("LIBRARY 
 
 UNIVERSITY OF 
 
 CALIFORNIA 
 
 SAN DIEGO

 
 P. TERENTI AFRI 
 
 ANDRIA 
 
 WITH INTRODUCTION AND NOTES BY 
 
 EDGAR H. STURTEVANT, PH.D. 
 
 ASSISTANT PROFESSOR OF CLASSICAL PHILOLOGY 
 COLUMBIA UNIVERSITY 
 
 AMERICAN BOOK COMPANY 
 
 NEW YORK CINCINNATI CHICAGO
 
 COPYRIGHT, 1914, nv 
 EDGAR H. STURTEVANT. 
 
 COPYRIGHT, 1914, IN GREAT BRITAIN. 
 TERENCE. ANDRIA. 
 
 W. P. I
 
 SANCTAE MEMORIAE 
 
 HAROLD WHETSTONE JOHNSTON 
 
 QUO MAGISTRO 
 
 MUSAM TERENTIANAM 
 
 AMARE COEPI
 
 PREFACE 
 
 THIS edition of the Andria is intended for students who 
 are making their first acquaintance with ancient drama. In 
 the conviction that beginners cannot, as a rule, get from a 
 series of formal treatises the background needed for an in- 
 telligent reading of Terence, the editor has substituted brief 
 outlines of several Greek and Latin plays which illustrate 
 important stages in the development of comedy. A little 
 information has been interspersed between these extracts, 
 but it is hoped that there is no more of it than can be read 
 with interest and remembered with some accuracy. Most 
 information that is really pertinent can be given more 
 effectively in the notes. 
 
 Suetonius' Life of Terence, with a rather full commentary, 
 has been substituted for the usual biographical remarks in 
 English. The editor has found this more interesting and 
 valuable to read with a class than a single prologue apart 
 from the needed context that is to be found in the other six. 
 The text of the biography is in the main that of Wessner's 
 edition of Donatus. 
 
 The usual analysis of the plot of the Andria has been 
 omitted so as not to lessen the students' interest in the play 
 itself. 
 
 It seemed impossible to relegate the treatment of meter 
 and prosody to the notes, and so there is a brief essay on 
 these subjects. The material is not arranged systematically, 
 but is given in the order in which the student is likely to 
 need it. 
 
 5
 
 6 PREFACE 
 
 In determining the text the editor has followed Spengel, 
 Pease, and Fairclough in rating the manuscripts of the y 
 group above those of the 8 group. 
 
 The editor has advanced several conjectures and interpre- 
 tations of his own, and has accepted a number of theories 
 that have not yet won general approval. It would be foolish 
 to put any of these before the public apart from the reasons 
 on which they are based. Consequently the text and stage 
 directions are defended at several points in an Appendix, 
 and some items in the commentary are discussed in foot- 
 notes. Both Appendix and footnotes, then, are frankly 
 intended, not for students, but for teachers. Therefore, in 
 justice to those who will purchase the book, both have been 
 made as brief as possible. If a reading or an interpretation 
 is adequately defended in one of the standard editions, 
 the argument is not repeated here. In searching for justifi- 
 cation of the text, readers are advised to turn first to Fair- 
 clough's edition ; for our text resembles his somewhat more 
 closely than it does any other that has appeared. 
 
 It is hoped that teachers will approve the use of the charac- 
 ters U and v in the manner usual in editions of later writers. 
 Meaningless variation between editions in such matters 
 is very misleading to students ; as witness the young woman 
 who had noticed no feature of Tacitus' style except his 
 avoidance of capital letters. 
 
 In the commentary the editor has tried not to tell so much 
 that nothing would be left for the teacher to say. For 
 example, many familiar comments on the construction of the 
 plot have been intentionally omitted in the belief that the 
 student does not need them while preparing his lesson, and 
 that no competent teacher is likely to overlook them. Some 
 may miss a reference to the matter of "redende Namen"; 
 but the editor doubts whether there really are any such in 
 Terence.
 
 PREFACE 7 
 
 As already implied, the editor is under great obligation to 
 Fairclough's excellent edition of the Andria. He has also 
 taken not a little from Ashmore and from the standard 
 German editions. Thanks are also due to the publishers of 
 Capps' From Homer to Theocritus (Scribners, New York) 
 and of Murray's translation of the Iphigenia in the Land 
 of the Taurians (George Allen, London), as well as to the 
 authors themselves, for permission to reprint extracts from 
 those books. Professor Capps had the kindness to read 
 most of the Introduction in manuscript, and he made 
 several valuable suggestions. Professor Knapp subjected 
 the entire manuscript to a searching criticism, which led in 
 some cases to a change of opinion and in very many others to 
 a clearer statement of the view previously adopted. There 
 is scarcely a page of the commentary that has not been 
 improved in one way or the other. He has also read most of 
 the proof. 
 
 EDGAR H. STURTEVANT.
 
 CONTENTS 
 
 INTRODUCTION : PAO E 
 
 The Origin of Comedy 9 
 
 Old Attic Comedy 10 
 
 Euripides . . . . . . . . . .17 
 
 New Attic Comedy 23 
 
 Roman Comedy 30 
 
 Plautus .32 
 
 Terence 38 
 
 Vita Terenli of Suetonius ...... 40 
 
 The Andria . . . . . . . . .50 
 
 Meter and Prosody 51 
 
 Table of the Meters of the Andria r8 
 
 TABLE OF ABBREVIATIONS .60 
 
 TEXT OF THE ANDRIA 63 
 
 APPENDIX 175 
 
 INDEX . 183
 
 INTRODUCTION 
 
 THE ORIGIN OF COMEDY 
 
 i. The dramatic instinct is one of the most fundamental 
 and primitive of human characteristics. It appears in the 
 young child's fondness for playing house and "dressing up." 
 It is, in fact, closely akin to the proneness exhibited by many 
 animals to imitate one another's cries. Among nearly all 
 primitive races mimicry forms an important part of dance 
 and ritual, and many peoples have gone so far as to give 
 regular performances for which more or less preparation has 
 been made. 
 
 In only one country, however, so far as we know, has this 
 primitive mimicry ever developed into a genuine form of 
 art. The literary drama is an original creation of the Greeks 
 alone ; and yet they took the decisive step not once merely 
 but twice, since tragedy and comedy grew up independently. 
 
 Greek comedy originated in the songs and revels connected 
 with the worship of Dionysus, god of wine. We cannot 
 trace in detail just how and where mere rustic buffoonery 
 became gradually richer in content and more artistic in 
 form. Tradition connects the name of Susarion of Megara 
 with the later stages of the process, and places him about 
 the middle of the sixth century B.C. Epicharmus of Sicily 
 had founded a genuine comedy by the end of the same 
 century. It was in Athens, however, that comedy under- 
 went its final development and found a permanent home, 
 as tragedy had done before. The beginnings of a literary 
 comedy at Athens can be traced to the period of the Persian 
 wars.
 
 10 INTRODUCTION 
 
 
 
 OLD ATTIC COMEDY 
 
 2. The earliest, and in fact the only, Greek comic poet 
 from whom we have complete plays is Aristophanes, who 
 lived in Athens from about 444 l to 386 B.C. We may illus- 
 trate the early period of Athenian comedy, the so-called 
 Old Attic Comedy, by an account of one of his plays, The 
 Birds* 
 
 The scene is laid in a wild, uninhabited country, with 
 a bunch of shrubbery in the background. Enter two Athe- 
 nians, Peithetaerus (Plausible) and Euelpides (Hopeful). 
 They carry birds on their hands to guide them to a region 
 where they will be free from the troubles of Athenian life. 
 "For we," they say, 
 
 Have deemed it fitting to betake ourselves 
 To these our legs, and make our person scarce. 
 Not through disgust or hatred or disdain 
 Of our illustrious birthplace, which we deem 
 Glorious and free ; with equal laws ordained 
 For fine and forfeiture and confiscation, 
 With taxes universally diffused ; 
 And suits and pleas abounding in the Courts. 
 For grasshoppers sit only for a month 
 Chirping upon the twigs; but our Athenians 
 Sit chirping and discussing all the year, 
 Perched upon points of evidence and law. 
 Therefore we trudge upon our present travels, 
 With these our sacrificial implements, 
 To seek some easier unlitigious place, 
 Meaning to settle there and colonize. 
 
 1 I owe this date to Professor Edward Capps. 
 
 - The following analysis is abridged from Capps' From Homer to Theoc- 
 ritus, pp. 278-286.
 
 INTRODUCTION 1 1 
 
 They reach the home of Hoopoe (represented in the 
 scenery), who answers their summons. The make-up of 
 the actor who represents Hoopoe is as grotesque as pos- 
 sible, and is frankly ridiculed by the visitors: "Heracles, 
 what plumage ! Are you a bird or a peacock ?" The 
 scarcity of feathers upon his body is explained by Hoopoe 
 as due to the molting season. The life of the birds, as 
 depicted by Hoopoe no need of money, field sports, 
 nothing to do but banquet in the gardens seems so at- 
 tractive to Peithetaerus, the inventive genius, that he pro- 
 poses a scheme for the aggrandizement of the birds : "Build 
 a city in the air, between earth and heaven ; intercept 
 the savor of the sacrifices which men make to the gods, 
 and thus starve out the latter until they turn over the 
 sovereignty to the birds." "Odds nets and birdlime," 
 says Hoopoe, "that's a clever notion ! I'm with you if 
 the other birds agree." So he calls to his wife, Nightingale : 
 
 Awake ! awake ! 
 Sleep no more, my gentle mate ! 
 With your tiny tawny bill, 
 Wake the tuneful echo shrill, 
 
 On vale or hill ; 
 Or in 'her airy, rocky seat, 
 Let her listen and repeat 
 The tender ditty that you tell, 
 
 The sad lament, 
 
 The dire event, 
 To luckless Itys that befell. 
 
 Thence the strain 
 
 Shall rise again, 
 
 And soar amain, 
 Up to the lofty palace gate ; 
 Where mighty Apollo sits in state ;
 
 12 INTRODUCTION 
 
 In Jove's abode, with his ivory lyre, 
 Hymning aloud to the heavenly choir, 
 While all the gods shall join with thee 
 In a celestial symphony. 
 
 While the nightingale trills, Hoopoe calls the birds 
 together : 
 
 Hoop ! hoop ! 
 Come in a troop, 
 Come at a call, 
 One and all, 
 Birds of a feather, 
 All together. 
 
 Birds of a humble, gentle bill, 
 Smooth and shrill, 
 Dieted on seeds and grain, 
 Rioting on the furrowed plain, 
 Pecking, hopping, 
 Picking, popping, 
 Among the barley newly sown. 
 
 Birds of a bolder, louder tone, 
 Lodging in the shrubs and bushes, 
 Mavises and thrushes, 
 On the summer berries browsing, 
 On the garden fruits carousing, 
 All the grubs and vermin smousing. 
 
 Four stately birds first make their appearance, followed by 
 a troop of twenty-four the chorus. When they learn that 
 the two envoys are men, they are wild with rage and propose 
 to tear them to pieces at once : 
 
 Form in rank, form in rank; 
 Then move forward and outflank :
 
 INTRODUCTION 13 
 
 Let me see them overpowered, 
 Hacked, demolished, and devoured ; 
 Neither earth, nor sea, nor sky, 
 Nor woody fastnesses on high, 
 Shall protect them if they fly. 
 
 Peithetaerus and Euelpides hastily erect a barricade of 
 pots and pans, and propose to defend themselves ; but 
 Hoopoe arranges a truce. The chorus retire to listen to the 
 envoys : 
 
 Back to the rear! resume your station, 
 Ground your wrath and indignation! 
 Sheathe your fury ! stand at ease, 
 While I proceed to question these : 
 What design has brought them here ? 
 
 Peithetaerus first proves by comic instances that the birds, 
 and not the gods, were originally sovereign over all. He 
 then develops his plan : 
 
 Then I move that the birds shall in common repair 
 
 To a centrical point, and encamp in the air; 
 
 And intrench and inclose it, and fortify there : 
 
 And build up a rampart, impregnably strong, 
 
 Enormous in thickness, enormously long, 
 
 Bigger than Babylon ; solid and tall, 
 
 With bricks and bitumen, a wonderful wall. 
 
 As soon as the fabric is brought to an end, 
 
 A herald or envoy to Jove we shall send, 
 
 To require his immediate prompt abdication ; 
 
 And if he refuses, or shows hesitation, 
 
 Or evades the demand, we shall further proceed, 
 
 With legitimate warfare avowed and decreed : 
 
 With a warning and notices, formally given, 
 
 To Jove, and all others residing in heaven,
 
 14 INTRODUCTION 
 
 Forbidding them ever to venture again 
 
 To trespass on our atmospheric domain, 
 
 With scandalous journeys, to visit a list 
 
 Of Alcmenas and Semeles ; if they persist, 
 
 We warn them that means will be taken moreover 
 
 To stop their gallanting and acting the lover. 
 
 The birds enthusiastically adopt the scheme. The 
 Athenians enter Hoopoe's nest in order to provide themselves 
 with plumage. While the scene is vacant, the chorus 
 sings. 
 
 Peithetaerus and Euelpides come out in their new feathers 
 and decide to call the new town by the imposing name of 
 Cloudcuckootown. Then follows a series of short episodes, 
 unnecessary to the plot, but illustrating at least the annoy- 
 ances of colonizing. A priest comes to perform the religious 
 rites of dedication. A poet produces samples of his skill in 
 dedication odes. A soothsayer peddling oracles is followed 
 by a surveyor with a load of mathematical instruments, 
 the surveyor by a consul from Athens, the consul by a 
 hawker of laws for colonies. These are driven out by 
 Peithetaerus, one after the other. 
 
 The episodes that follow resume the plot. Short odes by 
 the chorus serve to break the monotony. Word is brought 
 that the new town is finished. A messenger reports that 
 some god has eluded the sentinels. It proves to be Iris, a 
 saucy, frightened soubrette, on her way to tell men to pay 
 up their sacrifices long due. But Peithetaerus sends her 
 back to Zeus with an ultimatum, after poking fun at her 
 dress and manners. Then come people from the earth, 
 eager to join the bird colony a parricide, Cinesias (a well- 
 known but despised Athenian poet of the day), and an 
 informer all of whom Peithetaerus unceremoniously bustles 
 out of his city. Prometheus sneaks down from Olympus,
 
 INTRODUCTION 15 
 
 all muffled up, carrying an umbrella to hide him from Zeus, 
 and looking about with fear and trembling. 
 
 Pro. Oh dear ! If Jupiter should chance to see me ! 
 
 Where's Peithetaerus ? Where ? Peith. Why, 
 what's all this ? 
 
 This fellow muffled up? Pro. Do look behind me; 
 
 Is anybody watching ? any gods 
 
 Following and spying after me ? Peith. No, none, 
 
 None that I can see, there's nobody. But you ! 
 
 What are ye ? Pro. Tell me, what's the time of day ? 
 Peith. Why, noon, past noon ; but tell me, who are ye ? 
 
 Speak. 
 
 Pro. Much past ? How much ? Peith. Confound the fool, 
 I say, 
 
 The insufferable blockhead ! Pro. How's the sky ? 
 
 Open or overcast ? Are there any clouds ? 
 Peith. Be hanged ! Pro. Then I'll disguise myself no longer. 
 Peith. My dear Prometheus ! Pro. Hold your tongue, I beg ; 
 
 Don't mention my name ! If Jupiter should see me, 
 
 Or overhear me, I'm ruined and undone. 
 
 But now, to give you a full, complete account 
 
 Of everything that's passing there in heaven 
 
 The present state of things. . . . But first I'll 
 trouble you 
 
 To take the umbrella, and hold it overhead, 
 
 Lest they should overlook us. Peith. What a 
 thought ! 
 
 Just like yourself ! A true Promethean thought ! 
 
 Stand under it, here ! Speak boldly ; never fear. 
 
 Prometheus then relates that the gods are about ready 
 to make terms, and advises Peithetaerus not to consent to 
 any agreement until Zeus shall formally acknowledge the 
 supremacy of the birds by giving him the hand of Sover-
 
 1 6 INTRODUCTION 
 
 eignty, "a most delightful, charming girl, Jove's house- 
 keeper, that manages his matters, serves out his thunder- 
 bolts, arranges everything." Soon three pompous peace 
 commissioners from Olympus arrive Poseidon, Heracles, 
 and a barbarian god. Peithetaerus bribes Heracles by 
 cooking savory dainties under his nose, promising a dinner 
 for his vote. The barbarian god's language cannot be under- 
 stood ; so his vote is counted with that of Heracles. Po- 
 seidon protests in vain. The commissioners have agreed 
 to give the princess Sovereignty to Peithetaerus in marriage. 
 The play closes with a wedding song by the chorus in cele- 
 bration of the nuptials, while Peithetaerus leads out his bride 
 at the head of the procession, brandishing in his hand the 
 thunderbolt of the ex-king, Zeus, and singing : 
 
 Birds of ocean and of air, 
 Hither in a troop repair, 
 To the royal ceremony, 
 Our triumphant matrimony ! 
 
 Come for us to feast and feed ye ! 
 
 Come to revel, dance, and sing ! 
 Lovely creature ! Let me lead ye 
 Hand in hand, and wing to wing. 
 
 Apparently the play was intended, in part at least, as a 
 satire upon such visionary schemes on the part of the poet's 
 fellow countrymen as the fateful expedition against Sicily. 
 Many of the plays of the Old Comedy had a still more direct 
 bearing upon current politics, and most of them were teeming 
 with gross caricatures of well-known persons. 
 
 The political changes which followed the close of the Pelo- 
 ponnesian War made it more and more dangerous for the 
 comic poets to attack public men and measures, and after 
 the loss of Athenian independence the discussion of affairs 
 of state on the stage was almost completely given up. Other
 
 INTRODUCTION 17 
 
 influences no less powerful were at work to change the char- 
 acter of comedy. The refinement of taste which took place 
 in the fourth century tended to discredit the extravagant 
 and often indecent burlesque of the earlier poets. The 
 growth of cosmopolitan feeling and the spread of interest 
 in the drama beyond the borders of Attica encouraged the 
 production of plays which did not depend for their appeal 
 upon familiarity with the current life of Athens. 
 
 EURIPIDES 
 
 3. Among the strongest influences making for a change in 
 the comedy of the fourth century was tragedy. Greek 
 tragedy, though its characters and incidents were taken from 
 mythology, had always dealt with the great problems of life 
 which belong to every time and all lands. Not infrequently 
 the plays had a special bearing upon some question under 
 discussion at the time of their presentation. In Euripides' 
 hands characters as well as problems were brought near to or- 
 dinary daily life ; he undertook to represent men and women 
 as they are. In other words, Euripidean tragedy tended to 
 draw nearer to the matter-of-fact atmosphere of comedy. 
 We choose for analysis a play which in some respects is nearer 
 to comedy than are most of the others Iphigenia in the 
 Land of the Taurians. 
 
 The time of the play is several years after the fall of Troy. 
 King Agamemnon, on his victorious return from Troy, has 
 been slain by his wife Clytemnestra. Their son Orestes has 
 got vengeance by slaying his mother, and the Furies are pur- 
 suing him, mad with remorse, throughout the world. The 
 scene shows the front of a temple in the land of the Taurians, 
 on the shore of the Black Sea. 1 
 
 1 The translations are Professor Gilbert Murray's. 
 
 TER. ANDRIA 2
 
 1 8 INTRODUCTION* 
 
 Iphigenia enters from the temple and tells how, when the 
 ships of the Greeks were becalmed at Aulis, the seer Calchas 
 declared that Artemis demanded the sacrifice of Agamem- 
 non's first-born daughter, Iphigenia herself. 
 
 So from my mother's side 
 By lies Odysseus won me, to be bride 
 In Aulis to Achilles. When I came, 
 They took me and above the altar flame 
 Held, and the sword was swinging to the gash, 
 When, lo, out of their vision in a flash 
 Artemis rapt me, leaving in my place 
 A deer to bleed ; and on through a great space 
 Of shining sky upbore and in this town 
 Of Tauris the Unfriended set me down ; 
 Where o'er a savage people savagely 
 King Thoas rules. This is her sanctuary 
 And I her priestess. Therefore, by the rite 
 Of worship here, wherein she hath delight 
 Though fair in naught but name . . . But Artemis 
 Is near; I speak no further. Mine it is 
 To consecrate and touch the victim's hair; 
 Doings of blood unspoken are the care 
 Of others, where her inmost chambers lie. 
 
 Iphigenia goes back into the temple. Orestes and his 
 friend Pylades enter cautiously. They have been com- 
 manded by the oracle of Apollo to bring to Athens the image 
 of Artemis which is kept in this temple. After a reconnoiter 
 they retire to the seashore to wait till nightfall. 
 
 Iphigenia and her Greek w-aiting women, the chorus, sing 
 of their happy life at home in Greece and of their present 
 misery. Suddenly a herdsman appears and announces the 
 capture of two strangers on the seashore,
 
 INTRODUCTION 19 
 
 Young, bold, good slaughter for the altar-stone 
 
 Of Artemis ! Make all the speed ye may ; 
 
 'Tis not too much. The blood-bowl and the spray ! 
 
 He tells how he and his mates came upon two men by the 
 shore, how one of them in a fit of madness thought he saw 
 Furies threatening him, then drew his sword and fell upon 
 the cattle, and how after a stiff fight the two men were 
 surrounded and captured by a great throng of herdsmen. 
 The strangers' dress shows that they are Greeks. 
 
 Iph. 'Tis well. Let thy hand bring them, and mine own 
 Shall falter not till here god's will be done. 
 
 [Exit Herdsman.] 
 
 O suffering heart, not fierce thou wast of old 
 To shipwrecked men. Nay, pities manifold 
 Held thee in fancy homeward, lest thy hand 
 At last should fall on one of thine own land. 
 But now, .... 
 
 a cruel woman waits you here, 
 Whoe'er ye be, and one without a tear. 
 
 'Tis true : I know by mine own evil will : 
 One long in pain, if things more suffering still 
 Fall to his hand, will hate them for his own 
 Torment. . . . And no great wind hath ever blown, 
 No ship from god hath passed the Clashing Gate, 
 To bring me Helen, who hath earned my hate, 
 And Menelaus, till I mocked their prayers 
 In this new Aulis, that is mine; not theirs, 
 Where Greek hands held me lifted, like a beast 
 For slaughter, and my throat bled. And the priest 
 My father ! . . . Not one pang have I forgot. 
 
 The prisoners are brought in and Iphigenia persuades them 
 to give her news of Greece. Then she has a sudden impulse
 
 20 INTRODUCTION 
 
 to save one of the victims and send word by him to her kins- 
 men in Greece. Orestes insists that he will be the victim of 
 the goddess, and that Pylades shall return home. Before 
 giving him the tablet, Iphigenia binds him by an oath to 
 deliver her letter. 
 
 Pyl. But stay : there is one chance we have forgot. 
 
 Iph. A new oath can be sworn, if this serve not. 
 
 Pyl. In one case set me free. Say I be crossed 
 
 With shipwreck, and, with ship and tablet lost 
 
 And all I bear, my life be saved alone : 
 
 Let not this oath be held a thing undone, 
 
 To curse me. Iph. Nay, then, many ways are best 
 
 To many ends. The words thou earnest 
 
 Enrolled and hid beneath that tablet's rim, 
 
 I will repeat to thee, and thou to him 
 
 I look for. . . . 
 
 Pyl. For thy sake and for mine 'tis fairer so. 
 Now let me hear his name to whom I go 
 In Argolis, and how my words should run. 
 
 Iph. Say: "To Orestes, Agamemnon's son, 
 
 She that was slain in Aulis, dead to Greece 
 Yet quick, Iphigenia sendeth peace:" 
 
 Or. Iphigenia ! Where ? Back from the dead ? 
 
 Iph. 'Tis I. But speak not, lest thou break my thread. 
 "Take me to Argos, brother, ere I die, 
 Back from the Friendless Peoples and the high 
 Altar of her whose bloody rites I wreak." 
 
 Or. [Aside.] Where am I, Pylades ? How shall I speak ? 
 
 Iph. " Else one in grief forsaken shall, like shame, 
 
 Haunt thee." Pyl. [Aside.] Orestes ! Iph. [Over- 
 hearing him.] Yes : that is the name. 
 
 Pyl. Ye gods above ! Iph. Why callest thou on god 
 
 For words of mine ? Pyl. 'Tis nothing. 'Twas a road
 
 INTRODUCTION 21 
 
 My thoughts had turned. Speak on. No need 
 
 for us 
 To question : we shall hear things marvelous. 
 
 Iph. Tell him that Artemis my soul did save, 
 I wot not how, and to the altar gave 
 A fawn instead ; the which my father slew, 
 Not seeing, deeming that the sword he drew 
 Struck me. But she had borne me far away 
 And left me in this land. I charge thee, say 
 So much. It all is written on the scroll. 
 
 Pyl. An easy charge thou layest on my soul, 
 
 A glad oath on thine own. I wait no more, 
 But here fulfill the service that I swore. 
 Orestes, take this tablet which I bear 
 To thine own hand, thy sister's messenger. 
 
 Or. I take it, but I reck not of its scrip 
 
 Nor message. Too much joy is at my lip. 
 Sister ! Beloved ! Wildered though I be, 
 My arms believe not, yet they crave for thee. 
 Now, filled with wonder, give me my delight ! 
 
 [He goes to embrace her. She stands speechless.} 
 
 Leader. Stranger, forbear ! No living man hath right 
 
 To touch that robe. The goddess were defiled ! 
 
 Or. O sister mine, O my dead father's child, 
 
 Agamemnon's child ; take me and have no fear, 
 Beyond all dreams 'tis I thy brother here. 
 
 Iph. My brother ? Thou ? . . . Peace ! Mock at me 
 
 no more. 
 Argos is bright with him and Nauplia's shore. 
 
 Or. Unhappy one ! Thou hast no brother there. 
 
 Iph. Orestes . . . thou ? Whom Clytemnestra bare ? 
 
 Or. To Atreus' first-born son, thy sire and mine. 
 
 Iph. Thou sayst it : oh, give me some proof, some sign ! 
 
 Or. What sign thou wilt. Ask anything from home.
 
 22 INTRODUCTION* 
 
 Iph. Nay, thou speak : 'tis from thee the sign should 
 come. 
 
 Or. That will I. First, old tales Electra told. 
 
 Thou knowst how Pelops' princes warred of old ? 
 
 Iph. I know : the Golden Lamb that wrought their 
 doom. 
 
 Or. Thine own hand wove that story on the loom . . . 
 
 Iph. How sweet ! Thou movest near old memories. 
 
 Or. With a great Sun back beaten in the skies. 
 
 Iph. Fine linen threads I used. The memories come. 
 
 Or. And mother gave thee shrift-water from home 
 
 For Aulis. . . . Iph. I remember. Not so fair 
 A day did drink that water ! Or. And thine hair 
 They brought us for thy dying gift, and gave 
 To mother. Iph. Yes : for record on the grave 
 I sent it, where this head should never lie. 
 
 Or. Another token, seen of mine own eye. 
 
 The ancient lance that leapt in Pelops' hand, 
 
 To win his bride, the virgin of the land, 
 
 And smite Oenomaus, in thy chamber hid . . . 
 
 Iph. [Falling into his arms.} Beloved ! Oh, no other, 
 
 for indeed 
 
 Beloved art thou ! In mine arms at last, 
 Orestes far away. 
 
 Or. And thou in mine, the evil dreaming past, 
 
 Back from the dead this day ! 
 Yet through the joy tears, tears and sorrow loud 
 Are o'er mine eyes and thine eyes, like a cloud. 
 
 Greek wits playing upon barbarian superstition readily 
 find a way of escape. The three set sail with the image of 
 Artemis.
 
 INTRODUCTION 23 
 
 NEW ATTIC COMEDY 
 
 4. The New Attic Comedy which grew up in the latter 
 half of the fourth century B.C. was the heir of the tragedy of 
 Euripides no less than of the Old Comedy of Aristophanes. 
 It was like the Old Comedy in taking its characters from every- 
 day life instead of from myths and in a certain freedom from 
 hampering traditions. Like Old Comedy, too, is the avoid- 
 ance of the stronger forms of pity and fear, the emotions which 
 Aristotle regards as characteristic of tragedy. Closely allied 
 with this feature is the avoidance of unhappy endings. From 
 tragedy of the Euripidean type the New Comedy got its 
 favorite theme of romantic love and many dramatic devices, 
 such as the mutual recognition of long separated relatives. 
 Perhaps the most important of Euripides' contributions was 
 the tendency toward realism which made it possible for 
 Aristophanes of Byzantium to say of the greatest author of 
 the New Comedy: "Menander and Life, which of you 
 imitated the other ?" 
 
 These two lines of influence varied in their proportion- 
 ate strength from author to author and from play to play. 
 In some pieces the rollicking, boisterous spirit of the Old 
 Comedy survived, while others were as romantic and subtle 
 as any of Euripides' tragedies. There were many innova- 
 tions, too, which cannot be traced directly to the influence of 
 anything in the drama of the fifth century. Perhaps the 
 most important of these concerned the chorus, which in the 
 New Comedy had no essential connection with the play, but 
 merely furnished a musical interlude between the acts. 
 
 5. We may illustrate some of these characteristics by a 
 play of Menander, the author of the original of Terence's 
 Andria. None of his pieces has been preserved entire, and 
 until recently we have had only such fragments of them as 
 are contained in quotations by later writers. Toward the
 
 24 INTRODUCTION 
 
 close of the year 1905 there was discovered at Aphroditopolis 
 in Egypt, in the ruins of a private house of the Roman period, 
 a large jar full of papyrus manuscripts. For their greater 
 safety some leaves of an old book had been spread over the 
 top. The manuscripts in the jar were found to be in excellent 
 condition ; they contained accounts. The sheets on top, 
 badly damaged and some of them lost, belonged to a copy of 
 several plays of Menander. It was possible to make out a 
 considerable portion of two of the plays and a smaller amount 
 of two others. Further fragments of one of the latter have 
 come to light in other parts of Egypt, and so we now have 
 from a third to a half of each of three of Menander's comedies. 
 The following is an outline of the Periceiromene or The Girl 
 with Shorn Locks. 
 
 The scene represents a street in Corinth with the fronts of 
 two neighboring houses. In one of them dwell Pataecus, a 
 wealthy citizen, his wife Myrrhina, and his adopted son 
 Moschion, whom Myrrhina has brought up as her son by a 
 former husband, although he was really a foundling. In the 
 other house live Polemon, a Corinthian soldier, and his 
 common-law wife Glycera. 
 
 Polemon * enters with his slave Sosias and tells him that 
 last evening, on his return from a campaign, he found his wife 
 in the arms of the young man next door. Bewildered by 
 what he saw and well aware of his own hot temper, he did not 
 make his presence known, but withdrew to the country, intend- 
 ing to question Glycera this morning. The night has been 
 tedious and he has beguiled the hours with overmuch drinking. 
 
 Sosias is sent to search for Moschion. Glycera comes 
 from the house just as Polemon is about to enter. She greets 
 him affectionately, and her manner shows no trace of a shame- 
 
 1 The account of the opening scenes is conjectural. I have abbreviated 
 the parts translated by omitting words, phrases, and sentences wherever 
 possible.
 
 INTRODUCTION 25 
 
 ful secret. She answers his first questions with an air of 
 injured innocence. When he tells her just what he has 
 seen, she refuses an explanation and simply demands that he 
 believe her guiltless. In his present distress of mind, aggra- 
 vated by drink, such an attitude seems to him proof of guilt. 
 In a fit of rage he drags. the girl indoors, and slashes off" her 
 beautiful hair with his sword. Repentance comes swiftly, 
 but it is Glycera's turn to be indignant; and so Polemon 
 departs for the country in despair. Glycera takes refuge 
 with her kindly neighbors, Pataecus and Myrrhina, after 
 first learning that Moschion is not at home. 
 
 Then appears the goddess Agnoia, "Misapprehension." 
 She tells how eighteen years ago Pataecus' first wife died in 
 giving birth to a boy and a girl. Pataecus learned on the 
 same day that he had been ruined by shipwreck, and, over- 
 whelmed by his double misfortune, ordered the children to be 
 exposed. "They were found," the goddess continues, "by a 
 poor woman, who kept the girl as her own child, but gave the 
 boy to a wealthy matron who now lives in this house (i.e., 
 to Myrrhina), for she wanted a son. Some years passed ; 
 the war persisted, the troubles of the Corinthians increased, 
 the old woman grew poorer still. The girl herself was grown 
 it was she you saw a moment ago and had a lover in 
 this impetuous young Corinthian. So the foster mother 
 gave her to him as her own daughter. But, already feeble 
 and seeing that her days were numbered, she told the girl 
 the truth and gave her the clothes she had found her in. 
 She also pointed out to Glycera the brother she had never 
 known (Moschion) : for she feared a time might come when 
 the girl would need help, and this was her only relative. 
 
 "Not long ago the soldier bought this house. But Glycera, 
 even though she lives next door to her brother, has not told 
 her secret; she sees him prospering and doesn't want to 
 drag him down.
 
 26 INTRODUCTION 
 
 "Last evening she happened to be sending her maid some- 
 where, and Moschion caught sight of her he's a bold chap, 
 always loitering before her house on purpose. When he 
 saw her at the door he rushed in and kissed and embraced 
 her, and, knowing it was her brother, she didn't resist. Then 
 Polemon came home and saw it all." 
 
 The goddess tells us that this tangle of misunderstanding 
 is part of a benevolent plan of hers. Eventually all con- 
 cerned will learn the truth that is essential to their happiness; 
 "for in a god's hands evil turns to good." 
 
 The central portion of the play is chiefly occupied with 
 Moschion's absurd wooing of his own sister, and an attempt 
 on the part of the soldier's servant to lay siege to the house 
 where Glycera is staying, as he supposes, with her paramour. 
 Both episodes must have been very amusing. 
 
 At length Polemon returns from the country and finds 
 Glycera gone. He meets his neighbor Pataecus and tells 
 him that he intends to force Glycera to return to him. Patae- 
 cus objects that she is not his lawful wife. 
 
 Pol. What's that you say, Pataecus ? What's the differ- 
 ence ? I've always considered her my wife. 
 
 Pat, Don't shout ! Who gave the bride away ? 
 
 Pol. Why ! She did herself. 
 
 Pat. Just so ! I suppose she loved you then ; now she 
 doesn't, and she has gone away to escape your shameful 
 treatment. 
 
 When Pataecus shows that for the same reason summary 
 vengeance on Moschion is out of the question, Polemon 
 exclaims : 
 
 I don't know what to say, but this : I'll hang myself. 
 Glycera has left me; Glycera, I say, Pataecus, has left me ! 
 But if you think this is a good plan you know her well,
 
 INTRODUCTION 27 
 
 and have often spoken with her first go and talk to her; 
 take her my message, I beg you. 
 
 Pat. Now that's just what I think ought to be done. 
 [Starts away.} 
 
 Pol. But of course you are a good speaker, Pataecus ? 
 
 Pat. Fairly. 
 
 Pol. But really, Pataecus, you must be. That's the way 
 to save the day. For if I've ever been wholly in the wrong 
 If I don't always do my best Now if you'd only look at the 
 clothes she has 
 
 Pal. Oh ! That's all right. 
 
 Pol. Do look at them, Pataecus ; you'll be sorrier for me. 
 
 Pat. [Aside.] Ye gods ! 
 
 Pol. Come on ! What clothes ! How fine she looked 
 when she wore them ! For I suppose you've never seen. 
 
 Pat. Yes, I have. 
 
 Pol. And then she was so magnificently tall ; but why do 
 I speak of that ? fool that I am to talk of things that don't 
 matter. 
 
 Pat. Oh ! Not at all ! 
 
 Pol. You think not ? Well, at any rate you must see 
 the clothes. Come in. 
 
 Pat. Very well, I'll come. [Exeunt into Polemons house.] 
 
 The next we see of Pataecus he is in the midst of his con- 
 versation with Glycera. She begs him to inspect the tokens 
 of her parentage which her foster mother gave her. After a 
 short lacuna in the text we find them examining some figures 
 embroidered on the clothing in which the babies were exposed. 
 Pataecus has made out one figure. "Isn't this a goat stand- 
 ing next, or an ox, or some such beast ?" 
 
 Gly. It's a stag, dear friend, not a goat ! 
 Pat. At least it has horns, I know that much. 
 Gly. And this third ?
 
 28 INTRODUCTION 
 
 Pat. A winged horse. These things belonged to my poor 
 wife ! 
 
 Moschion. [Eavesdropping.] Is that possible r I think it's 
 inconceivable that my mother should have abandoned her 
 own daughter. But if it is true and this is really my sister, 
 what a sweetheart I have lost, confound my luck ! 
 
 Pat. Where did you get these ? Tell me. 
 
 Gly. I was wrapped in them when they picked me up, a 
 baby. 
 
 Pat. Look up a moment, let me see your face. [Scans her 
 face.] Were you lying there alone ? I must know that. 
 
 Gly. No ; they exposed my brother with me. 
 
 Pat. Who took you and brought you up ? 
 Gly. The woman who found me lying there abandoned. 
 Pat. What did she tell you to remember the place by ? 
 Gly. She said there was a spring and a shady nook. 
 Pat. Just what the man who exposed them said to me ! 
 Gly. Oh ! Who was that ? Tell me if you may ! 
 Pat. The slave who exposed them, but it was I who 
 would not rear them. 
 
 Further questioning makes the mutual recognition of 
 father and daughter complete. 
 
 In a fragment of the last act Doris, Glycera's maid, has 
 just told Polemon of her mistress' good fortune. 
 
 Pol. But what shall I do, Doris ? How can I live without 
 her? 
 
 Dor. She says now, she'll come back to you . . . 
 
 Pol. Ye gods ! What's that you say ? 
 
 Dor. ... if you're careful to treat her gently hereafter. 
 
 Pol. I'd do everything for her, you may be sure. That's
 
 INTRODUCTION 29 
 
 splendid news you bring. Why ! I'll set you free to-morrow, 
 Doris. [Exit Doris.] But here's the message, listen ! 
 She's gone. That was a mad onslaught of impetuous love 
 that took me captive. So it was her brother she kissed, not 
 her lover; and I punished her for my jealousy. When I 
 ought to have looked into the matter, I went straight and 
 played the drunken fool. And so I was going to hang my- 
 self a proper thing to do ! [Enter Doris.] What is it, my 
 Doris ? 
 
 Dor. Good news ! She's coming to you. 
 
 Pol. Is she making fun of me ? 
 
 Dor. No, indeed ! She is putting on her stole, and her 
 father is feasting his eyes on her. You ought to make a 
 thank offering; it's a sin not to, when she has had such good 
 fortune. 
 
 Pol. You're right ! There's a cook here ; he shall sacrifice 
 the pig. 
 
 Dor. Where are the basket and the other utensils ? 
 
 Pol. Oh ! We'll have the basket part of the sacrifice 
 later on ; now he must kill this pig. I'll take a garland from 
 some altar and put it on. [Takes a garland from the altar on 
 the stage and puts it on his head.] 
 
 Dor. [Mockingly.] Now you look much more persuasive. 
 
 Pol. Then bring Glycera right away. 
 
 Dor. Why, she was just ready to come out with her 
 father. 
 
 Pol. Her father ? [Hears some one open the door.] What 
 is to become of me ? [Rushes into his house.] 
 
 Dor. O dear ! Are you going to run away ? A dragon 
 can't open a door. I'll go in, too, to help if he needs any- 
 thing. [Exit into Polemons house. Enter Pataecus and 
 Glycera.] 
 
 Pat. I'm very glad to hear you say, "I'll make up with 
 him." To accept his apologies when you have risen in the
 
 30 INTRODUCTION 
 
 world, that is a mark of real Greek character. [Calling at 
 Polemons door.} Now some one run and call your master 
 out here. 
 
 Pol. [Enters from his house.] I'm coming; but I was mak- 
 ing a thank offering because I've heard that Glycera has 
 really found her parents as she wished. 
 
 Pat. A good idea ; but listen to this : I give you this girl 
 to be your lawful wife. 
 
 Pol. I take her. 
 
 Pat. The dowry is three talents. 
 
 Pol. That is generous. 
 
 Pat. For the future forget you're a soldier, and never do 
 anything reckless to those you love. 
 
 Pol. Now that I have come so near to ruin, will I ever be 
 impulsive again ? No, not even in my dreams, Glycera. 
 Only forgive me, dear ! 
 
 Gly. Why ! Don't you see ? The beginning of our good 
 fortune was your drunken folly ! 
 
 Pol. True, dear ! 
 
 Gly. That's the reason why you've won my forgiveness. 
 
 Pol. Pataecus, join in our sacrificial meal. 
 
 Pat. I've got to arrange another match ; I want my son 
 to marry the daughter of Philinus. 
 
 Moschion. [Eavesdropping again ; in dismay.} Ye gods in 
 heaven ! 
 
 ROMAN COMEDY 
 
 6. In various parts of Italy there early grew up several 
 kinds of mummery and buffoonery similar to the Greek popu- 
 lar impersonations out of which comedy originated. The 
 Romans therefore had native materials out of which they 
 might have developed a drama of their own; but before 
 they had done so they came under the spell of Greek lit- 
 erature.
 
 INTRODUCTION 31 
 
 The earliest Roman comedies were adaptations of Greek 
 plays of the New Comedy. The first of these was written 
 by Lucius Livius Andronicus, a native of 1 arentum who had 
 been brought to Rome as a slave. At the ludi Romani in 
 240 B.C. he presented a Latin tragedy and a Latin comedy, 
 both translated from the Greek. It is thought that the 
 innovation was in honor of the successful termination of the 
 first Punic War in the preceding year. The experiment was 
 successful, and adaptations of Greek plays soon became a 
 regular feature not only of the ludi Romani in September, but 
 also of the ludi plebeii in November, the ludi Megalenses in 
 April, and the ludi Apollinares in July. Dramatic exhibitions 
 might also be given on special occasions, such as a triumph 
 or the funeral of a distinguished man. 
 
 7. Since the Roman audiences had had no such long and 
 intimate acquaintance with good literature as the Greek poets 
 could always count upon, and since the Greek manners 
 represented in the comedies were of course unfamiliar at 
 Rome, many modifications were necessary in order to make 
 the plays intelligible there. Some of the changes seem to our 
 more sophisticated taste very strange indeed. As their 
 hearers had no interest in local color or historic accuracy, the 
 poets did not hesitate to make their Greek characters use 
 metaphors based upon peculiarly Roman customs and allude 
 to Roman magistrates and places in the city of Rome as if 
 these belonged to the Greek town in which the scene was laid. 
 Sometimes the Latinization of Greek terms is so careless as 
 to be ambiguous ; thus nummus is used to represent several 
 different Greek coins much as if we should Americanize 
 the English "five pounds" and "five shillings" alike by the 
 phrase "five dollars." It was found, too, that the popular 
 taste was tickled by a liberal admixture of broad Italian wit.
 
 32 INTRODUCTION 
 
 PLAUTUS 
 
 8. The earliest author from whom we have complete 
 Latin plays is Plautus, who was born in the little town of 
 Sarsina in Umbria on the Gallic frontier before 250 B.C., and 
 lived until 184 B.C. He came to Rome at an early age, and 
 got his first lessons in the drama as a stage carpenter or, it 
 may be, an actor (Gellius says, "in operis artificum scaeni- 
 corum"). Later on he seems to have traveled, and he may 
 have picked up a knowledge of Greek life at that time. Still, 
 his interest was always in the Roman stage rather than in 
 his Greek models. He usually chose comedies whose 
 characters were painted with broad strokes, and whose 
 incidents were novel or sensational. In a word, he preferred 
 the type of New Comedy which approached most nearly the 
 boisterous Old Comedy; and he seems to have heightened 
 the colors and exaggerated the burlesque on his own account. 
 Twenty of Plautus' comedies have been preserved. We 
 illustrate with some of the earlier scenes of the Aulularia or 
 The Hidden Treasure. 
 
 The situation at the opening of the play is explained by a 
 character who introduces himself quite ingenuously as a 
 Roman hearth god : 
 
 "That none may wonder who I am I'll tell you briefly. 
 I'm the Lar familiaris of this household from whose door 
 you saw me come. This house has for many years been my 
 dwelling and my care." 
 
 The grandfather of Euclio, the present owner, had buried a 
 pot of gold and intrusted it to the hearth god, and then had 
 died. Since son and grandson had both neglected the wor- 
 ship of the Lar, the Lar had long refrained from disclosing 
 the treasure. But now at last, in reward for the piety of 
 his young daughter, Euclio has been permitted to find it. 
 
 In the first scene Euclio appears with a stick in his hand
 
 INTRODUCTION 33 
 
 driving Stapula, 1 his old slave woman, out of the house. 
 "Clear out, I say, come, clear out; you've got to go out of 
 doors, you pop-eyed spy." After twenty lines of threats he 
 takes us into his confidence. "I'm sure I never saw a worse 
 crook than this old woman, and I'm desperately afraid she'll 
 play me a trick or find out where the gold is hid ; for the 
 wretch has extra eyes in the back of her head. Now I'll 
 go and see whether the gold is where I put it." 
 
 Presently he returns. 
 
 End. [To himself.] I didn't sweep away my worries and 
 come out till I saw that everything in the house was safe. 
 [To Stapula.] Now go in and stay on guard. 
 
 Stapula. Really ? On guard in there ? So that no one 
 shall steal the house ? For we haven't anything else that's 
 worth a thief's trouble ; the place is full of emptiness and 
 cobwebs. 
 
 Eucl. It's a wonder Jupiter wouldn't make me a king 
 Philip or Darius just for your sake, you witch ! I want those 
 cobwebs guarded. Lock the door with two bolts. I'll be 
 back presently. [Exit Stapula.] It's torture to me to leave 
 my house ; but I understand how I have to behave. The 
 chief of our curia promised to distribute a nummus to each of 
 us ; if I fail to go after it, I suppose everybody will immedi- 
 ately suspect that I have a pot of gold at home, for it doesn't 
 look reasonable for a poor man to despise a little cash and so 
 not go to get his nummus. They're suspicious already. I'm 
 going where I started to, and then I'll come back home as 
 soon as I can. 
 
 On his return he is met by his rich neighbor Megadorus. 
 
 Meg. Good morning, Euclio ; I hope luck is coming your 
 way. 
 
 1 For the spelling of this and other names in the play, see on Andria 51 
 and 88 (notes on epebis and Pampilus). 
 
 TER. ANDRIA 3
 
 34 INTRODUCTION 
 
 EucL Thank you, Megadorus. 
 
 Meg, You're looking very well indeed. 
 
 Eucl. [Aside.] It's not for nothing when a rich man speaks 
 so pleasantly to a poor man. The fellow knows already 
 that I've got gold; that's the reason for his kind "Good 
 morning." 
 
