"Terence's Comedies influenced Hrotswitha's Comedies, influenced the Fleury Liturgical Dramas, influenced Dante 's Commedia, influenced Chaucer's Canterbury Tales, influenced the delightful comic elements in the Wakefield Master's Cycle Plays. It was Terence who gave to Latin a human face, the voice of the slave, the voice of the woman, Christ preaching to publicans and prostitutes, Christianity being the 'religion of women and slaves', and it was Terence's Comedies which were used in medieval monasteries and in Renaissance grammar schools for teaching Latin to men and women both"
Latin with Laughter: Terence through Time
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In Phormio, Terence uses the idea of division among classes as the motivating theme towards the entire play. Like a classic comedy, Terence utilizes the human man to represent bigotry in the greatest sense which causes both the reader and the audience to place little credibility and faith in the character and to find him somewhat repulsive “There’s a certain parasite, one Phormio, a fellow of an undaunted assurance…” (123). He instills this by creating a vile character, Phormio, which conclusively tricks and deceives those surrounding him in order to gain what is in his own self interest, and nothing more or less. Furthermore, he satirizes the segregation of the classes by enlightening the audience with the true love that actually exists in the audacious union of the couple. “He had a strong inclination to marry her, but was afraid of his father who’s abroad.” (123) Known for his emphasis on the Greek culture rather than that of the roman world: “By Hercules , I’d sooner lose my life” (143), the playwright also uses many more elements cohesive with Greek drama and clearly digresses from traditional Roman literature, all perhaps due to the Punic war and the exchange of ideas amongst the Romans and Greeks.
Terence also comments on the union of the sexes which established itself as an elemental issue in the Roman and Greek period. The population now widely accepted and regarded homosexuality as a cultural characteristic rather than a taboo subject. In this same manner, Terence does not refrain from characterizing Phormio as a seemingly “friendly” character amongst his peers. This puts in question the use of commentary Terence uses throughout the play regarding human love. In contrast, the idea of marriage was only much more antiquated in the sense that people were subject to opinions which in the present day and age we might view as ridiculous. By imitation of Terence, many playwrights chose to use the idea of class division as a central theme in their own plays, a simple example being Shakespeare’s Romeo and Juliet and also The Merchant of Venice. The idea of the innocence of the young love and the conniving self love of Phormio culminate to situational irony in the classic drama. Yet, Terence’s work stands in its own element by pulling in the quick banter and witty asides that comfortably placed the play in a category of its own, extremely ahead of its time: “The old man has spoke truth without knowing it” (127). Here we view an element of literature in which morale and comedy coexist to create more of a fable, which in itself started as a new idea to those who wrote pieces alongside Terence. This marks the beginning of the time in which literary comedies and dramas no longer seemed clear cut and decisive, but rather sought to bend the rules mostly by borrowing them from each other.
Phormio’s strong character and extreme commitment to others helps to heighten the plot of Phormio. The story circles around him and his clever ideas. Terence intertwines Phormio in various situations throughout the story. His ideas keep the play interesting. Phormio will do anything for his friends, and will always fight for what he believes in.
Phormio knows of Antipho’s strong love for Phaedria. Because of this strong love he figures out a way for them to marry, even though he knows that Antipho’s father would not approve. When speaking of the orphan girl, Antipho says, “As the saying is, I have a wolf by the ears; for I know not how to let her go, nor how to keep her” (132).His father does not approve of their marriage because the bride-to-be is a poor orphan girl from Lemnos. Phormio goes before the court and says that Antipho and his father are the nearest relatives to the orphan girl, which means that one of them has to marry her, or has to pay her a portion of money. The couple decides to wed before Antipho’s father, Demipho, arrives home. Phormio’s commitment shows how much he values friendship, because he risks himself getting in trouble by Demipho for his dear friend, Antipho. He does this because he knows how much his friend loves the orphan girl, and how much he wants to wed her.
Phormio also helps Antipho’s cousin, Phaedria, get the woman that he yearns for. Phaedria’s falls in love with a slave, but does not have enough money to purchase her. Phaedria describes the woman as “an honest wellbred wife, whose character has never yet been stain’d” (124). A major problem arises when the slave’s owner threatens to sell her to a land overseas if he does not come up with the money right away. Upon hearing this Phaedria says, “Whatever part of the world she’s carried to, I’m resolved to follow her, or to perish” (134). Phormio plans to secure the money for Phaedria. He does this by conning Demipho out of the money, promising that he will put an end to Antipho’s marriage.
When external events turn the story upside down, it is Phormio who stands strong. This unraveling occurs when Phormio discovers that the orphan girl is actually the daughter of Demipho’s brother, Chremes. This discovery means that Antipho’s marriage to the orphan girl is justified, because he is nearest of kin to her. Phormio successfully uses this information to help both of his friends out. When Chremes’s Athenian wife, Nausistrata, finds out of Chremes’s unfaithfulness she agrees to let Phormio keep the money that he dishonestly borrowed. This enables Phormio to securely purchase the slave for Phaedria. This willingness and drive shows that he will stop at nothing to please his friends.
Throughout the play there are various aspects of the characters’ lives that are woven together. Phormio helps to detangle them, in a sense. His commitment to friendship makes him a great person. When speaking of Phormio, Antipho says, “He’s ready; lay what burden on him you will, and he’ll bear it: he’s the truest to his friend” (134). He follows his heart, and at the completion of the story he finds out that he was right all along. Phormio’s strong character and determination make him a wonderful person, and a wonderful friend.
