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PREFACE

SInce long Prefaces are lately much in Fashion upon this and the like Occasions, why may not we be allow’d some tolerable Liberty in this kind; provided we keep close to our Author, and our own Translation of him. As for our Author, wherever Learning, Wit or Judgment have flourish’d, this Poet has always had an extraordinary Reputation. To mention all his Excellencies and Perfections were a Task too difficult for us, and perhaps for the greatest Criticks alive; so very few there are that perfectly understand all of ’em; yet we shall venture at some of the most Remarkable.

To begin with him in general. He was certainly the most Exact, the most Elaborate, and withal the most Natural of all Dramatick Poets; His Stile so neat and pure, his Characters so true and perfect, his Plots so regular and probable, and almost every thing so absolutely just and agreeable, that he may well seem to merit that Praise which several have given him, That he was the most correct Author in the World. To compare him with Plautus, the other great Latin Comedian, we may observe that Plautus had more Wit and Spirit, but Terence more Sense and Judgment; the former’s Stile was rich and glaring, the latter’s more close and even: Plautus had the most dazelling out-side, and the most lively Colours, but Terence drew the finest Figures and Postures, and had the best Design; the one pleas’d the Vulgar, but our Author the Better sort of people; the former wou’d usually set his Spectators into a loud Laughter, but the latter steal ’em into a sweet Smile that shou’d continue from the beginning to the end of the Representation: in short, Plautus was more lively and vigorous, and so fitter for Action; and Terence more grave and serious, and so fitter for Reading. Tho’ Plautus’s Beauties were very extraordinary, yet he had his Faults and Indecorums very frequent; but Terence’s Excellencies (tho’ possibly inferior to some of the others) were more general, better dispers’d, and closer continu’d; and his Faults so inconsiderable, and so very few, that Scaliger said, There were not three to be found throughout the Six Plays. So that our Author seems to want nothing to make him absolutely compleat, but only that same Vis Comica that Cæsar wishes he had, and which Plautus was Master of in such a high degree. We shall determine nothing between ’em, but leave ’em good Friends as we found ’em.

This may be sufficient for our Author’s Excellencies in general; for his particular ones, we shall begin with his Stile, a thing he has been admir’d for in all Ages, and truly he deserves it; for certainly no one was ever more accurate, natural, and clear in his Expressions than he. But to be a little more particular in this Matter, we shall give you some few of our Author’s Excellencies in this kind under three or four different Heads.

And first, We may observe of his Words, that they are generally nicely chosen, extreamly proper and significant; and many of ’em carry so much Life and Force in ’em, that they can hardly be express’d in any other Language without great disadvantage to the Original. To instance in these following. Qui cum ingeniis conflictatur ejusmodi. Ut animus in spe atque in timore usque ante hac attentus fuit. Nisi me lactasses amantem, & falsa spe produceres. Pam. Mi Pater. Si. Quid mi Pater? Quasi tu hujus indigeas Patris. Tandem ego non illâ caream, si sit opus, vel totum triduum. Par. Hui? Universum triduum. Quam elegans formarum spectator siem. Hunc comedendum & deridendum vobis propino.

We shall next take notice of one or two Instances of the Shortness and Clearness of his Narrations; as that which Tully mentions. Funus interim procedit sequimur, ad Sepulchrum venimus, in ignem posita est, Fletur. Another may be that in Phormio. Persuasum est homini, factum est, ventum est, vincimur, duxit.

Another remarkable Beauty of his Stile appears in his Climaxes; where every Word is Emphatical, heightens the Sense, and adds considerably to what went before. As, Hæc verba Mehercule una falsa Lachrymula, quam oculos terendo miserè vix vi expresserit, restinguet. Quod ille unciatim vix de demenso suo, suum defraudans genium, comparsit miser.

The last thing we shall give any instance of, is the Softness and Delicacy of his Turns; of which many might be produced; but we think these few may be sufficient for our purpose. Eheu me miseram! Cur non aut isthæc mihi ætas & forma est, aut tibi hæc sententia. Nam si ego digna hac contumelia sum maxime, at tu indignus qui faceres tamen. Nam dum abs te absum, omnes mihi labores fuere, quos cepi, leves, præterquam tui carendum quod erat. Palam beatus, ni unum desit, animus qui modeste isthæc ferat. Aliis, quia defit quod amant, ægre est, tibi, quod super est, dolet. And as for the Purity of his Language in general; we find it very much commended even by Tully himself. And One of the Moderns is not at all out of the way when he tells us: That the Latin Tongue will never be lost, as long as Terence may be had.

