Dramatis PersonaeCHREMES, From χρέμπτομαι,to spit. an old gentleman, living in the country. MENEDEMUS, From μενὸς,strength, and δη,the people. an old gentleman, his neighbor. CLINIA, From κλίνω,to incline, or from κλινὴ,the marriage-bed. son of Menedemus. CLITIPHO, From κλειτὸς,illustrious, and φωlight. son of Chremes. DROMO, From δρόμος,a race. son of Clinia. SYRUS, From Syria, his native country. servant of Clitipho. SOSTRATA, From σωχὼ,to preserve, orsave. wife of Chremes. ANTIPHILA, From ἀντὶ,in return, and φιλω),to love. a young woman beloved by Clinia. BACCHIS. From Bacchus, the God of Wine. a Courtesan, the mistress of Clitipho. The Nurse of Antiphila. PHRYGIA, From Phrygia, her native country. maid-servant to Bacchis. (Scene.—In the country, near Athens; before the houses of CHREMES and MENEDEMUS.)THE SUBJECT. CHREMES commands his wife, when pregnant, if she is delivered of a girl immediately to kill the child. Having given birth to a girl, Sostrata delivers her to an old woman named Philtera to be exposed. Instead of doing this, Philtera calls her Antiphila, and brings her up as her own. Clinia, the son of Menedemus, falls in love with her, and treats her as though his wife. Menedemus, on learning this, is very angry, and by his harsh language drives away his son from home. Taking this to heart, and in order to punish himself for his ill-timed severity, Menedemus, though now an aged man, fatigues himself by laboring at agricultural pursuits from morning till night. At the period when the Play commences, Clinia has just returned to Attica, but not daring to go to his father’s house, is entertained by Clitipho, the son of Chremes, who is the neighbor of Menedemus. Clitipho then sends for Antiphila, whose supposed mother has recently died, to come and meet her lover. On the same day, Chremes learns from Menedemus how anxious he is for his son’s return; and on hearing from his son of the arrival of Clinia, he defers informing Menedemus of it until the next day. Syrus, the servant who has been sent to fetch Antiphila, also brings with him Bacchis, an extravagant Courtesan, the mistress of Clitipho. To conceal the truth from Chremes, they represent to him that Bacchis is the mistress of Clinia, and that Antiphila is one of her maids. Next morning Chremes informs Menedemus of his son’s arrival, and of the extravagant conduct of his mistress, but begs that he will conceal from Clinia his knowledge of this fact. Bacchis requiring ten minae, Syrus devises a plan for obtaining the money from Chremes, while the latter is encouraging him to think of a project against Menedemus. Syrus tells him a story, that the mother of Antiphila had borrowed a thousand drachmae of Bacchis, and being dead, the girl is left in her hands as a pledge for the money. While these things are going on, Sostrata discovers in Antiphila her own daughter. In order to obtain the money which Bacchis persists in demanding, Syrus suggests to Chremes that it should be represented to Menedemus that Bacchis is the mistress of Clitipho, and that he should be requested to conceal her in his house for a few days; it is also arranged that Clinia shall pretend to his father to be in love with Antiphila, and to beg her as his wife. He is then to ask for money, as though for the wedding, which is to be handed over to Bacchis. Chremes does not at first approve of the plan suggested by Syrus; but he pays down the money for which he has been informed his daughter is a pledge in the hands of Bacchis. This, with his knowledge, is given to Clitipho, who, as Syrus says, is to convey it to Bacchis, who is now in the house of Menedemus, to make the latter more readily believe that she is his mistress. Shortly after this, the plot is discovered by Chremes, who threatens to punish Clitipho and Syrus. The Play concludes with Chremes giving his consent to the marriage of Clinia with Antiphila, and pardoning Clitipho, who promises to abandon the Courtesan, and marry. Unlike the other Plays of Terence and Plautus, the Plot of this Play extends over two days. THE TITLE OF THE PLAY. IT is from the Greek of Menander. Performed at the Megalensian Games; Lucius Cornelius Lentulus and Lucius Valerius Flaccus being Curule Aediles. Ambivius Turpio performed it. Flaccus, the freedman of Claudius, composed the music. The first time it was performed to the music of treble and bass flutes; the second time, of two treble flutes. It was acted three times; Marcus Juventius and Titus Sempronius being Consuls.Being Consuls.—M. Juventius Thalna and Ti. Sempronius Gracchus were Consuls in the year from the Building of the City 589, and B.C. 164.THE SUMMARY OF C. SULPITIUS APOLLINARIS. A SEVERE father compels his son Clinia, in love with Antiphila, to go abroad to the wars; and repenting of what has been done, torments himself in mind. Afterward, when he has returned, unknown to his father, he is entertained at the house of Clitipho. The latter is in love with Bacchis, a Courtesan. When Clinia sends for his much-loved Antiphila, Bacchis comes, as though his mistress, and Antiphila, wearing the garb of her servant; this is done in order that Clitipho may conceal it from his father. He, through the stratagems of Syrus, gets ten minae from the old man for the Courtesan. Antiphila is discovered to be the sister of Clitipho. Clinia receives her, and Clitipho, another woman, for his wife.

