Hecyra
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Original / primary: Perseus Eng2
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Dramatis Personae LACHES,From λαγχύνω, to obtain by lot or heirship. an aged Athenian, father of Pamphilus. PHIDIPPUS,From φειδω, parsimony, and ἱππὸς, a horse. an aged Athenian, father of Philumena. PAMPHILUS,From πᾶν, all, and φιλὸς, a friend. son of Laches. SOSIA,From σώζω, to save; saved in war. servant of Pamphilus. PARMENO,From παρὰ, by, and μένω, to remain. servant of Sostrata. SOSTRATA,From σωχὼ, to preserve, or save. wife of Laches. MYRRHINA,From μυῤρ a myrtle. wife of Phidippus. BACCHIS,From Bacchus, the God of Wine. a Courtesan. PHILOTIS,From φιλοτὴς, friendship. a Courtesan. SYRA,From Syria, her native country. a Procuress.
scene
Scene.—Athens; before the houses of LACHES, PHIDIPPUS, and BACCHIS.
subject
THE SUBJECT PAMPHILUS, the son of Laches by his wife Sostrata, being at the time enamored of Bacchis, a Courtesan, chances, one night, in a drunken fit, to debauch Philumena, the daughter of Phidippus and Myrrhina. In the struggle he takes a ring from her, which he gives to Bacchis. Some time afterward, at his father’s express desire, he consents to marry. By chance the young woman whom he has ravished is given to him as a wife, to the great joy of her mother, who alone is aware of her misfortune, and hopes that her disgrace may be thereby concealed. It, however, happens otherwise; for Pamphilus, still retaining his passion for Bacchis, refuses for some time to cohabit with her. Bacchis, however, now rejects the advances of Pamphilus, who by degrees becomes weaned from his affection for her, and grows attached to his wife, whom he has hitherto disliked. Meantime, however, he is suddenly called away from home. During his absence, Philumena, finding herself pregnant, in consequence of her misfortune before her marriage, fearing detection, especially avoids the company of her mother-in-law. At length she makes an excuse for returning to the home of her own parents, where she remains. Sostrata thereupon sends for her, but is answered that she is ill, on which she goes to see her, but is refused admittance to the house. On hearing of this, Laches blames his wife as being the cause of this estrangement. Pamphilus now returns, and it so happens that, on the day of his arrival, Philumena is brought to bed of a child. Impatient to see her, Pamphilus rushes into her room, and to his great distress finds that this is the case. Myrrhina thereupon entreats him to keep the matter secret, and begs him, if he refuses to receive her daughter back again, at least not to ruin her reputation by divulging it. As he now declines either to take back his wife or give his reason for so doing, Laches suspects that he is still enamored of Bacchis, and accordingly sends for her, and expostulates with her. She, however, exonerates herself; on which the old man, supposing that Philumena and her mother are equally ignorant with himself as to his son’s motives, begs her to call on them and remove their suspicions. While she is conversing with them, they recognize the ring upon her finger which Pamphilus had formerly taken from Philumena. By means of this it is discovered that Pamphilus himself is the person who has ravished Philumena; on which, overjoyed, he immediately takes home his wife and son.
production
THE TITLE OF THE PLAY. PERFORMED at the Megalensian Games; Sextus Julius Caesar and Cneius Cornelius Dolabella being Curule Aediles. The whole was not then acted. Flaccus, the freedman of Claudius, composed the music to a pair of flutes. It was composed wholly from the Greek of Menander.Menander: According to some, this Play was borrowed from the Greek of Apollodorus, a Comic Poet and contemporary of Menander, who wrote forty-seven Plays. It was performed the first time without a Prologue. Represented a second time; Cneius Octavius and T. Manlius being Consuls.Being Consuls: Cneius Octavius Nepos and T. Manlius Torquatus were Consuls in the year from the building of the City 587, and B.C. 166. It was then brought out in honor of L. Aemilius Paulus, at his Funeral Games, and was not approved of. It was repeated a third time; Q. Fulvius and L. Marcius being Curule Aediles. L. Ambivius Turpio performed it. It was then approved of.It was then approved of: Placuit. This is placed at the end, in consequence of the inauspicious reception which had been given to it on the two first representations. See the account given in the Prologues.
argument
THE SUMMARY OF C. SULPITIUS APOLLINARIS. PAMPHILUS has married Philumena, to whom, when a virgin, he formerly, not knowing who she was, offered violence; and whose ring, which he took off by force, he gave to his mistress, Bacchis, a Courtesan. Afterward he sets out for Imbros, not having touched his bride. Having become pregnant, her mother brings her over to her own house, as though sick, that her mother-in-law may not know it. Pamphilus returns; detects her being delivered; conceals it; but determines not to take back his wife. His father imputes this to his passion for Bacchis. While Bacchis is exculpating herself, Myrrhina, the mother of the injured girl, by chance recognizes the ring. Pamphilus takes back his wife, together with his son.
