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Dramatis Personae SIMO, ¹ an aged Athenian. PAMPHILUS, ² son of Simo. SOSIA, ³ freedman of Simo. CHREMES, ⁴ an aged Athenian. CHARINUS, ⁵ a young Athenian, in love with Philumena. CRITO, ⁶ a native of Andros . DAVUS, ⁷ servant of Simo. DROMO, ⁸ servant of Simo. BYRRHIA, ⁹ servant of Charinus. GLYCERIUM, ¹⁰ a young woman beloved by Pamphilus. MYSIS, ¹¹ her maid-servant. LESBIA ¹² a midwife.

Scene.— Athens ; before the houses of SIMO and GLYCERIUM.

THE SUBJECT. CHREMES and Phania were brothers, citizens of Athens . Chremes going to Asia , leaves his daughter, Pasibula, in the care of his brother Phania, who, afterward setting sail with Pasibula for Asia , is wrecked off the Isle of Andros . Escaping with their lives, they are kindly received by a native of the island; and Phania soon afterward dies there. The Andrian changes the name of the girl to Glycerium, and brings her up, as his own child, with his daughter Chrysis. On his death, Chrysis and Glycerium sail for Athens to seek their fortune there. Chrysis being admired by several Athenian youths, Pamphilus, the son of Simo, an opulent citizen, chances to see Glycerium, and falls violently in love with her. She afterward becomes pregnant by him, on which he makes her a promise of marriage. In the mean time, Chremes, who is now living at Athens , and is ignorant of the fate of Pasibula, agrees with Simo, the father of Pamphilus, to give Philumena, another daughter, in marriage to Pamphilus. While these arrangements are being made, Chrysis dies; on which Simo accidentally discovers his son’s connection with Glycerium. Chremes, also coming to hear of it, declines the match, having no idea that Glycerium is really his own daughter. Simo, however, in order to test his son’s feelings, resolves to pretend that the marriage-day is fixed. Meeting Pamphilus in the town, he desires him to go home and prepare for the wedding, which is to take place immediately. In his perplexity, the youth has recourse to his servant Davus, who, having heard of the refusal of Chremes, suspects the design of Simo. At this conjuncture, Charinus, a friend of Pamphilus, who is enamored of Philumena, but has been rejected by her father, entreats Pamphilus to put off the marriage, for at least a few days. Disclosing his own aversion to the match, Pamphilus readily engages to do this. In order the more effectually to break it off, Davus advises Pamphilus to pretend a readiness to comply with his father’s wishes, supposing that of course Chremes will steadily persist in his refusal. Pamphilus does as he is advised, on which Simo again applies to Chremes, who, after some entreaty, gives his consent. Just at this conjuncture, Glycerium is delivered of a son; and by the advice of Davus, it is laid before the door of Simo’s house. Chremes happening to see it there, and ascertaining that Pamphilus is its father, again refuses to give him his daughter. At this moment, Crito, a native of Andros , arrives, who, being a relative of Chrysis, has come to Athens to look after her property. Through him, Chremes discovers that Glycerium is no other than his long-lost daughter, Pasibula; on which he consents to her immediate marriage with Pamphilus, who promises Charinus that he will use his best endeavors to obtain for him the hand of Philumena.

THE TITLE OF THE PLAY. PERFORMED at the Megalensian Games;¹³ M. Fulvius and M. Glabrio being Curule Aediles.¹⁴ Ambivius Turpio and Lucius Atilius Praenestinus¹⁵ performed it. Flaccus, the freedman of Claudius,¹⁶ composed the music, to a pair of treble flutes and bass flutes¹⁷ alternately. And it is entirely Grecian.¹⁸ Published—M. Marcellus and Cneius Sulpicius being Consuls.¹⁹

THE SUMMARY OF C. SULPITIUS APOLLINARIS. PAMPHILUS seduces Glycerium, wrongfully supposed to be a sister of a Courtesan, an Andrian by birth; and she having become pregnant, he gives his word that she shall be his wife; but his father has engaged for him another, the daughter of Chremes; and when he discovers the intrigue he pretends that the nuptials are about to take place, desiring to learn what intentions his son may have. By the advice of Davus, Pamphilus does not resist; but Chremes, as soon as he has seen the little child born of Glycerium, breaks off the match, and declines him for a son-in-law. Afterward, this Glycerium, un-expectedly discovered to be his own daughter, he bestows as a wife on Pamphilus, the other on Charinus.

Andria. Publius Terentius Afer (Terence). Henry Thomas Riley (Translator), George Colman (Translator). Ney York. 1874.

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Current edition Perseus

Andria; or, The Fair Andrian (English) (Terence. The Comedies of Terence. Riley, Henry Thomas; Colman, George, translators. New York: Harper and Brothers, 1872.)

