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22:
104:
slaves, and then finally delivers a closing speech decrying all such liberality: "I will tell you: I did it to show you that what they think is your good nature and pleasantness did not happen from a true life, nor from justice and goodness, but from flattery, indulgence, and largess, Micio" (lines 985–988).
100:
exposing his romantic interest due to the strict education he's received from Demea. Therefore, Aeschinus, in order to help his brother, decides to steal the girl away from the slave-dealer Sannio, accepting all blame for the affair. Demea and Micio spar over who did a better job at raising their sons.
798:
Fielding writes: “They had always differed in their sentiments concerning the education of their children … For young
Nightingale was his uncle’s godson, and had lived more with him than with his father.” Again in Book XVIII, ch. XIII: “These brothers lived in a constant state of contention about the
773:
In addition Demea stipulates Micio must free Syrus and his wife and lend him some money too. Then he tells
Aeschinus that if he wishes to be guided in life rightly, he, Demea, is willing to guide him. Aeschinus calls Demea "Father" and agrees. As for Ctesipho, Demea allows him to keep his girlfriend,
107:
He then offers to his sons that he will be their strict father if they so desire him to be, but if they prefer to stay with Micio, they can. Both boys choose to submit to Demea, with Micio's approval. At the end of the play, Ctesipho keeps his loved one, Aeschinus celebrates his marriage to
Pamphila,
483:
Demea is anxious because his son
Ctesipho was involved in the abduction. Syrus arrives with some fish he has bought for a party. Demea is shocked when he overhears Syrus saying that Micio had given money for the harp-player and some for a feast as well. Syrus lies to Demea that Ctesipho disapproved
99:
Demea, father to
Aeschinus and Ctesipho, decides to separate his children and raises Ctesipho while allowing his brother Micio to raise Aeschinus. Demea is a strict authoritarian father, and Micio is permissive and democratic. Ctesipho falls in love with a slave-girl musician, but is afraid of
103:
After a long monologue comparing his methods with his brother's, Demea decides to emulate his brother's urbanity and openhandedness as a means of critique. In the last hundred lines of the play, Demea gives away a great deal of money and a large estate, convinces his brother to free two of his
1158:
487:
Just as he is setting out for the farm, however, Demea sees his friend Hegio approaching with
Sostrata's servant Geta. Hegio tells him the shocking news: Aeschinus has violated the daughter of a friend of Hegio's, promised to marry her, but now has abandoned her for a harp-player.
285:
Terence defends himself against critics who accuse him of adding a scene from a play by
Diphilus to a comedy by Menander; and also those who say that he received help in his writing. He tells the audience that the actors in the first scene, not the prologue, will explain the
213:
In both
Plautus and Terence's plays the usual pattern is to begin each section with iambic senarii (which were spoken without music), then a scene of music in various metres, and finally a scene in trochaic septenarii, which were apparently recited to the accompaniment of
209:
Terence's plays are traditionally divided into five acts. However, it is not thought that these divisions go back to
Terence's time. Also, the acts themselves do not always match the structure of the plays, which is more clearly shown by the variation in metres.
524:
Syrus advises
Ctesipho on how to deceive his father. Ctesipho begs him not to tell Demea where he is. Suddenly Syrus is alarmed to see Demea coming back and ushers Ctesipho back inside.
484:
of Aechinus's behaviour. He makes fun of Demea's expressions of approval of Ctesipho. He sends Demea to the farm on a fruitless search for Ctesipho, then goes inside.
195:
Ctesipho, Sostrata, and Canthara sing all their lines. The three old men Demea, Micio, and Hegio speak most of theirs, in iambic senarii, singing only occasionally.
561:
Micio apologises to Hegio for the wrong done to Sostrata's daughter. Hegio thanks him and asks him to come and reassure Sostrata. They go into Sostrata's house.
267:
Unusually for Terence, the play contains one short polymetric song (lines 610–617) with an irregular mixture of choriambic, wilamowitzianus, and other metres.
261:
According to Moore, in this play (Terence's last) Terence shows a mastery of metre, moving from one metre to another to express mood and emotion as required.
462:
Sostrata sings of her distress. She sends Geta to the village to beg the assistance of Pamphila's relative, Hegio, and she tells Canthara to fetch a midwife.
540:
Syrus spins a lie about how is wounded because Ctesipho beat him up. He sends Demea off on a wild goose chase through the city looking for Micio.
