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FOOTNOTES

1 From δημὸς, “the people.”

2 From Μικιὼν, a Greek proper name.

3 From ἑγεῖσθαι, “to lead,” or “take charge of.”

4 From αισχὸς, “disgrace.”

5 From κτησὶς, “a patrimony,” and φῶς, “light.”

6 From σαννὸς, “foolish.”

7 One of the nation of the Getæ.

8 See the Dramatis Personæ of the Eunuchus.

9 From Syria, his native country.

10 See the Dramatis Personæ of the Andria.

11 See the Dramatis Personæ of the Eunuchus.

12 See the Dramatis Personæ of the Heautontimorumenos.

13 From κανθαρὸς “a cup.”

14 Of Æmilius Paulus)—This Play (from the Greek Ἀδελφοὶ “The Brothers”) was performed at the Funeral Games of Lucius Æmilius Paulus, who was surnamed Macedonicus, from having gained a victory over Perseus, King of Macedon. He was so poor at the time of his decease, that they were obliged to sell his estate in order to pay his widow her dower. The Q. Fabius Maximus and P. Cornelius Africanus here mentioned were not, as some have thought, the Curale Ædiles, but two sons of Æmilius Paulus, who had taken the surnames of the families into which they had been adopted.

15 Sarranian flutes)—The “Sarranian” or “Tyrian” pipes, or flutes, are supposed to have been of a quick and mirthful tone; Madame Dacier has consequently with much justice suggested that the representation being on the occasion of a funeral, the title has not come down to us in a complete form, and that it was performed with the Lydian, or grave, solemn pipe, alternately with the Tyrian. This opinion is also strengthened by the fact that Donatus expressly says that it was performed to the music of Lydian flutes.

16 Being Consuls)—L. Anicius Gallus and M. Cornelius Cethegus were Consuls in the year from the Building of the City 592, and B.C. 161.

17 Synapothnescontes)—Ver. 6. Signifying “persons dying together.” The “Commorientes” of Plautus is lost. It has been doubted by some, despite these words of Terence, if Plautus ever did write such a Play.

18 Of Diphilus)—Ver. 6. Diphilus was a Greek Poet, contemporary with Menander.

19 In war, in peace, in private business)—Ver. 20. According to Donatus, by the words “in bello,” Terence is supposed to refer to his friend and patron Scipio; by “in otio,” to Furius Publius; and in the words “in negotio” to Lælius, who was famed for his wisdom.

20 The old men)—Ver. 23. This is similar to the words in the Prologue to the Trinummus of Plautus, l. 16: “But expect nothing about the plot of this Play; the old men who will come hither will disclose the matter to you.”

21 To fetch him)—Ver. 24. “Advorsum ierant.” On the duties of the “adversitores,” see the Notes to Bohn’s Translation of Plautus.

22 Either have taken cold)—Ver. 36. Westerhovius observes that this passage seems to be taken from one in the Miles Gloriosus of Plautus, l. 721, et seq.: “Troth, if I had had them, enough anxiety should I have had from my children; I should have been everlastingly adelphiented in mind: but if perchance one had had a fever, I think I should have died. Or if one in liquor had tumbled any where from his horse, I should have been afraid that he had broken his legs or neck on that occasion.” It may be remarked that there is a great resemblance between the characters of Micio here and Periplecomenus in the Miles Gloriosus.

23 To see you well)—Ver. 81. Cooke remarks, that though there are several fine passages in this speech, and good observations on human life, yet it is too long a soliloquy.

24 I was looking for)—Ver. 81. Donatus observes that the Poet has in this place improved upon Menander, in representing Demea as more ready to wrangle with his brother than to return his compliments.

25 Such a son as Æschinus)—Ver. 82. The passage pretty clearly means by “ubi nobis Æschinus sit,” “when I’ve got such a son as Æschinus.” Madame Dacier, however, would translate it: “Ask me—you, in whose house Æschinus is?” thus accusing him of harboring Æschinus; a very forced construction, however.