 Meg. You are well, aren't you ? 
 
 Eucl. Not very, in money matters. 
 
 Meg. If you look at the matter fairly, you have enough to 
 live comfortably on. 
 
 Eucl. [Aside.] The old woman has certainly told him 
 about the gold : it's as plain as day. I'm going right in 
 and cut off her tongue and dig out her eyes. 
 
 Meg. What are you saying to yourself ? 
 
 Eucl. Complaining of my poverty. I have a grown-up 
 daughter who has no dowry ; I can't marry her to any one. 
 
 Meg. Hush ! Take heart, Euclio. You'll marry her off; 
 I'll help you out; command me if you need anything. 
 
 EucL [Aside.] His promising amounts to begging. He 
 has his mouth wide open for the gold. In one hand he has 
 a stone while with the other he offers bread. I've no con- 
 fidence in a rich man who talks pleasantly to a poor man. 
 I know your octopuses that hold on to whatever they once 
 touch. 
 
 Meg. Listen a moment, if you are at leisure, Euclio, to a 
 request that I want to make of you for our common advan- 
 tage. 
 
 Eucl. [Aside.] Dear me ! He's got his hook in my gold ! 
 That's what he wants to come to terms with me about, I'm 
 sure. But I'm going in and have a look. [Starts for his 
 house.] 
 
 Mfg. Where are you going ? 
 
 Eucl. I'll be back right away; there's something I must 
 look after in the house.
 
 INTRODUCTION 35 
 
 In a moment he returns much relieved. Megadorus now 
 succeeds in asking for the daughter's hand in marriage, and 
 Euclio consents, though still full of misgivings. Both 
 men start to the market to arrange for the wedding. 
 Presently Megadorus' slave Strobilus brings the supplies 
 from the market. He is accompanied by two hired cooks, 
 Antrax and Congrio, with their assistants, and two flute 
 girls. 
 
 Str. When my master had done his marketing and hired 
 these cooks and flute girls, he told me to divide the provisions 
 into two equal parts. 
 
 Ant. As far as I'm concerned, I'll give you fair warning 
 you're not going to divide me. If you want to take me some- 
 where whole, I'm at your service. 
 
 Str. O now ! Antrax, I didn't mean that at all ; but my 
 master is going to be married to-day. 
 
 Ant. Whose daughter is he marrying ? 
 
 Str. Our next-door neighbor Euclio's daughter. And he 
 told me to give Euclio half the provisions, and also one cook 
 and one flute girl. 
 
 Ant. You say half goes here and half to your house ? 
 
 Str. Yes. 
 
 Ant. Why ! Couldn't the old gentleman furnish his 
 daughter's wedding dinner ? 
 
 Str. Wow! 
 
 Ant. What's the matter ? 
 
 Str. What's the matter ? You can squeeze more out 
 of pumice stone than out of this old fellow. 
 
 Ant. You don't say so ! 
 
 Cong. What a state to be in ! 
 
 Str. Believe me ! He has lost his property, he's a ruined 
 man. Why ! He cries out for the protection of gods and 
 men as soon as any of the smoke from his firewood gets out
 
 36 INTRODUCTION 
 
 of the house. And when he goes to sleep he ties a bag over 
 his mouth. 
 
 Ant. Why? 
 
 Str. So as not to lose any breath while he's asleep. 
 
 So Congrio, half of the assistants, and one of the flute girls 
 enter Euclio's house, and Strobilus conducts the others to 
 his master's home. Soon Euclio returns from the market. 
 He has decided upon an economical wedding, and his pur- 
 chases consist of a little incense and some wreaths to offer to 
 the Lar. At this moment Congrio appears at the door and 
 sends one of his assistants next door to borrow a " bigger pot." 
 The word "pot" is a red rag to Euclio. He rushes into the 
 house and drives everybody out with blows of his cudgel. 
 When the house is clear he digs up the pot of gold, and brings 
 it out concealed under his cloak. Then he sends the cook 
 and his retinue back to their tasks. He soliloquizes: 
 
 Ye gods, it's a risky business when a poor man begins to 
 have dealings with a rich man. Just see how Megadorus is 
 coming after me in every way. He pretended he was sending 
 these cooks as a compliment to me ; but he really sent them 
 to steal this gold. And quite as bad as he is that old rooster 
 of mine; for he came the nearest kind to ruining me. Just 
 where this pot was buried he began scratch-scratching all 
 around with his claws. To make a long story short, he com- 
 -pletely soured me. I seized a club and slew that cock, a 
 thief taken in the very act. I've a notion the cooks had 
 promised him a reward if he disclosed the treasure. 
 
 When Euclio next meets Megadorus he assails him : 
 
 You've filled every corner of my house full of thieves. 
 You've sent me five hundred cooks with six hands apiece 
 like Geryon. If Argus, who was all eyes, should watch 'em, 
 he'd never keep track of 'em ; and besides, a flute girl who all
 
 INTRODUCTION 37 
 
 alone can drink down the spring of Pirene if it should flow 
 wine. 
 
 Meg. I sent provisions too. There's enough for a whole 
 legion. I sent a lamb also. 
 
 Eucl. That lamb is surely the most careworn 1 beast there 
 is anywhere. 
 
 Meg. I want to know what a careworn lamb is. 
 
 Eucl. It's all skin and bones, it's so thin from anxiety. 
 Why ! If you put it in the sun, you can examine its entrails 
 without killing it ; it's as transparent as a horn lantern. 
 
 Meg. I arranged to have it killed for you. 
 
 Eucl. Then you'd better arrange to have it buried ; for 
 I think it's dead already. 
 
 Euclio hides his treasure in the temple of Fides, but is 
 immediately assailed by new worries, and carries the precious 
 pot away to the sacred grove of Silvanus. The slave Strobi- 
 lus, who has learned his secret, follows him, and presently 
 returns with the treasure. 
 
 We do not know what finally became of the pot of gold, 
 since the end of the play is lost. We do learn, however, that 
 Euclio's pious daughter found a more suitable husband in 
 Megadorus' young nephew, Luconides. 
 
 9. Culture increased rapidly at Rome during the second 
 and third centuries B.C. Soon it was found possible to pre- 
 sent Greek plays more nearly in their original form. The 
 poets, too, came to appreciate more fully the excellencies of 
 their models and were therefore unwilling to disfigure them 
 with ill-timed jests. 
 
 The tendency toward an exact reproduction of the Greek 
 originals was carried to an extreme by a group of writers 
 
 1 As Professor Prescott has shown, CP. 2. 335 f., there is more than this in 
 the Latin ; but this is all the average Roman hearer could get out of it.
 
 38 INTRODUCTION 
 
 headed by Luscius Lanuvinus, who flourished shortly before 
 165 B.C. These men would have nothing but literal trans- 
 lations, no matter how grotesque or obscure. They cared 
 more for faithfully reproducing their authors than for turning 
 out effective plays. 
 
 TERENCE 
 
 10. Terence, who began his writing at this time, revolted 
 against so inartistic an ideal, and appealed to the freedom of 
 
 / adaptation which had been practiced by Plautus and the 
 \j/ other famous comic poets of the past. He did not, however, 
 revert to the unrestrained license of Plautus. He altered 
 freely wherever he felt that the Greek dialogue was inappro- 
 priate for the Roman stage, but he carefully preserved the 
 Greek atmosphere and the Greek setting. The coins and 
 magistrates mentioned by him are almost always Greek ; 
 we are no longer called upon to naturalize a Lar familiar is in 
 Athens. 
 
 In those aspects of their work which were necessarily 
 original, their language and style, the difference between 
 Plautus and Terence is quite as wide. The earlier poet was 
 fond of the exaggerated slang, personal abuse, ingenious 
 oaths, and brazen obscenity everywhere to be found in the 
 language of the lowest strata of society. Terence, too, 
 employs colloquial Latin, but his characters usually speak 
 as gentlemen might. Even his slaves are guilty of no such 
 linguistic excesses as abound in Plautus. 
 
 11. If, however, one has read only the formal Latin of 
 Caesar, Cicero's Orations, Vergil, Livy, and Horace's Odes, 
 the novel and striking feature of Terence's language and 
 style will be precisely their colloquial coloring. This appears 
 most clearly in the brevity of the sentences and their lack of 
 periodic structure the language is not "bookish." A
 
 INTRODUCTION 39 
 
 number of the less obvious features of informal Latin will be 
 pointed out in the notes. 
 
 12. Still, the reader must not ascribe all differences from 
 Ciceronian Latin to the colloquial style. Terence wrote 
 about a century earlier than Cicero, and used a number of 
 forms and constructions which either went out of use entirely 
 or became rare by Cicero's time. Peculiarities of early Latin 
 will also be discussed in the notes. 
 
 13. Our knowledge of Terence's life is based chiefly upon 
 the prologues to the plays, and a biography by Suetonius, 
 a scholar of the second century A.D. 
 
 It was the custom in Terence's day to precede the per- 
 formance of a comedy with the delivery of a prologue which 
 gave the audience such information as is now conveyed by the 
 printed program : the name of the Greek play from which it 
 was taken, the name of the Greek author, the name of the 
 Roman poet who had composed the play, a statement of 
 where the scene was laid, and, in some cases, an outline of the 
 plot. Sometimes, too, a prologue contained criticism of 
 rival poets, or a defense of the author against such criticism. 
 Terence saw that this information, so far as it was necessary 
 and was not given in the formal announcement of the play 
 just before the performance, could and should be conveyed in 
 the dialogue of the play itself, and he did not prefix any pro- 
 logue at all to his first two plays at their first performance. 
 His rivals, however, attacked him so fiercely that he found it 
 necessary to defend himself, and no other means seemed so 
 effective as the prologue. Seven of these prologues have been 
 preserved, two for the Hecyra and one for each of the other 
 plays ; they give us much valuable information about the 
 history of the Roman stage, and in particular about our 
 author's artistic ideals and methods.
 
 40 INTRODUCTION 
 
 / 
 
 14. The biography by Suetonius follows: 
 
 C. SUETONI TRANQUILLI 
 Y VITA TERENTI 
 
 I. P. Terentius Afer Carthagine natus servivit Romae Terentio 
 Lucano senatori, a quo ob ingenium et formam non institutus 
 modo liberaliter, sed et mature manu missus est. Quidam cap- 
 turn esse existimant. Quod fieri nullo modo potuisse Fenestella 
 docet, cum inter finem secundi Punici belli et initium tertii et 
 natus sit et mortuus; nee, si a Numidis vel Gaetulis captus sit, 
 ad ducem Romanum pervenire potuisse, nullo commercio inter 
 Italicos et Afros nisi post deletam Carthaginem coepto. 
 
 x. P. Terentius Afer: while 
 Terence was a slave, he seems 
 to have been called Afer, " the 
 African," in allusion to his 
 nationality. When he was set 
 free, he took, according to the 
 usual practice, the praenomen 
 and the nomen of his former 
 master and kept his slave name 
 as a cognomen. The name Afer 
 proves that Terence was not 
 really a Carthaginian, although 
 he was born in Carthage; for 
 in that case he would have 
 been called Poenus or Poenulus. 
 Neither was he a negro, as some 
 Afro-Americans have main- 
 tained ; the word Afer applies 
 properly to a member of one of 
 the native North African tribes, 
 most of which were subject to 
 the Carthaginians. Very likely 
 he was born a slave, and came 
 
 into the possession of his Roman 
 master by purchase or gift. 
 Carthagine : locative. 
 
 2. institutus : " educated." 
 
 3. manu missus est : consult 
 the dictionary under manumitto. 
 
 captum esse : i.e., in war. 
 
 4. Fenestella wrote, during 
 the reign of Tiberius, a work 
 called Annales. It has been lost, 
 but the rather numerous quota- 
 tions from it by later authors indi- 
 cate that Fenestella paid especial 
 attention to antiquarian curi- 
 osities and literary history. 
 The deductions quoted from him 
 here and in the next section dis- 
 play the best type of scholarship. 
 
 8. deletam : the participle car- 
 ries the most important idea of 
 the phrase, as in the title of 
 Livy's history, Ab Urbe Condita. 
 
 coepto goes with commercio.
 
 INTRODUCTION 
 
 2. Hie cum multis nobilibus familiariter vixit, sed maxime cum 
 Scipione Africano et C. Laelio, quibus etiam corporis gratia con- 
 ciliatus existimatur. Quod et ipsum Fenestella arguit contendens 
 utroque maiorem natu fuisse, quamvis et Nepos aequales omnes 
 fuisse tradat et Porcius suspicionem de consuetudine per haec 5 
 faciat : 
 
 2. Scipione Africano : the 
 younger Africanus, the con- 
 queror of Carthage, born 185 or 
 184 B.C. He was the center of 
 a band of literary men who 
 encouraged the newly intro- 
 duced Hellenic culture at Rome. 
 It is sometimes stated that 
 Terence drew much of his inspi- 
 ration from this " Scipionic 
 Circle," but it is not likely that 
 Scipio had gathered many prom- 
 inent men about him at the time 
 when Terence began writing; 
 for Scipio was then not more 
 than seventeen years old (see 
 onCaecilio, 3, and nondum . . . 
 annum, 5). 
 
 C. Laelio : Gaius Laelius 
 Sapiens, the younger, born 186 
 B.C. He and Africanus are the 
 young men with whom Cicero 
 makes Cato discuss old age in 
 the De Senectute. Their friend- 
 ship is commemorated in the 
 same author's De Amicitia. 
 
 corporis gratia : " by the 
 charm of his person." Love 
 affairs with boys were scarcely 
 considered shameful among the 
 
 Greeks. Roman feeling was 
 nearer our own. 
 
 conciliatus : " endeared." 
 
 3. et ipsum literally means 
 " itself also," but comes to be 
 little more than a variant of 
 quoque. The idiom is common 
 in Livy and later prose. 
 
 arguit : " confutes." In this 
 case, as in the other, Fenestella 
 was certainly right; see on 
 nondum . . . annum (5). 
 
 4. Nepos : Cornelius Nepos, 
 a friend of Cicero and Catullus, 
 a rather careless and inaccurate 
 biographer. From his works 
 twenty-five brief biographies 
 have come down to us. 
 
 aequales : " of the same age." 
 As a matter of fact, Terence was 
 about ten years older than Scipio 
 and Laelius (see 5). 
 
 5. Porcius : Porcius Licinus, 
 in the first century B.C., wrote 
 in verse a history of Roman 
 literature. This is not the only 
 chronological mistake to be 
 found in the few extant frag- 
 ments of his work. 
 
 consuetudine : " intimacy."
 
 42 INTRODUCTION 
 
 Dum lasciviam nobilium et laudes fucosas petit, 
 
 Dum African! vocem divinam inhiat avidis auribus, 
 
 Dum ad Philum se cenitare et Laelium pulchrum putat, 
 
 Dum in Albanum crebro rapitur 6b florem aetatis suae, 
 
 Suis postlatis rebus ad summam inopiam redactus est. 
 
 Itaque ex conspectu omnium ubi abit Graeciae in terrain ultimam, 
 
 Mortuust Stymphali, Arcadiae in oppido. Nil Publio 
 
 Scipio turn profuit, nil Laehus, nil Furius, 
 
 Tres per id tempus qui agitabant nobiles facillime; 
 
 Eorum ille opera ne domum quidem habuit conducticiam, 
 
 Saltern ut esset quo referret obitum domini servulus. 
 
 3. Scripsit comoedias sex, ex quibus primam Andriam cum 
 aedilibus daret, iussus ante Caecilio recitare, ad cenantem cum 
 
 1. dum lasciviam, etc. : the 
 verses are trochaic septenam, 
 on which see Introduction 25. 
 
 2. dum Africani : for the 
 scansion, see Introduction 20. 
 
 3. ad, " at the house of," gov- 
 erns both Philum and Laelium. 
 
 Philum : L. Furius Philus, 
 consul in 136 B.C. 
 
 pulchrum is a predicate adjec- 
 tive; the subject of the clause 
 in indirect discourse is se ceni- 
 tare. 
 
 4. Albanum : cf. Cicero's use 
 of Tusculanum for " country 
 house at Tusculum," Arpinas 
 for " country house at Arpi- 
 num," etc. 
 
 florem aetatis : " youthful 
 beauty." Cf. corporis gratia 
 above. 
 
 5. postlatis : post/ero strictly 
 
 means " esteem (one thing) less 
 than (another) " ; but since the 
 second term of the comparison 
 is here omitted, we may trans- 
 late freely " neglect." 
 
 7. in oppido : the phrase is 
 in apposition with the locative 
 Stymphali. 
 
 Publio : sc. Terentio. 
 
 9. agitabant facillime : " lived 
 in the greatest affluence." The 
 full phrase is vitam (aevum, 
 dies, etc.) agitare. 
 
 10. eorum : for the prosody, 
 see Introduction 19 end. 
 
 opera : ablative singular. 
 
 n. quo :" whither "; its ante- 
 cedent is the subject of esset: 
 " that there might be (a place) 
 whither." 
 
 referret : " bring news of." 
 
 13. aedilibus : the curule ae-
 
 43 
 
 venisset, dicitur initium quidem fabulae, quod erat contemptiore 
 vcstitu, subsellio iuxta lectulum residens legisse, post paucos vero 
 versus mvitatus ut accumberet cenasse una, dein cetera percucurrisse 
 non sine magna Caecilii admiratione. Et hanc autem et quinque 
 reliquas aequaliter populo probavit ; quamvis Volcatius in dinume- 
 ratione omnium ita scribat : 
 
 Sumetur Hecyra sexta, exilis fabula. 
 
 Eunuchus quidem bis die acta est meruitque pretium, quantum 
 nulla antea cuiusquam comoedia, id est octo milia nummorum; 
 
 diles, ascuratores ludorum solem- 
 niitm, purchased plays and had 
 them presented at certain pub- 
 lic festivals. 
 
 ante = antea; i.e., before 
 they would decide whether or 
 not to purchase the play. 
 
 Caecilio : Caecilius Statius 
 was the leading comic poet of 
 the generation between Plautus 
 and Terence. His plays have 
 been lost except for a few lines 
 that are quoted by later authors. 
 He died 168 B.C. For some 
 unknown reason the Andria 
 was not produced for sixteen 
 months or more after this 
 interview. 
 
 ad : " to the house of " ; cf. 
 on ad ( 2). With cenantem 
 sc. eum = Caecilium. 
 
 i. fabulae : " play." 
 
 3. percucurrisse : "went 
 through," i.e., " read." 
 
 4. Caecilii : subjective geni- 
 tive. 
 
 autem means " and, and in- 
 deed," as it frequently does. 
 
 5. Volcatius : Volcatius Sedi- 
 gitus, a scholar of uncertain date, 
 wrote a work called De Poetis. 
 The passages cited from it are 
 in iambic senarii (see Introduc- 
 tion 17). 
 
 dinumeratione : as Volcatius 
 is known to have drawn up a 
 list of the comic poets ar- 
 ranged in the order of their 
 merit (see on Naevio, etc., 7), 
 it is not surprising that this 
 list of Terence's plays was so 
 arranged. 
 
 7. sumetur sexta : " shall be 
 chosen for sixth place." The 
 reason for putting the Hecyra 
 last is given at the end of the 
 verse. 
 
 8. Eunuchus : another of 
 Terence's plays. The title of a 
 play (fabula} is regularly treated 
 as feminine. 
 
 9. nummorum = sestertium.
 
 44 
 
 INTRODUCTION 
 
 propterea summa quoque titulo ascribitur. . . . Nam Adel- 
 phorum principium Varro etiam praefert principio Menandri. 
 
 4. Non obscura fama est adiutum Terentium in scriptis a Laelio 
 et Scipione, eamque ipse auxit numquam nisi leviter refutare cona- 
 tus, ut in prologo Adelphorum : s 
 
 Nam quod isti dicunt malevoli, homines nobiles 
 Hunc adiutare assidueque una scribere; 
 
 1. titulo: a strip of parch- 
 ment attached to the end of a 
 book roll and containing such 
 information as is given by a 
 modern title page. 
 
 nam introduces the reason 
 for some statement that has 
 been lost from our text. 
 
 Adelphorum : the Adelphoe 
 was the last play Terence pro- 
 duced. 
 
 2. Varro : M. Terentius 
 Varro, " the most learned of the 
 Romans," a contemporary of 
 Cicero. He wrote approxi- 
 mately 620 books, of which 
 three, De Re Rustica, and six, 
 De Lingua Latina, survive. 
 
 Menandri : Terence's Adel- 
 phoe is an adaptation of Menan- 
 der's play of the same name. 
 Menandri is briefly put for 
 Menandri Adelphorum. 
 
 3. non obscura fama est, etc. : 
 the story was familiar in Sueto- 
 nius' day and had been for more 
 than a hundred years. Santra, 
 however, as quoted below by Sue- 
 tonius himself, shows not only 
 
 that the rumor was false, but also 
 that the words here cited from 
 Terence cannot apply to it. Ap- 
 parently a story was started by 
 the poet's rivals that he had been 
 helped in his composition by 
 certain prominent statesmen 
 perhaps those mentioned by 
 Santra. Terence referred to the 
 story without mentioning names 
 and refused to deny it. It was, 
 nevertheless, so completely dis- 
 believed and forgotten, that, 
 when the scholars of a later 
 day tried to interpret Terence's 
 dark hints, they hit upon the 
 wrong persons. See also below 
 on pronuntiasse versus, etc., and 
 on quorum operam, etc. 
 
 5. prologo Adelphorum : lines 
 15-21. They are iambic senarii. 
 
 6. quod : " as to the fact 
 that." Others regard this as a 
 relative used exactly as quod two 
 lines below. 
 
 isti malevoli : Terence's rivals, 
 in particular Luscius Lanuvinus, 
 on whom see Introduction 9. 
 
 7. hunc : Terence speaks of
 
 INTRODUCTION 
 
 45 
 
 Quod ill! maledictum vehemens esse existimant, 
 Earn laudem hie ducit maximam, quom illis placet, 
 Qui vobis utiiversis et populo placent, 
 Quorum opera in bello, in otio, in negotio 
 Suo quisque tempore usust sine superbia. 
 
 Videtur autem levius se defendisse, quia sciebat et Laelio et Scipioni 
 non ingratam esse hanc opinionem ; quae turn magis et usque ad 
 posteriora tempora valuit. C. Memmius in oratione pro se ait, 
 'P. Africanus, qui a Terentio personam mutuatus, quae domi 
 
 himself in the third person in 
 his prologues. 
 
 1. quod: the antecedent is 
 earn in the next line. Each pro- 
 noun agrees in gender and 
 number with its predicate noun. 
 
 illi : i.e., isti malevoli. 
 
 2. quom illis placet is a 
 clause of fact, with quom, "that," 
 where classical Latin would 
 use quod; see H. & B. 553 ; cf. 
 L. & M. 860. Most scholars 
 regard quom as causal in this 
 use. 
 
 4. opera: ablative singular 
 with usust. 
 
 5. suo tempore : " at his con- 
 venience " ; i.e., whenever it 
 has seemed best. 
 
 usust = usus est. For the 
 form, see on dictust (Andria 102). 
 
 sine superbia : " without dis- 
 dain " ; i.e., " since you have 
 not been above using their 
 assistance, why should I be ? " l 
 
 6. Laelio et Scipioni : as we 
 have just shown, these were 
 not the names that Terence had 
 in mind. 
 
 8. C. Memmius : a shifty 
 politician of Cicero's day. 
 When he was governor of 
 Bithynia, the poet Catullus was 
 a member of his staff. Although 
 Memmius certainly had little 
 sympathy with Epicurean phi- 
 losophy and was interested in 
 Greek rather than Latin litera- 
 ture, Lucretius dedicated to him 
 his philosophical poem, De 
 Rerum Natura. 
 
 9. personam : " mask." Al- 
 though masks were not worn by 
 Roman actors in Terence's time, 
 they were usual in Memmius' 
 day, and had always been worn 
 by Greek actors. Here " bor- 
 rowed a mask " is a figura- 
 tive way of saying " wrote 
 plays under another's name." 
 
 1 Otherwise Knapp, CR. 21. 45.
 
 4 6 
 
 INTRODUCTION 
 
 luserat ipse, nomine illius in scaenam detulit.' Nepos auctore certo 
 comperisse se ait C. Laehum quondam in Puteolano kalendis Martns 
 admonitum ab uxore, temperius ut discumberet, petisse ab ea ne 
 interpellaretur, seroque tandem ingressum triclinium dixisse non 
 saepe in scribendo magis sibi successisse; deinde rogatum ut 5 
 scripta ilia proferret, pronuntiasse versus qui sunt in Heautontimo- 
 rumeno : 
 
 Satis pol proterve me Syri promissa hue induxerunt. 
 
 Santra Terentium existimat, si modo in scribendo adiutoribus 
 indiguerit, non tarn Scipione et Laelio uti potuisse, qui tune adules- 10 
 centuli fuerint, quam C. Sulpicio Gallo, homine docto et quo 
 consule Megalensibus ludis initium fabularum dandarum fecerit, 
 
 1. luserat: ludo is often used 
 (transitively) of composing the 
 lighter forms of poetry. 
 
 2. Puteolano : for the mean- 
 ing, see on Albanum ( 2). 
 
 kalendis Martiis : on this 
 day the Matronalia were cele- 
 brated, and therefore partic- 
 ular respect would be paid to 
 the ladies of the family. 
 
 3. temperius : " somewhat 
 earlier than usual." 
 
 5. successisse is impersonal, 
 as is successit in Andria 670. 
 
 6. pronuntiasse versus, etc. : 
 if Nepos has his facts straight 
 (see on Nepos, 2), one may 
 conjecture that Laelius' quota- 
 tion from Terence was really 
 a jesting refusal to recite his 
 own composition. It is not 
 hard to see how Syri promissa 
 might be made to refer to the 
 entertainment which Laelius had 
 
 expected to find in the dining 
 room. 
 
 8. satis pol, etc. : line 723 of 
 Terence's Heautontimorumenos. 
 It is an iambic septenarius (see 
 Introduction 23). 
 
 9. Santra was a scholar who 
 lived in Cicero's time. Very 
 little is known about him. 
 
 10. adulescentuli : when Ter- 
 ence produced his first play, 
 Laelius was twenty years old 
 and Scipio eighteen or nineteen. 
 The Adelphoe was produced 
 six years later. 
 
 n. C. Sulpicio Gallo : consul 
 in 166 B.C., the year in which the 
 Andria was first produced. He 
 was interested in Greek as- 
 tronomy and perhaps in Greek 
 literature. 
 
 12. Megalensibus ludis : the 
 ludi Megalenses, in honor of 
 Cybele, were celebrated in April
 
 INTRODUCTION 
 
 47 
 
 vel Q. Fabio Labeone et M. Popillio, consular! utroque ac poeta. 
 Ideo ipsum non iuvenes designate, qui se adiuvare dicantur, sed 
 virus, (|iioruin operam et in bello et in otio et in negotio populus 
 sit cxpcrtus. 
 
 5. IVst editas sex comoedias, nonduin quintuni atque tricesimum ' 5 
 egressus annum, ammi causa seu vitandae opinionis, qua videbatur 
 aliena pro suis edere, seu percipiendi Graecorum instituta moresque, 
 quos non perinde exprimeret in scriptis, egressus urbe est neque 
 amplius rediit. De morte eius Volcatius sic tradit : 
 
 under the direction of the curule 
 aediles. For the four annual 
 festivals at which plays were 
 exhibited, see Introduction 6. 
 
 1. Q. Fabio Labeone : consul 
 in 183 B.C. 
 
 M. Popillio : Marcus Popil- 
 lius Laenas, consul in 173 B.C. 
 
 2. ipsum = Terentium. 
 
 iuvenes is the secondary ob- 
 ject of designare. The primary 
 object is eos, to be understood 
 as the antecedent of qui. 
 
 3. quorum operam, etc.: a 
 paraphrase of the last two lines 
 which Suetonius quotes above 
 from the prologue to the Adel- 
 phoe. Such words as these would 
 not have been applicable to 
 Scipio and Laelius until about 
 ten years after Terence's death. 
 
 5. editas : for the use of the 
 participle, see on dfletam ( i). 
 
 nondum . . . annum : since 
 the successful performance of 
 
 the Hecyra, the one for which 
 the longer prologue was written, 
 took place at the ludi Romani 
 in September, 160 B.C., this 
 notice fixes the poet's birth at 
 some time between September, 
 195 and the latter part of 194 
 B.C. 
 
 6. animi causa : animus de- 
 notes the emotional nature and 
 the will rather than the intel- 
 lect. This phrase then means 
 " for the sake of (satisfying) 
 his wishes " ; translate " for 
 pleasure." 
 
 vitandae opinionis : under- 
 stand causa from the preceding 
 phrase ; but see A. & G. 504 a 
 Note i, B. 339. 6, Bu. 1008, 
 G. 428. 2, H. & B. 616, H. 626. 5. 
 
 videbatur : " was thought." 
 
 7. percipiendi : the gerund is 
 parallel with the gerundive 
 vitandae. 
 
 8. perinde : " so accurately." 
 
 1 For the reading tricesimum, see the introduction to the Dziatzko-Hauler 
 edition of the Phormio (fourth edition, 1913) page 12.
 
 4 8 
 
 INTRODUCTION 
 
 Sed ut Afer populo sex dedit comoedias, 
 Iter hinc in Asiam fecit. In navem ut semel 
 Conscendit, visus numquam est : sic vita vacat. 
 
 Q. Cosconius redeuntem e Graecia perisse in mari dicit cum fabulis 
 conversis a Menandro. Ceteri mortuum esse in Arcadia Stymphali 5 
 sive Leucadiae tradunt Cn. Cornelio Dolabella M. Fulvio Nobiliore 
 consulibus, morbo implicitum aut ex dolore ac taedio amissarum 
 sarcinarum, quas in nave praemiserat, ac simul fabularum, quas 
 novas fecerat. 
 
 6. Fuisse dicitur mediocri statura, gracili corpore, colore fusco. 10 
 Reliquit filiam, quae post equiti Romano nupsit; item hortulos XX 
 iugerum via Appia ad Martis. Quo magis miror Porcium scribere : 
 
 Scipio nil profuit, nil Laelius, nil Furius, 
 
 Tres per id tempus qui agitabant nobiles facillime; 
 
 Eorum ille opera ne domum quidem habuit conducticiam, 15 
 
 Saltern ut esset quo referret obitum domini servulus. 
 
 7. Hunc Afranius quidem omnibus comicis praefert scribens in 
 Compitalibus : 
 
 The standard of comparison is 
 omitted, as it often is in English. 
 
 3. visus numquam est : i.e., 
 he never returned to Rome. 
 
 4. Q. Cosconius : a gramma- 
 rian who is quoted also by Varro. 
 
 redeuntem : sc. Terentium. 
 
 6. Cn. . . . consulibus : 
 i.e., 159 B.C. 
 
 10. gracili : " thin, slender." 
 
 colore fusco : " of dark com- 
 plexion." These characteristics 
 support the theory of North 
 African rather than Cartha- 
 ginian descent ; see on P. 
 Terentius Afer ( i). 
 
 12. ad Martis : the omission 
 
 of aedem or templum in such 
 phrases is similar to the omis- 
 sion of the word " house " in our 
 familiar " at Smith's," etc. 
 
 17. Afranius : Lucius Afra- 
 nius, who flourished about 
 100 B.C., wrote fabulae togatae, 
 i.e., comedies of Italian life 
 and manners in which the char- 
 acters wore Roman dress in- 
 stead of the Greek costumes 
 that were seen on the stage of 
 Plautus and Terence. The play 
 here mentioned gets its name 
 from the Compitalia or " cross- 
 roads festival," which was cele- 
 brated in December or January.
 
 INTRODUCTION 
 
 49 
 
 Terenti num similem dicetis quempiam ? 
 
 Volcatius autem non solum Naevio et Plauto et Caecilio, sed 
 Licinio quoque et Atilio postponit. Cicero in Limone hactenus 
 laudat : 
 
 Tu quoque, qui solus lecto sermone, Terenti, 
 Conversum expressumque Latma voce Menandrum 
 In medium nobis sedatis motibus effers, 
 Quiddam come loquens atque omnia dulcia dicens . . . 
 
 Item C. Caesar : 
 
 Tu quoque, tu in summis, o dimidiate Menander, 
 Poneris, et merito, puri sermonis amator. 
 Lenibus atque utinam scrjptis adiuncta foret vis 
 
 1. Terenti num, etc. : the 
 verse is an iambic senarius. Te- 
 renti depends upon similem. 
 
 2. Naevio, etc. : Aulus Gellius, 
 15. 24, quotes the passage in 
 full. In it the comic poets 
 are arranged in the order of 
 their merit as follows : Caeci- 
 lius, Plautus, Naevius, Licinius, 
 Atilius, Terence, Turpilius, Tra- 
 bea, Luscius, Ennius. 
 
 3. Limone : i.e., AetnAv, 
 " meadow." It was a literary 
 criticism in verse, which has not 
 been preserved. 
 
 5. tu quoque, etc . : these 
 verses and those quoted from 
 Caesar are hexameters. 
 
 7. in medium nobis effers : 
 properly, " you bring out into 
 our midst " ; translate " you 
 produce among us." 
 
 TER. ANDRIA 4 
 
 sedatis motibus : Latin plays 
 are technically classed as sta- 
 tariae, " quiet, with little ac- 
 tion," and motoriae, " full of 
 action." Terence seems to 
 have modified Menander in the 
 direction of the former type. 
 Translate " with less action." 
 
 8. come : " genial." 
 
 10. in summis : " in the first 
 rank." 
 
 12. atque. is virtually equiva- 
 lent to atqui, as in Andria 22$. 
 
 vis comica : the meaning 
 of the phrase is not clear. It 
 cannot refer to the boisterous 
 fun which was Plautus' chief 
 stock in trade; for the com- 
 parison here is with Menander 
 who, like Terence, prefers humor 
 to horseplay. Perhaps Caesar 
 was thinking of the marvelous
 
 50 INTRODUCTION 
 
 Comica, ut aequato virtus polleret honore 
 Cum Graecis neve hac despectus parte iaceres ! 
 Unum hoc maceror nc doleo tibi desse, I erenti. 
 
 THE ANDRIA 
 
 15. The Andria was the first play which Terence pro- 
 duced the one he read to Caecilius at dinner, thereby 
 gaining that poet's esteem (see 3 of Suetonius' Life of 
 Terence, p. 42 above). It was in the main a translation of 
 the Andria of Menander. The latter play, however, seems to 
 have been virtually a second recension of the Perinthia, 
 which Menander had written early in his career ; and Terence 
 preferred to follow the earlier piece at some points. One of 
 these places, the ancient commentator Donatus tells us, was 
 the first act, which in Menander's Andria consisted of a 
 monologue by the old man, while 'in the Perinthia he was 
 represented as talking to his wife. Terence substituted a 
 freedman as the second character in the dialogue. Donatus 
 further tells us that the characters Carinus and Burria did 
 not appear in Menander's Andria, and it has been plausibly 
 suggested that Terence got them from the Perinthia. 
 
 This practice of combining two Greek plays to make one 
 Latin play, named contaminatio by the Romans, was severely 
 criticized by Luscius Lanuvinus and his school chiefly, it 
 seems, because it hastened the day when there would be no 
 more Greek plays to translate. One might suppose that a 
 more valid criticism would be that a patchwork play would 
 be likely to lack coherence. No such objection, however, 
 can be urged against the Andria or any other of Terence's 
 plays. 
 
 clearness of outline and vivid- discovered fragments of the 
 ness of characterization which Greek poet (see Introduc- 
 we can observe in the newly tion 5).
 
 INTRODUCTION 51 
 
 METER AND PROSODY 
 
 1 6. The basic foot of the majority of Terence's verses is 
 the iambus (^ ). The long syllable may be resolved into 
 two shorts with the ictus 1 upon the first of them, thus giving 
 the tribrach (w 6 ^) with the ictus on the second syllable. For 
 the iambus may be substituted the spondee ( ) with the 
 ictus on the second syllable. 2 Either or both of the syllables 
 of the spondee may be resolved into two shorts, and, as in the 
 case of the iambus, if the ictus syllable is resolved, the ictus 
 falls upon the first of the resulting shorts. Hence we find the 
 anapaest (^ ^ ), the dactyl ( ^ w), and the proceleusmatic 
 (^ w w w). Terence employs, then, in iambic verses these 
 six kinds of feet : 
 
 iambus ^ 
 tribrach w 6 vy 
 spondee 
 anapaest ww^l 
 dactyl ^ ^ 
 proceleusmatic ^ w w w 
 
 In view of the difficulty of reading rapidly verses which allow 
 so much variation, each ictus is marked in this edition except 
 in cases where it falls upon the final syllable of the verse. 3 
 
 1 The word " ictus " denotes the beat used in marking time. The editor 
 assumes that the syllable which the ictus accompanied was accented 
 whether it would have been accented in prose or not. 
 
 2 Such a spondee must be pronounced with each of its two S3'llables about 
 three fourths as long as an ordinary long syllable, so as to occupy 
 approximately the time of an iambus. Similarly, each of the syllables of 
 a dactyl, an anapaest, and a proceleusmatic must be slightly shortened in 
 iambic and trochaic verse. Such feet are said to be irrational. 
 
 3 To mark the ictus of an iambic close seems quite useless, and it would 
 encourage a heavy stressing of the final syllable, a pronunciation as foreign 
 to the Latin language as it is to English.
 
 52 INTRODUCTION 
 
 17. The most common verse in Terence is the iambic 
 senarius (from seni, "six apiece"), which contains six feet. 
 The last of these must be an iambus, but, since the final 
 syllable of a Latin verse may be either long or short (syllaba 
 anceps), the pyrrhic (^^) may take the place of the iambus in 
 this one position. Many iambic senarii, but not all of them, 
 have a caesura before the ictus syllable of the third or fourth 
 foot. The first line of the Andria (numbered 28) is to be 
 scanned thus : 
 
 Vos istaec intro auferte ; abite. Sosia, 
 
 Z.\\ _^| w^l|w ^Iw6 
 
 To illustrate the proceleusmatic, we may analyze line 118: 
 Quae ibi aderant, forte unam aspicio adulescentulam, 
 
 w 6v,|_ ^| _ ^|v^6wl_^|^6 
 
 1 8. It will be observed that in line 28 each ictus except 
 the last falls upon a syllable that has a word accent. The 
 early poets preserve, to a very great extent, harmony between 
 verse ictus and the accent of ordinary speech. In many 
 cases where the two seem to clash, it is because the accent 
 of the Latin sentence differed considerably from the word 
 accent which is described in our grammars. Thus line 29 
 runs : 
 
 Ades dum ; paucis te volo. Dictum puta : 
 
 Here dum is an enclitic and has the same effect upon the 
 accent as -que. Similarly, te volo is regularly accented on the 
 antepenult since the penult is short. 
 
 19. Latin words which form an iambus, such as dmo, met, 
 die, fere, are particularly hard for us to pronounce correctly. 
 The accent upon the initial short syllable makes it so diffi- 
 cult to preserve the long quantity of the final syllable that 
 we tend to say dmo, mei, etc.
 
 INTRODUCTION 53 
 
 The early Romans were subject to this same tendency, so 
 much so, in fact, that certain originally iambic words had 
 their final syllables permanently shortened. Ego was once 
 ego like Greek cyoi; the adverbs bene and male originally 
 ended in long e, as do other adverbs from adjectives of the 
 first ^nd second declensions ; modo, the adverb, is really 
 the ablative singular of modus; the datives mihi, tibi, sibi, 
 and the adverbs ibi and ubt, originally had a long final syl- 
 lable, a pronunciation which was frequently employed by 
 Vergil and other classical poets, but which in their day may 
 no longer have been heard in ordinary speech. 
 
 In the time of Plautus and Terence the tendency to shorten 
 a long syllable after a short was much more widespread than 
 the traces of the process in classical Latin would lead us to 
 suppose. Thus, a syllable long by position might be short- 
 ened (dabit nemo) ; the two syllables might belong to different 
 words (et id gratum, ego In portu, sine invidia), or they might 
 form only part of a word (voluptati). An accent following the 
 long syllable of an iambus had the same effect as one preced- 
 ing it (voluptati, pudicitia}. 1 The tendency of early Latin to 
 shorten long syllables may, then, be summed up in these 
 two formulas : 
 
 (a) 6 _ tended to become ^ ^ 
 
 (b) w_^L tended to become v^wZ. 
 
 ^ w 
 
 The tendency was not equally strong in all words. The 
 common words which regularly show the shortening in later 
 times (see above) appear usually to have been pronounced 
 with this shortening in the early period, although, in the case 
 of most of them, there are sure instances of the original form 
 (note ego, Andria 258, 702; modo, 630, etc.). Other words, 
 such as bonds, patres, regularly retained the long quantity; 
 
 1 See Lindsay, The Captivi of Plautus (London, 1900) p. 34.
 
 54 INTRODUCTION 
 
 but most words seem to have varied freely between the two 
 pronunciations. 1 
 
 The early dramatists reflect this situation in their verse. 
 Almost any iambic succession of syllables with an accent next 
 to the long syllable may be treated as two short syllables, 
 but the frequency with which the shortened form of each 
 word occurs reflects roughly the usage of ordinary speech. 2 
 
 In Plautus and Terence there occur a number of shortened 
 iambi which do not seem to have a word or sentence accent on 
 the syllable preceding or following the shortened syllable, 
 and in some of these the shortened syllable itself seems to be 
 accented. It is possible that in some cases our information 
 as to early Latin accent is defective, but most such irregulari- 
 ties are probably due to the influence of related words which 
 fulfilled the conditions of the change; tibique is due, then, 
 to tibi, nescio (340, etc.) to scio, ddvenis (909) to vents, eodem 
 (885) to eo, eorum (64, etc.) to eoriimque and eorundem, 
 fuisse (42) to such forms as fui, Jiiissemus, and fuistique, 
 hoccinest (236, etc.) to hie est, etc. 
 
 Many scholars think that the verse ictus had the same 
 tendency as the accent of ordinary speech to shorten the long 
 syllable of an iambus. It is at least true that a syllable 
 shortened by the iambic law rarely stands under the 
 ictus. 3 
 
 20. In general, Terence makes the same use of elision as 
 the later poets. Hiatus occurs after interjections, e.g., O 
 hominem (769) ; and occasionally at a change of speakers, 
 as in line 593. 
 
 1 Some scholars would prefer to say "were pronounced with a quantity 
 intermediate between long and short." 
 
 2 This paragraph and the preceding one are not intended as argument. 
 For a brief statement of the case, see Lindsay, The Captivi of Plautus, 
 PP. 3 ff. 
 
 3 For weak final j, see on veritus (582).
 
 INTRODUCTION 55 
 
 One kind of hiatus, however, is much more common in 
 Terence and the other early dramatists than in Vergil and 
 his contemporaries. Accented monosyllables ending in a 
 long vowel or m are not elided before a short vowel, but 
 count as a single short syllable, as qui amant (191), cum eo 
 (639), etc. Sometimes the syllable following such a mono- 
 syllable is shortened by the iambic law, as turn id mihi (109). 
 
 21. While the iambic senarii (comprising about half of 
 each of Terence's plays) were spoken without musical accom- 
 paniment, all lines in other meters were accompanied by the 
 flute. Many of them were delivered by the actors in recita- 
 tive style, but some of the more lyrical passages were sung by 
 a slave stationed near the flute player while the actor per- 
 formed in pantomime. 
 
 22. The iambic octonarius (from octoni, "eight apiece") 
 contains eight feet. The last of these must be an iambus or a 
 pyrrhic. There is usually a caesura before the ictus syllable 
 of the fifth foot, or (less frequently) a diaeresis at the end of 
 the fourth foot. In the latter case the fourth foot is often 
 an iambus, for which a pyrrhic may be substituted just as at 
 the close of the line. Line 175 of the Andria should be 
 scanned : 
 
 Mirabar, hoc si sic abiret, et eri semper lenitas 
 
 ^l_ ^-\ ^\ w_^|w ii 6 w|_z. |_ ^|W^L 
 
 Line 584 shows a pyrrhic in the fourth place : 
 
 Propterea quod amat filius. Egon istuc facerem? Credidi, 
 
 
 23. The iambic septenarius (from septeni, "seven apiece") 
 contains seven complete feet followed by a single syllable. 
 There is usually a diaeresis after the fourth foot, which is 
 commonly an iambus and occasionally a pyrrhic. Some-
 
 56 INTRODUCTION 
 
 times there is a caesura in the fifth foot instead of a diaeresis. 
 We illustrate with lines 299 and 705 : 
 
 Sed cur tu abis ab ilia ? Obstetricem accerso. Propera. 
 Atque audin ? 
 
 Sat habeo. Quid facies ? Cedo. Dies hie mi ut satis sit, 
 
 XI /I / I / II /I /I 
 
 vereor 
 
 x i 
 
 24. The second group of Terence's verses is based upon 
 the trochee ( ^). Resolutions and substitutions follow the 
 same principles as in iambic rhythm : 
 
 trochee ^ 
 tribrach <jw 
 spondee - 
 anapaest 6^> 
 dactyl -^ww 
 
 Observe that in trochaic rhythm the ictus falls upon the first 
 syllable of each foot. 
 
 25. The trochaic septenarius contains seven complete feet 
 followed by a single syllable which has the ictus. The 
 seventh foot must be a trochee or a tribrach. Diaeresis 
 generally occurs after the fourth foot, but sometimes after 
 the fifth. Lines 178 and 179 are scanned thus : 
 
 Numquam quoiquam nostrum verbum fecit neque id aegre 
 tulit. 
 
 At nunc faciet, neque, ut opinor, sine tuo, magno malo.
 
 INTRODUCTION 57 
 
 26. The trochaic octonarius contains eight feet. Diaere- 
 sis usually occurs after the fourth foot. This measure occurs 
 in only seven lines of the Andria. The first is 245 : 
 
 Adeon hominem esse invenustum aut infelicem quemquam, 
 ut ego sum ! 
 
 27. Of less importance are the few short iambic and tro- 
 chaic lines. The iambic quaternarius (from quaterni, "four 
 apiece") may contain four full feet, as in 176: 
 
 Verebar quorsum evaderet, 
 
 \j+\ | -^6 
 
 or it may be catalectic ( i.e., lack the last half foot), as in 485 : 
 Date ; mox ego hue revortor. 
 
 / I V, /I 
 
 w \J ^ 
 
 The trochaic quaternarius catalectic contains three and a half 
 feet, as in 246 : 
 
 Pro deum atque hominum fidem ! 
 
