by Terence
The Nurse goes into his house.
Lach. (to Bacchis.) My son’s father-in-law, I see, is coming; he is bringing a nurse for the child. (Accosting him.) Phidippus, Bacchis swears most solemnly.
Phid. Is this she?
Lach. It is.
Phid. Upon my faith, those women don’t fear the Gods; and I don’t think that the Gods care about them.
Bacch. (pointing to her Attendants.) I will give you up my female servants; with my full permission, examine them with any tortures you please. The business at present is this: I must make his wife return home to Pamphilus; should I effect that, I shall not regret its being reported that I have been the only one to do what other courtesans avoid doing.
Lach. We find, Phidippus, that our wives have been unjustly suspected by us in this matter. Let us now try her still further; for if your wife discovers that she has given credence to a false charge, she will dismiss her resentment; but if my son is also angry, by reason of the circumstance that his wife has been brought to bed without his knowledge, that is a trifle: his anger on that account will speedily subside. Assuredly in this matter, there is nothing so bad as to be deserving of a separation.
Phid. I sincerely wish it may be so.
Lach. Examine her; here she is; she herself will satisfy you.
Phid. Why do you tell me these things? Is it because you have not already heard what my feelings are with regard to this matter, Laches? Do you only satisfy their minds.
Lach. Troth now, Bacchis, I do entreat that what you have promised me you will do.
Bacch. Would you wish me, then, to go in about this business?
Lach. Go, and satisfy their minds, so as to make them believe it.
Bacch. I’ll go: although, upon my word, I am quite sure that my presence will be disagreeable to them, for a married woman is the enemy of a mistress, when she has been separated from her husband.
Lach. But they will be your friends, when they know the reason of your coming.
Phid. And I promise that they shall be your friends, when they know the fact; for you will release them from their mistake, and yourself, at the same time, from suspicion.
Bacch. Wretched me! I’m ashamed to meet Philumena. (To her Attendants.) Do you both follow me into the house.
Goes into the house with Phidippus and her Attendants.
Lach. (to himself.) What is there that I could more wish for, than what I see has happened to this woman? To gain favor without loss to myself, and to benefit myself at the same time. For if now it is the fact that she has really withdrawn from Pamphilus, she knows that by that step she has acquired honor and reputation: she returns the favor to him, and, by the same means, attaches us as friends to herself.
Goes into the house.
ACT THE FIFTH.
Scene I.
Enter Parmeno, moving along with difficulty.
Par. (to himself.) Upon my faith, my master does assuredly think my labor of little value; to have sent me for nothing, where I have been sitting the whole day to no purpose, waiting at the citadel for Callidemides, his landlord at Myconos. And so, while sitting there to-day, like a fool, as each person came by, I accosted him:—”Young man, just tell me, pray, are you a Myconian?” “I am not.” “But is your name Callidemides?” “No.” “Have you any former guest here named Pamphilus?” All said. “No; and I don’t believe that there is any such person.” At last, i’ faith, I was quite ashamed, and went away. But how is it I see Bacchis coming out of our neighbor’s? What business can she have there?
Scene II.
Enter Bacchis, from the house of Phidippus.
Bacch. Parmeno, you make your appearance opportunely; run with all speed to Pamphilus.
Par. Why thither?
Bacch. Say that I entreat him to come.
Par. To your house?
Bacch. No; to Philumena.
Par. What’s the matter?
Bacch. Nothing that concerns you; so cease to make inquiry.
Par. Am I to say nothing else?
Bacch. Yes; that Myrrhina has recognized that ring as her daughter’s, which he formerly gave me.
Par. I understand — is that all?
Bacch. That’s all. He will be here directly he has heard this from you. But do you linger?
Par. Far from it, indeed; for I’ve not had the opportunity given me to-day; so much with running and walking about have I wasted the whole day.
Goes into the house of Laches.
Scene III.
Bacchis, alone.
