^^^^Bt/tT'
, ' ' 'â– , ' : â– '
1
i
i
•
i
GIFT OF
/
THE
COMEDIES
OF
.T E R E N C E.
AM) *
THE FABLES OFJHiiDEUS. -
ITERALLY TRANSLATED INTO ENGLISH PROSE
WITH NOTES,
Et KEXEY THOMAS EILEY, B.A.
LATK SCHOLAR Or CLABE HALL, CAKBBIDGB.
TO â– WHICH IS ADDED
i METRICAL TRANSLATION OF TILEDRUS,
By CHRISTOPHER SMART, A.M.
>ONrON ; GEORGE BELL & SONS, YORK STREET,
CO VENT G.UiDEN.
1891.
^^
{lieprinted from Stereotype Plutes.)
I/)NDOX : PRINTED BY WILLIAM CLOWES ASD SON'S, LIMITED,
STAMFORD STKEET ANI> CilAKI.NG CKOSS.
In tins Version of the Plays of Terence tlio Text
t AolbL-lir, 18 1(), has been followed, with the few
iccptions raeutioued iu the Notes.
The Translator has endeavonrotl to convey faithfully
le meaning of the author, and although not rigorously
teral, he has, he trusts, avoided such wide departures
â– om the text, as are found in the versions of Echard,
coke, Patrick, and Gordon.
In the Translation of Phuedrus, the Critical Edition
y Orellius, 1831, has been used, and in the ^sopian
'ables, the text of the Parisian Edition of Gail, 182G.
'he Notes will, it is believed, be found to embody the
ttle that is known of the contemporary history of
16 Author.
II. T. R.
^IcfiGl
C N T E N T 3.
COMEDIES OF TEHENCE,
Andria; OB THE Fair Andriak â– ^^'
Y-EUNUCHUS; OR THE EUNUCH y*^ , . • / •
S[^ HEAnXONTIMORCMENOS ; OR THE SeLF-TORJIENTOB Ir
V.ADELPHI; OR THE BROTHERS
HeCYRA; THE MOTHER-IN-LAW ....
^PaOKMlO; OB IHK bCHElllJiG PaRASITE
Fable I.
11.
III.
IV.
V.
VI.
Vll.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
THE FABLES OF PH.^DRUS.
Book I.
Prolosrue
The Wolf and the Lamb
The Frogs asking for a King
The vain Jackdaw and the Peacock
The Dog carrying some Meat across a River
The Cow, the She-Goat, the Sheep, and the I
The Frogs' complaint auainst the Sun
The Fox and the Tragic Mask
The Wolf and the Crane
The Sparrow and the Hare ...
The Wolf, the Fo.x, and the Ape
The Ass and the Lion hunting
The Stag at the Stream
The Foi and the Raven
The Cobbler turned Physicinn
The Ass and the Old Sliephcrd
The Stag, the Sheep, and the Wolf ..
The Sheep, the Dog, and the Wolf .,
Prose.
Ver:^
3G5
4 7?
365
472
366
4 74
367
4 7.'
River
308
4 7{
the Lion
368
4 7(
369
47(
369
47!
370
473
370
47J
371
4 7(
371
4 7(
372
4 7<
372
4S(
373
4S(
373
48;
374
At<-
■••.
37 4
4^;
CONTENTS.
rr.i«e. Vt
The Womnn in I^nhour
The Hit.h ami hvr \\ h.lps
Tlu- luiniiry l)oi;s
The iii;t>
thf Ass
The Miin nml the Weasel
Thf Fiiithful Do-;
The Frog and the Ox ...
The Don »iul tlie Ooroililo ....
Tlie Fox aiul tiie Stork
The IXig. the Treasure, and the Vulture
Tlie Fox ami the Kajjle
The .\ss deri'liiiic the Bo.nr
The Frogs frightened at the Battle of the Bu'.N
The Kite and tlie llsjeons
:»"5
4S2
376
483
37G
483
:\7C,
483
â– .Ml
484
378
484
:i77
485
:{7S
485
.179
48(1
:;so
48(1
;;so
—
:\bV>
487
381
487
III.