 
 28. Terence rarely employs other rhythms than the iambic 
 and the trochaic. The cretic tetrameter usually consists of 
 four cretics (-^-^_). Either long syllable may be resolved 
 into two shorts, and a long syllable or two short syllables may 
 take the place of the short in the first and third feet. Lines 
 626 and 629 are to be scanned thus : 
 
 Tanta vecordia innata quoiquam ut siet, 
 
 Idnest verum ? Immo id est genus hominum pessumum, in
 
 58 INTRODUCTION 
 
 The bacchiac tetrameter usually consists of four bacchii 
 (^ ). Either or both of the longs may be resolved into 
 two shorts, and a long syllable may be substituted for the 
 short. Line 481 is to be scanned : 
 
 Adhuc, Arculis, quae adsolent quaeque oportent 
 
 29. TABLE OF THE METERS OF THE ANDRIA 
 
 1-174 
 
 iambic senarii 
 
 301 
 
 trochaic octonarius 
 
 175 
 
 iambic octonarius 
 
 302 
 
 trochaic septenarius 
 
 176 
 
 iambic quaternarius 
 
 33 304 
 
 iambic octonarii 
 
 177 
 
 iambic octonarius 
 
 305 
 
 trochaic octonarius 
 
 178, 179 
 
 trochaic septenarii 
 
 306 
 
 trochaic septenarius 
 
 180, 181 
 
 iambic octonarii 
 
 307 
 
 trochaic octonarius 
 
 182 
 
 trochaic septenarius 
 
 308 
 
 trochaic septenarius 
 
 I83-I9S 
 
 iambic octonarii 
 
 309-516 
 
 iambic octonarii 
 
 196-198 
 
 iambic senarii 
 
 317 
 
 trochaic septenarius 
 
 199-214 
 
 iambic octonarii 
 
 318 
 
 iambic senarius 
 
 215-224 
 
 iambic senarii 
 
 319-383 
 
 trochaic septenarii 
 
 225 
 
 iambic octonarius 
 
 384-393 
 
 iambic senarii 
 
 226 
 
 iambic senarius 
 
 394-403 
 
 iambic octonarii 
 
 227 
 
 iambic octonarius 
 
 404-480 
 
 iambic senarii 
 
 228-233 
 
 trochaic septenarii 
 
 481-484 
 
 bacchiac tetrameters 
 
 234-239 
 
 iambic octonarii 
 
 485 
 
 iambic quaternarius cata^ 
 
 240 
 
 iambic quaternarius 
 
 
 lectic 
 
 241, 242 
 
 trochaic septenarii 
 
 486 
 
 iambic senarius 
 
 243 
 
 iambic octonarius 
 
 487-505 
 
 iambic octonarii 
 
 244 
 
 iambic quaternarius 
 
 506 
 
 iambic septenarius 
 
 245 
 
 trochaic octonarius 
 
 507-516 
 
 trochaic septenarii 
 
 246 
 
 trochaic quaternarius cata- 
 
 517 
 
 trochaic quaternarius cata- 
 
 
 lectic 
 
 
 lectic 
 
 247 
 
 trochaic octonarius 
 
 518-523 
 
 trochaic septenarii 
 
 248-251 
 
 trochaic septenarii 
 
 524-532 
 
 iambic senarii 
 
 252 
 
 iambic quaternarius 
 
 533-536 
 
 iambic octonarii 
 
 253. 254 
 
 iambic octonarii 
 
 537 
 
 iambic quaternarius 
 
 255-260 
 
 trochaic septenarii 
 
 538-574 
 
 iambic senarii 
 
 261-269 
 
 iambic octonarii 
 
 575-581 
 
 iambic septenarii 
 
 270-298 
 
 iambic senarii 
 
 582-604 
 
 iambic octonarii 
 
 299, 300 
 
 iambic septenarii 
 
 605 
 
 iambic quaternarius
 
 INTRODUCTION 
 
 59 
 
 6o6 
 
 trochaic septenarius 
 
 607, 608 
 
 trochaic octonarii 
 
 609 
 
 trochaic septenarius 
 
 610-615 
 
 iambic octonarii 
 
 616 
 
 trochaic octonarius 
 
 617 
 
 trochaic septenarius 
 
 618-620 
 
 iambic octonarii 
 
 621-624 
 
 trochaic septenarii 
 
 625 
 
 dactylic tetrameter 
 
 626-634 
 
 cretic tetrameters 
 
 635-6381 
 
 i iambic quaternarii 
 
 639, 640 
 
 trochaic septenarii 
 
 641, 642 
 
 iambic octonarii 
 
 643-649 
 
 650-654 
 
 655-681 
 
 682, 683 
 
 684-715 
 
 716-819 
 
 820-860 
 
 861-865- 
 
 866-895 
 
 896-928 
 
 929-957 
 
 958-981 
 
 trochaic septenarii 
 iambic octonarii 
 iambic senarii 
 iambic octonarii 
 iambic septenarii 
 iambic senarii 
 trochaic septenarii 
 iambic octonarii 
 iambic senarii 
 trochaic septenarii 
 iambic octonarii 
 trochaic septenarii
 
 TABLE OF ABBREVIATIONS 
 
 A. & G. = Alien and Greenough's New Latin Grammar. 
 
 B. = Bennett's Latin Grammar. 
 Bu. = Burton's Latin Grammar. 
 
 G. = Gildersleeve-Lodge Latin Grammar. 
 
 H. & B. = Hale and Buck's Latin Grammar. 
 
 H. = Harkness' Complete Latin Grammar. 
 
 L. & M. = Lane and Morgan's School Latin Grammar. 
 
 A note beginning fere . . . paucis is on these words and all that 
 stands between them in the text, fere paucis introduces a note on 
 these two words alone, fere, etc., heads a note on fere and several 
 following words. 
 
 60
 
 TERENTI ANDRIA 
 
 61
 
 THE CHARACTERS OF THE PLAY 
 
 IN THE ORDER IN WHICH THEY APPEAR 
 
 SIMO A gentleman of Athens. 
 
 SOSIA Simo's freedman. 
 
 DAVOS Simo's slave, confidential servant of Pampilus. 
 
 Musis Glucerium s maid. 
 
 PAMPILUS Simo's son. 
 
 CARINUS A young man, friend of Pampilus. 
 
 BURRIA Carinus' slave. 
 
 LESBIA A midwife. 
 
 GLUCERIUM The girl from Andros. 
 
 CREMES A gentleman of Athens. 
 
 CRITO A gentleman of Andros. 
 
 DROMO Simo's slave. 
 
 CHARACTERS SPOKEN OF 
 
 CRUSIS A woman of Andros, reputed sister of Glucerium 
 
 PILUMENA Cremes' daughter. 
 
 ARCULIS Glucerium s slave woman. 
 
 CANTARA Glucerium 9 s slave woman. 
 
 PAN i A Cremes' brother. 
 
 62
 
 PROLOGUS 
 
 Poeta quom primum animum ad scribendum adpulit, 
 
 Id sibi negoti credidit solum dari, 
 
 Populo ut placerent quas fecisset fabulas. 
 
 Verum aliter evenire multo intellegit ; 
 
 Nam in prologis scribundis operam abutitur, 
 
 The Andria was first pre- 
 sented without a prologue; for 
 Terence felt that literary criti- 
 cism did not combine well 
 with comedies of life and man- 
 ners (see Introduction 13). It 
 is of course fortunate for us 
 that he was compelled to vio- 
 late his artistic principles and 
 record for all time the informa- 
 tion that is contained in the 
 extant prologues. The fact re- 
 mains, however, that no one of 
 them forms an artistic unity 
 with the play to which it is pre- 
 fixed. Nevertheless, in defer- 
 ence to custom, the prologue 
 which was written for a revival 
 of the Andria is included in this 
 edition. In the notes on the 
 play itself no acquaintance with 
 the prologue or the commen- 
 tary on it is assumed. 
 
 i. poeta : Terence speaks of 
 himself in the third person in the 
 prologues, as an English writer 
 
 often refers to himself as " the 
 author." - quom = cum. For 
 the spelling, see on quomque (63). 
 
 2. id negoti = id negotium. 
 Negoti is a partitive genitive. 
 
 3. fabulas is logically the 
 subject of placerent and the 
 antecedent of quas, but it is 
 incorporated into the relative 
 clause ; " what plays " instead 
 of " the plays which."' 
 
 4. multo : ablative of degree 
 of difference with aliter. 
 
 5. prologis has a long vowel 
 in the first syllable, although in 
 Greek TrpdAoyos the first vowel 
 is short. Latin pro has influ- 
 enced this and several other 
 Greek loan words contain- 
 ing 'the preposition wpd. 
 scribundis = scribendis ; for the 
 form, see on pariundi (233). 
 
 operam : abutor always takes 
 the accusative in Plautus and 
 Terence, although utor usually 
 governs the ablative. In early
 
 6 4 
 
 TERENTI ANDRIA 
 
 Non qui argumentum narret, sed qui malivoli 
 
 Veteris poetae maledictis respondeat. 
 
 Nunc, quam rem vitio dent, quaeso animum advortite. 
 
 Menander fecit Andriam et Perintiam. 
 10 Qui utramvis recte norit, ambas noverit. 
 
 Non ita dissimili sunt argumento, et tamen 
 
 Dissimih oratione sunt factae ac stilo. 
 
 Quae convenere in Andriam ex Perintia 
 
 Fatetur transtulisse atque usum pro suis. 
 15 Id isti vituperant factum atque in eo disputant 
 
 is 
 
 Latin abutor always has its ety- 
 mological meaning " use up." 
 
 6. qui is an old ablative of 
 the relative pronoun ; for the 
 form, see on 53. Here, as 
 often, it is equivalent to ut 
 and introduces a purpose clause. 
 argumentum : " plot." 
 malivoli : a short vowel at the 
 end of the first member of a 
 compound regularly becomes i; 
 from the stems magno-, agro-, 
 and aequo- we have magni- 
 ficus, agri-cola, and aequi-dis- 
 tans, and, in the same way, 
 from the stem malo- we get the 
 compound mali-volus. Classical 
 male-volus gets its e from the 
 adverb male. 
 
 7. veteris poetae : Luscius 
 Lanuvinus (see Introduction 9). 
 Luscius and his school resented 
 Terence's rejection of their ar- 
 tistic standards and attacked 
 him bitterly. maledictis : this 
 
 was originally a phrase, male 
 dictum, and so the vowel of the 
 antepenult was always e. Com- 
 pare the note on malivoli (6). 
 
 8. vitio : for the case, see A. & 
 G. 382, B. 191, Bu. 483, G. 356, 
 H. & B. 360, H. 433, L. & M. 548. 
 
 9. Menander : see Introduc- 
 tion 5 and 15. Perintia: the 
 classical form of the word is 
 Perinthia (Greek IIepiv#ia, see 
 on epebis, 51), and that is the 
 form which is employed in 
 English. 
 
 10. norit = noverit. 
 
 12. oratione: "thought." 
 stilo : " style." 
 
 14. fatetur : sc. poeta. 
 transtulisse : for the omis- 
 sion of the subject of the infini- 
 tive, see on dictum (29). 
 
 15. id isti : for the quantity, 
 see Introduction 19. isti : 
 the poet's critics. disputant : 
 " maintain."
 
 PROLOGUS 
 
 20 
 
 Contaminari non decere fabulas. 
 Faciuntne intellegendo, ut nihil intellegant ? 
 Qui quom hunc accusant, Naevium Plautum Ennium 
 Accusant, quos hie noster auctores habet, 
 Quorum aemulari exoptat neclegentiam 
 Potius quam istorum obscuram diligentiam. 
 Dehinc ut quiescant porro moneo et desinant 
 Male dicere, malefacta ne noscant sua. 
 
 16. contaminari : " to be 
 
 mixed," as Menander's Andria 
 and Perinthia were mixed to 
 form Terence's Andria (see 
 Introduction 15). 
 
 17. faciuntne really means 
 " do they or do they not ? " 
 Classical Latin, however, would 
 surely use nonne here, and 
 English idiom also requires " do 
 they not." faciuntne . . . 
 intellegant : " Do they not 
 with all their knowing really 
 know nothing ? " or, better, 
 " Do they with all their know- 
 ing really know anything ? " 
 
 1 8. Naevium Plautum En- 
 nium : for Plautus, see Intro- 
 duction 8. Naevius was an 
 earlier contemporary of Plau- 
 tus who wrote comedies and 
 tragedies, and, late in life, 
 an epic poem on the war with 
 Carthage, from which Vergil 
 is said to have borrowed not- a 
 little. Ennius was a younger 
 contemporary of Plautus who 
 
 TER. ANDRIA -5 
 
 wrote plays, but who is best 
 known for his epic poem on the 
 history of Rome from the land- 
 ing of ./Eneas in Italy down to 
 the poet's own day. This was 
 regarded as the greatest Roman 
 epic until the appearance of 
 Vergil's JEneid. 
 
 19. hie noster: sc.poeta; see 
 on i. auctores : " examples, 
 models." 
 
 20. neclegentiam : " careless 
 freedom," in the sense in which 
 we speak of a " free translation." 
 But perhaps we should translate 
 "carelessness," and think of this 
 and diligentiam in the next line 
 as quoted from Lanuvinus. 
 
 21. obscuram diligentiam: 
 " obscure literalism," or perhaps 
 " obscure accuracy." 
 
 22. dehinc : for the pro- 
 nunciation, see on 79. dehinc 
 porro : " from now on." 
 
 23. malefacta: originally a 
 phrase, male factum; see on 
 maledictis (7).
 
 66 
 
 TKRFATI ANDRIA 
 
 Favete, adeste aequo animo et rem cognoscite, 
 Ut pernoscatis, ecquid spei sit relicuom, 
 Posthac quas faciet de integro comoedias, 
 Spectandae an exigendae sint vobis prius. 
 
 24. favete : so. linguis ; this 
 was a formula spoken before 
 the celebration of a sacrifice. 
 " Favor < the occasion > with 
 your tongues " properly meant 
 " use only words of good 
 omen " ; but, as no word was 
 quite certain to be free from ill 
 omen, the only safe procedure 
 was to be quiet. Hence the 
 phrase came to mean, as it does 
 here, "be quiet." adeste : 
 " be attentive." aequo : 
 " fair." rem cognoscite in- 
 volves a metaphor from the 
 courts ; " examine the case " 
 between Terence and his critics 
 by listening to this play. 
 
 25. spei is a monosyllable ; 
 
 see on fide (296). relicuom 
 ( = reliquom, relicum) contains 
 four syllables in early Latin. 
 
 26 f. These verses contain 
 an indirect question depending 
 upon pernoscatis (25), but at the 
 same time they give the sub- 
 stance of the hope (spei) men- 
 tioned in the latter half of line 25. 
 
 26. de integro : in contrast 
 to the old play which is about 
 to be presented ; cf. introduc- 
 tory note on the prologue. 
 comoedias : for the case, see on 
 fabulas (3). 
 
 27. spectandae, with which 
 we must understand sint from 
 exigendae sint, is the first half 
 of a double indirect question.
 
 ACTUS I 
 
 The scene remains unchanged throughout the play. It represents a street in 
 Athens and the fronts of two houses, one of which belongs to Simo and one to 
 Glucerium. The street leads, on the spectators' right, to the market; on the left, 
 to the harbor and the country. 
 
 SIMO SOSIA 
 SENEX LIBERTUS 
 
 [They enter from the right, followed by several slaves carrying 
 provisions for to-day's dinner.} 
 
 Si. [To his slaves.] Vos istaec Intro auferte ; abite. [Exeunt 
 slaves. Simo turns to his freedman.] Sosia, 
 
 ACT I SCENE i 
 
 The division of Latin comedies 
 into acts is not indicated in the 
 manuscripts, but is important for 
 our understanding of the plays. 
 In the performance of the Greek 
 originals the chorus sang and 
 danced between the acts and 
 thus marked the play off into 
 clearly distinct parts. On the 
 Roman stage the flute player 
 sometimes furnished musical in- 
 terludes between the acts, but at 
 other times the performance 
 seems to have continued without 
 any pause. A necessary condi- 
 tion for the close of an act was 
 that none of the actors should 
 remain on the stage; but the 
 stage might be left vacant for a 
 moment in the middle of an act. 
 
 The division into scenes, al- 
 though recorded in the manu- 
 scripts, has no importance. A 
 new scene is usually marked 
 when an actor enters or leaves 
 the stage, but the plan is not 
 carried out consistently. 
 
 28. istaec : in early Latin the 
 enclitic -c(e), " here, there," 
 which always appears in certain 
 forms of hi-Cj is often appended 
 to the forms of ille and iste. The 
 forms with appended -c(e) may 
 be found in the grammars : A. & 
 G. 146 a, Bu. 244, G. 104. II 2, 
 III 3, H. &B. 138. 2c, H. 178.6. 
 Istaec has here its exact force as 
 the demonstrative of the second 
 person, since it refers to the pro- 
 visions carried by the slaves. 
 Sosia is Greek Swcrias. (We find 
 the name in Menander's Pericei- 
 
 67
 
 68 
 
 TERENTI ANDRIA 
 
 Ades dum; paucis te volo. So. Dictum puta : 
 30 Nempe ut curentur recte haec ? Si. Immo 
 
 So. Quid est 
 
 Quod tibi mea ars efFicere hoc possit amplius ? 
 Si. Nil istac opus est arte ad hanc rem quam paro, 
 Sed is quas semper in te intellexi sitas, 
 Fide et taciturnitate. So. Expecto quid velis. 
 35 Si. Ego postquam te emi, a parvolo ut semper tibi 
 Apud me iiista et clemens fuerit servitus, 
 Scis. Feci ex servo ut esses libertus mihi, 
 
 aliud. 
 
 romene, Introduction 5.) Ter- 
 ence always drops final -s in the 
 nominative of Greek masculine 
 names of the first declension. 
 
 29. ades dum : for the accent, 
 see Introduction 18. The en- 
 clitic dum (originally temporal) 
 tones down the abruptness of an 
 imperative, as in the common 
 age dum, " come now " ; translate 
 "wait a moment." paucis (sc. 
 verbis) is ablative of means with 
 an infinitive, such as appellare, to 
 be understood. dictum is a par- 
 ticiple in indirect discourse ( = 
 dictum esse). The subject of a 
 main clause in indirect discourse 
 is freely omitted in colloquial 
 Latin in case it can be easily 
 supplied ; here, however, Sosia 
 guards against being misunder- 
 stood by supplying the subject 
 as an afterthought (ut curentur). 
 
 30. ut curentur : a clause of in- 
 direct command used as the sub- 
 
 ject of dictum of the preceding 
 line; cf. Plautus, Miles 1089 : die 
 domum ut transeat. Curo is often 
 used of preparing food. immo 
 aliud: "no, something else." 
 
 32. istac : the demonstrative 
 of the second person refers to 
 Sosia's mea (31). 
 
 33. is = eis. Supply artibus 
 from istac arte. 
 
 35. parvolo = parvulo ; where 
 Latin of imperial times shows 
 
 . the combination uu or vu, early 
 Latin regularly has uo or vo. 
 Other examples are servolos (83), 
 voltu (119), Davos (159). The 
 spelling with o once represented 
 the pronunciation, but there is 
 reason to believe that the vowel 
 came to be spoken as u long be- 
 fore it was so written. a par- 
 volo : English idiom requires 
 an abstract substantive, "from 
 childhood." 
 
 36. apud me : the unemphatic
 
 ACTUS I, SCENA I 
 
 69 
 
 Propterea quod servibas liberaliter. 
 Quod habui summum pretium, persolui tibi. 
 40 So. In memoria habeo. Si. Haud muto factum. So. 
 
 Gaudeo, 
 
 Si tibi quid feci aut facio quod placeat, Simo, 
 Et id gratum fuisse advorsum te habeo gratiam. 15 
 
 Sed hoc mihi molestumst ; nam istaec commemoratio 
 Quasi exprobratiost inmemori benefici. 
 
 personal pronoun had no accent ; iambic law ; see Introduction 19. 
 
 that is, it was pronounced as an 
 enclitic. Hence this phrase was 
 virtually a single word with a 
 long, and therefore accented, 
 penult. Cf. ad'es dum (29), and 
 see Introduction 18. 
 
 38. servibas = serviebas ; in 
 early Latin, verbs of the fourth 
 conjugation form the imperfect 
 indicative in -ibam or -iebam. 
 liberaliter: "in the spirit of a 
 free man." 
 
 39. pretium = praemium. - 
 persolui : the early Latin form 
 for persolvi. 1 
 
 40. Sosia prides himself upon 
 being a good and loyal servant. 
 In line 29 he tried to forestall a 
 reminder of his duty. Now the 
 same feeling leads him to inter- 
 pret Simo's rehearsal of past 
 kindnesses as a reproof. His 
 .tone shows vexation. Hence 
 
 Simo's reassuring rejoinder. 
 
 42. id and the second syllable 
 of fuisse are shortened by the 
 
 advorsum : the early form of 
 adversum. Advorsum te means 
 "before you"; translate "to 
 you." habeo gratiam, "I feel 
 gratitude," is to be carefully dis- 
 tinguished from gratias ago, " I 
 thank you," and gratiam refero, 
 " I return the favor, retaliate." 
 
 43. hoc is shortened by the 
 iambic law. molestumst mo- 
 lestum est; see the next note. 
 
 44. exprobratiost = exprobratio 
 est; es and est after a vowel 
 become 's and 'st, and our manu- 
 scripts of Plautus and Terence 
 often indicate that pronuncia- 
 tion by the spelling. When -m 
 precedes est the manuscripts give 
 such forms as molestumst (43), 
 although the pronunciation was 
 probably molestust. inmemori : 
 dative after exprobratio ; in early 
 Latin, verbal nouns in -tio fre- 
 quently take the same construc- 
 tions as the verbs from which 
 they are formed. benefici: in 
 
 1 See Sommer, Handbuch 145.
 
 7 o 
 
 TEREXTI AXDRIA 
 
 45 Quin tu uno verbo die, quid est quod me velis. 
 Si. Ita faciam. Hoc primum in hac re praedico tibi : 
 
 Quas credis esse has, non sunt verae nuptiae. 
 So. Quor simulas Tgitur ? Si. Rem omnem a principio 
 
 audies : 
 Eo pacto et gnati vitam et consilium meum 
 
 early Latin, words of four sylla- 
 bles, the first three of which were 
 all short, were regularly accented 
 on the first; so pilosopos (57), 
 mulieres (117), etc. In Cicero's 
 day contracted genitives like 
 benefici and consili were accented 
 on the penult, but early Latin 
 verse indicates that at that time 
 they followed the same accentual 
 laws as other words. 
 
 45. quin die : quin (qui, " why " . 
 H ne, " not ") with the indica- 
 tive often conveys a suggestion 
 that is virtually a command : 
 e.g., Quin taces? (399) "Why 
 don't you hush ?" The use with 
 the imperative is due to the con- 
 tamination of two synonymous 
 expressions. One sometimes 
 starts to say, " Why did you do 
 that ? " but thinks of the equiva- 
 lent and partly identical ques- 
 tion, " What did you do that 
 for ? " and ends by saying " Why 
 did you do that for ? " Just so 
 one sometimes started to say 
 quindicis? but, thinking of the 
 equivalent die, he ended by say- 
 ing quin die. quid est: in early 
 
 Latin, indirect questions often 
 take the indicative, especially in 
 connection with an imperative. 
 Some scholars prefer to say that 
 such questions are not really de- 
 pendent. quod is a secondary 
 object of velis ; see A. & G. 390 d, 
 B. 178. i d, Bu. 510, G. 341. 2, H. 
 & B. 397, H. 412, L. & M. 524. 
 
 47. quas credis esse has: 
 quas = quales (the antecedent is 
 verae}. Although has and nup- 
 tiae logically belong together, 
 they stand in different clauses 
 and each takes the case proper 
 to its own clause. English idiom 
 requires that they be brought 
 together : " This is not a real 
 marriage, as you consider it to 
 be," or better, " Though you 
 consider it such, this is not a 
 real marriage." As appears la- 
 ter (lines 238 f., 253 ff.), Simo 
 has not yet informed his house- 
 hold that the marriage is set 
 for to-day; but it has been 
 necessary to explain to Sosia the 
 unusually liberal marketing. 
 
 49. eo : for the scansion, 
 see Introduction 19. gnati
 
 ACTUS I, SCENA I 
 
 50 Cognosces, et quid facere in hac re te velim. 
 51, 52 Nam is postquam excessit ex epebis (nam antea 
 
 Qui scire posses aut ingenium noscere, 
 
 Dum aetas metus magister prohibebant ? So. Itast.) 
 
 (classical nati) shows the initial 
 g which was permanently re- 
 tained in co-gnatus. 
 
 51. nam: "well then." - 
 epebis = classical Latin ephebis. 
 In early times, when the Romans 
 borrowed Greek words they 
 did not take pains to pronounce 
 accurately the unfamiliar Greek 
 aspirates, x ( c ^> pronounced 
 nearly as ckh in blockhouse), 
 <f> (ph, as in haphazard), and 
 (th, as in boathouse). Instead 
 they used the nearest equiva- 
 lents their own language fur- 
 nished, namely, c, p, and t, 
 respectively. It was not until 
 after Terence's time that edu- 
 cated Romans began to take 
 their Greek more seriously and 
 to pronounce and write the 
 h which followed the mute 
 in such words. Epebi were 
 young men from 18 to 20, during 
 which years they served in the 
 militia. The line means " after 
 he came of age." , 
 
 53. qui: an early Latin 
 ablative of quis or qui. The 
 relative-interrogative belongs to 
 the first and second declension 
 in some of its forms (e.g., nom. 
 
 pi. qui, quae, gen. pi. quorum, 
 quarum), but in others it is an 
 i-stem of the third declension 
 (e.g., quis, quern, quibus). Be- 
 sides the ablative quo, qua, 
 quo, early Latin possessed also 
 the t'-stem ablative qui (pre- 
 served in the classical phrases 
 qui-cum, at-qui, etc.) which 
 served for all three genders. 
 The form qui was used not only 
 in all the senses of the other 
 form, but also in several ad- 
 verbial uses. Very frequently 
 it means " how," interrogative 
 (as here), indefinite, or relative. 
 In the sense of " why " (which 
 occurs in lines 150, 934, 954, 
 etc.) it combines with the old 
 negative ne ( = non) to form 
 quin (cf. on 45). posses: 
 the mood is due entirely to the 
 indefinite second person ; Ter- 
 ence might have written quis- 
 quam poterat. The tense is 
 the same as that of prohibebant, 
 and for the same reason. 
 
 54. magister : here, as in 
 Phormio 72, the word is the 
 equivalent of the Greek loan 
 word paedagogus (7reu8ay<i>- 
 yos), the designation of the
 
 TERENTI ANDRIA 
 
 55 Si. Quod plerique omnes faciunt adulescentuli, 
 
 Ut animum ad aliquod studium adiungant, aut equos 
 Alere aut canes ad venandum, aut ad pilosopos, 
 Horum ille nil egregie praeter cetera 
 Studebat, et tamen omnia haec mediocriter. 
 
 60 Gaudebam. So. Non iniuria ; nam id arbitror 
 
 Adprime in vita esse utile, ut ne quid nimis. 
 Si. Sic vita erat ; facile omnis perferre ac pati ; 
 Cum quibus erat quomque una, is sese dedere; 
 
 slave who conducted the chil- idioms ; cf. qui, " how," dis- 
 
 .50 
 
 35 
 
 dren to and from school, and 
 had charge of them at home. 
 
 55. plerique omnes scarcely 
 differs from plerique alone. 
 adulescentuli : scarcely differ- 
 ent from adulescentes ; faded 
 diminutives are characteristic 
 of colloquial Latin. 
 
 56. ut . . . adiungant : a sub- 
 stantive clause of result de- 
 nning quod. 
 
 57. alere is in apposition 
 with studium, while ad pilosopos 
 depends directly upon animum 
 adiungant. The change in con- 
 struction is colloquial, but was 
 no doubt chosen here to avoid 
 coupling dogs and philosophers 
 too closely. For the spelling 
 of pilosopos, see on epebis (51). 
 For the accent, as indicated by 
 the ictus, see on benefici (44). 
 
 58. horum is neuter. 
 
 60. iniuria : the ablative of 
 manner without a modifier oc- 
 curs in a number of common 
 
 cussed in the note on line 53. 
 
 61. ut ne quid nimis: "noth- 
 ing in excess " ; ut ne expresses 
 all that could have been ex- 
 pressed by the mood of the 
 omitted verb; we have a 
 substantive clause of will. The 
 expression is a translation of a 
 common Greek proverb (p-rfifv 
 ayav) and epitomizes a very 
 important part of popular Greek 
 ethics. The freedman states 
 explicitly what his more culti- 
 vated master implied in one 
 word, gaudebam. 
 
 62. sic = talis is character- 
 istic of colloquial Latin. 
 
 63. quomque = cumque. 
 Early Latin retained in several 
 words the sound group quo, which 
 later became cu. Compare the 
 change of uo and vo to uu and vu 
 (seeon parvolo, 35). Thischange 
 too was earlier in pronunciation 
 than in spelling. Construe quom- 
 que with quibus. is = eis.
 
 ACTUS I, SCENA I 
 
 73 
 
 Eorum obsequi studiis, advorsus nemini, 
 65 Numquam praeponens se illis ita ut facillume 
 Sine invidia laudem invenias et amicos pares. 
 
 50. Sapienter vitam instituit ; namque hoc tempore 
 Obsequium amicos, veritas odium parit. 
 
 51. Interea mulier quaedam abhinc triennium 
 70 Ex Andro commigravit hue viciniam, 
 
 Inopia et cognatorum neclegentia 
 
 Coacta, egregia forma atque aetate Integra. 
 
 So. Ei, vereor ne quid Andria adportet mali ! 
 
 Sz'. Primo haec pudice vitam, parce ac duriter, 
 75 Agebat, lana ac tela victum quaeritans; 
 
 40 
 
 45 
 
 64. eorum : for the prosody, 
 see Introduction 19 end. 
 advorsus is the participle of 
 advorto (classical adverto). 
 
 65. ita ut : although ita is 
 to be construed with obsequi, 
 it is logically a part of the after- 
 thought or supplementary com- 
 ment conveyed in ut . . . in- 
 venias ; translate " in the way 
 in which." ut is shortened 
 by the iambic law. 
 
 66. sine invidia : for the 
 prosody, see Introduction 19. 
 The first foot of the line is a 
 proceleusmatic. invenias: the 
 mood is due to the indefinite 
 second person. 
 
 67. hoc tempore : popular 
 moralists of every age find 
 their generation worse than the 
 one before it. 
 
 70. viciniam is here used 
 
 without a preposition to express 
 the end of motion ; cf. the com- 
 mon use of domum. 
 
 71. cognatorum neclegentia: 
 her nearest relative is Crito, 
 who appears in the latter part 
 of the play. The information 
 here given about his treatment 
 of his kinswoman is of the ut- 
 most importance to the under- 
 standing of his character. 
 
 72. aetate integra : " with her 
 life all before her, in the prime 
 of life," or, somewhat less ex- 
 actly, " in the bloom of youth." 
 
 73. ei : the interjection. 
 
 74. duriter : adverbs in -ter 
 from adjectives in -us were 
 colloquial in Cicero's day. It 
 is not certain that they were 
 so in the time of Terence. 
 
 75. quaeritans: frequenta- 
 tives are more common in col-
 
 74 
 
 TERENTI ANDRIA 
 
 Sed postquam amans accessit pretium pollicens 
 Unus et item alter, ita ut ingeniumst omnium 
 Hominum ab labore proclive ad lubidinem, 
 Accepit condicionem, dehinc quaestum occipit. 
 
 80 Qui turn illam amabant, forte, ita ut fit, filium 
 Perduxere illuc, secum ut una esset, meum. 
 Egomet continuo mecum : 'certe captus est; 
 Habet.' Observabam mane illorum servolos 
 Venientis aut abeuntis. Rogitabam 'heus puer, 
 
 85 Die sodes, quis heri Crusidem habuit ?' nam Andriae 
 
 5 
 
 55 
 
 loquial than in formal Latin. 
 Often they are weakened until 
 they scarcely differ in meaning 
 from the primitive verb. 
 
 78. proclive : " downhill " ; 
 be careful to keep the metaphor 
 in your translation. 
 
 79. condicionem : " terms." 
 dehinc : pronounced deinc 
 
 with diphthongal ei, as regu- 
 larly in all periods of the lan- 
 guage ; so deinde, dein, proinde, 
 proin contain diphthongs. The 
 spelling with h was retained be- 
 cause every one was conscious 
 that the compound contained 
 hinc . - - quaestum : translate 
 " profession," although quae- 
 stus in its original sense is 
 nearer English " trade " or " oc- 
 cupation." occipit : an early 
 Latin synonym of incipit. 
 
 82. egomet : the use of the 
 strengthened form of the pro- 
 noun without marked emphasis 
 
 is characteristic of colloquial 
 Latin. The omission of the 
 verb of saying is another collo- 
 quialism. 
 
 83. habet, in the slang of the 
 arena, meant " he has his 
 deathblow." servolos : for the 
 diminutive, see on adules- 
 centuli (55); for the spelling, 
 see on parvolo (35). 
 
 84. rogitabam : see on quaeri- 
 tans (75). Here the frequenta- 
 tive has its full force. puer : 
 colloquial for serve, just as in the 
 Southern States " boy " formerly 
 meant "slave" (of any age). 
 
 85. sodes stands for si aiides ; 
 the vowel of si was elided and 
 au tended to become o in collo- 
 quial Latin. The verb audeo 
 is a derivative of avidus, and 
 in this phrase it retains its 
 original meaning " desire " ; 
 translate " if you please." 
 Crusidem : the classical form
 
 ACTUS I, SCENA I 
 
 75 
 
 Illi id erat nomen. So. Teneo. Si. Paedrum aut 
 
 Cliniam 
 
 Dicebant aut Niceratum ; nam hi tres simul 60 
 
 Amabant. 'Eho, quid Pampilus?' 'Quid? Sumbo- 
 
 lam 
 
 Dedit, cenavit.' Gaudebam. Item alio die 
 Quaerebam ; comperiebam nil ad Pampilum 
 Quicquam attinere. Enim vero spectatum satis 
 Putabam et magnum exemplum continentiae; 65 
 
 Nam qui cum ingeniis conflictatur eius modi 
 
 of the name would be Chrysis 
 (Gk. Xpwis) ; cf. on sum- 
 bolam (88). 
 
 86. teneo : " I get you." 
 88. Pampilus : the classical 
 form would be Pamphilus (Gk. 
 IIa/A<iA.os) . sumbolam : the 
 classical form would be sym- 
 bolam. The letters Y and Z do 
 not occur in genuine Latin 
 words, and in Terence's day 
 they were not used at all in 
 Latin ; Greek Y and Z were 
 represented by Latin U and SS 
 (or S), respectively. At a later 
 time, when the Romans began 
 to write PH for Greek $, etc. 
 (see on epebis, 51) they also 
 introduced the characters Y 
 and Z. The word sumbola 
 means " contribution," and here 
 designates a payment toward 
 the expense of a dinner. Ter- 
 ence keeps the Greek word which 
 he found in Menander; in his 
 
 day, probably, no Latin word 
 would suggest the Greek custom. 
 Cicero, however, uses conlecta 
 in precisely this sense. 
 
 90. nil quicquam : a pleo- 
 nasm common in colloquial 
 Latin. 
 
 91. enim vero: "in fact"; 
 enim is common in early Latin 
 without causal force. Enim is 
 shortened by the iambic law. 
 
 93. ingeniis shows the shift 
 of meaning which is familiar 
 in the English word " character " 
 = " a person of distinctive 
 characteristics." eius : a 
 monosyllable pronounced eis 
 with diphthongal ei. This is 
 probably the original genitive 
 of is. It went out of use soon 
 after Terence's time. Our man- 
 uscripts always spell eius and it 
 seems best to follow them. In 
 case an ictus falls upon the 
 monosyllabic genitive eius, it is
 
 TERENTI ANDRIA 
 
 Neque commovetur animus in ea re tamen, 
 95 Scias posse habere iam ipsum suae vitae modum. 
 Quom id mihi placebat, turn uno ore omnes omnia 
 Bona dicere et laudare fortunas meas, 
 Qui gnatum haberem tali ingenio praeditum. 
 Quid verbis opus est ? Hac fama inpulsus Cremes 
 100 Ultro ad me venit, unicam gnatam suam 
 Cum dote summa filio uxorem ut daret. 
 Placuit ; despondi. Hie nuptiis dictust dies. 
 
 70 
 
 marked over the i, as here. 
 Similar genitives from other 
 pronouns are hui(u)s (210, etc.). 
 quoi(u)s (336, etc.), and illi(u)s 
 (810). 
 
 94. animus : sc. eius. ea 
 re : i.e., the life of pleasure. 
 
 95. scias : potential subjunc- 
 tive with the indefinite second 
 person ; see A. & G. 447. 2,' 
 B. 280, Bu. 779, G. 257, H. & 
 B. 517. i, H. 552, L. & M. 718. 
 Contrast the subjunctive with- 
 out potential force in posses (53). 
 The ultima is shortened by the 
 iambic law; as is that of suae. 
 
 habere modum : " control." 
 
 ipsum : i.e., without aid. 
 
 96. quom = cum; for the 
 form, see on quomque (63). 
 
 98. qui finds its antecedent in 
 meas, which is virtually a geni- 
 tive of ego. gnatum : for the g, 
 see on gnati (49). haberem: 
 subjunctive in a subordinate 
 clause in indirect discourse. 
 
 100. ultro : it was unusual for 
 the girl's father to make the first 
 advances. gnatam : for the ini- 
 tial consonant, see on gnati (49). 
 
 101. dote: the settlement of 
 the dowry was a very important 
 question in an Athenian be- 
 trothal. Cf. Introduction p. 34. 
 
 102. despondi: if the father 
 had made a decision about such 
 a matter, the son's consent 
 could usually be taken for 
 granted. Owing to the seclu- 
 sion of Athenian women, a man 
 might very well not see his 
 bride's face until she removed 
 her veil in the marriage cham- 
 ber. dictust = dictus est. In 
 Latin, as in most other lan- 
 guages, a vowel which is pre- 
 ceded and followed by the same 
 consonant or group of conso- 
 nants is often lost, together with 
 one of the consonants or con- 
 sonant groups; e.g., nutrix is 
 from *nu[tri-]trix, a derivative
 
 ACTUS I, SCENA I 
 
 77 
 
 So. Quid igitur obstat, cur non fiant ? Si. Audies. 
 Fere in diebus paucis, quibus haec acta sunt, 
 Crusis vicma haec moritur. So. O factum bene ! 
 Beasti; metui a Cruside. Si. Ibi turn filius 
 Cum illis, qui amabant Crusidem, una aderat frequens; go 
 Curabat una funus ; tristis interim, 
 Non numquam conlacrumabat. Placuit turn id mihi. 
 
 of nutria; semodius, "a half 
 peck," is from *se[mi-]modius ; 
 vendo is from *ve[nu]n-do. In 
 the same way dictu[s e]st loses 
 a syllable. Similarly we have 
 such forms as locutus for lo- 
 cutu[s e]s (202). 
 
 103. cur non fiant : a relative 
 characterizing clause; the ante- 
 cedent of cur is quid. Trans- 
 late " What's blocking the 
 way so as to stop it ? " 
 
 104. fere . . . paucis : 
 " approximately within a few 
 days " ; the tautology is collo- 
 quial. - quibus is an ablative 
 of the time within which, used 
 where English idiom requires the 
 conjunction " after." The usage 
 occurs in Caesar, B. G. 3. 23, pau- 
 cis diebus, quibus eo ventum erat, 
 and elsewhere; see H. 488. 3. 
 
 105. haec : said with a gesture 
 indicating Glucerium's house. 
 
 106. beasti : sc. me. Sosia's 
 comments on the narrative ex- 
 press the feelings of the audience; 
 
 for he is virtually one of them 
 throughout this passage. A simi- 
 lar role is often played by the 
 chorus in a Greek tragedy. ibi 
 turn : both words mean " then " ; 
 the pleonasm is colloquial. 
 
 107. amabant : the imperfect 
 instead of the more logical 
 pluperfect is due to the common 
 tendency to speak of the re- 
 cently dead as if they were 
 still alive. " Burial will take 
 place from the late residence 
 of the deceased," runs the 
 obituary notice; but an ac- 
 quaintance who wants to attend 
 the funeral is likely to inquire, 
 " Where does Mr. Blank live ? " 
 frequens : an adjective, 
 where English idiom requires 
 an adverb. 
 
 109. conlacrumabat: "wept 
 with them." l turn forecasts a 
 time when Simo would not ap- 
 prove of this act; translate "for 
 the moment." turn Id: for the 
 scansion, see Introduction 20. 
 
 1 Others think the compound is intensive, but the circumstances would 
 scarcely warrant bitter tears on Pampilus' part.
 
 TERENTI ANDRIA 
 
 no Sic cogitabam : 'hie parvae consuetudinis 
 Causa huius mortem tarn fert familiariter : 
 Quid si ipse amasset ? Quid hie mihi faciet patri ? ' 
 Haec ego putabam esse omnia humani ingeni 
 Mansuetique animi officia. Quid multis moror ? 
 
 115 Egomet quoque eius causa in funus prodeo, 
 
 Nil suspicans etiam mali. So. Hem, quid est ? Si. 
 
 Scies. 
 
 Ecfertur; imus. Interea inter mulieres, 
 Quae ibi aderant, forte unam aspicio adulescentulam, 
 Forma . . . So. Bona fortasse. Si. . . . et voltu, 
 Sosia, 
 
 1 20 Adeo modesto, adeo venusto, ut nil supra. 
 
 85 
 
 112. mihi: the original pros- 
 ody; see Introduction 19. 
 
 115. funus: Athenian law 
 required that the corpse should 
 be burned before daylight on 
 the morning following the death. 
 
 116. etiam is temporal, 
 " still." 
 
 117. imus: i.e., in the 
 funeral procession. -mulieres: 
 for the accent, see on benefici 
 
 (44)- 
 
 118. The fourth foot is a 
 proceleusmatic. 
 
 1 19 ff. Similarly Homer, //. 
 3. 154 ff., puts the praise of his 
 heroine's beauty in the mouths 
 of old men who had good reason 
 for a prejudice against her. 
 
 119. voltu = vultu ; see on 
 parvalo (35). 
 
 120. adeo was originally a 
 phrase in which ad was followed 
 by eo, the adverb of direction 
 (cf. adhuc}. The first mean- 
 ing, then, was " to this place " 
 or " to such a place," but the 
 local idea is rarely retained. 
 Here the meaning is " to such 
 a degree, so." ut nil supra: 
 sc. esse posset. nil : the neuter 
 often refers in a general way to 
 persons ; thus Cicero, Ad Quint. 
 Frat. 3. i. 19, says of his young 
 nephew : Nihil puero illo sua- 
 vius, nihil nostri amantius. A 
 common phrase for " my sweet- 
 heart " is quod amo. 1 
 
 1 Green, CR. 18. 448 ff., thinks that the neuter in such cases necessarily 
 involves emphasis. It certainly does not in the second instance cited above 
 and similar ones ; and consequently there is room for doubt as to the others.
 
 ACTUS I, SCENA I 
 
 79 
 
 Quia turn mihi lamentari praeter ceteras 
 Visast, et quia erat forma praeter ceteras 
 Honesta ac liberal!, accedo ad pedisequas, 
 Quae sit rogo. Sororem esse aiunt Crusidis. 
 
 *5 Percussit ilico animum. Attat hoc illud est, 
 Hinc illae lacrumae, haec illast misericordia. 
 So. Quam timeo, quorsum evadas ! Si. Funus interim 
 Procedit. Sequimur; ad sepulcrum venimus; 
 In ignem inpositast ; fletur. Interea haec soror, 
 
 |o Quam dixi, ad flammam accessit inprudentius, 
 
 Satis cum periclo. Ibi turn exanimatus Pampilus 
 
 OS 
 
 122. forma : ablative. 
 
 123. honesta ac liberal!: 
 " respectable and ladylike." 
 Liberalis gets the meaning " gen- 
 tlemanly, ladylike " from the 
 contrast with servilis. 
 
 124. esse : for the omission 
 of the subject, see on dictum 
 
 (29). 
 
 125. percussit expresses more 
 surprise and anxiety than Eng- 
 lish " it struck me." 
 
 126. lacrumae: usually 
 spelled lacrimae in classical 
 Latin. The sound of the 
 vowel of the penult was prob- 
 ably between the sounds of u 
 and i (cf. French u and German 
 u). A similar variation occurs 
 in lubet, libet ; optumus , optimus ; 
 volumus, regimus, and in many 
 other words. 
 
 127. quorsum evadas: indi- 
 rect question after timeo. 
 
 128. sepulcrum is often used 
 of the place where the body is 
 burned. 
 
 131. satis cum periclo : " with 
 some risk," but not enough to 
 justify Pampilus' fright if he 
 had not been in love. Peri- 
 clum contains the stem seen 
 in ex-peri-or, " try, test," and 
 peri-tus, " having tried, experi- 
 mented," and its meaning was 
 originally the same as that of 
 ex-peri-mentum, " trial, test." 
 The classical periculum comes 
 from this by the development 
 of a short vowel between c and 
 /, much as English " athletic " 
 sometimes comes to be pro- 
 nounced " atheletic." In other 
 words, too, early Latin often dif- 
 fers from classical Latin in the 
 form of this suffix ; Plautus and 
 Terence have vehiclum from veho, 
 cubiclum from cubo, poclum for
 
 8o 
 
 TEREXTI AXDRIA 
 
 135 
 
 Bene dissimulatum amorem et celatum indicat. 
 
 Accurrit; mediam mulierem complectitur : 
 
 'Mea Glucerium,' inquit 'quid agis ? Cur te is perdi- 
 
 tum ?' 
 
 Turn ilia, ut consuetum facile amorem cerneres, 
 Reiecit se in eum flens quam familiariter ! 
 So. Quid ais ? Si. Redeo inde iratus atque a,egre ferens. 
 Nee satis ad obiurgandum causae. Diceret 
 
 poculum, saeclum for saeculum, 
 etc. The diminutive suffix -cu- 
 lus, however, has two syllables 
 in early Latin, e.g., aniculae, 
 "little old woman" (231), 
 pisciculos, " little fishes" (369). 
 ibi turn : for the pleonasm, 
 see on 106. exanimatus : " in 
 breathless horror." 
 
 133. mediam mulierem: 
 compare such phrases as sum- 
 mus mons and media in colle. 
 
 134. Glucerium : the classi- 
 cal form would be Glycerium 
 (Gk. FAv/cepiov) ; for the u, 
 see on sumbolam (88). Greek 
 women often had names end- 
 ing in the neuter diminutive 
 suffix -lov (cf. German Gret- 
 chfn, etc.) ; a modifying adjec- 
 tive or pronoun, however, is 
 feminine, as here. is : second 
 person of eo. Cicero would 
 have used es with the future 
 active participle. 
 