Terence’s Phormio begins with the meeting of two friends, Geta and Davus, the latter being in debt to the former. Davus pays off the loan in full, with much gratitude from Geta, “especially as times go now” (122). Throughout the comedy Phormio, money plays a large role in the development of the play, whether it be the representation of social classes, a creditor’s loan, or the cash required to have a marriage.
Social classes in Greece played a very large part in how one lived his or her life. Not just by the working aspect, but by many other aspects as well. For example, one of higher social standing marrying someone of lower status was highly looked down upon. A central conflict in the comedy is Antipho’s desire to marry a recently orphaned girl, but law states that an orphan must marry her next of kin. Her lack of a given name in the play leads the reader to understand her unimportance in the tiers of Greek society. This situation is how Phormio is first introduced- as a sly, deceiving manipulator willing to trick the law into believing Antipho is indeed this orphan girl’s next of kin. He obtains the right for the marriage, and it takes place. As Antipho’s father, Demipho, was out of the country during his marriage, when he arrives back in Greece, he is furious. Not only is she an orphan, but she is of “no birth or fortune” (123). This division of the social classes leaves Demipho determined to put an end to the marriage. Phormio offers that he will marry the girl himself for a certain amount of money.
Meanwhile, Antipho’s cousin, Phaedria, has fallen in love with a “music-girl” (123), who “was in the hands of a sordid rascal of a cock-bawd” (123). Phaedria doesn’t have the money to release her from this pimp, and “their fathers had taken care that they shou’d not have it in their power to give anything” (123). So even though Phaedria is of a higher social class, his father, Chremes (Demipho’s brother), won’t fund his son’s desired relationship with this girl because of her class and occupation. Phormio swoops in again, offering the money from Demipho to pay for Phaedria to buy this girl.
While all of this is progressing, it is discovered that Antipho’s new wife is, in fact, also his cousin. While Chremes was in Lemnos, he kept a wife there and had a daughter by her. To prevent his wife, Nausistrata from discovering his secret, the two fathers accept Antipho’s marriage rather than making a big to-do over it. Unfortunately for Chremes, in an attempt to recover the money Phormio used to buy the music-girl for Phaedria, Phormio reveals Chremes’s secret to Nausistrata. Eventually she is eased to say that she will “neither forgive, nor promise anything, now answer, till (she) sees (her) son” (146). The play ends with Phormio promising to bring Phaedria to Nausistrata.
All of these situations entail the use of money. The social class of the two girls lead to so many complications for the sons to marry them. Then when Phormio uses Demipho’s money for Phaedria, the entanglements continue, leading to more complications caused by money. Phormio is a prime example of social class and usage of wealth in Ancient Greece.
“What wou’d you have me do for you in this affair? The laws don’t allow a servant to plead, nor his evidence taken” (127), this is the insight of Geta, a servant, in the work Phormio by Terence. Geta plays a role similar to that of the Greek Chorus within this Roman work. Geta is constantly present in the action of the play, adding both ethical boundaries and an ideal spectator’s insight into the action of this drama. The fact that Geta provides such insight, but is only a servant, and thus in those times his thoughts are regarded as unimportant provides an ironical twist to this Comedy. This irony provides a sense of spectacle towards the character of Geta, adding to his similarity to the Greek Chorus.
Geta provides a sense of ethical insight and clarification to the audience through his participation in conversations and his various asides. In this work Geta’s socio-economic standing as a servant places him in the awkward position of lending advice without receiving a harsh punishment. This situation imparts within him a conflict between the morally correct decision and the action that is to be carried out. “Suppose I pretend to speak? I shall enrage him: what, if I say nothing? I shall provoke him: how if I attempt to clear myself? ‘Twill be labour in vain” (125). This conflict, man vs. himself, rages on within Geta for the duration of the work. He knows that the ethically correct decision is to reveal the truth; however, he fears the retribution that might ensue due to his honesty. At the same time, Geta’s lines provide the audience with a moral compass. In this play, Geta sets the ethical boundaries by emphasizing certain events and giving those events either a positive or negative connotation. The slight shift in mood allows that audience to come to the correct conclusion about the ethical status of the issue under discussion, as well as the constant conflict between right and wrong within the work. Geta says to the audience that “the old man has spoke the truth of them without knowing it” (127). In this excerpt, Geta’s reaction shows that the lies are unethical, but the truth always seems to prevail with minimal effort.
The role of the ideal spectator is also fulfilled by Geta. This servant provides his insight not only through actual conversations with other characters, but also through various asides in which he speaks to himself. Geta provides background information to the events of the work for the audience. “‘’Tis a law,’ says he, ‘that young women, who are orphans, shall be marry’d to their nearest relations, and this same law obliges the men to marry them” (123). The laws and events that Geta relays to the other characters, and in turn the audience, are integral pieces of information which is necessary in order to interpret and understand the on goings of the play. Geta’s lines are constantly providing these concrete insights into the happenings of the work. In this manner, this servant also introduces that audience to the plots and schemes of the other characters. Another aspect of Geta’s character, is his revelations of plot and setting through his asides, which he directs to himself. “Surely there never was a cunninger fellow than Phormio: I went to him, to inform him that money must be had…” (135). Geta speaks this comment to himself, however he does not see that Chremes and Demipho are present. Geta is providing the sequence of events to the audience making sure to clarify the action of the work, as only a divine spectator could.
The functions of the Greek Chorus are fulfilled in this work through the words and actions of one character, Geta the servant. He actively participates in the action of the work revealing the ethics in certain actions and providing the unique insight of an ideal spectator. The ethics of the events that take place in the production are constantly touched upon as well as the internal conflict between the effects of the consequences that will ensue when the right or wrong option is chosen. Geta is also the ideal spectator providing the background to the events in question, either stating laws or past proceedings, while at the same time adding his personal insight to the situations. The use of this character shows that the function of the Chorus remains intact even when the group of actors playing that role is minimized to one.
