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PREFACE. reserence to thos o Bentley, eune containing the commentaries os Donatus), Stati baum Parry, and Davies. Reserences are made to Roby' Schoo Latin Grammaras more lihely to e generali accessibi than his larger
THis edition has Me thoroughi revised, and a hortIntroductio on peculiarities of Accidence an Synta in the la has been added My thank are due o r. St. George Stoc an Rev. A. G. S. Raynor, sor Some Sesul
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Firat Bovinning or Dramatio Rosrosentationa at RomS. The naturalient of the Roma character a to Serious andio prosaic o favour the oowt of a nationa drama. Morethanive hundred years had elapsed since the Mundationis thecity besore a play of an hind was produce o the Roman Stage, and even the it a but a rude adaptation es a soreignwork by adoreig author. Eoaconnino oraea. et there had long existed the germswhenc a drama might, undenother Circumstances, have prung. The nrestraine merriment of the harvest-home a time ofvintage ound expression in Latium a in Greece, in extemporised dialogues morem les metrica in character, and muchmore thalles coars in expression The livel genius of the Greelis ad stom fuc rude eginning develope a regular Comed as early a the Sixi Centur B. C. But, among the Romans, although these rusti effusion were at a very earlydate suffciently et establishe to receive a definite name, Carmana Fescennina, seo Fescennia, a town in Etruriari et the neve rose above gros personalities and utra ous
scurrilitk When his license a cheched by a Stringent
Memorace Ep. a. I. 45 seqq. Fescennina per hunc inventa licentia morem Versibus alternis opprobria rustica fudit, Larinasque recurrentes accepta per annos
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clause in the Law of the welve abies, the Fescennine verses came meret a generi nam sor improvise Songs, notat Ways ver refined, at eddings, triumplis, o other sestes
were introduced a Rome 36 B. C. to appeas the ange of thegod wholad sent a pestilencein the city. It Seem certain that about this time a finge as erecte in the Circus at the Ludi Maximi, and the ficti three days of thesestiva were hencesori occupie With recitations music, and dancing. Pectormers sto Etruria, calle AHones, dance tothe musicis the flute ithout word o descriptive actiona ut the strolling minstreis os Latium grassa ores, satia fores Soontook advantage of the stage to recite thei chanis Wit appropriate music and gesture These performances ere med stomthei miscellaneous character Saturas'. The were Composed in the rugged Saturnia metre, Wit no connecteditot an didnot admit os dialogue. Fabulas Atestanas. A neve approach to dramati sormwas made in the Fabula Atollanas broad sarces it stocli
lOgous to the loWn pantaloon, an hariequin os an Englishpantomime. Eac characte had iis traditionat mask, and thepieces Were originali played inly by amateur a private
Lusit amisiatur, donee iam aemu apertam In rabiam coepis verti iocus, et ser honestas Ira domos impiis minax Doluere cruento Dente Messiti, fui intactis quoque cura Condicione super communi, quin e iam ex Poenaque ara, mala quae nolle carmine quemquam
DescriM: rure modum formidine fustis Ad bene disendum eiactandumque redacti. From laria sarum, a dis of mixeddo . The later Murae o Mi cellantes, with which, are familia hom the work of Horace, Iuvenal, and Persius, ere introduceris Lucilius, ho die Ioa B. s. Hor.
theatricats; ut hen translations rom Gree drama laad monopolised the Roman stage, the Atella sarce as adoptedas an after-piece, like the Satyric drama among the Greelis, and Was regulari performe by prosessiona actors. The name Areuanae sto Atella, an Osca town nea Capua, gaveis to the erroneous suppositio that these farces ere performe at Rome in the Osca dialect whereas it asini in accordance With Roman custom to give to dramati performances a localname hic could offendis nationa prejudices. The recordSos these play are canty, ut the appear o have presented
extravagant Caricatures of species claSSes, tradeS, OPOCCurrenoes,
and theira tesque siluations and livet humour secure thema lastin place in popular faVOur. La a regulating Dramatio Porsormanosa. M assure of the Roman to produce a nationa drama was due notininto thei national gravity hut also to the rigi censorship of thela S. An personat lampoon, an ill-advised criticism of publicassairs, mel it summar chastisement. Fusuferito was thelaconi edicti the welve Tabies and the magistrates seemto have had plenarysowerrio Scourge any actor at any time orplace that the deemedit. Putilio opinion At Romo. o legat harshnes Was adde amorat stigma. No Roman citieten could venture to appear on a public stage ithout losing his character for everi The Compositio an performance of play were hande over entiretnto freedmen an flaves, who didio dare is represent Roma lila, o introduce Roman topics. Even the rustic aliter and amateu farces of early Rome ad to lanthei scene in TuscanFescenniam Osca Atella. Conino mitti aros civilisation. Moreover, in additionto a nationa deficienc o literar instinci, an ignominious legat penalties, a thir cause had operated powersulty in checking any developmentis dramati originality. For early vecenturies the Romans had been engage in asarying, yet almost eaSeles Struggle sor supremacy, or even sor existence The
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INTRODUCTION. ROMA COMED AND TEREN .
