Quia primas partes qui aget, is erit Phormio
Parasitus, per quem res geretur maxume.[[222]]
It was acted four times; on the last occasion, in the consulship of C. Fannius Strabo and M. Valerius Messala,[[223]] at the Roman or Circensian games.
Plot.——Chremes, an Athenian, although he has a wife at Athens, (Nausistrata,) marries another at Lemnos under the feigned name of Stilpho. By her he has a daughter, Phanium. When she has attained a marriageable age, Chremes arranges with his brother Demipho, that she shall become the wife of his son Antipho. After this, the two old men leave Athens; and in their absence Demipho’s son, Phædria, falls in love with a minstrel-girl, and the Lemnian wife arrives at Athens, together with her daughter Phanium. There she dies; and Antipho, seeing Phanium at the funeral, becomes enamoured of her. Not knowing what to do, he takes the advice of Phormio. In the case of a destitute orphan, the Athenian law compelled the nearest of kin to marry her or to give a portion. Phormio brings an action against Antipho; the case is proved, and he marries Phanium. The old men return, and Chremes, not knowing that Phanium is his own daughter, is desperately angry. Mean while, Dorio, the owner of Pamphila, threatens to sell her to some one else unless Phædria will immediately pay him thirty minæ. Geta, a knavish servant of Demipho, procures this money by telling the old gentleman that Phormio is willing to take Antipho’s wife off his hands on condition of receiving thirty minæ. Phanium is eventually discovered and acknowledged, and thus matters are happily concluded. Nausistrata is at first very angry, but relents on the submission of the repentant Chremes.
This comedy supplied Molière with a large portion of the materials for “Les Fourberies de Scapin.”
Hecyra.
This comedy, which, if the inscription may be trusted, is a translation or adaptation from one by Menander, was the least successful of all the plays of Terence. Twice it was rejected; on the first occasion, as the prologue to its second representation informs us, owing to “an unheard-of calamity and impediment.”[[224]] The thoughts of the public were so occupied by a rope-dancer that they would not hear a word. Terence feared to risk a second representation on the same day; but such confidence had he in the merits of the play, that he offered it a second time for sale to the ædiles, and it was acted again in the consulship of Cn. Octavius and T. Manlius.[[225]] It was acted a third time at the funeral games of L. Æmilius Paulus, when it was again rejected. On its next representation, it was successful; and Ambivius Turpio, by whose theatrical company it was performed, and whose popularity had already caused the revival of some unsuccessful plays,[[226]] undertook to plead its cause in a new prologue. This prologue enters fully into the circumstances which caused its rejection. It states that some renowned boxers and expected performances of a rope-dancer caused a great tumult and disturbance, especially among the female part of the audience; that, at the next representation, the first act went off with applause, but a rumour spread of a gladiatorial combat, the people flocked to a show which was more congenial to their taste, and the theatre was deserted. In conclusion, for the sake of the art of poetry, for the encouragement of himself to buy new plays, and for the protection of the poet from malicious critics, Ambivio entreated the patient attention of the audience; and the appeal of the old favourite servant of the public was successful.
The Hecyra is, without doubt, inferior to the other plays of Terence, and probably for that reason has never been imitated in modern literature. It is a drama of domestic life, and yet the plot is deficient in interest, and the scenes want life and variety.
Plot.—Pamphilus, at the desire of his father, Laches, marries Philumena, the daughter of Phidippus and Myrrhina, but being involved in an amour with Bacchis, has no affection for his wife, and avoids all intercourse with her. Meanwhile, Bacchis offended at his marriage, shows such an ill-temper, that his affection is weaned from her and transferred to Philumena. Pamphilus then goes to Imbrus, and on his return is surprised with the news that Philumena has left his father’s house, and subsequently discovers that she has given birth to a son. He refuses, consequently, to receive her as his wife; but as he loves her to distraction, he promises her mother that he will keep her shame secret. As he will neither live with his wife nor assign any reason, Bacchis is suspected of being the cause. But she clears herself from the suspicion. Myrrhina, however, recognises upon her finger a ring belonging to her daughter. This leads to the dénouement. Pamphilus had one night when intoxicated met Philumena, and offered her violence. He had forced a ring from her finger and given it to Bacchis. He, therefore, with joy, acknowledges the child as his own, and restores his injured wife to his affections.
The comedy derives its title, Hecyra (the mother-in-law,) from the part taken by Sostrata, the mother of Pamphilus. Laches, unable to account for the conduct of Philumena and his son, is firmly persuaded that his wife Sostrata had taken a prejudice against her daughter-in-law, and Pamphilus, notwithstanding his dutiful affection for his mother, cannot avoid being under a similar impression. Sostrata, in order to remove this suspicion, offers with noble generosity to leave the house in order that Philumena may return.