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LIBRARY OF CONGRESS. 
 
 Shelf. 1 1 
 
 UNITED STATES OF AMEEICA. 
 
 I 
 
THE 
 
 MOSTELLARIA OF PLAUTUS, 
 
 WITH EXPLANATORY NOTES 
 
 BY 
 
 E. P. MORRIS, 
 
 DRURY COLLEGE, SPRINGFIELD, MO. 
 
 
 Boston: 
 
 JOHN ALLYN, PUBLISHER. 
 1880. 
 
\4* 
 
 d 
 
 
 Copyright \ 1880, 
 By John Allyn. 
 
 University Press: 
 John Wilson and Son, Cambridge. 
 
PREFACE. 
 
 The text of this edition follows that given in Ramsay's 
 Mostellaria, which is based upon the Codex Vetus of Came- 
 rarius, with corrections from the Codex Decurtatus and the 
 Codex Ursinianus, and from the Milan Palimpsest, wherever 
 that can be read. In a few cases other readings than Ram- 
 say's have been adopted, and in some passages the punctua- 
 tion has been altered. 
 
 The substance of the general Introduction is from 
 Mommsen, and the remarks on the Mostellaria from Lorenz 
 and some other sources. They contain nothing new, but 
 are inserted for the convenience of students. 
 
 The notes are mainly from the editions of which a list 
 is given at the end of the book. I have intended to give 
 credit for all notes which are taken without material change 
 from another edition, but some have been so altered that 
 it seemed hardly correct to attribute them to the editor by 
 whom they were suggested. These, with the few which are 
 original, are therefore left unsigned. 
 
IV PREFACE. 
 
 No attempt has been made to explain the metres of 
 Plautus, partly because so many points about them are still 
 unsettled, partly because they are too difficult for college 
 students. 
 
 I shall be grateful to any one who will notify me of errors 
 
 which can be corrected. 
 
 E. P. MORRIS. 
 
 Drury College, Springfield, Mo. 
 
INTRODUCTION. 
 
 The information which has reached us in regard to the 
 life of Plautus is very scanty. The name by which he is 
 usually known is derived from the Umbrian plotus, Life of 
 " splayfoot." His real name was supposed to be Plautus. 
 Marcus Accius, until Ritschl showed, on the authority of the 
 Milan Palimpsest, that it was T itus M accius. The MSS. and 
 tradition agree in giving Sarsina or Sassina, in Umbria, as 
 his birthplace. The time of his birth is not absolutely 
 certain, but by a comparison of some scattered allusions in 
 Cicero, Gellius, and a few other writers, Ritschl has fixed the 
 date about 254 b. c. The chief authority for the events of 
 the life of Plautus is a passage in Aulus Gellius, Noct. Att. 
 III. 3, quoted from a lost treatise of Yarro. In this passage 
 it is stated that he was employed as a workman in the theatre, 
 that he lost in trade the money thus gained, that he returned 
 to Rome in poverty and earned his living by turning a hand- 
 mill for a baker, and that, while so employed, he wrote three 
 comedies. Gellius gives the names of two of them, but the 
 plays have not been preserved. The most important points 
 in this statement, the low birth of Plautus and his connection 
 with the stage before he began to write, are abundantly con- 
 firmed by internal evidence. The date of his earliest 
 
VI INTRODUCTION. 
 
 appearance as a translator of comedy is fixed by Ritschl 
 about 224. He died in 184. 
 
 The number of plays written by Plautus is not known. 
 
 About a century after his death as many as one hundred 
 
 and thirty passed under his name, though doubts 
 
 Writings. J r > & 
 
 were entertained in regard to the genuineness of 
 many of them, and some critics restricted the number to forty 
 or even to twenty. To remove the uncertainty, a recension 
 of the plays was undertaken by Varro, and the twenty which 
 we now possess, with another, the Vidularia, which has since 
 been lost, were fixed upon by him as undoubtedly authentic ; 
 of the rest, a few were accepted on internal evidence, but the 
 greater part were rejected. The authority of Varro in mat- 
 ters relating to early Latin literature gives us sufficient war- 
 rant for accepting his conclusion as substantially correct. 
 The uncertainty probably arose from the fact that all come- 
 dies, after being presented on the stage, ceased to be the 
 property of the writers and passed into the hands of the 
 managers of the games. It is likely that in this way copies 
 of plays were handed down from one manager to another, 
 and, the names of the authors having been lost, the best of 
 the comedies came to be attributed to the most popular of the 
 early comedians. A somewhat similar relation between the 
 author and the theatre has led, even since the invention of 
 printing, to a like uncertainty in regard to some of the writ- 
 ings of Shakspere. 
 
 While the material for the personal life of Plautus is scanty, 
 the more important particulars concerning the state of Roman 
 Spirit of the literature in his time and the manner of putting the 
 comedies, plays upon the stage are within our reach. Such 
 
INTRODUCTION. Vll 
 
 particulars have an especial value in the study of Plautus ; 
 they are, indeed, necessary to a fair appreciation of his come- 
 dies or to an understanding of the merits which kept them 
 upon the stage for five centuries. It must be remembered 
 that they were written for the sole purpose of amusing a 
 crowd, which was not critical in literary matters, but which 
 expressed its disapprobation by leaving the actors to go on 
 alone, if the play did not prove entertaining. They were writ- 
 ten, too, by a man who knew thoroughly the taste of the 
 audience and the means at his command for satisfying that 
 taste. The plays are for acting, not for reading. It is neces- 
 sary, therefore, for the reader to assume, as far as possible, 
 the attitude of a listener and spectator, to keep in mind the 
 relative positions of the persons upon the stage, to imagine 
 the tones of voice and the inflections with which the words 
 would be spoken, and the expression and gesture which 
 would accompany them ; in short, he must let his fancy supply 
 the " stage business " of the play. Read in this way, the 
 words become thoroughly natural and exhibit great vividness 
 and comic force ; without some such attempt to enter into the 
 spirit of the play, the student will entirely miss the real merit 
 of Plautus as a comedian.* 
 
 Among the marked characteristics of the Roman people is 
 the absence of original artistic power. This is manifest in 
 sculpture, in architecture, in epic and lyric poetry ; Greek 
 
 . comedy in 
 
 but it is nowhere more evident than in the drama. Rome. 
 There were, it is true, the germs of comedy in the rude Fes- 
 cennine verses, which were chanted alternately by two 
 
 * The account of the theatre, the audience, and the Greek originals in their rela- 
 tion to Plautus, is taken mainly from Mommsen, Bk. III. Chap. XIV. 
 
Vlll INTRODUCTION. 
 
 singers, and in the Atellana, a flute-song accompanied by gest- 
 ures, from which, in more favorable circumstances, a national 
 drama might have arisen. But beside the fact that the 
 development of a native school of comedy required a freer 
 enjoyment of life than was natural to the Romans, several 
 causes intervened to check the growth of a Latin drama 
 before it had time to reach maturity. On the one hand, the 
 Romans had, before the time of Plautus, already begun to 
 feel the narrowness of the culture which had sufficed for the 
 early centuries of the Republic, and to desire a broader and 
 better training than their schools afforded. It was to supply 
 this demand that translations of Greek poetry were made for 
 school text-books, and that Greek teachers were employed in 
 the city. On the other hand, the contact with the Greeks of 
 Lower Italy and the influx of foreigners into Rome were 
 having their effect in lowering the seriousness of tone 
 which had formerly prevailed, and in revealing to the people 
 forms of amusement of which they had hitherto been igno- 
 rant. Especially among the common people that demoraliza- 
 tion of manners and life had begun, which ended in producing 
 the idle rabble of the Empire, fed with the public corn and 
 amused at the public expense. Under the combined influence 
 of such causes, the former acting upon the higher classes, the 
 latter upon the lower orders, the public games underwent a 
 radical change. They had consisted of exhibitions of jugglery 
 and rope-dancing, with the simpler kinds of gymnastics, and 
 of a flute song or pantomime for intellectual diversion, but 
 now gladiators were introduced to take the place of the 
 jugglers, and the flute-song gave way to the regular comedy, 
 imported like the school-books from Greece. The more 
 
INTRODUCTION. IX 
 
 valuable plays of the age of Pericles depended largely upon 
 personal caricature and political allusion, and would have 
 been unintelligible to a Roman audience, but the New Com- 
 edy, which at that time held the stage in Greece, was of a 
 different stamp, and to that the directors of the public games 
 turned to supply their need. 
 
 The plays of Menander and Philemon began to appear 
 about the time of the death of Alexander, — a time when 
 political liberty had been lost in Greece, when large The New 
 motives had ceased to move men, and when society Comedy. 
 under a surface of great polish and refinement concealed a 
 corrupt and impoverished life. Only a few fragments of the 
 New Comedy have been preserved, and our knowledge of the 
 plots and the delineation of character is obtained largely 
 from the Roman copies, and will be considered later. From 
 the fragments, however, we may form some conception of the 
 tone and spirit of this school. Like Euripides, whom he 
 greatly admired, Menander departed from the older stand- 
 ards and subjects, and based his plays upon common life. 
 He put upon the stage the men and manners of his time, 
 reproducing the witty dialogue which he heard in society, 
 with its nice attention to polished language, its refined 
 courtesy, and its frequent carelessness about the deeper 
 realities. He did not care to go below the surface or to 
 rouse strong feeling. He appealed to an audience of high 
 average cultivation, accustomed to hearing and criticising 
 poetry. Some of the men who listened to his plays had 
 heard Demosthenes and the best of the Attic orators, and 
 had learned to read from Homer. The philosophy of the 
 age, or at least of the poet, was Epicurean, and inculcated an 
 
X INTRODUCTION. 
 
 easy acquiescence in the conditions of life, whatever they 
 might be, but it was never degraded by Menander into mere 
 pleasure-seeking. On the contrary, it often rose into an 
 earnest appreciation of the higher truths. At all times it 
 was closely connected with every-day affairs, and as it was 
 expressed in clear and almost epigrammatic form, it has 
 given rise to a number of proverbial sayings, some of them 
 still in current use. 
 
 The men who were employed to translate the Greek plays, 
 and prepare them for use on the Roman stage in con- 
 The trans- nection with the public games, were in nearly 
 lators. every case of low birth and of no social standing. 
 
 Plautus was the son of a slave or a poor freedman, was 
 accustomed to the life of slaves, and earned his livelihood 
 by hard labor, and neither his natural pow r ers of wit nor his 
 instinctive poetic sense can have quite supplied the place of 
 the cultivated taste, to which the New Comedy was calculated 
 to appeal. Even his knowledge of Greek must have been 
 acquired from conversation rather than from reading, and he 
 shows no acquaintance with Greek writings other than those 
 which he translated. We must expect, therefore, to find that 
 the best elements of the Greek play could not pass through 
 such a medium, and that much of the beauty was lost in the 
 recasting. 
 
 But beside his own incapacity to reproduce some of the 
 most valuable characteristics of the Greek, the translator was 
 Restrictions f ur ther hampered by restrictions arising from the 
 
 upon trans- x J ° 
 
 lators. severe police supervision, from the rude construction 
 
 of the stage and theatre, and from the character of the audi- 
 ence to which the comedies were to be presented. 
 
INTRODUCTION. XI 
 
 The change in the public games which led to the introduc- 
 tion of the regular comedy was looked upon with suspicion 
 by the Roman magistrates. They had, perhaps, no police su- 
 definite theory of the duties of a good citizen, but pervision. 
 the whole tone of life in the first centuries of the Republic 
 was stern and severe, and the leading men felt an instinctive 
 dislike to the idle amusement of the drama. So while they 
 did not forbid the innovation which naturalized comedy in 
 Rome, they put several embarrassing impediments in its way. 
 For one thing, they refused to allow the erection of a perma- 
 nent theatre, and though a stone building is supposed to have 
 been erected in 179 B.C., it was taken down when the games 
 were over. The plays themselves, also, were subjected to a 
 rigid censorship, and no allusion of any sort to public men or 
 to government measures was allowed. The poet Naevius 
 suffered imprisonment under the strict libel laws for some 
 stage invectives, and so watchful were the police that in the 
 twenty plays of Plautus, written during the stirring times of 
 the Second Punic War, there is only one distant allusion to 
 the conflict which was then going on within and without the 
 city. It is from this cause that a large number of the come- 
 dies contain no refe-rence definite enough to fix the date at 
 which they were produced. Still further, in order to empha- 
 size the fact that comedy was an imported luxury and was 
 only admitted on sufferance, no free Roman appeared as an 
 actor in the time of Plautus, and the poet was forbidden to 
 present his characters as Romans. It was necessary that the 
 play should bear on its face the evidence of its foreign origin. 
 Greek names were therefore retained for the persons, the 
 scene was laid in Greece, the actors wore Greek costumes, 
 
Xll INTRODUCTION. 
 
 and several times the poet, with a violent effort to retain the 
 Greek stand-point, speaks of the Romans as barbari. Though 
 the immediate effect of such a phrase may have been to raise 
 a laugh, the reason for its use lay in the police censorship. 
 
 A second restriction upon the translator arose from the 
 imperfection of the theatre in which the comedies were played, 
 imperfect The stage was a large covered building with open 
 
 stage and ° ° r 
 
 scenery. front, erected anew for each representation, and 
 destined to be pulled down when the games were over. 
 It presented a street-scene, with the fronts of a few houses 
 projecting from the rear wall, sometimes with gardens or 
 porches before them, and with side-streets leading to the 
 back of the stage. There was no acoustic arrangement to 
 aid the voice of the actor, and no machinery by which the 
 interior of a house could be shown. All the action of the 
 play, therefore, took place in the street. In front of this 
 rough structure, a semicircular space was marked off by a 
 high fence, and was cut into terraces or simply sloped toward 
 the stage. No seats seem to have been provided, but specta- 
 tors brought stools or benches, and established themselves 
 wherever they could find room. The custom of reserving the 
 best places for senators did not arise until just before the 
 death of Plautus. 
 
 The translator was also restricted by the character of the 
 Roman audience. We have seen that the .regular comedy 
 Theau- came in as a part of the public games, taking the 
 dience. place of the flute-song and pantomime. It therefore 
 inherited, so to speak, the same audience, made up of the 
 lowest orders of the people. The ruling classes took no 
 interest in it, and the fact, just mentioned, that room was not 
 
INTRODUCTION. Xlll 
 
 reserved for senators shows that the senators did not ordina- 
 rily attend the performances. Nor were the games, as a 
 whole, at this time, of such a kind as to attract the more 
 sober and intelligent among the middle classes. But the 
 thriftless workmen, the petty tradesmen, and all the swarming 
 idlers and beggars of a great city came to the games and sat 
 as spectators of the comedies. Women and children were 
 admitted, and only slaves seem to have been shut out. Prob- 
 ably the audience was not superior in intelligence to those 
 which attend the more respectable minstrel and variety shows 
 of the present day. There are passages here and there in 
 Plautus, chiefly in the prologues, which show that the specta- 
 tors conducted themselves in a somewhat disorderly fashion, 
 and that the police had to interfere to allow the play to go 
 on. People came in and went out during the performance? 
 and the crowding for standing-room did not cease when the 
 play began. The fact that an actor sometimes turns in the 
 midst of the dialogue to address an explanation or a joke 
 directly to the spectators, suggests that they may have 
 responded with open criticism of the play or the acting. In 
 such circumstances the poet was compelled to think first of 
 holding his audience, and to put literary excellence in the 
 second place. The epilogue to the Captivi, in which Plautus 
 claims for that comedy the merit of decency and artistic 
 propriety, shows that he felt the restriction, and would have 
 been glad to throw the blame for the low tone of his plays 
 upon the low taste of his hearers. 
 
 By such translators, under such police supervision, and for 
 such a public, the plays of the New Comedy were put upon 
 the Roman stage. It is worth while to consider what was 
 
INTRODUCTION. 
 
 lost in the transfer from Greece to Italy, what was retained of 
 the original, and what was added by the Latin poet. 
 
 The graceful wit, the polish of manners, the delicate shades 
 of expression which marked the New Comedy, were beauties 
 Features f t00 fragile a sort to bear transportation to the 
 translation. Roman stage. The translators could not feel them, 
 the language could not express them, and the audience 
 could not appreciate them. The Epicurean philosophy, too, 
 which made Menander a favorite with Horace, had, in the time 
 of Plautus, taken no hold in Rome, and if it had been incor- 
 porated in the translation, would have been wearisome to the 
 listeners, and would have added to the suspicion with which 
 comedy was regarded by the magistrates. The two leading 
 features of the Greek, then, were lost in translation. 
 
 It has been said that the fragments of the Attic comedy of 
 Menander and Philemon are too scanty to give a very distinct 
 Elements ij ea f the plots or of the delineation of character 
 
 retained. 
 
 Plots. in the complete plays. But the fact that Plautus 
 and Terence, in other respects so different, agree in these 
 directions, and that Terence acknowledges his obligation to 
 the Greek writers for his plots, makes it quite certain that in 
 these two particulars the Roman comedy followed its original. 
 The plays are very much alike in outline. They usually turn 
 upon the intrigues by which a young man succeeds in out- 
 witting his father, and getting possession of his mistress or 
 avoiding detection in some financial irregularity. The lead- 
 ing character is generally a slave, who acts as confidential 
 adviser to the son, and by his knavery and effrontery brings 
 the difficulties to a happy conclusion. The play is apt to end 
 in a reconciliation between father and son, in the pardon or 
 
INTRODUCTION. XV 
 
 manumission of the slave, and in a marriage between the 
 young man and his mistress, who proves to be the long-lost 
 daughter of an Athenian citizen. The same scenes recur 
 again and again, and the same machinery of credulous old 
 men, concealed listeners, angry masters, cheating slaves and 
 hungry parasites is used in almost every play. For the 
 characters, too, the Roman play is deeply indebted 
 
 Characters. 
 
 to the Greek, and these, like the plot, are inclined 
 to be somewhat mechanical. The old men are varieties of 
 two types, — the first, stingy and fretful, suspicious of all about 
 them, and egregiously deceived in spite of their watchfulness ; 
 the second, free and easy, full of puns and jokes, sympathiz- 
 ing with the younger men and helping on the roguery of the 
 play. Sometimes the avarice is made most prominent, or the 
 querulous anxiety; occasionally the father is shown in a 
 repentant mood, regretting his previous harshness toward his 
 son ; in a few cases the old men have a suggestion of Falstaff. 
 But whatever the variation, it is slight, and the two classes 
 above-mentioned cover nearly all cases. The young men, 
 who play the part of lovers, seem rather pale in comparison 
 with the elaborately drawn heroes of modern fiction. They 
 all devote themselves to their mistresses in a somewhat selfish 
 fashion, exhibit an equal fear of the paternal anger and an 
 equal lack of presence of mind, when troubles rise, and they 
 all, with one consent, put their affairs into the hands of their 
 valets. They might exchange cloaks and names without 
 doing much violence to the unity of the play. The young 
 women are Athenian hetaerae, and show no more diversity of 
 disposition than their admirers. It may be noticed, however, 
 that in the Mostellaria there is a very evident distinction, 
 
XVI INTRODUCTION. 
 
 carefully preserved, between Callidamates and Delphium on 
 the one side, and Philolaches and Philematium on the other. 
 But it is when we come to the slave-world that individuality 
 and vividness appear in the delineations. And here it is 
 difficult to determine how much is to be attributed to the 
 original, and how much may be supposed to come from 
 Plautus himself. It is safe to say that the life of the poet 
 had made it easy for him to appreciate and render with great 
 naturalness the infinite variety of character among those who 
 were not compressed into one mold by the force of social 
 standing and public opinion. Whether the suggestions came 
 from Menander or from the experience of Plautus, the spirit 
 is thoroughly natural. Among the slaves the confidential 
 attendant and valet comes first. He shares the pleasures 
 and conducts the plots of his young master, either taking the 
 lead altogether, or prompting to trickery and planning the 
 method of escape, or coming in as the unwilling sharer of the 
 danger, the scape-goat, who bears the anger of the deceived 
 father. In some few places we have the good slave, a model 
 to his fellows, abused by them for his faithfulness, and taking 
 • his revenge in sarcastic monologues. In two or three plays a 
 slave from the farm comes upon the stage, dressed in goat- 
 skin, the butt of the more fortunate dwellers in the city. In 
 the Aulularia and Rudens the slaves try to pilfer on their 
 own account; in the Menaechmi the slave is his master's 
 guardian and prudent adviser ; in the Captivi the devotion of 
 a slave to his master is so real and touching as to be almost 
 tragic ; in the Amphitruo is a most vivid picture of a confused 
 and well-meaning coward, and the Stichus concludes with a 
 very pretty and graceful banquet of three slaves. Among the 
 
INTRODUCTION. XV11 
 
 women there is perhaps less variety, but they range between 
 the extremes of a coquettish young house-maid and an old 
 duenna. In several of the plays the parasites occupy a large 
 place, standing just above the slaves in the social scale. 
 They are professional diners-out, who pay for an invitation by 
 puns or by submitting to rough practical jokes. They hang 
 about the market-place in the hope of getting a dinner, and 
 accept the proposal of a patron with the proviso that they are 
 to be excused if any one shall make them a better offer. 
 
 There are occasional traces of delicacy and refinement 
 which may be supposed to be due to the influence of the Greek 
 original, or to be the result of the natural good Mixture of 
 
 & ' # & Greek and Ro- 
 
 taste of Plautus himself. But beyond this, while man elements. 
 the Greek form and dress are retained in obedience to the 
 law against presenting Romans on the stage, the tone of a 
 character or of a whole play is sometimes thoroughly Roman. 
 In total disregard of the fact that the play is supposed to be 
 Greek, names of places in Rome are mentioned and neigh- 
 boring towns are spoken of, as if the scene were in the city 
 itself. The result is a ludicrous mixture of Greek and Roman 
 names, and of customs from either country. This is doubtless 
 due in part to the carelessness of the translator, but still 
 more to the fact that he did not attempt to retain the Greek 
 spirit of the play, and thought only of evading the police 
 censorship. 
 
 There remain a few general features of the plays, which are 
 not found in the more exact translations of Terence, and 
 which are certainly to be attributed to Plautus him- influence of 
 
 J Plautus in 
 
 self. The comic element is largely due to an the plays. 
 overflowing current of good-nature, of good-humor, of fun 
 
XV111 INTRODUCTION. 
 
 and boisterous frolic. It shows itself frequently in the utter 
 absurdity of the trickery practised by slaves, when plans are 
 made upon the spur of the moment, which afford a temporary 
 relief only to plunge the plotter into a worse predicament at 
 the next turn of affairs ; or in the beatings and threats dis- 
 tributed by an angry master ; or in the enormous cowardice 
 and perplexity of some braggart slave, who has just been 
 boasting of his exploits in war. The punishments inflicted 
 upon slaves, or more often threatened only, assume in the 
 hands of Plautus a hundred comic shapes. When a slave is 
 loaded with chains, he is an iron-rubber, or an iron-bearing 
 shrub ;* if he is tied with ropes, he is a dealer in cords ; when 
 he is flogged, he is a bottomless abyss of rods, or an anvil, or 
 a garden well watered with blows, or he is melted by the heat 
 of the scourge. His back is the sheet of paper and the rods 
 are pens, or it is a richly embroidered carpet, or a sieve punc- 
 tured by the goad. If he steals, and is branded with the 
 word fur, he is literatus, the man of three letters. A slave 
 who has been flogged and sent in irons to work the grinding- 
 mill, reports that he has been engaged in the iron trade at the 
 mills, as a captain in the hammering department. So also 
 the victim of fraud is treated in a variety of humorous ways. 
 He is shaved, sheared, loaded with lies, disjointed, picked to 
 pieces like old rope, led about by the nose, painted over with 
 tricks, shot at by arrows of deception, molded like a lump 
 of clay, or bitted, bridled and ridden by his deceiver. And 
 often these ideas are compressed into a single graphic word, 
 coined for the occasion, and used as a term of abuse. Equally 
 
 * Many of the following examples are from Ramsay, who gives very complete 
 lists in Excurs. XV.-XV1I. 
 
INTRODUCTION. XIX 
 
 rich is the vocabulary of terms of endearment, showered 
 upon the object of affection by some admiring fellow-slave. 
 This form of wit is not keen or brilliant, and the critical 
 judgment may not rate it very high, yet it appeals to a love of 
 fun, which is a part of human nature by no means deserving 
 of condemnation. It is to a very similar overflow of animal 
 spirits that some parts of the Pickwick Papers owe their 
 effect, and a similar spirit of exaggeration on the modern 
 stage has produced the Christmas pantomime and the comic 
 opera. 
 
 Apart from the question of literary or artistic merit, the 
 plays of Plautus present a curious and invaluable picture of 
 the meeting of two civilizations, the one in its period Historical 
 
 to r value ot the 
 
 of decline with all its glory in the past, the other comedy, 
 still rising toward its highest point of splendor, but with the 
 possibility of decay already beginning to appear. A large 
 part of the New Comedy must have been quite foreign to 
 Roman manners. In family life, in religious feeling, in phil- 
 osophy, in the conduct of public affairs, in culture, in all 
 forms of art, and especially in language and literature, the 
 two races stood at very different points of their history. At 
 no other time can they be so well contrasted and compared. 
 
 MOSTELLARIA. 
 
 The name Mostellaria is derived from monstram through 
 the intermediate form mostellum, which, though it does not 
 appear to be found in use, would be a diminutive of 
 
 Name 
 
 monstrnm. Comp. liber, libellus,labntm,labellum. From 
 
 this comes the adjective mostellaria (sc. fabula). Such 
 
XX INTRODUCTION. 
 
 adjective forms stand as titles to the Aulularia, Cistellaria, 
 and Asinaria. Rost suspects that they were given by the 
 grammarians to supply the loss of the real names. 
 
 The Greek original of the Mostellaria can be determined 
 only by conjecture, but that points with reasonable certainty 
 The Greek to the Phasma of Philemon. Festus, in quoting 
 original. f r0 m this play, twice calls it the Phasma. The 
 plays of Menander and Theognetus bearing that name seem 
 to have had plots different from that of the Mostellaria, 
 while the fact that the Mercator and Trinummus are from 
 Philemon shows that Plautus was accustomed to translating 
 from him. 
 
 This play is one of those which cannot be dated with cer- 
 tainty. In I. i. 41, the phrase unguenta exotica is used in 
 Date of the such a way as to give the impression that foreign 
 Mostellaria. perfumes were rare. Pliny the Elder speaks of a de- 
 cree in the year 189 against the sale of unguenta exotica, and it 
 is possible that the words in the play may refer to a fact which 
 would be well known to the audience. Also the reference in 
 II. 1. 79-80 to funeral games, which, in the opinion of Ritschl, 
 had been held in only two instances before the death of 
 Plautus, viz., in 226 and 200, may be an indication that the 
 play was not performed before the earlier date. 
 
 There is no prologue to the Mostellaria, as to most of 
 the plays of Plautus. This is the less to be regretted, as 
 Prologue many of the prologues seem to lessen the interest by 
 
 and argu- ° 
 
 ment revealing too much of the plot. It is, besides, the 
 opinion of most scholars that they are spurious, and be- 
 long to the century after the death of Plautus. The argu- 
 ments in acrostic form, which are prefixed to the plays, were 
 
INTRODUCTION. XXI 
 
 written by some grammarian either in the seventh century of 
 the city, or in the age of the Antonines. They imitate the 
 language of Plautus, but with occasional mistakes. 
 
 Several of the names, Phaniscus, Callidamates, Philolaches, 
 and Theuropides, seem to be used only for the sound, to re- 
 mind the spectators that the play is Greek. Simo is Dramatis 
 a common name for an old man in comedy. Phile- personae. 
 matium (from cj)i\rjp.a) is given for its meaning, " Little Kiss," 
 Kiisschen, and the diminutive termination in that and in 
 Delphium is added in accordance with a common Latin cus- 
 tom. Misargurides (from /uo-ea> and apyvpos, with patronymic 
 termination), " Money-hater's-son," is an ironical name for 
 the usurer. 
 
 The scene, as in eleven other plays of Plautus, is place 
 laid in Athens, and the time of the opening is a and time, 
 little before noon. 
 
 In the Mostellaria, the stage presented two or more houses 
 standing side by side, with small gardens in front of them, 
 
 and before one, at least, a vestibulwm. This was a 
 
 Stage. 
 porch, either over the front door between the pro- 
 jecting wings of the house, or in the garden, detached from 
 the rest of the building. Upon the stage stood also an 
 altar, which was originally an evidence of the religious char- 
 acter of the performance, but which in the time of Plautus 
 had become merely one of the stage properties. It is used in 
 several of the plays as a place of refuge. 
 
 The costumes were Greek, in accordance with fhe law 
 which forbade the presentation of a Roman citizen on the 
 stage. The men wore a white sleeveless tunic, over Dress of 
 which was thrown the pallium, a short robe which was actors. 
 
XX11 INTRODUCTION. 
 
 white in the case of the old men, and of a bright color, purple 
 or red, in the case of the younger men. The slaves, Phanis- 
 cus and Tranio, wore over the tunic a short mantle, and 
 probably Grumio had the dress given to rustics, a goat-skin 
 cloak, with a pack and staff. The young women, as meretrices, 
 wore a short tunic, covered by a dark or variegated robe. 
 
 The division into five acts is retained in this text for con- 
 venience, but no such division existed in the time of Plautus. 
 Acts and i n this play the stage is vacant only after III. 2, 
 
 scenes. ■* ° J 
 
 Cantica. IV. 4, and possibly I. 1. It is not likely, however, 
 that any pause was made at these points. The tibicen appears 
 to have played one interlude in each comedy, and this is 
 placed by Lorenz after I. 4, while the feast was continued in 
 pantomime on the stage. 
 
 Three Cantica or lyrical monologues occur in this play, viz., 
 I. 2, III. 2. 1-2 1, except lines 11 and 12, and IV. 1. 1-25. 
 These were originally sung by the actor with an accompani- 
 ment played by the tibicen, but since they required violent 
 exertion of the body and the voice, a singer, cantor, was 
 introduced by Livius Andronicus to sing the words, while the 
 actor made the appropriate gesticulation. 
 
 
T. MACCI PLAVTI MOSTELLARIA. 
 GRAECA PHASMA. 
 
 Argvmentvm. 
 
 Manumisit emptos suos amores Philolaches, 
 Omnemque apsente rem suo apsumit patre. 
 Senem, ut revenit, ludificatur Tranio : 
 Terrifica monstra dicit fieri in aedibus, 
 Et inde primum emigratum. Intervenit 
 Lucripeta faenus faenerator postulans, 
 Ludusque rursum fit senex : nam mutuom 
 Acceptum dicit pignus emptis aedibus. 
 Requirit, quae sint. Ait, vicini proxumi. 
 Inspectat illas ; post se derisum dolet ; 
 Ab sui sodale gnati exoratur tamen. 
 
Personae. 
 
 Tranio Servos. 
 Grvmio Servos. 
 Philolaches Advlescens. 
 Philemativm Meretrix. 
 scapha ancilla. 
 Callidamates Advlescens- 
 Delphivm Meretrix. 
 Pver. 
 
 Thevropides Senex. 
 Pediseqvi. 
 
 mlsargvrides danista. 
 Simo Senex. 
 Phaniscvs Advorsitor. 
 Advorsitor. 
 
 LORARII. 
 
ACTVS I. SCENA I. 
 
 Grvmio. Tranio. 
 
 GR. Exi e culina, sis, foras, mastigia, 
 Qui mi inter patinas exhibes argutias. 
 Egredere, herilis pernicies, ex aedibus. 
 Ego pol te ruri, si vivam, ulciscar probe. 
 Exi, inquam, nidor, e culina. Quid lates ? 5 
 
 TR. Quid tibi, malum, hie ante aedis clamatio est ? 
 An ruri censes te esse ? Apscede ab aedibus ! 
 Abi rus ! abi dierecte ! apscede ab ianua ! 
 En, hocine volebas ? GR. Perii, cur me verberas ? 
 TR. Quia tu vis. GR. Patiar. Sine modo adveniat 
 * senex : J o 
 
 Sine modo venire salvom, quern apsentem comes. 
 77?. Nee veri simile loquere nee verum, frutex, 
 Comesse quemquam ut quisquam apsentem possiet. 
 GR. Tu, urbanus vero scurra, deliciae popli, 
 Rus mihi tu obiectas ? Sane credo, Tranio, J 5 
 
 Quod te in pistrinum scis actutum tradier. 
 Cis, hercle, paucas tempestates, Tranio, 
 Augebis ruri numerum, genus ferratile. 
 Nunc dum lubet licetque, pota, perde rem, 
 Corrumpe herilem [filium], adulescentem optumum : 20 
 Dies noctesque bibite, pergraecamini ; 
 
4 PLAVTI MOSTELLARIA. 
 
 Arnicas emite, liberate : pascite 
 
 Parasitos : opsonate pollucibiliter ! 
 
 Haecine mandavit tibi, quom peregre hinc iit, senex ? 
 
 Hocine modo hie rem curatam offendet suam ? 25 
 
 Hocine boni esse officium servi existumas, 
 
 Vt heri sui corrumpat et rem et filium ? 
 
 Nam ego ilium corruptum duco, quom his factis studet ; 
 
 Quo nemo adaeque iuventute ex omni Attica 
 
 Antehac est habitus parcus nee magis continens, 3° 
 
 Is nunc in aliam partem palmam possidet. 
 
 Virtute id factum tua et magisterio tuo. 
 
 TR. Quid tibi, malum, me, aut quid ego agam, curatio est ? 
 
 An ruri, quaeso, non sunt, quos cures, bovis ? 
 
 Lubet potare, amare, scorta ducere : 35 
 
 Mei tergi facio haec, non tui, fiducia. 
 
 GR. Quam confidenter loquitur ! fue ! 77?. At te 
 
 Iuppiter 
 Dique omnes perdant : oboluisti allium, 
 Germana inluvies, rusticus, hircus, hara suis, 
 Canes capra commixta ! GR. Quid vis fieri ? 4° 
 
 Non omnes possunt olere unguenta exotica, 
 Si tu oles ; neque superior quam herus accumbere, 
 Neque tarn facetis, quam tu vivis, victibus. 
 Tu tibi istos habeas turtures, piscis, avis ; 
 Sine me alliato fungi fortunas meas. 45 
 
 Tu fortunatus ; ego miser. Patiunda sunt. 
 Meum bonum me, te tuum maneat malum. 
 TR. Quasi invidere mihi hoc videre, Grumio, 
 
ACTVS I. SCENA I. 5 
 
 Quia mihi bene est, et tibi male est. Dignissumum est. 
 
 Decet me amare, et te bubulcitarier ; 5° 
 
 Me victitare pulcre, te miseris modis. 
 
 GR. O carnuficium cribrum, quod credo fore : 
 
 Ita te forabunt patibulatum per vias 
 
 Stimulis, si hue reveniat [quam primum] senex. 
 
 TR. Qui scis, an tibi istuc eveniat prius quam mihi ? 55 
 
 GR. Quia numquam merui : tu meruisti, et nunc meres. 
 
 TR. Orationis operam compendi face, 
 
 Nisi te mala re magna mactari cupis. 
 
 GR. Ervom daturin' estis, bubus quod feram ? 
 
 Date aes si non estis. Agite, porro pergite, 6o 
 
 Quoniam occepistis ! bibite ! pergraecamini ! 
 
 Este ! effercite vos ! saginam caedite ! 
 
 TR. Tace atque abi rus : ego ire in Piraeum volo, 
 
 In vesperum parare piscatum mihi. 
 
 Ervom tibi aliquis eras faxo ad villam adferat. 65 
 
 Quid est ? quid tu me nunc optuere, furcifer ? 
 
 GR. Pol tibi istuc credo nomen actutum fore. 
 
 77?. Dum interea sic sit, istuc * actutum ' sino. 
 
 GR. Ita est ; sed unum hoc scito, nimio celerius 
 
 Venire quod molestum est, quam illud quod petas. 7° 
 
 TR. Molestus ne sis : nunc iam i rus, te amove. 
 
 Ne tu erres, hercle, praeterhac mihi non facies moram. 
 
 GR. Satin' abiit, neque, quod dixi, flocci existumat ? 
 
 Proh di inmortales, opsecro vostram fidem, 
 
 Facite, hue ut redeat noster quam primum senex, 75 
 
 Triennium qui iam hinc abest, priusquam omnia 
 
PLAVTI MOSTELLARIA. 
 
 Periere, et aedis et ager. Qui nisi hue redit, 
 
 Paucorum mensum sunt relictae reliquiae. 
 
 Nunc rus abibo : nam eccum herilem filium 
 
 Video, corruptum ex adulescente optumo. 8° 
 
 ACTVS I. SCENA II. 
 
 Philolaches. 
 
 Recordatus multum et diu cogitavi, 
 
 Argumentaque in pectus multa institui 
 
 Ego, atque in meo corde, si est quod mihi cor, 
 
 Earn rem volutavi et diu disputavi, 
 
 Hominem quoius rei, quando natus est, 5 
 
 Similem esse arbitrarer simulacrumque habere. 
 
 Id repperi iam exemplum. 
 
 Novarum aedium esse arbitror similem ego hominem, 
 
 Quando hie natus est. Ei rei argumenta dicam. 
 
 Atque hoc haud videtur veri simile vobis ? I0 
 
 At ego id faciam esse ita ut credatis. 
 
 Profecto, ita esse ut praedico vera, vincam : atque hoc 
 
 vosmet ipsi, 
 Scio, proinde uti nunc ego esse autumo, 
 Quando dicta audietis mea, haud aliter id dicetis. 
 Auscultate, argumenta dum dico ad hanc rem : T 5 
 
 Simul gnarures vos volo esse hanc rem mecum. 
 
ACTVS I. SCENA II. 7 
 
 Aedes quom extemplo sunt paratae, expolitae, 
 
 Factae probe, examussim : 
 
 Laudant fabrum atque aedes probant ; sibi quisque inde 
 exemplum expetunt. 
 
 Sibi quisque simile, suo usque sumptu ; operam non par- 
 cunt suam. 20 
 
 Atque ubi illo inmigrat nequam homo indiligensque 
 
 Cum pigra familia, inmundus, instrenuus : 
 
 Hie iam aedibus vitium additur, bonae quom curantur 
 male. 
 
 Atque illud saepe fit : tempestas venit, 
 
 Confringit tegulas imbricesque : ibi 25 
 
 Dominus indiligens reddere alias nevolt. 
 
 Venit imber, lavit parietes : perpluont 
 
 Tigna ; putrefacit aer operam fabri : 
 
 Nequior factus iam est usus aedium ; 
 
 Atque haud est fabri culpa. Sed magna pars 3° 
 
 Moram hanc induxerunt : si quid numo sarciri potest, 
 
 Vsque mantant, neque id faciunt, donicum 
 
 Parietes ruont : aedificantur aedes totae denuo. 
 
 Haec argumenta ego aedificiis dixi ; nunc etiam volo 
 
 Dicere, ut hominis aedium esse similis arbitremini. 35 
 
 Primumdum parentes fabri liberum sunt 
 
 Et fundamentum supstruont liberorum ; 
 
 Extollunt, parant sedulo in firmitatem 
 
 Et ut in usum boni et in speciem 
 
 Populo sint, sibique aut materiae ne parcunt, 40 
 
 Nee sumptus ibi sumptui esse ducunt. 
 
8 PLAVTI MOSTELLARIA. 
 
 Expoliunt, docent literas, iura, leges, suo sumptu et labore. 
 Nituntur ut alii sibi esse illorum similis expetant. 
 Ad legionem quom itum, adminiculum eis danunt 
 Turn iam aliquem cognatum suum : 45 
 
 Eatenus abeunt a fabris. Vbi unum emeritum est sti- 
 
 pendium, 
 Igitur turn specimen cernitur, quo eveniat aedificatio. 
 Nam ego ad illud frugi usque et probus fui, in fabrorum 
 Potestate dum fui. 
 
 Posteaquam inmigravi in ingenium meum, 5° 
 
 Perdidi operam fabrorum ilico oppido. 
 Venit ignavia, ea mihi tempestas fuit, 
 Mi adventu suo grandinem, imbremque attulit ; 
 Haec verecundiam mi et virtutis modum 
 Deturbavit detexitque a me ilico. 55 
 
 Postilla optigere earn negligens fui. 
 Continuo pro imbre amor advenit in cor meum ; 
 Is usque in pectus permanavit, permadefecit cor meum. 
 Nunc simul res, fides, fama, virtus, decusque 
 Desemerunt : ego sum in usu factus nimio nequior : 6o 
 Atque edepol (ita haec tigna humide putent) non videor 
 
 mihi 
 Sarcire posse aedes meas, quin totae perpetuae ruant, 
 Quin cum fundamento perierint, nee quisquam esse 
 
 auxilio queat. 
 Cor dolet, quom scio, ut nunc sum, atque ut fui. 
 Quo neque industrior de iuventute erat, 65 
 
 Arte gumnastica, disco, hastis, pila, 
 
ACTVS I. SCENA III. 9 
 
 Cursu, armis, equo ; victitabam volupe ; 
 Parsimonia et duritia discipulinae aliis eram : 
 Optumi quique expetebant a me doctrinam sibi. 
 Nunc postquam nihili sum, id vero meopte ingenio rep- 
 peri. 70 
 
 ACTVS I. SCENA III. 
 
 Philemativm. Scapha. Philolaches. 
 
