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Enter CHAEREA on the other side of the stage, in haste.
CHAEREA
to himself. I'm utterly undone! The girl is nowhere; nor do I know where I am myself, to have lost sight of her. Where to inquire for her, where to search for her, whom to ask, which way to turn, I'm at a loss. I have only this hope; wherever she is, she can not long be concealed. O what beauteous features! from this moment I banish all other women from my thoughts; I can not endure these every-day beauties. PARMENO
apart. Why look, here's the other one. He's saying something, I don't know what, about love. O unfortunate old man, their father! This assuredly is a youth, who, if he does begin, you will say that the other one was mere play and pastime, compared with what the madness of this one will cause. CHAEREA
to himself, aloud. May all the Gods and Goddesses confound that old fellow who detained me to-day, and me as well who stopped for him, and in fact troubled myself a straw about him. But see, here's Parmeno. Addressing him. Good-morrow to you. PARMENO
Why are you out of spirits, and why in such a hurry? Whence come you? CHAEREA
What, I? I'faith, I neither know whence I'm come, nor whither I'm going; so utterly have I lost myself. PARMENO
How, pray? CHAEREA
I'm in love. PARMENO
starting. Ha! CHAEREA
Now, Parmeno, you may show what sort of a man you are. You know that you often promised me to this effect: "Chaerea, do you only find some object to fall in love with; I'll make you sensible of my usefulness in such matters," when I used to be storing up my father's provisions for you on the sly in your little room.1 PARMENO
To the point, you simpleton. CHAEREA
Upon my faith, this is the fact. Now, then, let your promises be made good, if you please, or if indeed the affair is a deserving one for you to exert your energies upon. The girl isn't like our girls, whom their mothers are anxious to have with shoulders kept down, and chests well girthed,
The Comedies of Terence. Henry Thomas Riley. Ney York. Harper and Brothers. 1874.
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