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 FROM THE LIBRARY 
 OF 
 
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 NOTE. Where this edition of the 
 Phormio is ordered for class use an equal 
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 Kfje Students' Series of latin Classics 
 P. TERENTI 
 
 PHORMIO 
 
 WITH NOTES AND INTRODUCTIONS 
 
 (BASED, IN PABT, UPON TUB 2D EDITION OF KARL DZIATZKO) 
 
 BY 
 
 HERBERT CHARLES ELMER, PH.D. 
 
 ASSISTANT PEOFESSOB OP LATIN IN TUB CORNELL UNIVERSITY 
 
 LEACH, SHEWELL, AND SANBORN 
 
 BOSTON NEW YORK CHICAGO 
 
 1895
 
 COPTKIGHT, 1895, 
 
 BY HEKBEET CHARLES ELMER. 
 
 UTorfooofc 
 
 J. S. dishing & Co. Berwick & Smith 
 Norwood Mass. U.S.A-
 
 SRLF 
 URL 
 
 TO 
 MY FATHER 
 
 C. 3. lElmer 
 
 IN GRATEFUL REMEMBRANCE 
 
 OF HIS CONSTANT 
 DEVOTION AND ENCOURAGEMENT
 
 PREFACE. 
 
 THOUGH the Phormio is admittedly one of the best of 
 the plays of Terence, no annotated edition of it suitable 
 for college use has yet been published in America. This 
 fact alone makes it unnecessary, I hope, to apologize 
 for the present volume. 
 
 While the text of this edition is, in general, based 
 upon that of Dziatzko, I have often ventured to deviate 
 from his readings, prompted sometimes by suggestions 
 that have been made since his edition was published, 
 sometimes by a conviction that the testimony of the 
 manuscripts, unless demonstrably false, is entitled to 
 more consideration than arbitrary alterations. The 
 Appendix is devoted almost exclusively to a defense of 
 these deviations from Dziatzko's text and to the citation 
 of authorities for statements made in the notes. 
 
 In preparing the commentary, I have had before me 
 all important editions of the play and have taken 
 occasional notes from that of Sloman and less frequently 
 from that of Bond and Walpole. 
 
 I would here express to Professor Karl Dziatzko my 
 grateful appreciation of his courtesy in giving me per-
 
 VI PREFACE. 
 
 mission to use, in any way that might suit my purpose, 
 the very valuable material collected in his own edition 
 of the Phormio, representing as it does a thorough study 
 of all the literature upon Terence and allied subjects 
 that had appeared up to 1884. Much, however, has been 
 done in this field during the last ten years, and the 
 results of such labors have, so far as seemed desirable, 
 been incorporated in the present volume. I have 
 thought it worth while to append below a classified 
 bibliography of the literature especially concerned with 
 Terence that has appeared since the completion of 
 Dziatzko's edition. 
 
 I feel myself under lasting obligations to Professor E. 
 M. Pease, Editor-in-chief of the series to which this book 
 belongs, to Professor C. E. Bennett of Cornell University, 
 and to Professor H. N. Fowler of the Western Keserve 
 University, for the searching criticism to which they 
 have subjected all parts of the book. I am further 
 indebted to Professor Pease for his kindness in placing 
 at my service his collation of the Codex Parisinus. 
 
 H. C. ELMER. 
 
 ITHACA, 1895. 
 
 ABBREVIATIONS. 
 
 A. & G. Allen & Greenough's Latin Grammar. 
 
 B. Bennett's Latin Grammar. 
 
 G. Gildersleeve's (Lodge) Latin Grammar. 
 
 H. Harkmtss' Latin (irainmar.
 
 CONTENTS. 
 
 PAGE 
 
 INTRODUCTION ix 
 
 The Origin of the Greek Drama ix 
 
 The Early Greek Comedy ...... x 
 
 The Later Greek Comedy xi 
 
 Roman Comedy xiii 
 
 History of the Text of Terence xxv 
 
 Dramatic Entertainments, the Actors, the Stage, etc. xxviii 
 Division of Plays into Acts and Scenes . . . xxxii 
 
 The Metres of Terence xxxiii 
 
 Adaptability of the Various Metres to Different Moods xxxvi 
 Differences in the Manner of Rendering Various 
 
 Rhythms ; Musical Accompaniment, etc. . xxxvii 
 
 Prosody of Terence xxxix 
 
 Language of Terence xliii 
 
 The Phormio xlvi 
 
 TEXT OF THE PHORMIO, WITH STAGE DIRECTIONS . . 1 
 
 TABLE OF METRES OF THE PHORMIO 70 
 
 NOTES TO THE PHORMIO 72 
 
 APPENDIX 153 
 
 INDEX TO NOTES 167 
 
 BIBLIOGRAPHY OF THE LITERATURE ON TERENCE SINCE 
 
 THE COMPLETION OF DZIATZKO'S EDITION . . . 171 
 vii
 
 INTRODUCTION. 
 
 The Origin of the Greek Drama. 
 
 THE Greek drama had its origin in the village festival that 
 was wont to be held each year, at the vintage time, in honor 
 of Dionysus, the god of wine, the bringer of good cheer. Dio- 
 nysus, in the popular fancy, was supposed to have wandered 
 through the world, accompanied by a band of satyrs and 
 nymphs, spreading his worship among men, encountering 
 countless dangers and hardships in his progress, now falling 
 into the hands of pirates and thrown into chains, now aiding 
 the gods in their war with the giants, now being torn to 
 pieces at the command of the jealous Hera, but springing up 
 again with new life, and finally triumphing over all obsta- 
 cles and bringing joy and blessing to all mankind. It was 
 customary among the country folk, when they gathered in the 
 grapes, to celebrate tha adventures of this god, whose bounty 
 they were about to enjoy. One member of the company 
 would impersonate the god himself, and the others would act 
 the part of his attendant satyrs; and the story of the god's 
 adventures would thus, in a rude and impromptu fashion, be 
 enacted. Some parts of this story were bright and gay, 
 while others were sad and tragic ; and it was in these rude 
 attempts to represent its different aspects that both comedy 
 and tragedy had their origin. Tragedy, however, was earlier 
 than comedy in reaching maturity.
 
 INTRODUCTION. 
 
 The Early Greek Comedy. 
 
 The word comedy (Kco/AcoSia) means literally the "song of 
 revelry " (KU>P>?, aSeiv), or possibly the song of the KOJ^, 
 i.e. "village song." The Dorians, and especially one Susa- 
 rion (about 580 B.C.), seem to deserve the credit of having 
 first dramatized the rude dialogue, in which comedy had its 
 origin, and given it something like a literary form. The prin- 
 cipal representative, however, of that branch of literature, be- 
 fore it reached the perfection it attained during the period 
 of Pericles, was Epicharmus, a contemporary of Aeschylus. 
 He was born on the island of Cos about 540 B.C., and from 
 there, at the age of three months, was taken to Megara in 
 Sicily, where he spent most of his life and where he died 
 about 450 B.C. But comedy did not reach any high degree 
 of development until it was taken up by the master artists 
 of Athens in the time of Pericles. The conditions of Greek 
 life at this period were peculiarly favorable for developing this 
 branch of writing. The intellectual activity and the highly 
 developed political life of the times worked together to bring 
 it rapidly to a position of great importance and influence. 
 Cratinus, Eupolis, Phrynichua, are the first to be men- 
 tioned as writers of the old Attic comedy, but these are of 
 little importance in comparison with Aristophanes (fl. 427-388 
 B.C.), who soon appeared upon the scene and became by far the 
 most important representative of this school. It lies, of course, 
 in the nature of comedy to depict the gay and humorous ; and 
 at the time with which we are now dealing, the keen and .ab- 
 sorbing interest taken by all classes in politics gave direction 
 to the popular comedy. Public men and affairs formed its 
 material. These were subjected to that keen wit with which 
 the Athenians, above all others, were endowed. With refer- 
 ence to form and technique, it was natural enough that comedy 
 should for the most part be modeled after the outlines marked 
 out by writers of tragedy, which already existed in a highly 
 developed form. From tragedy, too, comedy largely drew its 
 material for parodies.
 
 INTRODUCTION. XI 
 
 The unfortunate result of the Peloponnesian War, -which 
 broke the fresh, self-conscious vigor of Athens, forms a turning- 
 point in the history of Attic comedy. With eager participation 
 of the people in public affairs, died out also their interest in 
 them ; other and narrower interests above all, material inter- 
 ests began to engross their attention. They had been wont to 
 spare neither pains nor expense in organizing, equipping and 
 training a chorus as an essential feature of every play. But 
 now, while they still continued for a time to furnish the chorus, 
 they no longer felt the old pride in providing it with an elabo- 
 rate outfit, or in training it when equipped; and their growing 
 indifference ultimately resulted in its being given up altogether. 
 In fact the Plutus of Aristophanes, the latest of the eleven plays 
 of that author which have been preserved to us, shows that 
 a decided change in this respect has already taken place. In 
 lieu of choral parts having an organic connection with the 
 play, is found between the acts a song, borrowed from some 
 other source. 
 
 The Later Greek Comedy. 
 
 The new Attic comedy, which does not appear fully developed 
 till the latter part of the fourth century, is almost wholly sev- 
 ered from all connection with public life and shows, in compari- 
 son with the old comedy, a lack of variety in the subjects 
 treated, a decline in powers of invention, and lack of the old 
 boldness in handling materials. We have, however, some com- 
 pensation for this loss. As a result of continual painstaking 
 practice, there is greater smoothness, a more artistic finish in 
 language and action, a treatment showing closer attention to 
 detail, and a more polished technique. Comedy now is a tame 
 society play, dealing merely with the manners and customs of 
 family life. Even the materials that chance to be borrowed 
 from other sources, e.g. from mythology, are treated in like man 
 ner. The abuses practiced in public life no longer receive notice 
 even by so much as an allusion. At the same time personal
 
 Xli INTRODUCTION. 
 
 attacks upon individuals have ceased; only typical characters, 
 such as bragging soldiers, sponging parasites, and insolent syco- 
 phants, are held up to ridicule. As compensation for this nar- 
 rower range of subjects, appears invention of new situations 
 and of amusing complications out of which the same ever-re- 
 curring characters have to extricate themselves. In this respect 
 the fruitful, untiring genius of the poets of the new comedy 
 challenges our admiration, though our estimate of them is based 
 upon mere fragments from their plays and upon Latin plays that 
 are modeled after them. 
 
 With, reference to dramatic arrangement and technique, the 
 new comedy as well as the old is modeled after tragedy, and 
 especially after the tragedy of Euripides. It is characterized by 
 the same moralizing tone prevalent in the works of that author. 
 The numerous maxims, however, which lend this color are, in 
 the new comedy, brought into the play only incidentally, while 
 in the old Attic comedy, with its vigorous assaults upon every- 
 thing that was blameworthy, they seemed an organic part of the 
 play itself. 
 
 Among the poets of the new Attic comedy, of whom there 
 were more than sixty, the most distinguished in the judgment of 
 antiquity was Menander (312-290 B.C.). Next to him, Phile- 
 mon, Diphilus, Philippides, Fosidippus, and Apollodorus of 
 Carystus, are to be named as the favorite writers of comedy. Of 
 the original productions of these poets only a few fragments 
 have come down to us. We have, however, Latin adaptations 
 from some of their plays in the two great comic poets of Rome, 
 Plautus and Terence. 
 
 Of course the transition from the old to the new comedy was 
 a gradual one. It extended over a period of fifty years, from 
 the Plutus of Aristophanes (presented first in 408 and again, 
 this time in a revised form and without chorus and parabasis, 
 in 388) to about the time of the Macedonian sovereignty (338). 
 The best known poets of this period are Antiphaiies and 
 Alexis. Whether we should look upon this so-called middle 
 comedy as forming a distinct type by itself may be questioned ;
 
 INTRODUCTION. Xlll 
 
 but at any rate the division into the old and the new is an im- 
 portant one, and each of these two classes is marked by well- 
 defined characteristics. 
 
 The new comedy, in its development, coincides with the 
 political decline of Greece and with the gradual decay of her 
 art. As compared with the old comedy, ~ it shows in many re- 
 pects unmistakable retrogression. As a natural result, how- 
 ever, of the conditions already indicated, it is free from that 
 distinctly local coloring, which makes even a play of Aris- 
 tophanes often unintelligible to one who is not familiar with the 
 condition of affairs in Athens at the time the play was written ; 
 it has the cosmopolitan character, which becomes, during the 
 fourth and third centuries before Christ, more and more 
 peculiar to Greek life. It was owing to this peculiar cosmo- 
 politan character that the new comedy, about the middle of the 
 third century before Christ, found a welcome in Rome a city 
 highly developed politically, but as yet without a literature. 
 That the comic poets of Rome chose the material for their 
 translations and adaptations exclusively from the new (and the 
 so-called middle) comedy, is not then due wholly to the fact that 
 that kind of writing was still nourishing when Roman litera- 
 ture began. 
 
 Roman Comedy. 
 
 The ancient Romans, like the Italians of to-day, had, as one 
 of their notable characteristics, a fondness for the dramatic, 
 and especially for the comic. Vergil, in Georg. II. 385-396 (cf. 
 Hor. Ep. II. 1, 139 ff.), pictures the gaieties of rural festivals, 
 at which improvised jests, in rude verse, were exchanged in 
 animated dialogue. These versus Fescennini, as they are 
 commonly called (after the town of Fescennia), had no liter- 
 ary importance ; but still we see in them germs similar to 
 those from which the Greeks developed their artistic comedy. 
 It is interesting also to note that a process of development 
 seems to have set in on Roman, much as it did on Greek,
 
 XIV INTRODUCTION. 
 
 soil. As a demand was felt for something less rude than 
 these versus Fescennini, a form of representation arose for which 
 preparation was made beforehand and less was entrusted to 
 improvisation. To add to the interest of the entertainment, 
 the verses were now accompanied by music and dancing, and 
 the whole performance in this improved form took the name 
 of Satura. These performances, if we may accept the com- 
 mon view regarding the meaning of the term saturae, 1 seem to 
 have been devoid of any connected plot, but they demanded 
 a certain amount of care and skill on the part of the per- 
 formers, and accordingly a class of people began to devote 
 special attention to acting as a profession. We must of course 
 look upon these saturae (of which the contents were of a purely 
 local character, and the structure even yet not artistic) as 
 entirely different from the Greek comedies as far as their 
 contents and their structure were concerned. A ne'arer ap- 
 proach to dramatic form was made in the fabulae Atellanae, 
 so-called because they are said to have originated in the Cam- 
 panian town of Atella. The fabulae Atellanae were broad farces 
 in which figured stock characters analogous to the clown, pan- 
 taloon and harlequin of a modern pantomime. Rude as all 
 these performances were, they nevertheless awakened in the Ro- 
 man public an interest in dramatic representations. Under 
 favorable circumstances they might have developed into an 
 artistic drama that would have been truly Roman in thought 
 and feeling. 
 
 But there now appeared on the scene an influence that was 
 destined to dominate the whole course of Roman literature. 
 After the war with Pyrrhus, the Romans came into closer con- 
 tact with the Greek cities of southern Italy and Sicily, and had 
 their attention called to the creations of Greek genius. They 
 
 1 In an interesting paper on " The Dramatic Satura and the Old 
 Comedy at Rome" (Am. Journ. Phil., Vol. XV.), Hendrickson further 
 develops the theory of Leo that satura in Livy (7, 2) is merely the 
 designation of an assumed Roman parallel to the old Greek comedy.
 
 INTRODUCTION. XV 
 
 never recovered from the spell that was thus cast about them. 
 Instead of attempting to create a literature of their own along 
 independent lines, they now devoted themselves chiefly to copy- 
 ing the masterpieces of Greece. The first fruits of this new 
 influence were seen in mere translations and adaptations from 
 the Greek. The comedies that were thus translated, or adapted, 
 are called fabulae palliatae, from the Greek cloak (pallium) 
 worn by the actors, to distinguish them from the fabulae togatae 
 in which Roman manners were represented. The first writer 
 to be mentioned in this connection is Livius Andronicus, 
 who was born at Tarentum about 284 B.C. After the capture 
 of his native city in 272 B.C., he became the slave of M. Livius 
 Salinator, who, charmed by the talents of the young man, soon 
 afterwards gave him his freedom. In 240 Livius was engaged 
 to produce, as one of the attractions of the ludi Romani, two 
 Latin plays, a tragedy and a comedy, adapted from Greek origi- 
 nals. Such dramatic entertainments had for a long time been 
 regularly given in the original Greek in the towns of southern 
 Italy and so were more or less familiar to the Romans. These 
 performances found such favor at Rome that from this time on 
 they became a regular part of the games. Livius Andronicus 
 must then be looked upon as having introduced d" new era for 
 the Roman people. In Livy the historian (7, 2), the existence 
 of a connected plot and the systematic arrangement of the con- 
 tents are designated as the features that distinguished the new 
 drama from the old satura. It was further distinguished by 
 the employment of Greek metres and by differences in the 
 form of representation. Only a few fragments of the plays of 
 Livius have come down to us. We know, however, that he was 
 held in so great esteem at Rome that, in honor of him, the tem- 
 ple of Minerva on the Aventine was appropriated to the use of 
 scribae et histriones, who organized themselves into a sort of poets' 
 guild. 
 
 Another writer, likewise active in both tragedy and comedy, 
 was Cn. Naevius, a native of Campania, born about 265 B.C. 
 Being a Latin by descent, he took part in the First Punic War,
 
 XVI INTRODUCTION. 
 
 a conflict which he afterward described in Saturnian verse. 
 After 235 B.C., we find him noted at Rome as a fiery and 
 popular poet, especially in the field of comedy. Fragments of 
 thirty of his comedies have come down to us. The violent 
 attacks which he made on the highest families of Rome led 
 to his imprisonment and later to his banishment. He died 
 in exile in 201 B.C., or, according to some authorities, a little 
 later. 
 
 T. Maccius Plautus was a writer of comedies only. He was 
 born at Sarsina in Umbria, about 254 B.C. On coming to Rome, 
 he found employment at the hands of certain theatrical mana- 
 gers. What he saved from his earnings here he subsequently 
 lost in foreign speculation, after which he returned penniless 
 to Rome and was compelled to earn his bread at hard labor in 
 a mill, a duty generally reserved for the lowest slaves. His 
 employment in the theatre, however, had interested him in the 
 stage, and he resolved to turn to account the knowledge this 
 experience had given him. He accordingly found time, even 
 amid the unfavorable conditions surrounding him, to write 
 comedies, and in a short time he became the most popular of 
 comic poets. His death came in 184 B.C., but the popularity of 
 his plays remained undiminished ; and when, after the middle 
 of the second century B.C., it became customary, instead of pre- 
 senting new plays, to bring the old again and again upon the 
 stage (see p. xxv), the comedies of Plautus long continued to 
 be among the chief attractions of the theatre. So great indeed 
 was his popularity that plays of other writers were frequently 
 given out under his name, to create a prejudice in their favor. 
 One hundred and thirty plays were at one time ascribed to him. 
 Of these Varro pronounced twenty-one as certainly genuine, 
 nineteen others as probably so. All but one l of these twenty- 
 one genuine plays have come down to us, although some are 
 in a more or less fragmentary condition. The Ambrosian 
 palimpsest of Plautus (of the fifth century) originally con- 
 
 n-he Vidularia,
 
 INTRODUCTION. XV11 
 
 tained also the lost play, as three leaves of this Ms. still bear 
 witness. 
 
 We hear of a certain M. Plautius, belonging to about the 
 same period, who was also a writer of comedies, but we know 
 nothing very definite about him. The similarity between his 
 name and that of Plautus may easily have brought it about 
 that his plays were ascribed to the better known poet. 
 
 Q. Eiinius is chiefly noted for his epic poem called Annales 
 in which he relates, in eighteen books, the entire history of Rome 
 from the earliest times down to his own for his saturae, and 
 his tragedies. But he also attempted comedy, and so deserves 
 mention here. He was born at Rudiae in Calabria in 239 
 B.C. He was brought to Rome from Sardinia in 204 by the 
 quaestor M. Porcius Cato, and here he seems to have lived 
 in moderate circumstances as teacher of Greek and as stage 
 poet. In 184 B.C. he received the right of Roman citizenship 
 which he lived to enjoy for fifteen years. None of his come- 
 dies have come down to us not even in fragments of any 
 importance. 
 
 The next poet worthy of mention in this connection is 
 Statins Caecilius, who enjoyed an enviable reputation among 
 the ancients as a writer of palliatae, and who was an important 
 forerunner of Terence. An Insubrian by birth, he came to Rome 
 about 194 B.C., probably as a captive taken in war. Later, how- 
 ever, he was given his freedom. His first attempt at comedy 
 failed and was not even heard to the end by the impatient 
 audience ; but he toiled on till he won literary fame and a 
 name among comic poets second only, as yet, to that of Plautus. 
 He died soon after Ennius, with whom in life he had been on 
 the most intimate terms. 
 
 We now come to a poet who calls for a more extended notice, 
 one whose name is always coupled with that of Plautus as one 
 of the two greatest names in Roman comedy, Publius Teren- 
 tius Afer. He was a native of Carthage. His surname, Afer, 
 however, makes it probable that he was not of Phoenician 
 blood, but that his parents belonged to one of the African
 
 XV111 INTRODUCTION. 
 
 tribes subject to the Carthaginians. 1 The date of his birth was 
 about 190 B.C. 2 At an early age, lie came to Rome as a slave 
 of the senator Terentius Lucanus, though how this fact should 
 be explained is a disputed question. He can hardly have been 
 taken captive in war, as he was born after the end of the Second 
 Punic War and died before the beginning of the next war with 
 Carthage. Possibly he was carried off by enemies of his native 
 city, in early youth, and later brought to Rome. Be this as it 
 may, his master, struck by the talent and the prepossessing ap- 
 pearance of the boy, not only caused him to be carefully edu- 
 cated, but also gave him his freedom. The associations to 
 which he had been accustomed in the house of his master 
 
 1 For the meaning of Afer, see Em. Baehrens (N. Jahrb. f. Phil. 1881, 
 p. 401 f.). His attempts, however, to show that this is inconsistent with 
 the tradition that Terence was born at Carthage, is far from convinc- 
 ing. There must have been many enslaved Afri (Greek AJ/3ues) in 
 Carthage, and if we suppose Terence to have been the son of one of 
 these, to have been brought to Rome and to have been named, as was 
 customary in the case of slaves, after the nation to which he belonged, 
 he would naturally have been called Afer (not Foenulu.s, even though 
 born at Carthage). For parallel instances in the case of soldiers of 
 imperial times, cf. Th. Mornmsen, Herm. XIX. 29 ff., especially p. 35 f. 
 
 2 The date generally given is 185 B.C., in accordance with Suetonius 
 in his vita Terenti, p. 32 (ed. Ritschl in Reifferscheid, Suet. p. 2(5 ff. and 
 481 ff. = Opusc. Ill, 204 ff.). But H. Sauppe (Nachr. d. Gott. Ges. 1870, 
 p. Ill ff.) has made this seem very improbable. The year of Terence's 
 birth, like that of many other famous men of antiquity, was not definitely 
 known even to the scholars of ancient Rome. In attempting to estab- 
 lish the date they acted on the supposition that Terence was of the same 
 age as P. Scipio Africanus the younger. But we know that Terence 
 brought out his first piece, the Audria, as early as KiG B.C., in view of 
 which fact we are, Sauppe thinks, forced to conclude that he must have 
 liccn several vr;irs older than Scipio. Otherwise the Andria must have 
 been produced when the author was only nineteen years of age, and such 
 a production would have required several years of careful preparation. 
 But it bears every evidence of being the work of mature years. To be 
 sure, Terence does not deny the taunt of his opponent (Ileaut. Prol. vs. 
 23), Itepente ad stadium hanc (Tcrentlam) se adplicasse musicum.
 
 INTRODUCTION. 
 
 made it easy for him to keep up his connections with the nobility 
 of Rome. The same traits of character which had procured 
 for him his freedom assured him the favor of the sons of the 
 highest families ; for one must remember that at that time in 
 Rome it was for the most part the patricians, who, in art and 
 literature as well as in politics, looked beyond the narrow 
 boundaries of fatherland and felt a lively interest in a broader 
 and higher intellectual culture. Among the friends of Terence 
 who were members of the nobility, ancient authorities name 
 Scipio African us the younger, C. Laelius, and L. Furius Philus. 
 From the first he seems to have held himself entirely aloof from 
 the narrower circle of the poets of Rome, who, as has already 
 been pointed out (p. xv), had formed themselves into a guild. 
 This at any rate is the simplest explanation of the story that 
 the aged poet Caecilius, to whose approval Terence was obliged 
 to submit his first play, the Andria, before the aediles would 
 allow it to be produced at the games, knew nothing at all of the 
 young poet. The passage already cited from Heaut. Prol. vs. 
 23 f. harmonizes with this supposition : 
 
 Repente ad studium hunc se adplicasse musicum, 
 Amicum ingenio fretum, hand natura sua. 
 
 The open jealousy and hatred felt toward Terence by other 
 poets arose largely from his disinclination to affiliate with them. 
 Content with the applause which he won from the ranks of the 
 nobility, he cared little for the approval of others. 
 
 It was believed by many in antiquity that the distinguished 
 
 But from this we are to infer merely that he had not made himself 
 known among the poets of Rome long before his first appearance with 
 a drama. Indeed, the statement that he had suddenly, i.e. unexpect- 
 edly, adopted the poet's calling, seems more naturally used of a man 
 who, in his earlier years, had not followed such pursuits, or at least 
 had not let it be known that he did. Lastly, the poet is not, in any 
 of his prologues, obliged to defend himself against the charge of ex- 
 treme youth; on the contrary, he himself (Heaut. Prol. vs. 51) scorn- 
 fully speaks of his opponents among the spectators as adulescentuli.
 
 XX INTRODUCTION. 
 
 friends of Terence, above referred to, aided him in his literary 
 work, and even that large parts of his dramas were written by 
 them. This report originated with those who were jealous of 
 Terence's success, and it probably gained credence from the 
 non-committal words of the poet when referring to that re- 
 port. It can hardly be doubted that Terence actually did 
 receive much encouragement in various ways from his noble 
 friends and even profited at times by their advice, but further 
 than this there is no good reason to suppose that he was de- 
 pendent upon them. His language, to be sure, is that of the 
 highest and most cultured society of his time, but this is to be 
 looked upon as a result of his constant intercourse with that 
 society, and need not cast any suspicion upon the authenticity 
 of his plays. 
 
 The literary tendency of the times, as well as his own inclina- 
 tion, led the poet to devote his activity to the fabula palliata, 
 although the period of its decline was now near at hand. Ter- 
 ence produced his first comedy, the Andria, at the ludi Mega- 
 lenses, in April, 166 B.C. The aediles, who had charge of the 
 games, had some misgivings about allowing the presentation 
 of a play by an entirely unknown poet. He was accordingly 
 induced to submit his play first to the older poet Caecilius, for 
 approval. Regarding the meeting between these two poets, the 
 following story is told. Terence found Caecilius at dinner, 
 and, as the caller was meanly dressed, he was given a seat on a 
 bench near the couch on which the great author was reclining, 
 and was then given permission to read what he had written. 
 After the first few verses had been read, Caecilius was so capti- 
 vated by the young man's talents that he invited him to a place 
 beside him upon the couch. He then listened attentively and 
 with unbounded admiration to the remainder of the play. 1 
 
 1 Hieronymus, in Euseb. Chron. Olymp. CL 2, places the death of 
 Caecilius in the year after that of Ennius (who died 16!) B.C.). But 
 the Andria was not produced till 1(50 B.C. The question arises whether 
 the date of Caecilius' death, as given in Hieronymus, rests upon an
 
 INTRODUCTION. xxi 
 
 The order of presentation of the plays of Terence, during the 
 lifetime of the poet, may be seen from the following table : 
 
 Andria at the ludi Megalenses, 166 B.C. 
 
 Hecyra 1 " " 165 " 
 
 Heauton timorumenos ..." " " 163 " 
 
 Eunuchus " " " 161 " 
 
 Phormio " " Romani 161 " 
 
 Hecyra " " funerales of Aemilius Paulus, 
 
 160 B.C. 2 
 
 Adelphoe 8 " " funerales of Aemilius Paulus, 
 
 160 B.C. 
 Hecyra " " Romani, 160 B.c. 4 
 
 Four of these are translations from Menander; two (Hecyra 
 and Phormio), from Apollodorus of Carystus, who flourished 
 between 300 and 260 B.C. 
 
 It is not to be wondered at that the earliest writers, in adapt- 
 ing the productions of foreign genius to Roman ears, should 
 give them something of a native character, and we accordingly 
 
 error, or whether the first production of the Andria, in spite of the 
 praise accorded it by Caecilius, was postponed for several years. 
 Dziatzko agrees with Ritschl in the supposition that, in Hieronymus' 
 words: mortuus est (Caecilius) annopost mortem Ennii et iuxta lanic 
 ulum . . . , a numeral has fallen out after Ennii, and that it should 
 read anno . . . HI (tertio), or, as Dziatzko thinks more probable, IIII 
 or IV (quarto). 
 
 1 This attempted presentation, however, proved a failure ; and tradi- 
 tion accordingly assigns the Heaut. to the second place, the Eun. to 
 the third, etc. 
 
 2 Second unsuccessful presentation. 
 
 3 Pet. Langeu (Phil. Rundsch. 1881, p. 1122) claims that Terence 
 called the play Adelphi, and that the ending -oe is due entirely to the 
 composer of the didascalia. But Heaut. Prol. 5, Heaulon. timoru- 
 menon, and Phorm. Prol. 25, Epidicazomenoo., show that, in the 
 titles of fabulae palliatae at the time of Terence, not only the Greek 
 names, but also the Greek terminations, were retained so far as 
 possible, except where a Greek word had been naturalized in Latin 
 as is the case, for instance, with Eunuchus. 
 
 4 Third and successful presentation.
 
 XX11 INTRODUCTION. 
 
 find that all the plays of Plautus bear Latin titles (Asinaria, 
 Aulularia, Captivi, etc.), except in plays like the Amphitruo 
 and the Epidicus, where the title is taken from the Greek 
 name of a person in the play. The plays of Plautus, too, 
 abound in Roman allusions, although the general coloring, 
 even in Plautus, is of course distinctly Greek. Later, however, 
 as the influence of Greek culture came to be more widespread, 
 there was an ever-increasing tendency to make the Latin plays 
 more nearly like the Greek from which the plots were taken. 
 Indeed, the contemporaries of Terence, among them his chief 
 adversary, Luscius Lanuvinus, made it a point of attack that 
 he departed so far from his Greek original, as to weave into 
 the general plot of his drama such scenes from other Greek 
 comedies as particularly struck his fancy. This was done in 
 the case of the Andria, the Adelphoe, and the Eunuchus ; per- 
 haps also in the Hecyra (Rh. Mus. XXI. 80 f.). This process 
 of combining parts of different plays into one was maliciously 
 called contaminatio. Except in this one respect, Terence has 
 followed his Greek originals very closely, and the Roman allu- 
 sions, which are so common in Plautus, are almost entirely 
 wan ting -in Terence. The taunts of his enemies regarding his 
 habit of combining parts of two plays into one had no effect 
 upon him, except that he was led repeatedly to justify the 
 practice in the prologues of his plays (cf. Andr. Prol. 13-21, 
 Heaut. Prol. 16-21, Ad. Prol. 1-14, Eun. Prol. 31-33). 
 
 There was still another point with reference to the subject- 
 matter of a play which the critics of that time considered 
 important, viz. that plays must be entirely new, i.e. the Greek 
 original was to be one that had not been reproduced, either as 
 a whole, or in part, by any other Latin poet, and so one that 
 was entirely unknown to the spectators. 1 This requirement 
 
 1 This principle is stated in a humorous connection in Plant. Pseud. 
 5<>8 ff. : nam qui in scaenam prouenit, Nouo modo nouom aliquid 
 inuentum adferre addecet. Si .id facere nequeat, det locum illi qui 
 queat.
 
 INTRODUCTION. xxiii 
 
 of respect for the product of another's genius, is noteworthy 
 as showing that a play, of which a translation, or an adapta- 
 tion, had been made by a Latin poet, was thenceforth looked 
 upon as his own property. Terence as a rule respected this 
 principle. In several cases, where his enemies accuse him of 
 theft (furtuni), he proves his production to be entirely "new" 
 (cf. Ad. Prol. 6-14), or excuses himself on the plea of ignorance 
 of any previous use of it. But it may be doubted, from his 
 words in Eun. Prol. 27 (Si id est peccatum, etc.) and 35 ff., 
 whether he looked upon the use of a Greek drama, or a part 
 of one, by several Latin poets, as a very serious offense. 
 
 All six plays of Terence met with great applause from the 
 public, though the Hecyra was not received with favor until 
 the third attempt to present it. The greater attraction, formed 
 by vother amusements at the time of the first .and second 
 attempts to present this piece, made it impossible to act any 
 of it the first time, and only one act of it at the second attempt 
 (cf. Phor. Prol. 31 ft'.; Hec. Prol. I. and IT.). The Eunuchus, 
 on the other hand, met with such success that its production 
 was repeated (probably on the same day), and the poet received 
 therefor the unusually large sum of eight thousand sesterces 
 (about three hundred and thirty dollars). 
 
 After the third production of the Hecyra, in 160 B.C., Terence 
 left Rome for Greece, probably to acquire a more intimate 
 knowledge of the life and customs of the people of that coun- 
 try. In the following year, 159 B.C., the poet died, while on 
 the point of returning to Rome with translations which he had 
 recently made of other comedies. He met his death either by 
 shipwreck off the island of Leucas, or else, after losing his bag- 
 gage and his manuscripts by such a mishap, died at Stymphalus 
 in Arcadia. He left a daughter, who was afterward married to 
 a Roman knight. His property at the time of his death probably 
 consisted of twenty acres of land, though another account rep- 
 resents him as having been reduced to absolute poverty. 
 
 Regarding the personal appearance of Terence, Suetonius 
 says : Fuisse dicitur mediocri statura, gracili corpore, colore fusco.
 
 XXIV INTRODUCTION. 
 
 As a poet Terence is especially noted for the artistic finish 
 and refinement of his productions. The plots of his plays are 
 carefully thought out and cleverly managed, the poet at times 
 departing from his Greek original, where he can by so doing 
 better serve his artistic purpose. No less carefully studied is 
 his portrayal of character and of the motives which prompt to 
 action the persons with whom he is dealing. To be sure, for 
 all that is essential and best he was indebted to his Greek 
 originals, but he deserves homage for having successfully re- 
 produced these merits in his own plays. Indeed, in some of the 
 details, he has even ventured to make improvements upon his 
 originals. 1 As to the language of Terence, it is at all times se- 
 lect and pure and may pass as the best example we have of the 
 colloquial language as used by the more refined circles of Ro- 
 man society. Cicero and Caesar, who must surely be looked 
 upon as competent judges, accord him in this respect the highest 
 praise. But the excellences above mentioned are such as de- 
 pend chiefly upon thought and study and painstaking. On the 
 other hand one cannot fail to notice in Terence, as compared 
 with Plautus, a certain lack of vigor, of sparkling, spontaneous 
 wit, of liveliness, of variety in his characters, and of power in 
 depicting passion. Upon the absence of these characteristics, 
 the enemies of Terence based their accusation that his plays 
 were " tenui oratione et scriptura leui " (Phorm. Prol. 5) ; and even 
 Caesar complains that the " lenia scripta " of Terence lack " uis 
 comica." It was probably for this reason, too, that Volcacius 
 Sedigitus (about the end of the second century B.C., author of 
 a treatise de poetis), in naming the ten most noted writers of 
 fabulae pallialae in the order of their merit, assigned Terence to 
 the sixth place. 
 
 It is further to be noticed, that no development in the genius 
 of the poet can be discovered in the course of his productions. 
 This is, without doubt, due for the most part to the repression 
 
 1 Cf . e.g. Dziatzko's remarks on the marriage of Micio in his edition 
 of the Adelphoe, p. 4.
 
 INTRODUCTION. XXV 
 
 of the individuality of writers of palliatae in general, and espe- 
 cially at the time of Terence, but it is due in part also to the 
 shortness of the period through which his entire literary 
 activity lasted. At any rate, it is quite impossible for us to 
 designate any one of his six plays as the immature work of his 
 youth. 
 
 History of the Text. 
 
 After the death of Terence, the writing of fabulae palliatae 
 almost ceased. 1 In the absence of new productions, the custom 
 now began of presenting again upon the stage the plays of 
 former poets. It was but natural that many changes should 
 be made in these old plays to make them better suited to the 
 altered conditions under which they were to be reproduced, 
 though Terence has suffered but little in this respect as com- 
 pared with Plautus. 2 The plays of Terence, during the first 
 decades following the middle of the second century B.C., were 
 repeatedly brought upon the stage. To this fact the didascaliae 
 bear undisputed testimony (Rh. Mus. XX. 591 ; XXI. 64 ff.). 
 
 1 In the prologue to the Casina of Plautus, which was written about 
 154 B.C., or soon thereafter, we find the following (vs. 9 f .) : 
 
 Nam nunc nouae quae prodeunt comoediae, 
 Multo sunt nequiores quam nummi noui. 
 
 Turpilius, the last important writer of palliatae, lived, to be sure, till 
 103 B.C., but he probably ceased writing at an early date (Ritschl, Par- 
 erga, p. 188, Rem.). Men like Fundanius (Hor. Sat. I. 10, 40 ff.), Ver- 
 gilius Romanus (Plin. Epist. VI. 21), and M. Pomponius Bassulus (of 
 the end of the first century A.D.) translated Greek comedies, but these 
 productions were intended only for reading. 
 
 2 There can be no doubt that the comedies of Plautus are preserved 
 ,to us in the form which they received to fit them for reproduction long 
 after the time of Plautus. With Terence the case is different. The 
 fact that the prologues to his plays, though appropriate only for the 
 particular occasion for which they were written, have come down to 
 us unchanged, is a clear proof that, at the time when the comedies of
 
 INTRODUCTION. 
 
 As early as the second half of the second century B.C., schol- 
 ars began, in imitation and emulation of the Greek grammari- 
 ans, to turn their attention to the study offabulae palliatae. The 
 texts of the comedians were brought together in suitable form 
 for reading, special care being taken to preserve, as far as pos- 
 sible, different readings wherever such existed. Notes, too, on 
 the history of the different plays were collected and arranged 
 in a connected manner. Lastly, Roman scholars wrote various 
 treatises on the scenic and linguistic peculiarities of the old 
 comedians and on other topics of interest to the student of 
 literature. Among these were L. Accius (the famous writer of 
 tragedy), Porcius Licinus, Volcacius Sedigitus, L. Aelius 
 Stilo, Aurelius Opilius, Q. Cosconius, Serv. Clodius, and 
 above all M. Terentius Varro, whose works, distinguished as 
 they were for their learning and practical wisdom, formed the 
 chief source of information for the historians of literature. 
 The material for these works was drawn from the actors' copies 
 of the plays, so far as they could be procured, and from the rec- 
 ords of magistrates regarding the productions of plays brought 
 out under their supervision. Consideration for the convenience 
 of the reader led to the practice of indicating at the beginning 
 of each scene the characters who take part in that scene, and of 
 dividing plays into acts (see pp. xxxii f .). Plays still continued 
 to be presented on the stage, but they were more successful in 
 the provincial towns than at Rome, where the givers of games, 
 pandering to the altered tastes of the crowd, gave them scenic 
 representations of a more stirring character. 
 
 The plays of Terence, who always continued to be extensively 
 read in antiquity, at length became corrupt through glosses, in- 
 terpolations, and errors in copying. As a perfect understanding 
 of the text in all its details was impossible without aids, full corn- 
 
 Terence began to he extensively copied, people had the will and the" 
 means to transmit them to posterity in their original form. Of the 
 prologues of Plantus, on the contrary, not one that was written for any 
 production of the play shows a form that was suitable only for the 
 first production.
 
 INTRODUCTION. XXVli 
 
 mentaries became very common early in imperial times, and 
 these of course offered a good basis for revisions. Such com- 
 mentaries were prepared by Probus (probably M. Valerius 
 Probus, about the middle of the first century A.D.), Aemilius 
 Asper, Arruntius Celsus (perhaps only to the Phormio), 
 Helenius Aero, Euanthius, and the somewhat later Aeliua 
 Donatus (about the middle of the fourth century A.D.). We 
 have a commentary, bearing the name of the last-mentioned 
 scholar, to five of the plays (that to the Heaut. being lost). 
 This is a confused compilation of extracts from different 
 commentaries (at least two), which themselves contained 
 valuable explanatory comments from older works of a similar 
 nature. 
 
 In the first half of the second century A.D., a period charac- 
 terized by great zeal in the study of the older Latin literature, 
 metrical arguments to the plays of Terence (periochae), of 
 twelve verses each, were composed by C. Sulpicius Appolli- 
 naris, a native of Carthage, the teacher of A. Gellius and of the 
 emperor Pertinax. In the Mss. these arguments are prefixed 
 to the text of the respective plays. 
 
 In the course of time, the text of the comedies of Terence 
 had become so corrupt that the necessity was felt of a thorough 
 and comprehensive revision of the text, and such a revision 
 was undertaken by a certain Calliopius. 1 The name of this 
 man is appended to all the known Mss. of Terence, with 
 the single exception of the Bembinus. It will readily be seen 
 that this circumstance renders the Bembinus of special im- 
 
 1 See Umpfenbach's critical apparatus. Nothing certain is known 
 regarding the character, or the time, of Calliopius. According to 
 Konr. Braun, Quaest. Ter. (Gottingen, 1877), p. 21, the Calliopian recen- 
 sion dates from the end of the third, or the beginning of the fourth, 
 century ; according to Fr. Leo (Rh. Mus. XXXVIII. p. 331), from the 
 third century, while some scholars differ from these views so far that 
 they assign it to the seventh century. Dziatzko (Commentationes 
 Wolffliniae, Leip. 1891) and Schlee (Scholia Terentiana, Leip. 1803; rep- 
 resent the latent views in assigning it to the fifth century.
 
 XXV111 INTRODUCTION. 
 
 portance as preserving the older and frequently the better read- 
 ing. See Introd. to App. 
 
 Dramatic Entertainments, the Actors, the Stage, etc. 
 
 It should be noted that, for some time after Livius Andro- 
 nicus, dramatic performances in Rome were given only at the 
 ludi Romani or maximi (in September) under the supervision of 
 the curule aediles. Somewhat later they formed a part likewise 
 of the Megalesia (in April), given under the direction of the 
 curule aediles, of the ludi plebei (in November), given by the 
 plebeian aediles, and, after 211 or 212 B.C., of the ludi Apollinares 
 (in July), given by the praetor urbanus. To the officials who 
 conducted the games, a specified sum of money was furnished 
 by the state, for the purpose of defraying the expense attending 
 the occasion. In the course of time, as the games took on a 
 more elaborate character, the sum donated by the state had to 
 be increased repeatedly, and even then those who had them in 
 charge frequently had to make liberal contributions from their 
 own private means. Besides the games that were thus cele- 
 brated on behalf of the state, there were also others given on 
 extraordinary occasions, viz. at ludi funebrcs (or funerales), in 
 honor of celebrated men, those accompanying dedications and 
 triumphs, and those given as votive offerings. 
 
 Down to 174 B.C. these dramatic pei-formances took place 
 near the temple of the deity chiefly concerned in the festivi- 
 ties. 1 Permanent theatres of stone, such as were later 
 built on a scale of great grandeur, were as yet unknown. 
 When a play was to be produced, a wooden stage was erected 
 for the purpose and then torn down after the performance. 
 This stage was ordinarily built near the foot of some hill, or 
 slope, so that the rising ground might afford convenient seats 
 
 1 Funeral games (perhaps also the ludi Romani) took place in the 
 forum. That the ludi ApoUinarex at least, in the beginning, were given 
 in the Circus Maximus, is clear from Liv. 25, 12, 14.
 
 INTRODUCTION. XXIX 
 
 for the spectators, while those in front would not obstruct the 
 view of those in the rear. On such a slope the people as- 
 sembled under the open sky. As no seats were provided for 
 their accommodation, they usually sat, or reclined, upon the 
 ground. The more fastidious sometimes had stools brought 
 for them from their homes, although this was looked upon 
 as a mark of effeminacy and was even forbidden. In 179 B.C., 
 a stage of stone was erected near the temple of Apollo, but 
 this was of small dimensions and was probably intended for 
 use only at the ludi Apollinares. Five years later, arrangements 
 were made, on the part of the state, for the building of a sub- 
 stantial, immovable stage, 1 but this, if it was actually built, 
 seems soon to have disappeared. In 146 B.C., L. Mummius built 
 a complete theatre, provided with rows of seats, but this was of 
 wood, and was torn down after each performance. Finally, in 
 55 B.C., was dedicated the stone theatre of Cn. Pompeius, the 
 first permanent theatre erected in Rome. It was capable of 
 accommodating forty thousand spectators. 
 
 The dramatic performances usually took place between pran- 
 diwn (about twelve o'clock) and cena (after three o'clock), so 
 that when we consider the other amusements that formed a 
 part of the day's exercises, it seems hardly possible that more 
 than one play could, as a rule, have been presented on any one 
 day. Later, in Cicero's time, the custom of giving these per- 
 formances in the early morning was introduced. 
 
 When the ludi scaenici were to be given, the fact was an- 
 nounced by a crier (praeco), that the people might assemble at 
 the proper place. Immediately before the performance began, 
 there was a tituli pronuntiatio, an announcement of the subject 
 of the play ; but sometimes the prologue itself conveyed to the 
 audience their first information regarding the subject of the 
 play and the name of the poet. The actors were slaves, or, in 
 later times, freedmen, this profession being considered beneath 
 the dignity of free-born men. The dominus, or general man- 
 
 1 Ritschl, Parerg. p. 227.
 
 XXX INTRODUCTION. 
 
 ager of the troupe was a freedman who also took part in the 
 acting and was sometimes called the actor (i.e. par excellence). 
 At first, poets were wont to bring out their plays themselves, 
 hiring slaves and freedmen for the purpose, but this practice 
 ceased at an early date, and, as early as Plautus, the poet him- 
 self was no longer actor also. The Stichus of Plautus, for in- 
 stance, according to the didascalia, was brought out by T. 
 Publilius Pellio, 1 who is severely criticised by the poet himself 
 (Ba.cch. 214 f.) for the manner in which he put the Epidicus 
 on the stage. 
 
 To these theatrical managers application was made by those 
 who wished to give dramatic entertainments. The poets had 
 business relations, for the most part, only with the actores, who 
 bought, or rejected, their plays, and these actores accordingly 
 were very influential in determining the fate and encouraging 
 the development of poetic talent. In exceptional cases, how- 
 ever, the givers of the games, as they were men of experience 
 in such matters and naturally felt great interest in the success 
 of the performances, had a voice in the selection of the plays to 
 be presented. All financial risk attending the presentation of a 
 play had to be borne by the theatrical manager (the dominus). 
 As it was of great importance to the givers of the games, that 
 the people should be pleased with the amusements provided for 
 them at such great expense, a reward was offered to the dominus, 
 varying in amount according to the success of the play given by 
 him. 2 This of course was calculated to secure the choice of the 
 best possible play and to assure its presentation in the best pos- 
 sible manner. The dominus on his part was accustomed, after 
 a successful performance, to reward the deserving actors of his 
 company with a banquet. Cf. Plant. Cist., end ; Rud. 1418 ff. 
 
 As regards the external equipment necessary for the dra- 
 
 1 On the name, see Studemund in Comment, in hon. Momms. 
 p. 800 f. 
 
 2 The assertion of Mommsen, Rom. Gesch. I. 8 p. 889, that the poets 
 received their reward only when the play did not prove a failure, has 
 not becu substantiated.
 
 INTRODUCTION. XXXI 
 
 matic performances, this was provided by contractors (conduc- 
 tores in Plant. Asm. Prol. 3), under the supervision of the 
 party who gave the games. 1 
 
 Among the Greeks, the number of actors allowed upon the 
 stage at any one time was limited. This was not the case 
 among the Romans, as there could be any number of actors 
 which convenience might dictate. The dominus gregis did not, 
 of course, care to increase the number unnecessarily, on account 
 of the additional expense, preferring rather to produce a play 
 with a few superior actors than with a larger number of in- 
 different ones. The Latin fabula palliata resembled the later 
 period of the new Greek comedy in having no chorus. In ex- 
 ceptional cases, there seems to have been something similar to 
 it, probably in imitation of the Greek original, e.g. the chorus 
 of fishermen in Plant. Rud. (vs. 290 ff.) ; but this was placed, 
 not in the orchestra, but upon the stage. There is nothing of 
 the kind, however, in Terence. 
 
 Female characters were, until comparatively late times (cf. 
 Douatus on And. IV. 3, 1), impersonated by male actors in 
 female dress. An exception to this rule must, however, be 
 made in the case of the mimes (inimi), in which the female 
 parts were really taken by women. It is needless to say that 
 these women, like all the other actors in mimes, were in very 
 bad repute. 
 
 The custom of using masks seems to have been introduced 
 soon after Terence by the theatrical managers, Cincius Faliscus 
 and Minucius Prothymus. Up to that time actors depended 
 for their effects upon wigs and rouge. 
 
 The plot in the fabula palliata is invariably laid in a Greek 
 town or colony, usually in Athens. When the action was 
 supposed to be taking place in a town, the proscenium repre- 
 
 1 The costumes of the actors were provided by the choi-agus, whom 
 Mommsen (Rom. Gesch. I. p. 886) regards as identical with the domi- 
 nus greyis. See, however, Dziatzko, Inaug.-diss. Thes. VI., and 
 Friedlander, p. 525.
 
 XXX11 INTRODUCTION. 
 
 sented an open street in that town. The background was 
 ordinarily formed by three private houses, corresponding to 
 the three entrances to the royal palace as represented on the 
 stage in Greek tragedy; in place of one of these was sometimes 
 the front of a temple, when the character of the play made 
 such a building necessary. Narrow alleys also opened from 
 the back of the stage into the street (cf. Phorm. 891 f.). Upon 
 the stage stood, according to Donatus, two altars one on the 
 right, dedicated to Liber, another on the left, dedicated to the 
 deity chiefly concerned in the festivities of which the production 
 of the play formed a part. On this point, however, there are 
 differences of opinion. 1 On the right (from the point of view 
 of the spectators) the street was supposed to lead to the forum 
 and the interior of the town; on the left, to the harbor and 
 foreign countries. 
 
 Division of Plays into Acts and Scenes. 
 
 A division of dramas into acts was already known in the 
 time of Plautus and Terence, but it does not as a rule seem to 
 have been clearly marked by the writers themselves. It was 
 left rather to the discretion of the theatrical manager to intro- 
 duce intermissions at suitable places in the play. This is per- 
 haps the reason why the manuscripts, at least all the oldest of 
 them, have no divisions into acts. Definite divisions were, how- 
 ever, established by the grammarians and the commentators of 
 antiquity (though these sometimes differ among themselves), 
 and five was settled upon as the proper number of acts for a 
 drama (cf. Horace, A. P. 189 f.). 
 
 The division into scenes, on the other hand, is very old. It 
 was customary to place before each scene a complete list of all 
 the characters to appear in that particular scene. In the copies 
 which formed the basis of our manuscripts, each character who 
 had anything to say was denoted by a letter of the Greek alpha- 
 
 1 See Dziatzko's note, Eiuleitung, p. 25.
 
 INTRODUCTION. XXX111 
 
 bet, which letter served also in the text to designate that 
 character. For the division into scenes, two principles seem to 
 have been followed in our manuscripts. According to one of 
 these, a new scene is formed by the exit or the entrance of a 
 single actor, this being the principle followed, for the most 
 part, in the Bembinus. 1 Exceptions to this rule are formed by 
 cases in which a person leaves the stage only for a moment 
 (cf. Phorm. 446), or in which the persons who remain behind 
 have little to say, and that of no importance, until the entrance 
 of another actor, or other actors, and the opening of a new 
 scene (e.g. Phorra. 219, 778, 816). According to the other prin- 
 ciple, a new scene is indicated only where the change of actors 
 introduces an important turn in the plot. The manuscripts 
 which follow this principle accordingly indicate no new scene 
 at Phorm. 795, 884. The first of these two principles is followed 
 in the present edition. 
 
 The Metres of Terence. 
 
 The metres found in Terence are, with rare exceptions, either 
 iambic or trochaic. A peculiarity of an iambic or a trochaic 
 verse is that it is, at least in Greek poetry, measured by dipo- 
 dies, i.e. pairs of feet, instead of by single feet, each dipody 
 having one main and one subordinate ictus. Accordingly, a 
 verse of four feet is called a dimeter (instead of a tetrameter), 
 one of six feet a trimeter (instead of a hexameter), etc. Fre- 
 quently, however, and especially with reference to early Latin 
 poetry, these verses are called quaternarii, senarii, etc., names 
 given them solely with reference to the number of feet con- 
 tained in each, the distinctions between the odd and the even 
 feet having been, for the most part, lost sight of by early Latin 
 poets. We may divide the verses of Terence into the follow- 
 ing varieties : 
 
 1 An exception is found, for example, in Phorm. 441, where it indi- 
 cates no new scene.
 
 XXXI V INTRODUCTION. 
 
 Iambic : 
 
 In all iambic verses, any one of the following feet is allowed 
 as a substitute for the pure iambus, w Z. : (a) anapaest, ww Z. ; 
 (ft) spondee, > Z. ; (c) tribrach, ^ w w ; (d) dactyl, > 6 w ; 
 (e) proceleusmatic, ww w w- It should be noticed, however, 
 that the last foot of an acatalectic verse is invariably a pure 
 iambus (with the privilege, of course, of the syllaba anceps), and 
 that a proceleusmatic is never used by Terence in the fifth foot. 1 
 
 1. Iambic Senarius (Trimeter Acatalectic). This verse, 
 patterned after the Greek trimeter, constitutes fully half of 
 each play of Terence. 
 
 The caesuras may be classified as follows, in the order of 
 their frequency : (a) the so-called penthemimeral, after the 
 
 arsis of the third foot, e.g. w w w II ^> w w ^ ; 
 
 (b) the hepthemimeral, after the arsis of the fourth foot, 
 
 e.g. w ^ w w II _ w w ^, in which case there is 
 
 often diaeresis after, or a secondary caesura in, the second 
 foot. Not many verses are without one of these caesuras. 
 
 In connection with this verse, the following peculiarities 
 call for notice : (1) An anapaest is not allowed immediately 
 after a dactyl ; (2) When a proceleusmatic is used, its ictus- 
 syllable nearly always begins a word, and the ictus and word- 
 accent, with rare exceptions, coincide. The proceleusmatic is 
 K most common at the beginning of a verse. 
 
 2. Iambic Octonarius (Tetrameter Acatalectic). The 
 caesura of this verse falls into two classes : (a) It may be after 
 
 the fifth arsis, i.e. w w_w w _ w II w w__w ; (b) it 
 
 may be at the end of the fourth foot, e.g. w w_w w ^ II 
 
 ^ w w w ^, in which case the fourth foot is treated like 
 
 the final foot of the verse, i.e. it must be a pure iambus, hiatus 
 is sometimes allowed after it (at least in Plautus), and certain 
 forms, otherwise used in iambic metres only at the end of a 
 verse (e.g. siet, the infinitive in -ier, etc.), are also used here. 
 
 1 Dziatzko claims that it is allowed in the fifth foot; but see Ap- 
 pendix on vs, 598.
 
 INTRODUCTION. XXXV 
 
 3. Iambic Septenarius (Tetrameter Catalectic), called 
 septenarius because only seven feet are complete, though it really 
 contains seven and a half feet. The caesura is (a) usually after 
 the fourth foot, which then presents the same peculiarities of 
 treatment as in the octonarius under similar conditions; (6) 
 sometimes after the arsis of the fifth foot. 
 
