Chapter XXIII: Act THE FIFTH: Scene I

_Enter SYRUS, drunk, and DEMEA, on the opposite side of the stage._

SYR. Upon my faith, my dear little Syrus, you have taken delicate care of yourself, and have done your duty[83] with exquisite taste; be off with you. But since I’ve had my fill of every thing in-doors, I have felt disposed to take a walk.

DEM. (_apart._) Just look at that-- there’s an instance of their {good} training!

SYR. (_to himself._) But see, here comes our old man. (_Addressing him._) What’s the matter? Why out of spirits?

DEM. Oh you rascal!

SYR. Hold now; are you spouting your sage maxims here?

DEM. If you were my {servant}----

SYR. Why, you would be a rich man, Demea, and improve your estate.

DEM. I would take care that you should be an example to all the rest.

SYR. For what reason? What have I done?

DEM. Do you ask me? in the midst of this confusion, and during the greatest mischief, which is hardly yet set right, you have been getting drunk, you villain, as though things had been going on well.

SYR. (_aside._) Really, I wish I hadn’t come out.

SCENE II.

_Enter DROMO in haste, from the house of MICIO._

DRO. Halloo, Syrus! Ctesipho desires you’ll come back.

SYR. Get you gone. (_Pushes him back into the house._)

DEM. What is it he says about Ctesipho?

SYR. Nothing.

DEM. How now, {you} hang-dog, is Ctesipho in the house?

SYR. He is not.

DEM. {Then} why does he mention him?

SYR. It’s another person; a little diminutive Parasite. Don’t you know him?

DEM. I will know him before long. (_Going to the door._)

SYR. (_stopping him._) What are you about? Whither are you going?

DEM. (_struggling._) Let me alone.

SYR. (_holding him._) Don’t, I tell you.

DEM. Won’t you keep your hands off, whip-scoundrel? Or would you like me to knock your brains out this instant? (_Rushes into the house._)

SYR. He’s gone! no very pleasant boon-companion, upon my faith, particularly to Ctesipho. What am I to do now? Why, even get into some corner till this tempest is lulled, and sleep off this drop of wine. That’s my plan. (_Goes into the house, staggering._)

SCENE III.

_Enter MICIO, from the house of SOSTRATA._

MIC. (_to SOSTRATA, within._) Every thing’s ready with us, as I told you, Sostrata, when you like. --Who, I wonder, is making my door fly open with such fury?

_Enter DEMEA in haste, from the house of MICIO._

DEM. Alas! what shall I do? How behave? In what terms exclaim, or how make my complaint? O heavens! O earth! O seas of Neptune!

MIC. (_apart._) Here’s for you! he has discovered all about the affair; {and} of course is now raving about it; a quarrel is the consequence; I must assist him,[84] {however}. DEM. See, here comes the common corrupter of my children.

MIC. Pray moderate your passion, and recover yourself.

DEM. I have moderated it; I am myself; I forbear all reproaches; let us come to the point: was this agreed upon between us,-- proposed by yourself, in fact,-- that you were not to concern yourself about my {son}, nor I about yours? Answer me.

MIC. It is the fact,-- I don’t deny it.

DEM. Why is he now carousing at your house? Why are you harboring my son? Why do you purchase a mistress for him, Micio? Is it at all fair, that I should have any less justice from you, than you from me? Since I do not concern myself about your {son}, don’t you concern yourself about mine.

MIC. You don’t reason fairly.

DEM. No?

MIC. For surely it is a maxim of old, that among themselves all things are common to friends.

DEM. Smartly {said}; you’ve got that speech up for the occasion.

MIC. Listen to a few words, unless it is disagreeable, Demea. In the first place, if the extravagance your sons are guilty of distresses you, pray do reason with yourself. You formerly brought up the two suitably to your circumstances, thinking that your own property would have to suffice for them both; and, of course, you then thought that I should marry. Adhere to that same old rule {of yours},-- save, scrape together, {and} be thrifty {for them}; take care to leave them as much as possible, and {take} that credit to yourself: my fortune, which has come to them beyond their expectation, allow them to enjoy; of {your} captial there will be no diminution; what comes from this quarter, set it {all} down as so much gain. If you think proper impartially to consider these matters in your mind, Demea, you will save me and yourself, and them, {considerable} uneasiness.