26 Broken open a door)—Ver. 88. The works of Ovid and Plautus show that it was no uncommon thing for riotous young men to break open doors; Ovid even suggests to the lover the expediency of getting into the house through the windows.

27 Does he feast)—Ver. 117. Colman has the following observation here: “The mild character of Micio is contrasted by Cicero to that of a furious, savage, severe father, as drawn by the famous Comic Poet, Caecilius. Both writers are quoted in the Oration for Caelias, in the composition of which it is plain that the orator kept his eye pretty closely on our Poet. The passages from Caecilius contain all that vehemence and severity, which, as Horace tells us, was accounted the common character of the style of that author.”

28 Smell of perfumes)—Ver. 117. For an account of the “unguenta,” or perfumes in use among the ancients, see the Notes to Bohn’s translation of Plautus.

29 Will be shut out of doors)—Ver. 119. No doubt by his mistress when she has drained him of his money, and not by Micio himself, as Colman says he was once led to imagine.

30 These things are)—Ver. 141. Donatus observes here, that Terence seems inclined to favor the part of mild fathers. He represents Micio as appalled at his adopted son’s irregularities, lest if he should appear wholly unmoved, he should seem to be corrupting him, rather than to be treating him with only a proper degree of indulgence.

31 Wished to take a wife)—Ver. 151. Donatus remarks here, that the art of Terence in preparing his incidents is wonderful. He contrives that even ignorant persons shall open the plot, as in the present instance, where we understand that Aeschinus has mentioned to Micio his intention of taking a wife, though he has not entered into particulars. This naturally leads us to the ensuing parts of the Play, without forestalling any of the circumstances.

32 I am a Procurer)—Ver. 161. He says this aloud, and with emphasis, relying upon the laws which were enacted at Athens in favor of the “lenones,” whose occupation brought great profits to the state, from their extensive trading in slaves. It was forbidden to maltreat them, under pain of being disinherited.

33 I am a Procurer)—Ver. 188. Westerhovius supposes this part to be a translation from the works of Diphilus.

34 By action of freedom)—Ver. 194. “Asserere liberati causa,” was to assert the freedom of a person, with a determination to maintain it at law. The “assertor” laid hands upon the person, declaring that he or she was free; and till the cause was tried, the person whose freedom was claimed, remained in the hands of the “assertor.”

35 Till I return)—Ver. 196. Colman has a curious remark here: “I do not remember, in the whole circle of modern comedy, a more natural picture of the elegant ease and indifference of a fine gentleman, than that exhibited in this Scene in the character of Æschinus.”

36 I have sold her)—Ver. 204. He means, that if he only names a price, Æschinus will suborn witnesses to say that he has agreed to sell her, in which case Æschinus will carry her off with impunity, and the laws will not allow him to recover her; as it will then be an ordinary debt, and he will be put off with all the common excuses used by debtors.

37 On more unequal terms)—Ver. 212. “Certationem comparatam.” This was a term taken from the combats of gladiators, where it was usual to choose as combatants such as seemed most nearly a match for each other.

38 If you had parted with ever so little)—Ver. 217. This passage is probably alluded to by Cicero, in his work, De Officiis B. ii. c. 18: “For it is not only liberal sometimes to give up a little of one’s rights, but it is also profitable.”

39 In the very joint)—Ver. 229. “Ut in ipso articulo oppressit.” Colman translates this, “Nick’d me to a hair.”

40 To take to Cyprus)—Ver. 230. He alludes to a famous slave-market held in the Isle of Cyprus, whither merchants carried slaves for sale, after buying them up in all parts of Greece.