492:.) Hegio begs Demea to preserve the family honour; then he goes into Sostrata's house with Geta. Demea goes off looking for Micio.
790:
1208:
264:
The abbreviation ia6 = iambic senarii, tr7 = trochaic septenarii, ia8 = iambic octonarii, tr8 = trochaic octonarii.
1082:
912:
1134:
Terence with an English Translation by John Sargeaunt in Two Volumes (Phormio, The Mother-in-Law, The Brothers)
226:, Moore calls this the "ABC succession", where A = iambic senarii, B = other metres, C = trochaic septenarii.
1310:
754:
Micio is horrified by the idea, but Demea insists, and says he must also reward Hegio with a farm. (ia8)
630:
Micio comes out of the door and teases Aeschinus, pretending that Pamphila is going to marry a stranger.
838:
414:
Sostrata, whose daughter Aeschinus has secretly married, shares her anxieties with the nurse Canthara.
1305:
1106:
1175:
81:
1096:
1054:
Leigh, M. 2004. "Fatherhood and the Habit of Command: L. Aemilius Paullus and the Adelphoe." In
853:
593:
Aeschinus describes how he met Sostrata on her way to fetch a midwife, and how she rejected him.
307:
Micio worries because his son Aeschinus, adopted from his brother Demea, has been out all night
204:
1201:
1137:. Vol. 2. London and New York: William Heinemann and G.P. Putnam's Sons. 1918. p.
1065:
Edited by Anthony Augoustakis and Ariana Traill, 318–341. Chichester, UK: Wiley-Blackwell.
8:
1250:
1138:
1068:
Victor, Benjamin. 2012. "Terentius Orator an Poeta: The endings of Eunuch and Adelphoe."
799:
government of their children, both heartily despising the method which each other took.”
816:
884:
310:
Demea criticises his brother Micio because Aeschinus has forcibly abducted a music-girl
326:
The pimp Sannio attempts to prevent Aeschinus abducting the girl, and gets beaten up.
1194:
430:
Sostrata's slave Geta expresses his distress at Aeschinus's treachery (soliloquy).
1230:
794:(1749, Book XIV, ch. VIII) models Mr Nightingale and his brother after Terence’s
72:
1180:
1132:
233:
the ABC pattern is less evident than it is in some other plays. The pattern is:
1260:
1169:
1126:
1101:
785:
711:
Demea reflects on the error of his ways and determines to teach Micio a lesson.
1299:
689:
Syrus, drunk, infuriates Demea even more. A slave comes out to call Syrus in.
120:
Demea - Micio's brother and father of Aeschinus and Ctesipho, raised Ctesipho
1186:
1009:
Edited by C. Questa and R. Rafaelli, 251–277. Urbino, Italy: Quatro Venti.
1122:
888:
57:
1047:
Henderson, John. 1988. "Entertaining Arguments: Terence Adelphoe." In
988:
The scene from Diphilus is 2.1 (lines 155–96); A. S. Gratwick (1987),
695:
Micio tries to calm Demea, who has discovered Ctesipho's misbehaviour.
76:
1012:
Damen, Mark L. 1990. "Structure and Symmetry in Terence’s Adelphoe."
609:
He approaches Sostrata's door, determined to set the record straight
160:
The main characters in terms of number of lines spoken or sung are:
1270:
1164:
390:
Ctesipho sings of his gratitude for his brother's help (soliloquy).
68:
64:
1117:
1026:
Frauenfelder, D. W. 1996. "Respecting Terence. Adelphoe 155–175."
1217:
91:
was Terence's last play and is often considered his masterpiece.
60:
21:
947:
875:
Forehand, Walter (1973). "Syrus' Role in Terence's "Adelphoe"".
735:
He surprises Aeschinus by hurrying on the marriage preparations.
732:
Demea surprises Syrus and Geta by speaking to them both affably.
1240:
966:. Cambridge University Press, pp. 237-42, 253-8, 305-8, 367-71.
1040:
Grant, John N. 1980. "The Beginning of Menander,᾿Αδελφοί, β."
692:
Demea realises Ctesipho is in Micio's house and rushes inside.
508:
Syrus reassures Ctesipho that his father has gone to the farm.
75:. Exploring the best form of child-rearing, the play inspired
646:
Aeschinus bursts into tears and his father reveals the truth.
217:
577:
Aeschinus, very agitated, sings of his disastrous situation.