IV.
V.
VI.
\ II.
VIII.
fable I.
II.
III.
IV.
V.
VI.
VII.
^III.
IX.
X.
XI.
XII.
Book II.
Prolosrue ...
The Lion, the Rohher, and the Traveller
Two Women of tliHerent Ages beloved by the
Midiile-aged Man
The Man and the Dog
The Eagle, the Cat. and the Sow
C'fejar to the Chamberlain
The Easle, the Crow, and the Tortoisj
The Mules and Robbers
The Stag and the Oxen
Epilogue
Book III.
Prologue, to Eutychus
The Old Woman and the Cask
The Panther and Sliepherd
Esop and the Farmer ...
The Buteher and the Ape .... "* ....
Esop and the Insolent Man ....
The Fly and the Mule "'
The Dog and the Wolf ...
The Brother and Sister
Socrates to his Friends _
The Poet on Believing and not Believing
The Cock and the Pearl
The Bees and the Drones, the Wasp sitting as
ju'lge
Esoj) at plav
The Dog to he Lamb ....
382
488
383
488
383
489
384
489
384
490
385
491
386
492
387
492
.•i87
493
388
494
3"0
49"
o93
498
394
498
395
—
395
499
395
499
396
499
397
500
398
501
398
502
399
502
401
504
402
505
402
505
403
506
vi COXTEXTS.
XV. Tlie Grasshopper and the Onl
XV'I. The Trees under the Protection of the Goda ....
XVII. The Peacock to Juno
XVIII. Esop's Answer to the Inquisitive Man
Epilogue
Book IV.
PrologTie
Fable I. The Ass and the Priests of Cybele
II. The Weasel and th^! Mice .... .....
III. The Fo.\ and the Grajies
IV. The Horse and the Wild Boar
V. Esop interpreting a Will
VI. The Battle of the Mice and the Weasels
VII. Tiie Poet's Defence against the Censurers of his
Fables
VIII. The Viper and the File
IX. The Fox and tlie Goat
X. Of the Vices of Men
XI. A Thief pilla^in^ the Altar of Jupiter
XII. Hercules and Plutus ....
XI 11. Tlie Lion reigning
XIV. Prometheus
XV. The She-Goats and their Beards
XVI. The Pilot and the Mariners
XVII. The Embassy of the Dogs to Jupiter ....
XVIII. Tlie Man and the Snake
XIX. The Fo.\ and the Dragon
XX. Phsedrus
XXI. The Sliipwreck of Simonides ....
XXII. The Jlountain in Labour
XXIII. The .\nt and the Fly
XXIV. Simonides preserved by the Gods
Epilogue
Book V.
Proloiiue
Fable I. Demetrius and Menander
II. The Travellers and tne Robber
III. The B.ild Man and the Fly
IV. Tlie Man and the Ass
V. Tlie Butloon and Countryman
VI. The Two B:.ld Men
VII. Princeps the Flute Player
VIH. The Emlilein of Opportunity ....
IX. The Bull and the Calf
X. The Huntsman and the Dog ....
Prose
Verse.
404
507
405
ju -
405
Olr.i
405
509
407
—
409
510
410
SOU
411
510
111
511
411
511
412
512
413
514
414
514
415
515
415
51/.
416
51 r, ,
41G
517 1
417
517
417
—
418
—
418
518
419
518
419
—
420
519
421
519
422
520
422
520
423
522
424
522
425
523
426
524
427
52r,
427
52 7
4 28
528
4 29
529
429
529
429
530
431
532
431
532
433
534
433
534
433
53:
CONTI.NTS.
VU
The Nr.w Fmii.f.s — Arnmii'TF.D to PiLKniu's.
