REMARKS UPON AMPHITRYON.
THE Subject of this Play is the most single that can possibly be, it being only the Birth of Hercules, and likewise the most noble of all the Comedies of the Ancients; not only for the bringing forth of such a Hero, but also for its At∣tendance by no less than two Gods, and with Thunders and Lightnings. This Subject, tho' great, is naturally very barren, especially if compared with many others; but this makes the Poet's Art appear still greater, in find∣ing Incidents sufficient for a whole Play, when he had so little matter to work upon: and in the natural Ma∣nagement of those, he is admirable.
The PROLOGUE.
THE Prologue is spoken by Mercury, not only be∣cause he was the most proper Person to say and relate such Things as the Poet had most occasion for; but likewise, because it wou'd not have been so probable for another Person to have been abroad at that time of Night.
Page 66 Pag. 3. lin. 17. &c. By Jove's Orders I came, Mercu∣ry's my Title, sent hither by my Father to beg your Atten∣tion.] Mercury, being in Disguise, and not in a Machine, as soon as he cou'd take breath after his long-winded Sentence, he tells the Spectators who he is. For tho, from that Sentence, they might pretty well guess at him, (more perhaps from his Offices than his Oratory) yet the Poet takes care to make every thing perfectly clear, and intelligible, to the Spectators; that, above all things, they might never be at a Loss as to the Plot.
Pag. 5. l. 3. And I'll make it a Hodge-podge, a Tragi-Comedy.] Faciam ut commixta sit Tragico-comaedia. This is the only Play among the Ancients, that was call'd Tragi Comedy; and this but in jest neither. But Plautus meant no such thing as we do by our Word Tragi-Come∣dy, as appears by the four following Verses: For always among the Ancients, the Representation of Kings and Great Mens Actions, made a Tragedy, and those of Common Persons, Comedy, whether the Catastrophe's were prosperous or not, in either. If I had translated it, a Tragical-Comedy, perhaps it might have been nigher the Author's Design, and as agreeable to the Comical Humour of him who spoke it.
Ibid. l. 8. &c. T' order the Guards t' inspect Pit, Box, and Gallery, and if they find any suborn'd to clap an Actor, to take his Cloak for a Pawn.] Ut conquisitores singuli in subsellia eant per totam caveam, spectatoribus, si cui fautores delegatos viderint, uti iis in caveâ pignus capiantur togae. The Romans were so great Encouragers of Plays, that they constantly order'd a Reward for him who play'd his Part best, which was paid him by the Edils, who were sworn to do Justice; and this often caus'd great Contests and Parties among 'em. I translated, Conqui∣sitores, Guards; Subsellia, and totam caveam, Pit, Box, and Gallery; and Togae, Cloak, because they are the same in effect. I always take the like Liberty in such Cases, and that without any Design of changing the Scene to London.
Page 67 Ibid. l. penuit. &c. A year ago, when the Players in∣vok'd him in a pitiful Farce, he came to their Assistance.] Etiam histriones annô cùm in proscenio hic Iovem invocâ∣runt, venit: auxilio eis fuit. Some read it, Nannio cùm in proscenio, supposing it an Allusion to a Play call'd Nan∣nium proscenium, from a famous Courtizan of that name: But this is very doubtful; and tho', questionless, it is a sharp Reflection upon some Play in those times; yet, on what, is uncertain. What Liberty is taken in the Translation, is only to make the Satyr of it more intel∣ligible.
Pag. 6. l. 5. First, this City is call'd Thebes; &c.] Here begins a Narration of all that was done before the open∣ing of the Stage. This was Plautus's way in the rest of his Prologues, a thing which Terence never did; and truly Plautus is not to be commended for this; for it may seem to argue a want of Dexterity in doing of it by the Actors Mouths. But since the Prologue is no part of the Play, all being intire and compleat without it; and if these Narrations foretel nothing, like those of Euripides, their principal Fault then is, their being wholly Impertinent.
Pag. 7. l. 15. &c. Now, to distinguish us easily, I ha' lit∣tle Wings upo' my Hat, and my Father a golden Tuft upon his.] This is a second Instance of Plautus's Care of pre∣venting all manner of Obscurity, or Confusion, in the Spectators; and tho' it is here done with no great Ad∣dress, (since 'tis all in a Prologue) yet it may serve for a hint of the great Exactness of the Ancients in this Point; whereas the Moderns fail in nothing more than this; and by that means often miss of Success in their greatest Beauties.