deseat os Pyrrhus 274 B. C., and the final conques of arentum and the other cities os Magna Graecia a se years later, testthem undispute master of the whole peninsula The werethus rought into lose contact wit Gree civilisatio a the ver moment hen the had eisure to attendo it There ganistinc to aris an ever-increasing deman sor a bellereducatio sor the Roman ovili, an sor more varie amuSement so the Roman populare. The satisfactio es thesedemand was delayed by the Firs Punic War 264-24 B. α Livius Anctronicua. In the nexi ea Livius Andronicus, a Tarentine captive who received his laeedo sor educat in thesons of Livius Salinator, produced on the Roman stage a drama translate sto the Greeli. He also translate the Odysseyinto Saturnia verseos an educationa text-book, hicli asstili in se in the Myhood os Horace . Thus a Rome the ginnings both o Epic and Dramati metr were due o Somuch to poetical inspiratio a to the need of the school-r mand the Circus A might be expecte in or thus done toorder, there acti ille artistic merit. The seis fragments whichremat Seem crude an barbamus, and we may eli belleve that the book were neve again pene when the rod es an Orbilius asino longe dreaded.
ΟM Athonian Comoly There could be no doubtras to the schoo es Atti Comed to e chosen or imitation. The old Comed os Eupolis, Cratinus o Aristophanes, essentiali political in iis subjecis, a undinii topical allusion and renchant
uerus enim Graecis admovit ac mina chartis, Et post unis la quietus quaerere coepit,
Quid Sophocles e Thespis e Aeschmus utile ferrens.
Non equidem insector delendave carmina Livi Esse reor, memini qu- Agrosum mihi sam Orbilium dic ara.
satire os public me an public matters could o have been
Mium Comoly Even the poets of the Middie Comedy, who satirised classes rather than individual or investie schoolsos philosophy, would have seemed faretoo ree to the stem censors of the Republic, and would have been almos unintelligibi toste majorit of RomanS. No Comov. The Ne Comed was alone vallabie. This,as the nam give to a school of dramatisis, of whom hebest nown are Philemon Diphilus, Apollodorus o Carystus, and above alimenander The wroterat a period 34 26 B.αὶwhen the poweris Macedon had crushed the liberi os Greece. Politica lis vias dead socia lila as idie an corrupi Thenatura producis o suci a periodis deca were the iociety'plays of the Ne Comedy. Their im a meret to giveamusing ketches os very-da lila'. The savage satire os
Aristophanes ni furvive in good-humoured anter Theheen stris of Conservatism against Democracymas replaced by intrimes of amorous ouilis o crast flaves o ut-wit the head of the famili. The interes of these play was no locat ut cosmopolitan . uma nature is preti much the fame in allages, and O these play were naturali suite so the Romanstage. The were musing Without the lightest tendeno tocriticis potnis os nationa interest, or ther is offend against the strict regulations of the Roman magiStrates. . Naevius, fi 233-2o B. C., the rs imitator os Livius Andronicus, a Campania of great ability an force of character,
di indee dare o rite it something of Aristophanicsreedom But his temerit in assailing the aught Metelli, an even the might Africanus himself, e firs to imprison-
CL Cic. Rep. 4. II imitationem vitae, speculum consuetudinis, imaginem veritatis.