The comedy by Terrence called Phormio is about how Phormio, a parasite, takes advantage and affects those around him. Unknown to most, a parasite is not just an organism that sucks the life out of its host. In Latin, the word “parasitus” is someone who amuses the wealthy for a living. In Ancient Greek, “parasitos” is a person who eats dinner at another’s table, or more simply, a guest ("Parasite."). For the sake of the comedy Phormio, An older view of the word “parasite” is more applicable to the identification of “Phormio the parasite” and what his role is, as the comedy is written by a Roman and takes place in Athens. In this comedy, we see how Phormio starts out seemingly to mean well and then later shows his true colors as a greedy parasite.
In the beginning of the play, Phormio starts out more or less as a guest, rather than the modern day view of a parasite. This can be seen towards the beginning of the play in the words of Geta where he states, “You’ve a stout heart of your own, and we are much obliged to you” (Terrence 128). Another example that shows that Phormio in a positive light is where he says, “see, what avarice can make some people do” (129)! This line becomes ironic later on in the play since Phormio turns out to be rather greedy with other peoples’ money. From these first few lines in the beginning though, we can deduct that Phormio is more helpful than voracious.
Soon after, we see how Phormio takes on the role of devil’s advocate where he pretends to bad-mouth Demipho while Geta, who set up the whole situation, defends his master. A line that demonstrates this well is where Geta asks is Phormio is speaking maliciously of his master and Phormio replies, “‘Tis no more than he deserves” (129). Geta’s reply to this is “Say you so you jailbird?...You’re an invader of other people’s rights, a perverter of the laws” (129). While this conversation is occurring, Demipho is listening to all that is being said about him. The conspiracy of how the abandoned girl’s relation to Demipho has been planted. Here, Phormio appears as attempting to condone the marriage of Antipho and his bride in the eyes of the law and Demipho, without any major conflicts. Later, we come to see what Phormio expects from his hosts.
Towards the end of the play, Phormio’s selfish behavior comes out in full force when he obtains Demipho’s money. Phormio’s soliloquy states, “…I have found out a way how I shall surely get [the money]. I must now put on a new face, and a new behavior; but I’ll retire into the next alley; and when they come out, I’ll shew myself to ‘em. I shall not go to the fair as I pretended I should” (142). When we see Phormio’s new face and behavior, the spectators learn that Phormio’s actions were never really for the concern of others. Phormio reveals to Nausistrata that Cheremes had another wife and daughter in a nearby city. Phormio seems happy of the chaos he has caused in domestic affairs when he says, “I’ve graveled them” to himself (143). Phormio relishes in the pain he has caused in the lines, “She’s deaf to what [Cheremes] says…He may get into favor again; I’ve had revenge enough; she has something to ring in his ear as long as he lives” (145). In the last lines of the play, we see what a true parasite Phormio really is when he asks to Nausistrata, “First now will you do that, Nausistrata, which will please me, and make your husband’s eyes ache?...Invite me to supper” (147). In the said lines, the audience can see a clear view of a parasite, dining at the table of his host.
Through the comedy Phormio, the audience sees Phormio start out as someone who can help Geta from being harmed by his master and allow Antipho to stay happily married. As the play progresses, it becomes unclear as to whose side Phormio is on. Only until money comes into the picture does one see that money is what brings out Phormio’s greed. Phormio goes from the Latin view of parasite, a guest and entertainment, to the modern day view of parasite, greedy and life threatening.
"Parasite." Answers.Com. 2007. 22 Sept. 2007 http://www.answers.com/topic/parasite?cat=health.
Chremes and Demipho’s plans for the former’s daughter and Antipho in Phormio are reminiscent of arranged marriages still present today. A match between Chremes’s daughter and Demipho’s son Antipho would benefit the former as an advantageous match would elevate her social status. However, informing the future bride and groom is unnecessary as they find each other and marry, unknowing they are intended for each other. This outcome raises the question on the necessity of arranged marriages. Are arranged marriages beneficial and worth planning? Or unnecessary as this play suggests planning is superfluous because we will make our own decisions in the end?
Antipho’s marriage of the orphan girl, who turns out to be Chremes’s daughter, is evidence of how an unarranged marriage can be just as beneficial as an arranged match, as both are one and the same in Phormio. An advantage of an arranged marriage is the lack of superficiality. By removing any judgment by looks or physical attraction, those persons involved are able to look past the trivialities usually involved when assessing a potential mate. After one can see the more important features, the benefits of an advantageous match are more visible. After eliminating the courtship period of a relationship, the union of families through an arranged marriage creates useful connections, and raises the status of those involved. Before marriage, the orphan has no fortune, but her marriage to Antipho gives her the protection of his name, financial security, and a home. Certainly, an arranged marriage benefits those involved but these benefits do not provide evidence a marriage need be arranged.
Part of being human allows us to be independent and thereby make our own decisions. Arranging a marriage can be unnecessary, as in the case between Antipho and Chremes’s daughter as they marry without knowledge of their parents’ plans. Chremes is happily shocked when he is told by Sophrona that his daughter is married to the one he had planned for her to marry and says “Good Gods! How things often happen accidentally which we have not courage to wish for! I have found, upon my arrival, my daughter married to the person I would have had her married to… what we (Chremes and Demipho) both took the greatest pains to bring about…” (138). Chremes’s arranging of a marriage that came about without his help is further proof a marriage does not need to be arranged, as it can come together on its own. There is also Phaedria, who falls in love with a music-girl. Had Phaedria been in an arranged marriage, it would have been futile, as he only has eyes for the one he loves. The love between Antipho and Chremes’s daughter can be considered love at first sight and resulted in a quick marriage but would they feel the same had they been placed together as opposed to meeting by chance? Whether arranged or unplanned, people can not help who they love, and a formal agreement to marry a chosen person will not alter feelings.
