Naus. [to Phormio] Come, tell me your name. What is it? Pho. Mine? It's Phormio; I'm a great friend to your family, and especially to Phædria. Naus. Phormio, I vow to you I am at your service after this, to do and to say, so far as I can, just what you want. Pho. I thank you kindly, lady. Naus. No, upon my word, you've earned it. Pho. Do you want to begin right off, Nausistrata, and do something that will both make me happy and bring tears to your husband's eyes? Naus. That I do. Pho. Well, then, invite me to dinner. Naus. With all my heart, I do. Dem. Come then, let's go inside. Chr. Agreed; but where is Phædria, my judge? Pho. I'll soon have him here.
And so ends this merry play, as the whole party moves toward Chremes' house, where, let us hope, all family differences were forgotten in the good dinner awaiting them.
Meanwhile the man before the curtain reminds us that we still have a duty to perform:
Fare you well, my friends, and give us your applause.
SUMMARY AND QUESTIONS FOR REVIEW
The Roman Drama, as illustrated by the works of the early tragedians, from 240 to the first century BC: Andronicus Nævius, Ennius, Pacuvius, Accius. The later tragedians to the close of the first century AD: Pollio, Varius, Ovid, Maternus, Secundus, Lucan, and Seneca. The writers of comedy, second century BC: Plautus and Terence.
1. How did the civilization of Rome in 454 BC compare with that of Greece? 2. How did Rome's conquest of the Greek colonies in Italy help the development of Italian literature? 3. How did the First Punic War affect this development? 4. Who was the "first professor of Latin on record"? 5. From what sources were the subjects of the old Roman tragedies taken? 6. How did the Roman spirit differ from that of the Greek? 7. Why did the Romans fail to develop a truly national tragedy? 8. What four names besides that of Andronicus are representative of the old Roman tragedy? 9. What qualities of Accius do we find in the fragments of his writings which remain? 10. What is true of the writers of tragedy after Accius? 11. Why have the tragedies of Seneca special interest? 12. What are their defects? 13. What their strong qualities? 14. Why did the plays of Seneca have such an influence in England? 15. What is the outline of the story of Medea? 16. How does it illustrate Seneca's defects of style? 17. Quote passages which illustrate his skill in epigram. 18. In graphic description. 19. In pathos and passion. 20. In subtile analysis of character and motive. 21. Describe the three great types of Greek comedy. 22. What result followed the attempts of Nævius to write in the spirit of Old Comedy? 23. What two writers alone of comedy are known to us from their works? 24. What are the chief characteristics of Phormio of Terence?
BIBLIOGRAPHY
1. OLD ROMAN TRAGEDY.
Ribbeck, Die Römische Tragödie.
Wordsworth, Fragments and Specimens of Early Latin, pp. 567 and following.
Simcox, History of Latin Literature, Vol. I, pp. 31–44.
Sellar, Roman Poets of the Republic, pp. 47–150.
Tyrrell, Latin Poetry, pp. 32–42.
Conington, Miscellaneous Writings, Vol. I, pp. 294–347.
Moulton, The Ancient Classical Drama, pp. 203–222.
2. LATER ROMAN TRAGEDY AND SENECA.
Teuffel, History of Roman Literature (translated by Warr), Vol. II, pp. 48–52.
Newton (and others), Seneca, his Tenne Tragedies Translated into Englysh (Spenser Society reprint, 1887).
Conington, Miscellaneous Writings, Vol. I, pp. 385–411.
Cunliffe, The Influence of Seneca on Elizabethan Tragedy.
Patin, Études sur les Tragiques Grecs; Euripides. The work has many valuable comparisons between Euripides and Seneca.
Tyrrell, Latin Poetry, pp. 269–272.
Simcox, History of Latin Literature, Vol. II, pp. 24–28.
Ward, History of English Dramatic Literature, Vol. I, pp. 189 and following.
Merivale, History of Rome Under the Empire, Vol. VI, pp. 382 and following.
Mommsen, History of Rome, Vol. II, pp. 527–538.
3. ROMAN COMEDY.
Mommsen, History of Rome, Vol. II, pp. 503–526.
Simcox, History of Latin Literature, Vol. I, pp. 45–61.
Sellar, Roman Poets of the Republic, pp. 153–220.
Tyrrell, Latin Poetry, pp. 43–58.
Moulton, The Ancient Classical Drama, pp. 377–423.
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