'lie I. The Ape nnd the Fox
11. The Author
III. Mercury iiiul the two Women ....
IV. Prometheus and Cunning
^'. 'I'he Author
\\. The siciiitieation of the Punishments of T.irfaius
VII. The Author
VIII. .ICsop and the .\uthor ....
l.\. Ponijieius Ma;;nus and his SoKlier
X. Juno, Venus', and the Hen
XI. The Father of u Family and .Tlsop
XII. Tlie PhiKisopher and the Victor in the Gymnastic Games
XIII. The Ass and the Lyre
XIV. The Widow and the Sohlier
XV. The Hi.h Suitor and the Poor One
XVI. iEsop and his Mistress ....
XVII. .\ Cork carried in a Litter by Cats
XV 1 1 1. Tlie >o\v hringin^ forth and the \NoIf ....
XIX. The Runaway Slave and .ililsop ...
XX. The Chariot Horse sold for the Mill ....
XXI. The Hunsry Bear
XXII. The Traveller and the Raven
XXIII. The Shepherd and the She-Goat
XXIV. The Serpent and the Lizard
XXN'. The Crow and the Sheep
XXVI. The Servant and the Master
X\VIL The Hare and the Herdsman
XXVI 1 1. The Young Man and the Courtesan
XXI X. The Beaver
XXX. The Butterfly and the Wasp
XXXI. The Ground-Swallow and the Fox
Epilogue....
.-EsOPI.KN FaPLES — THE AUTHORS OF WHICH ARE NOT ICNOWN.
Fable I. The Sick Kite ,
II. The Hares tired of Life
III. Jupiter and the Fox .... <-..
IV. The Lion and the Mouse
V. The Man and the Trees...
VI. The Mouse and the Frog
VIL The Two Cocks and flje Hawk...
VIII. The Snail and the .\pe
IX. The City Mouse and the Country Mouse
X. The .Ass fawning upon his Master
XI. The Crane, the C"row, and the Countryman
XII. The Birds and the Swallow
CONTEXTS*.
XI TT. The Partridge and the Fox
XIV. fhe Ass, the Ox, and the Birds
XV. The Lion and the Shephera
XVI. The Gnat and the Bull
XVII. The Horse and the Ass ....
XV I II. The Birds, the Beasts, and the Bat ....
XIX. The Nightingale, the Hawk, and the Fowler
XX. The Wolf, the Fo.x, and the Shepherd....
X^. The Sheep and the Wolves
XXII. The Ape and the Fox
XXIII. The Wolf, the Huntsman, and the Shepherd
XXIV. The Truthful Man, the Liar, and the Apes
X.X.V. The Mail and the Lion
XXVI. The Stork, the Goose, and the Hawk ....
XXVII. The Sheep and the Crow
XXVIII. The Ant and the Grasshopper ....
XXIX. The Horse and the Ass
XXX. The Old Lion and the Fox
XXXI. The Camel and the Flea
XXXII. The Kid and the Wolf
XXXIII. The Poor Man and the Serpent
XXX IV. The Kagle and the Kite ....
4G0
461
4G1
462
462
468
4 6 1
â– 111 I
4(i.')
4t)5
466
467
467
468
468
469
469
469
t70
470
471
TnR TITLE OF TflE PLAY.