ACT I.
Scene the First.
PAg. 8. l. 8, &c. Out o' which damn'd Kitchin, to mor∣row must I be dish'd up for the Whipping-Post.] Inde cras è promtuariâ cellâ depromar ad flagrum. The Joak of this cannot easily be preserv'd in our Language; which chiefly consists in the double Signification of the Word Depromo, which is either to Draw, or to Take, or else a proper Term in Cookery, such as, to Dish, to Serve up, or the like.
Pag. 10. l. 7, &c. Madam, at our first happy Arrival at th' Enemies Country, &c.] Here begins an admirable Narration of a Battel; excellent, first, for the perfect Compleatness of the Description in so few Words, with an Air of Grandure, which makes it more diverting in a Servants mouth; but more especially, for the ex∣traordinary Address of the Poet by finding such an in∣genious Pretext for letting the Spectators know a thing so very necessary for their understanding the Plot, and that by the mouth of a single Person; so, both seriously informing, and comically delighting 'em the same time. If any object, that the Language is too good for a Ser∣vant; it may be reply'd, that Socia says not a word but what he heard from others, and what he says now, is only to have his Speech perfect.
Pag. 12. l. 21, &c. Except that night I had the Strapa∣do, and rid the Woodden Horse till Morning.] Nisi item unam, verberatus quam pependi perpetem. Slaves, when they were beaten, were often hung up by the Legs or Hands, and kept in that Posture for a considerable while. For the Liberty I have taken, see the latter part of the fourth Remark upon the Prologue.
Pag. 13. l. 6. This may be some Rogue to steal my Cloak off my Back.] Illic hoc homo denuo volt pallium detexere. Page 69 The Word Detexere, is a Weavers Term, signifying to Put on to the Loom, and the like. Now Socia seeing Mer∣cury in a remarkable Posture, with his hands lifted up, he pleasantly intimates as tho' he had stood ready to take his Cloak, and new weave it for him; but this is not easily preserv'd in our Tongue. I believe it wou'd have done better, and nigher to the Author's Design, if I had translated it, I'm afraid this Fellow has some great Business with my Cloak.
Ibid. l. 24. Dissociate me to Quintus.] Quintus fiam è Sosiâ. The Jest of this, in the Original, is much great∣er than in the Translation: For it was usual among the Romans, to call their Sons by the Names of Primus, Se∣cundus, Tertius, Quartus, Quintus, Sextus, &c. according to their Births; as likewise their Daughters by the Names of Prima, Secunda, Tertia, Quarta, &c.
Pag. 14. l. 21. Far enough lately.] Verùm longè binc ab∣fuit. As Madam Dacier observes, it is Socia that says this, and not Mercury, as it is in all the common Books.
Pag. 15. l. 19, &c. Whither away, Sirrah? you that car∣ry Fire i' your Lantborn.] Quò ambulas, tu, qui Vulcanum in cornu conclusum geris? I do not see how the Comi∣calness of this Passage can be preserv'd in our Tongue.
Ibid. l. 27, &c. Sirrah, you'll be kick'd. Soc. You lye, Sir, for once.] Verbero. So. Mentiris n•…nc jam. The Jest here is wholly lost in the Translation, which con∣sists in the double meaning of the Word Verbero; which is either a Noun, signifying, A Slave that deserves to be beaten; or a Verb, signifying, I beat you. Now Mercury us'd it in the former Sense, and Socia took it in the lat∣ter; and tho' it be but an ordinary Jest, it was agree∣able enough to Socia's Character.
Pag. 16. l. 1, &c. Sirrah, I shall stop that damn'd foul Mouth o' yours. Soc. 'Tis past your skill, Sir. 'Tis kept as well and as clean as any Mans.] Ego tibi istam hodie scele∣stam comprimam linguam. So. Haud potes: bene pudicéque asservatur. This is exactly of the same Stamp with the last; playing upon the double meaning of the Word Page 70 Comprimo, which signifies, to Stop, Stay, or Repress; as likewise, to lye with a Woman. It was us'd in the for∣mer Sense by the first, and taken in the latter by the l•…st; and has nothing of that ill meaning which the Commentators and others imagine, they being most certainly in the wrong. I have more successfully transla∣ted, or rather imitated, this than the last, by making the Opposites, Foul and Clean, as he had done Comprimo and Pudicè; especially since, I'll stop your foul Mouth, is as common a Phrase among us, as Comprimam linguam was among the Romans.