 4. Iambic Quaternarius (Dimeter Acatalectic), rare in 
 Terence, occurring only three times in the Phormio (vss. 163, 
 183, 196). This verse is usually employed as a clausala (see p. 
 xxxvi) in connection with octonarii and septenarii. Here the 
 proceleusrnatic is not found in Terence. 
 
 Trochaic : 
 
 Any one of the substitutes allowed in iambic verses for the 
 pure iambus may, except as indicated below, also stand here for 
 the pure trochee, _/. ^, the metrical accent being, however, in 
 all cases, upon the first syllable of the foot. The proceleus- 
 matic is found in Plautus, though not in Terence, as a substi- 
 tute for a trochee. 
 
 1. Trochaic Octonarius (Tetrameter Acatalectic). 
 This verse is used only in lyric parts of the plays, in connec- 
 tion with other verses, to form special rhythmic systems. In 
 Terence trochaic octonarii are always followed by trochaic sep- 
 tenarii. 
 
 The caesura is (a) usually after the fourth foot, from which 
 foot the dactyl is then excluded ; (6) sometimes in the fourth 
 or fifth foot. In this verse a tribrach, a spondee, or an ana- 
 paest is allowed even in the eighth foot. 
 
 2. Trochaic Septenarius (Tetrameter Catalectic), called 
 septenarius because only seven feet are complete, though it 
 really contains seven and a half feet. This verse in Terence 
 is, in point of frequency, next to the iambic senarius. The 
 caesura may be (a) after the fourth trochee, in place of which 
 a dactyl is not then admissible, or (6) after the fifth arsis, gen- 
 erally with a minor caesura after the fourth thesis or the third 
 arsis. In this verse, as in iambic verse, an anapaest is not used
 
 XXX VI INTRODUCTION. 
 
 immediately after a dactyl. The seventh foot is commonly kept 
 pure, though a tribrach or a dactyl is occasionally found. The 
 last syllable of the verse may, as usual, be either long or short. 
 3. Trochaic Ternarius (Dimeter Catalectic) occurs in 
 the Phormio only in vss. 191 and 729. 
 
 Besides the verses above referred to, Bacchic and Cretic Te- 
 trameters are met with in the Andria of Terence. 
 
 Among the longer verses in lyric parts, and at the end of 
 stichic series (And. 605, Hec. 621, 731), is sometimes thrown in 
 a single, shorter verse called a clausula. A clausula always has 
 the same rhythm as the preceding verse (e.g. Phorm. 163, 183, 
 191, where it follows iambic quaternarii, and 729, where it fol- 
 lows a trochaic quaternarius) . Metrically, clausulae are handled 
 like the complete verses of the same rhythm. Single words of 
 address, or of exclamation, occasionally stand at the beginning 
 of a lyric part (Phorm. 485). 
 
 It will be seen from what has been said that the Roman 
 dramatists for this is true not merely of the fabula palliata 
 alone could avoid monotony in their plays by varying the 
 form of their verse to correspond at each point with the char- 
 acter of the scene. 
 
 Adaptability of the Various Metres to Different Moods. 
 
 All the plays of Terence open with iambic senarii. This is 
 the verse of ordinary narrative, or dialogue, sometimes also of 
 soliloquy, and seems the one best adapted for making the audi- 
 ence acquainted with the general situation. Its movement may 
 be illustrated by the following lines : 
 
 " The tempest nears us ; darkly rolls the angry sea ; 
 The thunder mutters; lightnings leap from cloud to cloud." 
 
 As the plot develops, the metre changes to suit the varying 
 moods of the characters. Iambic octonarii are suited to an 
 animated, impassioned mood. Compare: 
 
 " And furious every charger neighed, to join the dreadful revelry."
 
 INTRODUCTION. XXXV11 
 
 Trochaic septenarii are suited to a somewhat more quiet, 
 peaceful frame of mind. Compare : 
 
 " Tell me not in mournful numbers, life is but an empty dream." 
 
 Iambic septenarii, which in Latin occur only in comic poets, 
 are found chiefly in serio-comic strains. Compare : 
 
 " A captain bold of Halifax, who lived in country quarters." 
 
 Trochaic octonarii are peculiar to those parts of a scene that 
 are intended to be sung. The movement of this verse may be 
 illustrated by the following : 
 
 "Beams of noon, like burning lances, through the tree-tops flash and 
 glisten." 
 
 It will be understood, of course, that most of these metres are 
 sometimes used where the above-mentioned characteristics are 
 not prominent. The moods indicated are, in each case, to be 
 regarded merely as those most frequently associated with the 
 verse. 
 
 Differences in the Manner of Rendering Various 
 Rhythms ; Musical Accompaniment, etc. 
 
 A change in the character of the verse was often accompanied 
 also by a corresponding change in the manner of presenting 
 the scene. With reference to the differences in the manner of 
 presentation, the various parts of a play are to be divided into 
 three distinct classes : 
 
 (1) those composed of ordinary narrative, or dialogue, written 
 in iambic senarii, without musical accompaniment ; 
 
 (2) those merely recited in a melodramatic manner to the ac- 
 companiment of the flute, written in trochaic or iambic sep- 
 teiiarii and in iambic octonarii ; 
 
 (3) those of a purely lyric nature sung to a set tune with flute 
 accompaniment, written in varying metres [including those
 
 XXXV111 INTRODUCTION. 
 
 under (2) ], but commonly characterized by the presence of tro- 
 chaic octonarii. 1 
 
 In the text editions of antiquity, letters were added to the 
 superscriptions of different scenes to indicate the manner in 
 which they were to be rendered, and these marks are still dis- 
 tinguishable in some of the manuscripts of Plautus. These 
 show that the last two kinds of scenes, (2) and (3) above, as 
 they were both accompanied by music, were marked with the 
 letter C., i.e. canticum, song ; the first kind (1), with the letters 
 DV., i.e. diuerbium, spoken dialogue. In the editions of Terence, 
 as may be seen from Donatus, scenes of a purely lyric character 
 were marked M.M.C. (perhaps an abbreviation for modi mutati 
 cantici) ; those merely recited with musical accompaniment, 
 simply C. (though this rests upon the opinion of Ritschl, Do- 
 natus giving us no information on this point) ; those consisting 
 of ordinary dialogue, DV. 2 
 
 It was customary to have music also before the beginning 
 of the play (before the prologue) and between the acts. The 
 music for the plays of Plautus and Terence seems to have been 
 composed entirely by slaves, that for all the plays of Terence 
 by Flaccus, the slave of Claudius. The music was given by a 
 single flute-player (tibicen), probably by the composer himself, 
 with a double flute, or, perhaps we might say, clarinet, as the 
 instrument bore a greater resemblance to it than to our flute. 
 It was played by blowing into both tubes at the same time. 
 From the didascaliae we learn of four different kinds of these 
 instruments : 
 
 tibiae pares in which the two pipes were of equal length ; 
 
 tibiae impares in which they were of unequal length ; 
 
 1 Cf. what is said on p. xxxv regarding the lyric metres. The rules 
 governing the change of verse in these parts have not yet been discov- 
 ered. K. Meissner, in Fleckeisen's Jahrbiicher (1884), attempts to 
 show that they are divided into strophes. See also Schlee, de vers. in 
 cant. Ter. cons. (Berlin, 187!)). 
 
 2 Indications of this system of marking are preserved in the Phormio 
 before Act. II., Sc. 4; see Rh. Mus. XXIX. 54.
 
 INTRODUCTION". XXXIX 
 
 tibiae serranae of which but little is known, though they were 
 probably of equal length 1 ; and 
 
 duae dextrae tibiae in which the two tubes were of equal length 
 and identical in key and note. 
 
 Regarding the last-mentioned tibiae, we are told by Varro that 
 the right tube was for leading (tibia incentiua), the left for ac- 
 companying (tibia succentiua). We have no further knowledge 
 regarding the difference between the various kinds of these 
 instruments ; but we may be certain that the choice of instru- 
 ment depended upon the character of the play. In the case of 
 the Heauton timorumenos, we know from the didascalia that 
 instruments were changed in the course of the play itself. 
 
 An important difference between the practices of the ancient 
 and of the modern stage may be inferred from Livy, 7, 2, 8 ff. 
 It is here recorded that, from the time of Livius Andronicus 
 throughout the whole period when Roman comedy was at its 
 height, the lyrical parts were sung by a person especially se- 
 lected for the purpose and stationed near the flute-player, while 
 the actors meanwhile were wont merely to act silently, in a 
 manner suitable to the words thus sung. 
 
 PROSODY. 
 
 The prosody and the language of Terence differ far less from 
 those of the later, classical authors, than do those of Plautus, 
 though there were only a few years between the two writers. 
 Peculiarities of this nature will be pointed out in detail in the 
 notes. The more important of these, however, may well find a 
 place in this introduction. 2 
 
 1 On the character of the music used in the plays, see Howard on 
 the Au\6s, or Tibia, in the Harvard Studies in Classical Philology, IV. 
 (1893). 
 
 2 A number of special forms and certain peculiarities in the metri- 
 cal treatment of some forms, are found only at the close of verses, 
 or half verses with an iambic ending: the full forms of the perfect in 
 -auer-, euer-, ouer-, iuer-; the subjunctive siem, etc., and its com-
 
 xl INTRODUCTION. 
 
 1. Vowels. 
 
 The final syllables of words in archaic Latin present a long 
 list of vowels long by nature, which were afterward shortened. 
 This was especially the case in Ennius and Plautus. From Ter- 
 ence may be cited stem (Phorm. 9), ingeat (Ad. 25). 
 
 2. Consonants. 
 
 In the earliest Latin, no such thing was known as the doubling 
 of consonants in writing. The distinctness with which certain 
 syllables were pronounced was constantly varying. Ennius 
 was the first to introduce the doubling of consonants in writ- 
 ing l and thus to put an end to the wavering and uncertainty 
 of the prosody in such cases, though the rules he established 
 did not, nor could it be expected that they would, come at once 
 into general favor. Terence is already tinder the influence of 
 Ennius in this respect, but the former habits sometimes assert 
 themselves even in him, e.g. ille, esse, eccum quippe, mimo, etc. 
 
 It will further be noticed that, in early Latin, the addition 
 of I, or 77 to a mute does not ordinarily make a long syllable, 
 e.g. patrem. In the pronunciation of every-day life, there 
 was a tendency (clearly shown in the inscriptions) to slur over 
 certain consonants, especially when these were at the end of 
 a word. The same tendency is seen in early poetry, certain 
 final consonants being sometimes disregarded to suit the re- 
 quirements of prosody. In the case of m before a following 
 
 pounds ; the present passive infinitive in -ier; the long quantity of the 
 first syllable in fieri, fierem, etc. ; dissyllabic nihil; short vowels in 
 cases like emerunt (Eun. 20) ; the forms duint, perditint; neglect of 
 syncope in the declension of dexter and sinister; the forms face, 
 coeperet (Ad. 397), crednas (Phorm. 993), attigas (And. 789), mauolo 
 (Hec. 640), compluria (Phorm. 611). 
 
 1 Hinnad occurs in an inscription of 211 B.C. (C, I, L. 1, 530), but this 
 is in mere imitation of the Greek "Evva. See Lindsay, Latin Language 
 (1894), p. 8.
 
 INTRODUCTION. xli 
 
 vowel or before h, this practice continued to be general even in 
 classical times. The same was true, for a long time, of final s 
 after a short vowel ; it could, as late as the boyhood of Cicero, 
 be disregarded before consonants in the arsis (even of the last 
 foot), or in the unaccented syllable of a resolved thesis, e.g. 
 ex omml>u(s) rebus. In the middle of words we find m without 
 influence upon the prosody in nempe {e.g. Phorm. 307), omnis 
 {e.g. Hec. 867) ; n, likewise, is sometimes disregarded in inde 
 {e.g. Phorm. 681), but only at the beginning of iambic verses, 
 a fact which seems to show that the shortening is chiefly due to 
 the requirements of the rhythm. 
 
 3. Influence of Verse-Accent and "Word-Accent. 
 
 The most important and far-reaching peculiarity of prosody 
 to be noted in the dramatic poets is the frequent shorten- 
 ing of a long syllable when it is immediately preceded by 
 a. short syllable and immediately preceded, or followed, 
 by the verse-ictus. The influence of this " iambic law " (so 
 
 called because it concerns the combination w ) may, then, 
 
 change 
 
 (1) w ^L to \j \j Z_, e.g. Phorm. 113 enim si to enim se; 
 
 (2) w -(j to w w w, e.g. Phorm. 739 cvnloquar quis hlc lo- 
 
 quitur to conloquar quis hie 
 loquitur ; 
 
 (3) <(j to w \j , e.g. Phorm. 209 quid hlc conterimus to 
 
 quid hie conterimus ; 
 
 It is important to note, however, that in such cases the long 
 syllable may be shortened only when the short syllable im- 
 mediately preceding begins a word. The shortening, further- 
 more, seems to take place only in the following cases : 
 
 (1) In a dissyllabic iambic word 1 ; 
 
 1 Here the word-accent on the initial syllable aided in the shortening 
 of the final syllable. Compare the shortening of the originally long 
 final syllable in mihi, tibi, sibi, ibi, ubi, nisi, quasi, ego, modo, etc.
 
 xlii INTRODUCTION. 
 
 (2) In a monosyllabic word (or one that has become such 
 by elision) preceded by a short monosyllable (or a word which 
 has become such by elision) ; 
 
 (3) In the first syllable of a word of two or more syllables 
 preceded by a short monosyllable (or a word that has become 
 such by elision) ; 
 
 (4) In the second syllable of a polysyllabic word beginning 
 with a short syllable. 
 
 In the cases under (3) and (4), the rule holds only for syllables 
 " long by position" but having a short vowel. 
 
 Another effect of the metrical accent is frequently seen in 
 cases where monosyllabic words ending in a long vowel, or 
 in m, instead of being elided before a following vowel, or h, 
 receive the ictus and are treated as short syllables (e.g. Phorm. 
 27 qui aget; 419 ne agas; 808 (?) qudm ego). 
 
 4. Synizesis and Hiatus. 
 
 Two vowels coming together within a word, but not forming 
 a diphthong, regularly remain separate in verse, just as in 
 ordinary speech. Such vowels are, however, blended together 
 (synaloepha, or synizesis) when they belong to originally 
 distinct words (e.g. Phorm. 4 antehac ; 668 proinde), unless the 
 final vowel of the first word is long and has the ictus, when, in 
 accordance with the rule just given above, it is retained in a 
 short form (e.g. Phorm. 425 prohibelo). Synizesis may occur 
 also in words like aln ( = aisne), albam, deus, metis, eum, fuisse, 
 emus, hums, dmtius, duTis, nescw, reicere, dehortatus, quoad, duo, 
 etc. In many cases, however, it is impossible to decide whether 
 there is synizesis, or a shortening of the final syllable of an 
 iambic word. In words of which the language has both a full 
 and a contracted form (e.g. nihil and nil, prehendo and prendo 
 etc.) the manuscripts of Terence have, almost without excep- 
 tion, the full form, even where the metre requires the short 
 form.
 
 INTRODUCTION. xliii 
 
 Hiatus is allowed within a verse only in the following cases : 
 (1) in the caesura of iambic septenarii and octonarii (cf. pp. 
 xxxiv and xxxv) ; (2) after interjections (Phonn. 411, 754, 
 803), in which case these are shortened, if they are long by 
 nature and come in the arsis ; (3) when there is a change of 
 speakers, in which case there is, for the most part, a caesura (cf. 
 Phorm. 146, 542, 963) ; (4) in cases like qui aget, ne agas, quam 
 ego. 
 
 LANGUAGE. 
 1. Vowels. 
 
 The vowels of the Latin language undergo certain changes, 
 in the course of their development, with considerable regularity. 
 In this respect, Terence frequently represents an earlier stage 
 than the writers of the classical period. Thus, after u, o is reg- 
 ularly found, where another u was later used, as in seruos, tuos, 
 antiquos, relinquont, metuont, ( = seruus, tuus, antiquus, relinquunt, 
 metuunt), etc. Such words were in fact commonly spelled -uos, 
 -quos, -quont, -uont till well into the first century A.D. 1 Again u, 
 as well as e, is found in the gerund and gerundive of the third 
 and fourth conjugations, e.g. faciundus (faciemlus) ; u for later 
 i, in lubet and in superlatives, especially after t and s ; e.g. optu- 
 mus, pessumus ; ei, for later i, e.g. deico for dlco, although this ei 
 has been generally changed in our Mss. to conform to the later 
 spelling. Words formed with the suffix -culum appear in early 
 Latin chiefly in a shorter form ; e.g. periclum, saeclum, uinclum- 
 
 2. Consonants. 
 
 Quo- is regularly found in certain words, where the later period 
 
 1 Quint. 1, 7, 26 Nostri praeceptores seruum ceruumque V et O litteris 
 scripserunt.
 
 xliv INTRODUCTION. 
 
 uses cu-: quoins, quoi, quom, quor, etc. ( = cuius, cui, etc.). 
 The forms gnatus and gnata (when used as substantives), per- 
 haps also gnauiter (Eun. 51), still retain their initial g. 
 
 Assimilation of consonants does not, as a rule, appear in 
 the written form. This is particularly the case with in, except, 
 apparently, in the very common words imperium, imperare, 1 im- 
 petrare. Ad is assimilated only before ce, ci (accedere, accidere, 
 but adcurrere 2 ), pe (appellere,\>\ii adporlare, adprobare, etc.) and 
 ti (attinere, attingere). On the whole, the process of assimilation 
 seems to have gone further in the more common words than in 
 those less frequently used. B in ab and ob before s and t has 
 very commonly in the Mss. become p. 
 
 The Mss. show great wavering between d and t at the end of 
 certain pronouns and particles (e.g. id, it, illud, illut, aliud, aliut, 
 apud, apuf), but this variation in spelling was, without doubt, 
 common among the ancients themselves. In this edition the 
 usual orthography has been followed, except where the Mss. are 
 decisive for another. See note on vs. 159. 
 
 3. Peculiarities of Declension. 
 
 (1) Latinized form of Greek words ; e.g. satrapa, lampada, 
 Clinia (first declension), Aescliinus, etc. 
 
 (2) Genitive usually in -i, less commonly in -uis in words of 
 the fourth declension, e.g. aduenti (Phorm. 154), anuis (Ileaut. 
 287). 
 
 (3) Dative regularly in -u in words of the fourth declension. 
 
 (4) Dative (and perhaps the genitive) occasionally in e, in 
 words of the fifth declension. 
 
 (5) Genitive occasionally in -l in those pronouns and adjec- 
 tives which regularly have ius in that case, e.g. nulli consili 
 (And. 608). 
 
 1 In And. 897 the assonance (inpone, impcra) favors the spelling 
 inpera. 
 
 2 Accusare forms an exception.
 
 INTRODUCTION. xlv 
 
 (6) The common use of the particle -ce in the genitive singu- 
 lar, and in the genitive, dative, accusative, and ablative plural 
 of the pronoun hie, e.g. hisce, hasce. Terence commonly uses 
 these forms with ce only before vowels and h. 
 
 Hisce is used in Eun. 269 as the masculine, and haec regularly 
 as the feminine, form of the nominative plural. 
 
 (7) Ipsus sometimes for ipse, e.g. Phorm. 178. 
 
 4. Peculiarities of Conjugation. 
 
 (1) Active forms of verbs that were later used only, or 
 chiefly, as deponent; e.g. luctare, altercare, conftictare (= con- 
 tend with). 
 
 (2) The frequent use of -ibam, -ibo for -iebam, -iam in the 
 singular of the imperfect and future of verbs of the fourth con- 
 jugation. Aio is the only verb in Terence which shows the 
 shorter form also in the plural, e.g. And. 534, Phorm. 572. 
 
 (3) Syncopated forms (so-called x ) in the second person singu- 
 lar indicative, and more rarely in the infinitive of the perfect, 
 when s or x precedes the -isti or -isse, e.g. sensti for sensisti, dixti 
 for dixisti, iusse for iussisse, produxe for produxisse. 
 
 (4 ) The regular (probably invariable) use of -re instead of 
 -ris in the second person singular passive of the tenses formed 
 from the infinitive stem. 
 
 (5) The ending -ier, as well as -i, in the present passive 
 infinitive, but only at the end of a verse, or a half-verse (before 
 the caesura) which closes with an iambus. See p. xxxix, 
 note 2. 
 
 (6) The use of siem, etc., for sim, etc., but only at the end of 
 a verse, or a half -verse (before the caesura). See p. xxxix, 
 note 2. 
 
 1 Some scholars, e.g. Brugmann, followed by Stolz (Lateinische For- 
 menlehre, 2ded., 112), rejecting the theory that these forms are the 
 result of syncopation, regard them as reminiscences of an old form. 
 See, however, Lindsay, Latin Language, p. 464.
 
 xlvi INTRODUCTION. 
 
 (7) The disappearance of the copula es, est, as an indepen- 
 dent syllable, after an s preceded by a short vowel. Thus con- 
 scius es becomes consciu's, conscius est becomes consciust. Est is 
 often blended with a preceding word also when that word ends 
 in a vowel, or in m, e.g. ducendast iudicandumst. 
 
 THE PHORMTO. 
 
 The Phormio was first presented on the stage at the ludi 
 Romani, in 161 B.C. It was modeled after tlfe Epidicazomenos 
 of Apollodorus, a play which took its name from the technical 
 term ViSiKav, "to adjudge (to some one) property under liti- 
 gation," or, in the middle, " to lay claim to " (in the interest of 
 one's self, or of some one else) with reference either to property 
 itself, or to the hand of an heiress who inherits it. According to 
 Athenian law, the nearest male relative of an orphaned girl was 
 obliged either to marry her, or to furnish her with a marriage 
 portion of 500 drachmae. It is upon this law that Phormio in 
 our play rests his claim that Antipho must marry Phanium. 
 Terence, contrary to his usual custom and to that of all writers 
 of palliatae of his time, instead of retaining in this case the 
 name of the Greek play, chose as the title of his Latin reproduc- 
 tion the name of the character to whom the term eVtSiKa^o/ievos 
 would have been applicable, viz. Phormio. The reason for 
 this was, without doubt, fear on the part of Terence that the 
 Greek word, which called for an explanation to all not versed 
 in Athenian law, would not be understood by the Roman 
 public. 
 
 The action of the play turns upon the cunning artifice by 
 which Phormio, the parasite of the young Antipho, makes it 
 possible for this youth, in the absence of his father, to marry 
 a poor orphan girl from Lernnos. Appealing to the law just 
 referred to, he declares in court that Antipho and his father 
 are the nearest relatives of the girl, and as Antipho does not 
 deny it, he secures a decision of the court, directing that Antipho
 
 INTRODUCTION. 
 
 must marry her. The marriage accordingly takes place be- 
 fore the arrival of the father. 1 They are both supported by 
 the slave Geta, whom Demipho, the father of Antipho, at his 
 departure, has left in charge of his son, but who, as the slaves 
 in Greek comedy usually do, humors his young master and 
 seeks at all times to shield him, even at the risk of getting 
 a drubbing himself, against the consequences of his misdeeds. 
 They are also aided by Phaedria, the cousin of Antipho. Phae- 
 dria's father, Chremes, brother of Demipho, is also absent on a 
 journey. In the mean time, Phaedria falls in love with a music 
 girl, the slave of a procurer, but has not sufficient money to pur- 
 chase her. 
 
 At this point the play opens, just as the two old gentlemen 
 return from their journey. The marriage of Antipho, having 
 already taken place before the opening of the play, the ques- 
 tion now is : How is the news to be broken to the father, and 
 how is he to be reconciled to what has taken place? Phaedria 
 at the same time is reduced to straits by the action of the pro- 
 curer, who, tired of waiting for Phaedria to purchase the music 
 girl, proposes now to sell her to another, to be taken to foreign 
 lands, unless the money be straightway forthcoming. This 
 trouble of Phaedria is very effectively interwoven with the 
 main thread of the play. Phormio, while in reality seeking to 
 assure to Antipho the continued enjoyment of his present re- 
 lations with Phanium, manages to procure from Demipho the 
 money needed by Phaedria, on the pretext of wishing to bring 
 about a dissolution of those relations. 
 
 The disentanglement of the complications is brought about, 
 as is usually the case in fabulae palliatae, purely by external 
 occurrences. It is no change of disposition on the part of 
 
 1 In an essay entitled "Le proces du Phormion " (Ann. de 1'assoc. 
 p. 1'enc. d. et gr. en. France XII. 48-62), R. Lallier shows that the in- 
 trigue devised by Phormio and his whole behavior, when one considers 
 the condition of things in Athens at the time, contain nothing in the 
 least improbable.
 
 xlviii INTRODUCTION. 
 
 Demipho that brings about his reconciliation to the marriage, 
 but this is effected rather by discovery of the identity of the 
 objectionable girl with one whom all were ready to receive with 
 open arms. Phanium, the young wife, is found to be the 
 daughter of Chremes by a secret marriage, which he has entered 
 into in Lemuos, under a fictitious name assumed for fear of dis- 
 covery by his Athenian wife. She is thus found to be in re- 
 ality, what the intriguers merely pretended she was before the 
 court, i.e. one to whom Demipho and Antipho were next of kin. 
 She is, in fact, the very person who had long been selected 
 both by Demipho and Chremes as a wife for Antipho. By 
 disclosure of the secret to Nausistrata, the Athenian wife of 
 Chremes, Phormio, who had, by a happy chance, learned of 
 the whole affair, is enabled at the end to secure to Phaedria 
 also the possession of his sweetheart. 
 
 The play is characterized by a careful interweaving of the 
 various parts, and the characters are clearly drawn and con- 
 sistently maintained throughout. The two young men, in the 
 nature of things, seem very much alike. On the contrary, the 
 two old men are strongly individualized: Demipho is. irritable, 
 impetuous, determined; Chremes, irresolute, timid, submissive. 
 Nausistrata is well aware of this difference and bestows upon 
 Demipho, who, by the way, is a widower (see vs. 422 f.), respect 
 as marked as is the contempt with which she treats her husband 
 (vs. 719 ff., 784 ff., 1011 ff., 1031 ff.). The relation of Chremes 
 to his wife is made all the more unfortunate for him by the 
 fact that all the property belongs to her (cf . vs. 586 f ., 680, 788 
 ff., 940). 
 
 To one feature of the play, critics may, perhaps, take excep- 
 tion. Why does not Phormio, after having sufficiently bantered 
 the old men and compelled them, by threatening to tell Nau- 
 sistrata of the secret marriage, to give up all claim to the 
 money already paid him, why does not Phormio content him- 
 self with this result ? Why does he, by carrying out his threat, 
 again set at stake what he has won ? He must indeed have 
 foreseen that he would not be able to carry out his plan without
 
 INTRODUCTION. xlix 
 
 exposing the secret of Phaedria. The play might well have 
 come to a rapid close after vs. 947, when all the complications 
 had come to a happy termination. Still, it is quite in harmony 
 with the bold, determined character of Phormio, that he im- 
 proves the opportunity for the spirited scene which follows; 
 and again the demands of justice, as it were, required that 
 Chremes should be made to pay the penalty of his faithlessness 
 and ill-becoming conduct. For Phaedria there was the prospect 
 of winning his mother as an ally in his love-affair, and for 
 Phormio that of becoming a permanent guest in the house of 
 Chremes (cf. vs. 1050 ff.). Whatever may be said regarding 
 this addition from an artistic point of view, it may at any rate 
 be said that the play is thereby enriched by a very effective 
 scene. 
 
 The Phormio, in addition to the excellences which mark the 
 manner in which the plot is carried out and its portrayal of 
 character, is distinguished also for its spirited and smoothly 
 flowing language. It met with a decided success at its first 
 presentation. The r61e of Phormio was, according to Donatus 
 (Phorm. II. 2, 1), taken by the theatrical director, Ambivius, him- 
 self, to the entire satisfaction of the poet. It is probable from 
 vs. 378 that Phormio is to be thought of as a young man. 
 
 The production of the Phormio was probably repeated at the 
 ludi Megalenses in 141 B.C. under the direction of L. Atilius 
 Praenestinus. Notices to that effect are found in the didascalia 
 of the play. In antiquity it was without doubt one of the best 
 known comedies extant, being a favorite both on the stage and 
 for private reading. It is owing to this fact that Phormio 
 became in antiquity the universal type of a bold and insolent 
 man. 1 A drama (mime?) of the same name was written by 
 
 l Cf. Cic. Phil. II. 6, 15 : ... Phormioni alicui ; pro Caec. 10, 27 : 
 . . . argentarius Sex. Clodius, cut cognomen est Phormio, nee minus 
 niger nee minus confidens quam ille Terentianus est ; cf . Cic. de nat. 
 deor. III. 29, 73. In Ausou. Epist. XXII. 9 ff., a man is represented as 
 canus, comosus, hispidus, trux, atribux, Terentianus Phormio, 
 etc.
 
 1 INTRODUCTION. 
 
 Valerius in the time of Cicero, but we know nothing more re- 
 garding it. 
 
 In modern times, Moliere has taken the material for his 
 comedy, Les fourberies de Scapin (1671 A.D.) from the Phormio 
 of Terence, but has handled it with great freedom. The chief 
 motive of the play has been changed, other material has been 
 introduced, and the purely comic side of the play has been 
 brought into greater prominence.
 
 TERENTI PHORMIO.
 
 INCIPIT TERENTI PHORMIO 
 
 ACTA LVDIS ROMANIS 
 L.POSTVMIO ALBINO L-CORNELIO MERVLA 
 
 AEDILIB - CVRVLIB - 
 
 EG/r L-AMBIVIVS TVRPIO [L-ATILIVS PRAENESTINVS] 
 MODOS FECIT FLACCVS CLAVDI 
 
 TIBlS INPARIB TOTA 
 
 GRAECA APOLLODORV EPIDICAZOMENOS 
 FACTA IIII 
 
 C-FANNIO M. VALERIC cos-
 
 G. SVLPICI APOLLINABIS FEEIOCHA. 
 
 Chremetis frater aberat peregre Demipho 
 Eelicto Athenis Antiphone filio. 
 Chremfis clam habebat Lemni uxorem et filiam, 
 AthSnis aliam coniugem et amantem linice 
 Gnatum fidicinam. mater e Lemno aduenit 5 
 
 Athenas; moritur; uirgo sola (aberat Chremes) 
 Funiis procurat. ibi earn uisam Antipho 
 Cum amaret, opera p&rasiti uxorem accipit. s 
 Pater 6t Chremes reuSrsi fremere. dein minas 
 Triglnta dant parasito, ut illam coniugem 10 
 
 Haberet ipse. argento hoc emitur fidicina. 
 Vxorem retinet Antipho a patruo adgnitam. 
 3
 
 PEBSONAE. 
 
 PROLOGVS. 
 
 DAVOS, a slave. 
 
 GET A, slave of Demipho. 
 
 ANTIPHO, son of Demipho. 
 
 PHAEDRIA, son of Chremes. 
 
 DEMIPHO, an old man, citizen of Athens. 
 
 PHORMIO, a parasite. 
 
 HEGIO 
 
 CRATINVS 
 
 legal advisers to Demipho. 
 
 CRITO 
 
 DORIO, a procurer. 
 
 CHREMES, an old man, brother of Demipho. 
 
 SOPHRONA, a nurse. 
 
 NAVSISTRATA, wife of Chremes. 
 
 CANTOR. 
 
 4
 
 PROLOGVS. 
 
 Postquam poeta uetus poetam ndn potest 
 Retf ahere a studio et transdere hominem in dtium, 
 Maledictis deterrere ne scribat parat ; 
 Qui ita dictitat, quas antehac fecit fabulas, 
 Tenui esse oratidne et scriptura leui, 5 
 
 Quia misquam insanum scripsit adulescentulum 
 Ceruam uidere fugere et sectari canes 
 Et earn plorare, orare ut subueniat sibi. 
 Quod si intellegeret, qudin^stetlt olim noua, 
 Actoris opera magls stetisse quam sua, 10 
 
 Minus miilto audacter, quam mine laedit, laederet. 
 Nunc si quis est, qui hoc dicat aut sic cdgitet : 
 ' Vetiis si poeta ndn lacessisset prior, 
 Nullum inuenire prdlogum posset nouos/ 
 [Quern diceret, nisi haberet cui male diceret,] 15 
 Is sibi responsum hoc habeat, in medio omnibus 
 Palmam esse positam, qui artem tractant miisicam. 
 Ille ad famem hunc a studio studuit reicere : 
 Hie respondere udluit, non lacessere. 
 Benedictis si certasset, audisset bene. 20 
 
 Quod ab illo adlatumst, sibi 6sse rellatum putet. 
 De illo iam finem faciam dicundi mihi, 
 Peccandi quom ipse de se finem ndn facit. 
 Nunc quid uelim animum attendite : adportd nouam 
 Epidicazomenon quam uocant comoediam 25 
 
 Graeci, Latini Phdrmionem ndminant, 
 Quia primas partis qui aget, is erit Phdrmio 
 Parasitus, per queni res geretur maxume, 
 6
 
 TERENTI PHORMIO. 
 
 I 
 
 Voliintas uostra si ad poetam accesserit. * 
 Date dperam, adeste aequo animo per silentium, 
 Ne simili utamur fdrtuna atque usi sumus 
 Quom per tumultum ndster grex motiis locost : 
 Quern actdris uirtus ndbis restituit locum 
 Bonitasque uostra adiutans atque aequanimitas.
 
 SCENE : A street in Athens, leading, as usual, on the specta- 
 tors' right, to the interior of the city, and on their left, to 
 the harbor and foreign lands. In the middle of the 
 background stands the house of Demipho, on the left 
 that of Chremes, and on the right that of Dorio. This 
 scene remains unchanged throughout the play. 
 
 ACTVS I. 
 So. 1. 
 
 Davus has been asked by Geta to settle an account of long 
 standing. He speculates as to the meaning of this urgent dun. 
 The whole of the first act is written in iambic senarii. For 
 the appropriateness of this verse in introducing the audience to 
 the general situation, see In trod., p. xxxvi. 
 
 [Davus enters from the right, carrying a bag of money, 
 and addresses the audience.] 
 
 DAVOS 
 
 Amicus summus meus et popularis Geta 35 
 
 Heri ad ine uenit. erat ei de ratiiincula 
 lam prfdem apud me relicuom pauxillulum 
 Nummdrum : id ut conf icerem. conf eci : adf ero. 
 Nam erilem filium eius duxisse audio 
 Vxdrem. ei credo miinus hoc (holding up the bag) con- 
 raditur. 40 
 
 Quam imque comparatumst, ej qui minus habent 
 Vt semper aliquid addant ditidribus ! 
 Quod Ille linciatim uix de demensd suo 
 
 7
 
 8 TERENTI [1. 1. 10- 
 
 Sudm defrudans genium compersit miser, 
 Id ilia uniuorsum abripiet, liaud existumans 45 
 
 Quanto labore partum. porro autem Geta 
 Ferietur alio munere, ubi era pepererit; 
 Porro autem alio, ubi erit piiero natalis dies ; 
 Vbi initiabunt. dmne hoc mater aiif eret : 
 Pu6r caiisa erit mitttindi. (Geta comes out of Demipho's 
 house) sed uideon Getam ? 50 
 
 Sc. 2. 
 
 Geta tells how utterly futile have been his attempts to manage 
 the two young men who have been left in his charge, how each 
 has become involved in a love affair, and how one of them, 
 Antipho, has even contrived to get married. All parties are 
 now dreading the return of Antipho's father. For the metre, 
 see remarks at the beginning of Sc. 1. 
 
 GETA DAVOS 
 
 GE. (not seeing Davus and speaking to some one within) Si 
 quis me quaeret rufus DA. (approaching and 
 tapping Geta on the shoulder) Praestost, desine. 
 GE. (looking around) Oh, 
 
 At ego dbuiam conabar tibi, Daue. DA. (offering the bag 
 to Geta) Accipe, em: 
 
 Lectumst ; conueniet immerus quantum debui. 
 
 GE. Amc^te ; et non neclexisse habeo gratiam. 
 
 DA. Praesertim ut nunc sunt mdres. adeo res redit : 55 
 
 Si quis quid reddit, ma"gna habendast gratia. 
 
 Sed quid tu es tristis ? GE. figone ? nescis quo in metu, 
 
 Quanto in periclo simus ! DA. Quid Istuc est ? GE. Scies, 
 
 Modo ut tacere pdssis. DA. Abl sis, msciens ! 
 
 Quoius tu fidem in peciinia perspexeris, 60
 
 1. 2. 39.] PHOEMIO. 
 
 Verere uerba ei credere ? ubi quid mini lucrist 
 
 Te fallere ? GB. Ergo ausculta. DA. Hanc operam tibi 
 
 d^co. 
 
 GE. Senls ndstri, Daue, fratrem maiorem Chremem 
 Nostm? DA. Quid ni? GE. Quid? eius gnatum 
 
 Phaedriam ? 
 
 DA. Tarn quana te. GE. Euenit senibus ambobvis simul 05 
 Iter illi in Lemnum ut esset, nostro in Ciliciam 
 Ad hospitem antiquom. is senem per epistulas 
 Pellexit, modo non mentis auri pollicens. 
 DA. Quoi tanta erat res et supererat ? GE. Desinas 
 Sic est ingenium. DA. Oh, regem me esse opdrtuit. 70 
 GE. Abeiintes ambo hie turn senes me filiis 
 Relmquont quasi magistrum. DA. Geta, proumciam 
 Cepisti duram. GE. (shrugging his shoulders) Mi lisus 
 
 uenit, hdc scio : 
 
 Memini relinqui me deo irat6 meo. 
 
 Coepi aduorsari primo quid uerbis opust ? 75 
 
 Sen! fidelis dum sum, scapulas perdidi. 
 DA. Venere in mentem mi istaec : namque inscitiast, 
 ,/Adu6rsuin stimulum calces. GE. Coepi eis 6mnia 
 Facere, dbsequi quae uellent. DA. Scisti uti fora *" 
 GE. Noster mali nil quicquam primo ; hie Phaedria ^8 
 Continuo quandam nactus est puellulam 
 Citharfstriam ; hanc amare coepit perdite. 
 Ea seruiebat lenoni inpurfssumo, 
 Neque quod daretur quicquam ; id curarant patres. 
 Restabat aliud nil nisi oculos pa"scere, 85 
 
 Sect^ri, in ludum ducere et reducere. 
 Nos dtiosi operam dabamus Phaedriae. 
 In quo haec discebat ludo, exaduorsum flico 
 Tonstrma erat quaedam. hie solebamiis fere
 
 10 TERENTI [1. 2. 40- 
 
 Pleriimque earn opperiri, dum inde iret domum. 90 
 
 Interea dum sedemus illi, interuenit 
 Adulescens quidam lacruinans. nos mirarier ; 
 Rogamus quid sit. 'numquam aeque' inquit 'acmodo 
 Paupertas mihi onus uisumst et miserum et graue. 
 Modo quandam uidi uirginem hic^iiciniae 95 
 
 Miseram suam matrem lamentari mortuain. 
 Ea sita erat exaduorsum, neque Illi beniuolus 
 Neque ndtus neque cognatus extra unam aniculain 
 Quisquam aderat, qui adiutaret funus. miseritumst. 
 Virgo ipsa facie egregia.' quid uerbfs opust ? 100 
 
 Commorat omnis nds. ibi continuo Antipho 
 ( Voltisne eamus u,isere ? ' alius ' censeo : 
 Eamus : due nos sodes.' imus, ueninius, 
 Videmus. uirgo piilchra et, quo magts diceres, 
 Nil aderat adiumenti ad pulchritiidinem. 105 
 
 Capillus passus, niidus pes, ipsa hdrrida, 
 Lacrumae, uestitus turpis ; ut, ni ufs boni 
 In ipsa inesset forma, haec formam extmguerent. 
 Ille qui illam amabat fidicinam tantum modo 
 ' Satis ' inquit ' scitast ' ; ndster uero DA. Iain 
 scio : 110 
 
 Amare coepit. GB. Scm quam ? quo euadat uide. 
 Postridie ad anum recta pergit, dbsecrat 
 Vt sibi eius faciat cdpiam. ilia enlm se negat 
 Neque eum aequom ai't facere, illam ciuem esse JLtticam, 
 Bonam bonis progn^tam : si uxorem uelit, 116 
 
 Lege id licere fdcere ; sin aliter, negat. 
 Noster quid ageret nescire. et Illam ducere 
 Cupiebat et metuebat absentem patrem. 
 DA. Non, si redisset, ei pater ueniam daret ? 
 GB. Ille indotatam uirginem atque ignobilem 120
 
 1. 2. 95.] PHORMIO. 11 
 
 Daretilli? numquam faceret. DA. Quid fit denique ? 
 
 GE. Quid fiat ? est parasitus quidam Phormio, 
 
 Hom6 confidens (with a sudden outburst of passion) qui 
 
 ilium di omnes perduint ! 
 DA. Quid Is fecit ? GE. Hoc consflium quod dicam 
 
 dedit: 
 
 ( Lex est ut orbae, qui sint genere pr<5xumi, 125 
 
 Eis m'ibant, et Illos ducere eadern haec lex iubet. 
 Ego te cognatum dicam et tibi scribam dicam ; 
 Paternum amicum me adsimulabo uirginis ; 
 Ad iudices ueniemus ; qui fuerit pater, 
 Quae mater, qui cognata tibi sit, dmnia haec 130 
 
 Confmgam, quod erit mihi bonum atque cdmmodum. - 
 Quom tu hdrum nil refelles, uincam scilicet. 
 Pater aderit ; mihi paratae lites ; quid mea ? 
 Ilia quidem nostra erit.' DA. locularem audaciam ! 
 GE. Persuasumst homini ; factumst ; uentunist ; uinci- 
 
 mur ; 135 
 
 Duxit. DA. Quid narras ? GE. H<5c quod audis. 
 
 DA. 6 Geta, 
 
 Quid te f uturumst ? GE. Nescio hercle. unum h6c scio, 
 Quod fors feret, feremus aequo animd. DA. Placet. 
 Em, (patting Geta on the back) Istiic uirist officium. 
 
 GE. In me omnis spes mihist. 
 
 DA. Laudo. GE. Ad precatorem adeam credo, qui mihi 140 
 Sic oret : ' nunc amitte quaeso hunc ; ceterum 
 Posth^c si quicquam, nil precor.' tantiim modo 
 Non addit : ' ubi ego hinc abiero, uel occidito.' 
 DA. Quid paedagogus ille, qui citharistriam (insinuat- 
 ingly)? 
 Quid rei gerit? GE. (shrugging his shoulders') Sic, 
 
 tenuiter. DA. Non multuui habet 145
 
 12 TERENTI [1. 2. 96- 
 
 Quod dt fortasse ? GB. fmmo nil nisi spem meram. 
 DA. Pater eius rediit an non ? GE. Non dum. DA. Quid? 
 
 senem 
 
 Quoad expectatis udstrum ? GB. Non certiim scio, 
 Sed epistulam ab eo adlatam esse audiui modo 
 Et ad pdrtitores esse delatam : lianc petam. 150 
 
 DA. Num quid, Geta ? aliud me ids ? GE. Vt bene sit tibi. 
 
 (Exit Davus toward the market-place. Geta approaches 
 
 Demipho's house and calls to slave within.) 
 Puer, heus ! nemon hoc prodit ? (A slave appears at the 
 
 door.) Cape, da hoc Ddrcio. 
 (Exit toward the harbor, while the slave re-enters the house.)
 
 2. 1. 7.] PHORMIO. 13 
 
 ACTVS II. 
 Sc. 1 [I, 3]. 
 
 The two young men discuss their unhappy lots. As the interest 
 quickens, the verse shifts rapidly from one metre to another 
 until vs. 164. There Phaedria's tone suddenly changes and there 
 follows a series of iambic octonarii, which continue till Antipho 
 catches sight of Geta in vs. 177. The scene then closes with 
 two iambic septenarii. Throughout the scene the words of the 
 actors are accompanied by appropriate music from the flute. 
 Verses 153-163 are sung. See Introd., p. xxxvi f. 
 
 [Antipho and Phaedria enter, probably from the house 
 of Chremes.~\ 
 
 ANTIPHO PHAEDRIA 
 
 AN. Adeon rem redisse ut, qui mi cdnsultum optume uelit 
 
 esse, 
 Phaedria, patrem ut extimescam, ubi in mentem ems 
 
 aduenti,ueniat! 
 Quod ni fuissem incdgitans, ita [eum] expectarem, ut par 
 
 fuit. 155 
 
 PH. Quid Istiic est ? AN. Kogitas, qui tarn audacis faci- 
 
 noris mihi cdnsciu's ? 
 Qu6d utinam ne Ph<5rmioni id suaMere in mentem in- 
 
 cidisset 
 Neu me cupidum eo inpulisset, qu<5d mihi principiiimst 
 
 mali! 
 N<5n potitus essem : fuisset turn illos mi aegre aliqudd 
 
 dies,
 
 14 TERENTI [2. 1. 8- 
 
 At ndn cottidiana cura haec angeret animum, 
 
 PH. Audio. 160 
 
 AN. Dum expecto quam mox ueniat qui adimat hanc mihi 
 
 consuetudinem. 
 PH. Aliis quia defit quod amant aegrest ; tibi quia super- 
 
 est dolet. 
 
 Amdre abundas, Antipho. 
 iSTam tua quidem hercle certo uita haec expetenda optan- 
 
 daque est. 
 Ita me di bene ament, lit mi liceat tain din quod amo 
 
 frui, 165 
 
 lam depecisci mdrte cupio. tu conicito cetera, 
 Quid ego ex hac inopia nunc capiam, et quid tu ex istac 
 
 cdpia ; 
 Vt ne addam, quod sine siimptu ingenuam, liberalem 
 
 nactus es, 
 Quod habes, ita ut uoluisti, uxorem sine mala fama" 
 
 palam, 
 
 Beatus, ni unum desit, animus qui modeste istaec ferat. 170 
 Quod si tibi res sit cum e6 lenone qu6 mihist, turn sentias. 
 Ita plerique omnes sumus ingenio : ndstri nosmet paenitet. 
 AN. At tu mihi contra nunc uidere fdrtunatus, Phaedria. 
 Quoi de integro est potestas etiam gdnsulendi, quid uelis : 
 Retinere an amorem amittere ; ego in eum iiicidi inf elix 
 
 locum, 175 
 
 Vt neque mihi eius sit a*mittendi nee retinendi cdpia. 
 Sed quid hoc est? uideon e"go Getam currentem hue 
 
 aduenire ? 
 Is 6st ipsus. ei, timed miser, quam hie mihi nunc nuntiet 
 
 rem.
 
 2. 2. 11.] PHORMIO. 15 
 
 So. 2 [I, 4]. 
 
 Geta enters in great excitement from the harbor. He has heard of 
 the sudden arrival of Demipho. Antipho tries to muster courage 
 enough to face his father, but it is of no use. He finally takes 
 to his heels, leaving Phaedria to fight his battle for him. Most 
 of this scene also is accompanied by music, to which verses 178- 
 196(?) are sung. The verse shifts rapidly from one metre to an- 
 other during Geta's soliloquy and the "asides" of Antipho and 
 Phaedria. With the dialogue between Geta and the young men, 
 begins a series of trochaic septenarii, which continue until 
 Antipho's flight at his father's approach (in 216). The music 
 then ceases, and the scene ends with a dialogue in iambic senarii. 
 For the adaptability of the different metres to different moods, 
 see Introd., p. xxxvi f. 
 
 GETA ANTIPHO PHAEDRIA 
 
 GE. (to himself, not noticing Antipho and Phaedria) Niillus 
 
 es, Geta, nisi iam aliquod tibi consiliurn celere reperis : 
 tta mine inpara'tum subito tanta te inpendent mala ; 180 
 Quae neque uti deuitem scio neque qu6 modo me iiide 
 
 extraham ; 
 
 Nam ndn potest celari nostra diutius iam audacia. 
 AN. (aside to Phaedria) Quid illic commotus uenit ? 
 GE. Turn temporis mihi punctum ad hanc rem est : erus 
 
 adest. AN. (aside to Phaedria) Quid Illuc malist ? 
 GE. Qudd quom audierit, qu6d 8ius remedium inueniam 
 
 iracundiae ? 185 
 
 Loquarne? incendam; taceam? instigem; piirgem me? 
 
 laterem lauem. 
 
 - 
 
 Heu me miserum! qudm mihi paueo, turn Antipho me 
 
 excruciat animi. 
 >* 
 
 Eius me miseret, ei nunc timeo, is nunc me retinet ; nam 
 absque eo esset, 
 
 i
 
 16 TERENTI [2. 2. 12- 
 
 Recte ego mihi uidissem et senis essem ultus iracundiam : 
 Aliquid conuasassem atque hinc me conicerem protinam 
 
 in pedes. 190 
 
 AN. (aside to Phaedria) Quam nam hie f ugain aut furtiim 
 
 parat ? 
 GE. Sed ubi Antiphonem reperiam ? aut qua quaerere 
 
 insistam uia ? 
 
 PH. (aside to Antiplio) Te nomiiiat. AN. (aside to Phae- 
 dria') Nescio quod magnum hoc mmtio expecto ma- 
 
 lum. PH. (aside to Antiplio) Ah ! 
 [Sanuii es ?] GE. Domuin ire pergam : ibi plurimiimst. 
 
 PH. (aside to Antiplio) Keuocemus hominem. AN. 
 
 {peremptorily to Geta) Sta ilico ! GE: (without turn- 
 ing) Hem, 
 Sat!s pro imperio, quisquis es. AN. Geta ! GE. (turning 
 
 at the sound of his name) Ipsest quern uolui 6b- 
 
 uiam. 195 
 
 AN. Cedo, quid portas, obsecro ? atque id, si potes, uerbo 
 
 expedi. 
 GE. Faciam. AN. Eloquere. GE. Mddo apud portum 
 
 AN. (in dismay at Geta's ominous beginning) Meumne ? 
 
 GE. Intellexti. AN. (trembling with fright) Occidi. 
 
 PH. Hem! 
 AN. Quid agam? PH. (turning to Geta) Quid ai's? 
 
 GE. Huius patrem uidisse me, [et] patru6m tuom. 
 AN. Na"m quod ego huic mine subito exitio remedium 
 
 inueniam miser? ' (Wringing his hands and in 
 
 imagination addressing Phanium) 200 
 
 Qudd si eo meae fortunae redeunt, Phdnium, abs te ut 
 
 distrahar, 
 Nullast mihi uita expetenda. GE. Ergo istaec quom ita 
 
 sint, Antipho,
 
 2. 2. 38.] PHOEMIO. 17 
 
 Tanto magis te aduigilare aequomst. (Encouragingly) 
 f ortis f ortima adiuuat. 
 
 AN. (weakly) N6n sum apud me. GE. Atqui <5pus est 
 nunc quom maxume tit sis, Antipho ; 
 
 Nam si senserit te timidum pater esse, arbitrabitur 205 
 
 Commeruisse culpam. PH. Hoc uerumst. AN. Ndn 
 possum inmutarier. 
 
 GB. Quid faceres, si aliiid quid grauius tibi nunc faciun- 
 dum f oret ? 
 
 AN. Quoin hoc non possum, ilhid minus possem. GE. Hoc 
 nil est, Phaedria. flicet. 
 
 (Losing all patience) Quid hie conterimus dperam f rustra ? 
 qum abeo ? PH. Et quidem ego ? (They turn to go.*) 
 AN. (frightened at the thought of being left alone) 
 Obsecro, 
 
 Quid si adsimulo ? (trying to look self-possessed) satinest ? 
 GE. (ivithout turning^) Gams. AN. Voltum contem- 
 plamini : em ! 210 
 
 Satine sic est? GE. (looking at him, somewhat indiffer- 
 ently} N6n. AN. (assuming a bolder expression) 
 Quid si sic? GE. Propemodum. AN. (folding his 
 arms with great dignity) Quid sic? GE. (enthusias- 
 tically) Sat est: 
 
 m, istuc serua; et uerbum uerbo, par pari ut respdndeas, 
 
 Ne te iratus suis saeuidicis dictis protelet. AN. Scio. 
 
 GE. Vi - coactum te esse inuitum. PH. Lege, iudicid. 
 GE. Tenes? 
 
 (Demipho seen approaching from the harbor.) Sed hie quis 
 est senex, quern uideo in ultima platea ? ipsus est. 215 
 
 AN. (frantically taking to his heels') Non possum adesse. 
 GE. (calling after him) Ah ! quid agis ? quo abis, 
 Antipho ?
 
 
 18 TERENTI. [2. 2. 39- 
 
 Mane inquam. AN. (hurriedly, as he leaves the stage) 
 
 Egoraet me ndui et peccatiim meum. 
 Vobis commendo Phanium et uitam meam. 
 PH. Geta, quid nunc fiet ? GE. Tu iam litis aiidies ; 
 Ego plectar pendens, nisi quid me fefellerit. 220 
 
 Sed qu<5d modo hie nos Antiphonem monuimus, 
 Id nosmet ipsos facere oportet, Phaedria. 
 PH. Auf er mi ' oportet ' : quin tu quid f aciam impera. 
 GE. Meministin, olim ut fuerit uostra oratio 
 In re mcipiunda ad defendendam ndxiam, 225 
 
 lustam illam causam, facilem, uincibilem, optumam? 
 PH. Memini. GE. Em ! nune ipsast 6pus, ea aut, si quid 
 
 potest, 
 
 Meliore et callididre. PH. Fiet sedulo. 
 GE. Nunc prior adito tu, ego in insidiis hie ero 
 Subcenturiatus, si quid deficias. PH. Age. (Both retire 
 
 to an obscure corner to await developments.) 230 
 
 Sc. 3 [II, 1]. 
 
 Demipho returns from his journey, enraged at what he has heard 
 regarding his son's marriage. Phaedria and Geta try to explain 
 matters, but the old man cannot be reconciled. The scene opens 
 with trochaic septenarii and iambic octonarii, accompanied by 
 music, which continues during the soliloquy of Demipho and the 
 "asides" of Geta and Phaedria. With the meeting between 
 Demipho and Phaedria in 253, the music ceases and the rest of the 
 scene is a dialogue in iambic senarii. See Introd., p. xxxvi f. 
 
 [Demipho enters from the harbor."] 
 DEMIPHO PHAEDRIA GETA 
 
 DE. (muttering to himself) ftane tandem uxdrem duxit 
 Antipho iniussu meo ?
 
 2. 3. 20.] PHORMIO. 19 
 
 Nec meum imperium ac mitto imperium ndn simul- 
 
 tatem meam 
 
 Beuereri saltern ! ndn pudere ! o f acinus audax, 6 Geta 
 Monitor ! GB. (aside) Vix tandem. DE. (to himself) Quid 
 
 mini dicent aiit quam causam reperient ? 
 'Demiror. GE. (aside) Atqui reperiam aliud cura. DE. 
 
 An hoc dicet mihi : 235 
 
 'Inuitus feci. lex coegit'? atidio, fatedr. GE. (aside) 
 
 Places. 
 
 DE. Verum scientem, taciturn causam tradere aduorsariis, 
 Etiamiie id lex coegit ? PH. (aside to Geta) Illud durum. 
 
 GE. (aside to Phaedrla) Ego expediam sine. 
 DE. Incertumst quid agam, quia praeter spem atque 
 
 mcredibile hoc mi dbtigit. 
 Ita sum inritatus, animum ut nequeam ad cdgitandum 
 
 instituere. 240 
 
 Quam ob rem dmnis, quom secundae res sunt maxume, 
 
 turn maxume 
 Meditari secum opdrtet, quo pacto aduorsam aerumnam 
 
 f erant : 
 
 Pericla, damna, exilia peregre rediens semper cdgitet, 
 Aut f ili peccatum aiit uxoris mdrtem aut morbum f iliae ; 
 Communia esse haec, fieri posse, ut ne quid animo sit 
 
 nouom ; 245 
 
 Quidquid praeter spem eueniat, omne id deputare esse in 
 
 lucro. 
 