Bacch. What great joy have I caused for Pamphilus by my coming to-day! How many blessings have I brought him! and from how many sorrows have I rescued him! A son I save for him, when it was nearly perishing through the agency of these women and of himself: a wife, whom he thought that he must cast off forever, I restore to him: from the suspicion that he lay under with his father and Phidippus, I have cleared him. This ring, in fact, was the cause of these discoveries being made. For I remember, that about ten months ago, at an early hour of night, he came running home to my house, out of breath, without a companion, and surcharged with wine, with this ring in his hand. I felt alarmed immediately: “My Pamphilus,” I said, “prithee, my dear, why thus breathless, or where did you get that ring? — tell me!” He began to pretend that he was thinking of something else. When I saw that, I began to suspect I know not what, and to press him still more to tell me. The fellow confessed that he had ravished some female, he knew not whom, in the street; and said, that while she was struggling, he had taken that ring away from her. Myrrhina here recognized it just now, while I had it on my finger. She asked whence it came: I told her all the story. Hence the discovery has been made that it was Philumena ravished by him, and that this new-born child is his. I am overjoyed that this happiness has befallen him through my agency; although other courtesans would not have similar feelings; nor, indeed, is it to our interest that any lover should find pleasure in matrimony. But, i’faith, I never, for the sake of gain, will give my mind to base actions. So long as I had the opportunity, I found him to be kind, easy, and good-natured. This marriage has fallen out unluckily for me, — that I confess to be the fact. But, upon my word, I do think that I have done nothing for it to befall me deservedly. It is but reasonable to endure inconveniences from one from whom I have received so many benefits.
Scene IV.
Enter Pamphilus and Parmeno, from the house of Laches, on the other side of the stage.
Pam. Once more, take care, will you, my dear Parmeno, that you have brought me a faithful and distinct account, so as not to allure me for a short time to indulge in these transient joys.
Par. I have taken care.
Pam. For certain?
Par. For certain.
Pam. I am quite a God, if it is so!
Par. You’ll find it true.
Pam. Just stay, will you; I fear that I’m believing one thing, and you are telling another.
Par. I am staying.
Pam. I think you said to this effect — that Myrrhina had discovered that Bacchis has her ring.
Par. It is the fact.
Pam. The one I formerly gave to her; and she has desired you to tell me this: is such the fact?
Par. Such is so, I tell you.
Pam. Who is there happier than I, and, in fact, more full of joyousness? What am I to present you for these tidings? What? — what? I know not.
Par. But I know.
Pam. What?
Par. Why, nothing; for neither in the tidings nor in myself do I know of there being any advantage to you.
Pam. What! am I to suffer you, who have caused me, when dead, to be restored from the shades to life — to leave me unrewarded? Oh, you deem me too thankless! But look — I see Bacchis standing before the door; she’s waiting for me, I suppose; I’ll accost her.
Bacch. Save you, Pamphilus!
Pam. Oh Bacchis! Oh my Bacchis — my preserver!
Bacch. It is a fortunate thing, and gives me great delight.
Pam. By your actions, you give me reason to believe you, and so much do you retain your former charming qualities, that wherever you go, the meeting with you, your company, your conversation, always give pleasure.
Bacch. And you, upon my word, possess your former manners and disposition; so much so that not a single man living is more engaging than you.
Pam. (laughing.) Ha, ha, ha! do you tell me so?
Bacch. You had reason, Pamphilus, for being so fond of your wife. For never before to-day did I set eyes upon her, so as to know her: she seems a very gentle person.
Pam. Tell the truth.
Bacch. So may the Gods bless me, Pamphilus!
Pam. Tell me, have you as yet told any of these matters to my father?
Bacch. Not a word.
Pam. Nor is there need, in fact; therefore keep it a secret: I don’t wish it to be the case here as it is in the Comedies, where every thing is known to every body. Here, those who ought to know, know already; but those who ought not to know, shall neither hear of it nor know it.
Bacch. Nay more, I will give you a proof why you may suppose that this may be the more easily concealed. Myrrhina has told Phidippus to this effect — that she has given credit to my oath, and that, in consequence, in her eyes you are exculpated.
Pam. Most excellent; and I trust that this matter will turn out according to our wishes.
Par. Master, may I not be allowed to know from you what is the good that I have done to-day, or what it is you are talking about?
Pam. You may not.
Par. Still I suspect. “I restore him, when dead, from the shades below.” In what way?
Pam. You don’t know, Parmeno, how much you have benefited me to-day, and from what troubles you have extricated me.
Par. Nay, but indeed I do know: and I did not do it without design.
Pam. I know that well enough (ironically).
Bacch. Could Parmeno, from negligence, omit any thing that ought to be done?
Pam. Follow me in, Parmeno.
Par. I’ll follow; for my part, I have done more good to-day, without knowing it, than ever I did, knowingly, in all my life. (Coming forward.) Grant us your applause.