Ibid. l. 19. I shall exalt your Worship to the Honour.] Fa∣ciam ego hodie te superbum. Some think that the Word Superbum, here signifies Death, and Auferere, immediate∣ly after, being carry'd in a Coffin, or the like; and others think Superbum, a great Swelling, by the Blows he wou'd give him. But the way that I have done it, seems to me to be much the more natural Sense, and to have the most Wit in it.
Pag. 17. l. 4, &c. You came wi' your Feet, not wi' your Cloaths.] Certe pedibus, non tunicis venis. This, in its self, is one of the meanest Jests in the Play; but con∣sidering that Mercury had to deal with a mean, cavil∣ling, quibbling Fellow, who wrested all his Words to a wrong Meaning, (particularly his Verbero and Compri∣mo) and one whom he was to banter all the ways he cou'd, it seems proper enough in this place.
Pag. 21. l. 8, &c. He has erected my Statue i' my Life∣time; I ll be sworn no body will honour me so much after I'm dead and gone.] Vivo fit, quod nunquam quisquam mortue faciet mihi. This is Wit in all Languages.
Scene the Second.
This Scene is a Part of the Prologue; for which our Poet is not to be excus'd, not only for placing of it here, and so confounding the Spectators Attention by mingling their Concerns with the Actors, but likewise Page 71 foretelling in it, the Catastrophe, which ought to have been carefully conceal'd from them. The first of these Faults, to wit, his mingling the Actors and Spectators Concerns, he is several times guilty of in other Plays, and when it is not by way of Prologue neither; but the latter, he is guilty of no where but in his Prologue to Poenulus, that I remember.
Pag. 22. l. 12. My Father's so tender of Alcmena.] Al∣cumena hujus honoris gratiâ, pater curavit. As Madam Dacier observes, this Tenderness is in respect of her Health and Body, and not of her Reputation, as the Word Ho∣noris seem to imply.
Scene the Third.
Pag. 23. l. 1. Take care o' the bringing up the Child.] Verùm quod erit natum, tollito. It seems very odd to us, that Iupiter shou'd leave such an impertinent useless Command with Alcmena; but in those days nothing was more common, than the exposing of their Children, so that this Order was very proper at that time; and the Word Tollito alludes to that very Custom.
Ibid. l. 14. If your Lady shou'd find out the Cheat.] Illa si istis rebus te•…sciat operam dare. It is a great doubt among the Interpreters, whether this Illa means Iano or Alc∣mena; therefore I have done it in as general Terms as my Author has.
Scene the Fifth.
Pag. 25. l. 8. This has been a longer night than ordinary.] Many Learned Men have mistaken this long Night for that of Hercules's Begetting, and so have thought this Play had continued nine or ten Months; whereas this, most evidently, is that immediately before his Birth; our Poet not going according to the common Fable, as they suppos'd he did.
ACT II.
THE first Interval is fill'd up with Socia's returning to the Port, to tell his Master Amphitryon all the strange Things he had seen.
Scene the First.
It ought to be observ'd, that the whole time of this Scene's acting, Amphitryon, Socia, and the Prisoners, are moving towards the Front of the Stage, and Amphitryon's Door; which may well enough be, considering the Vastness of the Roman Stage, being 180 Foot in the Front. This Scene cannot be represented with nigh the Probability upon our small Stage.
Pag. 28. l. 23. The Fellow's bewitch'd, and fallen into some ill hands.] Huic homini nescio quid est mali malâ obje∣ctum man•…. Our Phrase, Ill Hands, has the same mean∣ing that Malâ manu has here, which signifies those of Witches, or Sorcerers; therefore Socia's Jest, immediately following, is as effectual in the Translation as in the Original. I added the Word Bewitch'd, to make it still more clear.
Scene the Second.