 \y 
 
 GE. (aside) Phaedria, incredibile[st] quantum erum 
 
 ante eo sapientia. 
 
 Meditata mihi sunt dmnia mea incdmmoda, erus si redierit : 
 Molendums^ in pistriiio, uapulandum, habendae cdmpedes, 
 Opus ruri faciundum. hdrum nil quicquam accidet animd 
 
 nouom. 250
 
 20 TERENTI [2. 3. 21- 
 
 Quidquid praeter spem eueniet, omne id deputabo esse in 
 luoro. 
 
 Sed quid cessas hdminem adire et blande in principio 
 adloqui? (Phaedria hurries forward as though de- 
 lighted at seeing Demipho back again.) 
 
 DE. (to himself) Phaedriam mei fratris uideo filium mi 
 ire obuiam. 
 
 PH. (to Demipho) Mi patrue, salue ! DE. (savagely) Salue ! 
 sed ubist Antipho? 
 
 PH. Saludm uenire DE. (impatient at Phaedria' s evasion 
 of his question) Credo ; hoc responde mihi. 255 
 
 PH. Valet, hie est ; sed (cheerily) satin omnia ex sententia ? 
 
 DE. Vellem quidem. PH. (pretending surprise) Quid istuc 
 est ? DE. Rogitas, Phaedria ? 
 
 (With withering sarcasm) Bonas .me absente hie cdnfecistis 
 niiptias. 
 
 PH. Eho, an id suscenses mine illi ? GE. (aside, delighted 
 with Phaedria's clever acting) Artificem probuui ! 
 
 DE. Egon illi non suscenseam ? ipsum gestio 260 
 
 Darl mi in conspectum, mine sua culpa ut sciat 
 
 Lenem patrem ilium factum me esse acerrumum. 
 
 PH. Atqui nihil fecit, pa"true, quod suscenseas. 
 
 DE. Ecce aiitem similia 6mnia ! oinnes cdngruont ; 
 
 Vmim quom noris, 6mnis noris. PH. (with an air of in- 
 jured innocence) Haud itast. 265 
 
 DE. Hie In ndxiast, ille ^d di'cendam causam adest ; 
 
 Quom illest, hie praestost; tr^dunt operas mutuas. 
 
 GE. (aside) Probe hdrum facta inprudens depinxit senex. 
 
 DE. Nam ni haec ita essent, cum illo haud stares, Phaedria. 
 
 PH. Si est, pa"true, culpam ut Antipho in se admiserit, 270 
 
 Ex qud re minus rei f<5ret aut famae temperans, 
 
 Non causam dico quin quod meritus sit ferat.
 
 2. 3. 71.] PHORMIO. 21 
 
 Sed si quis forte malitia fretus sua 
 Insidias nostrae fecit adulesceiitiae 
 
 Ac uicit, nostran cxilpa east an iudicum, 275 
 
 Qui saepe propter inuidiam adimunt diuiti 
 Aut prdpter misericdrdiam addunt paviperi ? 
 GE. (aside) Ni ndssem causam, crederem uera hiinc loqui. 
 DE. An quisquam iudex est, qui possit iidscere 
 Tua iiista, ubi tute uerbum non respdndeas, 280 
 
 Ita ut ille fecit ? PH. Fiinctus adulescentulist 
 Officium liberalis. postquam ad indices 
 Ventiunst, non potuit cdgitata prdloqui ; 
 Ita eiim turn timidum illic obstupefecit pudor. 
 GE. (aside) Laudo hunc. sed cesso adire quam prinnim 
 senem ? (Rushing up to Demipho, as though in great 
 trouble and eager to explain 7iow it all happened.) 285 
 Ere, salue : salnom te aduenisse gaiideo. DE. (in a tone 
 
 of supreme disgust) Oh ! 
 Bone custos, salue ! cdlumen uero familiae, 
 Quoi cdmmendaui filium hinc abieiis meum ! 
 GE. lam diidum te omnis nds accusare audio 
 Inmerito, et me horunc dmnium inmeritissumo. 290 
 
 Nam quid me in hac re facere uoluisti tibi ? 
 Seruom hdminem causam orare leges non sinunt, 
 Neque testimoni dictiost. DE. Mitto dmnia. 
 Do istiic ' inprudens timuit adulescens ' ; sino 
 ' Tu seruo's ' ; uerum si cognatast maxume, 295 
 
 Non fuit necesse habere ; sed id quod lex iubet, 
 Dotein daretis, quaereret alium uirum. 
 Qua ratione inopem pdtius ducebat domum ? 
 GE. Non ratio, uerum argentum deerat. DE. Sumeret 
 Alicunde. GE. Alicunde ? nil est dictu facilius. 300 
 
 DE. Postremo, si nullo alio pacto, faenore. GE. Hui !
 
 22 TEKENTI [2- 3. 72- 
 
 Dixisti pulchre ! s'quidem quisquam crederet 
 
 Te uiuo. DE. (angrily) Non, non sic futurumst : n<5n potest. 
 
 Egon illam cum illo ut patiar nuptam uniim diem ? 
 
 Nil suaue meritumst. hdminem conmonstrarier 305 
 
 Mi istiim uolo, aut ubi habitet demonstrarier. 
 
 GE. N8mpe Phdrmionem? DE. Istum patronum 
 
 eris. 
 GE. lam f axo hie aderit. DE. Antipho ubi nunc est ? 
 
 GE. Foris. 
 DE. Abl, Phaedria, eum require atque hue adduce. 
 
 PH. Eo: 
 Recta uia quidem illuc. (Exit, with a sly wink at Geta.) 
 
 GE. (knowingly, to the audience) Nempe ad Pamphilam. 
 
 (Exit on the right, chuckling.) 310 
 
 DE. Ego deds penatis hinc salutatum domum 
 Deudrtar ; inde ibo ad forum atque aliqudd mihi 
 Amicos aduocabo, ad hanc rem qui adsient, 
 Vt ne inparatus sim, si ueniat Phdrmio. 
 
 (Exit into his house.)
 
 3. 1. 9.] PHOEMIO. 23 
 
 ACTVS III. 
 
 Sc. 1 [II, 2]. 
 
 Geta has now seen Phomrio and informed him of Demipho's 
 return. The two enter from the market-place, still discussing 
 the matter. Phormio expresses himself as eager for the fray. 
 The scene is in trochaic septenarii with musical accompani- 
 ment. See Introd., p. xxxvif. 
 
 PHORMIO GETA 
 
 PH. ftane patris ais aduentum ueritum hinc abiisse? 
 
 GE. Admodum. 315 
 
 PH. Phanium relictam solam ? GE. Sic. PH. Et iratiim 
 
 senem ? 
 GE. Oppido. PH. (thoughtfully, to himself) Ad te sururna 
 
 solum, Phormio, reriim redit: 
 
 Tiite hoc intristi ; tibi omnest exedendum ; accingere. 
 GE. Obsecro te. PH. (too much absorbed to notice Geta) 
 
 Si rogabit (finishing his thought in silence.') GE. t n 
 
 te spes est. - PH. (a possible difficulty suddenly occur- 
 ring to him) ISccere ! 
 Quid si reddet? GE. Tu inpulisti. PH. (confidently to 
 
 himself, having perfected his plan) Sic, opinor. 
 
 GE. Subueni. 320 
 
 PH. (to Geta) Cedo senem : iam instriicta sunt mi in cdrde 
 
 consilia dmnia. 
 GE. Quid ages ? PH. Quid uis, nisi uti maneat Phanium 
 
 atque ex crimine hoc 
 Antiphonem eripiam atque in me ornnern irarn deriuem 
 
 senis ?
 
 24 TE&ENtI [3- 1. 10- 
 
 GB. 6, uir fortis atque amicu's. uerum hoc saepe, 
 
 Phdrmio, 
 Vereor, ne istaec fortitude in neruom erumpat denique. 
 
 PH. Ah, 325 
 
 N6n itast. factiimst periclum, iam pedum uisast uia. 
 Quod me censes homines iam deuerberasse usque ad 
 
 necem 
 
 Hdspites, turn ciuis ? quo magis ndui, tanto saepius. 
 Cedo dum, enumquam iniuriarum audisti mihi scriptam 
 
 V 
 
 dicam ? 
 GE. Qui istuc ? PH. Quia non rete accipitri tennitur 
 
 neque miluo, 330 
 
 Qui male faciunt nobis ; illis qui nihil faciunt tennitur, 
 Quia enim in illis fructus est, in illis opera liiditur. 
 Aliis aliunde est periclum, unde aliquid abradi potest ; 
 Mihi sciunt nil esse. dices ' diicent damnatum domum ' : 
 Alere nolunt hominem edacem, et sapiunt mea senten- 
 
 tia, 335 
 
 Pro" maleficio si beneficium summum nolunt reddere. 
 GE. Non pot8st satis pro merito ab illo tibi ref erri gratia. 
 PH. linmo enim nemo satis pro merito gratiam regi refert. 
 Tene asymbolmn uenire unctum atque lautum e balineis, 
 6tiosum ab animo, quom ille et ciira et sumptu absumi- 
 
 tur ! 340 
 
 Dum tibi fit quod pMceat, ille ringitur. tu rideas, 
 PriSr bibas, pridr decumbas ; cena dubia adpdnitur 
 GE. Quid Istuc uerbist ? PH. Vbi tu dubites quid sumas 
 
 potissumum. 
 Ha^c quom rationem ineas quam sint suauia et quam c^ra 
 
 sint, 
 Ea qui praebet, ndn tu hunc habeas pMne praesentem 
 
 deum? 345
 
 3. 2. 10.] PHORMIO. 25 
 
 GE. (looking down the streef) Sen8x adest ! uid8 quid agas : 
 
 prima coitiost acerruma. 
 Si earn sustinueris, postilla iam, tit lubet, ludas licet. 
 
 (T/iey step aside to await their opportunity.} 
 
 Sc. 2 [II, 3]. 
 
 Demipho has secured three legal advisers to help him in his present 
 straits. When Demipho gets within hearing, Phormio and Geta, 
 pretending not to see him, indulge in a clever bit of acting for 
 his benefit. Demipho tries to overawe and corner Phormio by 
 sharp questioning, but he finds his match. He finally offers to 
 compromise, but without avail, and he is left in a furious fit of 
 anger. The music has ceased, and there ensues a dialogue in 
 iambic senarii. See Introd., p. xxxvi. 
 
 [Demipho enters with three legal advisers from the Forum.~\ 
 DEMIPHO HEGIO CRATINVS CRITO PHORMIO GETA 
 
 :. It 
 
 DE. (to his advisers') Enumquam quoiquam cdntumelidsius 
 
 Audistis factara iniuriam, quam haec est mihi ? 
 
 Adeste quaeso. GE. (aside to Phormio) Iratus est. PH. 
 
 (aside to G^a)^Quin tu hdc age : *- 350 
 
 Iam ego hiinc 'agitabo. (liaising his voice, to Geta, with 
 
 pretended indignation} pr6 deum inmortalium ! 
 Negat Phanium esse hanc sibi cognatam Demipho ? 
 Hanc Demipho negat esse cognata'm ? GE. Negat. 
 PH. Neque eius patrem se scire qui fuerit ? GE. Negat. 
 DE. (to his advisers, attracted by the loud talking) Ipsum 
 
 esse opinor de quo agebam. sequimini. 355 
 
 [PH. Nee Stilphonem ipsum scire qui fuerit? GE. 
 
 Negat.] 
 PH. Quia egens relictast misera, ignoratur parens,
 
 
 26 TERENTI [3. 2. 11- 
 
 Neclegitur ipsa. uide auaritia quid f acit ! 
 
 GE. (threatening) Si erum insimulabis malitiae, male audies. 
 
 DE. (aside, angrily) audaciain ! etiain me liltro accusatum 
 
 aduenit. 360 
 
 PH. (to Geta) Nam iam adulescenti nfhil est quod sus- 
 
 censeam, 
 
 Si illiiin minus norat ; quippe homo iam grandior, 
 Pauper, quoi in opere uita erat, ruri fere 
 Se cdntinebat ; ibi agrum de nostrd patre 
 Colendum habebat. saepe interea mihi senex 365 
 
 Narrabat se hunc neclegere cognatum suom. 
 At quern uirum ! quern ego uiderim in uita optumum. 
 GE. Videas te, atque ilium [ut] narras ! PH. I in malam 
 
 crucem ! 
 
 Nam ni eum esse existumassem, numquam tarn grauis 
 Ob h3,nc inimicitias caperem in uostram familiam, 370 
 Quam is aspernatur mine tarn inliberaliter. 
 GE. Pergm ero absenti male loqui, inpurissume ? 
 PH. Dignum atitem hoc illost. GE. Am tamew, career ? 
 
 DE. Geta! 
 GE. (to Phormio, pretending not to hear) Bondrum extortor, 
 
 legum contortdr ! DE. (raising his voice) Geta ! 
 PH. (whispering to Geta) Respdnde. GE. (turning around) 
 
 Quis homost ? (pretending astonishment) eh6m ! DE. 
 
 (to Geta) Tace. GE. (to Demipho) Absenti tibi 375 
 Te indignas seque dignas contumelias 
 Numquam cessauit dicere hodie. DE. (to Geta) Desine. 
 (to Phormio) Adulescens, primum abs te hdc bona uenia 
 
 peto, 
 
 Si tibi placere pdtis est, mi ut respdndeas : 
 \ Quern amicum tuom ai's f uisse istum, expland, mihi, 380 
 Et qui cognatum me sibi esse diceret.
 
 3. 2. 56.] PHOEMIO. 27 
 
 PH. (with curling lip, and swaggering manner) Proinde 
 
 expiscare qua"si non nosses. DE. Ndssem ? PH. Ita. 
 DE. Ego me nego. tu qu! ai's redige in memoriam. 
 PH. Eho tii, sobrinum tu<5m non noras ? DE. Enicas. ~ (" 
 Die nomen. PH. Nomen ? (hesitating) maxume DE. 
 
 (with a sneer) Quid mine taces ? 385 
 
 PH. (in confusion, to himself) Peril hercle, nomen per- 
 
 didi. DE. Quid ais ? PH. (aside) Geta, 
 Si meministi id quod olim dictumst, siibice. (defiantly to 
 
 Demipho) hem, 
 
 Non dico. quasi non n<5sses, temptatum a*duenis. 
 DE. Ego aiitem tempto ? GE. (prompting him) Stflpo. 
 
 PH. (condescendingly) Atque adeo quid mea ? 
 Stilpost. DE. Quern dixti? PH. Stilponem inquam 
 
 ndueras. 390 
 
 DE. Neque ego ilium iioram neque mi cognatiis fuit 
 Quisquam istoc nomine. PH. f tane ? non te horum 
 
 pudet ? 
 
 At si talentum rem reliquisset decem. 
 DE. Di tibi malefaciant ! PH. primus esses memoriter 
 Progeniem uostram usque ab auo atque atauo pr6f erens. 395 
 DE. Ita ut dicis. ego turn quom aduenissem, qui mild 
 Cognata ea esset, dicerem : itidem tii face. 
 Cedo qui est cognata ? GE. (with pretended satisfaction, 
 
 to Demipho) Eu, n6ster, recte. (Aside to Phormio) 
 
 lieus tii, caue. 
 
 PH. Dihicide expediui quibus me opdrtuit 
 ludicibus. turn id si falsum fuerat, filius 400 
 
 Quor ndn refellit ? DE. Filium narras mihi ? 
 Quoius de stultitia dici ut dignumst n6n potest. 
 PH. (with mock deference) At tu qui sapiens es magi- 
 stratus adi,
 
 28 TEKENTI [3. 2. 57- 
 
 ludicium de eadem causa iterum ut reddant tibi, 
 
 Quanddquidem solus regnas et soli licet 405 
 
 Hie de eadem causa bis iudicium apiscier. 
 
 DE. Etsi niihi facta iniiiriast, ueriim tamen 
 
 Pothis quam litis secter aut qxiam te aiidiam, 
 
 Itidem ut cognata si sit, id quod lex iubet 
 
 Dotis dare, abduc hanc, minas quinque accipe. 410 
 
 PH. Hahahae, homo suauis. DE. Quid 8st ? num iniquom 
 
 pdstulo ? 
 
 An ne hoc quidem ego adipiscar, quod ius publicumst ? 
 PH. Itan tandem, quaeso, item lit meretricem ubi abusus 
 
 sis, 
 
 Mercedem dare lex iiibet e'i atque amittere ? 
 An, ut ne quid turpe ciuis in se admitteret 415 
 
 Propter egestatem, prdxumo iussast dari, 
 Vt cum lino aetatem degeret ? quod tii uetas. 
 DE. Ita, prdxumo quidem ; at nos unde ? aut quam db 
 
 rem? PH. Ohe, 
 * Actum ' aiunt ' 116 agas.' DE. Ndn agam ? (shaking his 
 
 finger at Phormio) immo haud desinam, 
 Donee perfecero hoc. PH. Ineptis. DE. Sine modo. 420 
 PH. Postremo tecum nil rei nobis, Demipho, est. 
 Tuos est damnatus gnatus, non tu ; nam tua 
 Praeterierat iam diicendi aetas. DE. Omnia haec 
 Ilium putato, quae ego nunc dico, dicere ; 
 Aut quid8m cum uxore hac ipsum prohibebd domo. 425 
 QE. (aside) Ira"tus est. PH. Tu t6 idem melius feceris. 
 DE. Itan es paratus fa"cere me aduorsum dmnia, 
 Infelix? PH. (aside to Getd) Metuit hie nos, tarn etsi 
 
 sedulo 
 Dissimulat. GE. (aside to Phormio} Bene habent tibi 
 
 principia. PH. (to Demipho) Quin quod est
 
 3. 3. 4.] PHORMIO. 29 
 
 Feriindum f ers ? tuis dignu.ni f actis f eceris 430 
 
 V 
 
 Vt amici inter nos simus. DE. Egon tuam expetam 
 
 Amicitiam ? aut te uisum aut auditum uelim ? 
 
 ^ 
 
 PH. Si cdncordabis cum ilia, habebis quae tuam 
 
 Sengctutem oblectet. respice aetatem tuam. 
 
 DB. Te oblectet, tibi habe. PH. Minue uero iram. 
 
 DE. Hoc age :<*- 435 
 
 Satis iam uerborunist : nisi tu properas mulierem 
 Abdiicere, ego illam eiciam. (warningly) dixi, Phdrmio. 
 PH. (aping Demiplio's manner) Si tu illam attigeris sectis 
 
 quam dignurnst liberam, 
 
 Dicam tibi Inpingam grandem. dixi, Demipho. 
 (to Geta) Si quid opus fuerit, heiis, domo me. GE. In- 
 
 tellego. 440 
 
 (Exit Phormio, while Demipho walks to and fro, beside 
 
 himself with rage.) 
 
 So. 3 [II, 4]. 
 
 Demipho consults with his lawyers. Each lawyer's advice to him 
 is as different as possible from that of the others. Demipho, 
 bowing profoundly before their superior wisdom, is left wonder- 
 ing what in the world he had better do about it. The deference 
 shown by each lawyer to the opinion of his brother lawyers adds 
 to the humor of the scene. The iambic senarii continue through 
 this scene. 
 
 DEMIPHO GETA HEGIO CRATINVS CBITO 
 
 DE. (soliloquizing) Quanta me cura et sollicitudine adficit 
 Gnatiis, qui me et se hisce inpediuit nuptiis ! 
 Neque mi in conspectum prodit, ut saltern sciam, 
 Quid de ea re dicat quidue sit sententi,ae.
 
 30 TERENTI [3. 3. 5- 
 
 (turning to Getd) Abi, uise redieritne iam an non diim 
 , domum. 445 
 
 GE. E6. (Exit into Demipho's house.) DE. (to his advis- 
 ers) Videtis quo in loco res haec siet. 
 
 Quid ago? die, Hegio. HE. go? (bowing politely toward 
 Cratinus) Cratinum censeo 
 
 Si tibi uidetur. DE. Die, Cratine. CRA. Mene uis ? 
 
 DE. Te. CRA. Ego quae in rem tuam sint ea uelim 
 facias, mihi 
 
 Sic hoc uidetur : qudd te absente Me filius 450 
 
 Egit, restitui in mtegrum aequomst et bonum, 
 
 Et id impetrabis. dixi. DE. Die nunc, Hegio. 
 
 HE. Ego sedulo hunc (bowing again) dixisse credo ; uerum 
 itast, 
 
 *--**w- 
 
 Quod hdmines tot sententiae : suos quoique mos: 
 
 Mihi ndn uidetur quod sit factum legibus, 455 
 
 Kescindi posse ; et tiirpe inceptust. DE. Die, Crito. 
 
 CRT. Ego amplius deliberandum censeo. 
 
 (with an air of wisdom) Res magnast. HE. Num. quid 
 
 no's uis ? DE. (as his advisers leave the stage*) Fecistis 
 
 probe. 
 (to himself, after long silence) Incertior sum multo quam 
 
 duduin. GE. (entering from Demipho's house) Ne- 
 
 gant 
 
 E-edisse. DE. Frater est expectandus mihi : 460 
 
 Is qudd mihi dederit de hac re consilium, id sequar. 
 Percdntatum ibo ad pdrtum, quoad se recipiat. 
 
 (Exit toward the left.) 
 GE. At ego jLntiphonem quaeram, ut quae acta hie sint 
 
 sciat. 
 Sed gccum ipsum uideo in tempore hue se recipere.
 
 3. 4. 13.] PHORMIO. 31 
 
 So. 4 [III, 1]. 
 
 Antipho blames himself for his cowardly flight, but he finds that 
 his interests have not been entirely neglected. This scene is of 
 a lyrical character throughout, in varying rhythm, and sung to 
 the accompaniment of the flute. See Introd., p. xxxvi f. 
 
 [Antiplio enters from the right.'] 
 ANTIPHO GET A 
 
 AN. (soliloquizing, with bowed head) finlm uero, Antiph6, 
 
 multimodis cum istoc animo es uituperandus. 465 
 
 ftane te hinc abisse et uitam tuam tutandam aliis dedisse ! 
 
 ^ Y 
 
 Alios tuam rem credidisti magls quam tete animum aduor- 
 
 suros ? 
 Nam ut ut erant alia, illi certe quae nunc tibi domist con- 
 
 suleres, 
 
 Ne quid propter tuam fidem dece*pta poteretiir mali ; 
 Quoi nunc miserae spes opesque siint in te uno omnes 
 
 sitae. 470 
 
 GE. Et quidem, ere, nos iam diidum hie te absentem incu- 
 
 samus, qui abieris. 
 AN. (looking up, at the interruption) Te ipsum quaerebam. 
 
 GE. Sed ea causa mhilo mag!s defecimus. 
 AN. Loquere, dbsecro, quonam in loco sunt res et fortunae 
 
 meae? 
 Num quid patri subolet ? GE. Nil etiam. AN. Ecquid 
 
 spei porrost ? GE. Nescio. AN. Ah ! 
 GE. Nisi Phaedria haud cessauit pro te eniti. AN. Nil 
 
 fecit noui. 475 
 
 GE. Turn Phdrmio itidem in ha'c re ut [in] aliis stre'nuom 
 
 hominem praebuit. 
 AN. Quid Is fecit? GE. Confutauit uerbis admodum 
 
 iratum senem.
 
 32 TBRENTI [3. 4. 14- 
 
 AN. Eu, Phdrmio ! GE. Ego quod pdtui porro. AN. (greatly 
 
 moved) Mi Geta, omnis uds amo. 
 GE. Sic habent principia sese ut dixi. adhuc tranquilla 
 
 res est, 
 Mansurusque patruom pater est, dum hiic adueniat 
 
 AN. Quid eum ? GE. Vt aibat 480 
 
 De eius consilio sese uelle facere quod ad hanc rem attinet. 
 AN. Quantum metm'st mihi, uidere hue saluom nuuc 
 
 patrudm, Geta! 
 Nam per eius unam, ut audio, aut uiuam aiit moriar sen- 
 
 tentiam. 
 GE. (as Phaedria comes out of Dorio' s house) Phaedria 
 
 tibi adest. AN. Vbi nam ? GE. Eccum ab sua (with 
 
 a sly wink) palaestra exit f oras. 
 
 Sc. 5 [III, 2]. 
 
 Phaedria begs Dorio, the owner of Pamphila, to give him more 
 time to collect the money with which to buy her. Dorio tells 
 him he is tired of his whimpering, and that his motto is " first 
 come, first served," provided the money comes too. The music 
 continues throughout the scene. The lyrical part, here intro- 
 duced by a trochaic binarius catalectic, instead of a trochaic 
 octonarius, as elsewhere in the play, extends with varying 
 rhythm to vs. 503. With the entrance of Antipho into the con- 
 versation begins a series of trochaic septenarii, which continues 
 throughout the rest of the scene. See Introd., p. xxxvi f. 
 
 [Dorio enters, followed by Phaedria, the latter in great 
 agitation.^ 
 
 PHAEDRIA DORIO ANTIPHO GETA 
 
 PH. (beseechingly) Ddrio, 485 
 
 Audi 6bsecro. DO. (walking impatiently away) Non audio. 
 
 PH. Parumper. (Laying his hand upon his arm.)
 
 3. 5. 18.] PHORMIO. 33 
 
 DO. (savagely) Quiii omitte me. 
 
 PH. Audi quod dicam. DO. At enim taedet iam audire 
 
 eadem miliens. 
 PH. At nunc dicam qudd lubenter audias. DO. (turning 
 
 shai'ply) Loquere, audio. 
 PH. Ndn queo te exorare ut maneas triduom hoc ? (Dorio 
 
 walks off again) quo niinc abis ? 
 DO. Mirabar si tu mihi quicquam adferres noui. AN. 
 
 (aside to Geta) Ei, 490- 
 
 Metud lenonem ne quid QE. suo^uat capiti? idem 
 
 ego uereor. 
 PH. Non dum mihi credis? DO. Hariolare. PH. Sin 
 
 fidem do ? DO. Tabulae. 
 PH. Faeneratum istuc beneficium piilchre tibi dices. DO- 
 
 Logi. 
 PH. Crede mihi, gaudebis facto: uerum hercle hoc est. 
 
 DO. S6mnia. 
 PH. fixperire : n6n est longum. DO. Cantilenam eandem 
 
 canis. 495 
 
 PH. Tu mihi cognatus, tu parens, tu amicus, tu DO. 
 
 Garri modo. -A^* * 
 
 PH. Adeon ingenio esse duro te atque inexorabili, 
 Vt neque misericdrdia neque precibus molliri queas ! 
 DO. (imitating Phaedria's tone) Adeon te esse incdgitantem 
 
 atque inpudentem, Phaedria, 
 Vt phaleratis diicas dictis fmel et meam ductes 
 
 r ,,.. . A~< J 
 
 gratus ! 500 
 
 AN. (aside to Qeta) Mfseritumst. PH. (to himself) Ei, 
 
 ueris uincor ! GB. (aside to Antiplio) Quam uterque 
 
 est similis siii ! 
 PH. (to himself) Neque Antipho alia quom dccupatus esset 
 
 sollicitudine,
 
 34 TBRENTI [3. 5. 19- 
 
 Tum hoc esse mi obiectum malum ! AN. (coming for- 
 ward) Quid istiic est autem, Phaedria ? 
 PH. 6 fortunatissume Antipho. AN. l^gone ? PH. Quoi 
 
 quod amas domist, 
 Neque cum huius modi umquam usus uenit lit con- 
 
 flictares malo. 505 
 
 AN. Mihin domist ? imrno, id quod aiunt, auribus teneo 
 
 lupum. 
 [Nam neque quo pacto a me amittam neque uti retineam 
 
 scio.] 
 DO. fpsum istuc mi in hdc est. AN. (to Dorio) Heia, ne 
 
 parum Ien6 sies. 
 (to Phaedria) Nuni quid hie conf ecit ? PH. Hicine ? quod 
 
 homo inhumanissumus : 
 Pamphilam meam uendidit. AN. Quid ? uendidit ? GE. 
 
 Ain ? uendidit ? 510 
 
 PH. Vendidit. DO. (with a sneer) Quam indignum facinus, 
 
 ancillam aere emptam meo ! 
 PH. Nequeo exorare lit me maneat et cum illo ut mutet 
 
 fidem 
 Triduom hoc, djim id qudd 6st promissum ab amicis argen- 
 
 tum auferOj 
 (turning to Dorio) Si non turn dedero, linam praeterea 
 
 hdram ne oppertiis sies. 
 DO. Obtundes ? AN. (to Dorio) Haud Idngumst id quod 
 
 drat : exore"t sine. 515 
 
 Idem hie tibi, quod b<5nl promeritus fueris, conduplicauerit. 
 DO. Verba istaec sunt. AN. Pamphilamne hac urbe 
 
 priuari sines ? 
 
 Turn praeterea horunc amorem distrahi poterin pati ? 
 DO. Neque ego neque tu. PH. (to Dorio) Di tibi omnes 
 
 id quod es dignus duint !
 
 3. 5. 49.] PHORMIO. 35 
 
 DO. (to Phaedria) 3go te compluris aduorsum ingeuium 
 meum mensis tuli, 520 
 
 Pollicitantem et nil f erentem, flentem ; nunc, contra dnmia 
 haec, 
 
 Eepperi qui det neque lacrumet : da locum melidribus. 
 
 AN", (to Phaedria) Certe hercle, ego si satis commemini, 
 tibi quidemst olim dies, 
 
 Quam ad dares huic. praestituta. PH. Factum. DO. Num 
 
 , \ \s 
 
 ego istuc nego ? 
 
 AN. lam ea praeteriit ? DO. N6n, uerum haec e'i ante- 
 cessit. AN. Ndn pudet 525 
 
 Vanitatis ? DO. Mmume, dum ob rem. GE. (to Dorio) 
 Sterculinum! PH. Dorio, 
 
 ftane tandem facere oportet? DO. Sic sum; si placeo, 
 
 utere. 
 
 i *j r 
 
 AN. Sic huncjdecipis ? DO. Immo eplm uero, Antipho, 
 
 hie me : deci|pit; 
 Nam hie me huius modi scibat esse, ego hiinc esse aliter 
 
 credidi ; 
 
 fste me fefellit, ego isti nihilo sum aliter ac fui. 530 
 
 Sed ut^at haec sunt, tamen hoc faciam : eras mane argen- 
 
 tiim mihi 
 
 Miles dare se dixit ; si mihi priSr tu attuleris, Phae'dria, 
 Mea lege utar, ut potior sit, qui prior ad dandiimst. uale. 
 (Exit, while Phaedria looks helplessly after him.
 
 36 TERENTI [3. 6. 1- 
 
 Sc. 6 [III, 3]. 
 
 Phaedria is completely disheartened, but he finds friends ready to 
 help him. The trochaic septenarii, with musical accompani- 
 ment, continue through this scene. See Introd., p. xxxvi f. 
 
 PHAEDRIA ANTIPHO GETA 
 
 PH. Quid f aciam ? unde ego nunc tarn subito huic argen- 
 
 tum inueniam miser, 
 
 Quoi minus nihildst ? quod, hie si pote fu^sset exorarier 535 
 Triduom hoc, promissum fuerat. AN. Itane hunc patie- 
 
 miir, Geta, 
 Fieri miserum, qui me dudum, ut dixti, adiuerit cdmi- 
 
 ter? 
 Qufn quom opust, beneficium rursum e'i experiemur red- 
 
 dere? 
 GE. Scio equidem hoc esse aequom. AN. Age ergo 
 
 (slapping Geta encouragingly on the back), sdlus 
 
 seruare hunc potes. 
 GE. Quid f aciam ? AN. Inuenias argentum. GE. Cupio ; 
 
 sed id unde, edoce. 540 
 
 AN. Pater adest hie. GE. Scio ; sed quid turn ? AN. Ah, 
 
 dictum sapienti sat est. 
 GE. Itane ? AN. Ita. GE. Sane hercle pulchre suades. 
 
 etiam tu hmc abis ? 
 
 N<5n triumpho, ex miptiis tuis si nil nanciscdr mali, 
 Ki ^tiam nunc me huius causa quaerere in malo iubeas 
 
 crucem ? 
 AN. Vdrum hie dicit. PH. Quid ? ego uobis, Geta, alienus 
 
 sum ? GE. Haiid puto ; 545 
 
 S&l parumne est, quod dmnibus nunc ndbis suscenset 
 
 senex,
 
 3. G. 29.] PHORMIO. 37 
 
 Ni instigemus etiam, ut nullus Idcus relinquatiir preci ? 
 PH. Alius ab oculis meis illam in ignotum abducet 
 
 locum ? (sentimentally, with clasped hands) hem ! 
 Turn igitur, dum licet dumque adsum, -Idquirnini mecum, 
 
 Antipho, 
 Cdntemplamini me. AN. Quam ob rem ? aut quid nam 
 
 facturii's ? cedo. 550 * 
 
 PH. Qudquo hinc asportabitur terrarum, certuinst perse- 
 
 qui 
 Aut perire. GE. Di bene uortant qudd agas ! pedetemptim 
 
 tamen. 
 AN. Vid6 si quid opis pdtes adf erre huic. GE. ' Si quid ' ? 
 
 quid ? AN. Quaere, dbsecro. 
 Ne quid plus minusue faxit, qudd nos post pigeat, 
 
 Geta. 
 GE. Quaero. (After reflection) saluos est, ut opinor ; uerum 
 
 enim metud malum. 555 
 
 AN. Noli metuere ; una tecum bdna mala tolerabimus. 
 GE. Quantum opus est tibi Srgcnti, loquere. PH. Sdlae 
 
 triginta minae. 
 
 GE. Triginta ? hui ! percarast, Phaedria. 
 PH. (indignantly) fstaec uero uilis est. 
 GE. Age age, inuentas reddam. PH. (with sudden delight, 
 
 grabbing hold of Geta) lepidum! GE. (good- 
 naturedly shaking him off) Aufer te hinc. PH. lam 
 
 opust. GE. lam feres. 
 Sed opus est mihi Phdrmionem ad hanc rem adiutorem 
 
 dari. 560 
 
 AN. Prae'stost: audacissume oneris quiduis inpone ei 
 
 f eret ; 
 Sdlus est homo amico amicus. GE. Eamus ergo ad eum 
 
 dcius.
 
 38 TERENTI [3. G. 30- 
 
 AN. Num. quid 8st quod opera mea uobis dpus sit? 
 GE. Ml ; uerum abl domum 
 
 fit Illam miseram, quam ego nunc intus scio 6sse exani- 
 matam metu, 
 
 Consolare. cessas ? AN. N1M1 est aeque quod faciam 
 
 lubens. 565 
 
 (Exit into Demipho's house.} 
 
 PH. Qua uia istuc facies ? GE. Dicam in itinere : hinc 
 modo te amoue. 
 
 (Exeunt Phaedria and Geta, arm in arm, in animated con- 
 versation.}
 
 J-&J 
 fir 1 
 
 4. 1. 16.] PHOftMlO. 39 
 
 ACTVS IV. 
 
 So. 1. 
 
 Chremes has just landed and heard the startling news of what has 
 happened. He and Demipho are now on their way back 'from 
 the harbor. The music has ceased, and with the dialogue be- 
 tween the two old men, begins a series of iambic senarii, which 
 continue as far as vs. 712. See Introd., p. xxxvi f. 
 
 [Demipho and Chremes enter from the left.~\ 
 DEMIPHO CHREMES 
 
 DE. Quid ? qua profectus causa hinc es Lemmim, Chremes, 
 
 Adduxtin tecum filiam ? CH. Non. DE. Quid ita non ? 
 
 CH. Postquam uidet me eius mater esse hie diutius, 
 
 Simul aiitem non manebat aetas uirginis 570 
 
 Meam neclegentiam, ipsam cum omni familia 
 
 Ad me profectam esse aibant. DE. Quid Illi tarn diu 
 
 Quaeso igitur cominorabare, ubi id audieras ? 
 
 CH. (not caring to tell the truth) Pol me detinuit rndrbus. 
 
 DE. Vnde ? aut qui ? CH. Eogas ? 
 (evasively ) Senectus ipsast morbus. sed uenisse eas 575 
 Saluas audiui ex naiita qui illas uexerat. 
 DE. Quid gnato obtigerit me absente, audisti, Chremes ? 
 CH. Quod quidem me factum consili incertiim facit. 
 Nam (lowering his voice) hanc cdndicionem si quoi tulero 
 
 extrario, 
 
 Quo pacto aut unde mihi sit dicundum drdine est. 580 
 Te mihi fidelem esse aeque atcpie egomet sum mihi 
 Scibani. ille si me alienus adfinem uolet,
 
 40 TEBENTI [4. 1. 17- 
 
 Tacebit, dum intercedet familiaritas ; 
 Sin spreuerit me, plus quam opus est scitd sciet. 
 Vereorque (eying the door of his house) ne uxor aliqua hoc 
 resciscat mea. 585 
 
 Quod si fit, ut me exciitiam atque egrediar domo, 
 Id restat ; naru ego medium solus siim meus. 
 DE. Scio ita esse, et istaec mini res sollicitudinist, 
 Neque defetiscar usque adeo experirier, 
 Donee tibi id quod pdllicitus sum effecero. 590 
 
 So. 2. 
 
 Geta expresses his admiration for the cleverness of Phormio. The 
 two have concocted a scheme. For the metre see remarks at 
 the beginning of Act IV, Sc. 1. 
 
 \_Geta enters from the right and does not at first see the old 
 
 men.~\ 
 
 GETA DEMIPHO CHKEMES 
 
 GE. (with great satisfaction) Ego hdmlnem callididrem uidi 
 
 neminem 
 
 Quam Phdrmionem. uenio ad hominem, ut dicerem 
 Argentum opus esse et id quo pacto fieret. 
 Vix diim dimidium dixeram, intellexerat ; 
 Gaudebat, me laudabat, quaerebat senem. 595 
 
 Dis grdtias agebat, tempus sibi dari, 
 Vbi Phaddriae esse ostenderet nild minus 
 Amicum sese quam Antiphoni. hominem ^d forum 
 lussi dpperiri : eo me dsse adducturum senem. 
 (Seeing Demipho.) Sed 6ccum ipsum. quis 6st ulterior ? 
 
 (startled, as he recognizes Chr ernes) attat! Phaedriae GOO
 
 4. 3. 8.] PHORMIO. 41 
 
 Patgr uenit. (Regaining his composure) sed quid pertimui 
 
 autem belua ? 
 
 An quia quos fallam pro lino duo sunt mi dati ? 
 Commddius esse opmor duplici spe utier. 
 Petam hinc unde a primo instittf. is si dat, sat est ; 
 Si ab e6 nil net, turn hiinc adoriar hospitem. 605 
 
 Sc. 3. 
 
 Geta proceeds to put into execution the scheme they have decided 
 upon. He pretends to have been laboring with Phormio in the 
 interest of Demipho and Chremes, and that Phormio expresses 
 himself as willing to withdraw from his position for suitable 
 remuneration. Demipho is wild with rage when he learns the 
 amount demanded, but Chremes offers to help by using his wife's 
 money, and the bargain is completed. For the metre, see re- 
 marks at the beginning of Act IV, Sc. 1. 
 
 \_Antipho enters, unseen, from Demipho' s house.] 
 ANTIPHO GETA CHREMES DEMIPHO 
 
 AN. Expecto quam mox recipiat sese Geta. 
 
 (Seeing the others) Sed patruom uideo ciim patre astantem. 
 
 ei mihi, 
 
 Quam timeo, aduentus huius quo inpellat patrem ! 
 GE. Adibo [hosce] : (rushing up to Chremes) o salue, 
 
 ndster Chremes. CH. Salue, Geta. 
 GE. Venire saluom udlup est. CH. Credo. GE. Quid 
 
 agitur ? GIO 
 
 CH. Multa aduenienti, ut fit, noua hie compluria. 
 GE. Ita. de Antiphone audistin quae facta ? CH. Omnia. 
 GE. (to Demipho) Tun dixeras huic? facinus indigniim, 
 
 Chremes,
 
 42 TERENTI [4. 3. 9- 
 
 Sic circumiri ! CH. Id cum hoc agebam commodum. 
 GE. Nam hercle ego quoque id quidem agitans mecum 
 
 sedulo 615 
 
 Inueni, opinor, remedium huic rei. CH. Quid, Geta ? 
 DE. Quod remedium ? GE. Vt abii abs te, fit forte 
 
 <5buiam 
 Mihi Phormio. CH. QuiPh<5rmio? DE. Isquiistanc 
 
 CH. Scio. 
 
 GE. Visumst mi, ut eius temptarem sententiam. 
 Prendo hominem solum : ' qudr non,' inquam, ' Phdr- 
 
 mio, 620 
 
 Vides, inter nos sic haec potius cum bona 
 Vt cdmponamus gratia quam cum mala ? 
 Erus liberalis est et fugitans litium ; 
 Nam ceteri quidem hercle amici omnes modo 
 Vno 6re auctores fuere, ut praecipitem hanc daret.' 625 
 AN. (aside) Quid hie coeptat aut quo euadet hodie ? 
 
 GE. ' An legibus 
 
 Daturum poenas dices, si illam eiecerit ? 
 lam id exploratumst. heia, sudabis satis, 
 Si cum illo inceptas hdmine : ea eloquentiast. 
 Verum pono esse uictum eum ; at tandem tamen 630 
 
 Non capitis ei res a"gitur, sed peciiniae.' 
 Postquam hdminem his uerbis sentio mollirier, 
 ' Soli sumus nunc hie ' inquam : ' eho, die quid uis dari 
 Tibi in manum, ut erus his desistat litibus, 
 Haec hinc facessat, tii molestus ne sies ? ' 635 
 
 AN. (aside, bewildered) Satin illi di sunt prdpitii? 
 
 GE. 'Nam sa't scio, 
 
 Si tu aliquam partem aequi bonique dixeris, 
 Vt 6st ille bonus uir, tria non commutabitis 
 Verba hddie inter uos.' DE. Qais te istaec iussit loqui ?
 
 4. 3. 62.] PHORMIO. 43 
 
 CH. Imm6 non potuit melius peruenirier 640 
 
 Eo qu6 nos uolumus. AN. (aside) 6ccidi ! DE. Perge 
 
 eloqui. 
 
 GE. A primo homo insanibat. CH. Cedo quid pdstulat ? 
 GE. Quid ? minium quantum. CH. Quantum ? die. GE. 
 
 Si qufs daret 
 Talentum magnum. DE. (amazed at such impudence) =6d 
 
 Immo malum hercle ! ut nil pudet ! 
 
 GE. Quod dixi adeo ei : ( quaeso, quid si f iliam 645 
 
 Suam unicam locaret ? parui re tulit 
 Non siiscepisse. inuentast quae dotem petat.' 
 Vt ad pauca redeam ac mittam illius ineptias, 
 Haec denique eius fuit postrema oratio : 
 ' Ego ' iiiquit ' a principio amici filiam, 650 
 
 Ita ut aequom fuerat, uolui uxorem ducere ; 
 Nam mihi uenibat in mentem eius incommodum, 
 In seruitutem pauperem ad ditem dari. 
 Sed mi dpus erat, ut aperte tibi nunc fabuler, 
 Aliquantulum quae adferret, qui dissoluerem 655 
 
 Quae debeo ; et etiarn nunc, si uolt Demipho 
 Dare quantum ab hac accipio, quae sponsast mihi, 
 Nullam mihi malim quam istanc uxorem dari.' 
 AN. (aside) Vtrum stultitia facere ego hunc an malitia 
 Dic^m, scientem an inprudentem, incertus sum. 660 
 
 DE. Quid si animam debet? GE. ( A.gei oppositus pi- 
 
 gnori 
 
 Ob dec6m minas est.' DE. Age age, iam ducat : dabo. 
 GE. ' Aediculae item sunt 6b decem alias.' DE. Oiei ! 
 Nimiumst. CH. Ne clama : r^petito hasce a me decem. 
 GE. ' Vxdri emunda ancillulast ; turn pluscula 665 
 
 Supgllectile opus est; opus est sumptu ad nuptias; 
 His rebus sane pdrro pone ' inquft ' decem.'
 
 44 TERENTI [4. 3. 63- 
 
 DE. (in anger and disgust) Sescentas proinde scribito iam 
 
 mihi dicas ! 
 
 Nil do. inpuratus me ille ut etiam inrideat ? 
 CH. Quaeso, ego dabo, quiesce : tu modo filium 670 
 
 Fac ut illam ducat, nos quam uolumus. AN. (wildly) Ei 
 
 mihi ! 
 
 Geta, dccidisti me tuis fallaciis. 
 CH. Mea causa e'icitur ; me hdc est aequom amittere. 
 GE. ' Quantum potest me certiorem ' inquit ' face, 
 Si illam dant, hanc ut mittam, ne incertus siem ; 675 
 
 Nam illi mihi dotem iam constituerunt dare.' 
 CH. Iam accipiat ; illis repudium renuntiet ; 
 Hauc ducat. DE. (sullenly) Quae quidem illi res uortat 
 
 male! 
 
 CH. Opportune adeo argentum nunc mecum attuli, 
 Fructvim quern Lemni uxdris reddunt praedia : 680 
 
 Inde sumam ; uxori tibi opus esse dixero. 
 
 (Exeunt Demipho and Chremes into the latter 's house.) 
 - . 
 
 ' So. 4. 
 
 Antipho, astounded at what he supposes to be Geta's treachery, 
 demands an explanation and gets it. For the metre, see re- 
 marks at the beginning of Act IV, Sc. 1. 
 
 ANTIPHO GET A 
 
 AN. (fairly beside himself) Geta ! GE. Hem. AN. Quid 
 
 egisti ? GE. Emunxi argent6 senes. 
 AN. Satin e"st id ? GE. (purposely misinterpreting the 
 
 question) Nescio hercle : tantum iussus sum. 
 AN. Eho (striking him), uerbero ! aliud mihi respondes ac 
 
 rogo?
 
 4. 4. 31.] PHORMIO. 45 
 
 GE. Quid ergo narras ? AN. Quid ego narrem ? opera 
 tua 685 
 
 Ad restim mihi quidem res redlt planissume. 
 
 Vt te quidem omnes di deae, superi inferi 
 
 Malis exemplis perdant ! (looking for a moment toward the 
 audience) em ! si quid uelis, 
 
 Huic mandes, qui te ad scdpulum e tranquillo aiif erat. 
 
 Quid minus utibile fuit quam hoc ulcus tangere 690 
 
 Aut ndminare uxdrem ? iniectast spes patri 
 
 Posse illam extrudi. cedo nunc porro : Phdrmio 
 
 Dotem si accipiet, lixor ducendast domum. 
 
 Quid fiet ? GE. (shortly) ISTon emm diicet. AN. (sarcas- 
 tically] Koui. ceterum 
 
 Quom argentum repetent, ndstra causa scilicet 695 
 
 In neruoni potius ibit. GE. Nil est, Antipho, 
 
 Quin male narrando pdssit deprauarier. 
 
 Tu id qudd bonist excerpis, dicis qudd malist. 
 
 Audi nunc contra : iam si argentum acceperit, 
 
 Ducendast uxor, lit ai's ; concedd tibi ; 700 
 
 Spatiiim quidem tandem adparandi nuptias, 
 
 Vocandi, sacruficandi dabitur paululum. 
 
 Interea amici qudd polliciti siint dabunt : 
 
 Inde iste reddet. AN. Quam db rem ? aut quid dicet ? 
 GE. Rogas ? 
 
 Quod res ! ' postilla mdnstra eueneriint mihi ; 705 
 
 Intro iit in aedis ater alieniis canis ; 
 
 Anguis per Inpluuium decidit de tegulis ; 
 
 Gallina cecinit ; interdixit hariolus ; 
 
 Haruspex uetuit ; ante briunam autem noui 
 
 Negdti incipere ..... 710 
 
 ' , quae causast iustissuma. 
 
 Haec fient. AN. Vt modo fiant ! GE. Fient : me uide.
 
 46 TERENTI [4. 4. 32- 
 
 (Looking toward Demigho's house) Pater exit : abi, die e*sse 
 argentum Phaedriae. 
 
 (Exit Antipho to the right.) 
 
 So. 5. 
 
 Chremes and Demipho reappear with the money for Phormio, 
 Chremes apprehensive, Demipho confident that no one on earth 
 can get the better of him. In a moment of tender-heartedness, 
 they agree that Nausistrata shall go and break the news as gently 
 as possible to Phanium. With the re-entering of the old men, 
 the music begins again and there ensues a spirited dialogue in 
 iambic octonarii. See Introd., p. xxxvi f. 
 
 [Demipho and Chremes enter from the latter^s house, the 
 former carrying a money-bag.] 
 
 DEMIPHO CHREMES GETA 
 
 DE. (to Chremes) Quietus esto, inquam ; ego curabo ne 
 
 quid uerborum duit. 
 Hoc temere numquam amittam ego a me, qum mihi testis 
 
 adhibeam. 
 
 Quoi dem et qiiam ob rem dem, cdmmemorabo. GE. (aside) 
 
 Vt caiitus est, ubi nil opust. 715 
 
 CH. Atque ita opus f actost : et matura, diim lubido eadem 
 
 haec raanet ; 
 
 Nam si altera illaec ma'gis instabit, fdrsitan nos reiciat. 
 GE. Rem ipsa"m putasti. DE. (to Geta) Due me ad eum 
 ergo. GE. N6n moror. CH. (to Demipho) Vbi hoc 
 (Sgeris, 
 , Transito ad uxor^m meam, ut conudniat hanc prius quam 
 
 hinc abit. 
 
 jl * '*** Dicdt earn dare nos Phdrmioni niiptum ; ne suscenseat j 720 
 '1 v 
 
 **
 
 4. 6. 2.] PHOEMIO. 47 
 
 Et inagis esse ilium iddneum, qui ipsi sit familiarior ; 
 Nos nostro officio ndn digresses esse : quantum is ud- 
 
 luerit, 
 Datum esse dotis. DB. Quid tua malum Id re fert? 
 
 CH. Magni, Demipho. 
 Non satis est tuom te officium fecisse, id si non faina 
 
 adprobat. 
 
 Volo ipsius uoluntate haec fieri, ne se eiectam praedicet. 725 
 DE. Idem ego Istuc facere pdssum. CH. Mulier iniilieri 
 
 inagis cdnuenit. 
 
 DE. Kogabo. {Exeunt Demipho and Geta to the right.) 
 CH. (meditating) Vbi illas mine ego reperire possim, cdgito. 
 
 so. 6[v,i]. 
 
 . 
 Chremes is startled at seeing the servant of his Lemnian wife sud- 
 
 denly appear in the door of Demipho's house. A conversation 
 follows as amusing to the audience as it is bewildering to 
 Chremes. The latter finally comprehends the situation, and 
 his joy knows no bounds. During Sophrona's soliloquy and 
 the "asides" of Chremes (i.e. to 739) the scene is purely 
 lyrical in character. The recognition of each other's identity is 
 marked by three trochaic septenarii (739-741). Then follows 
 Chremes' passionate appeal, with an explanation, in iambic 
 octonarii (742-747). With the change of subject in 748 begins 
 a series of iambic septenarii which, together with the music, con- 
 tinue throughout the rest of this and the next two scenes. See 
 Introd., p. xxxvi f . 
 
 \_Sophrona enters from Demipho's house, not seeing Chremes.'] 
 SOPHBONA CHREMES 
 
 SO. (tvildly, to herself) Quid agam ? quern mi amicum 
 inueniam misera ? aut quo consilia haec referam ?
 
 48 TERENTI [4. 6. 3- 
 
 Aut unde auxiliiim petam ? 
 
 Nam uereor, era ne 6b meum suasum indigna iniuria 
 
 adficiatur : 730 
 
 fta patrem adulescentis facta haec tdlerare audio 
 
 uiolenter. 
 CH. (aside) Nam quae haec anus est, exanimata a fratre 
 
 quae egressast raeo ? 
 SO. Quod ut facerem egestas me inpulit, quom scirem 
 
 irifirmas niiptias 
 Hasce esse, ut id consulerem, interea uita ut in tut<5 
 
 foret. 
 CH. (aside) Certe edepol, nisi me animus fallit aut parum 
 
 prospiciunt oculi, 735 
 
 Meae nutricem gnatae uideo. SO. Neque Ille inuestiga- 
 
 tur. CH. (aside) Quid ago ? 
 SO. Qui est eius pater. CH. (aside) Adeo an maneo, dum 
 
 haec quae loquitur magls cognoscp ? 
 SO. Qudd si eum nunc reperire possim, nfhil est quod 
 
 uerear. CH. (aside) East ipsa : 
 
 Conloquar. (Apjjroaches her.) SO. (startled, without turn- 
 ing to look) Quis hie Idquitur ? CH. Sophrona ! 
 
 SO. t meum nomen ndminat ? 
 CH. Respice ad me. SO. Di obsecro uos, estne hie 
 
 Stilpo ? CH. N6n. SO. (puzzled) Negas ? 740 
 
 CH. (in a low excited tone) Cdncede hinc a fdribus paulum 
 
 istdrsum sodes, Sophrona. (They withdraw.) 
 Ne me istoc posthac ndmine appella'ssis. SO. Quid? 
 
 non, dbsecro, es 
 Quern semper te esse dictitasti ? CH. (lifting his finger 
 
 mysteriously) St'. SO. Quid has metuis fores ? 
 CH. (in an undertone) Conclusam hie habeo uxdrem saeuam, 
 
 uerum istoc me nomine
 
 4. 6. 26.] PHORMIO. 49 
 
 Eo perperam olim dixi, ne uos fdrte inprudentes 
 
 foris 745 
 
 Effuttiretis atque id porro aliqua uxor mea resci- 
 
 sceret. 
 SO. Istdc pol nos te hie inuenire miserae nurnquam p(5- 
 
 tuimus. 
 CH. Eho, die mihi, quid rei tibist cum familia hac unde 
 
 exis? 
 Vbi illae sunt ? SO. Miseram me ! CH. Hem, quid est ? 
 
 uiudntne ? SO. Viuit gnata. 
 Matrem ipsam ex aegritiidine hac miseram mors consecii- 
 
 tast. 750 
 
 CH. Male factum. SO. Ego autem, quae essem anus 
 
 deserta, egens, igndta, 
 
 Vt potui nuptum uirginem locaui huic adulescenti, ^ 7*" '* 
 Harum qui est domiuus aedium. CH. Antiphdnin ? 
 
 SO. Em, istic ipsi. 
 CH. (hardly believing his ears) Quid ? duasne uxores habet ? 
 
 SO. (throwing up both hands and turning her head in 
 
 deprecation) Au, obsecro, unam ille quidem hanc 
 
 solam. 
 CH. Quid illam alteram quae dicitur cognata ? SO. Haec 
 
 ergost. CH. Quid a'is ? 755 
 
 SO. Composite factumst, qud modo hanc amans habere 
 
 pdsset 
 Sine dote. ,CH. (to himself, walking excitedly this way and 
 
 that} Di uostram fidem, quam saepe forte temere 
 Eueiiiunt quae non audeas optare ! offendi adueniens 
 Quocum uolebam et lit uolebam cdnlocatam gndtam. 
 Quod n6s ambo opere maxumo dabamus operam ut 
 
 fieret, 760 * 
 
 Sine ndstra cura 5 maxuma sua ciira hie solus fecit.
 
 50 TEKENTI [4. 6. 27- 
 
 SO. Nunc quid opus facto sit uide: pater adulescentis 
 
 uenit 
 Eumque animo iniquo hoc dppido ferre aiunt. CH. Nil 
 
 periclist. -^^^^^' 
 Sed per deos atque homines meam esse hanc cau5 resciscat 
 
 quisquam. 
 SO. Nemo e me scibit. CH. Sequere me: intus cetera 
 
 audieta's. 765 
 
 (Exeunt into Demipho's house.)
 