41 Have you by this reckoned)—Ver. 236. “Jamne enumerasti id quod ad te rediturum putes?” Colman renders this, “Well, have you calculated what’s your due?” referring to the value of the Music-girl that has been taken away from him; and thinks that the following conversation between Sannio and Syrus supports that construction. Madame Dacier puts another sense on the words, and understands them as alluding to Sannio’s calculation of his expected profits at Cyprus.

42 Scrape together ten minæ)—Ver. 242. Donatus remarks, that Syrus knows very well that Æschinus is ready to pay the whole, but offers Sannio half, that he may be glad to take the bare principal, and think himself well off into the bargain.

43 He’s looking for me)—Ver. 265. Donatus remarks upon the readiness with which Sannio takes the appellation of “sacrilegus,” as adapted to no other person than himself.

44 Flying the country)—Ver. 275. Donatus tells us, that in Menander the young man was on the point of killing himself. Terence has here softened it into leaving the country. Colman remarks: “We know that the circumstance of carrying off the Music-girl was borrowed from Diphilus; yet it is plain from Donatus that there was also an intrigue by Ctesipho in the Play of Menander; which gives another proof of the manner in which Terence used the Greek Comedies.”

45 He is in haste for Cyprus)—Ver. 278. Donatus remarks that this is a piece of malice on the part of Syrus, for the purpose of teasing Sannio.

46 Order the couches)—Ver. 285. Those used for the purpose of reclining on at the entertainment.

47 Leave me alone)—Ver. 321. Quoting from Madame Dacier, Colman has this remark here: “Geta’s reply is founded on a frolicsome but ill-natured custom which prevailed in Greece—to stop the slaves in the streets, and designedly keep them in chat, so that they might be lashed when they came home for staying out so long.”

48 On his father’s knees)—Ver. 333. It was a prevalent custom with the Greeks to place the newly-born child upon the knee of its grandfather.

49 It shall be boned)—Ver. 378. The operation of boning conger-eels is often mentioned in Plautus, from whom we learn that they were best when eaten in that state, and cold.

50 Serve somewhere or other as a soldier)—Ver. 385. See a similar passage in the Trinummus of Plautus, l. 722, whence it appears that it was the practice for young men of ruined fortunes to go and offer their services as mercenaries to some of the neighboring potentates. Many of the ten thousand who fought for the younger Cyrus at the battle of Cunaxa, and were led back under the command of Xenophon, were, doubtless, of this class.

51 As though into a mirror)—Ver. 428. He parodies the words of Demea in l. 415, where he speaks of looking into the lives of men as into a mirror.

52 Of our tribe)—Ver. 439. Solon divided the Athenians into ten tribes, which he named after ten of the ancient heroes: Erectheis, Ægeis, Pandionis, Leontis, Acamantis, Œneis, Cecrops, Hippothoontis, Æantis, and Antiochis. These tribes were each divided into ten Demi.

53 Would take her home)—Ver. 473. As his wife.

54 Is among us)—Ver. 479. “In medio,” “is alive,” or “in the midst of us.”

55 Take him, bind him)—Ver. 482. In allusion to the method of examining slaves, by binding and torturing them.

56 Juno Lucina)—Ver. 487. So in the Andria, l. 473, where Glycerium is overtaken with the pains of labor, she calls upon Juno Lucina.

57 He was my kinsman)—Ver. 494. In the Play of Menander, Hegio was the brother of Sostrata.

58 Upon this matter I’ll follow)—Ver. 500. “Is, quod mihi de hae re dederat consilium, id sequar.” Coleman has the following Note on this passage: “Madame Dacier rejects this line, because it is also to be found in the Phormio. But it is no uncommon thing with our author to use the same expression or verse for different places, especially on familiar occasions. There is no impropriety in it here, and the foregoing hemistich is rather lame without it. The propriety of consulting Micio, or Demea’s present ill-humor with him, are of no consequence. The old man is surprised at Hegio’s story, does not know what to do or say, and means to evade giving a positive answer, by saying that he would consult his brother.”