THE PROLOGUELEST it should be a matter of surprise to any one of you, why the Poet has assigned to an old manAssigned to an old man: He refers to the fact that the Prologue was in general spoken by young men, whereas it is here spoken by L. Ambivius Turpio, the leader of the Company, a man stricken in years. The Prologue was generally not recited by a person who performed a character in the opening Scene. a part that belongs to the young, that I will first explain to you;That I will first explain to you: His meaning seems to be, that he will first tell them the reason why he, who is to take a part in the opening Scene, speaks the Prologue, which is usually spoken by a young man who does not take part in that Scene; and that he will then proceed to speak in character (eloquor), as Chremes, in the first Scene. His reason for being chosen to speak the Prologue, is that he may be a pleader (orator) for the Poet, a task which would be likely to be better performed by him than by a younger man. and then, the reason for my coming I will disclose. An entire Play from an entire Greek one,From an entire Greek one: In contradistinction to such Plays as the Andria, as to which it was a subject of complaint that it had been formed out of a mixture (contaminantus) of the Andrian and Perinthian of Menander.the Heautontimorumenos, I am to-day about to represent, which from a two-fold plotWhich from a two-fold plot: Vollbehr suggests that the meaning of this line is, that though it is but one Play, it has a two-fold plot—the intrigues of two young men with two mistresses, and the follies of two old men. As this Play is supposed to represent the events of two successive days, the night intervening, it has been suggested that the reading is duplex—ex argumento—simplici; the Play is two-fold, with but one plot, as extending to two successive days. The Play derives its name from the Greek words, ἑαυτὸν, himself, and τιμωρουμενὸς, tormenting. has been made but one. I have shown that it is new, and what it is: next I would mention who it was that wrote it, and whose in Greek it is, if I did not think that the greater part of you are aware. Now, for what reason I have learned this part, in a few words I will explain. The Poet intended me to be a Pleader,To be a Pleader: He is to be the pleader and advocate of the Poet, to influence the Audience in his favor, and against his adversaries; and not to explain the plot of the Play. Colman has the following observation: It is impossible not to regret that there are not above ten lines of the Self-Tormentor preserved among the Fragments of Menander. We are so deeply interested by what we see of that character in Terence, that one can not but be curious to inquire in what manner the Greek Poet sustained it through five Acts. The Roman author, though he has adopted the title of the Greek Play, has so altered the fable, that Menedemus is soon thrown into the background, and Chremes is brought forward as the principal object; or, to vary: the allusion a little, the Menedemus of Terence seems to be a drawing in miniature copied from a full length, as large as the life, by Menander. not the Speaker of a Prologue; your decision he asks, and has appointed me the advocate; if this advocate can avail as much by his oral powers as he has excelled in inventing happily,who composed this speech which I am about to recite. For as to malevolent rumors spreading abroad that he has mixed together many Greek Plays while writing a few Latin ones, he does not deny that this is the case, and that he does not repent of so doing; and he affirms that he will do so again.He has the example of good Poets; after which example he thinks it is allowable for him to do what they have done. Then, as to a malevolent old PoetA malevolent old Poet: He alludes to his old enemy, Luscus Lavinius, referred to in the preceding Prologue. saying that he has suddenly applied himself to dramatic pursuits, relying on the genius of his friends,The genius of his friends: He alludes to a report which had been spread, that his friends Laelius and Scipio had published their own compositions under his name. Servilius is also mentioned by Eugraphius as another of his patrons respecting whom similar stories were circulated. and not his own natural abilities;on that your judgment your your opinion, will prevail. Wherefore I do entreat you all, that the suggestions of our antagonists may not avail more than those of our favorers. Do you be favorable; grant the means of prospering to those who afford you the means of being spectators of new Plays;those, I mean, without faults: that he may not suppose this said in his behalf who lately made the public give way to a slave as he ran along in the street;As he ran along in the street: He probably does not intend to censure this practice entirely in Comedy, but to remind the Audience that in some recent Play of Luscus Lavinius this had been the sole stirring incident introduced. Plautus introduces Mercury running in the guise of Sosia, in the fourth Scene of the Amphitryon, 1. 987, and exclaiming, For surely, why, faith, should I, a God, be any less allowed to threaten the public, if it doesn’t get out of my way, than a slave in the Comedies? This practice can not, however, be intended to be here censured by Plautus, as he is guilty of it in three other instances. In the Mercator, Acanthio runs to his master Charinus, to tell him that his mistress Pasicompsa has been seen in the ship by his father Demipho; in the Stichus, Pinacium, a slave, runs to inform his mistress Philumena that her husband has arrived in port, on his return from Asia; and in the Mostellaria, Tranio, in haste, brings information of the unexpected arrival of Theuropides. The currens servus is also mentioned in the Prologue to the Andria, 1. 36. See the soliloquy of Stasimus, in the Trinummus of Plautus, 1. 1007. why should he take a madman’s part? About his faults he will say more when he brings out some other new ones, unless he puts an end to his caviling.Attend with favorable feelings; grant me the opportunity that I may be allowed to act a quiet PlayA quiet Play: Statariam. See the spurious Prologue to the Bacchides of Plautus, l. 10, and the Note to the passage in Bohn’s Translation. The Comedy of the Romans was either stataria, motoria, or mixta. Stataria was a Comedy which was calm and peaceable, such as the Cistellaria of Plautus; motoria was one full of action and disturbance, like his Amphitryon; while the Comoedia mixta was a mixture of both, such as the Eunuchus of Terence. in silence; that the servant everlastingly running about, the angry old man, the gluttonous parasite, the impudent sharper, and the greedy procurer, may not have always to be performed by me with the utmost expense of voice, and the greatest exertion. For my sake come to the conclusion that this request is fair, that so some portion of my labor may be abridged. For nowadays, those who write new Plays do not spare an aged man. If there is any piece requiring exertion, they come running to me;but if it is a light one, it is taken to another Company. In the present one the style is pure. Do you make proof, what, in each character,What in each character: In utramque partem ingenium quid possit meum. This line is entirely omitted in Vollbehr’s edition; but it appears to be merely a typographical error. my ability can effect. If I have never greedily set a high price upon my skill, and have come to the conclusion that this is my greatest gain, as far as possible to be subservient to your convenience, establish in me a precedent, that the young may be anxious rather to please you than themselves.