 5. 1. 11.] PHORMIO. 51 
 
 ACTVS V. 
 
 So. 1 [2]. 
 
 Demipho has paid the money to Phormio, and now returns in a 
 very unhappy frame of mind at the thought that they have 
 allowed Phormio to profit by playing the rascal. Geta worries 
 him with forebodings, and begins at the same time to feel uneasy 
 about his own prospects. For the metre, see remarks at the 
 beginning of Act IV, Sc. 6. 
 
 \_Demipho and Geta enter from the right.'} 
 DEMIPHO GETA 
 
 DE. Nostrapte culpa facimus ut malis expediat esse, 
 
 Dum nimium dici nds bonos studemus et benignos. 
 
 Ita fugias ne praeter casam quod aiunt. nonne id sat 
 
 erat, 
 Accfpere ab illo iniuriam ? etiam argentumst ultro ob- 
 
 iectum, 
 
 Vt sit quj. uiuat, dum aliud aliquid flagiti conficiat. 770 
 GE. Planissume. DE. Eis nunc praemiumst, qui recta 
 
 praua faciunt. 
 GE. Verfssume. DE. Vt stultissume quidem Illi rem 
 
 gesserimus! 
 
 GE. Modo ut hdc consilio pdssiet discedi, ut istam ducat. 
 DE. (startled) Etiamne id dubiumst ? GE. Haiid scio 
 ...' hercle, ut homost, an mutet aniinum. 
 DE. Hem ! mutet autem ? GE. Nescio ; ueriim, si forte, 
 
 dfco. 775 
 
 DE. Ita faciam, ut frater censuit, ut uxorem eius hue 
 
 adducam,
 
 52 TEKENTI [5. 1. 12- 
 
 Cum ista ut loquatur. tii, Greta, abi prae, nuntia hanc 
 
 uenturam. (Exit into Chremes's house.) 
 
 GE. (thoughtfully) Argentum inuentumst Phaedriae; de 
 
 iurgio siletur ; 
 Prouisumst, ne in praesentia haec hinc abeat : quid nunc 
 
 porro ? 
 Quid fiet? (shrugging his shoulders') in eodem luto haesi- 
 
 tas ; uorsuram solues, 780 
 
 Geta : praesens quod fuerat malum, in diem abiit ; plagae 
 
 crescunt, 
 
 Nisi prospicis. nunc hinc domum ibo ac Phanium edocebo, 
 Ne quid uereatur Phormionem aut eius orationem. 
 
 (Exit into Demipho's house.) 
 
 So. 2 [3]. 
 
 s 
 
 Demipho returns with Nausistrata, who has agreed to break the 
 news of the proposed arrangements to Phanium. In the mean- 
 time, she improves the opportunity of telling what she thinks of 
 herj>resent husband, as compared with her first. For the metre, 
 see remarks at the beginning of Act IV, Sc. 6. 
 
 [Demipho and Nausistrata enter from Chremes's house.~\ 
 DEMIPHO NAVSISTKATA 
 
 DE. Age dum, ut soles, Nausistrata, fac Ilia ut placetur 
 
 ndbis, 
 Et sua" uoluntate id quod est faciundum faciat. NA. 
 
 Fa"ciam. 785 
 
 DE. Pariter nunc opera me Jidiuues ac re* dudum opitu- 
 
 Mta es. 
 NA. Factum uolo. ac pol minus queo uirl ciilpa quam 
 
 me dignumst.
 
 8. 3. 2.] PHORMIO. 53 
 
 DE. Quid autem ? NA. Quia pol mei patris bene parta 
 indiligenter 
 
 Tutatur ; nam ex eis praediis talenta argenti Mna 
 
 Statim capiebat : uir uiro quid praestat 1 DE. Binan, 
 quaeso ? 790 
 
 NA. Ac rebus uilioribus multd talenta bfna. DE. (affect-- 
 ing surprise) Hui ! 
 
 NA. Quid haec uidentur ? DE. Scilicet ! NA. Vinim me 
 natum uellem : 
 
 Ego ostenderem DE. Cert6 scio. NA. quo pa"cto 
 DE. Parce sodes, 
 
 Vt pdssis cum ilia, ne te adulescens mulier defetiget. 
 
 NA. Faciam ut iubes. sed meiim uirum abs te exire 
 
 uideo. -- * l ^ ~ <- 795 
 
 p,^.*-^. * J'^' <-,*<', **. ) 
 
 Sc. 3 [4]. 
 
 Chremes has had an interview with his daughter, and now comes 
 rushing out to tell Demipho of his discovery, and put a stop to 
 their proceedings against Phanium. In his excitement, he does 
 not notice his wife, Nausistrata, in time to avoid compromising 
 himself. Then he makes an amusing attempt to parry the 
 embarrassing questions which his manner prompts Demipho 
 and Nausistrata to ask. The reappearance of Chremes is 
 marked by a change of metre to iambic octonarii which con- 
 tinue, with musical accompaniment, throughout the scene. See 
 Introd., p. xxxvi f. 
 
 [Chremes comes out of Demipho's House."] 
 NAVSISTBATA CHKEMES DEMIPHO 
 
 CH. (eagerly) Eh8m, Demipho ! 
 
 lam illi datumst argentum ? DE. Curaui flico. CH. 
 Noll em datum. (To himself, in chagrin.)
 
 54 TEREKTI [5. 3. 3- 
 
 Ei ! uideo uxorem. paene plus quam sat erat. DE. Quor 
 v nolles, Chremes ? 
 CH. (in confusion) lam recte. DE. Quid tu? ecquid 
 
 locutu's cum istac quam ob rein hanc ducimus ? 
 CH. Transegi. DE. Quid ait tandem ? CH. Abduci ndn 
 
 potest. DE. Qui non potest ? 
 CH. Quia uterque utriquest cordi. DE. Quid Istuc ndstra ? 
 
 CH. Magni. praeterhac 800 
 
 Cognatam comperi esse nobis. DE. Quid ? deliras ! CH. 
 
 Sic erit. 
 Non temere dico : redii mecum in memoriam. DE. Satin 
 
 sa"nus es ? 
 NA. Au, obsecro, uid8 ne in cognatam pecces. DE. Non 
 
 est. CH. Ne nega. 
 Patris ndmen aliud dictumst: hoc tu errasti. DE. Non 
 
 norat patrem ? 
 CH. Norat. DE. Quor aliud dixit ? CH. (edging toward 
 
 him, angrily) Numquamne h6die concedes mihi 805, 
 Neque Intelleges ? DE. Si tu nil narras ? CH. Perdis. 
 
 NA. Miror quid siet. 
 DE. Equidem hercle nescid. CH. Vin scire ? at ita me 
 
 seruet luppiter, 
 Vt pr<5prior illi, quam ego sum ac tu, [homo] ne*most. 
 
 DE. Di uostra"m fidem ! - 
 Ea"mus ad ipsam ; una <5mnis nos aut scire aut nescire hdc 
 
 uolo. CH. Ah ! 
 DE. Quid est ? CH. Itan paruam mihi fidem esse aprid 
 
 te ! DR Vin me credere ? 810 
 
 Vin sa"t!s -quaesitum mi istuc esse ? age, fiat, quid ? Ilia 
 
 filia (slyly) 
 Amici nostri quid futurumst? CH. Recte. DE. Hanc 
 
 igitur mittimus ?
 
 5. 4. 7.] PHORMIO. 55 
 
 CH. Quid ni ? DE. flla maneat ? CH. Sic. DE. Ire igi- 
 
 tur tibi licet, Nausistrata. 
 NA. Sic pdl commodius esse in omnis arbitror, quam ut 
 
 coeperas, 
 Manere hanc; nam perliberalis uisast, quom uidi, mibi 
 
 (goes into her house). 815 
 
 DE. (out of all patience) Quid Istuc negotist ? CH. lanme 
 
 operuit dstium ? DE. lam. CH. O luppiter ! 
 Di n6s respiciunt. gnatam inueni nuptam cum tuo filio. 
 
 DE. Hem ! ^*f~-^ ; ^. 7i<> , 77 
 Quo pacto [id] potuit? CH. N6n satis tutus est ad 
 
 narrandum hie locus. 
 DE. At tu intro abi. CH. (as they both go into Demiplio's 
 
 house) Heus, ne filii quidem hoc ndstri resciscant 
 
 uolo. 
 
 Sc. 4. 
 
 Antipho soliloquizes upon his cousin's happiness and his own 
 misery. The scene is in iambic septenarii, with musical 
 accompaniment. See Introd., p. xxxvi f. 
 
 [Antipho enters from the riglif] 
 ANTIPHO 
 
 Laetiis sum, ut meae res sese habent, fratri dbtigisse qudd 
 uolt. 820 
 
 Quam scitumst, eius modi parare in animo cupiditates, 
 Quas, qudm res aduorsae sient, pauld mederi pdssis ! 
 Hie simul argentum repperit, cura sese expediuit ; 
 Ego nullo possum remedio me eudluere ex his turbis, 
 Quin, si hdc celetur, in metu, sin patent, in probrd sim. 825 
 Neque me domum nunc reciperem, ni mi esset spes ostenta
 
 56 TEKENTI [5. 4. g- 
 
 Huiusce habendae. sed ubi nam Getam muenire pdssim ? 
 [Vt rdggm, quod tempus conueniundi patrls me capere 
 suadeat.] 
 
 So. 5. 
 
 Phormio is greatly delighted at the success of his plans. He thinks 
 he will take a few days off to celebrate. Upon his entrance 
 the metre changes to iambic octonarii, the music still continu- 
 ing. See Introd., p. xxxvi f. 
 
 [Phormio enters from the riglit.~\ 
 PHORMIO ANTIPHO 
 
 PH. Argentum accepi, tradidi lendni ; abduxi miilierem, 
 Curaui propria ut Phaedria poteretur ; nam emissast 
 
 manu. 830 
 
 Nunc lina mihi res etiam restat quae est conficiunda, 
 
 dtimn 
 
 Ab senibus ad potandjim ut habeam; nam aliquod hos 
 
 sum^m dies. 
 AN. (as yet unobserved} Sed Phdrmiost. quid als ? 
 
 PH. Quid ? AN. Quid nam nunc facturust Phaedria ? 
 Quo pacto satietatem amoris aitsejjelle absumere ? 
 PH. Vicissim partis tuas acturus est. AN. Quas ? PH. Vt 
 
 fugitet patrein. 835 
 
 Te sua"s rogauit rursum ut ageres, causam ut pro se 
 
 diceres ; 
 
 Nam pdtaturus est apud me. ego me ire senibus Sunium 
 Dicam dd mercatum, ancfllulam emptum dudum quam 
 
 dixit Geta. 
 Ne, quoin hie non uideant, md conficere credant argentum 
 
 suom.
 
 5. 6. 8.] PHORMIO. 57 
 
 Sed dstium concrepuit abs te. (Both withdraw to one 
 
 side.) 
 AN. Vide" quis egreditur. PH. Getast. 840 
 
 Sc. 6. 
 
 Geta has been eavesdropping and now comes out in great glee to 
 hunt up Antipho and tell of the wonderful things he has heard. 
 The metre changes to trochaic septenarii, which, with musical 
 accompaniment, continue throughout the scene. See Introd., 
 p. xxxvi. 
 
 \_Geta comes rushing out of Demipho's house.~\ 
 GETA ANTIPHO PHORMIO 
 
 GE. Fortuna ! o Fors Fortuna ! quantis commodita- 
 
 tibus, 
 Quam subito meo ero Antiphoni ope uostra liunc onerastis 
 
 diem ! 
 AN. (aside to Phormid) Quid nam hie sibi uolt ? 
 
 GE. ndsque amicos ems exonerastis inetu! 
 Sed ego mine mihi cesso, qui non umerum hunc onero 
 
 pallio (suiting the action to the word) 
 Atque hominem propero inuenire, ut haec quae con- 
 
 tigerint sciat. 845 
 
 AN. (aside to Phormio) Num. tu intellegis, quid hie nar- 
 
 ret? PH. (aside to Antipho) Num tu ? AN. Nil. 
 
 PH. Taiitundem ego. 
 GE. Ad lenonem hinc ire pergam: ibi mine sunt (starts 
 
 to run). AN. Hens ! Geta ! GE. (slackening his pace, 
 
 without turning) lEm tibi ! 
 Niim mirum aut noudmst reuocari, cursum quom insti- 
 
 teris ? AN. (louder than before) Geta !
 
 58 TEKENTI [5.6.9- 
 
 ^. 737 
 
 GE. Pergit liercle. (Muttering) numquam tu odio tud me 
 
 uinces. AN. Non manes ? 
 GE. (sullenly) Vapula ! AN. Id quidSm tibi iam net, nisi 
 
 resistis, uerbero. 850 
 
 GE. (surprised) Familiariorem oportet esse hunc : minita- 
 
 tiir malum. 
 (Turning to look) Sed isne est quern quaero an non ? 
 
 ipsust ; (rushing toward Antipho) cdngredere actutum. 
 
 AN. Quid est ? 
 GE. dmnium, quantiimst qui uiuont, hdmo hominum 
 
 ornatissume ! 
 
 Na*m sine controuorsia ab dis sdlus diligere, Antipho. 
 AN. ftauelim; sed qui istuc credam ita esse mihi dici 
 
 uelim. 855 
 
 GE. Satine est si te delibutum gaiidio reddo ? AN. Enicas. 
 PH. (to Geta) Quin tu hinc pollicitationes aiifer et quod 
 
 f ers cedo. GE. Oh ! 
 Tu quoque aderas, Phdrmio ? PH. Aderam. sed tu 
 
 cessas ? GE. Accipe, em ! 
 
 Vt modo argentum tibi dedimus apud forum, recta domum 
 Sumus profecti; interea mittit erfis me ad uxorem 
 
 tuam. 860 
 
 AN. Quam 6b rem ? GE. Omitto prdloqui ; nam nil ad 
 
 hanc rem est, Antipho. 
 
 \ 7 bi In gynaeceum ire occipio, piier ad me adcurrit Mida, 
 Pone prendit pallio, resupinat. respicio", rogo 
 Quam 6b rem retineat me. ait esse uetitum intro ad eram 
 
 accedere. 
 ' Sdphrona modo fr^trem hue ' inquit * senis introduxit 
 
 Chremem ' ; 865 
 
 Eumque nunc esse intus cum illis. hdc ubi ego audiui, 
 
 dd fores
 
 5. 6. 43.] PHORMIO. 59 
 
 Suspense gradii placide ire perrexi, access!, astiti, 
 Animam compress!, aurem adinoui: ita animum coepi 
 
 attendere, 
 Hoc inodo sermdnem captans. PH. Eu, Geta ! GE. Hie 
 
 pulcherrumum 
 
 Facinus audiui ; itaque paene hercle exclamaui gaiidio. 870 
 AN. Qu<5d ? GE. Quod nam arbitrage ? AN. Nescio. 
 
 GE. Atqui rairificissumum : 
 Patruos tuos est pater inuentus Phanio uxori tuae. 
 
 AN. [Hem!] 
 Quid a'is ? GE. Cum eius consueuit olim matre in Lemno 
 
 clanculum. 
 PH. Sdmnium ! utlne haec ignoraret su6m patrem ? 
 
 GE. Aliquid credito, 
 Ph6rmio, esse caiisae. sed me censen potuisse 6m- 
 
 nia 875 
 
 tntellegere extra dstium, intus quae inter sese ipsi 
 
 egerint ? 
 AN. Atque ego quoque inaiidiui illam f abulam. GE. Immo 
 
 etiam dabo 
 Qu6 magis credas: patruos interea inde hue egreditiir 
 
 f oras ; 
 
 Haiid multo post cum patre idem recipit se intro denuo ; 
 Ait uterque tibi potestatem eius adhibendae dari. 880 
 Denique ego sum missus, te ut requirerem atque addii- 
 
 cerem. 
 AN. (beside himself with joy) Quin ergo rape me : quid 
 
 cessas ? GE. Fecero. AN. mi Phdrmio, 
 Val6 ! (They hurry into Demipho's house.) PH. Vale, 
 
 Antiph.6 ! bene, ita me di ament, factum gaiideo.
 
 60 TERENTI [5. 7. 1- 
 
 Sc. 7. 
 
 Phormio expresses his satisfaction with the turn events have 
 taken. The music has ceased, and the metre changes to 
 iambic senarii, which continue to 1011. See Introd., p. xxxvi. 
 
 PHORMIO 
 
 (Soliloquizing) Tantam fortunam de mprouiso esse his 
 
 datam ! 
 
 Summa eludendi occasiost mihi nunc senes 885 
 
 Et Phaedriae curam adimere argentariam, 
 Ne quoiquam suorum aequalium supplex siet. 
 Nam idem hdc argentum, ita lit datumst, ingratiis 
 Ei datum erit : hoc qui cdgam, re ipsa repperi. 
 Nunc gestus mihi uoltusque est capiundiis nouos. 890 
 Sed hinc concedam in angiportum hoc prdxumum, 
 Inde hisce ostendam me, ubi erunt egressi foras. 
 Quo me adsimularam ire ad mercatum, non eo. 
 
 So. 8. 
 
 Demipho and Chremes reappear in search of Phormio, to inform 
 him of their decision to annul the contract and take back their 
 money ; whereupon Phormio proceeds to put his new scheme 
 into execution. He will have them understand that he proposes 
 to be fairly dealt with, and won't be imposed upon by anybody. 
 Phormio outfaces them, and, as words are of no avail, they 
 resort to force. For the metre, see remarks at the beginning 
 of Act V, Sc. 7. 
 
 [Demipho and Chremes come out of the former's house. ,] 
 DEMIPHO CHREMES PHORMIO 
 
 DE. Dis ma'gnas merito gratias habeo atque ago, 
 Quando duenere haec ndbis, frater, prdspere. 895
 
 5. 8. 28.] PHORMIO. 61 
 
 CH. Estne ita uti dixi liberalis ? DE. 6ppido. 
 
 Quantum potest, nunc cdnueniundust Phdrmio, 
 
 Prius quam dilapidat ndstras triginta minas, 
 
 Vt aiif eramus. PH. (coming out, and pretending not to see 
 them) Demiphonem si domist 
 
 Visam, ut quod DE. (interrupting him) At nos ad te 
 ibainus, Phdrmio. 900 v 
 
 PH. De eadem hac fortasse causa? DE. Ita hercle. 
 PH. Credidi. 
 
 Quid ad me ibatis ? DE. Kidiculum PH. (interrupt- 
 ing) jij^rjibjimini y,\, /vlA/C- 
 
 Ne ndn id f acerem, qudd recepissem semel ? 
 
 Heus ! quanta quanta haec mea paupertas est, tamen 
 
 Adhiic curaui unum hdc quidem, ut mi esset fides. 905 
 
 Idque adeo uenio nuntiatum, Demipho, 
 
 Paratum me esse : ubi udltis, uxorem date. 
 
 Nam omnis posthabui mihi res, ita uti par fuit, 
 
 Postquam id tanto opere uds uelle animum adudrteram. 
 
 DE. At hie dehortatus est me, ne illam tibi darem : 910 
 
 ' Nam qui erit rumor pdpuli/ inquit, < si id f eceris ? 
 
 Olim quom honeste pdtuit, turn non est data ; 
 
 Earn mine extrudi tiirpest.' ferme eadem dmnia, 
 
 Quae tiite dudum cdram me incusaueras. 
 
 PH. Satis superbe inliiditis me. DE. Qui ? PH. Kogas ? 915 
 
 Quia ne alteram quidem illam potero diicere ; 
 
 Nam quo redibo ore ad earn quam contempserim ? 
 
 CH. (in a low voice, prompting Demipho, who is at a loss 
 for words') 
 ' Turn autem Antiphonem uideo ab sese amittere 
 
 Inuitum earn ' inque. DE. Turn aiitem uideo filium 
 
 Inuitum sane mulierem ab se amittere. 920 
 
 Sed transi sodes ad forum atque ilkid mihi 
 v
 
 62 TERENTI 
 
 Argentum rursum iubg rescribi, Phdrmio. 
 PH. Quodne ego discripsi pdrro illis quibus debui ? 
 DE. Quid igitur fiet ? PH. Si uis mi uxorem dare, 
 Quam despondisti, diicam ; sin est lit uelis 925 
 
 Manere illam apud te, dds hie (patting his own chest) 
 
 maneat, Demipho. 
 
 Nam ndn est aequom me propter uos decipi, 
 Quom ego udstri honoris causa repudium alterae 
 Remiserim, quae ddtis tantundem dabat. 
 DE. In in malam rem hinc cum istac rnagnificentia, 930 
 Fugitiue ? etiam nunc credis te ignorarier 
 Aut tiia f acta adeo ? PH. Inritor! DE. Tune hanc diiceres, 
 Si tibi daretur ? PH. Fac periclum. DE. Vt filius 
 Cum ilia habitet apud te : hoc udstrum consilium fuit. 
 PH. Quaesd quid narras ? DE. Quin tu mi argentiim 
 
 cedo. 935 
 
 PH. Immo uero uxorem tu cedo. DE. In ius ambula. 
 PH. Enlm uero si porro esse odio^i pergitis 
 DE. Quid facies ? PH. Egone ? uds me indotatip modo 
 Patrdcinari fdrtasse arbitr^mini : 
 Etiarn (raising his eyebrows, and looking Chremes straight 
 
 in the eye) dotatis sdleo. CH. Quid Id nostra ? PH. 
 
 (after an insinuating pause) Nihil. 940 
 
 Hie quandam noram, quoius uir uxorem CH. (startled 
 
 at finding his secret is known) Hem ! DE. Quid est ? 
 PH. Lemni habuit aliam CH. (trembling with fear) 
 
 Nullus sum. PH. ex qua filiam 
 Suscepit, et earn clam educat. CH. Sepiiltus sum. 
 PH. Haec adeo ego illi iam denarrabo. CH. 6bsecro, 
 Nefjlcias. PH. Oh! tune is eras? DE. Vt ludds f acit ! 945 
 CH. (in a conciliating tone, to Phormio) Missiim te faciinus. 
 
 PH. Fabulae ! CH. Quid uis tibi ?
 
 5. 8. 77.] PHOKMIO. 63 
 
 Argentum quod habes cdndonamus te. PH. Audio. 
 
 (After a pause, indignantly) 
 Quid uos malum ergo me sic ludificamini 
 Inepti uostra piierili sententia ? 
 
 Nold, uolo ; uolo, ndlo rursum ; cape, cedo ; 950 
 
 Quod dictum, indictumst ; quod modo erat ratum, inri- 
 
 tumst. 
 CH. (aside to Demipho) Quo pacto aut unde hie haec 
 
 resciuit ? DE. (aside to Chremes) Nescio ; 
 Nisi me dixisse nemini certo scio. 
 CH. (aside to Demipho) Monstri, ita me dl ament, simile. 
 
 PH. (aside) Inieci scrupulum. DE. (to Chremes') 
 
 Hem! ' 
 
 Hicine ut a nobis hdc tantum argenti auferat 955 
 
 Tarn aperte inridens ? emori hercle satius est. 
 Animo uirili praesentique ut sis para. 
 Vides tuom peccatum esse elatum foras 
 Neque iam id celare posse te uxorem tuam. 
 Nunc qu6d ipsa ex aliis aiiditura sit, Chremes, 960 
 
 Id ndsmet indicare placabilius est. 
 Turn hunc inpuratum pdterimus nostrd modo 
 Vlcisci. PH. (aside) Attat ! nisi mi prospicio, haereo. ' 
 Hi gladiatorio animo ad me adfectant uiam. 
 CH. (to Demipho) At uereor ut placari possit. DE. (to 
 
 Chremes) B6no animo es : 965 
 
 Ego redigam uos in gratiam, hoc fretiis, Chremes, 
 Quom e medio excessit unde haec susceptast tibi. 
 PH. (defiantly) Itan gitis mecum ? satis astute adgre- 
 
 dimini. 
 
 Non hercle ex re istius me instigasti, Demipho. 
 (to Chremes) Ain tu ? ubi quae lubitum fuerit peregre 
 
 feceris 970
 
 64 TERENTI [5. 8. 78- 
 
 Neque hums sis ueritus feminae primariae, 
 
 Quin nduo modo ei' faceres contumeliam, 
 
 Venias mine precibus laiitum peccatum tuom ? 
 
 Hisce ego illam dictis ita tibi incensam dabo, 
 
 Vt ne restinguas, lacrumis si extillaueris. 975 
 
 DE. Malum ! quod isti di deaeque omnes duint ! 
 
 Tantane adfectum quemquam esse hominem audacia ! 
 
 Non h.6c publicitus scelus hinc asportariej 
 
 In solas terras ! CH. (aside to Demipho) fn Id redactus 
 
 sum loci, 
 Vt quid agam cum illo nesciam prorsum. DE. (to Chremes) 
 
 Ego scio : 980 
 
 In iiis eamus. PH. fn ius ? hue (starting towards Nausi- 
 
 strata's house) si quid lubet. 
 CH. (to Demipho) Adsequere, retine, dum ego hue seruos 
 
 euoco. (Demipho lays hold ofPhormio.) 
 DE. (struggling) Enlm nequeo solus : adcurre. Chremes' 
 
 timidly takes hold of Phormio.) PH. (to Demipho) Vna 
 
 iniuriast 
 Teciim. DE. (to Phormio) Lege agito ergo. (Chremes 
 
 gains courage and jerks Phormio.) PH. Alterast 
 
 tecum, Chremes. 
 CH. (to Demipho) Rape hunc. PH. Sic agitis ? enlm uero 
 
 uocest opus : 985 
 
 Nausistrata, exi. CH. (alarmed, to Demipho) Os dpprime 
 ^j inpurum : uide 
 Quantum ualct. PH. (louder than before) Nausistrata, 
 
 inquam. DE. Ndn taces ? 
 PH. Tacedm ? DE. (to Chremes) Nisi sequitur, pugnos in 
 
 uentrem ingere. 
 PH. Vel 6culum exculpe : est libi uos ulcisc^r probe.
 
 5. 9. 11.] PHORMIO. 65 
 
 So. 9. 
 
 Nausistrata answers the call, and learns from Phormio the true 
 character of her husband. The play ends with the complete dis- 
 comfiture of Chremes and the triumph of the cunning Phormio. 
 Through the intercession of Demipho, however, Chremes seems 
 likely to be forgiven. On the whole, all parties have reason to 
 be satisfied. For the metre, as far as 1011, see remarks at the 
 beginning of Sc. 7. With Nausistrata's appeal to Demipho 
 (1011) the music begins again, and the metre changes to trochaic 
 septenarii, which continue to the end of the play. 
 
 [Nausistrata comes out.~\ 
 
 NAVSISTRATA CHREMES DEMIPHO PHORMIO 
 NA. Qui n6minat me ? (to Chremes) hein ! quid Istuc tur- 
 
 baest, dbsecro, 990 
 
 Mi uir ? PH. (calmly folding Ms arms, to Chremes) Ehem ! 
 
 quid mine obstipuisti ? NA. (to Chremes) Quis hie 
 
 homost ? 
 
 Non mihi respondes ? PH. Ilicine tit tibi respdndeat, 
 Qui hercle ubi sit nescit ? CH. ( to Nausistrata') Caue Isti 
 
 quicquam credwas. 
 
 PH. (to Nausistrata, eying CJiremes as if he were a curi- 
 osity) Abl, tange. si non totus friget, me enica. 
 -7 ' CH. (shyly) Nil est. NA. Quid ergo ? quid tstic narrat ? 
 
 PH. lam scies : 995 
 
 Ausculta. CH. Pergin credere ? NA. Quid ego, 6bsecro, 
 Huic credam, qui nil dixit ? PH. Delirat miser 
 Timore. NA. (to Chremes) Non pol temerest, quod tu 
 
 tarn times. 
 CH. Egon timeo? PH. (sneering) Recte sane: quando 
 
 nil times, 
 Et hoc nil est quod ego dico, tu narra. DB. Scelus, 1000
 
 66 TERENTI [5. 9. 12- 
 
 Tibi narret ? PH. (to Demipho) Ohe tu ! f actumst abs te 
 
 sedulo 
 Pro f ratre. NA. Mi uir, ndn mihi dices ? CH. A.t 
 
 (hesitating) NA. Quid ' at ' ? 
 CH. Non opus est dicto. PH. Tibi quidem ; at scito huic 
 
 opust. 
 (to Nausistrata) In Lemno DE. Hem! quid ai's? CH. 
 
 N<5n taces ? PH. clam te CH. (aside) Ei mihi ! 
 PH. Vx6rem duxit. NA. (throwing up both hands, and 
 
 staggering) Mi homo ! di melius duint ! 1005 
 
 PH. Sic factumst. NA. Perii inisera! PH. Et inde 
 
 filiam 
 
 Suscepit iam unam, diim tu dormis. CH. (aside to Demi- 
 pho') Quid agimus ? 
 
 NA. Pro di mmortales, f acinus miserandum et malum ! 
 PH. (having overheard Chremes) Hoc actumst. NA. An 
 
 quicquam hddiest f actum indignius ? 
 Qui mi, ubi ad uxores uentumst, turn fiiint senes. 1010 
 Demipho, te appello : nam cum hoc ipso distaedet loqui : 
 Haecine erant itidnes crebrae et mansiones diutinae 
 Lemni ? haecine erat ea quae nostros minuit fructus 
 
 uilitas ? 
 DE. (in a conciliatory tone) lgo, Nausistrata, e^se in hac 
 
 re culpam meritum ndn nego ? 
 Sed ea quin sit fgnoscenda. PH. (aside, chuckling) Verba 
 
 fiunt mdrtuo. 1015 
 
 DE. Nam neque neclegentia tua neque odio id fecit tuo. 
 Vinolentus fe're abhinc annos quindecim mulierculam 
 Ea"m compressit, unde haec natast; neque postilla um- 
 
 quam dttigit. 
 la mortem obiit, ^ medio abiit, qui fuit in re hac scru- 
 
 pulug.
 
 5. 9. 47.] PHORMIO. 67 
 
 Quam 6b rem te oro, ut alia facta tiia sunt, aequo animo 
 
 h<5c feras. 1020 
 
 NA. Quid ego aequo animo ? cupio misera in hac re iam 
 
 def ungier ; 
 Sed qui id sperem ? aetate porro minus peccaturum 
 
 putem ? 
 
 Iam turn erat senex, senectus si uerecundds facit. 
 A.n mea forma atque aetas nunc magis expetendast, 
 
 Demipho ? 
 Quid mi hie adfers, quam 6b rem expectem aut sperem 
 
 porro n(5n fore ? 1025 
 
 PH. (with the voice of one issuing a proclamation) l^xsequias 
 
 Chremeti quibus est cominodum ire, em! tempus 
 
 est. 
 
 Sic dabo. age nunc, Phormionem qui uolet lacessito : 
 Faxo tali sit mactatus atque hie 6st inf ortunio. 
 
 (He observes Chremes in silence for a moment, and 
 
 then, pretending to be moved to pity, addresses the 
 
 audience) Redeat sane in gratiam iam : supplici satis 
 
 est mihi. 
 Habet haec ei qu6d, dum uiuat, usque ad aurem obgan- 
 
 niat. 1030 
 
 NA. At meo merito credo, quid ego nunc commemorem, 
 
 Demipho, 
 Singulatim, qualis ego in hunc fiierim ? DK (botving 
 
 respectfully) Noui aeque <5mnia 
 Tecum. NA. Merito hoc me6 uidetur f^ctum ? DE. Mi- 
 
 nume eentium. 
 
 Verum iam quando accusando fieri infectum ndn potest, 
 fgnosce. orat, cdnfitetur, piirgat : quid uis amplius ? 1035 
 PH. (aside) Enlm uero prifis quam haec dat tieniam, mihi 
 
 prospiciam et Phaedriae.
 
 68 TERENTI [5. 9. 48- 
 
 (aloud) Hens, Nausistrata ! prius quam liuic respdndes 
 
 temere, audi. NA. Quid est ? 
 
 PH. lgo minas triginta per fallaciam ab illoc abstuli. 
 Eas dedi tuo gnato ; is pro sua arnica lenoni dedit. 
 CH. Hem ! quid ais ? NA. (with supreme contempt, 
 
 to Chremes) Adedne indignum hoc tibi uidetur, 
 
 filius 1040 
 
 Hdmo adulescens si habet unam amicam, tu uxores 
 
 duas? j j, 7 
 
 Nil pudere ? quo 6f e ilium obiurgabis ? responde mihi. 
 DE. Faciet ut uoles. NA. Imnio ut meam iam scias 
 
 sententiam, 
 Neque ego ignosco neque promitto quicquam neque re- 
 
 spdndeo 
 Prius quam gnatum uidero: eius iudicio permitto 6m- 
 
 nia. 1045 
 
 Qudd Is iubebit faciam. PH. Mulier sapiens es, Nausi- 
 
 strata. 
 NA. (to Demipho) Satin tibist ? DE. Ita. CH. (aside) 
 
 Immo uero piilchre discedo et probe 
 3t praeter spem. NA. Tu tuom noinen die mihi quid sit. 
 
 PH. Phdrmio: 
 Vdstrae familiae hercle amicus et tuo summus Phae- 
 
 driae. 
 NA. Phdrmio, at ego ecastor posthac tibi, quod potero, 
 
 qudd uoles 1050 
 
 Fa"ciamque et dicdm. PH. Benigne dicis. NA. Pol ineri- 
 
 tumst tuom. 
 PH. Vin primum hodie facere quod ego gaudeam, Nausi- 
 
 strata, 
 Et quod tuo uiro dculi doleant ? NA. Cupio. PH. Me ad 
 
 cena"m uoca.
 
 5. 9. 66.] PHORMIO. 69 
 
 NA. Pol uero uoco. PH. Eamus intro hinc. NA. Fiat, 
 sed ubist Phaedria 
 
 Iiidex noster? PH. lam hie faxo aderit. (All go into 
 Chremes' house except Phormio, who hurries away to - 
 hunt up Phaedria.) CANTOR, (to the audience) Vos 
 ualete et plaiidite. 1055
 
 70 
 
 TABLE OF METliES. 
 
 TABLE OF METRES. 
 
 1-152. 
 163-154. 
 
 155. 
 
 156. 
 
 157. 
 
 158-159.- 
 160-162. 
 
 163. 
 
 164-176. 
 177-178. 
 
 179. 
 
 180. 
 181-182. 
 
 183. 
 
 184. 
 
 185. 
 
 186. 
 
 187-188. 
 189-190. 
 
 191. 
 
 192-194 (195). 
 196-215. 
 216-230. 
 231-232. 
 233-251. 
 252-253. 
 254-314. 
 315-347. 
 348-464. 
 
 iambic senarii. 
 trochaic octonarii. 
 trochaic septenarius. 
 iambic octonarius. 
 trochaic octonarius. 
 trochaic septenarii. 
 iambic octonarii. 
 iambic quaternarius. 
 iambic octonarii. 
 iambic septenarii. 
 trochaic octonarius. 
 trochaic septenarius. 
 iambic octonarii. 
 iambic quaternarius. 
 iambic octonarius. 
 trochaic septen-arius. 
 iambic octonarius. 
 trochaic octonarii. 
 trochaic septenarii. 
 iambic quaternarius. 
 iambic octonarii (P). 1 
 trochaic septenarii. 
 iambic senarii. 
 trochaic septenarii. 
 iambic octonarii. 
 trochaic septenarii. 
 iambic senarii. 
 trochaic septenarii. 
 iambic senarii. 
 
 1 Verses 194-195 are sometimes treated as an iambic octonarius, 
 sometimes as a trochaic octonarins -f a trochaic binarius catalectic.
 
 TABLE OF METRES. 
 
 465-468. trochaic octonarii. 
 
 469-470. trochaic septenarii. 
 
 471-478. iambic octonarii. 
 
 479-480. trochaic octonarii. 
 
 481-482. trochaic septenarii. 
 
 483. iambic octonarius. 
 
 484. trochaic septenarius. 
 
 485. trochaic binarius catal. 
 
 486. iambic octonarius. 
 487-489. trochaic septenarii. 
 
 490. iambic senarius. 
 
 491. iambic septenarius. 
 
 492. iambic octonarius. 
 493-495. trochaic septenarii. 
 
 496. iambic octonarius. 
 
 497-501. trochaic septenarii. 
 
 502-503. iambic octonarii. 
 
 504-566. trochaic septenarii. 
 
 667-712. iambic senarii. 
 
 713-727. iambic octonarii. 
 
 728. trochaic octonarius. 
 
 729. trochaic quaternarius catal. 
 730-731. trochaic octonarii. 
 
 732. trochaic septenarius. 
 
 733-734. iambic octonarii. 
 
 735-738. trochaic octonarii. 
 
 739-741. trochaic septenarii. 
 
 742-747. iambic octonarii. 
 
 748-794. iambic septenarii. 
 
 795-819. iambic octonarii. 
 
 820-827. iambic septenarii. 
 
 [828. iambic octonarius (?).] 
 
 829-840. iambic octonarii. 
 
 841-883. trochaic septenarii. 
 
 884-1010. iambic senarii. 
 
 1011-1055. trochaic septenarii. 
 
 71
 
 NOTES. 
 
 DIDASCALIA. 
 
 THESE short notices, giving information regarding the author of 
 the play, the date of its production, the success attending it, and 
 other details, were known as 6ida<rKa\ia.i, didascaliae. They were 
 first systematically prepared by Alexandrine scholars, from whose 
 example the Roman grammarians, after the middle of the second 
 century B.C., adopted the custom also for Latin dramas. The most 
 important of these grammarians was M. Terentius Varro (de actis 
 scaenicis lib. III.; see Introd., p. xxvi f.). Their works formed the 
 source of the didascaliae for the plays of Terence, though it was 
 probably the grammarians of the Augustan age who first inserted 
 them in the Mss. 
 
 Ludis Romania : these games, celebrated in September in honor 
 of Jupiter and lasting, in the time of Terence, about ten days, were 
 established in remote antiquity, doubtless to commemorate some 
 Roman victory according to Cicero, that over the Latins at Lake 
 Regillus. They were the oldest and most important of all the Ro- 
 man games. Gladiatorial combats, rope-dancing, and theatrical 
 performances formed the principal features. 
 
 aedilibus curulibus : the magistrates to whom was intrusted 
 the management of the public games. 
 
 egit : brought out. See Introd., p. xxx. 
 
 L. Ambiuiua Turpio : a popular actor and theatrical manager, 
 who brought out all the plays of Terence. Cicero, de sen. 48, 
 makes Cato refer to him as follows : Ut Turpione Ambiuio magis 
 delectatur qui in prima cauea special, delectatnr tamen etiam qui 
 in ultima, etc. Since Cicero represents this dialogue as having 
 taken place in 150 B.C., it seems probable that he was still active 
 at that date. 
 
 L. Atilius is known to us only from the didascaliae to the plays 
 of Terence. For the spelling Atilius, see App. 
 
 72
 
 NOTES. 73 
 
 modos fecit, etc. : music by Flaccus, slave of Claudius, the 
 genitive depending, as often, upon seruos (noin. sing.), understood. 
 See Introd., p. xxxviii. 
 
 tibis inparibus : i.e. of unequal size, one probably for treble, 
 the other for bass. Codex A always has TIBlS instead of TIBIIS. 
 
 tota means that the music was, throughout the play, of the 
 character indicated. Sometimes different kinds of tibiae (see 
 Introd., p. xxxviii f.) were used in the same play, to vary the music 
 according to the character of the scene. 
 
 Apollodoru : archaic form of the genitive ; cf. Greek -ou. The 
 Hecyra also seems to have been borrowed from him. 
 
 Epidicazomenos : one who claims a girl in marriage, as being 
 next of kin. 
 
 facta IIII. : produced fourth in order. It was really the fifth ; 
 but as the first attempt to bring out the Hecyra proved a failure, 
 that play seems to be here disregarded. 
 
 The fragment of didascalia found in the Bembinus (A) refers to 
 a reproduction of the play in 141 B.C. See Introd., p. xlix f. 
 
 G. SULPICI APOLLINARIS PERIOCHA. 
 
 On the abbreviation G. instead of C., see App. 
 
 In the second century A.D., there was a great revival of interest 
 in archaic Latin. It was during this period that brief summaries 
 (n-eptoxf), which in the case of poets are in metrical form, were 
 prefixed to works of the early writers ; see Introd., p. xxvii. In these 
 productions, the prosody and the language of the writers in hand 
 were carefully imitated. Such summaries were written by Sulpicius 
 Apollinaris for the different books of Vergil's Aeneicl, and for the 
 plays of Terence. Those to the comedies of Plautus belong to the 
 same period. 
 
 7. On the scansion of this verse, see App. 
 
 8. amaret : Sulpicius commonly uses the present in principal 
 clauses, very rarely the perfect ; but in subordinate clauses with 
 the subjunctive, as here, he uses only the imperf. (Hec. Per. 6 is 
 corrupt.) 
 
 12. adgnitam : archaic for agnitam, as in And. Per. 11 and 
 Hec. Per. 11. See App.
 
 74 PHORMIO. 
 
 DEAMATIS PERSONAE. 
 
 No list of dramatis personae is found in the Mss. of any play 
 of Terence. In some of the Mss. (CFP) , however, there is prefixed 
 to each play a picture of masks representing the characters taking 
 part in that particular play. At the beginning of each scene in 
 the same Mss. are pictures of the actors themselves, as they are 
 supposed to appear at some critical moment in the scene. These 
 pictures must be regarded as representing post-Terentian presen- 
 tations of the plays, as actors on the Roman stage did not wear 
 masks in the time of Terence. 
 
 The names in fabulae palliatae are commonly Greek names, 
 with Latin forms, though they are not always the same as those in 
 the Greek original. Such names are usually chosen or invented 
 as will in themselves convey some idea of the characters to whom 
 they severally belong. For instance, in the present play, Davos 
 means one of the Aaot (identified by the ancients with the Daci); 
 Geta, one of the Getae; Phaedria, the jolly, good-natured fellow 
 (cf . <pat.5p6$*) ; Hegio, the leading lawyer (cf . -r)yto/j.ai ?) ; Cratinus, 
 the man of power (cf. Kpdros) ; Crito, the judge (cf. xplvta} ; Dorio, 
 lover of gifts (ScSpoi/); Chremes, the man who is always hemming 
 and hawing ([XP^MW], xp^p.wrop.a.i); Sophrona, the discreet woman 
 (ffdxppav') ; Demipho, a representative man (cf. Arj,uo0wv); Nausis- 
 trata, the woman on the war-path ; Antipho, the talker-back, the 
 disrespectful ; Phanium, the radiant one (cf. </>av(4s); Pamphila, be- 
 loved of all. Phormio seems to be the historical name of a parasite. 
 
 PROLOGUS. 
 
 The prologue seems from Heaut. Prol. 1-2 and Hec. Prol. II, 1 
 to have been usually given to one of the younger actors, who was 
 attired for the occasion in a particular costume. Into his mouth 
 the poet put what he himself wished to say to the audience. 
 
 1. poeta uetus refers to Luscius Lanuvinus known chiefly 
 from the allusions to him in the prologues of Terence and in the 
 commentary of Donatus. Volcacius Sedigitus (see Introd., p. xxvi) 
 assigns him to the ninth place among the ten noteworthy writers of 
 palliatae. Vetus commonly refers to what has long existed and still
 
 NOTES. 75 
 
 exists ; antiques, to what has long since passed away. In 14, 
 Terence calls himself nouos. Lanuvinus did all in his power to 
 injure Terence and prevent the successful production of his plays. 
 The decided success of the Eunuchus, which had been brought out 
 shortly before this and to which verses 3 ff. allude, shows how 
 ineffectual these attempts were. 
 
 Notice the alliteration in the first verse. Alliteration seems to 
 be much more common in the early period of a literature than 
 during the period of its maturity. It is far more frequent in 
 Plautus than in Terence (though very common in the latter's pro- 
 logues), and in classical times is comparatively rare. The same 
 is true of Anglo-Saxon, as compared with later English literature. 
 
 2. transdere : for tradere. See App. 
 
 4. antehac : always dissyllabic in Terence. 
 
 5. oratione : portrayal of character; scriptura : style. Notice 
 the chiasmus, one of the most common means of producing em- 
 phasis in Latin ; cf . 13 f . , 20, etc. 
 
 7. ceruam fugere : in the sense of ceruam fugientem. The par- 
 ticipial construction with verbs of perception is almost unknown in 
 early Latin. In classical times, such verbs take either (1) the inf. 
 with subject ace., a construction which calls into prominence the 
 performance of the act ; or (2) a participle agreeing with an object, 
 in which case special attention is called to the object itself, while 
 engaged in performing the act. With verbs like uidere these two 
 constructions express practically the same thing. If one sees that 
 a person is running, he sees the person running, and vice versa. 
 With such a verb as audire, however, the usage is more strict, 
 since one may hear that a person is singing (e.g. in a neighboring 
 town) without actually hearing that person. 
 
 These verses refer to something objectionable in the writings of 
 Luscius. Scenes of this sort would be more suitable for tragedy, 
 and are avoided by Terence, of whom Euanthius (4th cent. A.D.), 
 in his preface to the plays, says : (Terentius) temperauit affectum, 
 ne in tragoediam transiliret. 
 
 9. quom : always thus spelled till after Plautus and Terence. 
 Cicero probably wrote cwm, but quum did not come into use till 
 several centuries later. 
 
 stetit : for the long final syllable, see Introd., p. xl. Quom,
 
 76 PHORMIO. 
 
 even in a causal or adversative sense, is regularly in Plautus, and 
 commonly in Terence, construed with the indicative. The subjunc- 
 tive constructions represent a comparatively late growth, due to the 
 influence of the subjunctive gm'-clauses, quom itself being a relative 
 (from the same root as qui) with some form of tempus understood 
 as its antecedent. We should here expect the subjunctive of in- 
 direct discourse, but the speaker prefers to keep his own point of 
 view in the (^Mom-clause. Stare, in the sense of succeed, as opposed 
 to cadere (Hor. Ep. II, 1, 176), exigi (Hec. 15), and loco moueri (32), 
 was first used of an actor who pleased the audience and so was 
 allowed to remain upon the stage (cf. Hec. 36), then of the poet (Hor. 
 Sat. I, 10, 17), and of the drama itself, as here and And. 27, Hec. 
 12. Cf. restituit locum (32), restitui in locum (Hec. 21), and tutari 
 locum (Hec. 42). 
 
 10. actons : the dominus gregis, manager and leading actor of 
 the company. See Introd., p. xxx. 
 
 12-21. The whole burden of the prologues of Terence consists 
 of answers to the unkind criticisms he received from his enemies. 
 The prologues of Plautus, on the other hand, show a great variety 
 of subject matter and commonly explain the plot of the play. 
 
 13. lacessisset : perfects in -am, -eui, -oui, -iui, often drop the 
 M before er, ist, or iss of an ending. In such cases, the e before r 
 (after a, e, o) and the i before st and ss coalesce, except in com- 
 pounds of ire, with the preceding vowel. Except in, the case of 
 verbs with monosyllabic stems, Terence probably used the full 
 forms only at the end of a verse. 
 
 14. nemos : the nom. and ace. sing, of the 2d decl. ended, in the 
 earliest times, in -os and -om. These endings became -ns and -um 
 about the middle of the third century B.C., except in words in which 
 they were preceded by u (either vowel or consonantal). In such 
 words, the old endings -os and -om remained in common use till 
 after the Augustan period (cf. Quintil. 1, 7, 26). In some cases, 
 when the -os or -om was preceded by qu, these endings were 
 changed to -MS and -um, and the uu was avoided by changing qu to 
 c, e.g. ecus occurs for equos. 
 
 prologum : one might expect pro- to correspond with irpdXoyos. 
 The long o is probably due to association with the Latin pro; cf. 
 propino (irpoirlvw').
 
 NOTES. 77 
 
 15. nisi haberet : a sort of afterthought, added as a second 
 protasis for posset, which has already served as the conclusion of 
 si ... lacessisset. 
 
 16-17. in medio . . . palmam ease positam : i.e. that compe- 
 tition for literary fame is open to all. 
 
 17. qui . . . tractant: for this reading, see App. A relative 
 clause in indirect discourse, unless it depends directly upon another 
 subjunctive, commonly takes in Terence the same mood as in direct 
 discourse ; e.g., in the present play, 4 fecit, 9 stetit, 21 adlatitmst, 
 251 eueniet, 424 dico, 481 attinet, Ad. 14, 67 (bis), etc. Exceptions 
 are rare, e.g. 455 sitfactum, 876 egerint. 
 
 artem musicam : dramatic art. The term musica (/UOUO-IK^) is 
 derived from Musa (Mowra), and originally included all that the 
 Muses were supposed to preside over, i.e. all literary and artistic 
 pursuits. Our "music" represents a later and highly specialized 
 use of the term. 
 
 18. r^icere : probably to be read with synizesis reicere. 
 
 20. audisset bene : i.e. would have heard himself well spoken 
 of. Cf. aKoveiv eS. 
 
 21. sibi Ssse : see Introd., p. xl f . 
 
 rellatum : assimilated from redl., the original prefix being red 
 as seen in red-eo, red-do. Cf. redditcere (86), relliquias (Verg. 
 Aen. I, 30). See App. 
 
 23. quom : see note on 9. Cf. Eun. 343, and, for the subj., Ad. 
 166 f. 
 
 24. aiiimnm attendite : felt as constituting a single verbal con- 
 ception, and hence taking a direct object, quid uelim. Cf. animum 
 aduertere, which became animaduertere. 
 
 25. Epidicazomenon : see Introd., p. xlvi. 
 
 27. qui aget : see Introd., p. xlii. 
 
 28. parasitus (irapd + O-ITOS): table companion, originally in a 
 good sense, but in time it came to mean one who "sponged" his 
 living from others. These parasites were often allowed to pay 
 for their meals by entertaining the company with stories, songs, 
 etc. In some respects they are comparable with Shakespeare's 
 "fools." 
 
 31. This and the following verse alludes to the first attempt to 
 produce the Hecyra, on which occasion the troupe (grex) was
 
 78 PHORMIO. 
 
 hissed off from the stage (motus locost); while 33-34 alludes to 
 the successful productions of the Heauton timorumenos and the 
 Eunuchus. See Introd., p. xxi. 
 33. restituit : for another reading, see App. 
 
 ACT I, SCENE 1. 
 
 Davus is a irpdswirov n-pora TV/CO ?, i.e. a character used only for the 
 introductory scene of a play. Terence is fond of such characters. 
 
 35. summus : most intimate. 
 
 popularis : fellow-countryman. As Davus and Dacus were loosely 
 used by the ancients as synonymous terms (see note on dramatis 
 personae, p. 74), and as the Daci and the Getae were related tribes 
 on the banks of the Danube, Terence regards Davus and Geta as 
 belonging to the same people. Perhaps, however, popularis should 
 be taken in the more general sense of associate, fellow slave. 
 Cf . Sail. Cat. 24, 1 ; 52, 14 ; 22, 1. 
 
 36-37. ratiuncula, relicuom pauxillulum : notice the tone of 
 the diminutives, a little account, a trifling balance. 
 
 relicuom : always tetrasyllable in the older writers, and probably 
 until the Silver Age. 
 
 38. ut conticerem : sc. orauit. 
 
 39. eius modifies the substantive implied in erilem. 
 
 43. quod ille linciatim : see Introd., p. xl f . 
 
 demensum : the allowance which, according to Plaut. Stich. 60, 
 was dealt out to the slaves on the calends of each month. Donatus 
 on this passage says a slave received four modii (about a bushel) 
 of corn each month ; Seneca, Ep. 80, 7, speaks of five modii and 
 five denarii, in a similar connection. 
 
 44. genium : his very self. By genius is meant a sort of guardian 
 spirit that was supposed to be one's constant companion from the 
 cradle to the grave, representing in fact his very existence and 
 watching over his welfare. Cf. Plaut. Aul. 724 f . Egomet me de- 
 fraudaui animumque meum geniumque meum ; also True. 184 ; 
 Lucil. 26, 75 f . ; Sen. Ep. 80, 5. See App. 
 
 defrudare : in Ter. Ad. 246, defraudat has the better authority. 
 
 suom : see note on 14. 
 
 46. The omission of sit seems less strange on account of the
 
 NOTES. 79 
 
 half-exclamatory character of quanto labore partum. The copula 
 is very rarely omitted except when it would be in the indicative 
 mood ; and in Plautus its omission is rare under any circumstances. 
 autem commonly denotes opposition, but occasionally weakens 
 into a particle denoting merely change or transition of any sort. 
 
 47. ferietur alio munere: translate by the corresponding Eng- 
 lish colloquialism. 
 
 48. natalis dies : the extravagance of birthday festivities among 
 both Greeks and Romans became proverbial. Observe the proce- 
 leusmatic. See In trod., p. xxxiv. 
 
 49. initiabunt : perhaps an allusion to the ceremony accom- 
 panying a child's admission to the family sacra. These sacra 
 consisted of invocations, libations, and sacrifices to the family gods, 
 the paterfamilias acting as priest on such occasions. The allusion 
 may be, however, to initiation into the Eleusinian or other 
 mysteries. See App. 
 
 60. causa : pretext. 
 
 ACT I, SCENE 2. 
 
 50. uideon : in cases like this, editors too commonly say that 
 n(e) = nonne. Ne is non-committal. The answer yes is some- 
 times expected, but it is not suggested by the form of the 
 question. In such cases, the use of -ne produces a certain rhetori- 
 cal effect, the implication being that the answer may safely be left 
 to be inferred. Cf. "Do I, or do I not, look like an honest man?" 
 
 51. rufus: red-headed. Davus wore a red wig, red being the 
 conventional color for slaves. 
 
 62. ego : contrasted with tibi, and heightening the strangeness of 
 the coincidence ; I teas trying to find YOU, but YOU have come to 
 ME, instead. For the places of emphasis in a Latin sentence, see 
 note on 200. 
 
 obulam conabar : we may either understand ire, fieri, esse, or 
 the like (cf. 196, 617, etc.), or else regard conari as used absolutely, 
 embodying within itself a certain idea of motion. Cf. Heaut. 240, 
 dum moliuntur, dum conantur, annus est. 
 
 em (^v) : look! here! etc., while hem is an expression of sur- 
 prise, joy, grief, etc., well ! what ! 
 
 53. lectumst : it's good money, lit. picked out, choice, probably
 
 SO PHOEMIO. 
 
 with reference to the danger of getting counterfeit coins. However, 
 as the standard weight of coins varied at different times, and as 
 there would naturally be more or less prejudice against the lighter 
 coins, lectum may here refer to weight. Cf. Pseud. 1149 (1132) 
 argenti lectae minae ; Bacch. 882 nummos probos ; Pers. 437 f., 
 526. 
 numerus : sc. nummum (nummorwn). 
 
 54. amo te and the fuller form, merito te amo, are common 
 formulae for expressing thanks in colloquial Latin. Cf. amabo 
 and si me amas, corresponding to our if you please. Sheridan 
 uses the idiom in his Rivals : " Let me bring him down at a long 
 shot, a long shot, Sir Lucius, if you love me." So Shakes. King 
 Lear, Act 4, Sc. 5: "/'W love thee much, let me unseal the letter." 
 
 neclexisse : when the subject of an infinitive can be easily sup- 
 plied from the context, as here, it is frequently omitted in colloquial 
 Latin, even when it does not refer to the subject of the principal 
 verb ; cf. 206, 315, 460, 610, 627, 681, 796, 801, 1014, 1022, 1025. 
 
 55. The "corruption of the times" has been a common subject 
 of complaint in all ages. The "good old times" are ever praised 
 at the expense of the degenerate present. 
 
 adeo refers to what follows ; cf. 153. 
 
