Plautus's comedies ... made English, with critical remarks upon each play.

REMARKS UPON RUDENS.

THis Comedy is call'd Rudens, or the Cable, but with so little Reason, that Madam Dacier chang'd the Name in her Version, and call'd it L'Heureux Naufrage, the Happy Shipwrack, which indeed is the more proper Name of the two. The Subject of this, as well as the last Play, is not so noble as that of Amphitryon, it being chiefly the Discovery of Palestra, yet the variety of Incidents affords more Diver∣sion than Amphitryon, and the Decorations of the Stage, is finer than either that or Epidicus; or indeed, than any of his, or Terence's Plays. The Catastrophe ends more to the satisfaction of the Spectators than Epidicus, for here is not only the Discovery, but the Marriage of Palestra. The Poet's Management is the more remark∣able in this Play, for bringing to pass so many several Incidents in such a private, and almost unfrequented Place, without offending the least against Proba∣bility.

The PROLOGUE.

THE Prologue is spoken by a God, because, only such a one can be supposed to know all what is there related; and by Arcturus in particular, because he was most generally believed to raise Storms and Tem∣pests in the Sea, therefore the more proper for this Nar∣ration. The Fore-part of this Prologue, exactly shews the Opinions, Morality, and Doctrin of the Pagans in these Times.

Pag. 152. l. 19. Diphilus calls this City, Cyrene.] This was Diphilus the Greek Comedian, from whence Plautus borrowed the Subject of this and some other of his Comedies.

Ibid. l. 20. Here dwells Demones, &c.] This is the beginning of a Narration of all what pass'd before the opening of the Stage, a thing very inartificial in a Pro∣logue, because it is spoken immediatly and directly to the Audience. This was Plautus's usual way in the rest of his Prologues, tho' not in so ill a manner as in that of Amphitryon, where he foretels the Catastrophe, which of all things ought to be conceal'd. The principal Fault of this, is the letting the Spectators know that Palestra is Demones's Daughter, which takes away much of the Pleasure of the Surprize; and seems but one De∣gree beneath that of the Discovery of the Catastrophe.

Pag. 153. l. penult. &c. The Girl I told y' of, and another with her, in a Fright, are leap'd into the little Boat; and are now driven by the Tide, from the Rock towards the Shore▪] This is the latter end of the Shipwrack, and here the Stage opens; and the Poet (as in the two foregoing Plays) has contriv'd it as nigh to the Catastrophe as it is possible; but the several Incidents, he has laid, and pre∣par'd before-hand, still put it off, and furnishes mat∣ter sufficient for five Acts. This is one of the principal Secrets of a Dramatick Poem.

ACT I.

Scene the First.

PAg. 155. l. 4. It can be no Wind, but some Conjurer raising the Devil.] Non ventus fuit, verum Alcumena Euripidi. This is an Allusion to that Tragedy in Euripides, call'd Alcumena, where a dreadful Storm was so lively repre∣sented, that it became a Proverb at last for all Tempe∣stuous Weather. This is lost among us, therefore I have taken a little Liberty. Madam Dacier observes, that it was not strange for a Slave of Cyrene to speak of this, because he was suppos'd to have long serv'd his Master in Athens, where he might have often seen that Play acted.

Ibid. l. 6. The Windows shatter'd, so we shall keep open House now.] Illustrioris fecit, fenestras indidit. It ought to be Illustriores, and refers to Aedes, understood. It is taken in a comical Sense, not without something of a Pun; therefore Open House, or, if you please, Splen∣did House, seems a true Imitation of the Author's Design.

Scene the Second.

The three Gentlemen whom Pleusidippu•…•… brings along with him, are all Mu•…•…es. If any of our modern Poets had had the Management of 'em, they wou'd undoubt∣edly have made 'em speak several things, and perhaps with Reason, it being somewhat improbable they sho•…•…'d be silent all the Time they were there: But the Anci∣cients,

in this point, were extream fearful of embaras∣sing the Stage, and often to a Fault, and too great a limitation to the variety of the Discourse. They had commonly more Actors, and we have usually more Speakers.

Scene the Third.

Pag. 156. l. 12, &c. Father, well met. Dem. Good morrow t' ye, Sir. Sce. Are ye Man or Woman, that you call him Father? Pleu. A Man, undoubtedly. Dem. If so, you must seek elsewhere. I had once a little Daughter, which I lost formerly, but ne'r had a Son i' my Life.] De∣mones's mentioning the loss of a Daughter, was a very necessary Circumstance for the Audience to take notice of, and an excellent Preparation for the main Incident: But for the manner of bringing of it in, tho' there appears little design of instructing the Audience, and consequently well in that respect, yet, methinks, it might have been better, or at least more civil after this manner. Pleu. Father, well met. Dem. Ah, Sir, that word, Father, brings my poor Daughter to remembrance, that I lost formerly.