THE SELF-TORMENTOR
Translated by Henry Thomas Riley
Produced at an uncertain date, this play was based on a Greek original by Menander, which sadly no longer survives, like many of the Athenian’s works. Therefore, it is uncertain how much Terence’s version is a translation and how much an invention.
The Self-Tormentor is set in a village in the countryside of Attica. The play opens with a prologue that defends Terence’s method of playwriting. He asks the audience to judge the play by its merits, rather than by the opinions of critics. As the first Act begins, the character Menedemus is toiling in the fields of his recently acquired farm. Chremes, having observed Menedemus’ behaviour since he arrived in the district, asks why, when Menedemus is so wealthy, owning many slaves, does he toil morning and night in their place? Menedemus tells him that he is punishing himself for causing his son to go and live in penury overseas. He had reproached him severely for his wanton ways, presenting his own youth campaigning in the East as an example. Unfortunately Clinia, shamed, took him rather more literally than Menedemus had wished. Chremes invites Menedemus to celebrate the Dionysia at his house, Menedemus declines.
Menander (c. 341-290 BC), the source of inspiration of many of Terence’s plays
CONTENTS
DRAMATIS PERSONÆ.
THE SUBJECT.
THE TITLE OF THE PLAY.
THE SUMMARY OF C. SULPITIUS APOLLINARIS.
THE PROLOGUE.
ACT THE FIRST.
Scene I.
Scene II.
Scene III.
ACT THE SECOND.
Scene I.
Scene II.
Scene III.
Scene IV.
ACT THE THIRD.
Scene I.
Scene II.
Scene III.
ACT THE FOURTH.
Scene I.
Scene II.
Scene III.
Scene IV.
Scene V.
Scene VI.
Scene VII.
Scene VIII.
ACT THE FIFTH.
Scene I.
Scene II.
Scene III.
Scene IV.
Scene V.
DRAMATIS PERSONÆ.
Chremes, an old gentleman, living in the country.
Menedemus, an old gentleman, his neighbor.
Clinia, son of Menedemus.
Clitipho, son of Chremes.
Dromo, son of Clinia.
Syrus, servant of Clitipho.
Sostrata, wife of Chremes.
Antiphila, a young woman beloved by Clinia.
Bacchis, a Courtesan, the mistress of Clitipho.
The Nurse of Antiphila.
Phrygia, maid-servant to Bacchis.
Scene. — In the country, near Athens; before the houses of Chremes and Menedemus.
THE SUBJECT.
Chremes commands his wife, when pregnant, if she is delivered of a girl immediately to kill the child. Having given birth to a girl, Sostrata delivers her to an old woman named Philtera to be exposed. Instead of doing this, Philtera calls her Antiphila, and brings her up as her own. Clinia, the son of Menedemus, falls in love with her, and treats her as though his wife. Menedemus, on learning this, is very angry, and by his harsh language drives away his son from home. Taking this to heart, and in order to punish himself for his ill-timed severity, Menedemus, though now an aged man, fatigues himself by laboring at agricultural pursuits from morning till night. At the period when the Play commences, Clinia has just returned to Attica, but not daring to go to his father’s house, is entertained by Clitipho, the son of Chremes, who is the neighbor of Menedemus. Clitipho then sends for Antiphila, whose supposed mother has recently died, to come and meet her lover. On the same day, Chremes learns from Menedemus how anxious he is for his son’s return; and on hearing from his son of the arrival of Clinia, he defers informing Menedemus of it until the next day. Syrus, the servant who has been sent to fetch Antiphila, also brings with him Bacchis, an extravagant Courtesan, the mistress of Clitipho. To conceal the truth from Chremes, they represent to him that Bacchis is the mistress of Clinia, and that Antiphila is one of her maids. Next morning Chremes informs Menedemus of his son’s arrival, and of the extravagant conduct of his mistress, but begs that he will conceal from Clinia his knowledge of this fact. Bacchis requiring ten minæ, Syrus devises a plan for obtaining the money from Chremes, while the latter is encouraging him to think of a project against Menedemus. Syrus tells him a story, that the mother of Antiphila had borrowed a thousand drachmæ of Bacchis, and being dead, the girl is left in her hands as a pledge for the money. While these things are going on, Sostrata discovers in Antiphila her own daughter. In order to obtain the money which Bacchis persists in demanding, Syrus suggests to Chremes that it should be represented to Menedemus that Bacchis is the mistress of Clitipho, and that he should be requested to conceal her in his house for a few days; it is also arranged that Clinia shall pretend to his father to be in love with Antiphila, and to beg her as his wife. He is then to ask for money, as though for the wedding, which is to be handed over to Bacchis. Chremes does not at first approve of the plan suggested by Syrus; but he pays down the money for which he has been informed his daughter is a pledge in the hands of Bacchis. This, with his knowledge, is given to Clitipho, who, as Syrus says, is to convey it to Bacchis, who is now in the house of Menedemus, to make the latter more readily believe that she is his mistress. Shortly after this, the plot is discovered by Chremes, who threatens to punish Clitipho and Syrus. The Play concludes with Chremes giving his consent to the marriage of Clinia with Antiphila, and pardoning Clitipho, who promises to abandon the Courtesan, and marry. Unlike the other Plays of Terence and Plautus, the Plot of this Play extends over two days.