 135- cerneres: potential sub- 
 junctive with the indefinite 
 
 second person (cf. scias, 95), 
 and at the same time in a claust- 
 of result. 
 
 136. quam familiariter :" how 
 confidingly ! " 
 
 137. quid ais: this common 
 , colloquial phrase has two 
 
 sharply distinct meanings, (i) 
 When, as here, it refers to a 
 previous remark of another 
 speaker it means " What's that 
 you say ? What ? " (2) When 
 it refers to a subsequent re- 
 mark of the same speaker it 
 means " What do you say to 
 this ? " and is merely a means 
 of attracting attention. In the 
 latter case, translate " I say." 
 
 138. diceret : for the im- 
 perfect in a past condition 
 contrary to fact, see A. & G 
 517 e Note 2, B. 304. 2, Bu. 
 919, H. & B. 581, H. 579. i, 
 L. & M. 939; cf. G. 596. 2, 
 597 Remark i. Others would 
 explain this in the same way as 
 abiret (175).
 
 ACTUS I, SCENA I 
 
 81 
 
 Si. 
 
 'Quid feci ? Quid commerui aut peccavi, pater ? 
 Quae sese in ignem inicere voluit, prohibui ; 
 Servavi.' Honesta oratiost. So. Recteputas; 
 Nam si ilium obiurges, vitae qui auxilium tulit, 
 Quid facias illi, qui dederit damnum aut malum ? 
 Venit Cremes postridie ad me clamitans : 
 Indignum facinus ! Comperisse, Pampilum 
 Pro uxore habere hanc peregrinam. Ego illud sedulo 
 
 139. commerui : the verb 
 properly means " earn," but 
 where the thing earned is a 
 punishment English idiom re- 
 quires that we say " deserve." 
 
 140. prohibui : sc. earn. 
 
 141. oratio here and often 
 has the meaning " plea," which 
 accords with the common mean- 
 ing of the parent verb oro. If, 
 as is probable, oro is a deriva- 
 tive of os, " mouth," oro orig- 
 inally meant " speak," and 
 oratio, " speech." 
 
 143. quid facias illi : " What 
 would you do to him ? " In- 
 stead of an indirect object of 
 facio in this sense, Terence 
 usually employs an ablative 
 of means, as in quid me faciam 
 (614). damnum : " loss " of 
 property. malum : " injury " 
 to the person. 
 
 145. indignum facinus : the 
 accusative in exclamations is 
 very common in colloquial 
 Latin. comperisse : for the 
 
 TER. ANDRIA 6 
 
 omission of the subject se, see 
 on dictum (29). 
 
 145 f. Cremes blames Pam- 
 pilus chiefly for regarding 
 a foreign woman as virtu- 
 ally . his wife. Athenian law 
 strictly forbade the marriage 
 of citizens with foreigners, 
 and public opinion censured 
 a permanent connection with a 
 foreign woman. A temporary 
 intrigue between a young 
 Athenian an'd such a woman, 
 on the other hand, was not 
 thought blameworthy at all. 
 It will be important to remember 
 this sharp difference between 
 ancient and modern feeling in 
 reading the rest of the play. 
 We may well disapprove of the 
 ancient point of view, but we 
 cannot justly blame Terence, or 
 Menander, or their characters 
 for exhibiting the usual ethics 
 of their times. 
 
 146. ego illud: shortened by 
 the iambic law.
 
 82 
 
 TERENTI ANDRIA 
 
 Si. 
 
 Negare factum. Ille instat factum. Denique 
 
 Ita turn discedo ah illo, ut qui se fiham 
 
 Neget daturum. So. N6n tu ibi gnatum . . . ? Si. 
 
 Ne haec quidem 
 Satis vehemens causa ad obiurgandum. So. Qui ? 
 
 Cedo. 
 'Tute ipse his rebus finem praescripsti, pater. 
 
 147. negare is a historical 
 infinitive. factum stands in 
 indirect discourse. 
 
 148. ut . . . neget: a result 
 clause, " under such circum- 
 stances that." qui: ablative of 
 the indefinite pronoun, " in some 
 way, in any way " ; see on 
 9 WI (S3)- Here, as in atqui, its 
 force is much attenuated, and 
 scarcely translatable. 
 
 149. non tu ibi gnatum : 
 " Then didn't you ... ? " 
 English word order prevents 
 us from translating gnatum un- 
 less we supply the verb. 
 
 150. qui : " why ? " See on 
 ? MI " (S3)- cedo : ce is the 
 demonstrative particle that 
 forms the second element of 
 hi-Cj his-ce, etc. (cf. on istaec, 
 28) ; do is the original form 
 of the imperative of do (cf. 
 Gk. oY-8o>-#i). Cedo is regularly 
 shortened by the iambic law. 
 
 The word properly means " give 
 here," and it often has that 
 sense, sometimes with an object 
 expressed. Frequently, how- 
 ever, it refers, as here, to 
 an idea or a story, " tell 
 me." l 
 
 151 ff. Direct quotations 
 without a verb of saying are 
 rather common in Roman com- 
 edy. Such passages were made 
 clear on the stage by an altera- 
 tion of tone, a style of delivery 
 which the Romans called by 
 a Greek word (/w'/^ns) mean- 
 ing " imitation." The ancient 
 commentator on Terence says 
 of such delivery, aliena verba 
 sic pronuntiamus ut vana vide- 
 antur, "we repeat another's 
 words in such a tone as to make 
 them sound silly." 
 
 151. his rebus: i.e., love 
 affairs. praescripsti, for -scrip- 
 [si]sti, illustrates the process 
 
 1 This etymology is not quite certain ; see Walde, Lateinisch.es etymologi- 
 sch.es Worterbuch s.v.
 
 ACTUS I, SCENA I 
 
 So. 
 55 Si. 
 
 Prope adest, quom alieno more vivendumst mihi : 125 
 
 Sine nunc meo me vivere interea modo.' 
 
 Qui igitur relictus est obiurgandi locus ? 
 
 Si propter amorem uxorem nolit ducere, 
 
 Ea primum ab illo animum advortenda iniuriast. 
 
 Et nunc id operam do, ut per falsas nuptias 130 
 
 Vera obiurgandi causa sit, si deneget ; 
 
 Simul sceleratus Davos, si quid consili 
 
 Habet, ut consumat nunc, quom nil obsint doli. 
 
 which gives dictust from dictu- 
 [s e]st (see note on 102). Simi- 
 lar forms are promisti from 
 promi[si]sti, intellexti from in- 
 tellexisti (= intellec[si]sti) , dixti 
 from dixisti ,( = dic[si]sti). 
 Perfects shortened in this 
 way are very rare in formal 
 prose of the classical period. 
 
 152. prope adest quom : 
 English idiom requires that we 
 insert a phrase such as "the 
 time, the day," to serve as ante- 
 cedent of "when" and as subject 
 of the main verb. vivendumst 
 = vivendum est; see on ex- 
 probratiost (44). 
 
 156. primum: "for the first 
 time"; so again line 936. 
 animum advortenda iniuriast : 
 the phrase animum advorto 
 (classical -verto) is treated as if 
 it were a verb, i.e., in the active 
 it takes a direct object, and 
 this becomes the subject of the 
 passive (see G. 342, H. & B. 
 
 391. 3). The phrase is often 
 written as one word, animad- 
 verto. 
 
 157 flf. Simo hopes that if he 
 can take his son to task when 
 he has the right clearly on his 
 side, he can get the boy away 
 from Glucerium. Then there 
 will be no obstacle in the way 
 of the match with Cremes' 
 daughter. 
 
 157. id: operam do, like ani- 
 mum advorto, is a phrase which 
 governs a direct object; it is 
 equivalent to euro. 
 
 159. sceleratus: "rascal." 
 In the comedies the young 
 man's body-slave is usually 
 ready to help him evade his 
 father's wishes. Davos = Da- 
 vus ; see on parvolo (35). 
 
 160. ut: in classical prose 
 the conjunction would normally 
 stand before sceleratus, at the 
 head of the clause, and that is 
 the most common arrangement
 
 8 4 
 
 TERENTI ANDRIA 
 
 165- 
 
 Quern ego credo manibus pedibusque obnixe omnia 
 Facturum, magis id adeo, mihi ut incommodet, 13 
 
 Quam ut obsequatur gnato. So. Quapropter ? Si. 
 
 Rogas ? 
 Mala mens, malus animus. Quern quidem ego si 
 
 sensero . . . ! 
 
 Sed quid opust verbis ? Sin eveniat, quod volo, 
 In Pampilo ut nil sit morae, restat Cremes, 
 Qui mi exorandus est; et spero confore. 141 
 
 Nunc tuomst ofFicium, has bene ut adsimules nuptias, 
 Perterrefacias Davom, observes filium, 
 
 in early Latin too; but Ter- 
 ence places subordinating con- 
 junctions next the verb more 
 frequently than later writers 
 do. Compare ut incommodet 
 (162), ut obsequatur (163), si 
 sensero (164), ut adsimules 
 (168). Other examples may 
 be found in lines 30, 37, 122, 
 etc. 
 
 161. manibus pedibusque: 
 do not sacrifice this picturesque 
 colloquialism in your trans- 
 lation. 
 
 162. id is an accusative of 
 respect (H. & B. 388 a; cf. 
 Bu. 523-525, 0.333. i Remark 
 2) correlative with ut; " for 
 this purpose." Others prefer 
 to regard id as an appositive 
 of the preceding clause. adeo 
 marks a new point, " besides." 
 For the etymology, see on 1 20. 
 
 163. quapropter : cf. proptered. 
 
 164. mens: "intellect, 
 thoughts." animus includes 
 the emotional nature and the 
 will ; translate " heart." quern : 
 for translation, see on 149. 
 
 165. opust = opus est; see 
 on dictust (102). 
 
 167. confore is the future 
 infinitive (fore from sum) of a 
 defective impersonal verb mean- 
 ing " it succeeds, there is suc- 
 cess." English idiom often re- 
 quires a personal verb where 
 Latin has an impersonal. 
 
 168. tuomst = tuom est; see 
 on exprobratiost (44). 
 
 169. filium : for the pro- 
 leptic accusative, see A. & 
 G. 576, B. 374. 5. a, Bu. 852, 
 G. 468, H. 649. 4. The usage 
 is characteristic of colloquial 
 Latin. Compare old-fashioned 
 English " I know thee who thou 
 art."
 
 ACTUS I, SCENA I 
 
 Quid agat, quid cum illo consili captet. So. Sat est : 
 Curabo. Si. Eamus nunciam intro; i prae, sequor. 
 
 [Exeunt into Simo's house.] 
 
 170. sat is a colloquial form. 
 
 171. nunciam (pronounced 
 as three syllables) is a collo- 
 quial combination of nunc 
 and iam in the sense of " now 
 immediately." 1 
 
 In Menander's Andria the 
 
 chorus probably appeared at 
 this point and furnished enter- 
 tainment during the intermis- 
 sion between the acts (see 
 Introduction 4). In the Ro- 
 man play a flute player fur- 
 nished a musical interlude. 
 
 1 The derivation from nunce and a particle -am is impossible, since un- 
 accented e does not become I when a vowel follows (cf. aureus, adeo, noceam, 
 etc.). For the combination of these two words, cf. iam turn and German 
 schon jetzt. 

 
 ACTUS II 
 
 SlMO 
 SENEX 
 
 DAVOS 
 
 SERVOS 
 
 [Enter Simo from his house.] 
 Si. Non dubiumst, quin uxorem nolit filius; 
 Ita Davom modo timere sensi, ubi nuptias 
 Futuras esse audivit. Sed ipse exit foras. 
 [Enter Davos from Simo's house. Not noticing Sirao, he 
 soliloquizes.] 
 175 Da. Mirabar, hoc si sic abiret, et eri semper lenitas 
 
 Verebar quorsum evaderet. s 
 
 Qui postquam audierat non datum iri filio uxorem suo, 
 Numquam quoiquam nostrum verbum fecit neque id 
 aegre tulit. 
 
 175. abiret: "was going 
 to turn out " ; a future from 
 the past point of view (H. & 
 B. 508, 509) ; or, what amounts 
 to the same thing, virtual 
 indirect discourse, since mirabar 
 = putabam mirum fore (A. & 
 
 G. 592. 2, B. 323, Bu. 983, G. 
 596. 2, H. 649 I, L. & M. 791). 
 
 176. evaderet : for meaning 
 and mood, compare evadas 
 
 (127). 
 
 178. Note the impressiveness 
 of the five spondees, each formed 
 by a separate word. num- 
 quam as an emphatic negative 
 is as common in colloquial 
 Latin as " never " in colloquial 
 English. - - quoiquam = cui- 
 
 ACT II SCENE i 
 
 During the intermission Simo 
 has informed Davos that Pam- 
 pilus is to be married to-day. 
 He now comes out to go in 
 search of his son and give him 
 the same notice. 
 
 173. ita introduces Simo's 
 reason for the opinion stated 
 in line 172. 
 
 175 ff. Davos is much dis- 
 turbed by the unexpected news 
 he has just heard, and his agi- 
 tation is reflected in the rapidly 
 changing meter. The metrical 
 character of each line is indi- 
 cated in the Table of Meters 
 in Introduction 29. 
 
 86
 
 ACTUS H, SCENA I 
 
 Si. [Aside.] At nunc faciet, neque, ut opinor, sine tuo 
 
 magno malo. 
 ^o Da. Id voluit, nos sic necopinantis duci falso gaudio, 
 
 Sperantis iam amoto metu, interoscitantis opprimi, 
 Ne esset spatium cogitandi ad disturbandas nuptias; 
 Astute. Si. [Aside.] Carnufex quae loquitur ? Da. 
 
 [Aside.] Erus est, neque provideram. 
 
 Si. Dave. Da. [With feigned surprise.] Hem! Quid est ? 
 Si. Eho dum ad me ! Da. [Aside.] Quid hie 
 volt ? Si. Quid ais ? Da. Qua de re ? Si. 
 Rogas ? 
 
 $5 Meum gnatum rumor est amare. Da. Id populus 
 
 curat scilicet. 
 
 quam ; for quo = classical cu, 
 see on quomque (63). 
 
 179. malo : slang for " pun- 
 ishment"; translate " trouble." 
 
 180. necopinantis : this word 
 and several others contain nee in 
 the force of a strengthened non, 
 "not at all."- duci: ducere, 
 " to lead " and then " to mis- 
 lead," is one of the numerous 
 slang expressions for " to cheat." 
 
 181. interoscitantis: "open- 
 mouthed " ; the word is not in 
 the dictionaries. 
 
 182. ne esset spatium : for 
 the order, see on ut (160). 
 
 183. For the iambic octona- 
 rii, see Introduction 22. car- 
 nufex : properly " executioner." 
 No doubt its use as a term of 
 abuse originated in thieves' 
 slang ; translate " scoundrel." 
 
 For u where classical Latin has 
 i, see on lacrumae (126). pro- 
 videram : in early Latin the 
 pluperfect frequently has its 
 original force of a simple past 
 tense (see Bennett, Syntax of 
 Early Latin I. 50 ff.). 
 
 184. Interjections require 
 great care in translation. 
 First determine the feeling ex- 
 pressed, and then search for an 
 English word that will express 
 the idea, no matter what part of 
 speech it may be. hem denotes 
 surprise, and may be rendered by 
 a startled " oh! " or " why! " 
 eho expresses a peremptory 
 mood ; eho dum ad me = " here 
 a moment." Frequently the 
 word may be translated by an 
 imperative. quid ais looks for- 
 ward ; see on 137.
 
 190 
 
 88 TERENTI ANDRIA 
 
 at. Hoccine agis an non ? Da. Ego vero istuc. Si. Sed i< 
 
 nunc ea me exquirere 
 Iniqui patris est ; nam quod antehac fecit, nihil ad me 
 
 attinet. 
 Dum tempus ad earn rem tulit, sivi animum ut expleret 
 
 suom. 
 
 Nunc hie dies aliam vitam adfert, alios mores postulat. 
 Dehinc postulo sive aequomst te oro, Dave, ut redeat 
 
 iam in viam. 
 Hoc quid sit ? Omnes qui amant graviter sibi dari zc 
 
 uxorem ferunt. 
 Da. Ita aiunt. Si. Turn si quis magistrum cepit ad earn 
 
 rem inprobum, 
 
 1 86. hoccine : hocce before 
 -ne becomes hocci- by the 
 same process which gives us 
 colligo beside lego, reddidi be- 
 side dedi, legite beside lege, 
 undique beside unde, etc. Hocce 
 is from *hod (the old neuter of 
 the stem ho-, with the same 
 case ending as quod) + ce. 
 agis : ago in the sense of '* at- 
 tend to, pay attention to " is 
 very common in colloquial 
 Latin, especially with a neuter 
 pronoun as object. The use 
 of the present indicative for the 
 future (" will you attend ? ") 
 is another feature of colloquial 
 Latin. Some scholars, however, 
 understand agis as a true pres- 
 ent. istuc answers to Simo's 
 hoccine. 
 
 187. antehac : this is in ori- 
 
 gin a phrase ; for ante was once 
 used with the ablative. The 
 final e of ante was therefore 
 lost by elision, and the whole 
 was pronounced antac. For the 
 spelling, cf. on dehinc (79). 
 
 188. earn rem : i.e., intrigue; 
 for Simo's point of view, see 
 on 145 f. ut: for the posi- 
 tion, see on ut (160). Compare 
 the order of the clause ut . . . 
 viam (190). 
 
 190. dehinc: "henceforth." 
 For the pronunciation, see on 
 79. sive = vel si. viam : 
 " the (proper) path." 
 
 191. hoc quid sit : Simo anti- 
 cipates Davos' Hoc quid est? 
 throwing it into the indirect 
 form as if after rogasne. qui : 
 for the scansion, see Intro- 
 duction 20.
 
 ACTUS II, SCENA I 
 
 89 
 
 Da. 
 
 195 St. 
 
 Si. 
 
 :oo 
 
 Ipsum animum aegrotum ad deteriorem partem plerum- 
 
 que adplicat. 
 Non hercle intellego. Si. Non ? Hem. Da. Non ; 
 
 Davos sum, non Oedipus. 
 Nempe ergo aperte vis quae restant me loqui ? Da. 
 
 Sane quidem. 
 
 Si sensero hodie quicquam in his te nuptiis 25 
 
 Fallaciae conari, quo fiant minus, 
 Aut velle in ea re ostendi, quam sis callidus, 
 Verberibus caesum te in pistrinum, Dave, dedam usque 
 
 ad necem, 
 Ea lege atque omine, ut, si te Inde exemerim, ego pro te 
 
 molam. 
 Quid ? Hoc intellextin, an non dum etiam ne hoc 3 o 
 
 quidem? Da. Immocallide; 
 
 193. ipsum aegrotum : it- 
 self sick with love." 
 
 194. hem: "well!" Oedi- 
 pus was the first to guess 
 the famous riddle of the 
 Sphinx. 
 
 196. hodie: a colloquial in- 
 tensive, often combined with 
 numquam; omit in the trans- 
 lation. 
 
 197. quo minus : quo is com- 
 monly used to introduce a pur- 
 pose clause which contains a 
 comparative, and the principle 
 holds here even though minus is 
 equivalent to a strong negative. 
 The two words are virtually 
 equivalent to ne. 
 
 199. pistrinum : the labor of 
 turning the mill was very severe, 
 
 and was often made use of as a 
 punishment for unruly slaves. 
 usque ad necem : " until you 
 are dead." 
 
 200. lege = condicione. ut 
 molam : a volitive (or purpose) 
 clause depending on lege. 
 
 201. intellextin = intellex- 
 isti-ne. On the loss of -si- 
 in perfect forms, see on prae- 
 scripsti (151). For the loss 
 of the final short vowel, com- 
 pare such pairs as neque, nee; 
 hocci(ne), hoc; face (680), 
 fac; animate (neut. of the ad- 
 jective), animal. non . . . 
 quidem : ne quidem always 
 strengthens a preceding nega- 
 tive instead of canceling it. 
 Note the colloquial piling up of
 
 90 TERENTI ANDRIA 
 
 Ita aperte ipsam rem modo locutu's, nil circum itione 
 
 usus es. 
 
 Si. Ubivis facilius passus sim quam in hac re me deludier. 
 Da. Bona verba, quaeso. Si. Inrides; nil me fallis. Sed 
 
 dico tibi : 
 
 205 Ne temere facias, neque tu haud dicas tibi non praedic- 
 
 tum. Cave. [Exit Simo to the right.] 
 
 synonymous words, " Do you 
 still not yet understand not 
 even this ? " immo means 
 " quite the contrary," and either 
 reverses or strengthens the pre- 
 ceding statement ; but in order 
 to keep the colloquial tone it 
 is better to weaken it here to 
 a mere " yes." The traditional 
 translation, " nay," is a word 
 no longer heard in familiar 
 speech, and should never be 
 used in translating Plautus and 
 Terence. 
 
 202. ita : for the meaning, 
 see on 173. locutu's = lo- 
 cutus es ; see on dictust (102). 
 
 circum : for the adverb modi- 
 fying a verbal noun, cf. on 
 inmemori (44). 
 
 203. facilius here has the 
 classical accent, instead of faci- 
 lius which is usual in early 
 Latin ; see on benefici (44) . 
 passus sim : " I should allow "; 
 A. & G. 447. 3, B. 280. 2, Bu: 
 777, G. 600. 2, H. & B. 519. i, 
 H. 552,553.2. deludier: be- 
 
 sides the passive infinitives in 
 -ari, -eri, -i, and -iri, early 
 Latin has a second series of 
 forms with -er appended to 
 these endings. The infinitive 
 in -er was going out of use in 
 Terence's day. 
 
 204. bona verba, quaeso : 
 even to mention a calamity 
 was an evil omen ; we find 
 countless euphemistic substi- 
 tutes for morior. Here Davos 
 pretends to be shocked by Simo's 
 me deludier, and exclaims, 
 " Don't speak of such a thing." 
 Bona verba means, in the lan- 
 guage of ritual, " words of good 
 omen." inrides; nil me fallis : 
 " you're making fun of me ; I'm 
 not blind to that." 
 
 205. ne facias : the second 
 person singular of the present 
 subjunctive is used freely in 
 early Latin to express a pro- 
 hibition. Not infrequently it 
 is introduced by neque or nee, 
 as dicas is in this line. neque 
 haud : haud and non, unlike
 
 ACTUS II, SCENA II 91- 
 
 DAVOS 
 
 SERVOS 
 
 Da. Enim vero, Dave, nil locist segnitiae neque socordiae, 
 Quantum intellexi modo senis sententiam de nuptiis. 
 Quae si non astu providentur, me aut erum pessum 
 
 dabunt. 
 Nee quid agam certumst, Pampilumne adiutem an 
 
 auscultem seni. 
 210 Si ilium relinquo, eius vitae timeo; sin opitulor, huius s 
 
 minas, 
 Quoi verba dare difficilest. Primum iam de amore hoc 
 
 comperit ; 
 Me infensus servat, ne quam faciam nuptiis fallaciam. 
 
 ne quidem, cancel a preceding auscultem : for the colloquial 
 
 negative in formal Latin, and character of frequentatives, see 
 
 in Terence, too, except in this on quaeritans (75). 
 
 one place. The usage is about 210. eius and huius are 
 
 as harsh as English, "And monosyllables in this line; see 
 
 don't you never say." . on eius (93). vitae, minas: 
 
 note the different senses of 
 
 ACT II SCENE 2 dative and accusative after 
 
 timeo. 
 
 206. enim vero: for the 211. quoi = cui; for the 
 meaning, see on 91. form, see on quomque (63). 
 
 207. quantum : " so far as." verba dare : " to give words " 
 
 208. astu : early Latin for instead of deeds ; translate " to 
 astutia. me aut : for the scan- bunco." primum, "in the 
 sion, see Introduction 20. - first place," is balanced by ad 
 erum: Pampilus. pessum da- haec mala (215). 
 
 bunt: "will ruin." The ety- 212. nuptiis: for the dative 
 
 mology and original meaning after fallaciam facere, see A. & 
 
 of pessum are unknown. G. 367 a Note 2, G. 345, H. & 
 
 209. certumst: sc.mihi; "I 8.362; compare Plautus, Miles 
 have decided." adiutem, 164, legi fraudem faciant. This
 
 .92 TERENTI AXDRIA 
 
 Si senserit, perii; aut si lubitum fuerit, causam ceperit, 
 
 Quo iure quaque iniuna praecipitem in pistnnum dabit. 
 215 Ad haec mala hoc mi accedit etiam : haec Andria, 
 
 Si ista uxor sive amicast, gravida e Pampilost. 
 
 Audireque eorumst operae pretium audaciam ; 
 
 Nam inceptiost amentium, haud amantium. 
 
 Quidquid peperisset, decreverunt tollere. 
 220 Et fingunt quandam inter se nunc fallaciam, 
 
 is the same dative that follows 
 male facere, etc. 
 
 213. perii : a very common 
 bit of slang, " I'm done for." 
 ceperit : in early Latin the 
 future perfect often has its 
 original force of a slightly 
 emphatic future; see Bennett, 
 Syntax of Early Latin I. 54 ff. 
 Compare the use of the pluper- 
 fect as a simple past tense, 
 which we have noticed in 
 provider am (183). 
 
 214. quo iure quaque iniuria : 
 the antecedent of quo and qua is 
 causam, " according to which 
 justice and (it may be) injus- 
 tice " ; translate " and so, 
 justly or unjustly." 
 
 217. eorum : for the short- 
 ening of the penult by the iam- 
 bic law, see Introduction 19 
 end. operae pretium : " worth 
 while." 
 
 219. quidquid: for the neu- 
 ter referring to a person, see 
 on nil (120). peperisset : sub- 
 
 junctive in a subordinate 
 clause in informal indirect dis- 
 course. tollere : it lay within 
 the father's discretion to have 
 a new-born babe exposed, as 
 Pataecus did in Menander's 
 Periceiromene (Introduction 5), 
 and in the present case Davos 
 thinks that any sane father 
 would make away with the 
 child. If on the other hand 
 the father decided to rear the 
 infant he lifted it in his arms, 
 and so the verb tollo came 
 to mean " acknowledge " or 
 " rear." 
 
 220 ff. As the sequel shows, 
 Glucerium and Pampilus know 
 that the story is actually true, 
 although they are not in a posi- 
 tion to prove it. Davos, how- 
 ever, is in the habit of getting 
 out of difficulties per fallaciam, 
 and he suspects them of at- 
 tempting the same thing. 
 
 220. inter se : for the accent, 
 see on apud me (36).
 
 ACTUS II, SCENA II 
 
 93 
 
 Civem Atticam esse hanc. 'Fuit olim hinc quidam 
 
 senex 
 
 Mercator. Navem is fregit apud Andrum insulam; 
 Is obiit mortem.' Ibi turn hanc eiectam Crusidis 
 Patrem recepisse orbam, parvam. Fabulae { 
 Mihi quidem hercle non fit veri simile ; atque ipsis 20 
 
 commentum placet. 
 [Musis appears at the door of Glucerium's house.] 
 
 Sed Musis ab ea egreditur. At ego hinc me ad forum, 
 
 ut 
 Conveniam Pampilum, ne de hac re pater inprudentem 
 
 opprimat. [Exit right.] 
 
 221. civem Atticam esse 
 hanc : there was a law in Athens 
 that the seducer of a respecta- 
 ble girl of the citizen class 
 must marry her. olim : " once 
 on a time." - hinc, " from 
 here," is virtually equivalent to 
 Atticus ; translate " of this 
 city." 
 
 222. navem is fregit is a less 
 exact expression for navis ei 
 fracta est. 
 
 223. The repetition of is is 
 characteristic of colloquial style. 
 obiit mortem : in Andros, 
 some time after the shipwreck. 
 
 224. fabulae : " fairy tales ! " 
 
 225. atque frequently occurs 
 in early Latin in the proper 
 
 etymological sense of at-que, 
 " and on the other hand, and 
 yet," l a meaning that was later 
 confined to atqui. For the lat- 
 ter, see on qui (53). 
 
 226. ab ea : " from her 
 (Glucerium's) house " ; cf. apud 
 me, " at my house," ad me, 
 "to my house."- me: sc. 
 conferam; the ellipsis is collo- 
 quial. forum in Terence is 
 a translation of Greek dyopa, 
 and must be rendered into Eng- 
 lish by " market "; the English 
 word "forum" inevitably sug- 
 gests the Forum Romanum. 
 
 226 f. ut conveniam Pam- 
 pilum : for the order, see on ut 
 (160). 
 
 1 Many scholars reject this obvious etymology .of atque on account of 
 the common meaning. Perhaps the word combines original at-que and 
 ad-que.
 
 94 
 
 TKRKNTI ANDRIA 
 
 Musis 
 
 ANCILLA 
 
 [Calls through the door to an older woman within.} 
 
 Audivi, Arculis, iam dudum : Lesbiam adduci iubes. 
 Sane pol ilia temulentast mulier et temeraria 
 230 Nee satis digna, quoi committas primo partu mulierem. 
 Tamen earn adducam. [Closes the door, and soliloquizes.] 
 
 Inportunitatem spectate aniculae, 
 
 Quia compotrix eius est. Di, date facilitatem obsecro s 
 Huic pariundi atque illi in aliis potius peccandi locum. 
 [Sees Pampilus approaching.} 
 
 Sed quid nam Pampilum exanimatum video ? Vereor 
 
 quid siet. 
 
 2 35 Opperiar, ut sciam num quid nam haec turba tristitiae 
 
 adferat. [Withdraws to the rear of the stage.] 
 
 ACT II SCENE 3 
 
 228 ff. For the trochaic septe- 
 narii, see Introduction 24 and 25. 
 
 228. Arculis : the classical 
 form would be Archylis (Gk. 
 
 229. p61 flla : for the scan- 
 sion, see Introduction 19. 
 temulenta : this epithet pre- 
 pares the way for compotrix 
 (232), and thus provides a 
 motive for Arculis' insisting 
 that Lesbia be employed. It 
 appears, however, that Lesbia 
 is not in her cups this morning. 
 The second epithet, temeraria, 
 is amply justified by the mid- 
 wife's behavior-when she arrives. 
 
 231. aniculae: the diminu- 
 
 tive expresses contempt, as 
 diminutives often do. 
 
 233. pariundi : -und- for -end- 
 in the gerund and gerundive of 
 the third and fourth conjuga- 
 tions is more common in early 
 than in classical Latin. Prob- 
 ably u was the original vowel, 
 while e was brought in by the 
 influence of the present active 
 participle. aliis is feminine. 
 
 234. exanimatum : " out of 
 breath." siet : in addition 
 to the classical forms of the 
 present subjunctive of sum, 
 early Latin had also the longer 
 forms siem, sies, sift, siemus, 
 sietis, sient. They were going 
 out of use in Terence's day. 
 
 235. turba: "agitation."
 
 ACTUS II, SCENA IV 95 
 
 PAMPILUS Musis 
 
 ADULESCENS ANCILLA 
 
 [Enter Pampilus, much agitated, from the right. He doesn't 
 see Musis-.} 
 Pa. Hoccinest humanum factum aut inceptum ? Hoccinest 
 
 officium patris ? 
 Mu. [Aside.} Quid illud est ? Pa. Pro deum fidem, quid 
 
 est, si haec non contumeliast ? 
 
 Uxorem decrerat dare sese mi hodie. Nonne oportuit 
 Praescisse me ante ? Nonne prius communicatum 
 
 oportuit ? 
 240 Mu. [Aside.} Miseram me, quod verbum audio ! 
 
 Pa. Quid ? Cremes, qui denegarat se commissurum mihi 
 Gnatam suam uxorem, id mutavit, quom me inmutatum 
 
 videt ? 
 Itan obstinate operam dat, ut me a Glucerio miserum 
 
 abstrahat ? 
 Quod si fit, pereo funditus. 
 
 ACT II SCENE 4 is used wi < h the vocative. - 
 
 quid est shows the effect of 
 
 Pampilus has seen his father the iambic law. 
 
 in the market and knows the 239. praescisse: the perfect 
 
 worst. For the rapidly shift- infinitive with oportuit is un- 
 
 ing meters, see the Table in usual. praescisse ante : the 
 
 Introduction 29. pleonasm is colloquial. 
 
 236. hoccinest : for the ety- 242. id : i.e., his intention, 
 mology and meaning of hoccine, The word sums up the prc- 
 see on 186. We must read ceding clause. quom ...videt: 
 est as a short syllable (see In- the clause is adversative. In all 
 troduction 19 end). its meanings quom usually takes 
 
 237. pro is an interjection the indicative in early Latin, 
 without influence on the case 244. fit, pereo : colloquial 
 of fidem, which is an accusative present for future; cf. agis 
 of exclamation. Sometimes pro (186).
 
 TEREXTI ANDRIA 
 
 245 Adeem hominem esse invenustum aut infelicem quern- 10 
 
 quam, ut ego sum ! 
 
 Pro deum atque hominum hdem ! > 
 
 Nullon ego Cremetis pacto adfinitatem effugere potero ? 
 Quot modis contemptus, spretus ! Facta, transacta 
 
 omnia. Hem, 
 Repudiatus repetor. Quam 6b rem ? Nisi si id est, 
 
 quod suspicor : 
 
 250 Aliquid monstri alunt; ea quoniam nemini obtrudiis 
 potest, 
 
 245. adeon = adeo-ne ; for 
 the loss of the final short vowel, 
 see on intellextin (201). adeon 
 hominem esse: for the infinitive 
 in exclamations, see A. & G. 462, 
 B. 334, Bu. 961, G. 534, H. & 
 B. 596, H. 616. 3, L. & M. 976. 
 invenustum : " unlovely, un- 
 attractive." One might think 
 his trouble was quite the re- 
 verse ; he has proved too at- 
 tractive to Cremes. But Pam- 
 pilus is in no mood for clear 
 thinking; he uses the ordinary 
 phrases of disconsolate lovers, 
 whether they fit the present 
 case or not. 1 
 
 247. Cremetis : the genitive 
 of Cremes is Cremi in line 368. 
 The accusative varies between 
 
 Cremetem (472) and Cremem 
 (361), and the vocative be- 
 tween Cremes (538) and Creme 
 (550). 
 
 248. hem : " all at once." 
 See on 184. 
 
 249 ff. Evidently Pampilus has 
 never seen Cremes' daughter; 
 see on dfspondi (102). 
 
 249. nisi si : this pleonasm is 
 rare in formal prose, but com- 
 mon in colloquial Latin. The 
 clause depends upon a nescio 
 which is implied as the answer 
 to the question Quam ob rem? 
 
 250. aliquid monstri = ali- 
 quod monstrum; the partitive 
 genitive depending upon a neu- 
 ter pronoun is very common in 
 Terence. 
 
 1 Muretus' way out of the difficulty, invenusti dicebantur quibus Venus 
 in amoribus non faveret, gets no support from Donatus' gloss, sine venere, id 
 est sine gratia; for that gives simply the ordinary meaning of the word 
 venus. Donatus' second explanation, cui displicens obicitur, is manifestly 
 ad hoc.
 
 97 
 
 Itur ad me. Mu. [Aside.] Oratio haec me miseram 
 
 exanimavit metu. 
 Pa. Nam quid ego dicam de patre ? Ah, 
 
 Tantamne rem tarn neclegenter agere ! Praeteriens 
 
 modo 
 Mihi apud forum 'uxor tibi ducendast, Pampile, hodie' 
 
 inquit, 'para, 
 Abi domum.' Id mihi visust dicere 'abi cito ac sus-ao 
 
 pende te.' 
 Obstipui. Censen me verbum potuisse ullum proloqui, 
 
 aut 
 Ullam causam, ineptam saltern falsam iniquam ? 
 
 Obmutui. 
 Quod si ego rescissem id prius, quid facerem, si quis me 
 
 roget, 
 Aliquid facerem, ut hoc ne facerem. Sed nunc quid 
 
 primum exsequar 
 
 253. agere : sc. eum. For 
 the infinitive, see on adeon ho- 
 minem esse (245). 
 
 256. obstipui : consult the 
 dictionary under obstupesco. For 
 the variation between u and i, 
 see on lacrumae (126). censen 
 = censes-ne. Before n, s was 
 regularly lost, as in dinumero 
 from dis-numero. For the loss 
 of the final short vowel, see on 
 intellextin (201). 
 
 257. saltern with a negative 
 is equivalent to ne . . . quidem. 
 Here the negative is implied in 
 the question ; translate saltern 
 by " even." 
 
 258. quod : accusative of 
 
 TER. ANDRIA 7 
 
 respect, " as to which " (cf. 
 id, 162) ; translate " but." 
 Before si this use of quod is 
 Ciceronian. ego here shows 
 the original quantity of the ul- 
 tima. See Introduction p. 53. 
 quid facerem : a conclusion 
 contrary to fact in an indirect 
 question after roget. 
 
 259. aliquid facerem is the 
 reply which Pampilus imag- 
 ines himself as giving to the 
 hypothetical inquiry of the last 
 line. It is, then, virtually the 
 conclusion to si rescissem 
 (258). Pampilus' complete 
 lack of initiative and his readi- 
 ness to take the most foolhardy
 
 98- 
 
 TERENTI ANDRIA 
 
 260 Tot me inpediunt curae, quae meum animum divorsae 25 
 
 trahunt, 
 
 Amor, misericordia huius, nuptiarum sollicitatio, 
 Turn patris pudor, qui me tarn leni passus est animo 
 
 usque adhuc 
 Quae meo quomque animo luhitumst facere. Eine ego 
 
 ut advorser ? Ei mihi ! 
 Incertumst quid agam. Mu. [Aside.] Misera timeo, 
 
 'incertumst' hoc quorsum accidat. 
 265 Sed nunc peropust aut hunc cum ipsa aut de ilia aliquicl >,o 
 
 me advorsum hunc loqui. 
 Dum in dubiost animus, paulo momento hue vel illuc 
 
 inpellitur. 
 
 advice are characteristics which 
 these comedies usually ascribe 
 to a young man in love. Un- 
 der ordinary circumstances 
 Pampilus may have been as 
 intelligent as he was affable 
 toward his friends and dutiful 
 toward his father. 
 
 261. huius: feminine. - 
 nuptiarum is an objective geni- 
 tive; translate "about the 
 marriage." 
 
 262. patris pudor means 
 " shame ' before my father," 
 i.e., fear to let him find me at 
 fault. A more idiomatic but 
 somewhat less exact translation 
 is " respect for my father." 
 Such an objective genitive is 
 common after pudor. Scan pa- 
 tris ; cf. on veritus (582). 
 
 263. quomque is to be 
 
 construed with quae. lubi- 
 tum : the classical form is 
 libitum. For the spelling, see 
 on lacrumae (126). eine 
 
 ego ut advorser : for the sub- 
 junctive in an exclamatory ques- 
 tion, see A. & G. 462 a, B. 277, 
 Bu. 771, 772, G. 558, H. & B. 
 503 b, H. 559. 5, L. & M. 723, 
 724. 
 
 265. peropust : a fondness 
 for the intensive per is a feature 
 of colloquial Latin which is 
 particularly prominent in Ter- 
 ence and in Cicero's letters. 
 ipsa : in slaves' language ipse 
 often means " the master " 
 and ipsa, " the mistress." - 
 advorsum hunc : " to him." 
 Cf. advorsum (42). 
 
 266. vel illuc : for the scan- 
 sion, see Introduction 19.
 
 ACTUS II, SCENA IV 
 
 99 
 
 Pa. [Hearing Musis.] Quis hie loquitur? Musis, salue. 
 
 Mu. [Coming forward.} O salue, Pampile. Pa. 
 
 Quid agit ? Mu. Rogas ? 
 
 Laborat e dolore, atque ex hoc misera sollicitast die, 
 Quia olim in hunc sunt constitutae nuptiae. Turn 
 
 autem hoc timet, 
 
 Ne deseras se. Pa. Egone istuc conari queam ? 35 
 
 Egon propter me illam decipi miseram sinam, 
 Quae mihi suom animum atque omnem vitam credidit, 
 Quam ego animo egregie caram pro uxore habuerim ? 
 Bene et pudice eius doctum atque eductum sinam 
 Coactum egestate ingenium inmutarier ? 40 
 
 Non faciam. Mu. Haud vereor, si in te sit solo situm ; 
 Sed vim ut queas ferre. Pa. Adeon me ignavom putas, 
 Adeon porro ingratum aut inhumanum aut ferum, 
 
 267. O expresses emotion, 
 as in 282 below and often in 
 English. quid agit: " how is 
 she ? " 
 
 268. dolore : " pain," i.e., the 
 pangs of childbirth. 
 
 268 ff. Glucerium had of 
 course heard of Cremes' with- 
 drawal of his consent to the 
 marriage. That she is still 
 anxious about the matter is due 
 to her ' woman's intuition ' or, 
 if one prefers, ' woman's unrea- 
 sonab'eness.' 
 
 269. turn autem : " then be- 
 sides." 
 
 270. ne deseras se : for 
 the order, see on ut (160). 
 egone . . . queam : for the 
 exclamatory question, see on 263 . 
 
 271. me illam: for the scan- 
 sion, see Introduction 20. 
 
 272 f. credidit, habuerim : 
 both clauses are causal (the 
 rhetorical question of the main 
 clause = " I shall not permit"). 
 For a similar variation of mood, 
 cf. Terence, Eun. 302 f., Ut 
 ilium di perdant, qui me re- 
 moratus est; meque adeo, qui 
 restiterim. 
 
 274. eius is a monosyllable; 
 see on 93. 
 
 275. inmutarier : for the 
 form, see on deludier (203). 
 
 277. ut : supply vereor from 
 haud vereor in the preceding line. 
 The important word vim stands 
 first in the clause; cf. on ut 
 (160).
 
 IOO 
 
 TEREXTI AXDRIA 
 
 Ut neque me consuetude neque amor neque pudor 
 280 Commoveat neque commoneat, ut servem fidem ? 45 
 
 Mu. Unum hoc scio, hanc meritam esse, ut memor esses sui. 
 Pa. Memor essem ? O Musis, Musis, etiam nunc mihi 
 
 Scripta ilia dicta sunt in animo Crusidis 
 
 De Glucerio. lam ferme moriens me vocat. 
 285 Accessi ; vos semotae ; nos soli. Incipit 50 
 
 'Mi Pampile, huius formam atque aetatem vides, 
 
 Nee clam te est, quam illi nunc utraeque inutiles 
 
 Et ad pudicitiam et ad rem tutandam sient. 
 
 Quod per ego te dextram hanc oro et genium tuom, 
 290 Per tuam fidem perque huius solitudinem 
 
 Te obtestor, ne abs te hanc segreges neu deseras. 
 
 Si te in germani fratris dilexi loco 
 
 Sive haec te solum semper fecit maxumi 
 
 Seu tibi morigera fuit in rebus omnibus, 
 
 55 
 
 279. pudor denotes the feel- 
 ing of one who is ashamed 
 of having done wrong, i.e., 
 " shame," or, as here and com- 
 monly, the feeling of one who 
 is ashamed to do wrong, i.e., 
 " honor." Cf. on patris pudor 
 (262). 
 
 282. essem is an echo of 
 Musis' esses. -- etiam is tem- 
 poral, " still," but English idiom 
 requires us to say " even " before 
 " now." 
 
 283. sunt : with scripta. 
 Crusidis : with dicta. 
 
 285. vos : i.e., you and the 
 other slave women ; of course 
 Glucerium would remain at 
 such a time. 
 
 287. te : clam governs the 
 accusative in early Latin. 
 quam: with inutiles. 
 
 288. pudicitiam has its second 
 syllable shortened by the iambic 
 law; see Introduction 19. 
 rem : " property." sient : for 
 the form, see on siet (234). 
 
 289. quod : accusative of re- 
 spect (cf. quod, 258, and id, 162) ; 
 translate " wherefore." per 
 ego te dextram oro : this is the 
 regular order. It occurs also in 
 538 and 834. genium: rlu 
 guardian deity who was born 
 with each person and who died 
 with him. 
 
 294. morigera = quae morem 
 gerit. Early Latin employs
 
 ACTUS II, SCENA IV 
 
 101 
 
 >0 
 
 Te isti virum do, amicum, tutorem, patrem; 60 
 
 Bona nostra haec tibi permitto et tuae mando fide.' 
 Hanc mi in manum dat; mors continue ipsam occupat. 
 Accepi; acceptam servabo. Mu. Ita spero quidem. 
 Pa. Sed cur tu abis ab ilia ? Mu. Obstetricem accerso. 
 
 Pa. Propera. Atque audin ? 
 
 Verbum unum cave de nuptiis, ne ad morbum hoc 65 
 etiam . . . Mu. Teneo. [Exeunt, Musis 
 right, Pampilus into Glucerium's house.} 
 
 more compounds than the later 
 language. 
 
 295. virum :" husband." The 
 word is to be taken in a fig- 
 urative sense just as patrem is. 
 tutorem : " guardian." 
 
 296. tuae owes its short ul- 
 tima to the iambic law. 
 fide : in early Latin the geni- 
 tive and the dative singular of 
 the fifth declension often had 
 monosyllabic endings prob- 
 ably diphthongal -ei in the geni- 
 tive and -e in the dative. 
 
 297. hanc mi in manum dat : 
 " put her hand in mine." * 
 
 299. ab ilia is shortened by 
 the iambic law. audin = 
 audisne ; for the loss of s and 
 e, see on censen (256). Such 
 forms as these are colloquial. 
 The question is equivalent to a 
 command; "do you hear?" 
 = " listen." 
 
 300. cave : sc. dicas ; trans- 
 late "not a word." -ad morbum : 
 English word order requires a 
 verb if we are to translate the 
 prepositional phrase; cf. non 
 tu ibi gnatum . . . (149). hoc 
 etiam: "this too." teneo: "I 
 understand." 
 
 1 Since all this happened in Athens, manus cannot mean "possession, 
 control " as it does in Roman law. Even if we assume that Terence has 
 here deserted his original and is thinking of Roman customs, Crusis could 
 not have given Pampilus manus over Glucerium.
 
 ACTUS III 
 
 CARINUS 
 ADULESCENS 
 
 BURRIA 
 SERVOS 
 
 PAMPILUS 
 ADULESCENS 
 
 [Enter Carinus and his slave Burria, engaged in conversation.] 
 Ca. Quid ais, Burria ? Daturne ilia Pampilo hodie nuptum ? 
 
 Bu. Sic est. 
 Ca. Qui scis ? Bu. Apud forum modo e Davo audivi. Ca. 
 
 Vae misero mihi ! 
 Ut animus in spe atque in timore usque antehac attentus 
 
 fuit, 
 Ita, postquam adempta spes est, lassus cura confectus 
 
 stupet. 
 