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Prologue
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HECYRAHecyra: The Greek word Ἕκυρα a step-mother, or mother-in-law, Latinized. is the name of this Play; when it was represented for the first time, an unusual disaster and calamityAnd calamity: Calamitas. This word is used in the same sense in the first line of the Eunuch. This is evidently the Prologue spoken on the second attempt to bring forward the piece. On the first occasion it probably had none. Vitium was a word used by the Augurs, with whom it implied an unfavorable omen, and thence came to be used for any misfortune or disaster. He seems to mean the depraved taste of the public, that preferred exhibitions of rope-dancers and pugilists to witnessing his Plays. interrupted it, so that it could not be witnessed throughout or estimated; so much had the populace, carried away with admiration, devoted their attention to some rope-dancing. It is now offered as though entirely a new Play;
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and he who wrote it did not wish to bring it forward then a second time, on purpose that he might be able again to sell it.Again to sell it: See the last Note to the Second Prologue. Other Plays of hisOther Plays of his: Madame Dacier informs us that Vossius was of opinion that the second representation of this Play did not take place till after that of the Adelphi. In that case, they had already seen the rest of his Plays. you have seen represented; I beg you now to give your attention to this.
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Prologue
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I COME to you as an envoy from the Poet, in the character of prologue-speaker;
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allow me to be a successful pleader, that in my old age I may enjoy the same privilege that I enjoyed when a younger man, when I caused new Plays, that had been once rejected, to come into favor; so that his writings might not die with the Poet. Among them, as to those of Caecilius,Caecilius: Colman has the following Note: A famous Comic Poet among the Romans. His chief excellences are said to have been, the gravity of his style and the choice of his subjects. The first quality was attributed to him by Horace, Tully, etc., and the last by Varro. In argumentis Caecilius poscit palmam, in ethesi Terentius. In the choice of subjects, Caecilius demands the preference; in the manners, Terence. Madame Dacier, indeed, renders in argumentis, in the disposition of his subjects. But the words will not bear that construction. Argumentum, I believe, is uniformly used for the argument itself, and never implies the conduct of it; as in the Prologue to the Andrian, non tam dissimili argumento. Besides, the disposition of the subject was the very art attributed by the critics of those days to Terence, and which Horace mentions in the very same line with the gravity of Caecilius, distinguishing them as the several characteristics of each writer, Vincere Caecilius gravitate, Terentius arte. which I first studied when new;
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in some of which I was rejected; in some I kept my ground with difficulty. As I knew that the fortune of the stage was varying, where the hopes were uncertain, I submitted to certain toil. Those I zealously attempted to perform, that from the same writer I might learn new ones, and not discourage him from his pursuits.
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I caused them to be represented. When seen, they pleased. Thus did I restore the Poet to his place, who was now almost weaned, through the malevolence of his adversaries, from his pursuits and labors, and from the dramatic art. But if I had at that period slighted the writer,
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and had wished to use my endeavors in discouraging him, so that he might live a life of idleness rather than of study, I might have easily discouraged him from writing others. Now, for my sake, hear with unbiased minds what it is I ask.
