Reputation vs.

Reality in Terence's Hecyra

Author(s): Terry McGarrity
Source: The Classical Journal, Vol. 76, No. 2 (Dec., 1980 - Jan., 1981), pp. 149-156
Published by: The Classical Association of the Middle West and South, Inc. (CAMWS)
Stable URL: http://www.jstor.org/stable/3297378
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 REPUTATION VS. REALITY IN TERENCE'S HECYRA

"Terence insists on taking every human being on his own merits; la

mischievous rubbish in his eyes."' Norwood has stated a critical poin
understanding of the Hecyra, but he directs his remark only to the char
tion of Bacchis. An extension of this view provides a basis for an under
of the entire play, for the conflict between reputation and true characte
main theme.
The Hecyra revolves around the marriage of Pamphilus and Philumena. At
the time of the marriage Pamphilus' affection still lay with the courtesan
Bacchis. Accordingly Pamphilus did not consummate the marriage for several
months. He then departed on business and on his return finds that his wife has
separated herself from his family. He rushes to her parents' home just in time to
witness his wife giving birth to a child which Pamphilus is certain cannot be his.
He removes himself from his wife without explanation. His father Laches
believes the alienation is caused by a rift between Philumena and his wife
Sostrata. Philumena's father Phidippus attributes the separation to Pamphilus'
continued love for Bacchis. At last Bacchis appears and discovers that Pam-
philus is indeed the father of his child conceived as a result of his drunken
assault on Philumena prior to their marriage. With this information Pamphilus
accepts his wife and child, and all other problems vanish.
The major strife in this comedy is not between father and son, although that
element is certainly present. Rather, the conflict is between husband and wife;
particularly between Laches and Sostrata, and to a lesser degree between
Phidippus and Myrrina. Furthermore, the greater part of the struggle is carried
out on a general rather than a personal level; that is, Laches and Phidippus
criticize women as a group and their wives as typical members of that group.
Perhaps the most familiar instance of this is Laches' attack on women in which
he claims that they must be trained in a school and that his wife Sostrata could
be the instructress in such an institute (198-204).
Sostrata immediately interjects a rebuttal to this accusation. Her argument is
made not so much by her words, for she pleads ignorance of the cause of his
complaint (205), as by her attitude. She utters a prayer for herself and her
marriage (206-7) and is consistently restrained and respectful in her replies,
thus providing a sharp contrast to Laches' attacks which Ashmore cites for their
"brutality."2
In the course of his criticism Laches becomes more specific about his wife.
His first particular charge is that she has brought disgrace on the household and
made enemies of their former friends (210-13). The charges against Sostrata are
focused on the damage done to the reputation of Laches and his family. No

1Gilbert Norwood, The Art of Terence (Oxford 1923) 99.

2Sidney G. Ashmore, The Comedies of Terence (New York 1908) 223.

149

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 150 TERRY MCGARRITY

physical loss has been incurred, but only a lo

aimed at Sostrata in this scene are directed tow
her shameful behavior with respect to Philum
vos revives the idea of Sostrata as a mem
recollection leads to a renewal of the criticis
Phidippus, the father of Philumena, enters at
mation of Laches' closing accusation that wo
action as he yields to his daughter (245) even as
will on her (243-4). In a scene similar to Dem
Laches counsels Phidippus on the advantages
of his household (246-8). Phidippus, however
attitude towards his wife Myrrina as Laches
ta. When Phidippus learns that Philumena ha
theme sounded by Laches is echoed by Phid
wife brings shame to the husband (524-6). P
intent is to break up the marriage (534, 537
had previously attributed to women (241-2)
willingness to suffer the blame provided that
but when Phidippus persists, she defends h
Although women may endure a greater amoun
struck against men. The opening scene has ca
First, the use of two protatic characters is un
to the suggestion that Terence altered Apoll
Philotis for Bacchis.4 As the scene stands in c
Bacchis could not be a participant, for her p
refutation to Parmeno's remarks (as well as f
Corinth with a soldier to be excised). Further
character so early, the effect of her later a
minished. Her presence would virtually destr
the audience would be able to see and judge o
Bacchis took the part of Philotis, the play wou
and thematically.
Second, the purpose of the discussion betwee
some scholars.5 Yet this scene, coupled with
theme of reputation versus real character, an
against judgment based on reputation. Syra, a

