Midsummer Night’s Dream.
[54.] The old man and the old woman)—Ver. 621. “Senex atque anus.” In these words he probably refers to the commencement of many of the stories current in those times, which began: “There were once upon a time an old man and an old woman.” Indeed, almost the same words occur in the Stichus of Plautus, l. 540, at the commencement of a story: “Fuit olim, quasi ego sum, senex,” “There was upon a time an old man, just like me.”
[55.] Still take the child)—Ver. 638. In cases of separation it was customary for the father to have the care of the male children.
[56.] But should you like)—Ver. 725. Donatus observes that Phidippus utters these words with an air of disinclination to be present at the conference; and, indeed, the characters are well sustained, as it would not become him coolly to discourse with a courtesan, whom he supposes to have alienated Pamphilus from his daughter, although he might very properly advise it, as being likely to conduce to the peace of both families.
[57.] Kept Pamphilus at a distance)—Ver. 752. Colman observes, how are we to reconcile this with the words of Parmeno at the beginning of the Play, where he says that Pamphilus visited Bacchis daily; and he inquires whether we are to suppose that Bacchis, who behaves so candidly in every other instance, wantonly perjures herself in this, or that the Poet, by a strange infatuation attending him in this Play, contradicts himself? To this it may be answered, that as Bacchis appears to be so scrupulous in other instances, it is credible that, notwithstanding his visits, she may not have allowed him to share her embraces.
[58.] Other courtesans avoid doing)—Ver. 777. Colman has the following quotation from Donatus: “Terence, by his uncommon art, has attempted many innovations with great success. In this Comedy, he introduces, contrary to received prejudices, a good step-mother and an honest courtesan; but at the same time he so carefully assigns their motives of action, that by him alone every thing seems reconcilable to truth and nature; for this is just the opposite of what he mentions in another place, as the common privilege of all Poets, ‘to paint good matrons and wicked courtesans.’” Perhaps the same good feeling prompted Terence, in showing that a mother-in-law and a courtesan could be capable of acting with good and disinterested feelings, which caused Cumberland to write his Play of “The Jew,” to combat the popular prejudice against that persecuted class, by showing, in the character of Sheva, that a Jew might possibly be a virtuous man.
[59.] Have been unjustly suspected)—Ver. 778. The words here employed are also capable of meaning, if an active sense is given to “suspectas,” “our wives have entertained wrong suspicions;” but the sense above given seems preferable, as being the meaning of the passage.
[60.] Run with all speed)—Ver. 809. Donatus remarks, that Parmeno is drawn as being of a lazy and inquisitive character; and that Terence, therefore, humorously contrives to keep him always on the move, and in total ignorance of what is going on.
[61.] Surcharged with wine)—Ver. 824. Cooke has this remark here: “I suppose that this is the best excuse the Poet could make for the young gentleman’s being guilty of felony and rape at the same time. In this speech, the incident is related on which the catastrophe of the Play turns, which incident is a very barbarous one, and attended with more than one absurdity, though it is the occasion of an agreeable discovery.”
[62.] In the Comedies)—Ver. 867.—Madame Dacier observes on this passage: “Terence here, with reason, endeavors to make the most of a circumstance peculiar to his Play. In other Comedies, every body, Actors as well as Spectators, are at last equally acquainted with the whole intrigue and catastrophe, and it would even be a defect in the plot were there any obscurity remaining. But Terence, like a true genius, makes himself superior to rules, and adds new beauties to his piece by forsaking them. His reasons for concealing from part of the personages of the Drama the principal incident of the plot, are so plausible and natural, that he could not have followed the beaten track without offending against manners and decency. This bold and uncommon turn is one of the chief graces of the Play.”