 59. modo ut (here approaching dummodo in meaning) com- 
 monly expresses a wished-for result ; cf. 773 ; And. 409. 
 
 sis = si uis (pi. sultis = si uoltis), a colloquial expression, com- 
 monly used to soften the tone of an imperative. Cf. sodes, 103. 
 
 60. quoius . . . perspexeris : an adversative clause in indirect 
 discourse, which at the same time characterizes its antecedent. 
 A. & G. 320, e ; B. 283, 3 ; G. 634 ; H. 515, III. Quoius became 
 cuius about the beginning of the Ciceronian period. Quoi seems 
 to have been retained till much later, to avoid confusion between 
 cut and qni (Quintil. 1, 7, 27). 
 
 61. uerere: for uereris, as always in Terence; see Introd., 
 p. xlv, 4. 
 
 ubi : relative, in which matter ; quid, interrogative. 
 
 62. dico : not to be confused in meaning with dlco. The last 
 foot of an iambic senarius is always pure. 
 
 63. Chremem (corresponding to Xp^iT/c) : more common than 
 Chremetem in Terence. Cf. the genitive Chremi (corresponding
 
 NOTES. 81 
 
 to Xp/j.ov, and preserved by ancient grammarians as a reading in 
 And. 368) side by side with Chremetis, and the vocative Chreme 
 (corresponding to X/>eV"?), side by side with Chremes. 
 
 64. quid ni : a reminiscence of the time when ni (ni-} and ne 
 (n<T-) were used in the sense of non. Cf . nl-mirum, ni-si si ni ; 
 and for ne, ne . . . quidem, ne-scio (e according to some authorities), 
 ne-queo, etc. 
 
 gnatus : the substantive is thus written in Plautus and Terence, 
 while natus is the form of the participle. 
 
 C6. in Lemimm : Terence elsewhere uses the ace. of the town 
 or island to which, without the preposition (cf. 567, 837, 907). The 
 preposition is here used on account of the following in Ciliciam 
 for the sake of symmetry, as Terence never omits the preposition 
 with names of countries. 
 
 Place in which, in the case of islands (regardless of their size), 
 is sometimes expressed by the loc. (e.g. 680, 942, 1013), sometimes 
 by the abl. with in (e.g. 873, 1004). 
 
 Place from which, in similar cases, is expressed in Terence by 
 ex (e~) with the ablative (three times). 
 
 67. hospitem antiquom : before there were any inns or hotels 
 for the entertainment of travelers, it was customary for people 
 of different localities to form agreements to entertain each other 
 whenever occasion might arise. This relation between the two 
 parties was called hospitium, and was often handed down to the 
 descendants of the original parties to the compact. The relation 
 did not necessarily involve personal friendship. 
 
 For the spelling of antiquom, see note on 14. 
 
 68. Donatus says this verse refers to the presents which hospites 
 were wont to give their guests. It is perhaps better to make it 
 refer to opportunities for acquiring a fortune. 
 
 69. quoi: relative (what! to one), who had so much, etc. 
 Demipho is here represented as avaricious, in order, later on (120 f.), 
 to heighten the effect of his son's daring. 
 
 70. O, regem me, etc.: i.e. he would have made a very dif- 
 ferent use of wealth. Rex frequently means rich man, patron; 
 cf. 338. Davus may mean, however, that if he were only rider, he 
 would put a stop to such amassing of wealth. The position of 
 regem seems to favor this interpretation ; see note on 200.
 
 82 PHOKMIO. 
 
 oportuit : the statement of a propriety that actually existed in 
 the past. 
 
 71. hie: see App. 
 
 72. provinciam = officium. 
 
 73. usus uenit : a common formula ; cf . Heaut. 553 ; 556 ; 557. 
 
 74. memini : when used of personal experience, commonly takes 
 the present infinitive instead of the perfect. A. & G. 336 A, note 1 ; 
 G. 281, 2, N. ; H. 537, 1. 
 
 deo : identical with the genius. See note on 44. 
 
 76. scapulas perdidi : cf. Plaut. Epid. 91, corium perdidi. 
 The scapulae are frequently referred to in comedy as the part of a 
 slave that suffered; cf. Plaut. Asin. 315 ; 547 ; Cas. 956 (G. & S.), 
 etc. 
 
 77. istaec : either fern. plur. (scapulae), or neut. plur. For this 
 form of the fern., cf. And. 656, haec nuptiae (according to Donatus) 
 and Plaut. Men. 520, istaec contumeliae ; 766 ; Pers. 498, etc. 
 
 namque, etc. : see App. 
 
 78. aduorsum stimulum calces : sc. iactare, or some similar 
 word. Cf. the Greek proverb, ?rp6j TO. nevrpa. ^ Xa/cTtferw. Cf. 
 Plaut. True. 768, si stimulos pugnis caedis, manibus plus dolet. 
 
 79. obsequi quae uellent : a clause dependent upon an inf. 
 sometimes takes the subj. where the sense seems to call for the 
 ind. This is probably to be accounted for by the fact that the inf. 
 is especially frequent, in indirect discourse, representing the princi- 
 pal verb of the direct form. Since, in indirect discourse, subordi- 
 nate clauses depending upon these infinitives take the subj. (see, 
 however, note on 17), a feeling might easily arise that when any 
 subordinate clause depended upon an inf., the subj. was admissible. 
 
 uti foro : i.e. manage things in such a way as best to serve your 
 own interests. 
 
 80. noster: this pronoun is freely used to designate different 
 members of the household, e.g. the master (cf. 110, 117), the mis- 
 tress (Hec. 188), her daughter (Heaut. 660), a slave (Kun. 678). 
 
 Nihil and nemo are frequently strengthened in colloquial speech 
 by quicquam and quisquam ; cf. 250. 
 
 The verb (here fecit) is often omitted in hurried narration ; 
 cf. 100, 101, 102, 104, 106 f., 113, 133, 142, 144, 440, 482, etc. 
 
 hie : with a gesture toward the house of Chremes.
 
 NOTES. 83 
 
 
 
 86. ludum: school, i.e. for music and dancing (see 109, 144); 
 
 cf . Plaut. Rud. 43, earn uidit ire e ludo fidicino domum. 
 reducere : for the orthography, see App. 
 
 87. See App. 
 
 88. exaduorsum ilico : exactly opposite ; cf . Plaut. Most. 1064, 
 ilico intra limen isti astate; Merc. 910, istic . . . ilico ; Hud. 328, 
 ilico hie; 836; 878; Ter. Ad. 156. 
 
 ilico : probably from in and loco, though the i is supposed by 
 some to be the locative of is. 
 
 89. tonstrina : barber-shops were favorite lounging- places in 
 Athens; cf. Plaut. Amph. 1011 ff. ; Asin. 343 ff. ; 408 ff. 
 
 90. dum . . . iret: A. & G. 328 ; B. 293, III, 2 ; G. 572. 
 
 91. illi : the locative of ille, = illic; cf. 572, 772. See App. 
 
 92. mirarier : the inf. of a verb presents the idea in its most 
 indefinite form, and leaves the hearer, or reader, to apply it in his 
 own way to suit the occasion. Here the context shows that the 
 speaker is narrating, and the idea of the verb will be understood 
 accordingly as introducing a new point in the narrative. This 
 "historical inf." is very common in Latin comedy. For other 
 applications of the general idea introduced by the inf., see note 
 on 153. For the Terentian use of the inf. in -ier, see Introd., p. 
 xlv, 5. 
 
 95. uiciniae : locative, in apposition with hie; cf. Plaut. Bacch. 
 205 and Mil. 273, hie proxumae uiciniae ; Ter. And. 70, hue 
 uiciniam. It might, however, be taken as partitive genitive ; cf. 
 And. 70, hue- uiciniae ; Heaut. 110, istuc aetatis; Plaut. Capt. 382, 
 adhuc locorum. 
 
 97. It was customary among both Greeks and Romans to lay 
 out the body of the dead opposite the entrance to the house, with 
 the feet turned toward the outer door. The body would thus be 
 visible from without. 
 
 98. extra : except. This use belongs to colloquial Latin ; cf. 
 Plaut. Amph. 833, extra unum te ; Ennius 46 (Ribbeck, Frag. 
 Trag.) extra me; and the English expressions "outside of," 
 "aside from." 
 
 101. commorat : see note on 13 for this contracted form. 
 ibi : this use of ilri, introducing another step in the narrative 
 (often in the combination ibi turn'), belongs to colloquial Latin.
 
 84 PHOEMIO. 
 
 102. eamus uisere : the infinitive is used in Terence to express 
 purpose after dare, ire, introire, mittere, but not after uenire. 
 
 103. sodes : if you please, contracted from si audes, audere 
 being connected with avidus and originally meaning desire, be 
 eager for, etc. The transition from this idea to that of daring 
 may be easily traced. 
 
 104. Notice the change of tense ; cf. 135 f.,'943. 
 
 quo magis diceres, etc. (s a circumstance) on account of which 
 one might say so with all the more reason (might be mentioned the 
 fact that) there was no, etc. 
 
 diceres : a potential subj. from a past point of view. 
 
 107. uis : the very essence. 
 
 boni: excellence as regards personal appearance, i.e. beauty. 
 
 108. inesset extinguerent : the whole scene is so vividly before 
 him that Geta uses a tense strictly appropriate only for present time. 
 
 forma : figure ; formam : beauty ; cf . 138. 
 
 109. ille : see Introd. p. xl. 
 
 111. scin: i.e. scisne. Cf. uiden (for uidesne). 
 quam and tarn are often used with verbs in early Latin to denote 
 degree ; cf. 65. 
 
 113. ut sibi eius faciat copiam : that she allow him to meet her. 
 6iu.s : for the eius of later times. It is often monosyllabic in 
 
 Terence, as 185 (?), 483 ; Eun. 131. 
 
 enim : not for, but indeed. This use, common in Plautus and 
 Terence, is occasionally found even in Cicero and Caesar and is 
 preserved in the familiar enimuero. 
 
 ae negat : says she won't. 
 
 114. ait and ais, regularly dissyllabic in comedy ; ain, on the 
 contrary, is always monosyllabic. 
 
 ciuem Atticam : the honor of female citizens, both by law and 
 custom, was surrounded with the greatest sanctity. 
 
 115. uxorem uelit : the object (here earn) is frequently omitted 
 where it may be easily supplied. Cf. 130, 290, 320, 002, 727, 830, 
 975, etc. 
 
 117. quid ageret : an indirect deliberative question. 
 nescire : see note on 92. 
 
 120. The interrogative particle is frequently omitted in colloquial 
 Latin.
 
 NOTES. 85 
 
 120-121. ille . . . illi: notice the strongly contrasted positions, 
 H K give HIM, etc. See note on 200. 
 
 122. quid fiat : an indirect quotation of the preceding quid fit, 
 just as, in answer to the question What did the man do? one might 
 reply What did he do? (with rising inflection). There is no ellipsis 
 of Do you ask? in such cases in English, as is shown by the fact 
 that our question is What did he do? instead of What he did? So 
 here no definite ellipsis of rogasne was felt, but quid fiat? is merely 
 the echo of the preceding quid fit? the change of mood showing 
 that the question is a quotation. Cf. 419, 685, 988, 1001, and note 
 on nossem, 382. Sometimes, however, the original mood is retained 
 unchanged ; e.g. 389, 999. 
 
 123. qui : see note on 130. 
 
 perduint : the archaic optatives duint and perduint are found in 
 Terence only at the end of an iambic verse, or half-verse. 
 
 125 f. A law of Solon required that, -in case a person died with- 
 out male issue, leaving only a daughter, her nearest male relative 
 should, except in certain cases, marry her or else provide a dowry. 
 Demipho, in 410, shows that he prefers for Antipho the latter al- 
 ternative. For the position of the relative clause, cf. 27, 60 f., 
 131 1, 153 f., etc. 
 
 127. scribam dicam ypd^u diKtjv. Dica (StKrj) is found in 
 Plautus and Terence only in the nom. and ace. sing, and ace. plural, 
 and always in its Latinized form. Cf. 329, 439 ; Plaut. Aul. 759 ; 
 Poen. 800 ; also Cic. in Ver. Act II, Lib. II, 37. For the ace. 
 plural, see 668. 
 
 128. adsimulabo : simulo would be the regular prose word in 
 this sense. 
 
 129. qui fuerit pater: the later distinction between quis and 
 qui does not seem to have been observed in early Latin ; cf. 3-34. 
 Even in classical times it was sometimes disregarded. 
 
 130. qui : a form (especially common in early Latin) of the abl. 
 or loc. , used of any gender or number. It may be used 
 
 (1) for the usual ablative quo or qua. 
 
 (2) as an interrogative adverb, as here, how? why? Cf. 330, 381, 
 396, 398, 799, 855, 915. 
 
 (3) as an indefinite particle, somehow. Cf. Ad. 810. 
 
 (4) to introduce a curse, as in 123.
 
 86 PHORMIO. 
 
 With this last-mentioned use, cf. ut (utinani) which, from an ad- 
 verb of manner, came to introduce a wish. 
 
 131. quod: so far as, lit. to what extent. On the punctuation 
 of this verse, see App. 
 
 133. quid mea: sc. refert, or interest. A. & G. 222, a ; B. 211, 
 1, a ; G. 381 ; H. 408. 
 
 135. uentumst : cf . 129. 
 
 uincimur : cf . this present between two perfects with the perfect 
 uenimus between two presents in 103. 
 
 137. quid te futurumst : te is a colloquial use of the abl. of 
 means, found with esse, fieri, and/acere. A. & G. 244, d ; B. 218, 
 6 ; G. 401 N. 1 ; H. 415, III, n. 1. 
 
 138. Notice the alliteration and the play upon words. Cf. 108. 
 
 140. adeam . . . oret : these subjunctives seem best explained 
 by supposing Geta to be quoting the fancied command of some 
 adviser : 7 am to go to an advocate, I suppose, who is to plead for 
 me as follows. 
 
 ad precatorem : cf . Heaut. 976, 1002 ; Plaut. Asin. 415 ; Pseud. 
 606. 
 
 141. nunc, i.e. just this once. 
 
 amitte : here, as often in Plautus and Terence in its original 
 etymological meaning. Cf. 175, 414. 
 
 143. uel occidito : you may kill him, even ; lit. even kill him. 
 Notice how easily an expression of command passes into one of 
 mere permission. The reverse process is seen in our use of may 
 in commands, e.g. you may quit my presence instantly. 
 
 144. paedagogus : in humorous allusion to Phaedria's behavior 
 he goes about with his love, as if he were her paedagogus. Cf . 
 86. 
 
 146. Hiatus is here excused by the change of persons. See 
 Introd., p. xliii. 
 
 148. quoad expectatis: lit. up to what time are you expecting? 
 an expression framed with reference to the time when the expecta- 
 tion will be realized, though our idiom requires quoad to be trans- 
 lated by when. Cf. 462, quoad se recipiat; 624, dies, ad quam 
 dares. 
 
 non certum scio : 7 have no certain knowledge, certum modi- 
 fying the substantive idea involved in scio; cf. Eun. Ill, 921.
 
 KOTES. 87 
 
 When scire already has an object in the accusative, certo is used 
 instead of certum. Cf. And. 929 ; Hec. 324. 
 
 150. portitores : custom-house officers, who collected the harbor 
 dues. See Plaut. Asin. 159 ; Trin. 1106. Even the letters brought 
 by an incoming ship passed through their hands, and they had 
 the right to open those which, for any reason, they thought sus- 
 picious. Cf. Plaut. Trin. 793 ff. 7am si opsignatas nonferet, did 
 hoc potest, Apud portitores eas resignatas sibi Inspectasque esse 
 (see Brix 3 on this passage); cf. Trin. 810. 
 
 151. num quid aliud me uis? Can I be of further service ? a 
 common formula of leave-taking, often found without the me, or 
 the uis. Cf. Eun. 191, 363, etc. The use of two accusatives with 
 uelle is after the analogy of verbs of asking and teaching ; cf . note 
 on 947. 
 
 ut bene sit tibi (sc. uolo, from the uis) : a polite negative an- 
 swer to the preceding question. 
 Dorcio : Geta's wife. 
 
 ACT II, SCENE 1 [I, 3]. 
 
 152. heus : hello there ! Like euros. 
 hoc : sometimes used for hue. 
 
 Dorcium : female names derived from Greek diminutives often 
 have neuter forms, as in the original. Cf. Phanium, Glyce- 
 rium, etc. 
 
 153. adeon rem redisse, etc.: for the real force of the inf., 
 see note on mirarier, 92. Here the context and the occasion show 
 that the idea is one against which the speaker protests, and the 
 inf. is accordingly felt as exclamatory. This -n (= -we) is com- 
 monly explained as throwing the exclamation into an interrogative 
 form, the idea of things' 1 having come to such a pass can it be? 
 but Warren (Am. Journ. Phil. Vol. II., p. 75) thinks that it is 
 an asseverative particle meaning indeed. B. 334 ; G. 454, N. 2. 
 
 154. ut : repeated from preceding line. This repetition occurs 
 chiefly when the verb of the clause is at a considerable distance 
 from the introductory word ; cf . And. 830. 
 
 aduenti : substantives of the 4th decl. have for the most part in 
 Terence their gen. in -i. The only other form of the gen. which
 
 88 PHOBMIO. 
 
 Terence uses for such words is that in -uis, e.g. Heaut. 287, anuis 
 (for anus). 
 
 in mentem ueniat : there comes into my mind a thought, is 
 equivalent to meminerim, I call to mind, am mindful of, and takes 
 the genitive for the same reason. Cf. Piaut. Rud. 685. 
 
 155. quod ni : quod is of doubtful origin, but it seems to mean 
 with reference to all of which. Cf. quod si, but if, and if. 
 
 156. quid istuc est : see App. 
 
 157. quod : see note on 155. 
 
 158. quod has for its antecedent the pronoun implied in the 
 adverb eo. 
 
 159. non potitus essem : conclusion of a condition the protasis 
 of which would be if he had not done so. 
 
 fuisset mi aegre : it would have been hard for me. 
 
 aliquod and quod (for aliquot and quot) are the best attested 
 forms for Terence. The oldest and best Ms. invariably has this 
 spelling. Not till imperial times did the forms aliquot and quot 
 come into constant use. 
 
 160. audio : a common expression for indicating that the hearer 
 is becoming impatient. 
 
 161. dum expecto : Antipho continues without heeding the 
 interruption. 
 
 consuetudinem : originally, a being accustomed, familiarity, 
 then, as here, a person with whom one is familiar. Cf. the Eng- 
 lish word love, which, though originally an abstract noun, has come 
 to designate also the person loved. 
 
 162. dolet : impersonal as in Eun. 430 ; Ad. 272 ; Plaut. Men. 439. 
 qui& superest: one of the few examples where a pyrrhic 
 
 word (' "), followed by two short syllables, has the ictus on the 
 ultima. 
 
 164. tua quidem : quidem frequently emphasizes the preceding 
 word. Quidem hercle certo is a common formula in the sermo 
 uolyaris for strengthening an assertion. Cf. And. 347 ; Plaut. Men. 
 314. Sometimes the order of words is reversed, e.g. 523, certe 
 hercle tibi quidem. Certo seems always to follow hercle, while 
 certe always precedes. Cf. 523; Plaut. Men. 313; Stich. 480. 
 Notice nlso;>oZ certo in Plaut. Mil. 353 ; Cas. 1, 55, but certe edepol 
 in 1'laut. Amph. 271, 441; Aul. 215; Pseud. 511 ; Merc. 444.
 
 NOTES. 89 
 
 165. ita me di bene ament (often without bene) : so help me 
 God! the ita being exactly like this English "so," and not correl- 
 ative with the following ut. Cf. 883, bene, ita me di ament, factum; 
 954, monstri, ita me di ament, simile. The w-claiise here depends 
 upon depecisci, and morte (166) should be taken as abl. of price, 
 bargain, at the price of my death, for the privilege of enjoying, etc. 
 
 166. iam : on the spot. See note on 219. 
 
 168. qaod : explicative, the fact that. 
 
 liberalem : this word designates the qualities of a typical liber, 
 i.e. culture, generosity, kindliness, etc. Cf. 623. 
 
 169. palam : notice the emphatic position. See note on 200. 
 
 170. ni . . . desit : the present subjunctive is often used in 
 the early writers where the English would use a contrary-to-fact 
 construction. It was probably felt, however, rather as a "less 
 vivid future" (or "ideal") condition than as the exact equivalent 
 of the imperfect. 
 
 istaec : iste with -ce is declined like hie, except that the neut. 
 sing., iioin. and ace., is istuc. See App. 
 
 171. quo : the cum before eo is still ringing in the ears, and 
 answers for quo as well as for eo ; cf. 476, in hac re ut aliis ; and 
 for Greek parallels, see Kriiger, Gr. Spr. 51, 11, A. 1. Where the 
 verb of the dependent clause is not the same as that of the principal 
 clause, the preposition is repeated, e.g. Eun. 119. 
 
 172. plerique omues : this expression, like our most all for 
 almost all, belongs to the sermo uolgaris. There seems to be no 
 authority for Reisig's supposition that there is an ellipsis of uel 
 before omnes. 
 
 nostri nosmet : when there are two or more oblique cases of 
 personal pronouns in a clause, the ace. commonly precedes the 
 others. But exceptions to the rule are not uncommon. The sen- 
 timent here reminds one of Hor. Sat. 1, 1, Qui fit, Maecenas, ut 
 nemo, quam sibi sortem sen ratio dederit, seufors obiecerit, ilia con- 
 tentus uiuat. 
 
 173. uidere : Plautus and Terence regularly have -re in 2d pers. 
 sing, pass., instead of -ris. If the pres. indie, be excepted, the same 
 may be said of Cicero and Vergil ; see note on 61. 
 
 174. de integro : Phaedria was still free to do as he pleased 
 about pressing his suit.
 
 90 PHORMIO. 
 
 175 f. retinere an amorem amittere : see App. 
 amittere : see note on 141. 
 
 177. uideon : see note on 50. 
 
 178. ipsus : often in early Latin for ipse. 
 
 ACT II, SCENE 2 [I, 4]. 
 
 179. nullus es : a colloquial use of nullus: you are a goner! 
 Cf. 942 ; Ad. 599. 
 
 iam : without delay. See note on 219. 
 
 celere : for celeriter, though Donatus, Charisius, and Priscian 
 take it adjectively. Cf. Plaut. Cure. 283, Ita nunc subito propere et 
 celere obiectumst mihi negotium. 
 
 179. Geta : the quantity of the final a is frequently doubtful. 
 Cf. Phaedria, 830, etc. The a of the nom. sing, of the 1st decl. 
 was originally long, and reminiscences of this original length seem 
 to be found in Plautus and early inscriptions. Certain examples, 
 however, are very rare. Cf. Heaut. 406, Clinid. 
 
 180. inpendent occasionally governs the ace., though it com- 
 monly takes the dat., or in with the ace. For the ace. alone, see 
 Lucil. 36 (Baehrens): quae res me inpendet ; and for similar in- 
 stances of the ace. after verbs that are commonly intransitive, cf. 
 Plaut. Mil. 1047, me occusant; Trin. 60, me obrepseris ; also 974 ; 
 Men. 476, scortum accubui ; Cas. II, 4, 29, eum incumbam, etc. ; 
 Lucr. I, 326, inpendere, etc. 
 
 181. inde : a change to the demonstrative idea, where the clause 
 has begun with a relative, is common. 
 
 182. Either dtutius, or dmtius (synizesis). After 182 (or 181), 
 the Mss. have a repetition of And. 208. 
 
 185. quod refers in a general way to Antipho's marriage, which 
 had been the prominent thought of 182 and 184. On eius, see 
 note on 113. But the verse might be read as an iambic octonarius 
 which would give eius its usual quantity. 
 
 186. laterem lauem : cf. the proverb, ir\lvBov wXvveis, which 
 may have stood in Terence's Greek original. Cf. Aristoph. Vesp. 
 280, \lOov tye. 
 
 187. animi : locative like humi, domi, etc. Cf. Eun. 274, falsus 
 a ni mi; Hec. 121, animi incertus ; Ad. 610; discrucior animi;
 
 NOTES. 91 
 
 Plaut. Mil. 1068, quid illam miseram animi? Verg. G. 4, 491, 
 uictus animi, etc. 
 
 188. absque : used in Plautus and Terence only before a personal 
 or a demonstrative pronoun, with the imperf. subj., to form the 
 protasis of a conditional sentence ; absque eo is similar to the Eng- 
 lish expression ' but for him ' (= ' if it were not for him '), except 
 that the Latin uses a verb with the prepositional phrase, while the 
 English does not. After Terence, there is no certain instance of 
 the use of absque before Quintilian (7, 2, 44) and then not again 
 till Gellius. See App. 
 
 189. uidissem = prouidissem, should have looked out for. 
 
 190. conuasassem : a word denned by Nonius as meaning furto 
 omnia colligere. It seems to be an aira elp-q^vov, the later instances 
 of it being traceable to this passage. 
 
 protinam : an early Latin equivalent for protinus. 
 
 nam was introduced into the text by Bentley, on the ground 
 that the rhythm of the preceding verse always flows on, without 
 break, into the clausula. 
 
 193. nescio quod : these two words came to be felt merely as 
 forming an indefinite pronoun. All consciousness of nescio as a 
 verb seems to have been lost; even in Ciceronian Latin, the expres- 
 sion is followed by the indie., rather than by the subj. of indirect 
 question. In this use, the o of nescio is short ; as an independent 
 word, nescio forms a cretic (nescio), though exceptions to this rule 
 may be found. Cf. Ad. 79. See App. 
 
 194. sanun : i.e. sanusne. See on 111. 
 
 195. hem : see on 52. 
 
 196. quern uolui obuiam : see on 52. 
 
 197. cedo : an imperative form, out with it ; plural cette (from 
 cedite). 
 
 198. iiitellexti : see Introd., p. xlv. 
 
 199. See App. 
 
 200. nam, as here used, must be carefully distinguished from 
 nam meaning for. It is used to emphasize a question, and denotes 
 emotion of some sort in the questioner ; nam quod = quod nam, 
 what in the world? 
 
 miser: brought into prominence by its position, wretch that I 
 am ! Generally speaking, the most emphatic points in a Latin
 
 92 PHORMIO. 
 
 sentence or verse are the beginning (except for the subject, when this 
 does not precede an introductory particle) and the end (except for 
 the verb). Emphatic ideas tend to find utterance first, but special 
 effects are often produced by throwing an emphatic word or phrase 
 to the end, for the mind to dwell upon. In general, it may be said 
 that an unusual arrangement of words (e.g. reversed order, wide 
 separation of words belonging together, juxtaposition of those con- 
 trasted, etc.) attracts special attention to such as are out of their 
 normal position, and thus makes them emphatic. A shifting of 
 words in the middle of a sentence is less noticeable, and so 
 produces less emphasis. Freedom of position is limited, for pur- 
 poses of emphasis, only by the necessity of avoiding obscurity, or 
 an overburdening of the mind. For the normal order of words 
 in a Latin sentence, see A. & G. 343; B. 348-350; G. 674; 
 H. 560 f. 
 
 201 f. An apostrophe to his bride, Phanium. Cf. Heaut. 398 ; 
 Hec. 134 ; 325 f. ; 504 ; Ad. 713. 
 
 aba te seems, in the later years of Cicero, to have been sup- 
 planted by a te. See note on 378. 
 
 204. apud me : at home, as regards his mental condition ; in 
 possession of my senses. Colloquial. 
 
 nunc quom maxume : now especially, practically equivalent to 
 mine quam maxime. Cf. Ad. 518 ; And. 823. The full form of 
 this expression would be opus est nunc ut (apud te) sis ut quom 
 maxime (apud te es). Cf. Cic. ad Quint. 2, 6, 6. 
 
 206. commeruisse culpam : see note on 54. Commerere is 
 used only in a bad, promerere only in a good, sense,while merere 
 is used in both senses. Cf. Donatus on Ad. 201. 
 
 inmutarier : middle voice. 
 
 208. quom possum : see note on 9. 
 
 nihil : nonsense. 
 
 ilicet ( = ire licet. Cf. scilicet, uidelicet, = scire licet, uidere 
 licet) was a word used in dismissing any gathering. Translate : 
 let's go. 
 
 210. uoltum contemplamini : masks were not worn by Roman 
 actors till after the time of Terence ; see Introd., p. xxxi. Such 
 / expressions as this, however, are found even in Greek comedy, 
 v though the Greek actors did wear masks.
 
 NOTES. 93 
 
 em : see on 52. 
 
 212. uerbo : dat., not abl. 
 
 pari : the only instance in Terence of the dat. of a neuter adj. 
 used substantively. The preceding uerbo and the tendency to allit- 
 eration facilitate such a use here. The substantive use of adjectives 
 is rare in Terence, and does not occur at all in the noru. neut. It is 
 chiefly found in those expressing abstract conceptions (in which 
 case even the gen. is found, e.g. 637), and in neuters used to denote 
 locative relations (e.g. in proximo). 
 
 scio : Donatus rightly observes : apparet hoc uerbum eo uultu 
 did, ut manifestum sit absenti animo esse eum, qui loquitur. See 
 App. 
 
 215. sed hie quis : see App. 
 
 217. mane, inquam : in effect, quid agis? quo obis? had been 
 equivalent to mane; hence inquam. Cf. Ad. 780 f.: Sv. Quid agis? 
 quo abis? DE. Mitte me. SY. Noli, inquam. 
 
 219. iam : the idea of already applied to the near future, i.e. 
 directly, soon. 
 
 fefellerit: the present tense might seem more natural, as in 
 Heaut. 668 : nisi fallit, hand multum aberit ; but the conception 
 is rather, if I shall not prove to have been wrong. 
 
 223. quin impera : quin (qui -\- ne, why not? ne having at one 
 time been used in the sense of won) seems to have been used first 
 with the indie., e.g. quin fads? why don't you do? But such 
 questions, when impatiently asked, are often felt as equivalent to 
 commands. In this way quin came to be associated with the idea 
 of commanding, and its use with the imperative arose. 
 
 225. defendendam : here in its original sense of warding off 
 (de, away from ; fendo, strike). In this sense, it is construed with 
 the ace. of the thing warded off and the dat., or ab with the abl., 
 of the person. But if one wards off something from a person, he 
 defends the person ; and from this feeling arose the use of the ace. 
 of the person defended. 
 
 226. iustam . . . optumam : indirect discourse after the idea of 
 speaking involved in oratio. 
 
 uincibilem : here used in an active sense = quae fadle uincat 
 (Donatus). For this active use of adjectives in -bilis, cf. 9(51, pla- 
 cabilius ; Heaut. 205, tolerabilis. Side by side with these occur
 
 94 PHORMIO. 
 
 similarly formed adjectives in a passive sense : 239, incredibile ; 
 690, utibile ; And. 625, credibile and memorabile (all in the neuter). 
 In Augustan Latin such adjectives are nearly always passive, but 
 occasionally active as in Verg. G. 1, 93, boreae penetrabile frigus; 
 Hor. Od. 1, 3, 22, dissociabilis ; etc. 
 
 227. nunc ipsast opus ea aut, etc. : there is need of the self- 
 same now of that, or some better, etc. Ipsa ea are ordinarily 
 taken together as meaning that same, but Rein has shown that ipse 
 in Terence is placed after other pronouns in such combinations. 
 He accordingly writes ea nunc ipsast opus, but the interpretation 
 suggested above avoids all difficulty. 
 
 230. Do not miss the effect produced by the military terms. 
 Succenturiati dicuntur, qui explendae centuriae gratia subiciunt se 
 ad supplementum ordinum (Donatus). For other military terms, 
 cf. 285, 320, 346-7. 
 
 age : a sign of assent, drive on, go ahead, then (as here), all 
 right. 
 
 ACT II, SCENE 3 [II, 1]. 
 
 231. For the force of the position of words, see note on 200. 
 
 232. imperium : the Roman father had absolute authority over 
 all members of his family. 
 
 233. reuereri : see note on 153, and cf. 339 f . 
 
 234. uix tandem : my turn at last I Geta had expected that 
 Demipho would vent his anger upon him first, as the one chiefly 
 responsible for Antipho's wrong-doing. For uix tandem, in this 
 sense, see And. 470, uix tandem sensi stolidus. 
 
 238. illud durum : that's a hard one. 
 
 expediam : clear it up (lit. disentangle}, durum though it be. 
 
 239 f. Demipho's anger seems to be giving way to other emo- 
 tions. Phaedria and Geta accordingly take heart. 
 
 241. quam ob rem : he draws a general lesson from his present 
 experience. He had waited till misfortune was upon him, and then 
 found it had deprived him of his power to plan. 
 
 243. peregre may be used in answer to questions (1) whence 
 (as here), (2) where, (3) whither. For this use, from abroad, see 
 Plant. Stich. 685 ; True. 1, 2, 26. Cf. intus exire, Plaut. Mil. 1169, 
 1197, and elsewhere. See App.
 
 NOTES. 95 
 
 245. See App. 
 
 246. deputare : the idea of oportet (242) seems to be still suf- 
 ficiently prominent to govern the infinitive. For the sentiment, cf. 
 Hor. Od. 1, 9, 14. 
 
 eueniat : for the subj., see notes on 17 and 79. 
 
 247. ante eo : the indicative in apparent indirect questions is 
 common in early Latin (see note on 358), but here incredibile 
 quantum is probably felt merely as an adverbial expression mean- 
 ing wonderfully. For a similar use of nescio qiiod (quis, etc.) with 
 the indie., see note on 193. 
 
 248. meditata : deponent verbs, especially their perf . participles 
 often have a passive signification. This is most common in collo- 
 quial language. Cf. Eun. 383 f., quae nos nostramque adulescen- 
 tiam habent despicatam. 
 
 redierit : the tense is chosen with reference, not to the time of 
 meditata sunt, but to the future idea implied in the incommoda 
 that will come, if, etc. 
 
 249. in pistrino : a kind of work that was especially dreaded 
 by the slaves. 
 
 255. saluom uenire : saluom uenisse gaudeo was a common 
 form of greeting to one returning from a journey ; cf. Heaut. 407 ; 
 Hec. 353 ; cf. also Eun. 976 ; Phorm. 286. Instead of gaudeo, 
 Phorm. 610 has uolup est. For the omission of the subject of the 
 inf., see note on 54. Demipho does not allow Phaedria to finish 
 his greeting. 
 
 credo : impatiently and with a touch of irony, / suppose so! I 
 dare say ! 
 
 hoc : this pronoun always refers to something near, either in 
 thought, or in actual location ; here it refers to the question just 
 asked, which is still uppermost in the speaker's mind. 
 
 256. hie : i.e. in town. 
 
 ex sententia : to your liking. 
 
 257. quid istuc est : see App. on 156. 
 
 258. bonas . . . nuptias: notice the force of the position of 
 words : a fine marriage is this, that you have got up, etc. See note 
 on 200. 
 
 259. id suscenses : see end of note on 263. 
 
 260. ipsuni commonly denotes contrast, or opposition of some
 
 96 PHORMIO. 
 
 sort ; here = him, himself, as contrasted with you, his advocate. 
 The use of ipsum, instead of eum, or ilium, conveys a complaint 
 that Antipho appeared only by proxy. 
 
 261. nunc sua culpa ut: that he may know it is entirely his 
 own fault that, etc. For the position of nunc sua culpa, see note 
 on 200. 
 
 262. lenem . . . acerrumum: the contrast is heightened by 
 the position of these words. See note on 200. 
 
 263. quod : the ablative originally ended in d. Quod, in cases 
 like this, may be a reminiscence of this early form, though it is 
 sometimes explained as an ace. The antecedent of quod is surely 
 felt as the cause of the anger. Cf. 361. If quod is an abl., cases 
 like id (259) will have to be explained as due to analogy. 
 
 265. 1101 is : in both cases fut. perf. ind., equivalent to fut. If the 
 first noris were the perf. subj. of an indefinite 2d pers. (see gram- 
 mar references in note on 280), we should have omnis nouisti, in- 
 stead of omnis noris. Noui, perfect in form, present in meaning, 
 I have learned, i.e. I know ; cf. odi, I have conceived hatred for, 
 i.e. I hate; memini, I have kept in mind, i.e. I remember, etc. 
 
 266. hie, as nom. sing, of the pronoun, is regularly short in 
 Plautus and Terence. 
 
 269. cum aliquo stares = pro aliquo stares (Donatus): for the 
 more common ab aliquo (or alicuius parte) stares. Cf. hinc in 
 Plaut. Men. 799, hinc stas. See note on 340, ab animo. 
 
 271. minus: too little. 
 
 rei temperans : a participial form in -ns, when used as an ad- 
 jective denoting a characteristic rather than a particular act, may 
 take the genitive, regardless of the usual government of the verb 
 from which it comes. Cf. uxoris amans (Plaut. As. 5, 2, 7). 
 
 foret : characterizing clause, prominently involving, as char- 
 acterizing clauses often do, the idea of result a fault of such a 
 character that the result was, etc. 
 
 rei aut famae : cf. 120, indotatam uirginem atque ignobilem, in 
 which indotatam explains the rei and ignobilem the famae. 
 
 272. quiii : following the idea of preventing, implied in non 
 causam dico. Cf. And. 600, quid causae cst, quin . . . proficiscar. 
 
 274. nostrae implies that Phaedria makes common cause with 
 hjs cousin.
 
 NOTES. 97 
 
 276. Judicial decisions were, without doubt, among the Athe- 
 nians, sometimes influenced by such circumstances as are here 
 indicated. The Roman sense of justice made this far less likely to 
 happen at Home. 
 
 278. nossem: the pluperfect of this word has the force of an 
 imperfect, as the perfect (nouf) has the force of a present. See 
 note on 265. 
 
 280. tuaiusta: your just rights. 
 
 respondeas : a general condition addressed to an indefinite 2d 
 person takes the subjunctive, where the 1st and 3d persons require 
 the indicative. This w&i-clause differs from a si-clause only in giv- 
 ing greater prominence to the temporal element involved in the 
 condition. A. & G. 309, a, and 316 ; B. 302, 2 and 312, 2 ; G. 695, 
 R. 3, 593, 1 and 590 R. 3 ; H> 518, 2. 
 
 281. functus . . . officium : fungor, in early Latin, regularly 
 takes the ace. The same is true of abutor. Utor, fruor, and 
 potior take sometimes the ace., sometimes the abl. 
 
 283. cogitata : not his thoughts (which would be quae cogitabat) , 
 but what he had planned to say, the defense he had prepared, lit., 
 the things (that had been} thought. 
 
 284. obstupefecit : those compounds of facere, which have for 
 their first part a verbal stem of the 2d conjugation, shorten the 
 final e of that stem, if the preceding syllable is short (following 
 the analogy of iambic words) ; patefacio, commonefacio. 
 
 287. columen: cf. the English expression, "pillar of the 
 church," and Hor. Od. 2, 17, 4, grande decus columenque rerum. 
 
 292. seruom hominem : the English expression "servant- 
 girl" is similar in make-up; cf. "man-servant." Also And. 755, 
 mulier meretrix; Plaut. Mil. 563; Epid. 1, 1, 58; Sail. Jug. 12, 
 mulieris ancillae. 
 
 Slaves at Athens could not testify in court in support of their 
 masters, nor was their evidence taken at all except in murder 
 trials and then only under torture, as it was supposed that they 
 could not otherwise be trusted to tell the truth. At Rome, slaves 
 could give evidence against their masters only in cases of incest. 
 Cf. Cic. pro Mil. 22, 59, de seruis nulla quaestio est in dominum 
 nisi de incestu, ut fuit in Clodium. 
 
 293. testimoni dictio est : the verbal feeling in substantives
 
 98 PHORMIO. 
 
 in -io is still so prominent in Plautus that they sometimes take the 
 same case after them as the verbs from which they come, e.g. 
 True. 622 f., quid tibi hanc aditiost? quid tibi hanc notiost, in- 
 quam, amicam meam? Cure. 626. In Terence, however, the 
 purely substantive feeling in these words is clearly uppermost, and 
 they are accordingly construed with the genitive. 
 
 295. seruo's (seruos es) : see Introd., p. xlvi. 
 
 296 f. quod lex iubet : see on 125 f. 
 
 297. dotem daretis, quaereret, etc. : subjunctive in a state- 
 ment of past obligation or propriety, practically equivalent to 
 oportebat with the infinitive. Cf. 299, sumeret; 468, consuleres. 
 For a discussion of such uses of the subjunctive, see the American 
 Journal of Philology, Vol. XV. (Latin Prohibitive, Part II.). 
 
 298. qua rations : for what reason? 
 
 inopem : Terence commonly uses the masc. and fern, of adjec- 
 tives as substantives only when they are used in a general sense, 
 without referring to particular persons ; cf. 938, 940. 
 
 299. non ratio : it wasn't reason that was lacking. Notice the 
 double meaning: (1) account, cause; (2) understanding, prudence. 
 
 sumeret : see on daretis, 297. 
 
 300. alicunde : from the stem of aliquis, and unde. 
 
 301. hui : sometimes hah ! sometimes whew ! or a whistle, as in 
 558 and 791. 
 
 302. dixisti: Terence commonly uses the shorter form, dixti. 
 See Introd., p. xlv. 
 
 siquidem quisquam crederet : a Roman law known as the lex 
 quina uicenaria (the five-and-twenty law) invalidated any con- 
 tract made with a man under twenty-five years of age. Such a 
 man was represented by his father or guardian. Perhaps Terence 
 here has this law in mind, though purely Roman allusions are very 
 rare in Terence. 
 
 303. potest : probably without any infinitive understood ; cf . 
 And. 327 ; Heaut. 677 ; Ad. 568 ; and such phrases as quantum 
 potest (674), si quid potest (227), etc. 
 
 304. egon . . . ut patiar : ut with the subjunctive is used in 
 questions to repudiate something which seems to be merely implied 
 as the logical result (hence ?<0 of what precedes. Cf. 669. When 
 the demand, or statement, has been clearly expressed, the sub-
 
 NOTES. 99 
 
 > 
 
 junctive, but without ut, is used in a question implying refusal to 
 comply, or, in the case of a statement, to believe. 
 
 Notice the indignation implied in this line by the use and the 
 relative position of the pronouns (ego ill am cum i II o~), all 
 brought in before the ut. See note on 200. 
 
 305. nil suaue meritumst : Bond and Walpole, and Sloman 
 take meritumst as the perfect tense, but this form in a passive 
 sense is extremely rare at all times, and to Plautus and Terence it 
 is entirely unknown. Meritum (sc. eorum) here is best taken sub- 
 stantively as in 1051, pol meritumst tuom ; Heaut. 92, sic meritumst 
 meum. 
 
 conmonstrarier : to be shown; demonstrarier (306), to be 
 pointed out. For -ier see Introd., p. xlv. 
 
 307. ngmpe : you mean : for the quantity, see Introd., p. xli. 
 
 308. faxo : parenthetical. This is archaic for fecero, -so (-sis, 
 -sit, etc.) being added to the verb-stem (fac-so). In the first and 
 second conjugations, -sso (-ssis, -ssY,etc.) is found. These archaic 
 endings are found in the 4th conj. only in ambissit and ambissint. 
 Cf. the corresponding subjunctive in -sim (-sis, -sit). With the 
 exception of faxo, faxim, and ausim, Terence uses these forms 
 very sparingly, e.g. 742, appellassis; And. 760, excessis. See 
 Introd., p. xlv. The tense of faxo here adds to the notion of 
 certainty and promptness of accomplishment. Such a use of the 
 fut. perf . is very common in early Latin. This tense is appropriate 
 in such cases, only because the progress of the act is disregarded, 
 and the act is conceived of as already accomplished as soon as 
 begun. A similar feeling prompts expressions like " I must be 
 off," instead of "I must go." 
 
 309. adduce : in early Latin, duce, dice, and face are some- 
 times found for due, die, fac; in Terence, however, dice does not 
 occur at all and duce is found only in compounds. Face is con- 
 fined to the end of a verse. 
 
 311. The first duty of a Roman, upon returning home, was to 
 pay his respects to his household gods. Cf. Plaut. Stich. 534. 
 
 312. aliquod : commonly written aliquot. See note on 159. 
 
 313. adsient: see Introd., p. xxxix, note 2.
 
 100 PHOEMIO. 
 
 ACT III, SCENE 1 [II, 2]. 
 
 315. ai's: with a long final syllable. Cf. Plant. Capt. 1016. 
 There is no other certain example of this quantity in Terence, 
 but see 1040 ; Heaut. 883 ; Hec. 346. 
 
 abiisse : in the inf., in the 2d pers. (sing, and plur.) perf., and 
 in the plupf. subj. of the simple verb ire, Terence used only one i. 
 In the compounds of this verb, he probably used only the forms 
 with double i, although the Mss. always have only one i. 
 
 admodum : originally much like our to an extent, to a degree, 
 then, to the full extent, fully, or, to a high degree, i.e. very. Here 
 translate, quite so. Cf. note on adeo, 389. 
 
 317. oppido: colloquial. 
 
 318. tute : you're the man who, etc. 
 
 exedendum: ex is intensive, like "up" in "eat up," etc. 
 intristi : intriuisti. 
 
 accingere: passive form with a middle signification, as often 
 in the comic poets. 
 
 319. si rogabit: Phormio here pauses in silent thought. The 
 whole sentence, if expressed, would mean if he asks such and such 
 a question, what will be my best course? He is too much absorbed 
 to notice Geta's interruption, and in the next line continues : but 
 see here, now (cccere) ! What if he retorts so and so (reddet, sc. re- 
 sponsum)? I've thought out just the scheme, I think (sic, opinor}. 
 Now, then, bring the old fellow out! 
 
 eccere : only here in Terence, though used six times in Plautus. 
 321. cedo : see note on 197. Notice the coloring produced by 
 the military expressions. Cf. Plaut. Pseud. 572. 
 
 323. deriuem : (de + riuos) : turn aside, a figure from turning 
 the current of a stream. 
 
 324. amicu's: cf. And. 102, forties (forfortis es). See Introd., 
 p. xlvi. If amicus be written, one must supply es, as in Ad. 
 628, tanto nequior ; there is no certain instance of the nominative 
 for the vocative after 0. 
 
 325. ertimpat : land. 
 
 326. periclum: the root idea of this word is that of going 
 through ; cf . the related words, Trepdw, pierce, ; wdpos, porta, a
 
 NOTES. 101 
 
 way through; experior, go through, test; peritus, one who has 
 gone through, i.e. experienced, skilled; periclum, something gone 
 through, i.e. trial (as here), then, becoming specialized in mean- 
 ing, danger. 
 
 326. pedum . . . via : an expression suggested by in neruom 
 (325). 
 
 327. quod : i.e. quot. See note on 159. 
 
 328. See App. 
 
 329. dum: used enclitically, as often in the comic poets with 
 imperatives. In later Latin this use of dum is found with the 
 imperative only in agednm, agitedum. It is the same word as 
 the dum which means while, etc., and was probably, in its origin, 
 an ace. expressing duration of time, a moment. With imperatives, 
 it came to be used merely to emphasize the command. 
 
 enumquam : sometimes written en umquam. En serves to call 
 special attention to the coming question, as one to which the answer 
 no is expected. It commonly manifests emotion on the part of 
 the speaker. 
 
 330. qui : see note on 130. 
 
 tenditur is the reading of the Mss., though most editors write 
 tennitur, after Donatus. 
 
 332. enim : indeed, as often, especially in early Latin. See note 
 on 113. 
 
 in illia ... in illis : colloquial and rare for in his . . . in illis. 
 A. & G. 102 a ; B. 246, 1 ; G. 307, E. ; H. 450, 1 and 2. 
 
 luditur : is frittered away. Cf. Plaut. Capt. 344 ; Cas. 424 ; 
 Pseud. 367. 
 
 334. Notice the alliteration, which Terence employs effectively, 
 though less often than Plautus. See note on 1. If a person did 
 not pay damages that had been legally awarded to his creditor, the 
 creditor was permitted to arrest him and make him his slave. The 
 latter was then styled addictus. 
 
 337. potest: the unanimous reading of the Mss. is probably 
 correct, though Dziatzko prefers pote, after Bentley. The omission 
 of est with potis or pote, which Dziatzko assumes, is sufficiently 
 characteristic of Plautus, but it is very rare in Terence. 
 
 338. immo is always corrective. It sometimes objects to some- 
 thing as altogether wrong, when it may be translated not at all,
 
 102 PHORMIO. 
 
 on the contrary; sometimes, while admitting that an assertion is 
 true, objects to it as not being strong enough, and adds something 
 to make it more forcible, when it may mean yes, but one would 
 rather say, or the like. This explains the apparently contradictory 
 definitions of the dictionaries : no, indeed ; yes, indeed. Both defi- 
 nitions represent the same idea differently applied. 
 regi : patron : often used of any wealthy man. 
 
 339. tene : see note on 153 (end). 
 
 asumbolum (<ru^o\^, quota), scot free (without sharing the 
 expense), alluding to the Greek custom of having feasts at which 
 each guest bore his share of the expense. 
 
 unctum atque lautum e balineis: alluding to the custom of 
 anointing and bathing one's person each day before dinner. 
 Notice that the exclamatory infinitive is here and in 884 appar- 
 ently used of something agreeable to the speaker. It commonly 
 expresses indignation, or the like. 
 
 balineis : the regular form in Plautus. Later, balneum became 
 more common ; and Plautus himself has balneator. 
 
 340. ab ammo : ab is often used where the English idiom re- 
 quires in, or on. Cf. ab liomanis, on the side of the Romans; a 
 tergo, in the rear, etc. The Latin phrase is used with reference to 
 the point of view from which an act emanates or a state is pre- 
 sented, the English, in a more subjective sense with reference to 
 the speaker's own point of view. 
 
 340. quom . . . absumitur: an adversative clause, where the 
 subj. would be required in classical times. 
 
 341. ringitur: undergoes vexations. lt Bingi est stomachari taci- 
 turn ; est enim translatio a canibus latraturis,' 1 ' 1 says Donatus. 
 
 placeat : in a characterizing clause, the characteristic, however, 
 being one that is aimed at, or willed. Such clauses may be termed 
 "volitive characterizing clauses." 
 
 rideas, bibas, etc. : subj. of permission, involving the yielding 
 of somebody's will ; to be carefully distinguished from the poten- 
 tial. 
 
 342. dubia : doubtful ; ubi tu dubites (343) : where you are in 
 doubt, etc., implying great variety ; but the choice of words is made 
 chiefly for the sake of the pun. Cf. Hor. Sat. II, 2, 77, and Auson. 
 Mos. 102.
 
 NOTES. 103 
 
 344. rationem ineas: forming a single verbal conception, con- 
 sider, lit., go into a reckoning. The quoin really introduces a 
 condition (see note on 280, ubi respondeas'), and the subj. is used 
 only because it is addressed to an indefinite person. On the posi- 
 tion of words in this verse, see note on 200 and cf . that on 261 . 
 
 345. non habeas : in a purely rhetorical question of obligation 
 or propriety, should you not (ought you not to) regard = surely, 
 you ought to regard. See note on 297. Such questions must be 
 carefully distinguished from questions of deliberation, which are 
 in their very nature still unsettled, and ask for directions. Delib- 
 eration involves the will, and expressions of the will take ne as their 
 negative. See, however, note on 827. In expressions of obliga- 
 tion, the negative is always non. See App. 
 
 347. postilla : cf. note on 800. 
 
 iam denotes relative, nunc, absolute, time ; iam contrasts any 
 time, whether in the past, the present, or the future, with a pre- 
 ceding time. 
 
 ludas licet : the only passage in Terence where licet takes the 
 subj. instead of the inf. 
 
 ACT III, SCENE 2 [II, 3]. 
 
 348. enumquam : cf . 329 and note. 
 
 350. quiii age : see note on 223. 
 
 hoc age, etc.: not to be translated literally. The phrase was 
 originally used by the priest in charge of a sacrifice as an order to 
 the proper official to dispatch the victim. It was accordingly the 
 signal for all to observe a sacred silence. From this, it came to be 
 used merely to invoke attention. Translate just watch me now, m 
 stir him up directly. Cf . 435, see here, now I Eun. 130, pray listen ! 
 
 351. deum iimiortalium depends upon fidem- understood (cf. 
 And. 237, 246; Heaut. 61; Eun. 943; Hec. 198; Ad. 746), the ace. 
 being one of exclamation. Pro is also used with the vocative, e.g. 
 1008. 
 
 352. See note on 200 (miser'), and notice how, in expressing his 
 pretended surprise, Phormio takes advantage of the principles 
 there laid down, negat and Demipho (352) standing first and last 
 respectively : Demipho (of all men in the world) , does he have the
 
 104 PHORMIO. 
 
 face actually to deny, etc. ? In the next verse, the emphasis is no 
 longer on Demipho and negat, but on hanc and cognatam. 
 
 354. qui for the more common quis; see note on 129. 
 
 356. This verse cannot be reconciled with 386-9, and must be 
 explained as a gloss, added by some scribe to explain 354, and later 
 incorporated into the text. 
 
 358. quid facit : in early Latin, such apparently indirect ques- 
 tions often take the indicative. The reason for this may be that 
 they are not as yet far removed from parataxis. Three stages 
 may be assumed in such cases : (1) Vide! Auaritia quid facial ! 
 (2) Vide auaritia qiiidfacit! (3) Vide auaritia quid faciat ! 
 
 359. malitiae : A. & G. 220 ; B. 208, 1 ; G. 378 ; H. 409, II. 
 male audies : cf . 20. 
 
 360. ultro starts with the idea of beyond. According to the 
 application of this idea, it comes to mean gratuitously, voluntarily, 
 actually (as here), i.e. beyond what one would expect. 
 
 aduenit : the metre shows that this is present rather than per- 
 fect ; see Introd., p. xxxiv. 
 
 361. quod: see note on 263. 
 
 363. pauper : in humble circumstances, not poverty-stricken, 
 which would be egens. 
 
 quoi : for the use of this form instead of cui, see note on 60. 
 
 opere : the sing, of opus is often used for work in the fields. 
 Cf. Heaut. 72, 73, 142 ; Eun. 220 ; Ad. 518. 
 
 365. interea : during those days. 
 
 367. quern . . . uiderim : a classifying clause, restricting optu- 
 mum. Such clauses represent a development of the characterizing 
 clause. See App. A. & G. 320 d ; B. 283, 5 ; G. 627 R. 1. 
 
 368. videas te atque ilium narras : just look at yourself, as 
 you represent him, i.e. in the light of his virtues (what a con- 
 trast!}. See App. 
 
 malam crucem: an expression common in Plautus, but only here 
 in Terence. A senarius is not commonly allowed to end with two 
 iambic words. This apparent exception is to be accounted for by 
 the fact that mala crux was a stereotyped expression, felt as a single 
 word, which in turn could be modified by maxuma, magna, etc. 
 Cf. Plaut. Trin. 598. The crux was originally a pole upon which 
 offenders were impaled ; later, a cross to which they were bound
 
 NOTES. 105 
 
 or nailed. Hence, i in malam crucem corresponded to the English 
 go and be hanged 1 
 
 370. hanc : i.e. Phanium. 
 
 in uostram familiam : in does not here mean against, or toward, 
 but with reference to, the reference being to a reciprocal relation 
 rather than to the inimicitia of Phormio against the familia. 
 
 Why uostram instead of tuam? 
 
 Notice the proceleusmaticus ob hanc mi\miciti\as, etc. See 
 Introd., p. xxxiv, and, for the shortening of hanc, p. xli. 
 
 371. quam : i.e. Phanium. For this separation of quam from 
 hanc, cf. 535. Such separation produces a surprise, arrests the 
 attention, and thus adds to the impressiveness of the utterance. 
 
 372. pergin : pergisne. On the disappearance of the s in such 
 cases, see note on 111. 
 
 male loqui : felt as a single verbal conception, and so governing 
 the dat. A. & G. 227 ; B. 187, II ; G. 346 ; H. 385. 
 
