Publius Terentius Afer (Terence) Heautontimorumenos 5.1

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.) — 5.1 focus

Notes on the current edition

Heautontimorumenos; or, The Self-Tormenter

1. Assistant, prompter, and director: The three terms here used are borrowed from the stage. Adjutor was the person who assisted the performers either by voice or gesture; monitor was the prompter; and praemonstrator was the person who in the rehearsal trained the actor in his part.
2. Dolt post, ass: There is a similar passage in the Bacchides of Plautus, 1. 1087.
Whoever there are in any place whatsoever, whoever have been, and whoever shall be in time to come, fools, blockheads, idiots, dolts, sots, oafs, lubbers, I singly by far exceed them all in folly and absurd ways.
3. Mould the countenances of people. He means that Syrus not only lays his plots well, but teaches the performers to put on countenances suitable to the several parts they are to act.
4. Has moulded your son: Mire finxit. He sarcastically uses the same word, fingo, which Chremes himself employed in 1. 887.
5. Substance to suffice for ten days: Familia here means property, as producing sustenance. Colman, however, has translated the passage: Mine is scarce a ten-days’ family.
6. His she-friend rather: Menedemus speaks of amico, a male friend, which Chremes plays upon by saying amicae, which literally meant a she-friend, and was the usual name by which decent people called a mistress.
7. And forsake you: Madame Dacier observes here, that one of the great beauties of this Scene consists in Chremes retorting on Menedemus the very advice given by himself at the beginning of the Play.
8. Which he has done to me: Colman has the following Note:
The departure of Menedemus here is very abrupt, seeming to be in the midst of a conversation; and his re-entrance with Clitipho, already supposed to be apprised of what has passed between the two old gentlemen, is equally precipitate. Menage imagines that some verses are lost here. Madame Dacier strains hard to defend the Poet, and fills up the void of time by her old expedient of making the Audience wait to see Chremes walk impatiently to and fro, till a sufficient time is elapsed for Menedemus to have given Clitipho a summary account of the cause of his father’s anger. The truth is, that a too strict observance of the unity of place will necessarily produce such absurdities; and there are several other instances of the like nature in Terence.