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Titus Maccius Plautus an Publius Terentius Aser. raso an mork of Toroneo. Plautus die in I 84 C. Terenoe was bom in I93 B. C. at Carthage, Whence his cognomen Aser. He was a flave, but must early have hoWn signs fabili , sor his master, Terentius Lucanus, ave hi a good education, an helare long his laeedom. His talent gainedhim admission to the literar clique known a the Scipioniccircle the ashion te representatives of the ne Hellenicculture. Scipio Aemilianus Was the centre of the coterie, Whichinclude Laelius and Furius Philus, Sulpicius Gallus, Q. Fabius Labeo, M. Popillius, the philosopher Panaetius, and the historian
Polybius These ein men es education and aste, unreservessi recomi sed the immeasurabie superiorit os Greeli literatur a compare Wit the rude efforis of thei native writers To presen to a Roman audience a salthsul reproductionis the est Helleni modeis, in pure an potishe Latin, seemed to them therideat os literar excellence Style a more valued than strennii, correcines os lam more than originalityos thoughti Such was the literar atmosphere hicli Terenoebrinthed an his nemies, no confining themselves o grossaspersion on his mora character, omni assime that theplays produce unde his nam were reatly the work of his distinguished patrons How sar Scipio oriaelius may have ad someland in his play can neverte known Terence at an rate
didio care to relate the repore hich doubiles fiattere his nobi mends, ut ather pride himsel o the intimac and approbationis so selectis circle Al the plays o Terence, as
e g. Caecilius, Licinius, Atilius, and thera. Ennius Whos fame resis o his Epic poem, also adapud Gree plays, hien tragedies, toste Roman Stage. Nam quod tu distin malevoli, homines nobilis Eum adiutare ad duee- una criberes
XVo Plautus, ere Comoediae falliatae, i. e. plays wherei thescene and charactersare Greeli as opposed to Comoediae Dorae, Where the scene is lai in Rome or at leas in Italy. Nationaltragedies and dramas ere called Fabulae Praeseriae. Terences firs comedri the Andria, a produce I 66 B. C. Suetonius relates that when this play was offered to the Aediles, the oun author a tot to submit it to the judment of Caecilius. Terenc arrived When the vetera poet,a at Supper, and bein in mea attire Was eate on a stoo nea the table. Butae had readio more than a sew lines, When Caecilius badehim tali a placerapon his couch, and bestowed high commendationis the play. As Caecilius die in I 6 B. C., the Andriamus have been in manuscript at least two years besore it per- formance, an some colour is oven to the above necdote by the mention hic Terenc mahes in the Prologue of the ill- natured criticisms of Luscius Lanuvinus. The Hecyra, his secondplay, prove his least successsu one. At iis firs persormance in I63 B. C., the audience deserte the theatre o oo a some xera a similis sate attende a secon representation in I 6 B. C., and ni the persona intercession of the anager, Ambivius Turpio, secure it a earin at ali Themeauton Timorumenos appeare in I 63, the Eunuchus an Phormio in I 6I, the Adelphi in I 6o. In the fame ea Terenc visited Greece eitheroo stud sor imself Atheni manners and
memies. According to one account he perished by shipwrechin Is B. C., ache was returning to Ital with nocles than Io of Menander' comedies translate into Latin more general
ociata maledictum vehemens esse existumant, Eam laudem hic ducit maximam, quom tu lacet, Qui vobis univorsis et forulo lacent, Quorum sera in belgo, in otio, in ne tis Suo quisque te ore usust sine suserbia. Adelphi Prol. 5-II. is Suetonius Vita Terenti -5.
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belles a that he died a Stymphalus in Arcadia, stomaries onhea in os the os of his MSS., hich he had sent ibes ehim by ea. Porcius Licinus narrates that his nobi patrons sufferedaim to die in such abjectioverinthat he hadio evena lodging a Rome whither a flave might have brought ne sis his deat h. Thicis probabinunt me, sor Suetonius Writes that helesta dens os menty jugera in extentis the Appian Way, and his Gughter aste ard married a Romananight. In persona appearance erenc is sal to have been osmiddie height with a stigii figure an reddish-bro illair of