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I again bring before you the Hecyra, which I have never been allowed to act before you in silence; such misfortunes have so overwhelmed it. These misfortunes your intelligence will allay, if it is a seconder of our exertions. The first time, when I began to act this Play, the vauntings of boxers,Vauntings of boxers: Horace probably had this passage in his mind when he penned the First Epistle in his Second Book, 1. 185 ; where he mentions the populace leaving a Play in the midst for the sight of a bear, or an exhibition of boxers. the expectation of a rope-dancer,Of a rope-dancer: The art of dancing on the tight rope was carried to great perfection among the ancients. Many paintings have been discovered, which show the numerous attitudes which the performers assumed. The figures have their heads enveloped in skins or caps, probably intended as a protection in case of falling. At the conclusion of the performance the dancer ran down the rope. Germanicus and Galba are said to have exhibited elephants dancing on the tight rope. added to which,
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the throng of followers, the noise, the clamor of the women, caused me to retire from your presence before the time. In this new Play, I attempted to follow the old custom of mine,The old custom of mine: He says that on the second representation he followed the plan which he had formerly adopted in the Plays of Caecilius, of bringing those forward again which had not given satisfaction at first. of making a fresh trial; I brought it on again. In the first Act I pleased; when in the mean time a rumor spread
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that gladiators were about to be exhibited; the populace flock together, make a tumult, clamor aloud, and fight for their places:Fight for their places: This was in consequence of their sitting indiscriminately at the Amphitheatre, where the gladiators were exhibited; whereas at the Theatres there were distinct places appropriated to each ordo or class. meantime, I was unable to maintain my place. Now there is no confusion: there is attention and silence—an opportunity of acting my Play has been granted me; to yourselves is given
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the power of gracing the scenic festival.Gracing the scenic festival: Madame Dacier remarks that there is great force and eloquence in the Actor’s affecting a concern for the sacred festivals, which were in danger of being deprived of their chief ornaments, if by too great a severity they discouraged the Poets who undertook to furnish the Plays during the solemnity. Do not permit, through your agency, the dramatic art to sink into the hands of a few; let your authority prove a seconder and assistant to my own. If I have never covetously set a price upon my skill,
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and have come to this conclusion, that it is the greatest gain in the highest possible degree to contribute to your entertainment; allow me to obtain this of you, that him who has intrusted his labors to my protection, and himself to your integrity,—that him, I say, the malicious may not maliciously deride, beset by them on every side.
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For my sake, admit of this plea, and attend in silence, that he may be encouraged to write other Plays, and that it may be for my advantage to study new ones hereafter, purchased at my own expense.At my own expense: It is generally supposed that meo pretio means a price named as my estimate; and that it was the custom for the Aediles to purchase a Play of a Poet at a price fixed by the head of the company of actors. It is also thought that the money was paid to the actor, who handed over the whole, or a certain part, to the Poet, and if the Play was not received with favor, the Aediles had the right to ask back the money from the actor, who consequently became a loser by the transaction. Pareus and Meric Casaubon think, however, that in case of this Play, the Aediles had purchased it from the Poet, and the performers had bought it of the Aediles as a speculation. What he means at the end of the First Prologue by selling the Play over again, is not exactly known. Perhaps if the Play had been then performed throughout and received with no favor, he would have had to forfeit the money, and lose all right to any future pecuniary interest in it; but he preferred to cancel the whole transaction, and to reserve the Play for purchase and representation at a more favorable period.
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PHILOTIS
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I’ faith, Syra, you can find but very few lovers who prove constant to their mistresses.
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For instance, how often did this Pamphilus swear to Bacchis—how solemnly, so that any one might have readily believed him—that he never would take home a wife so long as she lived. Well now, he is married.
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SYRA
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Therefore, for that very reason, I earnestly both advise and entreat you to take pity upon no one,
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but plunder, fleece, and rend every man you lay hold of.
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PHILOTIS
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What! Hold no one exempt?
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SYRA
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No one; for not a single one of them, rest assured, comes to you without making up his mind, by means of his flatteries, to gratify his passion with you at the least possible expense.
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Will you not, pray, plot against them in return ?
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PHILOTIS
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And yet, upon my faith, it is unfair to be the same to all.
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SYRA
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What! unfair to take revenge on your enemies? or, for them to be caught in the very way they try to catch you?
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Alas! wretched me! why do not your age and beauty belong to me, or else these sentiments of mine to you?
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PARMENO
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If the old man should be asking for me, do you say that I have just gone to the harbor to inquire about the arrival of Pamphilus. Do you hear what I say, Scirtus? If he asks for me, then you are to say so; if he does not, why, say nothing at all;
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so that at another time I may be able to employ that excuse as a new one. (Comes forward, and looking around.)—But is it my dear Philotis that I see? How has she come here? (Accosting her.) Philotis heartily good-morrow.
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PHILOTIS
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O, good-morrow, Parmeno,
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SYRA
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By my troth, good-morrow, Parmeno.
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PARMENO
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I’ faith, Syra, the same to you. Philotis, tell me, where have you been enjoying yourself so long?
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PHILOTIS
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For my part, indeed, I have been far from enjoying myself, in leaving this place for Corinth with a most brutal captain; for two whole years, there, had I to put up with him to my sorrow.
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PARMENO
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I’ troth, I fancy that regret for Athens full oft possessed you, and that you thought but poorly of your foresight.
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PHILOTIS
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It can not be expressed how impatient I was to return hither, get rid of the captain, and see yourselves here, that after our old fashion I might at my ease enjoy the merry-makings among you; for there it was not allowed me to speak, except at the moment prescribed,
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and on such subjects as he chose.
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PARMENO
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I don’t think it was gallant in the captain to place a restraint on your tongue.