 PHILEM. lam pridem ecastor frigida non lavi magis 
 
 lubenter ; 
 Nee, quom me melius, mea Scapha, rear esse defaecatam. 
 SC. Eventus rebus omnibus, velut horno messis magna 
 Fuit. PHILEM. Quid ea messis attinet ad meam lava- 
 
 tionem ? % 
 
 SC Nihilo plus, quam lavatio tua ad messim. PHILOL. 
 
 O Venus venusta, 5 
 
 Haec ilia est tempestas mea, mihi quae modestiam 
 
 omnem 
 Detexit, tectus qua fui, quam mihi Amor et Cupido 
 In pectus perpluit meum ; neque iam umquam optigere 
 
 possum. 
 Madent iam in corde parietes : periere haec oppido aedes. 
 PHILEM. Contempla, amabo, mea Scapha, satin' haec 
 
 me vestis deceat. 10 
 
 Volo meo placere Philolachi, meo ocello, meo patrono. 
 
IO PLAVTI MOSTELLARIA. 
 
 SC Quid tu te exornas, moribus lepidis quom lepida 
 
 tute es ? 
 Non vestem amatores amant mulieris sed vestis far- 
 
 turn. 
 PHILOL. Ita me di ament, lepida est Scapha: sapit 
 
 scelesta multum. 
 Vt lepide res omnes tenet, sententiasque amantum ! 15 
 PHILEM. Quid nunc ? SC. Quid est ? PHILEM. 
 
 Quin me aspice et contempla, ut haec me deceat. 
 SC. Virtute formae id evenit, te ut deceat, quidquid 
 
 habeas. 
 PHILOL. Ergo hoc ob verbum te, Scapha, donabo ego 
 
 hodie aliqui, 
 Neque patiar, te istanc gratiis laudasse, quae placet mi. 
 PHILEM. Nolo ego, te adsentari mihi. SC Nimis tu 
 
 quidem stulta es mulier. 20 
 
 Eho mavis vituperarier falso, quam vero extolli ? 
 Equidem pol vel falso tamen laudari multo malo, 
 Quam vero culpari aut meam speciem alios inridere. 
 PHILEM. Ego verum amo ; verum volo dici mihi, men- 
 
 dacem odi. 
 SC Ita tu me ames, ita Philolaches tuus te amet, ut ve- 
 
 nusta es. 2 5 
 
 PHILOL. Quid ais, scelesta? quomodo adiurasti ? 'ita 
 
 ego istam amarem ' ? 
 Quid ? ' istaec me ' id cur non additum est ? Infecta dona 
 
 facio. 
 Periisti : quod promiseram tibi dono, perdidisti. 
 
ACTVS I. SCENA III. II 
 
 SC Equidem pol miror, tarn catam, tarn doctam te et 
 
 bene eductam, 
 Non stultam, stulte facere. PHILEM. Quin mone, 
 
 quaeso, si quid erro. 3° 
 
 SC Tu ecastor erras, quae quidem ilium expectes unum, 
 
 atque illi 
 Morem praecipue sic geras, atque alios asperneris. 
 Matronae, non meretricium est, unum inservire amantem. 
 PHILOL. Proh Iuppiter, nam quod malum vorsatur 
 
 meae domi illud ? 
 Di deaeque omnes me pessumis exemplis interficiant, 35 
 Nisi ego illam anum interfecero siti, fameque, atque algu. 
 PHILEM. Nolo ego mihi male te, Scapha, praecipere. 
 
 SC Stulta es plane, 
 Quae ilium tibi aeternum putes fore amicum et benevo- 
 
 lentem. 
 Moneo ego te : te ille deseret aetate et satietate. 
 PHILEM. Non spero. SC. Insperata accidunt magis 
 
 saepe, quam quae speres. 4° 
 
 Postremo, si dictis nequis perduci, ut vera haec credas, 
 Mea dicta ex factis nosce ; rem vides, quae sim et quae 
 
 fui ante. 
 Nihilo ego, quam nunc tu, sum amata atque uni modo 
 
 gessi morem, 
 Qui pol me, ubi aetate hoc caput colorem commutavit, 
 Reliquit deseruitque me. Tibi idem futurum credo. 45 
 PHILOL. Vix comprimor, quin involem illi in oculos 
 
 stimulatrici. 
 
12 PLAVTI MOSTELLARIA. 
 
 PHILEM. Solam illi me soli censeo esse oportere opse- 
 
 quentem, 
 Solam ille me soli sibi suo [argento] liberavit. 
 PHILOL. Proh di immortales, mulierem lepidam et 
 
 pudico ingenio ! 
 Bene hercle factum, et gaudeo, mihi nihil esse huius 
 
 causa. 5° 
 
 SC Inscita ecastor tu quidem es. PHILEM. Qua- 
 
 propter ? SC. Quae istuc cures, 
 Vt te ille amet. PHILEM. Cur, opsecro, non curem ? 
 
 SC. Libera es iam. 
 Tu iam, quod quaerebas, habes : ille te nisi amabit ultro, 
 Id, pro capite tuo quod dedit, perdiderit tantum argenti. 
 PHILOL. Perii hercle, ni ego illam pessumis exemplis 
 
 enicasso. 55 
 
 Ilia hanc corrumpit mulierem malesuada vitilena. 
 PHILEM. Numquam ego illi possum gratiam referre, ut 
 
 meritus est de me, 
 Scapha : id tu mihi ne suadeas, ut ilium minoris pendam. 
 SC At hoc unum facito cogites ; si ilium inservibis 
 
 solum, 
 Dum tibi nunc haec aetatula est, in senecta male que- 
 
 rere. 6o 
 
 PHILOL. In anginam ego nunc me velim vorti, ut vene- 
 
 ficae illi 
 Fauces prehendam, atque enicem scelestam stimulatricem. 
 PHILEM. Eundem animum oportet nunc mihi esse, 
 
 gratum ut impetravi, 
 
ACTVS I. SCENA III. 1 3 
 
 Atque olim, priusquam id extudi, quom illi subblandie- 
 
 bar. 
 PHILOL. Divi me faciant, quod volunt, ni ob istam 
 
 orationem 65 
 
 Te liberasso denuo, et ni Scapham enicasso. 
 SC Si tibi sat acceptum est, fore tibi victum sempiter- 
 
 num, 
 Atque ilium amatorem tibi proprium futurum in vita : 
 Soli gerundum censeo morem, et capiundos crines. 
 PHILEM. Vt fama est homini, exin solet pecuniam in- 
 
 venire ; 7° 
 
 Ego si bonam famam mihi servasso, sat ero dives. 
 PHILOL. Siquidem hercle vendundum est, pater venibit 
 
 multo potius, 
 Quam te, me vivo, umquam sinam egere aut mendicare. 
 SC Quid illis futurum est ceteris, qui te amant ? 
 
 PHILEM. Magis amabunt, 
 Quom [me] videbunt gratiam referr[e bene merjenti. 75 
 PHILOL. Vtinam meus nunc mortuos pater ad me 
 
 nuntietur, 
 Vt ego exheredem meis bonis me faciam, atque haec sit 
 
 heres. 
 SC. lam ista quidem apsumpta res erit : dies noctesque 
 
 estur, bibitur, 
 Neque quisquam parsimoniam adhibet ; sagina plane 
 
 est. 
 PHILOL. In te hercle certum est principium, ut sim 
 
 parcus, experiri ; 8o 
 
14 PLAVTI MOSTELLARIA. 
 
 Nam neque edes quicquam, neque bibes apud me his 
 
 decern diebus. 
 PHILEM. Si quid tu in ilium bene voles loqui, id loqui 
 
 licebit ; 
 Nee recte si illi dixeris, iam ecastor vapulabis. 
 PHILOL. Edepol si summo Iovi vivo argento sacruficas- 
 
 sem, 
 Pro illius capite quod dedi : numquam aeque id bene 
 
 locassem. 85 
 
 Vt victeas earn medullitus me amare ! Oh, probus homo 
 
 sum : 
 Quae pro me causam diceret, patronum liberavi. 
 SC. Video, te nihili pendere prae Philolache omnes 
 
 homines : 
 Nunc, ne eius causa vapulem, tibi potius adsentabor, 
 Si acceptum sat habes, tibi fore ilium amicum sempi- 
 
 ternum. 9° 
 
 PHILEM. Cedo mihi speculum et cum ornamentis arcu- 
 
 lam actutum, Scapha, 
 Ornata ut siem, quom hue veniat Philolaches, voluptas 
 
 mea. 
 SC. Mulier quae se suamque aetatem spernit, speculo ei 
 
 usus est : 
 Quid opus est speculo tibi, quae tute speculo speculum 
 
 es maxumum ? 
 PHILOL. Ob istuc verbum, ne nequiquam, Scapha, tarn 
 
 lepide dixeris, 95 
 
 Dabo aliquid hodie peculi tibi, Philematium mea. 
 
ACTVS I. SCENA III. 1 5 
 
 PHILEM. Suo quique loco viden' capillus satis composi- 
 
 tus est commode ? 
 SC. Vbi tu commoda es, capillum commodum esse 
 
 credito. 
 PHILOL. Vah, quid ilia pote peius quicquam muliere 
 
 memorarier ? 
 Nunc adsentatrix scelesta est ; dudum advorsatrix 
 
 erat. ioo 
 
 PHILEM. Cedo cerussam. SC Quid cerussa opus 
 
 nam ? PHILEM. Qui malas oblinam. 
 SC Vna opera ebur atramento candefacere postules. 
 PHILOL. Lepide dictum de atramento atque ebore ! 
 
 Euge, plaudo Scaphae. 
 PHILEM. Turn tu igitur cedo purpurissum. SC Non 
 
 do : scita es tu quidem ; 
 Nova pictura interpolare vis opus lepidissumum ? I0 5 
 
 Non istanc aetatem oportet pigmentum ullum attingere, 
 Neque cerussam, neque melinum, neque aliam ullam 
 
 offuciam. 
 Cape igitur speculum. PHILOL. Hei mihi misero: 
 
 suavium speculo dedit. 
 Nimis velim lapidem, qui ego illi speculo diminuam caput. 
 SC Linteum cape atque exterge tibi man us. PHILEM. 
 
 Quid ita, opsecro ? II0 
 
 SC Vt speculum tenuisti, metuo, ne oleant argentum 
 
 manus : 
 Ne usquam argentum te accepisse suspicetur Philo- 
 
 laches. 
 

 1 6 PLAVTI MOSTELLARIA. 
 
 PHILOL. Non videor vidisse lenam callidiorem ullam 
 
 alteram. 
 Vt lepide atque astute in mentem venit de speculo 
 
 malae ! 
 PHILEM. Etiamne unguentis unguendam censes ? SC 
 
 Minume feceris. 115 
 
 PHILEM. Quapropter ? SC. Quia ecastor mulier recte 
 
 olet, ubi nihil olet. 
 Nam istaec veteres, quae se unguentis unctitant, inter- 
 poles, 
 Vetulae, edentulae, quae vitia corporis fuco occulunt, 
 Vbi sese sudor cum unguentis consociavit, ilico 
 Itidem olent, quasi quom una multa iura confudit co- 
 
 cus : 120 
 
 Quid oleant, nescias, nisi id unum, ut male olere intel- 
 
 legas. 
 PHILOL. Vt perdocte cuncta callet ! nihil hac docta 
 
 doctius ! 
 Verum illud esse maxuma adeo pars vostrorum intellegit, 
 Quibus anus domi sunt uxores, quae vos dote meruerunt. 
 PHILEM. Agedum, contempla aurum et pallam, satin* 
 
 haec me deceat, Scapha. 125 
 
 SC. Non me curare istuc oportet. PHILEM. Quern, 
 
 opsecro, igitur ? SC. Eloquar. 
 Philolachem : is ne quid emat nisi quod tibi placere cen- 
 
 seat. 
 Nam amator meretricis mores sibi emit auro et purpura : 
 Quid opus est, quod suum esse nolit, ei ultro ostentarier ? 
 
ACTVS I. SCENA III. 1 7 
 
 Purpura aetas occultanda est ; aurum turpe mulieri. 130 
 Pulcra mulier nuda erit, quam purpurata, pulcrior : 
 Postea nequiquam exornata est bene, si morata est 
 
 male : 
 Pulcrum ornatum turpes mores peius caeno conlinunt. 
 Nam si pulcra est, nimis ornata est. PHILOL. Nimis 
 
 diu apstineo manum. 
 Quid hie vos duae agitis ? PHILEM. Tibi me exorno 
 
 ut placeam. PHILOL. Ornata es satis. 135 
 
 Abi tu hinc intro, atque ornamenta haec aufer. — Sed, 
 
 voluptas mea, 
 Mea Philematium, potare tecum conlubitum est mihi. 
 PHILEM. Lubet et edepol mihi tecum : nam quod tibi 
 
 lubet, idem mihi lubet, 
 Mea voluptas. PHILOL. Hem, istuc verbum vile est 
 
 viginti minis. 
 PHILEM. Cedo, amabo, decern : bene emptum tibi 
 
 dare hoc verbum volo. 140 
 
 PHILOL. Etiam nunc decern minae apud te sunt: vel 
 
 rationem puta : 
 Triginta minas pro capite tuo dedi — PHILEM. Cur 
 
 exprobras ? 
 PHILOL. Egone id exprobrem ? Quin mihimet cupio 
 
 id opprobrarier ; 
 Nee quicquam argenti locavi iam diu usquam aeque 
 
 bene. 
 PHILEM. Certe ego, quod te amo, operam nusquam 
 
 melius potui ponere. H5* 
 
1 8 PLAVTI MOSTELLARIA. 
 
 PHILOL. Bene igitur ratio accepti atque expensi inter 
 
 nos convenit : 
 Tu me amas, ego te amo ; merito id fieri uterque existu- 
 
 mat. 
 Haec qui gaudent, gaudeant perpetuo suo semper bono ; 
 Qui invident, ne umquam eorum quisquam invideat pro- 
 
 sus commodis. 
 PHILEM. Age, accumbe igitur. — Cedo aquam manibus, 
 
 puer. Appone hie mensulam. 15° 
 
 Vide, tali ubi sint. — Vin' unguenta ? PHILOL. Quid 
 
 opus est ? Cum stacta accubo. 
 Sed estne hie meus sodalis, qui hue incedit cum arnica 
 
 sua ? 
 Is est Callidamates ; cum arnica, eccum, incedit. Euge, 
 
 oculus meus, 
 Conveniunt manuplares, eccos ; praedam participes pe- 
 
 tunt. 
 
 ACTVS I. SCENA IV. 
 
 Callidamates. Delphivm. Philolaches. Phile- 
 
 mativm. 
 
 CA. Advorsum venire mihi ad Philolachem 
 Volo temperi ; audi : hem, tibi imperatum est. 
 Nam illi, ubi fui, inde effugi foras : 
 Ita me ibi male convivi sermoniscjue taesum est. 
 
ACTVS I. SCENA IV. 1 9 
 
 Nunc commissatum ibo ad Philolachetem, 5 
 
 Vbi nos hilari ingenio et lepide accipiet. 
 
 Ecquid tibi videor ma-ma-madere ? 
 
 DE. Semper istoc modo moratus, vita, debebas — 
 
 CA. Visne ego te ac tu me amplectare ? 
 
 DE. Si tibi cordi est-facere, licet. CA. Lepida es. w 
 
 Duce me, amabo. DE. Cave ne cadas. Asta. 
 
 CA. Oh ! oh ! ocellus es meus ; tuus sum alumnus, mel 
 
 meum. 
 DE. Cave modo, ne prius in via accumbas, 
 Quam illi, ubi lectus est stratus, coimus. 
 CA. Sine sine cadere me. DE. Sino. CA. Sed et hoc, 
 
 quod mihi in manu est. 15 
 
 DE. Si cades, non cades, quin cadam tecum. 
 Iacentis toilet postea nos ambos aliquis. 
 Madet homo. CA. Tun' me ais ma-ma-madere ? 
 DE. Cedo manum : nolo equidem te adfligi. 
 CA. Hem, tene. DE. Age, i i simul. CA. Quo ego 
 
 earn, an scis ? 20 
 
 DE. Scio. CA. In mentem venit modo : nempe domum 
 
 eo 
 Commissatum. DE. Imo — CA. Istuc quidem iam 
 
 memini. 
 PHILOL. Num non vis me obviam his ire, anime mi ? 
 Illi ego ex omnibus optume volo. 
 
 Iam revortar. PHILEM. Diu ' iam ' id mihi. 25 
 
 CA. Ecquis hie est? PHILOL. Adest. CA. Eu, 
 
 Philolaches, 
 
20 PLAVTI MOSTELLARIA. 
 
 Salve, amicissume mihi omnium hominum. 
 PHILOL. Di te ament. Accuba, Callidamates. 
 Vnde agis te ? CA. Vnde homo ebrius. 
 PHILOL. Probe. Quin amabo accubas, Delphium 
 
 mea ? 3° 
 
 CA. Da illi, quod bibat ; dormiam ego iam. 
 PHILOL. Num mirum aut novom quippiam facit ? 
 Quid ego hoc faciam postea, mea ? DE. Sic sine eumpse. 
 PHILOL. Age tu, interim daab Delphio cito cantherum 
 
 circum. 
 
 ACTVS II. SCENA I. 
 
 Tranio. Philolaches. Callidamates. Delphivm. 
 Philemativm. Pver. 
 
 77?. Iuppiter supremus summis opibus atque industriis, 
 Me perisse et Philolachetem cupit, herilem filium. 
 Occidit spes nostra : nusquam stabulum est confidentiae, 
 Nee Salus nobis saluti iam esse, si cupiat, potest : 
 Ita mali maeroris montem maxumum ad portum modo 5 
 Conspicatus sum : herus advenit peregre : periit Tranio. 
 Ecquis homo est, qui facere argenti cupiat aliquantum 
 
 lucri, 
 Qui hodie sese excruciari meam vicem possit pati ? 
 Vbi sunt isti plagipatidae, ferritribaces viri, 
 Vel isti, qui trium numorum causa subeunt sub falas, io 
 
ACTVS II. SCENA I. 21 
 
 Vbi aliqui quindenis hastis corpus transfigi solent ? 
 Ego dabo ei talentum, primus qui in crucem excucurrerit ; 
 Sed ea lege, ut offigantur bis pedes, bis braohia. 
 Vbi id erit factum, a me argentum petito praesentarium. 
 Sed ego sumne ille infelix, qui non curro curriculo do- 
 • mum? 15 
 
 PHILOL. Adest opsonium : eccum, Tranio a portu 
 
 red it. 
 77?. Philolach.es! PHILOL. Quid est? 77?. [Et] 
 
 ego et tu— PHILOL. Quid ■ et ego et tu'? 
 
 TR. Perimus ! 
 PHILOL. Quid ita? TR. Pater adest. PHILOL. 
 
 Quid ego ex ted audio ? TR. Apsumpti sumus. 
 Pater, inquam, tuus venit. PHILOL. Vbi is est, opsecro 
 
 te? TR. Adest. PHILOL. [Adest?] 
 Quis id ait ? quis vidit ? TR. Egomet, inquam, vidi. 
 
 PHILOL. Vaemihi! 20 
 
 Quid ego ago ? 77?. Nam quid tu, malum, me rogitas, 
 
 quid agas ? Accubas. 
 PHILOL. Tun* vidisti? 77?. Egomet, inquam. 
 
 PHILOL. Certe? 77?. [Certe,] inquam. PHI- 
 LOL. Occidi, 
 Si tu vera memoras. 77?. Quid mihi sit boni, si men- 
 
 tiar ? 
 PHILOL. Quid ego nunc faciam ? 77?. Iubehaec hinc 
 
 omnia amolirier. 
 Quis istic dormit ? PHILOL. Callidamates. 77?. Sus- 
 
 cita istum, Delphium. 25 
 
2 2 PLAVTI MOSTELLARIA. 
 
 DE. Callidamates, Callidamates, vigila ! CA. Vigilo : 
 
 cedo ut bibam. 
 DE. Vigila : pater advenit peregre Philolachae. CA. Va- 
 
 leat pater. 
 PHILOL. Valet ille quidem ; atque [ego] disperi. CA. 
 
 Bis peristi ? Qui potest ? # 
 
 PHILOL. Quaeso edepol, exsurge : pater advenit. CA. 
 
 Tuus venit pater ? 
 lube abire rursum. Quid illi reditio hue etiam fuit ? 3° 
 PHILOL. Quid ego agam ? Pater iam hie me offendet 
 
 miserum adveniens ebrium, 
 Aedis plenas convivarum et mulierum. Miserum est 
 
 opus, 
 Igitur demum fodere puteum, ubi sitis fauces tenet ; 
 Sicut ego adventu patris nunc quaero, quid faciam miser. 
 TR. Ecce autem, hie deposivit caput, et dormit. Sus- 
 
 cita. 35 
 
 PHIL OL. Etiam vigilas ? Pater, inquam, aderit iam 
 
 hie meus. CA. Ain' tu, pater ? 
 Cedo soleas mihi, ut arma capiam ! iam pol ego occidam 
 
 patrem. 
 PHILOL. Perdis rem: tace. Amabo, abripite hunc 
 
 intro actutum inter manus. 
 OA. 
 PHILOL. Perii ! TR. Habe bonum animum: ego is- 
 
 tum lepide medicabo metum. 4° 
 
 PHILOL. Nullus sum! TR. Taceas : ego, qui istaec 
 
 sedem, meditabor, tibi. 
 
ACTVS II. SCENA I. 23 
 
 Satin' habes, si ego advenientem ita patrem faciam tuum, 
 Non modo ne intro eat, verum etiam ut fugiat longe ab 
 
 aedibus ? 
 Vos modo hinc abite intro atque haec hinc propere 
 
 amolimini. 
 PHILOL. Vbi ego ero ? TR. Vbi maxume esse vis: 
 
 cum hac, cum istac eris. 45 
 
 DE. Quid est igitur ? abeamus hinc nos ? TR. Non 
 
 hoc longe, Delphium. 
 Nam intus potate haud tantiilo hac quidem causa minus. 
 PHILOL. Ei mihi, quam, istaec blanda dicta quo eveni- 
 
 ant, madeo metu ! 
 TR. Potin', animo ut sies quieto et facias, quod iubeo ? 
 
 PHILOL. Potest. 
 77?. Omnium primum Philematium, intro abi, et tu, Del- 
 phium. 5° 
 DE. Morigerae tibi erimus ambae. TR. Ita ille faxit 
 
 Iuppiter ! 
 Animum advorte nunc tu iam, quae volo accurarier. 
 Omnium primumdum aedes iam face occlusae sient. 
 Intus cave muttire quemquam siveris. PHILOL. Cu- 
 
 rabitur. 
 TR. Tamquam si intus natus nemo in aedibus habitet. 
 
 PHILOL. Licet. 55 
 
 TR. Neu quisquam responset, quando hasce aedis pulta- 
 
 bit senex. 
 PHILOL. Numquid aliud ? TR. Clavem mi harunce 
 
 aedium Laconicam 
 
24 PLAVTI MOSTELLARIA. 
 
 lam iube efferi^ intus : hasce ego aedis occludam hinc 
 
 foris. 
 PHILOL. In tuam custodiam meque et spes meas trado, 
 
 Tranio. 
 TR. Pluma haud interest, patronus an cluens proprior 
 
 siet 60 
 
 Homini, quoi nulla in pectore est audacia. 
 Nam quoivis homini, vel optumo vel pessumo, 
 Quamvis desubito facile est facere nequiter; 
 Verum id videndum est, id viri docti est opus, 
 Quae designata sint et facta nequitia, 65 ■ 
 
 Tranquille cuncta et ut proveniant sine malo : 
 Ni quid patiatur, quamobrem pigeat vivere : 
 Sicut ego efficiam, quae facta hie turbavimus, 
 Profecto ut liqueant omnia et tranquilla sint, 
 Nee quicquam nobis pariant ex se incommodi. 70 
 
 Sed quid tu egrederis ? Perii ! — o, iamiam optume 
 Praeceptis paruisti ! P VER. [Herus] iussit maxumo 
 Opere orare, ut patrem aliquo apsterreres modo, 
 Ne introiret aedis. TR. Quin etiam illi hoc dicito, 
 Facturum, ut ne etiam aspicere aedis audeat, 75 
 
 Capite obvoluto ut fugiat, cum summo metu. 
 Clavim cedo atque abi hinc intro, atque occlude ostium, 
 Et ego hinc occludam. — lube venire nunc iam ! 
 Ludos ego hodie vivo praesenti hie seni 
 Faciam, quod credo mortuo numquam fore. 80 
 
 Concedam a foribus hue ; hinc speculabor procul, 
 Vnde advenienti sarcinam inponam seni. 
 
ACTVS II. SCENA II. 25 
 
 ACTVS II. SCENA II. 
 
 Thevropides. Pediseqvi. Tranio. 
 
 TH. Habeo, Neptune, gratiam magnam tibi, 
 Quom me amisisti a te vix vivom modo ! 
 Verum si posthac me pedem latum modo 
 Scies inposisse in undam : haud causa ilico est, 
 Quod nunc voluisti facere, quin facias mihi. 5 
 
 Apage, apage te a me nunc iam post hunc diem ; 
 Quod crediturus tibi fui, omne credidi. 
 77?. Edepol, Neptune, peccavisti largiter, 
 Qui occasionem hanc amisisti tarn bonam. 
 TH. Triennio post Aegupto advenio domum. 10 
 
 Credo, expectatus veniam familiaribus. 
 77?. Nimio edepol ille potuit expectatior 
 ' Venire, qui te nuntiaret mortuom. 
 777. Sed quid hoc ? Occlusa ianua est interdius ? 
 Pultabo. Heus, ecquis istas aperit mihi fores ? 15 
 
 TR. Quis homo est, qui nostras aedes accessit prope ? 
 TH. Meus servos hie quidem est Tranio. 77?. O Theu- 
 
 ropides, 
 Here, salve : salvom te advenisse gaudeo. 
 Vsque invaluisti ? TH. Vsque, ut vides. 77?. Factum 
 
 optume. 
 TH. Quid vos ? insanin estis ? 77?. Quidum ? TH. 
 
 Sic : quia 20 
 
26 PLAVTI MOSTELLARIA. 
 
 Foris ambulatis ; natus nemo in aedibus 
 
 Servat, neque qui recludat, neque qui respondeat. 
 
 Pultando pene confregi hasce ambas foris. 
 
 77?. Eho an tu tetigisti has aedis ? 777. Cur non tan- 
 
 gerem ? 
 Quin pultando, inquam, pene confregi foris. 2 5 
 
 77?. Tetigistin ? 777. Tetigi, inquam, et pultavi. 77?. 
 
 Vah! 777. Quid est ? 
 77?. Male hercle factum ! 777. Quid est negoti ? 77?. 
 
 Non potest 
 Dici, quam indignum facinus fecisti et malum. 
 777. Quid iam ? 77?. Fuge, opsecro, atque apscede ab 
 
 aedibus. 
 Fuge hue, fuge ad me proprius ! Tetigistin' fores ? 3° 
 777. Quomodo pultare potui, si non tangerem ? 
 77?. Occidisti hercle — 777. Quern mortalem ? 77?. 
 
 Omnis tuos. 
 77/. Di te deaeque omnis faxint cum isto omine — 
 77?. Metuo, te atque istos expiare ut possies. 
 777. Quamobrem, aut quam subito rem mihi adportas 
 
 novam ? 35 
 
 77?. Et, heus, iube illos illinc, amabo, apscedere. 
 777. Apscedite. 77?. Aedes ne attigatis ! Tangite 
 Vos quoque terram ! 777. Opsecro hercle, quin eloquere 
 
 [iam]. 
 77?. Quia septem menses sunt, quom in hasce aedis 
 
 pedem 
 Nemo intro tetulit, semel ut emigravimus. 4o 
 
ACTVS II. SCENA II. 2J 
 
 TH. Eloquere, quid ita ? 77?. Circumspicedum, num 
 
 quis est, 
 Sermonem nostrum qui aucupet. TH. Tutum probe est. 
 77?. Circumspice etiam. TH. Nemo est : loquere nunc 
 
 iam. 
 77?. Capitalis caedis facta est. TH. Non intellego. 
 TR. Scelus, inquam, factum est iamdiu, antiquom et 
 
 vetus. 45 
 
 Antiquom ; id adeo nos nunc factum invenimus. 
 TH. Quid istuc est scelus, aut quis id fecit, cedo. 
 TR. Hospes necavit hospitem captum manu ; 
 Iste, ut ego opinor, qui has tibi aedis vendidit. 
 TH. «-Necavit ? TR. Aurumque ei ademit hospiti, 5° 
 Eumque hie defodit hospitem ibidem in aedibus. 
 TH. Quapropter id vos factum suspicamini ? 
 TR. Ego dicam : ausculta. Vt foris cenaverat 
 Tuus gnatus, postquam redit a cena doraum : 
 Abimus omnes cubitum, condormivimus. 55 
 
 Lucernam forte oblitus fueram extinguere : 
 Atque ille exclamat derepente maxumum. 
 TH. Quis homo ? an gnatus meus ? TR. St ! tace ; 
 
 ausculta modo. 
 Ait, venisse ilium in somnis ad se mortuom. 
 TH. Nempe ergo in somnis ? 77?. Ita. Sed ausculta 
 
 modo. 6° 
 
 Ait ilium hoc pacto sibi dixisse mortuom — 
 TH. In somnis ? 77?. Mirum, quin vigilanti diceret, 
 Qui abhinc sexaginta annis occisus foret. 
 
28 PLAVTI MOSTELLARIA. 
 
 Interdum inepte stultus es. 777. Taceo. 77?. Sed ecce, 
 
 quae ille inquit : 
 " Ego transmarinus hospes sum Diapontius ; 65 - 
 
 Hie habito ; haec mihi dedita est habitatio : 
 Nam me Acheruntem recipere Orcus noluit, 
 Quia praemature vita careo. Per fidem 
 Deceptus sum : hospes me hie necavit, isque me 
 Defodit insepultum clam in hisce aedibus, 7° 
 
 Scelestus, auri causa. Nunc tu hinc emigra : 
 Scelestae hae sunt aedes, impia est habitatio." 
 Quae hie monstra fiunt, anno vix possum eloqui. 
 St, st ! 777. Quid, opsecro, hercle, factum est ? 77?. 
 
 Concrepuit foris. 
 Hicine percussit ? 77/. Guttam haud habeo sangui- 
 nis. 75 
 Vivom me accersunt ad Acheruntem mortui. 
 77?. Perii ! illisce hodie hanc conturbabunt fabulam. 
 Nimis quam formido, ne manufesto hie me opprimat. 
 777. Quid tute tecum loquere? 77?. Apscede ab ianua. 
 Fuge, opsecro hercle ! 777. Quo fugiam ? Etiam tu 
 fuge. 80 
 77?. Nil ego formido : pax mihi est cum mortuis. 
 777. Heus, Tranio ! 77?. Non me appellabis, si sapis : 
 Nihil ego commerui, neque istas percussi fores. 
 777. Quaeso, quid aegre est ? quae res te agitat, Tranio ? 
 Quicum istaec loquere ? 77?. An, quaeso, tu appella- 
 veras ? 85 
 Ita me di amabunt, mortuom ilium credidi 
 
ACTVS III. SCENA I. 29 
 
 Expostulare, quia percussisses fores. 
 
 Sed tu etiamne astas, nee, quae dico, optemperas ? 
 
 TH. Quid faciam ? 77?. Cave respexis, fuge, operi 
 
 caput ! 
 777. Cur non fugis tu ? 77?. Pax mihi est cum mor- 
 
 tuis. 9° 
 
 777. Scio. Quid modo igitur ? cur tanto opere extimu- 
 
 eras ? 
 77?. Nil me curassis, inquam : ego mihi providero ; 
 Tu, ut occepisti, tantum quantum quis, fuge ; 
 Atque Herculem invocabis. TH. Hercules, te invoco ! 
 TR. Et ego, tibi hodie ut det, senex, magnum malum. 95 
 Proh di immortales, opsecro vostram fidem, 
 Quid ego hodie negoti confeci malum ! 
 
 ACTVS III. SCENA I. 
 
 Danista. Thevropides. Tranio. 
 
 DA. Scelestiorem ego annum argento faenori 
 
 Numquam ullum vidi, quam hie mihi annus optigit. 
 
 'A mani ad noctem usque in foro dego diem ; 
 
 Locare argenti nemini numum queo. 
 
 77?. Nunc pol ego perii plane in perpetuom modum : 
 
 Danista adest qui dedit [argentum faenori] 
 
 Qui arnica est empta, quoque [opus in sumptus fuit]. 
 
30 PLAVTI MOSTELLARIA. 
 
 Manufesta res est, nisi quod occurro prius, 
 
 Ne hoc [nunc] senex resciscat. Ibo huic obviam. 
 
 Sed quidnam hie sese tarn cito recipit domum ? 10 
 
 Metuo, ne de hac re quidpiam indaudiverit. 
 
 Accedam atque adpellabo. Hei, quam timeo miser ! 
 
 Nihil est miserius, quam animus hominis conscius, 
 
 Sicut me habet. Verum utut res sese habet, 
 
 Pergam turbare porro : ita haec res postulat. 15 
 
 Vnde is ? TH. Conveni ilium, unde hasce aedis emeram. 
 
 TR. Numquid dixisti de illo, quod dixi tibi ? 
 
 TH. Dixi hercle vero [illi] omnia. TR. Vae misero 
 
 mihi ! 
 Metuo, ne techinae meae perpetuo perierint ! 
 TH. Quid tute tecum ? TR. Nihil enim. Sed die 
 
 mihi : 20 
 
 Dixtine, quaeso ? TH. Dixi, inquam, ordine omnia. 
 77?. Etiam fatetur de hospite ? TH. Imo pernegat. 
 TR. Negat? [TH. Negat, inquam. TR. Perii oppido,] 
 
 quom cogito. 
 [Non confitetur ?] TH. Dicam si confessus sit. 
 Quid nunc faciundum censes ? TR. Egon* quid cen- 
 
 seam ? 25 
 
 Cape, opsecro hercle [te], cum eo una iudicem ; 
 Sed eum videto ut capias, qui credat mihi : 
 Tam facile vinces, quam pirum volpes comest. 
 DA. Sed Philolachetis servom eccum Tranium ; 
 Qui mihi neque faenus neque sortem argenti danunt. 3° 
 TH. Quo te agis ? TR. Nee quoquam abeo. — Nam 
 
 ego sum miser, 
 
ACTVS III. SCENA I. 3 1 
 
 Scelestus, natus dis inimicis omnibus. 
 
 lam illo praesente adibit. Ne ego homo sum miser : 
 
 Ita et hinc et illinc mi exhibent negotium. 
 
 Sed occupabo adire. DA. Hie ad me it : salvos sum : 35 
 
 Spes est de argento. 77?. Hilarus est. Frustra est 
 
 homo. 
 Salvere iubeo te, Misargurides, bene. 
 DA. Salve et tu. Quid de argento est ? 77?. Abi, sis, 
 
 belua ! 
 Continuo adveniens pilum iniecisti mihi. 
 DA. Hie homo est inanis. 77?. Hie homo certe est 
 
 hariolus. . 40 
 
 DA. Quin tu istas mittis tricas ? 77?. Quin, quid vis, 
 
 cedo. 
 DA. Vbi Philolaches est ? 77?. Numquam potuisti mihi 
 Magis opportunus adven[ire, quam] advenis. 
 DA. Quid est ? 77?. Concede hue. [DA. Quin mihi 
 
 argentum redjditur ? 
 77?. Scio te bona esse voce : [ne clama nimis.] 45 
 
 DA. Ego hercle vero clamo. 77?. Ah, gere morem 
 
 mihi. 
 DA. Quid tibi ego morem vis geram ? 77?. Abi, quaeso, 
 
 hinc domum. 
 DA. Abeam ? 77?. Redito hue circiter meridiem. 
 DA. Reddeturne igitur faenus ? TR. Reddetur. Abi. 
 DA. Quid ego hue recursem, aut operam sumam aut 
 
 conteram ? 5° 
 
 Quid si hie manebo potius ad meridiem ? 
 
32 PLAVTI MOSTELLARIA. 
 
 77?. Imo abi domum. Verum hercle dico. Abi modo. 
 DA. Quin vos mihi faenus date. Quid hie nugamini ? 
 77?. Eu hercle ! — Ne tu abi modo ; ausculta mihi. 
 DA. lam hercle ego illunc nominabo. 77?. Euge 
 
 strenue ! 55 
 
 Beatus vero es nunc, quom clamas. DA. Meum peto. 
 Multos me hoc pacto iam dies frustramini. 
 Molestus si sum, reddite argentum : abiero. 
 Responsiones omnes hoc verbo eripis. 
 77?. Sortem accipe. DA. Imo faenus : id primum volo. 6o 
 77?. Quid ais tu ? omnium hominum teterrume, 
 Venisti hue te extentatum ? Agas, quod in manu est. 
 Non dat : non debet. DA. Non debet ? 77?. Ne ypv 
 
 quidem 
 Ferre hinc potes ; an [mavis ut ali]quo abeat foras, 
 Vrbem exul [linquat factus] hie causa tui ? 65 
 
 Quoi sortem [vix dare] licebit ? DA. Quin non peto. 
 Mihi faenus reddat, faenus actutum mihi. 
 77?. Molestus ne sis ; nemo dat ; age, quod lubet. 
 Tu solus, credo, faenore argentum datas. 
 DA. Cedo faenus ! redde faenus ! faenus reddite ! 7° 
 
 Daturin' estis faenus actutum mihi ? 
 Date mihi faenus ! 77?. Faenus illic, faenus hie ! 
 Nescit quidem nisi faenus fabularier 
 [Veterator ; neque] ego tetriorem beluam 
 Vidisse me umquam quemquam, quam te, censeo. 75 
 DA. Non edepol nunc me tu istis verbis territas. 
 777". Quod illuc est faenus, opsecro, quod illic petit ? 
 
ACTVS III. SCENA I. 33 
 
 77?. Pater eccum advenit peregre non multo prius 
 Ulius ; is tibi et faenus et sortem dabit : 
 Ne inconciliare quid nos porro postules. 80 
 
 Vide, num moratur. DA. Quin feram, si quid datur. 
 777. Quid ais tu ? TR. Quid vis ? 777. Quis illic 
 
 est ? quid illic petit ? 
 Quid Philolachetem gnatum compellat [meum] 
 Sic, et praesenti tibi facit convicium ? 
 Quid illi debetur ? TR. Opsecro hercle iube 85 
 
 Obici argentum ob os impurae beluae. 
 777. Iubeam ? 77?. lube homini argento os ver- 
 
 berarier. 
 DA. Perfacile ego ictus perpetior argenteos. 
 77?. Audin ? videtur, opsecro hercle, idoneus, 
 Danista qui sit, genus quod improbissumum est ? 9° 
 
 TH. Non ego [nunc] istuc euro, qui sit, unde sit : 
 Id volo mihi dici, id me scire expeto, 
 Quod illud argentum est. 77?. Est — huic debet Philo- 
 
 laches 
 Paulum. TH. Quantillum ? 77?. Quasi quadraginta 
 
 minas. 
 DA. Ne sane id multum censeas ; paulum id quidem 
 
 est. 95 
 
 TH. Adeo etiam argenti faenus creditum audio. 
 77?. Quatuor quadraginta illi debentur minae, 
 Et sors et faenus. DA. Tantum est ; nihilo plus peto. 
 77?. Velim quidem hercle, ut uno numo plus petas. 
 Die te daturum, ut abeat. TH. Ego dicam dare ? I0 ° 
 
 3 
 
34 PLAVTI MOSTELLARIA. 
 
 77?. Die. 77/. Egone ? 77?. Tu ipsus. Die modo ! 
 
 ausculta mihi ! 
 Promitte ! age, inquam : ego iubeo. 777 Responde mihi : 
 Quid eo est argento factum ? TR. Salvom est. 777. 
 
 Solvite 
 Vosmet igitur, si salvom est. TR. Aedes filius 
 Tuus emit. 777. Aedis ? TR. Aedis. TH. Euge, 
 
 Philolaches 105 
 
 Patrissat ! iam homo in mercatura vortitur. 
 Ain , tu, aedis ? TR. Aedis, inquam. Sed scin', quoius- 
 
 modi ? 
 777. Qui scire possim ? 77?. Vah ! TH. Quid est? 
 
 TR. Ne me roga. 
 777. Nam quid ita ? 77?. Speculo claras, clarorem me- 
 
 rum. 
 777 Bene hercle factum ! Quid ? eas quanti desti- 
 
 nat? no 
 
 TR. Talentis magnis totidem, quot ego et tu sumus. 
 Sed arraboni I13.S dedit quadraginta minas. 
 Hinc sumpsit, quas ei dedimus. Satin' intellegis ? 
 Nam postquam haece aedis ita erant, ut dixi tibi, 
 Continuo est alias aedis mercatus sibi. IX 5 
 
 TH. Bene hercle factum ! DA. Heus, iam adpetit me- 
 
 ridies. 
 77?. Apsolve hunc, quaeso, vomitum ; ne hie nos 
 
 enecet. 
 777. Adulescens, mecum rem habe. DA. Nempe aps 
 
 te petam ? 
 