 305 Bu. Quaeso edepol, Carine, quoniam non potest id fieri 
 quod vis, 
 
 ACT III SCENE i 
 
 301. quid ais: the phrase 
 refers to something Burria has 
 said before they got within hear- 
 ing; see on quid ais (137). 
 
 Burria : the classical form 
 would be Pyrrhias (Gk. ITupptas) ; 
 cf. Ennius' Burrus for Pyrrhus. 
 Scan Biirrl\a datur\ne. 1 nup- 
 tum : supine. 
 
 302. qui : for form and mean- 
 ing, see on 53. m6do e Davo : 
 
 the preposition is shortened by 
 the iambic law. 
 
 303. antehac : for the pro- 
 nunciation, see on 187. atten- 
 tus : " under a strain." 
 
 305. edepol : a common oath. 
 It is supposed to represent e de 
 Pol, "O god Pollux," but the 
 etymology is far from certain. 
 In translating it is better to omit 
 ancient oaths, since really equiv- 
 alent English could not be used 
 in the classroom. Carine : the 
 
 1 Klotz, Altromische Metrik 267, scans | L 
 final vowel of Burria as long. 
 
 102 
 
 Others regard the
 
 ACTUS III, SCENA I 
 
 103 
 
 Id velis quod possit. Ca. Nil volo aliud nisi Pilume- 
 
 nam. Bu. Ah, 
 Quanto satiust te id dare operam, qui istum amorem ex 
 
 animo amoveas, 
 
 Quam id loqui, quo magis lubido frustra incendatur tua ! 
 Ca. Facile omnes, quom valemus, recta consilia aegrotis 
 ' damus. 
 Tu si hie sis, aliter sentias. Bu. Age age, ut lubet. 10 
 
 [Pampilus appears at the door of Gluceriums house, 
 
 and stands there talking to some one within.] Ca. 
 
 Sed Pampilum 
 Video. Omnia experiri certumst prius quam pereb. 
 
 Bu. [Aside.] Quid hie agit ? 
 Ca. Ipsum hunc orabo, huic supplicabo, amorem huic 
 
 narrabo meum. 
 
 classical form would be Charinus 
 (Gk. Xaptvos). 
 
 306. velis is a volitive (or 
 purpose) subjunctive depending 
 upon quaeso in the previous line 
 just as fully as if it were formally 
 introduced by ut. Pilumenam : 
 Cremes' daughter. The classical 
 form would be Philumena (Gk. 
 
 307. satiust : for the form, 
 see on dictust (102). id: for 
 the case, see on id (157). qui : 
 for the form, see on 53. As a 
 final particle qui may introduce 
 any purpose clause, while quo 
 does not commonly introduce a 
 purpose clause unless the clause 
 contains a comparative or some 
 equivalent expression. 
 
 308. quo : ablative of the 
 relative pronoun introducing a 
 characterizing clause ; contrast 
 the final particle qui in 307. 
 
 310. hie = ego. Others con- 
 sider hie an adverb, " here, in 
 my place." sis, sentias : in 
 early Latin, conditions and con- 
 clusions contrary to fact are 
 often put in the present subjunc- 
 tive; see A. & G. 517 e Note 2, 
 Bu. 925, H. & B. 581 d, H. 579. 
 I Footnote. lubet : usually 
 spelled libet in classical Latin. 
 For the variation between u arid 
 i, see on lacrumae (126). 
 
 311. quid hie agit : "What's 
 he up to ? " Burria, unlike 
 Davos, is quite indifferent to his 
 master's love affair.
 
 IO4 
 
 TERENTI ANDRIA 
 
 ni r is 
 
 Credo impetrabo, ut aliquot saltern nuptiis prodat dies. 
 Interea fiet aliquid, spero. Bu. [Aside.] Id 'aliquid' 
 
 nil est. Ca. Burria, 
 315 Quid tibi videtur ? Adeon ad eum ? Bu. Quid ni ? 
 
 Si nil impetres, 
 
 Ut te arbitretur sibi paratum moecum, si illam duxerit. 
 Ca. Abin hinc in malam rem cum suspicione istac, scelus ? 
 
 [Pampilus closes the door, and approaches Carinus.] 
 Pa. Carinum video. Salue. Ca. O salue, Pampile ; 
 
 Ad te advenio spem salutem auxilium consilium 
 
 expetens. 
 3 20 Pa. Neque pol consili locum habeo neque ad auxilium 20 
 
 copiam. 
 
 Sed istuc quid namst ? Ca. Hodie uxorem ducis ? 
 Pa. Aiunt. Ca. Pampile, 
 
 313. credo: parenthetical. 
 aliquot dies = aliquot dierum 
 moram. nuptiis is dative. 
 
 315. adeon = adeo-ne. The 
 present indicative is frequently 
 used in early Latin for the delib- 
 erative subjunctive. quid ni : 
 sc. adeas, since quid ni is always 
 followed by a " should " sub- 
 junctive (see on quid credas, 
 499). In this phrase ni is 
 equivalent to non, as it is also 
 in nimirum. Translate " Why 
 shouldn't you ? " 
 
 316. moecum: consult the 
 dictionary under the classical 
 form, moechus (Gk. /xoixos). 
 
 duxerit is the common word 
 for " marry " (of the man). In 
 formal prose fuller expressions 
 
 are used, in matrimonium ducere 
 or domum ducere. 
 
 317. abin = abis-ne. For the 
 form, see on censen (256) ; for 
 the meaning, see on audin 
 (299). The word is properly 
 an iambus, but is usually 
 shortened, as here, by the iam- 
 bic law. malam rem, " the mis- 
 chief," was felt as a single word, 
 and regularly accented on the 
 penult. scelus, " scoundrel," 
 is perhaps a little stronger than 
 scelestus. 
 
 318. O : for the emotional 
 force of the interjection, see on 
 267. 
 
 321. istuc: your translation 
 must bring out the personal force 
 of the pronoun.
 
 ACTUS HI, SCENA I 
 
 Si id facis, hodie postremum me vides. Pa. Quid ita ? 
 
 Ca. Ei mihi, 
 Vereor dicere. Huic die quaeso, Burria. Bu. Ego 
 
 dicam ? Pa. Quid est ? 
 Bu. Sponsam hie tuam amat. Pa. Ne iste baud mecum 
 
 sentit. Eho dum die mihi : 
 Num quid nam amplius tibi cum ilia fuit, Carine ? Ca. 25 
 
 Ah, Pampile, 
 Nil. Pa. Quam vellem ! Ca. Nunc te per amicitiam 
 
 et per amorem obsecro, 
 Principio ut ne ducas. Pa. Dabo equidem operam. 
 
 Ca. Sed si id non potest 
 
 Aut tibi nuptiae hae sunt cordi, . . . Pa. [Indig- 
 nantly.] Cordi ? Ca. . . . saltern aliquot dies 
 
 322. facis here has the long 
 I of the fourth conjugation, 
 according to which most -io 
 verbs were originally conjugated. 
 The shift of some of them to the 
 third conjugation began with the 
 shortening of iambic forms like 
 /dels and cdpls. That is the 
 reason why all -io verbs of the 
 third conjugation have the first 
 syllable short. Even in these 
 words, all forms which show 
 a short stem vowel (i) in the 
 fourth conjugation remained un- 
 changed (capiunt = audiunt, ca- 
 piebam = audiebam, capiam = 
 audiam, etc.). -- postremum: 
 " for the last time " ; cf. primum 
 (156). ei is little more than a 
 lover's sigh, " ah." 
 
 324. ne, " really," is always 
 
 followed by a pronoun. eho : 
 for the meaning, see on 184. 
 
 326. vellem : the tense indi- 
 cates that the wish cannot be 
 fulfilled, just as in the equiva- 
 lent utinam esset or utinam 
 fuisset; see A. & G. 442 b, B. 
 280. 4, Bu. 776, G. 261 Remark, 
 H. & B. 519. i c, H. 558. 4, 
 L. & M. 721. 
 
 327. principio : " in the first 
 place." - equidem = quidem, 
 not ego quidem. potest : 
 " is possible " ; in classical 
 Latin fieri would have been 
 added. 
 
 328. cordi : for the case, 
 see A. & G. 382, B. 191, Bu. 
 484, G. 356, H. & B: 360, H. 
 433. dies: for the case, cf. 
 313.
 
 io6 
 
 TEREXTI AXDRIA 
 
 Prefer, dum proficiscor aliquo, ne videam. Pa. Audi 
 
 nunciam : 
 
 33 Ego, Carine, ne utiquam officium liberi esse hominis puto, 30 
 
 Quom is nil mereat, postulare id gratiae apponi sibi. 
 Nuptias effugere ego istas malo quam tu adipiscier. 
 Ca. Reddidisti animum. Pa. Nunc si quid potes aut tu 
 
 aut hie Burria, 
 Facite fingite invenite efFicite, qui detur tibi. 
 
 id agam, mihi qui ne detur. Ca. Sat habeo. Pa. 35 
 
 Davom optume 
 Video, quoius consilio fretus sum. Ca. [To Burria.] 
 
 At tu hercle baud quicquam mihi, 
 Nisi ea quae nil opus sunt scire. Fugin hinc ? Bu. 
 
 Ego vero ac lubens. [Exit.] 
 
 329. proficiscor : for the mood 
 and tense, see A. & G. 553 Note 
 2, Bu. 882, G. 571, H. & B. 571, 
 H. 603 II i. 
 
 330. ne utiquam became one 
 word (with diphthongal eii) in 
 classical Latin, and will be found 
 in the dictionary in that form. 
 Ne = non as in ne-que, ne-scio, 
 ne-queo, and several other stereo- 
 typed phrases. It is the same 
 word which united with qui to 
 form quin (see on quln die, 45). 
 
 liberi hominis : i.e., not a 
 slave; translate freely " gentle- 
 man." Cf. liberali (123) and 
 note. 
 
 331. gratiae apponi: the 
 words are intended to recall the 
 commercial phrase lucrn appo- 
 nere, "to enter as profit" (cf. Hor- 
 
 ace, Carm. I. 9. 14); translate 
 " that it be credited as a favor." 
 
 332. malo retains its full ety- 
 mological force, magis volo, and 
 quam follows the comparative. 
 adipiscier : for the form, see 
 on deludier (203). 
 
 334. qui is the ablative of the 
 relative pronoun introducing a 
 purpose clause, " that whereby," 
 or better, " something so that." 
 For the form, see on 53. 
 
 335- qui ne = ut ne ; for 
 qui = ut, see on qui (307). 
 
 336. quoius is the early Latin 
 form of cuius ; for quo- instead 
 of cu-, see on quomque (63). 
 Here the word is a monosyllable 
 pronounced quois: see on eius 
 (93)- tu: sc - dicis. 
 
 337- fugin = fugis-ne. For the
 
 ACTUS III, SCENA II 107 
 
 DAVOS CARINUS PAMPILUS 
 
 SERVOS ADULESCENS ADULESCENS 
 
 [Enter Davos from the right. In his excitement, he fails to 
 see Carinus and Pampilus.] 
 
 Da. Di bom, bom quid porto ! Sed ubi inveniam Pampilum, 
 Ut metum in quo nunc est adimam atque expleam 
 
 animum gaudio ? 
 
 4oC<2. [To Pampilus.] Laetus est nescio quid. Pa. [To 
 
 Carinus.] Nihil est; non dum haec rescivit mala. 
 
 Da. Quern ego nunc credo, si Jam audierit sibi paratas 
 
 nuptias, . . . 
 Ca. [To Pampilus.] Audin tu ilium ? Da. . . . toto me 5 
 
 oppido exanimatum quaerere. 
 Sed ubi quaeram ? Quo nunc primum intendam ? Ca. 
 
 [To Pampilus.] Cessas adloqui ? 
 
 Da. Habeo. [Starts toward Glucerium's house.] Pa. Dave, 
 ades, resiste. Da. Quis homost, qui me . . . ? O 
 Pampile, 
 
 45 Te ipsum quaero. Euge, 6 Carine ! Ambo oppor- 
 
 tune ; vos volo. 
 
 form, see on abin (317) and on Note that cesso may be used of 
 censen (56) ; for the meaning, an act not yet begun, while 
 see on audin (299). English "cease" cannot. 
 
 344. ades : " wait." 
 ACT III SCENE 2 345 euge . a Greek interjec- 
 
 340. nesci&: for the quantity tion (cvyc). There were many 
 
 of the ultima, see Introduction Greeks among the poorer classes 
 
 19 end. nescio quid: "about at Rome, and so a few Greek 
 
 something or other"; for the interjections and oaths were 
 
 case, see on id (162). familiar to every one. When 
 
 343. intendam : sc. iter. they were taken over into Latin 
 
 cessas adloqui : English idiom slang, they doubtless had the 
 
 requires a different phrase, tone with which an American 
 
 " Why don't you speak to him ?" uses such German tags as nichts
 
 -io8 TERENTI ANDRIA 
 
 Pa. Dave, perii. Da. Quin tu hoc audi. Pa. Interii. 
 
 Da. Quid timeas scio. 
 ' Ca. Mea quidem hercle certo in duhio vitast. Da. [To 10 
 
 Carinus.] Et quid tu, scio. 
 Pa. Nuptiae mi ... Da. Etsi scio ? Pa. . . . hodie . . . 
 
 Da. Obtundis, tarn etsi intellego ? 
 Id paves, ne ducas tu illam ; [To Carinus.] tu autem, ut 
 
 ducas. Ca. Rem tenes. 
 3 5 Pa. Istuc ipsum. Da. Atque istuc ipsum nil periclist; me 
 
 vide. 
 Pa. Obsecro te, quam primum hoc me libera miserum metu. 
 
 Da. Em, 
 Libero; uxorem tibi non dat iam Cremes. Pa. Quits 
 
 scis ? Da. Scio. 
 Tuos pater modo me prehendit ; ait tibi uxorem dare 
 
 kommt heraus, Donnenvetter, or emo in its original meaning 
 
 aber ni(ch)t. This word can " take." For the loss of the 
 
 often be translated " Good final vowel, cf. die, etc., and see 
 
 work ! " but here we can hardly on intellextin (201). The word 
 
 do better than " Good ! " contrasts with the imperative 
 
 346. quinaudi: for the mean- cedo, "give here " (see on 150), 
 
 ing, see on quin die (45). and, like cedo, is used not only 
 
 348. etsi scio : sc. tamen with a concrete object, expressed 
 pergis? or implied, but also, as here, of 
 
 349. tu Illam ; tu autem, ut : an idea or a story, " take my 
 observe the emphasis upon tu l story, listen." 
 
 required by the context. For the 352. non iam : " no longer." 
 
 scansion, see Introduction 20. 353. Davos refers to his in- 
 
 350. atque has the same force terview with Simo just after the 
 as in 225. me vide: " look to close of the first act. In the 
 me " ; i.e., trust me for that. next line he is thinking of the 
 
 351. em is the imperative of continuation of that interview 
 
 1 Most scholars nevertheless prefer to elide tu in order to avoid anapaests 
 with the short syllables belonging to different words ; see Lindsay, The Captivi 
 of Plautus pp. 68 f.
 
 ACTUS III, SCENA II 
 
 109 
 
 55 
 
 Hodie, item alia multa, quae nunc non est narrandi 
 
 locus. 
 Continue ad te properans percurro ad forum, ut dicam 
 
 tibi haec. 
 Ubi te non invenio, ibi ascendo in quendam excelsum 
 
 locum. 
 Circumspicio ; nusquam. Forte ibi huius video 20 
 
 Burriam ; 
 Rogo. Negat vidisse. Mihi molestum. Quid agam 
 
 cogito. 
 
 Redeunti interea ex ipsa re mi incidit suspicio 'hem, 
 Paululum obsoni ; ipsus tristis ; de inproviso nuptiae : 
 Non cohaerent.' Pa. Quorsum nam istuc ? Da. Ego 
 
 me continue ad Cremem. 
 Quom illo advenio, solitude ante ostium ; iam id gaudeo. 25 
 
 in the first scene of the second 
 act. 
 
 355. continuo, etc., refers to 
 Davos' exit after line 227. 
 
 356. ibi : " then." quen- 
 dam excelsum locum : no doubt 
 Menander named the hill ; but, 
 for the benefit of his Roman 
 audience, Terence substituted 
 a phrase which could be under- 
 stood without a knowledge of the 
 topography of Athens. 
 
 357. huius : sc. servum. 
 
 359. re : " circumstances " ; 
 the most important of them are 
 listed in the next line. 
 
 360. obsoni : the word ob- 
 sonium is the Greek oi/'wviov, 
 '' marketing, day's purchase of 
 supplies." In Plautus and Ter- 
 
 ence it rarely if ever corresponds 
 to Greek oif/ov, " fish, sauce, re'.- 
 ish," as the dictionaries say it 
 does. ipsus : this early Latin 
 form is less common in Terence 
 than ipse. For the meaning of 
 the word, see on ipsa (265). 
 
 361. non cohaerent: "it 
 doesn't hang together." Eng- 
 lish idiom prefers a singular, 
 Latin a plural, to refer to a story. 
 quorsum : for the verb to be 
 supplied, cf. 127. Cremem: 
 for the form, see on 247. 
 
 362. illo, an adverb of direc- 
 tion, shows the same termina- 
 tion as quo, eo, etc. Early and 
 colloquial Latin have also illo-c, 
 as well as the classical illuc. 
 id : for the case, see A. & G.
 
 no 
 
 TERENTI ANDRIA 
 
 Ca. Recte dicis. Pa. Perge. Da. Maneo. Interea intro 
 
 ire neminem 
 
 Video, exire neminem; matronam nullam in aedibus; 
 365 Nil ornati, nil tumulti. Accessi; intro aspexi. Pa. 
 
 [Ironically.] Scio, 
 Magnum signum. Da. Num videntur convenire haec 
 
 nuptiis ? 
 Pa. N6n opinor, Dave. Da. 'Opinor' narras ? N6nrecte3o 
 
 accipis. 
 
 Certa res est. Etiam puerum inde abiens conveni Cremi ; 
 Holera et pisciculos minutos ferre obolo in cenam seni. 
 
 390 c, B. 176, Bu. 495, G. 333 
 Note i, H. & B. 397. 2, H. 405. 
 i, L. & M. 502. 
 
 363 ff. Observe how differ- 
 ently the two lovers react to 
 Davos' news. 
 
 364. matronam nullam in 
 aedibus : the Roman audience 
 would no doubt interpret these 
 words as referring to the pro- 
 nuba, the married woman who 
 acted as the bride's attendant 
 at a Roman wedding. Terence, 
 however, probably took the 
 phrase from Menander, who 
 was alluding to the fact that a 
 wedding was the one social 
 occasion in which Athenian 
 women took a prominent part. 
 
 365. ornati : in Plautus and 
 Terence, nouns of the fourth 
 declension often have -i, less 
 often -uis, in the genitive. The 
 former ending comes from the 
 
 second declension and the latter 
 from the third. The classical 
 ending -us, which is also found 
 in early Latin, is the original 
 ending of M-stems. 
 
 367. narras : used colloqui- 
 ally for dicis. 
 
 368. certa res est : " It's a 
 sure thing." puerum : for the 
 meaning, see on puer (84). 
 Cremi : for the form, see on 
 247. 
 
 369. An Athenian wedding in- 
 volved feasting at the homes of 
 both bride and groom. Com- 
 pare Introduction pp. 35 f . 
 pisciculos minutos : the tau- 
 tological diminutive is colloquial. 
 ferre : historical infinitive. 
 
 obolo : the Attic obol was in- 
 trinsically worth about three 
 cents, but the purchasing power 
 of money was very much greater 
 then than it is now.
 
 ACTUS III, SCENA III in 
 
 70 Ca. Liberatus sum hodie, Dave, tua opera. Da. Ac nullus 
 
 quidem. 
 Ca. Quid ita ? Nempe huic prorsus illam non dat. Da. 
 
 Ridiculum caput, 
 
 Quasi necesse sit, si huic non dat, te illam uxorem ducere, 35 
 Nisi vides, nisi senis amicos oras, ambis. Ca. Bene 
 
 mones ; 
 
 Ibo, etsi hercle saepe iam me spes haec frustratast. 
 Vale. [Exit.] 
 
 PAMPILUS DAVOS 
 
 ADULESCENS SERVOS 
 
 75 Pa. Quid igitur sibi volt pater ? Cur simulat ? Da. Ego 
 
 dicam tibi. 
 
 i id suscenseat nunc, quia non det tibi uxorem Cremes, 
 Ipsus sibi esse iniunus videatur, neque id miuria, 
 Prius quam tuom animum ut sese habet ad nuptias 
 
 perspexerit. 
 Sed si tu negaris ducere, ibi culpam in te transferees 
 
 370. ac here couples con- 376. id : for the case, see on 
 trasting ideas, as the equivalent 362. 
 
 atque does ' in line 225, etc. ; 377. ipsus : for the form, see 
 translate " and yet." nullus on 360. sibi esse : the short- 
 occurs frequently in colloquial ening is due to the iambic 
 Latin where formal Latin would law. 
 
 have minime (i.e., a strengthened 378. animum: for the col- 
 
 non) ; translate ac nullus qui- loquial proleptic accusative, see 
 
 dem " not a hit of it." on filium (169). habet : for 
 
 371. caput: vocative. the mood, see on quid est 
 373. vides = provides. (45)- 
 
 379. ducere : the present in- 
 finitive is rather commonly used 
 
 375. sibi volt : " means." For for the future in early Latin ; see 
 the form of volt, see on parvolo Bennett, Syntax of Early Latin 
 (35). I. 426 f.
 
 112 
 
 TERENTI ANDRIA 
 
 380 Turn illae turbae fient. Pa. Quidvis patiar. Da. 
 
 Pater est, Pampile ; 
 Difficilest. Turn haec solast mulier. Dictum ac 
 
 factum, invenerit 
 Aliquam causam, quam 6b rem eiciat oppido. Pa. 
 
 [Horrified.] Eiciat ? Da. Cito. 
 Pa. Cedo igitur, quid faciam, Dave ? Da. Die te ductu- 
 
 rum. Pa. Hem. Da. Quid est ? 
 Pa. Egon dicam ? Da. Cur non ? Pa. Numquam faciam. 
 
 Da. Ne nega. 
 385 Pa. Suadere noli. Da. Ex ea re quid fiat, vide. 
 
 Pa. [Pointing to Gluceriums house.] Ut ab ilia excludar, 
 [Pointing toward his father's house.] hoc concludar. 
 Da. Non itast. 
 
 Nempe hoc sic esse opinor : dicturum patrem 
 'Ducas volo hodie uxorem' ; tu 'ducam' inquies. 
 Cedo quid iurgabit tecum hie ? Reddes omnia, 
 39 Quae nunc sunt certa ei consilia, incerta ut sient, 
 
 Sine omni periclo. Nam hoc haud dubiumst, quin 
 Cremes 
 
 381. dictum ac factum: the 
 corresponding English proverb 
 is, " No sooner said than done." 
 invenerit : for the tense, see 
 on ceperit (213). 
 
 383. cedo : for the etymology 
 and meaning, see on 150. 
 hem : a horrified " Oh ! " 
 
 384. ne nega : prohibitions of 
 this form are common in early 
 Latin and, as archaisms, in the 
 later poets. 
 
 385. suadere noli : early 
 Latin has all the classical forms 
 
 of prohibition, and in addition 
 those illustrated by ne facias 
 (205) and ne nega (384). 
 
 386. hoc = hue; for the form, 
 cf. on illo (362). The word is 
 accompanied by a gesture to- 
 ward Simo's house ; for if 
 Pampilus should marry Cremes' 
 daughter, he would of course 
 bring her home. 
 
 390. sient : for the form, see 
 on 234. 
 
 391. sine omni: an illogical 
 colloquialism for sine ullo.
 
 ACTUS III, SCENA III 
 
 Pa. 
 
 Tibi non det gnatam. Nee tu ea causa minueris 
 
 Haec quae facis, ne is mutet suam sententiam. 
 
 Patri die velle, ut, quom velit, tibi Jure irasci non queat. 20 
 
 Nam quod tu spares 'propulsabo facile uxorem his moribus, 
 
 Dabit nemo' ; inveniet inopem potius quam te corrumpi 
 
 sinat. 
 
 Sed si te aequo animo ferre accipiet, neclegentem feceris ; 
 Alia otiosus quaeret. Interea aliquid accident boni. 
 Itan credis ? Da. Haud dubium id quidemst. Pa. 25 
 
 Vide quo me inducas. Da. Quin taces ? 
 Dicam. Puerum autem ne resciscat mini esse ex ilia, 
 
 cautiost ; 
 
 392. nee minueris : a prohi- 
 bition ; cf. on ne facias (205). 
 The danger was that if Cremes 
 saw an improvement in the con- 
 duct of Pampilus, he might 
 renew the betrothal. Nee is 
 illogically put for atqui ne. 
 
 395 ff. Davos here meets a 
 possible objection to his plan, 
 but the point is stated so briefly 
 as to be somewhat obscure. 
 We may expand thus : Pa. 
 Why not rely solely upon my 
 notorious connection with Glu- 
 cerium to keep me out of the 
 marriage market ? Why make 
 any promises to my father ? Da. 
 If you vex him, he will find a 
 poor girl whose father will take 
 a rich son-in-law in spite of any 
 scandal. 
 
 395. quod speres : see A. 
 & G. 572 a, B. 299. 2, Bu. 823, 
 
 TUR. ANDRIA 8 
 
 G. 525. 2 Note 3, H. & B. 552. 2, 
 H. 588. 3 Note, L. & M. 847. 
 In classical Latin the verb 
 would be indicative. propul- 
 sabo : a strong military expres- 
 sion. 
 
 396. sinat: for the mood, see 
 
 A. & G. 571 a, B. 284. 4, Bu. 
 869, G. 644 Remark 3, H. & 
 
 B. 507. 4 d, H. 570. i, L. & 
 M. 871. 
 
 397. feceris: for the tense, 
 see on ceperit (213). 
 
 398. alia quaeret : " he will 
 turn to other things." 
 
 399. quin taces : for the 
 meaning, see on quin die (45). 
 
 400. dicam : sc. me ducturum 
 esse. ne : for the position, see 
 on ut (160). cautiost = caven- 
 dum est. For the verbal noun 
 in the value of a verb form, cf. on 
 inmemori (44).
 
 114 TERENTI ANDR1A 
 
 Nam pollicitus sum suscepturum. Da. O facinus 
 
 audax ! Pa. Hanc fidem 
 Sibi me obsecravit, qui se sciret non deserturum, ut 
 
 darem. 
 Da. Curabitur. Sed pater adest. Cave te esse tristem 
 
 
 SIMO DAVOS PAMPILUS 
 
 SENEX SERVOS ADULESCENS 
 
 [Enter Simo from the right. He doesn't see Pampilus and 
 Davos.] 
 
 Si. Revise quid agant aut quid captent consili. 
 405 Da. [To Pampilus.] Hie nunc non dubitat, quin te duc- 
 
 turum neges. 
 
 Venit meditatus alicunde ex solo loco ; 
 Orationem sperat invenisse se, 
 Qui differat te. Proin tu fac apud te sies. 
 Pa. [To Davos.] Modo ut possim, Dave. Da. [To Pampi- 
 lus.] Crede inquam hoc mihi, Pampile, 
 
 401. suscepturum: for the 408. qui: ablative feminine, 
 meaning, see on tollere (219). - differat te : "rip you up 
 fidem: "promise"; construe the back." proin: a monosyl- 
 with darem. lable with diphthongal oi; see 
 
 402. qui: ablative feminine; on dehinc (79). -- apud te 
 for the form, see on 53. It in- sies: " have your wits about 
 troduces a purpose clause, as in you." 
 
 334. deserturum: sc. me as 409. modo ut possim: in 
 subject. early Latin, wishes are sometimes 
 
 introduced by ut (note that 
 ACT 1 SCENE 4 ut{nam js mere , y ut({} + nam} . 
 
 404. revise : " I am coming see A. & G. 442 a, Bu. 774, 
 
 back to see." G. 261, H. & B. 511. i a, H. 558. 
 
 406. meditatus: " after re- 5. Modo is the adverb " only," 
 
 hearsing his argument." and it virtually transforms the
 
 ACTUS III, SCENA V 115 
 
 |.io Numquam hodie tecum commutaturum patrem 
 Unum esse verbum, si te dices ducere. 
 
 BURRIA SIMO DAVOS PAMPILUS 
 
 SERVOS SENEX SERVOS ADULESCENS 
 
 [Enter Burria from the right.] 
 
 Bu. [Aside.] Erus me relictis rebus iussit Pampilum 
 Hodie observare, ut quid ageret de nuptiis 
 Scirem ; id propterea nunc hunc venientem sequor. 
 I-IS Ipsum adeo praesto video cum Davo; hoc agam. 
 
 Si. [Aside.] Utrumque adesse video. Da. [To Pampilus.] 5 
 
 Em, serva ! Si. Pampile ! 
 Da. [To Pampilus.] Quasi de inproviso respice ad eum. 
 
 Pa. Ehem, pater ! 
 Da. [Aside.] Probe ! Si. Hodie uxorem ducas, ut dixi, 
 
 volo. 
 
 Bu. [Aside.] Nunc nostrae timeo parti, quid hie respondeat. 
 .20 Pa. Neque istic neque alibi tibi erit usquam in me mora. 
 
 Bu. [Aside.] Hem ! 
 
 Da. [Aside.] Obmutuit. Bu. [Aside.] Quid dixit ? Si. 10 
 Facis ut te decet, 
 
 wish into a proviso ; translate " and now." hoc agam : " I'll 
 
 " if only I can." attend to business." 
 
 411. ducere: for the tense, 416. em: "there you are." 
 
 see on 379. The implied object is the situa- 
 tion which calls for the perform- 
 
 iCENE 5 ance of the farce they have 
 
 414. id refers to ut scirem; planned; see on 351. serva: 
 for the case, see on id (162). " look out." 
 
 propterea refers to iussit . . . 417. ehem : like hem, an ex- 
 
 observare. hunc : i.e., Simo. clamation of surprise, " why ! " 
 
 415. adeo: "in addition to 421. obmutuit : this records 
 this, besides " (for the ety- the fulfillment of Davos' proph- 
 mology, see on 120); translate ecy in line 410.
 
 Ii6 TERENTI ANDRIA 
 
 Quom istuc quod postulo impetro cum gratia. 
 Da. [Aside.] Sum verus ? Bu. [Aside.] Erus, quantum 
 
 audio, uxore excidit. 
 
 Si. I nunciam intro, ne in mora, quom opus sit, sies. 
 425 Pa. E6. [Exit into Simo's house.] Bu. [Aside.] Nullane 
 
 in re esse quoiquam homini fidem ! 
 Verum illud verbumst, volgo quod dici solet, 
 Omnis sibi malle melius esse quam alteri. 
 Ego illam vidi ; virginem forma bona 
 Memini videri. Quo aequior sum Pampilo, 
 430 Si se illam in somnis quam ilium amplecti maluit. 
 
 Renuntiabo, ut pro hoc malo mihi det malum. [Exit.] 
 
 DAVOS SIMO 
 
 SERVOS SENEX " 
 
 Da. [Aside.] Hie nunc me credit aliquam sibi fallaciam 
 Portare et ea me hie restitisse gratia. 
 
 422. impetro: for the indica- 425. nullane . . . fidem: for 
 tive in a causal ^worn-clause, the construction, see on 245. 
 see on quom videt (242). cum fidem means " reliability "; but 
 gratia : " with friendly feeling, that is too long a word for Burria 
 willingly " ; the contrasting idea to say. Recast the sentence in 
 is expressed by ingrains, " un- colloquial English. 
 
 willingly, grudgingly." 429. videri : for the tense, 
 
 423. uxore excidit : " is short see A. & G. 584 a Note, Bu. 942, 
 a wife." After his exclamations G. 281. 2 Note, H. & B. 593 b, 
 in 420 and 421, Burria quickly H. 618. 2. quo: " where- 
 recovers his usual sang-froid. fore." aequior : " more in- 
 
 424. It now remains for Simo clined to excuse." 
 
 to use the second string to his 431. malum :" the mischief"; 
 
 bow (see 165 ff). Now that see on malo (179). 
 
 Pampilus has apparently been 
 
 got away from* Glucerium, AcT HI 
 
 Cremes may withdraw his ob- 433. ea gratia: "on that 
 
 jections to the match. account " ; eius gratia might
 
 ACTUS in, SCENA VI 
 
 117 
 
 35 Si. 
 Da. 
 
 Si. 
 Si. 
 
 narrat ? Da. Nequeo quicquam nunc 
 Da. Nil prorsus. Si. Atqui expecta- 
 
 H6c male habet s 
 
 Si. Quid Davos 
 quidem. 
 Nilne ? Hem ! 
 
 bam quidem. 
 [Aside.] Praeter spem evenit, sentio. 
 
 virum. 
 
 Potin es mihi verum dicere ? Da. Nihil facilius. 
 Num illi molestae quidpiam haec sunt nuptiae ? 
 Da. Num propter consuetudinem huiusce hospitae ? 
 40 Nil hercle ; aut, si adeo, biduist aut tridui 
 Haec sollicitudo ; nosti ? Deinde desinet. 
 Etenim ipsus secum earn rem reputavit via. 
 Si. Laudo. Da. Dum licitumst ei dumque aetas tulit, 
 
 have been understood as " on 
 his account." 
 
 434. quid Davos narrat : nar- 
 rat = ait (cf. on narras, 367) ; 
 the clause means " What has 
 Davos to say ? " 
 
 436. male habet : " worries." 
 
 437- potin es = potesne (cf. 
 audin = audis-ne, etc.). The 
 early Latin adjective potis, 
 " able, possible," appears both 
 in that form and as pote in all 
 genders and in both numbers. 
 dicere nihil : the fourth foot of 
 the verse is a tribrach. fa- 
 cilius : the regular accentuation 
 of this word in Plautus and 
 Terence; see on benefici (44). 
 
 438. quidpiam : " at all." 
 haec = hae. The variant forms 
 of hie may be found in the 
 grammars. 
 
 440. si adeo : adeo is here an 
 emphasizing particle, " even." 
 English idiom requires that we 
 fill out the clause, " even if it 
 does." 
 
 441. nosti: with the tone of 
 English " don't you know ? " 
 The contracted forms of perfects 
 in v, unlike praescripsti (151), 
 etc., occur frequently in formal 
 Latin. deinde : for the pro- 
 nunciation, see on dehinc (79). 
 
 442. via : " aright " ; cf. viam 
 (190). 
 
 443. dum licitumst, etc. : a 
 mocking repetition of Simo's 
 words to Davos in 188. ei is 
 here a spondee. The dative of 
 is appears in early Latin in three 
 forms : el (pronounced ei-yi), ei, 
 and ei (pronounced as a diph- 
 thong).
 
 u8 
 
 TERENTI ANDRIA 
 
 Amavit; turn id clam; cavit, ne umquam infamiae 
 445 Ea res sibi esset, ut virum fortem decet. 
 
 Nunc uxore opus est; animum ad uxorem adpulit. 
 Si. Subtristis visust esse aliquantillum mihi. 
 Da. Nil propter hanc rem, sed est quod suscenset tibi. 
 Si. Quid namst ? Da. Puerilest. Si. Quid id est ? Da. 
 
 Nil. Si. Quin die, quid est ? 
 450 Da. Ait nimium parce facere sumptum. Si. Mene ? Da. 
 
 Te. 
 
 'Vix' inquit 'dracumis est obsonatus decem; 
 Non filio videtur uxorem dare. 
 
 Quern' inquit ' vocabo ad cenam meorum aequalium, 
 Potissumum nunc ?' Et, quod dicendum hie siet, 
 
 445. fortem : " honorable " ; 
 the phrase virum fortem means 
 " gentleman." Davos' idea that 
 hypocrisy in such matters is 
 conduct proper for gentlemen 
 is still widely held. 
 
 447. aliquantillum repeats the 
 force of sub in subtristis. This 
 diminutive form is exclusively 
 colloquial. 
 
 448. quod : for the case, 
 see on id (362) ; translate 
 "about which." suscenset: 
 " is vexed " ; what would the 
 subjunctive mean here ? 
 
 449. quin die : for the mean- 
 ing and construction, see on 45. 
 
 451. dracumis: consult the 
 dictionary under drachma (Gk. 
 Spaxpr)). The Romans had the 
 same difficulty with certain 
 Greek combinations of conso- 
 
 nants that we find with German 
 Knabe, etc. In early times the 
 difficulty was removed by the 
 insertion of a short u or i (much 
 as we are inclined to say 
 Kunabe). At about the time 
 when the Romans began writ- 
 ing ck, etc. (see on epebis, 51), 
 they began taking pains to pro- 
 nounce the difficult consonant 
 groups correctly. The drachma 
 contained metal that would now 
 be worth about 20 cents; but 
 its purchasing power was much 
 greater than that. est obsona- 
 tus : a deponent form of obsono. 
 
 453. meSrum : for the pros- 
 ody, see Introduction 19 end. 
 
 454. potissumum nunc : "par- 
 ticularly at this late hour." 
 Others translate " particularly 
 on my wedding day." quod
 
 ACTUS III, SCENA VII 
 
 119 
 
 55 Tu quoque perparce, nimium. Non laudo. St. Tace. 
 
 Da. [Aside.] Commovi. Si. Ego istaec recte ut fiant videro. 25 
 [Aside.] Quid nam hoc est rei ? Quid hie volt vetera- 
 
 tor sibi ? 
 Nam si hie malist quicquam, em, illic est huic re caput. 
 
 Musis SIMO DAVOS LESBIA (GLUCERIUM) 
 
 ANCILLA 
 
 SENEX SERVOS 
 
 OBSTETRIX 
 
 VIRGO 
 
 [Enter Musis and Lesbia from the right. They do not see 
 Simo and Davos.] 
 
 Mu. Ita pol quidem res est, ut dixti, Lesbia: 
 60 Fidelem hau ferme mulieri invenias virum. 
 
 Si. [To Davos.] Ab Andriast ancilla haec ? Da. [To Simo.] 
 
 Quid narras ? Si. [Aside.] Itast. 
 
 Mu. Sed hie Pampilus . . . Si. [Aside.] Quid dicit ? Mu. 
 . . . flrmavit fidem. Si. [Aside.] Hem ! 
 
 dicendum hie siet: for the re- 
 strictive clause, see A. & G. 53 5 d, 
 B. 283. 5, Bu. 803, G. 627 
 Remark i, H. & B. 521. i f, H. 
 591. 3, L. & M. 841. 
 
 455- tu quoque, etc. : quo- 
 que marks the entire sentence 
 as in harmony with the preceding 
 quotation of Pampilus' com- 
 plaints; translate "really you 
 have been very stingy, too much 
 so." non laudo: a parody of 
 Simo's laudo (443). 
 
 456. videro : for the tense, 
 see on ceperit (213). 
 
 457. rei : early Latin has 
 also the classical genitive rei: 
 veterator : Davos is an " old 
 
 hand " at rascality vetus in 
 astutia, says the ancient com- 
 mentator. 
 
 458. em accompanies a ges- 
 ture of pointing toward Davos ; 
 omit in the translation. illic: 
 nominative singular masculine, 
 from ille-ce. For the change of 
 e to i, see on hoccine (186). re : 
 for the monosyllabic dative, see 
 on fide (296). 
 
 ACT III SCENE 7 
 
 460. hau = hand. invenias : 
 for the potential subjunctive, 
 see on scias (95). 
 
 462. firmavit: slightly stronger 
 than dedit.
 
 I2O 
 
 TERENTI ANDRIA 
 
 Da. [Aside.] Utinam aut hie surd us aut haec muta facta sit! s 
 Mu. Nam quod peperisset, iussit tolli. St. [Aside.] O 
 
 luppiter, 
 465 Quid ego audio ? Actumst, siquidem haec vera prae- 
 
 dicat. 
 
 Le. Bonum ingenium narras adulescentis. Mu. Optumum. 
 Sed sequere me intro, ne in mora illi sis. Le. Sequor. 
 [Exeunt into Glucerium's house.] 
 Da. [Aside.] Quod remedium nunc huic malo inveniam ? 10 
 
 Sz. Quid hoc ? 
 
 Adeon est demens ? Ex peregrina ? lam scio ; ah, 
 470 Vix tandem sensi stolidus. Da. [Aside.] Quid hie 
 
 sensisse ait ? 
 Si. [Aside.] Haec primum adfertur iam mi ab hoc fallacia ; 
 
 Hanc simulant parere, quo Cremetem absterreant. 
 Gl. [Inside the house.] luno Lucina, fer opem, serva me, 15 
 obsecro. 
 
 464. quod : for the gender, 
 see on nil (120). 
 
 465. actumst : " all is over " ; 
 originally used of closing a law- 
 suit. siquidem : si, quando, 
 me, tu, and te are often short- 
 ened before quidem. The cause 
 of the shortening is unknown. 
 In these cases it would be pos- 
 sible to read si equidem, etc., with 
 elision (cf. ne utiquam, and note 
 on 330). No such explanation, 
 however, would hold for the 
 apparently similar shortenings, 
 sine (from si ne), quasi (from 
 qua si), etc. 
 
 469. To Simo, as to Davos 
 
 (cf. 218), it seems sheer madness 
 to bring up the child of a foreign 
 woman; for such a child would 
 be an alien. The explanation of 
 Pampilus' conduct, viz. that 
 Glucerium is not really a for- 
 eigner, is unknown to Simo; 
 and Davos, who has heard the 
 story, disbelieves it. Compare 
 on 145 f. 
 
 472. quo here introduces a 
 purpose clause even though there 
 is no comparative; cf. on quo 
 minus (197). Cremetem : for 
 the form, see on 247. 
 
 473. luno Lucina is the god- 
 dess of childbirth.
 
 ACTUS IH, SCENA VIII 
 
 121 
 
 Si. 
 
 475 
 
 Si. 
 
 Si. 
 
 480 
 
 Hui, tarn cito ? Ridiculum. Postquam ante ostium 
 Me audivit stare, adproperat. N6n sat commode 
 Divisa sunt temporibus tibi, Dave, haec. Da. Mihin ? 
 Num inmemores discipuli ? Da. Ego quid narres 
 
 nescio. 
 
 [Aside.} Hicine me si inparatum in veris nuptiis 
 Adortus esset, quos mihi ludos redderet ! 
 Nunc huius periclo fit, ego in portu navigo. 
 
 DAVOS 
 
 SERVOS 
 
 She calls back to the 
 
 LESBIA SIMO 
 
 OBSTETRIX SENEX 
 
 [Enter Lesbia from Glucerium's house, 
 women in the house.} 
 
 Le. Adhuc, Arculis, quae adsolent quaeque oportent 
 Signa esse ad salutem, omnia huic esse video. 
 
 474. hui: a whistle. cito, in 
 origin the ablative neuter of ci- 
 tus, here retains its full quan- 
 tity. x The form with iambic 
 shortening is more common in 
 early Latin and universal later. 
 For parallels, see Introduction 
 19. 
 
 475. audivit : i.e., from Musis 
 and Lesbia. 
 
 475 ff. Simo admonishes Da- 
 vos that he ought to have put 
 a longer interv'al between the 
 arrival of the midwife and 
 Glucerium's cry. He draws his 
 figures from the stage. 
 
 476. temporibus : " in point 
 of time." 
 
 477. discipuli : " actors." For 
 the author of a play was said 
 docere fabulam, a usage which 
 was taken over from the Greek. 
 
 478. hicine : in early Latin 
 the enclitic -ne is sometimes an 
 affirmative particle. 1 For the 
 change of the enclitic -ce to -ci, 
 see on hoccine (186). 
 
 480. huius is a monosyllable ; 
 see on eius (93). 
 
 ACT III SCENE 8 % - 
 
 481-484. For the bacchiac 
 tetrameters, see Introduction 28. 
 
 481. oportent: this verb is 
 sometimes personal in early 
 Latin. 
 
 1 This explanation seems to have won pretty general acceptance, but there 
 is still room for doubt.
 
 122 
 
 TERENTI ANDRIA 
 
 Nunc primum fac istaec lavetur; post deinde, 
 Quod iussi ei dari bibere et quantum imperavi, 
 485 Date ; mox ego hue revortor. 
 
 [Closes the door, and walks toward the right soliloquizing.} 
 Per ecastor scitus puer est natus Pampilo. 
 Deos quaeso ut sit superstes, quandoquidem ipsest 
 
 ingenio bono, 
 
 Quomque huic est veritus optumae adulescenti facere 
 
 iniuriam. [Exit.] 
 
 St. Vel hoc quis non credat, qui te norit, abs te esse ortum? 
 
 Da. Quid nam id est ? 
 490 Si. Non imperabat coram, quid opus facto esset puerperae, i< 
 
 483. istaec : nominative sin- 
 gular feminine. lavetur is a 
 true passive; translate fac . . . 
 lavetur " have her bathed." 
 
 484. ei is monosyllabic; see 
 on ei (443). bibere is a col- 
 loquial infinitive of purpose after 
 dari. 
 
 485. revortor: present for 
 future. 
 
 486. per : with scitus. 
 scitus exhibits the participial 
 suffix in an active sense, as in 
 deponent verbs, gavisus from gau- 
 deo, etc. (cf. B. 1 1 4. 2) The mean- 
 ing " knowing, wise " was weak- 
 ened in colloquial Latin into a 
 vague general epithet of praise. 
 The same development is to be 
 seen in English " cunning " ; but 
 the colloquial " cunning " is em- 
 ployed only by women, while 
 scitus was used in the slang sense 
 
 by men as well. Translate per 
 scitus " very nice." 
 
 487. superstes : sc. Pampilo. 
 It was always in order to pray 
 that a son should outlive his 
 father, for that is the way of 
 nature. The prayer does not 
 imply indifference to Pam- 
 pilus' welfare. - - quandoqui- 
 dem : for the quantity of the an- 
 tepenult, see on siquidem (465). 
 
 488. est veritus: for the 
 mood, see on impetro (422). 
 
 489. vel, " even," introduces 
 the climax. 
 
 490. quid opus facto esset : 
 quid is the subject of the verb. 
 The ablative singular neuter of 
 the participle, instead of the 
 supine in -u, regularly follows 
 opus est in early Latin. The 
 four words = quid faciendum es- 
 set. puerperae : dative.
 
 ACTUS III, SCENA VIII 
 
 123 
 
 Sed postquam egressast, illis quae sunt intus clamat de 
 
 via. 
 O Dave, itane .contemnor abs te ? Aut itane tandem 
 
 idoneus 
 Tibi videor esse, quern tarn aperte fallere incipias 
 
 dolis ? 
 