DEM. I don’t speak about the expense; their morals--

MIC. Hold; I understand you; that point I was coming to.[85] There are in men, Demea, many signs from which a conjecture is easily formed; {so that} when two persons do the same thing, you may often say, this one may be allowed to do it with impunity, the other may not; not that the thing {itself} is different, but that he is who does it. I see {signs} in them, so as to feel confident that they will turn out as we wish. I see that they have good sense and understanding, that they have modesty upon occasion, {and} are affectionate to each other; you may infer that their bent and disposition is of a pliant nature; at any time you like you may reclaim them. But still, you may be apprehensive that they will be somewhat too apt to neglect their interests. O my {dear} Demea, in all other things we grow wiser with age; this sole vice does old age bring upon men: we are all more solicitous about our own interests than we need be; and in this respect age will make them sharp enough.

DEM. Only {take care}, Micio, that these fine reasonings of yours, and this easy disposition of yours, do not ruin us {in the end}.

MIC. Say no more; there’s no danger of that. Now think no further of these matters. Put yourself to-day into my hands; smooth your brow.

DEM. Why, as the occasion requires it, I must do so; but to-morrow {I shall be off} with my son into the country at daybreak.

MIC. Aye, to-night, for my share; only keep yourself in good-humor for the day.

DEM. I’ll carry off that Music-girl along with me as well.

MIC. You will gain your point; by that means you will keep your son fast there; only take care to secure her.

DEM. I’ll see to that; and what with cooking and grinding, I’ll take care she shall be well covered with ashes, smoke, and meal; besides {all} this, at the very mid-day[86] I’ll set her gathering stubble; I’ll make her as burned and as black as a coal.

MIC. You quite delight me; now you seem to me to be wise; and for my part I would then compel my son to go to bed with her, even though he should be unwilling.

DEM. Do you banter me? Happy man, to have such a temper! I feel--

MIC. Ah! at it again!

DEM. I’ll have done then at once.

MIC. Go in-doors then, and let’s devote this day to the object[87] to which it belongs. (_Goes into the house._)

SCENE IV.

_DEMEA alone._

DEM. Never was there any person of ever such well-trained habits of life, but that experience, age, {and} custom are always bringing {him} something new, {or} suggesting something; so much so, that what you believe you know you don’t know, and what you have fancied of first importance to you, on making trial you reject; and this is my case at present: for the rigid life I have hitherto led, my race nearly run, I {now} renounce. Why so? --I have found, by experience, that there is nothing better for a man than an easy temper and complacency. That this is the truth, it is easy for any one to understand on comparing me with my brother. He has always spent his life in ease {and} gayety; mild, gentle, offensive to no one, having a smile for all, he has lived for himself, {and} has spent his money for himself; all men speak well of him, {all} love him. I, {again}, a rustic, a rigid, cross, self-denying, morose and thrifty person, married a wife; what misery I entailed in consequence! Sons were born-- a fresh care. And just look, while I have been studying to do as much as possible for them, I have worn out my life and years in saving; now, in the decline of my days, the return I get from them for my pains {is} their dislike. He, on the other hand, without any trouble on his part, enjoys a father’s comforts; they love him; me they shun; him they trust with all their secrets, are fond of him, are {always} with him. I am forsaken; they wish him to live; but my death, forsooth, they are longing for. Thus, after bringing them up with all possible pains, at a trifling cost he has made them his own; thus I bear all the misery, he enjoys the pleasure. Well, then, henceforward let us try, on the other hand, whether I can’t speak kindly and act complaisantly, as he challenges me to it: I also want myself to be loved and highly valued by my friends. If that is to be effected by giving and indulging, I will not be behind him. If our means fail, that least concerns me, as I am the eldest.[88]

SCENE V.

_Enter SYRUS._

SYR. Hark you, Demea, your brother begs you will not go out of the way.

DEM. Who {is it}? --O Syrus, my {friend},[89] save you! how are you? How goes it {with you}?

SYR. Very well.

DEM. Very good. (_Aside._) I have now for the first time used these three expressions contrary to my nature,-- “O Syrus, my {friend}, how are you? --how goes it with you?” (_To SYRUS._) You show yourself far from an unworthy servant, and I shall gladly do you a service.