ACTVS III. SCENA I. 35 
 
 777. Petito eras. DA. Abeo : sat habeo, si eras fero. 
 
 77?. Malum — quod isti di deaeque omnes duint : 120 
 
 Ita mea consilia perturbat penissume. 
 
 Nullum edepol hodie genus est hominum tetrius 
 
 Nee minus bono cum iure, quam danisticum. 
 
 777. Qua in regione istas aedis emit filius ? 
 
 27?. Ecce autem perii ! 777. Dicisne hoc, quod te 
 
 rogo ? 125 
 
 77?. Dicam ; sed nomen domini quaero quid siet. 
 777. Age, comminiscere ergo. 77?. Quid ego nunc agam, 
 Nisi ut in vicinum hunc proxumum mendacium ? 
 Eas emisse aedis huius dicam filium. 
 Calidum hercle audivi esse optumum mendacium ; 13° 
 Calidum hoc est : etsi procul abest, urit male. 
 Quidquid dei dicunt, id rectum est dicere. 
 777. Quid igitur? iam commentus ? 77?. Di istum 
 
 perduint ! 
 — Imo istunc potius ! — De vicino hoc proxumo 
 Tuus emit aedis filius. 777. Bonan' fide ? I 35 
 
 TR. Si quidem es argentum redditurus, turn bona ; 
 Si redditurus non es, non emit bona. 
 777. Non in loco emit perbono. 77?. Imo in optumo. 
 777. Cupio hercle inspicere hasce aedis : pultadum fores, 
 Atque evoca aliquem intus ad te, Tranio. J 4o 
 
 77?. Ecce autem iterum nunc, quid dicam, nescio. 
 Iterum iam ad unum saxum me fluctus ferunt. 
 Quid nunc ? Non hercle, quid nunc faciam, reperio ; 
 Manufesto teneor. 777. Evocadum aliquem ocius : 
 
36 PLAVTI MOSTELLARIA. 
 
 Roga circumducat. 77?. Heus tu ! — At hie sunt mu- 
 lieres : 145 
 
 Videndum est primum, utrum eae velintne, an non velint. 
 TH. Bonum aequomque oras : percontare et roga. 
 Ego hie tantisper, dum exis, te opperiar foris. 
 77?. Di te deaeque omnis funditus perdant, senex : 
 Ita mea consilia undique oppugnas male. 15° 
 
 Euge, optume, eccum, aedium dominus foras 
 Simo progreditur ipsus. Hue concessero, 
 Dum mihi senatum consili in cor convoco : 
 Igitur turn accedam hunc, quando quid agam invenero. 
 
 ACTVS III. SCENA II. 
 
 Simo. Thevropides. Tranio. 
 
 SI Melius anno hoc mihi non fuit domi, 
 
 Nee quod una esca me iuverit magis. 
 
 Prandium uxor mihi perbonum dedit ; 
 
 Nunc dormitum iubet me ire. Minume! 
 
 Non mihi forte visum ilico fuit, 5 
 
 Melius quom prandium, quam solet, dedit : 
 
 Voluit in cubiculum abducere me anus. 
 
 Non bonum est somnium de prandio ; apage ! 
 
 Clanculum ex aedibus me edidi foras. 
 
 Tota turget mihi uxor scio [nunc] domi. 10 
 
ACTVS III. SCENA II. 37 
 
 77?. Res parata est mala in vesperum huic seni : 
 Nam et cenandum ei et cubandum est male. 
 SI. Quom magis cogito cum meo animo : 
 Si quis dotatam uxorem atque anum habet, 
 Neminem sollicitat sopor : ibi omnibus 15 
 
 Ire dormitum odio est, velut nunc mihi. 
 Exsequi certa res est, ut abeam 
 Potius hinc ad forum, quam domi cubem. 
 Atque pol nescio ut moribus sient 
 
 Vostrae : haec, sat scio, quam me habeat male ; 20 
 
 Peius posthac fore, quam fuit, mihi. 
 77?. [Si] abitus tuus tibi, senex, fecerit male, 
 Nihil erit, quod deorum ullum accusites ; 
 Te ipse iure optumo merito incuses licet. 
 Tempus nunc est senem hunc adloqui mihi. 25 
 
 Hoc habet ! repperi, qui senem ducerem, 
 ♦Quo dolo a me dolorem procul pellerem. 
 Accedam. Di te ament plurumum, Simo. 
 SI Salvos sis, Tranio. 77?. Vt vales ? SI. Non male. 
 Quid agis ? 77?. Hominem optumum teneo. SI. 
 
 Amice facis, 3° 
 
 Quom me laudas. 77?. Decet certe. SI. [Certe] hercle ; 
 
 [at ego] te 
 Haud bonum teneo servom. [77?. Quid ita vero, Simo ?] 
 777. Heia, mastigia, ad me redi ! 77?. lam istic ero. 
 SI. Quid nunc ? quam mox ? 77?. Quid est ? SI. 
 
 Quod solet fieri. 
 777. Die [igitur, quod solet fieri,] quid id est. 35 
 
38 PLAVTI MOSTELLARIA. 
 
 [SI. Quid facitis vos ? Sed ut verum, Tranio,] loquar, 
 
 Sic decet, [ut homines sunt,] ita morem geras ; 
 
 Vita quam sit brevis, simul cogita. — Quid ? 
 
 77?. Ehem, vix tandem percepi, super his rebus nostris 
 
 te loqui. 
 SI. Musice hercle agitis aetatem ita, ut vos decet : 40 
 Vino et victu, piscatu probo, electili, 
 Vitam colitis. 77?. Imo vita antehac erat ; 
 Nunc nobis omnia haec exciderunt. 
 
 SI. Quidum ? 77?. Ita oppido occidimus omnes, Simo. 
 SI. Non taces ? Prospere vobis cuncta usque adhuc 
 
 processerunt. 45 
 
 77?. Ita ut dicis, facta haud nego : nos 
 Profecto probe, ut voluimus, viximus ; 
 Sed, Simo, ita nunc ventus navem 
 
 Deseruit. SI. Quid est ? Quo modo ? 77?. Pessumo. 
 SI. Quaene subducta erat tuto in terra ? 5° 
 
 77?. Hei! SI. Quid est ? 77?. Me miserum ! occidi ! 
 
 SI Qui ? 77?. Quia 
 Venit navis, nostrae navi quae frangat ratem. 
 SI. Velim ut tu velles, Tranio. Sed quid est negoti ? 
 
 77?. Eloquar. 
 Herus peregre venit. SI. Tunc [tibi actutum] chor[da] 
 
 tenditur, 
 Inde ferriterium; postea — [77?. Pol per tua te gjenua 
 
 opsecro 55 
 
 Ne indicium hero facias meo. SI E me, ne quid met- 
 
 uas, nil sciet. 
 
ACTVS III. SCENA II. 39 
 
 77?. Patrone, salve. SI. Nil moror mi istiusmodi 
 
 cluentis. 
 77?. Nunc hoc, quod ad te noster me misit senex — 
 SI. Hoc mihi responde primum, quod ego te rogo : 
 lam de istis rebus voster quid sensit senex ? 6o 
 
 77?. Nihil quicquam. SI. Numquid increpavit filium ? 
 77?. Tarn liquidus est, quam liquida esse tempestas 
 
 solet. 
 Nunc te hoc orare iussit opere maxumo, 
 Vt sibi liceret inspicere has aedis tuas. 
 SI Non sunt venales. 77?. Scio equidem istuc ; sed 
 
 senex 6$ 
 
 Gunaeceum aedificare volt hie in suis, 
 Et balineas et ambulacrum et porticum. 
 SI. Quid [ille] consomniavit ? 77?. Ego dicam tibi. 
 Dare volt uxorem filio, quantum potest : 
 Ad earn rem facere volt novom gunaeceum. 7° 
 
 Nam sibi laudasse hasce ait architectonem 
 Nescio quern, esse aedificatas has sane bene : 
 Nunc hinc exemplum capere volt, nisi tu nevis. 
 SI Nam ille ex malo [malum] hinc opere exemplum 
 
 petit. 
 77?. Quin aestu aud[ivit] esse ibi vi[ctum] perbo- 
 
 num : 75 
 
 Sub diu col[ere te] usque perpetuom diem. 
 SI. Imo edepol vero, quom usquequaque umbra est, 
 
 tamen 
 Sol semper hie est usque a mani acl vesperum ; 
 
40 PLAVTI MOSTELLARIA. 
 
 Quasi flagitator astat usque ad ostium ; 
 
 Nee mihi umbra usquam est, nisi si in puteo quaepiam 
 
 est. 80 
 
 77?. Quid? Sarsinatis ecqua est, si Vmbram non ha- 
 
 bes ? 
 Sf. Molestus ne sis. Haec sunt sicut praedico. 
 77?. Attamen inspicere volt. SI Inspiciat, si lubet 
 Si quid erit, quod illi placeat, de exemplo meo 
 Ipse aedificato. 77?. Eon' ? voco hue hominem ? SI. 
 
 [I,] voca. 85 
 
 77?. Alexandrum magnum atque Agathoclem aiunt 
 
 maxumas 
 Duo res gessisse : quid mihi fiet tertio, 
 Qui solus facio faeinora inmortalia ? 
 Vehit hie clitellas, vehit hie autem alter senex. 
 Novitium mihi quaestum institui non malum ■ 9° 
 
 Nam muliones mulos clitellarios 
 Habent ; ego habeo homines clitellarios. 
 Magni sunt oneris ; quidquid inponas, vehunt. 
 Nunc hunc haud scio an conloquar. Congrediar. 
 Heus, Theuropides ! 777. Hem, quis hie nominat 
 
 me ? 95 
 
 77?. Hero servos multimodis suo fidus. 777. Vnde is ? 
 77?. Quod me miseras, adfero omne impetratum. 
 777. Quid illic, opsecro, tarn diu restitisti ? 
 77?. Seni non erat otium : id sum opperitus. 
 777. Antiquom optines hoc tuum, tardus ut sis. 100 
 
 77?. Heus tu, si voles verbum hoc cogitare, 
 
ACTVS III. SCENA II. 4 1 
 
 Simul flare sorbereque haud factu facile est : 
 Ego hie esse et illi simul haud potui. 
 777. Quid nunc ? 77?. Vise, specta, tuo usque arbi- 
 trate 
 777. Age, due me. 77?. Num moror ? 777. Supsequor 
 
 te. io 5 
 
 77?. Senex ipsus te ante ostium, eccum, opperitur. 
 Sed [is] maestus est, se hasce vendidisse. 
 777. Quid tandem ? 77?. Orat, ut suadeam Philolacheti, 
 Vt istas remittat sibi. 777. Haud opinor. 
 Sibi quisque ruri metit. Si male emptae II0 
 
 Forent, nobis has redhibere haud liceret. 
 Lucri quidquid est, id domum trahere oportet. 
 Misericordias [iam habere haud] hominem oportet. 
 77?. Morare hercle [quom verba] facis ; supsequere. 
 
 777. Fiat. 
 77?. Do tibi ego operam. Senex illic est. — Hem, tibi 
 
 adduxi hominem. US 
 
 SI Salvom te advenisse peregre gaudeo, Theuropides. 
 777. Di te ament. SI. Inspicere hie aedis te has velle 
 
 aiebat mihi. 
 777. Nisi tibi incommodum est. SI. Imo commodum. 
 
 I intro atque inspice. 
 777. At enim mulieres. SI. Cave tu ullam flocci faxis 
 
 mulierem. 
 Qualibet perambula aedis oppido tamquam tuas. I2 ° 
 
 777. Tamquam ? 77?. Ah, cave tu illi obiectes nunc 
 
 in aegritudine, 
 
42 PLAVTI MOSTELLARIA. 
 
 Te has emisse. Non tu vides hunc, voltu ut tristi est 
 
 senex ? 
 777. Video. 77?. Ergo inridere ne videare et gestire 
 
 admodum, 
 Noli facere mentionem, te [has] emisse. 777. Intellego, 
 Et bene monitum duco, atque te existumo humano in- 
 
 genio. I2 5 
 
 Quid nunc ? SI Quin tu is intro ? atque otiose per- 
 
 specta, ut lubet. 
 1H. Bene benigneque arbitror te facere. SI. Factum 
 
 edepol volo. 
 77?. Viden vestibulum ante aedis hoc et ambulacrum, 
 
 quoiusmodi ? 
 777. Luculentum edepol profecto ! 77?. Age, specta, 
 
 postes quoiusmodi, 
 Quanta firmitate facti, et quanta crassitudine ! 13° 
 
 TH. Non videor vidisse postis pulcriores. SI, Pol 
 
 mihi 
 Eo pretio empti fuerant olim. 77?. Audin' ' fuerant ' 
 
 dicere ?.. 
 Vix videtur continere lacrumas. TH. Quanti hosce 
 
 emeras ? 
 SI. Tris minas pro istis duobus praeter vecturam dedi. 
 TH. Hercle quin multum inprobiores sunt, quam a 
 
 primo credidi. I 35 
 
 TR. Quapropter ? 777. Quia edepol ambo ab iiifumo 
 
 tarmes secat. 
 77?. Intempestivos excisos credo ; id eis vitium nocet. 
 
ACTVS III. SCENA II. 43 
 
 Atque etiam nunc satis boni sunt, si sunt inducti pice. 
 
 Non enim haec pultiphagus opifex opera fecit barbarus. 
 
 Viden coagmenta in foribus ? 777. Video. 77?. 
 Specta, quam arte dormiunt. J4° 
 
 777. Dormiunt ? 77?. Illud quidem, ut conivent, volui 
 dicere. 
 
 Satin* habes ? 777. Vt quicquid magis contemplor, 
 tanto magis placet. 
 
 77?. Viden' pictum, ubi ludificatur cornix una volturios 
 duos ? 
 
 777. Non edepol video. 77?. At ego video [earn inter] 
 volturios duos ; 
 
 Cornix astat ; ea volturios duos vicissim vellicat. HS 
 
 Quaeso, hue ad me specta, cornicem ut conspicere pos- 
 sies. 
 
 lam vides ? 777. Profecto nullam equidem illic corni- 
 cem intuor. 
 
 77?. At tu isto ad vos optuere, quoniam cornicem 
 nequis 
 
 Conspicari, si volturios forte possis contui. 
 
 lam vides ? 777. Non edepol video. 77?. At ego vol- 
 turios duos. i5° 
 
 777. Omnino, ut te apsolvam, nullam pictam conspicio 
 hie avem. 
 
 77?. Age, iam mitto. Ignosco : aetate non quis op- 
 tuerier. 
 
 777. Haec, quae possum, ea mihi profecto cuncta vehe- 
 menter placent. 
 
44 PLAVTI MOSTELLARIA. 
 
 SL Latius demum est operae pretium ivisse. 777". 
 
 Recte edepol mones. 
 SL Eho, istum, puer, circumduce has aedis et concla- 
 
 via. 155 
 
 Nam egomet ductarem, nisi mi esset ad forum negotium. 
 777. Apage istum [circumductorem] : nihil moror duo 
 
 tarier. 
 Ouidquid est, [errabo potius, quam] perductet quispiam. 
 SL Aedis dico. 777. Ergo intro eo sine perductore ? 
 
 SL I, licet. 
 TH. Ibo intro igitur. 77?. Mane, sis : videam, ne 
 
 canis — TH. Agedum, vide. 160 
 
 77?. Est. Abi. Canis est. Abi dierecta ! St ! Abin' 
 
 hinc, in malam crucem ? 
 At etiam restas ? St ! abi istinc ! SL Nihil pericli 
 
 est. Age. 
 Tarn placida est, quam est aqua, vise : ire intro au.dacter 
 
 licet. 
 Eo ego hinc ad forum. TH. Fecisti commode. Bene 
 
 ambula. — 
 Tranio, age, canem istam a foribiis [aliquis] abducat 
 
 face, 165 
 
 Etsi non metuenda est. 77?. Quin tu illam aspice, ut 
 
 placide accubat ! 
 Nisi molestum vis videri te atque ignavom — 777. 
 
 lam, ut lubet. 
 77?. Sequere hac me igitur. TH. Equidem haud usquam 
 
 a pedibus apscedam tuis. 
 
ACTVS IV. SCENA I. 45 
 
 ACTVS IV. SCENA I. 
 
 Phaniscvs. 
 
 Servi qui, quom culpa carint, tamen malum metuont, 
 
 Hi solent esse heris utibiles. 
 
 Nam illi, qui nihil metuont, postquam sunt malum mer- 
 
 iti, 
 Stulta sibi expetunt consilia. 
 Exercent sese ad cursuram : fugiunt. Sed hi si repre- 
 
 hensi sunt, 5 
 
 Faciunt a malo peculium quod nequeunt [a bono]. 
 Augent ex pauxillo ; [thesaurum in]de parant. 
 Mihi in pectore consili [quod est, lubet cavere] malam 
 
 rem prius 
 Quam ut meum [tergum doleat]. 
 
 Vt adhuc fuit mihi, corium esse oportet, 10 
 
 Sincerum, atque ut votem verberari. 
 Si huic imperabo, probe tectum habebo. 
 Malum quom inpluit ceteros, ne inpluat mihi. 
 Nam ut servi volunt esse herum, ita solet. 
 Boni sunt, [bonus est] ; improbi sunt, malus fit. 15 
 
 Nam nunc domi nostrae tot pessumi vivont, 
 Peculi sui prodigi, plagigeruli : ubi advorsum ut eant 
 Vocantur hero — ' Non eo, molestus ne sis, 
 Scio quo properas, gestis aliquo iam hercle, ire vis, mula, 
 
 foras pastum/ 
 
46 PLAVTI MOSTELLARTA. 
 
 Bene merens hoc pretium inde apstuli : abii foras : 20 
 
 Solus nunc eo advorsum hero ex plurumis servis. 
 
 Hoc die crastini quom herus resciverit, 
 
 Mani castigabit eos bubulis exuviis. 
 
 Postremo minoris pendo tergum illorum quam meum ; 
 
 Illi erunt bucaedae multo potius quam ego sim restio. 25 
 
 Phaniscvs. Servos Alivs. 
 
 SE. Mane tu atque adsiste ilico, 
 
 Phanisce, etiam respice. PH. Mihi molestus ne sis. 
 
 SE. Vide ut fastidit simia. PH. Mihi sum : lubet esse: 
 
 quid id curas ? 
 SE. Manesne ilico, inpure parasite ? 
 PH. Qui parasitus sum ? SE. Ego enim dicam ; cibo 
 
 perduci poteris quovis ; 3° 
 
 Ferocem facis quia te herus tarn amat. PH. Vah, 
 Obuli dolent. SE. Cur ? PH. Quia fumus molestus. 
 SE. Tace, sis, faber qui cudere soles plumbeos numos. 
 PH. Non potes tu cogere me ut tibi maledicam; 
 Novit herus me. SE. Suam quidem pol culcitullam 
 
 oportet. 35 
 
 PH. Si sobrius sis, male non dicas. SE. Tibi optem- 
 
 perem, quom tu mihi nequeas! 
 PH. At tu mecum, pessume, i advorsus. SE. Quaeso 
 
 hercle, apstine 
 lam sermonem de istis rebus. PH. Faciam, et pultabo 
 
 fores. 
 
ACTVS IV. SCENA II. 47 
 
 Heus ! ecquis hie est, maxumam qui his iniuriam 
 Foribus defendat ? ecquis, ecquis hue exit atque aperit ? 40 
 Nemo hinc quidem foras exit: ut esse addecet nequam 
 
 homines, ita sunt : 
 Sed eo magis cauto est opus, ne hue exeat, qui male me 
 
 mulcet. 
 
 ACTVS IV. SCENA II. 
 
 Tranio. Thevropides. 
 
 77?. Quid tibi visum est mercimoni ? 777. Totus 
 
 gaudeo. 
 77?. Num nimio emptae tibi videntur ? 777. Numquam 
 
 edepol ego me scio 
 Vidisse umquam abiectas aedes, nisi modo hasce. 77?. 
 
 Ecquid placent ? 
 TH. Ecquid placeant, me rogas ? Imo hercle vero per- 
 
 placent. 
 77?. Quoiusmodi gunaeceum ? quid porticum ? TH. 
 
 Insanum bonam. 5 
 
 Non equidem ullam in publico esse maiorem hac exis- 
 
 tumo. 
 77?. Quin ego ipse et Philolaches in publico omnis por- 
 
 ticus 
 Sumus commensi. TH. Quid igitur ? 77?. Longe om- 
 nium longissuma est. 
 
48 PLAVTI MOSTELLARIA. 
 
 277. Di immortales, mercimoni lepidi ! [Si] hercle 
 
 nunc ferat 
 Sex talenta magna argenti pro istis praesentaria, 10 
 
 Numquam accipiam. TR. Si hercle accipere cupias, 
 
 ego numquam sinam. 
 TH. Bene res nostra conlocata est istoc mercimonio. 
 77?. Me suasore atque inpulsore id factum audacter 
 
 dicito, 
 Qui subegi, faenore argentum ab danista ut sumeret, 
 Quod isti dedimus arraboni. TH. Servavasti omnem 
 
 ratem. 15 
 
 Nempe octoginta debentur huic minae ? 77?. Haud 
 
 numo amplius. 
 TH. Hodie accipiat. 77?. Ita enimvero, ne qua causa 
 
 supsiet, 
 Vel mihi denumerato ; ego illi porro denumeravero. 
 TH. At enim ne quid captioni mihi sit, si dederim tibi. 
 77?. Egone te ioculo modo ausim dicto aut facto fallere ? 20 
 TH. Egon aps te ausim non cavere, ne quid committam 
 
 tibi ? 
 TR. Quia tibi umquam quicquam, postquam tuus sum, 
 
 verborum dedi ? 
 TH. Ego enim cavi recte. 77?. Earn [mihi] debes gra- 
 
 tiam, atque animo meo. 
 TH. Sat sapio, si aps te modo uno caveo. TR. Tecum 
 
 sentio. 
 TH. Nunc abi rus : die, me advenisse, filio. TR. Fa- 
 
 ciam, ut voles. 25 
 
ACTVS IV. SCENA III. 49 
 
 777. Curriculo iube in urbem veniat iam simul tecum. 
 
 77?. Licet. 
 Nunc ego me iliac per posticum ad congerrones con- 
 
 feram : 
 Dicam, ut hie res sint quietae atque ut hunc hinc amov- 
 
 erim. 
 
 ACTVS IV. SCENA III. 
 
 Phaniscvs. Servos Alivs. Thevropides. 
 
 PH. Hie quidem neque convivarum sonitus itidem ut 
 
 antehac fuit, 
 Neque tibicinam cantantem, neque alium quemquam 
 
 audio. 
 777. Quae illaec res est ? quid illic homines quaerunt 
 
 apud aedis meas ? 
 Quid volunt ? quid introspectant ? PH. Pergam pultare 
 
 ostium. 
 Heus, reclude, heus, Tranio ! Etiamne aperis ? TH. 
 
 Quae haec est fabula ? 5 
 
 PH. Etiamne aperis ? Callidamati nostro advorsum 
 
 venimus. 
 777. Heus vos, pueri, quid istic agitis ? quid istas aedis 
 
 frangitis ? 
 PH. Herus hie noster potat.. 777. Herus hie voster 
 
 potat ? PH. Ita loquor. 
 4 
 
50 PLAVTI MOSTELLARIA. 
 
 777. Puere, nimium delicatus es. PH. Ei advorsum 
 
 venimus. 
 777. Quoi homini ? PH. Hero nostro. Quaeso, quoties 
 
 dicundum est tibi. 10 
 
 777. Puere, nemo hie habitat : nam te esse arbitror 
 
 puerum probrum. 
 PH. Non hie Philolaches adulescens habitat hisce in 
 
 aedibus ? 
 SE. Hie senex cerebrosus est certe. 7*77. Erras per- 
 
 vorse, pater : 
 Nam nisi hinc hodie emigravit aut heri, certo scio 
 Hie habitare. 777. Quin sex menses iam hie nemo 
 
 habitat. SE. Somnias. 15 
 
 TH. Egone ? SE. Tu. 777. Tu ne molestus. Sine 
 
 me cum puero loqui. 
 PH. Nemo habitat ? Hem ! 777. Ita. PH. Profecto : 
 
 nam heri et nudiustertius, 
 Quartus, quintus, sextus usque, postquam hinc peregre 
 
 eius pater 
 Abiit, numquam hie triduom unum desitum est potarier. 
 777. Quid ais ? PH. Triduom unum est haud inter- 
 
 missum hie esse et bibi, 20 
 
 Scorta duci, pergraecari, fidicinas, tibicinas 
 Ducere. 777. Quis istaec faciebat ? PH. Philolaches. 
 
 777. Qui Philolaches ? 
 PH. Quoi patrem Theuropidem esse opinor. TH. Hei, 
 
 hei, occidi, 
 Si haec hie vera memorat. Pergam porro percontarier. 
 
ACTVS IV. SCENA III. 5 1 
 
 Ain' tu, istic potare solitum Philolachem istum, quisquis 
 
 est, 25 
 
 Cum hero vostro ? PH. Hie, inquam. TH. Puere, 
 
 praeter speciem stultus es ; 
 Vide, sis, ne forte ad merendam quopiam devorteris, 
 Atque ibi melius quam satis fuit, biberis. PH. Quid est ? 
 TH. Ita dico : ne ad alias aedis perperam deveneris. 
 PH. Scio, qua me ire oportet, et, quo venerim, novi 
 
 locum. 3° 
 
 Philolaches hie habitat, quoius est pater Theuropides, 
 Qui, postquam pater ad mercatum abiit hinc, tibicinam 
 Liberavit. TH. Philolachesne ergo ? PH. Ita : Phile- 
 
 matium quidem. 
 TH. Quanti? SE. Triginta talentis. PH. Ma rbv 
 
 'AiroXkw, sed minis. 
 TH. Ain', minis triginta amicam destinasse Philo- 
 lachem ? 35 
 PH. Aio. TH. Atque earn manu emisisse ? PH. Aio. 
 
 TH. Et postquam eius hinc pater 
 Sit profectus peregre, perpotasse adsiduo 
 Tuo cum domino ? PH. Aio. TH. Quid ? is aedes 
 
 emit hie proxumas ? 
 PH. Non aio. TH. Quadraginta etiam dedit huic, quae 
 
 essent pignori ? 
 PH. Neque istud aio. TH. Hei, perdis ! PH. Imo 
 
 suum patrem illic perdidit. 4° 
 
 TH. Vera cantas ! Vana vellem ! PH. Patris amicus 
 
 videlicet. 
 
52 PLAVTI MOSTELLARIA. 
 
 TH. Heu, edepol patrem eum miserum praedicas ! PH. 
 
 Nihil hoc quidem est, 
 Triginta minae, prae quam alios dapsiles sumptus facit. 
 Perdidit patrem. Vnus istic servos est sacerrumus, 
 Tranio ; is vel Herculi conterere quaestum possiet. 45 
 Edepol ne me eius patris misere miseret ; qui quom 
 
 istaec sciet 
 Facta ita, amburet misero ei corculum carbunculus. 
 TH. Si quidem istaec vera sunt. PH. Quid merear, 
 
 quamobrem mentiar ? 
 SE. Heus vos ! ecquis aperit has ? PH. Quid istas 
 
 pultas, ubi nemo intus est ? 
 Alio credo comissatum abisse : abeamus nunc iam. 5° 
 TH. Puere, iamne abis ? PH. Libertas paenula est ter- 
 
 go tuo ; 
 Mihi, nisi ut herum metuam et curem, nihil est, qui ter- 
 
 gum tegam. 
 
 ACTVS IV. SCENA IV. 
 
 Thevropides. Simo. 
 
 TH. Perii hercle ! quid opus est verbis ? Vt verba 
 
 audio, 
 Non equidem in Aeguptum hinc modo vectus fui, 
 Sed etiam in terras solas orasque ultumas 
 Sum circumvectus : ita, ubi nunc sim, nescio. 
 
ACTVS IV. SCENA IV. 53 
 
 Verum iam scibo : nam eccum, unde aedis filius 5 
 
 Meus emit Quid agis tu? SL m A foro incedo do- 
 mum. 
 
 TH. Num quid processit ad forum [tibi] hodie novi ? 
 
 SL Etiam. TH. Quid tandem ? SL Vidi eflFerri mor- 
 tuom. TH. Hem, 
 
 Novom ! SL Vnum vidi mortuom efferri foras, 
 
 Modo eum vixisse aiebant TH Vae capiti tuo ! 10 
 
 SI. Quid tu otiosus res novas requiritas ? 
 
 TH. Quia hodie adveni peregre. SL Promisi foras 
 
 Ad cenam, ne me te vocare censeas. 
 
 TH. Haud postulo edepoL SL Verum eras, nisi [quis] 
 prius 
 
 Vocaverit me, vel apud te cenavero. 1 5 
 
 TJL Ne istuc quidem edepol postulo. Nisi quid magis 
 
 Es occupatus, operam mihi da. SL Maxume. 
 
 TH. Minas quadraginta accepisti, quod sciam, 
 
 A Philolachete. SL Numquam numum, quod sciam. 
 
 TH. Quid ? a Tranione servo ? SL Multo [hercle] id 
 minus. -- 
 
 TH. Ouas arraboni tibi dedit ? SL Quid somnias ? 
 
 TH. Egone ? At quidem tu, qui istoc te speras modo 
 
 Potesse dissimulando infectum hoc reddere. 
 
 SL Quid autem ? TH. Quod me apsente [tecum] hie 
 filius 
 
 Negoti gessit. SL Mecum ut ille hie gesserit, 25 
 
 Dum tu hinc abes, negoti ? quidnam, aut quo die ? 
 
 TH. Minas tibi octoginta argenti debeo. 
 
54 PLAVTI MOSTELLARIA. 
 
 57. Non mihi quidem hercle ; verum, si debes, cedo. 
 
 Fides servanda est. Ne ire infitias postules. 
 
 777. Profecto non negabo debere, et dabo. 3° 
 
 Tu cave, quadraginta accepisse hinc ne neges. 
 
 SI. Quaeso edepol, hue me aspecta et responde mihi. 
 
 Te velle uxorem aiebat tuo gnato dare : 
 
 Ideo aedificare hie velle aiebat in tuis. 
 
 777. Hie aedificare volui ? 57. Sic dixit mihi. 35 
 
 777. Hei mihi, disperii ! vocis non habeo satis ! 
 
 Vicini, perii, interii ! Sf. Numquid Tranio 
 
 Turbavit ? 777. Imo exturbavit omnia. 
 
 Te ludificatus est et me hodie indignis modis. 
 
 Sf. Quid tu ais ? 777. Haec res sic est, ut narro 
 
 tibi : 4o 
 
 Deludificatus est me hodie in perpetuom modum. 
 Nunc te opsecro, ut me bene iuves, operamque des. 
 57. Quid vis ? 777. I mecum [hac] opsecro [te] una 
 
 simul. 
 57. Fiat. 777. Servorumque operam et lora mihi cedo. 
 Sf. Sume. 777. Eademque opera haec tibi narra- 
 
 vero, 45 
 
 Quis me exemplis hodie eludificatus [est]. 
 
ACTVS V. SCEXA I. 55 
 
 ACTVS V. SCEXA I. 
 
 Tranio. 
 
 Qui homo timidus erit in rebus dubiis, nauci non erit ; 
 Atque equidem, quid id esse dicam verbura, nauci, 
 nescio. 
 
 Nam herns me postquam rus misit, ut filium suum ac- 
 cerserem : 
 
 Abii ilia per angiportum ad hortum nostrum clanculum. 
 
 Ostium quod in angiportu est horti patefeci fores ; 5 
 
 Eaque eduxi omnem legionem, et maris et feminas. 
 
 Postquam ex opsidione in tutum eduxi manuplares meos : 
 
 Capio consilium, ut senatum congerronum convocem; 
 
 Quern quom convocavi, atque illi me ex senatu segre- 
 gant. 
 
 Vbi egomet video vorti rem in meo foro, quantum po- 
 test, io 
 
 Facio idem, quod plurumi alii, quibus res timida aut tur- 
 bid a est : 
 
 Pergunt turbare usque, ut ne quid possit conquiescere. 
 
 Nam scio equidem, nullo pacto iam esse posse clam 
 senem. 
 
 Sed quid hoc est, quod foris concrepuit proxuma vicinia? 
 
 Herus meus hie quidem est. Gustare ego eius sermonem 
 volo. 15 
 
56 
 
 PLAVTI MOSTELLARIA. 
 
 ACTVS V. SCENA II. 
 
 Thevropides. Tranio. 
 
 777. Ilico intra limen astate illic : ut, quom extemplo 
 
 vocem, 
 Continuo exiliatis. Manicas celeriter conectite. 
 Ego ilium ante aedis praestolabor ludificatorem meum, 
 Quoius ego hodie ludificabor corium, si vivo, probe. 
 77?. Res palam est. Nunc te videre melius est, quid 
 
 agas, Tranio. 5 
 
 777. Docte atque astute mihi captandum est cum illo, 
 
 ubi hue advenerit. 
 Non ego illi extemplo haraum ostendam : sensim mittam 
 
 lineam ; 
 Dissimulabo me horum quicquam scire. 77?. O mor- 
 
 talem malum ! 
 Alter hoc Athenis nemo doctior dici potest. 
 Verba illi non magis dare hodie quisquam, quam lapidi, 
 
 potest. io 
 
 Adgrediar hominem ; appellabo. 777. Nunc ego ille 
 
 hue veniat velim. 
 77?. Si quidem pol me quaeris, adsum praesens praesenti 
 
 tibi. 
 777. Euge, Tranio, quid agitur ? 77?. Veniunt ruri rus- 
 
 tici; 
 Philolaches iam hie aderit. 777. Edepol mihi opportune 
 
 advenit. 
 
ACTVS V. SCENA II. 57 
 
 Nostrum ego hunc vicinum opinor esse hominem auda- 
 
 cem et malum. 15 
 
 77?. Quidum ? 777. Qui negat novisse vos. 77?. Ne- 
 
 gat ? 777. Nee vos sibi 
 Numum umquam argenti dedisse. 77?. Abi, ludis me, 
 
 credo. Haud negat. 
 777. Quid iam ? 77?. Scio, iocaris nunc tu : nam ille 
 
 quidem haud negat. 
 777. Imo edepol negat profecto ; neque se hasce aedis 
 
 Philolachi 
 Vendidisse. 77?. Eho, an negavit, sibi datum argentum, 
 
 opsecro ? 20 
 
 777. Quin iusiurandum pollicitus est dare se, si vellem, 
 
 mihi, 
 Neque se hasce aedis vendidisse, neque sibi argentum 
 
 datum esse. 
 Dixi ego istuc idem illi. 77?. Quid ait ? 777. Servos 
 
 pollicitus est dare 
 Suos mihi omnes quaestioni. 77?. Nugas ! numquam 
 
 edepol dabit. 
 777. Dat profecto. 77?. Quin et ilium in ius iube ire. 
 
 777. Iam mane : 25 
 
 Experiar, ut opinor ; certum est mihi. 77?. [Mihi] [hue] 
 
 hominem cedo ! 
 777. Quid, si igitur ego accersam homines ? 77?. Fac- 
 tum esse iam oportuit. 
 Vel hominem iube aedis mancupio poscere. 777. Imo 
 
 hoc primum volo : 
 
58 PLAVTI MOSTELLARIA. 
 
 Quaestioni accipere servos. 77?. Faciundum edepol 
 
 censeo. 
 Ego interim hanc aram occupabo. 777. Quid ita ? 77?. 
 
 Nullam rem sapis : 3° 
 
 Ne enim illi hue confugere possint, quaestioni quos dabit : 
 Hie ego tibi praesidebo, ne interbitat quaestio. 
 777. Surge. 77?. Minume. 777. Ne occupassis, opse- 
 
 cro, aram. 77?. Cur ? 777. Scies : 
 Quia enim id maxume volo, ut illi istoc confugiant. 
 
 Sine : 
 Tanto apud iudicem hunc argenti condemnabo facilius. 35 
 77?. Quod agis, id agas. Quid tu porro vis serere ne- 
 
 gotium ? 
 Nescis quam meticulosa res sit ire ad iudicem. 
 777. Surgedum hue : est consulere igitur quiddam quod 
 
 tecum volo. * 
 77?. Sic tamen hinc consilium dedero : nimio plus sapio 
 
 sedens. 
 Turn consilia firmiora sunt de divinis locis. 40 
 
 777. Surge ! ne nugare ! aspicedum contra me ! 77?. 
 
 Aspexi. 777. Vides ? 
 77?. Video : hue si quis intercedat tertius, pereat fame. 
 777. Quidum ? 77?. Quia nihil quaesti siet, mali hercle 
 
 ambo sumus. 
 777. Perii ! 77?. Quid tibi est ? 777. Dedisti verba. 
 
 77?. Qui tandem ? 777. Probe 
 Med emunxti. 77?. Vide, sis, satine recte : num mucci 
 
 fluont ? 45 
 
ACTVS V. SCEXA III. 59 
 
 777. Imo etiam cerebrum quoque omnem e capite emunx- 
 
 isti meo. 
 Nam omnia malefacta vostra reperi radicitus ; 
 Non radicitus quidem hercle, verum etiam eradicitus. 
 Numquam edepol haec hodie inultus destinaveris. Tibi 
 lam iubebo ignem et sarmen, carnufex, circumdari. 50 
 77*?. Ne faxis : nam elixus esse, quam assus, soleo suavior. 
 777. Exempla edepol faciam ego in te. TR. Quia placeo, 
 
 exemplum expetis. 
 777. Loquere : quoiusmodi reliqui, quom hinc abibam, 
 
 filium ? 
 TR. Cum pedibus, manibus, cum digitis, auribus, oculis, 
 
 labris. 
 777. Aliud te rogo. 77?. Aliud ergo nunc tibi re- 
 
 spondeo. 55 
 
 Sed eccum tui gnati sodalem video hue incedere, 
 Callidamatem : illo praesente mecum agito, si quid voles. 
 
 ACTVS V. SCENA III. 
 
 Callidamates. Thevropides. Traxio. 
 
 CA. Vbi somnum sepelivi omnem, omnem atque obdor- 
 
 mivi crapulam, 
 Philolaches venisse mihi suum [narravit] peregre hue 
 
 patrem, 
 
6o PLAVTI MOSTELLARIA. 
 
 Quoque modo hominem ad[venientem] servos ludificatus 
 
 sit; 
 Ait, se metuere in conspe[ctum illius] occedere. 
 Nunc ego de sodalitate solus sum orator datus, 5 
 
 Qui a patre eius conciliarem pacem. Atque eccum op- 
 
 tume. 
 Iubeo te salvere, et, salvos quom advenis, Theuropides, 
 Peregre, gaudeo. Hie apud nos hodie cenes. Sic face. 
 777. Callidamate, di te ament. De cena facio gratiam. 
 CA. Quin venis ? 77?. Promitte : ego ibo pro te, si 
 
 tibi non lubet. IO 
 
 777. Verbero, etiam inrides ? 77?. Quian me pro te ire 
 
 ad cenam autumo ? 
 777. Non enim ibis : ego ferare faxo, ut meruisti, in cru- 
 
 cem. 
 CA. Age, mitte ista, ac ito ad me ad cenam. 77?. Die 
 
 venturum ; quid taces ? 
 CA. Sed tu istuc quid confugisti in aram inscitissumus ? 
 77?. Adveniens perterruit me. — Loquere nunc, quid 
 
 fecerim. 15 
 
 Nunc utrisque disceptator, eccum, adest : age, disputa. 
 777. Filium corrupisse aio te meum. 77?. Ausculta modo. 
 Fateor peccavisse ; amicam liberasse ; apsente te 
 Faenori argentum sumpsisse ; id esse apsumptum prae- 
 
 dico. 
 Numquid aliud fecit, nisi quod summis gnati generibus ? 20 
 777. Hercle mihi tecum cavendum est : nimis qui es 
 
 orator catus. 
 