Pag. 157. l. 32. Hark ye, Sir, you that haunt the Tem∣ple for your Belly-sake.] Heus tu! qui fana ventris caussa circumis. This was a very high Affront to a Gentle∣man, in those days. But Pleusidippus takes no notice of it, either because his Thoughts were otherwise em∣ploy'd, or rather (as Madam Dacier observes) from the likeness of the word Ventris to Veneris, and, by means of the pronunciation, he might mistake the sound. But this I cou'd not preserve in my Translation. It is observable besides, that the Scurtility, and the low Jests of Sceparnio, which seem so very odd to us, do very well shew the Nature and Disposition of the poor Slaves of those Days.

Pag. 158. l. 8, &c. I fancy they're some damnable Camesters. Dem. Why so? Sce. Because they've lost all, their Ship and all.] Ut mea est opinio, propter viam illi sunt vocati ad prandium. Dae•…•… Qui? S•…•… Quia post coenam, credo, laverunt heri; confr•…•… navis in ma•…•…i est illis. This is a very difficult Passage, and is founded upon a Custom of those days, of sacrificing to Hercules before they made a Voyage, and all what they cou'd not eat, they burn't, so that nothing was left behind. From this Custom, Scep•…•…rnio takes an occasion to s•…•…y, that those People on the Sea, propter viam illi sunt vocati ad prandium, that is, they had sacrific'd for a Voyage, be∣cause, says he, post coenam laverunt, that is, had consum'd all, for Lavo, here, and in several other Places of Plau∣tus, signifies to Lose, to Destroy, to get rid •…•…ff, and the like; and the word, Coenam, signifies the Meal they made at that Office. This is undoubtedly the true explana∣tion of this Passage; but the Jest is lost in our Tongue, therefore I have made something that has much of the same Force and Design.

Ibid. l. 22. Fare ye well.] Here Pleusidippus goes to the Assistance of the Persons Ship-wrack'd, but finds 'em not, tho' he had seen 'em just before. This may seem improbable for a Man of his amorous Temper to look so negligently; and Madam Dacier reckons it a conside∣rable Fault. But in answer to this, it may easily be supposed, that the Rocks and Cliffs, and the distance of the Shore, might make him miss of 'em, and come too late, for they were landed immediately after his leave∣ing the Stage. If it be ask'd, why did he not give this, or some other Reason for it, when he came next on to the Stage? It may be reply'd, that neither his Haste, Business, nor the Subject wou'd admit of such a Narra∣tion at that time. But if this be not allow'd as an An∣swer, and it still be counted a Fault, yet thus far must be allow'd, that our Author has not such another in all the three Plays.

Scene the Fourth.

Ibid. l. 27. I vom, two little Girls, all alone, in a small Boat, &c.] In the Original, nothing can be more na∣tural and lively, than Sceparnio's Discourse about the two Women in the Boat: And this is a sufficient In∣stance of Pla•…•…us's excellent Stroaks upon an occa∣sion.

Scene the Fifth.

Palestra was separated from her Companion, first by the greatness of her Fright, which made her suppose her drown'd; then by the different ways they took through the Cliffs and Precipices; and this makes her ap∣pear alone upon the Stage. What she says is very na∣tural for one of her Circumstances, and agreeable to the Doctrine and Religion of her time.

Pag. 160. l. 26. I was born a Gentlewoman, it avails nothing; I'm more miserable than if born a Slave.] These Words seem to have been spoken with no other Design than to express Palestra's concern at this time, and they appear only the natural effects of her Passion; but the Poet design'd 'em a Preparation towards the main Inci∣dent, her Discovery.

Scene the Sixth.

Pag. 161. l. 27. Prithee, whereabouts are ye?] Ampe∣lisc•…•… cou'd not see her Companion, because of the Cliffs between each other, at the further end of the Stage; tho' at the same time, the Spectators might do both.

Scene the Seventh.

Pag. 163. l. 10, 11. 'Tis a •…•…uge way from the Place we first set out at.] In reality it was but a small distance from Cyrene, the Place where they put to Sea at, but the Fright, and Ignorance of the Girls, made 'em think it a vast way off.

Ibid. l. 12. You came in a Ship, by Sea then?] Nempe equo ligneo per vias caeruleas estis vectae. This seems to have been taken from some Greek Tragedy, it being so like their way of Expression, and particularly to that of Homer, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. But this Ex∣pression wou'd by no means do in English Comedy.

ACT II.

THE First Interval is fill'd up, with the Priestesses care about Palestra and Ampelisca, and with all what passed in the Temple.

Scene the First.

This Scene of the Fishermen, and their Discourse, is a good Preparation for the second Scene of the Fourth Act; and Plautus's lucky choice of a Place, to bring 'em there with probability, is remarkable. The only Fault is, their speaking a little too directly to the Audience, so mixing the Representation with the Theatral Action, but not in so open a manner as he do's in some other of his Plays.