683:
Demea returns furious after his fruitless search for Micio.
318:
2.1 (155–196): mixed metres (mostly ia8 and tr7) (42 lines)
71:. It was first performed in 160 BC at the funeral games of
746:
5.8 (934–958): ia8 (22 lines), ia6 (2 lines), ia8 (1 line)
468:
108:
Sostrata's daughter, and Micio is made to marry Sostrata.
1005:
Barsby, John A. 2002. "Terence and his Greek Models." In
946:
Details of the metres used in each line are given in the
662:
Aeschinus sings of his delight in his father (soliloquy).
1007:
Due seminari Plautini. La tradizione del testo; modelli.
117:
Micio - Demea's brother and adopted father of Aeschinus
1058:
By Matthew Leigh, 158–191. Oxford: Oxford Univ. Press.
500:
4.1 (517–526): mixed metres (tr8, tr7, ia8) (10 lines)
490:
At this moment cries are heard as Pamphila gives birth
237:
1. Aeschinus's misbehaviour causes alarm: ABCBAB, BBCB
292:
546:
123:
Sannio - A procurer, owner of the slave "Music Girl"
668:
242:
2. Syrus prevents Demea from finding Ctesipho: ABBC
1051:Edited by A. Benyamin, 192–226. London: Routledge.
247:3. Aeschinus apologises and is forgiven: BBBC, ACB
63:, adapted mostly from a play of the same name by
1297:
738:He also suggests that Micio must marry Sostrata.
393:Aeschinus continues the negotiation with Sannio.
153:Sostrata - widowed woman who lives next to Micio
686:He reproaches Micio about Aeschinus's marriage.
141:Hegio - close friend of Sostrata's late husband
1202:
817:"Adelphi - a synopsis of the play by Terence"
809:
374:Sannio argues with Syrus about the injustice.
1216:
854:"Chapter 14: Roman Comedy, Part 2 (Terence)"
358:The wily slave Syrus negotiates with Sannio.
1125:has original text related to this article:
350:2.2 (209–227): tr8 (1 line), ia8 (18 lines)
215:
1209:
1195:
913:"P. Terentius Afer, Adelphi: The Brothers"
585:4.4 (618–624): tr7 (1 line), tr8 (6 lines)
615:
399:
126:Aeschinus - son of Demea, raised by Micio
874:
569:4.4 (610–617): polymetric song (8 lines)
446:He informs Sostrata about the abduction.
20:
469:Syrus keeps Demea from finding Ctesipho
406:3.1 (288–304): mixed tr7/ia8 (17 lines)
132:Ctesipho - son of Demea raised by Demea
1298:
904:
780:
342:Sannio rues his situation (soliloquy).
1190:
1061:Traill, Ariana. 2013. "Adelphoe." In
1037:Princeton, NJ: Princeton Univ. Press.
851:
839:"The new international encyclopaedia"
717:
198:
953:. Washington University in St Louis.
422:3.2 (305–320): mainly ia8 (16 lines)
222:(a pair of reed pipes). In his book
67:, with the addition of a scene from
16:Play by the Roman playwright Terence
1176:Adelphoe at Perseus Digital Library
865:"Terrence's consummate masterpiece"
13:
1181:Review in BMCR of 2010 translation
999:
675:4.6–5.3 (713–854): ia6 (142 lines)
475:3.3–3.5 (355–516): ia6 (163 lines)
293:Aeschinus's behaviour causes alarm
14:
1322:
1076:
910:
724:5.5–5.8 (882–933): ia6 (52 lines)
654:4.5 (707–712): ia7, ia8 (8 lines)
601:4.4–4.5 (625–637): tr7 (13 lines)
547:Aeschinus determines to apologise
516:4.1–4.2 (527–540): ia8 (14 lines)
382:2.3–2.4 (254–287): ia8 (34 lines)
299:1.1–1.2 (26–154): ia6 (129 lines)
1153:
1116:
948:Database by Timothy J. Moore of
757:Micio is forced to accept (ia6).
669:Demea finds Ctesipho misbehaving
982:
969:
901:Some editions call her Bacchis.
277:Prologue (1–25): ia6 (25 lines)
144:Pamphila - daughter of Sostrata
956:
940:
927:
895:
868:
845:
831:
1:
1149:– via Internet Archive.