ACTVS V. SCENA III. 6 1 
 
 CA. Sine me dum istuc iudicare. Surge : ego isti ad- 
 
 sedero. 
 777. Maxume. Accipito hanc ad te litem. 77?. Enim 
 
 istic captio est. 
 Fac, ego ne metuam, [igitur, et] tu meam timeas 
 
 vicem. 
 777. lam minoris [omnia fa]cio, prae quam quibus 
 
 modis 25 
 
 Me ludificatus est. 77?. Bene hercle factum, et factum 
 
 gaudeo. 
 Sapere istac aetate oportet, qui sunt capite candido. 
 777. Quid ego nunc faciam, si amicus Demipho aut Phi- 
 
 lonides — 
 77?. Dicito iis, quo pacto tuus te servos ludificaverit : 
 Optumas frustrationes dederis in comoediis. 30 
 
 CA. Tace parumper : sine vicissim me loqui. — Aus- 
 
 culta. 777. Licet. 
 CA. Omnium primum sodalem me esse scis gnato 
 
 tuo. 
 Is adiit me: nam ilium prodire pudet in conspectum 
 
 tuum 
 Propter ea quae fecit, quom te scire scit. Nunc te opse- 
 
 cro, 
 Stultitiae adulescentiaeque eius ignoscas. Tuus est ; 35 
 Scis, solere illanc aetatem tali ludo ludere ; 
 Quidquid fecit, nobiscum una fecit ; nos deliquimus : 
 Faenus, sortem, sumptumque omnem, qui arnica [empta] 
 
 est, omnia 
 
62 PLAVTI MOSTELLARIA. 
 
 Nos dabimus, nos conferemus, nostro sumptu, non tuo. 
 TH. Non potuit venire orator magis ad me inpetrab- 
 
 ilis, 40 
 
 Quam tu : neque illi sum iratus, neque quicquam sus- 
 
 censeo ; 
 Imo me praesente amato, bibito, facito quod lubet. 
 Si hoc pudet, fecisse sumptum, supplici habeo satis. 
 CA. Dispudet. TR. Dat istam veniam. Quid me fiet 
 
 nunc iam ? 
 TH. Verberibus, lutum, caedere pendens ! TR. Tamen- 
 
 etsi pudet ? 45 
 
 TH. Interimam hercle [te] ego, si vivo ! CA. Fac is- 
 tam cunctam gratiam : 
 Tranioni remitte, quaeso, hanc noxiam causa mea. 
 TH. Aliud quidvis inpetrari a me facilius perferam, 
 Quam ut non ego istum pro suis factis pessumis pessum 
 
 premam. 
 CA. Mitte, quaeso, istunc. 777. Hem, viden', ut restat 
 
 furcifer ? 5° 
 
 CA. Tranio, quiesce, si sapis. TH. Tu quiesce hanc 
 
 rem modo 
 Petere ; ego ilium verberibus, ut sit quietus, subegero. 
 CA. Nihil opus est profecto. Age iam, sine ted ex- 
 
 orarier. 
 TH. Nolo ores. CA. Quaeso hercle. TH. Nolo, in- 
 
 quam, ores. CA. Nequiquam nevis : 
 Hanc modo noxiam unam, quaeso, [missam] fac causa 
 
 mea. 55 
 
ACTVS V. SCENA III. 63 
 
 77?. Quid gravaris ? Quasi non eras iam commeream 
 
 aliam noxiam : 
 Ibi utrumque, et hoc et illud, poteris ulcisci probe. 
 CA. Sine te exorem. 777. Age, habe ; abi inpune ! 
 
 Hem, huic habeto gratiam. 
 CANTOR. Spectatores, fabula haec est acta : vos plau- 
 
 sum date. 
 

NOTES. 
 
 The grammatical references are to Madvig, American edition (M.), Harkness 
 (H.), Allen and Greenough (A. & G.), and Gildersleeve (G.). 
 
 ARGUMENT. 
 
 See Introduction to Mostellaria. 
 
 Manumisit is contrary to the custom . of PL, who commonly uses 
 
 manu emittere (Lor.). Manumittitis, however, is found in 
 
 Cure. IV. 2. n. 
 Amores, " mistress," the plu. abstract for sing, concrete. 
 Apsente, apsumit, for abs — . See note on I. I. 7. 
 Lucripeta. Formed after the analogy of the Plautine lucrifuga, 
 
 Pseud. IV. 7. 33. On the composition see M. 205, a ; A. & G. 
 
 168, c; H. 340 ; G. 790, II. a. 
 Ludus fit is not Plautine. In all the analogous phrases PI. uses 
 
 the plu. 
 "NL\it\iom = 7nutuum. An imitation of the early form. See note 
 
 on I. 1. 11. 
 Inspectat. The frequentative form for inspirit, in imitation of 
 
 PL (Lor.). 
 
 PERSONS OF THE DRAMA. 
 
 The student will notice that the names are given in the order of entrance upon 
 the stage in the course of the play, as in a Greek drama. Compare the arrange- 
 ment in Shakspere according to rank or importance. See also Intro, to Most. 
 
 Servos. See note on salvom, I. 1. 11. 
 Pedisequi. See on II. 2, beginning of scene. 
 
66 NOTES. 
 
 Advorsitor. From advorsum and ire % from the office of the slave, 
 which was " to go to meet " his master after a banquet, and 
 escort him home. Comp. advorsu?n venire, etc., I. 4. 1, 
 where the custom is illustrated. The spelling vo- is in- 
 variable during the times of the Republic, in voster for later 
 vester, and vorto for verto, with compound and derivative 
 words. 
 
 Lorarii. These slaves appear frequently in PL Their office, as 
 the name shows (lorum, a thong or lash), was to keep the 
 household in order and to inflict punishment at the command 
 of the master. 
 
 ACT I. SCENE I. 
 
 Grumio, a slave from the country, is before the house of Philolaches, calling to 
 Tranio, who is busy within. 
 
 1. Sis = si vis. H. 293, 3; A. & G. 13,^; M. 157, obs. Trans- 
 late not "if you please/' but "come out, will you?" 
 
 1. Foras. An adv., but originally the ace. plu. of the obsolete forae, 
 
 "openings," of which the adv. fort's is abl. plu. Foras is an 
 ace. of limit of motion, forts, abl. of place, or locative. The 
 former therefore follows verbs of motion only, as here. 
 (Ram.) 
 
 2. Argutias, " chaff," " quibbles," from stem dpy, shining. (Ram.) 
 
 3. Herilis takes the place of an objective gen., as in custos herilis, 
 
 As. III. 3. 65, though generally for a possessive gen., as 
 herilis filius, res, p atria. 
 
 4. Vlciscar. This verb takes usually in PI. and Ter. an ace. of 
 
 person, as here, sometimes with abl. of manner. But also 
 ace. of crime as in this play, third line from end, utnwique 
 tdcis ci. (Ram.) 
 
 4. Probe, "completely," " thoroughly," an ante-class, sense very 
 
 common in PI. 
 
 5. Quid = ctir. So in next line, in 33, and very often in PI. Per- 
 
 haps originally an ace. of specification. G. 331, 3 ; H. 
 380, 2 ; 454, 2 ; A. & G. 240, a. Roby compares Gr. r/, but 
 
ACT I. SCENE I. 67 
 
 suggests that quid may be the old abl. qui with d fiaragogi- 
 cum. See II. 1. 18. 
 6. Quid, malum, -why the mischief," "why the deuce,'' Germ. 
 " zum Henker." Very common in PI. and Ter. Taken 
 with damatio est, the words may be rendered u why the mis- 
 chief are you shouting ? " This use of the verbal substan- 
 tive is equivalent in some cases to the inf., as Poen. V. 2. 
 136, acerba amatio est = acerbum est a?nare, or to the 
 gerundive, as Pseud. I. 2. 37, cautio est viihi = cave?i- 
 dum est mihi, or most frequently as here to the finite 
 verb. So Trin. III. 2. 83, quid tibi i7iterpellatio est? 
 " why do you interfere ? " Ter. Eun. IV. 4. 4, quid hue 
 tibi ?'editio est? "why do you come back here?" (Lor. 
 Wag. Hild.) 
 
 6. Aedis = aedes. The endings -es and -is for ace. plu. 3d decl. 
 
 are both found in PL and are printed without distinction in 
 this text. A third form in -cis is given in inscriptions. See 
 M. 43, 2 ; H. 65 ; A. & G. $% ; G. 60, 1. 
 
 7. An frequently introduces the second part of a disjunctive ques- 
 
 tion, of which the first part may generally be supplied by the 
 phrase, " Am I mistaken, or," etc. Such questions express 
 the real or pretended surprise, incredulity or indignation of 
 the speaker, when there is a contradiction between what 
 would naturally be expected and what is evidently the case 
 or is asserted to be the case. In this passage the full form 
 would be, ( ,; do you not know you are in the city, as you evi- 
 dently are), or do you suppose that you are in the country, 
 (as your shouting would lead any one to think) ? " Render, 
 " You think you are in the country, don't you ? " So in II. 
 2. 24, Eho, an tu tetigisti has aedis t " You have n't touched 
 this house, have you ? " "(Have you let this haunted house 
 alone, as any one might expect you would) or have you 
 touched it (as your words evidently indicate) ? " So V. 2. 20. 
 Less commonly in dialogue an expresses doubt inclining to 
 one side or the other, as in I. 4. 20, an scisf M I don't think 
 you know, do you ? " These questions are especially fre- 
 
68 NOTES. 
 
 quent in PI. and Ter., and are often strengthened by eho, 
 opsecro, quae so. 
 
 7. Apscede == abscede. This early spelling is well established 
 
 from inscriptions. Comp. note on aps, III. i. 118. 
 
 8. Abi dierecte, " go and be hanged." The meaning of dierecte is 
 
 evident from many passages in PL, but the etymol. has oc- 
 casioned much discussion. The most plausible derivation is 
 that suggested by Rost and adopted by Ram. and Lor., from 
 dis+erigo, referring to the position of the criminal, raised up 
 (erigo) and spread out (dis) upon the cross. 
 
 9. En. With the word Tran. gives him a blow. " There ! was it 
 
 this that you wanted ? " 
 9. Hocine. Hoc with the e which followed those cases of hie 
 which end in c, shortened to i when the interrog. suffix ne is 
 appended. " Less correctly," hoccine. M. 81, obs.; G. 102, 
 Rem. 1 ; H. 186, 2; A. & G. 101, note. 
 9. Perii, a common exclamation of pain or fear. Perf. for pres. 
 tense. See I. 3. 54. 
 Many of the differences between the language of PI. and Ter., 
 and that of classical prose, may be traced to one cause, viz. 
 the desire for the most vivid and forcible expression. This 
 appears in the use 
 (a.) Of the fut. perf. for the fut., of the perf. for the pres. and 
 
 the plup. for perf. definite. (See I. 3. 54.) 
 (b.) Of pres. for fut. (See III. 2. 85.) 
 (c.) Of fut. indie, for impv. (See II. 2. 94.) 
 (d.) Of frequentative for simple verbs. (See I. 1. 51.) 
 (e.) Of synonymous words, particularly adverbs. (See I. 2. 17.) 
 To the same cause may probably be referred the use 
 (f.) Of fui, fueram, fuero for sum, eram, ero, with the perf. 
 
 pass, participle. (See III. 2. 5.) 
 (g.) Of indie, for subjunc. in indirect questions. (See I. 2. 64.) 
 These peculiarities of style are not confined to comedy, but only 
 show themselves most prominently there. Usages corre- 
 sponding to several may be observed in English conversa- 
 tional style. 
 
ACT I. SCENE I. 69 
 
 10. Quia tu vis. " Because by waiting about the house you invite 
 me to strike you." 
 
 10. Sine adveniat, sc. ut In the next line sine is followed by the 
 
 inf. Such variations of expression are common in the con- 
 versational Latin of comedy. Notice also the omission of 
 the subject of the inf., which is very frequent and almost 
 peculiar to comedy. See M. 401, obs. 2. 
 
 11. Salvom = salvum. " Down to B.C. 100, or even later, the 
 
 combination vv {1121) was unknown, whether the first v had 
 the force of a vowel or of a consonant." (Ram.) Thus the 
 earlier spelling was volnus, volgus, servos, ?no?'tuos, quom. In 
 this text, however, the ordinary spelling tuus, suns, is retained. 
 
 12. Frutex, "you stick." So Ter. uses caudex and stipes, Heaut. 
 
 V. 1. 4. 
 
 13. Vt possiet = ut possit. M. 108, obs. 4; H. 204, 2; A. & G. 
 
 119, end; G. 191, 6. After optimum est, aequu?n est and 
 similar phrases, ut with subjunc. is used when the truth or 
 falsity of the occurrence is implied ; otherwise, an inf. is used. 
 See M. 374, obs. 2 ; H. 556, I. 2; A. & G. 332, a ; G. 559. 
 
 14. Scurra, " dandy, swell." An excellent description of the Ro- 
 
 man dandy in the time of PI. is given in Trin. I. 2. 162- 174. 
 14. Vero is regularly put in the third place in the sentence. (Lor.) 
 Often in the second. M. 437, obs.; A. & G. 156, k ; H. 
 602, III.; G. 489. 
 
 14. Deliciae popli, "darling of society." Popli is syncopated 
 
 from poptili, and is found six times in PI. Comp. manuplares, 
 
 1-3- 154- 
 
 15. Rus mini tu obiectas? "Do you cast the country in my 
 
 teeth ?" Ram. quotes a Scotch phrase "to cast up a thing 
 to any one," which is 'still nearer the Latin. 
 15. Credo is parenthetic, and the clause beginning with quod is 
 dependent upon obiectas, to be supplied from line 15. These 
 lines may be paraphrased thus : — " Do you reproach me with 
 being a rustic ? I think you talk about the country because 
 you have a premonition that you are soon to be sent there 
 yourself to become a countryman." 
 
;o 
 
 NOTES. 
 
 16. Pistrinum. One of the punishments inflicted upon refractory 
 slaves was to transfer them from ihefamz/za urba?ia, where 
 the labor was light, to the familia rzcstica, where they were 
 employed in severe toil. The grinding-mill was often worked 
 by such slaves loaded with irons. 
 
 16. Tradier= tradi. M. 115, a ; A. & G. 128, e, 4; H. 239, 6; 
 
 G. 191, 2. 
 
 17. Cis paucas tempestates, "within a short time." Cis is used 
 
 in this sense only by post-class, writers and by PI. who al- 
 ways connects it with pauci. Teinpestas in PI. commonly 
 means "bad weather," but in one other pass, beside this, 
 " season, time." 
 
 18. Genus, appositive of the subj. of augebis, or as Lor. says, par- 
 
 titive appos. of numerui7i. 
 18. Ferratile. Found only in this place, and probably coined by 
 PI. with reference to the fetters which Tran. would wear. The 
 sense is, " you will become a new kind of plant in the coun- 
 try, the iron-bearing variety." 
 
 20. Optumum = optimum. The form in u is almost universal in 
 
 inscriptions of the time of the Republic, and is generally 
 adopted in PI. and Ter. for superlatives and a few similar 
 words. 
 
 21. Pergraecamini, "play the Greek," or "be true Greeks." 
 
 (Thornton's PI.) Numerous examples might be given of the 
 Roman contempt for the Greek race. Warner compares 
 Twelfth Night, IV. 1, where the clown is called "foolish 
 Greek." Notice that PI. here forgets that the speaker and 
 the whole play are Greek, and uses the word from the Ro- 
 man stand-point. 
 
 22. Arnicas. Plu. used in angry exaggeration, as if the act had 
 
 been habitual. 
 
 23. Pollucibiliter. Pollucere is the word for making an offering 
 
 to a god, used particularly of the rich feasts in honor of 
 Hercules. So polhicibilis means " rich, dainty, fine." 
 
 24. Haecine. See note on 9. 
 
 24. Peregre means (1) "in the country," "abroad," (2) "from 
 
ACT I. SCENE I. 71 
 
 abroad," (3) " to a foreign country," and examples of the 
 three uses may be found in PL Here it is (3), " to a foreign 
 land." In II. 1. 6 and 27 are instances of (2). (Ram.) 
 
 25. Offendet, "find." And. Lex. s. v. I. B. 
 
 26. Existumas = existimas, like optiimum, line 20. 
 
 27. Vt corrumpat, in apposition with officium. Comp. ut possiet, 
 
 13. 
 
 28. Quom . . . studet (= quum. See I. 1. n.) Clauses of cause 
 
 often take the indie, in early writers, especially when qmim 
 may be rendered "inasmuch as" or "in that," in which 
 cases the idea of cause is not prominent. M. 358, obs. 2 ; 
 A. & G. 321 ; G. 567, 587, Rem. So I. 2. 64, quom scio, 
 " inasmuch as I know." 
 
 29. Adaeque is used only in PL, always with a negative (here 
 
 nemo), and always with a comparative force. And as in PL 
 a double comparative is often used, so adaeque is often 
 joined with a compar. Adaeque parcus (= parcior) corre- 
 sponds therefore to magis continens (— continent ior) , and quo 
 is abl. after compar. So Cas. III. 5. 45, neque fuit me quis- 
 quam adaeque ?niser (== miserior), " more wretched than I." 
 Capt. IV. 2. 48, adaeque nemo vivit fortunatior, "more for- 
 tunate," double compar. 
 
 31. Notice the alliterative use oip, as of c (qu) in 52, below. 
 
 32. Virtute has here no moral force. Render, " power, force, in- 
 
 fluence." So Pseud. II. 1. 6, malorum meorum . . . virtute, 
 "by the force of my evil deeds." So also in this play, I. 3. 
 17, virtute for ?nae, "by the power of beauty." (Gron. Lect. 
 Plaut.) 
 
 32. Magisterio, " teaching." 
 
 33. Me, object of curatio, the verbal noun taking the same case as 
 
 the verb. The indirect question quid ego agam is in the 
 same construction. So Aul. III. 2. 9, quid tibi nos tactio 
 est? "why do you touch me?" See H. 371, 7; G. 329, 
 Rem. 2. See also note on line 6, above. 
 
 34. An. See note on I. 1. 7. 
 
 36. Tergi, objective gen. zfozx fiducia. See M. 283, obs. 3. "The 
 
72 NOTES. 
 
 objective genitive with a substantive corresponds but very 
 rarely with the dative governed by a verb." It is, however, 
 quite common after fiducia (fido). See And. Lex. for ex- 
 amples. Render, "At the risk of my back," and comp. 
 Bacch. IV. 4, loo, ?nea fiducia . . . et meo periculo. 
 
 38. Allium. See M. 223, c, obs. 2 ; A. & G. 237, c ; G. 329, Rem. 
 
 1; H. 371, 3, 2). Olere is used transitively " by a stretch 
 of the conception." (Roby.) 
 
 39. Germana, "pure, simple." 
 
 40. Canes, another and older form for cams. 
 
 41. Olere. This form must be of the 3d conj., as also olant, Poen. 
 
 I. 2. 56, though oles in the next line is of the 2d conj. 
 
 41. Unguenta exotica. On the attempt to fix the date of the 
 
 play by these words, see Introduction. The construction is 
 the same as that of alliwn, 38. 
 
 42. Superior . . . accumbere. Slaves and parasites sat on a bench 
 
 at the foot of the table. To be placed on a couch above the 
 host would be an honor given only to guests. 
 
 43. Facetis. This word in PL never means "jocose." In accord- 
 
 ance with its derivation from facto, it means " apt, clever," 
 and so "fine, graceful, dainty." In this line vivere must be 
 supplied from vivis, depending upon possunt. (Ram.) 
 
 44. Turtures, etc. Greek dainties. PL in many other passages 
 
 shows that pork in some shape was the choice Roman dish 
 of his time. 
 
 45. Alliato. The text and construction of this line are doubtful. 
 
 If alliato is the reading, it is abl. of manner. Me is then 
 subject, and fortuna s object oi fungi, which like utor,fruor, 
 etc. sometimes in early writers takes an ace. H. 419, 4, 1) ; 
 G. 405, Rem. 1 ; A. & G. 249, b\ M. 265, obs. 2. Alliato 
 is found only in this place. 
 
 46. Patiunda. The form of the gerundive in -und is more com- 
 
 mon in early inscriptions than that in -end. It is confined 
 to verbs of 3d and 4th conj., and verbs whose stem ends in 
 u take -end. M. 114, obs., last clause. 
 
 47. Maneat, "await, wait for." The idea is, "I will endure my 
 
ACT I. SCENE I. 73 
 
 present evil for the sake of the good which awaits me, while 
 your evil is still to come." 
 
 48. Quasi is to be connected with invidere. " You seem, as it 
 
 were, to envy." 
 
 49. Dignissumum est. " It is just as it ought to be." 
 
 51. Victitare. The frequentative for the simple verb is frequently 
 used by PI. So I. 2. 32, mantant, I. 2. 67, victitaba7n, and 
 often. This is one manifestation of the tendency to exagger- 
 ation in popular speech, for vividness and force. See note 
 on I. 1. 9. 
 
 51. Pulcre — pulchre. The early Romans used // very sparingly 
 at the beginning of words, and did not aspirate consonants at 
 all. So triumpus, Kartago. teatrum, Pilolaces. would prob- 
 ably be correct forms for the text of PI. But editors are 
 not agreed upon the limits of this general principle. (Ram. 
 Lor. Rit.) 
 
 51. Miseris modis, ;; wretchedly." The use of ?nodus in plu. with 
 an adj. is very common in PL Comp. IV. 4. 39. indiguis 
 modis, "shamefully," Rud. III. 1. 1. miris modis, "wonder- 
 fully." Also I. 3. 35, pessumis exemplis. 
 
 52-54. In order to get the sense of these lines it is necessary to 
 understand fully the mode of punishment alluded to. The 
 patibulum was a beam or log with a hollow in one side, so 
 that it could be laid across the neck and shoulders of the 
 criminal : his hands were then bound or nailed to the project- 
 ing ends, and he was compelled to walk in this way to the 
 place of execution without the walls. There the crux, an 
 upright post, was permanently fixed in the ground : the pa- 
 tibulum, with the malefactor attached, was raised into posi- 
 tion, and the feet were nailed to the crux. On the way the 
 criminal was sometimes scourged, or driven with sharp 
 goads which punctured the flesh. (Ram. Lor.) The latter 
 custom explains the allusion in cribrum. Carnuficium is a 
 conjectural form for carnif-, based upon aurufex for aurifex, 
 which is found in one inscription. Before fore supply te as 
 subj. Patibulatum is an adj. from patibulum. 
 
74 NOTES 
 
 53. Ita. "Instead of a consecutive sentence [clause of result] 
 
 with ut, the consequence is sometimes stated absolutely in 
 the indicative." (Roby.) This absolute use of ita is very 
 common in PL The idea is, " You will be like a sieve, they 
 will prick you so." 
 
 54. Si . . . quam primum, "if once," or " as soon as." See also 
 
 on I. 2. 17. 
 
 55. Qui scis, "how do you know." Qui is an old form of the abl. 
 
 of qui or quis, and stands for any gender, and sometimes 
 
 apparently for the plu. number. 
 
 (a.) As relative, we have in this play, I. 3. 109, lapidem, qui 
 
 (masc), I. 3.101, cerussa, qui (fern.), III. 1. 7, argentum, 
 
 qui (neut). In Stich. II. 1. 20, quadrigas, qui (plu.). 
 
 (b.) As interrogative, qui is used either in direct or in indirect 
 
 questions, with the meaning " how " or " why." 
 (c.) As indefinite, qui is used for aliquo, or in compound aliqui 
 
 for aliquo, in I. 3. 18. 
 The phrase qui scis is frequent in Hor. (Ram.) 
 55. An. See M. 453, foot of page. Qui scis is equiv. to nescis. 
 55. Istuc = istud + ce. M. 82, 3, obs. 2 ; A. & G. 101, a\ H. 
 186, 3; G. 102, Rem. 2. 
 
 57. Compendi face = compendii fac. On form face, see M. 114, 
 
 c, obs.; H. 237, 1; A. & G. 128, c. The expression com- 
 pendi facere, u to save," is analogous to lucri ficere, "to 
 gain," and perhaps to praemii, mercedis or dotis dare. It is 
 sometimes called the " predicative " genitive, and is placed 
 by Roby under the general head of gen. of " kind or con- 
 tents ; that in or of which a thing consists." It is therefore 
 like acervus frumenti, denoting indefinitely the sort or ma- 
 terial of an object. This is not to be connected with flocci 
 (jiatici) facer e. Comp. Bacch. II. 2. 6, compendi . . . verba 
 . . .faciain, " I will save words," Pers. IV. 3. 2, co7Jipe7idi feci 
 binos panes indies, " I have saved two loaves a day." 
 
 58. Mactari, "to be punished," the usual bad sense in PI. See 
 
 And. Lex. 
 
 59. Daturin', = daturine. M. 6, obs. 2 ; A. & G. 13, c. In next 
 
 line with estis supply dattwi. 
 
ACT I. SCENE I. 75 
 
 61. Quoniam, as if in two words quoin iam, as often in PL Quom, 
 
 having the meaning " inasmuch as," takes the indie, as in 
 28. Render " Go on, now that you have begun." This is 
 almost equiv. to the common Plautine phrase ut occepisti, 
 perge porro, e. g., Trin. I. 2. 125. 
 
 62. Saginam. This word, which is found also in I. 3. 79, is some- 
 
 what difficult of explanation, and has been the occasion of 
 much varying comment. And. Lex. translates this pass, 
 (sub sag.) " Kill the fatted beast," but Ramsay's rendering 
 is better in connection with effercite vos, " Stuff yourselves 
 like sausages ! chop up the meat for fattening yourselves ! " 
 
 63. In Piraeum. PL is undecided in his construction of names of 
 
 places, sometimes using a preposition, sometimes omitting 
 it. (Lor.) The fish-market of Athens was at the Piraeus. 
 
 64. In vesperum. Comp. Eng. phrase, ''against evening." 
 
 64. Parare depends upon ire. Later usage would require the su- 
 
 pine, but the inf. is very common in PL after verbs of mo- 
 tion. 
 
 65. Faxo. " The future in -so is used as a completed future [fut. 
 
 perf.] in subordinate relative sentences, or with adverbs of 
 time or condition. Faxo only and in the first person only 
 is also used as a simple future." (Roby.) This form is 
 made by adding -so (-sso in 1st and 2d conj., enicasso I. 3. 
 55.) to the pres. stem. See M. 115,/*. Taken by many to 
 be shortened from fut. perf. fecero, through feces o. Faxo 
 has two constructions in PL It is sometimes parenthetic, 
 in which case the principal verb is usually in the fut., and 
 sometimes, as here, it is followed by a subjunctive with ut 
 understood. It is very common in PL and Ter., and is re- 
 tained in later writers. 
 
 66. Optuere = obtuere, from collat form obtuor of 3d conj. Comp. 
 
 olere, 41, contiti, III. 2. 149, and intuor^ III. 2. 147. 
 
 66. Furcifer, furca -\- fero. The furca was a V-shaped beam 
 
 used in the same way as the patibulum, 52-54. 
 
 67. Istuc nomen, i. e.,furcifer. 
 
 68. The sense is : — " Provided that I may in the mean time be in 
 
76 NOTES. 
 
 as good condition as this, I am not disturbed about that 
 which is to come soon." 
 
 69. Nimio. Nimius in all its forms, and the adv. nimis, have in 
 PL beside the usual meaning "too much," "too great," a 
 simple intensive force, " very great," " very." So here, in 
 I. 3. 109, II. 2. 12, etc. In I. 3. 134, both meanings are 
 found ; in IV. 3. 9, either will suit. The context must de- 
 termine which sense is required. 
 
 71. Molestus ne sis is a common answer in PI. to an annoying 
 joke. III. 1. 68, III. 2. 82, etc. 
 
 71. Nunc iam. Often written as one word. The pleonastic use 
 
 of advs. is characteristic of conversation. See I. 2. 17. 
 
 72. Praeterhac is rendered " furthermore, moreover " by And. Lex. 
 
 Perhaps better — posthac, "henceforward," as in several 
 passages. Ne tu erres, " lest you should make a mistake (I 
 will tell you)." Thornton's PL somewhat freely translates, 
 " 'T is the last time, be sure, you e'er shall stay me." 
 
 73. Satin' = satisne. M. 6, obs. 2. A. & G. 13, c. This word 
 
 has two quite distinct uses in PL, which must be distin- 
 guished by the context. 1. A question of fact with the 
 original meaning of satis prominent, as I. 3. 10, satin' haec 
 7ne vestls deceat, " suits me well enough," " is becoming 
 enough to me." 2. A question implying feeling of some 
 sort, delight and wonder, or indignation as in this place. 
 Render, u Is it possible that he has gone ? " (Ram.) 
 
 73. Flocci. After a verb of estimating, facere, aestlmare, that 
 
 which denotes the indefinite value is regularly put in the 
 gen. M. 294 and obs. 1 ; A. & G. 252, b\ H. 402, III. 2. 3); 
 G. 379. With flocci (naticl) facere, a. negative is regularly 
 (but not invariably) used. Roby refers this form to the lo- 
 cative. See Vol. II. Pref. pp. 57-61. 
 
 74. Opsecro vostram fidem, " I beg for your protection." This 
 
 phrase was so commonly used in conversation that it became 
 merely an ejaculation like the Eng. " Lord save us ! " For 
 examples see And. Lex. subfdes, II. B. 2. 
 yS. Paucorum, "but few," "only a few." 
 
ACT I. SCENE II. 7 7 
 
 j8. Mensum. The more usual form is mensium, but see A. & G. 
 59 ; M. 44, I, a ; H. 65, 3, note 4. 
 
 78. Relictae reliquiae. The repetition of the same stem in succes- 
 
 sive words is called figura etymologica ; it is found in many 
 places in PI., and is often carried to an extreme. Capt. II. 
 2. 108, bonis benefit beneficium, Aul. II. 2. 43, /acinus tnis 
 factis facis. 
 
 79. Eccum. Such forms as this, compounds of ecce with the ace. 
 
 of the demons, pronouns, are frequent in the comic poets. 
 Ecce itself contains a demons, suffix -ce, and seems in these 
 compounds to have the force of an imperv. of the verb " to 
 see." There are three kinds of construction with eccum, all 
 found in this play. 
 (1.) Eccum is used entirely alone, like ecce. V. 3. 6, atque eccum 
 
 optume. 
 (2.) With a name following in ace, III. 1. 29, eccum Tranium. 
 (3.) With a noun, but without influence upon the construction, as 
 in this pass, where filium depends upon video, or in III. r . 
 j8, pater ecctim advenit. This is perhaps the most com- 
 mon use. (Lor.) 
 For the double demons, in these words, comp. Eng. " this here," 
 " that there," French ceci, cela. 
 
 ACT I. SCENE II. 
 
 m There was no changing of scenery between the scenes, and therefore no pause. 
 Grumio goes out toward the country, having seen Philolaches coming upon the 
 stage from the other side. 
 
 The monologue which follows is the first canticum, and the arrangement of its 
 metre has been the subject of much discussion and conjecture. The present text fol- 
 lows the MSS. in nearly every case, making no changes for supposed metrical reasons. 
 
 There are several ca?itica by young men on the subject of love, as in Tnn. II. 1, 
 Merc. 1. 1, Cist. II. 1. This is pronounced by Lorenz the best and most interesting. 
 
 2. Argumenta. That which pierces and carries conviction, and 
 therefore followed by in with ace. Contrast in corde, in 
 next line. 
 
73 
 
 NOTES. 
 
 4. Volutavi, the common frequentative form. 
 
 5. Quoius = cujus. M. 86, obs. 1 ; H. 187, 2 ; A. & G. 104, b. 
 
 6. Arbitrarer. Subjunctive of indirect quest, after disputavL 
 9. Ei rei. Comp. 34. Daiivus commodi. (Lor.) 
 
 10. Haud. This word has been sometimes written hant and kau, 
 on the authority of Ritschl, Proleg. to Trin., pp 99-102. 
 See also Lor.'s note. A full discussion of the forms is given 
 by Ram. Proieg. pp. 43-45, where it is shown by reference 
 to early inscriptions that these are probably late forms and 
 were seldom or never employed in the time of PL This 
 is true also of quot, quit, aliut, set, at, etc., for quod, quid, etc., 
 and the spelling with d\s followed throughout this text. 
 
 12. Vera, predicate after esse, which depends upon vincam, " I will 
 
 prove." Vosmet is subject of dicetis, 14. 
 
 13. Scio. The very frequent use of scio, credo, opsecro, amabo, 
 
 etc., is characteristic of conversational language. 
 
 13. Proinda uti . . . haud aliter, for prohide ut . . . ita or hand 
 aliter . . . ac. The usual prose would be proinde . . . ac. 
 (Lor.) See below, 17. 
 
 13. Autumo, lengthened from aio, as negumo from nego. Ante- 
 class, and a favorite word with PL 
 
 16. Simul goes with mecum, as in IV. 4. 43, mecum una simuL 
 (Lor.) 
 
 16. Gnarures esse = [g]uoscere, with which it is connected in 
 
 etymol. Found also in the Prol. to Poen. 47, but nowhere 
 else before post-class, writers. Governs hanc rem as the 
 verb would do. (Ram.) 
 
 17. Quom extemplo — simul ac. The pleonastic use of adverbs 
 
 is one of the manifestations of the desire for vividness in 
 dialogue. Comp. V. 2. 1, ilico intra litnen . . . illic, and 
 qliom extemplo . . . continuo, una mecum simul, nunc iam, 
 igitur demum. See general note on I. 1.9. 
 
 18. Examussim, from amussis, zl carpenter's level. Render "well 
 
 constructed," "true to the line." (Ram.) 
 
 19. Laudant. The subject is general, to be supplied from quisque. 
 
 20. This line is very corrupt in the MSS., and the text is con- 
 
ACT I. SCENE II. 79 
 
 jectural and doubtful. As it stands, supp unt from 
 
 19. •* Each one seeks for himself a similar model, even at 
 his own expense.'' 
 
 21. Nequam is probably an adverbial ace. with some fern, noun 
 
 like virtutem understood. It is used by PL as an indeclin- 
 able adj. among words of bad meaning, as Asin. II. 2. 39, 
 mains nequamque, and in contrast to frugi, Pseud. I. 5. 53. 
 Render, ••worthless." "good-for-nothing, ' 
 
 22. Familia, the household of slaves, who would be careless in 
 
 their treatment of a house. 
 
 24. Tempestas has here its usual Plautine sense of •• bad weather.'' 
 
 not as in I. 1. 17. 
 
 25. Tegulas imbricesque, "tiles and gutters 7 ' (Ram.) or roofing- 
 
 tiles and joint-tiles n (Smith's Diet. Antiq.). together equiv. 
 to the whole roof. So Mil. Glor. II. 6. 24. confregisti im- 
 brices et tegulas, "you have broken the roo:V 
 
 26. Reddere alias, "to make them new." "to replace with others. '» 
 
 26. Nevolt =: nonvult. H. 293. 3 : M. 157. obs. The other forms 
 
 with non occur in PL. as non vis, I. 4. 23. nan velint^ III. 1. 
 146. Ne is the older form of the negative as seen in ueque 9 
 nemo, ?:. quidem, etc. 
 
 27. Perpluont. The compounds of pluo are used five times by 
 
 PI., four of them in this play. Pino is generally intrans. and 
 so perpluo, u to let the rain through." as in this pass, and in 
 Trin. II. 2. 41, ne popluant. "lest they let the rain 
 through/' But pluo also takes an object of the thing rained 
 down as sanguinem pluere, " to rain blood,"' and from this 
 comes the trans, use of perpluo in I. 3. 3. tempestas . . . 
 quam mihi Amor et Cupido in pectus perpluit meum. "which 
 Love rained through (poured through my covering of mod- 
 esty) into my breast." Also pluo is usually impers., but 
 perpluo in this sense is often personal. Comp. note on IV. 
 1. 13. for in pluo. 
 
 28. Aer. A somewhat doubtful conjecture of Cam. (or per of MSS. 
 
 Render, k * mist, vapor." 
 28. Operam for opus, the trouble for the troublesome work. (Lor.) 
 
8o NOTES. 
 
 29. Nequior, compar. of nequam, 21. 
 
 30. Magna pars with plu. verb. So qjdsque above, line 19. Comp. 
 
 Capt. II. 1. 36, maxuma pars . . . homines habent. 
 
 31. Moram, etc., "allow this delay." "Affect delay" (Th.'s PI.). 
 
 Perfect tense of customary action, like gnomic aorist. M. 
 335, b, obs. 3 ; A. & G. 279, c. 
 
 31. Numo =nummo. The doubling of semi-vowels was con- 
 
 trary to the custom of the early writers, though the rule was 
 not invariable. (Ram.) Render, " for a trifle." (Lor.) 
 
 32. Id faciunt, i. e., sarciunt. 
 
 32. Donicum = donee. The etym. is uncertain but donique is a 
 
 form used in inscriptions as equiv. to donee. Donicum is 
 used seven times by PI. 
 
 33. Ruont = ruunt, as perpluont above. Denuo, " quasi de novo." 
 
 (Hild.) See And. Lex. 
 
 34. Etiam. Two uses of etiam are prominent in this play, both 
 
 derived from the orig. sense et ia?n, "even now." Etiam is 
 often " still," " still further," " again." So in this pass. " still 
 further." In II. 2. 43, circumspice etiam, "look around 
 again." II. 2. 88, etia?nne astas? "do you still stand 
 near?" (Ram. Excurs. III.) 
 The second use is given under II. 1. 36. 
 
 34. Aedificiis. Comp. construction of ei rei, line 9, above. 
 
 36-63. These lines contain the application of the foregoing re- 
 marks, 17-33, an d a constant comparison will assist toward 
 a full understanding of the rest of the scene. 
 
 36. Primumdum. The use of dum as an enclitic is almost con- 
 fined to comedy. It is the ace. of dius (dies), compressed 
 from dium to dum, and therefore means "a while." (Wag.) 
 Dum is appended to adverbs and to imperatives, and may 
 always be rendered "now." II. 2. 20, quidu?n, " how now," 
 haud etia?n dum, "not even now," necdum, " nor now." To 
 imperatives, III. 1. 139, pultadtun, "knock now," V. 2. 41, 
 aspicedum, "look now." (Ram. Excurs. II.) 
 
 36. Liberum. This form and the longer one of the next line are 
 for metrical reasons used without distinction. 
 
ACT I. SCENE II. 8 1 
 
 38. In firmitatem, " with a view to strength." (Ram.) So in the 
 next line, " that they may be good both for use £hd for orna- 
 ment to the people." 
 
 40. Materiae = rei familiari, family resources. 
 
 41. "Nor do they consider expense in this as expense at all." 
 
 Thornton's PI. translates, 
 
 " Expence on this account, they count for nothing." 
 44-45. A reference to the Roman contubernium, a sort of military 
 
 guardianship. 
 44. Itum, sc. est. Impersonal. 
 44. Danunt. Used again III. 1. 30, and several times by PL, but 
 
 not by Ter. A longer form for dant. 
 
 46. Eatenus. So the MSS., but the reading is very doubtful. 
 
 Rit. and Lor. have protenus, and eatenus, if it is retained, 
 must have that sense. " At once," " then." 
 
 47. Igitur denoted originally a sequence of time (then) and only in 
 
 later usage a logical consequence (therefore.) It has usu- 
 ally the earlier sense in PL and is often joined with other 
 adverbs of time, as here. So II. 1. 33, igitur demum, Trin. 
 III. 3. 52, turn igitur demtun. For similar pleonasms comp. 
 turn lam, 45, and hie lam, 23, of this scene. 
 
 47. Specimen cernitur, "a proof is seen." Comp. Bacch. III. 
 
 2. 15, specwien specltur, cert amen cernitur, 
 
 48. Ad illud . . . usque . . . dum. The Augustan prose usage would 
 
 have required either usque . . . dum, or ad illud . . . qtium 
 a fab r is abirem. (Lor.) 
 48. Frugi. See note on cordl, I. 4. 10. This word is often called 
 an indeclin. adj., but it was originally a dat, and is found in 
 several passages in PL with an adj. in agreement with it, 
 e.g., Pseud. I. 5. 53, ero frugi bonae. 
 
 50. Inmigravi. " After I had moved into my own disposition," 
 
 i. e., "had become my own master ; " carrying out the figure 
 of line 21. 
 
 51. Oppido, "entirely, completely." Used as an adv.; in answer 
 
 to questions " precisely," " exactly so." Very common in 
 PL as III. 1. 23, peril oppido, " I am utterly lost." So I. 3. 
 
82 NOTES. 
 
 9. Ram. derives it from ops through a conjectural adj. 
 opidus or oppidus, an etymol. preferable to the common one, 
 for which see And. Lex. The word belongs entirely to 
 familiar writing. 
 
 52. Ignavia, "dissipation." The orig. idea is laziness, and from 
 that worthlessness of all kinds. 
 
 54. Mi. Dat. for abl. of separation. This dative, commonly a per- 
 son, is used after compounds of ab, de, and ex, by a vivid 
 conception of the act of deprivation as a wrong done to the 
 person. It is therefore allied to the dat. of disadvantage. 
 See the statement of this principle in A. & G. 229, and 
 note. G. 344, Rem. 2; H. 385, 4. 
 
 54. Virtutis modum, i. e., manliness, which is the modus, the 
 measure and standard of all goodness, aurea mediocritas. 
 (Lamb.) 
 
 $6. Optigere = obte^ere, depending upon 7te^li^ens fui = neglexi. 
 (Lor.) 
 
 57-8. These lines are explained and applied in the following 
 scene, 6-9. 
 
 $j. Pro imbre = tanquam i77iber, 
 
 59. Res, etc., "fortune, credit, reputation, manliness, dignity." 
 
 60. In usu. Comp. in usum, 39 The sense is about the same, 
 
 "in respect to use," and "for use." The same idea is ex- 
 pressed by the nom. in 29. 
 
 61. Ita. Used absolutely as in I. 1. 53, and often in comic writers. 
 
 62. Quin, "in order that it shall not fall." Queat depends upon 
 
 quin. 
 62. Ferpetuae. This word is used by PI. always in its orig. sense, 
 "uninterrupted," never "perpetual." So in III. 2. *]6,per- 
 petttom diem, " the whole day, without interruption." IV. 4. 
 41, in fterpetuo?n modum, "in an uninterrupted fashion, with- 
 out a pause." III. 1. 5, perii in perpetuom modum, "I am 
 undone without anything to check my downward course." 
 In the same sense, III. 1. 19, perpetuo perieri7it. In the 
 present passage, therefore, render, "fall without anything to 
 stop it," or somewhat freely, " completely." (Ram.) 
 