Pag. 164. l. 13. We make Incursions, every Day, from the Town to the Sea, for Forrage.] Ex urbe ad mare hu•…•…

prodimus pabulatum. The word, Pabulatum, is a pro∣per military Term, signifying Forrage, and here by a comical Metaphor apply'd to Fishing; therefore the Translation, I believe, is just.

Ibid. l. 19. We slink home, well liquor'd wi' Salt-water.] Salsi la•…•…tique pure domum re•…•…us clanculum. The Comi∣calness of this Passage cannot be well preserv'd in our Language, consisting in the equivocal meaning of the Phrase; which, as Madam Dacier observes, signifies either, A fine Treat of Salt Meats, or, A washing, and cleansing with Salt Water, which was the truest sense in this Place. The equivocal meaning of the Phrase, well liquor'd, seems to preserve a little of the Design, tho' not much.

Pag. 165. l. 12. Not drown'd yet?] Ut peritis? This is instead of, Ut valetis, which is, How do you? and that makes the thing so comical; it being a perfect op∣position of Terms which will not do in our Tongue: Therefore I thought the best way to preserve it, wou'd be to have a word proper to their Trade.

Scene the Fourth.

Pag. 167. l. ult. &c. Faith, 'twas an excellent Cast; 'thas quite gammon'd the Rascal.] Profecto nimio lepide jecisti bolum: perjurum perdidisti. The Beauty of this doth in a great measure consist in the double signification of the Phrase, Iacere bolum, which is equally apply'd to casting of a Net, and to casting of Dice, therefore it has the greater propriety in this Case; and likewise to the different meanings of the word, Perdere, which signifies either to Perish, and to Ruin, in a strict sense, else to Lose, or to Break in a Gamester's sense. All these things I cou'd not preserve in my Translation.

Pag. 168. l. 5. Troth, I believe the Whore's-bud has drunk more than he cou'd bear.] Credo hercle 〈◊〉〈◊〉 da∣tum quod •…•…iberet. This is an Allusion to the Custom in

some of their great Feasts, of finishing all with a larger Cup than ordinary, which every one was oblig'd to drink without losing a drop; and this was call'd Anan∣caeum poculum, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, a Cup of Necessity. So that in effect, Ampelisca said, That Neptune had invited the Rogue to a Feast, and had kill'd him with his Cup of Neces∣sity. But this cou'd not so well be taken notice of in a Translation. Some think it alludes to that deadly Cup given to some sort of Criminals; and others, to the Water of Lethe; but neither of these is very proba∣ble.

Pag. 168. l. 16. Iust at Morning, we were thrown half dead ashore.] Here Ampelisca finishes her Narration, which is very short and to the purpose. It is very re∣markable how hansomly and judiciously the Poet leaves out all that latter part of the Ship-wrack, which the Audience were already inform'd of by Sceparnio, in the fourth Scene of the first Act. This is a thing that ought carefully to be observ'd by Dramatick Poets in all Nar∣rations.

Ibid. l. 18. He's a plaguy hard Custom-master.] Easti∣diosus Aedilis est. Part of the Bus'ness of the Edil's was to inspect Merchants Goods, examine Weights and Measures, and the like. Therefore Custom-master is the most proper for us, to make it intelligible.

Ibid. l. 23. &c. I think I had best send for Gown and Fur-Cap, and set up for a Fortune teller.] Capillum pro∣mittam optumum'st, occipiamque ariolari. The Latin sig∣nifies, I'll let my H•…•…r grow, &c. It was usual for their Fortune-tellers, and such kind of People, to wear ex∣tream long Hair; but that being a Custom not known among us, I thought it not necessary to observe it in a Translation, the force of it being preserv'd after a more intelligible manner.

Pag. 169. l 8, &c. She's mightily concern'd for Labrax's taking away a Casket of hers; for there s•…•…e had something to discover her Parents by.] It ought to be observ'd that

this, and six or seven lines further were design'd by the Poet to interest Trachalio more firmly in Palestra's concerns, and to give a fair Pretext for demanding the Casket in the fourth Scene of the fourth Act, without which the main discovery cou'd never have been brought about. So it is an excellent Preparation for that; but the Spectators cou'd by no means foresee it.

Scene the Sixth.

Pag. 171. l. 3, 4. What a fine black Complexion▪ I meant, a lovely brown!] Subvolturium! illud quidem, subaquilum volui dicere. The Word, Subaquilum, signi∣fies Brown, that is, Nigh the Colour of an Eagle: Now Sceparnio aiming at that Word for Ampelisca's Skin, cou'd only call to mind it was the colour of some great ravinous Bird, therefore forges the Word Subvolturium▪ and therein consists the comicalness of this Expression, which cannot easily be preserv'd in our Tongue. Some think, that after Sceparnio had compared Ampelisca's Skin to a Vulture, by reason of its brownness, he, re∣collecting himself, calls it, Subaquilum, as being much of the same Colour, but the nobler Bird of the two. This Explanation agrees best with my Translation, but is nothing so good as the other.