SYR. I thank you.

DEM. Yes, Syrus, it is the truth; and you shall be convinced of it by experience before long.

SCENE VI.

_Enter GETA, from the house of SOSTRATA._

GETA (_to SOSTRATA, within._) Mistress, I am going to see after them, that they may send for the damsel as soon as possible; but see, here’s Demea. (_Accosting him._) Save you!

DEM. O, what’s your name?

GETA. Geta.

DEM. Geta, I have this day come to the conclusion that you are a man of very great worth, for I look upon him as an undoubtedly good servant who has a care for his master; as I have found to be your case, Geta; and for that reason, if any opportunity should offer, I would gladly do you a service. (_Aside._) I am practicing the affable, and it succeeds very well.

GETA. You are kind, sir, to think so.

DEM. (_aside._) Getting on by degrees-- I’ll first make the lower classes my own.

SCENE VII.

_Enter ÆSCHINUS, from the house of MICIO._

ÆSCH. (_to himself._) They really are killing me while too intent on performing the nuptials with all ceremony; the {whole} day is being wasted in their preparations.

DEM. Æschinus! how goes it?

ÆSCH. Ha, my father! are you here?

DEM. Your father, indeed, both by affection and by nature; as I love you more than my very eyes; but why don’t you send for your wife?

ÆSCH. {So} I wish {to do}; but I am waiting for the music-girl[90] and people to sing the nuptial song.

DEM. Come now, are you willing to listen to an old fellow like me?

ÆSCH. What {is it}?

DEM. Let those things alone, the nuptial song, the crowds, the torches,[91] {and} the music-girls, and order the stone wall in the garden[92] here to be pulled down with all dispatch, {and} bring her over that way; make but one house {of the two}; bring the mother and all the domestics over to our house.

ÆSCH. With all my heart, kindest father.

DEM. (_aside._) Well done! now I am called “kind.” My brother’s house will become a thoroughfare; he will be bringing home a multitude, incurring expense in many ways: what matters it to me? I, as the kind {Demea}, shall get into favor. Now then, bid that Babylonian[93] pay down his twenty minæ. (_To SYRUS._) Syrus, do you delay to go and do it?

SYR. What {am I to do}?

DEM. Pull down {the wall}: and you, {Geta}, go and bring them across.

GETA. May the Gods bless you, Demea, as I see you so sincere a well-wisher to our family. (_GETA and SYRUS go into MICIO’S house._)

DEM. I think they deserve it. What say you, {Æschinus, as to this plan}?

ÆSCH. I quite agree to it.

DEM. It is much more proper than that she, being sick {and} lying-in, should be brought hither through the street.

ÆSCH. Why, my {dear} father, I never did see any thing better contrived.

DEM. It’s my way; but see, here’s Micio coming out.

SCENE VIII.

_Enter MICIO, from his house._

MIC. (_speaking to GETA, within._) Does my brother order it? Where is he? (_To DEMEA._) Is this your order, Demea?

DEM. Certainly, I do order it, and in this matter, and in every thing else, {wish} especially to make this family one with ourselves, to oblige, serve, {and} unite them.

ÆSCH. Father, pray let it be so.

MIC. I do not oppose it.

DEM. On the contrary, i’ faith, it is what we ought to do: in the first place, she is the mother of his wife (_pointing to Æschinus_).

MIC. She is. What then?

DEM. An honest and respectable woman.

MIC. So they say.

DEM. Advanced in years.

MIC. I am aware of it.

DEM. Through her years, she is long past child-bearing; there is no one to take care of her; she is a lone woman.

MIC. (_aside._) What can be his meaning?

DEM. It is right you should marry her; and that you, {Æschinus}, should use your endeavors to effect it.

MIC. I, marry her, indeed?

DEM. You.

MIC. I?

DEM. You, I say.

MIC. You are trifling!

DEM. {Æschinus}, if you are a man, he’ll do it.

ÆSCH. My {dear} father----

MIC. What, ass! do you attend to him?

DEM. ’Tis all in vain; it can not be otherwise.

MIC. You are mad!

ÆSCH. Do let me prevail on you, my father.

MIC. Are you out of your senses? Take yourself off.[94]

DEM. Come, do oblige your son.