ACT I. SCENE II. 83 
 
 64. Vt sum . . . fui. See M. 356, obs. 3. ; G. 469, Rem. 1; A. & G. 
 
 334, d. The indie, for the subjunc. in indirect questions is 
 frequent in PI. and Ter. It arose in conversational lan- 
 guage from the tendency to emphasize the question for 
 greater vividness and to make the leading verb parenthetic. 
 Thus in many questions with quaeso, opsecro, cedo, the ques- 
 tion may be either direct or indirect. So III. 1. 21, dixtine, 
 quaeso, III. r. 81, vide num moratur. But in many cases 
 the question must be indirect, as in IV. 1. 19, scio quo pro- 
 peras, " I know whither you are hastening." In I. 3. 42, 
 rem vides, quae sim et quae fui ante, the subjunc. and indie, 
 are used together. Comp. also note on I. 1. 9. (E. Becker, 
 De Syn. Interr. Obliq.) 
 
 65. Erat, sc. quisquam. Rit. supposes a line to have dropped out, 
 
 which contained quisqiiam. 
 
 66. Gumnastica. The letter Y did not belong to the Roman 
 
 alphabet, and before the time of Caesar it is represented in 
 words from the Greek by u. (Ram.) 
 
 67. Victitabam volupe. This is the reading of the MSS., but it 
 
 exactly contradicts the rest of the passage. The best explan. 
 of the words as they stand is that of Lambinus, making 
 volupe equiv. to jucunde. " I spent my time in athletic 
 sports, and so was living happily and pleasantly." Acidalius 
 supplies haud, and Ritschl supposes the omission of a line. 
 
 68. Discipulinae. The original form, afterward syncopated to 
 
 disciplina. Comp. vinculum vinclum, populus poplus. Best 
 taken with aliis as double dat. after eram. (Lor.) 
 
 69. Optumi quique. The plu. of quisque is not common instead 
 
 of the sing., but is found with superlatives in Cic. and Liv. 
 (Lor.) 
 
 70. Nihili. Gen. of indefinite value. G. 379; H. 402, III. 2. 3); 
 
 A. & G. 252, b. Nihili is frequently used as an adj., as 
 homo nihili. Pseud. IV. 7. 2; Cas. II. 3. 29; Mil. Glor. 
 V. 16. 
 70. Id refers to the idea of the preceding words ; " Now that I 
 have lost my character, I have found how great is the loss." 
 
84 NOTES. 
 
 4 
 
 This use of id with general reference to the subject in hand 
 would hardly be allowed by Augustan prose usage, but is 
 found frequently in PL as in Aul. pr'ol. 10, Trin. II. 4. 4. 
 
 After this line Philolaches retires to the side or back of the stage, perhaps to one 
 of the streets leading from the front to the rear, where he can be seen by the spec- 
 tators, but not by the other actors. 
 
 ACT I. SCENE III. 
 
 Philematium and Scapha, her maid, come out from the house of Philolaches, the 
 latter carrying a small casket or dressing-case. 
 
 On the violations of stage illusion in this scene, consult Introduction. 
 
 I. Ecastor. This oath is stated by A. Gellius to have been used 
 only by women, as Hercle only by men, and the usage of PI. 
 supports this, except in a few instances, where the apparent 
 contradiction is probably due to mistakes in the distribution 
 of the dialogue. See And. Lex. where this statement is 
 denied, and Ram. Excurs. XVII., where it is satisfactorily 
 supported. 
 
 1. Frigida. The three baths were sudatoria, tepidaria, and frigida. 
 
 2. Rear. Lorenz calls the use of the present tense after lavi a 
 
 violation of the sequence of tenses, but may it not be said 
 that esse defaecatam is logically the leading verb, while rear 
 is logically parenthetic and present in tense? The sense 
 would then be, "when I have been better cleansed, I think." 
 
 3. Horno, adv., "this year." This line seems to have been a 
 
 proverb, which Scapha quotes without much connection, 
 from mere good spirits and gayety. Philem. sees no connec- 
 tion, and Sc. herself confesses that there is none. A similar 
 pass, occurs in Merc. V. 2. 101, sqq. (Lor.) Thornton's 
 PL refers to I Henry IV, Act I, Sc. II. 
 
 4. Attinet, etc. " What has that harvest to do with my bath ? "y 
 
 5. Venus venusta, " lovely goddess of love." Comp. grates grains, 
 
 amoena ainoenitate amoenns, and similar examples of the 
 figura etymologic a. (Lor.) 
 
ACT I. SCENE III. 85 
 
 5-9. Comp. the corresponding lines, 52-63, of the preceding scene. 
 
 6. Haec ilia, " this is that storm," of which I was speaking a mo- 
 
 ment ago. 
 
 7. Detexit. The usual meaning is " to lay bare," with ace. of 
 
 object uncovered. (See And. Lex.) Here "to strip off," 
 with ace. of the thing taken off and dat. of person uncov- 
 ered. On miki, see note on I. 2. 54. 
 7. Quam, obj. oiperpluit. See note on I. 2. 27. 
 
 9. Haec = /ztf^, nom. plu. fern. H. 186, 4, 1; M. 81, obs. The 
 
 form was originally haece. G. 102, Rem. 1. 
 
 10. Contempla. The active form is ante-class. So PL uses 
 
 opino, moro, proficisco for the later deponents. (Lor.) 
 
 10. Amabo. A very frequent colloquial expression, which in full 
 
 would be, " I will love you, if you will do what I ask." It 
 is commonly used as a polite form of request, " please," or 
 "if you please." So below, line 140, and often. Comp. 
 Eng. phrase, sometimes used at the table, " I will thank you 
 for," " I thank you for." 
 
 11. Ocello, diminutive of oculus. G. 785, 9, b\ H. 315, 3; M. 
 
 182, £. " The apple of my eye." 
 
 13. Vestis fartum, "that which is within the dress," the woman 
 
 herself. 
 
 14. Lepida. Notice the change of meaning. See And. Lex. s. v. 
 
 Land II. 
 14. Scelesta. This adj. is often used by PL without serious 
 blame, as III. 1. 1, where impatience only is expressed. 
 Ramsay renders this pass., " the cunning jade is very 
 knowing." So "villain" and "rogue," II Henry IV, Act II, 
 Sc. II. 
 16. Quin = qui (abl.) -f ne, "how not," "why not." See Ram- 
 say's Excurs. VIII. Some uses of this word in PL and 
 Ter. are so peculiar as to require extended notice. They 
 may be grouped under three heads : 
 (a.) Exhortations, usually with impatience or anger, under the 
 form of a question expecting a neg. answer, or of an 
 imperative. Men. V. 7. 11, quin me mittitis? "why 
 
86 NOTES. 
 
 don't you let me go ? " Below, line 30, quin mone, " warn 
 me, why don't you ? " equiv. to the other form, quin 
 7?io7ies. So in this pass., "look, why don't you? " 
 
 (b.) The ordinary prose use, as in I. 2. 62, II. 2. 5. 
 
 (c.) Quin introduces a qualification or explanation of a previous 
 
 statement, often amounting to a contradiction. It may 
 
 be translated "well, then," "why, I tell you," "but." 
 
 Cas. II. 4. 6, illustrates both uses, quin e77iittis me manu ? 
 
 S. Quin id volo. " Why don't you free me?" S. " Why, 
 
 I tell you, that is what I want to do." Trim IV. 2. 87. 
 
 Lubet audire, nisi molestum est, S . Quin discupio dicer e, 
 
 where quin corrects molestum. " (Disagreeable !) Why, 
 
 on the contrary, I am eager to tell you." Comp. use of 
 
 Fr. mais. 
 
 19. Gratiis, "for thanks " (and nothing more), i. e., "without pay." 
 
 This form is commonly used by PI. for the later contracted 
 
 >. gratis. (Hild.) 
 
 22. Pol. This expletive was used by men and women alike. 
 
 23. Inridere. The use of the subject with this verb, while it is 
 
 omitted with culpari, is somewhat awkward, but quite in 
 accordance with the custom of PI. and Ter., who often omit 
 the subj. of an inf. where later prose would require it. 
 
 26. Amarem. Oratio obliqua, as is shown by the change of tense. 
 
 If the quotation had been made by another person, it would 
 have been it a Pliilolaches ista7it (or illci7n) a77taret, but 
 Philol. uses 1st pers. (See H. 533, 3, 2.) 
 
 27. Istaec me, sc. ita a77iaret. Philol. is angry because Sc. has 
 
 sworn by his love for Philem. of which he needs no assur- 
 ance, rather than by her love for him, which he would like to 
 hear confirmed. 
 
 27. Infecta . . . facio, " I make null and void," " I revoke." A 
 favorite phrase with PL, as True. IV. 2. 17, facta infecta 
 facere. 
 
 32. Illi morem . . . geras. Morem gerere alic7ii means to suit 
 one's ways to those of another, and hence " to comply with," 
 "to favor." Comp. below, 69. From this come the adj. 
 
ACT I. SCENE III. Sy 
 
 viorigerus and verb morigero. So line 128, mores emit, 
 "buys the favors." (Ram.) 
 
 33. Inservire amantem. Iuserrire takes the dat. in Ter. and in 
 
 all later writers. It is used three times by PL : in this place, 
 in line 59 of this scene and Poen. IV. 2. 105. all with the ace. 
 So also pare ere. ignoscere. indulgere. and a few other verbs 
 which in later writers have the dat., are used by PI. with the 
 ace. (Lor.) 
 
 34. Nam frequently implies an ellipsis of the clause for which the 
 
 reason is given. So here, * ; Oh Juppiter, (I invoke your aid) 
 for," etc. So III. 2. 74. IV. 1. 16. In I. 4. 3. nam intro- 
 duces a general explanation, '*(I say this) for,"' etc. From 
 this ellipsis comes the pron. quisnam. (Ram. Excurs. VI.) 
 For similar use of mini, see III. 1. 20. 
 
 35. Pessumis exeraplis, " after the worst patterns/' i.e.. ;, in the 
 
 worst way." So very frequently in PL hoc cxemplo, ad hoc 
 excmplum, "in this way/' Comp. miseris modis. I. 1. 51. 
 38. Benevolentem, a substantive, as usually in PL Comp. Capt. 
 V. 1. 15, benemerenti '== benefactori. 
 
 40. Non spero. Xon goes with the verb understood. u I hope 
 
 not." Comp. Gr. owe ecpr], Engl. " I do not think so/' and 
 nego, " I say no." 
 
 41. Postremo, "in short.'' "in fine." 
 
 42. Dicta . . . factis. Comp. the frequent contrast in Dem. and 
 
 Thuc. between cpyov and \6yos. 
 
 42. Quae sim . . . quae fui. For mood in indirect quest, see note 
 
 on I. 2. 64. and comp. also Cist. I. 1. 59. loquere . . . et quid 
 est . . . et quid ve/is, where the indie, and subjunc. are used 
 together. 
 
 43. Nihilo. Abl. of degree of difference depending upon a 
 
 compar., perhaps minus, implied by the clause quatn nunc 
 tu. Rit. supplies setius. 
 
 45. Me is repeated for emphasis and to bring it near the verb. 
 
 46. Comprimor, pass, with middle force. Render the line, M I 
 
 scarcely restrain myself from flying at the eyes of that temp- 
 tress," and comp. the similar expression in Ter. Eun. Y. 2. 
 
88 NOTES. 
 
 20, vix me co7itineai?i, quin involem in capillum. The orig. 
 meaning of stinitdatrix is "a woman who urges," but it is 
 used here and below, 62, in a bad sense, " one who urges to 
 evil." So faci?ius, orig. "a deed," commonly, "an evil 
 deed." 
 
 47. The order is censeo oportere me solam esse opsequentem illi 
 soli. 
 
 50. Mihi nihil esse, i. e., " that I have spent all my money for her 
 sake," referring to the price paid for Philem. 
 
 51-66. Lorenz argues that these lines are a dittography of 29-50, 
 by some later hand, because they repeat the ideas with but 
 slight variation, as well as the unusual construction of in- 
 servire with ace. and the uncommon word stimulatrix. 
 
 52. Curem. Subjunc. of appeal in direct question, opsecro being 
 parenthetic. 
 
 54. Pro capite tuo, " for you." The head as the supposed seat of 
 life was used for the whole^ person. So Pseud. II. 4. 33, 
 hoc caput = ego; and the phrase vae capiti tuo, " confound 
 you," is frequent, as in IV. 4. 10. (Ram) 
 
 54. Perdiderit. The use of the fut. perf. where the Engl, uses 
 the simple fut. is frequent in all Latin, but especially so in 
 PL and Ter. The speaker projects himself into the future, 
 and looks back upon the present as past (perf.), the perf. 
 definite as plup., and the fut. as fut. perf. So III. 1. 58, 
 abiero, V. 3. 30, dederis, for simple fut. M. 340, obs. 4. So 
 perii very frequently with present sense, as I. 1. 9; M. 335, 
 b. In II. 2. 8s, 91, appellaveras, extimueras, for perf. See 
 general note I. 1.9. 
 
 54. Id . . . tantum argenti, " that large sum of money." 
 
 55. Peril This use differs but little from that given above. The 
 
 perf. tense is for the pres., and that pres. has a fut. sense. 
 See A. & G. 307, e, and comp. also 276, c. So Amph. I. 1. 
 164, perii, si me aspexerit. 
 
 55. Enicasso. Old form of fut. from enico (enecd). Comp. note 
 
 on faxo, I. 1. 65. 
 
 56. Vitileua. This is exactly the reading of one MS. and nearly 
 
ACT I. SCENE III. 89 
 
 that of two others, and may be retained in the text, though 
 the word is found nowhere else. 
 
 58. Minoris pendam. " Consider him of less worth (than I do 
 
 now)." 
 
 59. Facito cogites, sc. ut and comp. the epistolary phrase fac (ut) 
 
 valeas. Render, " take care to consider." 
 
 59. Inservibis = inservies. The 4th decl. has in early writers a 
 
 fut. in -ibo, and imperf. in -ibam, for -iam and -iebam. So 
 scibo, IV. 4. 5. 
 
 60. Aetatula. On formation see M. 182, 1, a. Querere is fut. 
 
 2d sing. 
 
 61. Anginam, a disease of the throat {fauces). 
 
 63-4. " I ought to have the same mind now, when I have obtained 
 the favor, as formerly, before," etc. Gratum is best taken 
 as a substantive. 
 
 65. Me. Abl., frequent in PI. after esse, facere and fieri. " May 
 
 the gods do with me what they wish." So III. 1. 103, quid 
 eo argento factum f " What has been done with that 
 money ? " So I. 4. 33, V. 3. 44. (Lor.) 
 
 66. Liberasso denuo. Fut. ind. like enicasso, $$. The sense is 
 
 somewhat difficult, as Philem. is already free, but perhaps 
 the best rendering is, " if I shall not free you over again," 
 making Philol. in his eagerness vow to do an impossibility, 
 in order to express his love. 
 
 67. Acceptum, " certain," " if you are well enough assured that," 
 
 etc. And. Lex. s. v. 5. 
 69. Capiundos crines. A full discussion of this disputed phrase 
 is given by Lorenz. His explan. is as follows. The crines 
 were six braids or plaits in which the hair of a bride was 
 arranged, and which matrons were allowed to wear. These 
 were forbidden to the meretrices, who were further distin- 
 guished by the dark robe. Caper e crines therefore means 
 "to be a bride or a lawful wife." The lines may be para- 
 phrased thus : If you are sure that he will continue to love 
 and maintain you, you must follow your own course, grant 
 favors to him only, and act as a wife would. On the gender 
 
90 NOTES. 
 
 of crines, see And. Lex. The reference is to Roman cus- 
 toms. 
 
 70. Exin, " so." Generally used of time or space, but several 
 times in PL correlative to ut. 
 
 72. Vendundum est, impers. " If there must be any selling." 
 Notice that veneo {venum-ed) is used as the pass, of vendo 
 (venum-dd). A. & G. 136, b. 
 
 74. Illis . . . ceteris, abl. Comp. me, 65. " How will it be with," 
 
 etc. Quid, ace. of specification, not subj. of futurum. 
 
 75. This line is imperfect in the MSS., and is filled out by Rit. 
 y6. Mortuos, pred. nom. On form see I. 1. 11. 
 
 yy. Exheredem is either adj. or substant, and is followed either 
 by abl. as here or by gen. Comp. abl. or gen. after inanis, 
 M. 268, b, obs. 2. (Lor.) So vacuus, H. 399, 2 and 5, and 
 see G. 389, Rem. 3. 
 
 yS. Ista . . . res, " that fortune of his," in contempt. 
 
 79. Sagina. "It is a clear case of stuffing." (Ram.) Others 
 
 render, "it is a regular fattening-coop," but the former is 
 preferable. See note on I. 1. 62. 
 
 80. Certum est, " I am determined." So very often in PL Te is 
 
 abl. Render, " I am determined to try the experiment (to 
 make a beginning) upon you, to see how thrifty I can be." 
 
 81. His . . . diebus, " within these ten days." Limit of time. M. 
 
 276; H. 426, (3); A. & G. 256. Especially common with 
 hie. G. 392, 4. 
 
 81. Decern. A general term like Germ, "acht Tage," French 
 
 "quinze jours," Engl, "ten days or a fortnight." (Lor.) 
 
 82. In ilium == Mi, as in next line. 
 
 83. Nee recte. The oldest form of the negative was ne (see note 
 
 on nevolt, I. 2. 26), of which nee was a stronger form with- 
 out connective force. It is particularly frequent in the 
 phrase nee recte dicere (logui) = maledicere, where nee goes 
 with recte. Comp. negotium = nec-otiti?n, nego = nec-aio, 
 necopinans. (Lor. Ram.) 
 
 84. Vivo argento, " pure silver," " native silver," as opposed to 
 
 that worked by art. (Rost. Opusc. I. 133.) Comp. Virg. 
 Aen..I. 167, vivo sedilia saxo. 
 
ACT I. SCENE III. 91 
 
 86. Vt videas = utinam videas, denoting a wish. This use of 
 /// belongs especially to prayers and curses, and perhaps 
 arose from the ellipsis of some verb, 3.s precor, quaeso. 
 
 86. Probus, as often in PI., has no moral force. " I am a fine fel- 
 
 low." This is like the common use of probe, I. 1. 4 
 
 87. Quae agrees in gend. with the person spoken of, rather than 
 
 with its grammatical anteced. patronum. So Ter. Andr. 
 III. 5. 1, scelus, qui, "the rascal, who." Adelph. II. 3. 8, 
 caput, qui. (Lor.) 
 87. Causam diceret. The patron was expected to defend the 
 client in any lawsuit in which the latter might become in- 
 volved. An account of such a case is given in Men. IV. 2. 
 
 90. This line is regarded as an interpolation from 67. 
 
 91. Cedo. Probably from the demonstrative -ce and stem do. It 
 
 is used in colloquial language as an imperv. 2d sing. Plu. 
 cette. 
 
 91. Arculam. A toilet-box, containing cosmetics, jewelry, mirror, 
 
 etc. Such chests have been found at Praeneste. (Lor.) 
 
 92. Sieia =zsim. M. io8,obs.4; A.& G. 119, end; G. 191,6; H. 204,2. 
 
 92. Voluptas mea. " my delight." The vocabulary of PI. is very 
 
 full in terms of endearment. (See Ram. Excurs.) Comp. 
 Poen. I. 2. 152, sqq. Mea voluptas ! meae deliciae ! mea 
 vita ! mea a mo e nit as ! mens ocellus ! meiun labellum ! 
 meum suavium! meum 7nel ! meum cor! mea colostra! 
 mens molliculus caseus ! 
 
 93. Mulier quae = q?cae mulier. See M. 319 ; A. & G. 200, b ; 
 
 H. 445, 9; G. 618. 
 
 93. Speculo ei usus. M. 266 ; A. & G. 243, e ; H. 419, V ; G. 390. 
 
 94. Speculo speculum. " Who are yourself the best mirror for a 
 
 mirror." Comp. " The glass of fashion." 
 
 96. Peculi. The property which a slave or minor held for his own 
 was called peculium. Philol. means that he will give some- 
 thing to Sc. to be her own. 
 
 96. Tibi would naturally refer to Scapha, but the name of Philem. 
 is unexpectedly added. This form of witticism, which con- 
 sists in saying the opposite of that which would be expected, 
 
92 NOTES. 
 
 is frequent in PL, and is called by the older commentators 
 napa TTpocrhoKiav. Comp. V. 2. 10, IV. 4. 1 5. 
 
 97. Viden' is parenthetic. On the form see M. 6, obs. 2. Short- 
 ened from videsne, as iuben* == iubesne, airf = aisne. 
 
 99. Pote, sc. est = potest. Potts is used in all genders and num- 
 bers, and the form pote, neut., is also common in PL Either 
 form is used alone with esse understood. 
 
 99. Quicquam used pleonastically with quid, as in Ter. Andr. I. 
 1. 63, nihil quicquam. 
 
 10 1. Cerussam, white lead, which was employed by Roman ladies 
 as a cosmetic. 
 
 101. Quid, ace. of specif, as in I. 3. 4. Qui, abl. of rel. 
 
 102. Vna opera. Originally "with one (and the same) effort," 
 
 often " at the same time," and occasionally as here "with 
 the same effort, and the same hope of success," i. e., "just 
 as well." The full sense is " This attempt is just the same 
 as the attempt to," etc. (Lor.) 
 
 102. Postules. This verb takes in PL a mild meaning "to 
 
 want, desire, expect," and is often used as in this pass, to 
 throw contempt upon the foolish or extravagant desires of 
 another person. Render, " You may as well expect." 
 (Ram.) 
 
 103. Euge = evye. The use of this and numerous other Greek 
 
 words in the language of comedy indicates a considerable 
 acquaintance with the Greek of conversation on the part of 
 a Roman audience. 
 
 104. Purpurissum, " rouge." It was made by boiling fine chalk 
 
 in the dye obtained from the murex. (Ram.) 
 
 105. Interpolare. Originally used of renewing and smoothing 
 
 out an old toga. Render, " to improve." 
 
 106. Istanc = is tarn + ce, the demons, particle. The forms illic 
 
 and istic have all the cases except the gen. plu. M. 82, 3, 
 obs. 2. Second person, "such an age as yours." 
 
 107. Melinum, sc. pigmentiun, "powder." So called, because the 
 
 best quality came from the island of Melos. 
 
 108. Philem. takes the mirror from Scapha, and upon seeing her 
 
ACT I. SCENE III. 93 
 
 own image reflected in it, kisses it. The exclamation of Philol. 
 
 is an exhibition of jealousy. 
 109. Speculo. Dat. of disadvantage. The mirror was of polished 
 
 metal, either silver or a mixture of brass and tin. 
 109. Caput. This phrase was originally used of persons as Men. 
 
 II. 2. 30, Mi homini diminuam caput, and thence trans- 
 ferred in a comic sense to things. 
 in. Vt, "inasmuch as." I have not been able to find any other 
 
 example in PI. or Ter. of this use. See And. Lex. s. v. I. B. 
 
 3 ; G. 645, Rem. 4. 
 
 112. Vsquam, "in any way." Ter. Andr. II. 5. 9, neque istic 
 
 neque alibi tibi usquam erit in me mora; a rare sense. 
 
 113. Videor, sc. mini, "I do not think." So Cas. II. 3. n, ?// 
 
 videor, "as I think." Epid. IV. 1. 11, nam videor . . . me 
 vidisse prius, " for I think I have seen her before." Comp. 
 a>s (paivofiai. 
 
 114. Malae, gen. depending on mentem. Without serious blame, 
 
 like s celesta, I. 3. 14. 
 
 115. Vnguendam, sc. me esse. The prose usage would require 
 
 the expression of the subject, but the comic poets often 
 omit it. .So I. 1. 52, credo {te) fore, and below, 121. 
 
 115. Feceris. A prohibition, since minume has the force of a 
 negative. Either perf. subj. A. & G. 269, a ; G. 266, or 
 fut. perf. ind. M. 386. 
 
 120. Iura, from ins, iuris, " broth." 
 
 120. Cocus = coquus. C, which had the hard sound, is in many 
 words interchanged with qu (qv) as an equivalent sound. 
 So cum, quum, cotidie, quotidie, etc. Relinquo has relictus, 
 and coquo has coxi (cocsi). The earliest form seems to have 
 been C0ouos,<2.nd when o was changed to u, qu also changed 
 to c. The forms in quu are much later. Reliquos has qu in 
 all the early inscriptions, never c. 
 
 123. Maxuma pars has here the sing, verb, though in I. 2. 30, 
 magna pars is used with plu. An illustration of the free- 
 dom of PI. in syntax, like that noticed in 115. 
 
 123. Adeo introduces the sentence, " Indeed, besides," or "indeed, 
 
94 NOTES. 
 
 what is more," etc. So also in III. i. 96. (For full discus- 
 sion of this difficult word see Ram. Excurs. I.) 
 
 123. Vostrorum. " The old genitive of the 1st and 2d persons 
 
 was mis, tis; the latter is found in Plautus. [Trin. II. 2. 62.] 
 This was replaced as possessive by the adjectives metis, 
 tuns ; and as objective by the gen. sing. neut. mei (of my 
 being), tui" In the plural, "as possessive genitives the 
 adjectives noster and vester were used ; as objective nostri, 
 vestri, and rarely nostrum, vestrumj as partitive nostrum, 
 vestrum and in the comic poets sometimes ?wstroru?n, nos- 
 trarum, vestrorum, vestrarum." (Roby.) The forms nos- 
 trum, vestrum, are perhaps contracted from nostrorum, etc. 
 See also, M. 79, obs. i, 297, £; H. 396, 1; G. 362 and 
 Rem.; A. & G. 99, b and c, and comp. Aul. II. 4. 42, uter 
 vostrorum, Poen. IV. 2. 39, nostro?'u?n nemo. 
 
 124. Anus is best taken as an adj. 
 
 124. Meruerunt, " bought." A similar tirade against dotales 
 uxores occurs in the Aul., and the allusion is probably to the 
 Roman practice of marrying for the sake of the dowry ; 
 Lorenz, however, believes it to be Greek, on the ground that 
 the police would not have allowed such an attack upon the 
 Roman matrons. 
 
 126. Quern, sc. curare oportet. So also with Philolachem in next 
 
 line. Is, however, is the subject of some such verb as 
 ctirabit, to be supplied from the context. 
 
 127. Placere. We should expect decere, and Rit. has supposed a 
 
 line to be lost here which explained the sense of placere. 
 We may take it to include both meanings, " to please be- 
 cause it is becoming." 
 
 128. Mores, "favors ; " comp. the sense of niorem, I. 3. 32. 
 
 129. The meaning is, " What is the use of showing to him for 
 
 your own pleasure (ultro) that which he did not care to 
 keep, but gave to you ? " 
 
 131. Nuda, "unadorned." So nudi capilli, Ov. Met. IV., »261. 
 
 "Beauty unadorned is adorned the most." 
 
 132. Si morata est male, "if she is a woman of bad character." 
 
 So I. 4. 8, is toe mo do moratus. 
 
ACT L SCENE III. 95 
 
 133. Caeno, sometimes, but less correctly, spelled coen-. 
 
 134. Nimis. The two uses of this word, mentioned in I. 1. 69, are 
 
 well illustrated here. Nimis ornata, '-very well adorned;" 
 nimis din, " too long." 
 136. Intro is used after verbs of motion, " to a place within." The 
 command is addressed to Scapha, who goes into the house 
 carrying the arcnla. 
 
 138. Quod . . . idem. Impers. verbs sometimes take a neut. sing. 
 
 pron. as subject. This is especially common in PL and 
 Ter. and is occasionally extended to the use cf the plu. or 
 1st pers. So V. 3. 43, hoc fiudet, Ter. Adei. IV. 7. 36, haec 
 fttident, Cas. V. 2. 3, nunc pudeo. (Lor.) 
 
 139. Istuc verbuni, the sentiment of the whole line, and particu- 
 
 larly mea voluptas. 
 
 140. Philem. pretends to take the words literally. The idea of the 
 
 lines is this : " Is it cheap at twenty minae ? I will sell it to 
 you at half-price; give me ten." Philol. answers in the 
 same vein : " Cast up the account. You have the ten now, 
 for I have given thirty minae for your freedom, and you 
 have given me a compliment worth twenty, so that you still 
 owe me ten." But Philem., seeing what he is about to say, 
 interrupts, and turns the conversation. 
 
 140. Bene emptum, " at a low price." So III. 2. no, male e7>iptae, 
 
 "bought at a high price," Amph. I. 1. 132, conducto ?nale. 
 In these phrases the adv. takes the place of the abl. of price 
 or gen. of indef. value. 
 
 141. Rationem puta. This phrase, "to cast up an account," is 
 
 used by PL in Trin. II. 4. 15, Cas. III. 2. 25, and by Cic. in 
 his letters. (Wag.) Vet, "just," "only." 
 
 142. Triginta minas. The price of a female slave varies in PL 
 
 from 20 to 60 minae. The price of an able-bodied man 
 is fixed at 20 minae, Capt. II. 2. 103, and in the same play 
 a boy four years old is said to have been sold for 6 minae. 
 (Ram.) The Attic mina was worth about $18. These 
 sums probably represent the Roman prices of the time 
 of PL 
 
96 NOTES. 
 
 143. Egone. Notice the surprise and dissent expressed by ?ie 
 appended to the pron. M. 451, a; H. 346, II. 1. 
 
 143. Quin, etc. Philol. is so much pleased with what he has done 
 
 that he even desires to bear reproach for it. 
 
 144. Locavi. Comp. the Engl, phrase, "to place a loan." 
 
 145. Quod, " as to the fact that." M. 398, b, and obs. 2. PI., 
 
 however, uses the subjunc. in this construction. 
 145. Operam . . . ponere corresponds to locavi. " To expend my 
 labor." 
 
 148. Haec. When gaudeo takes an ace, it is either cognate in 
 
 stem, or a neut. pron. in cognate ace. 
 
 149. Prosus is the reading of the best MSS. for prorsus. Rit. 
 
 translates it, " in posterum" "for the future." 
 
 150. Here occurs one of those drinking scenes so frequently intro- 
 
 duced by PL Fuller descriptions are given in Stich. V. 4, 
 and Pers. V. 1. The form of tables and couches and the 
 manner of reclining are explained in the Diet. Antiq. 
 Accumbe is the regular word of invitation, commonly pre- 
 ceded as here by age. Puer is often used of a slave, and 
 especially of one who waits at the table. Comp. Fr. garcon. 
 After the guests had reclined and water for the hands had 
 been brought, the table was set in its place before them. 
 The dice, tali, were for determining the arbiter bibendi, 
 whom PL calls dictator. Though the garlands which were 
 commonly distributed on such occasions are not mentioned 
 here, they were probably brought out upon the stage. This 
 scene takes place in the garden or in the vestibuliim before 
 the house of Philol. 
 
 151. Vin' = visne as videii* = videsne, 97. 
 
 153. Oculus meus, nom. for voc. as often in poetry. The words 
 
 are addressed to Philem. The others are making their way 
 slowly across the stage, and do not come within speaking 
 distance for some lines. 
 
 154. Manuplares. The full form is manupulares, shortened in 
 
 later writers to manipl- or manipul-. Comp. populus, pop- 
 lus. The military metaphor is continued through the line. 
 
ACT I. SCENE IV. 97 
 
 ACT I. SCENE IV. 
 
 Callidamates and Delphium come along the street, followed by several slaves. 
 Philol. and Philem. remain at the table awaiting their coming. 
 
 Throughout this scene the metres, the division of lines, and even the distribution 
 of the dialogue among the characters, are extremely confused in the MSS. Those 
 editors who make changes for metrical reasons have remodelled the scene in various 
 ways, according to their theories. 
 
 i. Advorsum venire. Comp. note on Advorsitor in list of Ter- 
 
 sonae. 
 2. Temperi. Sometimes spelled tempori, but the word is used 
 
 nineteen times by PL, and in all cases but one the best 
 
 MSS. read temperi. (Wag.) This is the locative case of 
 
 tempMs. 
 
 2. Tibi refers to one of the slaves, perhaps to Phaniscus, who 
 
 performs the office of Advorsitor in IV. 3. 
 
 3. Illi is the locative from ilk for the more common illic, which is 
 
 locative from nom. illic {ilk -f- ce), like adv. hie from pron. 
 hie. So V. 3. 22, isti for is tic. Used pleonastically with 
 hide, as in Ter. And. IV. 1. 14, illic, ubi . . . est, ibi vej'enttir. 
 
 5. Philolachetem. Greek proper names are treated with some 
 
 freedom by the comic writers, especially those ending in -77s, 
 from which various forms are made according to the metre. 
 Beside the two ace. forms here and above, the dat. is either 
 Philolachi or Philolacheti, abl. Philolache or Philolachete. 
 So Ter. has from nom. Chremes (-rjs) Chremem or Chreme- 
 tem, Chre?ni (gen.) or Chremetis. (Lor.) See M. 45, 2, e. 
 
 6. Vbi . . . accipiet, used freely for qui . . . accipiet. "To the 
 
 house of Philol., where he will," etc. 
 
 7. Ma-ma-madere, "t-t-tipsy." Madeo and madidus are used 
 
 euphemistically to denote intoxication. There is special 
 point in making Call, stumble over this particular word. 
 10. Cordi. Dat. of object for which, M. 249, n. 2 ; G. 350; H. 
 390. Or dat. of purpose, service, or end, A. & G. 233. For 
 full discussion of this dat. see Roby, Vol. II. Pref. pp. 25-56. 
 
 7 
 
98 NOTES. 
 
 The following are among the general characteristics there 
 given : " This dat. is (1) a semi-abstract substantive, (2) in 
 the singular number, (3) used predicatively, (4) and most 
 frequently with est. It is not qualified (5) by any adjective 
 except the simplest adjectives of quantity, nor (6) by a geni- 
 tive or prepositional phrase." Cordi is found eight times in 
 PI. and may generally be rendered " dear." But here ren- 
 der, "if you want to do it." 
 
 II. Duce for due is used several times by PI. as face, dice, for fac, 
 die. 
 
 13. Modo, "only," from modus in the sense of a limit. (Ram. 
 Excurs. V.) 
 
 13. Accumbas, the regular word for reclining at the table, as in I. 
 3. 150. "Take care that you do not recline in the street 
 instead of at the table." 
 
 15. The latter part of this line is so confused in the MSS. that 
 little can be made of it. As it stands, it indicates that Call, 
 is still supporting himself by clinging to Delph., to whose 
 body hoc refers. The construction is sed sine et hoc cadere. 
 
 17. This line is given by some editors to Call. A similar line 
 
 occurs in Pseud. V. 1. 2, an id voltis ut me hie iacentem 
 aliquis tollatf 
 
 18. Madet homo. This is said in an undertone, but is heard by 
 
 Call., who expresses his indignation in the next question by 
 appending ne to the pron. Comp. I. 3. 143. 
 
 19. Call, had fallen, perhaps after line 15, and in the next line, 20, 
 
 Delph. lifts him up again. 
 22. Imo or immo. Authorities differ as to spelling, etymol. and 
 meaning. Perhaps the best opinion is that which spells it 
 (in authors later than PL and Ter.) immo, from wins (for 
 inimus, superlative of in), meaning "at the bottom," "in the 
 least." In PL and Ter. always neg. The uses of imo de- 
 note : — 
 (a.) Simple contradiction, as in this pass, and in III. 1. 22, 52, 60. 
 (b.) Correction of an inadequate statement, as in IV. 2. 4, IV. 
 4. 38, or a statement wrong in some particular, as in IV. 
 3. 40, III. 2. 42. 
 
ACT I. SCENE IV. 99 
 
 (c.) Correction of a negative, in which case it appears to 
 have an affirmative force, as III. i. 138, V. 2. 19. (Ram. 
 Excurs. IV.) 
 
 23. Num non vis = num nonvis, the nan going with the verb, 
 
 making it 2d pers. of nolo. " You are not unwilling, are 
 you?" So Poen. V. 2. 119, ?ium nevisf to which the 
 answer is sane volo. 
 
 24. Uli . . . optume volo. See And. Lex. s. v. Comp. Ter. 
 
 Heaut. V. 2. 6, tibi bene volo and bene volens. The phrase 
 in the text is simply the superlative. 
 
 25. 'lam.' A similar interchange of sentiment between two lovers 
 
 occurs several times in PL, as in Amph. I. 3. 32, redibo actit- 
 
 lum. A. Id l actututn* din est. 
 28. Di te ament is a common form of salutation, as in III. 2. 28, 
 
 117, etc. 
 30. Probe, "good!" See I. 1. 4. On quin, see I. 3. 16, and on 
 
 amabo, see I. 3. 10. 
 33. Hoc, abl. referring to Call. 
 
 33. Eumpse = ipsum. " Leave him so by himself." PL has also 
 
 eapse, nom. and abl., eopse, eampse. Ipse is for is-pse, and 
 these older forms are made by the inflection of the former 
 part of the compound, as in idem (is-dcm). They are 
 therefore more strictly grammatical than the later forms in 
 which the suffix -pse is made the vehicle of the case-endings. 
 See M. 82, 4, obs.; A. & G. 101, foot-note; H. 186, 4. Some 
 regard these forms as contractions for eum-ipsum, eo-ipso, 
 etc., but with less probability. The form reapse is 7'e-ea-pse. 
 
 34. Da ab Delphio, "pass the wine, beginning with Delphium." 
 
 Da ab is the usual order for passing the wine, and the 
 prepos. is followed by the name of the person with whom a 
 beginning is to be made, or as in Asin. V. 2. 41, da ab 
 summo. 
 
IOO NOTES. 
 
 ACT II. SCENE I. 
 
 For the division into Acts, see Intro. At this point the banquet went on without 
 interruption, and it is the opinion of Lorenz that the spectators were entertained 
 with music given by the tibicen. Comp. Pseud. I. 5, last line, tibice?i vos interca 
 hie delectaverit. Tranio, who had gone to the fish market in the Piraeus (I. 1. 
 63-4, 72), comes back, and pauses at one side of the stage to speak the lines 1-15. 
 
 1. Opibus atque industriis, "with all his might and main." 
 
 Industrie/, in the plu. is found nowhere except here, and 
 Ram. suggests that it may be a bit of bad grammar used to 
 raise a laugh. That is possible, but abstracts are very com- 
 monly used in the plu. by PL, where class, usage requires the 
 sing., as superbiae atque irae, gratiae, etc. (Lor. and Wag.) 
 
 2. Perisse (periisse) = perditos esse. 
 
 3. Stabulum . . . confidentiae, "a standing-place for confidence." 
 
 In the same figurative sense in Aul. II. 2. 56, stabile stabulum. 
 
 4. Nobis saluti, double dat. On the line, which seems proverbial, 
 
 comp. Capt. III. 3. 14, and Ter. Adelph. IV. 7. 43, ipsa si 
 cupiat Salus, .servare . . . non potest. For the condition si 
 cupiat . . . potest, see A. & G. 307, d\ H. 512, 1. 
 
 5. Ad portum, "at the harbor." So ad forum, "at the forum," 
 
 III. 2. 156, and IV. 4. 7. The construction is not uncom- 
 mon in PL Comp. the regular class, phrase ad omnia pul- 
 vinaria, u at all the shrines," Cic. Cat. III. 10, 23. 
 
 7. Facere . . . lucri, "to gain." Comp. compendi facere, I. 1. 57. 
 
 Lucri is not an appos. of argenti, as Ram. says, an explana- 
 tion which would serve for this passage only. Aliquantum 
 is object of facere, and argenti gen. partit. 
 
 8. Vicem is used with a gen. or poss. pron., particularly after 
 
 words which denote an emotion of the mind. It is called 
 adverbial ace. by Madvig, 237, c, obs. 3 ; G. 331, 3 ; A. & G. 
 240, b ; H. 380, 2, and ace. of the part concerned by Roby, 
 IIOI, 1102. 
 
 9. Flagipatidae, from plaga -f- patio?', with patronymic ending. 
 
 Coined by PL and used also in Capt. III. 1. 12, of parasites. 
 
ACT II. SCENE I. IOI 
 
 9. Ferritribaces, iromferrum + rpl^co, " those who wear out iron " 
 
 in fetters. So uhnitriba, Pers. II. 4. 7. These words were 
 doubtless coined by PL for comic effect, and for that purpose 
 a hybrid word was used rather than the pure Latin ferriteri, 
 which is used in Trin. IV. 3. 14. (See Rost. Opusc. I. 
 251.) 
 
 10. Trium numorum. The exact force of these words is a matter 
 
 of dispute. Numns in PI. means the Attic didrachma when- 
 ever it refers to a definite sum, and if that is the case here, 
 tres iiu7ni means the monthly pay of a Roman soldier. So 
 Ram. takes it. Lor. thinks it is a confusion resulting from 
 carelessness in translating from the Greek In any case, the 
 sum is a small one, ridiculously small in proportion to the 
 danger. The same sum, paid for a trick which involved no 
 risk or labor, gives the name to the Trinummus. 
 
 11. Aliqui, subj. of solent. Corpus, ace. of part referred to. 
 
 12 sq. Lor. remarks on this passage that PI. does not shrink 
 from jesting about the most severe punishments. Many 
 phrases, as abi in malam crucem, dierecte, etc., were used as 
 expletives without much thought of their meaning, and it 
 must be remembered also that these punishments were often 
 threatened, but seldom employed. 
 
 13. Lege, "on this condition." For explan. of the remainder of 
 
 this line, see I. 1. 52. 
 