59 Go back now)—Ver. 506. “Redite.” Demea most probably uses this word, because Hegio has come back to him to repeat the last words for the sake of greater emphasis.

60 Be of good heart)—Ver. 512. Colman has the following Note here: “Donatus tells us, that in some old copies this whole Scene was wanting. Guyetus therefore entirely rejects it. I have not ventured to take that liberty; but must confess that it appears to me, if not supposititious, at least cold and superfluous, and the substance of it had better been supposed to have passed between Hegio and Sostrata within.”

61 At this very moment)—Ver. 519. It is very doubtful whether the words “cum maxime” mean to signify exactly “at this moment,” or are intended to signify the intensity with which Demea is laboring.

62 Any thing still better than that)—Ver. 522. Lemaire suggests that by these words Syrus intends to imply that he should not care if Demea were never to arise from his bed, but were to die there. Ctesipho, only taking him heartily to second his own wishes for the old man’s absence, answers affirmatively “ita,” “by all means,” “exactly so.”

63 So much the worse)—Ver. 529. Schmieder observes that “tanto nequior” might have two meanings,—“so much the worse for us,” or, as the spectators might understand it, “so much the more worthless you.”

64 The wolf in the fable)—Ver. 538. This was a proverbial expression, tantamount to our saying, “Talk of the devil, he’s sure to appear.” Servius, in his Commentary on the Ninth Eclogue of Virgil, says that the saying arose from the common belief that the person whom a wolf sets his eyes upon is deprived of his voice, and thence came to be applied to a person who, coming upon others in the act of talking about him, necessarily put a stop to their conversation. Cooke says, in reference to this passage, “This certainly alludes to a Fable of Æsop’s, of the Wolf, the Fox, and the Ape: which is translated by Phædrus, and is the tenth of his First Book.” It is much more certain that Cooke is mistaken here, and that the fable of the arbitration of the Ape between the Wolf and the Fox has nothing to do with this passage. If it alludes to any fable (which from the expression itself is not at all unlikely), it is more likely to be that where the Nurse threatens that the wolf shall take the naughty Child, on which he makes his appearance, but is disappointed in his expectations, or else that of the Shepherd-boy and the Wolf. See the Stichus of Plautus, l. 57, where the same expression occurs.

65 Met a day-laborer)—Ver. 542. Donatus remarks that the Poet artfully contrives to detain Demea in town, his presence being necessary in the latter part of the Play.

66 With her in some cupboard)—Ver. 553. Donatus observes that the young man was silly in this, for if discovered to be there he would be sure to be caught. His object, however, for going there would be that he might not be discovered.

67 Take me to be in my senses)—Ver. 580. “Censen hominem me esse?” literally, “Do you take me to be a human being?” meaning, “Do you take me to be a person in my common senses?”

68 Street on the left hand)—Ver. 583. Theobald, in his edition of Shakspeare, observes that the direction given by Lancelot in the Merchant of Venice seems to be copied from that given here by Syrus: “Turn up on your right hand at the next turning, but at the next turning of all on your left; marry, at the very next turning of no hand, but turn down indirectly to the Jew’s house.”

69 Come to the city gate)—Ver. 584. From this we discover that Demea is being sent to the very extremity of the town, as Donatus informs us that ponds of water were always close to the gates of towns, for the purpose of watering the beasts of burden, and of having a supply at hand in case the enemy should set fire to the city gates.

70 The open air)—Ver. 586. Donatus remarks that it was usual for the Greeks to sit and drink in the sun; and that Syrus being suddenly asked this question shows his presence of mind by giving this circumstantial answer, that he may the better impose upon Demea. The couches used on such occasions may be presumed to have required stout legs, and to be made of hard wood, such as oak, to prevent them from splitting. Two instances of couches being used for carousing in the open air will be found in the last Scenes of the Asinaria and Stichus of Plautus.