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PHILOTIS
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But what is this piece of business that Bacchis has just now been telling me in-doors here? (pointing to her house.) A thing I never supposed would come to pass, that he, in her lifetime, could possibly prevail upon his feelings
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to take a wife.
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PARMENO
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To take, indeed!
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PHILOTIS
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Why, look you, has he not taken one?
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PARMENO
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He has; but I doubt whether this match will be lasting.
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PHILOTIS
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May the Gods and Goddesses grant it so, if it is for the advantage of Bacchis. But why am I to believe it is so? Tell me, Parmeno.
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PARMENO
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There is no need for its being spread abroad; ask me no more about it.
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PHILOTIS
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For fear, I suppose, it may be made public. So may the Gods prosper me, I do not ask you in order that I may spread it abroad, but that, in silence, I may rejoice within myself.
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PARMENO
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You’ll never speak me so fairly, that I shall trust my back to your discretion.
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PHILOTIS
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Oh, don’t say so, Parmeno ;Don’t say so, Parmeno: She says this ironically, at the same time intimating that she knows Parmeno too well, not to be sure that he is as impatient to impart the secret to her as she is to know it. Donatus remarks, that she pretends she has no curiosity to hear it, that he may deem her the more worthy to be intrusted with the secret.
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as though you were not much more impatient to tell me this, than I to learn what I’m inquiring about.
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PARMENO
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She tells the truth there; and that is my greatest failing. (To PHILOTIS.) If you give me your word that you’ll keep it a secret, I’ll tell you.
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PHILOTIS
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You are now returning to your natural disposition. I give you my word; say on.
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PARMENO
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Listen.
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PHILOTIS
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I’m all attention.
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PARMENO
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Pamphilus was in the height of his passion for Bacchis here,
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when his father began to importune him to take a wife, and to urge those points which are usual with all fathers, that he himself was now in years, and that he was his only son, that he wished for a support for his declining years.
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He refused at first. But on his father pressing more urgently, he caused him to become wavering in his mind, whether to yield rather to duty or to love. By hammering on and teazing him, at last the old man gained his point; and betrothed him to the daughter of our next-door neighbor here (pointing to the house of PHIDIPPUS).
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This did not seem so very disagreeable to Pamphilus, until on the very point of marriage, when he saw that all was ready, and that no respite was granted, but marry he must; then, at last, he took it so much to heart, that I do believe if Bacchis had been present, even she would have pitied him.
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Whenever opportunity was afforded for us being alone, so that he could converse with me, he used to say: Parmeno, I am ruined! What have I done! Into what misery have I plunged myself! Parmeno, I shall never be able to endure this. To my misery, I am undone!
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PHILOTIS
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May the Gods and Goddesses confound you, Laches, for vexing him so!
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PARMENO
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To cut the matter short, he took home his wife. On the first night, he did not touch the girl; the night that followed that, not a bit the more.
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PHILOTIS
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What is it you tell me? A young man go to bed with a virgin, intoxicated to boot, and able to restrain himiself from touching her!
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You do not say what’s likely; nor do I believe it to be the truth.
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PARMENO
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I suppose it does seem so to you, for no one comes to you unless he is eager for you; but he had married her against his will.
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PHILOTIS
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After this, what followed?
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PARMENO
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In a very few days after, Pamphilus took me aside, away from the house,
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and told me how that the young woman was still untouched by him; and how that before he had taken her home as his wife, he had hoped to be able to endure this marriage:
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But, Parmeno, as I can not resolve to live with her any longer, it is neither honorable in me, nor of advantage to the young woman herself, for her to be turned to ridicule, but rather I ought to return her to her relations just as I received her.
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PHILOTIS
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You tell me of a conscientious and virtuous disposition in Pamphilus.
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PARMENO
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For me to declare this, I consider to be inconvenient to me, but for her to be sent back to her father without mentioning any blame, would be insolent; but I am in hopes that she, when she is sensible that she can not live with me, will go at last of her own accord.
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PHILOTIS
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What did he do in the mean while? Used he to visit Bacchis?
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PARMENO
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Every day. But as usually is the case, after she saw that he belonged to another, she immediately became more ill-natured and more peevish.
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PHILOTIS
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I’ faith, that’s not to be wondered at.
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PARMENO
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And this circumstance in especial contributed to estrange him from her; after he had fairly examined himself, and her, and the one that was at home, he formed a judgment, by comparison, upon the principles of them both. She, just as might be expected from a person of respectable and free birth,
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chaste and virtuous, patient under the slights and all the insults of her husband, and concealing his affronts. Upon this, his mind, partly overcome by compassion for his wife, partly constrained by the insolence of the other, was gradually estranged from Bacchis, and transferred its affections to the other,
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after having found a congenial disposition. In the mean time, there dies at ImbrosImbros: An island in the Aegean Sea, off the coast of Thrace. an old man, a relative of theirs. His property there devolved on them by law. Thither his father drove the love-sick Pamphilus, much against his will. He left his wife here with his mother, for the old man
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has retired into the country; he seldom comes into the city.
