Lucius Seneca - Yale Required Reading - Collected Works (Vol. 2)

AActors might be whipped on occasion.

BAn allusion to some play in which Jupiter appeared in time to save some situation.

2Corrupt (Leo): Alcumena MSS: illa Bothe.

CBeing a slave.

3The genuineness of the Prologues of these plays has long been a moot question. The tendency of the more recent investigators has been to hold that all were, at least in part, written by Plautus himself.

DMercury was the patron god of roguery.

4Leo brackets following v., 14:

lucrum ut perenne vobis semper suppetat.

5Corrupt (Leo): affero MSS: fero Acidalius, followed by Lindsay and others.

6Leo assumes lacuna here.

7 architectust Pareus: architectus MSS. Lambinus suggests that the actor who took the part of Jupiter may have been a builder.

8Corrupt (Leo): illi MSS: ille illi Ussing, followed by Lindsay.

9Leo brackets following v., 93: praeterea certo prodit in tragoedia.

10Leo brackets following v., 173: nec aequom anne iniquom imperet cogitabit.

11 vicimus vi MSS: Leo brackets vicimus.

12Corrupt (Leo): " Convertitur pro convertit ," Nonius 480.

13Corrupt (Leo): neme esse MSS: among the many emendations is sane (Palmer).

14Leo brackets following v., 401: qui cum Amphitruone hinc una ieram in exercitum.

15Leo brackets following v., 489-90:

et ne in suspicione ponatur stupri et clandestina ut celetur consuetio.

16Corrupt (Leo): si non id ita J.

17Leo notes slight lacuna here: mirum MSS: mirum mirum Spengel.

18Leo brackets following v., 629-632:

sed vide ex navi efferantur quae imperavi iam omnia.

Sos.

Et memor sum et diligens, ut quae imperes comparcant;

non ego cum vino simitu ebibi imperium tuom.

Amph.

Vtinam di faxint, infecta dicta re eveniant tua.

19Corrupt (Leo): quom te gravidam MSS: quom gravidam Pylades.

20Leo brackets following v., 685: atque me nunc proinde appellas quasi multo post videris?

21 enim verbis probas Lachmann: probas vel proba's Lindsay: in verbis probas MSS.

22Leo notes lacuna here. Ita ingenium MSS: Ita ingeni ingenium Seyffert, followed by Lindsay.

23Corrupt (Leo): duxero MSS: adsero Leo.

24Leo notes lacuna here and suggests is a Mercurio impransus .

25Corrupt (Leo): nam iam MSS: iam Gruter.

Table of Contents

Table of Contents

Publius Terentius Afer, called Terence in English, was born at Carthage and brought to Rome as a slave. He can not have come as a captive to Rome, for his birth took place between the second and third Punic wars, at a time when the Romans were waging no war in Africa. He was the slave of the senator Terentius Lucanus, by whom he was carefully educated and soon set free. From him he derived his name Terentius, and he was called Afer on account of his African origin. He became intimate with Scipio Africanus the younger, his friend Lælius, and others of the most cultivated and prominent men of Rome. It was even said by some that the plays of Terence were really written by Scipio, while others thought Lælius was their author. This goes to prove that Terence was intimate with Scipio, Lælius, and the rest, and may be regarded as an indication of his age; for if he was much older than Scipio he would hardly have been charged with passing off Scipio’s work as his own. If he was of the same age as Scipio he was born in 185 B. C., and in that case was only nineteen years old when the Andria , his first play, was produced in 166. It is therefore likely that he was a few years older than Scipio, and was born about 190 B. C. After he had produced six comedies he went to Greece in 160 B. C. to study, and died in the next year either on his way back to Rome or in Greece. His popularity with the most cultivated men of Rome testifies to his good breeding and agreeable manners. Suetonius tells us that he was of moderate height, slender figure, and dark complexion, that he had a daughter who was afterwards married to a Roman knight, and that he left property amounting to twenty acres. The six plays of Terence are all preserved to us, together with the dates of the first performance of each.

The Andria , produced at the Ludi Megalenses, 166 B. C., is adapted from the Andria of Menander, with additions from his Perinthia . A young man, Pamphilus, is in love with a girl from Andros, but his father, Simo, has arranged a marriage for him with the daughter of a neighbor, Chremes. Pamphilus’s servant, Davus, succeeds in breaking off the match, and the girl from Andros is finally found to be a daughter of Chremes. Pamphilus and his beloved are united, and a second young man comes forward to marry the other daughter.

The Hecyra (Mother-in-law), first produced at the Ludi Megalenses, 165 B. C., is adapted from the Greek of Apollodorus. Pamphilus is a young man who has recently married Philumena, for whom he has no affection. He goes on a journey to attend to some property, and Philumena returns to her mother. Upon Pamphilus’s return, a child born to Philumena in his absence is shown to be his, and he and Philumena are reconciled. This play was unsuccessful, and deservedly so, as it is the least interesting Latin comedy extant.

The Heauton-Timorumenos (Self-tormentor), after Menander’s play of the same title, was produced at the Ludi Megalenses in 163 B. C. Menedemus has by his harshness driven his son Clinias, who is in love with Antiphila, to take service in a foreign army. He therefore torments himself on account of remorse, and he confides his troubles to his friend Chremes, whose son, Clitipho, is in love with Bacchis. When Clinias comes back from the wars, he and Clitipho get Chremes to receive Antiphila and Bacchis in his house, in the belief that Clinias is in love with Bacchis, and that Antiphila is her servant. Finally Antiphila is found to be the daughter of Chremes and is betrothed to Clinias. Clitipho gives up the spendthrift Bacchis. The comic personage of the play is the slave Syrus, who helps the young men to get the money they need. The character of Chremes is well drawn, but the action of the play is weak.

The Eunuchus , produced at the Ludi Megalenses in 161 B. C., is adapted from the “Eunuch” of Menander, with additions from the “Flatterer” of the same author. The plot is complicated and interesting, involving a love affair between Thais and Phædria, who has a soldier as his rival, and a second love affair between Pamphila, who had been brought up as foster sister to Thais, and Phædria’s brother, Chærea. In order to approach Pamphila, Chærea disguises himself as a eunuch. In the end Pamphila’s brother Chremes appears, proclaims her free birth, and sanctions her marriage to Chærea. The characters are well drawn, Chærea, perhaps, the best of all, and the action is amusing.

The Phormio , first performed at the Ludi Romani, in 161 B. C., is adapted from the Greek of Apollodorus. Two brothers, Chremes and Demipho, have gone on a journey, leaving their two sons, Phædria and Antipho, in charge of a slave, Geta. Antipho marries a poor girl named Phanium, from Lesbos, and Phædria falls in love with a slave girl, whose owner sells her to some one else, but agrees to give her to Phædria if he brings the sum of thirty minæ in one day. The two fathers return, and the parasite, Phormio, from whom the play takes its name, now has to get the money for Phædria and to secure the consent of Demipho to the marriage of Antipho and Phanium. He gets the money from Demipho by telling him that he will himself marry Phanium for thirty minæ, but just at the right moment Phanium is found to be the daughter of Chremes, and her marriage with Antipho is accepted by all parties. The plot is well carried out, and the two old men and their sons are well portrayed.