71 You skeleton)—Ver. 588. “Silicernium.” This was said to be the name of a funeral entertainment or dish of meats offered up to the “umbræ” or “manes,” in silence. The word is also said to have been applied to an old man from his stooping postures, “silices cernit,” “he looks at the stones.”

72 Head and ears in love)—Ver. 590. “Totus,” literally, “quite” or “altogether.”

73 Sipping my cups)—Ver. 592. As to the “cyathi” and cups of the ancients, see the last Scene of the Stichus of Plautus, which is a perfect specimen of a carousal among the lower classes in ancient times. See also the last Scene of the Asinaria. The slaves generally appear to have taken part in the entertainments with their young masters.

74 Are suspicious)—Ver. 606. These lines are supposed to be founded on some verses of Menander which are still extant.

75 Obliges him to marry her)—Ver. 655. It appears to have been a law given by Solon to the Athenians that the next male relative of suitable age should marry a female orphan himself, or find her a suitable portion. Madame Dacier suggests that the custom was derived from the Phœnicians, who had received it from the Jews, and quotes the Book of Numbers, xxxvi. 8. This law forms the basis of the plot of the Phormio.

76 To Miletus, pray?)—Ver. 658. A colony of Athens, on the coast of Asia Minor.

77 Who betrothed her?)—Ver. 673. Donatus observes that these questions, which enumerate all the proofs requisite for a marriage, are an indirect and very delicate reproof of Æschinus for the irregular and clandestine nature of his proceedings.

78 Propitious to you)—Ver. 707. Donatus remarks that there is great delicacy in this compliment of Æschinus to Micio, which, though made in his presence, does not bear the semblance of flattery. Madame Dacier thinks that Terence here alludes to a line of Hesiod, which says that it is the duty of the aged to pray. Colman suggests that the passage is borrowed from some lines of Menander still in existence.

79 Certainly I had rather)—Ver. 730. He pauses after “quidem,” but he means to say that if he had his choice, he would rather it had not been so.

80 Playing with dice)—Ver. 742. The “tesseræ” of the ancients were cubes, or what we call “dice;” while the “tali” were in imitation of the knuckle-bones of animals, and were marked on four sides only. For some account of the mode of playing with the “tali,” see the last Scene of the Asinaria, and the Curculio of Plautus, l. 257-9. Madame Dacier suggests that Menander may possibly have borrowed this passage from the Republic of Plato, B. X., where he says, “We should take counsel from accidents, and, as in a game at dice, act according to what has fallen, in the manner which reason tells us to be the best.”

81 Hold of the rope)—Ver. 755. “Restim ductans saltabis.” Donatus and Madame Dacier think that this is only a figurative expression for a dance in which all joined hands; according to some, however, a dance is alluded to where the person who led off drew a rope or cord after him, which the rest of the company took hold of as they danced; which was invented in resemblance of the manner in which the wooden horse was dragged by ropes into the city of Troy.

82 Salvation herself)—Ver. 764. See an observation relative to the translation of the word “Salus,” in the Notes to Plautus, vol. i. pages 193, 450.

83 Have done your duty)—Ver. 767. His duty of providing the viands and drink for the entertainment. So Ergasilus says in the Captivi of Plautus, l. 912, “Now I will go off to my government (præfecturam), to give laws to the bacon.”

84 I must assist him)—Ver. 795. Colman remarks on this passage: “The character of Micio appears extremely amiable through the first four Acts of this Comedy, and his behavior is in many respects worthy of imitation; but his conduct in conniving at the irregularities of Ctesipho, and even assisting him to support them, is certainly reprehensible. Perhaps the Poet threw this shade over his virtues on purpose to show that mildness and good-humor might be carried to excess.”

85 That point I was coming to)—Ver. 824. Colman observes here: “Madame Dacier makes an observation on this speech, something like that of Donatus on one of Micio’s above; and says that Micio, being hard put to it by the real circumstances of the case, thinks to confound Demea by a nonsensical gallimatia. I can not be of the ingenious lady’s opinion on this matter, for I think a more sensible speech could not be made, nor a better plea offered in favor of the young men, than that of Micio in the present instance.”