Performed at the M..,o:alon.sian Games;' M. F,.lvins an.I
Liu-ms At.hus rnv.u.sti,u..s3 pcrfonned it. Fiac • s e
.ve. .nan ot C auaiu.s/ oon.po.socl the mu.sic, to a air 7f
treble riutesaiul bass flutes' alternately. And it is euUrely
' The Mefinleiman ^'awM)— These trames were insfifnfn^ „♦ t^
n honour of the Goddcs. Cvbele. when her tatae,"'oi.f,. lu^
from re*.M.unn. in Asia Minor, by Scipio \asica ev v.r" u"\
w"" ''irM^T^^'/'-'" ^W'"^ •'''-'r''t.:e'^G'rearyX..^ ^? ^
were called Mesjjilesia or Megalens^ia, indifferentlv. A very intero./ M
kTI loJl'^tr '''"'" '""" '"' '' 'â– ""' i'^ th^ ;U; o7ovi"cf
» ie/Msr (7Mr«/e lf;
Rome. U «-as the.r dnt.v to preside at the public games, and tfp odde
Uie neces.^ry dnunat.c representations for the Theatre, by Lakin"
contracts with the Poets and Actors. ^ "iaKuij,
' Ambiviu.^ Turpio and Lad,,., A iilius Pranesfhius)— These persons
were the heads or manage:^ of the company of actors who peX^^S
the Play and a.s such ir, was their province to make the necessary con
tracts w.th the Curule .Ediles. They were also actors th mselT . and
usually took the loadmg characters. Ambiyius Turpio seems to 'inye
heen a fayourite with the Roman public, v.d to hayo performed 'for
many years ; ot L. Atiiius Pranestinus notln.,- 1 • knoun
../ ^'â– f,'^^l'>i("\o/C/aiulius)- According to some, the words " Placcus
Uaudi mean "the son of Claudius." It i», however, r.^ore irenerillv
thought that >t IS thereby meant that he was the freednum or libcTa ted
blave ot some Roman noble of ihe family of-fhe Claudii '"^^'-ii^'i
.nH^r'''^'-(("'?K"/"'^-'' A
and especially that relative to the "tibiie," "pip,.,- or "liute* " ii
replete with obscurity It is not agreed what arc the mcanin's of
he respective terms but in the present TransI ition the followin-
theory has been adopted: The words "dcxtraj" and "siiiistr:^''
denote the kind of flute, the former being treble, the latter bus,
flutes, or, as they wcr«J sometimes called, "incentivfe" or '• succcn-
tivic: though It ha.s been thouuht by some that they were so called
because the tormer were held with the right hand. thJ latter with tho
li 2
THE TITLE.
i
Grecian.* Published— M. Marcellus and Cncius Sulpimis
being Consuls.'^
left When two treble flutes or two bass flutes were played "Pon at
hesanie time, they were called " tibi^ P'^'''-' \K:lTtCl-o2
" dextra- and the other " sinistra," " tib.ce impares. Hence the yids
â– 'paHbus dextris et sinistris." would mean alternately with treble flutes
nd bass flute. Two " tibiae " were often played upon by one perlurmer
;t the 4me time. For a specimen of a Roman " tibicen" or '• piper
eetheTa"t scene of the Stichus of Plautus. Some curious informatoa
re'a ive to the pipers of Rome and the leu-islative enactments re8pectmg|
hem wi 1 be found in the Fasti of Ovid, B. vi. 1. 653, et seq. 1
I n entirehj Grecian) -Th\s means that the scene is in Greece.!
.nd that it is of the kind called " palliata," as representing the manner^ ^
of tie Greeks, who wore the "pallium," or outer cloak; ^l^ereas the
I'omans wore the "toga." In the Prologue. Terence states that he
borrowed it from the Greek of Menander. , ^ ^ , • • n u^
I Bet Con.n,l.)-}^L Claudius Marcellus and C. Sulpicius Galba
wore Consuls iu the year from the building of Home 5S6, and B.C. 13<.
ANDKTA;
TIIK FA IK AN DIM AX.
THK Sr.MMAllY OF C. SULIMTIUS ATOLLIXA UI.^.
rAMPHiLUs seduces Glycerium, wrongly supposed lo be the sister of a
Conrtcsiin. an Andrian by l>ir(li ; and she liavinc: become pregnant, he
jrivos his word tliat slie siiall be his wife; but iiis fatlior iia.s enijai,'cd
for him another, tlie daiiirbter of Ciiremes; and when he discovers tiie
intrigue he pretemls that the nuptials are about to t;ike place,
desiring to learn what intentions his son may have. By the advice
ot Davus, Painphilus does not resist; but Chrenies, as soon as he has
seen the little child bora of Glycerium, breaks off the match, and
declines him for a sou inlaw. Afterwards, this Glycerium, unex-
pectedly discovered to b'' his own daughter, he bestows as a wife ou
Pampiiilus, the other ou L'hariuus.
