[27.] Colax, an old Play of Plautus)—Ver. 25. Although Nonius Marcellus professes to quote from the Colax of Plautus (so called from the Greek Κολὰξ, “a flatterer” or “parasite”), some scholars have disbelieved in the existence of any Play of Plautus known by that name. Cooke says: “If Plautus had wrote a Play under the title of ‘Colax,’ I should think it very unlikely that it should have escaped Terence’s eye, considering how soon he flourished after Plautus, his being engaged in the same studies, and his having such opportunities to consult the libraries of the great; for though all learning was then confined to Manuscripts, Terence could have no difficulty in coming at the best copies. The character of the ‘Miles Gloriosus’ [Braggart Captain] here mentioned, I am inclined to think the same with that which is the hero of Plautus’s Comedy, now extant, and called ‘Miles Gloriosus,’ from which Terence could not take his Thraso. Pyrgopolinices and Thraso are both full of themselves, both boast of their valor and their intimacy with princes, and both fancy themselves beloved by all the women who see them; and they are both played off by their Parasites, but they differ in their manner and their speech: Plautus’s Pyrgopolinices is always in the clouds, and talking big, and of blood and wounds—Terence’s Thraso never says too little nor much, but is an easy ridiculous character, continually supplying the Audience with mirth without the wild extravagant bluster of Pyrgopolinices; Plautus and Terence both took their soldiers and Parasites from Menander, but gave them different dresses.” Upon this Note Colman remarks: “Though there is much good criticism in the above Note, it is certain that Plautus did not take his ‘Miles Gloriosus’ from the Colax of Menander, as he himself informs us it was translated from a Greek play called Ἀλάζων, ‘the Boaster,’ and the Parasite is but a trifling character in that play, never appearing after the first Scene.”
[28.] Hurrying servants)—Ver. 35. On the “currentes servi,” see the Prologue to the Heautontimorumenos, l. 31. Ovid, in the Amores, B. i., El. 15, l. 17, 18, mentions a very similar combination of the characters of Menander’s Comedy: “So long as the deceitful slave, the harsh father, the roguish procuress, and the cozening courtesan shall endure, Menander will exist.”
[29.] What, then, shall I do?)—Ver. 46. Phædria, on being sent for by Thais, breaks out into those words as he enters, after having deliberated upon his parting with her. Both Horace and Persius have imitated this passage in their Satires.
[30.] What! I to her?)—Ver. 65. Donatus remarks that this is an abrupt manner of speaking familiarly to persons in anger; and that the sentences are thus to be understood, “I, go to her? Her, who has received him! Who has excluded me!”—inasmuch as indignation loves to deal in Ellipsis and Aposiopesis.
[31.] The downfall of our fortunes)—Ver. 79. Colman observes, “There is an extreme elegance in this passage in the original; and the figurative expression is beautifully employed.” “Calamitas” was originally a word used in husbandry, which signified the destruction of growing corn; because, as Donatus says, “Comminuit calamum et segetem;”—“it strikes down the blades and standing corn.”
[32.] Approach this fire)—Ver. 85. “Ignem” is generally supposed to be used figuratively here, and to mean “the flame of love.” Eugraphius, however, would understand the expression literally, observing that courtesans usually had near their doors an altar sacred to Venus, on which they daily sacrificed.
[33.] Of course it’s because)—Ver. 89. It must be observed that these words, commencing with “Sane, quia vero,” in the original, are said by Phædria not in answer to the words of Thais immediately preceding, but to her previous question, “Cur non recta introibas?” “Why didn’t you come into the house at once?” and that they are spoken in bitter irony.
[34.] From Sunium)—Ver. 115. This was a town situate near a lofty Promontory of that name in Attica. It was famous for a fair which was held there. “Sunium’s rocky brow” is mentioned by Byron in the song of the Greek Captive in the third Canto of Don Juan.
[35.] Set out for Caria)—Ver. 126. This was a country of Asia Minor upon the sea-coast, opposite to the island of Rhodes.
[36.] Servant-maid from Æthiopia)—Ver. 165. No doubt Æthiopian or negro slaves were much prized by the great, and those courtesans whose object it was to ape their manners.