MIC. Are you quite in your right mind? Am I, in my five-and-sixtieth year, to be marrying at last? A decrepit old woman too? Do you advise me {to do} this?

ÆSCH. Do; I have promised it.[95]

MIC. Promised, indeed; be generous at your own cost, young man.

DEM. Come, what if he should ask a still greater favor?

MIC. As if this was not the greatest!

DEM. Do comply.

ÆSCH. Don’t make any difficulty.

DEM. Do promise.

MIC. Will you not have done?

ÆSCH. Not until I have prevailed upon you.

MIC. Really, this is downright force.[96]

DEM. Act with heartiness, Micio.

MIC. Although this seems to me[97] to be wrong, foolish, absurd, and repugnant to my mode of life, yet, if you so strongly wish it, be it so.

ÆSCH. You act obligingly.

DEM. With reason I love you; but----

MIC. What?

DEM. I will tell you, when my wish has been complied with.

MIC. What now? What remains {to be done}?

DEM. Hegio here is their nearest relation; {he is} a connection of ours {and} poor; we ought to do some good for him.

MIC. Do what?

DEM. There is a little farm here in the suburbs, which you let out; let us give it him to live upon.

MIC. But is it a little one?

DEM. If it were a large one, {still} it ought to be done; he has been as it were a father to her; he is a worthy man, {and} connected with us; it would be properly bestowed. In fine, I now adopt that proverb which you, Micio, a short time ago repeated with sense and wisdom-- it is the common vice of all, in old age, to be too intent upon our own interests. This stain we ought to avoid: it is a true maxim, and ought to be observed in deed.

MIC. What am I to say to this? Well then, as he desires it (_pointing to ÆSCHINUS_), it shall be given {him}.

ÆSCH. My father!

DEM. Now, Micio, you are {indeed} my brother, both in spirit and in body.

MIC. I am glad of it.

DEM. (_aside._) I foil him at his own weapon.[98]

SCENE IX.

_Enter SYRUS, from the house._

SYR. It has been done as you ordered, Demea.

DEM. You are a worthy fellow. Upon my faith,-- in my opinion, at least,-- I think Syrus ought at once to be made free.

MIC. He free! For what reason?

DEM. For many.

SYR. O my {dear} Demea! upon my word, you are a worthy man! I have strictly taken care of both these {sons} of yours, from childhood; I have taught, advised, {and} carefully instructed them in every thing I could.

DEM. The thing is evident; and then besides {all} this, to cater {for them}, secretly bring home a wench, prepare a morning entertainment;[99] these are the accomplishments of no ordinary person.

SYR. O, what a delightful man!

DEM. Last of all, he assisted to-day in purchasing this Music-wench-- he had the management of it; it is right he should be rewarded; other servants will be encouraged {thereby}: besides, he (_pointing to ÆSCHINUS_) desires it to be so.

MIC. (_to ÆSCHINUS._) Do you desire this to be done?

ÆSCH. I do wish it.

MIC. Why then, if you desire it, just come hither, Syrus, to me (_performing the ceremony of manumission_); be a free man.[100]

SYR. You act generously; I return my thanks to you all;-- and to you, Demea, in particular.

DEM. I congratulate you.

ÆSCH. And I.

SYR. I believe you. I wish that this joy were made complete-- that I could see my wife, Phrygia,[101] free as well.

DEM. Really, a most excellent woman.

SYR. And the first to suckle your grandchild, his son, today (_pointing to ÆSCHINUS_).

DEM. Why really, in seriousness, if she was the first to do so, there is no doubt she ought to be made free.

MIC. {What}, for doing that?

DEM. For doing that; in fine, receive the amount from me[102] at which she is valued.

SYR. May all the Gods always grant you, Demea, all you desire.

MIC. Syrus, you have thrived pretty well to-day.

DEM. If, in addition, Micio, you will do your duty, and lend him a little ready money in hand for present use, he will soon repay you.

MIC. Less than this (_snapping his fingers_).

ÆSCH. He is a deserving fellow.

SYR. Upon my word, I will repay it; only lend it me.

ÆSCH. Do, father.

MIC. I’ll consider of it afterward.

DEM. He’ll do it, {Syrus}.

SYR. O most worthy man!

ÆSCH. O most kind-hearted father!

