[NOTE 89.]
In truth, friend Davus, from what I have just heard.
This scene contains the second part of the narration, which possesses all the requisites enumerated by Cicero, perspicuity, probability, brevity, and sweetness. It is introduced with Terence’s usual art, and enough is said respecting Glycera’s birth, to prepare the mind for the dénouement in the last act. This scene, and that before it, are omitted in the Conscious Lovers; and a dialogue between Humphrey and Tom, and another between Tom and Phyllis, the English Davus and Mysis, are substituted instead of them: but Phyllis is the servant of Lucinda, the lady Sir J. Bevil wishes his son to marry: and not of Indiana, the modern Glycera. The two scenes above mentioned contain only one incident: the conveyance of a letter from young Bevil to Lucinda, apprizing her of his disinclination to the match.
[NOTE 90.]
This affair must be handled dexterously, or either my young master or I must be quite undone.
The original of this passage is as follows: Quæ si non astu providentur, me, aut herum pessundabunt. A deviation from the customary mode of expression sometimes occurs in our author’s writings. I shall set down the most remarkable words of this nature that are to be found in this play.
- Abutor, with an accusative.
- Alterco, for altercor.
- Astu, for Astutia.
- Complacita est, for placuit.
- Catus.
- Claudier, for claudi.
- Conflictatur, cum ingeniis ejusmodis.
- Duint, for dent.
- Diecula.
- Emergere se, for emergere.
- Face, for fac.
- Introspicere.
- Ipsus.
- Immutarier, for immutari.
- Morigera.
- Maximum facere hominem, for maximi.
- Ornati, for ornatus.
- Preci, for precibus.
- Postillà, for posteà.
- Symbola, for symbolum.
- Spero, for timeo.
- Subsarcinatam.
- Tetulit.
- Tumulti, for tumultus.
[NOTE 91.]
If he finds out the least thing I am undone.
Terence has the art of making us feel interested in the favour of almost all his characters: they insensibly gain ground in our good opinion: even this Davus, who certainly has a spice of the rogue about him, creates a warm interest in his favour by his fidelity to Pamphilus; and his generosity in risking his own safety to serve him: he braves the threats of Simo, when, by assisting him, and betraying Pamphilus, he must have secured the old man’s favour, and consequently great advantages to himself. But very few of the worst characters in Terence’s plays seem to us to be wholly unamiable.
[NOTE 92.]
I think their intentions savour more of madness than of any thing else.
Terence plays upon the words in the original of this passage, which is as follows,
“Nam inceptio est amentium, haud amantium.”