Publius Terentius Afer (Terence) Heautontimorumenos 1.1

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

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

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Current edition Perseus

Heautontimorumenos; or, The Self-Tormenter (English) (Terence. The Comedies of Terence. Riley, Henry Thomas; Colman, George, translators. New York: Harper and Brothers, 1872.)

Editions (1)
Heautontimorumenos Perseus (Terence. Publii Terentii Comoediae Sex. Parry, Edward St. John, editor. London: Whittaker and Co.; George Bell, 1857.) — 1.1 focus

Notes on the current edition

Heautontimorumenos; or, The Self-Tormenter

1. How little work is done here: Vollbehr thinks that his meaning is, that he is quite vexed to see so little progress made, in spite of his neighbor’s continual vexation and turmoil, and that, as he says in the next line, he is of opinion that if he were to cease working himself, and were to overlook his servants, he would get far more done. It is more generally thought to be an objection which Chremes suggests that Menedemus may possibly make.
2. I am a man: Homo sum: humani nihil a me alienum puto. St. Augustine says, that at the delivery of this sentiment, the Theatre resounded with applause; and deservedly, indeed, for it is replete with the very essence of benevolence and disregard of self. Cicero quotes the passage in his work De Officiis, B. i., c. 9. The remarks of Sir Richard Steele upon this passage, in the Spectator, No. 502, are worthy to be transcribed at length.
The Play was the Self-Tormentor. It is from the beginning to the end a perfect picture of human life, but I did not observe in the whole one passage that could raise a laugh. How well-disposed must that people be, who could be entertained with satisfaction by so sober and polite mirth! In the first Scene of the Comedy, when one of the old men accuses the other of impertinence for interposing in his affairs, he answers, I am a man, and can not help feeling any sorrow that can arrive at man. It is said this sentence was received with an universal applause. There can not be a greater argument of the general good understanding of a people, than their sudden consent to give their approbation of a sentiment which has no emotion in it. If it were spoken with ever so great skill in the actor, the manner of uttering that sentence could have nothing in it which could strike any but people of the greatest humanity—nay, people elegant and skillful in observation upon it. It is possible that he may have laid his hand on his heart, and with a winning insinuation in his countenance, expressed to his neighbor that he was a man who made his case his own; yet I will engage, a player in Covent Garden might hit such an attitude a thousand times before he would have been regarded.
3. Take off my shoes: As to the socci, or low shoes of the ancients, see the Notes to the Trinummus of Plautus, 1. 720, in Bohn’s Translation. It was the especial duty of certain slaves to take off the shoes of their masters.
4. To spread the couches: The lecti or couches upon which the ancients reclined at meals, have been enlarged upon in the Notes to Plautus, where full reference is also made to the coena, or dinner, and other meals of the Romans.
5. Provide me with dress: It was the custom for the mistress and female servants in each family to make the clothes of the master. Thus in the Fasti of Ovid, B. ii., 1. 746, Lucretia is found amidst her female servants, making a cloak, or lacerna, for her husband. Suetonius says that Augustus refused to wear any garments not woven by his female relations. Cooke seems to think that vestiant alludes to the very act of putting the clothes upon a person. He says,
The better sort of people had eating-dresses, which are here alluded to. These dresses were light garments, to put on as soon as they had bathed. They commonly bathed before eating, and the chief meal was in the evening.
This, however, does not seem to be the meaning of the passage, although Colman has adopted it. We may here remark that the censure here described is not unlike that mentioned in the Prologue to the Mercator of Plautus, as administered by Demaenetus to his son Charinus.
6. Neither movables: Vas is here used as a general name for articles of furniture. This line appears to be copied almost literally from one of Menander, which still exists.
7. To sell my house: On the mode of advertising houses to let or be sold among the Romans, see the Trinummus of Plautus, 1. 168, and the Note to the passage in Bohn’s Translation.
8. Toward your children: The plural liberos is here used to signify the one son which Menedemus has. So in the Hecyra, 1.217, the same word is used to signify but one daughter. This was a common mode of expression in the times of the earlier Latin authors.
9. Festival of Bacchus, Dionysia: It is generally supposed that there were four Festivals called the Dionysia, during the year, at Athens . The first was the Rural, or Lesser Dionysia, κατ a vintage festival, which was celebrated in the Demi or boroughs of Attica , in honor of Bacchus, in the month Poseidon. This was the most ancient of the Festivals, and was held with the greatest merriment and freedom; the slaves then enjoyed the same amount of liberty as they did at the Saturnalia at Rome . The second Festival, which was called the Lenaea, from ληνὸς, a wine-press, was celebrated in the month Gamelion, with Scenic contests in Tragedy and Comedy. The third Dionysian Festival was the Anthesteria, or Spring feast, being celebrated during three days in the month Anthesterion. The first day was called πιθοίγια, or the Opening of the casks, as on that day the casks were opened to taste the wine of the preceding year. The second day was called χοες, from χου a cup, and was probably devoted to drinking. The third day was called χυτροὶ, from χυτρὸς, a pot, as on it persons offered pots with flower-seeds or cooked vegetables to Dionysus or Bacchus. The fourth Attic festival of Dionysius was celebrated in the month Elaphebolion, and was called the Dionysia ἐν or Μεγαλὰ, the City or great festival. It was celebrated with great magnificence, processions and dramatic representations forming part of the ceremonial. From Greece , by way of Sicily , the Bacchanalia, or festivals of Bacchus, were introduced into Rome , where they became the scenes of and pretext for every kind of vice and debauchery, until at length they were put down in the year n.c. 187, with a strong hand, by the Consuls Spurius Posthumius Albinus and Q. Marcius Philippus; from which period the words bacchor and bacchator became synonymous with the practice of every kind of vice and turpitude that could outrage common decency. See a very full account of the Dionysia and the Bacchanalia in Dr. Smith’s Dictionary of Greek and Roman Antiquities.