Pag. 31. l. 16, &c. Why there's your Lady has din'd, by her Belly. Amp. 'Po, Blockhead, I left her wi' Child when I went to the Campaign.] I am apt to believe, that this Jest of Socia's wou'd scarcely pass Muster upon our Theatre, tho' in a Farce; yet still it serves to keep up the Character, and carry on the Humour of a mean Slave, such as Socia was. But what is most remarkable, is, that this insipid Jest shou'd be a Preparation to the Main Inci∣dent, and there is but one more in the whole Comedy, except in the Prologue, which in reality is no part of a Play. If the Matter of a Preparation be ridiculous, it is oftentimes the Poet's Art and Cunning, tho' I know not whether I may say it 〈◊〉 so here.
Page 73 Pag. 33. l. 34, &c. Yes, Madam, there are Fruits too, of •…ying-in Women, and Fruits too, to strengthen their Hearts, and keep 'em from Swooning.] Enimverò pregnanti oportet & malum, & malum dari, ut quod obrodat sit, animo si malè esse occaeperit. The Wit (or whatever the Reader please to call it) of this Passage, consists in Socia's play∣ing upon the ambiguous Word Malum, which Alcmena had spoken just before; and this signifies either a Mis∣chief, or an Apple; therefore nothing, that I know of, in our Language, cou'd answer it so well as Fruits, which may be taken in either good or bad Sense.
Scene the Fourth.
Pag. 38. l. 5. You complain'd o' Drowsiness.] This is the middle of a remarkable Narration, which is, by pieces, scatter'd through this and the Second Scene. The Poet ingeniously contrives here, to tell the Spectators of ma∣ny considerable Matters, and yet, all the time, seems to have no manner of Design for any such thing, but a quite different one. This sort of Address is always to be ad∣mired, and as much to be imitated.
Ibid. l. 21. A very pretty Business; if she has taken away his Manhood, and made him a Lady.] Haeret haec res: si∣quidem haec jam mulier facta •…st ex viro. This is right Socia again, playing upon the Word Vir, which Amphi∣tryon had just upbraided his Wife with, signifying both Husband, and Man. Here, by luck, the Word Lord has preserv'd the Jest as well.
Ibid. l. 13. I ne•…re gave t'any Man but you, the least Li∣berty, &c.] Ut mî extra unum te mortalis nemo corpus cor∣pore contigit. If Plautus has made Alcmena speak here according to her high Quality, as I doubt not but he has; it plainly appears, that our way of expressing Things in this nature, is more modest, clean, and genteel, than theirs usually was.
ACT III.
THE second Interval is fill'd up with Amphitryon's going to search for Naucrates.
Scene the First.
This Scene is still but a part of the Prologue; and tho' it be a great Fault to confound the Spectators Concerns with the Theatral-Action, and such as cannot be vindica∣ted; yet at the same time, it ought not to be forgotten, that the Prologue is never any part of the Play, as I ob∣serv'd before.
Pag. 41. l. 3. My Lodgings are i' th' upper Garret.] In superiore •…ui habito coenaculo. If this Passage be consider'd as spoken immediately to the Spectators, it is very co∣mical; for whether he be look'd upon as real Iupiter, or as a poor Player and Slave, whose Lodgings were al∣ways in the Garret, it agrees exactly with him. But this is almost lost in our Tongue, even tho' a better Word than Garret were us'd.
Scene the Second.
Ibid. l. penult. &c. The House is grown odious to me now, since my Lord accuses me o' Dishonesty, Shame, and Infamy.] The Poet had a very great Occasion for Alcmena's ap∣pearing at this time, both for the Reconciliation, and the notable Consequences thereof: But see what an in∣genious Pretext he finds for her coming there at that time; as likewise he has, at the two other times she appears, when both the Hour and Place might have made it very improbable for a Woman of her Rank and Quality. Whenever this Rule is not observ'd in a Play, nothing seems more forc'd and unnatural, no∣thing more botch'd and bungl'd.
Pag. 43. l. 9, 10. Let me beg, and intreat ye, to forgive, Page 75 forget, and be pacify'd.] Oro, obsecro, da mihi hoc veniam, ignosce, irata ne sies. This Place, among many others, may be an Instance of my binding my self so scrupulous∣ly to my Author's Words, even when they have just the same Signification, which often makes a Translation the worse, as, perhaps, in this place. But whenever such be made to run well, it does not only show the Translator's Skill, and the Copiousness of our Words or Expressions, but likewise is very useful to teach young Scholars both Languages at once.
Ibid. l. 13, 14. Farewel, keep your own Things, and let me ha' mine.] Valeas, tibi habeas res tuas, re•…das mea•…. This was the constant Form of Words us'd at a Divorc•…, and consequently the Beauty of it must be lost in our Language.