3Wolfgang Schadewaldt, "Bemerkungen zur Hecy

stresses the fact that Myrrina remains silent, for the most
wife.
4Eckard Lefevre, Die Expositionstechnik in den Kombidien des Terenz (Darmstadt 1969) 60-63,
93-95. But against this see Orazio Bianco, Terenzio: Problemi e aspetti dell' originalita (Rome
1962) 93-94, who argues for the presence of Philotis and Syra in the Greek original.
5Ashmore, 217-8: "The first scene is hardly necessary to the integrity of the piece." David
Sewart, "Exposition in the Hekyra of Apollodorus," Hermes 102 (1974) 250: "Such protatic
characters contribute little or nothing to the dialogue and their purpose seems to be to make possible
dialogue rather than monologue exposition." Also, Sewart 250 n. 10 and 12. But see Maria R.
Posani, "Originalita artistica dell' Hecyra di Terenzio," Atene e Roma 42 (1940) 229, who credits
the opening scenes for the contribution to the atmosphere of the play.

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 REPUTATION VS. REALITY IN TERENCE'S HECYRA 151

Philotis, begins by attacking men as a group, claiming that all men are the
same. After Philotis has related the news that Pamphilus has married in spite o
his vows to Bacchis, Syra says that Philotis should not pity any man but instead
take advantage of them all (63-5). When Philotis asks if there are any men who
are more deserving than this, Syra continues with her vilification of men (67-9).
Syra caps her remarks by calling men advorsarios (72) and uttering a regretfu
lament for her age and Philotis' gentleness (74-5).
The kindness shown by Philotis is a caution against an estimation of people
by their position or reputation. Philotis is a meretrix, but not the greedy, selfish
type which Syra advises her to be. Philotis sees men as distinct people, to b
treated as individuals. She calls it an injustice (iniurium, 71) to deal with all
men in the same way. Although her account of her stay with the Corinthian
miles shows that her experience would justify the grasping attitude advocated
by Syra, her character will not allow it.
Parmeno now enters and reinforces the effect of the dialogue between Syra
and Philotis. Just as Philotis has demonstrated that she is not the typical
meretrix, Parmeno shows that he is not the servus callidus which he pictures
himself to be. He enters with a scheme on his lips as he contrives an excuse t
explain his absence from Laches' house, but carefully gives instructions tha
the excuse is not to be used unless necessary (76-80). Although Parmeno sets
forth his own image as a trickster, there is no suggestion that this reputation is
not accepted by the other characters. Philotis gives no indication here that sh
perceives any flaw in Parmeno's self-depiction. Amerasinghe comments tha
the audience is "given to expect that he will play the conventional part of th
slave. Yet everything that happens to him thereafter is unexpected.9"6 Parmeno,
indeed, cannot maintain the role of schemer and begins his decline almost
immediately as he lets slip the fact that Pamphilus' marriage is in difficulty
(101). At first he refuses to discuss the matter any further, saying that he woul
not trust his safety to Philotis' word (108-9). He then capitulates, however,
acknowledging his own weakness of wanting to tell her (112). His only
safeguard is the exact thing he said he would not trust, the word of Philotis: s
mihifidem/das te tacituram, dicam (112-3). Thus Parmeno leaves himself with
no secret and no safety.
Terence has used the first two scenes to introduce the theme which he later
develops with Sostrata and Laches: reputation and reality do not alway
coincide. Philotis is not a greedy courtesan, Parmeno is not a cunning slave,
and Sostrata is not a troublesome mother-in-law. For Philotis and Parmeno
their words and actions reveal their differences from their typical stage roles. In
the case of Sostrata, her departure from the normal stage mother-in-law is
accentuated by the attempts of Laches to define her in the expected character.
If this conflict of reputation and reality is the major theme, then how will it
manifest itself with regard to the two main characters, Pamphilus and Bacchis?

6C. W. Amerasinghe, "The Part of the Slave in Terence's Drama," G&R 19 (1950) 69. But
Amerasinghe misses the point when he continues by saying that "Parmeno is admitted only in order
to show how unnecessary he is." Others have also commented on the lack of conventionality in the
role of Parmeno: Norwood, 145: ". .. the exact negation of the role traditionally given to such
characters." Also, George E. Duckworth, The Nature ofRoman Comedy (Princeton 1952) 250-1.