 Saltern accurate, ut metui videar certe, si resciverim. 
 95 Da. [Aside.] Certe hercle nunc hie se ipsus fallit, haud ego. 15 
 
 Si. Edixi tibi, 
 Interminatus sum, ne faceres ? Num veritu's ? Quid 
 
 retulit ? 
 
 Credon tibi hoc nunc, peperisse hanc e Pampilo ? 
 Da. [Aside.] Teneo quid erret, et quid agam habeo. Si. 
 
 Quid taces ? 
 Da. Quid credas? Quasi non sint tibi renuntiata haec sic 
 
 fore. 
 
 490 f. Here, as in 475 f., Simo 
 is quite right in thinking the 
 behavior of Lesbia unusual. 
 She should have visited her 
 patient sooner, and she should 
 have finished her directions 
 before leaving the house. The 
 audience knows the explanation 
 of both blunders : Lesbia is care- 
 less, temeraria (229). 
 
 493. fallere incipias is 
 stronger than f alias. 
 
 494. accurate: an adverb; 
 sc. me fallere debes. It con- 
 trasts with aperte of the pre- 
 ceding line. 
 
 496. interminatus sum : a 
 colloquially strengthened mina- 
 
 tus sum. retulit : from the 
 impersonal rejert. 
 
 497. credon : for the indica- 
 tive in a deliberative question, 
 see on adeon (315); translate 
 " Shall I take your word for 
 this ? " 
 
 498. teneo is as slangy as in 
 86, but we must translate " I 
 see." 
 
 499. quid credas : " Why 
 should (i.e., need) you take my 
 word ? " Davos implies here 
 what he states in the next sen- 
 tence, that Simo has other 
 grounds for his knowledge. For 
 the mood, see G. 259, H. & B. 
 513. I, H. 557, L. & M. 723.
 
 TERENTI ANDRIA 
 
 500 Si. Mihin quisquam ? Da. [Ironically.] Eho, an tute 20 
 
 intellexti hoc adsimulari ? Si. Inrideor. 
 Da. Renuntiatumst ; nam qui tibi istaec incidit suspicio ? 
 Si. Qui ? Quia te noram. Da. Quasi tu dicas factum id 
 
 consilio meo. 
 Si. Certe enim scio. Da. Non satis me pernosti etiam, 
 
 qualis sim, Simo. 
 St. Egon te ? Da. Sed si quid tibi narrare occepi, con- 
 
 tinue dari 
 505 Tibi verba censes. St. Falso ? Da. Itaque hercle 2< 
 
 nil iam muttire audeo. 
 St. Hoc ego scio unum, neminem peperisse hie. Da. 
 
 Intellexti : 
 
 Nilo setius mox puerum hue deferent ante ostium. 
 Id ego iam nunc tibi, ere, nuntio futurum, ut sis sciens, 
 
 500. quisquam : sc. renuntia- 
 vit. eho marks surprise. For 
 another meaning of eho, see 
 on 184. an introduces the 
 second alternative, although the 
 first is not included in the ques- 
 tion. tute: emphatic; con- 
 trast the use of egomet which we 
 have noticed in line 82. Trans- 
 late " Did you find out for your- 
 self?" Davos pretends to be 
 quite overcome with admiration 
 of his master's shrewdness. 
 There is irony in this and Davos' 
 succeeding speeches, but he is 
 not now mocking Simo; he 
 is playing a part in all serious- 
 ness. intellexti : for the form, 
 see on praescripsti (151). 
 
 501. qui: "why?" See on 53. 
 
 503. enim : " for " ; trans- 
 late " yes <I do say so), for." 
 Others take enim in its original 
 corroborative sense with eerie. 
 me : for the prolepsis, see on fi- 
 lium (169). etiam is temporal, 
 as in 116. 
 
 504. egon te : supply verb 
 and modifiers from the preceding 
 sentence. dari verba : for the 
 meaning, see on 211. 
 
 505. falso : again supply in 
 thought most of the preceding 
 sentence ; translate " And am I 
 wrong ? " 
 
 506. intellexti : Davos' tone 
 is full of admiration. 
 
 507. nilo setius = tamen. 
 
 508. ut sis sciens is a col- 
 loquial periphrasis for ut scias.
 
 ACTUS III, SCENA VIII 
 
 125 
 
 Ne tu hoc poste dicas Davi factum consilio aut dolis. 
 10 Prorsus a me opinionem hanc tuam esse ego amotamso 
 
 volo. 
 Si. Unde id scis ? Da. Audivi et credo. Multa con- 
 
 currunt simul, 
 Qui coniecturam hanc nunc faciam. lam prius haec se e 
 
 Pampilo 
 Gravidam dixit esse. Inventumst falsum. Nunc, 
 
 postquam videt 
 
 Nuptias domi apparari, missast ancilla ilico 
 [5 Obstetricem accersitum ad earn et puerum ut adferretas 
 
 simul. 
 Hoc nisi fit, puerum ut tu videas, nihil moventur nup- 
 
 tiae. 
 Si. Quid ais ? Quom intellexeras 
 
 Id consilium capere, cur non dixti extemplo Pampilo ? 
 
 509. poste : the original form 
 of post. For the loss of final 
 short e, which yielded the 
 classical form, compare neque, 
 nee, etc. ; see on intellextin 
 (201). 
 
 510. prorsus: "utterly." 
 tuam esse : the shortening is due 
 to the iambic law. 
 
 511. uncle id scis : Davos has 
 at last made an impression on 
 Simo;. but the latter still feels 
 the need of a little cross-examin- 
 ing. audivi, etc. : Davos is 
 not quite ready to answer. His 
 first reply is the obvious " I've 
 heard " ; but he promptly with- 
 draws that explanation as invit- 
 
 ing further inconvenient ques- 
 tions. 
 
 512. qui = ut; see on 307. 
 
 515. accersitum: accerso is 
 the colloquial form of arcesso. 
 The historical relationship be- 
 tween the two forms is unknown. 
 
 puerum : " a baby." 
 
 516. Davos gives the (sup- 
 posed) reasoning of the women, 
 from their own point of view. 
 nihil is an emphatic non. 
 
 517. quid ais: for the mean- 
 ing, see on 137. 
 
 518. capere: for the omitted 
 subject, see on dictum (29). 
 dixti : for the form, see on prae- 
 scripsti (151).
 
 126 
 
 TERENTI ANDRIA 
 
 Da. Quis igitur eum ab ilia 
 omnes nos quidem 
 
 abstraxit nisi ego ? Nam 
 
 520 Scimus, quam misere hanc amarit. Nunc sibi uxorem 40 
 
 expetit. 
 
 Postremo id mihi da negoti ; tu tamen idem has nuptias 
 Perge facere ita ut facis, et id spero adiuturos decs. 
 Si. Immo abi intro. Ibi me opperire et quod parato opus 
 est para. [Exit Davos into Simo's house.] 
 
 Non inpulit me, haec nunc omnino ut crederem, 
 525 Atque baud scio an quae dixit sint vera omnia. 45 
 
 Sed parvi pendo; illud mihi multo maxumumst, 
 Quod mihi pollicitust ipse gnatus. Nunc Cremem 
 Conveniam, orabo gnato uxorem. Si impetro, 
 Quid alias malim quam hodie has fieri nuptias ? 
 53 Nam gnatus quod pollicitust, haud dubiumst mihi, 50 
 
 520. misere : " desperately." 
 
 521. id negoti = id negotium; 
 for the case of negoti, see on 
 aliquid monstri (250). idem 
 (masculine) virtually repeats 
 the idea expressed by tamen; 
 see A. & G. 298 b, B. 248, Bu. 
 726, G. 310, H. & B. 270 a, 
 H. 508. 3, L. & M. 1059. 
 
 522. facis : for the long ul- 
 tima, see on 322. 
 
 523. immo : " no ! " For the 
 use of this word, see on 201. 
 
 parato : for the construc- 
 tion, see on 490. 
 
 524. omnino : " wholly." 
 
 525. This line repeats the 
 idea of 524 in more explicit 
 form, " and I don't know 
 
 whether everything he said is 
 true." haud scio an is quite 
 non-committal, as always in 
 early Latin. In classical Latin 
 the phrase often means " I 
 am inclined to think" or "per- 
 haps." 
 
 527. quod . . . gnatus: for 
 the substantive ^wo^-clause, see 
 A. & G. 572, B. 299. i a, Bu. 
 822, G. 525. 2, H. & B. 552. i, 
 H. 588. 3, L. & M. 848. 
 
 528. gnato: dative. 
 
 529. alias : " at another 
 time." 
 
 530. quod is here a relative 
 whose antecedent id is to be 
 supplied as secondary object 
 of cogere (531).
 
 ACTUS III, SCENA IX 
 
 127 
 
 35 
 
 Si nolit, quin eum merito possim cogere. 
 
 Atque adeo in ipso tempore eccum ipsum obviam. 
 
 SIMO CREMES 
 
 SENEX SENEX 
 
 [Enter Cr ernes from the right.] 
 Si. lubeo Cremetem ... Cr. [Interrupting.] O te ipsum 
 
 quaerebam. Si. Et ego te ; optato advenis. 
 Cr. Aliquot me adierunt, ex te auditum qui aibant, hodie 
 
 filiam 
 
 Meam nubere tuo gnato ; id viso tun an illi insaniant. 
 Si. Auscultapauca; et quid ego te velim et tu quod quaeris 
 
 scies. 
 Cr. Ausculto; loquere quid velis. 5 
 
 532. atque adeo is here equiv- 
 alent to adeo in 415; trans- 
 late " and now." eccum ip- 
 sum : the adverb ecce, " lo," was 
 often used with video (cf. Ter- 
 ence, Eun. 967, ecce autem 
 video rure redeuntem senem) or 
 in place of it. Consequently 
 speakers often started out to 
 say ecce hie, then thought of the 
 equivalent video hunc, and so 
 actually said ecce hunc (cf. on 
 quin die, 45). The second ele- 
 ment of eccum is * hum, the 
 uncompounded form of hun-c 
 (compare the variation between 
 hae and hae-c in the nominative 
 plural feminine). Eccum, from 
 ecce *hum, differs from antehac, 
 
 pronounced antdc, in being 
 spelled phonetically. 1 
 
 ACT III SCENE 9 
 
 533- optato: ablative abso- 
 lute used impersonally, vir- 
 tually an adverb ; see A. & G. 
 419 c, Bu. 568, G. 410. 3 Note 4, 
 H. 489. 7, L. & M. 642. 
 
 534. aibant : in line 930 the 
 imperfect of aio is aiebat; see 
 on servibas (38). 
 
 535. id : explained by the 
 following indirect question. 
 viso : for the meaning, see on 
 reviso (404). 
 
 536. quod = id quod; an 
 indirect question would make 
 no sense here. 
 
 1 Eum would have been too colorless a word to use with ecce. In any case 
 ecce eum would yield a trisyllable * ecceum.
 
 128 
 
 TEREXTI AXDRIA 
 
 Si. Per te deos 6ro et nostrum amicitiam, Cremes, 
 Quae incepta a parvis cum aetate adcrevit simul, 
 
 540 Perque unicam gnatam tuam et gnatum meum, 
 
 Quoius tibi potestas summa servandi datur, 
 Ut me adiuves in hac re atque ita uti nuptiae 
 Fuerant futurae, fiant. Cr. Ah, ne me obsecra ; 
 Quasi hoc te orando a me impetrare oporteat. 
 
 545 Alium esse censes nunc me atque olim quom dabam ? 
 
 Si in remst utrique ut fiant, accersi iube. 
 Sed si ex ea re plus malist quam commodi 
 Utrique, id oro te in commune ut consulas, 
 Quasi ilia tua sit Pampilique ego sim pater. 
 
 550 Sz. Immo ita volo itaque postulo ut fiat, Creme, 
 
 Neque postulem abs te, ni ipsa res moneat. Cr. Quid 
 est ? 
 
 538. per te deos oro : for the 
 order, see on 289. Cremes : 
 for the form, see on 247. 
 
 539. a parvis : for the trans- 
 lation, see on a parvolo (35). 
 
 541. quoius: pronounced 
 quois, as in line 336; see on eius 
 
 (93)- 
 
 543. fuerant futurae : " was to 
 be." ne obsecra : for the con- 
 struction, see on ne nega (384). 
 
 545. olim here refers to a 
 definite time ( = illo tempore) ; 
 cf. olli = illi, Vergil, Aen. i. 254, 
 etc. dabam : the imperfect 
 is used of an act in progress at 
 some moment in the past, even 
 if the act was not completed. 
 The usage is inaccurately termed 
 the " conative imperfect." 
 
 546. in rem : " to the ad- 
 vantage." fiant : sc. nuptiae. 
 accersi : sc. earn. This is 
 the usual word for bringing 
 home the bride. For the form 
 of the word, see on 515. 
 
 548. id, the object of oro, is 
 defined by the following ut- 
 clause. 
 
 550. immo ita volo : immo 
 corrects the implication of sel- 
 fishness in Cremes' request that 
 Simo consider the interests of 
 them both. The antecedent of 
 ita is the request itself. Trans- 
 late " Why ! That is precisely 
 what I want." Creme : for the 
 form, see on 247. 
 
 551. postulem, moneat: for 
 the present subjunctive in a
 
 ACTUS III, SCENA IX 
 
 129 
 
 Si. Irae sunt inter Glucerium et gnatum. Cr. Audio. 
 Si. Ita magnae, ut sperem posse avelli. Cr. Fabulae ! 
 Si. Profecto sic est. Cr. Sic hercle ut dicam tibi : 
 
 Amantium irae amoris integratiost. 
 Si. Em, id te oro ut ante eamus ; dum tempus datur 
 
 Dumque eius lubido occlusast contumeliis, 
 
 Prius quam harum scelera et lacrumae confictae dolis 
 
 Redducunt animum aegrotum ad misericordiam, 
 
 Uxorem demus. Spero consuetudine et 
 
 Coniugio'liberali devinctum, Cremes, 
 
 Dein facile ex illis sese emersurum malis. ; 
 
 Cr. Tibi ita hoc videtur; at ego non posse arbitror 
 
 Neque ilium hanc perpetuo habere neque me perpeti. 
 
 contrary to fact condition and 
 conclusion, see on sis, sentias 
 
 552. audio, " of course," is 
 ironical. 
 
 553. fabulae: for the mean- 
 ing, see on 224. 
 
 556. em : " here," or, perhaps 
 better, " listen." The logical ob- 
 ject is the following sentence. 
 For the etymology and use of 
 em, see on 351. id is used 
 precisely as in 548. 
 
 557. eius is a monosyllable, 
 as in 93. 
 
 559. redducunf* consult the 
 dictionary under the classical 
 form, reduco, aegrotum : for 
 the meaning, see on 193. 
 
 561. coniugio liberali : " mar- 
 riage with a lady " ; for the 
 meaning ofliberalis, cf. on 123. 
 
 TER. ANDRIA 9 
 
 562. dein : a monosyllable ; 
 see on dehinc (79). sese 
 emersurum : the verb is more 
 commonly intransitive. 
 
 563 f. non posse neque ilium 
 . . . neque me : the pronouns 
 are subjects of posse. Non posse 
 neque means " can't not do so 
 and so," i.e., "can't help"; 
 compare Cicero, Ad. Fam. 9. 14. 
 I, non possum non confiteri. 
 Translate " but I think he can't 
 help keeping this woman for 
 good and all, and I can't help 
 allowing it." Others prefer to 
 understand eum sese emergere 
 with posse and posse with habere 
 and perpeti. They translate 
 " but I think he can't escape 
 from his troubles and that nei- 
 ther can he keep Glucerium per- 
 manently nor can I endure it."
 
 1 3 o 
 
 TERENTI ANDRIA 
 
 3S 
 
 565 St. Qui scis ergo istuc, nisi periclum feceris ? 
 Cr. At istuc periclum in filia fieri gravest. 
 St. Nempe incommoditas denique hue omnis nclit, 
 Si eveniat, quod di prohibeant, discessio. 
 At si corrigitur, quot commoditates, vide ! 
 57 Principio amico filium restitueris, 
 
 Tibi generum firmum et filiae invenies virum. 
 Cr. Quid istic ? Si ita istuc animum induxti esse utile 40 
 
 Nolo tibi ullum commodum in me claudier. 
 St. Merito te semper maxumi feci, Creme. 
 575 Cr. Sed quid ais ? St. Quid ? Cr. Qui scis eos nunc 
 
 discordare inter se ? 
 
 St. Ipsus mihi Davos, qui intumust eorum consiliis, dixit; 
 Et is mihi suadet nuptias quantum queam ut ma- 45 
 
 turem. 
 Num censes faceret, filium nisi sciret eadem haec velle ? 
 
 565. periclum: "experi- 
 ment." The word is a deriva- 
 tive of the verb which appears 
 in the compound ex-perior, with 
 the instrument suffix -do-; for 
 the latter, see on 131. 
 
 568. discessio : colloquial 
 Latin makes more use of ab- 
 stracts in -io than the formal 
 language. The usual word in 
 this sense is divortium. 
 
 570. restitueris : the future 
 perfect is coupled with the fu- 
 ture invenies; see on ceperit 
 
 (213). 
 
 572. quid istic: "what in 
 that case (is one to say)?" It 
 is a common formula, when the 
 speaker is about to yield to his 
 
 opponent in a dispute. Trans- 
 late " Have your way." 
 induxti : for the form, see on 
 praescripsti (151). For the 
 phrase animum inducere, see the 
 dictionary under induco. 
 
 573. in me is here virtually 
 equivalent to per me. clau- 
 dier : for the form, see on de- 
 ludier (203). 
 
 575. quid ais looks forward; 
 see on 137. 
 
 576. eorum : for the prosody, 
 see Introduction 19 end. 
 consiliis : for the case, see A. & 
 G. 384, B. 192, Bu. 487, G. 
 359, H. & B. 362, H. 434 > L. & 
 M. 536. 
 
 578. censes is parenthetic.
 
 ACTUS III, SCENA X 
 
 So 
 
 Tute adeo iam eius verba audies. [Opens the door of his f\ 
 
 house, and calls.] Heus, evocate hue Davom. 
 Atque eccum video ipsum foras exire. 
 
 -^/- ' 
 
 DAVOS SIMO CREMES 
 
 SERVOS SENEX SENEX 
 
 [Enter Davos from Simo's house.] 
 
 Da. [To Simo.] Ad te ibam. Si. Quid namst ? 
 Da. Cur uxor non accersitur ? Iam advesperascit. Si. 
 
 [Apart to Cremes.] Audin ? 
 [To Davos.] Ego dudum non nil veritus sum, Dave, 
 
 abs te, ne faceres idem, 
 Quod volgus servorum solet, dolis ut me deluderes, 
 
 579. adeo : " too." 
 
 580. eccum : for the form 
 and meaning, see on 532. 
 foras is the accusative of a 
 noun *forae, equivalent to fores, 
 " door." The accusative of the 
 end of motion, foras, " out of 
 doors," and the locative abla- 
 tive, foris, were the only cases 
 of the word that survived. 
 
 ACT III SCENE 10 
 
 581. accersitur: for the 
 meaning, see on 546. adves- 
 perascit : the wedding pro- 
 cession started about sunset. 
 
 582. dudum : " a - while 
 ago " ; i.e., at the close of their 
 last interview, in line 523. 
 veritus sum : the short ultima 
 is probably due, not to the iam- 
 
 bic law, which does not very 
 often shorten the final syllable 
 of a trisyllable, but to the weak 
 pronunciation in early Latin 
 of final / after a short vowel 
 when the next word begins with 
 a consonant. There is abun- 
 dant evidence of this peculiarity 
 outside of the dramatists, and 
 in Plautus and Terence there 
 are a number of passages where 
 final syllables of this type have 
 to be scanned short although 
 the conditions of the iambic 
 law are not fulfilled. In many 
 other cases, as patris pudor 
 (262), magls lubido (308), either 
 method of shortening or both 
 of them may be involved. 
 
 583. volgus servorum: 
 " the common run of slaves."
 
 132 TEREXTI ANDRIA 
 
 Propterea quod amat filius. Da. Egon istuc facerem ? s 
 
 Si. Credidi, 
 585 Idque adeo metuens vos celavi, quod nunc dicam. Da. 
 
 Quid ? Si. Scies ; 
 Nam propemodum habeo iam fidem. Da. Tandem 
 
 cognosti qui siem ? 
 Si. Non fuerant nuptiae futurae. Da. Quid ? Non ? Si. 
 
 Sed ea gratia 
 Simulavi, vos ut pertemptarem. Da. Quid ais ? Si. 
 
 Sic res est. Da. Vide ! 
 Numquam istuc quivi ego intellegere. Yah, consilium 10 
 
 callidum ! 
 Hoc audi : ut hinc te intro ire iussi, opportune hie fit 
 
 mi obviam. Da. [Aside, with genuine alarm.} 
 
 Hem, 
 Num nam perimus ? Si. Narro huic, quae tu dudum 
 
 narrasti mihi. 
 Da. [Aside.] Quid nam audio ? Si. Gnatam ut det oro, 
 
 vixque id exoro. Da. [Aside; but Simo hears and 
 
 almost understands.} Occidi. Si. Hem, 
 
 584. filius : for the pyrrhic 589. vah : an interjection 
 
 before the diaeresis, see Intro- with a wide range of mean- 
 
 duction 22. facerem : for ing. Here it expresses admira- 
 
 the mood, see on ut advorser tion. 
 
 (263). The tense is imperfect 590. hie: that Simo should 
 
 because Davos is talking of mention Cremes in this con- 
 
 Simo's past expectations. nection is enough to arouse 
 
 586. qui = qualis. Davos' alarm. We need not 
 
 587. fuerant futurae : " was assume that Davos has failed 
 going to be." ea gratia : for to see Cremes until now. 
 
 the meaning, see on 433. 591. perimus is most nat- 
 
 588. quid ais looks back- urally taken as a perfect, con- 
 ward ; see on 137. vide: tracted from perilmus. du- 
 " Fancy that ! " dum : as in 582.
 
 ACTUS III, SCENA X 
 
 133 
 
 Quid dixti ? Da. Optume inquam factum. Si. Nunc 
 
 per hunc nullast mora. 
 Cr. Domum modo ibo, ut apparentur dicam, atque hue is 
 
 renuntio. [Exit right.] 
 95 Si. Nunc te 6ro, Dave, quoniam solus mi effecisti has nup- 
 
 tias . . . 
 Da. [Aside.] Ego vero solus! Si. . . . corrigere mihi gna- 
 
 tum porro enitere. 
 Da. Faciam hercle sedulo. Si. Potes nunc, dum animus 
 
 mritatus est. 
 Da. Quiescas. Si. Age igitur, ubi nunc est ipsus ? Da. 
 
 Mirum ni domist. 
 Si. Ibo ad eum atque eadem haec, tibi quae dixi, dicam 20 
 
 idem illi. [Exit into his house.] Da. Nullus sum. 
 oo Quid causaest, quin hinc in pistrinum recta proficiscar 
 
 via ? 
 
 593. dixti: for the hiatus 
 after the word, see Introduction 
 20. optume : Davos means 
 that he had said just this one 
 word, a word which is identical 
 with occidi in initial vowel 
 and rhythm. He now amplifies 
 his remark to make it clearer 
 to Simo. 
 
 594. modo : " merely, just " ; 
 so again in line 630. appa- 
 rentur : the subject is personal : 
 the bride, her mother, and all 
 others in the household who 
 would take part in the wedding 
 festivities. renuntio : present 
 for future; see on fit (244). 
 
 598. quiescas : the present 
 subjunctive is used freely in 
 
 colloquial Latin to express a 
 command. We noted the nega- 
 tive form of the construction in 
 line 205. mirum ni, "doubt- 
 less," is a common colloquial- 
 ism. The literal translation, 
 "it's strange if . . . not . . . ," 
 carries a suggestion of insolence 
 that is not necessarily present 
 in the Latin. 
 
 599. idem : for the meaning, 
 see on 521. nullus sum: for 
 the weak final s, see on veritus 
 sum (582). The phrase is 
 colloquial, and means " I am 
 done for." 
 
 600. quid causaest, quin 
 proficiscar : " what reason is 
 there why I should not go ? " =
 
 134 TERENTI ANDRIA 
 
 Nihil est preci loci relictum. lam perturbavi omnia : 
 
 Erum fefelli ; in nuptias conieci erilem filium ; 
 
 Feci hodie ut fierent, insperante hoc atque invito Pam- 
 
 pilo. 
 
 Em astutias ! (Juotl si quiessem, nil i-vt-nissct mail. 
 [Pampilus appears at the door of Simo's house and looks 
 about without seeing Davos.] 
 605 Sed eccum video ipsum. Occidi. 
 
 Utinam mi asset aliquid hie, quo nunc me praecipitem 
 darem ! 
 
 PAMPILUS DAVOS 
 
 ADULESCENS SERVOS 
 
 [Pampilus closes the door and advances. Davos keeps out of 
 his si^ht.] 
 Pa. Ubi ille est scelus, qui perdidit me ? Da. [Aside.] 
 
 Perii. Pa. Atque hoc confiteor iure 
 Mi obtigisse, quandoquidem tarn iners, tam nulli consili 
 sum. 
 
 " why shouldn't I go ? " The " There's cunning for you." 
 
 mood of proficiscar is of the quod si : for the meaning, see 
 
 same nature as that of credas on quod (258). 
 (499). 606. aliquid: "something"; 
 
 602. in nuptias conieci is i.e., a sword, an abyss, a lake. 
 
 intended to suggest the phrase quo means " whither," i.e., " on 
 
 in vincula conicere. erilem (into) which." 
 filium = eri filium. Possessive 
 adjectives are comparatively 
 
 common in colloquial Latin ; 607. scelus, in the figurative 
 
 e.g., paternus = patris, alienus, sense of " scoundrel," is mascu- 
 
 " another's." Compare also the line. atque: for the transla- 
 
 adjective quoins (763, etc.). tion, see on 225. 
 
 604. astutias : for the case, 608. nulli : adjectives whose 
 
 see on em (351); translate genitive usually ends in -ius
 
 ACTUS III, SCENA XI 135 
 
 Servon fortunas meas me commisisse futtili ! 
 10 Ego pretium ob stultitiam fero; sed inultum numquam 
 
 id auferet. 
 Da. [Aside.] Posthac me incolumem sat scio fore, nunc si 5 
 
 devito hoc malum. 
 Pa. Nam quid ego nunc dicam patri ? Negabon velle me, 
 
 . modo 
 Qui sum pollicitus ducere ? Qua facie facere id au- 
 
 deam ? 
 Nee quid me nunc faciam scio. Da. [Aside.] Nee me 
 
 quidem, atque id ago sedulo. 
 
 15 Dicam aliquid me Inventurum, ut huic malo aliquam 
 
 producam moram. Pa. [Catching sight of Davos.] 
 Oh! 
 Da. Visus sum. Pa. Eho dum, bone vir, quid ais ? Viden 10 
 
 me tuis consiliis miserum 
 
 Inpeditum esse ? Da. At Jam expediam. Pa. Ex- 
 pedies ? Da. Certe, Pampile. 
 
 occasionally show the regular before the diaeresis, see In- 
 forms of the first and second troduction 22. 
 declension in early Latin. 614. me: an ablative of 
 
 609. commisisse : for the instrument ; translate " with 
 mood, see on adeon hominem esse myself." This idiom is more 
 (245). futtili: this charac- common in colloquial Latin 
 terization, supplied after the than the dative which we have 
 close of the sentence proper, noticed in illi (143)- For 
 has almost the force of an inde- the quantity of the me before 
 pendent statement. quidem, see on slquidem (465). 
 
 610. inultum id auferet: id ago: for the meaning, see 
 " get away with it." on agis (186). 
 
 611. malum: for the mean- 617. inpeditum, expediam: 
 ing, see on 179. the derivation of the verbs 
 
 613. ducere : for the tense, in-pedire and ex-pedire from 
 see on 379. For the pyrrhic pes, " foot," was always present
 
 136 
 
 TERENTI ANDRIA 
 
 Pa, Nempe ut modo. Da. Immo melius spero. Pa. Oh, 
 
 tibi ego ut credam, furcifer ? 
 Tu rem inpeditam et perditam restituas ? Em quo 
 
 fretus sim, 
 620 Qui me hodie ex tranquillissuma re coniecisti in nup- 
 
 tias ! 
 An non dixi esse hoc futurum ? Da. Dixti. Pa. 
 
 Quid meritu's ? Da. Crucem. 
 Sed sine paululum ad me redeam; iam aliquid dis- 
 
 piciam. Pa. Ei mihi, 
 
 to the consciousness of the 
 Romans, even in passages where 
 we have to use a more abstract 
 expression. Here we have the 
 full original force of the verbs ; 
 " I've got my foot in a snare," 
 " I'll get you loose." The 
 vaguer secondary use is illus- 
 trated by rem inpeditam (619). 
 
 618. ut credam : for the 
 mood, see on ut advorser (263). 
 furcifer : " scoundrel," liter- 
 ally " fork-bearer." Slaves 
 were often punished by being 
 compelled to wear a fork-shaped 
 wooden yoke, the prongs of 
 which were bound to their 
 hands. 
 
 619. restituas is in the same 
 construction as credam (618). 
 em quo fretus sim : em is 
 here equivalent to vide, as often 
 
 (see on 351), and is followed 
 by an indirect question. 1 For 
 the short final syllable of fretus, 
 see on veritus sum (582). 
 
 620. The words ex tran- 
 quillisuma re coniecisti in in- 
 volve a metaphor from the sea, 
 and the hearer will expect some 
 such word as scopulos. Pam- 
 pilus, however, substitutes what 
 seems to him the most effective, 
 because most terrible, climax 
 of all. Compare the different 
 suggestion of the verb conicert 
 in line 602 (see the note on that 
 passage). 
 
 621. meritu's = meritus es ; 
 for the form, see on dictust 
 (102). For the translation, see 
 on commerui (139). 
 
 622. ad me: for the mean- 
 ing, compare apud te (408). 
 
 1 S>o Bennett, Syntax of Early Latin 1.336. A subjunctive of characteristic 
 would scarcely be possible here.
 
 ACTUS III, SCENA XI 137 
 
 Quom non habeo spatium, ut de te sumam supplicium, 
 
 ut volo ! 
 Namque hoc tempus praecavere mihi me, haud te 
 
 ulcisci sinit. [Exeunt into Simo's house.] 
 
 623. habeo : for the mood, sentence, and then uses one 
 see on quom videt (242). that fits the second infinitive 
 
 624. The context requires a but not the first. The psycho- 
 verb like cogit to govern prae- logical process is similar to that 
 cavere. Pampilus postpones his involved in contamination (see 
 main verb till the end of the on quin die, 45).
 
 ACTUS IV 
 
 CARINUS 
 ADULESCENS 
 
 PAMPILUS DAVOS 
 ADULESCENS SERVOS 
 
 [Enter Carinus from the right.} 
 625 Ca. Hoccinest credibile aut memorabile, 
 
 Tanta vecordia innata quoiquam ut siet, 
 Ut mails gaudeant atque ex incommodis 
 Alterius sua ut comparent commoda ? Ah, 
 Idnest verum ? Immo id est genus hominum pessumum, 5 
 in 
 
 ACT IV SCENE i 
 
 625. hoccinest : for koccine, 
 see on 186. For the quantity 
 of est, see Introduction 19 
 end. Cretic words (_w_) 
 often have their final syllable 
 shortened in Plautus' anapaests 
 and occasionally in his dactyls. 
 This one tetrameter is the only 
 dactylic line in Terence, and he 
 uses no anapaests at all. For 
 the contrasting usage in iambic 
 and trochaic rhythm, see on 
 veritus sum (582) ; but compare 
 hoccinest in iambic rhythm in line 
 236. memorabile: "capable of 
 being described." 
 
 626 ff. For the cretic tetram- 
 eters, see Introduction 28. 
 
 626. ut siet is a substantive 
 clause of result in apposition 
 with hoc cine (625). 
 
 627. The subject of gaudeant 
 is the same as the antecedent 
 of quoiquam. Carinus shifts 
 from a singular form of expres- 
 sion with quisquam " anyone " 
 to a (nearly) equivalent plural 
 expression. For the psycho- 
 logical process involved in such 
 contamination, see on quin die 
 
 (45). 
 
 628. alterius, like ullius, etc., 
 is regular except in dactylic 
 verse, where it is impossible. 
 
 629. For the scansion of this 
 line, see Introduction 28. 
 verum: " just." immo : "no 
 indeed ! " 
 
 138
 
 ACTUS IV, SCENA I 
 
 139 
 
 55 
 
 a 
 
 J8h 
 
 
 
 Denegando modo quis pudor paulum adest; 
 
 Post ubi tempus promissa iam perfici, 
 
 Turn coacti necessario se aperiunt. 
 
 Et timent denegare et tamen res premit. 
 
 Ibi turn eorum inpudentissuma oratiost : ic 
 
 'Quis tu 's ? Quis mi 's ? Cur meam tibi ? 
 
 Heus, proxumus sum egomet mihi.' 
 
 At tamen 'ubi fides ?' si roges, 
 
 Nil pudet hie ubi opust ; illi ubi 
 
 Nil opus est, ibi verentur. 
 
 Sed quid agam ? Adeamne ad eum et cum eo iniuriam 15 
 
 hanc expostulem ? 
 Ingeram mala multa ? Atque aliquis dicat 'nil pro- 
 
 moveris.' 
 
 630. modo : " merely." The 
 ultima here retains its original 
 long quantity. quis ( = qui- 
 bus) is the dative-ablative plural 
 of the o-stem ; contrast qui 
 ( = quo), which is the ablative 
 singular of the {-stem. Trans- 
 late the line " who are a little 
 ashamed of just one thing, to 
 say ' no.' " 
 
 635. Here Carinus drops the 
 ponderous cretics and his lofty 
 moralizing in general terms. 
 The ingenuous omission of the 
 substantive with meam amounts 
 to admitting that all the fine 
 talk has really been about a 
 girl. What verb is to be sup- 
 plied in the third question ? 
 
 636. heus: an interjection 
 
 used normally to attract a 
 person's attention, " Ho there ! " 
 Often, as in this passage, it 
 interposes a protest; translate 
 " Here ! " 
 
 638. hie and illi are adverbs. 
 With illi = illi-c as the loca- 
 tive adverb, compare illo (362) 
 
 = illo-c = illuc. verentur : 
 " are scrupulous." 
 
 639. expostulem : " complain 
 of." 
 
 640. mala : " insults." at- 
 que : for the meaning, see on 
 225. dicat : for the mood, see 
 A. & G. 447, B. 280. i, G. 257, 
 H. & B. 517. i, H. 552, sss, L. 
 & M. 718. promoveris : for 
 the tense, see on ce peril (213) ; 
 translate " accomplish."
 
 140 
 
 TERKXTI AXDRIA 
 
 Multum ! Molestus certe ei fuero atque animo morem 
 
 gessero. 
 
 [Enter Pampilus and Davos from Simo's house.] 
 Pa. Carine, et me et te inprudens, nisi quid di respiciunt, 
 
 perdidi. 
 Ca. [With bitter irony.} Itane ' inprudens' ? Tandem 
 
 inventast causa. Soluisti fidem. 
 Pa. Quid 'tandem'? Ca. Etiam nunc me ducere istis 20 
 
 dictis postulas ? 
 645 Pa. Quid istuc est ? Ca. Postquam me amare dixi, con- 
 
 placitast tihi. 
 Heu me miserum, qui tuom animum ex animo spectavi 
 
 meo ! 
 Pa. Falsu's. Ca. Nonne tibi sat esse hoc visum solidumst 
 
 gaudium, 
 Nisi me lactasses amantem et falsa spe produceres ? 
 
 641. fuero and gessero have 
 the same temporal force as 
 promoveris (640). animo is 
 virtually equivalent to mihi. 
 Compare the common periphra- 
 sis with animus, as in Livy, 21. 
 22. I, ad sollicitandos principum 
 animos, which differs only in 
 preposition and substantive 
 from Livy, 21. 2. 7, in solli- 
 citandis gentibus. 
 
 642. Pampilus hastens to 
 make his confession as soon as 
 he sees Carinus. respiciunt : 
 sc. nos. 
 
 643. soluisti fidem: "you 
 have performed your promise." 
 The compound exsolvere is more 
 
 usual in this sense, but solvere 
 very frequently means " pay," 
 and is used with fidem as object 
 in Ov., Fast. i. 642, and else- 
 where. 
 
 644. ducere : for the mean- 
 ing, see on duci (180). 
 postulas : " expect." 
 
 645. conplacitast : this verb 
 is usually active, but here it is 
 deponent. The prefix is in- 
 tensive. 
 
 646. spectavi : " judged." 
 Carinus regrets that he should 
 have thought Pampilus as hon- 
 orable as himself. 
 
 648. lactasses, produceres : 
 for the pluperfect subjunctive
 
 ACTUS IV, SCENA I 
 
 141 
 
 ;o 
 
 Habeas. Pa. Habeam ? Ah, nescis quantis in malis 25 
 
 vorser miser, 
 
 Quantasque hie suis consiliis mihi conflavit sollicitudines 
 Meus carnufex. Ca. Quid istuc tam mirumst, de te si 
 
 exemplum capit ? 
 Pa. Haud istuc dicas, si cognoris vel me vel amorem 
 
 meum. 
 Ca. [Ironically.] Scio; cum patre altercasti dudum, et is 
 
 nunc propterea tibi 
 
 Suscenset nee te quivit hodie cogere illam ut duceres. 30 
 !5 Pa. Immo etiam (quo tu minus scis aerumnas meas) 
 Haec nuptiae non adparabantur mihi, 
 Nee postulabat nunc quisquam uxorem dare. 
 Ca. Scio; tu coactus tua voluntate es. [Turns away.] Pa. 
 Mane. 
 
 representing a future perfect 
 and the imperfect representing 
 a future from a past point of 
 view, see on abiret (175). 
 
 649. habeas : the subjunc- 
 tive expressing a command 
 (see on quiescas, 598), like 
 the imperative, is often weak- 
 ened into an expression of per- 
 mission or indifference. ha- 
 beam : for the mood, see on 
 essem (282). 
 
 651. carnufex: for the mean- 
 ing, see on 183. 
 
 652. dicas, cognoris : for 
 the tenses, see on sis, sentias 
 
 653. altercasti : the verb 
 is usually deponent. Contrast 
 
 conplacitast (645). 
 
 655. Translate " Worse yet ! 
 (and that's the reason you 
 don't understand my troubles.)" 
 Immo introduces a correction, 
 as always. Etiam with immo is 
 usually additory or intensive, 
 and the phrase often gets from 
 the context the unfavorable im- 
 plication that it has here and in 
 lines 673 and 708 below. In 
 Plautus, Rud. 441, immo etiam 
 means "better than that." The 
 antecedent of quo (an ablative of 
 cause or of degree of difference) 
 is the new information promised 
 by immo etiam and given in the 
 next line. Minus is a strong 
 negative, as in line 197. 
 
 656. haec = hae. 
 
 657. postulabat: as in 644.
 
 142 TERENTI ANDRIA 
 
 Non dum scis. Ca. Scio equidem illam ducturum esseas 
 
 te. 
 
 660 Pa. Cur me enicas ? Hoc audi : numquam destitit 
 Instare, ut dicerem me ducturum patri ; 
 Suadere, orare usque adeo donee perpulit. 
 Ca. Quis homo istuc ? Pa. Davos. Ca. Davos ? 
 
 Quam 6b rem ? Pa. Nescio, 
 
 Nisi mi decs fuisse iratos, qui auscultaverim. 4 
 
 665 Ca. Factumst hoc, Dave ? Da. Factumst. Ca. Hem, quid 
 
 ais, scelus ? 
 
 At tibi di dignum factis exitium duint ! 
 Eho, die mihi, si omnes hunc coniectum in nuptias 
 Inimici vellent, quod nisi hoc consilium darent ? 
 Da. Deceptus sum, at non defetigatus. Ca. [Ironically.] 45 
 
 Scio. 
 
 670 Da. Hac non successit, alia adgrediemur via: 
 Nisi id putas, quia primo processit parum, 
 Non posse iam ad salutem convorti hoc malum. 
 Pa. Immo etiam ! Nam satis credo, si advigilaveris, 
 
 Ex unis geminas mihi conficies nuptias. 50 
 
 675 Da. Ego, Pampile, hoc tibi pro servitio debeo, 
 Conari manibus pedibus noctisque et dies, 
 Capitis periclum adire, dum prosim tibi ; 
 
 660. enicas : " plague to occurs (in compounds) several 
 
 death," a common colloquial- times in Plautus. 
 
 ism. The word is an intensive 670 f. successit and processit 
 
 compound of neco, " kill." are both impersonal. Cf. succes- 
 
 664. nisi after nescio with sisse in Suetonius' Life of Terence 
 
 ellipsis of scio is common in 4, Introduction page 46, 1. 5. 
 
 colloquial Latin ; translate " ex- 673. immo etiam : for the 
 
 cept that." meaning, see on 655. 
 
 666. duint is the subjunc- 675. pro servitio: " as your 
 
 tive of duo, an early Latin vari- slave " ; literally " in virtue 
 
 ant of do, whose indicative of my slavery."
 
 ACTUS IV, SCENA II 
 
 143 
 
 Tuomst, si quid praeter spem evenit, mi ignoscere. 
 Parum succedit quod ago; at facio sedulo. 
 Vel melius tute reperi, me missum face. 
 Pa. Cupio; restitue quern a me accepisti locum. 
 
 Faciam. Pa. At iam hoc opust. Da. Hem ! Sed 
 
 mane; crepuit a Glucerio ostium. 
 Nihil ad te. Da. Quaero. Pa. Hem, huncin demum ? 
 
 Da. At iam hoc tibi inventum dabo. 
 
 Da. 
 
 Pa. 
 
 Musis 
 
 ANCILLA 
 
 PAMPILUS 
 ADULESCENS 
 
 CARINUS 
 ADULESCENS 
 
 DAVOS 
 
 SERVOS 
 
 [Enter Musis from Glucerium's house.] 
 
 Mu. [To Glucerium within.} Iam ubi ubi erit, inventum tibi 
 curabo et mecum adductum 
 
 680. vel, " or, if you like," 
 introduces the alternative to 
 tuomst . . . ignoscere (678). 
 missum face is somewhat 
 stronger than mitte or omitte. 
 Such periphrases are particu- 
 larly common in colloquial 
 Latin ; compare inventum dabo 
 (683) and inventum curabo 
 (684). The original forms 
 face, dice, and duce are occa- 
 sionally used by Plautus and 
 Terence. For the loss of the 
 short final vowel, see on in- 
 tellextin (201) and poste (509). 
 
 682. crepuit : the noise of 
 an opening door is often re- 
 ferred to in the comedies as 
 indicating that some one is 
 about to come from a house. 
 Compare Introduction page 29. 
 
 The i of the third person singu- 
 lar perfect is often long in early 
 Latin and occasionally in later 
 poetry. It was originally short, 
 but was sometimes lengthened 
 under the influence of the first 
 person. 
 
 683. nihil ad te : sc. attinet. 
 quaere : sc. consilium. 
 
 nuncin: nunc is from num 
 (compare turn, tune " then ") 
 and the demonstrative particle 
 ce. For the change of ce to ci 
 before the interrogative particle, 
 see on hoccine (186). 
 
 ACT IV SCENE 2 
 
 684. ubi ubi, " wherever," is 
 like quisquis, " whoever," quo- 
 quo, " whithersoever," ut ut, 
 " however," etc. inventum
 
 144 
 
 TEREXTI AXDRIA 
 
 685 Tuom Pampilum ; modo tu, anime mi, noli te macerare. 
 
 Pd. Musis. Mu. Quis est ? Ehem Pampile, optume mihi 
 
 te offers. Pa. Quid id est ? 
 Mu. Orare iussit, si se ames, era, iam ut ad sese venias ; 
 
 Videre aft te cupere. Pa. [Aside.] Vah, peril ! Hoc 
 
 malum integrascit. 
 [To Davos.] Sicine me atque illam opera tua nunc 
 
 miseros sollicitari ! 
 
 690 Nam idcirco accersor, nuptias quod mi apparari sensit. 
 Ca. Quibus quidem quam facile potuerat quiesci, si hie 
 
 quiesset ! 
 
 Da. [Aside to Carinus.] Age, si hie non insanit satis sua 
 sponte, instiga! Mu. Atque edepol 
 
 curabo : see on missum face 
 (680). 
 
 685. anime: "sweetheart." 
 te macerare : a homely 
 metaphor, which cannot be 
 kept in English ; the verb means 
 " freshen salt meat by steep- 
 ing it." 
 
 688. vah here expresses grief 
 and anxiety. integrascit : 
 " begins again " ; compare the 
 common phrase de integro, " from 
 the beginning, anew." 
 
 689. sicine : sic is from si 
 (originally meaning " in this 
 case, thus ") and the demon- 
 strative particle ce (cf. illl = 
 illic). For the change of ce 
 to ft-, see on hoccine (186). 
 With this word, compare nun- 
 cin (683). 
 
 691. quibus : the antecedent 
 
 is nuptias. The ablative with 
 quiesci is rare; it rests upon the 
 analogy of the ablative with 
 vacare. quiesci is impersonal ; 
 translate " As to that, how 
 easily we could have had 
 peace ! " hie refers to Davos. 
 
 692. The seven sibilants sug- 
 gest that Davos' ironical rebuke 
 is spoken through the teeth. 
 One rarely finds so marked a 
 case of alliteration in Terence; 
 he made very much less use of 
 this rather cheap device than 
 most other early Latin poets. 
 By way of contrast, compare 
 Ennius' hexameter {Ann. 109 
 Vahlen): Tite lute Tati tibi 
 tanta, turanne, tulisti ! hie re- 
 fers to Pampilus. 
 
 692 f. Musis replies to Pam- 
 pilus' remark two lines above.
 
 ACTUS IV, SCENA II 
 
 Ea res est, proptereaque nunc misera in maerorest. 10 
 
 Pa. Musis, 
 Per omnis tibi adiuro decs numquam earn me deser- 
 
 turum, 
 Non, si capiundos mihi sciam esse inimicos omnis 
 
 homines. 
 
 Hanc mi expetivi ; contigit ; conveniunt mores. Valeant 
 Qui inter nos discidium volunt. Hanc nisi mors mi 
 
 adimet nemo. 
 Mu. Resipisco. Pa. Non Apollinis magis verum atque hoc 15 
 
 responsumst. 
 
 Si poterit fieri, ut ne pater per me stetisse credat, 
 Quo minus haec fierent nuptiae, volo; sed si id non 
 
 poterit, 
 
 Id faciam, in proclivi quod est, per me stetisse ut credat. 
 Quis videor ? Ca. Miser, aeque atque ego. Da. Con- 
 
 silium quaere. Pa. [Ironically.] Fortis! 
 
