§subject_3..This play is remarkable for a supposed irregularity in its construction, which has made it the subiect of an animated controversy among advocates of the ‘Unities. ’ It is clear that the opening scene of the play is laid at evening, when Menedemus is just finishing his day’s work.
play is remarkable for a supposed irregularity in its construction, which has made it the subiect of an animated controversy among advocates of the ‘Unities.’ It is clear that the opening scene of the play is laid at evening, when Menedemus is just finishing his day’s work.
The Third Act commences with the following morning, and in the interval the supper at Chremes’ house takes place.
The Third Act commences with the following morning, and in the interval the supper at Chremes’ house takes place.
This in itself, though an exception to the general arrangement of Terence’s plays, is not a very important matter.
This in itself, though an exception to the general arrangement of Terence’s plays, is not a very important matter.
The theory of the ‘Unities’ is not to be received as an absolute law for the Drama: and there is nothing in this case which is not abundantly justified by many other instances.
The theory of the ‘Unities’ is not to be received as an absolute law for the Drama: and there is nothing in this case which is not abundantly justified by many other instances.
Upon this point turns a theory which was first mooted by Scaliger, and afterwards maintained by Madame Dacier,—that this play was acted in two portions: the first two Acts at night, after sunset; and the three remaining Acts the next morning at break of day; the interval between the two parts being taken up with the supper at Chremes’ house.
Upon this point turns a theory which was first mooted by Scaliger, and afterwards maintained by Madame Dacier,—that this play was acted in two portions: the first two Acts at night, after sunset; and the three remaining Acts the next morning at break of day; the interval between the two parts being taken up with the supper at Chremes’ house.
This idea proceeds entirely upon the supposed necessity of filling up the interval between the Second and Third Acts; and is, as far as we are informed, entirely gratuitous.
This idea proceeds entirely upon the supposed necessity of filling up the interval between the Second and Third Acts; and is, as far as we are informed, entirely gratuitous.
Colman has shown the absurdity of the idea very well in his remarks on this subject.
Colman has shown the absurdity of the idea very well in his remarks on this subject.
Any one who considers that the Roman Drama was performed in the open air, will at once see the improbability of such a mode of representation.
Any one who considers that the Roman Drama was performed in the open air, will at once see the improbability of such a mode of representation.
The Roman Amphitheatre was at any time a disadvantageous arena for the Drama.
The Roman Amphitheatre was at any time a disadvantageous arena for the Drama.
What must have been the success of a play, acted partly at night-fall, partly before breakfast next morning? Nothing but a devotion to the ‘Unities’ could have led to such an idea; and it will be dismissed without any further discussion, now that a more artistic idea of Dramatic Unity is generally recognized.
What must have been the success of a play, acted partly at night-fall, partly before breakfast next morning? Nothing but a devotion to the ‘Unities’ could have led to such an idea; and it will be dismissed without any further discussion, now that a more artistic idea of Dramatic Unity is generally recognized.
§production..HEAUTONTIMORUMENOS. ACTA LUDIS MEGALENSIBUS, L. CORNELIO LENTULO L. VALERIO FLACCO AEDILIBUS CURULIBUS. EGERUNT L. AMBIVIUS TURPIO ET L. ATTILIUS PRAENESTINUS. MODOS FECIT FLACCUS CLAUDII. GRAECA EST MENANDRU. ACTA PRIMUM TIBIIS IMPARIBUS;
Performed at the Megalensian Games, L. Cornelius Lentulus and L. Valerius Flaccus being Curule Aediles. Performed by L. Ambivius Turpio and L. Atilius Praenestinus. Flaccus, the slave of Claudius, composed the music. The Greek original is by Menander. It was performed first with unequal pipes, then with two right-handed pipes.
DEINDE DUABUS DEXTRIS. ACTA III. EDITA M. IUVENTIO ET T. SEMPRONIO COSS.
It was performed for the third time. EDITA M. Juventius and T. Sempronius, Consuls.
§1..NE cui sit vestrum mirum, cur partes seni §2..Poeta dederit quae sunt adolescentium, §3..Id primum dicam: deinde quod veni eloquar.
any of you should wonder why the poet has assigned to an old man that belong to young men, will first explain that; and then I will deliver the message for which I have come.
§4..Ex integra Graeca integram comoediam §5..Hodie sum acturus Heautontimorumenon; §6..Duplex quae ex argumento facta est simplici.
an untouched Greek original, an untouched comedy am about to act today, the Heautontimorumenos; has been made a double play out of a single plot.
§7..Novam esse ostendi, et quae esset: nunc qui scripserit, §8..Et cuia Graeca sit, ni partem maximam §9..Existimarem scire vestrum, id dicerem.
have already shown that it is new, and what it is; now, as to who wrote it, whose Greek play it is, if I did not think that the greatest part you already knew, I would tell you.
§10..Nunc, quamobrem has partes didicerim, paucis dabo.
, why I have learned these parts, I will briefly explain.
§11..Oratorem voluit esse me, non prologum.
wished me to be an advocate, not a prologue-speaker.
§12..Vestrum iudicium fecit; me actorem dedit.
has made you the judges; he has given me as the actor.
§13..Sed hic actor tantum poterit a facundia, §14..Quantum ille potuit cogitare commode §15..Qui orationem hanc scripsit quam dicturus sum.
this actor will have only so much power by his eloquence, he who wrote this speech which I am about to deliver able to devise with convenience.
§16..Nam quod rumores distulerunt malevoli, §17..Multas contaminasse Graecas dum facit §18..Paucas Latinas; factum hic esse id non negat, §19..Neque se pigere: et deinde facturum autumat.
as to what malevolent rumors have spread, he has contaminated many Greek plays while making few Latin ones; he does not deny here that this was done, is he ashamed of it; and he declares that he will do so in future.
has the example of good writers, by whose example he thinks is permitted to him to do what they have done.
§22..Tum quod malevolus vetus poeta dictitat, §23..Repente ad studium hunc se applicasse musicum, §24..Amicum ingenio fretum, haud natura sua;
, as to what that malevolent old poet repeatedly asserts, he has suddenly applied himself to this musical pursuit, on the genius of his friends, and not on his own nature—