Ibid. l. 6. I'm not for every one's turn.] Non ego sum pollucta pago. The Word, Pollucta, is a Term bor∣row'd from the Sacrifices, and is not to be express'd in our Tongue. When they offer'd to Hercules, that little part of the Beast which was burnt upon the Altar, was call'd Porrectum; and the rest, which was expos'd to the People's eating, was call'd Polluctum: So that the beauty of the Word consists in the Allusion to that Cu∣stom, and the figurative sense, which is lost to us. If I had done it, I'm no Pye for every one's cutting up, it wou'd have been somewhat nigher the Design, but not so modest.

Scene the Eighth.

Pag. 172. l. 16. Without Flattery.] Praefis•…•…ine. This Praefiscine, was always us'd as a molifying word when one commended himself, and signifies properly, with∣out Envy. The Pleasantry of this place, consists in Sce∣parnio's applying it to a quite contrary thing, namely, to his calling himself Great Owl, immediately after.

Ibid. l. 17. I was a great Owl for not falling in Love before now.] Not so much for the Pleasure of the Amour, as the ease of drawing of Water with half the Pains; a Fancy natural and comical enough, when rightly ap∣prehended.

Scene the Tenth.

Labrax and Charmides were both cast away at the same Time with Palestra and Ampelisca, but yet 'tis a consi∣derable while after, that they appear upon the Stage, because they were thrown a-shore on a distant Place from them, sometime after too, and the mean time were searching for what they had lost,

Pa. 173. l. 22. Oh, Liberty, thou'rt a rare Goddess too, thou ne'r go'st to Sea with a Hero.] Edipol, Libertas, le∣pida es, quae nunquam pedem vol•…•…isti in navem cum Hercule una imponere. This Passage is founded upon the Story of Hercules's Voyages, which were undertaken against his will; from whence, the People afterwards took an occasion to say, Liberty never much cared for an Hero's Company at Sea.

Pag. 174. l. 16, 17. 'Twas a more fatal Supper to me than e'r Thyestes's, and Ter•…•…us's was to them.] Thyestes, and Tereus, had their Children serv'd up to 'em at Sup∣per. This Story is not so well known among us, but for want of a parallel one in our Ages, to preserve the Force of this Passage, I was forc'd to take it as it is.

Ibid. l. 27, &c. You were a fresh raw Fellow, n•…•…w I've season'd your Understa•…•…g.] Te ex 〈◊〉〈◊〉 salsum f•…•…ci opera mea. The Jest of this consists in the equivocal meaning of the Word Salsus, which signifies either, Sa•…•…ed, or else, Cunning, Subtle, and the like; but the equivocal Words, Fresh, R•…•…w, and Season'd, have done e'n as we•…•… in our Tongue.

Ibid. l. 30, &c. Wou'd the Devil had ye for a Rogue, Char. And you too: I'm sure I made broad signs t' have him come for ye.] Quin tu hinc is a me in maximam malam crucem. Ch. Eas: easque res agebam commodum. I will not positively affirm that I have hit of the true Sense of this Passage; but however the beauty of Charmides's answer consists in the playing upon the word, Eas, which is either a Verb or a Noun, and that makes such a double meaning, as I do not find our English Tongue is capable of expressing.

Pag. 175. l. 4, &c. Faith, I tremble like one ready to engage th' Enemy; and my Iaws do so quake, that my Words break out like Flashes o' Lightning.] Equidem me ad velita∣tionem exerceo: nam omnia corusca prae tremore fabulor. This is a very difficult Passage to understand, and more to translate, by reason of the harshness of the Simile in our Tongue. V•…•…litatio, signifies a Skirmish, which was usually made by the Velites, that is, the Light-harness'd Soldiers; and these Men always made •…•…se of Darts, whose Points wou'd glitter at a distance, sometimes one way, and sometimes another. Now Charmides, trem∣bling with Cold, compares himself to these Velites, or Skirmishers, who never keep their Place; and his Words, which came out broken and by piece-meal, to the une∣qual Glitterings or Flashes of their Darts. This is the best Interpretation I can find of this Place, and the little Liberty I have taken, cou'd not be avoided.

Ibid. l. 9. This God can't afford one Brandy-shop in all his Dominions.] Ne thermopolium quidem ullum instruit. There Thermopoli•…•…, were certain Publick Places, com∣mon

in Greece and Italy, where they drank hot Waters, sometimes mingled with Wine and Hony; but this cou'd not be taken notice on in a Translation.

Ibid. l. 15. I fancy, I shou'd make an excellent Snap-Dragon.] Quid, si aliquo ad ludos me pro ma•…•…duco locem? The Ancients had their Mand•…•…ci, and their C•…•…riae, to march before their great Sights and Triumphs; the first were certain Antick Figures with wide Mouths, like our Snap-dragons for Mayor's Shows, and the second were somewhat like our Merry Andrews.

