Terence's Andrian, a comedy, in five acts

by Terence

Some critics have objected against Terence, that he is guilty of an impropriety in making one actor speak very frequently without being heard by another; and introducing two or more persons on the stage, who, though they are both of them seen by the spectators, yet do not perceive each other for a considerable space of time. These objections are easily answered when we reflect on the magnificent size of the Roman theatres. An ingenious writer of the last century has given a very clear explanation of this subject: I shall give it in his own words.

“Some make this objection, that in the beginning of many scenes, two actors enter upon the stage, and talk to themselves a considerable time before they see or know one another; which they say is neither probable nor natural. Those that object to this don’t consider the great difference between our little scanty stage and the large magnificent Roman theatres. Their stage was sixty yards wide in the front, their scenes so many streets meeting together, with all by-lanes, rows, and alleys; so that two actors coming down two different streets or lanes, couldn’t be seen by each other, though the spectators might see both; and sometimes, if they did see each other, they couldn’t well distinguish faces at sixty yards’ distance. Besides, upon several accounts, it might well be supposed when an actor enters upon the stage out of some house, he might take a turn or two under the porticoes, cloisters, or the like, (that were usual at that time,) about his door, and take no notice of an actor’s being on the other side of the stage.”

Of course, the extensive size of the Roman theatres made it impossible that the natural voice of the actors should be distinctly heard at the distance they stood from the audience: to remedy this inconvenience, they had recourse to a sort of mask, which covered both the head and the face: it was called persona, from two Latin words, signifying to sound through: the mouth of this mask was made very large, and with thin plates of brass they contrived to swell the sound of the voice, and, at the same time, to vary its tones, so as to accord with the passions they wished to express. Instructions in the use of these masks formed an essential and important branch of the education of a Roman actor.

The plays represented at Rome were divided into two classes: 1. the palliatæ, 2. the togatæ. In the first, the characters of the piece were entirely Grecian: in the latter, they were entirely Roman. The second class, viz., the togatæ, were subdivided into the prætextatæ, when the play was tragedy: the tabernariæ, when the scenes lay in low life: the atellanæ, or farces: and the trabeatæ, when the scene lay in the camp: they had likewise mimes and pantomimes.

The chorus consisted sometimes of one person, though generally of several, who stood on the stage during the representation, at first, without any share in the action of the piece: some suppose that they were there partly in the character of spectators: if this conjecture be correct, Terence may be excused for making the actors address them. Their business seems originally to have been singing between the pauses in the action, and delivering moral reflections on what was represented on the stage: afterwards they were incorporated with the action, as a species of attendants. These theatrical appendages were at last laid aside, because it was thought to appear improbable, that intrigues, which usually are to be kept secret, should be carried on in their presence.

Flutes were played during the whole time of the performance, and the chief musician beating time, directed the actors when they were to raise, and when they were to depress their voices. Sometimes one person recited the words, and another performed the action of the same part. The tibiæ, or flutes, were of various kinds: the best account of the manner in which they were used is given us by Madame Dacier, as follows:

“The performers played on two flutes during the whole of the representation. They stopped the vents of one of them with the right hand: that flute was, therefore, called right handed: the other was stopped with the left, and called a left-handed flute. In the first, there were but a few holes; which occasioned it to give a deep, bass sound: in the other, the holes were very numerous: this flute sounded a sharp shrill note.

“When a comedy was accompanied by two flutes of a different sound, it was said to be played Tibiis imparibus dextris et sinistris, unequal flutes, right and left handed. When the flutes were of the same sound, it was said to be played Tibiis paribus dextris, with equal right-handed flutes, if they were of a deep sound: and Tibiis paribus sinistris, with equal left-handed flutes, when they were of a sharp shrill sound. The right-handed flutes were called Lydian; the left-handed Tyrian; the unequal Phrygian; as were also the crooked flutes.”

The tragic and comic actors were distinguished from each other by the covering of their feet. The tragedians wore a sort of boot, called cothurnus, with a very high heel; which was intended to give them a commanding, majestic appearance. The comedians wore a light shoe, or slipper, called soccus.

The Romans appear to have been very partial to dramatic entertainments. Magistrates were appointed to exhibit them: and the people even devoted to the theatre part of that time which is usually allotted to more weighty concerns: as their plays were usually performed in the day-time. Magnificent theatres were erected at the public expense; and sometimes even by private individuals. A description of one of these buildings is recorded by Pliny. The scenes were divided into three partitions, one above another. The first consisted of one hundred and twenty marble pillars; the second of the same number of pillars, most curiously covered and ornamented with glass: the third of the same number of pillars, covered with gilded tablets. Three thousand brazen statues filled up the spaces between the pillars. This theatre would contain eighty thousand persons. Independently of the ordinary representations, plays were performed on all solemn occasions: at the public feasts and games, and at the funerals of eminent citizens. No opportunity seems to have been neglected to introduce this species of amusement at Rome: no nation, ancient or modern, appears to have cultivated the drama with greater diligence than the Romans; and few have had more success. It is our misfortune, that so few specimens of the excellence of their dramatists have descended to our times. Let us, however, admire and profit by what we have. The writings of Terence and of Plautus present us with an inexhaustible source of pleasure and instruction. As long as virtuous and humane sentiments do not lose their appeal to the heart; as long as purity, delicacy of expression, wit, and spirit, and well-wrought fable continue to satisfy the judgment; so long the names of Terence and of Plautus must remain immortal.