MIC. How is this? What has so suddenly changed your disposition, {Demea}? What caprice {is this}? What means this sudden liberality?[103]

DEM. I will tell you:-- That I may convince you of this, Micio, that the fact that they consider you an easy and kind-hearted man, does not proceed from your real life, nor, indeed, from {a regard for} virtue and justice; but from your humoring, indulging, and pampering them. Now therefore, Æschinus, if my mode of life has been displeasing to you, because I do not quite humor you in every thing, just {or} unjust, I have done: squander, buy, do what you please. But if you would rather have one to reprove and correct those faults, the results of which, by reason of your youth, you can not see, which you pursue too ardently, {and} are thoughtless upon, and in due season to direct you; behold me ready to do it for you.

ÆSCH. Father, we leave it to you; you best know what ought to be done. But what is to be done about my brother?

DEM. I consent. Let him have {his mistress}:[104] with her let him make an end {of his follies}.

MIC. That’s right. (_To the AUDIENCE._) Grant us your applause.

FOOTNOTES

[Footnote 1: From δημὸς, “the people.”]

[Footnote 2: From Μικιὼν, a Greek proper name.]

[Footnote 3: From ἡγεῖσθαι, “to lead,” or “take charge of.”]

[Footnote 4: From αισχὸς, “disgrace.”]

[Footnote 5: From κτησὶς, “a patrimony,” and φῶς, “light.”]

[Footnote 6: From σαννὸς, “foolish.”]

[Footnote 7: One of the nation of the Getæ.]

[Footnote 8: See the Dramatis Personæ of the Eunuchus.]

[Footnote 9: From Syria, his native country.]

[Footnote 10: See the Dramatis Personæ of the Andria.]

[Footnote 11: See the Dramatis Personæ of the Eunuchus.]

[Footnote 12: See the Dramatis Personæ of the Heautontimorumenos.]

[Footnote 13: From κανθαρὸς [“a cup.”]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 18: _Of Diphilus_)--Ver. 6. Diphilus was a Greek Poet,
contemporary with Menander.]

[Footnote 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.]

[Footnote 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.”]

[Footnote 21: _To fetch him_)--Ver. 24. “Advorsum ierant.” On the
duties of the “adversitores,” see the Notes to Bohn’s Translation
of Plautus.]

[Footnote 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 tormented 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.”]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 33: _I am a Procurer_)--Ver. 188. Westerhovius supposes
this part to be a translation from the works of Diphilus.]

[Footnote 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.”]

[Footnote 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.”]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.”]

[Footnote 39: _In the very joint_)--Ver. 229. “Ut in ipso articulo
oppressit.” Colman translates this, “Nick’d me to a hair.”]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.”]

[Footnote 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.]

[Footnote 46: _Order the couches_)--Ver. 285. Those used for the
purpose of reclining on at the entertainment.]

[Footnote 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.”]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 53: _Would take her home_)--Ver. 473. As his wife.]

[Footnote 54: _Is among us_)--Ver. 479. “In medio,” “is alive,” or
“in the midst of us.”]

[Footnote 55: _Take him, bind him_)--Ver. 482. In allusion to the
method of examining slaves, by binding and torturing them.]

[Footnote 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.]

[Footnote 57: _He was my kinsman_)--Ver. 494. In the Play of
Menander, Hegio was the brother of Sostrata.]

[Footnote 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.”]

[Footnote 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.]

[Footnote 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.”]

[Footnote 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.]

[Footnote 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.”]

[Footnote 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.”]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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?”]

[Footnote 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.”]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.”]

[Footnote 72: _Head and ears in love_)--Ver. 590. “Totus,”
literally, “quite” or “altogether.”]

[Footnote 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.]

[Footnote 74: _Are suspicious_)--Ver. 606. These lines are
supposed to be founded on some verses of Menander which are still
extant.]

[Footnote 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.]

[Footnote 76: _To Miletus, pray?_)--Ver. 658. A colony of Athens,
on the coast of Asia Minor.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.”]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.”]

[Footnote 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.”]

[Footnote 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.”]

[Footnote 86: _At the very mid-day_)--Ver. 851. Exposed to the
heat of a mid-day sun.]

[Footnote 87: _To the object_)--Ver. 857. The marriage and its
festivities.]