 373. dignum hoc illost : one might have expected dignus hoc 
 illest. 
 
 illo : the more remote demonstrative (instead of eo), holding as 
 it were the person or thing at a distance, hence often implying 
 contempt. Here, such a man as that. 
 
 career : implying that Demipho represents all the evil qualities 
 that a prison stands for. 
 
 374. bonorum extortor, legum contortor : as no words ex- 
 isted which Geta thought sufficiently suited to the occasion, he 
 apparently manufactures some (extortor, contortor). 
 
 377. hodie seems to be often used in early Latin almost as a 
 mere formality, without any more distinctive meaning than our 
 "now" has in certain colloquial expressions, e.g., "He did not 
 say so at all, now," e.g. 626; Hec. 788, 873; Plant. Pers. 218. 
 
 378. adulescens : this word, when used as here in direct ad- 
 dress, often implies condescension and a certain amount of con- 
 tempt ; cf. the similar use of "young man." 
 
 aba : a form confined (except in compounds) almost exclu- 
 sively to its combination with te. Even in this combination, it 
 was almost entirely supplanted, in the last years of the Ciceronian 
 period, by a. Later, when used at all, it was in affectation of 
 archaic style.
 
 106 PHORMIO. 
 
 379. potis and pote, with esse, are both used in early Latin 
 indifferently with any gender or number; potis is here neut.; on 
 the other hand, pote may be used as masc. or fern. For the drop- 
 ping away of the s, cf. such forms as Cornelio for Cornelias, C.I.L. 
 I, 30. In sat (for satis) , the i also disappeared, but in pote it has 
 merely weakened to e. Final s was often slighted even in the 
 early years of Cicero, as his poetry clearly shows. Later he calls a 
 man subrusticus for doing this (Or. 48, 161). 
 
 380. istum gives to tuom a contemptuous turn. 
 
 381. qui : see note on 130. 
 
 diceret : following the present tense, explana. The law of the 
 sequence of tenses allows some exceptions. See App. A. & G. 
 287, h; B. 268, 7 ; G. 509, note. 
 
 382. expiscare : of attempted action, you are trying to fish it 
 out of me. 
 
 quasi nosses: as the perfect noui is equivalent to a present, 
 the pluperfect is equivalent to an imperf. For the usual con- 
 struction with quasi see A. & G. 312, Rem. ; B. 307, 2 ; G. 602 ; 
 H. 513, 2. 
 
 nossem : the tense is to be explained as a repetition of Phormio's 
 nosses, with the necessary change of person. Cf. note on 122. 
 
 ita : that's what I said. 
 
 384. eho: what! 
 
 non noras : non (not here equivalent to nonne) is frequently 
 used in questions implying surprise that a thing is not so. That 
 the answer yes is not expected here, is shown by the fact that 
 Demipho had just said he did not know. Phormio replies, you did 
 not know? (strange indeed !) 
 
 385. maxume : certainly. 
 
 387. subice : prompt, lit. toss it up to (up under) me. 
 
 388. dlco : where one might expect the future. Cf. our collo- 
 quial idiom, "you don't get a cent from me," for "you will not," 
 etc., "I go (am going) to-morrow," etc. 
 
 nosses : see note on 382. 
 temptatum : pump. 
 
 389. tempto : the subjunctive would be more common in thus 
 repeating Phormio's word. See note on 122. 
 
 autem : often thus used in repeating an expression which has
 
 NOTES. 107 
 
 given offense, to indicate the speaker's disapproval of, or opposition 
 to, the sentiment ; see note on 503. 
 
 adeo : (ad + eo) follows rather closely the meanings of its con- 
 stituent parts : to that (such a) point (of space, time, or degree) ; 
 to that point and no further, just, precisely; to that (end), with a 
 view to that ; in addition to that, i.e. moreover, besides. In this 
 last sense, the thing added is sometimes (especially in the phrase, 
 atque adeo) opposed to the preceding context, as here, when it 
 may be translated, still. Cf. And. 532, 977. 
 
 mea : sc. refert, or interest. Cf. 940 ; Heaut. 793. 
 
 390. noueras : see note on 13. 
 
 392. non : see note on 384. 
 
 horum : masc., referring to the bystanders. With the neut. 
 of pronouns, pudet takes the personal construction, e.g. Ad. 754, 
 non te haec pudent; Plant. Mil. 626; Ep. 112, etc. For the 
 genitive with pudet in the sense of before, in the presence of, 
 see Plaut. Trin. 912, deum me hercle atque hominum pudet ; 
 Accius in Cic. de div. 1, 31, 66; Ter. Ad. 683, me tui pudet; 
 Liv. 3, 19, 7. 
 
 393. talentum : not a contraction of talentorum, but a remi- 
 niscence of the earlier form (-om, -wm) of the gen. plur. of the 
 2d declension. Terence, in the body of a play, uses this early 
 form only in liberum, deum or diuom, nummum ; but in his 
 prologues the early and shorter form is regularly used, and it is 
 common also in later poets. The longer form in -orum came 
 in later, after the analogy of the pronouns and of the -arum of 
 a-stems. 
 
 rem : a matter. 
 
 394. malefaciant, since a proceleusmatic cannot follow a dactyl, 
 should be read with syncope of the e. 
 
 eases . . . proferens : approaching proferres in sense, and in- 
 teresting as showing an analytic tendency even in Latin. Cf . And. 
 508 and 775, ut sis sciens ; Cic. Verr. 1, 140, distributum habere 
 (approaching distribiiisse in meaning); perhaps also Cic. Att. 5, 12, 
 10. ea, quae habes instituta, perpolies. 
 
 396. quom aduenissem : differing from si aduenissem only in 
 calling attention more particularly to the temporal element neces- 
 sarily involved, i.e. to the occasion characterized by the assumed
 
 108 PHOBMIO. 
 
 act as well as to the act itself. For quom (cum) introducing con- 
 ditions, see notes on 280 and 344. 
 
 397. face : see note on 309. 
 
 398. eu : this word and euge are transferred from the Greek e& 
 and eftye; they occur frequently in comic poets, e.g. 478, 869. 
 
 399. quibus : sc. expedire. The omission of the infinitive in such 
 cases is common ; cf. 113, 383, 447, 683, etc. 
 
 400. fuerat : fuisset would have expressed the idea as contrary 
 to fact. Phormio uses an expression that is non-committal, pre- 
 tending that the falsity of the supposition will be so self-evident, 
 that the answer may be safely left to any one. 
 
 filius : notice the effect of placing filius before the quor, i.e. 
 I have nothing to say to you your son, why didn't he, etc. See 
 note on 200. 
 
 401. filium narras : for de filio, just as one might say, " Do 
 you talk my son to me ? " 
 
 403. magistrates adi implies an intention of petitioning, hence 
 followed by an wt-clause. 
 
 404. Notice the emphatic position of tibi, i.e. it is certain they 
 would do it for no one else. See note on 200. 
 
 When a case was once settled in an Athenian court, there was 
 as a rule no appeal ; not so, however, at Rome. 
 
 405. solus regnas : are sole monarch, a thing abhorred by both 
 Greeks and Romans. This ironical speech of Phormio is calculated 
 to recall Demipho to his senses. Demipho's reply shows that it 
 has had the desired effect. 
 
 407. uerum tamen : sometimes written together as a single 
 word. 
 
 410. abduc hanc, minas quinque accipe: one might expect 
 quinque minas tibi dabo, si hanc abduxeris. The use of imperatives 
 betrays greater emotion, as does also the position of abduc hanc 
 an idea which in Demipho's mind crowds to the front and asserts 
 itself before its time. 
 
 abduc : see note on 309. 
 
 mina : Greek /uca. The Latins often thus inserted a vowel to 
 facilitate the pronunciation of words borrowed from the Greek, 
 e.g. Alcumena ('AX/c/itV?)) Aesculapius ('Aer/cX^iriij). Minae quin- 
 que would be somewhat more than $ 90. Demipho prefers the
 
 NOTES. 109 
 
 t 
 
 alternative, permitted by the law, of giving dowry. See note on 
 125. On the reading of this verse, see App. 
 411. suaui's: see note on 295. 
 
 413. meretricem . . . abusus sis : for the ace., see note on 
 281 f. The iambic senarius seldom admits a monosyllable in the 
 last foot unless it is joined by elision to the preceding word ; but 
 this rule does not apply to monosyllabic forms of esse. Cf. 448. 
 See App. 
 
 414. amittere: see note on 141. 
 
 415. in se admitteret refers to a giving up of one's principles ; 
 committere is used in a more aggressive sense of offenses against 
 society. 
 
 418. nos unde : sc. proxumi sumus. For the meaning of this 
 position of nos, see note on filius, 400. 
 
 one denotes impatient deprecation. 
 
 419. actum ne agas : don't kill a dead dog ; more literally, 
 don't try a suit that's already tried, a proverb originating in the 
 custom in Athenian courts of allowing no appeal. See note on 404. 
 This "etymological figure" is extremely common in Plautus, but 
 comparatively rare in Terence. 
 
 non agam : a rhetorical question of obligation or propriety. 
 There is no such thing in Latin as a negative question of delibera- 
 tion, corresponding to /XT} with the subjunctive in Greek. Questions 
 with non which have been so classed (the few introduced by ne are 
 all dependent) are always rhetorical questions, the answer to which 
 is regarded by the speaker as settled. There is, then, no idea of 
 deliberation involved. See note and App. on 345. One might ex- 
 pect here ne agam ? depending upon a verb of ordering, understood. 
 See App. 
 
 420. modo : only, just. Cf. 496. 
 423. iam ducendi aetas : see App. 
 
 425. ipsum : commonly used in apposition with something for 
 the purpose of contrasting it with something else. Here the con- 
 trast is with uxor. 
 
 426. te : person regarded as means. The English starts with the 
 same conception, as the use of "with" shows ("do with your- 
 self"). See note on 137. 
 
 feceris : a true fut. pf., rather than one used, like fecero in 882,
 
 110 PHORMIO. 
 
 to emphasize the promptness and certainty of the future accomplish- 
 ment of an act. The feeling is, it will be better for you, if you shall 
 have done, etc. See note on 308. 
 
 427. aduorsum : post-positive, as often in early Latin, rarely 
 in later writers. 
 
 428. infelix : cf. the English use of wretch (meaning scamp}, 
 which started with the idea of wretched, e.g. Shakespeare, Comedy of 
 Errors, V, 1, 27 : 
 
 Fie on thee, wretch ! 'tis pity that thou livest 
 To walk where any honest men resort. 
 
 429. bene habent: se is commonly expressed; cf. e.g. 820, ut 
 meae res sese habent. 
 
 430. feceris : see note on 426. 
 
 431. tuam has an emphatic position. B. 350, 5 c; G. 676, R. 1. 
 expetam : repeating the thought of Phormio ; like nossem, 382, 
 
 except that the latter repeats also the word. 
 
 432. te uisum . . . uelim: cf. "I want nothing said about 
 it," " I want a person called," etc. 
 
 uelim : for the subjunctive, see note on expetam, 431. 
 435. hoc age : see 350, note. 
 
 437. dixi : a technical term for ending a speech ; cf . Cic. Verr. I, 
 1, end. Here it implies that he means what he says. 
 
 438. Phormio models his reply after the words of Demipho. 
 dignum: first means worthy, proper in conduct or character, 
 
 then, as here, proper in the widest sense. 
 
 439. die am : not dicam. A play upon dixi is probably intended. 
 
 440. quid : subject ; opus : predicate nominative. A. & G. 243 e, 
 R. ; B. 218, 2 ; G. 406 ; H. 414, note 4. 
 
 domo me : a business-like order, in which the speaker's manner 
 and gesture would supply the verb. 
 On the question of scene-division at this point, see App. 
 
 ACT III, SCENE 3 [II, 4]. 
 
 442. hisce : see Introd., p. xlv. 
 
 446. eo : see note on dico, 388. 
 
 447. quid ago : such uses of the indicative in deliberative
 
 NOTES. Ill 
 
 questions are very common in early Latin, and occur occasionally 
 later, e.g. in Catullus, Vergil, and the Letters of Cicero. 
 
 Cratinum censeo and mene uis, 448 : see note on 399. 
 
 448. For the monosyllabic ending, see note and App. on 413. 
 
 449 ff. Notice how, in the midst of the deference shown by the 
 lawyers for each other's opinion, the ego and the mihi keep cropping 
 out in what they say. 
 
 rem : interest. The word res, non-committal as it is in meaning, 
 should always be translated to suit the context. 
 
 450. te absents : usurping the place normally occupied by the 
 subject, receives the emphasis, showing that in the opinion of 
 Cratinus the whole case turns upon this one point. 
 
 451. in integrum : lit. to an untouched (in, tango} condition, i.e. 
 the marriage should be considered null and void. 
 
 453. itast ; looking forward to quod homines, etc. 
 
 457. amplius : were it not that Terence seldom makes an allu- 
 sion to anything purely Roman, one would think he had in mind 
 here the technical term for adjourning a case for the purpose of 
 collecting further evidence, viz. ampliatio. 
 
 458. num quid nos uis : see note on 151. 
 
 459. dudum: 'before; referring sometimes to the immediate, 
 sometimes to the distant, past. 
 
 460. negant redisse : this omission of the subject of redisse 
 violates common Ciceronian usage. A. & G. 336 a, 1; B. 314, 5 ; 
 G. 527, 3. 
 
 461. is : emphasized by its position. The lawyers having failed, 
 he is the last resort. See note on 200. 
 
 462. quoad se recipiat: representing the fut. ind. of direct 
 discourse. On this use of quoad, see note on 148. 
 
 464. eccum : i.e. ecce eum ; earn, eos, eas, ea, ilium, etc., are 
 similarly combined into eccam, eccos, etc. The ace. seems to be 
 due to the general objective feeling involved in ecce, which, with its 
 ace., is often used without reference to the construction of the rest 
 of the sentence, e.g. 484, eccum ab sua palaestra exit foras; Plaut. 
 Mil. 1281, nescio quis eccum incedit. 
 
 recipere : for recipientem. See note on 7.
 
 112 PHORMIO. 
 
 ACT III, SCENE 4 [III, 1]. 
 
 465. eiiini uero : generally written as a single word. Enimuero, 
 which commonly stands first in its sentence, is a reminiscence pre- 
 served by classical Latin of the time when enim could begin a sentence. 
 
 multimedia : i.e. multis modis. 
 
 466. itane: for this use of -?ie, see note on 153. 
 uitam : synonymous, to Antipho's mind, with Phanium. 
 
 aliis serves both as a "dative of agent" with tutandam and as 
 the indirect object of dedisse. Some authors, e.g. Horace, are 
 especially fond of these double constructions. 
 
 468. ut ut, sometimes written iitut, is used almost exclusively 
 with forms of esse or its equivalents, e.g. se habere. 
 
 consuleres: statement of obligation or propriety in the past. 
 See note and App. on 297. 
 
 469. quid . . . poteretur : the ace. with potior is mostly ante- 
 and post-classical. Terence uses the ace. three times with this 
 verb, the abl. only once (830). The genitive is rare. The forms 
 poteretur and potitur are preferred by Terence to those of the fourth 
 conjugation. 
 
 tuam: objective. 
 
 470. miserae : probably dat. 
 
 471. et quidem : introducing, as often, a confirmation of a 
 statement just made. 
 
 iam dudum . . . incusamus : when an act has begun in the 
 past and is still going on, the English idiom refers especially to 
 the part of it that is past, e.g. we have long been censuring ; the 
 Latin, especially to the part that is present, e.g. we are censuring 
 already long. One is as logical and natural as the other. 
 
 qui abieris : A. & G. 320 e ; B. 283, 3 a ; G. 633 ; H. 517. 
 
 474. subolet: lit. it emits (or there is) -an odor, a colloquial 
 expression like our "smell a rat," but it is used only impersonally, 
 or with a neuter pronoun as subject. In Heaut. 899, subolat is 
 formed according to the 3d conjugation. 
 
 476. nisi : akin in meaning to nisi quod (except that), modifying, 
 or making an exception to, the general assertion just made in nescio. 
 Cf. 952 f. ; And. 663 f. ; Eun. 820 f. ; Heaut. 641 f.
 
 NOTES. 113 
 
 476. utaliis : for ut in aliis. See note on 171. 
 
 strenuom hominem praebuit : with the omission (rare with 
 praebere) of se, cf. "he showed the coward," for, " showed him- 
 self to be a coward." Apul. Met. X, 28, talem parentem praebuit 
 qualem exhibuerat uxorem. 
 
 477. confutauit : cooled down. 
 
 478. ego quod potui porro : he modestly omits the remaining 
 words (fed in the principal, facere in the subordinate, clause) 
 necessary to complete the sense, condensing the mention of his 
 own services into the smallest possible compass. 
 
 480. quid eum : the ace. is probably the object of mansurus 
 est understood, why him? It might, however, be explained as due 
 to the general objective feeling which prompts the question. Cf. 
 e.g. 755. 
 
 ut aibat sese uelle : where we should expect uolebat, ut aibat, 
 facere, etc. The position of ut aibat at the beginning makes the 
 subordination of the rest of the sentence seem not unnatural. 
 Cf. Ad. 648, ut opinor eas non nosse te, for eas, ut opinor, non 
 nouisti tu. 
 
 aibat : in early Latin and in poetry, verbs of the 4th con- 
 jugation frequently have -ibam for -iebam; cf. 572, 582, 624, 
 etc. 
 
 482. metuist : i.e. metuis est. See note on 154. 
 
 uidere : quantum metuist mihi = quantum metuo, and takes the 
 infinitive for the same reason, e.g. in Plaut. Pseud. 305, metuont 
 credere omnes; Catull. 64, 146 ; Livy, 34, 27, 10. 
 
 patruom : subject of uenire understood. 
 
 ' 484. palaestra : humorously applied to the house where Pam- 
 phila lives. 
 
 ACT III, SCENE 5 [2]. 
 
 486. non audio : see note on 388. 
 
 488. quod lubenter audias: a "predicating characterizing" 
 (see App.) clause of the original type, something which you would 
 gladly hear, the subjunctive still having the same force as. in an 
 independent, paratactical clause. Notice the following sorts of 
 characterizing clauses, all expressed in Latin by the same mech- 
 anism :
 
 114 PHORMIO. 
 
 1. Predicating : (a) He is a man who icould cheat (original type). 
 
 Cf. 554. 
 (b) He is a man who cheats (developed type). 
 
 2. Potential : There is no plan by which it can (may) be done 
 (nihil est wide fiat}. Cf. 597, 1030. 
 
 3. Volitive (purpose): Men are trying to make machines which 
 shall fly ; here the character of the machines is what the men pur- 
 pose to bring about. Cf. 341. 
 
 Besides these, there is the characterizing clause of obligation or 
 propriety : I see nothing on account of which you should (ought to 
 be} glad (nihil ego uideo quod gaudeas). Such clauses are com- 
 monly classed as developed from the volitive idea, but see Am. 
 Journ. of Philology, Vol. XV. (Latin Prohibitive, Part II.). 
 
 489. hoc : the next, this pronoun referring always to something 
 near the speaker in thought or in actual location. 
 
 491. BUO suat capiti (lest he) be fixing up something (i.e. 
 trouble) for his own head. Geta, interrupting, gives this sudden 
 turn to a sentence which Antipho intended to finish with an expres- 
 sion indicating danger to Phaedria. 
 
 uereor : such a thing would really afford him pleasure. He uses 
 the word uereor merely to preserve the parallelism with Antipho's 
 metuo, well knowing that he will be understood. 
 
 492. hariolare : the fact that this word has come to be used of 
 senseless prating shows into what disrepute the calling of the 
 harioli had already fallen. 
 
 fabulae (fan) first meant talk about something, a story ; then, 
 a special kind of story, viz. a drama ; sometimes as here mere talk, 
 i.e. nonsense. 
 
 493. faeneratum : commonly deponent, but not always ; cf . 
 Ad. 219, faenerat. 
 
 logi : \6yoi Latinized. 
 
 490. tu mihi cognatus, etc. : i.e. if you will grant me this, I will 
 regard you as a relative, as a very father to me, etc. 
 
 497. adeem: for this use of n(e) in exclamations, see note on 153. 
 499-500 : modeled ironically after Phaedria's last utterance. 
 600. phaleratis : fitted out, as it were, with phalerae (spangles), 
 fine, showy. 
 
 ducas, ductes : of attempted action, as often.
 
 NOTES. 115 
 
 ducas: lead (i.e. at will), deceive, cheat, as in And. 180, 644, 
 etc. 
 
 me : see App. 
 
 ductes : frequentative, playing upon the meaning of ducas ; the 
 girl is to be cheated all the rest of her life, if she gets him. Aside 
 from the jest, however, ductare is a technical expression for taking 
 to one's self a concubine. 
 
 501. miseritumst : the perl, where we should expect the pres., 
 seems to be used as a more energetic expression. Cf. "The man 
 who hesitates has lost his chance, is lost," etc., as compared with 
 " loses his chance," etc. Such expressions disregard the progress 
 of the act, and look merely at the condition resulting from its 
 prompt accomplishment. Similar uses of the perfect tense (espe- 
 cially in the subj. mood) are far more common in Latin than in 
 English, e.g. in expressions like ne feceris, and in the so-called 
 gnomic perfect. See App. 
 
 ueris : see App. 
 
 similis sui : similis takes the gen. in early Latin, the dat. (com- 
 monly) in post-Augustan Latin. The intervening period is one of 
 transition, in which both the gen. and the dat. are frequent. With 
 the gen., cf. "his like," "the like of him, 1 ' 1 and with the dat., 
 "like him," "like unto him." 
 
 502. alia . . . sollicitudine : i.e. trouble (far) different from 
 (i.e. less engrossing than) that in which he is now involved. See 
 App. 
 
 503. autem, starting with the meaning on the other hand, but, 
 came to be frequently used by the comic poets, in questions 
 prompted by a feeling of opposition or reproach ; e.g. 601, 775, 
 788 ; cf . note on 389. 
 
 504. fortunatissume Antipho : Phaedria has just referred (502) 
 to Antipho as also involved in serious trouble, but at sight of the 
 latter his tone suddenly changes, and he thinks that Antipho is 
 fortunate after all in comparison with himself. 
 
 505. cum : seldom so far removed from its case. 
 
 506 f. auribus teneo lupum : Donatus gives, as the Greek 
 proverb from which this was taken, T&V wrwv exw rbv Xikov OUT' 
 ex 6 "' OVT> d,<l>fivai Svva/Mii.. 
 
 507. See App.
 
 116 PHORMIO. 
 
 508. heia, ne . . . sies : this ne clause must be regarded as 
 
 dependent, careful now, lest, etc. With very rare exceptions (and 
 
 these are easily accounted for), prohibitions only of the mildest sort 
 
 / are expressed by ne with the present subjunctive. If this were a 
 
 prohibition, we should expect ne . . . fueris. B. 276 ; G. 272, 2, R. 
 
 parum : adverbs are not infrequently thus used with substantives 
 which characterize, i.e. which are in effect adjectival. Cf. Flaut. 
 Mil. 11, tarn bellatorem ; Pers. 683, sat leno. 
 
 510. ain : what ! as often. 
 5-7 2, . mutet : break. 
 
 513. dum . . . aufero : while . . . I am getting. 
 
 514. ne oppertus sies : the perf., instead of the pres. subj. or 
 the imperat., betrays the emotion of the speaker. As regards the 
 relative vigor of the two tenses, the difference between them is 
 similar to that between "be gone ! " and " go ! " See notes on 501 
 and 516. 
 
 516. idem : in English one would say too ; a common use of 
 idem where an additional statement is emphatically made regard- 
 ing the same person. 
 
 fueris : for en's. Fni, fuero, etc. for sum, cro, etc., in compound 
 tenses are especially common in early Latin in deponent verbs. 
 
 conduplicauerit : a future perf. is often used in Latin as a vig- 
 orous means of emphasizing the promptness and certainty of a 
 future act. It will be so prompt and certain that it is indicated 
 by a tense that lays stress upon its actual accomplishment. Cf. 
 "Utter one word, and you are a dead man," "Have done with 
 such talk ! (if you do not, you'll repent it)," expressions prompted 
 by a similar feeling. This use of the fut. perf. must be carefully 
 distinguished from the true fut. perf., on the one hand, and the 
 .simple fut., on the other. See notes 501 and 514. 
 
 518. hoi unc : for the gender, see A. & G. 187 b ; B. 235 ; G. 286, 
 1, and 290; 11.439. 
 
 519. neque ego neque tu : probably without any definite verb 
 understood. The lack of a verb would be supplied by an impatient 
 gesture. Dztatzko understands potero pati ; but the idea called for 
 seems to be, neither you nor I need bother about that that's his 
 own business. 
 
 619. See App.
 
 KOTES. 117 
 
 quod es dignus : sc. accipere. See note on 399. Cf . Plaut. 
 Pseud. 941, quantum dignus es, tantum dent. 
 
 duint : see note on 123. 
 
 620. ego te : notice the usual juxtaposition of the two pronouns, 
 here indicating impatience and disgust: i have put up ^oith YOU, etc. 
 Where no special emphasis is intended, ego is commonly omitted. 
 
 521. contra: this prepositional use of contra is rare in early 
 Latin. Cf . Plaut. Pseud. 155 (rejected by some) ; Pers. 13 ; Trag. 
 Rel. 476 (Ribbeck); Ter. Ad. 44. 
 
 523. tibi quidem : see note on 164. 
 
 dies is commonly fern, in the sense of appointed time, masc. in 
 other senses ; but there are numerous exceptions to this rule, espe- 
 cially in poetry. 
 
 524. quam ad : see note on 148. 
 
 dares: a volitive subjunctive, expressing permission, thrown 
 back into the past. 
 
 factum : see note on 238. 
 
 526. uanitatis: lack of principle, opposed to grauitas, solidity 
 of character; the former means lit. emptiness, the latter, heavi- 
 ness. 
 
 dum: provided. 
 
 ob rem : like in rem, 449. 
 
 528. decipis : with long_final syllable. 
 
 Notice the contrasting position of the pronouns in this and the 
 following lines : hie me hie me ego hunc iste me ego isti: 
 
 529. scibat : see note on 480. 
 
 632. dare: for a similar violation of the rule for tenses, see And. 
 379, 411, 613, etc.; and for a corresponding use of the tenses of the 
 indicative, 486, non audio; 669, nil do; 893, non eo ; 963, haereo, 
 etc. 
 
 ACT III, SCENE 6 [3]. 
 
 535. quod : sc. argentum. 
 
 535-536. hie . . . triduom : when verbs, which (like exorare) in 
 the active voice take two accusatives, are used passively, one of the 
 accusatives becomes the subject of the verb, and the other remains 
 unchanged. If the active voice were here used, the clause would 
 run, hunc si pote fuissem exorare triduom hoc. In the present
 
 118 PHORMIO. 
 
 passage, the hunc has become the subject nominative, and triduom 
 hoc remains unchanged. 
 
 quod . . . promissum fuerat : an ellipsis must here be under- 
 stood as the apodosis of the si-clause : which had been promised 
 (and would have been forthcoming) , if, etc. 
 
 pote : see note on 379. 
 
 537. qui . . . adiuerit: an adversative (sometimes called 
 "concessive") clause ; adiuerit (commonly w, here u), instead of 
 adiuuerit. 
 
 539. equidem : used by Terence and Cicero only with the 1st 
 pers.; most writers, both early and late, use it also with other 
 persons, e.g. Plaut. Epid. 001, adulescentem equidem dicebant 
 emisse. 
 
 542. For the hiatus after itane, see Introd., p. xliii. 
 
 etiam tu hiiic abis: do YOU then thus leave me to face the 
 danger alone? Cf. Antipho's solus (539). The common interpre- 
 tation, out with you! leaves the emphatic tu without meaning. 
 Eun. 799, non tu hinc abis, cited in support of the latter inter- 
 pretation, is of very different character. It is introduced by 
 non, and the tu is very emphatic, as may be seen again in the 
 sentence following it, scin TU ut TIBI res se habeat? Expres- 
 sions of this sort which really mean out with you ! have no pro- 
 noun expressed except when strong contrast with another person 
 is intended. 
 
 "543. non tiiumpho . . . : implies no real deliberation, i.e. shall 
 I, or shall I not? am I not to? etc. The feeling is, / am now 
 rejoicing over my escape from one trouble. Can it be that I am 
 not doing so without being subject to further orders? etc. That 
 the idea of triumpho belongs distinctly to the present, without 
 reference to its continuance in the future, is shown by the following 
 etiam nunc (even now, in the midst of my rejoicing). 
 
 544. In malo . . . crucem: the crux symbolizes the greatest 
 possible trouble. See note on 368. 
 
 nl habeas: without your ordering. This subjunctive clause 
 seems to be developed from a so-called "less vivid fut." ( u ideal ") 
 condition, but it drifted away from this meaning, and came to be 
 used with an indicative apodosis, referring to present time. Cf. 540, 
 parumne est quod . . . succenset senex, ni instigemus etiam? etc.
 
 NOTES. 119 
 
 Plaut. Merc. 692 f. (685),parumne hoc est quod amat Demipho, ni 
 sumptuosus insuper etiam siet? 
 
 546. parfimne : the m being but slightly pronounced. 
 
 547. ni instigemus : see note on 544. 
 
 551. certumst: it is my fixed purpose. 
 
 552. quod agas: the subjunctive is due to the volitive feeling 
 in uortant, this feeling extending through the ^Mod-clause : do what 
 you will may the gods prosper it. 
 
 pedetemptim tamen: sc. agas. 
 
 554. quod . . . pigeat: a " predicating characterizing " clause 
 of the original type. See note on 488. 
 
 555. noli metuere : a form of prohibition comparatively rare in 
 early Latin, but by far the most common of all forms in classical 
 times. It is the one most deferential in tone. 
 
 556. bona mala : asyndeton is especially common in expressions 
 complementary of each other. 
 
 557. quantum opus eat . . . loquere : a paratactical form of 
 expression. See note on 358. 
 
 solae : in English one would use an adverb. 
 
 658. hui : equivalent in effect to a whistle. 
 
 The price of slaves varied according to circumstances. Xenophon 
 (Mem. 2, 5, 2) says that some are hardly worth half a mina, while 
 others sell for as much as ten or, in rare cases, even more. The 
 knowledge of any art increased the value of a slave, music girls 
 especially commanding high prices. 
 
 559. inuentas reddam : a more vigorous expression for in- 
 ueniam, laying stress upon the idea that the act will be an accom- 
 plished thing in the future. See note on 516. 
 
 aufer te nine : an injunction repeated in different words in 566. 
 Geta thinks the neighborhood not a good place for discussing their 
 plans. 
 
 iam : right away. 
 
 561. ei feret: see App. 
 
 562. amico amicus : a proverbial expression, solus being an 
 exaggeration : to such a degree that there is no one like him. 
 
 565. quod faciam : see note on 488.
 
 120 PHOUMIO. 
 
 ACT IV, SCENE 1. 
 
 567. Chremes : on the vocative form of this word, see App. 
 
 569-570. postquam uidet (historical present) = postquam uidit. 
 The act is here conceived of as prior to that of profectam esse, 
 though no stress is laid upon the idea of priority by the tense. 
 In manebat the imperfect tense is used because it is conceived of 
 as still in progress at the time of profectam esse. The present 
 uidet might equally well have been uidebat, with a corresponding 
 change of conception. A. & G. 234 ; B. 287 ; G. 561 and 562 ; H. 
 518. 
 
 572. profectam esse aibant : strict logic would require profecta 
 est, ut aibant. 
 
 illi : see note on 91. 
 
 573. audieras : with the long i, cf. Hec. 813, audierit, and Ad. 
 27, lerant, both confirmed by all the Mss., and the latter also by 
 the testimony of Donatus. 
 
 674. pol : hang it ! Chremes does not propose to be too closely 
 questioned about his doings in Lemnos. He may have been at his 
 old tricks again. 
 
 578. quod : a relative referring to the occurrence just mentioned. 
 
 579. condicionem (con + dicere) : agreement; then, in a spe- 
 cialized matrimonial sense, match, coming at last to be applied 
 also as here to one of the persons who formed it. The English 
 word, "match," is also used in both senses, e.g. "They made a 
 match," and " He is a desirable match." 
 
 extrario : outsider is an etymological equivalent. 
 
 682. adfinem : referring to relationship by marriage; consan- 
 guineus, to relationship by blood. 
 
 683. familial itas : the relation existing between the members 
 of ufamilia ; then, any relation similar to it, e.g. intimacy, etc. 
 
 684. opus est scito : the neut. of the perf. pass, partic. is often 
 thus used in the comic poets with opus est and usus est. It may be 
 translated as though it were a gerund, though it differs from the 
 gerund in substantivizing the conception of the verb in a perfected 
 passive form, rather than in a progressing, active form. Cf. the 
 English expression "There is no need of its being known," in
 
 NOTES. 121 
 
 which the use of "its" shows that "being known" is practically 
 felt as a substantive. 
 
 685. aliqua : somehoio. 
 
 586. me excutiam atque egredior domo : shell out, and clear 
 out. Cf. Plaut. Aul. 646, excute pallium. Another colloquial use 
 of excutere is seen in Hor. Od. 3, 9, 19, excutitur Chloe, with which 
 may be compared the slang phrase, " shook her lover," i.e. jilted 
 him. 
 
 nam, etc.: giving the reason for having to "shell out" before 
 leaving. 
 
 ACT IV, SCENE 2. 
 
 591. neminem : probably not to be regarded here as exactly 
 equivalent to nullum, but as a substantive, taking up again the 
 hominem in negative form: a cleverer man none have I seen. 
 Nemo in a purely adjectival sense is extremely rare, but undoubted 
 instances seem to occur, e.g. Eun. 548, nemo homost. 
 
 593. argentum opus ease : opus is here used as a predicate 
 noun. 
 
 quo facto fieret : representing a deliberative question of direct 
 discourse. 
 
 fieret : this quantity of the i is found only at the end of an 
 iambic verse or half-verse. See In trod., p. xxxix, note 2. 
 
 594. intellexerat : plupf. instead of the perf. to emphasize the 
 promptness of the act. Cf . the similar use of the fut. perf. instead 
 of the fut. (e.g. 516), the perf. instead of the pres. (e.g. 501). 
 
 595 f. Notice the force of the imperfects, proceeded to, etc. 
 
 696. dari : notice that this gives the cause of gratias agebat. 
 The infinitive, however, depends upon the idea of thinking or 
 saying implied in the expression of thanks. 
 
 597. ubi . . . ostenderet: a "potential characterizing "clause. 
 See note on 488. 
 
 Phaedriae . . . Antiphoni : notice the contrasted positions. 
 The crowding in of Phaedria's name thus early in the sentence 
 shows that he, above all others, was now the object of their 
 thoughts. 
 
 698. ad forum : see App. 
 
 ulterior: further away, i.e. behind.
 
 122 PHORMIO. 
 
 600. attat: by George! Cf. 963, etc. 
 
 601. pertimui : i.e. just a moment ago. 
 autem : see note on 503. 
 
 belua : ass that I was, belua here implying stupidity, rather 
 than monstrosity. 
 
 603. commodius esse, etc. Translate by the equivalent Eng- 
 lish proverb. Commodus (cum + modus), measuring with, of full 
 measure, of proper measure, suitable; then, as here, serviceable, 
 advantageous. Cf. note on 614. 
 
 604. a prinio : for this use of a, see note on 340. 
 
 605. hospitem : new-comer. 
 
 ACT IV, SCENE 3. 
 
 606. quam mox recipiat : depending upon the idea of " to see," 
 implied in expecto. 
 
 608. quo impellat : an indirect question asking about a future 
 fact. This should be carefully distinguished from questions like 
 quo pacto fieret in 593. The direct form of the latter is a question 
 about what shall occur, and takes the pres. subjunctive ; the direct 
 form of quo inpellat is a question about what will occur, and takes 
 the fut. ind. They both imply doubt, but only the former implies 
 deliberation. Unfortunately, many grammars use the terms "du- 
 bitative" and "deliberative" indiscriminately. 
 
 609. iioster: implying both familiarity and esteem. Cf. Ad. 
 883 ff., where a master, commonly harsh and severe, is trying to 
 reform, and be civil to everybody : O Sure noster, salue : quid fit? 
 quid agitur? After thus addressing Syrus, he reflects as follows 
 upon the success of his effort : iam mine haec tria primum addidi 
 praeter naturam : "0 noster I quid fit? quid agitur?" 
 
 610. uolup : an ante-class, adverb (opp. to aegre), common in 
 Plautus, but occurring in Terence only here and Hec. 857. 
 
 quid agitur : how goes it? 
 
 611. compluria : very many, used here as a stronger term than 
 the preceding multa, though it is often used in a weak sense. 
 Compluria for complura is common in early Latin. Cf. the i in 
 the regular gen. complurium. See App. 
 
 613. dixeras: a true plupf., referring to time prior to the last
 
 NOTES. 123 
 
 utterance of Chremes, just as one often says in reply to someone's 
 suggestion, "I hadn't thought of that" i.e. had not, a moment 
 ago. 
 
 614. circumiri : colloquial, to be got around, i.e. imposed upon. 
 For such uses of the inf., see notes on 92 and 153. 
 
 614. commodum : as a temporal adverb, is colloquial. The 
 steps in its development maybe represented thus: measuring icith, 
 having proper measure, exactly corresponding with; then, as an 
 adverb with the idea of exactness predominating, precisely ; then 
 applied to a time, as here, just now. Cf. modo, used in the same 
 sense. The English word "just" (" I was just discussing," etc.) 
 had a similar development starting with the idea of ius, ichat is 
 right and proper. 
 
 615. id quidem : cf. note on 164. 
 
 617. tit obuiam : see note on 52. 
 
 618. qui istanc : a suitable verb is easily supplied. 
 
 619. uisumst: seemed proper. 
 
 620. prendo . . . solum : button-hole. 
 
 621. quor non uides . . . ut : see to it that. Compare the com- 
 mon use of uide (to which quor non uides is practically equivalent) 
 with ut and ne, e.g. 803, uide ne pecces ; Hec. 484 ; Plant. True. 
 701 , uide tu tuom efficias, etc. 
 
 sic : i.e. in the way I am about to suggest. 
 
 623. liberalis : a person of fine sensibilities. See note on 168. 
 fugitans: shy of; felt as an adj. A. & G. 218 b ; B. 204, 1 a ; 
 
 G. 375 and notes ; H. 399, II. 
 
 624. nam: introducing an explanation of what is only implied 
 in the preceding line : (one might otherwise expect him to resort to 
 harsh measures') for, etc. What Geta says in 624 and 625 would 
 have especial weight with Demipho, as it would remind him that 
 his lawyers really advised nothing of the sort, but regarded the 
 issue of a lawsuit as doubtful (cf. 446 f.). 
 
 modo : see note on 614. 
 
 625. auctores fuere ut : urged him to, lit. were suggesters (of 
 the plan} that. 
 
 626. hodie : see note on 377. 
 
 628. iam id exploratumst : that point has been already looked 
 into.
 
 124 PHORMIO. 
 
 sudabis satis: you'll find it hot enough. 
 
 629. inceptas : the Germans use anfangen in exactly the same 
 sense. 
 
 ea eloquentia may be the subject of est, or an abl. character- 
 izing Demipho. Ea here is equivalent to talis (or tali). 
 
 630. pono : granted that; lit. Hay (it) down (as an hypothesis). 
 tandem : at length, at last, then as here after all. 
 
 631. capitis : referring, as often, to personal liberty and civic 
 rights. If Phormio were beaten in the suit and the court should 
 find damages against him, he would have no money with which to 
 pay them. He would accordingly become Demipho's slave, thus 
 losing his caput. Demipho on the other hand, if beaten, would 
 be able to pay whatever damage the court might impose. His 
 caput was not in danger. 
 
 633. die quid uis : see note on 358. 
 
 634. in manum : cash down. 
 
 635. facessat : hinc se faciat, id est, abeat, says Donatus. 
 
 636. di sunt propitii : mental derangement of any sort was 
 supposed to be due to the ill will of the gods ; sagacity and wisdom, 
 to their favor. Cf. e.g. Plaut. Mil. 700, di tibi propitii sunt, you 
 are level-headed. 
 
 638. ut est ille bonus uir : so good a man is he. 
 
 commutabitis : bandy. 
 
 640. non potuit melius peruenirier eo : we could not better 
 accomplish the purpose, etc., lit. it could not better be come through 
 to that, etc. 
 
 643. nimium quantum : an amount that is altogether too much. 
 si ... daret: a so-called " less vivid future " ("ideal") con- 
 dition, from a past point of view. 
 
 644. talentum magnum: referring to the Attic silver talent 
 worth about $1100, called magnum to distinguish it from other 
 talenta of less weight and value. This Attic talent was the one 
 most extensively recognized. 
 
 imnio malum hercle : great Scott! m give him a big thrash- 
 ing, rather (than his ' big talenf), dabo being understood from the 
 preceding daret. 
 
 646. adeo : precisely, just. See note on 389. In this sense it 
 is chiefly used in connection with a pronoun.
 
 NOTES. 125 
 
 ei : with long e as in 972, 1030 ; Hec. 573. 
 
 646. locaret : sc. in matrimonium. 
 
 parui : A. & G. 222 ; B. 210, 4 ; G. 381 and 382 ; H. 408, III. 
 
 647. non suscepisse : did not undertake to rear, lit. did not 
 take up (from the ground). A father could, if he chose, have a 
 new-born child put to death. If he was willing to bring up the 
 child, it was customary for him to indicate the fact by lifting 
 it from the ground. The penurious Demipho, to avoid the extra 
 expense of providing a dowry for her, had not reared a daughter 
 of his own, but a worse calamity had overtaken him he must now 
 provide a dowry for an entire stranger. The dowries mentioned 
 in Terence vary all the way from 5 ininae (about $90) to 10 talents 
 (about 11,000). Cf. Heaut. 838, 940 ; And. 950 f. 
 
 quae . . . petat : a " predicating characterizing " clause of the 
 developed type. See note on 488. 
 
 648. ut ad pauca redeani : to put it in a nutshell, lit. to return 
 (to the beginning and reduce all) to a few words. 
 
 illius : to be read either as lllius, or illnis. 
 
 651. fiierat : viewed as prior to the time of uolui. It would 
 seem more natural to say fuit, with reference merely to the speak- 
 er's past. Cf. Ad. 686, uirginem uitiasti, quam te non ius fuerat 
 tangere. 
 
 652. uenibat : observe the force of the imperfect. For the form, 
 see note on 480. 
 
 653. in seruitutem ... ad ditem. Notice the means em- 
 ployed to heighten the pathos, in seruitutem instead of in matri- 
 monium, and ad ditem (ad expressing mere motion toward, delivery 
 at the house of, like so much merchandise) instead of diti, which 
 would cover the "for" idea, as well as the "to" idea, and call 
 attention to the interest felt in the proceeding and to the advan- 
 tage it would bring. 
 
 pauperem : a wife who had brought only a small dowry to her 
 husband occupied a comparatively humble position in the family. 
 
 654. erat : cf. decipis, 528. 
 
 655. quae adferret: a " predicating characterizing " clause of 
 the original type, thrown into the past. See note on 488. 
 
 qui dissoluerem : a clause of purpose ; qui, whereby. See 130, 
 note.
 
 126 PHORMIO. 
 
 656. si uolt Demipho, etc. : notice the emphatic position of 
 uolt, if Demipho is only loilling. This implies that Phormio 
 appreciates the excessive character of his demands, but neverthe- 
 less wishes it understood that all depends upon Demipho's yielding. 
 
 660. inprudentem (in +pro + uidens, not fore-seeing}: i.e. with- 
 out realizing the consequences of it all. 
 
 661. animam : an exaggeration for an enormous amount, 
 oppositus pignori ob : mortgaged for, lit. presented (put up 
 
 against) for a pledge in consideration of. 
 
 663. oiel : whciv I though it will not always bear this translation. 
 
 664. ne clama : ne with the present imperative is strictly poetical 
 at all periods, occurring in prose only in Livy, 3, 2, 9, ne timete. 
 
 665. Notice the affected modesty of the diminutives : aediculae 
 (663), ancillula, pluscula. With pluscula, a diminutive formed 
 from the nom. and ace. neut. form of the comparative, cf. plu- 
 sculum (Plaut. Amph. 282 ; Pers. 21 ; Cic. de or. 2, 24, 99), com- 
 plusculos (Ter. Hec. 177), maiuscula (Eun. 527), mqliuscula (Hec. 
 354), tardiuscula (Heaut. 515). 
 
 667. sane: if you will; colloquially used with imperatives. 
 
 668. sesceiitas : the most common word for an indefinite large 
 sum, where the Greeks said /j.vplas, and we say "a thousand." 
 
 scribito : notice that this, while a command in form, expresses 
 hardly more than a permission, he may if he choose. The two 
 ideas, one representing an urging, the other a yielding of the will, 
 readily pass into each other. Cf. " you may march yourself straight 
 home," where "may march," an expression of permission, has the 
 force of an imperative. 
 
 669. nil do : see note on 388. 
 
 inpuratus me ille ut etiam inrideat : for the significance of 
 the position of the first three words, see note on 200 ; and for the 
 construction of ut . . . inrideat, see note on 304. 
 
 670. f ilium : logically the subject of ducat, grammatically the 
 object of fac. This is a common phenomenon with fac in colloquial 
 Latin, when the logical subject of the verb of the w-clause precedes 
 the ut. 
 
 673. eicitur : sc. Phanium. 
 
 674. quantum potest : quantum in this phrase seems akin to 
 the ace. of extent and is to be translated, according to the context,
 
 NOTES. 127 
 
 by to what extent, so far as, or, when the reference is to degree of 
 rapidity or promptness, by as quickly as, as soon as. 
 potest: i.e. fieri potest. Cf. 897; Ad. 909. 
 
 676. illi : the relatives of the girl to whom he claimed to be 
 betrothed. 
 
 iam : at once, modifies the whole conception, constituerunt dare ; 
 hence its position before the entire phrase, instead of immediately 
 before dare. The dowry was commonly given shortly before the 
 wedding. 
 
 677. repudium renuntiet : break off the engagement, lit. give 
 notice of the separation. Cf. 928, repudium remittere. The re- 
 fin renuntiare and remittere) emphasizes the idea of restoration to 
 a previous condition. 
 
 678. quae quidem illi res : the expression quae res . . bene 
 uortat was a common formula for invoking a blessing upon any 
 transaction. His having the usual formula in mind accounts for 
 the contrasting quidem : and may this piece of work not, as is the 
 usual prayer, prosper (bene uortat) but uortat male. 
 
 679. adeo : very, lit. to that degree, to such a degree, so, then very. 
 Cf. " I am so glad to see you," i.e. very glad. See note on 389. 
 
 680. Lemni : see note on 66. 
 
 681. dixeio: not a true fut. perf. See English parallels cited 
 in note on conduplicauerit, 516. 
 
 ACT IV, SCENE 4. 
 
 682. hem : hello ! indicating his surprise at finding Antipho here, 
 emunxi : cleaned out. 
 
 683. satin est id : an expression intended by Antipho to mean, 
 Is that all you have done? i.e. you know you have betrayed me 
 besides. Geta, trifling, pretends to understand it as referring to 
 the amount of money, and replies : hanged if I know (ichether it 
 is enough, or not): it is all I was told to get. See note on 399. 
 
 684. eho : take that ! 
 
 uerbero : you whipping -post (uerberare, to flog). 
 
 685. narras : i.e. mean (by the above question}. 
 
 narrem : merely echoing the preceding narras. See note on 122. 
 Cf. 382, 389.
 
 128 PHORMIO. 
 
 686. mihi quidem : the quidem contrasting mihi with others in 
 whose fortunes Geta was truly interested ; it conveys complaint at 
 Geta's supposed faithlessness to the speaker. Contrast is also 
 intended with the te quidem of the next line. 
 
 redit = rediit, as often. Cf. 55. The verse is probably to be 
 read as follows : ad res\tim mihi \ quidem res \ redit \ etc. 
 
 planissume : in translating, reproduce the force of the position 
 of this word by a phrase of corresponding emphasis. 
 
 687. ut = utinam : cf. 711, 773. 
 
 di deae, super! infer! : asyndeton seems especially common in 
 hurried or emotional expressions. This is due to a general ten- 
 dency to omit, under excitement, what may easily be supplied. 
 
 688. exemplum: example, then (as here) specialized in mean- 
 ing, punishment, which makes a person an example to others. 
 
 em = en, to be carefully distinguished from hem. 
 si ... uelis: for the subjunctive, see A. & G. 309 a ; B.302, 2 ; 
 G. 595 R. 3 ; H. 508, 5, 2. 
 
 689. qui . . . auferat : who would, etc. 
 
 ad scopulum : ad first meant toward, then by implication all 
 the way to, and finally, this last idea becoming specialized as here, 
 against. 
 
 690. utibile = utile, common in Plautus, but only here in Terence. 
 694. enim : indeed. See note on 332. 
 
 noui : i.e. I dare say I 
 
 695-696. As Phormio would not be able to pay back the money, 
 he would have to choose one of two courses : he could stand by his 
 agreement to marry Phanium, or else suffer the legal penalty for 
 breach of contract. 
 
 697. quin . . . possit : A. & G. 319 d; B. 283, 4 ; G. 632 ; H. 504. 
 
 699. iam si argentum acceperit : if he receives the money, the 
 conclusion at once (iam) follows that he must marry her. Iam 
 strictly modifies neither acceperit nor ducendast, but rather the 
 mental act of deciding what the logical conclusion of the condition 
 would ultimately be. See App. 
 
 701. tandem: after all. Cf. Lucr. 5, 137. 
 
 702. uocandi : sc. amicos. Cf. 453. 
 
 sacruficandi : a wedding was preceded by sacrifices offered to 
 the deities of marriage, especially to Hera.
 
 NOTES. 129 
 
 paululum : notice the very emphatic position, at least some little, 
 etc. This word is variously used as an adverb, an adjective, and 
 a substantive. 
 
 704. iste : your man. 
 
 705. quod: i.e. quot. See note on 159. 
 
 706. ater canis: a common object of superstition. It will be 
 remembered that Goethe represents the devil as appearing to Faust 
 in the form of a black poodle. 
 
 707. inpluuium commonly refers to a basin set in the floor of the 
 house, into which fell the water from the roof through an opening 
 directly above. This opening was called the compluuium. Occa- 
 sionally, however, either one of these terms is used to denote the 
 entire uncovered space including both the opening in the roof and 
 the basin in the floor. Cf. Cic. Verr. I, 1, 23, 61 ; Serv. Verg. Aen. 
 2, 5, 12 ; Plaut. Mil. 159, 287, etc. 
 
 708. gallina cecinit : Donatus says this was an indication that 
 the wife would survive the husband. 
 
 708-709. intei dixit hariolua ; harispex uetuit, etc. It was 
 customary, when anything of importance was to be done, to learn 
 the will of the gods regarding it by consulting their interpreters. 
 
 709. ante brumam : before the winter solstice, Dec. 21, as 
 Chremes had just returned from Lemnos with the income of his 
 wife's estate (679 f.). It must then have been after harvest time. 
 As he was later than usual in going thither (569), and remained 
 there unexpectedly long (572-3), we may suppose the time to be 
 about the first of November. 
 
 711. iustissima. superlative and emphatic by its position, is a 
 sarcastic thrust at the utterances of the soothsayers. See note on 
 hariolare, 492. 
 
 712. ut utinam. 
 
 me uide: look to me (for that). Cf. And. 350; Plaut. Trin. 
 808. 
 
 ACT IV, SCENE 5. 
 
 713. quid uerborum duit : give us any of his nonsense ; uerba 
 dare, to give words (and nothing but words), i.e. to practise deceit. 
 
 714. hoc : he is holding fast to his money-bag. 
 amittam : let get away, lit. send away.
 
 130 PHORMIO. 
 
 ego a me : notice the juxtaposition (see note on 520) of the pro- 
 nouns, both in a very emphatic position. There is an important, 
 swaggering air about the whole speech. 
 
 quin . . . adhibeam : A. & G. 319 d ; B. 283, 4 ; G. 556 ; H. 
 504. 
 
 715. ut cautus est: this differs from quam cautus est, in that ut 
 is an adverb of manner, and quam an adverb of degree. 
 
 716. opus factost : see note on 584. 
 
 718. rem ipsam: the very thing (that is going to happen), 
 referring to reiciat. 
 
 720. nuptum: the supine was originally the ace. of a verbal 
 noun used to express limit of motion, which fact explains why the 
 construction is used only with verbs expressing or implying motion. 
 Here dare Phormioni implies motion. 
 
 723. malum : the deuce. A parenthetical ace. of exclamation, 
 that became a mere interjection. Cf. 948, 976 ; Ad. 544 ; and 
 Donatus' note on Eun. 4, 7, 10. 
 
 tua . . . refert : A. & G. 222 ; B. 211, 4 ; G. 381 ; H. 408, I, 2. 
 
 magni : A. & G. 822 ; B. 211, 4 ; G. 382 ; H. 408, III. 
 
 ACT IV, SCENE 6 [V, 1]. 
 
 728. quo : = ad quern? 
 
 referam : a technical term found in such expressions as rem ad 
 senatum referre, to lay a matter before the senate. 
 
 730. The position of era shows that her mistress was uppermost 
 in her mind. The word, like the thought, comes first. See note 
 on 200. 
 
 suasum : she had advised the marriage with Antipho. 
 
 732. nam quis : often in colloquial Latin for quisnam. This 
 use of nam must not be confused with the inferential nam; it 
 merely emphasizes the question and commonly implies wonder, 
 surprise, etc. 
 
 a fratre : from my brother's. 
 
 The position of exanimata a fratre, coming as it does before the 
 quae, indicates the astonishment of the speaker. See note on 200. 
 
 733. quod : referring in a general way to the part she had 
 taken in bringing about the marriage.
 
 NOTES. 131 
 
 quom scirem : on the subjunctive in adversative clauses in early 
 Latin, see note on 22. 
 
 infirmas : divorce was easy, and the extent of Demipho's influ- 
 ence upon his son was an unknown quantity. 
 
 734. id consulerem : consulo sometimes means duly consider, 
 and in this sense takes an ace. of direct object. Cf. Plaut. Most 
 1088 ; Pers. 840, etc. 
 
 interea: i.e. until they should find Phanium's father. 
 
 730. quid ago : see note on 447. 
 
 737. adeo an maneo : see note on 447. 
 
 dum . . . cognosce : see note on 513. 
 
 741. nine, away from here, shows that they were both standing 
 near Chremes' house ; istorsum (isto + uorsum), (further along) 
 in your direction, shows that Sophrona was, however, further from 
 it than was Chremes. This is natural, as she had just come from 
 Demipho's house. 
 
 741. sodes: see note on 103. 
 
 742. ne . . . appellassis : for the form, see note on 308 ; for 
 the force of the perfect in prohibitions, see that on 514. 
 
 743. st counts in the verse for a long syllable. 
 
 744. saeuam : notice the force of the position, who is a perfect 
 terror. 
 
 746. aliqua : see note on 685. 
 
 747. istoc : causal ablative in emphatic position, it was on that 
 account. 
 
 749. illae: the reference would be readily understood by So- 
 phrona. 
 
 750. aegritudine : not used of bodily ills until after the Augustan 
 period. 
 
 751. male factum: too bad! a mild expression for such an 
 occasion, but not surprising coming as it does from Chremes. 
 Est is regularly omitted with male factum and bene factum. See 
 note on factum, 524. 
 
 quae . . . essem : causal. 
 
 752. nuptum : cf . 645 and 720. 
 
 754. au : an exclamation confined to women, mercy on me ! 
 Elision does not commonly occur in monosyllabic interjections. 
 See Introd., p. xliii.
 