Our Author’s Excellent Latin is now the greatest Cause of his Esteem, and makes him so much read in the World; but for certain, he that reads him purely for his Latin sake, does but a quarter read him; for ’tis his Characters and Plots have so far rais’d him up above the rest of the Poets, and have gain’d him so much Honour among the Criticks in all Ages. His Stile, tho’ so very extraordinary, in a great measure may be learnt by Industry, long Custom, and continual Usage, and has been imitated to a high degree by several; and indeed this was but as rich Attire, and outward Ornaments to set off a more beautiful Body. But in his Characters and Manners there it is that he triumphs without a Rival; and not only Dramatick, but all other Poets must yield to him in that Point. For these are drawn exactly to the Life, perfectly just, truly proportionably, and fully kept up to the last; and as for their being natural, Rapin says, That no Man living had a greater insight into Nature than he. The more a Man looks into ’em, the more he must admire ’em; he’ll find there not only such Beauty in his Images, but also such excellent Precepts of Morality, such solid Sense in each Line, such depth of Reasoning in each Period, and such close arguing between each Party, that he must needs perceive him to be a Person of strong Sense and Judgment. His Deliberations are most compleat, where all the several Accidents, Events, Dangers, Casualties, good and bad Consequences are fully summed up and clearly urg’d; so are the Answers of each Person as perfect, where every thing is so well fitted, so home, and so natural, that if one shou’d study upon ’em never so long, he cou’d scarce find any thing more to the purpose. He had a peculiar Happiness at pleasing and amusing an Audience, perpetually keeping ’em in a most even, pleasant, smiling Temper; and this is the most distinguishing part of his Character from the rest of the World; his Pleasantries were somewhat Manly, and such as reach’d beyond the Fancy and Imagination, even to the Heart and Soul of the Audience; and what is more remarkable yet, one single Scene shall please a whole day together; a Secret which few or no other Poet ever found out.

And as we have scarce found one Man in the World that equals him in his Characters, so we find but very few that cou’d come up to him in the Management (we mean his Art and Contrivance) of his Plots. We are sensible that many have been so foolish as to count his Plays a bare Bundle of Dialogues dress’d up in a neat Stile, and there all his Excellency to consist, or at least that they are very ordinary and mean; but such senseless Suppositions will soon vanish upon giving an Account of the Nature and Perfection of ’em. He well understood the Rules of the Stage, or rather those of Nature; was perfectly Regular, wonderful exact and careful in ordering each Protasis or Entrance, Epitasis or working up, Catastasis or heighth, and Catastrophe or unravelling the Plot; which last he was famous for making it spring necessarily from the Incidents, and neatly and dextrously untying the Knot, whilst others of a grosser make, would either tear, or cut it in pieces. In short (setting aside some few things which we shall mention by and by) Terence may serve for the best and most perfect Model for our Dramatick Poets to imitate, provided they exactly observe the different Customs and Manners of the Roman and English People; and upon the same account we beg leave to be a little more particular in this Matter, which dispos’d us very much to this Translation.

The Nature of his Plots was for the most part grave and solid, and sometimes passionate a little, resembling our Modern Tragy-Comedies; only the Comical parts were seldom so merry; the Thinness and clearness of ’em somewhat resembling our Modern Tragedies, only more perfect in the latter, and not crouded with too many Incidents. They were all double except the Hecyra, or Mother-in-Law, yet so contriv’d that one was always an Under-plot to the other: So that he still kept perfectly to the first great Rule of the Stage, the Unity of Action. As for the second great Rule the Unity of Time (that is, for the whole Action to be perform’d in the compass of a Day) he was as exact in that as possible, for the longest Action of any of his Plays reaches not Eleven hours. He was no less careful in the third Rule, The Unity of Place, for ’tis plain he never shifts his Scene in any one of his Plays, but keeps constantly to the same place from the beginning to the end. Then for the Continuance in the Action, he never fails in any one place, but every Instrument is perpetually at work in carrying on their several Designs, and in them the design of the whole; so that the Stage never grows cold till all is finish’d: And to do this the more handsomely and dextrously, he scarce ever brings an Actor upon the Stage, but you presently know his Name and Quality, what part of the Intrigue he’s to promote, why he came there, from whence he came, why just at that time, why he goes off, where he’s a going, and also what he is or ought to be doing or contriving all the time he’s away. His Scenes are always unbroken, so that the Stage is never perfectly clear but between the Acts; but are continually joyn’d by one of the four Unions. Which according to Mon. Hedelin are these; Presence, Seeking, Noise, or Time; and when the Action ceaseth (that is, upon the Stage) and the Stage is clear’d, an Act is then finish’d. Then for Incidents, and the due Preparation of ’em, Terence was admirable: And the true and exact Management of these is one of the most difficult parts of Dramatick Poetry. He contrives every thing in such a manner so as to fall out most probably and naturally, and when they are over they seem almost necessary; yet by his excellent Skill he so cunningly conceals the Events of things from his Audience, till due time, that they can never foresee ’em; by this means they are so amus’d with the Actors Designs, that the Poets is unknown to ’em, till at last, being all along in the dark, they are surpriz’d most agreeably by something they never look’d for: And this is the most taking and the most delightful part of a Play. We might insist much more largely upon each of these Particulars, and upon several others, but at present we shall content our selves with saying that these Plots are all so very clear, and natural, that they might very well go for a Representation of a thing that had really happen’d; and not the meer Invention of the Poet.