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 152 TERRY MCGARRITY

In each instance with Philotis, Parmeno, an

projected only to be replaced by a display of
How well does this pattern hold for Pam
Again the opening scenes (particularly 11
characterization. Neither Pamphilus nor Bac
tion about them is supplied mainly by Parm
Pamphilus is first described as being in lov
father grows more insistent about marria
greater obligation to his father or to hi
continues with the account of Pamphilus' r
riage (136-7). Philotis is incredulous, but P
straint to his sense of honor; he married the
the marriage is not successful, he wished t
and expedient for his bride, namely to ret
prompts from Philotis a comment on Pamp
(152).
Bacchis, meanwhile, is depicted as the typical selfish whore. The early
remarks about Bacchis have recounted the stages of her love affair with
Pamphilus, but have not in any way described her behavior or attitudes.
Parmeno, however, then lashes out at her for her changed manner towards
Pamphilus.
PH. quid interea? ibatne ad Bacchidem? PA. cotidie,
sed ut fit, postquam hunc alienum ab sese videt,
maligna multo et mage procax facta ilico est. (157-9)
This change, coupled with the pudens modesta nature of Philumena (165), is a
prime factor in Pamphilus switching his affection from Bacchis to Philumena.
Philumena endures the iniurias of Pamphilus (165) even as he is overcome by
those of Bacchis (victus huius iniuriis, 168). The use of iniuriis serves to recall
the advice of Syra when she asks iniurium autem est ulcisci advorsarios? (72).
Thus the image of Bacchis is completed and matches the description of a
meretrix offered by Syra in the opening scene.
The audience has thus been led to expect a dutiful honorable young man and a
greedy, vindictive courtesan.8 These expectations of the audience are built

7Sewart, 248. In discussing the probable type of prologue in the Greek original Sewart says: "All
the divine prologues give explicit information on the qualities of some of the principal characters of
the play. The information given is, of course, correct and in this way may differ from direct or
indirect characterization of a particular person in the play itself." Sewart believes that the
elimination of the prologue would deprive the audience of the information necessary to appreciate
the true characters of Parmeno and Bacchis. "It is difficulties of this sort which suggest that the
Greek original contained a prologue in which the audience was given certain information which
would allow it to appreciate the falsity of the ideas put forward in the slave's speech" (249). There
are, to be sure, misconceptions in Parmeno's speech, but, as I have attempted to show, there has
been preparation by Philotis and Parmeno himself so that the audience might suspect that Parmeno
is not exact in his information.
8Duckworth, 259: "The two courtesans who have major roles in the plays of Terence, Thais
(Eunuchus) and Bacchis (Hecyra), are unusually noble in every respect. Curiously enough, the
impression which the audience gains of them indirectly is just the opposite of the character which
they reveal in speech and action." See also Posani 234-240.

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 REPUTATION VS. REALITY IN TERENCE'S HECYRA 153