Editions (1)

Andria Perseus (Terence. Publii Terentii Comoediae Sex. Parry, Edward St. John, editor. London: Whittaker and Co.; George Bell, 1857.) — front focus

FABULAE INTERLOCUTORES.

BYRRHIA, servus. CHARINTUS, adolescens. CHREMES, senex. CRITO, hospes. DAVUS, servus. DROMO, lorarius. GLYCERIUM, meretrix. LESBIA, obstetrix. MYSIS, ancilla. PAMPHILUS, adolescens. SIMO, senex. SOSIA, libertus.

INTRODUCTION. THE Andria derives its name from Glycerium, the heroine of the play; who was from Andros . Upon her previous history turns the dénouement of the plot. Chremes and Phania were brothers, two Athenian citizens. On occasion of a voyage to Asia Chremes had left his only daughter Pasibula with Phania, who shortly afterwards followed his brother to Asia to escape from a war that was raging in Greece . He was overtaken by a storm, and shipwrecked, together with Pasibula, upon the island Andros . He there attached himself as a client to a citizen, who entertained him liberally, and upon his death, which occurred shortly after, adopted Pasibula and brought her up with his own daughter Chrysis, having changed her name to Glycerium. Chrysis upon the death of her father went to Athens with her reputed sister, and, after making shift for an honest livelihood, at last took up the profession of a courtezan. At her house many young men congregated, and among others Pamphilus, the son of Simo, who there saw and fell in love with Glycerium, and became her accepted lover, making her a promise of marriage, which was rendered more binding by the parting injunctions of Chrysis, who upon her deathbed commended Glycerium as a sacred trust to Pamphilus. Meanwhile Pamphilus has another affair on his hands. For Chremes has had another daughter since the loss of Pasibula, and is very anxious that she should be well married to such an excellent young man as Pamphilus, who, happily, while enjoying himself in his own way, has gained a character which is the admiration of every one. So Philumena and Pamphilus are betrothed by their parents, entirely without the knowledge of the bridegroom elect. All this time Simo has fully believed in his son’s excellence; but is undeceived by an event which takes place at the funeral of Chrysis, where Pamphilus shows something more than an ordinary solicitude for a young woman whom Simo ascertains to be the sister of Chrysis. The matter takes wind, and reaches the ears of Chremes, with the additional circumstance of Pamphilus’ connexion with her, upon which he breaks off the match.

This brings us to the point at which the action of the play commences. Simo determines to tell Pamphilus that he is to be married to Philumena, hoping to place him in a dilemma; for if he refused, then he could take him severely to task; if he consented, then Chremes might be gained over, and after all the match might take place. Accordingly he tells Pamphilus by the way in the Forum that he is to be married that very day. Pamphilus returns home in amazement; but is met by Mysis, servant of Glycerium, who revives his old affection for her mistress. Davus meanwhile sifts the whole matter to the bottom; finds that the marriage is a pretence, and accordingly recommends Pamphilus to humour his father to the utmost, and express his entire readiness to marry as soon as he pleases. At the same time he is to keep up his intimacy with Glycerium, that Chremes may be as shy of his connexion as he is now. Meanwhile there is a by-plot at work. One Charinus, a friend of Pamphilus, who is in love with Philumena, hears with dismay that she is to be married to his friend, and urges him to do all in his power to defer the marriage if possible. So affairs stand when Glycerium is brought to bed of a son, Simo, who hears what is going on, imagining, and being confirmed by Davus in the belief, that this is merely an artifice of Glycerium and her friends to prevent Pamphilus’ marriage. He accordingly again treats with Chremes on the subject of the marriage of Pamphilus and Philumena, and extorts a reluctant consent. This places Davus in a great strait; for Pamphilus now reproaches him with his untoward advice, which has got him into this mischief; and Charinus too is indignant to the last degree at the treachery of Pamphilus. As a last resource Davus places the child before Simo’s door, and contrives that Chremes shall hear its history from Mysis. This causes a fresh rupture between Chremes and Simo. At this moment there arrives a native of Andros , Crito, next of kin to Chrysis, who has come to Athens to claim her property. He clears up the previous history of Glycerium, who is joyfully recognized as Chremes’ daughter, and all parties are made happy; Simo being with some difficulty gained over to forgive past offences, and to receive his son and Davus into favour again.

ANDRIA. ACTA LUDIS MEGALENSIB M. FULVIO ET M. GLABRIONE AEDILIB. CURULIB. EGERUNT L. AMBIVIUS TURPIO, L. ATTILIUS PRAENESTINUS. MODOS FECIT FLACCUS CLAUDII FILIUS, TIBIIS PARIBUS DEXTRIS ET SINISTRIS. ET EST TOTA GRAECA. EDITA M. MARCELLO, CN. SULPITIO COSS.

