AEdiles as a speculation. What
he means at the end of the First Prologue by selling the Play over
again, is not exactly known. Perhaps if the Play had been then
performed throughout and received with no favor, he would have had
to forfeit the money, and lose all right to any future pecuniary
interest in it; but he preferred to cancel the whole transaction,
and to reserve the Play for purchase and representation at a more
favorable period.]

[Footnote 26: _Philotis_)--This is a protatic character, or one
that helps to introduce the subject of the Play, and then appears
no more.]

[Footnote 27: _Don't say so, Parmeno_)--Ver. 109. She says this
ironically, at the same time intimating that she knows Parmeno too
well, not to be sure that he is as impatient to impart the secret
to her as she is to know it. Donatus remarks, that she pretends
she has no curiosity to hear it, that he may deem her the more
worthy to be intrusted with the secret.]

[Footnote 28: _Imbros_)--Ver. 171. An island in the AEgean Sea, off
the coast of Thrace.]

[Footnote 29: _From her presence_)--Ver. 182. For the purpose, as
will afterward appear, of not letting Sostrata see that she was
pregnant.]

[Footnote 30: _With a certain stranger_)--Ver. 195. Here Philotis
gives a reason, as Donatus observes, why she does not again appear
in the Play. The following is an extract from Colman's remarks on
this passage: "It were to be wished, for the sake of the credit of
our author's acknowledged {art} in the Drama, that Philotis had
assigned as good a reason for her appearing at all. Eugraphius
justly says: 'The Courtesan in this Scene is a character quite
foreign to the fable.' Donatus also says much the same thing in
his Preface, and in his first Note to this Comedy; but adds that
'Terence chose this method rather than to relate the argument by
means of a Prologue, or to introduce a God speaking from a
machine. I will venture to say that the Poet might have taken a
much shorter and easier method than either; I mean, to have begun
the Play with the very Scene which now opens the Second Act.'"]

[Footnote 31: _Scene I._)--Colman has the following observations
on this Scene: "Donatus remarks that this Scene opens the
intention of Terence to oppose the generally-received opinion, and
to draw the character of a good step-mother. It would, therefore,
as has been already observed,