upon impressions of Bacchis and Pamphilus provided by other characters. T

question remains whether these impressions coincide or conflict with realit
Does Terence sustain these images, undermine them gradually, or overtur
them abruptly? For Bacchis the reversal is sudden and complete, but
revelation of Pamphilus' character is more gradual. His early description a
devoted lover (and then husband) and as a dutiful son is supplanted by an
awareness of him as a vacillating adolescent concerned with preservation of
reputation rather than with proper behavior.
When confronted with the familiar problem of a father pushing his son in
marriage, Pamphilus wavers but cannot summon up the resolve of
namesake in the Andria who puts love and his promise before obedience to
father. The Pamphilus of the Hecyra steadfastly refuses to make a decisio
until, at last, the action has removed his option (121-3). After the ceremo
Pamphilus is again indecisive as he hesitates either to consummate the marri
or to send back the bride. While Parmeno and Philotis see this as an indication
of a noble character (152), this is just an early sign of a continuing trait.
Upon his return from Imbros Pamphilus learns of his wife's return to her
mother, and he is beset by indecision. Again love and duty are the choices, and
again Pamphilus refuses to make a choice (298-305). In this passage he laments
his fate and stresses his feeling by the repetitious miser placed at the end of the
lines (293, 296, 300). Pamphilus does seem to make his decision in favor of
filial piety because that is the proper course to follow (447-8), but this choice
provides him only with temporary resolve when confronted by Laches and
Phidippus. Pamphilus asserts this pietas (481) as the basis for his decision and
reaffirms it before his abrupt departure (495).
The speciousness of this pretext is revealed by the appearance of Sostrata.
Just as her first scene was marked by a confrontation with Laches and by his
attack on women, in the same way her arrival at 577 is preceded by a battle
between Phidippus and Myrrina and another denunciation of women (516-
576). In each instance Sostrata provides an effective rebuttal. She knows that
she does not belong to the class of women described by Laches and Phidippus,
and she is anxious to preserve her reputation.
Concern for reputation is the main feature in the discussion between Sostrata
and Pamphilus. Her first statement attempts to persuade Pamphilus that the
suspicions he has about the situation between her and Philumena are unfounded.
Her desire to leave for the country is intended to serve a dual purpose of
benefiting both her son and her own reputation (585), so that her presence will
not block a reconciliation (585-8). When Pamphilus tries to dissuade her he
cites the damage to his own reputation which her departure will create (590-1).
The final point in Sostrata's reply is again her concern for what people will say
and her desire to escape the conventional reputation of women.
et me hace suspicione exsolvam et illis morem gessero.
sine me obsecro hoc effugere volgu' quod male audit mulierum.
(599-600)
Pamphilus' ostensible piety is seen by Sostrata as an attempt to do a duty rather
than as a sign of his true feelings (582-4). She is correct, although for the wrong
reasons, and therefore dismisses his pleas.
With this consideration removed Pamphilus is left defenseless in the sub-

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154 TERRY MCGARRITY

sequent encounter with his father and Phidippus

piety and made aware that Phidippus has learn
himself forced into an increasingly difficult
more distressed by the pressure to acknowledge
mena, but he does not feel that he can do either.
mena because she has kept secret the birth of th
unworthy of consideration (655-63).9 Pamphi
child being thought of as his indicate his trou
solution.10 Finally, accused by his father of f
Philumena in order to maintain his relationsh
(706)." The only moment when Pamphilus has
is when he pledges that the accusation of infi
The slight to his reputation spurs him to actio
powerless.
At this point Pamphilus disappears and returns
taken place and the plot has been resolved
Pamphilus to be informed of the resolution an
discovery. But clearly, Pamphilus has taken no
for he was unable to face it. This model of pie
later becomes the distraught incompetent, now
fortune (848-9). Pamphilus is not made to suf
earlier actions, both before and during the dram
his favor.12 Pamphilus speaks of a reward to P
that topic is another reference to his reputation
ah nimium me ignavom putas (853).
Bacchis similarly is completely consistent w
though she is contrasted sharply with the descr
appearance. By Philotis Bacchis has been seen a
and good treatment from Pamphilus (60-1, 9
ledges Pamphilus' former love (114-5), but he
pattern typical of a meretrix, a pattern broug
marriage (158-9). She becomes maligna multo

9The question of the chronology of the marriage and su

among others, Thomas F. Carney P. Terenti Afri Hecyr
Two Comedies of Apollodorus of Carystus (Leiden 1938
Martin, "Donatus on Hecyra 393," BICS 19 (1972) 113-6
however, is that when Pamphilus appears the servants
frightened. This action conveys quite clearly that all is n
1oDavid Sewart, "A Note on Terence Hecyra 670," CP 6
argues that to accept the line as it stands would indicate that
of self-control nearly lets the whole story be known to t
rightly I think, that this is exactly the situation.
"The idea that Pamphilus was maintaining a relationsh
been believed by any of the principals. Pamphilus and Bacc
knew that it was not the cause of the problem but pre
difficulty; and even Phidippus does not generate any real
assuage his wife about a matter with which neither is gen
12Norwood, 101: "All is now well for Pamphilus, incre
better than he deserves."