PROLOGUS

Poeta quum primum animum ad scribendum appulit,
1

Id sibi negoti credidit solum dari

Populo ut placerent quas fecisset fabulas.

Verum aliter evenire multo intelligit.

Nam in prologis scribundis operam abutitur,
5

Non qui argumentum narret, sed qui malevoli

Veteris poetae maledictis respondeat.

Nunc quam rem vitio dent quaeso animum advortite.

Menander fecit Andriam et Perinthiam.

Qui utramvis recte norit ambas noverit.
10

Non ita dissimili sunt argumento, sed tamen

Dissimili oratione sunt factae ac stilo.

Quae convenere in Andriam ex Perinthia

Fatetur transtulisse atque usum pro suis.

Id isti vituperant factum; atque in eo disputant,
15

Contaminari non decere fabulas.

Faciuntne intelligendo ut nihil intelligant.

Qui quum hunc accusant Naevium, Plautum, Ennium

Accusant, quos hic noster auctores habet:

Quorum aemulari exoptat negligentiam
20

Potius, quam istorum obscuram diligentiam.

Dehinc ut quiescant porro moneo et desinant

Maledicere, malefacta ne noscant sua.

Favete, adeste aequo animo, et rem cognoscite,

Ut pernoscatis, ecquid spei sit reliquum,
25

Posthac quas faciet de integro comoedias,

Spectandae an exigendae sint vobis prius.

Notes on the current edition

Andria; or, The Fair Andrian

1. From σιμὸς, flat-nosed.

2. From πᾶν, all, and φιλὸς, a friend.

3. From σώζω, to save; saved in war.

4. From χρέμπτομαι, to spit.

5. From χάρις, grace.

6. From κριτὴς, a judge.

7. From Dacia , his native country; the Davi and Daci being the same people.

8. From δρόμος, a race.

9. From πυρ red-haired.

10. From γλυκερὸς, sweet.

11. From Mysia , her native country.

12. From Lesbos , her native country.

13. The Megalensian Games These games were instituted at Rome in honor of the Goddess Cybele, when her statue was brought thither from Pessinum, in Asia Minor , by Scipio Nasica; they were so called from the Greek title Μεγάλη Μήτηρ, the Great Mother. They were called Megalesia or Megalensia, indifferently. A very interesting account of the origin of these games will be found in the Fasti of Ovid. B. iv. 1. 194, et seq.

14. Being Curule Aediles Among the other offices of the Aediles at Rome , it was their duty to preside at the public games, and to provide the necessary dramatic representations for the Theatre, by making contracts with the Poets and Actors.

15. Ambivius Turpio and Lucius Atilius Proenestinus These persons were the heads or managers of the company of actors who performed the Play, and as such it was their province to make the necessary contracts with the Curule Aediles. They were also actors themselves, and usually took the leading characters. Ambivius Turpio seems to have been a favorite with the Roman public, and to have performed for many years; of L. Atilius Praenestinus nothing is known.

16. Freedman of Claudius According to some, the words, Flaccus Claudi mean the son of Claudius. It is, however, more generally thought that it is thereby meant that he was the freedman or liberated slave of some Roman noble of the family of the Claudii.

17. Treble flutes and bass flutes The history of ancient music, and especially that relative to the tibiae, pipes or flutes, is replete with obscurity. It is not agreed what are the meanings of the respective terms, but in the present Translation the following theory has been adopted: The words dextrae and sinistrae denote the kind of flute, the former being treble, the latter bass flutes, or, as they were sometimes called, incentiveae or succentivae; though it has been thought by some that they were so called because the former were held with the right hand, the latter with the left. When two treble flutes or two bass flutes were played upon at the same time, they were called tibiae pares; but when one was dextra and the other sinistra, tibiae impares. Hence the words paribus dextris et sinistris, would mean alternately with treble flutes and bass flutes. Two tibiae were often played upon by one performer at the same time. For a specimen of a Roman tibicen or piper, see the last scene of the Stichus of Plautus. Some curious information relative to the pipers of Rome and the legislative enactments respecting them will be found in the Fasti of Ovid, B. vi. 1. 653, et seq.

18. It is entirely Grecian This means that the scene is in Greece , and that it is of the kind called palliata, as representing the manners of the Greeks, who wore the pallium, or outer cloak; whereas the Romans wore the toga. In the Prologue, Terence states that he borrowed it from the Greek of Menander.

19. Being Consuls M. Claudius Marcellus and C. Sulpicius Galba were Consuls in the year from the building of Rome 586, and B.C. 167.

Publius Terentius Afer (Terence) Andria front

Henry Thomas Riley (Translator), George Colman (Translator)

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FABULAE INTERLOCUTORES.

Notes on the current edition

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