The suggestion of an arranged marriage in Phormio is a good idea and beneficial to all involved but, in the end, is unnecessary. This is the way arranged marriages can be viewed on a general basis. The advantages are visible, and the idea is practical, however, love can not be planned. People will find others with whom they will fall in love, and an arranged marriage will not affect how they feel for another.
Terence’s Phormio is a Roman play written under Greek contexts that revolves around a number of themes heavy in social and political implications.
When we are first introduced to the play’s title character, he appears to be good natured and caring. However, it is he who is driving the action and quickly, Phormio introduces the play’s central themes to the reader: the importance of social constructs in Greek society and the staunch value money is regarded with.
Terence is clearly displaying his distaste for the human condition throughout this play by portraying man as a money loving bigot who is only out for himself. Antipho wishes to marry an orphaned girl while his father is out of town. The value assigned to her by Greek society becomes apparent when we see that she has not even been given a name. Phormio, attempting to play the hero in this situation, convinces those in power that Antipho is the orphan girl’s next in kin, and as Geta (who greatly posses many functions of a chorus) explains, under law an orphan should marry their next in kin. The marriage takes place and Antipho’s father returns, and it is this event through which we are able to see Phormio’s true motivation: money.
Phormio’s cousin Phaedria is also in love with a girl who is lower in class than he. She is described as a musical girl but works as a prostitute and Phaedria does not have the required money to “buy” her away from her pimp because his father refuses to support him, so Phormio lends him the money he obtained from Demipho. It is then discovered that Antipho’s new wife is actually his cousin, so his marriage is not heavily contested because of his father’s desire to keep an old affair (of which Antipho’s wife is a product of) a secret from his wife. Phormio reveals the secret to his wife while attempting to collect the money used to pay off Phaedria’s wife’s pimp and the story ends with Nausistrata making Phormio promise to bring her son to her.
It is clear that all of the major events in Phormio revolve around money and personal gain. Phormio appears to be helping others by facilitating Antipho’s wedding, paying off the pimp of Phaedria’s wife-to-be, and revealing to Nausistrata that her husband had an affair behind her back, but very quickly we see that he is only doing these things for monetary gain. The central theme combined with other interesting elements, such as the servant Geta functioning as the chorus (i.e. when he explains why convincing people that Antipho is the orphans next of kin will help them to marry and summarizing events of the play with his own negative or positive commentary), makes this play as remarkable as it is entertaining.
Phormio, written by Terrence is a prime example of ancient Roman comedy. Although the theme of this play is still common today, the humor is not always obvious. This play is humorous because Phormio the ‘parasite’ and Geta trick the fathers, Demipho and Chremes, in order to help the sons, Antipho and Phaedria. At the same time Phormio tricks the fathers and gets exactly what he wants out of them. The tactics that are used to trick the Chremes and Demipho in this play make it a comedy. There are numerous parts in this play where the characters talk without knowing others are around. This gives the listener an advantage. Also, there are times throughout the play where the characters pretend not to see the other characters in order to trick them into thinking or doing something. These elements make Phormio a comedy.
There are parts throughout Phormio where one character hears another speaking but does not tell him. This gives him the advantage of knowing what the other is thinking, which helps him formulate his argument. For example, in Act I, Scene VI, Demipho is speaking just to the audience. He is not aware that Geta and Phaedria are listening, therefore says exactly what is on his mind. After Demipho finds out what Antipho has done he anticipates what his son might say to him, by saying “Will he excuse himself saying, ‘I did it against my will, the law compell’d me?’ I hear him, and allow it to be so,"(126) to the audience not knowing anyone else is listening. Geta and Phaedria hear him without his knowledge, which helps them formulate an argument that they can use against Demipho when he confronts them. Now, when Demipho asks Geta why Antipho married while he was away he uses the excuse that the law forced him. This overhearing helps Geta make a valid argument in favor of Antipho.
The other aspect of this comedy is when a character speaks aloud knowing that others are listening. This helps him plant ideas in the other character’s head so that they may better persuade them. For example, in Act II, Scene II, Geta and Phormio are talking about the situation when they see Demipho and his Advocates approaching. The things Phormio does not want Demipho to hear he says aside to Geta, but the things he wants Demipho to hear he says aloud. Geta says, “He’s in a passion”, to which Phormio replies, “Do you but mind your cue; I’ll rouse him presently”(129) aside to Geta. Then Phormio says, “Good Gods! Does Demipho deny that Phanium’s related to him? Does Demipho deny it?”(129) aloud to Geta so the Demipho will hear. They continue this conversation pretending not to see Demipho in order to anger him. This is very effective in persuading Demipho to do what they want him to, making the action humorous.
Terence, one of the great comedy writers of ancient Rome shows his satirical skill in Phormio. Although it is, at times, difficult for the modern reader to find the humor in this play upon first reading to it, careful review reveals a timeless comedy. The plot of this play along with the speech of the characters produces a comedic effect. It exhibits a common theme that is still popular today.