There are two or three remarkable Objections against our Author which we can’t but take notice of. First, ’tis said, That he has not kept to the Unity of Time in his Heautontimoreumenos, or Self-Tormenter; which contains the space of two days. Then, between the second and third Acts, there’s an absolute failure of the Continuance of the Action. These are generally believ’d by several Men, and such as are famous too; and some to vindicate Terence the better have added another Mistake, That the Play was always acted two several times, the two first Acts one, and the three last another. But ’tis plain from all Circumstances, that the Action began very late in the Evening, and ended betimes in the Morning (of which we have said something in our Remarks at the end) so that the whole cou’dn’t contain above Eleven hours; but as for that of the Cessation of the Action, ’tis answer’d two ways, either by the necessity of Sleep at that Interval, and consequently no Cessation, or (which is more probable) by the Persons being busie at the Treat at Chremes’s House, that being a necessary part of the main Action. The two following are Mr. Dryden’s Exceptions; where first he lays an Error to our Author’s Charge in matter of Time. In the Eunuch (says he) when Laches enters Thais’s House by mistake, between his Exit and the Entrance of Pythias, who comes to give ample Relation of the Disorder he has rais’d within, Parmeno who is left upon the Stage has not above five Lines to speak. In answer to this, Pythias makes no such ample Relation, but rather tells him what Disorders such a foolish Act of his was like to raise; and in truth it is not probable she shou’d stay above five or six Lines speaking, since after she saw her Cheat had taken, she cou’dn’t keep her countenance within Doors, and was so eager to revenge her self by laughing at the Fool without. Besides here’s an excellent Artifice of the Poets, for had she tarry’d longer, Parmeno might ha’ been gone, and her Mirth qualified when she saw the good Fortune Chærea had met withal. His other Exception is, that our Author’s Scenes are several times broken. He instances in the same Play, That Antipho enters singly in the midst of the third Act, after Chremes and Pythias were gone off. As for this, ’tis to be consider’d that Scenes are united by Time as well as Presence; and this is a perfect Union of Time, apparent to all who understand the Art of the Stage. A little farther he says, That Dorias begins the fourth Act alone; – She quits the Stage, and Phedria enters next. Here Dorias does not quit the Stage till three Scenes after, as appears by Pythias, bidding her carry in such things as she had brought with her from the Captain’s Entertainment; but if she did, there wou’d be an Union of Time nevertheless, as there is in all other places, where the Scenes seem broken. Some make this Objection; that in the beginning of many Scenes, two Actors enter upon the Stage, and talk to themselves a considerable time before they see or know one another; Which (they say) is neither probable nor natural. Those that object this don’t consider the great Difference between our little scanty Stage, and the large magnificent Roman Theatres. Their Stage was sixty Yards wide in the Front, their Scenes so many Streets meeting together, with all By-Lanes, Rows and Allies; so two Actors coming down two different Streets or Lanes cou’dn’t be seen by each other, tho’ the Spectators might see both, and sometimes if they did see each other they cou’dn’t well distinguish Faces at sixty Yards distances. Besides upon several accounts it might well be suppos’d when an Actor enters upon the Stage out of some House, he might take a turn or two under the Portico’s, Cloysters, or the like (that were usual at that time) about his Door, and take no notice of an Actor’s being on the other side the Stage.