 14. Argentum . . . praesentarium, "ready money," "cash." So 
 
 IV. 2. 10. The classical word is praesens. (Wag.) 
 
 15. Curriculo, originally an abl., but used by PI. as an adv., 
 
 "quickly." Quite common. See And.'Lex. s. v. 
 
 16. Opsonium. "Oifsov meant anything eaten as a relish with 
 
 bread, and especially, as here, fish, which was a favorite 
 article of food with the Athenians. 
 18. Ted = te. The d at the end of this word was frequently used 
 in the early Latin after the abl. of nouns and pron., and seems 
 to have been incorrectly transferred to the ace. me, te, and 
 perhaps se. The extent of its use in PI. is a matter of doubt, 
 but med y ted are found a number of times in good MSS. 
 
I02 NOTES. 
 
 21. Quid ego ago ? . . . Accubas. Philol. asks the question in 
 bewilderment with about the same sense as quid ogam ? 
 A. & G. 276, c\ G. 219; M. 339, obs. 2. The pres. for the 
 fut. "when one asks one's self what one must do or think 
 (on the instant). " But Tran. takes it literally and an- 
 swers, "You are lying at the table ? " Thornton's PL trans- 
 lates, 
 
 " What am I about ? 
 Tra. A mischief on you ! ask what you 're about ? 
 About your supper — " 
 
 Comp. a similar retort in III. 2. 30. 
 24. Aniolirier = amoliri with pass, sense. So demolio is used by 
 Naevius, and many deponent verbs (see I. 3. 10) have an 
 act. form in PL (Lor.). 
 
 27. Valeat pater, " away with his father ! " But as valeo means 
 
 originally " to be in good health,'' Philol. takes it literally 
 and says, "he is indeed in good health." We may render, 
 " Farewell to his father !" Ph. "He does indeed fare well, 
 hut I am lost." 
 
 28. Bis peristi. Call., who is only half awake, hears the last 
 
 word, disperi, and mistaking it for bis peri, says, "You have 
 perished twice? How can that be ? " There seems to be 
 no equiv. pun in English. 
 30. Notice the gradual awakening of Call, from 26, 27, 28, to this 
 line, where he understands the words but fails to grasp the 
 situation, and line 37, where he suffers a relapse into non- 
 sense. Comp. this with the condition of Lepidus, in Ant. 
 and Cleop. Act II. Sc. VII. 
 
 32. Plenas. There were only three persons, but Philol. uses a 
 
 natural exaggeration in his excitement. 
 
 33. Igitur demum, "then." Correlative to ubL So III. 1. 154, 
 
 igitur tu?n . . . quando. Comp. I. 2. 47. 
 
 35. Deposivit. Pono is po -\- sino, and posivi for posui is the 
 
 earlier form, and the only one used by PL and Ter. (Brix.) 
 
 36. Etiam vigilas? Etiam with imperv. or in impatient ques- 
 
 tions implying an exhortation, may often be best rendered 
 
ACT II. SCENE I. IO3 
 
 by the introduction of a negative in Engl. " Will you not 
 wake up?" So IV. 3. 5, Etiamne aperis f "Will you not 
 open?" Trin. II. 4. 113, Etiam tu taces? "Won't you 
 keep still ? " So IV. 1. 27, etiam aspice, " look, won't you ? " 
 (Ram. Excurs. III. Wag.) 
 
 37. Soleas. The sandals were removed on reclining at the table, 
 
 and to call for the sandals {poscere soleas, Hor. Sat. II. 8. 
 yj) was an indication of a purpose to leave. 
 
 38. Intro, " within," i. e., into the house, where Call, would not be 
 
 seen. Up to this point the feasters have remained in the 
 vestibulum or the garden. 
 
 39. This line is omitted from the text. 
 
 41. Nullus sum, "it is all over with me;" more forcible than 
 perii, Don. Ter. Andr. 599. See M. 455, obs. 5. 
 
 41. Taceas. The 2d pers. of pres. subjunc. for imperv. is very 
 rare in class. Latin, except where the subject is indefinite, 
 but is common in comedy to express a friendly command. 
 M. 385, obs. 
 
 41. Qui, abl. interrog. Join tioi with sede7?i. 
 
 42. Satin' habes, "do you consider it enough ?" Comp. the same 
 
 phrase in a different sense, III. 2. 142. 
 
 43. Non mo do ne, very rare for 71 1 non 77iodo 71071, to introduce a 
 
 clause of result. M. 456, obs. 4. 
 
 44. Vos, addressed to the women, as Philol.'s question shows. 
 
 Hac and istac in next line also refer to them. 
 46. Igitur here approaches the later sense of logical consequence. 
 "What is it, then?" Tranio's answer leads Delphium to 
 think he is going to send them away. 
 
 46. Non hoc longe. Accompanied by a gesture, possibly as in 
 
 several similar places, by pointing to the finger-nail; "not 
 the breadth of my nail." So Ram. 
 
 47. Intus. This word has three distinct meanings: 1. "Within," 
 
 €vbov< as here and in 54, 55, below. 2. " From within," 
 ev8o$€v as in 58 and III. 1. 140. 3. " To a place within " = 
 intro, of which there is no example in this play, but common 
 in Lucr. (Ram. Roby.) Comp. intro, 43, 44: 
 
I04 NOTES. 
 
 47. Tantillo, diminutive from the dim. tantulus. On formation 
 
 see M. 182, 6, and obs. 1 ; G. 78s, 9, b. 
 
 48. Quo eveniant depends upon the idea of thinking implied in 
 
 metu. 
 
 48. Madeo metu. And. Lex. translates, "to sweat or melt with 
 
 fear," but it is rather " I am saturated with fear." Comp. 
 Lucr. IV. 792, arte madent, " are full of art." So also Hor. 
 and Mart. Possibly the full idea is, " I am saturated to the 
 dripping point." 
 
 49. Potin' = potisne, sc. est, " is it possible ? " Not 2d pers. for 
 
 potesne. See note on pote, I. 3. 99. Ne appended to any 
 other word than the verb suggests doubt and indignation, 
 which may often be expressed in Engl, by the use of a nega- 
 tive, as in the corresponding use of etiam, line 36. Render, 
 " Can't you be quiet ? " So Men. III. 2. 1, potin 1 ut quiescas? 
 " Can't you keep still ? " M. 451, a, 
 
 51. Morigerae arises from the construction morem gerere, in 1. 3. 32. 
 
 51. Ille is often used with Iuppiter both in comedy and in class, 
 writers, and was perhaps accompanied by a gesture upward. 
 
 51. Faxit. Old form of fut. subjunc. made in the same way as 
 faxo, I. 1. 65, with ending -im. The later Latin retained 
 faxim and ansim (audeo) . This wish is added as if super- 
 human aid were needed to make a woman obedient. 
 
 53. Face occlusae sient =fac {ut) sint, etc. So in next line 
 cave (ne) siveris. In both cases the dependent verb is logi- 
 cally the leading verb, and the independent verb only adds a 
 jussive force. Render, " let the house be shut," and " do 
 not allow." So fac sciam, " let me know." Comp. A. & G. 
 33i,yj and 269, a ; G. 264. 
 
 55. Natus nemo, " not a soul." A Plautine phrase, used again II. 
 2. 2T. Lor. suggests that Cic. would have said ne?no mor- 
 talis. This line and the next depend upon 54 ; the responses 
 of Philol. do not interrupt the speech. 
 
 55. Licet, "it shall be done," denoting assent without permission, 
 an idea easily derived from the original sense of licet. Comp. 
 Trin. II. 4. 11 6, hue concede aliquanttnn. Ph. Licet. Men. 
 
ACT II. SCENE L IO5 
 
 I. 4. 6, ceteriun cura. C. Licet. In each case render, " It 
 shall be done/' or " I will." 
 
 $y. Numquid aliud, sc. vis. " You don't want anything else, do 
 you ? " The ordinary formula for taking leave. So num- 
 quid vis f Hor. Sat. I. 9. 6. 
 
 $j. Clavem Laconicam. Large three-toothed keys, which locked 
 the door from the outside. No good explanation of the 
 name or of the manner of working has been proposed. It 
 seems probable, from this passage, that a person on the out- 
 side could tell whether the door had been locked from within 
 or from without. 
 
 58. Hinc foris, "from this side, without," so that the house might 
 
 seem to have been deserted. 
 
 59. After this line the others go into the house, leaving Tranio 
 
 alone. 
 60-70. These lines are somewhat confused in the MSS. and have 
 been the subject of much conjecture and comment. Partic- 
 ularly, the word proprior is read propior in several MSS., 
 probior in Vulg., and probrior by Rit. The best notes on 
 line 60 are by Taubmann, Lorenz, Rost (Opusc. I. 135) and 
 Ritschl, but they are widely at variance with each other. 
 The general sense of this passage is this : It makes no differ- 
 ence who a man is, if he lack courage. Any man can act 
 foolishly on short notice, but it requires a wise man to bring 
 good results out of things which have been foolishly begun. 
 
 60. Pluma seems to be a nom. So twice in Ter. with interest. 
 
 60. Cluens — cliens. Render, "whether patron or client be the 
 
 role assigned to a man," etc. 
 
 61. Quoi, the orig. form from stem quo- of qui. Qu- was often 
 
 used for c (comp. cocus, I. 3. 120), and about 200 b. c. there 
 was a general weakening of to u. The form coi does not 
 appear, and the two changes seem to have taken place to- 
 gether in this word. So quoius, cujus. 
 
 62. Homini, dat. after facile est. Optumo and pessumo repeat the 
 
 idea of patromis and cluens. 
 
 63. Quamvis desubito, "on however short a notice" (Ram.). 
 
I06 NOTES. 
 
 63. Nequiter is without moral force. Simply " foolishly, " i.e., so 
 
 as to produce bad results. So nequitia, 6$, " folly." 
 
 64. Id, that is, ni patiatur and ut prove?iiant. Opus in the orig. 
 
 sense, " the work of a wise man." 
 
 65. Quae. The anteced. is cuncta. Render, "all those things 
 
 which have been planned and acted upon foolishly." 
 67. This line precedes 66 in the MSS. and Ram. The order of the 
 
 text is that given by Acidal. Rit. Weise. Lor. Bothe. 
 67. Ni = ne. The oldest inscriptions and best MSS. vary between 
 
 net, ni, and ne, the first being rather more frequent in the 
 
 time of PL Comp. -eis, -es, and is in ace. plu. 3d decl. 
 
 Render the line, " that he (the vir doctus) may not suffer 
 
 anything on account of which he shall be sorry to live," i. e., 
 
 "shall wish he were dead." 
 69. Liqueant, "be clear." The figure in these two lines is that of 
 
 wine which has been disturbed and needs to settle again. 
 
 So V. 1. n, turbida, and often in PI. 
 
 71. Tu, addressed to the boy. Tran. does not remember that he 
 
 had asked for the key, and is alarmed at the appearance of 
 the slave. But when he sees the key, he recalls his purpose, 
 and speaks approvingly. O is his exclamation upon seeing 
 the key. 
 
 72. Maxumo opere, "most emphatically," the superl. of magno- 
 
 pere. 
 
 73. Orare, sc. me. The common omission of the subject. So 
 
 with factum m, 75, sc. me, and with venire, j8, sc. eum. 
 
 y6. Capite obvoluto. The Greeks and Romans veiled the head 
 by covering it with a corner of the robe, when they were in 
 desperate circumstances or in great crises. So Caesar, when 
 he could no longer defend himself, and Socrates when he 
 felt death coming upon him. 
 
 y8. Hinc, as before, " from this side." After these words, the boy 
 goes in and Tran. locks the door. 
 
 79-80. Ludos . . . seni faciam. The phrase Indos facer e alicui, 
 "to perform games in honor of any one," must be distin- 
 guished from the phrase ludos facere aliquem, " to make 
 
ACT II. SCENE II. I07 
 
 sport of any one." Both are taken from the public or 
 funeral games, and ludos is therefore always plural. (Comp. 
 ludiis fit in Argument.) The former expression is used 
 ironically by PL, as here, and then does not differ much in 
 meaning from the latter. 
 
 80. Quod refers to the preceding clause, "a thing which." On the 
 
 attempt to fix the date of the play by these words, see Intro- 
 duction. 
 
 81. Hue, hinc. Tran. goes away from the door of the house, that 
 
 he may not seem to have come from it. 
 
 82. Sarcinam, i. e., a load of deceit, which Theuropides will carry 
 
 if he believes the story of Tran. The same figure is used 
 in III. 2. 89. 
 
 ACT II. SCENE II. 
 
 Theuropides comes upon the stage, followed by slaves {pediscqui) who carry 
 the rugs and other baggage, used on the journey from which Theuropides has just 
 returned. Tranio is not seen at first by the others, and stands at one side watching 
 tli em. 
 
 2. Quom, "inasmuch as," with indie, is especially frequent in 
 
 thanksgivings. 
 2. Amisisti = dimisisti, as often in PI. So Mil. Glor. IV. 3. 3, 
 
 Men. V. 8. 6. 
 
 2. Modo emphasizes vix, "scarcely even alive." So in next line, 
 
 "only." 
 
 3. Pedem latum, by hendiadys for pedis latitudinem. Taken by 
 
 Lor. as ace. of extent of space, with vie supplied as obj. of 
 inposisse ; it may, however, be direct obj. 
 
 4. Inposisse, for inposivisse = later imposuisse. See note on 
 
 deposivit, II. 1. 35. 
 
 6. Apage, " get out ! " " away with you ! " "I want no more to do 
 
 with you." In the same sense in a similar expression of 
 thankfulness in Trin. IV. I. 19. 
 
 7. Crediturus . . . fui. " I intended to trust." M. 342, a ; G. 239. 
 
 8. Largiter. The classical form is large. The ending -iter is 
 
I08 NOTES. 
 
 more commonly used with adjs. of 3d decl. (M. 198, b and 
 obs. 2.), but PI. frequently uses it with adjs. of 2d decl. 
 (Wag. Trin. 1060.) 
 
 10. Aegupto. For spelling comp. giunnastica, I. 2. 66. The con- 
 
 struction would generally, but not invariably, require a 
 prepos. in good prose. PL is especially free in his construc- 
 tion with names of places. 
 
 11. Expectatus, "eagerly looked for." Optatus, Lamb. 
 
 14. The house-doors were shut but not locked during the day, and 
 the ianitor was always ready to open them when any one 
 came. (Lamb.) Similar expressions of surprise at finding 
 the house shut in the daytime occur in Stich. II. 1. 36, sqq. 
 
 14. Interdius, "in the daytime." This word is found five times in 
 
 PI., and is from dins, an old form of dies. Comp. diurnus, 
 nudiusterthts, sub diu, and the adv. diu. 
 
 15. This line is accompanied by violent knocking. Comp. 25. The 
 
 next line is spoken as Tran. comes forward, and is intended 
 to be overheard. 
 
 19. Vsque invaluisti? " Have you been well up to this time ?" 
 
 20. Quidum, "how then ?" This word usually stands by itself, as 
 
 here, and asks for an explanation of what has preceded. 
 23. Pultando. Puliare is the regular word for knocking at the 
 door. This was often, perhaps always, done with the feet, 
 and sometimes with great violence. Comp. IV. 1. 39-40. 
 
 23. Ambas. The /ores were double folding-doors. 
 
 24. An. See note on I. 1. 7. 
 
 25. Quin. See I. 3. 16, c. An impatient correction of the expec- 
 
 tation implied in the preceding question. " (Touched it !) 
 Why, more than that, I have almost broken," etc. 
 
 28. Facinus, in'the original sense of "deed," which is the usual 
 
 one in PL 
 
 29. Quid, ace. of specif. " How now ? " 
 
 30. Notice the effect of the repetition of tetigistin 1 in increasing 
 
 the fright of Theur., and the fact that Tran. gives no expla- 
 nation until he has called the slaves away. Notice also that 
 the story is finally told in the most confused way, as if Tran. 
 
ACT II. SCENE II. IOg 
 
 were still afraid that some evil would come to them. This 
 scene would gain greatly by being put upon the stage. 
 
 32. Occidisti hercle. After these words Tran. pauses as if in 
 
 fear, intentionally breaking off his speech at a critical point. 
 
 33. Cum isto omine, "with that prophecy of bad luck," implied 
 
 in the foregoing words. Comp. Ter. Hec. I. 2. 59, At ie di 
 deaeque faxint cum isto odio (Lor.), and observe the use of 
 the subj. in -sim in wishes, as II. 1. 51. 
 
 34. Expiare, "to free from guilt." Notice the neg. effect of ut 
 
 after verbs of fearing. " I wish that you may, but fear that 
 you may not." Istos refers to the slaves. 
 
 y]. Ne attigatis. A prohibition in 2d pers. would regularly stand 
 in the perf. subjunc. (A. & G. 269, a, b\ G. 266, 267) or 
 fut. perf. (M. 386, and obs. 1, last clause). But PL and Ter. 
 very frequently use the present, as I. 3. 58, ne suadeas, and 
 the common phrase molestus ne sis. Attigatis is from the 
 early form tago for tango. Comp. As. II. 2. 106, si me 
 tagis. 
 
 38. Tangite vos quoque terram. Quoque goes with vos, " you 
 also " (as I do). To touch the earth with the hand was a 
 religious observance in speaking of the dead or any kindred 
 subject, and was a protection against evil results. 
 
 40. Tetulit. Reduplicated for tulit The usual form in PI., as 
 
 Amph. II. 2. 84, 168, etc. 
 
 41. Numquis est. A good example of a question which maybe 
 
 either direct or indirect, and which illustrates the transition 
 from one construction to the other. 
 
 42. Aucupet. Act. for depon. form, as often in PI. 
 
 43*. Etiam, "again." "Having done it once, do it even now a 
 second time." Comp. the analogous use of etiam in I. 2. 34. 
 
 44. Capitalis caedis (-es), "a horrible murder." Capitalis refers 
 to the death of the victim, not to the punishment inflicted 
 upon the murderer. (Ram.) 
 
 44. Intellego. The spelling intelligo is without good MSS. au- 
 thority, and is rejected from the text of Cic. by Halm and 
 Wilkins. See Fleck. Ep. ad Rit. viii. 
 
IIO NOTES. 
 
 45. Antiquom et vetus. The distinction between these words 
 
 must be observed here. See And. Lex. antiquus, 
 
 46. Adeo, "and so," " therefore." " It was done long ago, and so 
 
 we have just found it out." Vetus in this line would give 
 
 the wrong sense. 
 50. Hospiti, dat. of disadvantage for abl. of separation. H. 385, 
 
 4 ; A. & G. 229 ; G. 344, 2. 
 53-55. Cenaverat . . . redit . . . abimus . . . condormivimus. Tran. 
 
 begins his story with the plupf., the natural tense, but the 
 
 excitement hurries him into the pres. and perf. definite. 
 
 Such change of tense is characteristic of dialogue. (Lor.) 
 53. Cenaverat . . . cena. This spelling is preferable to that with 
 
 coen-, which is founded upon a mistaken etymol. Foris 
 
 cenaverat, " had dined out ; " foras cenare, " to go out to 
 
 dinner." Comp. I. 1. 1. 
 
 57. Atque, "and then." Ille refers to Philol., as appears from 58, 
 
 but is left indefinite by Tran. to increase the fear and confu- 
 sion of Theur. 
 SS. An gnatus meus? "Not my son, was it?" See note on 
 
 1. 1. 7, and comp. I. 4. 20. 
 
 58. St. The same particle is used as a sign of silence in Epid. II. 
 
 2. 1, st, st, face, and in line 74 of this scene. 
 
 59. Ulum . . . mortuom, " the dead man of whom I have spoken." 
 
 Comp. the use of the Greek article, and see H. 450, 4; A. & 
 G. 102, b\ G. 292, 1. 
 
 60. Nempe was used to confirm what had been said, but often, 
 
 as here, ironically, to express the contrary sense and cast 
 doubt upon a previous statement. 
 
 60. In somnis, "in his sleep." Comp. Virg. Aen. III. 151, where 
 some have written as one word insomnis. But see For- 
 biger's note. 
 
 62. Mirum, quin. This common Plautine phrase expresses great 
 contempt for some previous statement. The literal sense is 
 "it is wonderful how not," but it may be rendered often 
 ironically, "it is very likely that." Amph. II. 2. 118, mirum 
 quin te advorsus dicat, " it is wonderful that he (your slave) 
 
ACT II. SCENE II. Ill 
 
 does not contradict you," " it is likely, I suppose, that your 
 slave would contradict you." So Cist. IV. 2. 67, where a 
 box is lost and the owner says it is of no great value, the 
 answer is, mirum quin grex venalium in cistella infuerit una, 
 "it is wonderful, I suppose, that there should not be a troop 
 of slaves in one little box." So Merc. I. 1. 19, Pers. III. r. 
 
 1, etc. This is to be distinguished from minim ni, which 
 expresses genuine surprise. 
 
 The sense of this passage therefore is, " In his dreams ? Of 
 course it was in his dreams. You would not expect a man 
 who had been dead sixty years to appear to another who was 
 wide awake ! " 
 6y Abhinc sexaginta annis. u Abhinc is used with the abl. in 
 two passages only (PI. Most. 494 ; [this passage] C. Verr. 
 
 2. 52) and in these it means 'from that time.'" (Roby.) 
 In other cases abhinc takes ace. of duration of time. The 
 ordinary expression here would be ante sex. annis or annos. 
 H. 427, and 1, M. 270, and obs. 4. 
 
 64. This line as it stands is incorrect in metre. Rit. following one 
 
 MS. writes in two lines : — 
 
 Interdum inepte stultus es [Theuropides]. 
 
 Th. Taceo. Tr. Set ecce quae illi ille inquit [mortuos]. 
 
 65. Diapontius is of course a fanciful name, the Greek equiv. of 
 
 transmarinus. 
 
 67. Acheruntem is the earlier form for Acherons, -ontis. So 
 
 Acherusius for Acherontius. The word has generally the 
 construction of the name of a town, though below, line 76, it 
 is used with ad. (Lor.) Orcus is here the name of the 
 god. 
 
 68. Praemature, i. e., by a violent death, which cut short the natu- 
 
 ral term of life. 
 70. Defodit insepultum. These words do not contradict each 
 other. Defodit refers to the burial of the body ; insepultum, 
 to the omission of due funeral rites, without which the burial 
 was not complete. Comp. the episode of Polydorus, Virg. 
 Aen. Ill, 20-68. 
 
112 NOTES. 
 
 72. Scelestae, "polluted." So Virg. Aen. Ill, 60-61, scelerata 
 
 . . . terra . . . ftollutum hospitium. 
 74. St, st! At this point some one within the house comes to the 
 
 door, and Tran. utters this sound both to warn the person 
 
 within and to frighten Theur. still further. 
 
 74. Concrepuit. This is the regular word used to indicate that 
 
 some one is coming out from the house. Very common in 
 PL and Ter. It has been explained by supposing that, as 
 the street doors opened outward upon the sidewalk, any one 
 coming out rattled the door in order to warn passers. 
 Another explanation, supported by a number of passages in 
 Cure, as I. 1. 20, refers the word to the creaking of the 
 door. The singular is used because only one of the valvae 
 was ordinarily opened. 
 
 75. Hicine, i. e., the ghost. For form see I. 1. 8. Tran. turns the 
 
 danger to good account by making Theur. believe that it is 
 the ghost within who is coming to the door to see who 
 knocked. With the rest of the line comp. the phrase exsan- 
 guis metu, Ov. Met. IX, 224. 
 
 76. Accersunt. This is the best MS. reading for arcessunf. See 
 
 And. Lex. 
 
 77. Ulisce, those within the house. This form of the nom. rests 
 
 upon the concurrent testimony of inscriptions, manuscripts 
 and grammarians. Hisce (nom.) is found in Ter. Eun. II. 
 2. 38, in Trin. IV. 2. 36, Pseud. I. 5. 125, and several other 
 places, and in Mil. Glor. II. 4. 21, hisce oculis (nom.). The 
 inscriptions give also the endings -eis, es of 2d decl. nouns. 
 Illisce may be the correct form in IV. 3. 3. (Brix. Roby.) 
 
 78. Nimis quam, "very greatly." Quam is used with nimis as 
 
 with superlatives. Capt. I. 2. 17, nimis quam cupio. So 
 with valde, sane, mire. 
 
 79. Theur. does not understand the words of the two preceding 
 
 lines, but his suspicion is aroused, and he asks for an ex- 
 planation. Tran. only redoubles his efforts to get him from 
 the door. 
 82. Heus, Tranio! These words are by Rost and Lorenz sup- 
 
ACT II. SCENE II. 113 
 
 posed to be spoken by some one within, but most editors 
 give them to Theur. because of what follows in 85, sq. In 
 either case Tran. pretends to think that they are spoken by 
 the ghost, and so adapts his next words, which are spoken 
 in a loud voice, as to give warning to those within and at 
 the same time to increase the fear of Theur. by appearing to 
 believe that the ghost is calling to him. Line 83 is an ex- 
 culpation of himself addressed to the ghost. 
 
 S$. Tu is expressed for emphasis. Render, " It was you who 
 called me, was it?" For this use of an see I. 1. 7, and for 
 tense see I. 3. 54. 
 
 86. Amabuut The fut. indie, in a wish is not uncommon in PL 
 and Ter. Comp. Ter. Heaut. III. t. 54, sic me di amabunt 
 This is analogous to the fut. indie, for the imperative. (See 
 below, 94.) The other form of the wish, ita me di a?nent, 
 has occurred in I. 3. 14. 
 
 88. Etiamne astas? " Do you still stand near ? " 
 
 89. Respexis, formed like faxit, II. 1. 51, for respec-sis. The fut. 
 
 subj. in -sim is especially frequent in wishes or in pro- 
 hibitions with cave (ne). So Aul. IV. 2. 1. cave cuiqua7ti 
 indicassis, and curassis, 92. 
 91. Quid modo igitur? "Only what then? why," etc. Tranio's 
 evident fear at line j8 recurs to the mind of Theur., and 
 brings back his suspicion. 
 
 93. Vt occepisti, in line 80 and perhaps 30 of this scene. Quis 
 
 from queo. 
 
 94. Herculem. Hercules is to be invoked as the god who wards 
 
 off evil, and particularly as the one who had descended to 
 the lower world and returned in safety. (Lor.) 
 
 94. Invocabis. The use of the fut. indie, for imperative indicates 
 "a firm conviction that the command or direction will be 
 complied with." M. 384, obs. ; H. 470, 1 ; G. 265, 1 ; A. & 
 G. 269, f. It is used for greater vividness. See note on 
 I. 1.9- 
 
 94. Hercules. The full name is used in this invocation, as the 
 forms hercle, mehercle, had become mere expletives, which 
 
I 14 NOTES. 
 
 did not express an appeal to the god. With these words 
 Theur. covers his head and runs off the stage, followed by 
 his slaves. 
 
 95. Et ego, sc. Herculem invoco. 
 
 97. Malum is to be taken with quid. " What a mischief of a busi- 
 ness," etc. This is a somewhat unusual sense for quid 
 malum , and malus and malt have been conjectured. 
 
 ACT III. SCENE I. 
 
 While Tranio is speaking the last lines of the scene, the danista comes upon the 
 stage looking for Philolaches. 
 
 I. Scelestiorem, " more villanous." (Ram.) 
 
 1. Faenori is the spelling of the best MSS., though fenus is also 
 found. The dat. faenori is used after verbs of borrowing 
 and lending, and comes under the general head of dat. of 
 end or purpose. Roby suggests that it may be a locative. 
 Comp. V. 3. 19, faenori argentum sumere, and the phrase 
 dono dare. The abl. is more common, as in III. 1. 69, IV. 
 2. 14. 
 
 1. Argento, sc. locando (Lamb.), "for investing money at interest." 
 
 3. Mani. The MSS. give mane here and in III. 2. 78, but mani is 
 
 generally adopted on the authority of Servius, Aen. I. 19. 
 It is an archaic locative, like vesperi, luci, temperi. 
 
 4. Nemini = apud ne?ninem. (Lor.) 
 
 5-15. Tran. speaks these lines in a low tone so that he is not 
 heard by the banker, and is hoping to escape unnoticed, 
 until he sees Theur. coming from the other side (line 10). 
 
 5. In perpetuom modum. See note on I. 2. 62. "I am undone 
 
 without anything to check my downward course." 
 
 7. Arnica, Philematium. Quo abl. after opus. Part of the money 
 
 was used for current expenses. 
 
 8. Nisi quod, " unless ; " but rare in this sense, for which reason 
 
 some editors read nisi quid. " Unless I first prevent the 
 old man from hearing of this now." 
 
ACT III. SCENE I. 115 
 
 9. Huic refers to the danista, but in next line hie refers to Theur. 
 Such use of the same pronoun to refer to different persons 
 would hardly be found in careful prose, but is natural in 
 conversation, where the speaker turns from one person to 
 another, so that each in turn becomes hie to him. So isle, 
 134, 135 of this scene. 
 
 11. Indaudiverit = inaud-. The old form indu (indd) for in is 
 used by PI. only in this verb. Comp. Aul. II. 2. %%, Capt. 
 Prol. 30, etc. It is found in Lucr. and in the XII. Tables, 
 and remained in classical Latin in the words indigeo (indti- 
 egeo), indigena, indipiscor. (Lor.) Also indoles, indnstria. 
 
 13. Animus hominis conscius. Hominis is poss. gen. with 
 animus. With conscius supply sibi 7nali. The absolute use 
 of conscius with mali understood is found in later Latin, and 
 survives in the Engl. " conscience," i.e., "consciousness of 
 evil:' 
 
 15. Turbare, " to create confusion," as in V. 1. 12, where the 
 
 same idea is more fully expressed, viz., that one who is 
 already in difficulty should seek to increase the confusion in 
 order to escape unnoticed. 
 
 16. Vnde is? " Whence do you come ?" though ire in this sense 
 
 is rare. Comp. Cas. II. 3. 29. The words are addressed to 
 Theur. 
 
 16. Vnde = a quo (masc). So also IV. 4. 5, and hinc = ab hoe, 
 
 III. 1. 1 13. Similar usages are found in good prose. (Lor.) 
 M. 317, obs. 2. 
 
 17. Illo, the story about the murder. Notice that numquid, im- 
 
 plying a negative, is met by hercle vero and by the emphatic 
 position of dixi. 
 
 19. Techinae = technae, for r^vai. This is the reading of the 
 
 best MSS., though Ram. has technae. Some Greek combi- 
 nations were avoided in the Latin, particularly in the early 
 wfiters, by the insertion of a short vowel. Thus xfr K ^-> were 
 separated by u, as dpaxM, drachuma; x», *», P v , by h as /*"£> 
 mina; and k\ by 0. (Lor. Rit.) 
 
 20. Enim frequently implies an ellipsis of the leading clause. 
 
Il6 NOTES. 
 
 Comp. nam, I. 3. 34. Here the sense is " (Why do you 
 ask) for I said nothing." Nihil enim is used with the same 
 ellipsis in Ter. Hec. V. 4. 10, Adelph. IV. 5. 22, and this is 
 especially frequent in negations. See M. 454, obs. 2. Comp. 
 IV. 2. 23, V. 3. 12, 23. (See Ram. Excurs. VI.) 
 
 21. Dixtine = dixistine. PL uses either form. 
 
 22. Imo. Comp. note on I. 4. 22, (a). " No, on the contrary, he 
 
 strongly denies it." It has been suggested (Collins, PL for 
 Engl. Readers) that PL here gives a hint of an amusing 
 scene, in which Theur. charges the former owner of the 
 house with the murder of his guest, and is met by indignant 
 denials. 
 
 24. Dicam, si confessus sit. Dicain is pres. subj. The con- 
 
 text shows that non-fulfilment is intended, and the usual 
 form would be dicerem, si confessus esset. Comp. Pers. II. 
 2. 33, fatear, si ita sim, Epid. III. 1. 10, si . . . . habeam, polli- 
 cear. In both passages it appears from the context that the 
 supposition is contrary to fact. The pres. is used for the 
 imperf . or plup. subj. to indicate non-fulfilment, " by a turn 
 of rhetoric, where a thing is represented as if it might still 
 take place." M. 347, b, obs. 1. Read also A. & G. 308, foot-note. 
 
 25. Egon'. The leading clause is omitted, and ne is appended to 
 
 the first word of the subordinate clause. The full form 
 would be Rogasne, quid ego censeam? Comp. III. 2. 50. 
 
 26. Iudicem, an arbitrator, who would save the expense and trouble 
 
 of a lawsuit. 
 
 27. This line is spoken as an " aside." 
 
 29. Tranium. Elsewhere in the Most, the regular form in -0, 
 -onis, is used, of which Traniwn is probably a diminutive. 
 So Philematiu?n is a dim. from Philematio, which is found 
 in nom., gen., and dat. in inscriptions. (Lor.) Neque faenus 
 neque sorte?n, " neither interest nor principal." 
 
 31. Quo te agis? On seeing the banker coming tov^ird him, 
 Tran. starts to go away, and causes the question of Theur. 
 He is detained by this, and has no resource but to go toward 
 the danista. Lines 32-36 are spoken aside. The banker 
 
ACT III. SCENE I. 117 
 
 stands watching the house of Philol., which Theur. does not 
 
 dare to approach. 
 31. Nee has no connective force. Comp. I. 3. 83. 
 33. nib refers to Theur. The subject of adibit is danista. 
 
 33. Ne (= nae) is the spelling of the best MSS. 
 
 34. Exhibent negotium, " cause trouble." 
 
 36. Frustra, "in error," the original sense. See And. Lex. for 
 
 etymol., and comp. Amph. III. 3. 19, hi ambo frustra sunt, 
 where errant probe is added as synonymous. So very often 
 in PL 
 
 37. Iubeo is used with reference to the imperative in the common 
 
 salutation salve. Comp. Engl. " I bid you farewell." 
 37. Misargurides. For etymol. see Intro. The MSS. give vari- 
 ous forms, and this is taken from Donat. in Ter. Adel. 
 
 39. Pilum. Notice the Roman metaphor, which must have been 
 
 added by PL 
 
 40. Inanis. Tranio's manner shows that he is not intending to pay 
 
 the debt. These words are spoken aside, but overheard by 
 Tran. 
 
 40. Hariolus is generally used by PL to mean a true prophet. So 
 
 Asin. III. 2. 33, ariolare, "you speak the truth." (Ram.) 
 
 41. Quin is repeated by Tran. as a sort of repartee. - Such a use is 
 
 quite frequent, as in Cas. III. 4. 9, sqq., where two old men 
 in a wrangle repeat quin at the beginning of a dozen succes- 
 sive retorts. Mittis, "put aside," "have done with." 
 
 45. Tranio is endeavoring to invent some story which will get the 
 
 banker out of the way, and keep him quiet while he remains. 
 
 46. Hercle vero. Comp. line 18, with note. 
 
 49. Reddetur. This promise has of course no foundation, and is 
 given only as a temporary expedient. It is generally char- 
 acteristic of the slaves in PL to adopt such expedients on 
 the spur of the moment, and thereby involve themselves in 
 greater difficulties. Comp. the story told in 104, sq. 
 
 52. Imo, " no, on the contrary," etc. 
 
 53. Vos, Tran. and Philol. as in 30. 
 
 54. Beginning with this line, Ritschl rearranges the lines of this 
 
Il8 NOTES. 
 
 scene down to 77 in the following order : 54, 57, 55, a con- 
 jectural line, 56, 61-68, 58, 59, 60, 70, 72, 73, 69, 74, 75, 76, 
 71, 77. See Parerg. I. 493-500. Lorgnz has a different 
 arrangement. 
 
 54. Eu hercle. The line has been emended in various ways, but 
 
 we may consider these words ironical, as is euge strenue, and 
 retain them in the text. 
 
 55. Nominabo, A reference to the pipidum, which was a privi- 
 
 lege granted to a creditor by the XII Tables. In default of 
 written evidence of the debt, he could go to the house of the 
 debtor and demand payment with loud and abusive lan- 
 guage. Comp. Pseud. IV. 7. 46, flagitare saepe clamor e in 
 foro, quo7n libella nusquam est. Libella is the written 
 evidence. (Ram. Hild. Lor.) 
 57. Frustramini from the orig. meaning of frustra, as above, 36. 
 Notice that iam multos dies gives the force of the perf. 
 tense to the verb, as iampridem would do. "You have 
 been cheating." 
 
 59. Hoc verbo eripis. This is the reading of the best MSS. and 
 
 is retained in the text, though its meaning is not quite cer- 
 tain. No satisfactory conjecture has been offered. It may 
 be, " By this word (i. e., by doing what this phrase means, by 
 paying me the money) you take away from me all ground for 
 dunning you." This seems to be the understanding of Lor. 
 Rost reads verbum eripit, in which case the sense would be, 
 " This proposition takes away from you the possibility of 
 giving an evasive answer." The verse is discussed in Rit. 
 Parerg. I, 502, Rost. Opusc. I, 136. 
 
 60. Sortem accipe, "take the principal." Tran. makes the offer 
 
 in order to quiet the creditor by an appearance of ability to 
 
 pay part of the debt. 
 60. Imo faenus, " no, give me the interest." The acceptance of 
 
 the principal alone might have weakened the claim to the 
 
 interest. 
 62. Extentatum, supine from extento, intens. of extendo. " To 
 
 stretch your lungs with shouting." This verb is found in only 
 
ACT III. SCENE I. 119 
 
 two other passages before the post-class, writers, viz., Bacch. 
 IV. 2. 3, and Lucr. III. 489. (Ram.) 
 
 62. In manu, "in your power." So Merc. III. 4. 43, tibi in 
 
 manu est. 
 
 63. Ne 7pv quidem, " not even a grunt can you get from him," i. e. ? 
 
 from Philol. Ovde ypv is used in this way by Aristoph. and 
 Dem. (Lor.) 
 64-66. These lines are much mutilated in the MSS., and the con- 
 jectures, by which Cam. filled the blanks, do not make a very 
 perfect text. 
 
 65. Hie, Philol. Before linqtiat, sc. ut. "That he shall leave the 
 
 city, being made an exile for your sake ? he, who will scarcely 
 be able to pay the principal ? " 
 
 66. Quin. "Why, I tell you, I do not ask for the principal." 
 
 74. Veterator. A conj. of Cam. The word is not found in PI., 
 
 but is used by Ter. and Cic. The orig. meaning is an old 
 slave, opposed to novitius, and hence one who is old in ras- 
 cality. " Old sharper." 
 
 75. Quemquam agrees as an adj. pron. with beluam. The masc. 
 
 quisqua7n is several times used by PL with fern, nouns. So 
 Rud. I. 3. 75, amim quemquam, Mil. Glor. IV. 2. 68, que?n- 
 quam porculam. So also quisque, quisquis and quis are 
 used in masc. forms with fern, nouns. (Lor.) 
 
 76. Edepol is made up of prefix e- {ecastor, equirine), the voc. of 
 
 deus, dee, de, and the shortened form of Pollux. (Lor.) The 
 Roman grammarians spelled it aedepol, and derived it from 
 aedis Pollucis. 
 
 77. Theur. has been standing at a distance, but overhearing some 
 
 part of the dispute, particularly the word faenus, which the 
 Danista had shouted out loudly in 70, 72, he comes up to 
 investigate. The next four lines are spoken rapidly in an 
 undertone, as Theur. crosses the stage. 
 80. Inconciliare. Key, followed by Wag. and Roby, suggests a 
 derivation from cilium, "a small hair." The verb would 
 then mean "to entangle," " to involve in difficulties." Ram. 
 gives it, "to raise a disturbance against." Either meaning 
 
1 20 NOTES. 
 
 will suit the three places where PL uses it, better than the 
 definition in And. Lex. 
 
 80. Postules, "seek," "desire," as in I. 3. 102. 
 
 81. Quin feram. " Well, you may be sure, I will take it." See I. 
 
 3. 16, (V). 
 
 82. Quid ais tu? Quid vis? These two questions are very 
 
 frequently used together by PL The first is meant to attract 
 attention, the second to show on the part of the person 
 addressed that he is listening, and then follows the main 
 question, to which it was desired to call attention. Comp. 
 Trin. I. 2. 159, IV. 2. 85-86. Quid ais tu? therefore means, 
 "What do you say to the question I am going to ask?" 
 (Wag.) 
 
 86. Obici . . . ob os. An unusual construction for the dat. The 
 form obicio for objicio is not given by And. Lex., but is 
 adopted in a number of texts to the exclusion of objicio. 
 The answer is intended to suggest that the sum is so small 
 that Theur. can pay it without troubling himself to inquire 
 into the matter at all. 
 
 88. In the following lines down to 100, the order of Ritschl has 
 been followed. 89-92 stand in the MSS. after 95, and 98-99, 
 with a repetition of 97, after 117. 
 
 91. Qui sit, unde sit. Indirect questions in appos. with istuc. 
 Qui for guts, as often. Vnde sit refers to genus, 90, and 
 may be rendered "of what class he is." 
 
 93. Est This word is omitted by most editors, as merely a repe- 
 
 tition of the preceding word. But we may suppose that 
 Tran. begins his answer in a way which would lead to too 
 full a statement, and therefore breaks it off. 
 
 94. Quasi, "about." 
 
 95. Pauium. The mina was equal to about $18, which would 
 
 make the whole sum $720. Thirty minae were used to buy 
 the freedom of Philem., and the rest were for general ex- 
 penses. Comp. III. 1. 7, and V. 3. 38-39. 
 
