[97.] A knot in a bulrush)—Ver. 942. “Nodum in scirpo quærere” was a proverbial expression implying a desire to create doubts and difficulties where there really were none; there being no knots in the bulrush. The same expression occurs in the Menæchmi of Plautus, l. 247.
[98.] Of course——Then be it so)—Ver. 951. “Nempe id. Scilicet.” Colman has the following remark on this line: “Donatus, and some others after him, understand these words of Simo and Pamphilus as requiring a fortune of Chremes with his daughter; and one of them says that Simo, in order to explain his meaning, in the representation, should produce a bag of money. This surely is precious refinement, worthy the genius of a true Commentator. Madame Dacier, who entertains a just veneration for Donatus, doubts the authenticity of the observation ascribed to him. The sense I have followed is, I think, the most obvious and natural interpretation of the words of Pamphilus and Simo, which refers to the preceding, not the subsequent, speech of Chremes.”
[99.] He is not rightly bound)—Ver. 956. “Non recte vinctus;” meaning “it was not well done to bind him.” The father pretends to understand him as meaning (which he might equally well by using the same words), “non satis stricte,” “he wasn’t tightly enough” bound; and answers “I ordered that he should be,” referring to his order for Davus to be bound hand and foot. Donatus justly observes that the disposition of the old gentleman to joke is a characteristic mark of his thorough reconciliation.
[100.] Their joys are their own)—Ver. 961. Westorhovius remarks that he seems here to be promulgating the doctrine of Epicurus, who taught that the Deities devoted themselves entirely to pleasure and did not trouble themselves about mortals. Donatas observes that these are the doctrines of Epicurus and that the whole sentence is copied from the Eunuch of Menander; to which practice of borrowing from various Plays, allusion is made in the Prologue, where he mentions the mixing of plays; “contaminari fabulas.”
[101.] Grant us your applause)—Ver. 982. “Plaudite.” Colman has the following remark at the conclusion of this Play: “All the old Tragedies and Comedies acted at Rome concluded in this manner. ‘Donec cantor vos “Plaudite” dicat,’ says Horace. Who the ‘cantor’ was, is a matter of dispute. Madame Dacier thinks it was the whole chorus; others suppose it to have been a single actor; some the prompter, and some the composer. Before the word ‘Plaudite’ in all the old copies is an Ω which has also given rise to several learned conjectures. It is most probable, according to the notion of Madame Dacier, that this Ω, being the last letter of the Greek alphabet, was nothing more than the mark of the transcriber to signify the end, like the Latin word ‘Finis’ in modern books; or it might, as Patrick supposes, stand for Ωδος, ‘cantor,’ denoting that the following word ‘Plaudite’ was spoken by him. After ‘Plaudite’ in all the old copies of Terence stand these two words, ‘Calliopius recensui;’ which signify, ‘I, Calliopius, have revised and corrected this piece.’ And this proceeds from the custom of the old critics, who carefully revised all Manuscripts, and when they had read and corrected any work, certified the same by placing their names at the end of it.”
[ EUNUCHUS;]
THE EUNUCH.
DRAMATIS PERSONÆ.
Laches,[1] an agedAthenian. | |
Phædria,[2] Chærea,[3] | his sons. |
Antipho,[4] a young man, friendof Chærea. Chremes,[5] a young man,brother of Pamphila. Thraso,[6] a boastfulCaptain. Gnatho,[7] a Parasite. Parmeno,[8] servant ofPhædria. Sanga,[9] cook to Thraso. | |
Donax,[10] Simalio,[11] Syriscus,[12] | servants of Thraso. |
Dorus,[15] a Eunuchslave. Thais,[13] aCourtesan. | |
Pythias,[14] Dorias,[15] | her attendants. |
Sophrona,[16] a nurse. Pamphila,[17] a femaleslave. | |