Scene the Tenth.

Pag. 176. l. 10, &c. The poor Creatures are mightily afraid o' some Body, and talk o' being tost all Night long, and thrown ashore this Morning.] By these Words of Sce∣pernio's, Labrax finds out his Girls, whom he suppos'd to have been drown'd, which most naturally clears the Stage and finishes the Act. The Poet's Conduct in bring∣ing about this material Discovery, is excellent: Ampe∣lisca is sent out in the fourth Scene for Water to De∣mones's House, and upon that depends the greatest part of the Act. The Time Sceparnio is gone in to draw Water, she is frighted off the Stage, which occasions him to follow her to the Temple; and in his Return, he drops these Words accidentally, so that nothing cou'd have been brought about more naturally.

Scene the Eleventh.

Pag. 177. l. 13, &c. For shame! Arn't ye content to ha' the Sea wash all away, but you must be for the same Sport at Land too? Sce. Be wash'd, and powder'd too, I care n't a Straw.] Eho! an te poenitet in mari quod elavi, in hic in terra iterum eluam? Sc. Eluas tu an ex•…•…ngare, ciccum non interduim. The Word, Eluo, is equivocal, signifying either, Washing, or Ruining; upon which depends Sce∣parnio's

answer, El•…•…as tu an exungare, where I render'd Exungare, Powder'd, because Anointing is not known a∣mong us. The Word, Ciccum, signifies that Skin or Membrane which parts the little Cells or Holes of a Pomgranate, and contains the Kernels; and is here mention'd as a thing of the smallest value in the World.

Scene the Twelfth.

Ibid. l. ult. Old Neptune put upon us with his Water, as tho' it had been Wine o'the best.] Quasi vinis Graecis Nep∣tunus nobis suffudit mare. In those times, they always mingled Sea-Water with all Greek Wines when they transported 'em, except that of Chio, which makes Horace call it, Chium maris expers. The natural Sense of this Passage, is, Neptune has mixed us with Sea-water as tho' we had been Greek Wine; but the Wit of it is in a great measure lost to us.

ACT III.

THE second Interval is fill'd up with what pass'd in the Temple between Labrax, Palestra, and Am∣pelisca: And here Plautus's Judgment is very remarkable in concealing Labrax's Sacriledge from the Spectators Eyes, who, in those Days wou'd have been much dis∣gusted at the Sight.

Scene the First.

This Scene begins exactly like the first Scene of the second Act of Plautus's Mercator; and this Dream is an

ingenious Preparative for some things that follow, but more especially design'd for a Pretext to bring Demo∣nes from all Company, and to consult by himself upon the Stage.

Scene the Second.

Pag. 179. l. 23, 24. As ye hope for a good Crop of Herbs, and a plentiful Harvest o' Plants.] Si spe•…•… tibi anno multum futuro Sirpe & Laserpitium. This Sirpe, is a Species of Benjamin, from whence sprung an odorifer∣ous Liquor, call'd Laserpitium, quasi, Lac Serpitium, which was so common in Cyrene, that it was call'd Laserpicificerae Cyrenae. These Names, being unknown to us, and making but an indifferent Sound, were not so necessary to be taken notice of in a Translation.

Scene the Third.

Pag. 181. l. 4. Pluck out his Eyes, and make Cats Meat of 'em.] Iube oculos elidere, itidem ut sep•…•…s faciant coqui. That is, Pluck out his Eyes, as Cooks do those of Cuttle-Fishes. This relates to a Custom of those Times which, perhaps we know nothing of; and consequently unfit for a close Translation.

Scene the Fifth.

Pag. 183. l. 15, &c. They know that you were born out of a Lobster, and therefore can be no Enemy to Cherry-Cheeks.] Te ex concha natam esse autumant: Cave t•…•…arum conchas spernas. More closely thus; They are sensible you were born of a Shell-Fish, therefore despise not their Shell-Offerings; for since they had lost all, they had no other Offerings but Shells, things usually consecrated to Temples nigh the Sea, which were much garnish'd by them. But still the principal Joke lies in his metapho∣rically

calling these Girls 〈◊〉〈◊〉, because they were empty; and that made me translate it as I did.

Scene the Sixth.

Pag. 184. l. 23. I'll streight away with 'em both.] Equidem istas jam ambas educam foras. The word, foras, is spoken here only with respect to the Entrance into the Temple-Court, in which almost all this Scene pass'd.

Ibid. l. ante-penul. I'll lash ye, till your Backs be as full o' Furrows as the Sea wi' Waves.] Quasi myrteta juncis, item ego vos virgis circumvinciam. In the Temples of Venus were several Bundles of Myrtle hung up, and consecrated to her, and these were bound up with Rushes: From these, Demones takes an occasion to threaten his Men, to bind 'em (or rather to line 'em) like these Bundles of Myrtle. But the Beauty of it is lost in our Tongue, which made me take this Liberty in my Translation, tho' perhaps not with equal success with some other Passages where I was forc'd to take the like Liberty.