his character eanow nothing, save what cani gathered Domhis prologues These indicate a lac o independenoe and confidence. Ide evidently seel that he is no a popular poet. Ide neve prosesses to e more than an adapter stom Greela modet imitation, no creation, a the objectis his art. Contrast os Plautus anct Toroneo. his sensitive prout os patricia patrons has non os the vigorous persqnalit os Plautus. Indeed though the literar activit of the wo poetsi oni separated by a single generation, heir Works elong odisserent epoclis o literature Plautus roterior theseople heai med at the broad effecti the stage, hi sun a natural and no vnfrequently boistemus Circumstances sorced him to adaptsoreig play and la his scenes in soreim cities, butae a notcarefulci disguis his me nationality, and reel introduced
tribute to the dramatic effectin the heterogeneous audience whichcrowded to the gratuitous enteriainments of a Romanioliday. Bet ween such play and the polished productions os Terencethere is a World of difference. Terence ought the approbation, notis the unculture masses, butis a selec circle o literarymen. His ighes aim a to produce in the pures Latin aperieci representation os the comedies of Menander an his
school. His cardina viriues, as a riter, ere correcines os language an consistenc os character. His cene is alwaystat at Athens, an raret in his si x plays icto e ound an
allusion hic is distinctivel Roman. Indeed the whole toneos his ritings a cosmopolitan. Human nature, unde the Some hat common-place conditions os very-da lis in acivilised community, was his subject Homo sum, humani nihil a me alienum puto, was his motio. His plays reath a spiritos broad-minde liberality, and thei simple unaffecte Style, the eas yet ointe dialogue the terse in dramati descriptions and the admirabie delicac of the orirayes of character, won sor erencedrom the culture tast of the Augusta age amore favourable verdici thanae could have expected rom therude and unlettered masses homost Moyed the broad fumosa boisterous arce. The bove Characteristic secure sor rence considerable attentio at the RenaisSance in Europe. In England severat of the minor dramatist are unde obligation to im Ohile in France his influence prosoundlyassecte Molihre, an is in no mali degre responsibi sortii long-continue servitude of the Frenc dram to the inities of time an place hic have so crampe it laee
development. A might he expected the character in erence, thoughadmirabi drawn are ather commonplace No personality in
his plays stand out in the memor like that of Tyndarus in the Captivi, o Stasimus in the Trinummus Τwo id men, one irascibi and the other mild both usualty the dupes of their
Afranius rites Terentio um similem dices quempiam. Cicero rites: Tu quoque, qui solus lecto sermone, Terenti. Conversum expressumque Latina voce Menaindrum In medium nobis sedatis vocibus essera, Quidquid come loquens auque omnia dulcia dicens. Horace, EP. a. I. 59, record the generat verdici:
Vincere Caecilius rari Me, Terentius arte. Volcatius, o the other hand places Terrace belowmaevius, Plautus, Caecilius Licinius, and Atilius.
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sons and an intriguin flave two oun men, ne os Strongcharacter and the the weali both amorous and omewhatunscrupulous as to the means os grati sying thei passion ad igni sed and eideringenti emana an anxious motherri a devoted Servant a rascali flave deale these formethe stoc charactersos Terentia comed an recur With omewhat weariSomemonotony. Nor oes the standar os moralit rise bove a conventiona respectabilit an a civilised consideratio sorothers, excepi here the natura impulses inspire a generous
disposition it somethingis nobilit 'The discerning criticismis Caesar nearly expresse the more matured judgmentis modem times :Tu quoque, tu in summas, o dimidiati Menander, Poneris e meriso puri sermonis amaror. Lenibus argue utinam cristis adiuncta foret is Contica, ut aequa o virtus solleret honore Cum Graecis neque in hac despectus sarie iaceres; Unum fio maceror ac doleo tibi deesse, Terenti.
Not that Terence was devoid of humourn but his humour is sodelicate an refined that it must osten have salleniat upo the stage. When his play are et known thei subile satire and potishe wit cani appreciated but there is ithout doubi an absenc os enero an action Caesar' vis comi ), hicli prevente his ieces stom ein dramaticali successsul Anaudience musti educatelup in his playsielare it can perceivethei many excellences.
ADELPHI CHARACTER AN PLOT. vii κ
THE EXTANT COMEDIES OF TERENCE.
falle at the Ludi Funerales of Aemilius Paullus an finalty was played a the Ludi Romani in the sameae .