TIIE PROLOGUE.
The Poet, when fir.st ho applied his mind to -wTiting, thouijlit
that the only duty which ilL'\olved on him was, tliat the
Plays he should compose might plea.'^e tlie public. But he per-
••eives that it ha.s talleu out entirely otherwise; for he is wasting
his labour in writing Prologxies, not for the piu-pose of relating
the plot, but to answer the slanders of a malevolent old Poet.'
Now I beseech you, give your attention to the thing whieli
they impute as a fault. Meuander composed tlie Andrian'
' A malevolent old Poet) — Ver. 7. He "alludes to Luscus Lanuvinus,
or Lavinius, a Comic Poet of his time, but considerably his senior. lie
in mentioned by Terence in all his Prologues except that to the Hecyra,
iud seems to have luade it thejtusinesa of his life to run down hie
productions and discover faults in them.
- Composed the Andrian) — Ver. 9. This Play, like that of our
author, took its uame from the Isle of Andros, one of the Cyclades iu
the Ji^can Sea, where Glycerium is supposed to have been born.
Donatus, the Commentator on Terence, informs us that the first Scene \
tills Play is almost a literal trauslatiou from the Periuthiau of Meuander
G AXDRIA ; Act I
aucl the Peimtliian.' He who knows either ol them well
vn\\ know them both ; they are in plot not very different
and yet they have been composed in different language and
style. What suited, he confesses he has ti-ausferred into
the Andrian from the Perinthian, and has employed them
as his own. These pai-ties censure this proceeding, and on
this point they differ //•(?»? him, that Plays ought not to be
mixed up together. By being thus kno^^-ing, do they not
show that they know nothing at all? For white'' they are
censuring him, they are censuring Nje%-ius, Plautus, and
Enniu.s,* whom our Foet has for his precedents ; whose care-
lessness he prefers to emulate, rather than the mystifying care-
I'ulness' of those jiai-ties. Therefore, I advise them to be quiet
in future, and to cease to slander; that tliey may not be
made acquainted with their own misdeeds. Be well disposed,
then ; attend with unbiassed mind, and consider the matter,
that you may determine what hope is left ; wliether the
Plays which he shall in future compose anew, are to be wit-
nessed, or are rather to be driven off the stage.
ACT THE FIRST. [
Scene I.
Unter SiMO and SosiA, fuUowed hy Serv.ajn'ts carrying
provisions.
SiMO. {to the Servants.) Do you carry those things away
in-doors ; begone. (Beckoning to SosiA.) Sosia, just step
here ; I want a few words with you.
in wliieh the old man was represented as di.scoursing witli his wife just,
as Simo docs here with Sosia. In the Andrian of Menander, the ohl
man opened with a soliloquy.
And the Perinthian) — Ver 9. This Play was so called from
Perinthus, a town of Thrace, its heroine being a native of that place.
=* Na>v ux, Plaittiif, and £nniui!)—Ver. IS. Enuius was the oldest ol
these three Poets. Ntevius was a contemporary of Plautus. See a proba-
ble allusion to his misfortunes in the Miles Gloriosus of Plautus.1.211.
3 The inyMifiiing careful ne-^s) — Ver. '21. By "obscuram diligentiam'''
be means that formal degree of precision which is productive of
obscurity.
S- I. T11F, KAIU ANniU.VK. 7
SusiA. L'tmsidiT it as said ; that tliesc tliin;^s ;uc to bo
taken o;u*o ot". I supjtDSf.'
Sim. No, it's auotlier inatttT.
Sos. What is there tliat uiy ability can effect for you moro
than this r
Sim. There's no need of that ability in the matter which
I have in hand ; but of those i/ualifies which 1 have ever
known as existing in you, fidelity and secrecy.