 695. omnis homines is a 
 large-sounding phrase, but very 
 much easier for Pampilus to say 
 than the definite patrem which 
 the occasion really demands. 
 
 696. contigit is impersonal ; 
 translate " I won her." 
 valeant properly means " good 
 health to those." The use of 
 the second person as a formula 
 of leave taking, " farewell ! " 
 is, however, often extended to 
 the third person. Translate 
 " good-by to those." 
 
 697. nemo, instead of nihil, 
 shows that Pampilus has a 
 definite individual in mind. 
 Contrast nil (120) and note. 
 
 TER. ANDRIA IO 
 
 698. resipisco : Musis is a 
 simple-hearted girl, and takes 
 Pampilus' protestations at their 
 face value. magis verum is 
 colloquial for verius. atque : 
 for the meaning " than," see 
 A. & G. 384 Note 2, B. 341. i 
 c, Bu. 1035, G. 643, H. & B. 
 307. 2 a, H. 516. 3, L. & M. 
 760. 
 
 699. ut ne credat is a purpose 
 clause. stetisse : " things 
 have been blocked." Encour- 
 aged by Musis' reception of his 
 vague promises, Pampilus now 
 ventures to make them ex- 
 plicit. 
 
 702. atque : " as."
 
 146 TEREXTI ANDRIA 
 
 Scio, quid conere. Da. Hoc ego tibi profecto effectum 
 
 reddam. 
 Pa. lam hoc opus est. Da. Quin iam habeo. Ca. Quid est ? 
 
 Da. Huic, non tibi habeo; ne ems. 
 705 Ca. Sat habeo. Pa. Quid fades ? Cedo. Da. Dies hie 
 
 mi ut satis sit, vereor 
 Ad agendum; ne vocivom nunc me esse ad narrandum 
 
 credas. 
 
 Proinde hinc vos amolimini; nam mi inpedimento estis; 
 Pa. Ego hanc visam. [Exit into Gluceriurns house.} Da. 
 Quid tu ? Quo hinc te agis ? Ca. Verum vis 
 dicam ? Da. Immo etiam 
 
 703. effectum reddam : for the 706. ne credas: for the con- 
 idiom, see on mis sum face (680). struction, see on ne erres (704). 
 
 704. quin, " why not ? " was vocivom : consult the die- 
 so commonly used in rhetorical tionary under the classical form 
 questions which amounted to vacuus. 
 
 emphatic assertions, that it 707. Under the circum- 
 
 came to be a corroborative stances, Davos' insolence serves 
 
 particle, " really, indeed." to increase the young men's con- 
 
 ne erres : a prohibition, " don't fidence in him. 
 
 make any mistake." 1 708. immo etiam : the words 
 
 705. cedo here retains its go closely with the following 
 long ultima; see on 150. Others line, and have the same un- 
 assume that the ultima was al- favorable connotation as in 
 ways short in Terence's day, line 655 ; translate "Worse yet !" 
 and read cedo before the diaeresis. or better, "That isn't the worst 
 
 ut belongs with vereor. of it." 2 
 
 1 Most scholars consider this and ne credas (706) clauses of purpose; but. 
 Bennett, Syntax of Early Latin i. 168, classifies as prohibitive the closely 
 similar clauses in Plautus, Capt. 186, Merc. 528, and Mil. 1422. Certainly 
 the clause is more effective as a prohibition. 
 
 2 If one translates "y es > f course," it is hard to see why Carinus doesn't 
 tell his story. The same consideration makes it impossible to take the first 
 part of line 709 as an aside.
 
 , ACTUS IV, SCENA III 147 
 
 Narrationis incipit mi initium ! Ca. Quid me fiet ? 
 10 Da. Eho tu inpudens, non satis habes, quod tibi dieculam 
 
 addo, 
 Quantum huic promoveo nuptias ? Ca. Dave, at 
 
 tamen . . . Da. Quid ergo ? 
 
 Ca. Ut ducam. Da. Ridiculum. Ca. [Pointing to the right, 
 in which direction his house is supposed to lie.} 
 Hue fac ad me venias, si quid poteris. 
 Da. Quid veniam? Nil habeo. Ca. At tamen, si quid. 30 
 
 Da. Age veniam, si quid. 
 Ca. Domi ero. [Exit right.} Da. Tu, Musis, dum exeo, 
 
 parumper opperire hie. 
 
 15 Mu. Quapropter ? Da. Itafactost opus. Mu. Matura. Da. 
 lam inquam hie adero. [Exit into Glucerium's house.} 
 
 Musis DAVOS 
 
 ANCILLA SERVOS 
 
 Mu. Nilne esse proprium quoiquam ! Di, vostram fidem 
 Summum bonum esse erae putavi hunc Pampilum, 
 
 709. incipit initium : the verb 712. ut ducam : for ut in- 
 is intransitive; translate "it's the troducing a wish, see on modo 
 beginning of your life history.*' ut possim (409) . x 
 
 The pleonasm is colloquial. This 713. age: "very well." 
 
 unsympathetic remark dissuades 714. exeo: for the mood 
 
 Carinus from telling his tale. and tense, see on proficiscor 
 
 me : for the case, see on 614. (329). 
 
 710. dieculam: the diminu- 
 
 i, , ACT IV SCENE 3 
 
 tive is colloquial. 
 
 711. quantum :" in so far as." 716. proprium: "one's 
 promoveo: " put off." Con- own"; hence, "constant, as- 
 
 trast the meaning of promoveris sured." di is vocative. 
 (640). fidem: for the case, see on 237. 
 
 1 It is usual to consider this a command, whether independent (Bennett, 
 Syntax of Early Latin i. 165) or dependent upon fac understood. The less
 
 148 
 
 TERENTI ANDRIA 
 
 Amicum, amatorem, virum in quovis loco 
 Paratum ; verum ex eo nunc misera quern capit 
 720 Laborem ! Facile hie plus malist quam illic boni. 
 [Enter Davos with the baby in his arms.} 
 
 Sed Davos exit. Mi homo, quid istuc obsecrost ? 
 Quo portas puerum ? Da. Musis, nunc opus est tua 
 Mihi ad hanc rem exprompta malitia atque astutia. 
 Mu. Quid nam inceptiiru's ? Da. [Offering her the baby.} 
 
 Accipe a me hunc ocius 
 
 725 Atque ante nostram ianuam appone. Mu. Obsecro, 
 
 Humine ? Da. Ex ara hinc sume verbenas tibi 
 Atque eas substerne. Mu. Quam 6b rem id tute non 
 
 facis ? 
 Da. Quia, si forte opus sit, ad erum iurandumst mihi 
 
 718. loco: "occasion." 
 
 720. laborem : the word often 
 means " trouble." hie . . . 
 illic : " on this side of the account 
 . . . on that"; hie refers to 
 line 719, illic to lines 717 f. 
 
 721. Express the exact force 
 of istuc in your translation. 
 
 723. malitia: "trickery." 
 astutia : " cunning." Davos 
 
 is ironical, for Musis possesses 
 neither quality. 
 
 724. ocius : " at once." 
 
 725. appone : here and in 
 729 the manuscripts favor the 
 assimilated form, but in 763 
 they indicate adposist}. Of 
 course so inconsistent an orthog- 
 raphy does not represent the 
 
 facts of the language. In actual 
 'speech the Romans seem al- 
 ways to have assimilated final 
 consonants of verbal prefixes 
 when that was possible. 
 
 726. ara : the altar of Apollo, 
 god of ways and streets, which 
 stood before the house. ver- 
 benas : leafy boughs, with which 
 the altar was decked. tibi: 
 dative of reference with sume, 
 " help yourself to." 
 
 728 f. quia . . . iurandumst 
 ut . . . possim : each clause 
 is an answer to Musis' question. 
 One may answer the question 
 " why ? " equally well by a causal 
 clause or by a purpose clause, and 
 here Davos combines the two. 
 
 efficient attitude of mere wishing accords better with the usual character of 
 lovers in the comedies.
 
 ACTUS IV, SCENA III 
 
 149 
 
 Non apposisse ut liquido possim. Mu. [Ironically.] 
 
 Intellego; 
 
 o Nova nunc religio in te istaec incessit. Cedo. 
 Da. Move ocius te, ut quid agam porro intellegas. 
 [Musis lays the baby at Simo's door.] 
 
 Pro luppiter ! Mu. Quid est ? Da. Sponsae pater 
 
 intervenit. 
 
 Repudio quod consilium primum intenderam. 
 Nescio quid narres. Da. Ego quoque hinc ab dextera 
 Venire me adsimulabo. Tu ut subservias 
 Orationi, utquomque opus sit, verbis vide. [Exit left.] 
 Ego quid agas nihil mtellego; sed si quid est, 
 Quod mea opera opus sit vobis, ut tu plus vides, 
 Manebo, ne quod vostrum remorer commodum. 
 
 Mu. 
 
 729. apposisse: in early Latin 
 the perfect of pono (from *po- 
 sino) is po-sivi (here contracted). 
 The classical posui was formed 
 to match the perfect passive po- 
 situs sum on the model of such 
 pairs as monui, monitus sum ; do- 
 mui, domitus sum; etc. liquido : 
 " with a clear conscience." 
 
 730. religio : " scruple." 
 cedo : for form and meaning, 
 see on 150. 
 
 731. porro, " further," is to 
 be construed with agam. 
 
 732. luppiter is a vocative. 
 For the use of pro, see on 237. 
 sponsae pater : i.e., Cremes. 
 intervenit : " is coming in the 
 midst (of our preparations)." 
 
 733. consilium primum : what 
 the original plan was we can 
 
 only conjecture. Probably Da- 
 vos meant to inform Simo that a 
 baby had been laid at his door. 
 
 734. dextera : cf. dextram 
 (289). The longer forms of 
 this word are more common in 
 early Latin than later. Cremes 
 is coming from his house, which 
 lies to the right. So Davos 
 starts off in the opposite direc- 
 tion, goes around the block, and 
 appears from the right as if he 
 were following Cremes at some 
 distance. 
 
 735. ut subservias depends 
 on vide. 
 
 736. utquomque = utcumque. 
 verbis: ablative of means with 
 subservias. 
 
 738. quod : accusative of re- 
 spect.
 
 150 TERENTI ANDRIA 
 
 CREMES Musis DAVOS 
 
 SENEX ANCILLA SERVOS 
 
 [Enter Cremes from the right, soliloquizing.] 
 740 Cr. Revortor, postquam quae opus fuere ad nuptias 
 
 Gnatae paravi, ut iubeam accersi. [Sees the baby.] 
 
 Sed quid hoc ? 
 Puer herclest. Mulier, tu adposisti hunc ? Mu. [Aside, 
 
 looking to the left after Davos.} Ubi illic est ? 
 Cr. Non mihi respondes ? Mu. [Aside.] Niisquam est. 
 
 Vae miserae mihi ! 
 Reliquit me homo atque abiit. 
 [Enter Davos from the right, soliloquizing.] 
 
 Da. Di, vostram fidem, 
 
 745 Quid turbaest apud forum ! Quid illi hominum litigant ! 
 
 Turn annona carast. [Aside.] Quid dicam aliud, ne- 
 
 scio. 
 
 Mu. Cur tu obsecro hie me solam . . . ? Da. [Feigns sur- 
 prise at seeing the baby.] Hem, quae haec est 
 fabula ? 
 
 ACT IV SCENE 4 745 / quid l hominum - I' 6 - 
 
 quot homines, but more forcible 
 
 740. revortor : as he prom- by reason of the repetition of 
 ised in 594. - - quae opus quid with the partitive genitive. 
 fuere : for the personal use, illi : the adverb. Several 
 compare quid opus facto esset of the Athenian courts sat in 
 (490). or near the market. 
 
 741. accersi: for the mean- 746. annona carast :" prices 
 ing, see on 546. are high." 
 
 742 f. Musis is so confused 747. cur tu me solam : 
 
 by Davos' desertion that she Davos prevents her giving the 
 
 doesn't even look at Cremes; secret away by interrupting 
 
 and so, later on (839), Cremes before she has a chance 
 
 declares that she didn't see him. to say reliquisti. fabula : 
 
 742. illic = ille. " farce." The antecedent of
 
 ACTUS IV, SCENA IV 
 
 Eho Musis, puer hie undest ? Quisve hue attulit ? 
 Mu. Satin sanu's, qui me id rogites ? Da. Quern ego igitur 10 
 
 rogem, 
 o Qui hie neminem alium videam ? Cr. [Aside.] Miror, 
 
 unde sit. 
 Da. Dictura's quod rogo ? [Threatens Musis.] Mu. Au ! 
 
 Da. [Whispers.] Concede ad dexteram. 
 Mu. .Deliras ; non tute ipse. . . ? Da. [Aloud.] Verbum 
 
 si mihi 
 Unum praeter quam quod te rogo faxis, cave ! 
 
 haec is made clear in the next 
 line. 
 
 749. satin is the colloquial 
 form of satis-ne ; for the loss 
 of s, see on censen (256). 
 Satis here means " quite," as 
 it often does. 
 
 750. Davos seizes the oppor- 
 tunity to make Cremes believe 
 that his presence has not been 
 noticed. 
 
 751. Davos threatens Musis 
 in order to convince Cremes that 
 they are really enemies. Her 
 exclamation of fear is precisely 
 what he wants ; but at the 
 same time she draws away from 
 him toward Cremes. Hence 
 the whispered command that 
 follows. 
 
 752. For a second time 
 Davos' interruption is just in 
 
 time to cut off a dangerous 
 verb. 
 
 753. faxis is an early Latin 
 future, equivalent to fades. 1 
 The tense is conjugated in the 
 same way as a present of the 
 third conjugation. Histori- 
 cally the formation is parallel 
 with the future in Greek 
 (8eia>, etc.), which is in 
 origin the subjunctive of an 
 aorist (eSei^a, etc.). Oscan 
 and Umbrian, two Italic dia- 
 lects closely related to Latin, 
 form their future in the same 
 way. From the same (aorist) 
 stem fax-, early Latin forms a 
 subjunctive (with present force) 
 fax-im t . which is conjugated 
 like sim, and was, like sim, 
 originally an optative. Both 
 formations are far less common 
 
 1 Plautus seems to use the form in the sense of the future perfect some- 
 what more often than he does the regular future ; but the future sense is 
 also common.
 
 TEREXT1 AXDRIA 
 
 Mu. Male dicis ? Da. [Aloud.] Undest ? [Whispers.] Die i. 
 
 clare. Mu. A nobis. Da. Hahae ! 
 755 Miriam vero, inpudenter mulier si facit 
 
 Meretrix ! Cr. [Aside.] Ab Andriast haec, quantum 
 
 intellego. 
 Mu. Adeon videmur vobis esse idonei, 
 
 In quibus sic inludatis ? Cr. [Aside.] Veni in tempore. 
 Da. Propera adeo puerum tollere hinc ab ianua. 2< 
 
 760 [Whispers.] Mane ! Cave quoquam ex istoc excessis 
 
 loco ! 
 
 Mu. Di te eradicent ! Ita me miseram territas. 
 Da. Tibi ego dico an non ? Mu. Quid vis ? Da. At 
 
 etiam rogas ? 
 
 Cedo, quoium puerum hie adposisti ? [Whispers.] 
 Die mihi. 
 
 in Terence than in Plautus; 
 of the two other examples in 
 this play, faxo (854) is a future, 
 while excessis (760) is a sub- 
 junctive of excedo. 
 
 754. male dicis refers to 
 Davos' threat in the preceding 
 line. A more exact expression 
 would be comminaris. 
 
 755. mirura is, of course, 
 ironical. 
 
 756. meretrix : Davos uses 
 the harsh and undeserved epi- 
 thet for the double purpose of 
 letting Cremes know who Musis 
 is, and of angering Musis into 
 a defense of her mistress. 
 quantum : for the meaning, see 
 on 207. 
 
 757. vobis includes Pampilus, 
 
 who has given what excuse 
 there is for Davos' cruel taunt. 
 
 758. in quibus : inludo is 
 followed by in and the ablative 
 only here. The regular con- 
 struction in Terence is the 
 accusative with or without in. 
 Later the dative became usual. 
 
 759. adeo : for the force of 
 the word, see on 162. 
 
 760. mane, cave : the use 
 of the full or the shortened 
 forms of iambic words was 
 optional with the poets. ex- 
 cessis : for the form, see on 
 /axis (753). 
 
 761. eradicent, " tear up by 
 the roots," is confined to collo- 
 quial Latin. 
 
 763. quoium is the accu-
 
 ACTUS IV, SCENA IV 
 
 153 
 
 Mu. Tu nescis ? Da. [Whispers.] Mitte id quod sci6;zs 
 
 die quod rogo. 
 65 Mu. Vostri. Da. Quoius nostri ? Mu. Pampili. Cr. 
 
 [Aside.] Hem ! Da. Quid ? Pampili ? 
 Mu. Eho, an non est ? Cr. [Aside.] Recte ego semper 
 
 fugi has nuptias. 
 
 Da. O facinus animum advortendum ! Mu. Quid clamitas ? 
 Da. Quemne ego heri vidi ad vos adferri vesperi ? 
 Mu. O hominem audacem ! Da. Verum ; vidi Cantaram 30 
 70 Suffarcinatam. Mu. Dis pol habeo gratiam, 
 
 sative case of quoius in its 
 original use as a possessive 
 adjective like meus. The 
 original genitive of qui and quis 
 was quois (see on eius, 93), and 
 the classical use of quoius (later 
 cuius) is due to a contamina- 
 tion of the possessive adjective 
 and the original genitive. The 
 adjective use of quoius (cuius) 
 is frequent in early Latin and 
 appears occasionally in the later 
 colloquial language. 
 
 765. vostri is the genitive 
 of the possessive. Although 
 Terence probably had no 
 definite substantive in mind, 
 we need one in English ; 
 translate " your master's." 
 quoius is the genitive of 
 the interrogative. For the pro- 
 nunciation, see on eius (93). 
 Translate quoius nostri freely 
 " which one of our masters ? " 
 
 766. eho, an: for the force 
 
 of the two words, see on 50x3. 
 semper: but compare 100. 
 The inconsistency is a sound 
 bit of psychology. 
 
 767. animum advortendum : 
 for the construction, see on 156. 
 
 768. quemne = isne est puer 
 quern; i.e., quern is a relative 
 referring to puerum, which is 
 understood (from 763) with 
 Pampili in line 765. Trans- 
 late " the one whom ... ? " 
 
 769. O hominem : for the 
 hiatus, see Introduction 20. 
 verum : the subject is Davos' 
 last remark. The omission of 
 the copula is common. 
 
 770. suffarcinatam : the verb 
 farcio and its derivative farcino 
 mean " stuff," as one does a 
 pillow. The prefix sub here 
 means virtually " under her 
 clothes." Translate " carrying 
 something under her cloak." 
 Davos hopes by shameless lying
 
 154 
 
 TERENTI ANDRIA 
 
 Quom in pariundo aliquot adfuerunt liberae. 
 Da. Ne ilia ilium baud novit, quoius causa haec incipit : 
 'Cremes si puerum positum ante aedis viderit, 
 Suam gnatam non dabit.' Tanto hercle magis dabit. 35 
 775 Cr. [Aside.] Non hercle faciet. Da. Nunc adeo, ut tu sis 
 
 sciens, 
 
 Nisi puerum tollis, iam ego hunc in mediam viam 
 Provoluam teque ibidem pervoluam in luto. 
 Mu. Tu pol homo non es sobrius. Da. Fallacia 
 
 Alia aliam trudit. Iam susurrari audio, 
 780 Civem Atticam esse hanc. Cr. [Aside.] Hem. Da. 
 
 'Coactus legibus 
 
 Earn uxoremducet.' Mu. Eho, obsecro, an non civisest ? 
 Cr. [Aside.] locularium in malum insciens paene incidi. 
 
 4 o 
 
 to get an emphatic statement 
 of the truth from Musis. 
 
 771. adfuerunt : for the mood, 
 see on impetro (422). liberae: 
 the testimony of slaves was 
 worthless. 
 
 772. ne: for the meaning, 
 see on 324. ilium: i.e., 
 Cremes. 
 
 773 f. Davos indicates by his 
 tone that he is quoting Glu- 
 cerium and her women ; com- 
 pare the remarks on /U/AT^TIS in 
 the note on 151 ff. 
 
 775. nunc adeo : " now be- 
 sides " ; translate " and now." 
 sis sciens: as in line 508. 
 
 777. pervoluam : quadrisyl- 
 lables of this type ( www) 
 
 are frequently accented on the 
 
 first syllable in Terence (cf. on 
 benefici, 44). Here the accen- 
 tuation of the prefix is favored 
 by the contrast with provoluam. 
 
 779. trudit : " treads on the 
 heels of." 
 
 780. coactus legibus: on 
 the law referred to, see on civem 
 Atticam esse hanc (221). 
 
 781. With Musis' full con- 
 viction that her mistress is a 
 citizen, compare Davos' over- 
 shrewd doubts (220, 225). 
 
 782. iocularium : a free use 
 of adjectives in -arius is char- 
 acteristic of colloquial Latin as 
 one finds it in Plautus and else- 
 where. Terence uses them 
 rather rarely. malum here 
 means " scrape."
 
 ACTUS IV, SCENA IV 
 
 155 
 
 Da. Quis hie loquitur ? O Creme, per tempus advenis. 
 
 Ausculta. Cr. Audivi iam omnia. Da. [With, feigned *& 
 
 surprise.] An tu haec omnia ? 
 85 Cr. Audivi, inquam, a principio. Da. Audistin, obsecro ? 
 
 Em 
 
 Scelera. Hanc iam oportet in cruciatum hinc abripi. 
 [To Musis.] Hie est ille; non te credas Davom ludere. 
 Mu. Me miseram ! Nil pol falsi dixi, mi senex. 
 Cr. Novi omnem rem. Est Simo intus ? Da. Est. so 
 
 [Exit Cremes into Simo's house. Davos, delighted at his 
 success, attempts to embrace Musis.] 
 
 Mu. Ne me attigas, 
 90 Sceleste. Si pol Glucerio non omnia haec . . . 
 
 Da. Eho inepta, nescis quid sit aetum ? Mu. Qui sciam ? 
 Da. Hie socer est. Alio pacto haud poterat fieri, 
 
 783. Creme: for the form, 
 see on 247. 
 
 784. an : here an alone ex- 
 presses as much as eho, an in 
 500 and 766. This question 
 of surprise is very near to the 
 absurd question with an in 
 classical Latin; on which see 
 A. & G. 335 b, Bu. 368, G. 457. 
 i, H. & B. 236, L. & M. 702. 
 
 785 f . em scelera : for the 
 accusative, see on em (351). 
 For the translation, see on 
 astutias (604). 
 
 787. ille : i.e., the man we 
 have been talking of; translate 
 " that gentleman." - credas : 
 a prohibitive subjunctive with 
 
 non; compare neque dicas (205). l 
 See Bennett, Syntax of Early 
 Latin I. 170. 
 
 789. attigas is an early Latin 
 variant of attingas. 
 
 790. pol belongs logically in 
 the main clause; but Latin 
 oaths are often put in a sub- 
 ordinate clause, especially in 
 case this precedes the main 
 clause. 
 
 791. qui : for the form and 
 meaning, see on 53. sciam: 
 for the mood, see on quid 
 credas (499). 
 
 792. fieri: the antepenult of 
 this form is long only at the end 
 of a verse. 
 
 1 The context will not permit so mild a phrase as "you should not."
 
 156 
 
 TERENTI ANDRIA 
 
 Ut sciret haec quae volumus. MM. Hem, praediceres. 
 Da. Paulum interesse censes, ex animo omnia, ss 
 
 795 Ut fert natura, facias an de industria ? 
 
 CRITO 
 
 SENEX 
 
 Musis 
 
 ANCILLA 
 
 DAVOS 
 
 SKRVOS 
 
 [Enter Crito from the left.} 
 
 Cr. In hac habitasse platea dictumst Crusidem, 
 Quae sese inhoneste optavit parere hie ditias 
 
 793. praediceres: "you 
 should have told." For the 
 mood, see A. & G. 439 b, Bu. 
 769, 0.272. 3, H.& B. 512 b,H. 
 
 559- 6. 
 
 794 f. Davos means to say 
 that Musis was not a skillful 
 enough actor to help him carry 
 through the farce he had 
 planned for Cremes' benefit. 
 His only chance of getting 
 the accents of sincerity from 
 her was to frighte/i her into 
 telling the truth. 
 
 794. ex animo : " from the 
 heart." 
 
 795. de industria : " by an 
 effort," and, in this case, the 
 effort would have been quite 
 obvious if Musis had been try- 
 ing to play a part. 
 
 ACT IV SCENE 5 
 
 As Crito wears the cloak and 
 hat of a traveler, and as he 
 enters from the left, the specta- 
 
 tors know at once that he has 
 come from abroad. His first 
 lines inform them that he is 
 the nearest living relative of 
 Crusis, Glucerium's reputed sis- 
 ter. It was he, then, whose 
 neglect drove the poor girl 
 from home (71 f.). His smug 
 condemnation of her course 
 is not the more agreeable be- 
 cause it is so perfectly true to 
 life. 
 
 796. platea: Greek TrAarela, 
 " street," keeps its long penult 
 in formal Latin platea. In col- 
 loquial Latin, however, the e 
 was shortened, since it stood 
 before a vowel, and the accent 
 receded to the antepenult. 
 
 797. ditias : Terence never 
 uses the full form divitiae. 
 Between like vowels v was 
 lost in rapid pronunciation and 
 then the two vowels contracted ; 
 hence we have sis for si vis, 
 Idtrina for lavatrina, etc.
 
 ACTUS IV, SCENA V 157 
 
 Potius quam in patria honeste pauper viveret. 
 Eius morte ea ad me lege redierunt bona. 
 
 >o Sed quos percenter video. Saluete. Mu. Obsecro, 5 
 Quern video ? Estne hie Crito sobrinus Crusidis ? 
 Is est. Cr. O Musis, salue ! Mu. Saluos sis, Crito. 
 Cr. Itan Crusis, hem ? Mu. Nos quidem pol miseras 
 
 perdidit. 
 Cr. Quid vos ? Quo pacto hie ? Satine recte ? Mu. 
 
 Nosne ? Sic 
 
 >5 Ut quimus, aiunt, quando ut volumus non licet. 10 
 
 Cr. Quid Glucerium ? lam hie suos parentis repperit ? 
 Mu. Utinam !' Cr. An non dum etiam ? Haud auspicato 
 
 hue appuli; 
 
 Nam pol, si id scissem, numquam hue tetulissem pedem. 
 Semper enim dictast esse haec atque habitast soror; 
 o Quae illius fuerunt, possidet. Nunc me hospitem 15 
 
 798. viveret : for the mood, reply is the one Musis gives, 
 see on sinat (396). " A crushing blow for us ! " 
 
 799. eius is monosyllabic. 804. hie is the adverb. 
 redierunt: "reverted"; Cru- sic: " so, so." 
 
 sis, then, had left no will. 805. aiunt : " the saying is." 
 
 Crito has no foolish scruples 807. an is used as in 784. 
 
 about tainted money. This line auspicato : for the case, see on 
 
 adequately explains Crito's ar- optato (533). appuli: appello, 
 
 rival just at this time ; the poet with or without navem, means 
 
 cannot justly be criticized for " put in to shore, make harbor." 
 
 making a mere coincidence fur- 808. tetulissem : the early 
 
 nish the solution of the plot. 1 Latin reduplicated perfect of 
 
 803. itan Crusis, hem : " So fero is much less common in 
 
 Crusis, eh ? " Crito avoids the Terence than in Plautus. 
 
 ill omen of saying mortua est. 810. illius : for the dissyllabic 
 
 The question may still be heard pronunciation, see on eius (93). 
 
 at any funeral, and the proper hospitem here means " for- 
 
 1 Legrand, Daos 394, takes the opposite view.
 
 TERENTI ANDRIA 
 
 Litis sequi, quam hie mihi sit facile atque utile, 
 Aliorum exempla commonent. Simul arbitror, 
 lam aliquem esse amicum et defensorem ei ; nam fere 
 Grandicula iam profectast illinc ; clamitent 
 815 Me sucopantam, hereditatem persequi 
 
 Mendicum. Turn ipsam despoliare non lubet. 
 Da. O optume hospes ! Mu. Pol, Crito, antiquom obtines. 
 Cr. Due me ad earn, quando hue veni, ut videam. Mu. 
 Maxume. [Exeunt into Gluceriurns house.} 
 
 Da. Sequar hos; me nolo in tempore hoc videat senex. 
 
 [Exit into Gluceriurns house.} 
 
 it* 
 
 eigner." Crito's legal claim to 
 the estate was still valid, since 
 Glucerium was not really Crusis' 
 sister. It would, however, be 
 necessary to prove that fact in 
 a court of law, and a foreigner 
 had a poor chance of convincing 
 an Athenian jury. 
 
 811. litis sequi, " go to law," 
 is a literal translation of Greek 
 8iKrjv Stw/ceiv. hie is the adverb. 
 
 814. grandicula : the collo- 
 quial diminutive may be ren- 
 dered " in her teens." illinc : 
 i.e., from Andros. 
 
 815. sucopantam: the classi- 
 cal form would be sycophantes 
 (Gk. <ruKo<avn;s), but our dic- 
 tionaries give sycophanta. 
 
 816. The ease with which 
 
 one can make a virtue of neces- 
 sity is a chief reason for the 
 good reputation which such 
 people as Crito usually enjoy. 
 Musis is genuinely impressed 
 by his generosity. Davos, how- 
 ever, is hardly the man to at- 
 tribute better motives than the 
 facts warrant. His commenda- 
 tion is a bit of ironical flattery. 
 
 817. O optume: for the hia- 
 tus, see Introduction 20. anti- 
 quom : " the good old way " ; 
 virtue of every sort is char- 
 acteristic of the " good old 
 days," which always lie some 
 fifty or seventy-five years in 
 the past. 
 
 818. maxume: "by all 
 means."
 
 ACTUS V 
 
 CREMES 
 SENEX 
 
 SIMO 
 
 SENEX 
 
 [Enter Cremes and Simo from Simo's house.] 
 \2oCr. Satis iam satis, Simo, spectata erga te amicitiast mea; 
 Satis pericli incepi adire. Orandi iam finem face. 
 Dum studeo obsequi tibi, paene inlusi vitam filiae. 
 Immo enim nunc quom maxume abs te postulo atque 
 
 oro, Cremes, 
 
 Ut beneficium verbis initum dudum nunc re comprobes. s 
 Vide quam iniquos sis prae studio. Dum id effTcias 
 
 quod cupis, 
 
 Neque modum benignitatis neque quid me ores cogitas; 
 Nam si cogites, remittas iam me onerare iniuriis. 
 
 Si. 
 
 (25 Cr. 
 
 ACT V SCENE i 
 
 821. face: for the form, see 
 on 680. 
 
 822. vitam : for the case, see 
 on in quibus (758). 
 
 823. immo enim : enim is 
 corroborative ; translate " why, 
 no ! " nunc quom maxume : 
 this common phrase means 
 " now as much as ever." The 
 expression must originally have 
 been somewhat fuller, but it is 
 impossible to determine just 
 what has been omitted; per- 
 haps we should supply vta ut 
 
 as is suggested by Cicero, Ad 
 Quint. Prat. ^. 4. 6. (2. 6. 6): 
 domus celebratur ita ut cum 
 maxime. 
 
 824. An antithesis between 
 words and deeds is much more 
 common in Greek than in Latin ; 
 no doubt Menander employed 
 it here. dudum is used as in 
 .582. 
 
 825. prae sometimes has a 
 causal force in a negative sen- 
 tence, " in view of, from." 
 
 826. modum : " the limits." 
 
 827. remittas : " cease." 
 iniuriis : " unjust demands."
 
 i6o 
 
 TEREXTI AXDRIA 
 
 830 
 
 Si. Quibus ? Cr. At rogitas ? Perpulisti me, ut homini 
 
 adulescentulo 
 
 In alio occupato amore, abhorrenti ab re uxoria, 10 
 
 Filiam ut darem in seditionem atque in incertas nuptias, 
 Eius labore atque eius dolore gnato ut medicarer tuo. 
 Impetrasti; incepi, dum res tetulit. Nunc non fert; 
 
 feras. 
 Illam hinc civem esse aiunt; puer est natus; nos 
 
 issos face. 
 
 Per ego te deos oro, ut ne illis animum inducas credere, is 
 Quibus id maxume utilest, ilium esse quam deterru- 
 
 mum. 
 
 Nuptiarum gratia haec sunt ficta atque incepta omnia. 
 Ubi ea causa, quam 6b rem haec faciunt, ent adempta 
 
 his, desinent. 
 Cr. Erras; cum Davo egomet vidi iurgantem ancillam. 
 
 Si. [Ironically.] Scio. Cr. At 
 Vero voltu, quom ibi me adesse neuter turn praesen- 20 
 
 serat. 
 
 840 Si. Credo, et id facturas Davos dudum praedixit mihi; 
 Et nescio qui id tibi sum oblitus hodie, ac volui, dicere. 
 
 835 
 
 828. perpulisti : Cremes had 
 once renewed his consent 
 
 (572 f.) 
 
 830. ut is merely a repetition 
 of wi in 828. For its position, see 
 on ut (160). incertas: be- 
 cause, if Glucenum is a citizen, 
 Pampilus would have been 
 compelled to divorce Pilumena 
 and marry Glucerium. 
 
 831. labore: for the meaning, 
 see on 720. 
 
 832. tetulit : for the form, see 
 
 on 808. feras : for the mood, 
 see on quiescas (598). 
 
 833. hinc has the same mean- 
 ing as in 221. missos face: 
 for the phrase, see on 680. 
 
 834. per . . . oro : the order 
 is the same as in 289. 
 
 835. ilium : i.e., Pampilus. 
 
 840. praedixit : i.e., in 507. 
 
 841. nescio qui: "some- 
 how." ac connects contrast- 
 ing ideas as atque often does ; 
 see on 225.
 
 ACTUS V, SCENA II 161 
 
 DAVOS CREMES SIMO DROMO 
 SERVOS SENF.X SENEX LORARIUS 
 
 [Enter Davos from Glucerium's house. He doesn't see 
 Cr ernes and Simo for a moment.] 
 Da. [To those within.] Animonunciamotiosoesseimpero . . . 
 
 Cr. Em Davom tibi ! 
 Si. Unde egreditur ? Da. . . . meo praesidio atque hospitis. 
 
 Si. Quid illiid malist ? 
 Da. Ego commodiorem hominem, adventum, tempus non 
 
 vidi. Si. Scelus, 
 45 Quern nam hie laudat ? Da. Omnis res est iam in 
 
 vado. Si. Cesso adloqui ? 
 [Davos sees Cremes and Simo.] 
 
 Da. [Aside.] Erus est. Quid agam ? Si. O salue, bone 5 
 vir. Da. [Feigning surprise.] Ehem Simo ! O 
 noster Cremes ! 
 Omnia apparata iam sunt intus. Si. [Ironically.] Cu- 
 
 psti probe. 
 Da. Ubi ^oles, accerse. Si. [Ironically.] Bene sane ; id 
 
 entrnvero hinc nunc abest. 
 
 [Severely.] Etiam tu hoc responde : quid istic tibi 
 negotist ? Da. Mihin ? Si. Ita. 
 
 . IT c i n g> see on 546. bene sane: 
 
 ACT V SCENE 2 
 
 sane strengthens bene; translate 
 
 842. esse: impero is used "very fine!" id refers to 
 
 with a passive or deponent accerse. hinc : " from (to) the 
 
 infinitive at all periods of the present situation." 
 
 language. With esse it is rare. 849. etiam goes with hoc; 
 
 844. scelus is used as in 317. "this too." Davos has ex- 
 
 845. vado : " shallow water." plained one factor in the situa- 
 For the figure, compare 480. tion ; now he may clear up 
 
 846. noster may be freely another. Others prefer to take 
 rendered " my dear." etiam with the imperative. 
 
 848. accerse : for the mean- ita : " yes." 
 
 TER. ANDRIA II
 
 l62 
 
 TERENTI ANDRIA 
 
 850^)0. Mihin ? Si. Tibi ergo. Da. Ego modo intro ii. Si. 
 
 Quasi quam dudum rogem. 
 Da. Cum tuo gnato una. Si. Anne est intus Pampilus ? 
 
 Crucior miser ! 
 
 Eho, non tu dixti esse inter eos inimicitias, carnufex ? 
 Da. Sunt. Si. Cur igitur hie est ? Cr. Quid ilium censes ? 
 
 Cum ilia litigat. 
 Da. Immo vero indignum, Cremes, iam facinus faxo ex me 
 
 audias. 
 855 Nescio qui senex modo venit (ellum) confidens, catus. 
 
 Quom faciem videas, videtur esse quantivis preti; \s 
 
 Tristis veritas inest in voltu atque in verbis fides. 
 
 850. ergo = quidem. ego 
 modo intro ii : " I just (i.e., only) 
 went in." Davos is talking un- 
 der compulsion, and he doesn't in- 
 tend his words to give any infor- 
 mation. Simo, however, chooses 
 to take modo in its temporal 
 sense, " just now." 
 
 851. By this time Simo's 
 anger is pretty evident and the 
 slave can think of no better plan 
 than to turn it away from him- 
 self upon his young master. 
 
 852. inter eos : the preposi- 
 tional phrase is accented as a 
 single word ; see on apud me (36), 
 and Introduction 18. 
 
 853. ilium : sc. hie esse, if 
 quid is the adverb " why," or 
 facere, if quid is the pronoun. 
 
 854. faxo : for the form, see 
 on f axis (753). 
 
 855 ff. Davos means his de- 
 
 scription to be complimentary. 
 He has recognized in Crito a 
 brother artist; in particular, he 
 sees the cash value of Crito's 
 long face and solemn ways. 
 
 855. ellum is a combination 
 of em and ilium, with loss of the 
 initial vowel of the second word, 
 as in exprobratiost (44), etc. 
 For the case of the pronoun, see 
 on em (351). In use, ellum 
 stands to eccum (see on 532) as 
 ille stands to hie. Here it is 
 accompanied by a gesture to- 
 ward Glucerium's house; trans- 
 late " he's in there." con- 
 fidens, " cheeky," and catus, 
 " sharp," are both slang; the 
 latter is a Sabine word. 
 
 856. quantivis preti : " worth 
 any sum you please." 
 
 857. tristis : we might render 
 it by " austere," if we could
 
 ACTUS V, SCENA II 163 
 
 Si. Quid nam adportas ? Da. Nil equidem, nisi quod 
 
 ilium audivi dicere. 
 Si. Quid ait tandem ? Da. Glucerium se scire civem esse 
 
 Atticam. Si. Hem ! 
 
 [Simo opens the door of his house and shouts.} 
 k) Dromo ! Dromo ! Da. Quid est ? Si. Dromo ! Da. 
 
 Audi. Si. Verbum si addideris . . . ! Dromo ! 
 Da. Audi obsecro ! 20 
 
 [Enter Dromo from Simo's house.] 
 
 Dr. Quid vis ? Si. Sublimem hunc 
 intro rape, quantum potest. 
 
 Dr. Quern ? Si. Davom. Da. Quam 6b rem ? Si. Quia 
 
 lubet. Rape, Inquam. Da. Quid feci ? Si. Rape. 
 
 Da. Si quicquam invenies me mentitum, occidito. Si. Nihil 
 
 audio. 
 Ego iam te commotum reddam. Da. Tamen etsi hoc 
 
 verumst ? Si. Tamen. 
 >5 [To Dromo.] Cura adservandum vinctum. Atque 
 
 audin ? Quadrupedem constringito. 
 Age nuneiam ! [Dromo carries Davos off.] Ego pol 25 
 
 hodie, si vivo, tibi 
 Ostendam, erum quid sit pericli fallere, 
 
 imagine Davos using such a turn potest is an idiomatic ex- 
 word ; translate " long-faced." pression meaning " as quickly as 
 Others understand the word possible." 
 to mean "sober, earnest." 862. quia lubet: fairly in 
 
 860. Dromo, Dromo : for the accord with Davos' prophecy in 
 quantity of the ultima, see on 213. 
 
 mane, cave (760). 864. commotum reddam : for 
 
 861. sublimem : English id- the periphrasis, see on missum 
 iom requires us to make a face (680). 
 
 coordinate clause out of this 865. quadrupedem constrin- 
 
 word, " up with him." quan- gito: " bind him hands to feet."
 
 164 TERENTI ANDRIA 
 
 Et ill! patrem. Cr. Ah, ne saevi tanto opere. Si. 
 
 Oh, Cremes, 
 
 Pietatem gnati ! Nonne te miseret mei ? 
 870 Tantum laborem capere ob talem filium ! 
 [Calls at the door of Gluceriums house.} 
 
 Age Pampile ! Exi Pampile ! Ecquid te pudet ? 30 
 
 PAMPILUS SIMO CREMES 
 
 ADULESCENS SENEX SENEX 
 
 [Enter Pampilus from Glucerium's house.} 
 Pa. Quis me volt ? [Aside.} Peril, pater est. Si. Quid 
 
 ais, omnium . . . ? Cr. Ah, 
 Rem potius ipsam die ac mitte male loqui. 
 Si. [To Cremes.] Quasi quicquam in hunc Jam gravius dici 
 
 possiet. 
 875 [To Pampilus.} Ain tandem ? Civis Gluceriumst ? 
 
 Pa. Ita praedicant. 
 St. [To Cremes.] 'Ita praedicant' ? O ingentem con- s 
 
 fidentiam ! 
 
 Num cogitat quid dicat ? Num facti piget ? 
 Vide ! Num eius color pudoris signum usquam indicat ? 
 Adeo inpotenti esse animo, ut praeter civium 
 
 868. illi: i.e., Pampilus. meaning as remittas in 827. 
 
 patrem corresponds to erum; 874. possiet: for the form, 
 
 what is to be supplied ? see on siet (234). 
 
 870. tantum laborem capere : 875. ain = aisne. 
 
 English does not need a subject 876. O ingentem is probably 
 
 any more than Latin does. to be pronounced Ingentem ; 
 
 compare Introduction 20. 
 
 ACT V SCENE 3 confidentiam: for the meaning, 
 
 872. quid ais refers forward to see on confidens (855). 
 
 Simo's question in 875. 879. inpotenti: "without 
 
 873. mitte has the same self-control."
 
 ACTUS V, SCENA III 165 
 
 58o Morem atque legem et sui voluntatem patris 
 
 Tamen hanc habere cupiat cum summo probro ! 10 
 
 Pa. Me miserum ! Si. Hem, modone id demum sensti, 
 
 Pampile ? 
 
 Olim istuc, olim, quom ita animum induxti tuom, 
 Quod cuperes aliquo pacto efficiundum tibi, 
 [85 Eodem die istuc verbum vere in te accidit. 
 
 Sed quid ego ? Cur me excrucio ? Cur me macero ? 15 
 Cur meam senectutem huius sollicito amentia ? 
 An ut pro huius peccatis ego supplicium sufferam ? 
 Immo habeat, valeat, vivat cum ilia. Pa. Mi pater! 
 [90 Si. Quid 'mi pater' ? Quasi tu huius indigeas patris. 
 
 Domus, uxor, liberi inventi invito patre; 20 
 
 Adducti qui illam hinc civem dicant. Viceris. 
 Pa. Pater, licetne pauca ? Si. -Quid dices mihi ? 
 Cr. Tamen, Simo, audi. Si. Ego audiam ? Quid ego 
 
 audiam, 
 
 95 Cremes ? Cr. At tandem dicat. Si. Age dicat, sino. 
 
 Pa. Ego me amare hanc fateor; si id peccarest, fateor id 25 
 quoque. 
 
 882. modo demum : " just 892. hinc has the same force 
 now for the first time." sensti: as in 221. viceris: the per- 
 for the form, see on prae- feet subjunctive is far less com- 
 scripsti (151). mon than the present in pos- 
 
 883. olim is used as in 545. itive commands, although it is 
 ita is explained by the next line. frequently used in prohibitions. 
 
 885. eodem : for the prosody, Others prefer to regard viceris 
 
 see Introduction 19 end. as a future perfect, 
 accidit: "applied to, suited." 893. pauca: what infinitive 
 
 887. hums : for the pronun- is to be supplied ? 
 ciation, see on eius (93). So 896. hanc: a gesture makes 
 
 again in the next line. it clear that the word refers to 
 
 889. valeat: for the meaning, Glucerium. The antecedent of 
 
 see on vale ant (696). the second id is peccare.
 
 i66 TERF.XTI AXDRIA 
 
 Tibi, pater, me dedo; quidvis oneris inpone, impera. 
 Vis me uxorem ducere, hanc amittere ? Ut potero, 
 
 feram. 
 Hoc modo te obsecro, ut ne credas a me adlegatum hunc 
 
 senem. 
 9 Sine me expurgem atque ilium hue coram adducam. 
 
 St. Adducas ? Pa. Sine, pater. 
 Cr. Aequom postulat ; . da veniam. Pa. Sine te hoc exorem. 30 
 
 St. Sino. 
 [Exit Pampilus into Gluceriuni 's house.] 
 
 Quidvis cupio, dum ne ab hoc me falli comperiar, Cremes. 
 Cr. Pro peccato magno paiilum supplici satis est patri. 
 
 CRITO CREMES SIMO PAMPILUS 
 
 SENEX SENEX SENEX ADULESCENS 
 
 [Enter Pampilus and Crito from Gluceriums house.] 
 Cri. [To Pampilus.} Mitte orare. Una harum quaevis 
 
 causa me ut faciam monet, 
 95 Vel tu vel quod verumst vel quod ipsi cupio Glucerio. 
 
 898. amittere = dimittere. 901. veniam: "permission." 
 feram: this is not a repetition of 902. comperiar: the verb is 
 Pampilus' foolhardiness in prom- usually active. 
 
 ising to marry Pilumena (420). 
 
 He knows now that Glucerium's :ENE * 
 
 citizenship can be established, 904. mitte has the same 
 
 and even his father cannot get meaning as in 873. 
 
 him away from her. It is per- 905. cupio : " wish well to." 
 
 fectly safe to promise obedi- If it were not for his habit of 
 
 ence. putting the best foot forward, 
 
 899. adlegatum = suborna- Cnto might add, vel Crusidis 
 turn. bona (cf. 799) ; for if he estab- 
 
 900. adducas is a mere echo lishes Glucerium's Attic citizen- 
 of adducam. Compare essem ship, there will be no further 
 (282) and habeam (649). doubt that he is Crusis' heir.
 