Reflecting on true love and what marriage really exists for, one could quickly stumble upon the question of whether or not arranged marriages consist of the appropriate components needed for a truly successful union. In Terence’s wonderfully written play Phormio, we see the idea of an arranged marriage wonderfully placed in contrast with the idea of true love. Though, the play would stand incomplete without the “parasite, who shall the bus’ness guide” (Terence 122). Phormio, the chief character in the play, exemplifies the classical symbol of vile human nature, which plays an extremely important role in the opposing forces of true love and arranged marriage. Playing on the idea of clashing social class and the absurdity of using it as a guiding factor for love, Terence succeeds in satirizing traditional sentiment and formulating an idea of what love should truly resemble.
When we ponder about arranged marriages, we often come to the conclusion that marriages were arranged for the purpose of self-gain on the part of the parents of the bride in question and important for establishing a good life for the bride in terms of social class. Interestingly enough, we notice that Terence immediately throws in the question of love alongside social acceptability of the time: “he had a strong inclination to marry her, but was afraid of his father who’s abroad” (123). Here, Terence cleverly delivers a hidden, dividing question which separates his audience into two groups. Because some people would agree that the importance of one’s life lies with ties to family rather than a mere feeling of love, these people would disagree with marrying in opposition to a father’s will. However, the romantics would have to dissent from this opinion. They would argue the point that in purely maintaining the interest of one’s parents and family, one slights oneself. Thus, Terence’s audience splits into two. Almost immediately after the love situation establishes itself in the reader’s mind, Terence throws yet another variable into the mix. Phormio, a character that seems like a good, selfless person, exemplifies the classic character that looks out for oneself in the guise of selflessness. Again, the complicated process of division occurs once more. How do we view Phormio? Whether we like him or not, by the end of the play, Phormio clearly represents selfishness and conceitedness.
Interestingly enough, Terence plays on the idea of selfishness and true love, of which Phormio plays an integral part. Clearly, Phormio represents the selfishness that can sometimes exist in arranged marriages. Coming to symbolize all vileness of human character, Phormio pretends to do well for others while he does what in fact helps only his own interest: “There’s a certain parasite, one Phormio, a fellow of an undaunted assurance” (123). Perhaps we can more clearly understand Phormio’s character if we relate him to a more recent character in Literature. Consisting of many of the same characteristics Phormio possesses, Iago from Shakespeare’s Othello himself does wrong under the guise of friendship and loyalty in order to gain what he wants because of his ill feeling towards Othello for “betraying” him in favor of the younger Cassio. Though differences in situation do exist, the basic outlines of the two characters resemble each other.
Coming to a general idea, traditional arranged marriages often contained less true love than did marriages solely based on attraction and compatibility. Therefore, the whole satire criticizing arranged marriages and ridiculous ideas such as social class successfully integrates the character of Phormio as the party seeking self-gain in an unnatural union. Clearly, unnatural events have more holes available for wrong intentions. Money complicates matters even more for the question of true love. Therefore, Phormio stands as a wonderful satire criticizing the importance of social class and proves its faults in social questions such as marriage.
The play Phormio written by Terence compels readers to look at the bonds of friendship in a new way. The roles of Phormio and Greta in the play represent the two resolute forces that drive the action and set the tone and purpose of the play. The theme that those who try can succeed runs rampant throughout the work and shows itself through the two affore mentioned characters.
Phormio describes himself as “a friend to your family, but more especially to Phaedria” (146). Others in the play consider him a parasite but also as a man willing to do anything to help his friends. Phormio begins the play as a man who helps the young Phaedria wed his beloved “Phany.” He continues aiding his friend through out the play. There is an interesting and defined cut between several classes that Phormio represents. The younger men in the story- Antipho and Phaedria respect and even like Phormio, as well as the poor and enslaved Greta whereas the older, richer men, Chremes and Demipho dislike and resent the man. Phormio’s use of his wiles to wed Phaedria and his young bride, as well as to reveal Chremes’s secret to his wife shows where his allegiance lies. He toils relentlessly to promote his dear friend Phaedria and eventually succeeds, though by less than scrupulous means.
Greta, the second driving force is beloved by all in the play. As a servant of the obviously important Demipho he has risen to a high status despite being a slave. He remains no stranger to toils of the less fortunate though stating he would be “…fettered, or sentenced to work in the fields; neither of which wou’d be new or strange to me” (127) when discussing his fate for not protecting his master’s son and nephew. In this character both men young and old respect him. Antipho tells Greta that he and his cousin will share his fate wheter it be good or bad (134) and the older gentlemen ask Greta for advice and take his council on the situation.
Phormio and Greta are very similar though, both are used and both use others to achieve their ends. However, Phormio is painted as a rouge- given the name parasite and used in a way as to incite other characters. It is important to note at this point that Phormio was motivated by a love for Phaedria. Greta is used by the boys to save their face in front of their fathers, he is even asked to raise the money to buy the slave woman which he does out of love for the boys as well but he began this tale trying to cover for his mistakes in allowing Antipho to marry in the first place. This raises the question of which man had the better motives- the poor Phormio or the servant Greta?
Both men achieve their ends. Phormio leaves the tale in the favor of the boys and of Nausistrat and has gained profitably from the venture. Greta seems to have suffered no ill and has seen both boys made happy in the end. These characters are a testament to the mantra that if one tries one may succeed, by any means necessary.
If I ever experience the notion that I am intellectual or intuitive, Greek and Roman playwrights possess an uncanny ability to put me back in my place. I inescapably find myself pouring over the text two, maybe three times before I even come close to understanding basic concepts. Hell, I didn’t realize Phormio was a comedy until halfway through the second time I read the blasted play. Nevertheless, when I do finally grasp the fundamental ideas, I marvel at the genius behind men like, Terence and Sophocles.