Pag. 44. l. 3, &c. I must send for Blepharon, our Ships Pilot, t'invite him to Dinner.—But not a mouthful shall Socia get; and here'll be rare sport when I come to grapple with Amphitryon.] Iupiter's sending for Blepharon, was an excellent Preparation of the Poet's, to cause all that Sport which happen'd in the Fourth Act, and to bring about the Catastrophe more dextrously; but still he took care to have a fair Pretence for so doing. His foretel∣ling something of this sport, in another place, wou'd have been a Fault, but here it serves purely to raise the Audiences Expectations; and nothing makes a Play suc∣ceed better than doing of that well.
Scene the Fifth.
Pag. 45. l. ult. The mean time I'm sacrificing to my self.] Here ends the Third Act, which is contrary to all the common Books, which make it end a Scene after. Here is a manifest Cessation of Action upon the Stage, when in the other there is none.
ACT IV.
THE third Interval is fill'd up with Amphitryon's looking for Naucrates, Socia's for Blepharon, and with Iupiter's and Alcmena's Sacrificing.
Scene the First.
The greatest part of this Scene, makes the last Part of the Prologue, or at least, it is so much of that Nature as properly enough to be call'd by that Name, though it be not placed before the Play, as the Word Prologue, in the most strict Sense, implies.
Pag. 46. l. 7, &c. Their vast haste, is only for a Vessel safely arriv'd, an old Fellow upo' the Fret, or so.] This, and a Line or two before, was design'd by Plautus for a Satyr upon some of the Play-Wrights of his time, whose chiefest Beauties, it seems, consisted in a Slave's running in vast haste with some such News as before mention'd, and throwing down all he meets; so making the Spe∣ctators laugh by such means, when they cou'd not by better.
Scene the Second.
In this little Scene, there is a great deal of Art of the Poet, by making Amphitryon so particularly tell the seve∣ral places he had been at, to look for Naucrates; for if it had been otherwise, the Spectators might all have wonder'd that Socia did not meet him, since he was gone but a little before to the same place; and their Meeting wou'd have spoil'd the whole Plot. This is an excellent Instance of the exact Probability that the Ancients ob∣serv'd; and what is still remarkable, is, that tho' at ano∣ther time it wou'd have been undecent, and unlikely for a Man of his Quality to look himself at so many places, yet now it was highly probable, since he was so extreamly overcome with Rage and Jealousie.
Scene the Third.
Pag. 48. l. 21. Thou cursed branded Rogue.] Ulmorum acheruns. That is to say, One whose Back had consum'd as much Brush-Wood as Hell cou'd. A Verbal Translation, in this place, wou'd have sounded wretchedly. Perhaps, Thou Plague to the Whipping-Post, might have done as well as any.
Ibid. l. antepenult. &c. Then I shall sacrifice—Amp. What? Me•…. Something to your Worship's Pate.] Sacrifico tibi. Am. Qui? Me. Quia enim te macto infortunio. The Jest of this Passage consists in Mercury's playing so comi∣cally upon the Word Macto, which is a proper Term us'd in Sacrificing, and, in that place, the same with Magis aucto, and Augeo; and whereas it is usually join'd to Honore, and the like, he merrily joins it to Infortunio, as it is in Terence's Phormio. This cannot be preserv'd in our Tongue; yet this Translation does in a great mea∣sure answer the Design.
Pag. 49. l. 1. You, Iail-bird?] Tun' me mactes, car∣nufex? All from this, to nigh the End of this Act, is generally suppos'd to have been done by another hand; but whether it be so or no, I shall not offer to deter∣mine. However, it is undoubtedly very ancient, and the Plot and Incidents as well carry'd on as Plautus himself cou'd have done; and I believe that those Persons who seem able to prove it not his by the difference in Stile, will be less able to do it by the difference in Spirit and Genius.
Ibid. l. 20. Y' ought to get your Brains clear'd.] Bac∣chanal te exercuisse oportuit. This is spoken in Reference to Drunkenness, or rather indeed Madness, which Mercury lays to Amphitryon's Charge; and therefore the Word Bacchus, about 18 Verses after, in that place, seems properly enough translated, T•…m-a-Bedlam.
Scene the Fifth.