[Footnote 88: _Am the eldest_)--Ver. 884. And therefore likely to
be the first to die, and to avoid seeing such a time come.]

[Footnote 89: _O Syrus, my friend_)--Ver. 886. The emptiness of
his poor attempts to be familiar are very evident in this line.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.]

[Footnote 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.”]

[Footnote 94: _Take yourself off_)--Ver. 940. Æschinus, probably,
in his earnestness, has seized hold of him with his hand, which
Micio now pushes away.]

[Footnote 95: _I have promised it_)--Ver. 943. This is not the
truth; the notion has only been started since he last saw them.]

[Footnote 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!”]

[Footnote 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.”]

[Footnote 98: _At his own weapon_)--Ver. 961. He probably means,
by aping the kind feeling which is a part of Micio’s character.]

[Footnote 99: _A morning entertainment_)--Ver. 969. A banquet in
the early part or middle of the day was considered by the Greeks a
debauch.]

[Footnote 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.]

[Footnote 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.]

[Footnote 102: _Receive the amount from me_)--Ver. 981. The only
sign of generosity he has yet shown.]

[Footnote 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.]

[Footnote 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.]

* * * * *
* * * *

HECYRA; THE MOTHER-IN-LAW

DRAMATIS PERSONÆ.

LACHES,[1] an aged Athenian, father of Pamphilus.
PHIDIPPUS,[2] an aged Athenian, father of Philumena.
PAMPHILUS,[3] son of Laches.
SOSIA,[4] servant of Pamphilus.
PARMENO,[5] servant of Sostrata.

SOSTRATA,[6] wife of Laches.
MYRRHINA,[7] wife of Phidippus.
BACCRIS,[8] a Courtesan.
PHILOTIS,[9] a Courtesan.
SYRA,[10] a Procuress.

_Scene._--Athens; before the houses of LACHES, PHIDIPPUS, and BACCHIS.

THE SUBJECT.

Pamphilus, the son of Laches by his wife Sostrata, being at the time enamored of Bacchis, a Courtesan, chances, one night, in a drunken fit, to debauch Philumena, the daughter of Phidippus and Myrrhina. In the struggle he takes a ring from her, which he gives to Bacchis. Some time afterward, at his father’s express desire, he consents to marry. By chance the young woman whom he has ravished is given to him as a wife, to the great joy of her mother, who alone is aware of her misfortune, and hopes that her disgrace may be thereby concealed. It, however, happens otherwise; for Pamphilus, still retaining his passion for Bacchis, refuses for some time to cohabit with her. Bacchis, however, now rejects the advances of Pamphilus, who by degrees becomes weaned from his affection for her, and grows attached to his wife, whom he has hitherto disliked. Meantime, however, he is suddenly called away from home. During his absence, Philumena, finding herself pregnant in consequence of her misfortune before her marriage, fearing detection, especially avoids the company of her mother-in-law. At length she makes an excuse for returning to the home of her own parents, where she remains. Sostrata thereupon sends for her, but is answered that she is ill, on which she goes to see her, but is refused admittance to the house. On hearing of this, Laches blames his wife as being the cause of this estrangement. Pamphilus now returns, and it so happens that, on the day of his arrival, Philumena is brought to bed of a child. Impatient to see her, Pamphilus rushes into her room, and to his great distress finds that this is the case. Myrrhina thereupon entreats him to keep the matter secret, and begs him, if he refuses to receive her daughter back again, at least not to ruin her reputation by divulging it. As he now declines either to take back his wife or give his reason for so doing, Laches suspects that he is still enamored of Bacchis, and accordingly sends for her, and expostulates with her. She, however, exonerates herself; on which the old man, supposing that Philumena and her mother are equally ignorant with himself as to his son’s motives, begs her to call on them and remove their suspicions. While she is conversing with them, they recognize the ring upon her finger which Pamphilus had formerly taken from Philumena. By means of this it is discovered that Pamphilus himself is the person who has ravished Philumena; on which, overjoyed, he immediately takes home his wife and son.

THE TITLE OF THE PLAY.