Sos. I await your will.
Sim. Sinc4.' I jiurcha.scd you. you kiinw that, from a liltlc
child, your servitude with me has always been easy and li;:lit.
From a slave I made you my freedman ;* for this reason,
liecause you si-rved me with readiness. The greatest recom-
j»euse that I ])os.sessed, I bestowed ujion you.
Sos. I Var it in mind.
Sim. I am not changed.
t>os. If I have done or am doinjr au<;ht that is pleasing
to you, Simo, I am glad that it has been done ; and that
the same has been gratifying to you, I consider sujpcitnt
thanks. But this is a cause of uneasiness to me; for the
recital is, as it were, a censure' to one forgetful of a kindness.
IJut tell me, in one word, what it is that you want with me.
Sim. ril do so. In the first place, in this affair I give yi>u
notice : this, which you suj)pose to be such, is not a real
marriage.
Sos. Why do you ]>retend it then?
Sim. You shall hear all the matter from the beginning
l»y that meims youll be acquainted with both ni}' son's mode
' Art to be taken care of, I sui'/Ktae) — Ver 30. " Nempe ut curentur
rocte htec." Colman here rcniaikei ; " ih^damc Dacicr will have it that
*>imo here ma es use of a kitclien term in the word ' cureutur." I
believe it rather means 'to take eare oi^ anything gene;ally: and at
the conclu.sion of this very scene. .Sosiauses tlie word again, speaking of
things very foreign to cookery. ' Sat est, cumbo.'"
^ To be vuj j'n'edman) — \'GT.Z'. '• Libcrtus" was the name gi^en
to a slave set at liberty by his master. A "iibertinus" was the son
ot a " libertus."
^ As iiwt: re a couture) — Ver. 43. Among the Greeks (whose manners
and sentiments are supposed to ije depicted in this I'lay) itwasa nia.xini
that he who did a kindness should forget it. while he who reieiv-d
it chnuld keep it in memory. Sosia con.sequently feels uneasy, and
oaaaidera the remark of his m;ister in the light yt a rc^iroach.
3 AKDRIA ; Acrt I.
of life and mj own design, and wliat I want you to do in this
affair. For after he had passed yoiithfulness,' Sosia, and had
obtained free scope of livini;, (for before, how could you know
or untlerstand his disposition, while youthful age, fear, and a
master^ were checking himr)
Sos. That's tiiie.
A Sim. What all young men, for the most part, do. — devote
(their attention to some particular pui-suit, either to traiuiuLj
lioi-ses or dogs for hunting, or to the philoso]ihei-s ;' in not one
I of these did he engage in particular beyond the rest, and yet
in all of them in a moderate degree. I was pleased.
Sos. Not without reason ; for this I deem in life to be
especially advantageous ; that one Jo nothing to excess.*
Sim. Such was his mode of life ; readily to beai- and to
comply with all ; with whomsoever he was in company, to
them to resign himself; to devote himself to their pursuits-;
at variance with no one; never preferring himself to them.
Thus most readily you may acquire praise without en\y, an
gain friends.
Sos. He has wisely laid (\o\vn his rule of life ; for in these
days obsequiousness begets friends; sincerity, dislike.
Sim. Meanwhile, three yeai's ago,* a certain woman from
After he had passed from yovthfnlnest<)—\er. 51. " Ephebus"
was the name given to a youth when between the figes of .si.\teen
and twenty.
- And a master)— Yer. 54. See the Notes to the Translation of
the Bacchides of Piautus, 1. 109, where Lydus, a slave, appears as the
" pajdagogus," or " niagister," of Pistoclerus.
•' Or to the philosophers) — Ver. 57. It was the custom in Greece
with all young men of free birth to apply themselves to the study of
philosopliy, of course with zeal proportioned to the love of learning in
oaoli. They each adopted some particular sect, to which they attaohod
, themselves. There is something sarcastic here, and imlecd not very
respectful to the " philo^ophers," in coupling them as objects of attrac-
i tion with horses and hounds.