Pag. 185. l. 10. One of 'em is an Athenian, of a very good Family.] This Passage do's not only help to inter∣est Demones in the Girls Affairs, but is also a further Preparation for the main Discovery in the fourth Act, tho' this do's not appear so to the Audience, the concealment of which, makes the great Cunning of the Poet.

Ibid. l. ante-penul. If you havn't more Remembrances on yours.] Ni offeramentas habebis plures in tergo tuo. That is to say, Lashes, or Streaks of a Whip. The word, Offeramenta, is a Religious Term, signifying Off'rings or Presents, and is very comically apply'd in this place; but the beauty of it is lost in our Tongue. I cou'd not think of a better word to answer it than Remembrance, which well enough bears a double meaning.

Pag. 186. l. 16, 17. Faith, I'll make ye glad to glean up your scatter'd Teeth.] Iam hercle tibi •…•…ssis in ore fiet mergis pugneis. The word, Merga, signifies a Pitch∣fork, and the true meaning of this Passage is paraphra∣stically thus; As they lift up their Pitchforks to heap Corn, so will I lift up my Fists, and heap a whole Harvest of Cuffs on your Face. But this Simile will not do in our Tongue, therefore I have alter'd it, still preserving as much of the Allusion as I cou'd.

Scene the Ninth.

Pag. 188. l. penul. Give him his Load.] Ni istunc istis invitassitis. The word, Invito, is a Term borrowed from Feasts and Treats where there is hard Drinking. This Metaphor is comically apply'd to Blows, and hap∣pily enough, since they have often the same stupifying effects with Drink. The Translation seems as lucky as the Original, tho' its Design is not so well perceiv'd at the first sight.

Scene the Tenth.

Pag. 189. l. 9. By th' old Man's erecting his two Monu∣ments.] Ita duo destituit signa. The word, Dest•…•…to, is a term of Husbandry, and signifies to Set, Plant, or the like. The word, Plant, might have done well enough here, but only Erect, join'd to Monument, makes the truer Propriety of Terms.

Ibid. l. 14, 15. Marry, the Palestra that answers, is none 〈◊〉〈◊〉' mine.] Haec equident Palaestra, qua respondit, non mea est. This Palaestra, was a Place of publick Exer∣cising, over the Gate of which was a Statue of Herou∣les, with an Inscription, PALAESTRA; now Labrax finding this stout Fellow with his Club, whom before he had compared to Hercules, answering instead of Palestra, he wittily alludes to that Statue, and says,

that Palestra was none of his. So that the Beauty of this Passage can never be preserv'd in our Tongue.

Scene the Eleventh.

Pag 190. l. 13, 14. What, stone a Man like a Dog? Pleu. Yes, such a Rascal as he.] Quid ego, quasi canem, hominem insectarer lapidibus nequissimum? This Passage is wrong in all the common Editions; it ought to be spo∣ken by two Persons, not one, and must be read thus. Quid ego, quasi canem, hominem insectarer lapidibus? Pl. Nequissimum?

Ibid. l. 16. He'll have a confounded brush at my Coat.] Converret jam hic me totum cum pulvisculo. That is, He'll not leave a bit of Dust on me, or, He'll make nothing but Dust of me. My Translation will answer either way, and wou'd be as comical, were it less common.

Ibid. l. penul. Whether you'll go to Iail th' usual way, or be dragg'd by the Heels.] Rapi te obtorto collo mavis, an trahi? When any Person was brought before the Pretor, they always threw his Gown or Cloak about his Neck, and led him that way; and this was call'd, Rapi obtorto collo. But this cou'd not be well taken notice of in a Translation.

Pag. 191. l. 3. Meet me at the Town-Gate.] In urbem ire obviam ad portum mihi. It ought to be read, Portam, and in this the common Editions are all false.

Scene the Twelfth.

Ibid. l. 11, &c. I didn't carry her away. Pleu. Will you Lie, Sirrah? Lab. Truly, I only embark'd her.] Non avexi. Pl. Cur negas? Lab. Quia pol provexi. This same playing upon the Words, Avexi and Provexi, is not easily preserv'd in our Tongue.

Scene the Fourteenth.

Pag. 193. l. 5, 6. I believe this Merchant's chang'd to a Stock-Dove, for by and by, he'll be stock'd into the Pigeon-Holes.] Illic in columbum, credo, leno vortitur: nam in co∣lambari collum haud multo post erit. The word, Columbar, signifies either a Dove-house, or a certain Iron Collar us'd for the Necks of Prisoners, something of the nature of our Stocks, and this word occasion'd this Pleasantry. Our Stocks being often call'd Pigeon-Holes, in merri∣ment, has made the Translation every way up to the Original, in that respect.