Performed at the Megalensian Games; Sextus Julius Csesar and Cneius Cornelius Dolabella being Curule Ædiles. The whole was not then acted. Flaccus, the freedman of Claudius, composed the music to a pair of flutes. It was composed wholly from the Greek of Menander.[11] It was performed the first time without a Prologue. Represented a second time; Cneius Octavius and T. Manlius being Consuls.[12] It was then brought out in honor of L. Æmilius Paulus, at his Funeral Games, and was not approved of. It was repeated a third time; Q. Fulvius and L. Marcius being Curule Ædiles. L. Ambivius Turpio performed it. It was then approved of.[13]

HECYRA; THE MOTHER-IN-LAW.

THE SUMMARY OF C. SULPITIUS APOLLINARIS.

Pamphilus has married Philumena, to whom, when a virgin, he formerly, not knowing who she was, offered violence; and whose ring which he took off by force, he gave to his mistress, Bacchis, a Courtesan. Afterward he sets out for Imbros, not having touched his bride. Having become pregnant, her mother brings her over to her own house, as though sick, that her mother-in-law may not know it. Pamphilus returns; detects her being delivered; conceals it; but determines not to take back his wife. His father imputes {this} to his passion for Bacchis. While Bacchis is exculpating herself, Myrrhina, the mother of the injured girl, by chance recognizes the ring. Pamphilus takes back his wife, together with his son.

THE FIRST PROLOGUE.

Hecyra[14] is the name of this Play; when it was represented for the first time, an unusual disaster and calamity[15] interrupted it, so that it could not be witnessed {throughout} or estimated; so much had the populace, carried away with admiration, devoted their attention to some rope-dancing. It is now offered as though entirely a new Play; and he who wrote it did not wish to bring it forward {then} a second time, on purpose that he might be able again to sell it.[16] Other {Plays} of his[17] you have seen represented; I beg you now to give your attention to this.

THE SECOND PROLOGUE.[18]

I come to you as an envoy from the Poet, in the character of prologue-speaker; allow me to be a successful pleader, that in my old age I may enjoy the same privilege that I enjoyed when a, younger man, when I caused new Plays, that had been {once} rejected, to come into favor; so that his writings might not die with the Poet. Among them, as to those of Cæcilius,[19] which I first studied when new; in some of which I was rejected; in some I kept my ground with difficulty. As I knew that the fortune of the stage was varying, where the hopes were uncertain, I submitted to certain toil. Those I zealously attempted to perform, that from the same {writer} I might learn new ones, {and} not discourage him from his pursuits. I caused them to be represented. When seen, they pleased. Thus did I restore the Poet to his place, who was now almost weaned, through the malevolence of his adversaries, from his pursuits and labors, and from the dramatic art. But if I had at that period slighted the writer, and had wished to use my endeavors in discouraging him, so that he might live a life of idleness rather than of study, I might have easily discouraged him from writing others. Now, for my sake, hear with unbiased minds what it is I ask. I again bring before you the Hecyra, which I have never been allowed to act {before you} in silence; such misfortunes have so overwhelmed it. These misfortunes your intelligence will allay, if it is a seconder of our exertions. The first time, when I began to act this {Play}, the vauntings of boxers,[20] the expectation of a rope-dancer,[21] added to which, the throng of followers, the noise, the clamor of the women, caused me to retire from your presence before the time. In this new Play, I attempted to follow the old custom {of mine},[22] of making a fresh trial; I brought it on again. In the first Act I pleased; when in the mean time a rumor spread that gladiators were about to be exhibited; the populace flock together, make a tumult, clamor aloud, {and} fight for their places:[23] meantime, I was unable to maintain my place. Now there is no confusion: there is attention and silence-- an opportunity of acting {my Play} has been granted me; to yourselves is given the power of gracing the scenic festival.[24] Do not permit, through your agency, the dramatic art to sink into the hands of a few; let your authority prove a seconder and assistant to my own. If I have never covetously set a price upon my skill, and have come to this conclusion, that it is the greatest gain in the highest possible degree to contribute to your entertainment; allow me to obtain this of you, that him who has intrusted his labors to my protection, and himself to your integrity,-- that him, I {say}, the malicious may not maliciously deride, beset {by them} on every side. For my sake, admit of this plea, and attend in silence, that he may be encouraged to write other {Plays}, and that it may be for my advantage to study new ones hereafter, purchased at my own expense.[25]