 132 PHORMIO. 
 
 duasne uxores habet : there is much human nature in Chremes' 
 astonishment that anyone else could have been guilty of such a 
 thing. Chremes does not appreciate the humor of the question, 
 but his audience would. 
 
 755. illam alteram : see note on 480. 
 ergo : here merely an emphasizing particle. 
 
 756. posset : subjunctive expressing purpose. It might be felt 
 as an indirect question, by an agreement as to how he could, etc. 
 
 757. sine dote : a dowry was ordinarily thought necessary, in 
 order that a clear distinction might be made between a wife and a 
 mere concubine. 
 
 uostram fidem : an ace. of exclamation, to be accounted for as 
 the object toward which the speaker's emotion is directed. No 
 definite verb need be supplied. 
 
 uostram : objective, in you. 
 
 temere : a less general term than forte, implying specifically ab- 
 sence of design or thought. 
 
 759. ut uolebam : referring in a general way to his satisfaction 
 with all the circumstances of the present arrangement. 
 
 760. ambo implies concerted action on the part of the two 
 brothers, with a common purpose ; uterque would imply inde- 
 pendent action. 
 
 opere maxumo : magno opere was commonly felt as a mere 
 adverb and was often written magnopere. Occasionally, and es- 
 pecially in early Latin, the two parts were felt as sufficiently dis- 
 tinct to admit of a comparison of the magno. 
 
 fieret is commonly fleret at the end of an iambic verse ; cf . 593, 
 and see Introd., p. xxxix, note 2. 
 
 761. hie solus: i.e. Antipho. 
 
 762. opus facto : see note on 584. 
 
 763. oppido : cf. 317. 
 
 765. scibit: see Introd., p. xlv, 2. 
 
 ACT V, SCENE 1 [2]. 
 
 766. nostrapte : this -pte is common only with the abl. sing, of 
 possessive pronouns. It emphasizes the possessive idea, nostrapte 
 meaning our own. Cf. Heaut. 388, expcdit bonas esse uobis.
 
 NOTES. 133 
 
 767. bonos, instead of boni, shows that nos is probably the 
 ace. case. 
 
 768. ita fugias ne praeter casam : (in running away} so run 
 that, in addition to your hut {you do not lose your head} ; probably 
 a proverbial expression, from which the rest of the ie-clause (caput 
 quoque amittas, or the like) is omitted. Proverbs are often quoted 
 in an incomplete form, e.g. Arist. Vesp.1422, edpot TIS (to be filled 
 but with f/v &ca(7Tos etdelrj r^x 1 "?") ! of. also " sapienti sat,' 1 ' 1 " birds 
 of a feather," " a word to the wise." See App. 
 
 770. qui : see note on 130. 
 
 qui uiuat : a "potential characterizing" clause, though the 
 volitive feeling of sit colors the subordinate clause. See note on 
 488. 
 
 771. qui recta praua faciunt: the things of which Phormio 
 had been guilty were really praua, but they had been made to 
 appear recta. 
 
 772. illi : for illic = in ilia re. See note on 91. 
 
 ut stultissime quidem illi i em gesserimus : that ice have 
 acted like consummate fools ! A clause exclamatory in feeling, but 
 conceived of as also expressing the result (hence ut} of circum- 
 stances. 
 
 gesserimus : the i of the perf . subj. was originally long, and this 
 quantity is sometimes retained in the 2d pers. sing, and in the 1st 
 and 2d pers. plur. 
 
 773. modout: introducing a wish. 
 
 hoc consilio : abl. of means, the following t^-clause being one 
 of result. 
 
 possiet discedi : impersonal, we can accomplish the desired end, 
 lit. it can be come off (by us}. For this use of discedere, cf. the 
 English phrase, "to come off victorious"; 1047, pulchre discedo. 
 For the iorm possiet, see Introd., p. xxxix, note 2. 
 
 774. baud scio ... an : this phrase originally meant, as here, 
 Ida not know whether (or not}, etc.; but in classical times it had 
 come to mean, / am inclined to think that. 
 
 775. mutet : merely re-echoing the mutet of Geta. See note on 
 122. 
 
 autem : see note on 503. 
 
 776. ita faciam ... ut ... adducam : / will so do as to bring,
 
 134 PHORMIO. 
 
 etc., a circumlocution equivalent merely to adducam, the ut . . . 
 censuit being parenthetical. 
 
 777. prae : prepositions were originally adverbs ; these later be- 
 came specialized in use and associated with particular cases. The 
 early stage is represented in Greek by Homer, in whose verse the 
 particles that were later prepositions are still drifting freely about. 
 In Latin, reminiscences of this early use are rare except in the 
 adverbial use of ante and post, and a few other words ; prae is 
 occasionally an adverb as here ; also pro in pro ut, according as, 
 and sub and de in su(b~)sque deque, both up and down. 
 
 779. praesentia : agreeing with tempora understood. 
 
 780. uorsuram solues : uorsura means a turnabout, with refer- 
 ence to a debt, a borrowing of money to pay a debt. The expression 
 uorsuram soluere seems to be a fusing together of uorsuram facere 
 and uorsura soluere. Geta means that, in procuring the money 
 for Phaedria, he has led the old man to believe that they need give 
 themselves no further anxiety about Phanium. This trouble is for 
 the present settled, but only at the expense of still more serious 
 complications later on, when the true state of things becomes 
 known. Cf. the next line, praesens quod fuerat malum, in diem 
 abiit. 
 
 781. praesens : for the position of this word, see note on 200. 
 in diem : for the time being. The force of the preposition in 
 
 such phrases seems to be with reference to, directing one's view 
 toward, which is closely akin to the idea of motion implied by in 
 with the ace. Cf. Eun. 1020 ; Cic. de or. 2, 40, 169, in diem uiuere, 
 to live with reference (only) to the time being. 
 
 783. eius: i.e. Nausistrata (cf. 776 f.). A slight gesture would 
 prevent all ambiguity. See App. 
 
 ACT V, SCENE 2 [3]. 
 
 784. ut soles : in your happy way. Demipho realizes that she 
 is a woman who must be gently handled, but he is equal to the 
 occasion ; cf . Scene 9. 
 
 786. Notice the contrast obtained by chiasmus, nunc opere re 
 dudum. For the allusion in re, see 681. 
 
 787. factum uolo: it is just as I would have it, i.e. you are
 
 NOTES. 135 
 
 quite welcome, lit. / wish it done, a polite formula of approval. 
 Cf. Plaut. Bacch. 495. 
 
 788. bene parta: hard-earned acquisitions. For similar uses 
 of the participles, cf. bene facta, male facta, bene dictum (20). 
 
 789. bina : two each year, hence bina instead of duo. 
 
 790. statim (from stare, to stand) : regularly, as a standing thing. 
 With another application of its root-idea, statim means while, still 
 standing, without changing position, hence immediately. Cf. "on 
 the spot." 
 
 791. rebus uilioribus : in Latin comedy, the temporal element 
 is nearly always prominent in the abl. abs. It never gets further 
 away from that idea than in the present instance. 
 
 hui : a whistle of pretended surprise. 
 
 792. quid haec uidentur : how does that strike you? 
 scilicet: I should say so I in answer to Nausistrata's question, 
 
 which really meant isn't the contrast striking? 
 
 793. parce : sc. tibi, or uoci. 
 
 794. ut possis cum ilia : an ellipsis is to be felt of some infin., 
 meaning to deal with, cope with, or the like. Demipho expected 
 there would be a scene, possibly a storm (cf. ne suscenseat in 720), 
 when Nausistrata broke the news to Phanium. 
 
 795. abs te : see note on 732. 
 
 ACT V, SCENE 3 [4]. 
 
 796. nollem datum = uellem non datum (esse). 
 
 797. paene plus : sc. dm, or a similar word. 
 
 798. iam recte : ifs all right ; cf. the German phrase schon 
 recht. Chremes, having by this time noticed his wife, hardly 
 knows at first what he is saying. As he has to say something, 
 iam recte serves as well as anything. Demipho, true to his nature, T 
 promptly gets impatient at his brother's strange conduct. 
 
 quid tu : the emphatic tu makes the expression very different in 
 tone from a mere quid, or quid ais, to which it has sometimes been 
 said to be equivalent. It practically amounts to, what is the matter 
 with YOC ? With tu, probably no particular verb was felt to be 
 omitted ; it merely stands in a general way as the subject of action. . 
 
 800. nostra : sc. refert. Cf. 723.
 
 136 PHORMIO. 
 
 magni : sc. refert. Cf . 723. 
 
 praeterhac : a form common in Plautus, but occurring in Ter- 
 ence only here, and possibly Ad. 847. Praeterhac differs from 
 praeterea in meaning, as haec differs from ea. See note on 347. 
 
 801. sic erit gives assurance of future confirmation. Cf. Heaut. 
 1014 ; Ad. 182, etc. 
 
 802. satin = satisne. 
 
 803. au : see note on 754. 
 
 805. Chremes has been making signs to Demipho throughout the 
 scene, and now begins to get desperate at his failure to make him 
 understand. 
 
 806. nil : i.e. nonsense. 
 
 quid siet : what ifs all about. 
 
 perdis : cf . 856, where enicas is similarly used. 
 
 807. equidem liercle nescio : J'K be hanged if I know I 
 ita . . . ut : as truly as. 
 
 at : often used, as here, in introducing imprecations and occa- 
 sionally also in friendly prayers. See Harper's Diet. B, 3, c and d. 
 The at denotes a sort of opposition to the general situation. 
 
 808. uostrani fidein : see note on 757. 
 
 809. ipsam : contrasted with Chremes. 
 
 aut scire aut nescire : i.e. to know the truth or falsity of. 
 ah : an exclamation caused by Demipho's una omnis, which 
 would include Nausistrata. 
 
 810. apud : with personal object, commonly calls attention to 
 the characteristics or the vocation of its object. If you are a 
 banker, apud te means at your bank; if a merchant, at your store; 
 if an author, in your works; if merely thought of as a private 
 individual, at your house, in your make-up as a man, i.e. in your 
 heart, in your eyes, or the like. 
 
 811. uin satis quaesitum mi istuc esse : do you wish me to 
 have done with my questions? lit. do you wish that matter to have 
 been inquired about enough by me? 
 
 ilia tilia : see note on 137. 
 
 812. amici nostri : said with a significant look, as a safe way 
 of referring, in the presence of Nausistrata, to the daughter of 
 Chremes himself. 
 
 mittimus; see note on 447.
 
 NOTES. 137 
 
 hanc : i.e. Nausistrata, not Phanium. Cf. 813, ire igitur tibi 
 licet, Nausistrata. 
 
 813. quid ni : see note on 64. 
 
 ilia : while in reality referring to the same person as ilia filia 
 above (811), viz. to Phanium, is not so understood by Demipho. 
 By ilia filia, he means the daughter of Chremes ; by ilia maneat, 
 Antipho's present wife, whom he supposes to be another person. 
 
 814. sic : anticipating manere hanc, 815. 
 
 815. perliberalis : very lady-like. See note on 623. 
 
 817. respiciunt originally meant look back at; then, as this 
 act would imply interest in the thing looked at, it developed the 
 meaning take interest in, care for. Cf . the English derivative from 
 it, "respect." 
 
 818. potuit : cf . note on 303. See App. 
 
 819. hens : mind you ! 
 
 ACT V, SCENE 4. 
 
 820. ut: however. Sloman's interpretation, considering that, 
 would require an adverb with sese habent. 
 
 fratri : used here for fratri patrueli, cousin, as in Cic. Clu. 24, 
 60 ; ad Att. 1, 5, 1 ; Cat. 66, 22. 
 
 821. scitum : from scisco. 
 
 822. quas : perhaps the only instance (excepting one or two in 
 late Latin) of the ace. with medeor; medicor, however, occurs with 
 the ace. in Verg. Aen. 7, 756. 
 
 quoin . . . sient : a general condition in which we should expect 
 the indicative, were it not colored by the verbs (mederi possis) of 
 the clause in which it stands. 
 
 paulo : with little, i.e. easily. Paulum is common as a substan- 
 tive in early Latin ; e.g. Plaut. Cure. 125, de paulo ; Ter. Ad. 94!) ; 
 And. 903 ; Heaut. 498, etc. 
 
 quas possis : a predicating characterizing clause (see note on 
 488) ; the potential idea that is felt lies in the meaning of the verb 
 itself, not in the mood. 
 
 825. si ... celetur: referring " less vividly " to the future as 
 a more remote possibility. 
 
 sin patefit : the change of mood seems to indicate a greater
 
 138 
 
 PHORMIO. 
 
 probability of the actual coming-to-pass of this condition. The 
 present tense, treating the act as one that is possibly already in 
 progress, is perhaps due to the same feeling. 
 
 When facio is compounded with prepositions, it forms its pas- 
 sive regularly, e.g. inficior; when compounded with other parts of 
 speech, it follows its own conjugation, e.g.patefio, commonefio, etc. 
 
 827. ubi . . . possim : where could I (if I should try}, possim 
 being really the conclusion of a "less vivid future" ("ideal") 
 condition. One should be careful not to confuse this subjunctive 
 with such deliberative subjunctives as that in quid agam, what 
 shall I do? which expects some expression of the will in reply. It 
 would be possible to extend the term "deliberative " to cover such 
 questions as this, but, if that were done, we should have to make 
 several distinct classes of deliberative questions, e.g. (1) those in- 
 volving the will, e.g. quid agam, what shall I do? (2) those with 
 the "potential" (sometimes so-called) subjunctive, never in any 
 way connected with the will, e.g. quid sit optimum, what would be 
 best? (3) such uses of the indicative as in quid est optimum, what is 
 best? quid erit optimum, what will be best? etc. 
 
 ACT V, SCENE 6. 
 
 830. Phaedria : for the quantity of the final a, see note on 
 Geta, 179. 
 
 propria : as his own. For the construction and the form of po- 
 teretur, see note on 469. 
 
 emissast maim : i.e. released from the manus, or power of her 
 master. This giving up of all claim to a slave was symbolized by 
 a ceremony in which the master first took hold of the slave, as still 
 his own, turned him about, and then released him from his grasp, 
 a free man. 
 
 832. aliquod : see note on 169. 
 
 sumam : take, appropriate. Cf. Ad. 287, 854. 
 
 833. quid ais ? an expression used merely to attract attention, 
 like " Say ! " " O say ! " "I say ! " 
 
 834. satietatem amoris . . . absumere : take his fill of love. 
 
 835. partis tuas acturus est reminds one of Demipho's former 
 words (267), tradunt operas mutuas.
 
 NOTES. 139 
 
 837. Sunium : a town on the southern coast of A ttica, near the 
 promontory of the same name. It was evidently famous as a slave 
 market. 
 
 ire : see note on dare in 532. 
 
 838. dudum : viz. in 665. 
 
 840. ostium concrepuit : the doors of Greek houses often 
 opened outward. They were frequently (regularly, in the case of 
 families who could not afford to keep an ostiarius to tend the door) 
 kept bolted on the inside (cf. Heaut. 275 ff. ; Ad. 634). The expres- 
 sion ostium concrepuit seems to refer to the noise attendant upon 
 drawing the bolt and starting the door, all of which would indicate 
 that some one was about to come out. It is commonly explained, 
 chiefly on the authority of Plutarch (Poplic. 20), as referring to a 
 knock by which a person about to come out is supposed to have 
 warned passers-by against the danger of being hit by the door. 
 But such extreme precaution would in any case seem absurd and 
 unnecessary, especially so when we know that other noises accom- 
 panied the opening of a locked door, in ancient, as well as in 
 modern, times. Another serious objection is the fact that concre- 
 pare refers to a rattling, creaking, or grating sound, not at all 
 to anything like a knock, which is indicated by pulsare, pultare, 
 pellere, words never used of persons about to come out of a 
 house. Plutarch's remarks are professedly based upon expressions 
 of this sort found in the comic poets, and are probably due to a 
 misunderstanding. 
 
 The tense of concrepuit is to be explained as referring to the 
 instant before, just as we upon hearing a knock may say, "some 
 one knocked," as well as "some one is knocking." 
 
 ACT V, SCENE 6. 
 
 841. Fortuna and Fora Fortuna : the words uostra and 
 onerastis in the next verse show that the conception here is of two 
 distinct deities. 
 
 843. quid sibi uolt : what does he mean? 
 
 844. mihi: A. & G. 236; B. 188, 2 ft; G. 351; H. 389. Cf. 
 Plant. Epid. 344, mihi cesso, quoin sto. 
 
 umerum liunc onero pallio : the pallium (after which the/a&w-
 
 140 PHORMIO. 
 
 lae palliatae took their name) was worn out of doors, even by 
 slaves. When there was need of haste, the lower folds of the 
 garment were drawn up (and here thrown over the shoulder) , so 
 as not to impede one's progress. 
 
 845. adque: i.e. atque ; see Introd., p. xliv. 
 
 quae . . . contigerint: the subjunctive is probably due to the 
 influence of sciat ; but it would be possible in such familiar speech 
 to regard the quae as interrogative instead of relative, that he may 
 know of all this, viz. what has happened. 
 
 847. em tibi: see that, will you? For tibi, see on mihi above, 
 844. 
 
 848. reuocari, GUI sum quom institeris: probably alluding 
 to some practical joke that was wont to be practised on slaves, 
 similar to that practised by boys nowadays in calling to a person 
 on the street, and then asking him how far he would have been if 
 he had not stopped. 
 
 institeris : subj. of indefinite 2d person. 
 
 849. pergit hercle : he is deticedly persistent. 
 
 tu : emphatic and contemptuous, a nuisance like you. 
 odio tuo : your odious conduct. Cf. Hor. Sat. 1, 7, 6, odio qui 
 posset uincere regem. 
 
 850. uapula : you be hanged! lit. be flogged! 
 uerbero : see note on 684. 
 
 851. familiariorem : pretty intimately connected with me. 
 
 852. ipsust: see note on 178. 
 
 853. O is here elided, thus forming an exception to the rule. 
 See note on au, 754. 
 
 quantum est : an expression of quantity, where we should ex- 
 pect an expression of number. It would seem still more natural to 
 omit the phrase altogether. 
 
 854. solus : i.e. to a very exceptional degree, 
 diligere : not an infinitive. 
 
 856. delibutum . . . reddo : see note on 559. 
 
 delibutum gaudio : steeped in joy, lit. besmeared with joy. 
 
 enicas : see note on 806. 
 
 858. aderas: in English one would be likely to use the perf., 
 have you been here all the time? but the imperfect is quite intelli- 
 gible, referring to the immediate past.
 
 NOTES. 141 
 
 859. apud forum : Terence never says in foro, though that 
 phrase is common in Plautus. See And. 254, 302, 745 ; Ad. 154, 
 404, 572. 
 
 861. omitto proloqui : it is merely for the sake of convenience 
 in explaining what happened, that Terence represents Geta as sent 
 to Phanium. That occurrence is accordingly briefly dismissed. 
 
 862. gunaeceum: there were two distinct parts to a Greek 
 house, the andronitis, or men's apartments, and the gynaeconitis, 
 or women's apartments, also called the gynaeceum. The Greek 
 women were kept in close seclusion in the back part of the house. 
 
 866. Notice the readiness with which the Latin at all times falls 
 into indirect discourse. 
 
 867. suspense gradu : translate by the corresponding English 
 idiom. 
 
 ire perrexi : practically equivalent to ibam, the idea of progres- 
 sive action being expressed by a separate word, instead of being 
 left to the less definite imperfect tense. This, too, makes it possible 
 to leave the series of perfects unbroken, and thus heighten the 
 rhetorical effect. 
 
 astiti : not from asto. 
 
 808. animum commonly refers to the thinking, feeling part of 
 a man, mind, soul ; animam, merely to that which he shares with 
 all living things, the life principle, or, as in this line, the breath. 
 
 animum . . . attendere: to listen, lit. to stretch the mind toward. 
 
 809. hoc modo : like this. He puts his hand to his ear and 
 leans forward, to show how it was done. This interpretation of 
 hoc modo is more in harmony with the liveliness of the narration 
 than to take it as referring tamely to what he has previously said. 
 
 modo : not to be confused with modo. 
 
 809. captans : the frequentative calls attention to the eagerness 
 with which the act was performed. 
 
 870. paene is, with verbs, commonly used only with a perfect 
 tense ; it is not found with the imperfect, because in its very 
 nature it has reference to failure of accomplishment, rather than 
 of progress. It is rarely found with the subjunctive. 
 
 871. mirificissumum : for the more common classical form. 
 
 872. uxori: the dat. of reference where one might expect a 
 gen. Cf. " servant to the queen." Such a dat. is common in the
 
 142 PHORMIO. 
 
 predicate with est, but instances like uxori, where the dat. de- 
 pends upon the substantive, are rare. Cf. Plaut. Mil. 1431, PY. 
 Quis erat igitur? Sc. Philocomasio amator. The dat. differs 
 from the gen. in such cases, in calling attention to the idea of 
 interest involved. 
 
 873. in Lemno : see note on 66. 
 
 874. utin . . . ignoraret : see note on 304. 
 
 credito : the present imperative would be expected. A. & G. 
 269, d ; B. 281, 1 ; G. 268 ; H. 487. 
 
 876. ipsi emphasizes the idea of secrecy. 
 
 877. inaudiui: have had an inkling o/, a word found only in 
 tenses formed from the perf. stem. It perhaps belongs to an obso- 
 lete, inchoative form (inawdtsco), which meant to begin to hear. 
 
 Antipho had of course heard something from Sophrona and from 
 Phanium herself about the latter's origin. Cf. also 389, where the 
 name assumed by Chremes in Lemnos, viz. Stilgo, 4s shown to have 
 been mentioned in court. 
 
 880. adhibendae : for a similar use of habendae, cf. 827. 
 $ 3-fecero : see notes on 308 and 516 (conduplicauerit} . 
 
 883. ita me di ament: for this use of ita, cf. "so" in the for- 
 mula, "so help me God ! " Cf. 165, 954. 
 
 bene factum : gone well. 
 
 ACT V, SCENE 7. 
 
 884. tantam fortunam . . . ease datam : for the force of the 
 infinitive, see note on 153. This passage forms an exception to 
 the rule, since the inf. of exclamation is commonly used only of 
 thoughts of an unpleasant character. But see App. 
 
 886. adimere : notice the change of construction. The gerund 
 would be more regular, but occasio sometimes takes the inf. in 
 early Latin, e.g. Plaut. Capt. 422 ; Cure. 59 ; Pers. 722, etc. 
 
 889. datum erit : it will stay given, erit alone being the verb. 
 re ipsa : i.e. the turn things have taken. 
 
 890. For the bearing of this verse upon the question as to 
 whether masks were worn by actors in the time of Terence, see 
 note on 210. 
 
 893. non eo : see notes on 388 and 446.
 
 NOTES. 143 
 
 ACT V, SCENE 8. 
 
 894. gratias : the regular phrases are gratiam habere, to feel 
 grateful, lit. to have gratitude (in one's heart), and gratias agere, 
 to express gratitude, lit. drive it (out). The plural is here used 
 because it has to serve as the object of ago as well as habeo. 
 
 896. On the position of this verse, see App. 
 
 897. quantum potest : see note on 674. 
 
 900. at sometimes introduces an expression of surprise, surprise 
 involving an adversative relation opposition to what was ex- 
 pected. 
 
 nos ad te : note the contrast produced by the juxtaposition 
 (see note on 520) of pronouns. We were going to you, and here 
 you have come to MS. 
 
 902. uerebamini, etc. : see App. 
 
 904. hens : mind you ! see here ! 
 
 906. id adeo : precisely this. For the use of adeo, see note on 
 389. 
 
 909. tanto opere : tantopere. 
 
 910. dehortatus : trisyllabic. See Introd., p. xlii. 
 
 913. earn nunc : see App. 
 
 914. quae . . . coram me incusaueras : which you had com- 
 plained of in my presence (viz. in 413 ff.), coram probably being 
 a preposition instead of an adverb, as it is commonly taken. 
 
 915. inluditia : play against, poke fun at, originally construed 
 with the dat.; but it early came to be used with the ace., in the 
 general sense of ridicule. 
 
 917. quo redibo ore: the fut. indie, should probably be dis- 
 tinguished here from the present subjunctive. Quo redeam ore 
 would imply deliberation as to what expression of countenance it 
 would be best to wear : i.e. shall I go back looking penitent, arrogant, 
 or how ? Quo redibo ore on the other hand is a purely rhetorical 
 question ; the real meaning is, how shame-faced I shall look, to go 
 back under such circumstances ! The indicative, however, is fre- 
 quently used in Plautus and Terence in questions of deliberation. 
 
 quam contempserim : a causal-adversative clause ; causal, if un- 
 derstood as giving the reason for asking the question ; adversative
 
 144 PHORMIO. 
 
 in its relation to the act of redibo itself. It is often impossible to 
 determine which of the two ideas is uppermost in such clauses. 
 o\%\ 9J$. ad forum: i.e. where the bankers and money-changers 
 were located. 
 
 922. rursum rescribi : to 'be re-transferred. When Dernipho 
 appeared with the money for Phormio, he avowed (714 ff.) that he 
 would never pay over the money without having witnesses of the 
 whole transaction. It seems, accordingly, that he first deposited 
 the money with his banker, and then had him transfer the credit 
 to the account of Phormio. He now wants Phormio to order it 
 re-transferred. 
 
 925. sin est ut uelis : a circumlocution for sin uis, calling at- 
 tention more particularly to the state of things involved in the wish, 
 rather than to the wish itself. Cf. "if you wish" and "if it is 
 true that you wish." 
 
 928. quom . . . remiserim : a causal-adversative clause. Causal, 
 if understood as giving the reason for the whole assertion ; adversa- 
 tive, in its relation to decipi. See notes on 23, 208, and 917 (end) . 
 
 uostri honoris causa : Demipho and Chremes would feel dis- 
 graced at having a poor daughter-in-law in the family. 
 
 alterae : archaic for alteri. 
 
 repudium . . . remittere : to break a marriage engagement, 
 lit. to send back, let loose, a separation. 
 
 929. dabat : the imperf. is used because the dowry had been 
 agreed upon, but not yet paid. All the arrangements relative to 
 the marriage are conceived of as being in progress in the past. 
 
 in = isne (from eo). Cf. audin, niden, etc., for audisne, uidesne, 
 etc. For this use of the pres. ind., see note on 388. 
 
 930. istac magiiifi ceiitia : that ridiculous bombast of yours. 
 
 931. fugitiue: here merely a term of abuse. Cf. the English 
 word "scamp," which originally meant "one who scampers." 
 
 932. adeo : to such an extent, viz. as is implied in the air you 
 assume. See note on 389. 
 
 irritor: be careful not to understand this as though it were 
 irritatus sum. 
 
 933. ut films . . . habitet : in apposition with the following 
 hoc: that my son may live with her at your house, that has been 
 (and still is) your plan.
 
 NOTES. 145 
 
 935. quiii . . . cedo : see notes on 223 and 197. 
 
 936. immo uero : in this combination with uero, both sylla- 
 bles of immo seem to be regularly short at the beginning of iambic 
 verses. Cf. Hec. 726 ; also immo quod in Hec. 437. 
 
 in ius ambula : any one who had a grievance against another 
 could thus summon him into court. If the latter would not go 
 peaceably, the plaintiff had a right to carry him there by force. 
 
 938-940. indotatis and dotatis : for the substantive use of fern, 
 adjectives, see note on 298. 
 
 dotatis : a hint to Chremes that it may be for his interest to 
 drop further proceedings. Phormio knows the perfidy of Chremes 
 and threatens by this hint to reveal it to his wife ; but Chremes is 
 so confident that his secret has been well kept, that, as shown by 
 quid, id nostra, Phormio's insinuation does not disturb him. 
 
 quid id nostra : see note on 800. 
 
 nihil : dissyllabic. 
 
 942. nullus sum : see 179. 
 
 943. educat : Terence commonly uses educere in this sense. 
 
 sepultus sum : nullus sum above (942) implied I'm dead. Phor- 
 mio turns the screw again, and draws from Chremes this still more 
 despairing groan, {yes) and buried too. 
 
 944. adeo : see notes on 389 and 906. 
 
 illi : a still more pointed allusion than that previously made in 
 dotatis, and this time Chremes understands. Phormio has said 
 enough to open his eyes. 
 
 denarrabo : i.e. from beginning to end, the de being intensive. 
 
 945. eras and es may be used indifferently in such cases, accord- 
 ing to the conception. Cf. 858, tu quoque aderasf 
 
 ludos facit : cf . the expression make game of any one. 
 
 946. missum te facimus : cf. inuentas reddam in 558. 
 quid uis tibi : see 843. 
 
 947. argentum . . . condonamus te represents a fusing to- 
 gether of two constructions. Donare takes either aliquid alicui, to 
 give something to some one, or aliquem aliqua re, to present some 
 one with something. The feeling accordingly grew up, that the 
 ace. of the person and the ace. of the thing were both allowable 
 with such verbs, and to this feeling is due such a use as found in 
 the present sentence. Cf. similar instances in Eun. 17 ; Hec. 849,
 
 146 PHOKMIO. 
 
 etc. This double ace. with verbs of giving is not found in the 
 classical period. 
 
 948. malum : see note on 723. 
 
 949. sententia : see App. 
 
 950. Notice how the metrical accent, without regard to the word- 
 accent, shifts from one syllable to another in a repetition of the 
 same words. 
 
 951. ratuni : thought out (reo?'), then (as here) settled. 
 
 952. hie haec : when different cases of the same pronoun are 
 used, the nom. regularly precedes any other case, and the ace. 
 precedes any other than the nom. 
 
 953. nisi : see note on 475. 
 
 954. ita me di ament : bless me ! For this use of ita, see note 
 on 165. 
 
 iuieci scrupulum : an expression borrowed perhaps from the 
 inconvenience caused by a pebble in one's shoe. From this, scru- 
 pulus came to be used of anything that causes uneasiness, e.g. 
 anxiety, doubt, scruple, etc. 
 
 955. hicine ut : see note on 304. 
 
 The second i in hicine is merely the e of ce (liice), weakened. 
 
 956. emori : the e being intensive = outright, though its force 
 is often imperceptible. 
 
 satius : satis means enough, sufficient ; then, satisfactory ; then, 
 in a more general sense, according to one's wishes, desirable, or, in 
 the comparative, more desirable, better. 
 
 957. praesenti: present, ever ready to act, resolute. Cf. Eun. 
 769. 
 
 959. id celare . . . uxorem. A. & G. 239 d ; B. 178 e ; G. 339 ; 
 H. 374,2. 
 
 963. For the hiatus after ulcisci, see 146 and note. 
 attat: see 600. 
 
 haereo : /' in for it. Cf. the more complete expression in 780, 
 in luto haesitas. 
 
 Notice the loose use of tenses in this line, unusual in Latin, but 
 common in English. Here the present is more vivid and forcible 
 the emergency is referred to as already upon him? 
 
 964. gladiatorio animo : such purely Roman allusions are very 
 rare in Terence, though common in Plautus.
 
 NOTES. 147 
 
 966-967. hoc fretus . . . quom . . . excessit : quoin is here 
 equivalent to an explicative quod, the fact that, or in that. This 
 use was entirely distinct in both origin and development, from the 
 temporal or causal quoin (cum), and was always used with the 
 indicative. It is very common in early Latin and is not infrequent 
 even in classical times, especially after such expressions as gratulor, 
 gratias ago, etc. The passage eo . . . cum . . . consecutus est in 
 Cic. de sen. 19, 68 has been corrupted by some editors, owing to a 
 failure to recognize this use. See App. 
 
 967. unde = a qua. 
 
 969. ex re : see note on 449. 
 istius : dissyllabic. 
 
 970. ain tu : merely a formula expressive of indignation, won- 
 der, or the like. The tu is commonly added only when strongly 
 marked contrast with others is intended. Here Phormio has just 
 addressed Demipho. He now turns to Chremes with and what 
 do you mean? 
 
 lubitum fuerit = lubitum sit. See note on 516. This subjunc- 
 tive takes its modal coloring from feceris, which in turn expresses 
 an adversative relation to the main clause. 
 
 971. feminae : uereor occasionally in early Latin, and once in 
 Cicero's Letters, takes a genitive after the analogy of the gen. with 
 piget, etc. Translate show respect for, feel fear because of. 
 
 972. quin : following the idea of prevention implied in what has 
 preceded. 
 
 nouo modo : it is noteworthy that the fault of which Chremes had 
 been guilty is here set down as a very unusual thing for those times. 
 
 974. dabo : render, as in And. 683, Heaut. 950, Eun. 212, etc. 
 
 974-975. ita . . . incensam . . . ut ne restinguas : so enraged 
 that you SHALL not. The ne shows that this wf-clause is an expres- 
 sion of determination involving the will, and it must accordingly 
 be translated by shall not, instead of will not. The negative of 
 the latter expression would be non. See App. 
 
 976. malum : the mischief! serving also as the antecedent of 
 quod. This y^rse is identical with Plaut. Most. 655. 
 
 duint : see note on 123. 
 
 977. tantane adfectum ease : for the use of the inf. with -ne, 
 see note on 153.
 
 148 PHORMIO. 
 
 978. scelus, strictly referring to the deed, here as often in vul- 
 gar speech designates the person guilty of it, viz. scoundrel. 
 
 979. publicitus . . . asportarier: i.e. as a public nuisance, a 
 menace to society. 
 
 980. prorsum (pro + uorsum~) : lit. turned forwards ; then, 
 straight ahead, not swerving in any direction ; then, exactly, pre- 
 cisely, or, as here, absolutely, utterly. 
 
 981. in ius eamus : see note on 936. 
 
 hue : Phormio proposes that Nausistrata shall act as judge this 
 time. 
 
 982. dum : while. 
 
 983. enini : this position of enim is un-Ciceronian ; see notes on 
 113 and 465. 
 
 una iniuria : one case of assault against Demipho, who had 
 already laid hold of him. Chremes next takes hold, drawing from 
 Phormio the further threat alterast, etc. (984.) 
 
 984. agito : bring action. 
 
 985. enim uero : see note on 465. 
 
 988. taceam : an echo, as it were, of the preceding taces. See 
 notes on 122, 382, etc. 
 
 oculum : an eye, his eye. For the singular, cf. "black a man's 
 eye," "black his eye for him." Dziatzko, strangely enough, con- 
 cludes from this that Phormio must have had only one eye. 
 
 989. est ubi : taken together, like ianv lire, as an adverb mean- 
 ing sometime. 
 
 probe : in fine style. Notice the emphatic position. 
 
 ACT V, SCENE 9. 
 
 990. qui = quis. See note on 129. 
 
 991. obstipuisti: the form obstipesco is, for Terence, a better 
 attested spelling than obstupesco, etc. Cf. And. 256 ; Ad. 613. 
 
 992. hiciiie ut, etc. : see note on 304. 
 
 993. creduas : see Introd., p. xxxix, note 2. 
 
 998. non . . . temerest quod : it is not without reason, that, 
 etc., the gwoeZ-clause being the subject of est. 
 
 tarn with verbs in the sense of so much, so greatly (= tantum), 
 without a following quam, is very rare in classical times.
 
 NOTES. 149 
 
 999. egon timeo : see note on 122 (end). 
 
 recte sane : very well, ironically assenting to Chremes' implied 
 claim that he was not afraid. 
 
 1001. tibi narret : taking up the preceding narra, tell it at your 
 bidding? See note on 122. 
 
 1003. dicto, scito : see note on 584. 
 
 1004. clam : often a preposition in early Latin, but in Terence 
 only with me and te. In classical times it was used only as an ad- 
 verb. See App. 
 
 1005. mi homo : my good man ! 
 1007. quid agimus : see note on 447. 
 
 1009. hoc actumst: playing upon Chremes' quid agimus? in 
 1007, but, as actnm est is often used in the sense of it's all over, 
 i.e. there is no further hope, the present expression suggests also 
 this latter meaning. 
 
 hodie : see note on 377. 
 
 1011. distaedet: dis is in tensive as in dispudet (Eun. 832), but 
 such compounds are very rare and are not to be found in the best 
 period. 
 
 1012. haecine erant itiones, etc.: i.e., this was the cause of 
 the frequent, visits, etc. 
 
 1014. esse meritum : sc. eum. See note on 255. 
 
 1015. quin sit ignoscenda : why should it not be worthy of par- 
 don? This is not so difficult as some commentators have made it. 
 Quin is used as in 209, 429, Heaut. 832, etc., and the subjunctive 
 is like that in cur non gaudeat? e.g. Cic. Cat. 4, 1, 2. For a dis- 
 cussion of such subjunctives see American Journal of Philology, 
 Vol. XV. (Latin Prohibitive, Part II.). 
 
 uerba fiunt mortuo : Demipho's attempt to palliate his brother's 
 guilt reminds Phormio of a funeral oration (laudatio funebris), in 
 -which it was customary to sound the praises and conceal the faults 
 of the dead. The words are made still further appropriate by the 
 fact that Chremes in the meantime is standing by, as speechless 
 and motionless as a dead man (cf. 994 and 1026), and probably 
 wishing he were one. 
 
 1016. tua . . . tuo : used objectively. 
 
 1019. fuit . . . scrupulus : caused all the trouble. See note on 
 954.
 
 150 PHORMIO. 
 
 1021. cupio : notice the very emphatic position, I do indeed 
 long. 
 
 defungier : to be now having my last experience (of this sort 
 of thing). For other absolute uses of this verb, see Eun. 15 
 and cf. the common use of defunctus, deceased, lit. one who has 
 finished. 
 
 1024. mea : emphatic, my own. B. 350, 5 c ; G. 676, K. 1, with 
 672, 2 a. 
 
 1026-1029. At such unanswerable questions from Nausistrata, 
 Demipho is for the moment dumbfounded and in his confusion 
 finds nothing to say. This suggests to Phormio that the funeral 
 oration (1015) is now finished, and he playfully calls upon the 
 audience to join the procession to the place of burial. After Phor- 
 mio has made the most of this, he pauses (at the end of 1028) and 
 looks for some time at Chremes, who is now bowed down with hu- 
 miliation and disgrace ; then, pretending to be moved to pity at the 
 sight of such an object, he suddenly changes his tone, still speak- 
 ing, however, to the audience : (Poor fellow I) let him by all means 
 make up with her now, I am satisfied. The corroborating particle 
 sane (instead of sed, or the like) may seem somewhat strange, but 
 it falls short of justifying Dziatzko's claim that a verse given to 
 Demipho must have fallen out between 1028 and 1029. The sane 
 is sufficiently explained by supposing it to corroborate the un- 
 spoken wish which many present would feel at the sight of Chremes 
 in his present condition. 
 
 exsequias: a reminiscence of the time when the ace. of any 
 noun, except the name of a living thing, could be used without a 
 preposition to express limit of motion. Later, this use was limited, 
 except in poetry, to names of towns and small islands and a few 
 other words, e.g. domum, rus. 
 
 1027. sic dabo : that's the way Pll give it to him. 
 
 1028. faxo . . . sit mactatus. Notice the air of braggadocio 
 given by the use of the tense of future accomplishment instead of 
 the mere future. See note on 516. On the reading of the Mss., 
 see App. 
 
 1030. quod . . . obganniat : a potential characterizing clause. 
 See note on 488. 
 
 dum . . . uiuat : dum in the sense of so long as takes the indie-
 
 NOTES. 151 
 
 ative, but the mood of uiuat is here colored by the subjunctive 
 clause in which it stands. 
 
 usque : continually, seems to modify the whole phrase ad aurem 
 obcjanniat. One would gladly take usque ad in its usual sense of 
 all the way to, but it seems impossible here to make sense out of 
 such a conception. 
 
 ad aurem: for this use of ad, to, cf. the expression, " abuse a 
 man to his face." 
 
 1031. meo merito credo : sc. haecfacta esse. 
 
 1032. aeque . . . cum : peculiar to colloquial Latin. 
 
 1033. gentium : akin to a genitive of the whole, or partitive 
 genitive, as it is commonly called. A. & G. 216, a. 4 ; B. 201 ; G. 
 372, n. 3 ; H. 397, 4. 
 
 1036. priusquam dat : cf. 1037. 
 
 1038. For this exception to the normal position of the caesura in 
 the trochaic septenarius, see Introd., p. xxxv, and cf. 1042. 
 
 1040. filius homo adulescens si : for the force of the position 
 of these words, see note on 200. 
 
 1041. unam amicam . . . uxores duas : notice the chiasmus, 
 contrasting duas with unam, and uxores with amicam. 
 
 1043. immo : introducing a refusal to comply with Demipho's 
 ignosce in 1035. The interruptions had prevented her answering 
 before. 
 
 1047. immo : correcting satin as being too feeble a word. 
 
 discedo : see note on 773. 
 
 1050. at : see note on 900. 
 
 ecastor : a word used only by women, who seem never to have 
 used hercle. Pol, on the other hand, was common among both 
 sexes. 
 
 quod potero : so far as I shall be able. This quod seems akin to 
 an ace. of extent. Cf. Ad. 511. 
 
 1051. f aciamque et dicam : this -que et, both . . . and, occurs 
 several, times in Terence. See App. 
 
 1052-3. quod gaudeam, quod . . . doleant : gaudeo is seldom 
 found with the ace. in classical times, though doleo in this construc- 
 tion is common. 
 
 1054. See App. 
 
 1055. iudex noster : cf. 1045.
 
 152 PHOBMIO. 
 
 faxo : see note on 308. 
 
 cantor: if we may believe Livy (7, 2), the cantica (see Introd., 
 p. xxxviii) were, at least sometimes, sung not by the actor, but by 
 someone called the cantor, the actor merely accompanying the song 
 with appropriate gestures. It was this cantor, apparently, who 
 came forward at the end of the play and asked the audience for 
 plaudits of approval. As he was the last to speak, the Mss. of Ter- 
 ence designate the cantor by w. 
 
 uos ualete et plaudite: some such address to the audience 
 was customary at the close of all Roman plays. In Plautus this 
 address is commonly somewhat elaborate, but in Terence it is sim- 
 plified to the words before us or, in the Andria, the Hecyra, and the 
 Adelphoe, to the single word plaudite.
 
 APPENDIX. 
 
 As intimated in the preface, this appendix is devoted almost 
 exclusively to the citation of authorities for statements made in the 
 notes, where such citation seems desirable, and to the defense of 
 readings, adopted in this edition, which are at variance with the 
 text of Dziatzko. 
 
 As the testimony of the manuscripts is frequently referred to 
 below, it will be well to keep in mind the relative importance of 
 the different families. The following diagram is offered with a 
 view to making clearer the relationship between them. 
 
 scended. 
 
 cension. 
 /, Lipsiens 
 , Fragrn. 
 
 century. 
 r, Decurta 
 
 tury. 
 
 A Ms., also lost, belonging to the Calliopian recension, 
 from which all extant Mss., except A, are descended. 
 
 1 
 
 
 
 
 
 h DLVQ are de- 
 
 A Ms. from which POFBE are de- 
 scended. 
 
 
 
 
 i or 10th century; 
 est of the Mss. 
 le Calliopian re- 
 
 i century, 
 b., 10th or llth 
 
 th or 12th cen- 
 
 P, Parisinus, 9th or 10th century, 
 the best Ms. belonging to the 
 Calliopian recension. 
 C, Vaticanus, 9th or 10th century. 
 F, Ambrosianus, 9th or 10th cen- 
 tury. 
 B, Basilicanus, 10th century. 
 E, Riccardianus, llth century. 
 
 153
 
 154 PHORMIO. 
 
 Of the manuscripts 
 CPD are preserved entire ; 
 
 A lacks And. 1-887, Hec. Prol. I and II, 1-30, Ad. 915-997 ; 
 B lacks Eun. 937-1094, Heaut. 1-229 ; 
 E lacks And. 1-183, Phorm. 900-1055 ; 
 F lacks all of the Andria, Eun. 1-416, Phorm. 832-1055 ; 
 G lacks Eun. 848-1021, Heaut. 1-313, 1049-1667, Phorm. 779- 
 
 1055, Hec. 1-194, 309-880 ; 
 V is a fragment containing And. 912-981 and Ad. 26-158. 
 
 About certain details of the diagram above given there is oppor- 
 tunity for differences of opinion, but, in a general way, it rep- 
 resents fairly well the views now prevailing. I have followed 
 Prinzhorn, Dziatzko, Schlee, and others, in making DG represent 
 an older family than PC. Pease, however, in a paper on the liela- 
 tive Value of the Manuscripts of Terence (Transactions of the 
 American Philological Association, 1887), has proved conclusively 
 that P is far more trustworthy than any other Ms., with the ex- 
 ception of A. It is extremely probable, too, that the pictures in 
 PCF (see note on dramatis personae) have come from a Ms. of the 
 best period (Leo, Rh. Mus. xxxviii ; Schlee, Scholia Terentiana ; et 
 al.), though it seems equally probable that the text of PCF has 
 not been materially influenced by this early Ms. ; see, for instance, 
 Schlee, pp. 6 f. For the literature that has appeared on this sub- 
 ject since the publication of Dziatzko's edition, see the end of this 
 volume. 
 
 DIDASCALIA. 
 
 ATI LI VS : Dziatzko reads H ATI LIVS. The initial H rests solely upon 
 the authority of A in the didascaliae of the Eunuchus and of the 
 Adelphoe, and upon the mark preceding the name in B ('ATTILIVS) 
 and in C ('ANTILIVS) in the didascalia of the Eunuchus. 1 No 
 weight whatever, in my opinion, is to be attached to this evi- 
 dence. The scribe of A resembled the Arrius of Catullus (83, 2), 
 in having a decided fondness for an initial h (which he writes 7T). 
 In no less than 17 places, he uses h where it does not belong: his 
 for is (nom. sing.), And. 935, Eun. 205, Phorm. 461 ; habeo for 
 abeo, Heaut. 928, Hec. 586 ; hem for cm, Eun. 237, 835; Stilpho 
 
 See Priscian, pp. 85 f. [Keil], and Dziatzko In Rh. Mus. xx, p. 588, with the 
 authorities there cited.
 
 APPENDIX. 155 
 
 for Stilpo, Phorm. 389, 390, 740 ; PampaMlum for Pamphilum, 
 Hec. 804. Cf . hunc for nunc, And. 936 ; hue, for due, Phorm. 410 ; 
 hico for dico, Hec. 232 ; also phidicina, Phorm. Per. 5, 11 ; Ad. Per. 
 7 ; these last, however, belong to a different class of phenomena. 
 
 In 10 of the instances just cited, A is the only one of the Mss. 
 which shows this incorrect use of h in the word concerned. It 
 appears then, strangely enough, that the best of all the Mss. of 
 Terence contains the largest number of errors in these particular 
 instances. The evidence of B and C is, generally speaking, still 
 more worthless. In B, the most unreliable of all the Mss. in this 
 respect, there are no fewer than 80 instances of the incorrect use 
 of h, and in C there are 45 ; e.g. his for is (nom. sing.), And. 51, 
 Phorm. 722 ; herus for erus, And. 175, 183, 208, 412, 423, 508, 602, 
 etc. ; hei for ei, And. 322, 622, Heaut. 234 ; hostium for ostium, 
 And. 507, 682, Ad. 637 ; heu for eu, Eun. 154, Phorm. 398, 478 ; 
 humerus for umerus, Eun. 314, Phorm. 844 ; habeo for abeo, Eun. 
 342,494, Heaut. 212, 928, Hec. 224, Ad. 786 ; hecqua for ecqua, Eun. 
 521 ; hisdem for eisdem, Heaut. 300 ; habundo for abundo, Heaut. 
 528 ; heuge for euge, Heaut. 677 ; Chorinthum for Corinthum, 
 Hec. 86. Other forms of similar character abound in the other 
 Mss., e.g. hausculto for auscuito, Haeschinus for Aeschinus, haedes 
 for aedes, adhulescens for adulescens. The number of instances 
 of the incorrect use of ft hi the different Mss. is as follows : 
 
 B, 80. 
 
 E, 59. 
 
 F, 46. 
 
 G, GO. 
 
 C, 45. 
 P, 15. 
 
 D, 50. 
 
 t A, 17 (not counting the two instances of Hatilius'). 
 
 It will be seen from the above showing that a stronger case might 
 be made out in favor of writing, for instance, his for is (nom. sing.) 
 than has been made out in favor of Hatilius. There is, so far as 
 I know, no real evidence that Hatilius was ever a recognized form, 
 while Atilius is common enough at all periods. For the untrust- 
 worthiness of our Mss. in such matters, see especially Corssen, 
 Aussprache etc., 1, pp. 110 f.
 
 156 PHORMIO. 
 
 PERIOCHA. 
 
 G : the abbreviation for Gaius was C (by which character the 
 gr-sound was in early times represented) throughout classical La- 
 tiuity, and this character continued to be the regular abbreviation 
 in imperial times. At the time, however, when the periochae of 
 Terence were written, the character G was also often used. Cf. 
 C.I.L., Indices. Codex A has G in the five periochae it has pre- 
 served. 
 
 7. earn uisam Antipho : Fleckeisen and Dziatzko insert cum be- 
 fore uisam, and Opitz (Leipziger Studien, VI, p. 213 sq.) inserts 
 it before Antipho, to avoid violating the rules that have been laid 
 down by various editors of Plautus and Terence, and summed up 
 by Lindsay (Latin Language, p. 209), regarding the hiatus. This 
 seems to me a needless tampering with the manuscripts, which 
 unanimously present the reading adopted in the text. The hiatus 
 in vlsam Antipho may be easily paralleled. The recent critical edi- 
 tion of Plautus' Amphitruo, Asinaria, Aulularia, Bacchides, Cap- 
 tivi and Casina by Goetz and Schoell, shows that in these six plays 
 alone there are numerous instances that will not conform to the 
 "rules," e.g.: 
 
 Capt. 24, Postquam belligerant Aetoli cum \ Aids. 
 93, Ita mine belligerant Aetoli cum \ Aleis. 
 31, Summoque genere captum esse equitem \ Aleum. 
 
 + 
 
 Bacch. 987, Nunc superum limen scinditur, nunc adest exitmm' 
 
 \hio. 
 
 Cas. Arg. 1, Conseruam uxorem duo conserui \ expetunt. 
 48, PI acere posset earn puellam | hie senex. 
 612, Cum hdc, cum istac cumque arnica etiam tua, on which 
 
 reading, see Corssen, Ausspr. etc., p. 790. 
 Amph. 897, Sed eccum uideo, qui me miseram \ arguit. 
 
 Other similar examples in Plautus are As. 698, Bacch. 852. The 
 hiatus after HI is of course very common in cases like Plaut. Mil. 
 1012, 1028 ; Men. 26, geminum \ altemm (changed by Ritschl), 
 665, Capt. 395. It is a well-known fact that m in dactylic verse
 
 APPENDIX. 157 
 
 was often not elided, e.g. Lucil. 1, 32 (M.) canes quam homo, Enn. 
 Ann. 354 (M.) mllitum octo, 322 dum quidem units, Lucr. 2, 681 
 sunt cum adore, 3, 394 et quam in, 3, 1082 sed dum abest, 6, 276 
 simiU cum eo, Hor. Sat. 2, 2, 28 coctd num adest. Tor other ex- 
 amples from Lucretius, Catullus and Vergil, see Munro on Lucr. 
 2, 404 ; for a discussion of this whole subject, Corssen, Aussprache 
 etc., p. 790 f., and Studemund's Studien, 1, p. 22. The non-elision of 
 m is common in Terence in cases like And. Per. 4, nam alia (see 
 Spengel's critical note in his second edition), Phorm. 808 illl quam 
 ego, 982 refine dum ego ; cf. 27, 383, 419, 501, etc. Objection may 
 be raised to the reading adopted in the text, on the ground that no 
 example has been cited from Terence which presents exactly the 
 same conditions in every respect. But it must be remembered 
 that this periocha was not written by Terence, but by a gramma- 
 rian of the 2d century A.D., who was trying to imitate early usage. 
 At any rate, when the Mss. of an author, written centuries apart, 
 belonging to entirely different families, and having entirely different 
 histories, have all preserved a verse in exactly the same form with- 
 out a hint of any variant, their evidence should not be disregarded 
 without more imperative reasons than exist in the present case. 
 
 12. adgnitam (ACD) : an attempt to imitate earlier usage. At 
 the time of Sulpicius Apollinaris, agnitam had become the common 
 orthography. 
 
 PROLOGUE. 
 
 2. transdere : transdere ueteres sonantius, quod nos 
 lenius trader e, etc. (Donatus) . The Mss. have here tradere, 
 but in Heaut. 740, DG have transducenda. 
 
 17. tractant: A (first hand) has tractent, and perhaps this is 
 the correct reading, thoiigh the subjunctive here would be excep- 
 tional in Terence. See note. 
 
 18-34. A facsimile of these verses, as found in A, is given in 
 Zangeraeister and Wattenbach's Exempla Codicum Latinorum, 
 Tab. VIII. 
 
 21. The Mss. all read id in this verse, A having it before sibi, 
 the others before rellatum. It seems to be an interpolation. 
 . 33. restituit : Havet in the Revue de Philologie, 10 (1880), p. 15, 
 suggests restituat.
 
 158 PHORMIO. 
 
 44. Charisius, p. 32 K, defines genius as -f] 
 
 49. ubi initiabiint : see Donatus on this passage, and Dziatzko'-s 
 critical note. For initiation of children into mysteries, see Smith's 
 Dictionary of Greek and Roman Antiquities (3d ed. 1891), I, p. 722 ; 
 Boeckh, Corpus Inscriptionum Graecarum, 393, 400, 443, 444, 445, 
 448. 
 
 71. hie, the reading of A (first hand), is more probably correct 
 than hinc of the other Mss. The hinc might easily have been sub- 
 stituted for hie through the influence of such passages as And. 317, 
 Eun. 206, 494, 716, Heaut. 211, 212, 586, Ad. 841, Phorm. 1054 and 
 elsewhere. Its position, too, points to a connection with relinquont 
 rather than, with abeuntes. 
 
 77. It is possible that the words namque, etc., should be given to 
 Geta. 
 
 80. Dziatzko, Wagner, Sloman, Bond and Walpole, Linder- 
 strom-Lang, and others write redducere instead of reducere. I see 
 no sufficient reason for adopting this orthography in the present 
 case. The manuscript evidence is confirmed by the explicit testi- 
 mony of the grammarians. Nothing could be more to the point 
 than the words of Priscian, 1, p. 47 : redduco quod etiam 
 reduco dicitur . . . Terentius in Phormione " sectari . . . ac 
 reducer e." Donatus, too, in quoting this passage (Hec. 4, 1, 36) 
 has reducere, and that he, as well as Priscian, appreciated the point 
 involved is clear from the fact that he elsewhere (e.g. Phorm. 21) 
 distinctly recognizes the other orthography as also used in certain 
 passages (e.g. rellatum in 21, and relliquiae in Verg. Aen. 1, 34). 
 Both methods of spelling such words are found not merely in dif- 
 ferent authors of the same period, e.g. redducere in Lucr. 1, 228 ; 4, 
 992 (see Lachmann on 5, 614), reducere in Catull., but also in dif- 
 ferent passages of the same author, e.g. rellatus in Lucr. 2, 1001, 
 relatus in 5, 686. Cf. also such forms as reccidere, in Lucr. 1, 857 
 and 5, 280 with recident in Plaut. Men. 520, and recidit in Enn. 
 Ann. 223 (Baehrens) ; relliquiae in Verg. Aen. 1, 30 ; 3, 87, and 
 Lucr. 6, 825 (re. or rell.) with reliquiae in Plaut. Rud. 1274 (1287) 
 and Ter. Ad. 444. 
 
 87. The verse of the Greek original, imperfectly preserved by 
 Donatus, is completed by Dziatzko as follows: 
 (Rh. Mus. XXX, pp. 370 ff.).
 