But since we propose our Master as the best Model for Dramatick Poets to follow, we ought in Justice to mention such things wherein he was any ways faulty, or at least where he ought not to be imitated. The first is, He makes his Actors in some places speak directly, and immediately to the Audience (of which that Monologue of Mysis in the first Act of the first Play is an instance) which is contrary to the Rules of Dramatick Poetry, or rather indeed of Nature; and this is the only real Fault that Terence was guilty of, as his want of Vis Comica was the only real Defect. His Plots were not always the best for Story, tho’ for Contrivance, and wanted somewhat of Length and Variety, fully and compleatly to satisfie an Audience. Take ’em all together, they were too much alike to have always their deserv’d Effect of surprizing; which also gave a mighty Limitation to the Variety of his Characters; a great pity for a Man that had such an admirable Knack of drawing them to the Life. It were also to be wish’d that his Monologues or Discourses by single Persons, were less frequent, and sometimes shorter too; for tho’ they are all of ’em full of excellent Sence, sound Reasoning, ingenious Deliberations, and serv’d truly to carry on the main Design; yet several parts of ’em, especially all Narrations, wou’d ha’ been more natural as well as Artificial, if told by Persons of the Drama to one another. Then his Aparts or Asides (that is when one Actor speaks something which another that is present is suppos’d to not hear, tho’ the Audience do) are sometimes too long to be perfectly natural. Whether he has not sometimes too much Elevation of Passion, or Borders too nigh upon Tragedy for such inferior Persons, we leave to others. These are the main things to be taken notice of by all that make use of him for a Model, besides all such as belong purely to the various Customs of Countries, and to the difference of Theatres; but those are obvious enough to all.

But there’s still one great Objection against these Plays in general; that is, If Terence’s Plays are so good as is pretended, why doesn’t some Poet or other translate one or more of ’em for the Stage, so save himself the trouble of racking his Brain for new Matter. We own they wouldn’t take upon our Stage; but to clear all, we shall give these two Reasons: First, The Difference between the Romans and our selves in Customs, Humors, Manners and Theatres is such, that it is impossible to adapt their Plays to our Stages. The Roman Plots were often founded upon the exposing of Children, and their unexpected Delivery, on buying of Misses and Musick-Girls; they were chiefly pleas’d to see a covetous old Father neatly bubbled by his Slave of a round Sum of Money; to find the young Spark his Son (miserably in want of Cash) joyn with the Slave in the Intrigue, that he may get somewhat to stop his Mistress’s Mouth, whom he keeps unknown to his Father; to see a bragging Coxcomb wheadled and abus’d by some cunning Parasite; to hear a Glutton talk of nothing but his Belly, and the like. Our Plots go chiefly upon variety of Love-Intrigues, Ladies Cuckolding their Husbands most dextrously; Gallants danger upon the same account, with their escape either by witty Fetches, or hiding themselves in dark Holes, Closets, Beds, &c. We are all for Humour, Gallantry, Conversation, and Courtship, and shou’dn’t endure the chief Lady in the Play a Mute, or to say very little, as ’twas agreeable to them: Our amorous Sparks love to hear the pretty Rogues prate, snap up their Gallants, and Repartée upon ’em on all sides. We shou’dn’t like to have a Lady marry’d without knowing whether she gives her consent or no, (a Custom among the Romans) but wou’d be for hearing all the Courtship, all the rare and fine things that Lovers can say to each other. The second Reason of their not taking upon the Stage is this, tho’ Terence’s Plays are far more exact, natural, regular, and clear than ours, and his Persons speak more like themselves than generally ours do; yet (to speak impartially) our Plays do plainly excel his in some Particulars. First, in the great Variety of the Matter and Incidents of our Plots; the Intrigues thicker and finer; the Stories better, longer, and more curious for the most part than his: And tho’ there’s much confusion, huddle and precipitation in the generality of ’em; yet the great variety and number of Incidents tho’ ill manag’d, will have several Charms, and be mighty diverting, especially to a vulgar Audience, like the Sight of a large City at a distance, where there is little of Regularity or Uniformity to be discern’d just by. Next, we do much excel Terence in that which we call Humour, that is in our Comical Characters, in which we have shewn and expos’d the several Humours, Dispositions, Natures, Inclinations, Fancies, Irregularities, Maggots, Passions, Whims, Follies, Extravagancies, &c. of Men under all sorts of Circumstances, of all sorts of Ranks and Qualities, of all Professions and Trades, and of all Nations and Countries, so admirably, and so lively, that in this no Nation among the Ancients or Moderns were ever comparable to us. Lastly, Our Comedies excel his in some Delicacies of Conversation; particularly in the Refinedness of our Railery and Satyr, and above all in Repartée. Some of these things (especially when mix’d with Humour) have made many an ordinary Plot take and come off well; and without a pretty quantity of some of ’em, our Plays wou’d go down very heavily.