Tell me in fober fadnefs, is there not Within another Sofia, like to me ? ALC. Go, fellow---a fit flave for fuch a mafter! Sos. I will be gone for good, if you command. [Exit SOSIA. ALCMENA alone. 'Tis wondrous ftrange, my husband should be pleas'd Thus to accufe me of fo foul a crime, So wrongfully.---But I fhall learn it foon, 330 Whate'er the cause be, from my kinfman Naucrates. [ALCMENA goes in. V. 329. Gone for good.] This is a joke in the original, which I have endeavoured to preferve, in the best manner I could, in the tranflation. The word-ABI---was used at the manumiffion, or freeing of a flave; whence Sofia takes occafion to fay, ---ABEO, fi jubes,---in reply to Alcmena's ABI. The End of the SECOND ACT. ACT A C T III. SCENE I JUPITER addreffes himself to the Spectators. "'M that Amphitryon, whofe flave is Sofia: I'M The fame is Mercury, when there's occasion: 5 V. I.] This again is another Prologue, as it were, in the character of Jupiter, for which indeed there appears to be no kind of neceffity or reafon: It contains no information to the spectators, but what had been given them before by Mercury, A& I. Scene II. and nearly in the fame terms. V. 3. My dwelling's in the higheft loft.] In fuperiore habito eænaculo-is explained by all the commentators, as conveying a double fenfe, fignifying in the first place the habitation of the heavenly Jove, and in the fecond the humble lodging of the poor actor, who plays the character, which from his mean condition, it is taken for granted, is in the upper loft or garret. There is undoubtedly in this fcene the fame jumble as in the Prologue by Mercury, concerning the character of Jupiter as a deity, and as an actor in his own perfon. There does not, however, appear any neceffity, as it seems to me, for understanding this paffage in any other sense than the plain and obvious one, as meaning the celeftial habitation of Jupiter, especially as Ennius uses the very fame expreffion---cænacula maxima cali---the highest lofts of heav'n. Whofe Whose husband has accus'd her of difhonour :--- To be Amphitryon, and confound the house; I will afford Alcmena timely aid; And at the self-fame birth the child by me, 10 15 And that with which fhe's pregnant by her husband, I'll caufe her to bring forth without a pang.-- I order'd Mercury to follow me Forthwith, if haply I fhould want his fervice.--- 20 [JUPITER retires back. SCENE Enter AL CMENA. II. I cannot bear to ftay here in the house.--- Enter ALCMENA.] The reafon given by Alcmena for coming out of the house, when her prefence was abfolutely necessary for carrying on of the plot, has been admired as a most ingenious contrivance in our Author. It is, indeed, at once natural and affecting. No pretext, however, was thought of for Alcmena's appearance in the second scene of the fecond act, when she comes out without any caufe affigned, or any apparent motive. It is true, that the practice of adhering ftrictly to the unity of place has produced many abfurdities; and incidents, which naturally should have happened within doors, or in a chamber, have been reprefented as tranfacted in a street. In confequence of this, the conduct of this very play before us must appear to the moderns in Facts he avers on facts, and loudly clamours, He thinks too I fhall bear it with indifference :--- 5 To lay againft me without caufe; for I iơ Will either leave him, or from him receive in many inftances as forced and improbable. It can scarcely be believed, that any one fhould continue fo bigoted to antiquity, as not to think the fhifting of the fcenes, as practifed on our ftage, a natural as well as a neceffary improvement; though perhaps it should be used by us with more propriety and moderation. The drama among the ancients was one continued representation : but as the modern practice has divided it into fo many breaks or acts, when the fpectator's attention is entirely interrupted, what reason can be given why he may not be prefented with a new fcene, when the drama is refumed? Perhaps indeed it may not appear quite fo natural to change the fcene during the act but even this, fuppofing it a defect, is furely much preferable to a defect in the conduct of the piece itself, merely to preferve the unity of place. Much has been faid in the defence of the ancient practice in this particular: but after all, may it not be reasonably conjectured, that one principle motive was perhaps their ignorance in fcenical machinery? Moliere, and Dryden after him, make Alcmena come out to go to the Temple, to thank the Gods for Amphitryon's fuccefs; but this is cold and uninteresting. V.7. Bear it with indifference.] Sus deque habituram. This is the conftruction put upon these words by A. Gellius. V. 12. He shall fwear.] It was reckoned a sufficient atonement among the ancients, if the accufer took an oath, that he had accufed any person wrongfully, which wiped off the infamy. See the form of the oath, v. 66. of this fcene. That That he repents him it had e'er been faid, What he alledg'd against me innocent. JUP. I must confent to do what the requires, 15 If I would meet reception as a lover. And fince it is imputed to Amphitryon 20 Of his reproaches and resentment t'wards her. With shameless prostitution and dishonour. JUP. (Advancing.) Wife, I would hold difcourfe with you.---Ah why, Why do you turn away your face thus from me? ALC. It is my nature.---I have always loath'd To look upon my foes. JUP. Your foes! ALC. So is it,-- I speak the truth,---although you will pretend, 25 JUP. (Offering to embrace her.) Nay, now you are too angry. 30 ALC. Keep your hands off :---for sure, if you are wife, Or in your fenfes, you would never hold Parley with her, in earnest or in mirth, Whom you imagine and pronounce a strumpet; V. 28. My foes.] Inimicos. Gronovius informs us, from Scipio Gentilis, that inimicus was a term in law, by which the husband was denoted after divorce. But perhaps this conftruction may appear unneceffary. VOL. I. M No |