ACT IV.

THE third Interval is fill'd up with Pleusidippus's carrying Labrax before the Pretor, and his Trial, and likewise with what pass'd in Demones's House.

Scene the First.

Pag. 193. l. 13, 14. But my jealous prying Wife watches me on all sides, for fear I shou'd be too sweet upon 'em.] This seems to have been spoken with no other design than Demones's complaining of his Wife; but in reality, it is an Ingenious Preparation of the Poet's, for Demones to have a good Pretext for bringing out the two young Women in the fourth Scene of the Act, when there was a necessity for their coming upon the Stage. This is a neat cast of our Poet's Skill.

Ibid. l. 15. What's become of our Man Gripus, who went out a Fishing last Night.] This is a Preparation for Gripus's appearing in the next Scene. Methinks his com∣ing might have look'd somewhat more natural if De∣mones had dropp'd these Words somewhere in the last Act, perhaps in the finishing of the Ninth Scene when he left the Stage, and not so immediately before his Appearance; but then there wou'd not have been such a plain Pretext for Demones's appearing this Time, for the looking for Gripus, may be suppos'd to be one Rea∣son of his coming on the Stage.

Scene the Second.

Pa. 194. l. 15, &c. Now I, who am careful, have happen'd o' that, which, if I please, will keep me from all Care.] Nam ego nunc mihi, qui impiger fui, repperi, ut piger, si velim, siem. There seems a peculiar happiness in the Latin Tongue for these sort of Turns, of which both Plautus and Terence have many elegant ones. If my Translations in these Places, will teach the Air of the Original but in a tolerable degree, it is as much as I can hope for.

Ibid. l. 27, 28. I'll have a Royal Sun for Pleasure, like the K—of F—] Post animi causa mihi navem fa∣ciam, atque imitabor Stratonicum. This Stratonicus was Treasurer to Philip of Macedon, so rich as he became a Proverb among the Grecians, as Crassus among the Romans. If any one blame me for taking too much li∣berty; after owning it is the most I have taken through∣out my Translation, I must say, I cou'd not make it so intelligible to an English Reader without this, or some∣thing like it.

Pag. 195. l. 6. 7. After all, this Monarch here, must dine to Day with a Brown George, and only Salt and Vinea∣ger-Sawce.] This was the most ordinary Diet of the

Slaves in those Days, therefore wittily enough re∣mark'd by Gripus.

Scene the Third.

Ibid. l. 10. Only t' unshackle your Rope, that hangs at your Heels.] Dum hanc tibi, quam trahis, rudentem com∣plico. This Cable gives Name to the whole Play, be∣cause upon this, depends the discovery of Palestra; but by the same Reason the Poet might as well have call'd the Play's Name, Portmantle, Casket, &c.

Pag. 197. l. 3. No Man pretending to take 'em away.] Nec Manu asseruntur. The Phrase, Asserere manu, pro∣perly signifies giving Freedom to a Slave, which thing Gripus comically applies to Fishes, and immediately af∣ter, says, Vendo pro meis venalibus; for Slaves were call'd Venales. These are not easily preserv'd in our Tongue.

Pag. 199. l. ult. Will ye put the Bus'ness to the Man of this House?] Trachalio had all the reason that cou'd be, to get the bus'ness referr'd to Demones, he being the only Man he knew thereabouts; and Gripus had as much reason to allow of that Person, since he was forc'd to admit of a Reference, because he was his own Master: These two things ought to be observ'd. Now Tracha∣lio's Design was only to assist the poor Girl, whose In∣terests he had most justly espous'd; but the Poet's De∣sign was greater, to wit, Palestra's discovery, which cou'd not so easily be foreseen by the Spectators. This is one great piece of Art in Dramatick Poetry.

Scene the Fourth.

Perhaps some may think that there is too much Tri∣fling in this Scene, and that Gripus makes too many De∣lays;

but this is so far from being faulty, that it is an extraordinary piece of Art, which covers, and con∣ceals the Poet's Designs, and makes the Discovery seem still more unaffected and accidental; and nothing can be more probable than Gripus's unwillingness of parting with so rich a Prize.

Pag. 205. l. 22. So;—There then;—now 'tis open.] Bene: Hoc habet: soluta 'st. Gripus, taking much Pains, opens the Portmantle, then cries, Hoc ha∣bet, the grace of which consists in its being the Gladi∣ator's Phrase, and therefore is not to be preserved in our Tongue.

Pag. 206. l. 16. First, tell me your Father's Name] Here comes the main Discovery; and this, as well as that in Epidicus, is attended with both the Admirable, and Probable; the Amirable, in the great Surprize on all sides, in finding a Daughter, after so many Years mis∣sing of her; and the Probable, in adjusting of all Cir∣cumstances so as to fall out necessarily. The Probability appears more clearly by the Audiences knowing that Demones had lost a Daughter, and that Palestra wanted Parents.