 96. Adeo etiam, "besides this I hear that interest also is due." 
 
 Quatuor, in next line, the interest. 
 
ACT III. SCENE I. 12 1 
 
 103. Eo . . . argento, "What has been done with that money?" 
 
 Comp. me, I. 3 65. 
 103. Salvom est. Tran. has, of course, no answer ready, and is 
 
 gaining time to arrange a new story, but Theur. takes the 
 
 answer to mean that the money has not been spent. 
 106. Patrissat, "takes after his father." Gr. irarpia^iv. Comp. 
 
 badisso, {taSifa. 
 
 106. In mercatura vortitur, "is engaged in trade," a middle 
 
 sense. Vorsatur would more commonly be used, but comp. 
 V. 1. 10, vorti rem in meoforo. 
 
 107. Quoiusmodi. The meaning is " how fine," and this was 
 
 probably expressed by tone and gesture. (Lor.) 
 109. Speculo claras, "bright as a mirror, pure brightness!" 
 Spectdo may be taken as an abl. after some such word as 
 adaeque or magis, understood. Claras modifies aedes sup- 
 plied from 107. On account of the irregular construction of 
 speculo Rit. supposes that a line has dropped out. 
 no. Destinat. This verb usually means in PI. either " to fix upon 
 for buying," or "to fix a price upon " and so "to buy." 
 Comp. Rud. Prol. 45. (Ram.) 
 in. Talentis magnis. The Attic talent, which was sixty pounds 
 weight of silver, and was never coined, was worth about 
 $1080. The talent was equal to sixty minae. The adj. 
 magnum or the gen. argenti was added to distinguish the 
 Attic talent of silver from the Sicilian talent of copper, 
 which was the first known to the Romans, and was of small 
 value. The use of these terms is made clear in Rud. V. 2. 
 43, 45, 49, and V. 3. 19, 24. 
 
 112. Arraboni, spelled arrhabo by later writers, but see note on 
 
 pulcere, I. 1. 51. Gr. appaficov. The distinction between 
 arrabo and pignus (And. Lex. s. v.) is not observed in this 
 play. Comp. IV. 3. 39. 
 
 113. Hinc, from the banker. Ei refers to the owner of the house, 
 
 not yet mentioned by name. 
 116. Meridies, the time when Tran. had promised that the debt 
 should be paid. Comp. 48. 
 
122 NOTES. 
 
 117. Enecet may be compared to intellego in retaining £ of the 
 
 stem. In enicasso, I. 3. 55, 66, the added syllables seem to 
 cause the shortening of the vowel. Vomitum, " this dis- 
 gusting fellow." 
 
 118. Adulescens. The form adolescents has much less MS. au- 
 
 thority, and is generally rejected from texts of class, writers. 
 The word is used by PI without reference to age to indicate 
 familiarity, or by a superior to an inferior in station, as here. 
 So Engl, "my lad." (Ram.) See example in next note. 
 118. Mecum rem habe, "treat with me in the matter," i. e., "look 
 to me for your money." Comp. Men. III. 2. 29, adulescens, 
 quaeso, quid tibi mecum est rei? "My lad, what's your 
 business with me ? " where adulescens is addressed to an 
 inferior in station. 
 
 1 18. Aps = ads. The s at the end of this word was appended for 
 
 euphony before /, c (qu) and sometimes/, and for the same 
 reason b was in the early writers changed to p. The form 
 abs was retained by later writers only in the phrase abs te. 
 
 119. The promise of Theur., a merchant in good standing, is suffi- 
 
 cient to satisfy the creditor, who now goes off the stage. 
 
 120. Duint — dant. The Plautine forms duam, duim, creduam, 
 
 interdtw, etc., and duitor in XII Tables, point to an old 
 form duo for do. M. 115, /; A. & G. 128, e, 2; H. 239, 3 ; 
 G. 191, 3. 
 
 121. Penissume (paen-) is formed by PL from paene. So from 
 
 penitus the adj. penilissumus. (Lor.) 
 123. Danisticum is found only in this passage. 
 
 125. Dicisne. The impatient tone in which this is spoken gives 
 
 to ne almost the force of nonne. Comp. manesne, IV. 1. 29, 
 and the force of etiann, II. 1. 36. See M. 451, a\ H. 346, 
 II, 1. 1). Comp. Engl. "Are you going to tell me ?" 
 
 126. Quaero, " I am trying to think." 
 
 127. Comminiscere retains invariably in PI. the original sense, "to 
 
 think up," " to recall," though, as might be expected, the con- 
 text often shows that some trickery is the object of the think- 
 ing. In several passages comminiscor cannot mean "to 
 
ACT III. SCENE I. 123 
 
 feign," e. g., Aul. I. 1. 30, 37, Bacch. IV. 9. 58. Render, 
 
 " Come, think it up then." 
 128. Nisi ut, sc. id agam. See And. Lex. for examples of this 
 
 ellipsis. After tit Lamb, supplies confer am, which Rit. 
 
 adopts in the text. Hunc vicinum is Simo, and Tran. means 
 
 that he will turn the lie over upon Simo by saying that it is 
 
 his house which Philol. has bought. 
 131. Calidum is used in its original sense here, while in 130 it is 
 
 in the derived sense of " ready," "quick." This line, 131, 
 
 stands in the MSS. after y6, where it makes no sense at all ; 
 
 it was transferred to this place by Acid, followed by most 
 
 later editors. There seems to be no equivalent play upon 
 
 words in English. 
 
 131. Etsi . . . male. The meaning is : Although its results are far 
 
 in the future, it hurts me already, I already begin to feel the 
 effects of it. 
 
 132. Quid dei dicunt, as if whatever comes suddenly into the 
 
 mind (caliduiri) is an inspiration from the gods. 
 
 133. Istum, Simo. So in Trin. IV. 2. j8, the Sycophanta curses 
 
 Charmides because he cannot remember his name. In next 
 line is tunc refers to Theur. and the words are spoken aside. 
 Comp. the use of hie in III. 1. 9, 10. 
 
 [35. Bonan' fide, sc. emit. "Has he made a binding contract?" 
 Theur. is afraid that Philol., in his inexperience, may have 
 omitted some necessary part of the bargain. 
 
 136. Redditurus is used of paying a debt because that was paying 
 back money received, and so transferred to the payment of 
 money for any purpose. 
 
 138. Imo. See note on I. 4. 22, (c). Imo contradicts non perbono. 
 " On the contrary, he has bought in a very good locality." 
 
 142. Unum. Traces occur in PI. of a use of unus for the indefinite 
 article, a use which probably continued in vulgar Latin, and 
 gave rise to Italian 7iuo, French tin. Comp. German ein % 
 English an. So in this play IV. 3. 44, and IV. 4. 9. Ren- 
 der "against a rock," the figure being that of a ship. (Ram.) 
 
 144. Ocius for positive ociter, which is rare. So Ter. Hor. Caes. 
 
1 24 NOTES. 
 
 145. Circumducat, sc. ut. Ducere, duct are, perdnctare, and/^r- 
 ductari, are also used in the same sense in this play. (Ram.) 
 
 145. Heus tu. Tran. begins to call, but suddenly thinks of an 
 
 excuse for stopping. The rest of the line refers to Attic 
 customs, which would not allow a stranger to come into 
 communication with the women of the household. 
 
 146. Utrum . . . -ne, an. M. 452, obs. 1 ; H. 346, II, 1, 1) ; G. 460. 
 
 147. Oras in orig. sense, "to say," "to speak." The same phrase 
 
 is used in Rud. I. 2. 94. So Virg. Aen. X, 96, Talibus 
 orabat Juno. Wag. compares the ordinary meaning of orator. 
 
 148. Dum exis, "until you come out." We might expect the 
 
 subjunc, but see M. 369, obs. 3 ; and 339, obs. 2, b. The 
 indie, is very common in PI. with dum after verbs of waiting. 
 
 G. 573. 
 152. Concessero. The fut. perf. is particularly common where 
 
 some one does something, while something else is taking 
 
 place. (Lor.) 
 149-154. Tranio, while speaking these lines, goes away, as if to 
 
 make inquiries, but in reality to invent an excuse for asking 
 
 Simo to admit Theur. to the house. 
 
 ACT III. SCENE II. 
 
 Simo stands in front of his house while the cantor chants lines 1-21, which con- 
 stitute the second canticum. Tranio is not seen by Simo, but remains in sight of 
 the spectators. Theuropides goes off the stage at line 148 of the last scene, and 
 does not appear again till line 95. 
 
 i . Melius . . . mihi non fuit, " I have not been better treated " or 
 "better off." Comp. I. 1. 49, mihi bene est, and True. IV. 
 2. 28, bene sumus. 
 
 2. Nee quod, sc. fuit " Nor has it happened that," etc. Una, 
 "any one meal," "a single meal." 
 
 5. Non . . . forte in this emphatic use is peculiar to PI. " Not by 
 chance," i. e., for some purpose. Comp. ovk nXo'ycos, and the 
 phrase non temere, e. g., Aul. IV. 3. 1, non temere est, quod, 
 " it is not a matter of chance that," etc. So non nihilo, " not 
 for nothing." (Guil. Hild.) 
 
ACT III. SCENE II. I25 
 
 5. Visum fuit = visum est. The use of perf. part, with fui for 
 sum is very rare in classical writers, but very frequent in 
 PL So in this play III. 2. 132, empti f iterant, IV. 4 2, 
 vectus fui, and often. See M. 344, where such forms are 
 said to be incorrect. They may have arisen in popular 
 speech from the feeling that the forms in sum, eram, ero, did 
 not sufficiently indicate the past time of the verb. Comp. 
 the incorrect Engl, phrase " he wanted to have gone," for 
 "he wanted to go." See note on I. 1. 9. 
 
 8. De prandio, " after dinner." A very rare sense of de except in 
 
 diem de die, " day after day." 
 
 9. Clanculum, diminutive of clam, found only in PI. and Ter. 
 
 " Very secretly." 
 13. "When I think it over further in my mind, (I conclude that) 
 
 sleep," etc. A similar omission of the real leading verb 
 
 occurs after cogitare in this scene, 101, 102. (Lor.) 
 15. Neminem = no7i eum; the negative modifies the verb and 
 
 eum is the anteced. of quis, 14. Rit. reads eum hominem 
 
 on conj. 
 
 15. Sollicitat, "tempts," "attracts" And. Lex. refers to this 
 
 pass, under the meaning "to disturb, vex," which would 
 suit Ritschl's text, but no other. 
 
 16. Omnibus ... odio est, "is hateful." So Men. I. 2. 2, viro 
 
 esse odio . . . tibi odio. Comp. note on cordi, I. 4. 10. 
 
 17. Certa res est, "I am determined." So Amph. II. 2. 73, and 
 
 in a few other places for the much more common certum est, 
 e.g., I. 3. 80. 
 
 19. Vt moribus, "how yours may be in character," for quibus 
 
 moribus or ut moratae. (Lor.) 
 
 20. Vostrae, addressed to the spectators. 
 
 20. Haec, by its emphatic position, is put in contrast with vostrae. 
 
 "This one — I know well enough how badly," etc. The 
 
 next line depends upon scio. 
 23. Ullum = quemquam. Ullus is used as a substantive by the 
 
 best writers only in gen., dat. and abl. The use of ace. as 
 
 here is very rare. See M. 90, 3, obs. 
 
126 NOTES. 
 
 24. Merito as an adv. (originally an abl.) is often used by class, 
 writers with iure. 
 
 26. Hoc habet! The cry in gladiatorial games when one of the 
 contestants received a mortal blow. Tranio's reason for 
 using the phrase is explained in the following words. 
 
 26. Ducerem, in a slang use, " how I may fool the old man." 
 
 Ductare is the more frequent word. Comp. the play upon 
 this stem in 157, below. 
 
 27. Dolo . . . dolorem. This Lorenz calls the only pun in the 
 
 Most., because in all other places the words played upon are 
 of the same stem. Thornton's PL renders, "ease myself of 
 this disease." 
 
 30. Quid agis? " How do you do ? " As a salutation equiv. to ?// 
 
 vales. The German Was machst du ? is closer to the Latin 
 than the English. Tran. takes the words literally and 
 answers as if the question were " What are you doing ? " 
 Comp. II. 1. 21. 
 
 31, sq. These lines are badly mutilated in the MSS.and have been 
 
 variously emended. The text is that given by Cam. The 
 Milan palimpsest has 
 
 .... hercle hau bonum 
 Teneo servom. 
 
 Simo says he does not have a good slave by the hand, with a 
 hint at the bad courses of Tran. and Philol. 
 
 33. Theur. speaks this line from the side of the stage, where he is 
 out of sight of spectators and actors. The line is removed 
 by Rit. and placed after 52. 
 
 34-38. It must be noticed, in translating these lines, that Simo is 
 intending to joke with Tran. by hints and innuendoes in re- 
 gard to the life which he and Philol. have been leading. His 
 sentences are therefore broken off intentionally. But beside 
 this the MSS. are badly mutilated in 34, 35, 36, and the 
 words in brackets are conjectures of Camerarius. The 
 meaning is as follows: — Si. "What now? how soon (will 
 this rioting end ?)" Tran. (pretending not to understand). 
 
ACT III. SCENE II. 127 
 
 "What is it ?" Si. " (I mean) what is accustomed to go on 
 (here in your house)." Tran. " Tell me then what you 
 mean by ' what is accustomed to go on.' " Si. "What are 
 you doing? But, to speak soberly, Tranio, it is fitting that 
 as men are, you should humor them ; but at the same time 
 consider," etc. 
 38. Quid. At this point Tran. shows that he understands, and 
 Si mo breaks off his hints. 
 
 40. Musice = eleganter, with strong irony, [iovo-lkcos is found 
 
 several times in the fragments of the New Comedy in 
 some such sense, and this is perhaps from the original play. 
 (Lor.) 
 
 41. Electili, "choice." Found only in this place. The force of 
 
 ftrobo and electili extends back to vino and victu 
 
 42. Imo corrects the present tense of co itis. " No, not now ; 
 
 before this it was a life worth living." Comp. note on I. 4. 
 32, (*). 
 
 45. Non taces ? Equiv. to " Don't say that ! " Simo tries to com- 
 
 fort Tran. by refusing to believe that all is lost. On tense 
 see 85, below. 
 
 46, sq. Facta . . . viximus. The emphasis is upon the past time 
 
 of the verbs in contrast with nunc of 48. 
 
 50. Quaene = ea?nne dicis quae. Comp. III. 1. 25. In comedy 
 
 the leading clause is often omitted where it can be easily 
 supplied from the context, and the interrogative particle is 
 joined to the subordinate clause. Lorenz gives numerous 
 examples. Simo, in these words, suggests that Tranio's 
 metaphor is not applicable, because Philol. and Tran. were 
 already safe. 
 
 51. The exclamations of Tran. are called forth by his remembrance 
 
 of the difficulties in which he is involved, or possibly by 
 some new sign of impatience on the part of Theur. 
 
 52. Ratem, "the oars." So Lamb, and Rit. Possibly "the hull." 
 
 Various conjectures have been made to explain the use of 
 navi and ratem in the same clause. 
 
 53. Velim ut tu velles. A common expression of sympathy. 
 
128 NOTES. 
 
 Lor. quotes Sen. Ep. 67, 13, where the phrase is spoken of 
 as in customary use. Comp. also Hor. Sat. I. ix. 5, cupio 
 omnia quae vis. 
 54. Chorda . . . ferriterium. A reference to the punishment of 
 slaves. They were first bound with thongs (chorda), then 
 sent to work in irons (ferriterium), and afterward, if fur- 
 ther punishment was needed, they were crucified. Some 
 reference to the last form of penalty would have followed 
 postea. On the meaning of ferriterium, comp. ferritribaces, 
 II. 1.9. 
 
 57. Nil moror, " I do not care for." So frequently in PL Comp. 
 
 Hor. Epist. I. 15, 16, II. 1. 264. Nil or nihil is the usual 
 negative, and the verb always takes the ace. (Lor.) 
 
 58. Hoc, quod. The verb upon which hoc depends is lost by the 
 
 interruption. Quod, ace. of " compass and extent," as often 
 after mitto, M. 229, 1, or of specification. 
 
 66. Gunaeceum, ywaiKdov, was the inner part of a Greek house, 
 
 where the women lived. On spelling comp. gumnastica, I. 
 2. 66. 
 
 67. Balineas. The plu. generally refers to the public bath-houses, 
 
 but here evidently to a private house, possibly, as Lor. sug- 
 gests, to indicate that the apartments were to be numerous 
 and of large size. 
 
 67. Ambulacrum. This was a porch in front of the house (comp. 
 128). Hahn (Seen. Quaest. PL, pp. 34-37) thinks that it 
 is only another name for the vestibulum. 
 
 67. Porticum refers to the inner porches around the peris ty Hum. 
 See Becker's Gallus or Smith's Diet. Antiq. 
 
 69. Quantum potest = quam celerrime potest, as often in PL 
 
 71. Architectonem, from nom. architecto or -ton for more common 
 
 Latin form architectus. Found also in Poen. V. 2. 150. 
 
 72. Esse aedificatas depends upon the verb of saying implied in 
 
 laudasse, which here has a sense like that in Capt. II. 3. 66, 
 Iovem . . . testem laudo, " I name as witness." Render, 
 " has praised, saying that it," etc. 
 74-76. These verses are so incomplete in the MSS. that no thor- 
 
ACT III. SCENE II. 129 
 
 oughly satisfactory text can be made. That given is from 
 Lorenz. 
 
 74. Nam implies an ellipsis of some such phrase as " he is unwise," 
 expressed perhaps by a shake of the head. Lor. very un- 
 necessarily supposes that a line has been lost. 
 
 74. Hinc repeats in one word the idea of ex malo opere. In seek- 
 ing a model from this house (kzuc), he seeks it from a poor 
 piece of work. 
 
 76. Sub diu, u under the open sky." Comp. Hor. Carm. I. 1. 25, 
 
 sub love. 
 yy. Imo edepol vero, " no indeed, by Pollux." Tran., knowing 
 nothing about the house, has happened to hit upon just the 
 wrong reason for the pretended admiration of Theur. 
 
 77. Vsquequaque is found again in Poen. Prol. 105, and is used 
 
 by Cic. "Everywhere." Vsque, "all the way," "right on," 
 "continuously." On form mani, 78, comp. III. 1. 3. 
 
 79. Flagitator, "like a dun." Flagito is used like nomino, of 
 demanding payment by the pipulum. (Ram.) Comp. ex- 
 ample quoted under III. 1. 5. 
 
 81. Sarsinatis . . . Vmbram. A play upon the double sense of 
 umbra which may mean an Umbrian woman. This line is 
 sometimes quoted as a proof that Sarsina was the birth- 
 place of PL, though it is hard to find any such suggestion in 
 the line. There is a similar coarse joke upon Boia in the 
 Capt. 
 
 85. Eon'? voco. The pres. for the fut. is common in dialogue 
 
 (A. & G. 276, c\ G. 218, Rem. 2; H. 467, 5) to describe an 
 action about to be commenced, particularly where a man 
 asks himself or another what he shall do. (Roby, Lor.) 
 This is simply an attempt at greater vividness by treating 
 the fut. as already present, and is precisely similar to the 
 use noticed in I. 3. 54. See also I. 1. 9, and M. 339, obs. 2, a. 
 86-94. These lines are spoken by Tran. as he goes across the stage 
 to find Theur. 
 
 86. Agathoclem, the Sicilian adventurer, who held the power for 
 
 25 years from about 317 B. c. 
 
 9 
 
1 30 NOTES. 
 
 87. Duo. To be taken by an unusual construction with Alex, and 
 
 Agath. 
 87. Mini. The dat. after fieri must be distinguished from the abl. 
 
 construction. (See I. 3. 65.) Lor. compares this to the 
 
 dat. after bene (inale) facer e. 
 89. Vehit. This figure, by which a person who is deceived is said 
 
 to carry a load of lies, is frequent in PI. Comp. II. 1. 82, 
 
 and Engl, phrase, "to impose upon." 
 
 89. Hie . . . hie autem, Theur. and Simo. Aute7n, "and more- 
 
 over," is used in the same way, to distinguish two pronouns 
 and to add the second to the first, in Mil. Glor. IV. 4. 13, et 
 ilia . . . et We autem, and in same play, III. 1 . 84. 
 
 90. Novitium . . . quaestum, "a new way of making a living." 
 96. The latter part of this line follows the text of Rit. 
 
 98. Restitisti. From resisto; resto in this sense, "to stop," "to 
 linger," is very rare. 
 
 100. Antiquom . . . tuom, sc. morem. "You stick to your old 
 
 habit of being late." So Ter. Hec. V. 4. 20, morem antiquom 
 . . . optines, and without morem, Andr. IV. 5. 22. So Cic. 
 Tusc. I. 42, 99, suum illud . . . tenet. See M. 374. (Lor.) 
 
 H. 495, 3- 
 
 101. Si voles. The apodosis is to be supplied, scies or videbis. 
 
 Comp. line 13. 
 
 102. Flare sorbereque, "to drink and whistle," And. Lex., but it 
 
 may be simply "to blow out and to draw in breath." So 
 Lamb, takes it. 
 
 107. This line is suggested to Tran. by the desire to prevent an 
 understanding between the old men ; the plan is more fully 
 carried out below in 121, sqq. 
 
 no. Sibi . . . metit. A proverbial expression like "every man for 
 himself." A similar rustic proverb occurs in Epid. II. 2. 80, 
 mihi istic nee seritur 7iec metitur, * ; I have no part in it." 
 
 in. Redhibere, to force a defective purchase back upon the 
 seller, while remittat, 109, is to give up a bargain at the re- 
 quest of the seller. Both words are used by the buyer. 
 (Ram.) 
 
ACT III. SCENE II. 131 
 
 112, 113. The idea is, one must keep what he gets and not let pity- 
 interfere with business. 
 
 115. Do tibi . . . operam, " I am attending to you," " I am at your 
 service." So IV. 4. 17, and very often in Prologues. Tran. 
 has brought Theur. across the stage while they have been 
 speaking. 106-1 15, and he now performs a sort of ceremony 
 of introduction. 
 
 119. Flocci faxis, often written as one word., jloccifacere. Comp. 
 
 note on I. 1. 73. 
 
 120. Oppido with tamquam, "exactly as if." 
 
 121. Tamquam? Theur. supposes the house to be really his own, 
 
 and is surprised that Simo should say " as if it were your 
 own." Tran. interposes to prevent an explanation. The 
 genuine courtesy shown by Simo and Theur. suggests that 
 these lines are from the Attic original. 
 
 123. Admodum, "to any (great) degree," "much." 
 
 124. Noli facere mentionem, " don't mention the fact that you," 
 
 etc. M. 386, obs. 2; A. & G. 269, a ; H. 535, 1, 3); G. 
 264,11. 
 
 126. Quin . . . is . . . perspecta. An example of quin with indie. 
 
 and imperative without difference of meaning. See I. 3. 16, 
 (a). A. & G. 269,/; G. 268. 
 
 127. Bene beuigneque . . . facere. A very common formula for 
 
 thanks or recognition of kindness. Render, "You are very 
 
 kind and obliging, I 'm sure." 
 127. Factum . . . volo, " I want to be," or " I do so willingly." 
 After 127 the MSS. have two lines which are repeated with 
 
 slight variation in 157-8, and are therefore omitted here by 
 
 most editors. 
 129. Luculentum is taken in the literal sense by And. Lex., but 
 
 this sense is rare, and the usual meaning agrees better with 
 
 the context. " Fine, splendid." 
 
 131. Non videor vidisse, sc. mihl, " I do not think I have seen." 
 
 Comp. the same words in I. 3. 113. 
 
 132. Empti fuerant. On J iterant for erant, see III. 2. 5. It has 
 
 been noticed under I. 3. 54, that the plupf. is sometimes used 
 
I32 NOTES. 
 
 
 for the perf., but here the reason given does not seem appli- 
 cable. The plupf. seems to be used in order to give an 
 opportunity for Tranio's comment, " Did you hear him say 
 they had been, as if they were no longer his ? " In 134 Simo 
 uses the perf. dedi of the same transaction, but in 132 Theur. 
 says emeras because he believes that the house no longer 
 belongs to Simo. 
 
 133. Vix . , lacrumas. Lor. suggests that Simo may have spoken 
 the words Pol . . . olim with a mournful shake of the head, as 
 a man might speak of his past extravagance. 
 
 135. Multum, for abl. of degree of difference. See M. 270, obs. 1 ; 
 H. 418, 1 ; G. 400, 2. 
 
 137. Intempestivos. Winter was the proper season for felling 
 
 timber, and wood cut at another time was liable to decay. 
 
 138. Atque, "and yet." So Trin. II. 2. 55, qui . . . nusquam . . . 
 
 rem con/ regit, atque eget, " never used up his property, and 
 yet is in want." So Men. IV. 2. 2. (Hild. Wag.) 
 
 139. Pultiphagus opifex . . . barbarus. The food of the Roman 
 
 lower classes was a porridge made of far, and called puis or 
 fiulmentum. Pultiphagus or pultifagus therefore refers to 
 the Romans. It is from puis and the stem (/my- or as Rost 
 says, from nokros and (fray-. PL often places himself in the 
 position of a Greek and calls the Romans barbari, both to 
 raise a laugh and to satisfy the police censors by keeping 
 some Greek tone in the play. See Intro. (Ram. Lamb. 
 See also Rost. Opusc. I. pp. 247-252.) 
 
 140. Dormiunt. A comic use of the word, which Tran. is obliged 
 
 to explain to Theur* Conivent (conm'vent), which is offered 
 as an explanation, is used in the same comic way, with even 
 greater departure from the original sense, " to wink." The 
 idea of both here is " to rest securely." 
 142. Satin' habes? " Now do you get the idea?" 
 
 142. Quicquid for quicque, as often in the comic writers. M. 
 
 495, obs. 1, end. 
 
 143. Cornix, volturios. The comix is the common type of a cun- 
 
 ning and crafty fellow, and the volturius of a rapacious man. 
 
ACT III. SCENE II. I33 
 
 There is, of course, no such picture on the wall, and Tran., 
 in exultation over his success, is playing upon the easy 
 credulity of Theur. (Lor.) 
 
 146. Hue ad me. While Tran. says and means ad me, he points 
 
 to a place on the wall near himself. So isto ad vos, 148. 
 
 147. Intuor. On the two forms of this verb in PI. see note on I. 
 
 1. 66, and comp. below 148, 149, 152. 
 149. Si . . . possis. Si in indirect questions is especially frequent 
 with possim. M. 451,^. "After verbs implying trial," 
 G. 462, 2. 
 
 151. Vt te apsolvam, "to get rid of you." So Aul. III. 5. 43, 
 
 apsolutos, " dismissed." 
 
 152. Mitto, " I let you off." So in V. 3. 50. Aetate, " because of 
 
 your age," i. e., you are too old to see clearly. 
 
 153. Quae possum, sc. optueri. Ea is a repetition of haec, be- 
 
 cause of the intervening clause. 
 
 154. Operae pretium, "it is worth while," "worth the trouble." 
 
 Very frequent in PL, e.g., Poen. V. 4. 1, Rud. IV. 3. 10, 
 and with ellipsis of pretium, Merc. V. 2. 77, operae non est. 
 
 154. Ivisse for ire, the act being thought af as already finished. 
 
 155. Circumduce, with two ace. So Caes. B.C. III. 61. 
 
 158. Quidquid est, " in any case." Perductet is taken by Theur. 
 in a frequent comic sense, "to cheat," and the next words 
 of Simo explain that he had no such thought in his mind. 
 
 160. Canis. The custom of keeping a dog at the door of the 
 house was general in early times of the Republic. Later 
 the dog was represented by a figure in the mosaic of the 
 entrance. 
 
 T64. Bene ambula. So Cas. III. 1. 12, Pers. I. 1. 51, etc. A 
 common formula of farewell. " A pleasant walk to you ! " 
 Bon voyage. Simo goes out toward the city. 
 
 168. After this line Tran. and Theur. go into the house, and the 
 stage is left vacant for a moment or two. 
 
134 NOTES. 
 
 ACT IV. SCENE I. 
 
 Phaniscus comes upon the stage alone, going toward the house of Philolaches to 
 escort Callidamates home according to his order, I. 4. 1. The first 25 lines are the 
 third cantictim. 
 
 The lines of this scene will be found to be very different in different editions, 
 according to the metrical theories of the editors. Hermann, Ritschl, and Weise 
 have arrangements differing widely from each other ; the last in particular " dis- 
 tributes the forty-two lines into fifty-eight," in the course of which he supposes the 
 metre to change thirty times. (See Ram. Prol. p. 52.) 
 
 I. A passage almost precisely similar to this is found in Men. V. 
 
 6. 22. 
 1. Carint = careant. M. 115, d\ H. 239, 3 ; G. 191, 3, says that 
 
 such forms "seem to be doubtful." Lorenz reads carent 
 
 on the ground that the idea of time is stronger than that of 
 
 concession. 
 
 1. Malum, "punishment," a frequent meaning in PI. 
 
 2. Vtibiles = titiles. The ending -bills is synonymous with -lis, 
 
 and seems to be the older. Vtibilis is used six times by PI. 
 See M. 185, 2,a&d; A. & G. 164, m ; H. 328, 3 ; G. 786, 6. 
 
 3. Nihil metuont, i. e., have no fear sufficient to deter them from 
 
 folly which will bring punishment. 
 
 6. Peculium, the property which a slave holds as his own. The 
 
 sense of the passage is : — These slaves, when they have 
 committed a fault, add to it by running away. So when 
 they are caught, they find that they have laid up a store of 
 punishment for themselves, a sort of hoard of evil, though 
 they are too lazy to lay up a store of good things. 
 
 7. Inde, i. e., from the peatllum. " They make a treasure out of it." 
 
 8. Mihi . . . quod est. Comp. the omission of leading clause in 
 
 III. 2. 13, 101. The text of Rit. is somewhat simpler for 
 this line. 
 
 Mihi in pectore [id] consili[st, praecavere]. 
 
 9. Quam ut. Vt is used with quci7n in prose after ante, prius and 
 
 
ACT IV. SCENE I. 1 35 
 
 citius, to denote " what is to be warded off at any cost." 
 (Lor.) Comp. M. 360, obs. 4; A & G. 332, b\ H. 496, 2; 
 G. 313, "Disproportion is expressed by the comparative 
 with quam ztt." So facilius quam u /, V. 3. 48, sq. 
 
 11. Sincerum, "uncut by the scourge." In the same sense, Rud. 
 III. 4. 52. 
 
 11. Atque ut = atque tale tit. Votetn — vetem. The sense is 
 somewhat doubtful. Render, " My skin ought to be whole, 
 as it has been hitherto, and such that I may forbid (not 
 allow) it to be beaten. If I shall give this command to it, I 
 shall have it very well protected." Votem means " I may 
 forbid by obedience to my master," and imperabo carries out 
 the same thought. 
 
 13. Inpluit. Comp. perpluont, I. 2. 27. And. Lex. gives examples 
 of both personal and impersonal uses, and of ace. and dat. 
 as in this line. 
 
 15. The reading of Lor. is followed here. Boni sunt is a hypothe- 
 
 sis, with almost the force of a question or condition. 
 
 16. Nam. Supply a clause from tnalusfit. "(So our master will 
 
 be) for," etc. 
 
 17. Peculi may be taken literally, but better figuratively for their 
 
 backs, their only possession. There is no reference to lines 
 6-7. For gen. see M. 290, e, obs. 2 ; A. & G. 218, a ; G. 
 373 ; H. 399, 2. 
 
 17. Plagigeruli is found in no other place, though plagiger occurs 
 in Pseud. I. 2. 20. Both words. were probably coined by PL 
 
 17. Advorsum . . . eant. These words give the name Advorsitor 
 to Phan. and to the other slave who comes in later. See list 
 of Dram. Pers. 
 
 19. Gestis aliquo, sc. ire. Gestio is rarely used absolutely. These 
 two lines are the excuses presented by the other slaves, in- 
 sinuating that Phan. is going to some cook-shop or drinking- 
 saloon. 
 
 19. Mula, the type of voracity with the Romans. 
 
 20. Bene merens = dum bene mereo. (Lamb.) u For my 
 
 obedience." Inde = ab Us. Comp. unde — a quo, III. 1. 16. 
 
1 36 NOTES. 
 
 22. Die crastini. The phrases die quarti or quarle* quinti, sep- 
 
 timi, noni, pristini, etc., were considered adverbial by the 
 grammarians (Aul. Gell. X, 24), but it is almost certain that 
 they were locatives. The locative of the 5th decl. ends in £, 
 of the 2d in /. Comp. 3d decl. locatives of time, vesperi, 
 temperi, mani. 
 
 23. Bubulis exuviis, lashes of oxhide, which would properly be 
 
 called exuviae. The phrase had doubtless a comic sound to 
 a Roman ear. 
 
 24. Postremo, "in short," as in I. 3.41. Ram. renders, " Well, 
 
 well, at all events." 
 
 25. Bucaedae {bos + caedo) is found only in this passage, and is 
 
 probably one of the numerous words coined by PL to de- 
 scribe punishments. By its composition it should be active 
 in meaning, as is restio, but both words are used for comic 
 effect with passive sense. Render, " they shall have oxhide 
 cuttings, rather than that I should have dealings with ropes." 
 Restio refers either to flogging with cords or to binding for 
 scourging. So Pers. II. 4. n, caedere hodie tu restibns. 
 
 26. At this point another slave of Call, comes upon the stage on 
 
 the same errand as Phaniscus. He is called indifferently 
 Servos Alius or Advorsitor. The Vulgate make a new scene 
 here. 
 28. Simia is often used as a term of reproach, without any special 
 reference. Here it mayl^e, as And. Lex. says, a hint that 
 Phan. is trying to imitate his master. 
 
 28. Mihi sum, " I am so for myself," i. e., " that is my affair," not 
 
 yours. 
 
 29. Manesne. Pres. for fut. as in III. 2. 85. Ne with the force of 
 
 nonne as in III. 1. 125. " Are you going to stop ? " " Won't 
 you stop ? " 
 
 31. Ferocem facis, "you play the bully," like Engl, "play the 
 
 fool," Germ. " Du spielst (giebst) den stolzen," Fr. "faire le 
 brave." So Cure. IV. 3. 7, facias ferocem. (Taub.) 
 
 32. Lamb, and Taub. say that the wit of this line is in the unex- 
 
 pected literalness of the answer. Lorenz explains as fol- 
 
ACT IV. SCENE I. 1 37 
 
 lows : Oculi dole?it is a general phrase expressive of 
 disgust or annoyance. So Ter. Phorm. V. 9. 64. Fumus 
 is a translation of Kanvos, which is used by Plato and 
 Aristoph. to mean "nonsense." Comp. fumum vendere, "to 
 make empty promises." The words would then be an ex- 
 pression of annoyance at being stopped to listen to nonsense. 
 
 33. Faber, etc., a counterfeiter. He means that Phan. is accus- 
 tomed to pass himself off upon his master as a good slave, 
 while in fact he is not so. 
 
 36. Si ... sis . . dicas, for si esses, diceres. Comp. III. 1. 24, and 
 note. 
 
 39. Maxumam . . . iniuriam. Similar scenes of violent knocking 
 are common, e.g., Stich. II. t. 39 sq. Bacch. IV. 2. 2 sq. 
 Comp. also II. 2. 23, 25. For the dat. foribus, comp. Virg. 
 Eel. VII. 47, solstitium pecori defe7idere, and examples in 
 And. Lex. under defendo. A. & G. 229 ; H. 386, 2 ; M. 243 ; 
 G. 344, 2. 
 
 41. Vt ..sunt. "As it is natural for worthless men to be, so 
 
 these are," because they do not answer. 
 
 42. Eo, i. e., because they are worthless, and likely to be reckless if 
 
 they are angry. 
 
 42. Cauto opus est. Cauto is abl. neut of the partic. Instead 
 of the infinitive after opus est, "the abl. of a participle, or 
 substantive combined with a participle, is often employed." 
 M. 266 obs. See H. 419, V. 3. 1) ; A. & G. 292, b ; G. 390. 
 Comp. Liv. I. 58, opus est maturato, Trin. II. 4. 183, quid 
 opus facto. The partic. may take the case of the verb, as in 
 the last example. 
 
 42. Male mulcet, " soothe me unpleasantly," " stroke me the 
 wrong way." 
 
 After this line the slaves retire from the door and stand in the vestibulum, where 
 they are not in sight from the door or from Simo's house. 
 
1 38 NOTES. 
 
 ACT IV. SCENE II. 
 
 Theuropides and Tranio come out of the house of Simo, and stand near the door 
 till the end of the scene. 
 
 i. Quid = quale. " What sort of a bargain ? " 
 
 3. Abiectas, "thrown away," i. e., sold for too small a price. 
 
 4. Imo. See I. 4. 22 (b). It corrects the inadequate expression 
 
 in ecquid. " No indeed, by Hercules (not 'at all,' as you 
 say; that is not strong enough), it pleases me altogether" 
 (perftlacent). Comp. IV. 4. 38, and Ter. Eun. IV. 7. 42, 
 Credit? ? G. Imo certe, novi ingenium, "Do you think so ? " 
 G. " (Think so !) No, not at all, (' think ' is too weak a word) 
 I know" etc. 
 
 5. Insanum is evidently a slang phrase, like the exaggerated use 
 
 of "awful," "immense." Comp. Mil. Glor. I. 1. 2^esuriem 
 insane bene, spoken by a hungry parasite. 
 
 7. Quin introduces a statement to strengthen existumo. " Why, 
 I tell you, we have measured." The lie is of course invented 
 on the spur of the moment, without any real necessity for it. 
 
 9. Mercimoni lepidi. Lorenz calls this the very uncommon gen. 
 in exclamations, and comp. Prop. IV. 7. 21, foederis hen 
 taciti* and Lucan II. 45, o miser ae sortis. The construction 
 does not seem to be noticed in the American grammars nor 
 in Roby. 
 
 13. Audacter dicito, "boldly," i. e., without fear of contradiction. 
 
 15. Isti, Simo, who is referred to by huic, 16, by tilt, 18, and with- 
 
 out a pron. is the subj. of accipiat, 17. This is a good illus- 
 tration of the freedom of PI. in the use of pronouns. 
 
 16. Octaginta. The price was two talents, 120 minae, of which 40 
 
 were supposed to have been paid as arrabo. 
 
 17. Ne qua causa, i.e., any cause for delay or hesitation on the 
 
 part of Simo. Tran. really wishes to get hold of the money. 
 
 18. Porro, "then," "in turn." 
 
 19. At enim indicates a refusal. Comp. III. 1. 20, nihil enitn, and 
 
 V. 3. 23. So below, line 23, " No, for I have," etc. 
 
 
ACT IV. SCENE II. 1 39 
 
 19. Ne quid . . . sit, sc. metno. The ellipsis is frequent ; it occurs 
 
 in Stich. IV. 2. 20, Pseud. I. 5. 22, and elsewhere. (Lor.) 
 Captioui, dat. of end or purpose, or predicative dat. (Roby); 
 comp. cordi, I. 4. 10. Captio may well enough be taken in 
 its original sense, "a snare," "a fraud," not as in And. Lex. 
 
 20. Modo goes with zoculo, "in jest even." Notice the indigna- 
 
 tion expressed by -ne appended to ego, 
 
 21. Aps te . . . cavere. So Men. I. 2. 42, aps te caveo, Men. II. 1. 
 
 41, aps te metno, and frequently after verbs of caution or 
 fear. Plautus in several places makes his old men brag of 
 their watchfulness just when they are most deceived, e. g., 
 Capt. II. 2. 5 sqq. 
 
 22. Quia. The leading verb is omitted. " Do you say that, be- 
 
 cause," etc. 
 
 24. Sat sapio. The meaning is, I am showing wisdom enough if 
 
 I succeed in avoiding your tricks. Tranio's answer has a 
 double sense, because the spectators know that he is really 
 deceiving Theur. while he speaks. 
 
 25. Rus. This evidently implies a statement from Tran. that 
 
 Philol. had gone out to the country-seat, from which Grumio 
 came in the first scene. No such statement appears in the 
 play, however ; it may have been lost, or the discrepancy 
 may have been overlooked by PI. 
 
 27. Posticum. The back-door of the Roman house, opening from 
 the garden into a side-street, through which Tran. could 
 enter unseen by Theur. 
 
 27. Congerrones. A word of doubtful etymol. and meaning. 
 Ram. seems to refer it to gerrae, " nonsense," making it 
 mean "companions in trifling." Rost. (Opusc. I. 280-284) 
 makes it the same as congerones, " thieves." The definition 
 in And. Lex. will suit all passages. The word is not found 
 out of PI., except in the grammarians. 
 
140 NOTES. 
 
 ACT IV. SCENE III. 
 
 
 Phaniscus and the other Advorsitor come out from the vestibulum, and continue 
 their attempts to enter the house of Philolaches. They are now for the first time 
 noticed by Theuropides, who had before been occupied with Tranio. 
 
 2. Tibicinam. Flute-girls, who sometimes danced while playing, 
 
 were introduced at feasts to amuse the guests. Comp. Xen. 
 Symp. II. I. Canto is the reg. verb for playing upon the 
 tibia. Comp. tibicen {tibia -f- cano). 
 
 3. Ulic, the adv. But two good MSS. give tllisce, which may be 
 
 the correct reading. Comp. II. 2. yj. 
 
