phaniscus. It would, however, appear + otherwise: Phaniscus having no "paenula," or "overcoat," on, Theuropides, + who thinks him a very worthy fellow, says, "My good fellow, your freedom + would make you a very fine overcoat." } + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0038" id="link2H_4_0038"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE IV.—<i>Enter</i> SIMO. + </h2> + <h3> + THEU. What are you about? + </h3> + <p> + SIM. I'm coming home from the Forum. + </p> + <p> + THEU. Has anything new been going on at the Forum to-day? + </p> + <p> + SIM. Why yes. THEU. What is it, pray? + </p> + <p> + SIM. I saw a dead man being carried to burial. + </p> + <p> + THEU. Dear me! that is something new! + </p> + <p> + SIM. I saw one who was dead being carried out to burial {1}. They said + that he had been alive but just before. + </p> + <p> + THEU. Woe to that head of yours <i>for your nonsense</i>! + </p> + <p> + SIM. Why are you, <i>thus</i> idling about, enquiring after the news? + THEU. Because I've just arrived from abroad. + </p> + <p> + SIM. I'm engaged out to dine: don't suppose I shall invite you {2}. THEU. + I' faith, I don't want. + </p> + <p> + SIM. But, to-morrow, unless any person invites me first, I'll even dine + with you. + </p> + <p> + THEU. I' faith, and that, too, I don't want. Unless you are engaged <i>with + something</i> of greater importance, lend me your attention. + </p> + <p> + SIM. By all means. THEU. You have received, as far as I understand, forty + minae of Philolaches. + </p> + <p> + SIM. Never a coin, so far as I know. + </p> + <p> + THEU. What? <i>Not</i> from my servant Tranio? + </p> + <p> + SIM. Much less <i>is</i> that <i>the case</i>. + </p> + <p> + THEU. Which he gave you by way of deposit? + </p> + <p> + SIM. What are you dreaming about? + </p> + <p> + THEU. What, I? Why, really, 'tis yourself, who hope that, by dissembling + in this manner, you'll be able to make void this bargain. + </p> + <p> + SIM. Why, what <i>do you mean</i>? THEU. The business that, in my absence, + my son transacted with you here. + </p> + <p> + SIM. How did your son, in your absence, transact any business with me? + What pray, or on what day? + </p> + <p> + THEU. I owe you eighty minae of silver. + </p> + <p> + SIM. Not to me, indeed, upon my faith; but <i>still</i>, if you do owe + them, give them me. Faith must be kept. Don't be attempting to deny it. + </p> + <p> + THEU. Assuredly, I shall not deny that I owe them; and I shall pay them. + Do you take care how you deny that you received the forty from him. + </p> + <p> + SIM. Troth now, prithee, look this way at me, and answer me. He said that + you were wishful to give a wife to your son; for that reason, he said that + you intended building on your own <i>premises</i>. + </p> + <p> + THEU. I, intended building here? SIM. So he told me. + </p> + <p> + THEU. Ah me! I'm ruined outright! I've hardly any voice left {3}. + Neighbours, I'm undone, ruined quite! + </p> + <p> + SIM. Has Tranio been causing any confusion? + </p> + <p> + THEU. Yes; he has thrown everything into confusion. He has made a fool of + me to-day in a disgraceful manner. + </p> + <p> + SIM. What is it you say? + </p> + <p> + THEU. This matter is just as I am telling you; he has this day made a fool + of me in an outrageous manner. Now I beseech you that you'll kindly aid + me, and lend me your assistance. + </p> + <p> + SIM. What would you have? + </p> + <p> + THEU. I beg of you, come this way together with me. + </p> + <p> + SIM. Be it so. THEU. Lend me the assistance of your slaves and some + scourges. + </p> + <p> + SIM. Take them <i>by all means</i>. + </p> + <p> + THEU. At the same time I'll tell you about this, in what a fashion he has + this day imposed upon me. (<i>They go into the house of</i> SIMO.) + </p> + <p> + {Footnote 1: <i>Being carried out to burial</i>)—Ver. 991. It is + supposed that in this reply he plays upon the question of Theuropides, who + uses the word "processit" in his question, which may either mean, "what + has been going on?" or "what procession has there been?"