 ACTUS V, SCENA IV 167 
 
 Cre. [Astonished.] Andrium ego Critonem video ? Certe 
 
 ist. Cri. Saluos sis, Cremes. 
 Cre. Quid tu Athenas insolens ? Cri. Evenit. Sed hicinest 
 
 Si mo ? 
 Cre. Hie. Cri. Simo, men quaeris ? Si. [Rudely.] Eho 
 
 tu, Glucerium hinc civem esse a'fs ? 
 Cri. Tu negas ? Si. Itan hue paratus advenis ? Cri. 
 
 Qua de re ? Si. Rogas ? 
 )io Tune inpune haec facias ? Tune hie homines adules- 
 
 centulos 
 
 Inperitos rerum, eductos libere, in fraudem inlicis ? 
 Sollicitando et pollicitando eorum animos lactas ? Cri. 
 
 Sanun es ? 
 
 Si. Ac meretricios amores nuptiis conglutinas ? 
 Pa. [Aside.] Perii, metuo ut substet hospes. Cre. Si, 
 
 Simo, hunc noris satis, 
 
 )I5 N6n ita arbitrere; bonus est hie vir. Si. Hie vir sit 
 
 bonus ? 
 
 906. ist = is est; for the tity of the ultima, see Intro- 
 form, see on dictust (102). duction 19 end. 
 
 907. The case of Athenas 910. facias: for the mood, see 
 shows that we are to supply a on eine ego ut advorser (263). 
 verb of motion. insolens: in 911. libere: for the meaning, 
 its original sense; the word see on liberali (123). 
 
 consists of the negative prefix 912. sanun = sanus-ne. 
 
 in- and the present participle 914. ut substet: "won't 
 
 of soleo. evenit : a man of stand for it." 
 
 Crito's stamp comes to be good 914 f. noris, arbitrere : for the 
 
 at hedging. hicinest = hic(e)- tenses, see on sis, sentias (310). 
 
 ne est; cf. hoccinest (236). There is another example in 918. 
 
 908. eho : for the meaning, 915. bonus est hie vir : Crito 
 see on 184. hinc has the same has an excellent reputation; cf. 
 meaning as in 221. on 816. sit: for the mood, see 
 
 909. advenis: for the quan- on eine ego ut advorser (263).
 
 1 68 TERENTI ANDRIA 
 
 Itane adtemperate evenit, hodie in ipsis nuptiis 
 
 Ut veniret, ante numquam ? [Ironically.] Est vero 
 
 huic credundum, Cremes. 
 Pa. [Aside.] Ni metuam patrem, habeo pro ilia re ilium 15 
 
 quod moneam probe. 
 Si. Sucopanta. Cri. Hem ! Cre. Sic, Crito, est hie ; 
 
 mitte. Cri. Videat qui siet. 
 
 920 Si mihi perget quae volt dicere, ea quae non volt audiet. 
 Ego istaec moveo aut euro ? Non tu tuom malum 
 
 aequo animo feras ? 
 Nam ego quae dico, vera an falsa audierim, Jam sciri 
 
 potest. 
 
 Atticus quidam olim navi fracta ad Andrum eiectus est 20 
 Et istaec una parva virgo. Turn ille egens forte adplicat 
 9 2 5 Primum ad Crusidis patrem se. Si. Fabulam inceptat. 
 
 Cre. Sine. 
 Cri. Itane vero obturbat ? Cre. Perge. Cri. Turn is mihi 
 
 cognatus fuit, 
 Qui eum recepit. Ibi ego audivi ex illo sese esse Atticiim. 
 
 917. ante = antea. of audierim. The meaning can 
 
 918. quod : for the case, see best be expressed in English 
 on quod (45). by recasting the sentence: 
 
 919. qui, " how," is correla- " whether the story I am telling 
 tive with sic. Some regard qui on hearsay is true or false." 
 as the nominative equivalent Crito's version corrects Davos' 
 to qualis. account (220 ff.) in some de- 
 
 921. The first half of the line tails. 
 
 is simply a disclaimer of respon- 924- una is the adverb, 
 sibility for the facts. feras is 925. fabulam : " his yarn." 
 potential, " can endure." 926. turn: "besides, more- 
 
 922. vera and falsa stand in over." is: i.e., the father of 
 a predicative relation to a pro- Crusis. 
 
 noun which is to be understood 927. illo: i.e., the ship- 
 
 as antecedent of quae and object wrecked Athenian.
 
 ACTUS V, SCENA IV 169 
 
 Is ibi mortuost. Cre. Eius nomen ? Cri. Nomen 25 
 
 tarn cito ? Pa. Pania. Cre. [Astonished.} Hem, 
 Peril ! Cri. Verum hercle opinor fuisse Paniam ; hoc 
 
 certo scio, 
 130 Ramnusium se aiebat esse. Cre. O luppiter ! Cri. 
 
 Eadem haec, Cremes, 
 Multi alii in Andro turn audire. Cre. Utinam id sit, 
 
 quod spero ! Eho, die mihi, 
 Quid earn turn ? Suamne esse aibat ? Cri. Non. 
 
 Cre. Quoiam igitur ? Cri. Fratris filiam. 
 Cre. Certe meast. Cri. Quid ais ? Si. Quid tu ai's ? Pa. 3 
 
 [Aside.] Arrige auris, Pampile ! 
 Si. Qui id credis ? Cre. Pania illic frater meus fuit. Si. 
 
 Noram et scio. 
 35 Cre. Is bellum hinc fugiens meque in Asiam persequenS pro- 
 
 ficiscitur. 
 
 Turn illam relinquere hie est veritus. Poste nunc 
 primum audio 
 
 928. eius is a monosyllable. repperit? In this use quid is 
 Pania : the classical form would usually accompanied by the 
 be Phanias (Gk. 3>avtas). nominative because the same 
 
 929. peril is here merely an concept usually serves as subject 
 interjection of astonishment. of the following question; earn 
 fuisse : for the short penult, see is here accusative because that 
 Introduction 19 end. is the case required in the clause 
 
 930. Ramnusium : "from of indirect discourse that follows. 
 Rhamnus," a deme or district aibat: for the form, see on 
 on the east coast of Attica. servibas (38). quoiam : for the 
 
 932. quid earn turn: these possessive adjective, see on 763. 
 
 words serve to call attention to 934. qui: "why?" as in 150. 
 
 the full question that follows, noram : sc. eum. scio : sc. haec. 
 
 precisely as quid Glucerium? 936. poste : for the form, 
 
 (806) paves the way for the see on 509. primum : for the 
 
 following iam hie suos parentis meaning, see on 156.
 
 1 70 
 
 TERENTI ANDRIA 
 
 Quid illo sit factum. Pa. [Aside.] Vix sum apud rn<; ; 
 
 ita animus commotust metu, 
 
 Spe, gaudio, mirando tanto tarn repentino hoc bono. 35 
 Si. Ne istam multimodis tuam inveniri gaudeo. Ore. 
 
 Credo. Pa. Pater . . . 
 940 Cre. At mi unus scrupulus etiam restat, qui me male habet. 
 
 Pa. [Aside.] Dignus es 
 Cum tua religione, odium. Nodum in scirpo quaeris. 
 
 Cri. Quid istud est ? 
 Cre. Nomen non convenit. Cri. Fuit hercle huic aliud 
 
 parvae. Cre. Quod, Crito ? 
 Num quid meministi ? Cri. Id quaero. Pa. [Aside.] 40 
 
 Egon huius memoriam patiar meae 
 Voluptati obstare, quom ego possim in hac re medicari 
 
 mihi ? 
 
 937. illo : for the case, see on 
 me (614). apud me: for the 
 meaning, see on apud te sits 
 (408). 
 
 938. mirando bono is an 
 ablative of means, parallel with 
 metu, spe, and gaudio. Others 
 prefer to call it an ablative of 
 attendant circumstances. 
 
 939. ne : for the meaning, see 
 on 324. credo," I believe you," 
 is the conventional reply to an 
 expression of congratulation. 
 pater : what would Pampilus 
 have said if he had not been 
 interrupted ? 
 
 940. scrupulus : since the 
 figure is unfamiliar in English, 
 we must substitute a less pic- 
 
 turesque word such as " diffi- 
 culty." - etiam is temporal. 
 male habet: for the meaning, 
 see on 436. 
 
 941. religione: for the mean- 
 ing, see on 730. odium : a 
 term of abuse; the word is 
 etymologically connected with 
 odor, etc., and in this use the 
 original force, " stench, stinker," 
 still shows through. Perhaps it 
 can best be put into English by 
 an interjection such as " ugh ! 
 faugh ! " - nodum in scirpo 
 quaeris : the proverb is used of 
 those who borrow trouble. 
 
 944. voluptati: for the. short 
 antepenult, see Introduction 
 19.
 
 ACTUS V, SCENA IV 
 
 171 
 
 945 
 
 [Aloud.] Heus, Cremes, quod quaeris, Pasibulast. 
 
 Cre. Pasibula ? Ipsast. Cri. East. 
 Pa. Ex ipsa audivi miliens. Si. Omnis nos gaudere hoc, 
 
 Cremes, 
 Te credo credere. Cre. Ita me di ament, credo. Pa. 
 
 Quod restat, pater, . . . 
 Si. lam dudum res redduxit me ipsa in gratiam. Pa. O4S 
 
 lepidum patrem ! 
 De uxore, ita ut possedi, nihil mutat Cremes ? Cre. 
 
 Causa optumast ; 
 Nisi quid pater ait aliud. Pa. [To Simo.] Nempe id. 
 
 Si. Scilicet. Cre. Dos, Pampile, est 
 Decem talenta. Pa. Accipio. Cre. Propero ad filiam. 
 
 Eho mecum, Crito; 
 Nam illam me credo baud nosse. [Exeunt Cremes and 
 
 Crito into Glucerium's house.] Si. Cur non illam 
 
 hue transferri iubes ? 
 
 946. hoc may be construed as 
 accusative or as ablative. 
 
 947. The second credo is 
 used as in 939. quod is an 
 accusative of respect ; see on id 
 (162). Pampilus gets but little 
 further with his suggestion than 
 he did in 939. 
 
 948. res : for the meaning, 
 see on re (359). redduxit: 
 perfect, because it narrates an 
 act that lies wholly in the past. 
 The present with iam dudum 
 describes a state beginning in 
 the past and continuing into 
 the present. lepidum is a col- 
 loquial adjective that has the 
 
 meaning of the women's slang 
 word, " lovely." 
 
 950. nempe id: supply a 
 verb from the last speech. 
 
 950 f. As to the importance 
 of the dowry, see on dote (roi). 
 
 951. decem talenta was 
 equivalent, by weight, to nearly 
 $12,000, while its purchasing 
 power was much greater. In 
 Menander's Periceiromene (In- 
 troduction page 30) the dowry 
 amounts to only three talents. 
 accipio is the regular reply to a 
 promise of dowry. Such stand- 
 ing formulas were of the utmost 
 importance in making any con-
 
 172 TEREXTI AXDRIA 
 
 Pa. Recte admones; Davo ego istuc dedam iam negoti. 50 
 
 Si. Non potest. 
 Pa. Qui ? Si. Quia habet aliud magis ex sese et maius. 
 
 Pa. Quid nam ? Si. Vinctus est. 
 955 Pa. Pater, non recte vinctust. Si. Haud ita mssi. Pa. 
 
 lube solui, obsecro. 
 Si. Age fiat. Pa. At matura. Si. Eo intro. [Exit into his 
 
 house.] Pa. O faustum et felicem diem ! 
 
 CARINUS PAMPILUS 
 
 ADULESCENS ADULESCENS 
 
 [Enter Carinus, unseen by Pampilus.] 
 Ca. Proviso quid agat Pampilus. Atque eccum. Pa. Me 
 
 aliquis fors putet 
 Non putare hoc verum, at mihi nunc sic esse hoc verum 
 
 lubet. 
 Ego deorum vitam eapropter sempiternam esse arbitror, 
 
 tract, since words spoken before A ,, c 
 
 ACT V SCENE 5 
 witnesses served many of the 
 
 legal purposes for which we now 957. proviso : for the mean- 
 use written documents. ing, see on reviso (404). Pam- 
 953- Why does Pampilus say pilus : for the pyrrhic before the 
 istuc instead of illud ? potest : diaeresis, see Introduction 22. 
 impersonal, as in 327. In this fors forsitan. putet: for the 
 use potest contains the adjective mood, see on die at (640). 
 potis, pote, in the sense of " pos- 957 f- ''Someone may sup- 
 sible." pose that I don't think this is 
 
 954. qui:"why?" ex sese : true, but I am glad it is true." 
 " according to his deserts." There is no logical connection 
 
 955. Pampilus intends recte between the two halves of the 
 to equal iuste; but Simo chooses sentence; Pampilus is too happy 
 to understand it in its literal to speak sanely. There is no 
 sense, " perpendicularly " (cf. logic in the following argument 
 865). With ita supply an in- either. 
 
 finitive from the last speech. 959. eapropter stands to the
 
 ACTUS V, SCENA VI 173 
 
 60 Quod voluptates eorum propriae sunt; nam mi inmor- 
 
 talitas 
 
 Partast, si nulla aegritudo huic gaudio intercesserit. - s 
 Sed quern ego mihi potissumum optem, quoi nunc haec 
 
 narrem, dari ? 
 Ca. [Aside.} Quid illud gaudist ? 
 
 [Davos appears at the door of Simo's house,] 
 
 Pa. Davom video. Ne- 
 most, quern mallem omnium ; 
 Nam hunc scio mea solide solum gavisurum gaudia. 
 
 DAVOS PAMPILUS CARINUS 
 
 SERVOS ADULESCENS ADULESCENS 
 
 [Enter Davos from Simo's house.] 
 65 Da. Pampilus ubi nam hie est ? Pa. O Dave. Da. Quis 
 
 homost ? Pa. Ego sum. Da. O Pampile. 
 Pa. Nescis quid .mi obtigerit. Da. Certe; sed quid mi 
 
 obtigerit scio. 
 Pa. Et quidem ego. Da. More hominum evenit, ut quod 
 
 sim nanctus mali 
 
 Prius rescisceres tu, quam ego illud quod tibi evenit boni. 
 Pa. Glucerium mea suos parentis repperit. Da. Factum s 
 
 bene. Ca. [Aside.] Hem ! 
 
 170 Pa. Pater amicus summus nobis. Da. Quis ? Pa. Cremes. 
 Da. Narras probe. 
 
 equivalent propterea as quicum this phrase, compare solidum 
 does to cum qui. Cf. quapropter gaudium (647). 
 
 (163). * v C /; 
 
 960. propriae : for the mean- 
 ing, see on 716. 967. quidem = quoque. 
 
 963. gaudi : for the case, see quod . . . mali is an indirect 
 on id negoti (521). mallem: question, while quod . . . boni in 
 " should have preferred." the next line is a relative clause. 
 
 964. solide gavisurum : with 970. pater: sc. Gluceri.
 
 174 TERENTI ANDRIA 
 
 Pa. Nee mora ullast, quin earn uxorem ducam. [Aside.] 
 
 Ca. Num ille somniat 
 Eaquae vigilans voluit ? Pa. Turn de puero, Dave . . . 
 
 Da. Ah, desine ! 
 Solus est quem diligant di. Ca. [Aside.] Saluos sum, 
 
 si haec vera sunt. 
 Conloquar. [Advances.] Pa. Quis homost ? Carine, 10 
 
 in tempore ipso mi advenis. 
 975 Ca. Bene factum. Pa. Audisti ? Ca. Omnia. Age, me in 
 
 tuis secundis respice. 
 Tuos est nunc Cremes; facturum quae voles scio esse 
 
 omnia. 
 Pa. Memini; atque adeo longumst ilium me expectare dum 
 
 exeat. 
 Sequere hac me; intus apud Glucerium nunc est. Tu, 
 
 Dave, abi domum, 
 Propera, accerse hinc qui auferant earn. Quid stas ? 15 
 
 Quid cessas ? Da. Eo. 
 [Exeunt Pampilus and Carinus into Glucerium 's house. 
 
 Davos addresses the audience.] 
 
 980 Ne expectetis dum exeant hue. Intus despondebitur; 
 Intus transigetur, si quid est quod restet. [Exit Davos 
 into Simo's house.] Cantor. [Addressing the audi- 
 ence.] Plaudite ! 
 
 973. solus est, etc., sums up according to the rule given in the 
 all that a proud young father note on benefici (44). 
 
 can say, and so forestalls the 980 f. No other play of Ter- 
 details. ence has such a closing ad- 
 
 974. mi is dative of reference. dress to the audience as ne . . . 
 
 977. memini : " I'm not for- restet, but the device is common 
 getting that." in Plautus. The request for ap- 
 
 978. Glucerium : everywhere plause occurs at the end of every 
 else in the play the name has the Latin comedy whose final scene 
 accent on the first syllable, has been preserved.
 
 APPENDIX 
 
 33. Mss. and Edd. : eis. Here and in line 63 the verse requires 
 monosyllabic is or pyrrhic eis. I have preferred the former. Ter- 
 ence must have spelled the monosyllable eis (es was less usual), and 
 the copyists who modernized the other instances of ei into i would 
 almost certainly misinterpret eis as a dissyllable and therefore retain 
 it. 
 
 58. So Mss. Fleckeisen and Fairclough transpose (ille horum 
 nihil ille) out of deference to Schmidt's demonstration (Hermes 
 8. 478 ff.) that Terence ordinarily uses before vowels the plural 
 forms of hie with appended c(e). This consideration, however, is 
 more than overbalanced by the fact that the sentence accent is 
 seriously impaired by the transposition; nil, not horum, is the 
 emphatic word. 
 
 70. It is probable that hue is from earlier *hoi-c(, formed in the 
 same way as Greek Trot. If so, it must have existed alongside of the 
 equivalent hoc, and editors of early Latin authors need not prefer 
 the latter against the Mss. 
 
 87. Mss. : turn simul, a reading which is possible if we assume a 
 false quantity by scanning Niceratum. See Spengel's critical note. 
 
 103. The spelling cur of the Mss. of Terence is followed in this 
 edition. There is little doubt that the orthographies quor, qur, and 
 cur were current in the early period (see the statement of the evi- 
 dence in the Thesaurus], and it seems probable that the pronuncia- 
 tions quor and cur were both heard (for cur, cf. Anderson, CP. 
 4. 297), just as hoc and hue were used side by side. Each passage, 
 then, should be considered independently on the basis of the manu- 
 script authority. 
 
 Editors who admit cur to the text of Plautus and Terence usually 
 admit also cum (conjunction), cuius, etc. The evidence for these
 
 176 APPENDIX 
 
 forms, however, is less strong than that for cur, and in this edition 
 quom, quoius, etc., are everywhere adopted. 
 
 There is equally good authority for reading with Spengcl and 
 Fairclough : Quid obstat cur non verae Jiant? The context, however, 
 differs from that of line 47, where verae is appropriate; with this 
 passage we should rather compare 542 f . : ut . . . ila, uti nuptiae 
 fuerant futurae, fiant. Compare Ashmore, Appendix ad loc. 
 
 171. That Simo enters his house at this point, thus leaving the 
 stage vacant, is indicated by the following considerations : (i) Simo 
 would hardly say modo (line 173) of a conversation held not merely 
 before the opening of the play but before he had started to market 
 to purchase the day's provisions. (2) Davos' monologue in lines 
 175 ff. seems to imply that he has just now learned of Simo's pro- 
 fessed intention. His "I told you so" (mirabar, verebar} hardly 
 applies to news already an hour or so old. (3) Since in 226 f. Davos 
 is anxious to warn Pampilus before his father sees him, it is not 
 likely that he has already allowed a considerable time to pass before 
 starting on the errand. (4) Besides, he himself tells us that he 
 started to find Pampilus as soon as he learned of the approaching 
 marriage (continue, line 355). (5) The strongest argument of all is 
 that if Simo does not enter his house at this point, we must assume 
 that he starts back to the market at line 205 without having gone 
 indoors at all ; for at his next appearance (404) he is returning from 
 the market. So Watson, PAPA. 42. Ixxi. Leo, Der Monolog im 
 Drama 57, assumes that Simo enters his house here, but does not 
 cite the evidence. 
 
 208. The sentence accent demands that we read me aut rather 
 than me aut with elision. Compare lines 333, 349, 742. 
 
 226. On such final monosyllables as ut, see Vahlen, Uber die Vers- 
 schlusse in den Komodien des Terentius, and Scholl, Rh. M. 57. 52 fF. 
 
 227. Leo, Der Monolog im Drama 57, suggests that this may be 
 the end of an act. But it is at any rate clear that there is no oppor- 
 tunity for a musical interlude; Musis must be seen by the audience 
 as soon as by Davos, since she comes from one of the houses repre- 
 sented on the stage. 
 
 236. The Ms. tradition and the etymology both favor the spell- 
 ing hoccinest.
 
 APPENDIX 177 
 
 258. The Mss. fiave nunc after quis. This emendation of 
 Dziatzko's, accepted by Klotz, Altromische Metrik 211, is re- 
 jected by Fairclough because he considers iambic ego impossible. 
 That form, however, occurs in 702, 864, and 967. In line 850 the 
 text is uncertain. For parallels in Plautus, see Klotz, Altromische 
 Metrik 52, and Lindsay, The Captivi of Plautus page 17. 
 
 277. Bentley read ut vim so as to get an accent on vim. The same 
 end may be attained by scanning vim ut. 
 
 300. Some students think that Pampilus remains on the stage, 
 and those who have felt that the stage should be vacant have made 
 him accompany Musis or enter his father's house. We must sup- 
 pose, however, that he is anxious to see and reassure Glucerium 
 after what Musis has told him ; and no conflicting motive has been 
 provided by the poet. Compare below on line 624. 
 
 337. Most editors adopt Bentley's emendation. He says: 
 Certe alterutrum legendum est, aut opus est scire aut opus sunt 
 'sciri. Posterius placet. I do not know of another example of an 
 infinitive after opus sunt; but there seems to be no reason for pre- 
 ferring a passive infinitive 'to an active. 
 
 372. With Klotz I retain necesse, the reading of the Mss. and 
 Donatus. Most editors print necessus, because Lachmann, on 
 Lucr. 6. 815, argued on the basis of two passages (Heaut. 360, and 
 Eun. 998) that Terence always used that form before a consonant. 
 
 378. So Spengel, Fleckeisen, Tyrrell. I am unable to under- 
 stand Fairclough's objection to altering habeat of the Mss. ; it 
 represents a particularly easy corruption in view of the difference 
 between early and later Latin syntax. 
 
 412. That Burria enters from the right, not from a house repre- 
 sented in the scene, appears from line 414, hunc venientem sequor. 
 There seems to be no good reason for thinking that Carinus' house is 
 represented in the scene. 
 
 447. It seems necessary to adopt with Fleckeisen Bentley's 
 conjecture of the Plautine form aliquantillum in order to account for 
 aliquantulum, the metrically impossible reading of D and E. Most 
 editors read aliquantum with the other Mss. 
 
 449. Davos' puerilest furnishes a satisfactory antecedent for 
 id (otherwise Schlee, ALL. 3. 556). 
 
 TER. ANDRIA 12
 
 1 78 APPENDIX 
 
 483. BC 2 DEG: fac istaec ut lavet ; OP, Donat., Edd. : ista; 
 Schol. Bemb. Ad. 3. 4. 36, Fleckeisen, Fairclough : is/am. The 
 active lavet seems absurd, since Glucerium was in no condition to 
 help herself. Menander, at any rate, did not make her attend to her 
 own needs ; for his text, as recorded by Donatus, was Aowar' 
 avrrjv avriKu.. The passive lavetur, which originally stood here, 
 was, we may suppose, understood by some scribe as a middle form; 
 hence he carelessly substituted lavet. It is probable that istaec is 
 the correct form of the pronoun ; for the copyists would be more 
 likely to change this to ista than vice versa. The retention of is- 
 taec compels us to omit ut. The reading lavetur makes unnecessary 
 Fleckeisen's alteration of post to paste. (Engelbrecht, Wien. 
 Stud. 5. 218, avoided paste by employing lavetur as a middle form.) 
 If the molossus in the fourth foot of a bacchiac tetrameter is held to 
 be impossible (see Lindsay, The Captivi of Plautus page 83), one 
 may read : fac istam ut lavent ; paste deinde. 
 
 512. With much hesitation I have adopted Fleckeisen's faciam 
 instead of the j 'ado of the Mss. Possibly a misunderstanding of the 
 archaic qui induced some copyist to change the mood of the verb. 
 The alternative is to read quls. 
 
 527. The Mss. are divided between ipse and ipsus. The form 
 which was less familiar to the copyists is likely to have been the 
 original. The fact that Terence sometimes chose ipsus for metrical 
 reasons is not evidence that he avoided it wherever ipse would serve 
 as well. 
 
 596. So Mss. The proceleusmatic, corrigere mlhi, seems to be 
 without an exact parallel, but nevertheless Klotz, Altromische 
 Metrik 268, is inclined to prefer this to the transposition which 
 Fleckeisen proposed in his first edition. Spengel's corrigi is scarcely 
 Latin ; the infinitive with subject accusative after enitor ought to be 
 in indirect discourse as it is after nitor in Cic., Ac. 2. 21. 68 : Nitamur 
 igitur nihil posse percipi. 
 
 599. So Bentley; Mss.: quae tibi. An accent on tibi is almost 
 inevitable in view of the contrast with illi. Terence was fond of 
 putting a connective immediately before its verb ; but later usage 
 favored the transposition which appears in our manuscripts. Com- 
 pare my note on ut (160).
 
 APPENDIX 179 
 
 614. So D, and the reading is supported by the fact that the con- 
 text calls for an accent on me. P shows a repetition of the phrase, 
 nee quid me, with which the verse begins, and nee quidem me of the 
 other manuscripts is an attempted correction of that. 
 
 624. With some hesitation I follow Legrand's tentative sugges- 
 tion, Daos 486, in making this the end of an act, because I cannot 
 accept the alternative theory that lines 301-819, more than half 
 the entire play, were unbroken by a musical interlude. The poet 
 has indeed provided a satisfactory motive for getting Pampilus 
 and Davos off the stage : they have a difficult task before them, 
 and the time for accomplishing it is short. On the other hand, it is 
 surprising to find the same two characters upon the stage again 
 eighteen lines below. The alternative supposition, however, that 
 Pampilus listened quietly to eighteen lines of undeserved insult 
 before making his confession, is not satisfactory. Leo, Der Mono- 
 log im Drama 57, points out that both this break and the one after 
 line 300 are followed by the appearance of Carinus, one of the 
 characters said to have been added to the play by Terence ; per- 
 haps the division into acts was clearer in Menander. 
 
 629. So Mss. and Reinhold Klotz. I cannot cite a parallel for 
 the third foot (u u o u _), but hesitate to make any of the violent 
 changes usually adopted. Richard Klotz, Altromische Metrik 
 298, suggests hominum genus pessumum. 
 
 631. The Mss. except C and P read tempust, but Donatus com- 
 ments on the absence of est. 
 
 713. All the best Mss. assign the second si quid to Carinus; but 
 such a repetition seems inconsistent with his sanguine temperament. 
 Hence I adopt Spengel's conjecture. 
 
 751. The editors suppose that Musis' exclamation is due to 
 Davos' rough attempts to force her to the right and away from 
 Cremes. But any such stage business would be without motive 
 from Cremes' point of view and therefore impossible. Davos has 
 to rely upon whispers to get Musis away from Cremes. 
 
 754. It is easier to suppose that Musis used male dicis inexactly 
 for comminaris than to make Davos postpone an indignant question 
 for a line and a half. 
 
 756. It is necessary to delete either meretrix or ancilla (after
 
 i8o APPENDIX 
 
 Andriast in the Mss.)- Meretrix is needed to give Cremes a clue to 
 Musis' identity. The undeserved insult in it would hardly fail to 
 draw a retort from Musis, and so I assign 757 f. to her instead of to 
 Davos as the Mss. do. Compare note ad loc. 
 
 772. Mss. : cuius. This is said to be the only case in Terence of 
 the dissyllabic genitive of qui. There is no doubt, however, that 
 the form was in common use; and so it is quite unnecessary to read 
 quoia here. 
 
 787. So Mss. (credes, DP). Fleckeisen's attempt to dismiss 
 non credos as a "solecism" (Neue Jahrb. 139. 844) is scarcely suc- 
 cessful. He does not explain how non got into our Mss. For 
 approximate parallels, see Bennett, Syntax of Early Latin i. 170. 
 
 807. D: hucine appuli ; cett : hue me appuli; Priscian and one 
 of Bentley's manuscripts: hue me attuli. It seems impossible to 
 explain the presence of appuli in our manuscripts if attuli was the 
 original form ; and yet me appuli is without parallel (see Fairclough). 
 I think that hue me is a corruption of the emphatic hucine of D, 
 which is itself an early modification of hue. 
 
 816. 8: libel; y: licet. Crito is making a virtue of necessity, 
 and licet wo'uld destroy the point. Compare my note. 
 
 817. On the assignment of parts, see Spengel's critical note, and 
 compare my note. 
 
 838. In the Mss. at stands at the beginning of the following line. 
 See Vahlen, Uber die Fersschliisse in den Komodien des Terentius. 
 
 850. The reading in the text is Dziatzko's. I cannot agree with 
 Spengel and Fairclough when they hold that modo must be an em- 
 phatic word here. Davos is speaking against his will and does not 
 care to emphasize anything. Simo seizes upon the modo in his 
 reply, not because it is emphatic, but because it is the only new 
 element in Davos' statement. For iambic ego, see Appendix on 258. 
 
 854. So BDP; Edd. : audies. The subjunctive certainly occurs 
 after faxo; e.g., Phor. 1028. See Bennett, Syntax o] Early Latin I. 
 225 f. 
 
 864. For ego, see Appendix on 258. 
 
 909. So BDEGP'C 2 , Fleckeisen ; PCO.Edd.: qua re. The fuller 
 reading gives a better sense, and the corruption to qua re is very easy. 
 
 926. See Klotz, ad loc.
 
 APPENDIX 181 
 
 971. I prefer earn (A, etc.) to iam (BCP). Pampilus has been 
 more worried about the identity of the bride than about the date 
 of the wedding. 
 
 978. So Umpfenbach, Klotz, Meissner, Fleckeisen, following the 
 Mss. as closely as possible. There are so many parallels in Terence 
 to the accent Gluctrium that we need be at no pains to avoid it here.
 
 PARTIAL INDEX TO THE NOTES 
 
 Bold-faced figures refer to pages, others to lines of the Andria. 
 
 a parvolo, a parvis, 35, 539 
 
 ablative, of manner without modi- 
 fiers, 60; of means with appetlo, 
 etc., 29 
 
 abstracts in -io, 44, 202, 568 
 
 abutor, meaning and construction, 5 
 
 ac = atqui, 370 
 
 accent, of contracted genitive in -i, 
 44; of phrase, 317; of quadri- 
 syllables, 44, 203, 777, 978 ; of un- 
 emphatic pronouns, 36, 220, 852 
 
 accerso, form, 515; meaning, 546 
 
 accusative of respect, 162, 258, 289 
 
 active participle in -tus, 486 
 
 acts, division of Roman comedies 
 into, 67 
 
 actumst, 465 
 
 ad Martis, 48 
 
 Adelphoe, 44 
 
 adeo, etymology, 120 
 
 adjective pronouns, agreement, 45 
 
 adsoleo, meaning, 481 
 
 adverbs in -ter from adjectives in -us, 
 
 74 
 
 aetate integra, 72 
 Afranius, 48 
 ago, "attend to," 186 
 Albanum, meaning, 42 
 alliteration, 692 
 an in question of surprise, 784 
 Andria, first and second productions, 
 
 46,63; first production postponed, 
 
 43 
 
 animum advorto, 156 
 animus, meaning, 47, 164; often not 
 
 to be translated, 641 
 
 antecedent incorporated into rela- 
 tive clause, 3 
 
 antehac, pronunciation, 187 
 
 antithesis between words and deeds, 
 824 
 
 -anum, meaning, 42 
 
 appello, meaning, 807 
 
 appositive of locative, 42 
 
 -arius, adjectives in, 782 
 
 aspirates, Greek, in Latin, 51 
 
 assimilation in verbal prefixes, 725 
 
 Athenian law, 115, 145 f., 219, 221, 
 799, 810 
 
 atque = atqui, 22$ 
 
 atqui, etymology, 53 
 
 audeo, etymology, 85 
 
 audience represented by actor, 106 
 
 autem, meaning, 43 
 
 b for Greek JT, 301 
 
 bona verba in language of ritual, 
 
 204 
 
 Caecilius Statius, 43 
 carnufex in thieves' slang, 183 
 causal ^Mi-clause, construction, 272 f. 
 -ce, 28, 150, 1 86, 458, 478, 683, 
 
 689 
 
 cedo, etymology and meaning, 150 
 cesso, meaning, 343 
 chorus in New Comedy, 67, 85 
 Cicero's Limo, 49 
 dam, construction, 287 
 cognosce, meaning, 24 
 commereo, meaning, 139 
 compounds in early Latin, 294 
 
 183
 
 1 84 
 
 INDEX 
 
 conditions contrary to fact with 
 
 present subjunctive, 310 
 confore, impersonal, 167 
 conlacrumo, meaning, 109 
 conlecta, sumbola, 88 
 contamination, grammatical, 45, 624, 
 
 627 
 
 contamino, meaning, 16 
 contracts by word of mouth, 951 
 Cornelius Nepos, 41 
 Cosconius, 48 
 
 credo, response to congratulations, 939 
 Cremes, declension, 247 
 curule aediles, purchase of plays, 42 
 
 damnum, meaning, 143 
 
 dead spoken of as living, 107 
 
 dehinc, pronunciation, 79 
 
 deindf, dein, pronunciation, 79 
 
 dextera, form, 734 
 
 dictum ac factum, 381 
 
 dictust, 102 
 
 diligentia, meaning, 21 
 
 diminutive, expressing contempt, 
 
 231; faded, 55 ; suffix -culus, 131 
 direct quotation without introducing 
 
 verb, 151 ff. 
 discipuli, " actors," 477 
 dolor, meaning, 268 
 double negative for emphasis, 205 
 dowry, 101, 951 
 duco, meaning in slang, 180 
 duim, 666 
 dutn with imperative, 29 
 
 -f in dative of fifth declension, 296 
 
 ea gratia, 433 
 
 eapropter, 959 
 
 eccf, use, 532 
 
 eccum, etymology, 532 
 
 edepol, etymology, 305 
 
 -ei in genitive of fifth declension, 25, 
 
 296 
 
 ei(u)s, 93 
 ellum, etymology and meaning, 855 
 
 em, etymology and meaning, 351 
 enclitics, pronouns as, 36, 220, 852 
 end of motion without a preposition, 
 
 70 
 
 enico, etymology and meaning, 660 
 enim, without causal force, 91 
 Enmus, 18 
 epenthesis, 451 
 equidem = quidem, 327 
 ctilis filius, 602 
 
 es, fst after vowels and -m, 44 
 ft ipsf, 41 
 ftiam, temporal but translated 
 
 "even," 282 
 Eunuchus, 43 
 excitement reflected in shifting meter, 
 
 175 ff. 
 
 expedio, 617 
 exposure of young children, 219 
 
 Fabius Labeo, 47 
 
 fabula, meaning, 43 
 
 facio aliquid, construction, 143, 614 
 
 faded diminutive, 55 
 
 favcte (linguis), 24 
 
 Fenestella, 40 
 
 fieri, quantity of antepenult, 792 
 
 fifth declension, dative singular, 296; 
 genitive singular, 25, 296, 457 
 
 final s in early Latin, 582 
 
 flute player, 67, 85 
 
 for as, for is, 580 
 
 forum, meaning in Terence, 226 
 
 fourth conjugation, imperfect indica- 
 tive, 38 
 
 fourth declension, genitive singular, 
 
 365 
 
 frequentatives, 75 
 funeral, Athenian, time of, 115 
 furcifer, 618 
 Furius Philus, 42 
 future from past point of view, 175, 
 
 584 
 
 future indicative in -so, 753 
 future perfect for future, 213, 570
 
 INDEX 
 
 185 
 
 genius, 289 
 
 gerund and gerundive, genitive of, 
 
 denoting cause, 47 
 gnatus, form, 49 
 Greek aspirates in Latin, 51 
 Greek customs, 88, 101, 102, 115, 
 
 145 f., 199, 219, 364, 369, 386, 469, 
 
 581, 726, 745 
 Greek loan-words, 51, 57, 88, 316, 
 
 360,451, 796, 815 
 Greek IT becomes Latin b, 301 
 Greek words as slang, 345 
 Greek T and Z in Latin, 88 
 
 habeo gratiam, 42 
 
 habet in slang of arena, 83 
 
 haplology, 102, 151 
 
 hand scio an, meaning, 525 
 
 Hecyra, 43, 47 
 
 heroine praised by old man, 119 
 
 hicine, 478 
 
 hinc, "of this city," 221 
 
 hoc = hue, 386 
 
 hoc(ce), etymology, 186 
 
 hoccine, 186 
 
 hodie as intensive, 196 
 
 hui(u)s, 93 
 
 i, ii, variation between, 126 
 
 iambic law and -to verbs of third 
 
 conjugation, 322 
 -ibam for -iebam, 38 
 illi, adverb, 638 
 illic = illf, 458 
 illi(u)s, 93 
 illo, illoc, illuc, 362 
 immo, meaning, 201 
 immo etiam, 655 
 impedio, 617 
 imperfect of act not completed, 
 
 545 
 
 impero, construction, 842 
 
 impersonal participle in ablative abso- 
 lute, 533 
 
 indirect command, 30 
 
 indirect discourse, subject of main 
 
 clause omitted, 29 
 
 indirect question with indicative, 45 
 infinitive of purpose, 484 
 ingenium, meaning, 93 
 inludo, construction, 758 
 insolens, etymology and meaning, 907 
 instrumental suffix -c(u)lum, 131 
 interjections, translation of, 184 
 interrupted sentence untranslatable, 
 
 149, 300 
 intrigue of Athenian with foreign 
 
 woman, 145 f. 
 
 introductory quid, case with, 932 
 invenustus, meaning, 245 
 ipse, ipsa in slaves' slang, 265 
 ipsus, form, 360 
 is, dative of, 443 
 istaec, form, 28 
 it a introducing a reason, 173 
 
 kalendae Martiae, 46 
 
 lacrumae, form, 126 
 
 Laelius, 41, 46 
 
 Laelius and Scipio and the Teren- 
 
 tian plays, 44, 45, 46, 47 
 lepidus, meaning, 948 
 liberalis.. meaning, 123 
 Lima of Cicero, 49 
 loss, of final s, 582; of final short 
 
 vowels, 20 1 ; of s before n, 256 ; 
 
 off between like vowels, 797 
 love of boys, 41 
 ludi Megalenses, 46 
 ludn, meaning of, 46 
 Luscius Lanuvinus, 7 
 
 magis verum, 698 
 magister = paedagogus, 54 
 maledictum, form, 7 
 malefactum, form, 23 
 malivolus, malevolus, form, 6 
 malo = magis volo, 332 
 malum in slaves' slang, 179
 
 i86 
 
 INDEX 
 
 marriage of Athenian with foreigner, 
 
 145* 
 
 masks on Roman stage, 45 
 
 Matronalia, 46 
 
 media mulier, 133 
 
 Memmius, 45 
 
 Menander, his character drawing, 49 
 
 mention of calamity an ill omen, 
 
 204 
 
 -met without emphasis, 82 
 mill, means of punishment, 199 
 fj.tfj.vffis, 1151 ff. 
 minus = non, 197 
 motoriae, statariae, 49 
 musical interlude on Roman stage, 
 
 67, 85 
 
 Naevius, 18 
 
 name of a freedman, 40 
 
 narro = dico, 367, 434 
 
 -ne for nonne, 17 
 
 ne = non, 45, 330 
 
 ne, "really," 324 
 
 ne utiquam with elision, 330 
 
 nee, for atqui ne, 392 ; for non, 180 
 
 nedegentia, meaning, 20 
 
 nescio nisi, 664 
 
 neuter referring to persons, 120, 697 
 
 ni = non, 315 
 
 nisi si, 249 
 
 non possum non, 563 f. 
 
 nulli, genitive singular, 608 
 
 nullus as an emphatic non, 370 
 
 numquam as an emphatic non, 178 
 
 nunc quom maxume, 823 
 
 nunciam, etymology, 171 
 
 nuncin, 683 
 
 5 for u in early Latin, 35, 63 
 
 oaths put in subordinate clauses, 790 
 
 obsonium, meaning, 360 
 
 odium, etymology and meaning, 941 
 
 Oedipus, 194 
 
 olim, of a definite time, 545 
 
 opening door, sound of, 682 
 
 oportent. 481 
 
 opus est, construction, 490 
 
 oratio, oro, etymology and meaning, 
 
 141 
 order of words in oath with per, 289 
 
 participle, active, in -tus, 486; carry- 
 ing main idea of phrase, 40; im- 
 personal, 533 ; in indirect dis- 
 course, 29 
 
 passive infinitive in -ier, 203 
 
 per, intensive, 265 
 
 percutio, meaning, 125 
 
 perfect in -si, short forms of, 151 
 
 perfect infinitive as complement of a 
 perfect, 239 
 
 perfect subjunctive in command, 892 
 
 periclum, etymology and form, 131, 
 
 565 
 
 perii in slang, 213 
 perimus, perfect, 591 
 perinde, standard of comparison 
 
 omitted, 47 
 persolui, form, 39 
 personal pronouns as enclitics, 36 
 phrase, accent of, 317; used as verb, 
 
 156. 157 
 
 plerique omnes, 55 . 
 pluperfect as simple past tense, 183 
 pono, perfect of, 789 
 Popillius Laenas, 47 
 popular ethics, 61, 67, 145 f., 445, 
 
 817 
 
 Porcius Licinus, 41 
 possessive adjectives, 602 
 possessive pronoun as antecedent of 
 
 relative, 98 
 paste, 509 
 
 postfero, meaning, 42 
 potential subjunctive, 95, 135 
 potest = potest fieri, 327, 953 
 potis, pote, 437, 953 
 present for future, 186 
 present indicative for deliberative 
 
 subjunctive, 315
 
 INDEX 
 
 187 
 
 present infinitive for future, 379 
 
 present subjunctive, formed with 
 -sim, 753 ; in command, 598 ; in 
 condition contrary to fact, 310 
 
 pro, interjection, 237 
 
 procedit, impersonal, 670 f. 
 
 prohibition, forms of, 205, 384, 385, 
 392, 704, 787 
 
 proinde, proin, pronunciation, 79 
 
 proleptic accusative, 169 
 
 prologus, quantity of antepenult, 5 
 
 pronominal declension, genitive sin- 
 gular, 93, 336, 608, 628 
 
 pronouns, agreement of adjective, 45; 
 as enclitics, 36, 220, 852; declen- 
 sion, 28, 93, 336, 360, 443, 630, 
 
 763 
 
 pudor, meaning, 262, 279 
 puer = servus, 84 
 purchase of plays, 43 
 Puteolanum, meaning, 46 
 
 quadrisyllable, accent of, 44, 203, 777, 
 978 
 
 quaestus, meaning, 79 
 
 quantum potest, 86 1 
 
 qui, ablative singular, 53, 148, 307 
 
 qui = qualis, 47, 586 
 
 quibus, "after," 104 
 
 quid ais, meaning, 137 
 
 quid f ado, construction, 143, 614 
 
 quid istic, 572 
 
 quin, etymology and use, 45, 53 
 
 quis, dative-ablative plural, 630 
 
 ^Mo-clause of purpose, 197, 472 
 
 -quo- for -cu-, 63 
 
 quod si, 258 
 
 quoi(u)s, 93, 336 
 
 quoius, a, um, 763 
 
 ^Mom-clause, of fact, 45; with in- 
 dicative in all senses, 242 
 
 quoque with a sentence, 455 
 
 relicuom, form, 25 
 repetition, generalizing, 684 
 
 s, st, 44 
 
 saltern, meaning, 257 
 
 Santra, 46 
 
 scelus, "scoundrel," 317, 607 
 
 scenes of a Roman comedy, 67 
 
 Scipio Africanus Minor, 41 
 
 Scipio and Laelius and the Terentian 
 plays, 44, 45, 46, 47 
 
 scitus, etymology and meaning, 
 486 
 
 sedatis motibus, 49 
 
 sepulcrum, meaning, 128 
 
 short forms of j-perfect, 151 
 
 si quidem, etc., 465 
 
 sic, sicine, etymology, 689 
 
 siem, etc., 234 
 
 sine omni, 391 
 
 slang, 83, 86, 179, 180, 183, 211, 213, 
 265', 345, 498 
 
 sodes, 85 
 
 JO/DO, " pay," 643 
 
 Sosia, form, 28 
 
 spondees, five in one line, 178 
 
 statariae, motoriae, 49 
 
 subject of main clause in indirect dis- 
 course omitted, 29 
 
 subjunctive, of indefinite second per- 
 son, 53, 66; of obligation,. 315, 
 
 499 
 subordinating conjunction placed 
 
 next the verb, 160 
 succedit, impersonal, 46, 670 f. 
 suffixes : -anum, 42 ; -arius, 782 ; 
 
 -c(u)lum, 131; -culus, 131; -ier, 
 
 203 ; -sim, -so, 753 ; -tio, 44, 202; 
 
 -tus, 486; -und-, -end-, 233 
 Sulpicius Gallus, 46 
 sumbola, conlecta, 88 
 supine with eo, 134 
 
 teneo in slang, 86, 498 
 
 Terence, and the Scipionic Circle, 41 ; 
 date of birth, 47; date of death, 
 48 ; his collaborators, 41, 44, 45, 46, 
 47; less action in his plays than in
 
 i88 
 
 INDEX 
 
 Menander's, 49; name, 40; nation- 
 ality, 40, 48 
 
 ietuli, 808 
 
 third conjugation, -io verbs of, with 
 long i, 322 
 
 timeo, construction, 210 
 
 titulus, meaning, 44 
 
 tollo, "acknowledge," 219 
 
 turning the mill as punishment, 199 
 
 M, i, variation between, 126 
 
 ubi ubi, 684 
 
 -und-, -end- in gerund and gerundive, 
 
 233 
 
 -MO- for -MM-, 35, 63 
 ut introducing wish, 409, 712 
 ut nequid nimis, 61 
 ut sis sciens, 508 
 
 vale ant, 696 
 
 Varro, 44 
 
 vel introducing climax, 489 
 
 vellem, tense, 326 
 
 verba dare, meaning, z\ i 
 
 verbals in -tin, construction, 44, 202 
 
 virtual indirect discourse, 175 
 
 vis comica, meaning, 49 
 
 -vo- for -vu-, 35 
 
 Volcatius Sedigitus, 43, 49 
 
 weakening of e to i, 186 
 women's names in -iov, 134 
 words and deeds, antithesis between, 
 824 
 
 T and Z in Latin, 88 
 young men in love, 259
 
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