^ Xothinrj to excess) — Ver Gl. " Ne quid nimis." This was one of
the three sentences whieli were inscribed in golden letters in tlie Temple
of Apollo at Delphi. The two othei-s were " Know thyself," and
" Misery is the cousequenee of debt and di.scord." Sosia seems from
the short glimpse we have of him to have been a retailer of old saw,,
and proverbs. He is unfortunately only a I'rotatic or introductory
character, as we lose sight of him after this Act.
• Meaiiwhil)', three ijtdrs rt'/o — Ver. (50. The following remark of
Doualus on this passage is quoted by t'olman for its curiosity. '' Tho
Sc. r. THE KAru A.VniUAX. 9
Aiulros reniovotl hitlu-r into this iioii,'liliourlioo«I, dnven )»y '
lK)veftv ami tl'e noiiloot of Ikt ivlatioiis, ot" sur])assing ln-uuty;
irnl in the hluom ut" vi>uth.
Sos. Ah! I'm alViiiil that this Aixhiaii will Uiiiig soii»o
mischitvf.
Sim. At £r-?+., ia a nioiU'st way, she pissed her litb with
.hril"ti:iessaii(l in hanlsf.ip. seeking a livelihood with her wool
uid loom. I>ut after an admirer made advanees, promisiiiL,'
ner a reet>mj)ense, firsf one ami then another; as the disposi-
tion of iUl mankind has a downward temleney from industry!
towards j)leasure, she aceepted their })ro|)os;ds, aiul theul
U'irau to trade upon her bcuuli/. Tiiose who then wei'e her â–
admirers, by ehanee, as it oflni happens, took my son thither
that he might be in their eomfKiny. Forthwith I said to
myself, " He is surely eaught ; he is smitten."' In the
morning I used to observe their servant-boys coming or
going away ; I useil to make enquiiy, " Here, my lad, tell
me, will you, who had yiy^iiigvesterday r" for that was the
name of the Andrian {touching feosiA on the arm).
Sos. I undei-stand.
Si.\[. PhaHlnis, or Clinias, or Niceratus, they used to say;
for these three then loved her at the same time. " Well now.
what(//(/ Pamphilus (/«.''" "What? He gave his contribution;'
he took part iii the dinner." Just so on another day I made
inquiry, but I di.scovered nothing whatever that affected
Pamphilus. In fact, I thought him sufficiently proved, and
a great pattern of continence; for he who is brought into
Author has artfully said three years, when he might have given a
longer or a sliorter period ; since it is proh.ihle that the woman might
liavc lived modestly one year; set up the trade the next; and died the
thini. In the tirst year, therefore, i'ampiiilus knew nothing of the
family of Chrysis ; in the second, he bewme acquainted with Glycerium ;
and in the third, Glycerium marries I'araphilus, and finds her
parents." '-"
He is smitten) — Ver. 78. " Ilabet," literally "He has it." Thi.s
was the expression used by the spectators at the moment when a
Gladiator was wounded by his antagonist. In the previous line, in the
words "captus est," a figurative allusion is made to the " retiarius," a
Gladiator who was provided with a net, with which he endeavoured to
entangle his opponent.
- Gave hin coiitrihtttion) — Ver. 88. "Symbolara." The " .symhohie,"
"shot" at pie-nic or clui) cntert;iiiiments, are more than once alluded
to in the Notes to the TrausUiliou ot i'lauius.
lO AJTDRIA ; A.ct L
contact with dispositions of that sort, and his feelings are
not aroused even under such circumstances, you may be sure
that he is already cai)able of undertaking the governance of
his own life. This pleased me, and everybody with one
r voice began to say all kinds of flattering things, and to extol
my good fortune, in having a son endowed \\\t\i such a dis-
I position. What need is there of talking? Chremes, in-