} + </p> + <p> + {Footnote 2: <i>I shall invite you</i>)—996. He alludes to the + universal custom of giving friends a "coena viatica," or welcome + entertainment, on arriving from off a journey.} + </p> + <p> + {Footnote 3: <i>I've hardly any voice left</i>)—Ver. 1019. "Vocis + non habeo satis." Literally, "I have not voice enough."} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0039" id="link2H_4_0039"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT V.—SCENE I. + </h2> + <h3> + <i>Enter</i> TRANIO. + </h3> + <p> + TRA. (<i>to himself</i>). The man that shall prove timid in critical + matters, will not be worth a nutshell. And, really, to say what that + expression, "worth a nutshell," means, I don't know. But after my master + sent me into the country to fetch his son hither, I went that way (<i>pointing</i>) + slily through the lane to our garden. At the entrance to the garden that's + in the lane, I opened the door; and by that road I led out all the troop, + both men and women. After, from being in a state of siege, I had led out + my troops to a place of safety, I + </p> + <p> + adopted the plan of convoking a senate of my comrades, and when I had + convoked it, they forthwith banished me from the senate. When I myself + perceived that the matter must be decided by my own judgment, as soon as + ever I could, I did the same as many others do, whose affairs are in a + critical or a perplexed state; they proceed to render them more perplexed, + so that nothing can be settled. But I know full well, that now by no means + can this be concealed from the old man. But how's this, that our next + neighbour's door makes a noise? Why, surely this is my master: I'd like to + have a taste of his talk. (<i>Goes aside, out of sight of</i> + THEUROPIDES.) + </p> + <p> + <i>Enter</i> THEUROPIDES, <i>from</i> SIMO'S <i>house.</i> + </p> + <p> + THEU. (<i>in the doorway, speaking to</i> SIMO'S SLAVES). Do you stand + there, in that spot within the threshold; so that, the very instant I + call, you may sally forth at once. Quickly fasten the handcuffs <i>upon + him</i>. I'll wait before the house for this fellow that makes a fool of + me, whose hide I'll make a fool of in fine style, if I live. + </p> + <p> + TRA. (<i>apart</i>). The affair's all out. Now it's best for you, Tranio, + to consider what you are to do. + </p> + <p> + THEU. (<i>to himself</i>). I must go to work to catch him cleverly and + artfully when he comes here. I'll not disclose to him my feelings all at + once; I'll throw out my line; I'll conceal the fact that I know anything + of these matters. + </p> + <p> + TRA. (<i>apart</i>). O cunning mortal! not another person in Athens can be + pronounced more clever than he. One can no more this day deceive him than + <i>he can</i> a stone. I'll accost the man; I'll address him. + </p> + <p> + THEU. (<i>to himself</i>). Now I do wish that he would come here. + </p> + <p> + TRA. (<i>apart</i>). I' faith, if me indeed you want, here I am ready at + hand for you. (<i>Comes forward.</i>) + </p> + <p> + THEU. Bravo! Tranio, what's being done? + </p> + <p> + TRA. The country people are coming from the country: Philolaches will be + here in a moment. + </p> + <p> + THEU. I' faith, he comes opportunely for me. This neighbour of ours I take + to be a shameless and dishonest fellow. + </p> + <p> + TRA. Why so? + </p> + <p> + THEU. Inasmuch as he denies that he knows you. + </p> + <p> + TRA. Denies it? THEU. <i>And declares</i> that you never gave him a single + coin of money. + </p> + <p> + TRA. Out with you, you are joking me, I do believe; he doesn't deny it. + </p> + <p> + THEU. How so? TRA. I am sure now that you are joking; for surely he + doesn't deny it. + </p> + <p> + THEU. Nay but, upon my faith, he really does deny it; or that he has sold + this house to Philolaches. + </p> + <p> + TRA. Well now, pray, has he denied that the money was paid him? + </p> + <p> + THEU. Nay more, he offered to take an oath to me, if I desired it, that he + had neither sold this house, nor had <i>any</i> money him paid been. I + told him the same <i>that you told me</i>. + </p> + <p> + TRA. What did he say? THEU. He offered to give up all his servants for + examination. + </p> + <p> + TRA. Nonsense! On my faith, he never will give them up. + </p> + <p> + THEU. He really does offer <i>them</i>. + </p> + <p> + TRA. Why then, do you summon him to trial. + </p> + <p> + THEU. Wait a bit; I'll make trial as I fancy. I'm determined on it. TRA. + Bring the fellow here to me. + </p> + <p> + THEU. What then, if I go fetch some men? + </p> + <p> + TRA. It ought to hare been done already; or else bid the young man to + demand possession of the house. + </p> + <p> + THEU. Why no, I want <i>to do</i> this first—to put the servants + under examination {1}. + </p> + <p> + TRA. I' faith, I think it ought to be done. Meantime, I'll take possession + of this altar {2}. (<i>Runs to the altar.</i>) + </p> + <p> + THEU. Why so? TRA. You can understand nothing. Why, that those may not be + able to take refuge here whom he shall give up for examination, I'll keep + guard here for you; so that the examination may not come to nothing. + </p> + <p> + THEU. Get up <i>from the altar</i>. TRA. By no means. + </p> + <p> + THEU. Prithee, don't you take possession of the altar. + </p> + <p> + TRA. Why so? + </p> + <p> + THEU. You shall hear; why, because I especially want this, for them to be + taking refuge there. Do let <i>them</i>; so much the more easily shall I + get him fined before the judge. + </p> + <p> + TRA. What you intend to do, do it. Why do you wish to sow further strife? + You don't know how ticklish a thing it is to go to law. + </p> + <p> + THEU. Just get up, (<i>beckoning</i>) this way; it's, then, to ask your + advice upon something <i>that I want you</i>. + </p> + <p> + TRA. Still, as I am, I'll give my advice from this spot; my wits are much + sharper when I'm sitting {3}. Besides, advice is given with higher + sanction from holy places {4}. + </p> + <p> + THEU. Get up; don't be trifling. Just look me in the face. TRA. (<i>looking + at him</i>). I am looking. + </p> + <p> + THEU. Do you see me? TRA. I do see—that if any third person were to + step in here, he would die of hunger. + </p> + <p> + THEU. Why so? TRA. Because he would get no profit; for, upon my faith, we + are both artful ones. + </p> + <p> + THEU. I'm undone! TRA. What's the matter with you? + </p> + <p> + THEU. You have deceived me. TRA. How so, pray? + </p> + <p> + THEU. You've wiped me clean {5}. TRA. Consider, please, if it wasn't well + done; is your nose running <i>still</i>? + </p> + <p> + THEU. Aye, all my brains besides have you been wiping out of my head as + well. For all your villanies I have discovered from their very roots; and + not from the roots, indeed, i' faith, but even from beneath the very + roots. Never this day, by my troth, will you have planned <i>all this</i> + without being punished. I shall at once, you villain, order fire and + faggots {6} to be placed around you. + </p> + <p> + TRA. Don't do it; for it's my way to be sweeter boiled than roasted. + </p> + <p> + THEU. Upon my faith, I'll make an example of you. + </p> + <p> + TRA. Because I please you, you select me for an example. + </p> + <p> + THEU. Say <i>now</i>: what kind of a person did I leave my son, when I + went away from here? + </p> + <p> + TRA. <i>One</i> with feet <i>and</i> hands, with fingers, ears, eyes, <i>and</i> + lips. THEU. I asked you something else <i>than that</i>. + </p> + <p> + TRA. For that reason I now answer you something else. But look, I see + Callidamates, the friend of your son, coming this way. Deal with me in his + presence, if you want anything. + </p> + <p> + {Footnote 1: <i>Servants under examination</i>)—Ver. 1073. + "Quaestioni." "Examination by torture;" which was the method used by the + Romans for extracting confessions from slaves.} + </p> + <p> + {Footnote 2: <i>Take position of this altar</i>)—Ver. 1074. When a + person took refuge at an altar, he could not be brought to justice, or + have violence offered to his person. According to some writers, there were + always two altars on the stage of Comedy, one on the right hand, sacred to + Apollo, and one on the left, devoted to that Divinity or Hero in honor of + whom the Play was being acted.