802:
765:5.9 (959–997): tr7 (39 lines)
703:5.4 (855–881): tr7 (27 lines)
638:4.5 (679–706): tr7 (28 lines)
622:4.5 (638–678): ia6 (41 lines)
553:4.3 (592–609): ia8 (18 lines)
532:4.2 (541–591): tr7 (51 lines)
454:3.2 (330–354): ia8 (25 lines)
366:2.2 (228–253): ia6 (26 lines)
334:2.1 (197–208): tr7 (12 lines)
135:Canthara - Sostrata's servant
111:
1107:Resources in other libraries
1056:Comedy and the Rise of Rome.
1049:Post-Structuralist Classics.
438:3.2 (321–329): tr7 (9 lines)
147:Music Girl - slave of Sannio
25:Annotated page of Terence's
7:
1163:public domain audiobook at
911:Riley, Henry Thomas (ed.).
270:
257:5. Demea takes control: ABC
252:4. Demea finds Ctesipho: AC
10:
1327:
1033:Goldberg, Sander M. 1986.
1019:Forehand, Walter E. 1985.
1014:Illinois Classical Studies
962:Moore, Timothy J. (2012),
950:The Meters of Roman Comedy
202:
1225:
1160:Adelphi: or, The Brothers
1102:Resources in your library
915:. Perseus Digital Library
224:The Music of Roman Comedy
1063:A Companion to Terence.
975:Moore, Timothy (2012),
933:A. S. Gratwick (1987),
774:but it must stop there.
138:Geta - Sostrata's slave
94:
82:The School for Husbands
1172:at TheLatinLibrary.com
1035:Understanding Terence.
616:Micio teases Aeschinus
400:Sostrata is distressed
216:
205:Metres of Roman comedy
129:Syrus - slave of Micio
50:; from Greek ἀδελφοί,
30:
1170:The play's Latin text
990:Terence: The Brothers
977:Music in Roman Comedy
964:Music in Roman Comedy
935:Terence: The Brothers
877:The Classical Journal
819:. Theatre History.com
203:Further information:
150:Dromo - Demea's slave
56:) is a play by Roman
24:
1311:Plays about families
1231:The Girl from Andros
1183:by David Christenson
852:Damen, Mark (2012).
29:(act one, scene two)
1070:Classical Quarterly
1042:Classical Quarterly
781:Classical Tradition
1251:The Self-Tormentor
1088:Terence's Adelphoe
718:Demea takes charge
199:Metrical structure
31:
1293:
1292:
1286:
1276:
1266:
1256:
1246:
1241:The Mother-in-Law
1236:
1083:Library resources
156:Parmeno - a slave
1318:
1306:Works by Terence
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188:Sostrata (2.5%)
185:Ctesipho (4.5%)
173:Aeschinus (10%)
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73:Aemilius Paulus
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191:Canthara (1%)
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1281:The Brothers
1280:
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1143:. Retrieved
1133:
1121: Latin
1097:Online books
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919:November 20,
917:. Retrieved
906:
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883:(1): 52–56.
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857:. Retrieved
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823:November 20,
821:. Retrieved
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1072:62:671–791.
1044:30:341–355.
286:background.
176:Sannio (7%)
170:Syrus (14%)
167:Micio (23%)
164:Demea (28%)
1300:Categories
1271:The Eunuch
1145:25 January
1123:Wikisource
1016:15:85–106.
859:August 29,
803:References
179:Hegio (5%)
112:Characters
58:playwright
1030:90:23–32.
937:, p. 270.
796:Adelphoe.
791:Tom Jones
182:Geta (5%)
1285:(160 BC)
1275:(161 BC)
1265:(161 BC)
1255:(163 BC)
1245:(165 BC)
1235:(166 BC)
1220:'s plays
1165:LibriVox
1127:Adelphoe
1021:Terence.
992:, p. 43.
271:Prologue
89:Adelphoe
69:Diphilus
65:Menander
53:Brothers
41:Adelphoi
35:Adelphoe
27:Adelphoe
1261:Phormio
1218:Terence
889:3295725
841:. 1905.
231:Adelphi
229:In the
77:Molière
61:Terence
47:Adelphi
1085:about
887:
218:tibiae
38:(also
885:JSTOR
1147:2018
1141:-323
921:2008
861:2016
825:2008
95:Plot
44:and
1139:213
788:in
79:'s
1302::
881:69
879:.
85:.
1210:e
1203:t
1196:v
923:.
891:.
863:.
827:.
488:(
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