THE CHARACTER AN PLOT O THEA DELPHI
TH Adelphi derive iis ille homilie contraste types of character presente toras in the two brother Micio an Demea, an in Gesse degre in Demea' two sons Aeschinus and Ctesipho. But the interes of the Adelphi is no confine to a kilsul delineation o character, much les to a livel plotis sarcical
The author ad a deeper purpos in te than the mereamusement of a Roman crowd. e had thought much on the subjecim education, and this pla cannot e sully understoodunies We perceive the underlyin principie hic the whole development of the iec is intende to illustrate. So consummate is the artistic hil of the poet that the morat is neverobtrude um our noliceri indeed, a superficia reade maykno the comedy et without ever suspecting that there is a
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morat at ali, though many such readers have been rather puretled by the apparent change os Demea's character in Act . Terence alie two opposite theories of education os,hichblici and Demea are respectively the representatives. Micio as an asy-goin cit bachelor lio had adopted Aeschinus, the et de of his rother Demea' two sons Heli sto erioniis in his own way, and was illindito allomotherpeopte a simila license. In accordance illi these principies h gave o Aeschinus the sullest liberinos action. The youngma Was ste to do hat he ked go here e leased, and dra money Without stitit Micio disbelieve in educationis se , and thought that hy suc means he would gain the confidence an love of his adopte son and that even is Aeschinus id so his iid ais omeWhat rectaessi no Permanent arm ould e done The rescit indi disappotnted his expectations. He ad endeavoured is inculcate ne hing
theory therelare, os uni imite indulgence proves a complete salture the opposite system os strict repression e hal findequali unsuccesssul. Demea is an old-sashione counungentieman, strist in his manne os illa, violent in temper uncompromisin in opinion. Heias mught up his younge son, Ctesipho, unde themostri: discipline. Hematters himself that nothing goes on,ithout his knowledge 396, 34 83, and that his son is a reali steadyyoung man, Who is entiret innocent os his rother's ichedways 94 3. Yet, in spite os est this caresul training and supervision Ctesipho ecomes deepi involve in an intrigue
paradise. These evenis ope Demea's yes to the truth. e sees thathis Wn extrem stricines an Micio' over-indulgence have been aliis mistahen. In Acts he demonstrates the shallo nessos Micio' views by a delighilally humorous reductio ad absumdum, and finalty in ariemserious ordD 983-99s indicates that
in liberi dui resimine by a fames advice an correctionlies the golde mea of a young manys education. Wit regar to the minor character se 'ord Wil sussice. Unlattere freedom has made Aeschinus rechles an over-bea in toWard inseriori e. g. I 82 I98-9), and the absenc os an morat training render him ready toaiel to temptations os decet and falsehood Ctesipho, o the other hand is timid and desponcling. He depend o Aeschinus to obtain the objecto his Iove, an o Syrus to kee her Stil both the outhsare naturali of good disposition howeve much the may have been perverte by training an circumstance. The lde is generous to a fauit, affectionale to ards his brother and adopted uncte, aithsul to his oun wise, an ready to conses his fallings when presented is him in thei true light. The oungeris simple an unaffected almos extravaganti gratem to Aeschinus, shoched a the mere suggestion es adie, though tooweis to resist thesbad influence of a stronge Character. The actio of the play is larget carrie on, ascis usual in comedies of this class by a confidentia flave Syrus is a cleverandisnScrupulous rogue, Wh enmurages the oun me in thei dissipation, and whos character sint made tolerable by the exquisit iron With hicli e banter Demea. In strongcontrast is in honest an impetuous Geta, and the laithlal Canthara, both servant of Sostrata.
Hegio is a gentieman os the old chool, oor indoed, ut dignified, and of uns eruing fidelitnto ards the widow of his oldstienda hila Sostrata excites our reat sympathy byae devoted
affectio an courageousione Styis purpose. Sannio the lave-cleater, is mercenar an repulsive Mis
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low-bred iuster in Act II sornis an admirabie soli to the quiet
decision and contemptuous sarcasm of the genti eman.