} + </p> + <p> + {Footnote 3: <i>Sharper when I'm sitting</i>)—1083. Warner suggests + that a little raillery is intended here, upon the custom of sitting when + dispensing justice and paying adoration to the Gods.} + </p> + <p> + {Footnote 4: <i>With higher sanction from holy places</i>)—Ver. + 1084. The ancients made use of sacred places for the purpose of debating + on affairs of importance in, as being likely to add weight and authority + to their judgment. The Roman Senate often met in the Temples, and there + administered justice and gate audience to ambassadors.} + </p> + <p> + {Footnote 5: <i>You've wiped me clean</i>)—Ver. 1089. "Emungo," "to + wipe the nose" for a person, also meant "to cheat" or "impose upon him;" + probably, by reason of the state of helplessness it implied in the party + who was so treated.} + </p> + <p> + {Footnote 6: <i>Order fire and faggots</i>)—Ver. 1099. Though a + suppliant could not be removed from the altar by force, still it was + allowable to burn him away, by surrounding him with fire.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0040" id="link2H_4_0040"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SCENE II.—<i>Enter CALLIDAMATES, at a distance.</i> + </h2> + <p> + CALL. (<i>to himself</i>). When I had buried all drowsiness {1}, and slept + off the debauch, Philolaches told me that <i>his</i> father had arrived + here from abroad; in what a way too <i>his</i> servant had imposed upon + the man on his arrival; he said that he was afraid to come into his + presence. Now of our company I am deputed sole ambassador, to obtain peace + from his father. And look, most opportunely here he is. (<i>Accosting</i> + THEUROPIDES.) I wish you health, Theuropides, and am glad that you've got + back safe from abroad. You must dine here with us to-day. Do so. + </p> + <p> + THEU. Callidamates, may the Gods bless you. For your dinner I offer you my + thanks. + </p> + <p> + CALL. Will you come then? TRA. (<i>To</i> THEUROPIDES.) Do promise him; + I'll go for you, if you don't like. + </p> + <p> + THEU. Whip-scoundrel, laughing at <i>me</i> still? + </p> + <p> + TRA. What, because I say that I'll go to dinner for you? + </p> + <p> + THEU. But you shan't go. I'll have you carried to the cross, as you + deserve. + </p> + <p> + TRA. Come, let this pass, and say that I shall go to the dinner. Why are + you silent? + </p> + <p> + CALL. (<i>to</i> TRANIO). But why, you greatest of simpletons, have you + taken refuge at the altar? + </p> + <p> + TRA. He frightened me on his arrival. (<i>To</i> THEUROPIDES.) Say now, + what I have done <i>amiss</i>. Look, now there's an umpire for us both; + come, discuss <i>the matter</i>. + </p> + <p> + THEU. I say that you have corrupted my son. + </p> + <p> + TRA. Only listen. I confess that he has done amiss; that he has given + freedom to his mistress; that in your absence he has borrowed money at + interest; that, I admit, is squandered away. Has he done anything + different to what sons of the noblest families do? + </p> + <p> + THEU. Upon my faith, I must be on my guard with you; you are too clever a + pleader. + </p> + <p> + CALL. Just let me be umpire in this matter. (<i>To</i> TRANIO.) Get up; + I'll seat myself there. + </p> + <p> + THEU. By all means: take the management of this dispute to yourself. (<i>Pushes + him to one side of the altar.</i>) + </p> + <p> + TRA. Why, this is <i>surely</i> a trick. Make me, then, not to be in a + fright, and yourself to be in a fright in my stead. + </p> + <p> + THEU. I consider now everything of trifling consequence, compared with the + way in which he has fooled me. + </p> + <p> + TRA. I' faith, 'twas cleverly done, and I rejoice that it was done. Those + who have white heads ought at that age to be wiser. + </p> + <p> + THEU. What am I now to do if my friend Demipho or Philonides— + </p> + <p> + TRA. Tell them in what way your servant made a fool of you. You would be + affording most capital plots for Comedies. + </p> + <p> + CALL. Hold your tongue awhile; let me speak in my turn.