 APPENDIX. 159 
 
 131. Some editors, among them Dziatzko, punctuate with a colon 
 after confingam and a comma after commodum. 
 
 156. The Mss. have est after istuc, and conscius sis at the end 
 of the verse. Bentley dropped the est and was followed by editors 
 until Schlee (de versuum in canticis Terentianis consecutions, 1879) 
 showed that quid istuc? was used merely as an expression of sur- 
 prise, quid istuc est? as a real question, thus vindicating the reading 
 of the Mss. in the present passage. The interpolation of sis at the 
 end is due to a misunderstanding of the conscius (i.e. consciute for 
 conscius es) and the consequent desire to complete the clause. 
 Dziatzko, while retaining est, expresses the view, "dass auch quid 
 istuc? der Ausdruck der Verwunderung, hier nicht gerade unange- 
 messen ware." How, then, would he explain Antipho's reply ? 
 
 170. For istaec, etc., see Neue, Formenlehre, 3d ed. by Wagener 
 (1892), II, pp. 398 ff. Fr. Schmidt, Quaest. de pron. dem. for. Plaut. 
 (1875), p. 80 f., tries to show that Terence, as well as Plautus, uses 
 only istaec, never ista, in neut. plur., but see Ad. 185 and 677. 
 
 175. retinere an amorem amittere : the Mss. have retinere amare 
 amittere. Goldbacher, Wiener Studien, VII (1885), p. 162, seems 
 to me to make out a strong case in favor of the reading I have 
 adopted. Dziatzko reads retinere amorem an mittere; but this 
 disturbs the parallelism between these infinitives and the amittendi 
 nee retinendi in the next verse. 
 
 193. Mahly (Blatter fur das bay. Gymnasialwesen, 24 [1888], 
 p. 478 f.) arbitrarily changes nescio to hau scio. 
 
 199. Cod. A (first hand) has et patruom tuom, which reading is 
 preferred by C. Sydow, De fide libr. Ter. etc., p. 34, and by Hauler 
 (Wiener Studien, IV [1882], p. 322 f.), who support this reading 
 by Plaut. Trin. 111. 
 
 215. sed hie quis est senex : Dziatzko reads sed quis hie, etc., re- 
 jecting, with Seyffert (Stud. Plaut., Berlin, 1874) the reading of A. 
 I have preferred to follow A for the following reasons : (1) In the 
 matter of the relative position of words, this Ms. is overwhelm- 
 ingly superior to the best of the other Mss. See Pease, on the 
 Relative Value of the Mss. of Terence (Transactions of the Am. 
 Phil. Assoc. for 1887, p. 33) ; (2) This is a case where the scribes 
 of the other Mss., who show a constant tendency to tamper with 
 the order of words, would be sure to invert the order, to make it
 
 160 PHORMIO. 
 
 normal. On the other hand, if the original reading had been sed 
 quis Me, etc., it would be difficult to account for the change to 
 sed hie quis, in a Ms. so noted for its accuracy in such matters ; 
 (3) Finally, the order of words in A is far more effective, indi- 
 cating the surprise of the speaker, " but this man ivho is the 
 old fellow?" Cf. Cic. in Verr. 2, 4, 3, 2, Canephorae ipsae uoca- 
 bantur ; sed earum artificem, quern? 
 
 215-216. On the manuscript variations in these lines, see Havet 
 in the Revue de Philologie, 11 (1887), p. 48. 
 
 243. I have not followed Dziatzko in bracketing this line, as the 
 grounds adduced seem to me insufficient. Not only do the Mss. 
 speak for its authenticity, but it is clear from Cic. Tusc. Disp. 3, 14, 
 30, that the verse stood in Cicero's copy of Terence, and that he 
 regarded it as genuine. 
 
 245. Cicero (Tusc. Disp. 3, 14, 30) has Communia esse haec, ne 
 quid horum urnquam accidat animo nouom. Cicero, however, may 
 have been quoting from memory. His authority on the exact 
 wording of a verse deserves less consideration than that of the best 
 copyists, who were professedly reproducing what they actually had 
 before them. 
 
 328. Dziatzko brackets this line as an interpolation, objecting to 
 the use of turn and of noui. But such a use of turn is easily 
 paralleled, e.y. And. 262 ; Cic. Philip. 3, 3, 7, and the object of 
 noui is the pedum uia, which, as is shown in the following verse, is 
 still uppermost in his thoughts : " The better I know the path, the 
 oftener I tread it? ' 
 
 345. On the "subjunctive of obligation or propriety," see my 
 discussion of the Latin Prohibitive, in the American Journal of 
 Philology, Vol. XV. (No. 58), 1. 
 
 367. For the "classifying" relative clause, see Hale, The Cum- 
 Constructions, p. 92 ; see also P. Earth, N. Jahrb. f. Phil., 1884, p. 
 181 f. 
 
 368. Vt, the reading of the Mss., is regarded by Dziatzko as a 
 gloss to explain atque. 
 
 381. For exceptions to the rule for the sequence of tenses, see 
 Hale, Sequence of Tenses, Am. Journ. Phil., Vols. VII. and VIII. 
 
 410. On this line, see Mahly in Blatter fur das bay. Gymnasial- 
 wesen, XXIV (1888), p. 478.
 
 APPENDIX. 161 
 
 413. On the monosyllabic ending, see P. Fabia, Revue de Philo- 
 logie, 17 (1893), p. 29. 
 
 419. For non agam? see the discussion of so-called deliberative 
 questions with non in the Am. Journ. Phil., Vol. XV. (Latin Pro- 
 hibitive, Part II.). 
 
 423. The Mss. collated by Umpfenbach have iam ducenda with 
 the exception of D, which has iam ducendu. There is no authority 
 for the ad (iam ad ducendum) inserted by editors. I have accord- 
 ingly adopted the reading of the Lipsiensis (L) iam ducendi aetas. 
 The slurred pronunciation of the i before aetas would easily account 
 for the a (of A) and for the u (of D). Such a genitive of the ger- 
 und depending upon tempus, spatium, and similar words, is common 
 in Plautus and Terence. Cf. Platner, Notes on the Use of Gerund and 
 Gerundive in Plautus and Terence (Am. Journ. Phil. XV., p. 483 ff.). 
 
 440. On the question of scene-division at this point, see below 
 (884). 
 
 488. The term "predicating characterizing," found in my notes, 
 is adopted from Hale. 
 
 500. I believe me to be an interpolation. This seems the most 
 reasonable explanation of the variations of the Mss. In A me is 
 placed immediately after ut, in L (Lipsiensis) it is before ut, in 
 D ! G it is omitted altogether, but G 2 adds it after ducas; in the 
 other Mss. it appears after dictis. This is just what we should ex- 
 pect if me had not stood in the original text. The copyists, not 
 recognizing the absolute use of ducere, took it upon themselves to 
 insert an object for it. Ducere is often used absolutely in its other 
 significations, and other words meaning "deceive," e.g. fallere, 
 decipere, are similarly used. With the omission of me, the sense is 
 "To think that you are so bold-faced, etc., that you are trying to 
 deceive (allure) icith your glittering words, and to lead off my girl 
 for nothing." 
 
 501. On the force of ne feceris, see Am. Journ. Phil., Vol. XV. 
 (Latin Prohibitive, Part I.). On the origin and sphere of the so- 
 called gnomic perf. (aorist), see my note in the Proceedings of the 
 Am. Phil. Assoc. for 1894. 
 
 ueris : all the Mss. have this reading. Dziatzko rejects it in favor 
 of uerbis (uerbis having been substituted by a second hand for 
 the original reading of G), owing to Earth's claim that the neuter
 
 162 PHORMIO. 
 
 of an adj. is not used substantively in Terence, except when used 
 " in generellem Sinne." Vera is frequently used substantively in 
 both Plautus and Terence, and it seems safer to admit exceptions 
 to a rule involving fine distinctions, than to change the Mss. to 
 make them conform to it in every case. 
 
 502. neque: Dziatzko adopts Wagner's conjecture and writes 
 atque, but the reading of the Mss. seems tenable, if we understand 
 alia as explained in my note: " To think that this trouble, if it 
 had to come at all, did not come at a time when Antipho was hav- 
 ing less trouble of his own, that he might devote himself more 
 exclusively to helping me." I see no real objection to this inter- 
 pretation in the "fortunatissime Antipho " of vs. 504. Phaedria 
 is startled into this exclamation by the sudden appearance of Anti- 
 pho, and his only thought for the instant was that Antipho's lot 
 was, after all, happy indeed as compared with his own, for he at 
 least had possession of his loved one. 
 
 507. Dziatzko follows Bentley in rejecting this verse. 
 
 519. In his stereotyped edition of all the plays, Dziatzko gives 
 the words Di tibi . . . duint to Geta, but in his separate edition 
 of the Phormio he follows A and Umpfenbach in giving them to 
 Phaedria. 
 
 561. Codex A reads inpone feret, while BCDEFP have inpone 
 etferet. I have adopted ei feret, suggested by Mahly (Blatter f. 
 das bay. Gymnasialwesen, XXIV (1888), p. 478). 
 
 567. Chremes : there can hardly be any doubt that Terence used 
 two forms of the vocative (-e and -es) in such Greek words, just as 
 he used two forms of the accusative, but it is in many passages 
 extremely difficult to determine the better reading. See, in addi- 
 tion to the authorities cited by Dziatzko, Engelbrecht's review of 
 Dziatzko's edition in the Berliner Phil. Wochenschrift V, 
 p. 326 ff., Minton Warren's review of Hauler's Terentiana in the 
 Am. Journ. Phil. III. (1882), p. 483, Hauler's Paliiographisches zum 
 Bembinus des Terenz in Wiener Studien, XI (1889), p. 286, and 
 the same writer's Textkritisches zum Bembinus des Terenz in 
 Wiener Studien, XII (1890), p. 242. 
 
 698. ad forum: this reading was adopted by Dziatzko in his 
 stereotyped edition of all the plays, but in his separate edition of 
 the Phormio it has been changed (on the authority of Wilh. Abra-
 
 APPENDIX. 163 
 
 ham in N. Jahrb. Sup. Bd. 14, p. 207) to apud forum, for the 
 alleged reason that ad forum is used "nur bei Verben der Be- 
 wegung." But ad in the sense of apud, at, near, is common 
 enough at all periods ; see Krebs-Schmalz, Antibarbarus, p. 76, with 
 the authorities there cited. The phrase esse ad forum occurs in 
 Plaut. Most. 829, and ad forum is the unanimous reading of the 
 Mss. in the present passage. Furthermore, apud forum cannot 
 stand here for metrical reasons. The common rule (given, for in- 
 stance, by Dziatzko, p. 26, by Hayley, p. 10), that the proceleus- 
 matic is allowed by Terence in every foot of an iambic senarius 
 except the last, has no basis so far as the fifth foot is concerned. 
 See Introd., p. xxxiv and note. 
 
 611. compluria: Dziatzko follows the second hand of A in 
 giving this word to Chremes, but the punctuation I have adopted 
 makes it possible to follow the reading of the Mss. For the form 
 compluria, see Donatus on the passage ; Charis. p. 125 (Keil) ; 
 Prise. 1, pp. 350 and 315 ; Neue-Wagener, Formenlehre, II, p. 
 271. 
 
 699. iam si: see Munro, on Lucr. 1, 968. 
 
 768. My interpretation of this difficult passage was suggested by 
 Sandford's note in the Classical Review, III (1889). 
 
 783. eius: Bothe's alteration of eius to huius, adopted by 
 Dziatzko, seems quite unnecessary. See note. 
 
 818. potuit : all the Mss. but A have idpotuit. 
 
 884. I have, with Dziatzko, followed A in making this the begin- 
 ning of a new scene, but I do not feel sure that such a division is 
 correct. The illustrated Mss. make no division here, and there 
 can be little doubt that the pictures of the characters placed at the 
 beginning of each scene in these Mss. are taken from a Ms. of the 
 best period (Leo, Rh. Mus., XXXVIII ; Schlee, Scholia Terentiana 
 [1893], p. 5). While it does not necessarily follow that these 
 pictures are safer guides, in the matter of scene-division (Schlee, 
 Scholia Terentiana, p. 6) than the superscriptions in A, their testi- 
 mony should have considerable weight. Umpfenbach and Dziatzko 
 both accept their evidence at 441 against A, which makes no division 
 at that point. A somewhat serious objection to making 884 the 
 beginning of a new scene is that it compels us to recognize the use 
 of the exclamatory infinitive to express a thought pleasing to the
 
 164 tHORMIO. 
 
 speaker. There seems to be no inherent reason why the infinitive 
 should not be so used, but as a matter of fact it does not occur, 
 so far as I can find, anywhere in Latin, with the possible exception 
 of tene asumbolum uenire, in Phorin. 339. Even there, the speaker 
 seems to be almost deprecating the hard lot of a rex. In Tac. Dial. 
 6, 15, coire populum is better taken with quod gaudium. See 
 Bennett's note on this latter passage. 
 
 896. This verse is found in the Mss. after 905 ; but it is clear 
 that it properly comes before Phormio joins in the conversation. 
 
 902. I have retained the reading of A. Dziatzko, following 
 C. F. W. Muller, rejects this reading because it requires the short- 
 ening of the second e in uerebamini, which, it is claimed, cannot 
 be allowed for Terence. Accordingly, uerebamini is changed to 
 an rebamini ; and as this alteration makes the ne non id facerem 
 of the next verse unintelligible, these latter words are changed to 
 me non id facere, against the uniform reading of the Mss. There 
 are seven instances in Terence of the shortening of the second 
 syllable of a polysyllabic word when that syllable is "long by 
 position," and the ictus falls on the third : uoluptdti, in Heaut. 71, 
 And. 944, 960, Hec. 593 ; uenustdtis, in Hec. 848 ; senectutem, in 
 Phorm. 434 ; magistrates, in Eun. 22. It seems easier to suppose 
 that a vowel "long by nature " was occasionally shortened, under 
 similar circumstances, than to do away with all exceptions to the 
 rule by making arbitrary changes in the Mss. Cf. Plaut. Men. 37, 
 Syrdcusas ; also Amph. 930 pudlcit iam (according to some editors). 
 
 913. earn nunc : Dziatzko, in his last edition, following BCDP, 
 reads nunc uiduam. I have followed A. The word uiduam, in 
 the inferior Mss., looks like a gloss upon earn nunc. 
 
 949. sententia : this is the reading of all the Mss., but it has 
 been arbitrarily changed by Fleckeisen, whom Dziatzko follows, to 
 inconstantia. I see no serious difficulty in sententia, which is 
 used in the sense of decision, determination, and which, when 
 modified by puerili, becomes nearly synonymous with inconstan- 
 tia. For sententia in the sense of determination, purpose, seeAuct. 
 ad Her. 3, 24, 40 ; Cic. Off. 3, 33, 116. 
 
 966-967. On quom (cum') in the sense of the fact that, see Ltib- 
 bert, Gr. Stud. II, pp. 95-106 ; Hale, The Cum-Constructious (1889), 
 p. 243.
 
 APPENDIX. 165 
 
 974-975. For a discussion of Brix's claim that ne is sometimes 
 used in consecutive clauses, see Am. Journ. Phil., Vol. XV. (Latin 
 Prohibitive, Part. II.). 
 
 1004. hem quid ais : Dziatzko assigns these words to Nausi- 
 strata, against the Mss., on the ground that this question seems 
 inappropriate for Demipho after vs. 941 f . It must be remembered, 
 however, that hem and quid ais? often express mere indignation, 
 and do not necessarily imply surprise. The fact that Nausistrata 
 is now present and will hear what Phormio is about to say, suf- 
 ficiently accounts for Demipho's exclamation. 
 
 1028. faxo tali sit mactatus : the oldest and best Ms. (A) has 
 this reading ; the later Mss. have faxo tali eum mactatum, though 
 in D this was not the original reading. The latter reading is less 
 probable, for the further reason that it would necessitate making 
 hie long, whereas it is regularly short in Terence (see note on 266). 
 See Dziatzko, Rh. Mus. XXXIX (1884), p. 341. 
 
 1028-1029. Dziatzko's claim that a verse has fallen out between 
 these two verses does not seem to me to .be justified. See stage 
 directions for the line and note on the passage. 
 
 1051. On the use of -que et in Terence, see my paper on The 
 Copulative Conjunctions in the Inscriptions of the Republic, in 
 Terence and in Cato, 28, Am. Journ. Phil., Vol. VIII. 
 
 1054. Dziatzko, following BCDP, assigns the words eamus intro 
 hinc to Demipho. I follow A in giving them to Phormio. The 
 fact that Phormio is to go in another direction a moment later 
 makes no difficulty. After he has uttered the words, Nausistrata's 
 question prompts him to change his purpose and hurry off in search 
 of Phaedria.
 
 PARTIAL INDEX TO NOTES. 
 
 [Figures refer to Hues.] 
 
 ab animo, 340. 
 
 abiisse, 315. 
 
 abl. of means with persons, 
 
 137. 
 
 abs, 201, 378. 
 absque, 188. 
 accingere, 318. 
 ad aurem, 1030. 
 adduce, 309. 
 adeo, 55, 389. 
 adfinem, 582. 
 adgnitam, Per. 12. 
 adjectives used substantively, 212. 
 admodum, 315. 
 adque = atque, 845. 
 ad scopulum, 689. 
 adsimulo, 128. 
 aduenti, 154. 
 
 adversative clauses, 60, 537. 
 aduorsum, 427 ; aduorsum stimu- 
 
 lum calces, 78. 
 aegritudo, 750. 
 aeque cum, 1032. 
 age, 230. 
 ain tu, 970. 
 als, 315. 
 
 alia sollicitudine, 502. 
 aliquod = aliquot, 159, 312. 
 alliteration, 1, 334. 
 allowance for slaves, 43. 
 Ambiuius Turpio, note on didas- 
 
 calia, p. 72. 
 
 ambo, 760. 
 
 amittere, 414, 918. 
 
 amo, 54. 
 
 amplius, 457. 
 
 animi, 187. 
 
 animum attendite, 24. 
 
 antiques, 1. 
 
 Apollodoru, note on didascalia, 
 
 p. 73. 
 
 apud forum, 859. 
 apud, with personal object, 810. 
 argentum condouamus te, 947. 
 asumbolum, 339. 
 asyndeton, 556, 687. 
 at, 900, 1050. 
 ater canis, 706. 
 au, 754. 
 
 audire, with inf. or participle, 7. 
 audisset bene, 20. 
 autem, 503, 775. 
 balineis, 339. 
 cantor, 1055. 
 caput, 631. 
 career, 373. 
 cedo, 197. 
 
 certe hercle, hercle certo, 523. 
 chiasmus, 1041. 
 Chremes, Chremetem, 63, 567. 
 clam, 1004. 
 cogitata, 283. 
 columen, 287. 
 commerere, 205. 
 
 167
 
 168 
 
 PARTIAL INDEX. 
 
 commodum | 
 
 commodus, j 603 614 ' 
 
 commonstrarier, 305. 
 
 compluria, (511. 
 
 contra, 521. 
 
 coram, 914. 
 
 creduas, 993. 
 
 cum aliquo stare, 269. 
 
 defendo, 225. 
 
 defungier, 1021. 
 
 denarrabo, 944. 
 
 dies, 523. 
 
 diminutives, 36. 
 
 discedo, 773. 
 
 distaedet, 1011. 
 
 di suntprq'pitii, 636. 
 
 dixisti, 302. 
 
 doleo with ace., 1052. 
 
 ductare, 500. 
 
 duint, 123. 
 
 dum, 329, 737. 
 
 ecastor, 1050. 
 
 eccere, 319. 
 
 eccum, 464. 
 
 educare, 943. 
 
 em, 52, 688. 
 
 enicas, 856. 
 
 enim, 113, 332. 
 
 enimuero, 465. 
 
 enumquain, 329. 
 
 Epidicazomenos, Prol. 25. 
 
 equidem, 539. 
 
 esses proferens, 394. 
 
 est ubi, 989. 
 
 etiam tu hinc abis, 542. 
 
 et quidem, 471. 
 
 exsequias ire, 1026. 
 
 extra, 98. 
 
 fabula, 492. 
 
 face, 397. 
 
 factum uolo, 787. 
 
 faeneratum, 493. 
 
 familiaritas, 583. 
 
 faxo, 308. 
 
 ferietur alio munere, 47. 
 
 Flaccus, note on didascalia, p. 73. 
 
 forma, 108. 
 
 Fors, Fors Fortuna, 841. 
 
 fratri, 820. 
 
 f ui, f ueris in compound tenses, 516. 
 
 fungor, 281. 
 
 gallina cecinit, 708. 
 
 gaudeam with ace., 1052. 
 
 genius, 44, 74. 
 
 gratias agere, habere, 894. 
 
 hariolus, 492, 708, 711. 
 
 baud scio an, 774. 
 
 Hecyra, 31. 
 
 heus, 152. 
 
 hiatus, 146. 
 
 hoc actumst, 1009. 
 
 hoc age, 350. 
 
 hodie, 377. 
 
 iam, 347. 
 
 iam dudum with present, 471. 
 
 iam recte, 798. 
 
 id consulerem, 734. 
 
 id suscenses, 259. 
 
 ilicet, 208. 
 
 ilico, 88. 
 
 illi, illic, 91. 
 
 illo, 512. 
 
 immo, 338, 1047. 
 
 immo uero, 936. 
 
 imperative expressing permission, 
 
 143, 668. 
 imperium, 232. 
 inaudiui, 877. 
 
 indicative in oral, obliq., 9, 17. 
 indotatis, 938. 
 in diem, 781. 
 
 infinitive, force of, 92, 102, 153. 
 initiabunt, 49. 
 in ius ambula, 936. 
 inludere, 915. 
 in mate crucem, 544. 
 inpendent with ace., 180. 
 in pistrino, 249. 
 iupluuium, 707. 
 inpriuleiitem,(560. 
 in se admittere, 415. 
 iuterea, 734.
 
 PARTIAL INDEX. 
 
 169 
 
 inuentas reddam, 559. 
 
 ipsum, 425. 
 
 ipsus, 178, 260. 
 
 istaec, 77, 170. 
 
 ita fugias ne praeter casam, 768. 
 
 ita me di ament, 165, 883, 
 
 ita ut ne restinguas, 974-975. 
 
 juxtaposition of pronouns, 520, 
 
 900. 
 
 laterem lauem, 186. 
 lectumst, 53. 
 logi, 493. 
 Ludi Romani, note on didascalia, 
 
 p. 72. 
 Indus, 86. 
 
 Luscius Lanuuinus, 1. 
 malam crucem, 368. 
 male factum, 751. 
 malum, 723. 
 medeor with ace., 822. 
 meditata, 248. 
 memini with inf., 74. 
 meritumst, 305. 
 modo ut, 59, 773. 
 nam, 200. 
 
 namquis = quisnam, 732. 
 natalis dies, 48. 
 -ne, 153, 177, 497. 
 ne clama, 664. 
 nempe, 307. 
 nescio quod, 193. 
 ni iubeas, 544. 
 nil quicquam, 80. 
 nimium quantum, 643. 
 nisi, 475. 
 
 noli with inf., 555. 
 nollem datum, 796. 
 non in questions, 384. 
 noris, 265. 
 nossem, 278. 
 
 numquid aliud me uis, 151. 
 noui, nosses, 382. 
 nuptum dare, 720. 
 obstipuisti, 991. 
 obstupefecit, 284. 
 occasio with inf., 886. 
 
 odio tuo, 849. 
 
 omission of indicative, 80 of in- 
 terrogative particle, 120 of 
 object, 115 of subject of inf., 
 54, 1014 of subjunctive, 46'. 
 
 opere rnaxumo, 760. 
 
 oppido, 317. 
 
 opus est scito, 584. 
 
 order of words, 52, 200, 261, 270, 304, 
 344, 400, 410, 431, 669, 730, 732, 
 744, 747. 
 
 -os, -om, etc., 14. 
 
 ostium concrepuit, 840. 
 
 paedagogus, 144. 
 
 paene, 870. 
 
 pallium, 844. 
 
 parasitus, 28. 
 
 patent, 825. 
 
 pater uxori tuae, 872. 
 
 paulo, 822. 
 
 peregre, 243. 
 
 periclum, 326. 
 
 phaleratis, 500. 
 
 plerique omnes, 172. 
 
 popularis, 35. 
 
 portitores, 150. 
 
 pote, 379. 
 
 potior, 469. 
 
 praeterhac, 800. 
 
 prepositions with names of islands, 
 66. 
 
 present subj. in conditions, 170. 
 
 proceleusmatic, 394. 
 
 prologus, 12, 14. 
 
 prorsum, 980. 
 
 npoaiairov irporariKOV, 35. 
 
 punishment of slaves, 76. 
 
 quae quidem res uortat male, 678. 
 
 quantum est, 853. 
 
 quantum potest, 674. 
 
 -que et, 1051. 
 
 questions, deliberative, 543, 593, 
 608, 730, 737, 827, 917 indirect, 
 117, 122, 247, 358, 462, 557 of 
 obligation or propriety, 419. 
 
 qni, 123, 130, 381.
 
 170 
 
 PARTIAL INDEX. 
 
 qui.quis, 129,354, 618. 
 
 quid ais, 833. 
 
 quid eum, 480. 
 
 quid ni, 813. 
 
 quid tu, 798. 
 
 quin, 223, 272. 
 
 quin sit ignoscenda, 1015. 
 
 quo = ad quern, 728. 
 
 quoad, 148. 
 
 quod = quot, 705. 
 
 quod es dignus, 519. 
 
 quod suscenseas, 263. 
 
 quoius, quoi, 60. 
 
 quom = quod, 966. 
 
 quom, cum, quum, 9, 23. 
 
 quom aduenissem, 396. 
 
 quom maxume, 204. 
 
 ratum, 951. 
 
 -re for -ris in 2d pers. sing. pass, 
 of verbs, 61, 173. 
 
 reducere, 86. 
 
 rellatum, 21. 
 
 repudium remittere, 928. 
 
 repudium renuntiet, 677. 
 
 respiciunt, 817. 
 
 rex, 339. 
 
 Roman allusions, 303, 964. 
 
 sane, 667. 
 
 satietatem amoris absumere, 834. 
 
 satin, 802. 
 
 satius, 956. 
 
 scelus, 978. 
 
 scribam dicam, 127. 
 
 scrupulus, 954. 
 
 sepultus sum , 943. 
 
 seruom hominem, 292. 
 
 seruo's (seruos es), 295. 
 
 sescentas, 668. 
 
 scibat, 529. 
 
 similis, 501. 
 
 sine dote, 757. 
 
 sin est ut uelis, 925. 
 
 slaves, in court, 292 manumis- 
 sion of, 830 prices of, 558. 
 
 sodes, 103. 
 
 solus, 854. 
 
 statim, 790, 
 
 stetit, 9. 
 
 streuuom hominem praebuit, 476. 
 
 subjunctive of obligation or pro- 
 priety, 297, 468. 
 
 subolet, 474. 
 
 Sulpicius Apollinaris, Per. 8. 
 
 Sunium, 837. 
 
 syncopated forms, 13, 101. 
 
 talentum, 393, 644. 
 
 tarn with verbs, 111, 998. 
 
 tantam fortunam esse datam, 884. 
 
 te idem feceris, 426. 
 
 temere, 757. 
 
 tense, fut. perf. for fut., 308, 516, 
 1028 imperf. for pluperf., 108 
 perf. of date, 9 perf. in pro- 
 hibition, 514, 742 perf. for 
 pres., 501 perf. with paene, 870 
 pluperf '. for perf., 594 pres. 
 for fut., 849, 963. 
 
 testimoui dictio est, 293. 
 
 tonstrina, 89. 
 
 ualete et plaudite, 1055. 
 
 uerba dare, 713. 
 
 uerba fiunt inortuo, 1015. 
 
 uerbero, 684, 850. 
 
 uereor, with gen., 971. 
 
 uetus, 1. 
 
 uiciniae, 95. 
 
 uidere, with inf. or participle, 1. 
 
 uincibilem, 226. 
 
 unctum atque lauttim, 339. 
 
 uolup, 610. 
 
 uorsuram soluere, 780. 
 
 uostram fidem, 757. 
 
 ut cautus est, 715. 
 
 uti foro, 79. 
 
 ut = utinam, 687. 
 
 ut with subj. in questions, 304. 
 
 ntibile, 690. 
 
 Varro, M. Terentius, note on the 
 didascalia, p. 72. 
 
 wigs, 51.
 
 BIBLIOGRAPHY OF THE LITERATURE ON TERENCE 
 THAT HAS APPEARED SINCE THE COMPLETION 
 OF DZIATZKO'S EDITION IN 1884. 
 
 [N.B. This bibliography does not, as a rule, include publications 
 that comprehend Latin usage in general, or those that are concerned 
 with Terence only incidentally. Most of the literature that appeared 
 in the year 1884 is omitted.] 
 
 EDITIONS, 
 (a) TEXT. 
 
 Cotes, K. : The Andria and the Phormio. With examination ques- 
 tions. Oxford, 1886. 
 
 Preble, H. : Adelphoe. Text with stage directions. Boston, 1887. 
 
 Hinstin, G. : See under Translations. 1889. 
 
 Materne, A. : See under Translations. 1890. 
 
 Nicolson, F. W. : Phormio. Text with stage directions. Boston, 
 1890. 
 
 Rolfe, J. C. : Heauton timorumenos. Text with stage directions. 
 Boston, 1891. 
 
 Morgan and Greenough : See under Translations. 1894. 
 
 (6) ANNOTATED. 
 
 Cesari, A. : See under Translations. 1885. 
 
 Freeman, C. E., and Sloman, S. : Andria. With Notes and Intro- 
 ductions. Oxford, 1885. 
 
 Materne, A. : See under Translations. 1886. 
 
 Sloman, A. : Adelphi. With Notes and Introductions, etc. Lon- 
 don, 1886. 
 
 171
 
 172 BIBLIOGRAPHY. 
 
 BouS, A. : Les Adelphes. Texte latin, public" avec la notation me- 
 trique, des notes, etc. Paris, 1887. 
 
 Psichari, J. : Les Adelphes. Texte latin, publie" avec une intro- 
 duction, des notes, les fragments des Adelphes de Me'nandre, 
 les imitations de Moliere, etc., sous la direction de E. Benoist. 
 Paris, 1887. 
 
 Shuckburgh, E. S. : Hauton timorumenos. With Introduction 
 and Notes. 1887. 
 
 Sloman, A. : Phormio. With Notes and Introductions. London, 
 1887. 
 
 Thomas, P. : Hecyra. Texte latin, avec un commentaire. Paris, 
 1887. 
 
 Pepe, L. : See under Translations. 1888. 
 
 Pessonneaux, R. A. : Les Adelphes. Revue sur les textes les plus 
 regents, avec une preface et des notes en frangais. Paris, 
 1888. 
 
 Spengel, A. : Komodien. I. Andria. Zweite Aufl. Berlin, 1888. 
 
 West, A. F. : Andria ; Hauton timorumenos. With Introduction 
 and Notes. New York, 1888. 
 
 Parry, E. J. : Comoediae. London, 1889. 
 
 Psichari, J. : Les Adelphes. Texte latin avec des notes, les frag- 
 ments des Adelphes de Me'nandre, les imitations de Moliere, 
 sous la direction de E. Benoist. Paris, 1889. 
 
 Jacquinet, G. : Les Adelphes. Avec des notes, etc. Paris, 1890. 
 
 Broughton, R. : See under Translations. 1891. 
 
 Hawkins, E. L. : See under Translations. 1891. 
 
 Psichari, J. : Les Adelphes . . . sous la direction de E. Benoist. 
 6 tirage. Paris, 1890. 6 tirage. Paris, 1891. 
 
 Stampini, E. : Gli Adelphoe, con note. Torino, 1891. 
 
 Boue, A. : Les Adelphes. Texte latin, publie" avec des notes. 
 Paris, 1892. 
 
 Fabia, Ph. : Adelphoe. Texte avec une introduction, des notes 
 critiques et un commentaire explicatif. Paris, 1892. 
 
 Stewart, A. : See under Translations. 1892. 
 
 Ashmore, S. G. : Adelphi. With Introduction and Notes. Lon- 
 don and New York, 1893. 
 
 Geoffroy, J. : Adelphi. Edition classique, avec notes. Paris, 
 1893.
 
 BIBLIOGRAPHY. 173 
 
 Linderstrom-Lang, C. F. : Phormio (Commentar) . Kobenhavn, 
 
 1893. 
 Hoekstra, P. : Blijspelen. Met inleidung en anteekeningen, etc. 
 
 I. Andria ; Heauton timorumenos. II. Phormio ; Adelphoe. 
 
 Haarlem, 1894. 
 
 Materne, A. : See under Translations. 1894. 
 Sloman, A. : Phormio. With Notes and Introduction. 2d ed. 
 
 Oxford, 1894. 
 Gray, J. H. : Hauton Timorumenos. With an Introduction and 
 
 Notes. Cambridge, 1895. 
 
 TKANSLATIONS. 
 
 B6tolaud, V. : Les Comedies de Te'rence, traduction nouvelle. 
 
 Paris, 1885. , 
 
 Caesari, A. : Le Commedie, volgarizzate, etc., con note di G. Kigu- 
 
 tini. Milan, 1885. 
 
 Lasso, A. : Comedias, traducidad en verso. Madrid, 1885. 
 Materne, A. : Les Adelphes. Explique"s litte'ralement, traduits en 
 
 frangais et annotes. Paris, 1886. 
 Mongan, R. : Phormio, or the Parasite. A literal translation. 
 
 London, 1886. 
 Giles : Comedies. Construed literally. Vol. I : The Andria and 
 
 The Eunuchus. London, 1888. 
 
 Herbst, J. : Lustspiele, Deutsch von, etc. Berlin, 1888. 
 Pepe, L. : L'Eunuco e gli Adelfi commentati e tradotti in versi. 
 
 Torino, 1888. 
 Straumer, F. : Eine deutsche Bearbeitung des Selbstqualers des 
 
 Terenz aus dem 16. Jahrhundert in einer Handschrift der 
 
 Zwickauer Rathsbibliothek. Chemnitz, 1888. 
 Hinstin, G. : Comedies. Traduction nouvelle, avec le texte latin, 
 
 I. Paris, 1887. II. Paris, 1888. III. Paris, 1889. 
 Burnet and Haydon : Adelphi. London, 1890. 
 Herbst, J. : Lustspiele, Deutsch von, etc. : Phormio. Zweite Aufl. 
 
 Berlin, 1890. 
 Materne, A. : Les Adelphes. Traduite, etc. Avec le texte latin. 
 
 Paris, 1890. 
 Mongan, R. : Andria. Literally translated. London, 1890.
 
 174 BIBLIOGRAPHY. 
 
 Broughton, R. : Andria, Phormio, and Heautontimorumenos. A 
 literal translation, with Introductions, Analyses, and Notes. 
 Oxford, 1891. 
 
 Hawkins, E. L. : Adelphi. Literally translated, with Notes and 
 Analysis. Oxford, 1891. 
 
 Herbst, J. : Lustspiele, Deutsch von, etc. : Der Selbstpeiniger 
 (Heautontimorumenos). Zweite Aufl. Berlin, 1891. 
 
 Newman, Card. : Phormio, in usum puerorum, Fabulse qusedam ex 
 Terentio et Plauto. London, 1891. 
 
 Stewart, A. : Phormio. Literally translated, with Notes. Cam- 
 bridge, 1892. 
 
 Herbst, J. : Lustspiele, Deutsch von, etc. 11 u. 12 : Die Schwieger- 
 mutter. Berlin, 1893. 
 
 Plaistowe, F. G. : Phormio. 1893. 
 
 Materne, A. : Les Adelphes. Expliques litteralement, trad, en 
 frangais et annotes, etc. Paris, 1894. 
 
 Morgan ; Greenough : Phormio. Dziatzko's text, with a new pro- 
 logue by J. B. Greenough, with an English prose translation 
 by M. H. Morgan, and with the Vatican miniatures accurately 
 reproduced for the first time. Cambridge, 1894. 
 
 Stock, G. and R. A. : Andria, Hauton Tim., Phormio, Adelphi. 
 London, 1895. 
 
 TEXTUAL CRITICISM, MANUSCRIPTS, SCHOLIA, ETC. 
 
 Dziatzko, K. : Handschriftliches zu Terenz. (Rhein. Mus. 39, 
 
 3, p. 339.) 1884. 
 Engelbrecht, A. G. : (Review of) P. Terenti Afri comoediae Recen- 
 
 suit C. Dziatzko. Editio Sterotypa. Lipsiae, 1884. (Berl. 
 
 Philologische Wochenschrift, 6, p. 326.) 
 Bliimner, H. : Zu Terentius Heautontimorumenos : Prol. 45-46 ; 
 
 343-348. (Jahrbiicher f. Philologie, 131, 10-11, p. 805.) 
 
 1885. 
 Braune, Th. : Zu Terentius. (Neue Jahrbiicher f. Philologie, 131, 
 
 p. 65.) 1885. 
 
 Goetz, G. : Glossarium Terentianum. Jena, 1885. 
 Goldbacher: Zu Terenti Phorm., 176. (Wiener Studien, 7, 1, 
 
 p. 162.) 1885.
 
 BIBLIOGRAPHY. 175 
 
 Prinzhorn, W. : De libris Terentianis, quae ad recensionem Calli- 
 opianam redeunt. Gottingen, 1885. 
 
 Gilbert, H. : Zu Terentius ; Andr. 315 ; Ad. 125. (Neue Jahr- 
 bttcher fur Philologie, 135, 5-6, p. 428 ; 135, 9, p. 636.) 1887. 
 
 Havet, L. : Heaut. 289. (Revue de Philologie, 11, 1, p. 47.) 1887. 
 
 Havet, L. : Phorm. 215 f. (Revue de Philologie, 11, pp. 47-48.) 
 1887. 
 
 Pease, E. M. : On the Relative Value of the Manuscripts of Ter- 
 ence. (Transactions of the American Philological Associa- 
 tion, 1887.) 
 
 de Blasi, Pietro: Eun. Prol. 8. (Rivista di filologia, 16, p. 295.) 
 1888. 
 
 Havet, L. : Heaut. 530. (Revue de Philologie, 12, 1, p. 42.) 1888. 
 
 Heidtmann, G. : Adelph. 191-249. (Rhein. Mus. 43, 1, p. 153- 
 156.) 1888. 
 
 Mahly, J. : Zu Terentius : Phorm. 193, 409, 522, 561, 1021. 
 (Blatter fur d. bayr. Gymn. 24, 9, p. 478.) 1888. 
 
 Palmer, A, : Eun. 4, 4, 21 ; Heaut. 4, 1, 32. (Journal of Phi- 
 lology, N. 31, p. 36.) 1888. 
 
 Schmidt, A. : Der Archetypus der Adelphoe. Budapest, 1888. 
 
 Fleckeisen, A. : Zu Andria, 783 ff. (Neue Jahrbiicher f iir Philo- 
 logie und Padagogik, 139, p. 841.) 1889. 
 
 Hauler, E. : Palaographisches, Historisches und Kritisches zum 
 Bembinus des Terenz. (Wiener Studien, 11, 2, p. 268.) 1889. 
 
 Schoell, F. : Adelphoe, 117, 264. (Rhein. Mus. 44, 280.) 1889. 
 
 Schoell, F. : Zu Terenz' Adelph. Prol. 4, 117 f, 162, 217 f, 264, 267, 
 224 f. (Rhein. Mus. 44, p. 280.) 1889. 
 
 Baumann, E. : Quaestiones Terent. Mannheim, 1890. 
 
 Dziatzko, K. : Zu Eun. 560; Haut. Prol., 563 f . ; And. 857. 
 (Jahrbiicher fur Philologie, 141, 4-5, p. 289.) 1890. 
 
 Fleckeisen, A. : Zu Eun. 590. (Neue Jahrbucher fiir Philologie 
 und Padagogik, 141, p. 466.) 1890. 
 
 Gottlieb, T. : Handschriftliches zu Terenz (Hecyra). (Wiener 
 Studien, 12, 1, p. 148.) 1890. 
 
 Hauler, E. : Textkritisches zum Bembinus des Terenz. (Wiener 
 Studien, 12, 2, p. 240.) 1890. 
 
 Kriege, H. : Zu Haut. Prol. ; Eun. 307, 506. (Jahrbucher fiir 
 Philologie, 141, 1, p. 78.) 1890.
 
 176 BIBLIOGRAPHY. 
 
 Ribbeck, 0.: Ad Eunuch. 560. (Rhein. Mus. 45, 2, p. 314.) 
 
 1890. 
 Dziatzko, K. : Zur Frage der Calliopianischen Recension des 
 
 Terenz. (Commentationes Wolfflinianae, p. 219.) 1891. 
 Dziatzko, K. : Zur Geschichte der Bembo-IIandschrift des Terenz. 
 
 (Rhein. Mus. 46, 1, p. 47.) 1891. 
 Grau, J. : Zu Adelph. I, 1, 15-16; Phorm. II, 3, 21. (Philolo- 
 
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 Gutjahr : Der Codex Victorianus des Terenz. (Berichte der kon. 
 
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 Schlee, F. : Zum Laurentianus (Victorianus, D) des Terentius. 
 
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 Speijer, J. S. : Ad Heaut. 798, 818, 931 ; Eun. 591 ; Hec. 393, 
 
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 Teuber, A. : Zur Kritik der Terentiusscholien des Donatus. (Jahr- 
 
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 Dziatzko, K. : Aus und tiber Terenzhandschrif ten. (Rhein. Mus. 
 
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 Fahlbrecht, Fr. : De tertio Andriae exitu, quern exhibet codex 
 
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 Nencini, Fl. : Quaestiones Terentianae. (Rivista di filologia, 21, 7-9, 
 
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 Nencini, Fl. : Quaestiones Terentianae alterae. (Rivista di filologia, 
 
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 Schlee, Fr. : Scholia Terentiana. Leipzig, 1893. 
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 Paul, M. : Quaestionum grainmaticarum particula I. De unus nom- 
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 Wolfflin, E. : Der Reim im Lat. (Archiv 1, 3, p. 350. For Ter- 
 ence, see p. 355.) 1884. 
 
 Bertelsmann, K. : Ueber die verschiedenen Fonnen d. Correla- 
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 Kaempf , W. : De pronominum personal, usu . . . apud poetas 
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 Neumann, E. : De compositorum a dis (di) incipientiuin apud 
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 Stowasser, J. : Satura : Plautus ; Terenz. (Wiener Studien, 7, 1, 
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 Cramer, F. : De perfect! coniunctivi usu . . . apud prise, scrip. 
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 Dembitzer: De ratione, quam Plautus et Terentius in reciproca 
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 Langen, P. : Die Konstruction von ittor, fruor, fungor, potior im 
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 Richardson, G. M. : De dum particulae apud priscos scriptores la- 
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 Dorsch, J. : Assimilation in d. compositis bei Plautus und Terenz. 
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 Hintze, P. : De aw particulae apud priscos scriptores latinos vi et 
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 178 BIBLIOGRAPHY. 
 
 Niemb'ller, W. : De pronominibus ipse et idem apud Plaut. et Ter. 
 
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 Reinkens, J. M. : Ueber den accusativus cum infinitive bei Plautus 
 
 et Terentius. Diisseldorf, 1887. 
 
 Robel : De usu adnominationis apud Rom. poet. com. 1887. 
 Slaughter, M.S.: On the Substantives of Terence. (Johns Hop- 
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 Bach, J. : De attractione inversa apud prise, scrip. Lat. Strass- 
 
 burg, 1888. 
 Bach, J. : De usu pronominum demonst. apud prise, scrip. Lat. 
 
 1888. 
 Becker, E. : Beiordnende und unterordnende Satzverbindung bei 
 
 den altlateinischen Schriftstellern. Metz, 1888. 
 Gutjahr, E. A. : Terenzische Betommgsfragen. Leipzig, 1888. 
 Gutjahr-Probst : Altgrammatisches und Neugrammatisches zur lat. 
 
 Syntax. Leipzig, 1888. (Der Gebrauch von ut bei Terenz und 
 
 Verwandtes. ) 
 Lalin, E. : De dum, donee, quoad particularum usu apud Teren- 
 
 tium. Norkoping, 1888. 
 Neumann, H. : De futuri in priscorum Lat. . . . cotidiauo sermone 
 
 vi et usu. Part I. Breslau, 1888. 
 Schneider, Jos. : De temporurn apud priscos scriptores latinos usu 
 
 quaestiones selectae. Glatz, 1888. 
 Weninger, A. : De parataxis in Terenti fabulis vestigiis. Erlangen, 
 
 1888. 
 Wirtzfeld, A. : De consecutione temporum Plautina et Terentiana. 
 
 Miinster, 1888. 
 Bell, A. : De locativi in prisca latinitate vi et usu. Breslau, 
 
 1889. 
 Bock, W. : Subjecta rei cum actionis verbis coniungendi usus quo- 
 
 modo in prisca latinitate sit exortus, etc. Leipzig, 1889. 
 Ferger, W.: De vocativi usu Plaut. Terentianoque. Strassburg, 1889. 
 Simsay, L. : De tropis et figuris apud Terentium. Klausenburg, 
 
 Smith, K. W. : Archaisms of Terence mentioned in the Commen- 
 tary of Donatus. Baltimore, 1889. 
 
 Tammelin, E. : De participiis priscae lat. quaestiones syntacticae. 
 Helsingfors, 1889.
 
 BIBLIOGRAPHY. 179 
 
 Wyss, W. v. : Spriichworter bei den rom. Komikern. Zurich, 
 
 1889. 
 Zimmermann, E. : Quaestionum Plautinarum et Terentianarum 
 
 liber prior. De verbi posse formis dissolutis. Lorrach, 
 
 1889. 
 Morris, E. P. : On the Sentence-Question in Plautus and Terence. 
 
 (American Journal of Philology, 10, 397, and 11, pp. 16 and 
 
 145.) 1889-1890. 
 Baumann, E. : Quaestionum Terentianarum Liber I ; De Terenti- 
 
 ano verbi substantivi usu, etc. 1890. 
 Karsten, H. J. : De particulae tamen signiflcatione antiquiss., etc. 
 
 (Mnemosyne 18, p. 307.) 1890. 
 lane, G. M. : Ellum in Plautus and Terence. (Harvard Studies, 
 
 I, p. 192.) 1890. 
 Richter, P. : De usu particularum exclamat. apud prise, scrip. 
 
 Lat. (Studien fur archaisches Latein, I, 2, p. 387.) 1890. 
 Stange, E. : De archaismis Terentianis. Wehlau, 1890. 
 Asmus, W. : De appositionis apud Plautum et Terentium colloca- 
 
 tione. Halle, 1891. 
 Bach, J. : De usu pronominum demonstrativorum apud priscos 
 
 scriptores latinos (Studemund's Studien auf d. Gebiete des 
 
 archaischen Lateins, II). Berlin, 1891. 
 Koczynski, L. : De flex. Graec. nom. propr. apud lat. poet, scaen. 
 
 1891. 
 Scherer, P. : De particulae quando apud vetustissimos scriptores 
 
 Latinos vi et usu (Studemund's Studien, II). Berlin, 1891. 
 Slaughter, M. S. : The Substantives of Terence. Boston, 1891. 
 Helwig, N. : Die Worter avd-bilis bei Plautus und Terenz. (Russ. 
 
 phil. Rundschau, 2, 1, p. 49 ; 2, p. 173.) 1892. 
 Merten, W. : De particularum copulat. apud veteres Rom. scrip. 
 
 usu. Marburg, 1893. 
 Nicolson, F. W. : The Use of hercle, edepol, ecastor, by Plautus 
 
 and Terence. (Harvard Studies, IV.) 1893. 
 Plainer, S. B. : Notes on the use of Gerund and Gerundive in 
 
 Plautus and Terence. (American Journal of Philology, 14, p. 
 
 483.) 1893. 
 Sigmund, C. : De coincidentia eiusque usu Plautino et Terentiano. 
 
 Wien, 1893.
 
 180 BIBLIOGRAPHY. 
 
 Elmer, H. C. : The Latin Prohibitive. (Part I, American Journal 
 
 of Philology, 15, p. 133 ; Part II, p. 299.) 1894. 
 Fleckeisen, Alfr. : Forsitan bei Terentius. (Neue Jahrbiicher fiir 
 
 Philologie, etc., 149, 4, p. 284.) 1894. 
 Lalin, E. : De particularum comparativarum usu apud Terentium. 
 
 Norrcopiae, 1894. 
 Ryhiner, Gust. : De diminutivis Plautinis Terentianisque. Basileae, 
 
 1894. 
 Lindskog : De enuntiatis apud Plaut. et Ter. condicionalibus. 
 
 Lund, 1895. 
 
 INTERPEETATION. 
 
 Sandford, P. : Phormio, 768. (Classical Review, 3, 5, p. 221.) 1889. 
 Speijer, J. S. : Ad Terentium : Heaut. 46. (Mnemosyne, 19, 
 
 p. 50.) 1891. 
 Sonny, A. : Extrema linea (Filolog. obozrjenije VI, 1, p. 19.) 
 
 1894. 
 Thomas, P. : Remarques sur quelques passages de Terence et de 
 
 Seneque. Bruxelles, 1894. 
 
 METRICAL TREATMENT. 
 
 Meissner, K. : De iambico apud Terentium septenario. Leipzig, 
 
 1884. 
 Meissner, K. : Die strophische Gliederung in den stichischen Par- 
 
 tien des Terentius. ( Jahrbucher f . Philologie, 129, 4-5, p. 289.) 
 
 1884. 
 
 Klotz, R. : Grundziige altromischer Metrik. Leipzig, 1890. 
 Boemer, A. : De correptione vocabulorum natura iambicoruin 
 
 Terentiana. Minister, 1891. 
 Fabia, Ph. : Sur la fin monosyllabique du se"naire chez Terence. 
 
 (Revue de philologie, 17, 1, p. 29.) 1893. 
 Franke, A. : De caesuris septenariorum trochaicorum Plautinorum 
 
 et Terentianorum. Ilalis Saxonurn, 1893. 
 Gottschalk, Fr. : Senarius, qui vocatur, Terentianus comparatur 
 
 cum trimetro Graecorum. Patsckau, 1893. 
 
 Hayley, H. W. : An introduction to the Verse of 'Terence. Bos- 
 ton, 1894.
 
 BIBLIOGRAPHY. 181 
 
 Podiaski, Otto : Die trochaischen Septenare des Terenz, mit besond. 
 
 Beriicksicht. d. Hecyra. Berlin, 1894. 
 Greenough, J. B. : Early Latin Prosody. (Harvard Studies, V, 
 
 p. 67. 1895.) 
 
 MISCELLANEOUS. 
 
 Hildebrandt, F. : De Hecyrae Terentianae origine. Halle, 1884. 
 Kampe, Fr. : Die Lustspiele des Terentius und ihre griechischen 
 
 Originale. Halberstadt, 1884. 
 Keseberg, A. : Quaestiones Plautinae et Terentianae ad religionem 
 
 spectantes. Lipsiae, 1884. 
 Klasen, J. : Quam rationem Terentius in contaminatis, quae dicun- 
 
 tur, fabulis componendis secutus esse videatur. Pars I : Adel- 
 
 phoe. Rheine, 1884. 
 Regel, G. : Terenz im Verhaltniss zu seinen griechischen Originalen. 
 
 Wetzlar, 1884. 
 Bartels, E. : De Terenti memoria apud Nonium servata. Strass- 
 
 burg, 1885. 
 Rbhricht, A. : Quaestiones scenicae ex prologis Terentianis petitae. 
 
 (Dissertationes Argentoratenses, 9, p. 294.) 1885. 
 Gerstenberg, H. : De Eugraphio Terenti interprete. Jena, 1886. 
 Greifeld, A. : De Andriae Terentianae gemino exitu. Halle, 1886. 
 Havet, L. : Sur les prologues de 1'Heauton timoruinenos, de 1' He- 
 cyra et du Phormio. (Revue de Philologie, 10, 1, p. 12.) 1886. 
 Rosenstock, P. : De Donate Terenti et Servio Vergili explicatore, 
 
 syntaxeos latinae interpretibus. Konigsberg, 1886. 
 Abel, E. : Biographic des Terentius. Budapest, 1887. 
 Abel, E. : Die Terenzbiographien des Alterthums und des Mit- 
 
 telalters. Budapest, 1887. 
 Havet, L. : Sur la date des Adelphes de Terentius. (Revue de 
 
 Philologie, 11, 1, p. 48.) 1887. 
 Vallat, G. : Quomodo Menandrum quoad praecipuarum personarum 
 
 mores Terentius transtulerit. Paris, 1887. 
 Fabia, Ph. : Les Prologues de Terence. Paris, 1888. 
 Fabia, Ph. : Les Prologues de Terence. Paris, 1889. 
 Hcdermann : Findet die alteren Griech. Dramatikern auferlegte 
 
 Beschranku.'g hinsichtlich der Schauspielerzahl Anwendung 
 
 auf die Koine dien des Terenz ? 1889.
 
 182 BIBLIOGRAPHY. 
 
 Nencini, F. : De contaminatione in Terenti Adelphis. (Annali 
 
 della scuola normale di Pisa, 5 (9).) 1889. 
 Andersson, A. : Vocabula variarum rerum, etc. Stockholm, 1538. 
 
 Glosor till Terenti Andria. Med inledning, anmarkningar och 
 
 alfabetisk index ofver de svenska orden, etc. Upsala, 1890. 
 Gabotto, F. : Appunti sulla fortuna di alcuni autori romani nel 
 
 medio evo (6 Terenzio). Verona, 1891. 
 Le Blant, E. : A propos d'une gravure sur bois du Terence du 1493. 
 
 (Revue arche"ologique, 17.) 1891. 
 
 Nencini, Fl. : De Terentio eiusque fontibus. Livorno, 1891. 
 Hermannowski, E. : Quaestiones Terentianae selectae. I. De pro- 
 
 logi Heautontimorumenu genuina forma. II. Ex prologis quid 
 
 de ordine fabularum appareat. Halle, 1892. 
 
 Rotter, E. : De Heautontimorumeno Terentiana. Bayreuth, 1892. 
 Sabbadini, R. : Sulla diffusione del commento di Donato a Te- 
 renzio. Verona, 1892; 
 Weinberger, W. : Zur Frage zu den Biihnenalterthiiinern aus 
 
 Donate Terenz-commentar. (Wiener Studien, 14, 1, p. 120.) 
 
 1892. 
 Wollner, D. : Die auf das Kriegswesen beziiglichen Stellen bei 
 
 Plautus u. Terentius. Landau, 1892. 
 Bekker, E. J. : Die romischen Komiker als Rechtszeugen. (Zeit- 
 
 schrift der Savignystiftung, kanonistische abth. 13, 2.) 1893. 
 Costa : II diritto privato nelle comedie di Terentio. (Archivio 
 
 giuridico, 60, 5-6.) 1893. 
 
 Goumy, E. : Les Latins (Plaute et Terence, etc.). Paris, 1893. 
 Karsten, H. T. : De fabularum numeris in didascaliis Terentianis. 
 
 (Sylloge Lugdunensis, p. 47.) 1893. 
 Sabbadini, R. : II commento di Donato a Terenzio. (Studi Ital, 
 
 iani di fllologia classica, 2, p. 1.) 1893. 
 Dziatzko, K. : Zu Terentius im Mittelalter. (Neue Jahrbucher 
 
 fur Philologie, 149, 7, p. 405.) 1894. 
 
 Giannini, A. : De servis terentianis in Andria. Syracusis, 1894. 
 Karsten, H. T. : Terentiani prologi quot qualesque fuerint et qui- 
 
 bus fabularum actionibus destinati a poeta. (Mnemosyne, 
 
 22, 2, p. 175.) Leiden, 1894. 
 West, A. F. : Heaut. 342. (American Journal of Philology, Vol. 
 
 XV., p. 356.) 1894.
 
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