Granted the character's names are hard enough to pronounce, then we throw in a twisted family tree. I had to draw it out on paper-definitely a visual learner. Slowly I reached one conclusion…
Terence and several other playwrights paved the way for many of our modern day time soaps. Passions, All My Children, As the World Turns, One Life to Live, all of these hits are stolen material!! Poor Terence is probably turning in his grave. Did anybody else find some of the elements of this play grossly familiar?
The deceit and deception makes itself apparent with Chremes’ and Demphio’s back breaking attempts to ensure Nausistrata never finds out either of the bad boy’s secrets. Chremes has another wife, who bore a sweet daughter, Phanium. Demphio intends to marry this niece off to his son, Antipho. Unfortunately, the cliché saying goes a little something like this: like father, like son. Phaedria, the son of Chremes and Nausistrata, is madly in love with a music girl, who he is trying to buy. Meanwhile, Antipho is head- over- heels for an orphan girl (enter Phanium), and marries her. Antipho, certain that his will be more than displeased and scold him severely, leaves Phaedria alone to greet Demphio. The diaglogue between uncle and nephew is priceless. My favorite quote: “Let one commit a fault and the other’s ready to defend him; if one’s here, the other’s not far off; so they help one another.” (127) This statement drips with irony.
Both the cousins seek the help of Phormio, a clever charlatan, who offers advice to Phaedria on how to obtain the music girl. In the end, Phormio hoodwinks Chremes and Demphio by saying that he will take care of Antipho’s new wife, if they pay 30minae for his troubles. This money actually pays for the music girl. Slowly, Demphio realizes that Antipho is essentially married to Phanium, the daughter of Chremes. Alas, things occurred according to “the plan”. What irritatess me is that Chremes tries to get his money back from Phormio, instead of being totally grateful that things worked out in his and Demphio’s favor. Lucky for the audience, Phormio knows the truth behind the brothers’ scandal. He, in turn, threatens to tell Nausistrata all!
The sick irony and humor lies in the audiences’ knowledge of all these truths. While we cannot change the course of events, some sense of power lies in remaining omnipresent throughout the drama. As we sympathize with or despise one character, we instinctually hope each one gets what they deserve.
**Note to readers: I tried to properly italicize and quote items throughout the blog. The laptop refused to let me look competent. Ms. L, please understand! I can come in to class and prove to you I comprehend the rules of basic grammar!
“< i >Phormio< i >: Terence”
What makes Terence’s < i >Phormio< i > so undeniably comic is the playwrights’ excessive application of irony to situations of simple nature. “…Your uncle is discovered to be your wife’s, your Phany’s, father…” (Terence 142). After marrying an impoverished wench, Antipho faces an internal self conflict: divorce the girl or be forever denounced by his father. Here, Terence highlights the importance of social stratification in the Athenian culture; specifically in regards to marriage. In this particular occasion, though social custom holds predominant, Antipho is able to keep his marital covenant if his bride shares his relation. This cannot possibly occur, however; from the audiences point of view. Thus, Terence produces the greatest ironic effect. Manipulating prose as well as scenes, he sets the audience to one standard frame of mind: impossibility. Then, at an arbitrary moment, that frame is battered with unpredictable contradiction, defying all odds, awing the audience.
Tying in with irony are the reoccurring themes of loyalty and deception. Realization of consequences that would follow his heart felt actions crippled Antipho to the point of cowardice. Thus, when searching for his son, Demipho found Phaedria, who took it upon himself to defend his cousins’ cause. “Let one commit a fault, and the other’s ready to defend him; if one’s there, the other’s not far off; so they help one another…” (127). Certainly the boy was ridiculed for advocating the wrong doings of his companion, however, one point remained clear even after the scene closed: loyalty prevails. Terence further emphasizes this same message later on, in Chremes’s unfortunate encounter with his wife, Nausistrata. “…I don’t deny that he deserves blame in this affair, but ‘tis such as may be pardon’d…” (145). The very same Demipho that belittled Phaedria for taking Anitpho’s defense proves, through hypocrisy, that loyalty deems significant, no matter the circumstance. “Rather…I thought him another sort of a man; he has deceived me…” (133). Of all tools utilized to accent ironic comedy, deceit was most influential to the work. Phormio’s scheme to get the couple married- lies. The explanation given as to why Antipho was wed -lies. Stilpho's mere existence -lies. It would seem as if Terence purposely built his tale atop a foundation of lies; a drama soiled with fallacies and manipulations. Though distracting at times, these elements are what essentially spark the audiences’ interest. Questioning ethics and moralities in the play evoke thoughts of potential consequence, thus interaction inter the work and its’ viewers is inevitable.
In the classic comedy, Phormio, by Terence there is a strong relationship between the themes of Greek and Roman Drama. The story opens up with the element of money just as the Clouds by Aristophanes did.
In the beginning of the Clouds Strepsiades states “Would I could sleep so sound! But my poor eyes have no sleep in them; what with debts and duns and stable-keepers’ bills, which this fine spark heaps on my back,…” (64)
In comparison Phormio begins with Davus stating “My good friend and countryman
Geta came to me yesterday: I had a little money of his in my hands on an old account…” (122) One can assume that there was some trading of ideas between the Greeks and the Romans because of the similarities seen. They also differ in that Greek playwrights have the chorus’ and this play omits such a character.