—Listen. + THEU. By all means. + </p> + <p> + CALL. In the first place of all then, you know that I am the companion of + your son; he has gone to my house, for he is ashamed to come into your + presence, because he knows that you are aware what he has done. Now, I + beseech you, do pardon his simplicity and youthfulness. He is your <i>son</i>; + you know that this age is wont to play such pranks; whatever he has done, + he has done in company with me. We have acted wrong: the interest, + principal, and all the sum at which the mistress vas purchased, all of it + we will find, <i>and</i> will contribute together, at our own cost, not + yours. + </p> + <p> + THEU. No mediator could have come to me more able to influence me than + yourself. I am neither angry with him {2}, nor do I blame him for + anything: nay more, in my presence, wench on, drink, do what you please. + If he's ashamed of this, that he has been extravagant, I have sufficient + satisfaction. + </p> + <p> + CALL. I'm quite ashamed <i>myself</i>. + </p> + <p> + TRA. He grants pardon thus far; now then, what is to become of me? + </p> + <p> + THEU. Filth, tied up as you hang, you shall be beaten with stripes. + </p> + <p> + TRA. Even though I am ashamed {3}? + </p> + <p> + THEU. Upon my faith, I'll be the death of you, if I live! + </p> + <p> + CALL. Make this pardon general; do, pray, forgive Tranio this offence, for + my sake. + </p> + <p> + THEU. I would more readily put up with your obtaining any other request of + me than that I should forbear sending to perdition this fellow for his + most villanous doings. + </p> + <p> + CALL. Pray, do pardon him. TRA. Do pardon me? + </p> + <p> + THEU. Look there, don't you see how the villain sticks there? (<i>Pointing + to the altar.</i>) + </p> + <p> + CALL. Tranio, do be quiet, if you are in your senses. + </p> + <p> + THEU. Only do you be quiet in urging this matter. I'll subdue him with + stripes, so that he shall be quiet. + </p> + <p> + CALL. Really, there is no need. Come now, do allow yourself to be + prevailed upon. + </p> + <p> + THEU. I wish you would not request me. + </p> + <p> + CALL. Troth now, I do entreat you. + </p> + <p> + THEU. I wish you would not request me, I tell you. + </p> + <p> + CALL. It's in vain you wish me not; only do grant this one pardon for his + offence, pray, for my sake, I do entreat you. + </p> + <p> + TRA. Why make this difficulty? As if to-morrow, I shouldn't be very soon + committing some other fault; then, both of them, both this one and that, + you'll be able to punish soundly. + </p> + <p> + CALL. Do let me prevail upon you. + </p> + <p> + THEU. Well then, have it <i>so</i>; begone, unpunished! (TRANIO <i>jumps + down from the altar.</i>) There now, (<i>pointing to</i> CALLIDAMATES) + return him thanks for it. (<i>Coming forward.</i>) Spectators, this Play + is finished; grant <i>us your</i> applause {4}. + </p> + <p> + {Footnote 1: <i>Buried all drowsiness</i>)—Ver. 1102. Generally we + hear of a person "being buried in sleep;" but Callidamates considers that + a drunkard, when he awakes from his sleep, "buries slumber." It is not + unlike the words of Shakspeare, in Macbeth: "Macbeth doth murder sleep!"} + </p> + <p> + {Footnote 2: <i>Neither angry with him</i>)—Ver. 1142. "Illi," "with + him;" evidently meaning Philolaches.} + </p> + <p> + {Footnote 3: <i>Though I am ashamed</i>)—Ver. 1146. This piece of + impudence is very characteristic of Tranio.} + </p> + <p> + {Footnote 4: <i>Grant us your applause</i>)—Ver. 1160. We may here + remark that The Intriguing Chambermaid, one of Fielding's Comedies, is + founded upon this entertaining Play.} + </p> + <div style="height: 6em;"> + <br /><br /><br /><br /><br /><br /> + </div> + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Captiva and The Mostellaria, by Plautus + +*** END OF THIS PROJECT GUTENBERG EBOOK THE CAPTIVA AND THE MOSTELLARIA *** + +***** This file should be named 7282-h.htm or 7282-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/7/2/8/7282/ + + +Text file produced by David Starner, Blain Nelson, Ted Garvin and +the Online Distributed Proofreading Team + +HTML file produced by David Widger + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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