Besore the actionis the play begins both the oun me had salien in Iove Aeschinus indeed ad Men or in monilis secreti marriecto Pamphila, daughter os Sostrata, hile Ctesipho ad forme an apparenti hopeles attachmen to a
music-giri,ho was a lave os Sannio. A son os Demea could notae expecte to have sufficient ready monent bu an expensive laveri ut Aeschinus, earing of his brother' despair, bold lyarohe into the ous an carrie of the giri in spite os
Acta It is jus aster his event that the curtain se onMicio, ho finding that Aeschinus hac en absent rom home ali night proceed to dilate on the anxieties of parent Mand thebest method os education. Heris interrupted Sc a b Demea,
who has hear of his eide son' escapade, and ercet assatis Micio sor encouragin conduc so scandalous. The ity-bredhrother is, however, more than a match in argument sor his rustic opponent, horis silenced though no convinced. Ao II. Aeschinus nomappears leading the music-giri sol-lowed by Sannio, ho endeavours to preventae stom entering
thanks mos affectionalely. Acti introduces us to Sostrata, ho is expressin heranxiet to Canthara, her nurse, hen Geta Sc. 2 appears, violenti agitate at the apparent unlaithsulnes of Aeschinus toward Pamphila Sostrata resolve to appea to Hegio, an
old mend of the samily. Demea no reappears Sc. 33, furious at the news that Ctesipho is implicate in the abductioni the
music-giri By adroit lies Syrus turn est the facts o Ctesipho's credit, and in a scene os delictous humour rst draws ut and then parodies the old man' solbies Demea is bout o seeli his son when Sc. 4 Geta bring up Hegio, ho narrates thesuppose desertioni Pamphila by Aeschinus an declares his intentionis strenuousi defendin Sostrata an her aughter. Demea deparis toto iut the viais of his rathi Micio. In Act IV. Sconsa Ctesipho and Syrus are alliu su rised together b Demea, ho retum stom a fruities fearch after his brother, havin been tot by a labourer that his errant sonhadio been See at the country-house Syrusio ever Sc. iis equat to the occasion, and covering one lie by another Sendsos Demea, a Wild-goose has aster Micio, hil he himselfretires to kill time illi ust a glas o tWo. In the nexi cene Sc. 3 Micio an Hegio come o conversing. In place of dental or evasion Hegio receives SSurances of mos ample satisfaction, an Micio at nc visits Sostratario allayier anxiety. Scono a shows us Aeschinus, much distresse at the suspicioniwhic have fallen ponaim, et unwillindito expose his
brother Heris about is enter Sostrata' hous when confronted
by Micio Sc s), who, as a punishment fortis an os confidence, torments him illi a seigne stor about Pamphila' intendedmarriage with another man Aeschinus, nable to keep on themas longer bursis into lears, hereupo Micio, ster an affectionate reproos promise to acknowledge Pamphila asinis iis. Eoono s. Demeareturns stom his ain Peregrination, ango and
with furious invective though, as before, heris eventuatly reducedb his brother' readier longueri an unWillin acquiescence.
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Ac V. Experience though late, has augiit Demea that his system os education is a unsuccesssul as his brother's, while his churiisti and parsimonious habit gainaim nothinibu enemies. He resolves therelare to correct his ommistahes, an tocleachblici ho sar he has erre in the opposite extreme Themonologue in Scenera is spolien in the fictilious character hichlieris about o play in furtherance of this object He Conceprocred to uibi Micio in courtes an complaisance Henalter Syrus S a), and Geta Sc. 3ὶ he orders Sc. 4 thema age of Aeschinus to e ratifie immediately, and the partition ali et ween the ardens os Micio an Sostratario epulled down With the aid os Aeschinus Sc. s heriorces romth astonished Micio a reluctant consent to mare Sostrata, topresent Hegio it a sarm an to et ste Syrus it his iis he even sanctions the alliance of Ctesipho it the music-giri.
Η is naturali greeted illi a chorus os effusive atteo; hereupon, dropping the part which he had been playing, he hows Micio lio chea is the popularit mine by indiscriminate indulgence, an closes the play ith some sensibie
The verdictis posterit o the Adelphi is hown by the number of modem plays holi or parti based pon it. Garricius Guamdio Baron's grati de mos, and agan' La Finiae are direct adaptations. Micio an Demea are the originals os leadin character in Cumberland's Choleris an Shadweli's quire of Alsaria, and Diderot's Lai, e de Famille and the greatest of Frenc Comedian is under no inconsiderable obligation to the fame so cein his scole des Maris. O the stage the Andria may be equesty effective, butio aliterata mint of vie the Adelphicis Myond question the master-
ΤΗ object of this Introductio is to explain briefly the metres employed by Terence in the Adelphi, an to lear u Such
apparent dissiculties of Prosodyas may remal aster the generat scheme of the metres is underStood.
These metres with the exception o a Choriambic lineii 33are Iambi and Trochaic, whic receive theirmames homineingcomposed of iambi or trochees, a the cas may be or of Someother feet, considere to b equivalent: and the lines resuritie subdivide accordin to the number of metres hichthe contain, and accordin to thei complete or incomplete larm. In iambic and trochaic lines a series of two lae is callela medie or dipodia), and the nam of the line Corresponds toth number of these metres thus an iambic trimeter is an iambic line, containing three metre or Si seel; a trochaictetrameter is a trochai line, containing laur metres or ight laeti Again some lines have a number of complete laet theseare calle acatalectio; hile iners are calle catalectic be- cause the las lao is incomplete. Thus a trochai tetrametercatalectic is a trochaic line of sour metres o eight laet, antingthecias syllabie, an reali containing oni Seve lae an ahais I IAMBIC.
These figures here an belo' indicate the number os lines of the metre in question in this Play.