The overall synopsis of the play is weighty in the context of wealth and social status for that is the conflict which allows the play to develop. An example from the text is the dialogue between Davus and Geta about Phaedria and his music girl: “Wou’d not his father give him leave, if he was come home?” Geta: He give him leave to marry a wench of no birth or fortune? Never.” (123)
Geta than explains the plan of Phormio, a parasite, who wants to manipulate the situation in order that the parties get what they desire by law. Phormio is described as “….a fellow of an undaunted assurance, who, the devil take him for it.” (123)
Terence makes it very deliberate the importance of money almost in the sense that it is to be worshiped. Lack thereof money makes Geta upset with the rich.
“How unjust it is, that they who have but little shou’d be always adding to something to the wealth of the rich!” (This is basically saying the rich gets richer and the poor get poorer.) (123) Money is also the means of oppression for the characters. “Poverty Never seem’d to me so sad and heavy a burden as it did just now.” (122) After Phormio receives the money and gives it to the bawd, Geta replies O! fortune! O! propitious fortune, what unexpected favors have you this day heap’d on my Master Antipho!”(141) Wealth is the same means by which can cause distress and joy.
To reflect on the meaning of this drama, it is difficult for a reader to read such texts and not question the role money or social status plays in our lives. Comedies such as Phormio can depict crisis in which social stratification puts the strain on relationships.
This on-going dilemma limits the choices that an individual has and in turn effects position, marriage and lifestyle.
Extra! Extra! Read all about it! Phormio a Slime ball!
It might be said that Terence, in his Phormio, could have been calling society out for its underhanded ways, and how it deals with its fellow human in its every day affairs. In essence, the story is of a son, Antipho, who marries a poor woman while his father, Demipho, was out of the city. Knowing that his father’s rage would overtake him, Antipho tries his hardest to, at first, keep the marriage from him, and then tries to concoct a plan to win his favour, which involves much lying and deceiving. Antipho’s wife, in the end, turns out to be relation to him, which is his only saving grace in the entire matter, and he eventually gains approval from Demipho. While all of this is going on, Antipho’s cousin, Phaedria, is also seeking after a slave woman to be his wife. Phormio, the namesake of this work, is intertwined in all of their plans to gain the ones that they love, and he is the principle thinker in the creation and follow through of these fraudulent actions.
From the very beginning, Phormio demonstrates his cunning, by crafting a way for Antipho to marry this woman that he meets after tragedy befalls her. We find that he lied to the courts to convince them that it was necessary for Antipho to marry Phanuim, by telling them that they were related and “Tis a law […] that young women, who are orphans, shall be marry’d to their nearest relations, and this same law obliges the men to marry them,” (123). He “pretended to be her father’s friend” (123) and they brought it before a judge and the two ended up being married due to his cunning.
Following this, when Demipho returned to their town, Phormio tries to convice him that Phanium is relation, and therefore must be married. He tries to corner Demipho into accepting that the two are related by running him around in circles, asking him if he “did not know [his] cousin […] Stilpho” (130). Through all of this, Demipho’s servant, Geta, plays along, defending his master, against someone who might even be close to insulting his intelligence by questioning whether or not he knows his own family. This deceitful run around leads Demipho to consider the union of, asking his friends and brother their thoughts on the union, in the end deciding to act based on his brother’s opinion.
We find out, ironically, that Phanium is actually related to Antipho, being his cousin. We find that her father is actually Chremes’s, Demipho’s brother’s, illegitimate daughter, whom he has been taking care of in quiet all of the years. Chremes is in cahoots with Phormio, and he finds out about the illegitimate daughter, during their business together, and tries to blackmail him to keep the secret. Phormio, being the parasite that he is, in the end, tells Chremes’s wife about the situation, stirring her into a frenzy of unhappiness. One could say that Terance is warning us of how we deal with people, and to make sure that we are working with trustworthy people, so that in the end, we will not be devastated.
Among the traditional elements that direct the action in Phormio, which include love, money, and mistaken identity, Terence effectively uses deception to comment on the institute of marriage. From Phaedria and Geta’s pretending Antipho’s marriage was legitimate or Chremes’s hidden daughter, most of the play’s characters either lie to serve their best interest or to maintain a sense of propriety. The play’s title character, however, uses wit and scheming, in addition to deceit, to control the action throughout and interfere in these relationships.
The reader is introduced to Phormio by Geta, “There’s a certain parasite, one Phormio, a fellow of an undaunted assurance…” (123). From then on, the character is associated with trickery and impudence. Phormio’s council to Antipho cause him woe and misery. Even Phormio’s diction generates an undaunted assurance and his response to Geta’s thanks for advising Antipho is proof. “O! nobody can thank a prince enough for his royal favour” (128).
The subsequent scene where Phormio threatens to sue Demipho if he denies Phanium’s relationship to the family demonstrates how influential his character is. Phormio leaves and does not return for another two acts; however his absence from the stage only reinforces his role in the play. In the meantime, the other characters decide he is best suited to take up Antipho’s wife if a generous dowry-like payment is included. Once Phormio receives the money, he purchases Phaedria’s love from the bawd. Then Geta and Antipho appear and in the next scene Geta explains Antipho married his cousin so the marriage is valid. While Antipho and Geta celebrate the good news, Phormio realizes he has a choice with the wedding payment since he will no longer marry Phanium, either return it to the old men or to help Phaedria. He chooses the latter and explains, “I have found out a way hot I shall surely get it. I must now put on a new face, and a new behavior…” (142).
Just as the title character predicted, Demipho and Chremes return to collect their money. Their insistent until Phormio mentions he knows a woman whose husband has two wives and a daughter he has raised privately. As such, Chremes insists Phormio not share his secret and allows him to keep the money. Phormio, who realized his incredible bargaining position before the two came along, decides, after he is assured the money, to inform Nausistrata regardless. “I’ll give it him home: come on now, and provoke Phormio who dares; he shall meet with the same fate” (145). Phormio assures his position of power over all other characters in the story in Act V. He decides what others can and cannot do. He brings to light Chremes’s secret and then chooses when he has already sought his revenge. By the end of the play, his trickery and plotting guaranteed him not only power over the other characters, but also wit since he foresaw what others could not.