 4. Introspectant. Becker suggests that this may refer to looking 
 
 in at the windows, which in that' case must have been low. 
 But it is unusual in a Roman house to find any windows 
 toward the street. It may perhaps refer to looking through 
 the key-hole, which was a large aperture in the door. It 
 must be noticed that these slaves do not seem to observe 
 that the house has been locked from without by the clavis 
 Laconica. 
 
 5. Pabula means their knocking at a house which Theur. supposes 
 
 to have been closed for six months. The same phrase 
 occurs in Ter. Andr. IV. 4. 8, where Colman translates, 
 " What farce is this ? " 
 
 7. After this line the Milan Palimpsest gives six lines which are 
 not found in any other MS., but the writing is so faint that 
 only a few words can be made out. 
 
 9. Puere, voc. from the orig. ioxmfiuerus. 
 
 9. Nimium delicatus es, " you are too much of a joker." This 
 sense of delicatus is rare, and is not given in And. Lex. So, 
 possibly, in Rud. II. 5. 8. Comp. the common phrase deli- 
 cias facere, " to joke." (Taub. Ram ) Lor. compares 
 rpvcfrdco, which has two meanings corresponding to those of 
 delicatus. 
 
 11. Nam, " I give you this explanation, for," etc. Probrum, be- 
 cause of his respectful manner, which appears throughout 
 the dialogue. 
 
ACT IV. SCENE III. 141 
 
 12. After this line the Palimpsest gives another which is thus re- 
 
 stored by Rit. The italics are conjectural letters : — 
 
 Habitavit: wrum e7nigravit pridem i\le ex hisce aedibus. 
 
 The line is spoken by Theur. 
 
 13. Pervorse has no suggestion of wilfulness like the Engl, words 
 
 from the same stem. 
 17. Nudiustertius = nunc + dins (dies) -(- tertius, "it is now the 
 third day," " day before yesterday." 
 
 19. Triduom unum, "a single space of three days." Vnum is 
 
 emphatic, not for indef. article. Desitum est is impersonal 
 pass., and so intermissum est in next line. 
 
 20. The reading of the MSS. has been retained here, though there 
 
 is an unpleasant confusion of act. and pass, infinitives. 
 Pergraecari may best be taken as a depon. 
 
 25. Quisquis est. Theur. wishes to seem to be a stranger, until 
 
 he has discovered the truth. 
 
 26. Praeter speciem, i. e., beyond what one would expect from so 
 
 pleasant a slave. 
 
 27. Merendam, a luncheon taken at noon or soon after. It is con- 
 
 sidered by Becker (Gallus,j>. 455) the same as the pran- 
 
 dium, which came at twelve or one o'clock. So Smith's 
 
 Diet. Antiq. p. 306, b. And. Lex. says "between four and 
 
 five," which is too late in the day. 
 27. Quopiam, to some cook-shop, where the Romans of the lower 
 
 classes took luncheon, and where a mixture of wine and 
 
 honey with hot water was sold with the luncheon. 
 29. Alias, to some other house, as you have come here by mistake. 
 34. Md tov AttoXXo). The slave has multiplied the amount by sixty 
 
 in saying tale?itis, and Phan. corrects him with an oath at the 
 
 exaggeration. 
 36. Manu emisisse, The regular Plautine phrase, for which later 
 
 usage has manumitto. Comp. Arg. line 1, with note. 
 39. Huic, Simo. By some referred to the house, but without 
 
 necessity, since the freedom of PI. in the use of pronouns 
 
 accounts for the absence of the antecedent. 
 
142 NOTES. 
 
 40. Imo corrects the subject and the implied object of perdis. 
 "No, /am not destroying jew," etc. See I. 4. 22, (0). 
 
 42. The sense is, "by what you reveal, you proclaim that that 
 
 father is a wretched man." 
 
 43. Prae quam, "in comparison with," "compared with the fact 
 
 that." So V. 3. 25, and Amph. II. 2. 3. Prae quod and 
 prae ut are used by PI. in the same sense. (Ram.) 
 
 44. Vnus . . . sacerrumus, "a cursed scoundrel." (Ram.) For 
 
 unus with the force of the indef. article see III. 1. 142. 
 
 45. Herculi conterere quaestum. Hercules was looked upon as 
 
 the guardian of the treasures hidden in the earth ; quaestum 
 may refer also to the sums which he received from the prac- 
 tice of dedicating a tenth to him by sumptuous public ban- 
 quets. In 46, ne = nae. 
 
 47. Corculum carbunculus. These diminutives do not differ in 
 
 meaning from the simple forms, and are used merely for the 
 half-comic jingle of sound. 
 
 48. Merear, "gain." Comp. meruerunt, "have bought," I. 3. 124. 
 50. After this line the traces of another appear in the Palimpsest 
 
 as follows : — 
 
 Puere . . . . q . '. hacme .... 
 
 Rit. supposes that the line contained a request from Theur. 
 that Phan. would follow him and confront Tran., and that 
 Phan. refused, and proposed to leave, explaining that he was 
 not at liberty to go where he pleased. The text follows Rit. 
 from 49 to the end in the assignment of the dialogue to the 
 different characters. 
 
 ACT IV. SCENE IV. 
 
 The slaves go away to look for Callidamates, and Theuropides speaks the first 
 four lines before he sees Simo, who is returning from the forum. 
 
 i. Vt verba audio, "as far as I can hear," "judging by what I 
 hear." Comp. Pseud. I. 1. 97, ut sermone7n audio. (Lor.) 
 
ACT IV. SCENE IV. 1 43 
 
 3. Terras solas, " solitudes." So Aul. IV. 6. 7, solum locum, and 
 
 Rud. IV. 4. 141, solo loco. (Lamb.) 
 
 4. Ita, absolutely as in I. 2. 61, and often. 
 
 5. Scibo = sciam. Comp. I. 3. 59, and see G. 191, 1 ; M. 115, c\ 
 
 A. & G. 128, e, 1 ; H. 239, 1. 
 
 6. Quid agis tu? As in II. 1. 21, and III. 2. 30, a joke is at- 
 
 tempted by giving a literal answer to this question, instead 
 of returning some general form of salutation. The same 
 vein of joking runs through the following lines ; Theur. is 
 anxious about his affairs, and asks questions almost at ran- 
 dom, trying to appear unconcerned, while Simo is mindful of 
 his promise to Tran. in III. 2. 56, and rather inclined to be 
 jolly. 
 
 7. Processit, "has anything happened?" Ad forum, comp. ad 
 
 ft or turn, II. 1. 5. 
 
 8. Etiam, "yes." M. 454; H. 346, II. 3; A. & G. 212, a ; G. 473, 1. 
 
 The answer is intended to be unsatisfactory. 
 
 9. Novom, "news, indeed ! " 
 
 10. Modo . . . aiebant. The words are of course absurd and inten- 
 
 tionally pointless. 
 
 10. Vae capiti tuo, "confound you!" On this use of caput, 
 
 comp. I. 3. 54. " This is a formula employed when a speaker 
 feels disgusted at being made the object of an ill-timed jest." 
 (Ram.) It is very common in PI. and Ter. 
 
 11. Otiosus, "like an idler." Simo suggests the reason which 
 
 justifies his impertinence. 
 
 12. Promisi foras, etc. It was a Greek custom to invite a friend 
 
 to supper on the first night after his return from abroad. 
 Simo pretends to think that Theur. is seeking such an invi- 
 tation, and gives his excuse for not offering it. On foras, 
 see I. 1. 1. Either foras ox for is may be used in this con- 
 nection, according to the prominence given to the idea of 
 motion. Stich. IV. 2. 16, ad cenam . . .promisi foris. 
 Simo's offer to dine with Theur. if he does not get some 
 other invitation, is pure impertinence. 
 17. Maxume, "gladly." So V. 3. 23, and often. 
 
144 NOTES. 
 
 20. Multo . . . minus, " much less have I received any money from 
 Tranio, who would be the last man to pay his debts.' , 
 
 23. Potesse = posse. See note on pote, 1. 3. 99. 
 
 24. Quid, quod. Both words refer to hoc. 
 
 25. Vt . . . gesserit. " An impossible supposition put interroga- 
 
 tively." (Roby.) This use of ut is nearly confined to 
 comedy, and is not noticed in And. Lex. It perhaps arose 
 from an ellipsis of some such phrase as " Is it likely ? " " Is 
 it possible ? " Men. IV. 3. 9, mihi tit tu dederis pallam ? 
 " Is it likely that you gave ? " True. II. 4. 87, egone ill am tit 
 non amemt "Is it possible that I should not love her?" 
 Comp. the rhetorical questions in Cic. Cat. I. 9. Te tit ulla 
 res frangatf etc. (Ram. Excurs. IX.) See M. 353, obs. ; 
 G. 560. 
 
 29. Ire infitias, "to deny." Infitias is an ace. of limit of motion, 
 used only with ire. From in (neg.) and fateor. So Men. 
 II. 3. 45, V. 8. 8. Sometimes taken from in + facio and 
 spelled inficias, but with less authority. Comp. suppetias ire, 
 "to help." (Hild.) 
 
 31. Hinc, from Philolaches. 
 
 33. Aiebat, sc. Tranio. Because of the omission of the subject, 
 the lack of explanation between Simo and Theur., the omis- 
 sion of aedibus after tuts, 34, and some reasons drawn from 
 the condition of the Palimpsest, Ritschl supplies 23 lines 
 between 32 and 33. 
 
 38. Imo corrects the negative implied in nuntquid, and the inade- 
 quate expression in quid and turbavit, putting in omnia and 
 extnrbavit. See I. 4. 22, (c). Exturbare is used of ex- 
 pelling a man from his house. Lor. renders the two verbs 
 by gespielt and verspielt. 
 
 43. Mecum una simul. This pleonasm occurs in Poen. III. 1. 50, 
 Pseud. I. 4. 17. (Lor.) 
 
 45. Eadem opera, originally "with the same effort" or "during 
 the same action," but often as here, "at the same time." 
 Comp. titta opera, I. 3. 102. 
 
 After line 46 the two old men go into Simo's house, and the stage is left vacant 
 for the second time. 
 
ACT V. SCENE I. 1 45 
 
 ACT V. SCENE I. 
 
 The following scene is not a canticum, but is spoken by Tranio himself, who 
 comes on the stage as if from the country. 
 
 I. Nauci. The construction is like that of nihili, I. 2. 70. Ex- 
 cept in one pass, it always has a neg. with it. Brix (Trin. 
 396) suggests that nauci may be connected with nugae, 
 through the form naugae, which is given by some MSS. 
 
 3. Nam introduces an explanation, as in Amph. Prol. 104, True. 
 
 IV. 4. 3, where some general phrase may be supplied. " I 
 am led to make this remark, for," etc. There is no need of 
 supposing that a line has dropped out, as Rit. and Lor. often 
 do. (See Ram. Excurs. VI.) 
 
 4. Angiportum, a narrow lane between two blocks of houses, as in 
 
 Pseud. IV. 2. 6, or a private passage-way between two 
 houses, as here. Such a passage, leading from a side street 
 to the garden, may be seen in the plan of the " House of the 
 Tragic Poet," in Becker's Gallus or Smith's Diet. Antiq. 
 
 5. Ostium quod = quod ostium, (M. 319.) Supply eius as 
 
 anteced., depending on fores. Ostium is the doorway ; fores 
 are the doors by which the doorway is closed. Connect 
 horti with angiportu. 
 
 9. Quom . . . atque, "when ... at once." Comp. Epid. II. 2. 33, 
 
 quoin venio, atque ego video, " when I come, at once I see," 
 etc. So also ut , . . atque. Comp. analogous uses of atque 
 in II. 2. 57, and III. 2. 138. 
 
 10. Vorti . . . in meo foro, "that the matter is referred to my 
 
 court ; " strictly "is carried on in my court," spoken as if he 
 were the presiding judge. The more common explanation, 
 which makes Tran. put himself in the position of the ac- 
 cused, is incorrect. (See Rost, p. 137.) 
 On the sentiment of the following lines comp. III. 1. 15. The 
 same figure of disturbed wine has been used in II. 1. 68. 
 13. Clam senem. Clam is used only once or twice as a prepos. 
 
 10 
 
I46 NOTES. 
 
 in class, prose, but is very common in PL and Ter. with ace. 
 and is found rarely with abl. 
 After this line the Palimpsest shows traces of seven lines, of 
 which only three broken words can be deciphered. 
 14. Vicinia, abl., abstract for concrete. It refers to Simo's house. 
 
 ACT V. SCENE II. 
 
 Theuropides comes out of Simo's house, leaving the lorarii (see IV. 4. 44) con- 
 cealed just within the door. While he is still busy with arranging his plan, Tranio 
 comes near and overhears the first words of the scene. 
 
 I. Notice the repetition of words of place in ilico, intra limen, 
 illic, and of advs. of time in quom, extemplo, continuo. These 
 two lines are addressed to the lorarii, 
 
 4. Ludificabor is used with ironical reference to ludificatorem. 
 
 5. Res palam est. Tran. hears the words and understands at 
 
 once that his tricks are known. 
 
 6. Captandum est cum illo, an unusual phrase nearly equiv. to 
 
 captandus est ille. Comp. V. 3. 21, tecum cavendum est. 
 
 7. The reading of Lorenz is followed here ; it is decidedly better 
 
 than Rit. or Ram. 
 
 8. Malum, " cunning, dangerous." Comp. Seivos. (Lor.) 
 
 10. Lapidi, a type of stupidity, like saxum. After giving Theur. 
 ironical praise in the preceding lines, Tran. unexpectedly 
 speaks the plain truth. This is the figure called napa 
 Trpoo-boKiav. 
 
 12. Praesens praesenti. Comp. Pseud. IV. 7. 43, praesens 
 
 praesentem videt, Virg. Aen. IV. 83, ilium absens absentem 
 audit que videtque. 
 
 13. Ruri, "from the country." Rure is commonly used in this 
 
 sense, and ruri (locative) means "in the country." But 
 the two forms were often interchanged. So True. III. 2. 1, 
 ruri redire, True. III. 2. 25, 7'uri venire, both for rure. 
 16. Qui = quom is, "inasmuch as he," "in that he." Bothe reads 
 quia. Simo had not denied all knowledge of Tran., but 
 
ACT V. SCENE II. 1 47 
 
 Theur. exaggerates in order to make an answer more diffi- 
 cult for Tran. 
 
 23. Istuc idem. These words may refer to the preceding line, " I 
 
 said that he had sold the house, and taken part of the money 
 for it." Acidal. and Rit. suppose that a line has fallen out. 
 
 24. Quaestioni, an examination by torture on the rack, equuleus. 
 
 The practice was common among both Greeks and Romans. 
 Theur. tells this lie in order to get a pretence for bringing 
 out the lorarii, as if they were to be examined. 
 
 24. Nugas, sc. agit, and comp. the use of nugas agis in Men. IV. 
 
 2. 57 sqq. 
 
 25. Mane. Tranio wishes to get away, and after his last words 
 
 starts as if he were going to find Simo. Ritschl recasts the 
 line thus : — 
 
 Ouin cita ilium in ius. ibo, inveniam, 
 
 in order to account the better for mane. In the following 
 words Theur. at first says that he thinks he will try the plan, 
 and then, as he sees Tran. still inclined to go, he goes fur- 
 ther and says that he is determined to do it. 
 
 26. Cedo, i. e., bring him to me, hand him over to me to settle the 
 
 matter. 
 28. Mancupio. See And. Lex. and Smith's Diet. Antiq. As this 
 method of transferring property could only be used by one 
 who had a full title, mancupio dare (accipere) may be ren- 
 dered " with a full title," the usual sense in PI. But poscere 
 mancupio could only be used of the purchaser; we must 
 therefore either make hominem refer to Philol., or make it 
 the second object of poscere, or suppose that PL has con- 
 fused the legal terms. Ramsay prefers the second explana- 
 tion, Lorenz and Rost the third, which on the whole seems 
 the most satisfactory. 
 
 30. Hanc aram. See Introduction to Most. 
 
 31. Enim. "You don't understand the matter; for (I take pos- 
 
 session of the altar) that they may not be able," etc. 
 
 32. Interbitat = intereat. Found only here. The simple verb 
 
I48 NOTES. 
 
 beto is used four times by PL, always in the sense of eo. 
 (Lor.) 
 
 35. Argenti, gen. analogous to gen. of crime after verbs of accus- 
 ing, etc. The fact that the slaves attempted to escape the 
 quaestio would suggest that they had something to conceal. 
 
 2,6. Quod agis, id agas, "attend to what you are doing," to the 
 obtaining of evidence from the slaves. Lor. compares Ter. 
 Andr. I. 2. 15, hocine agis, annonf Mil. Glor. II. 2. 60, age, 
 si quid agis, and the formula hoc age, u attend to this," used 
 to command silence in sacrifices. 
 
 37. Meticulosa, "full of fear." Here in active sense "causing 
 
 fear." In Amph. I. 1. 137, it is passive. Not found else- 
 where in PL, or in any class, writer. (Ram.) 
 
 38. Igitur, " then," i. e., when you have risen and come hither. 
 
 Comp. note on I. 2. 47. 
 
 41. Contra, an adv., "in the face." The ordinary use in PL 
 (Lor.) In only two cases in PL contra has the force of a 
 prepos. 
 
 41. Vides. Theur. gives up the attempt to deceive Tran., and lets 
 his anger appear in his face. 
 
 43. Siet. Ita must be supplied in the second clause ; it is placed 
 in the text by Rit., who has sit ei, ita. The sense is, "we 
 are both so sharp {malt), that no third person who tried to 
 come into this affair would be able to make enough to keep 
 himself from starving. 
 
 45. Med = ?ne. Comp. ted, II. 1. 18. Render, "you have com- 
 pletely cheated me." 
 
 48. Eradicitus is not found elsewhere except in a quotation of this 
 
 passage, and was probably coined by PL Radicitus means 
 "down to the roots;" eradicitits suggests, "I have pulled 
 them up by the roots." 
 
 49. Destinaveris, "shall you have fixed," "concocted." Comp. 
 
 use in III. 1. no. 
 
 50. Sarmen, for sarmentum, is found only here. Comp. vimen, 
 
 vimentu?n. It would not be allowable to tear Tran. from 
 the altar by violence, but he might be driven off by fire. 
 The same plan is proposed in Rud. III. 4. 56. 
 
ACT V. SCENE III. 1 49 
 
 52. Exempla, exemplum. " Example " is used in the same two 
 senses in Engl., for warning or for imitation. From the 
 original meaning, exempla facere (edere) in aliqne?n comes 
 to mean "to torture." So Caes. joins it with cruciatus. 
 (Lor.) 
 
 55. Aliud, in the first case, "different from your answer;" in the 
 second, " different from your question." 
 
 ACT V. SCENE III. 
 
 Tranio remains seated upon the altar. Callidamates comes in from the city, and 
 speaks the first seven lines while he walks across the stage toward the house of Simo. 
 
 I. Somuum sepelivi is unusual. " When I finished all my sleep." 
 
 Translatio est a sepultis, qui iam nulli sunt ; somnus igitur 
 
 sepultus, nullus est. (Lamb.) 
 5. De sodalitate, " of his friends." Comp. similar use of Engl. 
 
 " acquaintance." 
 5. Orator, in double sense of ambassador and beseecher. Comp. 
 
 note on oro, III. 1. 147. So also in Stich. III. 2. 34, 39, 
 
 where a pun is made upon the double meaning. 
 8. Hie . . . cenes. This is in accordance with the custom referred 
 
 to in IV. 4. 12. 
 
 8. Sic face (fac) seems to have been a part of the formal invitation 
 
 to dinner. Comp. Stich. I. 3. 31, veni illo ad cenam : sic 
 face, where the words are given as the common form of invi- 
 tation. 
 
 9. Facio gratiam, a polite way of declining the invitation. " I 
 
 am much obliged, (but must be excused.)" So Men. II. 3. 
 36, bene vocas ; tarn gratia, "you are very kind to ask me, 
 (but I cannot come ; ) I am just as much obliged." So 
 Stich. III. 2. 18. Comp. benigne as a form of refusal, Hor. 
 Epist. I. 7. 62, I. 5. 16. (Hild. Ram.) Greek ciraivtb, *dXXiora. 
 
 II. Quian'. The leading clause is to be supplied. "Do you say 
 
 I am laughing at you, because," etc. So III. 1. 25, III. 2. 50. 
 
 12. Ferare faxo, sc. ut. See note on I. 1. 65. 
 
 13. Ad me ad cenam. A common repetition in PL, found in 
 
150 NOTES. 
 
 Stich. IV. 1. 6, and III. 2. 30. So Mil. Glor. III. 1. 118, ad 
 
 se ad prandium. (Lor.) 
 14. Inscitissumus, "you stupid fellow." Nom. for voc. 
 16. Disputa, "tell, relate." So in Men. Prol. 50. 
 
 21. Nimis with calus, "very shrewd." Qui es, "since you are." 
 
 Comp. qui negat, V. 2. 16. 
 
 22. Sine . . . dum. Tmesis. So in Men. II. 3. 27. Lor. has a 
 
 number of examples of tmesis in PI. 
 
 23. Enim, " no, for there is a trick in this." Rit. gives the whole 
 
 line to Tran., as if he surrendered his seat. 
 
 24. Vicem. See note on II. 1. 8. The sense is : Before I give up 
 
 my seat, you must relieve me from all fear, and must take the 
 consequences upon yourself. 
 
 27. Sapere, sc. eos, as subject, and anteced. of qui. 
 
 30. Frustrationes, lit. "tricks." "You will serve in the comedies 
 as a subject for fine displays of cheating." Comp. original 
 sense oifrustra, III. 1. 36. Old men, who are cajoled and 
 cheated, are a stock subject in the New Comedy, and in PI. 
 and Ter. 
 
 32. Gnato tuo. The dat. is frequent in PL and Ter. for gen. with 
 
 a noun in the predicate, to indicate the relation in which one 
 person stands to another. So Mil. Glor. II. 2. 116, illic est 
 Philocomasio custos. So matrein (ftatrem) esse alicui. (Lor.) 
 
 33. Is . . . ilium, Philol. Comp. IV. 2. 15, and note. 
 
 40. Inpetrabilis, active in meaning, as in Merc. III. 4. 20, Epid. 
 
 III. 2. 6, but passive in Livy. So vincibilis, placabilis, act. 
 in Ter., but pass, in class, writers. M. 185, 2, b, obs. 1. 
 (Lor.) H. 328, 3 ; G. 786, 6. 
 
 41. Sum iratus . . . suscenseo. There is no distinction of mean- 
 
 ing between these words. Their use together is only 
 another manifestation of the tautology natural to conversa- 
 tion. (Lor.) 
 45. Lutum, a term of reproach, used also in Pers. III. 3. 2, 10. 
 So caenum and inluvies. In such expressions, as in terms 
 of endearment, the vocabulary of Plautus is very rich. 
 Caedere, fut. pass. 2d sing. 
 
ACT V. SCENE III. 15 1 
 
 45. Pendens. Slaves were sometimes suspended by the hands 
 
 with weights attached to the feet, and flogged in that posi- 
 tion. 
 
 46. Cunctam, "including all," "general." Pessum (from pes, 
 
 pedis) is used by PI. and Ter. with ire, dare, and some other 
 verbs of motion. It is called by Roby an ace. of limit of 
 motion, and may be rendered "to destruction." Or pessum 
 dare {agere, premere) may be rendered "to destroy." 
 50. Restat, " resists," a rare sense. So Ter. Heaut. V. 3. 7. 
 
 55. The text of this line is from Ritschl. 
 
 56. Commeream, "commit," a meaning easily derived from the 
 
 original one, and common in PL and Ter. So in this play, 
 II. 2. 83; m Merc. IV. 6. 12, culpam commerent, "commit 
 a fault." 
 59. Cantor. This was the singer, who stood by the flute-player, 
 and chanted the words of the cantica. This person speaks 
 the last words of appeal to the audience in several of the 
 comedies. (Amph., True, Pers.) In several plays he 
 speaks only the word plaudite (Rud., Mil. Glor.). Some- 
 times these words were given by the whole company, Grex 
 or Caterva (Cist., Capt.), and possibly in the Epid. they 
 were spoken by Plautus himself. (Lor.) 
 
EDITIONS OF PLAUTUS. 
 
 The following partial list of editions is added for the conven- 
 ience of any who may wish to make a thorough study of Plautus. 
 A full bibliography up to the year 1829 is given in Valpy's reprint 
 of the Delphin edition : — 
 
 1605. Lambinus. 
 
 1621. Text by Gruter, notes by Taubmann. 
 
 1669. Variorum. (Vulgate.) J. F. Gronovius. 
 
 1769. Translation into blank verse, by Thornton and Warner. 5 vols. 
 
 1804. Schmieder. 2 vols. 
 
 1809. Bothe. 4 vols, in 2. 
 
 1829. Valpy's reprint of the Delphin edition. 4 vols. 
 1877. Tauchnitz. Text only. 4 vols. 
 
 The best commentary for general use is Taubmann's. The ex- 
 planatory notes of Lambinus are good, and Valpy's reprint of the 
 Delphin contains a full index, and all the Variorum notes with some 
 others by the editor. 
 
 The following editions contain one or more plays. Only those 
 which have explanatory notes are given : — 
 
 1830. Lindemann. Captivi, Trinummus. Amphitruo. Sold separately. 
 1836-9. Hildyard. Menaechmei, Aulularia. 2 vols. 
 
 1848-53. Ritschl. Vol. I. Prolegomena, Trinummus, Miles Gloriosus, 
 Bacchides. Vol. II. Stichus, Pseudolus, Menaechmi, Mostel- 
 laria. Vol. III. Part I. Persa, Mercator. 
 
 1864. Brix. Trinummus, Captivi, Menaechmi. Sold separately. 
 
 1866-76. Lorenz. Mostellaria, Miles Gloriosus, Pseudolus. 3 vols. 
 
 1869. Ramsay. Mostellaria. 
 
 1875-6. Wagner, Wilhelm. Trinummus, Aulularia. 2 vols. 
 
 1879. Sonnenschein. 
 
154 EDITIONS. 
 
 Of these Ritschl's edition is the most valuable. Hildyard has 
 Latin notes and an excellent Glossary, with index, but the text is 
 not good. Brix and Lorenz have full and very good German 
 notes. Wagner's plays are the best in English for the college 
 student. Sonnenschein's Captivi is an English translation of the 
 edition of Brix, with some additional notes. For the student who 
 has read two or three plays, Ramsay's Mostellaria, though it is 
 incomplete and leaves many points untouched, is by far the best 
 English edition. 
 
 Explanations of the metre and prosody of Plautus are given by 
 Wagner (Aul.), Ramsay, Brix (Trim), and Sonnenschein. More 
 extended statements will be found in the Prolegomena to Ritschl's 
 Trinummus and in Hermann's Elementa (or Epitome) Doctrinae 
 Metricae. All these are largely indebted to the De Metris Teren- 
 tianis Schediasma, prefixed to Bentley's Terence. 
 
INDEX 
 
 abhinc, with abl., II. 2. 63. 
 accersunt, II. 2. 76. 
 Ace. plu. in -is, -es or -eis, I. 1.6. 
 Active for depon. verbs, I. 3. 10, 
 
 II. 1. 24. 
 adaeque, I. 1. 29. 
 ad me ad ce7ia77i, V. 3. 13. 
 ad portiwi, II. 1. 5. 
 adulescens, III. 1. 118. 
 advorsitor, Dram. Pers. 
 alliato, I. 1. 45. 
 amabo, I. 3. 10. 
 a?nittere = dimittere, II. 2. 2. 
 #//, I. 1. 7. 
 angiportus, V. 1. 4. 
 antiquom tunm, III. 2. 100. 
 apage, II. 2. 6. 
 #/.$•/£ cavere, IV. 2. 21. 
 arrabont, III. 1. 112. 
 tf/07/*, II. 2. 57, III. 2. 138, V. 
 
 1.9. 
 autem, III. 2. 89. 
 
 baWieas, III. 2. 67. 
 bene a7nbnla, III. 2. 164. 
 benevolens, I. 3. 38. 
 bucaedae, IV. 1. 25. 
 
 <:, ^«, I. 3. 120. 
 cantor, V. 3. 59. 
 
 capitalis caedis, II. 2. 44. 
 capiundos crtnes, I. 3. 69. 
 cap tare cum aliquo, V. 2. 6. 
 caput, I. 3. 54. 
 carnufex, I. 1. 52. 
 cavere cu77i aliquo, V. 3. 21. 
 ttzw respexis, II. 2. 89. 
 £vz#/0 ^«j &$■/, IV. 1. 42. 
 cedo, I. 3. 91. 
 £■£«#, II. 2. 53. 
 ^r/Vz r^r est, III. 2. 17. 
 cerium est, I. 3. 80. 
 £&, I. 1. 17. 
 
 f/ajK, with ace, V. 1. 13. 
 Colloquial language, I. 1. 9. 
 C077i77ierea77i, V. 3. 56. 
 co77i77iiniscere, III. 1. 127. 
 compendi facere, I. 1. 57. 
 C07ic7'epuit, II. 2. 74. 
 congerrones, IV. 2. 27. 
 cordi, I. 4. 10. 
 curriculo, II. 1. 15. 
 
 rtfo 0# aliquo, I. 4. 34. 
 da7iisticu77i, III. 1. 123. 
 <fc, "after," III. 2.8. 
 dece7n, I. 3. 81. 
 defodit insepultu7n, II. 2. 70. 
 delicatus, IV. 3. 9. 
 
156 
 
 INDEX. 
 
 ; 
 
 deliciae popli, I. i. 14. 
 detexit, I. 3. 7. 
 
 dicam, si confessus sit, III. I. 24. 
 die eras tini, IV. 1. 22. 
 dz /<? a?nent, I. 4. 28. 
 dormiunt, III. 2. 140. 
 do tibi opera,7n, III. 2. 115. 
 duint, III. 1. 120. 
 dfo^z, enclitic, I. 2. 36. 
 dum, "until," with indie, III. 1. 
 148. 
 
 eadem opera, IV. 4. 45. 
 eatenus, I. 2. 46. 
 ecastor, I. 3. 1. 
 eccum, I. 1. 79. 
 edepol, III. 1. 76. 
 empti fueranl, III. 2. 132. 
 eni?n, IV. 1. 30. 
 eradicitus, V. 2. 48. 
 
 *«£*, I. 3. 103. 
 
 examussim, I. 2. 18. 
 
 exheres, I. 3. 77. 
 
 £*•/#, correl. with 7//, I. 3. 70. 
 
 fabula, IV. 3. 5. 
 face7'e lucri, II. 1. 7. 
 y^£ .kV/z/, II. 1. 53. 
 facetus, I. 1. 43. 
 facito cogites, I. 3. 59. 
 faenori, III. 1. 1. 
 faxo, I. 1. 65. 
 feroce7ii facer e, IV. 1. 31. 
 ferratile, I. 1. 18. 
 Figura etymologica, I. 1. 78, I. 3. 
 
 5, I. 3. 27. 
 flare sorbereque, III. 2. 102. 
 
 flocci existumare, I. 1. 73. 
 flocci facere, III. 2. 119. 
 floras, I. 1. 1, IV. 4. 12. 
 Frequentative verbs, I. 1. 51. 
 frugi, I. 2. 48. 
 frustra, III. 1. 36. 
 frutex, I. 1. 12. 
 fumus, IV. 1. 32. 
 furcifer, I. 1. 66. 
 Future indie, in -jy?, -i\ft?, I. 1. 65. 
 
 in a wish, II. 2. 86. 
 
 for imperv., II. 2. 94. 
 Future perfect for future, 1 . 3. 54. 
 
 Genitive in exclamations, IV. 2. 9. 
 germana^ I. 1. 39. 
 gnarures esse, I. 2. 16. 
 gratiis, I. 3. 19. 
 
 haec = ^dtf, I. 3. 9. 
 hariolus, III. 1. 40. 
 haud, I. 2. 10. 
 her His, I. 1. 3. 
 ^0£ ^<z&tf, III. 2. 26. 
 hocine, I. 1. 9. 
 
 igitur, I. 2. 47. 
 
 illisce, nom., II. 2. 77. 
 
 /aw (immd), I. 4. 22. 
 
 Impatient or indignant questions, 
 I. 3. 143, II. 1.36, III. 1. 125, 
 IV. 3. 5, IV. 2. 20, IV. 4. 22. 
 
 inconciliare, III. 1. 80. 
 
 Indicative in indirect questions, 
 I. 2. 64, I. 3. 42, III. 1. 81. 
 
 indignis modis, IV. 4. 39. 
 
 in perpetuom modum, III. 1. 5. 
 
INDEX. 
 
 157 
 
 inpetrabilis, V. 3. 40. 
 
 inpluere, with dat. or ace, IV. 1. 
 
 13. 
 
 insanum, IV. 2. 5. 
 
 inservire, with ace, I. 3. 33. 
 
 intellego, II. 2. 44. 
 
 interdius, II. 2. 14. 
 
 z«/r#, I. 3. 136. 
 
 intuor, III. 2. 147. 
 
 inttis, II. 1. 47. 
 
 z>£ i7ifitias, IV. 4. 29. 
 
 istanc, I. 3. 106. 
 
 to, I. 1. 53. 
 
 largiter, II. 2. 8. 
 
 lepidus, I. 3. 14. 
 
 //#?/, II. 1. 55. 
 
 ludos alicui facere, II. 1. 79. 
 
 ludusfit, Arg. 
 
 7nadeo metu, II. 1. 48. 
 malum, I. 1, 6, "punishment," 
 
 IV. 1. 1. 
 maniy III. 1. 3. 
 manu emittere, IV. 3. 36. 
 manumisit, Arg. 
 /#**/, V. 2. 45. 
 melius fuit, III. 2. 1. 
 merenda, IV. 3. 27. 
 meticulosa, V. 2. 37. 
 tnirum quin, II. 2. 62. 
 miser is 7710 dis, I. I. 51. 
 moles tus ne sis, I. 1. 71. 
 morem gerere alicui, I. 3. 32. 
 morigerae, II. 1. 51. 
 musice, III. 2. 40. 
 nauci, V. 1. 1. 
 
 #£ (nae), IV. 3. 46. 
 #*£■, III. 1. 31. 
 «££ rar/V dicer e, I. 3. 83. 
 #£ ypv quidem, III. I. 63. 
 nequa7n, I. 2. 21. 
 «z, II. 1. 67. 
 nihil enim, III. 1. 20. 
 nihili, I. 2. 70. # 
 nil moror, III. 2. 57. 
 ni7Jiio, I. 1. 69. 
 nimis, I. 3. 20. 
 nimis quam, II. 2. 78. 
 7io li facer e, III. 2. 124. 
 7i07ninare, III. 1. 55. 
 7io?t forte, III. 2. 5. 
 #<?# /;2tfdi? #*, II. 1. 43. 
 nudiustertius, IV. 3. 17. 
 nullus su7n, II. 1. 41. 
 ;z##z ;z<?;z «/&, I. 4. 23. 
 nu77iquid aliudf II. 1. 57. 
 
 ocellus, I. 3. n. 
 
 0«/// do lent, IV. I. 32. 
 
 0/m?, I. 1. 41. 
 
 operae pretimn, III. 2. 154. 
 
 opibus atque Indus triis, II. 1. 1. 
 
 oppidc, I. 2. 51. 
 
 opsecro vostra7n fide77i, I. 1. 74. 
 
 optu77ie velle alicui, 1 . 4. 24. 
 
 optumi quisque, I. 2. 69. 
 
 <?r#r£, III. 1. 147. 
 
 orator, V. 3. 5. 
 
 7rapa irpoaboKiav, I. 3- 9^> V- 2 * I0, 
 Perfect passive with /*«/, etc., 
 
 III. 2. 5. 
 Perfect for present, I. 3. 54. 
 
158 
 
 pergraecamlnl, I. I. 21. 
 peril, I. i. 9. 
 perpetuae, I. 2. 62. 
 perpiuont, I. 2. 27. 
 Phllolachetem, I. 4. 5. 
 Place from which, II. 2. 10. 
 Plautine and early forms : 
 
 Acheruns, II. 2. 67. 
 
 Aeguptus, II. 2. 10. 
 
 tf/j", III. 1. 118. 
 
 apscede, I. 1. 7. 
 
 arrabo, III. 1. 112. 
 
 carlnt, IV. 1. 1. 
 
 carnufex, I. 1. 52. 
 
 cluens, II. 1. 60. 
 
 ttraw, I. 3. 120. 
 
 danunt, I. 2. 44. 
 
 deposlvlt, II. 1. 35. 
 
 dlerecte, I. 1. 8. 
 
 dlsclpullna, I. 2. 68. 
 
 donlcum, I. 2. 32. 
 
 ifZftTl, I. 4. II. 
 
 dulnt, III. 1. 120. 
 
 eccunt, I. 1. 79. 
 
 enicasso, I. 3. 55. 
 
 existumare, I. 1. 26. 
 
 eumftse, I. 4. 33. 
 ferrltrlbaces, II. I. 9. 
 faxlt, II. 1. 51. 
 /kr<?, I. 1. 65. 
 gratlls, I. 3. 19. 
 gumnastlca, I. 2. 66. 
 
 harunce, II. 1. 57. 
 
 Jiocine, I. 1. 9. 
 
 illlsce, nom., II. 2. 77. 
 
 Indaudlverlt, III. 1. 11. 
 
 Inter bltat, V. 2. 32. 
 
 INDEX. 
 
 /j/#£, I. I. 55. 
 
 patlunda, I. 1. 46. 
 
 pes sum, V. 3. 49. 
 
 plaglpatldae, II. 1. 9. 
 
 ^?//z, I. 1. 14. 
 
 /0/*, I. 3. 99- 
 
 potesse, IV. 4. 23. 
 
 potln\ II. 1. 49. 
 
 prosus, I. 3. 149. 
 
 puere, IV. 3. 9. 
 
 pulcre, I. 1. 51. 
 
 gW0/, II. 1. 61. 
 
 quolus, I. 2. 5. 
 
 salvom, I. 1. 11. 
 
 j«&?, IV. 4. 5. 
 
 techlnae, III. 1. 19. 
 
 tetullt, II. 2. 40. 
 
 tradler, I. 1. 16. 
 
 utibllls, IV. 1. 2. 
 Pluperfect for perfect, I. 3. 54. 
 postulare, I. 3. 102. 
 potln 1 ut, II. 1. 49. 
 ^ra# quant, IV. 3. 43. 
 Predicative dative, I. 4. 10. 
 Present for future, III. 2. 85. 
 probus, I. 3. 86. 
 Pronouns freely used, III. 1. 9, 
 
 V. 3. 33- 
 pultlphagus oplfex, III. 2. 139. 
 puliare, II. 2. 23. 
 Puns, II. 1. 28, III. 2. 27. 
 
 quaene, III. 2. 50. 
 quant ut, IV. 1. 9. 
 quantum potest, III. 2. 69. 
 07//, I. 1. 55. 
 quid, I. 1. 6. 
 
 
 
quid ago? II. I. 21. 
 
 quid ais tu ? quid vis f 1 1 1 . 1 . 82 
 
 quin, I. 3. 16. 
 
 quod agis, id agas, V. 2. 36. 
 
 quod lubet, V. 3. 42. 
 
 quom, "inasmuch as," I. 1. 28. 
 
 rationem puta, I. 3. 141. 
 r#/7, V. 2. 13. 
 
 sagina, I. 1. 62. 
 
 Salus saluti, II. 1. 4. 
 
 satin\ I. 1. 73. 
 
 .ra/zV habesf II. 1. 42, III. 2. 
 
 142. 
 scelestus, I. 3. 14. 
 sic face, V. 3. 8. 
 sincerwn, IV. 1. II. 
 si p os sis, III. 2. 149. 
 jzV, I. 1. 1. 
 Slave punishments, I. 1. 16, 18, 
 
 52, III. 2, 54, V. 3. 45. 
 sollicitat, III. 2. 15. 
 stabulum confidentiae, II. I. 3. 
 j«£ dzz/, III. 2. 76. 
 Synonymous phrases, I. 2. 17. 
 
 INDEX. 159 
 
 talentum magnum, III. 1. in. 
 
 /^, 11. 1. 18. 
 
 tegulae imbricesque, I. 2. 25. 
 temperi, I. 4. 2. 
 temp est as, I. 1. 17, I. 2. 24. 
 Tranium, III. 1. 29. 
 triduom unum, IV. 3. 19. 
 
 zz for^y, I. 2. 66. 
 
 2/tf£ capiti tuo, IV. 4. 10. 
 
 vicem, II. 1. 8. 
 
 victitabam volupe, I. 2. 67. 
 
 videor, " I think," I. 3. 113, III. 
 
 2. 131. 
 virtute, I. 3. 17. 
 vivo argento, I. 3. 84. 
 una opera, I. 3. 102. 
 ullus, III. 2. 23. 
 -undm Gerundive, I. 1. 46. 
 unde = a quo, III. 1. 16. 
 ^tzzat, "a, an," III. 1. 142. 
 voluptas mea, I. 3. 92. 
 vostrorum, I. 3. 123. 
 ut gesserit, IV. 4. 25. 
 #/ videas, I. 3. 86. 
 utrum . . . -//*, tf/z, III. 1. 146. 
 
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 10 
 

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