THE TITLE O
F THE PLAY.
It is from the Greek of Menander. Performed at the Megalensian Games; Lucius Cornelius Lentulus and Lucius Valerius Flaccus being Curule Ædiles. Ambivius Turpio performed it. Flaccus, the freedman of Claudius, composed the music. The first time it was performed to the music of treble and bass flutes; the second time, of two treble flutes. It was acted three times; Marcus Juventius and Titus Sempronius being Consuls.
THE SUMMARY OF C. SULPITIUS APOLLINARIS.
A severe father compels his son Clinia, in love with Antiphila, to go abroad to the wars; and repenting of what has been done, torments himself in mind. Afterward, when he has returned, unknown to his father, he is entertained at the house of Clitipho. The latter is in love with Bacchis, a Courtesan. When Clinia sends for his much-loved Antiphila, Bacchis comes, as though his mistress, and Antiphila, wearing the garb of her servant; this is done in order that Clitipho may conceal it from his father. He, through the stratagems of Syrus, gets ten minæ from the old man for the Courtesan. Antiphila is discovered to be the sister of Clitipho. Clinia receives her, and Clitipho, another woman, for his wife.
THE PROLOGUE.
Lest it should be a matter of surprise to any one of you, why the Poet has assigned to an old man a part that belongs to the young, that I will first explain to you; and then, the reason for my coming I will disclose. An entire Play from an entire Greek one, the Heautontimorumenos, I am to-day about to represent, which from a two-fold plot has been made but one. I have shown that it is new, and what it is: next I would mention who it was that wrote it, and whose in Greek it is, if I did not think that the greater part of you are aware. Now, for what reason I have learned this part, in a few words I will explain. The Poet intended me to be a Pleader, not the Speaker of a Prologue; your decision he asks, and has appointed me the advocate; if this advocate can avail as much by his oral powers as he has excelled in inventing happily, who composed this speech which I am about to recite. For as to malevolent rumors spreading abroad that he has mixed together many Greek Plays while writing a few Latin ones, he does not deny that this is the case, and that he does not repent of so doing; and he affirms that he will do so again. He has the example of good Poets; after which example he thinks it is allowable for him to do what they have done. Then, as to a malevolent old Poet saying that he has suddenly applied himself to dramatic pursuits, relying on the genius of his friends, and not his own natural abilities; on that your judgment, your opinion, will prevail. Wherefore I do entreat you all, that the suggestions of our antagonists may not avail more than those of our favorers. Do you be favorable; grant the means of prospering to those who afford you the means of being spectators of new Plays; those, I mean, without faults: that he may not suppose this said in his behalf who lately made the public give way to a slave as he ran along in the street; why should he take a madman’s part? About his faults he will say more when he brings out some other new ones, unless he puts an end to his caviling. Attend with favorable feelings; grant me the opportunity that I may be allowed to act a quiet Play in silence; that the servant everlastingly running about, the angry old man, the gluttonous parasite, the impudent sharper, and the greedy procurer, may not have always to be performed by me with the utmost expense of voice, and the greatest exertion. For my sake come to the conclusion that this request is fair, that so some portion of my labor may be abridged. For nowadays, those who write new Plays do not spare an aged man. If there is any piece requiring exertion, they come running to me; but if it is a light one, it is taken to another Company. In the present one the style is pure. Do you make proof, what, in each character, my ability can effect. If I have never greedily set a high price upon my skill, and have come to the conclusion that this is my greatest gain, as far as possible to be subservient to your convenience, establish in me a precedent, that the young may be anxious rather to please you than themselves.