(Enter CHREMES, and MENEDEMUS with a spade in his hand, who falls to digging.)CHREMES Although this acquaintanceship between us is of very recent date, from the time in fact of your purchasing an estate here in the neighborhood, yet either your good qualities, or our being neighbors (which I take to be a sort of friendship), induces me to inform you, frankly and familiarly, that you appear to me to labor beyond your years,and beyond what your affairs require. For, in the name of Gods and men, what would you have? What can be your aim? You are, as I conjecture, sixty years of age, or more. No man in these parts has a better or a more valuable estate, no one more servants; and yet you discharge their duties just as diligently as if there were none at all. However early in the morning I go out, and however late in the evening I return home, I see you either digging, or plowing, or doing something, in fact, in the fields. You take respite not an instant, and are quite regardless of yourself. I am very sure that this is not done for your amusement. But really I am vexed how little work is done here.How little work is done here: Vollbehr thinks that his meaning is, that he is quite vexed to see so little progress made, in spite of his neighbor’s continual vexation and turmoil, and that, as he says in the next line, he is of opinion that if he were to cease working himself, and were to overlook his servants, he would get far more done. It is more generally thought to be an objection which Chremes suggests that Menedemus may possibly make. If you were to employ the time you spend in laboring yourself, in keeping your servants at work, you would profit much more.MENEDEMUS Have you so much leisure, Chremes, from your own affairs, that you can attend to those of others—those which don’t concern you?CHREMES I am a man,I am a man: Homo sum: humani nihil a me alienum puto. St. Augustine says, that at the delivery of this sentiment, the Theatre resounded with applause; and deservedly, indeed, for it is replete with the very essence of benevolence and disregard of self. Cicero quotes the passage in his work De Officiis, B. i., c. 9. The remarks of Sir Richard Steele upon this passage, in the Spectator, No. 502, are worthy to be transcribed at length. The Play was the Self-Tormentor. It is from the beginning to the end a perfect picture of human life, but I did not observe in the whole one passage that could raise a laugh. How well-disposed must that people be, who could be entertained with satisfaction by so sober and polite mirth! In the first Scene of the Comedy, when one of the old men accuses the other of impertinence for interposing in his affairs, he answers, I am a man, and can not help feeling any sorrow that can arrive at man. It is said this sentence was received with an universal applause. There can not be a greater argument of the general good understanding of a people, than their sudden consent to give their approbation of a sentiment which has no emotion in it. If it were spoken with ever so great skill in the actor, the manner of uttering that sentence could have nothing in it which could strike any but people of the greatest humanity—nay, people elegant and skillful in observation upon it. It is possible that he may have laid his hand on his heart, and with a winning insinuation in his countenance, expressed to his neighbor that he was a man who made his case his own; yet I will engage, a player in Covent Garden might hit such an attitude a thousand times before he would have been regarded. and nothing that concerns a man do I deem a matter of indifference to me. Suppose that I wish either to advise you in this matter, or to be informed myself: if what you do is right, that I may do the same; if it is not, then that I may dissuade you.MENEDEMUS It’s requisite for me to do so; do you as it is necessary for you to do.CHREMES Is it requisite for any person to torment himself?MENEDEMUS It is for me.CHREMES If you have any affliction, I could wish it otherwise. But prithee, what sorrow is this of yours? How have you deserved so ill of yourself?MENEDEMUS Alas! alas!(He begins to weep.)CHREMES Do not weep, but make me acquainted with it, whatever it is.Do not be reserved; fear nothing; trust me, I tell you. Either by consolation, or by counsel, or by any means, I will aid you.