86 At the very mid-day)—Ver. 851. Exposed to the heat of a mid-day sun.

87 To the object)—Ver. 857. The marriage and its festivities.

88 Am the eldest)—Ver. 884. And therefore likely to be the first to die, and to avoid seeing such a time come.

89 O Syrus, my friend)—Ver. 886. The emptiness of his poor attempts to be familiar are very evident in this line.

90 The music-girl)—Ver. 908. “Tibicinæ,” or music-girls, attended at marriage ceremonials. See the Aulularia of Plautus, where Megadorus hires the music-girls on his intended marriage with the daughter of Euclio.

91 The crowds, the torches)—Ver. 910. See the Casina of Plautus, Act IV., Scenes 3 and 4, for some account of the marriage ceremonial. The torches, music-girls, processions, and hymeneal song, generally accompanied a wedding, but from the present passage we may conclude that they were not considered absolutely necessary.

92 Stone wall in the garden)—Ver. 911. The “maceria,” or garden-wall of loose stones, is also mentioned in the Truculentus of Plautus, l. 301.

93 Bid that Babylonian)—Ver. 918. This passage has much puzzled the Commentators; but it seems most probable that it is said aside, and that in consequence of his profuseness he calls his brother a Babylonian, (just as we call a wealthy man a nabob,) and says, “Well, let him, with all my heart, be paying twenty minæ (between £70 and £80) for music-girl.”

94 Take yourself off)—Ver. 940. Æschinus, probably, in his earnestness, has seized hold of him with his hand, which Micio now pushes away.

95 I have promised it)—Ver. 943. This is not the truth; the notion has only been started since he last saw them.

96 Really, this is downright force)—Ver. 946. “Vis est hæc quidem.” The same expression occurs in the Captivi of Plautus, l. 755. The expression seemed to be a common one with the Romans. According to Suetonius, Julius Cæsar used it when attacked by his murderers in the senate-house. On Tullius Cimber seizing hold of his garments, he exclaimed, “Ita quidem vis est!”—“Why, really, this is violence!”

97 This seems to me)—Ver. 947. Donatus informs us that in Menander’s Play, the old man did not make any resistance whatever to the match thus patched up for him. Colman has the following observation on this fact: “It is surprising that none of the critics on this passage have taken notice of this observation of Donatus, especially as our loss of Menander makes it rather curious. It is plain that Terence in the plan of his last Act followed Menander; but though he has adopted the absurdity of marrying Micio to the old lady, yet we learn from Donatus that his judgment rather revolted at this circumstance, and he improved on his original by making Micio express a repugnance to such a match, which it seems he did not in the Play of Menander.”

98 At his own weapon)—Ver. 961. He probably means, by aping the kind feeling which is a part of Micio’s character.

99 A morning entertainment)—Ver. 969. A banquet in the early part or middle of the day was considered by the Greeks a debauch.

100 Be a free man)—Ver. 974. He touches Syrus on the ear, and makes him free. The same occurs in the Epidicus of Plautus, Act V., Sc. 2, l. 65.

101 My wife, Phrygia)—Ver. 977. The so-called marriage, or rather cohabitation, of the Roman slaves will be found treated upon in the Notes to Plautus. Syrus calls Phrygia his wife on anticipation that she will become a free woman.

102 Receive the amount from me)—Ver. 981. The only sign of generosity he has yet shown.

103 This sudden liberality)—Ver. 989. “Quid prolubium? Quae istæc subita est largitas?” Madame Dacier tells us that this passage was borrowed from Coecilius, the Comic Poet.

104 Let him have his mistress)—Ver. 1001. It must be remembered that he has the notions of a Greek parent, and sees no such criminality in this sanction as a parent would be sensible of at the present day.