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PHILOTIS
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What is there yet in this marriage to prevent its being lasting ?
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PARMENO
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You shall hear just now. At first, for several days, there really was a good understanding between them. In the mean time, however, in a strange way, she began to take a dislike to Sostrata;
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nor yet was there ever any quarrel or words between them.
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PHILOTIS
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What then ?
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PARMENO
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If at any time she came to converse with her, she would instantly withdraw from her presence,From her presence: For the purpose, as will afterward appear, of not letting Sostrata see that she was pregnant. and refuse to see her; in fine, when she could no longer endure her, she pretended that she was sent for by her mother to assist at a sacrifice.
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When she had been there a few days, Sostrata ordered her to be fetched. She made some, I know not what, excuse. Again she gave similar orders; no one sent back any excuse. After she had sent for her repeatedly, they pretended that the damsel was sick. My mistress immediately went to see her; no one admitted her. On the old man
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coming to know of this, he yesterday came up from the country on purpose, and waited immediately upon the father of Philumena. What passed between them, I do not know as yet; but really I do feel some anxiety in what way this is to end. You now have the whole matter; and I shall proceed whither I was on my way.
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PHILOTIS
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And I too, for I made an appointment with a certain strangerWith a certain stranger: Here Philotis gives a reason, as Donatus observes, why she does not again appear in the Play. The following is an extract from Colman’s remarks on this passage: It were to be wished, for the sake of the credit of our author’s acknowledged art in the Drama, that Philotis had assigned as good a reason for her appearing at all. Eugraphius justly says: The Courtesan in this Scene is a character quite foreign to the fable. Donatus also says much the same thing in his Preface, and in his first Note to this Comedy; but adds that Terence chose this method rather. than to relate the argument by means of a Prologue, or to introduce a God speaking from a machine. I will venture to say that the Poet might have taken a much shorter and easier method than either; I mean, to have begun the Play with the very Scene which now opens the Second Act. to meet him.
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PARMENO
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May the Gods prosper what you undertake!
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PHILOTIS
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Farewell!
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PARMENO
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And a kind farewell to you, my dear Philotis.
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LACHES
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O faith of Gods and men! what a race is this! what a conspiracy this! that all women should desire and reject every individual thing alike!
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And not a single one can you find to swerve in any respect from the disposition of the rest. For instance, quite as though with one accord, do all mothers-in-law hate their daughters-in-law. Just in the same way is it their system to oppose their husbands; their obstinacy here is the same. In the very same school they all seem to me to have been trained up to perverseness. Of that school, if there is any mistress, I am very sure that she (pointing at SOSTRATA) it is.
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SOSTRATA
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Wretched me! when now I don’t so much as know why I am accused!
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LACHES
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Eh ! you don’t know ?
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SOSTRATA
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So may the Gods kindly prosper me, Laches, and so may it be allowed us to pass our lives together in unity!
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LACHES
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May the Gods avert such a misfortune!
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SOSTRATA
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I’m sure that before long you will be sensible that I have been accused by you undeservedly.
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LACHES
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You, undeservedly? Can any thing possibly be said that you deserve in return for this conduct of yours?
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You, who are disgracing both me and yourself and the family, and are laying up sorrow for your Son. Then besides, you are making our connections become, from friends, enemies to us, who have thought him deserving for them to intrust their childrenIntrust their children: The plural liberos, children, is used where only one is being spoken of, similarly, in the Heautontimorumenos, 1. 151. to him. You alone have put yourself forward, by your folly, to be causing this disturbance.
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SOSTRATA
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What, I?
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LACHES
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You, woman, I say, who take me to be a stone, not a man.
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Do you think because it’s my habit to be so much in the country, that I don’t know in what way each person is passing his life here? I know much better what is going on here than there, where I am daily; for this reason, because, just as you act at home, I am spoken of abroad. Some time since, indeed, I heard that Philumena had taken a dislike to you;
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nor did I the least wonder at it; indeed, if she hadn’t done so, it would have been more surprising. But I did not suppose that she would have gone so far as to hate even the whole of the family; if I had known that, she should have remained here in preference, and you should have gone away. But consider how undeservedly these vexations arise on your account, Sostrata; I went to live in the country, in compliance with your request,