The Roman Poets of the Republic, 2nd edition

by W. Y. Sellar

All these passages show that he was at war with the survivors of the older generation of playwrights; that he was not a popular poet, in the sense in which Plautus was popular; that he made no claim to original invention, or even original treatment of his materials; that he was however not a mere translator but rather an adapter from the Greek; and that his aim was to give a true picture of Greek life and manners in the purest Latin style. He speaks with the enthusiasm not of a creative genius, but of an imitative artist, inspired by a strong admiration of his models. And this view of his aim is confirmed by the result which he attained. He has none of the purely Roman characteristics of Plautus, in sentiment, allusion, or style[275]; none of his extravagance, and none of his vigour. The law which Terence always imposes on himself is the 'ne quid nimis.' He aims at correctness and consistency, and rejects nearly every expression or allusion which might remind his hearers that they were in Rome and not in Athens. His plots are tamer and less varied in their interest than those of Plautus, but they are worked out more carefully and artistically. He takes great pains in the opening scenes to make the situation in which the play begins clear, and he allows the action to proceed to the dénouement through the medium of the natural play of character and motive. As a painter of life it is not by striking effects, but by his truth in detail, and his power of delineating the finer distinctions in varying specimens of the same type, that he gains a hold over the reader. There are no strongly-drawn or vividly conceived personages in his plays, but they all act and speak in the most natural manner: and the powers of intrigue and mystification attributed to his slaves are limited by the ordinary resources of human ingenuity. Characters, circumstances, motives, etc., are all in keeping with a cosmopolitan type of citizen life, courteous and humane, taking the world easily, and outwardly decorous in its pleasures, but without any serious interests, any sense of duty, or any high aspirations.

Terence is, accordingly, in substance and form, a 'dimidiatus Menander,'—a Roman only in his language. The aim of his art was to be as purely Athenian as it was possible for one writing in Latin to be. The life of Athens, in the third century B.C., after the loss of her religious belief, her great political activity, her speculative and artistic energy,—or, rather, one of the phases of that life, as it was shaped by Menander for dramatic purposes—supplies the material of all his plays. It is the embodiment of the lighter side of the philosophy of Epicurus, without the elevation of the speculative and scientific curiosity which gave serious interest even to that form of the philosophic life. There is a charm of friendliness, urbanity, social enjoyment, superficial kindness of heart, in the picture presented: and it was a necessary stage in the culture of the best Romans that they should learn to appreciate this charm, and assimilate its influence in their intercourse with one another. The Greek comedy of Menander was a lesson to the Romans in manners, in tolerance, in kindly indulgence to equals and inferiors, and in the cultivation of pleasant relations with one another. The often quoted line,—

Homo sum; humani nihil a me alienum puto,

might be taken as its motto. The idea of 'human nature,' in its weakness and in its sympathy with weakness, may be said to be the new element contributed to Roman life by the comedy of Terence. The qualities of 'humanitas, clementia, facilitas,'—general amiability and good nature,—are the virtues which it exemplifies. The indulgence of the old to the follies or pleasures of the young is often contrasted with the stricter view of the obligations of life, entertained by an earlier generation, and always in favour of the former. The plea of the passionate modern poet—

'To step aside is human'—

is often urged, but without any feeling that this divergence needs an apology. The hollowness of the social conditions on which this superficial agreeability and humanity rested is revealed by passages in these plays which prove that the habitual comfort of a moderately wealthy class was maintained by the practice of infanticide: and a virtuous wife is represented as begging the forgiveness of her husband for having given her child away instead of ordering it to be put to death[276]. In its outward amenity, as well as its inward hollowness, the social and family life depicted in the comedies of Terence was the very antithesis of the old Roman austere and formal discipline. How far this comedy contributed to the subsequent depravation of Roman character, it is difficult to say. The tone in which pleasure or vice is treated seems too feeble and sentimental to have powerfully stimulated the Roman temperament. The writings of Cicero and Horace show that the receptive Italian intellect was able to extract the elements of courtesy, tolerance, and social amiability out of such a delineation without any loss of native manliness and strength of affection. And thus perhaps, apart from their literary charm, the permanent gain to the world from the comedies of Terence and the philosophy which they embody, has been greater than the immediate loss to the weaker members of the Roman youth who may have been misled by the view of life presented in them.

The motive of all the pieces is love. There is generally a double love-story; one, an attachment, which, if not virtuous in the beginning, has become so afterwards, and which ends in marriage and the discovery that the lady is the daughter of a citizen, who has been exposed or carried away in her infancy; the other, an ordinary intrigue, like those which form the subject of most of the comedies of Plautus. In his treatment of love, Terence may be said to be the precursor of Catullus, Propertius, and Tibullus. He has the serious sense of its pains and pleasures which they display, though he wants the passionate intensity of the two first of these. The greatest attraction of his love passages arises from his tenderness of feeling. In this he is like Tibullus. Although the origin of the sentiment, in most of his plays, is nothing deeper than desire, inspired by outward charms and enhanced by compassion, yet we recognise in him, or in the model which he followed, much more than in Plautus, a belief in and appreciation of constancy and fidelity. In his treatment of his 'amantes ephebi' he shows sympathy with, rather than the humourous superiority to their weaknesses which we find in Plautus. But though there is more grossness in the older poet, yet there is occasionally more real indelicacy in Terence; as in the subject of the 'Eunuchus' and in the acceptance by Phaedria, at the end of that play, of the suggestion of Gnatho, which, in its union of mercenary with sentimental motives, is almost more repugnant to natural feeling than the conclusion of the 'Asinaria' and 'Bacchides.'

The characters in Terence, although more consistent and more true to ordinary life, are more faintly drawn than those of Plautus. None of them stand out in our memory with the distinctness and individuality of Euclio, Pseudolus, Ballio, or Tyndarus. The want of definite personality which they had to the poet himself is implied in the frequent recurrence of the same names in his different pieces. They are products of analysis and reflexion, not of bold invention and creative sympathy. They are embodiments of the good sense which keeps a conventional society together, or of the tamer impulses by which the surface of that society is temporarily ruffled. The predominant tone in their intercourse with one another is one of urbanity. We find none of the rollicking vituperation and execration in which Plautus revels. The encounter of wits between slaves and fathers is conducted with the weapons of polished irony and mutual deference to one another. Davus, Parmeno, Syrus, Geta, speak with the terse and epigrammatic polish of gentlemen and men of the world.

While the 'Andria' has more pathetic situations, and the 'Adelphi' is on the whole more true to human nature, the 'Eunuchus' presents the greatest number of interesting personages. The Thais of that play is the most favourable delineation of the Athenian 'Hetaera' in ancient literature. She has grace and dignity, a consciousness of her charms combined with a proud humility, and not only kindliness of nature, but real goodness of heart. The natural dignity of her nature, tempered by the sense of her position, appears in her rebuke to Chaerea,—

Non te dignum, Chaerea,