Money and deceit are just two of the underlying motives in Terence’s play Phormio. The parasitic character Phormio gets involved with both of these things (and more) throughout the play for his own selfish reasons. Wealth is a key indicator of status in Greek society in the play, and it’s clear that Phormio knows this because he uses it to his own advantage more than once. Deception is also evident in several situations during the play, most of which can be traced back to Phormio. Through Terence’s satirical style of writing, it seems as though the comedy Phormio is one which uses irony rather than ridicule to convey humor.
Wealth is, and has been for years, a sign of status in most societies around the world. The ancient Greeks were no exception, and many cases in Phormio exemplify this notion. Geta recalls the time when he and Phaedria were sitting at the barbershop waiting for the music-girl to get out of school, when a young man approached them crying. “Poverty,” says he, “never seem’d to me so sad and heavy a burden as it did just now” (123). The young man is suggesting that being poor causes more problems and worries than being rich does. The scene continues on by Geta telling Davus what happened when he accompanied Phaedria to the old lady’s house to ask for the music-girl. Geta quotes the old lady as responding to Phaedria‘s request by saying, “ ‘tis unjust to do it, …she’s a good citizen of Athens, of a good character, and good parentage, if he has a mind to marry her, …he may lawfully do” (123). The old lady’s remarks reinforce the idea of wealth signifying a person’s status in society, and how important it is to marry according to your class.
People often use deceit to get what they want from others, either by lying and making things up or by hiding certain information. Phormio deceives Chremes and cheats Demipho out of his money towards the end of the play when the two brothers find out that Antipho had married Chremes’s daughter after all. Phormio bargains, “If you’ll give me the wife you promised, I’ll marry her; but if you’d rather keep her to yourselves, let me keep the portion, Demipho; for ‘tis unjust that I should be disappointed on your account, when for your honor I broke off from the other, who had as good a portion” (143). When Demipho refuses to give in and demands that Phormio get back his money, Phormio decides to blackmail the brothers by revealing that he knows about Chremes’s unfaithfulness to his wife Nausistrata. “Hold my tongue?” Phormio asks as if Chremes has proposed a most absurd request when he threatens to tell Nausistrata the truth. Despite Phormio not getting Antipho his money back, he still doesn’t keep his mouth shut about Chremes’s illegitimate relations. Phormio deceives the brothers by not repaying them, then deceives Nausistrata by making her believe he’s a good man. On top of all of this, Phormio invites himself to dinner and eats like a greedy parasite.
After reading Phormio, it’s reasonable to say that the play is aptly named. Just by looking at the character list, it’s clear to see what kind of person Phormio is going to be. Terence doesn’t even provide a real character description or tell how Phormio relates to others in the play. He gives nothing to go by other than the words “a parasite,” which is exactly what Phormio is. He is a selfish, freeloading person who uses wealth and deception to get what he wants out of others. In light of Phormio being a comedy, I agree with the literature-based definition of the name Phormio: “a parasite who accommodates himself to the humour of everyone” (www.infoplease.com).
Thanks so much for your responses...there's a lot going on in the play this week!
Ms Letostak
In the Roman play Phormio, the author portrays the dilemma faced by a young man who marries a woman of a lower social caste, and then is troubled by his father’s displeasure. Throughout the story Terence, the playwright, utilizes themes that reflect the, then present, Roman culture and society. The familial relationship between Antipho, the newlywed son, and Demipho, his father, plays a significant role in the story. As well as the class structure of the Roman society which also perpetuates the conflict of the tale, as Antipho weds a woman of no nobility, while he is of proper heritage.
In the first scene in which Antipho is in, he laments over his fear of his father. Although he is married by his own choice, he did not seek his father’s approval, nor did he even notify his father prior to it. Antipho’s irresponsibility serves as the catalyst for initiating the action of the story. The relationship between the father and son characters is highlighted when Demipho states, “Shou’d not my authority – but I wave authority – shou’d not he have fear’d my displeasure at least?” It becomes apparent that Antipho is subject to his father’s discipline, because even with matters such as marriage he should ask for his father’s approval.
Furthermore, the familial relationship could be used to allow the audience to relate to the play on a more personal level. The idea that a child does something to displease a parent is a common theme to any spectator. Moreover, Terence builds on this by elaborating the story as the servants and other relatives become involved, and the characters reveal all of the entangling emotions.
The class structure in Roman culture that is revealed in the tale plays a main role, because if not for the different castes, then the problem may not even exist. In order for Antipho to marry the girl who is of lesser standing than himself, he and Phormio go to the courts and falsify there relations to hew. The extremes of their actions highlight the importance of a person’s societal worth in the Roman world.
The class structure is also underscored when Davus thinks about how Geta must get his master’s son a gift with the little money that he has put away with great effort. The situation shows the irony of how the poor are constantly giving to the rich, while the poor receive nothing in return. The playwright is even able to convey the underlying idea to the audience in the line, “how unjust it is, that they who have but little shou’d be always adding something to the wealth of the rich!”
Therefore, Terence utilizes several themes to develop the play, relate it to the audience, and promote other moral notes. The theme of familial roles as between Demipho and Antipho, the father and son, is an important factor of the play. While, the class structure of Roman society also helps to shape the events of the story.
You won't even believe the story behind this assignment.
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