It is pleasant to observe how naturally the Comical Incidents in this Scene, spring from their Preparations in the second and third Scenes of the third Act.
Pag. 51. l. 19. But why do I mention Foreign Prodigies, &c.] All this Monologue is of a right Tragical Strain; the Passi∣on truly just and natural; and the Thought as ingeni∣ous and moral. It seems to be writ exactly with the same Spirit as that Monologue in the beginning of the Se∣cond Scene of the Second Act.
Scene the Sixth.
Pag. 55. l. 11, &c. Nothing goes well wi' me to day. I left Blepharon and Socia, to hunt up my Cozen Naucra∣tes; him I can't find high nor low, and t'other two I ve quite lost.] Many have mistaken the Design of this Place, and have thought it was spoken by Amphitryon, or that something had been left out; whereas Iupiter speaks this only to puzzle and confound Amphitryon, Blepharon, and Socia, and so carry on his Design the better.
Scene the Seventh.
Pag. 56. l. 17. For that Affront, I'll throatle ye.] It may seem very indecent for Iupiter and Amphitryon to scuffle at this rate, and not rather to have drawn their Swords; but this agrees exactly with that Character which Mercury in the Prologue gives of this Play, when he calls it Tragi Comedy. Besides, drawing of Swords might have prov'd too Tragical.
Pag. 57. l. 15. Because if our Army were routed, I might secure m' own Retreat.] The Application of this Passage is very Satyrical, considering this Play was acted before the Romans, whose Generals were never us'd to practise such ways. The Sharpness of the Reflection is conside∣rably lost upon our Stages.
Page 79 Pag. 58. l. 22. And I can go no further*.] Quid agam nescio. Here ends all that which goes by the Name of Supposititious.
ACT V.
THE fourth Interval is fill'd by Amphitryon's being in a Swoon upon the Stage, and Alcmena's Labour. This Interval is very peculiar; and I don't know ano∣ther Instance of this nature among the Ancients, but in the Hecuba of Euripides: So that an Act is finish'd whenever the Stage is without Action, whether there be an Actor there or no.
Scene the First.
Pag. 59. l. ult. Mercy upo' me! What shall I do? I've seen so many Prodigies within.] The Poet had a particular Occasion for Bromia's appearing at this time; therefore he has found a very fair Pretext for bringing of her there, to wit, the great Fright she was in within Doors, which Reason she more particularly alledges in the next Scene.
Pag. 60. l. 6, &c. What Voices and Noises, what Clashes and Flashes? How suddenly, how frequently, how terribly it thunder'd!] Strepitus, crepitus, sonitus, tonitrus; ut su∣bi•…, ut properè, ut validè tonuit? It seems, among the Ancients, whene'er Iupiter appear'd like a God, it was always with Thunder and Lightning. Since this is a sort of a rumbling Passage in the Original, I have also made it so in my Translation.
Ibid. l. 24. My Lord!] Here ends the first Scene. Now if any shou'd blame me for making a Distinction of Scenes when the same Persons are still upon the Stage; I reply, That the very same Thing that made the Distinction of Acts, as Amphitryon's Condition did, must undoubt∣edly make the Distinction of Scenes.
Page 78〈1 page duplicate〉Page 79〈1 page duplicate〉Scene the Second.
Pag. 61. l. 16. First, you must know, she's brought to bed o' two Boys.] This is the Beginning of a pleasant and lively Narration, which is attended with all its due Circumstances; to wit, the Place as well as the Party proper for the Relation; the Person necessary to hear it; and, above all, the Design of relating it, which was, The Vindication of Alcmena's Honour. All these Circum∣stances are not only to make it probable, but also to keep the Spectators from supposing it made for their Informa∣tion; which, tho' it is the principal Design of all Narra∣tions, yet nothing ought more industriously to be con∣ceal'd from them, than such a Design.
Scene the Fourth.
Iupiter's descending here, agrees exactly with Horace's Rule, Nec Deus intersit, nisi dignus vindice nodus inciderit. For a God cou'd never come upon a better Design, or in a better Time, to satisfie either Amphitryon, or the Spectators.
Scene the Fifth.
Pag. 64. l. 4. And great Jove's Cause.] Iovis summi causa. The Romans believ'd that this Play made much for the Honour of Iupiter; therefore, afterwards, it was commonly Acted in Times of publick Troubles and Calamities, to appease his Anger.