Ibid. l. antepenult. And a little Sow.] Et sucula. The Word, Sucula, signifies both a Sow, and the Barrel of any Engine to draw up great Weights; and by reason of this double signification, Gripus makes answer, Quin tu i dierecta, cum sucula, & cum porculis, that is, Go and be hang'd, with your Sow and Pigs together. I cou'd not preserve this, without I had call'd it a Ram, which sig∣nifies an Engine as well as a Beast, but then I must have wanted a fit Word for Porculis.

Scene the Seventh.

Pag. 210. l. 1. A duce on him, for his Wells and Wa∣ters.] Hercules istum infeliciter cum sua licentia. Demones,

says this, because of the Word Licet, Trachalio had so often repeated just before, of which, Well, was a true Translation; upon which account, I was forc'd to translate Licentia, Wells and Waters, rather as an imita∣tion of what Plautus wou'd have said in this Case, sup∣posing him an Englishman, than what he really did as he was a Roman.

Scene the Ninth.

Pag. 211. l. ult. But I'll in to the Sacrifice, and there give order for the Supper.] Here ends the fourth Act, which is contrary to all the common Books, who make it end a Scene after; a thing very usual in most of our Author's Plays.

ACT V.

THE fourth Interval is fill'd up with Trachalio's going to find out his Master, and Demones's Sa∣crifice within Doors, as likewise Labrax's Tryal.

Scene the First.

In this Scene our Poet has drawn Pleusidippus both amorous and foolish, and all Trachalio's Trifling is chiefly to laugh at him.

Pag. 212. l. 21. Leave adviseing, and don't be al∣ways a Counsell•…•…r.] At sume quidem, ne censionem semper facias. Here Pleusidippus plays upon the equivocal meaning of the Word, Censeo, so often us'd by Tracha∣lio,

which is either to Pass Iudgment upon a thing, 〈◊〉〈◊〉 a t•…•…rm of Sale which signifies to Prize a thing, s like. The little Liberty I have taken do's in some mea∣sure answer the Design.

Pag. 213. l. 16, 17. 'S Death, the Fellow has chang'd his N•…•…te, and has advis'd me to a fine purpose.] Per•…•… delectum dimisit, nunc non censet cum volo. Now Pleusi∣dippus runs upon another Meaning of the Word, Censeo, which is likewise a proper Term of the Censors, signi∣fying to List or Muster Soldiers When Trachalio had chang'd his Note and came to his Non censeos, Pleusi∣dippus, taking it in his own Sense, did in effect say, Alas, I'm come too late, he'll receive no more Soldiers. I cou'd not preserve this in my Translation.

Scene the Second.

Ibid. l. 22, &c. I'm perswaded that all Merchants o' my Faculty were born to make the World Sport.] Nam lenones ex gaudio credo esse procreatos. More closely thus, I be∣lieve that all Slave-Merchants were born (or produc'd) out of Ioy. But this wou'd not do in our Language.

Scene the Third.

Pag. 214. l. 21, 22. I think 'thas got a Consumption, it falls away so wretchedly.] Namque quidem hoc Vere natum est veru, ita in m•…•…nibus consen•…•…scit. More closely thus, I think 'tis like the Spring-Flowers, that wither as a Man touches 'em. I alter'd it because the Simile will scarce do in our Language, and I suppose it was made upon the account of the likeness of the Words, Ver and Veru.

Ibid. l. 28, &c. Are ye a Mountibank? Lab. No, Faith, I'm another sort o' Bank. Gri. What then, a

Bankrupt?] Num medicus quaeso es? La. Immo edepol una littera plus sum, quam medicus. Gr. Tum tu men∣dicus es? By the help of a little Liberty, the Humour of this Passage is preserv'd, but that is more owing to the Language than the Translator.

Pag. 215. l. penult. Ha' ye swallow'd a Fire-Coal, that you cann't open your Mouth?] That is, for fear the Wind shou'd get in, and blow it up afresh.

Scene the Fifth.

This Scene finishes the Play, and it is very remark∣able, that the Ancients often ended their Plays with few Actors, and with a small Appearance upon the Stage; and they scarce ever us'd an Actor but with an absolute necessity of carrying on, or unravelling the Plot. Our modern Comedies generally end with a multitude of Actors; now if this be done with Probability, and Ne∣cessary Pretexts of Business, and likewise without em∣barrasing the Stage, or confounding the Audience, it is undoubtedly a Perfection that the Ancients seldom or never aimed at.

Pag. 221. l. 1. Gallants, I wou'd invite ye all, &c] Here Demon•…•…s speaks directly to the Spectators, but since it is upon the finishing the Play, it has few or none of those Ill Consequence•…•… it would have had in another place.

The End of the Remarks upon Rudens.