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 REPUTATION VS. REALITY IN TERENCE'S HECYRA 155

image which survives the opening scene and is reinforced by Laches and
Phidippus. It is this same description which Bacchis herself recognizes as a
handicap to her meetings with Laches and, later, with Myrrina.
After Laches declares that Pamphilus' relationship with Bacchis is the tru
cause for Philumena's departure (684-92), it is decided by Laches and Phidip-
pus that Bacchis should be summoned in order to resolve the dilemma (716-20)
The arrival of Bacchis begins the explication of the plot. It also reiterates
pointedly the contrast of public image and reputation versus true character. This
thought is much on the minds of both Bacchis and Laches as they prepare to
confront one another. Laches stresses the need for caution in order not to follow
the wrong strategy (729-30), as he is aware that people have small considera
tion for an old man who causes trouble (737-8). This is in reply to Bacchis'
statement that she hopes the reputation of her occupation will not prejudice her
position, for she has complete trust in her character (734-5). The common
concern for reputation and propriety leads to a polite conversation despite th
accusation by Laches and the denial by Bacchis. The scene closes with Laches
complimenting the behavior of Bacchis: ego te essepraeter nostram opinionem
comperi (763). Bacchis has remained consistent in this scene; she has bee
courteous, forthright, and generous with her offer to help. In short, she has
acted just as Laches advised her to and therefore deserves the immunity which
Laches has offered in return (739-40). Laches, however, reveals the irascible
aspect of his character by beginning to threaten Bacchis, first openly and then i
a more indirect manner (765-7). Bacchis proves that she is indeed generous
with her assistance when she defends not only her own reputation but also tha
of Pamphilus. She declares that the accusation that he has continued to visit he
after his marriage is a false rumor (falsa fama, 758) and that he has bee
accused undeservedly (inmerito, 760).
When Phidippus enters he sets forth the standard public opinion towards
courtesans: nec pel istae metuont deos neque eas respicere deos opinor (772).
Bacchis admits the currency of this statement, but defends herself as the
exception.
quod si perficio non paenitet me famae,
solam fecisse id quod aliae meretrices facere fugitant.
(775-6)
When Bacchis is urged to fulfill her promise of speaking to Myrrina, she again
shows her awareness of her public position before entering the house (789-90).
Phidippus offers as the only rewards to Bacchis that she will dispel Myrrina's
and Philumena's mistaken idea and that she herself will be freed from the
suspicion which is attached to her: nam illas errore et te simul suspicione
exsolves (792). This is the total offer, and Bacchis accepts willingly. Raising
her reputation to the level of her character is of sufficient importance so that she
seeks no other gain.
Parmeno's return begins the conclusion of the drama. Just as he showed the
inconsistencies of reputation and reality by his first entrance, in the same
manner he repeats and reinforces this theme now.13 Concern for his public

I3Sewart, "Exposition," 258: ". .. The more one can appreciate his (Parmeno's) ignorance of
himself, the more comic he appears."

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156 TERRY MCGARRITY

image is in fact the very cause of his retur

assignment by Pamphilus,14 Parmeno tires
re-enters the drama: denique hercle iam pu
Parmeno's meeting with Bacchis leads
Pamphilus. This conversation resolves all the
action, but the theme of reputation and cha
philus compliments Bacchis, and she praises
agree to keep secret the solution of the rec
PAM. dic mi, harunc rerum numquid d
BA. nil. PAM. neque opus est.
adeo muttito. placet non fieri hoc itid
omnia omnes ubi resciscunt. hic quos p
sciunt; quos non autem aequomst scire
neque scient.
(865-8)
Parmeno is the connecting element as he again shows his ignorance and
ineptness while he maintains his cleverness: equidem plus hodie bonilfeci
inprudens quam sciens ante hunc diem umquam (789-80). This concluding
thought presents for a final time the divergence of Parmeno's self-image and his
true stature. This last offering of the theme not only suggests the abrupt ending
but clearly demands it. When Pamphilus learns that Bacchis has not told his
father the true account of the birth, he urges her to keep silent. Awareness of the
actual circumstances would only damage the image of Pamphilus and perhaps
of Philumena, and at the same time would point out the continuously mistaken
theories of Laches and Phidippus. Bacchis, Myrrina, and Sostrata would not
profit from a revelation of the truth, and Parmeno would become a manifest
fool.
Indeed, the ending serves a thematic purpose in much the same manner as the
opening scenes. The sudden cessation of the action involves the audience itself
with the theme, for its expectations of an extended resolution of the plot do not
coincide with the reality of the performance.

TERRY McGARRITY
El Paso, Texas

14For the absence of Parmeno see Norwood, 92; Duckworth, 251; and Amerasinghe, 69.

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